Halloween: The Series
	Episode 4.6: Dying Echoes

	We open on Lampkin Park, where children are hurriedly playing in the background as they carry Easter baskets with different colored eggs inside of them.  As we pan over to the scene, we see that reporter Angela Ryder is holding a microphone in front of her face while talking into the camera, held by Tino Santos.

ANGELA
The Easter egg hunt put on by Mayor Hodges continues to be the talk of the town.  It seems that Mayor Hodges has made good on his promises to bring peace back to this fair city, as the crime wave is down and morale has picked up.  The mayor has promised even more improvements in the coming weeks, beginning with a long-awaited tax cut.  The popularity of Hodges has people sighing with relief after Hodges won the election last year while running against the late Wayne Jacobs.  It seems to be the consensus that Hodges is just what this town needed after the dark times that have plagued us.

	We cut to Country Manor, where Debra Loomis sits watching the television.  Dr. Mark McGee enters the room and puts some papers on Debra’s desk.  He looks up at the television.

MARK
What’s going on?

DEBRA
Ah, just the Easter egg hunt over at Lampkin Park.

	We cut back to Angela, through the view of the camera, as she continues to talk.

ANGELA
With all of this good will on Easter, I think the dark times are finally over.

	Suddenly, behind Angela, a young woman in a white gown appears, looking maniacal with wide-eyed insanity.  She is brunette and her gown is covered in blood.  She walks up behind Angela, looking straight into the camera.  Tino steps back from the camera and his eyes widen.  Tino looks up and is frightened as in his view, there is no one actually there.

TINO
What the hell?

	Through the camera’s view, we see Angela Ryder standing in front of Insane Woman and she stops talking when she sees Tino’s face.  The Insane Woman talks to the camera, but it seems no voice is coming out as her eyes are bulging with intense excitement.  She is now yelling at the camera, but no sound is coming out.  Tino looks through the camera and then backs away again, still not seeing the Insane Woman in reality.  Angela hesitates in her broadcast, disturbed by Tino’s actions.

ANGELA
What’s wrong?

	Angela looks behind her, seemingly not seeing the blood-soaked insane woman.  Angela turns back to the camera and holds up her arms.

ANGELA
What are you gawking at, Tino?

	In Country Manor, Mark and Debra frown at the sight.  The TV suddenly goes to a black screen.

DEBRA
Well, that was strange.

MARK
Uh, indeed.

	Mark turns and leaves the room as Debra goes back to work.  We cut back to the Easter egg hunt, where Angela looks at Tino with annoyance.

ANGELA
What’s your problem, Tino?

TINO
You didn’t see her?

ANGELA
Who?!

TINO
There was a woman right behind you.

ANGELA
Tino, you haven’t been drinking again, have you?  Because, I’ve already warned you about that and reported it to your parole officer.

TINO
No, man.  I ain’t been drinking!  Look!

	Tino holds the camera up and opens the window for her to see.  He presses the play button.  Angela and Tino watch as they watch TV Angela turn and gaze right through the insane woman without even seeing her.  Angela’s eyes widen as Tino presses the ‘Pause’ button.

ANGELA
Oh, my God.

Freeze on the paused frame as ‘The Halloween Theme’ begins to play…  The title card appears reading:

HALLOWEEN: the series
	
The music becomes a far more rock and roll version of the theme tune and various images from all seasons flash up. The cast characters are named as:

Paul Rudd as TOMMY DOYLE
Carrie-Anne Moss as DEBRA LOOMIS
Johnny Depp as LONNIE ELAMB
Rebecca Gayheart as HELEN JACOBS
With
Colin Baker as ADAM TRAVERS

	Open on Haddonfield University, where Helen Jacobs and Sue Adams come walking across the grounds, carrying backpacks slung over their shoulders.

SUE
Could you believe it?  The newspaper said that witnesses saw no one at the scene.  Only people watching at home saw the woman in the background.

HELEN
That’s just creepy.

SUE
Tell me about it.  (stops walking)  I can’t believe it.

	Helen looks over at Sue to see that she’s staring ahead, where her boyfriend Josh Jamison is in conversation with Emily and Rebecca Hodges.  Emily is running her hands along Josh’s arms.  He looks uncomfortable and backs away.

SUE
That girl never gives up, does she?

	Sue begins walking towards them as Helen follows behind.  They reach them and Sue wraps her arm around Josh’s, as he smiles, happy to see her.  Emily looks at Sue with a scowl as Rebecca waves at Helen and Sue.

REBECCA
Hi, girls.  How’s it going?

SUE
Good, Rebecca.  How are you?

REBECCA
As well as I can be.  Josh was just telling us that you guys are talking marriage.  Getting serious, eh?

	Sue smiles as Josh puts his arm around her.

JOSH
Don’t rush us.  There’s plenty of time.  Right, Sue?

SUE
Of course.

EMILY
Why anyone would wanna settle down at our age is beyond me.  Right now, I just like having fun with Greg.

JOSH
Funny.  I never saw Greg and fun being in the same sentence.

	Emily stifles a laugh as Sue grips Josh’s arm tighter.

SUE
Well, it was nice seeing you guys again, but we oughta get to class.  Bye.

	Rebecca nods and begins to walk off, but her arm grazes Helen’s.  Suddenly, Helen gets a sensation.  Before her, the sky darkens and the clouds roll in, covering up the sun.  Rebecca’s face flashes from lively and boisterous to a blank stare, with a rope hanging from her neck and blood-drenched clothing.  Trees are lining the area.  Helen hears heavy breathing.  Just as suddenly, the sky is clear, Rebecca is smiling, and the day is sunny again.  Helen pulls back in wide-eyed horror, staring at Rebecca.  Rebecca looks frightened of her as she backs away.

HELEN
No!  You’re gonna die!  There’s a black rose!  Feelings of resentment!  He’s very angry!

	Emily steps forward, grabbing Rebecca by her hand and leading her away from the group.  Emily looks perturbed as Rebecca looks scared.

EMILY
Get away from her, you crazy freak.  Come on, Rebecca.

	Emily leads Rebecca away as Josh and Sue study Helen’s face.

JOSH
Helen, what’s wrong?  Did you have another one of those visions?

SUE
Are you okay?

HELEN
No.  Rebecca’s in danger.  I saw her death.  I saw it!

	Helen turns and runs off, tears forming in her eyes.  Josh and Sue look concerned.  We cut to the Blankenship Boarding House, where Tommy is still playing back through his cell phone call from a month earlier, and a copy he made of it.  He listens to a little bit and shakes his head in confusion.  As he does this, there is a knock at the door.  Tommy turns and sees Angela Ryder standing in his doorway.

TOMMY
Angela Ryder.  What brings you by?

	Angela seemingly hesitates, but takes a step into the room.

ANGELA
I need your help.

TOMMY
Is this about the Easter egg broadcast thing?

ANGELA
Yes.  I thought we could take care of it at the station, but our technological experts can find no explanation for what was shown to our viewers.  There was no woman there, Tommy.  Somehow, she got onto our broadcast, but she wasn’t physically there.  I know you look into unexplained things like this and I was wondering if you could help me.

TOMMY
I can try.  It must be hard for someone of your stature to come to the town kook for help, huh?

ANGELA
I don’t think you’re a kook.

TOMMY
Yes, you do.  But thanks for saying that.  What do you want me to do?

ANGELA
I’ve got a tape of the broadcast and I was hoping that we could figure this out.

TOMMY
Well, do you believe in things supernatural that exist outside our normal human realm?

ANGELA
Uh, no.

TOMMY
Then I can’t help you until you open your mind.

ANGELA
Okay, okay.  Fine.  I’ll believe whatever you want.  I just need some help.

TOMMY
Okay.  Let’s see that tape.

	Angela hands the tape to Tommy as we cut to Country Manor, where Debra Loomis is sitting with Matthew and Mickey Stone (Episode 4.2).  Debra looks extremely unhappy as Mickey talks with her.

MICKEY
I have nightmares about her.  That she’s reaching out for us, but can’t reach us.  That she wants to come back, but some dark force is keeping her away.

DEBRA
Okay.  That’s enough for today.  I’m sorry.

MATTHEW
Yeah, you seem distracted.  We can come back another time.

DEBRA
I’m just stressed.  That’s all.

MATTHEW
Everything okay?

DEBRA
Yeah, I hope so.

	Matthew studies her face and nods.

MATTHEW
You know, you’re a good person, Dr. Loomis.  This is so great of you to do this for us for free.  So, you know, if you ever need anything, the door to our home is always open for you.

	Debra looks even more stressed.

DEBRA
I appreciate the offer, Matthew.  You’re very kind, but I’m not allowed to see my clients on a personal level.

MATTHEW
I’m not asking for a date. I still love my wife.  I’m just wanting to be a friend.  I mean, you’ve done so much for us since she’s died.  It seems only fair.

DEBRA
Thanks.  But I’ll see you next week.

MATTHEW
Suit yourself.  Come on, Mickey.

MICKEY
Bye, Dr. Loomis.

	Matthew and Mickey turn and exit as Debra forms tears in her eyes.  She slowly begins to cry.  Behind her, Lonnie Elamb steps into the doorway, looking at her with sorrow.  He coughs.  Debra suddenly turns around and straightens herself up.

LONNIE
What’s wrong?

DEBRA
Nothing.  What are you doing here?

LONNIE
Well, considering that we haven’t spoken in over a week, I thought I’d come by to see what’s happening.  Debbie, tell me what’s going on.

DEBRA
Why?  So you can turn my problems into another one of your stupid punch lines?  Why don’t you just go and leave me alone?

LONNIE
Leave you alone?  Is that what you want?

DEBRA
I just said it, didn’t I?

LONNIE
Listen, I understand you’re having a hard time dealing with some stuff, but I’m not gonna let you take it out on me.

DEBRA
I’m sorry.  I just don’t have time for you right now.

LONNIE
You don’t have time for me because you don’t make time to deal with actual people who care about you.  You’re too busy trying to shut them out!

DEBRA
I’m the psychiatrist here.  Let’s not flaunt your imaginary psychology degree.

LONNIE
It’s better than flaunting my goods to an undead crusty old boob.

DEBRA
You just can’t get past that, can you?!  How many times do I have to tell you that I feel no guilt about that because it wasn’t me?!

LONNIE
That’s the point, isn’t it?! You feel no guilt about that, but you do about that nurse.  You feel guilt about hurting her and hurting that family, but you feel no guilt about hurting me!

DEBRA
The situations are totally different!

LONNIE
But the motives and control issues are not.  Either you knew what you were doing or you don’t!  There is no in-between!

DEBRA
You know, Lonnie.  I’m tired of every issue being about you.  Maybe it’s time something about me didn’t involve you!

LONNIE
Maybe you’re right.  Maybe that thing should be your life.

DEBRA
What are you saying?

LONNIE
I’m saying “I’m through”.  You’ve been pushing me away for months and I’m tired of things being the way they are.  You’re shutting me out and at this point, I don’t care if you let me back in or not.

DEBRA
Then I won’t.  As of this moment, we’re history.

LONNIE
Free at last, free at last.  Thank God Almighty!

	Lonnie turns and storms out of the office, slamming the door behind him.  Debra goes storming out the door, following him through the hallways and into the parking lot.  Outside, Lonnie climbs up on his motorcycle as Debra walks over to him.

I’ll have your crap in a box waiting on you at my house in the morning!

	Lonnie starts his motorcycle and peels off out of the parking lot.  Debra watches him go before tears form in her eyes.  She turns and walks off into the building.  From the shadows of a car steps Matthew Stone.  He watches Debra go and then turns to see Lonnie’s bike pulling away.  His expression is void of emotion.  We cut to the Blankenship Home, where Angela Ryder and Tommy Doyle are watching the tape once again, seeing the woman’s wide-eyed stare and yelling.  Mrs. Blankenship enters the room and stares at the television.

Tommy, I’m making tea.  Do you want any?

TOMMY
Just a minute.  We’re trying to figure out what this girl is saying.

	Mrs. Blankenship watches as they play the tape once again.  The Insane Woman mouths her words and Tommy shakes his head.

I can’t tell.

MRS. BLANKENSHIP
She said, “He’s here”.

	Tommy and Angela both turn around and look at Mrs. Blankenship.

You don’t understand people, but you got that?!

Deary, in case you haven’t noticed, I’m hard of hearing.  I have to read lips sometimes just to get a clue as to what they’re saying.

TOMMY
What else is she saying?

	Mrs. Blankenship watches as Tommy presses rewind and then play again.  The Insane Woman starts to talk again.

MRS. BLANKENSHIP
“He’s here and he’s starting back.  Don’t let him make you cry tears.  I cry them all the time.  Stop him before he does it again!  It’s beginning again!”

	Tommy quickly turns the tape off.  Angela nods her head and widens her eyes briefly.

Okay, that’s enough for me.

TOMMY
Thank you, Mrs. Blankenship.

MRS. BLANKENSHIP
You’re welcome, deary.

	Mrs. Blankenship exits the room as Tommy shakes his head.

“He’s here”.  Who is ‘he’?

ANGELA
I don’t care.  I want to know who ‘she’ is sneaking up behind me.

TOMMY
Where do you suggest we start?

ANGELA
I don’t know.  Maybe the disturbance has something to do with Lampkin Park.

TOMMY
Possibly.  We could check the archives down at your station and see if any news reports covered anything that could be connected to the area.

ANGELA
Okay.  Come with me.  I’ll have to let you in.

	Tommy and Angela exit as we cut to Country Manor, where Debra Loomis enters the room of Leland Jericho, who is still moving chess pieces on his chess board as his long, gray hair rests in a ponytail.

LELAND
Knock, knock, says the doc.  Time to bare your soul and ease your conscience.  I knew I’d see you again.

	Leland turns and smiles at Debra, who has tears coming down her face.

DEBRA
My life is falling apart before my eyes.  I don’t know how to stop it.

LELAND
Stall it you may, stop it you won’t.  What’s troubling you, Miss Debra?

DEBRA
Lonnie and I broke up.

LELAND
Ah, that’s too bad.  Like father, like son.  Those Elambs never can hold onto their women.  Not in their genes, I guess.

DEBRA
I just couldn’t handle it anymore.  I don’t deserve him.  I don’t deserve anyone.

LELAND
How is Matthew and Mickey?

DEBRA
How do you know about them?

LELAND
Little birdies talk to me.  Gotten any flowers lately?

	Debra looks at Leland with fear.

DEBRA
Did you send those black roses to my house, Leland?

LELAND
What do you think, Dr. Loomis?  Do I seem to you to be one who would indulge in such behavior?

DEBRA
Just tell me if you did.

LELAND
Not that easy, doctor.  You see, the point is being made.  You’re on my side of the tracks now.  You’ve taken a life.  You shall have to live with the results of your actions.  I cannot be swayed to interfere because you are not innocent.  You are not a martyr.  You are a living, breathing killer.  From out of the past comes the uncertainty of your future.  The answer is there, dear doctor.  Your sins are catching up to you.

DEBRA
What are you talking about?

LELAND
Soon.  Soon, you’ll know.

	Leland begins laughing maniacally as Debra stares at him with fear.  She slowly backs out of the room and exits, locking the door behind her.  We cut to the Elamb House, where Josh and Sue are kissing passionately on the couch.  Josh’s hand is starting to disappear up her shirt when Sue swats his hand away and shakes her head.

SUE
You know our boundaries, Josh.

JOSH
Unfortunately.  Not to sound impatient or anything, but am I ever gonna get anywhere with you?

SUE
Not unless we’re married.

JOSH
Whoa.  Do you mean to tell me that you’re…

SUE
A virgin.  Yes, I am.

JOSH
Wow.  That’s amazing.

SUE
Yep.  Time for me to go home, though, so we’ll continue this conversation another time.

	Sue turns as Josh sighs in frustration, walking towards the front door.  He opens it for her as Lonnie comes walking up the steps of the porch.  He looks upset as he briskly walks past them, entering the house, and begins pacing the floor, back and forth.  Josh and Sue look at him with worry.  Josh motions Sue to leave and she does.  Josh frowns.

JOSH
You okay, man?

LONNIE
I’m fine.  I’m gonna be fine.  I don’t need her.  I’m Lonnie.  Lonnie needs no one but himself.

JOSH
He may need a good psychiatrist if he keeps talking about himself in the third-person. What’s going on?

LONNIE
Don’t worry about it.

	Josh frowns and stares at Lonnie, who looks extremely distressed.  Josh shrugs in confusion and holds out his arms in a questioning manner.

JOSH
Dude, what’s wrong with you?

LONNIE
Just get out of my face, Josh.  I’m sorry, but I just wanna be alone.

Lonnie turns and looks out at the road as Josh walks up, studying his face with concern.

JOSH
No, something’s wrong.  Spill it.

LONNIE
I’m fine!

JOSH
No, you’re not fine!

LONNIE
Debra and I are done!  We broke up!  We’re history!  It’s over!

JOSH
Oh, shit.  I’m sorry, man.

LONNIE
Are you happy?  Get out of my way..

	Lonnie takes a step past Josh and storms out the door.  Josh sighs and shakes his head in frustration.

JOSH
Living here is gonna be hell for a few months.

	Josh turns, grabs his coat, and walks out the door as we cut to the Jacobs home, where Adam Travers and Rose Jacobs are seated on the couch.  Adam is staring into Rose’s eyes with longing while holding her hands in his.

ADAM
I’ve waited for this moment for over twenty years.  Now that the time has come, I just want to relish in this moment forever.

ROSE
Adam?

ADAM
Yes?

ROSE
That wasn’t the line.  These two people have only been apart a week.  Look at the script.

	Rose reaches down and picks up a thin notebook, showing it to Adam, who reads his line.  Rose giggles as Adam’s face turns red.

ADAM
Of course.  I knew that.  I have to keep you on your toes if your professor is gonna give you an ‘A’ for this drama course.

ROSE
Of course.

	Rose stifles another giggle as Helen comes bouncing down the stairs with a frown on her face.  She looks at Adam and Rose laughing and walks over to them.

HELEN
I had another vision at school today.  Someone I know could get hurt.  What should I do?

ADAM
Is it something that you could prevent?

HELEN
I don’t know.  I’m not sure what it means.

ADAM
You should find this friend and convince her to stay home tonight.

HELEN
That might be a good idea.  Thanks, Adam.

	Helen turns and exits the house, shutting the door behind her.  Adam looks over at Rose, who smiles at him.

ROSE
You were saying?

	Adam looks flustered as we cut to the television station, where Tommy and Angela are going through several broadcasts in the editing room.  Angela is shaking her head as images zoom past on the screen.

ANGELA
What do you think we’re gonna find on here?

TOMMY
I don’t know.  Anything.  There’s got to be a reason that the woman was broadcast to the world when there was no one actually there.

ANGELA
We know it wasn’t the tape.

TOMMY
What about the camera?

ANGELA
What do you mean?

TOMMY
What if there’s something in the camera that allows us to see on a different plain?

ANGELA
Well, that one didn’t really come up at the staff meeting.

TOMMY
Where is it?  Show me.

Angela widens her eyes in disbelief and nods her head.

ANGELA
Okay, follow me.

	Angela stops a tape and leads Tommy from the room as we cut to the streets of Haddonfield, where Helen is walking down the dark street with her hands in her pockets.  We see brief flashes of Rebecca Hodges having a rope wrapped around her throat, followed by the flash of a black rose.  Helen shakes her head, blocking out the images.  Suddenly, a stick breaks nearby.  Helen whirls around, but sees nothing.  A sudden movement catches her eye and she frowns, watching a figure move in the distance.  Suddenly, a hand grips her shoulder, causing her to scream.

HELEN
Oh, my God!

	Helen turns and swings, but her arm is caught by Josh Jamison, who stumbles backwards and falls, yanking Helen with him.  Helen lands on top of Josh on the ground, their faces inches apart.  Josh looks surprised as Helen breathes a sigh of relief.

HELEN
Josh, what the hell are you doing?

JOSH
I was looking for Lonnie.  He got upset and stormed out earlier.

HELEN
You scared me to death!

JOSH
But I wasn’t the one who tried to punch you.

HELEN
Sorry.  (laughs)  Geez, what if Sue could see us right now?

	Josh looks at Helen, who is still laying on top of him.

JOSH
Good point.  Let’s stand up, what do ya say?

HELEN
Oh!  Of course.

	Helen stands up, pulling Josh up with her.  They both brush themselves off as Josh looks at Helen with disbelief.

JOSH
What are you doing out so late?

HELEN
Going to the Hodges mansion.  That flash I had this morning had to do with Rebecca.  I’m afraid she might die if she leaves the house tonight.

JOSH
Well, I’m up to nothing, so I’ll go with you.

HELEN
Fine by me.  Come on.

	Helen and Josh exit the scene as we cut to Country Manor, where Debra is gathering her things to leave.  She grabs her purse, turns off her desk light, and walks over, exiting her office and going into the hallway.  Debra turns and locks her office door before turning to walk down the hallway.  In the background, a door slams open, the wind blowing through the hallway.  Debra is startled by the slam as she whirls around.  She frowns and walks down the hallway, quickly closing the door.  She locks the door and turns to go back towards the front exit.  Suddenly, a loud whisper echoes over the scene.

WHISPER
Debra...

	Debra immediately freezes, slowly turning around to look back from where the whisper came from.  She begins to get scared.  The whisper gets louder.

WHISPER
Debra...

	Debra notices movement at the end of the hallway, a shadowy figure quickly darts across the hall and down the adjacent hallway.  Debra’s eyes widen.

DEBRA
Who’s there?!

	The whisper comes again.

WHISPER
Soon, bitch.  Soon!

	Suddenly, the figure steps into the hallway, the shadows concealing the face.  He just watches her, as if in a face off, unmoving.  Debra slowly backs away with a panicked look on her face.

DEBRA
Oh, my God!

	Debra turns and takes off down the hallway as the Whisperer begins walking towards her.  Debra turns and sees him coming, beginning to run.  The Whisperer picks up the pace, beginning to jog after her.

WHISPER
Debra!

	Debra screams as The Whisperer breaks out into a sprint, face still concealed by the dark shadows of the hospital.  Debra rounds a corner, bolting for the front door.  She sprints through it and out into the parking lot.

DEBRA
Someone help me!

	Debra reaches her car and quickly goes through her purse, digging around for her keys. She glances up at the front door, but there is no movement.  Suddenly, someone grabs her from behind.  Debra whirls around to see Lonnie standing there, looking at her with intensity.

LONNIE
What is it?!  Are you okay?!  I heard screaming!

	Debra glances up at Lonnie and backs away.

DEBRA
What the hell are you doing here?!

LONNIE
I came to talk to you.  We said some things earlier that we didn’t mean—

DEBRA
We said all we needed to say.

LONNIE
Don’t let it end like this.

DEBRA
I didn’t let it.  That’s just the way it happened.  Get out of my way.

	Debra finds her keys and quickly climbs into her car, pulling away.  Lonnie watches her go with an intense look on her face.  He glances back up at Country Manor and exits as we cut to the Hodges mansion, where Josh and Helen ring the doorbell.  The door opens to reveal Emily Hodges answering the door.  She looks at Josh and smiles.

EMILY
Well, to what do I owe this pleasure?

HELEN
Actually, I need to see Rebecca.

	Emily looks at Helen with disdain and shakes her head.

EMILY
She’s not home and you totally freaked her out before, so she wouldn’t wanna see you, anyways.

HELEN
It’s an emergency.

EMILY
Too bad.

JOSH
Emily, surely you can do a favor for me.  I mean, I’ve always been good to you, haven’t I?

EMILY
Well, not as good as I’d like you to be, but yeah.

JOSH
Great.  So, do me this one favor and I’ll owe you one.  Come on.  Where’s Rebecca?

	Emily smirks and blushes as Josh makes puppy dog eyes at her.

EMILY
She’s out at Lampkin Park with my parents helping with the cleanup of the Easter egg hunt.

JOSH
(smiles)
Thank you.

	We cut to Lampkin Park, where the scene has been cleaned up and Rebecca Hodges dumps a trash bag into the back of a truck.  Sitting inside the front seat of the truck is Mayor Jon H. Hodges and his wife Linda.  Mayor Hodges smiles at Rebecca.

MAYOR HODGES
Come on, Becky.  Hop in.  I’ll give you a ride home.

REBECCA
I can’t leave my car here, dad.  I’d just have to come back and get it tomorrow.

LINDA
She has a point, dear.

MAYOR HODGES
Okay, sweetie. Just be careful driving home.

REBECCA
Of course, dad.  You, too.  Drive safe.  I love you both.

MAYOR HODGES
Love you, too.

LINDA
See you at home, honey.

	They drive off in the truck as Rebecca smiles.  She turns and walks over into the park, looking for her keys.  As she gets close to her car, she notices that the tire on her car is flat.  She looks angry as she puts her hands on her hips.  She turns to stop her parents from leaving, but they have just turned out of the park and are heading down the street in the darkness.  Rebecca yells in frustration as she walks towards the back of her car.

REBECCA
This is just my luck!

She puts the key into the trunk and turns it.  The trunk pops open.  Rebecca starts to reach down, but a dark figure pops out of the trunk, brandishing a handkerchief.  The figure quickly grabs Rebecca by her face and puts the handkerchief over Rebecca’s mouth.  He tries to scream and struggle, but quickly passes out.  We hear a whispery breathing as we cut to Tommy’s room at the Blankenship Home.  He is looking around inside the camera with some tools as Angela stands in the background.  He shakes his head in frustration and looks over at some news clippings hanging on his wall.  His eyes widen as he sees a photograph in one of the stories.  He stands and looks at it with fascination.  It is a picture of the woman from the broadcast, smiling and full of life.  Underneath her picture is her name, ‘Abby Foster’.  The headline reads, “The Pale Horse Brings More Death”.  Tommy grabs the article off the wall and begins to read it as we cut to Debra’s home, where she enters and closes the door behind her.  Her phone coincidentally begins to ring as she enters, setting down her belongings.  She walks over and answers the phone.

DEBRA
Hello?

WHISPERY VOICE
The pale horse is riding on through,
All of this happened because of you.
Because of your actions, others will die.
Eternal tears they will forever cry.

DEBRA
Excuse me?

WHISPERY VOICE
You did it, Debra.  It’s all on your head.  The black rose symbolizes death.  There are more coming, more to be sacrificed for your wrongs.

	We cut to Lampkin Park, where the Whispering Man has Rebecca Hodges pinned to the ground.  She is bloody, beaten, and her clothes are ripped.  She looks weak as tears fall from her face.  She looks up into the face of the man above her, which is concealed by the shadows.

REBECCA
Why are you doing this?!  Why?!

	We cut back to Debra’s phone, where Debra hears Rebecca’s screams.

DEBRA
Who’s that?!  What’s going on?!

REBECCA
(v/o)
Help me!

WHISPERER
Your time is coming, Debra.  Soon, bitch.

	Debra suddenly hears a click and a dial tone.  She looks at her phone with worry as we cut to Lampkin Park, where the Whispery Man wraps a rope around Rebecca’s throat.  She struggles, but he begins to tighten the noose around her neck.  She gasps for air as we cut to the park entrance, where Josh and Helen come sprinting through the gate.

JOSH
Where did you see her, Helen?!  Where?!

HELEN
I don’t know!

	Helen glances around the park, but all seems silent.  She shakes her head as we get another flash of Rebecca being strangled.

HELEN
Trees!  There are trees!  In the trees!

JOSH
Okay.  Come on!

	Josh and Helen take off into the tree area as we cut to Tommy’s room, where Angela Ryder walks through the door. Tommy is seated with a bunch of newspapers spread out all over his desk.

ANGELA
What is it that you found?

TOMMY
Her name was Abby Foster.  She was murdered by a man known as the Pale Horse Killer in Chicago about 5 years ago.  He had 23 victims, but has remained dormant for the past 5 years, since Abby’s murder.  Most of his victims have been women between the ages of 18 and 30, all of them single.  However, some of his victims were males around the same age.  The police believe he implemented himself into his victims’ lives before he made his move.  They say it’s his pattern to romance the women before he kills them, possibly even proposes to some of them.  He got the name The Pale Horse from bragging to the investigating officers of being a “bringer of death”, representing the pale horse of the Apocalypse.   He has a signature of leaving a black rose at each of his crime scenes, along with one or two-word cryptic messages about death.  The males murdered are to believed to be people who were in competition with The Pale Horse for a woman’s affection.

ANGELA
Okay, so how is Abby Foster appearing on TV with me if she’s dead?

TOMMY
She’s not.  It’s her ghost, warning us that The Pale Horse is about to kill again.  The Pale Horse is here in Haddonfield.

	Angela looks at Tommy with disbelief as we cut to Lampkin Park, where Josh and Helen come running through the tree area.  They stop and stare at something in disbelief.  Helen screams as Josh looks shocked.  On the ground, Rebecca Hodges is dead, a rope’s noose still dangling from her neck.  Her clothes are ripped and she is badly beaten.

JOSH
Oh, my God.

	Josh walks over and feels for a pulse.  He shakes his head.  Helen looks and sees the name ‘Debra’ scrawled on Rebecca’s chest in blood and a black rose placed in her hands.  Josh looks with doom at Helen.

JOSH
She’s dead.

HELEN
No!  No!

	We cut to the dark silhouette of a man exiting Lampkin Park.  We hear the whispery breathing, followed by an evil laugh.  We cut to Tommy’s room, where Tommy and Angela are both heavily going through newspapers.

ANGELA
How do you know that The Pale Horse is in Haddonfield?  I don’t believe in ghosts.

TOMMY
Have any better explanations for her being on the broadcast?

ANGELA
Mass delusions?

TOMMY
Why can’t you accept that there are powers out there beyond this realm?

ANGELA
I’ve never seen another realm.  I’ve just been party to this one.

TOMMY
But not everything can be explained with simplicity.

ANGELA
That’s true, but it doesn’t mean it’s unexplainable.

TOMMY
Okay, be stubborn and refuse to accept the truth.  I know what’s out there.  I’ve seen it all.

	Angela looks doubtful as the pager goes off.  She looks down at it.

ANGELA
Can I use your phone?  It’s the station.

TOMMY
Sure.

	Angela picks up the phone and dials a number.  A few seconds go by.

ANGELA
This is Angela.  (pause)  What?  Are you serious?  (pause)  Oh, my God.  I’ve got a camera here.  Just get Tino to the scene and I’ll be on the air in 10 minutes.  (pause)  Okay, bye.

	Angela hangs up the phone and turns to Tommy.

ANGELA
You’re not gonna believe this.  There was a murder tonight in the exact spot I was broadcasting.

TOMMY
Pale Horse?

ANGELA
It appears to be.  You coming with me?

TOMMY
I’ll even drive you.

	Tommy and Angela both get up to exit.  We cut to Lampkin Park, where a police line has been set up around the scene.  Josh and Helen are seated to the side as several deputies are scouring the area.  Deputy Cal Kinmont is questioning them.

CAL
Let me get this straight.  You came here because you had a psychic vision?

HELEN
That’s what happened.

CAL
Geez, you Jacobs’ are one messed-up family.

	Helen’s face drops as Cal shakes his head.  Josh looks ticked off.

JOSH
Why don’t you just do your job and not worry about Helen’s family?

CAL
Why don’t you shut your trap?

JOSH
We don’t have to take your abuse.  Where’s Sheriff Redman?

VOICE
Afraid there’s no such thing anymore.

	Josh and Helen look over to see Sheriff Jim Holdt (H6), an older man with graying hair, walking towards them with a scowl on his face.

HOLDT
It’s Deputy Redman now, if I decide I need him on my squad any longer.  I’m Jim Holdt, the new sheriff in town.  What’s the problem here, Kinmont?

CAL
They saw the murder via psychic vision.

	Cal half-smiles as Holdt looks annoyed.

HOLDT
Did they?  Well, ain’t that special?  Did you happen to catch the winning number in the state lottery while you were seeing the future?

HELEN
No, it doesn’t work like—

HOLDT
Didn’t think so.

	Suddenly, a scream pierces the air.  Everyone turns to see Mayor Jon Hodges holding his wife Linda in a firm hug as tears stream down her face.  Emily Hodges is standing with them, staring in shock down at Rebecca’s lifeless body.

LINDA
No!  No!  Not her!  My Rebecca!  No-o-o-o-o!

JON
I’m sorry, honey.  I am so sorry.

EMILY
Oh, my God.  Oh, my God.  Oh, my God.

	Emily backs away and covers her mouth in shock.  She glances over and sees Josh who just shakes his head in sympathy.  Emily forms tears in her eyes and turns, running away from the scene as Tommy and Angela enter, carrying the camera.  Angela looks around the area.  Amy Farlow enters and walks up to Angela with a rave look on her face.

AMY
Don’t kill me.

ANGELA
What’s wrong?

AMY
Tino got plastered again. He couldn’t get out of bed to come out here.  You don’t have a camera man.

ANGELA
Damn that Tino and his drinking.

	Angela glances over at Tommy and studies him.

ANGELA
Well, Tommy.  Welcome to the world of news.

	Angela hands him the camera.  Tommy looks at it with shock.

TOMMY
Me?  I’m not a camera man.  I don’t know the first thing about—

ANGELA
I saw all that tech stuff in your house.  You’ll be fine.  The job pays well.  You’ll be considered on call, but I have a feeling you’re more reliable than that Latino lush Tino.  Anyways, let’s get rolling.  Channel 6 just pulled up.  I wanna get on the air before them.

	Amy fixes Angela’s hair as Tommy shrugs and raises the camera.  Amy quickly exits the scene as Angela preps herself up.  Angela nods to Tommy, who hits the button to broadcast.  A red light comes on the screen.

ANGELA
Hi, this is Angela Ryder, reporting live from what can only be described as a gruesome and shocking sight.  A body was found in Lampkin Park today and has been identified as 19-year old Rebecca Hodges, daughter of Mayor Jon Hodges.  It is too early to distinguish any leads on the case, but it is believed that Rebecca’s murder could be connected to the Pale Horse killings in Chicago 5 years ago.

	Through Tommy’s camera POV, we are shocked as Rebecca rises from the ground with a blank expression on her face.  Her eyes are maniacal as she stands and walks towards Angela slowly.  Tommy steps back, still balancing the camera, looking in plain sight.  Police are still looking for evidence around Rebecca’s very dead body.  He shakes his head as Angela continues.

ANGELA
(cont.)
The Pale Horse was a serial killer notorious for Ted Bundy-style murders in which he charmed his way into women’s lives and murdered them.  Although no description has ever been given, police believe that the suspect is a male in his 20’s or 30’s and on a high educational level.

	Tommy looks back through the camera and is startled as Rebecca is standing directly in front of the camera.  Her blue eyes are wide as she reaches for the camera, mouthing  some words, but nothing comes out.  She is pointing at the camera and mouthing words as Tommy drops the camera out of fear and takes a step back.  Angela stops talking and looks at him.

ANGELA
Tommy?  What’s wrong?

TOMMY
She’s here.

	Amy Farlow returns, looking around.

AMY
You will not believe what we just saw!

TOMMY
Rebecca Hodges was alive on the camera!  Talking to me!

ANGELA
Oh, my God.  Again?!  I don’t believe in ghosts, dammit!

TOMMY
They believe in you.

	Angela looks frightened and storms away from the scene as Tommy looks at Amy with worry.  Tommy bends down and picks up the camera, storming away.  Sheriff Holdt walks over and looks down at the body with Cal behind him.

CAL
Well, sheriff.  Welcome to Haddonfield.

HOLDT
Indeed.

	They stare at the dead body as we fade out.  We fade in on Rebecca’s funeral, as Emily, Jon, and Linda Hodges are seated in the front row.  Greg Bradford is next to Emily as Josh, Sue, Helen, and Garry Jacobs stand towards the back.  Father Gabe Murphy is presiding over the ceremony as Tommy, Debra, and Adam are seated in another section of the funeral.

FR. MURPHY
Rebecca was a fine, upstanding young woman with a bright future ahead of her.  I know we question God in times like these, but it is not for us to understand.  It was her time to go and she will be missed.  God rest her soul.  Amen.

	Mayor Hodges walks over with some dirt gripped in his hands and releases it onto the casket.  Everyone watches with sadness as Linda Hodges continues to cry.  Mayor Hodges turns to everyone while standing with Gabe.

MAYOR HODGES
Thank you all for coming.  Rebecca would have loved to know that she had such great friends.  She would appreciate your presence.  Thanks again.

	People begin to leave as Mayor Hodges shakes Gabe’s hand and begins mingling with his friends and family.  We cut to the edge of the gathering, where Lonnie is standing by a large headstone, decorated with a cross on top of it.  Angela Ryder enters and stands next to him as they watch from a distance.

ANGELA
Not a big funeral person?

LONNIE
No.  I’ve attended too many of them for my taste.

ANGELA
This town has had its share, eh?

LONNIE
It’s almost like we’re cursed.  Quite a broadcast the other night.  Why is it that you have these things happen on your station?

ANGELA
Don’t know, but my bosses are happy.  People are tuning into us now.

LONNIE
It’s not over.  There’s more death coming.

	Lonnie stares at Debra from a distance before turning around and exiting.  Angela frowns at his demeanor as we cut to Rebecca’s grave, where Emily Hodges stands over her casket, looking at it with sorrow.  Greg Bradford walks up behind her and looks at his watch.

GREG
Babe, it’s time to go.

EMILY
I’m not ready yet.

GREG
(sighs)
Whatever.

	Greg turns and exits as Josh enters the scene and stands next to Emily.  She forms tears in her eyes as Josh looks at the casket with a far-off look.

JOSH
If it’s any consolation, I know how you feel.  At Carly’s funeral, I was holding up way less better than you are.  It’s not fun to lose a sister, especially one you didn’t always see eye to eye with, but some days you look back and you remember the good memories that outweigh the bad.  It makes it all seem better.

EMILY
I hope so.  Do you believe in heaven?

JOSH
I have to believe in something.

EMILY
Well, I know Rebecca’s in heaven.  You know why?  Because she was a good person.  She was better than me.  She deserved more!  It should have been me.  I asked her to take my place during cleanup because I didn’t want to help.  She agreed, no questions asked.

JOSH
You can’t think like that.  It’ll drive you crazy.  Emily, you have goodness in you.  Rebecca loved you and you never wished harm on her.  You’re not at fault for this.  The only one at fault is the bastard who did it.

EMILY
Thank you for talking to me, Josh.  I feel a little better.

JOSH
Any time.

	Emily hugs him as Sue watches from afar with Helen and Garry at her side.  Josh turns and exits as Emily watches him with longing.  Josh, Sue, Helen, and Garry exit.  We cut to later in Tommy’s room at the boarding house, where Tommy, Adam, Debra, and Angela are seated, viewing the “Rebecca” broadcast.  Rebecca is pointing at the screen and mouthing some words.

ANGELA
What is she saying?

TOMMY
I don’t know.

DEBRA
What is the connection to me in all of this?

ADAM
You didn’t recognize the voice on the phone?

DEBRA
They were whispering.  The police have no record of the call or where it came from.

ANGELA
Do you have any enemies?

DEBRA
Plenty.

TOMMY
Anyone asked you out lately?

DEBRA
Lonnie and I just broke up.

ADAM
Now, we know that this Pale Horse killer puts himself into these women’s lives.  You don’t think that Lonnie...

TOMMY
Of course not, Adam.  That’s ridiculous.

ADAM
I’m just noticing the coincidences.  Lonnie spent ample time in Chicago 5 years ago.  He recently ended a relationship with Debra, and he’s quite experienced with the ladies.  Perhaps, this whole time he’s been with us he’s been plotting this whole thing.

DEBRA
Surely not.

ANGELA
Who else do we have?

DEBRA
Leland Jericho.  He’s been talking strangely to me lately about things he shouldn’t know about.

TOMMY
Maybe I should have a talk with Mr. Jericho and introduce myself.

DEBRA
I can get you access, but I guarantee you won’t get any concrete answers out of him.

TOMMY
We’ll see.

ADAM
I wish I could go, but I must go help Rose with her play.

ANGELA
And I have to go write Tino up for being hung over on the job again.

	Rebecca is talking soundlessly to the camera as Mrs. Blankenship walks into the room.  She looks at the TV and sees Rebecca’s words.  She frowns.

BLANKENSHIP
Lonnie Elamb.  Death.  Jealousy.  Rejection.  Help him.

	Everyone turns and looks at Mrs. Blankenship as Tommy stands.

TOMMY
She said Lonnie’s name?

MRS. BLANKENSHIP
Definitely.

ADAM
Sounds to me like the boy has gone mad.

ANGELA
I saw him at the cemetery during the funeral.  He didn’t look good.

TOMMY
I can’t believe you guys are considering this.

DEBRA
It fits, Tommy.  The chase at Country Manor happened after I broke up with him.  Plus, he was there…by my car.  Add to that what Rebecca’s ghost is saying and everything points to him.

TOMMY
God knows I’ve never been his biggest fan, but I’m telling you.  It’s not him.  He was in Littleton with me and Lindsey when you got the first black roses.

DEBRA
Could have had them delivered.

TOMMY
By who?

DEBRA
I don’t know.  Richie and Keith?

TOMMY
You’re wrong, Debra.

DEBRA
Why don’t we ask him?

TOMMY
Okay.  Let’s do it.

	We cut to Lonnie’s house, where Lonnie is walking down the sidewalk towards his house.  Josh Jamison walks out of the house and looks strangely at Lonnie.

JOSH
Dude, where’ve you been going at night lately?

LONNIE
None of your business, pea brain.

JOSH
I’m just noticing that you seem to be doing some kind of secret thing in you life, ‘cause you are never here at night anymore.  You got another woman already?

LONNIE
No.  I’m just taking care of some private business.  That’s all.

JOSH
Fair enough.  I’m heading over to Sue’s.  Today was a long day, so we’re gonna chill.

LONNIE
Have fun.

JOSH
Later.

	Josh turns and exits as Lonnie walks up to the front door.  He fumbles around his pocket for his keys.  Lonnie unlocks the door, but turns and notices a newspaper in his front yard.  He takes a step down and bends down to pick it up.  When he comes back up, a shadowy figure is behind him.  Suddenly, a billy club smacks Lonnie over the head.  Lonnie’s eyes glaze over as he slowly falls forward to his knees.  A voice speaks as Lonnie looks stunned.

WHISPER
You abandoned her.  You abandoned Debra.

	The Pale Horse killer smashes the billy club like a bat against Lonnie’s face, knocking him to the ground.  Lonnie looks up.  Standing over him is a man with a pale mask on, painted white with black features shaped like the crying half of the two drama masks.  The Pale Horse pulls out a knife, raising it into the air.

WHISPER
And the walls of Jericho will come tumbling down.

	The Pale Horse killer raises the knife into the air.  Suddenly, a car pulls up and Tommy Doyle comes sprinting out of it.  He sees the shadowy figure turn, see them, and take off through the yard, leaping over the picket fence.  Debra emerges from the passenger side of the car.

TOMMY
Hey!

	Tommy leaps over the fence, too, as The Pale Horse disappears into the hedges.  Tommy darts after the figure through the hedges and a chase begins.  Debra runs over to Lonnie and feels for a pulse.  She sighs in relief as we cut to the streets of Haddonfield.  The Pale Horse, covered in black clothing from head to toe, looking almost like a MiB with a mask, sprints down the road with swiftness.  The Pale Horse leaps onto a car and over a fence, darting into a nearby graveyard.  Tommy follows, doing the same thing.  The Pale Horse darts in and out of the rows of graves as Tommy tries to follow.

TOMMY
You’re not getting away!

	Tommy closes the gap as the Pale Horse grabs a large headstone, using the momentum to spin around, greeting Tommy with a kick to the chest.  Tommy catches his feet, yanking him from the headstone and causing him to smack the ground.  The Pale Horse twists in mid-air, sending Tommy forward with his legs.  Tommy flips forward and smacks the ground on his back.  The Pale Horse killer kips up with precision as Tommy turns over.  The Pale Horse killer kicks him in the face, driving him back to his feet and into a mausoleum.  The Pale Horse jumps forward with a scissors kick to Tommy’s chest, causing him to cry out in pain.  The Pale Horse killer then uses the mausoleum’s wall as a springboard, runs down the length quickly, and spins backwards, kicking Tommy in the face.  Tommy is forced forward to the ground with a thud.  The Pale Horse grabs Tommy from behind by his hair and sticks the knife against his throat.  Tommy looks frightened.

PALE HORSE
Debra will pay for her wrongs.  You will not stop it.

	Suddenly, a gunshot rings out.  The Pale Horse yells in pain and is sent sprawling back to the ground, disappearing behind a row of stones.  We turn to see Debra holding a gun as she inches forward to help Tommy up.  Tommy breathes heavily.

TOMMY
He was too tough.  I couldn’t take him.

	Tommy and Debra turn to where the Pale Horse killer was sent.  Debra inches forward with the gun as they leap out behind the tombstones.  A dark black-clothed figure is motionless on the ground.  Tommy walks slowly over and removes the white mask from the man’s head.  They are looking directly into the dead face of Tino Santos, the camera man of Angela Ryder.  Debra frowns.

DEBRA
Tino?

TOMMY
I guess my camera man position is permanent.

DEBRA
Why would he do this to me?

TOMMY
I don’t know.  Did you know him?

DEBRA
Barely.  He asked me out after the big party last year, but I was with Lonnie.

TOMMY
Looks like he didn’t take rejection well.

DEBRA
At least its over.

	They stand over the dead body of Tino as we fade in to a hospital room during the daytime, where Lonnie is laying with a bandaged head.  Debra enters the room as Lonnie looks up at her with anger.

DEBRA
How are you feeling?

LONNIE
I’ve been better.  Doc says I’m lucky I have a hard head.  I could’ve been a goner.

DEBRA
Lonnie, I’m sorry.

LONNIE
You should be.  You thought I was a killer?  How could you after everything we’ve been through?

DEBRA
I wasn’t thinking, Lonnie.

LONNIE
No, you definitely weren’t.

DEBRA
Josh still wants to know where you’ve been going at night.

LONNIE
Night school, Debbie.  I’ve been getting a college education.  Lindsey is the only one who knows about it and I wanted to keep it that way.

DEBRA
Why would you wanna keep that a secret?

LONNIE
In case I failed.  That way, no one would give me the “I told you so” speech if I flunked out.  I’ve put up with enough of people looking down on me.  You know, like them thinking I’m a murderer.  The truth is, you don’t trust me.  You never will.  I could catch a thousand murderers and I’d still be doubted.  You, on the other hand, actually kill someone, and I still trusted you.  I always had faith in you.

DEBRA
Lonnie—

LONNIE
Get out of my room.  I don’t wanna see you again.

DEBRA
But—

LONNIE
Get out!

	Debra forms tears in her eyes and exits the room as Lonnie looks bitter and angry on his bed.  He throws his pillow across the room as we cut to Haddonfield Town Square, where Angela Ryder is standing with Tommy.  Tommy has a camera in his hand.

ANGELA
I guess Tino’s problems went way beyond drinking.

TOMMY
I guess so.

ANGELA
At least you have a job now.  Let’s get rolling.

	Tommy puts the camera up and films Angela, who puts the microphone to her mouth.

ANGELA
We’re here today in town square, where our station would like to offer our condolences to the Hodges family.  You are in our prayers.

	Tino Santos suddenly appears in the background, looking directly at the picture with wide eyes.  He begins mouthing unintelligible words as he walks up behind Angela.  Tommy looks on with shock.

TOMMY
Oh, no.

	Alone in his Country Manor cell, Leland Jericho is looking up at the television screen with his chess board in front of him.

LELAND
Tick, tock.  The hands of time click off the clock.  Soon, dear Debra.  It is inevitable.  Tino was innocent.  He was a martyr.

	Leland moves the queen across the board and laughs maniacally as we cut to Amy Farlow, climbing into the news van.  Suddenly, the Pale Horse killer lunges out at her and grabs her, covering her mouth with a chloroformed rag.  Heavy breathing is heard.  We cut to Debra’s office, where her phone rings.  Debra walks in, tears in her eyes, and answers the phone.

DEBRA
Hello?

WHISPER
It’s not over, bitch.

	We see a sharp knife brought down into the chest of Amy Farlow as we FADE TO BLACK over a heavy breath and flash of a black rose.

Halloween: The Series
Season Four
Episode 6
Dying Echoes
By MysterioMan007
Script Editor: Scarecrow Cenobite
Creative Consultant: Robbie Red 
Creative Consultant: Screamer009
Assistant producer: MysterioMan007
Produced by: Scarecrow Cenobite
Based on Characters created by John Carpenter & Debra Hill