HALLOWEEN
a screenplay by John Carpenter and Debra Hill
- - -
1 MAIN TITLE SEQUENCE
OPEN on a black screen. SUPERIMPOSE in dark red letters:
HALLOWEEN
FADE IN TO:
Darkness, with a SMALL SHAPE in the center of the screen. As MAIN
TITLES CONTINUE OVER, CAMERA SLOWLY MOVES IN ON the shape.
We get closer and closer until we see that the shape is a HALLOWEEN
MASK. It is a large, full-head platex rubbe
walls and roof.
Behind a partially drawn curtain in the kitchen, a naked
lightbulb hung from the rafters illuminates a bank of
compact FIELD RADIO EQUIPMENT, MAPS and AERIAL
PHOTOGRAPHS. Otherwise the rooms are primitive and
stand out in stark contrast to this high-tech invasion.
Philips and Schaefer enter the room.
(CONTINUED)
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wall. Laid out on the benches in neat rows are
dozens of plastic bags - some filled, some unfilled. Instruments
on trays - various types of tweezers, scissors and other less
familiar utensils. Round, stainless steel containers filled
with hairs of differing lengths and other body matter.
JEROME approaches another man slumped over one of the benches.
EUGENE. He clutches an empty vodka bottle. He i
The dense, lush rain forests of the eastern slopes of the Andes, the place known as "The Eyebrow of the Jungle". Ragged, jutting canyon walls are half-hidden by the thick mists.
The MAIN TITLE is followed by this:
"PERU"
A narrow trail across the green face of the canyon. A group of men make their way along it. At the head of the party is an American, INDIANA JONES. He wears a short leather jacke
wallow of juice, dabs his mouth with a
napkin, picks up his briefcase and heads to a back door.
NICHOLAS
(without looking)
Thank you.
ILSA
Have a nice day.
EXT. VAN ORTON MANSION, BACKYARD -- MORNING
Nicholas walks down a garden pathway to a three-car garage.
He looks at his Rolex.
CUT TO:
INT. NICHOLAS BENTLEY -- MORNING
Bentley Continental Coupe. Quiet. Nicholas drives, begins
humming, barely a
KNIGHT MOVES
by
Brad Mirman
PROPERTY OF KNIGHT MOVES PRODUCTIONS
(third draft)
_ 1
FADE IN:
INT. AUDITORIUM - 1972 - DAY
TWO BOYS sit on opposite sides of a chessboard. One is NINE,
the other FOURTEEN. The room is SILENT, the tension between
the two young players severe. All the ADULT PLAYERS that have
been eliminated from this match by the two boys stand around
watching. On the wall is a BANNER
wall in front of the
other.
??
CUT TO:
??
4 REAL WORLD 4
??
Screen of a video game, the Real World version of light cycles,
as we see one of the lines smash into another and disappear.
??
5 THE REAL WORLD 5
??
We see teenagers, strangely lit from below with bluish light,
their hands on electronic controls, levers, knobs. We HEAR
electronic beeping and popping.
??
6 ELECTRONIC WORLD 6
??
Futuristi
WALL SHATTERS, FALLING AWAY IN FRONT OF HIM. IN THE SHOCK -
BOND LOSES HIS GRIP ON THE FIRST ICE PICK -
And 007 is now dangling, 575 feet in the air, staring at a torrent of
water - hanging only by the leather thread around his wrist, attached
to the first ice-pick, still embedded in the wall.
Bond pauses. Thinks. And coolly begins to swing himself back and
forth, in widening arcs, like a clocks
Stars in the black of space. PAN DOWN to sapphire blue sky, the brighter stars still shining through. Its Arctic midnight, the weak sun tiny on the distant horizon. We skim along the water, in and around looming glacial cliffs-- The top of an iceberg pushes through the waters surface. Carved into the ice is a single mammoth word:
G o d z i l l a
We continue past, along the ocean, and discover:
wall hangings.
As the TITLE appears, the noise mounts, drowning out the
VOICES, agitated, becoming violent, banging... inhuman.
FADE IN:
EXT. HOUSING PROJECT, CHARLESTOWN, MASSACHUSETTS - DAY
ON a housing project in the industrial outskirts of Boston.
The BANGING seems to flutter away, leading us along,
searching... to a tiny balcony, one of dozens, ten stories
up. And there, the source of the so