Sophocles Screenwriting Software
Halloween --------- The Burning by J.E.K.
A BLACK SCREEN The SOUND of a fire starting. A BRIGHT ORANGE GLOW appears all around us. We are in the center of a large FLAME. Each side of the flame gently dances back and forth. We PULL BACK to see that we were in the center of a JACK-O- LANTERN The center is burning with a flame. The front of the jack- o-lantern is carved into an evil, haunting expression; the eyes are frowning upon us, the mouth is not smiling, but a look of unforgiving anger stares back at us instead. And, through the eyes, we SEE the flame... It catches the edge of the carved face. The entire front begins to burn, causing the face to MANGLE into something entirely inhuman and unrecognizable. The front caves in on itself as the flame burns. PULL BACK again to reveal that the deformed jack-o-lantern is resting on the FRONT PORCH of a two-story, midwestern house. EXT. STREET - NIGHT Leaves scatter across a dark street as a light, October wind gently blows. In the distance, we SEE the same JACK-O- LANTERN smiling back at us from a nearby porch. A group of TRICK OR TREATERS gallops by in the twilight of the orange sky. A crowd of CHILDREN walk down a narrow sidewalk. They're wearing HALLOWEEN COSTUMES and holding bags of candy. They run to the house we OPENED ON. A WOMAN answers. The kids yell, "Trick of Treat!". EXT. HOUSE - NIGHT An average, two-story midwestern house. It's very similar to the house we opened on. But, something is different about this house... No witches blowing in the wind, no goblins staring at us, not even a pumpkin on the porch. From the street, we SEE the curtains pull back. A SMALL FIGURE gazes out. We can tell it's a young boy. He gazes out at the street. The curtains fall. He disappears.
2. INT. HOUSE - HALLWAY - NIGHT The boy's FATHER, a man in his early 40's, quietly walks down a dark hallway. He stops at a door, waits. INT. BEDROOM - NIGHT Sitting on a bed, ADAM, twelve years old. He's playing a hand-held video game. By the way he'd holding it, he's obviously unhappy about something. A KNOCK at Adam's door. He doesn't turn. The door opens revealing his father. FATHER Still mad at me? Adam doesn't pause from his game. His father walks over to the window, peeks out. FATHER'S P.O.V. - THROUGH THE WINDOW A group of TRICK OR TREATERS run by on the sidewalk. They yell and scream as they run off into the darkness of the night. In the window, we see ADAM Watching us. He doesn't know we can see him. Adam's father turns around. Adam's head is buried in the game again. FATHER I guess I would have been mad at my dad, too...if he didn't let me go out on Halloween night. (long beat) How would you like me to tell you a story instead? Adam finally looks up. He rolls his eyes at the mere suggestion that a "halloween story" could be even remotely acceptable in lieu of going out. FATHER This is a good one. I promise. Adam starts playing his game again, ignoring his father. FATHER It's the story of why I won't let you go out on halloween. ADAM I thought you didn't wanna tell me.
3. FATHER I've been waiting. And, besides, what better night to tell a scary story than on halloween night? ADAM Scary story? Adam's father walks over to Adam's night stand. He reaches over to the light switch, flips it off. The room flashes to darkness. Then... a MATCH STRIKES. It comes towards a candle which rests on a night stand. The candle's flame reflects off the father's face, which is only a foot away from his son's. Adam jumps back a little. His father takes the candle from the night stand. He walks towards the window, looks out. We see the father's REFLECTION in the window, as well as the tiny flame from the candle he's holding. FATHER It all began with a boy, not much younger than you... The flame on his candle begins to... DISSOLVE TO: THE SUN ...beaming down from a clear, blue sky. We move down from the sky to... INT. ELEMENTARY SCHOOL - DAY - FLASHBACK (1963) A courtyard in the middle of an old school. Huge trees surround the area as well as wooden benches. A group of YOUNG BOYS, is standing, gazing at something O.S. One of the boys, ROB steps forward a little, a disgusted grimace painted across his face. ROB What's he doing? He just sits there all day long. We finally SEE what they're staring at -- another YOUNG BOY. He's sitting on a wooden bench, staring straight ahead...into a stone wall. He's completely shaded by a huge tree, the leaves shielding him from the sun. He sits, motionless.
4. One of the other boys is eating an apple. Rob snatches it from his hand. He WHISKS it towards the kid on the bench. It hits him with a THUD, bounces to the ground. The boy remains like he was. ROB What's the matter with him? All his friends shrug. Rob steps forward a little, puts his hands to his mouth. ROB Hey, Michael, aren't you gonna throw it back at me? We PUSH IN closer to the young boy. Through the shade, we RECOGNIZE the light brown hair of MICHAEL MYERS, age six. Michael still remains motionless. ROB What are you, some kinda wussy? Another BOY touches Rob's shoulder. He's holding a baseball bat. BOY C'mon, leave him alone. The boy disappears O.S. The rest of the group follows. Rob's gaze remains on Michael. He continues to stare at him oddly. Then, he runs after his friends, O.S. We PUSH IN even closer to Michael... sitting... waiting... watching. A gust of wind BLOWS. His hair blows around wildly, leaves scatter in a million different directions. Michael has never moved. EXT. ELEMENTARY SCHOOL - DAY - LATER SCHOOL BUSES are parked in front of the school. PARENTS accompany CHILDREN from the front entrance to cars. Rob emerges from the school, not a single book in his hand. He spots another boy, JOEY, a little thinner... and smaller. He's carrying a bookbag that looks much too heavy for him. Rob walks behind him, pushes a little. Joey almost falls to the ground. Rob laughs hysterically. Joey turns around, hurt. JOEY You jerk. Rob continues laughing. Then, his gaze turns to something beyond our perspective. Joey notices.
5. JOEY What? We TURN our view to MICHAEL. He's walking through a small park, his head staring forward. He walks methodically, the way no normal child should walk. EXT. PARK - DAY We FOLLOW Michael walking. He angrily kicks a small ROCK. It propels forward, bounces off a nearby park bench. Then, he walks into ROB Standing in front of him. Joey is in back of Rob, keeping his distance from Michael. Rob pushes Michael to the ground. Michael tries to get up. Rob KICKS him. ROB Stay down there. That's where you belong. Michael's hand grabs onto the rock he kicked. Rob stands over Michael. ROB What's the matter, Mich-- The ROCK comes flying upward, smashes into Rob's face. Blood spurts everywhere from his broken nose. Rob SCREAMS in pain, holding his nose. Michael rises to his feet, looks at Joey. Joey stares at Michael, then at Rob, who has dropped to the ground in pain. Joey drops his book bag, runs away. Michael drops the blood-soaked rock next to Rob's convulsing body. He walks away like nothing happened. In the b.g., Joey can be SEEN getting the attention of a MAN PASSING BY. As Michael walks away, we SEE Joey and the adult running towards the park bench where Rob lay. Joey points towards Michael... the man looks, sees Michael. MAN Hey! Michael keeps walking, ignoring. The man rests Rob on the ground, runs after Michael, grabs him by the shoulder. He bends down next to Michael...
6. MAN What did you do?! (no answer) What the hell is wrong with you, boy? He shakes Michael. MAN Do you hear me?? A few more PEOPLE gather around the area, watch in disbelief as six-year old MICHAEL MYERS shows no remorse for what he has done. The guy stares at Michael in shock... speechless as we... DISSOLVE TO: INT. MYERS RESIDENCE - NIGHT - LATER A darkened bedroom. There is nothing in this room except a bed, a dresser... and a chair in the corner. Sitting in the chair, Michael, his head gazing forward again at the wall. We hear SCREAMING O.S., from somewhere else in the house. It sounds like it's coming from... INT. MYERS HOUSE - BEDROOM - NIGHT A woman, EDITH MYERS, is sitting on a bed. In front of her. RICHARD MYERS, pacing around, his frustration obvious. EDITH My son is not going to be locked away in some asylum, like...an animal. RICHARD Did you see what he did to that boy? He broke his Goddamn nose, Edith. EDITH He deserved it. RICHARD Do you hear yourself?! Do you know how crazy that sounds.
7. EDITH Nothing is as crazy as sending our son to one of those... those... places. What would the neighbors think? RICHARD Edith, there is something wrong with that boy. He bends down next to his wife. RICHARD(CONT'D) I love Michael, he's our son, but...something's not right with him. The DOORBELL begins ringing. Over and over again. EDITH I can't listen to this. She angrily breaks free of her husband's embrace, sprints O.S. Richard pulls himself up, rests himself on the bed, clearly without words. INT. MYERS RESIDENCE - FRONT DOOR - SAME MOMENT Edith hurries down the stairs. A FIGURE can be seen through the glass. It KNOCKS loudly, banging on the door. Edith pulls the door open. Standing in the doorway, DAN, a tall, yet pudgy man. He doesn't wait for an invitation to come inside. Instead, he bursts into the living room. EDITH Can I help you? DAN (irate) Your kid broke my kid's nose. EDITH I'm very sorry about th -- DAN What are you gonna do about it, huh? EDITH His father and I are prepared to pay for any medical exp --
8. DAN Medical expenses? Medical expenses?! The kid's fuckin' nose is broken! EDITH I don't care for your language -- DAN And, I don't care for what your Goddamn kid did to my kid today! RICHARD(O.S.) Is there something I can help you with? Dan spins around to see RICHARD on the staircase. Richard is not a particularly tall man, but his position on the staircase heightens his presence. DAN Yeah, you see what your kid did to my kid's nose? RICHARD Yes. My wife and I are very sorry. DAN That's all you can say? Kid can't even eat, his face is so fuckin' sore. Doctor says it's gonna take two months to heal. RICHARD Like my wife said, we're prepared to pay for any medical expenses. DAN You're gonna be payin' for a lot more than that. RICHARD I'd like you to leave my house now. Dan stares at Richard like he's shocked that he had the audacity to evict him from his own house. DAN I'm going.
9. He starts for the door. Edith closes the door behind him. Then, Dan pushes it open one last time -- DAN You better watch that bastard kid of yours, fuckin' little psychopath. Richard looks away, deeply hurt. Edith pushes the door closed on Dan. EDITH (pushing Dan out) Get out of our house. She bolts the door. Richard sits on the steps, midway. Edith rests against the door. Her eyes catch Richard's. They watch each other. INT. MICHAEL'S BEDROOM - NIGHT Edith stands in the doorway, watches Michael in his chair. She watches him sympathetically. Then... EDITH Michael...? He doesn't turn. Edith walks halfway into the room, keeps her distance. EDITH Michael? Long beat. She walks to the side of Michael's chair, bends down. Michael's face is in SHADOW as we see Edith's dark circled-eyes looking at him. EDITH What you did today was wrong. Do you understand why? No answer again. He continues staring into the dark walls. A few minutes of silence. Then... EDITH Damn it, why won't you answer me! Edith takes Michael's wrist, caresses it. EDITH (quietly) I haven't heard your voice in... God knows how long. (MORE)
10. EDITH (CONT'D) (waiting...then...) Please, Michael, tell me what's wrong. Why are you acting this way? She gazes at Michael like he'll answer any moment. He doesn't. He just sits there...quietly... lethargically. He doesn't even blink. Edith rests her head on the side of the chair, crying. EDITH Please, Michael. In the b.g., Richard appears in the doorway, watches his wife and son. Edith's muffled SOBBING can be HEARD. Michael remains stationary. DISSOLVE TO: EXT. ELEMENTARY SCHOOL - DAY SCHOOL BUSES are waiting. CHILDREN exit the school. The front entrance opens, Michael emerges, the same emotionless expression on his face. He's carrying no books. Michael begins walking down the street, kicking at some scattered leaves, his head staring at the ground rather than straight ahead. He seems to be walking nowhere. Then... A CAR Pulls up to the side. A 1960's Camaro-type car. FEMALE VOICE(O.S.) Hey, Michael! He keeps walking. We SEE who the VOICE is coming from --a young, attractive girl... flowing, light brown hair -- JUDITH MYERS. In the drivers seat, a FIGURE we don't see in depth. Judith sticks her head out the window. JUDITH Michael! (no response) Hey, Michael! Michael doesn't look. He kicks at the leaves more angrily. JUDITH (to the driver) Stop for a minute. The car parks in the middle of the street. Judith gets out. She hurries to Michael, bends down.
11. JUDITH What's the matter, you don't recognize your big sister? (worried) Michael? He continues to stare at the ground, never looking at his sister. JUDITH Well, I have to pick you up from now on. (quieter) You really nailed that boy. She lets out a small smile. Michael doesn't return the smile. Judith notices. JUDITH Anyway, let's get you home. Judith gently takes Michael's hand. He shrugs it away, starts walking in the other direction. Judith scowls. She takes his hand more fiercely this time. JUDITH What's the matter with you? She pulls the car door open. JUDITH Alright, get in. Michael clearly resists. Judith pushes him into the backseat. As we SEE the car speeding off... MALE DRIVER(V.O.) What's wrong with your brother? JUDITH(V.O.) Who knows... We catch a glimpse of MICHAEL staring into a side mirror. For the first time, he shows emotion... rage... as his eyes angrily squint into the mirror at us. INT. MYERS RESIDENCE - NIGHT Edith Myers is applying lipstick in a large mirror. Richard can be seen in the mirror in back of Edith fixing his shirt and tie. He's also pacing back and forth nervously. EDITH Would you stop that?
12. RICHARD What? EDITH Walking back and forth like that. You're driving me crazy. RICHARD I don't think we should leave them alone tonight, Edith. She turns and faces him. EDITH They'll be fine. RICHARD I just don't think -- EDITH They're going to be fine, Richard. Mrs. Blankenship is right across the street. INT. BEDROOM - NIGHT A CRIB lay in the center of a darkened bedroom. A few stuffed animals dangle from the ceiling, rotating around the crib. A MUSIC BOX, sitting on a small dresser, serenades the room. Michael appears at the doorway. He stares into the room...at the crib. He slowly walks into the room, towards the crib. He peeks over the crib's edge... LAURIE MYERS, a beautiful, little two-year old girl, gazes back at him. She smiles at Michael. He just watches her. Their eyes are locked. Judith suddenly storms in, grabs Michael by the arm. JUDITH Did you wake Laurie up, again? She drags him out of the room. He keeps staring back at the crib. Judith has to turn him back around each time as they exit the room. INT. MICHAEL'S BEDROOM - NIGHT Judith lets go of Michael's arm. He turns around, away from his sister, clearly angered.
13. JUDITH Stay in here 'til Mom and Dad leave and maybe we'll go trick or treating later. Judith disappears into the hallway, closing the door behind her. Michael stares straight ahead, half his face in darkness. INT. LIVING ROOM - NIGHT Edith is standing at the front door, putting a scarf on. Richard is holding his jacket, almost like he doesn't want to leave. EDITH You have the number of where we'll be and you have Mrs. Blankenship's number - if anything happens -- JUDITH Mom -- have a good time. She pushes her mother toward the door. Edith smiles. Judith smiles back. JUDITH Have fun. Richard follows, but waits until Edith is out the front door. He leans towards Judith... RICHARD (quietly) Make sure Michael stays in his room until we get home. JUDITH (a little creeped out) Okay... Richard gives Judith one final smile. Judith closes the door. She leans against it, breaths a deep sigh of relief. EXT. MYERS RESIDENCE - NIGHT Edith and Richard's car turns around in the middle of the street. We SEE Richard gazing back at his house... RICHARD'S P.O.V. - HIS HOUSE From an upstairs window, a SMALL FIGURE stares out at us... watching. Then, the curtains fall.
14. Richard freezes for a moment. Then, he speeds off. INT. MRS. BLANKENSHIP'S HOUSE - LATER A living room. The TELEVISION SET is on. It's a fuzzy picture, but we can see it's Nosferatu, the silent epic. Mrs. Blankenship is sitting on a sofa, dozing off every minute or so. Michael is sitting on a chair, staring at the TV... but not paying attention. His eyes are more emotionless than ever. He notices Mrs. Blankenship as she finally gives in and falls asleep. Michael gets up. EXT. MRS. BLANKENSHIP'S HOUSE - NIGHT - SAME MOMENT Michael emerges from the house, leaving the front door open. He walks down the front steps of the porch. He crosses the STREET And stands in front of HIS HOUSE The wind BLOWS. Leaves dance around him. His emotionless eyes watch the house. INT. CAR - NIGHT - LATER Richard driving. Edith in the passenger seat. Her head is tilted to the side. She's almost falling asleep. They're both clearly too exhausted to speak. The car pulls onto a small street. Victorian homes line this road. Richard begins to squint at something in the distance... a TINY FIGURE... pacing around the road. He pulls up to his own house. Edith begins to wake up. Michael is standing in front of her house, a BLOODY BUTCHER KNIFE dangling from his hand. Richard jumps out, runs towards Michael. RICHARD Michael? Edith runs towards Michael. She falls to her knees at his side. Michael stares straight ahead... emotionless... blank. FADE TO: A BLACK SCREEN. EXT. MAIN STREET - DAY We open on a busy main road in the center of Haddonfield. Tiny stores line the street. PEOPLE walk by each other on the sidewalk and smile at each other.
15. By the looks of things, we are no longer in 1963. In fact, it appears as if we are in present day, 2005. The murder of Judith Myers has long since passed. A young boy, BEN, is walking down the street. Across his chest, two straps, holding a heavy backpack. He's about twelve years old, although he appears more articulate than most kids his age. He walks slowly, curiously stares into each window. Ben passes by a NEWSPAPER RACK, the headline on one of the papers reading: "Harvest Fair!". Ben takes little notice of the headline. Instead, he steps into... INT. DRUGSTORE - DAY The door swings open. A little BELL rings. Ben walks in. BARNEY, the owner, a short, old man, is sitting behind a counter. BARNEY How're you doing today, Benny? BEN Pretty good, Mister -- BARNEY How many times do I have to tell you -- Barney. BEN Sorry, Mister... I mean, Barney. BARNEY That's okay. You're just too polite for your own good. I wish there were more'a you around these days. BEN Thanks... Barney. Ben walks down a narrow aisle to the back of the store. He comes to a COOLER He opens it, grabs a soda. He closes the cooler. In the REFLECTION A WHITE MASK is staring back at Ben. He spins around in terror. It's just a Halloween mask, tucked neatly in the back of a bunch of other masks.
16. But, it's a familiar mask, white in color and expressionless in its face. Ben reaches up, gently takes the mask. He looks at it strangely. The black eye holes... the blank expression. Ben places his soda down on the counter. BARNEY That all today, Benny? BEN Yeah. BARNEY Okay, Benny, that'll be -- BEN Oh, and this. Ben slowly pulls the mask up from the side of the counter, almost frightened. Barney's face becomes irritated. BARNEY Damn Halloween masks. How the hell'd that get in there? BEN I don't kn-- BARNEY Damn teenagers nowadays. Tell 'em I don't want any of those things anywhere near this place, they order 'em anyway, put 'em out without me knowin'. He leans towards Ben. BARNEY Don't ever become one of them, Benny. BEN I won't. (beat) How... much... is it? BARNEY Oh, I can't let you buy that, uh uh. Not with what happened in this town.
17. BEN What happened? BARNEY Guess you're a little too young to remember. Tell ya what -- in a few years, you come back in here, I'll tell ya all about it. BEN Mr. Andrews... Barney... I really want this mask. BARNEY Benny, I can't.... BEN Please? I'm gonna take the hair off, paint it up. It won't even look like the same mask. BARNEY There's five hundred other masks over there, can't you buy one of them? Ben looks into the mask. BEN There's something about this one. Barney pauses. He's about to give in. BARNEY You gonna paint it up? Make it look like sumpin' else? BEN Promise. Beat. BARNEY Okay, but do me one favor... BEN Anything. Barney leans closer again.
18. BARNEY Anyone asks where you got that, you tell 'em down at that new place, the one on the other side of town. BEN No problem. Barney winks. BARNEY That's nine ninety-nine. Ben smiles. INT. BEN'S BEDROOM - NIGHT Darkness covers the room. The only light comes from the moon shining in from the window. A small clock reads: 2:36 a.m. In a small bed, Ben... fast asleep. He tosses and turns a few times. Then, suddenly wakes up. He sits up halfway, rubs his eyes... he's looking at something... THE MASK Is gleaming at him through the darkness, almost as if someone is actually wearing it and staring at Ben. Ben quickly reaches for the lights. They flash on. The mask is simply hanging from his bedroom door, where he left it. Ben breathes a sigh of relief. He turns off the light, lays back down. Ben closes his eyes. Then, he opens them a few seconds later. The mask is still staring back at him. He turns over. His eyes remain open. BEN'S P.O.V. - CLOCK The second hand moves from number to number. The TICKING becomes progressively louder. Ben's eyes slowly close. He's drifting... We leave Ben, MOVE TOWARDS the mask. Towards its pale, blank face. Towards the darkest of eyes. They stare back at us.
19. INT. BEN'S HOUSE - MORNING A large staircase lay across from the front door, which is wide open. To the side of the staircase, BOXES. Someone just moved in... Ben walks down the staircase. A woman, CATHERINE, Ben's mother, meets him at the bottom. CATHERINE Aren't you gonna miss your bus? BEN I felt like walking today. It's only a couple of miles. CATHERINE Are you sure? I'll give you a ride.. BEN No, I'm okay. He smiles. She rubs his cheek, like a typical mother. CATHERINE Well, okay. I'll see you when I get home. BEN Okay. Catherine smiles one last time, leaves through the front door. She looks back -- CATHERINE Don't forget to -- BEN Lock the doors. I got it. She disappears. Ben grabs his backpack, straps it around his body. Just as he's walking through the front door... A FIGURE Appears in the doorway, blocking Ben. He stumbles backwards. The figure is ANDREW, another boy about Ben's age. BEN You scared the shit outta me. ANDREW Sorry.
20. BEN Who are you? ANDREW Andrew. I live across the street. You must be the new people. BEN We've been here for two months. ANDREW (motioning to the boxes) Takes you people a while to unpack... BEN We have a lot of stuff. Ben starts pushing Andrew out the front door, clearly trying to get rid of him. Then, he stops. BEN Shit. ANDREW You gotta go? I'll wait. BEN I forgot my math book. ANDREW I always forget my math book. Ben rolls his eyes, heads for the stairs. INT. BEN'S BEDROOM - DAY The door swings open. Ben hurries to his desk, grabs a large book. Andrew has followed him upstairs. He's looking around nosily. ANDREW Nice place. They cleaned the blood real good. BEN What blood? Andrew looks at Ben like he's crazy. ANDREW You mean you didn't know? Ben steps backwards, his face chilled.
21. BEN ... know what? ANDREW The people before you, they were killed in this house. Stabbed to death. BEN Wow... Andrew turns away from Ben, a smirk on his face. BEN(CONT'D) ... because, my uncle lived here before this. He lives in Miami now. With my aunt and my three cousins. Jack. Billy. (beat) And, Bettie. Andrew turns around with an, "uhhh" look on his face. BEN Nice try, though. ANDREW Thanks. In back of Andrew, the bedroom door starts to squeak close. Andrew turns to see THE MASK. He REALLY steps back now, a genuine look of fright on his face. ANDREW Holy shit. BEN What? ANDREW Where'd you get that? BEN Uh.... this place on the other side of town. ANDREW Which one? BEN I don't remember the name.
22. ANDREW You got it from Barney's, didn't you. Creepy old bastard. (beat) You know about this, right? BEN That's getting old. ANDREW No, I'm not kidding around this time. Ben starts walking out of the room. BEN Sure, you're not. INT. BEN'S HOUSE - FRONT ENTRANCE Ben walking down the stairs, Andrew following closely behind. ANDREW No, honestly! Ben starts walking through the door. Andrew runs in front of him so he can't walk through. ANDREW You've never heard of Michael Myers? Guy wore a mask just like the one up in your room. BEN Will you stop it? Ben grabs Andrew's arm, pushes it out of the way. Andrew follows. EXT. BEN'S HOUSE - DAY Ben closes the door. He tests the door to make sure it's locked. He starts walking down a brick walkway. Andrew walks with him at his side, almost frantically. ANDREW I'm serious. The guy killed like a million people. Ben stops, looks at Andrew like he's comical. BEN Really. A million people?
23. ANDREW Well, not a million, but... you know what I mean. They start walking again. BEN So, when exactly did this happen? ANDREW It happened a few times. Back in like the seventies or something, then a few years after that. Then, a few years ago... BEN You're an idiot. Andrew's face suddenly drops. He's looking at something O.S. Ben becomes worried. BEN What? ANDREW There it is. BEN There what is? We SEE what Ben is looking at -- an old, run down house, Victorian in style. The number "6" dangles from the front door. Boards cover the windows. ANDREW His house. BEN Who? ANDREW Michael Myers. BEN Yeah, right. ANDREW Michael Myers is your neighbor. Holy shit. BEN He's your neighbor, too, idiot.
24. ANDREW Your house is closer. Ben rolls his eyes, starts walking away. BEN Do you have a lot of friends? Andrew thinks for a moment. ANDREW Not a lot... Ben pats Andrew on the back. BEN C'mon, we're gonna be late for school. As they're walking away... BEN You know how I said my uncle lived in my house before me? ANDREW Yeah... BEN I lied. ANDREW Asshole. (beat) What are you doing after school? BEN Why? INT. BEN'S BEDROOM - NIGHT Ben and Andrew are sitting in front of a COMPUTER SCREEN. Andrew is controlling the keyboard. BEN Rotten.com? ANDREW It's the only one with the real pictures. BEN Of what?
25. Then... an image starts to appear on the screen. Something white in texture... a WHITE MASK, although computer- generated. It forms the upper half of the screen. Ben looks at it oddly. BEN That's my mask. ANDREW No shit. A PHOTO appears on the screen. A YOUNG MAN (Bob) impaled to a wall with a kitchen knife. A short DESCRIPTION is written below the photo that is too small for us to read. Ben is reading it, muttering the words under his breath. Another PHOTO appears...a YOUNG NURSE (Jill). Blood has covered the entire back of her nurse's uniform. And... another PHOTO. Another YOUNG GIRL (Judith Myers). Her body lay in a pool of blood. Stab wounds cover her upper chest. ANDREW That one happened right down the street. Ben remains silent. Clearly nothing to say now. And, one FINAL IMAGE. A charred body, although we see it's dressed in dark clothing... a WHITE MASK has been burned to its face. ANDREW ...they took that one the night of the webcast a few years ago. BEN Webcast? ANDREW Bunch of college people stayed in his house all night. He killed them all. Ben looks at the screen, disgusted. ANDREW Well, have fun reading. You'll probably be up all night.
26. BEN (scared) You're leaving? ANDREW Yeah. I was supposed to be home four hours ago. I'm probably grounded for three years. (beat) Have fun. Andrew walks towards the door. He notices the mask staring back at him. He makes an "X" at it like it's evil. Then, leaves. Ben returns to the screen. We PUSH IN to the charred mask on the screen. Ben seems to become intrigued by it. He stares at it for a few moments. As he stares, we... DISSOLVE TO: Ben at his computer... various drawings of MICHAEL'S MASK fill the screen. DISSOLVE TO: Ben muttering words under his breath... quickly... he's clearly interested. DISSOLVE TO: One final glimpse at the computer screen. A depiction of MICHAEL'S MASK, with the words, "Michael Myers - Dead or Alive?" underneath. A huge article is below the question. Ben continues muttering. DISSOLVE TO: Ben asleep at his computer. He begins to wake up. The same ghostly image is staring back at him -- Michael's white mask, and the same question - "Dead or Alive?". Ben quickly turns off the monitor. He gets up, stretches out. He walks to his window, looks out. BEN'S P.O.V. - NEIGHBORHOOD We see the tops of houses in the distance... including the Myers House. Ben gazes at it for a thousand seconds. Finally, he reaches for his light. Complete darkness.
27. INT. CLASSROOM - DAY Mrs. Kinney is walking through a row of desks. She's handing out homework. She comes to Ben's desk. He's not there. MRS. KINNEY Anyone know where Ben is today? She looks around the classroom. Other STUDENTS shrug. Andrew looks at the empty desk oddly. EXT. MYERS HOUSE - DAY Clouds roll by over the old, rundown house. Leaves blow around wildly in the front yard. Ben sneaks towards the front of the house. He stares up at it... BEN'S P.O.V. - HOUSE Paint is peeling off the side. Pieces of the house are hanging off each side. Almost every single window is boarded up. It truly looks like a haunted house. INT. HOUSE - BASEMENT - DAY From this perspective, we see a FOOT clearing away some broken glass from a basement window. Then, Ben sticks his arm through. He pulls himself all the way inside the house. The light from outside is adequate enough to see around the place. The basement is nearly empty, except for some old furniture. Ben walks straight ahead. The SOUND of his feet rubbing against the floor echoes through the place. He stops, looks to his left. A DOORWAY He tries opening it. It appears locked. He pulls on it with all his strength. The door finally pulls open, but he falls backwards. He stands up, dusts himself off. INT. MYERS HOUSE - EMPTY ROOM - DAY Ben enters. The room is nearly pitch black. The window he crawled through provides little light on this part of the house. This room clearly hasn't been visited in years... perhaps since 1963. Ben looks down at something. It's a BOX, hidden under a small piece of furniture. He pulls the box out, looks inside.
28. A curious look grows across his face as he pulls out some... OLD PHOTOGRAPHS BEN'S P.O.V. - PHOTOS A FAMILY, including Richard, Edith, Judith, Laurie and a young Michael. The whole family is smiling into the camera except Michael, whose frown is almost a chilling foreshadow to the events which occurred shortly after this photo was taken. Another picture shows just Judith... probably a high school yearbook picture. And, another photo with Judith smiling into the camera, her arms wrapped around LAURIE in front of her. Ben flips through the photos quickly. There are so many. BEN'S P.O.V. - PHOTOS Pictures of Edith and Richard holding an infant Michael. Even at this age, Michael's face is blank... emotionless. Edith and Richard appear not to notice. More pictures of Michael... getting older... becoming colder... more distant. In each photograph, his eyes are off center just a little more, like he's not looking at the camera anymore... he's looking at something else... something no one else can see. Ben stares at one final photo... of Judith, Laurie and Michael. The two sisters are laughing joyously... Michael is gazing at them with the most haunting stare... the darkest stare one can imagine. Ben curiously stares at the photo for a million seconds. He pockets a few of the pictures, then slides the box back under the furniture. The room fades to darkness once again as he slowly closes the door. EXT. STREET - DAY Ben walking down the street. Branches from nearby trees sway over him as he walks. As he's walking, Andrew catches up to him. ANDREW Where were you today? BEN Home. Sick.
29. ANDREW Yeah, you look real sick. Where were you really? BEN ... walking around. ANDREW Walking around where? BEN Around town. ANDREW Well, Mrs. Kinney was asking about you, said she was gonna call your mom. Ben seems uninterested about this. He stops, looks at Andrew. BEN This... Michael Myers... guy. Can you tell me about him? ANDREW Didn't you read the site? BEN Yeah. But, I wanna know more. ANDREW Everything's there. (beat) Well... except for one thing. INT. ANDREW'S BEDROOM - CLOSET - DAY Andrew reaches down, picks up a loose floorboard. His hand descends into the floor. He pulls something out. A BOOK. He hands it to Ben. ANDREW You can borrow this. BEN What is it? ANDREW Read it. Creepy shit. Ben opens to the first page. INSERT: DR. SAMUEL LOOMIS - PERSONAL MANUSCRIPT
30. INSERT on another page - a PHOTOCOPY of notes written in Loomis' own handwriting that we don't SEE in detail yet. BEN Who's "Loomis"? ANDREW His doctor. You know, the old guy, on the site. (beat) Those are his notes... you wanna really know about Michael Myers -- read that. Ben holds the book reluctantly. BEN Where'd you get this? ANDREW This guy in my history class. He got it from his brother. Ben appears as if he's gonna refuse the offer to borrow the photocopied notes. He holds it for a moment, contemplating... then... BEN Thanks. INT. BEN'S BEDROOM - NIGHT Ben is sitting on the floor, his back against his bed. His legs are propped up to hold the MANUSCRIPT. He stares at the cover for a minute, almost contemplating not opening it. Then, he does. MONTAGE: Page after page of Dr. Loomis' notes. We SEE bits and pieces of his writings. One comment reads: "... exhibits elements of sociopathic behavior" Another: "...I've been trying to get through to him, everyday, for hours. It's not working. (with three underlines underneath the last sentence) And, another:
31. "I've tried to get him to speak to me. He won't speak. The child is certainly not a mute - his family has heard him speak. The child is simply unreasonable" Over the montage... DR. LOOMIS (V.O.) I met this six year old child with the blackest eyes -- the devil's eyes. More PAGES flash by... the handwriting has become much more erratic and messy compared to the beginning of the manuscript. DR. LOOMIS (V.O.) I was told there was nothing left to him - no reason, no remorse, no consciousness. Towards the end of the book, the writing is simply scribbles. Loomis was clearly beginning to lose his sanity by this point. DR. LOOMIS (V.O.) I realized that what was living inside that child was purely and simply... evil. On the very last page... the final sentence, circled hundreds of times as if to be thoroughly emphasized: "The child is completely hopeless". END OF MONTAGE as we PUSH IN once again towards the MASK hanging from Ben's bedroom door, the black eyes staring back at us. Then... DR. LOOMIS (V.O.) Michael Myers is the most dangerous patient I've ever observed. EXT. STREET - MORNING Walking down a street, Andrew, a backpack rigged to his back. Ben catches up to him this time. He has the manuscript to Andrew. ANDREW What'd you think? BEN Eh. Probably bullshit.
32. ANDREW No way. That Loomis knew Michael. BEN Sounds like a nutball to me. They continue walking. Long beat. BEN So, they think Michael is still alive? ANDREW Some people. BEN Who? ANDREW People I know. One girl said she saw him in a field in the middle of the night, just staring towards town. BEN Why didn't she tell anyone? ANDREW She told her mom. Her mom told her to stop watching TV late at night. BEN Where do they think he... hides? Andrew looks over at Ben, obviously knowing Ben doesn't think it's "bullshit". ANDREW Why? BEN Just wondering. ANDREW I thought you didn't believe -- BEN If you don't wanna tell me, don't fuckin' tell me. I don't care. Another long beat.
33. ANDREW Down in the woods, near the place we were yesterday, there's a small cave. They think he's in there. BEN Have you ever gone inside? Andrew suddenly stops, looks at Ben like he's nuts. ANDREW No! Don't ever go in there. Don't even go near that place. (quieter) If he's in there, he'll get you. Promise me you won't go there.... BEN Okay, okay. I won't go. Andrew continues looking at Ben, a crazed look still on his face. Ben notices. BEN I promise. Andrew finally backs away, at least somewhat convinced. EXT. SCHOOL - DAY - LATER The BELL rings. STUDENTS are heading out of the school. Andrew is among them. He looks around. Then, he notices something...Ben getting on a school bus. He runs up to it, but the doors close. The bus begins taking off. EXT. STREET - DAY A school bus slows to a stop on a lonely, deserted street. Ben steps out, as well as a few OTHER KIDS. They walk in the opposite direction of Ben... who takes a right turn into a small PATH EXT. WOODED AREA - PATHWAY - DAY Ben walking through a narrow pathway. Branches smack him in the face as he marches through, uncaring. As he walks...
34. INT. SCHOOL - CAFETERIA - EARLIER THAT DAY Ben is sitting with another boy around his age, ROB. No one else is sitting near them. ROB There's a small pathway, off Bickersfield Road. You take that path all the way to the end... EXT. WOODED AREA - PATHWAY - DAY - BACK TO PRESENT Ben still walking. ROB (V.O.) You'll see a huge tree on your right. There's a hole in it, where we marked it. Take a right after the tree... Right on cue, the tree appears. Ben rests against it for a minute, then takes a right. EXT. WOODS - DAY There is no path here, just heavy brush and branches. ROB (V.O.) Keep walking straight. It's a long walk. Probably about ten or fifteen minutes. At the end, there's a small pond... EXT. WOODS - END - DAY - FIFTEEN MINUTES LATER Ben steps through some brush. He prepares to take one last step... realizes he's near a SMALL CLIFF ROB (V.O.) Watch where you step, there's a twenty foot drop. We see Ben holding onto the side of a tree. He gazes around. BEN'S P.O.V. - ENTIRE AREA A small, open place. Just below the drop, a pond. The water glimmers back at us as the sun brightly shines down on it. Ben waits, forgetting where to go. Then...
35. ROB (V.O.) From here, use -- BEN The map. He reaches into his pocket, pulls out a large, white piece of notebook paper. INSERT: Scribbled on the page, DIRECTIONS. We see dark blue covering about a quarter of the page -- the pond. Lines are drawn all around the pond... directions for how to get to ... THE CAVE Which is a quarter-sized splotch of black pen on the map. INT. CAVE - DAY From this angle, we see light beaming in from a small opening. Then, a small FIGURE appears in the entrance, backlit by the sunlight. We see that it's Ben. He waits at the entrance, carefully peeks inside. He slowly begins to walk in, towards us. Each side of the cave is made of dirt. Ben puts his hands against the sides of the cave to balance his movements. He walks about twenty feet in...then, stops. BEN'S P.O.V. - DEEP INSIDE From this point on, it's pitch black. Ben's eyes squint, hoping to somehow see through the darkness. The entrance to the cave is far behind him now. BEN (calling out) Hello? Ben's voice ECHOES deeply into the blackness. He walks a tiny bit further toward the blackness. BEN (calling out) Michael? OUR P.O.V. - BEN
36. We are hiding behind a small corner in the cave. Ben is about ten feet away. Our HAND raises towards the side of he cave, holds it. Through the darkness, the SCARS on our hand are visible. BACK TO SCENE BEN I... I'm ben. Are you really in here? (beat) ... Michael? Ben's hand reaches into his jacket. He begins to take something out. BEN I... I brought something for you. Ben pulls out the MASK. He throws it into the darkness. It doesn't go as far as he thought it would. BEN Damn it. He waits. Stares at the mask on the darkened ground. No movement. Not even a sound. He turns around towards the entrance... BEN'S P.O.V. - CAVE'S ENTRANCE It's a long way to run if he needs to. Ben backs up a little, toward the entrance to the cave. Then, he looks back towards the cave itself. His jaw drops. The mask is gone. Ben moves forward again, forgetting he was afraid. He stops at the line where light meets darkness. BEN I knew you were in here. (beat) Aren't you, Michael? (beat) But, I can't see you... He begins stepping forward... but he doesn't stop this time. OUR P.O.V. - BEN MOVING FORWARD, toward us. We step back. Ben disappears from our view.
37. BACK TO SCENE As Ben cross the line where light becomes dark. BEN I know you're here, Michael. You took the mask. I knew you would. Silence, except for the sound of WATER DRIPPING somewhere in the cave can be HEARD. Ben keeps walking. His hand reaches for the side of the cave. It gently runs along the side of the cave... it passes near A BODY Tucked into a corner. Ben's hand misses the outline, crosses over it. Ben stops again, looks down at something. A DEAD ANIMAL. BEN You must have been hungry. Are you still hungry, Michael? Ben waits for an answer. It doesn't come. He looks back. BEN'S P.O.V. - CAVE'S ENTRANCE He's much deeper in the cave than he thought. BACK TO SCENE Ben slowly backs towards the sunlight. He crosses back over the line. He pauses right at the opening to the cave... BEN Don't worry, Michael -- I won't tell anyone you're here. OUR P.O.V. - ENTRANCE We watch Ben staring towards us. He waits a few moments, then finally disappears into the sunlight, O.S. EXT. BEN'S HOUSE - DUSK An orange glow encompasses the sky as the sun begins to set in the distance. A set of WIND CHIMES rings through the neighborhood... INT. BEN'S HOUSE - KITCHEN - NIGHT Sitting at a large table, Ben and Catherine, as well as Tom, Ben's father. He's in his mid-forties. On the other side of the table, ERIC, Ben's eight-year old brother.
38. As the parents converse, Ben's head is buried in his plate. His mind is obviously preoccupied with something else. TOM (to Catherine) ...so, he asked me to work overtime. CATHERINE What'd you tell him? TOM I told him to screw. Catherine looks at Ben and Eric. She gives Tom a dirty look. TOM Like they don't hear it at school. (to his sons) Right fellas? Eric laughs like a typical little eight-year old kid. Ben is oblivious. TOM Everything alright, Ben? A beat. He finally looks up. BEN Oh. Yeah, I'm fine. Just a little tired. TOM How's school? BEN Okay. TOM I haven't seen any new friends around. (beat) Any girls...? CATHERINE Tom... BEN (embarrassed) Dad... Catherine smirks. Ben gets up, pats Ben on the back.
39. TOM I'm just kidding with you, Ben. He rubs his stomach. TOM I'm full. CATHERINE Did you like dinner? TOM (sarcastically) No, I hated it. (smiling) Of course I liked it. Catherine notices that Ben has barely touched his food. CATHERINE Ben, are you feeling alright? BEN Yeah. CATHERINE Are you sure? You didn't eat anything. BEN I ate a lot at lunch today. Catherine prepares to take the dish away. Ben grabs her arm. BEN I'll wash tonight. Catherine gives Ben an odd look. CATHERINE I know what's going on. (beat) You just don't wanna clean your room tonight. BEN You got me. CATHERINE Okay. You're off the hook tonight. Ben fakes smiles. Then, takes his dish... walks into...
40. INT. KITCHEN - SAME MOMENT Ben pulls a brown paper back from a drawer. He scrapes his food into the bag, closes it. INT. CAVE - DAY Light shines into the dark cavern. Ben appears at the entrance, carefully peeking inside. In his hand, a BROWN PAPER BAG. Ben slowly walks forward, into the darkness. BEN Michael? (beat) I brought you something to eat. Ben shakes the bag a little. He looks down at the ground. More dead animals. He looks a little grossed out. BEN Guess you already ate. (beat) How'd you like the mask? (another beat) The guy at the store said there was something bad about it, but I bought it, anyway. Ben paces around a little, more reluctant to cross the line into darkness this time. He stays close to the light. BEN Did you really kill all those people? The SOUND of water dripping once again. Ben stares into the blackness, waiting for an answer. He gives up hope of receiving an answer and throws the brown bag into the darkness. It lands with a soft THUD. Long beat. Then, the SOUND of a bag being RUFFLED. Ben's eyes open widely. The sound stops. Ben remains frozen. BEN Michael? Silence. Ben reaches into his jacket. He pulls something else out -- a FLASHLIGHT. He turns it on... BEN'S P.O.V. - WITH FLASHLIGHT A small BEAM forms onto the dark ground, then rises towards the wall. It traces one side of the cave then comes down to the ground again. Nothing.
41. Then, it rises towards the ceiling and moves along the side once again. It passes by A PAIR OF EYES that suddenly slam shut as the light passes. Ben gasps. He holds the light on the spot where he saw the eyes. Long beat. The eyes are gone. Whatever it was is gone. Ben moves the flashlight away from the spot. He rubs his eyes. As he moves the light away, we SEE the eyes opening again in the darkness. They remain unnoticed. They stare towards Ben. The flashlight snaps off. Ben sighs. He puts the flashlight away. BEN It's okay. You don't have to let me see you. I already know what you look like. That's how I knew about the mask. (beat) How come you don't talk? Silence once again. BEN I brought something else for you. Ben reaches into his pocket one more time, takes something out that we don't see. He places it down on the ground. We still don't see it yet. BEN I have more. I'll bring one everyday. (beat) I better be getting home. Ben heads for the entrance. He looks back into the cave one final time. BEN'S P.O.V. - CAVE Not a single movement. BACK TO SCENE as Ben disappears. We PUSH DOWN towards something on the ground. It lay half in light, half in darkness. A SCARRED HAND reaches from the darkness, grabs it and turns it over. A PHOTOGRAPH
42. Of MICHAEL. Extremely young. Maybe five years old. But, something is different about this picture. Michael isn't frowning, nor is he emotionless. He looks like a normal child. INT. BEN'S BEDROOM - NIGHT Complete darkness. Ben is peacefully sleeping. We MOVE TOWARDS him... INT. MYERS HOUSE - NIGHT - NIGHTMARE P.O.V. - MOVING We're steadily gliding up a staircase. We come to the... SECOND FLOOR Where we pick up a HALLOWEEN MASK on the floor and put it on. Our view is now confined to only to the perspective of the eye holes in the mask. We see JUDITH MYERS sitting half naked in front of a dresser in her bedroom. We CONTINUE towards her. She finally notices, looks at us, annoyed... JUDITH Michael! A BLADE raises O.S. We viciously STAB her over and over... blood splashes everywhere. INT. BEN'S BEDROOM - NIGHT - OUT OF NIGHTMARE Ben suddenly springs up, completely awake. He's sweating...breathing heavily. INT. CAVE - DAY Ben carefully steps into the darkness of the cave. He holds onto the side as he guides himself in. He sees THE LINE He doesn't cross it. BEN Michael...? (beat) I had a dream last night... about you... and your sister... Judith. (beat) Why'd you stab her?
43. Ben leans against the side of the cave. He starts sitting on the ground. BEN I have a little brother, too. He's so annoying. He gets into my things, he's always bothering me. Sometimes... I hate him. (beat) Did you hate Judith? (longer beat) Oh yeah, I almost forgot - I brought another one... Ben reaches into his jacket, pulls something out. Another PHOTOGRAPH. He lays its face on the dark ground, slides it across the line. The photo is in shadow now. BEN I hope you like it. Ben looks at the ground. THE LINE is beginning to move towards him. He looks towards the entrance to the cave... BEN'S P.O.V. - CAVE'S ENTRANCE The sun is beginning to set. From this view, the orange glow of an October sky is clearly visible. Dusk is settling over the area. BEN I gotta go. Ben pulls himself to his feet, begins walking towards the entrance. He turns around. BEN See you tomorrow. He waits for an answer. It still doesn't come. OUR P.O.V. - ENTRANCE As we WATCH Ben leaving again. He never turns back. We glance down at the ground. THE PHOTO.
44. INT. KITCHEN - NIGHT The backdoor is open. The screen dances back and forth in a gentle, fall wind. As the light wind blows, the screen door squeaks a little each time. Ben is standing, staring out at the clear, night sky. The moon is full. There are millions of stars out tonight. A few of them shine more brightly than the others. A small gust BLOWS. The branches from nearby trees flash across the sky, briefly obscuring the moon. In the far distance, we can see a dense packing of trees, their branches swinging back and forth as the wind rustles them. Ben watches the forest, mesmerized by what he knows is beyond the trees. In the b.g., we see Catherine (Ben's mom) entering the kitchen. She notices Ben staring out into the darkness. She rubs her shoulders like she's cold. CATHERINE Close the door, it's getting cold in here. Ben doesn't respond. Catherine looks at him strangely. She waits another moment, then... CATHERINE Ben? He finally snaps out of it, looks over to her. BEN Yeah? CATHERINE It's getting cold. She motions to the open door. He looks at it, realizes what she means. BEN Oh. Sorry. CATHERINE Are you alright? BEN Yeah.
45. She rubs her shoulders again, then disappears O.S. Ben takes one last look towards the forest. Then, he closes the door. INT. CAVE - NIGHT OUR P.O.V. Complete darkness. Then, a MATCH STRIKES. A small FLAME burns brightly. The match moves towards... THE PHOTOS Resting on the ledge. The flame comes towards LAURIE'S PHOTO. We HOLD on Laurie's face for a moment. Then, the flame dies. We are in blackness again. We turn towards the cave's entrance. We begin moving towards it. The entrance is getting closer... we arrive at THE ENTRANCE - CONTINUE P.O.V. The moon brightly shines down on a dense packing of trees. Their branches swing back in the moonlit sky. We begin walking towards them. HEAVY BREATHING begins as we disappear into the wooded area. INT. BED'S BEDROOM - NIGHT Ben reaches down, under his bed. He pulls out DR. LOOMIS' MANUSCRIPT From under the mattress. He opens it. INSERT: "... he made her stab her stepmother. She's under his influence" Another paragraph: "The girl shows the same exact characteristics as her uncle when he stabbed his sister" Another: "The girl is not hopeless. I know she's listening to me. I can get through to her"
46. EXT. WOODS - NIGHT OUR P.O.V. - MOVING Branches smack against us as we glide towards a quiet street in the distance. EXT. STREET - NIGHT CONTINUE P.O.V. as we push through the final group of branches. Before we step out onto the street... A CAR appears in the distance. It's RADIO is blaring. The TEENAGERS are screaming like maniacs. The car disappears O.S. as quickly as it arrived. We step out onto the street, begin walking. The road is dark. STREET LIGHTS shine down onto the dark ground. We see our own shadow gracefully dancing across the ground. HEAVY BREATHING... INT. STAIRCASE - NIGHT OUR P.O.V. We are gliding up a staircase. A hallway can be seen. We come to the top of the stairs... INT. HALLWAY - NIGHT CONTINUE P.O.V. as we move towards a bright line shining from a bedroom. A LITTLE BOY is sitting on the floor. He is silent and his back is turned towards us. INT. BEDROOM - NIGHT We quietly walk towards him. We stand directly over the little boy. BACK TO SCENE as BEN reaches for the little boy to touch him. The boy turns around -- ERIC, his throat slashed. INT. BEN'S BEDROOM - NIGHT Ben's eyes burst open. Dr. Loomis' manuscript has fallen to the ground. Ben lowers himself from the bed onto the floor. He's on his knees. He opens the manuscript again... INSERT:
47. "... he made her stab her stepmother. She's under his influence" Ben closes the manuscript and sits against his bed. He wipes his tired eyes. INT. SCHOOL - CAFETERIA - DAY Ben is walking with a lunch tray. He's looking for someone to sit with. He notices A CROWD that has gathered around one table. He makes his way to... THE TABLE A bunch of KIDS are sitting, listening to KATIE, twelve years old, a pale face like she's seen a ghost. KATIE ... he passed through my yard. He was sooo scary. BOY What'd he look like?? Ben walks near Andrew. He leans towards him. BEN What's this shit about? ANDREW She saw Michael Myers last night. Andrew rolls his eyes like he's heard this one before. BEN What? KATIE (continuing) ... and, he walked so slowly, like... like... a robot. ANOTHER BOY Was the mask all burned and stuck to his face?? Katie looks at the boy like she's surprised at something... KATIE No... it wasn't. It looked brand new. Everyone at the table rolls their eyes now.
48. KATIE What? What's the matter?? FIRST BOY Everyone knows Michael was burned in the fire. The crowd starts to disperse. Andrew gives Ben a look, then walks away. Ben stays. He watches Katie, who is crying. KATIE But, I saw him. I really saw him. INT. SCHOOL - HALLWAY - DAY Andrew is walking, a couple of books in his hand. Ben appears next to him, a serious look on his face. BEN I gotta talk to you. ANDREW What? Ben pulls Andrew into... INT. CLASSROOM - SAME MOMENT An empty classroom. The desks and chairs are scattered through the room and the lights are off. Ben pulls Andrew away from the door. He closes it. ANDREW What's the matter? Ben waits a moment. Finally... BEN I ... went to the cave. Andrew's eyes FLARE. ANDREW You what? I thought I told you -- Ben "shushes" Andrew with his hand. BEN I know... but, I had to see... if he was there. ANDREW Was he?
49. Ben turns around. ANDREW Was he? (beat) Ben?? Ben turns back around. He lightly nods. ANDREW How do you know? BEN I gave him my mask. ANDREW You didn't. (beat) You gave Michael Myers a mask. Do you realize how stupid that is? BEN ... and, I gave him some pictures. Of himself... and his family. ANDREW Where'd you get them? Ben turns around again. BEN From his house. ANDREW You went to his house?? Are you crazy? BEN I have to go back... to the cave - to see if he's still there. ANDREW I'm going with you. BEN I don't know... ANDREW I'll tell everyone if you don't take me -- BEN Okay -- but, no one knows about this.
50. INT. CAVE - LATE AFTERNOON We see that the sun is beginning to set in the distance. The orange sky glows down on the woods outside. Ben hurries into the cave, backlit by the fading sunlight. BEN Michael...? (beat) I brought you another one. Ben stands directly over THE LINE. Ben reaches into his jacket, pulls out a PHOTO, face-down. He rests it a few inches on the other side of the line. He turns turns around, waits. Silence. A concerned looks grows on Ben's face. BEN You can take it, I'm not looking. He waits again. Long beat... BEN You're not here, are you, Michael. In the b.g., another OUTLINE begins to appear. We see that it's ANDREW Cautiously stepping into the dark cavern. He looks around the darkened place in awe as if he can actually see through the blackness. ANDREW Holy shit. This is where Michael Myers lives. BEN I told you not to come in here. ANDREW It's getting dark out there. Andrew suddenly looks at Ben in fright. ANDREW Is he here? BEN No.
51. Andrew breathes a sigh of relief. Then, he looks back at Ben. ANDREW ... where is he? Ben gives Andrew an "I don't know look". Andrew pulls a FLASHLIGHT out. He shines it deep into the cave. The cave goes in a far distance, maybe even miles. ANDREW Maybe he's in there. Ben grabs the flashlight. BEN What if he's not? Andrew snatches it back. ANDREW Where the hell would he go? Ben looks towards the entrance to the cave. The FOREST Can be seen. The branches dance back and forth, almost like the arms of a wicked entity. BEN Out there. ANDREW Someone would have noticed him by now. BEN Maybe not. ANDREW Guy walking around in a white mask. Someone would have seen that - especially around here. BEN It's Halloween. ANDREW It's not Halloween yet. Andrew's eyes drift towards the ground. Hundreds of FOOTPRINTS lead deep into the cave, far beyond the flashlight's capabilities.
52. ANDREW Look at that. Ben notices the footprints. ANDREW That's where he is. Now let's get the hell out of here before he comes back. Andrew hurries towards the forest. Ben stares deep into the cave, now darkened once again. Andrew waits for him for a moment... then... ANDREW Come on. Ben follows Andrew. They disappear through the entrance to the cave, O.S. We MOVE THROUGH the cave, towards the LEDGE Where the PHOTOGRAPHS are neatly placed. All the photos rest against the side of the cave, except for Laurie's picture - which isn't there. INT. BEN'S BEDROOM - NIGHT Ben is lying on his bed, a phone in his hand. On the other line, KATIE. INTERCUT BEN AND KATIE BEN You just think it was Michael Myers. KATIE Ben, I know what Michael Myers looks like. It was him. BEN It was someone dressed up like him. KATIE ... I don't understand how he got a new mask. Long beat. BEN Maybe someone gave it to him. KATIE Who?
53. Longer beat. BEN I don't know... KATIE No one would be that stupid. (beat) I thought you didn't believe me. BEN I didn't say I don't believe, I just think... you're... mistaken. KATIE But, you just said 'maybe someone gave it to him'. BEN So... KATIE You said gave it to him. BEN You know what I meant... I'm just tired. KATIE I know you believe me. But, you don't have to admit it. But, just... know that I know. (long beat) Goodnight, Benjamin. The phone CLICKS. Ben holds it without words. Then... BEN 'nite. Ben drops the receiver to the floor, not caring enough to hang it up. He puts his hands behind his pillow to rest his head. He stares upward... BEN'S P.O.V. - CEILING A DARK SHADOW has formed onto the otherwise white ceiling. The blurring of white and black begins to blend into... A WHITE MASK. The black eye holes glaring back at us, expressionless... emotionless. Remorseless. We move through the EYE HOLES to...
54. EXT. MYERS HOUSE - NIGHT P.O.V. We are walking down a stone walkway. Trees RUFFLE around us. Leaves scatter across the walkway in front of us. We look up to... THE HOUSE The paint is peeling off. Wooden boards cover the windows. Some of them have broken loose and are dangling back and forth in the October wind. RESUME P.O.V. as we begin walking toward the side of the house. we stop at a WINDOW Boards cover the window. But, we can SEE through a tiny hole between two boards into... THE LIVING ROOM... DISSOLVE TO: JUDITH and HER BOYFRIEND sitting on a couch. They're making out. BOYFRIEND Is anyone home? JUDITH Michael's around here somewhere... DISSOLVE BACK TO: P.O.V. As we turn away from the window and begin walking. We come to... THE BACKYARD We move towards a backdoor to the house. Our SCARRED HAND comes forward, pushes on the door. It SQUEAKS open with little resistance. INT. MYERS HOUSE - KITCHEN - NIGHT Complete darkness. The refrigerator has been removed. Most of the drawers and cabinets are cracked or broken. FLASH TO:
55. A HAND opening one of the drawers. It pulls out a BUTCHER KNIFE. But, the hand appears different. It's small, like a child's. BACK TO: RESUME P.O.V. as we move through a doorway into... INT. MYERS HOUSE - LIVING ROOM - NIGHT CONTINUE P.O.V. The room completely empty. There are holes in the wall and in the floor. Time has not been generous to the house... DISSOLVE TO: The LIVING ROOM in a time long since passed. A nice sofa lines the wall. A couple of elegant chairs are placed around the room. Opposite the couch and chairs, a television set. On one of the chairs, Richard. He's reading a newspaper. Edith is on the couch holding LAURIE, not even a year and a half old. She's bouncing Laurie up and down, talking to her in "baby voice"... EDITH Oh, you like that, don't you! Laurie smiles and giggles as Edith bounces her. Next to Edith, MICHAEL, around age six. He's staring at the television. Edith looks over to him, smiling. EDITH (to Laurie) Who's that? (beat) That's your big brother, Michael. Say, "Hi, Michael"... Laurie looks at Michael. She smiles and giggles again. Edith pushes Laurie's arms up and down like she has wings. Michael never looks. EDITH (smiling) Say hi to your little sister, Michael... Michael abruptly gets up, storms out of the room. Edith's smile instantly turns into a stunned look. Richard finally looks over the top of his newspaper at Edith. They stare at each other. Edith notices Laurie hasn't stopped giggling.
56. Edith's smile returns... EDITH (smiling) What are you smiling at, huh? DISSOLVE BACK TO: THE LIVING ROOM. The couch Edith was sitting on is no long there. Richard's chair is gone. The floor and walls are decrepit. INT. BEN'S BEDROOM - NIGHT A small alarm clock reads: 11:52 p.m. The LIGHTS are still on in the bedroom. On the floor, Ben's phone, still off the receiver. We can HEAR the dial tone. On the bed, Ben... fast asleep. Then, a SOUND from O.S. It's coming from the window. It sounds like someone is trying to push the screen in. It happens again, but LOUDER this time. Ben's eyes flash open. He pulls himself up halfway, looks around. The SOUND happens again. He looks to the WINDOW Ben slowly gets up. He grabs a baseball bat resting against the wall. The screen finally PUSHES OPEN and drops to the floor. Ben waits. VOICE (softly) Ben... Ben gives the window an odd look. VOICE (softly) Pssstt.. Beeeeen... Ben grabs a flashlight from a nearby desk. He shines it through the window and sees... ANDREW On a large branch. BEN Andrew? What the hell are you doing out there?
57. ANDREW Help me in and I'll tell you. Ben grabs Andrew's hand, pulls him inside. BEN What the hell is going on? ANDREW I tried calling you... Andrew notices the phone off the hook. He nods to it. BEN I fell asleep. Ben bends down, finally hangs it up. BEN What do you want? ANDREW There's been a Michael sighting. BEN What? ANDREW Couple of guys saw him down on Bickersfield Road. They followed him into town, then lost him. Ben turns his back to Andrew, paces around in disbelief. ANDREW We gotta find him. Ben turns back around. BEN I don't know where he is. ANDREW You're his friend, you must have an idea of where he's going to. BEN I'm not his "friend". ANDREW You've talked to him. Ben looks at Andrew frantically.
58. BEN You didn't tell anyone, did you? ANDREW No. (beat) But, I will if you don't come with me. INT. MYERS HOUSE - NIGHT P.O.V. The STAIRCASE. A few steps have holes in them, as well as parts of the wall as the steps ascend towards the second floor. FLASH TO: THE STAIRCASE many years ago. LAURIE, two years old, is running down the staircase, giggling. JUDITH is chasing behind her, laughing. BACK TO: RESUME P.O.V. as we continue up the old, rickety steps towards... INT. MYERS HOUSE - SECOND FLOOR - NIGHT CONTINUE P.O.V. We look down at the broken, dusty floor. FLASH TO: P.O.V. - FLOOR A CLOWN MASK that sits in the same spot, although decades ago. A CHILD'S HAND (our hand) reaches down and puts it on. Our perspective is now confined to that of the eye holes. BACK TO: P.O.V. as we walk forward. We see a doorway that leads into bedroom. The room appears empty and dark... FLASH TO: JUDITH sitting at a dresser in the same bedroom. She's dressed only in her underwear. P.O.V. - THROUGH CLOWN MASK
59. As we move towards her. She doesn't notice. We get closer and closer. She looks up, shocked... JUDITH Michael! THE BUTCHER KNIFE comes INTO FRAME. OUR HAND rams it into her chest. Then, again. It comes in and out of FRAME... over and over again. Judith's massacred body falls to he ground covered in stab wounds. BACK TO: THE BEDROOM. The dresser is gone. Darkness has taken the place of light. The spot where Judith fell, taking her last breath, is now empty. RESUME P.O.V. as we walk into the darkened room. The rest of the room looks exactly the same... dark, decrepit... FLASH TO: A CAMERA'S FLASH. A PHOTOGRAPHER is standing over JUDITH'S BODY Stab wounds cover her young, lifeless body. A pool of blood has leaked onto the floor from her wounds. POLICE OFFICERS can be SEEN in the HALLWAY In the b.g. A DETECTIVE bends down to Judith's body, gazes at her wounds. He gives the body a look of disbelief, then looks up to a nearby COP. DETECTIVE No child could do this. COP They found him holding the knife... The detective walks towards the bedroom window. He looks out... DETECTIVE Doesn't mean he did it. DETECTIVE'S P.O.V. - STREET POLICE LIGHTS flash across the neighborhood. An OFFICER is escorting Richard and Edith to a police cruiser. Edith is clearly in shock. Before she gets into the backseat of the cruiser, she looks towards another
60. CRUISER Where six year old MICHAEL is sitting in the backseat. We see only his profile, which is half in darkness. EDITH Watches her son for a moment. Her eyes begin watering. Before tears begin leaking across her face, she is whisked into the backseat of the cruiser. We PUSH IN towards Michael... calm... remorseless. He sits, staring straight ahead. Then, his head turns, looks directly at us. We finally see HIS EYES Filled with darkness. A certain evil that permeates from his very stare. MICHAEL'S P.O.V. - JUDITH'S BEDROOM The detective's eyes catch ours. They watch us for a moment, disbelieving. Then, something changes in the detective's expression. Something turns in his face. Fear. For the first time. The curtains suddenly drop. PUSH IN once again to MICHAEL Staring upwards, beyond our perspective. The police cruiser he's sitting in begins to glide forward. His head never turns from Judith's window. AS THE CAR SPEEDS AWAY, Michael twists his head around... MICHAEL'S P.O.V. - JUDITH'S BEDROOM CAMERA FLASHES periodically glow through the curtain. We see FIGURES walking around the room, silhouetted by the curtain. We get farther away from the neighborhood, the figures become more distant until they are unseen. DISSOLVE TO: RESUME P.O.V. - THE STREET Empty. Quiet. A single leaf blows across the spot where Michael sat in the police cruiser. We turn around, back to JUDITH'S BEDROOM
61. There are no more camera flashes. The detectives are gone. Judith's death has long since passed. EXT. STREET - NIGHT Ben and Andrew are speeding down a quiet neighborhood on bicyles. Another young boy, DEREK, comes speeding towards the middle of the street in the distance. Andrew and Ben stop next to him. Derek has a nervous look on his face. He can barely catch his breath. ANDREW What's the matter? DEREK Th... they spotted him about six streets down in someone's yard. ANDREW What street? DEREK M... Maple avenue. BEN What's on Maple avenue? ANDREW I don't know. Andrew starts speeding away on his bike. Before Ben starts off... DEREK B... be careful. BEN You too. Ben takes off after Andrew. Derek wipes some sweat off his forehead. He lets out one long breath. INT. MYERS HOUSE - NIGHT P.O.V. We arrive at the top of the staircase. We are looking down the staircase, towards the front door. The front door is covered with wooden boards. The windows around the door also have wooden boards all over them, but we can see through them...
62. We MOVE TOWARDS the windows, out into the darkness of the night. We move through the windows... DISSOLVE TO: INT. SMITH'S GROVE SANITARIUM - OBSERVATION - DAY (1963) A large window. Sunlight shines in through this large opening. It is surrounded by other windows of the same size. They are quite large and the thick curtains are pulled all the way back. The room is extremely bright. In the middle of the room, a large table. At the end of the table, MICHAEL. He's not restrained, but a skinny GUARD is standing a few feet away. The guard is reading a magazine. Sitting across from Michael at the table... DR. SAM LOOMIS, a man in his late fifties. He's got a gray beard with patches of white, a balding head and a British accent. He's also Michael's psychiatrist. LOOMIS It's been six months, Michael. Michael stares straight ahead, not even towards his doctor. LOOMIS Do you miss your sister, Michael? (beat) Do you miss Judith? Loomis gazes into Michael's eyes... black eyes. Nothing is there. No sense of remorse, no feeling of emotion. Nothing. LOOMIS Why did you kill your sister, Michael? (beat) Did she do something to you? (beat) I know you can talk. Why won't you talk to me, Michael? Loomis looks down at a group of papers scattered across his side of the table. LOOMIS According to your mother, the last thing you said was...
63. INT. MYERS HOUSE - DAY (1963) Loomis is sitting across from Edith Myers. Richard is holding his wife, gently caressing her. They both have dark circles around their eyes. EDITH Sister. (long beat) That was the last time I heard him speak. LOOMIS Sister. Edith nods. She's obviously on the verge of crying. LOOMIS How long ago...? EDITH A few months before...it... happened. LOOMIS What did he say before that? EDITH I don't remember. It was so long ago. Edith wipes her eyes, which have begun to water. RICHARD What's wrong with our son? We finally see into Richard's tormented eyes. His question clearly penetrates into Dr. Loomis' heart. His eyes have dark circles, too. LOOMIS I'm trying to figure that out. EDITH Will he ever be our Michael again? Long beat. LOOMIS I don't think so, Mrs. Myers.
64. INT. SMITH'S GROVE SANITARIUM - OBSERVATION - DAY (1963) Michael sitting across from Loomis at the table. The guard's eyes never leave Michael. His hand grips a gun tightly. LOOMIS I'm going to see your parents again today. (beat) They miss you. (beat) ... just like they miss Judith. (beat) Do you miss Judith? PUSH IN to Michael's blank stare.... DISSOLVE TO: P.O.V. From the second floor, we are looking down the staircase at the front door. The sunlight from Michael's room has turned into darkness that can be seen through the windows in his home. EXT. STREET - NIGHT Another typical Haddonfield neighborhood. Two-story homes line each side of the street. Large trees line both sides of the quiet neighborhood. Andrew's bicycle skids to a stop on a leaf-covered street. Ben follows closely behind. Andrew looks up to a street sign. It reads: "MAPLE AVENUE". BEN What now? Andrew looks around. ANDREW'S P.O.V. - NEIGHBORHOOD A SMALL LIGHT flickers on and off. Then, it happens again. It keeps flickering. ANDREW Over there. EXT. HOUSE - NIGHT Andrew is slowly walking down a small driveway. Ben is carefully following him.
65. EXT. HOUSE - BACKYARD - NIGHT The door to a FENCE squeaks open. Andrew and Ben step through into the yard. ANDREW/ BEN'S P.O.V. - YARD In the distance, a large tree. A shed sits to the side. Both are in complete darkness. Then, they both turn to ... A SMALL, FLICKERING LIGHT that's coming from the GARAGE. The garage is sitting right next to them. INT. GARAGE - NIGHT Andrew and Ben enter through a door on the side and quietly shut the door. It's complete darkness in here, too. Ben and Andrew can barely see each other. BEN What was that...? He takes a step forward. As he does so, A LIGHT illuminates RON'S FACE. Ben grabs his chest in horror, takes a step back. BEN Shit. RON I didn't think you guys would see me from out there. ANDREW Ben, you know Ron. Ben nods his head a little. RON Yeah... we've met. I gave him directions to... BEN What are we doing here? Ron turns around, shines the flashlight in back of him. The light shines on A GROUP OF FACES... all YOUNG BOYS. RON We're gonna make our parents believe us this time.
66. ANDREW What are we gonna do if we find him? Ron shines the flashlight on a container of GASOLINE. BEN Are you crazy?? RON No. And, this is gonna prove we're not. (beat) But, we gotta find him first. Ron pulls something out from his pocket. It's a piece of white-lined paper with markings all over it. It's obviously a map. RON We've been making this all night, putting a mark everywhere he's been seen. (beat) He was first seen here... He points to a line. INSERT: BICKERSFIELD ROAD Ron's finger traces the line through a series of other lines, which represent different streets and neighborhoods. RON He was last seen in this yard. ANDREW Who saw him? Ron points the flashlight into the group of kids in the back. It shines on RYAN, one of the young boys. RON Ryan lives in this house. This is his garage. ANDREW How long ago did you see him? RYAN About forty-five minutes ago. ANDREW What was he doing?
67. INT. RYAN'S HOUSE - KITCHEN - FORTY FIVE MINUTES EARLIER Ryan opens the refrigerator. He takes out a glass jug of milk. He reaches for the cupboard, takes out a glass. As he's reaching... A WHITE MASK begins to float by the kitchen window behind him. It stops at the window, looks in. Ryan pours the milk. He takes a huge sip of it. He finishes. The glass is empty. He turns around to put the glass in the sink... THE WHITE MASK is staring back at him. He gasps. The mask strangely tilts to the side. Ryan drops his glass to the floor. It bounces off his foot and lands on a soft rug near the sink. It doesn't break. Ryan bends down in pain to mend his foot. Ryan stands up again. The mask is gone. Ryan scuffles to the kitchen door. He peeks through each window carefully. RYAN'S P.O.V. - BACKYARD Nothing. The only movement comes from the ruffling of the huge tree. INT. RYAN'S GARAGE - NIGHT - PRESENT TIME Ryan's face is lit up as if he's being questioned by the police. RYAN He just... disappeared. Darkness falls on Ryan's face as the light turns to... ANDREW Where'd he go? The light shoots back to.... RYAN I don't know. ANDREW People don't just disappear. BEN Michael does. The light finally dances to BEN'S FACE.
68. ANDREW He's right. Loomis shot Michael and the son of a bitch just got up and walked away. INT. MYERS HOUSE - BASEMENT - NIGHT Darkness and silence. Suddenly, a DOOR slams open from above. A FIGURE stands at the top of the staircase, shrouded in darkness, its face unseen. It just stands, waiting... watching. OUR P.O.V. As we begin our descent down old, rickety steps. We stop at the bottom and look around. It's extremely dark. A bit of MOONLIGHT provides at least a little visibility. We see another DOOR On a side wall. We push it open. It squeaks open easily. INT. MYERS HOUSE - EMPTY ROOM - SAME MOMENT CONTINUE P.O.V. as we look around the room. Nothing is in this room except for some old furniture. Under the furniture... A BOX. We SEE the FIGURE dragging the box into... INT. MYERS HOUSE - BASEMENT - SAME MOMENT RESUME P.O.V. as we look into the box to see OLD PHOTOGRAPHS. We begin to shuffle through them. We pick one up. It's a photo of the entire Myers family, except for Laurie. Richard, Edith, Judith and Michael. All together. A piece of tape runs down the middle, as if the picture were torn in half and pieced back together... DISSOLVE TO: INT. SMITH'S GROVE SANITARIUM - HALLWAY - DAY (1965) A NURSE is walking down a hallway with a clipboard. She passes by Loomis. She gives him a distrusting look. He notices and gives her the same look. She gives him a dirty look.
69. Loomis continues. He stops at a ROOM. He looks through the small window. INT. PATIENT'S ROOM - DAY We see Loomis' mesmerizing eyes staring into the room. PUSH BACK to reveal that we are in Michael's room. Michael is now eight years old. He's sitting on a wooden chair, staring out a window. Loomis disappears for a moment. Then, the door opens. A guard is standing in front of the door with a key ring. The guard gives Michael a look. GUARD If you need anything, I'm right out here. LOOMIS Thank you. The guard disappears, closing the door behind him. Loomis stays in his spot for a moment, watching Michael. Michael never turns to look at his doctor. Loomis finally takes a step. He walks towards Michael's chair and sits on the window ledge opposite Michael. LOOMIS Do you have anything to say today? (beat) I've known you for two years, Michael and I've never heard your voice. Michael's eyes inhumanly stare out the window. He never even blinks. LOOMIS I have to tell you something. Loomis bends down towards Michael. LOOMIS Michael, your parents were killed in an accident a couple of days ago. (beat) I'm sorry. Loomis looks down. He puts his head in his hands, clearly distraught. He looks back up. Michael hasn't moved an inch. His expression is exactly the same.
70. Not even one of his fingers has moved. Looks reaches into his pocket, pulls something out -- A PHOTOGRAPH. We don't see exactly what the photo is yet. LOOMIS I thought you might like to have this. He hands it to Michael. Michael doesn't take it. Loomis gives him a look. Then, he gently places it on the floor in front of Michael's chair. LOOMIS Your parents loved you, Michael... even after what you did. They always told me how much they missed you, how much they wish you would be... Loomis realizes he became caught in the moment. He looks at Michael. LOOMIS You're not even listening to me, are you? Loomis gets up, fixes himself. He walks towards Michael's door. He looks back one last time, then bangs on the door. The GUARD lets him out. INT. RYAN'S GARAGE - NIGHT Ron has a MAP spread across a wooden table. The flashlight is pointed on the map. The OTHER BOYS can faintly be seen huddling around Ron. RON He's obviously going this way. He runs his finger through Ryan's yard on the map. ANDREW But, he came from here and went that way first. Andrew's finger runs in a particular direction, then goes the opposite way. RON So?
71. ANDREW So, we don't know which way he's going just because he was going that way last. RYAN I say we just forget about him. I... I mean... no one's gonna believe us, anyway. Ron spins around, looks at Ryan like he's got five heads. RON And, let our parents keep thinking we're making this shit up? You saw him tonight. What if he didn't leave? What if he came into your house and killed you? Do you want that to happen? Ryan looks down, knowing Ron is right. ANDREW I say we go after him. Andrew pulls the map towards himself. He starts pointing to different neighborhoods. ANDREW Who's got a cell phone? A few of the boys say things like, "I do" and show them. ANDREW Okay, two of us on every street. You see anything, you get on your phone and get everyone else. RON Who carries the shit? He nods to the gasoline. ANDREW I'll take it. Ron holds for a minute, contemplating. Then... RON Let's do it.
72. EXT. RYAN'S GARAGE - NIGHT The BOYS are exiting the garage. They scurry through the driveway and O.S. Andrew quietly carries the container of gasoline from the garage. Ben is right behind him. BEN (softly) This is never gonna work. You're gonna get us all arrested. Andrew ignores Ben. He sneaks down the driveway towards the street. Ben follows him. EXT. STREET - NIGHT In the distance, the OTHER BOYS are riding off on bicycles. Andrew pulls his bike up from the ground. He fastens the gasoline container to the back. BEN This is crazy. Andrew finally looks at Ben, a fire burning in his eyes. He's going to let Ben have it, but... ANDREW You're not from here, you wouldn't understand. Ben's expression proves this - he doesn't understand. Ron skids to a stop near Andrew and Ben. RON You guys be careful. Andrew and Ron look at each other like they share the same story. Ben looks at them like he knows he'll never understand. ANDREW You take care of yourself, too. Ron nods. Then, he takes off. Andrew hops on his bike, prepares to leave. Ben doesn't immediately follow. He's thinking about something. ANDREW You coming or what? Ben snaps out of it. He hops on his own bike. BEN Yeah.
73. Andrew looks at him like he's a true friend. Then, speeds off into the night. Ben follows. DISSOLVE TO: INT. MICHAEL'S ROOM - EARLY EVENING (1965) Michael's door opens. The GUARD lets Loomis in, then closes the door. Loomis waits for a moment. He watches Michael from where he's standing. He begins walking towards Michael. LOOMIS I went to your parents' funeral today (beat) I'm sorry you couldn't be there. Loomis walks to the window, looks out. The sun is beginning to set in the distance. The orange glow of the sun is disappearing beneath a packing trees. LOOMIS It's been a long time, Michael. Six years.. and, I still don't know why you killed your sister. (beat) I think about it everyday. I ask myself why a six year old child picks up a butcher knife and stabs his sister. And, I still don't know. Loomis turns around towards Michael, still staring blankly towards the window. LOOMIS I know you're listening to me, Michael. You pretend you're not, but I know you can hear me. So, why won't you answer me? Loomis' eyes drift down to the floor. He begins to notice something. LOOMIS Dear God. Loomis bends down and picks something up from the floor that we don't see yet. LOOMIS What have you done?
74. He continues to stare at Michael, who has not moved a single inch. We finally SEE what Loomis has picked up -- A PHOTO that's been torn into a hundred pieces. We can see that the photo was Michael's family; Judith's face smiling at us, Edith's eyes glowing (the rest of her face torn), Richard's arm around Edith and Judith... among hundreds of other pieces. Loomis looks up to Michael. Something begins to change in his expression. No longer is he Michael's sensible doctor, but now he is a true observer to the young boy's darkness and evil. LOOMIS You knew what you were doing when you killed her, didn't you, Michael? (beat) Didn't you! (beat) I've been trying to get through to you all these years, but you knew. (beat) Why, Michael? (beat) Why did you do it? Loomis is beginning to finally lose his patience. He's becoming the Loomis of his later years. He grabs onto Michael's shirt. LOOMIS Why?! Michael hasn't moved an inch. Loomis stares with disbelief and shock into Michael's dark, uncaring eyes. LOOMIS (calmer) Why? Loomis lets go of Michael. He quickly pulls the hundreds of torn pieces together and rises to his feet. Loomis watches Michael for a moment, a repulsed expression painted across his face. He walks towards the door, but turns back one last time... LOOMIS God damn you. Loomis bangs on the door. The guard immediately opens it.
75. GUARD Everything okay? We can HEAR Loomis as the door is being closed... LOOMIS He needs more security. The door SLAMS. Michael is now alone again. We see his face one last time. He continues staring. Even after Loomis' words, his face is still etched into an expression of stone, a complete lack of emotion. INT. MYERS HOUSE - FRONT DOOR - DAY (1965) Through the windows, we can see that it's a beautiful day outside. Cardboard boxes are scattered around the house. White sheets cover the furniture. All the pictures on the wall have been taken down. Someone is clearly moving away... Dr. Loomis walks from another room. He starts putting on a long, trench coat. He picks up a briefcase. Richard and Edith walk him to the door. Loomis stops, looks deeply into Richard's eyes, then into Edith's compassionately. LOOMIS No one will ever know. I promise. Richard gives Loomis a sincere smile. LOOMIS I thought you might like this back. Loomis reaches into his coat, pulls something out. It looks like a photo. He hands it Richard. RICHARD Thank you. Richard shakes Loomis' hand. Loomis nods and smiles at Edith one last time. He leaves through the front door. Richard closes it. He is now alone with his wife. Richard turns the photograph over -- It's a picture of his family... Edith, Judith, Michael, and himself. The photograph appears to have been torn into a thousand pieces and pieced back together from scotch tape. Richard and Edith embrace. Tears begin streaming. They both fall to their knees at the front door. DISSOLVE TO:
76. INT. MYERS HOUSE - NIGHT (PRESENT TIME) A PAIR OF HANDS hold the photograph of the Myers family. The same photo a young Michael once tore up and the same photo Loomis returned to his parents before their departure. EXT. STREETS - NIGHT Andrew and Ben are riding their bicycles side by side. They're speeding towards nowhere in particular. Andrew looks back, notices that the container is slipping through the rope he secured it with. He stops. ANDREW Damn it. Ben looks at Andrew like he wants to ask him something but he's afraid. A few moments, then... BEN What did you mean when you said I wouldn't understand? ANDREW Nothing. Never mind. BEN Come on, I wanna know what you meant. (beat) I want to understand. Andrew is ready to brush Ben off. Then... ANDREW You saw the site. You know how many people Michael killed around here. People that had families. BEN Did... you know someone Michael killed? He stops. Long beat. He's giving in... then... ANDREW We better get going. He hops on his bike again, takes off. Ben watches him for a moment, disheartened, then follows.
77. INT. MYERS HOUSE - SECOND FLOOR HALLWAY - NIGHT The house is quiet. Peaceful. The only sounds are the distant memories of the Myers family who once lived behind these walls, and Michael... who once haunted this place many years ago as a child. Then, another SOUND... as if something were BANGING on the hard floor downstairs. It happens every few seconds. INT. MYERS HOUSE - FIRST FLOOR - NIGHT From this perspective, we can see the entire house. The living room. The family room. The dining room. Silence. Then... BANGING... on the hard floors once again. Then, we finally see what is making the noise... A CANE That SLAMS into the floor again. It's an old, wooden cane, extremely heavy in texture. We PULL UP to see... DR. LOOMIS His face is old and tired. This is the Loomis we know... the Loomis that pursued Michael for his entire life. The Loomis that literally offered his life to stop Michael time and time again. HOLD on Loomis' face for a moment, watching...then.. LOOMIS Michael...? (beat) Have you come home? Loomis waits for a moment. Then, he starts walking. The cane rises again, smashes against the floor again as he walks. LOOMIS I've been waiting for you, Michael. Loomis' seasoned voice echoes through the house as he CALLS OUT. LOOMIS You've been busy, haven't you? (beat) You've killed them all. Now, you've come home. At the top of the staircase, we see BLACKNESS. Then, a WHITE TEXTURE begins to form in the darkness.
78. It appears as a ghostly apparition floating through the shadows of the upstairs hallway. It remains for a moment, then floats backwards, disappearing... but, we know it's still there... waiting... listening. Loomis stops at the bottom of the staircase, looks up. He knows he's not alone by his expression. His cane rises again, BANGS into the first step. He starts ascending the old staircase. LOOMIS It's over, Michael. They're all dead. (long beat) Have you come home to rest? Loomis' cane passes over the broken steps. He doesn't look down at the steps, almost as if he knows the house so intimately that he doesn't need to. INT. MYERS HOUSE - SECOND FLOOR - NIGHT A dark hallway. The entrance to the staircase can be seen. The cane SLAMS onto the second floor from the staircase. Loomis appears, a fearless look on his face. LOOMIS' P.O.V. - HALLWAY Darkness and silence. All of the bedroom doors are open. BACK TO SCENE as Loomis begins walking. The SOUND of the cane begins echoing once again. LOOMIS Aren't you here, Michael? (beat) I know you've come home. Loomis walks by a bedroom. In the b.g., we see... SOMETHING WHITE Hiding in corner, shrouded by darkness. Loomis stops in front of the bedroom. He almost turns, but doesn't. The WHITE MASK doesn't move. It watches Loomis. LOOMIS Are you afraid, Michael? Loomis stops at the doorway to... JUDITH'S BEDROOM
79. He stares into it, almost replaying Judith's murder in his head. Long beat. LOOMIS I have memories in this house, too, Michael. In back of Loomis, the WHITE MASK begins to slowly form in the darkness of the hallway. It stands in back of Loomis quietly, patiently. Loomis remains where he is. Long beat, then... LOOMIS I knew you came home. Loomis slowly turns around, completely devoid of fear. He stares up to Michael, who does not tower over him as much as he once did. LOOMIS You've killed them all. Judith, Laurie... (beat) Her son. The Shape's head tilts at the mention of his nephew. Loomis' mesmerizing stare turns to the side. The Shape's head turns and follows Loomis' gaze to... A BEDROOM we haven't visited yet. Nothing is in this room except for a WOODEN CHAIR in the corner. It's facing a wall. PUSH CLOSER to the chair as we... DISSOLVE TO: THE BEDROOM Not long ago. Sunlight shines into the room through nearby windows. But, we can HEAR someone sobbing like a child. We finally come to see that it's... JOHN TATE, son of Laurie Strode, sitting in the small, wooden chair. John is now in his early twenties, but his eyes are darkened and tears are rolling down his face. He pulls something towards the side of his head... A GUN. He sobs one last time, then... A SINGLE BLAST fills the SCREEN. John's body slumps over. His blood has splattered across the wall behind him. PUSH DOWN to a NEWSPAPER that gently slips from John's leg. It floats to the cold floor. We SEE that the HEADLINE reads: "Survivor of 1978 Halloween Massacres Murdered"
80. A photo of LAURIE STRODE accompanies the headline. John's blood has also splattered across the article beneath the headline and photo. DISSOLVE BACK TO: MICHAEL'S BEDROOM - PRESENT TIME The chair John sat in is empty. The sunlight is gone. It has now returned to the darkness of the October night. We see that THE SHAPE Has come into... INT. MYERS HOUSE - MICHAEL'S BEDROOM - NIGHT The Shape is standing in front of the chair. John can almost be seen sitting there, crying out for his mother. Just above the chair, his blood has stained the old walls. In the distance, we HEAR Loomis' cane smashing against the hard wood floors from O.S. It stops directly behind The Shape. We see that Loomis has followed The Shape. LOOMIS There's no one left. You can rest now. The Shape slowly turns around. Through the darkness... we see THE SHAPE'S MASK. It remains frozen for a moment, then tilts... curiously. GRADUALLY PULL BACK to SEE The Shape standing face to face with the spirit of his childhood doctor... and the man who once tried to stop him. EXT. STREET - NIGHT Andrew and Ben are speeding down the street. Although they are riding together, they're clearly without words. Andrew's CELL PHONE rings. Andrew stops in the middle of the street on his bike. Ben stops behind him. Andrew pulls the cell phone from his pocket. It's still RINGING. He looks at it almost like he's afraid to answer it. Have they found MICHAEL? He looks at Ben... who has the same expression. BEN You want me to answer it?
81. ANDREW No. (beat) I got it. (into phone) ... yeah? (long beat; listening) Okay. We'll be there in five minutes. (beat) Bye. He holds the phone, almost forgetting it's in his hand. ANDREW They got him. BEN Are you sure you want to do this? Andrew looks down at the CONTAINER OF GASOLINE. ANDREW We have to stop him. BEN There are other ways. ANDREW No... there aren't. BEN I'll tell my parents about the cave. ANDREW They won't believe you. They never do. (beat) We have to do this ourselves. Without our parents. Andrew pockets his cell phone. He prepares to leave, but looks back to Ben... ANDREW You can go home if you want. Long beat. Then... BEN I'll stay. Andrew gives Ben one last look, then speeds off. Ben waits for a moment, thinking about his decision. Then, he follows.
82. EXT. DIFFERENT STREET - NIGHT Ron is holding a cell phone. He stares at it the same way Andrew stared at his. He turns around to... THE GROUP OF BOYS One of the boys steps forward. BOY What now? Ron turns away from him, a pained look on his face. Then, he turns back to the boy. RON Go home. BOY What? RON You guys are gonna get in trouble. Go home before your folks find out you're not in your rooms. BOY Are you kidding? After we helped you find this son of a bitch all night? Ron walks close to the boy, a look of respect in his eye. RON What you did tonight... all of you... (beat) Thank you. (beat) But, there's no need for all of us to get in trouble. You guys don't deserve it. (beat) I'll take the heat. Ron turns away from the group. The boy he was standing in front of watches him, a look of disbelief in his eyes. He finally turns around and walks away. In the b.g., the other boys are shuffling away on their bikes as well.
83. EXT. HOUSE - BACKDOOR - NIGHT A door SQUEAKS open. NICK, a young boy around Ben and Andrew's age opens it. He puts his finger to his lips like, "Shhhh". Andrew and Ben sneak inside. INT. HOUSE - LIVING ROOM - NIGHT NICK'S FATHER is sleeping on the couch. A TELEVISION set is on. It flashes across the dark room. Nick quietly sneaks through the living room. He watches his father carefully. In back of him, Andrew and Ben, who watch even more carefully. A million seconds later... they pass by him. INT. NICK'S BEDROOM - NIGHT The room is extremely dark. To the side, a huge window. In front of the window, a TELESCOPE. Nick's bedroom door opens... Nick enters with Andrew and Ben. Standing in the corner, RON. He steps from the shadows. ANDREW Where's everyone else? RON I told them to go home. ANDREW Why? RON No need for them to get in trouble, too. It wasn't their plan. ANDREW We're not gonna get in trouble. BEN What are we doing here? NICK Over here. Nick walks over to the telescope. NICK Look in through this. Andrew bends down, looks through the telescope... ANDREW'S P.O.V. - THROUGH THE SCOPE
84. We see... THE MYERS HOUSE Across the street. NICK(O.S.) Move up to the first window on the second floor. OUR P.O.V. follows Nick's directions and moves to the... WINDOW that Nick described. ANDREW(O.S.) I don't see anything. NICK(O.S.) Look closer. OUR P.O.V. PUSHES IN closer. Darkness again. ANDREW(O.S.) I still don't see any -- CONTINUE P.O.V as our eyes finally focus enough to see... A WHITE MASK glowing in the middle of the dark room. But, it's not looking out the window, it's looking the opposite way. ANDREW(O.S.) Michael. P.O.V. moves THROUGH THE SCOPE... into... INT. MYERS HOUSE - MICHAEL'S BEDROOM - NIGHT The chair is facing against the dark wall. We see two feet planted against the cold floor. PULL UP to see A BODY, sitting... silently, calm. MOVE UP even more to finally see... THE SHAPE'S MASK Staring straight ahead at the wall. The wall begins to... DISSOLVE TO: INT. SMITH'S GROVE - OBSERVATION - DAY - FLASHBACK DR. LOOMIS is sitting next to a YOUNG MICHAEL MYERS. Michael is looking down. Loomis is staring at him.
85. LOOMIS One day, Michael, you'll realize what you've done. And, you'll remember it for the rest of your life. You think it will go away. (beat) It won't. DISSOLVE BACK TO: INT. MYERS HOUSE - MICHAEL'S BEDROOM - NIGHT (PRESENT TIME) The bedroom wall. It has become the canvas for all of Michael's thoughts... his memories. He stares at it. We can no longer SEE what he is staring at. INT. NICK'S BEDROOM - NIGHT Andrew steps away from the telescope, a terrified look on his face. ANDREW It's him. RON Let's burn the bastard in his own house. NICK Burn his house down?? ANDREW They should have done it years ago. Nick and Ben look at each other like these two are a little crazy. EXT. MYERS HOUSE - NIGHT Andrew, Ron and Ben are sneaking towards the old house. Ron is carrying the can of gasoline while Andrew is holding a bag, its contents unknown. Ben isn't carrying anything. They hide in some bushes near the side of the house. Ron rests the container on the ground. Their VOICES are hear no louder than a whisper... RON (to Andrew) Don't bang too loud. Do it little by little. I don't care if it take us all night. (MORE)
86. RON (CONT'D) (beat) I'll take the front, you take the back. (to Ben) Anything happens, you have my phone... you know what to do. Ben looks at the phone, then back at Ron. He nods. Andrew opens the bag. We SEE inside -- a few HAMMERS and boxes of NAILS, along with other tools... just in case. RON Meet back here in fifteen minutes. Andrew nods again. Ron grabs a hammer and a couple of boxes of nails. He looks at Andrew one last time, then runs off. Andrew grabs a hammer and some nails. He takes one long, deep breath. He looks at Ben, a look of true fear on his face. BEN Be careful. Andrew gives a, "you too" look, then runs off. INT. MYERS HOUSE - MICHAEL'S BEDROOM - NIGHT The Shape remains completely motionless, as if he isn't even alive. He continues staring at the wall in front of him. EXT. MYERS HOUSE - BACKDOOR - NIGHT Andrew quietly sneaks towards the backdoor. He slowly inches himself toward the backdoor. He peeks around the corner... ANDREW'S P.O.V. - THROUGH WINDOW We can see a little of the house. The kitchen... the dining room. It's quiet. BACK TO SCENE as Andrew breathes a sigh of relief. He grabs a piece of wood, places it over the window. EXT. MYERS HOUSE - FRONT DOOR - NIGHT Ron is holding a nail with one hand. In the other hand, a hammer. He gently TAPS on the hammer, sending the nail into a wooden board inch by inch.
87. EXT. MYERS HOUSE - BACKDOOR - NIGHT Andrew lightly taps his hammer into a nail one last time. The nail doesn't go in all the way. He looks at it, inspecting it carefully. He doesn't tap it again. He grabs another nail, places it against the front of the wooden board. He raises the hammer one final time. He swings it forward, but the wooden board cracks down the side, sending the front of the hammer into the... DOOR WINDOW It SMASHES into a thousand pieces. EXT. MYERS HOUSE - BUSHES - NIGHT Ben pulls himself up halfway at the SOUND of GLASS SHATTERING. Ron hurries from the front door towards the bushes with the hammer. Their voices remain quiet... RON What the hell was that?? INT. MYERS HOUSE - MICHAEL'S BEDROOM - NIGHT The Shape's head finally turns away from the wall. Did he hear something? EXT. MYERS HOUSE - BACKDOOR - NIGHT Andrew is standing over the broken glass, the hammer still raised in the air. ANDREW Fuck. INT. MYERS HOUSE - STAIRCASE - NIGHT P.O.V. as we slowly walk down the old, creaky steps. HEAVY BREATHING begins... EXT. MYERS HOUSE - BUSHES - NIGHT Ben and Ron are hidden under some thick, heavy bushes. Andrew hurries through the darkness towards the bushes. He quickly drops to the ground with Ben and Ron. They continue to speak in WHISPERS... RON What happened? ANDREW I broke a window.
88. RON You think he heard it? INT. MYERS HOUSE - LIVING ROOM - NIGHT P.O.V. - WINDOW The window is mostly boarded up, but we can see through a small opening out to the... FRONT YARD No one is there. Not even a single leaf moves through the yard. It's as quiet as it can be. EXT. MYERS HOUSE - BUSHES - NIGHT The three boys remain where we last saw them... clearly afraid to make the next move. Finally... RON We gotta do it now. Andrew waits for a minute. Is he backing down? Ben notices... and takes the opportunity... BEN Andrew, let's just call the cops. We know he's in there. He can't go anywhere. They'll come and get him. Andrew now APPEARS to have second thoughts. Ron's losing him. Then... RON You know what'll happen. You think they're really gonna bring him in? You know what he did to the Police Station... Andrew's face immediately shoot to Ron's. A fire is now burning in Andrew's eyes at the sound of the Police Station massacre. Ben notices. PUSH IN to ANDREW'S FACE... DISSOLVE TO: INT. HADDONFIELD POLICE STATION - NIGHT (1988) We hear SLASHING over and over. Then, GUNFIRE. We hear the SCREAMS of POLICE OFFICERS every few seconds.
89. MOVE DOWN to... A POLICE OFFICER backed against the wall. His face is carved into a horrific, terrified expression. In front of him, the mutilated corpses of DEAD POLICE OFFICERS. He grinds his teeth at the sight. Through the darkness, a DARK SHAPE begins to appear. It's WHITE MASK glows down at the cop. He tries to reach for his GUN. The figure kicks the gun away. OFFICER Go to hell, you bastard. A burned, scarred HAND reaches down and pulls the cop by his hair. He SCREAMS in pain. The figure holds the cop for a second against the wall. Then, he RAMS a huge BUTCHER KNIFE into the cop's abdomen, impaling him into a nearby wall. The cop gasps for a few seconds. Blood begins to trickle from his mouth. He stares towards the dark figure for a few more seconds. Then, he dies. We MOVE IN closer towards his eyes... DISSOLVE BACK TO: EXT. MYERS HOUSE - BUSHES - NIGHT RON'S EYES. Staring... remembering. He slowly turns to Ben. ANDREW We have to do this. BEN No, you don't. Andrew grabs the handle to the gasoline container. ANDREW Someday, you'll understand. His eyes remain locked on Ben, hoping for some type of blessing. It doesn't come. He looks at Ron... then nods. Andrew gets up, scurries towards the house with the container. Ron waits behind for a moment. He looks deeply at Ben... RON He's wrong. (beat) You'll never understand.
90. Ron pulls himself from the bushes, hurries after Andrew. Ben remains where he is, deeply hurt. EXT. MYERS HOUSE - SIDE - NIGHT Andrew and Ron are leaning against the house. Andrew is tightly gripping the container. They look at each other as if they don't know who should pour the gasoline. Finally... RON You do it. You've got more of a reason than me. Beat. ANDREW Cover me. INT. MYERS HOUSE - FAMILY ROOM - NIGHT P.O.V. We are steadily walking. We come to another window. We look through a small crack to see... THE SIDE of the house. The bushes ruffle in the gentle wind. No one is around. EXT. MYERS HOUSE - SIDE - NIGHT Andrew begins pouring GASOLINE from the container. He keeps close to the house as he walks along the side, pouring the liquid onto the base of the house. Ron is following closely behind, looking in every direction. Just above them... A WINDOW A PAIR OF DARK EYES are glaring out. MOVE DOWN to... ANDREW and ROB directly under the window. They can't see the eyes... and the eyes can't see them. INT. MYERS HOUSE - KITCHEN - NIGHT P.O.V. We step through a doorway into the kitchen. Directly in front of us, the BACKDOOR Which leads outside. Thousands of pieces of
91. SHATTERED GLASS Cover the kitchen floor near the door. We stop for a moment, stare at the broken glass. We MOVE up to see that something is covering the window. EXT. MYERS HOUSE - OTHER SIDE - NIGHT Andrew and Ben sneak along the side of the house with the container of gasoline. They wait for a moment, catching their breath. They nod at each other as if they both know they can't wait too long. Andrew begins pouring the gasoline along this side of the house. EXT. MYERS HOUSE - BUSHES - NIGHT Ben is still hiding in a thick covering of bushes. He's not making a sound. He's watching the house like a hawk. To he side, we SEE Andrew and Ron. They're on our side now. The house is completely silent. Then... the wooden board Andrew placed over the door window BANGS outward. Ben's eyes race toward the movement. Then, it happens again. Ben watches for a moment... nothing happens. EXT. MYERS HOUSE - SIDE - NIGHT Andrew is walking along the side of the house, although hunched over with the gasoline container. Ron is standing up, following him. They pass by a window. A board is covering the window. Through a tiny space... THE SHAPE'S EYES Are staring out. Ron glances towards the window. The eyes suddenly disappear. Ron SEES it. RON I saw him! Hurry up! Andrew starts walking faster with the container. As they leave the window, they HEAR someone BANGING on the board covering the window. Andrew starts splashing gasoline all over the house, not even caring where it lands. Ron paces around anxiously. RON Hurry! The wooden board on the side of the house begins to PUSH OPEN as HEAVY BANGING forces the nails to pull from the wood. Ron runs along the side of the house, splashing gasoline everywhere. Ron stops Andrew, grabs his wrist.
92. RON That's enough! Andrew won't stop. RON Come on! He pulls Andrew away from the house. They run away, the container still in Andrew's hand. EXT. MYERS HOUSE - BUSHES - NIGHT Andrew and Ron slide through the heavy brush towards Ben. They're clearly shaken up and terrified. Then, they see it -- the board beginning to break loose from the window. Ron grabs a hammer, runs towards the house. THE SHAPE'S HAND begins to reach out from inside he house. It's pulling the side of the board off the house. Ron SMASHES The Shape's hand with the hammer. The Shape pulls his hand back inside. Ron turns around to Andrew and Ben... RON Give me the matches -- The Shape's HAND storms through the side of the board that was breaking free, wraps around RON'S THROAT. The Shape pulls Ron towards the house. He's gasping for his life. He drops the hammer to the ground. Andrew runs from the bushes, grabs the hammer. He turns it over to the side with two razor-sharp edges. He starts slashing into The Shape's scarred hand. It starts bleeding profusely. Then, it lets go. Ron falls to the cold ground, gasping. Andrew pulls Ron from the house. They stand out of The Shape's reach. Ron remains on the ground, trying to catch his breath. Andrew watches the window. The wooden board is dangling from the side of the house. Finally, it drops to the ground where Ron fell a few moments ago. We now see... INSIDE THE HOUSE The Shape, shrouded in darkness, standing... watching. Motionless. Andrew can't believe his eyes. CLOSE: BEN'S FACE He stares at The Shape in disbelief from the bushes.
93. Andrew regains himself. He reaches down for the can of gasoline. He picks it up, swings it back and propels it through the air towards THE WINDOW It smashes through the remaining piece of wood. A trail of gasoline spills out as the container is in mid-air. The container lands at The Shape's feet. He doesn't move. Andrew shuffles through his pockets, never taking his eyes off The Shape, who hasn't moved an inch. He pulls out MATCHES He holds them up high in the air. A sadistic smile begins to form on his face as he lights a match. He slowly lifts the match high in the air, holds it for a moment. Then, he tosses it... THROUGH THE WINDOW An eruption of FIRE ascends from the floor up towards the ceiling. The Shape stands in back of the fire, watching... fearless. A small stream of FIRE races from the window, catches the side of the house and EXPLODES outward. Andrew watches white house turn into a bright, orange glow as the fire quickly spreads from the side towards the roof. Ron crawls across the cold ground to the... BUSHES He rolls over on his back. Ben pulls himself closer to Ron, helps him.