FADE IN:
EXT. HADDONFIELD MEMORIAL HOSPITAL - NIGHT
CRANE DOWN over the parking lot of the darkened building,
filled with police cruisers from both Haddonfield PD and the
Illinois State Police. It's an eerily still, quiet scene.
SUPERIMPOSE CAPTION: "October 31st, 1995".
This Mortal Coil's cover of "Song to the Siren" drifts over
the soundtrack.
"Hear me sing...swim to me, swim to me, let me enfold you.
"Here I am. Here I am, waiting to hold you."
A single GUNSHOT rings out in the night.
CUT TO:
INT. HMH - LAURIE'S ROOM
LAURIE STRODE sits up in her hospital bed, clutching a
pistol. The bodies of SAM LOOMIS and MICHAEL MYERS lie atop
one another in the doorway.
INT. CORRIDOR - CONTINUOUS
A pair of Haddonfield deputies rush down the hallway,
followed by LIEUTENANT CHARLES. They stare in horror at the
scene.
Laurie collapses on the bed, sobbing violently.
A deputy reaches for Myers' throat.
CHARLES
Don't touch him!!
He draws his gun and trains it on the Shape, inching forward.
CHARLES
Loomis is breathing. Help me move
him. We need a doctor!!
The Shape's head lolls slightly as Loomis is pulled out of
his lap.
The deputies roll Loomis onto his back. One begins CPR.
INT. LAURIE'S ROOM - CONTINUOUS
Lt. Charles enters.
CHARLES
Are you all right, miss?...Miss,
can you give me the gun?
Laurie just keeps crying. Charles edges over to the bed and
takes the pistol away.
CHARLES
Can you tell me what happened? Miss
Strode?
INT. CORRIDOR - CONTINUOUS
The deputy who isn't performing CPR glances over at Laurie's
room.
THE SHAPE IS GONE.
He draws his gun and scans the hallway.
DEPUTY
Lieutenant!
Charles races out, holding his gun and the one Laurie gave
him.
CHARLES
Jesus H. Christ.
A doctor and nurse race around the corner at the end of the
hall - Charles nearly fires on them.
CHARLES
Stop! Right there! Did you see him?
DOCTOR
Who??
CHARLES
Michael Myers, goddammit!
He turns and runs in the other direction.
Loomis' eyelids flutter.
LOOMIS
Michael...
He tries to get up, fumbling for one of the deputies'
sidearms. They force him back down.
LOOMIS
Michael! Michael! No!...
ROLL MAIN TITLES
FADE IN:
EXT. WALLACE HOUSE - NIGHT
A news van is parked on the lawn neighboring the Wallace
home, which is filled with cops - across the street, firemen
are pouring water into the charred remains of the Doyle
house. Onlookers crowd the street behind police tape.
MARIA SANTOS, a twenty-something field reporter, stands in
front of her cameraman with mic in hand.
MARIA
This is the scene of a brutal
massacre that is known to have
claimed the lives of four teenagers
this Halloween night. Escaped
mental patient Michael Audrey
Myers, who infamously murdered his
sister at the age of ten seventeen
years ago, came home to Haddonfield
tonight to continue his grisly
killing spree.
(beat)
The highway between the Smith's
Grove Sanitarium and this town is
littered with more of Myers'
victims. We know that--
Maria's assistant steps into the shot, whispering
frantically.
MARIA
Um, I'm just being told that shots
have been fired at Haddonfield
Memorial Hospital, where Myers and
one of his victims were rushed
earlier tonight. We'll be there
momentarily to bring you up-to-the
minute details. This is Maria
Santos, WHTV.
(throwing mic to
assistant)
Holy shit!
CAMERAMAN
Uh, we're still on the air.
MARIA
Cut the fucking feed! We've got to
get to the hospital!
She runs to the van, followed by her crew.
CUT TO:
EXT. HMH - NIGHT
Lt. Charles combs the parking lot with a fleet of policemen.
He speaks quietly into his radio.
CHARLES
I want Laurie Strode moved out of
here NOW. This place isn't safe.
(to nearby deputy)
Ziggy, how many men do we have
inside?
ZIGGY
Between our guys and the State
Troopers, another twenty.
CHARLES
I want them all outside Strode's
room. Get in there, and get on the
horn with Ridgemont Hospital in
Langdon. We're taking her out of
here.
Ziggy nods and heads off.
The KHTV van rolls into the parking lot, throwing its high
beams on the cops.
CHARLES
Goddammit!
EXT. VACANT LOT - CONTINUOUS
SHAPE POV: We're across the street from the hospital,
shrouded by trees and overgrown brush.
We turn away from the hospital - and stagger down to the
ground.
RESUME REGULAR SHOT
The Shape crawls through the dirt, seriously wounded. Clad in
a black undershirt and brown pants, he blends with the
shadows.
CLOSE ON his masked face, caked with dirt and blood - one eye
is missing, and a single bullet hole between the eyes drains
ichor into the earth.
SHAPE POV: We crawl to the edge of the lot, through a row of
bushes and into a small alleyway.
CUT TO:
INT. PAMELA'S HOUSE - LIVING ROOM
A teenage girl, PAMELA, is sitting on the couch watching the
news. From a Chicago newsroom, newsanchors speak over still
images of a ten-year-old Michael Myers.
ANCHOR (V.O.)
--We'll have the latest
developments to you as soon as they
come in.
The phone rings, startling her. She mutes the TV and answers.
PAMELA
Hello?...Hey girl, did you hear?
Yeah, it's all over the place.
They're saying some teenagers are
dead too. Think it's anyone we
know?
She gets up and walks into the kitchen, pouring herself a
glass of water as she speaks.
PAMELA (CONT'D)
Oh, I'm fine. It happened on the
other side of town. Besides, they
got the guy.
(long beat)
What? At the hospital? When?...Oh
my god, I'm only a few blocks from
there. I should call Gary.
As she listens to her friend, Pamela's gaze drifts over to a
spot of blood on the countertop.
She steps back and sees more blood on a drawer. She opens it
up. Cutlery, much of it stained red.
PAMELA
Hey--
A butcher knife PUNCHES through her throat, emerging just
below her chin.
The phone clatters on the floor.
CUT TO:
INT. HMH - EMERGENCY ROOM
Laurie Strode is being wheeled out, strapped down to a
stretcher.
LAURIE
What's happening? Where are you
taking me?
ALICE, a nurse in her late twenties, sticks a syringe in the
crook of Laurie's arm.
ALICE
It's all right honey, you just
sleep.
LAURIE
Where's my mom? I want my mom.
She falls unconscious.
EXT. EMERGENCY ENTRANCE - CONTINUOUS
An ambulance is waiting, along with the army of police.
Laurie is put inside, and the vehicle speeds away.
CUT TO:
INT. LOOMIS' ROOM
Loomis is similarly secured to his bed. DOCTOR MIXTER, an
elderly gentleman swooning from a few drinks he had at a
Halloween party, applies bandages to the psychiatrist's head.
LOOMIS
Where's Laurie Strode?
Charles is leaning in the doorway.
CHARLES
She's safe.
LOOMIS
Where is she?
CHARLES
Far away from here. Far away from
Myers and far away from you.
(beat)
We just found Leigh Brackett.
LOOMIS
The sheriff?
CHARLES
Not anymore. Thanks to you, Loomis.
MIXTER
Hold still, Doc.
LOOMIS
He's going to go after Laurie. It
doesn't matter where you take her!
He found her once already tonight,
he'll find her again!
CHARLES
It's not your concern anymore.
Smith's Grove says you're retired,
Loomis. Michael Myers isn't even
your patient.
LOOMIS
I'm the only one who understands
him. I know what he wants. He'll
stop at nothing to reach her!
CHARLES
No he won't.
Charles exits. Loomis tries to sit up and yell, but Mixter
pushes him down.
MIXTER
You need to take it easy, friend.
INT. CORRIDOR - CONTINUOUS
Charles stops DEPUTY MEEKER in the hall.
CHARLES
Meeker. I want you outside Loomis'
room for the rest of the night.
MEEKER
You got it.
CUT TO:
INT. NURSES' STATION
Nurse Alice sits with JIMMY LLOYD, a fresh-faced young
orderly who's just punched in.
JIMMY
So where's Laurie Strode?
ALICE
The cops just whisked her out of
here. Don't know where to.
JIMMY
She was a junior when I graduated.
Nice girl. God, did you hear Annie
Brackett's dead?
ALICE
So is the sheriff.
JIMMY
What? Jesus.
ALICE
I just pray to God Myers doesn't
come back here.
JIMMY
This place is crawling with cops
from all over the state. I had to
have them page Mixter and verify
who I was just so I could come sit
here on my ass.
ALICE
Yeah, we're not going to be taking
any new patients until they catch
that bastard. We're supposed to
refer them all to the clinic across
the river.
JIMMY
So why did Myers do it, anyway? Is
he just crazy?
ALICE
You know, I knew him when I was a
kid. We went to school together...
She shudders visibly, remembering.
ALICE (CONT'D)
Never mind.
JIMMY
No, tell me.
ALICE
I don't want to think about him,
let alone talk about him. Forget
it.
JIMMY
Sure, sorry.
ALICE
You're a sweet kid, Jimmy.
JIMMY
"Kid"?
Ziggy leans over the counter.
ZIGGY
Hard at work, little brother?
JIMMY
Gimme a break. I'd have a job to do
if you did yours.
ZIGGY
Hey. We just lost Leigh Brackett
and Jim Phelps.
JIMMY
Sorry. Man, I can't catch a break
tonight.
CUT TO:
EXT. RIDGEMONT HOSPITAL - NIGHT
The hospital is a sprawling, fortress-like set of buildings.
A light rain has begun to fall as the ambulance pulls into a
receiving area flanked by high concrete walls.
A stout black man with a beard - DR. HOFFMAN - walks outside,
followed by the head of security, VON LEER, tall with angular
German features.
The paramedics unload Laurie.
HOFFMAN
Straight inside.
INT. RECEIVING AREA - CONTINUOUS
They wheel her down a damp corridor lined with pipes. A young
security guard, BUDD, grins.
BUDD
So this is our sole survivor. Right
this way, gents.
Hoffman and Von Leer follow at a brisk pace.
HOFFMAN
Put her at the end of the psych
ward. Minimum security. I'll have
Chambers check her over and make
sure she stays sedated. We
shouldn't have any problems, isn't
that right Mister Von Leer?
VON LEER
Nothing to worry about, Doctor.
CUT TO:
INT. PSYCH WARD - CORRIDOR
Budd pushes the stretcher down the hall, eyeing Laurie's
body.
BUDD
You'll like it here doll. Nice and
quiet.
DR. MARION CHAMBERS, 38, steps in Budd's path.
MARION
Is this Laurie Strode?
BUDD
Yep. We were just getting
acquainted.
MARION
While she's here, she'll be treated
as my patient. And I don't want you
anywhere near her, got it?
BUDD
Sure thing, Doctor Chambers.
INT. LAURIE'S ROOM - CONTINUOUS
Budd secures Laurie's stretcher in a lonely room with barred
windows. Sheets of rain beat on the glass.
BUDD
It's getting nasty out there.
MARION
Budd. You're excused.
BUDD
Yeah, yeah.
He exits. Marion looks sympathetically over the girl.
CUT TO:
INT. JOHN'S BAR & GRILL
The place is bustling with redneck customers swilling cheap
beer and shooting pool. At the bar, JOHN GARRETT himself
swabs down a few shot glasses with a filthy rag.
GARRETT
You want another one, Ronnie?
RONNIE WHITE nudges an empty glass with a scowl on his face.
He looks like shit.
RONNIE
Long as I can keep on my ass on
this stool, I ain't drunk enough.
GARRETT
You seem more pissed off than
usual.
RONNIE
You heard about that Michael Myers
shit. I used to be married to the
bastard's momma.
GARRETT
Is that the kid that cut your--
RONNIE
Thin ice territory, John.
GARRETT
I heard on the radio that Myers is
a cop killer now. He won't survive
the night.
RONNIE
Not if I have anything to do with
it.
He pulls a .357 Magnum from his lap and sets it on the bar.
GARRETT
Whoa! Ronnie, I'm gonna have to
confiscate that if you wanna stay.
RONNIE
I'm leaving. I'll take a rain check
on that drink.
GARRETT
You're not driving...
RONNIE
Unless you are.
GARRETT
You really want to round up a posse
and go hunting for Myers?
(no response)
Shit. Brady!
Garrett's early-twenties son wanders over.
GARRETT
Need you to watch the bar, son.
BRADY
Where are you goin'?
GARRETT
Going looking for Michael Myers.
BRADY
No shit! I'm comin'!
GARRETT
Like hell you are.
BRADY
I'm the best shot in this family!
C'mon!
GARRETT
Well...
STRAKER, a scruffy-beaded redneck extraordinaire, leans on
the bar.
STRAKER
What's the word John?
GARRETT
You got your guns in your truck?
STRAKER
Always.
GARRETT
Want to go looking for that cop
killer Myers?
STRAKER
Hell yeah.
He slaps the back of a drinking buddy, MOSELEY.
STRAKER
Mose, you up for a lynch mob?
MOSELEY
When am I not?
Ronnie White grins maliciously and stuffs the .357 in his
jeans.
CUT TO:
INT. HMH - CORRIDOR
Maria Santos creeps down the hall. Ziggy cuts her off,
startling her.
MARIA
Trying to give me a heart attack?
ZIGGY
So, you bought your way past the
State Troopers?
MARIA
Nah, your guys. What's the story on
Laurie Strode?
ZIGGY
She's gone, Santos. No one here but
Myers' quack doctor.
MARIA
Which room--
ZIGGY
Forget it, Charles has him under
lock and key. He's caused enough
trouble tonight.
MARIA
All right, all right. Just let
interview a couple of the nurses
before you throw me out.
ZIGGY
Fine.
CUT TO:
INT. ANOTHER CORRIDOR
Maria isn't anywhere near the nurses' station. She spies
Meeker standing outside a room and smiles.
MARIA
Hey Meeker, what're you up to?
MEEKER
How'd you get in here?
MARIA
They let me right in. I'm here to
get a statement from Myers' doctor.
MEEKER
How'd you - no, no, no, nothing
doing. I'd better check with the
lieutenant.
MARIA
He left. He's leading the search
for the killer. C'mon, what harm
would it do to get a few words from
the doctor? Give me five minutes
with him.
MEEKER
What's in it for me?
MARIA
How about that dinner you keep
pestering me about?
MEEKER
Really?
MARIA
Promise.
CUT TO:
INT. LOOMIS' ROOM
Maria steps in. Loomis is wide awake and fixes his bleary
eyed stare on her.
MARIA
I'm Maria Santos with WHTV. Can we
talk for a few minutes?
LOOMIS
Am I under guard?
MARIA
There's a deputy outside, yeah.
LOOMIS
(laughs bitterly)
As if I were the monster...where
have they taken Laurie Strode?
MARIA
They won't tell me. I could do a
little digging after we talk.
LOOMIS
Before.
MARIA
C'mon, they won't let me back in
here. You want your voice to be
heard, you need to talk to me now.
LOOMIS
Once I know where Laurie Strode is,
I'm all yours.
MARIA
It doesn't work like that.
LOOMIS
You don't have anything to bargain
with until you know where they've
taken her. Start digging.
He closes his eyes and lies back. Maria can see she's not
going to get anywhere with him.
MARIA
I'll do what I can. Okay?
She leaves the room.
CUT TO:
INT. GARRETT'S TRUCK - NIGHT
Garrett sits behind the wheel with Brady and Ronnie. He pans
a powerful spotlight over the neighborhood they're currently
searching.
BRADY
(into CB radio)
Got anything, Straker?
STRAKER (RADIO)
Nothing yet. Place is like a ghost
town.
GARRETT
What makes you think we'll find
Myers before the cops do, Ronnie?
RONNIE
I know the bastard.
CUT TO:
INT. STRAKER'S TRUCK - NIGHT
Moseley aims a high-powered rifle out the passenger window,
peering through a night-vision scope.
MOSELEY
Hey, stop!
Straker slams on the brakes.
MOSELEY
Thought I saw someone in those
bushes. Put the light on 'em.
STRAKER
Got it.
(beat)
See anything?
MOSELEY
No. Damn. You got any beer in the
cooler?
CUT TO:
EXT. GARRETT'S TRUCK - NIGHT
The truck rumbles across a set of railroad tracks and into a
deserted warehouse district.
INT. TRUCK - CONTINUOUS
GARRETT
Shit!
A dark shape disappears around the corner of a building, just
as the spotlight hits it.
RONNIE
I'm going on foot. Follow me and
keep that light on my back.
He gets out, Magnum in hand.
EXT. WAREHOUSE DISTRICT - CONTINUOUS
Brady can be heard inside the truck, on the CB:
BRADY
Straker, head over to those
warehouses behind the drive-in. I
think we've got 'im!
Ronnie approaches the corner where the shape was seen. As the
light settles on him, he steps around the corner.
Nothing.
RONNIE
Come out, come out, whereever you
are.
CUT TO:
INT. HMH - NURSES' STATION
Maria is talking with Alice and Jimmy.
MARIA
So you have no idea where they took
Strode.
ALICE
Not a clue.
MARIA
You'd tell me if you did?
ALICE
Probably not.
MARIA
Jimmy Lloyd...
JIMMY
I don't know a thing, I just got
here!
Maria's cell phone rings.
MARIA
Hold on.
(steps away, answers
phone)
This is Maria.
FEMALE PHONE VOICE
Maria Santos? They said they'd put
me through to you.
MARIA
The station? Okay, who's this?