FADE IN:
EXT. STREET - NIGHT - SUBURBIA
Langley, Illinois. A quiet suburb located fifty miles
outside of Chicago.
SUPER the legend: "Langley, Illinois. October 28th 1998"
A HOUSE
nestled in the middle of a tree-lined street. A Honda Civic
pulls into a darkened driveway, the headlights are
extinguished...
PAMELA WHITTINGTON, a middle-aged woman in full registered
nurse attire, emerges from the parked car.
An unlit cigarette dangles loosely from her lips. She heads
to the porch, digging through her purse in search of a
light...
CRUNCH!
Pamela stops in her tracks, looks down at her feet to discover
GLASS
scattered across the porch. She looks at the porch light
hanging above her head.
A SHATTERED LIGHT BULB occupies the socket.
Pamela turns her attention to the front door... it's slightly
ajar. She pushes on it gently.... the door swings open
freely, revealing the darkened interior.
PAMELA
Shit...
Pamela drops her purse... darts across some hedges into the
neighbor's yard...
EXT. THE HOUSE NEXT DOOR
Pamela runs up to the porch, decorated with carved
pumpkins... POUNDS furiously on the front door, decorated
with a CARDBOARD SKELETON.
NO ANSWER.
She POUNDS again... HARDER. Suddenly, the door SWINGS open
to reveal
AN OMINOUS FIGURE
looming in the doorway. A HOCKEY MASK cloaks his face.
A PAIR OF EYES
glare at Pamela from behind the cut-outs in the plastic
vizard.
PAMELA
gasps, stumbles backward.
THE FIGURE
flips up his mask to reveal
JIMMY HOWELL
a gangly teen, wearing a hockey jersey... skates slung over
his shoulder.
JIMMY
Hey, Mis Whittington, what's up?
PAMELA
My blood pleasure. You scared the
hell out of me.
JIMMY
Oh. Sorry. I'm on my way to the
ring and --
PAMELA
(interrupting)
I think someone broke into my
house.
JIMMY
No shit?!
PAMELA
No shit.
CUT TO:
INT. LIVING ROOM - MINUTES LATER
Pamela sits on the couch taking hits off a lit cigarette.
Jimmy paces the room, portable phone pressed against his ear.
JIMMY
(into phone)
3037 Keystone.. yeah... gotcha.
Jimmy hangs up the portable...
JIMMY
(continuing)
Said to give 'em fifteen minutes.
They'll send someone by.
Jimmy grabs his hockey stick, heads for the door.
PAMELA
Jimmy, what are you doing?
JIMMY
Checking out your place.
PAMELA
No. Wait for the police.
JIMMY
And miss the big game? No way.
CUT TO:
EXT. HOUSE - MINUTES LATER
Pamela stands at the foot of her driveway... watches as Jimmy
climbs the steps to her porch, hockey stick perched high on
his shoulder.
JIMMY
moves toward the front door, stepping on pieces of shattered
light bulb beneath him.
He swings open the front door with the tip of his stick...
looks inside the darkened house.
He enters cautiously, stick at the ready.
PAMELA
lights up another cigarette, watches nervously as Jimmy
disappears from view...
INT. HOUSE
Jimmy enters the dimmed foyer.
JIMMY
(calling off)
Hey, man, don't mess with me!
I'll knock your head clean off
your body!
He moves stealthily through the house, hockey stick poised
high in the air... room-by-room he checks for intruders...
Jimmy finds his way to the rear of the home, crosses to a
back bedroom, stands in the doorway...
JIMMY
(continuing)
Oh, shit...
ON THE BEDROOM
Converted to a home office... ransacked... file cabinets
overturned, pictures hang crooked on the walls, papers carpet
the floor...
JIMMY
drops the stick to his side, convinced he is now alone in the
house.
He crosses back into the kitchen... steals a cookie from a
cookie jar... opens the fridge... takes a swig from an open
milk carton... completely unaware that --
THE BEDROOM CLOSET DOOR
is opening slowly behind him, then suddenly --
CRASH!
An IRONING BOARD topples out from inside, slams against his
back, hard.
JIMMY
snaps the hockey stick into position... spins around...
swings wildly with the wooden baton. He makes contact with...
A POT RACK
suspended above the island... pots dangling from their hooks
come clanging down on top of him...
The dust settles... Jimmy realizes he's been beating the
stuffing out of an ironing board. He sheepishly exits the
kitchen...
EXT. HOUSE - MINUTES LATER
Pamela stands at the foot of the driveway, trying to see in
to the darkened house...
PAMELA
Come on, damn it...
Jimmy emerges from the house... looks like Wayne Gretsky
after slamming in his record goal. He smiles at Pamela
smugly...
JIMMY
Nothing to fear. The coast is
clear.
PAMELA
You sure?
JIMMY
Totally. I checked all the rooms
and closets...
PAMELA
Nothing's missing?
JIMMY
Don't think so. But they sure did
a real number on your office.
Crap everywhere.
PAMELA
My office?
JIMMY
Yeah. Oh, and they messed up your
kitchen pretty good, too...
Goodnight.
Jimmy scurries off, avoiding any more questions.
Pamela heads back to the house.
INT. HOUSE
Pamela enters the house, LOCKS AND BOLTS the front door
behind her. She breathes a heavy sigh of relief, back
against the door... she flicks on a light switch... NOTHING.
PAMELA
Christ, Jimmy... didn't you try
the goddamn lights?!
Pamela moves down the hallway to the laundry room... she
opens the door to the FUSE BOX... toggles some fuses on and
off... tries the laundry room light... still NOTHING,
darkness.
PAMELA
(continuing)
Shit.
She grabs a flashlight out of the nearby cupboard, and
proceeds down the hall to --
INT. OFFICE
The converted bedroom in complete disarray... Pamela
navigates through the wreckage, carving a path with the beam
of her flashlight. She approaches --
A DESK
completely bare except for a single FILE FOLDER resting on
its top.
PAMELA
shines the beam on the lone file folder.
ON the folder... the index tab reads "KERI TATE." Pamela
opens the folder, it's EMPTY.
PAMELA
gasps, the blood rushes from her face. She immediately
rushes for the phone.
CLANK!
A noise is heard. She's not alone in this house. She moves
through the hallway to discover the front door wide open.
Shit. She bolts.
EXT. HOUSE
Pamela runs out the door and back to Jimmy's house. She
opens the front door, disappears inside.
INT. HOUSE
Pamela shuts the door behind her... cranes her neck,
searching for any signs of Jimmy --
She HEARS the sounds of a television emanating from deep
within the house.
PAMELA
(calling off)
Jimmy! You still there?!
CAMERA FOLLOWS Pamela as she makes her way from one darkened
room to the next... she crosses into the den to discover
JIMMY
seated in an easy-chair, watching an episode of "SEINFELD."
his back to Pamela... only his legs are visible from her
point-of-view.
Pamela approaches him --
PAMELA
Goddamnit, Jimmy! Someone's still
in my house!
Pamela spins the easy-chair around to reveal --
A HOCKEY SKATE
embedded deep into Jimmy's face... the blade slicing through
flesh, from forehead to chin... eyes wide open in terror...
blood cascades down his jersey...
PAMELA
screams... bolts through the house, reaches the front door to
find --
A CHINA CABINET
pushed in front of it, blocks her way! She tries fiercely to
move the wooden hutch, but can't...
Pamela runs back through the house, frantic... in desperate
search of an exit.
She crosses into the kitchen, spots her escape... moves to
the rear door, opens it to reveal...
THE SHAPE
standing, poised, evil eyes burning through slits in his
trademark mask.
PAMELA
shrieks... grabs a knife out of a nearby butcher block...
heads back to the living room.
THE SHAPE
moves after her, the hunt is on...
INT. LIVING ROOM
FLASHING RED AND BLUE LIGHTS
illuminate the room...
PAMELA
runs to a window...
ANGLE THROUGH WINDOW
A squad car arrives in front of Pamela's house. Two
UNIFORMED COPS emerge from the vehicle, head up her driveway.
PAMELA
Struggles to open the window... she can't manage to disengage
the lock... she pounds feverishly on the glass --
PAMELA
(yelling)
HELP! GODDAMNIT IT! OVER HERE!
GOD PLEASE!
THE SHAPE
appears behind her... grabs an IRON POKER from a group of
fireplace utensils.
PAMELA
spins around, swings at the Shape with the knife...
PAMELA
Stay the fuck away from me!
The Shape swings the iron poker... delivers a severe blow to
Pamela's arm... breaks it... the knife falls to the floor
below.
Pamela howls in pain... drops to her knees, nurses her arm...
The Shape raises the poker high into the air, comes down
hard... drives the tip of the poker through her skull...
CRACK!
EXT. PAMELA'S FRONT PORCH - SAME TIME
In the f.g. two cops climb the porch steps and move into the
house.
In the b.g. we can see the Shape through the neighboring
window as he repeatedly stabs Pamela with the poker.
CUT TO:
EXT. HILLCREST ACADEMY - ESTABLISHING - MORNING
CLOSE ON A PLAQUE
"HILLCREST ACADEMY. ESTABLISHED 1874"
THE CAMERA PULLS BACK TO REVEAL a co-ed boarding school...
set behind massive wrought-iron gates on acreage in a
secluded region of Wisconsin.
SUPER the legend: "Ferndale, Wisconsin. October 29th 1998."
The academy's gothic architecture and rich history can be
seen throughout the entire campus, consisting of a cluster of
buildings: the school, the dorms, a gymnasium with indoor
swimming pool, a bell tower, a guard house and --
A GROUP OF FACULTY HOUSES
litters the far end of the campus.
CLOSE ON a kitchen window. Inside KERI TATE, mid-thirties,
stands behind a sink washing dishes.
On closer inspection, we see that this face is none other
that LAURIE STRODE.
INT. KITCHEN - MORNING
Keri stands with her back to JOHN, 16, chiseled good looks.
He stands behind her in the doorway... They are in mid-
conversation --
KERI
Nothing's changed since yesterday,
or last week, or last month... the
answer's still "no."
JOHN
You're so predictable.
Keri grabs the sprayer, squirts John from across the room.
JOHN
(continuing)
What the --
KERI
Betcha' didn't predict that.
Keri throws John a dishtowel... he dabs at his shirt.
JOHN
I'm sixteen, Keri. I should be
able to live wherever I want.
KERI
And I should have a son who calls
me "Mom". Looks like we're both
shit out of luck.
JOHN
Okay, you win. I'll call you Mom.
Now can I move into the dorms?
KERI
No.
Keri hands John a stack of clean dishes. John doesn't
budge...
JOHN
Well, Dad thinks it's okay.
KERI
You're father thinks it's okay to
run off to Cancun with a blonde
bimbo in a halter top. Somehow
his opinion doesn't count.
JOHN
I promise not to run off to Cancun.
KERI
Forget it.
JOHN
(pointing out the
kitchen window)
The dorms are only fifty feet
away. You could practically see
into my window. So, what
difference does it make?
KERI
My point exactly. See, we both
agree.
Keri takes the dishes back from John, puts them away in an
overhead cupboard.
JOHN
Alright, I was wrong. There is a
big difference between rooming
with your buddies and living with
your mother and school headmaster.
KERI
I took the padlock off your door.
What more do you want?
JOHN
My life is a living hell.
Keri raises an eyebrow...
KERI
It's not, trust me.
John gives up, heads out of the room...
KERI
(continuing)
Where are you going?
JOHN
To the bathroom. Can I do that
alone or do you want to watch?
KERI
I thought you'd never ask.
Keri puts her arms around John, escorts him out of the
kitchen...
JOHN
You're twisted.
KERI
I know.
CUT TO:
EXT. HILLCREST ACADEMY - DAY
Keri moves across campus toward the school, a leather
briefcase slung over one shoulder.
Passing STUDENTS ad-lib "Hellos," their admiration for Keri
made evident by their favorable rapport with her.
Keri passes in front of --
A ROW OF SCHOOL BUSES
parked alongside the school. An older bus on the far end
sits empty, hood up.
WALLY BECKETTE, a rather portly man in his early sixties, and
the school custodian, fiddles with the exposed engine.
KERI
Wally, you've been under that hood
for months. Why don't we just
call a mechanic?
Wally stops what he is doing... comes out from beneath the
hood... wipes his hands on his pants.
WALLY
Miss Tate, I serviced B-1 Bombers
in W-W-2. This here is child's
play.
KERI
So you're saying I should call a
child to come give you a hand?
Wally chuckles softly, charmed by Keri like the rest of the
staff.
WALLY
I'm saying she'll be purring like
a kitten before you know it.
KERI
There's your problem, Walter. You
don't want it to purr, you want it
to start.
WALLY
And she will, Miss Tate. She will.
Keri continues toward the school. Wally watches with
admiration as she heads into the building...
WALLY
(continuing)
Mmmm-mmm. If they had teachers
like you when I was a boy, I'd be
a rocket scientist.
Wally goes back to tinkering with the engine...
ON HATTIE SMITH, mid-sixties, dressed in a guard uniform...
approaches Keri, looking very official... holds a key in her
hand.
KERI
Good morning, Hattie.
HATTIE
Went into town. Had that
duplicate key made.
Hattie hands Keri the key.
KERI
Thank you.
Hattie extends an open hand.
HATTIE
Thank me with two bucks.
KERI
Oh... right.
Keri digs through her pocket, produces a handful of change...
gives it to Hattie.
HATTIE
(dripping sarcasm)
Just what I wanted... more change.
Hattie heads back toward the guard house, turns back to
Keri --
HATTIE
(continuing)
And next time you lose a gate key,
young lady, you'll be climbing
your way out of here.
Keri holds the key to her chest.
KERI
I'll be more careful next time.
Hattie dismisses Keri with a wave of her hand, continues
across campus to the guard house.
Keri smiles, places the key in her pocket and disappears
inside the school...
CUT TO:
EXT. JIMMY'S HOUSE - AFTERNOON
Pouring rain. In stark contrast to the sunny campus of
Hillcrest...
EMERGENCY VEHICLES litter the landscape, lights FLASHING.
OFFICERS wrap yellow crime scene tape around the perimeter,
keeping curious NEIGHBORS at bay...
RICHARD CARTER
a middle-aged police detective, eyes bloodshot from too
little sleep and one too many hours in front of a computer
screen, emerges from a dark Sedan... a lit cigarette dangles
loosely from his lips.
Carter approaches a young OFFICER standing outside the front
door --
CARTER
(flashes his badge)
Detective Richard Carter,
Haddonfield P.D. Detective Blake
called my office...
The Officer motions to the door --
OFFICER
Go on in. She's been waiting for
you.
Carter heads towards the door, the Officer grabs his arm...
OFFICER
(continuing)
You might need this...
The Officer offers him a small jar of petroleum jelly.
Carter waves it away.
OFFICER
(continuing)
Some serious shit in there,
Detective.
Carter reconsiders, smears the Vaseline under each nostril...
heads for the house.
INT. JIMMY'S HOUSE
Carter crosses through the front door, watches as
A TEAM of latex-gloved FORENSIC SPECIALISTS
dust door and windows for fingerprints, swab at blood drops,
and collect carpet fibers for later analysis...
Carter crosses into the living room, winces at
PAMELA WHITTINGTON
sprawled across the floor in front of blood-soaked
curtains... the wrought-iron poker jammed up her nose, exits
through the top of her skull... a kitchen knife lies beside
her...
Carter takes another hit off the cigarette, blows smoke into
the room...
VOICE (O.S.)
Double homicide.
Carter turns to see
TONI BLAKE
standing behind him... mid-twenties, attractive yet
approachable...
BLAKE
Her name's Pamela Whittington,
next door neighbor to victim
number two... James Howell.
Carter motions in the direction of the den where
A CRIME SCENE PHOTOGRAPHER
takes snapshots of the teenage corpse.
CARTER
Let me guess... he's the guy with
the hockey skate for a nose ring.
BLAKE
crosses to Carter, extends a dixie cup in his direction --
CARTER
No thanks, I'm not thirsty.
BLAKE
It's for your cigarette. I prefer
not to contaminate my crime scene
with micropollutants.
Carter takes a final puff off the cigarette, drops it into
the cup...
CARTER
Why am I here?
BLAKE
They said on the phone you were
assigned to the Meyers case.
CARTER
With all due respect, detective,
you can't go blaming every brutal
murder in Illinois on Michael
Meyers.
BLAKE
Pamela Whittington was a long time
associate of Dr. Loomis. Her home
office was ransacked. It was
chock full of Loomis' files on
Meyers. It'd say that makes
Meyers a suspect, wouldn't you?
CARTER
Well, when you put it that way.
BLAKE
Right. So why don't we get on
with this investigation?
CARTER
I like a woman who takes control.
Blake ignores the comment, crosses to the front door...
Carter follows.
During the following dialogue, Blake walks Carter through the
crime scene reenacting the prior evening's brutal events...
BLAKE
Pamela entered the house and
walked into the den where she
discovers James Howell's body...
Carter and Blake stand in front of the mutilated face of the
teenage boy...
BLAKE
(continuing)
Shaken, she returns to the front
door to find the hutch blocking
her exit...
ON gouges across the wood planks, forming tracks from the
dining room to the front door...
BLAKE
(continuing)
She runs to the kitchen, where she
is ambushed at the back door by
the killer.
Carter and Blake stand in front of the door, which is still
open. Carter kneels down, looks at the kitchen floor...
CARTER
One set of muddy shoe prints.
BLAKE
That don't match either of the
victim's.
Carter stands up, moves to a butcher block on the counter...
he's starting to enjoy this dance --
CARTER
She grabs a knife from the butcher
block.
ON the butcher block, an empty slot where the knife once
resided...
BLAKE
Heads to the living room...
They cross back into the living room...
Carter moves to the
WINDOW
covered in fingerprint powder, exposing a plethora of prints.
CARTER
Where, judging by the looks of the
finger and palm prints, she
struggles to open the window
before banging on it like hell.
BLAKE
Unable to escape, she turns and
attacks the killer, but doesn't
connect.
CARTER
No blood on the knife.
ON the knife, clean as a whistle...
CARTER
(continuing)
The killer knocks the knife out of
her hand with the wrought-iron
poker.
BLAKE
Broken blood vessels on her right
forearm.
ON Pamela's arm, a bruise forming under the skin...
CARTER
As which point she drops to her
knees in pain...
BLAKE
Explaining the low height of the
blood splatter on the curtains...
ON the curtains, blood stained four feet and below...
CARTER
Impressive, Blake. Where'd you
learn how to do that?
BLAKE
Girl scouts.
Carter chuckles... she has a sense of humor, too...
CUT TO:
INT. SCHOOL - HALLWAY - AFTERNOON
A BELL RINGS.
The hallway is flooded with STUDENTS, books in tow...
ON MOLLY CARTWRIGHT
a young seventeen, friendly eyes and a face to match.
Walking beside her is...
LINDA KANG, same age, unconcerned, full of spunk... multiple
body piercings, doesn't quite fit in here or anywhere...
LINDA
You aced it, didn't you?
MOLLY
I did alright.
Linda grabs Molly's test, peeking out from her biology book...
LINDA
Fuckin' A.
MOLLY
He gave me a fuckin' A? Wow.
Linda punches Molly playfully in the arm. They stop at
neighboring lockers, retrieve books from inside...
AMY KRAMER approaches, book pressed against an ample chest,
smacking on a wad of gum...
Eye-catching good looks, a real stunner... a bit short on the
gray matter though --
AMY
These lockers are totally girl
unfriendly.
MOLLY
Break another nail?
AMY
Pointer finger. And the dance is
in two days...
LINDA
Life's a bitch.
The girls head down the hall...
AMY
Eddie's working late at Freeman's
tonight... all alone.
MOLLY
I thought Eddie left for N.Y.U.?
AMY
Guess he couldn't tear himself
away from me.
LINDA
Guess he couldn't pass admissions.
AMY
Shut up, pinhead.
John approaches them from behind, drapes his arms around
Molly...
JOHN
There you are.
(to Amy)
You tell 'em about tonight?
AMY
I just got here.
John removes a key from his jacket pocket, drops it in
Molly's hand...
MOLLY
What's this?
LINDA
You say, "The key to my heart,"
and I'm gonna hurl.
JOHN
Shelve the barf bag. It's the key
to the main gate.
MOLLY
Where'd you get it?
JOHN
Swiped it from my mom's desk
yesterday.
MOLLY
You stole it?
JOHN
I borrowed it.
AMY
Party at Freeman's tonight.
LINDA
I am in need of some serious
partying.
MOLLY
Not me.
JOHN
Why not?
MOLLY
I can't afford to get caught.
LINDA
Molly, you're the resident
assistant. What are you gonna do,
narc on yourself?
THE BELL RINGS.
Students clear the hall, move inside their classrooms.
John kisses Molly on the lips...
JOHN
Just meet me in front of the gate
after lights out.
He takes off down the hall --
MOLLY
(calling after him)
Wait... John...
He's gone. A teacher guides the girls inside a classroom and
shuts the door...
CUT TO:
INT. GYMNASIUM - AFTERNOON
A bevy of STUDENTS scurry about the gym making final
preparations for the impending Halloween Festivals: hanging
decorations on walls, carving pumpkins, spinning cob webs
along refreshment tables...
ON WILL BRENNEN, a well-favored Chemistry teacher in his mid-
forties, thinning hair, more salt than pepper... supervises
the action... a coffee mug in hand... his attention focused
on...
KERI
sitting atop the bleachers. Will climbs the benches, sits
beside her...
WILL
What a sight for sore eyes...
He kisses her softly on the lips.
WILL
(continuing)
... and ears...
He kisses her again.
WILL
(continuing)
...and lips...
He engages her in a lingering kiss.
A GROUP OF STUDENTS
point and giggle at the smooching faculty members.
Keri notices, pulls away...
KERI
Will...
She motions toward the students below.
WILL
What? They've all taken sex ed.
He leans in for another kiss, she playfully keeps him at arms
length...
KERI
And this isn't the place for a
live demonstration.
Will relents, settles for holding Keri's hand...
WILL
Aren't they doing a terrific job
this year?
KERI
(distracted)
Looks great. It does.
WILL
You okay? You seem a little off.
KERI
Nothing a good stiff drink can't
fix.
Will doesn't find the humor, eyes her uneasily.
KERI
(continuing)
That one always goes over big at
the AA meetings.
An awkward beat, then...
WILL
It's John, isn't it?
KERI
It's always John.
WILL
Still wants to move out?
KERI
He's been living out of moving
boxes for three months.
WILL
This kid just wants his freedom.
KERI
It's not going to happen.
WILL
The tighter you squeeze, the
harder he'll try to break free.
KERI
Oh, please... you get that out of
a fortune cookie?
WILL
Doesn't make it bad advice.
Keri manages a smile...
WILL
(continuing)
God I love that smile.
Keri stands. Will follows suit.
KERI
I'm going into town... run a few
errands before dark. Need
anything?
WILL
A box of fortune cookies... I'm
running out of advice.
KERI
Bye Will.
Keri heads down the bleachers. Will watches her leave,
completely enamored...
CUT TO:
INT. NIELSEN'S MARKET - LATE AFTERNOON
A family-owned grocery mart in the heart of Ferndale. A half-
dozen CUSTOMERS mingle through the aisles.
ON Keri, standing in front of a CASHIER as he rings up a
dozen items...
Keri glances at the wall of tabloids in front of her, one of
them catches her eye --
CLOSE ON: THE GLOBE
A headline reads: "SERIAL KILLER MICHAEL MEYERS REALLY ALIEN
FROM OUTER SPACE." Beneath the headline is a mock photo of
the Shape, holding the infamous mask in his hand, revealing
an alien head underneath....
Keri can't help but smirk at the absurdity of it all. The
cashier hands Keri her change...
CASHIER
Happy Halloween.
Keri manages a polite smile, and exits...
CUT TO:
EXT. NIELSEN'S MARKET - MINUTES LATER
Keri moves down the tree-lined street, groceries tucked
securely under her arm.
She pauses at a storefront window. "KESSLER JEWELERS. EST.
1963" emblazoned across the glass.
ANGLE ON WINDOW
An assortment of wedding rings glimmer behind the glass.
KERI
holds her left hand up to the window, moving it slowly from
ring to ring... then she sees --
THE SHAPE
in the reflection... standing across the street, staring
right through her... taunting her. This is no alien...
KERI'S
heart stops... she stands frozen, totally immobile.
A TRUCK
passes between them.
KERI
takes this opportunity to spin around. The truck passes --
THE SHAPE HAS VANISHED.
KERI
I hate this fucking holiday...
Keri climbs into the driver's seat of her Ford Explorer,
tosses the bag of groceries on the passenger seat...
She starts the engine...
"MR. SANDMAN" blares over the radio... scares the shit out of
her. Keri quickly changes stations... heads back to the
school.
CUT TO:
INT. CARTER'S APARTMENT - NIGHT
Sparsely decorated. Scattered Chinese food containers litter
the counters.
On a glass dining room table, a table dozen cardboard boxes,
"DR. LOOMIS" in black sharpie scrawled across their sides.
The CAMERA PANS across the table where...
CARTER
sits, eyes glazed over... shuffling through a stack of
photographs.
ON THE PHOTOGRAPHS
Of a young Michael Meyers playing with a fire truck in the
den... running through sprinklers in the backyard... riding
horses at the county fair... no signs of the evil lurking
inside.
CARTER sets the photographs aside, digs through a file box...
pulls out a film canister marked "MEYERS' HOME MOVIES."
ON A PROJECTOR
CARTER threads the Super 8 film through it, turns it on...
images of a young Michael Meyers are projected on a bare wall
in the darkened room.
CARTER settles into the recliner, fights to stay awake...
THE SHAPE APPEARS IN FRONT OF THE WALL.
The home movies projected on his pale mask. He moves slowly
toward the sleeping CARTER, a knife in his grip.
The SHAPE raises the knife to CARTER's throat, slices it from
ear to ear. CARTER grabs his throat, blood gushes through
his fingers. Then...
THE TELEPHONE RINGS.
CARTER WAKES UP.
Gasps for air... he feels for his throat... no blood, all is
well.
The Super 8 films slaps against the projector, the reel now
over...
CARTER catches his breath... surveys the room... he is alone.
He picks up the phone --
CARTER
(into phone)
Carter.
BLAKE
It's Blake. Meet me at Grand View.
CARTER
Where?
BLAKE
The cemetery...
CARTER
Yeah, alright... I'll be there in
ten.
Carter hangs up the phone, massages his throat...
CUT TO:
INT. FREEMAN'S DRUGSTORE - NIGHT
CLOSE ON THE PALE WHITE HALLOWEEN MASK
CAMERA PULLS BACK TO REVEAL a mannequin sporting the mask and
dark overalls made notorious by Michael Meyers... its arm
posed high in the air, wielding a meat cleaver.
Gathered around the mannequin is the gang:
Linda is in the arms of her boyfriend, SHANE McCLOUD... a
tall and spindly teen, book smart and street dumb...
John riffles through a rack of Halloween costumes. Molly
leans against a nearby counter... she checks her watch,
visibly uncomfortable being here at all.
EDDIE CATERO, two years out of high school and still wearing
his letterman jacket, 'Nuff said.
He stands proudly by his display, nursing a beer... his arm
draped around Amy, who's painting her nails with a nail
polish plucked from a nearby display...
EDDIE
(re: the display)
Pretty wicked, huh?
LINDA
I think it's twisted.
EDDIE
This coming from the girl with a
stake through her tongue.
LINDA
You're glorifying the big creep.
SHANE
Besides, it's historically
inaccurate.
EDDIE
What the fuck are you talking
about?
SHANE
Michael Meyers never used a meat
cleaver. It was a butcher knife.
EDDIE
Who are you, the serial killer
police? What difference does it
make?
SHANE
It's not historically accurate,
that's all.
AMY
He could be holding a swizzle
stick, it still gives me the
willies.
JOHN
Don't worry... I hear he only
kills virgins.
SHANE
Another historical inaccuracy.
EDDIE
Would somebody shut this guy up?
MOLLY
Come on, we better get back before
Mrs. Sullivan makes her rounds.
Linda looks at her watch.
LINDA
Oh, shit. Molly's right. It's
eleven-thirty.
The gang heads for the front door...
AMY
You guys go on. Eddie's gonna
take me back after he closes up.
Bells hanging from the door JINGLE as they exit... John
turns to them as he leaves --
JOHN
Condoms are on aisle four...
EDDIE
Out.
Eddie pushes John out the door, shuts it behind him...
EXT. FREEMAN'S DRUGSTORE
The group moves down the deserted street, headed for
Hillcrest. John's arm around Molly. Shane's around Linda...
CUT TO:
INT. FREEMAN'S DRUGSTORE
ON A "CLOSED" SIGN
Being hung on the front door.
CAMERA PULLS BACK TO REVEAL Amy, holds up her newly polished
nails to Eddie...
AMY
How do you like the color? It's
called "Bloodshed Red."
EDDIE
Yeah, yeah... looks good...
Eddie grabs Amy by the waist, pulls her in... kisses her
passionately.
EDDIE
(continuing)
Let's go in back and check out the
"inventory."
AMY
Mmmmm, sounds good.
Eddie and Amy head to the --
INT. BACK ROOM
Eddie and Amy get hot and heavy amongst a room full of
cardboard boxes, Halloween costumes, and mask...
As Eddie prepares to do the one-hand bra release...
JINGLE-JINGLE.
The bells hung on the front door chime.
EDDIE
Shit. Can't people read? Don't
move. I'll be right back.
Eddie exits, leaving behind a half-naked Amy.
INT. FREEMAN'S DRUGSTORE
Eddie moves toward the front of the store, heads down the
center aisle. He hears the SHUFFLING OF FEET in the aisle
next to him...
EDDIE
(calling off)
Hey, we're closed!
Eddie rounds the corner, runs smack into --
THE SHAPE.
EDDIE
(continuing)
Shit!
It's only the mannequin, which isn't where Eddie left it...
arm poised high in the air, knife missing.
Eddie turns around to see --
THE SHAPE
standing right behind him, wielding the meat cleaver.
Eddie's seeing double...
EDDIE
What the hell...
The Shape attacks, slices through his skull with the meat
cleaver...
INT. BACK ROOM - SAME TIME
As Amy sifts through a box of scary masks, she hears...
A SCUFFLE
outside the door... she throws on her blouse, peeks outside.
AMY
Eddie?
A RUSTLING SOUND.
AMY
(continuing)
Damnit, Eddie! Stop fooling
around.
Still nothing... Amy cautiously moves into the store, looking
for her missing partner... she passes
THE MICHAEL MEYERS MANNEQUIN
AMY
If you think you're gettin' any
after this, you're dead wrong.
She stumbles, looks down to reveal...
EDDIE
sprawled on the floor, the meat cleaver buried in the middle
of his forehead... eyes wide open in terror!
Amy SCREAMS... can barely stand... she stumbles to the front
of the door... it's locked!
The Michael Meyers mannequin behind her comes to life, begins
to move toward her...
Amy beats frantically on the glass door, struggling to free
the lock... she turns to see...
THE SHAPE
closing in behind her... she SCREAMS.
The SHAPE attacks, grabs Amy by the back of the neck...
pushes her face through the glass door, cuts it to bits...
He lifts Amy high into the air, she struggles to free
herself... the Shape impales her body on a large shard of
glass.
ON Amy's feet... dangling a foot off the ground... then...
Her body goes completely limp... lifeless.
ON Amy's hand... blood cascades down her fingers, matches the
shade of her nail polish...
The SHAPE looks at her breathless body quizzically...
CUT TO:
EXT. GRAND VIEW CEMETERY - NIGHT
A well manicured graveyard... lush green lawns, thriving oak
trees, and patches of blooming flowers...
FRED WILLIAMS, an elderly caretaker, leads Carter and Blake
through the darkened cemetery... a flashlight illuminating
their path.
CARTER
You take all your dates here.
Blake?
BLAKE
Only the real stiffs.
CARTER
I can be real stiff.
BLAKE
Charming.
FRED
Hey! Watch my geraniums.
Carter looks down at his feet, finds himself standing in the
middle of a group of flowers... he quickly hops back onto the
grass...
FRED
(continuing)
Beautiful, aren't they? Rotting
corpses make the best fertilizer,
ya' know. Especially those Irish
folk. They push up the daises
like a son-of-a-bitch...
CARTER
I'll remember that.
FRED
Hell, I can tell you where every
Mick is buried by the ground cover
growing above 'em.
Fred shines his flashlight on a distant grave.
FRED
(continuing)
Irish...
(shining the beam on
another grave)
...Irish...
They stop in front of a gravesite... TOMBSTONE missing...
patchy grass covers the grave.
FRED
(continuing)
Never could get anything to grow
cover this one...
BLAKE
And you're sure this is Laurie
Strode's grave?
FRED
Sure as I'm standing here.
Fred shines the beam of the flashlight on an adjacent
headstone...
FRED
(continuing)
Buried her daughter right next to
her not too long ago. You don't
suppose that Meyers fella took the
tombstone?
CARTER
Probably just a couple of kids
playing a Halloween prank.
BLAKE
Tee-peeing a house, yes. A bag of
burning shit on a porch, maybe.
Digging up tombstone? I don't
think so.
Carter shrugs his shoulders, take a drag off his cigarette.
CARTER
I'm going to bed.
Carter heads back to his car. Blake runs after him...
BLAKE
That's it?
CARTER
Care to join me?
BLAKE
Come on, Carter. You know it's
Michael.
CARTER
What do you want me to do, put out
an A.P.B. on a man in overalls
wearing a white mask dragging a
headstone?
BLAKE
Yes.
CARTER
Sweet dreams, Blake.
Carter climbs into his car, heads for home...
CUT TO:
INT. BEDROOM - NIGHT
Keri tosses and turns in her bed, unable to exorcise the
demons from her mind... eyes wide open, watches the moonlight
cast the shadows of dancing leaves on the ceiling above her...
Then, the shadow of something altogether unnatural appears
above her...
THE SHADOW OF A MAN
hair tattered and tousled by the wind.
ON Keri lying frozen in fear, eyes unblinking.
THE SILHOUETTE
grows larger, nearly engulfs the entire ceiling... then
suddenly disappears from view... the dancing leaves return.
CLANK!
A noise from outside her window. FOOTSTEPS quickly make
their way around the house...
Keri jumps out of her skin, holds her breath...
A JIGGLING SOUND emanates from the living room, as if
someone's trying to get in through the front door...
Keri jumps out of her bed, slides a metal box out from under
the bed... pulls a SMITH AND WESSON from inside... heads
for --
INT. LIVING ROOM
Keri moves silently through the hallway into the living room,
gun at the ready... hands trembling... eyes locked on the
front door as --
THE DOORKNOB
slowly twists and turns... the SHADOW of a man behind the
curtain of the window flanking the side of the door.
KERI
raises the gun... uses both hands to steady her aim... her
breathing becoming more shallow with each passing second...
THE DOOR
swings open revealing...
JOHN
house key in hand... busted.
KERI
lowers the gun, fights back in tears...
John closes the door... if he's surprised that his mother's
pointing a gun in his face, he doesn't show it...
KERI
Shit, John! What the hell were
you doing out there?!
JOHN
Nothing.
KERI
You're kidding with that answer,
right?
JOHN
I just went for a walk. It's no
big deal.
KERI
Wrong. There are rules in this
house and you're going to follow
them whether you like it or not.
JOHN
Or what? You're gonna shoot me?
KERI
It's an option.
JOHN
Well, maybe if you'd let me live
in the dorms, I wouldn't have to
sneak out to spend time with my
friends.
KERI
Oh, so now it's my fault?
JOHN
Just forget it...
John storms down the hall, disappears into his bedroom...
slams the door behind him.
CUT TO:
INT. BEDROOM - MINUTES LATER
Keri enters the room, passes by the window... glances out
into the night and sees --
THE SHAPE
standing between sheets that blow in the clothesline.
KERI
closes her eyes, takes a deep breath... opens them... now
both the Shape and the sheets blowing in the clothesline have
VANISHED.
CUT TO:
INT. CLASSROOM - MORNING
Keri substituting for the absentee English Lit teacher. Mr.
Elliot.
A STUDENT has just finished her oral report and heads back to
her seat.
Keri stands, crosses to the chalkboard --
KERI
I'm sure Mr. Elliot will go over
this when he returns on Monday,
but Julie hit on a very important
aspect of Virgil's "The Aeniad."
She scrawls the word "FATE" across its surface...
KERI
(continuing)
F-A-T-E. Fate. The Romans
believed in the three goddesses of
Fate, called "the Fate." Nona,
Decuma, and Morta. These
goddesses determined your fate.
They were to blame when things
went wrong, and were to be praised
when --
Keri passes in front of the classroom, glances out the window
and sees --
THE SHAPE
standing behind the gates of the academy, waiting patiently
for his chance... eyes burning a hold right through her.
THE STUDENTS
wait for Keri to complete her thought... mumble softly
amongst themselves...
KERI
closes her eyes for a moment, takes a deep breath... looks
outside again... the Shape is STILL THERE!
THE BELL RINGS.
The students make a mad dash for the hall.
KERI
moves swiftly through the throng of students, pushing
bewildered pupils aside as she makes her way to the school
entrance...
CUT TO:
EXT. HILLCREST ACADEMY - DAY
Keri emerges from the building, moves across the campus
toward the iron gates... runs smack into --
WILL
throws his arms around her waist...
WILL
Whoa... what's the hurry? I'm not
going anywhere...
Keri doesn't respond, is too busy looking over Will's
shoulder --
KERI'S POV of the gate... the SHAPE has once again
disappeared.
Keri eyes the perimeter of the campus, searching for her long
lost brother.
WILL
(continuing)
Hey, you alright?
KERI
(distracted)
What?
WILL
What are you looking at?
KERI
I'm fine. I just need to lie
down...
Keri breaks free from Will's grip, heads toward the faculty
housing, determined. Will watches her leave, face laced with
concern...
CUT TO:
INT. HOUSE - KITCHEN - MINUTES LATER
Keri climbs atop a foot stool, retrieves a BOTTLE of Vodka
concealed behind bags of flour on the top shelf of the
pantry...
She spins off the top... brings the lip of the bottle to her
mouth, hands trembling...
She stops short of taking the drink, bring the bottle down
from her lips...
Keri climbs off the foot stool, crosses to the kitchen sink
and pours the Vodka down the drain...
CUT TO:
INT. LANGLEY POLICE DEPARTMENT - BLAKE'S OFFICE - DAY
Blake sits behind her desk leafing through the double
homicide case file, looking for some stone that's been left
unturned...
She removes a FILE FOLDER from an evidence bag, "KERI TATE"
in type across the index tape...
Blake opens it... still empty.
ON THE FILE FOLDER.
The light from her desk lamp falls across the open folder,
reveals a series of indentations in the left hand corner of
the manilla paper...
BLAKE
struggles to make out the ghost writing... grabs a pencil,
moves the side of the lead swiftly across the folder...
"6089244325"
The numbers pop out against the shaded background...
BLAKE
jots the numbers down on a nearby pad.
ON THE PAD
Blake tries formatting the numbers into a Social Security
number: "608-92-44325" too many numbers. She scratches it
out...
She tries again... puts parenthesis around the first three
numbers and a dash after the sixth number: "(608) 924-
4325" -- BINGO. A telephone number...
BLAKE
picks up the telephone, dials the number...
SECRETARY (O.S.)
Hillcrest Academy, may I help you?
CUT TO:
CLOSE ON: NEWSPAPER CLIPPINGS
from the "Haddonfield Leader" pinned to a large BULLETIN
BOARD, tales of the Michael Meyers' slayings splattered
across the headlines.
A TELEPHONE RINGS in the b.g.
CAMERA PANS ACROSS the board, finds...
CRIME SCENE PHOTOS
of Meyers' slain victims... bloody, graphic images assault
the eye.
CAMERA PULLS BACK to reveal we are in --
INT. CARTER'S OFFICE - HADDONFIELD POLICE DEPARTMENT - DAY
Carter sits beneath a desk... searches for the phone, finds
it buried beneath a sea of reports --
CARTER
(into phone)
Carter.
BLAKE
It's Blake. How do you feel about
Wisconsin?
ON Carter's puzzled expression...
CUT TO:
EXT. FREEMAN'S DRUGSTORE - AFTERNOON
A YELLOW SCHOOL BUS
parked across the street, filled to capacity with students.
ON John watching from outside the school bus as
AN OFFICER
strings yellow crime scene tape across the front of the
drugstore.
MOLLY
stands next to John, arm around his waist... watching
curiously...
LINDA
leans against the side of the bus next to Shane...
LINDA
Look, they're staring right at us.
SHANE
(to John)
You think your mom knows we snuck
out last night?
JOHN
Nah, I didn't tell her where I
went.
MOLLY
Is that all you guys can think
about? Amy never came back last
night. Maybe she's in trouble.
LINDA
Better her than me.
MOLLY
You're unbelievable.
SHANE
Linda's right. I have Yale to
think about. Amy's going to the
Barbizon School of Beauty -- if
they let her retake her boards...
ON BRUCE CLARK, a young deputy ducks under the yellow tape,
approaches...
KERI
stands in front of a squad car, craning her neck to get a
look at the proceedings...
KERI
Bruce... what's going on? The
kids are here to pick out their
costumes for the festival.
DEPUTY CLARK
Better take 'em to Virgil's
downtown. We got a dead body in
there.
Keri's heart skips a beat, she tries to digest the news...
KERI
A dead body?
DEPUTY CLARK
It's Amy Kramer.
KERI
My god...
DEPUTY CLARK
Pretty messy. Parents have
already been notified. Our office
has been trying to get a hold of
you...
Keri fears the worse, tries to hold herself together...
KERI
Do you know who did this?
DEPUTY CLARK
Well, Eddie Catero didn't show up
for work this morning... parents
say he never came home last night.
Car's still missing.
KERI
(wishful)
Think Eddie had something to do
with it?
DEPUTY CLARK
Doesn't look good.
Deputy Clark turns in the direction of the bus...
DEPUTY CLARK
(continuing)
You best keep those students
locked behind those gates of
yours... got ourselves a
cold-blooded killer on the
loose.
CUT TO:
EXT. HILLCREST ACADEMY - ESTABLISHING
Night. Wind assaults the trees. Lights illuminate a dozen
dorm windows.
EXT. GATES - SAME TIME
A compact CAR pulls up behind the gates, high beams
illuminating the...
GUARD HOUSE
There is an entrance on either side of the guard house...
inside sits Hattie.
She cups her hands over her eyes, protecting them from the
glare of the auto's headlights. She checks --
A MONITOR
embedded in the console in front of her... black and white
image of the car idling outside the gates illuminates the
screen.
ON Hattie, unable to make out the identity of the driver.
She steps out of the guard house...
EXT. GATES
Through the gate, she sees a figure slumped behind the
wheel...
HATTIE
(calling off)
Who's there?
No response.
HATTIE
(continuing)
Please identify yourself, young
man.
Still nothing. Hattie doesn't know what to do.
She opens the gate with her gate key and walks through... she
approaches the car. The trees rustle nearby. She takes a
look, spooking herself. It is, after all, Halloween.
She crosses to the driver's side window... looks inside to
find the body of --
EDDIE CATERO
the costume shop victim, slouched behind the wheel... face a
bloodied mess.
HATTIE
My Lord...
Hattie stumbles backward... she's doesn't see THE SHAPE pass
through the open gates behind her.
She crosses back to the --
INT. GUARD HOUSE
Hattie quickly presses a BUTTON on the console in front of
her, automatically closing the wrought iron gates outside...
THE SHAPE
stands at the entrance to the left of guard house. Hattie's
back to him.
She picks up the phone... no dial tone. She jiggles the
receiver... comes up short.
CLINK. A noise from outside.
Hattie spins around, faces the left entrance... no one in
sight.
HATTIE
(softly)
Hello?
No answer. Hattie crosses to the left entrance, shuts the
door... throws the bolt.
THE SHAPE
appears behind Hattie... now standing at the entrance to the
right of the guard house.
CLINK. Another noise, source unknown...
Hattie spins around, faces the right entrance... the Shape
has vanished.
Hattie crosses to the right entrance, shuts the door... locks
it. Now secured safely inside the guard house, Hattie
crosses to a CB Radio...
She turns it on... dials the emergency channel... is
distracted by --
THE CAR
outside the gates... its headlights suddenly extinguish.
ON Hattie, squints through through window in the car's
direction...
THE SHAPE
emerges from the shadows behind her... wraps the CB cord
around her neck... Hattie struggles to free herself... her
face pressed up against the glass...
The Shape brandishes a knife... stabs her repeatedly in the
back... ends the struggle.
CUT TO:
INT. BELL TOWER - CONTINUOUS
Wally, the custodian, climbs the four flights of stairs to
the massive bell partially enclosed at its top... he tugs on
the rope dangling from the bell...
THE BELL RINGS.
Its sound resonating across the campus.
ON THE DORMS.
The windows, once lit, are now extinguished, leaving the
dorms shrouded in total darkness... lights out.
INT. DORM - MOLLY'S ROOM
The sound of the ringing bell echoes softly through the
room...
Molly lies in her bed, unable to sleep, eyes to the
ceiling... her pajama clad body partially covered by a sheet.
ON "LURCH," THE SCHOOL DOG
lying beside Molly's bed, also asleep.
Molly hears the RUSTLING of bushes outside her window... she
turns in its direction to see --
THE BUSHES
moving forcefully, their branches scratching wildly against
glass...
MOLLY
sits up in bed, her eyes glued to the window... she slowly
gets out of bed, moves toward it... leans against the
windowpane.
ANGLE THROUGH THE WINDOW
of the campus, bathed in moonlight... wind howls through the
trees... leaves scurry across the grounds.
BANG! BANG!
A hand raps on her window. Molly jumps out of her skin.
ON JOHN
standing outside her window, motions her to open it. She
does, sticks her head out...
MOLLY
(whispering)
What are you doing here?!
JOHN
(whispering)
I came to see you.
MOLLY
I can see that.
(a beat)
Why?
JOHN
Can I come in?
MOLLY
Are you crazy? You'll get caught.
JOHN
Then you come out here.
MOLLY
Then I'll get caught.
JOHN
(louder)
Well, I'm not going until I talk
to you.
MOLLY
Alright. I'll come out. Just be
quiet.
CUT TO:
EXT. HILLCREST ACADEMY - FIVE MINUTES LATER
Molly and John meander through the wooded acreage along the
perimeter of the campus, hand-in-hand... the school buildings
completely obfuscated by the surrounding foliage.
MOLLY
You really think Eddie killed her?
JOHN
You saw that Michael Meyers
display. You've got to be pretty
twisted to come up with something
like that.
MOLLY
I guess. It's just hard to
believe.
THE SHAPE
appears behind them in the distance, standing beside a
tree... watching... waiting. It seems as though with each
cut the SHAPE moves closer...
JOHN
You look kind of cold.
MOLLY
I'm okay.
JOHN
Here, take my jacket.
John takes off his letterman jacket, drapes it over her
shoulders...
The SHAPE disappears from view, into the thicket.
JOHN
(continuing)
Better?
MOLLY
Yeah.
John gazes into Molly's eyes, her moves in closer... they
engage in a passionate kiss... John's hands begin to find
there way up her blouse when --
A PAIR OF HANDS
grabs them by the back of their necks, pulls them to their
feet! Shit! Molly SCREAMS... the CAMERA PULLS BACK TO
REVEAL...
KERI
with a firm grip on them both, a disapproving look painted
across her face.
KERI
All right... fun's over.
EXT. SCHOOL GROUNDS - MINUTES LATER
Keri moves across the campus, back to the school... Molly and
John in tow. They pass the group of faculty houses...
KERI
(to John)
Go take a cold shower... I'll deal
with you later.
John heads for his house, waves good-bye to Molly... she
waves back sheepishly.
Keri and Molly continue toward the dorms...
KERI
(continuing)
Molly, of all the people... if I
can't trust my resident assistant,
then what?
MOLLY
I know. I'm really, really sorry,
Miss Tate. Please let me keep the
job... it's the only way I can
afford to stay here.
KERI
Okay, tell you what... you can
still be the school R.A., but no
dance tomorrow night.
MOLLY
(relieved)
Okay... thank you.
Molly gives Keri a hug...
KERI
Something tells me I won't get the
same reaction when I tell John...
The two are completely unaware of...
THE SHAPE
watching from the thicket, the moonlight reflected off his
pale white mask.
CUT TO:
EXT. HILLCREST ACADEMY - ESTABLISHING - MORNING
STUDENTS scurry from their dorms to the adjacent school
building, racing to make it to their a.m. classes on time...
SUPER the legend: "October 31st. Halloween."
INT. GYMNASIUM - MORNING
A group of students take laps in the indoor swimming pool
beneath the retracted gymnasium floor.
The gym is decorated for the Halloween festival that night...
Their coach, MRS. ROCKWELL, supervises from poolside, whistle
dangling around her neck.
ON Molly, Linda, and SARAH LOCKE, the resident gossip with
beauty pageant good looks, as they complete their final lap.
They congregate in the shallow end, their goggles perched on
their heads...
MOLLY
I feel like everyone's staring at
me.
SARAH
News travels fast. It's all over
school about you and John getting
busted in the woods by Miss Tate.
LINDA
Don't suppose you had anything to
do with that, motor mouth.
SARAH
Shut up, freak.
Mrs. Rockwell blows her WHISTLE... the girls in the pool wait
for her instruction.
MRS. ROCKWELL
Alright, I know you girls have the
big Halloween dance tonight, so
I'm letting you go ten minutes
early today.
LINDA
(under her breath)
How generous of her.
Molly, Linda, and Sarah start to climb out of the pool...
MRS. ROCKWELL
Sarah, since you took it upon
yourself to arrive ten minutes
late today, you can stay the extra
ten minutes.
SARAH
But Mrs. Rockwell...
MRS. ROCKWELL
Use the time to practice your
drive. You looked real sloppy out
there today.
LINDA
Ooooh, busted.
MOLLY
Big time. And news travels fast.
Wouldn't be surprised if the whole
school knows about this one by
tonight.
Sarah flips them the finger...
SARAH
Smile at the birdie, ladies.
Molly and Linda head toward the locker room...
LINDA
Sarah Locke. What a major bitch.
You know she waxes her stomach?
Molly and Linda exit the gymnasium...
ON Sarah as she climbs out of the pool... walks to the diving
board on the other end of the deserted gym... places the
goggles over her eyes...
She dives into the water... swims underwater toward the
shallow end... she heads toward the surface...
SARAH POV
The SHAPE is standing poolside... his image warped by the
rolling water, bobbing and swaying with the current.
Sarah breaks through the surface of the water, catches her
breath... throws off her goggles, scans the gym...
ANGLE ON THE GYMNASIUM
Empty. Not a soul in sight.
Sarah shrugs it off, climbs back out of the pool... heads for
the diving board...
She dives into the water... as she emerges in the shallow end
the lights in the gym extinguish... leaving her in darkness.
SARAH
(calling out)
Hey! There's someone in here!
No response. Sarah moves toward the stairs...
SARAH
(continuing)
Hell-o! I'm in here!
She grabs the railing, starts to pull herself out of the
pool, when suddenly...
THE SHAPE GRABS HER BY THE NECK.
Pushes her back into the pool... holds her head under the
water... her arms flail wildly as she struggles for breath...
The Shape flashes a knife... slices into flesh...
Sarah's body goes limp... the SHAPE releases her... her
lifeless body floats face down in the bloody water.
WIDE OF THE GYMNASIUM
The SHAPE has disappeared from view.
CLANG-CLANG-CLANG.
The gym floor begins to close over the pool, covering the
floating corpse inside of it.
CUT TO:
EXT. HILLCREST ACADEMY - DAY
Keri moves across campus, notices --
THE MASSIVE WROUGHT IRON GATES
open to the single lane road exiting the school.
Keri eyes the GUARDHOUSE that sits at the entrance, indignant.
INT. GUARD HOUSE
Keri enters, the guard house is empty...
KERI
(calling off)
Hattie?
She's nowhere in sight...
KERI
(continuing)
Now where is she?
Keri pushes a BUTTON on the console in front of her.
THE GATES
slowly begin to close...
KERI
exits the guard house, closes the door behind her... heads
back to the school.
CLOSE ON: A COFFEE MUG
sits on the console, filled with a deep red liquid...
PLOP!
A drop of blood falls from
THE CEILING
Blood soaks the drop-ceiling... Hattie's corpse hidden from
view.
CLANG!
The GATES SHUT tight...
CUT TO:
INT. HEADMASTER'S OFFICE - LATER THAT AFTERNOON
Keri walks into her office, shuts the door behind her...
turns to find
CARTER
seated in front of her desk... Blake stands beside him,
looking out the office window...
Keri jumps at the sight of the uninvited guests --
KERI
(startled)
Shit!
Carter stands, takes one look at her and knows he's hit the
jackpot...
CARTER
I'll be damned.
KERI
Do I know you?
BLAKE
We're sorry to startle you, Miss
Tate.
CARTER
The door was open, so we let
ourselves in.
KERI
I can see that. Who are you?
Carter flashes a smile, then his badge...
CARTER
Detective Carter from the
Haddonfield P.D.
BLAKE
Toni Blake from Langley P.D.
Keri knows exactly why they're here, her dual lives are
crossing paths... they've found little sister.
CARTER
Mind if we sit down?
KERI
I'd prefer you didn't. I'm very
busy.
CARTER
Okay, then how 'bout we ask you a
few questions?
KERI
Detective...
CARTER
Carter.
KERI
... I think it would be best if
you both left.
CARTER
Might want to stop and think about
the safety of your students, Miss
Tate.
KERI
I never stop thinking about it,
Detective.
(pointing out the window)
The only way in or out of this
school is through that gate, and
it is secured at all times.
CARTER
Funny, we just drove right in.
KERI
Well, I can assure you, it won't
happen again. Thanks for your
concern. Goodbye.
Carter starts out... turns back toward Keri.
CARTER
Has anyone ever told you, you bear
a striking resemblance to Laurie
Strode?
Keri glares at him for a beat... the walls around her are
collapsing.
KERI
Never heard of her.
Blake removes a business card from her pocket, a phone number
scribbled across its face. She places it on the desk...
BLAKE
The Ferndale P.D. is setting up a
roadblock couple miles down the
road. They think they're looking
for a jealous boyfriend gone
mad... I think differently. We
can protect you..
Keri doesn't flinch, motions toward the door. Carter and
Blake start out --
KERI
You can't stop him.
Carter stops, turns back toward her...
CARTER
Not without some help.
Carter and Blake exit, shut the door behind them...
CUT TO:
EXT. GATES - FIFTEEN MINUTES LATER
Carter and Blake in a rental car to the side of the road just
outside the gates.
Blake emerges from the passenger side... Carter tosses her a
walkie-talkie...
CARTER
Don't be a stranger...
Carter pulls away from the school...
Blake hooks the walkie-talkie to her side, heads back into
the campus, passes --
A CAR
hidden behind the bushes, Eddie's rotting corpse locked
inside...
CUT TO:
INT. GIRLS' LOCKER ROOM - A HALF HOUR LATER
Lots of nubile young bodies moving to and fro, changing out
of sweaty gym clothes into dry attire.
ON Molly, standing in front of a fogged-up mirror, straight
from the shower... towel tucked firmly around her chest.
Linda stands to her right, putting on her make-up... also in
a towel.
LINDA
Shane's going as a condom.
MOLLY
I thought you were allergic to
latex.
LINDA
I'll pop a Benadryl.
MOLLY
You think they'll let him in
dressed like that?
LINDA
Oh, they're so stupid... I'll just
tell them he's going as a sausage
casing.
Linda swipes her palm across the fogged-up mirror, wiping
away the steam...
ON the MIRROR. In its reflection we see Molly and Linda...
then --
THE SHAPE
appears from the cloud of steam behind them!
Other STUDENTS spot the intruder, run SCREAMING from the
locker room.
The SHAPE grabs Linda from behind... wields a knife... slits
her throat... blood cascades down her neck, 'blemishes the
towel around her bust.
ON Molly, immobile. Terrified. Unable to scream.
LINDA'S
lifeless body drops to the floor... eyes wide open in terror.
THE SHAPE
shifts his attention to
MOLLY
gets her legs back, runs like hell... runs smack into
KERI
at the locker room entrance... grabs Molly in her arms.
KERI
Whoa. What's going on in there?
Molly is on the verge of hysterics --
MOLLY
Linda! He killed Linda!
KERI
Who?!
MOLLY
Michael Meyers!
Keri darts into the locker room...
MOLLY
(continuing)
Miss Tate, wait!
Molly follows her, stands in the relative safety of the
doorway... Keri walks in to find --
THE SHAPE
standing above Linda's lifeless body... knife raised high in
the air, dripping blood.
ON Keri, her legs buckle... she struggles to stay standing.
KERI
Michael, nooooooo!
Then, an even more bizarre sight --
THE SHAPE
starts to CHUCKLE... his shoulders bobbing up and down...
bending over slightly at the waist.
LINDA'S
lifeless body starts trembling with laughter.
THE SHAPE
reaches up to his mask, pulls it off... it's JOHN!
JOHN
That was classic...
(imitating Keri)
"Michael, nooooooo!"
LINDA
sits up, licks some blood off her fingers.
LINDA
Mmmm. Anyone got some French
fries?
John and Linda cracks up.
ON Keri, mortified... the sight of her son dressed like his
homicidal uncle is almost too much for her to bear...
John and Linda are too busy revealing in their prank to
notice...
LINDA
(continuing)
Molly, you should have seen your
face...
Keri crosses over to John... SLAPS him across the face, hard.
John reels, probably the first time Keri's laid a hand on
him...
KERI
Home... NOW!
Keri grabs John by the arm, pushes him past Molly...
CUT TO:
INT. HOUSE - LIVING ROOM - DAY
John sits on the sofa. Will stands behind him... neither
sure exactly what they're doing there.
Keri paces in front of them...
JOHN
I'm sorry, alright? It was just
a stupid joke.
KERI
Will, sit down...
Will does.
KERI
(continuing)
There's something I have to tell
you both. It's going to sound
strange...
WILL
What?
KERI
My name hasn't always been Keri
Tate. It was once Laurie Strode.
WILL
You're right. It does sound
strange.
JOHN
You some kind of fugitive or
something?
KERI
I was trying to get away from
someone.
WILL
Who?
KERI
Michael Meyers.
WILL
The serial killer?
KERI
He's my brother.
JOHN
Now you're joking, right?
KERI
Afraid not. You can pick your
friends, but you can't pick your
family.
WILL
Keri, have you been...
Will mimes taking a drink from a bottle...
KERI
No, Will, this isn't the alcohol
talking. It's the truth.
WILL
I can't believe this is happening.
KERI
Shit happens.
JOHN
Wait a minute... slow down...
you're telling me Michael Meyers
is my uncle?
KERI
Yes.
JOHN
Any other psychotic relatives I
should know about? Jason? Freddy
Krueger?
KERI
No.
JOHN
Why didn't you tell me?
KERI
I was trying to protect you from
this...
Keri holds up this trademark Halloween mask, a tuft of hair
tightly in her grip...
John crosses to the front door, opens it...
KERI
(continuing)
Where are you going?
JOHN
I don't know.
John exits. Keri starts after him, Will grabs her by the
arm...
WILL
You just dropped a shitload on
him... give him some time to
digest it.
KERI
Are you going to leave, too?
WILL
Never.
Keri nuzzles her head against Will's chest...
WILL
(continuing)
So you're really Michael Meyers'
sister?
KERI
Yeah.
WILL
Do we have to invite him to the
wedding?
Keri laughs, more out of relief than anything...
CUT TO:
EXT. ROADSIDE - LATE AFTERNOON
A couple of Ferndale P.D. SQUAD CARS flank either side of the
road.
ROADBLOCKS
lined up across the asphalt deny access to the roadway
leading to Hillcrest.
ON Carter, leaning against a squad car. Deputy Clark stands
next to him. Carter lights up a cigarette...
DEPUTY CLARK
Don't worry, Detective. No one's
getting up to that school.
CARTER
And this is the only way up to
Hillcrest?
DEPUTY CLARK
Sure is. Unless your boy can fly.
CARTER
I hope not.
Deputy Clark laughs, Carter doesn't... just takes another
drag off his cigarette...
CUT TO:
EXT. HILLCREST ACADEMY - NIGHT
Darkness falls... Halloween night.
COSTUMED STUDENTS
make their way inside the gymnasium.
ON A BAND OF MISFITS.
Freshman, armed with cartons of eggs and rolls of toilet
paper, emerge stealthily from the wooded acreage... they
attack the Hillcrest Administrative Building.
ON WALLY.
The school custodian heads for the bell tower... spots the
young punks across campus defacing what he works so hard to
preserve.
He takes off in their direction.
WALLY
(calling off)
Hey, you kids! Knock that off!
Get over here!
The boys see Wally headed in their direction... they
scramble, head back for the woods... a few of them throw eggs
in Wally's direction.
Wally makes it about halfway across campus before his old
ticker kicks in... he has to stop... catches his breath.
WALLY
(continuing)
Damn kids.
Wally turns around, heads back to the bell tower.
One by one the freshman disappear into the thicket... one of
the boys runs smack into...
THE SHAPE.
The boys stares up at him, startled... he darts after his
friends... the SHAPE continues toward Hillcrest.
INT. DORM - MOLLY'S ROOM
Molly sits on the windowpane, her forehead pressed against
the glass. Lurch, the dog, lies across her bed.
ANGLE THROUGH THE WINDOW
A view of the entire campus. Couples make their way across
the grounds, move inside the gymnasium.
Molly lets out a sigh, wishes that were her and John... she
continues to stare longingly out the window...
THROUGH THE GLASS
ON Wally as he moves to the bell tower, disappears inside.
He is followed by...
THE SHAPE
ON Molly. She sits up, takes notice... watches as the SHAPE
moves inside the bell tower, then suddenly...
A PAIR OF HANDS
grabs Molly by the shoulders... spins her around, revealing...
LINDA
in full "Bride of Frankenstein" costume.
LINDA
BLAAAAAGGGHHHHH!
MOLLY
Shit, Linda!
LINDA
You're so easy...
MOLLY
Wasn't scaring the hell out of me
once today enough?!
LINDA
Nope. Hey, you think I'll win
scariest costume?
MOLLY
Linda, you are without a doubt the
scariest person on campus.
LINDA
Thanks!
MOLLY
Where's Shane?
LINDA
Condom Boy is waiting for me in
the cafeteria.
MOLLY
But the dance is in the gymnasium.
LINDA
Very insightful.
THE BELL RINGS.
Echoes across the campus.
LINDA
(continuing)
Let the party begin.
MOLLY
Have enough fun for the both of us.
LINDA
Oh, don't be such a victim.
Linda produces a couple of shot bottles from her purse,
tosses them on the bed.
LINDA
(continuing)
Here. Drink a couple of these.
It'll putcha in a much better
mood. Ta-ta.
Linda exits. The bell continues to ring. Molly sits on the
bed, pats Lurch on the head.
MOLLY
Guess it's just you and me, boy.
The bell stops ringing abruptly. Molly turns her attention
back to the window...
ANGLE THROUGH THE WINDOW
At the top of the bell tower... the SHAPE stands beside the
massive bell... staring in Molly's direction, looking right
through her.
Molly gasps softly. She looks down below and sees...
LINDA
leave the dormitory, heads for the cafeteria. Molly looks
back up to the bell tower... the SHAPE has vanished.
MOLLY
Just some idiot in a costume...
Molly sits back on her bed, uses Lurch as a pillow... Molly
picks up one of the shot bottles, twists off the lid.
MOLLY
(continuing)
Let the party begin.
Molly takes a swig from the bottle. She shudders, her sour
expression says it all...
INT. CAFETERIA
Dark and abandoned. THE CAMERA PANS across a bevy of empty
tables and chairs to reveal...
LINDA AND SHANE
liplocked, hands all over each other. Linda sits on the edge
of a table.
Shane, dressed as a condom, stands between her legs.
THE SHAPE
watches from the kitchen, illuminated only by the light from
a nearby soda machine.
Shane pushes Linda down onto the table, starts to unbutton
her blouse...
LINDA
Wait.
SHANE
What is it?
LINDA
I have to pee.
SHANE
Can't you hold it?
LINDA
Can't you?
Linda pushes Shane off her, heads for the restroom. She
passes the kitchen area... the SHAPE is nowhere in sight.
Linda enters the bathroom...
INT. BATHROOM
Linda crosses to a shall, tugs on the door... it's locked.
She knocks on the door.
LINDA
Somebody in there?
No answer. She pulls at it again... still doesn't budge.
LINDA
(continuing)
Hellooooo.
She kneels down on the ground, peers under the door. Nothing.
She stands back up... shrugs it off... moves to the next
stall and goes inside, closing the door behind her.
TIGHT ON DOOR
As Linda takes care of "business."
LINDA (O.S.)
(singing)
IF YOU THINK I'M SEXY.
AND YOU WANT MY BODY.
COME ON, BABY. LET ME KNOW.
The toilet flushes. Linda emerges from the stall, crosses to
the mirror... checks her make-up.
ANGLE ON THE MIRROR
Linda admires her reflection... not noticing the stall door
which was previously locked is now opened.
She smiles at herself, licks her teeth, then exits to the
hallway.
INT. CAFETERIA
Linda emerges from the bathroom... she heads toward the
center of the room...
ANGLE ON THE CAFETERIA
Empty. No sign of Shane anywhere.
LINDA
(calling off)
Shane?
CLANG! A NOISE FROM THE KITCHEN.
Linda moves into the kitchen area where...
THE SHAPE
emerges from the shadows, attacks Linda... grabs her by the
throat, lifts her into the air...
Her head hits the pot rack hanging above her... pots and pans
drop to the tile floor below...
Linda flails her arms and legs, desperately trying to free
herself form the SHAPE'S grasp...
She kicks the refrigerator door behind her... it swings open
to reveal...
SHANE'S BODY STUFFED INSIDE.
Asphyxiated, his condom hat pulled down over his head... his
corpse topples out of her refrigerator, falls onto the
floor...
THE SHAPE
flicks the switch on a nearby MEAT SLICER, it WHIRS to life.
The Shape forces Linda's head against the slicer... she
struggles furiously as her cheek approaches the spinning
blade...
BLOOD SPLATTERS
everywhere as Linda is carved into quarter-inch slices...
CUT TO:
EXT. HILLCREST ACADEMY - NIGHT
VARIOUS SHOTS of the empty campus, all the students now
congregated inside the gymnasium.
The pulsating beat of faint dance MUSIC drifts across the
grounds.
INT. GYMNASIUM - SAME TIME
The festival is in full swing... jam packed with costumed
couples dancing across the floor. CHAPERONES line the walls.
KERI
leans against the refreshment table, sans costume. Arms
folded... there in body, mind elsewhere.
WILL
approaches her, dressed as Count Dracula. He offers Keri a
glass of punch...
WILL
(as Dracula)
May I offer you some fresh blood?
I squeezed it myself.
Keri glances at him, not amused...
KERI
Not a real fan of Halloween humor,
Will.
WILL
(realizing)
Oh, right. Sorry.
KERI
I'm gonna head back to the
office... finish up some things.
WILL
Can't it wait till Monday? I
thought maybe we could dance...
(as Dracula)
I'm very light of my feet.
Keri manages a sincere smile, gives him a kiss...
KERI
Thanks, but I'm not much in the
mood for dancing. Enjoy the
party... you did a great job.
Keri heads for the exit, Will watches her leave...
CUT TO:
INT. DORM - MOLLY'S ROOM
CLOSE ON A HALF EMPTY SHOT BOTTLE
on the bedside table, next to two other shot bottles...
untouched. CAMERA PANS to the bed where...
MOLLY
lies, fully clothed... facing the ceiling. Eyes wide open,
thinking of the night that could have been...
ON Lurch, lying on the floor beside the bed... he sits up,
his eyes focused on...
THE CLOSET
Its door slightly ajar... the lights on inside. Something
inside catches Lurch's attention... he GROWLS.
Molly reaches over the side of the bed, pats the dog on his
head.
MOLLY
Whatcha growling at, huh?
Lurch continues to snarl at the closet. Molly sits up in the
bed...
ANGLE ON THE CLOSET
Light seeps out from the cracks in the open door, illuminating
the sleeves of several hanging blouses.
MOLLY
Lurch, there's nothing in there
but clothes.
Molly gets up... moves to the closet, open it...
INSIDE THE CLOSET
Wall-to-wall clothes hang from wooden dowels... Molly palms
the lightswitch, flicks off the light.
Molly closes the door, tight... heads to the bathroom down
the hall, Lurch follows her out.
EXT. GYMNASIUM - SAME TIME
The misfits who tee-pee'd the school have returned, this time
with black duffel bags in tow.
ON THE REAR DOUBLE DOORS
of the gymnasium... one of the FRESHMEN pulls a thick three
foot long CHAIN from his duffel bag... wraps it around the
door handles... he produces a PADLOCK, hooks it through the
loops of the chain... snaps it shut, locked tight.
ON THE GYMNASIUM ENTRANCE
Another freshman sneaks into the gymnasium, while a fellow
SCHOOLMATE hide behind some bushes... on the lookout for
Wally.
INT. DORM - MOLLY'S ROOM
Molly returns from the bathroom, passes...
THE CLOSET DOOR.
It's ajar once again.
Molly climbs into bed, turns on her side... she reaches over
to the side of the bed... pets the dog.
MOLLY
Guess there's always next year...
if I live past the humiliation of
tonight.
At that very moment, Molly sees...
LURCH!
The dog enters the room, sits in the doorway... growls in her
direction.
ON Molly. Shit! She instantly stops petting whatever is
under the bed.
CLOSE ON HER EYES
full of confusion, flushes with fear.
Terrified, she slowly leans over the edge of the bed... comes
eye-to-eye with --
THE SHAPE!
Beneath her bed, staring right at her... she was petting the
hair on his mask all along.
Molly SCREAMS. The SHAPE grabs her arm, drags her off the
bed onto the floor.
Molly struggles with him, as he tries to climb on top of her.
The SHAPE maintains a strong grip on her ankle with one hand,
swings a knife fiercely at her with the other.
He makes contact, slices open her left thigh...
Molly SCREAMS in agony, kicks her legs wildly... she manages
to strike a hard blow to his head.
She breaks free of his grip, takes off limping down the
hall... her hand pressed against the gaping wound carved in
her thigh.
ANGLE ON THE HALL
Seems to stretch for miles...
Molly limps down the corridor, dragging her leg behind her...
she looks behind her... no sign for the SHAPE... yet.
She ducks into one of the room, hides behind the door.
THE SHAPE
emerges from her room... heads down the hall.
ON Molly trying desperately not to breathe, she watches as...
THE SHADOW OF THE SHAPE
passes by... she lets out a silent sigh of relief, when
suddenly...
THE SHAPE
steps back into the doorway, looks into the room.
Molly freezes, looks at the wall beside her, she sees...
HER OWN SHADOW
projected on the wall, it betrays her.
MOLLY
(squealing)
Oh, God...
The SHAPE reaches through the crack in the hinged side of the
door... grabs Molly by the hair, reels her in.
Molly grabs the door... pulls it towards her, smashing the
SHAPE'S arm between the door and the jam. He releases her...
She flies out of the room, down the hall... stumbles down a
flight of stairs... dashes out of the dormitory.
INT. GYMNASIUM - SAME TIME
The party is in full swing. Students and teachers alike
crowd the gym floor, dancing to the music blaring from the
loudspeakers above.
CLOSE ON A SIGN
"CAUTION: BE SURE TO CLEAR GYM AND/OR POOL
BEFORE OPERATING FLOOR"
Hung above a large red button. THE CAMERA PULLS BACK TO
REVEAL the freshman, who snuck in earlier, poised beneath
it...
He punches the button, then pops it off and puts it in his
pocket... he darts for the front entrance.
CLANG-CLANG-CLANG!
The gymnasium floor begins to move beneath the students'
feet, splits right down the middle... retracts into the
walls...
The students part like the Red Sea, hooting and hollering as
the pool beneath them is revealed.
EXT. GYMNASIUM
The freshman flies out of the gym, slams the doors shut
behind him... his schoolmate chains the doors, locks them
with a padlock. They dart for the woods, passing...
MOLLY
stumbles towards them, her pants bloodied. She SCREAMS,
tries to get their attention... they disappear into the
thicket.
She moves to the rear of the gymnasium, bangs on the chained
doors... SCREAMS for help, looks over her shoulder to see...
THE SHAPE
headed straight for her. She hobbles to the front entrance,
bangs on the door...
MOLLY
Let me in! Oh, God, help me!
Somebody... goddamnit!
The SHAPE closes in.
INT. GYMNASIUM - SAME TIME
Molly's screams are lost amongst the gleeful SQUEALS of the
party goers.
The floor continues to glide open beneath their feet,
revealing...
SARAH
floating, face down in the pool... water tainted bright red
with her blood, illuminated by the pool light.
The mood suddenly changes... the SCREAMS of excitement
quickly turn into SHRIEKS of horror. Bedlam ensues...
Frightened students scramble toward the entrance, knocking
party goers into the pool... trampling over others.
AT THE ENTRANCE
Students stack up against the doors, pounding furiously...
trying to get out.
WILL
tries to calm the petrified party-goers...
INT. HEADMASTER'S OFFICE - SAME TIME
Keri sits behind her desk, Detective Blake's BUSINESS CARD in
hand...
She picks up the phone, brings it to her ear...
NO DIAL TONE.
She jiggles the receiver... STILL NOTHING. She is distracted
by --
MOLLY'S SCREAMS
from outside her office. Keri crosses to the window...
ANGLE THROUGH THE WINDOW
Molly standing at the gymnasium entrance, pounding against
the door with bloody palms... screaming bloody murder, trying
desperately to get in, while the students on the other side
try in vain to get out.
KERI
Molly?
The SHAPE approaches her, now only a few feet away.
Molly tugs feverishly at the chains, they hold tight. She
bolts for the bell tower, trailing blood... the SHAPE follows.
ON Keri, horrified... he's back. She charges out of the
office, on a mission...
CUT TO:
INT. BELL TOWER
Molly bursts through the door... she stops at the bottom of
the staircase, looks up to see...
FOUR FLIGHTS OF STAIRS
spiraling high above her. She hobbles up the stairway,
grunting in agony...
As she makes her ascent, she looks down to see...
A SHADOW
three flights down, begins its climb up the stairs. Molly
picks up the pace...
EXT. BELL TOWER - CONTINUOUS
Molly emerges at the top of the bell tower... runs over to
the rope dangling from the massive bell... pulls with all her
might, causes...
THE BELL
to swing... BUT there is no sound!
Molly frantically pulls the rope again, SCREAMING madly...
trying desperately to get someone's attention...
Still no sound! She moves to the gargantuan bell, looks
inside and sees...
WALLY'S BODY
stuffed up inside of it, preventing the clapper from striking
the bell.
Molly reaches in, grabs Wally's shirt... tugs with all her
might... expels the cadaver with a final heave-ho.
ON Wally's corpse as it falls four stories down, lands at the
foot of the staircase.
Molly stumbles back... wraps the rope around her wrists, tugs
with all her weight...
RING-RING-RING! THE BELL RESONATES ACROSS CAMPUS. A call
for help...
Molly continues to pull at the rope, her wrists bleeding as
the cord digs into her skin. She watches in horror as...
A SHADOW
approaches the top of the stairway... a FIGURE emerges,
it's...
THE SHAPE
Molly SCREAMS... the SHAPE grabs he... wraps the ROPE tightly
around her neck... Molly grasp for breath.
ON KERI
Running furiously across the campus... trying desperately to
reach the bell tower in time...
ON THE SHAPE
Moves Molly to the wall of the bell tower, tosses her over
the edge....
ON KERI
Watches in horror as Molly falls two flights before the rope
goes taunt, snapping her neck instantly... the bell CLANGS.
KERI
NOOOOOOOOO!
INT. GYMNASIUM - SAME TIME
A group of STUDENTS, with Will at the helm, use a WOODEN
BENCH as a battering ram...
BOOM!
The bench slams against the gym entrance, the metal doors
start to buckle...
BOOM!
ON THE GYMNASIUM DOORS, the weight of the wooden bench pops
the chains wrapped around the handles, the doors fly open...
KERI
watches as crazed STUDENTS pour out of the gymnasium, head
for the parked buses across campus...
STUDENTS spot Molly dangling from the bell tower... SCREAMS
of terror echo across campus...
Keri turns back to the bell tower... the SHAPE IS GONE!
KERI
(realizing)
John...
She heads toward --
THE PARKED SCHOOL BUSES
being filled to capacity with screaming teens...
WILL
leads the charge of getting all students safely aboard.
KERI
manages to find John amongst the throng...
KERI
John!
Mother and son reunite...
JOHN
He found you, didn't he?
KERI
Get on the bus.
JOHN
Where's Molly? She's not in her
room...
KERI
Just get on the bus.
JOHN
I'm not leaving without her.
KERI
John, you can't help her now.
JOHN
What? Where is she?
KERI
John...
Keri's at a loss for words, it's written all over her face...
JOHN
Oh, God... no... not Molly.
KERI
Please, get on the bus...
John hesitates for a beat... climbs into the bus, takes a
window seat...
WILL
crosses to Keri, hugs her tight...
WILL
Keri, you all right?
KERI
We've got to get these kids out of
here...
WILL
I'll make sure there's no kids
left in the dorms...
WILL
dashes toward the dorms...
KERI
climbs aboard the bus, stands next to the driver... waits
impatiently for Will to return.
EXT. HILLCREST ACADEMY
The BUSES are on the move... leaving the academy single
file...
ON JOHN
Watching from inside his bus as it prepares to leave...
ON KERI
Waves to John through the window, knows this may be the last
time she ever sees him.
She turns to the driver --
KERI
You go ahead. Will and I will
follow you in my car.
The DRIVER nods in agreement...
JOHN'S POV
Keri gets off the bus, watches as the last bus drives through
the open gates of the academy...
Keri crosses to the dorms, disappears inside --
INT. DORMS
Keri moves noiselessly down the hallway... searching for any
sign of Will... holding her breath with every door she checks
behind...
KERI
(a loud whisper)
Will... Will, where are you?
Keri rounds a corner, spots --
SMOKE
seeping through the cracks of a swinging door leading to the
dorm's kitchenette.
KERI
crosses to the swinging door, slowly pushes it open to
reveal --
WILL
his whole upper torso shoved into the oven, clothes ablaze.
KERI
runs into the kitchen, yanks Will out of the oven by his legs.
ON WILL. Hair singed-off his head, his face a mangled mass
of burning flesh, mouth agape in horror...
KERI
Oh, God, Will...
Keri kneels down beside him, helpless... filled with rage...
SWOOSH!
The kitchen door swings violently to and fro... Keri spins
around, startled by --
LURCH
The dog jumps on her chest, licks her face gleefully.
KERI
Get off me...
The dog's mood changes suddenly: he stops licking Keri and
GROWLS ferociously at something behind her...
Keri slowly turns around to see --
THE SHAPE
standing above her, comes down on her with a knife... makes
contact, slices her shoulder wide open.
KERI
scrambles to her feet, grabs a pot off the stove... swings at
the SHAPE.
CLANG!
Delivers a hard blow to the SHAPE'S head with the iron pot.
The SHAPE stumbles backward, Keri sprints out the door...
EXT. DORMS
Keri comes running from the building, dashes across campus
and into --
INT. HOUSE
Keri bursts through the door, runs down the hallway into --
INT. BEDROOM
CLOSE ON: DETECTIVE BLAKE
Her body sprawled across Keri's bed, THROAT SLIT from ear-to-
ear... a TOMBSTONE in lieu of a headboard, "LAURIE STRODE"
carved into stone.
KERI
You son of a bitch!
The fury wells inside of her. Keri crosses to the bed, drops
to her knees... pulls out the metal box underneath the
mattress... opens it... IT'S EMPTY!
KERI
(continuing)
Shit!
CUT TO:
EXT. HILLCREST ACADEMY
Keri runs from the house, determined... makes her way across
campus to --
INT. GUARD HOUSE
Keri crosses to the console, pushes the BUTTON that controls
the gate... it begins to close slowly.
CRASH!
Hattie's body falls from the drop-ceiling above, lands right
on top of Keri. Shit. Keri throws the bloody corpse off of
her.
She looks around the room... zeroes in on the large CB
RADIO... she picks it up and SMASHES it against the
console... over and over again... sparks fly... the gate now
permanently closed.
Keri reaches down, pulls Hattie's key ring from her body...
moves outside.
EXT. GATES
Keri moves to the gate... locks it using Hattie's keys, then
tosses them over the gate into the brush.
KERI
(calling off)
Time to put an end to this
nightmare, motherfucker!
Keri heads back toward the school.
CUT TO:
EXT. ROADBLOCK - SAME TIME
Deputy Clark lies on the hood of his patrol car, hat over his
face... catching some z's. Carter stands by the wooden
barriers, spots --
THE LINE OF BUSES
speeding toward the roadblock, headed for the small town
below...
CARTER
What the hell?
Deputy Clark is awakened by the approaching caravan. Carter
waves down a bus, moves to the door --
CARTER
(continuing)
What's happening?
DRIVER
We're evacuating the school. Been
two murders up there tonight.
Killer's still on the loose...
CARTER
Goddamnit!
Carter runs back to the patrol car, followed by Deputy Clark.
DEPUTY CLARK
(calling off)
Call for back-up!
A flurry of action as OFFICERS clear the roadblocks, get on
the radio and call for back-up...
Carter and Deputy Clark climb into the patrol car, headed for
the school...
Carter grabs his walkie-talkie, barks into it --
CARTER
Blake, what's going on up there!
CUT TO:
INT. BEDROOM - SAME TIME
ON BLAKE'S WALKIE-TALKIE
still hooked to the side of her lifeless body...
CARTER (O.S.)
Blake! Do you hear me? Blake!
CUT TO:
EXT. HILLCREST ACADEMY - SAME TIME
VARIOUS SHOTS of the empty campus. Keri moves brazenly
across school grounds, looking for the big brother....
As she passes the bell tower, she sees --
A SHADOW
move inside the gymnasium... she quickly approaches --
INT. GYMNASIUM
Keri moves inside the decorated gym... stops at a
FIRE AXE
hanging behind glass... she picks up a plastic skull, smashes
the glass with it... grabs the AXE and continues inside...
CLICK!
The lights go out... the gym now eerily illuminated only by
carved pumpkins lit around its perimeter.
Keri continues on, bravely... the fire axe tightly in her
grip.
KERI
(calling off)
Let's ends this right now. You
want to kill me to fulfill your
twisted obsession, then go ahead.
I'm tired of playing hide-and-
seek, brother. Come on, finish
what you started, you miserable
fuck.
CLANG-CLANG-CLANG!
Keri jumps... the gymnasium floor beneath her begins to move,
closing back over the pool...
Keri continues to move alongside the pool, when --
THE SHAPE
jumps from the bleachers, buries a knife deep into Keri's
arm... she SCREAMS in pain... drops the fire axe into the
pool.
The Shape pulls the knife from Keri's arm, stands above
her... he raises the knife high into the air, about to plunge
it straight into Keri's heart, when --
BANG! A BULLET BURROWS INTO THE SHAPE'S SHOULDER.
Spins him around, comes face-to-face with...
JOHN
standing behind him, wielding Keri's SMITH AND WESSON. The
SHAPE moves toward him.
BANG! BANG! BANG!
JOHN empties the chamber into the Shape, thrust him
backward...
THE SHAPE
falls into the pool, pulls Keri into the water with him...
KERI
struggles to climb out of the pool, the Shape fights to pull
her back in....
THE SHAPE
finds the axe, swings at Keri... slice open her thigh.
JOHN
grabs Keri by the arms, manages to pull her out.
THE SHAPE
strives to climb out of the water as the gym floor continues
to close... he swings the axe, buries the blade into the gym
floor... grabs the handle, uses it to pull himself out...
KERI
grabs a JAVELIN hanging on the wall...
THE SHAPE
pulls his upper torso out of the water just as
KERI
raises the javelin high into the air, when --
CLOSE ON: THE SHAPE
Reaches out for her... then, a sound altogether unnatural --
THE SHAPE
(a desperate plea)
Laurie...
Time stands still -- TOTAL SILENCE.
ON KERI. All the love and loss of the past twenty years
plays all over her face, when --
KERI
Michael...
(then)
Go to hell!
KERI
plunges the javelin through his body with all her might,
pierces his heart... the javelin juts out of his back.
THE SHAPE
arches his back in pain, grabs the metal rod... tries
desperately to remove it, sinks into the water...
THE GYM FLOOR
closes above him... CLANG!
Half the javelin sticks out above the floor... it twitches
fiercely, then stops...
CARTER
storms the gym, gun drawn... followed by Deputy Clark and a
dozen armed police officers. He approaches Keri...
KERI
Guess he was stoppable, after all.
THE TERROR IS GONE.
Keri and John embrace.
CUT TO:
EXT. HILLCREST ACADEMY - A HALF HOUR LATER
POLICE CARS litter the campus. The corpse of THE SHAPE lies
covered on a gurney... a pair of PARAMEDICS roll it past --
AN AMBULANCE
parked near the entrance, its rear doors open revealing --
JOHN
being tended to by a PARAMEDIC. Keri sits next to him...
JOHN
I just can't believe she's dead.
Keri does the only thing a mother can do, gives him a hug...
KERI
I love you, John.
Always the guy, John just shrugs, giving her a tough smile.
JOHN
Yeah, me too, Keri.
KERI
Call me Laurie, will ya?
JOHN
Keri.... Laurie... how about if I
just call you Mom?
KERI
That would work.
The two embrace an another PARAMEDIC closes the rear doors of
the ambulance, locking Keri and John safely inside.
THROUGH THE REAR WINDOWS
Mother and son continue to bond as the ambulance drives off
into the night.
CUT TO BLACK.
T H E E N D
(
geocities.com/televisioncity)