HALLOWEEN

                         
                         

                                 Written by

             Jeff Fradley, Danny McBride & David Gordon Green 






                         SUPERIMPOSE:
                         
                             SMITH'S GROVE, ILLINOIS
                                                   OCTOBER 30
                         
                         
          EXT. SMITH'S GROVE STATE HOSPITAL. DAY                           
                         
          A cold brick building. Isolated. Surrounded on all sides by      
          barbed-wire fencing.                                             
                         
          A RENTAL CAR pulls up to the SECURITY GATE. A SECURITY GUARD     
          checks the credentials of the driver. The Guard nods to the      
          GUARD BOOTH. The GATE OPENS. The rental car drives through.      
                         
                         
          INT. SECURITY STATION. SMITH'S GROVE STATE HOSPITAL. DAY.
                         
          CLOSE ON: A HAND holding a MICROPHONE. The hand cranes the       
          mike around the to pick up sounds of maniacal laughter           
          echoing from the corridor.                                       
                         
          INSERTS of the corresponding inspiration of these sounds.
                         
          REVEAL: DANA HAINES (30's), activating a TAPE RECORDER. She's
          with AARON JOSEPH-KOREY (40); both scholarly, British. Aaron
          signs some documents at a CHECK-IN DESK. They look to each
          other. Aaron speaks into her microphone.
                         
                                             DANA
                    Check, check.
                         
                                             AARON
                    Testing, testing. One, two, three.
                         
          Among the SECURITY GUARDS, a NURSE works behind the security
          desk of what looks to be a minimum security institution. The
          nurse places a needle on a record player. A joyous song from
          a 1930's musical plays.
                         
          Aaron looks through the security window and sees a DOCTOR
          writing something down and speaking to a PATIENT and a guard,
          KUNEMAN. His ballpoint pen runs out of ink. He shakes it,
          discards it and then reaches into his lab coat pocket for a
          more elegant pen to complete his prescription and signature.
          He glances through the glass at his visitors.
                         
          Dana raises her mic to the door. WE HEAR SOUNDS through
          warped distortion. THEN: A loud BUZZER snaps us back to          
          reality as a ward activates the door lock.
                         
          CLOSE ON: The mechanics of the security locks, bars, etc.
                                                                   2.
                         
                         
          A GREEN LIGHT FLASHES as the door opens and DR. RANBIR         
          SARTAIN appears. A psychiatrist with a thick accent.           
                         
                              DR. SARTAIN
                    Good afternoon. I'm Dr. Ranbir
                    Sartain.
                         
                                             DANA
                    Thank you for taking the time to
                    meet with us. We were hoping to
                    have this chance before he is
                    transferred to the new facility.
                    Glass Hill is far less                               
                    accommodating.
                         
                              DR. SARTAIN
                    Glass Hill is the pit of hell.                       
                    Underfunded and short staffed. For
                    years he has been kept here to be
                    studied. I suppose the state has
                    lost interest in discovering
                    anything further.
                         
                                             AARON
                    Well... That's why we're here.
                         
                                             DANA
                    Do you mind if I record this?
                         
                              DR. SARTAIN
                                       (A SMILE)
                    Why not?
                         
                         
          INT. HALLWAY. SMITH'S GROVE STATE HOSPITAL. DAY.
                         
          A loud BUZZER as the door shuts. Sartain escorts Aaron and
          Dana down a hall. Disturbed faces of PATIENTS pass. Many
          behind bars, others with CLINICAL ESCORTS. Dana records
          Sartain as they walk.
                         
                                             DANA
                    How long have you been working with
                    him?
                         
                              DR. SARTAIN
                    I've examined every case file
                    written on him. I was a scholar of
                    Dr. Loomis before he passed away.
                    Then I lobbied the University of
                    Illinois to be assign to Michael                     
                    myself.
                                                          3.
                         
                         
                                             DANA
                    Any progress?
                         
                              DR. SARTAIN
                    He has been seen by over 50
                    clinical psychiatrists. And with
                    each, many different opinions.
                    Loomis reasoned that he was nothing
                    more than pure evil.
                         
                                             DANA
                    Any you agree with this diagnosis?
                         
                              DR. SARTAIN
                    Evil is not a diagnosis. Under my
                    care, we implemented a holistic
                    form of therapy. Since that time,
                    his tendency for violence has
                    essentially been erased.
                         
                                             AARON
                    His response to your specific
                    treatment has been effective?
                         
                              DR. SARTAIN
                    We left two kitty cats in his cell
                    overnight and both remained
                    unharmed.
                                       (A SMILE)
                    I hate to disappoint you.
                         
          Aaron stop walking.
                         
                                             AARON
                    So you're telling us that there is
                    no similarity between the murderous
                    maniac that made newspaper
                    headlines in 1978 and the amenable
                    patient of this institution?                
                         
          Sartain laughs.
                         
                               DR. SARTAIN
                    Michael Myers is an evolving, aging
                    creature like we all are. And
                    although we have worked very
                    closely with him, these halls
                    display the limitations of my
                    analysis. Loomis saw Michael as a           
                    beast in the wild. He witnessed
                    human behavior at its most primal,
                    while the rest of us only have the
                    opportunity of observation in
                    captivity.
                                                                   4.
                         
                         
          Sartain uses a key to open a heavy door that leads into...
                         
                         
          EXT. COURTYARD. SMITH'S GROVE STATE HOSPITAL. DAY.
                         
          Sartain walks them into an outside courtyard. A few
          DISFIGURED or DISABLED RESIDENTS roam about.                    
                         
                              DR. SARTAIN
                    Our patients get fresh air and
                    sunshine, a view, proper exercise,
                    a healthy diet. It pains me to see                    
                    him transferred to a less than                        
                    desirable' facility.
                                       (POINTING)
                    There he is. He can speak. He
                    just chooses not to.
                         
          Aaron and Dana look. WE FIND THE SHAPE OF A MAN sixty feet
          away standing shackled to the ground in the middle of the
          concrete yard. A YELLOW PAINTED SQUARE creates a twenty foot
          frame around him. Tall, strong, aged, dressed in white.
                         
          TWO SECURITY OFFICERS stand watch. SIX OTHER PATIENTS stand
          scattered through the yard.
                         
                                             AARON
                    I'd love to stand near him and get
                    a sense of his awareness... Or lack
                    of awareness.
                         
                              DR. SARTAIN
                    Make no mistake. He is aware. He
                    was watching you as you arrived.
                    When he's not out here in the
                    courtyard, he walks from this
                    window to that window, to the
                    other. Observing things.
                         
          Aaron and Dana look curiously to each other.
                         
                              DR. SARTAIN (CONT'D)
                                       (TO AARON)
                    And perhaps you'd like to tie your
                    left shoelace. Mr Tovoli, the
                    gentleman with the umbrella, has a
                    fixation for such things.
                    Underestimate no one.
                         
          A patient holding AN UMBRELLA in the sunshine bites a
          fingernail and smiles at them. Embarrassed, Aaron bends down
          to tie his clean white sneaker.
                                                                    5.
                         
                         
                               DR. SARTAIN (CONT'D)
                     Step up to the yellow line. No
                     further. Do not pass the line under
                     any circumstance.
                         
          Sartain looks to the security guards for reassurance and then
          walks Aaron and Dana to the yellow line on the concrete.
                         
          The Shape stands with his back to them. Sartain calls out:
                         
                               DR. SARTAIN (CONT'D)
                     Michael. I have some people who
                     would like to meet you.
                         
          Aaron clears his throat.
                         
                                              AARON
                     Michael. My name be Aaron. I've
                     followed your case for years, and I
                     still know very little about you. I
                     want to know more about that night.                   
                     About those involved.
                         
          The Shape is motionless.
                         
                                              AARON (CONT'D)
                     Do you think of them? Feel guilt
                     about their fate?
                         
          Nothing.
                         
          Aaron looks back to Dana with a shrug.   She hesitantly steps    
          forward to join her partner.
                         
                                              AARON (CONT'D)
                     Do you remember Laurie Strode?
                         
          The Shape stretches his fingers and then rests his hand at
          his side. Sartain notices.
                         
                                              AARON (CONT'D)
                     Does she remind you of your sister,
                     Michael? Is that why you chose
                     her?
                         
          The Shape half turns, as if he's going to respond... but then
          doesn't.
                         
          Aaron looks back to Sartain. He nods to Aaron to go ahead.
          Aaron looks to Dana. She unzips her bag.                         
                                                                      6.
                         
                         
                                             AARON (CONT'D)
                    I borrowed something from a friend
                    at the Attorney General's office.
                    Something I'd like you to see.
                         
          Aaron's hand goes inside Dana's shoulder bag and pulls out a
          portion of a WHITE HALLOWEEN MASK. Familiar.
                         
          Sartain looks to see this exchange. Aaron holds the mask out
          before him. The Shape makes no movement. The other patients       
          become restless. Pacing madly. Dana looks around, concerned.      
          Aaron doesn't lower the mask.
                         
                                             AARON (CONT'D)
                    You recognize this, don't you,
                    Michael? How does it make you feel?
                    Say something.
                         
          A few of the patients start screaming. Testing their
          restraints like rabid animals.
                         
          Dana looks to Sartain. He is concerned.
                         
          More patients join in, stomping and screaming, getting louder
          and louder.
                         
          Aaron shouts back to The Shape.                                   
                         
                                             AARON (CONT'D)
                    Say SOMETHING!
                         
          The courtyard has been worked into a frenzied chorus of
          madness, but The Shape remains still.
                         
                         
          MAIN TITLE SEQUENCE:
                         
                                                   HALLOWEEN
                         
                         
          INT. CLOSET. NELSON HOUSE. EARLY MORNING.
                         
          CAMERA inside a closet with thin wooden slats. A beautiful
          girl, ALLYSON NELSON (17), appears as the door opens. Her
          face has a soft innocent quality. Eyes are bright and alive.
                         
          She pulls the closet light switch string. The LIGHT BULB
          flickers but doesn't turn on. She pulls the switch again;
          nothing.
                         
          She rummage through the shirts and picks out a workout
          jacket, closing the closet door behind her.
                                                                      7.
                         
                         
          INT. ALLYSON'S BEDROOM. NELSON HOUSE. MORNING.
                         
          Allyson makes her bed. The decor of her room is that of a
          young woman with artifacts of childhood lingering.
                         
                         
          EXT. NEIGHBORHOOD. SUNRISE.
                         
          Allyson goes for a jog.                                           
                         
                         
          EXT. BEND IN ROAD. NEIGHBORHOOD. MORNING.
                         
          Allyson jogs past a chain link fence in front of a house. A       
          DOG BARKS ferociously. A little startled, she takes a deep
          breath and continues down the street.
                         
                         
          EXT. COMMUNITY GARDEN. MORNING.
                         
          Allyson jogs by a residential community garden. Flowers,
          vegetables, etc. Much of it dead. A BANGLADESHI WOMAN wraps a
          plant to protect it from the weather of the off season.
                         
                         
          INT. KITCHEN. NELSON HOUSE. MORNING.
                         
          RAY NELSON, 45, opens up a kitchen cabinet and sets a mouse
          trap with peanut butter.
                         
                                             RAY
                    You see this? I switched from
                    marshmallow fluff to peanut butter.
                    We'll see if the little devil
                    snatches it.
                         
          SHANAH NELSON, 38, makes breakfast. She lives life. The
          beauty and heart behind her eyes is hidden.                       
                         
          Allyson enters trying to fix a broken zipper on her school
          bag. The traffic plays on a radio with lighthearted DISC
          JOCKEYS. Competing with that, a television is on with an
          INFOMERCIAL.
                         
                                             SHANAH
                    I rescheduled my last session, so
                    I'll be able to make it tonight.
                         
                                             ALLYSON
                    You didn't have to do that. It's
                    not that big of a deal.                                 
                                                                   8.
                         
                         
                                              RAY
                    Of course it is. You got into
                    National Honor Society. It's a very
                    big deal.
                                       (BEAT)
                    I was top of my shop class, made
                    ashtrays and birdhouses.
                         
          Ray loads up another mouse trap.
                         
                                             SHANAH
                    And I'm looking forward to meeting
                    Cameron.
                         
                                             RAY
                    I know his father Lonnie and his
                    uncle James. The entire Elam family                   
                    has a... reputation.
                         
                                             SHANAH
                        (shoots a look)
                    Ray, c'mon.
                         
                                             RAY
                    What?! You know about his
                    situation, right? It's a relevant
                    factor. The whole household is--
                         
          The mouse trap snaps in Ray's hand, smashing his finger. Ray    
          jumps, startled. His finger bleeds.
                         
                                             RAY (CONT'D)
                    Goddamn it!
                         
                                             ALLYSON
                                       (LAUGHING)
                    That's not fair, dad. Cameron isn't                   
                    like that. He's a nice guy
                         
          Ray walks to the sink to wash his finger.
                         
                                             RAY
                    I'm not saying he's not nice. It's
                    just- You're too smart to go out
                    with troublemakers and dip shits.
                         
                                              ALLYSON
                    You're right.
                                       (BEAT)
                    Did you guys invite Grandmother
                    like you said you would?
                         
          Shanah looks to Ray. They make eyes.
                                                                    9.
                         
                         
                                             SHANAH
                    I did. Talked to her yesterday.
                    She's not going to be able to make
                    it.
                         
          Allyson zips up her back-pack and give her mom a look.
                         
                                             ALLYSON
                    Really?
                         
          Ray kisses his hurt finger and gives Shanah a nervous look.
                         
                                             SHANAH
                    She's agoraphobic. In serious need
                    of cognitive... Um... behavioral-
                         
          A buzzer RINGS.
                         
                                             ALLYSON
                    Vicky's here. I gotta go.
                         
          Ray turns off the sink and stare awkwardly at his wife.
                         
                         
          EXT. NEIGHBORHOOD. MORNING.                                      
                         
          CLOSE on a JACK-O-LANTERN.
                         
          DAVE (17) takes a hit off a joint and blows smoke through the
          top. It billows through the eyes. Dave get a coughing fit and
          hustles to keep up with his friends.
                         
          VICKY (17) walks in front of him. She's an outspoken
          intellectual. Doesn't take any shit. Allyson walk with them.
                         
                                             ALLYSON
                    My mom is a liar. She told me she
                    invited my Grandmother tonight but
                    she didn't.
                         
                                             VICKY
                    How do you know?
                         
                                             ALLYSON
                    She never even called her.
                         
                                             DAVE
                    That's bullshit.
                         
                                             VICKY
                    What's your mom's deal? Why would
                    she say that?
                                                10.
                         
                         
                                   ALLYSON
          She just tries to keep me away from
          her. Says she turns into a nutcase           
          this time of year.
                         
                                   VICKY
          Your grandmother is Laurie Strode.
          If I were her I wouldn't celebrate           
          either. I'd put up a Christmas tree
          instead. Just skip over all the              
          spooky Halloween shit, right?
                         
                                   DAVE
                             (STONED RAMBLING)
          Jumping to Thanksgiving would make
          sense. Puritans, cornucopias,
          plagues, starvations, slaughtering
          the Indians. That stuff isn't
          creepy at all.
                         
                                   VICKY
          Does she ever talk around it?
                         
                                    ALLYSON
          Pretty much all she talks about. It
          defines her life. She's been in
          shock ever since. You should see
          her house.
                         
                                   VICKY
          Freaky.
                         
                                   DAVE
          Wasn't it her brother that killed
          those baby-sitters?                          
                         
                                   ALLYSON
          No. I think people made up the bit
          about them being related because it
          made them feel better. Like it
          couldn't happen to anyone.
                         
                                   VICKY
          To have a bunch of your friends get          
          slaughtered by some random crazy
          person... how awful.                         
                         
                                   DAVE
          Is it though? I just feel like the           
          universe has way worse shit now.
          One dude just kills a few people, I
          don't know.
                                                                    11.
                         
                         
                                             VICKY                                        
                    Her grandmother is a bad ass and
                    was almost fucking murdered, Dave!
                         
                                             DAVE
                    And she escaped! And he was caught!
                    He's like super incarcerated right
                    now. It's not like the worst thing
                    that has happened to a person. By
                    today's standards.
                         
          Vikcy stops and turns.
                         
                                             VICKY
                    Shut up, Dave. Stop talking.                           
                         
                                             DAVE
                    I'm sorry. I sensed myself going on
                    a rant and didn't know how to
                    eject. Sorry.
                         
          He sees another jack-o-lantern in front of a house.
                         
                                             DAVE (CONT'D)
                    Cool if I explode this pumpkinhead?
                         
                                             VICKY
                    Yes, please.
                         
          Allyson takes the top off.
                         
                                                ALLYSON
                    Go for it.
                         
          Dave lights A firecracker, stuffs it into the jack-o-lantern     
          and plants it on the sidewalk. It starts to sizzle.
                         
                                             DAVE
                    Wooooo! happy Halloween!
                         
          It EXPLODES as they run away.
                         
                         
          EXT. MAKE-SHIFT SHOOTING RANGE. LAURIE'S PROPERTY. DAY.          
                         
          GROUPED SHOTS strike WITH PRECISION in THE HEART OF A TARGET.
                         
          Holding a smoking gun, years of anxiety cut through a            
          beautiful face. The dark circles under the eyes show a life
          filled with lidless nights. This is LAURIE STRODE (57), for      
          better or worse.
                         
          She's surrounded by wilderness except for the sack with          
          barrels and targets and department store mannequins.
                                                                  12.
                         
                         
          She sets the gun down, pulls a bottle of pills out of her
          pocket and taps one into her mug of coffee. She drinks, wipes    
          her mouth, picks up a different gun. A high power semi-
          automatic weapon.
                         
          She fires at the staged mannequins. Their heads and bodies
          erupt into shrapnel.
                         
                         
          EXT. FARM HOUSE. LAURIE'S PROPERTY. DAY.
                         
          Laurie drives an ATV. It rolls to the farm house with a flat
          tire. She comes to a stop to examine the issue.
                         
          We notice that the downstairs windows have bars covering up
          the glass for security. Wind chimes give a tranquil feel to      
          the fortified compound.
                         
                         
          INT. FARM HOUSE. LIVING ROOM. DAY
                         
          A SERIES OF SHOTS: Laurie disassembles and cleans her
          firearms like a pro. She wears a tank top that reveals a scar
          across her shoulder.
                         
                         
          EXT. COUNTRY ROAD. DAY
                         
          A rental car drives down a road through an isolated forest
          and pulls up to a gate.
                         
                         
          I./E. RENTAL CAR. DAY
                         
          Aaron speaks into a recorder as he drives. Dana holds a map.
                         
                                             DANA
                    What is it we're after?
                         
                                             AARON
                    To see the animal inside its
                    environment. I fear there has been
                    no rehabilitation. In this case it
                    seems one monster created another.
                    A victim locks herself away.
                    Imprisoned by her own fear. Our
                    goal is to get them in a room
                    together. Can we find a form of
                    rehabilitation if she faces him
                    again?
                         
                                             DANA
                    Here we are.
                                                                  13.
                         
                         
          Aaron and Dana stop the car and look to an intercom next to
          an overflowing mail box.
                         
                                             DANA (CONT'D)
                    You might want this.
                         
          She holds out an envelope of cash.
                         
                                             AARON
                    Journalists don't pay for
                    interviews, Dana. This is her
                    fifteen minutes of fame. There are
                    two people in this world that care
                    about her and they're both in this
                    car.
                         
                                             DANA
                        (noting her file)
                    She's financially unstable. Had
                    every job you can think of for the
                    last forty years from catering to
                    cosmetology. Currently unemployed.
                         
                         
          INT. LAURIE'S HOUSE. DAY.
                         
          Dirty dishes are overflowing in the kitchen. The rest of her
          home isn't much better. Books and supplies stacked every
          where.
                         
          Laurie cleans a Smith and Wesson revolver. She opens the
          cylinder and see a SINGLE fastball inside. She takes out the
          bullet and considers it. She puts it back and spins the
          cylinder. Engaged. She cocks the hammer.                        
                         
          A BUZZ startles her. Laurie eyeballs four black and white
          security camera monitors. She looks to the arrival of her
          uninvited guests.
                         
                         
          EXT. GATE ENTRANCE. LAURIE'S PROPERTY. DAY
                         
          A SPEAKER hisses to life.
                         
                              LAURIE (O.S.)
                    Can I help you?
                         
          Aaron struggles to reach the "press to speak" button. It's
          too far so he opens his door just a bit.
                         
                                             AARON
                    Yes. We're looking for Laurie
                    Strode.
                                                                  14.
                         
                         
                               LAURIE (O.S.)
                    Who?
                         
                                             AARON
                    My name is Aaron Joseph Korey and-
                    Um... We're working on a um... on a
                    podcast.
                         
                              LAURIE (O.S.)
                    Good for you.
                         
                                             DANA
                                       (LEANING OVER)
                    We're investigative journalists.
                         
                                             AARON
                    If you have a moment. We've
                    travelled a long way to speak with
                    you.
                         
          No response.
                         
                                             AARON (CONT'D)
                    We'll pay you for your time.
                         
          Still nothing. Dana hands Aaron AN ORANGE ENVELOPE.
                         
                                             DANA
                    How does three thousand dollars
                    sound?
                         
          After a pause, the gate buzzes open. Dana gives Aaron a look
          as they drive through the gate.
                         
                         
          INT. LAURIE'S HOUSE. DAY.
                         
          Laurie, Aaron and Dana are seated. Dana presses record on her
          recording device.
                         
                                             DANA
                    You've lived here since 1985.
                         
                                             LAURIE
                    Sounds about right.
                         
                                             DANA
                                       (LOOKS AROUND)
                    Do you feel isolated?
                         
                                              LAURIE
                    I don't.
                                                                  15.
                         
                         
                                             AARON
                    You tell yourself that you're
                    protecting your family. That if he
                    come for you again you've distanced
                    yourself from everyone that you
                    love.
                         
          Laurie doesn't respond. An awkward moment. Dana nods at Aaron    
          and steps in.
                         
                                             DANA
                    Aaron and I have made several award
                    winning public radio exposes. Our
                    last project shed fresh light on a
                    murder case from twenty years ago.
                    We like to re-examine incidents
                    with an unbiased lens. When people
                    are willing to face a thing in a
                    different light over time, new
                    truths can sometimes emerge. I
                    believe there is a lot to learn
                    from the horror you experienced.
                         
                                             LAURIE
                    There's nothing to re-examine.
                    Nothing to learn from something
                    that happened forty years ago.
                         
                                             AARON
                    So is he real?
                         
                                             LAURIE
                    Who?
                         
                                             AARON
                    The Boogeyman. I've read you
                                   QUOATED-
                         
                                             LAURIE
                    You don't believe in The Boogeyman?
                         
                                              AARON
                    I believe in Michael Myers, a
                    deranged serial killer. But The
                    Boogeyman?
                         
                                             LAURIE
                    Well, you should.
                         
                                             AARON
                    We have archival recordings of Dr.
                    Loomis from after that horrific
                    night.
                                                                 16.
                                             AARON (CONT'D)
                    His intellect was overcome with
                    abstract and apocalyptic
                    observations.
                         
                                             LAURIE
                    He just wanted Michael dead and no
                    one would listen.
                         
                                             DANA
                    Michael Myers is a human being that
                    killed his sister when he was six
                    years old. And then he came after                   
                    you... We want to know why. We want
                    a glimpse inside his mind. That's
                    why your story be important.
                         
                                               LAURIE
                    My story?
                         
                                             AARON
                    Two failed marriages. A rocky
                    family relationship with your
                    daughter and grandaughter. Among
                    other issues...
                         
                                               DANA
                    Aaron!
                         
          Aaron nods to a few empty pill bottles strewn about.
                         
                                             LAURIE
                    It's interesting that Michael
                    killed five people and he's a human
                    being. I'm twice divorced and I'm a                 
                    basket case.
                         
                                             AARON
                                       (HESITANTLY)
                    My apologies.
                         
          Laurie gets up and scavenges aimlessly.
                         
                                              LAURIE
                    I have nothing but vague, very
                    blemished memories of that night.
                    The insight you're here for does
                    not exist.
                         
          Aaron nods.
                         
                                             AARON
                    They're transferring him.
                                                                   17.
                         
                         
                                              LAURIE
                    I know.   Tomorrow.
                         
                                             DANA
                    He'll be locked away till the end
                    of his days.
                         
                                             LAURIE
                    That's the idea.
                         
                                             AARON
                    Do you surrender any efforts of
                    rehabilitation?
                         
                                             LAURIE
                    -Because everyone knows 40 years is
                    when you typically turn the corner.
                         
          Dana switches gears.
                         
                                             DANA
                    Let's talk about when the state
                    came to take your daughter away.
                    She was twelve years old. They said
                    you were unfit mother. How long
                    until you regained custody?
                         
                                             LAURIE
                    I didn't. But I bet you know that.
                         
          Laurie looks out the front door window to the outside.          
          Getting lost in it.
                         
                                             AARON
                    Mrs Strode. We want you to sit down
                    with him. Sit with Michael in a
                    safe environment. He won't talk to
                    anybody... But he might speak to
                    you. Finally you can get the chance
                    to say what you've always wanted to
                    say to him. Come with us. Let us                      
                    help you free yourself.
                         
                                             LAURIE
                    Time's up. I'll accept my payment.
                         
          Aaron pull the orange envelope out. He take it to her. She
          counts it, then opens the front door and looks to the trees.
                         
                                             LAURIE (CONT'D)
                    With your journalistic insights,
                    I'm sure you'll be able to find
                    your way out.
                                                                 18.
                         
                         
          We dawdle on Laurie in a moment of contemplation.
                         
                         
          INT. HALLWAY. HIGH SCHOOL. MORNING.
                         
          THE BELL RINGS. Allyson closes her locker with a handful of
          books and turns to be startled by a figure standing behind     
          her. We reveal CAMERON ELAM (17).
                         
                                             CAMERON
                                       (DISGUISED VOICE)
                    Gottcha!
                         
          Allyson drops her books.
                         
                                             ALLYSON
                    Cameron. Jesus.
                         
          Cameron helps her pick up her books.
                         
                                             CAMERON
                    I got you, babe. Do you have                         
                    everything for your costume
                    tomorrow night? Bonnie and Clyde
                    must roll as one.
                         
                                             ALLYSON
                    I'm just thinking about tonight.
                         
                                             CAMERON
                    Tonight? Come on. I thought you
                    were joking when you said your
                    parents were old fashioned.
                         
                                             ALLYSON
                    Be nice. It'll be nice. I just want
                    you to meet them. I'm more old
                    fashioned than they are. Just don't
                    make them like you too much. I like
                    to keep them on edge.
                         
          She grin and gives him a kiss.    CLOSE ON THE KISS.
                         
                              OSCAR (O.S.)
                    Slow down, Smoochy. Give me a                        
                    slice.
                         
          Cameron and Allyson pull apart to reveal OSCAR (17) a fast-    
          talking slime ball with charm. He gives them each a kiss on
          the cheek.
                         
                                             CAMERON
                    Dude, you got your chapped lip
                    crusties all over me, man.
                                                                   19.
                         
                         
                                             OSCAR
                    You have everything for your                           
                    costume tomorrow night? Tango and
                    Cash must roll as one.
                         
          Oscar puts on Chap Stick.
                         
                                             CAMERON
                    Um...
                         
                                             OSCAR
                    What? You said we were going as Sly
                    and Kurt, bro. You said we were                        
                    doing this Halloween dance thing.
                    What's up? You're ditching me now?
                         
          Oscar gets Cameron in a headlock and drives him into the         
          wall. Allyson rolls her eyes.                                    
                         
                                             ALLYSON
                    I'll see you lovebirds later.
                                       (TO CAMERON)
                    And I well see you tonight.
                         
          She walks off shaking her head with a smile. A girl, KIM,
          gives her a funny look from across the hall.                     
                         
                         
          INT. COMMUNITY CENTER. DAY.
                         
          CLOSE ON Shanah. She leads a discussion for A GROUP OF AT        
          RISK CHILDREN (ages 7-10) that sit with their heads on a
          table in a counseling session. Each have HOME MADE puppets
          that speak their emotions. One kid tries to untangle a YO-YO.
                         
                                             CHILD #1
                    I'm Bradley and I get angry at the
                    rain.
                         
                                             CHILD #2
                    When my brother comes home from
                    school I get scared cuz he brings
                    the guys to fight and throw people
                    through walls.
                         
          Child #3 puts her marionette down and raises her head.
                         
                                             CHILD #3
                    If you run away from home then you
                    have no one to hurt you.
                                                                    20.
                         
                         
                                             SHANAH
                    We need to look at those who love
                    us for protection and comfort but
                    listen to our feelings. We all
                    have lived through difficult
                    situations and are confronted with
                    bad people from time to time, but
                    by using our voice we can overcome                     
                    our problems.
                         
                         
          EXT. COMMUNITY CENTER. DAY.
                         
          It's a facility in a run-down neighborhood. MIDDLE AGE
          COMMUNITY MEMBERS play basketball as kids from Shanah's
          therapy load onto a VAN ushered away by her assistant.           
                         
          Laurie pulls up in her small pick-up truck.
                         
                         
          INT. COMMUNITY CENTER. DAY.
                         
          Shanah stands in her office watching a CHATTERING TOOTH TOY
          on her desk as she packs up her files.                           
                         
                              LAURIE (O.S.)
                    Shanah. I need to talk to you.
                         
          Shanah takes a final sip off coffee and glances up. Not
          expecting to see Laurie.
                         
                                             SHANAH
                    Well hello mother.   New glasses?
                         
                                             LAURIE
                    Allyson reached out to me-
                         
                                             SHANAH
                    I specifically told you you're not
                    to have any communication with her.
                         
                                             LAURIE
                    I can't control who calls me.
                    She's her own person and she's
                    making her own decisions.
                         
                                             SHANAH
                    What did she reach out to you
                    about?
                         
                                             LAURIE
                    Joining you tonight.                                   
                                                                    21.
                         
                         
                                              SHANAH
                    Interesting. I guess she hasn't
                    picked up on the fact that you...
                    raised me.
                         
                                              LAURIE
                    I raised you the way I did for your
                    own protection and you're telling
                    me I ruined your life?
                                       (BEAT)
                    As a mental health care
                    professional, I would hope you
                    could empathize in some way.
                         
          Shanah leaves her office with an empty coffee mug.
                         
                              SHANAH (O.S.)
                    I've heard this before.
                         
          Laurie sinks.
                         
                         
          INT. COMMUNITY CENTER. OFFICE KITCHEN. CONTINUOUS.
                         
          Shanah puts her mug in the dishwasher.
                         
          Laurie appears, holding the yo-yo the kid was trying to          
          untangle. She untangles it to deflect herself from the
          issues.
                         
                                             LAURIE
                    Michael Myers is leaving Smith
                    Grove. I've spent years petitioning
                    for his transfer. He'll spend the
                    rest of his life at a prison in
                    Colorado. I'm going to do what I
                    can to put my past behind me. It's
                    been forty years. I just wanted to
                    come here today and tell you that.
                         
          She takes a moment in attempt to connect.
                         
                                              SHANAH
                    I'm happy that you're ready to put
                    your past behind you, but I've got
                    to figure out if I can put our past
                    behind me.
                         
          Laurie turns to leave. Shanah switch gears.
                         
                                                SHANAH (CONT'D)
                    Mom, wait.
                                       (BEAT)
                                                                  22.
                                              SHANAH (CONT'D)
                    Allyson is being rewarded at school                    
                    tonight and then we're going to
                    have a family dinner after. It's
                    important to her. She wants you to
                    come. So...
                                       (BEAT)
                    I think you should come.
                         
          The two strong woman stand in hopeful silence.
                         
                         
          INT. MOTEL ROOM. NIGHT.
                         
          Aaron and Dana sit in their motel room going over Dr. Loomis'
          files. They have research articles, essays, forensic
          exhibits, photos of Laurie and her family, etc.
                         
          Aaron hits play on a TAPE RECORDER. The recording is old and
          wobbly-- muffled.
                         
                                             STATE DOCTOR
                                       (RECORDING)
                    ... Dr. Samuel Loomis, January
                    1979. Do you wish to give a
                    statement regarding your former
                    patient Michael Myers?
                         
                              DR. LOOMIS
                                       (RECORDING)
                    My suggestion is termination.
                         
          INTERCUT WITH...
                         
                         
          INT. CELL. SMITH'S GROVE STATE HOSPITAL. NIGHT
                         
          A door opens and a slit of light reveals THE SHAPE standing
          with his back to us, facing the wall.                            
                         
          Kuneman enters. He's with a young guard, HASKELL.
                         
                                             KUNEMAN
                    A-2201. Myers, Michael.
                         
                              DR. LOOMIS
                                       (RECORDING)
                    A shot of sodium thiopental would                      
                    render him unconscious.
                         
                         
          INT. HALLWAY. SMITH'S GROVE STATE HOSPITAL. DAY.
                         
          The Shape's feet shuffle down the hall. The other patients in
          line facing the wall CHATTER in their clinical attire.
                                                                   23.
                         
                         
                                             HASKELL
                    Stand up! Hands up! Shut up!
                         
                              DR. LOOMIS
                                       (RECORDING)
                    Then a shot of potassium chloride
                    to stop his heart. He would go
                    quietly, without incident.
                         
                                             HASKELL
                    Hands on the wall!
                         
          Kuneman reads more names from a check-list:
                         
                                             KUNEMAN
                    A-2209 Aaron White... A-2217
                    Anthony Murphy. A-2243-Jeffrey
                    Neundorf.
                         
          A LOUD BUZZER sounds.
                         
                         
          EXT. LOADING AREA. SMITH'S GROVE STATE HOSPITAL. NIGHT
                         
          Kuneman and Haskell walk the line of 12 patients outside,
          including a wild-eyed man, LYNCH, walking behind The Shape.
                         
                              DR. LOOMIS
                                       (RECORDING)
                    I'll be with him to make sure his
                    life is ended. My ear on his chest
                    to hear for myself that his vitals
                    no longer function. At that point
                    with the help of a coroner we will
                    extract the brain for our studies
                    and then incinerate the body.                         
                         
          The line of patients walk to a SECURE TRANSPORT BUS where AN
          ARMED DRIVER checks his own list. The patients load on the
          bus.
                         
          Doctor Sartain walks up just as The Shape steps up in line.
                         
                               DR. SARTAIN
                    Don't worry, Michael. I'll be by
                    your side.
                         
                         
          INT. TRANSPORT BUS. CONTINUOUS.
                         
          ANGLE ON A REARVIEW MIRROR as Sartain enters by the Armed
          Driver sitting at the wheel.
                                                                    24.
                         
                         
          Sartain takes notes with his elegant pen and looks down the
          aisle at the TWELVE PATIENTS in their seats.
                         
          The Shape sits in a middle seat.
                         
                              DR. LOOMIS
                                       (RECORDING)
                    It needs to die. It wants to die!
                         
          Sartain sits in the seat behind the driver and observes
          Haskell and Kuneman securing shackles.
                         
                                             HASKELL
                    A-7367 secure. All clear.
                         
          Kuneman walks to Sartain up front. He shuts the metal
          barricade that separates the patients from the guards.
                         
                                             KUNEMAN
                    Still not sure why you're here.
                         
                              DR. SARTAIN
                    Michael Myers is my patient until
                    he is in somebody else's care. I'm
                    seeing my duty through till the
                    end.
                         
          As Haskell secures Lynch, Lynch starts SCREAMING. Haskell
          hits him in the gut, and settles him back in the seat.
                         
                                             KUNEMAN
                    Buckle up, Dr. Sartain.
                         
                              DR. LOOMIS
                                       (RECORDING)
                    There's nothing to be won from
                    keeping evil alive and gestating.
                         
          Kuneman signals the driver. Sartain flick his pen and watches
          The Shape gaze out the window as the bus departs.
                         
                         
          EXT. SMITH'S GROVE STATE HOSPITAL. CONTINUOUS.
                         
          As the bus drives out the front gate, we REVEAL: Laurie
          sitting in her car outside the facility. She watches The
          Shape be driven out.
                         
                              DR. LOOMIS
                                       (RECORDING)
                    Destruction is the only solution
                    for Michael. A quiet death before
                    it kills again...
                                                                    25.
                         
                         
          As the bus disappears, Laurie has a moment to herself. She
          pulls a bottle of pills out from her purse and takes one.        
                         
                                              LAURIE
                    Put the Boogeyman to bed now, will
                    you Kiddo?
                         
          She holds her head and watches the security gate close,
          struggling with the complexity of the moment.
                         
                         
          INT. MALL/ITALIAN RESTAURANT. NIGHT.
                         
          Shanah, Allyson, Ray, and Cameron sit in a booth at an           
          Italian joint. Allyson's honor award sits on the table.          
                         
                                             ALLYSON
                    You said she was going to come.                        
                         
                                             SHANAH
                    She said she would. She came to my
                    office. We had a nice talk.
                         
                                             ALLYSON
                    Did you really have a talk?
                         
                                             SHANAH
                    I'm being honest with you. We all
                    have to be truthful from now on no
                    matter how much it might hurt us.
                         
                                             RAY
                    Allyson's grandmother has had some
                    struggles, Cameron.                                    
                         
                                             CAMERON
                    We have a lot of addiction in
                    family too. A lot of troubled
                    individuals.
                         
                                             SHANAH
                    Can't we have a nice dinner now?
                         
          Ray nods and looks at Cameron who sympathizes.
                         
                                             RAY
                    Cameron, do you know I went to
                    school with your father? He used to
                    sell me Peyote.
                         
                                             ALLYSON
                    Dad!
                                                                  26.
                         
                         
                                             RAY
                    It's true. I learned a lot about
                    myself.
                         
                                             CAMERON
                    He, um... He's weird.
                         
                                             SHANAH
                    Come on Ray, that's like a massive
                    over-share for our new friend.
                        (changing the subject)
                    Do you have any special All
                    Hallow's Eve plans?
                         
          Allyson looks to Cameron.
                         
                                             SHANAH (CONT'D)
                    Why don't you and Cameron have a
                    little fun tomorrow night. I hear
                    there's a thing at school. What is                     
                    it, a dance or something?
                         
          Shanah and Ray smile knowingly.
                         
                                             SHANAH (CONT'D)
                    Moms talk too.
                         
          Everyone is happy for a moment.
                         
                              LAURIE (O.S.)
                    There you guys are.
                         
          Laurie walks up.   She's a little buzzed, twitchy, sniffling.
                         
                                              SHANAH
                    Mom?
                         
                                             ALLYSON
                    Hey! I didn't think you were
                    coming.
                         
          Laurie looks to Allyson and winks.
                         
                                             LAURIE
                    Wrapped up later than expected.
                         
          Laurie looks to Cameron.
                         
                                             LAURIE (CONT'D)
                    And you must be the new heart
                    throb. What's your name?
                         
          Laurie holds out her hand. Cameron shakes it.
                                                                  27.
                         
                         
                                             CAMERON
                    Cameron Elam. Nice to meet you.
                         
                                             LAURIE
                    He's got a firm handshake. Not wet
                    and clammy like Ray's.
                         
                                             RAY
                    Wonderful to see you, Laurie. We're
                    casually getting to know Cameron
                    here and we're having a nice little
                    celebration in honor of Ally-
                         
                                             LAURIE
                    We've all got something to
                    celebrate tonight, don't we? How
                    was the ceremony?                                    
                         
                                              SHANAH
                    It was very nice. Want to have a
                    seat, Mom?
                         
          Laurie notices Allyson's honor award and picks it up.          
                         
                                             SHANAH (CONT'D)
                                       (DISCREET)
                    What are you on?
                         
                                             ALLYSON
                    Mom!
                         
          Laurie grabs a chair and pulls it up next to their table.
                         
                                             LAURIE
                    I'm used to it. I'm a bad mom when
                    I don't show up and a bad mom when
                    I do.
                         
                                             SHANAH
                    Stop it. Reset. Let's start over.
                         
                                             LAURIE
                    Yes. I agree. Where's the waiter so
                    I can get a drink? I mean if I look
                    the part... Right?
                                       (LOUDLY)
                    Hello? Waiter? Drinks? Does ANYBODY
                    work here?!
                         
                                             SHANAH
                    Stop it. We were just about to get
                    the check actually.
                                                                  28.
                         
                         
                                             ALLYSON
                    No we weren't.
                         
                                             LAURIE
                    I'm sure Cameron could use a stiff
                    one.
                         
          She looks at him. He looks nervous.
                         
                                             LAURIE (CONT'D)
                    Ray been throwing you the 3rd
                    degree about your family? Have you
                    slept with my granddaughter yet,
                    son?
                         
          Cameron is speechless.
                         
                                             SHANAH
                    Mom!
                         
                                             RAY
                    That's enough!
                         
                                             LAURIE
                    Jesus, I'm just kidding. Anyway,
                    where is this waiter??
                         
          Laurie stands to get service just as the waiter is walking       
          past with a TRAY OF FOOD. Laurie's head lifts right into the     
          tray sending glasses and plates SHATTERING LOUDLY.
                         
          Everyone in the restaurant looks. Allyson's eyes fill with
          tears of embarrassment.
                         
          Laurie continues walking out the door. Allyson turns her head
          to see her grandmother walks toward the busy street and stop
          just before getting hit by cars. Horns blare.
                         
          Allyson runs out. She carefully crosses to join her
          grandmother and they share an embrace.
                         
          PRE-LAP: The sound of RADIO static blasts.
                         
                         
          INT. BRONCO (MOVING). NIGHT.
                         
          A FATHER (40's) drives with his college FOOTBALL RANTING SON
          (14) in the passenger seat. Father fiddles with the radio.
                         
                                             FATHER
                    I can't reception on this thing
                    ever since the antenna was bent at
                    the car wash.
                                                                  29.
                         
                         
                                             SON
                    Imagine if they had won last week.
                    They got hit with the 18th-ranked
                    offense, but they totally got wrong
                    ball protection. They had season-                     
                    worst marks of negative-eight                         
                    rushing yards, 295 total yards and
                    five turnovers. Randall scored
                    twenty-eight points off those
                    takeaways, including 21 in the
                    decisive second half.
                         
          Father turns off the radio in frustration.
                         
                                             FATHER
                    Dammit! Can't we just listen to the
                    silence?
                         
                                             SON
                    Dad, look out!
                         
          The Father HARD breaks the truck, skidding to a stop.           
                         
          REVEAL: a MAN WITH A HAUNTED FACE IN A PATIENT'S gown           
          standing in the middle of the road looking at them.
                         
                                             FATHER
                    What the hell happened to you,
                    Hoss?
                         
                                             SON
                    Oh shit, dad. Look.
                         
          The Father turns to his left and sees SEVERAL WANDERING
          PATIENTS on the side of the road. The TRANSPORT bus is just
          off the road near a thicket of trees. EMERGENCY LIGHTS
          BLINKING in the darkness.
                         
                                             FATHER
                    Stay here Lumpy. I'll check it out.                   
                         
          The Father grabs a mag LIGHT from the glove-box and a rifle
          from his gun rack and exits.
                         
                              FATHER (O.S.) (CONT'D)
                    Hey! You okay? You fellas all
                    right? Want some help out here?
                         
          The Son calls 911. The HAUNTED PATIENT wanders away. Another    
          one slap the glass of his window and smiles. The Son shakes
          his head `no'.
                                                                   30.
                         
                         
                                             SON
                                       (INTO PHONE)
                    Yes? Hello? Yes. There's been an
                    accident or something... There's a
                    bus. People running around in the
                    road... Lemme check.
                         
          The Son looks out the window where he sees a mile marker.
                         
                                             SON (CONT'D)
                    Yeah. Looks like mile 227. - Yes.
                    That back road just past Old
                    Willard_Bridge. -- My dad went to                      
                    look. I don't know-- Hold on. I'll
                    go check...
                         
          The Son opens his door. He gets out. All is silent.
                         
                                                SON (CONT'D)
                    Dad?
                         
          The patients are gone. No sign of his father.
                         
          He reaches back in the truck and grabs the second rifle. He
          walks across the tall grass of the empty field toward the
          bus.
                         
          Suddenly an ARM reaches OUT OF THE GRASS and grabs the boy by
          the ankle. The boy gasps. He looks down to see a near
          lifeless Kuneman with his arm outstretched.
                         
                                                KUNEMAN
                    Help.
                         
          The boy looks at the bloody victim lying in the grass.
                         
                                             SON
                    The police are on their way. What
                    happened? Where's my dad?
                         
          Kuneman gnarls something and spits blood.                        
                         
                                             SON (CONT'D)
                    I can't understand.                                    
                         
          Kuneman spits more blood.                                        
                         
                                             SON (CONT'D)
                    Wait there. I'll get my dad.
                         
                                                KUNEMAN
                    No. Run...
                         
          Kuneman passes out. The boy looks around, aiming his gun.
                                                                    31.
                         
                         
                                             SON
                    Dad? Daddy?!
                         
          He takes aim and steps toward the open door of the bus and
          sees the dead driver. He steps onto the bus and looks to the
          back. Suddenly, Sartain rises from under a seat.
                         
                              DR. SARTAIN
                    Don't shoot.
                         
          BLAM! Without hesitation, the kid shoots Sartain in the
          shoulder. Sartain falls.
                         
                                               SON
                    Aw ffff-!
                         
          The kid panics and sprints back to the truck. He climbs in
          the driver's seat, turns the key in the ignition.
                         
          From behind him, The Shape appear inside the truck, grabs him
          by the throat and attacks.
                         
                         
          EXT. STRIP MALL/ITALIAN RESTAURANT. NIGHT
                         
          Shanah consoles an upset Allyson as Cameron and Ray walk away
          from Laurie's truck. She drives away.
                         
                                             SHANAH
                    You need to know this. I was raised
                    to trust no one. Our house was a
                    bunker and I lived on lockdown my
                    entire childhood. We'd hide in the
                    basement every time the paranoia
                    set in. I still have nightmares
                    about that room. She didn't let me
                    go to school. Instead she trained
                    me to shoot and fight until social
                    services came and took me away. I
                    chose to forget the neurosis she
                    planted in my head.
                         
          Ray approaches and hands Allyson the orange envelope that
          Aaron gave Laurie.
                         
                                             RAY
                    She told me to give you this.
                         
                                             ALLYSON
                    What is it?
                         
          Allyson turns away and looks inside the envelope and sees the
          cash, then looks to Cameron who stands near.
                                                                  32.
                         
                         
                                             SHANAH
                    It's like she's spent her entire
                    adult life preparing for the past.
                    She lives every day in fear he's
                    coming back.
                         
          Ray gives his wife a supportive kiss on the forehead.            
                         
                         
          INT. CONVENIENCE STORE. NIGHT.
                         
          CLOSE ON A PINBALL MACHINE as the flipper and lights animate
          the bells and buzzers.
                         
          REVEAL OFFICER FRANK HAWKINS (63), a uniformed police officer
          in full command of his evening's amusement. This is an
          aggressive game at a corner convenience store.
                         
          COREY and STANFORD stand beside coaching his moves.
                         
          SHAMEEL, an employee, fills up drinks at the slushy fountain
          nearby.
                         
                                             SHAMEEL
                    Yo Hawkins, you want that
                    strawberry slushy or blue raspberry
                    slushy?
                         
                                             OFFICER HAWKINS
                    I'm in wizard mode, Shameel. Get me
                    a coffee if you don't mind. Thanks.
                    I'll get you back.
                         
          Hawkins gets frustrated and slaps the machine.
                         
                                             COREY
                    Another loss for hot fuzz!                             
                         
                                             STANFORD
                    If the ball comes down loose, don't
                    hit that bounce pass. It's gonna
                    hit off that broken flipper then
                    whack the bottom of the slingshot
                    and go down the middle.
                         
          A new ball emerges as Hawkins' radio squawks.
                         
                              RADIO (O.S.)
                    Dispatch to unit 601. We have a
                    1050 on Marla Road. Please respond.
                         
                                             OFFICER HAWKINS
                                       (INTO RADIO)
                    Copy dispatch. I'm on my way.
                                                                  33.
                         
                         
          Shameel hands Hawkins a coffee as he hurries off.
                         
                              OFFICER HAWKINS (CONT'D)
                    Thanks man. Hey Corey, take over my
                    game.
                         
                                             COREY
                    Hot fuzz personified, born to lose.
                         
                         
          EXT. RURAL ROAD. NIGHT.
                         
          Officer Hawkins pulls up to the site of the transport bus.       
          Hawkins gets out of his squad car. He has a strong, confident
          build, but warily approaches. The patients are gone.
                         
                                             OFFICER HAWKINS
                    Sheriff's Department! If you need
                    assistance, please let yourself be
                    known!
                         
          Hawkins looks and sees Kuneman dead on the side of the road.
          He speaks into his radio.
                         
                              OFFICER HAWKINS (CONT'D)
                    Signal 13. I have an officer down.
                    Officer down. I need assistance.
                    Send back-up right away.
                         
          He reaches back into his car and pulls out a scatter gun with
          a Surefire Weapon-light. He approaches the scene. Sees
          something near the back end of the bus that catches his eye.
                         
          There is a figure sitting in the glare of the blinking red
          light, looking upward.
                         
          Hawkins shines his light onto the figure. It doesn't move.
                         
          Hawkins sees that it's THE FATHER, dead, sitting with his
          head tilted too far back, mouth agape. He shines the beam on     
          the Father's neck and sees the BUMPY bone pushing up on the
          neck underneath, snapped.                                        
                         
          Hawkins turns to see the Son, dead in a pool of blood . He
          kneels next to the boy to check for a pulse. None.
                         
          He hears a voice FROM INSIDE THE BUS. The back door is open.
                         
          Hawkins climbs up and sees: DR. SARTAIN, shell shocked in the
          aisle bleeding from the gunshot.
                         
                              OFFICER HAWKINS (CONT'D)
                    Show your hands!!
                                                                    34.
                         
                         
                                 DR. SARTAIN
                                       (WEAK)
                    I can't.
                         
          With his gun light, Hawkins sees that Sartain is chained to a
          seat. He climbs onto the bus. Sartain heaves for breath.
                         
                                             OFFICER HAWKINS
                    Sir. Help is coming. Stay with me!
                         
          Sartain looks up at the Officer, his eyes wild and open.
                         
                              DR. SARTAIN
                    Did he... Did he escape?
                         
                                             OFFICER HAWKINS
                    Who? Did who escape?                                   
                         
          Sartain softly closes his eyes as we HEAR SIRENS in the
          distance...
                         
                                                   CUT TO BLACK.
                         
                         SUPERIMPOSE:
                         
                              OCTOBER 31, HALLOWEEN
                         
                         
          INT. MOTEL. BATHROOM. MORNING.
                         
          Dana takes a shower. Through the steam of the hot water, she
          rinses her hair and closes her eyes. We watch the water roll     
          down the drain.
                         
          We see the bathroom door open slowly and a figure enters.
                         
          Standing still behind the shower curtain is the body of a man    
          in THE MASK. He stands a beat and then pull the curtain back.    
                         
                                             AARON
                    Room for one more?
                         
          Dana laughs.
                         
                                             DANA
                    Take that hideous thing off.
                         
          Aaron takes off the mask and puts it on the counter.
                         
                                             AARON
                    When I wear this, there is a
                    certain tendency or inclination
                    that the legacy of the mask seems
                    to inspire.
                                                                    35.
                         
                         
                                             DANA
                    Please don't murder me.
                         
                                             AARON
                                       (WITH CHEESE)
                    I would never. I need your smile.
                         
          Aaron step into the shower and gives Dana a kiss.
                         
          The TV SET in the other room casts a glow.
                         
                         
          EXT. NEIGHBORHOOD. MORNING.
                         
          Allyson jogs down the sidewalk through her neighborhood.
                         
                         
          EXT. COMMUNITY GARDEN. MORNING.
                         
          Allyson runs by the community garden.
                         
          A HANDHELD CAMERA implies an OBSERVER from behind some
          standing plants.
                         
                         
          EXT. NEIGHBORHOOD. MORNING.
                         
          As Allyson jogs on, she notices A FEW PEOPLE congregating by
          a LARGE TREE. They're looking at something.
                         
                                             ONLOOKER #1
                    Who in the hell would do this?
                         
                                             ONLOOKER #2
                    It's awful.
                         
          Allyson joins everyone looking UP at something horrible -- a
          DEAD DOG hung by his neck from a tree branch. The same heel
          that barked at her the day before.
                         
          Allyson is visibly upset.
                         
          A neighbor reaches up to touch it.
                         
          Allyson notices a vehicle down the street. It's the familiar
          BRONCO.
                         
          Behind her, the onlookers struggle to get the dog down.
                         
                         
          EXT. LAURIE'S HOUSE. MORNING.
                         
          Laurie awakens in her truck. Tired after a tough night. She      
          looks at herself in the rearview mirror.
                                                                   36.
                         
                         
          INT. LAURIE'S HOUSE. MORNING.
                         
          Laurie makes coffee. The local news playing on the TV.
                         
                                             NEWS REPORTER
                                       (ON TV)
                    Police have not determined the
                    cause of the accident, but we do
                    know there are multiple fatalities.
                         
          Laurie turns to look at the TV.
                         
                              NEWS REPORTER (CONT'D)
                                       (ON TV)
                    According to sources, authorities
                    have sent personnel from a local
                    state hospital. At this time, we
                    do not know why.
                         
          CLOSE ON: POLICE SCANNER turning on, bolt lock spinning top
          and bottoms of doors. A knife sheath is clicked onto Laurie's    
          belt. The canvas curtains are ZIPPED.
                         
          Laurie walks over to an island in the kitchen. She turns the
          island counter-clockwise to reveal A DOOR in THE FLOOR.
                         
          She opens the door and looks into the darkness of a storm
          shelter below.
                         
          She climbs down a ladder and slips into the shelter.
                         
          A LIGHT flicks on. The door shuts behind her
                         
                         
          EXT. MT. SINCLAIR CEMETERY. DAY.
                         
          Creeping through the tall brown grass, we find Aaron and Dana
          walking through expansive rows of crooked tombstones. They
          walk with the CARETAKER, who lead them.
                         
                                             CARETAKER
                    My cousin works at a graveyard not
                    too far from here. They got War
                    Generals, Philanthropists, a
                    beatnik poet. They got Muddy Waters                    
                    and Bernie Mac. People come from
                    all over to pay respects. But this
                    gal from Haddonfield. This is our                      
                    only claim to fame.
                         
          They come to a grave and stop. Dana kneel down in front of
          the grave and looks at the name: JUDITH MYERS.
                                                                   37.
                         
                         
                                             CARETAKER (CONT'D)
                    Maybe you can explain to me what's
                    so spectacular about Judith Myers.
                         
          Dana is in a zone. Transfixed with the history of this
          place, she speaks into her recorder.
                         
                                             DANA
                    ...As she sat combing her hair.
                    Unaware. Her six year old brother
                    crept in quietly with a kitchen
                    knife.
                         
          A look of disgust on the caretaker's face.
                         
                                             CARETAKER
                    Damn.
                         
          Aaron joins in. She hands him the recorder.
                         
                                             AARON
                    He then proceeded to slice the base
                    of her skull down to her spinal                       
                    chord, here...
                        (demonstrates on self)
                    ...then she turned and raised her
                    hands in self-defense. He continued
                    stabbing into the arteries and
                    nerves of her palms, like so...
                        (points to palms)
                    Once she collapsed, three more
                    stabs in her sternum, piercing her                    
                    heart.
                         
          The caretaker looks put off by the vivid story.
                         
                                             CARETAKER
                    I don't know about sternums.   All I
                    know is we've had to replace   this
                    stone two times, people come   around
                    and put demon pentagrams and   voodoo
                    shit on it. Every Halloween.   Crazy
                    coconuts.
                         
          Dana pull out a camera and snaps some picture of the grave.
                         
          REVEAL: The Shape watches from across the cemetery,             
          unbeknownst to Aaron and Dana.
                                                                  38.
                         
                         
          EXT. SERVICE STATION. DAY.
                         
          Aaron pumps gas at a service station. Dana has her research
          spread out on the back seat of the car. She ponders headlines
          from NEWSPAPER CLIPPINGS in her binder.
                         
          Aaron looks up and sees A CHURCH VAN at the pump opposite        
          him. In the back seat is AN ELDERLY WOMAN staring at him out
          her window.
                         
          REVEAL POV: the Old Woman is actually looking BEHIND AARON       
          where she see THE SHAPE step out of the Bronco. A man in
          white patient attire.
                         
          Aaron doesn't see as The Shape walks into the opened garage
          where the Mechanic works.
                         
                                             DANA
                    If we could get those initial
                    police transcripts from the press                      
                    conference and post-conviction
                    proceedings we might have a great
                    prologue for our story.
                         
          Dana gets out of the car and goes to Aaron.                      
                         
                                             AARON
                    We have access to Brackett's
                    personal journal on Michael as well
                    as city records.
                         
                                             DANA
                    What are you waiting for?
                         
          Dana heads inside. She walks past an open garage where a
          MECHANIC in a JUMPSUIT works to put a tire on to a wheel.
                         
          Aaron sees the Old Woman still staring.
                         
          The Old Woman's DAUGHTER AND GRANDSON get in the van.
                         
          Aaron watches them drive off.
                         
                         
          INT. GARAGE. SERVICE STATION. DAY
                         
          Dana walks in.
                         
                                               DANA
                    Bathroom?
                         
                                             CASHIER
                    Back out around the side.
                                                                    39.
                         
                         
          She goes to the bathroom at the side of the station.
                         
                         
          INT. BATHROOM. SERVICE STATION. DAY.
                         
          Dana takes a paper towel from the dispenser   and walks toward
          the stalls. She uses the tissue to push the   first door open.
          She grimaces and heads to the second stall.   Not much better.
          She continues to the third stall and pushes   the door open.
          It's acceptable.
                         
          She enters the stall, places the paper towel on the bowl,
          pulls down her pants and sits down.
                         
          As Dana sits on the toilet, she sees graffiti scrawled on the
          stalls: "Amazing grace come sit on my face. Don't make me
          cry, I need your... pie"
                         
          She pulls out a pencil, scratches out "pie" and changes it to
          "smile".
                         
          She chuckles to herself as she hears the sound of the
          bathroom DOOR OPENING.
                         
          FOOTSTEPS walk on the tile floor.
                         
          SLAM-- the first stall door opens.
                         
          Dana flinches, hears: BREATHING.
                         
          The footsteps move closer-- SLAM. The second stall door
          opens.
                         
                         
          EXT. SERVICE STATION. DAY.
                         
          At the pumps, Aaron sees a handwritten sign that says,
          "Please pay inside".
                         
          He walks to the check-out and sees that the Mechanic has had
          his jaw broken and his TEETH KNOCKED OUT. His uniform has
          been removed.
                         
                                             AARON
                    Dana?!
                         
          Aaron cautiously steps into the garage. He looks past a truck
          with the hood open and sees the LEGS of the ANOTHER MECHANIC
          protruding out of an office door.
                         
          Aaron grabs a crow bar off the workbench.
                                                                   40.
                         
                         
          INT. BATHROOM. SERVICE STATION. DAY.
                         
          Dana stares at a pair of DIRTY BOOTS outside her stall door.
                         
          The Shape, wearing a MECHANIC'S JUMPSUIT.
                         
                                             DANA
                    Excuse me. Someone's in here.
                         
          She watches as a hand REACHES OVER THE DOOR AND A DOZEN
          BLOODY, RIPPED OUT TEETH DROP AND SCATTER ONTO THE FLOOR.
                         
          She looks up--
                         
          TWO HANDS grab the top of the stall door. The hands begin
          using force to PULL and PUSH the door.
                         
          She can hear the metal distort under pressure.
                         
          She pulls her pants back on and slides to the ground,
          scrambles to crawl underneath into the succeeding stall...
                         
          Dana crawls on her stomach as the stall door is ripped open
          behind her. As she lies underneath she GETS PULLED BACKWARDS.
                         
          She struggles to hold onto the stall divider.
                         
          TWO HANDS GRIP HER ANKLES.
                         
          She kicks as hard as she can. Her kick frees her. She
          quickly jumps up and shuts the stall door. LOCKS IT.
                         
          The Shape BANGS on THE DOOR.
                         
          Beyond The Shape's feet, DANA SEES THE BATHROOM DOOR SWING
                         OPEN--
                         
          Aaron's WHITE SNEAKERS STEP IN. One of the sneaker laces
          UNTIED.
                         
                                             DANA (CONT'D)
                    Aaron?!
                         
                                             AARON
                    Oh bollocks.
                         
          She hears a crowbar whack the Shape THREE SWIFT TIMES.
                         
                                             AARON (CONT'D)
                    DOWN! DOWN! DOWN!
                         
                                             DANA
                    NO!!!
                                                                    41.
                         
                         
          Foot entangled, The Shape struggles with Aaron.
                         
          She hears Aaron being choked.
                         
          A crowbar CLANGS on the tiles.
                         
          Just within reach, she grabs the crowbar and pulls it back.
                         
          She looks over as Aaron is slammed into the stall door.          
                         
          She sees THE SHAPE'S FOOT and drives the crowbar into his
          boot.
                         
                                              DANA (CONT'D)
                                   AARON--
                         
                                             AARON
                                       (WHISPERS)
                    What have we done.
                         
          Aaron is yanked away. She sees Aaron's sneakers pull up out
          of view.
                         
          The Shape drags Aaron. A loud crash and SHATTERED mirror         
          rains on the tile floor.
                         
                                              DANA
                    Aaron!!!
                         
          We hear a violent POUND POUND POUND on the stall door; it's
          The Shape using Aaron's body as a battering ram.
                         
          Dana screams-- BOOM-- the door flies opens, knocking the crow
          bar out of her hand.
                         
          The Shape throws Aaron and we follow him as he lands in a
          corner by the trash can. His head hits hard on the tile
          floor. His open eyes face us. Aaron is bloody and twitching
          in pain.
                         
          The Shape is in the stall with Dana. She is yanked up. We
          only see her head gripped by The Shape. Struggling as he
          chokes her.
                         
          Aaron is useless on the ground. He's alive, his fingers          
          reaching out as Dana goes lifeless.                              
                         
                         
          INT. SERVICE STATION. DAY.
                         
          The Cashier lays across the counter. On the transistor radio     
          next to him we hear the local news do a spooky All Hallow's
          Eve version of the weather report.
                                                                   42.
                         
                         
          Looking outside the shop window, we see The Shape digging        
          deep down in the trunk of Aaron's car at the pump.
                         
                         
          EXT. SERVICE STATION. DAY.
                         
          From INSIDE THE RENTAL CAR WE SEE the research binder.
                         
          TILT UP TO SEE: The Shape as he picks up HIS MASK and puts it    
          on. It's an eerie sight to behold.
                         
          He BREATHES.
                         
                         
          INT. ROOM. HOSPITAL. DAY.
                         
          Dr. Sartain lies in bed with his eyes closed, bandages around
          his shoulder.
                         
          Officer Hawkins stands at his bedside.
                         
          SHERIFF BARKER (60's) enters with two coffees.
                         
                                             SHERIFF BARKER
                    Still waiting to ID the patients we
                    found to see who's who. Almost all
                    accounted for. Found two of them
                    trying to check their e-mail at the
                    local library and three others
                    holding hands and chasing
                    butterflies by the flea market off
                    220. Any word from Rip van Winkle
                    over there?
                         
          The Sheriff sip his coffee.
                         
                                             OFFICER HAWKINS
                    Not yet. The nurses say he's been
                    in and out. Lost a lot of blood.
                    Somehow managed to fall on a
                    bullet. I'm trying to get the
                    story. Because here's my concern:
                    Take a look at this list.
                         
          Hawkins hands him the list. Sheriff scans it.                    
                         
                              OFFICER HAWKINS (CONT'D)
                    Most of the passengers were minor
                    offenders. Mental patients.
                         
          CLOSE on LIST. Sheriff's thumb glides over names.
                         
                              OFFICER HAWKINS (CONT'D)
                    One stuck out. A-2201.
                                                                 43.
                         
                         
          CLOSE ON LIST. Sheriff's thumb glides back up, land on "A-
          220. Myers, Michael"
                         
                              OFFICER HAWKINS (CONT'D)
                    Michael Myers. The Babysitter
                    Murders, 1978. It's forty years to
                    the day. You think this is a
                    coincidence or part of some greater
                    plan?
                         
          The Sheriff looks at Sartain laying there.
                         
                                             SHERIFF BARKER
                    Look Frank, I don't need to incite
                    panic until we have all the facts.
                    Myers loose with a bunch of nutbags
                    in Haddonfield on Halloween night
                    is a fucking joke if it's not
                    legit. It sounds like a joke. It
                    would ruin our department. And if
                    it is legit. If Myers did escape,
                    we're gonna have a serious circus
                    on our hands.
                         
          Hawkins looks at the Sheriff.
                         
                              SHERIFF BARKER (CONT'D)
                    I mean, what are we gonna do,
                    cancel Halloween?
                         
          The Sheriff laughs.
                         
                                             HAWKINS
                    There's a reason we're supposed to
                    be afraid of this night.
                         
          Hawkins' radio squawks.
                         
                                             DISPATCH
                                       (THROUGH RADIO)
                    Dispatch to 601. Dispatch to 601.
                         
                         
          EXT. HIGH SCHOOL. PARKING LOT. AFTERNOON.
                         
          End of the school day. Various COSTUMED CHEERLEADERS drive
          by. They are piled in a convertible and honk the horn.
                         
          Vicky and Ally walk with Dave. Dave carries Vicky's back
          pack.
                         
                                             VICKY
                    So, bad news. I can't go to the
                    dance tonight.
                                                          44.
                         
                         
                                              ALLYSON
                    Serious?
                         
                                             VICKY
                    I got a call to baby-sit. They               
                    needed somebody at the last minute.
                         
                                             ALLYSON
                    I get it. You didn't let up about
                    me going and then you back out?
                         
                                             VICKY
                    It's good for you to go. You're
                    going out with Cameron now. You'll
                    hang with his friends. It's his
                    scene. You can't just use homework
                    as an excuse, can you? Can you?!
                         
                                             ALLYSON
                    Maybe I like doing- I'm not being
                    anti-social. I'm just... reserved.
                         
                                             DAVE
                    You're sheepish, only like in a              
                    very fresh way.
                         
          They get to Vicky's car.
                         
                                             VICKY
                    Look, I wouldn't bail on you, but I
                    need some cash, so I said I would.
                    You'll have fun. I promise.
                         
                                             DAVE
                    Vicky's also gonna have some fun.
                    She said if I behave, I can come
                    over after the kid's nighty night
                    and do cool stuff. Like clean
                    dishes, mop up, keep her company.
                         
                                             VICKY
                    You're like my helpful pet. I
                    appreciate you, Dave. If you help
                    me mop and do dishes I'll take your
                    virginity. Enough of this third
                    base shit, right? We're adults.
                         
          She takes her back pack from him.
                         
                                             DAVE
                    Finally. Hey, wanna get matching
                    tattoos so we can remember this day
                    forever?
                                                                  45.
                         
                         
          Vicky laughs. Allyson turn and sees Oscar and Cameron walking
          across the parking lot.
                         
                                             ALLYSON
                    Hey, there's Cameron. I'm gonna
                    catch up with him. You guys go on
                    without me.
                         
                                             VICKY
                    Okay, if not you're pissed at me.
                    Are you pissed?
                         
                                             ALLYSON
                    No. I just thought... It'd be more
                    fun if you'd hang with me. That's
                    all. Cameron is sweet, but I'm
                    still getting used to the idea... I
                    don't know. And his friend...?
                         
                                                                  CUT TO:
                         
                         
          EXT. HIGH SCHOOL. PARKING LOT. CONTINUOUS.
                         
          Oscar and Cameron walk across the parking lot.
                         
                                             OSCAR
                    There she is, brother. What do you                     
                    say? She's a knock out. I would
                    definitely take her over me any day
                    of the week. I'm not offended.
                         
                                             CAMERON
                    I like her. I'm serious. And I
                    don't want you to fuck this up by
                    doing something stupid. Please.
                         
          Allyson walks up. Oscar sees the CHEERLEADERS drive by again
          on the other side of the lot.
                         
                                             OSCAR
                    Hey Allyson. Guess what? Cameron                       
                    likes you more than me, but I'm
                    over it. I'll see you guys later.
                    I'm gonna catch up with Bianca and                     
                    see if any of those ladies need a
                    handsome male escort to Halloween.
                         
          Cameron and Allyson shrug and Oscar races off on a mission.
                         
                                             CAMERON
                    He's a mess.
                        (turns to Allyson)
                    You okay?
                                                                  46.
                         
                         
                                             ALLYSON
                    I'm fine. I couldn't sleep. I was
                    so embarrassed about last night.
                    I'm sorry you had to see that. It's
                    a weird time for me I guess.
                         
                                             CAMERON
                    Wait till you meet my family. Your
                    grandma has nothing on my Uncle
                    James. Don't worry about that
                    stuff, okay?
                         
                                             ALLYSON
                    Okay. I won't worry.
                         
                         
          INT. REST ROOM. SERVICE STATION. DAY
                         
          FLASH-- Hawkins stands in the door to the bathroom. The walls
          covered in blood. He studies the crime scene with the coroner
          as a PHOTOGRAPHER snaps pictures-- FLASH.
                         
                         
          INT. SERVICE STATION. DAY.
                         
          Hawkins observes the dead Cashier as a detective dusts for       
                         PRINTS--
                         
          FLASH. FLASH.
                         
                         
          EXT. SERVICE STATION. DAY.
                         
          Police cars and ambulances are active at the crime scene.
          Lights flashing as OFFICERS try to piece it together.
                         
          Across the way, Laurie appears amongst the ONLOOKERS gathered
          on the other side of the police tape.
                         
          Hawkins sees Laurie across the lot. He turns to a passing
          OFFICER RICHARDS.
                         
                                             OFFICER HAWKINS
                    Is that who I think it is?
                         
          The cop sees Laurie.
                         
                                             OFFICER RICHARDS
                    Yeah. She calls the station at
                    least twice a month. She's a
                    paranoid pain in the ass.
                         
                                             OFFICER HAWKINS
                    Tell her to go home.
                                                                  47.
                         
                         
          As Richards approaches Laurie, Hawkins joins the Sheriff. A      
          DETECTIVE in rubber gloves holds up the white hospital
          clothes found on the ground.
                         
                                             DETECTIVE
                    State issued.
                         
                                             SHERIFF BARKER
                    Get on the phone to Smith's Grove
                    and confirm the match.
                         
                                             OFFICER HAWKINS
                    In the meantime, we have to let
                    people know, Sir.
                         
                                             SHERIFF BARKER
                    Not until we have confirmation. I
                    don't want the media foaming at the
                    mouth and dragging the name of this
                    town through the headlines again.
                         
                                             OFFICER HAWKINS
                    I strongly disagree, sir. If this
                    is who we think it is, we have one
                    order of business. Hunt this man
                    down.
                         
          Hawkins looks to where Laurie was. She's gone.
                         
                         
          EXT. DRIVEWAY. NELSON HOUSE. LATE DAY.
                         
          Before dark, a few KIDS are trick-or-treating in the streets
          as Shanah pulls up and stops in front of her home.
                         
          Some kid dressed in a costume slaps the hood of her car,
          startles her, and runs off.
                         
          Shanah gets out of the car with a sack of groceries. We watch
          her as she's greeted by a few costumed kids.
                         
                         
          INT. FOYER. NELSON HOUSE. NIGHT.
                         
          It's dead quiet as Shanah opens her front door and enters the
          home. She sees A LIGHT in the staircase on.
                         
                                             SHANAH
                    Ray?
                         
          She leaves the door open behind her as she enters.
                         
                                             SHANAH (CONT'D)
                    Allyson? Anyone home?
                                                                   48.
                         
                         
          She puts the food down on the kitchen counter and notices
          that all of her knives are spread out along the counter as if
          on display.
                         
          She hears something upstairs. A noise that could be the house
          settling or it could be something more.
                         
          She begins walking toward the steps slowly.
                         
          She hears footsteps above her. Someone's in the house.
                         
          Ray appears abruptly in the front door.
                         
                                             RAY
                    Shanah?
                         
          Shanah turns and motions for him to be silent.
                         
          Laurie appears at the top of the stairs holding a PISTOL.
                         
                                             LAURIE
                    Bang. You're dead.
                         
          Shanah gasps.
                         
                                             SHANAH
                    You scared the shit out of me. What
                    are you doing in my house?!
                         
                                              LAURIE
                    Side window is unlocked. No
                    security system. You have a dozen
                    knives available for any psychotic
                    to come in here and stab you with.
                    Sometimes I can't tell the
                    difference between ignorance and
                    stupidity.
                         
                                             RAY
                    I know Jujitsu, Laurie. I can apply
                    pressure points and choke holds to
                    use the opponents force of attack
                    against them.
                         
                                             SHANAH/LAURIE
                    Shut up, Ray.
                         
          Laurie walks down the stairs.
                         
                                             LAURIE
                    Michael has escaped. I'd be a fool
                    to think this is over. If he comes
                    for my family, I'll be ready.
                                                                 49.
                                             LAURIE (CONT'D)
                    Where's Allyson? We have to get out
                    of here. Now.
                         
                                             SHANAH
                    Mom, no one's coming after you and
                    they're not coming after us. Get
                    out of my way.
                         
          Shanah walks past her to hang up her jacket in the closet.
                         
                                             RAY
                    Maybe you should put down that gun?
                         
          Laurie steps out onto the front porch.
                         
                                             LAURIE
                                       (THINKING)
                    'Out of my way'. It's like I'm
                    always in your way, aren't I,
                    Shanah? You're always going
                    somewhere and you're trying to
                    leave me behind. Evil is real. You
                    don't know what it's like to feel
                    true terror. To live powerless. I
                    don't ever want you to feel that
                    way. I only want to train and
                    protect you.
                         
                                             SHANAH
                    The world is not a dark place. It
                    can be full of love and
                    understanding and I don't need your
                    psychotic rants to confuse me or
                    convince me otherwise.
                         
                                             RAY
                    You need to leave, Laurie.
                         
          Laurie looks at both of them from the front porch and pauses.
                         
                                             LAURIE
                    Do you have a gun?
                         
          Shanah step to the door.
                         
                                             SHANAH
                    Of course not.
                         
          She shuts the door in her mom's face.
                         
                         
          EXT. NEIGHBORHOOD. NIGHT.
                         
          KIDS streak down the street collecting candy in costume.
                                                                  50.
                         
                         
          POP! POP! POP! - ANOTHER GROUP OF OLDER KIDS light off noisy
          FIRECRACKERS in the street.
                         
          A kid dressed as a COWBOY WITH A BOOMBOX ON HIS SHOULDER
          stumbles and drops a bag of candy under the shadow of a tree.
          His friends run off as he scoops his candy off the ground.
                         
                                             COWBOY KID
                    Hey wait up!
                         
          From the shadows behind the kid, we see THE SHAPE standing in
          by the tree, BREATHING.                                          
                         
          The Shape steps forward. The kid runs into him, looks up and
          runs off.
                         
                              COWBOY KID (CONT'D)
                    Sorry mister.
                         
          The Shape sees a woman with a flashlight getting a frozen
          chicken out of the deep freeze in her back shed and then
          going back inside, leaving the shed open.                        
                         
          We FOLLOW The Shape through the side yard toward the shed.
          Inside he sees a hammer on a workbench.
                         
          The CAMERA follows The Shape through the back door of the
          house. The room glows from a television. POV into the
          kitchen.
                         
          The woman runs water from the sink over the frozen chicken as
          she cuts a sandwich with a large knife. She passes frame to
          get something. The Shape hears CLATTERING in the kitchen. He
          enters with the hammer in hand and disappears from view. We      
          hear a short struggle and some hard hits and then see the
          woman's body thrown back into frame. Dead. The Shape enters
          once again to observe his bloody kill and grabs her carving
          knife off the counter.
                         
          CAMERA follows The Shape as he turns and walks through the
          kitchen. Through the dinning room. Through the living room
          where an OLD MAN SLEEPS on the couch.
                         
          The Shape walks out the front door to the next HOUSE past a
          few more TRICK OR TREATERS. As he walks, he sees a HUSBAND
          and WIFE get into a car in their costumes, a HUNKY DOCTOR and
          a SEXY NURSE.
                         
                                             HUSBAND
                    Oh hell, I can't find my keys.
                         
                                             WIFE
                    We're going to be late.
                                                                   51.
                         
                         
          The husband runs inside. The Shape watches the wife alone in
          the passenger side of the car. Vulnerable. CRICKETS CHIRP.
                         
          She looks up toward The Shape.
                         
                                             WIFE (CONT'D)
                    Hello?
                         
                                             HUSBAND
                    Let's go, baby.
                         
          The Husband reappears and The Shape steps off as they drive
          away. We follow The Shape as he moves to the next HOUSE...
                         
          Inside, a WOMAN (40), hands candy to trick or treaters. -- A
          PRINCESS, a UNICORN, and AN ALIEN.
                         
                              TRICK OR TREATER
                    Trick or treat!
                         
                                             WOMAN
                    Wow! Look at you, all dressed up.
                         
          She gives them the remainder of the candy in her bowl.
                         
                                             WOMAN (CONT'D)
                    You guys are my last customers for
                    the night. Happy Halloween!
                         
          The trick or treaters walk off and the woman closes the door
          and turns off the porch light.
                         
          POV as we see inside a LIVING ROOM WINDOW. A TELEPHONE RINGS.    
          The woman enters, answers the phone and turn on a LAMP--
                         
          The Shape exits his own POV as our images settles on a view
          through the window.
                         
          The woman inside talks on the phone to someone who has heard
          about the escaped mental patient and lowers the horizontal
          blinds. As she does, The Shape appears behind her. She turns
          and screams. He cuts her throat. She drops dead into our
          frame as blood spills from her neck.
                         
                         
          EXT. HIGH SCHOOL. PARKING LOT. NIGHT.
                         
          COSTUMED KIDS walk through the parking lot. MUSIC THUMPS
          from the Halloween Dance Party in the gymnasium.
                         
          Allyson and Cameron approach the party in their costumes. In
          a spin on the obvious, Cameron is Bonnie and Allyson is
          Clyde.
                                                                     52.
                         
                         
          Cameron turns away from the crowd. He laughs.
                         
                                             ALLYSON
                    What's wrong?
                         
                                             CAMERON
                    Nothing. It took me a whole year to
                    get up the nerve to ask you out and
                    now look what I'm willing to do to
                    impress you.
                         
                                             ALLYSON
                    I know. I respect that. You look
                    good. You look amazing.
                         
          She straighten his wig a little bit.
                         
                                             CAMERON
                    So do you. Total criminal.
                         
          A flirtatious look between them. She give him a kiss.
                         
          Oscar rushes up dress as A VAMPIRE WITH SUNGLASSES.               
                         
                                             OSCAR
                    You guys! Daaayum, you look good.
                    Hey, I got a twelve pack stashed
                    and gin in this flask. Who wants to
                    party with Oscar?
                         
          He hands Cameron a flask and pulls him away. Cameron hides
          the flask in his pocket and laughs.
                         
                                             CAMERON
                    We're gonna have a good time,
                    right?!
                         
          Allyson smiles at Cameron as he is consumed by the crowd.
                         
                         
          INT. HIGH SCHOOL. GYM. LATER.
                         
          The party in progress. Music is rockin'. DJ spins, people
          dancing, cheerleaders in routine, ect.
                         
          Allyson and Cameron are laughing. Oscar takes pictures with
          an OLD-SCHOOL FLASH CAMERA.
                         
          Allyson looks at her phone. It's Vicky. Cameron notices.
                                                                     53.
                         
                         
          INT. HIGH SCHOOL. HALLWAY. NIGHT.
                         
          Allyson speaks on her cell outside the gym while the dance
          continues. Girls adjust their costumes behind her.
                         
                                             ALLYSON
                                       (INTO PHONE)
                    I'm sad you're not here. It's
                    ridiculous. It's actually a lot
                    easier for me to talk to people
                    when I can't tell who they are.
                         
                              VICKY (O.S.)
                    See. I told you. How's Cameron?
                    Looking hot in my skirt?
                         
                                             ALLYSON
                    We're having a good time. I think                       
                    he's sweet.
                         
          Allyson's phone vibrates. She looks. "Grandmother". She sends
          it to voice mail.
                         
                         
          INT. LIVING ROOM. BABY-SITTER'S HOUSE. NIGHT. (INTERCUT)
                         
          Vicky eats popcorn. The kid she is baby-sitting, JULIAN (9),
          is watching a horror film.
                         
                                             VICKY
                    You guys should just come over here
                    when it's done. Dave's on his way.
                    He's bringing beer. Julian's
                    parents aren't gonna be home till
                    late.
                         
                         
          INT. KITCHEN. BABY-SITTER'S HOUSE. NIGHT. (INTERCUT)
                         
          We see Vicky walk through the kitchen on her phone. She opens
          the fridge and grabs a cider.
                         
                              ALLYSON (O.S.)
                    School night though.
                         
                                             VICKY
                    Listen, I gotta tuck this cute
                    little critter in to bed. Stop
                    being a needy bitch and get over
                    here.
                         
                              ALLYSON (O.S.)
                    Sounds good. See ya in a bit.
                                                                   54.
                         
                         
          Julian appears.
                         
                                             JULIAN
                    I heard you telling your friends to
                    come over here and you're drinking
                    beer. That's against the rules. I'm
                    telling my mom.
                         
          He heads back toward the living room. She follows.
                         
                                              VICKY
                    Well, I've seen your browser
                    history, Julian. Wouldn't want me
                    telling your folks about that,
                    would you?
                         
          Panicked, Julian shakes his head `no'.
                         
                                             VICKY (CONT'D)
                    -And up late watching horror movies
                    is not what you're supposed to be
                    doing either.
                         
          She pats his head.
                         
                                             VICKY (CONT'D)
                    Get to bed, you little monster.
                         
          Vicky chases Julian up the stairs.
                         
                         
          INT. BEDROOM. BABY-SITTER'S HOUSE. NIGHT.
                         
          Vicky kisses her hand and touches it to his forehead.
                         
                                             JULIAN
                    Will you leave the door open? Just
                    a crack?
                         
          She leaves the door open a crack to let some light in.
                         
                                             VICKY
                    Goodnight, critter.
                         
                         
          INT. KITCHEN. BABY-SITTER'S HOUSE. NIGHT.
                         
          Vicky turns on the sink and starts doing dishes. The water is
          loud as she hand-washes a few pots and plates.
                         
          As she washes dishes we move our focus past Vicky out the
          window to a clothes line of sheets gently flapping in the
          breeze.
                                                                  55.
                         
                         
          Something suddenly MOVES BEHIND THE SHEETS-- the sheets whip
          quickly, disturbed.
                         
          Vicky looks up, turning off the faucet. She focuses out the
          window beyond the sheets into the darkness of the backyard...
                         
          Keeping her eye outside, she walks to the door. Suddenly--
                         
          A LOUD BANG on the glass of the door window. Vicky shrieks as
          Dave's smiling face appears.
                         
                                             VICKY
                    Jesus Dave! You scared the shit out
                    of me.
                         
          She unlocks. He's dressed as A FARMHAND with a straw hat. He
          carries a jack-o-lantern with hearts for eyes.
                         
                                             DAVE
                    Sorry. I've been knocking on the
                    front door for five minutes. I
                    didn't wanna ring the bell and wake
                    the kid. Check it out. Fresh from
                    my patch.
                         
          Vicky shakes off her nervousness and laughs.
                         
                                             VICKY
                    Julian just went to bed.
                         
                                             DAVE
                    So we have the house to ourselves?
                         
                                             VICKY
                    Allyson and Cameron are gonna head
                    over in a few.
                         
                                             DAVE
                    Should we make popcorn? Wanna watch
                    TV?
                         
                                             VICKY
                    No.
                         
          Dave and Vicky smile at each other. She leans in for a kiss.
                         
                                             DAVE
                    Hold on a sec. Check this out. I
                    did this for you.
                         
          He pulls back his flannel to reveal the fresh ink and dried
          blood of a new tattoo... `10-31-18' on his right shoulder.
                                                                 56.
                         
                         
                                              DAVE (CONT'D)
                    Because tonight is the night. And
                    this is tonight's date which is
                    Halloween.
                         
                                             VICKY
                    Oh fuck yeah.
                         
                         
          INT. LAURIE'S CAR. NIGHT. (MOVING)
                         
          Driving down the street, Laurie listens to the police
          scanner. She's alert, anxious, looking around. Noticing the
          Trick-or-treaters run by.
                         
                         
          INT. LIVING ROOM. BABY-SITTER'S HOUSE. NIGHT.
                         
          Vicky and Dave make out passionately. Dave has his hand up
          her shirt. Vicky tense up.
                         
                                             VICKY
                                       (WHISPERING)
                    Shhh... stop. Dave. What was that?
                         
          Dave stops. He looks around.
                         
                                             DAVE
                    What? What was it?
                         
                                             VICKY
                    I don't know. I heard something.
                         
                                             DAVE
                    It's nothing. It's Julian taking a
                    dump or somethin'. C'mon...
                         
          They hear a door close and she stops him.
                         
                                             VICKY
                    I'm serious. Go see.
                         
                                             DAVE
                    Go see him take a shit?
                         
                                                VICKY
                    Go!
                         
          He composes himself and turns just as Julian appears at the
          bottom of the stairway. The sight of him makes Dave flinch.
                         
                                                DAVE
                    Oh fuck me
                                                                  57.
                         
                         
                                             VICKY
                                       (LAUGHS)
                    Julian?
                         
          Vicky hurries over to him, kneels at his level.
                         
                                             VICKY (CONT'D)
                    What are you doing up?
                         
                                             JULIAN
                    I saw someone in the hallway,
                    standing outside my door.
                         
                                             DAVE
                    Aww, bro! Ghosts and goblins?
                         
                                             JULIAN
                    Shut up, Dave! I heard him
                    breathin' then I saw him. He's in
                    here. The Boogeyman's in the house!
                         
          Vicky ushers Julian out.
                         
                                             VICKY
                    Come on. Let's go see this
                    creature, then get you back to bed.
                         
          She takes Julian out.
                         
          Dave shakes his head. He pulls a joint from his pocket and
          steps outside the kitchen to smoke it. He notices the garage
          has an open door. The light is on. He heads towards it.
                         
                         
          INT. HALLWAY. BABY-SITTER'S HOUSE. NIGHT.
                         
          ANGLE DOWN DARK HALLWAY. At the far end we see Vicky and
          Julian standing there. Julian points.
                         
                                             JULIAN
                    He was standing in the door right
                    there. I closed my eyes. When I
                    opened them, he was gone.
                         
          From behind Vicky and Julian's shoulders, we see that
          Julian's door is open.
                         
                                             VICKY
                    That's the last time I show you a
                    scary movie.
                         
          We stay with Julian as Vicky glides into the hall sliding on    
          her SOCKS. She sock-skates into his bedroom.
                                                                 58.
                         
                         
          Julian waits a moment as a wall clock TICKS.
                         
                                                JULIAN
                    Vicky?
                         
          He sees his bedroom light turn on.
                         
                              VICKY (O.S.)
                    All clear, little dude.
                         
          Vicky pops her head out of his bedroom.
                         
                                             VICKY (CONT'D)
                    Nothing to be afraid of.
                         
                         
          INT. GARAGE. BABY-SITTER'S HOUSE. NIGHT.
                         
          Dave takes a hit and looks around the shed. A bad ass old
          MOTORCYCLE collecting dust.
                         
                                                DAVE
                    Sick bike.
                         
          He walks over and sits down on it.
                         
                         
          INT. BEDROOM. BABY-SITTER'S HOUSE. NIGHT.
                         
          Vicky sits on the bed with Julian. She shuts off the bedside
          lamp. The glow of an aquarium gives light.
                         
                                             JULIAN
                    Will you turn on the closet light?
                         
          She look to the closet door then turns to Julian.
                         
                                             VICKY
                    Then you go to sleep for real.
                         
          She tucks him in and heads for the closet.
                         
          AT THE CLOSET. She opens the closet door. She reaches in for
          the light switch and turns it on.                               
                         
          The light REVEALS: THE SHAPE STANDING IN THE CLOSET.            
                         
                         JULIAN SEES:
                         
                                                JULIAN
                    Oh shit!!!
                         
          Before she can react, The Shape grabs her neck with one hand
          and brings the knife down with the other hand.
                                                                  59.
                         
                         
          The knife STABS VICKY'S SHOULDER-- the blade cuts down her
          arm.
                         
          Vicky pushes away from The Shape and falls backwards.
                         
          Julian SCREAMS and scrambles toward the door, RUNNING...
                         
          The Shape turns...
                         
                         
          INT. GARAGE. BABY-SITTER'S HOUSE. NIGHT                          
                         
          Dave revs the motor-cycle and looks up as he hears distant
          screams. He turns off the bike and listens. He gets off and
          accidentally knocks the bike over.
                         
                                             DAVE
                    Aww. Idiot.
                         
          He struggles to pull it back up.
                         
                         
          INT. HALLWAY. BABY-SITTER'S HOUSE. NIGHT.
                         
          Julian runs down the stairs.
                         
          Vicky darts out of his bedroom, but HER SOCKS INSTANTLY SLIP
          out from underneath her on the wood floor. She lands hard--
          knocking the breath out of her.
                         
          Julian runs back up the stairs and looks back.
                         
          BEHIND VICKY, The Shape appears from the bedroom, the glint
          of his knife catches the light.
                         
                                              JULIAN
                    Nope.
                         
          He turns and runs again.
                         
          The Shape steps towards Vicky. She rolls over and SHRIEKS.
                         
          The Shape grabs her feet and pulls her back into the room.
                         
                                              VICKY
                    RUUUUN!!
                         
                         
          INT. KITCHEN. BABY-SITTER'S HOUSE. NIGHT.
                         
          Julian dashes through the kitchen right into Dave as he steps    
          back inside. Julian screams in his face.
                                                                  60.
                         
                         
                                             DAVE
                    Dude! Chill. Why are you
                    screechin'?
                         
                                             JULIAN
                    There's a man up there!
                         
                                             DAVE
                    There's no man up there.
                         
                                             JULIAN
                    You go up there, you're gonna get
                    killed, Dave!
                         
          Julian runs out the door.
                         
          Dave shakes his head and grabs A LARGE KITCHEN KNIFE             
          playfully. He adjusts his straw hat.
                         
                                             DAVE
                    Oh yeah? Come get some Dave.
                         
                         
          INT. HIGH SCHOOL. GYM. NIGHT.
                         
          Oscar chows down on a giant pickle at the catering table.
          Allyson smiles as she dances with some friends.
                         
          She notices Cameron talking to a girl in a black cat costume,
          KIM. Cameron is still in drag. His back is to Allyson. A
          moment of jealousy strikes Allyson's face. THEN...
                         
          The girl takes his hand, leans in and kisses Cameron's neck.
          The two turn around and Cameron looks up to see a visibly
          upset Allyson. He pulls away from Kim.
                         
                                             CAMERON
                    Allyson. Come here!
                         
          Her head shakes "no". He nods "yes". She shakes "no". He
          takes a discreet pull from his flask, whispers something to      
          Kim, then he walks across to where Allyson stands.
                         
                                             ALLYSON
                    What are you doing? What was that?
                         
                                             CAMERON
                    I just need a kiss from you.
                         
                                             ALLYSON
                    Looks like you just got one from
                    Kim?
                                                                  61.
                         
                         
                                             CAMERON
                    That was nothing.
                         
                                             ALLYSON
                    Really?
                         
                                             CAMERON
                    Yeah. Every time I turn around,
                    you're in your phone. Looking at                       
                    it, texting with people, talking
                    with people. It sucks. And I didn't
                    do anything with Kim. She came up
                    to me. Gave ME a kiss. Don't cry
                    about it.
                         
                                             ALLYSON
                    You're drunk. Oscar got you fucked
                    up.
                         
                                             CAMERON
                    Come 'ere. Come on.
                         
          He grabs her arm and pulls her toward him.
                         
                                             ALLYSON
                    Don't.
                         
          Her phone vibrates. She looks: "Mom". Cameron looks pissed.
                         
                                             CAMERON
                    See! This piece of shit.
                         
          He grabs her phone and throws it into a massive bowl of nacho
          cheese on the catering table.
                         
                                             ALLYSON
                    What the fuck?!
                         
                         
          INT. LAURIE'S CAR. NIGHT. (MOVING)
                         
          Laurie listens to the police scanner. A call on the radio
          gets her attention:
                         
                              DISPATCH (O.S.)
                                       (OVER RADIO)
                    Base to all units. Intrusion in
                    progress at 707 Meridian Avenue.
                         
                              OFFICER HAWKINS (O.S.)
                                       (OVER RADIO)
                    Copy.
                         
          Laurie takes off down the road, determined.
                                                                 62.
                         
                         
          EXT. BABY-SITTER'S HOUSE. NIGHT.
                         
          Hawkins pulls his squad car quietly to a stop and moves to
          the back of the house with his gun drawn.
                         
                         
          EXT. BACKYARD. BABY-SITTER'S HOUSE. MOMENTS LATER.
                         
          Hawkins looks up and down... Listening intently.
                         
          He looks to the backyard and sees the clothes line, now with
          only ONE SHEET blowing in the breeze.
                         
          The back door is open.
                         
                         
          INT. KITCHEN. BABY-SITTER'S HOUSE. MOMENTS LATER.
                         
          Hawkins enters, weapon drawn and flashlight shining. All is
          silent. He calls out:
                         
                                             OFFICER HAWKINS
                    Haddonfield Sheriff's department.
                    Responding to a domestic
                    disturbance!
                         
          He holds his gun with arms outstretched.
                         
                              OFFICER HAWKINS (CONT'D)
                    I repeat! This is Officer Hawkins.
                    Please respond!
                         
          The kitchen is empty. He hears the sound of the television
          coming from another room.
                         
                         
          INT. HALLWAY. BABY-SITTER'S HOUSE. NIGHT.
                         
          ANGLE ON THE STAIRCASE. Hawkins heading up. He creeps around    
          the corner...
                         
                         
          INT. BEDROOM. BABY-SITTER'S HOUSE. NIGHT.
                         
          Hawkins stands in the door of Julian's room. The glowing of
          the aquarium illuminates. He eyes a jack-o-lantern with a
          candle in it on the toy shelf.
                         
          In the middle of the room sits a figure with a white sheet
          covering it like a ghost.
                         
                                             OFFICER HAWKINS
                    Hands on your head. Come out NOW!
                                                                    63.
                         
                         
          He enters. Gun aimed at the ghost.
                         
          Hawkins steps to the white sheet.
                         
          Hawkins aims...
                         
          Hawkins carefully pulls the sheer off- REVEALING VICKY in the
          beam of his flashlight. Stab wounds have gashed her. The         
          horror hits him.
                         
                         
          EXT. BABY-SITTER'S HOUSE. CONTINUOUS.
                         
          Laurie arrives. She uneasily scans the neighborhood;
          surveying the street, the shadows, pumpkins on porches.
                         
          A firecracker POPS and she flinches.
                         
          She turns and sees the silhouette of a small WITCH standing
          way down the street, lighting firecrackers-- POP POP.
                         
          Two more silhouettes join the Witch, a SKULL HEAD and a
          PUMPKIN HEAD, and they turn and run with their candy bags.
                         
          Laurie shifts her eyes... looks upstairs.
                         
          A light turns on in the bedroom window. Hawkins is in the
          window of the crime scene.
                         
          She turns to the window of the next room.
                         
          The Shape stands staring at Laurie. The sight of him makes
          Laurie's heart drop. She GASPS. The look between the two has
          forty years of tension.
                         
          Laurie raises her gun and fires. It's a direct hit at her
          target, but it is revealed that it represents just the           
          reflection of The Shape in a mirror.
                         
                         
          INT. HALLWAY. BABY-SITTER'S HOUSE. CONTINUOUS.
                         
          Hawkins jolts at hearing the gunshot. He sees The Shape
          walking down the stairs.                                         
                         
                                             OFFICER HAWKINS
                    Stop or I'll fire!
                         
          The Shape continues and Hawkins open fire-- BAM! BAM!
                         
          The Shape disappears.
                         
          Hawkins chases downstairs after him.
                                                                   64.
                         
                         
          INT. HALLWAY. BABY-SITTER'S HOUSE. CONTINUOUS.
                         
          Hawkins glances around the corner. He sees a trail of blood
          on the floor.
                         
          He steps into the living room. He sees DAVE-- DEAD-- a large
          knife pins him through the neck with his face smashed into
          the wall like a ceremonial slaying. The blood from Dave's        
          fresh tattoo oozes from his shoulder.
                         
          Hawkins is horrified and slips on the bloody floor.
                         
                         
          EXT. BABY-SITTER'S HOUSE. CONTINUOUS.
                         
          Laurie scans the yard.
                         
          The Shape appears around the corner of the house, walking
          toward the back gate.
                         
          Laurie raises her gun. She fires-- PAP.
                         
          The Shape is hit in the back of the shoulder and falls
          forward out of frame around the corner of the house.
                         
          Laurie runs toward to the corner, gun still aimed. She turns
          the corner.
                         
          He is gone.
                         
          Just then, Hawkins appears and whispers to Laurie.
                         
                                             OFFICER HAWKINS
                    Where is he?!
                         
          Laurie is started, turns and punches Hawkins in the face with
          her fist. He drops.                                              
                         
                                             LAURIE
                    Fuck! Jesus! What the fuck?!
                         
          Hawkins sits up and rubs his bruised jaw.
                         
                                             LAURIE (CONT'D)
                    Don't creep up on a girl in the
                    dark unless you want to get
                    punched.
                         
                                             OFFICER HAWKINS
                    You were told to go home.
                         
                                             LAURIE
                    I shot him! I almost shot you too.
                                                                  65.
                         
                         
          Hawkins recovers and walks into the street. He sees nothing.
                         
                                             OFFICER HAWKINS
                    Did you see which way he went?
                         
                                             LAURIE
                    No. But do me do me favor. If you
                    find him before I do, finish him.
                         
                                             OFFICER HAWKINS
                    Sure. Sure. You get a license for
                    that fire arm, lady?
                         
                                             LAURIE
                    I do. And this one too.
                         
          Laurie pulls a Glock 34 out of her pocket.
                         
          Hawkins raises an eyebrow.
                         
                         
          EXT. NEIGHBORHOOD. MOMENTS LATER.
                         
          MONTAGE: POLICE CARS, OFFICERS and DOGS search the street for
          The Shape.
                         
          Sheriff Barker pulls up in his unmarked vehicle.
                         
                                             SHERIFF BARKER
                    Hawkins, look who's up!
                         
          Sartain steps out of the passenger side with his left arm in
          a sling.
                         
                              DR. SARTAIN
                    Where is he?
                         
                                             OFFICER HAWKINS
                    You tell me.
                         
                         
          EXT. NEIGHBORHOOD. MOMENTS LATER.
                         
          Hawkins and the Sheriff speak with Dr. Sartain. Sartain is in
          visible pain and discomfort.
                         
                              DR. SARTAIN
                    The bus lost control after Michael
                    overtook the first guard, then the
                    driver. He is no longer dormant. I
                    saw him kill with my own eyes. He
                    only knows how to keep moving and
                    to keep killing and he will kill
                    again unless he is captured.
                                                                   66.
                         
                         
                                             SHERIFF BARKER
                    What I want to know is why he
                    didn't kill you?
                         
                              DR. SARTAIN
                    I tried to hide, but he found me.
                    Locked me to a seat. He looked down
                    at me. I closed my eyes and when I
                    opened them, he walked away.
                         
          Barker looks to Hawkins.
                         
                                             SHERIFF BARKER
                    Hawkins, come talk to me for a
                    second. Doctor, please wait here.
                         
          The Sheriff and Hawkins walk away speaking discretely.
                         
                              SHERIFF BARKER (CONT'D)
                    He's an asset.
                         
                                              OFFICER HAWKINS
                    He's not an asset, he's a
                    liability.
                         
                                             SHERIFF BARKER
                    You're going to take him. He knows
                    Myers better than anyone.
                         
                                             OFFICER HAWKINS
                    You want me to take this injured
                    civilian to search for a
                    psychopathic serial killer?
                         
                                             SHERIFF BARKER
                    You were right. I was wrong. We're
                    clearing the streets. Patrol cars
                    on every corner. I'm going
                    statewide with this. Let's find
                    this son of a bitch. You hear me?
                         
                              LAURIE (O.S.)
                    Sheriff Barker, Officer Hawkins?
                         
          They look back. Laurie is walking over.
                         
                                             OFFICER HAWKINS
                    We don't need your help right now,
                    Ms. Strode.
                         
          Sartain sees Laurie and approaches. He recognizes her.
                         
                              DR. SARTAIN
                    Excuse me, officers.
                                                                  67.
                         
                         
          Laurie stops.
                         
                                             SHERIFF BARKER
                    Laurie Strode, meet Dr. Sartain.
                         
                              DR. SARTAIN
                    I'm Michael's doctor. Ranbir
                    Sartain.
                         
                                             LAURIE
                    You're the new Loomis. I can tell
                    by the classy accent.
                         
                              DR. SARTAIN
                    I've read everything about you in
                    his case files. Do you know our
                    friend Mr. Hawkins here was the
                    responding deputy when Michael was
                    apprehended in 1978?
                         
          Barker glances curiously at Sartain.
                         
                              DR. SARTAIN (CONT'D)
                    He lawfully stood between doctor
                    Loomis' vindictive tirade and the
                    right to a fair trial.
                         
                                             LAURIE
                    Loomis calling for his execution
                    didn't persuade you?
                         
                                             OFFICER HAWKINS
                    I used to believe that due process
                    balanced the power of the law of
                    the land. I'm not so sure anymore.
                         
          Sartain turns and walks to the passenger seat of Hawkins'
          car, leaving Laurie standing with Hawkins and Barker.          
                         
                                             LAURIE
                    I prayed everyday that he would
                    escape.
                         
                                             OFFICER HAWKINS
                    What the hell did you do that for?
                         
                                             LAURIE
                    So I could kill him.
                         
          The Sheriff shakes his head.   Hawkins considers this for a
          moment.
                                                                 68.
                         
                         
                                             OFFICER HAWKINS
                    Well, that was a dumb thing to pray
                    for...
                         
          As he gets into his car...
                         
                              DR. SARTAIN
                    Will you come with us?
                         
                                             LAURIE
                    No. I need to protect my family.
                         
                                             SHERIFF BARKER
                    We have you covered, ma'am.
                         
                         
          EXT. HIGH SCHOOL. FOOTBALL FIELD. NIGHT.
                         
          Allyson tries to get her phone to work. Dried cheese chunks
          in the charger port. Cameron jogs up. Wig in hand. He's
          drunk.
                         
                                             CAMERON
                    Just put it in a bag of rice. It'll
                    be fine.
                         
                                             ALLYSON
                    I leave you alone for literally two
                    minutes and you run to talk to the
                    one girl that stresses me out. Then
                    you break my phone?!
                         
                                             CAMERON
                    Listen. I had too much gin. I told
                    you. Kim was talking to me. She
                    came on to me. I'm trying to be
                    respectful that she still has
                    feelings. I'm sorry. She already
                    has eating issues and I don't want
                    to make it worse. What was I
                    supposed to do?
                         
          She looks at her phone.
                         
                                             ALLYSON
                    It's ruined. It's totally sticky
                    with fucking Velveeta on it.
                         
                                             CAMERON
                    Good! Now we actually have to blab
                    to each other. Seriously. Let's
                    have some fun. Please. If we don't
                    this is a completely degrading
                    experience. I'm serious.
                                                                    69.
                         
                         
          Cameron looks heartbroken, frustrated. She smiles. He leans
          in for a kiss.
                         
          At that moment, a SPOTLIGHT shines on them.
                         
          TWO PATROL CARS pull up in front of the football field.
                         
          FOUR COPS pull out flashlights and approach Cameron and
          Allyson.
                         
                                             OFFICER #1
                    You guys gotta clear out of here.
                    Party's over! Gotta clear out!
                         
                                             OFFICER #2
                    Curfew has been put into place.
                    It's not safe! You guys need a ride
                    home?
                         
                                             ALLYSON
                    What's happening? Why aren't we
                    safe? Why do we need to go?
                         
                                             OFFICER #1
                    Because I fuckin' said so. It's not
                    safe to be on the streets. We need
                    you to get home. Now.
                         
                                             ALLYSON
                    We were just leaving-
                         
          Cameron interrupts.
                         
                                             CAMERON
                    No we weren't. Dude. We're in the
                    middle of a fight and we were at
                    the point of a breakthrough when
                    you shined that goddamn flashlight
                    in my face! Why you gotta be dicks-
                         
                                               ALLYSON
                    Cameron!
                         
          The cops look at each other and then engage.
                         
                                             OFFICER #1
                    You okay ma'am?
                         
                                             OFFICER #2
                    Who's your smart ass friend? Come
                    here!
                                       (RECOGNIZES HIM)
                    Cameron Elam? Of course. Elams
                    always running their mouths.
                                                                 70.
                                             OFFICER #2 (CONT'D)
                    It's been about 48 hours since we
                    got a complaint about your place.
                         
                                              CAMERON
                    Oh yeah?
                         
                                             OFFICER #2
                    That's a pretty dress you got on.                   
                    Your mom dress you up like that?
                         
          The officers start laughing. Cameron shifts darker.
                         
                                             CAMERON
                    Go fuck yourself.
                         
                                             OFFICER #2
                    What did you say?
                         
                                             CAMERON
                    You say anything about my family
                    again and I'll-
                         
                                             OFFICER #2
                    I know exactly what you'll do.
                    Assault a police officer. You'll
                    sit on the roof of your garage and
                    throw rotten eggs at me like you
                    did last time.
                         
                                             CAMERON
                    I was ten years old and made you
                    look like a bitch in front of your
                    entire department.
                         
          The Officer slams Cameron to the ground. Oscar shows up. A
          dozen KIDS behind him.
                         
                                             OSCAR
                    Cameron? What's up dude? Are you
                    being misunderstood again. This is
                    a heartbreaking case of mistaken
                    identity Your Honor.
                         
                                             OFFICER #2
                                       (IGNORING OSCAR)
                    Take him in. He's drunk off his ass
                    on school grounds. We don't have
                    time for this shit.
                         
          Allyson can't believe it.
                         
                                             CAMERON
                    Are you serious? Are you fucking
                    serious?!! Allyson!
                                                                  71.
                         
                         
          Cameron looks to Allyson only she's pissed and turns away.
          Cameron looks to Oscar.
                         
                                             OFFICER #2
                    Who's the little bitch now?
                         
                                             CAMERON
                    Oscar! Get her home safe, man.
                         
                                             OFFICER #1
                    Party's over!
                         
                                             CAMERON
                    Get her home!
                         
          Oscar and Allyson take off through the bleachers.
                         
                         
          INT. NELSON HOUSE. NIGHT
                         
          Shanah opens the door and finds Laurie.
                         
                                             SHANAH
                    Mom! Do we have to do this-
                         
          Shanah notices FOUR POLICE OFFICERS in the street behind her.
                         
                                             LAURIE
                    I never wanted you to be scared,
                    baby. Never. Just prepared.
                         
          Laurie takes her hand.
                         
                                             LAURIE (CONT'D)
                    Where's Allyson?
                         
          Shanah throws her mother a look of concern.
                         
                                             LAURIE (CONT'D)
                    Where's Allyson?!
                         
                         
          INT. NELSON HOUSE. LIVING ROOM. MOMENTS LATER.
                         
          Shanah on the phone:
                         
                                             SHANAH
                                       (INTO PHONE)
                    Allyson, you need to call me the
                    second you get this. The police
                    said the dance was evacuated and I
                    haven't heard from you. We're
                    heading to your Grandmother's
                    house. We're worried about you.
                                                                 72.
                         
                         
          Shanah hands the phone to Laurie to speak:
                         
                                             LAURIE
                                       (INTO PHONE)
                    Where are you, baby? There are
                    police officers at your house. Get
                    to them and they'll bring you to
                    us. We're all together now. We love
                    you...
                         
          Her dialog bleeds over image of the next scene.
                         
                         
          EXT. NEIGHBORHOOD. NIGHT.
                         
          Oscar and Allyson walk down the sidewalk. Oscar carries a
          case of beer.
                         
                              LAURIE (O.S.)
                    Wherever you are... It's not safe
                    outside tonight.
                         
                                             OSCAR
                    This is an amazing night, right?!
                    Don't you just love Cameron?
                         
                                             ALLYSON
                    No. I think he's a jerk.
                         
                                              OSCAR
                    He's cool. So bad ass. But I can
                    tell you're pissed about your
                    phone. He plopped it into the chili
                    con queso.
                                       (BEAMING)
                    Classic Cameron!
                         
                                             ALLYSON
                    I'm tired of people letting me
                    down. You give them the benefit of
                    the doubt and think they're going
                    to be different, but then they show
                    you who they truly are. Cameron
                    doesn't want people to judge him,
                    but then he acts like a jerk. Gets
                    drunk, gets arrested.
                         
          Oscar stops. She turns.
                         
                                             OSCAR
                    You deserve better. You're the
                    smartest, most beautiful girl at
                    school. Anyone that doesn't
                    appreciate that is crazy.
                                                                  73.
                         
                         
          She considers this and smiles.
                         
                                             ALLYSON
                    Thanks Oscar, that's sweet.
                         
                                             OSCAR
                    Check it out. 5.0. Let's detour
                    this rendezvous.
                         
          HAWKINS' SQUAD CAR drives by just as Allyson and Oscar cut
          between two houses.
                         
                         
          INT. HAWKINS' SQUAD CAR (MOVING). NIGHT.
                         
          Hawkins is patrolling the streets. Dr. Sartain rides shotgun
          and holds a spotlight scanning for signs of Myers.
                         
                                             OFFICER HAWKINS
                    From a clinical perspective, would
                    you say that Laurie Strode has lost
                    her fucking marbles?
                         
                              DR. SARTAIN
                    There are many ways for tragedy to
                    change a victim. They can grow
                    accustomed to always being afraid.
                    They can become weak or they can
                    become strong. But there is also
                    the other side.
                         
                                             OFFICER HAWKINS
                    What side is that?
                         
                              DR. SARTAIN
                    The core of the victimizer. This is                   
                    what has intrigued me through my
                    studies. How does a crime like
                    Michael's change him? What is he
                    feeling? Is he on a random path or
                    is he emotionally driven? Triggered
                    by something. Some unheard marching                   
                    order imprinted on his very being?
                    Evil incarnate. Michael and I had a
                    special connection, but without his
                    verbal participation there was a
                    side of his mad journey that I
                    could never understand.
                         
                                             OFFICER HAWKINS
                    Walk a mile in another man's shoes,
                    or something like that, right? Not
                    for me, brother.
                                                                   74.
                         
                         
                              DR. SARTAIN
                    Tell me what become of his
                    childhood home.
                         
                                             OFFICER HAWKINS
                    That old place was a shrine kinda-
                    thing but for serial killer
                    groupies and death metal bands.
                    Vandals got the best of it. A local
                    organization that I work with tore
                    it down and turned it into a
                    community garden. Turned tragedy
                    into beauty if you can consider it.
                         
                         
          EXT. NEIGHBORHOOD. BACKYARD. NIGHT.
                         
          Oscar jumps over the BLACK IRON FENCE into a backyard. He
          awkwardly handles his beer. He sets it down and looks around.
          In the moonlight, he makes out the fence way at the opposite     
          end. Allyson climbs up to cross over.
                         
                                             OSCAR
                    Watch out for the poison ivy. It's
                    all over.
                         
                                             ALLYSON
                    This is a dumb short cut.
                         
                                             OSCAR
                    Treacherous. Let me give you a
                    hand.
                         
          Oscar reaches up to help her down from the fence. She almost
          slips. He catches her and lowers her down safely.
                         
                                             ALLYSON
                    Thanks.
                         
          He doesn't let go. He grins at her.
                         
                                             ALLYSON (CONT'D)
                    What? What are you doing?
                         
                                             OSCAR
                    You deserve better.
                         
          He awkwardly leans in to kiss her on the lips.
                         
                                             ALLYSON
                    Ew. Oscar. What the fuck?!
                         
          She pushes him off. Oscar realizes what just happened.
                                                                    75.
                         
                         
                                             OSCAR
                    Wait, I thought you said you
                    weren't with Cameron anymore.
                         
                                             ALLYSON
                    Doesn't mean I want- Get away from
                    me.
                         
                                             OSCAR
                    I thought you were sending me
                    signals.
                         
                                             ALLYSON
                    Definitely no signals. Just go!
                         
          She walks off into the darkness of the yard. He follows
          desperately.
                         
                                             OSCAR
                                       (EMBARRASSED)
                    I'm sorry. Please don't tell                           
                    Cameron I did that. I didn't feel
                    anything either.
                         
          She stops and turns to face him.
                         
                                             ALLYSON
                    You're disgusting. I'm going home.
                    You need to figure your shit out.
                         
          She walks off. Leaves him standing there.
                         
          A MOTION sensor LIGHT is activated, turning on a BRIGHT YARD
          LIGHT.
                         
                                             OSCAR
                                       (TO HIMSELF)
                    I'm drunk. Like... really drunk,
                    and I got all horny at the party, I
                    was dancing with some girl, this
                    way out of my league girl and my
                    brain got all sexed up, and her
                    tits got me totally chubbed out
                    when she was feeding me guacamole
                    in sexy ways--
                         
          Oscar drops his case of beer. One of them sprays.
                         
                                             OSCAR (CONT'D)
                    SHIT!
                         
          Cans roll out. He scrambles to pick them up. He looks up and
          sees the Shape standing twenty feet away.
                                                                  76.
                         
                         
                                             OSCAR (CONT'D)
                    Happy Halloween, Mr. Elrod. Cool
                    mask. Sorry... I'm not trying to
                    trespass on your shit, I was just
                    talking to this pretty girl over
                    there. It's just... I guess, I
                    always kind of liked her. And I
                    know she's bummed out about Cameron
                    so I thought maybe... Stupid,                          
                    right?
                         
          The Shape stands. No response.
                         
                                             OSCAR (CONT'D)
                    All right. Peace. Thank you.
                         
          THE LIGHT GOES OUT.
                         
          AT THE FAR SIDE OF THE YARD, Allyson makes it to the six foot
          BLACK IRON FENCE and starts to climb. She grabs one of the       
          sharp metal spikes that jut from the top and pulls her hand.
          It's slightly precarious but she's careful to avoid the iron
          spikes as she climbs over. She drops to the other side and
          walks down an alley. Disappointed.
                         
          ON OSCAR as THE LIGHT COMES BACK ON.
                         
          Oscar looks around and sees no one.
                         
                                             OSCAR (CONT'D)
                    Yo! Where'd you go, bro? You're
                    acting super sketchy right now.
                         
          He's confused and looks over his shoulder as he walks again
          to cross the yard. He runs straight into THE SHAPE and gasps.
                         
          He drops his beer as A KNIFE RAISES. Oscar put his arm up.
                         
          THE LIGHT TURNS OFF. TOTAL BLACKNESS.
                         
          ON ALLYSON DOWN THE STREET as she hear A SCREAM. She stops.
          Looks back.
                         
          THE LIGHTS TURN BACK ON.
                         
          Oscar runs as fast as he can. He's bleeding from his forearm.
                         
          The Shape walks behind him.
                         
          Oscar gets to the fence and leaps for the top bar. He gets       
          halfway over and snags his cape.
                         
          Oscar sees The Shape drawing closer with his knife raised. He
          stabs Oscar in the back and grabs at his feet.
                                                                    77.
                         
                         
          Oscar struggles to hang on as he SCREAMS.
                         
          THE LIGHTS TURN OFF.
                         
          We faintly see Oscar as he loses the battle. His jaw gets
          impaled by the sharp iron spike of the fence.                    
                         
          TOTAL BLACKNESS.
                         
          ON ALLYSON as she walkway cautiously toward the scream.
                         
                                             AARON
                    Oscar?!! Oscar?!
                         
          In the darkness, she arrives at the fence.
                         
          THE LIGHTS COME BACK ON.
                         
          SHE SEES OSCAR. His face has been pierced from the chin
          through his mouth by one of the iron spikes at the top of the    
          fence. He chokes and gags, gargling blood.
                         
          Allyson starts to hyperventilate and turns her head to see
          the yard. For a split second she sees The Shape standing ON
          HER SIDE of the fence, holding a knife.
                         
          THE LIGHTS GO OFF. She screams and runs like hell.
                         
          Allyson runs faster than she's ever run before... Out of the
          darkness into the open neighborhood.
                         
                         
          EXT. NEIGHBORHOOD. NIGHT.
                         
          EXTREME WIDE SHOT OF THE STREET. Allyson looks to a house
          that has a light on inside. She runs up to the porch and
          pounds her fists desperately on the door.
                         
                                             ALLYSON
                    Help me!! Open the door!
                         
          Another light switches on in a window.
                         
                                             ALLYSON (CONT'D)
                    Please open the door!                                  
                         
          EXTREME CLOSE-UP as Allyson bangs on the door. A face APPEARS
          in a window.
                         
                         
          INT. POLICE CRUISER. (MOVING) NIGHT.
                         
          Laurie, Shanah and Ray ride in back. Officer Richards drives.
          Officer Francis sits in the front passenger seat.                
                                                                    78.
                         
                         
          Shanah's phone rings, "Unknown Caller".
                         
                                             SHANAH
                    Hello? - Allyson? - Thank God
                    you're all right. Where are you?!
                         
          Laurie looks at her reflection in the window as Shanah
          listens to Allyson's story.
                         
                         
          EXT. NEIGHBORHOOD. NIGHT.
                         
          Breathing. A POV hangs behind a tree. Looks left and right.
          Starts walking. Looks left.
                         
          Hawkins' vehicle appears suddenly and drives past fast.
                         
                         
          EXT. NEIGHBOR'S HOUSE. NIGHT
                         
          Hawkins pulls up as Allyson stands with a crowd of NEIGHBORS.
          She runs to him as he steps out of his car.
                         
                                             ALLYSON
                    Officer! I saw him. My friend was
                    attacked! He came out of nowhere-
                         
          Allyson breathes heavily. Hawkins comforts her.
                         
                                             OFFICER HAWKINS
                    Take a deep breath, Allyson. You're
                    going to be all right. Take a deep
                    breath.
                         
                         
          EXT. RURAL ROAD. LAURIE'S HOUSE. NIGHT.
                         
          The squad car pulls up to Laurie's gate. A HARSH overhead
          SPOTLIGHT let's us know where we are. Laurie types in a
          password and the security GATE OPENS.
                         
                                             OFFICER FRANCIS
                    We'll drop you off and wait at the
                    gate for your girl to arrive. We
                    have an officer on the scene in
                    contact with her now.
                         
          They enter.
                         
                         
          INT. LAURIE'S HOUSE. NIGHT.
                         
          Several locks and reinforcements detach as Laurie, Shanah and
          Ray step into Laurie's home.
                                                                    79.
                         
                         
          Shanah looks around the familiar house. It's been a while.
                         
          Ray and Shanah explore the various details of the interior.
          The fireplace has been sealed off with concrete, dead-bolt
          locks on interior doors, windows with security bars.
                         
                                             RAY
                    Home is where the heart is, right                      
                    Laurie?
                         
          Laurie stares at him. Ray points to a dead rat in a vicious-
          looking trap.
                         
                                             LAURIE
                    I saw your mousetraps, Ray. Peanut
                    butter and marshmallow fluff?
                         
          Shanah takes a pensive moment before she twists the kitchen
          island counter-clockwise and lifts the door to the
          underground shelter. Ray looks curious.
                         
                                             RAY
                    What's this?
                         
                                             SHANAH
                    My childhood.
                         
                                             LAURIE
                    It's how we protect ourselves.
                         
          Shanah disappears down the ladder. The light from within
          turns on. Laurie and Ray approach and look down.
                         
          INSIDE THE SHELTER:
                         
          They see a woman prepared. Food. Water. Weapons. A bed. In
          contrast to the rest of the house, it's a clean and organized
          illustration of Laurie's fears.
                         
          Shanah climbs down the ladder and feels the wave of her
          troubled youth wash over her.
                         
          Laurie and Ray come down behind her. Laurie types in a           
          password, "103178" and reveals a gun cabinet full of weapons.    
                         
                                             LAURIE (CONT'D)
                    Pick your poison. Do you need small
                    caliber defense, semi-automatic
                    ballistics with brownout rounds, a
                    shotgun for tactical operations or                     
                    a rifle with accuracy and stopping
                    power?
                         
          They look at Laurie's confidence. Or is she coming unglued?      
                                                                    80.
                         
                         
                                             LAURIE (CONT'D)
                    He's waited for this night. He's
                    waited for me. I've been waiting
                    for him.
                         
                         
          INT. HAWKINS' SQUAD CAR (MOVING). NIGHT.
                         
          Hawkins looks at Allyson in the mirror. He turns to look at
          her through the METAL barrier and talks into the radio.
                         
                                             OFFICER HAWKINS
                    601 to dispatch. I'm 1076 with a
                    witness in custody.
                         
                              DISPATCH (O.S.)
                                       (THROUGH RADIO)
                    Copy 601. Be advised. Suspect last
                    reported on 11th Avenue, South of
                    Bypass.
                         
                                             ALLYSON
                    I haven't been to her house in
                    years, but I think I can give you
                    directions from the-
                         
          Allyson's eye strain. She POINTS AND SCREAMS:
                         
                                                ALLYSON (CONT'D)
                    LOOK OUT!!
                         
          Hawkins turns and see SOMEONE walk in front of his car.
                         
                                             OFFICER HAWKINS
                                       (CALMLY)
                    Brace yourself.
                         
          He presses the gas and swerves to hit The Shape. Nails him.      
          Knocks him to the concrete.
                         
          The car screeches to a halt.                                     
                         
          Allyson cowers in the back. Hawkins checks his gun.
                         
                              OFFICER HAWKINS (CONT'D)
                    Stay in the car!
                         
                         
          EXT. NEIGHBORHOOD. CONTINUOUS.
                         
          Sartain and Hawkins get out. Hawkins has his gun drawn as he
          approaches The Shape.
                         
          Allyson watches from inside.
                                                                     81.
                         
                         
          Sartain steps up cautiously from behind Hawkins, passes him
          and examines The Shape, feeling the pulse on his neck.            
                         
                              DR. SARTAIN
                    He's alive.
                         
          Hawkins raises his gun.
                         
                                             OFFICER HAWKINS
                    Not for long. Stand back.
                         
                              DR. SARTAIN
                    Officer Hawkins, do not kill my
                    patient.
                         
                                             OFFICER HAWKINS
                    I'm finishing this.                                     
                         
          Hawkins takes aim on The Shape. Sartain stands in his way.
                         
                              OFFICER HAWKINS (CONT'D)
                    Get back, now. I'm going to fire!                       
                         
          Sartain takes a deep breath and pull his pen from his pocket.
          He clicks it nervously.
                         
                              OFFICER HAWKINS (CONT'D)
                    I'm not going to ask you again,
                    Doctor. Stand back!
                         
          Sartain slides the clip of his pen to the side. The ink point
          retracts, and A SHARP, TWO-INCH BLADE flicks out.
                         
          Sartain grips the blade, turns around, quickly grabs Hawkins
          gun hand and stabs the steel straight into Hawkins' neck!
                         
          THE GUN GOES OFF AND DROPS.
                         
          Sartain sharply slashes his throat.
                         
          Allyson's eyes go wide. She can't believe what she's seeing.
                         
          Sartain inhales the feeling of his kill. He pulls the pen out
          of Hawkins's neck, and we REVEAL: A long bloody BLADE-- CLICK
          -- the blade retracts.
                         
          Hawkins drops.
                         
          Sartain turns to Allyson looking at him from the car. He          
          speaks calmly.
                         
                              DR. SARTAIN
                    Don't move, Young lady. Do not
                    scream. Stay where you are.
                                                                   82.
                         
                         
          INT. HAWKINS' SQUAD CAR. CONTINUOUS.
                         
          FROM THE BACK OF THE CAR, Allyson watches Sartain through the
          barrier. She scrambles to get out door. Locked. She sees
          Sartain smiling at her. Then he BENDS down OUT OF SIGHT.
                         
                         
          EXT. NEIGHBORHOOD. CONTINUOUS.
                         
          Sartain squats, looking at his patient passed out. The Shape
          is motionless. Sartain puts a knee on The Shape's chest...
                         
          INT. HAWKINS' SQUAD CAR. CONTINUOUS.
                         
          Allyson sees him stand back up at the hood of the car.
          Sartain is wearing THE MASK.
                         
          Allyson huddles down, SCREAMING.
                         
          Sartain screams in the mask with her, banging on the hood of
          the car.
                         
          Allyson SCREAMS, trapped in the backseat.
                         
          Sartain stops moving. He stands still looking at Allyson,
          silent.
                         
          Allyson is crying now. Pleading:
                         
                                             ALLYSON
                    Please... Don't.
                         
          Sartain walks up to her window. He stares at Allyson and
          makes a "shush" finger on the mask, then walks over to The
          Shape.
                         
                              DR. SARTAIN
                                       (WHISPERS)
                    This is a dream.
                         
          Allyson watches out the window. She panics.
                         
                                             ALLYSON
                    No! please no! Please!
                         
          Sartain awkwardly lifts the unconscious Shape into the back
          seat with Allyson. He struggles with the pain of his wounded
          arm . His body slumps over leaning on her. She sees THE
          SHAPE'S greasy hair touch her.
                         
                              DR. SARTAIN
                    Make room, my dear. Mindful of my
                    patient.
                        (to The Shape)
                                                                  83.
                               DR. SARTAIN (CONT'D)
                    Are you with us, Michael? Are you
                    listening?
                                       (TO ALLYSON)
                    I don't believe he hears
                    everything.
                         
          Allyson pushes The Shape off of her.
                         
          Sartain takes off THE MASK and throws it in. It lands on the
          seat between her and The Shape. He closes the door.
                         
                                             ALLYSON
                                       (SCREAMING)
                    NO! GET ME OUT OF HERE! HELP!
                         
          She frantically tries to open her door. Sartain get in the
          front seat and drives off.
                         
                         
          INT. HAWKINS' SQUAD CAR (MOVING). NIGHT.
                         
          IN BACK, Allyson cowers against the door opposite The Shape.
          His face is shrouded in shadow, lit briefly as they pass
          under street lamps.
                         
          Allyson whimpers as The Shape jostles in his seat. He slowly
          starts SLIDING DOWN TOWARDS HER. She uses her feet to push
          his body away and back onto his side.
                         
          She crawls against the door watching The Shape.
                         
                              DR. SARTAIN
                    Michael, I see why you are who you
                    are. The sensation is obvious. The
                    thrill is exhilarating. Loomis was
                    a coward. He was afraid to travel
                    to such depths for you. But I love
                    you and I know you feel the same
                    way. I freed you from those
                    unwilling to understand you. Those
                    of archaic mind.
                         
          Allyson is desperate.
                         
                                             ALLYSON
                        (weeping to herself)
                    Let me go. Please.
                         
                              DR. SARTAIN
                    The look on your face when you saw                    
                    freedom? And then the carnage and
                    confusion we created?                                 
                                                                  84.
                         
                         
          She looks at Sartain's eyes in the rearview mirror watching
          her, cold, calculating, perverse. She looks down at THE MASK
          sitting on the seat between her and The Shape.
                         
                              DR. SARTAIN (CONT'D)
                    I'm glad we're together, Michael.
                         
          Allyson wipes her eyes.
                         
                                             ALLYSON
                                       (DESPERATE)
                    Please... Where are you taking me?!
                         
          Sartain chuckles and keeps driving.
                         
          Allyson looks back down. POV: the seat is empty-- NO MASK.
                         
          PAN UP FROM THE SEAT:
                         
          THE SHAPE IS WEARING THE MASK LOOKING AT HER!                   
                         
          Before she can scream, The Shape grabs Allyson's hair and
          throws her into the passenger side door.
                         
          He scoots back and lifts his leg; KICKS HIS WINDOW WITH HIS
          BOOT.
                         
          The car starts to swerve out of control as he fractures the
          glass.
                         
          The car jerks right and Allyson slams against the door...
                         
          The car skids to a stop at a slight angle in the middle of a
          rural road.
                         
          The Shape goes into a fit in the back seat.
                         
          Sartain remains calm. He looks at THE POLICE CRUISER that is    
          guarding the gate to Laurie's compound a hundred yards away.
                         
                         
          INT. POLICE CRUISER. NIGHT
                         
          Officer Richards and Officer Francis listen to rock music on
          the radio and eat food.
                         
                                             OFFICER RICHARDS
                    You know what sounds good with a                      
                    baloney sandwich?
                         
          Francis see something in the distance.
                         
                                 OFFICER RICHARDS (CONT'D)
                    ...An IPA.
                                                                  85.
                         
                         
                                             OFFICER FRANCIS
                                       (DISTRACTED)
                    What the hell?
                         
          They strain their eyes as they see the flashing lights and
          blinding headlights of the distant vehicle parked in the
          middle of the road.
                         
                         
          INT. HAWKINS' SQUAD CAR. NIGHT.
                         
          The Shape kicks the window in the back seat while Sartain
          sits calmly in the front.
                         
                              DR. SARTAIN
                    What greater spectacle than to
                    reunite two old friends. Michael
                    Myers and Laurie Strode. A
                    historical reunion.
                         
          The back seat settles. All is quiet until...
                         
                              DR. SARTAIN (CONT'D)
                    Michael. She's been waiting for
                    you. Are you ready?
                         
          SUDDENLY, the barrier from behind Sartain is thrust with
          brute strength inward. Its velocity pins Dr. Sartain against
          the steering wheel.
                         
          Allyson screams as the cage slams Sartain until he is still.
                         
                         
          INT. POLICE CRUISER. NIGHT.
                         
          The cops look at the car ahead. They can't see the commotion
          because of the glare of the lights. They turn off their
          radio. They hear the horn blaring.
                         
                                             OFFICER RICHARDS
                                       (INTO RADIO)
                    601? 606 to 601? Hawkins. Turn your
                    fuckin' radio on. Hawkins?
                         
                                             OFFICER FRANCIS
                    Let's check it out.
                         
          Officer Richards puts the car in gear.
                         
                         
          INT. HAWKINS' SQUAD CAR. NIGHT.
                         
          The Shape is out. Allyson panics in the back seat as The
          Shape grabs Sartain by the feet and drags him out of the car.
                                                                   86.
                         
                         
          His head hits the concrete hard. Sartain struggles. He is not
          unconscious yet.
                         
          The Shape takes a knee and gags Sartain against the pavement.
          He hears the loudspeaker from the police car.
                         
                                             OFFICER HAWKINS
                        (over P.A.)
                    Hawkins, please respond.
                         
          As The Shape stands to see the approaching police car,
          Allyson makes an escape and dashes into the woods.
                         
          The Shape watches her go and then looks down to an injured
          Sartain at his feet.
                         
                              DR. SARTAIN
                    But you said I could watch.
                         
          The Shape lift HIS BOOT OVER SARTAIN'S HEAD. Sartain looks at
          his own reflection in the metal side of the vehicle. A sick
          grin on the doctor's face--
                         
                                DR. SARTAIN (CONT'D)
                    Do it.
                         
          The SHAPE STOMPS DOWN ON DOCTOR SARTAIN'S HEAD. HIS SKULL
          CAVES IN-- BRAINS SHIT OUT.
                         
                         
          EXT. WOODS. NIGHT.
                         
          Allyson looks back and sees The Shape-- staring down at his      
          boot on Sartain's crushed skull.
                         
          The Shape TILTS HIS HEAD CURIOUSLY.
                         
          Allyson runs as fast as she can.
                         
                         
          INT. POLICE CRUISER. NIGHT
                         
          The squad car has stopped. Officer Richards and Officer
          Francis strain their eyes to see clearly. Richards turns on
          his SPOTLIGHT.
                         
                                               OFFICER HAWKINS
                    It's him.
                         
                                             OFFICER RICHARDS
                                       (OVER SPEAKER)
                    Hands where I can see `um! DON'T
                    MOVE!!!
                                                                   87.
                         
                         
          The light blinds The Shape who DROPS DOWN TO THE GROUND OUT
          OF SIGHT OF THE OFFICERS.
                         
                         
          EXT. ROAD/POLICE CRUISER. NIGHT
                         
          Richards and Francis have their guns draw as they step toward
          the crime scene.
                         
          They throw hand signals then move about either direction of
          Hawkins' squad car.
                         
          They take a beat to find their courage and step to the other     
          side of the squad car.
                         
          THE SHAPE IS GONE. Just the gruesome remains of Doctor
          Sartain.
                         
          They don't see The Shape rising from behind them. Behind the
          flashing light of their own squad car. WATCHING.
                         
                         
          INT. BEDROOM. LAURIE'S HOUSE. NIGHT.
                         
          Laurie looks out through the blinds of her bedroom window.
                         
                                             SHANAH
                    I'm scared. I don't know how to do
                    this.
                         
          Laurie grabs Shanah's weapon and looks her in the eye.
                         
                                             LAURIE
                    You never wanted to listen when I
                    spoke about that night... but this
                    is why. We fight to survive. He is
                    a killer. But he will be killed
                    tonight. I've been preparing for
                    this for a long time. And whether
                    you know it or not, so have you.
                         
          Shanah is scared, weeping, but shakes her head `yes'. Laurie
          sees how scared and unprepared her daughter is.
                         
                                             LAURIE (CONT'D)
                    Shanah... I'm sorry. For
                    everything.
                         
          Shanah sees her mom's eyes welling up. She hugs Laurie.
          Laurie hasn't felt this in years and hugs her as tight as she
          can.
                                                                    88.
                         
                         
          EXT. WOODS. NIGHT.
                         
          Allyson moves quickly through the woods. Bloody, tired,
          limping. She grabs a tree to catch her breath.
                         
          She sees the disturbing SILHOUETTES OF MANNEQUINS that Laurie
          used as target practice. Frozen expressions with bullet
          ridden faces all around her.
                         
                         
          INT. LAURIE'S HOUSE. NIGHT.
                         
          Ray plays with the untangled yo-yo that Laurie had at the
          community center. He watches the security camera monitors.
                         
          He sees a police cruiser slowly rolling up to the front of
          the house. It hits a couple of garbage cans and then stops.
                         
          Curious, he gets up and goes to the front door. The door has
          two small windows with color glass. He sees the cruiser with
          lights flashing.
                         
                         
          EXT. LAURIE'S HOUSE. NIGHT.
                         
          Ray steps out onto the front porch with the yo-yo as the wind
          chimes blow in the breeze.
                         
                                             RAY
                    Any word on Allyson?
                         
          No response.
                         
                                              RAY (CONT'D)
                    You guys need some coffee or
                    something?
                         
          Ray strains to see Officer Richards in the front seat of the
          cruiser. Ray waves. No response.
                         
          Ray moves toward the car, knocks on the window and then opens    
          the driver's side door.
                         
          What he sees is a mind-blowing moment of horror: Officer
          Richards has his throat slit and Doctor Sartain's pen blade
          jammed through his ear. AND- in his lap sits Officer Francis'
          head...
                         
          CARVED LIKE A JACK O' LANTERN WITH TRIANGLE EYES CUT OUT, A
          TRIANGLE HOLE WHERE HIS NOSE ONCE WAS AND A JAGGED SMILE CUT
          WITH A BLADE. A FLASH LIGHT POINTS UP THROUGH THE NECK
          ILLUMINATING THE ENTIRE NIGHTMARE.                               
                                                                    89.
                         
                         
          Ray loses his balance and takes a step back. He hears the
          familiar wind chimes.
                         
          Ray turns slowly and sees THE SHAPE step up behind him and
          instantly wrap the chain of the wind chime around Ray's neck.
                         
          He chokes and wheezes and swings his arms wildly trying to       
          save himself.
                         
          After a great struggle, he falls to the ground... Dead.          
                         
                         
          INT. LAURIE'S HOUSE. LIVING ROOM. NIGHT.
                         
          Laurie walks down the steps holding a PUMP ACTION 12-GAUGE.
                         
                                             LAURIE
                    Ray?
                         
          She steps up to the front door. She looks through the            
          distorted glass of the windows and sees in plain sight...
                         
          THE SHAPE with his back to her, standing perfectly still over
          Ray's body.
                         
          Laurie locks the door, cringes as she registers the scene and
          turns away.
                         
          She sees Shanah walk down the staircase.
                         
                                             SHANAH
                    Mom?
                         
          Laurie shakes her head and holds her finger to her lips. She
          meets Shanah in the middle of the room.
                         
                                             LAURIE
                    He's here Shanah. Michael is here.
                    Go to the shelter and hide. You'll
                    be safe there.
                         
                                             SHANAH
                    What about Ray? What about Allyson?
                         
                                             LAURIE
                    I'll take care of it. It's time.
                    Now. It all ends tonight.
                         
          Shanah nods through tears and runs to the kitchen. She spins
          the island counter clock-wise. She shares a look with Laurie
          as her mother takes position. Armed at the front door. Is
          this good-bye?
                                                                   90.
                         
                         
          Shanah disappears into the shelter and the island slides
          back, covering the secret door.
                         
          Laurie turns back toward the window with her shotgun to keep
          an eye along The Shape. Before she gets a glance, the glass
          of one window smashes.
                         
          THE SHAPE'S RIGHT ARM reaches through and grabs her by the
          side and then slides to her throat. Her weapon is useless as
          he pulls her into the door.
                         
          THE OTHER ARM punches through the other window and reaches
          desperately for her.
                         
          She spins around until her back is to the door. Her left hand
          reaches up and grabs hold of The Shape's spastic hand.           
                         
          With her right hand, Laurie PUMPS HER SHOTGUN and points it
          toward The Shape's LEFT HAND. He grabs hold of the barrel and
          she pulls the trigger. HIS LEFT HAND EXPLODES. TWO FINGERS
          disintegrated by the blast. His thumb and two others remain.     
          He lets go and his arms retreat.
                         
                         
          INT. LAURIE'S HOUSE. BASEMENT. NIGHT
                         
          Shanah hears footsteps above her. She looks and considers the
          overwhelming arsenal beside her: A crossbow, a semi-automatic
          rifle, a shotgun and a small handgun, etc.
                         
          She grabs the smallest firearm on the wall and walks to the
          base of the ladder as footsteps pace above her.
                         
          She hears the island move aside and the hinges of the door
          lift open.
                         
          She's nervous, but the gun is ready. She pulls the trigger-
          CLICK.
                         
                                             LAURIE
                    It only works if you load it,
                    Sweetheart.
                         
          She's relieved to see her mother who climbs quickly down with
          her shotgun to join her.
                         
          Laurie walks to the wall and exchanges her pump-action
          shotgun for a rifle.
                         
          She flips a circuit breaker to turn the lights off upstairs
          and then flips a switch to slide the island back into place.
                         
          They listen quietly as Laurie loads rounds into the rifle.
                                                                  91.
                         
                         
          The sound of the front door opening. FOOTSTEPS above them.
          Dust falls from the ceiling.
                         
          Laurie tracks the steps with the site of her gun.
                         
                                             LAURIE (CONT'D)
                    He's right there.
                         
          Laurie fire three rounds into the ceiling at the position she
          suspects The SHAPE to be. All goes silent.
                         
                         
          EXT. LAURIE'S HOUSE. NIGHT.
                         
          Allyson approaches and sees the house through the trees, face
          full with both fear and relief.
                         
                         
          INT. LAURIE'S HOUSE. LIVING ROOM. NIGHT.
                         
          CLOSE on Laurie as she rises from her basement door with her
          rifle ready.
                         
          She looks around the dark living room and sees no sign of The
          Shape. Her senses are on high alert.
                         
                                               LAURIE
                    Michael?!
                         
          She hears a noise, turns and fires. Blasts a hole in the wall
          of the living room. The muzzle flash lights the room.
                         
                                             LAURIE (CONT'D)
                    Michael?! Come out.
                         
          Another sound. BLAM! She fires at a shadow.
                         
          A tree branch hits the window.
                         
          She turns, blasts the kitchen pantry.
                         
          Laurie walks to the living room. Blasts the staircase
          upstairs.
                         
          She disappears into a back room. We hear a three more blasts.
                         
          She comes back out and looks toward a living room closet. She
          shoots a hole in it. Listens. Hears weeping in the distance.
                         
          She looks out the broken window of the front door and sees
          Allyson crying. Her granddaughter kneeled over the body of
          her dead father.
                         
          Laurie switch gears from a predator to the protector.
                                                                  92.
                         
                         
                                             LAURIE (CONT'D)
                    Allyson, you can't be here.
                         
          She run to her upset granddaughter.
                         
                                             LAURIE (CONT'D)
                    I'm so sorry. It's not over. You
                    need to run. Run and hide. Go to
                    the road and don't look back. Get
                    help. Save yourself.
                         
                                             ALLYSON
                    I'm not leaving without you.
                         
                                             LAURIE
                    You must. Go now. I love you.
                         
          Allyson gets up and walks backwards. She look to the front
          door and sees The Shape standing on the porch.
                         
                                             ALLYSON
                    Grandmother?!
                         
          Laurie turns and instinctively aims the gun toward The Shape
          and fires. The bullet blasts directly over The Shape's           
          shoulder. A porch light shatters.
                         
          -- Miss. She's out of bullets.
                         
          Laurie quickly drops the gun and pulls a large hunting knife
          out of a sheath on her belt. The Shape stands with a kitchen
          knife in his hand. A CLASSIC SHOWDOWN.
                         
          He steps off the porch toward her. Laurie looks back and sees
          Allyson stumbling backwards.
                         
          With the mind-set of a mamma bear, Laurie turns back to The
          Shape and charges him.
                         
          Their blades meet. Limbs entangled. The Shape loses blood        
          from his missing fingers, but his momentum is relentless. He
          drives his knife into Laurie's chest. She swings and slices      
          his arm.
                         
          Allyson screams.
                         
          On THE PORCH: We see Shanah slowly opening the front door
          with the POINT OF A HIGH TECH CROSSBOW.
                         
          After a brief struggle, The Shape twists his knife and forces
          Laurie to the ground. He pulls the blade out.
                                                                   93.
                         
                         
          Shanah's eyes swell with fear. Her jaw shakes as she takes
          aim. She considers the shot but instead lowers the crossbow
          in defeat.
                         
          Then Laurie catches her eye from the ground. A neutral           
          expression of control that says everything.
                         
          The Shape lifts his knife back for the deathblow, and before
          it falls, Shanah raises the crossbow and pulls the trigger,
          RELEASES HER ARROW.
                         
          It penetrates The Shape from behind. Underneath his right
          shoulder. The point and beak jut out by inches.                  
                         
          The Shape DROPS HIS knife and pulls the pointer and slides it
          back and forth. He gets to his feet and struggles to remove
          it.
                         
          Allyson walks toward them and grabs the fallen knife.
                         
          She keeps The Shape at bay as she grabs her grandmother under
          her arms and drags her back through the yard.
                         
          The Shape stumbles forward into the woods.
                         
          Shanah runs to Allyson and Laurie. They help her to her feet
          as she bleeds. Nearly unconscious. They put pressure on the
          wound.
                         
                         
          EXT. LAURIE'S HOUSE. NIGHT.
                         
          In a flurry of motion and panic, Shanah and Allyson run with
          Laurie. As they struggle down the long, dark wooded
          driveway, they breathe heavily, exhausted physically and         
          emotionally. Feet drag, bodies strain. The effort is arduous.
                         
          Laurie looks back at The Shape disappearing into the trees.
          She is in and out of consciousness.
                         
                                             LAURIE
                    Kill it. Kill it. It must die.                         
                         
          Her whispers fall on deaf ears.
                         
          Shanah and Allyson miss it in the strain of their efforts.       
          They reach the gate which has been broken open.
                         
          Shanah holds Laurie while Allyson steps into the road and
          looks both ways.
                         
          Hawkins' abandoned squad car in one direction and a pair of
          headlights in the other direction.
                                                                   94.
                         
                         
          Allyson waves her arms as the headlights approach.
                         
          A PICK-UP TRUCK pulls over.
                         
          Shanah lifts Laurie toward the truck.   Allyson helps.           
                         
          THE DRIVER drops the gate of the bed of the truck.
                         
          The driver helps the severely injured Laurie into the truck.
                         
          Her daughter and granddaughter get in, sit beside her and
          hold her tight.
                         
          The truck ROARS INTO DRIVE and speeds down the road.
                         
          The woman rest, stunned and numb and reflective of the night     
          behind them.
                         
                         
          EXT. WOODS. NIGHT.
                         
          The Shape, wounded. He pulls the arrow from his chest and
          moves through the forest.
                         
          SIRENS WAIL in the distance. His WHITE mask catching the
          moonlight.
                         
          The Shape comes to a clearing. He turns and looks back in the
          direction of Laurie's house. He watches, BREATHING...
                         
          He touches his chest. Feels his wounds; his missing fingers.
                         
          We reveal that he is standing among the shattered artificial
          faces of mannequins.
                         
          The Shape walks to a tree and takes a seat. His head tilts
          back as his hand presses into his blood stained clothing. His    
          breathing deepens.
                         
          Exhausted, or possibly his last.