|
HALLOWEEN
a screenplay by John Carpenter and Debra Hill - - - 1 MAIN TITLE SEQUENCE OPEN on a black screen. SUPERIMPOSE in dark red letters: HALLOWEEN FADE IN TO: Darkness, with a SMALL SHAPE in the center of the screen. As MAIN TITLES CONTINUE OVER, CAMERA SLOWLY MOVES IN ON the shape. We get closer and closer until we see that the shape is a HALLOWEEN MASK. It is a large, full-head platex rubber mask, not a monster or ghoul, but the pale, NEUTRAL FEATURES OF A MAN weirdly distorted by the rubber. Finally CAMERA MOVES IN CLOSE on the eyes of the mask. It is blank, empty, a dark, staring socket. SUPERIMPOSE FINAL CREDIT. FADE OUT: FADE IN: 2 Black screen. SUPERIMPOSE: HADDONFIELD, ILLINOIS OCTOBER 31, 1963 DISSOLVE TO: 3 EXT./INT. MYERS HOUSE - NIGHT - SUBJECTIVE POV (PANAGLIDE) It is night. We move toward the rear of the house through SOMEONE'S POV. CAMERA MOVES UP to a Jack-O-Lantern glowing brightly on a windowsill. It is a windy night and the curtains around the Jack-O- Lantern ruffle back and forth. Suddenly we hear voices from inside the house. SISTER (V.O.) My parents won't be back till ten. BOYFRIEND (V.O.) Are you sure? Then LAUGHTER. The POV moves from the Jack-O-Lantern down to another window and peers inside. We see the sister's bedroom through the blowing curtains. Into the bedroom comes the SISTER, 18, very pretty. She GIGGLES as the BOYFRIEND jumps into the room. Alan, 18, he wears a Halloween mask and a costume. BOYFRIEND (V.O.; cont'd) We're all alone, aren't we? SISTER (V.O.) Michael's around someplace... The boyfriend grabs the sister and kisses her. SISTER (V.O.; cont'd) Take off that thing. The boyfriend rips off his mask. He is a handsome young man underneath. They kiss again, this time with more passion. The boyfriend begins to unbutton the sister's blouse. She responds to him. The POV swing away from the window and begins to restlessly pace back and forth, agitated, disturbed. We HEAR THE SOUNDS of the sister and boyfriend inside the bedroom growing more and more passionate. Finally the POV moves back up to the window. Inside through the moving curtains, we see the sister and the boyfriend on the bed, naked, making love. The POV springs back from the window and stalks quickly down the side of the house, past the Jack-O-Lantern, around to a door. Quickly the door is opened and the POV moves inside. The POV glides silently through the house into the kitchen, up to a drawer. The drawer is opened. A large BUTCHER KNIFE is withdrawn. Then the POV swings around and moves to the kitchen door. We look down a hallway to the front door. The boyfriend steps out of the bedroom door, buttoning his shirt. The sister stands in the doorway, a sheet wrapped around her. BOYFRIEND I gotta go. SISTER Will you call me tomorrow? BOYFRIEND Yeah, sure. SISTER Promise? BOYFRIEND Yeah. They kiss again and the boyfriend walks to the front door. The sister watches as he leaves and shuts the door behind him. Then she turns and steps back into the bedroom. The POV moves slowly down the hall to the bedroom door and peers around inside. The sister sits at her night-table brushing her hair. She is still completely nude. Slowly the POV moves into the room. Suddenly we move down to the discarded Halloween mask on the floor. The POV bends down and picks it up. Then suddenly the POV is covered by the mask and we see through the eye-holes. The POV moves up behind the sister. Sensing a presence, she spins around and stares at the POV, covering her breasts quickly. SISTER Michael...? Suddenly the POV lunges forward. The sister continues to stare incredulously. There is a RAPID BLUR as the POV drives the butcher knife into the sister's chest and out again almost before we've seen it. The sister looks down at the blood forming at her hands, then back up at the POV with an astonished disbelief. Then in a WILD PAROXYSM the butcher knife blurs continuously in and out of frame, slashing the sister mercilessly. She begins to SCREAM, trying to fend off the blows with her hands, then suddenly falls out of frame to the floor. The POV moves back away from the sister's lifeless body, spins around and careens out of the bedroom. At top speed the POV races through the darkened house, to the front door, out the door, down the steps and rapidly up the street. The CAMERA careens along in frenzied flight, up the sidewalk, up a small side alley, down someone's back yard, then to a sudden, abrupt halt in front of MOTHER and FATHER just coming out of a neighbor's house. Mother and Father stare at the POV, at first in puzzlement, then slow, growing horror. MOTHER Michael? 4 CLOSE SHOT - MICHAEL - CRANE The father's hand reaches up and rips off the Halloween mask, revealing MICHAEL, 6, underneath, a bright-eyed boy with a calm, quiet smile on his face. CAMERA PULLS BACK, revealing the blood-stained butcher knife in his hand, then further back. CRANING UP past his parents standing there, up from the neighbor's house to a HIGH SHOT of the neighborhood as the sounds of POLICE SIRENS rise in the distance. FADE OUT: FADE IN TO: 5 Black. SUPERIMPOSE: SMITH'S GROVE, ILLINOIS OCTOBER 30, 1978 DISSOLVE TO: 6 EXT. HIGHWAY - RAIN - NIGHT Two headlights appear in the darkness, backlighting the rain that pours down on a lonely strip of highway. A station wagon HISSES along the wet road surface. 7 INT. STATION WAGON - NIGHT The baack seat is separated from the front by a wire-mesh screen, much like a police car. MARION, 30, drives. She is dressed in a crisp, white nurse's uniform. Next to her in the passenger seat is SAM LOOMIS, a clinical psychiatrist. He is a tough-looking man in his forties who flips through pages in a manila folder. LOOMIS ...then he gets another physical by the state, and he makes his apperance before the judge. That should take four hours if we're lucky, then we're on our way. MARION What did you use before? LOOMIS Thorazin. MARION He'll barely be able to sit up. LOOMIS That's the idea. Here we are. 8 POV THROUGH THE WINDSHIELD - SANITARIUM Through the rain we see a large sign: SMITH'S GROVE - WARREN COUNTY SANITARIUM Behind the sign is the sanitarium itself, a cold-looking building surrounded by a fence. 9 INT. STATION WAGON LOOMIS (cont'd) The driveway's a few hundred yards up on your right. MARION Are there any special instructions? LOOMIS Just try to understand what we're dealing with here. Don't underestimate it. MARION I think we should refer to 'it' as 'him.' LOOMIS If you say so. MARION Your compassion is overwhelming, Doctor. Loomis glances at Marion as she lights a cigarette. She shoves the matches into the pack and tosses it on the dashboard. Loomis stares at the cigarette pack. The pack of matches reads: "The Rabbit in Red Lounge -- Entertainment Nightly." Loomis turns his eyes back to the rain-slicked road. LOOMIS Ever done anything like this before? MARION Only minimum security. LOOMIS I see. MARION (defensively) What does that mean? LOOMIS It means...I see. MARION You don't have to make this harder than it already is. LOOMIS I couln't if I tried. MARION The only thin that ever bothers me is their jibberish. When they start raving on and on... LOOMIS You don't have anything to worry about. He hasn't spoken a word in 15 years. Both of them suddenly stare out the windshield in front of them. 10 POV - THROUGH WINDSHIELD - FIELD Through the rain we see a field off to the side of the road. Dimly lit by the car headlights are FIVE PATIENTS, dressed in wind-blown white gowns, drenched by the rain, wandering aimlessly around the field. 11 INT. STATION WAGON MARION Since when do they let them wander around? They look up ahead. 12 POV - THROUGH WINDSHIELD - PATIENT Standing by the side of the road is a MALE PATIENT, a wild-looking man in his sixties dressed in a white gown, who stares at the station wagon. 13 INT. STATION WAGON Marion slows the station wagon and pulls off to the side of the road. Loomis jumps out. 14 POV - THROUGH WINDSHIELD - LOOMIS AND PATIENT Through the windshield we see Loomis rush over to the patient, stand and talk for a moment, then hurry back. 15 INT. STATION WAGON Loomis climbs back in, dripping from the rain. LOOMIS Pull up to the entrance! MARION Shouldn't we pick him up? LOOMIS Move it! Marion starts down the road. MARION What did he say? LOOMIS He asked me if I could help him find his purple lawnmower. MARION I don't think this is any time to be funny... LOOMIS He said something else. "It's all right now. He's gone. The evil's gone." 16 POV - THROUGH WINDSHIELD - SANITARIUM DRIVE Ahead of them is the entrance to the sanitarium. 17 INT. STATION WAGON Marion slows down to turn. Through the rear window we see a SHAPE spring up out of the darkness, streak through the rain and LEAP UP ON THE REAR OF THE STATION WAGON. The station wagon bounces up and down. The roof sags in and out with the weight of SOMEONE ON TOP. MARION Something fell on the roof. The roof continues to buckle in and out wildly. LOOMIS Something JUMPED on the roof... Marion stops and rolls down her window to look outside. Loomis opens his door and steps out. Suddenly he is HIT IN THE FACE by a powerful fist from the roof. Loomis staggers backwards and falls by the side of the road. Marion starts the react. SUDDENLY A HAND REACHES IN THROUGH THE WINDOW and lunges at her. THE FINGERS GRAB HER HAIR. She SCREAMS. The fingers tighten around her hair and the hand pulls Marion roughly to the window. Twisted around in the seat, Marion's foot jams down all the way on the gas pedal. The station wagon ROARS foreward. Marion continues to SCREAM, clawing at the hand. 18 POV - THROUGH WINDSHIELD - ROAD Through the rain the road spins crazily ahead, the wipers erasing sheets of rain. Suddenly the OTHER HAND REACHES DOWN from the roof and grabs the wiper, holding it tightly. Rain splashes on the windshield obscuring the road. 19 INT. STATION WAGON The hand rips at Marion's hair. SCREAMING. Clawing. 20 POV THROUGH WINDSHIELD The windshield is completely obliterated by rain. 21 INT. STATION WAGON The station wagon skids and WHAMS into the shoulder on the side of the road. Marion is hurled across the seat against the passenger door. Suddenly the HAND SPRINGS DOWN FROM ABOVE and SLAMS against the passenger window, shattering it. SHRIEKING, Marion scurries across the front seat, open's the driver's door and scrambles out. 22 EXT. ROAD - STATION WAGON Marion frantically crawls her way across the rain-drenched road away from the station wagon. CAMERA TRACKS with her as she slides down into the muddy shoulder. She looks back. 23 POV - STATION WAGON From the shoulder we see the station wagon in the rain, and the SHAPE JUMP IN THE DRIVER'S SEAT and SLAM the door. Then the station wagon takes off and disappears down the road into the darkness. 24 ANGLE ON SHOULDER Loomis runs up out of the rain and helps Marion to her feet. She CRIES hysterically. Loomis stares off down the road at the disappearing tail-lights. LOOMIS You can calm down. The evil's gone. FADE OUT. FADE IN TO: 25 Black screen. SUPERIMPOSE: HADDONFIELD OCTOBER 31, 1978 DISSOLVE TO: 26 EXT. LAURIE'S HOUSE - DAY LAURIE, 17 and pretty in a quiet sort of way, steps out of her two- story frame house, down the front walk to the street. Her face has a soft, innocent quality, her eyes bright and alive. Her FATHER steps out of the door behind her and walks to the car in the driveway. His car has "STRODE REAL ESTATE" emblazoned on the side door. FATHER Don't forget to drop off the keys at the Myers place... LAURIE I won't. FATHER They're coming by to see the house at 10:30. Be sure you leave it under the mat... LAURIE I promise. 27 TRACKING SHOT - LAURIE CAMERA MOVES with Laurie as she walks down the residential street. She carries a large bundle of school books in her arms. Across a backyard TOMMY DOYLE, an eight-year-old boy with tossled brown hair and bright blue eyes comes running with his books. TOMMY Hey, Laurie... LAURIE Hi, Tommy. He catches up with her and they walk along down the street. TOMMY Are you coming over tonight? LAURIE Same time, same place. TOMMY Can we make Jack-O-Lanterns? LAURIE Sure. TOMMY Can we watch the monster movies? LAURIE Sure. TOMMY Will you read to me? Can we make popcorn? LAURIE Sure. Sure. They walk up to the front of the old, two-story Myers house set back from the street. It is now weather-beaten and dilapidated. Laurie walks through the front gate and starts up toward the porch. TOMMY You're not supposed to go in there. Laurie holds up a key. LAURIE Yes, I am. TOMMY Uh-uh. That's a spook house. LAURIE Just watch. Laurie strolls up to the front porch. She bends down, lifts the welcome mat and places the key under it. 28 INT. MYERS HOUSE - THROUGH WINDOW Through a frost window, we see Laurie bending over the welcome mat. Suddenly a DARK SHAPE, THE OUTLINE OF A MAN, leans forward, watching her. As she walks back to Tommy at the street THE SHAPE MOVES TO WATCH THEM, then fades back into the interior of the house. 29 TRACKING SHOT - LAURIE AND TOMMY Laurie and Tommy continue walking down the street. TOMMY Lonnie Elam said never to go up there. Lonnie Elam said that's a haunted house. He said real awful stuff happened there once. LAURIE Lonnie Elam probably won't get out of the sixth grade. Tommy breaks stride and runs across the street. TOMMY I gotta go. I'll see you tonight. LAURIE See you. Laurie continues walking alone. She begins to sing quietly to herself. LAURIE (sings) I wish I had you all alone... Just the two of us... I would hold you close to me... So close to me... 30 ANGLE DOWN STREET We see Laurie walking off down the street in the distance. CLOSE TO CAMERA the DARK SHAPE MOVES INTO FRAME, watching Laurie disappear around the corner. LAURIE (cont'd) (sings) Just the two of us... So close to me... CUT TO: 31 EXT. SANITARIUM - DAY Sam Loomis strides quickly out of the front of the sanitarium followed immediately by DR. WYNN, a gray-haired man in his fifties. CAMERA TRACKS with them across the parking lot. WYNN I'm not responsible, Sam. LOOMIS (angrily) Of course not. WYNN I've given them his profile. LOOMIS You must have told them we shocked him into a grinning idiot. Two roadblocks and an all-points bulletin wouldn't stop a five-year-old! Loomis reaches a car and unlocks it. WYNN He was your patient, Doctor. If the precautions weren't sufficient, you should have notified... LOOMIS I notified everybody! Nobody listened. WYNN There's nothing else I can do. LOOMIS You can get back on the telephone and tell them exactly what walked out of here last night. And tell them where he's going. WYNN PROBABLY going. LOOMIS I'm wasting time. Loomis gets in the car. Wynn leans down to the window. WYNN Sam, Haddonfield is a hundred and fifty miles from here. How could he get there? He can't drive. LOOMIS He was doing all right last night. Maybe somebody around here gave him lessons. Loomis starts up the car and pull away from the sanitarium. Wynn watches him go, then hurries back into the building. CUT TO: 32 INT. CLASSROOM - DAY Laurie sits at the back of a classroom of HIGH SCHOOL STUDENTS. CAMERA MOVES IN on her as a TEACHER drones away at the front of the room. TEACHER (v.o.) ...and the book ends, but what Samuels is really talking about here is fate. CAMERA MOVES to a CLOSE-UP of Laurie. She barely listens to the teacher as she doodles in her notebook in front of her. TEACHER (v.o.; cont'd) You see, fate caught up with several lives here. No matter what course of action Rollins took, he was destined to his own fate, his own day of reckoning with himself. The idea is that destiny is a very real, concrete thing that every person has to deal with. Laurie lets her gaze move to a window. She stares dreamily outside. 33 LAURIE'S POV - STREET From the window she can see the street, and a station wagon parked along the sidewalk. Behind the station wagon stands THE SHAPE OF A MAN. We can't quite see his features from here, but it is clear that he is looking in the school window. 34 ANGLE ON LAURIE She turns away from the window and begins to doodle again. 35 ANGLE ON NOTEBOOK We see Laurie draw: LAURIE STRODE TEACHER (v.o.; cont'd) Edwin, how does Samuels' view of fate differ from that of Costaine? 36 ANGLE ON LAURIE She glance up from the book and out the window again. 37 LAURIE'S POV - STREET The shape behind the station wagon is still there and STARING RIGHT AT HER. 38 ANGLE ON LAURIE She frowns, staring back at the shape. EDWIN (v.o.) Uh...doesn't he feel that no matter how complicated something is, it's also really simple, too? TEACHER (v.o.) No. (pause) Laurie. This springs her around from the window. LAURIE M'am? TEACHER (v.o.) Answer the question. LAURIE Costaine wrote that fate was somehow related only to religion, where Samuels felt that fate was like a natural element, like earth, air, fire, and water. TEACHER (v.o.) That's right, Samuels definitely personified fate... Laurie sneaks a glance back to the window. 39 LAURIE'S POV - STREET The shape and the station wagon are GONE. 40 ANGLE ON LAURIE She turns back from the window and back to her notebook. 41 ANGLE ON NOTEBOOK She has written: LAURIE STRODE IS LONELY. CUT TO: 41A EXT. GAS STATION - HIGHWAY - DAY We see a car parked in front of a small, closed-down gas station/diner by the side of the highway. CAMERA SLOWLY TRACKS over to a phone booth. Loomis is inside on the telephone. LOOMIS (into the telephone) No, not since Thursday. (pause) Yes, yes, I'm all right...Stop worrying. After this I'll sleep for a week, two weeks... (pause) I said I'm all right...Believe me. I'll be home soon. Yes, I do. Very much. I just...have to stop him. (pause) Of course it's possible, but I know him. And when he gets there, God help us. (pause) Right, right, I'll call you. Me too. Goodbye. Loomis hangs up the phone and steps out of the booth. He looks up the highway. 41B LOOMIS' POV - HIGHWAY The highway disappears off into the distance. There is an old weatherbeaten sign that reads: HADDONFIELD 73 MILES Just above the horizon huge clusters of clouds, dark and ominous, are blown along by the wind. 41C EXT. GAS STATION Loomis turns and walks back to his car. He glances at the old gas station as he walks. 41D LOOMIS' POV - GAS STATION - MOVING SHOT The building is dark, empty, dilapidated. On the padlocked door are HUGE MARKS like the clawing of an animal wanting to get in. 41E ANGLE ON LOOMIS Loomis stops, stares at the door and then slowly walks over to it. He touches the marks with his hands, then looks at the dirt driveway around the building. 41F LOOMIS' POV - DRIVEWAY There are definite TIRE TRACKS leading from the highway up to the door, then back to the highway again. Then his gaze returns to a discarded object crushed in the dirt of the driveway: A PACK OF CIGARETTES. 41G ANGLE ON LOOMIS He picks up the cigarette pack. 41H CLOSE SHOT - CIGARETTE PACK Stuck in the cellophane of the crushed pack are matches: "The Rabbit in Red Lounge -- Entertainment Nightly." 41J EXT. GAS STATION Loomis turns and quickly strides back to his car, gets in and roars away from the lonely gas station. CUT TO: 42 EXT. SCHOOLYARD - DAY The playground is filled with CHILDREN just getting out of school for the day. Some are dressed in HALLOWEEN COSTUMES, some carry pumkins and orange and black streamers, some carry Jack-O-Lanterns. Tommy Doyle comes out of the door carrying a very large pumkin. He is followed by three BOYS, RICHIE, KEITH, and LONNIE, who are laughing and PUSHING him. TOMMY Leave me alone! LONNIE He's gonna get you! Lonnie runs up to Tommy and wiggles his fingers in Tommy's face. The other boys form a circle around Tommy and taunt him. In unison they sing: BOYS He's gonna get you, he's gonna get you... LONNIE The boogeyman is coming! TOMMY No, he's not. Leave me alone. LONNIE He doesn't believe us. Don't you know what happens on Halloween? TOMMY Yeah, we get candy. The boys LAUGH. Richie runs up to Tommy and makes a face. RICHIE Oooooo! The boogey man! The other boys join in the chant. BOYS (in unison) The boogey man, the boogey man, the boogey man... Tommy turns from them and starts to run away. Richie sticks out his foot. Tommy trips and falls to the concrete, SMASHING his pumkin beneath him. The other boys run away GIGGLING and SCREAMING with delight. 43 PLAYGROUND ENTRANCE - GATE As the boys race out of the playground, Richie barrels through the gate and RUNS RIGHT INTO THE DARK SHAPE. We don't see the shape's face, just his lower body. He is dressed in pants and a shirt that look too big for him. He grabs Richie and holds him back at arms length. A large OBJECT falls out of his pocket. Richie quickly stares down at it. The shape lifts his foot and SMACKS it down over the object to hide it. Quickly, Richie and the other boys run around the man and on down the block. The shape lifts his foot. Underneath it is a LARGE BUTCHER KNIFE. He quickly picks it up and shoves it into his pocket. Slowly, the shape turns and walks away from the playground gate, CAMERA TRACKING WITH HIM. Across from him in the playground we see Tommy get to his feet, wiping the demolished pumking off his shirt and pants. We TRACK WITH the shape to a station wagon. On the side of the door is a STATE EMBLEM. 44 INT. STATION WAGON The shape gets in the station wagon. We still don't see his face. Separating the front and back seats is the wire-mesh screen. It is Loomis' vehicle. The shape starts the engine. He pulls away from the curb. 45 POV FROM WINDOW Slowly, the station wagon moves down the street. We see Tommy hurrying along the sidewalk, still rubbing off the pumkin splatter. Tommy turns off the side walk and cuts up a side alley. The wagon picks up speed and continues on down the street. 46 EXT. HIGH SCHOOL - DAY Laurie and LYNDA stroll down the front steps of the high school and turn up the street. Laurie carries another large stack of books. Lynda is a knockout in tight jeans and tight T-shirt. She carries no books. CAMERA TRACKS WITH THEM up the street. LYNDA It's totally insane! We have three new cheers to learn in the morning, the game in the afternoon, I get my hair done at five, and the dance is at eight. I'll be totally wiped out! LAURIE I think you have too much to do tomorrow. LYNDA TOTALLY! LAURIE As usual, I don't have anything to do. LYNDA It's your own fault and I don't feel sorry for you. ANNIE comes out of the side doors of the high school and calls after Laurie and Lynda. ANNIE Hey, Lynda, Laurie! The girls stop and wait for Annie. ANNIE (cont'd) Why didn't you wait for me? LYNDA We did. Fifteen minutes. You totally never showed up. ANNIE That's not true. Here I am. LAURIE What's wrong, Annie? You're not smiling. ANNIE I'm never smiling again. Paul dragged me into the boys' locker room to tell me... LAURIE Exploring uncharted territory? LYNDA It's been totally charted. ANNIE We just talked. LYNDA Sure. ANNIE Old jerko got caught throwing eggs and soaping windows. His parents grounded him for the weekend. He can't come over tonight. LAURIE I thought you were babysitting tonight. LYNDA The only reason she babysits is to have a place to... Laurie suddenly stops and looks back toward the school. LAURIE Shit! ANNIE (indignant) I have a place for that. LAURIE I forgot my chemistry book. LYNDA Who cares? I ALWAYS forget my chemistry book. Laurie glances down the street. 47 LAURIE'S POV - STATION WAGON The station wagon slowly moves up the street toward them. The shape isn't visible behind the windshield. 48 ANGLE ON GIRLS LYNDA Isn't that David Graham? He's cute. LAURIE I don't think so... Laurie stares at the station wagon as it moves past. She looks directly at the shape inside. There is a quick glimpse of him, a strange pale face staring back. 49 INT. STATION WAGON The shape is close to CAMERA, out of focus. Out the window we see the three girls on the sidewalk. The shape stares at Laurie looking back at him, then tromps on the accelerator. The wagon whizzes past them. 50 ANGEL ON GIRLS ANNIE (yells after the car) Speed kills! 51 POV - STATION WAGON Up the street the wagon suddenly stops. It sits there, waiting. 52 ANGLE ON GIRLS ANNIE (softer now) Can't you take a joke? 53 POV - STATION WAGON For a moment the station wagon just sits there. Then it takes off down the street and disappears around a corner. 54 ANGLE ON GIRLS LAURIE Annie, some day you're going to get us all in deep trouble. LYNDA Totally. ANNIE I hate a guy with a car and no sense of humor. The girls start walking again. Laurie is quiet, puzzled by the appearance of the man in the car. LYNDA Well, are we still on for tonight? ANNIE (coldly) I wouldn't want to get you in deep trouble, Lynda. LYNDA Come on, Annie. Bob and I have been planning on it all week. ANNIE All right. The Wallaces leave at seven. LAURIE (excited) I'M baby sitting for the Doyles. It's only three houses away. We can keep each other company. ANNIE Terrific. I've got three choices. Watch the kid sleep, listen to Lynda screw, or talk to you. CUT TO: 55 EXT. RESIDENTIAL STREET - DAY The three girls stop in front of Lynda's house, a modest suburban home on a quiet, tree-lined street. ANNIE What time? LYNDA I don't know yet. I have to get out of taking my stupid brother trick- or-treating. ANNIE Saving the treats for Bob? LYNDA Fun-ny. See you. Lynda strolls up to her house. Annie and Laurie start down the street. CAMERA MOVES IN to a CLOSE SHOT of Laurie's face. She stares ahead along the sidewalk. 56 LAURIE'S POV - MOVING SHOT - BUSHES Up the sidewalk is a series of bushes lining the street. There, partially hidden in the shadows of a bush, IS THE SHAPE OF A MAN, watching them. He is barely visible, almost blending in with the dark foliage. 57 ANGLE ON LAURIE - ANNIE LAURIE Look. ANNIE Look where? LAURIE Behind that bush there. Annie looks 58 POV - MOVING SHOT - BUSHES The shape is gone. Just bushes. 59 ANGLE ON LAURIE - ANNIE ANNIE I don't see anything. LAURIE That man who drove by so fast, the one you yelled at. ANNIE Subtle, isn't he? Hey creep! Annie walks right over to the bushes and kicks them hard. Nothing happens. ANNIE (cont'd) Laurie, my dear, he want to talk to you. Laurie just stands on the sidewalk several feet from the bushes. ANNIE (cont'd) He wants to take you out tonight. Slowly Laurie walks over and stares at the bush. LAURIE He was standing right here. ANNIE Poor Laurie. You scared another one away. LAURIE Cute. They start walking down the sidewalk again. ANNIE It's tragic. You never go out. You must have a small fortune stashed from babysitting so much. LAURIE The guys think I'm too smart. Laurie glances back at the bushes behind them. ANNIE I don't. I think you're whacko. You're seeing men behind bushes. The two girls stop in front of Annie's house, another small suburban home. ANNIE (cont'd) Well, home sweet home. I'll see you later. LAURIE Okay. Bye. Annie walks up to her door. For a moment Laurie looks around cautiously before searching down the sidewalk again. CAMERA TRACKING WITH HER. A strong wind rises and blows hair in front of her face. Again she turns around and glances back down the street. 60 LAURIE'S POV - BUSHES There is still nothing there. 61 ANGLE ON LAURIE Suddenly, Laurie walks RIGHT INTO A MAN standing on the sidewalk in front of her. She SCREAMS and drops her books. It is LEE BRACKETT, Annie's father. He is a tall man in a county sheriff's uniform. He quickly bends down and picks up her books. BRACKETT I'm sorry, Laurie. LAURIE Mister Brackett... LAURIE It's okay... BRACKETT Well, it's Halloween. I guess everybody's entitled to a good scare. LAURIE Yes, sir. Nice seeing you. Brackett walks down the sidewalk to his house. Laurie bundles her books and hurries up the street. 62 EXT. LAURIE'S HOUSE - DAY Laurie walks up on the front porch of her house. She pauses a moment and glances down the street. 63 LAURIE'S POV - TRICK OR TREATERS Several CHILDREN in costumes are going door to door collecting their treats. 64 ANGLE ON LAURIE LAURIE (to herself) Well, kiddo, I thought you outgrew superstition. 65 INT. LAURIE'S HOUSE - DAY Laurie strolls through the living room. Through the doorway into the kitchen we see LAURIE'S MOTHER busy making candied apples. LAURIE Hi, Mom, I'm home. LAURIE'S MOTHER Laurie, Annie just called. She said call her back. Laurie turns and hurries up the stairs. LAURIE Thanks, mom. 66 INT. LAURIE'S ROOM Laurie walks into her bedroom. She tosses her books on the bed and starts to her telephone. The wind blows her curtain through the open window. Laurie crosses to the window and leans up to close it. 67 LAURIE'S POV - BACK YARD From her room in the second story, Laurie can see into the back yard next door. There is a clothesline with sheets blowing in the wind. In between the sheets we glimpse THE SHAPE STANDING THERE, looking up at Laurie. 68 ANGLE ON LAURIE She freezes and stares down feafully. 69 LAURIE'S POV - BACK YARD The sheets continue to twist and turn in the wind, but now THE SHAPE IS GONE. 70 ANGLE ON LAURIE Laurie SLAMS the window and locks it. She slowly walks to the middle of her room and stands there for several moments, unsure as to whether she has actually seen it. Suddenly, THE PHONE RINGS, loud and shrill, startling Laurie. She answers it. LAURIE Hello? Silence. LAURIE (cont'd) Hello? There is a SOUND from the reciever, like CHEWING... LAURIE (cont'd) Who is this? The chewing continues. She slams the reciever down. Almost immediately, the phone RINGS again. Laurie looks at it. It rings again. She picks it up. LAURIE Hello? ANNIE (v.o.) Why did you hang up on me? LAURIE Annie, was that you? ANNIE (v.o.) Of course. LAURIE Why didn't you say anything? You scared me to death. ANNIE (v.o.) I had my mouth full. Couldn't you hear me? LAURIE I thought it was an obscene phone call. ANNIE (v.o.) Now you hear obscene chewing. You're losing it, Laurie. LAURIE I've already lost it. ANNIE (v.o.) I doubt that. Listen, my mother is letting me use her car. I'll pick you up. 6:30. LAURIE Sure, see you later. ANNIE (v.o.) Bye. Laurie hangs up. LAURIE (to herself) Calm down. This is ridiculous. CUT TO: 71 EXT. GRAVEYARD - DAY WIDE SHOT of an old graveyard on a windy hillside. CAMERA BOOMS DOWN as a car pull up on the small road in f.g. Sam Loomis gets out, along with TAYLOR, the graveyard owner. Taylor is a small, officious man in his late sixties. He glances at a small notepad. TAYLOR Let's see. Myers. Judith Myers. Row 18, plot 20. Over this way. The two men begin walking along the graveyard, winding arlund headstones and flowers. TAYLOR (cont'd) Every town has something like this happen. I remember a guy over in Russellville. Charly Bowles. About fifteen year ago, he finished dinner, excused himself from the table, went out into the garage and got a hack saw, then came back into the house, kissed his wife and two children goodbye, and then proceeded to... LOOMIS Where are we? TAYLOR Just right over there a ways. And I remember Judith Myers. Just couldn't believe it. A young boy like that... Talyor stops cold. LOOMIS Lost? TAYLOR (sadly) Why do they do it? He points to a plot right in front of them. Loomis stares. THE HEADSTONE IS MISSING, uprooted from the ground. TAYLOR (cont'd) Goddamn kids. They'll do anything on Halloween. LOOMIS Whose grave is it? Taylor checks his notebook, then counts the rows and plots. TAYLOR 18, 20...Judith Myers... Taylor gives Loomis a quizzical look. Loomis shakes his head and looks across the graveyard. LOOMIS He came home... CUT TO: 72 EXT. LAURIE'S HOUSE - DUSK CAMERA BEGINS on the trees that line the residential street, twisting and writhing in the dusk wind. SLOWLY CAMERA BOOMS DOWN to Laurie waiting outside her house by the street. She carries a totebag with schoolbooks and knitting needles stuck inside, and a large pumkin. The sun is a pale glow behind the trees. Laurie turns her gaze down the street. 73 LAURIE'S POV - TRICK OR TREATERS More CHILDREN in costumes walk from house to house, some with MOTHERS and SISTERS, trick or treating. The wind blows their costumes, billowing them outward. 74 ANGLE ON LAURIE She watches the trick or treater as a car swings around the corner and pull up in front of her. It is Annie. ANNIE Hurry up. Laurie walks around the passenger door and gets in. 75 INT. ANNIE'S CAR - DUSK Annie pulls away from the curb and hands Laurie a joint. ANNIE We just have time. Laurie lights the joint and puffs vigorously. ANNIE (cont'd) You still spooked? LAURIE I wasn't spooked. ANNIE Lies. LAURIE I saw someone standing in Mr. Riddle's back yard. ANNIE Probably Mister Riddle. LAURIE He was watching me. ANNIE Mister Riddle was watching you? Laurie, Mister Riddle is eighty- seven. LAURIE He can still watch. ANNIE That's probably all he can do. Behind them, through the rear-view mirror, we see LOOMIS' STATION WAGON pull out of an alley and follow along. ANNIE (cont'd) What's the pumkin for? LAURIE I brought it for Tommy. I figured making a Jack-O-Lantern would keep him occupied. ANNIE I always said you'd make a fabulous girl scout. LAURIE Thanks. ANNIE For that matter, I might as well be a girl scout tonight. I plan on making popcorn and watching Doctor Demensia. Six straight hours of horror movies. Little Lindsey Wallace won't know what hit her. 76 EXT. HADDONFIELD SQUARE - DUSK Annie's car drives through the main square of Haddonfield. Following behind is the station wagon. 77 INT. ANNIE'S CAR Annie points up ahead and quickly hides the joint. ANNIE My dad! 78 POV THROUGH WINDSHIELD Two police cars are parked in the street in front of Nichols Hardware Store. An ALARM BELL inside the store CLANGS SHRILLY 79 INT. ANNIE'S CAR They quickly roll down the windows and begin wildly clearing out the marijuana smoke. Behind them the station wagon disappears off down a side-street. 80 ANGLE ON POLICE CARS Annie's car stops at the police cars. Lee Brackett strolls out to the car and leans down to the window. BRACKETT Hi, Annie, Laurie... ANNIE Hi, Dad. What happened? BRACKETT (strains to hear over the alarm) What? ANNIE What happened? BRACKETT Someone broke into the hardware store. Probably kids. ANNIE You blame everything on kids. BRACKETT The only things missing were some Halloween masks, rope, a set of knives. What does that sound like to you? Annie turns to Laurie. ANNIE It's hard growing up with a cynical father. Behind Brackett, Sam Loomis walks up the street. We see Loomis talk to a COP who points over to Brackett. BRACKETT You're going to be late at the Doyles, Annie. ANNIE (unable to hear over alarm) Huh? Just as Brackett is about to speak, the alarm shut off. BRACKETT (shouts) You're going to be late! ANNIE (to Laurie) He shouts, too. Brackett smiles as Loomis walks up behind him. BRACKETT Goodbye, girls. ANNIE AND LAURIE Bye. Annie's car pulls away. LOOMIS Sheriff? I'm Doctor Sam Loomis. BRACKETT Lee Brackett. As they talk CAMERA SLOWLY MOVES AROUND THEM to a view of the street. LOOMIS I'd like to talk to you, if I could. BRACKETT May be a few minutes. I gotta stick around here... LOOMIS It's important. Loomis' station wagon moves by behind them. Loomis doesn't see it. BRACKETT Ten minutes. LOOMIS I'll be here. CUT TO: 81 EXT. MOON - NIGHT Through the blowing trees we see the full moon rising in the night sky. The are SOUNDS of wind and CHIRPING CRICKETS. 82 EXT. RESIDENTIAL STREET - NIGHT Annie's car moves down a quiet little residential street and pull up in front of a two-story house set back from the street: the Doyle house. 83 ANGLE FROM STATION WAGON We are in the front seat of the station wagon. Through the windshield we see Laurie get out of Annie's car, say goodbye and walk up to the Doyle house. Then Annie's car makes a wide U-turn in the street and starts down the other direction. The station wagon pulls forward and follows her. Annie stops three houses down the street and pulls into a garage. the station wagon stops several feet away. We see Annie come out of the garage and walk to another two-story frame house: the Wallaces'. 84 TRACKING SHOT BEHIND SHAPE The shape gets out of the station wagon, close to CAMERA so we can't see him. He glances down the street. Gusts of wind blow the costumes of children going from house to house. The shape moves. CAMERA tracks behind him as he walks toward the Wallace house. The shape stops in front. Through the front room windows we can see Annie talking to the WALLACES as they put on their coats. The front door opens. CAMERA and shape quickly MOVE BEHIND A TREE to hide from sight. The Wallaces step out of their house and walk to the garage. Annie and LINDSEY WALLACE, a pretty little nine-year-old, stands in the doorway framed by the hall light. Out of the garage comes the Wallaces' car. It turns and disappears down the street. Annie closes the door. The shape steps out from behind the tree and stares at the house. 85 ANGLE ON WINDOW The shape moves to see inside a window of the Wallaces house. Inside, we see Annie turn on the TV. She goes to the mirror on the wall and begins to brush her hair. CUT TO: 86 EXT. MYERS HOUSE - NIGHT A police car pulls up in front of the Myers house. Brackett and Loomis get out and stand by the front gate. LOOMIS Anybody live here? BRACKETT Not since 1963, since it happened. Every kid in Haddonfield thinks this place is haunted. LOOMIS They may be right. 86A ANGLE DOWN SIDE OF HOUSE Looking down the side of the house we see Loomis and Brackett walk up to the front porch. A broken, rusted RAIN GUTTER CLANGS back and fourth against the house in the wind. 87 INT. MYERS HOUSE - NIGHT The front door slowly opens. Brackett and Loomis stand in the doorway. They glance at each other. Brackett draws his gun and the two men step inside. It is totally dark in the house. Brackett's flashlight comes on, illuminating the two men. As they move through the house CAMERA TRACKS with them. Suddenly Brackett stops. He trains his flashlight on a SMALL OBJECT in the corner of the room. LOOMIS What is it? For a moment Bracket doesn't speak. Then he steps closer to the object. BRACKETT A dog... Both men look down off screen at the animal. Brackett bends down to it. BRACKETT (cont'd) Still warm. He stands back up and looks at Loomis. LOOMIS He got hungry. Brackett gets a disgusted expression and steps away. BRACKETT Come on...A skunk could have killed it... LOOMIS Could have... Brackett looks back at the dead animal. BRACKETT A man wouldn't do that... LOOMIS He isn't a man. 88 INT. MYERS BEDROOM Loomis and Brackett cautiosly step into the bedroom, the same room where the murder took place fifteen years ago. The glow from a distant street light casts the shadows of blowing trees on the walls. LOOMIS It happened in here. Loomis walks over to the spot where the sister was sitting. LOOMIS (cont'd) She was sitting here when he came through the door. Loomis turns and glances at the window. He slowly walks toward it. LOOMIS (cont'd) He must have watched them through this window... 88A LOOMIS' POV - WINDOW CAMERA SLOWLY TRACKS IN toward the window. 88B ANGLE ON LOOMIS Loomis stops by the window. LOOMIS (cont'd) Standing just outside, he could peer over the sill... Blown loose by the wind, the rain gutter suddenly swings down and SMASHES through the window with a THUNDERING CRASH of broken glass. Loomis jumps back, reaches into his coat pocket and draws a .357 magnum revolver. Brackett stares at him. Loomis sees Brackett's reaction and slowly reholsters the revolver. LOOMIS (looks at Brackett) I suppose I do seem a bit sinister for a doctor. BRACKETT Looks like to me you're just plain scared. LOOMIS I am. (he glances around the bedroom) I met his fifteen years ago. I was told there was nothing left, no conscience, no reason, no understanding, in even the most rudimentary sense, of life or death or right or wrong. I met this six- year-old boy with a blank, cold emotionless face and the blackest of eyes, the Devil's eyes. I spent eight years trying to reach him and another seven trying to keep him locked away when I realized what was living behind that boy's eyes was purely and simply...evil. Brackett just looks at him a moment. BRACKETT What do we do? LOOMIS He was here, earlier tonight, and he may be coming back. I'm going to wait for him. BRACKETT I keep thinking I should call the radio and TV stations... LOOMIS If you do they'll be seeing him everywhere, on every street corner, in every house. Just tell your men to shut their mouths and open their eyes. BRACKETT I'll check back in an hour. Brackett turns and walks out of the bedroom. For a moment Loomis stares at the rain gutter in the broken window. CUT TO: 89 INT. DOYLE HOUSE - NIGHT CAMERA SLOWLY TRACKS through the Doyle house. It is a large home with a staircase that leads to the bedrooms upstairs. Through a doorway we see a very modern kitchen. There is a dining room and living room with a big bay window that looks out into the street. Laurie sits with Tommy Doyle on the couch reading him a story. Tommy has his Halloween costume on and a big bag of candy on the floor. LAURIE (reads) ..."how now, cried Arthur. 'Then no one may pass this way without a fight?' 'That is so,' answered the night in a bold and haughty manner..." TOMMY I don't like that story. LAURIE But king Arthur was always your favorite. Tommy pulls out a stack of comic books from underneath the couch. TOMMY Not any more. LAURIE Why are they under there? TOMMY Mom doesn't like me to have them. Laurie glances through the stack of comic books. LAURIE 'Neutron Man'...'Laser Man'...I can see why. 'Tarantula Man'... TOMMY Laurie, whats the Boogey Man? The phone RINGS in the other room. Laurie goes to answer it. She picks up the reciever in the den. LAURIE Hello. 90 INT. WALLACE KITCHEN Annie stands making popcorn, the phone at her ear. ANNIE Having fun? Never mind, I'm sure you are. I have big, big news for you... LESTER, a large, ferocious-looking German shepherd, trots happily into the kitchen, spies Annie and walks over to her. He nudges her legs with his head. ANNIE (cont'd) Oops! Hold on a minute... She turns and reaches for Lester uncertainly. ANNIE (cont'd) Hi Lester... Lester GROWLS at her menacingly. ANNIE (cont'd) Lindsey, Lindsey! (into phone) I'm about to be ripped apart by the family dog. Lindsey trots into the room. ANNIE (cont'd) Get him out of here! LINDSEY Here, Lester. Immediately Lester walks over to the back door. Lindsey opens the door and the dog trots out. Then Lindsey closes the back door and walks back into the living room. ANNIE (into phone) I hate that dog. I'm the only person in the world he doesn't like. LAURIE (v.o.) (from phone) What's this big, big news? ANNIE What would you say if I told you that you were going to the Homecoming Dance tomorrow night? INTERCUT WITH LAURIE IN DEN LAURIE I'd say you must have the wrong number. ANNIE Well, I just talked with Ben Tramer and he got real excited when I told him how attracted you were to him. LAURIE Annie, you didn't. Tell me you didn't. ANNIE You guys will make a fabulous couple. 91 INT. DOYLE LIVING ROOM - NIGHT Tommy walks to the front window and looks out. 92 TOMMY'S POV - STREET A couple TRICK OR TREATERS walk by. Behind them, across the steet, stands THE SHAPE, LOOKING INTO THE HOUSE. 93 EXT. STREET - DOYLE HOUSE CAMERA is behind the SHAPE, looking into the Doyle house. We can see Laurie talking on the phone. The shape's head moves slightly and WE PAN to see Tommy at the front window looking out. Tommy moves away from the window. PAN back to see him enter the den and pull on Laurie's blouse. 94 INT. DOYLE HOUSE TOMMY Laurie... LAURIE (into phone) I'm so embarrassed. I couldn't face him... ANNIE (v.o.) You'll have to. He's calling you tomorrow to find out what time to pick you up. LAURIE (paniked) Annie! TOMMY Laurie, the boogey man is outside. Look! Tommy runs to the window in the den and points. Laurie walks over with the phone and looks. 95 LAURIE'S POV - STREET The street is empty. 96 ANGLE ON LAURIE - TOMMY LAURIE (into phone) Hold on. (to Tommy) There's nobody out there, Tommy. Go watch some TV. Tommy rushes out of the den. 97 INT. DOYLE LIVING ROOM Tommy dashes up to the front window and looks out. 98 POV - STREET We see the man as he passes under a streetlight on his way TOWARD THE WALLACE HOUSE. CUT TO: 99 INT. WALLACE HOUSE - NIGHT Annie stands by the kitchen stove making popcorn. ANNIE (into telephone) Look, it's simple. You like him, he likes you. All you need is a little push. 100 POV FROM OUTSIDE KITCHEN WINDOW The shape stands close to CAMERA watching Annie make popcorn. She puts the butter in the pan. ANNIE (cont'd) It won't hurt you to go out with him, for God's sake. Annie starts to pour the butter over the popcorn but instead pours it on herself. ANNIE (cont'd) Shit! No, no, I gotta call you back. I just made a mess of myself. Nothing unusual. Annie hangs up. She quickly takes off her blouse and blue jeans. She stands in the kitchen with only her panties on. She pulls a box of cornstarch out of the closet and sprinkles it out on the stains of butter. 101 ANGLE ON SIDE OF HOUSE The shape moves closer to the kitchen window and knocks over a potted plant. It CRASHES noisily against the side of the house. 102 INT. WALLACE HOUSE Annie is startled by the crash. She looks outside the window. 103 POV OUT KITCHEN WINDOW A hanging plant swings in the wind. It BUMPS against the side of the house. 104 ANGLE ON ANNIE She turns from the window and walks out of the kitchen. 104A EXT. WALLACE HOUSE The hanging plant continues to WHAP against the house. A HAND suddenly stops its motion. The shape leans up close to the kitchen window, looking inside. 104B ANGLE ON DOG From the darkness of the back yard Lester springs forward into CAMERA, SNARLING and BARKING viciously. 104C ANGLE ON SHAPE - DOG The shape darts away from the kitchen window, the dog SNAPPING right after him. 104D INT. WALLACE HOUSE Annie listens to the GROWLING of the dog. She turns to Lindsey in the living room. ANNIE Lindsey, Lester's barking again and getting on my nerves again. LINDSEY (o.s.) No, he's not. Suddenly the GROWLING sounds ABRUPTLY STOP. ANNIE Never mind. He found a hot date. Annie turns and walks into the living room. 104E EXT. WALLACE HOUSE We see the shape's legs a few feet from the house. Next to him are LESTER'S LEGS, kicking and struggling a few feet above the ground. Off screen, the shape is strangling the dog in mid-air. Finally the dog's legs stop moving and DANGLE LIFELESSLY. The shape moves away from the house. CUT TO: 105 INT. DOYLE HOUSE - LIVING ROOM - NIGHT Laurie and Tommy are sitting on the couch watching the Horrorthon on TV. TOMMY What about the Jack-O-Lantern? LAURIE After the movie. TOMMY What about the rest of my comic books? LAURIE After the Jack-O-Lantern. TOMMY (quietly) What about the bogyman? LAURIE There is no such thing. TOMMY Richie said he was coming after me tonight. LAURIE Do you believe everything that Richie tells you? TOMMY No... LAURIE Tommy, Halloween night is when you play tricks on people and scare them. It's all make belive. Richie was trying to scare you. TOMMY I saw the bogyman. I saw him outside. LAURIE There was no one outside. TOMMY There WAS. LAURIE What did he look like? TOMMY The bogyman! LAURIE We're no getting anywhere. All right, look, Tommy. The bogyman can only come out on Halloween night, right? TOMMY Right. LAURIE And I'm here tonight and I won't let him get to you. TOMMY Promise? LAURIE I promise. TOMMY Can we make the Jack-O-Lantern now? Laurie holds out her hand. Tommy takes it and together they walk into the kitchen. 106 EXT. PASSAGEWAY TO LAUNDRY - WALLACE HOUSE - NIGHT Annie walks through the passageway to the laundry room. She is wearing a nylon robe and carrying her clothes to be washed. The wind blows the robe open. 107 ANOTHER ANGLE - PASSAGEWAY The shape stands behind a tree watching Annie walk along the passageway. 108 INT. LAUNDRY ROOM Annie walks into the dark laundry room. Almost immediately the wind BLOWS THE DOOR SHUT! Annie stands motionless for a moment, then begins looking for the light switch. ANNIE Terrific! 109 ANGLE ON DOOR The door CREAKS open. Behind the door we see the outline of the SHAPE STANDING THERE. 110 ANGLE ON ANNIE Annie turns toward the slightly open door. ANNIE Hello? Silence. ANNIE (cont'd) Who's there? Silence. The wind blows the door open a little wider. In the light from the main house, Annie sees the light switch. Quickly she flicks on the switch and the laundry room lights up. She glances outside the door. There is no one there. ANNIE Paul, is this one of your cheap tricks? (pause; disappointed) I guess not. She steps back inside and crosses to the washing machine. She opens the top and dumps her clothes inside. ANNIE No tricks for Annie tonight. Suddenly a big gust of wind comes through the opened window above her. The door SLAMS SHUT! Annie hurries to the door and tries to open it. It won't open. 111 CLOSE SHOT - ANNIE She tries to pull the door open. BEHIND HER, in the open window above the washing machine, we see the SHAPE looking in. ANNIE Lindsey! Lindsey, come out here! 112 INT. WALLACE HOUSE LINDSEY WALLACE, 8 years old with a pretty face, watches the Horror Marathon at top volume on TV. She doesn't hear Annie's call. 113 INT. LAUNDRY ROOM ANNIE Lindsey, I'm in the laundry room! The door is stuck! Annie turns and glances at the window above the washing machine. THE SHAPE IS GONE. She quickly crosses to the washing machine, climbs up on top of it and starts out the window. Half way through she GETS STUCK. She tries to squirm her way back in but it's hopeless. ANNIE (cont'd) Lindsey! Lindsey, goddamn it, help! From the house Annie hears the phone ring. ANNIE (cont'd) Lindsey, answer the phone! It's Paul! Lindsey! LINDSEY! 114 INT. WALLACE HOUSE Lindsey still sits in front of the TV. She lets the phone ring away. Finally she gets up and walks to the phone, her eyes pivoted on the TV. She picks up the reciever. LINDSEY Hello. PAUL (v.o.) Hi, Lindsey, this is Paul. Is Annie there? LINDSEY Yes, she is. PAUL (v.o.) Will you get her for me? LINDSEY She's washing her clothes. PAUL (v.o.) Well, go tell her it's me, okay? LINDSEY Okay. Lindsey hangs up the phone and walks through the kitchen to the back door. She calls from the door. LINDSEY Annie, Paul's on the phone! 115 ANGLE ON ANNIE HANGING OUTSIDE THE WINDOW ANNIE Lindsey, open the door! I'm locked in the laundry room! 116 EXT. LAUNDRY ROOM Lindsey crosses to the laundry room door. It is bolted from the outside. She lifts the bolt and looks inside the room. 117 INT. LAUNDRY ROOM LINDSEY You locked yourself in. ANNIE I know. Pull my legs. I'm stuck. Lindsey pulls on Annie's legs and she slides from the window onto the dryer. ANNIE Lindsey, promise you won't tell anyone! 118 INT. WALLACE HOUSE As Annie and Lindsey walk back into the house, the phone rings. Lindsey races across the room and picks it up. LINDSEY She was stuck in the window, she'll be right there. Lindsey sets down the reciever and walks out of the kitchen. Annie gives Lindsey a dirty look and picks it up. ANNIE Hello, Paul. (pause) All right, cut it out. It can happen to anyone. (pause) Yeah, but I've seen you stuck in OTHER POSITIONS! Suddenly behind Annie THE SHAPE WALKS THROUGH THE HALLWAY BETWEEN THE LIVING ROOM AND THE KITCHEN. She doesn't see it. ANNIE (cont'd) That's fantastic! When did they leave? (pause) Utterly fabulous! So why don't you just walk over? My clothes are in the wash. I can't come now. (pause) Shut up, jerk. I've got a robe on. That's all you think about. (pause) That's no true. I think about lots of things. Why don't we not stand here talking about them and get down to doing them? All right, see you in a few minutes. Annie hangs up the phone. She walks into the living room. Lindsey is back watching the TV Horrorthon. LINDSEY (excitedly) I'm scared. ANNIE Then why are you sitting here with half the lights off? LINDSEY I don't know. ANNIE Well, come on, get your coat. We're going to pick up Paul. LINDSEY I don't want to. ANNIE Look, Lindsey, I thought we understood each other... LINDSEY I want to stay here and watch this. Annie calculates a moment. ANNIE Okay, if I can fix it so you can watch TV with Tommy Doyle, would you like that? Lindsey's eyes light up. LINDSEY Yes. ANNIE Come with me. CUT TO: 119 EXT. STREET - NIGHT Annie and Lindsey come out of the Wallace house. Lindsey carries a bowl of popcorn. Annie has a coat over the negligee. They walk down the street to the Doyles. The wind blows strong and whips the negligee around Annie's legs. 120 ANOTHER ANGLE - STREET As the girls make their way down the street. The SHAPE steps into the glow of the streetlight and watches them. He pulls a LARGE KNIFE from his pocket. The BLADE GLISTENS in the light. 121 INT. DOYLE HOUSE - NIGHT Laurie and Tommy are covered with pumpkin meat when the doorbell rings. Tommy runs to answer it. He opens the door. Annie and Lindsey stand there. TOMMY Hi, come on in. We're making a Jack-O-Lantern. LINDSEY I want to watch TV. Lindsey sees the TV and runs into the living room. She takes off her coat; sits in front of the TV and eats her popcorn. Laurie comes from the kitchen. She glances at Annie's coat. LAURIE Fancy. ANNIE This has not been my night. My clothes are in the wash, I spilled butter down the front of me, I got stuck in a window... LAURIE I'm glad you're here because I have something I want you to do. I want you to call up Ben Tramer and tell him you were just fooling around. ANNIE I can't. LAURIE Yes, you can. ANNIE He went out drinking beer with Mike Godfrey and he won't be back until late. YOU'LL have to call him tomorrow. Besides, I'm on my way to pick up Paul. Laurie glances at Lindsey. LAURIE Wait a minute here... ANNIE If you watch her, I'll CONSIDER talking to Ben Tramer in the morning. LAURIE Deal. Hey, I thought Paul was grounded. ANNIE He was. Old jerko found a way to sneak out. Listen, I'll call you in an hour or so. Before Laurie can say anything else, Annie rushes out the door. Laurie closes the door and looks in at Tommy and Lindsey engrossed in the Horrorthon. LAURIE The old girl scout comes through again. 122 EXT. WALLACE HOUSE - GARAGE - NIGHT Annie hurries across the back yard and steps into the garage. She walks to her car. ANNIE (sings to herself) Oh, Paul, I give you all... She tries the door. It is LOCKED. ANNIE (cont'd) No keys, but please...my Paul. Quickly she turns and walks out of the garage. 123 INT. WALLACE HOUSE Annie wanders through the empty house looking for her purse. She finds it in the front room, takes out her brush and lipstick and stands in front of the mirror primping. ANNIE (sings) My Paul, I can no longer stall... She glances up at her image in the mirror. ANNIE (cont'd) Lucky thing. Spilled butter on her clothes, but nobody will know... (sings) ...except for Paul... Suddenly the phone RINGS. Quickly Annie grabs it. ANNIE Hello. Oh, hi, Dad. (pause) No, just watching TV with lindsey. (pause) Be careful about what? (pause) Well, if you won't tell me how can I be careful? (pause) Sure, sure I will. Bye, dad. She hangs up, grabs her purse and rushes out the door. 124 INT. GARAGE Annie walks into the garage, over to her car and opens the door. It is now UNLOCKED, but Annie doesn't notice. 125 INT. CAR Annie slides in and inserts the key in the ignition. The car starts. Annie glances at the car door lock. Suddenly she remembers it was locked. She stares at it, puzzled. An instant later, A MAN SITS UP IN THE BACK SEAT. HE WEARS A HALLOWEEN MASK made of rubber with the grotesqe features of a man. He reaches forward and grabs her. Annie SCREAMS. She lurches for the door. The man puts one hand over her mouth and brings the HUGE BUTCHER KNIFE up to her throat. 126 INT. GARAGE - ANGLE ON CAR From outside the car we see the struggle inside. Annie's anguished face presses against the steamed window. Her SCREAMS are muffled by the closed car. Suddenly, the struggle stops. Annie's face slides down the car window leaving a track in the wet surface. Then slowly the track in the glass steams over again. CUT TO: 127 INT. DOYLE HOUSE - NIGHT Music from INVASION OF THE BODY SNATCHERS fills the room. Lindsey and Tommy are riveted to the screen. Tommy glances at Lindsey and slowly sneaks away from the couch. He jumps to a window and ducks behind a curtain. TOMMY (from behind curtain) Lindsey. Lindsey. Lindsey turns around and looks for Tommy. LINDSEY Where are you? No answer. Lindsey gets up from the couch to search for Tommy. 128 BEHIND CURTAIN Tommy hides, preparing to jump out and scare Lindsey. For a moment, he glances out the window. 129 TOMMY'S POV - WALLACE BACK YARD The figure of a MAN carries what seems to be a BODY across the Wallace's back yard. 130 INT. DOYLE HOUSE Tommy SCREAMS and jumps out from the curtain, scaring the hell out of Lindsey, who also SCREAMS and begins crying. TOMMY There he is, there he is! The bogyman! Laurie rushes in from the kitchen finding the children in tears. LAURIE What's wrong? Tommy points out the window. TOMMY I saw him again! He's over at Lindsey's house. The bogyman! At this, Lindsey begins to CRY even louder. Laurie bends down to comfort her. LAURIE Tommy, stop it! You're scaring Lindsey. TOMMY I saw him... LAURIE I said, stop it! There is no bogyman. There's nothing out there. If you don't stop all this, I'm turning off the TV and you go to bed. Tommy turns away from Laurie and Lindsey and walks over to the couch in front of the TV set. Almost instantly, Lindsey stops crying and follows him. TOMMY Nobody believes me. LINDSEY I believe you, Tommy. Lindsey sits up next to Tommy and hugs him. Laurie shakes her head and walks back into the kitchen. CUT TO: 131 EXT. MYERS HOUSE - NIGHT The old Myers house looks ominous and forboding silhouetted against the dark, whishing trees. CAMERA TRACKS behind the hedge where Loomis sits waiting. Suddenly, there are noises from the street. Loomis parts the hedge in front of him and stares. 132 LOOMIS' POV - STREET Three boys, Keith, Richie and Lonnie (from the playground) creep up to the edge of the sidewalk in front of the old house. They stare fearfully at the dark, tomb-like structure. LONNIE I'm not afraid. RICHIE Bullshit. LONNIE I'm not! RICHIE Then go in. For a moment Lonnie hesitates, then slowly moves through the front gate up toward the porch. 133 ANGLE ON LOOMIS He watches the young boy walk toward the house, unsure whether he should interfere or just watch. 134 LOOMIS' POV - OLD HOUSE - STREET Lonnis makes it to the front porch and tentatively steps up to the door. He glances back to his friends in the street. Loomis' POV moves to the street. RICHIE Chicken! KEITH Go on, Lonnie! Then Loomis' POV moves back to Lonnie at the front door. The boy turns to open the door. He's scared out of his mind. 135 ANGLE ON LOOMIS Loomis quietly stands up behind the hedge. LOOMIS Lonnie... 136 LOOMIS' POV - OLD HOUSE Lonnie spins around and stares in horror at the talking hedge. 137 ANGLE ON LOOMIS LOOMIS Get your ass away from there! 138 LOOMIS' POV - OLD HOUSE - STREET Moving like the wind, Lonnie barrels off the porch and races back to his friends. The boys hurtle off down the street in utter terror. 139 ANGLE ON LOOMIS He watches them race away, smiling to himself. Suddenly, TWO HANDS enter frame and grab Loomis' shoulders. Loomis jumps and spins around. Standing there is Brackett. LOOMIS Jesus! BRACKETT You all right? LOOMIS Sure... BRACKETT Nothing's going on. Just kids playing pranks, trick or treating, partying, getting high ...I have the feeling you're way off on this... LOOMIS You have the wrong feeling. BRACKETT You're not coming up with much to prove me wrong. LOOMIS Exactly what do you need? BRACKETT Well, it's going to take more than fancy talk to keep me up all night creeping around these bushes. LOOMIS I watched him for fifteen years, sitting in a room staring at a wall, not seeing the wall, seeing past it, seeing THIS NIGHT. He's waited for it, inhumanly patient. Hour after hour, day after day, waiting for some silent, invisible alarm to trigger him. Death has arrived in your little town, sheriff. You can ignore it, or you can help me stop it. BRACKETT More fancy talk...You want to know what Haddonfield is? Families. Children, all lined up in rows, up and down these streets. You're telling me they're lined up for a slaughterhouse. LOOMIS They could be. BRACKETT I'll stay out with you tonight, Doctor, just on the chance that you're right. And if you are right, damn you for letting him out. Brackett turns and walks back to the street. Loomis watches him for several moments. CUT TO: 140 EXT. WALLACE HOUSE - NIGHT The house is quiet, dark. The lights are all out. Annie's car is parked in the garage. A car pulls up in front of the house and parks. Its lights flick off. The sounds of LAUGHTER come from inside. 141 INT. CAR - NIGHT BOB SIMMS, a good-looking 17-year-old, POPS open a can of beer. Next to him Lynda guzzles hers. They embrace. LYNDA Now...First we'll talk a little, then Annie will distract Lindsey and we sneak quietly up the stairs to the first bedroom on the left. Got it? BOB Okay. First I rip your clothes off... Bob grabs Lynda and she starts giggling. The can of beer falls over onto the front seat. LYNDA You idiot! BOB ...Then you rip my clothes off. Then we rip LYNDSEY'S clothes off. I think I've got it. LYNDA Totally... 142 EXT. WALLACE HOUSE Bob opens the door and together they fall out onto the ground. Bob picks Lynda up and carries her up to the front door. LYNDA Bob...Put me down. Put me down. This is totally silly. Lynda squirms in Bob's arms. As he sets her down her foot accidentally hits the front door and it swings open. Lynda and Bob both stop. LYNDA Annie, Annie, we're here! Bob and Lynda enter the house. 143 INT. WALLACE HOUSE - NIGHT The living room is empty. The lights are off. Lynda and Bob enter the house and begin turning on the lights. BOB I wonder where they went. LYNDA Annie probably took Lindsey out or something. Let's look for a note. Bob walks over to Lynda. BOB Let's don't. They embrace. Bob pulls Lynda over to the couch and turns out the light. They kiss. A SHADOW COMES OVER THEM. They continue kissing, unaware of the shape of a man on the stairway WATCHING. 144 INT. DOYLE HOUSE - NIGHT The house is totally black inside. The only sound is the music score from "The Thing." Suddenly, the sound of laughter is heard from the kitchen. Then an orange light floats around the room. As it gets closer, we see that Laurie is carrying a Jack-O-Lantern, with a candle illuminating from the center of the pumpkin. Behind Laurie is Lyndsey and Tommy making scary noises. The procession continues through the house. TOMMY Ooooooo...He's gonna get you. LYNDSEY No, he's not. LAURIE Nobody's going to get anybody. Now stop scaring each other. The procession continues to the front window. Laurie places the Jack- O-Lantern on the window sill. She looks down the street toward the Wallaces. 145 LAURIE'S POV OF THE WALLACE HOUSE Laurie sees Bob's car parked in front of the house. 146 ANGLE ON LAURIE Laurie smiles to herself. LAURIE Everybody has a good time tonight. Okay, kids, what do you want to do now? LINDSEY Let's make more popcorn. LAURIE You've had enough. Why don't we just sit down and watch the rest of this movie. Laurie sits down on the couch and sighs. Lindsey and Tommy cuddle up with her, one on either side. The phone rings. Laurie gets up to answer it. LAURIE Hello. 147 INT. HOUSE - NIGHT Lynda sits on the couch in the dark. Her hair and clothes are messed up. Bob lies on the couch, his head on her lap. LYNDA Hi, Laurie, what's up? LAURIE (v.o.) Nothing. I was just sitting down for the first time tonight. LYNDA Is Annie around? LAURIE (v.o.) No. I thought she'd be home by now. She went to pick up Paul. LYNDA Well, she's totally not here. LAURIE (v.o.) They probably stopped off somewhere. Have her call me when she gets back. I've got Lyndsey here and I want to know what time to put her to bed. LYNDA Okay. Later. LAURIE (v.o.) Have a good time. Lynda hangs up the phone and grins. LYNDA We sure will. Lynda grabs Bob's hand and stands up. LYNDA (cont'd) Lindsey is gone for the night. Bob grins. BOB Now that's wonderful. Lynda pulls Bob up from the couch and they walk quickly up the stairs. 148 INT. DOYLE HOUSE - NIGHT Laurie stands by the telephone. She walks to the window and glances out. 149 LAURIE'S POV - WALLACE HOUSE It is dark. 150 ANGLE ON LAURIE Laurie shrugs, turns away from the window and walks back to Tommy and Lindsey sitting on the couch. CUT TO: 151 INT. WALLACE BEDROOM - NIGHT Sounds of lovemaking come from the bed. The only light is a candle illuminating the sheets as they move slowly up and down and from side to side. Empty beer cans leave a trail from the door to the bed. The moans from Lynda begin increasing. They get louder. Building to a crescendo. The phone rings. The lovemaking suddenly stops. LYNDA Shit! Not again. Lynda rises up on one arm. The sheets fall away from her, showing a very beautifly young body. Her hair is a mess and she is frustrated. The phone continues to ring. BOB I can't help it. It just keeps ringing. LYNDA And I can't keep you interested? Bob opens a fresh can of beer. He chugs it down. LYNDA That's great. Now you'll be too drunk to... BOB Just answer the damn phone. LYNDA I can't. What if it's the Wallaces!? We'd get Annie in trouble. The phone stops ringing. BOB Take it off the hook. Lynda reaches over and kisses Bob behind the ears. She slowly moves around his ear with her tongue. Bob grabs Lynda and pushes her down on the bed. CAMERA MOVES BACK from the bed as their lovemaking continues, back through the bedroom doorway. Standing there in the darkness is THE SHAPE watching them. Finally, Bob and Lynda climax. Bob rolls off Lynda. She lights a cigarette and hands it to Bob, then lights one for herself. LYNDA Fantastic. Totally. BOB Yeah. LYNDA Want a beer? BOB Yeah. LYNDA Is that all you say? BOB Yeah. LYNDA Go get me a beer. BOB I thought you were gonna get one for me. LYNDA YEAH? Bob gets out of bed and pulls his jeans on. He looks for his glasses. He finds them and puts them on. BOB I'll be right back. Don't get DRESSED. Bob leans over and kisses Lynda. He leaves. Lynda leans back onto the pillows. She smiles to herself. 152 INT. WALLACE KITCHEN Bob comes through the swinging doors. He opens refrigerator and takes out two beers. He looks around the kitchen. He opens the cupboards and takes out a bag of potato chips. In another cupboard he finds a can of peanuts. Bob gathers the food and beers into his arms. He shuts the doors. WHAM! He steps into a chair, knocking him backwards. The beer falls on the floor along with the chips and peanuts. BOB Goddammit! 153 ANONOTHER ANGLE Bob has his head down, intent on cleaning up the mess. There is a SLAM from across the kitchen. Bob looks up. 154 BOB'S POV - DOOR The back door of the kitchen slowly swings open, as if it has been slammed shut and the bolt didn't catch. It squeaks on it's hinges as it swings back and forth. 155 INT. KITCHEN Slowly, Bob gets to his feet and walks over to the door. BOB Annie, Paul... He steps to the door and looks outside. 156 BOB'S POV - BACK YARD The yard is empty. Just the wind blowing the trees. 157 ANGLE ON BOB He turns from the door. There is a SQUEAK from one of the two closet doors by the kitchen counter. Bob freezes, staring at the two doors. BOB Lynda, you asshole! He walks to one of the doors and opens it. Nothing inside. BOB (cont'd) Alright, Lynda, come on out. He steps to the other door and opens it. RIGHT BEHIND THE DOOR STANDS THE SHAPE wearing the rubber mask. He steps out and grabs Bob around the neck with an instantaneous lunge. Bob tries to jump away, but the shape has a firm hold on his neck. Bob COUGHS and GAGS from the pressure. Then the shape LIFTS BOB UP OFF THE FLOOR. 158 ANGLE ON BOB'S FEET Bob's feet leave the floor. 159 ANGLE ON BOB'S FACE He makes a gutteral sound deep in his throat as the shape's hand closes tightly around his windpipe. 160 ANGLE ON SHAPE Behind the mask are two burning eyes. The shape moves forward. 161 ANGLE ON WALL Still holding him up with one hand, the shape SLAMS Bob against the wall, holding him several feet off the floor. Bob struggles to get free. The shape lifts his other hand. It holds the butcher knife. The shape drives the knife deeply into Bob's chest with a SLAMMING THUD, the other end of the knife stuck through the wall. Then the shape steps away. Bob hangs there, impaled on the wall, eyes still open in horror, dead. CUT TO: 162 INT. WALLACE BEDROOM Lynda lounges in the bed smoking another cigarette. She hears Bob enter the room but doesn't look up. LYNDA Where's my beer? No answer. Lynda turns around and looks. 163 ANOTHER ANGLE - LYNDA'S POV The SHAPE STANDS in the doorway. He is covered with A SHEET LIKE A GHOST. He WEARS BOB'S GLASSES. LYNDA (cont'd) Cute, Bob. Real cute. The ghost doesn't answer. 164 ANOTHER ANGLE - LYNDA AND GHOST Lynda looks at the ghost. She slides the sheets down from her body. LYNDA (cont'd) Come here, you fool. The ghost doesn't answer. He continues to stare at Lynda. LYNDA (cont'd) Can't I get your ghost, Bob? Lynda laughs at her own joke, then stops when she sees the ghost is motionless. LYNDA (cont'd) All right, all right. So where's the beer? Nothing. The ghost just stands there. LYNDA (cont'd) Well, answer me! Okay, don't answer me. Boy, are you weird! Lynda gets out of bed. She is nude and looks beautiful and sensuous in the candlelight. She walks over to the phone. LYNDA (cont'd) Well, I'm gonna call Laurie. I wanna know where Annie and Paul are. THIS isn't going anywhere. Lynda sits down on a chair by the telephone. In the b.g. the ghost stands in the doorway. She starts to dial the phone. The ghost starts walking toward her. 165 INT. DOYLE HOUSE - NIGHT The house is very quiet. The kids are asleep. Laurie is sitting on the couch knitting. The phone RINGS. LAURIE Finally. Laurie crosses to answer the phone. 166 INT. WALLACE BEDROOM Lynda holds the phone to her ear. The ghost walks up slowly behind her. He raises his hands to grab her. 167 INT. DOYLE HOUSE Laurie answers the telephone. LAURIE Hello. 168 INT. WALLACE BEDROOM Lynda hears Laurie's hello as THE GHOST GRABS THE PHONE. He clamps one hand over Lynda's mouth. She squirms and writhes. He takes the telephone cord and wraps it around her neck. 169 INT. DOYLE HOUSE LAURIE Hello? Laurie hears SQUEALS, and rustling sounds across the phone. LAURIE (cont'd) All right, Annie! I've heard your famous chewing, now I get your famous squeals? Laurie continues to hear weird SOUNDS. LAURIE (cont'd) Annie? 170 INT. WALLACE BEDROOM Lynda tries to fight off the ghost. He wraps the cord around her neck. He pulls tight. Lynda reaches up and pulls on the sheet. It slides off the man, to reveal the grotesque Halloween mask. Lynda gasps and tries to scream. The man pulls the cord tighter. Her face turns blue. She opens her mouth, trying to get air, then slowly slumps forward and remains motionless. LYNDA IS DEAD. The shape picks up the reciever and puts it to his ear. 171 INT. DOYLE HOUSE - ANGLE ON LAURIE LAURIE Annie, Annie! Are you all right? Silence over the phone. LAURIE (cont'd) Are you fooling around again? Silence. LAURIE (con't) I'll kill you if this is a joke! More silence. LAURIE (cont'd) Annie... Suddenly the phone goes dead. Laurie stares at the reciever, then hangs up. She crosses to the window and looks out toward the Wallace house. 172 LAURIE'S POV - WALLACE HOUSE The street is quiet, dark and windy. Bob's car is parked in front of the Wallace house. SUDDENLY A LIGHT GOES ON IN THE BEDROOM. 173 ANGLE ON LAURIE She stares at the house, puzzled. 174 LAURIE'S POV - WALLACE HOUSE THEN THE LIGHT GOES OFF. 175 INT. DOYLE HOUSE Laurie moves from the window back to the telephone and dials Annie's number. We HEAR the phone ringing on the other end. 176 INT. WALLACE HOUSE - BEDROOM CAMERA SLOWLY TRACKS through the darkened bedroom of the Wallace house. There is no sign of a struggle. The room is empty. The phone RINGS away. 177 INT. DOYLE HOUSE Laurie finally hangs up the phone. She stands for a moment considering it, then turns and walks upstairs. 178 INT. DOYLE BEDROOM Laurie opens the door to the bedroom. Tommy and Lindsey are sound asleep on the bed. She looks at them a moment, then closes the door behind her. 179 INT. DOYLE HOUSE - LIVING ROOM Laurie comes back downstairs. She takes a key out of her purse and again steps to the window. 180 LAURIE'S POV - WALLACE HOUSE Dark and silent. 181 ANGLE ON LAURIE She steps to the front door. CUT TO: 182 EXT. MYERS HOUSE - NIGHT Loomis sits in silence behind the hedge watching the Myers house. Frustrated, he gets up and walks to the street. For a moment he glances back at the Myers house, then starts down the quiet residential street. 183 LOOMIS' POV - STREET - STATION WAGON It is empty except for a station wagon parked several blocks away. 184 ANGLE ON LOOMIS He turns away from the street. Then a thought strikes him. He looks again. 185 LOOMIS' POV - STREET - STATION WAGON THE LONE CAR IS LOOMIS' STATION WAGON. 186 ANGLE ON LOOMIS He's not certain of it. Slowly Loomis starts walking down the street toward the station wagon. CUT TO: 187 EXT. STREET - NIGHT Laurie locks the Doyle house and walks away out into the street. The wind whips her clothes and hair. 188 LAURIE'S POV - WALLACE HOUSE - MOVING SHOT MOVING SHOT toward the Wallace house, dark and ominous. 189 MOVING SHOT - LAURIE She moves down the street, shivering in the chill wind. She puts the key to the Doyle house in her pocket. 190 LAURIE'S POV - WALLACE HOUSE - MOVING SHOT A car turns the corner and drives past the Wallace house, casting a strange shadowy pattern across the front of the house. 191 MOVING SHOT - LAURIE She picks up her speed, now up the sidewalk. 192 LAURIE'S POV - WALLACE HOUSE - MOVING SHOT The house looms closer and closer. CUT TO: 193 EXT. STREET - NIGHT TRACKING SHOT with Loomis as he walks up the street. 194 LOOMIS' POV - STATION WAGON The station wagon moves closer. 195 MOVING SHOT - LOOMIS He recognizes it and races forward. 196 LOOMIS' POV - STATION WAGON CAMERA TRACKS IN to the station wagon, right up to the STATE EMBLEM emblazoned on the side. CUT TO: 197 EXT. WALLACE HOUSE - NIGHT CAMERA MOVES UP to the front of the Wallace house. Laurie walks up to the front porch. She stands there a moment, listening, as if to hear some sound of life from the inside. She KNOCKS on the door and RINGS the doorbell. She waits. Silence. She steps off the porch and walks around to the side of the house, CAMERA TRACKING WITH HER. She moves to the garage and peeks inside. There is Annie's car. Laurie thinks a moment, then looks to the street. 198 LAURIE'S POV - BOB'S CAR Bob's car sits there on the street. 199 ANGLE ON LAURIE She turns and walks through the breezeway between the house and garage around to the back door. THE KITCHEN DOOR IS AJAR, swinging back and forth in the wind. Laurie pulls open the door and steps into the house. 200 INT. WALLACE KITCHEN The kitchen is dark. Laurie stands there a moment staring into the blackness. LAURIE Annie? No answer. LAURIE (cont'd) Bob, Lynda, Annie? No one answers. Laurie searches for the wall light. She flips it and nothing happens. She looks again into the darkness. LAURIE (cont'd) Hello? Nothing. Laurie moves forward into the house, CAMERA TRACKING WITH HER. Laurie walks into the living room. She stops to let her eyes get accustomed to the almost total darkness. She reaches for a nearby lamp and trips over the cord. The lamp CLUNKS to the floor. LAURIE (cont'd) Shit. SUDDENLY THERE IS A CRASHING SOUND FROM UPSTAIRS. Laurie spins around and stares up the dark staircase. Another SQUEAK from above. Laurie smiles. LAURIE (cont'd) All right, meatheads. The joke is over. Silence. LAURIE (cont'd) Come on, Annie, enough. Another SOUND from upstairs, a DRAGGING across the floor. Laurie moves to the head of the staircase. The dragging sound STOPS ABRUPTLY. Silence. LAURIE (cont'd) This has most definitely stopped being funny. Now cut it out! A SCRAPING SOUND, then silence. LAURIE (cont'd) You'll be sorry. Slowly Laurie starts up the staircase. CUT TO: 201 EXT. STREET - NIGHT Loomis stands by his car glancing up and down the empty street. Finally he makes up his mind and starts moving down the street, almost running, looking back and fourth at the rows of houses on either side for something out of place. CUT TO: 202 INT. WALLACE HOUSE - NIGHT SLOWLY TRACKING up the staircase. 203 MOVING SHOT - LAURIE as she slowly moves up the stairs. She reaches the top and stops. 204 LAURIE'S POV - SECOND FLOOR HALLWAY It is totally dark. At the end of the hall is the bedroom door. From around the edges of the door is the faintest ORANGE GLOW. 205 ANGLE ON LAURIE She moves for the door, CAMERA TRACKING WITH HER. 206 LAURIE'S POV - DOOR She reaches the door. Her hand reaches out and touches it. The door swings open. A Jack-O-Lantern casts and eerie glow around the room. There is SOMEONE lying on the bed but from this position Laurie can't see. 207 ANGLE ON LAURIE She moves forward toward the bed. 208 LAURIE'S POV CAMERA MOVES FORWARD. There on the bed is ANNIE! Her face is a chalky white and there is a huge red gash across her throat. AT THE HEAD OF THE BED IS JUDITH MYERS' TOMBSTONE. 209 ANGLE ON LAURIE She stares at the bed and then SCREAMS at the top of her lungs. SUDDENLY SOMETHING DROPS DOWN AT HER FROM ABOVE. Laurie jumps back to the door. 210 LAURIE'S POV - BOB Strung up to the light fixture on the ceiling, dangling there in the middle of the room, is Bob, eyes open and staring. 211 INT. SECOND FLOOR HALLWAY Laurie backs out of the bedroom. Her mouth is open in speachless horror. SUDDENLY A DOOR NEXT TO HER SLOWLY OPENS. There is LYNDA standing there, propped up by a chair, staring at her with glazed, dead eyes. 212 ANGLE ON LAURIE - CORNER (LIGHTING EFFECT) Laurie shrinks back into a dark corner. She can only stare in horror at the sight of her dead friend. SUDDENLY WE ARE AWARE OF SOMETHING THERE IN THE DARK CORNER. It is almost as if our eyes have suddenly begun to adjust to the darkness and we see THE OUTLINE OF A MAN standing right behind her. The outline becomes more and more clear. It is the shape, wearing the mask, the butcher knife in his hand, gleaming, RIGHT BEHIND LAURIE. Laurie suddenly moves away from the corner. The shape lunges out at her. 213 CLOSE SHOT - LAURIE'S BACK - HAND The hand grasps a piece of Laurie's blouse and RIPS it. 214 CLOSE SHOT - LAURIE She SCREAMS and spins around. 215 ANGLE ON SHAPE He stands there holding up the piece of material, then raises the butcher kinfe and moves for her. 216 ANGLE ON LAURIE CAMERA MOVES WITH HER as she backs away, SCREAMING at the top of her lungs. 217 ANGLE ON SHAPE He lunges at her suddenly with the knife. 218 ANGLE ON LAURIE - TOP OF STAIRCASE THE KNIFE SLICES ACROSS HER ARM, ripping her flesh. Laurie suddenly jumps backward, raising her arm instictively. 219 ANGLE ON RAILING Laurie bumps back into the railing. 220 ANGLE ON SHAPE He lunges again with the knife. 221 ANGLE ON LAURIE She leaps backward to avoid the blade and slips over the edge of the railing. 222 LAURIE'S POV CAMERA POUNGES DOWN from the second floor and SLAMS into the floor. 223 ANGLE ON LAURIE She hits the floor and rolls over, holding her leg painfully. Then she looks up at the staircase. 224 POV - STAIRCASE The shape moves to the top of the staircase and STARTS down toward her. 225 ANGLE ON LAURIE She pulls herself up off the floor and hobbles into the living room. 226 ANGLE ON STAIRCASE Thge shape races down the stairs. 227 ANGLE ON LAURIE She moves for the kitchen. She trips on the fallen lamp and fall to the floor. 228 ANGLE ON SHAPE The shape steps into the living room, knife raised. 229 ANGLE ON LAURIE - KITCHEN She crawls to the kitchen, rolls inside an SLAMS the kitchen door behind her. In a flash, she leaps up and CLICKS the lock. There is a POUNDING on the door from the other side. Laurie slowly climbs to her feet and limps toward the back door. Suddenly, the kitchen door EXPLODES, the middle of it BREAKING APART. The shape reaches through, groping for the lock. 230 ANGLE ON DOOR Her hand tries the door. It is KEY-LOCKED. 231 ANGLE ON LAURIE Desperately she tries the door, glancing behing her. 232 ANGLE ON SHAPE The shape's hand reaches for the lock. 233 ANGLE ON LAURIE She steps back from the door into the kitchen. 234 LAURIE'S POV - KITCHEN WINDOW She sees the kitchen window over the sink. 235 ANGLE ON LAURIE She hobbles to the sink, climbs up on it and grabs the window. With a heave she opens it half-way. 236 ANGLE ON SHAPE The shape's hand grabs the lock and CLICKS it open. 237 ANGLE ON LAURIE - KITCHEN WINDOW She can only get it three-fourths open. Headfirst she crawls through the window. 238 ANGLE ON SHAPE The shape pushes the door open and leaps into the kitchen. 239 ANGLE ON LAURIE She drags herself roughly out the window. 240 CLOSE SHOT - WINDOW The shape grabs at Laurie's legs as they disappear through the sill. 241 EXT. WALLACE HOUSE Laurie picks herself up from the ground and runs as fast as she can, limping across the backyard, CAMERA MOVING WITH HER. She passes the driveway and scurries into the neighbor's backyard, up to the back door of the house. She POUNDS furiously on the door. LAURIE Help me! Help me! She looks behind her. 242 LAURIE'S POV - WALLACE HOUSE No sign of the shape. The house is dark and silent. 243 ANGLE ON LAURIE The back porch light comes on. Laurie continues to POUND on the door. 244 LAURIE'S POV - DOOR Through the glass in the back door we see an OLD WOMAN dressed in a nightgown approach. 245 ANGLE ON LAURIE LAURIE Please, help me! Call the police! Please! 246 LAURIE'S POV - DOOR The old woman stares at her suspiciously for a moment, then turns from the door and walks away. 247 ANGLE ON LAURIE THE PORCH LIGHT GOES OUT. LAURIE No! No! Please, open the door! She turns around and looks back. 248 LAURIE'S POV - WALLACE HOUSE Nothing. No sign of the shape. 249 ANGLE ON LAURIE She hobbles off the back porch and runs across the yard to the street. CAMERA MOVES WITH HER as she limps along. 250 EXT. DOYLE HOUSE Laurie rushes up to the front door. She reaches in her pocket for the key and drop it on the porch. Quickly she bends down and scrambles for it. She looks back toward the street. 251 LAURIE'S POV - STREET The street is empty. The wind WHISHES the trees. Leaves sprinkle down. 252 EXT. DOYLE HOUSE Laurie gropes around for the key. It lies over a crack in the wooden porch. She reaches for it but her fingers nudge the key between the crack, down out of sight. Laurie SCREAMS with frustration and glances back at the street. 253 LAURIE'S POV - STREET THE SHAPE WALKS SLOWLY DOWN THE MIDDLE OF THE STREET, RIGHT TOWARD HER! 254 ANGLE ON LAURIE Laurie begins to BANG on the front door. LAURIE Tommy! Tommy, open the door! She grabs a planter on the porch, steps back and hurls it at an upstairs window. 255 ANGLE ON UPSTAIRS WINDOW The planter SMASHES against the window. A light goes on. Tommy appears sleepily at the window. TOMMY Who is it? 256 ANGLE ON LAURIE LAURIE Tommy, let me in! She looks back at the street. 257 LAURIE'S POV - STREET The street is empty. THE SHAPE IS GONE. 258 ANGLE ON LAURIE She stands there breathlessly, her eyes burning in the darkness. Finally the door opens. Tommy stands there in his pajamas. Laurie leaps inside and SLAMS the door. 259 INT. DOYLE HOUSE Laurie bolts the door from the inside. LAURIE Tommy, I want you to go back upstairs... TOMMY What is it, Laurie? LAURIE Be quiet! Get Lindsey and get into the bedroom and lock the door! TOMMY I'm scared... LAURIE DO WHAT I SAY! NOW! TOMMY It's the bogyman, isn't it? LAURIE HURRY! Tommy turns and runs upstairs CRYING. Laurie moves from the door to the telephone. She picks it up, dials a number and waits. Then suddenly she reacts. The PHONE IS DEAD. No dial tone. She puts down the phone and stands very still. There is A SLIGHT BREEZE BLOWING HER HAIR. Slowly Laurie moves around the couch. 260 LAURIE'S POV - KITCHEN From the living room we see into the kitchen. THE BACK DOOR IS OPEN. 261 ANGLE ON LAURIE Laurie doesn't move. She begins crying softly, her eyes wide with fear. LAURIE Please stop...Please... Silence. No movement anywhere in the house. Slowly Laurie sinks down to her knees by the couch. 262 CLOSE SHOT - KNITTING NEEDLES Her hand brushes against the knitting needles protruding from her totebag. 263 ANGLE ON LAURIE - COUCH She reacts to the feel of the knitting needles and pulls one out. It is long and deadly sharp. She stares at it. SUDDENLY THE SHAPE LEAPS UP FROM BEHIND THE COUCH! He springs at her, plunging the butcher knife. 264 ANGLE ON COUCH The blade of the butcher knife THUMPS into the couch. 265 ANGLE ON LAURIE - SHAPE Instinctively Laurie raises the knitting needle and drives it home, right into the shape's neck! The shape springs backward, clawing at the needle, rolling his head back and forth. Then suddenly he freezes, hands outstretched, motionless, and falls into a heap on the floor. Laurie sits there. The shape doesn't move. Laurie begins to cry again, harder and harder. CUT TO: 266 EXT. STREET - NIGHT CAMERA MOVES WITH LOOMIS as he moves along the street. Suddenly two headlights hit him and a police car swerves to a stop next to him. Brackett gets out. BRACKETT Where were you? I went back to the Myers house... LOOMIS I found the car! He's here! BRACKETT Where? LOOMIS Three blocks down. Get in the car and go up that other street and then back down here. I'm going up the block. Brackett turns and hurries back to the car. Loomis starts up the street again as Brackett pulls off in the other direction. CUT TO: 267 INT. DOYLE HOUSE - NIGHT WIDE SHOT of the living room. Laurie is on one side of frame, the motionless shape lying behind the couch on the other. Slowly Laurie stands up, stares at the shape and then moves to the staircase. Slowly, painfully, Laurie climbs up the stairs. 268 INT. BEDROOM Tommy and Lindsey are huddled in a corner WHIMPERING softly. The door opens and Laurie steps in. The two children run to her CRYING. She holds them in her arms tightly and nudges the door shut with her foot. LAURIE It's all right now. Shhh, it's all right... She takes the children back to the bed and sits down with them. LAURIE (cont'd) Now I want you to change your clothes, Tommy. We're going to take a walk outside. TOMMY Was it the bogyman? LINDSEY I'm scared! LAURIE There's nothing to be scared of now. Get changed. TOMMY Are you sure? LAURIE Yes. TOMMY How? LAURIE I killed him... TOMMY But you can't kill the bogyman. SUDDENLY THE BEDROOM DOOR SWINGS OPEN. Standing there is THE SHAPE, the butcher knife raised. Both children SCREAM. Laurie shoves them into the bathroom and pulls the door shut, leaving herself outside in the bedroom. LAURIE Lock the door! Lock the door! The shape moves for her, slowly now, but relentless, the knife glistening. There is a CLICK as the bathroom door is locked. Laurie leaps away from the door and circles around the bed. The shape keeps coming. Laurie dashes to a clothes closet and ducks inside. 269 INT. CLOTHES CLOSET Laurie pulls the sliding doors closed and crawls back into the small, dark interior of the closet. Suddenly the doors begin to buckle as the shape pounds on them. 270 ANGLE ON LAURIE She reaches up and grabs a wire hanger from the top of the closet. She rips off the shirt and begins unhooking it. 271 ANGLE ON CLOSET DOOR The door buckles inward as the shape SMASHES against it. 272 ANGLE ON LAURIE She twists the top of the hanger, unwinding the wire. 273 ANGLE ON CLOSET DOOR The door BREAKS IN. The shape steps inside, pushing aside the clothes. 274 ANGLE ON LAURIE She unhooks the hanger and bends it out straight. 275 ANGLE ON SHAPE The shape leans in, peering down at Laurie in the corner, raising the knife. 276 ANGLE ON LAURIE Holding the hanger with both hands she thrusts it forward with all her might. 277 ANGLE ON SHAPE The wire hanger flashes into the shape's right eye. He leaps back in pain, dropping the butcher knife, grabbing his eye with both hands. 278 ANGLE ON LAURIE She grasps the butcher knife with both hands and jabs it upward. 279 ANGLE ON SHAPE The butcher knife plunges into the shape's mid-section, right down to the hilt. The shape stumbles backward out of the closet. 280 ANGLE ON LAURIE She just sits there in the corner of the closet. There is a THUMP from the bedroom, then silence. Slowly Laurie crawls around and peeks out of the closet doors. 281 LAURIE'S POV - SHAPE The shape lies on the floor by the bed, the butcher knife protruding from his stomach. 282 INT. BEDROOM Laurie emerges from the closet and carefully crosses the bedroom, avoiding the shape's body. She goes to the bathroom door and knocks softly. LAURIE Tommy, it's me. Open the door. There is a silence, then the door opens. On the other side are Tommy and Lindsey, looking utterly terrified. Laurie bends down and shields them from the sight of the shape. LAURIE (cont'd) Now, I want you to walk to the door, down the stairs and right out the front door. LINDSEY You're coming with us... LAURIE Listen to me. I want you to walk down the street to the MacKensie's and knock on their door. You tell them to call the police and send them over here. Do you understand? TOMMY Laurie, you come with us... LAURIE No! Do as I say. She stands up and carefully guides the children across the bedroom to the door and ushers them outside. She watches for a moment as they walk down the stairs, then slumps down against the door frame in an exhausted heap. 283 EXT. DOYLE HOUSE - NIGHT Tommy and Lindsey run out of the house and down the walk to the sidewalk. They rush up the street. As they leave frame we see Loomis on the other side of the street. 284 ANGLE ON LOOMIS He watches the children with a puzzled frown. 285 LOOMIS' POV - TOMMY AND LINDSEY Shrieking with fear, Tommy and Lindsey run up the sidewalk. 286 ANGLE ON LOOMIS He stares at them for a moment, then moves for the Doyle house. CUT TO: 287 INT. DOYLE HOUSE - ANGLE THROUGH BEDROOM DOOR - NIGHT We see through the bedroom door. In f.g. sits Laurie, slumped against the door frame, staring out at nothing, tears streaming down her face. In the b.g. lies the shape. Slowly Laurie begins to pull herself together once again. She gets up to her knees and begins to pull herself up to her feet. Her back is to the shape. As she starts to stand THE SHAPE SITS UP, the head turning to Laurie. 288 CLOSE SHOT - LAURIE Laurie rises into frame, holding herself erect by grasping the door frame. BEHIND HER THE SHAPE RISES UP INTO FRAME, quickly, silently. Laurie just hangs there on the doorframe. An exhausted, ironic smile comes over her face. LAURIE Well, kiddo. Some Halloween... Slowly the shape moves for her, his hands outstretched. Just as he is about to grab her, Laurie manages to step out the door. 289 ANGLE IN HALL Unaware he is behind her, Laurie limps toward the stairs. Suddenly the shape jumps out of the bedroom and grabs her, hands around her neck. Laurie SCREAMS. She twists and squirms and claws at him, her fingers ripping at his mask. She pulls it off over his face, wriggles out of his grip and turns around. 290 CLOSE SHOT - MICHAEL The shape, Michael, stares at her with his one eye. He has a dank, white face with blond hair. There is something completely unhuman about his features, the open mouth, the dark staring eye. 291 ANGLE IN HALL Michael lunges at her again. Suddenly there is a THUNDERING EXPLOSION and Michael is blown off his feet. Laurie falls back against the wall. 292 ANGLE ON LOOMIS Standing at the top of the stairs is Loomis, gun in his hand. He moves forward down the hall. 293 ANGLE IN HALL Michael slowly gets up to his feet, still refusing to die. Loomis stops and takes aim. BLAM!BLAM!BLAM! Michael is hit three times, each bullet throwing him backward further down the hall until he hits the window at the end and SMASHES through it. 294 EXT. DOYLE HOUSE - UP ANGLE Michael falls from the second story right down into CAMERA with a CRASH! 295 ANGLE IN HALL Loomis rushes to Laurie and bends down beside her. For a moment she just cries in his arms, sobbing hysterically. Then she looks up at him with a glazed, wild expression. LAURIE It WAS the bogyman... Loomis looks down at her, then up at the shattered window at the end of the hall. LOOMIS As a matter of fact it was. He walks slowly down to the window and peers out. 296 LOOMIS' POV - BACK YARD He looks down at the spot where Michael shoud be, but there is nothing there, just a TRAMPLED PATCH IN THE GRASS. 297 ANGLE ON LOOMIS He stares down with growing fear, then looks out from the house. 298 LOOMIS' POV The back yard, the neighboring yards, the street, all are empty, quiet, dark. There is only the SOUND of the wind swelling in the trees. Michael is gone. FADE TO BLACK. ROLL END TITLES. THE END
:: Home :: Index A - C :: Index D - I :: Index J - P :: Index Q - Z :: Gallery :: Movie/Villains :: Scripts :: Contact :: Links :: Web Rings:: |