NOTE: THIS IS NOT ROB ZOMBIE'S HALLOWEEN. This is a fan-written script based on the character breakdown for Rob Zombie's Halloween which was released to the public. No part of this script is taken from any draft of Rob Zombie's Halloween. No copyright infringement is intended. FADE IN: EXT. LAMPKIN LANE - DAY We CRANE OVER a middle-class suburban neighborhood of ranch style houses, modest yards strewn with dead leaves, children scampering across the street, some houses decorated with paper cut-outs of black cats and ghosts. We settle on house number 45, a somewhat dilapidated two story home with unkempt grass and a beat-up 1973 Chevy El Camino. CLOSE IN on a withered jack-o'-lantern grinning from the bottom of the porch. SUPERIMPOSE CAPTION: "October 31, 1978". SUPERIMPOSE TITLE: "HALLOWEEN" The sound of breaking glass is heard, then a woman's sharp cry. CUT TO: INT. MYERS HOUSE - KITCHEN DEBORAH MYERS, 35, a woman whose natural beauty has been worn away by stress and too much makeup, stands over a shattered plate and bits of sausage and egg. She casts an angry glare at the man sitting at the kitchen table, RONNIE WHITE. Ronnie, a mustached bear of a man, swooning from a hangover even as he sits, gives her a shrug. DEBORAH You ass, Ronnie! RONNIE You think I'm gonna eat that cold shit? You think I'm too hung over to taste your nasty cooking, Deborah? DEBORAH I thought you'd be too drunk to taste it. Not like you deserve any better. She kneels and starts scraping the food off the floor. DEBORAH Would you get the damn broom and help me? RONNIE I'm drunk. DEBORAH Ass. 17-year-old JUDITH MYERS enters the room, wearing a low-cut top and Daisy Duke shorts that reveal just enough of her budding figure for Ronnie to give an admiring whistle. RONNIE You steal that outfit from your momma? DEBORAH Judith Myers, get back to your room and change into something decent! RONNIE You couldn't fit into those anymore, could ya Deb? DEBORAH (ignoring him) I mean it young lady. JUDITH "Young lady"? Are you kidding? Don't start playing mom, Mom. DEBORAH I don't want you going to school dressed like that! JUDITH You take your goddamn clothes off for a living! DEBORAH Watch your mouth! (to Ronnie) For God's sake, act like a father for two minutes. RONNIE I ain't her father. JUDITH He's not my father. DEBORAH Fuck it. (to Ronnie) You can eat this shit off the floor, I'm done with it. (to Judith) Change your goddamn clothes. She leans out the kitchen door, toward the staircase, and yells: DEBORAH MICHAEL!! CUT TO: INT. MICHAEL'S ROOM The room is all but bare - the drawings and posters of superheroes that should cover a 10-year-old's wall are nowhere to be found. An unmade bed is shoved into the corner. A bureau, covered in a thin layer of dust, has no toys or trash atop it. There's a chair set in front of the curtainless window. A boy sits in the chair. From the back, we see his long, stringy hair and slouched form. DEBORAH (O.S.) MICHAEL!! The boy doesn't react at all. This is MICHAEL MYERS. Feet pound on the stairs, and the bedroom door opens. DEBORAH Michael, are you ready for school? The boy slowly turns, his eyes empty, casting a blank stare at her. He's wearing a pair of jeans but no shirt. DEBORAH Come on and get dressed, would you? With a sigh, Deborah rummages through the bureau, then plucks a black t-shirt out from under the bed and pulls it over the motionless boy's shoulders. DEBORAH Give me a little help here, Michael. Getting the shirt sleeves over his arms, she kneels and looks into his eyes. A worried look crosses her face, but she clearly doesn't have the parenting chops to address whatever concerns she has. DEBORAH Can I see a little smile? Baby? He stares through her. She leaves the room. CUT TO: INT. HALLWAY - CONTINUOUS We follow Deborah down the hall to a rear bedroom, where a crib sits alone in the middle of the room. Inside lies a little baby girl - LAURIE, not even a year old. DEBORAH Laurie? How's my little angel? She picks the baby up and cradles her, trying to give her the affection & attention that was never afforded to the other children. DEBORAH Are you still sleepy? We need to make you some breakfast-- She turns and stops cold. Michael is standing in the doorway, staring at them. DEBORAH Honey? (beat) You need to eat something before you go to school. Downstairs. C'mon. CUT TO: INT. KITCHEN Michael follows Deborah, with Laurie, into the room. Judith, still wearing the same outfit, slings a backpack over her shoulder. JUDITH Bye! DEBORAH Judith, I told you-- But the girl's gone. Ronnie stifles a laugh. His gaze meets that of little Michael. RONNIE The hell are you looking at? DEBORAH Michael, sit down and I'll pour you some cereal. Or - Ronnie, would you get Michael a bowl of cereal? I've got the baby. RONNIE What the fuck you got the baby for? Jesus. Michael, you're ten goddamn years old, get yourself some food. Michael stands by the table and just looks at Ronnie. Finally, the man gets up and shoves past him to the cabinets over the sink. RONNIE It's like everyone in this house is a fucking baby. DEBORAH You're the biggest one of them all, then. RONNIE You better watch it. You're lucky you're holding that brat. DEBORAH What've you got against Laurie, now? She's the sweetest thing I've ever seen. Deborah coos over the baby. Michael slips into a chair and fixes his stare on the wall beside him. Ronnie shakes a few Cheerios into a bowl. Unseen by anyone but him, a spider scrabbles along the back of the sink. He grabs it and drops it into the bowl. Dropping a spoon in there, he hands the bowl to Michael and fishes a quart of milk from the refrigerator. RONNIE Here you go, sport. He pours enough milk in to submerge the cereal completely, then smiles broadly. RONNIE Eat up. DEBORAH Thank you, hon. Michael picks up the spoon and lifts it from the milk. The spider is clinging to it. Michael just stares at the insect. Ronnie continues smiling, standing between the boy and Deborah. RONNIE Go ahead Mikey, see if you like it. Michael puts the spider in his mouth - CRUNCH. Ronnie goes pale. RONNIE Jesus. Michael swallows a big spoonful of cereal and goes on like nothing happened. CUT TO: EXT. MYERS HOUSE - DAY Michael walks out of the house with a bookbag hanging from one hand. He drags it down the porch steps and across the yard, then heads off down the sidewalk. Two boys Michael's age emerge in the background, having waited behind a bush for the Myers boy to appear. They follow him with malicious grins on their faces. They are WESLEY RHOADES, a tall blond, and SHANE WILLIAMS, a chubby redhead. WESLEY Hey Myers. Myers! Michael keeps walking without looking back. The boys hustle to walk on either side of him. WESLEY How's your mom? I saw her down at the Rabbit last night. I saw her tits. SHANE You did? Wesley shoots Shane a shut-up-and-play-along glare. WESLEY Sure I did. She was showing 'em to everybody. She wishes she could show 'em to everybody in town. She's glad your dad's dead, Michael. SHANE Yeah, so is everybody else! WESLEY Everybody hates you. You know what they say? About your dad? He was the boogeyman. Are you a little boogeyman? SHANE Boogeyman! WESLEY Boogeyman! Michael stops, staring straight ahead. The boys sweep in front of him, repeating the taunt again and again. ZOOM IN on his cold, dead eyes. CUT TO: INT. HADDONFIELD ELEMENTARY SCHOOL - CLASSROOM Michael sits in the last desk on the last row. He looks out the window, ignoring the teacher's droning voice. She's reading a book to the children: TEACHER (O.S.) "And all the monsters ran away From such an awful fright. You see, even monsters can be spooked On this - Halloween night!" CUT TO: INT. RABBIT IN RED LOUNGE Under dim lights, Deborah is dancing topless for the sparse afternoon crowd. A few old cowboys sip beers and watch absently as she turns on the metal pole. LOU MARTINI, the slovenly bartender, pulls a match from a Rabbit in Red matchbook and lights a cigarette. Deborah steps off the stage and walks over to him, ignoring the leering patrons. DEBORAH Can I bum one off ya? LOU You're back on in fifteen. Get cleaned up. DEBORAH Huh? LOU You look like a mess. Jesus, you done having kids yet? DEBORAH You're an asshole, Lou. LOU Hey Deb, I'm just trying to help you keep food on the table and roof over the rugrats' heads. That means you need to be good for business - and what's good for business is my girls smelling like roses, not cigarettes. Now get backstage and clean yourself up. DEBORAH You don't give a damn about me. LOU Should I? She stalks off. In the very back of the room, a man sitting alone, in shadow, puffs on a cigar and studies Deborah. He slips a Rabbit matchbook into his coat pocket. CUT TO: EXT. HADDONFIELD ELEMENTARY SCHOOL - AFTERNOON The dismissal bell rings. Crowds of children exit the school and race across the lawn, many of them dressed in Halloween costumes. Michael is alone at the rear of the pack. He trudges alongside the playground fence. Wesley runs up behind him and slips a ridiculous clown mask over his head. WESLEY Hey clown! Shane joins him, doubled over in laughter. SHANE Stupid clown! WESLEY You like your mask Michael? Huh? Huh? He shoves Michael back, but the masked boy doesn't respond. WESLEY Are you retarded or somethin'? Say somethin'! A young girl walks past, making a wide circle around them. Wesley casts a mischevious eye after her. WESLEY Hey Shane, let's get her. SHANE Yeah! Wesley tears the clown mask off of Michael, and the bullies run off. Michael stares coldly after them. He begins to walk again - slowly, deliberately, in their direction. CUT TO: INT. WOODS - AFTERNOON The girl is taking a shortcut through a thicket of dead trees. She steps gingerly over the thin branches that extend to the ground. Suddenly, she's shoved forward into the dirt. Wesley stands over her, clenching the clown mask. WESLEY Hey Alice, where's your costume? ALICE Leave me alone Wesley! Shane is dancing around in the background, still laughing. WESLEY Hey Shane, I'll catch up with ya later. SHANE Are you coming over to trick or treat? WESLEY Yeah, yeah. Later. SHANE Okay. Shane waddles out of sight. Wesley turns back to Alice. ALICE You hurt my leg! WESLEY I don't care. He shuffles closer, twisting the plastic mask between his hands. WESLEY Hey, you ripped your dress. ALICE Ugh! You did it, stupid! WESLEY Lemme see. He kneels and grabs at the hem of her dress. ALICE Stop! WESLEY Lemme see under it. He drops the mask and struggles with her using both hands. Michael's hand picks up the mask. He slips it on, then grabs a thick, pointed stick. ALICE Let go! WESLEY Lemme see! Wesley lurches forward with a grunt, then falls atop Alice. Michael stands over him and plunges the bloody stick down again and again and again. Alice stares numbly up at Michael as Wesley dies on top of her. Michael drops the stick and walks away. Finally, Alice SCREAMS. CUT TO: EXT. MYERS HOUSE - AFTERNOON Judith is being dropped off by STEVE, a curly-haired string bean in his dad's convertible. He gives her a long, lewd kiss. STEVE Can I come over tonight? JUDITH I don't know. My mom and stepdad might go to a party. STEVE Yeah? JUDITH I might be stuck watching Laurie and the spook. STEVE Yeah? JUDITH We can't do anything with Michael in the house! He watches me shower for chrissakes. STEVE I don't care if the kid sees. He's a mute, isn't he? JUDITH Shut up. (beat) He can talk, he just doesn't. STEVE Just call me if your folks leave, okay? I'll be right over. JUDITH Don't you have any plans? STEVE I'll ditch 'em. C'mon Judy, just call me. He slips his hand over her thigh and up her shorts. JUDITH Okay, okay. She kisses him and gets out of the car. JUDITH You better be home when I call. STEVE I will be. He pulls away. Across the street, Michael stands, still wearing the clown mask. He pulls it off and walks over to the house. JUDITH Hey, where'd you get that? (beat) Never mind. You're hopeless. CUT TO: INT. MYERS HOUSE - LIVING ROOM Ronnie slumps in a recliner, having a beer and watching a car chase on TV. He glances over his shoulder as Judith tosses her backpack on the floor. JUDITH Do you have a job yet? RONNIE I told you, I'm on disability. Why don't you get a fucking job? Don't you dare ask your mother for any money tonight, me and her are going out. JUDITH I don't need your money, dick, I have a boyfriend. RONNIE Yeah? You two screwing? Judith pretends to be appalled, but stands suggestively in the doorway and answers Ronnie. JUDITH You're so gross. RONNIE Teenage boy doesn't know how to screw. You're wasting that hot little body on a kid? Damn shame. JUDITH Yeah? She approaches him and leans over the recliner, giving him an eyeful of her cleavage. JUDITH Would you give it to me right? RONNIE Just like I do your momma. He arches his neck to try and kiss her. She backs off, laughing. JUDITH Gross old man. RONNIE Bitch. I want you to stay here tonight and watch the others! No parties, no friends, no nothin'! JUDITH Fine. She skips upstairs. Ronnie adjusts the crotch of his jeans and takes a swig of beer. RONNIE Bitch. Michael appears in the doorway, observing silently. After a few moments, Ronnie senses his presence and turns. RONNIE What the fuck? You creepy little bastard. You'd better not say a word to your momma or I'll beat you senseless. (beat) You got that? He hurls the beer bottle. It bounces off the door frame near Michael's head. The boy walks away. EXT. WOODS - AFTERNOON Two police cars are parked beside the entrance to the wooded area where Wesley was killed. Alice, wrapped in a blanket, sits beside a police officer and her weeping mother. Another mother, Wesley's, is led out of the trees by a cop; they're followed by a stretcher, and the boy's covered corpse. SHERIFF HOLDT of Haddonfield scratches his brow and watches as the body's taken to an ambulance a short distance away. SHERIFF HOLDT I really appreciate you coming out here on such short notice. This is a nightmare. A man in an overcoat emerges from the woods: a patch of gray hair on his otherwise smooth head, keen gray eyes studying the scene, a cane in his gloved hand supporting him. This is DR. SAM LOOMIS. LOOMIS Not a problem, Sheriff. SHERIFF HOLDT She's not speaking much, but she said...she insists it was a little boy that did it. We're rounding up the kid's friends right now. God, on Halloween of all days. (beat) Doctor Loomis, you really think a child is capable of something like that? LOOMIS Children don't share our same fears, our same sense of morality. Or mortality, for that matter. I'm not sure we know what children are really capable of. Holdt puts a cigarette between his lips and searches himself for a lighter. Loomis pulls a Rabbit in Red matchbook from his coat and offers a light. SHERIFF HOLDT Thanks, Doc. (takes long drag) You think we ought to call Halloween off? Get everyone off the streets? LOOMIS Until the killer is found, yes. CUT TO: EXT. MYERS HOUSE - EVENING Deborah and Ronnie stand on the porch, with Judith in the doorway. DEBORAH You heard on the radio about what happened to that boy. You are not to answer this door - there aren't supposed to be any trick-or-treaters out tonight. And don't let Michael out of your sight. Understood? JUDITH Got it. RONNIE No boys, Judith. JUDITH I wouldn't want to waste my hot little body on them. DEBORAH Judith! Don't talk like that. She and Ronnie descend the steps and walk to his El Camino. Judith goes inside. CUT TO: INT. MYERS HOUSE - LIVING ROOM - CONTINUOUS JUDITH Michael? Where are you at? CUT TO: INT. MICHAEL'S ROOM Michael sits in his chair at the window, looking out on the front yard. He watches as Ronnie and his mother drive away. The street is now empty and rapidly growing dark. CUT TO: INT. LIVING ROOM Judith drops into Ronnie's Lay-Z-Boy and cracks open one of his beers. THE THING FROM ANOTHER WORLD plays silently on the TV. CUT TO: STALKER POV: Walking up the porch steps, stepping through the open front door and into the Myers house. Going past the stairs, entering the living room and zeroing in on Judith. A hand closes over her face. She yelps. RESUME REGULAR SHOT It's Steve. He leans over and gives her a kiss, slipping his hand down her chest and into her shirt. JUDITH Slow down partner. Go grab yourself a beer. STEVE Right on. In the background as Steve heads for the kitchen - Michael watches from the top of the stairs. ON MICHAEL As he pulls the clown mask over his head. STALKER POV: Descending the stairs - Steve can be heard slamming the fridge door. Around the side of the staircase, standing in the shadows. Steve walks by, doesn't notice. Into the kitchen. Past the fridge to a drawer. Inside, cutlery. A big butcher knife. Tiny hand closes over it. CUT TO: INT. LIVING ROOM Steve pulls off his shirt and sits back on the couch. STEVE Trick or treat, babe. JUDITH You got something for me? She gets down on the carpet and crawls over to where he's seated. She starts undoing his pants. STALKER POV: In the living room doorway as Judith goes down on Steve. Creeping behind the recliner so that neither teen can see us. ON STEVE He arches his back and moans, then takes a swig of beer. He spills some down his bare chest. JUDITH (O.C.) I'll get it baby. STEVE Oh yeah. He grabs the back of Judith's head, twisting her long hair in his fist. STALKER POV: Moving around the recliner and approaching Judith & Steve...Steve's eyes are closed, his head leaning back... ON JUDITH She pauses. JUDITH You're getting beer all over me. She looks up. JUDITH'S POV: The butcher knife is sticking out of Steve's chest, blood running down his torso in a river. She flies back, screaming. Michael grabs the knife with both hands and pries it free. JUDITH Michael! Michael, no! STALKER POV: Plunging the knife down at her, again and again. Slashing her wrists and hands as she tries to defend herself. Finding the soft flesh of her breast and belly. Again. Again. Again. The stalker steps over Judith's body and walks out of the living room, out the front door and down the porch steps. To the end of the yard. CUT TO: INT. RONNIE'S EL CAMINO - NIGHT Ronnie mutters curses as he drives. Deborah sighs. DEBORAH You forget your wallet and you're pissed off at me? What in the hell, Ronnie? RONNIE You're supposed to remind me about shit like that. Pulling into the Myers' driveway, he frowns. RONNIE What's he doing out here? DEBORAH Oh hell...Michael! EXT. MYERS HOUSE - NIGHT - CONTINUOUS The couple get out of the car and walk over to Michael. He stares blankly ahead, the bloody knife still clutched in his hand. DEBORAH ...Michael? RONNIE Jesus! Ronnie yanks the mask off. CLOSE: Michael turns and BURIES the knife in his groin! CUT TO BLACK, with Ronnie's scream fading. FADE IN: INT. SMITH'S GROVE SANITARIUM - LOOMIS' OFFICE Sam Loomis sits at a desk cluttered with paperwork, file cabinets flanking him. He's obviously got too many patients and not enough resources to deal with them all. Wedged into a chair on the other side of the desk is MORGAN WALKER, the head of operations. He looks over a form bearing the Smith's Grove name. WALKER Michael Audrey Myers. The boy who killed his schoolmate. Now his sister and her boyfriend. LOOMIS I told them to get all the children off the street, into their homes...it wasn't enough. Home wasn't safe. CUT TO: INT. SANITARIUM - CORRIDOR Loomis walks alone, leaning on his cane. SUPERIMPOSE CAPTION: "November 4, 1978". Loomis stops at one of many unmarked doors and finds the key on his key ring. He lets himself in. CUT TO: INT. MICHAEL'S ROOM - CONTINUOUS Michael, dressed in a white cotton shirt and pants, sits in a chair facing the window, motionless. LOOMIS Michael? Loomis closes the door and sits at the foot of the undisturbed bed. LOOMIS I'm Doctor Loomis. Sam. (beat) Are you going to stare out that window for the rest of your life? No response. Loomis edges closer, still keeping a safe distance between himself and the boy. LOOMIS (CONT'D) The court has recommended that you stay here until you're an adult, Michael...until you stand trial for what you did. Until then, it's me and you. Still getting nothing, Loomis rises and moves toward the door. LOOMIS We have a lot of time to get to know one another. He exits. CUT TO: INT. LOOMIS' OFFICE Late at night - the wall clock reads three, and a small desk lamp provides the room's only light. Loomis holds, encased in plastic, the clown mask. He stares at the blood-speckled eye holes. Then he grabs a pair of scissors and cuts through the police seal. CUT TO: INT. MICHAEL'S ROOM The mask is set on the bed in the dark room. Only the moonlight coming through the barred window illuminates it. Loomis steps back. Michael turns... Gets up, walks over and takes the mask. He slips it on. LOOMIS Now then, do you want to talk to me? Michael backs into the chair and stands there, staring. LOOMIS What was Wesley doing to the girl? You can tell me. I know you didn't do anything to her. (beat) Was it like what the boy was doing to your sister? Michael is stock-still, a mannequin. LOOMIS (CONT'D) Sometimes men do bad things. They have bad feelings. In that place, down there. Where you hurt your stepfather. (beat) Do you ever have bad feelings? Michael still isn't responsive. Loomis takes a step forward. LOOMIS If you won't talk, I'm afraid I'll have to take the mask. It's not yours anymore. He reaches a hand out. LOOMIS Michael...? He gently takes the edge of the mask and begins prying it upward. It comes away from the boy's head. LOOMIS Maybe we can try something else tomorrow. He turns to go. Michael grabs Loomis in the small of his back, SQUEEZING a handful of flesh in his tiny fist! Loomis cries out and tears away, shoving Michael off. Michael bounces off the chair and comes to a sitting position on the floor. He stares through the doctor with his black eyes. Loomis carefully backs out of the room and yanks the door shut behind him. CUT TO: INT. MICHAEL'S ROOM Michael sits in the chair again, now turned to face the bed, which is strategically positioned between himself and Loomis. A piece of paper rests on the bed, along with a black crayon. LOOMIS You can draw whatever you like. Whatever you feel, or see. Michael takes the crayon and presses it down, tracing an oval shape. He carefully tears the excess paper away from the outline. Then, he draws two eyes and punches them out with his thumb. He places the mouthless, featureless mask over his face. LOOMIS Is that because you don't want to talk to me? You want to hide away in there? Loomis leans over the bed. LOOMIS (CONT'D) I'm not a bad man, Michael. I'm just like you. Michael holds the mask tight over his face, breathing audibly against the paper. CUT TO: INT. LOOMIS' OFFICE Deborah Myers sits across from Loomis, her face streaked with tears and mascara. DEBORAH I can't even see him? LOOMIS It wouldn't be good for him at this stage. I've made very little progress as it is. DEBORAH Maybe if he could just see his mother-- LOOMIS I'm afraid not. He didn't hesitate to act in your presence when he attacked your husband. DEBORAH Ex-husband. LOOMIS Be that as it may, Michael is in a very sensitive place right now. DEBORAH How do you know that? How do you know anything about him? He won't say a goddamn word! LOOMIS Has he always been so quiet? DEBORAH His father passed away when he was a baby. But even then...he was so still, so silent. (beat) Like he's just watching, listening, taking it all in, and...waiting. LOOMIS For what? For what he did on Halloween? DEBORAH Why would a little boy do something like that? Where would he learn that? I've done all I can for my children! I tried! LOOMIS Don't blame yourself. This isn't about placing blame, it's about moving forward. Helping Michael. DEBORAH Is there even anything you can do? LOOMIS I'm trying, Miss Myers. CUT TO: INT. CORRIDOR Michael sits outside his room with two attendants: NOEL KLUGGS, a greasy, lanky man; and ISMAEL CRUZ, a bulky Latino. In the room, a third attendant, KENDALL JACKS, is mopping the floor. NOEL What the hell do you piss yourself for, brat? Don't you know how to knock and ask for the bathroom? ISMAEL Lay off him, Kluggs. NOEL Are we supposed to treat these fuckers like invalids? No, we're supposed to treat them like they're "normal", like Doc Koplenson always says. Normal ten-year-old kids don't sit in their own piss all day staring out a fucking window. ISMAEL Michael, you know if you ever need to go potty, you can just call for me. NOEL "Go potty"? You oughta be a shrink Cruz, you're so compassionate. You know this orderly job is for tough guys who don't take shit from head cases. We're supposed to secure this place, not clean up this brat's crap! KENDALL (O.C.) Yeah! ISMAEL Can it Jacks, or I'll come in there and use you as a mop! Kendall walks out, filthy mop in hand. KENDALL What was that? ISMAEL You heard me, pissant. Noel grabs the mop and shoves it into Michael's face. ISMAEL Hey! He yanks the mop away. Noel and Kendall laugh. NOEL You get the message, brat? Ismael shoves Noel back, standing protectively in front of Michael. ISMAEL I'll report your ass if you don't back off right now. He means business. Noel snorts, but doesn't press the issue. ISMAEL Get lost. He turns to Michael. ISMAEL I'll get you something to wipe up with. Go ahead and go back in your room. He nudges Michael toward the doorway. KENDALL You're not supposed to touch him! ISMAEL Shut. Up. Michael walks into the room. Ismael closes the door and shrugs at the others. ISMAEL Maybe I should be a shrink. NOEL You're such a-- ISMAEL Get lost! He brandishes the mop, threatening to give them the piss treatment. They leave. CUT TO: INT. HEARING ROOM Morgan Walker sits with two other men: DR. KOPLENSON, a bearded man with a bandage over one eye, and COUNCILMAN EDWARDS, a puffy bureaucrat with a comb-over. Dr. Loomis enters the room. He's followed by a much older, taller Michael, who wears the blank paper mask over his face, affixed with string. EDWARDS What's that? LOOMIS Just part of his therapy, that's all. Noel Kluggs steps in behind Michael and closes the door, keeping close watch on the patient. SUPERIMPOSE CAPTION: "October 30, 1989". KOPLENSON Sam, we need to see the patient's face. LOOMIS I'd recommend keeping the mask on. Just for a bit. All right? KOPLENSON Why? Will he become violent without it? LOOMIS No, no, just unresponsive. KOPLENSON From what I've read, that's all this patient is. Unresponsive. LOOMIS I feel like I've made some progress... WALKER You keep saying that, but Doctor Koplenson and I haven't seen anything substantial in your reports. It's been eleven years. Michael Myers is twenty-one and we only have one question: is he fit to stand trial for his crimes? LOOMIS Michael hasn't indicated that he understands what he did, nor the consequences. He hasn't indicated an understanding of right or wrong-- EDWARDS Excuse me, Doctor? I'm Councilman Edwards. The community of Haddonfield wants closure here. I want to know if we can put this man behind bars where he belongs. LOOMIS He's in a near-catatonic state. The only time he reacts to human contact is when we work on his masks, or when he's with one of the attendants, Ismael Cruz. It's a long and tedious process, but I assure you I am getting through to him. EDWARDS Is he fit to stand trial? LOOMIS It would be a pointless exercise. KOPLENSON What about the security situation? We need to move some of the patients out of that wing and into minimum. LOOMIS Minimum security? KOPLENSON Yes, can we place him there? LOOMIS In a group setting? KOPLENSON Yes, Sam. Loomis frets silently. WALKER Do you know this patient at all, Doctor Loomis? Are you prepared to make any sort of statement on any aspect of his treatment? His mental state? Can we move him to minimum security? LOOMIS I-I think he'd be all right. But I must insist close supervision nonetheless. (beat) In many ways, Michael Myers is still a mystery. I'm concerned about how a radical change to his environment may affect what little headway we've made. KOPLENSON Minimum security isn't a "radical change in environment". (to Edwards) I'm sorry to bring you all the way out here, Councilman. It appears we still have a long way to go. EDWARDS All right. CUT TO: INT. CORRIDOR Noel stops Michael outside the hearing room. He produces a syringe. LOOMIS That isn't necessary. I already sedated him. NOEL He needs another shot. He cruelly jams the needle into Michael's buttock. The patient is motionless. LOOMIS Take him to his room. CUT TO: INT. MICHAEL'S ROOM Noel shoves the drugged Michael through the door. Michael stumbles against the bed and falls facedown on it. NOEL Take that stupid fucking mask off. He grabs the paper and tears it free, crumpling it in his fist. Michael sits up, suddenly lucid. (We don't see his face.) Noel looks down - Michael's grabbed the syringe from Noel's hand. CLOSE on Michael's dead eyes. He slams the syringe into Noel's throat just below the chin. CUT TO: INT. CORRIDOR Ismael Cruz is patrolling the halls when he sees Michael's door hanging open. He rushes over. Michael sits in the chair, facing the window...Noel's mangled body lies on the floor. CUT TO BLACK. FADE IN: INT. SMITH'S GROVE SANITARIUM - MAXIMUM SECURITY WARD An armed guard in a security uniform, EARL HICKS, stands by the entrance to the wing. He nods to Dr. Loomis as the psychiatrist enters using an electronic key card. SUPERIMPOSE CAPTION: "October 31, 1995". "Halloween". Another guard, BILL JUDGE, uses a key to unlock Michael's new room. The heavy steel door opens with a hiss. CUT TO: INT. MICHAEL'S ROOM The chair is bolted to the floor and faces a concrete wall. Michael sits and stares. Loomis closes the door and opens a thick file. LOOMIS I've brought something. He pulls out a white rubber mask with an expressionless face and short brown hair. The SHAPE MASK. LOOMIS I've cleared it with Koplenson...you can wear it when you're in your room. He holds it over Michael's shoulder, past a head of stringy hair. Michael doesn't move. Loomis drops the mask in his lap. LOOMIS I was hoping we might be able to talk today. (beat) It's my last day at Smith's Grove. I...you'll be staying. Michael lifts the mask in his hands. LOOMIS (CONT'D) I failed. I failed you. (beat) Say something, dammit! Michael lowers the mask. Loomis pounds on the door. LOOMIS Goodbye, Michael. Judge lets the doctor out. CUT TO: INT. LOOMIS' CAR - AFTERNOON Loomis drives out the gates of the sanitarium. A cell phone on the dash rings. LOOMIS Hello? Hi, Ellen. I'm on my way home...Sounds good. Love you, bye. CUT TO: INT. SMITH'S GROVE SANITARIUM - MAXIMUM SECURITY WARD Bill Judge glances through a porthole into Michael's room. Michael, wearing the mask, is lying on the floor in spasms. JUDGE Jesus. Earl! CUT TO: INT. LOOMIS' CAR - AFTERNOON Loomis cruises down the highway. Hearing a siren, he pulls over. An ambulance streaks by in the opposite direction. Loomis pulls back onto the road and resumes his journey. CUT TO: INT. SMITH'S GROVE SANITARIUM - MAXIMUM SECURITY WARD The two guards and a pair of EMTs rush Michael down the hall on a stretcher. EMT Can we get this mask off?? A bloody froth is issuing from the lips of the mask. Hicks struggles with it. HICKS I think he's biting down on the damn thing! EMT You've got to get it off! INT. CORRIDOR - CONTINUOUS They exit the wing and head down a wide hall. Ismael Cruz steps out of the way, watching in horror. CUT TO: EXT. SMITH'S GROVE SANITARIUM - AFTERNOON The stretcher rolls out sliding glass doors and toward the ambulance. Dr. Koplenson follows, now wearing an eyepatch, his face twisted with panic. KOPLENSON Where are you taking him? EMT County General! KOPLENSON The State Police will meet you there! Judge stops by the doctor. Hicks continues on with the EMTs, still pulling on the mask. HICKS I'm going with! The stretcher goes into the back of the ambulance. KOPLENSON This can't be happening. And with Sam gone. CUT TO: INT. AMBULANCE The vehicle roars away from the hospital. Michael jostles back and forth with Hicks prying at the edges of the mask. EMT He might be swallowing his fucking tongue. The other EMT sticks an IV in Michael's arm. Michael's eyes open inside the mask. EMT Hey, can you hear me? You with us? Can you speak? HICKS He doesn't talk! EMT Perfect! The Shape awakens. Jerking the IV needle from his arm, he slams it into the lead EMT's throat. He grabs other EMT by the throat, crushing his windpipe. HICKS No!! Hicks fumbles for his gun. HICKS Driver! Driver! The Shape sits up and turns to grab Hicks by the collar of his shirt. EXT. HIGHWAY - CONTINUOUS The ambulance careens off the shoulder and overturns. It comes to a violent stop in the dirt. All is still. PAN OVER to a road sign reading: SMITH'S GROVE - 6, HADDONFIELD - 70. CUT TO: EXT. HADDONFIELD HIGH - AFTERNOON The dismissal bell sounds, and teenagers spill out the doors, racing to their cars. Three teen girls come into focus: ANNIE BRACKETT, 17, fresh-faced and curly-haired; LYNDA VAN DER KLOK, 18, a long-haired, overly-made-up girl with the look of a troublemaker; And LAURIE STRODE, 17, the face of innocence and naiveté, an All-American girl next door. ANNIE Laurie, are you just gonna call Ben or what? LAURIE No, no! You don't just call Ben Tramer. ANNIE YOU don't. I would. LYNDA I'd walk right over to his house and strip on the front stoop. LAURIE Lynda, give me a break. LYNDA I'm serious! For Ben Tramer? If he'd give me the time of day... LAURIE He's barely spoken a word to me, I don't see what the big deal is. ANNIE He spoke to you. That's the big deal. Look, if you're really that scared I can have Paul talk to him. LAURIE Yeah, and pass him a note saying "do you like Laurie Strode? Circle yes or no". That'll really help. ANNIE Then call him! LYNDA Maybe I will go over to his house. ANNIE Need I remind you that you're taken? LYNDA Bob doesn't count as "taken". He can barely take me. ANNIE Tonight would be the perfect night to hook up with Ben, Laurie... LAURIE I have to babysit tonight. ANNIE Yeah, me too. Like that's gonna stop me. LAURIE Maybe I could call Ben tonight. Does he have a date for homecoming? ANNIE I don't know. I could have Paul ask him. LAURIE Don't. LYNDA You're really dead set on doing the right thing and going over to this babysitting gig? On Halloween? LAURIE It's a favor for my dad. I consider it an investment in that new car. ANNIE Hey, who are you watching? Tommy Doyle? LAURIE Yep, the one and only. ANNIE I'm supposed to babysit Lindsey Wallace. You think maybe I could bring her over to the Doyles'? LAURIE Oh, I don't know. ANNIE C'mon! Then me and Paul have the Wallace place all to ourselves. LYNDA Unless me and Bob come over... Annie and Lynda squeal and clasp hands. Laurie frowns at being left out, again. ANNIE Oh, Laurie...I'm sorry, I don't mean to dump on you like this, it's just...well, you could call Ben and talk to him tonight...and I'll call and check up on you... LAURIE It's okay, it's okay. Look, I have to run home and drop a key off for my dad. Call me later, all right? ANNIE Okay. Laurie hurries off down the sidewalk. LYNDA She's such a pushover. ANNIE She's sweet. That's what Ben sees in her, you know. LYNDA I've had my sweet moments. ANNIE Hey, speaking of which, you think you and Bob could score some pot tonight? LYNDA Oh, gee, I'll try but you know, I don't usually do that sort of thing. ANNIE Oh, shut up! LYNDA I'm just fucking around. ANNIE So can you? LYNDA Totally. CUT TO: EXT. TRUCK STOP - AFTERNOON A big, dirty semi rolls into the otherwise deserted stop, pulling around the convenience store-diner and parking in the back. INT. SEMI CAB - CONTINUOUS BIG JOE GRIZZLY, a burly black trucker in filthy coveralls, cuts the engine and yawns. GRIZZLY 'Bout time. He shoves open the door and gets out. EXT. TRUCK STOP - CONTINUOUS Grizzly crosses the empty dirt lot and enters the store. INT. TRUCK STOP - CONTINUOUS There isn't a soul in the place. Pulling up a stool at the counter of the diner area, Grizzly thumps a fist down. GRIZZLY Yo! Anybody alive here? He turns, searching the store with a frown. Suddenly, a hand comes down on the counter, scaring the hell out of him. He spins with a cry. A bleary-eyed WAITRESS stares him down. WAITRESS What can I do ya for? CUT TO: EXT. TRUCK STOP Grizzly exits the store with a big sandwich wrapped in paper and a 64-ounce fountain drink. He trudges back to his truck. The driver's side door is open. He scowls, peering around the door; the cab appears empty. He sets his stuff on his seat. GRIZZLY Better not be anybody out here messing with my rig! STALKER POV: Moving rapidly around the front of the truck-- The door SLAMS on Grizzly. CUT TO: INT. LOOMIS RESIDENCE - DINING ROOM Loomis sits across from his wife, ELLEN, a pretty woman in her fifties. She smiles across a wineglass as he cuts into a steak. ELLEN This is nice. LOOMIS Yes. He puts a bite in his mouth and smiles absently. ELLEN Miss your work? LOOMIS Actually, no. I don't. I don't really have any regrets about that. Walking away from the paperwork, the politics...I was just thinking about some things I didn't finish. Personal things. ELLEN Patients you couldn't save? LOOMIS Hmm. "Couldn't"? I don't know. ELLEN Myers? LOOMIS I believed, for eleven years, that there was still a child in there...I had to learn to accept that anything remotely human in him went away before I ever knew the boy. I still haven't quite made peace with that fact. ELLEN You're a brilliant man. A kind man. You did all you could. LOOMIS We all did. ELLEN Some people can't be saved. LOOMIS I made a connection. I saw something in there. Now I'll never know what it was. ELLEN Sam...this is nice. Being with you again. Knowing you won't be going back to that awful place. (beat) I thought maybe we could talk about...you moving back in. LOOMIS Really? His face brightens, for the first time in a long time. ELLEN But you need to let all this business with Myers go. Or maybe you should write that book you've always talked about. Get rid of it all that way. LOOMIS Maybe I should. ELLEN I want you to be happy. I want us to be happy. She reaches across the table to take his hand. His cell phone rings. He sighs and fishes it from his coat, draped over a nearby chair. LOOMIS I won't be but a moment. He steps away from the table. LOOMIS (in hushed tone) Hello? It's Dr. Koplenson, standing in a corridor at Smith's Grove. KOPLENSON Sam, it's Koplenson. He's gone. He's out. LOOMIS What? Who? KOPLENSON Michael Myers. He's escaped. LOOMIS Tonight?! KOPLENSON He killed four men, Sam. State Police are crawling along the highway, they haven't found a bloody thing. LOOMIS He's going back to Haddonfield. KOPLENSON What? LOOMIS He's going home! Loomis lowers the phone and turns to look at Ellen. She's dejected. LOOMIS It's Michael Myers. ELLEN He's not your patient anymore! LOOMIS He'll always be my patient. Ellen, I have to go. I have to help them. I have to go to Haddonfield. He grabs his coat and pulls it on. Koplenson can be heard shouting at him on the phone. ELLEN Go, Sam. LOOMIS I'm sorry. She stares at the table. Loomis hurries out. Ellen slaps her wineglass across the room and buries her face in her hands. CUT TO: EXT. STRODE HOUSE - EVENING The sun is descending behind the quaint neighborhood. Laurie stands on the porch of the house with her father, MASON STRODE. MASON I've got a client coming tomorrow to look at the house on Lampkin Lane. This is big...we've been trying to unload that monster for more than a decade. I just need you to drop the key in the mailbox by the door. Okay. LAURIE Sure thing Dad. 45 Lampkin? MASON Right. The Doyles want you over at six, so you'd better get a move on. LAURIE Okay. MASON Laurie? LAURIE Yeah? MASON Are you wearing makeup? LAURIE A little. MASON You got your eye on some boy? LAURIE Dad...you're embarrassing me. MASON Just asking. It's about time you started noticing guys. Your mother and I were beginning to worry. LAURIE I just might call some boy tonight. It's Ben Tramer. I don't know why I put makeup on. MASON Maybe you should talk to your mom about it. She'd love to give you some pointers. LAURIE Thanks Dad. MASON Have a good night, honey. Happy Halloween! She waves and heads down the driveway. CUT TO: EXT. MYERS HOUSE - EVENING The house has fallen into terrible condition. The gutter hangs down over the dead yard, windows are broken, boards are piled up on the porch. A tan sedan is parked at the end of Lampkin Lane, a few houses away, its door hanging open. Laurie comes down the sidewalk with a spring in her step. She laughs as a couple of costumed boys sprint past her. CUT TO: INT. MYERS HOUSE - CONTINUOUS STALKER POV: Watching through the front window, over a splintered pane of glass, as Laurie approaches the door. EXT. MYERS HOUSE - CONTINUOUS She deposits the key in the mail box above the doorbell. Out of curiosity, she pushes the button; a warbling noise comes from deep in the house. INT. MYERS HOUSE - CONTINUOUS STALKER POV: Moving now towards the door-- Laurie walks away. EXT. MYERS HOUSE - CONTINUOUS The Shape is vaguely visible through the filthy window in the door as Laurie walks off. CUT TO: EXT. AMBULANCE CRASH - EVENING Loomis gets out of his car and limps as quickly as possible to the site of the wreck. State police are already picking through the debris, and bodies have been arranged on the ground, each covered with a sheet. KOPLENSON Sam! Myers isn't here. He killed them all. It wasn't an accident...they were murdered. LOOMIS How long ago? How far could he have gotten? KOPLENSON It was at least an hour ago. On foot, possibly injured, I don't know how far Myers may have gone already. Might he have flagged down a passing car? LOOMIS I don't know. KOPLENSON You're the expert on this guy. LOOMIS I don't know him, Koplenson! There's nothing inside that man! A state trooper rushes over. TROOPER Sirs? We've got a call from a truck stop two miles south. Woman who works there says her car's been stolen. CUT TO: EXT. TRUCK STOP - EVENING Loomis' car pulls up, along with a State Police cruiser. Loomis and Koplenson get out of his car. The waitress rushes out to meet them. WAITRESS My boss is on his way down. I saw my car pulling onto the highway, headed due south. Shit! LOOMIS Haddonfield. TROOPER Ma'am, whose truck is that? He points around the corner of the building at Big Joe Grizzly's rig. WAITRESS That? Oh...must be the fella who came by earlier. A customer. I thought he left. Loomis begins a grim march toward the truck. KOPLENSON Sam? LOOMIS Draw your gun, Trooper! The trooper hustles after Loomis. TROOPER You oughta back off and let me-- Loomis snatches the pistol from the trooper's hand and grabs the handle of the truck door. TROOPER Hey! Don't do that! Loomis wrenches the door open. The nude corpse of Joe Grizzly drops into view. TROOPER Holy lord! LOOMIS How did I...let this happen... The trooper doubles over, retching. Loomis walks past him to his car. KOPLENSON Where are you going? LOOMIS After him! Call the sheriff in Haddonfield. Tell him I'm coming. Tell him Michael Myers is coming! He gets into the car and peels out of the lot. TROOPER Hey, he's got my gun! CUT TO: EXT. STREET - EVENING As Laurie walks along, we see the car from Lampkin Lane trailing behind her, matching her pace. Her cell phone rings. LAURIE Hello? It's Annie, posing in front of her bedroom mirror in a baby tee and panties. ANNIE Are you over at the Doyles' yet? LAURIE No, I just left the Myers place. ANNIE The Myers place? What were you doing there? LAURIE Dropping off that key for my dad, remember? ANNIE That place is creepy as hell. You know what happened there, right? LAURIE I've heard something about it. ANNIE And on Halloween night, too! You're lucky the ghost of Michael Myers didn't grab you. LAURIE Is he dead? ANNIE I don't know. Have you thought about what you're going to say to Ben? LAURIE Only all day. How do I know he's even going to be home? ANNIE I'll ask Paul for his cell number. LAURIE What am I going to say? "Hi, you're probably at a party and I'm over here watching scary movies with a couple of grade-school kids"? What a turn-on. ANNIE Just tell him you're all alone with no parents. That's a turn-on. LAURIE Hey, I think I see Tommy. I'll call you back, okay? ANNIE Okay, bye. Laurie hangs up. LAURIE Tommy! TOMMY DOYLE, an eight-year-old with a precocious face, runs over to Laurie. TOMMY Hi! Do you want to come with me to my house? LAURIE Sure, I'll walk you over. What're you doing out here? TOMMY I was at Billy's. Man, I wish I could go trick-or-treating. Could you take me? LAURIE It depends on what your mom says. TOMMY Man, that sucks! She won't let me. She says pedophiles are all over the place on Halloween. LAURIE She said that? TOMMY Yeah. What's a pedophile? LAURIE It's...it's nothing. TOMMY Is it like the boogeyman? LAURIE Sort of. Your mom can explain it better than I can. TOMMY Yeah right, she'll just tell me to ask my dad. The car has been creeping ever closer to Laurie all this time. She glances over her shoulder, and it comes to a stop by the curb. LAURIE Let's take a shortcut between the houses. They cut through a side yard and into an area between the rows of homes. STALKER POV: Watching Laurie from inside the sedan. Heavy breathing. EXT. BACK YARDS - CONTINUOUS Laurie and Tommy walk between various fences. TOMMY Is the boogeyman even real? LAURIE Oh, I don't know about that. TOMMY My teacher said the boogeyman comes around on Halloween. That's why we wear masks and stuff, to scare him away. But I don't even have a mask. LAURIE You don't? TOMMY Nope, because I can't go trick-or treating. Lame, huh? LAURIE Well, even if we can't go out, maybe we can get you a mask to wear while we watch movies. TOMMY Can we watch "Friday the 13th"? LAURIE God no. TOMMY Can we have popcorn? LAURIE Sure. TOMMY Yeah! LAURIE Oh, you know Lindsey Wallace? She might be coming over tonight to watch movies with us. TOMMY Ugh! She's in fifth grade. LAURIE So? TOMMY She's a year older than me! LAURIE You don't like older women? TOMMY Well, I like you. Laurie stops and glances back. A shape disappears behind a bush...or does it? LAURIE Hang on, Tommy. She studies the foliage. There's no sign of movement. LAURIE Let's hurry. She and Tommy walk faster - far behind them, the Shape steps into view, now wearing Joe Grizzly's black coveralls. CUT TO: EXT. HADDONFIELD CEMETERY - EVENING A police car is parked outside the cemetery gates. Inside, SHERIFF LEIGH BRACKETT approaches GRANT CLARK, the aging groundskeeper, whose face is red with anger. CLARK It was a couple of those frigging kids, I tell ya Sheriff! BRACKETT Calm down there Clark. Now tell me again what's going on. CLARK They stole a frigging headstone right out of the ground! Plot at the back of the cemetery! C'mon, I'll show you! They walk through a wooded area to an overgrown patch of grass with a small hole at its head. BRACKETT Whose is it? CLARK I already looked it up. Judith Myers. From those Halloween murders. You see, it's those frigging teenagers pulling some sort of prank! LOOMIS (O.C.) Judith Myers? Brackett turns to see Loomis standing there. BRACKETT Can I help you, sir? LOOMIS I'm Doctor Loomis. Haven't you been contacted about me? BRACKETT About what? LOOMIS I'm...I was Michael Myers' doctor. He's escaped. He's come back to Haddonfield. CLARK Oh, pigshit! BRACKETT Hold on Clark. (to Loomis) When did this happen? LOOMIS This afternoon. He's already killed five men today and stolen a car. BRACKETT A car? I thought this guy had been locked up for something like twenty years! When did he learn to drive? Loomis' face darkens with guilt. LOOMIS He knows how to drive. And he's here, I assure you. He's here to kill again. BRACKETT Who does he want to kill, Doctor? LOOMIS He had another sister. She was an infant when he was taken away. My fear is that he might be here to recreate his crime. This missing headstone only affirms my suspicions. BRACKETT Come over here with me. He leads Loomis away from Clark. BRACKETT (CONT'D) Why are you so sure of all this? Did he say something about it? LOOMIS No, he hasn't said a word in the seventeen years I've known him. But Judith was the only woman he ever attacked. His rage has always been directed toward men, except in that one moment. Do you know where we can find Deborah Myers? BRACKETT Let's get down to the station and figure this out. Name's Leigh Brackett, by the way. CUT TO: INT. DEBORAH'S APARTMENT STALKER POV: A cigarette smolders in an ashtray on the kitchenette counter. We cross the living room area and go down a small hallway, where a bedroom door is slightly ajar. We nudge the door open. An older, more weary-looking Deborah Myers is asleep on the bed. We move back through the living room and into the kitchenette. We open the drawers, one by one, until we find a big butcher knife. INT. BEDROOM - CONTINUOUS Deborah stirs and sits up. She gets up to stretch, then walks out of the room. INT. LIVING ROOM - CONTINUOUS The place is empty. She walks over to crush out the cigarette, then notices the drawers all sitting open. The front door is open, too. Deborah grabs the phone and dials frantically. DEBORAH Hello, I think I've had a break-in. Are they still here?...I don't know... She turns, terrified, standing in the middle of the apartment with no way to defend herself. WE PULL BACK as she remains in place with the phone clutched in her hand. CUT TO: INT. ANNIE'S HOUSE - ENTRYWAY Annie is on her way out when the phone rings. ANNIE Hello? Oh, hi Daddy. CUT TO: INT. HADDONFIELD POLICE DEPARTMENT - BRACKETT'S OFFICE Brackett shuffles through a stacks of files, the phone wedged between his shoulder and head. BRACKETT Honey, are you heading out?...Yeah, okay. I want you to stay over at the Wallace's tonight. No running around, you hear me? Okay, bye. CUT TO: INT. ANNIE'S HOUSE - ENTRYWAY Annie hangs up and skips out without a second thought. CUT TO: INT. BRACKETT'S OFFICE Loomis helps the sheriff sort through the files. BRACKETT Hey Ziggy, would you get me Deborah Myers' address and number? LOOMIS We have to get over there right now. BRACKETT Now, hold on a minute. (looks through file) That's what I thought. She gave that baby up for adoption. For all I know, that kid isn't anywhere near Haddonfield. LOOMIS We can't be sure. Where's the adoption information? BRACKETT All that is sealed, Doctor. Kept confidential, don't you know that? LOOMIS We have to find out where that girl is. A deputy leans into the room. DEPUTY Leigh, you were asking about Debbie Myers? BRACKETT Yeah, you get that address? DEPUTY She just called us. CUT TO: EXT. WALLACE HOUSE - EVENING Annie leads little LINDSEY WALLACE out the door and past a pack of trick-or-treaters. LINDSEY I don't want to go to Tommy's! He's a fourth-grader. ANNIE You don't like younger guys? LINDSEY Do you? ANNIE Point taken. They cross the street to the Doyle house. Laurie's in the doorway. LAURIE Hi Lindsey! LINDSEY I guess. ANNIE You'll be fine. LAURIE We're gonna have popcorn and watch some scary movies. It'll be fun. ANNIE It's almost seven. I need to call Lynda. I'll ring you later, okay? LAURIE Okay. Have a good time. ANNIE You too. Don't forget about Ben! She hurries off. LAURIE Let's go inside. You want to carve a pumpkin? LINDSEY Yeah! CUT TO: INT. ILLINOIS ADOPTION AGENCY - FRONT OFFICE BARBARA FLORENTINE, mid-fifties, hair pulled back in a severe ponytail, looks up as Brackett and Loomis enter the office. FLORENTINE Can I help you? BRACKETT I'm Sheriff Leigh Brackett. This is Doctor Loomis. We need to request some information on an adoptee. FLORENTINE What kind of information...? LOOMIS The girl is in danger. We need to know where she is so the police can protect her. FLORENTINE I'm afraid if you want to find out where she is, you'll need a court order to release those records. LOOMIS Her life is at risk now! Can't you just open the records up and give us an address? Just a name? FLORENTINE I really can't. Sheriff, have you talked to a judge about this? BRACKETT No. Ma'am, this is really urgent. We need to know tonight. FLORENTINE I absolutely can't do it. It'd mean my job. You need a court order. LOOMIS Please. This girl could die tonight. FLORENTINE Then you need to go to see a judge about the order. A phone rings in the back. FLORENTINE Excuse me. She leaves them alone. LOOMIS Dammit! BRACKETT Doc, if we can't find her, how is Myers going to? LOOMIS He will. For God's sake, he already found his mother - we're lucky he didn't kill her! BRACKETT She was listed in the phone book, Loomis. A nervous-looking clerk wanders over. CLERK Can I help you? BRACKETT No. LOOMIS Yes, you can. We need to see the records for an adoptee named Lauren Myers. CLERK Um, I'm sorry? LOOMIS This is the sheriff of Haddonfield. I'm the psychiatrist of this girl's birth mother and it's imperative that I know where this girl is. The clerk looks helplessly at Brackett, who sighs and shows his ID. CLERK Um, I'm not sure if I can do that. BRACKETT You're under police order to do so. This is an emergency. We need to see those records. CLERK Um...I should ask Barbara... LOOMIS You don't have to clear everything with her, do you? We don't need copies of the records, we just need to see them. BRACKETT I don't want to have to cite you for interfering with a police investigation. Please, sir, the records. The clerk plays nervously with the knot of his tie. He taps at Barbara's computer. CLERK Um, Lauren Myers? BRACKETT That's right. Loomis smiles. Brackett scowls. CUT TO: EXT. STRODE HOUSE - NIGHT Brackett raps on the front door. Loomis shifts uneasily. He opens his coat and fingers the trooper's pistol, tucked into the waist of his slacks. BRACKETT They're not here. They could be at a party or something. I'll see if the Strodes have a mobile number. LOOMIS We should check inside. BRACKETT Doctor...I have a feeling I'm in enough trouble as it is. (beat) God, I know Laurie Strode. She's a sweet girl. LOOMIS Wait! The Myers house. Who lives there now? BRACKETT No one. Matter of fact, I think Strode Realty recently bought the lot from the bank. Kids around here say the place is haunted. LOOMIS I want to go there. CUT TO: INT. DOYLE HOUSE - LIVING ROOM Lindsey and Tommy carry a pair of freshly-carved jack-o' lanterns to the front door, where Laurie holds it open. She hands them a pair of candles. CUT TO: INT. WALLACE HOUSE - LIVING ROOM Annie and Lynda sit on the couch. Annie's on the Wallace's phone. ANNIE Paul, can't you hurry it up? Is Bob keeping you waiting? Lynda slaps Annie's knee. ANNIE (CONT'D) Yeah, I know, that stoner takes forever. She sticks her tongue out at Lynda. ANNIE And Paul? Make sure Bob's got the pot. Love ya. She hangs up the phone. LYNDA I call the master bedroom. ANNIE What? I'm the one who got us the house! LYNDA Yeah, well, you need to keep watch. This couch folds out, doesn't it? ANNIE I don't know if I want the place smelling like weed when the Wallaces get back. LYNDA Some air freshener will take care of it. Trust me! ANNIE Yeah, right. CUT TO: INT. DOYLE HOUSE - LIVING ROOM Laurie and the kids are bunched up on the couch. John Carpenter's remake of THE THING plays on the TV. LAURIE Are you sure it's okay for you to watch this? TOMMY Yeah, my mom said so. Promise. LINDSEY Are you going to call Ben? LAURIE What? LINDSEY Annie told me to ask you. CUT TO: EXT. MYERS HOUSE - NIGHT The sheriff tries the door. The doorknob's stuck. He opens the mailbox and sees the key. BRACKETT How about that? Loomis gives the door a good push, and it swings open. BRACKETT Uh... Loomis pulls out his pistol. BRACKETT What are you doing with that? LOOMIS It gives me a sense of security. BRACKETT Tell you what, why don't you put that away. I've got a gun. LOOMIS That doesn't help me, Sheriff. BRACKETT Put it away. They go in. CUT TO: INT. MICHAEL'S ROOM Loomis walks into the empty room, still holding the gun. There are fresh shoeprints on the dusty floor. LOOMIS He's been here. BRACKETT (O.S.) Loomis? You want to come here? CUT TO: INT. LAURIE'S ROOM The crib is still there. Brackett stands over it with a sick look. Loomis peers inside. Judith Myers' headstone lies on a soiled blanket. Brackett's radio squawks, startling them both. RADIO VOICE Sheriff? BRACKETT What is it? RADIO VOICE I've got Mason Strode's mobile number. CUT TO: INT. WALLACE HOUSE - LATER Annie claps her hands as a van pulls into the driveway. PAUL and BOB get out. Bob waves a bag of weed at the window as kids walk past. ANNIE Put that down, idiot! Paul opens the door. PAUL Trick or treat. He sweeps Annie into his arms and gives her a deep kiss. Lynda rolls her eyes. BOB I've got the candy. LYNDA Get over here, you. He climbs onto the couch and starts making out with Lynda. PAUL So, uh...beer? ANNIE Follow me. CUT TO: EXT. WALLACE HOUSE - NIGHT The tan sedan is parked on the curb. STALKER POV: Approaching the house, walking around the corner, and up to a kitchen window... Annie is inside on her cell phone. ANNIE Laurie, Ben doesn't have a cell. No, I don't know where he's at. Try his house...just try it! Paul steps into view, embracing Annie. We pull away from the window. CUT TO: INT. WALLACE HOUSE - LIVING ROOM Lynda drags Bob up the stairs, giggling. He turns and tosses the bag of pot onto the couch. LYNDA Hey! BOB I'll come get some later. LYNDA Come get some right now. He chases her upstairs. CUT TO: INT. BRACKETT'S CAR - NIGHT Loomis leans against his cell phone with a frown. LOOMIS Still can't get through. BRACKETT Just keep trying. Maybe I should call Annie and see if she knows where Laurie is. Doc? Loomis ignores him, redialing Mason Strode's number. CUT TO: INT. WALLACE HOUSE - LIVING ROOM Annie plops down on the couch and opens the bag of pot. ANNIE You got rolling papers, Paul? PAUL Yeah, in the van...hang on. He runs out the front door. EXT. WALLACE HOUSE - CONTINUOUS The Shape stands at the corner of the house, unseen as Paul jogs to the van. Paul opens the driver's side door and leans in. INT. WALLACE HOUSE - LIVING ROOM - CONTINUOUS Annie turns on the TV. The doorbell rings. ANNIE It's open, baby. The bell rings again. She sighs and gets up. ANNIE Rolling papers too heavy for you to open the dang door yourself? She opens it. It's the Shape. For a moment, Annie stands in confused silence, staring at this oversized trick-or-treater. Then she sees the knife. EXT. WALLACE HOUSE - CONTINUOUS Paul continues rummaging through the van as, in the background, the Shape slams the knife into Annie's belly, pushing her into the house. PAUL Got 'em. He jogs back to the house. INT. WALLACE HOUSE - LIVING ROOM - CONTINUOUS Annie is nowhere to be seen. Paul sits down and busies himself rolling a joint. CUT TO: INT. KITCHEN STALKER POV: Picking up Annie's cell from the counter. CUT TO: INT. DOYLE HOUSE - LIVING ROOM The phone rings. Laurie snaps it up. LAURIE Hello?...Annie? We hear heavy breathing coming over the receiver. LAURIE Okay, whatever. She hangs up. CUT TO: INT. WALLACE HOUSE - KITCHEN The Shape stares at the phone, then sets it down quietly. INT. LIVING ROOM Paul sparks up and takes a long drag, leaning back on the couch. PAUL Annie? The Shape enters the room, standing behind the teen. PAUL C'mon baby. He lays his head back and closes his eyes. The butcher knife comes to hover just above his throat. PAUL Aaaaannnieee-- The Shape grabs Paul and holds him down as he slowly drags the knife across his throat. CUT TO: INT. WALLACE BEDROOM Lynda straddles Bob, who pulls off his glasses. BOB What are they doing down there? LYNDA Having more fun than us. C'mon, relax. She pulls off her shirt and bra and leans in to kiss him. CUT TO: INT. DOYLE HOUSE - LIVING ROOM TOMMY Who was on the phone, Laurie? LAURIE No one. Just a dumb joke. CUT TO: INT. BRACKETT'S CAR - NIGHT Still no luck reaching the Strodes. Loomis growls and redials again. BRACKETT Give it up-- LOOMIS He could be stalking that girl right now! BRACKETT I don't understand why he would go after her. LOOMIS It doesn't have to make sense to you or me. He's insane! His reasons...I can barely grasp them. He views men as monsters, driven by sex. He probably struggles with his own feelings about sex. Why he killed Judith...he was in the height of his rage, having just butchered her boyfriend, and she rejected him for saving her, for protecting her. Or perhaps he was enraged by his own feelings of arousal. BRACKETT Laurie was just a baby when he last saw her. LOOMIS Men grow up to be monsters. Women grow up to be sexual objects. It's all the same in his eyes. Those eyes. BRACKETT What kind of childhood did this guy have? LOOMIS It goes beyond that. (beat) He's evil. BRACKETT You seem to understand Myers better than you think, Doc. CUT TO: INT. WALLACE BEDROOM Lynda climaxes and falls in a heap atop Bob. Grinning, he puts his glasses back on and lets out a pleased sigh. BOB How about that joint? LYNDA Mmm...sounds good. BOB Wanna go grab the pot? LYNDA Are you kidding? You go get it. BOB I just came. LYNDA So did I. BOB Yeah, but I'm tired. You've got energy. LYNDA I guess so. You've never worn me out yet. BOB Hey, come on. I'll owe you! She pulls the comforter around herself and stomps out. INT. LIVING ROOM She passes what she thinks is an empty couch - but Paul's dead body is lying across the cushions. The baggie is sitting on the back of the couch. She plucks it off and heads into the kitchen. INT. KITCHEN ...Where she gets a beer from the fridge, cracking it open and taking a few chugs. LYNDA Wonder where the kids got off to. (laughs) Probably in the van. INT. BEDROOM Bob tucks his hands behind his head and smiles drowsily. CRANE OVER him to the side of the bed - the Shape is crawling out from under it, knife in hand. CUT TO: INT. BRACKETT'S CAR - NIGHT Success! Loomis sits up, speaking rapidly into the phone. LOOMIS Mister Strode? My name is Sam Loomis. I'm a psychiatrist. This is about your daughter...I don't know if she's all right. Where is she? (to Brackett) Babysitting a local boy. (into phone) I'm with Sheriff Brackett. What's the child's address?...I'll tell you what's going on when you tell me the damn address! Brackett snatches the phone. BRACKETT Mason! It's Leigh. Listen to me. Just listen. Laurie was adopted, yes? She's Michael Myers' sister. And he's escaped. He's here. Now where's Laurie?...The Doyles? We're on our way there now. No, Mason, you stay put! Brackett drops the phone and turns on the siren. CUT TO: INT. WALLACE BEDROOM Lynda stops in the doorway. A shape is sitting underneath the bedsheet, wearing Bob's glasses. LYNDA Cute. She lets the comforter fall around her feet. LYNDA See anything you like? The shape doesn't move. Lynda lights a joint and tucks it between her lips. LYNDA I think I might want to go again. How about you? She walks into the room, eyeing the shape, which turns its head as if it can see her. LYNDA You're so weird. Want a hit? (beat) Bob. She reaches out and takes the glasses from the shape, then pulls the sheet back. The Shape slams the butcher knife into her gut. She drops the joint on the bed and staggers back, grabbing at the knife handle, staring incredulously at the Shape. She slides down the wall to the floor...seeing Bob's body lying underneath the bed. The Shape pulls the knife from her belly and walks out of the room. ON THE JOINT As smoke begins to curl up from the blackening bedsheet. CUT TO: INT. DOYLE HOUSE - LIVING ROOM Laurie jerks awake. She's fallen asleep during THE THING. Tommy and Lindsey are sitting on the floor, right in front of the TV. LAURIE Hey, scoot back you two. She glances out the window, at the Wallace house. There are flames visible through an upstairs window. LAURIE Oh - oh my God! Tommy, Lindsey - call 911. Tell them there's a fire! TOMMY What? Where? LAURIE At Lindsey's house! Call them right now! She jumps up and races for the door. LINDSEY Where are you going? LAURIE You stay here and call 911! Do as I say! She bolts outside. EXT. DOYLE HOUSE - CONTINUOUS Laurie runs as fast she can across the street and beats on the front door of the Wallace house. LAURIE Annie!! She tries the door. It opens. INT. DOYLE HOUSE - LIVING ROOM - CONTINUOUS The smoke alarm goes off as she enters. LAURIE Annie! Paul! She sees Paul on the couch and, thinking he's passed out, runs over to shake him. LAURIE Paul, wake up! His head falls back, revealing the gruesome throat wound. LAURIE P-Paul... She backs toward the staircase. The Shape quietly descends, framed by growing flames, and SLASHES at her. He opens up her arm. She screams, tumbling over the couch. The Shape steps quickly around it, swiping at her face. She scrambles away, but he blocks the front door. She runs into the kitchen. INT. KITCHEN - CONTINUOUS Laurie slams into the kitchen table and falls to the floor - managing to avoid another stab by the Shape in the process. He throws the table into the wall. She crawls toward the back door. He grabs her ankle and stabs her in the calf. She kicks free and shoves the door open. EXT. WALLACE HOUSE - CONTINUOUS Annie falls into Laurie's path. LAURIE Annie!! She pulls herself over her friend's body and gets to her feet, running around the house. EXT. STREET - CONTINUOUS Laurie lets out a series of panicked screams as she heads for the Doyle house. The Shape rounds the corner of the Wallace home. She runs into the front door of the Doyles' - locked! LAURIE Tommy! Tommy, open this door! Tommy, now - OPEN THE FUCKING DOOR!! It opens and she falls inside. INT. DOYLE HOUSE - LIVING ROOM - CONTINUOUS She slams the door, locks it, pushes the kids back. LAURIE Did you call 911? Did you?? LINDSEY Yes! She hands over the phone. LAURIE Hello? I need the police! My friends...get the police! He's trying to kill me! They're dead! TOMMY Is it the boogeyman? There's a thunderous CRASH against the front door. The children shriek. LAURIE Upstairs! She drops the phone and pushes the kids along. INT. UPSTAIRS HALLWAY LAURIE Into the bathroom. Now. Lock the door, get in the tub and stay quiet, do you hear me? Do it now! They go into the room and close the door. Laurie backs down the hall. Pounding can be heard downstairs...then it ceases. She creeps into a BEDROOM And opens the closet doors, slipping in. INT. LIVING ROOM STALKER POV: Up the stairs. Pausing at the bathroom. Grabbing the doorknob. INT. BATHROOM In the dark, the kids huddle in the tub and scream. INT. BEDROOM CLOSET Laurie sits up. LAURIE No! No! Here! INT. UPSTAIRS HALLWAY STALKER POV: Moving away from the bathroom and back to the bedroom. INT. BEDROOM CLOSET Laurie cowers as, through the slats in the door, she sees the Shape entering. She reaches up and grabs a wire hanger, straightening it out as best she can and wielding it as a weapon. The Shape walks over the closet. His heavy breathing can be heard. His fist - knife and all - smashes through the wooden slats. He sweeps his arm, taking the door apart like balsa and leaning inside. Laurie thrusts the hanger out. The hook catches the Shape in the eye. He lurches back - the hanger catches on a shard of wood-- And his eyeball is PULLED OUT! The Shape lets out a muffled scream. He collapses against the bed, blood spilling over his mask. Laurie throws the doors open and makes a run for it. He leans over and grabs her leg, toppling her. CUT TO: EXT. DOYLE HOUSE Brackett's car hurtles toward the house, cutting across the street - and colliding with another car. Both vehicles bounce back and come to a stop. Brackett staggers out. Loomis follows, seeing the fire in the Wallace home. LOOMIS Sheriff! BRACKETT Shit...that's not the Doyle place, this is! I'll call it in! Loomis draws his pistol. The door of the other car opens, and Mason Strode gets out. MASON Leigh! BRACKETT Mason?! Loomis races to the Wallace house. INT. WALLACE HOUSE - LIVING ROOM He smashes through the door. The flames have come down the stairs. Smoke pours out the door. CUT TO: INT. DOYLE HOUSE - UPSTAIRS HALLWAY The Shape slashes Laurie across the back as he chases her from the bedroom. Laurie tumbles down the stairs into the LIVING ROOM And crumples. The Shape falls upon her, raising the knife for a final strike. Mason throws open the door. MASON Laurie!! The Shape HURLS the knife into his chest. LAURIE DADDY!! Mason falls, revealing Brackett behind him, gun raised. The Shape picks Laurie up, using her as a shield. BRACKETT Let her go Myers! The Shape backs off, clenching Laurie. LAURIE Myers... BRACKETT Let her go! LOOMIS (O.C.) Michael. He's come through the back door. The Shape turns part-way, staring at him with his remaining eye. Crimson tears paint the side of his masked face. LOOMIS She hasn't done anything to you. Loomis puts his gun inside his coat and leans on his cane. LOOMIS You don't want to hurt her. I know that. I know that, more than anything, you want to protect her...from the monsters. From yourself. The Shape cocks his head toward Laurie, resting it against the back of hers. LOOMIS You don't have to be a monster. Brackett enters the house, pulling out his handcuffs. LOOMIS (CONT'D) Let her go. Come with me. I want to help you. I want to help you stop the rage. Brackett inches ever closer, ready to spring. Laurie sags against the Shape. LOOMIS Please, Michael. The Shape turns and grabs Brackett's outreached wrist, SNAPPING it. He slams the sheriff against the wall and seizes his throat. LOOMIS God damn you. Loomis draws his gun and FIRES. ONCE, TWICE, THREE SHOTS - the Shape staggers away from Brackett and Laurie, into the doorway. He looks up at Loomis. Loomis fires three more bullets into Myers' chest. The Shape falls, rolls down the porch steps and comes to rest on the sidewalk. Lindsey and Tommy's jack-o'-lanterns come down after him, shattering on the pavement. The candles flicker out. CUT TO BLACK. FADE IN: INT. HADDONFIELD MEMORIAL HOSPITAL - EMERGENCY ROOM Leigh Brackett is slumped over on a chair, a cast on his wrist. He stares dully at the floor. LOOMIS I'm so sorry, Sheriff. BRACKETT Annie...my Annie. God, I have to tell my wife. I have to call her. LOOMIS I can make the call. I'll bring her down here. BRACKETT You don't do anything else. You're done here. You...you let him out. LOOMIS No. No, I didn't. He escaped, Sheriff...I came here to help... BRACKETT Seventeen years and you couldn't figure him out?! You couldn't stop him? No, no, you had him figured out, you just didn't DO anything!! He shoves past Loomis and goes down a hall. The nurses, doctors and police in the room all look away from the psychiatrist. CUT TO: INT. LAURIE'S ROOM Laurie's arms are bandaged, and she has a breathing tube in her throat. She lies unconscious. Loomis steps in and stands over her, his face full of grief. CUT TO: INT. MICHAEL'S ROOM Myers is on life support. His doorway is flanked by Haddonfield police. They bow their heads as Brackett walks in. He shuts the door and walks over to the motionless killer. Stares coldly at him. He has the bagged Shape mask - drops it on the bed. The door opens, and LIEUTENANT CHARLES leans in. CHARLES Leigh, State Police are on their way. Did you want to... BRACKETT I want a few minutes alone with this man, Lieutenant. Charles understands. He nods grimly. CHARLES I'll watch the door. He closes it. Brackett walks over to the life-support equipment. BRACKETT Michael Myers. You took my Annie. My angel. He starts turning the machines off. Yanking plugs from the wall. BRACKETT Happy Halloween, you son of a bitch. Throwing all the cords across the room, he stands up - Michael is sitting up beside him! CUT TO: EXT. HADDONFIELD MEMORIAL HOSPITAL - NIGHT Loomis trudges toward his car. A pair of State Troopers walks past him, and he stops them, handing over the pistol. LOOMIS This belongs to one of your men. Good night. INT. LOOMIS' CAR - CONTINUOUS He backs out of his parking stall. He sees a curtain blowing in the wind, at an open window on the side of the hospital. He knows exactly what room it is. CUT TO: INT. HOSPITAL CORRIDOR A dark, empty hallway. Michael enters through a back door, dressed in Brackett's uniform but not wearing his mask. His face is hidden in shadow. He rounds a corner. A local cop is standing by a door. DEPUTY Leigh? Michael steps up and presses Brackett's gun into the cop's chest. He SHOOTS him, once. The deputy drops. Michael removes the sheriff's jacket, wearing a dark undershirt beneath it, and puts on the Shape mask. LAURIE'S ROOM - CONTINUOUS The girl stirs in her drugged slumber. She sits up. LAURIE Daddy?... Remembering, she starts to sob. The Shape opens the door. Laurie freezes. LOOMIS (O.C.) Michael--! Loomis throws himself at the Shape. The killer grabs him and hurls him across the corridor into the wall. He grabs Loomis' cane and beats him down, striking his head until the cane SPLITS in two. The Shape walks back into Laurie's room. Still in bed, in shock, she watches as he approaches. He holds out Brackett's gun. LAURIE W-what? He pushes it into her hands. LAURIE No... He steps back and stands expectantly. LAURIE Michael...Michael Myers? He motions toward her, then lets his arms fall limp. He stares. She picks up the gun, tears forming in her eyes. LAURIE I can't do this. I don't understand. Why? Why me? Please... He cocks his head. LOOMIS (O.C.) Laurie. Loomis is slumped over in the hall, his head covered in bloody gashes. LOOMIS He's...he wants...he... The Shape is waiting. Laurie points the gun at him with trembling hands. Loomis crawls into the doorway, barely conscious. LOOMIS Do it Laurie! She sobs. FIRES. The bullet hits the Shape right between the eye holes. He flies into the door and slides down. LOOMIS Good, Laurie. Good. She drops the gun and breaks down. Loomis pulls himself into Michael's lap. LOOMIS I'm sorry, boy. I tried...I wish I...I'm sorry. He dies there, in an awkward embrace with the dead Shape. Cops rush down the hall and take in the horrible scene. Laurie falls back on the bed, sobbing violently. HALLOWEEN