"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"HALLOWEEN"

The Night HE Came Home

Written by

John Carpenter & Debra 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:

BLACK SCREEN. SUPERIMPOSE:

HADDONFIELD, ILLINOIS

OCTOBER 31, 1963

DISSOLVE TO:

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.)
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.)
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?

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:

BLACK. SUPERIMPOSE:

SMITH'S GROVE, ILLINOIS

OCTOBER 30, 1978

DISSOLVE TO:

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.

INT. STATION WAGON - NIGHT

The back 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 appearance
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.

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.

INT. STATION WAGON

LOOMIS
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 couldn'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.

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.

INT. STATION WAGON

MARION
Since when do they let them wander
around?

They look up ahead.

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.

INT. STATION WAGON

Marion slows the station wagon and pulls off to the side of
the road.

Loomis jumps out.

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.

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."

POV - THROUGH WINDSHIELD - SANITARIUM DRIVE

Ahead of them is the entrance to the sanitarium.

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 forward.

Marion continues to SCREAM, clawing at the hand.

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.

INT. STATION WAGON

The hand rips at Marion's hair. SCREAMING. Clawing.

POV THROUGH WINDSHIELD

The windshield is completely obliterated by rain.

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.

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.

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.

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:

BLACK SCREEN. SUPERIMPOSE:

HADDONFIELD

OCTOBER 31, 1978

DISSOLVE TO:

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.

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.

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.

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...

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
(sings)
Just the two of us...
So close to me...

CUT TO:

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:

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.)
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.

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.

ANGLE ON LAURIE

She turns away from the window and begins to doodle again.

ANGLE ON NOTEBOOK

We see Laurie draw:

LAURIE STRODE

TEACHER (V.O.)
Edwin, how does Samuels' view of
fate differ from that of Costaine?

ANGLE ON LAURIE

She glance up from the book and out the window again.

LAURIE'S POV - STREET

The shape behind the station wagon is still there and STARING
RIGHT AT HER.

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.

LAURIE'S POV - STREET

The shape and the station wagon are GONE.

ANGLE ON LAURIE

She turns back from the window and back to her notebook.

ANGLE ON NOTEBOOK

She has written:

LAURIE STRODE IS LONELY.

CUT TO:

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.

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.

EXT. GAS STATION

Loomis turns and walks back to his car. He glances at the
old gas station as he walks.

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.

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.

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.

ANGLE ON LOOMIS

He picks up the cigarette pack.

CLOSE SHOT - CIGARETTE PACK

Stuck in the cellophane of the crushed pack are matches:
"The Rabbit in Red Lounge -- Entertainment Nightly."

EXT. GAS STATION

Loomis turns and quickly strides back to his car, gets in
and roars away from the lonely gas station.

CUT TO:

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 pumpkins and orange and black streamers, some
carry Jack-O-Lanterns.

Tommy Doyle comes out of the door carrying a very large
pumpkin. 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 pumpkin beneath him. The other boys run away GIGGLING
and SCREAMING with delight.

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.

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.

POV FROM WINDOW

Slowly, the station wagon moves down the street. We see Tommy
hurrying along the sidewalk, still rubbing off the pumpkin
splatter. Tommy turns off the side walk and cuts up a side
alley.

The wagon picks up speed and continues on down the street.

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
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.

LAURIE'S POV - STATION WAGON

The station wagon slowly moves up the street toward them.
The shape isn't visible behind the windshield.

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.

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.

ANGLE ON GIRLS

ANNIE
(yells after the car)
Speed kills!

POV - STATION WAGON

Up the street the wagon suddenly stops. It sits there,
waiting.

ANGLE ON GIRLS

ANNIE
(softer now)
Can't you take a joke?

POV - STATION WAGON

For a moment the station wagon just sits there. Then it takes
off down the street and disappears around a corner.

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:

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.

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.

ANGLE ON LAURIE - ANNIE

LAURIE
Look.

ANNIE
Look where?

LAURIE
Behind that bush there.

ANNIE LOOKS

POV - MOVING SHOT - BUSHES

The shape is gone. Just bushes.

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
Laurie, my dear, he want to talk to
you.

Laurie just stands on the sidewalk several feet from the
bushes.

ANNIE
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
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.

LAURIE'S POV - BUSHES

There is still nothing there.

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.

EXT. LAURIE'S HOUSE - DAY

Laurie walks up on the front porch of her house. She pauses
a moment and glances down the street.

LAURIE'S POV - TRICK OR TREATERS

Several CHILDREN in costumes are going door to door collecting
their treats.

ANGLE ON LAURIE

LAURIE
(to herself)
Well, kiddo, I thought you outgrew
superstition.

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.

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.

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.

ANGLE ON LAURIE

She freezes and stares down feafully.

LAURIE'S POV - BACK YARD

The sheets continue to twist and turn in the wind, but now
THE SHAPE IS GONE.

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
Hello?

There is a SOUND from the receiver, like CHEWING...

LAURIE
Who is this?

The chewing continues. She slams the receiver 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:

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 around
headstones and flowers.

TAYLOR
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...

Taylor 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
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:

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 pumpkin. The sun is a pale glow behind
the trees.

Laurie turns her gaze down the street.

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.

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.

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
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
What's the pumpkin 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 Dementia.
Six straight hours of horror movies.
Little Lindsey Wallace won't know
what hit her.

EXT. HADDONFIELD SQUARE - DUSK

Annie's car drives through the main square of Haddonfield.
Following behind is the station wagon.

INT. ANNIE'S CAR

Annie points up ahead and quickly hides the joint.

ANNIE
My dad!

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.

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.

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:

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.

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.

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'.

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.

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:

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.

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.

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
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.

INT. MYERS BEDROOM

Loomis and Brackett cautiously 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
She was sitting here when he came
through the door.

Loomis turns and glances at the window. He slowly walks toward
it.

LOOMIS
He must have watched them through
this window...

LOOMIS' POV - WINDOW

CAMERA SLOWLY TRACKS IN toward the window.

ANGLE ON LOOMIS

Loomis stops by the window.

LOOMIS
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 him 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:

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, what's the Boogey Man?

The phone RINGS in the other room. Laurie goes to answer it.
She picks up the receiver in the den.

LAURIE
Hello.

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
Oops! Hold on a minute...

She turns and reaches for Lester uncertainly.

ANNIE
Hi Lester...

Lester GROWLS at her menacingly.

ANNIE
Lindsey, Lindsey!
(into phone)
I'm about to be ripped apart by the
family dog.

Lindsey trots into the room.

ANNIE
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.

INT. DOYLE LIVING ROOM - NIGHT

Tommy walks to the front window and looks out.

TOMMY'S POV - STREET

A couple TRICK OR TREATERS walk by.

Behind them, across the street, stands THE SHAPE, LOOKING
INTO THE HOUSE.

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.

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
(panicked)
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.

LAURIE'S POV - STREET

The street is empty.

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.

INT. DOYLE LIVING ROOM

Tommy dashes up to the front window and looks out.

POV - STREET

We see the man as he passes under a streetlight on his way
TOWARD THE WALLACE HOUSE.

CUT TO:

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.

POV FROM OUTSIDE KITCHEN WINDOW

The shape stands close to CAMERA watching Annie make popcorn.
She puts the butter in the pan.

ANNIE
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
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.

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.

INT. WALLACE HOUSE

Annie is startled by the crash. She looks outside the window.

POV OUT KITCHEN WINDOW

A hanging plant swings in the wind. It BUMPS against the
side of the house.

ANGLE ON ANNIE

She turns from the window and walks out of the kitchen.

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.

ANGLE ON DOG

From the darkness of the back yard Lester springs forward
into CAMERA, SNARLING and BARKING viciously.

ANGLE ON SHAPE - DOG

The shape darts away from the kitchen window, the dog SNAPPING
right after him.

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.

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:

INT. DOYLE HOUSE - LIVING ROOM - NIGHT

Laurie and Tommy are sitting on the couch watching the Horror-
thon 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 believe.

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.

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.

ANOTHER ANGLE - PASSAGEWAY

The shape stands behind a tree watching Annie walk along the
passageway.

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!

ANGLE ON DOOR

The door CREAKS open. Behind the door we see the outline of
the SHAPE STANDING THERE.

ANGLE ON ANNIE

Annie turns toward the slightly open door.

ANNIE
Hello?

Silence.

ANNIE
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.

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!

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.

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
Lindsey! Lindsey, goddamn it, help!

From the house Annie hears the phone ring.

ANNIE
Lindsey, answer the phone! It's Paul!
Lindsey! LINDSEY!

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 receiver.

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!

ANGLE ON ANNIE HANGING OUTSIDE THE WINDOW

ANNIE
Lindsey, open the door! I'm locked
in the laundry room!

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.

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!

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 receiver 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
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 not 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 Horror-thon.

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:

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.

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.

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 Horror-thon.

LAURIE
The old girl scout comes through
again.

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
No keys, but please... my Paul.

Quickly she turns and walks out of the garage.

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
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.

INT. GARAGE

Annie walks into the garage, over to her car and opens the
door. It is now UNLOCKED, but Annie doesn't notice.

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 grotesque
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.

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:

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.

BEHIND CURTAIN

Tommy hides, preparing to jump out and scare Lindsey. For a
moment, he glances out the window.

TOMMY'S POV - WALLACE BACK YARD

The figure of a MAN carries what seems to be a BODY across
the Wallace's back yard.

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:

EXT. MYERS HOUSE - NIGHT

The old Myers house looks ominous and foreboding 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.

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.

ANGLE ON LOOMIS

He watches the young boy walk toward the house, unsure whether
he should interfere or just watch.

LOOMIS' POV - OLD HOUSE - STREET

Loomis 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.

ANGLE ON LOOMIS

Loomis quietly stands up behind the hedge.

LOOMIS
Lonnie...

LOOMIS' POV - OLD HOUSE

Lonnie spins around and stares in horror at the talking hedge.

ANGLE ON LOOMIS

LOOMIS
Get your ass away from there!

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.

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:

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.

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...

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.

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.

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.

LINDSEY
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.

LAURIE'S POV OF THE WALLACE HOUSE

Laurie sees Bob's car parked in front of the house.

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.

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
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.

INT. DOYLE HOUSE - NIGHT

Laurie stands by the telephone. She walks to the window and
glances out.

LAURIE'S POV - WALLACE HOUSE

It is dark.

ANGLE ON LAURIE

Laurie shrugs, turns away from the window and walks back to
Tommy and Lindsey sitting on the couch.

CUT TO:

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 beautifully 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.

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!

ANOTHER ANGLE

Bob has his head down, intent on cleaning up the mess.

There is a SLAM from across the kitchen. Bob looks up.

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.

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.

BOB'S POV - BACK YARD

The yard is empty. Just the wind blowing the trees.

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
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.

ANGLE ON BOB'S FEET

Bob's feet leave the floor.

ANGLE ON BOB'S FACE

He makes a guttural sound deep in his throat as the shape's
hand closes tightly around his windpipe.

ANGLE ON SHAPE

Behind the mask are two burning eyes. The shape moves forward.

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:

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.

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
Cute, Bob. Real cute.

The ghost doesn't answer.

ANOTHER ANGLE - LYNDA AND GHOST

Lynda looks at the ghost. She slides the sheets down from
her body.

LYNDA
Come here, you fool.

The ghost doesn't answer. He continues to stare at Lynda.

LYNDA
Can't I get your ghost, Bob?

Lynda laughs at her own joke, then stops when she sees the
ghost is motionless.

LYNDA
All right, all right. So where's the
beer?

Nothing. The ghost just stands there.

LYNDA
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
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.

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.

INT. WALLACE BEDROOM

Lynda holds the phone to her ear. The ghost walks up slowly
behind her. He raises his hands to grab her.

INT. DOYLE HOUSE

Laurie answers the telephone.

LAURIE
Hello.

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.

INT. DOYLE HOUSE

LAURIE
Hello?

Laurie hears SQUEALS, and rustling sounds across the phone.

LAURIE
All right, Annie! I've heard your
famous chewing, now I get your famous
squeals?

Laurie continues to hear weird SOUNDS.

LAURIE
Annie?

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 receiver and puts it to his ear.

INT. DOYLE HOUSE - ANGLE ON LAURIE

LAURIE
Annie, Annie! Are you all right?

Silence over the phone.

LAURIE
Are you fooling around again?

Silence.

LAURIE (CON'T)
I'll kill you if this is a joke!

More silence.

LAURIE
Annie...

Suddenly the phone goes dead.

Laurie stares at the receiver, then hangs up. She crosses to
the window and looks out toward the Wallace house.

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.

ANGLE ON LAURIE

She stares at the house, puzzled.

LAURIE'S POV - WALLACE HOUSE

THEN THE LIGHT GOES OFF.

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.

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.

INT. DOYLE HOUSE

Laurie finally hangs up the phone. She stands for a moment
considering it, then turns and walks upstairs.

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.

INT. DOYLE HOUSE - LIVING ROOM

Laurie comes back downstairs. She takes a key out of her
purse and again steps to the window.

LAURIE'S POV - WALLACE HOUSE

Dark and silent.

ANGLE ON LAURIE

She steps to the front door.

CUT TO:

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.

LOOMIS' POV - STREET - STATION WAGON

It is empty except for a station wagon parked several blocks
away.

ANGLE ON LOOMIS

He turns away from the street. Then a thought strikes him.
He looks again.

LOOMIS' POV - STREET - STATION WAGON

THE LONE CAR IS LOOMIS' STATION WAGON.

ANGLE ON LOOMIS

He's not certain of it. Slowly Loomis starts walking down
the street toward the station wagon.

CUT TO:

EXT. STREET - NIGHT

Laurie locks the Doyle house and walks away out into the
street. The wind whips her clothes and hair.

LAURIE'S POV - WALLACE HOUSE - MOVING SHOT

MOVING SHOT toward the Wallace house, dark and ominous.

MOVING SHOT - LAURIE

She moves down the street, shivering in the chill wind. She
puts the key to the Doyle house in her pocket.

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.

MOVING SHOT - LAURIE

She picks up her speed, now up the sidewalk.

LAURIE'S POV - WALLACE HOUSE - MOVING SHOT

The house looms closer and closer.

CUT TO:

EXT. STREET - NIGHT

TRACKING SHOT with Loomis as he walks up the street.

LOOMIS' POV - STATION WAGON

The station wagon moves closer.

MOVING SHOT - LOOMIS

He recognizes it and races forward.

LOOMIS' POV - STATION WAGON

CAMERA TRACKS IN to the station wagon, right up to the STATE
EMBLEM emblazoned on the side.

CUT TO:

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.

LAURIE'S POV - BOB'S CAR

Bob's car sits there on the street.

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.

INT. WALLACE KITCHEN

The kitchen is dark. Laurie stands there a moment staring
into the blackness.

LAURIE
Annie?

No answer.

LAURIE
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
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
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
All right, meatheads. The joke is
over.

Silence.

LAURIE
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
This has most definitely stopped
being funny. Now cut it out!

A SCRAPING SOUND, then silence.

LAURIE
You'll be sorry.

Slowly Laurie starts up the staircase.

CUT TO:

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:

INT. WALLACE HOUSE - NIGHT

SLOWLY TRACKING up the staircase.

MOVING SHOT - LAURIE

as she slowly moves up the stairs. She reaches the top and
stops.

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.

ANGLE ON LAURIE

She moves for the door, CAMERA TRACKING WITH HER.

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.

ANGLE ON LAURIE

She moves forward toward the bed.

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.

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.

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.

INT. SECOND FLOOR HALLWAY

Laurie backs out of the bedroom. Her mouth is open in
speechless 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.

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.

CLOSE SHOT - LAURIE'S BACK - HAND

The hand grasps a piece of Laurie's blouse and RIPS it.

CLOSE SHOT - LAURIE

She SCREAMS and spins around.

ANGLE ON SHAPE

He stands there holding up the piece of material, then raises
the butcher knife and moves for her.

ANGLE ON LAURIE

CAMERA MOVES WITH HER as she backs away, SCREAMING at the
top of her lungs.

ANGLE ON SHAPE

He lunges at her suddenly with the knife.

ANGLE ON LAURIE - TOP OF STAIRCASE

THE KNIFE SLICES ACROSS HER ARM, ripping her flesh.

Laurie suddenly jumps backward, raising her arm instictively.

ANGLE ON RAILING

Laurie bumps back into the railing.

ANGLE ON SHAPE

He lunges again with the knife.

ANGLE ON LAURIE

She leaps backward to avoid the blade and slips over the
edge of the railing.

LAURIE'S POV

CAMERA POUNCES DOWN from the second floor and SLAMS into the
floor.

ANGLE ON LAURIE

She hits the floor and rolls over, holding her leg painfully.
Then she looks up at the staircase.

POV - STAIRCASE

The shape moves to the top of the staircase and STARTS down
toward her.

ANGLE ON LAURIE

She pulls herself up off the floor and hobbles into the living
room.

ANGLE ON STAIRCASE

The shape races down the stairs.

ANGLE ON LAURIE

She moves for the kitchen. She trips on the fallen lamp and
fall to the floor.

ANGLE ON SHAPE

The shape steps into the living room, knife raised.

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.

ANGLE ON DOOR

Her hand tries the door. It is KEY-LOCKED.

ANGLE ON LAURIE

Desperately she tries the door, glancing behind her.

ANGLE ON SHAPE

The shape's hand reaches for the lock.

ANGLE ON LAURIE

She steps back from the door into the kitchen.

LAURIE'S POV - KITCHEN WINDOW

She sees the kitchen window over the sink.

ANGLE ON LAURIE

She hobbles to the sink, climbs up on it and grabs the window.
With a heave she opens it half-way.

ANGLE ON SHAPE

The shape's hand grabs the lock and CLICKS it open.

ANGLE ON LAURIE - KITCHEN WINDOW

She can only get it three-fourths open. Headfirst she crawls
through the window.

ANGLE ON SHAPE

The shape pushes the door open and leaps into the kitchen.

ANGLE ON LAURIE

She drags herself roughly out the window.

CLOSE SHOT - WINDOW

The shape grabs at Laurie's legs as they disappear through
the sill.

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.

LAURIE'S POV - WALLACE HOUSE

No sign of the shape. The house is dark and silent.

ANGLE ON LAURIE

The back porch light comes on. Laurie continues to POUND on
the door.

LAURIE'S POV - DOOR

Through the glass in the back door we see an OLD WOMAN dressed
in a nightgown approach.

ANGLE ON LAURIE

LAURIE
Please, help me! Call the police!
Please!

LAURIE'S POV - DOOR

The old woman stares at her suspiciously for a moment, then
turns from the door and walks away.

ANGLE ON LAURIE

THE PORCH LIGHT GOES OUT.

LAURIE
No! No! Please, open the door!

She turns around and looks back.

LAURIE'S POV - WALLACE HOUSE

Nothing. No sign of the shape.

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.

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.

LAURIE'S POV - STREET

The street is empty. The wind WHISHES the trees. Leaves
sprinkle down.

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.

LAURIE'S POV - STREET

THE SHAPE WALKS SLOWLY DOWN THE MIDDLE OF THE STREET, RIGHT
TOWARD HER!

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.

ANGLE ON UPSTAIRS WINDOW

The planter SMASHES against the window. A light goes on.
Tommy appears sleepily at the window.

TOMMY
Who is it?

ANGLE ON LAURIE

LAURIE
Tommy, let me in!

She looks back at the street.

LAURIE'S POV - STREET

The street is empty. THE SHAPE IS GONE.

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.

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.

LAURIE'S POV - KITCHEN

From the living room we see into the kitchen. THE BACK DOOR
IS OPEN.

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.

CLOSE SHOT - KNITTING NEEDLES

Her hand brushes against the knitting needles protruding
from her totebag.

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.

ANGLE ON COUCH

The blade of the butcher knife THUMPS into the couch.

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:

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:

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.

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
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.

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.

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.

ANGLE ON CLOSET DOOR

The door buckles inward as the shape SMASHES against it.

ANGLE ON LAURIE

She twists the top of the hanger, unwinding the wire.

ANGLE ON CLOSET DOOR

The door BREAKS IN. The shape steps inside, pushing aside
the clothes.

ANGLE ON LAURIE

She unhooks the hanger and bends it out straight.

ANGLE ON SHAPE

The shape leans in, peering down at Laurie in the corner,
raising the knife.

ANGLE ON LAURIE

Holding the hanger with both hands she thrusts it forward
with all her might.

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.

ANGLE ON LAURIE

She grasps the butcher knife with both hands and jabs it
upward.

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.

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.

LAURIE'S POV - SHAPE

The shape lies on the floor by the bed, the butcher knife
protruding from his stomach.

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
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.

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.

ANGLE ON LOOMIS

He watches the children with a puzzled frown.

LOOMIS' POV - TOMMY AND LINDSEY

Shrieking with fear, Tommy and Lindsey run up the sidewalk.

ANGLE ON LOOMIS

He stares at them for a moment, then moves for the Doyle
house.

CUT TO:

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.

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.

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.

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.

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.

ANGLE ON LOOMIS

Standing at the top of the stairs is Loomis, gun in his hand.
He moves forward down the hall.

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.

EXT. DOYLE HOUSE - UP ANGLE

Michael falls from the second story right down into CAMERA
with a CRASH!

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.

LOOMIS' POV - BACK YARD

He looks down at the spot where Michael should be, but there
is nothing there, just a TRAMPLED PATCH IN THE GRASS.

ANGLE ON LOOMIS

He stares down with growing fear, then looks out from the
house.

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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