FADE IN: EXT. HOUSE - EVENING The setting sun paints the skyline in brilliant hues of orange and red. This is the house from the prologue of HALLOWEEN: H20. SUPERIMPOSE TITLES: "Langdon, Illinois". "October 31, 1996". "Halloween". CUT TO: INT. HOUSE - KITCHEN Dr. SAM LOOMIS relies heavily on a cane to walk over to the sink. He looks out the window at children running down the street. Nurse MARION CHAMBERS walks through the room, hefting a purse onto her shoulder. MARION Sam. Loomis is transfixed by the sight of the young ghouls and goblins cavorting in the yards of dead leaves and grinning gourds. He almost smiles slightly. MARION Doctor Loomis? LOOMIS Hmm? Oh, yes, Marion, good night. MARION Are you sure you'll be all right tonight? LOOMIS I'll be quite all right. He returns his attention to the window. Marion shrugs at the whims of a stubborn old man, and exits. CUT TO: SLOW-MOTION ZOOM through the parade of trick-or-treaters, settling again on Loomis's home. Marion's car pulls out of the driveway. CUT TO: INT. HOUSE - OFFICE Dr. Loomis settles in his chair, setting the cane against his desk. A closed file folder rests on the desk. MYERS, MICHAEL A. He places a gnarled hand on the file, but does not open it. Perhaps he does not want to entertain the obsession that gnaws at him. Loomis pushes the file aside. His other hand brings a new obsession into view; an ornate puzzle box, inlaid with beautiful designs. His old fingers trace the grooves in the sides. THE BOX It is different from the Lament Configuration, but all-at once recognizable. He begins to push and tug with his fingertips, turning the box on the desk. A slight wind comes through the open window. The Myers file opens. Loomis pays it no attention. He runs his finger along the corner of the box. Suddenly, a small cylinder emerges from either side. He draws his hands back and watches. The two cylinders make a quarter-rotation and stop. A disc on the top panel starts to turn. The box splits in half, each half retracting onto the cylinders. In the center is revealed a smaller box, one turned on its corner like a diamond, skewered on a pin. The small box rotates. A haunting, familiar theme plays softly. Loomis is unable to look away. His hands waver, as if he is debating whether or not to touch the mechanism. The breeze dies, and the laughter of innocent children fades out. A FACELESS CENOBITE stands beside Loomis - the flesh peeled forward from its bald head, and stapled cruelly over its eyes, nose and mouth. The Cenobite stands rigid, as a series of small, taut chains extends from its shoulders into its jawbone. Other tiny chains hold its limbs rigid at the elbows, knees etc. Loomis gapes and shoves away in his chair. The cane clatters on the floor. Loomis is gasping for breath, reaching for the cane, for some sort of stability in the face of this nightmare. The Faceless Cenobite takes the cane in its gloved hands and holds it teasingly in front of Loomis. As the speechless doctor reaches out, the Cenobite places the cane on the desk. PINHEAD (V.O.) Come, Doctor. We have such sights to show you... Loomis clutches at his chest. LOOMIS No - ZOOM OUT of the office as the Faceless Cenobite grabs Loomis by the arms. The door slams shut. CUT TO: EXT. CITY STREET - NIGHT MYLES BARTON, aka "Deckard", carries a bag of groceries and a spring in his step as he walks into an apartment building. SUPERIMPOSE TITLE: "Haddonfield, Illinois." "October 30, 2003." CUT TO: INT. APARTMENT - LIVING ROOM Myles enters and sets the bag on a table beside the door. He tosses his keys and sniffs the air. The sound of sizzling becomes audible. INT. KITCHENETTE SARA MOYER pulls her hair back into a ponytail as she stands over a wok full of vegetables. Myles steps in and places his hands on her shoulders. SARA AAA - He clamps his hand over her mouth and brings his face into view. MYLES It's me. Sara shrugs him off and slaps his arm. MYLES Hey! SARA Kids. MYLES Didn't mean to scare you. I got the soy sauce. SARA Good boy. She pecks him on the lips and stirs the vegetables. INT. LIVING ROOM - CONTINUOUS Myles retrieves the bag and starts unloading it on the counter. MYLES Sara, are we doing anything tomorrow? SARA I've got a test, remember? It's Friday. MYLES I mean, tomorrow night. SARA Like what? MYLES Well, it's Halloween. Sara turns and walks over to the counter, opposite Myles. SARA You know how I feel. I'm not going to let October 31st be a dark day for the rest of my life. MYLES It's only been a year. I thought maybe you'd want to stay in. If you do, that's cool. She beams and kisses him again, longer this time. SARA You're sweet. CUT TO: INT. LIVING ROOM - LATER Carpenter's "The Thing" in muted on the television set. In front of the couch, two half-eaten plates of stir-fry sit on a coffee table. CUT TO: INT. BEDROOM Sara is lying wide awake beside Myles, apparently more troubled than she'd let on. A static-filled NEWSCASTER'S VOICE rambles in her head as we ZOOM IN. NEWSCASTER (V.O.) It has been confirmed that mass murderer Michael Myers has escaped from the morgue where his body was taken following a bloodbath earlier tonight at the infamous childhood home of the "Halloween Killer". Myers is reported to have been badly burned, and extremely dangerous. Local and State Police are combing downtown Haddonfield and asking that residents stay inside and lock their doors... PULL OUT as Sara jolts back to the present. She shakes her head and sighs, turning to Myles. He has been nailed to the mattress with a butcher knife. Sara's jaw drops in a silent shriek. She turns and sees a SHAPE standing at the foot of the bed. The moonlight worming through the half-closed blinds falls on a pale, scarred, hairless face - the melted mask of Michael Myers. The Shape reaches up and digs his fingers under the charred rubber on his head. He begins to peel the mask off before her, strings of pus and blood coming out from his dark face, a nauseating ripping sound as the mask - the inside gummed with burnt, scabby flesh - is pulled away. The mask lands on the floor. Sara, trembling violently, sits up in the bed. The Shape is stock-still. Sara SCREAMS. CUT TO: EXT. APARTMENT - NIGHT (CONTINUOUS) The bedroom window shatters in a million points of light. A split-second later, Sara is hurled through the blinds and plummets OUT OF FRAME. CRANE OVER Sara's corpse, bleeding out into the street, tangled in a mess of Venetian blinds. CUT TO: INT. APARTMENT - BEDROOM The Shape, face still unseen, walks over to Myles and wrenches the knife out. LOOMIS (V.O.) Michael. The Shape spins. SHAPE'S POV: Loomis stands in the doorway, in the classic trenchcoat, gloves on his burned hands. LOOMIS God damn you, Michael. The butcher knife vibrates as it sinks into the doorframe. Loomis isn't there. Michael cocks his head to one side, looking at the empty doorway. Then, he pulls the knife out and exits the room. CUT TO: INT. BOOKSTORE TOMMY DOYLE stares blankly at a book showing rune symbols. A jingling bell draws his head up. A CUSTOMER has entered the dim, musty store. A middle-aged man, he frowns disdainfully at his surroundings. SUPERIMPOSE TITLE: "October 31, 2003." "Halloween." TOMMY Anything I can help you with, sir? CUSTOMER Yes, I'm looking for a book about Halloween. Not the holiday with the candy and masks, but the Celtic mythology. Like, the REAL Halloween. Know what I'm saying? Tommy nods grimly. After a moment, he pulls out a book from under the counter. TOMMY This is entirely about the festival of Samhain. I think you'll find this an enlightening read. CUSTOMER Great, how much? TOMMY For you? Twenty bucks. CUSTOMER Twenty bucks, eh? The customer peers at Tommy's nametag. It says KEN. CUSTOMER Well, Ken, I'll offer you ten. PAN DOWN to his suddenly-empty hands. Tommy replaces the book under the counter and smiles thinly. TOMMY Have a nice day. The customer scowls and storms out. Tommy goes back to his reading. CUT TO: EXT. BOOKSTORE - DAY TYSON USED BOOKS, the sign reads. SUPERIMPOSE TITLE: "Chicago, Illinois". CUT TO: INT. BOOKSTORE Tommy picks up the ringing phone. TOMMY Tyson Books, Ken speaking. INT. CAR INTERCUT between Tommy and KARA STRODE, who is sitting in busy traffic. KARA Hey, it's me. TOMMY Where are you at? KARA Stuck a couple of blocks from the store. Listen, Daggett has been pestering me about trick-or treating. TOMMY You're kidding, right? Why did you even call me? KARA Well, it's just that...he's turning eight, Tommy. TOMMY Ken. KARA Sorry. He's turning eight and every year on his birthday, we lock all the doors and you sit by the window with that glazed look in your eyes. He's starting to think that there's something wrong with his being born. Beside her, cherubic young DAGGETT TYSON - perhaps better known as Stephen Lloyd - nods his head frantically. DAGGETT (whispering) And tell him I want candy! KARA (laughing) Dad, he wants some candy. At least give him that. TOMMY You know how I feel about this. You know WHY. KARA I do, but...can't we move on? I don't want to live in the shadow of 1995 for the rest of my life. TOMMY Well, it was 1978 for me, so forgive me if it's a little more difficult on this end. KARA I know, I know. I really do understand. At least I try to. TOMMY Isabelle... KARA I hate that name. TOMMY You picked it. KARA It's your son's birthday. Let him trick-or-treat around the apartment building. Bring home a cake. Do something to make this his special day. Tommy glances at a recent photo of the three of them. TOMMY Okay. I'm closing up in a few hours. I'll bring something home, and we'll play it by ear from there. Agreed? KARA Good enough for me. She gives a thumbs-up to Daggett. KARA I love you. TOMMY I love you too. He hangs up and looks around the empty store. TOMMY A few hours...why even wait? CUT TO: INT. LOOMIS HOUSE - FRONT HALL A grinning female real-estate AGENT opens the door and steps back to allow a young couple to enter. AGENT Welcome to your new house! Frail CHARLIE turns to new wife BETTY and flashes a big smile. CHARLIE Can you believe it, sweetheart? BETTY This hall is so narrow! Ugh, I can't wait to push the couch through here. She goes in past them. Charlie shrugs at the agent. CHARLIE Must be post-wedding stress disorder, or something. INT. OFFICE The office is of course now empty. Betty frowns at the small space. BETTY What am I going to do with this room? CHARLIE! CHARLIE (O.S.) Coming dear! She kneels and scrapes with her thumbnail at a ruddy spot on the hardwood floor. BETTY Charlie, I thought you had the house cleaned! Her nail breaks and she jerks her hand back, wincing. She's stubbed her thumb. A drop of blood falls to the floor. DROP DOWN INTO THE FLOOR, into a dusty, cobwebbed crawlspace. A tiny rivulet of blood drips into the darkness... CUT TO: INT. APARTMENT BUILDING - LOBBY Kara and Daggett walk into the spacious lobby of a very nice building. Daggett drags a large shopping bag. Aging doorman BRAD holds the door and nods to them. BRAD Good evening, Missus Tyson. KARA Hello Brad. DAGGETT Hi Brad! BRAD Big number eight for you today, huh Dag? DAGGETT I hope so! Brad laughs. BRAD How's the husband, Missus Tyson? Business taking off yet? KARA Um, he's doing all right. Thanks Brad. She and Daggett cross the lobby to the elevator. Brad whistles a tune and looks out at the darkening sky. CUT TO: INT. ELEVATOR Daggett opens the shopping bag and pulls out an oversized generic monster mask. DAGGETT I'm gonna scare Dad! KARA Don't you dare. You know your dad doesn't like Halloween. But since it's your birthday, he's going to let you go trick-or-treating. So you be nice okay? INT. HALLWAY - CONTINUOUS They step off the elevator into a carpeted hall, doors decorated with paper skeletons and grisly doorknockers. Twentysomething neighbor DARREN walks out of his apartment with a plastic cauldron. DARREN Hey guys! All ready for the big night? KARA Yep, costume and everything. DAGGETT Look at it! DARREN Hey! (to Kara) You serious, Isabelle? Is Ken okay with this? KARA He's fine. You gonna have a birthday present for this little beast? DARREN You bet. I'm filling this thing (patting cauldron) to the top with all sorts of goodies. I'm gonna leave it out here tonight, so you save some for the other kids, okay Daggett? DAGGETT Eh. Fine. He stomps in mock frustration and runs down the hall to the Tysons' apartment. Kara waves to Darren and heads after her son. CUT TO: INT. LOOMIS HOUSE - OFFICE Blood. Everywhere. A shriveled corpse, barely discernable as Betty, lies in the corner. TRACK DOWN THE HALLWAY, past Charlie's corpse, and the husk of the real-estate agent by the door. EXT. LOOMIS HOUSE - EVENING (CONTINUOUS) A sedan, presumably belonging to one of the victims, pulls away from the house. CUT TO: INT. SEDAN Gloved hands grip the wheel tightly. PULL BACK to reveal the rear of a bald, pink head. CUT TO: EXT. DEPARTMENT STORE - EVENING A teenaged GUY bursts out of the store in a Shape mask, scaring the hell out of his GIRLFRIEND as she unlocks their car. GIRLFRIEND You ass! Take that thing off, it's creepy. He peels the mask off and stuffs it into a shopping bag, throwing it into the car. GIRLFRIEND I want to go in just two more places. GUY Awww, c'mon! We're gonna miss the party! GIRLFRIEND Two more stores. I'll let you wear that mask when we get home tonight. The guy laughs and leads her down the sidewalk. SHAPE'S POV: Stepping out from an alleyway beside the store, crossing the empty sidewalk to the car. CUT TO: Further down the sidewalk, the young couple are still giggling with one another, blissfully ignorant as their car drives by. CUT TO: EXT. BOOKSTORE - EVENING Tommy locks up and stuffs a few tomes under his arm. He weaves his way through the crowds to his car. As he unlocks the door, someone across the street catches his eye. TOMMY'S POV: Loomis, standing amidst the bustling crowds - looking directly at him? He drops the books and starts across the street, dodging around the slow-moving traffic. TOMMY'S POV: Loomis is now gone. Tommy bobs his head around passerby in frustration. No sign of him. He leans against a cornerstone and massages his forehead. TOMMY Not tonight. Don't do this tonight. C'mon. LOOMIS (O.S.) Tommy? He looks up in disbelief. TOMMY Doctor Loomis. Loomis smiles weakly, leaning on his cane. LOOMIS It wasn't easy to find you. TOMMY Find me? (pause) Doctor Loomis, I thought you were dead. LOOMIS Not dead, just very much retired. He gestures for Tommy to come with him. CUT TO: INT. CAFE Tommy and Loomis sit in a corner of a posh coffeehouse. TOMMY Tell me how you can be sitting here right now. LOOMIS Have you forgotten so much already? Who concealed you and Laurie Strode away from the world? TOMMY I heard about her resurfacing...and death. LOOMIS Laurie chose to confront the evil. I made a similar mistake some years ago...I quite literally bear the scars of that encounter. TOMMY So you disappeared yourself? LOOMIS Yes, I was as fragile as I am now. (pause) Unfortunately, I was so weak of memory, that a few files left in my office fell into Michael's hands. That is how he found Laurie. Thankfully, he did not find out about you. TOMMY We're doing well. Kara has her own practice. LOOMIS Kara...? TOMMY Isabelle. We still use the names. LOOMIS Isabelle. Loomis smiles and sips his coffee. TOMMY They're based on names of runes...Ken, Kenaz...Isabelle, Isa...Tyson, Tiwaz. LOOMIS And Daggett? TOMMY Dagaz. LOOMIS How is the child? TOMMY He's fine. He doesn't know anything. (pause) Doctor Loomis, why did you come looking for me? It wasn't just to catch up, was it? LOOMIS No. (long pause) You know as well as I that Michael is still alive. That his rage continues to boil inside of him. He still seeks the child, Tommy. TOMMY Do you think he's going to find us? LOOMIS He may already have. Tommy rises quickly. TOMMY We have to go. INT. PARKING GARAGE Brad saunters through the cavernous garage, shining a flashlight into the interiors of parked cars. Tires can be heard squealing on another level. Brad pauses behind a Jeep, and politely taps on the rear windshield. There's a muffled commotion inside. A shirtless male TEEN leans out, his face crimson. TEEN Uh...um... BRAD Take it somewhere else, kids. TEEN Yeah, sure. Uh, sorry. BRAD Happy Halloween, junior. Brad gets a few yards away before a stifled laugh escapes. INT. LOWER LEVEL - CONTINUOUS He walks down a ramp to the next area. The Shape's stolen car is parked at the other end; its brake lights wink off. BRAD Hmmm. He starts toward the car, footsteps echoing loudly in the otherwise silent garage Suddenly, a car thumps down the ramp behind Brad and turns toward him with a squeal. Brad whirls around and stumbles back as the teens' Jeep roars by. BRAD HEY!! They're gone. Brad grits his teeth and looks at his empty hands. BRAD Aww! His flashlight lies shattered on the concrete. BRAD Ain't that a... Kneeling, he scoops the bits of plastic into his hand. Stands up. THE MASKED SHAPE stands beside him. Brad cries out as the butcher knife plunges into his abdomen. He's thrown back onto the trunk of a car. The Shape pulls the knife out and brings it down again, through Brad's throat - the car's windshield shatters and a piercing alarm goes off. WIDE: The Shape stands reticent over the body as the alarm squeals. CUT TO: INT. TYSON APARTMENT Daggett pulls on the mask, along with some tattered felt rags that Kara is arranging on his shoulders. KARA That looks really scary. DAGGETT Can we go yet? KARA Not just yet, we have to wait for your father. Just then, Tommy comes in. Kara's smile is wiped off by the entrance of Dr. Loomis. KARA I...Doctor... LOOMIS Kara. Loomis's eyes settle on the child. He seems at once proud and terrified. LOOMIS (CONT'D) ...I must speak to you both. CUT TO: INT. KITCHEN Kara and Tommy sit at the kitchen table. Daggett pouts in the doorway. TOMMY Daggett, go back in the living room. DAGGETT I want to go trick-or-treating - TOMMY Do as I say!! Kara sighs angrily. Daggett stomps out. LOOMIS Kara, I wish I didn't have to be here tonight. KARA Why DO you have to be here, Doctor Loomis? Why, on tonight of all nights, do you have to come out of the woodwork and scare us half to death? LOOMIS I fear that Michael may be close. Kara falls silent. She instinctively looks for Daggett in the living room. TOMMY Kara, it's only been a year since Michael was last seen. KARA He's probably dead! LOOMIS Fire isn't enough. Not for Michael. KARA It's been eight years. Eight years since I was named Kara Strode. Eight years since we've seen you, or Michael, or ANYONE. How do you know that you're not the one endangering us, Doctor Loomis? LOOMIS I may have found the only way to stop him. He reaches into the pocket of his coat, and pulls out the puzzle box. INT. LIVING ROOM (CONTINUOUS) As they argue, Daggett looks from them to the front door. Them to the front door. He hears laughter in the hallway. CUT TO: INT. HALLWAY A woman in a French maid's uniform, TRISTA, raps on Darren's door. As she waits, she takes a piece of candy from the cauldron. Darren opens the door, wearing a smoking jacket, pipe clenched between his teeth. A plastic monocle drops from his eye. DARREN Well, hello little girl. You want some candy? TRISTA Well, I'm not here to clean. DARREN You wanna come in for a minute before we leave? TRISTA Only for a minute. I've got my hair just the way I want it. She steps in past Darren, who stoops to admire her behind. INT. DARREN'S APARTMENT - CONTINUOUS DARREN Want a smoke? TRISTA No! There are kids out there. DARREN So? He holds up a bong in one hand and a baggie in the other. TRISTA Mmmm. Trick or treat. CUT TO: INT. TYSON APARTMENT - KITCHEN CU on the puzzle box, resting on the table. TOMMY What is it? LOOMIS Is it a piece called the Nauthiz Configuration. My research on the pagan ritual of Samhain led me to a shopkeeper. TOMMY I never saw anything like this in my research. What does it represent? LOOMIS Actually - it is a puzzle. He slides the box toward Kara, who recoils. KARA I don't understand what this has to do with Michael. LOOMIS This puzzle may very well hold the answer to Michael Myers. TOMMY The answer... He takes the box into his hands, looking over each panel. Kara is increasingly uncomfortable. KARA Daggett, come in here please. (beat) Daggett? Tommy glances through the doorway - At the open front door. CUT TO: INT. HALLWAY Daggett looks nervous as hell, but that doesn't stop him from pulling on the mask and getting onto the elevator. As the doors close, Kara and Tommy run out of the apartment at the other end of the hall. A few children emerge from a nearby door and race past the, giggling. KARA Daggett! TOMMY He's not out here. Start knocking on doors. Dr. Loomis comes out. LOOMIS Does he have any friends in the building? Anywhere he would immediately go? KARA No. Oh, god. Tommy, stay here in case he comes back. Doctor Loomis, I hope you're wrong! CUT TO: INT. TYSON APARTMENT - KITCHEN Tommy sits before the box again. He glances worriedly between the door and the box. His fingers trace the designs on the side panels. He seems to become more and more interested in the box and what it holds. CUT TO: INT. STAIRWELL Kara races down a flight of stairs and onto the next floor. Loomis makes a slower descent, his chest heaving. KARA Doctor Loomis! LOOMIS Go ahead without me. CUT TO: INT. LOBBY The elevator doors open. The masked Daggett steps into the empty, dark lobby. A plastic jack-o'-lantern sits on a small desk beside the mailboxes. It grins darkly at him. Daggett walks over to the pumpkin and plugs in the cord. As it lights up, the faintest outline of The Shape can be seen in the B.G. The front doors burst open. Two laughing girls stumble in and manage to make it onto the elevator before collapsing. Daggett quickly boards the elevator again. DAGGETT'S POV: Just before the doors close, the Shape steps in front of them - then he's gone. CUT TO: INT. TYSON APARTMENT - KITCHEN Tommy draws his hands back as the two cylinders emerge from the sides of the box. A quarter-turn, and the disc on top starts to move with a raspy sound. CUT TO: INT. HALLWAY Daggett is back on their floor. He walks over to Darren's plastic cauldron and digs out a handful of candy. Trista opens the door. Her hair seems to be a bit out of place. TRISTA Hi there! Trick or treat! DAGGETT (muffled) That's what I say. Darren leans out and coughs on some smoke. DARREN Hey Dag! Take as much as you want, buddy. CUT TO: INT. TYSON APARTMENT - KITCHEN The tiny diamond in the center of the box has begun to rotate. The haunting tune plays gently. In the B.G., the walls seem to have developed paper-thin cracks, through which a blinding light creeps. Tommy examines the insides of the puzzle, frowning. TOMMY What answers are in here, Doctor Loomis? FEMALE VOICE (O.S.) Eternity. Tommy sits up to see the Faceless Cenobite and a STRIPPED CENOBITE before him. The Stripped Cenobite, a voluptuous leather-bound female, has the flesh peeled & pinned back in all her most alluring places, revealing the gruesome physiology underneath. Red lips are pulled over white teeth by tiny hooks. A model's permanent smile. STRIPPED CENOBITE Is this what you wanted, Tommy? The Faceless Cenobite steps forward stiffly and grabs Tommy by the throat, lifting him from the chair. TOMMY Who...are you??? STRIPPED CENOBITE Come with me, Tommy. She moves seductively, playing her fingertips over the raw, exposed muscle on her hips. TOMMY Let - me - GO - A hooked chain lashes into each of Tommy's shoulders, and he is jerked out of the Faceless Cenobite's grasp! Tommy slams into the wall. Two more chains pierce his ankles, holding him in place. He screams in agony. TOMMY WHO ARE YOU?!? NEW ANGLE TRACK with the back of PINHEAD's skull as he approaches Tommy. Finally, his face is revealed. Although he appears emotionless, the black eyes glitter with relish. PINHEAD We are your new obsession, Tommy. TOMMY Please, lord, don't hurt my family. Don't hurt my family. Take whatever you want and go! PINHEAD We shall. He turns and casts an uncommunicative glance toward the other Cenobites. They walk out of the kitchen. PINHEAD (CONT'D) It won't be a long wait. CUT TO: INT. STAIRWELL The Shape ascends the stairs, staring blankly ahead, butcher knife clutched in his hand. INT. LOBBY Kara pounds the wall in frustration, peering outside. Dr. Loomis catches up with her. KARA He must be upstairs. He must have gone in somewhere, c'mon! CUT TO: INT. DARREN'S APARTMENT - LIVING ROOM Daggett sits with a full shopping bag of candy. The empty cauldron is overturned beside him. DARREN Hey man, where're your folks? DAGGETT At home arguing. DARREN Ah, I see. The lights flicker. DARREN Whoa. Spooky, huh? TRISTA You should let his parents know that he's here. DARREN Right, right. We gotta get going soon anyway. He dials his cell phone and listens for a moment. DARREN Ain't answering. I'll go over there and see if they're done fighting yet. CUT TO: INT. HALLWAY Darren puts the monocle back in his eye and pads over to the Tyson apartment in his slippers. He knocks and waits patiently. The Shape enters from the stairwell in the B.G. and plods toward Darren. Darren knocks again. He notices the approaching Shape. DARREN How you doin', man. He returns his attention to the door. The Shape stops directly behind him. DARREN (under his breath) C'mon, Tyson, get your shit together. The Shape grabs Darren's head with both hands, his fingertips pushing the monocle into Darren's eye. DARREN HEY! AAAAAAAAAAAAAAAAA!! The monocle is gone in a gush of blood. As Darren falls limp, the Shape discards him and opens the door. INT. TYSON APARTMENT - CONTINUOUS SHAPE'S POV: The apartment is now empty. Only the solved Nauthiz Configuration can be seen in the kitchen. INT. KITCHEN A new angle reveals that Tommy is still chained to the wall, just inside the doorway. He sees the Shape walk through the living room and down the hall - but he cannot say a word, for a leather strap is across his mouth, pinning his head back. CUT TO: INT. ELEVATOR Kara stabs impatiently at the buttons. KARA Doctor, do you still have a gun? LOOMIS I'm afraid not. KARA Doctor Loomis - do you really think he's here? Michael? LOOMIS Yes. The elevator lurches to a stop. KARA (jabbing the buttons again) What the hell?? NO! CUT TO: INT. HALLWAY Trista and Daggett step into the empty hall. He has taken off his mask, his expression frightened. TRISTA Darren? It's fucking quiet out here. (beat) Sorry about that. DAGGETT That's okay. TRISTA Hey, are you all right? There's nothing to worry about. Is that your apartment? She points to an open door. Daggett nods. TRISTA (CONT'D) Okay then, we can get you home. C'mon! TRISTA'S POV: As they near the door, the Shape rushes out - NEW ANGLE: And pins her to the wall with an arm, stabbing her in the stomach. Trista shrieks. Daggett staggers back as the Shape guts her repeatedly, then lets her body slide to the floor. The Shape slowly turns to him. Daggett screams louder than Trista and runs. The elevator doors open halfway, Kara shoving on them. KARA DAGGETT!!! The child races toward her - he stumbles and crashes into the floor. The Shape begins his slow pursuit. KARA Oh, my God. DAGGETT!! GET UP!! Loomis's pale face is visible over her shoulder. LOOMIS'S POV: The Shape is halfway down the hall. He seems to be staring right at us. Kara leans through the half-open doors and strains for Daggett's hand. He gets to his knees, rubbing his head. KARA (CONT'D) DAGGETT!!! He reaches out groggily. She jerks him into the elevator - The Shape grabs a handful of hair and jerks HER out. The doors close. INT. ELEVATOR Loomis punches a button, and they begin to descend. DAGGETT MOMMY! MOMMY! MOMMY! Loomis slips a gloved hand over Daggett's mouth. LOOMIS It's all right now. You're safe! CUT TO: INT. HALLWAY The Shape hurls Kara to the floor by her hair. He turns back and jams the butcher knife between the doors, trying to pry them open. KARA NO!!! She grabs The Shape's arm. He throws it back, sending her head smacking HARD against the wall. Kara falls, unconscious. CUT TO: INT. ELEVATOR Loomis clutches Daggett to him as the elevator stops. LOOMIS'S POV: The doors pull back to reveal Pinhead standing expectantly in the lobby. CUT TO: INT. TYSON APARTMENT - KITCHEN Tommy tugs on the hooks embedded in his shoulders. One comes loose, then the other. He peels the strap off his head and falls to the floor. TOMMY KARA!! DAGGETT!!! After removing the hooks from his ankles, he limps out. CUT TO: INT. HALLWAY The lights flicker out over the Shape. A pale blue light swells in their place, casting an eerie hue on his blank face. He steps over Kara and heads down the hall. The Faceless Cenobite emerges from a random apartment at the other end, drawing a serrated blade from a hook on its waist. Teeth gnash beneath its flesh-mask. The Shape stops and observes the Cenobite silently. It's a surreal showdown. The Cenobite draws a second blade with its other hand, and raises them like a voracious child at a banquet. Then it charges toward the Shape, shrieking animalistically. They collide - The Shape buries the knife to the hilt in the Cenobite's abdomen. Serrated blades bite into either of the Shape's arms. He lifts the Cenobite off the floor by the knife handle. The Cenobite's arms fall limp, its teeth gnashing furiously. The Shape drops the Cenobite. CUT TO: INT. TYSON APARTMENT - BEDROOM The apartment is dark. Tommy frantically pulls a pistol from his sock drawer, and slams a full clip into it. INT. INNER HALLWAY - CONTINUOUS Emerging from the bedroom, he runs through the living room and pauses beside the open front door. CUT TO: INT. HALLWAY Kara is now the only one in the hall. Tommy hauls her to her feet. TOMMY Isa - Kara! Kara, c'mon! KARA Daggett... TOMMY Where is he? Where is he, Kara? KARA Loomis...with Loomis...the elevator. Tommy nods and drags her into the stairwell. INT. STAIRWELL - CONTINUOUS The Shape is standing at the top of the next flight. Tommy draws the pistol from his waistband and fires twice. The Shape plummets down the stairs and right into Tommy! They bounce off the wall, tumbling down the next flight. KARA TOMMY!! Tommy's head bangs off the wall on the next landing. He careens away from the Shape, firing eight more times. The Shape jerks back with each bullet's impact, slamming against the wall over and over, and finally sliding down to a sitting position. The killer lies between Tommy and Kara. Tommy motions up to her. TOMMY C'mon! KARA I can't. TOMMY There's not much time! Daggett, Kara! She nods, and comes down the stairs, stopping just short of the Shape's reach. KARA He's breathing. TOMMY I KNOW. Tommy stands up and inches toward her. He reaches out. TOMMY Take my hand, and jump over him. Kara nods. She slips her fingers around his. And jumps. The Shape lunges forward, almost catching her ankle. Kara falls into Tommy's arms. The Shape falls back and lies still again. Kara is ready to flee, tugging on Tommy's arm, but he stoops in front of the Shape and narrows his eyes. KARA Tommy, DON'T. C'mon. TOMMY I have to see. I HAVE TO. He reaches out. Kara squeezes his arm painfully tight. Tommy looks back at her. TOMMY ...Okay. They run down the stairs. CUT TO: INT. LOBBY Tommy and Kara emerge from the stairwell into the deserted lobby. KARA Doctor Loomis!! TOMMY Maybe they left. KARA We have to go back. Maybe Michael won't get up. TOMMY No, there are others. We need to call - He stops mid-sentence and picks something up. A piece of hard candy. Now, in the light from the electric jack-o'-lantern, more candy is visible - a trail of it leading to a side door. TOMMY No. KARA Tommy... He picks up another piece, approaching the door. It reads MAINTENANCE. INT. MAINTENANCE CORRIDOR - CONTINUOUS Tommy opens the door. The corridor is narrow, and illuminated with the same eerie blue light. Kara joins him in following the candy. INT. BOILER ROOM - CONTINUOUS The walls and floor are stained with moisture. Dr. Loomis stands in front of a bank of rusty pipes. TOMMY Doctor. Where is he? LOOMIS He's quite all right. TOMMY WHERE? The Stripped Cenobite steps out of the shadows. Kara screams. TOMMY Doctor Loomis?? Pinhead reveals himself on the other side of Loomis. He holds a final piece of candy. It falls to the floor in SLOW-MOTION, shattering. PINHEAD It's our game now, Tommy. KARA WHERE IS MY FUCKING SON?!? A chain lashes out from nowhere and wraps around her wrist. A second chain for her other wrist, and Kara is pulled taut. Tommy pulls out the pistol. TOMMY Let her go. Give me my fucking son. PINHEAD You have no son, Tommy. And you have no bullets. The gun flies from Tommy's hand, into Pinhead's. Pinhead fires twice - thick, long nails skewer Tommy's hands, crucifying him on a row of pipes. Steam bathes his screaming form. PINHEAD (to Stripped Cenobite) Find him. She nods and retreats into the darkness. TOMMY DOCTOR LOOMIS!! HELP!! LOOMIS I cannot help you, Tommy. He looks away from Pinhead regretfully. KARA What's going on? Please, somebody tell me what's happened to my son! PINHEAD Doctor Loomis has delivered the child to us, as he delivered the box to you. But these things are only means to a greater end. TOMMY Loomis? What the FUCK did you do? LOOMIS! PINHEAD Silence! CUT TO: INT. HALLWAY The Stripped Cenobite enters a blue corridor where the Faceless Cenobite stands behind Daggett, his hands resting on the boy's shoulders. CUT TO: INT. ANOTHER HALLWAY Chains dangle from the ceiling of this hallway, scraping against apartment doors. The Shape enters the hallway. His fingers tighten around the knife. Blood runs from bulletholes in his boiler suit. He walks through the swinging chains, looking from side to side at each door. DAGGETT (V.O.) No, help me! The Shape stops outside the appropriate door and reaches for the knob. A chain lashes around it! Another chain wraps around his neck. The Shape staggers back, stabbing overhead at it. The Faceless Cenobite enters the hallway and pulls out its dual knives. Another chain now holds the Shape's arm immobile. He struggles violently. The Cenobite draws ever closer, knocking the hanging chains aside in angry sweeping motions. The Shape pulls downward - and the chains tear from the ceiling, freeing him. He turns away from the Cenobite. A web of chains crisscrosses in his path. Turning back, he catches the Cenobite's wrist in one hand, and its throat in the other. He throws the being back down the hall. The Cenobite lands and springs to its feet, snarling. The Shape pulls the chain from around his throat. The Faceless Cenobite continues to snarl gutturally, and withdraws. The web of chains also withdraws. The Shape turns to see the Stripped Cenobite leading Daggett out of the hallway. CUT TO: INT. BOILER ROOM Tommy growls at Loomis through the dissipating steam. TOMMY You betrayed me. You betrayed Daggett...why? Why, after a lifetime of trying to stop Michael Myers?! LOOMIS Michael will be contained now. TOMMY What are you talking about?? LOOMIS It seeks Order, Tommy. It will bring Order. TOMMY What? KARA (to Pinhead) Please! You don't know what you're doing! You can't stop Michael! He simply stares at her with a bemused look. CUT TO: INT. LOBBY The Shape enters to find Daggett standing alone in the middle of the room. Daggett trembles, eyeing Michael from the corner of his vision. The Shape slowly comes forward. Stopping a few feet from the child, he raises the butcher knife. SHAPE'S POV: The boy looks up at him - now wearing a silvery red clown costume. The Shape hesitates. He cocks his head to one side. Daggett walks away from him and into the maintenance corridor. CUT TO: INT. BOILER ROOM The Stripped Cenobite carries an unconscious Daggett into the room. KARA DAGGETT!! WHAT DID YOU DO TO HIM?!? PINHEAD It is time. Behind him, the bank of pipes begins to split, a bright light cutting through them. The entire wall starts to open and retract. Beyond it is a huge brick hallway, littered with dead leaves and creeping vines. The Stripped Cenobite enters with Daggett. TOMMY Please, NO!! The Faceless Cenobite enters the room, holding the puzzle box. It goes next. Pinhead looks to Loomis. LOOMIS I must be here. PINHEAD Go. Loomis stares at the floor, and limps into the hallway. Pinhead turns and leaves last, Tommy and Kara screaming Daggett's name. Tommy pulls one of his hands free with an anguished cry. Then the other. The chains slip away from Kara's arms, and they run to one another. TOMMY I'm going after him. KARA I'm going with you. TOMMY No - He squeezes Kara's shoulders and pulls her toward him, looking over her shoulder. The Daggett in the clown suit walks by, going into the brick tunnel. The Shape enters, following him. KARA (whispering) Dear God... TOMMY (whispering) I don't think he can see us. As soon as the Shape enters the tunnel, the walls begin to close again. KARA C'mon! TOMMY You're staying! He pushes her away and runs into the tunnel. KARA TOMMY!! The walls slam shut, the pipes clanging and fusing together again. CUT TO: INT. HELL - ENTRYWAY Tommy is alone in the tunnel. He slowly proceeds into Hell. CUT TO: INT. CHAMBER Loomis descends stone steps into a dark room, splashing in a shallow pool of water. Pinhead is suddenly before him. PINHEAD There is another here with us... He pulls a hooked knife from his waist and holds it out to Loomis. PINHEAD (CONT'D) Now, Doctor. Loomis's face is filled with misery as he takes the knife. CUT TO: INT. ENTRYWAY Tommy comes upon a normal-looking door set into the wall. He goes in. INT. DOYLE HOUSE - LIVING ROOM (CONTINUOUS) It's the same room it was in 1978: the couch, the little black-and-white TV, the tall curtains and encroaching shadows. Tommy shrinks back against the door. There's a creak elsewhere in the house. CUT TO: INT. UPSTAIRS HALLWAY Stepping as quietly as possible up the stairs, Tommy stares toward the rear room where Michael Myers was shot six times. TOMMY (whispering) You can't kill the bogeyman. Someone is in the room; a shadow falls into the hallway. Loomis hobbles out on his cane. LOOMIS Tommy. You shouldn't have come here. TOMMY Where's Daggett? LOOMIS Do you think it matters, Tommy? Do you know where you are? TOMMY I'm not in this house. LOOMIS This is HELL, Tommy! Don't you see that I've sent Michael Myers to Hell?? Finally, the evil is where it belongs! TOMMY You used Daggett. You used me. LOOMIS I had to - TOMMY Did you sell your soul for all this, Loomis?!? LOOMIS Tommy! He leans on the railing. rasping. LOOMIS (CONT'D) I had no choice! They WANTED him! TOMMY For what? LOOMIS I told you - It seeks Order from Chaos. Michael - the focus, the discipline that comes from his rage - it represents something to these demons that you cannot comprehend! TOMMY I understand Order and Chaos. I understand the curse that drives Michael Myers to kill. It's EVIL! And now evil has my son! Loomis pulls the knife from his coat and lunges at Tommy. He's far too slow, and Tommy grabs his wrist, grappling with him. He sends Loomis tumbling over the railing, his cane snapping in half as he lands on it and bounces to the floor. Loomis appears to be dead. Tommy walks to the rear room. INT. REAR ROOM - CONTINUOUS Tommy goes to the open window and looks out into the front yard. TOMMY'S POV: There is a trampled, body-shaped patch in the grass. EXT. DOYLE HOUSE - NIGHT (CONTINUOUS) The Faceless Cenobite, clinging to the side of the house, grabs Tommy's shirt! It and Tommy both fall - plummeting THROUGH the yard, sending a ripple through the grass. CUT TO: INT. TORTURE ROOM Tommy slams into a stone floor. He is in a small, dimly-lit room with chains and torture pillars suspended from the ceiling. DAGGETT (V.O.) Daddy? TOMMY Daggett! Where are you? DAGGETT (V.O.) Daddy, help! TOMMY'S POV: Rushing through the chains and past the torture pillars, in pursuit of the child's voice - The Faceless Cenobite leaps out from behind a pillar! It swipes at Tommy with its twin knives, driving him back as each slash misses his throat by millimeters. Tommy swings a torture pillar into the Cenobite, knocking it into the wall. The Cenobite springs back, only to be impaled on a pillar spike. Tommy slams it against the wall again. The pillar swings back, spinning, and the Cenobite manages to slash Tommy's shoulder. TOMMY Aaaaaaaah!! He stumbles back and over a stone bannister - INT. STAIRWELL - CONTINUOUS Crashing onto a long flight of steps and rolling down. INT. LOWER TUNNEL - CONTINUOUS The arched tunnel leads to a large wooden door. Tommy begins limping toward it. In the B.G., the Faceless Cenobite descends the stairs. Tommy reaches the door and jerks on it without a budge. He begins pounding on the door. TOMMY HELP!! GOD HELP!! HELP ME!! The Faceless Cenobite clicks its knives together, teeth gnashing. Tommy grabs a brick from the floor and smashes it against the door latch repeatedly. Finally, the door gives, and he ducks out of the Cenobite's grasp. CUT TO: INT. CORRIDOR The Shape briskly turns a corner and stops. The corridor ahead is empty; apparently he has lost the clown. He turns back, and there, hanging from a vine-entangled snare, is LAURIE STRODE. She swings limply back and forth, her eyes shut. She is wearing a hospital gown which is also entangled. The Shape approaches her face, raising the knife, then lowering it, then raising it again. Laurie opens her eyes. LAURIE I told you I'd see you in Hell. She jams a hook into his chest. The Shape staggers back. Laurie drops to the floor - then rises as the Stripped Cenobite. She puts another hook into the other side of his chest. Two chains descend, linking onto the hooks, and the Shape is pulled off his feet. STRIPPED CENOBITE Goodbye, Michael. He rises into the ceiling. CUT TO: INT. CHAMBER Tommy heads down steps into a dank chamber, where he sees a familiar huddled form. TOMMY ...Loomis? Loomis looks up fearfully. LOOMIS (relieved) Tommy! TOMMY Keep away from me. LOOMIS Tommy, you don't understand! (getting to his feet) They tore me apart once...they're going to tear me apart again! TOMMY Stay back - Loomis grabs weakly at Tommy. They struggle again, and this time Tommy pushes against Loomis's head - and the doctor's face peels away, revealing the skinless visage beneath. TOMMY Nooooo!! He lurches away from Loomis. LOOMIS You see what I am...what I've become. TOMMY Fight them, Loomis. LOOMIS There is no fighting them. I'm already dead...I'm already beaten. A chain shoots out from the darkness and impales his elbow. LOOMIS Aaaaaaah! His other elbow is similarly skewered. A third chain hooks the back of his neck. ZOOM OUT from the pathetic, faceless Loomis as he hangs like a marionette. LOOMIS Tommy!... Tommy stands in place, horrified. Loomis manages to focus on him. LOOMIS Get out, now! Tommy flees. The chains pull taut, and Loomis lifts off the floor. PINHEAD (V.O.) It was a most simple task, Doctor. Loomis quivers in mid-air. PAN DOWN to reveal Pinhead before him. LOOMIS Our...bargain...was fulfilled...! PINHEAD You should have dealt with Tommy. Now a far worse fate awaits you both. LOOMIS I gave you Michael! PINHEAD YOU do not set the terms, Doctor. He turns and moves from the room. LOOMIS Wait!! WAIT!! PINHEAD (O.S.) You will have a final session with your patient. CUT TO: INT. GASH Inside the walls of Hell, The Shape is barely visible. Dark, rubbery appendages move over his body. Needles on the appendages thread through his boiler suit and flesh. Another tubular limb pierces his throat below the chin, pumping as it drains his blood. Tiny blades dance across the mask, cutting it off in triangular pieces. The Shape's face is not revealed; rather, a mass of teeming limbs sweeps to cover the grotesque countenance. We move through the stages of transformation in a series of FLASH CUTS: A long blade slamming into the Shape's outer thigh. An eye opening wide in the midst of the tubes. The limb pulls away from his throat with a final spurt of blood; another translucent limb replaces it. Blue fluid enters the Shape's body. A needle piercing the open eye. CUT TO: INT. CORRIDOR Tommy is growing weaker, and more desperate. TOMMY DAGGETT!! INT. CENTER OF HELL - CONTINUOUS The tunnel opens up onto a walkway, and Tommy finds himself atop the incomprehensible labyrinth, the vertical structure dropping into an enormous abyss, the horizon endless, catwalks extending from here to there and into eternity. LEVIATHAN, the massive diamond, the ruler of Hell and embodiment of Order, turns on its own axis above the labyrinth. Beams of black light project from the faces of the diamond, dancing over the maze and sweeping through the tunnels. Tommy cringes as a massive beam moves across him. XCU on Tommy's eyes, images of the Shape's mask and slashing knives reflected therein. The black light passes. Tommy falls to his knees, gasping. PINHEAD (O.S.) Where has obsession led you now, Tommy? Pinhead flows down the walkway, relishing the tormented soul before him. PINHEAD (CONT'D) You will share an eternal grave with Doctor Loomis. TOMMY Give me my son. He didn't do anything! PINHEAD He is innocent. You are not. TOMMY Please! PINHEAD Your son is already gone. You are alone in Hell, and there is no hope for you here. TOMMY What do you want with me? PINHEAD You chose to follow us. You have made your own fate. TOMMY What are you?? PINHEAD No more explanations. Welcome to forever. He turns and walks away. Tommy lunges at his back, but only finds himself lying on the walkway with Pinhead a speck in the distance. He rolls onto his back to stare at the rotating Leviathan. CUT TO: INT. ROOM In another unremarkable brick room, the Faceless Cenobite is lying on a wall - untethered, it simply splays out its body and adheres to the surface. The Stripped Cenobite stands in an archway and observes as long blades cut into the scar tissue stapled over the Cenobite's face. Mechanical pincers withdraw a shard of metal from the tissue - a piece of the torture pillar, no doubt. Another piece is removed from the impalement wound. Needles rapidly sew this gash. The scar tissue is then sewn closed over the Cenobite's face... And three long, crescent-shaped blades are vertically inserted into the flesh. The Faceless Cenobite drops from the wall with the its new facial accessories, stalking past the Stripped Cenobite and into the labyrinth. CUT TO: INT. TOMMY'S CHAMBER XCU on Tommy's weathered face; his time in Hell has already taken its toll on him. KARA (V.O.) Tommy... He looks up - No longer on the walkway, Tommy finds himself in a dark chamber formed by Romanesque architecture. On a stone slab in the center of the room, Kara lies nude, beckoning to him. KARA Come here, Tommy. TOMMY No. Daggett... KARA He's gone now. It's just me here. I'm scared. She writhes on the slab, and arcane markings are visible on her body now, tattooed across her limbs. TOMMY Kara...what happened to you? KARA I couldn't let you go in there alone, Tommy. I love you too much...you've protected me all these years. Tommy walks over to the slab. KARA (CONT'D) But I'm so scared right now. Don't leave me. TOMMY You know I wouldn't. KARA Please don't leave me... She takes his hands, and draws him onto her body. Tommy hesitates for a moment, looking at the strange characters on her flesh - then he begins to kiss them, working his way up to ner neck. CUT TO: INT. CENTER OF HELL A rectangular chamber rises from the abyss, opening onto a walkway. CU on a dark boot as it steps out. CUT TO: INT. TOMMY'S CHAMBER Tommy tears his shirt off. Kara runs her fingertips up his arms - And stabs her fingers into a knife wound. Tommy pulls back, gasping, then leans in, relishing the pain. CUT TO: INT. CENTER OF HELL CU on a cold, blue mask. Black eyes beneath, featureless orbs, almost no eyes at all. CUT TO: INT. TOMMY'S CHAMBER Tommy makes love to Kara. She surrounds him in her tattooed flesh, moaning. CUT TO: INT. CENTER OF HELL WIDE SHOT of a dark figure, having emerged from the chamber onto the walkway. It can only be the Shape... CUT TO: INT. TOMMY'S CHAMBER As Tommy moves inside Kara, he looks into her eyes. The blackest eyes...the Devil's eyes. Tommy stumbles off and away from the slab, pulling up his jeans. Kara sits up, tilting her head. KARA What's wrong? Isn't this what you've always wanted? Playing husband and wife wasn't ever enough, was it, Tommy? TOMMY No. You're not her. Shit...you're not Kara. The Stripped Cenobite stares back at him now, an amused smile spreading across her pale face. STRIPPED CENOBITE Isn't this what you've always wanted? She massages her exposed muscle and moans. TOMMY No!! STRIPPED CENOBITE What do you want, Tommy? Is it HIM? Tommy simply shakes his head at the seductively-posed Cenobite, backing out of the chamber. CUT TO: INT. LOOMIS'S CHAMBER The faceless Dr. Sam Loomis still dangles from the three chains piercing his flesh. TRACK WITH the back of a masked head, approaching his splayed figure. LOOMIS Michael... From an ANGLE OVER LOOMIS'S SHOULDER, we can see the pale blue face of the SHAPE CENOBITE, the same mask, the same expressionless, inhuman stare. LOOMIS Michael. You're not under their control. (pause) Don't let them exploit your rage...this place is frightening to you, isn't it?...this isn't home. The chains snap away, dropping Loomis to the floor. LOOMIS (CONT'D) You've never allowed yourself to be controlled, Michael. Instantaneously, we find ourselves in a new locale: INT. MYERS HOUSE - FOYER Loomis stands on a split-level floor overlooking the entryway of the dusty, cobweb-infested house. The Shape Cenobite now stands on a stairway overlooking Loomis's position. Although the angle exposes his full body, it is still cloaked in shadow. LOOMIS Remember this place?...The source of your rage, your pain. Home, Michael. Remember who you are? The Shape takes a step down the stairs. Then another. SHAPE'S POV: Advancing toward Loomis as he speaks. LOOMIS (CONT'D) I'm not going to manipulate you. I don't want to harm who you are. But help me, Michael...help me understand. Let someone understand. Behind Loomis's back, he produces the wicked knife that Pinhead gave him. LOOMIS (CONT'D) Let me help you, Michael. The Shape stops at the foot of the stairs. CU on the dark, bone-like protrusions emerging from his outer legs. The Shape Cenobite grabs onto one of the protrusions, and as he pulls it from his leather-clad leg, it is revealed to be the handle of a thin knife. LOOMIS Michael! The Shape hesitates. Loomis, a pathetic image with his bloodied, skinless visage and gore-stained overcoat, reaches out with a gloved hand. LOOMIS (CONT'D) Let me take this from you...you don't need it now... He slips his fingers around the blade of the knife. The Shape seems to be catatonic, staring into space. Then he jerks the knife back - severing Loomis's fingers from his hand. LOOMIS Aaaaaah!! Loomis slashes at the Shape Cenobite with his other hand. The Shape grabs Loomis's hand, and throws him back into the wall, shaking the foundations of the "house". Before Loomis can react, the Shape grabs his coat and hurls him through the railing into the entryway. Loomis lands in a cloud of dust and scattering splinters of wood. He clutches at his mutilated hand. The Shape Cenobite tromps down the stairs into the entryway. Loomis crawls to the front door and pries it open with his remaining fingers. LOOMIS'S POV: Through a mess of cobwebs stretching across the doorway, we see the CENTER OF HELL, and the spinning Leviathan. The Shape hauls Loomis to his feet and and stabs him in the gut. The doctor claws at the Shape's wrist, gasping. The Shape throws Loomis forward again. Chains lash down from the darkness. Loomis's corpse now swings back and forth, the chains having hooked him under the jawbone. The Shape Cenobite walks out the front door, into Hell. CUT TO: INT. CORRIDOR Tommy, shirtless and bloodied, slides down the wall and stares blankly ahead. PINHEAD (V.O.) Your fate is catching up with you, Tommy. Pinhead steps in front of the ruin of a man and smiles. PINHEAD (CONT'D) Even now, he walks these halls under the guiding hand of our Lord - seeking you. TOMMY Who? WHO?? Michael? PINHEAD Soon enough, Tommy. Pinhead is gone. Tommy pulls himself back to his feet. He looks back in the direction from which he came. The Shape Cenobite is standing at the end of the corridor - we now see him in all his unholy glory. Dressed from head to toe in leather formed to resemble his boiler suit, the Shape still wears his classic mask - only it is a half-mask, covering just his face, and it has been sewn into his head behind the ears. Fake hair is teased out over eyes of purest black. He has half a dozen knives buried in either leg. On his torso, skin is peeled back and sewn to the suit, exposing several holes in a triangular, constellational pattern that may represent bullet wounds. The Shape Cenobite stares Tommy down. He backs into the arms of the Stripped Cenobite. STRIPPED CENOBITE Let him take you. The Shape walks forward. Tommy stands numb in the Stripped Cenobite's grasp. STRIPPED CENOBITE Let him take you... Tommy starts to struggle. The Stripped Cenobite looks up, and several chains descend to hold Tommy in place. The female steps in front of him and kisses his lips gently. STRIPPED CENOBITE Goodbye now, Tommy. She frowns. PULL OUT to reveal the Shape Cenobite directly behind her. NEW ANGLE He has buried two knives in her back. The Shape lifts the Stripped Cenobite off the floor, and throws his arms out, slicing her wide open. She slams into the floor, convulsing, cut nearly in half. Tommy gapes at the transformed Shape. The Shape rears back to stab his face. A chain lashes around the Shape's raised wrist. Another plunges into the floor before him. The Shape uses his free hand to literally shatter the chain in front of him. He pulls free of the other chain, but dozens more stab down all around him, forming a sort of cage that contains the slasher. Tommy is released, and makes a break for it. SLOW-MOTION: The Shape makes a violent, 360-degree slash - breaking all the chains surrounding him. Broken links bounce off the floor in every direction. CUT TO: INT. CENTER OF HELL Tommy once again escapes the labyrinth, and finds himself below the gyrating Leviathan. TOMMY Why are you letting me live?!? PINHEAD (V.O.) He SHALL be contained. You are an instrument in his indoctrination. TOMMY NO!! I won't be a tool for you bastards!! Kill me or let me go! PINHEAD (V.O.) You don't make the bargains. TOMMY Really? (pause) Maybe I know how to stop him. Maybe I know how to bring him under control. PINHEAD (V.O.) Explain. My patience is waning. TOMMY Looking into his mind, or even his soul, won't reveal him. You have to let me stop him. PINHEAD (V.O.) What are you bargaining for? TOMMY My freedom. I want to be with my wife and son. PINHEAD (V.O.) If you try the patience of Leviathan... (pause) Bring him to us, and DO NOT FAIL, or we will discover new depths of suffering in your flesh. TOMMY You'll get what you want. CUT TO: INT. LABYRINTH - CORRIDOR The remade Faceless Cenobite stalks the corridors like a feral creature, peering around corners and hissing. In the B.G., the Faceless Cenobite's hunt is joined by the TWIN CENOBITES - two brothers bound together by a metal spindle that pulls the flesh from their faces and twists it into a cruel knot. Their bodysuits sewn together, one brother's face in a demented grin, the other's an exaggerated frown, the Twins follow the Faceless one silently. The Shape steps out behind them. The Twins whirl around, each clamping an arm on the Shape. He shrugs them off and pulls a knife from his thigh, slicing through the ribbon of scar tissue that binds their heads. The leather suit rips apart, and the Twins separate. One again clamps his working hand onto the Shape's shoulder. The Shape chops his arm off in a fluid motion, and with the backswing, slices open his twisted face. The other brother catches the Shape's fist and hurls him into the wall. The Shape careens off like a rag doll. The Shape Cenobite lies still on the floor. Alone with him, the living Twin fingers the blood spindle dangling from his head, and looks without emotion at his slain brother. The Shape rises in the B.G., turning his head mechanically to stare at the Twin. NEW ANGLE: The Twin is pulled OUT OF FRAME. The Shape grabs the spindle still attached to the Twin's face and jerks it upward, ripping half of the Twin's countenance away. The brother drops, leaving only the slasher to cock his head and observe his work. CUT TO: INT. CORRIDOR The Faceless Cenobite turns and looks back with sightless eyes. Realizing it is alone, it draws its knives and heads back. CUT TO: Rounding a corner, it comes across the dead Twins. Behind the contemplative Cenobite, The Shape lowers himself from a ceiling beam. The Faceless Cenobite spins on its heel, only to catch a knife in the cheek. CUT TO: INT. ANOTHER CORRIDOR Tommy is running as fast as he can in his search for Michael. CUT TO: INT. CORRIDOR The Shape Cenobite hurls the Faceless Cenobite back - An "X" of chains lashes across the hallway, cushioning the Faceless Cenobite's fall. It springs back to its feet, and grinds its knives together in a shower of sparks. The Shape stares it down with cold indifference. The Faceless one attacks with a lightning-quick slashing of blades, disarming the Shape, and head-butts him - leaving three vertical gashes in the permanent mask. INT. CENTER OF HELL - CONTINUOUS The Shape staggers back onto a narrow stone walkway. The Cenobite strides after him with confidence. It brings both knives down at the Shape's head - and the Shape catches its wrist, hurling it off the catwalk. Sparks shear away from stone as the Faceless Cenobite stabs into the walkway, dangling above the infinite. The Shape looks down at it and tilts his head to the side, then leans to detach the Cenobite. TOMMY (V.O.) Michael! The Shape hesitates and looks away. The Cenobite struggles to lift itself up. Pulling another knife from his leg, the Shape sinks the blade deep into the Faceless Cenobite's skull. It hangs on for one final, desperate second, kicking its legs - then drops into the abyss. TOMMY (V.O.) Michael! CUT TO: INT. HALL OF PILLARS The Shape Cenobite enters a lengthy chamber with a vaulted ceiling supported by enormous stone pillars. A high balcony encircles the hall. Water pattering on the floor is the only sound. SHAPE'S POV: Tommy steps from behind a pillar several rows down the line. The Shape stops. TOMMY You're not going to be fooled by me again. I know that. (pause) Daggett isn't here anymore, Michael. You're alone here, and you can't get out. It's over. The Shape doesn't move a muscle. TOMMY (CONT'D) Are you getting me? YOU FAILED. You'll wander these halls for eternity looking for something that isn't here. CU: Pinhead watches from the balcony. TOMMY (CONT'D) Whatever it is that drives you, Michael...whatever YOU are...it's done. He approaches the Shape, who is still motionless. Tommy doesn't make the mistake of getting TOO close. The Shape Cenobite almost seems to be contemplating the hall, and his victim. Tommy cocks his head. Above, Pinhead does the same. The Shape hunches over - and draws two knives from his thighs. He slashes out at Tommy, who leaps back. PAN AROUND the Shape Cenobite to where Tommy once stood - it is now Pinhead, his hands open in a welcoming gesture. PINHEAD You are Order?...I see nothing of the sort. The Shape STABS FORWARD. Pinhead catches his wrist in an icy lock. The second knife slashes out - and stops in mid-air as Pinhead grabs the Shape's other wrist. The slasher stares coldly at Xipe Totec as he pushes against the demon's grip. PINHEAD Without your prey, you are without Order. You are Chaos. (pause) A child. He throws his arms out, and a metaphysical force propels the Shape into a pillar with Hell-quaking force. Pinhead advances on the crippled Shape, gloating. PINHEAD A failed experiment in humanity, this pathetic specimen. An attempt by Man to bring Order out of flesh. The Shape staggers to one knee and swings. Grasping his arm, Pinhead hurls him further down the hall, which seems to have extended into eternity. PINHEAD (CONT'D) You are a cosmic folly, Michael. Even Leviathan was taken by your so called psyche. The Shape rolls over the floor like a broken marionette, falling into a prone position. Tommy is now watching from the upper balcony. He looks away from the conflict and sees the Faceless Cenobite, dead for all intents and purposes, hanging in the corridor from a tangle of branches. Its serrated knife falls from a white hand. Clattering on the floor - as the diamond-shaped puzzle box. Tommy kneels and scoops up the configuration. Below, the Shape attempts another feeble swing, and Pinhead thrusts out an open palm, knocking the Cenobite into another pillar. And another. And another. Michael Myers's head smacks off of pillar after pillar, and he cartwheels into the floor with a final crash that sends up a cloud of dust. Tommy creeps down a spiral staircase to the bottom level of the hall, turning the puzzle in his hands. The Shape looks up again: SHAPE CENOBITE'S POV: A man in a smart, 60s-style suit looks down on him with thin hair, a pockmarked face and heavy frown. FATHER Michael, what have you done? You killed them. Judith...Laurie. You made us leave, Michael, your mother and I. We didn't want to, but... The Shape stands up, cocking his head. FATHER (CONT'D) God, Michael, we wanted to love you. We wanted to understand. We -- Father grunts and looks down at the knife in his heart. The Shape gives him a cold, clinical look and steps back. Pinhead jerks the knife out and tosses it aside. PINHEAD There really is no rhyme or reason to your evil. Pinhead looks over the Shape's shoulders; twin chains hook Myers on either side, tugging him back. PINHEAD (CONT'D) Hell will break you. TOMMY (O.S.) Wait!! Pinhead turns, to see Tommy clutching a half-solved cube, thrusting it toward the demon. TOMMY You got what you wanted, pinhead. Now I want mine. PINHEAD Give me the box! TOMMY I don't want him. I want OUT. He turns the pointed end of the puzzle, and a flash draws the point inward, producing a cube. TOMMY (CONT'D) Goodbye, demon. PINHEAD You cannot halt Hell's machinations! TOMMY I don't fucking care. LET ME OUT!! CUT TO: INT. CENTER OF HELL Leviathan - now a cube - screams to a halt, hovering still over the Labyrinth, a surreal image made more bizarre. White beams of light erupt from the cube, streaking into the thousands of corridors. CUT TO: INT. HALL OF PILLARS Tommy runs back up the staircase. Pinhead's head darts from side to side as chain after desperate chain lashes out -- Each stabbing into the stone steps just below Tommy's feet, as he leaps out of view. CUT TO: INT. CORRIDOR Tommy runs for his life. CUT TO: INT. HALL OF PILLARS Pinhead is fuming. White blurs streak past him with otherworldly shrieks. The Shape Cenobite sits up in the B.G. CUT TO: INT. CORRIDOR Tommy sees a bright column of light ahead: a rift in the Labyrinth, an escape. Souls tear past him in brilliant flashes, into the rift. Tommy looks back and stumbles in his shock. The Shape Cenobite is in swift pursuit, cruising down the corridor with a blade in each hand. Tommy looks back The rift is closing! He rushes for it. The Shape hurls a knife. It slams into the back of Tommy's knee. He staggers to the floor and shoves himself back up, limping towards freedom. Tommy hits the wall, inches from the rift, and looks back again. The Shape is coming - a wall of chains criss-crosses the corridor rapidly, fencing him off. The Shape's arm pushes through the chains and swings a knife at Tommy. He stumbles into the rift. DISSOLVE TO: INT. BOILER ROOM Tommy sits up, rubbing his head. He's lying before a grimy wall of pipes. The room is otherwise empty. Tommy looks down and sees a piece of Halloween candy under his hand. He laughs bitterly. CUT TO: INT. HELL - CHAMBER The Shape Cenobite is truly a marionette at this point - red hot chains spearing each hand, he is held in place. A tableau of violent imagery flashes before him - Laurie screaming, Dr. Loomis's intense stare, Michael's parents gawking. He slashes at the images, the chains always tugging him just out of reach. Pinhead stands at the top of a flight of steps and watches with satisfaction. PINHEAD Keep struggling, child. Struggle against Order. Bleed. He smiles. ZOOM OUT, past the tormented Shape, down a long blue corridor to the INT. CENTER OF HELL Where the Faceless Cenobite draws his knives against one another, beneath the whirling Leviathan. A smile forms beneath the taut flesh-mask. CUT TO BLACK.