Laurie arrives at the Wallace house, geography is a little screwy, and is Laurie a feminist Final Girl?

Laurie crosses Orange Grove, crosses the Rubicon, crosses the Styx, and I'm talking about lighting, I'm talking about dogs barking, I'm talking about will o' the wisps, about music, about shadows, and about the power of suggestion.

Loomis has located his stolen station wagon and Laurie heads to the Wallace house, and I discuss Carol Clover's take on the Final Girl.

As Laurie checks on the children, Loomis wanders the streets in search of a feeling.

Lynda's struggle ends and I explore the timing and the sounds as Laurie realizes that something is very wrong tonight.

Rotary dial phones, "The Shape Lurks" musical cue, and famous squealing.

The orgin of bedsheet ghosts, some more of the history of trick-or-treating, Bob's a punk, and Michael is Bob.

An extra laundry closet, a dying Bob Simms, Michael Myers pinning people to walls, and if not my last IMDb goof rant, maybe my biggest.

Bob goes to get some beer, leaving Lynda to get comfortable. He arrives in the kitchen and finds some peanuts to go with the beer, and he hears a noise--someone is nearby, but who? Also, this episode is gimmicky as can be. And it might have taken you longer to read this description than to listen to it.

Post-coital cigarettes are smoked... and that's about all for Minute 64. And, oh, Michael's watching.