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Post by Dale on Oct 17, 2008 14:11:09 GMT -5
HALLOWEEN WRITTEN BY JAKE HAMMOND DIRECTED BY JAKE HAMMOND COMING ATTRACTIONS Halloween (2007) - Now on DVD www.youtube.com/watch?v=9T-Wx7wYlTE&feature=related Halloween (1978) – Now on DVD www.youtube.com/watch?v=P7tk6B-jksE Prom Night – Now on DVD www.youtube.com/watch?v=igmC3sI3bEU The Strangers – Coming Soon to DVD www.youtube.com/watch?v=nCU0k_jbCUo Quarantine – Now Playing www.youtube.com/watch?v=qGBr4_sDdpc Saw V – Coming Soon www.youtube.com/watch?v=JVTPjvDPmac The Haunting of Molly Hartley – Coming Soon www.youtube.com/watch?v=nxf60lmmiZA House – Coming Soon www.youtube.com/watch?v=25e0xgdGZ3k Night of Eureka – Coming Soon to DVD www.youtube.com/watch?v=MPtUOX9bLlw When A Stranger Calls – Now on DVD www.youtube.com/watch?v=suCd2WxO40k Friday the 13th – Coming Soon www.youtube.com/watch?v=1Cal4l1acBM&feature=related Night of Eureka: Part Two www.youtube.com/watch?v=Ska3XCgPfLM GREEN LANTER TRAILER… We see Hal Jordan (James Franco) in his Green Lantern uniform, domino mask covering his eyes and nose. Hector Hammond (Jason Isaacs) stands a few feet away, looking Hal up and down. HAMMOND Who are you? A monotonous voice, seemingly coming from the ring on Hal's finger, responds for him: RING Green Lantern of Space Sector 2814. HAL (to ring) Won't you just shut up? RING Silent mode activated. HAMMOND (approaching Hal) You seem to be pretty new at this, superhero- HAL I guess you could say I am. HAMMOND I work for the government in fields concerning cases such as yours. I could help you...help you understand what you're capable of. Hammond extends his hand, waiting for Hal to shake it. Hal looks at Hammond for one moment and then up at the sky the next. HAL I think I'll get the hang of it. After finishing the sentence, Hal flies into the air, a vibrant green light pulsing around him, leaving Hammond speachless with a jealous look on his face. We see Hal in the Green Lantern uniform standing in the middle of the desert. In front of him is a pile of dirt resembling a self-made grave-the grave of Abin Sur, the alien who crashed on Earth and passed his power ring on to Hal. Suddenly, a voice rings out, startling Hal: VOICE Hello, Jordan. Hal looks around wildly to see a dark-red skinned humanoid alien in the Green Lantern uniform hovering above the ground. SINESTRO (Hugo Weaving). SINESTRO My name is Sinestro, the greatest Green Lantern in the universe. A beat passes, Hal eyes Sinestro warily. SINESTRO (quietly) Abin was my good friend...how did it happen? HAL He must have crashed, in the middle of the desert a few miles away. The ship was torn apart. Sinestro looks all around him in circles, as if he is searching for someone or something. HAL (confused) Um...is everything alright? SINESTRO (looking at Hal in panic) No, of course it isn't! Where is Atrocitus? The fugitive Abin was transporting to Oa, where is he? We see a group of Marines walking with rifles drawn near the coast. In the forrest behind them, many of the outer trees are damaged or toppled over in a narrow, straight line, giving the impression that something came from above, pummeling through the trees, straight towards the ocean where the Marines are headed. The Marines approach the water and point their weapons suspiciously. MARINE (pointing at water) Hey, it's bubbling... The Marine beside him leans over to look at the bubbles rising to the water's surface as suddenly, a large, red figure errupts to the surface, sending water flying in all directions and the Marines to their backs. This is ATROCITUS, a large, red, demon-like alien with a grotesque face and sharp teeth, letting out a loud SNARL. He sprints between two of the Marines, sending each flying to the ground. Atrocitus advances on two other Marines, who open fire at him with rifles, but to no avail-Atrocitus continues at them and jumps at them. We see Hal (as Green Lantern) battling Hector Hammond, who looks knowingly into Hal's eyes. Hammond begins to hover abrove the ground, looking down at Hal. We see Hal's face up close as a voice is heard: HAMMOND (in Hal's head) I know you, Hal Jordan, and I will break you! HAL (aloud) With all respect, Mr. Hammond, there's only one thing in the world that I'm afraid of- Out of Hal's ring, an object made entirely of pulsing green light is created-a giant fist, the size of Hammond himself. HAL -and it sure as hell isn't you. The emerald fist flies through the air, hitting Hammond head on and sending him sprawling on all fours. We see Hal and Sinestro in a graveyard at night. Atrocitus stands before them with a small black device in his hands, pointing it at the two Green Lanterns. As he does, the green light that forms their constructs flies from their rings into the device-their power is being drained. RING Power levels depleted. Recharge is necessary. Atrocitus laughs and looks at the two with rage. ATROCITUS Now, let's see what you're made of without that ring. “GREEN LANTERN” A NEW FILM FROM LEGEND NOVEMBER 7, 2008 DAUNTING SHADOWS: PART TWO…… It is dark, silent. We hear a film reel playing, the flickering. We see a shot of Denmark’s face. He is looking down, but we can see strong emotions on his still face. Grief is evident, also the fear shown in his wide eyes. It turns black. For the rest, listen to: www.youtube.com/watch?v=WLDmr1zxxaQ, starting at 0:45 We see a small cottage. It is broken down and isolated Jonathon walks up to Denmark and shakes his hand It then shows them arguing in the rain/
Jonathon is sitting on his bed, reading a sheet of paper.
Then, we see Denmark lying in bed, Jonathon peering, evilly, through the door at him, looking angry
Denmark opens a letter with a letter opener, and puts the opener in his poclet
A New Chapter
Jonathon walks into view from the shadows
A New Journey
Denmark is walking down a town road, with people walking past him.
Casablanca Presents
A group of Mexican immigrants are sitting in a circle, playing music
In Daunting Shadows:: Part 2
FEATURE PRESENTATION………
Fade in
Int – Haddonfield, Illinois Police Dpt. – November 1, 1978
We fade in through a black screen. Blurry images and faint colored movements are all that we can make out as of now.
A bright line shines right at the camera. The focus becomes clearer and we can now see that we are looking through the POV of someone who is sitting in an interrogation room.
The man shining the light in front of us is mid aged and well dressed. We recognize him as a local cop.
Cop
Is that too bright Laurie?
We cut and see that we were looking through the eyes of Laurie Strode, a 17 year old girl who has just been through an unimaginable ordeal. Laurie looks terribly beaten. She has bandages all over her and a large sling wrapped around her left arm. Her dark brown hair looks like it had just been ironed. Right now, we can only imagine what this poor innocent has just been through.
Laurie looks up slowly with a broken face.
Laurie (weakly)
It’s fine.
Cop
OK, let me start off by saying how sorry I am for having
To drag you into this uncomfortable and rather unappealing
Place. I know you just want to be home with your parents. I
Don’t blame you, you’ve just been through a lot.
Laurie doesn’t reply. The cop sighs.
Cop
OK, let’s get started. Can you tell me all that
You remember about last night?
Laurie
. . I. . .(sighs). . .It was just a normal baby-sitting
night. I was baby-sitting for Tommy Doyle and his neighbor
Lindsey Wallace. I went over to Lindsey’s house to check on
My friend Annie, but all the lights were off. And…(sighs). . .
That m-man just appeared. . .
Cop
Michael Myers…
Laurie looks up slowly.
Laurie
At the end of the night, when they brought me to the hospital, they showed me…(Laurie begins to cry).
Suddenly, the door bursts open and another cop comes running into the room.
He startles Laurie and the interrogating cop.
Cop
Jesus Farland, what the hell is it?
Cop #2
I-it’s Michael Myers. The guy who-who…
Cop #2 looks at Laurie. He hesitates. He doesn’t know what to say since he doesn’t want to frighten Laurie with the information that’s about to spill out of his mouth. Laurie looks puzzled.
Cop
What about Myers?
Cop #2
H-He got out of the morgue.
The interrogation cop sighs.
Cop (whispering)
Fuck…
The cop looks at Laurie. Laurie’s eyes are tearing up.
Cop
I’ll be right back Laurie. I’ll send someone to stay with
You in here. Just hang tight. Everything will be fine.
The cop clutches Laurie’s hands and gives her a comforting smile.
The cop lets go and runs out the door with the other cop.
We pan back over to Laurie. She is speechless with fear.
Laurie (whispering to herself)
this isn’t happening…this isn’t happening…
We slowly zoom into Laurie’s left eye. When we reach it, the eye turns into the eye of a shining Jack-O-Lantern. The “Halloween” them breaks out and the opening credits roll. Throughout the credits, we slowly zoom out from the jack-O-Lantern, and when they are finished, we see the full view of the carved pumpkin.
Smash to Black.
Fade in
Ext – Haddonfield suburban streets – Halloween – Morning
The song “Monster Mash” plays.
We slowly pan across a widespread suburban tree-lined street. This is Haddonfield, a small Midwestern town known for its scenic beauty and kind residents.
As we pan, a cool autumn breeze whips leaves of every color through the air. Children dressed in cheap capes and rubber masks run amok.
We end the pan at the Strode home.
Int. – Strode house – Laurie’s room
A violent ringing noise tears through the silence. After a moment of shock, we realize it was an alarm clock.
Laurie Strode’s eyes burst open. She shuts off the alarm clock and slowly rises upward, rubbing her eyes and giving many sighs as she does so.
Int. – Strode house – kitchen
Laurie pours herself a bowl of Cocoa Krispies on her granite countertop that rests in the middle of an average size, modern looking kitchen. The landline rings. Laurie puts the cereal down and walks to the phone glumly.
Laurie
Hello?
Georgia (V.O)
Hey.
Laurie
Georgia? What took you so long?
Georgia (V.O.)
Sorry. I just got caught up with stuff.
Laurie (chuckles)
You’re always caught up in something.
Georgia (V.O.)
Yeah but this time it was bad so kudos for me..er
Whatever they say.
Laurie laughs. Through the window behind her we faintly see a black shape staring at her from a bundle of evergreens. We cannot fully make out its face. The shape stands motionless, not moving any muscles, just staring coldly at Laurie, who doesn’t notice.
This image onsets the song “The Hedge” by John Carpenter.
Georgia (V.O)
Hey, I have a favor to ask you and I promise
It’s not one having to due with the opposite
Sex ‘cause I know that’s not your department..
It’s Annie’s.
Laurie
You’ve got a point there. Annie will do anything to
Get into a guy’s pants. So what’s the favor?
The shape has still not moved.
Georgia (VO)
Can I copy off your notes for McCormick’s final?
Laurie sighs and grabs a piece of gum from another counter. She walks back to the window. The shape is now standing in the middle of the yard. We cannot see its face because the top of the window is covering it.
Georgia (V.O.)
I wouldn’t ask you but Lynda and Annie never do
Their notes, well, or their tests, and I know you’re
Always prepared for the tests.
Laurie
Georgia, I can’t get caught again. Last month my
Whole Harvard career was just about to be thrown
Into the trash.
Georgia (sighs)
You’re right.
Laurie throws her gum wrapper into the garbage. She leans back up against the counter by the window. The shape is now standing right at the window. Its face still is not visible.
Georgia (CNT’D)
I’m sorry. I always do this to you.
Laurie
No, it’s fine.
Georgia (V.O.)
No. friends don’t do that to other friends.
I don’t know about Annie and Lynda, but I sure
Don’t, right?
Laurie smiles.
Ext – Strode house – front yard
“Halloween 1978” by John Carpenter plays
We sit on the other side of the street, perched on the sidewalk, looking at Laurie’s house from the front. Suddenly, the front door opens and Laurie walks out of her house holding a backpack. She walks hastily down the sidewalk, admiring the many Halloween decorations that line the streets and its houses.
Laurie turns a corner as we pan backward, revealing the shape staring at Laurie from behind another tree.
All of a sudden we hear a dog burst out in a fit of barking. The shape turns and sees the dog right beside him.
Laurie notices the sound and turns around. She looks across the street but can only see the dog, not the shape.
We cut back to the shape’s point of view. The dog continues to bark. The shape just stares at it.
Laurie sighs and walks away.
Cut back to the tree. The shape is holding the dog in its arms as its limp body whimpers and slowly falls to the ground, sliding down the shapes large leg. The shape has killed the innocent dog.
The dog hits the ground with a hard thump.
We slowly zoom up and see the shape’s face for the first time. This is Michael Myers, the psychopathic killer who murdered his brother and sister 15 years ago. Why is he here, we will soon find out.
Michael is wearing a pale, emotionless white mask with no features. Just two eyeholes, a nose, and lips shaped in a distorted frown. The mask’s hair is ruffled and heavily deranged.
Meet Michael Myers, the antagonist of the story. Forget all that you’ve heard of this maniac. We’re starting fresh. Michael can be described in two utter words…pure evil.
Ext – Smith’s grove Sanitarium
We crane downward to reveal an enormous facility. Its dull, gray walls and scenery are enough to drive anyone out of their wits. That’s why it is an insane asylum. But what it looks like on the outside, is no match for what its like within.
Int – Smith’s Grove – Hallway
A middle aged man with thinning brown hair and slight rotund belly walks down a long, empty hallway very quickly.
This is Dr. Samuel Loomis, Michael Myers’ psychiatrist since he was first admitted here at Smith’s grove after he committed his first gruesome deed 15 years ago.
Loomis turns a sharp corner and walks headlong toward another middle aged man down the hall. This is the owner of Smith’s Grove, Donald Emry.
Loomis gets right up next to Emry.
Emry
Dr. Loomis
Loomis
God Damn you Don!
Emry
Loomis, please, don’t pin this all on me. Come inside.
Emry points into his well kept office. Loomis gives him a dirty coat and storms in.
Emry sighs and follows him in, shutting the door behind.
Emry sits down at his desk. Loomis stands in the middle of the room, infuriated.
Loomis
I don’t even know what to say Donald.
Emry
Loomis, he was your patient and he was in your hands.
Loomis
I cannot even believe you are blaming this on me. You
Know what Don, I’m not gonna fight with you. I just want
You to give it to me straight. How did Michael escape?
Emry (sighs)
It was just another simple transportation.
Cut to:
FLASHBACK
Ext-Smith’s Grove-Parking lot
LAST NIGHT
A police car is sitting right in front of the entrance to the sanitarium. In the front seats are two cops and in the back, Michael, wearing a chilling orange mask. He has his head tilted down as he rattles with his hand cuffs.
Emry (VO)
Last night, we had two men transporting him to a maximum
Security prison in Springfield. The Coleman.
FLASHBACK
The police car leaves the entrance to the sanitarium and drives down a long, dark road, leading out to the middle of nowhere.
Emry (VO)
It went wrong…
FLASHBACK
Suddenly we see Michael break the side window of the car with his hand cuffs. The cops immediately step on the brakes and the small car jerks and stops. The cops look back at Michael. Michael stares back motionless. He slowly tilts his head from side to side.
Cut back to Emry’s office.
Loomis has an eerie look on his face. Somewhat scared and somewhat puzzled.
Emry
We found our two cops in a ditch today. Their throats had
Been slit.
Loomis squints his eye in disgust and dread.
Emry
The car was gone.
Loomis
He can’t drive.
Emry
Well, I’m sure he still took it.
Loomis
I think I know where he’s going.
Emry (sighs)
Loomis, he could be anywhere now. For all we know,
He could have been thrown from the crash and died and
Some hobo took the car.
Loomis
Haddonfield. He’s going to Haddonfield.
Emry
Loomis, you don’t know that. Look, we’ve got all our forces
Searching for him. He’s bound to get caught soon.
Loomis (laughs)
No. You don’t know him like I do Don. You’re talking
About him as if he were a man. He’s not. He’s…nothing, for
That matter. Just a hollow, disturbed soul who’s only real
Enjoyment, is to kill.
Emry
You always were the king of fancy talk.
Loomis
Do you remember what happened 15 years ago?
Emry
Loomis please…
Loomis
No, tell me Don. What happened?
Emry
…(sighs) Michael killed his brother and sister on Halloween night.
Loomis
Yes. And what’s today Don?
Emry
…Halloween
Loomis
I don’t want anyone to have to suffer the darkness of that
Night again. Do you?
Emry
Of course not.
Loomis
Good. Then you can contact me in about 4 hours
When I get to Haddonfield. Or I’ll call you at the
Nearest booth. But just remember Don, Michael will kill
Anything and everything that gets in his way. I’ve known
Him for 15 years and he’s grown to be even madder than he
Was on that night.
Emry sighs. Loomis gives him one last look and walks out the door. Emry sighs and leans back in his chair.
Emry
Fuck…
Cut to:
Ext-Haddonfield streets
Laurie is still walking along the winding sidewalks on her way to Haddonfield High. She walks with the camera.
Suddenly a black shape jumps out from behind a bush and screams at Laurie. Laurie jumps back in fright but calms down when she sees that the culprit is just Tommy Doyle, the 10 year old boy she baby-sits for.
Tommy starts cracking up.
Laurie
Tommy! God!
Tommy (Laughing)
Sorry Laurie. I couldn’t help it.
Laurie
Yeah I’m sure.
Tommy
Could you come with me to the Myers House?
Laurie
What? The Myers house? You’re crazy! Why do you wanna
Go there?
Tommy
Lonnie Elamb wants me to meet him there so I can go inside
And prove that I’m not a woos.
Laurie
I’d stick with being a woos. Besides, how are you gonna
Get to school on time?
Tommy
I start 15 minutes after you, remember?
Laurie
Oh yeah. Well how am I gonna get to school on time?
Tommy
I don’t care. Come on let’s go!
Laurie chuckles and rolls her eyes. She follows him down the sidewalk.
Tommy
Are you still coming over tonight?
Laurie
Same time, same place. What do you want to do?
Tommy
Let’s make a jack-o-lantern. Oh! And go trick-or-treating!
Oh! And watch the monster movies!
Laurie
Won’t that scare Lindsey?
Tommy
Lindsey? Lindsey can’t come over!
Laurie
Oh, that’s right, you didn’t know. You remember Annie right?
Tommy
Your crazy friend?
Laurie (laughing)
Yeah, that’s her. Well, she’s baby-sitting Lindsey across the
Street tonight and she has to go run an…um…errand. So she’s
Dropping Lindsey off at your house so I can watch both of you.
Tommy
Oh, OK. What errand?
Laurie
Don’t ask.
Cut to:
Ext-Myers house
“The Haunted House” Begins to Play
We stare at a large, secreting house that no one would want to live in. its blue shutters and framing are faded and worn. Shingles are missing. The lawn is dead.
Tommy and Laurie walk up to the house. They look around for Lonnie Elamb but cannot find him.
Laurie
So where’s your friend?
Tommy
One, he’s not my friend. B, he’s not here.
Laurie
Hmm, Guess you win Tommy. He must’ve chickened out.
Tommy
That’s weird. I thought Lonnie was tough.
Laurie
Guess not. Now let’s go or else we’ll be next in line for
Tetanus shots.
Tommy
Wait, I’m still not a wimp. I wanna see the place.
Laurie
Oh come on Tommy.
Tommy
Just quick. You can come too, if you’re not chicken.
Laurie
Oh, man I wish I was. OK delinquent. Let’s go.
Laurie and Tommy run up to the front door of the Myers house and look inside. The inside is just the same as the outside. Broken floor boards, shattered belongings…
As Laurie and Tommy are looking in, we slowly zoom out and see Michael staring at them from a dark corner by the kitchen. He breathes heavily as he watches ominously.
We slowly crane down and see the lifeless body of another 10 year old boy. He has a bit of blood smeared on the side of his face. This is Lonny Elamb.
Laurie
Tommy this is stupid.
Tommy
No it’s not! This is the boogeyman’s house. Do you know what
Happened here?
Laurie
Yeah, yeah. Psychopathic kid kills family on Halloween night.
Yada, yada yada…
Michael stares coldly at Laurie.
Tommy
It’s scary.
Laurie
Then why do you want to be up here?
Tommy
I thought you wanted to.
Laurie (chuckles)
Are you crazy Tommy-Wommy? No way! Let’s go, you’ll be
Late.
Tommy and Laurie walk back to the sidewalk.
Tommy
See you tonight.
Laurie
Bye
Tommy runs across the street and disappears. Laurie sighs and walks along the rest of the sidewalk. She looks back at the house and sees Michael staring at her from a rusty window.
Laurie stops and stares back, cautiously. Michael doesn’t budge a centimeter. He just breathes in a continuous pattern.
Laurie swallows hard and turns and walks away.
Cut to:
Ext-Road
A little black car whizzes by us on a rundown, Cliffside road. The car is way past the speed limit but there are no other cars on the desolate road.
Cut to:
Int-car
Dr. Loomis is at the wheel of the speedy black car. He drives along very determined. He has a strange look on his face. A mixture of dread and anxiousness.
Something catches Loomis’ eye on the side of the road. He slows down to get a good look at it.
The site is a car crash site. A couple cops stand around a large ditch, examining it thoroughly.
A flashing ambulance is parked on the roadside. Two paramedics load two body bags into the rear of the ambulance.
Loomis looks ahead and sighs, knowing that those were the two policemen Michael killed.
Cut to:
Ext-car
The car drives past a large, beaten down sign reading: HADDONFIELD, 73 MILES.
Cut to:
Int-Courtyard-Haddonfield High
We pan across a high school courtyard. The courtyard looks like a zoo with no cages as teens of every size, shape, and race run amok.
We come to a few benches where Laurie and her three friends Georgia, Annie, and Lynda are sitting with her.
Georgia looks the most compatible to be best friends with Laurie since she is very easygoing and well mannered. Her wavy brown hair flows over her shoulders and chest majestically.
Annie and Lynda are “trying” to study together.
Annie has short, straight hair and a very slim, but petit body. She is very outgoing and rambunctious.
Lynda is the queen bee of the seniors. Her sexual and flaunting tactics are what proves her personality in life and in cheerleading. Her hair is golden brown and has a slight wave, but now her hair is up in pigtails.
Lynda
Shit Annie. I can’t study anymore, my brain’s fried.
Annie
Me too.
Annie closes her large textbook.
Lynda and Annie look at Georgia and Laurie who are buried in their homework.
Lynda chuckles at them.
Lynda
Laurie.
Laurie ignores her.
Lynda
Laurie?
Laurie is still oblivious.
Lynda
HEY EVERYONE! LAURIE’S A TOTAL SLUT!
Annie, Lynda, and Georgia laugh.
Laurie looks up.
Laurie
I only see one slut here.
Lynda
Woah! Sorry Laurie. It’s just so freakin’ hard to get
Your attention sometimes.
Laurie
You just ask.
Lynda
Uh, I totally just did.
Laurie
Oh…
Laurie laughs and puts her books away.
Laurie
What is it Lynda?
Lynda
Annie has a question.
Annie
What? But you said-
Lynda
Oh my god. It’s no big deal Annie!
Laurie
What?
Annie
…You’re baby-sitting Tommy tonight, right?
Laurie
Yep. 6:30
Annie
Well…I’m baby-sitting Lindsey Wallace and I was just
Wonderin’ if I could dump her with you ‘cuz Paul wants
Me to come over to his house for a little…um…get together
Tonight.
Lynda
Also, Bob and I wanted to drop by the Wallace’s when Lindsey’s
Gone. We have no other place to do what we do best because my
Mom and dad are totally staying at my house handing out candy all night.
Laurie
Guys, I can’t do that, you know that. What if they come
Home early and find that Lindsey’s not there and
Bob and Lynda are in their bed!? They’d fire you and lecture
me.
Annie
Come on, they won’t come home early. They said 1:00. I’ll
Be back by 11 and Lynda and Bob will be gone even before that.
Georgia
11? That’s pretty early for you Annie, isn’t it?
Annie (laughs)
Shut up.
Lynda laughs and then starts admiring the football team. Annie looks back at Laurie.
Annie
Please Laurie? Just this one night?
Laurie
Alright, fine. But if I get in trouble…
Annie
I know, I know, you’ll give me lethal spanking.
Lynda
OK, that was gay.
Annie
Fuck off Lynda.
Lynda rolls her eyes and looks away.
Annie
Thanks Laurie.
Laurie
Yeah.
Georgia
You guys are gonna get caught.
Laurie
Don’t even say that Georgia.
Georgia chuckles and goes back to studying.
We close up on Laurie as she sighs and looks around depressingly.
Cut to:
Ext-Clark’s Gas Station
Loomis drives into a vacant parking lot of a very old, run down gas station that has not updated their gas prices since probably the 50’s. A large, browning sign advertizes a café. Loomis stops his car in front of the station. He looks around at the vulgar, uncivilized habitat and sighs. You can only imagine the horrors of what lies inside.
Cut to:
Int-Gas Station
The inside of the station is almost as bad as the outside. Chair cushions are rotting, flies pave the crackled floor, and the entire place is abandoned.
Loomis searches the place in disgust.
Loomis
Excuse me?
Loomis walks forward and looks around some more. There is a long period of silence. Is there anyone lurking in this desolate place? That’s the question Loomis has racing through his mind. Loomis turns his head slowly and notices a splatter of blood running across a wall on the other side of a makeshift bar.
The haunting tune entitled “Alone” begins to play.
Loomis has a nervous, yet determined look running across his face. He takes a few steps forward and stops, hesitating his next move.
He stares blankly at the blood splatter. We see a shadow slowly approaching from around a corner, next to the blood stain.
Loomis’ eyes widen and his jaw tenses as the emerging shadow comes closer toward him. The shadow stops and waits. Loomis is about to run out of the station when the shadow’s being rounds a corner and reveals itself.
Loomis stares coldly at the blood covered woman walking toward Loomis with her head down. The woman stops in her tracks and collapses to the ground. Loomis runs over and crouches down beside her. He shakes her violently.
Loomis
Jesus…Miss…can I help you?
Loomis turns the woman over to reveal her head, which has many patterns of bruises, sores, and slices on it.
Loomis
Oh God..let me help you.
The woman grabs Loomis’ hand and stops him from calling an ambulance. She looks up at him with fear in her bloodshot eyes.
Woman
He-he was here. He did this t-to me…kil-l him…
Loomis
You’re going to be alright. I’ll get you some help.
Woman
Kill him…
Loomis stands up and runs to a payphone in the corner of the station.
Woman
KILL HIM!!!!
The woman’s shrill screaming is cut off by her crying.
Loomis quickly dials 911 with trembling hands. As he waits for the answer, he looks back at the woman on the floor. She is staring at him as the tears wash away the blood and grime on her face.
Loomis (On the phone)
Hello? Yes. I need an ambulance quickly…uh…I believe its
Called Clark’s Gas Station. It’s in…that’s right…yes. Thank you.
Please hurry.
Loomis looks back at the woman. She has calmed down a bit. She gags and finally comes to an ease. Slow tears gently roll down her eyes.
Loomis
You’re going to be alright. Everything will be fine.
Loomis gives a small, reassuring smile and tilts his head down to the floor. Something catches his eye right away. It is the orange mask Michael was wearing in the flashbacks when he escaped the cop car. This implies that Michael stopped at this very gas station, most likely to steal a car to drive to Haddonfield. Loomis immediately turns and dials another number He waits nervously as the other line rings.
Loomis (mumbling)
Shit…
Loomis quickly dials another number and waits nervously as it rings.
Loomis
Don? It’s Loomis…Michael’s definitely coming to Haddonfield…
Don’t ask me that…just tell one of your brainless workers to
Call the Haddonfield police department and tell them I’m coming.
Yes…If you don’t it’s your funeral.
Loomis violently hangs up the phone and turns back to the woman, who looks much more dead than alive.
Cut to:
Ext-Haddonfield Streets
We pan along a close up of a little boy’s feet trudging across the sidewalk, kicking away the colored leaves.
We zoom up and reveal the boy to be Tommy, walking solo with his backpack, looking very blue.
A group of teenage boys bike by Tommy shouting many phrases to annoy Tommy.
Boy #1
The Boogeyman’s coming for ya tonight Tommy!
Tommy
Shut up! Leave me alone!
Boy #2
He’s gonna get you!
Tommy looks back down and tries to ignore them. One boy throws a bloody, fake rat at Tommy, scaring him out of his wits. The boys all laugh and ride on, leaving Tommy in the dust.
The boys split apart and go their separate ways. We follow Boy #1 as he turns a street corner. He is knocked off his bike by Michael, who violently stops him. The boy falls to the ground and looks up at the towering image of Michael holding the butcher knife. We see the boy’s fearful expression through the reflection of the knife. Michael takes a step forward and the boy leaps up from the ground and runs away, leaving his bike behind.
We cut to Tommy walking down the remainder of the sidewalk and turning the corner. He stops and stares at the boy’s bike. He looks around for the boy. But him and Michael are nowhere in sight. Tommy kicks the bike hard and breaks its mirrors. He chuckles and walks on. He passes a tree and Michael pops out from behind. He watches Tommy intently as he walks down the sidewalk. He breathes hard through the latex mask as he stares at Tommy. Tommy turns another corner and vanishes. With one step, Michael twists toward the High School, where Laurie and her friends await to be released from school. He takes a few steps, walking toward the school.
Cut to:
Int-Classroom
We close up on a sign reading “FATE”. We hear a female teacher rambling on about history.
We slowly zoom out and realize that the full sign reads “FATE NEVER CHANGES”. It is posted on a chalkboard. We reveal the classroom. The students study their textbooks.
“Halloween 1978” begind to play.
We move to the back and see Laurie sitting by a large window overlooking the entrance of the school as she studies, we see Michael walking across the street toward the school. He stops at the staircase leading up to the school and watches Laurie through the window. Laurie sighs and turns her head, seeing Michael staring at her. She holds her breath and stares back, cautiously. She looks back at the classroom. Everyone is staring at her, along with the teacher.
Teacher
Problem Laurie?
Laurie
Oh, no ma’am. Sorry.
The teacher continues reading out loud from the textbook.
Laurie takes one last glance outside. Michael has vanished yet again. Laurie sighs and shakes her head, looking back down at her textbook while doing so.
Cut to:
Ext – School Entrance
The front door of the school opens and out walks Georgia and Lynda. They laugh together as they carefully exit the school building to skip class.
The two girls start walking down the stairs quickly, as to not be noticed.
Georgia
Lynda. We better not get caught.
Lynda
I’ve done this so many times G. I’ve never gotten caught.
Georgia
Yeah. So are you baby-sitting with Laurie tonight?
We see Michael listening to the conversation from a bundle of trees.
Lynda (Chuckles)
No, I actually have a life. I love Laurie but, honestly,
She really doesn’t have a life. She must have a huge stash from
Doing it so much.
Georgia
Well I’m gonna be the good friend and help her out. She baby-sits like two streets down from where I live. And Annie baby-sits Lindsey right across the street.
That comment has caught Michael’s attention. He wants no one to interfere with his plans tonight. His main plan is questionable but since he is a psychopath, makes pure sense…kill Laurie and her friends to relive his bloody massacre that started 15 years earlier.
Georgia and Lynda start off on the sidewalk.
Lynda stops.
Lynda
Shit!
Georgia
What?
Lynda
I forgot my friggin’ keys in my locker.
Georgia (sighs)
Lynda…
Lynda
I’ll be back in one second. Just stay here.
Georgia
Whatever. Just don’t get caught.
Lynda
Yeah right…
Lynda runs back to the school. Georgia sighs once more and leans back on a chain-linked fence. We see Michael pacing behind her through the fence. He walks across the frame and disappears. Georgia bumps her head on the fence in boredom and starts to slowly walk back and forth. She trudges toward an open doorway into a tennis quart. Suddenly, Michael bursts through the doorway.
A gripping part of “Truck over Zombies” starts to play.
He grabs Georgia by the mouth. With a strangling pull, he gabs her back into the quart. Before she can even utter a scream, he slices her throat with the knife and throws her to the ground like a piece of trash. He then quickly pulls her into a storage room and slams the door shut.
Cut to:
Ext – Road
Loomis is back in his car, driving down a long road on his way to Haddonfield. He passes by a sign reading “Haddonfield – 15 Miles”.
Cut to:
Int-High School Hallway
Laurie opens up her locker, surrounded by tons of anxious teens, excited for Halloween and the weekend. Laurie grabs a few books from her locker and stuffs them into her school bag. Annie and Lynda come walking down the hall and stop at Laurie’s locker.
Laurie (To Annie)
Hey
Annie
Hey Laur.
Lynda
Have you seen Georgia around?
Laurie
Nope. Weren’t you and her gonna skip last period?
Lynda
Totally. But that bitch ditched me. I don’t know
Where she went.
Laurie
She’ll turn up later. She might come over and help me
Baby-sit since ANNIE here is dumping Lindsey with me.
Annie
It’s just for tonight. No biggy.
Laurie slams her locker shut.
Laurie
Let’s go.
Ext – High School
The three girls, Lynda, Annie, and Laurie walk down the steps of a bustling high school. Halloween decorations and silly string rummage through the air.
The girls turn and walk across the street, over to the sidewalk to walk home.
Lynda
OK, so today at cheer practice, Ms. Walkins made me do the
Titan roar in front of everyone. So I’m up there doing it and
Then she goes “Come on Lynda, show off that hot body”. That proves
It right there. Ms. Walkins is a lesbo.
Annie laughs as Laurie rolls her eyes at Lynda’s rude remark.
Annie
Shocker!!
Lynda
Totally
Laurie
OK, subject change please.
The girls cross another street, onto another tree-lined sidewalk. Crisp, Autumn leaves slowly fall upon them.
Annie
Well I had a terrible day today.
Lynda
Aww Poor Annie…
Laurie
What happened?
Annie
Paul dragged me into the boys locker room again.
Laurie
God! How many times is that?
Lynda
Ten.
Annie
No, Lynda…only two but I can’t stand it!
Lynda
Yeah right, you totally like it.
Annie
Got Lynda, you are such a slut…
Lynda
No shit Sherlock.
As Lynda and Annie continue on talking, Laurie notices the silhouette of Michael, observing her from behind a large hedge on the other side of the street.
“The Hedge” starts to play.
Laurie gulps. She realizes this man is literally stalking her. Michael doesn’t move an inch.
Laurie
Guys, stop.
The girls stop.
Annie
What is it?
Laurie
Look over there, behind that hedge.
Lynda
Where?
Laurie
There, behind the hedge.
Annie
It’s probably Mr. Riddle.
Laurie
He’s been watching me all day.
Annie
Laurie, come on, Mr. Riddle is eighty-seven!
Laurie
Annie, it’s not Mr. Riddle.
Lynda
Yeah, that old bum can’t even move to feed himself.
Annie (to Michael)
Hey creep!!
Laurie
Annie no!
Annie
My dad’s the sheriff! What do you gotta say about that MATILDA!?!
Lynda
What the fuck? Who’s Matilda?
Annie
I don’t know. My dad says it all the time.
Laurie continues to stare back at Michael. He truly is soulless. Laurie sighs and the three girls walk away.
We cut to the girls strolling down another sidewalk. Trick-or-treaters are starting to emerge as the sun begins to set and Halloween night approaches with a sly, swift, ease.
Lynda
Well here we are, home sweet home.
Laurie
Bye Lynda.
Lynda
I’ll be at the Wallace’s around 9’ish.
Laurie
Fine. Bye Lynda.
Annie
Cya!
Lynda walks into her house. Annie and Laurie walk ahead. They spot a tall blonde-headed boy running across the street toward them. This is Paul, Annie’s boyfriend.
Annie
How the hell did he find me?
Paul
Hey girls.
Laurie
Hi Paul.
Annie
What are you doing here?
Paul
I just wanted to take you to get some ice cream before our
Romantic evening.
Annie
Why are you so happy?
Paul
What do you mean?
Annie
You usually just give me a bag of chips and a coke from
My own fridge.
Paul
I guess I’m just feeling generous today.
Annie
Well, I won’t pass it up. I have to baby-sit at 6:30 though, remember?
Paul
Yes, now let’s go.
Annie
Laurie, I’ll pick you up at 6:15 OK?
Laurie
Alright, have fun.
Annie
Wish me luck.
Laurie laughs.
Paul carries Annie around a corner and they disappear. Laurie is left walking alone down the sidewalk. She looks around to see if Michael is anywhere. He is nowhere insight, just early trick-or-treaters and soft swaying trees, dropping their colored leaves onto the cold ground.
Laurie sighs and walks on. We zoom back and see Michael trailing slowly behind Laurie.
A tense part of “Disturbia” slowly plays as Michael emerges.
Every step she takes, he gets closer. He is finally about 10 feet behind her and she turns a corner and he stops, watching her walk the rest of her way, up to her house. Michael breathes heavily as he stares her down from behind.
Ext – Haddonfield PD
Loomis barges through the doors of the Haddonfield Police Department and walks up to the Sheriff’s desk. The sheriff in town is Lee Brackett, Annie’s father.
Brackett
Can I help you?
Loomis
Yes, I’m Loomis, Dr. Sam Loomis.
Brackett
Oh, it’s you…
Loomis
Yes. Has Smith’s Grove called you?
Brackett
Yeah. They explained how troubled you are in the head.
Loomis
Did they tell you why I’ve come here Sheriff?
Brackett (Sighs)
…Michael Myers. You were his doctor, am I correct?
Loomis
Yes-yes, that’s right, for 15 years. Ever since he killed
His sister.
Brackett
So you think he’s comin’ back do you?
Loomis
I believe he is. He escaped last night and I am sure
He’s on his way here as we speak.
Brackett
He can drive a car?
Loomis
Sheriff, the point is, Michael Myers, Illinois most infamous
Murderer, may be coming back tonight.
Brackett
Wow, you are lunatic aren’t you?
Loomis
Please Sheriff. His work here in Haddonfield is not done.
He’s tried to escape every Halloween, this time he’s succeeded.
And if I’m right, many people will be slaughtered tonight.
Brackett
What do you want me to do?
Loomis
Well, until we see that he’s here, I’d like it if someone would
Patrol the Myers house and have your other men to keep quiet and
Watch the streets.
Brackett
Dr. Loomis, Trick or treaters are gonna be running crazy tonight.
Loomis
Please Sherriff. We haven’t much time.
Brackett
This better be important Dr. I’ll round up some troups.
Loomis
Thank you sir. I’ll be coming to the Myers house at nightfall to
Help watch it.
Loomis walks away. Brackett slouches back in his chair and rubs his face.
Brackett (mumbling)
Crazy old man.
Cut to:
Ext – Haddonfield Cemetery
We crane down over a vast cemetery. The falling sun creates a warm, orange atmosphere that reflects ghostly among the tombstones and willow trees.
We sit for a while, focusing on a mid shot of the cemetery.
Suddenly, Michael steps into the frame and walks through the lines of gravestones.
The camera tracks beside him, ducking and peeking through each gravestone as Michael walks onward.
He comes to a tombstone and stops drastically. He stares down at it. The tombstone reads “JUDITH MYERS – APRIL 17, 1951 TO OCTOBER 31, 1963”.
“The Hedge” Plays
Michael breathes hard and then violently grabs the tombstone and a few rage filled pulls, he yanks the combusting tombstone out of its roots. We hear an outraged man call out from behind Michael.
Gravekeeper
HEY!
Michael slowly turns around with a deranged look in his eye. He stares crossly at the man. The man shivers in fright.
Gravekeeper
You best put that tombstone back ya hear?
Michael drops the tombstone to the ground.
Gravekeeper
That’s it. Now get out of here.
Michael doesn’t move.
Gravekepper
I said get out you animal!
Michael whips out the knife from his side belt loop and brandishes it to the man.
“The Reaping” plays.
Gravekeeper
Oh shit…
The man starts to run away. Michael leaps forward, running at full force toward the man, like a shy child bursting out of a cocoon, wanting revenge. Within seconds, Michael has the man strangulated within his grip. Michael plunges the knife through the man’s back several times until the man is very much dead.
Cut to:
The gravekeeper’s body is thrown into a freshly dug grave. Michael stands above, looking down on his victory.
Michael walks back over to Judith’s tombstone, picks it up, and walks away with it.
Fade to:
Ext – Haddonfield Streets – Aerial View
We see Haddonfield through an overhead aerial view. We can make out the many twisting streets and small Midwestern housings as we creep our down, getting closer and closer to a little red car driving down a winding road.
Int – Car
The car is revealed to be Annie’s. She is the driver, while Laurie sits in the passenger seat holding a large orange pumpkin that she cannot seem to handle very well.
Annie looks over at Laurie and chuckles.
Annie
Laurie?
Laurie
Yeah?
Annie
What’s that for?
Laurie
What?
Annie
The pumpkin Sherlock!
Laurie
Oh, I thought Tommy would wanna carve a jack-o-lantern. He’s
Obsessed with Halloween. He always talks about the boogeyman.
Annie
Tiny turd. What does he make you do the whole time?
Laurie
Read his comic books, watch monster movies, all that good stuff.
Laurie struggles with the pumpkin.
Annie
Thank god Lindsey hates me. Or else she’d be all over me.
Laurie laughs and looks ahead. She suddenly yelps out in sheer terror.
Laurie
LOOK OUT!!
Annie slams on the breaks as hard as possible. The two girls look out the window, traumatized. Michael is standing right at the head of the car.
Laurie
Oh god.
Annie
What the hell’s your problem asshole!?!
Laurie
Annie that’s the guy.
Laurie and Michael stare at each other. Laurie’s eyes fill up with sudden fear. Annie rolls down her window and sticks her head out.
Annie
Watch where you’re goin’ next time bud. Whatch’a hiding under that
Mask?
Annie flips out a quarter and throws it at Michael.
Annie
Take that quarter down to the medical center. Have them get
Your eyes fixed. Asshole.
Michael gawks at Annie endlessly as she rolls down her window and positions herself.
Laurie
Annie, that’s the guy that’s been following me.
Annie
Friggin’ pig. I hope he really takes that quarter into consideration.
Annie drives on, leaving Michael in the dust. Laurie turns around and watches as Michael stands there motionless, intently watching their every move.
The car drives on.
Fade to:
We look at a close up of the eerie autumn moon as we slowly crane down upon the streets of Haddonfield. Children in costumes run freely everywhere. Candy and decorations and toilet paper are of the abundance as the kids celebrate their one night to be someone else. Tonight is Halloween.
Fade to:
Ext – Myers House
“the Haunted House” Plays
Loomis and Brackett pull up in the sherriff’s car. The autumn moon gives the house an eerie, bluish presence. The falling leaves act as a shower of glitter across the ominous screen.
Loomis and Brackett step out of the car and come together. They look up at the worn down two-story home.
Brackett
Well here we are Loomis. Your dream home.
Loomis gives Brackett a crossed look. Brackett chuckles. Loomis leads him toward the front stoop where a single, glowing jack-o-lantern sits on a torn step, with the face of the devil carved across it.
Brackett
Kids.
A group of trick-or-treaters run up to Loomis and Brackett. They are garmented in costumes of all sorts, all holding bags of candy.
Kid #1
Trick-Or-Treat.
Loomis gives look of worry. He realizes how many children are running through the streets freely tonight. They may all be lined up for a slaughterhouse and only he can be the one to stop it. But the night has come, and time is running out.
Brackett
No treats at this house kids. Go on to the next one.
The kids sigh and run along.
Kid #2
That devil lives in that house.
Loomis chuckles.
Loomis
Devil…how I wish I could just hire an exorcist.
Brackett
Well are we goin’ in or not?
Loomis
Yes, come on.
Brackett unlocks the front door with an enormous collage of keys. He opens up the creaky door into a dark, stank, torn up home.
Brackett
After you.
Loomis walks inside and cautiously looks around. Brackett turns, taking a last look at the foggy streets of Haddonfield.
He shuts the door and turns to Loomis.
Brackett
Where to doc?
Loomis
He could be anywhere.
Int – Kitchen
Loomis slams open the door leading into the run down kitchen. They look around. No Michael.
Int – Staircase
Loomis and Brackett walk carefully down the stairs into a pitch dark basement with no source of happiness or remorse, much like its inhabitant from years ago.
Loomis
Sherriff, there is one thing you need to know about Michael
Myers.
Brackett (sighs)
What’s that?
Loomis
He is completely invulnerable to comments and fear, sometimes
Even pain.
Loomis stops at the bottom of the stairs and turns to Brackett, he shines a flashlight upon their faces.
Loomis
If you see him tonight, god forbid, don’t talk to him, look at him,
Or do anything to try and harm him. Because he will win, sherriff. I
Assure you he will.
Brackett
You talk about him as if he weren’t a man.
Loomis (laughs)
Yes sheriff. He is no man. That part of him died within that one cold second that his mind flipped from a kind hearted, sweet boy, into the beast he is today. That moment began when he picked up that knife 15 years ago. He has never put it down since.
BAM!! The door leading into the basement booms shut and Loomis and Brackett are plunged into total, utter darkness, where anything goes.
“The Hedge” plays
They scream and gasp and finally calm their selves down after a while of panic.
Brackett
Come on. Let’s try to get up the stairs.
Loomis
He’s here.
Brackett
What the hell are you talkin’ about?
Loomis
He’s here Sheriff. Michael Myers is with us.
We hear a small creaking noise and a faint orange light begins to emerge from the darkness, right next to Loomis and Brackett. The orange light coming from the door glows on the two mens’ confused and fearful faces. The creaking stops. Brackett gulps and slowly raises his gun. Loomis steps forward and begins to pull the door open. The light grows. What could be lurking behind that door? Loomis continues opening the door. Tension grows. The door is open. We do not see what lies on the inside. However, Loomis and Brackett do. The site they are seeing is something so horrendous, not even Hollywood could devise it. What exactly are they seeing before their peeled eyes? You will find out as the night grows on, and blood runs thicker.
Cut to:
Ext – Doyle House
An upper middle class house, much like the others on the street, dressed up with fake cob webs, orange lights, skeletons, and fog machines.
We look through a window and spot Tommy and Laurie carving a jack-o-lantern and having fun.
Michael walks into view and stares at the two from outside. He turns. We follow him as he walks across the street and down toward the Wallace house. The few trick-or-treaters that are left stare at him with fear as he passes by.
Michael walks to the front yard of the Wallace house, decorating and look much like the Doyle’s. This is the home of little Lindsey Wallace. Michael peers through the front window the house and sees Lindsey sitting on the couch in her witch costume, watching the film “Night of the Living Dead” on the black and white TV. Annie is sitting perky in a chair by the window, yapping away on the landline.
Michael breathes heavily turns back to the Doyle house, staring coldly at Laurie. He looks down at his knife, breathes, and then looks back at Laurie. He then walks into a bundle of trees and vanishes.
Int – Doyle House – Living Room
Laurie and Tommy finish up carving the jack-o-lantern. Laurie lights a candle inside it, flaming it up.
Laurie
We have light!
Tommy
Awesome! Let’s put it outside!
Laurie picks up the large jack-o-lantern and carries carefully to the front door with Tommy. We hear “Night of the Living Dead” playing in the background.
Laurie opens the door. An autumn breeze rushes in with a few leaves. Laurie sets the pumpkin on the stoop as Tommy admires it. Laurie sighs and looks out into the lively street.
Tommy
Laurie? Can we go trick-or-treating?
Cut to:
Int – Wallace House
Annie and Lindsey sit on the sofa. Annie tries to read Lindsey a book. Lindsey looks like a stoner, she is so bored.
Annie (reading book)
And the ghost went BOO! And the witch went……(looks closely)…what is that? And the ghost said to the pumpkin MOO!
Lindsey
Annie, you’re so bad at reading. It’s BOO not MOO!
Annie
Shut up Lindsey. I don’t care about fuckin’ casper…oh shit…I mean…
Annie covers up her mouth.
Lindsey
You swore! You swore! I’m gonna tell on you!
Annie
Fine, you don’t get 10 bucks.
Lindsey
Nevermind! I was just kidding Annie.
Annie
Watch the movie.
Annie gets up off the sofa and walks into the kitchen. She rummages through the pantry, looking for dog food. As she does so, Michael appears in the sliding glass door next to Annie. He stares right through the glass.
Annie grabs the dog food and heads to the sliding glass door. Michael is gone yet again. Annie opens the door and pours some food for Lindsey’s dog Chester into a bowl on the porch.
Annie
Chester!!! Come here you fat mamma’s boy!
Annie looks out into the darkness of the backyard. A menacing tool shed sits at the back of the rather large yard.
Annie moans and looks back inside.
Annie
Lindsey! Chester isn’t coming!
Lindsey
Then go find him!
Annie moans again.
Annie (mumbling)
Little bitch.
Annie sighs and walks outside. The door shuts behind her. She looks at the tool shed and looks around, beginning to get nervous of the dark and what exists in it.
She walks toward the shed.
Annie
Chester!?
Michael hears Annie and pops out 10 feet behind her.
“The Hedge” plays
He trails silently and swiftly behind her as she walks toward the shed.
Annie
Chester! Fuckin’ dog.
Michael continues pacing behind Annie as she comes up to the toolshed. She tries to open the door put it is locked. She turns around and Michael is directly in front of her face. She yelps and then calms herself down.
Annie
Who the hell are you?
Michael slowly tilts his head.
Annie
Get out of hear asshole! Trick-or-treating is in the streets!
Annie points ahead, indicating the street. Michael breaths heavily and watches Annie through those two black eye slits that watch you all the time.
Michael turns slowly and walks away, vanishing into the darkness. As soon as he is gone, Annie lets out a sigh of relief and walks back into the house.
Ext – Myers House
Loomis and Brackett exit the Myers house and lock the front door.
Brackett
So what’s the plan?
Loomis
Well he’s definitely been here. I don’t think you can argue me on that. I’m sure he will come back later, once he’s done…trick-or-treating.
Brackett
Shit Loomis. If he’s out there we’ve gotta find him.
Loomis
We don’t know where he is sheriff. Now I want you to tell your men to watch the streets carefully and quietly while I stay right here and guard the house.
Brackett (sighs)
Alright…
Brackett walks down the sidewalk. Loomis turns back to the house and looks at it ominously. He looks down each empty street, wondering where Michael could be lurking.
Ext – Doyle House
The front door to the house opens. Tommy and Laurie walks out with flashlights and candy bags, ready and rarin’ to go trick-or-treating. As Laurie locks the door, Tommy looks across the street at the Doyle house and sees s dark shape staring at him from the side of the house. Tommy’s eyes widen in fright. He turns away and grabs Laurie.
Tommy
Laurie! Look! The Boogeyman! He’s over there!
Laurie looks at the Wallace house. The shape is gone.
Laurie
Tommy, there’ nothing there. You’ve got to stop with this boogeyman stuff. It’s nonsense. OK?
Tommy
But I saw him, honestly.
Laurie
No you didn’t. let’s go.
Tommy stares at the house in confusion but then walks on with Laurie, down the driveway and into the street, along with the other parading trick-or-treaters. Bluish fog envelops the street.
Tommy and Laurie walk down the sidewalk. Tommy runs up to another house that is blasting the song “Monster Mash” and is toppled with plastic pumpkins and plaster monsters.
Tommy rings the doorbell as Laurie slowly makes her way across the grass. Tommy collects his candy and runs back to Laurie.
Tommy
I love this night.
Laurie
I’ll bet.
They walk down onto the sidewalk and continue down the street.
“Halloween 1978” plays.
Michael slowly makes his way toward them and stops behind a tree.
Ext – Another street of Haddonfield
Laurie and Tommy slowly walk down the street together as leaves float with them, carrying on a conversation. Michael still follows.
Tommy collects candy at another house, and many more after that. Each time, Michael follows behind them intensively. He truly is a stalker of the night.
Cut to
Ext – Doyle House
We watch from afar as Laurie and Tommy end their rendezvous and settle back into the house. Michael watches from the other side of the street. He turns back to the Wallace house and sees Annie trying again to read to Lindsey. He decides to leave the neighborhood for a bit and go on a little rendezvous of his own.
Michael walks down the street alone. Only a few trick-or-treaters are left.
We crane over him and move to an image of the full moon, then back down and land on the other side of the street. Michael is now walking toward us. He exits the streets of Haddonfield and comes to a small farm where a Halloween party is taking place out by the crop fields. He slowly walks toward the commotion and spots Laurie’s friend Lynda, and her boyfriend Bob, his new, temporary targets.
Michael walks ahead, brandishing his knife.
A foggy layer casts an eerie mist over the farm and cropland.
We walk through Michael’s POV. We walk toward the house where the party is taking place. We peer through a window and see Lynda and Bob dancing and smooching. They laugh and decide to exit the house. Michael moves into the shadows as they walk out the door, over to the barn. Michael watches them as they kiss and drink beers together. They escort each other into the barn and shut the door. Michael moves out of the shadows and stares at the barn, tilting his head from side to side.
Cut to
Int- Barn
Lynda and Bob kiss passionately on a pile of hay in the center of the dark room.
Bob moves on top of Lynda and pushes her onto the hay. He slowly unbuttons her Little Red Riding Hood Jacket as she unravels her pigtails.
Lynda
Wait.
Bob
What?
Lynda
It’s totally dark.
Bob
So?
Lynda
Don’t you wanna see me?
Bob
No.
Lynda gives Bob a mean look.
Bob
I like it with the lights off. Nothing’s off limits.
Lynda (laughs)
TOTALLY.
They continue doing their deeds. We slowly zoom out and look at a jack-o-lantern perched up on a ledge.
Bob rips off Lynda’s bra and squeezes her nude breasts. They kiss orgasmically.
Bob thrusts his body on Lynda’s, causing the worn hay to scatter around.
As Lynda and Bob have sex, we see a dark silhouette walking outside, through the cracks in the wood on the barn. The shape makes its way toward the door.
Bob rips off his boxers and jumps onto Lynda, as they roll around violently in the hay. We hear the door creak open. The two lovers thrust up and down and side to side, leaving no direction unexplored.
A shadow moves across the scene. It comes closer and closer to the two teens as the scene grows more and more tense.
Bob’s orgasm ends the commotion.
Lynda
Ahhh…fantastic.
Bob
Yeah. Get me a beer.
Lynda
I’m not movin’ quickdraw. Get it yourself.
Bob
You want one too?
Lynda
Totally.
Bob
Be right back. Don’t put on your clothes.
Lynda laughs and stretches in enjoyment. Bob stands up, throws on his boxers, and starts for the door. As soon as he walks out, he is violently pulled back in by Michael. The door to the barn slams shut. We hear graphic screaming and thrashing coming from inside as we zoom into another jack-o-lantern on the stoop of the barn.
Int-Barn
Michael throws Bob onto a screaming, nude Lynda. Bob looks back up at Michael, who towers over him. Michael brandishes the knife.
Bob
Shit!
Lynda screams and runs for the door, leaving Bob behind. Bob tries to run as well, but is pulled back by the powerful grip of Michael’s crushing hands. Michael lifts Bob up off the ground |
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Post by bucksfan2276 on Feb 11, 2009 21:34:54 GMT -5
and pins him against the wall, causing the wood to crack.
Lynda is almost to the door.
Michael throws Bob over his head. He lands on three long spikes that slice through his stomach like butter. Michael tilts his head in enjoyment as Bob slowly dies and Lynda screams.
Lynda makes it to the door. She opens it up and looks back at Michael. He lunges toward her like a bull. She lets out a gruesome holler and is pushed to the ground by Michael’s tremendous force. Michael guards the door. Lynda quickly recovers and speeds up the stairs. Michael follows right behind her. She makes her way up the stairs as tears roll through her eyes. She gets to the top as Michael runs up the stairs, after her. She screams and looks around the room. It looks just like the bottom level but is filled with tools and weapons of all sorts, used for harvesting. She gives a look of fright and runs ahead, hiding behind a barrel of hay. She grabs a machete and holds it close up to her topless, shivering body. Her mascara runs down her cheeks like the river of Styx. We crane upward and see Michael looking straight ahead at the barrel of hay. He stares at it for a long while, without flinching. Lynda hesitates. What should she do? She decides to stay in hiding. Michael takes a few steps forward and stops. Another few steps. Stops. Lynda grips the machete with all her might as Michael rounds the corner of the hay barrel. Michael stops. Lynda gets angry and leaps up, slashing the machete across Michael’s chest. Michael is hardly affected. Lynda runs away and into another room. This one is completely blank, except for a single window and a staircase leading downstairs. She runs for the staircase.
We cut to the bottom of the stairs and see Lynda emerge at the top, beginning to hop down the stairs. Michael quickly intrudes at the top, causing Lynda to tumble over her own steps and roll down the stairs, banging her head, arms, and legs as she topples to the bottom. She lands with a thump and a cry.
Lynda’s eyes slowly open. Michael is staring at her from the top step. He flips out the knife. Lynda screams and cries. She limps up and runs out the door. Michael follows with force. Lynda sees that al the people at the party have left and all the lights in the house are out. She decides to run to the door of the house. She nears it and looks back, seeing Michael pop out from the barn entrance, still following after her.
Lynda yelps and runs faster. She reaches the door and starts wildly banging on it.
Lynda
Help me! Please Someone! HELP!!!
Michael paces toward the crying teen. He gets too close. Lynda sees Bob’s van still parked down the driveway. She runs toward it. Michael whips the knife at him and misses by an inch. She hops into the car, flips in the key and reverses just as Michael shatters the window with his rage. Lynda screams and reverses, turns, and heads down the driveway. She looks through the rearview mirror. Michael walks to another car and starts it up.
Lynda
…no…
Lynda drives faster. Michael backs up and chases behind her.
Cut to:
Int – Doyle House – Living Room
Laurie and Tommy are sitting on the couch watching “The Thing From Another World”.
The phone rings. Laurie walks over to it and answers.
Laurie
Hello?
Annie
Hey.
Laurie
Hi Annie. Almost time?
Laurie looks out the window, across the empty street, at the Wallace house, where Annie is caling from.
Annie
Yeah. I just have to finish making Lindsey’s special Halloween candy Sundae Surprise and then I’ll drop her off.
Laurie laughs.
Laurie
Good luck.
Annie
Thanks. I’ll see you soon.
Laurie
Bye.
Laurie hangs up the phone.
Ext – Street
Lynda drives across a lonely street, way past the speed limit. Michael follows in the other car, about 40 feet behind.
Inside, Lynda panics. She continuously looks through the mirrors to see where Michael is. Sweat pours down her trembling body. She sees the entrance to the Haddonfield suburbs up ahead. She gulps and looks into the mirror. The car is gone. Lynda looks around with suspense building up to its supreme. Lynda rounds a corner and runs right into Michael’s car. Lynda and the car topple into a ditch. Lynda thrashes all around. The car stops on its side. Michael stays on the road, unharmed.
He walks out of the car and over to the crumpled van in the ditch.
Lynda opens her eyes. Blood and bruises cover her. She ignores the pain and looks to her side. Michael is walking down into the ditch. Lynda gets panicky and tries to get out of the toppled car. She is stuck. She cries and whimpers to herself as she desperately tries to mangle out of the seat. Michael walks around the car, over to Lynda. Just as Michael reaches in the car, Lynda gets out of her prison and pushes herself out the windshield. She jumps off the car and runs out of the ditch, headlong toward the Haddonfield streets.
Lynda enters the streets and looks back. Michael is nowhere in sight. Lynda gulps down her fear and runs ahead, as fast as she can.
The poor, helpless teen struggles to run and twists and turns in every direction, searching for anyone to help her.
Lynda spots the Doyle house and smiles. She hears a garbage can topple. She looks behind her and spots the garbage can topple over at the end of the misty street. Michael is back.
Lynda
sh*t!
Lynda hops toward the Doyle house, praying she can make it in time. Michael sprints down the street, right toward Lynda. He’s done with playing games. Lynda screams for help. She enters the sidewalks and continues running for her life. She enters the front yard of the Doyle’s and pushes herself to get to the front door. Michael soars into the front yard. Lynda falls to the ground, onto her bloody knees. She cries and struggles. She looks at the house and sees Laurie and Tommy sitting on the couch watching the television. She holds out her arm and then looks behind her. One look back was not a good idea. Michael runs violently toward Lynda, raising the knife above him. Lynda back crawls toward the house, faintly screaming. Michael runs straight up to Lynda and swings the knife down on her like a boulder into water. It penetrates her neck, tearing her head right off at its seam. The head flips through the air. And rolls across the ground. The body lays there, dead as a doornail. Michael stands over his victory. He breathes and gasps very heavily. He looks into the window of the Doyle house, right at Laurie. Laurie has no idea what nightmarish terrors she will witness as the night grows onward.
Int – Doyle House
Laurie sets a bowl of candy corn on a small coffee table in front of the couch where Tommy is sprawled out on, still in his Halloween costume.
Laurie sits down next to Tommy, munching on pieces of candy corn as she and Tommy watch “House on Haunted Hill”.
Tommy
When is Lindsey’s coming over?
Laurie looks out the window over at the Wallace’s house. She sees Lindsey throwing candy at a spasing Annie in the living room.
Laurie chuckles and turns back to Tommy.
Laurie
I don’t know. Probably soon.
Tommy
Oh…Laurie?
Laurie
Yeah?
Tommy
Is the boogeyman real?
Laurie
TOMMY! ENOUGH!
Tommy
I need to know!
Laurie
Why?
Tommy
‘Cause I don’t want him to kill me.
Laurie
Tommy Doyle. There is no boogeyman. The closest thing there is to a boogeyman is my Aunt Flow. Now that’s something to be scared of.
Tommy (Pouting)
Nobody believes me…
Laurie rolls her eyes and sighs. A mysterious figure lurks across the street outside, holding what looks like a dead body in its arms. The shape vanishes.
Ext – Streets of Haddonfield
We stare at a swaying willow tree, dropping its limp branches to the soft ground. We crane down and look over Haddonfield suspiciously. WHERE IS MICHAEL? “Halloween 1978” plays.
We pan across a row of houses. Everyone has gone inside for the night.
We see a squirrel run across the street, grabbing a snickers bar on its way.
Ext – Myers House
Loomis still stands, watching the Myers House with full intent. He sighs and looks around, unsure what to do.
A group of teenagers run together at the other side of the street. Loomis ducks behind a bush and watches. The teens seem very frazzled.
Teen #1
sh*t, did you hear what the cops found at the Tower Farm party?
Team #2
f*ck. Yeah. It sucks ass man. Didn’t they find Bob’s body?
Teen #1
Yeah, it was all chewed up. Pretty god damn nasty.
Teen #3
Wait. Bob? Lynda’s Bob?
Teen #1
Yeah.
Teen #3
Oh my god. Where’s Lynda? Is she okay?
Teen #2
I heard someone saying they saw her on her way to Orange Grove.
Loomis perks up at this.
Teen #3
If that’s true, I’m getting’ out of here. Do they know who killed Bob?
Teen #1
They think it was some mental patient.
Teen #3
I’m definitely leaving. Talk to you guys later.
The teens scatter away and run into the darkness.
Loomis comes out of the bushes and c*cks his gun. He sighs with determination and runs down the street. He is a man on a mission.
Int- Doyle House
Annie is popping popcorn on an old fashioned stove. The popcorn flies out of the top. Annie tries desperately to catch the pieces before they land on the ground. Lindsey watches, laughing uncontrollably.
Annie
Help me you twirp!
Lindsey
Good luck.
Lindsey walks into another room. Annie groans. The popcorn comes to a stop. Annie turns off the stove and sighs.
Annie
sh*t…
Annie (to Lindsey)
THE POPCORN’S READY!
Annie sighs again and walks to the phone. She picks it up and dials a number.
Int – Doyle House – Living Room
The landline begins to ring. Laurie gets up from the couch and answers the phone.
Laurie
Hello?
Annie (VO)
Hey.
Laurie
It’s about time. I was ready to give up on you.
Annie (VO)
Sorry. I was making little miss Lindsey popcorn. It didn’t turn out too well.
Laurie chuckles and looks through the blinds and the Wallace house across the street. She looks back to Tommy, who is still watching tv.
Laurie
OK. Well, hurry up and drop Lindsey off. I have to put them to bed soon. Are Lynda and Bob still coming over there?
Annie
Well they’re definitely “cumming”, but I don’t know if they’re “coming”. If you know what I mean.
Laurie laughs at Annie’s joke.
Laurie
Okay, if she calls, tell her to call me. I’m bored as heck over here.
Annie
Will do.
Laurie
Thanks. See ya soon.
Annie
Bye!
Laurie hangs up.
Int – Wallace House
Annie trudges over to Lindsey and shuts off the tv.
Annie
Come on shortbus, we’re goin’ over to Tommy Doyle’s house.
Lindsey
Really!?!
Annie
Yeah, hurry up alfalpha. I got plans.
Ext – Wallace House
Lindsey and Annie exit the house with their coats on. The autumn breeze whips past them. Annie tapes a note to Lynda on the door and then grabs a bowl of popcorn and escorts Lindsey across the street.
As the two haters walk together, Michael peers out from behind a tree, following them carefully. He stops in the middle of the street as they walk to the front door of the Doyle’s house.
Int – Doyle House
The doorbell rings. Tommy stands up from the couch and answers the door.
Annie
Hi Tommy.
Tommy
Hey guys. Come in.
Lindsey and Tommy run off and watch tv together.
Annie walks into the kitchen where Laurie is painting her nails. Annie laughs at her.
Annie
Hot pink? Who are you? Marilyn Manson?
Laurie
I thought it would be a nice change.
Annie
No honey. You’re more of a periwinkle blue.
Laurie scrunches her nose. Annie laughs and takes the nail polish away from Laurie and throws it into the garbage.
Laurie
Annie!
Annie
Shhh…Don’t worry. I’ll give you some tomorrow before homecoming. Speaking of homecoming, I know you don’t have a date and…
Laurie
Annie! Don’t get me into a bad situation with this.
Annie
I’m not! I just overheard Ben Tramer talking about how much he was attracted to little ol’ Laurie.
Laurie
You’re lying.
Annie
Nope.
Laurie
Annie. Promise you won’t get into this. PROMISE!
Annie
Alright, alright. I promise. But it’s simple. You like him, he likes you. Why don’t you just go with him!
Laurie
Annie, I don’t like those dances. You know that!
Annie
God Laurie! You are so boring!
Laurie sighs and looks down.
Annie
Okay, look. If you really don’t wanna go, I won’t make you. But I really think you should.
Laurie
Maybe.
Annie
It’ll be fun. I gotta go now and primp for my lover!
Laurie laughs and stands up and walks Annie to the door.
Laurie
Has Lynda called you?
Annie
Nope. She probably went to the Tower farm party. She always changes her mind.
Laurie
Yeah. She does doesn’t she? Oh yeah, what time should I put Lindsey to bed?
Annie
No clue. Give her a shot of tequila. I’m sure that’ll put her down.
Laurie
You are sooo demented.
Annie (laughing)
Thanks. Cya.
Laurie (laughing)
Bye.
Annie walks out the door and down the driveway, back into the Wallace’s house. Michael follows and watches her go inside. He continues walking toward the house.
Int – Wallace House - Bathroom
Annie turns on a shower and places her jewelry on the bathroom counter, while humming a tune to herself. We see a shadow cross by behind her and then disappear.
Annie moves over to the shower and takes off her pants and underwear. She tests the water and then removes her bra and throws it to the floor. Annie steps into the shower and closes the sliding glass door. Annie washes out her hair under the hot, soothing water. She picks up a bar of soap.
We see the shadow staring at her from another room. The shadow begins to slowly move forward, directly toward Annie. Annie is oblivious to the evil lurking next to her.
Annie continues to hum to herself. Her steaming breath, fogging up the glass. She wipes the bar of soap across her breasts and around her neck, then down by her stomach and genitalia.
Annie squats down to soap her legs and then stands back up. The shape is gone.
Annie shuts off the shower and grabs a towel, pats herself down, and then looks out the window, over at the Doyle house. She then drops the towel and admires her completely nude body in the mirror. She chuckles to herself and then puts on some underwear. She grabs a bottle of perfume and sprays it all over her neck and breast area. She then hesitates, smiles, and sprays some under her panties.
We see images of the darkened interior of the house, hearing soft footsteps. We wonder where Michael is lurking.
Annie gives herself a kiss in the mirror and then throws on a pair of slutty short shorts.
She grabs her shirt, but before she has time to, the lights slam off, leaving Annie alone in utter blackness.
Annie
f*ck!
Annie groans. We hear her slowly begin to move around but still cannot see a thing. We hear her move step by step down the stairs. She gets to the bottom and feels her way across the wall.
There is utter silence for a long while.
The light slams back on. Annie is looking right into the camera. Michael pops out from behind her and lurches forward, slamming her in the back of the head with his hands.
Annie screams and falls to the floor. She looks back up and screams her guts out as she back crawls away from Michael, who stands tall above her, looking down at her with pure rage in his eyes.
Annie
Ahhh!!!
Annie leaps off the ground and runs through the living room. Michael runs behind like a bull in a china shop. She runs to the front door but is blocked off by Michael. She runs back through the living room and into the laundry room. She looks around and hides behind the door leading inside.
Michael slowly enters the room with a dark, demonic presence. He immediately finds Annie and swings the knife across her chest. Blood sprays out. Annie holds her hands over her chest in pain. She limos out of the room and over to the back door and into the garage. She tries to find the switch to open the garage doors but the switches have been stabbed. Annie cries and runs into a small car, closes the door gently and hides in the back seat, swallowing her fear every second.
The doorknob to the door leading into the garage begins to twist open. The twisting stops since the door has been locked. Annie waits in pure terror and adreneline.
Suddenly, Michael breaks the door in one hit and jumps into the garage.
Annie ducks down quickly and closes her eyes as tears begin to stream out of them.
Michael searches the garage intentively.
Annie spots a car installed cigar lighter. She quietly pushes it in and waits for it to heat up. She waits and waits as Michael walks closer to the car. Annie slams down the locks on the door. Michael looks inside the car. Annie stares right back at him. He swings his hand and smashes the window into crumpets. Annie screams and thrashes while grabbing the lighter and pushing it hard into Michael’s mask, leaving a blackened, ashy scar on it. Michael backs up, holding his hand to his face, swinging the knife all around. This gives Annie enough time to leap out of the car and run back inside. She trips over the broken pieces of wood from the door and looks back. Michael is running after her. She yelps and runs up off her feet and to the front door. She looks back and does not see Michael. She quickly opens the door and runs right into Michael. The knife slices through her stomach. Annie looks Michael right in the eyes as she gags on her own blood. Michael takes the knife out of her stomach. Annie falls to the ground and pulls herself back inside, crawling away from Michael. Michael slowly follows her, looking down at her with playful glee running through his sadistic mind.
Annie looks up at Michael through her tearing, child like eyes that fooled her throughout her entire life, convincing her that she would never be looking up at the beast hovering right over her.
Annie
YOU MOTHER f*ckER!
Annie swings her legs around with all her might and slams them into Michael, causing him to fall to the ground, right in front of the door. Annie takes no chances of running through the door so she limps her way up the stairs, leaving a trail of blood on the wall and the floor. She gets to the top and collapses. She looks down. Michael stands up and begins walking up the stairs. Annie cries out loud for help. She stands up, clutching her stomach wound. She hops along a long hallway. Michael turns a corner and starts down the hallway toward her. The suspense level raises and raises.
Annie
Go away!!!! Please….!!! Ahhh!!!
Annie runs into a room and slams the door shut and locks it tight. She crouches down and looks through a keyhole. Michael is standing in the middle of the hallway, staring at the closed door. Annie watches him fearfully. Michael gradually turns away and walks down the stairs.
Annie whimpers and backs up from the door. She crouches in a corner, crying her eyes out. She sees a phone on a nightstand. She gathers all her strength and will and stands up and starts for the phone. A window crashes and Michael jumps into the room. Annie screams wildly as Michael thrashes himself toward her. He grabs her by the throat and stabs her about 10 times in the stomach until she is just barely alive. He then tilts his head and bashes her through another window and lets go.
Annie soars down through the air and crashes on the grass below.
We quickly cut to a menacing jack-o-lantern resting on an innocent porch. We hear Annie’s body splatter onto the floor. A graphic amount of blood splashes up on the jack-o-lantern, burning out the flame as it does. The blood slowly drips down as the leaves of autumn crescent all around it.
Annie is dead.
Michael breathes heavily as he looks down from the broken window. He raises his head and looks across at the Doyle house where his last victim awaits. Michael turns from the window and walks away.
We get one last look at Annie’s bloody corpse. The funny, rambunctious girl who had a wonderful life, a great family, and a good reputation, is now dead, in the worst way possible. ANNIE IS DEAD.
Michael Myers stares downward through those two black peepholes, where something lays that even god could not imagine.
Ext – Streets of Haddonfield
“Halloween 1978” Plays
We slowly pan across another residential street, where leaves run freely, pumpkins and decorations are mangled up and crammed onto the sidewalks, and toilet paper hangs from the barren elm trees in a mystical, ghostly manner.
A whitish shape scurries from the backyard of the house and runs into the abandoned street. This is very confused as he desperately tries to find the killing machine that stalks these empty streets, waiting for the perfect time to strike. But will Loomis be ready?
Loomis runs back into the darkness, seeming to fade further and further away from THE SHAPE.
As the soft, haunting song plays, we see images of the empty streets of Haddonfield, all completely bare. Fog gradually rolls in, inhabiting the streets and houses with its ghost like attributes.
WHERE IS THE SHAPE?
Ext – Doyle House
Michael stands silently, staring directly into a window at the Doyle House. He then looks down at his knife and walks toward the Wallace house and vanishes.
Int – Wallace House
Laurie calmly pulls a bundle of “Star Wars” blankets over Tommy and Lindsey, who are nestled sweetly together.
Laurie nestles their hair and walks to the door.
Tommy
Laurie?
Laurie
Yeah?
Tommy
Could you leave the door open?
Laurie
What? Why? You hate having the door open.
Tommy
I…uh…well…
Laurie
Tommy. I will say this one final time. THERE IS NO SUCH THING AS THE BOOGEYMAN!
Lindsey
Yeah Tommy, stop being a dumbass.
Laurie
LINDSEY!!
Lindsey
What? Blame it on Annie.
Laurie giggles to no end.
Laurie
Just don’t say it again. Alright?
Lindsey
OK.
Laurie
Goodnight guys.
Tommy and Lindsey
Goodnight Laurie.
Laurie
And remember, there is no such thing as the boogeyman!
Laurie slams the lights off, revealing the shape of Michael directly through the window, right behind Tommy’s bed.
Laurie walks away and does not notice the beastly silhouette inhabiting the window.
Tommy and Lindsey close their eyes and get to bed. The shape just stands there, staring down drastically at the two sleeping lumps.
Michael does not turn around; he just slowly backs up into the darkness. Now that the kids are asleep, it’s his turn to make the games.
Michael is gone.
Int – Doyle House
Laurie skips down the stairs and into the living room. She walks over to the telephone merrily and dials a number, whilst looking over at the Wallace house.
The phone rings and rings but no one picks up. Laurie becomes nervous since either Lynda or Annie should be there right now.
Laurie takes another look at the foggy silhouette of the house across the street, resting hauntingly in the mist of fall leaves and wind.
Laurie hangs up the phone and sighs. She walks back over to the couch and plops herself down. She sighs once again, thinking of what to do.
As Laurie thinks, we see through the window, Michael slowly walk across the street, over to the Wallace house. He walks onto the porch.
Laurie stands and turns and faces the window, she sees a shape quickly slide into the Wallace’s front door, shutting the door behind.
This catches Laurie’s attention.
She immediately picks up the landline and dials the number again. Still, no answer. Laurie sets the phone down and wonders what to do. She sighs and takes another look at the house where evil dwells.
Laurie grabs a set of keys and her jacket and walks out the front door.
Ext – Doyle House
Laurie exits the front door, locking it tightly behind her. She swiftly turns around, facing the darkened, empty street, that knows no boundaries.
Laurie looks at the Wallace House.
“Halloween 1978” Plays
Laurie takes a deep breath and starts down the driveway, slowly, cautiously, looking for any signs of danger that may be lurking within the walls of the shadowy house she is coming nearer to.
A soft breeze picks up and swipes Laurie’s brunette hair out of her face, giving her a better look at the house.
With a few more steps, Laurie is on the lawn of the Wallace house.
She skips up the front steps and rings the doorbell. No one answers. She rings it again. Still, no answer.
Laurie looks through a peephole, leading into the house. All she can see is bluish darkness and a few obstacles in a barren, dark room.
We faintly hear a shallow cry for help coming from inside.
Laurie does not think much of it at first, but begins to knock on the door.
Laurie
Annie!?! What are you doing in there? Open the door.
Laurie sighs and turns around. She sweeps swift fully down the steps and across the front lawn, around the house, and into the backyard.
She looks through pitch black windows as she nears the back door. She gets to the door and it surprisingly opens. Laurie hesitates but decides to go inside.
The door slams shut behind her.
Int – Wallace House – Living Room
The music and everything around us comes to a dead silence.
Laurie stands at the edge of a pitch black room, with ominous shadows hiding everywhere. Laurie tries a light switch. The lights do not come on. She tries another one. Nothing
Laurie takes a step forward and begins to slowly walk to the staircase leading upstairs.
Laurie
Annie? This really isn’t funny! The Wallace’s are gonna be back soon!
No answer. Laurie sighs.
Laurie (mumbling)
f*ck…
She steps onto the stairs and hesitates.
“The Haunted House” Fades in
Laurie looks up the staircase, waiting for someone to pop out at any moment. After a long, grieving minute of tenseness, Laurie gulps down her fear and replaces it with curiosity and bravery. She grips onto those feelings until she reaches the top of the staircase. She turns and finds herself once again in complete blackness. She looks out a small window, up at the full moon which glows upon the swaying trees lined across the empty streets below.
Laurie turns her head and sees a shadow standing directly across from her, inside a room.
Laurie’s eyes widen and her lips cringe with complete terror.
The shape in the room is nothing but a black mirage. No personal features can be inferred from it, yet.
Laurie (whispering)
Annie?
The shape holds its ground, not moving a millimeter. It almost seems…dead.
Laurie
Annie, please. This is not funny.
Still, no response, just silence.
Laurie takes a step toward the shape, trying to turn on the power as she does, with no success.
Laurie
If you’re trying to scare me, it worked. Now please stop.
Again, no movement. As Laurie comes closer to the room, she sees a flickering jack-o-lantern lying on the bed. Laurie stops in confusion. She looks back at the unmoving shape, then continues to walk toward it. Laurie enters the room and stops in her tracks.
Laurie
Annie. Please, please, please. Stop.
Laurie gulps again, her eyes darting back and forth.
Laurie glances out the window, over to the Doyle house. She sees a light flicker on.
Laurie
sh*t…
Laurie thinks that the children will discover she is not there and get scared, making her lurch forward to the window, ignoring the silent shape.
Laurie bumps into the shape. It collapses to the floor. Laurie leaps back and stares at it, wondering what to do. Laurie crouches down to get a better look at it. Her hands tremble with fear as she reaches out to unmask the shape. Sweat leaks down her forehead. Closer, closer.
BAM!! A hand bursts out from under the bed, right next to Laurie. Laurie screams in terror and backs up into a wall. The hand emerges out from under the bed, carrying with it an arm, a torso, a head, and a body. The shape stands up and faces Laurie. It is Michael.
Laurie screams aloud.
Michael breathes heavily as he stares down his new prey. He picks the other shape up from the ground and holds it up over his head. The clothes fall off the shape, revealing a bloody, topless corpse. The corpse is Annie.
Laurie crouches down, screaming and crying into her sleeve.
She looks up. Michael throws the body at her. She yelps and then looks down at Annie’s body. She quickly tries to revive her.
Laurie (crying)
Annie..baby...I’m sorry…(cries)
Laurie looks up at Michael with fear and rage filling up her capacity. Michael whips out his knife.
Laurie immediately leaps up and runs out of the room.
Michael calmly follows behind her.
Laurie gallops to the staircase but is violently blocked off by Michael.
Laurie screams and runs herself into another room, locking the door behind. She cries against the door for a moment, but then looks for a way out. She sees only the window. She runs for it and desperately tries to open it up. The locks are missing, keeping the window slammed shut. Laurie wipes her face and looks back at the door. She runs over to it and crouches down, looking through the keyhole. Michael is running from the darkness and right toward the door.
BAM! Michael crashes into the door. Laurie lurches out her fear and runs to the window. She looks back. Michael stabs his knife through the wooden door.
Laurie
NOOOOO!!!!! PLEASE!!! STOOOOP!
Laurie tries to break the window with her hands.
It does not work at first.
She looks back. Michael jumps through the door and right into the room.
He heads right for Laurie.
Laurie dodges his swing, causing him to bang into the wall.
Ext – Wallace House – Night
We stare at the lonely, dark Wallace house from the other side of an abandoned, tree-lined street. All the trick-or-treaters are tucked away in bed. There is an ominous silence filling us with anxiousness that makes you hold your breath until a shattering scream pierces through the utter quiet like a bullet through paper.
We abruptly zoom into the second story window of the house and see Laurie Strode, your typical, kind 17 year old baby-sitter, screaming bloody murder as she bangs on the window. With each pound a splatter of blood paints the glass.
Through the window, we can faintly see a dark shape moving slowly toward Laurie. The shape stops moving and then as Laurie turns around to face the shape, it charges toward her, pushing her through the glass window. The glass shatters in every direction as Laurie plummets down through the air, screaming like a baby, until she hits the hard ground below.
Laurie slowly opens her eyes and looks around. Hazy at first, she begins to realize that the shape in the window has vanished. She gulps down and looks right an left, down each empty street and driveway. No one, absolutely no one, is in sight. She turns her head back to the house and begins to faintly see a shadow approaching out from the backyard. Laurie whimpers and limps to her feet. She looks back. The shape is rounding the corner of the house, making its way slowly toward the panicked innocent.
Laurie lets out a shriek and limps into the black street, twisting and turning around, searching every which way for any source of help.
The shape crosses the front yard and whips out a bloody butcher knife from its side belt pocket.
Laurie
Help me! Please!
Laurie whines as she tries desperately to get away from the maniacal force following directly behind her.
Laurie stumbles over her own footsteps and topples to the ground, allowing the shape to gain even more on her. It now trails about 15 feet behind her.
Laurie
Leave me alone!
The shape ignores Laurie’s brittle comment. It walks out of the shadow’s revealing its full form. It is a towering man dressed in a dark blue jumpsuit and wearing an emotionless, white latex mask with a layer of demented brown hair garmenting the top. The image alone is enough to drive anyone insane with fear.
Laurie leaps to her feet and runs headlong for the Doyle house in the distance. The shape comes closer and closer, until it seems to be running toward Laurie.
The frightened girl takes another look back and as she does wishes she hadn’t, for the shape is about 7 feet away from her.
Laurie lets out a shrill, blood curdling scream for help but she can only hear the rumbling dread and suspense racing through her mind.
Laurie closes in on the front door to the Wallace’s home. She reaches the door and tries to get it open expect it will not budge.
Laurie
sh*t!
She looks back. The shape crosses the front yard, brandishing its devilish knife.
Laurie bangs on the door, calling out for Tommy, the little boy she babysits, to open it.
Laurie
Tommy! Open the door! Please Tommy!
Step by step, the shape draws nearer, raising the suspense level to the extreme.
Poor Laurie continues pounding on the door helplessly, with no response. She decides it is too close of a call so she runs off the stoop and around the house, into the backyard, still screaming for help. She looks up at the windows. All the lights are turned off.
Laurie
TOMMY!!!
Suddenly, a light flips on in the upstairs window.
Laurie
Tommy hurry up! Please!
Laurie runs to the backdoor. Not surprisingly, it is locked as well. Laurie backs up, trying to get another glimpse of the window. The light is still turned on. Laurie looks to the side and spots the shape continuing its rampage toward her.
Laurie
sh*t!
While crashing through a few obstacles, Laurie makes her way to a work ladder leading up to an open window. Laurie climbs it as Michael comes closer to ladder. He reaches for her feet but she gets away just in time. Laurie scurries a few steps up the ladder and stops. She cautiously looks back to the ground. The shape has vanished. She looks high and low but of course, he is nowhere to be found. Laurie takes a few deep breaths and slowly climbs up the rest of the ladder. She accidentally bumps into a paint can, knocking it to the ground and splattering it all over the grass. Laurie continues determinedly until she reaches the very top. She peeps her head through the window. To her utter shock, the shape is standing in the room, peering over Tommy and his friend Lindsey as they sleep in a comfortable bed, unaware that complete evil is lurking just beside them. Laurie yelps and ducks back down. A tear trickles down her eye as she hesitates what to do. She gathers her mental strength to look back up through the window. But just as she does, the shape whips through the window, slicing the knife just barely across Laurie’s face. The ladder falls and a screaming Laurie begins to fall.
With a ghastly slam, Laurie is on the ground, unconscious. Michael looms down from the window pane, breathing heavily.
Michael turns and stares at the two sleeping children. Tommy slowly opens his eyes and sees the shape of Michael directly in front of him.
Tommy leaps up and screams his heart out.
Michael tilts his head from side to side.
Lindsey darts up, screaming, as well.
The two innocents hide under the covers.
Michael begins to walk toward the children. He glances out the window. Laurie has vanished. Michael looks at the kids once more and then turns and walks out the door and down the stairs.
The children cry together.
Lindsey
Where’s Laurie?
Tommy
Oh no…
Cut to:
Ext – Doyle House
We stare at the lonely Doyle house. Laurie limps up to the front door, intent on saving Lindsey and Tommy. She opens the door and is violently pushed backward by Michael.
She slams to the floor, screaming like she is a helpless little girl.
Michael walks from the house and right over to her.
Laurie leaps upward and struggles to get away from Michael’s rage full grip.
Tommy and Lindsey watch from an above window in the house. They scream their hearts out together as they watch their baby-sitter thrash about, trying to get free. They can do nothing to stop the commotion.
Laurie
Let me go!!!!
Michael carries Laurie around to the garage. He walks into the messy place and opens a door to a car, starts it up, throws Laurie in the back, and swerves out of the driveway and down the road, to god know’s where.
Just as the car leaves the street, Loomis races over to the Doyle house. He spots the two screaming children upstairs.
He gives a look of terror and then runs right inside.
Int – Doyle House
Loomis sprints up the stairs and into the room where Tommy and Lindsey are weeping.
Loomis crouches down next to the two screaming kids and tries to soothe them.
Loomis
What’s happened?
Tommy
The boogyeman…it…it took Laurie away.
Lindsey (crying)
Please help us
Loomis
Stay right here.
Loomis runs over to a phone and dials a number.
Loomis
Brackett? Yes…he’s here…4139 orange grove…bring backup. Thank you.
Loomis hangs up the phone and runs back over to the children and holds them close to him. He looks out the window, into the black, windy night, wondering separately where Michael went.
Cut to black.
Fade in
Int – Myers House – Night – Living Room
Close up on quivering closed eye. The eye slowly opens revealing a blooming, young cornea, glazed with tear drops.
We slowly zoom out and see that the awakening person is Laurie Strode. Laurie twitches her eyes to adjust them, giving off a disturbing recovery. Bruises and scars paint her grubby face and tangled hair. The innocent we knew this morning has been changed into a helpless victim of evil, an evil that goes by the name of Michael Myers.
Laurie looks around the dimmed room she is in. To her surprise, she realizes she is tied up by tangled rope to a rotting chair. Laurie whimpers as she begins to realize the situation she is in. Once she does, she lets out a shrill and blood curdling scream that shakes our senses.
Laurie
HELP ME! GET ME OUT!
Laurie chokes on her tears and fear that race everywhere inside her. Laurie grabs the ropes so tight that her hands begin to ooze out blood. Her eyes swell up. Tears roll down her messy cheeks, washing away the dirt, blood, and grime that coats a thick layer of dread all over her.
Laurie feels a soft breeze to her left and quickly turns. The front door slowly creaks open. Autumn leaves gradually flow in through the open door. Laurie’s mouth and eyes twitch as she hesitates on her next move.
An orange light emerges from the room next to Laurie. Laurie notices the light and turns her head toward it with a slight cry of pain. In the next room, a single jack-o-lantern flickers on, laminating the room with orange filters of light. Laurie begins to make out shadows of other obstacles in the room. Rigid, obscure obstacles. Laurie squints her eyes with agony and sees the shapes. Laurie immediately lurches back in her seat and tries with all her might to squirm out. In that small room, there are bodies. Dead bodies. Dead bodies of Laurie’s friends. Blood coats the deformed bodies as well as the walls. The flickering pumpkin gives the room and its rotting inhabitants a glowing, autumn like look and feel, filling our senses with dilapidated terror to its fullest extent.
Laurie lets out another scream for help as even more tears bellow out of her eyes, splashing onto her torn garments and shivering body.
The sound of footsteps comes from the front door. Laurie gulps down and engrosses into complete silence as she watches a stiff, shadowed of a shape trudging toward the door. This must be Michael Myers, the maniacal murderer that wants one thing and one thing only, to savagely kill Laurie.
Laurie
GET AWAY FROM ME YOU BASTARD!
Laurie screams and thrashes in her mangles as she desperately tries to free herself. The shape comes closer to the door.
Laurie tears her hand out from its mangle with a trembling howl, causing a rope burn across her wrist. Laurie sucks out the pain and releases herself from the chair. She begins to run but stumbles over her own footsteps and twists her ankle out of its socket. Laurie crouches over in excruciating agony. Tears pour out of her eyes and nose as she holds her ankle and snaps it back into its normal position.
Laurie
AHHHHHHH!!!! THIS ISN’T HAPPENING, THIS ISN’T HAPPENING!
Laurie screams again and looks to the door. It is now closed and all is silent. The pumpkin lights up the entire area, creating a mystery and terror around every corner and obstacle. Laurie spills out the remainder of her tears and swipes her hand across her face. She cautiously limps up to her feet and grabs a gun from Dr. Loomis’ overcoat which lays on the floor in a pile of blood. She loads it and c*cks it. While heading for the back door, she notices a dark figure in a corner. What could it be? Just a mere harmless shadow? Or something else. Laurie looks closer at it. The shape moves and disappears behind another corner.
Laurie (yelling all around)
LEAVE ME ALONE! DO YOU HEAR ME!?! LEAVE….ME…ALONE!!!!!!! AHHH!
Laurie shoots the ceiling several times to let out her rage.
Laurie
I’LL GOD DAMN KILL YOU! I SWEAR TO GOD!!
Laurie shoots window and crouches over the sink and begins vomit, while gagging on her tears, creating a very disturbing image. Laurie falls to the ground and grips the gun.
Laurie (whispering)
Get up. Get up…
Laurie stands up with a moan. As she wipes her face we see Michael running at full force toward a window right behind her. Michael shatters through the window with incredible force and topples onto a screaming and struggling Laurie. Michael slashes Laurie’s arm. Laurie graphically slices through Michael’s eye with her fingernail. This does not affect the lethal shape. Laurie spits into Michael’s face and swats him with the gun, giving her time to leap up of the ground. Michael stands and looks at her without flinching. He slowly tilts his head from side to side as Laurie holds the gun point blank to him.
Laurie
You’re dead you son of a bitch. I’m going to kill you. I promise.
Laurie lets out one last ungodly scream and shoots the gun. No bullet releases.
Laurie looks up in terror. Michael swings his arm around and whips the gun to the floor. Laurie backs up with a look of shock on her face. She doesn’t realize this is happening, until she slams into the wall.
Laurie yelps and runs out of the room. Michael follows intensely.
Laurie bolts through a door, not knowing it leads into the basement. Laurie slips on the stairs and tumbles all the way down into the dark depths of the basement, plunging herself into pure, utter darkness. Laurie looks around. She cannot see anything. The door at the top of the stairs creaks open and Michael appears at the top. Laurie quickly hides herself in another room and slowly shuts the door. She backs away from the door. We hear the trudging steps of Michael as he makes his way down the stairs. Silence.
Laurie holds her breath tightly. She notices an orange light coming directly behind her. She slowly turns and sees a glowing jack-o-lantern. The pumpkin lights up the rest of room. Blood is covering the walls. Disturbing messages are written all over, depicting death, murder, and Halloween. Laurie backs into the wall, holding her hand over her wide open mouth. The door opens. Laurie immediately locks herself in a large crate sitting next to her. She looks through the crack. Michael searches the room for her. Laurie feels something warm on her legs. She looks next to her and sees the completely naked corpse of Lynda. Blood is drenched all over her deeply tormented body.
Laurie crouches back in fear. She lets out a slight yelp and covers her mouth. Tears swell up in her eyes as she stares at her mangled friend.
Laurie looks through the crack and sees Michael staring right at the crate.
Laurie looks away in terror. She decides to cover her body with blood to make it look as if she is one of the dead victims. She slouches over and puts her hair over her face. Pretending she is dead. This is very hard for the terrified teen.
Michael slams the crate open and looks inside. We can now see that there are more nude, bloody corpses. Annie is laying on Lynda’s lap, and Bob is slouched over on Annie’s shoulder. His throat and pelvis have two deep slash wounds in them.
Laurie whimpers but tries to act dead. Michael looks at the arrangement of bodies. He sees Laurie twitch, then raises his knife above her. He brings it down hard, stabbing it into her shoulder.
Laurie screams in agony, but finds the strength to pull her body out of the crate and run out of the room. Michael follows right behind her.
She immediately runs up the flight of stairs and through a hallway of broken boards and obstacles, searching for a hiding place. Michael follows intensively. Laurie yelps and crams herself into a small storage room with nothing but rummage inside. She backs up to the other side of the room, quiet as can be. She waits a long while as tears drip down her mess cheeks.
After a long while of silence, Laurie makes a move. She slowly walks ahead.
BOOM!!! Something shatters through the window directly next to Laurie. It knocks a screaming Laurie to the ground. Laurie looks at the obstacle that flew through. It is Judith Myers’ gravestone.
Laurie stares at it in confusion, then looks back to the window. Michael is walking through it, into the room. Laurie screams right into the camera and runs out of the room and looks for an escape. There is no place to get out, nothing. The only place is a hiding spot. The closet.
Without thinking, Laurie dodges straight into the closet, tieing up the doors with a few strips from her own shirt. Laurie huddles back in the corner of the closet, piling clothing on top of her to cover her up from the demonic presence that draws nearer and nearer.
A shadow crosses the outside of the closet. It vanishes. It crosses again and again and again, each time getting closer to the door.
Laurie’s tears run thick.
Suddenly and out of nowhere, Michael bursts through the closet and stands right above Laurie, the petrified teen who thought she would never imagine this scene in her entire life.
Michael stands motionless. We stare at the man in the mask for a countless number of seconds. He doesn’t budge. He just stares coldly straight into our eyes, inhabiting our souls and filling them with fear. Fear of him and the night of “Halloween”.
Laurie has had enough. She grabs the knife out of Michael’s hand and slits it across his chest. Michael falls out of the closet and stands upright, as if nothing happened.
Laurie swings the knife again. This time, Michael catches it and throws it to the ground. He reaches out for Laurie as if he wants her to come into his arms, but in a peaceful, but horrifying manner.
Laurie looks at him with confusion filling her up.
Michael thrusts forward, grabbing Laurie’s head and raising her high above him.
Laurie chokes, gags, and thrashes as she tries to get out of the crushing grip that consumes her and her soul.
Ext – Doyle House
Loomis, Tommy, and Lindsey stand at the front of the house, huddling together, as Brackett pulls up in his sheriff’s car. He comes to a dead stop, gets out of the car, and rushes over to Loomis.
Loomis
Get into the car kids.
Tommy and Lindsey run into the car and strap in.
Brackett
What’s happened?
Loomis
Michael’s been here. They said he took their baby-sitter.
Brackett
Laurie Strode?
Loomis
I…I don’t know.
Brackett (to kids)
Tommy! Did he take Laurie?
Tommy nods his head mournfully.
Brackett (to kids)
Do you know where Annie is?
Lindsey
…she…she’s at with Paul.
Brackett sighs in relief, not knowing that his daughter, Annie, is actually gutted like a fish right now.
Loomis
I want you to drive me to the Myers house, then take the kids to safety.
Brackett
Get in.
The two men run to the car, get in, and drive down the windy street.
Int – Myers House
Laurie is lying on the floor, looking like a rag doll. Her eyes are closed. We presume she is dead.
Michael stands above Laurie, c*cking his head and admiring his victory.
Michael sticks his knife in his pocket and begins to pace around the room to pass time. He knows Loomis will be coming. Michael continuously looks for any traces of people, eyeing everything like a playful child. He then picks up a jack-o-lantern and stares it in the face. He sets the pumpkin down gently.
He looks back at Laurie. She twitches. Michael walks over to her and raises his knife to finish her off. Just as he does, the sheriff’s car pulls into the driveway of the Myers house. Michael has no time to finish the job, so he vanishes into the shadows.
Laurie twitches some more. Loomis walks into the front door as Brackett drives away.
Loomis cloes the door, looks down, and sees Laurie lying on the ground.
Loomis
Jesus..
Loomis crouches down and tries to awaken Laurie. Laurie slowly cranes open her eyelids.
Loomis
Thank god…
Laurie
Who are you?
Laurie
I’m Dr. Loomis, are you Laurie?
Laurie
…yes…
Loomis helps Laurie to her feet. They walk to the door, but Loomis stops. He feels the presence of the shape that he watched for so many years.
He slowly turns around. Michael is staring at them from the shadows.
Laurie
WE HAVE TO LEAVE NOW! PLEASE!!
Loomis
No, Laurie. I can handle this.
Laurie
NO! YOU DON’T UNDERSTAND!
Loomis calms Laurie down.
Loomis
Everything will be alright. I promise.
Michael emerges from the shadows and darts toward the two huddling figures. They both scream aloud. Michael pushes them both through the glass door and onto the ground below. Leaves blow in their faces as they try hard to escape the violent force circling around them.
Loomis
Michael! Stop! Stop it now!
Michael stops for a second, but then leaps toward Loomis and grabs him by the stomach and pulls him back inside. Laurie and Loomis both scream in unison. Michael and Loomis vanish.
Laurie immediately darts up and begins running away, but then she stops when she realizes that she should try to save Loomis. She cries at her choice, but limps back into the house.
As Laurie disappears into the house, we slowly crane outward, getting a full shot of the rundown “haunted” house.
Int – Myers House
Michael throws Loomis onto the floor, slitting his stomach while doing so. Loomis cries out in pain and cradles himself on the floor. Michael c*cks his head again.
Laurie watches from the shadows. She tries to find a way to stop Michael. She grabs a knife from the a kitchen cabinet and slowly makes her way up to Michael from behind.
Loomis sees Laurie and his eyes widen. Michael turns around and is surprised when Laurie swings the knife right into his neck. Michael falls to the floor, giving Laurie a chance to help Loomis up.
Michael stands up with incredible force and starts toward the two. They run up the stairs and stop at the balcony, looking down as the shape walks up the stairs. Laurie cries with fear.
Loomis
Michael, this isn’t right. You need to stop.
Michael ignores Loomis, so Loomis whips out his revolver and points it at Michael. Michael looks up at him with coldness running through his veins, penetrating into Loomis’ eyes.
Loomis
It’s time Michael.
Loomis fires a bullet into Michael. He flies off the balcony of the stairs, through a window, and lands hard on the ground below. Loomis lowers his gun, sighs, and looks down at Laurie, who is very shocked.
Laurie (crying)
What’s the boogeyman?
There is a long moment of silence, until Loomis opens his mouth to speak.
Loomis
That was.
Loomis helps Laurie down the stairs, very slowly, step by step. Loomis looks around the home where lurking evil once possessed its walls.
Laurie stops at the doorway and cries on the wall.
Loomis (whispering)
Come on, it’s alright.
Loomis and Laurie walks outside. Michael’s body is gone.
Loomis
Noooo…
Bam! Michael crashes through a window and grabs a screaming Loomis, tackling him to the floor. Laurie screams her heart out as Michael graphically stabs Loomis continuously. Loomis screams as blood sprays everywhere. Laurie cannot believe her eyes, all she can do is scream for help and crouch in a corner.
Michael stops. Loomis is very much dead. Michael has blood all over his mask, he slowly turns his head and stares at Laurie. He then stands up. Laurie stands up in fear.
Ext – Myers House – Balcony
We quickly zoom into an outside balcony of the Myers House. Laurie rushes out the door, screaming her head off while holding a knife. Michael grabs her by the shirt and pulls her back to him, throwing her violently to the floor.
Laurie cries and whimpers but finds the courage to leap up and begin to stab Michael graphically, while screaming her head off. Michael swings the knife as fast and furiously as he can, but is no match for Laurie’s extreme rage. Laurie pins Michael up to the edge of the balcony and swaps him across the face with the knife, leaving slash marks filled with blood across the white mask. Laurie gains her strength but almost topples to the floor from nausea. Michael stands straight up and tilts his head. Laurie pants heavily and looks up at Michael. Michael swings one hand across and strikes Laurie’s head with it, bringing her right to the ground. The knife drops through the cracks of the balcony. Laurie reaches for the knife in utter terror as Michael comes closer to her. Laurie dodges a swing of Michael’s knife and grabs a gun from her pocket and points it at Michael. Michael stops and tilts his head yet again. He raises the knife and lurches toward Laurie. Laurie hollers and shoots the gun. The gun pelts into Michael’s chest. But there is only one bullet. So, Laurie drops the gun smacks Michael’s head with his own knife, causing him to fall over the edge of the balcony and land with a hard crash on the cement below. Blood coats the hard cement. Laurie cries heavily as she droops her traumatized head over the balcony, looking down at the dead man who caused her life to change in one horrifying night.
Laurie whimpers and cries as she slowly makes her way toward the balcony door.
Laurie walks down a flight of stairs glumly.
Laurie walks out the front door and sees Michael still laying lifelessly on the ground. She looks down at him in disgust. His head twitches. Laurie screeches and immediately stabs him in the chest and face several times, each time harder. Her eyes swell up with rivers of tears. She stops and holds her hand to her mouth as she looks down at the gruesome sight. She now wonders just how sane she truly is.
Cut to:
Ext – Hospital – Same night
We slowly crane down across the moon lit sky and to the outside of the hospital where dozens of news reporters and citizens of the town crowd around paramedics who pull a very much traumatized Laurie into the hospital. We see on a television, a man reporting the events of the long Halloween night.
Laurie is pulled into the hospital. A police officer walks up to Laurie in her wheelchair, holding a minella folder.
Cop
Hello Laurie.
Laurie looks at the cop strangely.
Cop
I know you’ve just had a hell of a night but we have something I know you will want to see.
The cop holds out the folder for Laurie to take. Laurie hesitates but eventually grabs the folder and starts peeling it open. Inside, there are a few pictures. The first picture if Michael’s dead body laying on an autopsy table. It is a gruesome mess.
Cop
Laurie, you see. When we were performing Michael Myers’ autopsy, we found that the man you thought you killed, well…
Laurie switches to the next picture. Laurie almost faints at the sight of it. The picture is of Annie Brackett, Laurie’s friend, lying on the same autopsy table wearing Michael’s clothing. Blood covers her face.
Cop
It wasn’t him. It was the sheriff’s daughter, Annie Brackett.
Laurie drops the pictures to the ground and holds her head in her hands as she cries her eyes out. She slowly looks up at the cop.
Cop
Michael is still out there Laurie. But we’ll catch him. I’m so sorry.
The cop walks away. Laurie looks into the camera with a deranged, tormented look in her eyes that suggests the worst is yet to come. We slowly zoom into her eyes and fade to black.
Fade in
Ext – Streets of Haddonfield
The “Halloween” theme bursts aloud.
We crane over the long, empty streets, filled with jack-o-lanterns and Halloween décor of all sorts.
Michael walks past the camera and begins to slowly walk down the street, knife in hand.
Dr. Loomis (VO)
15 years ago, I met a six-year old child, with this blank, pale, emotionless face and the blackest eyes…the devil’s eyes. I spent 8 years trying to reach through him and then another seven trying to keep him locked up because I realized in those moments with that deranged little boy, what was living behind his eyes was purely and simply…evil.
Michael clutches the knife that shall never be dropped in his hand as he slowly walks into the darkness of the night, with no remorse, consciousness, or reason, just pure evil to its fullest form. The wind echoes through the northern trees, blowing its leaves upon the lawns of every home in Haddonfield, the home of Michael Myers. Michael walks forth, vanishing into complete blackness, lurking around every corner of every town, praying on his victims one by one. Tonight is a night for witches, goblins, and ghouls, of every kind. Tonight if a night for pumpkins and candy and scares. Tonight is Michael’s night.
TONIGHT IS HALLOWEEN…
CUT TO BLACK
THE END
ALTERNATE ENDING #1
Black screen
We slowly fade in on Laurie’s face. She is unconscious. Sunlight shines on her broken face. We hear a car rumbling in the background.
Laurie opens her eyes and looks around. We slowly zoom out, revealing that Laurie is tied up with rope in the backseat of a car, driving down the highway.
Laurie look at the driver. It is Michael. Laurie’s eyes widen with utter terror.
Michael turns and looks behind, right into Laurie’s petrified eyes.
Laurie screams out loud as we crane over the little car driving down the road.
The car passes by a large sign on the side of the empty road reading, “YOU ARE NOW LEAVING HADDONFIELD”
Laurie screams again
SLICE TO BLACK
THE END
Alternate Ending #2
Ext – Myers House
Laurie bursts through the front door of the Myers house, screaming her head off as she runs down the driveway. She does not get far before Michael smacks her onto the ground with one whip of his knife. A large slice is left on Laurie’s cheek.
Laurie looks up with tears in her eyes. Michael hovers above her. He raises the knife. Laurie sees an axe right next to her. It is in a bundle of junk, sitting next to a toolshed. Laurie grabs the axe, stands up, swings it, and beheads Michael with one sincere slice and a blood curdling scream. Michael’s head rolls away and his body collapses to the ground.
Laurie drops the axe and screams her heart out of her soul.
We quickly cut to hours before when Laurie is sitting with Tommy on the couch. Laurie has a strange, fearful look in her eyes.
Tommy
What’s the boogeyman?
Laurie gulps down her fear. The entire night was all in Laurie’s imagination. She foreshadowed the entire thing.
Laurie slowly turns toward the camera with a look of complete dread in her eyes. We stare at her for a long while as we continuously flash to quarter second images of Michael’s mask.
Laurie gives one last look of terror.
CUT TO BLACK
THE END
A FILM BY
BUCKSFAN2276
HALLOWEEN |
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