This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
FADE IN Black screen. SUPER: HADDONFIELD, ILLINOIS OCTOBER 31, 1978 EXT. MYERS HOUSE - NIGHT CLOSE on the bedroom window. BARKING DOGS OS. The song "MISTER SANDMAN" echoes in the BG. Six GUNSHOTS puncture the dead night air. EXT. DOYLE HOUSE - NIGHT MICHAEL MYERS smashes through the balcony window. He hits the ground with a thud. LAURIE (O.S.) IT WAS the boogeyman! Footsteps walk toward us. LOOMIS (O.S.) As a matter of fact it was. SAM LOOMIS looks out the window, face obscured. LOOMIS' POV - BACKYARD Michael Myers is gone. HEAVY BREATHING in the BG. LOUDER, until it overwhelms us. CUT TO: EXT. STREET - NIGHT TOMMY DOYLE and LINDSEY WALLACE run down the street. EXT. HOUSE - NIGHT Tommy and Lindsey pound on the door. A JACK O LANTERN walks right by them. TOMMY Mr. McKenzie! Open the door. A light comes on in the house. MAN'S VOICE Damn kids on Halloween. I gave you all my candy. I'll call the police if you... LINDSEY OPEN THE DOOR! 2 CONTINUED Tommy kicks the door in a rage. Lindsey puts her hand on his shoulder, trying to calm him. TOMMY They're all dead. I was right. It was the boogeyman and HE WENT AND KILLED EVERYBODY! The door opens. Old man MCKENZIE is in his pajamas. MCKENZIE Lindsey Wallace? I've been trick or treated to death tonight. LINDSEY (hyperventilating) Laurie told us to tell you to call the police. Tell them to go to my house. Tommy's house. MCKENZIE Laurie? Laurie Strode? What the hell's going on? CLOSE on Tommy. TOMMY They're all dead. It's Halloween and the boogeyman WAS HERE! CUT TO: Black screen. SUPER: HADDONFIELD, ILLINOIS OCTOBER 31, 2000 CUT TO: EXT. MYERS HOUSE - DAY The house has been boarded and crumbled to bits. JIMMY MOYER, about twelve, moves his shoulders into the frame, looking up at the haunted house, head moving from side to side, like an artist admiring a work of art. JIMMY Samhain. Michael Myers. Samhain. Jimmy grabs his head. We see a bike and a school bag. Jimmy, irritated, pushes his hands into the bag. He takes out a big HUNTING KNIFE. He puts both hands around his head as if his brain were about to explode. JIMMY Why won't you stop? Samhain. Who is Samhain? 3 CONTINUED Jimmy abruptly moves out of frame. EXT. RESIDENTIAL STREET - DAY Jimmy walks down the street, hands on his bike. The bag is coiled around his shoulder. Two PUNK KIDS ride by on bikes. Same age as Jimmy. PUNK KID #1 Jimmy! Jimmy! I heard your parents took you to that crazy doctor again. You know Haddonfield has lots of crazy people. PUNK KID #2 Maybe you'll turn out just like that Michael Myers guy. My old man played football with the guy who got killed in the old Wallace house.... Jimmy doesn't even register. He walks ahead of them. The two kids smile at each other and prowl after Jimmy. PUNK KID #1 It must be awful being the most hated kid in Haddonfield Jimmy. Hey, what did that crazy doctor say was your problem anyway? Jimmy turns his head every so slightly. A smile. The two kids look at each other. Jimmy pulls the hunting knife out of the bag, then grabs PUNK KID #1 and holds the knife up to his throat. The kid's pants start to get wet. His friend looks like he thinks.... JIMMY I have the devils eyes, and a white, expressionless face....and I can't tell the difference between good and evil. (smile) Are you scared? It's Halloween. EXT./INT. MOYER HOUSE - DAY We can see the MOTHER, in the kitchen, preparing dinner. The POV moves around the side of the house. Finally, we see some Halloween decorations. More on the houses across the street. BARKING SOUNDS. The POV moves down and we see the FAMILY DOG. The hunting knife appears, and it's covered with blood. The hand appears in then out of view, then all we see are two EYE HOLES. It is a HALLOWEEN MASK. The knife moves down and around and we hear a muffled groan. The mother looks out the window but doesn't see anything. The POV moves up the front steps. 4 CONTINUED The POV deftly moves through the house and into the kitchen. The kitchen door creaks open. The mother has her back turned. She turns from the oven, smiles, then she looks down and her face is concerned. MOTHER Jimmy? What are you doing with that knife? Is that blood? The POV runs toward the mother as she continues to look puzzled. The POV raises it's hands, and brings the KNIFE DOWN on the mother. Over and over. The mother falls against the washer like a caged animal, staring at her bloody self. SCREAMS. The knife keeps coming. CLOSE on the mother's flailing hands that swing in the air. Then the hands grow still, and they fall. The POV moves out of the kitchen, running down the hallway and out of the house, like a dash to freedom. A car is parked on the curb. The FATHER walks out of the car and stares at the POV in puzzlement. The NEIGHBOR walks out, very concerned. The father looks down at the POV, in horror. FATHER Jimmy? The Silver Shamrock mask is finally ripped off. CLOSE on Jimmy's face. Catatonic, then in a heartbeat, his pale, saintly face registers. FATHER Blood? What are you doing with a bloody...where's mother? JIMMY She's in the kitchen, making dinner. Hee! Hee! Hee! Hee! CUT TO: Black. SUPER: SMITH'S GROVE, ILLINOIS OCTOBER 24, 2006 DISSOLVE TO: INT. CONFERENCE ROOM - NIGHT The massive, sterile hall is empty except for the two stuffy BOARD MEMBERS in lab coats who sit at the panel. Facing them is LINDSEY WALLACE, 35, criminal psychiatrist. She's a chain smoker which makes her not as attractive as she could be. The two board members have some files in front of them. 5 CONTINUED BOARD MEMBER #1 It is our recommendation and the recommendation of this committee that Jimmy Wayne Moyer, be kept here pending the date of his eighteenth birthday, when he will be tried as an adult for the murders of Caroline Jane Moyer, Eddie Green and Toby Mitchell. Lindsey hangs her head. LINDSEY Have you old fools even listened to what I've told you? The two men sheepishly nod. BOARD MEMBER #2 He's not your patient Dr. Wallace, he belongs to Dr. Wynn. I don't know how you can conclude the patient is a dangerous psychotic from such feeble data. Dr. Wynn says there's no.... Lindsey rises to her feet. LINDSEY WYNN CAN KISS MY ASS! He did the same thing with Michael Myers and look what happened. LOOK HOW MANY PEOPLE DIED! The board members wink at each other, nod arrogantly. BOARD MEMBER #1 slides some old news clippings out. Circa 1978, Haddonfield. "HADDONFIELD HALLOWEEN MASSACRE", "HE CAME HOME". Pictures of Bob, Annie, Lynda, the hospital, burned to bits. On the bottom of the pile is a death notice for Laurie Strode. Something about a flaming car wreck. BOARD MEMBER #1 Ah yes, Michael Myers. He's been dead for twenty eight years. LINDSEY Look at the similarities in the cases. Do you know, the only word anyone's heard him say in his six years in this hellhole is...SAMHAIN! The board members scramble through their files. LINDSEY (cont.) SAMHAIN YOU IDIOTS! The lord of the dead. The end of summer. October the thirty first. Bloody sacrifices. (MORE) 6 CONTINUED LINDSEY (cont.) Michael Myers was possessed by Sam- hain. He killed as an offering to the sun gods. It's the same with the Moyer kid, except he's following Michael Myers. The men shake their heads. Lindsey pulls out a photo of the chalkboard in "Halloween II", with the word "Samhain" written on it. She waves it sarcastically at them. BOARD MEMBER #1 Miss Wallace, Doctor, you were in Haddonfield back in 1978, you were a witness to that night. You were a would be victim.... BOARD MEMBER #2 (sarcastic) You became a criminal psychiatrist, how noble. And on. The late, great, but unlamented Sam Loomis was your mentor. LINDSEY I'm not crazy. BOARD MEMBER #1 But you are unprofessional. You're not objective when it comes to this case. Jimmy Moyer went crazy with a knife. He killed his mother and two kids. He's from Haddonfield and hence, he's the next Michael Myers. Look at the Columbine tragedy. Are they the next Michael Myers? BOARD MEMBER #2 What about O.J Simpson? Was he possessed by this Samhain when he killed his wife? They both laugh. Lindsey, disgusted, gets up to leave. LINDSEY You're making a mistake. Smith's Grove is not equipped to deal with this kid. BOARD MEMBER #1 Then maybe you should leave Smith's Grove. Go to Hawaii. Get a tan. BOARD MEMBER #2 The man is going on trial. He'll spend the rest of his life in Joliet, not here. 7 CONTINUED Lindsey walks to the door. BOARD MEMBER #1 You know Miss Wallace, Doctor, if I was cynical, I'd think the only reason you became a criminal shrink is because Michael Myers almost killed you on Halloween night. You scared of the boogeyman? LINDSEY There won't be time for cynicism when the hills are overflowing with witches and the blood of children. Happy Halloween. INT. SANITARIUM HALLWAY - NIGHT Lindsey walks down the dark, creepy hallway. POV THROUGH WINDOW - JIMMY'S ROOM Jimmy, now a tall muscular eighteen year old, stares out the barred windows. The door opens and Lindsey walks in, right behind him. Jimmy doesn't move a muscle. Lindsey takes out the charred, cooked WILLIAM SHATNER MASK that belonged to Michael Myers. She stares at it for a beat then tosses it on the cold floor. LINDSEY I know who you are Jimmy. You're just like Michael Myers and it's almost time for Halloween. DISSOLVE TO: Black. SUPER: SMITH'S GROVE, ILLINOIS OCTOBER 28, 2006 INT. WYNN'S OFFICE - NIGHT WYNN, is still a hard ass, an older hard ass. Lindsey paces around, hands shaking. LINDSEY You'd better have armed guards take him up to Joliet. WYNN Why? Okay Lindsey, I'll break the rules just for you, violate his civil rights, just for you. His court appointed lawyer will sue me but I want you to sleep easy. (MORE) 8 CONTINUED WYNN (cont.) Jimmy Moyer will be bound from head to toe. He'll be Iron Man. LINDSEY He's waiting. WYNN Christ, I'm talking to Sam Loomis here reincarnated. He was better off dead and you're going to follow him if you don't stop this shit. LINDSEY LOOK AT HIS EYES! He looks the same as.... WYNN I'M HIS DOCTOR NOT YOU! Lindsey heads for the door. LINDSEY If he does escape, like Michael Myers, and he goes back to Haddonfield, and kills everyone on Halloween then.... WYNN Don't say it. LINDSEY It's your funeral Wynn. WYNN Happy Halloween Lindsey. INT. LINDSEY'S OFFICE - NIGHT Lindsey sits back in her chair with a smoke. On the wall, her degrees and commendations. Pictures. With Laurie and Tommy at high school graduation. Laurie and her children, Sam Loomis.... Lindsey checks her watch. The door opens and a SANITARIUM GUARD appears. A SCARED MENTAL PATIENT is with him. GUARD Goins here to see you Lindsey. Said it was urgent. He's terrified. The patient walks in and takes a seat. He's scared stiff. LINDSEY He'll be fine Milt. We're friends, aren't we Rodney? 9 CONTINUED GUARD I'll wait outside Doc. Oh, don't think we all don't know that Moyer's being taken away Thursday night. He gives me the creeps. The door closes. Lindsey looks at GOINS. GOINS He's going to kill me. I made him mad and he's going to kill me. He set Damon on fire in the cafeteria, the sick sonofabitch. He never even talks. But he stares at me. Goins breaks into tears, then he starts to have a panic attack. The guard looks in. Lindsey waves him off and holds Goins in his arms. LINDSEY The evil will be gone soon. CUT TO: Black. SUPER: OCTOBER 30, 2006 CUT TO: EXT. HIGHWAY - POURING RAIN - NIGHT Two headlights appear out of the black hole. A SHERIFF'S TRUCK skids along the road. INT. SHERIFF'S TRUCK - NIGHT The DEPUTY and a CORRECTIONS OFFICER. The officer lights a cigarette with matches from the Red Rabbit Lounge. A DRIVER is OS. DEPUTY Jimmy Moyer. 2000. Coming home from school, butchered two classmates, then he killed his mother. CORRECTIONS OFFICER I'm mad as hell and I'm not going to take it anymore. DEPUTY He hasn't said a word in six years. I remember this, Haddonfield. Trick or treat to them. CORRECTIONS OFFICER How much candy do you buy on Halloween? 10 CONTINUED The truck turns a corner too fast and the whole thing almost hydroplanes. The driver looks back at them and they all take a deep breath. DEPUTY Let's get this over with. POV THROUGH THE WINDOW - SANITARIUM The place is dark and most definitely closed for business. EXT. SANITARIUM GROUNDS - NIGHT Fifteen or twenty MENTAL PATIENTS flee along the grass. INT. SANITARIUM HALLWAY - NIGHT Empty. Then footsteps. Then...THE SHAPE! EXT. JIMMY'S ROOM - NIGHT The door has been blown open. INT. JIMMY'S ROOM - NIGHT On the wall, in hand strewn blood, it says: BROTHER A SANITARIUM GUARD is mounted on the wall, with a steel blade intertwined with the flesh in his neck. The key patch on his trousers is empty and bloody. AROUND THE CORNER MILT, runs down the hall, gun out, sleepy, paranoid. MILT Dr. Wynn! Dr. Wallace! Are you still here? INT. LINDSEY'S OFFICE - NIGHT Lindsey is asleep, head buried on the desk. Milt runs in. MILT Lindsey! LINDSEY What? Milt? MILT HE'S ESCAPED! 11 INT. SANITARIUM HALLWAY - NIGHT Lindsey and Milt run down the hall. Chivalrous Milt provides cover in front of Lindsey. LINDSEY There's no way HE could've got out of that padded room. There was a guard.... MILT Everyone's afraid of him Lindsey, like you. Uh, I'm not afraid. Lindsey pulls out her cellular phone, pauses. EXT. WYNN'S OFFICE - NIGHT They push the door ajar and peer in. LINDSEY I guess you called the police. MILT Phones are down. INT. POLICE TRUCK(MOVING) - NIGHT The truck arrives at the gate. The driver sees the sign and smiles. The rain is unbelievable. The front entrance is about forty or fifty feet up the way. CORRECTIONS OFFICER We'll be right back. EXT. SANITARIUM - NIGHT The two men make a run for the entrance. INT. POLICE TRUCK - NIGHT Three LIGHTNING FIGURES jump on top of the truck. Rocking sounds. The driver looks around. He can see the two men running in the rain, until they vanish in the mist. A HAND touches the window, but the driver is unaware. INT. WYNN'S OFFICE - NIGHT Lindsey and Milt walk in. LINDSEY You expect me to believe a guard would be so terrified of an inmate, AN INMATE, that he'd give him the keys to the whole place. The office seems empty. It looks a bit ruffled. The window is open and Wynn's chair is turned facing it. 12 CONTINUED The chair creaks around, facing us. Dr. Wynn is dead. A pencil has been driven into his eyeball. EXT. SANITARIUM ENTRANCE - NIGHT The two men walk up to the door. The deputy buzzes the door. Not a sound. FOUR FIGURES, white dressed, patients, appear from behind the men, like spiders. They grab hold of them. INMATE #1 drives a kitchen knife into the officer's gut as the officer fires a shot in the air. The deputy, on the ground, kills one of the inmates with a shot to the head before the other three swarm him, stabbing him to death. DRIVER'S POV - SANITARIUM The driver squints his eyes and wipes the dew off the wind- shield. He makes out the two bodies. The driver pulls out his gun and reaches for the radio when the shape smashes his fist through the window and grabs the driver by the neck. The ignition is turned. The truck blasts through the gate. The shape climbs on top of the driver and buries his teeth into the man's neck while he drives a scalpel with his other hand into the driver's jaw. The truck bangs into the sanitarium wall and stops. The shape, in the driver's seat, turns the truck around. SHAPE'S POV - THROUGH THE WINDSHIELD The three scared inmates appear in the headlights. INMATE #2 We did it Jimmy. We did good. The shape floors it and we hear the loud crunching sound of bones. EXT. SANITARIUM ENTRANCE - NIGHT Lindsey and Milt run out, immediately gaze upon the two dead police officials. LINDSEY'S POV - HIGHWAY ROAD The police truck is a speck in the BG. 13 CONTINUED MILT You were right Lindsey. Goddamn, I wonder if there's anything I could've done to prevent this tragedy. CLOSE on Lindsey. She smiles. DISSOLVE TO: Black screen. SUPER: HADDONFIELD OCTOBER 31, 2006 HALLOWEEN DISSOLVE TO: EXT. LISA'S HOUSE - MORNING LISA GARRETT, 16, beautiful, but a "good girl", walks along the sidewalk. There's a few Halloween decorations on the street but other then that the street doesn't look very festive. Lisa has a video camera in her hands. LISA Haddonfield, the murder capital of the east. It's a nice place to raise a family. No drugs, gangs, real estate is cheap. But there was that little business a few years back and a few years before that, and then, just six years ago. EXT. MYERS HOUSE - MORNING The old house is barely standing. Lisa turns on the camera and moves toward the house. LISA Michael Myers. It all started with this sweet little kid who knifed up his sister. She was pretty, about my age now. Every year, kids steal her tombstone. Sad. She died in 1963. If she were alive now, she'd be as old as...older then my mother. Now that's disgusting. POV FROM HOUSE WINDOW The Shape moves around inside. He moves sideways and for a split second we can see that Jimmy has the Michael Myer's mask on. It looks cool. HEAVY BREATHING. 14 VIDEO CAMERA POV - WALLACE HOUSE The place has been converted into a free clinic. The rest of the houses are distinctly separate, but we recognize it. The camera turns around and looks at the Doyle house. Lisa puts the camera down and stares in awe. It hasn't changed a a bit, save for a new coat of paint and twenty eight years of age. Lisa walks towards the front door. LISA Three people were murdered on this street. Again, my age. If they were alive THEY WOULD BE MOM'S AGE. Tommy Doyle still lives here, and he's had a hard time coping with what happened. Haven't we all? EXT. DOYLE HOUSE - MORNING Before Lisa can knock on the door, it springs open. It's TOMMY DOYLE, 35, and worse for the wear. He looks at the video camera in disgust. TOMMY GET OUT OF HERE! LISA I'm doing a project for school, on Haddonfield...being haunted. Tommy slams the door in her face. Lisa walks back down the street. A few neighbors peek out from windows. There isn't a Halloween decoration in sight. LISA They say Tommy Doyle went crazy when Laurie Strode was tragically killed. POV - LISA The POV moves rapidly closer, from the side, until Lisa looks and shrieks. It's Lisa's two best girlfriends. NINA ATWATER, 16, is a Nicole Kidman lookalike. The other girl, LEXXIE CULPEPPER, is a few years older, and out of high school. She has jet black hair and a killer body. NINA What are you doing Lisa? LISA This is my project guys. NINA No, you are obsessed with that video camera. I thought we were your best friends. 15 CONTINUED LISA The camera never lies. They walk along. LEXXIE Did I tell you about my trip to Malibu last summer? I made hard- core X rated tapes. NINA You know Lexxie, I've heard enough of your bondage sex stories to last a lifetime. LEXXIE When are you two girls gonna get some stories? Lisa and Nina wrap their arms around each other. NINA Lisa and I are going to wait until we're married. That's hip now. Lexxie wraps her bigger arms around both of them as they move further away from the block. LEXXIE What are we going to do tonight, for Halloween? LISA There's no more Halloween in Haddon- field Lexxie. Town council un- officially banned it. That's what my project is about. NINA You're new in town dear Lexxie. LEXXIE You can't stop Halloween. EXT. MOYER HOUSE - MORNING The girls walk by the house and come to an abrupt stop. A FOR SALE sign hangs on the lawn but it doesn't look like any- one wants to buy it. Lisa trains her camera on the house when the girls drag her down the street. LISA Jimmy Moyer went to the same mental hospital as Michael Myers. 16 THE SHAPE The SHOULDERS OF THE SHAPE enter the frame. Over his right shoulder we see the girls laughing and drifting away. More heavy breathing. EXT. SMITH'S GROVE - MORNING Lindsey stalks toward her car with the SHERIFF beside her. TV CAMERAS and INVESTIGATORS are everywhere. Milt is off in the corner chatting it up with a local reporter. SHERIFF Anything else you want to tell me Dr. Wallace? LINDSEY Jimmy Moyer is on his way back to Haddonfield and he's going to kill a whole helluva lot of people. SHERIFF We got two dozen escaped mental patients. The guard said himself he didn't see who did what. The sheriff gets on the radio. LINDSEY He took the truck. He's the most dangerous patient in this dump and he's the creepiest sonofabitch I've ever seen. And no, that's not an objective psychiatrist talking. SHERIFF (into radio) They found the truck. (to Lindsey) You say it was Jimmy Moyer who took the police truck? Now, are you sure about that? Lindsey rolls her eyes and runs toward her car. INT. HONDA CIVIC(MOVING) - MORNING The shape is behind the wheel, riding slowly around town. POV FROM INSIDE CAR The car turns a corner and cruises alongside an elementary school. Haddonfield Elementary. Kids playing. Eleven, twelve years old. The car slows to get a better look. 17 SHAPE'S POV - HADDONFIELD CEMETERY The car moves in close and stops. The shape gets out of the car and calmly walks up the steps and onto the field. Purposeful, like he knew exactly where he was going and exactly what he was looking for. This is his domain. EXT. BACK ROAD - MORNING Lindsey's purple camaro stops at the side of the dirt road. Police are everywhere. The police truck is in the bush, turned over and wrecked. The men all look at Lindsey. She starts to walk toward the scene, starts to say something, but as she feels the eyes upon her, she backs away, gets back in the car and speeds away. INT. CLASSROOM - MORNING Lisa and Nina are in the same class. LISA'S POV - STREET Lexxie is on the street, sitting on top of her broken down Volkswagen. Suddenly, the shape appears behind her. Lisa can't believe it. The shape stops and looks right at Lisa. LISA LEXXIE! RUN! Lisa stands up. The shape is gone, if he was ever there. The WHOLE CLASS LAUGHS, especially Nina. Lisa can see Lexxie laughing too. CLOSE ON LISA LISA I guess we can all use a good scare on Halloween. TEACHER (O.S.) Didn't you say you were ready to do your project today Lisa. LISA'S POV - STREET Lexxie is on top of the car, bursting a gut laughing. LISA gets up and moves in front of the class. The TEACHER nods at her to begin. LISA Haddonfield is haunted. 18 CONTINUED TEACHER Lisa, I don't.... LISA We live in a haunted town boys and girls. How many people have to be murdered before we realize that? TEACHER That's enough Lisa. LISA It's Halloween today. Where's all the happy faces. There are none, because it's Haddonfield. Lisa holds up a high school yearbook picture of Lynda. Her dream was to be a roadie for Peter Frampton. LISA (cont.) Lynda Kramer, Annie Brackett, Bob Simms, the now famous Laurie.... The teacher tears the yearbook away. TEACHER That's enough. You have a sick mind. No one wants to hear this stuff. The class grows still. Lisa looks at the teacher. LISA Where were you back in 1978! TEACHER YOU FAIL! EXT. HADDONFIELD HIGH SCHOOL - DAY Lisa and Nina walk towards Lexxie who is still parked on the other side of the street. DARK SHOULDERS appear behind them. The POV moves real close. Lexxie looks up and smiles. The girls turn to look at us and shriek. It's a PUMPKIN MASK, Silver Shamrock. The mask comes off and we MANFREDY, a handsome, energized student, the same age as Lisa and Nina. MANFREDY We could all use a good scare on Halloween. Hey, what are we doing tonight. They arrive at the car. Lexxie grabs the mask from Manfredy and they exchange a seductive glance. 19 CONTINUED LEXXIE Wearing a Halloween mask is a mis- demeanor in Haddonfield. MANFREDY So is having sex in parked cars. Nina jumps in. NINA My parents are going all the way out to Russelville, for a Halloween party. We can hang out at my house and at Manfredy's house. MANFREDY My old man gets drunk right about now. LISA Let's go to the cemetery first. They all look at her strange. INT. VOLKSWAGEN(MOVING) - DAY Nina sits in the front seat with Lexxie. Lisa sits with Manfredy who exchanges marijuana joints with Lexxie. The car abruptly stops. Four, five MICHAEL MYERS lookalikes walk across the street. They stop and wave their hands. LEXXIE Losers. LISA The Michael Myers'. They meet under- ground, march on Halloween. NINA What, like the Ellen Jamesians in the World According to Garp? The bug keeps moving, down the Haddonfield suburbs. EXT. RESIDENTIAL STREET - DAY Lexxie drives the car to the curb and stops. Manfredy's house is right beside the curb, one of an endless suburban row. Nina's house is on the other side of the street. They get out of the car. Nina hugs Lisa and Lexxie. MANFREDY I can hear my old man wasting. Trust me for later. LISA Later. 20 CONTINUED LEXXIE Goodbye Manfredy. MANFREDY You can call me Freddy baby. LISA'S POV - STREET Nina and Manfredy both vanish into their respective houses. The car moves away from the curb, down the street. Lisa sees the shape at the back end of the street. LISA Look. It's HIM. The car stops in the middle of the street. LEXXIE'S POV THROUGH MIRROR The shape just stands there. Jimmy Moyer looks just like Michael Myers, right down to the black overalls, the trimmed hair and the cryptic boots. LEXXIE One of those losers. The Michael Myers'. Lisa nods, uncertain. The car moves away. THE SHAPE looks around the street, head turning from side to side. He moves out of frame. EXT. HADDONFIELD POLICE STATION - DAY The purple camaro arrives in the lot. Lindsey gets out and looks around, inhales the air from the streets. LINDSEY Haddonfield.... As she heads for the entrance the POV MOVES TOWARD THE STREET. The Honda civic cruises on by. Lindsey turns and notices but couldn't possibly make any- thing of it. She walks inside. INT. HADDONFIELD POLICE STATION - DAY Lindsey walks inside. The DESK SERGEANT recognizes her. Even so, Lindsey instinctively opens her wallet and flashes her credentials. DESK SERGEANT Hello darling. Big girl. 21 CONTINUED LINDSEY Is Sheriff Brackett in? I have to speak to him. It's urgent. A TV BLARES on the corner wall. A REPORTER stands at the edge of the dirt road where the police truck was found. REPORTER Police are combing the area trying to recover at least two dozen crazed mental patients who escaped last night, murdering police officials and staff.... The desk sergeant points at the office down the hall. DESK SERGEANT He gets depressed on this day every year. Likes to keep to himself. I know he'd love to see you. Lindsey walks down the hall, but keeps her eyes focused on the TV. REPORTER Police caution for citizens not to try and apprehend the inmates. If you see someone who looks strange, and they're wearing white overalls, CALL THE POLICE! The picture abruptly cuts to a Silver Shamrock commercial. The same commercial we saw in "Halloween III." COMMERCIAL Happy, happy, Halloween..... The desk sergeant, irritated, shuts the TV off. INT. BRACKETT'S OFFICE - DAY SHERIFF LEIGH BRACKETT looks twenty eight years older. His head is buried on his desk, alongside a bottle. On the wall, pictures of his beloved daughter Annie and his now dead wife too. Some framed articles from the fateful night. Lindsey walks in. LINDSEY Hello Leigh. Brackett's whole body comes alive. He jumps up and gives Lindsey a big bear hug. Lindsey is a little taken back but happy. BRACKETT Nice to see you. 22 CONTINUED LINDSEY You too Leigh. Have you heard about Tommy Moyer? He escaped last night... BRACKETT Yeah, when you went to Northwestern, graduated from medical school, we were so proud. Yeah, so where have you been stationed at? LINDSEY Leigh, I've been at Smith's Grove for the past five years, with.... Brackett slumps back in the chair. His eyes glaze over. BRACKETT Right. With that sonofabitch Sam Loomis. LINDSEY He's dead. Brackett holds up a picture of Annie. BRACKETT She babysat you since you were five years old Lindsey. You know, Annie wanted to go to medical school. She didn't get accepted but she was going to go to a community college and work on her grades. We got the letter a couple of weeks after.... LINDSEY SHERIFF BRACKETT! BRACKETT WHAT THE FUCK DO YOU WANT LINDSEY! The desk sergeant storms in, smiles at Lindsey. Brackett waves at him to leave. LINDSEY Jimmy Moyer escaped form Smith's Grove last night. It's on all the news. I know he's come back here, and he's going to kill again, just like Michael Myers. Brackett laughs and shakes his head. BRACKETT You're as obsessed as I am Lindsey, you know that? Is crazy the right word, Doctor Wallace? 23 CONTINUED LINDSEY I'm right Leigh. Jimmy Moyer wants to inherit the mantle from Michael. He's here, I'm positive. BRACKETT HOW DO YOU KNOW ANYTHING! CLOSE on Lindsey. She walks forward, leans down and puts her hands on the desk. LINDSEY The blackest of eyes, the devils eyes. No conscience, nothing like that. What I saw under that twelve year old boy's eyes was pure evil. He's eighteen now. BRACKETT Stop it Lindsey. LINDSEY It's all the same. This town won't survive another bloodbath. I know you don't want anyone else to.... BRACKETT STOP IT! EXT. DOWNTOWN STREET - DAY The car is parked on the other side of the street. Lisa and Lexxie stare at this gloomy section of town. LISA All I can think of is getting out of Haddonfield? LEXXIE Why? LISA It's the quintessential small town. Small. There's a whole world out there. You know that. LEXXIE Cruel world out there. LISA You were a model? Lexxie laughs and puts her arm around Lisa. We can see the video camera sticking out of Lisa's bag. The Honda civic moves down the street. 24 CONTINUED LEXXIE Women who do stuff they're not proud of say they're models. Whores for instance. Small towns can be nice. Get away from it all. Lisa starts to say something but thinks better of it. EXT. HADDONFIELD POLICE DEPARTMENT - DAY Lindsey storms out. The door opens and Brackett runs out. BRACKETT I'll give you some men. Just for tonight. You're wrong about this but...like you said...I don't want to take any chances. So how do you want to do this? Drag the streets tonight. You want to me to call the state patrol? LINDSEY Let's pretend this is 1978. Pretend that Jimmy Moyer, little Jimmy Moyer is Michael Myers. What do you want to do Sheriff Brackett? INT. VOLKSWAGEN(MOVING) - DAY Lexxie passes Lisa a joint. Lisa smokes it then coughs like crazy. THE VOLKSWAGEN cruises out of the downtown strip and we can see that the Honda Civic follows close behind. INT. HONDA CIVIC(MOVING) - DAY The shape doesn't move a muscle, he just stares ahead like a purposeful robot. The POV moves to the backseat where we see a gaping pool of caked blood, obviously the former owner of the car. SHAPE'S POV - VOLKSWAGEN The car heads into the remote part of town. The shape pauses a beat and then turns the car down a side street. A POLICE CAR scoots right by. EXT. CEMETERY - DAY The Volkswagen comes to a stop. Lisa and Lexxie hop out and look around. The video camera is out. LEXXIE I don't like cemeteries Lisa. 25 CONTINUED LISA If I can put together a documentary, on Haddonfield, I know I could get the Discovery Channel or USA to air it. Maybe Sundance. Fuck the Blair Witch, welcome to Haddonfield. LEXXIE Would you want to be buried here? LISA No way. Lisa trains the camera on the landscape from left to right. They walk up the hill and immediately come across headstones, rows of headstones. They walk for a few beats and Lisa looks down in frustration. Some HEADSTONES ARE MISSING. LEXXIE That's disrespectful. They look around. Maybe six, seven headstones are missing. Lisa walks around the field, alphabetically. LISA (whisper) Caroline Moyer. Lynda Kramer. Simms. Bob Simms. Laurie Strode. Annie Brackett.... VIDEO CAMERA POV - EMPTY HEADSTONES Down into the empty dirt. Documented evidence. Lexxie points to the far side of the ground. The old CARETAKER walks out of a shack, stoned drunk. Lisa and Lexxie back away. MICHAEL MYERS JUMPS UP. Lisa screams. Lexxie knees the guy in the balls and rips off his mask. Over the hill, we see the headstone of JUDITH MYERS. MICHAEL MYERS #1 Happy Halloween. The caretaker spots them. He pulls out a rifle and heads there way. Lisa and Lexxie run. BRACKETT'S POV - CEMETERY He turns to Lindsey and shuts the door of the SHERIFF'S CAR. They take a deep breath and walk up the hill. CARETAKER (O.S.) Damn kids. You have no respect. How would you like it if somebody did that to you? 26 CONTINUED Brackett immediately moves toward Annie's plot. He looks down at the empty soil. The caretaker holds up the Judith Myer's headstone. BRACKETT THOSE BASTARDS! I'll kill them when I find them. CARETAKER I'm sorry Leigh. I wish we could just cancel Halloween altogether. LINDSEY State police have rounded up most of the inmates within thirty miles of the sanitarium. Jimmy Moyer is here. BRACKETT This is vandalism. Lindsey points at the other empty graves. Brackett stares out in horror. LINDSEY HE'S BACK! LISA AND LEXXIE scamper into the car. Brackett's car is on the other side of the lot. The Volkswagen burns rubber out of the lot. INT. SHERIFF'S CAR - DAY Brackett pounds his fist on the wheel. Lindsey keeps still. BRACKETT This can't be happening again. Michael Myers is a can of ashes in some laboratory. Lindsey reaches into her case and pulls out a picture of Michael Myers, aged 12, along with a picture of Jimmy Moyer. She holds them up side by side. LINDSEY Michael Myers is dead. All I care about is Jimmy Moyer. He's alive and he's out there. Brackett turns the ignition when the radio buzzes to life. BRACKETT This is the last night for me. I'm too old for this. (on radio) Ten four. What the hell is it? 27 CONTINUED RADIO DISPATCH Leigh, you told me to tell you if we heard anything about Smith's Grove. They found a dead guy on exit 5 at a truck stop. He was gutted like a pig. They found white overalls. They belonged to Jimmy Moyer. Brackett puts the radio down. BRACKETT Okay. The car speeds away. EXT. UNDERGROUND BASEMENT - DAY Downtown Haddonfield. Two DEPUTIES moves up the side of the place. DEPUTY #1 kicks down the door and they move in. This is the hideout of the Michael Myers'. About fifteen or twenty of them are inside the small dump. Halloween masks and decorations are everywhere. The masks come off. Scared teenage boys. DEPUTY #1 We found the headquarters of Michael Myers. Boy, you guys snitch each other out cheap. DEPUTY #2 walks OS and returns holding a missing cemetery headstone. Deputy #1 grins and shakes his head. A horror movie plays on TV. DEPUTY #1 Now don't you know town council passed an ordinance banning the rental and broadcast of horror movies. Stealing headstones from the local cemetery. MICHAEL MYERS #2 Please don't tell my dad. The deputies laugh. DEPUTY #2 Michael Myers is officially dead. INT. VOLKSWAGEN(MOVING) - DAY The car moves through a backwoods area. LEXXIE'S POV - TRAILER Smack in the middle of a rundown trailer park. The POV moves to the edge of the road where we see the Honda civic. 28 CONTINUED LEXXIE You must be looking forward to going to college? You'll have fun. Lisa glances over at Lexxie. LISA You'll find your niche Lexxie, I know it. LEXXIE Being the town whore isn't much to aspire to. Beats modeling I guess. The Volkswagen cruises on. Lisa looks uncomfortable. Lexxie reaches over and tickles Lisa in the ribs. They both laugh. Lisa looks in the mirror, halts. LISA'S POV - HONDA CIVIC In the BG, at a measured distance. The shape is clearly behind the wheel. LISA It's Michael Myers. LEXXIE You mean the Branch Davidian cult of Michael Myers. LISA AND LEXXIE Lisa gulps. Lexxie smiles. Green light from the burgeoning street lights wash over their faces. LISA He looks creepy. POV - HONDA CIVIC The car follows for a couple more beats then heads down a side street. EXT. ATWATER HOUSE - NIGHT A handful of brave TRICK OR TREATERS run along the street. The door to the house opens and NINA'S MOTHER pokes her head out, armed with a bowl of candy. She has on a witch costume herself. The kids gather up the candy. NINA'S MOTHER Some traditions should never die. KID IN COSTUME Sheriff's deputies are arresting kids for selling firecrackers. 29 SHAPE'S POV - ATWATER HOUSE The honda parks on the curb. The shape gets out and walks to the curb. SHAPE'S POV - MANFREDY'S HOUSE More clandestine trick or treaters march down that side of the street. The PHONE RINGS. INT. NINA'S ROOM - NIGHT Nina is on her bed, surrounded by a cache of horror videos. The phone rings. Night air blows through the open window. Nina picks up the phone and spots the light across the street from Manfredy's room. NINA Hello? MANFREDY (V.O.) The houses are empty, right. I see your parents all dressed up in those illegal Halloween costumes. INT. MANFREDY'S ROOM - NIGHT Manfredy's room is dark and medieval, like his house. LOUD SNORING OS. NINA (V.O.) Five hundred dollar fine if they catch you participating in Halloween related activities in Haddonfield. INT. MANFREDY'S LIVINGROOM - NIGHT MANFREDY'S FATHER is out like a light. A bottle sits on the table. The TV is on. The weather channel. MANFREDY (V.O.) The old fool is out like a light. INTERCUT - NINA AND MANFREDY Nina slowly moves to the edge of the window. NINA Look, I can't come right over. I have to stay with my little brother Willard, watch horror movies with him. Oh, by the way, my parents still haven't forgiven you for the shaving cream incident at Christmas. MANFREDY Can Willard be bought? 30 CONTINUED NINA Yes, by letting him go out trick or treating later with his friends. He loves to get me in trouble, so I have to play it cool. Nina peeks out the window. MANFREDY Well, Lisa and Lexxie will be here pretty soon. NINA'S POV - STREET The shape stands there, looking up at the street. He turns and looks at Nina. NINA There's a Michael Myers on the street Manfredy. Do you see him? MANFREDY (V.O.) What did you say about horror movies? You got videos? Where did you get those? NINA My parents ordered them on the net. Can you see him out your window? MANFREDY'S POV - STREET The shape is gone. NINA'S POV - STREET The POV moves up and down the street. The block is silent, then FIREWORKS appear in the sky, from a distance. MANFREDY (V.O.) Do you remember Jimmy Moyer? NINA Jimmy Moyer? Yeah, he was in our class, wasn't he? French class. He killed his.... Nina looks at a metropolis newspaper. MANFREDY (V.O.) He escaped from Smith's Grove last night. Killed a bunch of people. I got it off the police band. Of course, you won't hear any news in Haddonfield. The cops are combing the hills for him. 31 CONTINUED NINA'S MOTHER (O.S.) Bye dear. Be nice to Willard. NINA'S FATHER (O.S.) Enjoy the horror movies. EXT. ATWATER HOUSE - NIGHT NINA'S PARENTS get in the car and drive off. MANFREDY (V.O.) Come on over. Let Willard play with his little friends. NINA (V.O.) Call me when Lisa and Lexxie arrive. We can hear Nina down the phone. INT. ATWATER LIVINGROOM - NIGHT WILLARD, Nina's nine year old brother, has a Green Goblin Silver Shamrock mask on. He pulls if off in disgust. He has the broken tag in his hands. WILLARD These Silver Shamrock masks suck. Look, the tag came off. (looking) What's this microchip thing on the back? Nina puts the stack of videocassettes on the floor. NINA Willard, how about we make a deal? Willard grabs a big bag of smarties, chugs a big handful into his mouth. WILLARD Okay, but I want you to watch one of these movies with me. EXT. MYERS HOUSE - NIGHT The Sheriff's car parks on the curb. Brackett and Lindsey get out and look around. "Michael Myers burns in hell" has recently been spray painted on the wood. LINDSEY Do you want to go inside? Brackett turns away. A POLICE CAR moves down the street. 32 CONTINUED BRACKETT God no. This doesn't have anything to do with Jimmy Moyer. LINDSEY When was the last time you were here? BRACKETT Loomis and I.... A DEPUTY runs toward them. DEPUTY Honda Civic, owned by the dead guy. We found it in the parking lot of the elementary school. Brackett glares at Lindsey. BRACKETT I want the whole town cased, from downtown to the hills. Do it. We'll be there soon. And keep the streets clear of trick or treaters. The deputy gets back in the car and speeds off. Brackett and Lindsey glance back at the house then get into the car. INT. SHERIFF'S CAR - NIGHT Brackett puts the swirling light on top of the roof. BRACKETT You're the expert Dr. Wallace. Where do we go from here? How do we stop him? Lindsey nods in satisfaction. LINDSEY He's a Michael Myers copycat so I'd expect him to hang around.... BRACKETT (pointing) The Myers house is untouched. LINDSEY His house. Then maybe in tribute, he'd want to visit the Doyle house, and my house.... BRACKETT HOW DO WE STOP HIM! 33 EXT. STREET - NIGHT The car blazes down the street, light sounding off. EXT. EMPTY STREET - NIGHT Michael Myers walks down the long, empty road. He takes off the William Shatner mask and inhales the night air. MICHAEL MYERS Damn pigs. You'd think we were plotting to overthrow the government or something. POV - STREET The shape walks into the frame, showered by the night. His hands are ominously pressed to his sides and he doesn't move a muscle. The edges of his knuckles reveal a shank. MICHAEL MYERS stops in his tracks, looks and smiles. MICHAEL MYERS The cops raided our hideout. It's time to quit this shit man. I've got to get a job or something. THE SHAPE walks toward him. MICHAEL MYERS walks forward, unaware. The shape lunges out and puts his hands around the kid's neck. Powerful. The knife appears in the air. The kid's eyeballs turn to frisbees. The knife goes up then....DOWN. CUT TO: EXT. HADDONFIELD ELEMENTARY SCHOOL - NIGHT The Sheriff's car hastily arrives in the lot. Brackett and Lindsey join the MARSHAL who stands at the edge of the teacher's parking lot and the main entrance. POV - HONDA CIVIC The car is still. The side windshield is cracked. MARSHAL This is the car Leigh. The one that belonged to the dead guy they found on the highway exit. 34 CONTINUED LINDSEY How was he killed? The marshal laughs. MARSHAL Do my job for ten years and you might be able to handle me answering you that question, little lady. BRACKETT Anything? The marshal points at the OFFICER who opens the door of the car and flashes a light inside. POV - INSIDE THE CAR Smeared with blood on the frosted back window is the word, "Samhain." The marshal points at the dark school. Three more officers walk out from the dark. MARSHAL The school was broken into. Some of the lights in the classrooms were on. We'll do whatever we can to help you track this guy down Leigh. BRACKETT This is my town Monty. Don't go powertripping everywhere. The marshal raises his hands in surrender and walks toward the other officers. LINDSEY IT'S JIMMY MOYER! Brackett grabs Lindsey by the hand and pulls her right out of the frame. INT. VOLKSWAGEN(MOVING) - NIGHT The car heads into Nina and Manfredy's street. EXT. RESIDENTIAL NEIGHBORHOOD - NIGHT The car parks on the curb, right where the Honda civic used to be. Lexxie and Lisa get out and stare at the two houses. LISA I'll just go say hi to Nina, see what's up. 35 CONTINUED LEXXIE Bring her over to Manfredy's. We want to be alone later, okay? LISA Sure Lexxie. POV - LEXXIE She pauses, glares at Lisa with resentment then runs across the street. THE SHAPE jumps up like a pop tart, just missing Lexxie. SHAPE'S POV - LISA Lisa knocks on Nina's door. INT. ATWATER LIVINGROOM - NIGHT Nina and Willard are in front of the TV, watching the movie, "Dawn of the Dead." Nina looks to see if Willard is showing any signs of fatigue but he looks psyched. The DOORBELL RINGS. NINA Maybe that's your friends. They want to take you out and blow off some streamers. WILLARD I don't have any friends. That was just a cover story to blow off mom. Nina opens the door. She hugs Lisa. LISA Hi friend. NINA Where's your video camera? LISA It's in the car. Listen, can you come over to Manfredy's? The gang's all here. NINA I'm stuck with Willard. But when he goes to sleep.... WILLARD (O.S.) Come on Nina. 36 CONTINUED LISA Lexxie and Manfredy will want to fuck later, so why don't I come on over and we can both spend quality time with Willard. Nina smiles, nods and begins to shut the door when she remembers to tell Lisa something. NINA Did you hear that Jimmy Moyer escaped from Smith's Grove last night? They say he killed a bunch of people. Lisa can't believe it. She walks to the door. LISA No, I...we went to the cemetery this afternoon. It was so creepy. The Sheriff was there and some of the headstones were missing and.... Nina smiles and gently closes the door. Lisa waves goodbye and looks over at the other side of the street. INT. MANFREDY'S LIVINGROOM - NIGHT Lexxie and Manfredy stand in front of the old man. Manfredy has a hook under his arm, ready to drag him upstairs when they hear the doorbell ring. MANFREDY Great. You and Lisa can help me push him upstairs. It's like a vault. He'll never wake up. SHAPE'S POV - LISA The door opens. Some unheard dialogue and then Lisa vanishes inside. SHAPE'S POV - ATWATER HOUSE The POV whirls around. CLOSE on the front door. EXT. WALLACE HOUSE - NIGHT The Sheriff's car pulls up. LINDSEY Do the kids still trash my house on Halloween? Brackett's whole body starts to tremble. Lindsey feels so bad about everything. 37 CONTINUED BRACKETT I...uh, your parents were really good people. Everyone was real sad when they died. LINDSEY I'm sorry Leigh. We don't have to go inside. Brackett takes a deep breath, then pulls out a BAZOOKA. He opens up his wallet and we see a picture of Annie. BRACKETT If you're right, he might've been here tonight. He might still be here, and if he is, I'm going to get him. Lindsey pulls out an old key. A tattered real estate sign is buried in the decrepit front yard. INT. WALLACE HOUSE - NIGHT The door creaks open. Brackett shines a flashlight through the mist and the whole scene becomes visible. The livingroom, upstairs, the eerie stairs. Brackett peeks through the side window and spots the trail that leads to the outside laundry room. Brackett can't see Lindsey. He pulls out the gun. BRACKETT Lindsey. LINDSEY (O.S.) Leigh, come in here. INT. WALLACE KITCHEN - NIGHT Brackett walks in the kitchen, beside Lindsey. They both stare down at the wooden slab which has a knife embedded in it. INT. DOYLE HOUSE - NIGHT Tommy, nervous, moves toward the window. He summons up the courage to pull the blinds. TOMMY'S POV - WALLACE HOUSE The lights are on. The Sheriff's car. TOMMY'S POV - CLOTHES CLOSET The world famous closet. CHILDREN SCREAM. THE SHAPE appears out of nowhere. LAURIE (V.O.) Lock the door! Lock the door! 38 CONTINUED Tommy shakes his head. TOMMY WHY WON'T IT EVER DIE! INT. WALLACE BEDROOM - NIGHT The door creaks open. Brackett moves in first, gun out. The lamp by the bed is on. The place hasn't changed a bit in twenty eight years. No sign or evidence of Jimmy Moyer. Brackett looks over at Lindsey and spots a concealed gun. BRACKETT You know how to use that thing? LINDSEY I've had lots of experience with death and killing. EXT. WALLACE HOUSE - NIGHT They walk out and scan the track. Soft giggling and stray firecrackers in the deep BG. LINDSEY'S POV - DOYLE HOUSE LINDSEY How's Tommy doing? Brackett pulls her back towards the car as if forbidding her from investigating any further. BRACKETT Tommy's a basket case. LINDSEY What if....? BRACKETT If Tommy were dead, he'd come out of his house. SHAPE'S POV - ATWATER LIVINGROOM He watches patiently while Nina and Willard sit in front of the TV. Soft breathing. INT. MASTER BEDROOM - NIGHT Manfredy's father is on the bed, sound asleep, head buried in the pillow. The door is closed and it's black. INT. MANFREDY'S LIVINGROOM - NIGHT Music plays on the speakers, a movie is on TV. Lexxie and Manfredy kiss passionately on the floor, while Lisa just sits there, embarrassed. 39 CONTINUED LEXXIE What's wrong Lisa? You afraid of sex? Maybe you want to join in. Lisa looks at Lexxie like she doesn't even know her. Manfredy just looks confused. MANFREDY What's going on? LISA I know what you're doing Lexxie. Manfredy, you'd better wear a big condom because Lexxie's going to try and make you get her pregnant. Manfredy glares at Lexxie. Lexxie grabs him by the neck and glares at Lisa. LEXXIE Smart college girl. LISA I feel sorry for you Lexxie. Lisa walks out the door. Manfredy looks at Lexxie who pushes him onto the floor. EXT. MANFREDY'S HOUSE - NIGHT Lisa looks around, then walks across the street to Nina's. THE SHAPE just misses Nina. The light from the porch illuminates his face. He stands still and watches. SHAPE'S POV - MANFREDY'S LIVINGROOM Manfredy is on the floor. Lexxie moves seductively on top of him and then she takes off her shirt to reveal incredibly large breasts. EXT. ATWATER HOUSE - NIGHT Lisa knocks on the door, angry. She turns around. LISA'S POV - STREET The shape looks back at her. The door opens and Lisa rushes inside. INT. ATWATER HOUSE - NIGHT Lisa pushes Nina inside. Willard is on the couch, still watching the movie, half asleep and mischievous. 40 CONTINUED NINA What's going on? WILLARD Oh Nina? I believe we're going to watch Day of the Dead now. Lisa drags Nina to the window. She slides open the drapes and points across the street. The shape is gone. Nina playfully slaps Lisa across the side of the head. NINA One of the Michael Myers gang? You have Michael Myers on the brain. LISA He looked different.... Nina turns off the VCR and rips a tape out of the machine. Willard smiles at her. WILLARD I'll tell mom. Hey Lisa, did you know Nina has a full time....? NINA Willard, go outside with your friends. Nina grabs the Silver Shamrock mask off the couch and puts it over Willard's head. Then she reaches into her wallet and hands him a twenty dollar bill. WILLARD I don't have any friends. NINA Maybe that's because you're rude and insensitive. Look, you can either go to your room or go find a friend. LISA Ouch Nina. You talk to him like that, he might grow up to be.... NINA Michael Myers? Willard reaches under the couch and pulls out a cache of illegal firecrackers and explosives. He sticks his tongue out at the girls and walks out the door. LISA Lexxie and Manfredy are um, getting busy over at his house. 41 CONTINUED Nina walks over and turns on the stereo. Then she puts a tape in the VCR. They sit on the couch and lean on each other. Nina offers Lisa a bowl of candy from the table. NINA I think some of these might have razorblades in them. WILLARD walks down the dark street, mask over his head. EXT. STREET - NIGHT Willard walks slowly out of frame. The DARK SHAPE moves into frame, and watches Willard vanish. EXT. MOYER HOUSE - NIGHT The Sheriff's car arrives at the curb. A police car is there already. DRUCKER, a deputy, is asleep in the car. Brackett smacks the window. BRACKETT Wake up you dumb bastard. Didn't I tell you to keep watch? DRUCKER There hasn't been a sound all night. No kids, nothing Sheriff. BRACKETT Anyone been inside? DRUCKER You told us to wait. Brackett and Lindsey walk to the front door. INT. MOYER HOUSE - NIGHT The front door slowly opens. Brackett and Lindsey walk into the hallway. A picture of the Moyer family still hangs on the wall. Everything looks untouched for the most part. LINDSEY Do your deputies all have shit for brains? BRACKETT Don't start. You know, on that night twenty eight years ago, I wanted to have my men combing the streets. Loomis said no. Some bullshit about people seeing him on every street corner. Well I hope Sam Loomis burns in hell. 42 CONTINUED They walk down the hallway. The kitchen is just ahead. LINDSEY You still blame him for Annie? He tried to stop Michael Myers. BRACKETT I said don't start Lindsey. LINDSEY You smell something? Brackett has his gun tensed and ready for anything. Lindsey takes her gun out. INT. MOYER KITCHEN - NIGHT They walk in. The oven is on. Steam. Rusted pans and boiling pots. Brackett pulls the top off. Cooked rabbit ears stick out. Lindsey turns away in horror as Brackett shuts off the oven. Brackett bumps into the radio in the corner of the kitchen and it comes to life, the cord pushed in. RADIO ANNOUNCER Don't forget to watch the horrorthon and the big giveaway at eleven. Sponsored by Silver Shamrock.... Brackett blows the radio to bits. BRACKETT Damn commercial's been driving me crazy. Let's go upstairs. They turn and walk out of the room, then cautiously head for the stairwell. LINDSEY He killed the two boys on the way home. He watched his mother from outside. He had the premeditated thought to make sure no one else was around. He killed the dog.... BRACKETT Lindsey, I was here. I've been here the whole time. His father called the police station, right before he blew his brains out, in his car. I found out later he'd been having an affair with a woman in Springfield. In any other town, he would've been the prime suspect, not a twelve year old boy. 43 LINDSEY'S POV - WINDOW She looks out. INT. MOYER BEDROOM - NIGHT The bedroom is empty and unchanged. Brackett peeks through the closet and then they walk out. LINDSEY'S POV - JIMMY'S BEDROOM DOOR A light blows under the door. It gets stronger as if the light increased in exposure. BRACKETT AND LINDSEY They move for the door, guns cranked. The door swings open. A carved, lit pumpkin glows around the room, swinging from side to side, alongside a table full of candles. POV - BED Two of the Michael Myer's boys are on the bed, masks on, each with a knife imbedded into their neck. Neither of them look like the guy who was killed on the street. AT THE TOP OF THE BED IS ANNIE BRACKETT'S TOMBSTONE. BRACKETT SCREAMS. EXT. MOYER HOUSE - NIGHT Drucker looks out the window. The scream was heard. Another scream. Drucker opens the door, pulls out his gun and radio. DRUCKER'S POV - STREET The Shape walks down the other side of the street. DRUCKER (into radio) Sheriff, are you okay? I heard some screams. EXT. JIMMY'S BEDROOM - NIGHT Lindsey pulls Brackett out of the room. He looks like a caged beast ready to rumble. DRUCKER (voice over, radio) Sheriff, are you okay in there? 44 CONTINUED BRACKETT (into radio) Get some....ambulances over here. He was here! Lindsey grabs the radio from Brackett, trying to steady him with her other hand. LINDSEY (into radio) We got two dead bodies up here. DRUCKER (voice over, radio) I spotted a guy, in one of those Michael Myer's masks, down the street. Brackett looks at his gun and snarls. He rushes for the stairs. Lindsey, gun still out, runs after him. EXT. MOYER HOUSE - NIGHT Brackett and Lindsey run out. Drucker is out of the police car. He points down the street, then meekly puts the siren on the roof of the car. BRACKETT Where...? DRUCKER (pointing) Down the lane. LINDSEY Leigh, it's probably just.... Brackett runs into his car. Lindsey hops in just in time, as the car takes off. Drucker grabs his radio, looks up at the bedroom window of the house. INT. SHERIFF'S CAR(MOVING) - NIGHT The car blazes down the lane, lights on everything. EXT. STREET(LANE) - NIGHT The car moves along, still fast. A group of COSTUMED KIDS run along the track and the car grinds to a halt. INT. SHERIFF'S CAR(MOVING) - NIGHT Lindsey puts her hand on the wheel, but Brackett continues, shaking his head, wiping his brow. The gun sits in his lap. LINDSEY It was probably just a kid, one of the pranksters. 45 CONTINUED BRACKETT He wanted to see us get in THAT HOUSE! EXT. LANE - NIGHT Quiet, black. EXT. SHERIFF'S CAR - NIGHT Bracket sticks his hand out the window, waves a flashlight all around. BRACKETT'S POV - ALLEY The Shape is there. THE SHAPE just stands there, in the middle of the road, hands pinned to his side, heaving up and down ever so creepily. A squad car pulls in at the end of the road, behind him. Out pops DEPUTY #2, gun pointed, nervous. BRACKETT AND LINDSEY get out of the car. They walk into the middle of the track and stare the shape down, like high noon at the Haddonfield corral. DEPUTY #2 Sheriff Brackett, is this the guy we're looking for? BRACKETT Shut up and don't move. DEPUTY #2 My little brother played soccer with Jimmy Moyer. THE SHAPE He tilts his head from side to side. The knife in his hand becomes visible in the night light. He raises it and walks forward. BRACKETT AND LINDSEY LINDSEY Jimmy, it's Dr. Wallace. You don't have to die Jimmy. There's no good place to go after we shoot you to death. Brackett grunts and raises the bazooka. 46 CONTINUED BRACKETT TAKE OFF THE MASK! No response. Brackett growls and then FIRES. Four, five, six shots into the shape. In SLO-MO, as the bullets enter the shape's body, we can see Lindsey silently mouthing the word, "no", and we can see arterial spray fly out of the shape's body. Brackett and the deputy run over to the body. CLOSE ON DEAD SHAPE Brackett rips off the mask. It's a fifteen year old kid. Brackett stares at Lindsey. The deputy checks the bullets in his gun and scratches his head. BRACKETT I thought it was.... LINDSEY How many Michael Myers impersonators are there in Haddonfield Leigh? DEPUTY #2 (O.S.) That's Troy Miller. Sheriff, he had a weapon in his hands. So uh, he lunged at you? The deputy hands Brackett an unmarked pistol from his pant leg. Brackett stares at Lindsey in horror. Lindsey just shakes her head. BRACKETT Take me into custody. The deputy looks at him crazy. Brackett pulls out a set of handcuffs and handcuffs himself. Brackett walks back to his car. Lindsey and the deputy stare down at the boy. INT. MANFREDY'S LIVINGROOM - NIGHT Lexxie rises up from on top of Manfredy. LEXXIE Let's go upstairs. MANFREDY Oh baby. I guess this is my time. LEXXIE Free of charge. 47 CONTINUED They get up off the floor and run naked into the stairwell. A DARK SHADOW falls over the whole room, a pall, turning the light into a pumpkin black. The SHOULDERS OF THE SHAPE move into the frame. INT. ATWATER LIVINGROOM - NIGHT Lisa and Nina are on the couch, with a bowl of candy between them, watching a video copy of "Dementia 13" on the TV. LISA This was Francis Ford Coppola's first movie. NINA Looks more like your first movie. LISA Do you want to go to the Myer's house? Nina looks at her like she's crazy. NINA Why would we want to go there? LISA Scary. It's Halloween night. How about the Moyer house or the Wallace house. Hey, remember that house on Mundy lane where.... NINA Candy apples. Candy apples Lisa? Nina walks into the kitchen, opens the oven door and curses. Lisa gets up and moves toward the window. NINA (O.S.) I thought we were going to have a big old slumber party tonight, but it's just you and me, as always. LISA'S POV - MANFREDY'S HOUSE The light upstairs is on. It shuts off. LISA'S BACK A hand grabs her. She turns around and shrieks. It's just Nina, with a witch mask on her face and a slightly fried candy apple in her hand. LISA You goof. They sit back down on the couch. 48 CONTINUED NINA You like scary stuff. You like all the death stuff. God, do you know how weird it is that we turned out to be friends? LISA Is the movie over? NINA It was only eighty minutes long. The PHONE RINGS. The tape in the VCR rewinds and we can see a Silver Shamrock commercial on TV. More high tech then the commercial in "Halloween III." NINA (into phone) Hello? VOICE ON PHONE This is the boogeyman. This is the ghost of Michael Myers. NINA (to Lisa) It's the boogeyman. The ghost of Michael Myers. Lisa looks genuinely frightened. INT. MANFREDY'S BEDROOM - NIGHT Lexxie and Manfredy are in bed. Lexxie has a phone and a cigarette in her hand. Manfredy just stares up at the ceiling. LEXXIE (into phone) Boo Nina, boo. INTERCUT WITH LISA AND NINA Nina giggles at Lisa, wags her finger around her head and mouths "Lexxie." Lisa holds up her middle finger. NINA I guess we're not good enough to hangout with you tonight, huh Lexxie? Lexxie tickles Manfredy on the bellybutton and he giggles like a baby. Lexxie holds out the phone so Nina can hear. LEXXIE No, I'm not good enough for Queen Lisa there. I'm just the town whore. 49 CONTINUED Lisa moves beside Nina. LISA Is Manfredy her sexual slave? NINA Are we ever going to see you again Lexxie? LEXXIE Yeah, I might visit you kids before I head off to Malibu. Nina looks uncomfortable. NINA What are you two going to do all night? Lexxie giggles, looks at Manfredy, who looks like a zombie. LEXXIE If you don't know.... Lisa grabs the phone from Nina. LISA (into phone) WEAR A CONDOM MANFREDY! The line goes dead. Lisa walks to the window. Lexxie smiles at Manfredy who looks almost fearful. She moves on top of him and pulls the covers over. We can hear sounds of lovemaking. A DARK SHADOW FALLS over the room. We move back and see the outline of THE SHAPE, watching at the edge of the partially closed door. LISA'S POV - MANFREDY'S HOUSE The light comes on, then it goes off. NINA (O.S.) Let's watch another movie, a real scary one, while we still have the chance. LISA Yeah. This might be our last Halloween in Haddonfield. EXT. MOYER HOUSE - NIGHT The front door is open as hospital technicians carry the two dead Michael Myers out of the house, into the ambulance. A handful of NEIGHBORS keep watch along with a small cluster of GRIEVING PARENTS. Drucker stands next to a SHERIFF'S DEPUTY. 50 CONTINUED SHERIFF'S DEPUTY What are we going to tell the press? DRUCKER Nothing until Sheriff Brackett gives the okay. Do you know what's in there? SHERIFF'S DEPUTY What? DRUCKER You don't want to know, but I think Brackett might go crazy again. EXT. HADDONFIELD POLICE STATION - NIGHT The Sheriff's car and the deputy's car arrive in the lot. The streets are quiet. Lindsey and Deputy #2 walk out. They look at each other and then the deputy opens the passenger door and helps Brackett out. Brackett is still handcuffed. DEPUTY #2 Sheriff, I think.... BRACKETT Arrest me. That's an order. They walk inside. POV - BACKSEAT The body of the kid sits there. INT. HADDONFIELD POLICE STATION - NIGHT The three of them walk in. A handful of detention cells sit on the side. Empty, except for a TOWN DRUNK. The desk sergeant looks at them weird. DESK SERGEANT Sheriff Brackett...? DEPUTY #2 There was an accident. A kid had a knife.... LINDSEY Leigh shot him, about five or six times. I lost count. BRACKETT He's in the back of my car. Call the coroner's office, then notify the parents. Troy Miller. Brackett starts to sob. They all look at each other. 51 CONTINUED DESK SERGEANT (to deputy) It was an accident. The deputy holds up the knife. DEPUTY #2 Right here. He was non responsive. We warned him, but he kept going. DESK SERGEANT They found another one of the Michael Myer's boys, dead. On the black tar road. I heard what happened at the Moyer house. LINDSEY A lot of people have died tonight. More on the way. BRACKETT I'M A KILLER! DEPUTY #2 I see no crime here. They look at Lindsey. She pulls out the key to the handcuffs and unlocks Brackett's hands. LINDSEY We've got to find him, and I need you Leigh, we need everybody. If there is a tomorrow, the federal authorities and the lawyers can judge your ass. INT. MANFREDY'S BEDROOM - NIGHT Moving arms and legs under the covers. The covers open up and we see Lexxie and Manfredy, on the last dash to orgasm. The sound goes louder until the climax. They fall against the bed, exhausted. MANFREDY You're on the pill right? I mean, you wouldn't try and trap me into anything, would you? LEXXIE I'm not that type of girl. The door creaks open. Manfredy looks up. POV - HALLWAY The Shape watches from his darkened perch in the hallway. The door to the master bedroom is ajar. Black. 52 MANFREDY'S POV - DOOR The door jingles a bit. When Lexxie reaches for some lipstick we can see a hollow pumpkin. Soft footsteps OS. Stress on the stairwell. MANFREDY That's my old man. He's awoken. I better go check on him, put him back to bed, get him drunk, whatever. LEXXIE Bring me back some candy. EXT. MASTER BEDROOM - NIGHT Manfredy walks down the hall, towards the master bedrooom. INT. MASTER BEDROOM - NIGHT Manfredy walks in and the door creaks like a tomb. WHITE LIGHT blows in his face and then it's dark. MANFREDY'S POV He moves forward. His father is flat on the bed, with a spike in his eye, driven in with cool precision. He stares straight up at the ceiling. THE FATHER'S FACE Manfredy, speechless, places his hand around the eye. MANFREDY backs away. The shape appears, out of the blackness behind him. The outline of the mask is in full view, and the knife in his hands. MANFREDY I, I..... Manfredy backs up and the KNIFE STICKS IN HIS BACK. Manfredy's eyes pop open, unable to speak as his body rises into the air. Manfredy grows limp. The shape tilts his head from side to side, admiring his work. INT. MANFREDY'S ROOM - NIGHT Lexxie lays flat on the bed, looking up at the ceiling. LEXXIE This is a nice house. (to the door) Where's my candy? Manfredy? (beat) I'm going to call Nina and Lisa. I was a bad girl tonight. 53 CONTINUED Lexxie reaches for the phone, dials. She waits. The shape walks into the bedroom. Lexxie turns. LEXXIE Manfredy, take off that stupid costume. Those other geeks look so stupid walking around town in that outfit. CLOSE ON THE SHAPE'S HANDS Blood runs over the hands. The shape walks toward Lexxie. INT. ATWATER LIVINGROOM - NIGHT Lisa and Nina are into another movie when the phone rings. Nina pushes herself off the couch and walks to the phone. NINA Hello. The line is fuzzy. STABBING SOUNDS OS, but no voice, no screams. HEAVY BREATHING, excited grunts. INTERCUT WITH LEXXIE IN BEDROOM The SHADOW OF THE SHAPE looms over the bed and the whole room. Bringing the knife down over and over, grunting like a dazed zombie. Nina strains to listen. NINA Lexxie? Manfredy? Nina puts down the phone and looks at Lisa. LISA What? NINA Obscene caller. LISA It's never just an obscene caller. INT. MANFREDY'S BEDROOM - NIGHT We can make out oblique shots of bloody carnage in the bedroom, on the walls and stuff, in the hazy BG. The shape closes the door in our face. 54 INT. ATWATER LIVINGROOM - NIGHT The movie has come to an end. Lisa rewinds the tape while Nina moves toward the window. NINA'S POV - MANFREDY'S HOUSE Pitch black. NINA Let's go across the street, check on Manfredy. LISA I know what they're doing. NINA Why don't we just take a walk over there? PLEASE! Lisa smiles and rolls around on the couch. Nina picks up the phone and dials Manfredy's number. INT. MANFREDY'S HOUSE - NIGHT The phone rings. Not a sound. Then some heavy breathing. LISA'S POV - MANFREDY'S HOUSE The house looks.... LISA It's so dark over there. It looks like a haunted house. NINA (O.S.) No answer. EXT. TAR ROAD(EMPTY STREET) - NIGHT The dead Michael Myers is sprawled out on a slab, surrounded by MEDICS. The marshal is there, along with Drucker. A TV TRUCK sits in the BG. A REPORTER struggles for position as the body is taken into the ambulance. The sheriff's car arrives. Brackett and Lindsey hop out REPORTER Sheriff Brackett, is this a copycat killer, a Michael Myers copycat killer? BRACKETT You don't know nothing. REPORTER What about the two kids in Michael Myers mask who were pulled out of the Moyer house tonight? 55 CONTINUED Brackett looks at the female reporter, surprised. Lindsey looks like she wants to blurt out something. REPORTER (cont.) Sheriff, your daughter was murdered by Michael Myers. Brackett grabs the woman by the neck, pulls out his bazooka and aims it at her nose. BRACKETT Don't you leeches ever stop with this story, WITH THIS TOWN! Drucker drags the reporter away. LINDSEY (to Brackett) Maybe publicity could help us. BRACKETT And tell people what? Look out for Michael Myers, who's dead? There's a hundred kids in this town who like to dress like Michael Myers. It's against the law but they do it. They walk over to the marshal. MARSHAL The kid was stabbed every which way to Sunday. The Michael Myer's mask was in his hands. LINDSEY (to Brackett) We've got to get back on the streets, house to house. I don't care if we have to ransack the neighborhood. Brackett looks real nervous. In the BG, a SQUAD CAR moves down the road towards them. BRACKETT (to Lindsey) You think he'll go back to the Myers house, your house.... LINDSEY Maybe the Doyle house, Tommy's house. That's where it was all ended. He might want to make it a shrine to his bloodshed. MARSHAL What do you want us to do Leigh? 56 CONTINUED BRACKETT Block off the exits out of town. Road stops, that sort of thing. The squad car comes to a stop. Deputy #2 gets out, grim faced. Behind are TROY MILLER'S PARENTS. DEPUTY #2 Sheriff Brackett. They all turn. MILLER'S FATHER (to Brackett) Leigh, Troy went out tonight and he hasn't come back. His mother and I are worried. They stand like statues. Not a word or sound. CUT TO: EXT. VOLKSWAGEN - NIGHT It just sits there, ominously quietly. The windows are steamed over. EXT. ATWATER HOUSE - NIGHT The door opens. Lisa and Nina have their coats on. Nina locks the door and they walk towards Manfredy's house. LISA'S POV - MANFREDY'S HOUSE We move closer to the dark, ominous house. The house creeps in on them. EXT. MANFREDY'S HOUSE - NIGHT Lisa rings the doorbell. NINA Careful, you might wake his father. No answer. Nina pulls on the doorknob then remembers to look in a crevice on top of the door for a key. LISA turns and shrieks at us. It was only Nina touching her back. They both smile. The door creaks open. 57 INT. MANFREDY'S HALLWAY - NIGHT The girls tiptoe in. Lexxie's jacket is on the stairs. The hall is partially lit. LISA I get it. NINA What? LISA Lexxie, the mischievous one, and Manfredy, the practical joker. NINA Be ready for anything. EXT. RESIDENTIAL STREET - NIGHT The sheriff's car bolts down the street. INT. SHERIFF'S CAR(MOVING) - NIGHT Brackett looks like a wreck. Dazed eyes. He pops open a bottle of pills from his jacket and gulps a bunch down. Lindsey thinks he's so pathetic. BRACKETT What are you thinking Dr. Wallace? LINDSEY After those parents get done with this town, it won't be called Haddon- field anymore. Troy Miller place. BRACKETT There's just tonight then. EXT. DOYLE HOUSE - NIGHT Dark. The car stops and Brackett and Lindsey get out, guns ready. Brackett and Lindsey both stare for a beat at his bazooka. TOMMY'S POV - STREET Brackett and Lindsey move forward. The doorbell rings. The POV moves out of frame. POV - FRONT DOOR The door opens wide. Brackett and Lindsey both point guns at us. They back down. BRACKETT Tommy. 58 TOMMY really does look like a deranged basket case up close. TOMMY Come on in. INT. DOYLE KITCHEN - NIGHT The place is full of cobwebs. It looks like it hasn't changed a bit since...1978. They all take a seat. Tommy glares at Lindsey. LINDSEY It's happening again Tommy. TOMMY Now hold on a second Dr. Wallace. You and I were both present when Michael Myers was cremated. If you want to live in the past... BRACKETT More dead bodies Tommy. Lindsey pulls out a photo of Jimmy Moyer, aged twelve, along with a newspaper clipping of his crime. LINDSEY Jimmy Moyer is following in his footsteps, on Halloween night. It's all happening again Tommy. TOMMY When was the last time you called me Lindsey? After high school, didn't you notice how strange I was acting? LINDSEY Tommy... TOMMY WHY ARE YOU HERE! Brackett and Lindsey look at each other. Tommy looks like a man on his last leg. Lindsey puts her hand on Tommy's shoulder and he jerks backward. LINDSEY Twenty eight years ago, me, you and Laurie were in this house. Michael Myers was trying to kill us Tommy. TOMMY I told Laurie the boogeyman was out there but no one believed me. 59 CONTINUED LINDSEY The same thing might happen... Tommy rips open a kitchen cabinet and pulls out a SAWED OFF SHOTGUN. He shakes the hammer in place and grins. Brackett pulls Lindsey by the arm. TOMMY I'm ready for anybody. You think I'm stupid. BRACKETT (to Lindsey) You had the wrong feeling. He's not here. He's out there somewhere. They move out of the kitchen. Lindsey looks back. LINDSEY I'm sorry for what happened Tommy. CLOSE ON TOMMY'S FACE TOMMY My life never had a chance after that night. INT. MANFREDY'S KITCHEN - NIGHT Lisa and Nina walk in. It's pitch black so Nina turns on the light. Popcorn boils over on the kettle. They walk over and turn the instruments off. LISA There's no one here. NINA Lexxie's car is still outside silly. Where do you think they went, trick or treating? LISA It just feels like the house is empty. INT. MANFREDY'S LIVINGROOM - NIGHT They walk in. Lisa finds a Silver Shamrock witch mask on the floor. She picks it up and the tag falls off. She notices that the back of the tag looks weird. LISA Hate these masks. The quality sucks and I hate that damn commercial. NINA (singing) Happy happy Halloween, Silver... 60 CONTINUED A LOUD CRUNCHING SOUND FROM UPSTAIRS. LISA AND NINA look at each other, then slowly walk out of the room. LISA Somebody's here. POV - SECOND FLOOR HALLWAY It is very dark. The door to the master bedroom is dark and closed. At the other end of the hall, a brief glow shoots under the door of Manfredy's room. LISA AND NINA We track with them towards Manfredy's room. MANFREDY'S DOOR swings open as is on cue. LISA'S POV Into the room first, looking at the bed. The covers are all pulled over and heavy. No sign of Lexxie or Manfredy. Lisa's hand reaches out and pulls off the sheet. Nothing. EXT. MASTER BEDROOM - NIGHT They tiptoe towards the master bedroom. LISA Okay Manfredy, you just gave your- self away and thus, killed all of the suspense. They open the door and walk in. Pause. NINA What about his old man? INT. MASTER BEDROOM - NIGHT They walk in. ON THE BED Manfredy's father lays there like before, stiff, like he died of a massive heart attack, until you closely spot the spike dug into his eye socket. Nina fumbles with the light switch. 61 MANFREDY hangs from the wall, a small, rotted pumpkin wedged in between his teeth. THEY TURN AND SCREAM. Nina loses her balance and falls on the bed. NINA'S POV - FATHER'S EYES A black beetle coils around the spike. NINA'S POV Lisa stumbles over toward the closet, as the open door suddenly gives the room light. The shape walks down the hall, through the door. NINA Lisa... THE CLOSET Lisa's hand slides the closet open. Lexxie appears behind her, except she has a LIT PUMPKIN ON HER HEAD. Bloody wounds cover her body. Lexxie falls on top of Lisa. Lisa comes face to face with the pumpkin. We can see Lexxie's dead eyes inside the sockets. Lisa screams. LISA'S POV Nina stands up off the bed. The shape runs in and forces her on the bed, knife out. Nina looks out from the corner of her eye, at us, hands and face pleading. THE SHAPE DRIVES THE KNIFE DOWN. Nina's whole body stops moving. LISA NO! The shape turns and looks right at us. LISA pushes Lexxie off of her and stumbles to her feet. She runs out of the room. CLOSE ON THE SHAPE He looks out the door for a couple of beats, then stares at Manfredy and again tilts his head in admiration. The shape stalks after Lisa. 62 EXT. STAIRWELL - NIGHT Lisa stumbles down the stairs, dazed. LISA'S POV The shape moves closer. The staircase spirals around in her dazed eyes. EXT. STREET - NIGHT Lisa runs out the door. A couple of beats later, the shape appears, cold and purposeful. LISA HELP ME! A slew of trick or treaters race down the sidewalk, right past Lisa. The headlights from a pick up truck appear, moving down the street. Lisa waves her arms. The truck slows a bit. MAN IN TRUCK #1 What's your problem darling? MAN IN TRUCK #2 Hey, aren't we in the same physics class? Lisa points at the shape who's moving closer. Lisa's about fifteen yards away from the truck. Too far. LISA HELP ME! HE KILLED MY FRIENDS! MAN IN TRUCK #1 Oh, that's one of them Michael Myers geeks. The men throw beer cans and trash in the shape's direction, as Lisa slowly backs away from the street. The truck takes off. The shape keeps coming. EXT. RESIDENTIAL HOUSE - NIGHT Lisa pounds on the door. LISA Open the fucking door. LISA'S POV The shape walks toward her. POV - UPSTAIRS WINDOW A light comes on. The window slides open and an OLD WOMAN peeks out. 63 CONTINUED OLD WOMAN Is that you Lisa Garrett? You know it's against the law to be trick or treating on Halloween. LISA CALL THE POLICE! HE'S RIGHT HERE! The old woman tilts her head. The shape crosses the street, hands drawn to his side. CLOSE ON SHAPE'S HAND The knife gleams and drips blood. LISA looks up then behind her. OLD WOMAN (O.S.) Those damn Michael Myers geeks. I'm going to call the Sheriff. LISA'S POV - STREET Willard heads back to his house. CLOSE ON THE SHAPE Almost parallel, ten feet from Lisa. He pauses, tilts his head and looks down the street. LISA (O.S.) Willard, run. It's the boogeyman. Oh God. LISA runs back down the street towards the Atwater house. EXT. ATWATER HOUSE - NIGHT Lisa runs up the steps to the door. The Volkswagen stands on the street like an eerie tableau. Willard is inside. The outside light comes on. Lisa bangs on the door. LISA Willard, open the door. It's Lisa. I'm trying to save your life, but I'm not going to die for you. Open the door. LISA'S POV The shape crosses the street again and heads her way. The POV moves up and down the street. Dead. 64 INT. ATWATER LIVINGROOM - NIGHT Willard watches TV, enjoys some candy and glances at the videos on the floor. The Silver Shamrock mask dangles in his hand. MORE POUNDING ON THE DOOR. LISA (O.S.) OPEN THE DOOR WILLARD! PLEASE! HE'S COMING! WILLARD Where's Nina? You were both rude and insensitive to me and I'm going to tell mom.... LISA (O.S.) (sobbing) Nina's dead Willard. How do you like that kid? OPEN THE FUCKING DOOR! Willard is stunned. The mask drops from his hand. He rolls his eyes and moves toward the door. LISA'S POV The shape is fifteen yards away. Ten. Close enough to taste the blade. The door opens. Lisa runs inside and the door slams in the shape's face. EXT. ATWATER HOUSE - NIGHT The shape is gone. INT. ATWATER LIVINGROOM - NIGHT Lisa locks up the door and pushes Willard into the livingroom. LISA Phone. WILLARD Real funny Lisa. Where's the dumb retard? LISA Are there any hidden doors? Do your parents have a gun? INT. SHERIFF'S CAR(MOVING) - NIGHT Brackett and Lindsey looks like an unhappy husband and wife or uncle and niece, take your pick. The car moves slow so they can scan up and down the streets and Brackett can flash a strobe light left and right. 65 CONTINUED BRACKETT So far all of your psychiatric mumbo jumbo has come up with a big air ball. What's the price of a college degree these days? LINDSEY I'm thinking. BRACKETT We don't have time. Everyone of your ideas has been a dead end. Lindsey thinks. LINDSEY I've seen all the records. I know him inside and out. Brother. BRACKETT What did you say? LINDSEY When Michael Myers broke out of Smith's Grove, they found the word sister written on the wall. Laurie, as it turned out was his sister. Did Jimmy Moyer have any brothers or sisters? Brother. Brackett shakes his head. BRACKETT Not that I know of. The father screwed around, I know that, but I only knew of the mother and the boy. LINDSEY Maybe there is a brother and that's part of the reason he came back, just like Michael Myers and Laurie. Maybe the brother was secretly put up for adoption, BUT HE KNOWS. Brackett is about to say something when he abruptly slams his foot on the brake. BRACKETT'S POV The Michael Myers clan, what's left of them. Fifteen, twenty of them, clogged within the street. You can't tell them apart. They all have the William Shatner masks, and knives and they all look cold and creepy. Brackett honks the horn. Lindsey takes her gun out of her bag and loads shells. No movement. 66 EXT. SHERIFF'S CAR - NIGHT Brackett backs the car up slowly. LINDSEY Some of their members have been slaughtered. You killed one of them Leigh and they know. They've turned into a Michael Myers clan. BRACKETT Shut up Doctor. Brackett grabs for the radio. DISPATCH (V.O.) Sheriff? BRACKETT (into radio) Ten four. There's a mob down here, of those Michael Myers idiots. I'm four blocks west of the Doyle house and stone canyon road.... A bullet crashes through the windshield, them a flurry of bullets into the engine. Brackett drops the radio and turns the ignition but it's dead. Brackett looks over at Lindsey, grabs her by the hand and pulls her out his side. EXT. STREET - NIGHT The Myers clan move forward, slow and deliberate. Brackett and Lindsey stumble away. They look so much like the real thing. Brackett shakes his head, then pulls out his bazooka. BRACKETT Is it real? HAS HE COME BACK FROM HELL! LINDSEY They're just imitators, lookalikes. Brackett fires a shot and is immediately shocked that he did so. The clan halt. MYERS #1 looks up then puts his hand on a hole in his stomach. Blood. He falls to the pavement, dead. Brackett and Lindsey run down the street. The clan pause to mourn their dead brother, then they run down the street after them. 67 INT. ATWATER KITCHEN - NIGHT Lisa is on the phone to the police. With her hand she sorts through knives from the cutlery holder. Willard stands by the fridge. LISA (into phone) Get the cops over here. He's right outside and he's going to kill me. HE KILLED MY FRIENDS! DISPATCH (V.O.) Who? Lisa grows still. She starts to shake. LISA Michael Myers. The line goes dead. Lisa throws down the phone and pulls a LARGE KNIFE out of the box. Willard looks scared. WILLARD Is Nina really dead? LISA We've got to get out of here. A HEAVY CRASHING SOUND from inside the house. We can't tell where. INT. ATWATER LIVINGROOM - NIGHT Lisa and Willard creep to the edge of the livingroom. LISA'S POV - DOOR It looks so tempting. Lisa grabs Willard by the hand and they tiptoe to the door. THE SHAPE JUMPS UP from behind the couch. Lisa and Willard both scream. Lisa yanks on the door but it won't open. The latch is on. Lisa holds up the knife as Willard races out of the living- room. The shape drives his knife down Lisa's arm. Lisa screams and falls against the door as the shape starts to strangle her. Lisa pulls the knife out with her other hand, raises it behind the shape's back and drives it into his neck. The shape backs away, hands fumbling around for the imbedded knife. He takes two awkward steps backward then falls down on the floor like Buster Keaton. Lisa unlocks the door and opens it. She pauses and looks back at the stairwell. 68 CONTINUED LISA Willard, let's go. The boogeyman is dead and so am I. Lisa's arm bleeds everywhere. She grabs the arm and heads for the stairs. INT. ATWATER SECOND FLOOR HALLWAY - NIGHT Lisa bleeds all over the rug. LISA Willard, please come out. Don't fuck around or I'll leave you here alone with the boogeyman. EXT. NINA'S BEDROOM - NIGHT Lisa gently opens the door. LISA'S POV Pictures of her and Nina. Everything to do with Nina is in the bedroom. POV - LISA A HAND grabs her arm. Lisa turns, ready to drive the knife into flesh. It's Willard. WILLARD Nina's dead? LISA Let's get out of here. WILLARD What about the boogeyman? EXT. STAIRWELL - NIGHT The shape is on the landing, hobbling to stand straight. Lisa grabs Willard and drags him down the hall. INT. WILLARD'S BEDROOM - NIGHT They hurry inside. Lisa is incredibly relieved to see that there's a lock on the door. Willard runs toward the phone. Lisa pushes the dresser up against the door and stares over at the window. WILLARD You want me to call 911? I've done it before. 69 CONTINUED LISA It's Halloween night. They won't believe... The shape punches his fist through the door. Lisa backs away and hugs the knife as the shape's clean fingers wiggle around on the inside of the door. LISA WHAT DO YOU WANT FROM ME? Lisa lunges forward and drives the knife into the middle of the shape's hand. The knife sticks and Lisa pulls it out. Before she can strike again the shape pulls his hand out. Blood drips from the inside of the door. We can hear a morbid groan from outside the door. Silence. Lisa and Willard move to the window. EXT. LEDGE - NIGHT The window slides open. We can see that Willard has probably escaped out the window a few times in his young life and that he probably knows the way pretty good. Willard scoots onto the ledge and then helps Lisa get out. Willard looks like Spider-man. Lisa pauses and turns. EXT. BEDROOM DOOR - NIGHT The shape rams his boots into the door, shredding the light wood. Then another fist. The door falls back. The shape climbs over the dresser. EXT. ATWATER HOUSE - NIGHT Willard slides down a pipe onto the patio. Lisa follows on the pipe and falls hard onto the patio. They climb off and hit the ground. LISA'S POV - HOUSE/UPSTAIRS WINDOW Nothing. A quiet specter of dread and night. POV - VOLKSWAGEN Lisa tugs on the door, but as soon as she sees that it's locked, Lisa and Willard run down the street. EXT. RESIDENTIAL STREET - NIGHT Brackett and Lindsey continue to run, followed closely by the Michael Myers clan. Brackett stops and points the gun. He fires. The clan stop for a few beats before continuing on after them. Brackett pulls out his radio, but he fumbles it and it crashes on the pavement. 70 CONTINUED More of them appear from a side street. It is a mob. EXT. BACK ROAD - NIGHT Brackett and Lindsey run up a steep hill, exhausted. We can feel the presence of the mob in the camouflage of darkness. LINDSEY'S POV A BLINDING LIGHT hits her in the eyes. The MARSHAL'S CAR rambles down the road and stops, ten yards from Brackett and Lindsey. Behind his car is Drucker's patrol car. Drucker and the marshal run out. MARSHAL Leigh, is that you? Dr. Wallace? BRACKETT Thank God. BRACKETT'S POV - DOWN THE ROAD The street is quiet. No sign of the clan. A light flashes over everything. They're gone. They all stand in a circle. BRACKETT They swarmed us. It was a mob of those Michael Myers impersonators. LINDSEY He's right. It's like a pagan revolt, from the druid rituals. Drucker and the marshal exchange a fearful glance. MARSHAL I'm afraid finding Jimmy Moyer isn't our only problem now. DRUCKER We alerted the state patrol. Some state troopers on their way. BRACKETT What the hell are you talking about? MARSHAL There's a riot downtown. All over. I guess Miller's parents leaked word about what happened. The other dead bodies, it's all over the radio and television. 71 CONTINUED They walk back to the cars. BRACKETT We find Jimmy Moyer. That's the number one priority. Otherwise, there'll be a stack of bodies. CLOSE ON LINDSEY LINDSEY Can you feel it in the night air? The witches and goblins are out. EXT. DOWNTOWN HADDONFIELD - NIGHT The area looks like a post super bowl riot. Scores of people, mostly young, move around like a pack of dogs. Tossing rocks and debris through store windows. Setting fires etc. A small cache of police cars and fire trucks sit at the end of the block but it's obvious that they're just protecting their territory. The mob scream and holler. INT. MARSHAL'S CAR(MOVING) - NIGHT Brackett and Lindsey are huddled inside. The light from Drucker's car beams through the back window. Brackett is on the radio. BRACKETT What's going on out there? INT. HADDONFIELD POLICE STATION - NIGHT The DISPATCH is on the radio. The desk sergeant moves around in the BG, armed with a shotgun. DISPATCH (into radio) They've got downtown Sheriff. A lot of them are from Russelville. INTERCUT WITH BRACKETT BRACKETT We'll be there in five minutes. How are the calls? DISPATCH No calls about looting in the houses or neighborhoods. Just downtown and up. They came from the neighborhood. EXT. DOWNTOWN STREET - NIGHT The mob march onto the sidewalk and crawl to a stop. The police station is just down the walkway. 72 POV - POLICE STATION The bars on the windows have been slammed down. Two police cars have just pulled into the parking lot. MOB LEADER This city has killed our children. POV - RESIDENTIAL STREET - NIGHT The POV moves in on the street where Brackett's trashed car is. There it is. BRACKETT'S POV He looks beyond the car. MARSHAL'S POV - STREET Lisa and Willard flash into the lights. The car comes to a screeching halt. MARSHAL Shit. LISA Help. LINDSEY'S POV - LISA She immediately spots the bloody arm. EXT. MARSHAL'S CAR - NIGHT The POV darts in on the door as Lisa and Willard crawl inside. Lisa says something we don't hear, then points down the street. The POV looks like it's going to attack, when the car moves down the street. INT. MARSHAL'S CAR(MOVING) - NIGHT Lisa and Willard shiver in the back. BRACKETT Where were you? LISA At Nina's house. Manfredy's. He killed them all, all of my friends. I CALLED THE POLICE AND YOU DIDN'T LISTEN! BRACKETT Nina Atwater...? (to Lindsey) It's down here two blocks. I know the parents. 73 CONTINUED LINDSEY (to Lisa) Lisa, you saw Jimmy Moyer? He cut you with a knife? Willard is frozen. Lisa pulls out the bloody knife. LISA (hysterical) I SAW MICHAEL MYERS! EXT. HADDONFIELD POLICE STATION - NIGHT The mob creep towards the front of the station, armed with sticks, bottles, you name it. The mob is faceless, covered by the dead night, so we can't put a clear face on them. A steel ramp falls down over the station entrance. The mob rumbles and screams. INT. HADDONFIELD POLICE STATION - NIGHT The door to the station is all padded up. It looks like a bomb shelter. Three COPS rundown from upstairs. The desk sergeant opens the case on the wall and hands them shotguns. He moves to the window. The dispatch looks around, scared. DISPATCH (into radio) Attention all units. (to desk sergeant) The state patrol better get their asses over here. INT. MARSHAL'S CAR(MOVING) - NIGHT The five of them are boxed in, like in a bus. Brackett swerves a flashlight along the road. BRACKETT We saw a few dozen of those Michael Myers lookalikes. How will we tell which one is Jimmy Moyer? They all look at Lisa. LISA Jimmy Moyer? That man who killed my friends was Jimmy Moyer? Lindsey has the bloody knife in her hands. She looks down at it in disgust. LINDSEY He's bleeding. His mask isn't new. It's the same mask that was taken out of the fire... 74 CONTINUED MARSHAL You might think I'm a square, but are we supposed to take this guy alive? I believe he is a wanted killer and he is awaiting trial... Lindsey takes out her gun and rubs it with her hands. LINDSEY I don't think he'll be taken alive. This town needs him dead. LINDSEY'S POV - STREET At the far end of the street, the Myers clan, backs turned, walking away like a brood. LISA'S POV - VOLKSWAGEN The windows are all fogged up now. A few sobs from Lisa. LISA'S POV - MANFREDY'S HOUSE Pitch black. EXT. STREET - NIGHT The car stops at the curb. Brackett, Lindsey and the marshal pop out, guns ready. LISA AND WILLARD Both still. Lindsey pokes her head in. Before she can say a word, Willard points to the top of his house. WILLARD The boogeyman's in my house. LINDSEY You'd better come with us. LISA (smile) Why? Because it's not safe? LINDSEY Stay here. We'll be right back. LISA THE BODIES ARE OVER AT MANFREDY'S. Lindsey shuts the door. Willard tugs on the door handle and it's locked. Lisa puts her arm around Willard. LISA'S POV - MANFREDY'S HOUSE The POV moves from side to side. HEAVY BREATHING. 75 EXT. ATWATER HOUSE - NIGHT Brackett and the marshal pause in front of the door. Lindsey moves beside them. Blood seeps in through the cracks. The marshal pushes on the door and it opens. INT. ATWATER LIVINGROOM - NIGHT They move in and immediately spot the blood and carnage on the floor. A circle of blood and sweat, almost like a chalk outline from a crime scene. BRACKETT (pointing) Here, and here. MARSHAL He should be dead or close to it then eh? I'll radio.... Lindsey move past them, towards the kitchen. LINDSEY Samhain. INT. ATWATER KITCHEN - NIGHT Lindsey is first into the kitchen. RUSTLING SOUNDS UPSTAIRS. Brackett motions for them to be quiet. He points upstairs and they move to the stairwell. INT. ATWATER HOUSE - SECOND FLOOR HALLWAY - NIGHT They arrive at the top of the stairs. More blood, streaked across the carpet, in the direction of.... INT. WILLARD'S BEDROOM - NIGHT The shape is gone. The curtain on the window blows wide open and we know this is how he left the house. The trail of blood ends at the window. MARSHAL Look, let's not leave the kids alone. He's gone, let's go. LINDSEY'S POV - WALL Blood creeps out from behind a Kiss poster which covers the wall above the bed. Lindsey rips the poster off. There, on the wall, smeared in blood, it reads: BROTHER Lindsey steps down from the bed and knocks over a photo of Willard. 76 EXT. MARSHAL'S CAR - NIGHT Lisa and Willard look up at us, spooked. Brackett, Lindsey and the marshal are there. They stare across the street. Lisa and Willard get out of the car. LINDSEY We're going to go across the street now. EXT. MANFREDY'S HOUSE - NIGHT From out here, it would look to the outsider that nothing is amiss, save for a cracked window up top. Lindsey moves beside Lisa and Willard. She puts her arm around Willard, who looks numb and burned out. LINDSEY I'll stay with them. MARSHAL (to Brackett) The backup will arrive soon, take the kids away. Do you want to wait? BRACKETT This is a small town and it's about to explode. If he's in there, I don't want anyone else see me blow his head off. The door opens and they vanish inside. EXT. DOWNTOWN HADDONFIELD - NIGHT Five STATE PATROL vehicles burrow onto the strip. INT. HADDONFIELD POLICE STATION - NIGHT The rafters have been clamped down shut. Phones off. The dispatch, the desk sergeant and the three cops are armed to the teeth. The desk sergeant peeks out of the rafters and smiles. DESK SERGEANT Yes, they're here. EXT. HADDONFIELD POLICE STATION - NIGHT The state patrol cars pull onto the curb, lights buzzing the whole area. The clan, the tribal leaders, the mob, watch and observe. As if on silent cue, they retreat back down the street from whence they came, like silent aliens. The PATROL COPS have their guns and riot gear out. They just watch, awestruck. PATROL COP #1 Everything okay? 77 CONTINUED The front grid opens and the desk sergeants shows his face. DESK SERGEANT It was a full scale riot. We had to hold them off at the fort. PATROL COP #2 has a piece of paper in his hands, on government stationery. PATROL COP #2 The governor sent us here. He wants Jimmy Moyer found and brought into custody immediately. The men march towards the police station doors. DESK SERGEANT Sheriff Brackett and a marshal are out hunting him down. We've had people killed tonight, kids. I guess you could call it a revolt. The state patrol guys laugh. PATROL COP #1 Haddonfield on Halloween night. It's like Rio Bravo, all over again. EXT. STAIRWELL - NIGHT Brackett gets to the top of the stairs, then he waves for the marshal to come up. INT. MANFREDY'S BEDROOM - NIGHT Brackett and the marshal walk in. Brackett rips open the closet door then walks over to the window and steps in a small puddle of blood. EXT. MASTER BEDROOM - NIGHT The marshal slowly opens the door for Brackett to rush in and pounce. INT. MASTER BEDROOM - NIGHT The door opens, the light flips on. CLOSE ON BRACKETT AND THE MARSHAL BRACKETT Oh God. MARSHAL I guess you don't feel so guilty now about popping that kid in the Michael Myer's mask. 78 LINDSEY AND LISA Willard is OS, stomping his feet. Lindsey's gun is clearly out, as if she were expecting to have to use it at any moment. In all the excitement, no one has paid any attention to Lisa's arm, which has been hastily bandaged. Lisa looks like she could care less right now. LINDSEY Did Jimmy Moyers have a brother? I never had any information... LISA How should I know...? LINDSEY I'm a psychiatrist at Smith's Grove Lisa. Does that name mean anything to you? Lisa turns a little angry. LISA You let him out. You let Michael Myers out. LINDSEY No one knew what he was capable of. I knew what Jimmy Moyer was capable of because I knew what Myers was capable of and they're the same thing. But no one would listen, and here we are. LISA My friends are dead. LINDSEY I was there that night, a night just like this. Dr. Loomis and Laurie killed Michael but the nightmare didn't end. Not in Haddonfield. Lisa glares at her as if to say, "you're damn right, it didn't end." Lisa pulls a piece of scrap paper out of her jeans. It's from the research report she was doing on the history of Haddonfield. LISA I was making a documentary about... Lisa feels a hand on her back and shrieks. Lindsey wheels her gun around. Brackett raises his hands in surrender. The marshal points upstairs and grimly nods his head. POV - STREET A police car moves down the street and comes to a stop. It's Drucker. They run over. 79 CONTINUED DRUCKER Sheriff, the guys from the state patrol are here. They've got orders from the Governor to get Moyer. Brackett is angry and frustrated. MARSHAL We got three bodies upstairs. BRACKETT I'm out here looking for him Drucker, but it's kind of hard with a riot going on and every geek in town dressed like Michael Myers. I'm the sheriff here not the governor. Have you guys been able to sweep the whole left side of town, over to Russelville? DRUCKER No Sheriff....the rioters have left the station. They've just gone away. BRACKETT Okay, you and two others go and do the sweep. At the very least, find where the Myers gang is marching. We'll come back to the precinct in a couple of hours. Oh, and get a crew over here. DRUCKER They're real busy tonight. Drucker speeds away down the street. Brackett and Lindsey stare at the kids and slap their heads. BRACKETT What are we going to do about these two? Okay, we'll go drop them off at the station. They walk back to the marshal's car, staring back at the two houses in morbid frustration. LINDSEY (to Lisa) Where are your parents? LISA They're probably home watching TV. WILLARD My parents went out of town to a party. They don't know... 80 EXT. DOWNTOWN STREET - NIGHT The mob marches solemnly away from the strip, like a fleet of lost, dark pilgrims. Peaceful, hands at the side. We still can't make out the clear face of the mob. It seems to us that they've come out of the cracks of darkness in the ground. A soft hymn. EXT. BACK ROAD - NIGHT The shape appears out of the side bush. He walks straight down the road, head up, arms at the side as always, guided by some unseen force. SHAPE'S POV - ROAD The Myers clan appears, twenty or thirty of them. The shape stops in his tracks. They all lookalike, except that the shape is beaten up and bloody and his mask isn't creamy white and new like the gang. CLAN LEADER #1 Show yourself. THE SHAPE'S BACK He slowly takes off his mask and reveals himself to the brood. We can't see his face of course. THE CLAN confer with each other, masks still on. The CLAN LEADER takes off his mask, knife in hand and walks toward the shape. CLAN LEADER #1 You look familiar. You used to live around here. You're a real badass. We're not scared of any- body, BECAUSE WE ARE DESCENDANTS OF MICHAEL MYERS! The coolest dude ever to kill in Haddonfield. CLAN LEADER #1 takes off his mask, turns back to his friends and smiles. He looks up and immediately notices the blood around the mask, overalls, feet etc. His face turns to disgust. The shape grab the leader by the neck and drives the knife right into the bottom of his chin, and up. The leader freezes then falls to the hard road. The shape walks forward. CLOSE ON CLAN Half of them start to run. 81 CONTINUED CLAN LEADER #2 That's Jimmy Moyer...the little kid who killed his mother? Back here. CLOSE ON THE SHAPE He walks cool and purposeful, like before. INT. MARSHAL'S CAR(MOVING) - NIGHT Lisa looks over at Willard who looks out of it. He reaches into his pant pocket and pulls out the tattered Silver Shamrock mask. WILLARD The big horrothon starts at eleven. We've got a satellite dish. Lisa taps Lindsey on the shoulder. Lisa has the torn piece of paper in her hands. LISA You mentioned a brother. Well, I was making a documentary and I went and checked up on everything to do with Michael Myers, and Jimmy Moyer. Stuff you could only find here in Haddonfield Dr. Wallace. I snuck into your house, the Myers house, the cemetery... Brackett glares at Lisa. LISA (cont.) You hear a lot of rumors. LINDSEY Lisa, what are you talking about? Do you know if Jimmy Moyer had a brother? LISA I heard after the killing, Jimmy's father took up with a woman, and there was a bastard child, and it was quickly put up for adoption, and maybe it ended up here in Haddonfield. Brackett glares at Lindsey. BRACKETT You want to tell me what the fuck is going on Lindsey? LINDSEY I don't know. I don't know. (MORE) 82 CONTINUED LINDSEY (cont.) When Michael escaped, he mentioned the word sister, and they all thought that meant his sister Judith, but it turned out Laurie was his sister, and he came back to kill her, just he killed Judith. CLOSE ON WILLARD He looks up. MARSHAL'S POV - ROAD The clan runs in his direction. EXT. BACK ROAD - NIGHT The car comes to a stop. Brackett and Marshal jump out, guns ready. The clan moves closer, oblivious to them. Brackett grabs clan leader #2 by the arm and pries the gun out of his hands. His mask is off. BRACKETT Jimmy Challis, you guys have guns. Your parents are going to love it when I come over to your house and arrest your ass. YOU PUNKS FIRED AT ME AND MY CAR! CLAN LEADER #2 (hysterical) I'm sorry Sheriff. It was just me and Mike with guns. He's back down there and he was killed... The clan move on by and they all have their masks off now. Brackett and Marshal get back in the car. BRACKETT Move. EXT. MARSHAL'S CAR - NIGHT The car races down the road, into darkness. BRACKETT'S POV - SHAPE Down at the end of the road. The shape walks past a road sign, not even looking back. THE SHAPE The car does a U-turn at the end and stops about fifty feet away from the shape who stops and faces the car. 83 EXT. MARSHAL'S CAR - NIGHT Brackett, Lindsey and the marshal hurry out of the car. The marshal had the radio in his hands, buzzing, but he quickly tosses it down in the heat of the moment. Lindsey looks back at Lisa and Willard, locked in the back. MARSHAL Is it him? BRACKETT (to Lindsey) IS IT HIM! MARSHAL'S POV - SIDE OF ROAD The dead clan member. The mask is draped around his knuckle, as if it were a joke. LINDSEY'S POV - SHAPE'S FACE Traces of blood, under the dead eyes. THE SHAPE WALKS TOWARD THEM. BRACKETT AND THE MARSHAL raise their guns. MARSHAL Get on the ground Moyer, and put your hands.... Brackett fires, four, five, six shots, dead square, into the heart and chest of the shape's body. The shape slows, but keeps coming. After the fourth and fifth hits, he falls to a knee then collapses to the ground. The marshal moves closer. BRACKETT (to Lindsey) We got him. CLOSE ON WILLARD He raises his head to watch. LINDSEY'S POV - MARSHAL On top of the shape, twenty feet away, looking down, kneeling down. Is he still breathing? LINDSEY Get away from him... The marshal shakes his head and grins. 84 CONTINUED MARSHAL He's dead. THE SHAPE RISES. Behind the marshal. He grabs the marshal by the back, then pauses, and turns to look at Brackett and Lindsey. He drives the knife into the back of the marshal. CLOSE ON THE SHAPE'S FACE Real close, under the ravaged mask, we can make out the slightest trace of a smile. Satisfaction. The shape gets to his feet. CLOSE ON BRACKETT AND LINDSEY Brackett fires his gun. All out. They back away. Lindsey takes out her gun and Brackett grabs it, before she can fire it. CLOSE ON THE SHAPE Ten feet from the car. Bullets pound him, five, six, then he stumbles to the pavement, on his back. One of the bullets hit him square in the forehead. CLOSE ON BRACKETT He takes out his handcuffs. Intense. Crazy. He thinks about it. Lindsey's hand pulls him away. LINDSEY He's not dead, you know it. We've got to get out of here. Brackett reaches into his jacket. The marshal has the keys to the car. THE DEAD MARSHAL Too far away. His gun and the keys to the car are at his feet. THE SHAPE looks dead. POV - ROAD Not a soul in sight. No police cars in the BG, nothing, just darkness. Not a sound. INT. MARSHAL'S CAR - NIGHT They get in. Scared. Brackett busts the box and quickly finds the wires. He looks at the radio, tempted. The car won't quite turn over. 85 CONTINUED LISA He's not dead, is he? Even the police can't protect Haddonfield. LINDSEY (unconvincing) Yes, he is. We're going to get out of here and then a whole bunch of cops are going to come here and take him away. CLOSE ON WILLARD He smiles. WILLARD Don't fear the reaper? Brackett grinds away on the wires. It looks like it's going to come to life any second but it doesn't. BRACKETT'S POV - MARSHAL BRACKETT He's got the keys. I'll just go get them... LINDSEY Hurry up Leigh. LISA'S POV - SHAPE Stiff as a board. BRACKETT grabs hold of the radio. It buzzes to life. BRACKETT (into radio) Ten four. This is Brackett. This isn't my radio band but we've got a dead state marshal.... RADIO VOICE REPEAT! THE SHAPE comes to life. His back raises to a sitting position. So quiet, Brackett can't see. THE SHAPE DRIVES HIS FIST THROUGH THE GLASS. His hand is around Brackett's neck. LINDSEY LEIGH! 86 CONTINUED BRACKETT (to Lindsey) Run. LISA AND WILLARD move against the passenger door. Lisa looks terrified to the point of being mute but Willard is just ice cold. The door is locked. BRACKETT puts his hands around the shape's forearms and pulls one of the arms away. He's still being throttled. His face starts to turn purple. LINDSEY unlocks the passenger door so Lisa and Willard can get out the side. Lindsey has Lisa's knife. She pulls it out, slides over and blindly slices the shape across the arm and wrist. Over and over until she sees some bloody results. THE SHAPE falls backward onto the pavement. BRACKETT tries the ignition one more time but it won't start. EXT. MARSHAL'S CAR - NIGHT Lindsey is out of the car, standing next to Lisa and Willard. LINDSEY Come on Leigh. We've got to run. He won't die. Oh god, he won't die. IN THE GLOVE BOX Brackett finds a loaded gun. LINDSEY'S POV - MARSHAL The POV moves in on him, onto his limp hands and waist, until Lindsey yanks the car keys out of his grubby hands. LINDSEY leads Lisa and Willard back toward the car. INT. MARSHAL'S CAR - NIGHT Brackett tries to open the door, gun ready. It's jammed from the impact of the shape. Brackett rolls down the window. 87 CONTINUED BRACKETT I CAN'T RUN FROM YOU! LINDSEY hands him the car keys. Brackett turns the ignition and the car comes to life. RADIO VOICE Talk to me. Sheriff Brackett? CLOSE ON SHAPE His eyes open. He rises to his feet, his hands looking like pieces of raw sausage. BRACKETT nods at Lindsey and pulls the car away, when the shape appears at the window. Brackett hits the brake, aims the gun and fires through what's left of the window. The shape is stood up with each shot. He falls back and hits the ground again. THE MARSHAL'S CAR takes off down the road. INT. MARSHAL'S CAR(MOVING) - NIGHT Brackett and Lindsey try to calm down. Lisa tries to keep still in back, looking in the back window. Willard just stares ahead. WILLARD I was adopted. I bet you didn't know that Lisa. They all look at him strange, especially Lisa. LISA What has that got to do with any- thing Willard? Brackett hurts like hell. BRACKETT He's just traumatized. His uh, his sister is dead, right? We've got to get ahold of his parents, yours too Lisa and uh, everything will be... BRACKETT'S POV - SHAPE A police car scoots down the road, in the BG. 88 CONTINUED Out pops Deputy #1. He looks down the road, at the speeding car, at us, then stares down at the silent shape. The shape rises again. He grabs the deputy by the arm, pulls him close, then twists his neck vicelike until we can imagine the sound of a soft pop. The deputy is wide-eyed. The deputy's twitched hand fires a shot from his pistol. The shape scans the deputy for a beat, then gets into the car and drives down the road, towards the POV, towards us. BRACKETT Lindsey... BRACKETT grabs hold of Lindsey who turns around and looks out the back window in horror. Her face is white. Brackett's foot pauses on the gas, as if he wanted to make a sharp U-turn. His hand clutches his empty gun. He reaches over and grabs Lindsey's gun. Shells roll along the seat. LINDSEY He's after us. BRACKETT We can't run. Have to kill him, have to fight. LINDSEY whips out the file on Jimmy Moyer. She opens it and arrives at a picture of RICHARD MOYER, Jimmy's father, alongside the mother, smiling, their arms around young Jimmy. Lindsey notes that Willard resembles Richard. You'd have to be an idiot not to see some of the similarities. Lindsey and Willard lock eyes. THE MARSHAL'S CAR speeds over a sharp curve in the road, almost falling over completely. Lights appear up ahead, then the grainy sight of downtown Haddonfield. Road signs. Drucker's car. BRACKETT'S POV - MIRROR The shape isn't behind them anymore. BRACKETT He's gone. LISA looks over at Willard, as if she knows what Lindsey knows, and we can see the shock in her face. Willard smiles at Lisa. 89 EXT. DOWNTOWN STREET - NIGHT The marshal's car speeds through the downtown strip. In the BG, we can see the last remnants of the mob, still in silent retreat. Candles are lit. CLOSE ON STORE WINDOW A TV is on in the empty store. The Silver Shamrock commercial flashes off and on. COMMERCIAL CHORUS (V.O.) Happy, happy Halloween...happy, happy Halloween, Silver Shamrock... COMMERCIAL NARRATOR (V.O.) Okay kiddies, it's time, put on your Silver Shamrock masks and WATCH THE PUMPKIN ON THE SCREEN! WATCH! The screen abruptly turns to the rainbow grid. Then it cuts awkwardly to a bad teen comedy. INT. DEPUTY'S CAR(MOVING) - NIGHT The shape coolly drives the car. The radio starts to buzz like a horde of bees. The shape takes the knife and jabs it into the deck. Sparks everywhere. The shape reaches in with his hand and rips the deck out. The dead deputy's gun rests on the passenger seat. SHAPE'S POV Deputy #2 stands in the middle of the road. His car is parked at the side of the road. He looks up and smiles in recognition, then a look of concern and suspicion falls on his face. The POV moves closer until the front fender drives into the deputy's gut and he screams. EXT. HADDONFIELD POLICE STATION - NIGHT The marshal's car arrives in the crowded area. Brackett, Lindsey, Lisa and Willard get out of the car and are greeted by Drucker who stands by his own car. Brackett glares over at the state patrol cars. DRUCKER I just beat you here. Where's the marshal? Brackett grabs him by the collar. Drucker notices the indents and fingerprints around Brackett's neck and jaw. BRACKETT He's dead. I saw Deputy Boyd get killed too. 90 CONTINUED Brackett and Lindsey usher Lisa and Willard towards the door of the station. Drucker is horrified. He chases after Brackett. DRUCKER Boyd is dead? Jimmy Moyer killed him? Well, what did you to Sheriff Brackett? BRACKETT I ran. LINDSEY (to Drucker) We were scared. It's Halloween you know. INT. HADDONFIELD POLICE STATION - NIGHT They walk in. The desk sergeant and the dispatch have doom written on their faces. The STATE PATROL LEADER walks out from the back with three of his men. Another man is there, eyes red from tears. This is FRANK ATWATER, Nina and Willard's father. He has on the remnants of a party costume. He spots Willard and immediately runs over and holds him. ATWATER I'm so happy you're alive Willard. Your mother and I thought... Brackett walks over to the cops. Lindsey looks at Atwater. LINDSEY Where's his mother? ATWATER She's at the hospital. They just took Nina to the morgue and my wife collapsed. (beat) Oh god, we never should've celebrated Halloween, not in this place, and we never should've rented those horror movie videos. It's all part of this. Willard is blank. Lindsey looks at him suspicious. WILLARD If she'd stayed home and watched videos with me, she'd still be alive. Lindsey opens up the Moyer file. LINDSEY (to Atwater) There's something I want to ask you. 91 INT. POLICE STATION HALLWAY - NIGHT Brackett and the patrol leader are just out of earshot. The desk sergeant joins them. BRACKETT He's still out there. DESK SERGEANT Get some rest Leigh. We'll get him. PATROL LEADER My men found the marshal, and your two deputies. We found the car. It was abandoned over by the boondocks. BRACKETT He killed him. I KILLED HIM. He's not human. You can't just treat him like a common psychopath. The patrol leader waves his letter from the governor in front of Brackett's face. PATROL LEADER A lot of people have died tonight. In some cases... A grim look appears on Brackett's face. The handprints around his neck are so visible, it's almost darkly humorous. BRACKETT This is my town, and I'm the sheriff. When I fuck up I take responsibility for everything. Tomorrow. PATROL LEADER It's not your fault. You had a riot, we came in and took care of it. We're not going to arrest Jimmy Moyer, we're going to kill him. LINDSEY opens up the file so Atwater and Willard can see the picture of Richard Moyer, along with the written details of the case. Atwater gets nervous. ATWATER Who, who are you? LINDSEY I'm Lindsey Wallace... ATWATER Lindsey Wallace? You were the girl who...? Willard starts to laugh. 92 CONTINUED LINDSEY I'm a criminal psychiatrist up at Smith's Grove. Jimmy Moyer escaped last night. He killed your daughter Mr. Atwater. Atwater grabs Willard by the hand, ready to leave, but the look on Lindsey's face makes it clear they're not going any- where. LINDSEY Willard is adopted, isn't he? It was a secret, backdoor adoption, Mr. Atwater. No paperwork of any kind. Atwater, upset, shakes his head like doesn't know what she's talking about. Then he sees Willard looking at him. ATWATER My daughter is dead. Why are you talking to me like this? WILLARD (to Atwater) I know I'm adopted. LINDSEY Your daughter was killed tonight by Jimmy Moyer. He had a brother, the father had a second child. It was Willard, and you adopted him. Lisa stands in the corner, her wound fully dressed up. It wasn't as bad as it first looked. Atwater starts to pull Willard away when he runs into BRACKETT He's at the end of his emotional rope. He has in his hands a big hollow tipped shotgun, with "cop killer" bullets. BRACKETT The boy isn't going anywhere. ATWATER You can't stop me Leigh. Brackett handcuffs Atwater to a beam. BRACKETT I'm the Sheriff. Brackett looks at Lindsey and Lisa. Willard still shows absolutely no emotion. 93 CONTINUED WILLARD (to Atwater) I didn't kill Nina dad. It was the ghost of Michael Myers. ATWATER Shut up Willard. BRACKETT (to Lisa) We called your parents, they're going to meet you at the hospital where one of my men will take you. Thanks for your help. (to Lindsey) What now? If the troops don't get him. LINDSEY focuses on Willard who once again returns her stare. This time he nods at her. She looks up at the clock. It's ten to midnight. LINDSEY He's after the kid. He knew he had a brother. We've got to kill him. BRACKETT How? LINDSEY Rip him apart. EXT. RESIDENTIAL STREET - NIGHT Three state patrol cars head down the street. INT. STATE PATROL CAR #1 - NIGHT The driver turns to his passenger. They're both armed to the teeth and mighty determined. DRIVER'S POV The car light flashes upon the Michael Myers clan, on their way to their respective holes and dwellings. They turn and recoil in horror. The masks are on, but they look weak and harmless now. THE PATROL CARS stop in their tracks, and the officers get out, guns all pointed, no need for questions. STATE PATROL #1 What the hell...? 94 CONTINUED STATE PATROL #2 It's him...THEM! THE MICHAEL MYERS CLAN freeze and raise their hands in surrender. Bullets rip into them, killing them like bugs. Then quiet. The sound of soft heat from the gun barrels. EXT. TAR ROAD - NIGHT The shape walks down the street, slow, creepy and deliberate. He stops in front of a PARKED CAR with two TEENAGE LOVEBIRDS in the backseat. The boy and girl look up as the shape pounds his fist right through the frosted glass. INT. BRACKETT'S CAR(MOVING) - NIGHT Lindsey and Willard are in the front seat with Brackett. BRACKETT What happens when it's morning? LINDSEY The evil will be gone. There'll be world peace and Haddonfield real estate prices will skyrocket. The boogeyman doesn't walk during the day. BRACKETT I'm not sure if I believe Halloween will ever end. Brackett peeks into the back of the car at his cache of guns. WILLARD Zombies walk in daylight. The dead walk during the day. LINDSEY Willard, are you happy that your sister is dead? CLOSE ON WILLARD WILLARD Because she's dead, there'll never be another Halloween. I love Halloween. Who will I play all my Halloween pranks on, now that my dear sister Nina....? 95 CONTINUED Brackett and Lindsey exchange nervous glances. BRACKETT Where do we go Doctor? Where is he? I don't care. This is it. LINDSEY Willard, did you see him today? WILLARD See who? LINDSEY The boogeyman. WILLARD reaches into his pockets and pulls out a crumpled crayon drawing with pumpkins, mother, father, brother and another brother. WILLARD I saw him at my school today. I thought it was Michael Myers but he's dead. When I went after him he was gone but I found this. LINDSEY has a clue. She opens the file again and stares at a photo of twelve year old Jimmy Moyer. LINDSEY Where would he go? What are his last memories before...? BRACKETT He was the brother... LINDSEY Where did Jimmy go when he was twelve? The only place that both of them know. BRACKETT Not the house...the elementary school. Brackett thinks about picking up the radio, until he sees the way Lindsey loads shells into her gun. LINDSEY Go. EXT. HADDONFIELD ELEMENTARY SCHOOL - NIGHT Brackett's car pulls into the empty lot. Empty, except for one other car with a punched through window. 96 INSIDE THE CAR A tiny, deep drop of blood in the backseat, covered with shards of broken glass. BRACKETT'S CAR stops in the first parking slot. Brackett, Lindsey and Willard get out. Brackett and Lindsey are ready to shoot anything that moves. Brackett has the big Jed Clampett shotgun in his hands. They walk towards the school. WILLARD Too bad I missed the horrorthon, but this will be better. POV - SCHOOL A light is on inside, somewhere. EXT. SIDE ENTRANCE - NIGHT The lock has been broken. Before Brackett can rip open the door, Lindsey grabs his arm and points over to the PLAYGROUND There's nothing there, but it looks like there might be, it's so dark and creepy, full of shadows and missing parts. INT. SCHOOL HALLWAY - NIGHT They walk down the main hallway and we can tell Brackett and Lindsey have butterflies the size of vampire bats. Willard just follows along. LINDSEY Where's your classroom Willard? WILLARD At the end of the hall. Miss Lord. I hate her. I wish someone would murder her. They stop in the middle of the hall and listen. Not a sound. BRACKETT clanks the hammer on the shotgun. BRACKETT Come on out. I should've finished you back on the road. WILLARD looks to his right. He smiles from ear to ear. 97 THE SHAPE walks out from behind the corner. BRACKETT AND LINDSEY freeze. They both open fire. THE SHAPE walks forward, knife in hand. The bullets hit and he starts to slow, until a shot hits him in the heart and he falls face first onto the floor. BRACKETT looks at Lindsey who shakes her head. Willard feels a laugh coming on. Brackett pulls out his handcuffs and tiptoes toward the shape. Brackett leaps on his back and handcuffs both of the shape's hands behind his back. Then Brackett grabs him by the scruff of the neck and fires an execution style shot into the back of the shape's head. Brackett stands, exhausted, hyperventilated. He walks back down the hall towards Lindsey and Willard. Brackett grabs Lindsey's hand and puts the shape's mask in the palm. Lindsey can't believe it. The mask is covered with dried blood and gun soot. LINDSEY It's over. BRACKETT This was for Annie. (beat) This is for the Miller boy. Brackett takes the shotgun, sticks it into his mouth and fires. His body slams to the floor. Lindsey SCREAMS. It was so sudden. Then she starts to sob and cry. JIMMY gets to his knees, then he stands. The handcuffs explode off his wrists. He looks at us and smiles. LINDSEY fires three bullets into Jimmy. He backs up but appears to be unfazed. 98 CONTINUED LINDSEY Jimmy, it's me. Dr. Wallace. It's past midnight Jimmy. Halloween is over... Jimmy cuts off the path down the hall. Lindsey grabs Willard and pulls him toward the exit but Willard pulls away from her and moves toward Jimmy. JIMMY looks like a handsome eighteen year old boy, except that his eyes are inhumanly focused and glazed and his face is swollen and misshapen from the impact of all the bullets. Jimmy puts his arm around Willard, then holds the knife against Willard's cheek. JIMMY Brother... EXT. HADDONFIELD ELEMENTARY SCHOOL - NIGHT Lindsey runs out the door, pauses and looks back into the dark well. LINDSEY Willard. Jimmy walks out the door. He pulls out one of his knives, clean, and tosses it into Lindsey's ankle. The gun goes flying. Lindsey falls to the ground and starts to squirm like an ant. Lindsey starts to crawl towards Brackett's car but then she stops, resigned to her fate. She looks up and sees JIMMY He stands over her, staring down. HEAVY BREATHING. Jimmy rips the knife out of Lindsey's ankle and holds it high over his head, ready to strike. Jimmy pauses and looks straight ahead, at TOMMY Out of the darkness, in baggy jeans. He has in his hands a homemade rocket launcher. TOMMY Twenty eight years. TWENTY EIGHT YEARS OF SEEING YOUR FACE. Every- time I turn around I see you. I say...SCREW YOU. 99 CONTINUED Tommy fires the rocket into Jimmy who rises in the air and explodes into the school building. Ash. Tommy falls back hard from the recoil. He gets up, walks over and helps Lindsey to her feet. She kisses him. CUT TO: Black screen. SUPER: HADDONFIELD, ILLINOIS OCTOBER 30, 2007 VIDEO CAMERA POV - HADDONFIELD Downtown. The suburban homes. Empty streets. Businesses gone out of business. Lots of homes for sale that haven't sold and never will. Ghost streets. Daylight. LISA (V.O.) My friends are dead. This is not something I'll ever forget, nor do I want to. People ask me after seeing the documentary, why anyone would want to live in Haddonfield. I tell them Haddonfield is a nice place to live, as long as the sun shines, as long as there's no dark shadows on the trees, as long as it's not, Halloween. CUT TO: INT. SANITARIUM HALLWAY - DAY An overworked janitor mopes down the hall. INT. SANITARIUM ROOM - DAY WILLARD, a few years older, big, muscled and mysterious, turns to look at us, expressionless. The shape's mask appears over his face, until all we can see is the light of two eye holes. "Mister Sandman" begins to play. FADE OUT THE END
Return to SimplyScripts.com