int. operating room - night Open with scene from Halloween 6. DR. TERRANCE WYNN, dressed in his red surgical clothes, watches in horror as -- MICHAEL MYERS, in his mechanic’s outfit and white, featureless death’s mask, slaughters the room full of doctors. The Shape is picking up and throwing the doctors, cutting them apart with a machete-like knife. The lights are flickering on and off, giving the room a strobe light effect. WYNN (whispering) No no no no no. Wynn slowly backs out of the room. He exits and hurries down the corridor. int. wynn’s office - night Wynn’s surgical clothes are lying in a pile on the floor. He is in his black outfit rummaging through his desk. He pulls out two syringes. One filled with a red fluid, the other with a green one. He pockets them and leaves. int. different OPERATING room - night We’re back to Halloween 6. TOMMY is beating the Shape with the pipe. In the entrance to a secret, well hidden passage, Wynn watches. The Shape falls. Tommy looks at him with a grin on his face, shaking his head. He begins to leave, turns around, and wails away on The Shape. He throws the pipe down and leaves. Wynn waits a few seconds, then comes out of hiding. He walks up to the Shape and pulls the syringe out of his back. He looks at it. He pulls the syringe with the green fluid from his pocket, compares it with the empty one, and lets out a small LAUGH. He puts the empty syringe on the floor, pockets the full one, and pulls out the one filled with the red fluid. He injects it into the Shape’s wrist. The Shape starts to get up immediately. Wynn helps him to a sitting position. He puts his hands around the Shape’s head and begins to take off the mask. WYNN We haven’t much time Michael. cUT TO: int. operating room - same - night LOOMIS enters. He finds Michael’s mask and the empty syringe laying on the floor. He looks around the room, pulling his gun. LOOMIS Michael? No response. LOOMIS (cont’d) We all have to face the demons inside of us. Don’t you think it’s time you faced yours Michael? A sound comes from behind him. He spins around to see Wynn. Loomis steps over the mask and syringe toward Wynn. LOOMIS Where is he Wynn!? WYNN He’s gone LOOMIS Where? WYNN To collect the rest of them. LOOMIS Why!? WYNN So I can transfer Thorn into Danny. LOOMIS But you already have Michael... Wynn cuts him off. WYNN Michael is imperfect! He’s getting harder and harder to control every day! Danny will be easier to control. LOOMIS What makes you think it will be easier with Danny? WYNN I didn’t have time to prepare Michael right. With Danny it will be different. I’ve spent years researching Thorn. I know things now that I didn’t know then. Danny will be the ultimate evil. LOOMIS Why? WYNN Why not? LOOMIS You’re insane Wynn. Michael has to be stopped! WYNN I’m asking you one more time Sam. Join us, become one of us! Loomis brings his gun up to Wynn. LOOMIS You’re insane. Loomis starts to back up slowly, with his gun trained on Wynn. He backs into something. Loomis spins around and comes face-to-face with the Shape, mask now firmly in place over his face again. Neither of them move for a few seconds. Loomis raises his gun. The Shape’s arm shoots out. A sickening SQUELCH sound is heard. Loomis cries out in pain, dropping his gun. He looks down and sees the Shape’s fist half imbedded into his stomach. The Shape slowly pulls his fist out of Loomis’s stomach, revealing the plastic end of the syringe and the needle, all covered in blood. Loomis falls to his knees. LOOMIS Mich...ael. Loomis falls forward, dead. The Shape cocks his head to one side, looking at Loomis’s body. WYNN You should have joined us when you had the chance Sam. Wynn looks at the Shape. WYNN Michael. The Shape looks up at Wynn. WYNN (cont’d) It’s time to go. The Shape steps over Loomis and follows Wynn through the secret passage. We see Loomis’s body one last time. fADE TO BLACK. main title sequence An eerie rendition of the “Halloween Theme” is heard as the opening credits begin. A pumpkin appears, taking up the lower three fourths of the screen. The title appears above the pumpkin: Halloween 7. A butcher knife slashes down on the pumpkin three times, very fast, carving the mark of Thorn into it. The lines aren’t connected so there isn’t a big hole in its side. Light from inside the pumpkin gives the mark an eerie appearance. The rest of the title: the Night of Thorn, appears under Halloween 7. Roll rest of credit above pumpkin. fADE TO: ext. lempkin lane - night Tommy’s jeep pulls up in front of the Myers house. Tommy gets out holding STEPHEN and heads towards his house. KARA and DANNY get out and head towards the Myers house. KARA I just have to get a few things, then we can leave. TOMMY Me too. Kara walks up the porch steps to the door. int. myers house - foyer - night Kara enters, followed by Danny. Kara pauses a minute, looking upstairs. She turns to Danny. KARA Wait for me right here honey. DANNY OK mommy. Kara goes upstairs. int. hallway - night Kara stops at her dead mother hanging from the ceiling. She takes a deep breath, pushes up against the wall, and inches by trying to hold back the tears. She comes to her bedroom door. int. kara’s bedroom - night The door opens and Kara enters. She has to put her hand to her mouth at the sight of Beth and Tim on her bed covered in blood. She goes to her closet and pulls out a suitcase. She brings it over to her dresser and starts putting some clothes into it, taking great care to try to ignore the bodies on the bed. Kara finishes packing, taking a pair of jeans and a white sweater under her arm, and leaves her room with the suitcase. int. danny’s bedroom - night Kara enters Danny’s room. She places her suitcase on the floor. She puts on the jeans and sweater over the gown she has on. Kara goes to Danny’s closet, and pulls out another suitcase. Kara brings it over to the dresser and starts to put some of his clothes in it. int. foyer - night Kara comes back down the stairs with both suitcases in her hands. She walks up to Danny, her face flushed. KARA OK, let’s go. ext. lempkin lane - night Kara and Danny exit the house. They walk to the jeep. Tommy is no where in sight. Kara takes the suitcases and puts them in the back of the jeep. She grabs Danny by the hand and walks over to Tommy’s house. int. tommy’s room - night Kara and Danny enter. There is a big suitcase on the floor. Stephen is laying on a chair. Tommy is taking the newspaper clippings off the wall. KARA You’re not going to take those with you, are you? TOMMY You know, I don’t think I need them anymore. Tommy tears the clippings apart and throws them into a waste basket. He lets out a triumphant breath and looks at Kara. TOMMY Let’s go. Tommy picks up his suitcase. Kara grabs the baby. They all exit Tommy’s house. ext. lempkin lane - night Kara, Tommy, and Danny walk to Tommy’s jeep. Tommy puts his suitcase in the back and they all get in the jeep. int. tommy’s jeep - night Tommy turns the key in the ignition and the jeep makes a nasty sound. He tries again and gets the same thing. KARA What’s wrong? TOMMY I don’t know, it was working just fine before. Tommy starts to get out of the jeep. KARA Keep an eye on the baby honey, I’ll be right back. Danny nods and Kara gets out of the jeep. ext. tommy’s jeep - night Kara walks to the front of the jeep. She comes up to Tommy just as he’s opening the hood. tommy’s and kara’s pov- The engine is completely wrecked. Wires are cut and some of the parts are smashed. back to scene TOMMY What the hell? A CRY is heard from inside the jeep. Tommy and Kara look up to see Wynn reaching inside the jeep trying to get Danny. TOMMY Hey!! Tommy goes limp and falls to the ground. Kara looks down at Tommy. She starts to turn around and goes limp, just like Tommy. She falls to the ground, completely turned around now. kara’s pov- The Shape is standing right behind her. He is holding two empty syringes. fADE TO: int. kara’s bedroom - kara’s pov - night The scene is blurred at first as Kara opens her eyes. As they open wider, the images slowly start to come into focus. Wynn is standing at the foot of Kara’s bed. Danny is standing next to Wynn. The Shape is in front of Wynn and Danny. Stephen is lying on the foot of the bed. The bodies of Beth and Tim are lying on the floor next to the bed. There feet are visible at the end of the bed on the floor. WYNN I see you two are finally awake. back to scene Kara looks to her right where Tommy is sitting. He’s just starting to wake up also. Kara looks up at Wynn. KARA What the hell is going on? WYNN The moment that I have been waiting for for seventeen years. Tommy, getting his bearings, looks up at Wynn. TOMMY What the hell are you talking about Wynn? WYNN The next great step in the gift of Thorn, transference. TOMMY So that’s why you were after Danny. You’re gonna transfer the curse from Michael to him! WYNN That is correct. It wasn’t my original plan though. Tommy looks at Wynn confused. WYNN (cont’d) You see, I originally wanted to genetically engineer Thorn into Jamie’s baby. KARA The DNA charts at Smith’s grove. Wynn looks at Kara with a smile on his face. WYNN That’s correct my dear. (to both of them) I could have done it too. Oh, everybody said that it wouldn’t work, but I had studied it for so long, I knew it would work. And I would have succeeded if I hadn’t lost control over Michael and he hadn’t killed everyone in the operating room. Tommy looks at the Shape, puzzled. WYNN You’re wondering how I have control over him now, aren’t you? Tommy nods WYNN I have you to thank for that Tommy. Tommy gives Wynn a questioned look. Wynn digs in his pocket and brings out the green liquid filled syringe. TOMMY That’s the stuff that I.... Wynn cuts him off. WYNN Injected Michael with, I know. It’s a formula I invented. It helps me control Michael. KARA Why my son? WYNN Because my dear, he has been chosen. You should be proud. Your son will posses immortality. TOMMY At the cost of his good will and sanity? WYNN Everything comes with a price Tommy. KARA You’re a monster! WYNN No my dear. I’m not a monster, just a deliverer. TOMMY What happens to Michael? WYNN His body has suffered a good amount of trauma. The only thing keeping him alive is Thorn. After it is expelled from his body, the body will cease to function, and he will die. The Shape turns and looks at Wynn after that last comment. Wynn turns to the Shape. WYNN Michael, your pain is at an end. Kill the baby, and your blood line ends. Then, Danny, you will receive the gift of Thorn. There is no movement from Danny. He continues to stare ahead. The Shape looks at the baby, looks down to the knife in his hand, then turns on Wynn. The Shape advances toward Wynn. WYNN Michael, what are you doing? The Shape continues to advance. WYNN (cont’d) Stop!! The Shape stops. The Shape cocks his head to one side, studying Wynn. He straightens out his head, and continues to advance on Wynn. Wynn holds up the syringe in his fist. The needle pointed at the Shape. WYNN Michael! Stop, or you will force me to.... The Shape knocks the syringe out of Wynn’s hand with one swift movement. It rolls under the bed. The Shape grabs Wynn’s throat. Wynn grabs the Shape’s arm. The Shape raises his knife above his head. Wynn grabs the Shape’s other arm. They struggle around the room. Danny, seeming to come out of a trance, runs to Kara. She hugs him to her. Tommy starts to walk backwards. TOMMY Get back! Through the doorway! They watch as Wynn and the Shape continue to struggle. Kara looks nervously at Stephen, who isn’t crying. The Shape’s knife arm is very close to Wynn’s face now. Wynn looks over his shoulder at the bedroom window. WYNN If I’m going, I’m taking you with me. Wynn changes his grip on the Shape, giving himself some leverage, and jumps toward the window. The Shape is picked up off his feet, and they both go crashing through the window. ext. myers house - night Wynn hits the ground, breaking his neck. The Shape falls on top of Wynn. int. kara’s bedroom - night Tommy runs up to the bed, picks up Stephen and runs back to Kara. TOMMY We have to get out of here! Kara and Danny follow him out the door. int. hallway - night As they run down the hall, Kara notices that the body of her mother is now lying on the floor close to the wall. ext. myers house - night They all run out the door, running for the sidewalk. The Shape comes from around the corner of the house. ext. haddonfield - night Tommy, Danny, and Kara run between two houses and start cutting through people’s lawns. int. kevin’s room - night KEVIN is lying in his bed, having a hard time sleeping. He keeps fidgeting and holding his stomach. Kevin gets out of bed to go to the bathroom. As he’s walking to the door, he hears voices outside his window and the sound of people running. Kevin goes to his window. kevin’s pov- A man carrying a baby, a woman and a boy, illuminated by his neighbor’s motion light, run from his yard to the sidewalk next to his house. int. kevin’s room - night Kevin looks on in puzzlement. kevin’s pov- Another man walks in from the shadows. He steps into the light. int. kevin’s room - night A look of horror comes over Kevin’s face at the sight of the mask the man is wearing. flash back to: ext. haddonfield elementary - day Kevin is just finishing school, ready for his first Halloween. (The holiday was banned when he was three.) Just as he’s about to leave school property, JOHN and KEVIN, the schools bullies walk in front of him, blocking his path. JOHN Hey Kevin, are you going trick-or-treating tonight? Kevin nods. MIKE Going to get lots of candy? KEVIN (nodding) Yep. JOHN Well, make sure you don’t eat too much of the candy before you go to bed. Mikes voice takes on an evil tone. MIKE Yeah, or the bogey man will get you. Kevin starts to look worried. KEVIN The bogey man? JOHN Yeah, he comes during the middle of Halloween night and takes little kids who ate too much candy before they went to bed back to his.... KEVIN What? MIKE Well, no one actually knows where the bogey man comes from. JOHN I heard he lives in a dark, scary place that no little kids ever come back from. John and Mike start laughing, scaring Kevin to death. end flash back: kevin’s pov- Out on his lawn, the masked man continued to walk, in the direction of the other people. int. kevin’s room - night Kevin bolts from his window and out of his room. int. kevin’s parents’ room - night Kevin enters and starts screaming KEVIN Mommy!!! Mommy, the bogey man is coming for me, I saw him outside my bedroom window!! Kevin’s MOM and DAD bolt upright in bed, scared from their son’s outburst. KEVIN’S MOM Kevin, it’s all right honey, the bogey man isn’t coming for you. KEVIN (crying) Yes he is mom, I saw him. Kevin’s mom takes him by his hand and exit’s the room. int. kevin’s room - night Kevin and his mom enter. Kevin’s mom takes him up to his window. kevin’s pov- The yard is empty. int. kevin’s room - night KEVIN’S MOM You see, no bogey man. Kevin’s mom takes him to his bed, tucks him in and kisses him on the forehead. KEVIN’S MOM It was just a nightmare. I told you, you ate too much candy. Now go to sleep. Kevin nods. Kevin’s mom leaves the room. Kevin pulls his blankets up to the middle of his head, terrified, looking out his window. Unable to fall asleep. ext. haddonfield - night Tommy, Kara, and Danny are running down a sidewalk. They run across the street, through a couple more yards, down the next block, turn the corner, and find a small twenty-four hour gas station. KARA Oh god. TOMMY Come on! They run to the gas station. int. gas station - night An ATTENDANT is sitting at the front counter, reading a magazine. The door bursts open. Tommy, Kara, and Danny come running in. The attendant jumps, dropping his magazine. ATTENDANT Jesus! You kids damn near gave me a heart attack! TOMMY We have to use your phone! ATTENDANT Sorry, my phone’s out of order. He notices the looks on the faces of the new arrivals. ATTENDANT Is something wrong? TOMMY Do you have a car? ATTENDANT A truck. It’s out back TOMMY Can we borrow it, please? We’ll return it to you, I promise. Realizing there is something wrong, the attendant looks back and fourth between the new arrivals. He seems to come to a decision. ATTENDANT Hold on a sec. The attendant walks over to the door. He produces a set of keys and locks the door. He crosses back over to the counter. ATTENDANT Come with me. Tommy hands Stephen to Kara, and they all follow the attendant through the storage room to the back door. The attendant gives Tommy another set of keys. ATTENDANT Here. I’m coming with you. KARA No, that’s not necessary.... The attendant cuts her off. ATTENDANT No. I don’t like leaving people behind. I did that to one person once during the war, and I never saw him again. KARA I’m sorry. ATTENDANT It’s OK. The attendant starts towards the back door. TOMMY No! Let me look first. The attendant moves out of the way. Tommy walks over to the door. He opens it and sticks his head out. ext. gas station - tommy’s pov - night- Looking to the left, we see that there is no one. Looking to the right, we see the same thing. Looking straight ahead, we see the truck in the back lot. ext. gas station - night Tommy exits the gas station. Kara follows, holding Stephen, and Danny follows right behind her. The attendant stops outside the doorway and starts fidgeting in his pocket. Tommy looks over his shoulder. TOMMY (in a loud whisper) What are you doing? ATTENDANT (whispering back) Locking up. Get the engine started. Tommy turns back to the truck and starts to get inside. The attendant closes the door, to reveal the Shape hiding behind it. The attendant lets out a YELP just before the Shape grabs his throat. Kara turns around and SCREAMS. Tommy looks up. TOMMY Oh shit! Get in the truck! Kara opens the passenger side door. The Shape turns the attendant around by his throat and slams him up against the wall of the building. The Shape raises his knife and jams it deep into the attendant’s breast bone, through his back, pinning him to the old, wooden wall. Both truck doors SLAM as everyone gets in. The Shape steps back and cocks his head at the hanging attendant. int. truck - night Tommy gets the key in the ignition and turns it, but the truck doesn’t start. ext. gas station - night The Shape spins around at the sound and starts to advance on the truck. int. truck - night Tommy tries it again. TOMMY Shit!! Danny clings to Kara, whimpering. KARA Tommy! Tommy tries it again. TOMMY The damn thing won’t start! Tommy glances out the passenger side window. tommy’s pov- The Shape is fifteen feet away from the truck. int. truck - night Tommy tries the ignition again. TOMMY Come on! Another try, and the truck starts. ext. truck - night The Shape is five feet away from the truck. int. truck - night Tommy puts it in gear and slams on the gas. ext. gas station - night The truck peels away. The Shape’s fingers brush against the window of the truck as it goes. He takes two steps in the direction of the truck, then stops. He looks over his shoulder. The shape’s pov- The attendant is hanging from the wall. back to scene The Shape looks back in the direction of the truck, like he really wants to follow. He looks over his shoulder again. Like he’s being drawn to it, the Shape walks up to the attendant. He pulls the knife out of the attendant’s chest, allowing him to fall. The Shape turns and walks away, in the direction of the Myers house. ext. truck - night The attendant’s truck is speeding down a street. int. truck - night Tommy is breathing hard. TOMMY Oh God, oh God! That was too close! KARA Are you OK Tommy? TOMMY Yeah, I just need to calm down. Damn it! Why didn’t he die?! Kara glances at Tommy KARA Something about Thorn? TOMMY Yeah, something I remember reading. Something about how each child who was inflicted had someone who acted as a guardian. KARA Wynn. TOMMY That’s what I thought too. But it also said that a way of freeing a child from Thorn was killing the guardian, and if what Wynn said was true, about how the amount of trauma Michael has suffered would kill him if he was free of Thorn, then he should have died when Wynn died. Which means.... KARA That Wynn wasn’t Michael’s guardian? TOMMY Or that Michael’s evil has become so great, that the only way he’ll ever be destroyed is by successfully passing the curse on to Danny. Danny and Kara look at each other. Danny grabs Kara and starts to cry. Kara gives him a big, comforting hug. Tommy reaches out and grabs Danny’s shoulder. TOMMY But that’s not going to happen. Michael will have to kill me before I’d let him near you again. int. haddonfield police department - night The new Haddonfield PD. is quite different from the one blown up in ‘89. Four desks in the middle of the main area with officers at each one. A couple are working, the other two are clowning around. There’s another officer at a computer terminal, which is situated beyond a half wall through a doorway which leads to the cell block. SHERIFF MAYHUE, 35, heavy set, with short black hair is at his desk, just beyond the other officer’s desks, talking on the phone. SHERIFF I see. Thank you very much Del. I’ll see what I can do to help in the morning. The sheriff hangs up the phone, and lets out a deep sigh. One of the other officers turns around to look at the sheriff. OFFICER 1 What’s wrong sheriff? SHERIFF Oh, that was Del Tucker down at Smith’s Grove. It seems someone broke into the sanitarium and slaughtered the entire night staff. OFFICER 1 What??? SHERIFF Yeah, seven staff were found in an operating room and one was found in the maximum security ward. The strange thing is, Dr. Loomis was found dead in another operating room. OFFICER 1 You mean that old quack is finally dead? SHERIFF It sure seems that way. OFFICER 1 Well, at least Michael Myers can’t be blamed for this one. The sheriff gives a small chuckle at the officer’s joke. The two officers who were clowning around are now sitting at the same desk. The front door bursts open and in walks Tommy, Kara carrying Stephen, and Danny. One of the clowning officers looks up and sees Tommy. OFFICER 2 (just loud enough for the other officer to hear him) Oh boy. Look what the loony bin dragged in. The other officer lets out a small laugh. The rest of the officers and the sheriff look at the new visitors. SHERIFF Well well. Tommy Doyle. What brings you here this evening? TOMMY Sheriff, you’ve gotta help us! Michael Myers just killed a gas station attendant and now he’s after us! SHERIFF Now Tommy, you know as well as I do that Michael Myers has been dead for six years. TOMMY No sheriff. He’s alive! He’s killed her entire family... The sheriff glances at Kara. TOMMY (cont’d) ...and about eight doctors at the Smith’s Grove Sanitarium... The sheriff, catching Tommy’s words, cuts him off. SHERIFF Wait a minute Tommy. How did you know about that? Del Tucker just phoned me with that information and he hasn’t told anyone else. TOMMY Because sheriff, we were there when it happened. KARA It’s all true sheriff. Everything he’s told you is true. SHERIFF And who might you be Miss? KARA Kara Strode. The sheriff looks at her wide eyed. SHERIFF Did you say Strode? Kara nods. SHERIFF Is your father John Strode, at 45 Lempkin Lane? Kara nods again. KARA Yeah. Why? SHERIFF Nothing. It’s just a coincidence. The sheriff turns his attention back to Tommy. SHERIFF Now Tommy, I realize what you went through back in ‘78, but Michael is dead. Let it rest. TOMMY Well, what about the schoolyard? How do you explain that? SHERIFF That was just some Michael worshiper who wants the ghost of Michael to live on. He probably killed all those doctors at the sanitarium too. TOMMY That’s bullshit sheriff! You know it, and I know it. SHERIFF Tommy! Michael is dead! He was killed in that explosion at the old Haddonfield PD. six years ago. TOMMY Give me a break sheriff! Michael survived the explosion at Haddonfield Memorial, and also survived being shot down a mine shaft in ‘88. And how do you explain Jamie Loyd’s body being found this morning? If she survived, I’m sure as hell Michael did. That stops the sheriff’s words completely, not sure of what to say. The two clowning officers, who had been listening to the entire conversation, look up at the sheriff. OFFICER 2 Come on sheriff, you’re not beginning to believe this. Are you? SHERIFF I don’t know, but bad things always seem to happen at the Myers house. Besides, it wouldn’t hurt to check it out. (to the room) I need two officers to take these people to her house. KARA I’m not going back there! SHERIFF It’ll be all right. I need someone to show the officers where the bodies are. Kara looks at Danny and Stephen. KARA Can we leave the kids here? SHERIFF Of course. Thompson. The officer who had been talking to the sheriff earlier stands up from his desk and walks up to the sheriff. SHERIFF (cont’d) Take these kids to the lounge. THOMPSON Sure thing sheriff. Kara hands Stephen to Thompson who takes him gently. She bends down to Danny. KARA Danny, Tommy and I have to leave for a bit. You go with the nice officer and behave yourself. Okay? DANNY Okay mommy. THOMPSON Come along Danny. Your mommy will be right back. Danny follows Thompson, past the officer at the computer, around the corner, out of sight. A door is heard closing. The sheriff looks to the room again. SHERIFF Now, who wants to take a trip to the Myers house? The second clowning officer looks at the sheriff. OFFICER 3 I’ll go OFFICER 2 You can’t be serious! OFFICER 3 I am. It’s too boring here tonight. I need to do something. SHERIFF Okay Hopkins. Use your squad and drive these two down there. HOPKINS Right sheriff. OFFICER 2 (sarcastically) Have fun. The sheriff looks at the other officer. SHERIFF Elam, you’re going with him. OFFICER 2 What? Why me sheriff? SHERIFF Because, you’ve been doing nothing but goofing off since the incident down at Haddonfield High. You’re going. Elam looks away in disgust. Tommy, seeming to recognize the name, looks closer at the officer. TOMMY Lonnie? Is that you? Elam looks up at Tommy and gives a half smile. LONNIE Yeah, it’s me. HOPKINS Come on. We can save the reunion for later. Lonnie, can we use your squad instead? I’m still having trouble with the engine in mine. LONNIE Yeah, sure. Well, let’s go. Lonnie gets up and starts to walk to the door. Hopkins follows him, followed by Tommy, then Kara. ext. myers house - night The moon light casting on the house gives it an eerie quality. A squad car pulls up to the house behind Tommy’s jeep. The driver’s side door opens and Lonnie gets out. LONNIE I’m still not buying any of this shit Tommy. You expect me to believe that one of the most renowned doctors in all of Warren County was controlling Michael Myers all this time? Kara stands up beside Lonnie and nods to the side of the house. Tommy and Hopkins stand up along the other side of the car. KARA His body’s right over there if you want to look for yourself. Hopkins pulls his gun and walks up to the side of the house. Tommy, Kara and Lonnie wait at the car. Hopkins returns a few seconds later. HOPKINS He’s there all right. Broken neck, just like he said. Lonnie looks at Tommy. HOPKINS Well, let’s go inside. LONNIE I’m not going in there! All three look at Lonnie. HOPKINS Why not? Lonnie starts to sound hysterical LONNIE I can’t talk about it. I just don’t want to go in that house! HOPKINS All right Lonnie. Calm down. You wait outside by the car. Okay? Lonnie nods, breathing heavily. Hopkins looks at Kara, then Tommy. HOPKINS Okay you two. Let’s go. Kara comes around the side of the car, and all three of them walk up the sidewalk to the Myers house. Lonnie looks on, still shaken. int. myers house - foyer - night The front door opens and in walks Hopkins, followed by Tommy, and then Kara. HOPKINS You said that the bodies were upstairs? KARA Yes. They walk a little way into the house. Hopkins stops and puts his hand to his nose. HOPKINS Oh man! What is that smell!? Tommy and Kara catch the smell and have to put there hands up to there faces also. TOMMY Awwww christ!! Kara points to the kitchen. KARA It smells like it’s coming from over there. Hopkins looks at where she’s pointing. HOPKINS Okay. You two stay here, I’ll go check it out. Tommy nods. Hopkins pulls his gun and walks to the kitchen. He stops in the hall way connecting the kitchen to the living room. He looks toward the basement door, which is slightly open. He opens it all the way and sticks his head in the door way. Hopkins pulls his head back. HOPKINS Oh man! It’s coming from down there. Hopkins goes downstairs. Tommy and Kara wait. HOPKINS (OS) Oh Jesus!! Hopkins comes running back up the steps. HOPKINS Oh God oh God oh God! Hopkins hits the wall, breathing hard. TOMMY What? What’s down there? Hopkins takes a few seconds to compose himself. TOMMY What is it man!? Hopkins turns to Kara. HOPKINS You said the only body missing from your family was your father’s right? KARA Yeah. Why? HOPKINS I think I might have found it. KARA What do you mean you think you’ve found it? HOPKINS Believe me, it’s better that I not tell you. KARA What? What did you find down there? Tell me! HOPKINS Trust me Kara, you don’t want to know. Kara starts to get angry. KARA You better tell me! TOMMY For Christ sake Hopkins, this is her father you’re talking about! HOPKINS I know. That’s the reason I don’t want to tell her. KARA Tell me what? Hopkins, you tell me what you found down there right now, or I’m going down there myself! HOPKINS I wouldn’t advise that. KARA Then tell me what’s down there! Either way, I’m going to find out Hopkins! HOPKINS Alright, alright! If that is your father downstairs, he’s suffered such a tremendous electric shock that his head exploded from the voltage. That’s his flesh you smell. Kara puts her hand to her mouth. KARA Oh god. HOPKINS I’m sorry, I didn’t want to tell you. Kara goes to Tommy. Tommy puts his arms around her, comforting her. TOMMY Are you sure it’s him? HOPKINS Not positive, but by her description of his body, I’d say that it’s a very good chance it is him. Kara continues to cry with her face buried in Tommy’s shoulder. HOPKINS Why don’t you take her into the living room and sit her down on the couch? I want to go upstairs and take a look at those other bodies. TOMMY OK. Tommy guides Kara from the hallway to the living room. Hopkins follows them. Tommy sits Kara down on the couch and then sits down next to her. Hopkins comes right up to Kara. HOPKINS Are you going to be OK? Kara looks up at him. Her face is flushed. KARA Yeah. HOPKINS Are you sure? Kara nods. HOPKINS Kara, I am truly sorry I had to tell you that. I really didn’t want to. KARA It’s OK, I understand, and I thank you for trying to keep me from hearing about it like that. Kara gives a small smile. Hopkins smiles back at her. Hopkins turn and heads for the stairs. He turns around to face Tommy and Kara. HOPKINS I’ll be right back. OK? Tommy and Kara nod. Hopkins pulls his gun and starts to go up the stairs. Tommy still has his arm around Kara, who lets out a small sniffle. int. hallway - night Hopkins reaches the top of the stairs. He turns his head to the right. hopkins’ pov- A long stretch of hallway. About half way down we see Kara’s mother’s body lying on the floor. back to scene Hopkins starts to walk down the hall. He’s being very cautious, keeping his gun straight out in front of him. hopkins’ pov- The body gets closer as we move forward. back to scene Hopkins continues to move forward. He comes up to the body and looks down. hopkins’ pov- A close up view of the body. A deep gash in her chest. back to scene HOPKINS Jesus! Hopkins turns around to face Kara’s bedroom door. Hopkins reaches out and opens the door. It CREAKS open slowly. int. kara’s bedroom - night - hopkins’ pov We see a bed covered in blood. The window on the wall in front of us is broken outward. There are two pairs of feet sticking out from the foot of the bed on the floor. back to scene Hopkins trains his gun on the feet and moves forward. He comes around the corner of the bed and looks down. hopkins’ pov- We see the bodies of Beth and Tim, butchered, soaked in blood. back to scene Hopkins’ eyes grow wide with horror. HOPKINS Oh Christ! Hopkins runs out of the room with his hand over his mouth. int. hallway - night Hopkins leans his back against the wall, breathing heavily. int. living room - night Kara is still crying into Tommy’s shoulder, with his arms around her. Tommy looks up at the ceiling. TOMMY Did you hear that? Kara looks up. KARA Hopkins must have found the bodies. Tommy looks at Kara. TOMMY Are you feeling any better? Kara looks at Tommy. KARA Yeah, a little. Kara hesitates. KARA (cont’d) Tommy, I can’t believe he’s dead. TOMMY I know, it’s hard when you loose your parents. I lost mine when I was 17. KARA Tommy, you don’t understand. This morning, I wished that my father was dead. Tommy’s eyes widen. TOMMY What??? KARA My father was very abusive. This morning we got into an argument and he hit me. He made me so angry. Now he’s dead and I feel so guilty about how I felt after what he did. Kara breaks down into tears. Tommy holds her again. TOMMY Hey. Shhhhhh. It’s OK. It’s not your fault this happened. You don’t have to feel guilty about how you felt about him this morning. Kara pulls away from him. KARA But I do Tommy. I know it’s not my fault, but now that he’s dead... I just feel mad at myself for feeling that way. TOMMY I understand. It’s OK. We all get mad at our parents sometimes. KARA I know. Tommy squeezes her hand. TOMMY It’s nothing to feel bad about. Kara gives a small smile. int. hallway - night Hopkins stand up from having his hands on his knees, catching his breath. A SCRATCHING sound is heard. Hopkins turns toward the end of the hall, gun raised. He starts to walk down the hall. The SCRATCHING sound is heard again, coming from the room at the end of the hall. Michael’s old room. Hopkins moves cautiously toward the room. He moves up to the door. Hopkins reaches out and grabs the door knob. He opens the door. int. danny’s bedroom - night Hopkins enters Danny’s room. hopkins’ pov- The room is completely empty. POV moves to the right. The closet door is open a crack. back to scene Hopkins slowly moves toward the door, gun raised. Hopkins hand slowly reaches out and grasps the door knob. He starts to open the door. The scratching sound is heard behind him. Hopkins jumps and spins around. hopkins’ pov- A tree branch is scraping against the window. back to scene Hopkins lets out a sigh of relief. The closet door continues to open. Hopkins shakes his head. HOPKINS Calm down Hopkins. You’re going to give yourself a heart attack. Hopkins is about to leave when a hand wraps around his mouth, pulling him toward the closet. Hopkins’ gun drops to the floor as he slams against the Shape, partially shadowed in the closet’s interior. The Shape brings a butcher knife to Hopkins’ throat. Hopkins tries to scream The knife slashes his throat. The Shape holds him for a few seconds before letting Hopkins’ body fall to the floor with a THUD. int. living room - night Tommy is still holding Kara. He lets go and looks up at the ceiling. TOMMY What was that noise? KARA I don’t know. Tommy starts to look nervous. TOMMY Do you think.... Tommy jumps off the couch and heads for the stairs. Kara looks after him, confused. KARA What? Tommy gets to the bottom of the stairs. TOMMY (loudly) Officer Hopkins?! There is no answer from upstairs. Kara comes up beside Tommy. KARA I’m sure he’s still shocked by the bodies. TOMMY I don’t think so. Tommy starts to go up the stairs. Kara starts after him. KARA I’m not staying down here. They work there way up the stairs. They get to the top and look down the hall. tommy’s and kara’s pov- The hall is empty except for the body of Mrs. Strode. back to scene Tommy and Kara start to walk down the hall. TOMMY (loud whisper) Hopkins?! A CREAK is heard behind them. They spin around. tommy’s and kara’s pov- There is nothing there. back to scene Something hits Tommy’s shoulder and hits the floor. TOMMY What the? Tommy and Kara spin around. tommy’s and kara’s pov- The only thing in the hall is the body. POV moves down. A police badge is on the floor, it is lightly streaked with blood. A hand reaches down and picks it up. back to scene Tommy brings the badge up to his eyes. TOMMY (reading) Officer Hopkins. Kara’s hand moves to her mouth. KARA Oh no! Kara looks up from the badge and SCREAMS. Tommy looks up. tommy’s and kara’s pov- The Shape is standing in the doorway of his old room. back to scene Tommy drops the badge and grabs Kara’s shoulder. TOMMY Shit! Run! Tommy and Kara run back the way they came. The Shape Starts to lumber after them. int. foyer - night Tommy and Kara get down the steps and head for the door. ext. myers house - night Tommy and Kara burst through the door, leaving it open behind them. Lonnie jumps out of his car, startled. LONNIE What happened? Where’s Hopkins? Tommy and Kara get up to the car. TOMMY Lonnie, Hopkins is dead! We have to get out of here! Lonnie looks at him in amazement. LONNIE What? What the hell are you talking about Tommy?! TOMMY Michael killed him! LONNIE You’re nuts Doyle! We’re not leaving till Hopkins comes out of that house! KARA Will you just listen to him!? We have to get out of here or we’ll be dead too! Kara starts to open the back door of the squad car. Lonnie glares at Kara. LONNIE Don’t you open that door! We’re not leaving till... Lonnie is cut short as something catches his eye behind Tommy. Tommy looks over his shoulder. tommy’s pov- The Shape is standing in the doorway of the house. back to scene TOMMY Oh shit! Tommy turns toward Lonnie. TOMMY (cont’d) Lonnie we gotta get... Lonnie has his gun in his hand and is bringing it up level with the doorway behind Tommy. LONNIE Get in the car, now!! Tommy ducks down. Lonnie lets out five shots. Each shot rocks the Shape. The Shape drops on the fifth shot. Tommy and Kara are in the car and shutting the doors. Lonnie gets into the driver’s side. He gets out his key and starts the car. Lonnie puts the car in gear. The Shape is starting to get up. The car screeches down the street. The Shape starts down the steps of the house, then stops. The Shape looks over his shoulder at the house. He turns around and descends another step, then stops again. The Shape turns around once more. He walks up the steps and reenters the house. int. squad car - night Lonnie is driving and trying to keep his composure as he breaths hard. LONNIE He got back up. He got back up. The mother fucker got back up! Tommy puts his hand on Lonnie’s shoulder. TOMMY Lonnie, try to calm down. Don’t get us into an accident. Lonnie gains control of himself and starts to breath normally. LONNIE Yeah, OK. (taking a deep breath) I’m OK now. TOMMY Good. Lonnie continues driving and everyone is silent for a few seconds. LONNIE That house scares the hell out of me. Kara looks at Lonnie. KARA Why would it scare you? LONNIE Back in ‘78, when Michael first returned to Haddonfield. Richie and Keith dared me to go into the Myers house. Tommy looks at Lonnie. TOMMY Did you do it? LONNIE Oh hell no! I was scared shitless. I was up to the front door when someone yelled at us from the bushes. TOMMY Who? What did they say? LONNIE I have no idea who it was but he said: “Hey! Hey Lonnie, get your ass away from there!” TOMMY Wow! I can see now why you were so scared to go in there. LONNIE Yeah, I know. (beat) Tommy? TOMMY Yeah? LONNIE I’m sorry we picked on you in school, and I’m really sorry for what we did to you the Halloween he first came back here. TOMMY It’s OK. ext. squad car - night The car continues to drive down the small town street. Int. haddonfield police department - night Everything is still slow going at the police station. If anything, things are slower than before. The sheriff is at his desk on the phone. Thompson and the other officer are at one of the desks playing chess. The officer moves one of his bishops. OFFICER 4 That’s check mate Thompson. Thompson looks at the board for a few seconds. THOMPSON Awww! Screw you Nelson! The sheriff hangs up the phone and looks up. SHERIFF Did ya loose again Thompson? THOMPSON Ahhh! I think Nelson’s cheating! NELSON I am not ya big ape. THOMPSON Who are you calling an ape? SHERIFF Enough you two. The phone rings again and the sheriff answers it. SHERIFF Hello? Thompson and Nelson start cleaning up the game. SHERIFF (cont’d) Yes Mrs. Adams, you’re not the only one who’s called about it. (pause) Yes, someone is there checking on it right now. (pause) I’ll call you when I hear anything. I promise. (pause) You’re welcome Mrs. Adams. Good night now. The sheriff hangs up the phone. SHERIFF (to himself) What the hell are they doing out there? Nelson looks up. NELSON What is it sheriff? SHERIFF Gunshots where heard near the Myers’ house. That was the fifth call that’s come in already. The front door BANGS open and Lonnie comes running in followed by Tommy and Kara. The sheriff and the officers look up with a start. SHERIFF Elam, what the hell did you do out... Where’s Hopkins? LONNIE He’s dead! SHERIFF What!? TOMMY Michael killed him! SHERIFF Aww Tommy, don’t start this again... LONNIE It’s true sheriff, I saw him with my own eyes. The sheriff stares at him wide eyed. LONNIE Hell! I shot the bastard five times! SHERIFF And? LONNIE He just got up and started walking toward us. SHERIFF Did he follow you? LONNIE I have no idea. I didn’t have time to look out my mirror and see. The sheriff considers for a few seconds. SHERIFF Do you think you’d be able to go back there Elam? LONNIE I can’t go in that house sheriff. SHERIFF It’s OK Lonnie, you don’t have to. You can just watch the front of the house from your squad. Do you think you can go back? Lonnie nods. SHERIFF Good! Thompson, Nelson, you two go with him back to the Myers house. I don’t know if he went back there or not, but if he did, I want that son of a bitch fried for good this time! Thompson and Nelson get up and start heading for the door. Lonnie follows them. Lonnie stops and turns toward the sheriff. LONNIE Sheriff, what are we supposed to do if we do see him there? I mean, the guy has gone through a lot of shit and survived. SHERIFF Good point. OK, listen, if you see him in the house, shoot him and get the hell out of there, all of you. They all nod. SHERIFF (cont’d) Start your squads and radio me. I’ll send in some back up. Don’t leave the house, but don’t let him get to your cars. Make sure he stays either in the house or near it, I don’t want that monster to escape again. Got it? They all agree to the sheriff’s idea and start to leave again. Lonnie stops again and turns toward the sheriff. LONNIE One more thing sheriff. SHERIFF Yeah? LONNIE Tommy says that Dr. Wynn had some kind of underground cult set up at the sanitarium. Maybe Blake can find something that will help us out. SHERIFF Good idea Elam. I’ll get him right on it. Lonnie nods and hurries after Thompson and Nelson. ext. haddonfield police department - night Thompson and Nelson are already starting their cars when Lonnie comes running out of the station. Lonnie gets into his squad and starts it up. All three cars rev up and speed out onto the street. int. haddonfield police department - night The sheriff, Tommy and Kara stand in the station as the sound of the squad cars fades away. KARA Sheriff, can I see my son? SHERIFF Of course, I almost forgot. Follow me. Kara and Tommy follow the sheriff as he starts to head for the cell block. TOMMY Sheriff, what did Lonnie mean by see if Blake can find out anything? They step through the doorway and we see the cop sitting at the computer set up beyond the doorway next to the wall as he was earlier. SHERIFF Tommy, I’d like you to meet officer Blake. Blake stands up and shakes Tommy’s hand. SHERIFF (cont’d) Blake here is our computer expert. If there is anything about that cult of yours floating around on any computer, he’ll find it. TOMMY Thanks sheriff. Blake sits back down and Tommy takes up a position behind him. BLAKE So, what is it that you’re looking for? The sheriff turns back to Kara. SHERIFF Now, let’s see how your son is holding up. The sheriff leads Kara a few feet down the hall to a door on the right. He opens it and walks inside. int. waiting room - night The sheriff and Kara walk into a small waiting room. Three couches line the three other walls with three chairs set up between the couches and a small table set up in the center of the room. Danny is asleep on one of the couches and Stephen is asleep in a box lined with a heavy blanket on the table. Kara looks at the sheriff. KARA Nice bed. SHERIFF We didn’t have anything else to put him in. Kara walks over to Danny and he starts to stir. KARA (softly) Danny? I’m back sweetie. Danny opens his eyes and looks up at Kara. DANNY Hi mommy. Kara smiles and gives him a hug. int. haddonfield police department - night Blake is still at the computer typing at the keyboard with Tommy standing behind him. BLAKE You’re telling me that Michael has been controlled by some cult lead by Dr. Wynn all these years? TOMMY Yep. BLAKE That is so bizarre. TOMMY Tell me about it. I know Thorn had something to do with Michael’s madness, but I never dreamed an entire cult was behind the whole thing. BLAKE Well, if there is anything about this cult anywhere out there, I’ll find it. TOMMY This is an odd spot to set up a computer. BLAKE I know. TOMMY Why isn’t it set up out in the main lobby? BLAKE It’s because of the way this building was wired. It was built back in ‘90 and the builders didn’t expect that a small town like this one would need a computer with an internet hookup in the future. The only way they could set it up was by putting it here at the end of the hall. TOMMY I see. Blake continues to type at the keyboard. ext. lempkin lane - night The three squad cars pull up to the Myers house around Tommy’s jeep. Lonnie, Thompson and Nelson get out of their squads and group at the curb. NELSON I hate this damn house. Always have. THOMPSON I’ll go on the inside then. Nelson, take your squad around the block and set up watch around back. Lonnie, you set up watch out in front here, OK? The other men nod. Lonnie and Nelson get into their squads. Nelson pulls out and heads down the block. Thompson bends down to Lonnie’s passenger window and Lonnie rolls it down. THOMPSON I want you two to keep radio contact. If I see anything, I’ll radio you, but don’t radio back to me unless I ask for you. If you hear any shots start your squads immediately and don’t come into the house! Got it? LONNIE Yeah, I got it. THOMPSON Good, make sure you tell Nelson that. Lonnie nods. Thompson stands up and walks toward the Myers house. int. myers house - night - pov- We watch Thompson heading up the front walk to the Myers house. POV moves away quickly as Thompson reaches the front steps. ext. myers house - night Thompson mounts the steps. He pulls out his gun, enters the Myers house and closes the door behind him. int. haddonfield police department - night Blake is still at the computer typing and using the mouse. Tommy is now crouched beside him. TOMMY Hey, where is everybody else? The sheriff said something about calling in back up if the others needed it. BLAKE They’re still it Haddonfield High. The sheriff wanted that place sealed off and searched. TOMMY I see. Blake lets out a grunt of frustration. BLAKE So far nothing Tommy. I can’t seem to find anything on a Thorn cult anywhere. TOMMY Do you think Wynn would be dumb enough to have something on file at the Warren County Sanitarium? Blake considers for a moment. BLAKE Well, if he wasn’t all their like you said he was, he might have. It’s worth a shot. Blake starts typing away again. The sheriff comes out of the waiting room and walks up to the two at the computer. Tommy lets out a big yawn. SHERIFF Tommy, why don’t you try to get some sleep in the waiting room? It took me a while to convince her but Kara is already asleep in their. TOMMY You know, I might just do that. (turning to Blake) Tell me if you find anything. BLAKE You got it Tommy. Tommy stands up and starts to the waiting room door. The sheriff claps him on the shoulder. SHERIFF Don’t worry Tommy, we’ll get him this time. Tommy just smiles at the sheriff. He turns and walks to the waiting room door, opens it, walks inside and closes the door. SHERIFF (cont’d) I hope. (turns to Blake) Tell me if you find anything also. BLAKE No problem sheriff. int. nelson’s squad car - night Nelson is sitting in his car at the back of the Myers house. He is intently watching the house for anything out of the ordinary. THOMPSON (V.O.) Nelson, you there? Nelson grabs his mic. NELSON Yeah, I’m here. THOMPSON (V.O.) You better get in here. I think I hear someone moving around upstairs. NELSON I’m on my way out right now. Nelson puts his mic back and opens his door. ext. nelson’s squad car - night Nelson gets out and closes the squad’s door. He starts to make his way to the Myers house. int. myers house - night The back door opens and Nelson walks cautiously into the house. He closes the door behind him and takes out his gun. NELSON (loud whisper) Thompson, you there? There is no response. Nelson moves slowly through the kitchen, gun held out in front of him. nelson’s pov- The house is dark. Enough outside light shines into the house that Nelson can see where he’s going. POV moves slowly through the kitchen toward the foyer. back to scene Nelson reaches the foyer and looks up the stairs. NELSON Thompson, you up there? Still no response. Nelson takes a deep breath and starts to walk up the stairs. A THUMP is heard from the second floor. Nelson gets to the top of the stairs and looks to his right. nelson’s pov- Kara’s mother is still lying dead on the floor. back to scene Nelson walks down the hall. He passes the body and walks to the door at the end of the hall. He opens it and walks inside. int. danny’s bedroom - night Nelson enters Danny’s room and looks around. nelson’s pov- No one seems to be in the room. The closet door is ajar. back to scene Nelson walks over to the closet and slowly opens the door. Officer Hopkins’ body is hanging on a hook on the inside of the door. Blood covers the front of his uniform. NELSON Oh good God, Hopkins. Nelson backs up a step then turns around. nelson’s pov- Sitting on the floor, propped up against the wall on the opposite side of the bed is Thompson. A bloody gash in his chest. back to scene Nelson’s hand goes to his mouth. NELSON No. Nelson starts to back up toward the hall door. As he backs up, the Shape can be seen directly behind him. Nelson can hear a heavy breathing and starts to turn around. Before he can, the Shape stabs him in the back with a butcher knife. The gun drops from Nelson’s hand and he is lifted off the ground about a foot. The Shape holds his body in the air for a moment as it spasms in death. The Shape pulls the knife out of Nelson’s back and his dead body falls to the floor. The Shape looks down at Nelson’s body and cocks his head to one side. int. lonnie’s squad car - night Lonnie is sitting in his squad watching the Myers house. LONNIE (sighing) This is going to be a long night. Lonnie hears a car coming around the corner behind him and looks in his rear view mirror. lonnie’s pov- Nelson’s squad comes from around the corner and stops a few feet from Lonnie’s. Lonnie can’t see the driver because the windows are tinted. back to scene LONNIE What the hell? Lonnie opens his door and gets out of his squad. ext. lonnie’s squad car - night Lonnie starts to walk toward the squad car. As he approaches, the drivers side window is rolled down. LONNIE Nelson? What the hell are you doing up here? You should be watching the back. Lonnie gets up to the car and hunches down to look inside. LONNIE Did you hear me Nel... Lonnie gasps in horror as a butcher knife comes through the open window and rams into his throat. int. haddonfield police department - night Blake is still at the computer typing away and using the mouse once in a while. BLAKE Bingo! CLOSE-UP of screen Blake has hacked into the Warren County Sanitarium’s private database. The title of the database is “MEMBERS OF THE THORN.” The curser is blinking on a blank line. The word “STAFF” is typed into the space. back to scene Blake hits the enter key. BLAKE Now, let’s see what secrets you guys are hiding. Blake shifts uncomfortably in his chair. BLAKE Damn. Blake stands up and walks down the hall and enters a room right next to the waiting room. A car can be head driving up to the building. A breeze can suddenly be heard, then stops. A toilet is heard flushing, then the sound of running water. The door opens up again. Blake comes back out and sits back down at the computer. BLAKE That’s better. CLOSE-UP of screen There is a list of names on the screen. One of them is “TERRANCE WYNN.” The curser drops down to highlight the name. BLAKE (O.S.) Now, let’s see how you think of yourself Mr. Wynn. The curser blinks and a new screen appears. A small paragraph reads: “Dr. Terrance Wynn - leading medical advisor of the Thorn group. Former lead cultist, now acts as secondary leader. Specialties include medicine and DNA. Is well educated in Thorn.” back to scene Blake scans the paragraph again. BLAKE “Former lead cultist?” Who’s the leader now? Blake hits control+B on the keyboard and is taken back to the main menu. He scans over the menu quickly. BLAKE What’s this? CLOSE-UP of screen At the bottom of the list is “HEAD CULTIST OF THORN GROUP.” back to scene Blake looks confused. BLAKE If Wynn wasn’t the leader, then who is? CLOSE-UP of screen The cursor moves down to the bottom of the list and blinks. back to scene As the information comes up Blake’s face breaks into a look of horror. BLAKE No, not him... Suddenly, a hand wraps around Blake’s throat and squeezes hard. Blake tries to scream but all he can let out is a hoarse gag. A butcher knife is brought into Blake’s line of sight and brought close to his stomach. int. waiting room - night Tommy jerks awake and bolts up with a start. He realizes where he is and calms down. He looks around the room, seeing he hasn’t disturbed anyone, gets up and walks out of the room. int. haddonfield police department - night Tommy comes out into the hall. He quickly glances down to the left. tommy’s pov- Blake looks slumped in his chair, arms resting on the arms of the chair. back to scene Tommy starts to turn to his right. TOMMY How ya doing Blake? tommy’s pov- The end of the cell block is pitch black. Their is a vending machine a little ways down. back to scene Tommy starts to walk to the machine, hand in his pocket. shape’s pov- The Shape watches Tommy from the darkness of the cell block. Tommy comes up to the machine, taking his hand out of his pocket. He looks at the change in his hand, then at the machine. Tommy puts some coins into the machine and makes his selection. He gets the item then takes his change and puts the rest in his pocket again. back to scene Tommy starts to walk toward Blake. TOMMY Did you hear me Blake? Tommy slows as he gets closer to Blake. tommy’s pov- There is a pool of blood on the floor under the chair. A hand comes into view. back to scene Tommy turns Blake around to face him. He backs up and gasps. tommy’s pov- Blake’s stomach is covered in blood. His face is a bloody mess, a couple small pieces of glass stuck in it. The computer monitor is shattered with blood around the jagged edges. back to scene Tommy turns around and runs back to the waiting room door. int. waiting room - night Tommy bursts into the room, startling Kara and Danny awake. TOMMY We have to get out of here, now! Kara grabs Stephen out of his box and her and Danny run to Tommy in the doorway. int. haddonfield police department - night Tommy, Kara and Danny run out of the room. Kara looks to the left and gasps. KARA Oh no. Tommy looks to the right. TOMMY Oh shit! Kara follows his gaze. tommy’s and kara’s pov- Right at the edge of the lit part of the hallway stands the Shape, butcher knife in hand. He starts to advance. back to scene Tommy runs to Blake’s body. He unhooks his gun from his holster and pulls it out. TOMMY Get behind me! Kara and Danny get behind Tommy as he takes aim. Four shots ring out hitting the Shape in the chest. The Shape falls to the floor. Tommy lowers the gun. TOMMY Come on! A door is heard opening and everybody looks up. SHERIFF What the hell is going on out... The Sheriff looks down and sees the body of the Shape. SHERIFF (cont’d) Oh my God. The Sheriff takes a step closer. TOMMY Sheriff, don’t go near him! The Sheriff stops and slowly nods. SHERIFF OK. I’m gonna call in the state police. Don’t do anything stupid if he gets up again. TOMMY Good idea. The Sheriff turns toward the door. The Shape’s hand shoots out and grabs the Sheriff’s ankle. Kara screams. Tommy points the gun at the Shape and pulls the trigger. A CLICK is heard. TOMMY Shit! The Shape pulls the Sheriff’s leg hard and he falls forward hitting his head on the wall with a SMACK. The Shape stands up and looms over the Sheriff. He raises the knife. The Sheriff shakes his head, rolls onto his back and opens his eyes. sheriff’s pov- The Shape is standing above him, bringing the knife in for the kill. back to scene The Sheriff kicks the knife out of the Shape’s hand and it flies across the floor. The Shape grabs the Sheriff by the collar of his shirt and slams him hard against the wall. A CRACK is heard as one of his ribs snap. The Sheriff screams out in pain. KARA No! The Sheriff looks right into the Shape’s eye sockets. SHERIFF Fuck you Michael. The Shape grabs the Sheriff by the throat and squeezes. The Sheriff starts to kick and gurgle as the Shape starts to lift him off the ground. TOMMY Let him go you bastard! The Shape turns to look at Tommy. A loud SNAP is heard and the Sheriff goes limp against the wall. The Shape lets go of the Sheriff and his body slides to the floor, all the while looking at Tommy. Tommy starts to shake his head. TOMMY No.... The Shape turns and starts to advance on them. TOMMY Run! Tommy, Kara and Danny run out of the hall and through the station. ext. haddonfield police department - night Tommy, Kara and Danny exit the station. Tommy looks around and spots Nelson’s squad car. TOMMY In the car, quick! Tommy runs to the squad with Kara and Danny behind him. int. nelson’s squad car - night Tommy gets in and checks the ignition. tommy’s pov- Nelson’s keys are hanging from the ignition. The passenger door can be heard opening. back to scene Danny slides in next to Tommy and Kara piles in with Stephen in her arm. TOMMY Thank God he left the keys here. Tommy starts the car and puts it into gear. ext. haddonfield police department - night The squad pulls out of the station’s lot just as the Shape exits the station. shape’s pov- The squad car speeds down the street. back to scene The Shape walks through the lot after them. ext. lempkin lane - night Tommy’s disabled jeep is still parked outside the Myers house. Lonnie’s squad car is parked right behind it. Nelson’s squad car comes screeching to a halt right behind Lonnie’s. The driver’s side door opens and Tommy comes out. Kara holding Stephen and Danny exit from the passenger side. KARA What the hell are we doing back here Tommy? TOMMY We’re going to get our suitcases from my jeep, put them in the car and get the hell out of this accursed town! Tommy starts to his jeep and Kara follows him. Tommy stops next to Lonnie’s squad and looks inside. tommy’s pov- Lonnie is propped up in the driver’s seat. There is a deep gash in his throat with blood running down his chest and stomach. back to scene Tommy stands back up and closes his eyes in pain. TOMMY That God damn mother..... Tommy sucks in a deep breath trying to hold back his emotions. Kara puts her hand on his shoulder. KARA Tommy, I’m so sorry, but you have to calm down. We need to get out of here. Tommy takes a deep breath. TOMMY You’re right. Let’s go. Tommy walks the rest of the way to the back of his jeep. Kara and Danny follow. Tommy opens the back and pulls the suitcases from the jeep. TOMMY Can you carry one of these? Kara holds the baby with one hand. KARA Yeah, I think so. Kara comes over and grabs one of the suitcases. As she stands up she stops, looking across the street. Tommy grabs the other cases and is about to walk back to the jeep when he sees Kara. TOMMY What is it? KARA Did you leave the light on in your room? TOMMY No, I didn’t. Why? Tommy turns and looks at what Kara is staring at. tommy’s and kara’s pov- In the boarding house across the street, Tommy’s room light is on. back to scene TOMMY What the hell? Danny hears a deep and commanding voice. DARK VOICE (V.O.) Danny, come to me. Danny starts to walk across the street. KARA Are you sure you didn’t.... kara’s pov- Danny is across the street and to the door of the Blankenship house. back to scene KARA Danny, No! Kara drops the case and runs after Danny with Stephen still in her arms. Tommy drops his cases and runs after Kara. int. blankenship house - night Kara and Tommy burst in through the open door. tommy’s and kara’s pov- Danny is to the top of the staircase and then disappears from sight. back to scene Kara and Tommy run after him. KARA Danny, come back here! int. blankenship house - upstairs hallway - night Kara and Tommy reach the top of the stairs and look to the right. tommy’s and kara’s pov- Danny is entering Tommy’s room. back to scene TOMMY Danny! Kara and Tommy run to the door and enter. int. tommy’s room - night There is a single lamp on in the room illuminating a chair in the middle of the room facing the shattered window. There is a figure sitting in the chair. The edges of a black duster can be seen over the figure’s shoulders. The figure is also wearing a black hat and black gloves. Cigarette smoke wisps from the figure. Danny is standing right beside the figure. KARA Danny, no. Kara takes a step forward but Tommy stops her. TOMMY Wynn? The figure moves his hand and another wift of smoke ascends to the ceiling. A chuckle is heard. DARK MAN No Tommy. Wynn is still dead. The voice is oddly familiar. Tommy looks on in confusion as the man takes another drag on his cigarette. TOMMY Then who are you? The man lets out another chuckle. He drops the cigarette on the floor and a silver tipped black boot stubs it out from the chair. The man stands up and turns around with his hands on Danny’s shoulders. The light shines right on his face and we recognize him immediately. Tommy gasps. TOMMY Hunt? Deputy Gary Hunt? HUNT smiles slightly, wickedly. HUNT That’s right Tommy. Tommy looks at Hunt in confusion. TOMMY I don’t get it. What’s going on here? HUNT Oh, come on Tommy, you really don’t think that that idiot Wynn was behind Michael’s evil did you? Realization hits Tommy. TOMMY You’re Michael’s guardian? Hunt smiles even wider. HUNT That’s right Tommy. I’ve been the one controlling him, and the best thing is, no one knew it, not even you. TOMMY But, why? Hunt chuckles. HUNT You don’t understand, do you Tommy? Tommy shakes his head. TOMMY Understand what? Hunt shakes his head. HUNT You poor boy. You’ve spent most of your life trying to understand it and yet you don’t know the whole story. TOMMY What story? What do you mean by it? Hunt shakes his head. HUNT It looks like I’ll have to tell you the story then. The WHOLE story. Hunt walks back over to the chair. He sits down on it facing Tommy and Kara, resting his arms on the back of the chair. HUNT Thorn has been influencing Michael Myers since around August of 1963. It started out as voices he heard. In fact, he heard them the night he killed Judith. Hunt pauses for a second. HUNT (cont’d) That night he was out trick-or-treating... TOMMY With who? Not his sister. KARA No, Mrs. Blankenship. Both Tommy and Hunt look at Kara in surprise. TOMMY How did you know that? KARA She told me she was baby-sitting him. HUNT Ahhh, I see. Now where was I? Ah yes, Halloween night, 1963... ext. haddonfield streets - 1963 - night A six year old Michael and a younger MRS. BLANKENSHIP are walking down the sidewalk on a Haddonfield street. Michael is dressed in his full clown costume we saw in “Halloween” including the mask. Michael suddenly stops and hears a dark voice. DARK VOICE (V.O.) Kill your family Michael. Mrs. Blankenship keeps walking. She realizes Michael is not beside her anymore and turns around. MRS. BLANKENSHIP Michael, is something wrong honey? Michael shakes his head and looks at Mrs. Blankenship. MICHAEL No Mrs. Blankenship, I thought I heard something. MRS. BLANKENSHIP What did you hear Mikey? MICHAEL Nothing. Michael trots up to her side and they continue to walk down the sidewalk. Mrs. Blankenship shows a slightly wicked smile. int. myers house - kitchen - 1963 - night Young Michael is now sitting at the kitchen table, sorting through his bag of Halloween candy. He still has his clown costume on minus the mask. There is a knock at the door. Michael puts his bag of candy down on the floor and gets up to answer the door. JUDITH MYERS’ voice calls out from the living room. JUDITH (O.S.) I got it this time Michael! Michael turns around to sit back down. DARK VOICE (V.O.) Kill her. CHILDREN (O.S.) Trick-or-treat! Michael stands still for a minute. We can hear Judith handing out candy to the children. Michael turns around and silently walks out the back door. ext. lempkin lane - 1963 - night Michael is sitting on the curb across the street from his house with his head in his hands. DARK VOICE (V.O.) You MUST kill her Michael. Michael stands up and takes a step toward the house. michael’s pov- A teenage BOY walks into Michael’s line of sight. POV moves quickly behind a tree and peeks out to watch. The boy walks up to the door and knocks. The door opens and Judith is standing there. They kiss passionately and she pulls him into the house. The boy closes the door behind him. POV moves from behind the tree and quickly walks across the street. We come up to the house and see Judith and the boy kissing in the foyer. They separate and move off into the living room. POV moves from the front of the house and moves quickly along the side and peers in through the window. Judith and the boy are kissing on the couch. BOY We are alone, aren’t we? JUDITH Ummm, Michael’s around someplace. int. tommy’s room - present - night Hunt is still sitting in the chair. HUNT And the rest is pretty much what you’ve heard or read, but he gained control of himself and ran out of the house before he could finish the job. TOMMY What do you mean? HUNT There was another person in the house he was supposed to kill. int. judith’s room - michael’s pov - 1963 - night POV looks through a mask at the butchered body of Judith. The camera pulls back from Michael at a fast speed. It moves down the hall backwards, turns around and moves into Michael’s parents’ room. Camera moves up to a crib. We look inside and see a baby girl sleeping. int. tommy’s room - present - night Tommy is starring in disbelief. TOMMY Laurie Strode? HUNT Yes, but back then she was known as Laurie Myers. TOMMY And Michael was admitted to the Warren County Sanitarium. HUNT He was, but Loomis tried everything to get him transported to a maximum security facility. He was destined to fail though, the judge was a follower of Thorn. TOMMY Wait a minute. Weren’t you only 16 when all that happened? Hunt smiles. HUNT That’s right, but of course I wasn’t part of the cult then. int. hunt house - 1963 - night A 16 year old Gary Hunt is watching TV at the same time as Michael’s attack on his sister. His parents are out for the night. Hunt suddenly cries out in pain and grabs his wrist. He holds it up and looks at it. hunt’s pov- The mark of Thorn appears on his wrist. HUNT (V.O.) I didn’t know what it meant until the next day. int. haddonfield high - 1963 - day Hunt is sitting in class when a CLASSMATE in front of him turns around. CLASSMATE Hey, did you hear what happened last night? HUNT No. CLASSMATE That Myers boy killed his sister. Hunt looks shocked, then he looks down at his wrist. HUNT (V.O.) For some reason, I knew then that I was supposed to watch over Michael from then on. Of course I didn’t act on the feeling for 6 years. int. warren county sanitarium - 1969 - day A 22 year old Hunt walks up to the reception desk of the Sanitarium. RECEPTIONIST Can I help you? HUNT Yes, who’s chief administrator hear? WYNN (o.s.) I am. Hunt looks to his right and sees a younger Dr. Wynn walking down the hall to the reception desk. Hunt walks over to him. HUNT I want to see Michael Myers WYNN You’re not allowed to see him. Hunt rolls his sleeve up and shows Wynn his wrist. WYNN (cont’d) Of course, right this way. We’ve been expecting you for a while now. int. michael’s room - 1969 - day The interior of the room is bare except for a bed and a chair. 12 year old Michael sits in the chair looking out the window. The door to the room opens and Wynn and Hunt enter. WYNN Michael? Michael turns around and looks at Hunt. WYNN (cont’d) There’s someone here to see you. I have a feeling you’ll get to know one another very well. int. tommy’s room - present - night Hunt looks at Tommy. HUNT He was right about that. TOMMY So you manipulated Michael into doing all this? HUNT Yes, but I was hoping we wouldn’t have to at first. (pause) Michael was able to keep the evil in control for a while. They always have more will power when they’re younger. We tried to brake through his control with every conventional method we could think of, but he was just too strong. KARA So what did you do? HUNT Unfortunately, we had to use other, extreme methods. int. room - 1970 - day 13 year old Michael is strapped to a metal table. Electrodes cover his entire body. No sound escapes from him but he is in extreme agony. His mouth open and his body convulsing. Wynn and Hunt are behind a control console. Hunt turns a knob on the console. Michael convulses even harder. WYNN Is this really necessary? HUNT Yes, he must be ready when the time comes. int. tommy’s room - present - night Kara looks at Hunt in disgust. KARA You’re one sick bastard. He was only 13! HUNT It had to be done. After that, he let the evil consume him, and after a few months, he was ready. TOMMY Ready for the next time Thorn appeared. HUNT Exactly! Later, I got a job as a police officer and worked my way up to become Brackett’s number one deputy. TOMMY The trust of the town? HUNT It was the perfect cover. Who would ever suspect that a law man was controlling a homicidal maniac? Hunt stands up. He turns the chair around and then sits back down. TOMMY But Wynn was the leader of the cult, right? HUNT He was, but he wasn’t worthy of such a position. I challenged him and replaced him as the new leader of the Thorn cult. I let him be a secondary leader though. TOMMY So, Michael escaped after you let the evil consume him. HUNT That’s right. We didn’t have any influence on his rampage either. The evil was so strong in him that we let him go out on his own. He’s shown some creativity in his attacks too. Digging up his sister’s tomb stone and placing it behind Annie Brackett’s body for Laurie to find was very ironic. TOMMY It was sick! Hunt shakes his head. HUNT Too bad about her though. I truly felt a great deal of grief for her, for all of Michael’s victims, but he had to do it to get to his targets. KARA You’re worse than Wynn was. HUNT Think what you want my dear. After the explosion at the clinic we tried everything to get Michael back to Smith’s Grove, but the state officials thought our security was laking so he was sent to Ridgemont instead. We learned of Thorn’s appearance in ‘88 so Wynn pulled a few strings and was able to arrange Michael to be transported back to Smith’s Grove on the night of October 30th. TOMMY But he escaped. HUNT I’m still not sure why he did that. One of the staff must have said something that woke him up. int. medical bus - 1988 - night A male and female medical official sit in the back of the bus. A bandaged Michael Myers lays on a gurney. FEMALE OFFICIAL Did Hoffman say anything about living relatives? MALE OFFICIAL Yeah, a niece living in his home town. Michael’s hand curls into a fist. int. tommy’s room - present - night HUNT Whatever the reason, he went on another killing spree, but this time we had no control over him what-so-ever. We decided to let him go this time, see if he could accomplish his mission. TOMMY But he didn’t. He was shot down an abandoned mine shaft. HUNT Yes, but we knew that Thorn was coming back the next year, so we came into town Halloween day to see if we could find him and capture him. We wanted to reassert our control on him. TOMMY So you had Wynn break into the police station and break him out after he was captured. HUNT Wynn? That half wit wouldn’t know the first thing about breaking into a police station and taking down an entire force. I broke him out. int. police station - 1989 - night The man in black is shooting down the police officers in the station. But this time we can see his face. It’s Hunt. int. tommy’s room - present - night Tommy looks surprised. TOMMY You did it? Hunt nods. HUNT I was very surprised when Jamie wandered back into the station though. I had no idea she was seeing Michael’s murders through his eyes. I’m not sure how that happened, but I’m guessing she touched him before he was shot down the shaft and she picked up some of his evil somehow. ext. mine shaft area - 1988 - night Jamie bends down and picks up Michael’s hand. A look of confusion comes over her. int. tommy’s room - present - night Hunt looks thoughtful. HUNT That would explain why she attacked her stepmother in ‘88. TOMMY So, what did you do with them when you got them back to the sanatarium? HUNT Well, Wynn was somehow able to cure Jamie’s condition, but I have no idea how. KARA And Michael? HUNT After being away from us for so long, our control over him was almost nonexistent. One minute he would be as docile as a kitten and the next he’d be a raging maniac. int. underground room - between 1989 and 1994 - night Michael is locked inside a room with stone walls. A cast iron door with bars on the window holds him in. Michael is shaking the bars like a wild animal. Hunt and Wynn stand outside the door. HUNT What the hell is wrong with him? WYNN We’ve lost our control over him, he’s been away from us for too long. HUNT Well do something Wynn or I just might throw you in there with him! int. tommy’s room - present - night HUNT Half the time he didn’t even know what he was doing, and that damn niece of his had him so confused. Tommy looks at Hunt confused. TOMMY What do you mean? HUNT Jamie was able to make Michael take his mask off and he actually cried in front of her. KARA He did? HUNT Yes. You see my dear, Michael has never really wanted to kill anyone. Tommy and Kara look surprised. KARA You mean you sick bastards drove him to this? HUNT It was necessary Kara. TOMMY So, Michael was starting to feel again. HUNT Yes, some of the cult members were actually happy for him, but not me and Wynn. TOMMY So you forced Wynn to find a way to bring him back under your control. HUNT Yes, needless to say, he did find a way to do it. TOMMY That drug at the sanatarium. HUNT That’s right. I was surprised it worked though. KARA It doesn’t work that good. HUNT Yes, Michael has grown resistant to it now. It takes a lot of it to keep him under control. TOMMY We know. He slaughtered everyone in that operating room tonight. HUNT Operating room? Did Wynn try that genetically engineering Thorn into Jamie’s baby crap? TOMMY Yes. HUNT God, what an idiot! I doubt that it would have worked. Wynn had always been a fuck-up. TOMMY He seemed like he knew what he was doing tonight. HUNT Well, he didn’t last night. int. hunt’s house - last night Hunt is sitting in his house somewhere near Smith’s Grove watching TV. The phone RINGS and Hunt gets up to answer it. HUNT Hello? (pause) What are you talking about Wynn? (pause) They escaped? How the hell did you let that happen?! (pause) I knew we should have done something about Mary. (pause) Good, I hope she felt a lot of pain when she died. Wynn, find them. I don’t care what it takes, I want them found. We need that baby at all costs, even if it means killing Jamie. I know he’s been wanting to do that for a long time. (pause) Good, make sure it’s done and done right! Hunt hangs up and stands there for a few seconds. He then walks over to his closet and pulls out a black duster. int. tommy’s room - present - night HUNT I knew right there that I was going to have to come here, and I was right. I never should have trusted him. Hunt glances over Tommy’s shoulder. HUNT (cont’d) Well, tonight we’re going to do it right. It’s about time you showed up. Tommy spins around to see the Shape standing in the doorway. The Shape grabs Tommy’s throat. Hunt stands up from his chair. HUNT Michael! The Shape looks at Hunt. HUNT (cont’d) No, not yet. The Shape releases Tommy. HUNT (cont’d) I want him to watch my final victory and savor in the fact that he couldn’t do anything to stop me. Go. The Shape turns around and walks out the door. Hunt brings Danny forward, motioning Tommy and Kara to follow the Shape with his dagger. KARA Where are we going? HUNT To the place where it all began. ext. lempkin lane - night The Shape, Kara holding Stephen, Tommy and Hunt holding Danny’s hand all cross the street. TOMMY You’re taking us back to the Myers house, aren’t you? HUNT (smiling) That’s right Tommy. group’s pov- We move in closer to the Myers house. back to scene Kara starts to shiver. KARA God, I hate that house. int. kara’s bedroom - night The Shape enters Kara’s room followed by everyone else. The room looks exactly the same as before. HUNT Place the baby on the bed. Kara walks over to the foot of the bed and gently lays Stephen down. TOMMY Not this again. HUNT Again? KARA Wynn tried this too. HUNT Ahh, I see. Last ditch effort to do what I told him. Well, at least I don’t have to kill him for failing now. Hunt walks over to the Shape. HUNT This is your final sacrifice Michael. After tonight, your legacy ends, (indicates Danny) and a new one begins. Hunt holds up his dagger. HUNT (cont’d) I’d give you this, but I always thought that you should stick to tradition. Hunt reaches in to his duster and pulls out a new butcher knife. He hands it out to the Shape. The Shape reaches out and grabs the knife from Hunt. HUNT (cont’d) Almost like finding a long lost friend. The Shape walks over to the bed and holds the knife poised over Stephen. Hunt walks back over to Danny and puts his hands on his shoulders again. HUNT (cont’d) All of your suffering ends tonight Michael. Now, kill the baby and your bloodline ends. KARA Michael, don’t do it, don’t kill the baby! TOMMY Remember what Wynn said Michael? The Shape looks at Tommy. TOMMY (cont’d) If you kill that baby you will die. Your body won’t be able to endure the trauma that Thorn has kept you alive through. The Shape looks at the baby, then at the knife. He starts to lower the knife. HUNT (under his breath) That idiot... (louder) Michael, you must kill the baby. There is no other way to end your torment. The Shape raises the knife again. KARA Please, Michael. How could you take the life of an innocent child and put my son through something you couldn’t stand? The Shape lowers the knife again. Hunt stairs at Kara with a look of hatred in his eyes. HUNT Blasted woman! Hunt storms over to the Shape. HUNT (cont’d) Damn it boy, you do as you’re told! Hunt slaps the Shape across the face. int. michael’s room - 1969 or 1970 - day Michael sits in the chair in his room at the sanitarium some time before the shock treatments that we saw before. Hunt is standing next to Michael’s chair. He looks very mad about something. HUNT Damn it boy, you do as you’re told! Hunt slaps Michael across the face, knocking him out of his chair. He holds his face looking up at Hunt in fear. int. kara’s bedroom - night The Shape then does something we’ve never seen him do before. He stumbles over to the wall, hunches down and cowers from Hunt. The Shape seems to be trembling. Hunt looks at the Shape in disgust. HUNT You make me sick sometimes boy. Tommy looks at the Shape. TOMMY I can’t believe this. Look at you Michael. After all the mayhem you’ve caused in this town you’re afraid of that man? You make me sick! The Shape looks at Tommy. KARA Michael, you’re not a child anymore. He can’t hurt you anymore. HUNT Shut up woman! The Shape looks back up at Hunt and his shaking settles down a little. HUNT (cont’d) You’re pathetic Michael. The Shape stops shivering and starts to get up. HUNT (cont’d) Don’t you defy me boy! TOMMY He can’t hurt you Michael. The Shape stands to his full height, taller then Hunt, and takes a step toward him. Hunt takes a nervous step back. HUNT What do you think you’re doing Michael?! The Shape continues to advance on the retreating Hunt. HUNT (cont’d) God damn it! Stop! Hunt raises the dagger and jams it into the Shape’s chest. The Shape back-hands hunt across the face. Hunt flies across the room into the wall. The Shape pulls the dagger from his chest and throws it on the ground. Hunt struggles to get up. HUNT Now you’re going to get it boy! Hunt stands up, his nose is bleeding. He roars and runs at the Shape. The Shape catches hunt by the throat and starts to choke him. HUNT Damn you Michael. Damn you to hell! The Shape RAMS his knife into Hunts chest. Hunt screams. The Shape violently pulls the knife down, gutting Hunt. Hunt’s scream turns into a horrible gaging gurgle. Kara puts her hands to her mouth. TOMMY Oh my god. The Shape throws Hunt’s body violently to the ground. Danny, seeming to come out of a trance, runs to Kara. They hug each other as Danny starts to cry. KARA Shhhh, sweetie. It’s OK now. You’re OK. The Shape stands in place, swaying for a second. He drops the knife and puts his hands to his head. Then the Shape does something else he’s never done before. He lets out a horrible, pain filled scream as he drops to his knees. It almost sounds inhuman. The Shape rips the mask off his head. Michael’s face is horribly burned and scarred and some of his hair is gone. He continues to scream like an animal. The screaming stops suddenly and Michael falls forward, unmoving. KARA Is it over? TOMMY I think so. I think Michael’s evil has finally ended. Tommy and Kara hug. TOMMY (cont’d) Let’s get the hell out of here. Kara walks up to the bed and gently gathers Stephen into her arms. Everyone exits the room. ext. lempkin lane - night Kara holding Stephen and Tommy holding Danny’s hand walk out to the street up to the spot where they dropped the suitcases. The very first signs of dawn are showing as they gather them up and toss them into the back of Nelson’s squad car. int. nelson’s squad car - dawn Tommy gets into the driver’s seat. Danny slides in next to him. Kara slides in next to Danny holding Stephen. The car doors slam. KARA You know, even though Michael killed my entire family tonight, I hope he’s happy where ever he is now. TOMMY I know, me too. All this time I thought Michael was a monster. Now I know he was nothing more then a victim. Probably the biggest victim of all. Tommy starts the engine. He puts the car in gear and steps on the gas. ext. lempkin lane - dawn The squad car drives away. int. kara’s bedroom - dawn The faintest light is coming in through the broken window. The camera settles in Michael’s mask laying on the floor. A burned scarred hand comes into frame and picks up the mask. We see the back of a figure as the mask is pulled down over it’s head. The figure turns around and we are looking at the Shape, still alive and breathing very raggedly. Camera zooms into a close up of his eyes. We see a look of pure insanity. ROLL CREDITS THE END