Halloween III: Michael's Return takes place five years after the original. It's a direct sequel to Halloween II and reimagines where the series could have gone had Jamie Lee Curtis returned for a third one - with Michael in tow.
Laurie, now attending college in eastern Illinois, is trying to put the pieces of her life back together. Michael Myers is thought dead after spending the last five years in a coma at Castledale - his heart stopping early Halloween morning. But his new doctor, Richard Cosgrave, believes otherwise. Is Michael alive and if he is - will he get to Laurie before Cosgrave can stop him?
INT. APARTMENT - BEDROOM - NIGHT
The room is nearly draped in blackness, with only a bit of light cast from the full moon raised in the sky. Its glow exaggerates shadows of the quaking trees smacking against the window.
In the bed, a FIGURE wrestles with the sheets. Whatever the fight, it's losing.
Then a SMACK of lightning illuminates the room and draws the figure upward, revealing her to be LAURIE STRODE.
A bit older and wiser, she glances around, as if expecting someone, something to jump out at her.
But the room is eerily quiet – until her bedroom door creaks open.
Laurie eases back against the bed, eyes planted on the door.
LAURIE
Who's there?
Only silence.
LAURIE (CONT'D)
Kerry?
The door inches – but no one can be seen.
LAURIE (CONT'D)
This isn't funny.
No answer.
Laurie forces herself out of the bed and then reaches down along side it, pulling out a bat. She grips it tightly and begins slowly walking across the floor toward the bedroom door.
Every pull of her leg causes strain in her face, her breathing has picked up and right before reaching the door, doubt lingers in her eyes.
Taking a deep breath, bat still firmly gripped in her hand, she pulls the bedroom door fully open.
NOTHING
No one is there. All that she sees is the hallway and the black that emits from it.
Not fully convinced, however, Laurie pushes her way out into the HALLWAY.
It's blanketed in darkness, light barely fighting through from the glow in her room.
Laurie is forced back a bit by her hesitance. Regaining her nerve, she pushes forward down the hall.
Her empty hand slides against the wall, feeling her way through the unseen. Eventually, after a slow amble, she reaches the LIVING ROOM.
There, Laurie flicks on a light and her eyes swiftly turn to the door. It's locked – chain and all.
Convinced no one is in the house, she lets out a forced smile and turns back toward her bedroom.
Then she sees it.
Standing in the hall behind her is THE SHAPE.
It's grotesquely burned, charred from the fire. Its melted mask fused to its blackened skull. Dangling from its scorched hand is a large and very sharp butcher knife.
Laurie freezes. Then, working on instinct, takes off for the door.
She fights with the chain, eventually pulling it away.
But the deadbolt slows her even more.
Eventually, she twists the lock and throws open the door.
But it's too late. The Shape has already reached her and before she can find safety in the hall, it pulls her back into the apartment.
Panic consumes her body as the Shape quickly lifts its rotted arm into the air and thrusts its knife right into her chest.
All Laurie can do is release one final, fatal scream as the life is taken from her body.
BLACKNESS
INT. LAURIE'S APARTMENT - BEDROOM- NIGHT
Laurie lets out a terror filled shriek. It was just a nightmare.
She quickly sits up in bed, face ghost white and streamed with sweat.
Fighting back the tears, she tries to regain control of her shaking body.
After a few seconds, her bedroom door springs open and she's joined on the bed by her roommate – and best friend – KERRY SMITHFIELD.
The attractive 25 year old brunette quickly scoops Laurie into her arms.
KERRY
What's wrong? Another nightmare?
Laurie's words emerge through her labored breathing.
LAURIE
Same one.
She's controlled a bit now and Kerry reaches over, flipping on the light laying on the end table next to the bed.
Fully, we get a good look at Laurie. She's frightened, her face imprinted in the terror that consumed her years ago.
She has refused to get over the events of Halloween, 1978.
KERRY
Oh Laurie, baby. I'm so sorry.
Laurie rubs her hands through her shortened hair and gives Kerry a thankful smile.
LAURIE
How do you put up with me? I'm a mess.
Kerry laughs.
KERRY
You're your own little adventure.
LAURIE
Well thanks - I guess.
KERRY
Do you want some water?
LAURIE
I think I just need some sleep.
KERRY
You'll be okay? Do you want me to stay?
LAURIE
Will you?
KERRY
Of course.
Kerry, wearing nothing but her underwear and a CLYMER COLLEGE crop top, crawls up to Laurie and joins her under the sheets.
KERRY
You want the light off?
LAURIE
Can we leave it on a bit?
KERRY
Sure.
Those are the last words spoken. Kerry drifts off to dreamland, while Laurie just lays there, staring at the nothingness ahead of her.
EXT. CASTLEDALE SANITARIUM - NIGHT
A mammoth brick building dominates the scene, shooting out of a cluster of dead trees planted out in front of it.
The structure is surrounded by the black void of night and is eerily still – as if a painting.
SUPERIMPOSE:
CASTLEDALE SANITARIUM
The empty night sky is SPLIT by a clap of lightening.
INT. CASTLEDALE SANITARIUM - SECURITY STATION - NIGHT
The dingy security station is filled with magazines, half-eaten food and the portly JIM MOORE.
He eases back into his chair, eyes firmly planted on the black and white television ahead of him. He's watching MAGNUM, P.I. and oblivious to an approaching FIGURE.
Then a slam on the safety glass startles Moore.
He quickly looks up to see DOCTOR RICHARD COSGRAVE. He's in his early-40s and good looking with finely combed brown hair that seems to match his clean shaven face.
MOORE.
You're here late, Doc.
He buzzes Cosgrave in and pulls out a sign in sheet, sliding it under the glass.
Cosgrave can't hide his excitement and happiness.
MOORE (CONT'D)
Is it true?
Cosgrave signs and returns the sheet.
MOORE (CONT'D)
Is Myers dead?
COSGRAVE
That's what they tell me.
Moore buzzes him through one more door and watches as Cosgrave disappears down the shadowed hallway.
MAXIMUM SECURITY WING
At the end of the dark, red-tinted hall is a clutter of activity. A few doctors have huddled together, but disperse at the sight of Cosgrave.
Left standing alone is a MAN in a nicely pressed suit.
He's DOCTOR CLARK WILSON.
WILSON
'Bout time you got here.
COSGRAVE
Had to drive all the way from Springfield. Wasn't planning on coming down tonight. So where is he?
Wilson moves slightly, showing the patient's door.
WILSON
Haven't moved him. About two hours ago, his heart just stopped.
COSGRAVE
No shit?
WILSON
No shit.
MYERS' ROOM
The room is cluttered with medical equipment. The slight hum of all the machines is the only noise heard as the two enter.
Cosgrave slowly walks up to the FIGURE lying in the bed.
It's shadowed by the darkness, though a slight peak of white appears from the gauze wrapped tightly around its head.
Cosgrave moves closer toward the figure, as if listening for a sign of life. He then lifts its burned arm, also wrapped, and checks for any vitals.
WILSON
He's dead, Cosgrave.
Cosgrave drops the arm and looks up toward Wilson.
COSGRAVE
You can never be too sure.
His smile is now larger than ever. It's a mix of glee and satisfaction.
WILSON
Don't try to hide your exhilaration too much.
Wilson laughs.
COSGRAVE
I know an entire town that won't have any difficulty hiding their joy over this news.
INT. BEDROOM - NIGHT
Too dark to make much out, though there is enough light seeping in through the window above the bed to reveal a COUPLE sleeping.
Then a loud ring shakes them out of their sleep.
Another and then finally, a hand flicks on the light next to the bed.
From the covers, SHERIFF LEIGH BRACKETT emerges.
He quickly answers the phone.
BRACKETT
(groggily)
Uh - hello?
He looks at the clock, 4:10 in the morning.
The other person can't be heard.
BRACKETT (CONT'D)
(surprised)
Wait, what?
He quickly shoots up.
BRACKETT (CONT'D)
You're sure? Positive?
PAT BRACKETT, devoted wife, tugs on Brackett's pajamas, trying to get his attention. Her face is draped in both confusion and concern.
BRACKETT (CONT'D)
Hold for a second.
He cups the receiver of the phone and turns to his wife.
PAT
What's wrong?
BRACKETT
That's Castledale.
He pauses, the news hitting him like a sack of bricks.
BRACKETT (CONT'D)
Michael Myers is dead.
Her lips tremble as a few tears are forced from the corners of her eyes.
PAT
(relief)
Really?
He shakes his head as she collapses into his chest. Both begin to sob.
PAT (CONT'D)
Leigh, I've been waiting for this day. Oh God!
With Pat still clenched to his chest, Leigh puts the phone back up to his ear.
BRACKETT
What was it?
His eyes close at the news, relief washes over his face.
BRACKETT (CONT'D)
Hopefully the bastard suffered.
A slight pause as he listens.
BRACKETT (CONT'D)
Thank you so much for calling. Uh-huh. You take care. Again, thanks.
He hangs the phone up and once again embraces Pat.
After a moment, Brackett pushes himself up off the bed and pulls at his pants hanging from the bedpost.
PAT
What're you doin'? Where - where are you going?
He shoves one leg into them.
BRACKETT
I'm going to tell Morgan Strode the news.
PAT
Can't this wait until daybreak? He's probably sleeping.
Brackett grabs a shirt off the floor and begins to button it up.
BRACKETT
He needs to know.
PAT
Then call him. Jesus, Leigh! It's four in the morning!
BRACKETT
I want to see his face when I tell him.
His voice now filled with the joy of a kid on Christmas morning.
PAT
Whatever. I'm going back to bed.
Pat falls back into the bed and then shields her eyes from the glow of the light.
PAT (CONT'D)
And please turn the light off on your way out.
INT. CASTLEDALE - MAXIMUM SECURITY WING - LATER
Cosgrave enjoys a cigarette by a NURSES STATION, much to the dismay of Wilson.
WILSON
No smoking, Cosgrave.
COSGRAVE
Let's just call it a celebratory drag.
Wilson rolls his eyes and then hands Cosgrave a file of papers.
COSGRAVE (CONT'D)
What's this?
WILSON
We need to move Myers. He's dead. He belongs to nobody but the state now.
COSGRAVE
This soon?
WILSON
It's not practical to move him during the day. Too many people will be on the streets and once word gets out Myers is dead - well I don't even want to entertain the thought.
COSGRAVE
Where're you moving him?
WILSON
Up to Sangamon County, where he'll be transported by air to the Department of Pathology at the University of Illinois at Chicago.
COSGRAVE
(disgusted)
For what?
WILSON
You'll have to ask them. Frankly, I don't give a damn what they do with his body. Michael Myers is no longer my problem. He's no longer your problem.
COSGRAVE
And you want me to sign.
WILSON
Well you are his doctor. C'mon, Cosgrave. The sooner we can get this sonofabitch out of here, the sooner I can rest.
Wilson hands him a pen and after a few seconds of thought, Cosgrave accepts it and signs the papers.
WILSON (CONT'D)
Good. The medics are prepping him for the move now. I've asked the Illinois State Police to escort the body to Springfield.
COSGRAVE
All right.
He takes one final drag from his cigarette and buries it into a planter resting next to the desk.
COSGRAVE (CONT'D)
Damn shame Dr. Loomis couldn't live to see this day.
WILSON
Loomis left this world thinking Myers was dead.
Through the flurry of activity, a PARAMEDIC walks up to the two.
PARAMEDIC #1
Dr. Wilson?
Wilson turns to him.
WILSON
Yes?
PARAMEDIC #1
We're ready.
Wilson shoots Cosgrave a smile and escorts the paramedic toward the room. Cosgrave stays, however, dropping his back against the wall and falling into a deep thought.
MYERS' ROOM
The body of it is now obscured by a body bag. A stretcher cozies up to the bed as two paramedics lift the bag up onto it.
WILSON
You don't know how happy I am to see this one go.
There is no answer as they pull the body out of the room.
Standing outside is Cosgrave. He takes one last glance as it's hauled down the hall.
COSGRAVE
Michael Myers is no more.
EXT. CASTLEDALE SANITARIUM - NIGHT
At the back of the building, through a large exit, the paramedics emerge with the body. They're followed by both Wilson and Cosgrave. Standing outside are two officers from the state police.
JASPER CALDWELL, a younger trooper, joins the two out by the door.
OFFICER CALDWELL
Bill and Max will tail the bus, while Rick and I follow ahead.
COSGRAVE
No stops?
OFFICER CALDWELL
No stops from here to Springfield.
COSGRAVE
Good. It's almost daybreak. We don't need every Tom, Dick and Harry lining the streets, obstructing traffic to get a look at this asshole. So you've got to beat the news.
OFFICER CALDWELL
That won't be a problem, Doctor.
COSGRAVE
Soak it up, boys. You're apart of history.
EXT. HIGHWAY - MOMENTS LATER
The full moon hovers over the desolate highway as yellow from an approaching car's lights DASH onto the pavement.
A police cruiser quickly rolls down the empty highway, sirens flashing. It's followed by the ambulance carrying the Shape and another cruiser tailing from behind.
Once they're gone, all that remains are the dancing trees and the slab of empty concrete.
EXT. CASTLEDALE SANITARIUM - MOMENTS LATER
Calm has returned to the sanitarium as Wilson and Cosgrave watch the faint sight of flashing lights vanish down the hill.
WILSON
Let's mark this occasion with some scotch. What do you say?
Cosgrave laughs, as if Wilson had to ask.
COSGRAVE
You read my mind.
The two turn around and reenter the hospital.
EXT. HIGHWAY - LATER
The sky has opened, unleashing a fury of rain. Large puddles have formed in the dents on the highway, causing a slight flooding.
Cutting through the static of the rainstorm is the red and blue lights on all three vehicles. They're the only clue something is really beyond the raindrops.
INT. HOLMES' CRUISER
BILL HOLMES' eyes never leave the road. They're planted on the sight ahead, trying to see through the showers.
In the passenger seat is MAX RODRIGUEZ, who blankly stares out the side window.
OFFICER RODRIGUEZ
I hate these late night runs.
OFFICER HOLMES
Especially on a night like this.
OFFICER RODRIGUEZ
It definitely gives me the creeps.
OFFICER HOLMES
You're not scared - are you?
OFFICER RODRIGUEZ
'Course not.
OFFICER HOLMES
You should be.
OFFICER RODRIGUEZ
What the hell's that supposed to mean?
OFFICER HOLMES
Oh come on. You haven't heard the stories about Michael Myers?
Bill still intensely looks ahead.
OFFICER RODRIGUEZ
Heard of them in passing. Not well versed, though.
OFFICER HOLMES
Shit. He's the real bogeyman.
Bill's voice changes, it becomes far more sinister.
OFFICER HOLMES (CONT'D)
It was Halloween night, 'bout twenty years ago. He was only six years old when he stabbed his sister over and over again.
OFFICER RODRIGUEZ
Jesus Christ.
OFFICER HOLMES
They locked him away for fifteen years and back in '78, the bastard escaped. Returned to Haddonfield and butchered a dozen or so people.
OFFICER RODRIGUEZ
For no reason?
OFFICER HOLMES
That's what's even more fucked. The dude was trying to kill his sister.
Bill turns to Max, taking his eyes off the road.
OFFICER HOLMES (CONT'D)
Never got to her, though. His own doctor died setting him ablaze.
Just then, Max turns ahead, noticing the ambulance swerving.
It forcefully tries to overcorrect, pulling far to the right before flinging onto its side and rolling three or four times.
OFFICER RODRIGUEZ
Goddammit, Bill! Watch out!
Bill doesn't have time to react, letting out a scream of concession.
OFFICER HOLMES
Fuck!
He slams onto the breaks and swerves away from the bus. Unfortunately, the distance is too short and it HURTLES right into the undercarriage of the ambulance.
Both fling forward, colliding with the dashboard of the squad car. Their screams mix with the sound of twisting metal.
EXT. HIGHWAY - NIGHT
Smoke rises from the mangled car. The ambulance sits on its side, the top completely blown out from the impact of its roll.
Then a spark in the engine of the cruiser generates a small flame.
INT. CALDWELL'S CRUISER
Jasper and RICK FREEMAN sit quietly, both focused on the road ahead. The rain splashes against the window, the windshield wipers barely keeping up with each drop.
Jasper's eyes pull from the road and focus on the rearview mirror. There he notices the ambulance is no longer following.
OFFICER CALDWELL
What the - where'd they go?
Rick quickly looks over his shoulder toward the blackness behind the cruiser.
OFFICER FREEMAN
We weren't going too fast, were we?
OFFICER CALDWELL
I don't think so. Hold on.
EXT. HIGHWAY - NIGHT
Caldwell's cruiser does a 180 and spins back toward the accident.
INT. CALDWELL'S CRUISER
Ahead, the fire roars. Its flames dance higher and higher into the sky. At the sight, both are overcome by panic.
Jasper quickly grabs his radio.
OFFICER CALDWELL
(into the radio)
We've got a mess of an accident on Rural Route 9. I see flames and it appears officers are down. We're just past mile marker 120.
EXT. HIGHWAY - NIGHT
Quickly, the cruiser comes to a halt next to the distorted scene.
The fire grows, consuming a good portion of the ambulance undercarriage and the front of Holmes' cruiser.
Both sprint toward the wreckage and notice Max and Bill passed out in the front. The fire inches even closer.
OFFICER CALDWELL
We've got to get them out or they'll burn alive.
Rick runs over to the other side of the cruiser and they both rapidly shatter the side windows.
This wakes Bill, who can only mumble.
OFFICER CALDWELL (CONT'D)
C'mon Bill. Lift with me. This thing's about to blow.
The rain is no match for the fire as it grows even larger, despite the buckets of water spraying down from the heavens.
On the opposite side, Rick pulls Max by the shoulders and forces his body out.
Jasper is having a far more difficult time with Bill, who's a bit overweight.
OFFICER CALDWELL (CONT'D)
I don't want to leave you buddy. So you better fucking help me out!
Bill only moans.
OFFICER CALDWELL (CONT'D)
Goddamn it! Push!
Jasper pulls and pulls and finally, Bill's portly body is ripped from the window. Bits of glass jutting up from the frame indent into his side, causing a flow of blood.
He drags the near-lifeless body toward the shoulder of the highway just in time to avoid the pending explosion.
After a few seconds of catching their breath, a loud BOOM rips through the rainy night. A cloud of fire lifts into the sky and bathes the darkness in a horrific glow.
The flames spring toward the two, but its reach ends slightly ahead of them. Jasper flinches a bit and then regains composure.
He watches in awe at the large and growing fireball.
INT. WILSON'S OFFICE - LATER
Wilson and Cosgrave share a drink of scotch. They're laughing, at ease over the news of Michael's death.
Cosgrave then takes a quick glance at his watch.
COSGRAVE
Ah shit. I need my sleep.
He gets up and grabs his coat, which had been draped over the chair he was just sitting in.
WILSON
You're good to drive?
COSGRAVE
Oh yeah. I should be fine.
WILSON
You're not driving up to Springfield, are you?
COSGRAVE
No. There's a motel down the hill. Think I'll stay there. Get a few hours of sleep and then head on up.
WILSON
Well Cosgrave -
Wilson is interrupted by the ringing of his phone.
WILSON (CONT'D)
Hold on for a second.
He picks up the receiver.
WILSON (CONT'D)
(into the phone)
Doctor Wilson.
Wilson's face drops.
WILSON (CONT'D)
(concerned)
I see. How bad?
Cosgrave springs a bit at Wilson's tone. He realizes something is wrong.
WILSON (CONT'D)
All right. Uh - I'll be there in about an hour.
He hangs the phone up and worriedly looks at Cosgrave.
COSGRAVE
What is it?
WILSON
Now I don't want you to be alarmed. But there's been an accident.
EXT. HIGHWAY - EARLY MORNING
The sun begins to lift into the sky, painting it a colorful shade of light blue.
Though the storm has passed, it's been replaced by an even more chaotic scene of fire trucks, ambulances and police cars.
Strolling up from the horizon is a two-door, late-70s SEDAN. It parks at the barricade set up by the state police.
Out of the drivers side emerges Cosgrave. He's joined by Wilson.
They're both stopped by OFFICER TIDWELL.
OFFICER TIDWELL
I'm sorry. The road is closed up ahead.
WILSON
I was called. This is my bus.
OFFICER TIDWELL
You're both from Castledale?
WILSON
Yes.
OFFICER TIDWELL
Stay here. I'm gonna go get the captain.
There is a slight media frenzy in front of them, but Cosgrave looks beyond that toward the shell of the burnt out ambulance.
COSGRAVE
Christ.
WILSON
Don't start, Cosgrave
Finishing up an interview with a local newscast, Captain CRAIG O'DELL wanders over to the two.
O'DELL
Tidwell told me you're both from Castledale?
WILSON
Yes. I'm the head doctor at Castledale. What happened?
O'DELL
I don't know the exacts. But from what I can tell, the driver of the ambulance probably fell asleep, awoke and then over corrected, forcing the crash. I'm sure the rain didn't help any. The cruiser following tried to stop, but looks like they hydroplaned right into it.
COSGRAVE
How many bodies?
O'DELL
It's a mess. The fire did a number and there were no survivors inside the ambulance.
COSGRAVE
(persistent)
How many bodies?
O'DELL
I - I don't know. You tell me because I have no clue how many people were in that bus.
COSGRAVE
Five.
O'DELL
Five?
COSGRAVE
There were five aboard. Now how many bodies?
WILSON
(to Cosgrave)
Cosgrave, enough.
Cosgrave turns to Wilson, but before he can even say anything, he notices a sign.
SPRINGFIELD 90 MILES
HADDONFIELD JNCT 40 MILES
COSGRAVE
(under his breath)
Haddonfield.
O'DELL
(to Wilson)
Who is this guy?
WILSON
He's Michael Myers' doctor.
O'DELL
Didn't Myers die last night?
COSGRAVE
Yes. That's whose body they were transporting.
O'DELL
My God. You don't think -
WILSON
Of course not. Don't let Cosgrave fool you. He doesn't believe that, either.
COSGRAVE
The Haddonfield Junction - how far until it leads into town?
O'DELL
I don't know. 60 - 65 miles from here.
WILSON
(to Cosgrave)
Don't even think about it.
COSGRAVE
(to O'Dell)
How long until you get a good count on the number of bodies?
O'Dell doesn't seem to know.
O'DELL
It could take days. I've never seen anything like it in all my years.
Cosgrave nods and smiles.
COSGRAVE
(sarcastically)
Of course.
He turns back toward his car. Wilson calls out.
WILSON
Where the hell are you going?
COSGRAVE
I'm taking you back to Castledale.
He opens the door to the car and looks back toward Wilson.
WILSON
And?
COSGRAVE
Then I'm going to make sure Michael Myers is good and dead.
Wilson turns back to O'Dell, who seems lost in the conversation.
WILSON
Look, I need you to do me a favor.
O'DELL
Yeah? What?
WILSON
Don't leak that it was Myers in that ambulance. It'll cause a lot more problems than we need.
O'DELL
You want me to lie? I can't lie.
WILSON
Just tell them you haven't identified the victims. That's all.
O'DELL
And if I don't?
WILSON
If you don't, then you run the risk of an entire town creating a lynch mob over what they perceive to be the bogeyman. Michael Myers is dead. But every nut in Illinois is going to come out of the woodworks if they find out he was involved in this accident. Especially if you can't prove his remains are in that ambulance. Do you want that on your conscience, Captain?
O'DELL
I guess not. I'll keep it quiet. For now.
WILSON
Thank you.
From behind, there is an impatient HONK from Cosgrave.
Wilson can't help but release a large smile.
WILSON
When I get back to Castledale, I'll phone you with the names of those involved.
He retreats to the car, leaving O'Dell alone to digest the news.
EXT. HADDONFIELD STREET - MORNING
A crisp autumn morning has sprung out of the rainy night. Leaves sprinkle through the air, swiftly pushed about by the light gusts of wind.
Down below is the stillness of a quaint, familiar residential street. It's lined with large, dominating trees. Their branches arc over the newly dampened road – creating a canopy of orange and brown.
A milk truck passes by, forcing the scene alive.
SUPERIMPOSE:
HADDONFIELD, ILLINOIS
OCTOBER 31st
HALLOWEEN
Behind the truck, as it vanishes from sight, is a cluster of kids walking up the street. Their laughs are the only sound on this serene morning.
INT. STRODE HOUSE - KITCHEN - MORNING
Bacon sizzles in a pan on the stove as PAMELA STRODE hastily tries to put together a breakfast.
It's not happening as quickly as she would like, though, and her demeanor certainly shows this.
Entering from the living room is MORGRAN STRODE, who fusses with his blue tie.
She smiles, but it fails to mask her agitation.
MORGAN
You call Laurie and tell her the news?
Morgan finds his way over to the kitchen table, where he comfortably falls into the chair and picks up the newspaper.
PAMELA
I tried about twenty minutes ago. Nobody answered. I'm sure she's heard by now. But I'll try again in a bit.
Pamela now shakes out two pieces of bread from its package and shoves them both into the toaster.
PAMELA (CONT'D)
You want toast?
He mumbles - was that a yes?
She seems to understand his answer and continues cooking away.
MORGAN
(reading)
Goddamn that Reagan.
Pamela lets out a laugh.
PAMELA
What'd he do now?
MORGAN
Nothing different from what he normally does.
The toast pops up.
Pamela pulls the two pieces out of the toaster, throws them onto a plate and scrapes over them rather shoddily using a knife smudged with butter.
She then grabs a cup of coffee and walks over to the table, dropping both in front of Morgan.
He thanks her in smile.
PAMELA
Don't let my father hear you talk like that. He idolizes Reagan.
MORGAN
More reason to hate the man.
This, though, does not illicit a laugh. It is her father, after all.
Pamela returns to the stove, takes out the three pieces of bacon and places them on a plate.
PAMELA
You want some bacon?
MORGAN
I'm on that diet. Remember? Doctors orders.
She doesn't quite know what to do with the bacon now.
So she puts a paper towel over the plate. But before she can do anything with it, there is a ring at the door.
Both look toward the living room.
MORGAN
I'll get it.
LIVING ROOM/FOYER
Morgan swiftly walks from the kitchen, through the living room and into the foyer of the house.
He reaches the door and yanks it open.
THE SHAPE'S MASK!
But that's all it is. Hanging from the doorframe from fishing wire is the mask so many in Haddonfield are accustom to seeing on Halloween. Morgan steps back and yelps a bit.
But then he realizes it's nothing but a sick prank. The kids standing out in the street pointing and laughing are now the target of his scorn.
MORGAN
(shouting)
You think this is funny? Bobby, I see you. Don't think I'm not going to tell your folks about this.
Morgan rips the mask off the string.
MORGAN (CONT'D)
Get to school!
He then slams the door and angrily finds his way back to the kitchen.
MORGAN
Just some punk kids playing games.
He tosses the mask onto the kitchen table. Both are put off by it.
PAMELA
They're just kids. Probably happy they can live in peace.
MORGAN
Too bad they don't let us live in peace. It's not funny, Pamela. Kids or not, they should know better.
PAMELA
Sure. But they don't. That's what makes them kids, Morgan.
Morgan sarcastically laughs and then takes a glance at his watch.
MORGAN
Damn. I'm running late. I've got to go.
He stands up, fixes his dress shirt and then gives Pamela a peck on the cheek.
MORGAN (CONT'D)
I'll call around noon. Might be late tonight. We're having an open house over on Dearborn.
PAMELA
Well let me know. Have a good day.
He nods, grabs his briefcase off the kitchen table and departs into the living room.
GARAGE
Light spills into the room as Morgan opens the door leading into the garage. It creates a clear path of brightness, guiding him toward his '81 CADILLAC DEVILLE.
He opens the door and plops down inside.
INT. STRODE CAR
Morgan fishes for the keys in his pocket, pulls them out and quickly finds the ignition.
Before starting the car, though, he looks up to the rearview mirror and sees it's been pushed down.
MORGAN
Why does she do that?
He reaches toward it and pulls it up, aligning it perfectly with the backseat and SOMETHING sitting in it.
THE SHAPE!
Morgan goes to scream, however, the Shape rapidly wraps its hands around his neck.
He wheezes, fighting and kicking to catch his breath.
But the grip is too strong and the Shape too determined for the kill. It continues forcing pressure as Morgan's loud panting slowly fades to the last sounds of a dying man.
With the life ripped from his body, Morgan slumps over onto the passenger seat. The Shape looks down from the back, eyes painfully hidden behind blackness.
INT. STRODE HOUSE - KITCHEN
Unaware of what has just happened - Pamela munches on the last bit of toast left by Morgan and drops the crumb-filled plate into the sink. She then takes one final swig of her coffee and joins the mug with the other dishes.
Then a SLAM of a door throws her head toward the living room.
PAMELA
Forget something?
There is no answer.
PAMELA (CONT'D)
Morgan?
Again, her questions ignored.
Now suspicious, she dries her hands on her apron and wanders into the living room – fully expecting to see Morgan.
It's empty.
She looks around the living room and toward the foyer of the house. There she notices a few leaves dust across the foyer floor.
The front door is open.
In the foyer, she stands at the doorframe, peering out at the neighborhood beyond the pavement and bushes lining the porch.
A school bus is parked across the street – the laughs of kids echoing throughout the canyon of homes.
From behind, in the shadows, something watches.
It's barely visible. Only its white gauze radiates from the blackness of the room in the back.
Pamela takes one last glance outside and then shuts the door.
She turns around just as the ominous figure materializes from the dark surrounding it.
Stunned, her legs buckle a bit.
PAMELA
Oh God!
Pamela turns and retreats toward the door slowly – as if her legs have been roped to the ground.
The Shape quickly catches up to her and before she can fling the door open, it palms her head and slams it forcefully against the wooden door.
Her face is crushed, deformed in a mess of blood.
Continuing its rage, the Shape grabs her by the hair and tosses her into the foyer. Blood splattering against the carpet as her head collapses against it.
Pamela's eyes flicker open and shut and then open again as the life is slowly drained from her body. She's barely alive.
The Shape walks into the living room, but seems to ignore her quivering body at the sight of the haunting mask.
There it lies on the table, looking up at the creature – as if calling out to it.
After a momentary pause, it lifts the mask up off the kitchen table and slowly begins to pull it over its gauze-covered head.
At the sight, Pamela sobs and begins to crawl toward the foyer.
Its gaze then returns to the near-crippled body of its next victim.
The Shape then promptly enters the kitchen and rummages for the largest knife it can find. The search doesn't last long, as it pulls a butcher knife from one of the drawers and returns to the living room.
Pamela has made little progress in her weakened state. She's only moved a few feet and concedes she's not strong enough to go any further. In one final move of desperation, she turns toward it – her voice faded.
PAMELA (CONT'D)
(weak)
Michael.
That seems to jar it
PAMELA (CONT'D)
Michael please. Please don't go after her.
Its head tilts a bit at the word her.
But that only lasts a moment. After getting a glimpse of its mask in the mirror hanging over the fireplace mantle, the rage returns.
It walks closer to Pamela, her eyes pleading with it.
Standing over the defenseless, weakened and bloody woman, it shows no emotion toward her begging.
PAMELA (CONT'D)
(sobbing)
Please! Please! Michael - don't!
As her final cries are ignored, the Shape plows its knife right into her face.
It pulls it out and does it again.
Pamela's face is mutilated by its blade. The fear in it is shockingly stilled by her death.
Then below, on the coffee table next to Pamela's body, it notices the picture.
Laurie and friends, standing in front of a large sign that reads:
CLYMER COLLEGE
GALESBURG, ILLINOIS
FOUNDED APRIL 10, 1870
Its fist clenches.
EXT. CASTLEDALE - LATE MORNING
Cosgrave's car idles outside the large entrance to Castledale. On the steps stands an annoyed Wilson, who looks back to Cosgrave as he leans on the driver side door.
WILSON
You're really going to Haddonfield?
COSGRAVE
I must. I need to be sure.
WILSON
Cosgrave, let it go. For their sake and yours.
COSGRAVE
Where is the harm in making sure?
WILSON
You go back to that town with any hint of Myers being alive and you'll not only stir their darkest fears, you'll create an uncontrollable army.
COSGRAVE
And if I don't go and he's -
Wilson doesn't even want to hear the end of that sentence.
WILSON
For Christ's sake! You saw him! You saw him lying in that bed. He was dead! Telling that town he not only faked his death, but managed to walk away from an accident that killed and burned the bodies of four medics would bring about a fury you could not stop!
COSGRAVE
I'm afraid that fury may already be there.
Wilson's face shows his disgust well. He doesn't want to continue this discussion anymore.
WILSON
Cosgrave, get help. You need it.
Without warning, he flips around and climbs the steps to the hospital.
Cosgrave watches as Wilson enters the building. He silently reflects, looking up at the cold sky above.
EXT. CLYMER COLLEGE - EARLY MORNING
A crude drawing of a grinning jack-o'-lantern hangs over the entrance to a sizeable brick gymnasium. It's part of a larger sign that reads:
CLYMER COLLEGE HALLOWEEN BASH '83
A sprawling scene reveals itself as the campus leaps to life. Students hastily roam the central square – it dominated by great bowing trees.
At the top of the square - looking out over the campus - is GEORGE CLYMER HALL. It's a towering building that casts a forceful shadow below.
From its mounted bell tower, the beat of nine rings bellows throughout the campus.
EXT. APARTMENT BUILDING - MOMENTS LATER
Across from the main campus, a three-story apartment building peeks from behind overgrown trees. Its brick siding is nearly covered in ivy vines – though what is seen is worn and faded.
A shoddy paper ghost hangs from a tree, eerily twirling with each gust of the wind.
INT. LAURIE'S APARTMENT - MORNING
Kerry, dressed in an oversized ILLINOIS ILLINI sweatshirt, impatiently pounds on the BATHROOM DOOR.
KERRY
C'mon Laurie! I have class in an hour.
After a moment, the door is forced open.
BATHROOM
Laurie sits on the edge of the bathtub, her hair pulled up and concealed by a towel.
Kerry walks in and notices the mirror is hidden in a mist.
KERRY
You fogged the mirror.
She takes her hand and begins rubbing away the steam.
LAURIE
Sorry.
Laurie's eyes drop to the ground – like a puppy dog.
Kerry pays her no attention and begins applying her makeup.
KERRY
So what's the plan for tonight? Because I'm not spending another Halloween trapped in this cramped apartment watching cheesy 1970s horror movies.
LAURIE
You go without me.
Kerry barely reacts, as she flutters her newly painted eyelashes.
KERRY
Jesus, Laurie - enjoy life.
LAURIE
I do.
KERRY
That's a farce if I've ever heard one.
She pulls out her blush and smears it across her cheek.
KERRY (CONT'D)
If there's one night you should be celebrating, it's this one. You know it. I know it.
LAURIE
I'm just not in the Halloween mood. Is that so hard to understand?
KERRY
It's not just Halloween, though. Last Saturday, we were invited to Randy's party and you weren't feeling up to it - like always.
LAURIE
I was sick.
KERRY
You're always sick. That's the problem.
Now she takes out the lipstick.
KERRY (CONT'D)
You and I both know you need to get the hell out more. Loosen up and enjoy your college years. Especially now. Especially since you can relax.
LAURIE
It's not that.
KERRY
Fine. What is it?
LAURIE
I don't know.
KERRY
Of course not. You never do.
LAURIE
Now that's not fair.
KERRY
No. What's not fair is that you always get moody whenever I want to do something and then make me feel guilty when I actually do go out and do it.
LAURIE
I don't mean to.
KERRY
I know you don't. But it's still something you do. So tonight, that changes. We're going out.
Taking a can of hairspray and a comb, Kerry begins to fluff her hair.
KERRY (CONT'D)
Got it?
Laurie nods and releases an apprehensive smile.
KERRY (CONT'D)
Fantastic. Now all we need to do is get you a costume.
LAURIE
A costume? I don't know about that.
KERRY
It's Halloween. You need a costume, Laurie. Plus, if you wear one, admission is only a buck at the Halloween bash. Can't beat that.
LAURIE
I guess.
Kerry perks up. The day is definitely getting better.
KERRY
How about after Detmer's class, we go down to the drugstore and pick us up some?
LAURIE
Think they'll have any left?
KERRY
I'm sure they'll have something. Plus, you can see Scott.
LAURIE
I don't like Scott.
KERRY
But he likes you.
Kerry puts her makeup away and takes a quick look at herself in the mirror.
She's satisfied with the results.
KERRY (CONT'D)
Anyway, I've got to get to class. I'll pick your ass up around one and we'll also go for lunch.
LAURIE
Fine.
Her indifference doesn't seem to detract from Kerry's breakthrough.
KERRY
Cheer up, Laurie. Tonight's going to be a blast.
INT. COSGRAVE'S SEDAN - LATE MORNING
Cosgrave glances over toward the passenger seat and notices he only has one cigarette left in its pack.
He can't have that. So he spots a gas station about a half-mile ahead and plans for the stop.
EXT. RURAL HIGHWAY - GAS STATION - LATE MORNING
A rundown gas station hugs the side of the rambling and desolate highway. Its thin strip of parking outside the entrance is empty – until Cosgrave's sedan pulls into it.
The car idles for a moment and then Cosgrave steps out, noticing the very clear OPEN sign hanging in the filthy window.
He looks around at the blank surroundings, but doesn't think much of it.
INT. GAS STATION - LATE MORNING
The dank building is seeped in light as the door creeps open. But as it shuts behind Cosgrave, the room returns to its murkiness.
Off in the distance, there is a slight buzz of a television.
He scans the room, noticing the old shelves barely holding dusted cans and boxes of aged cereal and other goods.
Behind the counter, a shielded case of what he wants – cigarettes.
COSGRAVE
Hello?
Nothing.
COSGRAVE (CONT'D)
Anyone here?
Only the slight chatter of the television in a back room answers him.
OFFICE
Cosgrave pushes open the door and peers inside the cluttered room. Atop an aged desk is a small television – he ignores its hum and looks for the clerk.
The room is empty.
He reenters the main area of the gas station, does another check of life and wanders toward the garage – which is located on the opposite side of the room.
GARAGE
Inside, Cosgrave is met by more emptiness.
The floor of the garage is oil stained and muddled with dirt. Its walls grimy and caked in yellow from age and stale cigarette smoke.
Again, his eyes move across the room, but the same result – absolutely no one. Not even a car, even though the large garage door sits open.
The light that spills into the garage also highlights a few drops of blood. Cosgrave nearly misses this as he heads toward the opening, but it somehow catches his eyes.
He bends down, not sure if it's spilled oil at first, and touches it with his finger. It's dried.
Cosgrave looks around the room expecting to find the source of the blood, but just grit.
Doubt begins to creep into his thoughts, though it could just be from a simple cut. This is a garage, after all.
EXT. GAS STATION - LATE MORNING
Cosgrave exits through the open garage door and begins wandering back toward his car. However, he stops at the sight of a cigarette machine.
It's rusted and the words barely readable, but it works and that's all Cosgrave cares about. He digs through his pockets for the needed change, slips the coins into the slot and grabs the pack of cigarettes from the machine as it falls.
Cosgrave then stands, surveying the decaying fields that surround the sliver of existence off the bare highway.
EXT. CLYMER COLLEGE - LATE MORNING
Leaves gently fall from the rising trees, cluttering the damp sidewalks and dying grass.
Students ignore the changing seasons as they buzz about on their way to class – some slower than others.
Beyond the scene, though, deep in the shadows, something lurks and watches. Its mask barely visible through the yellowing bushes forced up against the brick wall of a classroom hall.
INT. CLYMER COLLEGE - SECURITY ROOM - LATE MORNING
Tucked away in the basement of the admissions building is the small security center. It's no larger than a typical bedroom and its walls are lined with fuzzy security camera monitors.
Resting back in his chair is OFFICER RUSTY GAVIN, an older man with a graying stubble consuming his chin and much of his neck.
Instead of paying attention to the cameras, his focus is turned to the Playboy magazine tightly gripped between both hands.
Then he's forced from his chair by a loud BANGING noise against the metal door behind him.
Startled, Gavin quickly hides the magazine in a desk drawer and then turns his attention toward the door.
EXT. CLYMER COLLEGE - SECURITY ROOM - LATE MORNING
The door swings open, letting out a large groan. It sits at the bottom of chipped cement steps that rise to a parking lot behind the admissions building.
No one is there.
Gavin looks around and up toward the top of the steps, unsure of what could have slammed against the door.
After a second, though, he retreats back into the security room.
INT. CLYMER COLLEGE - SECURITY ROOM - LATE MORNING
Instead of returning to his chair, Gavin walks toward the hallway leading outside of the security room. He looks down it, making sure the noise didn't come from there.
It's extremely dark, with tiny lights latched onto the dank concrete walls.
Again, there is nothing.
But before he turns back into the security center, there is ANOTHER loud bang on the outside door.
He jumps at the sound and recoils back into the room on instinct.
Gavin then quickly turns toward the door and pulls it open.
Once more, he sees nothing.
EXT. CLYMER COLLEGE - SECURITY ROOM - LATE MORNING
Convinced he's not hearing things - he climbs the steps and reaches the parking lot.
It's nearly empty, except for Mr. Strode's Cadillac DeVille.
Gavin pays little attention to the car and instead looks around the parking lot for what he suspects are pranksters.
Yet it's empty.
Eventually, though, he gives up and returns to the steps.
INT. CLYMER COLLEGE - SECURITY ROOM - LATE MORNING
The door slams and Gavin turns back toward the desk – but before he reaches it, the Shape steps in front of him!
The towering figure looks down on the poor soul, whose eyes are left dulled over at the sight.
Before Gavin can comprehend what is happening, the Shape swiftly lifts him into the air by the neck and shoves him against the door.
Its grasp strengthens as it chokes the older officer.
Gavin's limbs convulse from the force and fight. He tries to scream, but his voice is muted by the tight clasp of the Shape.
Then it lifts its knife and joins it to the neck, taunting the skin before shoving it in.
The wound opens, unleashing a tremble of blood that splatters down his neck and paints his shirt a deep, dark red. The Shape continues thrusting it in, carving out a huge chunk.
Gavin's face begins to shudder from the brutality and then flashes one last gaze of life before falling motionless.
Done, it pulls the knife from the lesion – tearing a bit of gore out with it - and drops Gavin's flaccid body to the ground.
INT. MELLON HALL - DEAN WOLFE'S OFFICE - LATE MORNING
JOAN FRANKS, an aging receptionist, thumbs through a pile of papers while half-listening to DEAN JAMES WOLFE list a litany of things they need to do.
Dean Wolfe is a tall and graying man, though very warm in appearance. His glasses cuddle the tip of his nose, nearly slipping from the face.
WOLFE
Then I need you to call Professor Samuelsson and set up that meeting with the Masters Committee.
Joan continues thumbing through the papers, while scribbling down the orders.
JOAN
Uh-huh.
WOLFE
I do have that luncheon tomorrow with the Chamber of Commerce. Don't forget that.
JOAN
Got it down.
WOLFE
Then if you can copy next semester's schedule -
Wolfe is interrupted by two STUDENTS, who quickly shovel into the office. They're JACKSON and BRIAN, early-20s and fair in their looks.
WOLFE (CONT'D)
Whoa - where's the fire?
BRIAN
(out of breath)
Dean Wolfe, I think you need to see this.
WOLFE
See what?
JACKSON
Over in the Cove, someone killed a dog and hanged it from a tree.
WOLFE
(shocked)
Is this a joke?
BRIAN
I wish. It's pretty bad.
He turns to Joan, who looks absolutely disgusted.
WOLFE
(to Joan)
Call security. Tell Rusty to meet me at the Cove.
She picks up the phone as Wolfe and the two boys begin to push out of the office. However, she abruptly stops them.
JOAN
The phone's dead.
He turns back to Joan, who still cradles the receiver in her hand.
WOLFE
Great. Keep trying and if you can get a hold of Rusty, tell him where we're at.
JOAN
Will do.
EXT. THE COVE - MOMENTS LATER
The blank eyes of a dead dog, fragile and distressing – its body swings a bit from the mighty tree branch.
A crowd has formed as students shockingly look at the inhumane act. Some whisper back and forth, others openly weep.
Wolfe, trailed by Jackson and Brian, breaks the circle formed around the tree and spots the dog.
WOLFE
Jesus.
He turns to the growing masses.
WOLFE (CONT'D)
Come on, guys. Let's break this up. You don't need to be seeing this. Get to class.
The crowd begins to disperse, but Jackson and Brian stay back.
WOLFE (CONT'D)
(to Jackson)
Go to the security office and get Officer Gavin.
JACKSON
Sure.
He sprints away from the tree, up a hill and vanishes onto the other side.
Wolfe looks at the dead dog, face labored in sorrow, confusion and horror.
EXT. CLYMER COLLEGE - EARLY AFTERNOON
The sun fights to break through the cloudy, dreary sky. Its light barely reaching down to the campus below, but even that hidden behind the lofty trees.
Laurie, head buried in her book bag, exits from a one-story building and begins hastily walking down a sidewalk.
She fights to stuff a few papers in the overfilled bag and finally, triumphant, looks up.
Beyond the trees, hidden from most of the students, a figure. It watches, eyes set on Laurie. At first, it goes unnoticed. But after a few seconds, she sees it.
Her eyes grow. Her heart skips a beat and her mouth trembles a bit.
Could it be?
She stops dead in her tracks, clenches her bag tightly and glares off at the figure - who isn't shy about returning the stare.
She looks, hoping - praying - it'll vanish. Just a dream. A vision of past horror.
But it isn't relenting. For it's been a few seconds - though it feels like minutes - and not even a hint of it moving.
Then, as if being ripped from a nightmare, a HAND firmly plants itself on her SHOULDER.
Laurie doesn't scream, but her mouth surely looks like it could rip a yell out.
She flips around to see SAMMY WITHERS standing. She's blonde, mid-20s and extremely attractive.
SAMMY
I didn't mean to scare you.
LAURIE
(spooked)
Just a little jumpy.
Laurie looks back toward where it was standing. But it's gone.
SAMMY
You all right?
LAURIE
Yeah. Just - just saw something that spooked me.
SAMMY
Well it is Halloween.
Laurie uneasily laughs it off.
SAMMY (CONT'D)
How'd you do on the test? That was a bitch.
LAURIE
I got a B.
SAMMY
Of course you did.
The two begin walking toward where the Shape had been standing.
LAURIE
What's that supposed to mean?
SAMMY
Oh you know. You're Mr. Young's favorite.
LAURIE
I can't help that I do well in his class.
SAMMY
No one but you does well in his class.
Sammy smirks, showing Laurie it was only a joke.
SAMMY (CONT'D)
Anyway. Are you going to the Halloween dance tonight?
LAURIE
Yeah. Kerry talked me into it.
SAMMY
Awesome. You got a date?
LAURIE
No. Flying solo tonight. What about you?
SAMMY
James Flynn. He's kinda cute, don't you think?
LAURIE
(amused)
James? Really? I think he's a loser.
SAMMY
At least I have a date.
LAURIE
Ouch. Got me there.
SAMMY
Hey, no worries. But I gotta get going. See you and Kerry tonight?
LAURIE
We'll be there.
Sammy darts toward a group of buildings off a tree-filled park in front of Laurie.
From behind, a figure stands, watching her as she slowly strolls down the tree lined parkway. Leaves brush against Laurie's pants, twirling from the gust of wind. She's oblivious to its watchful eye.
INT. LAURIE'S APARTMENT - LIVING ROOM - EARLY AFTERNOON
The apartment door swings open and Laurie enters, tossing her book bag down onto the couch. She glances around the room, expecting to see Kerry.
LAURIE
Kerry? You here yet?
Instead, she notices a slight stirring of drapes as a gust of wind powers in through the open window.
Laurie walks toward it, but before she shuts the window, something snags her eye.
Outside, standing beneath a large tree, is the Shape. It doesn't move.
Laurie fights back her terror. Her face goes pale and her eyes clamp shut in hopes of it being nothing more than a nasty illusion.
Her eyes remain locked for a brief few seconds as she mumbles quietly to herself.
Then they open.
It's gone.
Yet Laurie doesn't seem relieved.
She continues to stand at the window, waiting for something to move off in the distance. But just the wind.
Nervously, she slams the window shut and then freezes in fear at the sight of the apartment door forced open.
No one enters as it slams against the wall and pushes back toward the frame.
Laurie doesn't move. She's cemented to the ground, convinced the Shape is about to walk through the door.
But it's only Kerry, carrying a couple of bags of groceries.
KERRY
Well you gonna help me?
Laurie eases up a bit, cracks a smile and walks over to her and takes one of the bags.
In the kitchen area, the two begin unloading the groceries. Laurie still looks a bit shaken.
KERRY (CONT'D)
What's wrong?
LAURIE
Nothing.
Kerry opens the fridge and puts a six-pack of beer into it.
KERRY
You're lying. I can always tell when you're lying.
LAURIE
(hesitant)
I thought I saw him.
KERRY
Laurie, he's dead. You know that.
LAURIE
I know. It's just hard.
KERRY
Granted. But you can't let it ruin this day. In fact, I'm not going to let you.
All that is left is a carton of orange juice, which Kerry shoves behind the beer.
LAURIE
You act like I want it to, Kerry. I don't.
KERRY
Of course you don't. But Laurie, you can't continue living your life in fear. What do you gain for it? I can't even begin to comprehend what you went through. But you survived. You're here right now. You were given a second chance. Don't spend it hiding from ghosts that don't exist anymore. Because what's the point of getting a second chance if you don't use it?
LAURIE
Easier said than done, unfortunately.
KERRY
But it shouldn't be. Look. It's been five years. In those five years, you've done some great things. You've started over and it's working. Do you really want to throw it all away because of past memories?
LAURIE
Obviously I don't.
KERRY
Then live. C'mon, Laurie. You're 22. You've got the rest of your life to be a neurotic mess. It's not going to kill you if you're a little narcissistic and bitchy sometimes.
LAURIE
I think you have that covered.
Laurie laughs as Kerry jokingly flips her the bird.
KERRY
You see, that's more like it.
She looks up at the clock.
KERRY
We better get goin'. You okay?
LAURIE
Yeah. Thanks.
INT. HADDONFIELD SHERIFF'S DEPARTMENT - AFTERNOON
DEPUTY MEEKER, mid-30s, sits alone in the lobby thumbing through police reports.
As he does this, Cosgrave enters the station. Meeker looks up, unaware of who he is.
DEPUTY MEEKER
Can I help you?
COSGRAVE
I need to speak with Sheriff Brackett.
DEPUTY MEEKER
And you would be?
COSGRAVE
Doctor -
Just then, Brackett enters from his office, cutting Cosgrave off.
BRACKETT
Cosgrave. I'd recognize that voice anywhere. Good to finally put a face to it. But what're you doing in Haddonfield?
COSGRAVE
Bear with me for a second, Sheriff. But it's about Michael Myers.
BRACKETT
Michael Myers is dead. You told me so earlier this morning.
Brackett joins Cosgrave toward the front of the station.
COSGRAVE
I know I did. That was then, though.
BRACKETT
What's changed?
COSGRAVE
Call it a hunch.
BRACKETT
A hunch? You don't just go from thinking someone is dead to suspecting they're alive without good reason.
COSGRAVE
I know.
BRACKETT
So what is that reason?
COSGRAVE
Know that crash on Rural Route 9?
BRACKETT
Yeah. It's been on the news all day. What about it?
COSGRAVE
That ambulance was transporting Michael.
BRACKETT
Doc, c'mon now. The reports say no one survived that crash.
COSGRAVE
And I hope to God they're right. But something doesn't sit right with me. It's just too coincidental.
BRACKETT
A crash in a mighty powerful rainstorm isn't anything new.
COSGRAVE
But one involving Myers on Halloween?
Brackett hints at some concern.
BRACKETT
Don't do this. Don't dig up the past.
COSGRAVE
That's not my intentions, Sheriff.
BRACKETT
Then it would probably be best if you got in your car and headed on back up to Castledale.
Cosgrave glances back toward the door, but doesn't relent.
COSGRAVE
Your own daughter, Sheriff.
Brackett's face quickly changes to disgust. He lunges for Cosgrave, grabbing onto his dress shirt and pulling him closer.
BRACKETT
Don't you dare talk about Annie!
COSGRAVE
(nervously)
I don't mean anything by it, Sheriff. But you know more than anyone what Michael is capable of doing.
Brackett releases his grip a bit and Cosgrave shakes himself loose.
BRACKETT
What the hell do you want from me, Doc?
COSGRAVE
I just want to make sure. If Michael is dead, then I'll leave Haddonfield and you'll never hear from me again. Promise. But if he isn't, God help us.
Just then, the station's door swings open and enters RITA GOLDENBLAT. She's an older lady, with thick glasses, graying hair and frail figure.
Brackett instantly looks toward her.
BRACKETT
What're you doing here, Rita?
She nervously fidgets with a rolled up tissue.
RITA
Sheriff, have you spoken with Morgan Strode?
BRACKETT
Not since this morning. Why?
RITA
He never showed for work today.
Cosgrave tenses up.
BRACKETT
You sure he didn't just take the day off?
RITA
No. He had an important open house tonight. He'd never just take time off without telling me.
BRACKETT
You call him?
RITA
No one answered.
Cosgrave can't contain his fear any longer.
COSGRAVE
(to Brackett)
Morgan Strode. That wouldn't be Laurie's -
BRACKETT
Yes.
COSGRAVE
Do you know what this means?
BRACKETT
It doesn't mean anything.
Brackett turns to Rita.
BRACKETT (CONT'D)
(to Rita)
Is it possible they went up to visit Laurie?
RITA
He would have told me, Sheriff. This is not like Morgan. He never misses a day without calling. I even stopped by their house.
BRACKETT
What'd you see? Were they home?
RITA
Not that I could tell.
COSGRAVE
(to Brackett)
Let me guess, you think this is just all a coincidence too, don't you?
Brackett ignores Cosgrave entirely and turns to Meeker.
BRACKETT
(to Meeker)
I'm gonna go check this out. You hold down the fort until I get back, okay?
MEEKER
Sure thing, Sheriff.
Brackett walks over to the wall, grabs his jacket off the hook and slides it over his uniform.
BRACKETT
(to Cosgrave)
Well you comin'?
EXT. GALESBURG - MAIN STREET - LATE AFTERNOON
Laurie and Kerry exit out of a restaurant and begin walking up the main drag. It's rather busy, packed with kids in costumes weaving in and out of all the foot traffic.
A few gusts of wind have flooded the sidewalk with an array of colorful foliage. The dull sky casts a dark shadow on the town below.
As they continue walking up the street, a familiar car traps Laurie's attention.
She stops and watches as it passes.
KERRY
(confused)
What?
LAURIE
That looks like my father's car. Same color, even.
KERRY
Your dad isn't the only one who drives a Cadillac, Laurie.
LAURIE
I know, but -
KERRY
Do you wanna bag this? We can just spend the night scaring ourselves shitless watching horror movies while pigging out on junk food if you want.
Laurie takes a second to think about it.
LAURIE
No. You're right. I need this.
KERRY
You sure?
LAURIE
Yeah.
KERRY
All right.
Just as the conversation wraps up, the two arrive at the drugstore.
INT. DRUGSTORE - LATE AFTERNOON
Extra busy with last-second Halloween shopping, Laurie and Kerry push their way through the crowd. SCOTT RILEY, who had been stacking the shelves behind the register, spots the two and hurries over toward them.
He's good looking, late-20s and quickly cozies up to Laurie.
SCOTT
Hey Laurie.
Laurie turns away from Scott, but gets a forceful look from Kerry and turns back.
LAURIE
Oh hey Scott.
SCOTT
What brings you two in today?
KERRY
We're looking for some costumes for tonight.
SCOTT
Oh yeah? You guys going to the Clymer Halloween party?
KERRY
That is the plan.
SCOTT
Sweet. Laurie, you have a date?
He smiles.
LAURIE
No.
His smile grows even more.
SCOTT
Cool. Cool.
But Laurie brushes him off.
LAURIE
So where are the costumes?
Scott, rejected, points toward the back.
SCOTT
They're right over there. If you need anything, just call.
KERRY
Will do.
COSTUME AREA
The shelves are nearly empty as Kerry and Laurie enter.
KERRY (CONT'D)
You know, you don't have to be such a jerk to Scott.
Laurie doesn't respond, instead she sorts through the remaining costumes.
LAURIE
All they have is crap.
Kerry doesn't seem interested in discussing costumes. She swings Laurie around so they're facing each other.
KERRY
C'mon Laurie. When was the last time you actually went on a date?
LAURIE
I don't know.
KERRY
See. If you don't know, it's too fucking long.
LAURIE
I'm not interested.
KERRY
Why? What's the harm in Scott. He's cute, he's got a job. He has a car and he doesn't live in his mom's basement. You could do a lot worse.
LAURIE
That's not it.
KERRY
What then?
LAURIE
I'm too fucked up for a relationship.
KERRY
God Laurie, it's just a date. No one is asking you to marry the guy.
LAURIE
I don't want to give him the wrong idea.
KERRY
He's a guy. I can guarantee you the only idea going through his head right now is whether or not he'll get sex tonight.
LAURIE
So that's what this is about?
KERRY
Well - when was the last time?
LAURIE
Don't even ask me that, Kerry. It's none of your business.
KERRY
Don't tell me you're a -
LAURIE
We're done with this conversation.
KERRY
I can't believe it. You mean you haven't, you know?
LAURIE
Kerry!
Kerry smirks and turns back toward the main area of the drugstore.
KERRY
(calling out)
Oh Scott...
Laurie looks mortified.
LAURIE
What're you doing?
KERRY
It's time you spread your legs.
As she says that, Kerry takes her pointer and middle fingers, spreading them apart.
Laurie turns away and starts thumbing through the costumes.
LAURIE
I'm gonna die.
KERRY
You'll be fine.
Scott enters the back area.
SCOTT
Yes, ladies?
Kerry moves her head in Laurie's direction, though she continues to bury her face in the costume rack.
KERRY
What're you doing tonight?
SCOTT
Why?
KERRY
Thinkin' maybe we could all hang.
SCOTT
Really?
Laurie finally faces her embarrassment and turns around.
SCOTT (CONT'D)
You're cool with that, Laurie?
LAURIE
Yeah. Sure.
He smiles.
SCOTT
Why don't I bring my friend Joey?
KERRY
Fantastic.
SCOTT
I get off work at five. I'll head on over to my pad, get my costume on and say meet you two around six-thirty, seven?
KERRY
Sounds like a plan.
SCOTT
Awesome. See you guys then.
He gives a wink to Laurie, who wants to sink into the costumes.
Kerry turns toward her and smiles, but all Laurie can do is shake her head.
KERRY
It's going to be fine, Laurie. It's just one night.
LAURIE
You owe me.
KERRY
I think when the night's over, you'll be the one who owes me.
Kerry giggles as she looks through the costumes, quickly finding a SEXY DEVIL's outfit.
KERRY (CONT'D)
What about this one?
LAURIE
A little slutty, don't you think?
KERRY
Perfect.
She tosses it over her shoulder.
KERRY (CONT'D)
What one are you getting?
Laurie pulls out a PRINCESS costume and drapes it over the front of her body.
LAURIE
What about this?
KERRY
A princess?
LAURIE
You don't like?
KERRY
I guess it's all right.
LAURIE
Not everyone needs to dress slutty on Halloween, Kerry.
KERRY
Well where's the fun in that?
Laurie rolls her eyes and the two exit the costume area.
EXT. STRODE HOUSE - LATE AFTERNOON
Brackett's cruiser pulls up in front of the empty house. As the two get out, they're greeted by a crowd of kids in costumes pushing their way up the street.
Cosgrave takes a look at one costume. A boy in a white mask.
COSGRAVE
They should ban that mask.
BRACKETT
Michael's become a legend of sorts in this town over the last five years. Those kids don't know any better. A half-decade to them is a lifetime.
Brackett then looks up to the house. It's quiet, but nothing seems out of place.
BRACKETT (CONT'D)
There's a door over on the other side of the house. Why don't you go check and see if it's locked. I'll check the front door.
Cosgrave cuts across the grass and vanishes behind the side of the house.
On the porch, Brackett tries to glance through one of the windows, but the shades are drawn.
He then slams his fist against the door.
Nothing.
He does it again.
BRACKETT
Morgan?
There is no response.
BRACKETT (CONT'D)
Pamela?
He rings the doorbell, but doesn't anticipate a response.
After a seconds wait, Cosgrave rejoins him.
COSGRAVE
Door's locked.
BRACKETT
Yeah, this one too.
He looks around for any sign of forced entry, but nothing.
COSGRAVE
What're you thinking?
BRACKETT
I might owe the Strode's a new door.
Before Cosgrave can even ask what that means, Brackett slams his shoulder into it - busting the lock and forcing the door ajar.
He then gives it a firm push and it swings open.
INT. STRODE HOUSE - LIVING ROOM - LATE AFTERNOON
The two enter the dark house and take a fast glance around the room, but don't notice much of anything.
COSGRAVE
I don't know about you, Sheriff. But this doesn't feel right.
BRACKETT
Now just calm down, Doc. We don't know anything yet.
COSGRAVE
Look around. You don't think he's been here?
BRACKETT
Let me tell you something, Cosgrave. Halloween isn't easy for the Strodes. It ain't for my family, either. We all cope in our different ways. Morgan and Pamela have done this before. With the news about Michael, it wouldn't surprise me if, at the last minute, they went up to visit Laurie.
COSGRAVE
You don't believe that, do you? They just vanish without a word to anyone.
BRACKETT
Maybe they didn't want to be pestered. I don't know. What I do know is that you've got to come at me with more than a sneaking suspicion and an empty house.
COSGRAVE
Sheriff, please.
BRACKETT
I don't have time to hunt ghosts. I've got a town to look after on what is one of the busiest nights of the year.
COSGRAVE
I'm begging you. Don't do this.
BRACKETT
I'm sorry. I can't. Not without any proof.
COSGRAVE
You don't know what you're doing.
BRACKETT
I'll give you a ride back to the station and you can pick up your car. Other than that, unless you have something else, you're on your own.
Brackett brushes off any response from Cosgrave and hurries out of the house. Cosgrave follows.
EXT. STRODE HOUSE - LATE AFTERNOON
COSGRAVE
You're making a mistake, Sheriff! Don't do this. Please!
Brackett ignores his cries.
COSGRAVE (CONT'D)
Please! I need your help! At least tell me where she is!
He initially disregards Cosgrave, but then pauses before entering his squad car.
BRACKETT
She's up at Clymer College in Galesburg. But I don't need you going up there and scaring her with this Michael Myers bullshit. Not today.
COSGRAVE
I wouldn't. I won't. She doesn't even have to know I'm there. You've got to understand, Sheriff - I need to be sure.
BRACKETT
Yeah. Whatever.
Brackett hops into the car, leaving Cosgrave to stand on the Strode lawn alone.
EXT. CLYMER COLLEGE - EARLY EVENING
The sun slowly begins to set, casting an eerie orange glow on the campus.
As late afternoon turns to twilight, students - most done with class - stroll through the grounds. A few even wear their Halloween costumes.
INT. MELLON HALL - DEAN WOLFE'S OFFICE - EARLY EVENING
In a hurry to end the day, Joan cleans the clutter on her desk. Finished, she looks up as Dean Wolfe exits his office carrying a briefcase.
WOLFE
Phones still not working?
Joan picks the receiver up, gives it a quick listen and then returns it.
JOAN
Not yet. Weird.
WOLFE
When I'm off campus, I'll call the phone company. Sure it's nothing.
JOAN
I can do it when I get home if you want.
WOLFE
Would you? That'd be great.
JOAN
No problem.
She then takes a mess of papers and nicely stacks them.
WOLFE
So what are your plans for tonight?
JOAN
I thought Art and I could just spend a nice night at home relaxing. You know, watching six straight hours of Doctor Dementia while handing out candy to the little trick-or-treaters. What about you?
WOLFE
Unfortunately, I have to chaperone tonight's Halloween party.
Joan pulls out her purse from one of the desk drawers, stands up and begins to join Wolfe at the front office door.
JOAN
(sarcastically)
What fun!
WOLFE
I'm thrilled, let me tell you.
JOAN
You'll have to tell me how it went. I'll see you tomorrow, Dean.
She opens the office door and begins to exit out into the hall.
WOLFE
Have a good night, Joan.
Joan vanishes down the hall as Wolfe begins to lock up the office.
Before he too can depart, Jackson sprints toward him.
JACKSON
Dean Wolfe!
Wolfe, surprised, turns to the out of breath student.
WOLFE
What's wrong?
Jackson tries to catch his breath.
JACKSON
I've been looking all over for you.
WOLFE
Well what is it?
JACKSON
I couldn't find Mr. Gavin.
WOLFE
What do you mean you couldn't find him?
JACKSON
I went to the security center and the door was locked. No one answered. Couldn't even get inside.
Wolfe looks perplexed.
JACKSON (CONT'D)
I talked to the secretary in the admissions building and she hasn't seen him for a few hours. No one knows where he is.
WOLFE
He's probably wandering around campus. Without phones, we're all cut off. But I'll go check it out. Thanks for trying, though, Jackson.
JACKSON
No problem.
Jackson gives Wolfe a nod as he takes off opposite of the direction Wolfe is heading.
The hall is now empty. A slight whine from the above lights join with his feet as they clap against the hard linoleum.
As Wolfe continues, he notices something moving down another hall. By the time it draws his attention, though, he can only see the figure pull back into a room.
At first, he brushes this off. However, then he spots a large puddle that's formed outside the room.
Not sure quite what to make of it, Wolfe begins walking toward it - the spilled substance about 20-yards from where he had been standing.
Then he sees it. The dark redness of that spill. It's blood. He stops, crouches down and to confirm his horrifying thought, dips his finger in it.
Now convinced something is wrong, he springs to his feet and pushes the bathroom door open.
BATHROOM
Inside the bathroom, Wolfe notices the blood streak across the floor and toward one of the stalls.
WOLFE
Are you all right?
But there is no answer.
WOLFE (CONT'D)
Do you need me to call the medic?
Still, nothing.
Wolfe slowly creeps up to the stall, his face awash in concern.
He slams his hand against the stall door, it's forced slightly open.
Should he open it?
WOLFE (CONT'D)
Anyone in there?
Now visibly shaking, Wolfe reaches for the door handle and YANKS it open.
He's AGHAST by the sight.
Joan's body sits on the toilet, her neck twisted - face splashed in horror.
Wolfe screams, unaware of the stall next to him opening! He continues standing, eyes wide, mouth dropped in horror.
As he backs out from where the body rests, he crashes into the Shape!
It looks down on the quivering man. Before Wolfe can do anything, the Shape quickly grabs him and SLAMS his face into one of the bathroom mirrors. The glass shatters, shards of it driving into Wolfe's face.
He screams as it tosses him to the ground. His face is bloodied, his eyes barely visible through the carnage.
Weak, Wolfe puts up his hands, trying to shield himself from the upcoming blow.
The Shape doesn't care. It pulls him up by the neck and throws him against the hard tiled wall. SPLAT. His body smacks against it with a large thud. Blood follows it down as it slides to the ground.
INT. APARTMENT BUILDING - NIGHT
Kerry exits out of the bathroom wearing her devil's costume. She twirls around, putting on a quick show for a princess-dressed Laurie.
KERRY
How do I look?
LAURIE
(sarcastically)
Cute.
KERRY
I think so.
Before her ego is too inflated, there's a knock at the door.
KERRY
(excited)
They're here!
Laurie looks less excited.
As Kerry opens the door, the two are greeted by Scott and JOEY COSTELLO. Joey is a Scott clone, just with darker features and a bit more taller.
The two don't wait for an invitation and enter the apartment. Scott is dressed as a skeleton, face-paint and all.
KERRY
(sarcastically)
Well come in...
Inside, the four awkwardly stand for a second until Scott finally breaks the ice.
SCOTT
You look good, Laurie.
LAURIE
Thanks. So do you.
Kerry, butting in, quickly puts her hand out and beams Joey a smile.
KERRY
(flirtatious)
You must be Joey.
JOEY
That would be me.
She gives Joey the look over and seems confused by his costume.
KERRY
(to Joey)
So who are you supposed to be?
JOEY
I'm Ponch.
Both Kerry and Laurie look on blankly.
JOEY (CONT'D)
You know, from CHiPs?
They still seemed confused.
JOEY (CONT'D)
Erik Estrada...
Kerry quickly catches on.
KERRY
Oh yeah. He's cute.
Laurie and Scott both roll their eyes.
SCOTT
There will be plenty of time for that later. But we should probably get going.
Laurie walks over to the closet, opens it up and pulls out two jackets for her and Kerry.
SCOTT (CONT'D)
I should warn you, though, the Halloween bash is alcohol free.
KERRY
Boo!
Joey slides in toward Kerry, laughing as Laurie hands her her jacket.
SCOTT
Tell me about it. Fortunately, I have that taken care of.
Scott pulls out a decent-sized bottle of whiskey.
KERRY
Nice!
Laurie doesn't much react.
SCOTT
(to Laurie)
You drink?
LAURIE
Sometimes.
KERRY
She's a big alcoholic.
She nudges Kerry a bit.
LAURIE
I'm not really.
JOEY
I am!
Kerry snuggles up more to Joey.
KERRY
My kind of guy.
SCOTT
All right, kids. Enough. I was thinkin' if the Halloween party is totally lame, we could head over to a house party on Fillmore. How you two feel about that?
Kerry looks to Laurie, who's hesitant to answer.
KERRY
I think we can both go for that.
SCOTT
Sweet. Then let's get this night started!
EXT. APARTMENT BUILDING - STREET - NIGHT
Outside, darkness has engulfed what light was left. It's a frenzied scene, with hundreds of students - all in costume - partying in the streets across from the campus. Many roaming toward the gymnasium for the Halloween bash.
Hidden from the crowd, off in the shadows of the night, a familiar white mask watches undetected.
INT. CLYMER - ADMISSIONS BUILDING - BASEMENT HALL - NIGHT
OFFICER ROLAND POWELL, mid-30s and portly, finds his way down the dank and dark hall leading toward the security room. Its walls are barely lit, casting an eerie spark that magnifies his creeping shadow.
He gently cradles a box of doughnuts on his right arm, while holding a midsized cup of coffee with his left hand.
Powell eventually reaches the rusted metal door at the end of the hall and carefully tries to open it - fighting to not drop his late-night meal.
But it's locked.
POWELL
Shit.
He stands for a second, realizing how difficult it would be to grab his keys. So he slams his fist against the door.
No answer.
POWELL (CONT'D)
C'mon, Rusty. Open the fuck up. It's me.
Still no answer.
He looks around, falsely hoping Gavin is finding his way down the hall. He isn't.
POWELL (CONT'D)
(to himself)
Where the hell is he? We've got shift change.
Realizing he can't stand outside the room for too much longer, Powell nicely balances the cup of coffee on the doughnut box and fishes through his pocket for the keys.
After a second, he pulls out the large set, finds the needed key and unlocks the door.
SECURITY ROOM
Powell enters and promptly notices the lights are off. The only shine coming from the security monitors splashed in static.
He stumbles over to the desk, dropping the box of doughnuts on it and then wandering back toward the wall to flick on the lights.
As the yellow cuts through the blackness, he gets a good look at nothing. The room is empty. No Gavin.
POWELL
Well what the hell?
Noticing the security cameras are off their channels, he begins fidgeting with each knob, eventually bringing images of the campus back.
Taking a sip on his coffee, Powell looks over the cameras and notices the group of four passing by on their way to the gym. A few seconds after they've vanished from the camera's sight, something follows. He takes a closer look, spotting the figure's pale mask shining through the darkness.
Then he spots the knife.
POWELL (CONT'D)
Now who do we have here?
He picks the phone up and realizes there is no dial tone.
POWELL (CONT'D)
Figures.
Glancing at his watch, Powell stands up, grabs his flashlight and exits out of the back door.
EXT. CLYMER COLLEGE - MOMENTS LATER
Powell finds his way out to the campus area where the Shape had been spotted. It's quiet, with only a slight din of a barking dog off in the distance.
He isn't sure how to read the situation, so he tightly grips his pistol - a bit nervous.
Suddenly, Powell's startled by a few students dressed in their Halloween best as they hastily pass him by in a festive, joking spirit. They ignore him and after catching his composure, he ignores them, as well.
POWELL
I really, really hate this holiday.
He eases up a bit and starts to think that maybe what he saw was just a kid playing a prank. It is Halloween, after all.
So he pulls out a pack of cigarettes from his pocket, shakes one loose and perches it between his lips. Lighting it, Powell laughs off his fright and turns back toward the security center.
Except the Shape is standing right there! Powell pauses in fright. His cigarette slips from his open mouth and falls to the ground. Just as it smacks against the leaves below, the Shape forcefully seizes him by the neck and pushes his body toward a massive tree only a couple yards away.
Powell kicks and fights, but he's no match for the Shape's strength. His cries, which are nearly muted by its clasp, are too muffled to be heard.
At the tree, the Shape takes its free hand, pushes it against his face and forces the back of his head onto a broken tree branch jutting out of the trunk.
Squish!
The branch rips through Powell's head as he twitches from the force. Then the eyes lose the last glimmer of life.
The Shape loosens its grip, pulls back and admires its work.
His body hangs there for a second until the weight forces the branch to break, dropping Powell to the ground.
INT. GALESBURG SHERIFF'S DEPARTMENT - LOBBY - NIGHT
The station is busy with officers answering calls, junkies tied up to benches and a growing crowd waiting anxiously in the lobby.
Cosgrave enters and promptly heads to the front desk. Sitting there, on the phone, is OFFICER RODD FLAGG. He lifts a finger, motioning Cosgrave to wait a second while he finishes up with the call.
After Officer Flagg is done with it, he hangs the phone up and turns his attention to Cosgrave.
OFFICER FLAGG
How may I help you?
COSGRAVE
I need to speak with whomever is in charge here.
FLAGG
This would be concerning?
COSGRAVE
Please. It's important.
OFFICER FLAGG
Well the Sheriff is a very busy man. Unless you tell me what it is, you'll have to wait with the rest of 'em.
COSGRAVE
It's about Michael Myers.
At the word, the department comes to a pause. A hush falls over the room as everyone turns toward Cosgrave.
FLAGG
One second.
Flagg picks up the phone and dials into the Sheriff's office.
FLAGG (CONT'D)
(into phone)
Sheriff, someone is here to see you. Says it's an emergency. All right. Thanks.
He hangs the phone up and looks up to Cosgrave.
FLAGG (CONT'D)
The Sheriff will see you in a moment. Why don't you have a seat Mr. -
COSGRAVE
Doctor Cosgrave.
FLAGG
Mr. Cosgrave.
Cosgrave ignores the slight and finds his way to a bench. He sits next to an obvious drunk guy, whose hand is cuffed to the arm of the bench.
After a few moments, the Sheriff's office door opens and out steps SHERIFF TERRENCE JUSTICE.
Officer Flagg points to Cosgrave, alerting Justice to who he's meeting with.
Then Justice snaps his finger, drawing Cosgrave's attention and calls him over with his hand.
JUSTICE'S OFFICE - MOMENTS LATER
Justice's office is smaller than it should be, as filing cabinets cover nearly every corner of the room. Peaking out from above the metal slabs, barely visible, are old newspaper clippings, presumably about the Sheriff himself.
Toward the back of the room, pushed up against a window, is Justice's desk.
JUSTICE
I'm Sheriff Terrence Justice. Why don't you have a seat.
Cosgrave sits as Justice finds his way behind the desk.
COSGRAVE
Thank you, Sheriff. I'm Doctor Cosgrave.
JUSTICE
I know who you are. Sheriff Brackett called from Haddonfield. Told me I should assist you in anything you needed. I'll decide whether I do that. But first I want to know what the hell is going on.
Cosgrave seems surprised Brackett would phone ahead.
COSGRAVE
You know Laurie Strode?
JUSTICE
What about her?
COSGRAVE
She attends Clymer College up here.
JUSTICE
And you think Michael Myers is going to come after her.
Justice smiles. A hint of absurdity.
COSGRAVE
That is my suspicion, yes.
JUSTICE
A funny thing happened this morning, Doctor. I got up, turned on the news and they were reporting Michael Myers had died. Now you're in my office telling me he's very much alive. I'm sure you can see the contradiction in all of this.
COSGRAVE
Surely I can, Sheriff. Honestly, I'm not sure if Michael is even alive. Or here. But you've been in this business a long time, right?
JUSTICE
Yeah. You can say that.
COSGRAVE
Then you know when something is off. When the pieces just don't seem to fit. Who knows? Maybe it's me who's way off base with this one. But I'd rather be proven wrong and have nothing happen than proven right and watch as hell finds its way to your town.
Justice eases back into his chair, a slight grin widens across his face.
JUSTICE
Then what do you want me to do? Set up barricades on every street corner? Send out all my men to look for a man in a white mask who likes to kill babysitters?
COSGRAVE
I just want to make sure he's not here to kill that girl and anyone who gets in his way.
JUSTICE
All right, Doctor. I'll humor you. Let me call Clymer and make sure everything is okay over there. That sound good?
COSGRAVE
As a starting point, Sheriff.
JUSTICE
As a starting point.
He reaches over to his phone, cups the receiver under his ear and quickly dials out of the office.
JUSTICE (CONT'D)
(into phone)
Yeah, Flagg. I need you to give Clymer College a ring. See if anything unusual has gone on there tonight. If you could let me know what they say, that'd be great. Thanks.
He hangs the phone up and looks up to Cosgrave, who seems a bit relieved.
JUSTICE (CONT'D)
Better?
COSGRAVE
Thank you, Sheriff.
JUSTICE
Don't thank me. I'm just doin' my job.
COSGRAVE
Well regardless -
Justice's ringing phone cuts him off.
JUSTICE
That was quick. Hold the thought.
He picks it up.
JUSTICE (CONT'D)
What'd you find out? Uh-huh. All right. Thanks, Flagg.
Justice slowly puts the phone back on its base - he looks extremely anxious.
COSGRAVE
What?
JUSTICE
Huh. Seems like the phones aren't working over there.
COSGRAVE
God damn.
JUSTICE
Pull it back, son. Don't panic just yet. We have phone trouble in this town all the time. But...
Justice leans in toward Cosgrave.
JUSTICE (CONT'D)
Let's just say you're right about this. What the hell are we dealing with?
COSGRAVE
I - I don't know, Sheriff. If Michael is alive - he's most certainly gone out of his way to get to her. That's not going to be something easily stopped.
JUSTICE
Well before we jump to conclusions, let's head on over to the college and check things out. I believe they're having a Halloween party, so we might get a good read on this.
Justice stands up and grabs his jacket off the coat rack hidden away between shelves in the corner of the room.
DEPARTMENT LOBBY
The two exit and find their way to the front. The scene is still pretty busy, with other officers signing in and questioning suspects at the desk outside Justice's office.
Flagg, who had been talking with a frantic woman, moves his attention toward the approaching Justice.
JUSTICE
Flagg, I need all our men on standby.
Concerned, Flagg's body straightens.
FLAGG
Is something wrong, Sheriff?
JUSTICE
Not yet. Just - just have to be prepared.
He eases into Justice, who's now standing by the desk, and whispers so not to alert the crowded lobby.
FLAGG
(whisper)
Is this about Myers?
JUSTICE
Just get the word out.
FLAGG
You got it.
With that, Justice and Cosgrave leave the station.
EXT. CLYMER COLLEGE - LATER
Sheriff Justice's squad car pulls up in a parking lot fronting the college. It comes to a stop, lights cut out and the two men ready for their night of fun.
INT. JUSTICE'S SQUAD CAR - NIGHT
Justice tries to get comfortable as he and Cosgrave watch the stream of students filing into the gymnasium.
JUSTICE
So far, looks like a Halloween party to me, Doc.
COSGRAVE
So far, Sheriff. Let's just hope it stays that way.
Justice looks even more skeptical.
JUSTICE
Yeah. Let's hope.
INT. CLYMER COLLEGE - GYM - LATER
The gymnasium is packed with costume-dressed students dancing, mingling and drinking about.
The room is decorated in mostly cheap Halloween decorations - with paper cutouts of mummies, vampires, witches and ghosts plastered on the walls.
Haystacks and an imitation pumpkin patch center the dance floor.
At the front of the gym is a large stage with a live band playing mostly Halloween-themed music. They too are dressed in ghoulish costumes.
Through the crowd, familiar haunts - zombies, witches, monsters and ghosts. And then Laurie with her friends.
The four have huddled around the edge of the dance floor, quietly chatting back and forth.
KERRY
This party is kind of lame.
JOEY
Tell me about it.
Kerry looks to Laurie, who sips on some red punch.
KERRY
(to Laurie)
You bored too?
LAURIE
It's all right. I'm having fun.
KERRY
Figures.
Joey, who has been eying Kerry all night, throws his arms around her and whispers into her ear.
JOEY
(whispering)
How 'bout me and you go for a walk?
KERRY
Yeah?
JOEY
Yeah.
KERRY
(to Laurie)
I think Joey and I are gonna go get some air. You cool with that?
Laurie doesn't look amused.
LAURIE
Just don't leave me here for too long.
KERRY
Oh don't worry. I'm sure Scott will take care of you.
Kerry gives Scott a smile and the two quickly vanish into the crowd.
SCOTT
I guess they hit it off fast, huh?
LAURIE
Guess so.
Scott shakes his drink a bit, not sure how to break the awkwardness.
The tension is interrupted by a loud SCREAM from Kerry. Laurie nervously looks toward the front of the gym and spots Joey chasing her out the door. Everyone around them laughs.
But Laurie sees something different. Beyond the two as they exit out into the darkness stands the Shape. It just watches, getting a peek inside the gymnasium.
Scott, sensing something is wrong, pulls her toward him.
SCOTT
What is it?
LAURIE
Uh - I don't know. I thought...it was nothing.
SCOTT
You sure?
LAURIE
Yeah. Just not used to these costumes, I guess.
SCOTT
(surprised)
You're scared?
LAURIE
No. I don't know. I'm fine.
SCOTT
Promise?
LAURIE
Yeah.
SCOTT
Okay, good.
Scott looks into her eyes and nearly makes his move. But he's pushed aside by both Sammy and her new boy toy JAMES FLYNN.
The two wander up to Laurie, Sammy looking a bit tipsy in her PAT BENATAR rocker costume. James is hidden behind black cloak.
SAMMY
Laurie! Glad you could make it.
LAURIE
You know me, wouldn't miss it for the world.
She looks to Scott, surprised to see Laurie with a man.
SAMMY
(to Scott)
And you would be?
SCOTT
I'm Scott.
SAMMY
(to Laurie)
Nice! I thought you were flying solo tonight?
LAURIE
Change of plans, I guess.
SAMMY
Well good! Where's Kerry?
LAURIE
Went to get some air with Scott's friend.
SAMMY
Love it. You remember James.
LAURIE
(to James)
Hey.
JAMES
Yo.
SAMMY
Isn't this a blast?
Sammy starts twirling around.
SAMMY (CONT'D)
You're a heart breaker...dream maker...love taker...
LAURIE
(to James)
How much has she had to drink?
JAMES
She was already lit when I picked her up.
LAURIE
Maybe she should sit down.
The three grab Sammy, who's about to fall over, and help her to a chair resting against the wall.
EXT. CLYMER COLLEGE - GEORGE CLYMER HALL - NIGHT
The slight thumping of music from the gymnasium mixes with the chirping of crickets and the ruffling of the leaves as Kerry and Joey sneak toward Clymer Hall.
Off in the bushes, though, something watches. It's unseen as they make their way to the front entrance to the bell tower.
The tower stretches high into the night sky with lights bathing the dark brick in a cool yellow.
At the top, the massive steel bell rests - ready to ring at the top of the hour.
KERRY
Up there.
JOEY
You wanna do it up there?
KERRY
Yeah.
JOEY
How the hell are we going to get up there?
Kerry pulls out a set of keys.
KERRY
Helps to be trusted.
JOEY
Awesome.
The door has been modernized a bit from its original wood form. It's now covered in a cast of metal, only forced open by a stronger tug than Kerry's arm can handle.
Joey, who tries to impress, grips the handle and yanks it back. The door slowly budges open, sending out a loud creaking noise that booms throughout the campus.
KERRY
Be quiet!
JOEY
Yes. Because I can control the noise of the door.
As the door fully opens, a large staircase spills out in front of them. Each step is made of rusted metal and the case twists all the way up the tower.
KERRY
I think I'm gonna have some serious vertigo issues in a minute.
JOEY
You'll live.
The two begin climbing the stairs, leaving the door behind them open.
As their backs turn away from the entrance, the Shape steps out from the bushes and watches them climb toward the top.
INT. CLYMER COLLEGE - GYM - NIGHT
Sammy is still planted on her chair as the other three look on in boredom.
SCOTT
This sucks. I say we hit up that Halloween party.
LAURIE
We can't do anything until Kerry gets back.
SCOTT
Knowing Joey, they won't be gone too long.
Laurie, seemingly fed up with the boredom, interjects.
LAURIE
Scott, you want to dance?
SCOTT
Really?
LAURIE
Yeah. I mean, can't just sit in the corner all night.
SCOTT
Sure.
LAURIE
(to James)
You should probably get Sammy home.
JAMES
I'll let her relax for a bit and then head on out.
Scott grabs Laurie's arm and pulls her out onto the dance floor.
INT. CLYMER COLLEGE - GEORGE CLYMER HALL - NIGHT
Atop the hall, beneath the large bell, Joey and Kerry moan in their heap of lust.
As the two feverishly go at it, both are unaware of the shadow as it sneaks up the side wall. Something is walking up the staircase.
Joey, who's on top of Kerry, forcefully tugs at her costume, pulling the top down and exposing her breasts. At the sight, he pulls back.
JOEY
Fuck yes.
He cups one and then begins kissing the other as he grinds up and down on her.
Eventually, he pulls down his pants and the sex commences.
Kerry smiles, resting her head and rolling her eyes back into her head.
JOEY (CONT'D)
Is that good?
KERRY
Harder. Do it harder
Before Joey can grant Kerry's wish, however, the Shape rips him off her.
KERRY (CONT'D)
Joey?
The Shape lifts his body into the air, snaps his neck and disposes of him quickly. Kerry, naked, is left panicked and screaming.
As it bears down on her, she tries to scoot herself up but backs herself into a corner.
Conceding her fate, all Kerry can do is cry and beg. Her naked body quivers at the sight of the intense figure above her.
KERRY (CONT'D)
(weeping)
No...
The Shape grabs Kerry by the hair and drags her over toward the bell. It is not impacted at all by her kicks and screams.
At the bell, it pulls her up off the ground and dangles her over the edge beneath it. Below, the twisting metal staircase.
KERRY (CONT'D)
For the love of God! Someone! Anyone! Help me!
Instead of dropping the unfortunate girl, it takes the rope from the bell and wraps it around her neck. Kerry continues to squirm, but is easily overpowered by the Shape.
Eventually, the rope tangles around her neck and it releases its grip, allowing her to droop atop the tower.
The Shape then watches as Kerry struggles to breathe. Her feet dance about as her screams mixed with cries turn to faint gargles. Finally, her body goes limp.
INT. CLYMER COLLEGE - GYM - NIGHT
Scott and Laurie have finished dancing and walk back toward the sleeping Sammy and vigilant James.
JAMES
She's such a lightweight.
Laurie gives her a nudge, bringing her out of the daze.
LAURIE
(to Sammy)
Here.
She hands her a cup of punch. More alert, Sammy takes it.
SAMMY
What time is it?
LAURIE
About ten thirty.
SAMMY
Shit. I feel like I've been hit by a train.
LAURIE
Yeah, well, how much did you have to drink tonight?
SAMMY
I don't know. One, two, five shots?
LAURIE
Jesus, Sammy.
JAMES
(to Sammy)
You okay, though?
SAMMY
Yeah. I think so.
SCOTT
Maybe when Joey and Kerry get back from their walk, we can all go over to that house party.
Sammy quickly perks up.
SAMMY
What party?
LAURIE
I think you're done for the night.
SAMMY
Aw, c'mon. It's early!
JAMES
I'll make sure she gets home safely. But first, I need to piss.
LAURIE
Classy.
James smiles.
JAMES
I'll be back in a minute.
GYM HALLWAY
Beyond the main floor, hidden mostly in shadows, is the gymnasium hallway. James slowly walks down it, stumbling a bit from the combination of darkness and alcohol.
Feeling his way around the hall, he turns another corner and begins walking down a good set of steps. The steps then lead into the basement area of the gym - which houses the locker rooms and bathrooms.
In front of him, a swinging door.
This draws his attention outside, where he peeks up the steps and notices the rustling of some trees from the square above.
Turning back into the building, he begins sauntering around another murky passageway. This time, though, something slinks in the shadows.
The noise tugs at his ear, forcing him to spin back toward where the door had been.
Nothing.
JAMES
Sammy?
He tries to look through the darkness, but realizes no one is there.
So he turns around once again and begins walking toward the bathroom. Yet the noise returns, creeping from behind.
His feet stop. He stands forward, eyes afraid to shift from its focus ahead.
Before he can move, a HAND wraps around his shoulder.
James spins around and spots SAMMY, who's smiling.
JAMES
Jesus Mother Fuck! You scared the shit out of me, Sammy.
She laughs.
SAMMY
Sorry! You were taking forever.
JAMES
Yeah, well I can barely find my way down here in the dark.
SAMMY
Well hurry. I'll be outside waiting.
Sammy turns around and begins walking toward the door.
Now outside the bathroom, James enters.
BATHROOM
Inside, he searches for the light switch, but fails. The darkness, though, isn't much of a concern at this point - not with his full bladder.
At the urinal, James begins releasing what was once alcohol. His relief is not ignored.
JAMES
Oh yeah - that's better.
He continues, eyes planted on what appears to be a taped up campus newsletter - unreadable, though, in the dark.
The clicking of feet against the floor join his pleasurable groans.
JAMES (CONT'D)
Sammy, baby. You're not supposed to be in here.
No answer.
JAMES (CONT'D)
This is some kinky shit.
Then the clicking stops.
James has finished, but is now confused as to what that noise was.
JAMES (CONT'D)
Sammy?
The answer isn't what he was expecting - or wanting as the Shape pulls back his head and runs its knife blade across his neck.
Forced from his throat is a fatal scream, which is cut off by the last gasp of breath from his failing body.
The next sound is James crashing to the ground, blood spilling from the gash in the neck.
EXT. GYMNASIUM - NIGHT
Outside, smoking, is Sammy. At the noise, she peeks her head back into the gymnasium.
SAMMY
Uh, James?
No answer.
Not satisfied with what's going on and how long James is taking, Sammy flicks her cigarette and returns to the gymnasium.
INT. GYMNASIUM PARTY - NIGHT
On the dance floor, the party begins to peter out. Laurie and Scott stand amongst the final stragglers, waiting for their friends to return.
SCOTT
You wanna go?
LAURIE
Not yet. They should be here soon. Right?
SCOTT
I don't know. They probably took off.
LAURIE
We'll give them until eleven and if they're not back by then, I guess we can go.
SCOTT
All right.
GYMNASIUM BASEMENT
Back down in the basement, Sammy slowly finds her way down the darkened passageway.
SAMMY
James, everything okay? You having trouble pissing?
She laughs.
But there is no answer.
SAMMY (CONT'D)
C'mon James...I want to get home.
As she continues downward in the dark abyss, there still is no answer.
So she stops.
SAMMY (CONT'D)
You know what? Fuck this. I'm not in the mood for your Halloween games. I'm going. Either you can come or stay here playing with your pecker alone.
But then something ahead. A white glow emits from the shadows.
SAMMY (CONT'D)
James?
It's getting closer and the closer it gets, the clearer it gets. It's the Shape!
SAMMY (CONT'D)
Cute mask.
It's now standing an arms length from her.
SAMMY (CONT'D)
Where'd you get it?
It just stands there.
SAMMY (CONT'D)
Well aren't you going to answer me?
No answer.
SAMMY (CONT'D)
Great. You're real sick, you know that, right?
Then she sees it. In its hand is a large and bloody butcher knife.
SAMMY (CONT'D)
You're starting to scare me now. C'mon. Tell me this is a joke.
It lurches forward.
Sammy screams and takes off down the hall. It hunts.
EXT. GYMNASIUM BASEMENT - NIGHT
She reaches the door and begins sprinting up the steps just as a cluster of costume-wearing students rush on by. She lets out a yelp, but her screams are drowned out by their own.
Before she can reach the crowd, the Shape grabs her by the hair - except it's a wig. It's pulled off, providing her a chance to escape up the steps.
Unfortunately, her stiletto heel breaks, twisting her ankle!
SAMMY
FUCK!
In pain, she begins crawling up the steps as the Shape dives its knife toward her.
She's feisty, though, and dodges it each time.
Eventually, she pulls herself up out of the stairwell and begins screaming loudly as she limps toward the middle of the campus.
Most of the kids who had been attending the Halloween party are far ahead of her now.
SAMMY
Shit. Where is everybody?
Her cries are muffled by heavy breathing. Realizing she's on her own, Sammy pushes harder, injury and all.
But behind her no one lurks. Whatever had been hunting her no longer is there.
Sammy takes note of this, quickly looking around for it. Where could it have gone? Did it give up?
INT. JUSTICE'S SQUAD CAR - NIGHT
Justice and Cosgrave, both exhausted, impassively look ahead toward the campus. Though the party has just let out, the students have yet to arrive at the front of the college.
Cosgrave pulls out a pack of cigarettes.
COSGRAVE
Mind if I smoke?
JUSTICE
Na'. Go right ahead.
COSGRAVE
You want one?
Justice doesn't speak, just shakes his head no.
Cosgrave slides a cigarette out and lights it up.
Falling a bit back in his chair, he seems more relaxed.
JUSTICE
So you married?
COSGRAVE
Was. Got divorced about ten years ago.
JUSTICE
Sorry to hear that.
COSGRAVE
It's all right. I mean, we were married for five years until both of us realized we had nothing in common. It was a mutual thing. Can't say I don't miss her, though. I miss the comfort of having someone there. You know? I hate coming home to an empty and quiet house.
He inhales and quickly releases a tiny cloud of smoke.
COSGRAVE (CONT'D)
But what're you gonna do?
JUSTICE
Any kids?
COSGRAVE
Thought about it. Never got around to it, though. What about you? You married?
JUSTICE
30 - 35 years this February.
COSGRAVE
Wow. Congrats. Kids?
JUSTICE
Three. My oldest is actually a cop up in Chicago.
COSGRAVE
You must be proud.
JUSTICE
You'd think, but no. I've seen first hand how difficult the police force can be on a marriage and on the children. He didn't listen. But like you said, what're you gonna do?
Just then, the crowd from the Halloween dance has found its way to the main parking lot. Both Justice and Cosgrave take notice.
COSGRAVE
What's this?
JUSTICE
I don't know.
EXT. CLYMER COLLEGE - NIGHT
They both hang out of each side of the squad car as students rush on by.
JUSTICE (CONT'D)
Party must be over.
COSGRAVE
Do you see her?
Both look, but Laurie can't be seen.
JUSTICE
No. I don't think she's here.
COSGRAVE
Damn.
As the last of the students pass by, Justice and Cosgrave reenter the squad car.
INT. JUSTICE'S SQUAD CAR - NIGHT
JUSTICE
I don't know, Cosgrave. It's almost eleven and everything seems to be fine.
COSGRAVE
Maybe I was wrong. Maybe - maybe Michael is dead.
JUSTICE
Well I think we'd get just as much information at the station. I don't see any point in hanging out here. Do you?
COSGRAVE
Not if she's not here. Then again, if she isn't - well we might be too late.
JUSTICE
If anything happens in this town tonight, we'll find out.
EXT. CLYMER COLLEGE - COLLEGE SQUARE
Sammy continues to press on, though eyes scan every ounce of shadow that lay in the darkness around her.
The Shape has vanished, for now, and Sammy isn't quite convinced it won't return. However, she's not in any condition to just sprint toward a building in hopes of finding help. Her only help is ahead - where the students were heading.
The closer she gets, though, the more sense of dread inflicts itself. The cracking of trees and the stomping of leaves rape every sense she has.
Exhausted and in pain from her ankle, Sammy can only slow to a near-crawl. Her weeping cuts through the quiet October air.
Then she sees it - Justice's squad car.
This is incentive. Help!
She pushes herself up off the ground, leaves attaching themselves to her knees, and begins limping toward the vehicle.
SAMMY
(heavily out of breath)
We're gonna make it. We're gonna make it.
The closer she gets the harder it is for her to run. Each tug of the leg brings a new batch of pain. Now it's not just her ankle hurting.
Yet before she can get in the clear - or at least in shouting distance - the Shape returns!
It steps from behind a tree, its feet smacks a branch and forces Sammy to look back.
SAMMY
Oh God!
Now it's on and she's fatigued.
Fighting every ounce of sting from her muscles and sprain, she pushes on toward the parking lot.
The Shape easily makes up the distance between the two and gives her a nice shove to the ground.
Sammy's body falls into a pile of leaves and she lays there for a second. As the Shape stands over her, she lets out a loud scream - hopes of gaining the attention of the sheriff.
It doesn't work as his car pulls away.
SAMMY (CONT'D)
NO!
She begins crawling again toward the squad car as it departs the campus. The Shape, now hovering over her, starts to carve away at her back.
Each drive of the knife causes Sammy's body to convulse, but she continues to crawl until the bitter end.
Bloodied and on her last gasp, her body eventually comes to a stop.
INT. GYMNASIUM PARTY - MOMENTS LATER
Back at the party, a tired Laurie is slumping over as Scott looks toward the thinning front.
SCOTT
They're not coming back.
The remaining dancers begin to file out, while a few students and teachers stay behind to clean up the decorations and mess made by the party goers.
PEGGY, a short and hefty professor in a witches hat, waddles up to the two carrying a garbage bag.
PEGGY
You two either stay around and clean or get going. But we're all tired and we don't really want to clean around you.
LAURIE
We were just waiting for some friends.
PEGGY
Then wait for them outside, okay?
LAURIE
All right.
She looks to Scott, a bit deflated.
SCOTT
You know what? I'll just give Joey a call. I'm sure he took Kerry over to our place. Maybe they'd like to go get some breakfast or something.
LAURIE
Okay.
The two, drowsy, walk toward the entrance of the gym.
EXT. CLYMER COLLEGE - COLLEGE SQUARE - NIGHT
Outside, the wind has picked up. The trees off in the distance swiftly shake back and forth, creating a shadowy dance in the darkness of the October sky.
As the two exit, Laurie quickly hugs herself. A jacket obviously doesn't accessorize well with her costume.
LAURIE
There's a payphone over by Clymer Hall.
SCOTT
Stand here. If you get too cold, just go back into the gym. If they give you shit, so what.
LAURIE
You sure? I can come.
SCOTT
Na'. I'll be fine. You look worn out, anyway.
LAURIE
Well hurry - I'm hungry.
Scott gives a slight nod and disappears behind a cluster of trees.
CLYMER HALL
Clymer Hall is about 100 or so yards from the gym. However, it's nicely hidden behind the trees that dominate the overgrown square.
Each branch seems silhouetted by the large moon cresting in the sky. That glow feeds a bit of light down onto the campus, which seems shrouded mostly in darkness.
Scott, finding his way through the maze of brush, reaches the entrance of Clymer. The door leading inside sits atop a good bit of raised steps. Below that, though, back on ground level, are a group of payphones.
He digs through his pocket and pulls out a quarter. Picking up the receiver - but before adding the money - he hears a slight dragging noise from where he had just came.
SCOTT
(softly)
Is that you Laurie?
But the wind is the only answer.
OUTSIDE THE GYMNASIUM
Back at the gym, Laurie impatiently waits for Scott's return. But it's taking too long.
LAURIE
(to herself)
Where is he?
Cold, tired and hungry, Laurie decides to venture away from the entrance to the gymnasium and toward Clymer Hall.
Her walking is slowed by exhaustion as she trembles from the cold. Though something has gone horribly wrong this night, Laurie doesn't seem to notice - yet.
She continues deeper into the square, the trees now blocking both the gymnasium and pretty much the rest of the campus buildings.
Above, the moon provides her guiding light. But deep in the darkness, the cries of the night.
It's those sounds that start getting to Laurie more than the cold. Then a crackling of leaves. Was it from behind or off to the side? Just her imagination, or something more?
LAURIE (CONT'D)
Scott?
Of course, no answer. Wherever Scott is, he's incapable of calling out.
Laurie waits a brief second for the answer and then continues, slowly, toward her destination.
More trees and more noises. The wind doesn't help, either. It shakes the branches and forces a few leaves to fall to the ground.
Each shudder of wood startles Laurie more and more. Something isn't right. Scott would have been back by now. Certainly they're not playing a prank on her. No, Kerry would never allow that.
Eventually, Laurie finds her way out of the collection of trees in the middle of campus.
Her eyes rapidly look toward the payphone, expecting to see Scott.
But she's greeted by the sight of only a dangling receiver.
LAURIE (CONT'D)
Where are you, Scott?
A gust of wind howls.
She hugs herself even more and nervously looks around.
But nothing.
What now? Where does she go? Something is definitely off. This Laurie knows.
Then a CLANG shatters the quietness of the campus. It's followed by another and then another.
It's the bell tower.
At first, this frightens Laurie. But after a second, its normalcy, a sound she hears daily, comforts her in a weird way.
That is until she looks up toward the ringing bell.
Horrified, she spots KERRY'S body swaying with each ring.
LAURIE (CONT'D)
(screaming)
KERRY!
She cripples over and falls to the ground.
LAURIE (CONT'D)
No! Please...
Laurie watches as it swings back and forth, her neck roped around its base.
Then it hits her. SOMEONE has killed Kerry. Probably Scott, too. She can't just lie there. No, that would welcome her death.
So Laurie, fighting weakness, throws herself up onto her feet and begins sprinting toward the gymnasium.
Back into the wooded area Laurie goes as she battles fear and tiredness.
But not too long into her panicked run, something abruptly slows her down.
Scott emerges from behind a tree. His face is awash in a mix of confusion and pain. His lower lip trembles a bit. Laurie, spotting him, quickly comes to a pause.
LAURIE (CONT'D)
(scared and out of breath)
Scott?
He doesn't answer. His body barely moves. It lurches, as if a zombie.
LAURIE (CONT'D)
What - what's wrong?
He reaches out his arm, his way of calling out for help. Laurie is frozen.
Then he buckles over.
As his body crashes to the ground, Laurie spots it - a knife jabbed in his back.
LAURIE (CONT'D)
SCOTT! NOOO!
An emotional wreck, her world caving in around her, Laurie stands immobile. Her face is decorated in sheer terror and sadness.
Seconds later, out from where Scott had appeared, steps the Shape!
Laurie's worst fears are realized. It stands, eyes planted on her.
LAURIE (CONT'D)
(crying)
No...it can't be.
Its unmoving for a moment. Then, without warning, bends down and RIPS the knife from Scott's back.
This snaps Laurie out of whatever trance she had been in.
At the sight of the large, bloody knife, she takes off.
The Shape follows.
Through the tree-lined park, Laurie doesn't glance back toward it chasing her. She knows from past experiences it's in tow.
In front of her, she spots the opening of the campus. Someone, anyone, might offer help.
But it's still a good run ahead and her body doesn't seem to be taking the pounding of each forced step well - as her legs pulsate with pain.
Of course, in Laurie's mind, that pain is far better than facing what is after her. And it's that fear which forces her to glance back at the Shape. That morbid curiosity and hope maybe it's just a terrible nightmare.
But it isn't.
Though only walking, it's still in sight. This pushes Laurie to run faster. A rush of adrenaline might power her to the front of the campus and inevitable safety.
That might have been the case had she noticed Sammy's body carefully hidden in a pile of leaves directly in front of her.
But her attention is too tied to whatever is ahead and chasing from behind.
So as her feet connect with the hidden body, she tumbles to the ground.
Face to face with Sammy's frightened final look.
Laurie screams and pushes herself up off the ground. As she rises, her eyes set on the Shape behind her...but it's not there.
Where'd it go?
She spins around, frantically looking for it. But nothing.
Tears now stream down her face. For the first time since facing her demonic brother, Laurie has time to let it sink in.
She then glances down to the now uncovered body of Sammy. Her back is mutilated by the Shape's knife.
All Laurie can do is cry.
During her sobs, she fails to notice the mask of the Shape materializing from the blackness behind her. Its knife already risen into the air.
It SLAMS down into her shoulder, ripping apart some of her flesh. Laurie painfully lets out a yelp and struggles to shake the knife away.
As the Shape lifts the knife from the wound and prepares to sink it back into her, she pushes away and again takes off running. This time, though, bloodied.
Further down the campus, a terrified Laurie - arm dangling as if dead - sprints, screams forced from her throat.
But it's as if the campus has been removed from total reality. No one answers her screams. In fact, no one seems to even exist anymore.
LAURIE
Anyone! Please! Help me! For the love of God!
Her breathing interrupts the flow of her speech, causing it to jerk.
Behind, though Laurie dare not look, the Shape continues its pursuit. It's twenty or so yards behind and though walking, appears to be gaining on the fragile girl.
Past some more trees and kicking through the piles of leaves formed beneath them, Laurie eventually reaches a main strip of parking outside the campus. No cars.
LAURIE (CONT'D)
(weeping)
No...
She pauses for a brief second, thinking of what to do. Looking for any sign of life, Laurie realizes every light in every building around campus has been turned off.
What is going on?
Down the desolate street - the only movement garbage and foliage twisting in the wind - she spots a convenient store with its lights on.
The tiny gas station is only a couple blocks down and as Laurie turns back toward the campus, seeing the Shape closing in on her, she realizes she has no choice. It's her only hope.
Mustering every ounce of strength she has left, Laurie then takes off up the street toward the saving lights of the store.
The Shape follows.
EXT. GALESBURG STREET - NIGHT
Exhausted from running and limping a bit from it, Laurie can only jog the last distance.
As she passes each potential house, she cries for help. But no one comes to the door. Not even a look out a window.
Finally, she reaches the parking lot to the tiny gas station. The lights are on and a large OPEN sign hangs in one of the windows.
That parking lot is nearly empty, with only the car of the employee in sight.
This doesn't matter, though, as to Laurie it's life and life right now is the one thing she needs.
INT. UNIVERSITY GAS - MOMENTS LATER
A hysterical Laurie enters the gas station, startling the mid-30s CLERK behind the desk. He's a big man with a thick beard hanging well off his chin.
He looks toward the bloodied girl, her face painted in utter terror.
LAURIE
(weak)
You've got to call the police. Please. Hurry.
The clerk doesn't know what to do.
CLERK
This some joke?
LAURIE
No. Please. It's Michael - Michael Myers. He's after me.
The man seems a bit paralyzed by the words.
LAURIE (CONT'D)
Do it! Then lock the doors! He's coming!
Disturbed by the blood, the clerk reaches over toward the phone just as the Shape bursts into the store. It doesn't even bother opening the glass door - instead just walking right through it.
Laurie screams an ungodly sound and takes off toward the back of the store.
The clerk, in absolute shock, stands stunned for a second before being shaken out of it by something falling toward the back - probably being forced to the ground by Laurie in a frenzied escape.
Not quite realizing who is standing in front of him, the clerk treats the Shape as just another screw up.
So he reaches behind the counter and pulls out his shotgun, aiming it at the Shape - who has not moved a muscle since exploding into the store.
CLERK
You picked the wrong convenient store to fuck with.
He cocks the gun, but the Shape finally jerks. It knocks the aim and sends the first shot toward the ceiling - blasting the tile.
Before the clerk can get another off, it easily rips the gun from his hand and then slams the butt of it into his face.
The force throws the clerk back into a case of cigarettes behind him. Confused, he looks up to the Shape - his nose broken and face completely covered in blood.
Not done with the man, the Shape walks over to the entrance behind the counter, pulls his squirming body up and appears to get a good look at its work.
CLERK
Don't do this. Please.
But the Shape doesn't care.
EXT. UNIVERSITY GAS
After a second of silence, the clerk's body comes crashing through the window. It smacks onto the ground outside the store and a pool of blood quickly forms around it.
INT. UNIVERSITY GAS - NIGHT
Back inside, the Shape turns toward where Laurie had run off to and begins his search once again.
BATHROOM
In the back bathroom, Laurie fights trying to open one of the windows. It's locked shut and she's having a helluva time getting it cracked just enough to pry fully open.
Knowing she's running out of time, Laurie scans the room for anything to break it with.
Behind the toilet, she spots a plunger. Its handle might be strong enough to shatter the glass. Maybe not. But she has to try.
Especially now that there is a banging at the door.
So she takes the handle and thrusts it into the window. It doesn't budge. So she does it again. This time, a bit better of a result. It cracks and on the third try, an even more forceful hit, the window shatters.
Behind her, the door begins to fall apart. Cracks turn to larger holes and eventually, she knows it's going to rip it off the hinges.
So she scoots herself up onto the toilet, uses it to prop herself up and then pushes up onto the ledge and out the window.
Then the door rips open. The Shape stands. Eyes planted on Laurie's fidgeting body.
Most if her out the window, it bulldozes into the room and tries to cut at her foot. But she pulls away just in time and stumbles outside.
EXT. UNIVERSITY GAS - NIGHT
Laurie's body falls safely into a collection of boxes that had been resting upside the store.
Looking around, she notices there is a large fence to the side and in front of her. The only way out is back toward the front of the store and its parking lot.
Knowing the Shape can pin her back here and that the only hiding place is the obvious garbage dumpster, Laurie again finds the energy to spring toward the front.
As she rounds the corner, she spots a 1976 DATSUN pulling up to one of the gas pumps.
Not wanting to alert the Shape, who from what she can tell is still inside, Laurie quietly crosses the parking lot and sneaks toward the front of the car.
Laurie watches as the grungy GEORGE ANDERSON gets out from the car and walks over to the pump.
Sensing she doesn't have much time and that she's valuing her own life before the stranger's, Laurie sneaks up along side the car and CLIMBS into the open driver's side.
Trying to not make any noise, she eases the door shut. Except the slight clicking of it draws George's attention. He looks back, noticing Laurie in the driver's seat.
GEORGE
Hey! That's my car!
She starts it up and looks back at the guy, as if pleading with her eyes.
GEORGE (CONT'D)
What are you doing in my car?
Then her eyes GROW.
LAURIE
(screaming)
WATCH OUT!
He doesn't react, instead stands there stunned as the Shape drives a knife into his back. It PULLS the man off the ground - his legs kicking as blood begins to drip from his mouth.
Laurie lets out another scream as she starts the car and leaves the man to die alone.
INT. DATSUN - NIGHT
The car doesn't sound good. Laurie looks down and notices it's on empty. Just as she sees this, it stalls out.
LAURIE (CONT'D)
Fuck!
She looks back at the Shape, who has just dropped George's body and begins walking toward the car.
LAURIE (CONT'D)
No! No! Please! Don't do this!
She tries to start it.
It almost turns over, but nothing.
The Shape is even closer!
She tries again...and it starts!
But then quickly dies.
LAURIE (CONT'D)
Goddammit!
With the Shape basically at its trunk, Laurie almost gives up - looking toward the passenger seat.
But sensing maybe ONE more try will get it, she turns the key.
The car roars to life.
She slams on the gas and it rips out of the parking lot - leaving the Shape to stand there watching.
Laurie glances back, only its figure can be seen through the growing exhaust.
She releases a bit of a smile. But it hardly reads of any type of content.
INT. GALESBURG SHERIFF'S DEPARTMENT - LOBBY - NIGHT
Inside the lobby, a drowsy Cosgrave sips on some coffee. He eases back into a chair and reads the local paper.
Beyond Justice, Cosgrave and Flagg, the lobby is empty.
The two don't much talk, as Justice just glares at Cosgrave.
COSGRAVE
(to Justice)
What?
JUSTICE
Oh nothing. Just wondering when you think you'll call it a night?
COSGRAVE
When the sun rises and there aren't any dead in your town, Sheriff.
Justice chuckles.
JUSTICE
Can't say you're not committed, Doc.
Before Justice can get too comfortable with the thought of being right, a call comes into the station.
Flagg answers it.
FLAGG
(into the phone)
Sheriff's Department. Uh huh. What? When? Okay. Okay. I'm sending him out right now. Okay. Thanks.
Justice quickly bolts from his chair, Cosgrave too.
They both can't hide their concern.
JUSTICE
What the hell was that?
FLAGG
Double murder at University Gas.
COSGRAVE
WHAT?!
JUSTICE
Jesus. We were just in that area.
COSGRAVE
It's him! It's Michael! He's here.
EXT. MAIN STREET - NIGHT
The Datsun pushes up the street, not going nearly as fast as it had been.
Laurie has only been driving for a minute and the car is already dying.
INT. DATSUN - NIGHT
She looks even more worried as the car's engine begins making noises she's never heard come from a car before.
LAURIE
C'mon. Just to the Sheriff's Department. Please!
But the car isn't going to budge. It's on its last bit of fuel and at any second is going to die for good.
And that second is now.
The car stalls and rolls a bit, slamming into the sidewalk curb.
Laurie, plain tired, can't even find the anger in that.
But not giving up quite yet, she tries to start it once more.
Nothing.
Again and the same result.
LAURIE
(exhausted)
Just start. Just one more mile. Please.
She tries again and it doesn't even turn over.
Laurie collapses back into the seat. Her eyes shut for a brief moment - forgetting what led her down this path in the first place.
Then it hits her. She springs forward, eyes open. The realization her brother won't give up until she's dead plants itself back in her head.
Laurie, not quite sure where to go or what to do, takes a glance at the rearview mirror - hoping to see another car.
Instead, she sees the Shape standing at the top of the street. It doesn't move. It just stands there waiting for Laurie to make the first move.
She begins to sob, slowly opening the door and crawling out of the car.
EXT. MAIN STREET - NIGHT
Weary, Laurie can't even prop herself up. She tumbles out of the car and then looks back at the figure.
It begins walking toward her.
LAURIE
No more...please...
Of course, it won't listen to her cries.
Pushing back the urge to give up, she jumps to her feet and again begins to run from the Shape.
This time, though, it's different. She's not as quick and not as emotional. After all these years, Laurie Strode is going through the motions. Like she doesn't even care if she dies anymore. She just wants it to end.
Through the street, she glances for any help. But it's night and this is a small town - no one is there.
The streets are empty. A menacing jack-o'-lantern situated in one of the storefronts is the only thing grinning at the moment.
As Laurie passes each store, she notices how blank they are. So dark inside, that only her reflection can be seen dancing in each window.
It's that sight of her - the blood and the torn costume - that seems to make her more determined to fight.
She uses that anger to force her limp and injured body up the street.
Looking for any secure place, Laurie eventually spots the town's main theater. THE CRESCENT THEATER. Its towering sign hovers over Main.
Though the marquee, which normally shows the showing attractions, reads something entirely different right now.
CLOSED FOR HALLOWEEN
But that's all right. Laurie knows she can get help from inside. It has an alarm. It has safety.
So she ducks down an alley and searches for any open doors.
But they're all locked.
Panicked a bit, especially after spotting a ten-foot wall at the end of the alleyway, Laurie spins around looking for any way inside the movie theater.
After a few seconds, she spots circled windows at the bottom of the structure.
With her foot - and a shoe that's already tattered - she kicks the glass.
It shatters and again using her foot, Laurie cleans off the jagged edges around the frame.
Looking back toward the front of Main Street, she spots the creeping shadow of the Shape as it closes in on her.
This is her last resort. She's got to get inside. Even if it doesn't amount to much. Outside, she's a sitting duck.
So Laurie bends down and squeezes her body through the window. It clears with room to go - which suggests that even the Shape can find its way inside if it figures out she's there.
INT. CRESCENT THEATER - BASEMENT
Inside, Laurie spills onto a group of chairs that had been stored in the basement.
The room is completely covered in blackness. She can barely see anything - which terrifies her even more.
Outside, the slight glow of the Main Street lights filter in through the window she has just broken.
It also brings the Shape's shadow to light as its casts across the ground above her.
It's only a few feet now from where she's entered.
Hobbled, Laurie searches around the room for the walls and then uses them to guide her toward the entrance of the basement.
It isn't very useful and she's having a hard time bumping into the objects stored around the basement, but eventually she reaches the stairs.
She knows she's reached the stairs because atop them is a slight glow beneath the door. There must be a bit of light on in the main area of the theater.
Hearing noises behind her, most certainly the Shape climbing through the window, Laurie limps up the stairs. Her legs aren't nearly the strength they were even just an hour ago, so her pace has slowed considerably.
THEATER LOBBY
Laurie exits from the basement and finds herself in the theater lobby. As expected, it's empty. The slight security light does make it easier to see, however.
Contemplating what to do next is not an easy task, unfortunately.
Should she just take off through the doors at the entrance? Search for a phone? Find her way into the theater?
The options are thin and she's running out of time. Behind her, Laurie can hear the thumping of feet hitting against the dilapidated steps.
Looking around, she decides to take off down a hall off from the lobby.
The hall isn't very big, with only a few doors on each side and another at the end with a large red sign reading EXIT above it.
But she notices an office in the door to her left. It may have a phone and she may be able to get help.
But how long can she hole herself up in this place? Especially knowing it's in it with her?
That's a risk she's willing to take. So Laurie enters the room, shuts the door and slowly walks - trying to make as little noise as possible - toward the manager's desk.
The room isn't very big and there aren't any windows. However, there is a phone on top of the desk and that's all Laurie cares about right now.
Grabbing the receiver, she dials 911 and climbs under the desk - which provides her at least some minimal shelter.
After a second, an operator comes onto the line. Laurie, whimpering, can barely stay composed enough to talk.
LAURIE
(whispering and sobbing into the phone)
This is Laurie Strode. I'm at the Crescent Theater. Michael Myers is after me. Please. Please help me.
She reaches atop the desk and returns the phone and then rips the cord from the jack.
Can't have the cops calling back alerting the Shape to her location.
So Laurie waits and prays quietly to herself that the police get there before it does.
EXT. UNIVERSITY GAS
Cosgrave and Justice look on in horror at the sight. One man thrown through the window, another's back ripped to shreds.
Justice holds a napkin over his mouth - suggesting he might not have the stomach for the grizzly scene.
JUSTICE
(to Cosgrave)
What kind of man did this?
COSGRAVE
That's where you and I see things differently, Sheriff. You see him as a man. I see him as a monster.
JUSTICE
I've got all my men looking for him. They'll find him.
COSGRAVE
We can only hope.
JUSTICE
They will. And when they do - well how the hell do we stop him?
COSGRAVE
I wish I knew. But from what I've seen, nothing can stop him.
Justice doesn't answer, instead he looks on - eyes wary of the fight ahead.
After a moment, Flagg rushes over to the two.
FLAGG
Just got a call. Woman says she's Laurie Strode. She's trapped over at the Crescent with Michael Myers.
JUSTICE
I want all men there. Get the state police on the line and tell them what the fuck we're dealing with. Let's roll.
COSGRAVE
God help us.
INT. CRESCENT THEATER - OFFICE
Laurie still hides under the desk. She slightly mumbles to herself and looks around the hiding space in a daze.
Running her finger across her leg, she feels the wetness of blood. Pulling it up to her eyes, she examines it.
Confused as to where it had come from - the blood from her gash on the arm has dried - she searches her body for the wound.
On the leg, she finds it. A cut, most likely from the window, openly bleeds.
Her eyes widen as she follows the trail. It streaks across the floor - perfectly shadowing her prior walk into the office and under the desk.
It hits her. The Shape will see the blood and follow it into the office.
She's trapped.
But before she can do anything about it, the office door SMACKS against the wall.
Laurie's eyes fall and tears lightly push from the corners.
LAURIE
(whispering)
Please hurry.
She then hears the clapping of its feet as the creature finds its way into the office.
It's moving slowly - playing a game with her.
She clasps her mouth, trying to cover any sound that might uncontrollably emit from it due to the irrationality of fear.
The steps grow louder and closer. She doesn't know what to do. Her eyes remain closed, hoping it's just one, long nightmare.
But it isn't. She knows it isn't. Laurie has been in this position before. Whatever it is, it is not a nightmare.
Mouth still hidden by her bloodied and dirty hand, she notices the shadow of it sneak beneath the opening of the desk.
Laurie's breathing intensifies, but she tries to hold back, even though deep down she wants nothing more than to just scream.
CLAP...CLAP...CLAP
The feet inch closer. It's now a painful sport. It's purposely dragging this out to maximize her fear. It knows where she is. She knows it knows where she is.
Yet its movements are slowed.
Moments pass and Laurie swears the shadow has not moved an inch.
Then she sees it. Its foot falls in front of the hole under the desk.
Her face is only a few inches from it. She can see the bits of gore from the Shape's last kills. Maybe part of Kerry or Sammy or Scott.
Laurie doesn't know, though, it's already did in her parents.
Maybe she does but is hiding that fact.
As she stares at its feet, the work boots caked in horror, she starts her concession.
This is it. There is no escape. Laurie knows this. Laurie knows in a second the desk will be shoved aside and she will be exposed and killed.
It ends like this. All that struggle. Five years of horror. One Halloween fighting the sonofabitch and then another five years fighting its memory.
She can't give up. She's gone through too much to concede after allthat.
So she braces for it. She doesn't know quite what she'll do, but giving up is out of the question.
SWOOSH!
The desk is tossed aside so easily. It smashes against the wall, breaking apart at impact.
Laurie, alone, huddles where it used to stand. The Shape, in its towering form, heaves its knife toward her.
She rolls away from it and the knife hits the ground.
Sensing her opening, Laurie kicks to her feet, grabs a filing cabinet and shoves it onto the Shape.
The metal shelves stun it for a moment and she takes off for the entrance to the office.
LOBBY
Back in the lobby, hardly thinking, Laurie looks over the room for any type of weapon. On the counter, by the popcorn machine, she notices a knife.
It's her only hope. She knows she has to stay and fight. Running away from the Shape won't do a damn good. Laurie knows it won't stop coming after her until she's dead.
So she wanders over to the counter, grabs the knife and crouches along side it. It blocks her from where the Shape will eventually exit and maybe she can spring a surprise on the unstoppable force.
Crouched and shaking with anticipation, she sees its shadow move across the carpet of the lobby. It spots her blood streak and begins following it.
The closer it gets, the easier Laurie can hear its breathing. It's inhuman. Animal like. The breathing is now actually pulsating in her ears and driving her a bit mad.
But she'll need to be mad to take on her brother. And she knows it.
Her grip on the knife handle is so tight, it's causing her hand a bit of discomfort. But that's the least of her worries right now.
It gets closer and closer. Again, the Shape slowly and painfully walks.
As the shadow is now directly in front of Laurie, she has second thoughts. Can she do it? She looks behind her and notices an out - she can run around the other part of the counter and toward the emergency exit at the end of the hall.
By that time, though, the FOOT of the Shape plops down right in front of her hand. It's close enough where she can barely raise the knife and shove it into its foot.
So Laurie does it. She leaps to her feat and surprises the Shape.
Out from the counter she comes, knife raised high into the air. Before it can react, she rams it into its heart.
The Shape freezes and Laurie gets a face-to-face look at her brother for the first time in five years.
She searches for its eyes, but they're too black and can't be seen.
The Shape then drops its knife, Laurie still tightly holding onto hers as it juts out from his chest.
She doesn't say anything. Instead, she yanks the knife out and it falls to the ground.
But she knows it isn't dead. So her battle isn't quite over yet.
Standing over the now unmoving body of the Shape, Laurie looks down and then turns to move away.
Its arm grabs her ankle!
She tumbles to the ground, nearly stabbing herself with her own knife.
The Shape, hand still on her ankle, sits up!
Laurie kick to get away, but it isn't budging. Another kick and finally it relents just a bit for her to pull away.
Strained, she crawls to her feet, grabs the knife and takes off up some stairs toward the main theater balcony.
THEATER - BALCONY
Darker than the lobby, Laurie again finds her hands useful against the wall.
She wanders over to the ledge and looks at the large screen and then the seats below.
Outside, the sound of the Shape walking up the balcony steps!
Laurie realizes she's cornered herself and is having doubts about running into the theater.
But doubts won't help her out of this. So she climbs the steps toward the top of the balcony.
Hopes of finding something up there to help her, however, are quickly dashed.
That is until she notices the decorative star-like objects hanging on the theater walls.
The one closest to her - about 6 feet off the ground - is already busted a bit. A slice of the star, the lower point, is bending off the wall.
Balancing herself on the chair, Laurie tries to shake it loose. It won't budge.
LAURIE
Come on!
She then begins to pull and sees the hard plastic snapping at the middle of the star.
Below, the door to the balcony opens and the Shape enters. Though unseen, its footsteps are most certainly heard.
Running out of time, Laurie eventually pulls hard enough to rip the bent shard from the larger star.
The force throws her back onto a chair, but she is now armed with a weapon.
It's a long slice of very hard plastic - about four feet. Its tip is sharp enough to act as a dagger.
Positioning it under her arm, as if some medieval jousting weapon, Laurie hides behind a group of chairs at the top of the balcony.
The Shape reveals itself from behind the balcony entrance. Laurie spots it and ducks back behind the chairs.
She's planned her move. This is it.
It begins ambling up the stairs, knife dangling from its hand.
Laurie waits for the right time. Its head tilting through every aisle searching for her.
Then when it hits about the midway point, six rows or so up from the ledge, she rushes it.
The Shape can't move. It happens too quickly.
Laurie charges toward it, the slice of decorative star three feet in front of her - proving ample room for protection.
Before the Shape can do anything, she PLUNGES the stick where she had earlier dug in the knife. The heart.
It stumbles a bit backwards. Laurie's hand continues gripping it. She watches as the Shape looks at her - it knows it's met its match.
She again does not say a word.
Instead, she pushes it deeper into the Shape. And continues moving forward - forcing it to move with her.
Its hands wrap around the weapon, trying to force it from inside. But it can't rip it out. It's too deep. About two feet of the stick has already embedded into its chest.
Laurie continues pushing, walking down each step as it stumbles to keep its balance.
On the final aisle, she speaks.
LAURIE
Michael.
It looks at her...eyes still unseen.
LAURIE (CONT'D)
...the tables have turned.
She gives one more thrust and it trips backwards until the ledge of the balcony forces it to lose its footing. Its body flips around and the Shape begins to fall from the balcony.
Plummeting face first toward the chairs below, Laurie doesn't watch.
What she doesn't see is the body impacting in the main aisle below.
As it hits, the stick that had been rooted in its chest, rips all the way through its body. The point of it splitting out its back.
The Shape lies there. No movement.
Back in the balcony, Laurie cautiously stands. Too afraid to see if it's dead.
But she eventually pulls it together and begins to descend each remaining step.
At the bottom, she finds herself standing at the balcony ledge. A quick peek will either reveal its body or reveal that the horror is not yet over.
Laurie pauses, closes her eyes for a second and takes a thick swallow of all the mucus that has formed in her mouth.
Then she looks over. Eyes still not ready to open.
After a bit, they finally do and she sees it...
The Shape's body lay there. Still no movement.
Laurie has won.
Now she can smile with content and that's exactly what she does. Through the dirty and bloodied face, we see her white teeth and warm smirk.
Halloween is over.
Ignoring the pain, Laurie leaves the balcony.
EXT. CRESCENT THEATER - NIGHT
Emergency vehicles have swamped the street. Their lights dancing off each historic building's window, illuminating the scene in a swath of red and blue.
As cops ready to violently trudge through the theater, the doors swing open.
Out walks a disheveled and drained Laurie. The officers are a bit apprehensive in their approach.
But Cosgrave isn't. He walks up to Laurie, who is no longer beaming her smile. Maybe it's because she's already experienced the recovery and knows what to expect.
She's stained in blood and her hair is matted with clumps of it.
Fully out of the theater, Laurie abruptly stops.
She looks at all the emergency vehicles. Where were they an hour ago?
Cosgrave approaches, though Justice is hesitant at first.
COSGRAVE
Laurie?
She doesn't answer - all she does is look blankly ahead.
COSGRAVE (CONT'D)
Are you all right?
She still ignores him.
COSGRAVE (CONT'D)
Honey, what happened?
Finally, she speaks.
LAURIE
(very faint)
I killed him. He's dead.
At that, Justice ushers the units in with a nod of his head. They all storm the theater - many in their riot gear.
Cosgrave grabs her and gives her a tight hug.
LAURIE (CONT'D)
I finally beat the bogeyman.
As she rests her head on his shoulder, she finally breaks down and cries.
The lasting scene is the broke and exhausted face of Laurie Strode.
THE END