FADE IN:
EXT. A CLEAR, STAR-FILLED SKY -- NIGHT
CREDITS PLAY OVER:
CLOSE-UP on a bright full moon, close enough to see craters
and mares. It fills much of the view. Slowly, as the CREDITS
ROLL, wisps of cloud begin scudding across the moon, lending
a faint air of foreboding to an otherwise limpid evening.
MUSIC slowly becomes AUDIBLE in the BACKGROUND. It is being
played on instruments of 200 years ago--fiddle, squeeze-box,
clavichord. It is a lively tune from that era, a jig.
SLOWLY DROP DOWN and PULL AWAY from the moon to show a wider
field of vision. That view is a sprawling expanse of wooded
hills and dales. SLOWLY MOVE IN until a small rural village
is revealed, tucked into the hills and dales. Center on and
move toward a large, elegant home garlanded for celebration.
As the house looms larger, from inside it comes the SOUNDS
of a rollicking, boisterous party. The MUSIC grows LOUDER
and voices become audible, LAUGHING and TALKING as children
SHRIEK and SQUEAL. Everyone is having a high old time.
The CREDITS END as the CAMERA MOVES IN toward a large picture
window in front of the house. After the FINAL CREDIT appears,
a brief pause follows, then one last bit of WRITING comes up
in big block letters that are different from the credit font.
"TARRYTOWN, NEW YORK -- ALL HALLOW'S EVE -- 200 YEARS AGO"
That remains ONSCREEN long enough for small children to read
it--or be told what it means--as the CAMERA MOVES INTO the
house through the window it has been slowly approaching.
INT. THE VAN TASSELL HOME -- NIGHT
Inside the house the party is a busy swirl of movement and
activity. Everyone is dressed in attire of the period.
MEN are in tailcoats of varying dark shades, knee-length
breeches, calf stockings, hightop shoes with big buckles,
lacy white shirts with frilled cuffs and high collars, and
colorful cravats puffed up from waistcoats under tailcoats.
-----------------------------------------------------------------------------------------------------
2.
WOMEN wear tight-topped, wide-bottom gowns that blossom out
from a multitude of undergarments (slips and hoops). CHILDREN
wear much less formal variations of those two styles.
ANGLE ON ICABOD CRANE
Standing off to one side, along a wall, is ICABOD CRANE,
dressed in his finest attire. The pewter buckles on his belt
and shoes are large and eye-catching. The centerpiece of his
outfit is his BRONZE CRAVAT PIN, which is large and curled
and shaped like a rose. But all of it is for naught.
Though not as tall, as thin, or as gangly as history has
portrayed him, he is a wallflower. Instead of being in the
thick of the dancing, Icabod looks miserable as he watches
beautiful KATRINA VAN TASSELL dance with roguish BROM BONES.
ANGLE ON BROM AND KATRINA
Brom wheels and turns and cuts up on the dance floor, to the
clear delight of Katrina and the OTHER GUESTS at the party.
When the MUSIC finally ENDS and the dance is over, Brom is
reluctant to stop his antics, while Katrina fans her face
with her hands, showing she has had enough for a while.
ANGLE ON ICABOD
The INSTRUMENT PLAYERS take a short breather. A SERVANT passes
in front of Icabod with a tray carrying cups of liquid. Icabod
grabs two cups and steps forward to offer one to Katrina.
ICABOD
Dearest Katrina, will you spend but
a few minutes with me this evening?
Brom Bones has taken all your time!
Though plainly not anxious to leave the fun, there is also a
look of pity in Katrina's eyes as she gazes at the awkward
young man so obviously smitten by her.
She glances over her shoulder and sees Brom accepting kudos
from other dancers for his antics. She knows he won't miss
her. Still fanning her face, she nods to Icabod.
KATRINA
A respite from dancing would be nice.
(drains her cup)
Shall we walk in the garden?
-----------------------------------------------------------------------------------------------------
3.
EXT. VAN TASSELL GARDEN -- NIGHT
The sounds of the party are much fainter out here, only the
CHILDREN scurrying underfoot, like rodents, ignoring adults
as they play their games of tag and chase among the bushes.
Icabod and Katrina stroll in almost painful silence as the
shy schoolteacher tries to work up the nerve to express what
is in his heart. Katrina sees his trouble and tries to help.
KATRINA
It is a lovely evening, is it not?
For All Hallow's Eve, I mean.
ICABOD
Yes, weather at this time of year
can sometimes be dreadfully cold.
There is another pause, so Katrina tries again.
KATRINA
Tonight I have heard people say that
you are a wonderful teacher. Many of
your students speak highly of you.
ICABOD
I love children. Someday I hope to
be a good father to several.
KATRINA
I am sure you will be. You are kind
and gentle...ideal father material.
Seizing that opening, desperate Icabod grabs Katrina's hand,
drops to one knee, and looks up at her beseechingly.
ICABOD
My dearest, dearest Katrina...as you
know, I am humble and without wealth--
Realizing what is coming, she lifts her hand to cut him off.
KATRINA
Before you say more, Icabod, there
is something I must tell you. Brom
has asked for my pledge, and I have
given it to him. We wed next spring.
ICABOD
(stunned)
You have pledged to Brom Bones....?
KATRINA
I wanted to tell you now so you could
share in our happiness.
-----------------------------------------------------------------------------------------------------
4.
Icabod does nothing of the kind. Rising up from his knee, he
finds the courage that has always eluded him in the past.
ICABOD
No, Katrina! I do not share in any
happiness that depends on such a...
a shiftless...conniving...practical
joker! Surely you would marry a man
of greater capacity than that!
Katrina knows how painful this is for her rejected suitor,
so she keeps trying to soften it as best she can.
KATRINA
I must follow where my heart leads,
Icabod, for I truly do love Brom.
And I believe that in due time he
will grow out of his rowdiness.
ICABOD
(shattered)
You are making a terrible mistake.
KATRINA
Only time will tell about that, my
dear friend. Now, let us rejoin the
party and share a lively dance.
ICABOD
No. I shall be returning home now.
Please convey my regards to your
parents, as well as the reason for
my early departure. I am certain
they will understand my feelings.
KATRINA
As you wish, Icabod. But you should
wait for others to leave, so you may
have riding companions. The Headless
Horseman has been seen about of late.
Before Icabod can answer, Brom Bones appears in the garden
to move beside Katrina and slip his arm around her waist.
BROM
T'is true! I have seen him myself!
And a frightful demon he is! If I
had not had my dear Katrina's love
to bolster my spirit, my heart might
have stopped beating altogether!
Katrina knows he is joking yet again and elbows him playfully.
KATRINA
Hush, Brom! Stop teasing us!
-----------------------------------------------------------------------------------------------------
5.
Icabod can no longer stand the scene before him. He puffs up
with all his offended dignity and gives forth angrily:
ICABOD
Bah! Legends do not frighten me!
This evening I shall ride through
the very middle of Sleepy Hollow and
dare the cowardly villain to appear!
KATRINA
Oh, Icabod! That is not like you.
You are a man of intellect.
BROM
Indeed, good fellow! Best leave The
Horseman to those with the courage
to meet his challenge.
That insult infuriates Icabod. He glares at Brom, then pulls
a black, side-pommed riding cap from a low frock coat pocket,
pulls it onto his head, turns on his heels, and stalks away.
ICABOD
(as he goes)
That is one challenge I hope to meet!
Katrina and Brom are left standing in the garden, holding
onto each other and GIGGLING behind the departing guest.
EXT. THE WOODS OF SLEEPY HOLLOW -- NIGHT
CLOSE-UP of an OWL's face, staring vacantly and wide-eyed.
Then its eyes blink and its head turns around in the full-
circle way owls can do. It looks at Icabod riding along on
his old horse, DAISY, a gray mare who walks as he talks.
ICABOD
You know, Daisy, if I could talk to
Katrina the way I talk to you, she
would marry me rather than Brom Bones.
After all, I am a man of intellect,
as she said...not to mention culture,
good humor, and fair disposition.
(discouraged)
Of course, as Brom implied, I do
lack courage. That is fair to say--
He stops talking as Daisy WHINNIES and tosses her head around.
ICABOD (CONT'D)
What's wrong, girl? Do you smell
something? A skunk, perhaps?
-----------------------------------------------------------------------------------------------------
6.
Suddenly, he thinks of something else and his eyes widen. He
leans over in his saddle, down near Daisy's ear, to WHISPER.
ICABOD (CONT'D)
Not a bear! Is there a bear about?
A second past that consideration, he thinks of the real danger
in this area. He GASPS LOUDLY and bolts upright in his saddle.
ICABOD (CONT'D)
(said loudly)
Not the--!
He cuts himself off and finishes in a ragged, fearful WHISPER.
ICABOD (CONT'D)
...Headless Horseman?
Now truly afraid, Icabod stares wide-eyed at everything around
him. What had been a pleasant ride under a bright full moon
has become a dangerous excursion filled with the possibility
of danger behind every tree, bush, and stone.
When he speaks to Daisy now, every word is an anxious MURMUR.
ICABOD (CONT'D)
I know your nose is good, dearest
Daisy...but is it that good? Can you
truly smell a demon from Hell?
Suddenly, Daisy SNORTS LOUDLY and breaks into a canter,
leaving Icabod to jostle along loose in the saddle until he
can get himself reseated and settled to her freshened pace.
ICABOD (CONT'D)
Oh, dear! This is bad news! Oh, dear!
(settles himself)
What can I do if the Horseman appears?
Throw myself on his mercy? Yes! But...
do demons show mercy? Can they even
understand the concept of mercy?
(frustrated)
I wish I had paid stricter attention
to sermons on this subject! It is
just what I tell my students: you
never know when you might need--
Daisy stops as Icabod's nervous scanning comes to the front
and his eyes focus on the open crown of a low bluff ahead.
ICABOD (CONT'D)
Aaaaiiiieeeeeee!
-----------------------------------------------------------------------------------------------------
7.
ANGLE ON THE HORSEMAN
There, on top of the bluff, clearly outlined by the bright
full moon above and behind him, is...THE HEADLESS HORSEMAN!
Dressed all in black, the "demon" sits astride a big HORSE
as dark as a midnight shadow. Draped across broad shoulders
is an equally big, equally dark, loose-in-front cape. Nestled
in the crook of his right arm is a fiendishly carved pumpkin.
Seeing Icabod and Daisy have spotted him, the demon lets out
an oddly muffled, unearthly LAUGH, deep and loud and long,
as he lifts his pumpkin "head" high up over the place where
his "missing" head should be. Then his horse rears up and
holds the pose, forelegs windmilling as it WHINNIES LOUDLY.
ANGLE ON ICABOD AND DAISY
Without prompting, Daisy wheels and starts GALLOPING in the
other direction, which takes stunned Icabod by surprise. He
has to hang on for dear life, HOWLING at Daisy more than at
The Horseman taking up the chase behind his back.
ICABOD
Ahhhoooo! Careful, girl! But ruuuuun!
Icabod desperately struggles to get his feet back in his
saddle's stirrups and Daisy's reins back in his hands. He's
not a bad horseman, but until he gets his equipment back in
hand, he looks as inept and doltish as history portrays him.
When he finally gets re-seated and re-reined, he urges Daisy
on of his own accord. Then he dares a look over his shoulder
and--sure enough--The Horseman is there, fifty yards behind,
galloping forward like a huge, dark roll of thunder. Icabod
HOWLS again and redoubles his urgings to Daisy.
ICABOD (CONT'D)
Ahhhhooooo! Faster, girl! Faster! If
we're caught, we're finished! Faster!
NOTES ON THE CHASE FOLLOW IN BRACKETS IN ITALICS
[This is meant to become a classic horseback chase. Have
them jump dead logs, splash through shallow streams, leap
small ravines, duck under overhanging limbs, go down steep
inclines (a la "The Man From Snowy River"), up loose scree
(a la "Lonely Are The Brave"), and have at least one long,
spectacular SLOW MOTION leap across an extra-wide gap. Even
if it takes hanging steadycams around the horses' necks, it
should be done. This chase can and should become a child's
equivalent of "The French Connection" car chase.
-----------------------------------------------------------------------------------------------------
8.
One other point here: horse chases always look phony and
lose credibility in the editing process. In a head-on shot
the horses are thirty or forty yards apart to have both in
view, so the gap appears slight. Then cut to a side shot and
the gap is a hundred yards! At that instant, credibility is
gone. Strict, close attention must be paid to continuity!
The spacing between Icabod and The Horseman must remain
relatively constant from shot-to-shot, while accounting for
a gradual closing of the gap through the whole sequence.]
EXT. THE CHASE THROUGH SLEEPY HOLLOW -- NIGHT
The Horseman has slowly gained ground through the chase. A
desperate Icabod keeps looking back to check the narrowing
gap, WAILING LOUDLY at each view of its diminution.
ICABOD
Wwwaaaahhhhooooo!
Finally, Daisy crests a knoll that drops away for a hundred
yards, to a covered wooden bridge across a wide stream.
ICABOD (CONT'D)
The bridge, Daisy! Gain the bridge!
We must reach it before the demon!
Icabod looks back again and The Horseman seems right on top
of him, uttering his muffled, unearthly LAUGH. Icabod WAILS
again and--realizing he is nearly done for--begins praying
for all he's worth, as hard as he's ever prayed in his life.
ICABOD (CONT'D)
Oh, Heavenly Father, please deliver
me from this demon at my back! Oh,
Heavenly Father, please deliver me
from this demon at my back! Oh....
He prays with all the piety he can muster in such strained
circumstances, while Daisy draws nearer to the bridge.
As she does, a vertical beam of BRIGHT BLUE LIGHT suddenly
appears from out of the sky above, seemingly from the moon
itself, to strike the top of the covered bridge, penetrate
it, and light its inside with a blinding haze of azure.
Icabod lifts his forearm across his eyes to shield them from
the impossibly bright light, while both horses WHINNY and
sharply draw to a halt, WHEEZING. Neither horse goes forward,
and neither rider seems anxious to urge his mount ahead.
Suddenly, The Horseman's mount recovers its courage and bolts
forward to cross the thirty yards to Icabod and Daisy.
-----------------------------------------------------------------------------------------------------
9.
Icabod is so mesmerized by the light, he makes no attempt to
urge Daisy forward. It looks as if he will just sit and let
The Horseman run him down. But then Daisy bolts forward on
her own, again loosening Icabod from his grip on the reins
and the stirrups, so he again has to cling for dear life.
Daisy barrels ahead toward the blue light filling the bridge's
covered passageway. Meanwhile, Icabod is WAILING again because
The Horseman is only a dozen yards behind him now. [For the
sake of kid's humor, Icabod's howls must be weird and funny.]
ICABOD (CONT'D)
Wwwwaaaaahhhhoooowww!
The Horseman sees his prey is trying to escape, but he is
not willing to ride into the strange blue light after them.
He reins in and lifts the pumpkin head high one more time,
just as Icabod and Daisy are enveloped by the blue light.
Daisy's hooves CLATTER LOUDLY on the bridge's wooden planks
as The Horseman throws his pumpkin into the blue haze that
just swallowed Icabod and Daisy. It disappears, followed by
a LOUD THUD!, then a SHARP MOAN, then eerie, utter SILENCE.
The Horseman waits outside, his lathered horse impatiently
stamping and chomping at its bit, anxious to continue the
chase. Suddenly, the blue light vanishes as if it were never
there, and the SOUND of Daisy's hooves resumes. The Horseman
sees her, riderless, emerge from the other side of the bridge,
barreling along the road at its other end.
Knowing Icabod must still be in the bridge, The Horseman
twitches his horse forward to investigate. Prancing and
stamping, the horse moves inside. But Icabod is nowhere to
be seen. All that remains in the bridge is Icabod's side-
pommed skull-cap and pieces of the shattered pumpkin.
The Horseman dismounts and reaches up to his missing "head"
to untie his cape. A black stocking with two small eyeholes
covers his real head, and a metal band rests where a hat
brim would. Two small boards are attached to its sides like
wings, which provide the "shoulders" the cape drapes around.
The band and dark stocking are removed to reveal Brom Bones.
Genuinely puzzled and concerned, Brom squats down, picks up
a piece of the pumpkin, examines it, then looks at his horse,
HUFFING nearby. He speaks to it as Icabod would to Daisy.
BROM BONES
Have you ever seen the likes of that?
(a beat)
Where could a light have taken him?
At that he lifts his eyes up to the inner roof of the bridge.
-----------------------------------------------------------------------------------------------------
10.
EXT. BROM'S POV LOOKING UP TO BRIDGE ROOF -- NIGHT
His view RISES up to and then THROUGH the roof, up into the
dark night sky, until again the bright full moon is in FOCUS.
HOLD FOCUS BRIEFLY, then DESCEND AGAIN as in opening sequence.
This time as the starry sky is passed, what appears is:
"TARRYTOWN, NEW YORK -- HALLOWEEN NIGHT -- THIS YEAR"
EXT. TARRYTOWN, N.Y., TODAY -- NIGHT
PAN DOWN to the same hill-and-dale area of before. Many more
houses are visible. Most are scattered, but with subdivisions
as well. They all surround several moderate-sized buildings
typical of the downtown area of a mid-sized (50,000) city.
MOVE IN ON a subdivision cut out of one of the wooded areas.
FOCUS on a Volvo station wagon cruising one of its streets.
INT. MCMILLAN STATION WAGON -- NIGHT
Mid-thirtyish PAUL McMILLAN and his wife, VERA, sit in front.
12-year-old JOE, and 10-year-old SARAH, are in back. Joe is
dressed in a SPIDERMAN costume; Sarah is dressed as "E.T."
Those costumes are the loose-fitting kind that go over their
regular clothes. They have flexible hoods that can be pulled
up and over the face when they want to be masked, and draped
down behind their necks when they want to be unmasked.
Paul and Vera are a handsome couple. They have produced
equally handsome children. They are a typical family having
a typical family "discussion" about plans for the evening.
JOE
Come, on, Mom! It's not too late!
Say we had car trouble! Anything!
VERA
That would be a lie, Joe, and you
know how your father and I feel about
lying. I'm disappointed in you for
even suggesting that.
PAUL
Listen, Joe, your mother and I know
Danny and Megan can be.... Well, I
think 'inconsiderate' is a fair word.
-----------------------------------------------------------------------------------------------------
11.
SARAH
Daddy, they're jerks! That's why
nobody ever wants to go trick-or-
treating with them! So why do you
always make us do it?
VERA
For that very reason, Sarah. They
can't go alone; someone has to go
with them; so it falls to you two
because you're such wonderful kids.
The station wagon enters a driveway as Sarah speaks.
SARAH
Never mind the flattery, Mom. It's
too late for us now. We're bagged.
She and Joe pull their masks up and on to get ready to go.
EXT. STATION WAGON IN DRIVEWAY -- NIGHT
Joe and Sarah leave the wagon carrying plastic grocery bags
for holding treats. They start moving toward the house beyond,
when Paul's window rolls down and he offers some final words.
PAUL
Thanks again for going, kids. Your
Mom and I do appreciate it.
Joe stops, leaves Sarah where she stands, then walks back to
talk confidentially to his father. When he speaks, his words
have a slightly MUFFLED quality due to the Spiderman mask.
JOE
Seriously, Dad, why do you make us
do this every year? I mean, you and
Mom don't even like the Morgans. You
never see them at all. You just drop
us off at Halloween and that's it.
Paul and Vera share a guilty look, then Paul lamely explains.
PAUL
It's like your Mom said: somebody
has to go with Danny and Megan so
they don't have to trick-or-treat by
themselves. And since you two are
the nicest kids any of us parents
know, you were...ahhh....
-----------------------------------------------------------------------------------------------------
12.
VERA
(cuts in)
Elected, dear. The other parents got
together and elected you and your
sister because you're so.... Well,
because you are so nice...honest.
Sarah has moved in behind Joe to listen, so "E.T." pipes up.
SARAH
Announcement: I'm through cleaning
my room! Please let everyone know.
PAUL
(chuckling)
Go along, now--scoot! We'll stay
here until they come to the door.
JOE
Don't bother, Dad. We'll be fine.
He and Sarah turn away and wave goodbye as they move to the
house. Paul and Vera watch them go, then Vera SIGHS happily.
VERA
He's becoming such a take-charge
little guy, isn't he?
PAUL
My worry is what she's becoming!
(remembers something,
then SHOUTS to them)
Remember, nine o'clock curfew! The
parade starts at ten! Don't be late!
Sarah and Joe wave their acknowledgement of that instruction.
They reach the front door and RING the doorbell as Paul backs
the station wagon out of the driveway, and he and Vera leave.
EXT. MORGAN HOUSE FRONT DOOR -- NIGHT
NANCY MORGAN answers the doorbell's ring. She is a plump,
round-faced woman, not even remotely friendly looking.
JOE AND SARAH
Trick-or-treat! Trick-or-treat!
MRS. MORGAN
(ignores that)
Danny and Megan wouldn't wait. They
left thirty minutes ago. They said
for you to meet them at the Baxter
House at eight. Okay?
-----------------------------------------------------------------------------------------------------
13.
Spiderman looks at E.T., then Joe speaks, haltingly.
JOE
Uh, sure...okay...but...well, you
know...the Baxter House is two or
three miles away....
SARAH
(firmly)
Over on the other side of town!
JOE
It'll take an hour just to get there.
At that point STANLEY MORGAN appears in the door behind his
wife. He is as heavy, and as unpleasant looking, as she is.
MR. MORGAN
Not if you run the whole way!
He bursts out LAUGHING, as does Mrs. Morgan, and they close
the door on the stranded kids on their doorstep.
The kids look at each other, shrug, then turn and head for
the street, MUTTERING bitterly as they go.
SARAH
It's easy to see where Danny and
Megan get their meanness from.
JOE
No wonder they left early. I wouldn't
want to hang around those two, either.
EXT. STREET IN FRONT OF MORGAN HOUSE -- NIGHT
As the kids walk along and talk, they lift their masks off
and drape them down their backs, then stuff their trick-or-
treat bags into pockets in the clothes under the costumes.
SARAH
Well, this is a good excuse to start
nagging for our own cellphones.
(looks around)
Where should we call them from?
JOE
We could probably knock on any door
around here--except the Morgan's.
(considers something)
I have a better idea. Why don't we
just walk there?
-----------------------------------------------------------------------------------------------------
14.
SARAH
Aww, Joe! That's a really long way.
Mom and Dad haven't gone far yet.
They can turn around and get us.
JOE
Yes, they can, but...
(conspiratorial)
...what if we take the shortcut?
SARAH
(aghast)
Through that old bridge! No way!
That place scares me in daylight!
JOE
(points to moon)
It's a full moon, Sarah. Plenty of
light. We won't be scared.
SARAH
Maybe you won't, but I sure will!
Joe LAUGHS at her apprehension as he starts moving away.
JOE
Come on! It'll be fun! And a real
adventure to boot! When we get to
the Baxter House and tell everyone
what we did, they'll all marvel!
This appeals to Sarah's well-honed sense of exclusivity.
SARAH
You're right...that would be choice.
EXT. A TWO-LANE GRAVEL ROAD OUTSIDE TOWN -- NIGHT
Joe and Sarah walk along, their masks still off, TALKING.
SARAH
Is it true the old covered bridge
was the one Icabod Crane got chased
into by The Headless Horseman?
JOE
Since it supposedly happened 200
years ago, I don't think anyone can
be sure about the details.
SARAH
Do you think it's true he just
vanished inside the bridge?
-----------------------------------------------------------------------------------------------------
15.
JOE
That's how Washington Irving told
it. Only his cap was left behind.
SARAH
Doesn't that strike you as weird?
JOE
Yeah...but look on the bright side.
Because it supposedly happened here,
Tarrytown makes a huge deal out of
Halloween. Everyone says we do the
best celebration of it in America.
SARAH
Does anyone ever consider that it
might not be true? That maybe the
real bridge was someplace else? Or
rotted away by now? Is that possible?
JOE
Sure, I guess so...but who cares? I
mean, Halloween is so much fun, who
cares if this is the right bridge?
SARAH
I see your point...
EXT. THE SLEEPY HOLLOW BRIDGE -- NIGHT
It is the same bridge as before, although less well-kept.
Everything around it seems larger and more imposing than it
was. The trees that flank the bridge and the streambed it
spans are larger and grow closer together than before.
Its pitch-black opening looks like the gaping maw of a peak-
topped monster lying in wait along the ground...waiting for
something--or someone--to walk inside and become a meal.
The bridge is in Joe and Sarah's sight now, fifty yards away.
She instinctively reaches out to hold his hand.
SARAH
Announcement: I really am scared!
JOE
But there's nothing to be scared of.
It's just an old--
His words are cut off by a faint, eerie, echoing MOAN that
barely reaches their ears. Sarah immediately stops walking
and speaks to Joe in a ragged WHISPER.
-----------------------------------------------------------------------------------------------------
16.
SARAH
Did you hear that?
JOE
(much less confident)
Just some animal...come on.
Sarah looks at him, he looks at her, and with no words passing
between them, they both pull their masks up over their faces.
EXT. AT THE COVERED BRIDGE'S OPENING -- NIGHT
Sarah has made it that far, but she balks at going into the
pitch-black maw that now looms large over her. Joe is ahead
of her now, standing right at the edge of the dark shadow.
JOE
It's like going into the deep end
of a swimming pool. You have to go
through the shallow end to get there.
He steps inside a few paces, disappears completely from her
view, then comes back out into the moonlight.
JOE (CONT'D)
See? Nothing to it. Now, come on,
Sarah, give it a try. Just a try....
Against her better judgment she creeps forward, taking a few
tentative baby steps into the dark. At about the fourth one
she steps on a loose board that CREAKS LOUDLY.
SARAH
Yiiiiiieeeekkkk!
She promptly scurries back out into the moonlight beyond the
opening, GASPING and PANTING. She doesn't stop to turn around
again until she is ten yards from it.
Joe steps back into the light, too--barely--leaving the big
dark opening at this back as he tries to reason with Sarah.
JOE
Come on, Sarah! It was just a loose
board creaking. Don't be such a baby!
Sarah stands her ground, shaking her head in refusal. Joe
puts his hands on his hips to show his frustration with her.
JOE (CONT'D)
Listen, we really can't go back now!
(MORE)
-----------------------------------------------------------------------------------------------------
17.
JOE (CONT'D)
We'll lose so much time, we'll have
to go straight home and miss trick-
or-treating and the Baxter House!
(enticing)
And you know how you love going to
the Baxter House on Halloween....
Sarah wavers. She takes a step forward, then stops, immobile.
SARAH'S POV -- LOW ANGLE ON JOE
Behind Joe, from out of the darkness, emerges a looming,
black-clad FIGURE with both hands up covering his eyes and
forehead. Only his mouth is visible, open and twisted into a
grimace. That grimace, however, makes the figure look like a
hell-bent ghoul preparing to pounce on Joe to savage him!
OFFSCREEN, Sarah begins to emit frantic GURGLING NOISES.
SARAH (O.S.)
Unnnnn! Huuhhh! Errrrrr!
ANGLE ON SARAH
Her eyes are wide and terrified behind the eyeholes cut in
her E.T. mask. Her GURGLING grows LOUDER and more URGENT,
but she remains physically immobile, fear-frozen in place.
SARAH (CONT'D)
Unnnnn! Huuhhhh! Errrrr!
JOE
Sarah, if you won't cross on your
own, I'm gonna come over there and
drag you across! I mean it!
The E.T. mask flails from side-to-side, and the GURGLING
behind it transforms into STRANGLED WHIMPERING.
SARAH
Ooooowwwweeee! Ooooowwwweeee!
SARAH'S POV AGAIN -- ANGLE ON JOE AND FIGURE
The dark figure looming over Joe lifts his hands from in
front of his face and puts them on the back of his head. The
grimace of mouth remains in place, but his full expression
shows he is in pain, not about to pounce on Joe.
-----------------------------------------------------------------------------------------------------
18.
It is Icabod Crane--the Icabod from earlier--eyes closed
tight as he deals with the pain at the back of his head.
ANGLES AS REQUIRED
Seeing the "ghoul's" eyes are closed, Sarah finds she can
move again. She begins bouncing up and down, making desperate
pantomime gestures to alert Joe without alerting the ghoul.
Joe watches her frantic bouncing and arm-waving, and assumes
he understands what she is trying to get across to him. [Her
gestures must be highly overblown, at a Three Stooges level.]
JOE
You should have thought of that before
we left the house....
(accepts her distress)
Okay, if you need to go that bad,
you can do it in the bushes over--
He's cut off by a low, guttural MOAN from behind his back.
He stiffens like he's been hit with a cattle prod. Without
looking back, he sprints to Sarah to cradle her in his arms.
Once he has her "safe" like that, he looks back and sees
Icabod lurching forward, weaving unsteadily on his feet,
MOANING again and still holding the back of his head.
SARAH
Shou...shouldn't we...run?
JOE
If...if you can...go ahead...my...legs
wo...won't move....
When the "ghoul" is about ten feet from the two paralyzed
kids, he cracks his eyes open and happens to focus on them.
They see that he sees them and squeeze each other tighter in
anticipation of being slaughtered, and they WHIMPER LOUDLY.
JOE AND SARAH
Oooooowwwweeeee!
From Icabod's perspective, the kids can only be considered
"demons" who emit a MOURNFUL WAIL that echoes eerily.
Hearing that, his own eyes bug out in terrified panic. He
cuts loose with a long, echoing SCREAM as he goes fleeing
away into the underbrush, HOWLING maniacally as he goes.
-----------------------------------------------------------------------------------------------------
19.
ICABOD
Aiiiiiiieeeeeee!
(as he runs)
Ahhhhooooooeeee!
EXT. THE GRAVEL ROAD OUTSIDE THE BRIDGE -- NIGHT
Joe and Sarah don't wait for explanations. They wheel around
and flee along the road, back the way they came, SCREAMING
just like Icabod as they run.
JOE AND SARAH
Aiiiiiieeeeeee!
Very quickly, though, they hear him PRAYING LOUDLY above the
branch-cracking NOISES of his passage through the underbrush.
ICABOD (O.S.)
Oh, Heavenly Father, save me from
those demons! Oh, Heavenly Father,
please save me from those demons!
Oh, Heavenly Father, please save....
Hearing that repeated a few times, Joe grabs Sarah's arm and
stops her from running, there in the middle of the road.
Still PANTING, and with Icabod's repeated prayers ECHOING in
the BACKGROUND, they discuss the situation.
JOE
He sounds really scared, doesn't he?
SARAH
Not as scared as me!
JOE
Okay, maybe not. But somehow we did
scare him as badly as he scared us.
SARAH
(erupts)
How could we scare him? He's huge!
Before Joe can respond, the TRAMPING through the underbrush
ends and Icabod cuts loose with even more FERVENT praying.
EXT. SLEEPY HOLLOW WOODS NEAR THE BRIDGE -- NIGHT
Icabod has dropped to his knees in a clearing. His hands are
vertical under his chin, palms together. His eyes are squeezed
shut against the evil upon him. His face is turned heavenward.
-----------------------------------------------------------------------------------------------------
20.
ICABOD
Oh, Heavenly Father, am I not a good
and gentle servant to thee? Do I not
obey the most golden of your rules?
Do I not uphold your commandments
with all my heart and spirit? I do!
(begins to falter)
I...I am certain I do. Although...I
must say...I cannot now recall...if
I truly do or not....
He becomes puzzled, realizing he can't recall the truth about
himself. He lifts both hands up to cradle his temples in his
fingertips, as if unable to clear a deep fog from his brain.
EXT. THE ROAD NEAR THE BRIDGE -- NIGHT
Joe has heard enough. He MUTTERS to Sarah through his mask.
JOE
I don't think he's someone we need
to be afraid of. Listen to him pray.
I think we should try to help him.
Sarah, too, is reconsidering her assessment of him. But she's
not as quick as Joe to give him the benefit of her doubt.
SARAH
I don't know...he talks really weird.
JOE
He's probably not from around here.
Joe moves off the road as Sarah cautiously falls in behind.
SARAH
Where do people who talk that weird
come from?
JOE
(takes a shot)
Quebec?
EXT. SLEEPY HOLLOW WOODS -- NIGHT
Icabod is still down on his knees in the clearing, but now
he's sagged back onto his haunches, still holding his head,
talking to himself as he tries to grapple with his situation.
-----------------------------------------------------------------------------------------------------
21.
ICABOD
Upon my oath, I cannot recall even
the most trivial detail of my life!
Not who I am, nor where I live, nor
even the day--or year! I have lost
it all! Everything! Oh, woe is me!
ANGLE ON JOE AND SARAH
By this time Joe and Sarah are off to one side, hiding behind
a bush and listening to the confused man kneeling down several
yards away. They talk to each other in quiet, careful MURMURS.
JOE
He has amnesia. We learned about it
in school. He's lost his memory.
SARAH
Are you sure he's not faking?
JOE
Who would he be faking? He doesn't
even know we're here. Besides, look
at him. He's in costume.
(decides)
I bet he was on his way to the parade,
and he had some kind of accident.
SARAH
But he could be faking! He could!
JOE
Listen, he had an accident, he has
amnesia, and we should help him.
SARAH
You know what we're always told about
talking to strangers.
JOE
We're also told to be helpful whenever
we can. This is a time to be helpful.
SARAH
Okay...but you do all the talking.
With that, the pint-sized Spiderman and the lifesized E.T.
step out from their hiding place and move toward Icabod.
Joe CLEARS HIS THROAT to announce their presence.
-----------------------------------------------------------------------------------------------------
22.
JOE
Uhhummp! Excuse us, sir, but we were
wondering if maybe you could use--
ANGLE ON ICABOD
At the SOUND of Joe clearing his throat, Icabod's eyes snap
open and he focuses on the kids. As before, he is terrified
by them. He scrambles to his feet, practically all-fouring
away from them, letting out with another echoing SCREAM.
ICABOD
Aaaaaiiiieeeeeeee!
ANGLE ON JOE AND SARAH
SARAH
Boy! What a big fraidy cat he is!
JOE
Yeah, like you have room to talk.
From OFFSCREEN comes the SOUND of a HEAVY FALL.
JOE (CONT'D)
Look! He fell!
The kids run over to where Icabod has stumbled and sprawled.
ANGLES ON ALL THREE
Icabod looks over his shoulder to see their hurried approach.
He quickly climbs to his knees to resume his praying posture.
ICABOD
Oh, Heavenly Father, please deliver
me from these demons! Oh, Heavenly
Father, please deliver me from....
SARAH
Heeeeeere we go again!
JOE
I get it! He thinks we're real! Let's
take our masks off!
As they lift their "faces" off, Icabod SCREAMS yet again.
-----------------------------------------------------------------------------------------------------
23.
ICABOD
Aaaaaiiiieeeeeee!
He then sees the harmless mien under those frightful masks
and utters a sharp GASP of relief mixed with disbelief.
ICABOD (CONT'D)
Chi...children? You are...children?
Without another word, he turns an overwhelmingly grateful
expression heavenward and resumes his prayerful posture.
ICABOD (CONT'D)
Oh, thank you, Heavenly Father, for
turning these demons into children!
Oh, thank you, Heavenly Father, for
turning these demons into children!
SARAH
(to Joe, quietly)
Do you believe this guy?
Joe steps forward bravely, right up eye-to-eye with still-on-
his-knees, still-praying-fervently Icabod.
JOE
I'm Joe McMillan and this is my
sister, Sarah. We heard what you
said about not remembering who you
are. We think you need some help.
At that, Icabod STOPS praying and dares to look at them. He
gazes hard at each, as if convincing himself they are, indeed,
children. When he gets past that mental hurdle, he reaches
out, cautiously, to touch their faces.
Sarah cringes back, but Joe stands firm to let Icabod touch
him to make sure he's real. Seeing that, Sarah steps forward
to let Icabod SCRUNCH her cheeks. She rolls her eyes at that.
When Icabod is convinced they are children, he speaks.
ICABOD
Master Joe...Missy Sarah...it is
true, upon my oath! I cannot recall
even my name. It is most upsetting!
JOE
You can't remember anything?
ICABOD
If only I could! But, alas, I cannot.
There is only a great emptiness where
my memory should be. A terrible loss!
-----------------------------------------------------------------------------------------------------
24.
Sarah has sidled around to get behind Icabod, checking out
his "costume." Suddenly, she reacts to something she sees.
SARAH
Oh, ugh! Gross! Joe, he's got the
biggest cooties you've ever seen on
the back of his head!
Joe moves around behind Icabod to take a close look, as
Icabod, still kneeling, reaches to feel behind his head.
ICABOD
Cooties? What are 'cooties'?
Joe bends close to Icabod's head to examine it carefully.
JOE
These aren't cooties. They're pumpkin
seeds!
He reaches out to pick one from Icabod's hair, which is
braided at its bottom into the short pigtail that was
fashionable in his era. When Joe touches him, he YELPS.
ICABOD
Ouch! I have a great lump there...and
much tenderness.... It makes my head
ache with the hammering of a smithy
shop.
JOE
We really should clean them off you,
sir. If you'll let us do that, we
promise we'll be extra careful.
ICABOD
(considers, then nods)
Very well, then. Clean them away.
Joe and Sarah talk QUIETLY as they carefully pick the few
remaining pumpkin seeds from the back of Icabod's hair.
JOE
You know what these seeds mean?
SARAH
Yeah...
(whispers)
...he doesn't wash!
JOE
No! It means Butch Cleaver and his
gang were probably out here trashing
mailboxes and doing that other awful
stuff they do on Halloween.
-----------------------------------------------------------------------------------------------------
25.
SARAH
So?
JOE
So they probably came across this
poor man walking along the road and
decided to bomb him with a pumpkin.
SARAH
Which gave him amnesia! Yeah!
(a beat)
That's the last seed, sir.
Hearing that, Icabod rises to his feet and stands at his
full height, though a bit wobbly.
ICABOD
(as he rises)
Amnesia? What is 'amnesia'?
JOE
Temporary loss of memory. But don't
worry. In ninety percent of all cases,
everything comes back in a few hours.
ICABOD
That is certainly welcome news, Master
Joe. This would be a terrible way to
live, would it not? Unable to recall
anything about oneself...one's past.
SARAH
Now that that's settled, can we get
back onto the road? We have to hurry
if we want to get to the Baxter House
before all the fun stuff begins.
JOE
There's a problem with that, Sarah.
If we're going to help him, we need
to take him home straight away. And
if we do that, Mom and Dad will take
us with them to the hospital...then
we'll go to the parade from there.
SARAH
(wails)
We'll miss the Baxter House! No way!
(turns to Icabod)
Would you mind putting off going to
the hospital for like...half an hour?
Is that too much to ask?
-----------------------------------------------------------------------------------------------------
26.
JOE
He's hurt, Sarah! You can't ask him
to do something like that!
ICABOD
Master Joe, the only pain I feel is
in my head. If, as you say, the pain
will pass in a few hours, I will be
quite satisfied with that result.
JOE
Are you sure?
ICABOD
Quite sure. Let us first go to where
Missy Sarah wishes.
SARAH
All riiiiiight! Good decision!
(takes Icabod's hand
as they move away)
Are you afraid of dark bridges?
EXT. ON THE ROAD, WELL PAST THE BRIDGE -- NIGHT
Joe, Sarah, and Icabod amble along the middle of the hilly
gravel road. They are midway along the downside of a small
knoll as Joe is explaining Halloween to their new friend.
JOE
...so Halloween is a serious event
around here. Nearly everyone dresses
in a costume for it...like the ones
we're wearing and like the one you're
wearing. And we have a parade through
town that ends with a big bonfire.
Sarah glances over her shoulder and sees a dim glow on the
horizon. She takes that opportunity to speak, QUIETLY.
SARAH
A car is coming....
Icabod and Joe are so into their conversation, her words
don't register with them.
ICABOD
(to Joe)
And it is all because of that poor
Crane fellow's terrible experience
with The Headless Horseman?
-----------------------------------------------------------------------------------------------------
27.
JOE
Exactly.
Icabod looks down and pulls out the lapels of his frock coat.
ICABOD
I wonder why I am dressed like him?
JOE
Nothing strange about that. Icabod
Crane is the most popular costume
around here during Halloween.
SARAH
(slightly louder)
A car is coming.
ICABOD
(still ignores her)
And the chase allegedly ended at the
old bridge where we were? Two hundred
years ago? Amazing....
Before Joe can respond, the CAR Sarah has been warning about
suddenly crests the knoll they are walking down. Its engine
comes up LOUD now, and it is hurtling toward them at a high
rate of speed, kicking up a cloud of dust in its wake.
All three walkers turn to find themselves bathed in the car's
headlights. Joe and Sarah waste no time bolting for the side
of the road, assuming Icabod is with them, as Sarah SHOUTS.
SARAH
I told you guys a car was coming!
Unfortunately, Icabod is still back in the middle of the
road, frozen in wide-eyed shock at the two glowing balls of
light bearing down on him. Predictably, he drops to his knees
in the middle of the road and starts praying again, loudly.
ICABOD
Yes, Heavenly Father, I am ready!
I know it is you! I am not afraid!
Take me if you must! I am ready!
INT. THE CAR -- NIGHT
The car is a beautifully detailed RED TRANS-AM, the kind of
vehicle coveted and cherished by young men everywhere.
Four thuggish 17-year-olds, BUTCH CLEAVER and three henchmen--
EARL, RANDY, and CLYDE--are in the Trans-Am. Not in costume,
-----------------------------------------------------------------------------------------------------
28.
they wear Levis and casual shirts. They're drinking beer and
smoking, and gloating about the night's successes.
BUTCH
I'm tired of bombing mailboxes. How
about slashing some tires? What say?
Randy and Clyde, the two in back, quickly SECOND the motion.
RANDY AND CLYDE
You bet! Let's do some slashing!
Earl, in the passenger seat, looks up ahead and SHOUTS.
EARL
Hey! Watch out!
Butch looks forward and sees Icabod kneeling in the middle
of the road, lit up by the wash of his headlights. Butch can
barely SHOUT back before he has to make a difficult decision.
BUTCH
What the....?
He cuts the wheel sharply left to barely scrape by Icabod.
ANGLE ON THE CAR
Unfortunately for Butch, that move sends his precious car
into a SKID along the gravel road's slippery shoulder. It
kicks up a tremendous cloud of dust as it drifts sideways
and around until it SLAMS trunk-first into the road's ditch.
The Trans-Am winds up turned completely around, its headlights
aimed back where it was just coming from, and its passenger
side badly scraped and wedged against the embankment.
EXT. THE ROADSIDE NEAR ICABOD -- NIGHT
Joe and Sarah have run out to where Icabod still kneels,
eyes closed, face turned piously skyward, hands under his
chin, ready to go to whatever heavenly reward awaits him.
As the kids run to Icabod, Joe SHOUTS to Sarah.
JOE
That's Butch Cleaver's car! We have
to get out of here--fast!
SARAH
Fast? We need to evaporate!
-----------------------------------------------------------------------------------------------------
29.
They reach Icabod and start YANKING his arms to get him up
on his feet so they can try to get away.
JOE
Come on, Mister! Get up! We have to
run away now! The people in that car
will come after us!
Dazed and bewildered, Icabod resists their entreaties.
ICABOD
Car? What is a 'car'?
In his panic, Joe misunderstands the question.
JOE
A Trans-Am! But that doesn't matter!
What matters is that the guy who
owns it is really, really mean, so
we have to go, quick!
SARAH
Please, Mister! Please come with us
now so we can get away from here!
Icabod has let himself be pulled to his feet, and now he
turns to stare back at the car and its lights.
HIS POV ON THE CAR
The lights point down the ditch rather than back at the center
of the road where he stands, so the car is barely visible in
the diffusion of its lights in the still-billowy dust cloud.
ANGLE ON THE TRIO
Joe and Sarah frantically pull on Icabod's arms as he asks:
ICABOD
What is that contraption?
JOE
I'll tell you later! Just come on!
SARAH
Yeah, come on! Hustle! Hustle!
-----------------------------------------------------------------------------------------------------
30.
INT. THE TRANS-AM -- NIGHT
The four teens inside are recovering from their near-miss.
They look out the windows and see nothing but billowing dust.
BUTCH
Who was that idiot?
EARL
Didn't recognize him, Butch, but I
bet he's still out there. He has to
be drunk as a coot to be kneeling in
the middle of the road like that.
BUTCH
Hey! Earl's right! Let's go get him!
EXT. THE ROADSIDE BEYOND THE OPPOSITE DITCH -- NIGHT
Joe, Sarah, and Icabod are many yards from where they were,
entering the woods beside the road. Sarah asks a question.
SARAH
Joe! What if someone in the car got
hurt? What if they need help?
That stops Joe in his tracks. It presents a fearful dilemma.
Suddenly, they hear VOICES calling out in the BACKGROUND.
BUTCH (O.S.)
All right, whoever you are! We know
you're around here! So come on out!
EARL (O.S.)
We don't want to hurt you! We just
want to talk!
RANDY (O.S.)
Yeah! We just want your name and
your insurance company! That's all!
Hearing that, Icabod speaks LOUDLY to be heard at a distance.
ICABOD
At the moment, I do not recall my
name! However, if you will but wait
a few hours, good Master Joe says--
Joe has jumped up as he would to stuff a basketball so he
can clamp his hand over Icabod's mouth to shut him up.
JOE
Shhhhhhhhh!
-----------------------------------------------------------------------------------------------------
31.
SARAH
We really have to run now, Joe!
EXT. THE SHOULDER OF THE ROAD -- NIGHT
Butch and his group have sprinted to the shoulder of the
road where Icabod's voice seemed to come from. They stand
faintly illuminated by the headlights fifty yards away.
CLYDE
What did he say? Was that a joke?
BUTCH
(furious)
That son-of-a....!
He cups his hands around his mouth so his voice will carry.
BUTCH (CONT'D)
Okay, smart guy! Okay! We'll just
see who has the last laugh tonight!
With that he turns to Clyde and normalizes his voice.
BUTCH (CONT'D)
Clyde, I have two flashlights in the
trunk. Go get 'em.
(Clyde takes off as
Butch turns to Randy)
Randy...me and Earl will go after
that jerk from here. You and Clyde
flag down the first car that comes
along, get 'em to pull my car outta
the ditch, then you two go back to
town in it and find Chucky Baker.
RANDY
Why Chucky?
BUTCH
I want you and Clyde, and Chucky and
his guys, to patrol the east side of
town. Me and Earl will flush him in
that direction from here. We'll box
him in and one of us will get him!
RANDY
How will we know who he is?
BUTCH
Didn't you see him? He was dressed
like Icabod Crane.
-----------------------------------------------------------------------------------------------------
32.
RANDY
Yeah, him and about a hundred others.
BUTCH
This one really looked like him.
Clyde runs up with the two flashlights. Butch takes one,
Earl takes the other, and without a word they plow off into
the woods, the beams dancing through the trees and bushes.
Randy and Clyde stand there, watching them fade into the
night. Then Randy mutters so only Clyde can hear.
RANDY
I'd sure hate to be in his shoes
when his old man sees that car.
CLYDE
(chuckles)
Whoever that Icabod is, he better
have plenty of good insurance.
RANDY
Or a whole lotta money!
They notice a car approaching in the distance, so they turn
and start the process of waving it down to get a tow.
EXT. THE WOODS OF SLEEPY HOLLOW -- NIGHT
Icabod is more at home in woods than the kids, so they have
fallen in behind his lead as they hurriedly walk and talk.
JOE
Cars are very common, really. I'm
sure you'll remember them perfectly
when your memory comes back.
ICABOD
Upon my oath, this amnesia, as you
call it, is a frustrating malady.
SARAH
(mutters to Joe)
Announcement: Quebec people sure
talk weird.
EXT. THE BANK BESIDE A STREAM -- NIGHT
They come upon a 50-foot-wide stream that has to be crossed.
This would be the same stream the covered bridge crosses.
-----------------------------------------------------------------------------------------------------
33.
JOE
Uh, oh...what now?
ICABOD
We must find a shallow crossing.
SARAH
But the water is all black! How can
you tell what's shallow?
Icabod is already stalking the bank, looking for what he
wants. He sees it up ahead and points it out.
ICABOD
Look, there. See how the water ripples
as it passes? That means little rocks
are just below the surface. It will
be safe and easy to cross.
He leads them to it and turns his backside to Sarah.
ICABOD (CONT'D)
You first, Missy Sarah.
SARAH
First for what?
ICABOD
Why, for a pick-a-back ride, of
course. How do you cross streams?
SARAH
I never cross streams.
ICABOD
Upon my oath! Do you not?
JOE
Go on, Sarah, just do it.
Sarah climbs on Icabod's back to piggyback across the stream.
He carries her across, wading through water that is never
more than ankle-deep.
He puts her on the shore beneath the overhanging limbs of a
tree, then turns to go get Joe. As Sarah stands watching...
ANGLE ON SARAH AND THE TREE LIMBS ABOVE HER HEAD
...a long, thick tree SNAKE goes slithering down an
overhanging limb toward her.
-----------------------------------------------------------------------------------------------------
34.
ANGLE ON ICABOD
He picks up Joe and starts back across the stream.
ANGLE BACK ON SARAH AND THE SNAKE
The snake slithers lower, nearing Sarah's neck and shoulders
as she stands watching Icabod carry Joe across. She remains
still, having no idea she is so near to being struck.
FOCUS TIGHT on the snake dropping to within inches of Sarah's
neck. Its mouth opens, about to strike, when suddenly Icabod's
hand thrusts into view to grab the snake behind its head.
He pulls it out of the tree and Sarah sees it, which causes
an involuntarily SCREAM to erupt as she scurries aside.
SARAH
Aaaaiiiieeeee!
EXT. ANOTHER PART OF THE WOODS -- NIGHT
Butch and Earl aim their flashlights in the same direction.
BUTCH
How far away did that sound?
EARL
Maybe a quarter mile.
BUTCH
It was a squeal, wasn't it?
EARL
(warily)
Yeah... What would make a grown man
squeal like a kid?
BUTCH
Maybe he's a sissy man! Let's go!
EXT. THE STREAM BANK -- NIGHT
Icabod holds the snake, letting it twist and curl around his
forearm while explaining it to Joe and Sarah.
-----------------------------------------------------------------------------------------------------
35.
ICABOD
It is but a common tree snake. These
will not harm you. Others might, but
not this one.
SARAH
(taking comfort)
I'm glad you remember some things.
He reaches up and puts it back in the tree limb, then they
resume their journey.
EXT. A SMALL CAVE IN THE SIDE OF A HILL -- NIGHT
The trio crosses in front of the cave mouth, which is not
far off to their side as they move along. Suddenly, weird,
high-pitched SCREECHING emanates from the cave, as if a
monster twenty feet high was making that godawful sound.
At that Sarah and Joe cling to Icabod. Icabod LAUGHS at them
and starts another lesson by dragging them forward toward
the cave as they struggle to stay behind.
ICABOD
Come...see...there is no danger.
They get to the cave mouth and start to go in, when suddenly
a black cloud of BATS comes swarming out. Sarah SCREAMS again.
SARAH
Aaaiiiieeeeee!
EXT. THE STREAM BANK -- NIGHT
Butch and Earl are just arriving at the stream bank when
they hear Sarah's second scream. That energizes them.
BUTCH
That was closer! Let's go!
EARL
(lacking enthusiasm)
How do we get across?
BUTCH
The same way he did...we swim it!
They run into the stream and are quickly up to their necks.
It's all they can do to keep their flashlights from going
under with them as they flounder and splash and SPLUTTER.
-----------------------------------------------------------------------------------------------------
36.
EARL
Aaarrrrggghhh! It's freezing!
EXT. THE CAVE MOUTH -- NIGHT
Icabod shows Joe and Sarah what made the awful sound moments
earlier--a den of baby raccoons. The kids handle the kits.
SARAH
They sounded so loud!
ICABOD
Their sound reverberates and grows
louder in the cave--like a drum.
SARAH
They're really cute, aren't they?
JOE
Yeah, they are...but you've given
Butch two chances to pinpoint our
position. We need to keep moving.
They return the kits to the nest and leave the cave.
EXT. THE STREAM CROSSING -- NIGHT
The stream current moves splashing, sloshing Butch and Earl
into the shallow area Icabod went across. They climb out,
dripping and PANTING, and fling themselves on the ground--
directly underneath the overhanging limb with the snake.
Sure enough, the snake drops onto Butch's chest and slithers
toward his face. He must "wrestle" with it to fling it away.
BUTCH
Ahhhhhiiiiieee! Owwwoooo! Arrrggggh!
Those antics are kinetically funny, but Earl doesn't laugh.
EXT. AN OPEN FIELD -- NIGHT
The trio are in an open field with grass that is knee-high
on Icabod and near waist-high on the kids. They stop and
listen as Butch's HAUNTING WAILS echo in the night air.
-----------------------------------------------------------------------------------------------------
37.
ICABOD
The men in the...'car'... They are
indeed following us, and they are
not far behind. We should hurry.
JOE
No argument here. Let's go.
Suddenly, there is a deep, resonant SNORT behind their backs.
SARAH
Uh, oh!
The three turn to find a huge BULL standing thirty yards
away, pawing the ground the way bulls do before charging.
At that terrifying sight they react with varying degrees of
alarm--even Icabod--but it is Joe who manages to speak.
JOE
Okay, Mister...you've been on top of
everything so far. Do you have any
ideas...about how to handle this?
ICABOD
(swallows hard)
You and Missy Sarah must run to the
nearest fence. I shall distract him.
With that he takes off his frock coat and hangs it out for
the bull to focus on as he side-strides in front of the kids,
making sure they are safely behind him.
As he does that, the bull draws closer and closer, never
quite charging, but working up the nerve to attempt one.
ANGLE ON JOE AND SARAH
They reach a BOARD FENCE and scurry under its lowest board.
ANGLE ON ICABOD
He brings up the rear behind them. The bull finally charges,
and Icabod must hold his ground to meet its charge. He stands
still, WHIMPERING as he hangs his coat away from his body.
His eyes squeeze shut as the bull thunders right at him....
Then, as bulls tend to do, it veers toward the coat being
correctly waved by Icabod's shattered, trembling nerves.
The bull goes roaring past, inches from Icabod's side.
-----------------------------------------------------------------------------------------------------
38.
ANGLE ON THE FENCE
Joe and Sarah have seen the miracle with their own eyes.
JOE
Hurry, Mister! Run!
SARAH
It missed you!
Icabod doesn't have to be told to run. He reaches the fence,
tosses his coat over it, then hand-vaults over it before the
bull can alter its runaway course and get redirected.
The three "targets" sag against the safe side of the fence,
GULPING AIR while expressing their feelings about the escape.
JOE
Wow!... That was close!
ICABOD
You needn't...tell me...Master Joe!
SARAH
Yeah!... This is really choice!...
My choicest Halloween ever!
EXT. THE AREA IN FRONT OF THE CAVE -- NIGHT
Butch and Earl go walking past, wet and angry, flashlight
beams dancing as they move along ARGUING with each other.
EARL
Honest, Butch, it was just a tree
snake. They aren't poisonous.
Butch is rubbing his chest where his arm connects to his
body, and he's in no mood to be consoled by platitudes.
BUTCH
Yeah? Then why did it bite me? Did
it mistake me for a bug?
(threatening)
I swear, Earl, if it turns out you're
wrong, and I die from this bite, I'm
gonna get you! I mean it!
Just then they draw alongside the cave and the same UNEARTHLY
HOWL the trio heard reverberates again from inside the cave.
-----------------------------------------------------------------------------------------------------
39.
Butch and Earl simply haul ass, SCREAMING bloody murder,
flashlight beams jumping all over the place as they flee.
BUTCH AND EARL
Ahhhhhhiiiieeee!
EXT. AN OLD, TYPICAL AUTOMOBILE JUNKYARD -- NIGHT
Icabod, Joe, and Sarah are entering the outskirts of town.
The city lights GLOW in the distance, which amazes Icabod.
ICABOD
You say that glow is from the lights
of Tarrytown, yet they are not from
the burning of whale oil or tallow?
They are elec...electricity?
SARAH
(mutters to Joe)
Boy, he really lost his memory!
Icabod continues, looking around the junkyard in amazement.
ICABOD
And these things...they are the dead
bodies of the 'cars', which are large
metal carriages people ride in? Yes?
JOE
Yes.... Just keep trying to remember.
I'm sure it will all come back soon.
Just then LOUD, ENERGETIC BARKING starts up in the distance.
JUNKYARD DOGS (O.S.)
Woof! Woof! Woof!
SARAH
Announcement: More trouble!
Joe doesn't really worry about much anymore, now that Icabod
is with them. Except that Icabod suddenly turns to jelly.
ICABOD
Dogs! I hate dogs! They scare me!
JOE
(alarmed)
I thought you couldn't remember!
Icabod breaks into a run for the nearest pile of junkers.
-----------------------------------------------------------------------------------------------------
40.
ICABOD
I remember thaaaaaaat!
EXT. THE PILE OF JUNK CARS -- NIGHT
Icabod scrambles up the pile as Joe and Sarah are left to
follow hard on his heels. The DOGS arrive just as they all
get themselves up and out of reach, but now they are stuck.
There are three junkyard dogs (the "mean" Jim Croce type)
down below them, anxious to get at their perched prey. And
all their perched prey can do is look frightened and lost.
JUNKYARD DOGS
Woof! Woof! Woof! Woof!
EXT. THE OPEN FIELD -- NIGHT
No words are needed. By now the drill is routine. Still-wet
Butch and Earl ease through the field's grass behind their
dancing beams. The beams happen to cross and catch on the
same thing simultaneously--a big red EYE.
One beam is on each eye on the sides of the bull's head.
Butch and Earl look at the eyes, look at each other, look at
the eyes again, then BELLOW at the tops of their lungs:
BUTCH AND EARL
Awwwwww, nooooooo!
The bull emits a VERY LOUD SNORT and takes off after them.
EXT. SAFE SIDE OF BOARD FENCE, FACING FIELD -- NIGHT
Butch and Earl are heaved up over the fence, side by side,
as if the bull managed to butt their butts simultaneously.
Holding the flashlights all the way, their bodies arc high
up over the fence, do SLOW-MOTION flips in the air, and land
flat on their backs with resounding WHUMPS!
Their wind is knocked out and they lay stunned and GURGLING.
EXT. THE JUNKYARD -- NIGHT
The trio is still "treed" atop the pile of junked cars, with
the three furious dogs still YAPPING and circling below.
-----------------------------------------------------------------------------------------------------
41.
SARAH
If we can't figure a way out of this,
Butch Cleaver will catch us and we'll
miss the whole night at the Baxter
House! I don't know which is worse!
ICABOD
What is the 'Baxter House'?
JOE
It's this big house owned by people
named Baxter. Every Halloween they
throw a huge party for kids here in
Tarrytown. They rig up the outside
of the house with all kinds of little
frights and things, and inside they
have different games and contests.
SARAH
It's great fun, honest. You won't be
sorry we're making you go to it...
(looks down at dogs)
...if we ever get down from here.
Just then, in the distance, we hear a MAN CALL to the dogs.
MAN (O.S.)
Heeeere, Sookie! Sookie! Sookie!
Heeeere, Sookie! Sookie! Sookie!
Time to eat, kiddies! Come and get
it! Chowtime, chowtime!
It is an internal debate for the dogs, but finally their
stomachs win out over their appetite for adventure. They
turn tail and scamper away to the distant main building.
The trio immediately scrambles down off the pile of cars,
HUSHING and SHUSHING each other to be quiet as they go.
EXT. AN EIGHT-FOOT-HIGH HURRICANE FENCE -- NIGHT
The trio must climb over this to get out of the junkyard and
into the neighborhood just beyond it. Silently, carefully,
Icabod boosts Joe up and over. He drops to the other side.
Icabod then boosts Sarah up. Joe helps her slide down the
other side. Then Icabod shows strength and agility pulling
himself up and rolling over the top to drop down safely.
-----------------------------------------------------------------------------------------------------
42.
EXT. THE STREET BEYOND THE JUNKYARD -- NIGHT
The trio reach the sidewalk as an invisible airliner THUNDERS
overhead. Typically, Icabod drops to his knees to begin his
praying routine. His words are inaudible while the jet roars
past, but as its sound FADES, the kids hear his conclusion.
ICABOD
While I mean no disrespect, Heavenly
Father, I feel compelled to inform
you that you are making me more than
a little annoyed by coming for me
time and again, but never taking me!
(a beat)
I wish you would make up your mind.
All of this confusion has started my
head to pounding again!
By now the kids are familiar enough with this routine to
stand patiently while Icabod prays. But no sooner does he
finish and open his eyes and start to rise, than a big Mack
truck comes RUMBLING down the street the junkyard is on.
Icabod takes one look at it, SIGHS, and drops back to his
knees. Joe and Sarah roll their eyes up, but say nothing.
EXT. OUTSKIRTS OF TARRYTOWN -- NIGHT
In a neighborhood now: homes, parked cars, streetlights, and
sidewalks--the works. The trio walks on a sidewalk, TALKING.
Icabod looks all around, awestruck by everything he observes.
ICABOD
Upon my oath, I cannot say a single
thing I see here brings any familiar
memory. Which I do not understand,
because I know a snake when I see
it...a raccoon...a bull...a--
SARAH
(interrupts)
A dog!
ICABOD
Yes, that as well. So why do I recall
so many familiar things, yet have no
memory of others?
Sarah and Icabod look at Joe, who becomes defensive.
JOE
Hey, don't look at me! I'm no expert
on amnesia. I told you what I know.
-----------------------------------------------------------------------------------------------------
43.
Suddenly, a white Dodge SEDAN with dark-tinted side-and-rear
windows turns the corner behind them.
INT. THE WHITE DODGE -- NIGHT
Inside the Dodge are four other teenage toughs--CHUCKY BAKER,
WADE, HAL, and LARRY. All are friends of Butch Cleaver.
Chucky is behind the wheel, Wade by his side, Hal and Larry
in back. They talk about what they're looking at up ahead.
CHUCKY
Well, he sure looks like Icabod Crane--
no question. But with those two kids
along...I don't know. It'd be awful
easy to make a mistake.
WADE
That's right, Chucky. Butch did tell
Randy his guy was alone.
HAL
(from in back)
Is that what Randy said for sure? I
don't remember him saying that.
LARRY
(in back, too)
I don't remember it that way, either.
WADE
Now I'm not sure what he said.
CHUCKY
Okay, then, let's press 'em a
little...see if they rattle.
EXT. NEIGHBORHOOD SIDEWALK -- NIGHT
The Dodge is not new or spiffy, so it appears menacing as it
eases alongside the street curb close behind the trio.
They glance over their shoulders at it, and Joe understands.
He explains the situation QUIETLY so only his group can hear.
JOE
Uh, oh! That's Chucky Baker's car!
He's good friends with Butch Cleaver.
I bet they're out looking for us!
-----------------------------------------------------------------------------------------------------
44.
SARAH
If they were looking for us, they'd
just come over and get us. It can't
be that. So what are they doing?
JOE
I don't know...I don't know!
Icabod has no difficulty seeing the solution to this problem.
He stops walking and before Joe or Sarah can react, he moves
toward the Dodge, which stops as he approaches it.
ANGLE ON THE DODGE
Icabod is at the front passenger window before panic-stricken
Joe and Sarah can dart forward to grab the tails of his frock
coat. They start tugging on his tails and cause him to turn
toward them just as the window rolls down and Wade appears.
WADE
Hi, there. Looks like you folks are
on your way to the Halloween parade.
As Icabod replies, he moves forward to give half his attention
to looking inside the car, especially at its lit-up dashboard.
ICABOD
I believe that if present plans hold
as they are...I shall be going with
these children to a festivity at--
JOE
(cuts in)
Yes, we're going to the parade. Why
are you following us?
WADE
Who said we're following you?
SARAH
Do we look little and stupid?
Wade winces at that trenchant observation. He glares at her,
then looks up at Icabod and forces a half-smile.
WADE
Quite a little mouth she has there.
ICABOD
You mean her candor? Personally, I
find it quite refreshing. But let us
return to the point of this exchange.
Are you, indeed, following us?
-----------------------------------------------------------------------------------------------------
45.
Wade looks over to Chucky for guidance. Chucky shrugs
noncommittally, and the two in back keep silent.
WADE
Naaahhh...we're just out cruisin'.
(the car moves away)
See ya around, folks!
The trio stands there watching it roll back into the street.
JOE
I hope that's the last we see of
them....
SARAH
That would make Christmas come twice
this year.
ICABOD
Christmas! I know of that!
Joe's and Sarah's faces light up.
JOE
You remember Christmas?
SARAH
What do you remember about it?
Icabod thinks hard, both hands to his head, before he speaks.
ICABOD
I know there is great festivity...
and gift giving...but upon my oath,
I cannot recall ever having been a
part of it. No...I cannot recall.
Joe is discouraged but still hopeful as they resume walking.
JOE
Just keep trying...it'll come back.
EXT. THE JUNKYARD -- NIGHT
LOOKING IN from outside the chainlink fence that surrounds
the front of the junkyard, the one the trio scaled earlier.
BARKING is heard in the distance, offscreen, coming closer.
JUNKYARD DOGS
Woof! Woof! Woof!
-----------------------------------------------------------------------------------------------------
46.
ANGLE ON BUTCH AND EARL
Still damp from their dunking in the stream, they sprint
full blast INTO VIEW, legs pumping, lungs WHEEZING, eyes
bulging, flashlight beams whirling, with the three HOWLING
junkyard dogs right behind them, nipping at their backsides.
They toss the flashlights, hit the fence, and frantically
scramble up over it, leaving the BARKING, teeth-gnashing
dogs on the other side as they both drop to safety.
The two boys sit on the ground for a few seconds, sweating
and GASPING, exchanging looks of supreme thankfulness.
With the dogs BARKING and clawing at the fence only inches
behind them, they give each other a "Let's get outta here!"
look and begin crawling forward on all fours to get away.
As they crawl, a CLOSE VIEW of their backsides reveals both
rear ends on their jeans are chewed and tattered, with flashes
of equally torn white underwear showing clearly through both.
EXT. THE STREET IN FRONT OF THE JUNKYARD -- NIGHT
Two cars come by in tandem, Butch's battered red Trans-Am in
the lead and Chucky's white Dodge following right behind.
When Butch and Earl see them, it's like seeing the Promised
Land. They leap to their feet and start waving and SHOUTING.
BUTCH
Hey! Hey, Randy! Here we are!
EARL
Chucky! Hey, Chucky! Pull up, man!
Both cars stop in the street when they see Butch and Earl
coming from near the junkyard fence. Everyone piles out of
both, the four from the Dodge and the pair in the Trans-Am.
When Butch and Earl get close to them, the gang's faces fall
at what they see standing before them. Neither one remotely
resembles the guys who plunged into the woods an hour ago.
RANDY
Geeze! What happened to you two? You
look like you been dragged through--
BUTCH
Never mind that! Did you find him
coming this way? He came out ahead
of us--we're sure of that.
-----------------------------------------------------------------------------------------------------
47.
RANDY
Chucky and his boys saw a guy dressed
like Crane, but he had two kids with
him. They checked him out pretty
good, too. It wasn't your guy.
BUTCH
(focuses on Chucky)
Was he wet or dirty like us? Was he?
CHUCKY
No, he looked good...he was together.
LARRY
Like any ordinary Icabod Crane.
Chucky's group nod their heads, but Butch stays intense.
BUTCH
Was there anything unusual about
him? Anything at all? Think!
CHUCKY
Well...he talked kinda funny.
HAL
Like with some kinda foreign accent.
WADE
And he was real interested in the
car, like he never saw one before.
BUTCH
Where did you find 'em?
CHUCKY
Over on Central. They said they were
going to the parade.
BUTCH
The Baxter House is over that way,
too. Were the kids in costumes?
WADE
Yeah, Spiderman and E.T. That E.T.
was a smart-aleck little witch.
BUTCH
All right, we'll stop by the Baxter
House on the way to the parade. But
as we drive along, keep looking!
Butch moves to the passenger side of his no-longer-cherry
Trans-Am, looking at its scraped, gouged, and dented body
-----------------------------------------------------------------------------------------------------
48.
panels. He grimaces with renewed anger, then goes around to
the driver side, opens the door, and pulls the trunk lever.
BUTCH (CONT'D)
I've got a gym bag in the trunk. Me
and Earl need some coverage....
EXT. A MORE URBAN AREA OF TARRYTOWN -- NIGHT
The trio walks along a sidewalk in an area that is run-down
and ratty looking. There are empty storefronts and dark alleys
between them that lead away to God knows where or what.
This used to be the "main street" part of town, before strip
malls and then the big mall drove individual shopkeepers out
to the suburbs. Now all it is good for is crossing--fast.
Making it more ominous is the fact they are virtually alone.
Few cars pass, and those are returning from trick-or-treating
or on the way to be early arrivals at the parade and bonfire.
The kids have to drag Icabod along, one on each hand, because
he is so thunderstruck by the marvels he observes all around.
ICABOD
Upon my oath, I have never imagined
a place such as this! It causes the
hairs on my neck to stand upright.
JOE
This doesn't last for long, only a
couple more blocks. Then just a few
more after that and--da, da, da, da!
Sarah seizes that cue and does a snazzy vaudeville two-step.
SARAH
The Baxter House!
Icabod CHORTLES at her little impromptu dance routine.
EXT. STREET IN OLD SHOPPING AREA -- NIGHT
The two cars seeking the trio suddenly come careening around
the corner the trio are approaching.
Butch Cleaver's red Trans-Am is in the lead, followed closely
by Chucky Baker's white Dodge sedan.
-----------------------------------------------------------------------------------------------------
49.
INT. THE TRANS-AM -- NIGHT
Butch recognizes the fellow on the sidewalk as "his" Icabod.
BUTCH
That's him! With those kids!
EXT. THE STREET -- VARIOUS ANGLES ON THE CARS -- NIGHT
Forgetting everything else, Butch stands on his brakes and
the Trans-Am stops on the proverbial dime.
Chucky has no chance to stop the Dodge in time, so a rear-
ender ensues which CRUNCHES the Trans-Am's rear-end and its
taillight covers, along with the Dodge's grillwork and its
headlight covers. They are halogens, so they stay lit.
INT. THE TRANS-AM -- NIGHT
Broken glass TINKLES OFFSCREEN for several seconds as Butch
sags forward to bang his forehead against the steering wheel.
BUTCH
Nooooooo, not again!
EXT. THE STREET -- ANGLE ON THE TRIO -- NIGHT
Joe can see through the Trans-Am's windshield that it's Butch
behind the wheel, so he tugs Icabod toward the nearest alley.
JOE
That's Butch Cleaver! He's out of
the woods! We have to get away!
Neither Icabod nor Sarah needs to be told twice. They take
off like scared rabbits, running for all they're worth into
the dark alley between two dilapidated two-story buildings.
ANGLE ON THE CARS
When Butch gets over the shock of his second accident in one
night, he leaps from the Trans-Am to examine the damage.
He is now wearing a pair of green satin gym shorts over his
torn jeans. Earl piles out wearing red satin shorts. Both
pair of shorts have inch-wide white stripes down the sides.
-----------------------------------------------------------------------------------------------------
50.
Butch lets out a GUTTURAL ROAR of rage and frustration.
BUTCH
Aaaaarrrrrggggghhhhh!
Chucky and his guys exit the Dodge, too. He is as angry as
Butch, especially when Butch kicks the Dodge's rocker panel
in frustration. Then, suddenly, Butch bolts after the trio.
BUTCH (CONT'D)
(over his shoulder)
Wait here! I'll be right back!
Chucky promptly falls in behind Butch, running to catch up.
CHUCKY
Hey, wait for me! I want a piece of
that guy now! He's gotta pay for my
car, too! Hey! Wait!
EXT. THE DARK ALLEY -- NIGHT
Butch and Chucky come to a 4-WAY alley intersection. It's a
badly littered place with dumpsters and garbage lying around.
They bustle into the middle of the intersection and stop to
listen for running feet. They hear nothing in any direction.
Suddenly, a large TOMCAT lets out an extended SCREECH as it
scurries across metal garbage lids, creating a LOUD COMMOTION
that causes both boys to jump...into each other's arms!
BUTCH AND CHUCKY
Eeeyyiiiikkkkkk!
In a blatant rip-off of the beer commercial where two guys
sitting on a couch touch each other's hands while getting
beers, Butch and Chucky endure several physical contortions
trying to shake off their "homo" reactions to the commotion.
Then they start trying to sound brash and brave again.
CHUCKY
If that cat's still hanging around,
you can bet those people aren't.
BUTCH
(asserting authority)
Who says?
CHUCKY
I know about cats.
-----------------------------------------------------------------------------------------------------
51.
BUTCH
Is that why that one made you almost
pee in your pants?
CHUCKY
Me? What about you? You were so--!
BUTCH
(cuts him off)
Forget about the cat! We have to
find those people.
They nod a silent agreement with that suggestion, then gaze
anxiously along the dark alleys of the intersection. Finally
Butch points in two of the three directions they must cover.
BUTCH (CONT'D)
Okay, you go that way, I'll go this.
If they went down that one...
(points to the one
they can't cover)
...they lucked out again.
They run in opposite directions, their feet audible OFFSCREEN.
EXT. THE ALLEY -- ANGLE ON TWO NEARBY DUMPSTERS -- NIGHT
As the SOUND of their running FADES AWAY, FOCUS ON a pair of
nearby dumpsters resting side-by-side, about two feet apart.
The trio emerges from the deep shadow between the dumpsters.
They look at each other, delighted, then the kids QUIETLY
exchange high-fives and teach Icabod how to do it with them.
Then they start high-stepping on tiptoes down the safe alley.
EXT. STREET OUTSIDE BAXTER HOUSE -- NIGHT
The Baxter House is in Tarrytown's most exclusive residential
section, with big homes and nice lawns all around. Icabod is
amazed at the affluence that surrounds him, and he MUTTERS
as if only he can hear himself as they walk along.
ICABOD
All of these things...these hardened
pathways we walk upon...the hardened
roads the cars move upon...the empty
storefronts we saw...and now these!
He gestures at the homes along the street and speaks intently
to Joe and Sarah, who have been listening to him all along.
-----------------------------------------------------------------------------------------------------
52.
ICABOD (CONT'D)
Verily, Master Joe and Missy Sarah,
never have I seen such opulence...
such luxury of domicile! I cannot
even imagine it! It boggles me!
JOE
Just keep trying to remember; it
will all come back to you soon.
SARAH
(quietly to Joe)
I want to visit Quebec. I'd like to
try to learn that weird language.
Icabod remains overawed by the new world that surrounds him.
EXT. ENTRANCE TO THE BAXTER HOUSE -- NIGHT
The Baxter House is a huge, three-story mansion with a high
walled fence around it and a gate blocking its front driveway
entrance. A SECURITY GUARD mans the gate, regulating traffic
flow to make certain no "undesirables" get onto the grounds.
Along the driveway leading up to the house, an assortment of
mechanical "ghosts" and "goblins" are rigged to jump out and
provide small fun FRIGHTS as guests move from curb to porch.
As Joe, Sarah, and Icabod approach the guard, the kids go
through a QUIET round of final instructions.
JOE
Remember, if anyone asks, you're our
Uncle Ben from Quebec, Canada. Okay?
ICABOD
But what if they ask other questions
of me...such as my occupation, or--
SARAH
(cuts in)
Say you make rice. Everyone will
understand an Uncle Ben making rice.
They reach the guard, who gives them a quick once-over, sees
they fit the guest profile, and ushers them past the gate.
GUARD
Congratulations! You're the best
Icabod Crane to come in all night.
-----------------------------------------------------------------------------------------------------
53.
EXT. "RIGGED" DRIVEWAY LEADING TO BAXTER HOUSE -- NIGHT
The trio moves along the driveway as EERIE MUSIC plays and
various ghosts and goblins and spiders and such leap out or
drop down or in other ways make sudden, startling appearances.
Joe and Sarah do react, but not as energetically as might be
expected. Icabod, however is utterly entranced. He loves it.
ICABOD
Oh! How delightful! Oh! My goodness!
Oh! What next? Oh! Oh!
SARAH
(to Joe, pensive)
It's not really scary any more, is
it? I remember it being a lot scarier.
JOE
After what we've been through tonight,
all this is pretty tame.
SARAH
(still pensive)
Yeah....
(then cheerful)
This has all been just so choice!
They make their way through the continuing series of staged
frights until they reach the front portico to enter the house.
INT. THE BAXTER HOUSE -- NIGHT
The house's interior is as decorated for Halloween as the
outside. The place is choked with Halloween motif, including
the same EERIE MUSIC playing softly in the BACKGROUND.
Overall, it is just one gigantic PARTY, with a hundred GUESTS
scattered throughout a wide variety of Halloween-themed events--
different games and such--taking place in its various rooms.
Several costumed ADULTS chat with other adults, help with
the events, or participate in some of them. Countless KIDS
skitter from room to room, chattering excitedly and doing
all the usual things children do at such big parties.
It is, in fact, strongly reminiscent of the party at the Van
Tassell home 200 years earlier.
Joe and Sarah hang onto Icabod's hands to guide him because
he is so carried away with gawking at everything he sees.
-----------------------------------------------------------------------------------------------------
54.
ICABOD
I certainly wish my memory would
come back soon! This is such a
wonderful world to be a part of!
Suddenly, a BOY'S VOICE calls from OFFSCREEN.
VOICE (O.S.)
Hey! Joe! Joe McMillan! Hey!
They turn to see DANNY and MEGAN CRAVEN, the brats they were
supposed to trick-or-treat with. Danny is costumed as a chubby
Ninja warrior, while Megan is an overweight Batgirl.
JOE
Oh, uh...hi, Danny...Megan. We, ah,
didn't think you'd still be here.
MEGAN
Yeah, you're really late. What took
you so long? A lot of the fun stuff
is already over.
DANNY
Not the pumpkin carving! That's just
about to start! Let's get in on it!
What do you say?
JOE
I don't think so, Danny. I need to
stay with my Uncle Ben.
DANNY
Who?
JOE
My Uncle Ben...
He jerks Icabod's hand to pull his head out of the clouds.
Icabod looks down and focuses on Danny and Megan.
JOE (CONT'D)
Uncle Ben...Megan and Danny Morgan.
We go to the same school.
ICABOD
(excited)
School!...Yes, I know that word! I
know what a school is!
(gradually frowns)
But that is all I recall...the word.
Danny and Megan share a look that says, "Whoops! A nutcase!"
Then Danny tries to ease them all around the problem.
-----------------------------------------------------------------------------------------------------
55.
DANNY
Pleased to meetcha.... Can Joe join
me doing the pumpkin carving contest?
You can cheer him on! It'll be fun!
He's tugging on Joe the whole time, moving him along, and
the power of his determination infects the whole group.
ICABOD
Yes, Master Joe! Do participate!
Competition is good for the soul!
As they move along, Megan Craven still looks askance at the
gawky man whose hand Sarah holds. Sarah sees it and MUTTERS,
SARAH
He's from Quebec....
EXT. THE BAXTER HOUSE'S FRONT GATE -- NIGHT
Butch Cleaver is talking to the guard managing traffic flow.
GUARD
Yeah, a kid Spiderman and a kid E.T.
with an adult Icabod Crane. I remember
them because his costume was so good.
BUTCH
They're my, uh, kid brother and
sister...and my, uh, uncle. I need
to go get 'em so we can get over to
the parade. Don't want to be late.
GUARD
You still have plenty time to make
the parade...but you can go get them
if you want to. Just make sure you
find them and come right out....
He glances at Butch's green shorts with a raised eyebrow.
GUARD (CONT'D)
Only people in costume can stay
inside, and that doesn't qualify.
Butch turns and thumbs-up his crew of seven henchmen standing
by the Trans-Am and the Dodge parked against the curb.
BUTCH
Don't worry, we'll be right back!
-----------------------------------------------------------------------------------------------------
56.
GUARD
Whoa! Hold it! I didn't say the whole
crowd could go! I said you could go,
get your people, then come back out.
I have rules to follow.
The henchmen and Butch stand there, making the decision with
their eyes. Butch nods, turns to the guard, forces a smile.
BUTCH
All right, I'll go in alone.
(to his group)
Just wait here, guys...
(as "Terminator")
...I'll be back.
INT. THE PUMPKIN CARVING ROOM -- NIGHT
It is a big room, with four long tables set up end-to-end in
its center, forming a square. There is plenty of room outside
the tables, along the room's walls, for SUPPORTERS to stand.
In front of their supporters, standing at the tables, are
the CONTESTANTS, five at each table, twenty in all.
In front of each contestant is a carving knife, a pumpkin, a
pumpkin top, and a large pile of pumpkin PULP beside it.
BOTH SEXES are at the tables, most of them about the size of
Joe and Danny. Danny is at the corner of the table farthest
from the door, while Joe corners the one adjacent to his.
BART ODOM, the contest overseer, gets the process underway.
BART ODOM
Welcome to the official Baxter House
Pumpkin Carving Contest. This is one
of the highlights of every Halloween,
so I'm glad you all are taking part.
Now let's make sure each contestant
is at least twelve years old. No one
under twelve at the tables, right?
(no hands rise)
Good! Now, you all know the rules.
The pumpkins have been precleaned.
Your job is to carve the best face
you can in twenty minutes!
-----------------------------------------------------------------------------------------------------
57.
BART ODOM (CONT'D)
Now that's plenty of time to carve
any face on a pumpkin, so we don't
want anybody rushing and cutting
themselves. Remember, it's not a
race! Relax, take your time, and
carve something really creative.
All right...readyyyyy...begin!
INT. THE BAXTER HOUSE ENTRANCE -- NIGHT
Butch Cleaver enters and starts skulking around, trying to
look inconspicuous because of his "inappropriate" costume.
INT. THE PUMPKIN CARVING ROOM -- NIGHT
Everyone is busy carving as their supporters vocally URGE
them on. Danny glances at Joe, who is all business. Danny
gets a mischievous gleam in his eyes, then picks up a big
handful of pumpkin pulp, checks to make sure Bart Odom is
not looking, then flings the stringy pulp into Joe's face!
Before Joe can even react, Icabod SHOUTS LOUDLY.
ICABOD
Foul! Foul, young man! You should be
disqualified! I protest this travesty!
DANNY
Ahhh, shaddup, you big fink!
With that he picks up another handful of pulp and flings it
at Icabod, who stands behind Joe. Icabod ducks, so it hits
another ADULT SUPPORTER whose attention is on his own child.
The wad of pumpkin pulp hits the man in the side of his neck.
Furious, the supporter steps forward to grab a handful of
the pulp beside his son's pumpkin. He flings it at Danny,
who ducks and it flies into a supporter behind him. That
victim steps forward to pick up a fresh handful of pulp.
Meanwhile, Bart Odom starts blowing a coach's WHISTLE while
trying to bring the commotion under control.
BART ODOM
People! (TWEET!) People! (TWEET!) We
can't have this! (TWEET!) This is
against the rules! We can't--
-----------------------------------------------------------------------------------------------------
58.
He's cut off by a big glob of pumpkin pulp into his mouth.
In seconds the room is hit by a blizzard of pulp as all the
contestants and most of the supporters forego the carving
contest in favor of escalating the pulp fight.
ANGLE ON SARAH
She leaps for the table and wades right into the middle of
the melee, grabbing a huge handful and flinging it at Megan.
ANGLE ON ALL FOUR KIDS
Joe recovers and starts flinging pulp at Danny. Danny flings
back. Megan flings at Sarah. Sarah flings back. Much pent-up
frustration fuels their respective battles with each other.
ANGLE ON ICABOD
Teacher that he is, he instinctively tries to help Bart Odom
restore order.
ICABOD
Children! Children! You must stop
this malicious behavior right now!
Stop it, I say! Stop--!
He, too, is cut off by a big wad of pumpkin pulp to the face.
INT. THE BAXTER HOUSE -- FRONT ROOMS -- NIGHT
Butch Cleaver skulks along, checking out different rooms.
Each time he looks, he doesn't find what he seeks. He is
clearly growing more frustrated as he searches.
INT. THE PUMPKIN CARVING ROOM -- NIGHT
The pulp fight is over and the room is a godawful mess.
Pumpkin pulp is everywhere, sticking to the walls, hanging
down off the ceiling's light fixture. The people are worse.
Everyone picks it out of their hair and off their costumes,
although those with simple top-and-bottom costumes, like
most of the kids, simply pull them off to reveal regular
clothes--mostly jeans and sweatshirts--underneath.
-----------------------------------------------------------------------------------------------------
59.
As they do that, a thoroughly and quite comically covered
Bart Odom bleats recriminations at everyone.
BART ODOM
I can assure you people, this will
be the last pumpkin carving contest
this party ever has! Ever!
Joe turns a furious scowl on Danny Morgan.
JOE
This is all your fault!
Danny is immensely proud of himself for that.
DANNY
Yeah, isn't it great? Kids will talk
about this forever!
Joe and Sarah share a look of utter dismay, then they turn
their attention away from Danny and Megan to focus on Icabod.
Icabod is still brushing pulp from his clothes and still has
strings dangling from his hair.
SARAH
You still have a lot in your hair.
ICABOD
My hair will not stain like my
clothes. Best to clean them first.
Joe hands over his soiled Spiderman costume, wadded up in a
tight little bundle. Sarah does the same thing with hers.
JOE
Can you carry these till we get home?
We don't need to wear them any more.
SARAH
Yeah, party's over early this year.
Icabod takes both costumes and stuffs one in each of the
large bellows pockets in the thigh area of his frock coat.
When he finishes that, he resumes cleaning himself, keeping
his head and eyes focused downward just as...
...Sarah's eyes widen like saucers and her mouth flies open
as Joe follows her gaze to:
-----------------------------------------------------------------------------------------------------
60.
INT. THE DOOR TO THE ROOM -- NIGHT
Butch Cleaver stands in the doorway, checking things out. He
looks dumbfounded as he speaks to no one in particular.
BUTCH
What happened in here? Looks like a
pumpkin bomb went off!
Bart Odom stands nearby, still cleaning himself. He hears
that wisecrack and SNAPS back at Butch.
BART ODOM
Thank you for stating the obvious!
Now, if you're part of the clean-up
crew I sent for, please get busy!
Butch raises both hands while he scans the room. There are
four Icabod Crane costumes, and no Spiderman or E.T.
BUTCH
No...I'm, uh...just passing through.
Not part of any clean-up crew.
BART ODOM
Then please leave and make way for
them. They're coming very soon.
Butch takes one more look around. Other kids are staring at
him, too, so he is not able to single out Joe and Sarah any
better than he can find the real Icabod among the impostors.
BUTCH
Yeah...sure...I'm outta here. Adios!
INT. THE PUMPKIN CARVING ROOM -- NIGHT
As Butch leaves, Joe and Sarah start breathing again, while
Icabod has continued cleaning himself the whole time. They
turn to him with expressions of relief and excitement.
JOE
That was Butch Cleaver! He was here!
Icabod goes on full alert, ducking a bit as if to hide.
ICABOD
Upon my oath! Where?
SARAH
He's gone! He didn't recognize us!
-----------------------------------------------------------------------------------------------------
61.
ICABOD
How could he not? Surely we are
familiar to him by now.
JOE
Not out of costume. Like this he
doesn't know who we are. We should
have thought of this before.
SARAH
(quickly puts in)
I'm glad we didn't! I wouldn't have
missed this for anything!
By then the carving room is clearing out of contestants and
supporters, and the CLEANING CREW has arrived.
ICABOD
What if he waits for us on the other
side of the door?
JOE
(nods agreement)
We can leave separately, then meet
later somewhere away from here.
SARAH
(shakes her head)
Even if he finds us, he can't do
much alone. He has to be with his
friends to really cause us trouble.
JOE
So?
SARAH
His friends didn't seem to be with
him. I bet he had to leave them at
the front gate. If he did, that's
where they'll be waiting for us.
As Joe and Icabod look at each other with "Why didn't we
think of that?" expressions, Sarah finishes her thought.
SARAH (CONT'D)
Why don't we look for a way to leave
from the rear...somewhere in back?
Joe is already moving when Icabod pulls him up short.
ICABOD
What about your so-called 'friends'?
SARAH
Ha! 'So-called' is right!
-----------------------------------------------------------------------------------------------------
62.
JOE
They got here without us...they can
get home without us.
EXT. BRICK WALL BEHIND BAXTER HOUSE -- NIGHT
Icabod boosts Joe over the wall, then Sarah, then he climbs
up over it. Unlike the hurricane fence around the junkyard,
there are no toeholds on this one, so he has to muscle up it
with his arms. This time he struggles, straining and GRUNTING.
Safely on the other side, they start walking again, but then
Icabod suddenly stops and grips the back of his head.
JOE AND SARAH
What's the matter? You okay?
ICABOD
The strain of climbing...it set my
head to pounding again...ohhhhhh....
The kids gaze with concern at Icabod until his grimace fades
and he seems to be stabilizing. Then they look at each other.
JOE
(quietly to Sarah)
Think we should call Mom and Dad?
SARAH
It's only a few blocks. He should be
able to walk that far.
ICABOD
Yes, I am better now. Let us resume.
EXT. THE FRONT GATE OF THE BAXTER HOUSE -- NIGHT
Butch Cleaver and his henchmen stand around near their cars,
watching the guard take down the blockade at the driveway.
The party is clearly over, and Butch's gang is impatient.
CHUCKY
It's over, Butch...they're gone.
Somehow they got past us.
BUTCH
They got past us because the kids in
that pulp fight took their costumes
off and we couldn't recognize them!
-----------------------------------------------------------------------------------------------------
63.
CHUCKY
Okay, so they got lucky again. The
thing is...what do we do now? Both
of our cars are still banged up.
ANGLE ON THE CARS
All eight guys gaze at the two dented and scraped vehicles.
ANGLE ON THE GANG
Butch accepts reality with a grim nod.
BUTCH
All this means is that they're out
on the street again. We just have to
get back out there and find them.
They break toward the two cars, pumping each other up.
HENCHMEN
Yeah! We'll do it, Butch! We will!
INT. THE MCMILLAN HOUSE (LIVING ROOM) -- NIGHT
Vera McMillan is pacing around in her Pocahontas costume,
while husband Paul, dressed as a Pilgrim, sits in an easy
chair in front of the TV, reading a newspaper. It is a typical
middle- to upper-middle-class home, nice but not overdone.
VERA
I said it very clearly, Paul, at
least a dozen times--nine o'clock!
And here is it, nine-fifteen!
Suddenly the doorbell RINGS OFFSCREEN and Vera stops pacing.
PAUL
See? I told you they'd come soon.
You got all worked up for nothing.
INT. MCMILLAN HOUSE (FRONT FOYER) -- NIGHT
Vera angrily stalks to the front door, yanks it open, then
GASPS while reflexively lifting her left hand to her throat.
Haggard Icabod is at her eye level, smiling uneasily at her.
-----------------------------------------------------------------------------------------------------
64.
JOE (O.S.)
Hi, Mom! Meet our new friend.
SARAH (O.S.)
He has amnesia!
The kids enter holding their dirty, rolled-up costumes. They
hand them over to Vera as if nothing could be more natural.
JOE
They're gunked...we can't wear them.
SARAH
We got in this huge fight with pumpkin
pulp at the Baxter House, and it was--
VERA
(cuts her off)
Just a minute, young lady!
She focuses her attention back on Icabod, who is staring at
"Pocahontas" every bit as hard as she is staring at him.
VERA (CONT'D)
Who is this again? And what was that
about 'amnesia'...?
SARAH
He's our friend. We've been with him
for hours, and it's been the best--
JOE
(cuts her off)
Butch Cleaver's gang hit him in the
back of the head with a pumpkin. It
gave him a case of temporary amnesia.
VERA
(sarcastic)
And when, exactly, did you pick up
your medical degree?
JOE
Okay, I'm assuming. But he really
has lost his memory...completely.
SARAH
He doesn't even remember cars!
ICABOD
Verily, it is true, Mistress McMillan.
All around me is a total conundrum.
That outburst takes Vera aback just enough for Sarah to lower
her voice and explain so as not to be offensive.
-----------------------------------------------------------------------------------------------------
65.
SARAH
We think he's from Quebec....
Just then Paul arrives at the front foyer looking anxious.
PAUL
Vera, what's taking so long for--?
When he spies Icabod, the "Pilgrim" cuts himself off, then
smoothly shifts gears to deal with what he sees.
PAUL (CONT'D)
What's going on here? Where are your
costumes? And who is this 'gentleman'?
Clutching the dirty costumes, Vera is knocked far enough off-
balance to scurry over to Paul so she can hold onto his arm.
SARAH
Our costumes got filthy at the Baxter
House, so we had to take them off.
JOE
And we found our friend here down by
the old covered bridge.
VERA
The covered bridge! What on earth
were you doing way out there?
JOE
That's a long story we can tell you
about later. The bottom line is that
our friend was out there, too...and
so was Butch Cleaver and his gang.
SARAH
They bombed him like a mailbox!
PAUL
Harumph! I'm not surprised. Those
boys are heading down a wrong path.
SARAH
(smiles at Icabod)
Well, this man is really nice! He
saved us from all kinds of neat
trouble--a snake and a bull and...!
Joe scowls at her and she sheepishly covers her mouth.
SARAH (CONT'D)
Ooops! It slipped!
-----------------------------------------------------------------------------------------------------
66.
VERA
(insistent)
Yes, young lady? We're listening.
Sarah looks to Joe for help, and he tries to save her.
JOE
Listen, Mom, there really isn't time
to go into details now. We all need
to focus on helping our friend here.
The parents stand, wavering, not convinced they should open
their home to a disheveled stranger, but not wanting to turn
away someone in need of help, either. Then Icabod speaks up.
ICABOD
Upon my oath, good people, I truly
cannot recall any of the wonders I
see about me, in every direction I
turn--even in so humble an abode.
PAUL
Humble?
ICABOD
Oh, I mean no disrespect, sir! Not
in the least! I merely speak in a
relative sense...comparable to the
marvelous Baxter House I have seen.
PAUL
Huh?.... Oh.....
VERA
(aside to Sarah)
What part of Quebec is he from?
PAUL
(to Joe, accusing)
Wait a minute. He has amnesia, and
you took him to the Baxter House?
JOE
(defensive)
If we didn't, we would have missed
out on all of Halloween! As it is,
we missed out on trick-or-treating.
Joe and Sarah pull their empty trick-or-treat bags from the
pouch pockets on their sweatshirts. Vera is sorry for them.
VERA
You missed trick-or-treating? How?
-----------------------------------------------------------------------------------------------------
67.
JOE
Danny and Megan stood us up.
SARAH
Yeah, and their parents wouldn't
even give us a ride to--
JOE
(interrupts)
Listen, really, this is a long story
we can tell you about later. Now we
should decide how to help this man
because he really does have amnesia.
ICABOD
(holds his head)
My head is aching again, with the
hammering of two smithy shops.
VERA
(aside to Sarah)
What's a smithy shop?
SARAH
(authoritative)
A Quebec store where you buy smithys.
PAUL
(takes charge)
All right, Mister, we'll do what we
can to help you. Come on inside....
INT. MCMILLAN HOUSE (LIVING ROOM) -- NIGHT
Everyone moves in and Paul directs Icabod to the easy chair
where he was reading his newspaper earlier.
PAUL
Over here, sit in my easy chair, and
rest for a while. Joe, get him some
aspirin. Sarah, get him a glass of
water. Vera, make him some coffee.
I'll call Doc Russell to see if he
has any advice for us. Okay?
As Paul speaks, he settles Icabod into his easy chair in
front of the television. He moves the newspaper out of it,
then picks up the remote control to flick the TV ON.
Icabod GASPS when it comes on, and tries to make a back-
crawling motion up and over the back of the chair.
-----------------------------------------------------------------------------------------------------
68.
ICABOD
(terrified)
Upon my oath! What is that? I have
never seen such a thing!
Paul has to struggle to calm Icabod back down.
PAUL
It's only a television! It won't
hurt you! Just watch it and relax.
SARAH
(smirks)
We told you he forgot everything.
Everyone splits up to do their assigned tasks as Icabod
settles in to watching with wide, staring eyes what is on
the TV: the Disney cartoon version of "The Legend of Sleepy
Hollow." [Or another version if Disney won't allow its use.]
Icabod watches it entranced, not realizing he is watching a
cartoon version of himself bobbling along on the goofy-looking
cartoon horse. But then, when The Headless Horseman suddenly
appears, framed against the full moon, holding his pumpkin
"head" high in the night sky, Icabod suffers a FLASHBACK of
what he actually saw and gives out a GASP of recognition.
ICABOD
(raspy whisper)
Yes! Now I remember! I remember!
He leans forward intently, agitated by his sudden recall and
mesmerized by what he sees on the screen. He watches as the
goofy-looking Icabod and the equally goofy-looking horse
flee from the dreaded Horseman, and he starts to MUTTER.
ICABOD (CONT'D)
No...that is all wrong...it wasn't
like that at all! It wasn't funny!
(grows louder)
No! That is all wrong! All wrong!
(shouting)
This is an outrage! A blasphemy!
That draws the kids and their parents back into the living
room to find Icabod up on his feet, ranting at the television
as if he was watching professional wrestling.
ICABOD (CONT'D)
Coward! Villain! How dare you do
that to me! How dare you!
The Horseman has thrown the pumpkin and Icabod has vanished,
leaving only his cap behind. Paul grabs the remote and clicks
-----------------------------------------------------------------------------------------------------
69.
the TV OFF as Icabod turns away from it, as shattered as the
pumpkin, holding his temples between the heels of his hands.
There are tears in his eyes and some dribbling down his cheeks
as he gazes at the quartet looking at him so anxiously.
ICABOD (CONT'D)
His horse was so large...so powerful
...and mine so old...with stout heart,
yes...but old nonetheless. So we had
no real chance...no chance at all....
Even the kids are baffled by that odd gibberish. All four
McMillans exchange concerned looks, then Paul reaches out.
PAUL
Come on, Mister, sit back down. Just
take it easy and sit back down.
Icabod does it with trembling hands as he wipes away tears.
ICABOD
(mutters)
I remember now...I remember now....
(then he gasps)
Ahhhhh! I remember it all now!
The family backs away from him as his eyes grow wide and
wild. He bolts up from the chair, suddenly panic stricken.
ICABOD (CONT'D)
The year! What year is--?
He spies the tossed-aside newspaper and lifts it, startled
by the pictures on it, and its layout. Then he GASPS again.
ICABOD (CONT'D)
Ohhhhh, nooooo! I'm in the future!
PAUL
The, uh, future of what, Mister?
ICABOD
(ignores him)
Dreaming! I must be dreaming!
He starts twisting and yanking pieces of flesh on his hands,
trying to hurt himself and wake himself up. He only succeeds
in the former, but he also alarms the family even more.
ICABOD (CONT'D)
Owww! Ouch! Owww!
(now desperate)
No! I'm not dreaming! But how can
this be? How can it possibly be?!
-----------------------------------------------------------------------------------------------------
70.
Vera has seen enough. She MUTTERS in an urgent aside to Paul.
VERA
He's a lunatic, Paul! Get him out of
this house! Now!
Paul doesn't have to be told that, but he doesn't want to do
anything that might set the guy off again. He only wants to
settle him down so they can call for outside help.
PAUL
Listen, Mister, why don't you just
sit yourself back down and maybe--
Icabod looks at them, tears again in his eyes, struggling to
make himself believe more than trying to convince his hosts.
ICABOD
I am Icabod Crane...I!
(thumps his chest)
The man you honor for my terrible
misfortune on that long ago night--
which to me is...this very night!
He pauses, as if to fully absorb his own words.
ICABOD (CONT'D)
I understand what I say is impossible.
I know that! Yet every word is true.
I am Icabod Crane! Verily, I am!
PAUL
Sure, Mister...sure. Now, why don't
you just sit back down and--
ICABOD
(cuts him off)
I know you don't believe me! How can
you? I can scarcely believe it myself!
Yet it is true!
(he gathers himself)
Yes, yes, I was chased by The Headless
Horseman. And yes, I was very afraid.
I am not a brave man. I admit it.
He turns to wave disdainfully at the television.
ICABOD (CONT'D)
But it was not like in that box! I
kept my head about me enough to lead
him on a merry chase! I did! And I
prayed...prayed sooo hard...like I
never prayed before....
-----------------------------------------------------------------------------------------------------
71.
SARAH
(quietly puts in)
He prays a lot.
ICABOD
(as if seeing it again)
Suddenly, up ahead, in the bridge,
there appeared a bright blue light!
The brightest, bluest light I had
ever seen...and I rode into it. Just
inside it, I was struck a terrible
blow to the back of my head!
The blow unhorsed me...and sent me
tumbling toward the ground...yet I
never reached the ground! No! I was
caught in some kind of whirlwind...
twisting and twirling and falling
...yet never reaching any bottom!
He returns to the present and focuses on Joe and Sarah.
ICABOD (CONT'D)
The next thing I knew....I found
myself faced with two more demons
...demons who turned out to be these
two lovely children.
Icabod collapses into the chair, drained and exhausted.
ICABOD (CONT'D)
Oh, woe unto me...woe unto me....
Joe and Sarah move forward to console him as Vera tries to
pull them back. Paul grips Vera's arm and motions for her to
let the kids attend to Icabod while they move out of earshot.
Vera lets herself be drawn to the far side of the room, but
she keeps an uneasy watch on her children as they drape arms
around Icabod to console him as best they can.
ANGLE ON Joe, Sarah, and Icabod at the easy chair.
JOE
Don't worry, Mr. Crane, we believe
you. Don't we, Sarah?
SARAH
Of course! You know that costume I
was wearing tonight?
-----------------------------------------------------------------------------------------------------
72.
ICABOD
(shivers)
Such a hideous creature!
SARAH
Yeah, well, if you think you have a
problem, listen to his story....
ANGLE ON Paul and Vera talking SOFTLY to themselves.
PAUL
I'm serious, Vera! I don't think
he's a lunatic at all. This whole
situation smacks of Frank Barnwell's
practical jokes...it does!
VERA
I don't think so, Paul. A practical
joke this elaborate seems a bit much,
even for Frank Barnwell.
PAUL
Think about it! He and I have taught
together at the university for years.
I've pulled gags on him, he's pulled
gags on me. It's a game with us!
VERA
Yes, a silly little boy's game.
PAUL
Call it what you will...remember his
last birthday? I sent a strip-o-gram
to his office. That really embarrassed
him! He told me so himself!
VERA
But why this? Why now?
PAUL
Because it's so perfect for Frank!
He's a history teacher, so he'd have
no trouble researching Icabod Crane's
historical era to create such an
authentic-looking character.
Vera glances over her shoulder at her kids, talking animatedly
with their guest, who seems calmed down now.
ANGLE ON the kids and Icabod, who is still in the easy chair.
-----------------------------------------------------------------------------------------------------
73.
SARAH
So you see, all we have to do is get
you going back through the bridge in
the opposite direction from the way
you went in, and the time warp will
pick you up and bring you back!
Icabod wants to believe it, but it seems so implausible.
ICABOD
Dearest Sarah, how can you even guess
at such things, much less know them?
JOE
She reads a lot of science fiction.
Her sci-fi comic book collection is
the best in the whole neighborhood.
SARAH
The best, bar none. So trust me, Mr.
Crane, I know my time warps from my
black holes, and you got caught in a
time warp...definitely.
Icabod looks to Joe for reassurance and Joe nods emphatically.
JOE
If I were you, I'd go with it. If
you don't, and you get stuck here,
they'll put you on talk shows.
SARAH
Announcement: booorrring!
Suddenly Paul CALLS OUT from behind the kids and Icabod.
ANGLE ON Paul and Vera at their place across the living room.
PAUL
Keep entertaining 'Mr. Crane.' Your
mother and I are stepping into the
kitchen for just a minute...okay?
VERA
(still uneasy)
Just shout if you need anything...
anything at all...understand?
ANGLE ON Joe, Sarah, and Icabod at the easy chair.
-----------------------------------------------------------------------------------------------------
74.
JOE
We're okay, Mom...take your time.
He's feeling a lot better now.
The moment the adults are gone, Joe and Sarah spring into
action. They yank Icabod's hands, pulling him up out of the
chair as Joe explains in an urgent, hissing MUTTER.
JOE (CONT'D)
C'mon, Mr. Crane! We have to get out
of here while the getting is good!
SARAH
This is the kind of thing parents
just can't understand. Ours would
never help us get you back.
ICABOD
But you cannot just leave, with no
explanation! They will wonder what
happened to you! They will worry!
SARAH
No, they won't! They've seen 'E.T.'
JOE
They'll figure it out...eventually!
Despite Icabod's reluctance and his protest, the kids succeed
in dragging him through the front door and into the night.
INT. MCMILLAN HOUSE (THE KITCHEN) -- NIGHT
Paul is on the PHONE, Vera at his side, chewing a fingernail.
INTERCUT with FRANK BARNWELL, a 50-ish fellow also dressed
as Icabod Crane as he sits in his den, talking to Paul.
PAUL
Seriously, Frank...you swear you're
not pulling my leg on this?
FRANK
It's a brilliant idea, Paul, and I
wish I had thought of it. But I
didn't, so he might be a lunatic!
PAUL
But...he sounded so real...speaking
with the old English inflection and
using words in just the right way.
-----------------------------------------------------------------------------------------------------
75.
FRANK
You teach English, so I respect your
evaluation. But my field is history,
and I'm telling you, the real Icabod
Crane vanished 200 years ago!
PAUL
But his clothes, Frank! If you only
could see his clothes!
FRANK
What about them?
PAUL
The material seems hand-woven; the
buckles on his shoes and belt look
like real pewter; and his cravat pin
is bronze with a real patina on it!
FRANK
Okay, listen: Madge is already at
the parade, and Stephen and I were
just leaving. We'll swing by your
house and I'll prove he's a phony.
PAUL
Okay, hurry.
Paul hangs up and looks at Vera, who's biting her lip.
VERA
He says he didn't do it, huh?
PAUL
(shakes his head)
Of course, that could all be part of
the joke. But I have to admit, Frank
sounded as convincing as 'Mr. Crane'.
Vera SIGHS and nods as they both go back to the living room.
INT. MCMILLAN HOUSE (LIVING ROOM) -- NIGHT
Paul and Vera enter the living room and see their children
and Mr. Crane are no longer there. They exchange a frightened
glance, then start moving in opposite directions, calling:
PAUL AND VERA
Joe! Sarah! Mr. Crane! Where are
you? Joe! Sarah!
VARIOUS SCENES as they check into bedrooms and bathrooms, to
no avail, arriving back together at the front foyer.
-----------------------------------------------------------------------------------------------------
76.
INT. MCMILLAN HOUSE (FRONT FOYER) -- NIGHT
Vera glances at Paul with frantic eyes that perfectly read
his own frightened expression.
VERA
Oh, Paul, he's kidnapped them! He
was a lunatic and now he has them!
She starts breaking down, so Paul grabs her and shakes her.
PAUL
Vera! If he meant to hurt them he
would have done it by now! He didn't!
(controls himself)
Now, let's just calm ourselves down
and do what we're supposed to do at
a time like this. Let's call the
Sheriff and let him handle it.
Vera fights off her alarm and puts up a brave front.
VERA
All right...okay...let's call....
EXT. A SIDEWALK IN DOWNTOWN TARRYTOWN -- NIGHT
Icabod, Joe, and Sarah are walking along, talking. They're
in a more high-rise area now, typical of a mid-size city's
downtown district, no building higher than a few stories.
As they walk, they approach a construction site where a new
building is going up. A half-block square is fenced off and
part of its ground has been gouged out by a large bulldozer.
JOE
So, really, Mr. Crane, that's all we
know about where you are and how you
might have come here.
SARAH
And trust me, it could be a lot worse.
ICABOD
But two hundred years in the future!
Everything here is so...splendid! No
one from my time would believe such
things as cars, trucks, airplanes,
televisions, electric lights....
-----------------------------------------------------------------------------------------------------
77.
SARAH
You should see what's coming along
two hundred years ahead of us! The
Empire...The Force...Death Stars--
JOE
(cuts in)
Terminators! Those guys are mean!
SARAH
He's right. So what you face here is
a day at the beach compared to that.
ICABOD
I have been to a beach--in Maine. In
some ways it was as strange as this.
(to Joe)
So...you believe your friend, Robbie
Martin, will let me borrow his horse
to ride back through the bridge?
JOE
Oh, sure! No question! He stole my
girlfriend last year, so he owes me.
SARAH
(chides)
Huh! Robbie did you a favor.
JOE
He did not! Melinda was nice!
ICABOD
(smoothly mediates)
Favor or not, children, let us return
to the matter at hand.
Joe gets over his snit against Sarah and refocuses.
JOE
Okay, Robbie is riding Button in the
parade tonight...he always does. So
we'll wait till it's over and then--
He's CUT OFF by Butch's Trans-Am and Chucky's Dodge traveling
in tandem as they reach the corner the trio is heading toward.
JOE (CONT'D)
Oh, no! Butch Cleaver! Run!
By then they've drawn alongside the construction site they've
been approaching, so they dart into an open gate in the chain-
link fence surrounding the site. The gate is beside a trailer,
the kind set up on all construction sites to act as offices.
-----------------------------------------------------------------------------------------------------
78.
INT. THE TRANS-AM -- NIGHT
Grimacing, Butch turns the Trans-Am left and points it down
the block. Chucky follows. As they do that, Butch catches a
glimpse of the trio running into the area under construction.
BUTCH
I see them! They just ducked into
that construction site!
He floors the accelerator to try to get down the block in a
hurry, and he turns left toward the curb a bit too sharply,
which sends his car into a fishtail skid out of control.
BUTCH (CONT'D)
What the---!
ANGLE ON THE CARS IN THE STREET
Chucky has accelerated the Dodge to keep up with the Trans-
Am, so when Butch makes that sharp left and goes into the
skid, Chucky tries to turn right to avoid a collision.
The Dodge skids to the right, leaving them moving toward
each other sideways, driver-side to driver-side. It's slow
enough so they can look in each other's eyes as their cars
COLLIDE broadside--head to tail--and bounce apart.
Both gangs pile out of both cars to examine the scraped and
crinkled panels along both of the driver's sides. The gang
members are stunned, while Chucky and Butch argue furiously.
CHUCKY
What's the matter, man? Can't you--?
BUTCH
(points to the street)
Look! There's sand all over the
street! Trucks moving in and out of
that site left sand on the street!
CHUCKY
So what, man? Look at my car!
BUTCH
So it's not my fault! It's the sand!
CHUCKY
Not your fault? You made a bad turn!
-----------------------------------------------------------------------------------------------------
79.
BUTCH
I saw then! Then went in that site!
CHUCKY
Who cares about them? Look at our
cars! Our old men are gonna kill us!
BUTCH
No, they're not, because we're gonna
catch that guy and make him pay for
it! Now let's get him! You come with
me; you guys take the cars over to
the other side. We'll hem them in!
Butch and Chucky take off running after the trio, while the
other henchmen move back toward the cars.
EXT. THE CONSTRUCTION SITE -- NIGHT
The site is in "prep" phase. Everything necessary is piled
or parked inside, but nothing is up yet. The foundation pit
is dug and partly filled with water. Forming boards are piled
high on one side of the pit. Steel girders are stacked around
two other sides. Fat cylinders of rebar lay beyond those.
Along the fourth edge of the pit is parked a tank-size cherry
picker for elevated welding, and a larger, extendable-necked
"Icabod crane" for hoisting girders into place.
All the heavy equipment and component stacks are taller than
Icabod, so he is intimidated and frightened by them in the
same way the kids were frightened by the woods earlier.
ANGLE ON the kids and Icabod as they run along.
With only external street lights illuminating the site, deep
shadows are cast by the equipment piles. Icabod comes face-
to-face with the diesel-engined rear-end of the bulldozer,
which looks something like the full-grown "Alien" monster.
ICABOD
Ahhhhhh!
He does his usual number of dropping to his knees to pray.
ICABOD (CONT'D)
Heavenly Father, please save me from--
Joe and Sarah cut him off before he can even get started
good, yanking him by the arms and getting him going again.
-----------------------------------------------------------------------------------------------------
80.
JOE
It's only a machine!
SARAH
Don't be afraid!
Icabod gets shakily to his feet as Joe looks behind his group.
ANGLE ON JOE'S POV
Butch and Chucky are just entering the gate at the site and
barreling toward the office trailer. They are 50 yards away.
JOE
We have to run--now! Let's go!
They duck between two of the piles of girders and run along
in that dark, narrow passage for about 30 feet. They come
out and are face-to-face with the looming Icabod crane.
ICABOD
Oh, dear, oh, dear, oh, dear!
JOE
Look, you have to stop this! I know
you told our Dad you aren't brave,
but earlier tonight you were!
SARAH
Yeah, except for the dogs you were
brave! So please be that way now!
Icabod is struck by that observation, but there is no time
for more than a brief change of expression as the kids yank
him past the Icabod crane and around to its rear so they can
duck behind it and Joe can check on their pursuers.
ANGLE ON JOE'S POV.
Butch and Chucky are coming hard, now only thirty yards back.
It is clearly just a matter of seconds before they catch up.
ANGLE ON the trio, with the cherry picker at their backs.
Joe realizes that both the Icabod crane and the cherry picker
rest along the edge of the foundation pit, which is as large
as the building's foundation slab, which will be poured into
it. It is three feet deep and half-filled with water that is
so incredibly muddy it has the consistency of engine sludge.
-----------------------------------------------------------------------------------------------------
81.
Joe also notices a wheelbarrow is only a few feet from where
they are crouched behind the rear of the Icabod crane. Seeing
that, he urgently WHISPERS to Icabod and Sarah.
JOE
Here! Help me! I have an idea!
EXT. ALONGSIDE THE ICABOD CRANE -- NIGHT
Butch and Chucky come barreling out of the two stacks of
girders that lead into the Icabod crane. They come to a halt,
not sure of which way to go at that point.
Suddenly, Sarah and Joe stick their heads around from the
rear of the crane so Butch and Chucky can see them. The two
teenagers sprint along the side of the crane's 25-foot base.
They screech around the edge of the rear end of it like a
couple of cartoon characters, where they see Joe and Sarah.
ANGLE ON Joe and Sarah standing at the edge of the pit, thumbs
in their ears, hands waving with contempt at their pursuers.
JOE AND SARAH
Nah-nah-nah-NAH-NAH!
ANGLE ON Butch and Chucky as they sprint the 10 feet along
the rear of the crane. They go half-way when suddenly Icabod
thrusts the wheelbarrow from behind the crane's side nearest
the foundation pit. As that happens, Joe and Sarah duck behind
it as Butch and Chucky slam into it at their knees.
The kids and Icabod watch as Butch and Chucky flip over in
the air, as if off a diving board, and do back-busters into
the thick muck in the foundation pit--SPLOOSH! SPLOOSH!
SARAH
(shouts at them)
Serves you right, you big bullies!
Butch and Chucky are down in the muck, HOWLING their anguish.
BUTCH AND CHUCKY
Aaaarrrrggghhh! It's freezing! Yuck!
They struggle and strain to get to their feet, but each time
they do, they try to use each other as a prop, which causes
the other one to lose his footing and fall back in again. In
general, they make complete cartoon-like asses of themselves.
-----------------------------------------------------------------------------------------------------
82.
EXT. THE SITE'S FRONT GATE -- NIGHT
Icabod and the kids scamper out of the site the way they
went into it, then hustle down the sidewalk to get away.
EXT. THE OPPOSITE END OF THE SITE -- NIGHT
The Trans-Am and the Dodge have pulled up side-by-side to
shine their headlights onto the high chainlink fence that
surrounds the construction site. There is another gate at
that end of the site, a bit ajar like the entrance gate.
Suddenly, two human-shaped mudballs emerge from the shadows
cast by a pile of stacked wooden form boards. They look like
monsters from the Black Lagoon, walking stiff-leggedly, arms
akimbo, dripping "slime" that is actually thick, oozing mud.
The two unrecognizable "monsters" reach the fence and grip
it like prisoners would hold the bars of a cell.
ANGLE ON the henchmen.
Earl, Butch's chief sycophant, is now in charge of the Trans-
Am. He still wears the red gym shorts over his jeans, just
as Butch still wears the green pair invisible under muck.
Earl glances questioningly at Wade, Chucky's chief toady and
driver of the Dodge. Wade makes an urging motion, as if to
say, "You handle it." Earl does so, but quite tentatively.
EARL
Butch?...Is that you and Chucky?
BUTCH
(furious, shouts)
No, it's Santa and the Easter Bunny!
WADE
(mutters to Earl)
Be careful...they're not real.
EARL
Uhhh...nobody came out here, Butch.
We had it covered for you.
BUTCH
They went out the way they came in,
you idiot! Now help us! We're a mess!
-----------------------------------------------------------------------------------------------------
83.
WADE
Help you? How?
CHUCKY
Find a hose, birdbrain!
EXT. THE MCMILLAN HOUSE (DRIVEWAY) -- NIGHT
A big, four-door Chevy Caprice pulls into the driveway. In
it are Frank Barnwell and his son, STEPHEN, a college-age
version of his father. Both are dressed as Icabod Crane.
As they arrive, Paul and Vera are preparing to get in their
station wagon. The Barnwells get out of the Caprice and hurry
over to where the Paul and Vera stand beside the Volvo.
FRANK
We got here as quick as we could.
PAUL
While I was talking to you, he got
away. He took the kids with him.
FRANK
He took them? Or they went with him?
VERA
(explodes)
Who cares? They're gone!
FRANK
Point taken. So where are you headed?
PAUL
We called the Sheriff's office to
get his cellphone number, but they
wouldn't give it to us. He's in the
parade enroute to the bonfire.
FRANK
And so is just about every other
officer in town...right?
VERA
(bitterly)
Exactly! They said they're handling
only genuine emergencies right now,
and the kids haven't been gone long
enough to even qualify as missing.
PAUL
We're going to find the Sheriff and
ask him to make an exception for us.
-----------------------------------------------------------------------------------------------------
84.
At that point Stephen Barnwell breaks into the conversation.
Like his father, he is erudite to the point of boorishness.
STEPHEN
Why not ask your neighbors to drive
around town to try to find them?
Paul and Vera look at each other with the familiar "Why didn't
we think of that?"...expression, then Vera nods vigorously.
PAUL
Good idea, Stephen! While we do that,
would you two find the Sheriff for
us and tell him about our problem?
FRANK
Of course, Paul. You know we will.
PAUL
Do you have your cellphone with you?
Frank and Stephen both pat pockets of their costumes.
PAUL (CONT'D)
Good. That's how we'll keep in touch.
If we find them, we'll let you know.
VERA
If you find the Sheriff, make him
call us on ours...please? Tell him
it's an emergency; that we insist on
talking to him. Don't let him refuse!
Barnwell and Stephen both nod as they turn toward their car.
FRANK
Don't worry, Vera...we'll be firm.
EXT. ANOTHER RESIDENTIAL SECTION OF TARRYTOWN -- NIGHT
Modest but well-kept homes front nice streets and avenues.
Few vehicles are out. Most people are at the parade/bonfire.
Icabod and the kids walk on a sidewalk. A lone car approaches
in the distance. They duck behind a hedge along a front yard
until it passes. This makes clear how wary they have become.
EXT. AN INTERSECTION IN THE RESIDENTIAL AREA -- NIGHT
They start across the intersection as a car turns the corner
up the block, momentarily catching them in its headlights.
-----------------------------------------------------------------------------------------------------
85.
INT. THAT CAR'S POINT OF VIEW -- NIGHT
The trio scurries across the street and takes cover behind a
bus-stop bench. OFFSCREEN we hear Frank and Stephen Barnwell.
STEPHEN (O.S.)
It's them! I'll call the McMillans!
FRANK (O.S.)
No! We don't have time for that!
Let's just handle it ourselves.
STEPHEN (O.S.)
How?
FRANK (O.S.)
Follow my lead....
EXT. THE INTERSECTION CORNER (ANGLE ON BENCH) -- NIGHT
The big Caprice pulls up alongside the bench the trio hides
behind. The driver-side window rolls down and the two ersatz
Icabod Cranes in the front seat become visible.
FRANK
Joe! Joe McMillan! And Sarah! What a
surprise! What are you hiding from?
Realizing they're recognized, but also assuming they're in
no immediate danger, Joe and Sarah rise from behind the bus
bench and urge Icabod to come up with them.
JOE
We're not hiding! We're...ahhh....
SARAH
I dropped a quarter!
(holds one up)
We just found it....
FRANK
Who's your friend?
ICABOD
I am Uncle Ben...from Quebec.
FRANK
(obsequious)
Good to meet you, Ben. Any relative
of the McMillans is a friend of mine.
(MORE)
-----------------------------------------------------------------------------------------------------
86.
FRANK (CONT'D)
Although I must say...I'm jealous of
your costume. It's better than ours!
(stilted pause)
You guys are late for the parade.
It's already started by now.
JOE
We're showing Uncle Ben around town.
SARAH
We'll get there when we get there.
FRANK
Stephen and I are on our way. Why
don't we give you a lift? Sure! Come
on! Hop in and we'll go together!
Joe and Sarah look at each other, Sarah shrugs, and Joe caves
in. He looks up at Icabod and MUTTERS.
JOE
They're okay. We know them.
Joe leads his trio across the curb and they climb into the
back seat of the big sedan. It's Icabod's first time to get
into a car, so he is hesitant about how to accomplish that.
But he follows Joe's lead, and Sarah climbs in behind him.
INT. THE CAPRICE -- NIGHT
They end up with Sarah sitting behind Barnwell, Icabod in
the middle, and Joe behind Stephen. Icabod looks around at
everything inside the car with avid interest. Meanwhile, Joe
introduces the men formally, and during each introduction,
they shake hands across the back of the front seat.
JOE
Dr. Barnwell, this is our Uncle Ben
from Quebec. Uncle Ben, this is Dr.
Frank Barnwell and his son, Stephen.
FRANK
Like I said, pleased to meet you.
ICABOD
Thy pleasure is also mine, kind sir.
Barnwell frowns slightly at that response, then drives away
as Stephen shakes hands with Icabod.
STEPHEN
Same here, sir...it's a pleasure.
-----------------------------------------------------------------------------------------------------
87.
ICABOD
Thy feeling is reciprocated, lad.
They drive in uncomfortable silence for a few seconds, then
Barnwell starts up a conversation, glancing in the rearview
mirror to make eye contact with his passengers as he talks.
FRANK
So, kids, tell me...how is it I never
heard of your Uncle Ben before now?
SARAH
He's, uh, kind of a black sheep uncle.
FRANK
(glances at Icabod)
A black sheep, eh? That's interesting.
What do you do? Work for the I.R.S.?
Frank and Stephen offer strained chuckles at that lame joke,
giving Icabod time to nervously tug his cravat while glancing
at Joe and Sarah, urging them to bail him out again. However,
his nerves cause him to tug a bit too hard, so the bronze,
rose-shaped cravat pin pops off and drops into his lap.
ICABOD
Upon my oath! My cravat pin is broken!
He picks it up from his lap and lifts it to examine it. One
of its thin base loops, the size of a toothpick, is cracked.
AN INSERT SHOT shows that a fairly easy fix is required.
At that, Barnwell reaches his right hand back over the seat.
FRANK
Here, let me have a look at it.
Icabod hands it over and Frank examines it thoroughly, going
so far as to bite it to check its tensile strength.
Icabod sees that and reacts with righteous indignation.
ICABOD
Sir! That pin is for my formal attire!
It is pure bronze and quite expensive!
Please treat it with proper respect!
At that Stephen lifts his own cravat pin up to examine it.
STEPHEN
How much did yours cost?
ICABOD
Five dollars!
-----------------------------------------------------------------------------------------------------
88.
Stephen smirks but Frank does not; he still scrutinizes the
pin carefully as Stephen reaches into the glove compartment.
STEPHEN
You were taken, Uncle Ben. We rented
these whole costumes for thirty. But
we have just the thing for it.
(holds up small tube)
Super glue.
ICABOD
(puzzled by it)
Super glue?
SARAH
(grabs the tube)
I'll handle that for you, Uncle Ben.
Can I have it back now, Dr. Barnwell?
Frank hands the cravat pin back to Sarah, who takes it and
starts on the repair as Joe speaks up sounding concerned.
JOE
Umm, Dr. Barnwell, do you realize
we're not going toward the parade
ground? We're going downtown?
Joe notices Frank and Stephen share a quick, anxious look.
FRANK
Uh, sure, Joe...I know that. It's a,
uh...kind of a short-cut I'm trying.
JOE
Oh....okay....
Having glued the pin parts, Sarah now holds them together so
they can seal. As she does that, Joe motions for her to lean
across Icabod's lap so he can WHISPER to her.
JOE (CONT'D)
They must've talked to Mom and Dad!
The Sheriff's office is downtown!
SARAH
(whispers back)
What do we do now?
Joe gives her a big shrug, then sits back upright. Sarah
does the same. Both are stymied by this unexpected twist.
A big intersection looms ahead. Its stoplights turn from
yellow to red. Frank slows the Caprice down. While the kids
were whispering, he concentrated on Icabod in the rearview.
-----------------------------------------------------------------------------------------------------
89.
He has noted Icabod looking wide-eyed and keenly alert to
everything around him, inside and outside of the car. As
Sarah gives Icabod his repaired pin, Frank speaks again.
FRANK
You know, Ben, you keep looking around
like you've never seen anything like
it before in your life. Why is that?
Joe and Sarah look at Icabod with undisguised alarm, but
Icabod answers smoothly as he reattaches his cravat pin.
ICABOD
Things are very different in...Quebec.
STEPHEN
(disdainful mutter)
Not that different....
At that the car rolls to a stop at the intersection lights.
EXT. THE INTERSECTION -- NIGHT
The Caprice is in the right lane, by a sidewalk. Joe throws
his door open and starts yanking on--and YELLING at--Icabod.
JOE
Come on, Uncle Ben! We're getting
out here! Come now!
Sarah is way ahead of startled, reluctant-to-move Icabod,
pushing him forward as Joe pulls him from outside the car.
SARAH
Go, Uncle Ben! Go! Hurry!
FRANK
Hey! You can't leave! Joe! What are
you doing, boy? Are you crazy?
STEPHEN
Geeze! What's with you people?
Icabod clears the car and is out with Joe when Frank reaches
over the seat and snags Sarah's left ankle. Sarah SCREAMS
and reaches out to clutch the tails of Icabod's frock coat.
Icabod hears her scream and turns to see her problem.
JOE
Grab her! Don't let them have her!
Fear is evident in Icabod's eyes, but only for a moment. He
overcomes it to reach out, grab her arms, and hang on tight.
-----------------------------------------------------------------------------------------------------
90.
Frank holds on, too, letting the car roll forward. Sarah is
trapped--half in, half out--kicking and SCREAMING.
FRANK
Let her go! I'm not leaving her!
ICABOD
(jogging with car)
No! You let her go! She is with us!
STEPHEN
For God's sake, Dad! Let her go!
You'll wreck us!
FRANK
No! We have to keep her! We have to!
A large, dark pickup comes careening into the intersection,
horn BLARING, straight at the slowly rolling Caprice. Frank
hears the horn and looks back, shocked, as Stephen YELLS.
STEPHEN
Watch oooouuuut!
When Frank's attention shifts to the truck, that's all the
opening Icabod needs. He yanks Sarah and she pops free, all
the way out of the Caprice's open back door, into his arms.
JOE AND SARAH
(elated)
Yeeeaaahhhh!
They scurry back and away from the road, toward the sidewalk,
as Frank reflexively stomps his brakes, which stop the Caprice
in the middle of the intersection, canted at an angle left.
The hurtling pickup tries to avoid a collision, swerving
with a SCREECH of tires. The truck's driver side SCRAPES
along the Caprice's passenger side, shearing off the rear
door that had been left open when Sarah was pulled free.
Joe, Sarah, and Icabod look at each other as if to say, "Not
another one!" Then they turn and skedaddle as the DRIVER(s)
of the two vehicles get out SHOUTING angrily at each other.
TRUCK DRIVER
You stupid moron! Can't you drive?
FRANK
Couldn't you see I had a problem?!
TRUCK DRIVER
A problem? HA! You only thought you
had a problem! Now you have a problem!
-----------------------------------------------------------------------------------------------------
91.
INT. THE CAPRICE -- NIGHT
Stephen remains in the passenger seat behind its crinkled
door and side-panels. He speaks into his cellphone as the
argument continues in the street, MUTED in the BACKGROUND.
STEPHEN
Mr. McMillan? Stephen Barnwell. We
found them and we had them in our
car...but they got away from us.
INTERCUT with Paul and Vera driving in the station wagon.
Paul talks to Stephen, clearly upset by what he has heard.
PAUL
They got away! How could that happen?
STEPHEN
We had a good plan we didn't execute
properly. The point is, you have the
wrong idea about what's going on
with your kids and that guy.
PAUL
(taken aback)
What do you mean?
STEPHEN
He hasn't kidnapped them. If anything,
they've kidnapped him!
PAUL
(taken further aback)
Where are you?
STEPHEN
The intersection of Elm and Broadway.
PAUL
(turns the Volvo)
Stay there! We're coming right over.
Stephen glances dourly out the window at his father and the
driver of the pickup, still standing in the street, arguing,
as flashing lights of a police car approach in the distance.
STEPHEN
Don't worry...we'll be here a while.
-----------------------------------------------------------------------------------------------------
92.
EXT. ANOTHER NEIGHBORHOOD AREA -- NIGHT
Joe, Sarah, and Icabod walk along another sidewalk, faster
than ever before. It is like speed-walking or race-walking.
JOE
Listen, we have to slow down. People
will think we're running away.
ICABOD
But, Master Joe...are we not doing
precisely that--running away?
SARAH
We look like criminals...like we
stole something and are escaping.
JOE
We have to look like we're strolling
along without a care in the world.
They bring their pace under control, then Sarah presses Joe.
SARAH
Joe, we're a long way from the bonfire
now. We won't make it at this rate.
JOE
You're right...we have to move faster.
ICABOD
What about riding in another car? I
found that experience exhilarating!
SARAH
(to Icabod)
We could call a taxi. That's a car
we would have to pay to ride in.
JOE
(slaps his pockets)
I left my money in my costume pocket!
(to Sarah)
Do you have enough for a taxi?
SARAH
I only have pocket change!
They look up at Icabod. He reaches into a breast pocket in
his frock coat and pulls out a leather coin purse. He opens
it and pours coins into his palm. Joe and Sarah look at them.
SARAH (CONT'D)
(grimaces)
Might as well be Quebec money.
-----------------------------------------------------------------------------------------------------
93.
JOE
Wait! I just realized something.
We're not too far from the mall.
SARAH
So...?
JOE
Let's see if anybody's hanging out.
SARAH
Yeah! Maybe we can catch a ride!
ICABOD
(outraged)
Did you just say hanging? After two
hundred years people still do that?
JOE
Nooooo, not that kind of hanging...
SARAH
...it's just a figure of speech.
(to Joe, muttered)
Announcement: he has got to get home!
EXT. THE INTERSECTION -- NIGHT
Paul and Vera have arrived on the scene. They stand to one
side with Stephen as Frank finishes his business with the
POLICEMAN who has come to handle the accident scene.
The driver turns and heads for his truck, folding a slip of
paper he angrily stuffs into his shirt pocket. Frank, still
dressed as Icabod Crane, stuffs his slip into his frock coat.
He speaks to Paul and Vera and Stephen as he approaches.
FRANK
Two-hundred dollar fine for failure
to yield...two thousand in damages.
VERA
Listen, Frank...you were acting on
our behalf. We'll split it with you.
FRANK
No, it was all my fault. I didn't
have to gamble like that. My hubris
got the best of me. Fair is fair.
(a beat)
Something good did come out of it,
though...something very unexpected.
-----------------------------------------------------------------------------------------------------
94.
Paul and Vera and Stephen look at him hopefully.
FRANK (CONT'D)
The cravat pin he wears is authentic.
I checked it out. And like you said,
Paul, he uses exactly the right old
grammar in exactly the right ways.
STEPHEN
What are you saying, Dad? He's real?
FRANK
I'm saying he's extremely interesting.
VERA
Real or not, I want my kids back.
PAUL
Right! Let's not lose sight of the
goal. Any idea where they're going?
STEPHEN
When we offered them a ride to the
bonfire, they climbed right in.
FRANK
They're on foot, so it will take
them quite a while to get there. We
might do better to fan out and drive
around looking for them for a while.
PAUL
Will your car still run?
FRANK
Sure, the wheels are good. It's just
the door that's missing.
VERA
This time, call us if you find them.
Frank and Stephen turn toward where the Caprice is parked.
FRANK
Don't worry...I've learned my lesson!
EXT. TARRYTOWN MALL PARKING LOT -- NIGHT
Joe, Sarah, and Icabod walk across the huge mall parking
lot, empty of parked cars at that late hour. They approach
a group of SIX BOYS, all of whom are Joe and Sarah's age.
Two skateboard, two rollerblade, and two are on bicycles.
-----------------------------------------------------------------------------------------------------
95.
ONE of the skateboarders recognizes them and comes directly
toward them. Icabod backs away, alarmed by that approach,
but Sarah takes his hand and urges him not to be afraid.
SARAH
It's okay. We know these guys.
ICABOD
You knew the others, as well.
The skateboarder is DOUG PORTER. He reaches them and begins
swooping around them in a series of loops and twirls. A few
glances at Sarah makes it clear he is showing off for her.
DOUG
Hey, Joe! How's it going?
JOE
Fine, Doug. How's it with you?
DOUG
The usual.... Who's the Icabod?
SARAH
Our Uncle Ben!
DOUG
Who asked you, twerp?
Icabod is startled by that snappish reply, but Sarah glows
and speaks confidentially to Icabod behind a beaming smile.
SARAH
I think he likes me.
Icabod stands there mesmerized by Doug's skateboard antics
as the conversation between him and Joe plays out.
JOE
Why aren't you guys at the parade?
DOUG
Ah, it's same thing, year after year.
What's the big deal? We decided to
just come here and hang out instead.
The trio and Doug start moving toward the other five boys.
DOUG (CONT'D)
You guys on your way over to it?
JOE
We're too late for the parade, but
we're hoping to catch some bonfire.
-----------------------------------------------------------------------------------------------------
96.
DOUG
Yeah, we might go to the bonfire.
As they near the group of five, Icabod notices the two boys
standing by their bicycles. His eyes light up in recognition.
ICABOD
Bi-cy-cles!
(pronounce BI-sy-kuls)
DOUG
He's never seen bicycles before?
SARAH
He's from Quebec.
DOUG
Who asked you, twerp?
Icabod moves forward to examine the bikes up close and is
amazed at how shiny and beautiful they are.
ICABOD
We do have bi-cy-cles in...Quebec.
But, verily, none are so beautiful
as these. These are...marvels!
JERRY DECKER, one of the bike boys, extends his toward Icabod.
JERRY
Want to take it for a spin?
Icabod is delighted by the prospect. He wipes his hands on
his coat before even daring to touch the gleaming machine.
All the kids can see how taken he is with it, how delighted.
JERRY (CONT'D)
You have ten-speeds in Quebec?
The baffled look on Icabod's face supplies the answer.
JERRY (CONT'D)
Okay...here, I'll show you....
ANGLE ON JOE AND SARAH AND DOUG
They talk as, in the background, the other boys gather around
Jerry as he gets Icabod up onto the bike saddle and starts
showing him how to shift the gears and work the brakes.
DOUG
Who's the geek, Joe...really?
-----------------------------------------------------------------------------------------------------
97.
SARAH
He's not a geek! He's made us have
the choicest Halloween ever!
(her voice hardens)
And if you call me 'twerp' one more
time, I'm going to kick you into the
front row of the chorus...capische?
Doug is as smitten by her threats as she is by his putdowns.
He keeps playing it as cool as he can for the sake of image,
but he doesn't call her "twerp" again.
DOUG
Yeah, right....
(turns to Joe)
So, really, who is he?
JOE
That's kind of a loooong story, Doug.
We'll have to tell you about it later.
SARAH
Besides, it's none of your beeswax,
Doug Porter. Don't be so nosey!
DOUG
(to Joe)
Man, how do you live with her?
They're interrupted by a WHOOP of delight from OFFSCREEN.
ICABOD (O.S.)
Waaaaaaa-hoooooooo!
ANGLE ON ICABOD
He has the bicycle figured out and is now riding in the
distance. His frock coat's tails flap as he goes careening
around, weaving and cavorting with the joy of riding such a
wonderful machine, a la Paul Newman in "Butch and Sundance."
ICABOD (CONT'D)
(calls back to them)
In Quebec bi-cy-cles are very large
...very heavy...very slow...nothing
so light and quick as this! This is
like...riding the wind itself!
EXT. ANGLE ON KIDS WATCHING ICABOD -- NIGHT
They all gather together to watch him ride.
-----------------------------------------------------------------------------------------------------
98.
JERRY
He sure talks funny, doesn't he?
SARAH
We told you, he's from Quebec.
One of the rollerbladers, STEVE REED, speaks up.
STEVE
My aunt lives in Quebec. We visit
her every year. They talk funny, but
in a different way. Not like that.
The boys give Joe and Sarah a hard, questioning look.
SARAH
Umm, what part do you visit?
STEVE
Montreal...
SARAH
That's southern Quebec. He's from
northern Quebec. Huge difference!
Joe's relieved expression suddenly transforms into shock.
JOE
Uh, oh!
SARAH
(follows his eyes)
Oh, no!
EXT. MALL PARKING LOT (ANGLES ON TWO ENTRANCES) -- NIGHT
Butch Cleaver's battered red Trans-Am has turned in and is
now heading toward Icabod, who still cavorts on the bicycle.
At a different entrance, Chucky Baker's battered white Dodge
makes the same kind of entrance into the sprawling open area.
ANGLE ON Joe as he shouts to Icabod.
JOE
Uncle Ben! Uncle Ben! Come back!
ANGLE ON Icabod as he reacts to Joe's shout by looking over
at the group of kids. He is now 50 yards away from them.
-----------------------------------------------------------------------------------------------------
99.
HIS POV reveals Joe and Sarah jumping up and down and pointing
behind him.
ANGLE ON Icabod as he looks back and sees the Trans-Am and
the Dodge, both well-illuminated in the bright lights of the
parking lot. They come at him as he GASPS and pedals harder.
INT. INTERCUT BETWEEN BUTCH AND CHUCKY IN THE CARS -- NIGHT
Both young men are thoroughly soaked and bedraggled after
being rinsed off after their recent mudbath. They talk to
each other on cellphones as they strategize.
BUTCH
Okay, this is it! We have him trapped!
Let's be extra careful to make sure
we stop him this time. No mistakes!
CHUCKY
Yeah, okay, but how do we stop him?
BUTCH
Knock him down! Not hard enough to
hurt him, but enough to flatten him.
CHUCKY
I don't know, Butch...if we hit him
on purpose, we could be in trouble.
BUTCH
Not him, you numbnut! The bike! Take
it down, and he'll go down with it!
Aim for the rear wheel and bend it!
EXT. THE PARKING LOT (ANGLES ON THE "BATTLE") -- NIGHT
The Trans-Am comes up behind Icabod, matching his speed. He
swerves aside so the car can hurtle past. The kids SHOUT for
joy until the Dodge peels toward Icabod to pick up the chase.
Meanwhile, Butch cuts the Trans-Am's wheels to crank a tire-
smoking 180 spin-around that puts him right back in the chase.
Icabod rides in a wide arc, getting a feel for avoiding the
cars by staying inside their much larger turning radii.
-----------------------------------------------------------------------------------------------------
100.
Butch and Chucky have learned their lessons. They keep the
cellphones busy as they SHOUT instructions and warnings to
each other while they try to figure a way to box Icabod in.
BUTCH
Careful! Stay left! Stay left!
CHUCKY
I'm on it! Loop around! Loop around!
Icabod finally notices that both cars are sweeping past in
smaller and smaller arcs, tightening in on him like a purse
net on tuna. He suddenly angles off in a different direction.
Butch and Chucky are focused so intently on pursuing Icabod
in the pattern they have established, they don't see he has
set them up for a head-on collision until it is too late.
They swerve hard left and right to maintain their pursuit of
him, which leaves them pointing at each other, nose-to-nose.
Frantically, they both turn in the opposite direction, which
causes both to slide into rear-end fishtails that cause the
left-rear quadrants to COLLIDE. That crumples their fenders
down onto both left-rear tires, rendering each car immobile.
ANGLE ON Icabod as he pedals toward the kids, now standing
100 yards away and all eight CHEERING lustily for him.
ANGLE ON the Trans-Am and Dodge as Butch and Chucky and their
passengers pile out and start BERATING each other. Both cars
are starting to look like refugees from a demolition derby.
CHUCKY (CONT'D)
Look what you did to my car, man!
BUTCH
What about you? You drive like a--!
EARL
(cuts in)
Hey, guys! He's getting away!
WADE
Earl's right! He's splitting!
Butch and Chucky stop their argument to look over to the
place where Icabod has just reached the group of kids.
-----------------------------------------------------------------------------------------------------
101.
ANGLE ON the kids as Joe and Sarah frantically negotiate
with the six boys they have joined.
JOE
If you let us borrow the bikes, I
promise we'll take them straight to
the bonfire! We'll lock them around
one of the lightpoles and they'll be
right there when you come, I swear!
Doug is the leader of the group, but these are not his bikes,
so he looks to their owners and puts it to them.
DOUG
What do you say, guys? Okay?
Both boys waver, then look over at the crowd around the cars.
THEIR POV reveals the older teenagers starting to run their
way. It won't take them long to cover 100 yards.
JERRY
Yeah, okay...you can use mine. Just
be careful!
The other bicycle owner, CARL BRENNAN, reluctantly goes along.
CARL
Don't forget to lock them!
Sarah erupts with joy and springs forward to plant a kiss on
a startled Doug's cheek.
SARAH
Oh, thank you, Doug! Thank you!
Doug wipes his cheek bashfully, but it's clear he liked it.
DOUG
No sweat, twer--
(cuts himself off)
See you later. Good luck!
Joe is already mounted on the second bike, and Sarah wastes
no time jumping up on the crossbar of Icabod's bike. They're
off and pedaling hard to stay well ahead of their pursuers.
ANGLE ON the group of pursuing teens, who stop running when
they realize that yet again they are hopelessly outpaced.
BUTCH
We'll never catch them on foot!
-----------------------------------------------------------------------------------------------------
102.
CHUCKY
What other choice do we have?
Butch is not the gang's leader for nothing.
BUTCH
Let's go see if we can pry those
bent fenders up off the tires!
EARL
Good thinking! That might work!
They turn and jog back toward their immobilized vehicles.
INT. THE MCMILLAN STATION WAGON -- NIGHT
Paul and Vera are clearly growing frustrated with searching.
PAUL
Dial Frank's number for me.
Vera promptly dials on their cellphone, then hands it over.
INTERCUT with Frank Barnwell and Stephen driving around in
the Caprice as Frank and Paul talk.
FRANK
Had any luck?
PAUL
No, and the parade is over by now.
They'll start the bonfire soon.
FRANK
You want to just head on over there?
It seemed like where they were going.
PAUL
Yeah, might as well. Let's try it.
FRANK
You still intend to bring the Sheriff
in on this when you get there?
PAUL
Absolutely! We've been doing his job
for him up to now. It's time he took
it over and did it himself.
FRANK
We'll meet you at the entrance gate.
-----------------------------------------------------------------------------------------------------
103.
EXT. THE PARADE GROUND -- NIGHT
There is a huge bonfire burning in the middle of Tarrytown's
parade ground. Several hundred PEOPLE stand in a giant circle
around it, watching it burn. They are all ages, in all kinds
of Halloween-themed costumes. It is clearly a family affair.
There are several truck-towed, Halloween-themed floats parked
outside the circle of spectators, and some of those spectators
are either on, or are on foot holding the reins to, HORSES.
Among the latter group is ROBBIE MARTIN, the peer Joe felt
would let Icabod borrow his horse, BUTTON, to go back through
the covered bridge with the hope of re-entering a time warp.
Robbie and Button stand outside the people in the crowd who
are watching the bonfire. Robbie talks with Joe, Sarah, and
Icabod over the BACKGROUND ROAR of the crowd and the bonfire.
SARAH
Oh, please, Robbie...please help us!
Following Doug's pattern, Robbie ignores Sarah to focus on
Joe and Icabod.
ROBBIE
Come on, Joe! That's the wildest
story I've ever heard! You should
have saved that one for April Fool's
Day. It's wasted on Halloween!
JOE
Robbie, I swear it's true! He really
is Icabod Crane...the Icabod Crane!
Robbie glances up at Icabod, who nods emphatically. Robbie
focuses on the kids, as if Icabod is not standing there.
ROBBIE
Why would he come here? Now?
SARAH
You don't get in a time warp and
just dial where you want to go! You
have to go where it takes you! Don't
you know anything about time travel?
ROBBIE
No, and neither do you! Besides,
that stuff's not real!
ICABOD
Dear Master Robbie, verily I fain
would have agreed with you before
(MORE)
-----------------------------------------------------------------------------------------------------
104.
ICABOD (CONT'D)
the recent happenstance which has
delivered me to your midst.
Robbie, Joe, and Sarah stand slackjawed at that, but then
Sarah recovers with her most gloating expression yet.
SARAH
Come on, Robbie! Who could fake that!
Robbie has clearly been shaken by that burst of olden English.
ROBBIE
All right, okay, maybe it is true.
So what? Why are you telling me?
Seeing they're halfway home, Joe flings his arm around
Robbie's shoulder and chums up to him as best he can.
JOE
Robbie, old pal, we need a big favor
from you...a really big, big favor....
Robbie looks doubtfully at Sarah.
SARAH
Announcement: humongous big.
EXT. THE OTHER SIDE OF THE PARADE GROUND -- NIGHT
Paul and Vera and Frank and Stephen have arrived and are
walking among the spectators. Paul grabs someone by the arm.
PAUL
Jim! Have you seen the Sheriff?
JIM
(points)
He was over there a while ago. Why?
PAUL
We need to talk to him. Thanks.
EXT. THE KIDS' SIDE OF THE PARADE GROUND -- NIGHT
Robbie is reacting to the formal request for Button.
ROBBIE
No way! I don't care if he's the
real George Washington, he can't
take Button into a time warp!
-----------------------------------------------------------------------------------------------------
105.
SARAH
Don't worry, Robbie! Button won't go
too! It's just for Mr. Crane!
ROBBIE
Since when are you such an expert on
time warps?
ICABOD
She reads a great deal of...science
fiction. Her comic book collection
is the best in the neighborhood.
ROBBIE
So? What does that mean?
ICABOD
I assume it means she knows whereof
she speaks regarding time warps.
SARAH
I do! I'm telling you, it will work!
ROBBIE
I read a lot of westerns, but that
doesn't mean I know how to cowboy!
It's obvious they're not swaying him, so Joe takes a deep
breath and pulls out his heavy artillery. His arm goes back
around Robbie's shoulders as he speaks.
JOE
Listen, Robbie...I didn't want bring
this up unless I had to. But...well,
you're not leaving me any choice.
(pointedly)
Remember last year, when I was going
with Melinda? Remember...?
Robbie's expression falls heavily. He's checkmated.
EXT. THE ADULTS' SIDE OF THE PARADE GROUND -- NIGHT
Paul and Vera spot THE SHERIFF. He stands with his back to
them, doing what almost everyone else is doing, watching the
bonfire flames leap high up into the night sky.
He holds the reins of a big black HORSE he rode in the parade,
and he is costumed as...what else?...The Headless Horseman!
However, there are differences between him and the real H.H.
Instead of Brom Bones's primitive head harness to hold his
cape up over his head, the Sheriff has a wire brace on his
-----------------------------------------------------------------------------------------------------
106.
shoulders that keeps his cape where it belongs. Similar to
Brom Bones' contraption, the cape is pulled back a bit and
attached on small hooks so he can see and talk easily.
There is no black stocking to mask his features, but other
than that he looks remarkably like Brom's fabled Horseman,
even to the point of carrying a pumpkin under his arm.
Frank and Stephen and Vera hang back a bit as Paul approaches
him and pulls him aside.
PAUL
Hi, Sheriff. Would you mind stepping
over here so we can talk in private?
The Sheriff turns around and sees the other three. He can't
help focusing on Vera's distraught expression and replies as
he moves toward her.
SHERIFF
Sure, Paul...what's wrong?
EXT. THE KIDS' SIDE OF THE PARADE GROUND -- NIGHT
Robbie is letting out the stirrups on the saddle, making
them hang down far enough to fit Icabod's longer legs.
ROBBIE
Okay, Mr. Crane, that's as far down
as they'll go. I think they'll fit.
ICABOD
They will. And in order to ease your
mind further, Master Robbie, my own
steed--gentle Daisy--did not make
this journey with me. She was not
here when I arrived in this time.
ROBBIE
(nods, turns to Joe)
Just remember, Joe, if anything does
happen to Button...you and Sarah are
responsible. You have to explain all
this to my Dad, and you have to buy
me a new horse. Are we agreed on it?
Joe and Sarah stick out hands to shake with Robbie. That
evolves into a six-handed pyramid, to which Icabod adds his
own much larger hands onto the top and bottom of theirs.
It is a tender moment that they all realize will be one of
their last together. Icabod drops to his knees so Sarah and
Joe can come forward for hugs. He speaks while holding them.
-----------------------------------------------------------------------------------------------------
107.
ICABOD
I cannot leave without telling the
two of you what this night has meant
to me. I have always been a fearful
man...some might even say a cowardly
man. I have been afraid to stand up
to life and meet its challenges with
my head held high and my chin thrust
out. Why that is true, I cannot say,
but true it is--or was--until tonight.
Tonight, in your company, following
the example you set for me, I found
courage. Perhaps I stole a bit of
yours. I do not know, nor do I feel
you would miss it if I did. Both of
you have enough courage for ten like
me to share or steal, as we need.
On this night two hundred years ago,
I lost a woman I loved because I did
not have what you have given to me
tonight. So whether I return to that
same time and place will not matter
to me. I shall go to wherever I am
bound, armed with the single tool I
need to be a success at my new life.
I now have courage, given to me by
Master Joe and Missy Sarah McMillan.
And in return for that wonderful,
invaluable gift, I have but these
humble tokens of remembrance.
There are tears in all their eyes as he reaches in his frock
coat pocket to remove his coin purse, which he gives to Joe.
Then he removes his cravat pin and gives that to Sarah.
They accept their gifts and smile through their tears.
SARAH
You better get going. It's not good
to keep a time warp waiting.
JOE
You're sure you know your way to the
bridge from here?
ICABOD
Master Joe, even with the passage of
two hundred years, these hills are
still the same ones of my youth.
-----------------------------------------------------------------------------------------------------
108.
He points to a distant peak illuminated by the full moon.
ICABOD (CONT'D)
All I must do is make straight for
yon mountain. The bridge lies there.
At that he stands, rumples the hair of all three kids, mounts
Button, and glances across the parade ground. Suddenly, his
expression changes to shocked surprise and he GASPS LOUDLY.
ICABOD (CONT'D)
Aaaiiieee! He has chased me across
two hundred years! Goodbye! I must
flee! Goodbye! Goodbye!
EXT. THE ADULTS' SIDE OF THE PARADE GROUND -- NIGHT
The view Icabod saw was the back of the Sheriff as he stands
talking to Paul, Vera, Frank and Stephen. From that angle he
is indistinguishable from the real Headless Horseman.
That angle also lets Paul and Vera clearly see Icabod mounted
up on Button, so they get the Sheriff turned around just as
Icabod gallops away.
VERA
That's him! That's him!
PAUL
Can you catch him?
The Sheriff still holds his horse's reins, so he's two steps
from jamming his pumpkin onto his saddle's horn and swinging
himself up into the saddle. He's ready to ride in seconds.
SHERIFF
I can sure try!
With that he GALLOPS off after Icabod while Paul and Vera
and Frank and Stephen begin running toward the other side of
the crowd where Icabod left from.
EXT. THE KIDS' SIDE OF THE PARADE GROUND -- NIGHT
Joe, Sarah, and Robbie stand there watching Icabod ride away.
JOE AND SARAH
Go, Mr. Crane! Ride! Get away!
-----------------------------------------------------------------------------------------------------
109.
The adults arrive and Paul grabs Joe and Vera grabs Sarah,
sweeping them up in their arms, no longer concerned about
the worry they have gone through.
PAUL AND VERA
Are you all right! Did he hurt you?
Are you hurt? Are you both okay?
JOE
We're fine, Dad! Sure, we're fine!
SARAH
Really, Mom, we're great! This has
been the choicest Halloween ever!
Once Paul and Vera realize the kids are okay, their anger
returns and they start to complain.
VERA
What do you mean, leaving the house
like that without permission? Just
who do you two think you are?
SARAH
We're sorry about that, Mom, but we
had to! We knew you and Dad didn't
believe him, and we knew you wouldn't
help him. We knew you wouldn't!
JOE
We also knew he was telling the truth,
so we did what we had to do to help
him. You can ground us forever, but
we know we did the right thing.
ANGLE ON Butch and Chucky and their troops as they go scouting
through the crowd around the bonfire. They spot Joe and Sarah
and recognize them as the kids with the man they are chasing.
They run to join the McMillans, Barnwells, and Robbie Martin.
BUTCH
Where's that Icabod Crane guy these
kids have been hanging out with? He
owes me and Chucky some major money!
VERA
Money? What for?
BUTCH
He wrecked my car!
-----------------------------------------------------------------------------------------------------
110.
CHUCKY
Mine, too!
Robbie Martin chooses that moment to speak up.
ROBBIE
He's gone to the covered bridge!
Everyone turns to look at Robbie, especially Joe and Sarah.
SARAH
You rat-fink!
ROBBIE
They made me loan him my horse!
Everyone turns to Joe and Sarah. Paul speaks in a stern tone.
PAUL
Is that true?
They hang their heads and nod guiltily.
JOE AND SARAH
Yes, sir....
VERA
For God's sake, why?
JOE
(mumbles)
So he could ride Button in the other
direction and go back home.
Everyone around him and Sarah leans closer to hear better.
PAUL
What did you say? Speak louder.
SARAH
(erupts for Joe)
He told us he got here by riding his
horse into a strange blue cloud in
the old covered bridge! That sounded
to me like a time warp...so we put
him on Button with the hope he could
ride into the bridge from the opposite
direction and go back into the warp!
Everyone stands there, stunned speechless by the absurdity
of that notion. Then Vera turns to Paul and speaks angrily.
-----------------------------------------------------------------------------------------------------
111.
VERA
Monday morning, first thing, Paul,
we get rid of her comic books and
put her into therapy. I'm serious!
JOE
No, Mom, she's right! It's his only
chance to get back! If he doesn't,
they'll put him on talk shows, and
you know how awful that would be!
VERA
(to Paul)
Him, too, right with her--I mean it!
That's enough for Butch and his gang. They turn to leave.
BUTCH
We don't care how wacko those kids
are...we're going to get our money!
JOE AND SARAH
(to the adults)
No! Don't let them go after him!
Don't let them hurt him!
But there is no turning that tide. The McMillans and the
Barnwells just stand there, watching the teenagers leave.
Joe and Sarah begin begging and crying and SCREAMING for
their parents not to let anything happen to Icabod.
JOE AND SARAH (CONT'D)
Oh, please, Mom! Dad! Please let's
go help him! We have to! Don't let
them get there first! They'll hurt
him! They might mess up the time
warp! Oh, pleeeeese, let's go!
What parents can stand such a withering emotional assault?
Paul looks at Vera, Vera looks at Paul, and Paul shrugs.
PAUL
It's not that far out of our way.
Besides, it might be interesting.
JOE AND SARAH
Yaaaayyyyyy!
ROBBIE
Me, too! I want to get Button back!
(doubtful look at Joe)
...if I can get him back.
Frank looks questioningly at Stephen, who shrugs like Paul.
-----------------------------------------------------------------------------------------------------
112.
STEPHEN
Shouldn't we try to find Mom?
FRANK
She's with her parade group. She
won't even notice we're gone.
They all turn and head for their vehicles.
EXT. VARIOUS SHOTS OF TARRYTOWN -- NIGHT
Icabod leads the Sheriff on the same kind of wild chase he
led Brom Bones on earlier, with some startling differences,
not the least of which is Button, a terrific animal.
ANGLE ON A TRAFFIC INTERSECTION
Keeping on a beeline for the mountain, Icabod spurs Button
into and through the heart of an intersection, dodging through
cars and trucks that HONK like crazy at the crazy man going
through them. And the Sheriff stays 50-60 yards behind him.
ANGLE ON AN ELEGANT RESIDENTIAL HOME
Button jumps a hedge along the front yard, leaps across a
small swimming pool behind the house, then leaps a fence at
the back of the yard. It's like a steeplechase, but it doesn't
shake the Sheriff, whose black horse also takes the jumps.
ANGLE ON A MIDDLE-CLASS RESIDENTIAL HOME
Button thunders through a beautiful flower bed; rips through
a child's swing set, jangling the swings; and leaps a hammock
strung between two trees. The Sheriff keeps up his pursuit.
ANGLE ON A CEMETERY
Icabod and Button go roaring through among the headstones.
They come to a freshly dug grave and Button leaps over it
lengthwise. POV from down in the grave as Button soars
overhead. The same is true as the Sheriff soars across.
IN ALL OF THE ABOVE SHOTS
Icabod isn't goofy in the least--no grimacing or moaning or
groaning or howling in dismay as he encounters unexpected
obstacles. He remains under control and courageous as he
confronts and overcomes each obstruction, never letting up
on his breakneck pace and seldom looking back.
The Sheriff matches Icabod's determination, holding strong
to his pursuit, the same way Brom Bones did in the original.
-----------------------------------------------------------------------------------------------------
113.
EXT. TARRYTOWN SUBURBS -- NIGHT
OVERHEAD SHOT of the four-car caravan heading toward the
covered bridge. Butch Cleaver's battered Trans-Am is in the
lead, followed by Chucky's white Dodge, followed by Frank
Barnwell's Caprice, followed by the McMillan station wagon.
INT. McMILLAN FAMILY STATION WAGON -- NIGHT
Paul and Vera are up front; Joe, Robbie, and Sarah in back.
VERA
I just don't understand it. You two
are normally such...normal children.
SARAH
Listen, Mom...if we can have mirror
universes and parallel universes in
a constantly expanding universe...
don't you think something as basic
as a time warp might be possible?
Vera is stunned by that burst of quantum-speak from her 10-
year-old. She turns around to look at Sarah in something
close to disbelief as Joe jumps in to back Sarah up.
JOE
Really, Mom, if you'd been with him
as much as we were, you'd know he is
who he says he is! You would!
Vera turns back to the front and speaks to Paul.
VERA
They're pod people, Paul. Pod people
have taken over both of our children.
Vera is trying to make light of it, but Paul looks into the
rearview mirror at his kids and his expression makes it clear
that they have gotten through to him--at least a little bit.
EXT. WOODS IN SLEEPY HOLLOW -- NIGHT
The two horsemen are now outside the city limits and in the
deep woods surrounding the town. Here the chase begins to
strongly resemble the one that occurred 200 years earlier.
THEY SPLASH THROUGH A SHALLOW STREAM
-----------------------------------------------------------------------------------------------------
114.
THEY JUMP OVER DOWNED TREES
THEY GO DOWN A STEEP INCLINE
THEY GO UP A LOOSE SCREE SLOPE
THEY HAVE ONE MIGHTY LEAP ACROSS A WIDE RAVINE.
As before, Icabod's horse slowly loses his lead to the bigger,
stronger animal booming along behind. And the same care must
be taken with this chase to KEEP THE GAPS RELATIVE THROUGHOUT.
ALSO, THE SHOTS MUST MOVE IN THE OPPOSITE DIRECTION of the
original shots, to show that the chase is coming from the
opposite way. Right to left earlier, left to right now.
EXT. THE COVERED BRIDGE AREA -- NIGHT
The four cars arrive at the bridge. Butch parks his Trans-Am
in the right lane of the road, twenty yards from the opening
Icabod entered two hundred years earlier. Chucky Baker pulls
his Dodge into the left lane, the same distance away.
Frank Barnwell pulls the Caprice in behind Chucky, while
Paul pulls the station wagon in behind Butch. All four turn
their headlights off, leaving the scene illuminated only by
the full moon overhead, just as it was 200 years ago.
Everyone gets out of the cars and makes their way around to
the front of the Trans-Am and the Dodge. As the adults are
able to see the damage to both cars, Frank Barnwell speaks.
FRANK
I can sympathize with you wanting
money for so much repair...but my
gut feeling is, you won't get it.
BUTCH
He's slippery...I'll give him that.
But if he's going into the bridge,
there's no way he'll get past us!
Joe and Sarah hear that and look at each other. Joe winks
and Sarah nods, then she MUTTERS.
SARAH
Announcement: he won't have to.
-----------------------------------------------------------------------------------------------------
115.
EXT. JUST BEYOND THE BRIDGE AREA (OPPOSITE) -- NIGHT
Icabod crests a small hill leading down to the road leading
into the bridge, very similar to the way he got headed into
it 200 years earlier. But now from the opposite direction.
The Sheriff is still right behind Icabod, riding hard and
closing the gap, which has now narrowed to about 20 yards,
if that. Both horses are now heavily lathered and WHEEZING.
EXT. THE OTHER SIDE OF THE BRIDGE -- NIGHT
Earl is the first to see them and points to his discovery.
EARL
There they are! I see them! They're
coming this way!
Everybody strains to see into the night beyond the bridge.
EVERYONE
Yes! There they are! I see them!
JOE
Go, Mr. Crane! Go for it!
SARAH
He's winning! He's winning!
ROBBIE
Go, Button!
EXT. THE HORSEMEN -- NIGHT
They thunder along the road in flat-out pursuit. Icabod keeps
his eyes focused on the bridge opening, praying LOUDLY.
ICABOD
Heavenly Father, I am here! I am
ready! Please send the blue light!
By then he is only 20 yards from the bridge. Suddenly a thick
beam of bright blue light erupts down from the heavens to
strike the top of the bridge and fill it with blue haze.
ICABOD (CONT'D)
Ahhh! Your promptness is appreciated!
-----------------------------------------------------------------------------------------------------
116.
EXT. OTHER SIDE OF THE BRIDGE -- NIGHT
Everyone's faces are turned up, seeing the source of the
blue light disappear into a pinpoint high in the night sky.
SARAH
(awestruck)
It came! Just like he said!
JOE
(equally awestruck)
No, Sarah...just like you said!
EXT. THE HORSEMEN'S SIDE OF THE BRIDGE -- NIGHT
Icabod is about to enter the blue light. He stands up in his
stirrups, lifts his left hand high over his head, and SHOUTS.
ICABOD
Goodbye, my friends! Goodbye! I shall
never, ever forget you!
When Button's hooves begin CLATTERING on the boards in the
bridge, the Sheriff pulls up and lifts his pumpkin "head"
off his saddle's pommel. He throws it at where Icabod has
vanished into the mist, as the real Headless Horseman did.
As before, the hurled pumpkin vanishes in the blue haze and
produces a resounding THUD followed by a loud, echoing GROAN.
EXT. THE CAR CARAVAN'S SIDE OF THE BRIDGE -- NIGHT
There is eerie, cosmic SILENCE for several seconds, then the
blue light begins to fade and Button's CLATTERING hoofbeats
are heard again and he comes galloping out toward the cars.
When Robbie sees him, he moves forward waving his arms and
SHOUTING to make him stop.
ROBBIE
Whoa, Button! Whoa! Whoa, boy! Stop!
Button recognizes his master's voice and pulls up, WHEEZING
for air. Joe and Sarah run to join Robbie with him.
SARAH
See? I told you Button wouldn't go!
ANGLE ON BUTCH, whose eyes are locked on the bridge's opening.
-----------------------------------------------------------------------------------------------------
117.
BUTCH
Hey! Where's the guy? Where'd he go?
He runs toward the bridge with his troops on his heels.
ANGLE ON THE SHERIFF as his horse comes cantering out of the
bridge, making a different kind of CLATTER as it comes.
The Sheriff is shaking his "headless" head in amazement as
Butch's gang goes running past him, right into the bridge.
ANGLE ON the McMillans and the Barnwells as they wait for
the Sheriff to join them. Frank speaks behind a wry grin.
FRANK
What do you think, Paul? Is it even
in the realm of possibility?
PAUL
(shrugs, then grins)
I guess stranger things have happened.
ANGLE ON the kids with Button as the Sheriff goes riding by,
saying nothing and still absently shaking his head. The kids
watch him go past, toward the cars, then they resume talking.
ROBBIE
If Mr. Crane ever comes back, Joe,
get someone else to help you. This
is not my idea of fun.
SARAH
It sure is mine! This has been the
choicest Halloween ever!
ANGLE ON the adults as the Sheriff reaches them, still shaking
his head, still trying to figure out what just happened.
SHERIFF
I am sure glad to see you folks here!
Otherwise, no one would ever believe
what just happened!
FRANK
What did happen in there?
-----------------------------------------------------------------------------------------------------
118.
SHERIFF
The guy just vanished inside that
blue light...like a...a magician!
PAUL
Don't worry about it, Sheriff. You
did all you could to catch him.
SHERIFF
But...where did he go? We had him in
a box...a dead end! Where did he go?
He's sincerely desirous of an answer, but nobody has one.
PAUL
I think that will turn out to be
something we never know for sure.
The Sheriff grimaces, then nods acceptance of that verdict.
SHERIFF
You're probably right....
(a pause)
So...you folks are okay now? Kids
are safe? Anything else I can do?
VERA
You did all we asked for, and more.
We appreciate it very, very much.
SHERIFF
It's my job, and it was my pleasure.
That's the best ride I've ever had!
(calls out to Robbie)
Mount up, son! You can ride back
with me. I'll show you the route we
took to get here. Quite a shortcut.
(to the adults)
I'll say one thing for him. He sure
knew the lay of the land around here.
We went places I didn't know existed!
The Sheriff turns away from them to see Robbie adjusting one
of the stirrups on Button's saddle. He twitches his horse
toward Robbie and Joe and Sarah.
ANGLE ON the bridge opening as Butch Cleaver and his troops
come running from inside the bridge. Butch holds broken bits
of pumpkin in his hands as he SHOUTS at the Sheriff.
BUTCH
This is all we could find in there!
Where is he? Where did he go?
-----------------------------------------------------------------------------------------------------
119.
The Sheriff is as honestly baffled as they are.
SHERIFF
We were just wondering the same thing.
BUTCH
Well, who's gonna pay for the damage
to my car? My old man is gonna kill
me when he sees it like this!
CHUCKY
Mine, too!
The Sheriff glances back at their battered cars, then smirks.
SHERIFF
(faintly musical)
I'd like to help you, boys, but you're
too young to vote.
BUTCH AND CHUCKY
What?
SHERIFF
(gets serious)
The man vanished. You saw it like I
did. What do you expect me to do?
At that the Sheriff turns his attention to Robbie, who is
almost finished adjusting the stirrups.
As that plays out, Butch's eyes fall on Joe and Sarah and he
glares daggers at them. Sarah is no longer cowed by him.
SARAH
Pick on someone your own size, you
big bully!
Butch is stunned by her effrontery. He gazes at his gang in
utter disbelief until Wade, one of Chucky's henchmen, speaks.
WADE
That's the one I told you about...with
the sassy mouth.
It's fish-or-cut-bait for Butch. He stands there for a long
second, trying to decide what to do, then he angrily snaps--
BUTCH
Ahhhh, let's get outta here!
--and stalks to his car. Joe and Sarah fall in behind them
as Robbie mounts Button and he and the Sheriff ride away.
-----------------------------------------------------------------------------------------------------
120.
ANGLE ON the adults as they watch Butch and his gang approach,
get in their cars, and drive on through the bridge in tandem.
As they drive away, Joe and Sarah return to the adults, who
are talking as the Trans-Am leads the Dodge away.
ANGLE ON the cars as the adults speak OFFSCREEN at first.
PAUL (O.S.)
What do you think really happened?
FRANK (O.S.)
You want to know the truth?
VERA (O.S.)
I would love to hear that.
STEPHEN (O.S.)
Me, too.
ANGLE ON the adults as Joe and Sarah approach them.
FRANK
He didn't return to his own time and
place. There are no mentions of him
again in the history of Tarrytown.
(Joe and Sarah arrive)
All we can say for sure is that if
he made it anywhere, past or future,
it wasn't to where he belonged.
SARAH
I bet I know where he ended up.
Everyone looks at her now with genuine respect.
SARAH (CONT'D)
Quebec!
They all LAUGH at that, then they get into their cars.
The CAMERA RISES up to the full moon hanging directly
overhead, the SAME SHOT the story opened with, and...
FADE OUT:
THE END
...or is it? Where did Icabod end up? Hmmmm.... Sequel?
All Original Material Copyright 2007
© Lloyd Pye