Movie Script: Halloween (1978)

HALLOWEEN

a screenplay by John Carpenter and Debra Hill

SHOOTING DRAFT
REV. 4-10-78

SCENE/SHOT NUMBERS
REMOVED

MAIN TITLE SEQUENCE

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

HALLOWEEN

Then we slowly:

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 eye of the mask. It
is blank, empty, a dark, staring socket.. SUPERIMPOSE FINAL

CREDIT.

FADE OUT:

FADE IN:

Black screen. SUPERIMPOSE:

HADDONFIELD, ILLINOIS

OCTOBER 31, 1963

DISSOLVE TO:

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

It is night. We move toward the rear of a 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. Also 18, he
wears a Halloween mask and costume.

BOYFRIEND
(continuing)
We’re all alone, aren’t we?

SISTER
Michael’s around someplace….

The boyfriend grabs the sister and kisses her.

SISTER
(continuing)
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 swings 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. Quietly 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
backyard, 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?

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:

BLACK. SUPERIMPOSE:

SMITH’S GROVE, ILLINOIS

OCTOBER 30, 1978

DISSOLVE TO:

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.

INT. STATION WAGON — NIGHT

The back seat is separated from the front by a wire-mesh
screen, much like a police car. MARION, 30, drives. She is
dressed in a crisp, white nurse’s uniform. Next to her in
the passenger seat is 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
appearance 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
Thorazine.

MARION
He’ll barely be able to sit up.

LOOMIS
That’s the idea. Here we are.

POV THROUGH 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.

INT. STATION WAGON

LOOMIS
(Continuing)
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 any
harder than it already is.

LOOMIS
I couldn’t if I tried.

MARION
The only thing that ever bothers
me is their gibberish. 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.

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.

INT. STATION WAGON

MARION
Since when do they let them wander
around?

They look up ahead.

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.

INT. STATION WAGON

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

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.

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 lawn mower.

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.”

POV THROUGH WINDSHIELD — SANITARIUM DRIVE

Ahead of them is the entrance to the sanitarium.

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 to 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 forward.

Marion continues to SCREAM, clawing at the hand.

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.

INT. STATION WAGON

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

POV THROUGH Windshield

The windshield is completely obliterated by rain.

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, opens
the driver’s door and scrambles out.

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.

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.

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 taillights.

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

FADE OUT:

FADE IN TO:

BLACK SCREEN. SUPERIMPOSE:

HADDONFIELD

OCTOBER 31, 1978

DISSOLVE TO:

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 key
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.

TRACKING SHOT — LAURIE

CAMERA MOVES with Laurie as she walks down the residential
street. She carries a large bundle of schoolbooks in her
arms. Across a backyard TOMMY DOYLE, an eight-year-old boy
with tousled 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 up 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.

INT. MYERS HOUSE — THROUGH WINDOW

Through a front 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.

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 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…

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
(sings, continuing)
Just the two of us…
So close to me…

CUT TO:

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 forties. 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 pulls away from the sanitarium.

Wynn watches him go, then hurries back into the building.

CUT TO:

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

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

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.

ANGLE ON LAURIE

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

ANGLE ON NOTEBOOK

We see Laurie draw:

LAURI STRODE
TEACHER (V.O.)
(continuing)
Edwin, how does Samuel’s view of
fate differ from that of Costaine?

ANGLE ON LAURIE

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

LAURIE’S POV — STREET

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

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.

LAURIE’S POV — STREET

The shape and the station wagon are gone.

ANGLE ON LAURIE

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

ANGLE ON NOTEBOOK

She has written:

“LAURIE STRODE IS LONELY”

CUT TO:

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 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…
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.

LOOMIS’ POV — HIGHWAY

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

HADDONFIELD 73 MILES

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

EXT. GAS STATION

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

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.

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.

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.

ANGLE ON LOOMIS

He picks up the cigarette pack.

CLOSE SHOT — CIGARETTE PACK

Stuck in the cellophane of the crushed pack are matches:

“The Rabbit in Red Lounge — Entertainment Nightly.”

EXT. GAS STATION

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

CUT TO:

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 pumpkins and orange and black streamers, some
carry Jack-o’-lanterns.

Tommy Doyle comes out of the door carrying a very large
pumpkin. He is followed by 3 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 Boogeyman!

The other boys join in the chant.

BOYS
(in unison)
The Boogeyman, the Boogeyman, the
Boogeyman…

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

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 arm’s 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 2 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 pumpkin off his shirt and pants.

We TRACK WITH THE shape to a station wagon. On the side of
the door is a state emblem.

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.

POV FROM WINDOW

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

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

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
(continuing)
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 boy’s 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 baby-sitting
tonight.

LYNDA
The only reason she baby-sits is
to have a place to…

Laurie suddenly stops and turns 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.

LAURIE’S POV — STATION WAGON

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

ANGLE ON GIRLS

LYNDA
Isn’t that Davon Graham? He’s
cute.

LAURIE
don’t think so…I

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.

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.

ANGLE ON GIRLS

ANNIE
(yells after the car)
Speed kills!

POV — STATION WAGON

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

ANGLE ON GIRLS

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

POV — STATION WAGON

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

ANGLE ON GIRLS

LAURIE
Annie, some day you’re going to
get all of us 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:

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.

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.

ANGLE ON LAURIE — ANNIE

LAURIE
Look.

ANNIE
Look where?

LAURIE
Behind that bush there.Annie looks.

POV — MOVING SHOT — BUSHES

The shape is gone. Just bushes.

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
(continuing)
Laurie, my dear, he wants to talk
to you.

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

ANNIE
(continuing)
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 baby-sitting 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
(continuing)
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 starting
down the sidewalk again, CAMERA TRACKING WITH HER. A strong
wind rises and blows her hair in front of her face. Again
she turns around and glances back down the street.

LAURIE’S POV — BUSHES

There is still nothing there.

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
Excuse me, Laurie.

LAURIE
Mister Brackett…

BRACKETT
Didn’t mean to startle you.

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.

EXT. LAURIE’S HOUSE — DAY

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

LAURIE’S POV — TRICK-OR-TREATERS

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

ANGLE ON LAURIE

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

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.

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 curtains
through the open window. Laurie crosses to the window and
leans up to close it.

LAURIE’S POV — BACKYARD

From her room in the second story, Laurie can see into the
backyard 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.

ANGLE ON LAURIE

She freezes and stares down fearfully.

LAURIE’S POV — BACKYARD

The sheets continue to twist and turn in the wind, but now
the shape is gone.

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
(continuing)
Hello?

There is a SOUND from the receiver, like chewing…

LAURIE
(continuing)
Who is this?

The chewing continues. She slams the receiver 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:

EXT. GRAVEYARD — DAY

WIDE SHOT of an old graveyard on a windy hillside. CAMERA
BOOMS DOWN as a car pulls 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 through the graveyard,
winding around headstones and flowers.

TAYLOR
(continuing)
Every town has something like this
happen. I remember a guy over is
Russellville. Charley Bowles. About
fifteen years ago, he finished
dinner, excused himself from the
table, went out into the garage
and got a hacksaw, 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…

Taylor 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
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 out across the graveyard.

LOOMIS
He came home…

CUT TO:

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 tote bag with schoolbooks and knitting needles
stuck inside, and a large pumpkin. The sun is a pale glow
behind the trees.

Laurie turns her gaze down the street

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.

ANGLE ON LAURIE

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

ANNIE
Hurry up.

Laurie walks around to the passenger door and gets in.

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
(continuing)
You still spooked?

LAURIE
I wasn’t spooked.

ANNIE
Lies.

LAURIE
I saw someone standing in Mr.
Riddle’s backyard.

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
(continuing)
What’s the pumpkin 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
Dementia.
(cont’d)
Six straight hours of horror movies.
Little Lindsey Wallace won’t know
what hit her.

EXT. HADDONFIELD SQUARE — DUSK

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

INT. ANNIE’S CAR

Annie points up ahead and quickly hides the joint.

ANNIE
My dad!

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.

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.

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 in 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 to Brackett.

BRACKETT
You’re going to be late at the
Doyle’s, Annie.

ANNIE
(unable to hear
over the alarm)
Huh?

Just as Brackett is about to speak the alarm goes 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 & 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 with 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 there.

CUT TO:

EXT. MOON — NIGHT

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

EXT. RESIDENTIAL STREET — NIGHT

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

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’s 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 Wallace’s.

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,
stand in the doorway framed by the hall light. Out of the
garage comes the Wallace’s 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.

ANGLE ON WINDOW

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

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

CUT TO:

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.

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 forth against the house in the wind.

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 Brackett 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
(continuing)
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.

INT. MYERS BEDROOM

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

LOOMIS
It happened in here.

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

LOOMIS
(continuing)
She was sitting here when he came
through the door.

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

LOOMIS
(continuing)
He must have watched them through
this window…

LOOMIS’ POV — WINDOW

CAMERA SLOWLY TRACKS IN toward the window.

ANGLE ON LOOMIS

Loomis stops by the window.

LOOMIS
(continuing)
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
(continuing, 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 him 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, 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:

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 knight 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, what’s the Boogeyman?

The phone RINGS in the other room. Laurie goes to answer
it.

She picks up the receiver in the den.

LAURIE
Hello.

INT. DOYLE 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
Oops! Hold on a minute…

She turns and reaches for Lester uncertainly.

ANNIE
Hi Lester…

Lester GROWLS at her menacingly.

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

Lindsey trots into the room.

ANNIE
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.)
(into 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 THE 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.

INT. DOYLE LIVING ROOM

Tommy walks to the front window and looks out.

TOMMY’S POV — STREET

A couple TRICK-OR-TREATERS walk by.

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

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 room
window looking out. Tommy moves away from the window. PAN
BACK to see him enter the den and pull on Laurie’s blouse.

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
(panicked)
Annie!

TOMMY
Laurie, the Boogeyman is outside.
Look!

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

LAURIE’S POV — STREET

The street is empty.

ANGLE ON LAURIE — TOMMY

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

Tommy runs out of the den.

INT. DOYLE HOUSE – LIVING ROOM

Tommy dashes up to the front window and looks out.

POV — STREET

We SEE the man as he passes under a streetlight on his way
toward the Wallace house.

CUT TO:

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.

POV FROM OUTSIDE KITCHEN WINDOW

The shape stands close to CAMERA watching Annie make
popcorn.

She puts the butter in the pan.

ANNIE
(continuing)
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
(continuing)
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.

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..

INT. WALLACE HOUSE

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

POV OUT KITCHEN WINDOW

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

ANGLE OF ANNIE

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

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.

ANGLE ON DOG

From the darkness of the backyard Lester springs forward
into CAMERA, SNARLING and BARKING viciously.1

ANGLE ON SHAPE — DOG

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

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.

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:

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 Boogeyman?

LAURIE
There’s 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 believe.

Richie was trying to scare you.

TOMMY
I saw the Boogeyman. I saw him
outside.

LAURIE
There was no one out there.

TOMMY
There was.

LAURIE
What did he look like?

TOMMY
The Boogeyman!

LAURIE
We’re not getting anywhere. All
right, look, Tommy. The Boogeyman
can only come out on Halloween
night, right?

TOMMY
Right.

LAURIE
And I’m here tonight and I won’t
let him get 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.

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.

ANOTHER ANGLE — PASSAGEWAY

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

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!

ANGLE ON DOOR

The door creaks open. Behind the door we see the outline
of the shape standing there.

ANGLE ON ANNIE

Annie turns toward the slightly opened door.

ANNIE
Hello?

Silence.

ANNIE
(continuing)
Who’s there?

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

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!

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.

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
Lindsey! Lindsey, goddamn it, help!

From the house Annie hears the phone ring.

ANNIE
(continuing)
Lindsey, answer the phone! It’s
Paul! Lindsey! LINDSEY!

INT. WALLACE HOUSE

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

LOOMIS
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 its 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 115

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

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.

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!

INT. WALLACE HOUSE

As Annie and Lindsey walk back inside 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 here.

Lindsey sets down the receiver 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
(continuing)
That’s fantastic! When did they
leave?
(pause)
Utterly fabulous! So why don’t
you just walk over?
(pause)
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 not true. I think about
lots of things. Why don’t we not
stand here talking about 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
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:

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 Doyle’s. The wind blows
strong and whips the negligee around Annie’s lets.

ANOTHER ANGLE — STREET

As the girls make their way down the street. The shape
steps into the glow of a streetlight and watches them. He
pulls a large knife from his pocket. The blade glistens in
the light.

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 see the TV on 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.

EXT. WALLACE HOUSE — GARAGE — NIGHT

Annie hurries across the backyard 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
(continuing)
No keys, but please… my Paul.

Quickly she turns and walks out of the garage.

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
(continuing)
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.

INT. GARAGE

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

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 grotesque
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.

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:

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.

BEHIND CURTAIN

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

TOMMY’S POV — WALLACE BACKYARD

The figure of a man carries what seems to be a body across
the Wallace’s backyard.

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
Boogeyman!

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 Boogeyman!

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
Boogeyman. 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:

EXT. MYERS HOUSE — NIGHT

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

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

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
Bullsh*t.

RONNIE
I’m not!
Then go in.

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

ANGLE ON LOOMIS

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

LOOMIS’ POV — OLD HOUSE — STREET

Lonnie 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

ANGLE ON LOOMIS

Loomis quietly stands up behind the hedge.

LOOMIS
Lonnie…

LOOMIS’ POV — OLD HOUSE

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

ANGLE ON LOOMIS

LOOMIS
Get your ass away from there!

LOOMIS’ POV — OLD HOUSE — STREET

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

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,
parking, 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, its 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 that 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:

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.

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 Lindsey’s clothes off.
I think I’ve got it.

LYNDA
Totally…

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.

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.

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 through 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 Tommy and Lindsey making scary noises.
The procession continues through the house.

TOMMY
Oooooo… He’s gonna get you.

LINDSEY
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 windowsill. She looks down the
street toward the Wallace’s.

LAURIE’S POV OF THE WALLACE HOUSE

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

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 the 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.

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
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 Lindsey 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
(continuing)
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.

INT. DOYLE HOUSE — NIGHT

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

LAURIE’S POV — WALLACE HOUSE

It is dark.

ANGLE ON LAURIE

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

CUT TO:

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 sheet falls away from her,
showing a very beautiful 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
Should we answer it?

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 have to 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.

INT. WALLACE KITCHEN

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

Bob gathers the food and beer into his arms. He shuts out
the light with his elbow. He turns to leave the doors.
WHAM! He steps into a chair, knocking him backwards. The
beer falls on the floor along with the chips and peanuts.
Bob leans down to pick them up.

BOB
Goddammit!

ANOTHER ANGLE 153

Bob has his head down, intent on cleaning up the mess.There
is a SLAM from across the kitchen. Bob looks up.

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 its hinges as it swings back and forth.

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.

BOB’S POV — BACKYARD

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

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
(continuing)
All right, 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 in 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.

ANGLE ON BOB’S FEET

Bob’s feet leave the floor.

ANGLE ON BOB’S FACE

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

ANGLE ON SHAPE

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

ANGLE ON WALL

Still holding him up with one hand the shape SLAMS Bob
against the wall, holding him up 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:

INT. WALLACE BEDROOM

Lynda lounges on 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.

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
(continuing)
Cute, Bob. Real cute.

The ghost doesn’t answer.

ANOTHER ANGLE — LYNDA AND GHOST

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

LYNDA
(continuing)
Come here, you fool.The ghost
doesn’t answer. He continues to
stare at Lynda. Can’t I get your
ghost, Bob?

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

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

Nothing. The ghost just stands there.

LYNDA
(continuing)
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 candle light. She walks over to the phone.

LYNDA
(continuing)
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.

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.

INT. WALLACE BEDROOM

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

INT. DOYLE HOUSE

Laurie answers the telephone.

LAURIE
Hello.

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.

INT. DOYLE HOUSE

LAURIE
Hello?

Laurie hears SQUEALS, and rustling sounds across the phone.

LAURIE
(continuing)
All right, Annie! I’ve heard your
famous chewing, now I get your
famous squeals?

Laurie continues to hear weird SOUNDS.

LAURIE
(continuing)
Annie?

INT. WALLACE BEDROOM

Lynda tries to fight off the ghost. He wraps the cord around
the neck. He pulls tight. Lynda reaches up and pulls on
the sheet. It slides off of 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 receiver and puts it to his ear.

INT. DOYLE HOUSE — ANGLE ON LAURIE

LAURIE
Annie, Annie! Are you all right?

Silence over the phone.

LAURIE
(continuing)
Are you fooling around again?

Silence.

LAURIE
(continuing)
I’ll kill you if this is a joke!

More silence.

LAURIE
(continuing)
Annie…

Suddenly the phone goes dead.

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

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.

ANGLE ON LAURIE

She stares at the house, puzzled.

LAURIE’S. POV — WALLACE HOUSE

Then the light goes off.

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.

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.

INT. DOYLE HOUSE

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

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.

INT. DOYLE HOUSE — LIVING ROOM

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

LAURIE’S POV — WALLACE HOUSE

Dark and silent.

ANGLE ON LAURIE

She steps to the front door.

CUT TO:

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.

LOOMIS’ POV — STREET — STATION WAGON

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

ANGLE ON LOOMIS

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

LOOMIS’ POV — STREET — STATION WAGON

The lone car is Loomis’ station wagon.

ANGLE ON LOOMIS

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

CUT TO:

EXT. STREET — NIGHT

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

LAURIE’S POV — WALLACE HOUSE — MOVING SHOT

MOVING SHOT TOWARD THE WALLACE HOUSE, DARK AND OMINOUS

MOVING SHOT — LAURIE

She moves down the street, shivering in the chill wind.

She puts the key to the Doyle house in her pocket.

LAURIE’S POV — WALLACE HOUSE — MOVING SHOT

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

MOVING SHOT — LAURIE

She picks up her speed now up the sidewalk.

LAURIE’S POV — WALLACE HOUSE — MOVING SHOT

The house looms closer and closer.

CUT TO:

EXT. STREET — NIGHT

TRACKING SHOT with Loomis as he walks up the street.

LOOMIS’ POV — STATION WAGON

The station wagon moves closer.

MOVING SHOT — LOOMIS

He recognizes it and races forward.

LOOMIS’ POV — STATION WAGON

CAMERA TRACKS IN to the station wagon, right up to the state
emblem emblazoned on the side.

CUT TO:

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.

LAURIE’S POV — BOB’S CAR

Bob’s car sits there on the street.

ANGLE ON LAURIE

She turns and walks through the breezeway between the house
and the 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.

INT. WALLACE KITCHEN

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

LAURIE
Annie?

No answer.

LAURIE
(continuing)
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
(continuing)
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
(continuing)
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
(continuing)
All right, meatheads. The joke is
over.

Silence.

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

A SCRAPING SOUND, then silence.

LAURIE
(continuing)
You’ll be sorry.

Slowly Laurie starts up the staircase.

CUT TO:

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 forth at
the rows of houses on either side for something out of
place.

CUT TO:

INT. WALLACE HOUSE — NIGHT

SLOWLY TRACKING up the staircase.

MOVING SHOT — LAURIE

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

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.

ANGLE ON LAURIE

She moves for the door, CAMERA TRACKING WITH HER.

LAURIE’S POV — DOOR

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

The door swings open.

A Jack-o’-lantern casts an eerie glow around the room.
There is someone lying on the bed but from this position
Laurie can’t see.

ANGLE ON LAURIE

She moves forward toward the bed.

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 Myer’s tombstone.

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.

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.

INT. SECOND FLOOR HALLWAY

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

ANGLE ON LAURIE — CORNER (LIGHTING EFFECT)

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

CLOSE SHOT — LAURIE’S BACK — HAND

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

CLOSE SHOT — LAURIE

She SCREAMS and spins around.

ANGLE ON SHAPE

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

ANGLE ON LAURIE

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

ANGLE ON SHAPE

He lunges at her suddenly with the knife.

ANGLE ON LAURIE — TOP OF STAIRCASE

The knife slices across her arm, ripping her flesh.

Laurie suddenly jumps backward, raising her arm
instinctively.

ANGLE ON RAILING.

Laurie bumps back into the railing.

ANGLE ON SHAPE

He lunges again with the knife.

ANGLE ON LAURIE

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

LAURIE’S POV

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

ANGLE ON LAURIE

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

POV STAIRCASE

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

ANGLE ON LAURIE

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

ANGLE ON STAIRCASE

The shape races down the stairs.

ANGLE ON LAURIE

She moves for the kitchen. She trips on the fallen lamps
and falls to the floor.

ANGLE ON SHAPE

The shape steps into the living room, knife raised.

ANGLE ON LAURIE — KITCHEN

She crawls to the kitchen, rolls inside and 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.

Laurie reaches the back door.

ANGLE ON DOOR

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

ANGLE ON LAURIE

Desperately she tries the door, glancing behind her.

ANGLE ON SHAPE

The shape’s hand reaches for the lock.

ANGLE ON LAURIE

She steps back from the door into the kitchen.

LAURIE’S POV — KITCHEN WINDOW

She sees the kitchen window over the sink.

ANGLE ON LAURIE

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

ANGLE ON SHAPE

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

ANGLE ON LAURIE — KITCHEN WINDOW

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

ANGLE ON SHAPE

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

ANGLE ON LAURIE

She drags herself roughly out the window.

CLOSE SHOT — WINDOW

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

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.

LAURIE’S POV — WALLACE HOUSE

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

ANGLE ON LAURIE

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

LAURIE’S POV — DOOR

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

ANGLE ON LAURIE

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

LAURIE’S POV — DOOR

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

ANGLE ON LAURIE

The porch light goes out.

LAURIE
No! No! Please, open the door!

She turns around and looks back.

LAURIE’S POV — WALLACE HOUSE

Nothing. No sign of the shape.

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.

EXT. DOYLE HOUSE

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

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

LAURIE’S POV — STREET

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

EXT. DOYLE HOUSE

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

Laurie SCREAMS with frustration and glances back at the
street.

LAURIE’S POV — STREET

The shape walks slowly down the middle of the street, right
toward her!

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.

ANGLE ON UPSTAIRS WINDOW

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

TOMMY
Who is it?

ANGLE ON LAURIE

LAURIE
Tommy, let me in!

She looks back at the street.

LAURIE’S POV — STREET

The street is empty. The shape is gone.

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.

INT. DOYLE HOUSE 259

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 Boogeyman, 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.

LAURIE’S POV — KITCHEN

From the living room we see into the kitchen. The back
door is open.

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.

CLOSE SHOT –KNITTING NEEDLES

Her hand brushes against the knitting needles protruding
from her tote bag.

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.

ANGLE ON COUCH

The blade of the butcher knife THUMPS into the couch.

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 in a heap on the floor.

Laurie sits there.

The shape doesn’t move.

Laurie begins to cry again, harder and harder.

CUT TO:

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 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:

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.

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
(continuing)
Now I want you to change your
clothes, Tommy. We’re going to
take a walk outside.

TOMMY
Was it the Boogeyman?

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 Boogeyman.

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.

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.

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.

ANGLE ON CLOSET DOOR

The door buckles inward as the shape SMASHES against it.

ANGLE ON LAURIE

She twists the top of the hanger, unwinding the wire.

ANGLE ON CLOSET DOOR

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

ANGLE ON LAURIE

She unhooks the hanger and bends it out straight.

ANGLE ON SHAPE

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

ANGLE ON LAURIE

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

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.

ANGLE ON LAURIE

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

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.

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.

LAURIE’S POV — SHAPE

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

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
(continuing)
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 guides the children carefully across the
bedroom to the door and ushers them outside.

She watches for a moment as they walk down the stairs,
then slumps down against the door frame in an exhausted
heap.

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.

ANGLE ON LOOMIS

He watches the children with a puzzled frown.

LOOMIS’ POV — TOMMY AND LINDSEY

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

ANGLE ON LOOMIS

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

CUT TO:

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 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.

CLOSE SHOT — LAURIE

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

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.

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 finger ripping at his mask. She pulls it off over his
face, wriggles out of his grip and turns around.

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.

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.

ANGLE ON LOOMIS

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

ANGLE IN HALL

Michael slowly gets 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.

EXT. DOYLE HOUSE — UP ANGLE

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

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 Boogeyman…

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.

LOOMIS’ POV — BACKYARD

He looks down at the spot where Michael should be, but
there is nothing there, just a trampled patch in the grass.

ANGLE ON LOOMIS

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

LOOMIS’ POV

The backyard, 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

Movie  | Film Script: Halloween

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