HALLOWEEN 98
Screenplay by Justin Morris
MAIN TITLES
A glowing triangle is before us. Opening titles roll as we move back slowly from the triangle,
eventually revealing a grinning jack-o-lantern. Titles accompanied by the Halloween theme. As
the sequence nears its end, we pull back through a small round opening - an eyehole. The camera
comes to a stop and the rubber white mask of the shape fills the screen. Through the left
eyehole we can still see the jack-o-lantern grinning in the distance, like a fiery orange eye
in the socket of the mask.
FADE IN:
October 30, 1998
EXT. LITCHFIELD SANITARIUM-NIGHT
Treetops sway in the windy night. A large, gloomy building is perched high atop a hill. As the
CAMERA approaches, a large sign comes into view. It reads:
LITCHFIELD SANITARIUM
Federal Institute for the Insane
Please stop at the gate.
INT. LITCHFIELD-DARK CORRIDOR
Long empty hallways, surrounded by dingy white walls, stand silent. We glide quietly down a
hallway, across the checkered linoleum floor, toward an open door on the right. Light from the
interior of the room spills out into the dimly lit corridor. Just before reaching the doorway,
we pass a window. The window is covered with a metal cage. Just inside the metal cage a glowing
jack-o-lantern grins ominously. We move past the window, and a sign can be seen hanging on the
wall. It reads:
VISITOR CHECKPOINT
Visitors and transfer personnel sign in here.
CAMERA TRACKS onward, past the sign, and enters the doorway. As we move inward, a counter can
be seen to the right, atop of which the jack-o-lantern rests. To the left of the counter,
numerous file cabinets line the wall. The back wall of the office contains a bank of television
monitors, each showing a different hallway. Two desks are situated in the center of the room.
Computers rest on each of the desktops, along with stacks of papers and manila folders. Behind
one of the desks, a brown-haired young man, BILLY TURNER, sits with his back turned, as he
surveys the monitors. CAMERA moves around over his shoulder to a close-up of Billy's face.
Billy's eyes roam nervously over the monitors before him as he brings a cigarette up to his
lips and inhales.
BILLY'S POV From left to right over the bank of monitors, only dark corridors fill the screens,
except for one. On this monitor, a man can be seen hurrying up the hallway, briefcase in tow.
BILLY
(surprised)
Sullivan! SHIT!
INT. OFFICE
Billy grabs the cigarette out of his mouth and drops it to the floor, bringing his foot down on
it to extinguish it. DR. DAVID SULLIVAN, an elderly man dressed in a navy blue suit, appears in
the doorway of the office and steps into the room. He wrinkles his nose.
DR. SULLIVAN
Have you been smoking in here?
Billy looks startled.
BILLY
What? No, sir. That's a nasty habit...
Gave it up.
DR. SULLIVAN
I hope so..
Sullivan gives Billy a stern look.
because if I catch you smoking in
here again, you and I both know what
will happen.
BILLY
(nervously)
Uh, are you headed home? Kind of
working late tonight...
Dr. Sullivan moves over to the counter, sets down his briefcase, and picks up a clipboard
hanging there.
DR. SULLIVAN
Yes, I'm on my way. I've been on the
phone all evening with the sheriff of
Haddonfield.
Billy stands up, fidgets nervously, then sits on the corner of one of the desks.
BILLY
Must be Halloween.
Dr. Sullivan pulls a pen out of his coat pocket and begins scribbling on the clipboard.
DR. SULLIVAN
Yes, we go through this every year.
I spent an hour and a half assuring him
that this is, indeed,a maximum security
facility, and that our most notorious
patient is, indeed, still here.
BILLY
Big Mike.
Sullivan looks at Billy over the rim of his glasses.
DR. SULLIVAN
I suppose you mean Myers. Yes, that's
the one. If the sheriff of that little
town is that paranoid, I'd hate to see
some of the other citizens - that man
should be a patient here as well.
Dr. Sullivan releases the clipboard, returns the pen to his pocket, and then turns to face
Billy.
DR. SULLIVAN
Anyway, I'm going now. Make sure you
keep an eye on Greg. He and Melissa are
making rounds now, and I've given him
a list of things I want done before Hoffman
comes in tomorrow morning - make sure
that he...
VOICE
(from the hallway)
Somebody talking bout me?
A young man, GREG WILLIAMS, steps into the doorway of the office. Greg, 21, is dressed in a
white orderlies outfit.
GREG
Just tellin' Billy what a good job I've
been doin', eh Doc?
Dr. Sullivan turns to Greg and casts him a sardonic smile.
DR. SULLIVAN
Of course...I'm headed home..Don't
you have patients to feed?
GREG
Yeah, I'm going. Time to feed the
animals.
Sullivan casts Greg a disapproving glance.
Greg disappears from the doorway and begins pushing a cart down the hall.
GREG
I'm going, I'm going.
Dr. Sullivan turns back to Billy.
DR. SULLIVAN
I mean it, Bill. Keep an eye on him.
Billy motions with his head to the bank of monitors behind him.
BILLY
I'll keep an eye on it all.
INT. LITCHFIELD-NORTH WING
A seemingly endless, dimly lit hallway stretches out in front of us. Doors line either side of
the hallway. Footfalls echo down the corridor as a shadowy undistinguishable figure comes into
view. The figure is pushing a cart along before him. The cart SQUEAKS as the figure pushes it
along. The figure passes beneath an overhead light and it is Greg Williams. He comes to a stop
in front of one of the doors. CAMERA TRACKS slowly down the corridor toward Greg as he unlocks
the door. He picks up a tray of food off of the cart and disappears into the room. We continue
moving forward slowly. Moments later, Greg reemerges, turns, and relocks the door. He returns
to the cart and pushes it down the hall toward us.
As we continue forward slowly, Greg comes to a stop in front of another door. He reaches into
his pocket and pulls out a keyring and begins to pick through them, searching for the right
one.
GREG
(calling loudly)
Eight o'clock, Mike. Feeding time.
Greg finds the right key, and inserts it into the lock in the large metal door. He turns the
key and pushes the door inward.
GREG'S POV as the door swings open, revealing a pitch-black room.
ANGLE ON GREG Greg's face contorts into a confused stare.
GREG
(almost whispering)
What the hell...
GREG'S POV The interior of the room is totally dark.
GREG
(louder)
Mike?....
ANGLE ON GREG as he grabs a flashlight out of a pouch on the side of his belt. He raises the
flashlight and turns it on.
REVERSE POV Greg stands silhouetted in the doorway. The flashlight beam shines toward us as
Greg moves it from side to side, searching the room.
GREG
Michael?...
GREG'S POV The flashlight beam glides around the room, illuminating one spot and then another.
It travels down the opposite wall and across the floor. Shards of glass lay scattered on the
floor in the center of the room.
ANGLE ON GREG Greg stands, mouth agape.
GREG'S POV The flashlight beam travels upward from the bits of glass to the light fixture on
the ceiling. It has been shattered.
CLOSE-GREG Greg's look changes from confusion to disbelief.
GREG'S POV The flashlight beam now moves down and to the right, illuminating a vacant bed in
the far corner of the room. A crumpled piece of shredded white fabric lies on the floor beside
the bed. It is a straightjacket-a torn straightjacket.
CLOSE-GREG A look of terror and realization washes over Greg's face.
GREG'S POV The flashlight beam shakes nervously and suddenly a large shape steps into the beam,
popping quickly from the right of the door frame. The disfigured face of the shape, MICHAEL
MYERS, flashes briefly before us. The emotionless face is burned and horribly scarred.
CLOSE-GREG as he pulls back and opens his mouth to scream. No sound escapes.
ANGLE ON THE SHAPE'S HAND as it shoots out lightning-fast and grabs hold of Greg's hand. The
flashlight slips from Greg's grip and we follow the flashlight as it plummets to the floor.
CAMERA TRACKS quickly up from behind and over the shape's right shoulder and focuses on Greg,
as he screams.
GREG
(screaming)
Michael, Holy shit!!...
INT. LITCHFIELD-OFFICE
Billy sits in the center of the room at one of the desks with his back turned to the monitors,
engrossed in an issue of FANGORIA.
CLOSE-BILLY Over Billy's shoulder, on one of the monitors, we see Greg jerked forward into
Michael's dark room. Billy turns his head to look at the monitors. Only empty hallways. Greg's
cart sets just outside Michael's doorway. Billy turns back to his magazine. On the monitor, we
see a figure, the shape, emerge from the dark doorway, clad in a white hospital gown.
INT. LITCHFIELD-NORTH WING
The shape turns and pulls the door closed and begins to push the cart up the hallway, toward
us. The cart SQUEAKS as the shape pushes it along.
INT. LITCHFIELD-OFFICE
ANGLE ON BILLY as he puts down his magazine. He opens a desk drawer and pulls out a pack of
cigarettes. He shakes out a cigarette and places it between his lips. Billy picks a lighter
from out of the drawer and lights the cigarette. Then he sits back and begins to puff on it,
again flipping through the magazine. Music swells as a blurred figure, dressed in white,
appears over Billy's shoulder in the doorway.
WOMAN'S VOICE
Did Sullivan leave?
Billy turns his head, and CAMERA moves quickly from Billy to focus in on the figure, now
identifiable. MELISSA REED, a 22 year-old young woman with short blonde hair, stands in the
doorway. She is dressed in an orderlies outfit.
INT. OFFICE
BILLY
Hey Melissa. Yeah just a few minutes
ago.
Melissa takes a few steps into the office.
BILLY
You done with rounds?
MELISSA
Just about. You know, Sullivan'll
kill you if he catches you smoking
again.
BILLY
(grinning)
Yeah I know, but Sullivan's gotta
catch me first. Want one?
MELISSA
(smiling mischieviously)
Of course.
THE SHAPE'S POV as we travel down the corridor. The open office doorway stands twenty feet up
on the right. Melissa, visible in the doorway, disappears as she moves into the office.
INT. OFFICE
From out in the hallway, a SQUEAKING is heard, faint at first, but growing louder. Melissa
stops and looks back at the open doorway.
MELISSA
Greg back already?
BILLY
We'll see.
CAMERA FOCUSES in on monitors over Billy's shoulder as he turns his head to look. On one
monitor a figure moves slowly down the hallway pushing a cart. The figure is dressed in a white
hospital gown and has a horribly disfigured face.
INT. OFFICE
BILLY
What the fu..
(Billy's voice trails off.)
That's not Greg.
Melissa turns to look at the monitors. A look of horror washes over her face.
MELISSA
(quietly)
Oh my God....
(now louder)
Who is that?!
Billy's face grows serious as he realizes who the figure is.
BILLY
God damn it! That's Michael Myers!
MELISSA
(in disbelief)
...but...he's been sedated..
Billy grabs a radio off of the side of his belt, and barks an order into it.
BILLY
(into the radio)
Visitor Checkpoint 1, we have a Code 7!
Request immediate backup!
Billy steps forward and draws his revolver, shoving Melissa back behind him.
BILLY'S POV Beyond the open doorway, the cart continues to SQUEAK loudly. Suddenly, there is
only silence.
ANGLE ON BILLY as he moves forward toward the doorway slowly.
ANGLE ON MELISSA Melissa glances at the monitor.
MELLISA'S POV The figure in the hospital gown stands in the hallway just to the right of the
open office door, waiting as Billy approaches.
MELISSA
(screaming)
Oh God! Billy, look out!
BILLY'S POV The massive figure of the shape suddenly steps into view, filling the entire
doorway.
ANGLE ON BILLY Billy raises his revolver at the shape.
BILLY
(yells loudly)
Stay where you are!
BILLY'S POV as the shape moves forward quickly and grabs at Billy's revolver, hand coming at
us.
ANGLE ON REVOLVER Billy squeezes the trigger just as the shape's hand grasps the weapon. Sparks
fly as the report of the revolver shatters the silence. Melissa screams.
ANGLE ON BILLY Billy is jerked forward as the shape pulls him by the hand face to face.
ANGLE ON REVOLVER We follow the revolver as the shape twists Billy's arm and forces the
revolver to Billy's temple. The shape squeezes the trigger. Another BANG sounds out.
ANGLE ON BILLY Billy's eyes go blank as the bullet shatters his skull. Billy's dead body drops
to the floor with a THUD.
THE SHAPE'S POV Melissa looks down at Billy's bleeding body and then up at us, at the shape.
MELISSA
(shrieking)
OH GOD!...NO!...PLEASE!
Melissa looks to her left and to her right searching for a way out as she backs up.
ANGLE ON THE SHAPE as it steps out of the threshold and slams the door behind it.
EXT. OFFICE
There is a loud WHAM as the door slams shut. CAMERA PANS over slowly to the office window. The
jack-o-lantern continues to grin through the metal cage as Melissa's shrieks pierce the
silence. Inside the office, shadows flicker across the wall behind the jack-o-lantern. As
CAMERA TRACKS in closer to the jack-o-lantern, the sound of furniture being thrown aside and
Melissa's screams continue to fill the air.
INT. LITCHFIELD-WEST WING
We move down an empty hallway and just as we reach the end of the hallway, two uniformed
security guards burst quickly from around the corner, guns drawn. As they sprint past, CAMERA
spins around and follows the security guards back down the hall, their loud footfalls
reverberating through the silence.
GUARDS' POV The hallway, lined with closed doors on either side, turns to the left and then
back sharply to the right. Up ahead, a wall of metal bars covers the entire hallway.
INT. HALLWAY
As the guards, JACK and PETER, reach the partition of bars, Peter holsters his gun and pulls
out a key ring attached to his belt. He fumbles with the keys before inserting one into the
lock in the door. He turns the key and shoves on the sliding door. The door slides open
creakily on its track, and Jack moves quickly through the opening. Peter returns the keyring to
his side and draws his revolver. Peter and Jack move forward cautiously around a final turn to
the left.
JACK'S POV The office door is before us, almost completely closed. A sliver of light shines
from the crack between the edge of the door and the door facing.
ANGLE ON JACK as he moves stealthily toward the closed door of the office and kicks it open.
JACK'S POV The office is in shambles. File cabinets are overturned, drawers open with paper and
folders jutting out. One of the desks is laying on its side. Smoke wafts and sparks fly from
the bank of monitors; many of the monitors are shattered or only show streaks or snow. Blood is
splattered on the walls. Just inside the room lies the body of Billy Turner.
INT. OFFICE
Jack and Peter move into the office.
PETER
Holy Shit! Look at this place!
Jack pulls a radio from a pouch at his side and brings it to his mouth.
JACK
(into the radio)
Main gate, we have an officer down at
Checkpoint 1. Notify paramedics,
need immediate medical attention.
PETER
Who did this?
Without answering, Jack kneels down next to Billy's body, and checks for a pulse.
JACK
Shit...He's dead.
Suddenly a woman's MOAN comes from behind the overturned desk. Jack turns his head in that
direction.
JACK'S POV as we move forward toward the overturned desk and around the edge of it. There lies
Melissa. Her white outfit is disheveled and is streaked with blood. She is holding her hand to
her stomach, covering a gaping wound.
ANGLE ON JACK as he kneels beside Melissa.
JACK
Thank God, she's alive.
CLOSE-MELISSA As Melissa talks, a drop of blood runs from the corner of her mouth.
MELISSA
(weakly)
It was him...It was Michael Myers...
He's gone.
PETER
Oh hell...
ANGLE ON PETER Peter stares down at Billy's body.
PETER'S POV Billy's body remains still. Billy's keys are missing from his belt loop.
CLOSE-PETER
PETER
His keys are gone.
INT. OFFICE
Jack turns and looks at Peter.
JACK
Stay with her...I've got to stop
him before he gets out of the
building.
(to Melissa)
You hang in there. You're gonna
be fine.
Jack steps past Peter and hurries out of the room, drawing his revolver.
INT. LITCHFIELD-HALLWAY
Jack runs quickly down the hallway passing through an open door, a sliding door that has been
unlocked. He glances worriedly at the metal bars as he passes through.
EXT. LITCHFIELD-NIGHT
The glass doors of the main entrance swing outward suddenly as Jack bursts through them. He
looks around and then begins to run down a sidewalk that runs along the exterior of the
building. We follow him from the side, briefly, down the sidewalk. As he passes a sign on the
outside wall of the building, CAMERA holds on it. It reads:
PARKING
->
INT. PARKING GARAGE
Jack runs into the parking garage and stops to look around.
JACK'S POV The parking lot is huge, made to seem even larger by the lack of cars. Only a
handful of automobiles are scattered throughout the garage. No sign of movement anywhere. As
Jack's gaze passes over the room, a hand can be seen protruding from behind the tire of a car
in the center of the garage.
ANGLE ON JACK as he runs quickly across the garage to the car, his footfalls echoing across the
silent room.
JACK'S POV as we round the edge of the car. The dead body of an elderly man is lying there.
ANGLE ON JACK
JACK
DR. SULLIVAN!
Jack kneels beside Dr. Sullivan.
JACK'S POV Sullivan's throat has been slashed. A blood-stained letter opener lays on the
concrete floor beside him.
CLOSE-JACK/SIDE A motor roars to life, unnoticed by Jack. Suddenly, a bright yellow light
illuminates Jack's cheek and he jerks his head around in search of its source.
JACK'S POV As tires squeal, an automobile bears down on Jack, headed straight at us.
CLOSE-JACK Terror fills Jack's face as the car speeds toward him, the bright headlights
reflected in his eyes.
ANOTHER ANGLE ON CAR as the automobile continues to head toward Jack.
ANGLE ON JACK Jack leaps out of the car's path just as it roars by.
Jack bounces back to his feet and takes aim at the car as it speeds away. Shots ring out as
Jack fires his revolver.
JACK'S POV The car zooms away, untouched by the bullets, and out of the garage.
INT. PARKING GARAGE
Jack holsters his revolver and grabs the radio from his side.
JACK
(shouting into the radio)
Main gate! He's headed your way!
Bastard tried to run me down!...
It's Michael Myers.
EXT. LITCHFIELD SANITARIUM-NIGHT
The dark-colored sedan races quickly down the paved road toward the main gate.
THE SHAPE'S POV A large metal gate looms up against the night sky. A small building stands next
to the road just inside the gate. Two uniformed security guards hurry out of the building and
stand in front of the gate, revolvers aimed at the speeding vehicle.
The car's headlights illuminate the faces of the guards as the vehicle rushes toward them.
ANGLE ON GUARDS' REVOLVERS Sparks fly from the revolvers as the guards fire their weapons.
THE SHAPE'S POV The windshield is cracked as a bullet smashes into it. The main gate is fast
approaching.
ANGLE ON CAR The guards bolt out of the way as the automobile careens past them and slams into
the gate.
ANGLE ON GATE-EXT. The gate smashes into pieces as the vehicle bursts through it onto the main
road. CAMERA passes over top of car and spins around, watching it disappear into the night, red
taillights slowly fading away.
INT. LITCHFIELD-HALLWAY-EARLY FOLLOWING MORNING
Policeman and detectives stand everywhere, talking to various hospital officials and employees.
A paramedic pushes along a gurney, a white sheet draped over the dead body it contains. We
DOLLY down the crowded hallway and through a doorway into the office. The ransacked room has
been straightened up somewhat, but scattered papers still line the floor and blood the walls,
evidence of the atrocities committed here only hours before. A weary, bespectacled man, CHIEF
ADMIN. ROGER HOFFMAN, stands in the center of the room. CAPT. JOSH TYLER, a 31 year-old
policeman, is half-perched on the edge of the newly-upright desk listening intently to the man
speak. CAMERA TRACKS toward the two men.
HOFFMAN
...told them this would happen.
You bitch and complain all you want,
but no one will listen until something
like this happens....I have been
requesting money for security
improvements for the past three years,
but no one listens...Ever since the
state shut down Smith's Grove, we have
been overrun with patients, and inadequate
facilities to contain them..Understaffed
and overworked..Well, I won't be held
responsible for this, I will tell you that
right now..
Tyler looks patiently at Hoffman.
TYLER
Well, no one's blaming you, Dr.
Hoffman. We just need some information
on where you think he's headed. We
have an APB out on Sullivan's car,
but I'd like to get your input as to
where you think he's going just in
case he slips by us. Do you think he's
headed back to Haddonfield?
Hoffman removes his glasses and rubs his eyes.
HOFFMAN
I'd say that's a safe assumption.
Myers returned there the last two
times he escaped, in 78 and then
again in 88.
TYLER
Why Haddonfield?
Hoffman returns his glasses to his face.
HOFFMAN
I've worked with him for the past
few years since Dr. Loomis'..that
was Myers' previous psychiatrist..
since Loomis died of a heart attack.
Myers is obsessed with killing every last one
of his family members. In 78, he went
after his sister, Laurie Strode, and
ten years later he tried to murder Laurie's
daughter, Jamie Lloyd. Finally, got her,
too...The only living relative Michael
has left is Jamie's son, Steven..He was
adopted by a couple in Haddonfield after
Jamie died...Not sure the name of the
couple, you'd have to speak with the
adoption agency in Haddonfield
for that information.
TYLER
So you think it would be best to
concentrate our efforts on Haddonfield?
HOFFMAN
Yes. You also might want to consider
notifying Kara Strode. Laurie was her
adopted cousin. Michael stalked Kara and
her son Danny the last time just before we
captured him. They were protecting Jamie's
baby. She still lives in Haddonfield,
attends the university there.
Tyler stands up from the desk.
TYLER
Do you have an address or phone number
where she can be reached?
HOFFMAN
(nodding)
Yes, we should have a phone number on
file in Michael's records..
Hoffman moves over to the file cabinets, and pulls open a drawer. He begins rummaging through a
number of files.
VOICE
(from off camera)
Captain Tyler?
Tyler turns to look.
TYLER
Yeah, what is it?
TYLER'S POV The voice belongs to a POLICEMAN who now steps toward Tyler.
POLICEMAN
Got news. Highway Patrol just located
Dr. Sullivan's car.
CLOSE-TYLER Tyler raises his eyebrows.
TYLER
Where?
POLICEMAN
At a truck stop about thirty miles north
of Granite City. No sign of Myers though.
TYLER
Do they have any idea where he might
have gone from there?
TYLER'S POV
POLICEMAN
Not yet. They're working on that
now.
HOFFMAN
(from off camera)
Captain Tyler...
Tyler looks from the policeman to Hoffman.
TYLER
Yes?
HOFFMAN
Michael's file is gone.
ANGLE ON TYLER
TYLER
What do you mean "gone"?
ANGLE ON HOFFMAN
HOFFMAN
Just what I said. I mean his file
is gone...I can't seem to find it.
We have all of our records on our
computer database as backup, but..
ANGLE ON DESK Both computer monitors rest on one of the desks. The screens on both are smashed
and cracked.
HOFFMAN
...it may take awhile.
CLOSE-TYLER Tyler looks worried.
TYLER
Now where do you suppose that file got
off to?
INT. PICKUP TRUCK-DAWN
A manila folder lays on the passenger seat. As CAMERA pulls back, a label becomes visible at
the top. It reads:
Myers, Michael A.
CAMERA PANS away from the folder and across the dash of the pickup. A horribly scarred hand
clutches the steering wheel tightly. It is the hand of the shape.
EXT. PICKUP TRUCK-HIGHWAY 27-DAWN
A dusty old brown pickup truck speeds down the highway. As the truck passes by, CAMERA PANS
over to the side of the road. An old weatherbeaten road sign stands against the dark, brooding
clouds, just becoming visible as the darkness evaporates. The sign reads:
WELCOME TO HADDONFIELD!
Enjoy your stay.
October 31, 1998
Halloween
EXT. UNIVERSITY OF HADDONFIELD-MORNING
It is a dreary late-October morning. Feathery gray clouds line the sky over the university
campus. Buildings stand tall against the white morning sky. CAMERA PANS down through the
almost-bare branches of a huge oak tree in the center of an open courtyard. The few leaves
still hanging rustle gently as the wind blows through them. Brownish-gold leaves cartwheel
across the ground below. A large statue stands in the middle of the deserted courtyard,
engraved with the words:
UNIVERSITY OF HADDONFIELD
Est. 1980
EXT. BROWN HALL
A large three story building looms up against the early morning sky. Large gold letters
attached to the brick side of the building read:
BROWN HALL
INT. BROWN HALL-KARA'S APARTMENT
KARA
Danny, are you ready to go?
We travel down a carpeted hallway and approach an open doorway. Running water and the sound of
someone brushing their teeth can be heard from beyond the doorway. We enter the door and we see
that it is a bathroom. A young woman dressed in a skirt and sweater, KARA STRODE, stands at the
sink, brushing her teeth. She stops briefly.
KARA
(louder)
Danny?...
DANNY
(calls from off camera)
Yeah, Mom?..
Kara stoops, spits in the sink, and rinses her mouth out. Once done she grabs a bottle of
perfume from the cabinet and sprays a few squirts onto her wrists and rubs them together.
KARA
Are you ready to go yet?
Kara smears perfume on her neck and steps out of the bathroom. We follow her down the hall
through the living room into the kitchen. DANNY STRODE, eleven, sits in the middle of the small
room at a table writing.
DANNY
Yeah, I was just trying to finish up
some homework. I can work on it on the
bus though.
Kara walks over to the table and picks up a bowl of milk in one hand and a box of cereal in the
other.
KARA
We're gonna have to get a move on or
I'm gonna be late for class.
Kara walks to the sink and places the bowl inside, then stoops and returns the cereal box to
the cabinet.
Danny closes his textbook and places it in a backpack laying on the table.
DANNY
Alright, I'm ready.
Kara grabs her backpack hanging on the back of one of the chairs and slings it over her right
shoulder. She rummages through one of the pockets of the backpack and looks up at Danny.
KARA
You seen my keys anywhere?
Danny stands up and begins to put on his coat.
DANNY
Yeah, I think they're on the bar.
Kara walks over and scans the bar. She spots the keys and scoops them up.
KARA
Here they are. Let's go.
EXT. KARA'S APARTMENT
The apartment door opens and Danny walks through, backpack over his shoulder. Through the door,
we see Kara hurriedly turn off the kitchen light and then she follows Danny out of the
apartment. She turns and pulls the door shut. After fumbling with her keys for a moment, she
inserts one into the lock and turns it. She withdraws the key and drops the keyring into the
pocket of her sweater. As she turns to leave, the phone begins to ring inside the apartment.
KARA
Great!
As Danny paces impatiently, Kara pulls the keys back out of her pocket and begins searching for
the right key again.
DANNY
Mom, I'm gonna miss the bus.
Kara looks at Danny, then at her watch, and sighs.
KARA
I guess you're right. The machine
can get it.
Kara returns the keys to her pocket and follows Danny down the hall.
INT. KARA'S APARTMENT
CAMERA PANS across the kitchen into the living room as the telephone continues to ring. The
phone sets on an endtable at the end of the sofa, with the answering machine right beside it.
CAMERA halts on the answering machine and slowly ZOOMS in. The phone quits ringing as the
machine picks up:
KARA'S VOICE
Hi, this is Kara. Danny and I
aren't home right now, but if you'll
leave your number and a brief message,
we'll get back to you as soon as we can.
When the message ends, a man's voice, Capt. Josh Tyler's voice, begins speaking.
TYLER
Kara, this is Captain Josh Tyler with
the Illinois State Police. Please give
me a call as soon as you get in. I can
be reached at area code 309, 555-1426.
It's urgent that I talk to you as soon as
possible.
EXT. BROWN HALL-MORNING
Kara and Danny walk down the sidewalk leading from Brown Hall.
DANNY
Are you working again tonight?
KARA
Yeah...I have to work until ten.
Danny, saddened, looks down at the sidewalk.
KARA
I'm sorry Danny...It won't be much
longer though. I graduate in a few
months and then I can get a real job
and we can spend more time together.
Danny remains silent.
Kara and Danny reach the end of the sidewalk and Kara stops. She takes Danny by the arm and
looks into his face.
KARA
I love you Danny..and I hate
being away from you all the time, but
we gotta eat, don't we? I can work
during the day after I've graduated, and
then I'll be home when you get
out of school everyday...I promise.
Danny continues to look at the ground. Kara takes his chin in her hand and pulls his face up
gently.
KARA
Look at me.
CLOSE-KARA
KARA
We'll be together soon...You know
that, don't you?
CLOSE-DANNY Danny nods his head slowly. His eyes shift to the left slightly.
DANNY'S POV Over Kara's right shoulder, a group of children has gathered waiting for the bus.
They are all dressed up in different Halloween costumes: clowns, princesses, and other
characters. Kara turns her head to look, and we FOCUS on her face as she turns back to Danny.
KARA
Is that what this is about?
CLOSE-DANNY Danny looks fearfully at Kara.
KARA
I'm sorry I have to leave you on
Halloween, but you won't be alone..
Nikki will be with you, and Danielle.
CLOSE-KARA
KARA
Please don't be mad at me...and don't
be scared. You have to forget about
what happened all those years ago.
Michael can't get to us now. He's
still locked up hundreds of miles away
from here. And I'll be here to protect
you, and Tommy too. Can you be brave
for me?
ANGLE ON DANNY Danny smiles.
DANNY
Okay Mom.
A loud ROAR muffles Danny's reply as a big yellow bus pulls up to the curb. The door opens and
costumed children begin to file on.
EXT. BROWN HALL
Kara pulls Danny to her and hugs him.
KARA
You better get going...I love you.
Danny pulls away from Kara.
DANNY
Love you, too.
KARA
No fear, right?
DANNY
(nodding)
No fear.
A young girl's voice, DANIELLE LANGFORD's voice, comes from off screen.
DANIELLE
Danny, you coming?
Danny looks over his shoulder.
DANNY
Yeah, I'm coming.
DANNY
(to Kara)
Gotta' go.
KARA
Okay. Don't forget: You're going
to Nikki's, and I'll be home at ten.
Danny runs to the curb and meets Danielle(also without a costume.) They disappear into the bus.
ANGLE ON KARA Kara watches as the bus pulls away from the curb and then looks down at her
watch.
KARA
Damn it!
As the wind blows leaves across the street, Kara pulls her sweater tight around her midsection
and hurries down the sidewalk. We DOLLY along the sidewalk beside her. As Kara walks along, she
passes a dirty brown pickup truck parked on the opposite side of the street.
EXT. DOYLE RESIDENCE-MORNING
A small white house sits back off the main street. Surrounding the perimeter of the yard is a
large hedge. A porch runs the entire length of the front of the house. A sidewalk that runs up
to the porch divides the leave-covered yard in half.
INT. DOYLE RESIDENCE-BEDROOM
An alarm clock blares loudly. The time on the clock reads 8:00 am. As the alarm continues to
sound, a man's hand comes into view and fumbles for the off button. The hand can't quite get a
hold of the clock, and instead, knocks the clock off of the nightstand to the floor below. The
alarm ceases ringing. CAMERA follows the hand as it is withdrawn. We see that the hand belongs
to TOMMY DOYLE, our hero from the previous film. Tommy pulls the covers up around his neck and
rolls over, away from CAMERA. CAMERA turns from Tommy and tracks down the bed as a woman,
KRISTEN DOYLE, 26, enters the bedroom from an open doorway. She is dressed in a flannel robe
and has her blonde hair pulled back in a clip. Kristen stops at the foot of the bed.
KRISTEN
It's eight Tommy. You gotta get up.
Tommy remains motionless, but mumbles something undistinguishable from under the blankets.
Kristen looks puzzled, then rolls her eyes.
KRISTEN
Are you gonna get up or am I gonna
make you get up?
Still no movement.
KRISTEN
Okay, Doyle. You asked for it.
Kristen crouches and crawls onto the bed stealthily. She moves in close to Tommy's ear and
begins to nibble on his earlobe. Tommy moans.
CLOSE-TOMMY Tommy, laying on his side, cracks a smile and opens his eyes as Kristen, behind
him, moves on to his neck.
TOMMY
Miss Doyle, what do you think
you're doing?
KRISTEN
(pausing briefly from kissing)
The alarm clock didn't seem to do
the trick, so I thought maybe it was
time for a new wakeup call.
INT. BEDROOM
Tommy rolls over quickly onto his back and pulls Kristen's face down onto his own.
TOMMY
Well, if this one doesn't work, I
don't know what will.
Kristen giggles and straddles Tommy as they begin to kiss more passionately. Tommy pulls the
clip out of Kristen's hair and her long blond hair spills down around her face.
UNKNOWN POV We TRACK down the hall and into the bedroom slowly as an unseen figure approaches.
Tommy and Kristen continue to kiss.
SIDE-TOMMY AND KRISTEN Tommy brushes the hair gently off of Kristen's cheek.
KRISTEN
I love you, Tommy.
Tommy takes a break from kissing long enough to reply.
TOMMY
I love you too, Kristen.
They continue to kiss. Suddenly a child's head, three year old Steven's head, slowly pops up
from the edge of the bed, visible between Tommy and Kristen. He stares at the two.
STEVEN'S POV As Tommy and Kristen continue kissing, Tommy looks out of the corner of his eye at
Steven.
TOMMY
Honey..
Kristen continues to kiss on Tommy's face.
KRISTEN
Shut up, Doyle.
TOMMY
Hon...
KRISTEN
What is it?
TOMMY
Honey, I think we have an audience.
Kristen eases up a bit. She glances briefly at Steven and, it not quite registering, looks back
at Tommy. Kristen looks again, and does a double take.
KRISTEN
Steven!...
KRISTEN'S POV Steven continues to stare over the edge of the bed.
STEVEN
Mommy, I gotta pee.
SIDE-KRISTEN AND TOMMY Kristen looks down at Tommy and sighs.
TOMMY
Mommy, he's gotta pee.
KRISTEN
Never a dull moment....Alright,
brat, let's go.
Kristen climbs off of Tommy and scoops Steven up in her arms.
Tommy throws the covers back and sits upright, swinging his feet to the floor. We follow Tommy,
dressed in a gray t-shirt and a pair of checkered boxers, as he gets out of bed and walks
across the bedroom toward a bathroom that adjoins the bedroom.
TOMMY
Guess I'll hit the shower.
ANGLE ON KRISTEN As Kristen scuddles Steven out of the bedroom, she casts Tommy a mischievious
grin.
KRISTEN
Better make it a cold one, Doyle.
KRISTEN'S POV Tommy gives Kristen a sarcastic smile and disappears into the bathroom.
INT. DOYLE RESIDENCE-KITCHEN
ANGLE ON KRISTEN Kristen sits at a table in the center of the room reading the local newspaper,
the Haddonfield Chronicle. A plate of half-eaten grapefruit rests on the table before her.
Kristen reads intently. After a second, she lowers the newspaper and peers over the top of it
at Steven.
KRISTEN'S POV Steven sits in his highchair, nosing through a bowl of oatmeal. Smears of the
pasty oatmeal line his cheeks and a drop dots his nose. He looks up at Kristen and grins.
INT. KITCHEN
KRISTEN
(smiling)
Kind of makin' a mess there aren't
ya', brat?
STEVEN
(innocently)
No..
Tommy walks into the room from the living room. He is now fully dressed in a khaki policeman's
uniform. He is carrying his belt and his gun in his hand.
Kristen looks up at Tommy.
KRISTEN
Hey handsome. You heading out?
Tommy fastens his belt around his waist and buckles it.
TOMMY
Yeah, I've gotta get going.
KRISTEN
Riley called while you were in the
shower.
TOMMY
What'd HE want?
Kristen folds up the newspaper and sets it down on the table.
KRISTEN
Joe Miller called the station...
Apparently, they had a break-in at the
adoption agency during the night.
Tommy looks up from buckling his belt, startled.
KRISTEN
He wanted to know if you'd go by and
check it out on your way in.
Tommy remains silent, looking worried.
CLOSE-KRISTEN Kristen stares intently into Tommy's face.
KRISTEN
I know what you're thinking..and
you should put it out of your head.
You talked to Sullivan last
night and everything was fine.
INT. KITCHEN
TOMMY
...You're right..it's probably nothing.
Tommy opens the chamber in his revolver and peeks inside. He then closes it and places it in
the holster on the side of his belt.
KRISTEN
Tommy, you don't sound convinced.
TOMMY
I can't help but worry. You know
that.
CLOSE-KRISTEN
KRISTEN
I know that...I know you, too, and I
know that you sometimes get yourself
all worked up over nothing.
CLOSE-TOMMY as he stares into his wife's face, thinking.
KRISTEN
You always get jumpy this time of year.
But you have nothing to be afraid of.
TOMMY'S POV-KRISTEN
Two Halloweens have passed, and he hasn't
even tried to escape. Why should this
year be any different?
CLOSE-TOMMY After a moment, Tommy cracks a small smile.
STEVEN
(from off camera)
What's wrong, Daddy?
INT. KITCHEN
Tommy's smile widens as he moves over and picks Steven up out of the highchair.
TOMMY
Nothing's wrong with ME, brat, but
it looks like you've had a little
accident there.
Tommy picks up a wet towel laying on the table and wipes the smudges of oatmeal off of Steven's
cheeks and nose. Steven makes an ugly face and tries to resist.
Kristen stands up and steps over to Tommy and Steven.
KRISTEN
Looks like somebody needs a bath.
STEVEN
No way, Hose'.
TOMMY
I think so, brat...Daddy's gotta
go though. Looks like it's just you
and Mommy.
Tommy hands Steven to Kristen.
TOMMY
I do have to go.
Tommy grabs his coat off of a rack by the kitchen door and pulls it on.
Kristen sets Steven down on the floor and walks over to Tommy. She grabs his collar and kisses
him. After a moment, she breaks away and looks into his face.
KRISTEN
And remember what I said.
CLOSE-TOMMY Tommy looks into Kristen's face.
CLOSE-KRISTEN
KRISTEN
You are the Sheriff after all.
CLOSE-TOMMY
TOMMY
For now. If Riley has his way I won't
be for long.
ANGLE ON TOMMY'S HAND as he pulls his badge out of his coat pocket. CAMERA follows the badge as
Kristen takes it from him, and attaches it to his chest.
INT. KITCHEN
KRISTEN
I wouldn't worry about Riley. No one takes
that pompous asshole seriously anyway.
Tommy laughs.
KRISTEN
And don't worry about Michael either.
This day'll be over before you know it.
TOMMY
I love you.
KRISTEN
I love you, too.
ANGLE ON KRISTEN'S HAND Kristen slides her hand down from Tommy's shoulder to the handcuffs
that hang from his belt.
CLOSE-KRISTEN
KRISTEN
(smiling mischieviously)
And tonight when the Sheriff gets home,
maybe he can use these on me.
CLOSE-TOMMY Tommy grins.
TOMMY
You can count on it.
INT. KITCHEN
Tommy gives Kristen a quick kiss and then turns to go.
TOMMY
(to Steven)
Bye squirt.
Steven looks up from some blocks he's playing with.
STEVEN
Bye Dad.
Tommy opens the door and leaves the house.
EXT. LITTLE JOHN'S TRUCK STOP-MORNING
The sky begins to lighten as a bright yellow sun peeks through the dreary gray clouds. CAMERA
CRANES down from the sky and a large building, long since deserted, comes into view. A
dilapidated sign hangs precariously from the building's roof. It reads:
LITTLE JOHN'S TRUCK STOP
Food Gas Showers
Large bundles of weeds jut up around the building and in various patches across the dirt
parking lot. The wind blows dust across the barren ground. A number of Illinois State Police
squad cars are scattered across the expanse of the lot. Officers roam the area, some with dogs.
Dr. Sullivan's abandoned car sets to one side of the building. CAMERA travels over to the front
doors of the building, one of which is shattered. The glass doors open, and Captain Josh Tyler
emerges from the interior of the building, followed by a group of other officers. We follow
Tyler as he makes his way over to Sullivan's smashed car, where two officers continue to pore
over the interior of the vehicle.
TYLER
Anything we can use yet?
OFFICER1 cranes his head from the inside the vehicle.
OFFICER1
No, nothing, sir.
OFFICER2 climbs from the passenger side of the car. He rests his arms on the roof of the car
and peels off a pair of plastic gloves.
OFFICER2
Did you find anything inside?
TYLER
Just some empty cans of food and Myers'
hospital gown. Nothing to clue us in
on where he's headed or what he's driving.
I tried to get ahold of Kara Strode,
but she must have already left for class.
I just pray to God that..
VOICE
(bellowing from off screen)
Captain Tyler!...I've found something!
Tyler jerks his head around to look in the direction of the voice.
TYLER'S POV An officer is standing near the back of the building waving him over.
ANGLE ON TYLER Tyler runs over to the rear of the building, other officers following.
TYLER'S POV At the rear of the truck stop, a small opening leads down underneath the building.
The officer that had been motioning at him is kneeling next to the opening pointing inside.
OFFICER3
Oh my God, sir! I noticed the hole and
shined my light in and....
EXT. TRUCK STOP
TYLER
Well, what is it?!
OFFICER3 hands Tyler a flashlight.
OFFICER3
..See for yourself.
Tyler takes the flashlight, kneels down to the opening, and shines the light into the gaping
hole.
TYLER'S POV The flashlight beam at first only illuminates cement blocks and rusted pipes, but
as the beam moves over, a body comes into view. The back of a body. As the beam travels up from
the man's backside, up over his shoulders, the man's face becomes visible.
TYLER
Holy mother of God...
The man's head has been completely turned around on his shoulders. A swollen tongue juts out of
the mouth and the man's glassy eyes stare into the CAMERA. On his forehead, a word, barely
determinable, has been carved. The word SON.
INT. FRIENDSHIP ADOPTION SERVICES
JOE MILLER
I'm glad you could come by so quick
Tommy. I really appreciate it.
Tommy and Joe Miller, 53, are standing in the foyer of the rather cramped adoption agency. A
few chairs line one wall of the room and a sofa rests in the center of the foyer. A few plants
are scattered around the room.
TOMMY
That's no problem, Joe.
Joe Miller, the owner of the adoption agency, reaches out.
JOE
Can I get your coat?
TOMMY
(shaking his head)
No, that's okay. Can you show me
where you think they got in?
JOE
Sure. Follow me.
As Tommy follows, CAMERA TRACKS behind the two men back through a reception area, into a small
office.
JOE
How's that good-lookin' wife of
yours doing?
TOMMY
Kristen, she's great. And as
spunky as ever.
Joe points to the back wall of the office, where a window has been shattered, shards of broken
glass jutting out from the wooden frame.
JOE
I think they came in through this
window.
Tommy walks over and inspects the window, pulling on a pair of latex gloves.
JOE
Yeah, she is a spunky one, alright.
..And how's the little tyke doing?
TOMMY
Steven's good, too. Not so little
anymore, though..Any idea what time
this happened?
JOE
Well, we closed up at 5pm yesterday
afternoon, and I came in at about
quarter o' eight this morning, so
I guess it could have been anytime in
between then.
Joe stoops down and begins shuffling papers together into a pile.
TOMMY
Anything stolen?
Tommy turns from the window and scans the room.
TOMMY'S POV File cabinets stand open, folders jutting out. A large potted fern lays on its
side, soil spilled out onto the carpet. The desk in the center of the room is in shambles.
ANGLE ON JOE as he stands up and flips through the stack of papers he has accumulated.
INT. OFFICE
JOE
No, not that I can tell...Everything's
just been ransacked...Uh...
TOMMY
What is it, Joe?
JOE
...There's also one other thing..I..
Probably be better if I just show you.
Joe walks back into the outer reception area as Tommy follows. CAMERA TRACKS after them.
JOE
Here..
Joe points to a desk in the corner of the room. We move in on the desk. A large butcher knife
stands erect on the desktop. The blade of the knife has been pounded through a sheet of paper
and into the desk.
ANGLE ON TOMMY Tommy moves forward and gently prys the large knife free from the desk. He pulls
out a plastic bag from his coat pocket and drops the knife inside, sealing it when he's
finished. Tommy lays the bag containing the knife down on the desk and picks up the paper.
CLOSE-TOMMY as he brings the document up to his face to read.
TOMMY'S POV Bold black letters at the top of the document read:
ADOPTION DECREE
CLOSE-TOMMY As Tommy realizes what the paper is, his face contorts into a worrisome frown.
TOMMY'S POV Further down the page, the words STEVEN LLOYD and TOMMY and KRISTEN DOYLE jump out
at him.
CLOSE-TOMMY Barely noticeable, Tommy's bottom lip begins to quiver.
JOE
I don't know if this is someone's
idea of a sick joke or what..
As Joe goes on, Tommy bites down on his lip, and whispers softly to himself.
TOMMY
Get a hold of yourself, Doyle.
INT. RECEPTION AREA
JOE
Little pricks...If it is I intend to..
Joe furrows his eyebrows and leans in closer to Tommy.
..Did you say something Tommy?
Tommy turns and looks at Joe.
TOMMY
Huh?..Oh..No..I just want to
find the sick bastard who did this.
I'm gonna take the knife down and see
if I can get some prints off of it.
Do you mind if I take this?
Tommy holds up the document.
JOE
No, no. Go right ahead.
Tommy peels off his latex gloves, careful not to leave prints on the document.
TOMMY
And whoever's responsible better hope
they don't have a record.
Tommy picks up the plastic bag containing the butcher knife and turns to leave.
TOMMY
Thanks for your help, Joe. I'm
gonna run these down to the station.
I'll send a couple of guys over to dust
for prints in the office and to take your
statement.
Tommy walks out of the office, followed by Joe. After they leave CAMERA PANS down to the
receptionist's desk, where a jack-o-lantern grins, its gaping mouth filled with jaggedly-carved
teeth.
INT. WITHERSPOON HALL/CLASSROOM-AFTERNOON
A green chalkboard hangs at the front of the room. The words "fate" and "destiny" are scrawled
across the board in yellow chalk. We glide over from the chalkboard to a woman, PROFESSOR
LINDSEY WALLACE, standing at a podium lecturing. As she speaks, CAMERA PANS back through the
classroom.
PROFESSOR WALLACE
What Samuels is really talking about
here is fate. Fate caught up with several
lives here. No matter what course of
action Collins took, he was destined to
his own fate, his own day of reckoning.
The idea is that destiny is a very real,
very concrete, thing.
Numerous aisles, full of young adults staring intently at Professor Wallace, run lengthwise the
expanse of the room. In the back corner of the classroom sits Kara Strode, staring out the
window.
KARA'S POV The street runs along the side of the building two stories below. Kara's gaze
travels down the street. Cars, all different models and colors, line both sides of the street.
On the opposite side of the street, about fifty feet down the block, a dirty brown pick-up
truck is parked.
ANGLE ON KARA As Prof. Wallace continues to speak, Kara continues to stare out the window.
PROFESSOR WALLACE
Samuels personified fate. In Samuels'
writing, fate is immoveable, like a
mountain. It stands where man passes
away. Fate never changes.
KARA'S POV A figure, undistinguishable, sits inside the pickup, staring at the building.
Suddenly, the truck roars to life and pulls out onto the street. As Kara continues to watch,
the truck cruises by, picking up speed as it goes.
INT. CLASSROOM
Kara turns back to the front of the class. A hand reaches out and touches her on the left arm.
Kara turns her head to look in that direction, startled.
KARA'S POV NIKKI LANGFORD, 29, sits in the desk next to Kara.
NIKKI
You okay?
NIKKI'S POV Kara brushes her long brown hair behind her ear with her hand and smiles.
KARA
Yeah, I'm fine.
INT. WITHERSPOON HALL/HALLWAY
Kara and Nikki walk side-by-side down the long hallway, occasionally stepping aside, dodging
other students. Nikki looks over at Kara.
NIKKI
Are you sure you're okay?
Kara glances at Nikki.
KARA
Yeah. Really, I'm fine. Halloween
just kind of gets to me...makes me notice
things that I otherwise wouldn't pay
any attention to.
NIKKI
Well, that's understandable considering
all that you've been through. How's
Danny doing?
KARA
He's alright. He had some problems
this morning, but we had a talk and I
think he'll be okay now.
Kara steps aside quickly as a young man comes between her and Nikki.
KARA
I just wish I could get him to get
into Halloween again...Maybe even dress
up like all the other kids...Is Danielle
going to trick-or-treat tonight?
NIKKI
(laughing)
No, she informed me this morning that she's
outgrown trick-or-treating. I don't think
she'd be caught dead out begging for candy.
Kara and Nikki reach the end of the hall and stop, turning to face each other.
CLOSE-KARA
KARA
You sure it's alright if Danny comes
over again tonight?
CLOSE-NIKKI
NIKKI
Yeah, it's fine, Kara. Don't worry
about it.
DOLLY quickly down the hall toward the two women, who have their backs turned.
KARA
It's just, I've been working almost
every night and Danny seems to be...
INT. HALLWAY
A dark-haired young man, WESLEY ROBERTS, suddenly appears behind Kara and Nikki, throwing his
arms around their shoulders.
Startled, Kara jumps and turns quickly to face Wesley.
KARA
Wesley!..OOOHH, you scared me.
Kara slaps him lightly on the cheek.
Wesley, 21, laughs.
WESLEY
Sorry gals..How are my two favorite
single moms doing?
Nikki punches Wesley in the chest.
NIKKI
I'm gonna kill you one of these days,
you know that, don't you?
WESLEY
I said I was sorry. Are you guys
coming to the big Halloween bash at
Rusty's tonight?
KARA
Sorry guy, I'm working.
Wesley turns and looks at Nikki.
WESLEY
What about you, Nik?
Nikki runs her hand through her short red hair.
NIKKI
I have to, uh, wash my hair
or something.
Kara giggles and cuts a knowing glance at Nikki.
Wesley rolls his eyes.
WESLEY
Aw, come on, Nik. You can do better than
that.
NIKKI
No, seriously Wes, I'm babysitting
tonight. Danny and Danielle.
Wesley removes his arms from Nikki and Kara's shoulders and pulls away from them.
WESLEY
You guys need to loosen up a little
bit. Have some fun, come out and play
with us. It's gonna be a blast.
NIKKI
Sorry, but we can't. I'm sure you'll have
plenty of fun playing with yourself though.
Kara and Nikki grin.
WESLEY
You gals are always sweatin' me. Alright
then. If you change your mind,you know where
to find me.
NIKKI
The local brothel?
As Wesley leaves the building, he cuts Nikki a sneering grin over his shoulder..
KARA
(laughing)
Bye Wes.
NIKKI
You know that boy is in love with you,
don't you?
Kara smiles.
KARA
Wesley?..He's just a kid. Besides, right
now, I barely even have time for Danny.
Kara glances down at her watch.
KARA
I've got to go, Nik. Got Human
Behavior in a few minutes.
NIKKI
I gotta get, too.
Nikki steps forward and hugs Kara.
You don't worry about, Danny. He's
gonna be fine.
KARA
I hope you're right.
Kara pulls away from Nikki and begins to back toward a door behind her.
NIKKI
I'm always right. Don't worry.
KARA
I'll try not to. I'll be over to
pick Danny up a little after ten.
NIKKI
Okay, whenever. We're just across the
hall.
KARA
See ya' later, Nik. And thanks for
everything. If you need me, you know
the number at the library.
NIKKI
(waving)
No problem, Kara. See you tonight.
Kara turns and pushes open a door, exiting the building. The door whooshs shut behind her.
INT. HADDONFIELD POLICE STATION-TOMMY'S OFFICE-AFTERNOON
A man's hand dials a touchtone phone. As he finishes CAMERA PANS up and we see that it is Tommy
Doyle. He holds the receiver close to his face and listens intently, all the while chewing on
his lip. Tommy sits in a chair behind a big wooden desk. A computer rests on the desktop, along
with the telephone and various stacks of papers.
VOICE
(over the phone)
You have reached Litchfield Sanitarium.
All of our lines are momentarily busy.
Please hold the line or try again later.
Tommy slams the receiver down in the cradle, looking frustrated.
TOMMY
DAMN IT!
The voice of DEPUTY RILEY OWENS, comes from offscreen.
OWENS
Easy, fella.
Tommy looks up from the desk.
INT. TOMMY'S OFFICE
25 year-old Riley Owens steps into the office.
OWENS
You should try to calm down just a
little bit there, Doyle.
Owens leans up against the door frame.
TOMMY
What do you want, Riley?
OWENS
Nothing, Doyle. Just seeing how
you were doing?
Tommy looks agitated.
TOMMY
I've been calling Litchfield for the past
half hour and haven't gotten through yet.
Owens steps over and drops down into one of the two chairs that set in front of Tommy's desk.
OWENS
Again with the Michael Myers? This is getting
pathetic. You really shouldn't get yourself
all worked up, Doyle. It's probably
nothing.
TOMMY
You're probably right, but you really
shouldn't be telling me what to think.
ANGLE ON OWENS Owens stares at Tommy.
TOMMY
Any word on those prints yet?
OWENS
(continues to stare)
Nope. The lab boys are still checking
on em. Probably just some kids havin'
a little fun with the sheriff is all.
ANGLE ON TOMMY Tommy opens a desk drawer and pulls out the plastic bag containing the knife. He
opens the bag and removes the large butcher knife, examining it.
TOMMY'S POV Tommy takes the knife between his two middle fingers, one at the tip of the handle,
the other at the tip of the blade, and turns the knife over. His haunted reflection is visible
in the shiny metal surface.
CLOSE-OWENS
OWENS
That's a big knife you got there,
Doyle. You better put that thing away
before somebody gets hurt with it.
CLOSE-TOMMY looks up at Owens over the blade.
TOMMY
No one's gonna get hurt as long as
everyone stays off my back.
CLOSE-OWENS, catching Tommy's meaning, shifts nervously in his seat.
INT. TOMMY'S OFFICE
Tommy drops the knife onto the desktop and stands up, pulling his jacket on.
TOMMY
Well, I can't sit around here all day. If
the prints come back, give me a yell.
Tommy steps from behind his desk and heads for the office door.
OWENS
Now where are you going?
Tommy turns and looks back as he walks out the door.
TOMMY
I've gotta check something out.
OWENS
Oh, let me guess...The Myers place?
INT. MAIN LOBBY
Without answering, Tommy walks past Owens and onward through the main lobby of the police
station. A few desks line the wall on the right. On the left a large counter runs the length of
the room. Behind the counter, file cabinets line the wall and a woman sits at a desk. The
woman, a secretary, stands up as Tommy moves by.
TOMMY
Lucy, I'm going to be out for a while.
Keep trying Litchfield for me, would ya?
The secretary, LUCY, nods.
LUCY
Sure, Sheriff.
Owens appears in the doorway to Tommy's office.
OWENS
You know Doyle, if you spent half as much time
worrying about Haddonfield as you did
this Myers vendetta, we might get something
done around here.
Tommy turns and looks sternly at Owens.
TOMMY
(shouting)
BACK OFF, RILEY!
A group of officers standing close to the main entrance stops talking and turn their heads to
look. Owens stands silent and continues to stare at Tommy, an unmistakeable hatred burning in
his eyes. The room is silent. Tommy, noticing everyone staring, lowers his voice.
TOMMY
Alright?...Just back off...Lucy, call
if there's any word on those prints.
Tommy turns and quickly stalks across the lobby. The group of officers standing by the main
entrance watch quietly as Tommy passes by them. Tommy shoves open the main doors and exits the
police station.
OWENS
Fucking psycho sheriff.
Owens steps out of the doorway and walks over to the counter where Lucy stands mouth open.
LUCY
Riley, one of these days you're gonna
push him too hard...
OWENS
I know and then I'll be the sheriff.
LUCY
If you're not dead.
Owens leans on the counter.
OWENS
I should be sheriff already. The only
reason he won the election is because he
helped capture Myers.
LUCY
Yeah, we've all heard it before. But you're
not the sheriff, so you should give Tommy
a little more respect. He's a nice guy.
OWENS
He's a fucking nut and you know it.
(louder now)
We all know it. But I'm the only one
brave enough to say it.
Lucy looks at Owens and rolls her eyes.
EXT. UNIVERSITY OF HADDONFIELD-CORLEY HALL-LATE AFTERNOON
We pan down on a large two-story building. Large gold letters on the side of the building read:
CORLEY HALL
Kara emerges from the building and heads right, down a sidewalk that runs adjacent to the
street. A girl calls out from behind Kara.
GIRL
Bye Kara. Are you going to Rusty's
tonight?
Kara continues on, but glances back over her shoulder to speak.
KARA
Nah, I've got to work. Actually, I'm
headed there right now.
GIRL
Bummer. Well I'll see you tomorrow then.
KARA
Bye.
We DOLLY alongside Kara as she walks briskly down the sidewalk. The large campus passes by in
the background. A large statue is visible in the center of the open courtyard.
KARA'S POV The sidewalk runs straight along the street for about thirty feet, then curves
gently to the right where it cuts a path across the courtyard. A gust of wind blows leaves
dancing through the late afternoon air in front of her.
DOLLY along next to Kara from opposite side as she continues to walk down the sidewalk. Over
Kara's shoulder, a dirty brown truck appears on the street. It moves along slowly, just behind
Kara, out of her view. A dark form is visible in the driver's seat. Another gust of wind causes
her backpack to slip off of her shoulder slightly. She reaches and hoists the strap back up.
DRIVER'S POV Kara walks along the sidewalk just ahead of the vehicle. The wind tugs on Kara's
dress causing it to billow up behind her.
CLOSE-KARA continues to move forward as the wind blows through her long brown hair. Kara
reaches into her sweater pocket and pulls out a ribbon. She uses it to tie back her hair. Over
her left shoulder, the truck continues to follow her.
KARA'S POV The sidewalk extends along the road a few more feet and then curves right away from
the street.
DRIVER'S POV Kara follows the sidewalk as it curves away from the street.
ANGLE ON KARA Kara walks quickly along, the brown pick-up truck shrinking in the background as
she gets farther away from the street. The truck suddenly accelerates and speeds off.
DRIVER'S POV Kara, now in the center of the courtyard, stops and turns to look as the truck
passes by.
ANGLE ON KARA from behind as the truck speeds away and disappears around a corner.
CLOSE-KARA stands still for a moment, looking worried, and then begins to walk forward again,
down the curving sidewalk.
EXT. LIBRARY/SIDE-LATE AFTERNOON
A large orange-brick building stands on top of a small hill. Huge white columns run from the
ground to the roof forming a small porch. A large tree stands on the opposite side of the
building, the trunk only partly visible because of the slope of the hill. A sidewalk leads from
the front of the library down the small hill alongside the tree. Kara's head emerges from the
shadow of the tree, then her chest and legs, as she treks uphill along the sidewalk. Kara
reaches the front door of the library and enters. CAMERA ZOOMS out slightly and we realize we
are looking into a mirror on the side of a pickup truck. We pan over slightly and a face
becomes visible in the mirror, the grotesque face of the shape.
EXT. MYERS HOUSE-LATE AFTERNOON
ANGLE ON TOMBSTONE An overgrown marble tombstone fills the screen. It reads:
In Loving Memory of Our Protector,
WILLIAM SAMUEL LOOMIS
Born Feb. 7, 1932
Died Oct. 31, 1995
May he watch over Haddonfield in death as he did in life.
Our view of the memorial is slowly obscured by the front fender of a police car as it pulls up
and comes to a stop. CAMERA PANS over slowly and we see through the open driver-side window
that the driver of the car is Tommy Doyle.
TOMMY
Lucy, Doyle here. Come in.
LUCY
(from over the radio)
Hey Sheriff. Lucy here.
TOMMY
I'm at the Myers house, Lucy. I'll be out
of the vehicle for a few minutes. Over.
LUCY
(from over the radio)
Copy that Tommy. Over and out.
Tommy climbs out of the squad car and slams the door. As he makes his way around the front of
the car, we CRANE up.
The old two-story Myers house looms up against the late afternoon sky. The front lawn is dense
with dead brown weeds. Dead grass juts up from cracks in the old sidewalk that leads up to the
front porch. Ivy clings in long strands to the faded and chipped white sides of the house. Many
of the windows have been shattered. Over to one side of the walkway stands the grave of Loomis.
CLOSE-TOMMY stops at the beginning of the sidewalk and looks up at the house, mystified but
terrified at the same time.
We hear a voice-over from the original Halloween.
YOUNG TOMMY DOYLE
You're not supposed to go up there.
LAURIE STRODE
Yes I am.
YOUNG TOMMY
Uh uh, that's a spook house.
Tommy shakes his head and walks slowly up the sidewalk, stopping upon reaching the porch steps.
TOMMY'S POV The windows on both sides of the door are shattered.
ANGLE ON TOMMY Tommy moves carefully up the steps and gingerly tests the footing on the front
porch. The old wood holds, and he steps up onto the porch.
TOMMY'S POV The front door of the house stands slightly ajar. Old rusted letters and numbers
hang to the upper right hand side of the door. They read:
45 Lampkin Lane
ANGLE ON TOMMY as he draws his revolver from his holster and cautiously pushes the front door
inward.
TOMMY'S POV as the door CREAKS open slowly. The foyer is visible beyond the open doorway. Tommy
moves forward into the foyer. Looking around, the walls are cracked and dusty. Wallpaper,
half-fallen, hangs upon them. The voice of Dr. Sam Loomis from Halloween whispers through the
empty room.
SAM LOOMIS
(voice-over)
I met this six-year old child with this
blank, pale, emotionless face, and the
blackest eyes..the devil's eyes. I realized
that what was living behind that boy's eyes
was, purely and simply, evil.
ANGLE ON TOMMY as he moves through the foyer to the right.
TOMMY'S POV A small, cobweb-infested room lies before us. Barren of furniture, what once was a
den now is an empty room.
INT. DEN
Tommy walks into the den and looks around.
TOMMY'S POV Through a door on the left wall of the den, a dining room is visible, and a kitchen
beyond. We hear a voice-over from Halloween 6.
DEBRA STRODE
What makes you think he'll come back here?
DR. SAM LOOMIS
This house is sacred to him. He has all his
memories here..his RAGE.
CLOSE-TOMMY looks around again and walks back across the den.
INT. FOYER
Tommy moves back into the foyer and turns, looking up a staircase that leads up to the second
floor. Tommy ascends carefully up the steps. Once again, we hear the voice of Tommy as a child.
YOUNG TOMMY
What's the boogeyman?
LAURIE
There's no such thing. Tommy, Halloween
night..It's when people play tricks on each
other. It's all make-believe.
TOMMY'S POV The steps lead upward at a sharp angle. A crooked picture hangs on the wall next to
the stairway, half way up.
CHILDREN
(singing, from Halloween 4)
Boogeyman, boogeyman, Jamie's uncle's
a boogeyman.
ANGLE ON TOMMY as he reaches the top of the stairs and looks around. An open door leads into an
empty room to the left. On the right, another door stands, this one closed. Tommy reaches out
with his left hand and shoves the door open. Tommy steps forward quickly and aims his revolver
into the room.
TOMMY'S POV Michael's old bedroom stands empty. In the center of the room, there is a gaping
hole in the floor where the rotting boards have finally given way to gravity. Another
voice-over from the original Halloween.
YOUNG TOMMY
IT'S THE BOOGEYMAN! HE'S OUTSIDE!!
THE BOOGEYMAN'S OUTSIDE!!
LAURIE
Tommy, STOP IT! THERE'S NO BOOGEYMAN!
INT. MICHAEL'S ROOM
Tommy moves over and looks carefully into the hole.
TOMMY'S POV Through the hole in the floor, a stove is visible below in the kitchen. The wooden
flooring where Tommy stands groans and shifts slightly.
ANGLE ON TOMMY as he jumps back from the hole quickly.
TOMMY
This place is a death trap.
Tommy's voice echoes in the silent house. Tommy looks around.
TOMMY'S POV No sign of anyone or that anyone has been here. We hear Laurie's voice.
LAURIE
(crying)
Was that the boogeyman?
LOOMIS
As a matter of fact, it was.
EXT. MYERS HOUSE-LATE AFTERNOON
The front door of the dilapidated house opens and Tommy appears from the interior. Tommy
glances a final time back into the house and then pulls the door closed. Tommy quickly descends
the steps and walks down the overgrown sidewalk. As he moves along he glances over at Loomis'
gravesite.
TOMMY
I miss you, Doc. Keep an eye on us tonight.
Tommy reaches the squad car and moves around to the driver side door As he looks back at the
house, he reaches into his coat pocket and removes a cellular phone. Tommy dials the phone and
brings it to his ear.
INT. DOYLE RESIDENCE-KITCHEN
A cordless telephone laying on the kitchen table begins to RING. In the background, Kristen is
lying on a couch in the living room reading a book. She looks around for the phone and,
spotting it, hops up and walks into the kitchen, laying her book down on a coffee table
adjacent to the sofa. Kristen picks up the phone and brings it to her ear as she presses the
talk button.
INTERCUT Tommy and Kristen's conversation.
KRISTEN
Hello?
TOMMY
Hey beautiful. What are you wearing?
KRISTEN
Oh, it's you. I'm glad you called.
Why don't you come over here and find out.
My husband won't be home for hours.
TOMMY
(laughing)
Funny K.
KRISTEN
(acting surprised)
Oh..Tommy! It's you!
TOMMY
Kristen, are you bein' naughty again?
KRISTEN
(laughing)
Oh no sir, Sheriff. Not me.
TOMMY
Kristen, listen. Is everything okay
there?
KRISTEN
Yeah, everything's fine, Doyle. Why?
TOMMY
How's Steven?
INT. DOYLE KITCHEN
Kristen moves across the kitchen and into the living room.
KRISTEN'S POV Steven lies sleeping on a love seat across from the sofa, cuddled up with a
blanket.
KRISTEN
He's fine, Tommy. I just put him down for
a nap. He's asleep on the couch.
TOMMY
Good. Just keep a close eye on him, okay?
KRISTEN
Okay Tommy. Is something wrong?
TOMMY
No. Nothing really. Just the break-in at
the adoption agency had me a little worried.
KRISTEN
What happened?
TOMMY
I'll tell you about it when I get home.
I just wanted to call and make sure
everything was okay there.
KRISTEN
Yeah, everything's fine.
TOMMY
Alright then. I gotta go. I'll see you
in a few hours, okay?
KRISTEN
(looking worried)
Okay...Is there something you need to
tell me, Tommy?
TOMMY
Nothing that can't wait. I gotta go
though. Love ya.
KRISTEN
I love you too, Tommy...Bye.
EXT. MYERS HOUSE
Tommy closes his cellular phone and returns it to his coat pocket. He then climbs into the
squad car and drives off. The Myers house remains, quiet and still against the darkening sky.
INT. NIKKI'S APT./KITCHEN-LATE AFTERNOON
Nikki stands at the sink in the kitchen washing dishes. She wipes a plate down with a rag, and
then sprays it off, placing it on a towel next to the sink.
NIKKI
(loudly)
Danielle, what are you guys doing in there?
CAMERA PANS across the kitchen and into the living room. Danielle sits cross-legged on the
floor playing Sega. Danny is sitting on a sofa beside her with a book in his lap. Nikki comes
into the living room, wiping her hands on a towel.
NIKKI
Danielle, is the homework done?
Danielle continues to stare at the television screen.
DANIELLE
Yep, all done, Mom.
Nikki walks over and sits down by Danny.
NIKKI
What are you doing, kiddo?
Danny looks up from his book.
DANNY
Math. Almost done though.
Nikki ruffles Danny's hair.
NIKKI
You okay, Dan?
Danny smiles at Nikki and nods.
DANNY
Yeah.
NIKKI
Good.
Nikki looks up at Danielle.
You guys sure you don't wanna go
trick-or-treating?
ANGLE ON DANIELLE as she turns and looks over her shoulder.
DANIELLE
(with plenty of sarcasm)
Mom, please. We ARE eleven.
ANGLE ON NIKKI Nikki laughs and hops up from the sofa.
NIKKI
Alright then. You guys be okay while
I take a shower?
CLOSE-DANNY nods.
ANGLE ON DANIELLE Danielle turns again and smirks.
DANIELLE
I think we can manage.
INT. LIVING ROOM
Nikki smirks back.
NIKKI
You think so? Alright I'm getting
in the shower then. Won't be long.
Nikki walks out of the living room and down the hall.
Danny looks back at his textbook. After a minute, he sets it down on the couch beside him. Then
he gets up and walks into the kitchen. We follow him as he opens the refrigerator. Seeing
nothing of interest, Danny closes the fridge and looks around the room.
DANNY'S POV A plate of cookies sets on the bar.
ANGLE ON DANNY as he picks up a cookie. He begins nibbling on it as he walks over to a window
in the living room.
DANNY'S POV The backyard of the apartment complex is three stories below. Fallen leaves cover
the yard. A grove of trees stands at one end of the yard. As Danny's gaze travels across the
trees, he catches a glimpse of a man as he steps from the hazy afternoon light into the shadows
of the trees.
ANGLE ON DANNY Danny, spooked, steps quickly back from the window, and drops the blinds. After
working up his courage, he steps back to the window and peers out through the slats in the
blinds.
DANNY'S POV The grove of trees remains, but no sign of the figure lurking there.
DANNY
Danielle, come here.
ANGLE ON DANIELLE Danielle remains on the floor, cross-legged, staring at the tv screen.
DANIELLE
(shouting)
Just a minute.
ANGLE ON DANNY as he moves away from the window and looks around. Curious, he walks through the
kitchen to the front door and opens it, peering out.
DANNY'S POV Danny looks from one end of the hallway to the other. It is empty.
ANGLE ON DANNY Danny steps back into the apartment, walks over, and looks into the living room.
DANNY'S POV Danielle still sits playing Sega.
ANGLE ON DANNY Danny walks over to the table in the kitchen. Nikki's coat hangs on one of the
chairs. Danny reaches into one pocket and finds nothing. He then searches the other pocket and
finds what he is looking for.
DANNY'S POV Danny removes his hand from the coat pocket. He opens his fist revealing a plastic
passcard used to unlock doors. He takes the card between his thumb and index finger, examining
it.
ANGLE ON DANNY as he turns and walks out of the apartment, leaving the door ajar slightly.
DANNY'S POV The hallway extends about forty feet in front of him. Up a few feet on the left is
a large metal door.
Danny presses the metal bar that runs across the door and pushes the door open. A stairwell
leads down. To the right, just inside the stairwell, a little box with a slit is mounted on the
wall. A small red dot is lit up on the box.
ANGLE ON DANNY
Danny steps into the stairwell, gingerly letting the door close behind him. He takes the small
plastic card and jerks it quickly through the slit in the box on the wall.
DANNY'S POV The red light on the security box remains red. Danny turns the passkey over and
swipes it through the box again. This time, the light turns green. Quickly Danny pulls on the
door. It swings open.
ANGLE ON DANNY Satisfied, Danny allows the door to close and begins cautiously down the stairs.
DANNY'S POV Danny descends down two flights of stairs and a door, the door to enter the second
floor, comes into view.
ANGLE ON DANNY as he slowly moves down the next flight of stairs, holding tightly onto the
railing with his right hand. The passkey is clutched tightly in the other.
DANNY'S POV Danny descends another flight of stairs. The door that provides access to the first
floor apartments stands on the platform before him. To his right, another rather small flight
of stairs leads down to the outside door.
ANGLE ON DANNY Danny moves down the stairs and cautiously approaches the door. He glances
behind him. There is a small alcove behind him, underneath the stairwell. Danny very cautiously
pushes the metal door open.
DANNY'S POV The backyard stretches out in front of us. Tall, bushy hedges run along the base of
the building on either side of the door. Danny's gaze travels over to the grove of trees at the
far end of the yard. No sign of anyone.
CLOSE-DANNY strains trying to make out the figure among the trees. Nothing. Unwilling to go
beyond the confines of the building, Danny turns and heads back up the stairs.
ANGLE ON DOORSTOP/GROUND The ground outside the doorframe rapidly disappears as the door eases
closed. Suddenly, a large work boot is thrust into the door stop. The door THUMPS into it and
stops, unable to close any further.
ANGLE ON DANNY Danny has just reached the first floor landing. Hearing the thump, he turns
slowly to see what has caused it.
DANNY'S POV Danny spots the boot wedged into the doorstop and his gaze travels quickly upward
to discover the owner of the boot. The stark-white face of the shape peers in at him through
the six-inch opening between the doorframe and the door. Suddenly, the door is thrust open and
the hulking figure of the shape is barreling toward him.
ANGLE ON DANNY Danny, terrified, shrieks and takes off up the next flight of stairs, yanking
himself along by the railing. Danny claws frantically up another flight of stairs and reaches
the second floor landing. As he turns to ascend another flight, he risks a look back.
DANNY'S POV The shape moves quickly up the stairs, only a flight behind.
ANGLE ON DANNY as he jerks himself up another flight of stairs and then another, arriving on
the third floor platform.
DANNY'S POV Danny's shaking hand tries desperately to push the passcard into the narrow slot.
He can't quite get it to insert. He looks frantically behind him. The shape is on the landing
between the second and third floors.
CLOSE-DANNY screeches loudly.
DANNY'S POV Danny's hand finally manages to insert the passkey into the box and swipes it
through. The light remains red. Danny, panicking, glances behind him. The shape is ascending
the last flight of stairs, mere feet away. The pasty mask rises as the shape moves upward.
ANGLE ON DANNY Again, Danny screams out.
DANNY
Nikki! HELP!
DANNY'S POV Realizing the passkey is upside down, he quickly turns it over and swipes it
through the box. The red light turns green.
ANGLE ON DANNY as he jerks the door open and runs through.
DANNY'S POV Danny slams suddenly into someone. Screaming, he looks up. It is Nikki. His gaze
spins around and the shape's hand is reaching out for him. Now, his gaze travels up. But it
isn't the shape coming for him; it is Wesley.
INT. HALLWAY
Nikki prys Danny from her waist, forcing him to look up at her.
NIKKI
(yelling)
Danny!...What is it?!
Danny shouts hysterically, tears flowing down his face.
DANNY
MICHAEL WAS AFTER ME!! HE'S GONNA GET
ME!! MICHAEL!
NIKKI
What are you talking about, Danny?!
NIKKI'S POV Nikki looks from Danny's tear-streaked face up to Wesley. He is holding a white
Halloween mask in his hand.
INT. HALLWAY
NIKKI
(shouting)
WESLEY! WHAT THE HELL DO YOU THINK YOU'RE
DOING?
Wesley steps forward.
WESLEY
I'm sorry! I didn't mean to scare him that
bad...I was just coming up to see you guys.
Nikki looks down at Danny.
NIKKI
(quieter)
Look Danny, it's just Wesley. He didn't
mean to scare you. See, it's not Michael.
Look.
Danny looks at Wesley, calmed down somewhat.
NIKKI
Go on inside, Danny. I'll be there in a
minute.
Danny walks down the hall, wiping tears from his eyes, and disappears into the apartment.
Nikki grabs the mask from Wesley's hand.
NIKKI
(voice rising again)
What the hell is this, Wes? You scared
him half to death!
WESLEY
I said I was sorry. What's the big
deal?
NIKKI
WHAT'S THE BIG DEAL?! His grandparents,
Kara's parents, were killed by this maniac.
And you ask what's the big deal?'
Nikki shakes the mask at him.
WESLEY
Oh my God..I am sorry. I didn't know.
I am so sorry.
NIKKI
Well, sorry doesn't cut it this time, Wes.
Nikki throws the mask at him. He catches it.
NIKKI
Just get out of here!
Wesley moves towards her.
WESLEY
Sorry Nik, I don't know what to..
Nikki brushes him off.
NIKKI
Just get out of here, OKAY! GO!
Nikki stalks off and disappears into the apartment, slamming the door behind her. Wesley looks
down at the mask and walks slowly back into the stairwell.
INT. STAIRWELL-A FEW MOMENTS LATER
Wesley rounds the first floor landing and heads down the last small flight of steps. At the
bottom, he stops and holds up the mask looking at it.
WESLEY
(shouts)
DAMN IT!
Wesley kicks the metal door open and steps outside. Behind him, a dark figure emerges from the
alcove underneath the stairs.
EXT. MASSEY HALL-LATE AFTERNOON
The afternoon light has begun to fade. Wesley turns to the right and begins to walk slowly
along the rear of the building along the hedges.
ANGLE ON DOOR The door swings shut slowly, and just before it can close, a hand appears around
the edge of the door, a horribly scarred hand.
EXT. BROWN HALL
Wesley stops and slowly turns around.
WESLEY'S POV The door is just shutting. There is a soft click, as the door snaps into place.
Wesley's gaze travels across the yard; it is deserted. No one is around. The grove of trees
stands on the far side of the yard.
ANGLE ON WESLEY as he scans the yard. Behind him, there is a break in the tall hedges.
ANGLE ON WESLEY'S HAND In the foreground, Wesley's right hand hangs at his side, clutching the
rubber mask. In the background, a blurry figure emerges from the opening in the hedges.
FOCUS in on the figure, visible from the neck down. It begins to move forward.
CLOSE-WESLEY continues to search the yard. Behind him, a blurry face approaches.
A twig SNAPS.
ANGLE ON WESLEY as he spins around. But the shape already has him by the head. The shape twists
its strong hands, and Wesley's neck snaps. Wesley's hands grab at the air, releasing the mask.
ANGLE ON THE GROUND The mask lands on the ground at the shape's feet. The shape releases
Wesley, and his body drops to the ground, landing next to the mask. His head is turned at a
sickening angle. The shape's hand reaches down and picks up the mask.
INT. HADDONFIELD POLICE STATION-EVENING
Tommy enters the lobby of the police station and walks up to the counter where Lucy stands
sorting papers.
LUCY
Hi, Sheriff.
Tommy leans up against the counter.
TOMMY
Did you get ahold of Litchfield?
LUCY
(shaking her head)
No. I've called several times and I keep
getting that recording.
Tommy pounds his fist on the counter softly.
TOMMY
Damn it. What's going on up there?
Maybe it's time I radioed the State
boys. They can probably tell me.
Tommy turns from the counter and heads into his office. He walks around his desk and sits down,
pulling off his coat.
TOMMY'S POV The knife still lays on the desk where he left it. He sets it aside and picks up
the telephone receiver, dropping his car keys onto the desk beside the butcher knife.
INT. TOMMY'S OFFICE
Tommy flips quickly through a Rolodex on his desk and finds the card he is looking for. While
reading the number off of the card, Tommy dials the phone.
Off camera, in the lobby, a phone begins to RING.
Tommy brings the receiver to his ear and listens as the connection is made and the phone on the
other end of the line begins to RING. A deep voice comes onto the line.
VOICE
Illinois State Police.
Suddenly, Lucy comes hurrying into the office, looking exasperated. Tommy looks up.
LUCY
Tommy!
TOMMY
(into the phone)
Can you hold on just a minute?
Without waiting for an answer, Tommy covers the receiver.
What is it, Lucy?
LUCY
Tommy, we got the prints back!
TOMMY
(excited)
And?
CLOSE-LUCY A horrifying look crosses Lucy's face.
LUCY
Tommy, they belong to Michael Myers.
CLOSE-TOMMY Tommy's face twists into a horrified grimace. His lip begins to quiver. Over the
receiver, the voice can be heard.
VOICE
Hello?
Tommy slams the phone down on the cradle.
ANGLE ON TOMMY as he jumps up quickly from the desk and bolts toward the office door, grabbing
his coat.
LUCY
Where are you going?
Tommy moves past her, through the door, into the lobby.
TOMMY
I'm going home. He'll be after Steven.
INT. LOBBY
Tommy darts quickly across the lobby. Two officers standing near a desk to the right of the
room look up.
OFFICER4
What's going on?
Tommy gives them a quick glance.
TOMMY
Michael Myers has come home.
OFFICER5
What?..
Tommy pulls on his coat and moves quickly to the main door.
TOMMY
I have to go. Lucy, send out a dispatch
warning all on-duty officers to be on the
look out for Myers. I've got to get to Steven.
Tommy turns to open the door, but before he can pull it open, it is pushed inward.
Captain Josh Tyler steps into the police station.
TYLER
I'm Captain Josh Tyler. Illinois
State Police. I need to speak with
the Sheriff.
Tommy steps forward.
TOMMY
I'm the Sheriff. Tommy Doyle.
Tyler thrusts out his hand.
TYLER
Good to meet you, Sheriff Doyle. I
need to speak with you about an escapee
from Litchfield Sanitarium. We believe
he may be heading for Haddonfield.
Tommy ignores Tyler's hand.
TOMMY
Well, you're a little late, Captain.
He's already here.
Tommy bolts past Tyler out the door.
INT. DOYLE RESIDENCE-KITCHEN
Kristen stands at a counter in the kitchen, slicing tomatoes. She has an apron on around her
waist and her long blonde hair is knotted up in a clip behind her head. She finishes dicing the
tomatoes and lays the knife down on the countertop. She picks up the sliced tomatoes and drops
them into a pan on the stove, placing a lid on the pan when she is done.
EXT. DOYLE RESIDENCE-DUSK
THE SHAPE'S POV Branches are pushed aside as we step from the shadows of a large hedge that
runs along the edge of the Doyle residence. The Doyle house stands just before us, getting
closer as the shape approaches. Nightfall will soon be here and the side of the house is dark,
except for one brightly lit window. CAMERA approaches the window.
INT. DOYLE RESIDENCE-KITCHEN
Kristen walks over to the kitchen sink and turns on the faucet. She wrinses her hands off under
the running water. When she's finished, she turns off the faucet and picks up a towel laying
beside the sink. She turns and wipes her hands down with the towel. Behind her, over the sink,
is a dark window. The towel slips from Kristen's grip and falls to the floor. We follow Kristen
as she stoops and picks it up. She stands up erect again, and over her shoulder, in the dark
window, a face is now visible. The ghost-white mask of the shape.
EXT. HADDONFIELD POLICE STATION-DUSK
Tommy hurries down the steps from the police station. Behind him, Tyler steps out of the door
after him.
TYLER
Where are you going?
TOMMY
He's going to be after my wife and
son. I've got to get to them.
Tyler moves quickly down the steps after Tommy.
TYLER
I'll go with you. We can talk on the
way.
Tommy runs around to the driver side of his squad car. Realizing he has no keys, he stops and
hits the roof of the car.
TOMMY
SHIT! My keys are inside!
TYLER
We can take my car. Come on!
Tyler runs down the sidewalk to an Illinois State Police car parked just behind Tommy's squad
car. He pulls his keys from his pocket and climbs into the driver's side of the vehicle. Tommy
dashes to the car, only feet behind him, and jerks open the passenger side door.
INT. TYLER'S POLICE CAR
Tommy hops into the passenger seat and slams the door. Tyler pushes a key into the ignition,
and turns the key. The car roars to life.
ANGLE ON CAR-EXT. The police car pulls out onto the street, tires squealing. As the car speeds
down the street, the lights and sirens come on, flashing brilliantly in the fading light.
INT. DOYLE RESIDENCE-KITCHEN
Kristen stands at the stove, stirring the contents of the pan, steam rising from the uncovered
pot. Kristen finishes stirring, removes the spoon, and returns the lid to the pot. Kristen
opens the refrigerator next to the stove and peers inside.
STEVEN
(screaming from off camera)
MOMMY!!!
Kristen, startled, slams the refrigerator door, and runs out of the kitchen. CAMERA follows her
through the living room. Furniture and an illuminated television blur past. CAMERA continues to
follow Kristen down the hall.
KRISTEN
(loudly)
STEVEN?!
KRISTEN'S POV Kristen makes a sharp left turn into Steven's bedroom. Steven is standing in the
middle of the floor, screaming and pointing at the window.
STEVEN
(still screaming)
I saw a monster!
ANGLE ON KRISTEN as she reaches down and scoops up Steven into her arms.
KRISTEN
Steven! Calm down! There are no monsters.
STEVEN
(quieter)
I saw one outside though!
Kristen wipes tears from Steven's eyes and points to the window.
KRISTEN
Out that window there? Are you sure?
Steven nods. Kristen steps up close to the window, looking out.
KRISTEN'S POV Only a dark window, with barely distinguishable trees in the fading daylight
beyond.
ANGLE ON KRISTEN
KRISTEN
Well, I don't see anything now. You must have
scared him off...Why don't you come with me
into the kitchen.
Kristen turns and begins to walk out of the room. Steven reaches out and points to the floor.
STEVEN
Don't forget my tractor.
Kristen smiles and reaches down, picking up a small toy tractor.
KRISTEN
Of course we can't forget your tractor.
Kristen turns and exits the room. We follow Kristen as she walks back down the hall and through
the living room, into the kitchen. She suddenly stops.
KRISTEN'S POV The kitchen door stands wide open, the dark night just beyond the doorway.
INT. TYLER'S POLICE CAR
Tommy slams his hand down on the dashboard of the vehicle.
TOMMY
DAMN IT! I can't believe I left them alone
today.
Tyler jerks the steering wheel sharply to the left as they turn a corner.
TYLER
You had no way of knowing.
TOMMY
I've been trying to reach Litchfield
all day long, but the lines have been
busy.
TYLER
Probably because of the media. Hoffman,
the chief administrator, called me this
afternoon. Said reporters have been crawling
all over the place all day.
TOMMY
I should have went right home this morning
when I saw what had happened at the adoption
agency.
TYLER
What do you mean?
TOMMY
There was a break-in at the local
adoption agency during the night. When
I checked it out, I found the adoption
decree Kristen and I signed when we
adopted Steven. It was pinned to a
desktop with a huge butcher knife. I
talked myself into thinking that it was
just a sick Halloween prank. I WANTED to
believe it was a prank.
TYLER
(surprised)
Wait a minute..YOU adopted Jamie's baby?
Tommy looks over at Tyler.
TOMMY
Yeah, me and my wife. We adopted him
two years ago.
A look of realization washes over Tyler's face.
TYLER
Oh shit...
TOMMY
What?
TYLER
Did the adoption agency ever find out
who the father of the baby was?
TOMMY
(shaking his head)
No, we've never found out. Why?
TYLER
We found a dead body this morning...at an
abandoned truck stop, where Michael dumped
the car he escaped in. The body had a word
carved into its forehead...
Tommy, silent, continues to stare at Tyler.
TYLER
...The word SON.
CLOSE-TOMMY's mouth drops open as the shock of realization hits him.
TOMMY
Oh my God...Steven..Steven is Michael's son.
INT. DOYLE RESIDENCE-KITCHEN
Kristen sets Steven down on the floor of the kitchen.
KRISTEN
You stay right here for a minute, okay brat?
Steven nods. Kristen moves over slowly to the door.
KRISTEN'S POV The open door approaches. Faint outlines of the hedges that line the yard can be
made out in the darkness.
ANGLE ON KRISTEN as she steps forward and grasps the edge of the door. She pushes it closed
slightly and leans forward to peer out.
KRISTEN'S POV There is only a dark yard beyond the door. Faint shapes can be made out, but
nothing is moving, except for the hedges rustling in the wind.
ANGLE ON KRISTEN Kristen jerks her head inside and quickly slams the door. She turns around and
scoops up Steven. With Steven in her arms, she hurries over to the kitchen counter.
KRISTEN'S POV Kristen scans the countertop. The large knife she used to slice the tomatoes with
is gone.
INT. TYLER'S POLICE CAR
Tommy sits with his head in his hands.
TOMMY
WHY DIDN'T I STAY WITH THEM?!
Tommy wipes his eyes.
If anything happens to them, I'll never
forgive myself.
TYLER
They'll be alright. Are we almost there?
TOMMY
(pointing to the left)
Turn here.
A look of hope crosses Tommy's face. Tommy reaches into his coat pocket and pulls out his
cellular phone.
I'm gonna call Kristen. I've got to warn
them.
Tommy dials the phone and brings it up to his mouth. The loud beeping of a busy signal comes
from the phone. Tommy slams the phone closed.
TOMMY
FUCK!!!
INT. DOYLE RESIDENCE-LIVING ROOM
A phone receiver lays on its side on an end table next to the cradle. A loud BEEPING can be
heard. CAMERA PANS over slightly and we see the shape's grotesque hand hanging close to the
phone receiver. The hand clutches the missing knife.
INT. DOYLE RESIDENCE-KITCHEN
Kristen runs over and snatches up the cordless phone off the kitchen table. Before she can hit
the talk button, the television on the far side of the living room catches her attention.
KRISTEN'S POV The six o-clock news is just beginning. On the screen, a NEWSCASTER sits at a
newsdesk.
NEWCASTER
Our top story tonight: Michael Myers, the
infamous serial killer captured in 1995 has
escaped again. This time from Litchfield
Sanitarium in northern Illinois. This is Myers
third escape in...
ANGLE ON KRISTEN Kristen's mouth drops open in an effort to scream. No sound escapes. The
cordless phone drops to the floor. Clutching Steven to her chest, she stoops and picks up the
phone.
STEVEN
Mommy? What's wrong?
KRISTEN
...Nothing, baby..Shhh..
Kristen turns from the television and brings the phone to her ear. Behind her, the pasty white
face of the shape appears in a dark corner of the living room. Kristen presses the talk button
on the phone and a loud BEEPING erupts from the phone. The shape approaches slowly, emerging
from the dark living room. Kristen furrows her brow and tries the phone again. Over Kristen's
shoulder, the shape continues to move forward. The large knife is raised. Closer. Closer.
KRISTEN'S POV The kitchen door suddenly bursts open. Kristen screams. Tommy and Tyler hurry
into the room.
INT. KITCHEN
Kristen drops the phone and runs to Tommy.
KRISTEN
(near hysterics)
Oh Tommy, THANK GOD YOU'RE HERE!
Kristen grabs hold of Tommy and begins to shriek as tears roll down her cheeks. Tommy hugs
Kristen and Steven to his chest.
STEVEN
DADDY!..
Tommy ruffles his hair.
TOMMY
Hey brat.
KRISTEN
(sobbing)
Oh God, I was so scared!...Tommy, Michael's
escaped!
TOMMY
I know. Get your things, K. You and
Steven are coming with us.
Tommy turns and points to Tyler.
TOMMY
Kristen, this is...I'm sorry, I don't
remember your name.
ANGLE ON TYLER Tyler steps forward, again offering his hand.
TYLER
Hi Kristen, Captain Josh Tyler.
Illinois State Police.
This time Tommy takes it. As Tommy and Kristen shake hands with Tyler, CAMERA PANS over into
the living room. The shape is gone. CAMERA travels on, down the hall and into Steven's bedroom.
The window that was closed only moments before now is wide open. Curtains billow in the wind.
Beyond the window, night has fallen.
INT. HADDONFIELD POLICE STATION
The front doors of the Haddonfield Police station open and in walk Kristen and Tyler, followed
by Tommy, who is carrying little Steven along.
The group makes its way across the lobby to the counter.
Lucy gets up from her desk and hurries over.
LUCY
Tommy, what's going on?
Tommy hands Steven to Kristen.
TOMMY
Lucy, I need officers on the street
searching for Michael. I want them to
look up and down every street, in every
alley. I want him found and I want him
found soon.
LUCY
I've already sent out the call, Tommy.
All on-duty officers have been informed
about Myers.
Tommy pulls off his coat and lays it behind the counter.
TOMMY
Good. I also need to tell Kara and
Danny what's going on. I don't think
Michael will go after them since they've
moved out of the Myers house, but I'm
not taking any chances. Kara still works
nights at the library, doesn't she?
LUCY
I think so.
TOMMY
Can you get me the number there?
As Lucy opens a phone book, Tommy takes Kristen by the arm.
TOMMY
Kristen, we have to talk.
Steven interrupts.
STEVEN
Daddy, I'm thirsty.
TOMMY
Okay brat, we'll get you something.
LUCY
Tommy, I've got that number.
TOMMY
Thanks, Lucy. Just jot it down there for
me. Would you care to take Steven for a
minute?
Lucy quickly writes the phone number down on a pad by the phone.
LUCY
Sure.
(to Steven)
Hey kiddo, you wanna come with me
and get something to drink real quick?
Kristen hands Steven over to Lucy.
TOMMY
Thanks, Lucy.
ANGLE ON LUCY as she takes Steven over to the water cooler and begins getting him a cup of
water.
INT. LOBBY
Kristen turns to Tommy.
KRISTEN
What is it?
Tommy runs his hand through his hair.
TOMMY
I found out who Steven's father is.
There is a long silence as Kristen only stares.
TOMMY
K., Michael is Steven's father.
Kristen's mouth drops open slightly.
KRISTEN
...Oh my God...No..No, that can't be true.
TOMMY
Kristen, it's true.
Kristen brings her hand to her mouth.
KRISTEN
Tommy, how could that be? How do you know?
TOMMY
I'm not exactly sure how myself. But
do you remember when Jamie and Michael
were missing for all those years, and
everyone thought they were dead? Michael
must have fathered Steven during that time.
That's why Michael was after her baby...
Tommy's eyes move back and forth as he pieces it together.
Kristen, Michael wasn't just after Steven
because he was Jamie's baby. He was after
Steven because he is his son.
CLOSE-KRISTEN
KRISTEN
Tommy, what does that mean?..
Does Michael know that we have Steven?
Is he going to come after him?!
CLOSE-TOMMY pulls Kristen to him.
TOMMY
I don't know, K. From what I saw at the
adoption agency this morning, Michael knows
that Steven is his child..That's why I brought
you guys here...where you'll be safe.
CLOSE-KRISTEN clutches Tommy tightly to her.
KRISTEN
Tommy, he can't have him. He's our
son now.
CLOSE-TOMMY
TOMMY
I know that Kristen. I'm going to do
everything I can to make sure that Michael
doesn't get anywhere near Steven..or you.
INT. LOBBY
Tommy pulls back from Kristen.
TOMMY
I have to call Kara now. She could be
in danger.
Kristen lets go of Tommy.
KRISTEN
Okay.
Tommy walks over and picks up the phone off of the counter. He picks up the pad laying beside
the phone and dials the library.
INT. LIBRARY
Kara stands at a counter sorting through a pile of books. Beside her, the phone rings. She
reaches over and picks up the receiver.
KARA
University Library. Kara speaking.
INTERCUT Tommy and Kara's conversation.
TOMMY
Kara. Hi, it's Tommy.
KARA
Hey Tommy. Are you keeping the town
safe on our most dangerous holi..
TOMMY
Kara, listen. I have some bad news..
Michael's escaped.
KARA
What?..How?!
TOMMY
I don't know the details. I just know
that he's back. I don't want you to worry
too much though. I don't think he'll bother
you and Danny this time.
KARA
You don't THINK he'll bother us?!?
TOMMY
Calm down Kara. You guys aren't blood
relatives and you aren't living in the Myers
house so maybe he'll leave you alone. I'm
sending over an officer to keep an eye on you
just in case though. Where's Danny?
KARA
A friend of mine is watching him..Nikki
Langford. She lives in my building, across
the hall from me. Room 316
TOMMY
Okay. I'll send someone over there, too.
KARA
Tommy, what about Steven and Kristen?
TOMMY
They're here with me. I'm not about to
let anything happen to them. I have to
go Kara. Can you give your friend a call
and let her know what's going on?
KARA
Yeah, I will. You be careful, Tommy.
TOMMY
I will, Kara. You too. I'll have an officer
over there within fifteen minutes.
KARA
Okay. Bye, Tommy.
INT. POLICE STATION
Tommy hangs up the phone and motions to two officers over at a desk to one side of the room.
One of them is Riley Owens. The other is a younger officer, PATRICK MALONE.
TOMMY
Riley. Malone. I need you two.
Malone stands up quickly. Owens remains seated and looks up at Tommy.
TOMMY
Malone, I want you to head over to the
University. Kara Strode is working at the
library there. Michael most likely won't
bother her, but I want you over there to
keep an eye on things anyway. Riley, I
need you to go over to Brown Hall and
check up on Kara's son.
Owens looks disinterested.
OWENS
Do I look like a babysitter to you, Doyle?
I'm a police officer.
Tommy looks sternly at Owens.
TOMMY
I'm not interested in your life story,
Riley. As long as I'm the sheriff, you'll do
what I say. Now get over there and
check things out.
Owens slowly gets up.
TOMMY
And be alert. If either of you see anything,
I mean anything at all, let me know immediately.
Owens and Bentley move across the lobby toward the exit. Owens turns to Tommy, inches from his
face.
OWENS
(whispering)
You better watch yourself, Doyle. I don't let
my friends talk to me like that, much less you.
Tommy stares into Owens' face.
TOMMY
Just go, Riley.
OWENS
Your days as Sheriff are numbered, Doyle.
Owens turns and walks out of the building.
EXT. UNIVERSITY OF HADDONFIELD-BROWN HALL-NIGHT
CAMERA across the street from Brown Hall. Owens's patrol car pulls up to the curb in front of
the building. Deputy Riley Owens emerges and walks up the leave-strewn sidewalk to the main
entrance of the building. Owens enters and suddenly the back of the shape's head POPS INTO
FRAME in the foreground. It stands for a moment and watches the large three-story building from
across the street.
INT. NIKKI'S APT.-LIVING ROOM
Danny and Danielle sit on the sofa facing the television, with Nikki in between them. Nikki has
a bowl of popcorn in her lap. On the television, a movie is just starting.
ANGLE ON TELEVISION The opening credits for the film begin and we see that the movie is John
Carpenter's 1982 version of "The Thing."
INT. LIVING ROOM
Danny grabs a handful of popcorn.
DANNY
I haven't seen this movie before, only
the black and white one.
DANIELLE
This one's better.
A KNOCK comes at the apartment door.
ANGLE ON NIKKI as she hops up from the sofa and sets the bowl of popcorn down on the coffee
table. She hurries across the living room and through the kitchen to the front door. We follow
her.
NIKKI
(calling loudly)
Who's there, please?
OWENS
(from the other side of the door)
Officer Riley Owens.
Nikki steps up to the peephole and peeks through.
NIKKI'S POV Riley Owens stands on the other side of the door, his face and body contorted
through the peephole lens.
INT. KITCHEN
Nikki undoes the chain on the door, then turns the deadbolt. She yanks open the door.
NIKKI'S POV Owens stands before us.
INT. KITCHEN
OWENS
Nikki, right?
NIKKI
Yeah, nice to meet you Officer Riley Owens.
OWENS
Nice to meet you, too. Sheriff Doyle sent
me over to make sure everything was okay
over here.
NIKKI
Yeah, Kara told me someone would be over.
Everything's fine. I closed all the blinds
and locked all of the windows, and you're
going to be watching the door, right?
OWENS
Yeah, I'm going to be right out here in the
hall. If you need me or notice anything
strange, let me know.
NIKKI
Thanks. Let me get you a chair.
Nikki hurries over to the kitchen table and returns with a chair.
Owens takes the chair.
OWENS
Thanks. Lock the door. And remember, if
you need anything, I'm right outside the
door.
NIKKI
Okay.
Nikki closes the apartment door.
INT. HALLWAY-LATER
CAMERA TRACKS down the hallway. Owens sits in his chair just to the left of Nikki's apartment
door.
OWENS' POV Owens looks down the empty hallway.
Suddenly, a shadow flickers across the floor, then disappears. It appears again. Disappears
again.
INT. HALLWAY
OWENS
What the hell is that all about?
Owens gets to his feet and walks slowly down the hall.
OWENS' POV The shadow continues to appear and disappear across the floor in front of the
stairwell door. As Owens approaches, we see through the window in the door that the light in
the stairwell is flashing on and off causing the shadow on the floor.
Owens continues to approach and peers into the stairwell. The light comes on and stays on. No
one is visible.
ANGLE ON OWENS as he draws his revolver and thrusts open the door.
INT. STAIRWELL-THIRD FLOOR
Owens moves quickly into the stairwell and looks around. Nothing. Owens stands on the third
floor platform holding the door open and looking around.
Suddenly, the light goes off.
OWENS' POV From the light of the hallway, we see a light switch next to the doorframe.
ANGLE ON OWENS as he reaches out and flicks the switch. The light comes back on.
The light goes off.
Owens looks around curiously, then flicks the switch again. Once again, the stairwell is
illuminated.
The light goes off again.
Owens peers down the stairwell.
OWENS
(calls louldy down the stairwell)
Alright, who's fucking with me?
No one answers.
OWENS
(down the stairwell)
I am in no mood for this Halloween shit!
I'm a police officer and if I catch your
ass it'll be a weekend in jail.
Still no answer.
Owens flips the light switch again. This time the light stays.
OWENS' POV Down the stairwell no one can be seen. We turn and see the security box for the
passkeys beside the door.
ANGLE ON OWENS Owens pulls his night stick from his belt and lays it in the doorframe. He
slowly allows the door to swing closed. The night stick prevents the door from closing all the
way.
OWENS
(loudly)
Alright then, have it your way.
Owens begins to move down the steps, revolver drawn. As he gets to the landing between the
second and third floors, the lights again go out.
OWENS
(yelling)
OKAY, NOW YOU'VE REALLY PISSED ME OFF!
Owens fumbles with a pouch on the side of his belt and finally removes a flashlight. He turns
it on and aims it down the stairwell.
OWENS' POV The flashlight beam moves around illuminating the dark empty stairwell.
INT. STAIRWELL-FIRST FLOOR-MOMENTS LATER
Owens moves down the last small flight of steps and continues to shine the flashlight around.
OWENS' POV-LIGHT The beam illuminates a light switch next to the outer door.
ANGLE ON OWENS Owens flicks the light switch, and the stairwell is flooded with bright
incandescent light.
Owens, revolver still drawn, turns and looks around into the alcove underneath the stairs. No
one there.
OWENS
(under his breath)
Where are ya', ya' little shit?
Owens then turns and throws open the outer door, aiming the gun outside.
OWENS' POV Owens shines the light around the yard. It, too, is seemingly empty.
EXT. BROWN HALL
Owens glances behind the door and then pushes the door open until it clicks, propped open. He
then steps out of the doorway and walks along the hedges, shining his light around the yard.
As he moves past the large hedges along the side of the building, a branch catches on his coat,
snagging him.
OWENS
Damn thorn!!
Owens pulls the coat free from the branch and looks up.
OWENS' POV The flashlight illuminates the yard along the edge of the hedges.
Suddenly, an arm bursts from the dense brush of the hedges directly in front of us.
ANGLE ON THE HAND as it grabs Owens' revolver and wrenches it from his hand. The gun flies
across the yard into the darkness.
OWENS'POV The large figure of the shape smashes from the thick hedges out into Owens path. The
flashlight beam illuminates the white death's head of Michael Myers, directly in front of us.
ANGLE ON OWENS as he spins around and runs back toward the open stairwell door.
ANGLE ON THE SHAPE'S FEET The shape begins to move forward in pursuit.
ANGLE ON OWENS A few feet from the doorway, Owens trips and falls. His police hat sails off and
his head lands right in the doorstop.
ANGLE ON THE DOOR The shape's deformed hands slam the door shut with awesome force. A loud
CRACK is heard as the metal door smashes Owens' head up against the doorframe.
INT. STAIRWELL
THE SHAPE'S POV The shape ascends the concrete steps.
ANGLE ON THE SHAPE'S FEET The shapes' workboots climb the steps slowly.
THE SHAPE'S POV We move up onto the third floor landing. The stairwell door approaches. Owens'
night stick remains lodged in the doorjamb, propping the door open.
INT. NIKKI'S APT.
Nikki and the kids remain on the couch watching the movie. A KNOCK is heard at the front door.
Nikki stands up and heads into the kitchen. We follow her.
NIKKI
What does he want now?
NIKKI'S POV The apartment door is quickly approaching. Light from the hallway shines in through
the small peephole.
NIKKI
I'm coming.
ANGLE ON NIKKI as she moves up to the door and reaches for the chain link. She stops quickly
and leans forward to the peephole.
NIKKI
Just a second. I gotta make sure..
NIKKI'S POV A figure stands on the other side of the door, wearing Owens' police hat. The
figure's blurry head is bent at an angle so that only the brim of the hat is visible.
ANGLE ON NIKKI Satisfied it is Owens, Nikki undoes the chain and unlocks the deadbolt. She
pulls the door open.
NIKKI'S POV The figure in the police hat stands in the doorway before her. The figure's head
slowly looks up, revealing the pasty-white mask of the shape beneath the brim of the hat.
INT. HALLWAY
CAMERA into the apartment from behind the shape. Nikki makes an attempt to slam the door, but
the shape slams into the door with its large body, knocking the door back into Nikki.
ANGLE ON NIKKI Nikki is flung across the kitchen. She smashes into the refrigerator and then
lands hard on the linoleum floor.
ANGLE ON THE SHAPE The hat falls from the shape's head as it steps into the apartment, and
slams the door.
THE SHAPE'S POV Nikki's unconcious body lies on the kitchen floor. The shape's gaze travels
quickly up. The shocked faces of two children stare. Danielle and Danny shriek and disappear
down the apartment's hallway.
ANGLE ON THE SHAPE As the shape stalks through the dark kitchen, it reaches over and yanks a
large butcher knife from a dishrack by the sink.
ANGLE ON DANNY AND DANIELLE as they hurry down the hall into Danielle's bedroom. We follow them
as they run inside and slam the door, locking it.
INT. DANIELLE'S BEDROOM
DANIELLE
(screaming hysterically)
Oh my God, Danny! What are we gonna do?!
ANGLE ON DOOR WHAM! The door rattles as the shape slams into it.
Danielle screams.
ANGLE ON DANNY as he looks around frantically.
DANNY'S POV The bedroom window is on the wall opposite the door.
DANNY
Danielle! The fire escape! WE CAN GET
OUT ON THE FIRE ESCAPE!!
INT. DANIELLE'S BEDROOM
Danny runs over to the window. He unlocks the catch and yanks on the window. The window slides
up easily.
DANIELLE
Danny! The fire escape is over on the living
room window! WE CAN'T REACH IT!!
DANNY'S POV Danny peers out the open window. To the left of the window sill, just out of reach
is the edge of the fire escape.
DANNY
No, I think we can make it!
Danielle runs over to the window beside Danny.
ANGLE ON THE DOOR As the shape continues to pound on the door, a loud splintering is heard.
INT. BEDROOM
DANIELLE
DANNY!! HE'S COMING!! THE DOOR IS BREAKING!!
Danny climbs out onto the window sill.
DANIELLE
DANNY, YOU CAN'T MAKE IT!!
ANGLE ON DANIELLE as she runs over to the bed against the wall and drops to her knees. She
begins to wriggle under the bed.
DANIELLE'S POV Danny is perched on the window sill, reaching for the fire escape.
DANIELLE
(whispering loudly)
Danny, get under here! He'll think we went
out the window!
There is a loud CRACK! as the door frame gives out. Danielle jerks around and sees the door
swing inward. She quickly yanks herself all the way under the bed.
THE SHAPE'S POV Danny is hanging out of the window stretching for something out of sight.
We move toward him as the shape approaches.
DANNY'S POV The shape is moving across the bedroom toward him, a large knife clutched in its
right hand. Danny's gaze whirls around to the fire escape, just beyond his fingers' grasp.
DANIELLE'S POV The heavy workboots of the shape move past the bed.
CLOSE-DANIELLE shrinks up into a ball under the bed, watching terrified as the shape walks
past.
DANNY'S POV The shape is still coming, almost upon him. Again, Danny stretches for the fire
escape. His fingers are mere centimeters away from his goal.
CLOSE-DANNY gathers his strength and leaps from the window ledge.
EXT. BROWN HALL
Danny flies through the air.
ANGLE ON WINDOW The hand of the shape reaches out of the window quickly and grasps Danny's foot
as he jumps.
DANNY'S POV The fire escape is before him. His hands wrap around the metal railing.
ANGLE ON DANNY Danny grabs the fire escape railing, but the shape has his left foot. He
screams.
ANGLE FROM GROUND Danny hangs in midair three stories above. Hands on the railing, foot firmly
in the shape's grip.
ANGLE ON DANNY as he yanks desperately, trying to escape the grip of the shape.
ANGLE ON DANNY'S SHOE as it slips off in the shape's hand. Danny's foot is free.
ANGLE ON DANNY Danny's body drops through the night air. He holds firmly with his hands though,
and his body slams into the fire escape.
Danny pulls himself up and over the railing of the fire escape. Once safely on the metal
balcony, Danny turns to look behind him.
DANNY'S POV The shape stares at Danny from the window, the mask almost glowing in the dark. The
shape drops Danny's shoe and disappears back inside.
ANGLE ON DANNY as he begins to scramble down the fire escape.
DANIELLE'S POV The shape's workboots move back across the room and out into the hallway.
CLOSE-DANIELLE breathes a sigh of relief.
EXT. BROWN HALL
Danny drops down from the bottom rung of the fire escape and lands on the grass below. He
glances around quickly and then darts off across the backyard and into the darkness.
INT. LIBRARY-MAIN ROOM-NIGHT
CAMERA PANS down from a high ceiling. The main room of the library stretches out before us.
Numerous tables are scattered across the room, all of which are empty. A row of computers runs
down one wall of the large room. In the center of the room, a counter juts out from the wall
and runs three-quarters of the way across the room. There, the counter angles to the right all
the way to the wall, boxing in an area. Behind the counter, desks and file cabinets are
arranged with walking space between them. Kara sits at one of the desks, sorting through an
overdue list. From time to time, Kara looks up and consults a computer resting on the desk,
then goes back to the list, sometimes crossing off a name with an inkpen. Kara runs her hand
through her curly, dark brown hair and looks up at a clock on the wall.
KARA'S POV The clock reads nine o'clock.
INT. MAIN ROOM
Kara places the list down on the desk, and stands up. Kara stretches as she walks across the
crowded area to the counter. An older bald man, DR. BENJAMIN EVANS, stands at the counter.
KARA
Dr. Evans?
Dr. Evans glances up from a book at Kara over a pair of wire-rimmed glasses. A glowing
jack-o-lantern stares at Kara from beside Dr. Evans on the countertop.
DR. EVANS
Yes?
KARA
I'm going to go ahead and shelve the last of
the books. It doesn't look like anyone else
is going to be in tonight.
Dr. Evans looks at his watch.
DR. EVANS
I think you're right. Dead around here
tonight. After you're done, why don't
you go ahead and head home. No use in
both of us being stuck here for another
hour.
KARA
Thanks. I've got a lot on my mind
tonight anyway.
Kara turns. A cart filled with books rests next to the counter. Kara grabs the end of the cart
and pushes it through a swinging door, emerging from behind the counter. Kara pushes the cart
across the main room and heads through a doorway into a side room. She calls back over her
shoulder.
KARA
I'll be back in a few minutes, Dr. Evans.
Would you tell Officer Malone that I'll
be ready to go soon?
INT. LIBRARY-SIDE ROOM
Kara pushes the cart along, stopping at a sliding metal door in the wall. A sign above the door
reads:
KEEP DOOR CLOSED WHEN NOT IN USE.
Kara reaches out, pulls the sliding door open, and begins loading books onto the metal platform
of the book elevator. When she finishes, Kara yanks the door closed and walks across the room
to the stairwell. She pushes open a metal door and starts down the steps.
EXT. LIBRARY-NIGHT
Officer Patrick Malone sits in a chair on the large front porch of the library flipping through
the pages of a magazine. The SNAP of a twig comes from the darkness out in front of the
library. Malone looks up quickly.
MALONE'S POV Malone's gaze travels over the dark campus. A lamppost off in the distance casts
shadows across the courtyard. A light bank of fog blankets the ground, oozing slowly across the
campus.
MALONE
Who's there?
ANGLE ON MALONE as he lays his magazine down beside the chair and stands up, drawing his
weapon.
MALONE
If someone's there, you better answer me!
MALONE'S POV The courtyard remains empty and silent. WHOOSH. A soft noise comes suddenly from
behind him. Malone wheels around. Dr. Evans is standing in the doorway of the library.
DR. EVANS
I'm going to close up early tonight,
Officer. If you're planning to escort
Kara home, she will be out in a few minutes.
EXT. LIBRARY
Malone holsters his revolver.
MALONE
Okay. Thanks Doc. Why don't you go ahead
and take your chair in.
Malone picks up the chair and hands it to Dr. Evans. Evans takes the chair and disappears back
inside. Malone turns and surveys the courtyard again.
MALONE'S POV The courtyard remains still, except for the trees swaying in the night breeze and
the gentle motion of the fog. As Malone turns away, we catch a glimpse of a shadow dart quickly
across the ground over behind one of the large pillars on the front porch.
ANGLE ON MALONE as he spins back around and withdraws his gun. He slowly moves over to the
column.
MALONE'S POV as he steps quickly around the large white column. No one there.
EXT. LIBRARY
Malone shakes his head and turns to walk back to the main door. CAMERA ZOOMS back slowly.
Around the next column, stands the shape.
ANGLE ON MALONE in the F.G. as he walks toward us. Behind him, in the B.G., the shape begins to
follow. A large knife is held in its hand.
THE SHAPE'S POV as Malone spins around suddenly. Malone draws his gun and fires at the shape.
MALONE'S POV BANG! BANG! The shape flies backward as the bullets from Malone's gun riddle its
body. The knife slips from the shape's hand.
ANGLE ON THE KNIFE as it falls and disappears in the dense blanket of fog.
ANGLE ON THE SHAPE The shape crashes to the ground with a THUD.
EXT. LIBRARY
Malone approaches the lifeless figure of the shape cautiously. He kneels down beside it and
checks for a pulse.
CLOSE-THE SHAPE The fog oozes eerily over the stark-white mask of the shape. Suddenly, the mask
rises from the fog as the shape comes to life.
CLOSE-MALONE tries to jerk back, but the shape grabs him by the collar.
ANGLE ON THE KNIFE The shiny blade of the knife emerges quickly from the blanket of fog,
clutched tightly in the shape's hand.
CLOSE-MALONE opens his mouth to scream, terrified.
CAMERA behind Malone as the shape slashes the knife blade across his throat with brilliant
speed.
The shape releases Malone and he falls backward.
ANGLE ON MALONE as his lifeless body disappears into the fog.
INT. LIBRARY-DOWNSTAIRS
Kara unloads the last of the books onto another cart, and begins to push the cart down an aisle
lined on either side with countless books. She grabs a book off of the cart and searches for
its home on the shelf. Locating a gap in the books, she pushes the book into it. Kara rolls the
cart farther down the aisle. She selects another, somewhat larger, book, and kneels down,
pushing it into its place on the shelf. She moves down the aisle farther still.
Suddenly a loud BANG shatters the silence, like the report of a rifle. Kara spins around
quickly.
KARA'S POV The aisle extends about twenty feet back to where it connects to the main aisle. In
the floor, about ten feet away, lays a large book.
ANGLE ON KARA as she walks slowly toward the spot where the book lays. She reaches down and
picks up the book.
KARA'S POV We see it is the very book just returned to the shelf.
CLOSE-KARA A look of mild concern crosses her face as she crouches down to return the book to
the shelf.
KARA'S POV Kara's hand pushes the book into its place on the shelf, and then her gaze travels
upward slightly. Trough the empty space between the shelves, something is looking at her, at
us. Something with a nightmarish white face. It is the face of the shape.
CLOSE-KARA lets out a high-pitched scream as a hand comes bursting through the books, shoving
into her chest and knocking her backwards to the floor.
ANGLE ON KARA as she lands on her back in a lake of books. She claws her way into an upright
position, scattering books across the dingy, tiled floor.
KARA'S POV We scan the bookshelf in front of us frantically. There is no sign of that
terrifying white face, only rows and rows of endless books, and an empty aisle beyond. Kara
turns her head quickly and searches the opposite shelf. We see only the same.
ANGLE ON KARA Kara gets to her feet and slowly sneaks toward the main aisle, continuously
glancing behind and all around her. Kara reaches the middle aisle and peers cautiously around
the end of the bookshelf.
KARA'S POV To the left, the aisle stretches fifty feet. There stands the metal door that opens
into the stairwell. Large metal file cabinets rest on either side of the door. To the right,
the corridor extends only twenty feet. The book elevator is at the end of the aisle, the
sliding metal door still open.
ANGLE ON KARA Kara stalks slowly toward the stairwell door. As she closes the distance, she
begins to hurry along faster.
KARA'S POV The stairwell door is fast approaching, and suddenly the huge metal file cabinet on
the right of the door teeters over. WHAM! It crashes loudly to the floor.
ANGLE ON KARA as she stops quickly.
KARA'S POV The stairwell door is blocked by the fallen cabinet.
Suddenly, the large figure of the shape steps out from behind the last bookshelf, that awful
white face with those dark, souless eyes staring at us.
ANGLE ON KARA Kara lets out a loud shriek, and begins to back away.
KARA
(crying)
Oh my God! Michael!
KARA'S POV The shape only stares.
ANGLE ON KARA
KARA
(now shouting)
LEAVE ME ALONE!....DR. EVANS, HELP ME!!
Kara continues to back away, searching around desperately for a way out.
KARA'S POV The book elevator is at the other end of the room, sixty feet away.
ANGLE ON KARA Kara turns quickly and darts back the way she came.
ANGLE ON THE SHAPE The dark spectre that is the shape begins to move after Kara, gliding eerily
across the floor.
ANGLE ON KARA as she sprints hurriedly down the long corridor. Behind her in the B.G., the
shape is coming.
ANOTHER ANGLE ON Kara as she reaches the book elevator and dives headlong into the opening in
the wall.
CLOSE-KARA pulls herself into the cramped elevator. Two taught ropes run parallel up the back
of the small shaft. Kara grabs desperately at one.
ANGLE ON HAND A burned and grotesquely scarred hand is suddenly thrust into the crowded space,
grabbing for Kara.
INT. BOOK ELEVATOR
Kara yanks fiercely on the rope and the platform jerks upward shakily.
The hand is pulled back as the space between the platform and the top of the opening is closed
off. Kara pulls and pulls on the rope, propelling the carriage upward in quick spasms of
movement.
KARA'S POV The cramped elevator shaft extends upward three stories. Light shines in from an
opening that leads to the ground floor.
INT. LIBRARY-SIDE ROOM
ANGLE ON OPENING Kara's hand appears at the edge of the opening of the book elevator and then
Kara's face and upper chest come into view. Kara scrambles out of the elevator, falling hard to
the tiled floor.
ANGLE ON KARA as she gets to her feet shakily. We follow Kara as she begins to run toward the
main lobby, weaving in and out of a maze of bookshelves and file cabinets.
INT. LIBRARY-MAIN ROOM
Kara runs through the threshold of the doorway into the main lobby and stops suddenly. The room
is dark, except for the jack-o-lantern on a table in the center of the room.
CLOSE-KARA A look of confusion overtakes Kara's face as she realizes that the pumpkin has been
moved from the countertop. She stumbles forward in the dark toward the jack-o-lantern.
KARA'S POV The grinning jack-o-lantern approaches, but it is not setting on the table after
all. Dr. Evans's mutilated body is propped up in a chair beside the table, the glowing pumpkin
resting on his shoulders where his head once resided. Kara begins to whimper as her gaze
travels down to the floor. From the dim glow of the jack-o-lantern, we can make out Dr. Evans's
bald head setting on the floor at his feet. A terrified scream escapes Kara's throat.
KARA
(screaming)
OH MY GOD!! DR. EVANS!
ANGLE ON KARA Kara glances quickly over her shoulder and then sprints to the main entrance. She
slams into the door full force, but the door does not move. Kara crashes to the floor, stunned.
She quickly recovers and gets to her feet.
Kara rams forcefully on the metal bar of the door. It does not give. Suddenly a telephone
RINGS, shattering the silence.
CLOSE-KARA screams loudly and spins around.
KARA'S POV A telephone on the counter is ringing, illuminated by the light from the side room.
The phone grows in size as Kara runs toward it.
ANGLE ON KARA Kara reaches over the counter and grabs the receiver, bringing it frantically to
her face.
KARA
(gasping into the telephone)
Hello!..Please help me!...
TOMMY
(voice from over the telephone)
Kara?!...What's wrong?
KARA
(screaming hysterically into the telephone)
Oh God, Tommy!..He's here...He killed
Dr. Evans!..Please come!..Please, please come..
KARA'S POV The eerie white face of the shape rises quickly from behind the counter, directly in
front of us.
ANGLE ON KARA Again Kara screams and retreats into the darkness, dropping the phone.
She stumbles to the door and shoves desperately on the metal bar. The door will not budge.
Something is propped against it.
ANGLE ON THE SHAPE The shape moves quickly through the swinging wooden door, emerging from
behind the counter.
ANGLE ON KARA Kara continues to slam into the door. She risks a glance back over her shoulder.
KARA'S POV-THE SHAPE is coming, light from the side room gleaming off of the large butcher
knife in its hand.
ANGLE ON DOOR Kara rams the door again, and it suddenly gives way. The door swings outward
halfway and then slams into something, sending Kara sprawling headlong into the metal door and
then to the ground. Kara lands on something soft.
KARA'S POV as she comes face to face with the dead eyes of Officer Malone.
EXT. LIBRARY
Kara screams and clambers off of the body, pulling her hind quarters from within the library.
KARA'S POV Kara glances back into the library as the door swings shut. The shape is still
moving toward her, disappearing as the door closes.
ANGLE ON KARA as she gets to her feet and limps quickly down the sidewalk across campus.
INT. HADDONFIELD POLICE STATION-MAIN LOBBY
Tommy stands next to the counter in the middle of the lobby. He holds a phone receiver in his
hand.
TOMMY
(into the telephone)
Kara?..KARA!?!...DAMN IT!!!
Tommy slams the phone down, and turns to Tyler.
TOMMY
Tyler, I've got to go!
Tommy leans quickly over the counter and grabs his jacket laying on the desk.
Tyler stands up quickly from the desk.
TYLER
Where are you going?
Tommy begins yanking the jacket on.
TOMMY
He's at the library. He's after Kara!
I've got to help her!
Tyler moves quickly around the counter.
TYLER
I'll go with you.
Tommy stops him.
TOMMY
No. I need you to stay with Kristen
and Steven. I can't leave them here
alone.
Kristen, lying on a bench asleep under a blanket, begins to stir.
KRISTEN
Tommy..Where are you going?
Kristen drops the blanket and begins walking over to Tommy.
TOMMY
Kristen, Michael's at the library..
Kara needs my help. I won't be long.
KRISTEN
(now wide awake)
What? No, I don't want you to go! Stay
with us.
Tommy grabs Kristen and hugs her.
TOMMY
I have to K. Kara needs me.
Kristen clings tight to Tommy's neck.
KRISTEN
I need you.
Tommy takes Kristen by the shoulders and pulls her from him slightly. He looks into her eyes.
TOMMY
Kristen, I'm the Sheriff...I have to go.
Kristen's gaze drops to the floor.
TOMMY
Listen K., you won't be here alone.
Tyler is going to stay with you. He'll
keep an eye on you and Steven.
Kristen looks up into Tommy's face.
KRISTEN
..I know you have to go. But you come
back to me in one piece, alive.
Tommy hugs Kristen tightly.
TOMMY
I love you, Kristen.
KRISTEN
(crying softly)
I love you too, Doyle.
Tommy wipes the tears from Kristen's cheeks.
TOMMY
(whispering)
Don't cry...I'll be back before you
know it.
Kristen lets go of Tommy and he turns to Tyler.
TOMMY
You keep an eye on them for me.
TYLER
Won't let em out of my sight.
Tommy turns and heads for the door.
KRISTEN
(calling out)
Tommy...
Tommy pauses and turns to look.
KRISTEN
Be careful.
CLOSE-TOMMY Tommy mouthes the words "I love you."
CLOSE-KRISTEN only stares.
ANGLE ON TOMMY as he turns and disappears through the main exit.
INT. TOMMY'S SQUAD CAR-MOMENTS LATER
As Tommy speeds along, siren blaring, he reaches down and picks up his CB.
TOMMY
Bailey, Grimes. This is Doyle. Come in.
BAILEY
(voice over CB)
Yeah Sheriff, this is Bailey. What's
up?
TOMMY
Myers is at the college. You and Grimes
meet me at the corner of University and Elm
in five minutes. Over.
BAILEY
(over CB)
Copy. University and Elm in five. Over and
out.
EXT. HADDONFIELD STREET-NIGHT
SHAPE'S POV The shape lurks back between two houses in a dark alley. The alley runs about ten
feet up to the street. Sirens are heard in the distance, growing louder. Suddenly a police car,
Tommy's car, speeds by. As the shape moves quickly forward, we approach the street and peer
around the edge of the house on the right. Tommy's squad car has just reached the end of the
street, and now turns a corner to the left, in the direction of the university. Tommy's car
disappears behind a building standing on the corner. The shape gingerly moves from the dark
alley out onto the sidewalk, and begins to walk determinedly down the path in the direction
that Tommy came from-the direction of the police station.
EXT. UNIVERSITY OF HADDONFIELD-NIGHT
Danny wanders around the open courtyard, illuminated by a lamppost. He glances frantically one
way, then the other.
DANNY
(whispering)
Where am I?...
Footsteps suddenly can be heard running along the sidewalk. Danny stands silent, frozen with
fear. After a moment, he runs over and hides behind a large oak tree.
DANNY'S POV As Danny peers cautiously around the edge of the large tree trunk, we see the dark
figure of a woman in a long dress and sweater moving quickly down the sidewalk.
CLOSE-DANNY peeks from around the tree.
DANNY
(whispering)
..Mommy?..
DANNY'S POV The woman's face becomes visible from the light of the lamppost.
EXT. UNIVERSITY OF HADDONFIELD
Danny emerges from behind the tree and runs over to the sidewalk.
DANNY
(shouting)
Mom!
Kara turns and looks as Danny comes running up.
KARA
DANNY!?!
Kara stoops and takes Danny into her arms, hugging him tightly. Sirens are heard in the
background.
KARA
Oh Danny!...I love you, Danny.
DANNY
Love you too, Mom.
Suddenly headlights illuminate their tear-streaked faces. They turn quickly in that direction,
searching for the source.
KARA'S POV A squad car pulls up on the sidewalk, followed by two more. The procession of
flashing lights speeds out into the center of the courtyard, coming to a stop just a few feet
from Danny and Kara.
EXT. UNIVERSITY OF HADDONFIELD
Tommy emerges from the lead vehicle.
Kara and Danny run to him. Kara wraps her arms around his neck.
KARA
Tommy! Oh God, Tommy, he's here.
TOMMY
It's okay, Kara. I'm here now. You and
Danny get in my car.
Two other officers, BAILEY and GRIMES, come hurrying up.
GRIMES
Sheriff Doyle, what's going on? I radioed
Riley and Malone and neither one answers.
KARA
Officer Malone is dead.
TOMMY
Chances are Riley is too. Myers is here.
Call for backup. I want every available
officer searching this campus from top to
bottom.
BAILEY
Where are you going?
TOMMY
I'm going to take Kara and Danny back to
the station. It's not safe for them here.
Call for that backup and stay on your toes.
EXT. HADDONFIELD POLICE STATION-NIGHT
A lone officer, BLAKE PICKETT, stands on the concrete steps of the Haddonfield Police Station,
pacing back and forth. He carries a large shotgun in his hands.
Suddenly, we hear a faint CLINK.
Pickett comes to a halt, listening intently.
The noise comes again. CLINK. CLINK.
Pickett descends the steps and looks both ways down the sidewalk.
PICKETT'S POV Pickett glances one way. Nothing but an empty street. Then he glances the other
way. Only the same.
The metallic noise is heard once again, louder this time. CLINK!
Pickett's gaze travels down to a manhole cover at his feet.
ANGLE ON PICKETT as he steps back and looks down at the manhole cover.
He raises his rifle and cocks it, cautiously approaching the metal cover.
PICKETT'S POV as he reaches down with one hand and slowly pulls the heavy cover aside. Inside
the manhole, there is only darkness.
PICKETT
(calls loudly)
Who's there?
ANGLE ON PICKETT With his shotgun raised and aimed at the interior of the manhole, Pickett
sneaks stealthily up to the hole.
PICKETT'S POV The darkness remains. Suddenly, the glowing white face of the shape appears in
the darkness and a hand shoots out of the manhole.
ANGLE ON PICKETT Before Pickett can fire, the hand has a grip on the shotgun barrel. The hand
jerks forward, yanking the shotgun and Pickett down into the dark hole.
CLOSE-PICKETT's head smacks loudly into the metal edge of the manhole before his entire body
plummets down the shaft to the sewer below.
EXT. POLICE STATION
CAMERA BEHIND THE SHAPE The hulking figure of the shape emerges from the dark manhole. The
shape rises and stands erect, a large knife in hand. The police station stands before him.
INT. HADDONFIELD POLICE STATION
Kristen sits on the bench, Steven in her lap. She gently rocks him on her shoulder.
Tyler stands across the room at the counter talking on a telephone, all the while pacing.
Three more cops stand in the center of the lobby, talking.
ANGLE ON DOORS Suddenly, the front doors of the police station are thrown open. The eerie
spectre of the shape stands in the doorway.
CLOSE-KRISTEN jerks her head up, shocked.
CLOSE-TYLER stares in awe, dropping the phone.
CLOSE-OFFICERS The three officers' heads snap up. They reach for their guns.
ANGLE ON THE SHAPE as it steps into the building. The doors slam shut behind it.
EXT. POLICE STATION
CAMERA PANS back from the closed doors as gunshots ring out and the screams of police officers
fill the night air.
INT. POLICE STATION-MOMENTS LATER
KRISTEN'S POV-INT. POLICE STATION
The three cops' mutilated bodies lie in the center of the room in various grotesque positions.
Arms are missing. Legs jut out at sickening angles. Dead eyes stare into nothingness. Dark red
blood seeps across the floor.
Kristen's gaze travels over to Tyler. He is locked in a deadly battle with the shape between
her and the main doors. Tyler screams to Kristen.
TYLER
KRISTEN! RUN!!
The shape raises the large butcher knife high into the air.
ANGLE ON KRISTEN as she grabs Steven up and moves off of the bench.
ANGLE ON TYLER AND THE SHAPE The shape drives the huge knife down into Tyler's chest. Tyler
screams in agony. Blood erupts from Tyler's open mouth as the blade severes his windpipe.
CLOSE-THE SHAPE Drops of Tyler's blood splatter across the shape's white mask.
INT. POLICE STATION
The shape drops Tyler's dead body to the floor, yanking the knife free.
Kristen, with Steven in her arms, attempts to dart past the shape.
KRISTEN'S POV as the shape steps to the right, blocking her way.
ANGLE ON KRISTEN Kristen halts.
KRISTEN
(screaming)
LEAVE US ALONE!!
Kristen spins around and scrambles, clutching Steven tightly, into Tommy's office, yanking the
door closed behind her.
INT. TOMMY'S OFFICE
Kristen locks the door and looks around.
KRISTEN'S POV There is no way out. No windows. Nothing. BAM! There is a sudden pound on the
door. Kristen whirls around.
ANGLE ON KRISTEN Kristen stands in the middle of the office holding Steven, who is crying, to
her chest.
KRISTEN
(screaming hysterically)
MICHAEL, LEAVE US ALONE! HE'S OUR
SON NOW!!
KRISTEN'S POV BAM! The knife blade suddenly pierces through the door, jutting into the office.
ANGLE ON KRISTEN
KRISTEN
(to Steven)
Hush baby...Shhh.. Just close your eyes.
KRISTEN'S POV Kristen looks around for something to defend herself with. The large butcher
knife lays on Tommy's desk.
ANGLE ON KRISTEN as she sets Steven down on his feet and kneels down beside him.
KRISTEN
Steven, listen to me. When I get the door
open, I want you to run. Do you hear me?
Get out of the building!
STEVEN
(crying)
Mommy, I'm scared.
KRISTEN
(to Steven)
I am too, baby. Just be ready to move.
Kristen snatches up the knife and turns to the door.
KRISTEN'S POV BAM! BAM! The knife blade continues to slice through the door. A small hole has
formed in the door.
Suddenly, the hideous hand of the shape smashes through the hole.
CLOSE-KRISTEN, knife raised, screams.
KRISTEN'S POV The shape's hand begins to grope for the doorknob.
ANGLE ON KRISTEN as she jumps forward and jams the large butcher knife into the shape's
forearm.
Unlocking the door, Kristen withdraws the knife and shoves the door open into the shape.
INT. MAIN LOBBY
ANGLE ON THE SHAPE As the door slams into it, the shape flies backward and lands on the floor,
stunned.
ANGLE ON KRISTEN AND STEVEN as they burst from the office and dart toward the main exit.
Kristen pushes Steven along ahead of her.
ANGLE ON THE SHAPE As they move past the shape, it reaches out with an instantaneous lunge and
grabs Kristen's ankle.
ANGLE ON KRISTEN Kristen's feet fly out from under her and she hits the floor with a THUD. The
knife flies from her hand.
ANGLE ON THE KNIFE as it skitters across the floor.
INT. LOBBY
Steven stops and Kristen motions for him to go on.
KRISTEN
STEVEN!! RUN!!!
Steven turns and begins to head across the lobby.
ANGLE ON THE SHAPE The shape rises and steps forward, looming over Kristen.
ANGLE ON KRISTEN In the shape's shadow, Kristen scrambles to her feet and turns to run.
INT. MAIN LOBBY
The shape grabs Kristen by her long blond hair and yanks her back. As Kristen screams, the
shape tosses her across the lobby.
ANGLE ON KRISTEN as she soars through the air, arms flailing. She lands on a small table near
the front doors. The table shatters and Kristen crashes to the floor.
ANGLE ON STEVEN Steven is standing at the main doors. He turns.
STEVEN
MOMMY!!
THE SHAPE'S POV Steven is looking at Kristen's motionless body from the front doors. As we
approach, Steven turns and looks. Faced with the approaching shape, Steven screams and turns
back to the door. He shoves uselessly on the heavy doors. They will not budge.
ANGLE ON THE SHAPE The shape moves forward toward Steven and raises its large knife.
STEVEN
MOMMY!! The door won't open!
CLOSE-KRISTEN moans and looks up wearily.
KRISTEN'S POV The shape stalks toward Steven. Her gaze travels quickly down to the floor. The
dropped butcher knife lays inches in front of her.
THE SHAPE'S POV Steven backs against the door, and shrinks away from the approaching shape, all
the while screaming.
STEVEN
MOMMY!! HELP ME!! IT'S THE MONSTER,
MOMMY!! HELP!!
CLOSE-THE SHAPE The ghostly face of the shape approaches.
THE SHAPE'S POV Steven is only feet away.
Suddenly, Kristen throws herself into the shape's path, blocking Steven.
KRISTEN
LEAVE MY SON ALONE, YOU BASTARD!
The shape is upon her.
ANGLE ON THE KNIFE The knife, grasped tightly in the shape's scarred hand plunges into
Kristen's midsection.
ANGLE ON KRISTEN Kristen shrieks loudly. The shape pulls Kristen to it, almost as if in a
loving embrace. Kristen's left hand grabs the shape's shoulder.
CLOSE-KRISTEN AND THE SHAPE are face to face.
KRISTEN
(whispering to the shape)
I'll see you in Hell.
ANGLE ON KRISTEN'S HAND Kristen's right hand, raised high in the air behind the shape, clutches
the recovered butcher knife. Kristen rams the knife down forcefully into the shape's back.
CLOSE-THE SHAPE The shape's eyes widen and its head jerks back slightly. It shoves Kristen
away.
ANGLE ON THE SHAPE'S KNIFE as it slides out of Kristen's abdomen. A drop of blood drips from
the blade.
ANGLE ON THE SHAPE The shape allows Kristen to drop to the floor, and reaches around jerking
the knife from its back. It throws the knife across the room.
THE SHAPE'S POV Kristen lies on the floor at the shape's feet. As the shape's gaze travels up,
we see Steven hunkering against the main doors. We begin to move toward Steven.
ANGLE ON KRISTEN Kristen grabs weakly at the shape's pants leg as it steps forward. The shape
jerks loose and continues forward.
THE SHAPE'S POV The shape approaches Steven and he begins to scream.
STEVEN
NO, PLEASE, MOMMY, DADDY, NO!
EXT. HADDONFIELD POLICE STATION-MINUTES LATER
Tommy's squad car pulls up to the curb in front of the police station. Tommy gets out of the
driver's side and Kara and Danny emerge from the passenger seat.
One of the front doors of the police station lays on the steps, wrenched from its hinges.
Tommy runs across the sidewalk and up the steps.
TOMMY
Oh my God...What the hell...
TOMMY'S POV The bodies of the three policemen lay in the center of the lobby. Captain Tyler
lies on the floor a few feet over. Tommy's gaze travels to the left.
Kristen lies with her back turned on the floor.
ANGLE ON TOMMY as he hurries over to Kristen and kneels beside her.
TOMMY
KRISTEN!!..Oh God, no..
Tommy turns Kristen over and notices the wound in her stomach. Kristen's eyes remain closed.
TOMMY'S POV-KRISTEN
TOMMY
Oh God, K...Open your eyes....You hear
me?!?
Kristen's eyelids open weakly.
CLOSE-TOMMY
TOMMY
Kristen, you're alive!
CLOSE-KRISTEN opens her mouth to speak. A drop of blood appears at the corner of her lips.
KRISTEN
(weakly)
...Tommy..
(short pause)
..Steven..He's got Steven.
CLOSE-TOMMY, unable to speak, stares into Kristen's face, eyes watering.
CLOSE-KRISTEN
KRISTEN
..I..I tried to stop him Tommy..
TOMMY
K...Don't try to talk..
Kristen's eyes close as she begins to slip away.
CLOSE-TOMMY A single tear rolls from Tommy's eye.
TOMMY
..Kristen..KRISTEN?!
CLOSE-KRISTEN Tommy shakes Kristen.
KRISTEN
(barely audible)
..I love you, Doyle...
CLOSE-TOMMY Tears stream down Tommy's face.
TOMMY
..Kristen..DON'T YOU DIE ON ME!!
CLOSE-KRISTEN's eyes remain closed. She is gone.
TOMMY
(weeping)
..NO..NO, K! OPEN YOUR EYES!! OPEN
THEM!!...
(pause as Tommy tries to find his voice)
...Kristen..I love you..
INT. MAIN LOBBY
Tommy sits holding Kristen's lifeless body, rocking. He lowers his head to her chest and sobs.
TOMMY
(now shouting)
DAMN HIM!! DAMN HIM TO HELL!!!
Tommy slowly lowers Kristen to the floor. He gets shakily to his feet and hurries toward the
door.
Kara and Danny stand in the doorway of the police station.
KARA
Tommy, where are you going?
Tommy steps past them and out of the building.
EXT. HADDONFIELD POLICE STATION
TOMMY
Michael's got Steven...He's got my son..
I've got to save him.
Kara heads down the steps after him.
KARA
I'll go with you.
Tommy stops and turns. He stares intently at Kara.
TOMMY
No. Enough people have died. You
stay here with Danny. This is between
me and him.
Tommy turns and hurries around his squad car.
KARA
(calling out after him)
How are you going to find him?
CLOSE-TOMMY opens the driver's side door. Before getting in, he stops and looks at Kara, a fire
burning in his eyes.
TOMMY
I already know where he is.
EXT. HADDONFIELD POLICE STATION
Tommy disappears into the squad car and slams the door. The engine roars to life and the car
squeals off down the street. Kara and Danny stand on the steps of the Haddonfield Police
Station watching him go.
EXT. MYERS HOUSE-NIGHT
The old, decrepit Myers house stands against the night sky. Tommy's squad car pulls up to the
curb in front of the house. Tommy gets out of the vehicle and looks up at the house.
TOMMY'S POV The dilapidated two-story house stands before Tommy. All of the windows remain
dark, seemingly empty.
CLOSE-TOMMY stands staring at the house. Hatred and terror burn in his eyes.
ANGLE ON TOMMY as he walks quickly to the trunk of the car and opens it.
TOMMY'S POV Inside the trunk of the squad car lays a large red gasoline container and an axe.
ANGLE ON TOMMY Tommy takes the items from the trunk and slams it closed. He turns and begins to
walk up the sidewalk to the Myers house.
TOMMY'S POV Loomis's grave sets off to the left of the sidewalk. As Tommy walks past, he comes
to a stop.
ANGLE ON TOMMY Tommy looks solemnly at the old doctor's memorial. After a moment, he sets down
the gas can and the axe and walks slowly over to the headstone.
CLOSE-TOMMY stares briefly at the marble headstone.
TOMMY
This is it, Dr. Loomis...I knew this time
would come, and now the final hour is at
hand. The boogeyman has returned to Haddonfield.
(pause)
Michael has come home.
Tommy kneels close to the headstone.
You were never afraid of him, Dr. Loomis..
Give me the strength to face him...Please, give
me the courage to do what must be done.
(pause)
Michael must be stopped. It has to be here,
the place where it all began. Help me
to be strong..For Steven, for Kristen...
(pause)
For Haddonfield.
Tommy looks up from the headstone and slowly rises to his feet. He walks over to the sidewalk
and picks up the axe and the gas can.
Tommy moves up the front porch of the house to the door, the container of gasoline in his left
hand, the axe in his right.
Tommy sets the gas down and turns the door knob.
TOMMY'S POV The door swings open slightly. Tommy steps forward and pushes the door all the way
open. The dark interior of the Myers house is before him.
INT. MYERS HOUSE-FOYER
Tommy moves into the foyer, axe in hand. He looks around.
TOMMY'S POV The foyer is the same as before, only darker. The stairway leads up in front of
Tommy. To his right is the den.
ANGLE ON TOMMY as he moves to the left into the den.
TOMMY'S POV The den also remains the same. Still empty. Tommy looks around the room. No one is
there. On the left wall of the room is another open doorway that leads into the dining room.
ANGLE ON TOMMY as he moves through the doorway into the dining room and looks around.
TOMMY'S POV The dining room, too, is empty except for a wooden dining table in the center of
the room. Another open doorway stands on the other side of the table. We see the kitchen beyond
the threshold.
ANGLE ON TOMMY Tommy moves around the table and into the kitchen.
TOMMY'S POV The kitchen is empty, save for an old stove resting in the corner of the room. A
corroded sink rests in the counter top to Tommy's left. As Tommy looks up to the ceiling, we
see the hole that leads up to the bedroom on the second floor.
ANGLE ON TOMMY Tommy turns and walks back the way he came, still clutching the axe.
INT. FOYER
Tommy walks into the foyer. He lays the axe on the floor and unscrews the lid off of the
gasoline container.
ANGLE ON TOMMY Tommy stands up and begins splashing the gasoline all around. He splashes it
onto the walls and then moves into the den, dining room, and kitchen doing the same.
After dousing the entire kitchen, Tommy heads back to the foyer. While walking through the
dining room, he sets the nearly empty gas can down on the table.
INT. FOYER-A MOMENT LATER
Tommy reaches down and picks up the axe. He turns and looks up the dark staircase.
TOMMY'S POV The steep stairs lead up to the second floor.
Suddenly, Steven's voice screams from upstairs.
STEVEN
NO!! HELP ME DADDY!! PLEASE HELP ME!!!
ANGLE ON TOMMY
TOMMY
Dr. Loomis, be with me.
Tommy begins to move cautiously up the staircase.
EXT. MYERS HOUSE
Across from the Myers house, another squad car pulls up.
INT. SQUAD CAR
Kara undoes her seatbelt and opens the driver's side door.
KARA
Danny, I'll be right back. STAY IN
THE CAR and lock the doors!
Danny nods and ducks down into the floorboard of the car.
ANGLE ON KARA as she slams the car door and sneaks across the street toward the Myers house.
INT. MYERS HOUSE-UPSTAIRS
As Tommy reaches the top of the stairs, he looks slowly around.
On the right, the door to what once was Michael's bedroom stands open. The room is empty.
The door across the hall is pulled to. Tommy moves toward this door.
TOMMY'S POV The door stands closed before us. A small glow escapes around the frame of the
door.
ANGLE ON TOMMY as he turns the doorknob and shoves the door inward.
TOMMY'S POV As the door creaks open, the interior of the room becomes visible.
A candle sets flickering on the floor in the center of the room. Steven stands, facing Tommy
just behind the candle. The candle casts an eerie light on Steven's face. Behind Steven, is
absolute darkness.
CLOSE-TOMMY
TOMMY
(relieved)
...Steven!..Thank God!..Where's Michael?..
TOMMY'S POV Steven remains silent.
ANGLE ON TOMMY as he holds out his arms to Steven.
TOMMY
Come here, Steven.
CLOSE-STEVEN
STEVEN
(meekly)
I can't Daddy.
TOMMY'S POV Steven continues to stand in the light of the candle. Now, Tommy notices a pair of
hands, dirty disfigured hands, resting on Steven's shoulders.
The owner of the hands steps forward slightly. The ghost-like mask of the shape emerges from
the darkness behind Steven.
ANGLE ON TOMMY
TOMMY
..Oh my God..It's you..
Tommy steps forward toward Steven.
TOMMY
You son of a bitch! Let go of my son!
CLOSE-STEVEN The shape's hands move quickly from Steven's shoulders and gently ease around his
neck.
ANGLE ON TOMMY Noticing the warning, Tommy stops.
TOMMY'S POV The shape slightly moves its hands off of Steven's neck. It stands there, behind
Steven, staring at Tommy.
CLOSE-TOMMY
TOMMY
Let him go, Michael...When is it going to
be enough? How many more have to die?
CLOSE-THE SHAPE
TOMMY
Your entire family is gone. You've killed
them all. When are you going to let it be?
Let Steven go.
The shape only stares.
CLOSE-TOMMY
TOMMY
Just let him go, Michael. End it now.
Laurie is dead. Jamie is dead. Loomis is dead.
Steven is the only one left.
INT. BEDROOM
The shape continues to stand with his hands on Steven's shoulders.
Tommy reaches out to Steven.
TOMMY
Let Loomis rest in peace, Michael..
Let Haddonfield rest in peace. These
people have suffered long enough...
The shape cocks its head to the left slightly and continues to stare.
ANGLE ON TOMMY as he sets the axe down on the wooden floor.
TOMMY
Look Michael, I'm putting the axe down.
CLOSE-TOMMY steps toward Steven, arm outstretched.
CLOSE-STEVEN The shape's grip on Steven loosens slightly. Steven reaches out slowly to Tommy.
TOMMY
Let him go, Michael. You don't really
want to kill your own son. Killing him
won't solve anything.
Steven takes a step away from the shape.
CLOSE-THE SHAPE stares blankly.
CLOSE-TOMMY takes another step forward, reaching for Steven's hand.
ANGLE ON STEVEN'S HAND Steven's fingers touch Tommy's slightly. Tommy's hand takes hold of
Steven's small hand.
INT. BEDROOM
Steven, hand in hand with Tommy, continues to move away from the shape.
ANGLE ON THE SHAPE Suddenly, the shape's hideous right hand shoots out and grabs Steven's free
hand.
Steven screams as the shape yanks him back.
INT. BEDROOM
Tommy doesn't let go and Steven is pulled taught, Tommy with one hand, the shape has the other.
The shape jerks hard on Steven, pulling him and Tommy to it.
ANGLE ON THE SHAPE The shape releases Steven's hand and grabs hold of Tommy's neck with both
hands.
INT. BEDROOM
As Tommy struggles and gasps for air, the shape lifts him up off the floor by his neck,
throttling him.
CLOSE-TOMMY
TOMMY
(gasping)
Stev..en..get..away...
The shape's grip on Tommy's neck tightens and his eyes begin to bulge.
CLOSE-THE SHAPE looks up at Tommy as he struggles.
KARA
(yells loudly from off camera)
MICHAEL!
At the sound of Kara's voice, the shape jerks his head to look.
CLOSE-KARA swings the blunt end of the axe straight into the shape's head.
CLOSE-THE SHAPE SMACK! The shape's head snaps back and it drops Tommy to the floor.
ANGLE ON TOMMY as he hits the floor with a THUD. He writhes around, clutching his throat,
trying to take in air.
KARA'S POV Steven is standing just inside the bedroom doorway.
KARA
Steven!..Go down the stairs and get out
of the house NOW!
Steven runs out of the room.
As Kara turns to look for Tommy, the shape steps towards her, toward us.
INT. BEDROOM
Kara swings the axe at the shape again, but the shape grabs the axe in midswing. With one hand
on the axehandle, the shape grabs hold of Kara and throws her out of the bedroom.
ANGLE ON KARA Kara is hurled through the air with incredible force. She lands in the doorway to
Michael's bedroom across the hall.
ANGLE ON THE SHAPE The shape, axe in hand, steps from the interior of the bedroom into the dark
hallway.
THE SHAPE'S POV Kara lies motionless on the floor in the doorway to Michael's bedroom. The
shape approaches.
INT. HALLWAY
The shape looms over Kara and raises the axe.
TOMMY
(from off camera)
GET AWAY FROM HER!!
CLOSE-THE SHAPE turns.
ANGLE ON TOMMY AND THE SHAPE Tommy leaps through the air and tackles the shape, sending the
both of them sprawling through the doorway into Michael's room. WHAM!! They land in the center
of the bedroom on the hard wood floor.
INT. MICHAEL'S BEDROOM-FROM ABOVE
The weak, rotted floor suddenly gives way with a loud CRAAACKK! As the floor buckles, Tommy and
the shape crash through, plummeting to the first floor below.
INT. KITCHEN
Tommy and Michael drop through the air and crash to the tiled kitchen floor in a cloud of
boards and silt.
ANGLE ON TOMMY As the dust settles, Tommy begins to stir. He pushes a few loose boards off of
him and gets slowly to his knees.
Suddenly, a strong hand grabs Tommy by the hair and yanks him to his feet.
INT. KITCHEN
The shape lifts Tommy up and throws him through the open doorway into the dining room.
ANGLE ON TOMMY as he soars through the air and smashes down on top of the dining room table.
The old table groans under his weight, but does not give.
ANGLE ON THE SHAPE The shape leans down and grabs the axe from the pile of rubble.
TOMMY'S POV The shape is moving quickly toward us, brandishing the sharp axe. It swings the axe
down at Tommy.
ANGLE ON TOMMY Tommy rolls aside as the axe blade whacks into the wooden tabletop.
TOMMY'S POV The shape jerks the axe back up and brings it down hard.
INT. DINING ROOM
Tommy darts out of the way just in time. The axe slams into the table again, and splits it up
the middle. The table collapses and Tommy is spilled to the floor.
ANGLE ON TOMMY as he lands on the floor at the shape's feet.
TOMMY'S POV The shape stands over Tommy. It raises the axe.
Tommy's gaze travels quickly to his right. The gas can sets just beside him.
ANGLE ON TOMMY Tommy grabs the can of gas and flings gasoline up at the shape.
CLOSE-THE SHAPE The gasoline splashes into the shape's mask.
The shape groans and drops the axe, bringing its hands up to its face.
INT. MYERS HOUSE-UPSTAIRS
Kara gets up from the floor groggily. She steadies herself on the stair railing.
KARA
(softly)
..Tommy?...
Kara looks around.
KARA
(louder)
TOMMY!...
Kara turns and looks down the stairway.
KARA'S POV Steven stands at the foot of the stairs looking into the den.
KARA
STEVEN!!
ANGLE ON KARA Kara, holding onto the railing, begins to limp down the stairs.
INT. DINING ROOM
ANGLE ON TOMMY as he drops the gas can and scrambles quickly to his feet. Tommy spots a table
leg laying on the floor next to the crushed table top and snatches it up.
TOMMY
(screaming)
STEVEN IS MY SON!!
Tommy swings the heavy wooden table leg. WHACK! It smacks into the shape's head.
ANGLE ON THE SHAPE The shape is knocked back a step as the table leg bashes into its head.
ANGLE ON TOMMY
TOMMY
THIS IS FOR DR. LOOMIS!!
Tommy swings the wooden table leg again.
CLOSE-THE SHAPE WHACK! The shape's head snaps back as the table leg again collides with its
chin.
CLOSE-TOMMY
TOMMY
FOR LAURIE!
Tommy hits the shape again.
INT. DINING ROOM
The shape stumbles again.
CLOSE-TOMMY
TOMMY
FOR JAMIE!
Tommy jerks the heavy table leg back again and swings.
CLOSE-THE SHAPE The blow over the head knocks the shape to his knees.
CLOSE-TOMMY raises the table leg.
TOMMY
(even louder)
FOR KRISTEN!!
CLOSE-THE SHAPE's head snaps to the side as Tommy smashes the wooden table leg into its face.
ANGLE ON TOMMY as he again raises the weapon.
TOMMY
AND THIS IS FOR TWENTY YEARS OF
BAD DREAMS, MOTHERFUCKER!!!
Tommy brings the table leg down.
CLOSE-THE SHAPE's head snaps up quickly. As the table leg comes down, the shape's hand shoots
out lightning-quick and grabs hold of it.
CLOSE-TOMMY The shape slings the table leg back at Tommy. It smacks him in the nose and he
flies back through the open doorway into the den.
INT. DEN
Tommy crashes to the floor of the den on his back. He quickly gets to his knees. Blood runs
from Tommy's nose. Kara's voice comes from the foyer to Tommy's left.
KARA
TOMMY!!
TOMMY'S POV Kara stands at the base of the stairs in the foyer holding Steven.
TOMMY
KARA! TAKE STEVEN AND GET OUT OF THE HOUSE!!
Kara remains, clutching Steven tightly to her chest.
KARA
Tommy, what's that smell?!? GASOLINE?!?
ANGLE ON TOMMY as he yanks a pack of matches from his pants pocket.
TOMMY
KARA, GET OUT OF HERE NOW!!
TOMMY'S POV Kara yanks the front door open and runs out of the house carrying Steven.
CLOSE-TOMMY looks back in the direction of the dining room.
TOMMY'S POV The shape has recovered and is stepping over the broken table coming toward him.
The axe is clutched tightly in his scarred hand.
CLOSE-TOMMY, with hatred in his eyes, pulls a match from the pack and strikes it. He brings the
flame up in front of his face.
TOMMY'S POV The lit match burns in front of us. The shape is just stepping into the den.
CLOSE-THE SHAPE stops and looks at Tommy.
INT. DEN
Tommy and the shape stand, staring at each other.
TOMMY
(softly)
So Michael, this is the way it ends...
The shape only stares.
CLOSE-TOMMY
TOMMY
(calmly staring into the shape's eyes)
This time you've come home for good.
Tommy throws the match.
ANGLE ON THE SHAPE The shape steps forward, raising the axe.
ANGLE ON IGNITING FLAME The match lands in a lake of gasoline in front of Michael. A large
flash of light illuminates the dark den as the fire ignites. Flames quickly spread along the
gasoline trails, throughout the den and into the dining room.
ANGLE ON TOMMY as he turns quickly to run for the foyer.
ANGLE ON TOMMY'S FOOT Suddenly, the wooden floor gives way beneath Tommy's foot.
ANGLE ON TOMMY Tommy falls as his leg crashes into the floor up to his knee. He catches himself
with his hands.
INT. DINING ROOM
The flames travel across the paths of gasoline, up the walls and into the kitchen.
INT. DEN
In an awkward position, Tommy turns to glance at the shape.
TOMMY'S POV The shape steps through the wall of flames and is upon Tommy.
CLOSE-THE SHAPE swings the axe down.
ANGLE ON TOMMY Tommy yanks his leg free and pulls himself out of the blade's way as the axe
slams into the floor.
INT. DEN
Tommy get quickly to his feet as the shape wrenches the axe blade free from the floor.
ANGLE ON TOMMY Tommy charges into the shape.
ANGLE ON TOMMY AND THE SHAPE
Tommy rams the shape into a wall, and the axe falls to the floor.
As the pair begins to wrestle, the shape gets a hold on Tommy's throat and begins to squeeze.
TOMMY
(choking)
Let..go..of me..
Tommy's flailing right hand manages to grab hold of the rubber mask.
CLOSE-THE SHAPE Tommy rips the rubber mask from the shape's head. Briefly, we see the hideously
burned face of the shape.
ANGLE ON THE MASK The pasty white mask lands on the wooden floor.
THE SHAPE'S POV The shape shoves Tommy away. He stumbles backwards to the floor.
ANGLE ON THE MASK The shape's hand reaches down and picks up the mask. CAMERA follows the mask
as the shape lifts it up.
TOMMY'S POV The shape, head bent, stretches the white rubber mask down over its face.
THE SHAPE'S POV Tommy gets shakily to his feet and begins backing across the burning den.
TOMMY'S POV The shape, mask on, looks up slowly. The dark eyeholes of the mask stare straight
at Tommy, at us.
INT. DEN
The entire den is engulfed in flames. Tommy stands near the foyer door. The shape stands across
the room in the corner. They share a silent stare.
Suddenly there is a loud groaning sound from above.
CLOSE-THE SHAPE looks around quickly, then back at Tommy.
CLOSE-TOMMY continues to stare, as if his gaze is burning into the shape's very soul. The
corner of his mouth twitches slightly, poised on the verge of breaking into a maniacal grin.
ANGLE ON THE SHAPE The shape looks around nervously. It looks almost frightened.
The voice of Dr. Sam Loomis suddenly echoes through the burning Myers house, this time for the
last time.
LOOMIS
(from the ending of Hallowen II)
It's time, Michael.
The shape looks up quickly as the groaning becomes louder. An earth-shattering CRACK shakes the
house.
CAMERA ZOOMS down on the shape's upturned face as the ceiling gives way.
INT. DEN
Suddenly the second floor collapses in on the shape. Huge burning boards crash down on top of
it, burying it in a mountain of smoldering embers and smoke.
EXT. MYERS HOUSE-NIGHT
The entire house is consumed with flames. The second floor windows glow brightly as the the
fire ravages the upstairs of the old building.
Kara, Steven, and Danny stand on the street watching as the house burns.
KARA'S POV Suddenly, a figure appears in the open front doorway, silhouetted against the bright
flames inside the house.
KARA
TOMMY!!
ANGLE ON KARA as she runs across the overgrown yard toward the house.
ANGLE ON TOMMY Tommy emerges from the front door and stumbles down the steps, meeting Kara in
the yard.
EXT. MYERS HOUSE
Kara throws Tommy's arm around her shoulder, helping him away from the house.
They limp across the yard to Tommy's squad car.
TOMMY'S POV Steven runs up to Tommy as they reach the street.
STEVEN
DADDY!!!
ANGLE ON TOMMY AND STEVEN Tommy stoops and scoops Steven up, hugging him to his chest.
TOMMY
Hey brat.
Tommy holds Steven close to him.
TOMMY
I love you, Steven.
Steven pulls back and looks at Tommy.
STEVEN
I love you, too, Daddy.
They smile at each other.
ANGLE ON KARA as she turns to Tommy.
KARA
Tommy, where's Michael?
CLOSE-TOMMY
TOMMY
(to Kara)
Michael's gone...The evil is gone.
Tommy turns and looks at the burning Myers house.
..Halloween is over.
EXT. MYERS HOUSE-NIGHT
Tommy, Kara, Steven, and Danny stand next to the patrol car and watch as the Myers house
continues to burn. CAMERA PANS over and we see the house, engulfed in flames, standing against
the pitch-black sky.
CAMERA holds on the burning house as children's voices can be heard reciting an old Halloween
rhyme:
Black cats and goblins and broomsticks and ghosts,
Covens of witches with all of their hosts,
You may think they'd scare me, you're probably right,
Black cats and goblins on Halloween night.
TRICK OR TREAT!
END CREDITS
Montage of photographs from the entire series as the credits roll, including pictures of Laurie
Strode, Jamie Lloyd, Dr. Sam Loomis, Annie Brackett, Lynda , Rachel Carruthers, Tommy Doyle,
Kara Strode, Danny Strode, and, finally, the infamous Shape. The sequence of pictures is
accompanied by "Don't Fear the Reaper" by Blue Oyster Cult.