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  1.  
  2.  
  3.  
  4.  
  5.  
  6.  
  7. HALLOWEEN
  8.  
  9. a screenplay
  10.  
  11. by
  12.  
  13. John Carpenter
  14.  
  15. and
  16.  
  17. Debra Hill
  18.  
  19.  
  20.  
  21.  
  22.  
  23.  
  24.  
  25.  
  26.  
  27.  
  28.  
  29.  
  30.  
  31.  
  32.  
  33.  
  34.  
  35.  
  36.  
  37.  
  38. SHOOTING DRAFT
  39. REV. 4-10-78
  40.  
  41. SCENE/SHOT NUMBERS
  42. REMOVED
  43.  
  44.  
  45.  
  46.  
  47.  
  48.  
  49.  
  50.  
  51.  
  52.  
  53.  
  54. MAIN TITLE SEQUENCE
  55.  
  56. OPEN on a black screen. SUPERIMPOSE in dark red letters:
  57.  
  58. HALLOWEEN
  59.  
  60. Then we slowly:
  61.  
  62. FADE IN TO:
  63.  
  64. Darkness, with a small shape in the center of the screen.
  65. As MAIN TITLES CONTINUE OVER, CAMERA SLOWLY MOVES IN on
  66. the shape.
  67.  
  68. We get closer and closer until we see that the shape is a
  69. Halloween mask. It is a large, full-head platex rubber
  70. mask, not a monster or ghoul, but the pale, neutral features
  71. of a man weirdly distorted by the rubber. .
  72.  
  73. Finally CAMERA MOVES IN CLOSE on the eye of the mask. It
  74. is blank, empty, a dark, staring socket.. SUPERIMPOSE FINAL
  75.  
  76. CREDIT.
  77.  
  78. FADE OUT:
  79.  
  80. FADE IN:
  81.  
  82. Black screen. SUPERIMPOSE:
  83.  
  84. HADDONFIELD, ILLINOIS
  85.  
  86. OCTOBER 31, 1963
  87.  
  88. DISSOLVE TO:
  89.  
  90. EXT./INT. MYERS HOUSE -- NIGHT -- SUBJECTIVE POV
  91. (PANAGLIDE)
  92.  
  93. It is night. We move toward the rear of a house through
  94. Someone's POV. CAMERA MOVES UP to a Jack-o'-lantern glowing
  95. brightly on a windowsill. It is a windy night and the
  96. curtains around the Jack-o'-lantern ruffle back and forth.
  97.  
  98. Suddenly we hear voices from inside the house.
  99.  
  100. SISTER (V.O.)
  101. My parents won't be back till ten.
  102.  
  103. BOYFRIEND (V.O.)
  104. Are you sure?
  105.  
  106. Then LAUGHTER.
  107.  
  108. The POV moves from the Jack-o'-lantern down to another
  109. window and peers inside. We see the sister's bedroom through
  110. the blowing curtains.
  111.  
  112. Into the bedroom comes the SISTER, 18, very pretty. She
  113. GIGGLES as the BOYFRIEND jumps into the room. Also 18, he
  114. wears a Halloween mask and costume.
  115.  
  116. BOYFRIEND
  117. (continuing)
  118. We're all alone, aren't we?
  119.  
  120. SISTER
  121. Michael's around someplace....
  122.  
  123. The boyfriend grabs the sister and kisses her.
  124.  
  125. SISTER
  126. (continuing)
  127. Take off that thing.
  128.  
  129. The boyfriend rips off his mask. He is a handsome young
  130. man underneath. They kiss again, this time with more
  131. passion. The boyfriend begins to unbutton the sister's
  132. blouse. She responds to him.
  133.  
  134. The POV swings away from the window and begins to restlessly
  135. pace back and forth, agitated, disturbed. We HEAR THE SOUNDS
  136. of the sister and boyfriend inside the bedroom growing
  137. more and more passionate.
  138.  
  139. Finally the POV moves back up to the window. Inside through
  140. the moving curtains, we see the sister and the boyfriend
  141. on the bed, naked, making love.
  142.  
  143. The POV springs back from the window and stalks quickly
  144. down the side of the house, past the Jack-o'-lantern, around
  145. to a door. Quietly the door is opened and the POV moves
  146. inside.
  147.  
  148. The POV glides silently through the house into the kitchen,
  149. up to a drawer. The drawer is opened. A large butcher knife
  150. is withdrawn.
  151.  
  152. Then the POV swings around and moves to the kitchen door.
  153. We look down a hallway to the front door. The boyfriend
  154. steps out of the bedroom door, buttoning his shirt. The
  155. sister stands in the doorway, a sheet wrapped around her.
  156.  
  157. BOYFRIEND
  158. I gotta go.
  159.  
  160. SISTER
  161. Will you call me tomorrow?
  162.  
  163. BOYFRIEND
  164. Yeah, sure.
  165.  
  166. SISTER
  167. Promise?
  168.  
  169. BOYFRIEND
  170. Yeah.
  171.  
  172. They kiss again and the boyfriend walks to the front door.
  173. The sister watches as he leaves and shuts the door behind
  174. him. Then she turns and steps back into the bedroom.
  175.  
  176. The POV moves slowly down the hall to the bedroom door and
  177. peers around inside. The sister sits at her night-table
  178. brushing her hair. She is still completely nude.
  179.  
  180. Slowly the POV moves into the room. Suddenly we move down
  181. to the discarded Halloween mask on the floor. The POV bends
  182. down and picks it up. Then suddenly the POV is covered by
  183. the mask and we see through the eye-holes.
  184.  
  185. The POV moves up behind the sister. Sensing a presence,
  186. she spins around and stares at the POV, covering her breasts
  187. quickly.
  188.  
  189. SISTER
  190. Michael...?
  191.  
  192. Suddenly the POV lunges forward. The sister continues to
  193. stare incredulously. There is a rapid blur as the POV drives
  194. the butcher knife into the sister's chest and out again
  195. almost before we've seen it.
  196.  
  197. The sister looks down at the blood forming at her hands,
  198. then
  199.  
  200. back up at the POV with an astonished disbelief.
  201.  
  202. Then in a wild paroxysm the butcher knife blurs continuously
  203. in and out of frame, slashing the sister mercilessly. She
  204. begins to SCREAM, trying to fend off the blows with her
  205. hands, then suddenly falls out of frame to the floor.
  206.  
  207. The POV moves back away from the sister's lifeless body,
  208. spins around and careens out of the bedroom.
  209.  
  210. At top speed the POV races through the darkened house, to
  211. the front door, out the door, down the steps and rapidly
  212. up the street. The CAMERA careens along in frenzied flight,
  213. up the sidewalk, up a small side alley, down someone's
  214. backyard, then to a sudden, abrupt halt in front of MOTHER
  215. and FATHER just coming out of a neighbor's house.
  216.  
  217. Mother and Father stare at the POV, at first in puzzlement,
  218. then slow, growing horror.
  219.  
  220. MOTHER
  221. Michael?
  222.  
  223. CLOSE SHOT -- MICHAEL -- CRANE
  224.  
  225. The father's hand reaches up and rips off the Halloween
  226. mask, revealing MICHAEL, 6, underneath, a bright-eyed boy
  227. with a calm, quiet smile on his face. CAMERA PULLS BACK,
  228. revealing the blood-stained butcher knife in his hand,
  229. then further back, CRANING UP past his parents standing
  230. there, up from the neighbor's house to a HIGH SHOT of the
  231. neighborhood as the sounds of POLICE SIRENS rise in the
  232. distance.
  233.  
  234. FADE OUT:
  235.  
  236. FADE IN TO:
  237.  
  238. BLACK. SUPERIMPOSE:
  239.  
  240. SMITH'S GROVE, ILLINOIS
  241.  
  242. OCTOBER 30, 1978
  243.  
  244. DISSOLVE TO:
  245.  
  246. EXT. HIGHWAY -- RAIN -- NIGHT
  247.  
  248. Two headlights appear in the darkness, backlighting the
  249. rain that pours down on a lonely strip of highway. A station
  250. wagon HISSES along the wet road surface.
  251.  
  252. INT. STATION WAGON -- NIGHT
  253.  
  254. The back seat is separated from the front by a wire-mesh
  255. screen, much like a police car. MARION, 30, drives. She is
  256. dressed in a crisp, white nurse's uniform. Next to her in
  257. the passenger seat is SAM LOOMIS, a clinical psychiatrist.
  258. He is a tough-looking man in his forties who flips through
  259. pages in a manila folder.
  260.  
  261. LOOMIS
  262. ...then he gets another physical
  263. by the state, and he makes his
  264. appearance before the judge. That
  265. should take four hours if we're
  266. lucky, then we're on our way.
  267.  
  268. MARION
  269. What did you use before?
  270.  
  271. LOOMIS
  272. Thorazine.
  273.  
  274. MARION
  275. He'll barely be able to sit up.
  276.  
  277. LOOMIS
  278. That's the idea. Here we are.
  279.  
  280. POV THROUGH WINDSHIELD -- SANITARIUM
  281.  
  282. Through the rain we see a large sign:
  283.  
  284. SMITH'S GROVE -- WARREN COUNTY SANITARIUM
  285.  
  286. Behind the sign is the sanitarium itself, a cold-looking
  287. building surrounded by a fence.
  288.  
  289. INT. STATION WAGON
  290.  
  291. LOOMIS
  292. (Continuing)
  293. The driveway's a few hundred yards
  294. up on your right.
  295.  
  296. MARION
  297. Are there any special instructions?
  298.  
  299. LOOMIS
  300. Just try to understand what we're
  301. dealing with here. Don't
  302. underestimate it.
  303.  
  304. MARION
  305. I think we should refer to 'it' as
  306. 'him.'
  307.  
  308. LOOMIS
  309. If you say so.
  310.  
  311. MARION
  312. Your compassion is overwhelming, .
  313. Doctor.
  314.  
  315. Loomis glances at Marion as she lights a cigarette. She
  316. shoves the matches into the pack and tosses it on the
  317. dashboard. Loomis stares at the cigarette pack. The pack
  318. of matches reads: "The Rabbit in Red Lounge -- Entertainment
  319. Nightly." Loomis turns his eyes back to the rain-slicked
  320. road.
  321.  
  322. LOOMIS
  323. Ever done anything like this before?
  324.  
  325. MARION
  326. Only minimum security.
  327.  
  328. LOOMIS
  329. I see.
  330.  
  331. MARION
  332. (defensively)
  333. What does that mean?
  334.  
  335. LOOMIS
  336. It means... I see.
  337.  
  338. MARION
  339. You don't have to make this any
  340. harder than it already is.
  341.  
  342. LOOMIS
  343. I couldn't if I tried.
  344.  
  345. MARION
  346. The only thing that ever bothers
  347. me is their gibberish. When they
  348. start raving on and on...
  349.  
  350. LOOMIS
  351. You don't have anything to worry
  352. about. He hasn't spoken a word in
  353. 15 years.
  354.  
  355. Both of them suddenly stare out the windshield in front of
  356. them.
  357.  
  358. POV THROUGH WINDSHIELD -- FIELD
  359.  
  360. Through the rain we see a field off to the side of the
  361. road. Dimly lit by the car headlights are FIVE PATIENTS,
  362. dressed in wind-blown white gowns, drenched by the rain,
  363. wandering aimlessly around the field.
  364.  
  365. INT. STATION WAGON
  366.  
  367. MARION
  368. Since when do they let them wander
  369. around?
  370.  
  371. They look up ahead.
  372.  
  373. POV THROUGH WINDSHIELD -- PATIENT
  374.  
  375. Standing by the side of the road is a MALE PATIENT, a wild-
  376. looking man in his sixties dressed in a white gown, who
  377. stares at the station wagon.
  378.  
  379. INT. STATION WAGON
  380.  
  381. Marion slows the station wagon and pulls off to the side
  382. of the road. Loomis jumps out.
  383.  
  384. POV THROUGH WINDSHIELD -- LOOMIS AND PATIENT
  385.  
  386. Through the windshield we see Loomis rush over to the
  387. patient, stand and talk for a moment, then hurry back.
  388.  
  389. INT. STATION WAGON
  390.  
  391. Loomis climbs back in, dripping from the rain.
  392.  
  393. LOOMIS
  394. Pull up to the entrance!
  395.  
  396. MARION
  397. Shouldn't we pick him up?
  398.  
  399. LOOMIS
  400. Move it!
  401.  
  402. Marion starts down the road.
  403.  
  404. MARION
  405. What did he say?
  406.  
  407. LOOMIS
  408. He asked me if I could help him
  409. find his purple lawn mower.
  410.  
  411. MARION
  412. I don't think this is any time to
  413. be funny...
  414.  
  415. LOOMIS
  416. He said something else. "It's all
  417. right now. He's gone. The evil's
  418. gone."
  419.  
  420. POV THROUGH WINDSHIELD -- SANITARIUM DRIVE
  421.  
  422. Ahead of them is the entrance to the sanitarium.
  423.  
  424. INT. STATION WAGON
  425.  
  426. Marion slows down to turn.
  427.  
  428. Through the rear window we see a SHAPE spring up out of
  429. the darkness, streak through the rain and leap up on the
  430. rear of the station wagon.
  431.  
  432. The station wagon bounces up and down. The roof sags in
  433. and out with the weight of someone on top.
  434.  
  435. MARION
  436. Something fell on the roof.
  437.  
  438. The roof continues to buckle in and out wildly.
  439.  
  440. LOOMIS
  441. Something jumped on the roof...
  442.  
  443. Marion stops and rolls down her window to look outside.
  444.  
  445. Loomis opens his door and steps out. Suddenly he is hit in
  446. the face by a powerful fist from the roof. Loomis staggers
  447. backwards and falls by the side of the road.
  448.  
  449. Marion starts to react. Suddenly a hand reaches in through
  450. the window and lunges at her.
  451.  
  452. The fingers grab her hair. She SCREAMS. The fingers tighten
  453. around her hair and the hand pulls Marion roughly to the
  454. window.
  455.  
  456. Twisted around in the seat, Marion's foot jams down all
  457. the way on the gas pedal. The station wagon ROARS forward.
  458.  
  459. Marion continues to SCREAM, clawing at the hand.
  460.  
  461. POV THROUGH WINDSHIELD -- ROAD
  462.  
  463. Through the rain the road spins crazily ahead, the wipers
  464. erasing sheets of rain.
  465.  
  466. Suddenly the other hand reaches down from the roof and
  467. grabs the wiper, holding it tightly. Rain splashes on the
  468. windshield obscuring the road.
  469.  
  470. INT. STATION WAGON
  471.  
  472. The hand rips at Marion's hair. SCREAMING. Clawing.
  473.  
  474. POV THROUGH Windshield
  475.  
  476. The windshield is completely obliterated by rain.
  477.  
  478. INT. STATION WAGON
  479.  
  480. The station wagon skids and WHAMS into the shoulder on the
  481. Side of the road. Marion is hurled across the seat against
  482. the passenger door.
  483.  
  484. Suddenly the hand springs down from above and SLAMS against
  485. the passenger window, shattering it.
  486.  
  487. SHRIEKING, Marion scurries across the front seat, opens
  488. the driver's door and scrambles out.
  489.  
  490. EXT. ROAD -- STATION WAGON
  491.  
  492. Marion frantically crawls her way across the rain-drenched
  493. road away from the station wagon. CAMERA TRACKS with her
  494. as she slides down into the muddy shoulder. She looks back.
  495.  
  496. POV -- STATION WAGON
  497.  
  498. From the shoulder we see the station wagon in the rain,
  499. and the shape jump in the driver's seat and SLAM the door.
  500.  
  501. Then the station wagon takes off and disappears down the
  502. road into the darkness.
  503.  
  504. ANGLE ON SHOULDER
  505.  
  506. Loomis runs up out of the rain and helps Marion to her
  507. feet. She CRIES hysterically. Loomis stares off down the
  508. road at the disappearing taillights.
  509.  
  510. LOOMIS
  511. You can calm down. The evil's gone.
  512.  
  513. FADE OUT:
  514.  
  515. FADE IN TO:
  516.  
  517. BLACK SCREEN. SUPERIMPOSE:
  518.  
  519. HADDONFIELD
  520.  
  521. OCTOBER 31, 1978
  522.  
  523. DISSOLVE TO:
  524.  
  525. EXT. LAURIE'S HOUSE -- DAY
  526.  
  527. LAURIE, 17 and pretty in a quiet sort of way, steps out of
  528. her two-story frame house, down the front walk to the
  529. street. Her face has a soft, innocent quality, her eyes
  530. bright and alive. Her FATHER steps out of the door behind
  531. her and walks to the car in the driveway. His car has
  532. "STRODE REAL ESTATE" emblazoned on the side door.
  533.  
  534. FATHER
  535. Don't forget to drop off the key
  536. at the Myers place...
  537.  
  538. LAURIE
  539. I won't.
  540.  
  541. FATHER
  542. They're coming by to see the house
  543. at 10:30. Be sure you leave it
  544. under the mat...
  545.  
  546. LAURIE
  547. I promise.
  548.  
  549. TRACKING SHOT -- LAURIE
  550.  
  551. CAMERA MOVES with Laurie as she walks down the residential
  552. street. She carries a large bundle of schoolbooks in her
  553. arms. Across a backyard TOMMY DOYLE, an eight-year-old boy
  554. with tousled brown hair and bright blue eyes comes running
  555. with his books.
  556.  
  557. TOMMY
  558. Hey, Laurie...
  559.  
  560. LAURIE
  561. Hi, Tommy.
  562.  
  563. He catches up with her and they walk along down the street.
  564.  
  565. TOMMY
  566. Are you coming over tonight?
  567.  
  568. LAURIE
  569. Same time, same place.
  570.  
  571. TOMMY
  572. Can we make Jack-o'-lanterns?
  573.  
  574. LAURIE
  575. Sure.
  576.  
  577. TOMMY
  578. Can we watch the monster movies?
  579.  
  580. LAURIE
  581. Sure.
  582.  
  583. TOMMY
  584. Will you read to me? Can we make
  585. popcorn?
  586.  
  587. LAURIE
  588. Sure. Sure.
  589.  
  590. They walk up to the front of the old, two-story Myers house
  591. set back from the street. It is now weather-beaten and
  592. dilapidated. Laurie walks through the front gate and starts
  593. up toward the porch.
  594.  
  595. TOMMY
  596. You're not supposed to go up there.
  597.  
  598. Laurie holds up a key.
  599.  
  600. LAURIE
  601. Yes, I am.
  602.  
  603. TOMMY
  604. Uh-uh. That's a spook house.
  605.  
  606. LAURIE
  607. Just watch.
  608.  
  609. Laurie strolls up to the front porch. She bends down, lifts
  610. the welcome mat and places the key under it.
  611.  
  612. INT. MYERS HOUSE -- THROUGH WINDOW
  613.  
  614. Through a front window, we see Laurie bending over the
  615. welcome mat. Suddenly a dark shape, the outline of a man,
  616. leans forward, watching her. As she walks back to Tommy at
  617. the street the shape moves to watch them, then fades back
  618. into the interior of the house.
  619.  
  620. TRACKING SHOT -- LAURIE AND TOMMY
  621.  
  622. Laurie and Tommy continue walking down the street.
  623.  
  624. TOMMY
  625. Lonnie Elam said never to go up
  626. there. Lonnie Elam said that's a
  627. haunted house. He said real awful
  628. stuff happened there once.
  629.  
  630. LAURIE
  631. Lonnie Elam probably won't get out
  632. of sixth grade.
  633.  
  634. Tommy breaks stride and runs across the street.
  635.  
  636. TOMMY
  637. I gotta go. I'll see you tonight.
  638.  
  639. LAURIE
  640. See you.
  641.  
  642. Laurie continues walking alone. She begins to sing quietly
  643. to herself.
  644.  
  645. LAURIE
  646. (sings)
  647. I wish I had you all alone...
  648. Just the two of us...
  649. I would hold you close to me...
  650. So close to me...
  651.  
  652. ANGLE DOWN STREET
  653.  
  654. We see Laurie walking off down the street in the distance.
  655. CLOSE TO CAMERA the dark shape moves into frame, watching
  656. Laurie disappear around the corner.
  657.  
  658. LAURIE
  659. (sings, continuing)
  660. Just the two of us...
  661. So close to me...
  662.  
  663. CUT TO:
  664.  
  665. EXT. SANITARIUM -- DAY
  666.  
  667. Sam Loomis strides quickly out of the front of the
  668. sanitarium followed immediately by DR. WYNN, a gray-haired
  669. man in his forties. CAMERA TRACKS with them across the
  670. parking lot.
  671.  
  672. WYNN
  673. I'm not responsible, Sam.
  674.  
  675. LOOMIS
  676. (angrily)
  677. Of course not.
  678.  
  679. WYNN
  680. I've given them his profile.
  681.  
  682. LOOMIS
  683. You must have told them we shocked
  684. him into a grinning idiot. Two
  685. roadblocks and an all-points
  686. bulletin wouldn't stop a five-year
  687. old!
  688.  
  689. Loomis reaches a car and unlocks it.
  690.  
  691. WYNN
  692. He was your patient, Doctor. If
  693. the precautions weren't sufficient,
  694. you should have notified...
  695.  
  696. LOOMIS
  697. I notified everybody! Nobody
  698. listened.
  699.  
  700. WYNN
  701. There's nothing else I can do.
  702.  
  703. LOOMIS
  704. You can get back on the telephone
  705. and tell them exactly what walked
  706. out of here last night. And tell
  707. them where he's going.
  708.  
  709. WYNN
  710. Probably going.
  711.  
  712. LOOMIS
  713. I'm wasting time.
  714.  
  715. Loomis gets in the car. Wynn leans down to the window.
  716.  
  717. WYNN
  718. Sam, Haddonfield is a hundred and
  719. fifty miles from here. How could
  720. he get there, he can't drive?
  721.  
  722. LOOMIS
  723. He was doing all right last night.
  724. Maybe somebody around here gave
  725. him lessons.
  726.  
  727. Loomis starts up the car and pulls away from the sanitarium.
  728.  
  729. Wynn watches him go, then hurries back into the building.
  730.  
  731. CUT TO:
  732.  
  733. INT. CLASSROOM -- DAY
  734.  
  735. Laurie sits at the back of a classroom of HIGH SCHOOL
  736. STUDENTS. CAMERA MOVES IN on her as a TEACHER drones away
  737. at the front of the room.
  738.  
  739. TEACHER (V.O.)
  740. ...and the book ends, but what
  741. Samuels is really talking about
  742. here is fate.
  743.  
  744. CAMERA MOVES to a CLOSE-UP of Laurie. She barely listens
  745. to the teacher as she doodles in her notebook in front of
  746. her.
  747.  
  748. TEACHER
  749. (continuing)
  750. You see, fate caught up with several
  751. lives here. No matter what course
  752. of action Rollins took, he was
  753. destined to his own fate, his own
  754. day of reckoning with himself.
  755. The idea is that destiny is a very
  756. real, concrete thing that every .
  757. person has to deal with.
  758.  
  759. Laurie lets her gaze move to a window. She stares dreamily
  760. outside.
  761.  
  762. LAURIE'S POV -- STREET
  763.  
  764. From the window she can see the street, and a station wagon
  765. parked along the sidewalk.
  766.  
  767. Behind the station wagon stands the shape of a man. We
  768. can't quite see his features from here, but it is clear
  769. that he is looking in the school window.
  770.  
  771. ANGLE ON LAURIE
  772.  
  773. She turns away from the window and begins to doodle again.
  774.  
  775. ANGLE ON NOTEBOOK
  776.  
  777. We see Laurie draw:
  778.  
  779. LAURI STRODE
  780. TEACHER (V.O.)
  781. (continuing)
  782. Edwin, how does Samuel's view of
  783. fate differ from that of Costaine?
  784.  
  785. ANGLE ON LAURIE
  786.  
  787. She glances up from the book and out the window again.
  788.  
  789. LAURIE'S POV -- STREET
  790.  
  791. The shape behind the station wagon is still there and
  792. staring right at her.
  793.  
  794. ANGLE ON LAURIE
  795.  
  796. She frowns, staring back at the shape.
  797.  
  798. EDWIN (V.O.)
  799. Uh... doesn't he feel that no matter
  800. how complicated something is, it's
  801. also really simple too?
  802.  
  803. TEACHER (V.O.)
  804. No.
  805. (pause)
  806. Laurie.
  807.  
  808. This springs her around from the window.
  809.  
  810. LAURIE
  811. M'am?
  812.  
  813. TEACHER (V.O.)
  814. Answer the question.
  815.  
  816. LAURIE
  817. Costaine wrote that fate was somehow
  818. related only to religion, where
  819. Samuels felt that fate was like a
  820. natural element, like earth, air,
  821. fire and water.
  822.  
  823. TEACHER (V.O.)
  824. That's right, Samuels definitely
  825. personified fate...
  826.  
  827. Laurie sneaks a glance back to the window.
  828.  
  829. LAURIE'S POV -- STREET
  830.  
  831. The shape and the station wagon are gone.
  832.  
  833. ANGLE ON LAURIE
  834.  
  835. She turns back from the window and back to her notebook.
  836.  
  837. ANGLE ON NOTEBOOK
  838.  
  839. She has written:
  840.  
  841. "LAURIE STRODE IS LONELY"
  842.  
  843. CUT TO:
  844.  
  845. EXT. GAS STATION -- HIGHWAY -- DAY
  846.  
  847. We see a car parked in front of a small, closed-down gas
  848. station/diner by the side of the highway. CAMERA SLOWLY
  849. TRACKS over to a phone booth. Loomis is inside on the
  850. telephone.
  851.  
  852. LOOMIS
  853. (into telephone)
  854. No, not since Thursday.
  855. (pause)
  856. Yes, yes I'm all right. Stop
  857. worrying. After this I'll sleep
  858. for a week, two weeks...
  859. (pause)
  860. I said I'm all right. Believe me.
  861. I'll be home soon. Yes I do. Very
  862. much. I just... have to stop him...
  863. Of course it's possible, but I
  864. know him. And when he gets there,
  865. God help us.
  866. (pause)
  867. Right, right, I'll call you. Me
  868. too. Goodbye.
  869.  
  870. Loomis hangs up the phone and steps out of the booth. He
  871. looks up the highway.
  872.  
  873. LOOMIS' POV -- HIGHWAY
  874.  
  875. The highway disappears off into the distance. There is an
  876. old weather-beaten sign that reads:
  877.  
  878. HADDONFIELD 73 MILES
  879.  
  880. Just above the horizon huge clusters of clouds, dark and
  881. ominous, are blown along by the wind.
  882.  
  883. EXT. GAS STATION
  884.  
  885. Loomis turns and walks back to his car. He glances at the
  886. old gas station as he walks.
  887.  
  888. LOOMIS' POV -- GAS STATION -- MOVING SHOT
  889.  
  890. The building is dark, empty, dilapidated. On the padlocked
  891. door are huge marks like the clawing of an animal wanting
  892. to get in.
  893.  
  894. ANGLE ON LOOMIS
  895.  
  896. Loomis stops, stares at the door and then slowly walks
  897. over to it. He touches the marks with his hands, then looks
  898. at the dirt driveway around the building.
  899.  
  900. LOOMIS' POV -- DRIVEWAY
  901.  
  902. There are definite tire tracks leading from the highway up
  903. to the door, then back to the highway again.
  904.  
  905. Then his gaze returns to a discarded object crushed in the
  906. dirt of the driveway: a pack of cigarettes.
  907.  
  908. ANGLE ON LOOMIS
  909.  
  910. He picks up the cigarette pack.
  911.  
  912. CLOSE SHOT -- CIGARETTE PACK
  913.  
  914. Stuck in the cellophane of the crushed pack are matches:
  915.  
  916. "The Rabbit in Red Lounge -- Entertainment Nightly."
  917.  
  918. EXT. GAS STATION
  919.  
  920. Loomis turns and quickly strides back to his car, gets in
  921. and roars away from the lonely gas station.
  922.  
  923. CUT TO:
  924.  
  925. EXT. SCHOOLYARD -- DAY
  926.  
  927. The playground is filled with CHILDREN just getting out of
  928. school for the day. Some are dressed in Halloween costumes,
  929. some carry pumpkins and orange and black streamers, some
  930. carry Jack-o'-lanterns.
  931.  
  932. Tommy Doyle comes out of the door carrying a very large
  933. pumpkin. He is followed by 3 BOYS, RICHIE, KEITH and LONNIE,
  934. who are LAUGHING and pushing him.
  935.  
  936. TOMMY
  937. Leave me alone!
  938.  
  939. LONNIE
  940. He's gonna get you!
  941.  
  942. Lonnie runs up to Tommy and wiggles his fingers in Tommy's
  943. face. The other boys form a circle around Tommy and taunt
  944. him. In unison they sing:
  945.  
  946. BOYS
  947. He's gonna get you, he's gonna get
  948. you...
  949.  
  950. LONNIE
  951. The Boogeyman is coming!
  952.  
  953. TOMMY
  954. No he's not. Leave me alone.
  955.  
  956. LONNIE
  957. He doesn't believe us. Don't you
  958. know what happens on Halloween?
  959.  
  960. TOMMY
  961. Yeah, we get candy.
  962.  
  963. The boys LAUGH. Richie runs up to Tommy and makes a face.
  964.  
  965. RICHIE
  966. Oooooo! The Boogeyman!
  967.  
  968. The other boys join in the chant.
  969.  
  970. BOYS
  971. (in unison)
  972. The Boogeyman, the Boogeyman, the
  973. Boogeyman...
  974.  
  975. Tommy turns from them and starts to run away. Richie sticks
  976. out his foot. Tommy trips and falls to the concrete,
  977. SMASHING his pumpkin beneath him. The other boys run away
  978. GIGGLING and SCREAMING with delight.
  979.  
  980. PLAYGROUND ENTRANCE -- GATE
  981.  
  982. As the boys race out of the playground, Richie barrels
  983. through the gate and runs right into the dark shape.
  984.  
  985. We don't see the shape's face, just his lower body. He is
  986. dressed in pants and a shirt that look too big for him. He
  987. grabs Richie and holds him back at arm's length.
  988.  
  989. A large object falls out of his pocket. Richie quickly
  990. stares down at it. The shape lifts his foot and SMACKS it
  991. down over the object to hide it. Quickly Richie and the
  992. other 2 boys run around the man and on down the block.
  993.  
  994. The shape lifts his foot. Underneath it is a large butcher
  995. knife. He quickly picks it up and shoves it into his pocket.
  996.  
  997. Slowly the shape turns and walks away from the playground
  998. gate, CAMERA TRACKING WITH HIM. Across from him in the
  999. playground we see Tommy get to his feet, wiping the
  1000. demolished pumpkin off his shirt and pants.
  1001.  
  1002. We TRACK WITH THE shape to a station wagon. On the side of
  1003. the door is a state emblem.
  1004.  
  1005. INT. STATION WAGON
  1006.  
  1007. The shape gets in the station wagon. We still don't see
  1008. his face. Separating the front and back seats is the wire-
  1009. mesh screen. It is Loomis' vehicle. The shape starts the
  1010. engine. He pulls away from the curb.
  1011.  
  1012. POV FROM WINDOW
  1013.  
  1014. Slowly the station wagon moves down the street. We see
  1015. Tommy hurrying along the sidewalk, still rubbing off the
  1016. pumpkin splatter. Tommy turns off the sidewalk and cuts up
  1017. a side alley.
  1018.  
  1019. The wagon picks up speed and continues on down the street.
  1020.  
  1021. EXT. HIGH SCHOOL -- DAY
  1022.  
  1023. Laurie and LYNDA stroll down the front steps of the high
  1024. school and turn up the street. Laurie carries another large
  1025. stack of books. Lynda is a knockout in tight jeans and
  1026. tight T-shirt. She carries no books. CAMERA TRACKS WITH
  1027. THEM up the street.
  1028.  
  1029. LYNDA
  1030. It's totally insane! We have three
  1031. new cheers to learn in the morning,
  1032. the game in the afternoon, I get
  1033. my hair done at five, and the dance
  1034. is at eight. I'll be totally wiped
  1035. out!
  1036.  
  1037. LAURIE
  1038. I think you have too much to do
  1039. tomorrow.
  1040.  
  1041. LYNDA
  1042. Totally!
  1043.  
  1044. LAURIE
  1045. As usual, I don't have anything to
  1046. do.
  1047.  
  1048. LYNDA
  1049. It's your own fault and I don't
  1050. feel sorry for you.
  1051.  
  1052. ANNIE comes out of the side doors of the high school and
  1053. calls after Laurie and Lynda.
  1054.  
  1055. ANNIE
  1056. Hey, Lynda, Laurie!
  1057.  
  1058. The girls stop and wait for Annie.
  1059.  
  1060. ANNIE
  1061. (continuing)
  1062. Why didn't you wait for me?
  1063.  
  1064. LYNDA
  1065. We did. Fifteen minutes. You totally
  1066. never showed up.
  1067.  
  1068. ANNIE
  1069. That's not true. Here I am.
  1070.  
  1071. LAURIE
  1072. What's wrong, Annie? You're not
  1073. smiling.
  1074.  
  1075. ANNIE
  1076. I'm never smiling again. Paul
  1077. dragged me into the boy's locker
  1078. room to tell me...
  1079.  
  1080. LAURIE
  1081. Exploring uncharted territory?
  1082.  
  1083. LYNDA
  1084. It's been totally charted.
  1085.  
  1086. ANNIE
  1087. We just talked.
  1088.  
  1089. LYNDA
  1090. Sure.
  1091.  
  1092. ANNIE
  1093. Old jerko got caught throwing eggs
  1094. and soaping windows. His parents
  1095. grounded him for the weekend. He
  1096. can't come over tonight.
  1097.  
  1098. LAURIE
  1099. I thought you were baby-sitting
  1100. tonight.
  1101.  
  1102. LYNDA
  1103. The only reason she baby-sits is
  1104. to have a place to...
  1105.  
  1106. Laurie suddenly stops and turns back toward the school.
  1107.  
  1108. LAURIE
  1109. Shit!
  1110.  
  1111. ANNIE
  1112. (indignant)
  1113. I have a place for that.
  1114.  
  1115. LAURIE
  1116. I forgot my chemistry book.
  1117.  
  1118. LYNDA
  1119. Who cares? I always forget my
  1120. chemistry book.
  1121.  
  1122. Laurie glances down the street.
  1123.  
  1124. LAURIE'S POV -- STATION WAGON
  1125.  
  1126. The station wagon slowly moves up the street toward them.
  1127. The shape isn't visible behind the windshield.
  1128.  
  1129. ANGLE ON GIRLS
  1130.  
  1131. LYNDA
  1132. Isn't that Davon Graham? He's
  1133. cute.
  1134.  
  1135. LAURIE
  1136. don't think so...I
  1137.  
  1138. Laurie stares at the station wagon as it moves past. She
  1139. looks directly at the shape inside. There is a quick glimpse
  1140. of him, a strange pale face staring back.
  1141.  
  1142. INT. STATION WAGON
  1143.  
  1144. The shape is close to CAMERA, out of focus. Out the window
  1145. we see the three girls on the sidewalk.
  1146.  
  1147. The shape stares at Laurie looking back at him, then tromps
  1148. on the accelerator. The wagon whizzes past them.
  1149.  
  1150. ANGLE ON GIRLS
  1151.  
  1152. ANNIE
  1153. (yells after the car)
  1154. Speed kills!
  1155.  
  1156. POV -- STATION WAGON
  1157.  
  1158. Up the street the wagon suddenly stops. It sits there,
  1159. waiting.
  1160.  
  1161. ANGLE ON GIRLS
  1162.  
  1163. ANNIE
  1164. (softer now)
  1165. Can't you take a joke?
  1166.  
  1167. POV -- STATION WAGON
  1168.  
  1169. For a moment the station wagon just sits there. Then it
  1170. takes off down the street and disappears around a corner.
  1171.  
  1172. ANGLE ON GIRLS
  1173.  
  1174. LAURIE
  1175. Annie, some day you're going to
  1176. get all of us in deep trouble.
  1177.  
  1178. LYNDA
  1179. Totally.
  1180.  
  1181. ANNIE
  1182. I hate a guy with a car and no
  1183. sense of humor.
  1184.  
  1185. The girls start walking again. Laurie is quiet, puzzled by
  1186. the appearance of the man in the car.
  1187.  
  1188. LYNDA
  1189. Well, are we still on for tonight?
  1190.  
  1191. ANNIE
  1192. (coldly)
  1193. I wouldn't want to get you in deep
  1194. trouble, Lynda.
  1195.  
  1196. LYNDA
  1197. Come on, Annie. Bob and I have
  1198. been planning on it all week.
  1199.  
  1200. ANNIE
  1201. All right. The Wallaces leave at
  1202. seven.
  1203.  
  1204. LAURIE
  1205. (excited)
  1206. I'm baby-sitting for the Doyles.
  1207. It's only three houses away. We
  1208. can keep each other company.
  1209.  
  1210. ANNIE
  1211. Terrific. I've got three choices.
  1212.  
  1213. Watch the kid sleep, listen to Lynda screw or talk to you.
  1214.  
  1215. CUT TO:
  1216.  
  1217. EXT. RESIDENTIAL STREET -- DAY
  1218.  
  1219. The three girls stop in front of Lynda's house, a modest
  1220. suburban home on a quiet, tree-lined street.
  1221.  
  1222. ANNIE
  1223. What time?
  1224.  
  1225. LYNDA
  1226. I don't know yet. I have to get
  1227. out of taking my stupid brother
  1228. trick or treating.
  1229.  
  1230. ANNIE
  1231. Saving the treats for Bob?
  1232.  
  1233. LYNDA
  1234. Fun-ny. See you.
  1235.  
  1236. Lynda strolls up to her house. Annie and Laurie start down
  1237. the street. CAMERA MOVES IN to a CLOSE SHOT of Laurie's
  1238. face. She stares ahead along the sidewalk.
  1239.  
  1240. LAURIE'S POV -- MOVING SHOT -- BUSHES
  1241.  
  1242. Up the sidewalk is a series of bushes lining the street.
  1243. There, partially hidden in the shadows of a bush, is the
  1244. shape of a man, watching them. He is barely visible, almost
  1245. blending in with the dark foliage.
  1246.  
  1247. ANGLE ON LAURIE -- ANNIE
  1248.  
  1249. LAURIE
  1250. Look.
  1251.  
  1252. ANNIE
  1253. Look where?
  1254.  
  1255. LAURIE
  1256. Behind that bush there.Annie looks.
  1257.  
  1258. POV -- MOVING SHOT -- BUSHES
  1259.  
  1260. The shape is gone. Just bushes.
  1261.  
  1262. ANGLE ON LAURIE -- ANNIE
  1263.  
  1264. ANNIE
  1265. I don't see anything.
  1266.  
  1267. LAURIE
  1268. That man who drove by so fast, the
  1269. one you yelled at.
  1270.  
  1271. ANNIE
  1272. Subtle, isn't he? Hey creep!
  1273.  
  1274. Annie walks right over to the bushes and kicks them hard.
  1275.  
  1276. Nothing happens.
  1277.  
  1278. ANNIE
  1279. (continuing)
  1280. Laurie, my dear, he wants to talk
  1281. to you.
  1282.  
  1283. Laurie just stands on the sidewalk several feet from the
  1284. bushes.
  1285.  
  1286. ANNIE
  1287. (continuing)
  1288. He wants to take you out tonight.
  1289.  
  1290. Slowly Laurie walks over and stares at the bush.
  1291.  
  1292. LAURIE
  1293. He was standing right here.
  1294.  
  1295. ANNIE
  1296. Poor Laurie. You scared another
  1297. one away.
  1298.  
  1299. LAURIE
  1300. Cute.
  1301.  
  1302. They start walking down the sidewalk again.
  1303.  
  1304. ANNIE
  1305. It's tragic. You never go out.
  1306.  
  1307. You must have a small fortune stashed from baby-sitting so
  1308. much.
  1309.  
  1310. LAURIE
  1311. The guys think I'm too smart.
  1312.  
  1313. Laurie glances back at the bushes behind them.
  1314.  
  1315. ANNIE
  1316. I don't. I think you're whacko.
  1317.  
  1318. You're seeing men behind bushes.
  1319.  
  1320. The two girls stop in front of Annie's house, another small
  1321. suburban home.
  1322.  
  1323. ANNIE
  1324. (continuing)
  1325. Well, home sweet home. I'll see
  1326. you later.
  1327.  
  1328. LAURIE
  1329. Okay. Bye.
  1330.  
  1331. Annie walks up to her door.
  1332.  
  1333. For a moment Laurie looks around cautiously before starting
  1334. down the sidewalk again, CAMERA TRACKING WITH HER. A strong
  1335. wind rises and blows her hair in front of her face. Again
  1336. she turns around and glances back down the street.
  1337.  
  1338. LAURIE'S POV -- BUSHES
  1339.  
  1340. There is still nothing there.
  1341.  
  1342. ANGLE ON LAURIE
  1343.  
  1344. Suddenly, Laurie walks right into a man standing on the
  1345. sidewalk in front of her. She SCREAMS and drops her books.
  1346.  
  1347. It is LEE BRACKETT, Annie's father. He is a tall man in a
  1348. county sheriff's uniform. He quickly bends down and picks
  1349. up her books.
  1350.  
  1351. BRACKETT
  1352. Excuse me, Laurie.
  1353.  
  1354. LAURIE
  1355. Mister Brackett...
  1356.  
  1357. BRACKETT
  1358. Didn't mean to startle you.
  1359.  
  1360. LAURIE
  1361. It's okay...
  1362.  
  1363. BRACKETT
  1364. Well, it's Halloween. I guess
  1365. everybody's entitled to a good
  1366. scare.
  1367.  
  1368. LAURIE
  1369. Yes, sir. Nice seeing you.
  1370.  
  1371. Brackett walks down the sidewalk to his house. Laurie
  1372. bundles her books and hurries up the street.
  1373.  
  1374. EXT. LAURIE'S HOUSE -- DAY
  1375.  
  1376. Laurie walks up on the front porch of her house. She pauses
  1377. a moment and glances down the street.
  1378.  
  1379. LAURIE'S POV -- TRICK-OR-TREATERS
  1380.  
  1381. Several CHILDREN in costumes are going door to door
  1382. collecting their treats.
  1383.  
  1384. ANGLE ON LAURIE
  1385.  
  1386. LAURIE
  1387. (to herself)
  1388. Well, kiddo, I thought you outgrew
  1389. superstition.
  1390.  
  1391. INT. LAURIE'S HOUSE -- DAY
  1392.  
  1393. Laurie strolls through the living room. Through the doorway
  1394. into the kitchen we see LAURIE'S MOTHER busy making candied
  1395. apples.
  1396.  
  1397. LAURIE
  1398. Hi, Mom, I'm home.
  1399.  
  1400. LAURIE'S MOTHER
  1401. Laurie, Annie just called. She
  1402. said call her back.Laurie turns
  1403. and hurries up the stairs.
  1404.  
  1405. LAURIE
  1406. Thanks, mom.
  1407.  
  1408. INT. LAURIE'S ROOM
  1409.  
  1410. Laurie walks into her bedroom. She tosses her books on the
  1411. bed and starts to her telephone.The wind blows her curtains
  1412. through the open window. Laurie crosses to the window and
  1413. leans up to close it.
  1414.  
  1415. LAURIE'S POV -- BACKYARD
  1416.  
  1417. From her room in the second story, Laurie can see into the
  1418. backyard next door.
  1419.  
  1420. There is a clothesline with sheets blowing in the wind. In
  1421. between the sheets we glimpse the shape standing there,
  1422. looking up at Laurie.
  1423.  
  1424. ANGLE ON LAURIE
  1425.  
  1426. She freezes and stares down fearfully.
  1427.  
  1428. LAURIE'S POV -- BACKYARD
  1429.  
  1430. The sheets continue to twist and turn in the wind, but now
  1431. the shape is gone.
  1432.  
  1433. ANGLE ON LAURIE
  1434.  
  1435. Laurie SLAMS the window and locks it. She slowly walks to
  1436. the middle of her room and stands there for several moments,
  1437. unsure as to whether she has actually seen it.
  1438.  
  1439. Suddenly, the phone RINGS, loud and shrill, startling
  1440. Laurie.
  1441.  
  1442. She answers it.
  1443.  
  1444. LAURIE
  1445. Hello.
  1446.  
  1447. Silence.
  1448.  
  1449. LAURIE
  1450. (continuing)
  1451. Hello?
  1452.  
  1453. There is a SOUND from the receiver, like chewing...
  1454.  
  1455. LAURIE
  1456. (continuing)
  1457. Who is this?
  1458.  
  1459. The chewing continues. She slams the receiver down.
  1460.  
  1461. Almost immediately, the phone RINGS again. Laurie looks at
  1462. it. It rings again. She picks it up.
  1463.  
  1464. LAURIE
  1465. Hello?
  1466.  
  1467. ANNIE (V.O.)
  1468. Why did you hang up on me?
  1469.  
  1470. LAURIE
  1471. Annie, was that you?
  1472.  
  1473. ANNIE (V.O.)
  1474. Of course.
  1475.  
  1476. LAURIE
  1477. Why didn't you say anything? You
  1478. scared me to death.
  1479.  
  1480. ANNIE (V.O.)
  1481. I had my mouth full. Couldn't you
  1482. hear me?
  1483.  
  1484. LAURIE
  1485. I thought it was an obscene phone
  1486. call.
  1487.  
  1488. ANNIE (V.O.)
  1489. Now you hear obscene chewing.
  1490. You're losing it, Laurie.
  1491.  
  1492. LAURIE
  1493. I've already lost it.
  1494.  
  1495. ANNIE (V.O.)
  1496. I doubt that. Listen, my mother is
  1497. letting me use her car. I'll pick
  1498. you up. 6:30.
  1499.  
  1500. LAURIE
  1501. Sure, see you later.
  1502.  
  1503. ANNIE (V.O.)
  1504. Bye.
  1505.  
  1506. Laurie hangs up.
  1507.  
  1508. LAURIE
  1509. (to herself)
  1510. Calm down. This is ridiculous.
  1511.  
  1512. CUT TO:
  1513.  
  1514. EXT. GRAVEYARD -- DAY
  1515.  
  1516. WIDE SHOT of an old graveyard on a windy hillside. CAMERA
  1517. BOOMS DOWN as a car pulls up on the small road in f.g. Sam
  1518. Loomis gets out, along with TAYLOR, the graveyard owner.
  1519. Taylor is a small, officious man in his late sixties. He
  1520. glances at a small notepad.
  1521.  
  1522. TAYLOR
  1523. Let's see. Myers. Judith Myers.
  1524. Row 18, plot 20. Over this way.
  1525.  
  1526. The two men begin walking along through the graveyard,
  1527. winding around headstones and flowers.
  1528.  
  1529. TAYLOR
  1530. (continuing)
  1531. Every town has something like this
  1532. happen. I remember a guy over is
  1533. Russellville. Charley Bowles. About
  1534. fifteen years ago, he finished
  1535. dinner, excused himself from the
  1536. table, went out into the garage
  1537. and got a hacksaw, then came back
  1538. into the house, kissed his wife
  1539. and two children goodbye, and then
  1540. proceeded to...
  1541.  
  1542. LOOMIS
  1543. Where are we?
  1544.  
  1545. TAYLOR
  1546. Just right over there a ways. And
  1547. I remember Judith Myers. Just
  1548. couldn't believe it. A young boy
  1549. like that...
  1550.  
  1551. Taylor stops cold.
  1552.  
  1553. LOOMIS
  1554. Lost?
  1555.  
  1556. TAYLOR
  1557. (sadly)
  1558. Why do they do it?
  1559.  
  1560. He points to a plot right in front of them. Loomis stares.
  1561.  
  1562. The headstone is missing, uprooted from the ground.
  1563.  
  1564. TAYLOR
  1565. Goddamn kids. They'll do anything
  1566. on Halloween.
  1567.  
  1568. LOOMIS
  1569. Whose grave is it?
  1570.  
  1571. Taylor checks his notebook, then counts the rows and plots.
  1572.  
  1573. TAYLOR
  1574. 18, 20... Judith Myers...
  1575.  
  1576. Taylor gives Loomis a quizzical look. Loomis shakes his
  1577. head and looks out across the graveyard.
  1578.  
  1579. LOOMIS
  1580. He came home...
  1581.  
  1582. CUT TO:
  1583.  
  1584. EXT. LAURIE'S HOUSE -- DUSK
  1585.  
  1586. CAMERA BEGINS on the trees that line the residential street,
  1587. twisting and writhing in the dusk wind. SLOWLY CAMERA BOOMS
  1588. DOWN to Laurie waiting outside her house by the street.
  1589. She carries a tote bag with schoolbooks and knitting needles
  1590. stuck inside, and a large pumpkin. The sun is a pale glow
  1591. behind the trees.
  1592.  
  1593. Laurie turns her gaze down the street
  1594.  
  1595. LAURIE'S POV -- TRICK-OR-TREATERS
  1596.  
  1597. More CHILDREN in costumes walk from house to house, some
  1598. with MOTHERS and SISTERS, trick or treating. The wind blows
  1599. their costumes, billowing them outward.
  1600.  
  1601. ANGLE ON LAURIE
  1602.  
  1603. She watches the trick-or-treaters as a car swings around
  1604. the corner and pulls up in front of her. It is Annie.
  1605.  
  1606. ANNIE
  1607. Hurry up.
  1608.  
  1609. Laurie walks around to the passenger door and gets in.
  1610.  
  1611. INT. ANNIE'S CAR -- DUSK
  1612.  
  1613. Annie pulls away from the curb and hands Laurie a joint.
  1614.  
  1615. ANNIE
  1616. We just have time.
  1617.  
  1618. Laurie lights the joint and puffs vigorously.
  1619.  
  1620. ANNIE
  1621. (continuing)
  1622. You still spooked?
  1623.  
  1624. LAURIE
  1625. I wasn't spooked.
  1626.  
  1627. ANNIE
  1628. Lies.
  1629.  
  1630. LAURIE
  1631. I saw someone standing in Mr.
  1632. Riddle's backyard.
  1633.  
  1634. ANNIE
  1635. Probably Mister Riddle.
  1636.  
  1637. LAURIE
  1638. He was watching me.
  1639.  
  1640. ANNIE
  1641. Mister Riddle was watching you?
  1642. Laurie, Mister Riddle is eighty-
  1643. seven.
  1644.  
  1645. LAURIE
  1646. He can still watch.
  1647.  
  1648. ANNIE
  1649. That's probably all he can do.
  1650.  
  1651. Behind them through the rear-view mirror, we see Loomis'
  1652. station wagon pull out of an alley and follow along.
  1653.  
  1654. ANNIE
  1655. (continuing)
  1656. What's the pumpkin for?
  1657.  
  1658. LAURIE
  1659. I brought it for Tommy. I figured
  1660. making a Jack-o'-lantern would
  1661. keep him occupied.
  1662.  
  1663. ANNIE
  1664. I always said you'd make a fabulous
  1665. girl scout.
  1666.  
  1667. LAURIE
  1668. Thanks.
  1669.  
  1670. ANNIE
  1671. For that matter, I might as well
  1672. be a girl scout tonight. I plan on
  1673. making popcorn and watching Doctor
  1674. Dementia.
  1675. (cont'd)
  1676. Six straight hours of horror movies.
  1677. Little Lindsey Wallace won't know
  1678. what hit her.
  1679.  
  1680. EXT. HADDONFIELD SQUARE -- DUSK
  1681.  
  1682. Annie's car drives through the main square of Haddonfield.
  1683. Following behind is the station wagon.
  1684.  
  1685. INT. ANNIE'S CAR
  1686.  
  1687. Annie points up ahead and quickly hides the joint.
  1688.  
  1689. ANNIE
  1690. My dad!
  1691.  
  1692. POV THROUGH WINDSHIELD
  1693.  
  1694. Two police cars are parked in the street in front of Nichols
  1695. Hardware Store. An ALARM BELL inside the store CLANGS
  1696. SHRILLY.
  1697.  
  1698. INT. ANNIE'S CAR
  1699.  
  1700. They quickly roll down the windows and begin wildly clearing
  1701. out the marijuana smoke. Behind them the station wagon
  1702. disappears off down a side street.
  1703.  
  1704. ANGLE ON POLICE CARS
  1705.  
  1706. Annie's car stops at the police cars. Lee Brackett strolls
  1707. out to the car and leans down to the window.
  1708.  
  1709. BRACKETT
  1710. Hi, Annie, Laurie...
  1711.  
  1712. ANNIE
  1713. Hi, Dad. What happened?
  1714.  
  1715. BRACKETT
  1716. (strains to hear
  1717. over the alarm)
  1718. What?
  1719.  
  1720. ANNIE
  1721. What happened?
  1722.  
  1723. BRACKETT
  1724. Someone broke in the hardware store.
  1725. Probably kids.
  1726.  
  1727. ANNIE
  1728. You blame everything on kids.
  1729.  
  1730. BRACKETT
  1731. The only things missing were some
  1732. Halloween masks, rope, a set of
  1733. knives. What does that sound like
  1734. to you?
  1735.  
  1736. Annie turns to Laurie.
  1737.  
  1738. ANNIE
  1739. It's hard growing up with a cynical
  1740. father.
  1741.  
  1742. Behind Brackett, Sam Loomis walks up the street. We see
  1743. Loomis talk to a COP who points to Brackett.
  1744.  
  1745. BRACKETT
  1746. You're going to be late at the
  1747. Doyle's, Annie.
  1748.  
  1749. ANNIE
  1750. (unable to hear
  1751. over the alarm)
  1752. Huh?
  1753.  
  1754. Just as Brackett is about to speak the alarm goes off.
  1755.  
  1756. BRACKETT
  1757. (shouts)
  1758. You're going to be late!
  1759.  
  1760. ANNIE
  1761. (to Laurie)
  1762. He shouts, too.
  1763.  
  1764. Brackett smiles as Loomis walks up behind him.
  1765.  
  1766. BRACKETT
  1767. Goodbye, girls.
  1768.  
  1769. ANNIE & LAURIE
  1770. Bye.
  1771.  
  1772. Annie's car pulls away.
  1773.  
  1774. LOOMIS
  1775. Sheriff? I'm Doctor Sam Loomis.
  1776.  
  1777. BRACKETT
  1778. Lee Brackett.
  1779.  
  1780. As they talk CAMERA SLOWLY MOVES AROUND THEM to a view of
  1781. the street.
  1782.  
  1783. LOOMIS
  1784. I'd like to talk with you, if I
  1785. could.
  1786.  
  1787. BRACKETT
  1788. May be a few minutes. I gotta stick
  1789. around here...
  1790.  
  1791. LOOMIS
  1792. It's important.
  1793.  
  1794. Loomis' station wagon moves by behind them. Loomis doesn't
  1795. see it.
  1796.  
  1797. BRACKETT
  1798. Ten minutes.
  1799.  
  1800. LOOMIS
  1801. I'll be there.
  1802.  
  1803. CUT TO:
  1804.  
  1805. EXT. MOON -- NIGHT
  1806.  
  1807. Through the blowing trees we see the full moon rising in
  1808. the night sky. There are SOUNDS of wind and CHIRPING
  1809. CRICKETS.
  1810.  
  1811. EXT. RESIDENTIAL STREET -- NIGHT
  1812.  
  1813. Annie's car moves down a quiet little residential street
  1814. and pulls up in front of a two-story house set back from
  1815. the street: the Doyle house.
  1816.  
  1817. ANGLE FROM STATION WAGON
  1818.  
  1819. We are in the front seat of the station wagon. Through the
  1820. windshield we see Laurie get out of Annie's car, say goodbye
  1821. and walk up to the Doyle's house.
  1822.  
  1823. Then Annie's car makes a wide U-turn in the street and
  1824. starts down the other direction. The station wagon pulls
  1825. forward and follows her.
  1826.  
  1827. Annie stops three houses down the street and pulls into a
  1828. garage. The station wagon stops several feet away.
  1829.  
  1830. We see Annie come out of the garage and walk to another
  1831. two-story frame house: the Wallace's.
  1832.  
  1833. TRACKING SHOT BEHIND SHAPE
  1834.  
  1835. The shape gets out of the station wagon, close to CAMERA
  1836. so we can't see him. He glances down the street. Gusts of
  1837. wind blow the costumes of children going from house to
  1838. house.
  1839.  
  1840. The shape moves. CAMERA TRACKS behind him as he walks toward
  1841. the Wallace house.
  1842.  
  1843. The shape stops in front. Through the front room windows
  1844. we can see Annie talking to the WALLACES as they put on
  1845. their coats.
  1846.  
  1847. The front door opens. CAMERA and shape quickly move behind
  1848. a tree to hide from sight.
  1849.  
  1850. The Wallaces step out of their house and walk to the garage.
  1851. Annie and LINDSEY WALLACE, a pretty little nine-year-old,
  1852. stand in the doorway framed by the hall light. Out of the
  1853. garage comes the Wallace's car. It turns and disappears
  1854. down the street.
  1855.  
  1856. Annie closes the door. The shape steps out from behind the
  1857. tree and stares at the house.
  1858.  
  1859. ANGLE ON WINDOW
  1860.  
  1861. The shape moves to see inside a window of the Wallace house.
  1862.  
  1863. Inside, we see Annie turn on the TV. She goes to a mirror
  1864. on the wall and begins to brush her hair.
  1865.  
  1866. CUT TO:
  1867.  
  1868. EXT. MYERS HOUSE -- NIGHT
  1869.  
  1870. A police car pulls up in front of the Myers house. Brackett
  1871. and Loomis get out and stand by the front gate.
  1872.  
  1873. LOOMIS
  1874. Anybody live here?
  1875.  
  1876. BRACKETT
  1877. Not since 1963, since it happened.
  1878. Every kid in Haddonfield thinks
  1879. this place is haunted.
  1880.  
  1881. LOOMIS
  1882. They may be right.
  1883.  
  1884. ANGLE DOWN SIDE OF HOUSE
  1885.  
  1886. Looking down the side of the house we see Loomis and
  1887. Brackett walk up to the front porch. A broken, rusted rain
  1888. gutter CLANGS back and forth against the house in the wind.
  1889.  
  1890. INT. MYERS HOUSE -- NIGHT
  1891.  
  1892. The front door slowly opens. Brackett and Loomis stand in
  1893. the doorway. They glance at each other. Brackett draws his
  1894. gun and the two men step inside.
  1895.  
  1896. It is totally dark in the house. Brackett's flashlight
  1897. comes on, illuminating the two men. As they move through
  1898. the house CAMERA TRACKS with them.
  1899.  
  1900. Suddenly Brackett stops. He trains his flashlight on a small
  1901. object in the corner of the room.
  1902.  
  1903. LOOMIS
  1904. What is it?
  1905.  
  1906. For a moment Brackett doesn't speak. Then he steps closer
  1907. to the object.
  1908.  
  1909. BRACKETT
  1910. A dog...
  1911.  
  1912. Both men look down off screen at the animal. Brackett bends
  1913. down to it.
  1914.  
  1915. BRACKETT
  1916. (continuing)
  1917. Still warm.
  1918.  
  1919. He stands back up and looks at Loomis.
  1920.  
  1921. LOOMIS
  1922. He got hungry.
  1923.  
  1924. Brackett gets a disgusted expression and steps away.
  1925.  
  1926. BRACKETT
  1927. Come on... A skunk could have killed
  1928. it...
  1929.  
  1930. LOOMIS
  1931. Could have...
  1932.  
  1933. Brackett looks back at the dead animal.
  1934.  
  1935. BRACKETT
  1936. A man wouldn't do that...
  1937.  
  1938. LOOMIS
  1939. He isn't a man.
  1940.  
  1941. INT. MYERS BEDROOM
  1942.  
  1943. Loomis and Brackett cautiously step into the bedroom, the
  1944. same room where the murder took place fifteen years ago.
  1945. The glow from a distant streetlight casts the shadows of
  1946. blowing trees on the walls.
  1947.  
  1948. LOOMIS
  1949. It happened in here.
  1950.  
  1951. Loomis walks over to the spot where the sister was sitting.
  1952.  
  1953. LOOMIS
  1954. (continuing)
  1955. She was sitting here when he came
  1956. through the door.
  1957.  
  1958. Loomis turns and glances at the window. He slowly walks
  1959. toward it.
  1960.  
  1961. LOOMIS
  1962. (continuing)
  1963. He must have watched them through
  1964. this window...
  1965.  
  1966. LOOMIS' POV -- WINDOW
  1967.  
  1968. CAMERA SLOWLY TRACKS IN toward the window.
  1969.  
  1970. ANGLE ON LOOMIS
  1971.  
  1972. Loomis stops by the window.
  1973.  
  1974. LOOMIS
  1975. (continuing)
  1976. Standing just outside, he could .
  1977. peer over the sill...
  1978.  
  1979. Blown loose by the wind, the rain gutter suddenly swings
  1980. down and SMASHES through the window with a THUNDERING CRASH
  1981. of broken glass.
  1982.  
  1983. Loomis jumps back, reaches into his coat pocket and draws
  1984. a .357 magnum revolver.
  1985.  
  1986. Brackett stares at him. Loomis sees Brackett's reaction
  1987. and slowly reholsters the revolver.
  1988.  
  1989. LOOMIS
  1990. (continuing, looks
  1991. at Brackett)
  1992. I suppose I do seem a bit sinister
  1993. for a doctor.
  1994.  
  1995. BRACKETT
  1996. Looks like to me you're just plain
  1997. scared.
  1998.  
  1999. LOOMIS
  2000. I am.
  2001. (he glances around
  2002. the bedroom)
  2003. I met him fifteen years ago. I was
  2004. told there was nothing left, no
  2005. conscience, no reason, no
  2006. understanding, in even the most
  2007. rudimentary sense, of life or death
  2008. or right or wrong. I met this six-
  2009. year-old boy with a blank, cold
  2010. emotionless face and the blackest
  2011. of eyes, the devil's eyes. I spent
  2012. eight years trying to reach him
  2013. and another seven trying to keep
  2014. him locked away when I realized
  2015. what was living behind that boy's
  2016. eyes was purely, simply evil.
  2017.  
  2018. Brackett just looks at him a moment.
  2019.  
  2020. BRACKETT
  2021. What do we do?
  2022.  
  2023. LOOMIS
  2024. He was here, earlier tonight, and
  2025. he may be coming back. I'm going
  2026. to wait for him.
  2027.  
  2028. BRACKETT
  2029. I keep thinking I should call the
  2030. radio and TV stations...
  2031.  
  2032. LOOMIS
  2033. If you do they'll be seeing him
  2034. everywhere, on every street corner,
  2035. in every house. Just tell your men
  2036. to shut their mouths and open their
  2037. eyes.
  2038.  
  2039. BRACKETT
  2040. I'll check back in an hour.
  2041.  
  2042. Brackett turns and walks out of the bedroom. For a moment
  2043. Loomis stares at the rain gutter in the broken window.
  2044.  
  2045. CUT TO:
  2046.  
  2047. INT. DOYLE HOUSE -- NIGHT
  2048.  
  2049. CAMERA SLOWLY TRACKS through the Doyle house. It is a large
  2050. home with a staircase that leads to the bedrooms upstairs.
  2051. Through a doorway we see a very modern kitchen. There is a
  2052. dining room and living room with a big bay window that
  2053. looks out into the street.
  2054.  
  2055. Laurie sits with Tommy Doyle on the couch reading him a
  2056. story. Tommy has his Halloween costume on and a big bag of
  2057. candy on the floor.
  2058.  
  2059. LAURIE
  2060. (reads)
  2061. ..."How now, cried Arthur. 'Then
  2062. no one may pass this way without a
  2063. fight?' 'That is so,' answered
  2064. the knight in a bold and haughty
  2065. manner..."
  2066.  
  2067. TOMMY
  2068. I don't like that story.
  2069.  
  2070. LAURIE
  2071. But King Arthur was always your
  2072. favorite.
  2073.  
  2074. Tommy pulls out a stack of comic books from underneath the
  2075. couch.
  2076.  
  2077. TOMMY
  2078. Not any more.
  2079.  
  2080. LAURIE
  2081. Why are they under there?
  2082.  
  2083. TOMMY
  2084. Mom doesn't like me to have them.
  2085.  
  2086. Laurie glances through the stack of comic books.
  2087.  
  2088. LAURIE
  2089. 'Neutron Man'... 'Laser Man'... I
  2090. can see why. 'Tarantula Man'...
  2091.  
  2092. TOMMY
  2093. Laurie, what's the Boogeyman?
  2094.  
  2095. The phone RINGS in the other room. Laurie goes to answer
  2096. it.
  2097.  
  2098. She picks up the receiver in the den.
  2099.  
  2100. LAURIE
  2101. Hello.
  2102.  
  2103. INT. DOYLE KITCHEN
  2104.  
  2105. Annie stands making popcorn, the phone at her ear.
  2106.  
  2107. ANNIE
  2108. Having fun? Never mind, I'm sure
  2109. you are. I have big, big news for
  2110. you...
  2111.  
  2112. Lester, a large ferocious-looking German shepherd, trots
  2113. happily into the kitchen, spies Annie and walks over to
  2114. her.
  2115.  
  2116. He nudges her legs with his head.
  2117.  
  2118. ANNIE
  2119. Oops! Hold on a minute...
  2120.  
  2121. She turns and reaches for Lester uncertainly.
  2122.  
  2123. ANNIE
  2124. Hi Lester...
  2125.  
  2126. Lester GROWLS at her menacingly.
  2127.  
  2128. ANNIE
  2129. Lindsey, Lindsey!
  2130. (into phone)
  2131. I'm about to be ripped apart by
  2132. the family dog.
  2133.  
  2134. Lindsey trots into the room.
  2135.  
  2136. ANNIE
  2137. Get him out of here!
  2138.  
  2139. LINDSEY
  2140. Here, Lester.
  2141.  
  2142. Immediately Lester walks over to the back door. Lindsey
  2143. opens the door and the dog trots out. Then Lindsey closes
  2144. the back door and walks back into the living room.
  2145.  
  2146. ANNIE
  2147. (into phone)
  2148. I hate that dog. I'm the only person
  2149. in the world he doesn't like.
  2150.  
  2151. LAURIE (V.O.)
  2152. (into phone)
  2153. What's this big, big news?
  2154.  
  2155. ANNIE
  2156. What would you say if I told you
  2157. that you were going to the
  2158. Homecoming Dance tomorrow night?
  2159.  
  2160. INTERCUT WITH LAURIE IN THE DEN
  2161.  
  2162. LAURIE
  2163. I'd say you must have the wrong
  2164. number.
  2165.  
  2166. ANNIE
  2167. Well, I just talked with Ben Tramer
  2168. and he got real excited when I
  2169. told him how attracted you were to
  2170. him.
  2171.  
  2172. LAURIE
  2173. Annie you didn't. Tell me you
  2174. didn't.
  2175.  
  2176. ANNIE
  2177. You guys will make a fabulous
  2178. couple.
  2179.  
  2180. INT. DOYLE LIVING ROOM
  2181.  
  2182. Tommy walks to the front window and looks out.
  2183.  
  2184. TOMMY'S POV -- STREET
  2185.  
  2186. A couple TRICK-OR-TREATERS walk by.
  2187.  
  2188. Behind them, across the street, stands the shape, looking
  2189. into the house.
  2190.  
  2191. EXT. STREET -- DOYLE HOUSE
  2192.  
  2193. CAMERA is behind the shape, looking into the Doyle house.
  2194. We can see Laurie talking on the phone. The shape's head
  2195. moves slightly and WE PAN to see Tommy at the front room
  2196. window looking out. Tommy moves away from the window. PAN
  2197. BACK to see him enter the den and pull on Laurie's blouse.
  2198.  
  2199. INT. DOYLE HOUSE
  2200.  
  2201. TOMMY
  2202. Laurie...
  2203.  
  2204. LAURIE
  2205. (into phone)
  2206. I'm so embarrassed. I couldn't
  2207. face him...
  2208.  
  2209. ANNIE (V.O.)
  2210. You'll have to. He's calling you
  2211. tomorrow to find out what time to
  2212. pick you up.
  2213.  
  2214. LAURIE
  2215. (panicked)
  2216. Annie!
  2217.  
  2218. TOMMY
  2219. Laurie, the Boogeyman is outside.
  2220. Look!
  2221.  
  2222. Tommy runs to the window in the den and points. Laurie
  2223. walks over with the phone and looks.
  2224.  
  2225. LAURIE'S POV -- STREET
  2226.  
  2227. The street is empty.
  2228.  
  2229. ANGLE ON LAURIE -- TOMMY
  2230.  
  2231. LAURIE
  2232. (into phone)
  2233. Hold on.
  2234. (to Tommy)
  2235. There's nobody there, Tommy. Go
  2236. watch some TV.
  2237.  
  2238. Tommy runs out of the den.
  2239.  
  2240. INT. DOYLE HOUSE - LIVING ROOM
  2241.  
  2242. Tommy dashes up to the front window and looks out.
  2243.  
  2244. POV -- STREET
  2245.  
  2246. We SEE the man as he passes under a streetlight on his way
  2247. toward the Wallace house.
  2248.  
  2249. CUT TO:
  2250.  
  2251. INT. WALLACE HOUSE -- NIGHT
  2252.  
  2253. Annie stands by the kitchen stove making popcorn..
  2254.  
  2255. ANNIE
  2256. (into telephone)
  2257. Look, it's simple. You like him,
  2258. he likes you. All you need is a
  2259. little push.
  2260.  
  2261. POV FROM OUTSIDE KITCHEN WINDOW
  2262.  
  2263. The shape stands close to CAMERA watching Annie make
  2264. popcorn.
  2265.  
  2266. She puts the butter in the pan.
  2267.  
  2268. ANNIE
  2269. (continuing)
  2270. It won't hurt you to go out with
  2271. him, for God's sake.
  2272.  
  2273. Annie starts to pour the butter over the popcorn but instead
  2274. pours it on herself.
  2275.  
  2276. ANNIE
  2277. (continuing)
  2278. Shit! No, no, I gotta call you
  2279. back. I just made a mess of myself.
  2280. Nothing unusual.
  2281.  
  2282. Annie hangs up. She quickly takes off her blouse and blue
  2283. jeans. She stands in the kitchen with only her panties on.
  2284.  
  2285. She pulls a box of cornstarch out of the closet and
  2286. sprinkles it out on the stains of butter.
  2287.  
  2288. ANGLE ON SIDE OF HOUSE
  2289.  
  2290. The shape moves closer to the kitchen window and knocks
  2291. over a potted plant. It CRASHES noisily against the side
  2292. of the house..
  2293.  
  2294. INT. WALLACE HOUSE
  2295.  
  2296. Annie is startled by the crash. She looks outside the
  2297. window.
  2298.  
  2299. POV OUT KITCHEN WINDOW
  2300.  
  2301. A hanging plant swings in the wind. It BUMPS against the
  2302. side of the house.
  2303.  
  2304. ANGLE OF ANNIE
  2305.  
  2306. She turns from the window and walks out of the kitchen.
  2307.  
  2308. EXT. WALLACE HOUSE
  2309.  
  2310. The hanging plant continues to WHAP against the house. A
  2311. hand suddenly stops its motion. The shape leans up close
  2312. to the kitchen window, looking inside.
  2313.  
  2314. ANGLE ON DOG
  2315.  
  2316. From the darkness of the backyard Lester springs forward
  2317. into CAMERA, SNARLING and BARKING viciously.1
  2318.  
  2319. ANGLE ON SHAPE -- DOG
  2320.  
  2321. The shape darts away from the kitchen window, the dog
  2322. SNAPPING right after him.
  2323.  
  2324. INT. WALLACE HOUSE
  2325.  
  2326. Annie listens to the GROWLING of the dog. She turns to
  2327. Lindsey in the living room.
  2328.  
  2329. ANNIE
  2330. Lindsey, Lester's barking again
  2331. and getting on my nerves again...
  2332.  
  2333. LINDSEY (O.S.)
  2334. No he's not.
  2335.  
  2336. Suddenly the GROWLING sounds abruptly stop.
  2337.  
  2338. ANNIE
  2339. Never mind. He found a hot date.
  2340.  
  2341. Annie turns and walks into the living room.
  2342.  
  2343. EXT. WALLACE HOUSE
  2344.  
  2345. We SEE the shape's legs a few feet from the house. Next to
  2346. him are Lester's legs, kicking and struggling a few feet
  2347. above the ground.
  2348.  
  2349. Off screen, the shape is strangling the dog in mid-air.
  2350.  
  2351. Finally the dog's legs stop moving and dangle lifelessly.
  2352. The shape moves away from the house.
  2353.  
  2354. CUT TO:
  2355.  
  2356. INT. DOYLE HOUSE -- LIVING ROOM -- NIGHT
  2357.  
  2358. Laurie and Tommy are sitting on the couch watching the
  2359. Horrorthon on TV.
  2360.  
  2361. TOMMY
  2362. What about the Jack-o'-lantern?
  2363.  
  2364. LAURIE
  2365. After the movie.
  2366.  
  2367. TOMMY
  2368. What about the rest of my comic
  2369. books?
  2370.  
  2371. LAURIE
  2372. After the Jack-o'-lantern.
  2373.  
  2374. TOMMY
  2375. (quietly)
  2376. What about the Boogeyman?
  2377.  
  2378. LAURIE
  2379. There's no such thing.
  2380.  
  2381. TOMMY
  2382. Richie said he was coming after me
  2383. tonight.
  2384.  
  2385. LAURIE
  2386. Do you believe everything that
  2387. Richie tells you?
  2388.  
  2389. TOMMY
  2390. No...
  2391.  
  2392. LAURIE
  2393. Tommy, Halloween night is when you
  2394. play tricks on people and scare
  2395. them. It's all make believe.
  2396.  
  2397. Richie was trying to scare you.
  2398.  
  2399. TOMMY
  2400. I saw the Boogeyman. I saw him
  2401. outside.
  2402.  
  2403. LAURIE
  2404. There was no one out there.
  2405.  
  2406. TOMMY
  2407. There was.
  2408.  
  2409. LAURIE
  2410. What did he look like?
  2411.  
  2412. TOMMY
  2413. The Boogeyman!
  2414.  
  2415. LAURIE
  2416. We're not getting anywhere. All
  2417. right, look, Tommy. The Boogeyman
  2418. can only come out on Halloween
  2419. night, right?
  2420.  
  2421. TOMMY
  2422. Right.
  2423.  
  2424. LAURIE
  2425. And I'm here tonight and I won't
  2426. let him get you.
  2427.  
  2428. TOMMY
  2429. Promise?
  2430.  
  2431. LAURIE
  2432. I promise.
  2433.  
  2434. TOMMY
  2435. Can we make the Jack-o'-lantern
  2436. now?
  2437.  
  2438. Laurie holds out her hand. Tommy takes it and together
  2439. they walk into the kitchen.
  2440.  
  2441. EXT. PASSAGEWAY TO LAUNDRY -- WALLACE HOUSE -- NIGHT
  2442.  
  2443. Annie walks through the passageway to the laundry room.
  2444. She is wearing a nylon robe and carrying her clothes to be
  2445. washed. The wind blows the robe open.
  2446.  
  2447. ANOTHER ANGLE -- PASSAGEWAY
  2448.  
  2449. The shape stands behind a tree watching Annie walk along
  2450. the passageway.
  2451.  
  2452. INT. LAUNDRY ROOM
  2453.  
  2454. Annie walks into the dark laundry room.
  2455.  
  2456. Almost immediately the wind blows the door shut!
  2457.  
  2458. Annie stands motionless for a moment, then begins looking
  2459. for the light switch.
  2460.  
  2461. ANNIE
  2462. Terrific!
  2463.  
  2464. ANGLE ON DOOR
  2465.  
  2466. The door creaks open. Behind the door we see the outline
  2467. of the shape standing there.
  2468.  
  2469. ANGLE ON ANNIE
  2470.  
  2471. Annie turns toward the slightly opened door.
  2472.  
  2473. ANNIE
  2474. Hello?
  2475.  
  2476. Silence.
  2477.  
  2478. ANNIE
  2479. (continuing)
  2480. Who's there?
  2481.  
  2482. Silence. The wind blows the door open a little wider. In
  2483. the light from the main house, Annie sees the light switch.
  2484. Quickly she flicks on the switch and the laundry room lights
  2485. up. She glances outside the door.
  2486.  
  2487. There is no one there.
  2488.  
  2489. ANNIE
  2490. Paul, is this one of your cheap
  2491. tricks?
  2492. (Pause, disappointed)
  2493. I guess not.
  2494.  
  2495. She steps back inside and crosses to the washing machine.
  2496. She opens the top and dumps her clothes inside.
  2497.  
  2498. ANNIE
  2499. No tricks for Annie tonight.
  2500.  
  2501. Suddenly a big gust of wind comes through the opened window
  2502. above her. The door slams shut!
  2503.  
  2504. Annie hurries to the door and tries to open it. It won't
  2505. open.
  2506.  
  2507. CLOSE SHOT -- ANNIE
  2508.  
  2509. She tries to pull the door open. Behind her, in the open
  2510. window above the washing machine, we see the shape looking
  2511. in.
  2512.  
  2513. ANNIE
  2514. Lindsey! Lindsey, come out here!
  2515.  
  2516. INT. WALLACE HOUSE
  2517.  
  2518. LINDSEY WALLACE, 8 years old with a pretty face, watches
  2519. the Horror Marathon at top volume on TV. She doesn't hear
  2520. Annie's call.
  2521.  
  2522. INT. LAUNDRY ROOM
  2523.  
  2524. ANNIE
  2525. Lindsey, I'm in the laundry room!
  2526.  
  2527. The door is stuck!
  2528.  
  2529. Annie turns and glances at the window above the washing
  2530. machine. The shape is gone.
  2531.  
  2532. She quickly crosses to the washing machine, climbs up on
  2533. top of it and starts out the window. Half way through she
  2534. gets stuck. She tries to squirm her way back in but it's
  2535. hopeless.
  2536.  
  2537. ANNIE
  2538. Lindsey! Lindsey, goddamn it, help!
  2539.  
  2540. From the house Annie hears the phone ring.
  2541.  
  2542. ANNIE
  2543. (continuing)
  2544. Lindsey, answer the phone! It's
  2545. Paul! Lindsey! LINDSEY!
  2546.  
  2547. INT. WALLACE HOUSE
  2548.  
  2549. Lindsey still sits in front of the TV. She lets the phone
  2550. ring away. Finally she gets up and walks to the phone, her
  2551. eyes pivoted on the TV. She picks up the receiver.
  2552.  
  2553. LOOMIS
  2554. HELLO.
  2555.  
  2556. PAUL (V.O.)
  2557. Hi, Lindsey, this is Paul. Is Annie
  2558. there?
  2559.  
  2560. LINDSEY
  2561. Yes, she is.
  2562.  
  2563. PAUL (V.O.)
  2564. Will you get her for me.
  2565.  
  2566. LINDSEY
  2567. She's washing her clothes.
  2568.  
  2569. PAUL (V.O.)
  2570. Well, go tell her its me, okay?
  2571.  
  2572. LINDSEY
  2573. Okay.
  2574.  
  2575. Lindsey hangs up the phone and walks through the kitchen
  2576. to the back door. She calls from the door.
  2577.  
  2578. LINDSEY
  2579. Annie, Paul's on the phone!
  2580.  
  2581. 115 ANGLE ON ANNIE HANGING OUTSIDE THE WINDOW 115
  2582.  
  2583. ANNIE
  2584. Lindsey, open the door! I'm locked
  2585. in the laundry room!
  2586.  
  2587. EXT. LAUNDRY ROOM
  2588.  
  2589. Lindsey crosses to the laundry room door. It is bolted
  2590. from the outside. She lifts the bolt and looks inside the
  2591. room.
  2592.  
  2593. INT. LAUNDRY ROOM
  2594.  
  2595. LINDSEY
  2596. You locked yourself in.
  2597.  
  2598. ANNIE
  2599. I know. Pull my legs. I'm stuck.
  2600.  
  2601. Lindsey pulls on Annie's legs and she slides from the window
  2602. onto the dryer.
  2603.  
  2604. ANNIE
  2605. Lindsey, promise you won't tell
  2606. anyone!
  2607.  
  2608. INT. WALLACE HOUSE
  2609.  
  2610. As Annie and Lindsey walk back inside the house, the phone
  2611. rings. Lindsey races across the room and picks it up.
  2612.  
  2613. LINDSEY
  2614. She was stuck in the window, she'll
  2615. be right here.
  2616.  
  2617. Lindsey sets down the receiver and walks out of the kitchen.
  2618.  
  2619. Annie gives Lindsey a dirty look and picks it up.
  2620.  
  2621. ANNIE
  2622. Hello, Paul.
  2623. (pause)
  2624. All right, cut it out. It can happen
  2625. to anyone.
  2626. (pause)
  2627. Yeah, but I've seen you stuck in
  2628. other positions!
  2629.  
  2630. Suddenly behind Annie the shape walks through the hallway
  2631. between the living room and the kitchen. She doesn't see
  2632. it.
  2633.  
  2634. ANNIE
  2635. (continuing)
  2636. That's fantastic! When did they
  2637. leave?
  2638. (pause)
  2639. Utterly fabulous! So why don't
  2640. you just walk over?
  2641. (pause)
  2642. My clothes are in the wash. I can't
  2643. come now.
  2644. (pause)
  2645. Shut up, jerk. I've got a robe on.
  2646. That's all you think about.
  2647. (pause)
  2648. That's not true. I think about
  2649. lots of things. Why don't we not
  2650. stand here talking about and get
  2651. down to doing them? All right, see
  2652. you in a few minutes.
  2653.  
  2654. Annie hangs up the phone. She walks into the living room.
  2655. Lindsey is back watching the TV Horrorthon.
  2656.  
  2657. LINDSEY
  2658. (excitedly)
  2659. I'm scared.
  2660.  
  2661. ANNIE
  2662. Then why are you sitting here with
  2663. the lights off?
  2664.  
  2665. LINDSEY
  2666. I don't know.
  2667.  
  2668. ANNIE
  2669. Well, come on, get your coat. We're
  2670. going to pick up Paul.
  2671.  
  2672. LINDSEY
  2673. I don't want to.
  2674.  
  2675. ANNIE
  2676. Look, Lindsey, I thought we
  2677. understood each other.
  2678.  
  2679. LINDSEY
  2680. I want to stay here and watch this.
  2681.  
  2682. Annie calculates a moment.
  2683.  
  2684. ANNIE
  2685. Okay, if I can fix it so you can
  2686. watch TV with Tommy Doyle would
  2687. you like that?
  2688.  
  2689. Lindsey's eyes light up.
  2690.  
  2691. LINDSEY
  2692. Yes.
  2693.  
  2694. ANNIE
  2695. Come with me.
  2696.  
  2697. CUT TO:
  2698.  
  2699. EXT. STREET -- NIGHT
  2700.  
  2701. Annie and Lindsey come out of the Wallace house. Lindsey
  2702. carries a bowl of popcorn. Annie has a coat over the
  2703. negligee.
  2704.  
  2705. They walk down the street to the Doyle's. The wind blows
  2706. strong and whips the negligee around Annie's lets.
  2707.  
  2708. ANOTHER ANGLE -- STREET
  2709.  
  2710. As the girls make their way down the street. The shape
  2711. steps into the glow of a streetlight and watches them. He
  2712. pulls a large knife from his pocket. The blade glistens in
  2713. the light.
  2714.  
  2715. INT. DOYLE HOUSE -- NIGHT
  2716.  
  2717. Laurie and Tommy are covered with pumpkin meat when the
  2718. doorbell rings. Tommy runs to answer it. He opens the door.
  2719.  
  2720. Annie and Lindsey stand there.
  2721.  
  2722. TOMMY
  2723. Hi, come on in. We're making a
  2724. Jack-o'-lantern.
  2725.  
  2726. LINDSEY
  2727. I want to watch TV.
  2728.  
  2729. Lindsey see the TV on and runs into the living room. She
  2730. takes off her coat; sits in front of the TV and eats her
  2731. popcorn.
  2732.  
  2733. Laurie comes from the kitchen. She glances at Annie's coat.
  2734.  
  2735. LAURIE
  2736. Fancy.
  2737.  
  2738. ANNIE
  2739. This has not been my night. My
  2740. clothes are in the wash, I spilled
  2741. butter down the front of me, I got
  2742. stuck in a window...
  2743.  
  2744. LAURIE
  2745. I'm glad you're here because I
  2746. have something I want you to do. I
  2747. want you to call up Ben Tramer and
  2748. tell him you were just fooling
  2749. around.
  2750.  
  2751. ANNIE
  2752. I can't.
  2753.  
  2754. LAURIE
  2755. Yes, you can.
  2756.  
  2757. ANNIE
  2758. He went out drinking beer with
  2759. Mike Godfrey and he won't be back
  2760. until late. You'll have to call
  2761. him tomorrow. Besides, I'm on my
  2762. way to pick up Paul.
  2763.  
  2764. Laurie glances at Lindsey.
  2765.  
  2766. LAURIE
  2767. Wait a minute here...
  2768.  
  2769. ANNIE
  2770. If you watch her, I'll consider
  2771. talking to Ben Tramer in the
  2772. morning.
  2773.  
  2774. LAURIE
  2775. Deal. Hey, I thought Paul was
  2776. grounded.
  2777.  
  2778. ANNIE
  2779. He was. Old jerko found a way to
  2780. sneak out. Listen, I'll call you
  2781. in an hour or so.
  2782.  
  2783. Before Laurie can say anything else, Annie rushes out the
  2784. door. Laurie closes the door and looks in at Tommy and
  2785. Lindsey engrossed in the Horrorthon.
  2786.  
  2787. LAURIE
  2788. The old girl scout comes through
  2789. again.
  2790.  
  2791. EXT. WALLACE HOUSE -- GARAGE -- NIGHT
  2792.  
  2793. Annie hurries across the backyard and steps into the garage.
  2794.  
  2795. She walks to her car.
  2796.  
  2797. ANNIE
  2798. (sings to herself)
  2799. Oh, Paul, I give you all...
  2800.  
  2801. She tries the door. It is locked.
  2802.  
  2803. ANNIE
  2804. (continuing)
  2805. No keys, but please... my Paul.
  2806.  
  2807. Quickly she turns and walks out of the garage.
  2808.  
  2809. INT. WALLACE HOUSE
  2810.  
  2811. Annie wanders through the empty house looking for her purse.
  2812. She finds it in the front room, takes out her brush and
  2813. lipstick and stands in front of the mirror primping.
  2814.  
  2815. ANNIE
  2816. (sings)
  2817. My Paul, I can no longer stall...
  2818.  
  2819. She glances up at her image in the mirror.
  2820.  
  2821. ANNIE
  2822. (continuing)
  2823. Lucky thing. Spilled butter on her
  2824. clothes, but nobody will know...
  2825. (sings)
  2826. except for Paul...
  2827.  
  2828. Suddenly the phone RINGS. Quickly Annie grabs it.
  2829.  
  2830. ANNIE
  2831. Hello. Oh hi, Dad.
  2832. (pause)
  2833. No, just watching TV with Lindsey.
  2834. (pause)
  2835. Be careful about what?
  2836. (pause)
  2837. Well, if you won't tell me how can
  2838. I be careful?
  2839. (pause)
  2840. Sure, sure I will. Bye, dad.
  2841.  
  2842. She hangs up, grabs her purse and rushes out the door.
  2843.  
  2844. INT. GARAGE
  2845.  
  2846. Annie walks into the garage, over to her car and opens the
  2847. door. It is now unlocked, but Annie doesn't notice.
  2848.  
  2849. INT. CAR
  2850.  
  2851. Annie slides in and inserts the key in the ignition. The
  2852. car starts. Annie glances at the car door lock. Suddenly
  2853. she remembers it was locked. She stares at it, puzzled.
  2854.  
  2855. An instant later, a man sits up in the back seat.
  2856.  
  2857. He wears a Halloween mask made of rubber with the grotesque
  2858. features of a man. He reaches forward and grabs her.
  2859.  
  2860. Annie SCREAMS. She lurches for the door. The man puts one
  2861. hand over her mouth and brings the huge butcher knife up
  2862. to her throat.
  2863.  
  2864. INT. GARAGE -- ANGLE ON CAR
  2865.  
  2866. From outside the car we see the struggle inside. Annie's
  2867. Anguished face presses against the steamed window. Her
  2868. SCREAMS are muffled by the closed car.
  2869.  
  2870. Suddenly, the struggle stops.
  2871.  
  2872. Annie's face slides down the car window leaving a track in
  2873. the wet surface. Then slowly the track in the glass steams
  2874. over again.
  2875.  
  2876. CUT TO:
  2877.  
  2878. INT. DOYLE HOUSE -- NIGHT
  2879.  
  2880. Music from Invasion of the Body Snatchers fills the room.
  2881. Lindsey and Tommy are riveted to the screen.
  2882.  
  2883. Tommy glances at Lindsey and slowly sneaks away from the
  2884. couch. He jumps to a window and ducks behind a curtain.
  2885.  
  2886. TOMMY
  2887. (from behind curtain)
  2888. Lindsey. Lindsey.
  2889.  
  2890. Lindsey turns around and looks for Tommy.
  2891.  
  2892. LINDSEY
  2893. Where are you?
  2894.  
  2895. No answer. Lindsey gets up from the couch to search for
  2896. Tommy.
  2897.  
  2898. BEHIND CURTAIN
  2899.  
  2900. Tommy hides, preparing to jump out and scare Lindsey. For
  2901. a moment, he glances out the window.
  2902.  
  2903. TOMMY'S POV -- WALLACE BACKYARD
  2904.  
  2905. The figure of a man carries what seems to be a body across
  2906. the Wallace's backyard.
  2907.  
  2908. INT. DOYLE HOUSE
  2909.  
  2910. Tommy SCREAMS and jumps out from the curtain, scaring the
  2911. hell out of Lindsey, who also SCREAMS and begins crying.
  2912.  
  2913. TOMMY
  2914. There he is, there he is! The
  2915. Boogeyman!
  2916.  
  2917. Laurie rushes in from the kitchen finding the children in
  2918. tears.
  2919.  
  2920. LAURIE
  2921. What's wrong?
  2922.  
  2923. Tommy points out the window.
  2924.  
  2925. TOMMY
  2926. I saw him again! He's over at
  2927. Lindsey's house. The Boogeyman!
  2928.  
  2929. At this, Lindsey begins to CRY even louder. Laurie bends
  2930. down to comfort her.
  2931.  
  2932. LAURIE
  2933. Tommy, stop it! You're scaring
  2934. Lindsey.
  2935.  
  2936. TOMMY
  2937. I saw him...
  2938.  
  2939. LAURIE
  2940. I said, stop it! There is no
  2941. Boogeyman. There's nothing out
  2942. there. If you don't stop all this,
  2943. I'm turning off the TV and you go
  2944. to bed.
  2945.  
  2946. Tommy turns away from Laurie and Lindsey and walks over to
  2947. the couch in front of the TV set. Almost instantly, Lindsey
  2948. stops crying and follows him.
  2949.  
  2950. TOMMY
  2951. Nobody believes me.
  2952.  
  2953. LINDSEY
  2954. I believe you, Tommy.
  2955.  
  2956. Lindsey sits up next to Tommy and hugs him.
  2957.  
  2958. Laurie shakes her head and walks back into the kitchen.
  2959.  
  2960. CUT TO:
  2961.  
  2962. EXT. MYERS HOUSE -- NIGHT
  2963.  
  2964. The old Myers house looks ominous and foreboding silhouetted
  2965. against the dark, whishing trees. CAMERA TRACKS behind the
  2966. hedge to where Loomis sits waiting.
  2967.  
  2968. Suddenly, there are noises from the street. Loomis parts
  2969. the hedge in front of him and stares.
  2970.  
  2971. LOOMIS' POV -- STREET
  2972.  
  2973. Three boys, Keith, Richie, and Lonnie (from the playground)
  2974. creep up to the edge of the sidewalk in front of the old
  2975. house. They stare fearfully at the dark, tomb-like
  2976. structure.
  2977.  
  2978. LONNIE
  2979. I'm not afraid.
  2980.  
  2981. RICHIE
  2982. Bullshit.
  2983.  
  2984. RONNIE
  2985. I'm not!
  2986. Then go in.
  2987.  
  2988. For a moment Lonnie hesitates, then slowly moves through
  2989. the front gate up toward the porch.
  2990.  
  2991. ANGLE ON LOOMIS
  2992.  
  2993. He watches the young boy walk toward the house, unsure
  2994. whether he should interfere or just watch.
  2995.  
  2996. LOOMIS' POV -- OLD HOUSE -- STREET
  2997.  
  2998. Lonnie makes it to the front porch and tentatively steps
  2999. up to the door. He glances back to his friends in the
  3000. street.
  3001.  
  3002. Loomis' POV moves to the street.
  3003.  
  3004. RICHIE
  3005. Chicken!
  3006.  
  3007. KEITH
  3008. Go on, Lonnie!
  3009.  
  3010. Then Loomis' POV moves back to Lonnie at the front door.
  3011. The boy turns to open the door. He's scared out of his
  3012. mind
  3013.  
  3014. ANGLE ON LOOMIS
  3015.  
  3016. Loomis quietly stands up behind the hedge.
  3017.  
  3018. LOOMIS
  3019. Lonnie...
  3020.  
  3021. LOOMIS' POV -- OLD HOUSE
  3022.  
  3023. Lonnie spins around and stares in horror at the talking
  3024. hedge.
  3025.  
  3026. ANGLE ON LOOMIS
  3027.  
  3028. LOOMIS
  3029. Get your ass away from there!
  3030.  
  3031. LOOMIS' POV -- OLD HOUSE -- STREET
  3032.  
  3033. Moving like the wind, Lonnie barrels off the porch and
  3034. races back to his friends. The three boys hurtle off down
  3035. the dark street in utter terror.
  3036.  
  3037. ANGLE ON LOOMIS
  3038.  
  3039. He watches them race away, smiling to himself.
  3040.  
  3041. Suddenly, two hands enter frame and grab Loomis' shoulders.
  3042. Loomis jumps and spins around.
  3043.  
  3044. Standing there is Brackett.
  3045.  
  3046. LOOMIS
  3047. Jesus!
  3048.  
  3049. BRACKETT
  3050. You all right?
  3051.  
  3052. LOOMIS
  3053. Sure...
  3054.  
  3055. BRACKETT
  3056. Nothing's going on. Just kids
  3057. playing pranks, trick or treating,
  3058. parking, getting high... I have
  3059. the feeling you're way off on
  3060. this...
  3061.  
  3062. LOOMIS
  3063. You have the wrong feeling.
  3064.  
  3065. BRACKETT
  3066. You're not coming up with much to
  3067. prove me wrong.
  3068.  
  3069. LOOMIS
  3070. Exactly what do you need?
  3071.  
  3072. BRACKETT
  3073. Well, its going to take more than
  3074. fancy talk to keep me up all night
  3075. creeping around these bushes.
  3076.  
  3077. LOOMIS
  3078. I watched him for fifteen years,
  3079. sitting in a room staring at a
  3080. wall, not seeing the wall, seeing
  3081. past it, seeing this night. He's
  3082. waited for it, inhumanly patient.
  3083. Hour after hour, day after day,
  3084. waiting for some silent, invisible
  3085. alarm to trigger him. Death has
  3086. arrived in your little town,
  3087. sheriff. You can ignore it, or you
  3088. can help me stop it.
  3089.  
  3090. BRACKETT
  3091. More fancy talk... You want to
  3092. know what Haddonfield is? Families.
  3093. Children, all lined up in rows, up
  3094. and down these streets. You're
  3095. telling me they're lined up for a
  3096. slaughterhouse.
  3097.  
  3098. LOOMIS
  3099. They could be.
  3100.  
  3101. BRACKETT
  3102. I'll stay out with you tonight,
  3103. Doctor, just on that chance that
  3104. you're right. And if you are right,
  3105. damn you for letting him out.
  3106.  
  3107. Brackett turns and walks back to the street. Loomis watches
  3108. him for several moments.
  3109.  
  3110. CUT TO:
  3111.  
  3112. EXT. WALLACE HOUSE -- NIGHT
  3113.  
  3114. The house is quiet, dark. The lights are all out. Annie's
  3115. car is parked in the garage.
  3116.  
  3117. A car pulls up in front of the house and parks. Its lights
  3118. flick off. The sounds of LAUGHTER come from inside.
  3119.  
  3120. INT. CAR -- NIGHT
  3121.  
  3122. BOB SIMMS, a good-looking 17-year-old, POPS open a can of
  3123. beer. Next to him Lynda guzzles hers. They embrace.
  3124.  
  3125. LYNDA
  3126. Now... First we'll talk a little,
  3127. then Annie will distract Lindsey
  3128. and we sneak quietly up the stairs
  3129. to the first bedroom on the left.
  3130. Got it?
  3131.  
  3132. BOB
  3133. Okay. First I rip your clothes
  3134. off.
  3135.  
  3136. Bob grabs Lynda and she starts giggling. The can of beer
  3137. falls over onto the front seat.
  3138.  
  3139. LYNDA
  3140. You idiot!
  3141.  
  3142. BOB
  3143. ...Then you rip my clothes off.
  3144. Then we rip Lindsey's clothes off.
  3145. I think I've got it.
  3146.  
  3147. LYNDA
  3148. Totally...
  3149.  
  3150. EXT. WALLACE HOUSE
  3151.  
  3152. Bob opens the door and together they fall out onto the
  3153. ground. Bob picks Lynda up and carries her up to the front
  3154. door.
  3155.  
  3156. LYNDA
  3157. Bob... Put me down. Put me down.
  3158. This is totally silly.
  3159.  
  3160. Lynda squirms in Bob's arms. As he sets her down her foot
  3161. accidentally hits the front door and it swings open. Lynda
  3162. and Bob both stop.
  3163.  
  3164. LYNDA
  3165. Annie, Annie, we're here!
  3166.  
  3167. Bob and Lynda enter the house.
  3168.  
  3169. INT. WALLACE HOUSE -- NIGHT
  3170.  
  3171. The living room is empty. The lights are off. Lynda and
  3172. Bob enter the house and begin turning on the lights.
  3173.  
  3174. BOB
  3175. I wonder where they went.
  3176.  
  3177. LYNDA
  3178. Annie probably took Lindsey out or
  3179. something. Let's look for a note.
  3180.  
  3181. Bob walks over to Lynda.
  3182.  
  3183. BOB
  3184. Let's don't.
  3185.  
  3186. They embrace. Bob pulls Lynda over to the couch and turns
  3187. out the light. They kiss. A shadow comes over them. They
  3188. continue kissing, unaware of the shape of a man on the
  3189. stairway watching.
  3190.  
  3191. INT. DOYLE HOUSE -- NIGHT
  3192.  
  3193. The house is totally black inside. The only sound is the
  3194. music score from "The Thing."
  3195.  
  3196. Suddenly, the sound of laughter is heard from the kitchen.
  3197. Then an orange light floats through the room. As it gets
  3198. closer, we see that Laurie is carrying a Jack-o'-lantern,
  3199. with a candle illuminating from the center of the pumpkin.
  3200. Behind Laurie is Tommy and Lindsey making scary noises.
  3201. The procession continues through the house.
  3202.  
  3203. TOMMY
  3204. Oooooo... He's gonna get you.
  3205.  
  3206. LINDSEY
  3207. No, he's not.
  3208.  
  3209. LAURIE
  3210. Nobody's going to get anybody. Now
  3211. stop scaring each other.
  3212.  
  3213. The procession continues to the front window. Laurie places
  3214. the Jack-o'-lantern on the windowsill. She looks down the
  3215. street toward the Wallace's.
  3216.  
  3217. LAURIE'S POV OF THE WALLACE HOUSE
  3218.  
  3219. Laurie sees Bob's car parked in front of the house.
  3220.  
  3221. ANGLE ON LAURIE
  3222.  
  3223. Laurie smiles to herself.
  3224.  
  3225. LAURIE
  3226. Everybody has a good time tonight.
  3227. Okay, kids, what do you want to do
  3228. now.
  3229.  
  3230. LINDSEY
  3231. Let's make more popcorn.
  3232.  
  3233. LAURIE
  3234. You've had enough. Why don't we
  3235. just sit down and watch the rest
  3236. of the movie.
  3237.  
  3238. Laurie sits down on the couch and sighs. Lindsey and Tommy
  3239. cuddle up with her, one on either side.
  3240.  
  3241. The phone rings.
  3242.  
  3243. Laurie gets up to answer it.
  3244.  
  3245. LAURIE
  3246. Hello.
  3247.  
  3248. INT. HOUSE -- NIGHT
  3249.  
  3250. Lynda sits on the couch in the dark. Her hair and clothes
  3251. are messed up. Bob lies on the couch, his head on her lap.
  3252.  
  3253. LYNDA
  3254. Hi, Laurie, what's up?
  3255.  
  3256. LAURIE (V.O.)
  3257. Nothing. I was just sitting down
  3258. for the first time tonight.
  3259.  
  3260. LYNDA
  3261. Is Annie around?
  3262.  
  3263. LAURIE
  3264. No. I thought she'd be home by
  3265. now. She went to pick up Paul.
  3266.  
  3267. LYNDA
  3268. Well, she's totally not here.
  3269.  
  3270. LAURIE (V.O.)
  3271. They probably stopped off somewhere.
  3272. Have her call me when she gets
  3273. back. I've got Lindsey here and I
  3274. want to know what time to put her
  3275. to bed.
  3276.  
  3277. LYNDA
  3278. Okay. Later.
  3279.  
  3280. LAURIE (V.O.)
  3281. Have a good time.
  3282.  
  3283. Lynda hangs up the phone and grins.
  3284.  
  3285. LYNDA
  3286. We sure will.
  3287.  
  3288. Lynda grabs Bob's hand and stands up.
  3289.  
  3290. LYNDA
  3291. (continuing)
  3292. Lindsey is gone for the night.
  3293.  
  3294. Bob grins.
  3295.  
  3296. BOB
  3297. Now that's wonderful.
  3298.  
  3299. Lynda pulls Bob up from the couch and they walk quickly up
  3300. the stairs.
  3301.  
  3302. INT. DOYLE HOUSE -- NIGHT
  3303.  
  3304. Laurie stands by the telephone. She walks to the window
  3305. and glances out.
  3306.  
  3307. LAURIE'S POV -- WALLACE HOUSE
  3308.  
  3309. It is dark.
  3310.  
  3311. ANGLE ON LAURIE
  3312.  
  3313. Laurie shrugs, turns away from the window and walks back
  3314. to Tommy and Lindsey sitting on the couch.
  3315.  
  3316. CUT TO:
  3317.  
  3318. INT. WALLACE BEDROOM -- NIGHT
  3319.  
  3320. Sounds of lovemaking come from the bed. The only light is
  3321. a candle illuminating the sheets as they move slowly up
  3322. and down and from side to side. Empty beer cans leave a
  3323. trail from the door to the bed.
  3324.  
  3325. The moans from Lynda begin increasing. They get louder.
  3326. Building to a crescendo. The phone rings. The lovemaking
  3327. suddenly stops.
  3328.  
  3329. LYNDA
  3330. Shit! Not again.
  3331.  
  3332. Lynda rises up on one arm. The sheet falls away from her,
  3333. showing a very beautiful young body. Her hair is a mess
  3334. and she is frustrated. The phone continues to ring.
  3335.  
  3336. BOB
  3337. I can't help it. It just keeps
  3338. ringing.
  3339.  
  3340. LYNDA
  3341. And I can't keep you interested?
  3342.  
  3343. BOB
  3344. Should we answer it?
  3345.  
  3346. Bob opens a fresh can of beer. He chugs it down.
  3347.  
  3348. LYNDA
  3349. That's great. Now you'll be too
  3350. drunk to...
  3351.  
  3352. BOB
  3353. Just answer the damn phone.
  3354.  
  3355. LYNDA
  3356. I can't. What if it's the Wallaces!?
  3357. We'd get Annie in trouble.
  3358.  
  3359. The phone stops ringing.
  3360.  
  3361. BOB
  3362. Take it off the hook.
  3363.  
  3364. Lynda reaches over and kisses Bob behind the ears. She
  3365. slowly moves around his ear with her tongue. Bob grabs
  3366. Lynda and pushes her down on the bed.
  3367.  
  3368. CAMERA MOVES BACK from the bed as their lovemaking
  3369. continues, back through the bedroom doorway. Standing there
  3370. in the darkness is the shape watching them.
  3371.  
  3372. Finally, Bob and Lynda climax. Bob rolls off Lynda. She
  3373. lights a cigarette and hands it to Bob, then lights one
  3374. for herself.
  3375.  
  3376. LYNDA
  3377. Fantastic. Totally.
  3378.  
  3379. BOB
  3380. Yeah.
  3381.  
  3382. LYNDA
  3383. Want a beer?
  3384.  
  3385. BOB
  3386. Yeah.
  3387.  
  3388. LYNDA
  3389. Is that all you have to say?
  3390.  
  3391. BOB
  3392. Yeah.
  3393.  
  3394. LYNDA
  3395. Go get me a beer.
  3396.  
  3397. BOB
  3398. I thought you were gonna get one
  3399. for me.
  3400.  
  3401. LYNDA
  3402. Yeah?
  3403.  
  3404. Bob gets out of bed and pulls his jeans on. He looks for
  3405. his glasses. He finds them and puts them on.
  3406.  
  3407. BOB
  3408. I'll be right back. Don't get
  3409. Dressed.
  3410.  
  3411. Bob leans over and kisses Lynda. He leaves.
  3412.  
  3413. Lynda leans back onto the pillows. She smiles to herself.
  3414.  
  3415. INT. WALLACE KITCHEN
  3416.  
  3417. Bob comes through the swinging doors. He opens the
  3418. refrigerator and takes out two beers. He looks around the
  3419. kitchen. He opens some cupboards and takes out a bag of
  3420. potato chips. In another cupboard, he finds a can of
  3421. peanuts.
  3422.  
  3423. Bob gathers the food and beer into his arms. He shuts out
  3424. the light with his elbow. He turns to leave the doors.
  3425. WHAM! He steps into a chair, knocking him backwards. The
  3426. beer falls on the floor along with the chips and peanuts.
  3427. Bob leans down to pick them up.
  3428.  
  3429. BOB
  3430. Goddammit!
  3431.  
  3432. ANOTHER ANGLE 153
  3433.  
  3434. Bob has his head down, intent on cleaning up the mess.There
  3435. is a SLAM from across the kitchen. Bob looks up.
  3436.  
  3437. BOB'S POV -- DOOR
  3438.  
  3439. The back door of the kitchen slowly swings open, as if it
  3440. has been slammed shut and the bolt didn't catch. It squeaks
  3441. on its hinges as it swings back and forth.
  3442.  
  3443. INT. KITCHEN
  3444.  
  3445. Slowly, Bob gets to his feet and walks over to the door.
  3446.  
  3447. BOB
  3448. Annie, Paul...
  3449.  
  3450. He steps to the door and looks outside.
  3451.  
  3452. BOB'S POV -- BACKYARD
  3453.  
  3454. The yard is empty. Just the wind blowing the trees.
  3455.  
  3456. ANGLE ON BOB
  3457.  
  3458. He turns from the door.
  3459.  
  3460. There is a SQUEAK from one of the two closet doors by the
  3461. kitchen counter.Bob freezes, staring at the two doors.
  3462.  
  3463. BOB
  3464. Lynda, you asshole!
  3465.  
  3466. He walks to one of the doors and opens it. Nothing inside.
  3467.  
  3468. BOB
  3469. (continuing)
  3470. All right, Lynda, come on out.
  3471.  
  3472. He steps to the other door and opens it.
  3473.  
  3474. Right behind the door stands the shape wearing the rubber
  3475. mask.
  3476.  
  3477. He steps out and grabs Bob around the neck in an
  3478. instantaneous lunge.
  3479.  
  3480. Bob tries to jump away, but the shape has a firm hold on
  3481. his neck. Bob COUGHS and GAGS from the pressure.
  3482.  
  3483. Then the shape lifts Bob up off the floor.
  3484.  
  3485. ANGLE ON BOB'S FEET
  3486.  
  3487. Bob's feet leave the floor.
  3488.  
  3489. ANGLE ON BOB'S FACE
  3490.  
  3491. He makes a guttural sound deep in his throat as the shape's
  3492. hand closes tightly around his windpipe.
  3493.  
  3494. ANGLE ON SHAPE
  3495.  
  3496. Behind the mask are two burning eyes. The shape moves
  3497. forward.
  3498.  
  3499. ANGLE ON WALL
  3500.  
  3501. Still holding him up with one hand the shape SLAMS Bob
  3502. against the wall, holding him up several feet off the floor.
  3503. Bob struggles to get free.
  3504.  
  3505. The shape lifts his other hand. It holds the butcher knife.
  3506.  
  3507. The shape drives the knife deeply into Bob's chest with a
  3508. SLAMMING THUD, the other end of the knife stuck through
  3509. the wall.
  3510.  
  3511. Then the shape steps away. Bob hangs there, impaled on the
  3512. wall, eyes still open in horror, dead.
  3513.  
  3514. CUT TO:
  3515.  
  3516. INT. WALLACE BEDROOM
  3517.  
  3518. Lynda lounges on the bed smoking another cigarette. She
  3519. hears Bob enter the room but doesn't look up.
  3520.  
  3521. LYNDA
  3522. Where's my beer?
  3523.  
  3524. No answer. Lynda turns around and looks.
  3525.  
  3526. ANOTHER ANGLE -- LYNDA'S POV
  3527.  
  3528. The shape stands in the doorway. He is covered with a sheet
  3529. like a ghost. He wears Bob's glasses.
  3530.  
  3531. LYNDA
  3532. (continuing)
  3533. Cute, Bob. Real cute.
  3534.  
  3535. The ghost doesn't answer.
  3536.  
  3537. ANOTHER ANGLE -- LYNDA AND GHOST
  3538.  
  3539. Lynda looks at the ghost. She slides the sheets down from
  3540. her body.
  3541.  
  3542. LYNDA
  3543. (continuing)
  3544. Come here, you fool.The ghost
  3545. doesn't answer. He continues to
  3546. stare at Lynda. Can't I get your
  3547. ghost, Bob?
  3548.  
  3549. Lynda laughs at her own joke, then stops when she sees the
  3550. ghost is motionless.
  3551.  
  3552. LYNDA
  3553. (continuing)
  3554. All right, all right. So where's
  3555. the beer.
  3556.  
  3557. Nothing. The ghost just stands there.
  3558.  
  3559. LYNDA
  3560. (continuing)
  3561. Well, answer me! Okay, don't answer
  3562. me. Boy, are you weird!
  3563.  
  3564. Lynda gets out of bed. She is nude and looks beautiful and
  3565. sensuous in the candle light. She walks over to the phone.
  3566.  
  3567. LYNDA
  3568. (continuing)
  3569. Well, I'm gonna call Laurie. I
  3570. wanna know where Annie and Paul
  3571. are. This isn't going anywhere.
  3572.  
  3573. Lynda sits down on a chair by the telephone. In the b.g.
  3574. the ghost stands in the doorway. She starts to dial the
  3575. phone. The ghost starts walking toward her.
  3576.  
  3577. INT. DOYLE HOUSE -- NIGHT
  3578.  
  3579. The house is very quiet. The kids are asleep. Laurie is
  3580. sitting on the couch knitting. The phone RINGS.
  3581.  
  3582. LAURIE
  3583. Finally.
  3584.  
  3585. Laurie crosses to answer the phone.
  3586.  
  3587. INT. WALLACE BEDROOM
  3588.  
  3589. Lynda holds the phone to her ear. The ghost walks up slowly
  3590. behind her. He raises his hands to grab her.
  3591.  
  3592. INT. DOYLE HOUSE
  3593.  
  3594. Laurie answers the telephone.
  3595.  
  3596. LAURIE
  3597. Hello.
  3598.  
  3599. INT. WALLACE BEDROOM
  3600.  
  3601. Lynda hears Laurie's hello as the ghost grabs the phone.
  3602. He clamps one hand over Lynda's mouth. She squirms and
  3603. writhes. He takes the telephone cord and wraps it around
  3604. her neck.
  3605.  
  3606. INT. DOYLE HOUSE
  3607.  
  3608. LAURIE
  3609. Hello?
  3610.  
  3611. Laurie hears SQUEALS, and rustling sounds across the phone.
  3612.  
  3613. LAURIE
  3614. (continuing)
  3615. All right, Annie! I've heard your
  3616. famous chewing, now I get your
  3617. famous squeals?
  3618.  
  3619. Laurie continues to hear weird SOUNDS.
  3620.  
  3621. LAURIE
  3622. (continuing)
  3623. Annie?
  3624.  
  3625. INT. WALLACE BEDROOM
  3626.  
  3627. Lynda tries to fight off the ghost. He wraps the cord around
  3628. the neck. He pulls tight. Lynda reaches up and pulls on
  3629. the sheet. It slides off of the man, to reveal the grotesque
  3630. Halloween mask.
  3631.  
  3632. Lynda gasps and tries to scream. The man pulls the cord
  3633. tighter. Her face turns blue. She opens her mouth, trying
  3634. to get air, then slowly slumps forward and remains
  3635. motionless. Lynda is dead.
  3636.  
  3637. The shape picks up the receiver and puts it to his ear.
  3638.  
  3639. INT. DOYLE HOUSE -- ANGLE ON LAURIE
  3640.  
  3641. LAURIE
  3642. Annie, Annie! Are you all right?
  3643.  
  3644. Silence over the phone.
  3645.  
  3646. LAURIE
  3647. (continuing)
  3648. Are you fooling around again?
  3649.  
  3650. Silence.
  3651.  
  3652. LAURIE
  3653. (continuing)
  3654. I'll kill you if this is a joke!
  3655.  
  3656. More silence.
  3657.  
  3658. LAURIE
  3659. (continuing)
  3660. Annie...
  3661.  
  3662. Suddenly the phone goes dead.
  3663.  
  3664. Laurie stares at the receiver, then hangs up. She crosses
  3665. to the window and looks out toward the Wallace house.
  3666.  
  3667. LAURIE'S. POV -- WALLACE HOUSE
  3668.  
  3669. The street is quiet, dark and windy. Bob's car is parked
  3670. in front of the Wallace house.
  3671.  
  3672. Suddenly a light goes on in the bedroom.
  3673.  
  3674. ANGLE ON LAURIE
  3675.  
  3676. She stares at the house, puzzled.
  3677.  
  3678. LAURIE'S. POV -- WALLACE HOUSE
  3679.  
  3680. Then the light goes off.
  3681.  
  3682. INT. DOYLE HOUSE
  3683.  
  3684. Laurie moves from the window back to the telephone and
  3685. dials Annie's number. We HEAR the phone ringing on the
  3686. other end.
  3687.  
  3688. INT. WALLACE HOUSE -- BEDROOM
  3689.  
  3690. CAMERA SLOWLY TRACKS through the darkened bedroom of the
  3691. Wallace house. There is no sign of a struggle. The room is
  3692. empty. The phone RINGS away.
  3693.  
  3694. INT. DOYLE HOUSE
  3695.  
  3696. Laurie finally hangs up the phone. She stands for a moment
  3697. considering it, then turns and walks upstairs.
  3698.  
  3699. INT. DOYLE BEDROOM
  3700.  
  3701. Laurie opens the door to the bedroom. Tommy and Lindsey
  3702. are sound asleep on the bed. She looks at them a moment,
  3703. then closes the door behind her.
  3704.  
  3705. INT. DOYLE HOUSE -- LIVING ROOM
  3706.  
  3707. Laurie comes back downstairs. She takes a key out of her
  3708. purse and again steps to the window.
  3709.  
  3710. LAURIE'S POV -- WALLACE HOUSE
  3711.  
  3712. Dark and silent.
  3713.  
  3714. ANGLE ON LAURIE
  3715.  
  3716. She steps to the front door.
  3717.  
  3718. CUT TO:
  3719.  
  3720. EXT. MYERS HOUSE -- NIGHT
  3721.  
  3722. Loomis sits in silence behind the hedge watching the Myers
  3723. house. Frustrated, he gets up and walks to the street.
  3724.  
  3725. For a moment he glances back at the Myers house, then starts
  3726. down the quiet residential street.
  3727.  
  3728. LOOMIS' POV -- STREET -- STATION WAGON
  3729.  
  3730. It is empty except for a station wagon parked several blocks
  3731. away.
  3732.  
  3733. ANGLE ON LOOMIS
  3734.  
  3735. He turns away from the street. Then a thought strikes him.
  3736. He looks again.
  3737.  
  3738. LOOMIS' POV -- STREET -- STATION WAGON
  3739.  
  3740. The lone car is Loomis' station wagon.
  3741.  
  3742. ANGLE ON LOOMIS
  3743.  
  3744. He's not certain of it. Slowly Loomis starts walking down
  3745. the street toward the station wagon.
  3746.  
  3747. CUT TO:
  3748.  
  3749. EXT. STREET -- NIGHT
  3750.  
  3751. Laurie locks the Doyle house and walks away out into the
  3752. street. The wind whips her clothes and hair.
  3753.  
  3754. LAURIE'S POV -- WALLACE HOUSE -- MOVING SHOT
  3755.  
  3756. MOVING SHOT TOWARD THE WALLACE HOUSE, DARK AND OMINOUS
  3757.  
  3758. MOVING SHOT -- LAURIE
  3759.  
  3760. She moves down the street, shivering in the chill wind.
  3761.  
  3762. She puts the key to the Doyle house in her pocket.
  3763.  
  3764. LAURIE'S POV -- WALLACE HOUSE -- MOVING SHOT
  3765.  
  3766. Car turns the corner and drives past the Wallace house,
  3767. casting a strange shadowy pattern across the front of the
  3768. house.
  3769.  
  3770. MOVING SHOT -- LAURIE
  3771.  
  3772. She picks up her speed now up the sidewalk.
  3773.  
  3774. LAURIE'S POV -- WALLACE HOUSE -- MOVING SHOT
  3775.  
  3776. The house looms closer and closer.
  3777.  
  3778. CUT TO:
  3779.  
  3780. EXT. STREET -- NIGHT
  3781.  
  3782. TRACKING SHOT with Loomis as he walks up the street.
  3783.  
  3784. LOOMIS' POV -- STATION WAGON
  3785.  
  3786. The station wagon moves closer.
  3787.  
  3788. MOVING SHOT -- LOOMIS
  3789.  
  3790. He recognizes it and races forward.
  3791.  
  3792. LOOMIS' POV -- STATION WAGON
  3793.  
  3794. CAMERA TRACKS IN to the station wagon, right up to the state
  3795. emblem emblazoned on the side.
  3796.  
  3797. CUT TO:
  3798.  
  3799. EXT. WALLACE HOUSE -- NIGHT
  3800.  
  3801. CAMERA MOVES UP to the front of the Wallace house.
  3802.  
  3803. Laurie walks up to the front porch. She stands there a
  3804. moment, listening, as if to hear some sound of life from
  3805. the inside.
  3806.  
  3807. She KNOCKS on the door and RINGS the doorbell. She waits.
  3808.  
  3809. Silence.
  3810.  
  3811. She steps off the porch and walks around to the side of
  3812. the house, CAMERA TRACKING WITH HER. She moves to the garage
  3813. and peeks inside. There is Annie's car.
  3814.  
  3815. Laurie thinks a moment, then looks to the street.
  3816.  
  3817. LAURIE'S POV -- BOB'S CAR
  3818.  
  3819. Bob's car sits there on the street.
  3820.  
  3821. ANGLE ON LAURIE
  3822.  
  3823. She turns and walks through the breezeway between the house
  3824. and the garage around to the back door.
  3825.  
  3826. The kitchen door is ajar, swinging back and forth in the
  3827. wind.
  3828.  
  3829. Laurie pulls open the door and steps into the house.
  3830.  
  3831. INT. WALLACE KITCHEN
  3832.  
  3833. The kitchen is dark. Laurie stands there a moment staring
  3834. into the blackness.
  3835.  
  3836. LAURIE
  3837. Annie?
  3838.  
  3839. No answer.
  3840.  
  3841. LAURIE
  3842. (continuing)
  3843. Bob, Lynda, Annie?
  3844.  
  3845. No one answers. Laurie searches for the wall light. She
  3846. flips it and nothing happens. She looks again into the
  3847. darkness.
  3848.  
  3849. LAURIE
  3850. (continuing)
  3851. Hello?
  3852.  
  3853. Nothing. Laurie moves forward into the house, CAMERA
  3854. TRACKING WITH HER.
  3855.  
  3856. Laurie walks into the living room. She stops to let her
  3857. eyes get accustomed to the almost total darkness. She
  3858. reaches for a nearby lamp and trips over the cord. The
  3859. lamp CLUNKS to the floor.
  3860.  
  3861. LAURIE
  3862. (continuing)
  3863. Shit.
  3864.  
  3865. Suddenly there is a CRASHING SOUND from upstairs.
  3866.  
  3867. Laurie spins around and stares up the dark staircase.
  3868.  
  3869. Another SQUEAK from above.
  3870.  
  3871. Laurie smiles.
  3872.  
  3873. LAURIE
  3874. (continuing)
  3875. All right, meatheads. The joke is
  3876. over.
  3877.  
  3878. Silence.
  3879.  
  3880. LAURIE
  3881. (continuing)
  3882. Come on, Annie, enough.
  3883.  
  3884. Another SOUND from upstairs, a DRAGGING across the floor.
  3885.  
  3886. Laurie moves to the head of the staircase.
  3887.  
  3888. The dragging sound stops abruptly. Silence.
  3889.  
  3890. LAURIE
  3891. (continuing)
  3892. This has most definitely stopped
  3893. being funny. Now cut it out!
  3894.  
  3895. A SCRAPING SOUND, then silence.
  3896.  
  3897. LAURIE
  3898. (continuing)
  3899. You'll be sorry.
  3900.  
  3901. Slowly Laurie starts up the staircase.
  3902.  
  3903. CUT TO:
  3904.  
  3905. EXT. STREET -- NIGHT
  3906.  
  3907. Loomis stands by his car glancing up and down the empty
  3908. street. Finally he makes up his mind and starts moving
  3909. down the street, almost running, looking back and forth at
  3910. the rows of houses on either side for something out of
  3911. place.
  3912.  
  3913. CUT TO:
  3914.  
  3915. INT. WALLACE HOUSE -- NIGHT
  3916.  
  3917. SLOWLY TRACKING up the staircase.
  3918.  
  3919. MOVING SHOT -- LAURIE
  3920.  
  3921. As she slowly moves up the stairs. She reaches the top and
  3922. stops.
  3923.  
  3924. LAURIE'S POV -- SECOND FLOOR HALLWAY
  3925.  
  3926. It is totally dark. At the end of the hall is the bedroom
  3927. door. From around the edges of the door is the faintest
  3928. orange glow.
  3929.  
  3930. ANGLE ON LAURIE
  3931.  
  3932. She moves for the door, CAMERA TRACKING WITH HER.
  3933.  
  3934. LAURIE'S POV -- DOOR
  3935.  
  3936. She reaches the door. Her hand reaches out and touches it.
  3937.  
  3938. The door swings open.
  3939.  
  3940. A Jack-o'-lantern casts an eerie glow around the room.
  3941. There is someone lying on the bed but from this position
  3942. Laurie can't see.
  3943.  
  3944. ANGLE ON LAURIE
  3945.  
  3946. She moves forward toward the bed.
  3947.  
  3948. LAURIE'S POV
  3949.  
  3950. CAMERA MOVES FORWARD. There on the bed is Annie! Her face
  3951. is a chalky white and there is a huge red gash across her
  3952. throat.
  3953.  
  3954. At the head of the bed is Judith Myer's tombstone.
  3955.  
  3956. ANGLE ON LAURIE
  3957.  
  3958. She stares at the bed and then SCREAMS at the top of her
  3959. lungs.
  3960.  
  3961. Suddenly something drops down at her from above.
  3962.  
  3963. Laurie jumps back to the door.
  3964.  
  3965. LAURIE'S POV -- BOB
  3966.  
  3967. Strung up to the light fixture on the ceiling, dangling
  3968. there in the middle of the room, is Bob, eyes open and
  3969. staring.
  3970.  
  3971. INT. SECOND FLOOR HALLWAY
  3972.  
  3973. Laurie backs out of the bedroom. Her mouth is open in
  3974. speechless horror.
  3975.  
  3976. Suddenly a door next to her slowly opens. There is Lynda
  3977. standing there, propped up by a chair, staring at her with
  3978. glazed, dead eyes.
  3979.  
  3980. ANGLE ON LAURIE -- CORNER (LIGHTING EFFECT)
  3981.  
  3982. Laurie shrinks back into a dark corner. She can only stare
  3983. in horror at the sight of her friend.
  3984.  
  3985. Suddenly we are aware of something there in the dark
  3986. corner.
  3987.  
  3988. It is almost as if our eyes have suddenly begun to adjust
  3989. to the darkness and we see the outline of a man standing
  3990. right behind her.
  3991.  
  3992. The outline becomes more and more clear. It is the shape,
  3993. wearing the mask, the butcher knife in his hand, gleaming,
  3994. right behind Laurie.
  3995.  
  3996. Laurie suddenly moves away from the corner.
  3997.  
  3998. The shape lunges out at her.
  3999.  
  4000. CLOSE SHOT -- LAURIE'S BACK -- HAND
  4001.  
  4002. The hand grasps a piece of Laurie's blouse and RIPS it.
  4003.  
  4004. CLOSE SHOT -- LAURIE
  4005.  
  4006. She SCREAMS and spins around.
  4007.  
  4008. ANGLE ON SHAPE
  4009.  
  4010. He stands there holding up the piece of material, then
  4011. raises the butcher knife and moves for her.
  4012.  
  4013. ANGLE ON LAURIE
  4014.  
  4015. CAMERA MOVES WITH HER as she backs away, SCREAMING at the
  4016. top of her lungs.
  4017.  
  4018. ANGLE ON SHAPE
  4019.  
  4020. He lunges at her suddenly with the knife.
  4021.  
  4022. ANGLE ON LAURIE -- TOP OF STAIRCASE
  4023.  
  4024. The knife slices across her arm, ripping her flesh.
  4025.  
  4026. Laurie suddenly jumps backward, raising her arm
  4027. instinctively.
  4028.  
  4029. ANGLE ON RAILING.
  4030.  
  4031. Laurie bumps back into the railing.
  4032.  
  4033. ANGLE ON SHAPE
  4034.  
  4035. He lunges again with the knife.
  4036.  
  4037. ANGLE ON LAURIE
  4038.  
  4039. She leaps backward to avoid the blade and slips over the
  4040. edge of the railing.
  4041.  
  4042. LAURIE'S POV
  4043.  
  4044. CAMERA PLUNGES DOWN from the second floor and SLAMS into
  4045. the floor.
  4046.  
  4047. ANGLE ON LAURIE
  4048.  
  4049. She hits the floor and rolls over, holding her leg
  4050. painfully. Then she looks up at the staircase.
  4051.  
  4052. POV STAIRCASE
  4053.  
  4054. The shape moves to the top of the staircase and starts
  4055. down toward her.
  4056.  
  4057. ANGLE ON LAURIE
  4058.  
  4059. She pulls herself up off the floor and hobbles into the
  4060. living room.
  4061.  
  4062. ANGLE ON STAIRCASE
  4063.  
  4064. The shape races down the stairs.
  4065.  
  4066. ANGLE ON LAURIE
  4067.  
  4068. She moves for the kitchen. She trips on the fallen lamps
  4069. and falls to the floor.
  4070.  
  4071. ANGLE ON SHAPE
  4072.  
  4073. The shape steps into the living room, knife raised.
  4074.  
  4075. ANGLE ON LAURIE -- KITCHEN
  4076.  
  4077. She crawls to the kitchen, rolls inside and SLAMS the
  4078. kitchen door behind her. In a flash she leaps up and CLICKS
  4079. the lock.
  4080.  
  4081. There is a POUNDING on the door from the other side.
  4082.  
  4083. Laurie slowly climbs to her feet and limps toward the back
  4084. door.
  4085.  
  4086. Suddenly the kitchen door EXPLODES, the middle of it
  4087. breaking apart. The shape reaches through, groping for the
  4088. lock.
  4089.  
  4090. Laurie reaches the back door.
  4091.  
  4092. ANGLE ON DOOR
  4093.  
  4094. Her hand tries the door. It is key-locked.
  4095.  
  4096. ANGLE ON LAURIE
  4097.  
  4098. Desperately she tries the door, glancing behind her.
  4099.  
  4100. ANGLE ON SHAPE
  4101.  
  4102. The shape's hand reaches for the lock.
  4103.  
  4104. ANGLE ON LAURIE
  4105.  
  4106. She steps back from the door into the kitchen.
  4107.  
  4108. LAURIE'S POV -- KITCHEN WINDOW
  4109.  
  4110. She sees the kitchen window over the sink.
  4111.  
  4112. ANGLE ON LAURIE
  4113.  
  4114. She hobbles to the sink, climbs up on it and grabs the
  4115. window. With a heave she opens it up halfway.
  4116.  
  4117. ANGLE ON SHAPE
  4118.  
  4119. The shape's hand grabs the lock and CLICKS it open.
  4120.  
  4121. ANGLE ON LAURIE -- KITCHEN WINDOW
  4122.  
  4123. She can only get it three-fourths open. Headfirst she crawls
  4124. through the window.
  4125.  
  4126. ANGLE ON SHAPE
  4127.  
  4128. The shape pushes the door open and leaps into the kitchen.
  4129.  
  4130. ANGLE ON LAURIE
  4131.  
  4132. She drags herself roughly out the window.
  4133.  
  4134. CLOSE SHOT -- WINDOW
  4135.  
  4136. The shape grabs at Laurie's legs as they disappear through
  4137. the sill.
  4138.  
  4139. EXT. WALLACE HOUSE
  4140.  
  4141. Laurie picks herself up from the ground and runs as fast
  4142. as she can, limping across the backyard, CAMERA MOVING
  4143. WITH HER. She passes the driveway and scurries into the
  4144. neighbor's backyard, up to the back door of the house. She
  4145. POUNDS furiously on the door.
  4146.  
  4147. LAURIE
  4148. Help me! Help me!
  4149.  
  4150. She looks behind her.
  4151.  
  4152. LAURIE'S POV -- WALLACE HOUSE
  4153.  
  4154. No sign of the shape. The house is dark and silent.
  4155.  
  4156. ANGLE ON LAURIE
  4157.  
  4158. The back porch light comes on. Laurie continues to POUND
  4159. on the door.
  4160.  
  4161. LAURIE'S POV -- DOOR
  4162.  
  4163. Through the glass in the back door we see an OLD WOMAN
  4164. dressed in a nightgown approach.
  4165.  
  4166. ANGLE ON LAURIE
  4167.  
  4168. LAURIE
  4169. Please, help me! Call the police!
  4170. Please!
  4171.  
  4172. LAURIE'S POV -- DOOR
  4173.  
  4174. The old woman stares at her suspiciously for a moment,
  4175. then turns from the door and walks away.
  4176.  
  4177. ANGLE ON LAURIE
  4178.  
  4179. The porch light goes out.
  4180.  
  4181. LAURIE
  4182. No! No! Please, open the door!
  4183.  
  4184. She turns around and looks back.
  4185.  
  4186. LAURIE'S POV -- WALLACE HOUSE
  4187.  
  4188. Nothing. No sign of the shape.
  4189.  
  4190. ANGLE ON LAURIE
  4191.  
  4192. She hobbles off the back porch and runs across the yard to
  4193. the street. CAMERA MOVES WITH HER as she limps along.
  4194.  
  4195. EXT. DOYLE HOUSE
  4196.  
  4197. Laurie rushes up to the front door. She reaches in her
  4198. pocket for the key and drops it on the porch.
  4199.  
  4200. Quickly she bends down and scrambles for it. She looks
  4201. back toward the street.
  4202.  
  4203. LAURIE'S POV -- STREET
  4204.  
  4205. The street is empty. The wind WHISHES the trees. Leaves
  4206. sprinkle down.
  4207.  
  4208. EXT. DOYLE HOUSE
  4209.  
  4210. Laurie gropes around for the key. It lies over a crack in
  4211. the wooden porch. She reaches for it but her finger nudge
  4212. the key between the crack, down out of sight.
  4213.  
  4214. Laurie SCREAMS with frustration and glances back at the
  4215. street.
  4216.  
  4217. LAURIE'S POV -- STREET
  4218.  
  4219. The shape walks slowly down the middle of the street, right
  4220. toward her!
  4221.  
  4222. ANGLE ON LAURIE
  4223.  
  4224. Laurie begins to BANG on the front door.
  4225.  
  4226. LAURIE
  4227. Tommy! Tommy, open the door!
  4228.  
  4229. She grabs a planter on the porch, steps back and hurls it
  4230. at an upstairs window.
  4231.  
  4232. ANGLE ON UPSTAIRS WINDOW
  4233.  
  4234. The planter SMASHES against the window. A light goes on.
  4235. Tommy appears sleepily at the window.
  4236.  
  4237. TOMMY
  4238. Who is it?
  4239.  
  4240. ANGLE ON LAURIE
  4241.  
  4242. LAURIE
  4243. Tommy, let me in!
  4244.  
  4245. She looks back at the street.
  4246.  
  4247. LAURIE'S POV -- STREET
  4248.  
  4249. The street is empty. The shape is gone.
  4250.  
  4251. ANGLE ON LAURIE
  4252.  
  4253. She stands there breathlessly, her eyes burning in the
  4254. darkness.
  4255.  
  4256. Finally the door opens. Tommy stands there in his pajamas.
  4257.  
  4258. Laurie leaps inside and SLAMS the door.
  4259.  
  4260. INT. DOYLE HOUSE 259
  4261.  
  4262. Laurie bolts the door from the inside.
  4263.  
  4264. LAURIE
  4265. Tommy, I want you to go back
  4266. upstairs...
  4267.  
  4268. TOMMY
  4269. What is it, Laurie?
  4270.  
  4271. LAURIE
  4272. Be quiet! Get Lindsey and get into
  4273. the bedroom and lock the door!
  4274.  
  4275. TOMMY
  4276. I'm scared...
  4277.  
  4278. LAURIE
  4279. DO WHAT I SAY! NOW!
  4280.  
  4281. TOMMY
  4282. It's the Boogeyman, isn't it?
  4283.  
  4284. LAURIE
  4285. HURRY!
  4286.  
  4287. Tommy turns and runs upstairs CRYING.
  4288.  
  4289. Laurie moves from the door to the telephone. She picks it
  4290. up, dials a number and waits.
  4291.  
  4292. Then suddenly she reacts.. The phone is dead. No dial
  4293. tone.
  4294.  
  4295. She puts down the phone and stands very still. There is a
  4296. slight breeze blowing her hair.Slowly Laurie moves around
  4297. the couch.
  4298.  
  4299. LAURIE'S POV -- KITCHEN
  4300.  
  4301. From the living room we see into the kitchen. The back
  4302. door is open.
  4303.  
  4304. ANGLE ON LAURIE
  4305.  
  4306. Laurie doesn't move. She begins crying softly, her eyes
  4307. wide with fear.
  4308.  
  4309. LAURIE
  4310. Please stop... Please...
  4311.  
  4312. Silence. No movement anywhere in the house.Slowly Laurie
  4313. sinks down to her knees by the couch.
  4314.  
  4315. CLOSE SHOT --KNITTING NEEDLES
  4316.  
  4317. Her hand brushes against the knitting needles protruding
  4318. from her tote bag.
  4319.  
  4320. ANGLE ON LAURIE -- COUCH
  4321.  
  4322. She reacts to the feel of the knitting needles and pulls
  4323. one out. It is long and deadly sharp. She stares at it.
  4324.  
  4325. Suddenly the shape leaps up from behind the couch! He
  4326. springs at her, plunging the butcher knife.
  4327.  
  4328. ANGLE ON COUCH
  4329.  
  4330. The blade of the butcher knife THUMPS into the couch.
  4331.  
  4332. ANGLE ON LAURIE -- SHAPE
  4333.  
  4334. Instinctively Laurie raises the knitting needle and drives
  4335. it home, right into the shape's neck!
  4336.  
  4337. The shape springs backward, clawing at the needle, rolling
  4338. his head back and forth. Then suddenly he freezes, hands
  4339. outstretched, motionless, and falls in a heap on the floor.
  4340.  
  4341. Laurie sits there.
  4342.  
  4343. The shape doesn't move.
  4344.  
  4345. Laurie begins to cry again, harder and harder.
  4346.  
  4347. CUT TO:
  4348.  
  4349. EXT. STREET -- NIGHT
  4350.  
  4351. CAMERA MOVES WITH LOOMIS as he moves along the street.
  4352. Suddenly two headlights hit him and a police car swerves
  4353. to a stop next to him. Brackett gets out.
  4354.  
  4355. BRACKETT
  4356. Where were you? I went back to the
  4357. Myers house...
  4358.  
  4359. LOOMIS
  4360. I found the car! He's here!
  4361.  
  4362. BRACKETT
  4363. Where!
  4364.  
  4365. LOOMIS
  4366. Three blocks down. Get in the car
  4367. and go up that other street then
  4368. back down here. I'm going up the .
  4369. block.
  4370.  
  4371. Brackett turns and hurries back to the car.
  4372.  
  4373. Loomis starts up the street again as Brackett pulls off in
  4374. the other direction.
  4375.  
  4376. CUT TO:
  4377.  
  4378. INT. DOYLE HOUSE -- NIGHT
  4379.  
  4380. WIDE SHOT of the living room. Laurie is on one side of
  4381. frame, the motionless shape lying behind the couch on the
  4382. other.
  4383.  
  4384. Slowly Laurie stands up, stares at the shape and then moves
  4385. to the staircase.
  4386.  
  4387. Slowly, painfully, Laurie climbs up the stairs.
  4388.  
  4389. INT. BEDROOM
  4390.  
  4391. Tommy and Lindsey are huddled in a corner WHIMPERING softly.
  4392. The door opens and Laurie steps in. The two children run
  4393. to her CRYING. She holds them in her arms tightly and nudges
  4394. the door shut with her foot.
  4395.  
  4396. LAURIE
  4397. It's all right now. Shhh, it's all
  4398. right...
  4399.  
  4400. She takes the children back to the bed and sits down with
  4401. them.
  4402.  
  4403. LAURIE
  4404. (continuing)
  4405. Now I want you to change your
  4406. clothes, Tommy. We're going to
  4407. take a walk outside.
  4408.  
  4409. TOMMY
  4410. Was it the Boogeyman?
  4411.  
  4412. LINDSEY
  4413. I'm scared!
  4414.  
  4415. LAURIE
  4416. There's nothing to be scared of
  4417. now. Get changed.
  4418.  
  4419. TOMMY
  4420. Are you sure?
  4421.  
  4422. LAURIE
  4423. Yes.
  4424.  
  4425. TOMMY
  4426. How?
  4427.  
  4428. LAURIE
  4429. I killed him...
  4430.  
  4431. TOMMY
  4432. But you can't kill the Boogeyman.
  4433.  
  4434. Suddenly the bedroom door swings open. Standing there is
  4435. the shape, the butcher knife raised.
  4436.  
  4437. Both children SCREAM. Laurie shoves them into the bathroom
  4438. and pulls the door shut, leaving herself outside in the
  4439. bedroom.
  4440.  
  4441. LAURIE
  4442. Lock the door! Lock the door!
  4443.  
  4444. The shape moves for her, slowly now, but relentless, the
  4445. knife glistening.
  4446.  
  4447. There is a CLICK as the bathroom door is locked. Laurie
  4448. leaps away from the door and circles around the bed.
  4449.  
  4450. The shape keeps coming.
  4451.  
  4452. Laurie dashes to a clothes closet and ducks inside.
  4453.  
  4454. INT. CLOTHES CLOSET
  4455.  
  4456. Laurie pulls the sliding doors closed and crawls back into
  4457. the small, dark interior of the closet.
  4458.  
  4459. Suddenly the doors begin to buckle as the shape pounds on
  4460. them.
  4461.  
  4462. ANGLE ON LAURIE
  4463.  
  4464. She reaches up and grabs a wire hanger from the top of the
  4465. closet. She rips off the shirt and begins unhooking it.
  4466.  
  4467. ANGLE ON CLOSET DOOR
  4468.  
  4469. The door buckles inward as the shape SMASHES against it.
  4470.  
  4471. ANGLE ON LAURIE
  4472.  
  4473. She twists the top of the hanger, unwinding the wire.
  4474.  
  4475. ANGLE ON CLOSET DOOR
  4476.  
  4477. The door BREAKS IN. The shape steps inside, pushing aside
  4478. the clothes.
  4479.  
  4480. ANGLE ON LAURIE
  4481.  
  4482. She unhooks the hanger and bends it out straight.
  4483.  
  4484. ANGLE ON SHAPE
  4485.  
  4486. The shape leans in, peering down at Laurie in the corner,
  4487. raising the knife.
  4488.  
  4489. ANGLE ON LAURIE
  4490.  
  4491. Holding the hanger with both hands she thrusts it forward
  4492. with all her might.
  4493.  
  4494. ANGLE ON SHAPE
  4495.  
  4496. The wire hanger flashes into the shape's right eye.He leaps
  4497. back in pain, dropping the butcher knife, grabbing his eye
  4498. with both hands.
  4499.  
  4500. ANGLE ON LAURIE
  4501.  
  4502. She grasps the butcher knife with both hands and jabs it
  4503. upward.
  4504.  
  4505. ANGLE ON SHAPE
  4506.  
  4507. The butcher knife plunges into the shape's mid-section,
  4508. right down to the hilt. The shape stumbles backward out of
  4509. the closet.
  4510.  
  4511. ANGLE ON LAURIE
  4512.  
  4513. She just sits there in the corner of the closet. There is
  4514. a THUMP from the bedroom, then silence.
  4515.  
  4516. Slowly Laurie crawls around and peeks out of the closet
  4517. doors.
  4518.  
  4519. LAURIE'S POV -- SHAPE
  4520.  
  4521. The shape lies on the floor by the bed, the butcher knife
  4522. protruding from his stomach.
  4523.  
  4524. INT. BEDROOM
  4525.  
  4526. Laurie emerges from the closet and carefully crosses the
  4527. bedroom, avoiding the shape's body. She goes to the bathroom
  4528. door and knocks softly.
  4529.  
  4530. LAURIE
  4531. Tommy, it's me. Open the door.
  4532.  
  4533. There is a silence, then the door opens. On the other side
  4534. are Tommy and Lindsey, looking utterly terrified. Laurie
  4535. bends down and shields them from the sight of the shape.
  4536.  
  4537. LAURIE
  4538. (continuing)
  4539. Now, I want you to walk to the
  4540. door, down the stairs and right
  4541. out the front door.
  4542.  
  4543. LINDSEY
  4544. You're coming with us...
  4545.  
  4546. LAURIE
  4547. Listen to me. I want you to walk
  4548. down the street to the MacKensie's
  4549. and knock on their door. You tell
  4550. them to call the police and send
  4551. them over here. Do you understand?
  4552.  
  4553. TOMMY
  4554. Laurie, you come with us...
  4555.  
  4556. LAURIE
  4557. No! Do as I say.
  4558.  
  4559. She stands up and guides the children carefully across the
  4560. bedroom to the door and ushers them outside.
  4561.  
  4562. She watches for a moment as they walk down the stairs,
  4563. then slumps down against the door frame in an exhausted
  4564. heap.
  4565.  
  4566. EXT. DOYLE HOUSE -- NIGHT
  4567.  
  4568. Tommy and Lindsey run out of the house and down the walk
  4569. to the sidewalk. They rush up the street. As they leave
  4570. frame we see Loomis on the other side of the street.
  4571.  
  4572. ANGLE ON LOOMIS
  4573.  
  4574. He watches the children with a puzzled frown.
  4575.  
  4576. LOOMIS' POV -- TOMMY AND LINDSEY
  4577.  
  4578. Shrieking with fear, Tommy and Lindsey run up the sidewalk.
  4579.  
  4580. ANGLE ON LOOMIS
  4581.  
  4582. He stares at them for a moment, then moves for the Doyle
  4583. house.
  4584.  
  4585. CUT TO:
  4586.  
  4587. INT. DOYLE HOUSE -- ANGLE THROUGH BEDROOM DOOR -- NIGHT
  4588.  
  4589. We SEE through the bedroom door. In f.g. sits Laurie,
  4590. slumped against the door frame, staring out at nothing,
  4591. tears streaming down her face. In b.g. lies the shape.
  4592.  
  4593. Slowly Laurie begins to pull herself together once again.
  4594.  
  4595. She gets up to her knees and begins to pull herself up to
  4596. her feet.
  4597.  
  4598. Her back is to the shape. As she starts to stand the shape
  4599. sits up, the head turning to Laurie.
  4600.  
  4601. CLOSE SHOT -- LAURIE
  4602.  
  4603. Laurie rises into frame, holding herself erect by grasping
  4604. the doorframe.
  4605.  
  4606. Behind her the shape rises up into frame, quickly, silently.
  4607.  
  4608. Laurie just hangs there on the doorframe. An exhausted,
  4609. ironic smile comes over her face.
  4610.  
  4611. LAURIE
  4612. Well, kiddo. Some Halloween...
  4613.  
  4614. Slowly the shape moves for her, his hands outstretched.
  4615.  
  4616. Just as he is about to grab her, Laurie manages to step
  4617. out the door.
  4618.  
  4619. ANGLE IN HALL
  4620.  
  4621. Unaware he is behind her, Laurie limps toward the stairs.
  4622.  
  4623. Suddenly the shape jumps out of the bedroom and grabs her,
  4624. hands around her neck.
  4625.  
  4626. Laurie SCREAMS. She twists and squirms and claws at him,
  4627. her finger ripping at his mask. She pulls it off over his
  4628. face, wriggles out of his grip and turns around.
  4629.  
  4630. CLOSE SHOT -- MICHAEL
  4631.  
  4632. The shape, Michael, stares at her with his one eye. He has
  4633. a dank, white face with blond hair. There is something
  4634. completely unhuman about his features, the open mouth, the
  4635. dark staring eye.
  4636.  
  4637. ANGLE IN HALL
  4638.  
  4639. Michael lunges at her again.
  4640.  
  4641. Suddenly there is a THUNDERING EXPLOSION and Michael is
  4642. blown off his feet. Laurie falls back against the wall.
  4643.  
  4644. ANGLE ON LOOMIS
  4645.  
  4646. Standing at the top of the stairs is Loomis, gun in his
  4647. hand. He moves forward down the hall.
  4648.  
  4649. ANGLE IN HALL
  4650.  
  4651. Michael slowly gets to his feet, still refusing to die.
  4652.  
  4653. Loomis stops and takes aim. BLAM! BLAM! BLAM!
  4654.  
  4655. Michael is hit three times, each bullet throwing him
  4656. backward further down the hall until he hits the window at
  4657. the end and SMASHES through it.
  4658.  
  4659. EXT. DOYLE HOUSE -- UP ANGLE
  4660.  
  4661. Michael falls from the second story right down into CAMERA
  4662. with a CRASH!
  4663.  
  4664. ANGLE IN HALL
  4665.  
  4666. Loomis rushes to Laurie and bends down beside her. For a
  4667. moment she just cries in his arms, sobbing hysterically.
  4668.  
  4669. Then she looks up at him with a glazed, wild expression.
  4670.  
  4671. LAURIE
  4672. It was the Boogeyman...
  4673.  
  4674. Loomis looks down at her, then up at the shattered window
  4675. at the end of the hall.
  4676.  
  4677. LOOMIS
  4678. As a matter of fact it was.
  4679.  
  4680. He walks slowly down to the window and peers out.
  4681.  
  4682. LOOMIS' POV -- BACKYARD
  4683.  
  4684. He looks down at the spot where Michael should be, but
  4685. there is nothing there, just a trampled patch in the grass.
  4686.  
  4687. ANGLE ON LOOMIS
  4688.  
  4689. He stares down with a growing fear, then looks out from
  4690. the house.
  4691.  
  4692. LOOMIS' POV
  4693.  
  4694. The backyard, the neighboring yards, the street, all are
  4695. empty, quiet, dark. There is only the SOUND of the wind
  4696. swelling in the trees.
  4697.  
  4698. Michael is gone.
  4699.  
  4700. FADE TO BLACK.
  4701.  
  4702. ROLL END TITLES.
  4703.  
  4704. THE END
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