"Halloween"
roteiro de John Carpenter and Debra Hill

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1 MAIN TITLE SEQUENCE

OPEN on a black screen. SUPERIMPOSE in dark red letters:

HALLOWEEN

FADE IN TO:

Darkness, with a SMALL SHAPE in the center of the screen. As MAIN TITLES CONTINUE OVER, CAMERA SLOWLY MOVES IN ON the shape.

We get closer and closer until we see that the shape is a HALLOWEEN MASK. It is a large, full-head platex rubber mask, not a monster or ghoul, but the pale, NEUTRAL FEATURES OF A MAN weirdly distorted by the rubber.

Finally CAMERA MOVES IN CLOSE on the eyes of the mask. It is blank, empty, a dark, staring socket. SUPERIMPOSE FINAL CREDIT.

FADE OUT:

FADE IN:

2 Black screen. SUPERIMPOSE:

HADDONFIELD, ILLINOIS OCTOBER 31, 1963

DISSOLVE TO:

3 EXT./INT. MYERS HOUSE - NIGHT - SUBJECTIVE POV (PANAGLIDE)

It is night. We move toward the rear of the house through SOMEONE'S POV. CAMERA MOVES UP to a Jack-O-Lantern glowing brightly on a windowsill. It is a windy night and the curtains around the Jack-O- Lantern ruffle back and forth. Suddenly we hear voices from inside the house.

SISTER (V.O.) My parents won't be back till ten.

BOYFRIEND (V.O.) Are you sure?

Then LAUGHTER.

The POV moves from the Jack-O-Lantern down to another window and peers inside. We see the sister's bedroom through the blowing curtains.

Into the bedroom comes the SISTER, 18, very pretty. She GIGGLES as the BOYFRIEND jumps into the room. Alan, 18, he wears a Halloween mask and a costume.

BOYFRIEND (V.O.; cont'd) We're all alone, aren't we?

SISTER (V.O.) Michael's around someplace...

The boyfriend grabs the sister and kisses her.

SISTER (V.O.; cont'd) Take off that thing.

The boyfriend rips off his mask. He is a handsome young man underneath. They kiss again, this time with more passion. The boyfriend begins to unbutton the sister's blouse. She responds to him.

The POV swing away from the window and begins to restlessly pace back and forth, agitated, disturbed. We HEAR THE SOUNDS of the sister and boyfriend inside the bedroom growing more and more passionate.

Finally the POV moves back up to the window. Inside through the moving curtains, we see the sister and the boyfriend on the bed, naked, making love.

The POV springs back from the window and stalks quickly down the side of the house, past the Jack-O-Lantern, around to a door. Quickly the door is opened and the POV moves inside.

The POV glides silently through the house into the kitchen, up to a drawer. The drawer is opened. A large BUTCHER KNIFE is withdrawn.

Then the POV swings around and moves to the kitchen door. We look down a hallway to the front door. The boyfriend steps out of the bedroom door, buttoning his shirt. The sister stands in the doorway, a sheet wrapped around her.

BOYFRIEND I gotta go.

SISTER Will you call me tomorrow?

BOYFRIEND Yeah, sure.

SISTER Promise?

BOYFRIEND Yeah.

They kiss again and the boyfriend walks to the front door. The sister watches as he leaves and shuts the door behind him. Then she turns and steps back into the bedroom.

The POV moves slowly down the hall to the bedroom door and peers around inside. The sister sits at her night-table brushing her hair. She is still completely nude.

Slowly the POV moves into the room. Suddenly we move down to the discarded Halloween mask on the floor. The POV bends down and picks it up. Then suddenly the POV is covered by the mask and we see through the eye-holes.

The POV moves up behind the sister. Sensing a presence, she spins around and stares at the POV, covering her breasts quickly.

SISTER Michael...?

Suddenly the POV lunges forward. The sister continues to stare incredulously. There is a RAPID BLUR as the POV drives the butcher knife into the sister's chest and out again almost before we've seen it.

The sister looks down at the blood forming at her hands, then back up at the POV with an astonished disbelief.

Then in a WILD PAROXYSM the butcher knife blurs continuously in and out of frame, slashing the sister mercilessly. She begins to SCREAM, trying to fend off the blows with her hands, then suddenly falls out of frame to the floor.

The POV moves back away from the sister's lifeless body, spins around and careens out of the bedroom.

At top speed the POV races through the darkened house, to the front door, out the door, down the steps and rapidly up the street. The CAMERA careens along in frenzied flight, up the sidewalk, up a small side alley, down someone's back yard, then to a sudden, abrupt halt in front of MOTHER and FATHER just coming out of a neighbor's house.

Mother and Father stare at the POV, at first in puzzlement, then slow, growing horror.

MOTHER Michael?

4 CLOSE SHOT - MICHAEL - CRANE

The father's hand reaches up and rips off the Halloween mask, revealing MICHAEL, 6, underneath, a bright-eyed boy with a calm, quiet smile on his face.

CAMERA PULLS BACK, revealing the blood-stained butcher knife in his hand, then further back. CRANING UP past his parents standing there, up from the neighbor's house to a HIGH SHOT of the neighborhood as the sounds of POLICE SIRENS rise in the distance.

FADE OUT:

FADE IN TO:

5 Black. SUPERIMPOSE:

SMITH'S GROVE, ILLINOIS OCTOBER 30, 1978

DISSOLVE TO:

6 EXT. HIGHWAY - RAIN - NIGHT

Two headlights appear in the darkness, backlighting the rain that pours down on a lonely strip of highway. A station wagon HISSES along the wet road surface.

7 INT. STATION WAGON - NIGHT

The baack seat is separated from the front by a wire-mesh screen, much like a police car. MARION, 30, drives. She is dressed in a crisp, white nurse's uniform. Next to her in the passenger seat is SAM LOOMIS, a clinical psychiatrist. He is a tough-looking man in his forties who flips through pages in a manila folder.

LOOMIS ...then he gets another physical by the state, and he makes his apperance before the judge. That should take four hours if we're lucky, then we're on our way.

MARION What did you use before?

LOOMIS Thorazin.

MARION He'll barely be able to sit up.

LOOMIS That's the idea. Here we are.

8 POV THROUGH THE WINDSHIELD - SANITARIUM

Through the rain we see a large sign:

SMITH'S GROVE - WARREN COUNTY SANITARIUM

Behind the sign is the sanitarium itself, a cold-looking building surrounded by a fence.

9 INT. STATION WAGON

LOOMIS (cont'd) The driveway's a few hundred yards up on your right.

MARION Are there any special instructions?

LOOMIS Just try to understand what we're dealing with here. Don't underestimate it.

MARION I think we should refer to 'it' as 'him.'

LOOMIS If you say so.

MARION Your compassion is overwhelming, Doctor.

Loomis glances at Marion as she lights a cigarette. She shoves the matches into the pack and tosses it on the dashboard. Loomis stares at the cigarette pack. The pack of matches reads: "The Rabbit in Red Lounge -- Entertainment Nightly." Loomis turns his eyes back to the rain-slicked road.

LOOMIS Ever done anything like this before?

MARION Only minimum security.

LOOMIS I see.

MARION (defensively) What does that mean?

LOOMIS It means...I see.

MARION You don't have to make this harder than it already is.

LOOMIS I couln't if I tried.

MARION The only thin that ever bothers me is their jibberish. When they start raving on and on...

LOOMIS You don't have anything to worry about. He hasn't spoken a word in 15 years.

Both of them suddenly stare out the windshield in front of them.

10 POV - THROUGH WINDSHIELD - FIELD

Through the rain we see a field off to the side of the road. Dimly lit by the car headlights are FIVE PATIENTS, dressed in wind-blown white gowns, drenched by the rain, wandering aimlessly around the field.

11 INT. STATION WAGON

MARION Since when do they let them wander around?

They look up ahead.

12 POV - THROUGH WINDSHIELD - PATIENT

Standing by the side of the road is a MALE PATIENT, a wild-looking man in his sixties dressed in a white gown, who stares at the station wagon.

13 INT. STATION WAGON

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

14 POV - THROUGH WINDSHIELD - LOOMIS AND PATIENT

Through the windshield we see Loomis rush over to the patient, stand and talk for a moment, then hurry back.

15 INT. STATION WAGON

Loomis climbs back in, dripping from the rain.

LOOMIS Pull up to the entrance!

MARION Shouldn't we pick him up?

LOOMIS Move it!

Marion starts down the road.

MARION What did he say?

LOOMIS He asked me if I could help him find his purple lawnmower.

MARION I don't think this is any time to be funny...

LOOMIS He said something else. "It's all right now. He's gone. The evil's gone."

16 POV - THROUGH WINDSHIELD - SANITARIUM DRIVE

Ahead of them is the entrance to the sanitarium.

17 INT. STATION WAGON

Marion slows down to turn.

Through the rear window we see a SHAPE spring up out of the darkness, streak through the rain and LEAP UP ON THE REAR OF THE STATION WAGON.

The station wagon bounces up and down. The roof sags in and out with the weight of SOMEONE ON TOP.

MARION Something fell on the roof.

The roof continues to buckle in and out wildly.

LOOMIS Something JUMPED on the roof...

Marion stops and rolls down her window to look outside. Loomis opens his door and steps out. Suddenly he is HIT IN THE FACE by a powerful fist from the roof. Loomis staggers backwards and falls by the side of the road.

Marion starts the react. SUDDENLY A HAND REACHES IN THROUGH THE WINDOW and lunges at her.

THE FINGERS GRAB HER HAIR. She SCREAMS. The fingers tighten around her hair and the hand pulls Marion roughly to the window.

Twisted around in the seat, Marion's foot jams down all the way on the gas pedal. The station wagon ROARS foreward.

Marion continues to SCREAM, clawing at the hand.

18 POV - THROUGH WINDSHIELD - ROAD

Through the rain the road spins crazily ahead, the wipers erasing sheets of rain.

Suddenly the OTHER HAND REACHES DOWN from the roof and grabs the wiper, holding it tightly. Rain splashes on the windshield obscuring the road.

19 INT. STATION WAGON

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

20 POV THROUGH WINDSHIELD

The windshield is completely obliterated by rain.

21 INT. STATION WAGON

The station wagon skids and WHAMS into the shoulder on the side of the road. Marion is hurled across the seat against the passenger door.

Suddenly the HAND SPRINGS DOWN FROM ABOVE and SLAMS against the passenger window, shattering it.

SHRIEKING, Marion scurries across the front seat, open's the driver's door and scrambles out.

22 EXT. ROAD - STATION WAGON

Marion frantically crawls her way across the rain-drenched road away from the station wagon. CAMERA TRACKS with her as she slides down into the muddy shoulder. She looks back.

23 POV - STATION WAGON

From the shoulder we see the station wagon in the rain, and the SHAPE JUMP IN THE DRIVER'S SEAT and SLAM the door.

Then the station wagon takes off and disappears down the road into the darkness.

24 ANGLE ON SHOULDER

Loomis runs up out of the rain and helps Marion to her feet. She CRIES hysterically. Loomis stares off down the road at the disappearing tail-lights.

LOOMIS You can calm down. The evil's gone.

FADE OUT.

FADE IN TO:

25 Black screen. SUPERIMPOSE:

HADDONFIELD OCTOBER 31, 1978

DISSOLVE TO:

26 EXT. LAURIE'S HOUSE - DAY

LAURIE, 17 and pretty in a quiet sort of way, steps out of her two- story frame house, down the front walk to the street. Her face has a soft, innocent quality, her eyes bright and alive. Her FATHER steps out of the door behind her and walks to the car in the driveway. His car has "STRODE REAL ESTATE" emblazoned on the side door.

FATHER Don't forget to drop off the keys at the Myers place...

LAURIE I won't.

FATHER They're coming by to see the house at 10:30. Be sure you leave it under the mat...

LAURIE I promise.

27 TRACKING SHOT - LAURIE

CAMERA MOVES with Laurie as she walks down the residential street. She carries a large bundle of school books in her arms. Across a backyard TOMMY DOYLE, an eight-year-old boy with tossled brown hair and bright blue eyes comes running with his books.

TOMMY Hey, Laurie...

LAURIE Hi, Tommy.

He catches up with her and they walk along down the street.

TOMMY Are you coming over tonight?

LAURIE Same time, same place.

TOMMY Can we make Jack-O-Lanterns?

LAURIE Sure.

TOMMY Can we watch the monster movies?

LAURIE Sure.

TOMMY Will you read to me? Can we make popcorn?

LAURIE Sure. Sure.

They walk up to the front of the old, two-story Myers house set back from the street. It is now weather-beaten and dilapidated. Laurie walks through the front gate and starts up toward the porch.

TOMMY You're not supposed to go in there.

Laurie holds up a key.

LAURIE Yes, I am.

TOMMY Uh-uh. That's a spook house.

LAURIE Just watch.

Laurie strolls up to the front porch. She bends down, lifts the welcome mat and places the key under it.

28 INT. MYERS HOUSE - THROUGH WINDOW

Through a frost window, we see Laurie bending over the welcome mat. Suddenly a DARK SHAPE, THE OUTLINE OF A MAN, leans forward, watching her. As she walks back to Tommy at the street THE SHAPE MOVES TO WATCH THEM, then fades back into the interior of the house.

29 TRACKING SHOT - LAURIE AND TOMMY

Laurie and Tommy continue walking down the street.

TOMMY Lonnie Elam said never to go up there. Lonnie Elam said that's a haunted house. He said real awful stuff happened there once.

LAURIE Lonnie Elam probably won't get out of the sixth grade.

Tommy breaks stride and runs across the street.

TOMMY I gotta go. I'll see you tonight.

LAURIE See you.

Laurie continues walking alone. She begins to sing quietly to herself.

LAURIE (sings) I wish I had you all alone... Just the two of us... I would hold you close to me... So close to me...

30 ANGLE DOWN STREET

We see Laurie walking off down the street in the distance. CLOSE TO CAMERA the DARK SHAPE MOVES INTO FRAME, watching Laurie disappear around the corner.

LAURIE (cont'd) (sings) Just the two of us... So close to me...

CUT TO:

31 EXT. SANITARIUM - DAY

Sam Loomis strides quickly out of the front of the sanitarium followed immediately by DR. WYNN, a gray-haired man in his fifties. CAMERA TRACKS with them across the parking lot.

WYNN I'm not responsible, Sam.

LOOMIS (angrily) Of course not.

WYNN I've given them his profile.

LOOMIS You must have told them we shocked him into a grinning idiot. Two roadblocks and an all-points bulletin wouldn't stop a five-year-old!

Loomis reaches a car and unlocks it.

WYNN He was your patient, Doctor. If the precautions weren't sufficient, you should have notified...

LOOMIS I notified everybody! Nobody listened.

WYNN There's nothing else I can do.

LOOMIS You can get back on the telephone and tell them exactly what walked out of here last night. And tell them where he's going.

WYNN PROBABLY going.

LOOMIS I'm wasting time.

Loomis gets in the car. Wynn leans down to the window.

WYNN Sam, Haddonfield is a hundred and fifty miles from here. How could he get there? He can't drive.

LOOMIS He was doing all right last night. Maybe somebody around here gave him lessons.

Loomis starts up the car and pull away from the sanitarium. Wynn watches him go, then hurries back into the building.

CUT TO:

32 INT. CLASSROOM - DAY

Laurie sits at the back of a classroom of HIGH SCHOOL STUDENTS. CAMERA MOVES IN on her as a TEACHER drones away at the front of the room.

TEACHER (v.o.) ...and the book ends, but what Samuels is really talking about here is fate.

CAMERA MOVES to a CLOSE-UP of Laurie. She barely listens to the teacher as she doodles in her notebook in front of her.

TEACHER (v.o.; cont'd) You see, fate caught up with several lives here. No matter what course of action Rollins took, he was destined to his own fate, his own day of reckoning with himself. The idea is that destiny is a very real, concrete thing that every person has to deal with.

Laurie lets her gaze move to a window. She stares dreamily outside.

33 LAURIE'S POV - STREET

From the window she can see the street, and a station wagon parked along the sidewalk.

Behind the station wagon stands THE SHAPE OF A MAN. We can't quite see his features from here, but it is clear that he is looking in the school window.

34 ANGLE ON LAURIE

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

35 ANGLE ON NOTEBOOK

We see Laurie draw:

LAURIE STRODE

TEACHER (v.o.; cont'd) Edwin, how does Samuels' view of fate differ from that of Costaine?

36 ANGLE ON LAURIE

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

37 LAURIE'S POV - STREET

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

38 ANGLE ON LAURIE

She frowns, staring back at the shape.

EDWIN (v.o.) Uh...doesn't he feel that no matter how complicated something is, it's also really simple, too?

TEACHER (v.o.) No. (pause) Laurie.

This springs her around from the window.

LAURIE M'am?

TEACHER (v.o.) Answer the question.

LAURIE Costaine wrote that fate was somehow related only to religion, where Samuels felt that fate was like a natural element, like earth, air, fire, and water.

TEACHER (v.o.) That's right, Samuels definitely personified fate...

Laurie sneaks a glance back to the window.

39 LAURIE'S POV - STREET

The shape and the station wagon are GONE.

40 ANGLE ON LAURIE

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

41 ANGLE ON NOTEBOOK

She has written:

LAURIE STRODE IS LONELY.

CUT TO:

41A EXT. GAS STATION - HIGHWAY - DAY

We see a car parked in front of a small, closed-down gas station/diner by the side of the highway. CAMERA SLOWLY TRACKS over to a phone booth. Loomis is inside on the telephone.

LOOMIS (into the telephone) No, not since Thursday. (pause) Yes, yes, I'm all right...Stop worrying. After this I'll sleep for a week, two weeks... (pause) I said I'm all right...Believe me. I'll be home soon. Yes, I do. Very much. I just...have to stop him. (pause) Of course it's possible, but I know him. And when he gets there, God help us. (pause) Right, right, I'll call you. Me too. Goodbye.

Loomis hangs up the phone and steps out of the booth. He looks up the highway.

41B LOOMIS' POV - HIGHWAY

The highway disappears off into the distance. There is an old weatherbeaten sign that reads:

HADDONFIELD 73 MILES

Just above the horizon huge clusters of clouds, dark and ominous, are blown along by the wind.

41C EXT. GAS STATION

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

41D LOOMIS' POV - GAS STATION - MOVING SHOT

The building is dark, empty, dilapidated. On the padlocked door are HUGE MARKS like the clawing of an animal wanting to get in.

41E ANGLE ON LOOMIS

Loomis stops, stares at the door and then slowly walks over to it. He touches the marks with his hands, then looks at the dirt driveway around the building.

41F LOOMIS' POV - DRIVEWAY

There are definite TIRE TRACKS leading from the highway up to the door, then back to the highway again.

Then his gaze returns to a discarded object crushed in the dirt of the driveway: A PACK OF CIGARETTES.

41G ANGLE ON LOOMIS

He picks up the cigarette pack.

41H CLOSE SHOT - CIGARETTE PACK

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

41J EXT. GAS STATION

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

CUT TO:

42 EXT. SCHOOLYARD - DAY

The playground is filled with CHILDREN just getting out of school for the day. Some are dressed in HALLOWEEN COSTUMES, some carry pumkins and orange and black streamers, some carry Jack-O-Lanterns.

Tommy Doyle comes out of the door carrying a very large pumkin. He is followed by three BOYS, RICHIE, KEITH, and LONNIE, who are laughing and PUSHING him.

TOMMY Leave me alone!

LONNIE He's gonna get you!

Lonnie runs up to Tommy and wiggles his fingers in Tommy's face. The other boys form a circle around Tommy and taunt him. In unison they sing:

BOYS He's gonna get you, he's gonna get you...

LONNIE The boogeyman is coming!

TOMMY No, he's not. Leave me alone.

LONNIE He doesn't believe us. Don't you know what happens on Halloween?

TOMMY Yeah, we get candy.

The boys LAUGH. Richie runs up to Tommy and makes a face.

RICHIE Oooooo! The boogey man!

The other boys join in the chant.

BOYS (in unison) The boogey man, the boogey man, the boogey man...

Tommy turns from them and starts to run away. Richie sticks out his foot. Tommy trips and falls to the concrete, SMASHING his pumkin beneath him. The other boys run away GIGGLING and SCREAMING with delight.

43 PLAYGROUND ENTRANCE - GATE

As the boys race out of the playground, Richie barrels through the gate and RUNS RIGHT INTO THE DARK SHAPE.

We don't see the shape's face, just his lower body. He is dressed in pants and a shirt that look too big for him. He grabs Richie and holds him back at arms length.

A large OBJECT falls out of his pocket. Richie quickly stares down at it. The shape lifts his foot and SMACKS it down over the object to hide it. Quickly, Richie and the other boys run around the man and on down the block.

The shape lifts his foot. Underneath it is a LARGE BUTCHER KNIFE. He quickly picks it up and shoves it into his pocket.

Slowly, the shape turns and walks away from the playground gate, CAMERA TRACKING WITH HIM. Across from him in the playground we see Tommy get to his feet, wiping the demolished pumking off his shirt and pants.

We TRACK WITH the shape to a station wagon. On the side of the door is a STATE EMBLEM.

44 INT. STATION WAGON

The shape gets in the station wagon. We still don't see his face. Separating the front and back seats is the wire-mesh screen. It is Loomis' vehicle. The shape starts the engine. He pulls away from the curb.

45 POV FROM WINDOW

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

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

46 EXT. HIGH SCHOOL - DAY

Laurie and LYNDA stroll down the front steps of the high school and turn up the street. Laurie carries another large stack of books. Lynda is a knockout in tight jeans and tight T-shirt. She carries no books. CAMERA TRACKS WITH THEM up the street.

LYNDA It's totally insane! We have three new cheers to learn in the morning, the game in the afternoon, I get my hair done at five, and the dance is at eight. I'll be totally wiped out!

LAURIE I think you have too much to do tomorrow.

LYNDA TOTALLY!

LAURIE As usual, I don't have anything to do.

LYNDA It's your own fault and I don't feel sorry for you.

ANNIE comes out of the side doors of the high school and calls after Laurie and Lynda.

ANNIE Hey, Lynda, Laurie!

The girls stop and wait for Annie.

ANNIE (cont'd) Why didn't you wait for me?

LYNDA We did. Fifteen minutes. You totally never showed up.

ANNIE That's not true. Here I am.

LAURIE What's wrong, Annie? You're not smiling.

ANNIE I'm never smiling again. Paul dragged me into the boys' locker room to tell me...

LAURIE Exploring uncharted territory?

LYNDA It's been totally charted.

ANNIE We just talked.

LYNDA Sure.

ANNIE Old jerko got caught throwing eggs and soaping windows. His parents grounded him for the weekend. He can't come over tonight.

LAURIE I thought you were babysitting tonight.

LYNDA The only reason she babysits is to have a place to...

Laurie suddenly stops and looks back toward the school.

LAURIE Shit!

ANNIE (indignant) I have a place for that.

LAURIE I forgot my chemistry book.

LYNDA Who cares? I ALWAYS forget my chemistry book.

Laurie glances down the street.

47 LAURIE'S POV - STATION WAGON

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

48 ANGLE ON GIRLS

LYNDA Isn't that David Graham? He's cute.

LAURIE I don't think so...

Laurie stares at the station wagon as it moves past. She looks directly at the shape inside. There is a quick glimpse of him, a strange pale face staring back.

49 INT. STATION WAGON

The shape is close to CAMERA, out of focus. Out the window we see the three girls on the sidewalk.

The shape stares at Laurie looking back at him, then tromps on the accelerator. The wagon whizzes past them.

50 ANGEL ON GIRLS

ANNIE (yells after the car) Speed kills!

51 POV - STATION WAGON

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

52 ANGLE ON GIRLS

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

53 POV - STATION WAGON

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

54 ANGLE ON GIRLS

LAURIE Annie, some day you're going to get us all in deep trouble.

LYNDA Totally.

ANNIE I hate a guy with a car and no sense of humor.

The girls start walking again. Laurie is quiet, puzzled by the appearance of the man in the car.

LYNDA Well, are we still on for tonight?

ANNIE (coldly) I wouldn't want to get you in deep trouble, Lynda.

LYNDA Come on, Annie. Bob and I have been planning on it all week.

ANNIE All right. The Wallaces leave at seven.

LAURIE (excited) I'M baby sitting for the Doyles. It's only three houses away. We can keep each other company.

ANNIE Terrific. I've got three choices. Watch the kid sleep, listen to Lynda screw, or talk to you.

CUT TO:

55 EXT. RESIDENTIAL STREET - DAY

The three girls stop in front of Lynda's house, a modest suburban home on a quiet, tree-lined street.

ANNIE What time?

LYNDA I don't know yet. I have to get out of taking my stupid brother trick- or-treating.

ANNIE Saving the treats for Bob?

LYNDA Fun-ny. See you.

Lynda strolls up to her house. Annie and Laurie start down the street. CAMERA MOVES IN to a CLOSE SHOT of Laurie's face. She stares ahead along the sidewalk.

56 LAURIE'S POV - MOVING SHOT - BUSHES

Up the sidewalk is a series of bushes lining the street. There, partially hidden in the shadows of a bush, IS THE SHAPE OF A MAN, watching them. He is barely visible, almost blending in with the dark foliage.

57 ANGLE ON LAURIE - ANNIE

LAURIE Look.

ANNIE Look where?

LAURIE Behind that bush there.

Annie looks

58 POV - MOVING SHOT - BUSHES

The shape is gone. Just bushes.

59 ANGLE ON LAURIE - ANNIE

ANNIE I don't see anything.

LAURIE That man who drove by so fast, the one you yelled at.

ANNIE Subtle, isn't he? Hey creep!

Annie walks right over to the bushes and kicks them hard. Nothing happens.

ANNIE (cont'd) Laurie, my dear, he want to talk to you.

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

ANNIE (cont'd) He wants to take you out tonight.

Slowly Laurie walks over and stares at the bush.

LAURIE He was standing right here.

ANNIE Poor Laurie. You scared another one away.

LAURIE Cute.

They start walking down the sidewalk again.

ANNIE It's tragic. You never go out. You must have a small fortune stashed from babysitting so much.

LAURIE The guys think I'm too smart.

Laurie glances back at the bushes behind them.

ANNIE I don't. I think you're whacko. You're seeing men behind bushes.

The two girls stop in front of Annie's house, another small suburban home.

ANNIE (cont'd) Well, home sweet home. I'll see you later.

LAURIE Okay. Bye.

Annie walks up to her door.

For a moment Laurie looks around cautiously before searching down the sidewalk again. CAMERA TRACKING WITH HER. A strong wind rises and blows hair in front of her face. Again she turns around and glances back down the street.

60 LAURIE'S POV - BUSHES

There is still nothing there.

61 ANGLE ON LAURIE

Suddenly, Laurie walks RIGHT INTO A MAN standing on the sidewalk in front of her. She SCREAMS and drops her books.

It is LEE BRACKETT, Annie's father. He is a tall man in a county sheriff's uniform. He quickly bends down and picks up her books.

BRACKETT I'm sorry, Laurie.

LAURIE Mister Brackett...

LAURIE It's okay...

BRACKETT Well, it's Halloween. I guess everybody's entitled to a good scare.

LAURIE Yes, sir. Nice seeing you.

Brackett walks down the sidewalk to his house. Laurie bundles her books and hurries up the street.

62 EXT. LAURIE'S HOUSE - DAY

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

63 LAURIE'S POV - TRICK OR TREATERS

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

64 ANGLE ON LAURIE

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

65 INT. LAURIE'S HOUSE - DAY

Laurie strolls through the living room. Through the doorway into the kitchen we see LAURIE'S MOTHER busy making candied apples.

LAURIE Hi, Mom, I'm home.

LAURIE'S MOTHER Laurie, Annie just called. She said call her back.

Laurie turns and hurries up the stairs.

LAURIE Thanks, mom.

66 INT. LAURIE'S ROOM

Laurie walks into her bedroom. She tosses her books on the bed and starts to her telephone.

The wind blows her curtain through the open window. Laurie crosses to the window and leans up to close it.

67 LAURIE'S POV - BACK YARD

From her room in the second story, Laurie can see into the back yard next door. There is a clothesline with sheets blowing in the wind. In between the sheets we glimpse THE SHAPE STANDING THERE, looking up at Laurie.

68 ANGLE ON LAURIE

She freezes and stares down feafully.

69 LAURIE'S POV - BACK YARD

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

70 ANGLE ON LAURIE

Laurie SLAMS the window and locks it. She slowly walks to the middle of her room and stands there for several moments, unsure as to whether she has actually seen it.

Suddenly, THE PHONE RINGS, loud and shrill, startling Laurie. She answers it.

LAURIE Hello?

Silence.

LAURIE (cont'd) Hello?

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

LAURIE (cont'd) Who is this?

The chewing continues. She slams the reciever down.

Almost immediately, the phone RINGS again. Laurie looks at it. It rings again. She picks it up.

LAURIE Hello?

ANNIE (v.o.) Why did you hang up on me?

LAURIE Annie, was that you?

ANNIE (v.o.) Of course.

LAURIE Why didn't you say anything? You scared me to death.

ANNIE (v.o.) I had my mouth full. Couldn't you hear me?

LAURIE I thought it was an obscene phone call.

ANNIE (v.o.) Now you hear obscene chewing. You're losing it, Laurie.

LAURIE I've already lost it.

ANNIE (v.o.) I doubt that. Listen, my mother is letting me use her car. I'll pick you up. 6:30.

LAURIE Sure, see you later.

ANNIE (v.o.) Bye.

Laurie hangs up.

LAURIE (to herself) Calm down. This is ridiculous.

CUT TO:

71 EXT. GRAVEYARD - DAY

WIDE SHOT of an old graveyard on a windy hillside. CAMERA BOOMS DOWN as a car pull up on the small road in f.g. Sam Loomis gets out, along with TAYLOR, the graveyard owner. Taylor is a small, officious man in his late sixties. He glances at a small notepad.

TAYLOR Let's see. Myers. Judith Myers. Row 18, plot 20. Over this way.

The two men begin walking along the graveyard, winding arlund headstones and flowers.

TAYLOR (cont'd) Every town has something like this happen. I remember a guy over in Russellville. Charly Bowles. About fifteen year ago, he finished dinner, excused himself from the table, went out into the garage and got a hack saw, then came back into the house, kissed his wife and two children goodbye, and then proceeded to...

LOOMIS Where are we?

TAYLOR Just right over there a ways. And I remember Judith Myers. Just couldn't believe it. A young boy like that...

Talyor stops cold.

LOOMIS Lost?

TAYLOR (sadly) Why do they do it?

He points to a plot right in front of them. Loomis stares. THE HEADSTONE IS MISSING, uprooted from the ground.

TAYLOR (cont'd) Goddamn kids. They'll do anything on Halloween.

LOOMIS Whose grave is it?

Taylor checks his notebook, then counts the rows and plots.

TAYLOR 18, 20...Judith Myers...

Taylor gives Loomis a quizzical look. Loomis shakes his head and looks across the graveyard.

LOOMIS He came home...

CUT TO:

72 EXT. LAURIE'S HOUSE - DUSK

CAMERA BEGINS on the trees that line the residential street, twisting and writhing in the dusk wind. SLOWLY CAMERA BOOMS DOWN to Laurie waiting outside her house by the street. She carries a totebag with schoolbooks and knitting needles stuck inside, and a large pumkin. The sun is a pale glow behind the trees.

Laurie turns her gaze down the street.

73 LAURIE'S POV - TRICK OR TREATERS

More CHILDREN in costumes walk from house to house, some with MOTHERS and SISTERS, trick or treating. The wind blows their costumes, billowing them outward.

74 ANGLE ON LAURIE

She watches the trick or treater as a car swings around the corner and pull up in front of her. It is Annie.

ANNIE Hurry up.

Laurie walks around the passenger door and gets in.

75 INT. ANNIE'S CAR - DUSK

Annie pulls away from the curb and hands Laurie a joint.

ANNIE We just have time.

Laurie lights the joint and puffs vigorously.

ANNIE (cont'd) You still spooked?

LAURIE I wasn't spooked.

ANNIE Lies.

LAURIE I saw someone standing in Mr. Riddle's back yard.

ANNIE Probably Mister Riddle.

LAURIE He was watching me.

ANNIE Mister Riddle was watching you? Laurie, Mister Riddle is eighty- seven.

LAURIE He can still watch.

ANNIE That's probably all he can do.

Behind them, through the rear-view mirror, we see LOOMIS' STATION WAGON pull out of an alley and follow along.

ANNIE (cont'd) What's the pumkin for?

LAURIE I brought it for Tommy. I figured making a Jack-O-Lantern would keep him occupied.

ANNIE I always said you'd make a fabulous girl scout.

LAURIE Thanks.

ANNIE For that matter, I might as well be a girl scout tonight. I plan on making popcorn and watching Doctor Demensia. Six straight hours of horror movies. Little Lindsey Wallace won't know what hit her.

76 EXT. HADDONFIELD SQUARE - DUSK

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

77 INT. ANNIE'S CAR

Annie points up ahead and quickly hides the joint.

ANNIE My dad!

78 POV THROUGH WINDSHIELD

Two police cars are parked in the street in front of Nichols Hardware Store. An ALARM BELL inside the store CLANGS SHRILLY

79 INT. ANNIE'S CAR

They quickly roll down the windows and begin wildly clearing out the marijuana smoke. Behind them the station wagon disappears off down a side-street.

80 ANGLE ON POLICE CARS

Annie's car stops at the police cars. Lee Brackett strolls out to the car and leans down to the window.

BRACKETT Hi, Annie, Laurie...

ANNIE Hi, Dad. What happened?

BRACKETT (strains to hear over the alarm) What?

ANNIE What happened?

BRACKETT Someone broke into the hardware store. Probably kids.

ANNIE You blame everything on kids.

BRACKETT The only things missing were some Halloween masks, rope, a set of knives. What does that sound like to you?

Annie turns to Laurie.

ANNIE It's hard growing up with a cynical father.

Behind Brackett, Sam Loomis walks up the street. We see Loomis talk to a COP who points over to Brackett.

BRACKETT You're going to be late at the Doyles, Annie.

ANNIE (unable to hear over alarm) Huh?

Just as Brackett is about to speak, the alarm shut off.

BRACKETT (shouts) You're going to be late!

ANNIE (to Laurie) He shouts, too.

Brackett smiles as Loomis walks up behind him.

BRACKETT Goodbye, girls.

ANNIE AND LAURIE Bye.

Annie's car pulls away.

LOOMIS Sheriff? I'm Doctor Sam Loomis.

BRACKETT Lee Brackett.

As they talk CAMERA SLOWLY MOVES AROUND THEM to a view of the street.

LOOMIS I'd like to talk to you, if I could.

BRACKETT May be a few minutes. I gotta stick around here...

LOOMIS It's important.

Loomis' station wagon moves by behind them. Loomis doesn't see it.

BRACKETT Ten minutes.

LOOMIS I'll be here.

CUT TO:

81 EXT. MOON - NIGHT

Through the blowing trees we see the full moon rising in the night sky. The are SOUNDS of wind and CHIRPING CRICKETS.

82 EXT. RESIDENTIAL STREET - NIGHT

Annie's car moves down a quiet little residential street and pull up in front of a two-story house set back from the street: the Doyle house.

83 ANGLE FROM STATION WAGON

We are in the front seat of the station wagon. Through the windshield we see Laurie get out of Annie's car, say goodbye and walk up to the Doyle house.

Then Annie's car makes a wide U-turn in the street and starts down the other direction. The station wagon pulls forward and follows her.

Annie stops three houses down the street and pulls into a garage. the station wagon stops several feet away.

We see Annie come out of the garage and walk to another two-story frame house: the Wallaces'.

84 TRACKING SHOT BEHIND SHAPE

The shape gets out of the station wagon, close to CAMERA so we can't see him. He glances down the street. Gusts of wind blow the costumes of children going from house to house.

The shape moves. CAMERA tracks behind him as he walks toward the Wallace house.

The shape stops in front. Through the front room windows we can see Annie talking to the WALLACES as they put on their coats.

The front door opens. CAMERA and shape quickly MOVE BEHIND A TREE to hide from sight.

The Wallaces step out of their house and walk to the garage. Annie and LINDSEY WALLACE, a pretty little nine-year-old, stands in the doorway framed by the hall light. Out of the garage comes the Wallaces' car. It turns and disappears down the street.

Annie closes the door. The shape steps out from behind the tree and stares at the house.

85 ANGLE ON WINDOW

The shape moves to see inside a window of the Wallaces house.

Inside, we see Annie turn on the TV. She goes to the mirror on the wall and begins to brush her hair.

CUT TO:

86 EXT. MYERS HOUSE - NIGHT

A police car pulls up in front of the Myers house. Brackett and Loomis get out and stand by the front gate.

LOOMIS Anybody live here?

BRACKETT Not since 1963, since it happened. Every kid in Haddonfield thinks this place is haunted.

LOOMIS They may be right.

86A ANGLE DOWN SIDE OF HOUSE

Looking down the side of the house we see Loomis and Brackett walk up to the front porch. A broken, rusted RAIN GUTTER CLANGS back and fourth against the house in the wind.

87 INT. MYERS HOUSE - NIGHT

The front door slowly opens. Brackett and Loomis stand in the doorway. They glance at each other. Brackett draws his gun and the two men step inside.

It is totally dark in the house. Brackett's flashlight comes on, illuminating the two men. As they move through the house CAMERA TRACKS with them.

Suddenly Brackett stops. He trains his flashlight on a SMALL OBJECT in the corner of the room.

LOOMIS What is it?

For a moment Bracket doesn't speak. Then he steps closer to the object.

BRACKETT A dog...

Both men look down off screen at the animal. Brackett bends down to it.

BRACKETT (cont'd) Still warm.

He stands back up and looks at Loomis.

LOOMIS He got hungry.

Brackett gets a disgusted expression and steps away.

BRACKETT Come on...A skunk could have killed it...

LOOMIS Could have...

Brackett looks back at the dead animal.

BRACKETT A man wouldn't do that...

LOOMIS He isn't a man.

88 INT. MYERS BEDROOM

Loomis and Brackett cautiosly step into the bedroom, the same room where the murder took place fifteen years ago. The glow from a distant street light casts the shadows of blowing trees on the walls.

LOOMIS It happened in here.

Loomis walks over to the spot where the sister was sitting.

LOOMIS (cont'd) She was sitting here when he came through the door.

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

LOOMIS (cont'd) He must have watched them through this window...

88A LOOMIS' POV - WINDOW

CAMERA SLOWLY TRACKS IN toward the window.

88B ANGLE ON LOOMIS

Loomis stops by the window.

LOOMIS (cont'd) Standing just outside, he could peer over the sill...

Blown loose by the wind, the rain gutter suddenly swings down and SMASHES through the window with a THUNDERING CRASH of broken glass.

Loomis jumps back, reaches into his coat pocket and draws a .357 magnum revolver.

Brackett stares at him. Loomis sees Brackett's reaction and slowly reholsters the revolver.

LOOMIS (looks at Brackett) I suppose I do seem a bit sinister for a doctor.

BRACKETT Looks like to me you're just plain scared.

LOOMIS I am. (he glances around the bedroom) I met his fifteen years ago. I was told there was nothing left, no conscience, no reason, no understanding, in even the most rudimentary sense, of life or death or right or wrong. I met this six- year-old boy with a blank, cold emotionless face and the blackest of eyes, the Devil's eyes. I spent eight years trying to reach him and another seven trying to keep him locked away when I realized what was living behind that boy's eyes was purely and simply...evil.

Brackett just looks at him a moment.

BRACKETT What do we do?

LOOMIS He was here, earlier tonight, and he may be coming back. I'm going to wait for him.

BRACKETT I keep thinking I should call the radio and TV stations...

LOOMIS If you do they'll be seeing him everywhere, on every street corner, in every house. Just tell your men to shut their mouths and open their eyes.

BRACKETT I'll check back in an hour.

Brackett turns and walks out of the bedroom. For a moment Loomis stares at the rain gutter in the broken window.

CUT TO:

89 INT. DOYLE HOUSE - NIGHT

CAMERA SLOWLY TRACKS through the Doyle house. It is a large home with a staircase that leads to the bedrooms upstairs. Through a doorway we see a very modern kitchen. There is a dining room and living room with a big bay window that looks out into the street.

Laurie sits with Tommy Doyle on the couch reading him a story. Tommy has his Halloween costume on and a big bag of candy on the floor.

LAURIE (reads) ..."how now, cried Arthur. 'Then no one may pass this way without a fight?' 'That is so,' answered the night in a bold and haughty manner..."

TOMMY I don't like that story.

LAURIE But king Arthur was always your favorite.

Tommy pulls out a stack of comic books from underneath the couch.

TOMMY Not any more.

LAURIE Why are they under there?

TOMMY Mom doesn't like me to have them.

Laurie glances through the stack of comic books.

LAURIE 'Neutron Man'...'Laser Man'...I can see why. 'Tarantula Man'...

TOMMY Laurie, whats the Boogey Man?

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

LAURIE Hello.

90 INT. WALLACE KITCHEN

Annie stands making popcorn, the phone at her ear.

ANNIE Having fun? Never mind, I'm sure you are. I have big, big news for you...

LESTER, a large, ferocious-looking German shepherd, trots happily into the kitchen, spies Annie and walks over to her. He nudges her legs with his head.

ANNIE (cont'd) Oops! Hold on a minute...

She turns and reaches for Lester uncertainly.

ANNIE (cont'd) Hi Lester...

Lester GROWLS at her menacingly.

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

Lindsey trots into the room.

ANNIE (cont'd) Get him out of here!

LINDSEY Here, Lester.

Immediately Lester walks over to the back door. Lindsey opens the door and the dog trots out. Then Lindsey closes the back door and walks back into the living room.

ANNIE (into phone) I hate that dog. I'm the only person in the world he doesn't like.

LAURIE (v.o.) (from phone) What's this big, big news?

ANNIE What would you say if I told you that you were going to the Homecoming Dance tomorrow night?

INTERCUT WITH LAURIE IN DEN

LAURIE I'd say you must have the wrong number.

ANNIE Well, I just talked with Ben Tramer and he got real excited when I told him how attracted you were to him.

LAURIE Annie, you didn't. Tell me you didn't.

ANNIE You guys will make a fabulous couple.

91 INT. DOYLE LIVING ROOM - NIGHT

Tommy walks to the front window and looks out.

92 TOMMY'S POV - STREET

A couple TRICK OR TREATERS walk by.

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

93 EXT. STREET - DOYLE HOUSE

CAMERA is behind the SHAPE, looking into the Doyle house. We can see Laurie talking on the phone. The shape's head moves slightly and WE PAN to see Tommy at the front window looking out. Tommy moves away from the window. PAN back to see him enter the den and pull on Laurie's blouse.

94 INT. DOYLE HOUSE

TOMMY Laurie...

LAURIE (into phone) I'm so embarrassed. I couldn't face him...

ANNIE (v.o.) You'll have to. He's calling you tomorrow to find out what time to pick you up.

LAURIE (paniked) Annie!

TOMMY Laurie, the boogey man is outside. Look!

Tommy runs to the window in the den and points. Laurie walks over with the phone and looks.

95 LAURIE'S POV - STREET

The street is empty.

96 ANGLE ON LAURIE - TOMMY

LAURIE (into phone) Hold on. (to Tommy) There's nobody out there, Tommy. Go watch some TV.

Tommy rushes out of the den.

97 INT. DOYLE LIVING ROOM

Tommy dashes up to the front window and looks out.

98 POV - STREET

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

CUT TO:

99 INT. WALLACE HOUSE - NIGHT

Annie stands by the kitchen stove making popcorn.

ANNIE (into telephone) Look, it's simple. You like him, he likes you. All you need is a little push.

100 POV FROM OUTSIDE KITCHEN WINDOW

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

ANNIE (cont'd) It won't hurt you to go out with him, for God's sake.

Annie starts to pour the butter over the popcorn but instead pours it on herself.

ANNIE (cont'd) Shit! No, no, I gotta call you back. I just made a mess of myself. Nothing unusual.

Annie hangs up. She quickly takes off her blouse and blue jeans. She stands in the kitchen with only her panties on. She pulls a box of cornstarch out of the closet and sprinkles it out on the stains of butter.

101 ANGLE ON SIDE OF HOUSE

The shape moves closer to the kitchen window and knocks over a potted plant. It CRASHES noisily against the side of the house.

102 INT. WALLACE HOUSE

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

103 POV OUT KITCHEN WINDOW

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

104 ANGLE ON ANNIE

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

104A EXT. WALLACE HOUSE

The hanging plant continues to WHAP against the house. A HAND suddenly stops its motion. The shape leans up close to the kitchen window, looking inside.

104B ANGLE ON DOG

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

104C ANGLE ON SHAPE - DOG

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

104D INT. WALLACE HOUSE

Annie listens to the GROWLING of the dog. She turns to Lindsey in the living room.

ANNIE Lindsey, Lester's barking again and getting on my nerves again.

LINDSEY (o.s.) No, he's not.

Suddenly the GROWLING sounds ABRUPTLY STOP.

ANNIE Never mind. He found a hot date.

Annie turns and walks into the living room.

104E EXT. WALLACE HOUSE

We see the shape's legs a few feet from the house. Next to him are LESTER'S LEGS, kicking and struggling a few feet above the ground.

Off screen, the shape is strangling the dog in mid-air.

Finally the dog's legs stop moving and DANGLE LIFELESSLY. The shape moves away from the house.

CUT TO:

105 INT. DOYLE HOUSE - LIVING ROOM - NIGHT

Laurie and Tommy are sitting on the couch watching the Horrorthon on TV.

TOMMY What about the Jack-O-Lantern?

LAURIE After the movie.

TOMMY What about the rest of my comic books?

LAURIE After the Jack-O-Lantern.

TOMMY (quietly) What about the bogyman?

LAURIE There is no such thing.

TOMMY Richie said he was coming after me tonight.

LAURIE Do you believe everything that Richie tells you?

TOMMY No...

LAURIE Tommy, Halloween night is when you play tricks on people and scare them. It's all make belive. Richie was trying to scare you.

TOMMY I saw the bogyman. I saw him outside.

LAURIE There was no one outside.

TOMMY There WAS.

LAURIE What did he look like?

TOMMY The bogyman!

LAURIE We're no getting anywhere. All right, look, Tommy. The bogyman can only come out on Halloween night, right?

TOMMY Right.

LAURIE And I'm here tonight and I won't let him get to you.

TOMMY Promise?

LAURIE I promise.

TOMMY Can we make the Jack-O-Lantern now?

Laurie holds out her hand. Tommy takes it and together they walk into the kitchen.

106 EXT. PASSAGEWAY TO LAUNDRY - WALLACE HOUSE - NIGHT

Annie walks through the passageway to the laundry room. She is wearing a nylon robe and carrying her clothes to be washed. The wind blows the robe open.

107 ANOTHER ANGLE - PASSAGEWAY

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

108 INT. LAUNDRY ROOM

Annie walks into the dark laundry room.

Almost immediately the wind BLOWS THE DOOR SHUT!

Annie stands motionless for a moment, then begins looking for the light switch.

ANNIE Terrific!

109 ANGLE ON DOOR

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

110 ANGLE ON ANNIE

Annie turns toward the slightly open door.

ANNIE Hello?

Silence.

ANNIE (cont'd) Who's there?

Silence. The wind blows the door open a little wider. In the light from the main house, Annie sees the light switch. Quickly she flicks on the switch and the laundry room lights up. She glances outside the door.

There is no one there.

ANNIE Paul, is this one of your cheap tricks? (pause; disappointed) I guess not.

She steps back inside and crosses to the washing machine. She opens the top and dumps her clothes inside.

ANNIE No tricks for Annie tonight.

Suddenly a big gust of wind comes through the opened window above her. The door SLAMS SHUT!

Annie hurries to the door and tries to open it. It won't open.

111 CLOSE SHOT - ANNIE

She tries to pull the door open. BEHIND HER, in the open window above the washing machine, we see the SHAPE looking in.

ANNIE Lindsey! Lindsey, come out here!

112 INT. WALLACE HOUSE

LINDSEY WALLACE, 8 years old with a pretty face, watches the Horror Marathon at top volume on TV. She doesn't hear Annie's call.

113 INT. LAUNDRY ROOM

ANNIE Lindsey, I'm in the laundry room! The door is stuck!

Annie turns and glances at the window above the washing machine. THE SHAPE IS GONE.

She quickly crosses to the washing machine, climbs up on top of it and starts out the window. Half way through she GETS STUCK. She tries to squirm her way back in but it's hopeless.

ANNIE (cont'd) Lindsey! Lindsey, goddamn it, help!

From the house Annie hears the phone ring.

ANNIE (cont'd) Lindsey, answer the phone! It's Paul! Lindsey! LINDSEY!

114 INT. WALLACE HOUSE

Lindsey still sits in front of the TV. She lets the phone ring away. Finally she gets up and walks to the phone, her eyes pivoted on the TV. She picks up the reciever.

LINDSEY Hello.

PAUL (v.o.) Hi, Lindsey, this is Paul. Is Annie there?

LINDSEY Yes, she is.

PAUL (v.o.) Will you get her for me?

LINDSEY She's washing her clothes.

PAUL (v.o.) Well, go tell her it's me, okay?

LINDSEY Okay.

Lindsey hangs up the phone and walks through the kitchen to the back door. She calls from the door.

LINDSEY Annie, Paul's on the phone!

115 ANGLE ON ANNIE HANGING OUTSIDE THE WINDOW

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

116 EXT. LAUNDRY ROOM

Lindsey crosses to the laundry room door. It is bolted from the outside. She lifts the bolt and looks inside the room.

117 INT. LAUNDRY ROOM

LINDSEY You locked yourself in.

ANNIE I know. Pull my legs. I'm stuck.

Lindsey pulls on Annie's legs and she slides from the window onto the dryer.

ANNIE Lindsey, promise you won't tell anyone!

118 INT. WALLACE HOUSE

As Annie and Lindsey walk back into the house, the phone rings. Lindsey races across the room and picks it up.

LINDSEY She was stuck in the window, she'll be right there.

Lindsey sets down the reciever and walks out of the kitchen. Annie gives Lindsey a dirty look and picks it up.

ANNIE Hello, Paul. (pause) All right, cut it out. It can happen to anyone. (pause) Yeah, but I've seen you stuck in OTHER POSITIONS!

Suddenly behind Annie THE SHAPE WALKS THROUGH THE HALLWAY BETWEEN THE LIVING ROOM AND THE KITCHEN. She doesn't see it.

ANNIE (cont'd) That's fantastic! When did they leave? (pause) Utterly fabulous! So why don't you just walk over? My clothes are in the wash. I can't come now. (pause) Shut up, jerk. I've got a robe on. That's all you think about. (pause) That's no true. I think about lots of things. Why don't we not stand here talking about them and get down to doing them? All right, see you in a few minutes.

Annie hangs up the phone. She walks into the living room. Lindsey is back watching the TV Horrorthon.

LINDSEY (excitedly) I'm scared.

ANNIE Then why are you sitting here with half the lights off?

LINDSEY I don't know.

ANNIE Well, come on, get your coat. We're going to pick up Paul.

LINDSEY I don't want to.

ANNIE Look, Lindsey, I thought we understood each other...

LINDSEY I want to stay here and watch this.

Annie calculates a moment.

ANNIE Okay, if I can fix it so you can watch TV with Tommy Doyle, would you like that?

Lindsey's eyes light up.

LINDSEY Yes.

ANNIE Come with me.

CUT TO:

119 EXT. STREET - NIGHT

Annie and Lindsey come out of the Wallace house. Lindsey carries a bowl of popcorn. Annie has a coat over the negligee.

They walk down the street to the Doyles. The wind blows strong and whips the negligee around Annie's legs.

120 ANOTHER ANGLE - STREET

As the girls make their way down the street. The SHAPE steps into the glow of the streetlight and watches them. He pulls a LARGE KNIFE from his pocket. The BLADE GLISTENS in the light.

121 INT. DOYLE HOUSE - NIGHT

Laurie and Tommy are covered with pumpkin meat when the doorbell rings. Tommy runs to answer it. He opens the door. Annie and Lindsey stand there.

TOMMY Hi, come on in. We're making a Jack-O-Lantern.

LINDSEY I want to watch TV.

Lindsey sees the TV and runs into the living room. She takes off her coat; sits in front of the TV and eats her popcorn.

Laurie comes from the kitchen. She glances at Annie's coat.

LAURIE Fancy.

ANNIE This has not been my night. My clothes are in the wash, I spilled butter down the front of me, I got stuck in a window...

LAURIE I'm glad you're here because I have something I want you to do. I want you to call up Ben Tramer and tell him you were just fooling around.

ANNIE I can't.

LAURIE Yes, you can.

ANNIE He went out drinking beer with Mike Godfrey and he won't be back until late. YOU'LL have to call him tomorrow. Besides, I'm on my way to pick up Paul.

Laurie glances at Lindsey.

LAURIE Wait a minute here...

ANNIE If you watch her, I'll CONSIDER talking to Ben Tramer in the morning.

LAURIE Deal. Hey, I thought Paul was grounded.

ANNIE He was. Old jerko found a way to sneak out. Listen, I'll call you in an hour or so.

Before Laurie can say anything else, Annie rushes out the door. Laurie closes the door and looks in at Tommy and Lindsey engrossed in the Horrorthon.

LAURIE The old girl scout comes through again.

122 EXT. WALLACE HOUSE - GARAGE - NIGHT

Annie hurries across the back yard and steps into the garage. She walks to her car.

ANNIE (sings to herself) Oh, Paul, I give you all...

She tries the door. It is LOCKED.

ANNIE (cont'd) No keys, but please...my Paul.

Quickly she turns and walks out of the garage.

123 INT. WALLACE HOUSE

Annie wanders through the empty house looking for her purse. She finds it in the front room, takes out her brush and lipstick and stands in front of the mirror primping.

ANNIE (sings) My Paul, I can no longer stall...

She glances up at her image in the mirror.

ANNIE (cont'd) Lucky thing. Spilled butter on her clothes, but nobody will know... (sings) ...except for Paul...

Suddenly the phone RINGS. Quickly Annie grabs it.

ANNIE Hello. Oh, hi, Dad. (pause) No, just watching TV with lindsey. (pause) Be careful about what? (pause) Well, if you won't tell me how can I be careful? (pause) Sure, sure I will. Bye, dad.

She hangs up, grabs her purse and rushes out the door.

124 INT. GARAGE

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

125 INT. CAR

Annie slides in and inserts the key in the ignition. The car starts. Annie glances at the car door lock. Suddenly she remembers it was locked. She stares at it, puzzled.

An instant later, A MAN SITS UP IN THE BACK SEAT.

HE WEARS A HALLOWEEN MASK made of rubber with the grotesqe features of a man. He reaches forward and grabs her.

Annie SCREAMS. She lurches for the door. The man puts one hand over her mouth and brings the HUGE BUTCHER KNIFE up to her throat.

126 INT. GARAGE - ANGLE ON CAR

From outside the car we see the struggle inside. Annie's anguished face presses against the steamed window. Her SCREAMS are muffled by the closed car.

Suddenly, the struggle stops.

Annie's face slides down the car window leaving a track in the wet surface. Then slowly the track in the glass steams over again.

CUT TO:

127 INT. DOYLE HOUSE - NIGHT

Music from INVASION OF THE BODY SNATCHERS fills the room. Lindsey and Tommy are riveted to the screen.

Tommy glances at Lindsey and slowly sneaks away from the couch. He jumps to a window and ducks behind a curtain.

TOMMY (from behind curtain) Lindsey. Lindsey.

Lindsey turns around and looks for Tommy.

LINDSEY Where are you?

No answer. Lindsey gets up from the couch to search for Tommy.

128 BEHIND CURTAIN

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

129 TOMMY'S POV - WALLACE BACK YARD

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

130 INT. DOYLE HOUSE

Tommy SCREAMS and jumps out from the curtain, scaring the hell out of Lindsey, who also SCREAMS and begins crying.

TOMMY There he is, there he is! The bogyman!

Laurie rushes in from the kitchen finding the children in tears.

LAURIE What's wrong?

Tommy points out the window.

TOMMY I saw him again! He's over at Lindsey's house. The bogyman!

At this, Lindsey begins to CRY even louder. Laurie bends down to comfort her.

LAURIE Tommy, stop it! You're scaring Lindsey.

TOMMY I saw him...

LAURIE I said, stop it! There is no bogyman. There's nothing out there. If you don't stop all this, I'm turning off the TV and you go to bed.

Tommy turns away from Laurie and Lindsey and walks over to the couch in front of the TV set. Almost instantly, Lindsey stops crying and follows him.

TOMMY Nobody believes me.

LINDSEY I believe you, Tommy.

Lindsey sits up next to Tommy and hugs him.

Laurie shakes her head and walks back into the kitchen.

CUT TO:

131 EXT. MYERS HOUSE - NIGHT

The old Myers house looks ominous and forboding silhouetted against the dark, whishing trees. CAMERA TRACKS behind the hedge where Loomis sits waiting.

Suddenly, there are noises from the street. Loomis parts the hedge in front of him and stares.

132 LOOMIS' POV - STREET

Three boys, Keith, Richie and Lonnie (from the playground) creep up to the edge of the sidewalk in front of the old house. They stare fearfully at the dark, tomb-like structure.

LONNIE I'm not afraid.

RICHIE Bullshit.

LONNIE I'm not!

RICHIE Then go in.

For a moment Lonnie hesitates, then slowly moves through the front gate up toward the porch.

133 ANGLE ON LOOMIS

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

134 LOOMIS' POV - OLD HOUSE - STREET

Lonnis makes it to the front porch and tentatively steps up to the door. He glances back to his friends in the street.

Loomis' POV moves to the street.

RICHIE Chicken!

KEITH Go on, Lonnie!

Then Loomis' POV moves back to Lonnie at the front door. The boy turns to open the door. He's scared out of his mind.

135 ANGLE ON LOOMIS

Loomis quietly stands up behind the hedge.

LOOMIS Lonnie...

136 LOOMIS' POV - OLD HOUSE

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

137 ANGLE ON LOOMIS

LOOMIS Get your ass away from there!

138 LOOMIS' POV - OLD HOUSE - STREET

Moving like the wind, Lonnie barrels off the porch and races back to his friends. The boys hurtle off down the street in utter terror.

139 ANGLE ON LOOMIS

He watches them race away, smiling to himself.

Suddenly, TWO HANDS enter frame and grab Loomis' shoulders. Loomis jumps and spins around. Standing there is Brackett.

LOOMIS Jesus!

BRACKETT You all right?

LOOMIS Sure...

BRACKETT Nothing's going on. Just kids playing pranks, trick or treating, partying, getting high ...I have the feeling you're way off on this...

LOOMIS You have the wrong feeling.

BRACKETT You're not coming up with much to prove me wrong.

LOOMIS Exactly what do you need?

BRACKETT Well, it's going to take more than fancy talk to keep me up all night creeping around these bushes.

LOOMIS I watched him for fifteen years, sitting in a room staring at a wall, not seeing the wall, seeing past it, seeing THIS NIGHT. He's waited for it, inhumanly patient. Hour after hour, day after day, waiting for some silent, invisible alarm to trigger him. Death has arrived in your little town, sheriff. You can ignore it, or you can help me stop it.

BRACKETT More fancy talk...You want to know what Haddonfield is? Families. Children, all lined up in rows, up and down these streets. You're telling me they're lined up for a slaughterhouse.

LOOMIS They could be.

BRACKETT I'll stay out with you tonight, Doctor, just on the chance that you're right. And if you are right, damn you for letting him out.

Brackett turns and walks back to the street. Loomis watches him for several moments.

CUT TO:

140 EXT. WALLACE HOUSE - NIGHT

The house is quiet, dark. The lights are all out. Annie's car is parked in the garage.

A car pulls up in front of the house and parks. Its lights flick off. The sounds of LAUGHTER come from inside.

141 INT. CAR - NIGHT

BOB SIMMS, a good-looking 17-year-old, POPS open a can of beer. Next to him Lynda guzzles hers. They embrace.

LYNDA Now...First we'll talk a little, then Annie will distract Lindsey and we sneak quietly up the stairs to the first bedroom on the left. Got it?

BOB Okay. First I rip your clothes off...

Bob grabs Lynda and she starts giggling. The can of beer falls over onto the front seat.

LYNDA You idiot!

BOB ...Then you rip my clothes off. Then we rip LYNDSEY'S clothes off. I think I've got it.

LYNDA Totally...

142 EXT. WALLACE HOUSE

Bob opens the door and together they fall out onto the ground. Bob picks Lynda up and carries her up to the front door.

LYNDA Bob...Put me down. Put me down. This is totally silly.

Lynda squirms in Bob's arms. As he sets her down her foot accidentally hits the front door and it swings open. Lynda and Bob both stop.

LYNDA Annie, Annie, we're here!

Bob and Lynda enter the house.

143 INT. WALLACE HOUSE - NIGHT

The living room is empty. The lights are off. Lynda and Bob enter the house and begin turning on the lights.

BOB I wonder where they went.

LYNDA Annie probably took Lindsey out or something. Let's look for a note.

Bob walks over to Lynda.

BOB Let's don't.

They embrace. Bob pulls Lynda over to the couch and turns out the light. They kiss. A SHADOW COMES OVER THEM. They continue kissing, unaware of the shape of a man on the stairway WATCHING.

144 INT. DOYLE HOUSE - NIGHT

The house is totally black inside. The only sound is the music score from "The Thing."

Suddenly, the sound of laughter is heard from the kitchen. Then an orange light floats around the room. As it gets closer, we see that Laurie is carrying a Jack-O-Lantern, with a candle illuminating from the center of the pumpkin. Behind Laurie is Lyndsey and Tommy making scary noises. The procession continues through the house.

TOMMY Ooooooo...He's gonna get you.

LYNDSEY No, he's not.

LAURIE Nobody's going to get anybody. Now stop scaring each other.

The procession continues to the front window. Laurie places the Jack- O-Lantern on the window sill. She looks down the street toward the Wallaces.

145 LAURIE'S POV OF THE WALLACE HOUSE

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

146 ANGLE ON LAURIE

Laurie smiles to herself.

LAURIE Everybody has a good time tonight. Okay, kids, what do you want to do now?

LINDSEY Let's make more popcorn.

LAURIE You've had enough. Why don't we just sit down and watch the rest of this movie.

Laurie sits down on the couch and sighs. Lindsey and Tommy cuddle up with her, one on either side.

The phone rings.

Laurie gets up to answer it.

LAURIE Hello.

147 INT. HOUSE - NIGHT

Lynda sits on the couch in the dark. Her hair and clothes are messed up. Bob lies on the couch, his head on her