Evil Things

Five college students—Miriam Dearing, Elyssa Mersdorf; Cassy Crawford, Laurel Casillo; Mark Schaefer, Morgan Hooper; Tanya Kochen, Torrey Weiss; and Leo Pugliese, Ryan Maslyn—leave New York City for a weekend in the Catskills to celebrate Miriam’s birthday. Miriam’s Aunt Gail, Gail Cadden, lends them a large country home for the occasion, promising a quiet escape from campus life. The group—already buzzing with the thrill of a new project—arrives with Leo’s video camera in hand, hoping to capture the weekend in a candid, documentary style.

From the moment they hit the road, a chilling undercurrent threads through the trip. A dark red van keeps popping up in their rearview, the driver repeatedly honking and weaving in and out as if intent on shadowing them. The tension grows when a gas station stop yields a second sighting: the same maroon vehicle lingers a moment too long, as if recording their every move. A chance encounter at the pump—an anxious moment turned awkward—leads to a small, unsettling exchange when a girl from the station returns a phone Cassy left behind. The van’s presence doesn’t fade; it simply looms louder, surfacing again at a diner where the vehicle never quite leaves the curb, watching them through the window as they eat.

Inside Aunt Gail’s home, the mood shifts from tense to celebratory as Miriam’s friends pull together a birthday surprise for her. The night unfolds with warmth and laughter, Leo filming the celebration, capturing the group’s camaraderie against the glow of candles and party lights. But the sense of being watched lingers in the shadows, a quiet hum beneath their cheerful chatter.

The following day, the friends attempt a hike into the snowy woods, and the forest’s quiet becomes almost oppressive. They become lost in its depths, following faint sounds—the crackle of a radio, branches snapping underfoot—until fear pushes them back toward the safety of the house. Back inside, the group begins to sense something else at work: silent phone calls, a looming feeling of being watched, and then a package left on the front step—a taped film wrapped in brown paper.

What the tape reveals is chilling and precise: they have been secretly filmed since they started their road trip. The footage shows the gas station moment with the girl returning Cassy’s phone, the tense confrontation at the diner, and finally the stalker’s view from inside Aunt Gail’s home—peering through windows as the group laughs, parties, and sleeps. The tape confirms that the maroon van and its driver have been following them the entire time, and the stalker’s gaze shifts from public spaces to the private sanctuary of the house.

The house goes quiet as the phone rings again, only to yield silence on the other end. Signals falter; the group finds their car missing, and a new threat lingers on the property. A van arrives in the driveway, sending a fresh wave of fear through the rooms as they struggle to regain a signal and to maintain some sense of safety. The power suddenly fails, plunging the house into darkness, and Miriam manages to reach a 9-1-1 call that drops mid-conversation, leaving the group with more questions than answers.

In the tense hours that follow, Mark arms himself with a knife and investigates a room where a two-way radio crackles to life on its own. The door shuts from the inside; Mark’s anguished cries echo through the hallway as Cassy bangs on the door, forcing it to open just enough for them to scramble away. They flee upstairs, voices raised in a frantic, desperate plan to escape, but their exit is thwarted when a member of the stalker’s shadow looms just outside, and the others witness a terrifying moment: the camera that Leo handed to Tanya shatters, leaving them with only the raw, unfiltered sound of a scream.

Outside, the stalker’s path remains deliberate and cold. The footage from the van shows Miriam running through the darkness, the stalker’s lights narrowing in as he follows her into the woods. Inside the house, Cassy attempts to find a safe route, only to discover the stalker inside, his night-vision camera cutting through the dark as he closes in. A final, terrifying lunge leaves Cassy screaming, the screen catching only that single, haunting moment before the scene cuts to black.

The film closes with a broader view: the stalker sits among a bank of monitors, watching a mosaic of videos that capture the group’s day-to-day moments—the laughter, the sleep, the private spaces of their retreat. Leo’s own footage appears in the mix, suggesting that the stalker may have infiltrated more than one perspective. A final shot pulls back to a park where the stalker surveys another cluster of friends; he trails them, unseen, as they roam and film their own memories.

As the credits roll, the audience is presented with the stalker’s itinerary in real time: from the highway where he first spots the group to the quiet of the house windows where he films them as they sleep. The film ends on an unresolved note, preserving the unease that frames what was meant to be a simple weekend getaway—a reminder that some weekends, and some watchers, never leave.

Last Updated: December 04, 2025 at 15:32