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Halloween H20
EXT. STREET - NIGHT - SUBURBIA
Langley, Illinois. A quiet suburb located fifty miles outside of Chicago.
SUPER the legend: "Langley, Illinois. October 28th 1998"
A HOUSE
nestled in the middle of a tree-lined street. A Honda Civic pulls into a darkened driveway, the headlights are extinguished...
PAMELA WHITTINGTON, a middle-aged woman in full registered nurse attire, emerges from the parked car.
An unlit cigarette dangles loosely from her lips. She heads to the porch, digging through her purse in search of a light...
CRUNCH!
Pamela stops in her tracks, looks down at her feet to discover
GLASS
scattered across the porch. She looks at the porch light hanging above her head.
A SHATTERED LIGHT BULB occupies the socket.
Pamela turns her attention to the front door... it's slightly ajar. She pushes on it gently.... the door swings open freely, revealing the darkened interior.
PAMELA Shit...
Pamela drops her purse... darts across some hedges into the neighbor's yard...
EXT. THE HOUSE NEXT DOOR
Pamela runs up to the porch, decorated with carved pumpkins... POUNDS furiously on the front door, decorated with a CARDBOARD SKELETON.
NO ANSWER.
She POUNDS again... HARDER. Suddenly, the door SWINGS open to reveal
AN OMINOUS FIGURE
looming in the doorway. A HOCKEY MASK cloaks his face. A PAIR OF EYES
glare at Pamela from behind the cut-outs in the plastic vizard.
PAMELA
gasps, stumbles backward.
THE FIGURE
flips up his mask to reveal
JIMMY HOWELL
a gangly teen, wearing a hockey jersey... skates slung over his shoulder.
JIMMY Hey, Mis Whittington, what's up?
PAMELA My blood pleasure. You scared the hell out of me.
JIMMY Oh. Sorry. I'm on my way to the ring and --
PAMELA (interrupting) I think someone broke into my house.
JIMMY No shit?!
PAMELA No shit.
CUT TO:
INT. LIVING ROOM - MINUTES LATER
Pamela sits on the couch taking hits off a lit cigarette. Jimmy paces the room, portable phone pressed against his ear.
JIMMY (into phone) 3037 Keystone.. yeah... gotcha.
Jimmy hangs up the portable... JIMMY (continuing) Said to give 'em fifteen minutes. They'll send someone by.
Jimmy grabs his hockey stick, heads for the door.
PAMELA Jimmy, what are you doing?
JIMMY Checking out your place.
PAMELA No. Wait for the police.
JIMMY And miss the big game? No way.
CUT TO:
EXT. HOUSE - MINUTES LATER
Pamela stands at the foot of her driveway... watches as Jimmy climbs the steps to her porch, hockey stick perched high on his shoulder.
JIMMY
moves toward the front door, stepping on pieces of shattered light bulb beneath him.
He swings open the front door with the tip of his stick... looks inside the darkened house.
He enters cautiously, stick at the ready.
PAMELA
lights up another cigarette, watches nervously as Jimmy disappears from view...
INT. HOUSE
Jimmy enters the dimmed foyer.
JIMMY (calling off) Hey, man, don't mess with me! I'll knock your head clean off your body!
He moves stealthily through the house, hockey stick poised high in the air... room-by-room he checks for intruders... Jimmy finds his way to the rear of the home, crosses to a back bedroom, stands in the doorway...
JIMMY (continuing) Oh, shit...
ON THE BEDROOM
Converted to a home office... ransacked... file cabinets overturned, pictures hang crooked on the walls, papers carpet the floor...
JIMMY
drops the stick to his side, convinced he is now alone in the house.
He crosses back into the kitchen... steals a cookie from a cookie jar... opens the fridge... takes a swig from an open milk carton... completely unaware that --
THE BEDROOM CLOSET DOOR
is opening slowly behind him, then suddenly --
CRASH!
An IRONING BOARD topples out from inside, slams against his back, hard.
JIMMY
snaps the hockey stick into position... spins around... swings wildly with the wooden baton. He makes contact with...
A POT RACK
suspended above the island... pots dangling from their hooks come clanging down on top of him...
The dust settles... Jimmy realizes he's been beating the stuffing out of an ironing board. He sheepishly exits the kitchen...
EXT. HOUSE - MINUTES LATER
Pamela stands at the foot of the driveway, trying to see in to the darkened house...
PAMELA Come on, damn it... Jimmy emerges from the house... looks like Wayne Gretsky after slamming in his record goal. He smiles at Pamela smugly...
JIMMY Nothing to fear. The coast is clear.
PAMELA You sure?
JIMMY Totally. I checked all the rooms and closets...
PAMELA Nothing's missing?
JIMMY Don't think so. But they sure did a real number on your office. Crap everywhere.
PAMELA My office?
JIMMY Yeah. Oh, and they messed up your kitchen pretty good, too... Goodnight.
Jimmy scurries off, avoiding any more questions.
Pamela heads back to the house.
INT. HOUSE
Pamela enters the house, LOCKS AND BOLTS the front door behind her. She breathes a heavy sigh of relief, back against the door... she flicks on a light switch... NOTHING.
PAMELA Christ, Jimmy... didn't you try the goddamn lights?!
Pamela moves down the hallway to the laundry room... she opens the door to the FUSE BOX... toggles some fuses on and off... tries the laundry room light... still NOTHING, darkness.
PAMELA (continuing) Shit. She grabs a flashlight out of the nearby cupboard, and proceeds down the hall to --
INT. OFFICE
The converted bedroom in complete disarray... Pamela navigates through the wreckage, carving a path with the beam of her flashlight. She approaches --
A DESK
completely bare except for a single FILE FOLDER resting on its top.
PAMELA
shines the beam on the lone file folder.
ON the folder... the index tab reads "KERI TATE." Pamela opens the folder, it's EMPTY.
PAMELA
gasps, the blood rushes from her face. She immediately rushes for the phone.
CLANK!
A noise is heard. She's not alone in this house. She moves through the hallway to discover the front door wide open. Shit. She bolts.
EXT. HOUSE
Pamela runs out the door and back to Jimmy's house. She opens the front door, disappears inside.
INT. HOUSE
Pamela shuts the door behind her... cranes her neck, searching for any signs of Jimmy --
She HEARS the sounds of a television emanating from deep within the house.
PAMELA (calling off) Jimmy! You still there?!
CAMERA FOLLOWS Pamela as she makes her way from one darkened room to the next... she crosses into the den to discover JIMMY
seated in an easy-chair, watching an episode of "SEINFELD." his back to Pamela... only his legs are visible from her point-of-view.
Pamela approaches him --
PAMELA Goddamnit, Jimmy! Someone's still in my house!
Pamela spins the easy-chair around to reveal --
A HOCKEY SKATE
embedded deep into Jimmy's face... the blade slicing through flesh, from forehead to chin... eyes wide open in terror... blood cascades down his jersey...
PAMELA
screams... bolts through the house, reaches the front door to find --
A CHINA CABINET
pushed in front of it, blocks her way! She tries fiercely to move the wooden hutch, but can't...
Pamela runs back through the house, frantic... in desperate search of an exit.
She crosses into the kitchen, spots her escape... moves to the rear door, opens it to reveal...
THE SHAPE
standing, poised, evil eyes burning through slits in his trademark mask.
PAMELA
shrieks... grabs a knife out of a nearby butcher block... heads back to the living room.
THE SHAPE
moves after her, the hunt is on...
INT. LIVING ROOM
FLASHING RED AND BLUE LIGHTS illuminate the room...
PAMELA
runs to a window...
ANGLE THROUGH WINDOW
A squad car arrives in front of Pamela's house. Two UNIFORMED COPS emerge from the vehicle, head up her driveway.
PAMELA
Struggles to open the window... she can't manage to disengage the lock... she pounds feverishly on the glass --
PAMELA (yelling) HELP! GODDAMNIT IT! OVER HERE! GOD PLEASE!
THE SHAPE
appears behind her... grabs an IRON POKER from a group of fireplace utensils.
PAMELA
spins around, swings at the Shape with the knife...
PAMELA Stay the fuck away from me!
The Shape swings the iron poker... delivers a severe blow to Pamela's arm... breaks it... the knife falls to the floor below.
Pamela howls in pain... drops to her knees, nurses her arm...
The Shape raises the poker high into the air, comes down hard... drives the tip of the poker through her skull... CRACK!
EXT. PAMELA'S FRONT PORCH - SAME TIME
In the f.g. two cops climb the porch steps and move into the house.
In the b.g. we can see the Shape through the neighboring window as he repeatedly stabs Pamela with the poker.
CUT TO: EXT. HILLCREST ACADEMY - ESTABLISHING - MORNING
CLOSE ON A PLAQUE
"HILLCREST ACADEMY. ESTABLISHED 1874"
THE CAMERA PULLS BACK TO REVEAL a co-ed boarding school... set behind massive wrought-iron gates on acreage in a secluded region of Wisconsin.
SUPER the legend: "Ferndale, Wisconsin. October 29th 1998."
The academy's gothic architecture and rich history can be seen throughout the entire campus, consisting of a cluster of buildings: the school, the dorms, a gymnasium with indoor swimming pool, a bell tower, a guard house and --
A GROUP OF FACULTY HOUSES
litters the far end of the campus.
CLOSE ON a kitchen window. Inside KERI TATE, mid-thirties, stands behind a sink washing dishes.
On closer inspection, we see that this face is none other that LAURIE STRODE.
INT. KITCHEN - MORNING
Keri stands with her back to JOHN, 16, chiseled good looks. He stands behind her in the doorway... They are in mid- conversation --
KERI Nothing's changed since yesterday, or last week, or last month... the answer's still "no."
JOHN You're so predictable.
Keri grabs the sprayer, squirts John from across the room.
JOHN (continuing) What the --
KERI Betcha' didn't predict that.
Keri throws John a dishtowel... he dabs at his shirt. JOHN I'm sixteen, Keri. I should be able to live wherever I want.
KERI And I should have a son who calls me "Mom". Looks like we're both shit out of luck.
JOHN Okay, you win. I'll call you Mom. Now can I move into the dorms?
KERI No.
Keri hands John a stack of clean dishes. John doesn't budge...
JOHN Well, Dad thinks it's okay.
KERI You're father thinks it's okay to run off to Cancun with a blonde bimbo in a halter top. Somehow his opinion doesn't count.
JOHN I promise not to run off to Cancun.
KERI Forget it.
JOHN (pointing out the kitchen window) The dorms are only fifty feet away. You could practically see into my window. So, what difference does it make?
KERI My point exactly. See, we both agree.
Keri takes the dishes back from John, puts them away in an overhead cupboard.
JOHN Alright, I was wrong. There is a big difference between rooming with your buddies and living with your mother and school headmaster. KERI I took the padlock off your door. What more do you want?
JOHN My life is a living hell.
Keri raises an eyebrow...
KERI It's not, trust me.
John gives up, heads out of the room...
KERI (continuing) Where are you going?
JOHN To the bathroom. Can I do that alone or do you want to watch?
KERI I thought you'd never ask.
Keri puts her arms around John, escorts him out of the kitchen...
JOHN You're twisted.
KERI I know.
CUT TO:
EXT. HILLCREST ACADEMY - DAY
Keri moves across campus toward the school, a leather briefcase slung over one shoulder.
Passing STUDENTS ad-lib "Hellos," their admiration for Keri made evident by their favorable rapport with her.
Keri passes in front of --
A ROW OF SCHOOL BUSES
parked alongside the school. An older bus on the far end sits empty, hood up.
WALLY BECKETTE, a rather portly man in his early sixties, and the school custodian, fiddles with the exposed engine. KERI Wally, you've been under that hood for months. Why don't we just call a mechanic?
Wally stops what he is doing... comes out from beneath the hood... wipes his hands on his pants.
WALLY Miss Tate, I serviced B-1 Bombers in W-W-2. This here is child's play.
KERI So you're saying I should call a child to come give you a hand?
Wally chuckles softly, charmed by Keri like the rest of the staff.
WALLY I'm saying she'll be purring like a kitten before you know it.
KERI There's your problem, Walter. You don't want it to purr, you want it to start.
WALLY And she will, Miss Tate. She will.
Keri continues toward the school. Wally watches with admiration as she heads into the building...
WALLY (continuing) Mmmm-mmm. If they had teachers like you when I was a boy, I'd be a rocket scientist.
Wally goes back to tinkering with the engine...
ON HATTIE SMITH, mid-sixties, dressed in a guard uniform... approaches Keri, looking very official... holds a key in her hand.
KERI Good morning, Hattie.
HATTIE Went into town. Had that duplicate key made. Hattie hands Keri the key.
KERI Thank you.
Hattie extends an open hand.
HATTIE Thank me with two bucks.
KERI Oh... right.
Keri digs through her pocket, produces a handful of change... gives it to Hattie.
HATTIE (dripping sarcasm) Just what I wanted... more change.
Hattie heads back toward the guard house, turns back to Keri --
HATTIE (continuing) And next time you lose a gate key, young lady, you'll be climbing your way out of here.
Keri holds the key to her chest.
KERI I'll be more careful next time.
Hattie dismisses Keri with a wave of her hand, continues across campus to the guard house.
Keri smiles, places the key in her pocket and disappears inside the school...
CUT TO:
EXT. JIMMY'S HOUSE - AFTERNOON
Pouring rain. In stark contrast to the sunny campus of Hillcrest...
EMERGENCY VEHICLES litter the landscape, lights FLASHING.
OFFICERS wrap yellow crime scene tape around the perimeter, keeping curious NEIGHBORS at bay... RICHARD CARTER
a middle-aged police detective, eyes bloodshot from too little sleep and one too many hours in front of a computer screen, emerges from a dark Sedan... a lit cigarette dangles loosely from his lips.
Carter approaches a young OFFICER standing outside the front door --
CARTER (flashes his badge) Detective Richard Carter, Haddonfield P.D. Detective Blake called my office...
The Officer motions to the door --
OFFICER Go on in. She's been waiting for you.
Carter heads towards the door, the Officer grabs his arm...
OFFICER (continuing) You might need this...
The Officer offers him a small jar of petroleum jelly. Carter waves it away.
OFFICER (continuing) Some serious shit in there, Detective.
Carter reconsiders, smears the Vaseline under each nostril... heads for the house.
INT. JIMMY'S HOUSE
Carter crosses through the front door, watches as
A TEAM of latex-gloved FORENSIC SPECIALISTS
dust door and windows for fingerprints, swab at blood drops, and collect carpet fibers for later analysis...
Carter crosses into the living room, winces at PAMELA WHITTINGTON
sprawled across the floor in front of blood-soaked curtains... the wrought-iron poker jammed up her nose, exits through the top of her skull... a kitchen knife lies beside her...
Carter takes another hit off the cigarette, blows smoke into the room...
VOICE (O.S.) Double homicide.
Carter turns to see
TONI BLAKE
standing behind him... mid-twenties, attractive yet approachable...
BLAKE Her name's Pamela Whittington, next door neighbor to victim number two... James Howell.
Carter motions in the direction of the den where
A CRIME SCENE PHOTOGRAPHER
takes snapshots of the teenage corpse.
CARTER Let me guess... he's the guy with the hockey skate for a nose ring.
BLAKE
crosses to Carter, extends a dixie cup in his direction --
CARTER No thanks, I'm not thirsty.
BLAKE It's for your cigarette. I prefer not to contaminate my crime scene with micropollutants.
Carter takes a final puff off the cigarette, drops it into the cup...
CARTER Why am I here? BLAKE They said on the phone you were assigned to the Meyers case.
CARTER With all due respect, detective, you can't go blaming every brutal murder in Illinois on Michael Meyers.
BLAKE Pamela Whittington was a long time associate of Dr. Loomis. Her home office was ransacked. It was chock full of Loomis' files on Meyers. It'd say that makes Meyers a suspect, wouldn't you?
CARTER Well, when you put it that way.
BLAKE Right. So why don't we get on with this investigation?
CARTER I like a woman who takes control.
Blake ignores the comment, crosses to the front door... Carter follows.
During the following dialogue, Blake walks Carter through the crime scene reenacting the prior evening's brutal events...
BLAKE Pamela entered the house and walked into the den where she discovers James Howell's body...
Carter and Blake stand in front of the mutilated face of the teenage boy...
BLAKE (continuing) Shaken, she returns to the front door to find the hutch blocking her exit...
ON gouges across the wood planks, forming tracks from the dining room to the front door... BLAKE (continuing) She runs to the kitchen, where she is ambushed at the back door by the killer.
Carter and Blake stand in front of the door, which is still open. Carter kneels down, looks at the kitchen floor...
CARTER One set of muddy shoe prints.
BLAKE That don't match either of the victim's.
Carter stands up, moves to a butcher block on the counter... he's starting to enjoy this dance --
CARTER She grabs a knife from the butcher block.
ON the butcher block, an empty slot where the knife once resided...
BLAKE Heads to the living room...
They cross back into the living room...
Carter moves to the
WINDOW
covered in fingerprint powder, exposing a plethora of prints.
CARTER Where, judging by the looks of the finger and palm prints, she struggles to open the window before banging on it like hell.
BLAKE Unable to escape, she turns and attacks the killer, but doesn't connect.
CARTER No blood on the knife.
ON the knife, clean as a whistle... CARTER (continuing) The killer knocks the knife out of her hand with the wrought-iron poker.
BLAKE Broken blood vessels on her right forearm.
ON Pamela's arm, a bruise forming under the skin...
CARTER As which point she drops to her knees in pain...
BLAKE Explaining the low height of the blood splatter on the curtains...
ON the curtains, blood stained four feet and below...
CARTER Impressive, Blake. Where'd you learn how to do that?
BLAKE Girl scouts.
Carter chuckles... she has a sense of humor, too...
CUT TO:
INT. SCHOOL - HALLWAY - AFTERNOON
A BELL RINGS.
The hallway is flooded with STUDENTS, books in tow...
ON MOLLY CARTWRIGHT
a young seventeen, friendly eyes and a face to match.
Walking beside her is...
LINDA KANG, same age, unconcerned, full of spunk... multiple body piercings, doesn't quite fit in here or anywhere...
LINDA You aced it, didn't you?
MOLLY I did alright. Linda grabs Molly's test, peeking out from her biology book...
LINDA Fuckin' A.
MOLLY He gave me a fuckin' A? Wow.
Linda punches Molly playfully in the arm. They stop at neighboring lockers, retrieve books from inside...
AMY KRAMER approaches, book pressed against an ample chest, smacking on a wad of gum...
Eye-catching good looks, a real stunner... a bit short on the gray matter though --
AMY These lockers are totally girl unfriendly.
MOLLY Break another nail?
AMY Pointer finger. And the dance is in two days...
LINDA Life's a bitch.
The girls head down the hall...
AMY Eddie's working late at Freeman's tonight... all alone.
MOLLY I thought Eddie left for N.Y.U.?
AMY Guess he couldn't tear himself away from me.
LINDA Guess he couldn't pass admissions.
AMY Shut up, pinhead.
John approaches them from behind, drapes his arms around Molly... JOHN There you are. (to Amy) You tell 'em about tonight?
AMY I just got here.
John removes a key from his jacket pocket, drops it in Molly's hand...
MOLLY What's this?
LINDA You say, "The key to my heart," and I'm gonna hurl.
JOHN Shelve the barf bag. It's the key to the main gate.
MOLLY Where'd you get it?
JOHN Swiped it from my mom's desk yesterday.
MOLLY You stole it?
JOHN I borrowed it.
AMY Party at Freeman's tonight.
LINDA I am in need of some serious partying.
MOLLY Not me.
JOHN Why not?
MOLLY I can't afford to get caught. LINDA Molly, you're the resident assistant. What are you gonna do, narc on yourself?
THE BELL RINGS.
Students clear the hall, move inside their classrooms.
John kisses Molly on the lips...
JOHN Just meet me in front of the gate after lights out.
He takes off down the hall --
MOLLY (calling after him) Wait... John...
He's gone. A teacher guides the girls inside a classroom and shuts the door...
CUT TO:
INT. GYMNASIUM - AFTERNOON
A bevy of STUDENTS scurry about the gym making final preparations for the impending Halloween Festivals: hanging decorations on walls, carving pumpkins, spinning cob webs along refreshment tables...
ON WILL BRENNEN, a well-favored Chemistry teacher in his mid- forties, thinning hair, more salt than pepper... supervises the action... a coffee mug in hand... his attention focused on...
KERI
sitting atop the bleachers. Will climbs the benches, sits beside her...
WILL What a sight for sore eyes...
He kisses her softly on the lips.
WILL (continuing) ... and ears...
He kisses her again. WILL (continuing) ...and lips...
He engages her in a lingering kiss.
A GROUP OF STUDENTS
point and giggle at the smooching faculty members.
Keri notices, pulls away...
KERI Will...
She motions toward the students below.
WILL What? They've all taken sex ed.
He leans in for another kiss, she playfully keeps him at arms length...
KERI And this isn't the place for a live demonstration.
Will relents, settles for holding Keri's hand...
WILL Aren't they doing a terrific job this year?
KERI (distracted) Looks great. It does.
WILL You okay? You seem a little off.
KERI Nothing a good stiff drink can't fix.
Will doesn't find the humor, eyes her uneasily.
KERI (continuing) That one always goes over big at the AA meetings.
An awkward beat, then... WILL It's John, isn't it?
KERI It's always John.
WILL Still wants to move out?
KERI He's been living out of moving boxes for three months.
WILL This kid just wants his freedom.
KERI It's not going to happen.
WILL The tighter you squeeze, the harder he'll try to break free.
KERI Oh, please... you get that out of a fortune cookie?
WILL Doesn't make it bad advice.
Keri manages a smile...
WILL (continuing) God I love that smile.
Keri stands. Will follows suit.
KERI I'm going into town... run a few errands before dark. Need anything?
WILL A box of fortune cookies... I'm running out of advice.
KERI Bye Will.
Keri heads down the bleachers. Will watches her leave, completely enamored...
CUT TO: INT. NIELSEN'S MARKET - LATE AFTERNOON
A family-owned grocery mart in the heart of Ferndale. A half- dozen CUSTOMERS mingle through the aisles.
ON Keri, standing in front of a CASHIER as he rings up a dozen items...
Keri glances at the wall of tabloids in front of her, one of them catches her eye --
CLOSE ON: THE GLOBE
A headline reads: "SERIAL KILLER MICHAEL MEYERS REALLY ALIEN FROM OUTER SPACE." Beneath the headline is a mock photo of the Shape, holding the infamous mask in his hand, revealing an alien head underneath....
Keri can't help but smirk at the absurdity of it all. The cashier hands Keri her change...
CASHIER Happy Halloween.
Keri manages a polite smile, and exits...
CUT TO:
EXT. NIELSEN'S MARKET - MINUTES LATER
Keri moves down the tree-lined street, groceries tucked securely under her arm.
She pauses at a storefront window. "KESSLER JEWELERS. EST. 1963" emblazoned across the glass.
ANGLE ON WINDOW
An assortment of wedding rings glimmer behind the glass.
KERI
holds her left hand up to the window, moving it slowly from ring to ring... then she sees --
THE SHAPE
in the reflection... standing across the street, staring right through her... taunting her. This is no alien...
KERI'S
heart stops... she stands frozen, totally immobile. A TRUCK
passes between them.
KERI
takes this opportunity to spin around. The truck passes --
THE SHAPE HAS VANISHED.
KERI I hate this fucking holiday...
Keri climbs into the driver's seat of her Ford Explorer, tosses the bag of groceries on the passenger seat...
She starts the engine...
"MR. SANDMAN" blares over the radio... scares the shit out of her. Keri quickly changes stations... heads back to the school.
CUT TO:
INT. CARTER'S APARTMENT - NIGHT
Sparsely decorated. Scattered Chinese food containers litter the counters.
On a glass dining room table, a table dozen cardboard boxes, "DR. LOOMIS" in black sharpie scrawled across their sides.
The CAMERA PANS across the table where...
CARTER
sits, eyes glazed over... shuffling through a stack of photographs.
ON THE PHOTOGRAPHS
Of a young Michael Meyers playing with a fire truck in the den... running through sprinklers in the backyard... riding horses at the county fair... no signs of the evil lurking inside.
CARTER sets the photographs aside, digs through a file box... pulls out a film canister marked "MEYERS' HOME MOVIES."
ON A PROJECTOR
CARTER threads the Super 8 film through it, turns it on... images of a young Michael Meyers are projected on a bare wall in the darkened room. CARTER settles into the recliner, fights to stay awake...
THE SHAPE APPEARS IN FRONT OF THE WALL.
The home movies projected on his pale mask. He moves slowly toward the sleeping CARTER, a knife in his grip.
The SHAPE raises the knife to CARTER's throat, slices it from ear to ear. CARTER grabs his throat, blood gushes through his fingers. Then...
THE TELEPHONE RINGS.
CARTER WAKES UP.
Gasps for air... he feels for his throat... no blood, all is well.
The Super 8 films slaps against the projector, the reel now over...
CARTER catches his breath... surveys the room... he is alone. He picks up the phone --
CARTER (into phone) Carter.
BLAKE It's Blake. Meet me at Grand View.
CARTER Where?
BLAKE The cemetery...
CARTER Yeah, alright... I'll be there in ten.
Carter hangs up the phone, massages his throat...
CUT TO:
INT. FREEMAN'S DRUGSTORE - NIGHT
CLOSE ON THE PALE WHITE HALLOWEEN MASK
CAMERA PULLS BACK TO REVEAL a mannequin sporting the mask and dark overalls made notorious by Michael Meyers... its arm posed high in the air, wielding a meat cleaver.
Gathered around the mannequin is the gang: Linda is in the arms of her boyfriend, SHANE McCLOUD... a tall and spindly teen, book smart and street dumb...
John riffles through a rack of Halloween costumes. Molly leans against a nearby counter... she checks her watch, visibly uncomfortable being here at all.
EDDIE CATERO, two years out of high school and still wearing his letterman jacket, 'Nuff said.
He stands proudly by his display, nursing a beer... his arm draped around Amy, who's painting her nails with a nail polish plucked from a nearby display...
EDDIE (re: the display) Pretty wicked, huh?
LINDA I think it's twisted.
EDDIE This coming from the girl with a stake through her tongue.
LINDA You're glorifying the big creep.
SHANE Besides, it's historically inaccurate.
EDDIE What the fuck are you talking about?
SHANE Michael Meyers never used a meat cleaver. It was a butcher knife.
EDDIE Who are you, the serial killer police? What difference does it make?
SHANE It's not historically accurate, that's all.
AMY He could be holding a swizzle stick, it still gives me the willies. JOHN Don't worry... I hear he only kills virgins.
SHANE Another historical inaccuracy.
EDDIE Would somebody shut this guy up?
MOLLY Come on, we better get back before Mrs. Sullivan makes her rounds.
Linda looks at her watch.
LINDA Oh, shit. Molly's right. It's eleven-thirty.
The gang heads for the front door...
AMY You guys go on. Eddie's gonna take me back after he closes up.
Bells hanging from the door JINGLE as they exit... John turns to them as he leaves --
JOHN Condoms are on aisle four...
EDDIE Out.
Eddie pushes John out the door, shuts it behind him...
EXT. FREEMAN'S DRUGSTORE
The group moves down the deserted street, headed for Hillcrest. John's arm around Molly. Shane's around Linda...
CUT TO:
INT. FREEMAN'S DRUGSTORE
ON A "CLOSED" SIGN
Being hung on the front door.
CAMERA PULLS BACK TO REVEAL Amy, holds up her newly polished nails to Eddie... AMY How do you like the color? It's called "Bloodshed Red."
EDDIE Yeah, yeah... looks good...
Eddie grabs Amy by the waist, pulls her in... kisses her passionately.
EDDIE (continuing) Let's go in back and check out the "inventory."
AMY Mmmmm, sounds good.
Eddie and Amy head to the --
INT. BACK ROOM
Eddie and Amy get hot and heavy amongst a room full of cardboard boxes, Halloween costumes, and mask...
As Eddie prepares to do the one-hand bra release...
JINGLE-JINGLE.
The bells hung on the front door chime.
EDDIE Shit. Can't people read? Don't move. I'll be right back.
Eddie exits, leaving behind a half-naked Amy.
INT. FREEMAN'S DRUGSTORE
Eddie moves toward the front of the store, heads down the center aisle. He hears the SHUFFLING OF FEET in the aisle next to him...
EDDIE (calling off) Hey, we're closed!
Eddie rounds the corner, runs smack into --
THE SHAPE.
EDDIE (continuing) Shit! It's only the mannequin, which isn't where Eddie left it... arm poised high in the air, knife missing.
Eddie turns around to see --
THE SHAPE
standing right behind him, wielding the meat cleaver. Eddie's seeing double...
EDDIE What the hell...
The Shape attacks, slices through his skull with the meat cleaver...
INT. BACK ROOM - SAME TIME
As Amy sifts through a box of scary masks, she hears...
A SCUFFLE
outside the door... she throws on her blouse, peeks outside.
AMY Eddie?
A RUSTLING SOUND.
AMY (continuing) Damnit, Eddie! Stop fooling around.
Still nothing... Amy cautiously moves into the store, looking for her missing partner... she passes
THE MICHAEL MEYERS MANNEQUIN
AMY If you think you're gettin' any after this, you're dead wrong.
She stumbles, looks down to reveal...
EDDIE
sprawled on the floor, the meat cleaver buried in the middle of his forehead... eyes wide open in terror!
Amy SCREAMS... can barely stand... she stumbles to the front of the door... it's locked! The Michael Meyers mannequin behind her comes to life, begins to move toward her...
Amy beats frantically on the glass door, struggling to free the lock... she turns to see...
THE SHAPE
closing in behind her... she SCREAMS.
The SHAPE attacks, grabs Amy by the back of the neck... pushes her face through the glass door, cuts it to bits...
He lifts Amy high into the air, she struggles to free herself... the Shape impales her body on a large shard of glass.
ON Amy's feet... dangling a foot off the ground... then...
Her body goes completely limp... lifeless.
ON Amy's hand... blood cascades down her fingers, matches the shade of her nail polish...
The SHAPE looks at her breathless body quizzically...
CUT TO:
EXT. GRAND VIEW CEMETERY - NIGHT
A well manicured graveyard... lush green lawns, thriving oak trees, and patches of blooming flowers...
FRED WILLIAMS, an elderly caretaker, leads Carter and Blake through the darkened cemetery... a flashlight illuminating their path.
CARTER You take all your dates here. Blake?
BLAKE Only the real stiffs.
CARTER I can be real stiff.
BLAKE Charming.
FRED Hey! Watch my geraniums. Carter looks down at his feet, finds himself standing in the middle of a group of flowers... he quickly hops back onto the grass...
FRED (continuing) Beautiful, aren't they? Rotting corpses make the best fertilizer, ya' know. Especially those Irish folk. They push up the daises like a son-of-a-bitch...
CARTER I'll remember that.
FRED Hell, I can tell you where every Mick is buried by the ground cover growing above 'em.
Fred shines his flashlight on a distant grave.
FRED (continuing) Irish... (shining the beam on another grave) ...Irish...
They stop in front of a gravesite... TOMBSTONE missing... patchy grass covers the grave.
FRED (continuing) Never could get anything to grow cover this one...
BLAKE And you're sure this is Laurie Strode's grave?
FRED Sure as I'm standing here.
Fred shines the beam of the flashlight on an adjacent headstone...
FRED (continuing) Buried her daughter right next to her not too long ago. You don't suppose that Meyers fella took the tombstone? CARTER Probably just a couple of kids playing a Halloween prank.
BLAKE Tee-peeing a house, yes. A bag of burning shit on a porch, maybe. Digging up tombstone? I don't think so.
Carter shrugs his shoulders, take a drag off his cigarette.
CARTER I'm going to bed.
Carter heads back to his car. Blake runs after him...
BLAKE That's it?
CARTER Care to join me?
BLAKE Come on, Carter. You know it's Michael.
CARTER What do you want me to do, put out an A.P.B. on a man in overalls wearing a white mask dragging a headstone?
BLAKE Yes.
CARTER Sweet dreams, Blake.
Carter climbs into his car, heads for home...
CUT TO:
INT. BEDROOM - NIGHT
Keri tosses and turns in her bed, unable to exorcise the demons from her mind... eyes wide open, watches the moonlight cast the shadows of dancing leaves on the ceiling above her...
Then, the shadow of something altogether unnatural appears above her...
THE SHADOW OF A MAN
hair tattered and tousled by the wind.
ON Keri lying frozen in fear, eyes unblinking. THE SILHOUETTE
grows larger, nearly engulfs the entire ceiling... then suddenly disappears from view... the dancing leaves return.
CLANK!
A noise from outside her window. FOOTSTEPS quickly make their way around the house...
Keri jumps out of her skin, holds her breath...
A JIGGLING SOUND emanates from the living room, as if someone's trying to get in through the front door...
Keri jumps out of her bed, slides a metal box out from under the bed... pulls a SMITH AND WESSON from inside... heads for --
INT. LIVING ROOM
Keri moves silently through the hallway into the living room, gun at the ready... hands trembling... eyes locked on the front door as --
THE DOORKNOB
slowly twists and turns... the SHADOW of a man behind the curtain of the window flanking the side of the door.
KERI
raises the gun... uses both hands to steady her aim... her breathing becoming more shallow with each passing second...
THE DOOR
swings open revealing...
JOHN
house key in hand... busted.
KERI
lowers the gun, fights back in tears...
John closes the door... if he's surprised that his mother's pointing a gun in his face, he doesn't show it...
KERI Shit, John! What the hell were you doing out there?! JOHN Nothing.
KERI You're kidding with that answer, right?
JOHN I just went for a walk. It's no big deal.
KERI Wrong. There are rules in this house and you're going to follow them whether you like it or not.
JOHN Or what? You're gonna shoot me?
KERI It's an option.
JOHN Well, maybe if you'd let me live in the dorms, I wouldn't have to sneak out to spend time with my friends.
KERI Oh, so now it's my fault?
JOHN Just forget it...
John storms down the hall, disappears into his bedroom... slams the door behind him.
CUT TO:
INT. BEDROOM - MINUTES LATER
Keri enters the room, passes by the window... glances out into the night and sees --
THE SHAPE
standing between sheets that blow in the clothesline.
KERI
closes her eyes, takes a deep breath... opens them... now both the Shape and the sheets blowing in the clothesline have VANISHED.
CUT TO: INT. CLASSROOM - MORNING
Keri substituting for the absentee English Lit teacher. Mr. Elliot.
A STUDENT has just finished her oral report and heads back to her seat.
Keri stands, crosses to the chalkboard --
KERI I'm sure Mr. Elliot will go over this when he returns on Monday, but Julie hit on a very important aspect of Virgil's "The Aeniad."
She scrawls the word "FATE" across its surface...
KERI (continuing) F-A-T-E. Fate. The Romans believed in the three goddesses of Fate, called "the Fate." Nona, Decuma, and Morta. These goddesses determined your fate. They were to blame when things went wrong, and were to be praised when --
Keri passes in front of the classroom, glances out the window and sees --
THE SHAPE
standing behind the gates of the academy, waiting patiently for his chance... eyes burning a hold right through her.
THE STUDENTS
wait for Keri to complete her thought... mumble softly amongst themselves...
KERI
closes her eyes for a moment, takes a deep breath... looks outside again... the Shape is STILL THERE!
THE BELL RINGS.
The students make a mad dash for the hall. KERI
moves swiftly through the throng of students, pushing bewildered pupils aside as she makes her way to the school entrance...
CUT TO:
EXT. HILLCREST ACADEMY - DAY
Keri emerges from the building, moves across the campus toward the iron gates... runs smack into --
WILL
throws his arms around her waist...
WILL Whoa... what's the hurry? I'm not going anywhere...
Keri doesn't respond, is too busy looking over Will's shoulder --
KERI'S POV of the gate... the SHAPE has once again disappeared.
Keri eyes the perimeter of the campus, searching for her long lost brother.
WILL (continuing) Hey, you alright?
KERI (distracted) What?
WILL What are you looking at?
KERI I'm fine. I just need to lie down...
Keri breaks free from Will's grip, heads toward the faculty housing, determined. Will watches her leave, face laced with concern...
CUT TO: INT. HOUSE - KITCHEN - MINUTES LATER
Keri climbs atop a foot stool, retrieves a BOTTLE of Vodka concealed behind bags of flour on the top shelf of the pantry...
She spins off the top... brings the lip of the bottle to her mouth, hands trembling...
She stops short of taking the drink, bring the bottle down from her lips...
Keri climbs off the foot stool, crosses to the kitchen sink and pours the Vodka down the drain...
CUT TO:
INT. LANGLEY POLICE DEPARTMENT - BLAKE'S OFFICE - DAY
Blake sits behind her desk leafing through the double homicide case file, looking for some stone that's been left unturned...
She removes a FILE FOLDER from an evidence bag, "KERI TATE" in type across the index tape...
Blake opens it... still empty.
ON THE FILE FOLDER.
The light from her desk lamp falls across the open folder, reveals a series of indentations in the left hand corner of the manilla paper...
BLAKE
struggles to make out the ghost writing... grabs a pencil, moves the side of the lead swiftly across the folder...
"6089244325"
The numbers pop out against the shaded background...
BLAKE
jots the numbers down on a nearby pad.
ON THE PAD
Blake tries formatting the numbers into a Social Security number: "608-92-44325" too many numbers. She scratches it out... She tries again... puts parenthesis around the first three numbers and a dash after the sixth number: "(608) 924- 4325" -- BINGO. A telephone number...
BLAKE
picks up the telephone, dials the number...
SECRETARY (O.S.) Hillcrest Academy, may I help you?
CUT TO:
CLOSE ON: NEWSPAPER CLIPPINGS
from the "Haddonfield Leader" pinned to a large BULLETIN BOARD, tales of the Michael Meyers' slayings splattered across the headlines.
A TELEPHONE RINGS in the b.g.
CAMERA PANS ACROSS the board, finds...
CRIME SCENE PHOTOS
of Meyers' slain victims... bloody, graphic images assault the eye.
CAMERA PULLS BACK to reveal we are in --
INT. CARTER'S OFFICE - HADDONFIELD POLICE DEPARTMENT - DAY
Carter sits beneath a desk... searches for the phone, finds it buried beneath a sea of reports --
CARTER (into phone) Carter.
BLAKE It's Blake. How do you feel about Wisconsin?
ON Carter's puzzled expression...
CUT TO:
EXT. FREEMAN'S DRUGSTORE - AFTERNOON
A YELLOW SCHOOL BUS
parked across the street, filled to capacity with students.
ON John watching from outside the school bus as AN OFFICER
strings yellow crime scene tape across the front of the drugstore.
MOLLY
stands next to John, arm around his waist... watching curiously...
LINDA
leans against the side of the bus next to Shane...
LINDA Look, they're staring right at us.
SHANE (to John) You think your mom knows we snuck out last night?
JOHN Nah, I didn't tell her where I went.
MOLLY Is that all you guys can think about? Amy never came back last night. Maybe she's in trouble.
LINDA Better her than me.
MOLLY You're unbelievable.
SHANE Linda's right. I have Yale to think about. Amy's going to the Barbizon School of Beauty -- if they let her retake her boards...
ON BRUCE CLARK, a young deputy ducks under the yellow tape, approaches...
KERI
stands in front of a squad car, craning her neck to get a look at the proceedings... KERI Bruce... what's going on? The kids are here to pick out their costumes for the festival.
DEPUTY CLARK Better take 'em to Virgil's downtown. We got a dead body in there.
Keri's heart skips a beat, she tries to digest the news...
KERI A dead body?
DEPUTY CLARK It's Amy Kramer.
KERI My god...
DEPUTY CLARK Pretty messy. Parents have already been notified. Our office has been trying to get a hold of you...
Keri fears the worse, tries to hold herself together...
KERI Do you know who did this?
DEPUTY CLARK Well, Eddie Catero didn't show up for work this morning... parents say he never came home last night. Car's still missing.
KERI (wishful) Think Eddie had something to do with it?
DEPUTY CLARK Doesn't look good.
Deputy Clark turns in the direction of the bus...
DEPUTY CLARK (continuing) You best keep those students locked behind those gates of yours... got ourselves a cold-blooded killer on the loose.
CUT TO:
EXT. HILLCREST ACADEMY - ESTABLISHING
Night. Wind assaults the trees. Lights illuminate a dozen dorm windows.
EXT. GATES - SAME TIME
A compact CAR pulls up behind the gates, high beams illuminating the...
GUARD HOUSE
There is an entrance on either side of the guard house... inside sits Hattie.
She cups her hands over her eyes, protecting them from the glare of the auto's headlights. She checks --
A MONITOR
embedded in the console in front of her... black and white image of the car idling outside the gates illuminates the screen.
ON Hattie, unable to make out the identity of the driver. She steps out of the guard house...
EXT. GATES
Through the gate, she sees a figure slumped behind the wheel...
HATTIE (calling off) Who's there?
No response.
HATTIE (continuing) Please identify yourself, young man.
Still nothing. Hattie doesn't know what to do.
She opens the gate with her gate key and walks through... she approaches the car. The trees rustle nearby. She takes a look, spooking herself. It is, after all, Halloween. She crosses to the driver's side window... looks inside to find the body of --
EDDIE CATERO
the costume shop victim, slouched behind the wheel... face a bloodied mess.
HATTIE My Lord...
Hattie stumbles backward... she's doesn't see THE SHAPE pass through the open gates behind her.
She crosses back to the --
INT. GUARD HOUSE
Hattie quickly presses a BUTTON on the console in front of her, automatically closing the wrought iron gates outside...
THE SHAPE
stands at the entrance to the left of guard house. Hattie's back to him.
She picks up the phone... no dial tone. She jiggles the receiver... comes up short.
CLINK. A noise from outside.
Hattie spins around, faces the left entrance... no one in sight.
HATTIE (softly) Hello?
No answer. Hattie crosses to the left entrance, shuts the door... throws the bolt.
THE SHAPE
appears behind Hattie... now standing at the entrance to the right of the guard house.
CLINK. Another noise, source unknown...
Hattie spins around, faces the right entrance... the Shape has vanished.
Hattie crosses to the right entrance, shuts the door... locks it. Now secured safely inside the guard house, Hattie crosses to a CB Radio... She turns it on... dials the emergency channel... is distracted by --
THE CAR
outside the gates... its headlights suddenly extinguish.
ON Hattie, squints through through window in the car's direction...
THE SHAPE
emerges from the shadows behind her... wraps the CB cord around her neck... Hattie struggles to free herself... her face pressed up against the glass...
The Shape brandishes a knife... stabs her repeatedly in the back... ends the struggle.
CUT TO:
INT. BELL TOWER - CONTINUOUS
Wally, the custodian, climbs the four flights of stairs to the massive bell partially enclosed at its top... he tugs on the rope dangling from the bell...
THE BELL RINGS.
Its sound resonating across the campus.
ON THE DORMS.
The windows, once lit, are now extinguished, leaving the dorms shrouded in total darkness... lights out.
INT. DORM - MOLLY'S ROOM
The sound of the ringing bell echoes softly through the room...
Molly lies in her bed, unable to sleep, eyes to the ceiling... her pajama clad body partially covered by a sheet.
ON "LURCH," THE SCHOOL DOG
lying beside Molly's bed, also asleep.
Molly hears the RUSTLING of bushes outside her window... she turns in its direction to see -- THE BUSHES
moving forcefully, their branches scratching wildly against glass...
MOLLY
sits up in bed, her eyes glued to the window... she slowly gets out of bed, moves toward it... leans against the windowpane.
ANGLE THROUGH THE WINDOW
of the campus, bathed in moonlight... wind howls through the trees... leaves scurry across the grounds.
BANG! BANG!
A hand raps on her window. Molly jumps out of her skin.
ON JOHN
standing outside her window, motions her to open it. She does, sticks her head out...
MOLLY (whispering) What are you doing here?!
JOHN (whispering) I came to see you.
MOLLY I can see that. (a beat) Why?
JOHN Can I come in?
MOLLY Are you crazy? You'll get caught.
JOHN Then you come out here.
MOLLY Then I'll get caught.
JOHN (louder) Well, I'm not going until I talk to you. MOLLY Alright. I'll come out. Just be quiet.
CUT TO:
EXT. HILLCREST ACADEMY - FIVE MINUTES LATER
Molly and John meander through the wooded acreage along the perimeter of the campus, hand-in-hand... the school buildings completely obfuscated by the surrounding foliage.
MOLLY You really think Eddie killed her?
JOHN You saw that Michael Meyers display. You've got to be pretty twisted to come up with something like that.
MOLLY I guess. It's just hard to believe.
THE SHAPE
appears behind them in the distance, standing beside a tree... watching... waiting. It seems as though with each cut the SHAPE moves closer...
JOHN You look kind of cold.
MOLLY I'm okay.
JOHN Here, take my jacket.
John takes off his letterman jacket, drapes it over her shoulders...
The SHAPE disappears from view, into the thicket.
JOHN (continuing) Better?
MOLLY Yeah. John gazes into Molly's eyes, her moves in closer... they engage in a passionate kiss... John's hands begin to find there way up her blouse when --
A PAIR OF HANDS
grabs them by the back of their necks, pulls them to their feet! Shit! Molly SCREAMS... the CAMERA PULLS BACK TO REVEAL...
KERI
with a firm grip on them both, a disapproving look painted across her face.
KERI All right... fun's over.
EXT. SCHOOL GROUNDS - MINUTES LATER
Keri moves across the campus, back to the school... Molly and John in tow. They pass the group of faculty houses...
KERI (to John) Go take a cold shower... I'll deal with you later.
John heads for his house, waves good-bye to Molly... she waves back sheepishly.
Keri and Molly continue toward the dorms...
KERI (continuing) Molly, of all the people... if I can't trust my resident assistant, then what?
MOLLY I know. I'm really, really sorry, Miss Tate. Please let me keep the job... it's the only way I can afford to stay here.
KERI Okay, tell you what... you can still be the school R.A., but no dance tomorrow night.
MOLLY (relieved) Okay... thank you. Molly gives Keri a hug...
KERI Something tells me I won't get the same reaction when I tell John...
The two are completely unaware of...
THE SHAPE
watching from the thicket, the moonlight reflected off his pale white mask.
CUT TO:
EXT. HILLCREST ACADEMY - ESTABLISHING - MORNING
STUDENTS scurry from their dorms to the adjacent school building, racing to make it to their a.m. classes on time...
SUPER the legend: "October 31st. Halloween."
INT. GYMNASIUM - MORNING
A group of students take laps in the indoor swimming pool beneath the retracted gymnasium floor.
The gym is decorated for the Halloween festival that night...
Their coach, MRS. ROCKWELL, supervises from poolside, whistle dangling around her neck.
ON Molly, Linda, and SARAH LOCKE, the resident gossip with beauty pageant good looks, as they complete their final lap.
They congregate in the shallow end, their goggles perched on their heads...
MOLLY I feel like everyone's staring at me.
SARAH News travels fast. It's all over school about you and John getting busted in the woods by Miss Tate.
LINDA Don't suppose you had anything to do with that, motor mouth.
SARAH Shut up, freak. Mrs. Rockwell blows her WHISTLE... the girls in the pool wait for her instruction.
MRS. ROCKWELL Alright, I know you girls have the big Halloween dance tonight, so I'm letting you go ten minutes early today.
LINDA (under her breath) How generous of her.
Molly, Linda, and Sarah start to climb out of the pool...
MRS. ROCKWELL Sarah, since you took it upon yourself to arrive ten minutes late today, you can stay the extra ten minutes.
SARAH But Mrs. Rockwell...
MRS. ROCKWELL Use the time to practice your drive. You looked real sloppy out there today.
LINDA Ooooh, busted.
MOLLY Big time. And news travels fast. Wouldn't be surprised if the whole school knows about this one by tonight.
Sarah flips them the finger...
SARAH Smile at the birdie, ladies.
Molly and Linda head toward the locker room...
LINDA Sarah Locke. What a major bitch. You know she waxes her stomach?
Molly and Linda exit the gymnasium...
ON Sarah as she climbs out of the pool... walks to the diving board on the other end of the deserted gym... places the goggles over her eyes... She dives into the water... swims underwater toward the shallow end... she heads toward the surface...
SARAH POV
The SHAPE is standing poolside... his image warped by the rolling water, bobbing and swaying with the current.
Sarah breaks through the surface of the water, catches her breath... throws off her goggles, scans the gym...
ANGLE ON THE GYMNASIUM
Empty. Not a soul in sight.
Sarah shrugs it off, climbs back out of the pool... heads for the diving board...
She dives into the water... as she emerges in the shallow end the lights in the gym extinguish... leaving her in darkness.
SARAH (calling out) Hey! There's someone in here!
No response. Sarah moves toward the stairs...
SARAH (continuing) Hell-o! I'm in here!
She grabs the railing, starts to pull herself out of the pool, when suddenly...
THE SHAPE GRABS HER BY THE NECK.
Pushes her back into the pool... holds her head under the water... her arms flail wildly as she struggles for breath...
The Shape flashes a knife... slices into flesh...
Sarah's body goes limp... the SHAPE releases her... her lifeless body floats face down in the bloody water.
WIDE OF THE GYMNASIUM
The SHAPE has disappeared from view.
CLANG-CLANG-CLANG.
The gym floor begins to close over the pool, covering the floating corpse inside of it.
CUT TO: EXT. HILLCREST ACADEMY - DAY
Keri moves across campus, notices --
THE MASSIVE WROUGHT IRON GATES
open to the single lane road exiting the school.
Keri eyes the GUARDHOUSE that sits at the entrance, indignant.
INT. GUARD HOUSE
Keri enters, the guard house is empty...
KERI (calling off) Hattie?
She's nowhere in sight...
KERI (continuing) Now where is she?
Keri pushes a BUTTON on the console in front of her.
THE GATES
slowly begin to close...
KERI
exits the guard house, closes the door behind her... heads back to the school.
CLOSE ON: A COFFEE MUG
sits on the console, filled with a deep red liquid...
PLOP!
A drop of blood falls from
THE CEILING
Blood soaks the drop-ceiling... Hattie's corpse hidden from view.
CLANG!
The GATES SHUT tight...
CUT TO: INT. HEADMASTER'S OFFICE - LATER THAT AFTERNOON
Keri walks into her office, shuts the door behind her... turns to find
CARTER
seated in front of her desk... Blake stands beside him, looking out the office window...
Keri jumps at the sight of the uninvited guests --
KERI (startled) Shit!
Carter stands, takes one look at her and knows he's hit the jackpot...
CARTER I'll be damned.
KERI Do I know you?
BLAKE We're sorry to startle you, Miss Tate.
CARTER The door was open, so we let ourselves in.
KERI I can see that. Who are you?
Carter flashes a smile, then his badge...
CARTER Detective Carter from the Haddonfield P.D.
BLAKE Toni Blake from Langley P.D.
Keri knows exactly why they're here, her dual lives are crossing paths... they've found little sister.
CARTER Mind if we sit down?
KERI I'd prefer you didn't. I'm very busy. CARTER Okay, then how 'bout we ask you a few questions?
KERI Detective...
CARTER Carter.
KERI ... I think it would be best if you both left.
CARTER Might want to stop and think about the safety of your students, Miss Tate.
KERI I never stop thinking about it, Detective. (pointing out the window) The only way in or out of this school is through that gate, and it is secured at all times.
CARTER Funny, we just drove right in.
KERI Well, I can assure you, it won't happen again. Thanks for your concern. Goodbye.
Carter starts out... turns back toward Keri.
CARTER Has anyone ever told you, you bear a striking resemblance to Laurie Strode?
Keri glares at him for a beat... the walls around her are collapsing.
KERI Never heard of her.
Blake removes a business card from her pocket, a phone number scribbled across its face. She places it on the desk... BLAKE The Ferndale P.D. is setting up a roadblock couple miles down the road. They think they're looking for a jealous boyfriend gone mad... I think differently. We can protect you..
Keri doesn't flinch, motions toward the door. Carter and Blake start out --
KERI You can't stop him.
Carter stops, turns back toward her...
CARTER Not without some help.
Carter and Blake exit, shut the door behind them...
CUT TO:
EXT. GATES - FIFTEEN MINUTES LATER
Carter and Blake in a rental car to the side of the road just outside the gates.
Blake emerges from the passenger side... Carter tosses her a walkie-talkie...
CARTER Don't be a stranger...
Carter pulls away from the school...
Blake hooks the walkie-talkie to her side, heads back into the campus, passes --
A CAR
hidden behind the bushes, Eddie's rotting corpse locked inside...
CUT TO:
INT. GIRLS' LOCKER ROOM - A HALF HOUR LATER
Lots of nubile young bodies moving to and fro, changing out of sweaty gym clothes into dry attire.
ON Molly, standing in front of a fogged-up mirror, straight from the shower... towel tucked firmly around her chest. Linda stands to her right, putting on her make-up... also in a towel.
LINDA Shane's going as a condom.
MOLLY I thought you were allergic to latex.
LINDA I'll pop a Benadryl.
MOLLY You think they'll let him in dressed like that?
LINDA Oh, they're so stupid... I'll just tell them he's going as a sausage casing.
Linda swipes her palm across the fogged-up mirror, wiping away the steam...
ON the MIRROR. In its reflection we see Molly and Linda... then --
THE SHAPE
appears from the cloud of steam behind them!
Other STUDENTS spot the intruder, run SCREAMING from the locker room.
The SHAPE grabs Linda from behind... wields a knife... slits her throat... blood cascades down her neck, 'blemishes the towel around her bust.
ON Molly, immobile. Terrified. Unable to scream.
LINDA'S
lifeless body drops to the floor... eyes wide open in terror.
THE SHAPE
shifts his attention to
MOLLY
gets her legs back, runs like hell... runs smack into KERI
at the locker room entrance... grabs Molly in her arms.
KERI Whoa. What's going on in there?
Molly is on the verge of hysterics --
MOLLY Linda! He killed Linda!
KERI Who?!
MOLLY Michael Meyers!
Keri darts into the locker room...
MOLLY (continuing) Miss Tate, wait!
Molly follows her, stands in the relative safety of the doorway... Keri walks in to find --
THE SHAPE
standing above Linda's lifeless body... knife raised high in the air, dripping blood.
ON Keri, her legs buckle... she struggles to stay standing.
KERI Michael, nooooooo!
Then, an even more bizarre sight --
THE SHAPE
starts to CHUCKLE... his shoulders bobbing up and down... bending over slightly at the waist.
LINDA'S
lifeless body starts trembling with laughter.
THE SHAPE
reaches up to his mask, pulls it off... it's JOHN! JOHN That was classic... (imitating Keri) "Michael, nooooooo!"
LINDA
sits up, licks some blood off her fingers.
LINDA Mmmm. Anyone got some French fries?
John and Linda cracks up.
ON Keri, mortified... the sight of her son dressed like his homicidal uncle is almost too much for her to bear...
John and Linda are too busy revealing in their prank to notice...
LINDA (continuing) Molly, you should have seen your face...
Keri crosses over to John... SLAPS him across the face, hard. John reels, probably the first time Keri's laid a hand on him...
KERI Home... NOW!
Keri grabs John by the arm, pushes him past Molly...
CUT TO:
INT. HOUSE - LIVING ROOM - DAY
John sits on the sofa. Will stands behind him... neither sure exactly what they're doing there.
Keri paces in front of them...
JOHN I'm sorry, alright? It was just a stupid joke.
KERI Will, sit down...
Will does. KERI (continuing) There's something I have to tell you both. It's going to sound strange...
WILL What?
KERI My name hasn't always been Keri Tate. It was once Laurie Strode.
WILL You're right. It does sound strange.
JOHN You some kind of fugitive or something?
KERI I was trying to get away from someone.
WILL Who?
KERI Michael Meyers.
WILL The serial killer?
KERI He's my brother.
JOHN Now you're joking, right?
KERI Afraid not. You can pick your friends, but you can't pick your family.
WILL Keri, have you been...
Will mimes taking a drink from a bottle...
KERI No, Will, this isn't the alcohol talking. It's the truth. WILL I can't believe this is happening.
KERI Shit happens.
JOHN Wait a minute... slow down... you're telling me Michael Meyers is my uncle?
KERI Yes.
JOHN Any other psychotic relatives I should know about? Jason? Freddy Krueger?
KERI No.
JOHN Why didn't you tell me?
KERI I was trying to protect you from this...
Keri holds up this trademark Halloween mask, a tuft of hair tightly in her grip...
John crosses to the front door, opens it...
KERI (continuing) Where are you going?
JOHN I don't know.
John exits. Keri starts after him, Will grabs her by the arm...
WILL You just dropped a shitload on him... give him some time to digest it.
KERI Are you going to leave, too?
WILL Never. Keri nuzzles her head against Will's chest...
WILL (continuing) So you're really Michael Meyers' sister?
KERI Yeah.
WILL Do we have to invite him to the wedding?
Keri laughs, more out of relief than anything...
CUT TO:
EXT. ROADSIDE - LATE AFTERNOON
A couple of Ferndale P.D. SQUAD CARS flank either side of the road.
ROADBLOCKS
lined up across the asphalt deny access to the roadway leading to Hillcrest.
ON Carter, leaning against a squad car. Deputy Clark stands next to him. Carter lights up a cigarette...
DEPUTY CLARK Don't worry, Detective. No one's getting up to that school.
CARTER And this is the only way up to Hillcrest?
DEPUTY CLARK Sure is. Unless your boy can fly.
CARTER I hope not.
Deputy Clark laughs, Carter doesn't... just takes another drag off his cigarette...
CUT TO:
EXT. HILLCREST ACADEMY - NIGHT
Darkness falls... Halloween night. COSTUMED STUDENTS
make their way inside the gymnasium.
ON A BAND OF MISFITS.
Freshman, armed with cartons of eggs and rolls of toilet paper, emerge stealthily from the wooded acreage... they attack the Hillcrest Administrative Building.
ON WALLY.
The school custodian heads for the bell tower... spots the young punks across campus defacing what he works so hard to preserve.
He takes off in their direction.
WALLY (calling off) Hey, you kids! Knock that off! Get over here!
The boys see Wally headed in their direction... they scramble, head back for the woods... a few of them throw eggs in Wally's direction.
Wally makes it about halfway across campus before his old ticker kicks in... he has to stop... catches his breath.
WALLY (continuing) Damn kids.
Wally turns around, heads back to the bell tower.
One by one the freshman disappear into the thicket... one of the boys runs smack into...
THE SHAPE.
The boys stares up at him, startled... he darts after his friends... the SHAPE continues toward Hillcrest.
INT. DORM - MOLLY'S ROOM
Molly sits on the windowpane, her forehead pressed against the glass. Lurch, the dog, lies across her bed.
ANGLE THROUGH THE WINDOW
A view of the entire campus. Couples make their way across the grounds, move inside the gymnasium. Molly lets out a sigh, wishes that were her and John... she continues to stare longingly out the window...
THROUGH THE GLASS
ON Wally as he moves to the bell tower, disappears inside. He is followed by...
THE SHAPE
ON Molly. She sits up, takes notice... watches as the SHAPE moves inside the bell tower, then suddenly...
A PAIR OF HANDS
grabs Molly by the shoulders... spins her around, revealing...
LINDA
in full "Bride of Frankenstein" costume.
LINDA BLAAAAAGGGHHHHH!
MOLLY Shit, Linda!
LINDA You're so easy...
MOLLY Wasn't scaring the hell out of me once today enough?!
LINDA Nope. Hey, you think I'll win scariest costume?
MOLLY Linda, you are without a doubt the scariest person on campus.
LINDA Thanks!
MOLLY Where's Shane?
LINDA Condom Boy is waiting for me in the cafeteria.
MOLLY But the dance is in the gymnasium. LINDA Very insightful.
THE BELL RINGS.
Echoes across the campus.
LINDA (continuing) Let the party begin.
MOLLY Have enough fun for the both of us.
LINDA Oh, don't be such a victim.
Linda produces a couple of shot bottles from her purse, tosses them on the bed.
LINDA (continuing) Here. Drink a couple of these. It'll putcha in a much better mood. Ta-ta.
Linda exits. The bell continues to ring. Molly sits on the bed, pats Lurch on the head.
MOLLY Guess it's just you and me, boy.
The bell stops ringing abruptly. Molly turns her attention back to the window...
ANGLE THROUGH THE WINDOW
At the top of the bell tower... the SHAPE stands beside the massive bell... staring in Molly's direction, looking right through her.
Molly gasps softly. She looks down below and sees...
LINDA
leave the dormitory, heads for the cafeteria. Molly looks back up to the bell tower... the SHAPE has vanished.
MOLLY Just some idiot in a costume...
Molly sits back on her bed, uses Lurch as a pillow... Molly picks up one of the shot bottles, twists off the lid. MOLLY (continuing) Let the party begin.
Molly takes a swig from the bottle. She shudders, her sour expression says it all...
INT. CAFETERIA
Dark and abandoned. THE CAMERA PANS across a bevy of empty tables and chairs to reveal...
LINDA AND SHANE
liplocked, hands all over each other. Linda sits on the edge of a table.
Shane, dressed as a condom, stands between her legs.
THE SHAPE
watches from the kitchen, illuminated only by the light from a nearby soda machine.
Shane pushes Linda down onto the table, starts to unbutton her blouse...
LINDA Wait.
SHANE What is it?
LINDA I have to pee.
SHANE Can't you hold it?
LINDA Can't you?
Linda pushes Shane off her, heads for the restroom. She passes the kitchen area... the SHAPE is nowhere in sight.
Linda enters the bathroom...
INT. BATHROOM
Linda crosses to a shall, tugs on the door... it's locked. She knocks on the door.
LINDA Somebody in there? No answer. She pulls at it again... still doesn't budge.
LINDA (continuing) Hellooooo.
She kneels down on the ground, peers under the door. Nothing.
She stands back up... shrugs it off... moves to the next stall and goes inside, closing the door behind her.
TIGHT ON DOOR
As Linda takes care of "business."
LINDA (O.S.) (singing) IF YOU THINK I'M SEXY. AND YOU WANT MY BODY. COME ON, BABY. LET ME KNOW.
The toilet flushes. Linda emerges from the stall, crosses to the mirror... checks her make-up.
ANGLE ON THE MIRROR
Linda admires her reflection... not noticing the stall door which was previously locked is now opened.
She smiles at herself, licks her teeth, then exits to the hallway.
INT. CAFETERIA
Linda emerges from the bathroom... she heads toward the center of the room...
ANGLE ON THE CAFETERIA
Empty. No sign of Shane anywhere.
LINDA (calling off) Shane?
CLANG! A NOISE FROM THE KITCHEN.
Linda moves into the kitchen area where...
THE SHAPE
emerges from the shadows, attacks Linda... grabs her by the throat, lifts her into the air... Her head hits the pot rack hanging above her... pots and pans drop to the tile floor below...
Linda flails her arms and legs, desperately trying to free herself form the SHAPE'S grasp...
She kicks the refrigerator door behind her... it swings open to reveal...
SHANE'S BODY STUFFED INSIDE.
Asphyxiated, his condom hat pulled down over his head... his corpse topples out of her refrigerator, falls onto the floor...
THE SHAPE
flicks the switch on a nearby MEAT SLICER, it WHIRS to life.
The Shape forces Linda's head against the slicer... she struggles furiously as her cheek approaches the spinning blade...
BLOOD SPLATTERS
everywhere as Linda is carved into quarter-inch slices...
CUT TO:
EXT. HILLCREST ACADEMY - NIGHT
VARIOUS SHOTS of the empty campus, all the students now congregated inside the gymnasium.
The pulsating beat of faint dance MUSIC drifts across the grounds.
INT. GYMNASIUM - SAME TIME
The festival is in full swing... jam packed with costumed couples dancing across the floor. CHAPERONES line the walls.
KERI
leans against the refreshment table, sans costume. Arms folded... there in body, mind elsewhere.
WILL
approaches her, dressed as Count Dracula. He offers Keri a glass of punch... WILL (as Dracula) May I offer you some fresh blood? I squeezed it myself.
Keri glances at him, not amused...
KERI Not a real fan of Halloween humor, Will.
WILL (realizing) Oh, right. Sorry.
KERI I'm gonna head back to the office... finish up some things.
WILL Can't it wait till Monday? I thought maybe we could dance... (as Dracula) I'm very light of my feet.
Keri manages a sincere smile, gives him a kiss...
KERI Thanks, but I'm not much in the mood for dancing. Enjoy the party... you did a great job.
Keri heads for the exit, Will watches her leave...
CUT TO:
INT. DORM - MOLLY'S ROOM
CLOSE ON A HALF EMPTY SHOT BOTTLE
on the bedside table, next to two other shot bottles... untouched. CAMERA PANS to the bed where...
MOLLY
lies, fully clothed... facing the ceiling. Eyes wide open, thinking of the night that could have been...
ON Lurch, lying on the floor beside the bed... he sits up, his eyes focused on... THE CLOSET
Its door slightly ajar... the lights on inside. Something inside catches Lurch's attention... he GROWLS.
Molly reaches over the side of the bed, pats the dog on his head.
MOLLY Whatcha growling at, huh?
Lurch continues to snarl at the closet. Molly sits up in the bed...
ANGLE ON THE CLOSET
Light seeps out from the cracks in the open door, illuminating the sleeves of several hanging blouses.
MOLLY Lurch, there's nothing in there but clothes.
Molly gets up... moves to the closet, open it...
INSIDE THE CLOSET
Wall-to-wall clothes hang from wooden dowels... Molly palms the lightswitch, flicks off the light.
Molly closes the door, tight... heads to the bathroom down the hall, Lurch follows her out.
EXT. GYMNASIUM - SAME TIME
The misfits who tee-pee'd the school have returned, this time with black duffel bags in tow.
ON THE REAR DOUBLE DOORS
of the gymnasium... one of the FRESHMEN pulls a thick three foot long CHAIN from his duffel bag... wraps it around the door handles... he produces a PADLOCK, hooks it through the loops of the chain... snaps it shut, locked tight.
ON THE GYMNASIUM ENTRANCE
Another freshman sneaks into the gymnasium, while a fellow SCHOOLMATE hide behind some bushes... on the lookout for Wally.
INT. DORM - MOLLY'S ROOM
Molly returns from the bathroom, passes... THE CLOSET DOOR.
It's ajar once again.
Molly climbs into bed, turns on her side... she reaches over to the side of the bed... pets the dog.
MOLLY Guess there's always next year... if I live past the humiliation of tonight.
At that very moment, Molly sees...
LURCH!
The dog enters the room, sits in the doorway... growls in her direction.
ON Molly. Shit! She instantly stops petting whatever is under the bed.
CLOSE ON HER EYES
full of confusion, flushes with fear.
Terrified, she slowly leans over the edge of the bed... comes eye-to-eye with --
THE SHAPE!
Beneath her bed, staring right at her... she was petting the hair on his mask all along.
Molly SCREAMS. The SHAPE grabs her arm, drags her off the bed onto the floor.
Molly struggles with him, as he tries to climb on top of her.
The SHAPE maintains a strong grip on her ankle with one hand, swings a knife fiercely at her with the other.
He makes contact, slices open her left thigh...
Molly SCREAMS in agony, kicks her legs wildly... she manages to strike a hard blow to his head.
She breaks free of his grip, takes off limping down the hall... her hand pressed against the gaping wound carved in her thigh.
ANGLE ON THE HALL
Seems to stretch for miles... Molly limps down the corridor, dragging her leg behind her... she looks behind her... no sign for the SHAPE... yet.
She ducks into one of the room, hides behind the door.
THE SHAPE
emerges from her room... heads down the hall.
ON Molly trying desperately not to breathe, she watches as...
THE SHADOW OF THE SHAPE
passes by... she lets out a silent sigh of relief, when suddenly...
THE SHAPE
steps back into the doorway, looks into the room.
Molly freezes, looks at the wall beside her, she sees...
HER OWN SHADOW
projected on the wall, it betrays her.
MOLLY (squealing) Oh, God...
The SHAPE reaches through the crack in the hinged side of the door... grabs Molly by the hair, reels her in.
Molly grabs the door... pulls it towards her, smashing the SHAPE'S arm between the door and the jam. He releases her...
She flies out of the room, down the hall... stumbles down a flight of stairs... dashes out of the dormitory.
INT. GYMNASIUM - SAME TIME
The party is in full swing. Students and teachers alike crowd the gym floor, dancing to the music blaring from the loudspeakers above.
CLOSE ON A SIGN
"CAUTION: BE SURE TO CLEAR GYM AND/OR POOL BEFORE OPERATING FLOOR"
Hung above a large red button. THE CAMERA PULLS BACK TO REVEAL the freshman, who snuck in earlier, poised beneath it... He punches the button, then pops it off and puts it in his pocket... he darts for the front entrance.
CLANG-CLANG-CLANG!
The gymnasium floor begins to move beneath the students' feet, splits right down the middle... retracts into the walls...
The students part like the Red Sea, hooting and hollering as the pool beneath them is revealed.
EXT. GYMNASIUM
The freshman flies out of the gym, slams the doors shut behind him... his schoolmate chains the doors, locks them with a padlock. They dart for the woods, passing...
MOLLY
stumbles towards them, her pants bloodied. She SCREAMS, tries to get their attention... they disappear into the thicket.
She moves to the rear of the gymnasium, bangs on the chained doors... SCREAMS for help, looks over her shoulder to see...
THE SHAPE
headed straight for her. She hobbles to the front entrance, bangs on the door...
MOLLY Let me in! Oh, God, help me! Somebody... goddamnit!
The SHAPE closes in.
INT. GYMNASIUM - SAME TIME
Molly's screams are lost amongst the gleeful SQUEALS of the party goers.
The floor continues to glide open beneath their feet, revealing...
SARAH
floating, face down in the pool... water tainted bright red with her blood, illuminated by the pool light.
The mood suddenly changes... the SCREAMS of excitement quickly turn into SHRIEKS of horror. Bedlam ensues... Frightened students scramble toward the entrance, knocking party goers into the pool... trampling over others.
AT THE ENTRANCE
Students stack up against the doors, pounding furiously... trying to get out.
WILL
tries to calm the petrified party-goers...
INT. HEADMASTER'S OFFICE - SAME TIME
Keri sits behind her desk, Detective Blake's BUSINESS CARD in hand...
She picks up the phone, brings it to her ear...
NO DIAL TONE.
She jiggles the receiver... STILL NOTHING. She is distracted by --
MOLLY'S SCREAMS
from outside her office. Keri crosses to the window...
ANGLE THROUGH THE WINDOW
Molly standing at the gymnasium entrance, pounding against the door with bloody palms... screaming bloody murder, trying desperately to get in, while the students on the other side try in vain to get out.
KERI Molly?
The SHAPE approaches her, now only a few feet away.
Molly tugs feverishly at the chains, they hold tight. She bolts for the bell tower, trailing blood... the SHAPE follows.
ON Keri, horrified... he's back. She charges out of the office, on a mission...
CUT TO:
INT. BELL TOWER
Molly bursts through the door... she stops at the bottom of the staircase, looks up to see... FOUR FLIGHTS OF STAIRS
spiraling high above her. She hobbles up the stairway, grunting in agony...
As she makes her ascent, she looks down to see...
A SHADOW
three flights down, begins its climb up the stairs. Molly picks up the pace...
EXT. BELL TOWER - CONTINUOUS
Molly emerges at the top of the bell tower... runs over to the rope dangling from the massive bell... pulls with all her might, causes...
THE BELL
to swing... BUT there is no sound!
Molly frantically pulls the rope again, SCREAMING madly... trying desperately to get someone's attention...
Still no sound! She moves to the gargantuan bell, looks inside and sees...
WALLY'S BODY
stuffed up inside of it, preventing the clapper from striking the bell.
Molly reaches in, grabs Wally's shirt... tugs with all her might... expels the cadaver with a final heave-ho.
ON Wally's corpse as it falls four stories down, lands at the foot of the staircase.
Molly stumbles back... wraps the rope around her wrists, tugs with all her weight...
RING-RING-RING! THE BELL RESONATES ACROSS CAMPUS. A call for help...
Molly continues to pull at the rope, her wrists bleeding as the cord digs into her skin. She watches in horror as...
A SHADOW
approaches the top of the stairway... a FIGURE emerges, it's... THE SHAPE
Molly SCREAMS... the SHAPE grabs he... wraps the ROPE tightly around her neck... Molly grasp for breath.
ON KERI
Running furiously across the campus... trying desperately to reach the bell tower in time...
ON THE SHAPE
Moves Molly to the wall of the bell tower, tosses her over the edge....
ON KERI
Watches in horror as Molly falls two flights before the rope goes taunt, snapping her neck instantly... the bell CLANGS.
KERI NOOOOOOOOO!
INT. GYMNASIUM - SAME TIME
A group of STUDENTS, with Will at the helm, use a WOODEN BENCH as a battering ram...
BOOM!
The bench slams against the gym entrance, the metal doors start to buckle...
BOOM!
ON THE GYMNASIUM DOORS, the weight of the wooden bench pops the chains wrapped around the handles, the doors fly open...
KERI
watches as crazed STUDENTS pour out of the gymnasium, head for the parked buses across campus...
STUDENTS spot Molly dangling from the bell tower... SCREAMS of terror echo across campus...
Keri turns back to the bell tower... the SHAPE IS GONE!
KERI (realizing) John...
She heads toward -- THE PARKED SCHOOL BUSES
being filled to capacity with screaming teens...
WILL
leads the charge of getting all students safely aboard.
KERI
manages to find John amongst the throng...
KERI John!
Mother and son reunite...
JOHN He found you, didn't he?
KERI Get on the bus.
JOHN Where's Molly? She's not in her room...
KERI Just get on the bus.
JOHN I'm not leaving without her.
KERI John, you can't help her now.
JOHN What? Where is she?
KERI John...
Keri's at a loss for words, it's written all over her face...
JOHN Oh, God... no... not Molly.
KERI Please, get on the bus...
John hesitates for a beat... climbs into the bus, takes a window seat... WILL
crosses to Keri, hugs her tight...
WILL Keri, you all right?
KERI We've got to get these kids out of here...
WILL I'll make sure there's no kids left in the dorms...
WILL
dashes toward the dorms...
KERI
climbs aboard the bus, stands next to the driver... waits impatiently for Will to return.
EXT. HILLCREST ACADEMY
The BUSES are on the move... leaving the academy single file...
ON JOHN
Watching from inside his bus as it prepares to leave...
ON KERI
Waves to John through the window, knows this may be the last time she ever sees him.
She turns to the driver --
KERI You go ahead. Will and I will follow you in my car.
The DRIVER nods in agreement...
JOHN'S POV
Keri gets off the bus, watches as the last bus drives through the open gates of the academy...
Keri crosses to the dorms, disappears inside -- INT. DORMS
Keri moves noiselessly down the hallway... searching for any sign of Will... holding her breath with every door she checks behind...
KERI (a loud whisper) Will... Will, where are you?
Keri rounds a corner, spots --
SMOKE
seeping through the cracks of a swinging door leading to the dorm's kitchenette.
KERI
crosses to the swinging door, slowly pushes it open to reveal --
WILL
his whole upper torso shoved into the oven, clothes ablaze.
KERI
runs into the kitchen, yanks Will out of the oven by his legs.
ON WILL. Hair singed-off his head, his face a mangled mass of burning flesh, mouth agape in horror...
KERI Oh, God, Will...
Keri kneels down beside him, helpless... filled with rage...
SWOOSH!
The kitchen door swings violently to and fro... Keri spins around, startled by --
LURCH
The dog jumps on her chest, licks her face gleefully.
KERI Get off me...
The dog's mood changes suddenly: he stops licking Keri and GROWLS ferociously at something behind her...
Keri slowly turns around to see -- THE SHAPE
standing above her, comes down on her with a knife... makes contact, slices her shoulder wide open.
KERI
scrambles to her feet, grabs a pot off the stove... swings at the SHAPE.
CLANG!
Delivers a hard blow to the SHAPE'S head with the iron pot. The SHAPE stumbles backward, Keri sprints out the door...
EXT. DORMS
Keri comes running from the building, dashes across campus and into --
INT. HOUSE
Keri bursts through the door, runs down the hallway into --
INT. BEDROOM
CLOSE ON: DETECTIVE BLAKE
Her body sprawled across Keri's bed, THROAT SLIT from ear-to- ear... a TOMBSTONE in lieu of a headboard, "LAURIE STRODE" carved into stone.
KERI You son of a bitch!
The fury wells inside of her. Keri crosses to the bed, drops to her knees... pulls out the metal box underneath the mattress... opens it... IT'S EMPTY!
KERI (continuing) Shit!
CUT TO:
EXT. HILLCREST ACADEMY
Keri runs from the house, determined... makes her way across campus to --
INT. GUARD HOUSE
Keri crosses to the console, pushes the BUTTON that controls the gate... it begins to close slowly. CRASH!
Hattie's body falls from the drop-ceiling above, lands right on top of Keri. Shit. Keri throws the bloody corpse off of her.
She looks around the room... zeroes in on the large CB RADIO... she picks it up and SMASHES it against the console... over and over again... sparks fly... the gate now permanently closed.
Keri reaches down, pulls Hattie's key ring from her body... moves outside.
EXT. GATES
Keri moves to the gate... locks it using Hattie's keys, then tosses them over the gate into the brush.
KERI (calling off) Time to put an end to this nightmare, motherfucker!
Keri heads back toward the school.
CUT TO:
EXT. ROADBLOCK - SAME TIME
Deputy Clark lies on the hood of his patrol car, hat over his face... catching some z's. Carter stands by the wooden barriers, spots --
THE LINE OF BUSES
speeding toward the roadblock, headed for the small town below...
CARTER What the hell?
Deputy Clark is awakened by the approaching caravan. Carter waves down a bus, moves to the door --
CARTER (continuing) What's happening?
DRIVER We're evacuating the school. Been two murders up there tonight. Killer's still on the loose... CARTER Goddamnit!
Carter runs back to the patrol car, followed by Deputy Clark.
DEPUTY CLARK (calling off) Call for back-up!
A flurry of action as OFFICERS clear the roadblocks, get on the radio and call for back-up...
Carter and Deputy Clark climb into the patrol car, headed for the school...
Carter grabs his walkie-talkie, barks into it --
CARTER Blake, what's going on up there!
CUT TO:
INT. BEDROOM - SAME TIME
ON BLAKE'S WALKIE-TALKIE
still hooked to the side of her lifeless body...
CARTER (O.S.) Blake! Do you hear me? Blake!
CUT TO:
EXT. HILLCREST ACADEMY - SAME TIME
VARIOUS SHOTS of the empty campus. Keri moves brazenly across school grounds, looking for the big brother....
As she passes the bell tower, she sees --
A SHADOW
move inside the gymnasium... she quickly approaches --
INT. GYMNASIUM
Keri moves inside the decorated gym... stops at a
FIRE AXE
hanging behind glass... she picks up a plastic skull, smashes the glass with it... grabs the AXE and continues inside...
CLICK! The lights go out... the gym now eerily illuminated only by carved pumpkins lit around its perimeter.
Keri continues on, bravely... the fire axe tightly in her grip.
KERI (calling off) Let's ends this right now. You want to kill me to fulfill your twisted obsession, then go ahead. I'm tired of playing hide-and- seek, brother. Come on, finish what you started, you miserable fuck.
CLANG-CLANG-CLANG!
Keri jumps... the gymnasium floor beneath her begins to move, closing back over the pool...
Keri continues to move alongside the pool, when --
THE SHAPE
jumps from the bleachers, buries a knife deep into Keri's arm... she SCREAMS in pain... drops the fire axe into the pool.
The Shape pulls the knife from Keri's arm, stands above her... he raises the knife high into the air, about to plunge it straight into Keri's heart, when --
BANG! A BULLET BURROWS INTO THE SHAPE'S SHOULDER.
Spins him around, comes face-to-face with...
JOHN
standing behind him, wielding Keri's SMITH AND WESSON. The SHAPE moves toward him.
BANG! BANG! BANG!
JOHN empties the chamber into the Shape, thrust him backward...
THE SHAPE
falls into the pool, pulls Keri into the water with him... KERI
struggles to climb out of the pool, the Shape fights to pull her back in....
THE SHAPE
finds the axe, swings at Keri... slice open her thigh.
JOHN
grabs Keri by the arms, manages to pull her out.
THE SHAPE
strives to climb out of the water as the gym floor continues to close... he swings the axe, buries the blade into the gym floor... grabs the handle, uses it to pull himself out...
KERI
grabs a JAVELIN hanging on the wall...
THE SHAPE
pulls his upper torso out of the water just as
KERI
raises the javelin high into the air, when --
CLOSE ON: THE SHAPE
Reaches out for her... then, a sound altogether unnatural --
THE SHAPE (a desperate plea) Laurie...
Time stands still -- TOTAL SILENCE.
ON KERI. All the love and loss of the past twenty years plays all over her face, when --
KERI Michael... (then) Go to hell!
KERI
plunges the javelin through his body with all her might, pierces his heart... the javelin juts out of his back. THE SHAPE
arches his back in pain, grabs the metal rod... tries desperately to remove it, sinks into the water...
THE GYM FLOOR
closes above him... CLANG!
Half the javelin sticks out above the floor... it twitches fiercely, then stops...
CARTER
storms the gym, gun drawn... followed by Deputy Clark and a dozen armed police officers. He approaches Keri...
KERI Guess he was stoppable, after all.
THE TERROR IS GONE.
Keri and John embrace.
CUT TO:
EXT. HILLCREST ACADEMY - A HALF HOUR LATER
POLICE CARS litter the campus. The corpse of THE SHAPE lies covered on a gurney... a pair of PARAMEDICS roll it past --
AN AMBULANCE
parked near the entrance, its rear doors open revealing --
JOHN
being tended to by a PARAMEDIC. Keri sits next to him...
JOHN I just can't believe she's dead.
Keri does the only thing a mother can do, gives him a hug...
KERI I love you, John.
Always the guy, John just shrugs, giving her a tough smile.
JOHN Yeah, me too, Keri.
KERI Call me Laurie, will ya? JOHN Keri.... Laurie... how about if I just call you Mom?
KERI That would work.
The two embrace an another PARAMEDIC closes the rear doors of the ambulance, locking Keri and John safely inside.
THROUGH THE REAR WINDOWS
Mother and son continue to bond as the ambulance drives off into the night.
CUT TO BLACK.
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