"HALLOWEEN" (1978)

l MAIN TITLE SEQUENCE

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

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-head platex rubber masK, not a monster or ghoul, but the pale, neucral features of..! !!!!a weirdly distorted by the ruboer.

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

2 Black screen. SUPERIMPOSE:

HADDONFIELD, ILLINOIS OCTOBER 31, 1963

SUBJECTIVE POV (PANAGLIDE)

It is night. We move toward the rear of a house through someone• s POV. CA.."!ER.I\MOVESUP to a Jack-0-Lancern glowing brighcly on a windowsill. It is a windy night and the curtains around the Jack-0-Lantern ruffle back and forth. Suddenly ~e he~r voices from inside the house.

(CONT!m.JED)

,.. CONTL.'IUED:

Then LAUGHTER.

The POVmoves from the Jack-0-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 GIGGLESas the BOYFRIEND jumps into the room. Also 18, he wears a Halloween mask and costume.

The boyfriend gx:abs the sister and kisses her. r

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

The POV swings away from the window and begins to restlessly pace back and forth,. agitated, disturbed. We HE..i\RTHE SOUNDSof 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.

T"ne POV springs back f:om the window and stalks quickly down the side of the house, past the Jack-0-Lancer.i, around to a door. Quietly che door is opened and the POV moves inside.

CCONTL.'1UED)

(

3 CONTL.'ruED ( 2) :

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 A large butcher knife is withdrawn.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 si&ter stands in the doorway, a sheet TJrapped around her.

They kiss again and the boyfriend walks co 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 s~owly 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 POVmoves uo behind the sister. Sen.sing a presence, she soins around and stares at the POV, covering her breasts quickly.

( CONTDIUED)

3 CONTINUED (3): ( Suddenly the POV lunges for#ard. The sister continues to stare incredulously. There is a rat1id blur as the POV drives the butcher knife into the sister"T"schest 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 POVwith an astonished disbelief.

Then in a wild Paroxysm the butcher knife blurs continuous!y"Tn anq out of frame, slashing the sister mercilessly. She begins to SCR.E..i\M,trying to fend off the blows with her hands, then suddenly falls out of frame to the floor.

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

Ac 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 C&'1ERAcareens along in f=enzied flight, up the sidewalk, up a small side alley, dow-n someone's back yard, then to a sudden, abrupt hale in front of M.OTHERand FATHERjust coming out of a neighbor's house.

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

_MOTHER Michael?

The father's hand reaches uo and rios off the Halloween cia.sk, revealing MICHAEL,6,-undernea.th, a bright-eyed boy with a calm, quiet smile on his face. CAME3.APULLS BACK, revealing the blood-stained butcher knife in his hand, then further back, CR.-1\MING UP past his parents standing there, up from the neighbor's house to a HIGH SHOTof the neighborhood as the sounds of POLICE SIRENS rise in the distance.

s.

5 Black. SUPERIMPOSE: r' \

SMITII'S GROVE,'ILLINOIS OCTOBER 30, 1978

Two headlights appear in r:he darkness,. backlighr:ing the rain that pour, down on a lonely strip of highway. A station wagon HISSES along the wet road surface.

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

~.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 s tar1: raving on and on ...

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

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(

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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-blown white 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 white gown, who stares at the station wagon.

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

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

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

Loomis climbs back in, dripping from the rain.

Marion scar-cs down 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.on s iows down to turn.

Through the rear window we s.ee a SHAPE spring up out of the darkness,- streak through the rain and leao ~~the .!!E of the s cation wa~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.

-!arion scoos and 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-!:! through the window and lunges a c her-. --

( COMTimr.c.D)

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

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

Marion continues to SCREJ.11,clawing at the hand.

l

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.

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

20 POV THROUGHWINDSHIELD

The windshield is completely obliterated by rain.

The station wagon skids and WHAMSinto the shoulder on the side of the- road. Marion is hurled across che seat against the passenger door_.

Suddenly the hand snrings down from above and SLu"!S against the passenger window, shattering it.

SHRIE:<ING, Marion scurries across the f=ont seat, opens the driver's door and scrambles ouc.

Marion f=antically crawls her way across therain- drenched road away from che station wagon. CAMERA TRACXS wich her as she slides down inco chemuddy 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."1the 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.

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 co the 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,,Jith tossled brown hair 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 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 up there. ·

Laurie holds up a key .

• LAURIE Yes, I am.

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

r 28 INT. ~!YERSHOUSE- THROUGH WINDOW .

( Through a front window, we see Laurie bending over the welcome mat. Suddenly a dark shaoe, the .outline of a ~, leans for#ard, watching her. As~e walks back-co Tommy ac the street the shaoe moves to watch them, then fades back into the interior or the house. -

Laurie and Tommy continue walking down the street.

Tommy breaks sc=ide and nms across the screet.

( CONTTITTJED)

La~ie continues walking alone. She begins t:o sing 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&.'1ERAthe dark shaoe 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)

r 31 CONTINUED

Loomis reaches a car 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 hurries back 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.'!ERAMOVESto a CLOSE-UPof Laurie. She barely listens to the teacher as she doodles in 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 lets her gaze move to a window. She stares dreamily outside.

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

Behind the station wagon stands the shaoe of a man. We can't quite see his features from here.out it is clear that he is looking in the school window.

34 Pu.'tGLEON LAURIE

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

35 A.i.'tGLEON NOTEBOOK

We see Laurie draw:

LAURIE STRODE

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

36 ~'TGU: ON LAURIE

She glances up from the book and out che window again .

•

37 LAURIE Is POV - . STREET

The shape behind the station wagon is still there and staring right~ her.

38 ANGLE ON LAURIE

She frowns, staring back at the shape.

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

This springs her 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.

The shape and the station wagon are gone.

40 ~'fGLE ON LAURIE

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

(

41 ANGU: ON NOTEBOOK

She has writt:en:

LAURIE STRODE IS LONELY.

41A E..n". GAS STATION - 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:

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

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

L\..:. V i.::u:,.LJ "+I .!. I I~

17A.

The building is dark, empty, dilapidated. On the r padlocked door are huge marks like the clawing of an animal wanting to gee 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.

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

Then his gaze returns co a discarded object crushed 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.pack are macches: r "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.

42 E:cr:SCHOOLYARD .. DAY

The playground is filled with CHILDREN just getting out o-f school for che day. Some are dressed in Halloween costumes, some carry pumpkins and orange and black streamers, -some carry Jack-0-Lanterns.

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

Lonnie :--.ins up to Tommyand wiggles his :inge~s in oc:cy's face. The other boys for:::i a ci=ele around To'l!ltly and taun~ him. In unison they sing:

(CONT!MUED)

it::.-VtSED 4/ 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 run away. Richie sticks out his foot. Tommy trips and falls to the concrete, ~..ASHING' his pumpkin beneath him. 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 -through the gate and ,rn right~ the dark shaoe .

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 ar.:n' s length.

r ~: large object: falls out of his p·ocket ~ Richie quickly stares down at it. The shaoe lifts his foot and SMACKS it down over the object to hide· it. Quickly Richie and the other t;T,10 boys run around the man and on down the block.

The shaoe lifts his foot. ·Underneath it is a lar~e 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 faec, wi?ing the demolished pumpkin off his shirt and pants.

We TRACKWITH the shaoe to a seacion wagon. On the side of the door is a state emblem.

44 L.'IT. STATION WAGON

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

4S POV FROMWINDOW

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

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

..

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

calls after 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.~,out of focus. Ouc che 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

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

5 2 ANGLE ON GIRLS

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

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

The gi=ls st:ar-t walking again. 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

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

Terrific. I've go·t three choices. Watch the kid sleep> listen to Lynda screw or talk to-iyou.

The three girls stop in front of Lynda's house, a C10dest suburban home on a quiet, t=ee-lined· street.

Lynda strolls up to her house. Annie and Laurie start 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 the street. There, par~ially hidden L~ the shadows of a bush, is the shaoe of a man, ~atching them. He is barely vTsible, al:osc blencling in with the dark foliage.

(C0NT!NUED)

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57 CONTINUED:

LAURIE

Behind-that bush there .

Annie looks.

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The shape is gone. Just bushes.

S9 A.i.'JGLEON LAURIE - ANNIE

,,-

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

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

Slowly Laurie walks over and stares at the bush.

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 glances back down the st:.-eec.

60 l-~URIE' S POV - BUSHES

There is scill nothing there.

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61 ANGLE ON LAURIE r- Suddenly, Laurie walks right. into~!!!!. standing on the sidewalk in front -of her-. She SCRL\..MS and drops her books.

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

BRACI<E'!T Didn't mean to startle you.

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

62 E.."cr. LAURIE'S HOUSE - DAY

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

Several CHILDRENin costumes are going door to door collecti~g their treats.

64 ANGLE ON LAURIE

LAURIE

Well, kiddo, I chought you oucgrew superstition •

•

r- Laurie strolls through the living room. ·Through the door~ay into the kitchen we see LAURIE'S MOTHERbusy making candied apples.

Laurie cums and hur1:ies up the stairs.

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

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

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 beCYeen the sheets we glimpse the shaoe standing there, looking up at Laurie.

68 Al.'fGLEON LAURIE

She freezes and stares down fearfully.

The sheet:s continue t:o t:w·ist: and tu.-n in the wind, buc now the shaoe is gone.

70 ANGLE ON LAURIE

Laurie SLAMS the window and locks it. She slowly ~alks :o che ~iddle of her rcom and stands the=e for several moments, unsu=e as co whethe= she has actually seen ic.

( (CONTINUED)

70 CONTINUED:

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

Silence.

~ LAURIE (continuing) Hello?

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

'the chewing 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 a windy hillside. CAi.'iE.ttABOOMSDOWNas a car pulls up on the · small road in f.g. Sam Loomis gets out, along ~ith TAYLOR,the graveyard owner. Taylor is a ~all, officious man in his lace sixties. He glances at a small note pad.

The c,-...;omen begin walking along through the gra"1eyard, rinding arltmd headstones and flowers.

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71 CONTINUED:

TAYLOR

Every town has something lL~e t:his happen. I remember . a guy over in Russellville •

years a.go, he finished dinner, excused him.self from the table-, wenc o~t into the garage and got a hack saw, then came back into the house, kissed his wife and t:"~o children goodbye, and then proceeded to ..•

Taylor stops cold. ,

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

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

T..\YLOR is,. 20 ••• Judith Myers .•.

(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:wisting and 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.incostumes 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 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 might as well be a girl scout tonight. I plan on making popcorn and watching Doctor Dementia. Six straight hours of horror movies. Little Lindsey Wallace won't know what hit her.

76 ~"cr. HADDONFIELDSQUARE - DUSK

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

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Annie points up ahead and quickly hides the joint.

ANNIE

r'. My dadl

78 POV THROUGH WINDSHIELD

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

79 L.~. ANNIE'S CAll

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

80 ANGLE ON POLICE 'CARS

Annie's car stops at the police cars.· Lee Brackett s~rolls ouc to the car and leans down co the wi.ndoY.

(CONTI~UED)

(

( 80 CONTINUED:

( Annie turns to Laurie.

Behind Brackett, Sam Loomis walks up t:he street. We see Loomis 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'WLYMOVES AROUNDTHEM to a view of the street.

,.. LOOMIS ( I Id like to ca_lk witli you' if

I could.

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

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 residential street and pulls 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 frone 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 st:eet and starts down the other direction. The station wagon pulls forNard 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 r:wo-story frame house: the Wallaces'.

84 TliCKING SHOT BEHL.'TDSHAPE r ( The shape gets out of the st~tion wagon, close to CAL."!ERAso we can't see him. He glances down the street. Gusts of wind blow the costumes of children going from house t:o house.

The shape moves. CAA."fERATRACKS 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 W.ALLACES as they put on their coacs.

The front door opens. <:&'!ERA and shape 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=amed by che hall 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 from behind the tree and scares at the house.

(

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

85 A.i.'tGLEON WINDOW

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

Inside, we see Annie tum on the TV. She goes to a mir.:or on 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.'iGLEDOWNSIDE OF HOUSE

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

87 L.'lT. MYERS HOUSE • NIGHT

The front door slowly opens. Brackett and Loomis 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's flashlight comes on, illuminating the t:wo men. As they move through the house C&"'!ERATRACKSwith them.

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

What is it:?

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

l.<.l:.V.L:Sl::JJ 4/ 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 .and looks at Loomis.

Brackett gets a disgusted expression and steps away.

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

· A man 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 an d, g_ances at t.:ieL W-"'laow.~-He slowl7 L '1alk: coward it:.

_(CONTINUED)

U'I L!>ED 4 / // 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"'LYTRACKSthrough the Doyle house. Ic is a large home w-ith a staircase chat leads to che bedrooms 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 a bie bag 0£ candy on the floor.

( CONTUTUED)

-(

.. ( 89 CONTINUED:

..

• Tommypulls out a stack of comic books from underneath the couch.

LAURIE

r Why ar~ they under there? •···

Mom doesn't like me to have them.

Laurie glances through tne stack of comic books.

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:, the phone at her ear.

(CONTI:mJED)

( 90 CONTu'WED

Al'JNIE Having fun? Never mind, I'm sur.e you are. I have big, big news for you ...

Lester, a large, ferocious-looking Ger.nan 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.

Lester GROwL.Sat her menacingly.

r the family dog-•.

r·\ Lindsey trots into the room.

Immediately Lester walks over to the back door. Lindsey opens the door and the dog trocs out. Then Lindsey closes the back door and walks back 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· I told him how attracted you were to him.

Tommy wal-ks co the front window and looks out.

A couple TRICK OR TR.EATERSwalk by.

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

93 E.'"<T. STREET- DOYLEHOUSE

CA&.'!ERAis behind the sha~e, looking into the Doyle house. We can see Lauria talking on the phone. The shape's head moves slightly and WE PAN to see Tommy at che f:onc room window looking out. Tommy moves away from the wil!l.dow. PAN BACKto see hil::l enter the den 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 on his way toward the Wallace house.

Annie stands _by the 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 Annie make 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:i but 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 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 shaoe moves closer :o the kicchen -:-,1indowand: knocks over a ?Otced plane. !: CR.~SHESnoisily against the side of :~e house .

(

~V .L~tU 4 / "L./I 't'>

102 !NT. WALLACE HOUSE

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

103 POV OUTKITCHEN WINDOW

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

104. Af~GU:.ON AL'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 ·yard Lester springs forward into CAL'!ERA,SNARLINGand BARKING viciously.·

104C Ai'tGU:ON SHAPE - 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.is and walks into the living room.

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

~rex'C co hi.!ll are Lester 3 lags, kicking and scruggli:ig a few feet above che groun.

- CCONTI;ru-ED)

l04E CONTINUED

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

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

105 urr. DOYLE HOUSE - -LIVntG ROOM - NIGHT

Laurie and Tommy are sitting on the couch watching the Horrorthon on T:V.

There's no such thing.

45A.

105 CONTINUED

( What did he look like?

L\URIE I promise.

( CONTL.'iUED)

(

105 CONTINUED (2):

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

"

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.

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

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

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

109 ANGLE ON DOOR

The door creaks ooen. Behind the door we see the outline 0£ the sli'a'oe standing there.

110 Ai.'tGU ON A.i.'fflll

Annie turns toward the slightly opened door.

Silence.

( CONT!Nlrcll)

.....

ll0 CONTINUED: (

&'lNIE (continuing) 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 lighta up. She glances outside the door.

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 the opened 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 washing machine, we"'""see the shaoe looking in.

Al.'lNIE Lindsey! Lindsey, come out herel

112 urr. WALL\CE HOUSE

LINDSEY WAI.LA.CE,8 years old with a pretty face, wacches the Horror Marathon at cop volume on 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. Half way through she gets s~uck •. She tries to squirm her way 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 lets the phone ring away. Finally she gets up and walks to the phone, her eyes pivoted on the TV. She picks up the receiver.

PAUL CV.0.) Will you get her for me.

( CONTL.'ttraD)

114 CONTI'NUED:

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

115 ANGLE ON ANNIE HANGING OUTSIDE TdE WINDOW

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

You locked yourself in.

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

r\

REVISED4/2/78

r '

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

Lindsey sets down 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!

Suddenly behind Laurie the shaue walks through the ., hallwav between the livini room and the kitchen-:--she doesn't see 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 so you 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 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

I

blows s·t:ong and whips the negligee a~ound Annie s legs .

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

Laurie and Tommy are covered with pumpkin meat 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 living room. She cakes off her coat; sics in front of the TV and eats her popcorn.

Laurie comes from t.he kitchen. She glances at Annie's coat.

(

and tell him-you were just fooling around.

Laurie glances at Lindsey.

(CONT!~D)

r-.

121 CONTL'iUED:

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.

Annie hurries across the back yard and steps into the garage. She wa~ks to her car.

She tries the door. It is locked.

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

Quickly she turns and walks out of the garage.

Annie wanders through t~e empty house looking for her purse. She finds it in the front room, takes ou~ her brush and 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 nobody will know ... (sings) except for Paul ...

Suddenly the phone RINGS. Quickly Annie grabs it.

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

Annie walks into the garage, over to her car and opens the door. Ic is now unlocked, buc Annie doesn't notice.

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 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. Shja lurches- for the door. The ma,n puts 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.'iSare muffled by the closed car.

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 &"'ld ducks behind a curtain.

Lindsey turns around and looks for To1Dl:i1y.

(CONTI~UED)

127 CONTINUED:

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

128 BEHINDCURTAIN

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

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

Tommy.SCRE&'!S and jumps out from the curtain, scaring the hell out of Lindsey, who also SCRE.'\i.'15and begins crying. r

TOMMY

r There he is, there he isl The

bogyman!

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

Tommy points out the window.

Ac this, Lindsey begins to CRYeven louder. Laurie bends down co comfort her.

( 130 CONTINUED:

Tommy turns away from Laurie and Lindsey and walks over to the couch 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 silhouetted against 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. :rhey scare fearfully at che dark, comb-like sc=ucture.

( CONTntUED)

(

132 CONTINUED:

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

133 ANGLE ON LOOMIS

He watches the y.oung boy walk 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 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 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"'~o hands enter 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.WALUCS ROUSE - NIGHT

( Toe house is quiet, da=k. The lights are all cue. Annie' s c:ar is 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 she starts giggling. The can of beer falls over onto the frone seat.

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 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.

( CONTnTIJED)

(

14 2 CONTL.'ru'ED:

Bob·and Lynda enter the house.

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

Bob walks over to Lynda.

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~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 laughter is heard from the kitchen. Then an orange light floats through the room. As it gees closer, we see that Laurie is carrying a Jack-0-Lancern, with a candle illuminating f=om the center of the pumpkin. Behind Laurie is Tommy and Lindsey making scary nois~s. The procession ~oncinues ch=ough che house.

(

144 CONTINUED:

~he procession continues to the front window. Laurie places che Jack-0-Lantern on the window sill. She looks down 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

Laurie smiles to herself.

Laurie sics down on the couch and sighs. Lindsey and Tommycuddle up wich her, one on either side.

The phone rings.

Laurie gees up co answer it.

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 they walk quickly up the stairs.

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

It is dark.

150 ANGLE ON LAURIE

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

Sounds of lovemaking come from the bed. The only light is a candle illuminating the sheets as they move slowly up and dowll and from side to side. Empty beer cans leave a trail from the door 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 beautiful young 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

· Wallaces I? 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_ his ear with her tongue. Bob grabs Lynda and pushes her down on the bed.

CAi..'!E.""lAMOVESBACKfrom the bed as their 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):

LYNDA

BOB

~· I thought you were gonna \

get one for me.

Bob gets out of bed and pulls his jeans on. He looks for 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 comes through the swinging ·doors. He opens the refrigerator and takes ouc two beers. He looks around the kitchen. He opens some cupboards and takes out a bag of potato. chips. In another cupboard, he finds a can of peanuts.

Bob gathers the food and beers into his ar:ns. He shucs out the light with his elbow. He turns to leave the doors. WHAM! ~He seeps into a chair, knocking him backwards. The beer falls on the floor along with the chips and peanuts. Bob leans down to pick them up.

15 3 :u'iOTHER Al.'iGLE

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

i There is a SLAMfrom across the kitchen. Bob looks up.

154 BOB'S POV- .DOOR

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

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

ae steps to the door and looks outside.

(

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

157 AMGLE ON BOB

He turns from the 4oor.

There is a SQU-J:.AKfrom one of the ewo closet doors by the kitchen counter.

Bob freezes, staring at the t:T'NO doors.

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.EON SHAPE

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

161 ANGLE ON WALL

Still holding him up with one hand the shape SLAMS Bob 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 chest with a 51.AL"!MINGTHUD, the other 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 ·at her 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 looks beautiful and sensuous in the candlelight. She walks 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 starts to dial the phone. The ghost starts walking toward her .

•

The house is very quiet. The kids are asleep. 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 his hands to grab"her.

Laurie answers .the telephone.

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

169 CONTINUED:

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

Laurie continues to hear weird SOUNDS.

17 0 INT. WALLACE BEDROOM

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 .the grotesque 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.ins motionless. 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.~ly the phone goes dead.

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

The street is quiet, dark and windy. Bob's car is parked in front of the Wallace house. ,.. Suddenlv ~ light: goes 2!! ~ the bedroom. (

173 AMGLE ON LAURIE

She stares at the house, puzzled.

174 !..AURIE'SPOV• WALLACEHOUSE

Then the light goes off.

175 L.'f!. DOYLEHOUSE

Laurie moves from the window back co the telephone and dials Annie's number. We HE.l\R the phone ringing on . t:he ocher end.

C.Ai.'!E.~SLOWI,.YTRACKS through the darkened bedroom of the Wallace house. There is no 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 and Lindsey 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 out of 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 - STATIONWAGON

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' station wagon.

186 ANGLE.ON LOOMIS

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

Ctrr TO:

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

MOVING SHOT toward the Wallace house, dark and ominous.

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

A car tu...-ns the corner and drives past the Wallace · house, casting a strange shadow-y pattern across the front of the house.

191 MOVTIJGSHOT- LAURIZ

She picks up her speed now up the sidewalk.

T!le house looms closer and closer.

(

TRACKING SHOT with Loomis as he walks up the street.

The station wagon ~oves closer.

:i

195 MOVING SHOT- LOOMIS

He recognizes it and races forward.

CA.'1ERATRACKSIN to the station wagon, right up to the state emblem emblazoned on the side.

CAMERA MOVES UP to the front of the Wallace house. Laurie walks up to the ·front porch. She stands there a moment, listening, as if to hear some sound of life from the inside. · ·

She KNOCKS on the door and RINGS the doorbell. She waits.

Silence.

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

Laurie thinks a moment, then looks to the street.

3ob's car sits there on the street.

199 AL\fGLEON LAUR.IE

She tu.-ns and walks through the breezeway between the house and garage around to the back door.

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

Laurie pulls open ~he door and steps into the house.

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

No answer.

(continuing) Bob, Lynda, Annie?

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

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

Laurie walks into the living room. She stops to let her eyes get accustomed to the almost total darkness. She reaches for a nearby lamp and trips over the cord. The lamp CLUNKS to the floor.·

(continuing) Shit.

Suddenlv there is a CRASEINGSOUND from uoscairs.

Laurie spins around and scares up the dark staircase.

(CONT!YUED)

- ...

200 CONTINUED:

Another.SQUE..<U<from above.

Laurie smiles.

Silence. •

Another SOUND f:om upstairs, a DRAGGING across the 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 glancing up and down the empty street. Finally he makes up his mind and scar~s moving down the street, almost running, looking back and for~h at the rcws of houses on either side for something out of place.

SL0r.v'1.7 TllCXI~lG up the s tai::-cas e. (

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'{GLEON LAURIE

She moves forward toward the bed.

208 LAURIE'S POV

CA.a.\fER..\MOVES FORWARD. There on the bed is Annie I 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.~Sac the top 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 right behind her.

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:..~'15and spins around.

( ''

215 k'lGLE ON SHAPE r He stands there holding up the piece of material, then raises the butcher knife and moves for her.

216 ANGLE ON LAURIE

C&'1ERAMOVES WITH HER as she backs away, SCREAMINGat the cop of her lungs.

217 ANGLE ON SHAPE

He lunges at her suddenly with the knife.

218 Al.'lGLEON LAURIE - TOP OF STAIRCASZ

The knife slices across her~, ripping her flesh.

Laurie suddenly jumps backward, raising her arm instinctively.

,.

219 ANGLE ON RAILING

~ Laurie bumps back into· the railing. I

220 Al.'lGLEON SHAPE

He lunges again with the knife.

221 AA.'lGU ON LAURIE

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

222 LAURIE'S POV

~'iE:aA PLUNGES DOWNfrom the second floor and SL.~'1S inco the floor.

223 ANGLE ON LAURIE

She hits che floor and rolls over, holding her leg pa:!.."'lfull7. Then she looks up ac 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'iGLE ON STAIRCASE~

The shape races down the stairs.

227 ANGLE ON LAURIE

·She moves for the kitchen. She trips on the fallen lamp and 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.

23 l AL'lGLEON LAURIE

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 - KITCHENWL.'lDOW

She sees the kitchen window over the sink.

235 AJ.'lGLEON LAURIE

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:hrough the window ..

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

23 9 AL'lGLEON LAURIE

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 runs as fast as she can, limoing across the back yard, CAMERAMOVING WITH~~- She passes the driveway and scurries into the neighbor's backyard, u,p to the back door of the house; She POUNDS furiously on the door.

She looks behind hjr.

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

243 Al"'.JGLEON L..I\URIE

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

,

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

245 ANGLE ON LAURIE

246 !...~URIEI s POV - DOOR

The old woma..~stares at her suspiciously for a momenc, ~hen cu...-:i.sfrom che door and walks away.

247 Ai.'JGU:ON LAURI?:

The oorch lizhc ~ ~-

87 •

.... 247 CONTINUED: (

she cums around and looks back.

Nothing. No sign Qf the shape.

249 ANGLE ON LAURIE

She hobbles off the back porch and runs across the yard co the street. CAMERAMOVES WITH HE...~as she limps along.

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

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

The street is empty. The wind WHISHESthe trees. Leaves sprinkle down.

Laurie gropes arotmd for the key. It lies over a crack in the wooden porch. She reaches for it but her fingers ·nudge the key between the crack, down out of sight.

Laurie SCREAJ.'15T.rith frustration and glances back ac the screec.

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

(

' .

2S4 AJ.'lGLEON LAURIE

Laurie begins to BANG on the front door.

She grabs a planter on the porch, steps back and hurls it at an upstairs window.

i

255 ~'lGLE ON UPSTAIRSWL.'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 looks back at the street. (

The street is 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.'15the door.

259 !..'IT. DOYLEHOUSE

Laurie bolts the door from·the inside.

2.59 CONTINUED:

DO WHAT I SAYl NOWt

Tommy tu..--ns and runs upstairs CRYING.

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

Then suddenly she reacts. The phone is dead. No dial 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.\JGLEON LAURIE

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

( 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 needles protruding from her coc~bag.

She reacts to the feel of the knitting needles and pulls one out. It is long and deadly sharp. She stares at it.

Suddenly the 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 knitting needle and drives it home, right into the shape's neck!

The shape springs backward, clawing at the needle, rolling his head back and forch. Then suddenly he freezes, hands outstretched, motionless, and falls 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 moves along che streec.

CCON~!}TUED)

( 266 CONTL.'WED:

Sudd~nly t1'NO headlights hit him and a police car swerves to a stop next to him. Brackett gees out.

& LOOMIS I found the earl He's herel

Brackett turns and hurries back to the car.

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

WIDE SHOT of the living room. Laurie is on one side of frame, the motionless shape lying behind the couch on the other.

Slowly Laurie stands up, stares at the shape and then moves to the staircase.

Slowly, painfully, Laurie climbs up the stairs.

268 !NT. BEDROOM

Tommy and Lindsey are huddled i.~ a cor:ier WHIMPE..,ING softly. The door opens and Laurie seeps in. The ~NO children run to her CRYING. She holds them in her ar.ns :ightly and nudges the door 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:e raised.

Both children SCRE.-\a.'f. Laurie shoves them in-co the 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 the bed.

The shape keeps coming.

Laurie dashes to a~clothes closet and ducks inside.

269 L.'lT. CLOTHESCLOSET

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

Suddenly the doors begin to buckle as the shape pounds on them.

270 ANGLEON LAURIE

She reaches \ID and grabs a wire hanger from the top of the closet. She rips off the shirt and begins unhooking it.

271 ANGLE ON CLOSET DOOR

The door buckles inward as the shape SMASHES against it.

272 ANGLE ON LAURIE

She twists the top of the 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.the knife.

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,. ·grabbing his eye with both hands.

278 AMGLE ON LAURIE

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

279 A.i.'iGLEON SHAPE

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

280 ANGLE ON 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.ie emerges from the closet and carefully crosses the bedroom·, avoiding the shape's body. She goes to the bathroom door and knocks softly.

There is a silence, then the door opens. On the other side are Tommy an~Lindsey, looking utterly terrified. Laurie bends down.and shields them from the sight of the shape.

She stands up and guides the children carefully across the bedroom to the door and ushers them outside. She watches for a moment as they walk down the stairs, than slumps down against the door frame in an exhausted heap.

283 ~cr. DOYLEHOUSE- NIGHT

Tommy and Lindsey run ouc of the house and down c~e walk to Che.sidewalk. They rush up the street. As c~ey leave frame we see Loomis on the other side of :he streec.

284 Al'TGLEON LOOMIS

He watches the children with a puzzled frown.

Shrieking with fear, Tommyand Lindsey run up the sidewalk.

286 Al'TGLEON LOOMIS •

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

We see through the bedroom door. In f.g. sits Laurie, slumped against the door frame, staring out at nothing; tears streaming down her face. In b.g. lies the shape.

Slowly Laurie begins t:o pull herself together once again. She gees up to her knees and begins t:o pull her.self up to her. feet.

Her back is co the shaP,e. As she starts to stand the shaoe sits uo, the head turning to Laurie. ------- -

Laurie rises into frame, holding herself erect by grasping the door frame.

Behind her the shaoe rises uo into frame, quickly, silenclY:- - - -

Laurie just hangs there on the doorframe. An e."<haust:ed, ironic smile comes over her face.

Slowly the shape moves for her, his hands oucscrecched.

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

(

289 ,u\JGLEIM HALL

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

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

290 CLOSE SHOT- MICHAEL

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

29 l ANGLE IN HALL

Michael lunges at her again.

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

292 ANGLE ON LOOMIS

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

2 9 3 A.i.'TGU IN HALL

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'..ASHESthrough ic.

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

~I

( 295 ANGLE nt HALL

Loomis .rushes to Laurie and bends down beside her. For a moment she just cries in his ar:ns, sobbing hysterically.

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 the window and peers out.

He ·1ooks down at the spot where Michael should be, but there is nothing there, just a tramoled oatch !!! the · grass.

297 AMGLE ON LOOMIS

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

298 LOOMIS' POV

The back yard, che neighboring yards, the streec, all a~e empcy, quiec, dark. There is only the SOUNDoi the wind swelling in the crees.

Michael is gone.