"HALLOWEEN" (1978)

"

s

HALLOWEEN

a screenplay·

by .

John Carpenter

and

Debra Hill

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l MAIN TITLE SEQUENCE

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

;. · HALLOWEEN

Then we slowly:

FADE IN 'IO: ~

Darkness,"with a small shaoe in the center of the screen. As MAIN TITLES CONTINUE OVER, CAMERA SLOT.•11.YMOVES IN on the shape.

We get closer and closer until we see that the shape is a Halloween mask. It is a large, full-headplatex rubber masK, not a monster or ghoul, but the pale, neucral features of..!!!!!aweirdlydistorted by the ruboer.

Finally CAL\fERAMOVESIN CLOSE on the eyes of themask. It is blank, empty, a dark, staring socket. SUPERIMPOSE .....r, FINAL CREDIT.

r . FADE OUT.

FADEIN:

2 Black screen. SUPERIMPOSE:

HADDONFIELD, ILLINOIS OCTOBER 31, 1963

SUBJECTIVE POV (PANAGLIDE)

It is night. We move toward the rear of a housethrough someone• s POV. CA.."!ER.I\MOVESUPtoaJack-0-Lancern glowing brighcly on a windowsill. It isa windy night and the curtains around the Jack-0-Lantern ruffleback and forth. Suddenly ~e he~r voices from insidethe house.

(CONT!m.JED)

,.. CONTL.'IUED:

Then LAUGHTER.

The POVmoves from the Jack-0-Lantern down to another windowand peers inside. We see the sister's bedroom throughthe blowing curtains.

Into thebedroom comes the SISTER, 18, very pretty. She GIGGLESas the BOYFRIEND jumps into the room. Also 18,he wears a Halloween mask and costume.

The boyfriendgx:absthe sister and kisses her. r

The boyfriendrips off his mask. He is a handsome youngman tmderneat:h. They kiss again, this time with more passion. The boyfriend begins to unbutton the sister'sblouse. She responds to him.

The POV swingsaway from the window and begins to restlesslypace back and forth,.agitated, disturbed. We HE..i\RTHESOUNDSofthe sister and boyfriend inside the bedroomgrowing more and more passionate.

Finallythe POV moves back up to the window. Inside throughthe moving curtains, we see the sister and the boyfriendon the bed~ naked, making love.

T"nePOVsprings back f:om the window and stalks quickly down theside of the house, past the Jack-0-Lancer.i, around toa door. Quietly che door is opened and the POVmoves inside.

CCONTL.'1UED)

(

3 CONTL.'ruED( 2):

The POVglides silently through the house into the kitchen,up to a drawer. The drawer is opened. A largebutcher knife is withdrawn.

Then thePOV swings around and moves to the kitchen door. We look down a hallway to the front door. The boyfriendsteps out of the bedroom door, buttoning his shirt. The si&ter stands in the doorway, a sheet TJrappedaround her.

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

The·POVmoves s~owly down the hall to the bedroom door and peersaround inside. The sister sits at her night-tablebrushing her hair. She is still completely nude.

Slowlythe POV moves into the room. Suddenly we move down tothe discarded Halloween mask on the floor. The POV bendsdown and picks it up. Then suddenly the POV iscovered by the mask and we see through the eye-holes. ·

The POVmoves uo behind the sister. Sen.singa presence, she soinsaround and stares at the POV, covering her breastsquickly.

(CONTDIUED)

3 CONTINUED (3): ( Suddenly the POV lungesfor#ard. The sister continues to stare incredulously. There isa rat1idblur as the POV drives the butcherknife into thesister"T"schestand out again almostbefore we've seenit.

The·-sisterlooks down at theblood forming at her hands, then backup at the POVwith an astonisheddisbelief.

Then in a wildParoxysm the butcherknife blurs continuous!y"Tn anq outof frame,slashing the sister mercilessly. She begins to SCR.E..i\M,tryingtofendoff the blowswith her hands, thensuddenly falls out of frame to the floor.

The POVmoves back awayfrom thesister's lifeless body, spins around andcareens out of the bedroom.

Ac top speed thePOV races throughthe darkened house, to the front door, out the door,down the steps and rapidly up the street. The C&'1ERAcareensalong in f=enzied flight,up thesidewalk, up a small side alley, dow-nsomeone'sback yard, then to a sudden, abrupt hale in frontof M.OTHERand FATHER just coming out of a neighbor'shouse.

Mother and Father stareat thePOV, at first in puzzlement, then slow,growing horror.

_MOTHER Michael?

4 CLOSESHOT- MICHAEL -CRANE

The father's handreaches uo andrios off the Halloween cia.sk,revealingMICHAEL,6,-undernea.th,a bright-eyed boy with a calm,quiet smile on his face. CAME3.APULLS BACK, revealing the blood-stainedbutcher knife in his hand, then furtherback, CR.-1\MINGUP pasthisparents standing there,up fromthe neighbor's house to a HIGH SHOTof the neighborhoodas thesounds of POLICE SIRENS rise in the distance.

s.

5 Black. SUPERIMPOSE: r' \

SMITII'SGROVE,'ILLINOIS OCTOBER 30,1978

Two headlightsappear in r:hedarkness,.backlighr:ing the rain thatpour, down on alonely strip of highway. A stationwagon HISSES along the wet road surface.

The back seatis separatedfrom the front by a wire-mesh. screen,much like a police car. MARION, 30, drives. She isdressed in acrisp, white nurse's uniform. Next to her in thepassenger seat is SAM LOOMIS, a clinical psychiatrist. He is a tough-looking man in his forties who flipsthrough pages in a manila folder.

LOOMIS

r ...then he gets another

physical by the state, and he makes h~s appearance before the judge. That should take four hours if we're lucky, then we're on our way.

8 ?OV THROUGHWINDSHIELD - SANIT.i\.R.ItlM

Through che·rain we see a large sign:

SMITH'S GROVE - WARRE~tCOl.~l

" S&'iIT.~~!UM

CCONTimJED)

(

8 CONTINUED

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

9 INT, STATION WAGON

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

~.ARION Only minimum security.

(CONT~TUED)

"-"~"'c.u...,1.110

6A.

,. 9 CONTINUED r

, MARION The only thing thac ever bothers me is their j ibberish. When they star1:raving on and on ...

Boch of them suddenly scare out the windshield in front of chem.

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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 wi.nd-blownwhite gowns, drenched by the rain, wandering aimlessly around the field.

They look up ahead.

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

Marion slows the station wagon and pulls off tothe sid·e of the road. Loomis jumps out.

14 POV- ntR.OUGHWI.t..'IDSHIELD-LOOMISANDPATIENT

Through the windshield we see Loomis rush overto the patient, st.andand talk for a moment, then hurryback.

Loomis climbs back in, dripping from the rain.

Marion scar-csdown che road.

15 CONTINUED:

LOO~S He said something else. "It's all right now. He's gone. The evil's gone.''

•

15 POV THROUGH WL'IDSHIELD- SAL~ITA...~IUMDRIVE

Ahead of them is the entrance co the sanitarium.

- Mari.onsiows down to turn.

Through the rear window we s.ee aSHAPE spring up out of thedarkness,-streak through the rain and leao ~~the .!!Eof the s cationwa~on.

The station wagon bounces up and do'Wtl.The roof sags in and out wich the weight of someone 2!!~-

M..-\.RION Something fell on the roof.

The roof continues to buckle in and out wildly.

-!arionscoosand rolls down her window co look inside. Loomis opens his door and steps ouc. Suddenly he is hit in the face by a powerful fist from the roof. Loomis scaggersoackwards and falls by the side of the road.

~rion starts to ~eacc. Suddenlv a hand reaches-!:! throughthe window and lunges ac her-.--

(COMTimr.c.D)

17 CONTINUED: r The fin~ers_gdab her hair. She SCRE&~S. Toe fingers tighten arou:n herhair and thehand pullsMarion roughly t~ the window.

Twisted around in'the seat,Marion's footjams down all the way on the gas pedal. The stationwagon ROARS forAard.

Marion continues to SCREJ.11,clawingat thehand.

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18 POV THROUGH WINDSHIELD -ROAD

Through the rain the road spins crazilyahead, the wipers erasing sheets ofrain.

Suddenly the other hand reaches down fromthe roof and grabs the wiper, holding it tightly. Rain-splasheson the windshield obscuring the road.

The hand rips at Marion'shair. S~'!ING. Clawing.

20 POV THROUGH WINDSHIELD

The windshield is completely obliteratedby rain.

The station wagon skids andWHAMS into theshoulder on the side of the-road. Marion is hurled across che seat against the passengerdoor_.

Suddenly the hand snringsdown fromabove and SLu"!S against the passengerwindow, shatteringit.

SHRIE:<ING,Marion scurriesacross the f=ontseat, opens the driver's door and scramblesouc.

22 E:."'{T.ROAD-STATIONWAGON

Marion f=antically crawlsher way across the rain- drenched road away from chestation wagon. CAMERA TRACXS wich her as she slidesdown inco che muddy shoulder. She looks·back:

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From the ~houlder we see the station wagon in the rain, and the shaoe jumo in the driver's ~ and SI.Al."1thedoor.

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 .andhelps Marion to her feet. She CRIES hysterically. Loomis stares off down the road at the disappearing tail-lights.

FADEOUT.

25 Black screen. SUPERIMPOSE:

LAURIE, 17 and pretty in a quiet sort of way, seeps out of her two-story frame house, down the front walk cothe street. Her face has a soft, innocent qualicy, her eyes bright and alive. Her FATHER steps out of che 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 co drop off the key at the Myers place.•.

LAURI~ I,..1on'c.

(CONTIMUED)

26 CONTINUED:

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

CAMERA MOVES wich Laurie as she walks down the residential street. She carries a large bundle of schoolbooks·in her arms. Across a backyard TOMMY DOYLE, an eighc-year- old boy T,,Jithtossledbrownhair and bright blue eyes comes running with his books.

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

Sure.

Sure.

(CONTr:ruED)

27 CONTDTTJED

They walk up to the front of theold, two-story Myers house set back from the street. It isnow weather- beaten and dilapidated. Lauriewalks throughthe front gate and starts up toward the porch.

·TOMMY You'renot supposed togo up there.·

Laurie holds up a key .

• LAURIE Yes, I am.

Laurie strolls up to the frontporch. She b·endsdown, lifts the welcomemat andplaces·the key under it.

r 28 INT. ~!YERSHOUSE- THROUGH WINDOW .

( Through a frontwindow, we seeLaurie bending over the welcome mat. Suddenly a dark shaoe, the.outlineof a ~, leans for#ard, watching her. As~e walks back-co Tommy ac the street the shaoemoves towatch them, then fades back into the interior or thehouse. -

Laurie and Tommy continuewalking down the street.

Tommy breaks sc=ide and nms across thescreet.

(CONTTITTJED)

REVISED 4/2/78

29 CONTINm:D

La~ie continues walking alone. She begins t:osing quietly to herself-.-

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

30 ANGLE DOWN STREET

We see Laurie walking off down the street in the distance. CLOSETO CA&.'1ERAthedarkshaoe moves into frame, watching Laurie disappeararound che corner:-

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.

r· bulletin wouldn't scop·a five-year-

old!

CCONTL.WED)

REVISED 4/2/78

13A.

r 31 CONTINUED

Loomis reaches acar and unlocks it.

~ LOOMIS I notified everybody! Nobody listened.

-r

31 CONTINUED:

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

Loomis starts up the car and pulls away from the sanitarium.- Wynn watches him go, then hurriesback into the building.

Laurie sits at the back of a classroom of HIGH SCROOL STUDENTS. CAL"!ERAMOVESIN on her as a TE.L\.C!-tERdrones away at the front of the room.

CAi.'!ERAMOVEStoa CLOSE-UPof Laurie. Shebarely listens to the teacher as she doodlesin her notebook in front of her.

(CONTL'ttr.:.I))·

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32 CONTL.'lUED:

TEACHER CV.0 • ) (continuing) 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 letsher gaze move to a window. She stares dreamilyoutside.

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

Behind thestation wagon stands the shaoe of a man. We can'tquite see his features from here.out it is clear thathe is looking in the school window.

34 Pu.'tGLEON LAURIE

She turnsaway from the window and begins to doodle agaL."l.

35 A.i.'tGLEONNOTEBOOK

We seeLaurie draw:

LAURIE STRODE

(continuing) Edwin, how does Samuels' view of fate differ from that of Coscaine?

36 ~'TGU:ON LAURIE

Sheglances up from the book and out che window again.

•

37 LAURIEIsPOV - .STREET

The shapebehind thestation wagon is still there and staring right~ her.

38 ANGLE ONLAURIE

She frowns, staringback at the shape.

'rEACHER (V .0.) No. (pause) Laurie.

This springsher around from the window.

TEAC~ (V.0.) Answer the question.

TEACHER CV.O.) That's right, Samuels definitely personified fate...

Laurie sneaks a glance back to the window.

39 !.....\.URIE' S POV -STREET

The shapeand thestation wagon are gone.

40 ~'fGLEON LAURIE

She cu..-nsback==om the wincow and back co he= notebook.

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41 ANGU: ON NOTEBOOK

She has writt:en:

LAURIE STRODE IS LONELY.

41A E..n".GASSTATION - HIGHWAY - DAY

We see a car parked in front of a small, closed~down gas station/diner by the s1de of the highway. C&'1ERA SLOw"LYTRACXS over~to a phone booth. Loomis is inside on the telephone.

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

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

HADDONFIELD 73 MILES

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

41C E:~. GAS ST..\T!ON

Loomis cums and walks back to his car. He glancesac ~~e old gas station as he walks.

L\..:. Vi.::u:,.LJ"+I.!.II~

17A.

The building is dark, empty, dilapidated. On the r padlocked door are hugemarks like the clawingof an animal wanting to gee in.

41E ANGLE ON LOOMIS

Loomis stops, stares at the door and then slowlywalks over to it. He touches the markswith his hands, then looks at the dirt driveway around the building.

There are definite tire tracks leading from thehighway up to the door, then back to the highway again.

Then his gaze returns co a discarded objectcrushed in the dirt of the driveway: .!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.packare macches: r "The Rabbit in Red Lounge - EntertainmentNightly".

~· 41J EXT. GAS STATION

Loomis turns and quickly stridesback tohis car, gets in and roars away from the lonely gas station.

42 E:cr:SCHOOLYARD ..DAY

The playground is filledwith CHILDREN justgetting out o-fschool for che day. Some are dressed inHalloween costumes, some carry pumpkins and orangeand black streamers,-some carry Jack-0-Lanterns.

Tommy Doyle comes out of the door carryinga very large oumokin. He is followed by three BOYS,RICHIE, KEITH and LONNIE, who are LAUGHING and pushing him.

Lonnie :--.insuptoTommy and wiggles his:inge~s in oc:cy'sface. The other boys for:::iaci=elearound To'l!ltlyandtaun~him. Inunison they sing:

(CONT!MUED)

it::.-VtSED4/ 2/78

17B.

,, 42 CONTINUED

.. LONNIE The boogeyman is coming!

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

,

1a.

42 CON'tINUED:

The other boys join in the c~ant.

Tommy turns from them and starts to runaway. Richie sticks out his foot. Tommy trips and falls tothe concrete, ~..ASHING'hispumpkin beneathhim. The other boys run away GIGGLING and SCREAMINGwith delight.

43 PLAYGROUND EN'tRA4'iCE-GATE

As the boys race ouc of the playground,Richie barrels -throughthe gate and ,rn right~ the darkshaoe .

We don't see the shape's face, justhis lowerbody. He is dressed in pants and a shirt that look toobig for him. He grabs Richie and holds himback··atar.:n's length.

r ~:large object:falls out of his p·ocket~Richie quickly stares down at it. The shaoe lifts his footand SMACKS it down over the object to hide·it. QuicklyRichie and the other t;T,10boysrunaround theman and on down the block.

The shaoe lifts his foot. ·Underneath it isa lar~e butcher.knife. He quickly picks it up and shovesit into his pocket.

Slowly the shape turns and walks away from theplayground gate, CAMERA TRACKING WITH HIM. Across fromhim in the playground we see Tommy get to his faec,wi?ing the demolished pumpkin off his shirt andpants.

We TRACK WITH the shaoe to a seacionwagon. On the side of the door is a state emblem.

44 L.'IT.STATIONWAGON

The shape gees in the station wagon. We stilldon•c see his face. S~parating the fronc andback seacsis che wi=a-mesh sc=een. Ic is Loomis'vehicle. The shape scares the engine. He pulls away :rct:1thec~:b.

4S POV FROM WINDOW

Slowly the scacion wagon moves do'W'tlthestreet. We see Tommy hurTying along the sidewalk, still rubbing off the pumpkin splacter. Tommy turns off the sidewalk and cutsup a side alley.

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

..

~

Laurie and LYNDA stroll down the front steps of the high schooland turn up the street. Laurie car=ies another largestack of books. Lynda is a knockout in tight jeans and tight T-shirt. She carries no books. CAr.'!ERA TRACKS WI'rHTHEM up the street.

callsafter Laur~e and Lynda.

The gi=ls stop and wait for Ar.nie.

AflNIE (continuing) w11ydidn't you wait for me?

(CQNT~tUED)

46 CONTINUED:

LY?IDA We did. Fifteen minutes. You totally neve~ showed up.

· ANNIE That's not true. Here I am.

ANNIE

r r

We just talked•.

Laurie suddenly stops and turns back toward the school.

(CON'rntt.r-.c.D)

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\fF". 46 CONTINUED ( 2) :

Al'mIE (indignant) I have a place for that.

LAURIE · I forgot my chemistry book.

Laurie glances down the street.

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

48 ANGLE ON GIRLS

Laurie stares at the stacion 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.

The shape is close to CA.i.'-!ER.~,outoffocus.Oucche window we see the three girls on the sidewalk.

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

AL'tNIE (yells after the car) Speed killsf

r

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

52 ANGLE ON GIRLS

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

54 ANGLE ON GIRLS

Annie, some day you're going to get all ·ofus in deep trouble.

The gi=ls st:ar-twalkingagain. Laurie is quiet,puzzled by the appearance of the man in the car.

Al.'1NIE (coldly) I wouldn't want to get you in deep trouble, Lynda.

At.'1N!E All :-ighc. The Wallaces leave at seven.

(CONT!m.~D)

54 CONTINUED:

LAURIE

r

('excited) I'm babysitting for the Doyles. ~sonly three houses away. We can keep each other company .

Terrific. I've go·tthree choices. Watch the kid sleep> listen to Lynda screw or talk to-iyou.

The three girls stop in front of Lynda's house,a C10destsuburban home on a quiet, t=ee-lined·street.

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

Up the sidewalk is a series of bushes lining thestreet. There, par~ially hidden L~ the shadows of a bush,is the shaoe of a man, ~atching them. He is barelyvTsible, al:osc blenclingin with the dark foliage.

(C0NT!NUED)

(

57 CONTINUED:

LAURIE

..

Behind-that bush there.

Annie looks.

•

The shape is gone. Just bushes.

S9 A.i.'JGLEONLAURIE -ANNIE

,,-

ANNIE

( Subtle, isn't:he? Hey creep1

Ann;e walks right over to the bushes and kicks them hard. Nothing happens.

Laurie just stands on the sidewalk several feetfrom the bushes.

Slowly Laurie walks over and stares at thebush.

He was standi~g right here.

(CONTTITUED)

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(- 59 CONTINUED:

'· LAURIE Cute.

They start walking.down the sidewalk again.

Laurie glances back at the bushes behind them.

Ai.'INIE I don't. I.think you're

behind bushes.

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

Annie walks up to her door.

For a moment Laurie looks around cautiously before starting down the sidewalk again, CAMERA TRACKINGWITH HER. A strong wind rises and blows her hair in front of her face. Again she turns around and glancesback down the st:.-eec.

60 l-~URIE'SPOV - BUSHES

There is scill nothing there.

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61 ANGLEON LAURIE r- Suddenly,Laurie walks right.into~!!!!. standing on the sidewalkin front-ofher-. SheSCRL\..MSanddrops her books.

It isLEE BRACKETT, Annie's father. He is a tall man in a county sheriff'sunifor.n. He quickly bends down and picks upher books.

BRACI<E'!T Didn't mean to startleyou.

Brackettwalks down thesidewalk tohis house. Laurie bundlesher books andhurries up the street.

62 E.."cr.LAURIE'SHOUSE -DAY

Laurie walks up on thefront porch of her house. She pauses amoment and glances down the street.

63 LAURIE'SPOV -TRICK OR TREATERS

SeveralCHILDREN in costumes are going door to door collecti~g their treats.

64 ANGLE ONLAURIE

•

r- Laurie strolls through theliving room. ·Through the door~ay into thekitchen we see LAURIE'S MOTHER busy making candied apples.

Laurie cums andhur1:iesup the stairs.

Lauriewalks intoher bedroom. Shetosses her books on the bed and starts toher telephone.

The wind blows hercurtains throughthe open window. r Laurie crosses to thewindow and leans up to close it. (

From her room in the second·story,Laurie can see into the back yard nextdoor. There is a clothesline with sheetsblowing inthe wind. In beCYeen the sheets we glimpse the shaoe standingthere, looking up at Laurie.

68 Al.'fGLEONLAURIE

She freezes and stares downfearfully.

The sheet:scontinuet:o t:w·ist:andtu.-ninthewind, buc now the shaoe is gone.

70 ANGLE ONLAURIE

Laurie SLAMS thewindow and locks it. She slowly ~alks :o che~iddle ofher rcom and stands the=e for several moments, unsu=e asco whethe= shehas actually seen ic.

( (CONTINUED)

70 CONTINUED:

Suddenly,the ohone RINGS, loud and shriil, startling Laurie. S'Ei°E!answersit.

Silence.

~ LAURIE (continuing) Hello?

There is a SOUND from the receiver, like chewin2•..

'thechewing continues. She ,lams the receiver down.

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

r LAURIE

ANNIE"(V .O.) Why did you hang up on me?

(CO~lTI~D)

7 0 CONTL.'WED( 2) :

ANNIE·(V. 0 • ) Now you hear obscene chewing. You're losing it, Laurie.

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

ANNIE CV.O.) Bye.

Laurie hangs up.

WIDE SHOTof an old graveyard on awindy hillside. CAi.'iE.ttABOOMSDOWNasacar pullsup on the ·smallroad in f.g. Sam Loomis gets out, along~ith TAYLOR,the graveyard owner. Taylor is a ~all, officiousman in his lace sixties. He glances ata smallnote pad.

The c,-...;omen beginwalkingalongthroughthegra"1eyard, rinding arltmd headstones and flowers.

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71 CONTINUED:

Taylor stops cold. ,

He ooints to a plot right in froncof them. Loomis stares. ~headstone,!! missing,uprooted from the ground.

Taylor checks his notebook, thencouncs the rows and plots.

T..\YLOR is,.20 •••JudithMyers .•.

(CONTnrtraD)

71 CONTINUED (2):

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

i,

CAMERA BEGINS on the trees chat line the residential street, t:wistingand writhing in the dusk wind. SLOWLY ~"!ERA BOOMS DOw"Nto Laurie waiting outside her house by the street. She carries a totebag with schoolbooks and knitting needles stuck inside, and a large pumpkin. The sun is·a pale glow behind the trees.

Laurie turns her gaze down the street.

More CHILDR....1:'N.incostumeswalkfromhousetohouse, 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 treaters as a car swings around the corner and pulls up in front of her. It is Annie.

Laurie walks around to the passenger door and gets-in.

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

AJ.'tNIE We just:have cim.e.

(CONT!mrED)

1S CONTINUED:

Laurie lights the joint and puffs vigorously.

Mister Riddle was watching you1 Laurie, Mister Riddle is eighty-seven.

A."JNIE That's probably all he can do.

·Behind them through the rear-view mir=or, we see Loomis' station wagon pull out.of an alley and follow along.

I always said you'd make a fabulous girl scouc.

CCONTINUED)

( 75 CONTINUED ( 2):

, LAURIE

Thanks.

, Al.'rnIE For thac matter, I mightas well be a girl scout tonight. I plan on makingpopcorn and watching Doctor Dementia. Six straight hours ofhorror movies. Little LindseyWallace won't know what hit her.

76 ~"cr.HADDONFIELD SQUARE - DUSK

Annie's car drives through thema.insquare of Haddonfield. Followingbehind is thestation wagon.

I

Annie points up ahead and quicklyhides the joint.

ANNIE

r'. My dadl

78 POV THROUGH WINDSHIELD

Two police cars are parked inthe streetin front of Nichols Hardware Store. An ALARM BELL in.sidethe store CLANGS SHRILLY.

79 L.~. ANNIE'S CAll

They quickly roll down thewindows and begin wildly clearing out the marijuana smoke. Behind chem the station wagon disappearsoff down a side-st~eec.

80 ANGLE ON POLICE'CARS

Annie's car stops at the policecars.· Lee Brackett s~rolls ouc to the car and leansdown co the wi.ndoY.

(CONTI~UED)

(

( 80 CONTINUED:

( Annie turns to Laurie.

BehindBrackett, Sam Loomis walks up t:hestreet. We seeLoomis talk to a COP who points over co Brackett.

(CUNT!..'JUED)

r \

80 CONTINUED ( 2) :.

&'tNIE (to Laurie) He shouts, too.

Brackett smiles as Loomis walks up behind him.

·BRACKET! , Goodbye_, girls.

Annie's car pulls away.

As they talk CAa.'iERASLO'WLYMOVESAROUNDTHEM to a view of the street.

,.. LOOMIS ( IId like to ca_lkwitliyou' if

I could.

Loomis' station wagon moves by behind them. Loomis doesn't: seeit.

Through t~e blowing t=ees we see the full ~oon risi.~g i~che night sky. There are SOUNDS of wind and CHIRPING CRICKETS. ( \

Annie's car moves down a quiet little residentialstreet and pulls up in front of a two-story house setback from the street: the Doyle house.

83 ANGLE FROM STATION WAGON

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

Then Annie's car makes a wide U-turn in the st:eetand starts down the other direction. The stationwagon pulls forNard and follows her.

Annie stops three houses down the street andpulls into a garage. The station wagon stops several feetaway.

We see Annie come out of the garage andwalk toanother r:wo-storyframe house: the Wallaces'.

84 TliCKING SHOT BEHL.'TDSHAPE r ( The shape gets out of the st~tion wagon, closeto CAL."!ERAsowecan't see him. He glances down thestreet. Gusts of wind blow the costumes of childrengoing from house t:ohouse.

The shape moves. CAA."fERATRACKSbehindhim ashe walks toward the Wallace house.

The shape stops in front. Through the frontroom windows we can see Annie talking to the W.ALLACESas theyput on their coacs.

The front door opens. <:&'!ERAandshape quickly~ behind!.~ to hide from sight.

The Wallaces steo out:of their house and~alk to the garage. Annie and LL.'TDSEYWALLACE,a pretty little ni:le-year-old,stand in the doorway f=amedby chehall light. Out of the garage comes the Wallaces'car. Ic cums and disappears down the st~eet.

Annie closes che door. The shape seeps out frombehind the tree and scares at the house.

(

t<.t;Vl!:il::U.4 / / /HS

85 A.i.'tGLEONWINDOW

The shape moves to see inside a window of theWallace house.

Inside, we see Annie tum on the TV. She goes to a mir.:oron the wall and begins to brush her hair.

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

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

.. LOOMIS

- They may be·right. r 86A AJ.'iGLEDOWNSIDEOF HOUSE

Looking down the side of the house we see Loomisand arackett walk up to the front porch. A broken,rusted rain gutter CLANGSback and forth against thehouse ~n tne wind.

87 L.'lT.MYERSHOUSE • NIGHT

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

It is totally dark in the house. Brackect'sflashlight comes on, illuminating the t:women. As theymove through the house C&"'!ERATRACKSwith them.

Suddenly Brackett stops. He trains his flashlighton a small object in the corner of the room.

What is it:?

For a moment Bracket: doesn't speak•. !'henheseeps closer co che objecc.

l.<.l:.V.L:Sl::JJ4/I/l't!>

87' CONTINUED

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

BRACKETr (continuing) Still warm.

He stands back up .andlooks at Loomis.

Brackett gets a disgusted expression and steps away.

Brackett looks back at·the dead animal• ...- ( . BRACKETT

·Aman wouldn'c do that••• ·

88 L.°'iT.MYERSBEDROOM

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

Loomis walks over to the spot where the sister was sit:t:ing.

oomis.turns and,g_ances at t.:ieLW-"'laow.~-Heslowl7 L '1alk:coward it:.

_(CONTINUED)

U'IL!>ED4/ //l'd

88 CONTINUED

( LOOMIS (CONT'D)

He must have watched them through this window .••

C&'!ERASLOWLY TRACKS IN toward the window.

88B ANGLE ON LOOMIS

Loomis stops by the window.

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.

(CCMT,.~D)

39A.

88B CONTINUED

Brackett just look~ at him a moment.

-.. BRACKETT What do we do?

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

C.AJ.'1ERASLOw"'LYTRACKSthroughtheDoylehouse. Ic isa large home w-itha staircase chat leads to chebedrooms upstairs. Through a doorway we see a very modern kitchen. There is a dining room and living room wich a big bay window that looks out into the street.

Laurie sics.with Tommy Doyle on the couch reading nui a story. Tommy has his Halloween costume on and abie bag 0£ candy on the floor.

(CONTUTUED)

-(

.. ( 89 CONTINUED:

..

• Tommypulls out a stack of comicbooks from underneath the couch.

LAURIE

r Why ar~ they under there? •···

TOMMY

(

Mom doesn't likeme to have them.

Laurie glances through tne stackof comicbooks.

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

Hello.

Annie stands making popcor:1:,thephone ather ear.

(CONTI:mJED)

REVISED 4/2/.78

40A.

( 90 CONTu'WED

Al'JNIE Having fun? Never mind, I'm sur.eyouare. I have big, big news foryou ...

Lester, a large, ferocious-lookingGer.nanshepherd, trots happily into thekitchen, spies Annie and walks over to her. Henudges her legs with his head.

~ ANNIE (CONT'D) Oops! Hold on a minute ...

She turns and reaches forLester uncertainly.

Lester GROwL.Sather menacingly.

r the familydog-•.

r·\ Lindsey trots into theroom.

Immediately Lesterwalks over to the back door. Lindsey opens the door and thedog trocsout. Then Lindsey closes the back door and walksback into the living room.

(CONTim.'E!l)

90 CONTiltUED:

INTERCUT WITH LAURIE IN DEN

Well, I jusc talked with Ben Tramer and he got real excited when· Itold himhow attracted you were to him.

Tommy wal-ksco the front window and looksout.

A couple TRICK OR TR.EATERSwalk by.

Behind them, across the street, stands theshaoe, looking into the house.

93 E.'"<T.STREET-DOYLE HOUSE

CA&.'!ERAisbehindthe sha~e, lookinginto theDoyle house. We can see Lauria talkingon thephone. The shape's head moves slightly andWE PAN tosee Tommy at che f:onc room window looking out. Tommy moves away from the wil!l.dow.PANBACK to seehil::lentertheden and pull on Laurie's blouse.

94 nrr. DOYLE HOUSE

AMNIE CV.0.) You'll have to. He's calling you tomor=ow to find out what time to pick you up.

,... Tommyruns to the window in the den and points. Laurie walks over with the phone and.looks;

The street is empty.

96 ANGLE ON LAURIE- TOMMY

Tommyruns out of the den.

Tommy dashes up co che front window and looks out.

We see the man as he passes under a streetlight onhis way toward the Wallace house.

Annie stands _bythe kitchen scove making popcorn.

... ANNIE (into celephone) Lookr it's si:.iole.You like him, he likes you. All you need is a liccle push.

100 POV FROM OUTSIDE KITCHEN WINDOW

The shape stands close to ~'IERA wacching Anniemake popco-rn. She puts the butter in the pan.

ANNIE

..-

(continuing) re won't hurt you to ?o ouc with him, for Gods sake.

Annie scares to pour the butter over the popcor:ibut instead pours it on herself.

Al.'INIE (continuing) Shiel No, no, I gotta call you back. I juse made a mess of myself. Nothing unusual.

Annie hangs up. She quickly cakes offher blouse and blue jeans. She stands in the kitchenwith only her panties on. She pulls a box of cornstarchout of the closet and sprinkles it out on the stainsof butter.

101 ANGLE ON SIDE OF HOUSE

The shaoe moves closer :o thekicchen -:-,1indowand:knocks over a ?Otced plane. !: CR.~SHESnoisilyagainst the side of :~e house .

(

~V .L~tU4/"L./I't'>

102 !NT. 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: theside of the house.

104. Af~GU:.ONAL'ffiIE

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

The hanging plant continues to WHAP·against the house. A hand suddenly stops its motion. ·The shape leans up cl~to the kitchen window, looking inside.

104B ANGLE ON DOG

From the darkness of the back ·yardLester springs forward into CAL'!ERA,SNARLINGand BARKING viciously.·

104C Ai'tGU:ONSHAPE - DOG

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

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

Suddenly the GROWLING sounds abruotlv ~.

Annie cur.isand walks into the living room.

We see the shape's legs a few feet f=om the house.

~rex'Ccohi.!llareLester3 lags, kicking and scruggli:ig a few feet above che groun.

- CCONTI;ru-ED)

l04E CONTINUED

Offscreen, the shape is strangling the dog in mid-air.

Finallythe dog's legs stop moving and danele lifelesslv. The shape moves away from.the house.

105 urr.DOYLE HOUSE - -LIVntGROOM - NIGHT

Laurieand Tommy are sitting on the couch watching the Horrorthonon T:V.

There's no such thing.

45A.

105 CONTINUED

( What did he look like?

L\URIE I promise.

(CONTL.'iUED)

(

105 CONTINUED (2):

Laurieholds out her hand. Tommy takes it and togetherthey walk into the kitchen.

"

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

107 AHOTHER ANGLE" -PASSAGEWAY

The shaoestands behind a tree watching Annie walk along thepassageway .

Annie walks intothe dark la~dry room. r ( Almost immediately the wind blows the door shut!

Annie standsmotionless for a moment, then begins lookingfor thelight switch.

109 ANGLE ON DOOR

The doorcreaks ooen. Behind the door we see the outline0£ thesli'a'oestandingthere.

110 Ai.'tGUONA.i.'fflll

Annie turns towardthe slightly opened door.

Silence.

(CONT!Nlrcll)

.....

ll0 CONTINUED: (

&'lNIE (continuing) Who's there?

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

There is no one th~re.

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

AL'tNIE No tricks for Annie tonight.

Suddenly a big gust of wind comes through theopened window above her. The door slams shut!

Annie hurries to the door and tries·to open it. re

I

won t open.

She tries to pul1 the door open. Behind her, in the ooen window above the washingmachine, we"'""seetheshaoe looking in.

Al.'lNIE Lindsey! Lindsey, comeout herel

112 urr. WALL\CE HOUSE

LINDSEY WAI.LA.CE,8 yearsoldwith a pretty face, wacches the Horror Marathon at cop volumeon TV. She doesn'c hear ~,nia's call.

Annie turns and glances at the window above the washing machine. I!!!sha1Je,!!. gone.

She quickly crosses to the washing machine, climbs up on top of it and starts out the window. Halfway through she gets s~uck•. She tries to squirm herway back in but it's hopeless.

From the house Annie hears the phone ring.

~ 114· INT. WALLACE HOUSE

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

PAUL CV.0.) Will you get her forme.

(CONTL.'ttraD)

114 CONTI'NUED:

Lindsay hangs up the phone and waL'ltsthroughthe kitchen to the bacR door. She calls from thedoor.

115 ANGLE ON ANNIE HANGING OUTSIDETdE WINDOW

Lindsey crosses to the laundry room door. Itis ( bolted from the outside. She lifts the boltand looks inside the room.

You locked yourself in.

Lindsey pulls on Annie's legsand sheslides from the ~indcw onto the dryer.

r\

REVISED4/2/78

r '

As Annie andLindsey walk back inside thehouse, the phonerings. ·Lindsey races across the room and picks. it:up.

Lindsey setsdown the receiver and walks out of the kitchen..Annie gives Lindsey a dirty look and picks it up.

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

Suddenlybehind Laurie the shaue walks through the ., hallwav between the livini room and the kitchen-:--she doesn'tsee it.

A.i.'TNIE (continuing) That's fantastic! When did they leave? (pause) Utterly fabulousl So why don't you just walk over?

(CONTINlJED)

118 CONTINUED:

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

-· ANNIE· ( Then why are you sitting here

with the lights off?

Annie calculaces a momenc.

(CONTTITt:"'ED)

118 CONTINu'"ED(2):

AL'lNIE Okay, if I can fL~ ic soyou can watch TV with Tommy Doyle, would you lL~e that?

Lindsey's eyes ligh; up.

&'INIE Come with me.

119 E:cr.STREET - NIGHT

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

They walk down ·thestreet to the Doyles. Thewind

I

blows s·t:ongand whips the negligee a~oundAnnie s legs .

As the girls make their way down the sc=eet. The shaoe steps inco the glow of- thestreetlight andwatches chem. He pulls a large knife f~om his pocket. The blade glistens in che light.

Laurie and Tommy are covered with pumpkinmeat when the doo:bell rings. Tommy runs to answer it. He opens the door. Annie and Lindsey stand there.

(CONTI~D}

(

121 CONTUtuED:

Lindsey sees the TV on and runs into the livingroom. She cakes off her coat; sics infront of theTV and eats her popcorn.

Laurie comes from t.hekitchen. She glances atAnnie's coat.

(

and tell him-you were just fooling around.

Laurie glances at Lindsey.

(CONT!~D)

r-.

121 CONTL'iUED:

BeforeLaurie can sayanything else, Annie rushes out the door. Laurie closes thedoor and looks in at Tommy andLindsey engrossedin the Horrorthon.

Anniehurries across the back yard and steps into the garage. Shewa~ks toher car.

She tries thedoor. It is locked.

(continuing) No keys, but please..• my Paul.

Quicklyshe turns and walks out of the garage.

Anniewanders through t~e empty house looking for her purse. She finds it in the front room, takes ou~ her brushand lipstick and scands in fronc of the mirror pri~ing.

~ r '

r 123 CONTL.'iUED:

She glances up at.her image in the mirror.

"' ANNIE ( continuing) Lucky thing. Spilled butter on her clothes, but nobodywill know... (sings) except for Paul ...

Suddenly the phone RINGS. Quickly Annie grabsit.

She hangs up, grabs her purse and rushesout the door.

Annie walks into the garage, over toher carand opens the door. Ic is now unlocked, buc Anniedoesn't notice.

Annie slides in and inserts the'key in the ignition. The car starts. Annie glances at the cardoor lock. Suddenly she remembers it was locked. She scares ac it:,puzzled.

~. " 125 CONTINUED:

___ ,_,,.,____ _

An instanc later, a man sits uo in the back seat.

He wears a Halloween mask made of rubber with the grotesque-features of~man. Re reaches forward and grabs her.

Annie SCREAMS. Shjalurches-for the door. The ma,nputs one hand over her mouth and brings the huge butcher knife up to her throat.

From outside the car we see the struggle inside. Annie's anguished face presses against the steamed window. Her • SCRE...i\i.'iSaremuffledby theclosedcar.

Suddenly, the struggle stops.

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

Music fr~m Invasion of~ Body Snatchers fills the room. Lindsey and Tommyare rivecea to the screen.

Tommyglances at Lindsey and slowly sneaks away from the couch. He jumps to a window &"'ldducksbehind a curtain.

Lindsey turns around and looks for To1Dl:i1y.

(CONTI~UED)

127 CONTINUED:

No answer. Lindsey gets up from the couch to search forTotmny.

128 BEHINDCURTAIN

Tommy hides,preparing to jump out and scare Lindsey. For amoment, he glancesoue the window.

The figureof a man carries what seems to be a body across theWallace's back yard.

Tommy.SCRE&'!Sandjumps out from the curtain, scaring thehell out of Lindsey, who also SCRE.'\i.'15andbegins crying. r

TOMMY

r There he is, there he isl The

bogyman!

Laurierushes in fromthe kitchen finding the children in tears.

Tommy points out thewindow.

Ac this,Lindsey begins to CRY even louder. Laurie bendsdown co comfort her.

( 130 CONTINUED:

Tommy turns away from Laurie and Lindsey and walks over to thecouch in front of the TV set. Almost insta~tly, Lindsey stops crying and follows him.

Lindsey sits up next to Tommyand hugs him.

Laurie shakes her head and walks back into the kitchen.

The old Myers house looks ominous and foreboding silhouettedagainst the dark, whishing trees. CA.i.'1:ERA TRACKS behind the hedge to ~here Loomis sits waiting.

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

Three boys, Keith, Richie and Lonnie (from che playgrou.~d) creeo uo co che edge of the sidewalk i~ front of che old house. :rheyscare fearfully at che dark, comb-like sc=ucture.

(CONTntUED)

(

132 CONTINUED:

For a moment: Lonniehesieat:es,then slowly moves through the front gate up coward the porch.

133 ANGLE ON LOOMIS

He watches the y.oung boywalk toward the house,_unsure whether he should interfere or just watch.

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

Loomis' FOV moves to the street.

Then Loomis' POV moves back t:o Lonnieat 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 che hedge.

,

(

r ' 136 LOOMIS'POV- OLDHOUSE

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

137 ANGLE ON LOOMIS

Moving like the wind, Lonnie barrels off the porch and races back to his friends. The three boys hurtle off do~ the dark street in ucter terror.

139 ANGLE ON LOOMIS

He watches chem race away, smiling co hi::iself. .. \ - Suddenly, t"'~ohandsenter frame and grab Loomis' ( shoulders.Loomis jumps and spins·around. Standing there is Brackett.

{CONTI~D)

(

139 CONTINUED

( BRACKET-T

More fancy talk•.. You wane 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.

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

l40 :::..n.WALUCSROUSE - NIGHT

( Toe house is quiet, da=k. The lights are all cue. Annie's c:aris parked in che garage.

CCONTL'tUED)

·-·---- •1-,•-

61A.

(

140 CONTINUED

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

•

BOB SIMMS, a good-l9oking 17-year-old, POPS open a can of beer. Next co him Lynda guzzles hers. They embrace.

(

-•·-,.___.,......__••~-____...1•••••••

(

141 CONTINUED:

Bob grabs Lynda and shestarts giggling. The can of beer falls over onto the froneseat.

Bob opens the door and togetherthey fall out onto the ground. Bob picksLynda up and carries her up to the front door.

Lynda squirms in Bob'sarms. As he sets her down her foot accidentally hits the frontdoor and it swings open. Lynda and Bob both stop.

(CONTnTIJED)

(

14 2 CONTL.'ru'ED:

Bob·and Lynda enter the house.

The living room is empty. The lighesare off. Lynda and Bob enter the house and begin turningon che lights.

Bob walks over to Lynda.

BOB

(

Let's don't.

They embrace. Bob pulls Lyndaover tothe couch and turns out the light. Theykiss. A shadow comes over them. They continue kissing, unawareof the shape~atiiari on the stairway watching.

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

Suddenly, the sound of laughteris heard from the kitchen. Then an orange lightfloats through the room. As it gees closer,we see thatLaurie is carrying a Jack-0-Lancern, with a candle illuminatingf=om the center of the pumpkin. BehindLaurie is Tommy and Lindsey making scarynois~s. The procession ~oncinues ch=ough che house.

(

144 CONTINUED:

~he procession continues to the front window. Laurie places cheJack-0-Lantern on the window sill. She looksdown the street toward the Wallaces.

145 LAURIE'S POV OF THE WALLACEHOUSE

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

146 ANGLE ONLAURIE

Lauriesmiles to herself.

Lauriesics down on the couch and sighs. Lindsey andTommycuddle up wich her, one on either side.

The phonerings.

Lauriegees up co answerit.

r- Lynda sits on the couch in the dark. Her hair and clothes are messed up. Bob lies on the cou~h, his head on her lap.

,, LAURIE (V.O.) ~ They probably stopped off (·,

somewhere. Have her call me when she gets back. I've got Lindsey here and I want to know what time to put her to bed.

Lynda hangs up the phone and grins.

Lynda grabs Bob's hand and stands up.

.. (CONTL"roED)

(

147 CONTL.'TUED:

Lynda pulls Bob up from the couch and theywalk quickly up the stairs.

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

It is dark.

150 ANGLE ON LAURIE

Laurie shrugs. turns away fromthe window and walks back to Tommy_and Lindsey sittingon thecouch.

Sounds of lovemaking come fromthe bed. The only light is a candle illuminatingthe sheets as they move slowly up and dowlland fromside to side. Empty beer cans leave a trail from thedoor to the bed.

The moans from Lynda begin increasing. They gee louder. Building to a.crescendo. The phone rings. The lovemaking suddenly stops.

Lynda rises up on one arm. The sheet falls away f~om her, showing a very beautifulyoung body. Her hair is a mess and she is fruscrated. The phone concL.~ues co ring.

..r-·.

151 CONTINUED:

Bob opens a fresh can of beer. He chugs it down.

I

· WallacesI? We'd get Annie

r in trouole.

The phone stops ringing.

Lynda reaches over and kisses Bob behind che ea.:.:-s. She slowly moves around_ hisear with her tongue. Bob grabs Lynda and pushes her down on the bed.

CAi..'!E.""lAMOVESBACKfromthebedastheir lovemaking continues, back through the bedroom doorNay. Standing there in the darkness is ill s~ace watching them.

Finally, Bob and Lynda climax. Bob rolls off Lynda. She lights a cigarette and hands it to Bob, then lights one for herself.

·r

151 CONTINUED (2):

BOB

~· I thought you were gonna \

get one for me.

Bob gets out of bed and pulls his jeans on. He looksfor his glasses. He finds them and puts them on.

3ob leans over and kisses Lynda. He leaves.

Lynda leans back onto the pillows. She smiles to herself.

r 152 L.'lT.WALLACEKITCHEN

Bob comesthrough the swinging ·doors. He opens the refrigerator and takes ouc two beers. He looks aroundthe kitchen. He opens some cupboards and takesout a bag of potato.chips. In another cupboard, he finds a can of peanuts.

Bob gathersthe food and beers into his ar:ns. He shucsout the light with his elbow. He turns to leave thedoors. WHAM! ~Heseeps into a chair, knocking him backwards. The beer falls on the floor along with the chipsand peanuts. Bob leans down to pick them up.

15 3 :u'iOTHERAl.'iGLE

Bobhas his head down, intent on cleaning up the ;:ness.

i There isa SLAMfrom across the kitchen. Bob looks up.

154 BOB'S POV- .DOOR

The back door of the kitchen slowly swings open, as if ithas been slammed shut and the bolt didn't catch. It squ~akson its hinges as it swings back and forth.

Slowly,Bob gets-to his feet and walks over t:o thedoor.

ae stepsto the door and looks outside.

(

The yard is empty. ·sustthe wind blowing the trees.

157 AMGLE ON BOB

He turns from the 4oor.

There is a SQU-J:.AKfromoneof the ewo closet doors by the kitchen counter.

Bob freezes, staring at the t:T'NOdoors.

He walks to one of the doors and opens it. Nothing inside.

( on out.

He steps to the other door and opens it.

Ri~ht behind the door stands~ shaoe wearing the . rubber mask. He steps out and grabs Bob around the neck in an instantaneous lunge.

Bob cries to jump away, but the shape has a firm hold on his neck. Bob COUGHS and GAGS from the pressure.

Then the shape lifts Bob~ off the floor.

(

( 158 AMGLE ON BOB'S FEET

Bob's feet leave the floor.

159 ANGLE ON BOB'S FACE

He makes a guttural soimd deep in his throat as the shape's hand close~ tightly aroimd his windpipe.

160 AJ."iGI.EONSHAPE

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

161 ANGLE ON WALL

Still holding him up with one hand the shape SLAMS Bob againsc the wall, holding him up several feet off the floor. Boq struggles to get fr~e.

The shape lifts his other hand. It holds the butcher knife. ·

The sha~e drives the knife deeply into Bob's chestwith a 51.AL"!MINGTHUD,theother end of the knife stuck through the ~all.

Then the shape steps away. Bob hangs there, impaled on the wall, eyes still open in horror, dead.

162 L.'IT.WALLACEBEDROOM

Lynda lounges on the bed smoking another cigaretce. She hears Bob enter the room but doesn't look up.

No answer. Lynda turns.around and looks.

(

( 153 Ai~OTHERA.&.~GLE-LYNDA'SPOV

The shaoe stands in the doorway. He is covered with a sheet like!. ghost. He wears Bob's glasses.

The ghost doesn't answer •

•

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

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

r Can't I get your ghost, Bob? '·· Lynda laughs ·ather own joke, then stops when she sees the ghost is motionless.

LYNDA: (continuing) All right, all right. So where's the beer. .

Nothing. The ghost just stands there.

Lynda gets out of bed. She is nude and looksbeautiful and sensuous in the candlelight. Shewalks over to the phone.

(CONT!mr"cl>)

r

164 CONTINUED:

Lynda sits down on a chair by the telephone. In the b.g. the ghost stands in the doorway. She startsto dial the phone. The ghost startswalking towardher .

•

The house is very quiet. The kids areasleep. Laurie is sicting on the couch knitting. The phone RINGS.

Laurie crosses to answer the phone.

;-· , Lynda holds-the phone to her ear. The ghost walks up slowly behind her.· He raises hishands to grab"her.

Laurie answers.the telephone.

Lynda hears Laurie's hello as.5!l!,ghostgrabsthe ~hone. He clamps one hand over Lynda'smouch. She squir.ns and writhes. He takes the teleohonecord and wraos it around her neck. • ·

169 CONTINUED:

Laurie hears SQUEALS, and ruscling sounds across r:he phone.

Laurie continues to hear weird SOUNDS.

Lynda cries to fight off the ghost. He wraps the cord around her neck. He pulls tight. Lynda reaches up and pulls on the sheet. It slides off of the man, co reveal .thegrotesque Halloween mask.

Lynda gasps and tries to scream. The man pulls the cord tighter. Har face turns 'blue. She opens her mouth, trying to get air, then slowly slumps for-Nard and ret:1a.insmotionless.Lynda is dead.

The shape picks up the receiver and puts it to his ear.

Silence over the phone

Silence.

(CONTI~IUED)

r'I

171 CONTINUED:

More silence.

Lc\URIE (continuing) Annie •.•i,

Sudde.~lythephone goes dead.

Laurie scares at thereceiver, thenhangs up. She crosses to thewindow and looksout toward-the Wallace house.

172 LAURIE'S POV -WALLACE HOUSE.

The street is quiet,dark andwindy. Bob'scar is parked in front of theWallace house. ,.. Suddenlv~ light:goes2!!~ thebedroom. (

173 AMGLE ON LAURIE

She stares at the house,puzzled.

174 !..AURIE'SPOV•WALLACE HOUSE

Then the light goes off.

175 L.'f!.DOYLEHOUSE

Laurie moves from thewindow back co thetelephone and dialsAnnie's number. We HE.l\Rthephone ringing on . t:heocher end.

C.Ai.'!E.~SLOWI,.YTRACKSthroughthedarkenedbedroomof the Wallace house. There isno sign of a st:=uggle. The =oom is empty. The phone RnJGS away.

r

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

Laurie opens the door to the bedroom. Tommy andLindsey are sound asleep on the bed. She looks at them a moment, then closes the door behind her.

"

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

Dark and silent.

181 AMGU: ON LAURIE r She steps to the front door.

Loomis sits in silence behind the hedge watching the Myers house. Frus.trated.he gets up and walks to the street.

For a moment he glances back ac the Myers house, then scares down the quiet residential street.

183 LOOMIS' POV - S'rREET- STATION WAGON

Ic is empty ~~cept for a station wagon parked several blocks away.

184 ANGLE ON LOOMIS

ae cums away from the sereet. Then a thought st=ikes hi:l. He looks again.

(

r

The lone ..£!E..!!, Loomis'stationwagon.

186 ANGLE.ON LOOMIS

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

CtrrTO:

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

MOVING SHOT toward the Wallace house, darkand ominous.

( .. . \ She moves ·downthe street, shivering in thechill wind. She puts the key to the Doyle house in herpocket.

A car tu...-nsthecornerand drives past theWallace · house, casting a strange shadow-ypattern acrossthe front of the house.

191 MOVTIJGSHOT- LAURIZ

She picks up her speed now up the sidewalk.

T!lehouse looms closer and closer.

(

TRACKING SHOT with Loomis ashe walks up the street.

The station wagon~oves closer.

:i

195 MOVING SHOT- LOOMIS

He recognizes it and races forward.

CA.'1ERATRACKSIN to the stationwagon, right up to the state emblem emblazoned on theside.

CAMERA MOVES UP to thefront of the Wallace house. Laurie walks up to the·frontporch. She stands there a moment, listening, asif tohear some soundof life from the inside. · ·

She KNOCKS on the doorand RINGS thedoorbell. She waits.

Silence.

She steps off theporch and walks around to the side of the house, CA&.'!ERATRACKINGWITHHER. She moves to the garage and peeks inside. There is Annie's car.

Laurie thinks a moment, thenlooks to the street.

3ob's car sits thereon the street.

199 AL\fGLEON LAUR.IE

She tu.-nsand walks through the breezewaybetween the house and garage around to the back door.

The kitchen~.!.! ajar, swinging back andforth in the wind.

Laurie pulls open ~he door and stepsinto the house.

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

No answer.

(continuing) Bob, Lynda,Annie?

No one answers.· Laurie searches forthe w~ll light. ( She flips it and nothing happens. She looks again into

Nothing. Laurie moves forward intothe house, C&'!ER.~ TIL~CKINGWITH HER.

Laurie walks into the livingroom. She stops to let her eyes get accustomed to thealmost total darkness. She reaches for a nearby lamp and tripsover the cord. The lamp CLUNKS to the floor.·

(continuing) Shit.

Suddenlv there is aCRASEING SOUND from uoscairs.

Laurie spins aroundand scaresup the dark staircase.

(CONT!YUED)

-...

200 CONTINUED:

Another.SQUE..<U<fromabove.

Laurie smiles.

Silence. •

Another SOUND f:om upstairs, a DRAGGING acrossthe floor.

Laurie moves to the head of the staircase. The dragging sound stoos abruotly. Silence.

A SCRAPING SOUND,then silence.

Slowly Laurie starts up the staircase.

Loomis stands by his car glancingup and downthe empty street. Finally he makes up hismind andscar~s moving down the street, almost running, lookingback and for~h at the rcws of houses on either side for somethingout of place.

SL0r.v'1.7TllCXI~lGupthestai::-case. (

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

It is totally dark.- At the end Qf the hall is the bedroom door. From around the edges of the door is the faintest orange glow.

205 ANGLE ON LAURIE

She moves for the door, CAMERA TRACKING WITH HER.

She reaches the door. Her hand reaches out and touches it.

The door swings open.

A Jack-0-Lantern casts an eerie glow around the room. Ther~ is someone lying on the bed but from this position Laurie can't see.

207 AL'{GLEONLAURIE

She moves forward toward the bed.

208 LAURIE'S POV

CA.a.\fER..\MOVESFORWARD.Thereonthe bed is AnnieI Her face is a chalky white and there is a huge rea gash across her throa~.

At the head~ the bed is Judith Myers' tombstone.

209 ANGLE ON LAURIE

She scares ac che bed and then SCRE.Ai.~Sacthetop of her lungs ..

(CONT!~lJED)

209 CONTINUED: ·r Suddenlv something droos down~ her from above.

Laurie jumps.back to the door.

Strung up to the light fL~eure on the ceiling, dangling there in the middle of the room, is Bob,eyes open and staring. ~

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

Suddenly~ door ne~c _E her slowly ooens. There is Lynda standing there, propped up by a chair, staring acher with glazed, dead eyes.

, Laurie shrinks back.into a dark corner. She can·only (· stare in horror at the sight of her friend.

Suddenlv ~-~ aware·of ~~mething there in the dark corner. re is almost as ir our eyes have suc!'aen-ry- begun to adjust to the darkness and we see the outline of.! !!!!!!.._Standing rightbehindher.

The oucline becomes more and more clear. It is·the shape, wearing the mask, the butcher knife in his hand, gleaming, right behind Laurie.

Laurie suddenly moves away from the corner.

The shape lunges out·at her.

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

She SC:U:..~'15andspinsaround.

( ''

215 k'lGLEON SHAPE r He stands there holding up thepiece of material, then raises the butcher knife andmoves forher.

216 ANGLE ON LAURIE

C&'1ERAMOVES WITH HER as shebacks away,SCREAMING at the cop of her lungs.

217 ANGLE ON SHAPE

He lunges at her suddenlywith theknife.

218 Al.'lGLEON LAURIE-TOP OFSTAIRCASZ

The knife slices acrossher~, ripping her flesh.

Laurie suddenly jumps backward,raising her arm instinctively.

,.

219 ANGLE ON RAILING

~ Laurie bumps back into·therailing. I

220 Al.'lGLEONSHAPE

He lunges againwith theknife.

221 AA.'lGUONLAURIE

She laapsbackward to avoidthe blade and slips over the edge of the railing.

222 LAURIE'SPOV

~'iE:aAPLUNGES DOWN fromthe second floor and SL.~'1S inco the floor.

223 ANGLE ONLAURIE

She hits che floorand rolls over, holding her leg pa:!.."'lfull7.Thenshelooksupac the stai=case.

' ( The shape moves to the top of the scaircase and starts down toward her.

225 ANGLE ON LAURIE

She pulls herself up off the floor and hobbles into

226 Ai'iGLEONSTAIRCASE~

The shape races down the stairs.

227 ANGLE ON LAURIE

·She movesfor the kitchen. She trips on the fallen lampand falls to the floor.

228 AL.~GUON SHAPE

The shape steps into the living room, knife raised.

( 229 ANGLE ON LAURIE - .KITCHEN

She crawls to the kitchen, rolls inside and SLAL'fSthe kitchen door behind her. In a flash she leaps up and CLICKS the lock.

There is a POUNDINGon the door from the other side.

Laurie slowly climbs to her feet and limps toward the back door.

Suddenly the kitchen door EXPLODES, the middle of it breaking aoart. The shape reaches through, groping ror che lock.

Laurie reaches the back door.

230 AL~GU:ON DOOR

Her hand cries the door. It is key-locked.

23l AL'lGLEONLAURIE

Despe:acaly she :=ies the door, glancing behind her.

232 ANGLE ON SHAPE

The shape's hand reaches for the lock.

233 AMGLE ON LAURIE

She steps back from the door into the kicchen.

234 LAURIE'S POV - KITCHEN WL.'lDOW

She sees the kitchen window over the sink.

235 AJ.'lGLEONLAURIE

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

236 ANGLE ON SHAPE

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

(

She can only get it three-fourths open. Headfirst she crawls t:hroughthe window..

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

23 9 AL'lGLEONLAURIE

She drags herself roughly out the window.

Tae shape grabs at Laurie's legs as they disappear c~rough che sill.

' ~I 241 EXT. WALLACE HOUSE

Laurie picks herself up from the ground and runsas fast as she can, limoing across the back yard, CAMERAMOVING WITH~~- She passes the driveway and scurries into the neighbor's backyard, u,pto the back door of thehouse; She POUNDS furiously on the door.

She looks behind hjr.

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

243 Al"'.JGLEONL..I\URIE

The back porch light comes on. Laurie continuesto POUNDon the door.

,

( ·Through the glass in the back doorwe seean OLD WOMAN dressed in a nightgown approach.

245 ANGLE ON LAURIE

246 !...~URIEI s POV - DOOR

The old woma..~staresather suspiciously fora momenc, ~hen cu...-:i.sfromchedoorandwalksaway.

247 Ai.'JGU:ONLAURI?:

The oorch lizhc~ ~-

87 •

.... 247 CONTINUED: (

she cums around and looksback.

Nothing. No sign Qf the shape.

249 ANGLE ON LAURIE

She hobbles off the backporch andruns across the yard co the street. CAMERAMOVES WITH HE...~asshelimps along.

Laurie rushes uo co the front door. She reaches in her pocket for the key and drops iton the porch.

Quickly she bends down and scrambles forit. She looks back.toward•the street. (

The street is empty. The windWHISHESthe trees. Leaves sprinkle down.

Laurie gropes arotmd for the key. It liesover a crack in the wooden porch. She reachesfor itbut her fingers ·nudge the key between the crack,down out of sight.

Laurie SCREAJ.'15T.rithfrustrationandglancesbackac the screec.

The shaoe walks slowly down themiddle of the screet, righc coward her!

(

' .

2S4 AJ.'lGLEONLAURIE

Laurie begins to BANG on the front door.

She grabsa planter on the porch, steps back and hurls itat an upstairs window.

i

255 ~'lGLEON UPSTAIRS WL.'TDOW

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

Who is it?

256 ANGLE ON LAURIE

She looksback at the street. (

The streetis empty. The shaoe is eone.

-----

258 ANGLE ONLAURIE

She stands there breathlessly, her eyes burning in the darkness.

Finally the door opens. Tommy stands there in his pajamas. Laurie leaps inside and SI..AJ.'15thedoor.

259 !..'IT.DOYLEHOUSE

Laurie bolts the door from·the inside.

2.59 CONTINUED:

DO WHAT I SAYl NOWt

Tommy tu..--nsandrunsupstairs CRYING.

Laurie moves from the door to the telephone. She picks it up, dials .anumber and waits.

Then suddenly she reacts. The phone is dead. No dial cone.

She puts down the phone and stands very still. There is.!.sli~ht breeze blowing her hair.

Slowly Laurie moves around the couch.

From.the living room we see into the kitchen. ,Th!. back door is ooen. ---

261 AI.\JGLEONLAURIE

Laurie doesn'c move. She begins crying softly,her eyes wide wi.chfear.

(CONTI~'ED)

..... 261 CONTINUED:

Silence. No movement anywhere in the house.

Slowly Laurie sinks down to her knees by the couch.

Her hand brushes atainst the knitting needlesprotruding from her coc~bag.

She reacts to the feel of the knitting needles andpulls one out. It is long and deadly sharp. She staresat it.

Suddenly the shaoe leacs uo from behind the couch! He springs aclier, plunging tne7iuccher knire."

264 A.~GLEON COUCH

The blade of the butcher knife THUMPS into the couch.

Instinctively Laurie raises the knittingneedle and drives it home, right into the shape's neck!

The shape springs backward, clawing at theneedle, rolling his head back and forch. Then suddenlyhe freezes, hands outstretched, motionless, andfalls in a heap on the floor.

Laurie sits there.

The shape doesn't move.

Laurie begins to cry again, harder and harder.

~1Ell MOVES WITH LOOMISas he movesalong che streec.

CCON~!}TUED)

( 266 CONTL.'WED:

Sudd~nly t1'NOheadlightshithim and a police car swerves to a stopnext tohim. Brackett gees out.

& LOOMIS I found the earl He's herel

Brackett turns andhurries back to the car.

Loomis stares up the streetagain as Brackett pulls off in the.other direction. (

WIDE SHOT of the livingroom. Laurie is on one side of frame, themotionless shapelying behind the couch on the other.

Slowly Laurie standsup, staresat the shape and then moves to the staircase.

Slowly, painfully,Laurie climbs up the stairs.

268 !NT. BEDROOM

Tommy and Lindsey arehuddled i.~a cor:ierWHIMPE..,ING softly. The door opensand Laurie seeps in. The ~NO children run to herCRYING. She holds them in her ar.ns :ightly andnudges thedoor shut ~ith her foot.

(cmITDlUED)

(

268 CONTINUED:

She takes the children back to the bed and sits down with them.

·LAURIE I killed him•..

Suddenlv the bedroom door swin~s ooen. Standing there is che shaoe, the buccher Iaii1:eraised.

Both children SCRE.-\a.'f.Laurieshovesthemin-cothe bathroom and pulls the door shut, leaving herself outside in the bedroom.

(CONT!Nt-ZD)

r 268 CONTINUED ( 2) :

The shape moves for her, slowly now, but relentless,the knife giistening.

There is a CLICK as the bathroom door is locked. Laurie leaps away from the door and circles around thebed.

The shape keeps coming.

Laurie dashes to a~clothes closet and ducks inside.

269 L.'lT.CLOTHESCLOSET

Laurie pulls the sliding doors closed and crawlsback into ~he small, dark interior of the closet.

Suddenly the doors begin to buckle as the shapepounds on them.

270 ANGLEON LAURIE

She reaches \IDand grabs a wire hanger from the topof the closet. She rips off the shirt and begins unhooking it.

271 ANGLE ON CLOSET DOOR

The door buckles inward as the shape SMASHES againstit.

272 ANGLE ON LAURIE

She twists the top of the hange·r,unwinding the-:Jire.

273 ANGLE"ON CLOSET DOOR

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

2 7 4 At.'lGl.~ON LAURIE

She unhooks.the hanger and bends it out straight.

(

275 ANGLE ON SHAPE

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

276 Al.'IJGLEON LAURIE

Holding the hanger with both hands she thr~sts it forward with all her might: .

277 ~MGLE ON SHAPE

The wire hanger flashes into the shape's right eye.

He leans back in pain, dropping the·butcher knife,. ·grabbinghis eye with both hands.

278 AMGLE ON LAURIE

Sheg=asps the butcher knife with both hands and jabs it upward. (

279 A.i.'iGLEONSHAPE

The butcher knife plunges into the shape's mid-section, right down to the hilt. The shape stumbles backward out of the closet.

280 ANGLE ON U.tntn:

She just sits there in the corner of the closet. There is a THUMP from the bedroom, then silence.

Slowly Laurie crawls around and peeks out of the closet doors.

The shaoe lies on the floor by the bed,·the butcher knife protruding f~om his stomach .

.. ~

r-- ..

Laur.ieemerges from thecloset and carefully crosses the bedroom·,avoiding the shape'sbody. She goes to the bathroom door andknocks softly.

There isa silence, thenthe door opens. On the other side areTommy an~Lindsey, looking utterly terrified. Lauriebends down.and shieldsthem from the sight of the shape.

She standsup and guides the children carefully across the bedroom tothe door and ushers them outside. She watches for a moment asthey walk down the stairs, than slumpsdown against the door frame in an exhausted heap.

283 ~cr. DOYLEHOUSE- NIGHT

Tommyand Lindsey run ouc of the house and down c~e walk toChe.sidewalk. They rush up the street. As c~ey leaveframe we see Loomis on the other side of :he streec.

284 Al'TGLEON LOOMIS

He watches the childrenwith a puzzled frown.

Shrieking with fear, Tommyand Lindsey runup the sidewalk.

286 Al'TGLEON LOOMIS •

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

We see through the bedroom door. In f.g.sits Laurie, slumped against the door frame, staring outat nothing; tears streaming down her face. Inb.g. liesthe shape.

Slowly Laurie begins t:opullherself togetheronce again. She gees up to her knees and begins t:o pullher.selfup to her.feet.

Her back is co the shaP,e.As shestarts to stand the shaoe sits uo, the head turning toLaurie. ------- -

Laurie rises into frame, holdingherself erect by grasping the door frame.

Behind her the shaoe risesuo intoframe, quickly, silenclY:- - - -

Laurie just hangs there on thedoorframe. An e."<haust:ed, ironic smile comes overher face.

Slowly the shape moves forher, his hands oucscrecched.

Just as he is about co grabher, Laurie manages co seep out the door.

(

289 ,u\JGLEIMHALL

Unaware he is behind her,·Laurie limps coward the stairs. Suddenly the shape jumps out: ofthe bedroom and grabs her, hands around her neck.

Laurie SCREAMS. She twists and squirms and claws·at: him, her fingers ripping at: hismask. She pulls it off over his face, wriggles out:of his grip and turns around.

290 CLOSE SHOT- MICHAEL

The shape, Michael, stares at her with his one eye. He has a dank, white face with blond hair. There is some- thing completely unhuma.n abouthis features, the open mouth, the dark staring eye.

29l ANGLE IN HALL

Michael lunges at her again.

Suddenly there is a THUNDERING EXPLOSIONand Michael is blow-noff his feet. Laurie falls back against the wall.

292 ANGLE ON LOOMIS

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

293 A.i.'TGUINHALL

Michael slowly gets to his feet, still refusing to die. Loomis stops and takes aim. BLAM!BI.Ai.~!BLAL.~l

Michael is hit three times, each bullet throwing h~ backward further down the hall until he hits the window at the end and m,t'..ASHESthroughic.

Michael falls from the second scory righc down inco <=AL'1ER...:\,...richaCRASH!

~I

( 295 ANGLE nt HALL

Loomis.rushes to Laurie and bends down besideher. For a moment she just cries inhis ar:ns,sobbinghysterically.

Thea she looks up at him with a glazed,wild expression.

Loomis looks down at her. then up ae the shattered window ac the end of che hall.

He walks slowly down to thewindow and peers out.

He·1ooks down at the spotwhere Michael shouldbe, but there is nothing there, justa tramoledoatch !!!the · grass.

297 AMGLE ON LOOMIS

He scares down with growing faa=, then looksout from the house.

298 LOOMIS' POV

The back yard, che neighboringyards, the streec, all a~e empcy, quiec, dark. There is onlythe SOUND oi the wind swelling in the crees.

Michael is gone.

FADE TO BI.ACX.

ROLL END TITUS.