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HALLOWEEN MOVIES
halloween-SCRIPT
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Home | NEWS | POSTERS | *DVD REVIEWS* | MESSAGE BOARD | halloween-SCRIPT | H2O-SCRIPT | HALLOWEEN 2-SCRIPT | CHATROOM | HALLOWEEN-H20:PRODUCERS CUT | LINKS | HALLOWEEN-TV | POLLS | HALLOWEEN | TRIVIA | HALLOWEEN 2 | HALLOWEEN 4 | HALLOWEEN 5 | HALLOWEEN 6 | HALLOWEEN-H20 | HALLOWEEN 8
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HALLOWEEN JOHN CARPENTER AND DEBRAH HILL
FADE IN:
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
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