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Halloween (1978)

by John Carpenter and Debra Hill.
Final script.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


1	MAIN TITLE SEQUENCE

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

		HALLOWEEN

					FADE IN TO:

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

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

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

					FADE OUT:

FADE IN:

2	Black screen. SUPERIMPOSE:

		HADDONFIELD, ILLINOIS
		OCTOBER 31, 1963

					DISSOLVE TO:

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

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

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

		BOYFRIEND (V.O.)
	Are you sure?

Then LAUGHTER.

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

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

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

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

The boyfriend grabs the sister and kisses her.

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

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

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

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

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

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

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

		BOYFRIEND
	I gotta go.

		SISTER
	Will you call me tomorrow?

		BOYFRIEND
	Yeah, sure.

		SISTER
	Promise?

		BOYFRIEND
	Yeah.

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

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

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

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

		SISTER
	Michael...?

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


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

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

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

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

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

		MOTHER
	Michael?

4	CLOSE SHOT - MICHAEL - CRANE

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

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

					FADE OUT:

FADE IN TO:

5	Black. SUPERIMPOSE:

		SMITH'S GROVE, ILLINOIS
		OCTOBER 30, 1978

					DISSOLVE TO:

6	EXT. HIGHWAY - RAIN - NIGHT

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

7	INT. STATION WAGON - NIGHT

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

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

		MARION
	What did you use before?

		LOOMIS
	Thorazin.

		MARION
	He'll barely be able to sit up.

		LOOMIS
	That's the idea. Here we are.

8	POV THROUGH THE WINDSHIELD - SANITARIUM

Through the rain we see a large sign:

		SMITH'S GROVE - WARREN COUNTY
		SANITARIUM

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

9	INT. STATION WAGON

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

		MARION
	Are there any special instructions?

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

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

		LOOMIS
	If you say so.

		MARION
	Your compassion is overwhelming,
	Doctor.

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

		LOOMIS
	Ever done anything like this before?

		MARION
	Only minimum security.

		LOOMIS
	I see.

		MARION
		(defensively)
	What does that mean?

		LOOMIS
	It means...I see.

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

		LOOMIS
	I couln't if I tried.

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

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

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

10	POV - THROUGH WINDSHIELD - FIELD

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

11	INT. STATION WAGON

		MARION
	Since when do they let them wander
	around?

They look up ahead.

12	POV - THROUGH WINDSHIELD - PATIENT

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

13	INT. STATION WAGON

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

14	POV - THROUGH WINDSHIELD - LOOMIS AND PATIENT

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

15	INT. STATION WAGON

Loomis climbs back in, dripping from the rain.

		LOOMIS
	Pull up to the entrance!

		MARION
	Shouldn't we pick him up?

		LOOMIS
	Move it!

Marion starts down the road.

		MARION
	What did he say?

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

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

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

16	POV - THROUGH WINDSHIELD - SANITARIUM DRIVE

Ahead of them is the entrance to the sanitarium.

17	INT. STATION WAGON

Marion slows down to turn.

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

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

		MARION
	Something fell on the roof.

The roof continues to buckle in and out wildly.

		LOOMIS
	Something JUMPED on the roof...

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

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

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

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

Marion continues to SCREAM, clawing at the hand.

18	POV - THROUGH WINDSHIELD - ROAD

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

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

19	INT. STATION WAGON

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

20	POV THROUGH WINDSHIELD

The windshield is completely obliterated by rain.

21	INT. STATION WAGON

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

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

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

22	EXT. ROAD - STATION WAGON

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

23	POV - STATION WAGON

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

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

24	ANGLE ON SHOULDER

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

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

					FADE OUT.

FADE IN TO:

25	Black screen. SUPERIMPOSE:

		HADDONFIELD
		OCTOBER 31, 1978

					DISSOLVE TO:

26	EXT. LAURIE'S HOUSE - DAY

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

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

		LAURIE
	I won't.

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

		LAURIE
	I promise.

27	TRACKING SHOT - LAURIE

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

		TOMMY
	Hey, Laurie...

		LAURIE
	Hi, Tommy.

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

		TOMMY
	Are you coming over tonight?

		LAURIE
	Same time, same place.

		TOMMY
	Can we make Jack-O-Lanterns?

		LAURIE
	Sure.

		TOMMY
	Can we watch the monster movies?

		LAURIE
	Sure.

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

		LAURIE
	Sure. Sure.

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

		TOMMY
	You're not supposed to go in there.

Laurie holds up a key.

		LAURIE
	Yes, I am.

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

		LAURIE
	Just watch.

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

28	INT. MYERS HOUSE - THROUGH WINDOW

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

29	TRACKING SHOT - LAURIE AND TOMMY

Laurie and Tommy continue walking down the street.

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

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

Tommy breaks stride and runs across the street.

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

		LAURIE
	See you.

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

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

30	ANGLE DOWN STREET

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

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

					CUT TO:

31	EXT. SANITARIUM - DAY

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

		WYNN
	I'm not responsible, Sam.

		LOOMIS
		(angrily)
	Of course not.

		WYNN
	I've given them his profile.

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

Loomis reaches a car and unlocks it.

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

		LOOMIS
	I notified everybody! Nobody
	listened.

		WYNN
	There's nothing else I can do.

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

		WYNN
	PROBABLY going.

		LOOMIS
	I'm wasting time.

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

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

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

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

					CUT TO:

32	INT. CLASSROOM - DAY

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

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

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

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

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

33	LAURIE'S POV - STREET

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

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

34	ANGLE ON LAURIE

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

35	ANGLE ON NOTEBOOK

We see Laurie draw:

		LAURIE STRODE

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

36	ANGLE ON LAURIE

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

37	LAURIE'S POV - STREET

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

38	ANGLE ON LAURIE

She frowns, staring back at the shape.

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

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

This springs her around from the window.

		LAURIE
	M'am?

		TEACHER (v.o.)
	Answer the question.

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

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

Laurie sneaks a glance back to the window.

39	LAURIE'S POV - STREET

The shape and the station wagon are GONE.

40	ANGLE ON LAURIE

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

41	ANGLE ON NOTEBOOK

She has written:

		LAURIE STRODE IS LONELY.

					CUT TO:

41A	EXT. GAS STATION - HIGHWAY - DAY

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

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

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

41B	LOOMIS' POV - HIGHWAY

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

		HADDONFIELD 73 MILES

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

41C	EXT. GAS STATION

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

41D	LOOMIS' POV - GAS STATION - MOVING SHOT

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

41E	ANGLE ON LOOMIS

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

41F	LOOMIS' POV - DRIVEWAY

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

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

41G	ANGLE ON LOOMIS

He picks up the cigarette pack.

41H	CLOSE SHOT - CIGARETTE PACK

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

41J	EXT. GAS STATION

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

					CUT TO:

42	EXT. SCHOOLYARD - DAY

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

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

		TOMMY
	Leave me alone!

		LONNIE
	He's gonna get you!

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

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

		LONNIE
	The boogeyman is coming!

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

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

		TOMMY
	Yeah, we get candy.

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

		RICHIE
	Oooooo! The boogey man!

The other boys join in the chant.

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

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

43	PLAYGROUND ENTRANCE - GATE

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

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

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

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

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

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

44	INT. STATION WAGON

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

45	POV FROM WINDOW

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

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

46	EXT. HIGH SCHOOL - DAY

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

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

		LAURIE
	I think you have too much to do
	tomorrow.

		LYNDA
	TOTALLY!

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

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

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

		ANNIE
	Hey, Lynda, Laurie!

The girls stop and wait for Annie.

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

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

		ANNIE
	That's not true. Here I am.

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

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

		LAURIE
	Exploring uncharted territory?

		LYNDA
	It's been totally charted.

		ANNIE
	We just talked.

		LYNDA
	Sure.

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

		LAURIE
	I thought you were babysitting
	tonight.

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

Laurie suddenly stops and looks back toward the school.

		LAURIE
	Shit!

		ANNIE
		(indignant)
	I have a place for that.

		LAURIE
	I forgot my chemistry book.

		LYNDA
	Who cares? I ALWAYS forget my
	chemistry book.

Laurie glances down the street.

47	LAURIE'S POV - STATION WAGON

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

48	ANGLE ON GIRLS

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

		LAURIE
	I don't think so...

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

49	INT. STATION WAGON

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

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

50	ANGEL ON GIRLS

		ANNIE
		(yells after the car)
	Speed kills!

51	POV - STATION WAGON

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

52	ANGLE ON GIRLS

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

53	POV - STATION WAGON

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

54	ANGLE ON GIRLS

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

		LYNDA
	Totally.

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

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

		LYNDA
	Well, are we still on for tonight?

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

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

		ANNIE
	All right. The Wallaces leave at
	seven.

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

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

					CUT TO:

55	EXT. RESIDENTIAL STREET - DAY

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

		ANNIE
	What time?

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

		ANNIE
	Saving the treats for Bob?

		LYNDA
	Fun-ny. See you.

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

56	LAURIE'S POV - MOVING SHOT - BUSHES

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

57	ANGLE ON LAURIE - ANNIE

		LAURIE
	Look.

		ANNIE
	Look where?

		LAURIE
	Behind that bush there.

Annie looks

58	POV - MOVING SHOT - BUSHES

The shape is gone. Just bushes.

59	ANGLE ON LAURIE - ANNIE

		ANNIE
	I don't see anything.

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

		ANNIE
	Subtle, isn't he? Hey creep!

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

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

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

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

Slowly Laurie walks over and stares at the bush.

		LAURIE
	He was standing right here.

		ANNIE
	Poor Laurie. You scared another one
	away.

		LAURIE
	Cute.

They start walking down the sidewalk again.

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

		LAURIE
	The guys think I'm too smart.

Laurie glances back at the bushes behind them.

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

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

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

		LAURIE
	Okay. Bye.

Annie walks up to her door.

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

60	LAURIE'S POV - BUSHES

There is still nothing there.

61	ANGLE ON LAURIE

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

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

		BRACKETT
	I'm sorry, Laurie.

		LAURIE
	Mister Brackett...

		LAURIE
	It's okay...

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

		LAURIE
	Yes, sir. Nice seeing you.

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

62	EXT. LAURIE'S HOUSE - DAY

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

63	LAURIE'S POV - TRICK OR TREATERS

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

64	ANGLE ON LAURIE

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

65	INT. LAURIE'S HOUSE - DAY

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

		LAURIE
	Hi, Mom, I'm home.

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

Laurie turns and hurries up the stairs.

		LAURIE
	Thanks, mom.

66	INT. LAURIE'S ROOM

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

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

67	LAURIE'S POV - BACK YARD

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

68	ANGLE ON LAURIE

She freezes and stares down feafully.

69	LAURIE'S POV - BACK YARD

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

70	ANGLE ON LAURIE

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

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

		LAURIE
	Hello?

Silence.

		LAURIE (cont'd)
	Hello?

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

		LAURIE (cont'd)
	Who is this?

The chewing continues. She slams the reciever down.

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

		LAURIE
	Hello?

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

		LAURIE
	Annie, was that you?

		ANNIE (v.o.)
	Of course.

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

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

		LAURIE
	I thought it was an obscene phone
	call.

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

		LAURIE
	I've already lost it.

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

		LAURIE
	Sure, see you later.

		ANNIE (v.o.)
	Bye.

Laurie hangs up.

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

					CUT TO:

71	EXT. GRAVEYARD - DAY

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

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

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

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

		LOOMIS
	Where are we?

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

Talyor stops cold.

		LOOMIS
	Lost?

		TAYLOR
		(sadly)
	Why do they do it?

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

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

		LOOMIS
	Whose grave is it?

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

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

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

		LOOMIS
	He came home...

					CUT TO:

72	EXT. LAURIE'S HOUSE - DUSK

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

Laurie turns her gaze down the street.

73	LAURIE'S POV - TRICK OR TREATERS

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

74	ANGLE ON LAURIE

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

		ANNIE
	Hurry up.

Laurie walks around the passenger door and gets in.

75	INT. ANNIE'S CAR - DUSK

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

		ANNIE
	We just have time.

Laurie lights the joint and puffs vigorously.

		ANNIE (cont'd)
	You still spooked?

		LAURIE
	I wasn't spooked.

		ANNIE
	Lies.

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

		ANNIE
	Probably Mister Riddle.

		LAURIE
	He was watching me.

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

		LAURIE
	He can still watch.

		ANNIE
	That's probably all he can do.

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

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

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

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

		LAURIE
	Thanks.

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

76	EXT. HADDONFIELD SQUARE - DUSK

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

77	INT. ANNIE'S CAR

Annie points up ahead and quickly hides the joint.

		ANNIE
	My dad!

78	POV THROUGH WINDSHIELD

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

79	INT. ANNIE'S CAR

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

80	ANGLE ON POLICE CARS

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

		BRACKETT
	Hi, Annie, Laurie...

		ANNIE
	Hi, Dad. What happened?

		BRACKETT
		(strains to hear
		over the alarm)
	What?

		ANNIE
	What happened?

		BRACKETT
	Someone broke into the hardware
	store. Probably kids.

		ANNIE
	You blame everything on kids.

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

Annie turns to Laurie.

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

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

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

		ANNIE
		(unable to hear
		over alarm)
	Huh?

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

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

		ANNIE
		(to Laurie)
	He shouts, too.

Brackett smiles as Loomis walks up behind him.

		BRACKETT
	Goodbye, girls.

		ANNIE AND LAURIE
	Bye.

Annie's car pulls away.

		LOOMIS
	Sheriff? I'm Doctor Sam Loomis.

		BRACKETT
	Lee Brackett.

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

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

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

		LOOMIS
	It's important.

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

		BRACKETT
	Ten minutes.

		LOOMIS
	I'll be here.

					CUT TO:

81	EXT. MOON - NIGHT

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

82	EXT. RESIDENTIAL STREET - NIGHT

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

83	ANGLE FROM STATION WAGON

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

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

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

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

84	TRACKING SHOT BEHIND SHAPE

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

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

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

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

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

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

85	ANGLE ON WINDOW

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

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

					CUT TO:

86	EXT. MYERS HOUSE - NIGHT

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

		LOOMIS
	Anybody live here?

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

		LOOMIS
	They may be right.

86A	ANGLE DOWN SIDE OF HOUSE

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

87	INT. MYERS HOUSE - NIGHT

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

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

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

		LOOMIS
	What is it?

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

		BRACKETT
	A dog...

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

		BRACKETT (cont'd)
	Still warm.

He stands back up and looks at Loomis.

		LOOMIS
	He got hungry.

Brackett gets a disgusted expression and steps away.

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

		LOOMIS
	Could have...

Brackett looks back at the dead animal.

		BRACKETT
	A man wouldn't do that...

		LOOMIS
	He isn't a man.

88	INT. MYERS BEDROOM

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

		LOOMIS
	It happened in here.

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

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

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

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

88A	LOOMIS' POV - WINDOW

CAMERA SLOWLY TRACKS IN toward the window.

88B	ANGLE ON LOOMIS

Loomis stops by the window.

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

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

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

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

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

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

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

Brackett just looks at him a moment.

		BRACKETT
	What do we do?

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

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

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

		BRACKETT
	I'll check back in an hour.

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

					CUT TO:

89	INT. DOYLE HOUSE - NIGHT

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

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

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

		TOMMY
	I don't like that story.

		LAURIE
	But king Arthur was always your
	favorite.

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

		TOMMY
	Not any more.

		LAURIE
	Why are they under there?

		TOMMY
	Mom doesn't like me to have
	them.

Laurie glances through the stack of comic books.

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

		TOMMY
	Laurie, whats the Boogey Man?

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

		LAURIE
	Hello.

90	INT. WALLACE KITCHEN

Annie stands making popcorn, the phone at her ear.

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

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

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

She turns and reaches for Lester uncertainly.

		ANNIE (cont'd)
	Hi Lester...

Lester GROWLS at her menacingly.

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

Lindsey trots into the room.

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

		LINDSEY
	Here, Lester.

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

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

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

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

INTERCUT WITH LAURIE IN DEN

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

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

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

		ANNIE
	You guys will make a fabulous
	couple.

91	INT. DOYLE LIVING ROOM - NIGHT

Tommy walks to the front window and looks out.

92	TOMMY'S POV - STREET

A couple TRICK OR TREATERS walk by.

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

93	EXT. STREET - DOYLE HOUSE

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

94	INT. DOYLE HOUSE

		TOMMY
	Laurie...

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

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

		LAURIE
		(paniked)
	Annie!

		TOMMY
	Laurie, the boogey man is outside.
	Look!

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

95	LAURIE'S POV - STREET

The street is empty.

96	ANGLE ON LAURIE - TOMMY

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

Tommy rushes out of the den.

97	INT. DOYLE LIVING ROOM

Tommy dashes up to the front window and looks out.

98	POV - STREET

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

					CUT TO:

99	INT. WALLACE HOUSE - NIGHT

Annie stands by the kitchen stove making popcorn.

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

100	POV FROM OUTSIDE KITCHEN WINDOW

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

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

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

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

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

101	ANGLE ON SIDE OF HOUSE

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

102	INT. WALLACE HOUSE

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

103	POV OUT KITCHEN WINDOW

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

104	ANGLE ON ANNIE

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

104A	EXT. WALLACE HOUSE

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

104B	ANGLE ON DOG

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

104C	ANGLE ON SHAPE - DOG

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

104D	INT. WALLACE HOUSE

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

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

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

Suddenly the GROWLING sounds ABRUPTLY STOP.

		ANNIE
	Never mind. He found a hot date.

Annie turns and walks into the living room.

104E	EXT. WALLACE HOUSE

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

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

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

					CUT TO:

105	INT. DOYLE HOUSE - LIVING ROOM - NIGHT

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

		TOMMY
	What about the Jack-O-Lantern?

		LAURIE
	After the movie.

		TOMMY
	What about the rest of my comic
	books?

		LAURIE
	After the Jack-O-Lantern.

		TOMMY
		(quietly)
	What about the bogyman?

		LAURIE
	There is no such thing.

		TOMMY
	Richie said he was coming after
	me tonight.

		LAURIE
	Do you believe everything that
	Richie tells you?

		TOMMY
	No...

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

		TOMMY
	I saw the bogyman. I saw him
	outside.

		LAURIE
	There was no one outside.

		TOMMY
	There WAS.

		LAURIE
	What did he look like?

		TOMMY
	The bogyman!

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

		TOMMY
	Right.

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

		TOMMY
	Promise?

		LAURIE
	I promise.

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

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

106	EXT. PASSAGEWAY TO LAUNDRY - WALLACE HOUSE - NIGHT

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

107	ANOTHER ANGLE - PASSAGEWAY

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

108	INT. LAUNDRY ROOM

Annie walks into the dark laundry room.

Almost immediately the wind BLOWS THE DOOR SHUT!

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

		ANNIE
	Terrific!

109	ANGLE ON DOOR

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

110	ANGLE ON ANNIE

Annie turns toward the slightly open door.

		ANNIE
	Hello?

Silence.

		ANNIE (cont'd)
	Who's there?

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

There is no one there.

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

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

		ANNIE
	No tricks for Annie tonight.

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

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

111	CLOSE SHOT - ANNIE

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

		ANNIE
	Lindsey! Lindsey, come out here!

112	INT. WALLACE HOUSE

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

113	INT. LAUNDRY ROOM

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

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

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

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

From the house Annie hears the phone ring.

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

114	INT. WALLACE HOUSE

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

		LINDSEY
	Hello.

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

		LINDSEY
	Yes, she is.

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

		LINDSEY
	She's washing her clothes.

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

		LINDSEY
	Okay.

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

		LINDSEY
	Annie, Paul's on the phone!

115	ANGLE ON ANNIE HANGING OUTSIDE THE WINDOW

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

116	EXT. LAUNDRY ROOM

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

117	INT. LAUNDRY ROOM

		LINDSEY
	You locked yourself in.

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

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

		ANNIE
	Lindsey, promise you won't tell
	anyone!

118	INT. WALLACE HOUSE

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

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

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

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

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

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

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

		LINDSEY
		(excitedly)
	I'm scared.

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

		LINDSEY
	I don't know.

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

		LINDSEY
	I don't want to.

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

		LINDSEY
	I want to stay here and watch
	this.

Annie calculates a moment.

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

Lindsey's eyes light up.

		LINDSEY
	Yes.

		ANNIE
	Come with me.

					CUT TO:

119	EXT. STREET - NIGHT

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

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

120	ANOTHER ANGLE - STREET

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

121	INT. DOYLE HOUSE - NIGHT

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

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

		LINDSEY
	I want to watch TV.

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

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

		LAURIE
	Fancy.

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

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

		ANNIE
	I can't.

		LAURIE
	Yes, you can.

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

Laurie glances at Lindsey.

		LAURIE
	Wait a minute here...

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

		LAURIE
	Deal. Hey, I thought Paul was
	grounded.

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

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

		LAURIE
	The old girl scout comes through
	again.

122	EXT. WALLACE HOUSE - GARAGE - NIGHT

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

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

She tries the door. It is LOCKED.

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

Quickly she turns and walks out of the garage.

123	INT. WALLACE HOUSE

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

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

She glances up at her image in the mirror.

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

Suddenly the phone RINGS. Quickly Annie grabs it.

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

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

124	INT. GARAGE

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

125	INT. CAR

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

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

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

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

126	INT. GARAGE - ANGLE ON CAR

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

Suddenly, the struggle stops.

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

					CUT TO:

127	INT. DOYLE HOUSE - NIGHT

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

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

		TOMMY
		(from behind curtain)
	Lindsey. Lindsey.

Lindsey turns around and looks for Tommy.

		LINDSEY
	Where are you?

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

128	BEHIND CURTAIN

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

129	TOMMY'S POV - WALLACE BACK YARD

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

130	INT. DOYLE HOUSE

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

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

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

		LAURIE
	What's wrong?

Tommy points out the window.

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

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

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

		TOMMY
	I saw him...

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

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

		TOMMY
	Nobody believes me.

		LINDSEY
	I believe you, Tommy.

Lindsey sits up next to Tommy and hugs him.

Laurie shakes her head and walks back into the kitchen.

					CUT TO:

131	EXT. MYERS HOUSE - NIGHT

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

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

132	LOOMIS' POV - STREET

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

		LONNIE
	I'm not afraid.

		RICHIE
	Bullshit.

		LONNIE
	I'm not!

		RICHIE
	Then go in.

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

133	ANGLE ON LOOMIS

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

134	LOOMIS' POV - OLD HOUSE - STREET

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

Loomis' POV moves to the street.

		RICHIE
	Chicken!

		KEITH
	Go on, Lonnie!

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

135	ANGLE ON LOOMIS

Loomis quietly stands up behind the hedge.

		LOOMIS
	Lonnie...

136	LOOMIS' POV - OLD HOUSE

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

137	ANGLE ON LOOMIS

		LOOMIS
	Get your ass away from there!

138	LOOMIS' POV - OLD HOUSE - STREET

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

139	ANGLE ON LOOMIS

He watches them race away, smiling to himself.

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

		LOOMIS
	Jesus!

		BRACKETT
	You all right?

		LOOMIS
	Sure...

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

		LOOMIS
	You have the wrong feeling.

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

		LOOMIS
	Exactly what do you need?

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

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

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

		LOOMIS
	They could be.

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

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

					CUT TO:

140	EXT. WALLACE HOUSE - NIGHT

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

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

141	INT. CAR - NIGHT

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

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

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

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

		LYNDA
	You idiot!

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

		LYNDA
	Totally...

142	EXT. WALLACE HOUSE

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

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

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

		LYNDA
	Annie, Annie, we're here!

Bob and Lynda enter the house.

143	INT. WALLACE HOUSE - NIGHT

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

		BOB
	I wonder where they went.

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

Bob walks over to Lynda.

		BOB
	Let's don't.

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

144	INT. DOYLE HOUSE - NIGHT

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

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

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

		LYNDSEY
	No, he's not.

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

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

145	LAURIE'S POV OF THE WALLACE HOUSE

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

146	ANGLE ON LAURIE

Laurie smiles to herself.

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

		LINDSEY
	Let's make more popcorn.

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

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

The phone rings.

Laurie gets up to answer it.

		LAURIE
	Hello.

147	INT. HOUSE - NIGHT

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

		LYNDA
	Hi, Laurie, what's up?

		LAURIE (v.o.)
	Nothing. I was just sitting down
	for the first time tonight.

		LYNDA
	Is Annie around?

		LAURIE (v.o.)
	No. I thought she'd be home by
	now. She went to pick up Paul.

		LYNDA
	Well, she's totally not here.

		LAURIE (v.o.)
	They probably stopped off
	somewhere. Have her call me
	when she gets back. I've got
	Lyndsey here and I want to
	know what time to put her to
	bed.

		LYNDA
	Okay. Later.

		LAURIE (v.o.)
	Have a good time.

Lynda hangs up the phone and grins.

		LYNDA
	We sure will.

Lynda grabs Bob's hand and stands up.

		LYNDA (cont'd)
	Lindsey is gone for the night.

Bob grins.

		BOB
	Now that's wonderful.

Lynda pulls Bob up from the couch and they walk quickly up the stairs.

148	INT. DOYLE HOUSE - NIGHT

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

149	LAURIE'S POV - WALLACE HOUSE

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.

					CUT TO:

151	INT. WALLACE BEDROOM - NIGHT

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

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

		LYNDA
	Shit! Not again.

Lynda rises up on one arm. The sheets fall away from her, showing a
very beautifly young body. Her hair is a mess and she is frustrated.
The phone continues to ring.

		BOB
	I can't help it. It just keeps
	ringing.

		LYNDA
	And I can't keep you interested?

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

		LYNDA
	That's great. Now you'll be too
	drunk to...

		BOB
	Just answer the damn phone.

		LYNDA
	I can't. What if it's the
	Wallaces!? We'd get Annie in
	trouble.

The phone stops ringing.

		BOB
	Take it off the hook.

Lynda reaches over and kisses Bob behind the ears. She slowly moves
around his ear with her tongue. Bob grabs Lynda and pushes her down on
the bed.

CAMERA MOVES BACK from the bed as their lovemaking continues, back
through the bedroom doorway. Standing there in the darkness is THE
SHAPE watching them.

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

		LYNDA
	Fantastic. Totally.

		BOB
	Yeah.

		LYNDA
	Want a beer?

		BOB
	Yeah.

		LYNDA
	Is that all you say?

		BOB
	Yeah.

		LYNDA
	Go get me a beer.

		BOB
	I thought you were gonna get
	one for me.

		LYNDA
	YEAH?

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

		BOB
	I'll be right back. Don't get
	DRESSED.

Bob leans over and kisses Lynda. He leaves.

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

152	INT. WALLACE KITCHEN

Bob comes through the swinging doors. He opens refrigerator and takes
out two beers. He looks around the kitchen. He opens the cupboards and
takes out a bag of potato chips. In another cupboard he finds a can of
peanuts.

Bob gathers the food and beers into his arms. He shuts the doors.
WHAM! He steps into a chair, knocking him backwards. The beer falls on
the floor along with the chips and peanuts.

		BOB
		Goddammit!

153	ANONOTHER ANGLE

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

There is a SLAM from 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 squeaks on it's hinges as
it swings back and forth.

155	INT. KITCHEN

Slowly, Bob gets to his feet and walks over to the door.

		BOB
	Annie, Paul...

He steps to the door and looks outside.

156	BOB'S POV - BACK YARD

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

157	ANGLE ON BOB

He turns from the door.

There is a SQUEAK from one of the two closet doors by the kitchen
counter.

Bob freezes, staring at the two doors.

		BOB
	Lynda, you asshole!

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

		BOB (cont'd)
	Alright, Lynda, come on out.

He steps to the other door and opens it.

RIGHT BEHIND THE DOOR STANDS THE SHAPE wearing the rubber mask. He
steps out and grabs Bob around the neck with an instantaneous lunge.

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

Then the shape LIFTS BOB UP OFF THE FLOOR.

158	ANGLE ON BOB'S FEET

Bob's feet leave the floor.

159	ANGLE ON BOB'S FACE

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

160	ANGLE ON 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 against the
wall, holding him several feet off the floor. Bob struggles to get
free.

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

The shape drives the knife deeply into Bob's chest with a SLAMMING
THUD, the other end of the knife stuck through the wall.

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

					CUT TO:

162	INT. WALLACE BEDROOM

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

		LYNDA
	Where's my beer?

No answer. Lynda turns around and looks.

163	ANOTHER ANGLE - LYNDA'S POV

The SHAPE STANDS in the doorway. He is covered with A SHEET LIKE A
GHOST. He WEARS BOB'S GLASSES.

		LYNDA (cont'd)
	Cute, Bob. Real cute.

The ghost doesn't answer.

164	ANOTHER ANGLE - LYNDA AND GHOST

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

		LYNDA (cont'd)
	Come here, you fool.

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

		LYNDA (cont'd)
	Can't I get your ghost, Bob?

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

		LYNDA (cont'd)
	All right, all right. So where's
	the beer?

Nothing. The ghost just stands there.

		LYNDA (cont'd)
	Well, answer me! Okay, don't
	answer me. Boy, are you weird!

Lynda gets out of bed. She is nude and looks beautiful and sensuous in
the candlelight. She walks over to the phone.

		LYNDA (cont'd)
	Well, I'm gonna call Laurie. I
	wanna know where Annie and Paul
	are. THIS isn't going anywhere.

Lynda sits down on a chair by the telephone. In the b.g. the ghost
stands in the doorway. She starts to dial the phone. The ghost starts
walking toward her.

165	INT. DOYLE HOUSE - NIGHT

The house is very quiet. The kids are asleep. Laurie is sitting on the
couch knitting. The phone RINGS.

		LAURIE
	Finally.

Laurie crosses to answer the phone.

166	INT. WALLACE BEDROOM

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

167	INT. DOYLE HOUSE

Laurie answers the telephone.

		LAURIE
	Hello.

168	INT. WALLACE BEDROOM

Lynda hears Laurie's hello as THE GHOST GRABS THE PHONE. He clamps one
hand over Lynda's mouth. She squirms and writhes. He takes the
telephone cord and wraps it around her neck.

169	INT. DOYLE HOUSE

		LAURIE
	Hello?

Laurie hears SQUEALS, and rustling sounds across the phone.

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

Laurie continues to hear weird SOUNDS.

		LAURIE (cont'd)
	Annie?

170	INT. WALLACE BEDROOM

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

Lynda gasps and tries to scream. The man pulls the cord tighter. Her
face turns blue. She opens her mouth, trying to get air, then slowly
slumps forward and remains motionless. LYNDA IS DEAD.

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

171	INT. DOYLE HOUSE - ANGLE ON LAURIE

		LAURIE
	Annie, Annie! Are you all
	right?

Silence over the phone.

		LAURIE (cont'd)
	Are you fooling around again?

Silence.

		LAURIE (con't)
	I'll kill you if this is a
	joke!

More silence.

		LAURIE (cont'd)
	Annie...

Suddenly the phone goes dead.

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

172	LAURIE'S POV - WALLACE HOUSE

The street is quiet, dark and windy. Bob's car is parked in front of
the Wallace house.

SUDDENLY A LIGHT GOES ON IN THE BEDROOM.

173	ANGLE ON LAURIE

She stares at the house, puzzled.

174	LAURIE'S POV - WALLACE HOUSE

THEN THE LIGHT GOES OFF.

175	INT. DOYLE HOUSE

Laurie moves from the window back to the telephone and dials Annie's
number. We HEAR the phone ringing on the other end.

176	INT. WALLACE HOUSE - BEDROOM

CAMERA SLOWLY TRACKS through the darkened bedroom of the Wallace
house. There is no sign of a struggle. The room is empty. The phone
RINGS away.

177	INT. DOYLE HOUSE

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

178	INT. DOYLE BEDROOM

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

179	INT. DOYLE HOUSE - LIVING ROOM

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

180	LAURIE'S POV - WALLACE HOUSE

Dark and silent.

181	ANGLE ON LAURIE

She steps to the front door.

					CUT TO:

182	EXT. MYERS HOUSE - NIGHT

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

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

183	LOOMIS' POV - STREET - STATION WAGON

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

184	ANGLE ON LOOMIS

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

185	LOOMIS' POV - STREET - STATION WAGON

THE LONE CAR IS LOOMIS' STATION WAGON.

186	ANGLE ON LOOMIS

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

					CUT TO:

187	EXT. STREET - NIGHT

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

188	LAURIE'S POV - WALLACE HOUSE - MOVING SHOT

MOVING SHOT toward the Wallace house, dark and ominous.

189	MOVING SHOT - LAURIE

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

190	LAURIE'S POV - WALLACE HOUSE - MOVING SHOT

A car turns the corner and drives past the Wallace house, casting a
strange shadowy pattern across the front of the house.

191	MOVING SHOT - LAURIE

She picks up her speed, now up the sidewalk.

192	LAURIE'S POV - WALLACE HOUSE - MOVING SHOT

The house looms closer and closer.

					CUT TO:

193	EXT. STREET - NIGHT

TRACKING SHOT with Loomis as he walks up the street.

194	LOOMIS' POV - STATION WAGON

The station wagon moves closer.

195	MOVING SHOT - LOOMIS

He recognizes it and races forward.

196	LOOMIS' POV - STATION WAGON

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

					CUT TO:

197	EXT. WALLACE HOUSE - NIGHT

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

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

Silence.

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

Laurie thinks a moment, then looks to the street.

198	LAURIE'S POV - BOB'S CAR

Bob's car sits there on the street.

199	ANGLE ON LAURIE

She turns and walks through the breezeway between the house and garage
around to the back door.

THE KITCHEN DOOR IS AJAR, swinging back and forth in the wind.

Laurie pulls open the door and steps into the house.

200	INT. WALLACE KITCHEN

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

		LAURIE
	Annie?

No answer.

		LAURIE (cont'd)
	Bob, Lynda, Annie?

No one answers. Laurie searches for the wall light. She flips it and
nothing happens. She looks again into the darkness.

		LAURIE (cont'd)
	Hello?

Nothing. Laurie moves forward into the house, CAMERA TRACKING WITH
HER.

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

		LAURIE (cont'd)
	Shit.

SUDDENLY THERE IS A CRASHING SOUND FROM UPSTAIRS.

Laurie spins around and stares up the dark staircase.

Another SQUEAK from above.

Laurie smiles.

		LAURIE (cont'd)
	All right, meatheads. The joke
	is over.

Silence.

		LAURIE (cont'd)
	Come on, Annie, enough.

Another SOUND from upstairs, a DRAGGING across the floor.

Laurie moves to the head of the staircase. The dragging sound STOPS
ABRUPTLY. Silence.

		LAURIE (cont'd)
	This has most definitely stopped
	being funny. Now cut it out!

A SCRAPING SOUND, then silence.

		LAURIE (cont'd)
	You'll be sorry.

Slowly Laurie starts up the staircase.

					CUT TO:

201	EXT. STREET - NIGHT

Loomis stands by his car glancing up and down the empty street.
Finally he makes up his mind and starts moving down the street, almost
running, looking back and fourth at the rows of houses on either side
for something out of place.

					CUT TO:

202	INT. WALLACE HOUSE - NIGHT

SLOWLY TRACKING up the staircase.

203	MOVING SHOT - LAURIE

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

204	LAURIE'S POV - SECOND FLOOR HALLWAY

It is totally dark. At the end of the hall is the bedroom door. From
around the edges of the door is the faintest ORANGE GLOW.

205	ANGLE ON LAURIE

She moves for the door, CAMERA TRACKING WITH HER.

206	LAURIE'S POV - DOOR

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

The door swings open.

A Jack-O-Lantern casts and eerie glow around the room. There is
SOMEONE lying on the bed but from this position Laurie can't see.

207	ANGLE ON LAURIE

She moves forward toward the bed.

208	LAURIE'S POV

CAMERA MOVES FORWARD. There on the bed is ANNIE! Her face is a chalky
white and there is a huge red gash across her throat.

AT THE HEAD OF THE BED IS JUDITH MYERS' TOMBSTONE.

209	ANGLE ON LAURIE

She stares at the bed and then SCREAMS at the top of her lungs.

SUDDENLY SOMETHING DROPS DOWN AT HER FROM ABOVE.

Laurie jumps back to the door.

210	LAURIE'S POV - BOB

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

211	INT. SECOND FLOOR HALLWAY

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

SUDDENLY A DOOR NEXT TO HER SLOWLY OPENS. There is LYNDA standing
there, propped up by a chair, staring at her with glazed, dead eyes.

212	ANGLE ON LAURIE - CORNER (LIGHTING EFFECT)

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

SUDDENLY WE ARE AWARE OF SOMETHING THERE IN THE DARK CORNER. It is
almost as if our eyes have suddenly begun to adjust to the darkness
and we see THE OUTLINE OF A MAN standing right behind her.

The outline becomes more and more clear. It is the shape, wearing the
mask, the butcher knife in his hand, gleaming, RIGHT BEHIND LAURIE.

Laurie suddenly moves away from the corner.

The shape lunges out at her.

213	CLOSE SHOT - LAURIE'S BACK - HAND

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

214	CLOSE SHOT - LAURIE

She SCREAMS and spins around.

215	ANGLE ON SHAPE

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

216	ANGLE ON LAURIE

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

217	ANGLE ON SHAPE

He lunges at her suddenly with the knife.

218	ANGLE ON LAURIE - TOP OF STAIRCASE

THE KNIFE SLICES ACROSS HER ARM, ripping her flesh.

Laurie suddenly jumps backward, raising her arm instictively.

219	ANGLE ON RAILING

Laurie bumps back into the railing.

220	ANGLE ON SHAPE

He lunges again with the knife.

221	ANGLE ON LAURIE

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

222	LAURIE'S POV

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

223	ANGLE ON LAURIE

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

224	POV - STAIRCASE

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

225	ANGLE ON LAURIE

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

226	ANGLE ON STAIRCASE

Thge shape races down the stairs.

227	ANGLE ON LAURIE

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

228	ANGLE ON SHAPE

The shape steps into the living room, knife raised.

229	ANGLE ON LAURIE - KITCHEN

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

There is a POUNDING on the door from the other side.

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

Suddenly, the kitchen door EXPLODES, the middle of it BREAKING APART.
The shape reaches through, groping for the lock.

230	ANGLE ON DOOR

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

231	ANGLE ON LAURIE

Desperately she tries the door, glancing behing her.

232	ANGLE ON SHAPE

The shape's hand reaches for the lock.

233	ANGLE ON LAURIE

She steps back from the door into the kitchen.

234	LAURIE'S POV - KITCHEN WINDOW

She sees the kitchen window over the sink.

235	ANGLE ON LAURIE

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

236	ANGLE ON SHAPE

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

237	ANGLE ON LAURIE - KITCHEN WINDOW

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

238	ANGLE ON SHAPE

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

239	ANGLE ON LAURIE

She drags herself roughly out the window.

240	CLOSE SHOT - WINDOW

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

241	EXT. WALLACE HOUSE

Laurie picks herself up from the ground and runs as fast as she can,
limping across the backyard, CAMERA MOVING WITH HER. She passes the
driveway and scurries into the neighbor's backyard, up to the back
door of the house. She POUNDS furiously on the door.

		LAURIE
	Help me! Help me!

She looks behind her.

242	LAURIE'S POV - WALLACE HOUSE

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

243	ANGLE ON LAURIE

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

244	LAURIE'S POV - DOOR

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

245	ANGLE ON LAURIE

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

246	LAURIE'S POV - DOOR

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

247	ANGLE ON LAURIE

THE PORCH LIGHT GOES OUT.

		LAURIE
	No! No! Please, open the door!

She turns around and looks back.

248	LAURIE'S POV - WALLACE HOUSE

Nothing. No sign of the shape.

249	ANGLE ON LAURIE

She hobbles off the back porch and runs across the yard to the street.
CAMERA MOVES WITH HER as she limps along.

250	EXT. DOYLE HOUSE

Laurie rushes up to the front door. She reaches in her pocket for the
key and drop it on the porch.

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

251	LAURIE'S POV - STREET

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

252	EXT. DOYLE HOUSE

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

Laurie SCREAMS with frustration and glances back at the street.

253	LAURIE'S POV - STREET

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

254	ANGLE ON LAURIE

Laurie begins to BANG on the front door.

		LAURIE
	Tommy! Tommy, open the door!

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

255	ANGLE ON UPSTAIRS WINDOW

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

		TOMMY
	Who is it?

256	ANGLE ON LAURIE

		LAURIE
	Tommy, let me in!

She looks back at the street.

257	LAURIE'S POV - STREET

The street is empty. THE SHAPE IS GONE.

258	ANGLE ON LAURIE

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

Finally the door opens. Tommy stands there in his pajamas. Laurie
leaps inside and SLAMS the door.

259	INT. DOYLE HOUSE

Laurie bolts the door from the inside.

		LAURIE
	Tommy, I want you to go back
	upstairs...

		TOMMY
	What is it, Laurie?

		LAURIE
	Be quiet! Get Lindsey and get
	into the bedroom and lock the
	door!

		TOMMY
	I'm scared...

		LAURIE
	DO WHAT I SAY! NOW!

		TOMMY
	It's the bogyman, isn't it?

		LAURIE
	HURRY!

Tommy turns and runs upstairs CRYING.

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

Then suddenly she reacts. The PHONE IS DEAD. No dial tone.

She puts down the phone and stands very still. There is A SLIGHT
BREEZE BLOWING HER HAIR.

Slowly Laurie moves around the couch.

260	LAURIE'S POV - KITCHEN

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

261	ANGLE ON LAURIE

Laurie doesn't move. She begins crying softly, her eyes wide with
fear.

		LAURIE
	Please stop...Please...

Silence. No movement anywhere in the house.

Slowly Laurie sinks down to her knees by the couch.

262	CLOSE SHOT - KNITTING NEEDLES

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

263	ANGLE ON LAURIE - COUCH

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

SUDDENLY THE SHAPE LEAPS UP FROM BEHIND THE COUCH! He springs at her,
plunging the butcher knife.

264	ANGLE ON COUCH

The blade of the butcher knife THUMPS into the couch.

265	ANGLE ON LAURIE - SHAPE

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

The shape springs backward, clawing at the needle, rolling his head
back and forth. Then suddenly he freezes, hands outstretched,
motionless, and falls into a heap on the floor.

Laurie sits there.

The shape doesn't move.

Laurie begins to cry again, harder and harder.

					CUT TO:

266	EXT. STREET - NIGHT

CAMERA MOVES WITH LOOMIS as he moves along the street.

Suddenly two headlights hit him and a police car swerves to a stop
next to him. Brackett gets out.

		BRACKETT
	Where were you? I went back to
	the Myers house...

		LOOMIS
	I found the car! He's here!

		BRACKETT
	Where?

		LOOMIS
	Three blocks down. Get in the
	car and go up that other street
	and then back down here. I'm
	going up the block.

Brackett turns and hurries back to the car.

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

					CUT TO:

267	INT. DOYLE HOUSE - NIGHT

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

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

Slowly, painfully, Laurie climbs up the stairs.

268	INT. BEDROOM

Tommy and Lindsey are huddled in a corner WHIMPERING softly. The door
opens and Laurie steps in. The two children run to her CRYING. She
holds them in her arms tightly and nudges the door shut with her foot.

		LAURIE
	It's all right now. Shhh, it's
	all right...

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

		LAURIE (cont'd)
	Now I want you to change your
	clothes, Tommy. We're going to
	take a walk outside.

		TOMMY
	Was it the bogyman?

		LINDSEY
	I'm scared!

		LAURIE
	There's nothing to be scared of
	now. Get changed.

		TOMMY
	Are you sure?

		LAURIE
	Yes.

		TOMMY
	How?

		LAURIE
	I killed him...

		TOMMY
	But you can't kill the bogyman.

SUDDENLY THE BEDROOM DOOR SWINGS OPEN. Standing there is THE SHAPE,
the butcher knife raised.

Both children SCREAM. Laurie shoves them into the bathroom and pulls
the door shut, leaving herself outside in the bedroom.

		LAURIE
	Lock the door! Lock the door!

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

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

The shape keeps coming.

Laurie dashes to a clothes closet and ducks inside.

269	INT. CLOTHES CLOSET

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

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

270	ANGLE ON LAURIE

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

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 hanger, unwinding the wire.

273	ANGLE ON CLOSET DOOR

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

274	ANGLE 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	ANGLE ON LAURIE

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

277	ANGLE ON SHAPE

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

He leaps back in pain, dropping the butcher knife, grabbing his eye
with both hands.

278	ANGLE ON LAURIE

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

279	ANGLE ON SHAPE

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

280	ANGLE ON LAURIE

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

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

281	LAURIE'S POV - SHAPE

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

282	INT. BEDROOM

Laurie emerges from the closet and carefully crosses the bedroom,
avoiding the shape's body. She goes to the bathroom door and knocks
softly.

		LAURIE
	Tommy, it's me. Open the door.

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

		LAURIE (cont'd)
	Now, I want you to walk to the
	door, down the stairs and right
	out the front door.

		LINDSEY
	You're coming with us...

		LAURIE
	Listen to me. I want you to walk
	down the street to the MacKensie's
	and knock on their door. You tell
	them to call the police and send
	them over here. Do you understand?

		TOMMY
	Laurie, you come with us...

		LAURIE
	No! Do as I say.

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

283	EXT. DOYLE HOUSE - NIGHT

Tommy and Lindsey run out of the house and down the walk to the
sidewalk. They rush up the street. As they leave frame we see Loomis
on the other side of the street.

284	ANGLE ON LOOMIS

He watches the children with a puzzled frown.

285	LOOMIS' POV - TOMMY AND LINDSEY

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

286	ANGLE ON LOOMIS

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

					CUT TO:

287	INT. DOYLE HOUSE - ANGLE THROUGH BEDROOM DOOR - NIGHT

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

Slowly Laurie begins to pull herself together once again. She gets up
to her knees and begins to pull herself up to her feet.

Her back is to the shape. As she starts to stand THE SHAPE SITS UP,
the head turning to Laurie.

288	CLOSE SHOT - LAURIE

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

BEHIND HER THE SHAPE RISES UP INTO FRAME, quickly, silently.

Laurie just hangs there on the doorframe. An exhausted, ironic smile
comes over her face.

		LAURIE
	Well, kiddo. Some Halloween...

Slowly the shape moves for her, his hands outstretched.

Just as he is about to grab her, Laurie manages to step out the door.

289	ANGLE IN HALL

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

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

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 something completely unhuman
about his features, the open mouth, the dark staring eye.

291	ANGLE IN HALL

Michael lunges at her again.

Suddenly there is a THUNDERING EXPLOSION and Michael is blown off his
feet. Laurie falls back against the wall.

292	ANGLE ON LOOMIS

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

293	ANGLE IN HALL

Michael slowly gets up to his feet, still refusing to die. Loomis
stops and takes aim. BLAM!BLAM!BLAM!

Michael is hit three times, each bullet throwing him backward further
down the hall until he hits the window at the end and SMASHES through
it.

294	EXT. DOYLE HOUSE - UP ANGLE

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

295	ANGLE IN HALL

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

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

		LAURIE
	It WAS the bogyman...

Loomis looks down at her, then up at the shattered window at the end
of the hall.

		LOOMIS
	As a matter of fact it was.

He walks slowly down to the window and peers out.

296	LOOMIS' POV - BACK YARD

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

297	ANGLE ON LOOMIS

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

298	LOOMIS' POV

The back yard, the neighboring yards, the street, all are empty,
quiet, dark. There is only the SOUND of the wind swelling in the
trees.

Michael is gone.

FADE TO BLACK.

ROLL END TITLES.

THE END
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