Not official or even considered for production, just my story I hope somehow,someway finds it's place in the Story!

I just noticed my SHERIFF has 2 R's (SHERRIFF).Not changing it,It's how we talk around these here parts!:D

I Voted for the GIVE UP option in the POLL,so you know the other VOTE wasn't myself!:D

I used the SCENE HEADINGS and some CHARACTER NAMES such as YOUNG MAN and HOT BLONDE,or HORNY GUY,and HORNY GIRL to also describe the scene without that much of my own input, for you to imagine it yourself.Just get past a little of the goofy stuff and give it a chance.

TITLE: HALLOWEEN 3
(MY BROTHERS KEEPER) = ?
WRITTEN BY: D.A. Bowsher



SCENE #1: OPENING

FADE IN:

BLACK SCREEN with BOLD WHITE LETTERING statement:

When The Pale Horse Comes Calling,
And Grows Near.
Rest Assured In Knowing
That We Are Almost Home.

Break the screen with the SOUND of SHATTERING GLASS,
with the letters cracked and busted,they begin flying
in broken pieces towards the screen, as they fill with
BLOOD and begin turning from WHITE, to RED with the
words PALE HORSE coming straight at the screen. which
leaves just the BLACK SCREEN empty.

CUT TO:

(INT/EXT.) HADDONFIELD - ISOLATED CABIN - NIGHT:

Immediately from the BLACK SCREEN, the silence is broken
with a LOUD SCREAM from LAURIE STRODE, as it FLASHES a
scene of HER, struggling and being held down by a young
MICHAEL MYERS inside the CABIN from the PREVIOUS MOVIE.
This is followed by another black screen with CREDITS
that also flies towards the screen.

Quickly followed by a FLASH of MICHAEL in all his glory
stabbing DR. LOOMIS to death. Followed by more CREDITS.

Then right after the CREDITS. You HEAR a GUN SHOT, that
hits MICHAEL as he then falls and is IMPALED on some
FARMING EQUIPMENT inside the CABIN. Run more CREDITS.

Following immediately after the CREDITS, It shows LAURIE
dropping to her knees, wearing MICHAELS MASK just outside
the CABIN in the HELICOPTERS SEARCHLIGHT, she slowly
pulls the MASK OFF, and falls over to her side, fainting.

The SCREEN FADES TO BLACK as if we pass out with her, as
some DEPUTIES in SLOW MOTION begin running towards her,
with NO SOUND, accept almost a hollow wind tunnel noise/
helicopter echoing over the SCENE FADING.

FADE OUT:

FADE IN:

(INT.) HADDONFIELD MORGUE - AUTOPSY ROOM - DIMLY LIT -
NIGHT:

SUPERIMPOSE TITLE, Out of the TITLE SCREEN, you begin
hearing some muffled music and a MUSHY SOUND as a YOUNG
attractive MORTICIAN, named BECKY is hard at work in the
EXAMINING LIGHT, on a DECEASED MAN removing his organs
and weighing them, as she is also listening to an iPod.

Suddenly the DOUBLE DOORS entering the room are SLAMMED
OPEN, by a GURNEY and two EMT's following delivering a
BODY that is zipped up in a BODY BAG on that GURNEY.

BECKY appearing overworked, SLAMS her SCALPEL down,
removes her EARBUDS/HEADPHONES.

BECKY
Really, another one! It's the fifth
one today. When are you guys, going to
stop? You two also need to learn how
to knock.

EMT1, a slightly cocky fit guy, barks back at BECKY.

EMT1
Damn Becky! Don’t be so God damn
pissy. We're just doing our job. You
know that! I'm going to have to
start calling you Bitchy Becky.

BECKY picks up her SCALPEL, points it at the EMT's as
she gets back to her dissection.

BECKY
Well you know what! You two could
quit anytime. The shit wouldn't
bother me, one bit!

EMT2 a smaller computer nerd type, replies

EMT2
It's not our fault! It's that
bastard, Michael Myers! His sorry
ass has been chopping up the whole
damn town. Kind of like you!

BECKY
Yeah I know! I've heard, trust me!
Who's in the bag?

EMT1
Annie Brackett!

BECKY
Oh my God! Poor Sherriff Brackett!

Suddenly their conversation is interrupted from a
frantic RADIO CALL, through a RADIO attached to EMT1.

UNKNOWN DEPUTY (V.O.)
We got the son of a bitch! We got
him! He's fucking dead! We need
someone to respond and retrieve the
assholes body! We are on
interstate 77 just past the Roberts
farm at an abandoned cabin, You'll
see all the lights from the police
cars!

EMT2, frustrated in hoping that this was their last run.

EMT2
Come on! Let the other guys take
this one. We should be clocking out,
right now.

EMT1 ignoring his partners disapproval!

EMT1
There is nothing wrong with a
little overtime. Now is there?

EMT2
(frustrated)
God damn it!

BECKY
(amused, smug)
Hah! Hah!

EMT1
(radio response)
This is unit 31. We are dropping off
a body, as we speak. Give us about
twenty minutes and we'll be there.

UNKNOWN DEPUTY (V.O.)
(radio)
Copy that! Since you guys are
already at the morgue, go ahead
and let Becky know, that she
has two more heading her way.

EMT1
(rubbing it in)
Looks like Bitchy Becky is getting
two more, to add to her collection!

EMT1 arrogantly EXITS the ROOM, followed by EMT2
WAVING bye TO BECKY, as she excuses the two, by putting
in her EARBUDS, and STICKING OUT her TONGUE in a
childish manner, as she CONTINUES with her DISSECTION.

CUT TO:

(EXT.) HADDONFIELD - INTERSTATE - THUNDERSTORM - NIGHT:

CAMERA STATIONARY and FOCUSED, looking down the
interstate from the side of the road, as an AMBULANCE
approaches, speeding with its LIGHTS FLASHING and
SIRENS SOUNDING. With just the sound of the rain coming
down and the ambulance as it approaches, knifing
through the rain, and zooming past and out of scene.

CUT TO:

(EXT.) HADDONFIELD - ISOLATED CABIN - RAIN DYING DOWN -
NIGHT:

HELICOPTER P.O.V. CIRCLING

showing the crime scene with POLICE CARS, an AMBULANCE,
that is surrounding the CABIN that is now in clean
up mode, It concludes as another AMBULANCE pulls up to
the scene, with EMT1 and EMT2 exiting the vehicle.

CUT TO: :confused:

TRACKING SHOT of the two EMT's pushing a GURNEY, with
a BODY BAG laid out, already unzipped on top of it.

The rain stops as they are approaching SHERRIFF
BRACKETT, who is standing in the middle of the scene,
overseeing the action.

SHERRIFF BRACKETT
Are you the two here for Michael?

EMT2
Yes sir! Sorry to hear about Annie!

SHERRIFF BRACKETT
We all got to go sometime, that's
life I guess. I can't curl in a ball
and die. Now can I?

EMT1
Where's Michaels body? Sir!

SHERRIFF BRACKETT
He's in the cabin. We already got
Loomis's body out. I got Michael's
shit back to him. Trust me! You
wouldn't want to see the ugly
bastards face.

CUT TO:

(INT.) HADDONFIELD - ISOLATED CABIN - NIGHT:

With SHERRIFF BRACKETTS statement it goes to a
flashback of him standing over MICHAEL's impaled body.
SHERRIFF BRACKETT leans down and places the MASK on
Michaels head, and begins emotionally stabbing him!

SHERRIFF BRACKETT
You took my Annie you son of a Bitch!

CUT TO:

(EXT.) HADDONFIELD - ISOLATED CABIN - RAIN STOPPED -
NIGHT:

It returns outside with SHERRIFF BRACKETT and the EMT's.

SHERRIFF BRACKETT
The son of a bitch is in there! Now
get to it. If you need some help
with him, just let somebody know.
Alright?

The EMT's start towards the cabin and walk out of view.

EMT1 (O.S.)
Will do, Sherriff!

SHERRIFF BRACKETTS P.O.V.

As he looks in the back of another ambulance, with the
sound of the GURNEY WHEELS being pushed further away. He
sees LAURIE inside, who appears still unconscious. TWO
different EMT's shut the back door, and rush towards the
cab of the vehicle.

SHERRIFF BRACKETT
HEY, YOU TWO!

As he shouts, he catches the EMT's attention, they turn
their heads!

SHERRIFF BRACKETT
You're taking her to the psychiatric
hospital, aren't you?

EMT3
That's what we were told. Sir!

SHERRIFF BRACKETT
Alright, Thank You two! I was just
checking.

SHERRIFF BRACKETT turns away.

SHERRIFF BRACKETT
I really need to talk to that girl!

CUT TO:

(INT.) HADDONFIELD - ISOLATED CABIN - RAIN STOPPED -
NIGHT:

Begins showing a CLOSE UP of MICHAEL's MASK, as he lays
all bloody and resting lifeless, as the shot PANS OUT
slowly revealing MICHAEL's body, IMPALED on the SPIKES,
with his BUTCHER KNIFE, now stuck in his upper left leg.

EMT1 and EMT2 enter, pushing the GURNEY, and BODY BAG.
They position themselves over MICHAEL, situating their
SANITATION GLOVES on their hands.

EMT2
Now! How the hell, are we going to
get his big ass off those, and onto
that?

EMT1
How do you think? Uh huh! That's
right big boy. Now! Use those balls
you were given, and let's get this
done. Oorah!

The two EMT's begin prying MICHAEL's body from the
SPIKES, with a gory mushy SOUND of the spikes as they
exit his body.

EMT2 begins GRUNTING as he is struggling lifting the
body onto the GURNEY.

They flop MICHAEL on the GURNEY, which cause EMT2 to bump
his head, knocking off his HAT, which falls to the floor
between the GURNEY WHEELS. He flops to his knees to grab
the HAT, he retrieves the HAT and places it on his head.

Which is suddenly, appeared to be grabbed by MICHAEL's
hand. EMT2 jumps up, startled ripping his hat from his
head. Where he sees EMT1, has played a joke, who is now
holding MICHAEL's arm!

EMT1 (cont'd)
Wooooo! It's the Boogey Man. Oh SHIT
man! You should have seen your face.
It was PRICELESS!

EMT2 then swats EMT1 with his hat, playfully.

EMT2
What a dickhead! You're an asshole,
that's what you are!

EMT2 begins smiling realizing it was a joke, SHERRIFF
BRACKETT then enters quickly.

SHERRIFF BRACKETT
What was that commotion all about?
Is everything alright in here?

EMT2 glares at EMT1, as he stands over MICHAEL.

EMT2
Yeah! I'm just a little jumpy,
That's all!

EMT2 begins zipping up the BODY BAG, where he begins
struggling, as the zipper gets stuck, just below
MICHAEL's chin. Where it refuses to go any further!

EMT2 (cont'd)
This damn thing is stuck. I can't
get it. I guess that's as far as
it's going to go.

EMT1
You know? That knife in his leg,
it kind of makes old MIKIE, look
like he has a stiffy under there!

EMT2
Yeah! It does! You think we should
have taken it out?

EMT1
Naaah! I think Becky might like it!

EMT2
UH HUH! I'm sure she will.

EMT1
Hey! You know what? I do want to see
what he looks like, under that thing.

EMT1 begins reaching for MICHAEL's MASK. Which SHERRIFF
BRACKETT immediately puts a stop to, grabbing EMT1's arm.

SHERRIFF BRACKETT
Now stop that, shit! You two need to
stop goofing off, Right now! And
start taking some pride in your work,
and get his ass to the morgue. If it
was up to me, I would burn the son of
a bitch. But it's not.

EMT1 is shocked at the SHERRIFF's seriousness.

EMT1
Alright Sherriff. Sorry!

The EMT's push Michael's body out of the cabin.

SHERRIFF BRACKETT
And oh yeah! If so much as a hair,
on that mask, is out of place boys!
Your asses are mine!

FADE OUT: :confused:

SCENE #2: TRIP TO THE MORGUE

FADE IN:

(INT.) AMBULANCE - NIGHT - INTERSTATE - BEGINS STORMING:

P.O.V. over MICHAEL's body as he lays in the BODY BAG,
that's zipped just below his chin, as he rocks back and
forth, from the movement of the AMBULANCE.

Suddenly lightning flashes, lightning up his face. Which
is quickly followed by a LOUD CLAP of THUNDER and then
the SOUND of HEAVY RAIN beginning to come down.

The CAMERA PANS to the front of the ambulance, which
seems to be an older ambulance with the back wide open
to the driver (EMT1) and passenger (EMT2).

EMT1 FLIPS on the WIPERS, SQUINTS and LEANS FORWARD as
he looks out the window, as lightning strikes again.

EMT1
Guess it was too good to last, HUH?
The storm being over and all?

EMT2
Yeah! Watching the news earlier. It
said, that it's supposed to be off
and on like this, for the next
couple of days.

EMT2 looks over his shoulder and back at MICHAEL.

EMT2 (cont'd)
Man he's freaking me out. I got to
zip up, that bag!

EMT2 gets out of his seat and approaches MICHAEL's body.
While EMT1, glances back.

EMT1
I know what you're going back there
to play with, you homo! What are you
scared? He isn't going anywhere.

EMT2
Yeah! But isn't he supposed to be
superhuman, or something like that.

EMT1
Those are just stories. He's just
like you and me. He's as dead, as
dead can be. Where he's at there is
noooo coming back!

EMT2 begins struggling with the zipper.

EMT2
Well, that doesn't change a thing!
I'm still zipping the freak up.

EMT1
What? You don't want to give BECKY
a scare?

EMT2
I'm sure, she'll be frightened
enough, with all the bodies, that
he already has piled up down there.

As EMT2 just finishes his statement, his finger slips
off the zipper as he was still struggling, causing him
a small cut.

EMT2
Damn it!

P.O.V. from inside the BODY BAG.

EMT2 gets back to the zipper grunting frustrated, over
top of MICHAEL. The zipper releases, as the screen FADES
TO BLACK, along with the bag closing.

FADE OUT:

FADE IN:

(INT.) HADDONFIELD MORGUE - AUTOPSY ROOM - DIMLY LIT -
NIGHT:

P.O.V. from inside a BODY BAG.

The scene is revealed as BECKY unzips the BAG, and she
leans over and peers in, as you HEAR the MUSIC through
her iPod, as her EARBUDS are draped around her neck.

BECKY
Awwwww! You're up next!

BECKY then leans out of P.O.V. of the unknown subject.

CUT TO:

(EXT.) HADDONFIELD MORGUE - THUNDERSTORM - NIGHT:

P.O.V. towards the front of the morgue, as Michael's
body arrives in the ambulance. As the two EMT's jump
out, covering their heads with their jackets. They rush
to the back of the ambulance, extracting Michael and
rush the body up the ramp and into the building.

CUT TO:

SCENE #3: MICHAEL'S ARRIVAL

(INT.) HADDONFIELD MORGUE - HALLWAY - DIMLY LIT - NIGHT:

EMT1 enters the main entrance pushing the gurney, as
EMT2 holds the door open for him.

CLOSE UP - TRACKING SHOT 4 or 5 seconds, showing the
front wheel of the GURNEY as it is spinning down the
hall, with the water beading off and onto the floor.
Then the exact same shot of MICHAEL's MASK from the
side as it vibrates from the ride.

CUT TO:

(INT.) HADDONFIELD MORGUE - AUTOPSY ROOM - DIMLY LIT -
NIGHT:

P.O.V. of the DOUBLE DOOR entrance as they abruptly get
slammed open with the GURNEY, followed by the EMT's.
This startles BECKY!

BECKY
Oh GOD! What did I say about
knocking? Shit!

BECKY then puts her SCALPEL down, from a NUDE ANNIE
BRACKETT, that she just began working on, as she then
stands to her feet.

EMT1
Satan has arrived!

BECKY
So that's him? Huh! That's the
dickhead responsible for all this
work I've had all God damn day?

EMT2
That's him! Where do you want him?

BECKY
Just, put him over there. That's
fine! Is that a banana in his pocket?

The EMT's turn to exit the room.

EMT1
NO it's a KNIFE! Well guess we'll
see you tomorrow. Have fun!

EMT1 then begins waving his arms and twiddling his
fingers in a teasing manner.

EMT1 (cont'd)
Woooo, Wooooo, Woooooo!

EMT1 then exits the room behind EMT2, who is laughing.
BECKY shouts playfully.

BECKY
Get out of here, you goofballs. I
meant to say NO THANK YOU, YOU CAN
TAKE HIM BACK NOW!

BECKY glances at MICHAEL's body. EMT1 plops his head
back through the DOUBLE DOORS suddenly.

EMT1
Woooooo, Woooooo!

EMT1 immediately plops back out, as his line fades down
the hall with him. BECKY looks down shaking her head,
snickering as she approaches MICHAEL's BODY BAG, she pats
it two times with her right hand.

BECKY
Well, I got news for you big guy.
She's my last victim of the night.
You're just going to have to rot,
A llliiiiiittle bit longer.

BECKY returns to her chair at the autopsy table, placing
her EARBUDS back in her ears, as she returns to work on
ANNIE's BODY under the examining light, and begins
humming to the music.

The CAMERA then starts ZOOMING in on MICHAEL's BAG,
behind BECKY, who is in the examining light to the right
of the screen, as she becomes blurry and is eventually
ZOOMED OUT OF THE SHOT.

CUT TO:

Begins with the same shot of the BODY BAG that was
ZOOMED IN and then slowly begins ZOOMING OUT. Showing
that BECKY is gone and that ANNIE's BODY is all sewed up.
(as if some time has passed) You then HEAR BECKY'S heels,
clicking as she walks. (never showing her) Suddenly the
light is switched off, with the sound of a click, then a
BZZZZZ as the light flickers out.

CUT TO: :confused:

(INT.) HADDONFIELD MORGUE - HALLWAY - DIMLY LIT - NIGHT:

BECKY exits the autopsy room, and out into the darkened
hallway. With an umbrella in her left hand, all bundled
up and ready to go, with her EARBUDS still in, as she
continues humming to the music.

BECKY begins down the hall with the SOUND of her HEELS
clicking and the muffled music from her iPod. Halfway
down the hall suddenly a SHADOWY FIGURE appears behind
her, coming from a side room, which slowly lurks towards
her, as she continues oblivious to him.

BECKY notices a room with its lights left on. SHE STOPS,
as the FIGURE continues.

BECKY
Now, who left these on? ASSHOLES!

BECKY cracks the door, reaches in and turns out the
light, as the FIGURE draws closer. Just as she exhales,
the FIGURE quickly wraps his arms around BECKY, lifts
her up and puts her right back down.

BECKY SCREAMS turns around to see her BOYFRIEND, then
playfully slaps his chest.

BECKY (cont'd)
YOU BASTARD!

BOYFRIEND
Long night? Sweetie!

BECKY's BOYFRIEND leans in and gives her a kiss.

BECKY
Yeah! You have no idea, Sweeeeetie!

They lovingly walk down the hall, again with her HEELS
echoing loudly. BECKY opens her UMBRELLA, as her
BOYFRIEND holds the door, as they exit out into the rain.

FADE OUT: :confused:

Didn't want to do it but here you go, Alittle more !!! this is where the real criticism starts from real fans !!!

SCENE #4: A NEW PSYCHOPATH

FADE IN:

(EXT.) HADDONFIELD - LOGAN RESIDENCE - FRONT - FALL DAY - DAMP GROUND - OVERCAST SKIES:

P.O.V. from the middle of the street, looking upon a
poverty stricken, worn down two story residence. In a
quite, but rough looking neighborhood.

The CAMERA then begins STEDILY approaching the house
through an opened chain link fence, past an unraked yard
and then approaches an open basement window, as some
random show begins to play on a TV from inside.

CUT TO:

(INT.) HADDONFIELD - LOGAN RESIDENCE - BASEMENT - DAY:

P.O.V. in the middle of a darkened basement with the
stairs set to the left of the screen.

You hear someone unlatching the door at the top of the
steps. A large MAN named JACOB LOGAN, who has MICHAEL's
build and wearing an identical jumpsuit to MICHAEL's,
begins down the stairs, first few steps.

Before showing the man's upper body, or face. The CAMERA
begins slowly CIRCLING the room to the RIGHT, revealing
first, a small desk with 3 or 4 mannequins heads on top
of it, with MASKS identical to MICHAEL's, then an old
ROCKING CHAIR, and then an old fuzzy TV, that is now
showing a NEWS REPORT, that's interrupted the show that
was on. (The report starts once the CAMERA starts PAN.)

NEWS REPORTER
We interrupt this program to bring
you this news alert, to inform you
that another body has just been
found. Believed to be the results of
the tragic events that transpired
yesterday, involving former local
resident Michael Myers. Raising the
numerous body count tragically by
one more. With the one small bright
spot from the story. That being, the
survival of local girl Laurie Strode.
Who is said to be resting comfortably
at a local psychiatric hospital,
still reported to be suffering from
symptoms of a concussion. If we
receive any more breaking news, we
will keep you up to date.

The CAMERA continues circling as the REPORT plays,
showing just beside the TV, a wall covered in NEWSPAPER
CLIPPINGS related to MICHAEL and his many massacres.
After the CAMERA stops on the clippings. It moves to a
SHOT behind JACOB, as he watches the end of the NEWS
REPORT, and when it ends. He seems angry and clicks off
the TV and flings it off the stand that it was on. He
then approaches the wall with the clippings, and quickly
slaps a new one up, with a picture of LAURIE, with the
title, LOCAL GIRL SURVIVES GRIZZLY SCENE.

You then HEAR the SOUND of a RAT as the CAMERA then PANS
DOWN, revealing a large RAT AT JACOB's feet, right next
to a BOX of RAT POISON PELLETS. Suddenly JACOB snatches
the RAT up and takes it out of scene as the CAMERA STAYS
PUT at his feet. You begin HEARING the RAT SQUEAL and
then a flesh ripping SOUND that ends the squealing. The
RAT's HEAD and now HEADLESS BODY hits the floor. It then
returns to a SHOT of the clippings, as JACOB takes his
strong bloody hand and circles the picture of LAURIE with
BLOOD.

JACOB bends down and picks up the RAT POISON. He begins
shaking the BOX and slowly walking towards the MASKS. He
pours out the last few PELLETS and tosses the empty BOX
aside. He then quickly snatches a MASK from one of the
mannequins, and begins lumbering up the stairs, just
showing his back as he slams the door.

CUT TO:

(INT.) HADDONFIELD - LOGAN RESIDENCE - DAY:

JACOB forcibly latches the BASEMENT DOOR shut with a
latch and a PAD LOCK, still seeming angry.

TRACKING SHOT behind JAKE of just his RIGHT ARM with the
MASK in his hand, being squeezed as he approaches the
kitchen. Which shows an older woman, MICHELLE LOGAN who
is digging through the cupboard.

P.O.V. from inside the cupboard as she continues
shuffling through it, as JACOB is approaching OUT OF
FOCUS behind her. He reaches out his left ARM, over a
table that's in between them.

CLOSE UP shot of a CUP of COFFEE on the table, as JACOB
then plops the RAT POISON PELLETS into the CUP.

It then immediately returns to the SHOT behind JACOBS
ARM with the MASK in his hand as he STANDS there
silently. MICHELLE turns around with some sugar and sits
at the table, pouring the sugar in her COFFEE.

MICHELLE
Do you want some coffee?

She continues as if he nodded the answer.

MICHELLE (cont'd)
You don't. Alright!

She glances at the MASK in his hand.

MICHELLE (cont'd)
What are you doing, with that stupid
old mask?

She pauses but doesn't indicate that he ever answered,
like he ignored the question.

MICHELLE (cont'd)
Do you know? That I heard on the
news this morning that he's dead!
Finally, Good riddance!

MICHELLE takes her first drink of COFFEE and then adds
more sugar, as she makes a funny face.

MICHELLE (cont'd)
What have you been up to, in that
basement of yours? You know! Your
dear old mama doesn’t like it! When
you keep secrets from her. HMMMM?

MICHELLE takes a big drink of COFFEE and makes another
bitter face. JACOB then moves closer giving NO ANSWER.
He then leans in and kisses MICHELLE's forehead.
(never showing his face) He backs away, and ominously,
slowly begins pulling the MASK towards his face and puts
it on. (now you can show his face.) Dumbfounded and
confused MICHELLE gets up as JACOB begins walking
towards the back door. She flings the COFFEE in the
sink, and places her hand on JAKES shoulder.

MICHELLE (cont'd)
What are you doing? You need to
stop! Right NOW!

JACOB immediately turns around as she places her hand on
his shoulder, and begins mercilessly beating her. As
MICHELLE lays on the floor bloodied and beaten, clinging
to consciousness, JAKE grabs a BUTCHER KNIFE from a KNIFE
RACK on the counter and walks out the BACK DOOR, leaving
it open behind him.

MICHELLE pulls herself together as much as she can, and
begins crawling towards the back door.

MICHELLE (cont'd)
NO! Jacob, NO! Don't you do this!

She crawls out the back door just enough to be visible
to the neighboring yards. JACOB just continues with
MICHAEL's mannerisms, slowly walking away.

P.O.V. out the back door, as MICHELLE curls in the fetal
position holding her stomach, she then passes out. As
JAKE walks out the back gate, and to the left.

The shot remains on MICHELLE as she lies still on the
ground, as a time lapse happens, turning from day to
night, as there is only movement in the BACKGROUND.
(this happens in about 5/6 seconds.)

CUT TO: :confused:

SCENE #5: HE'S WATCHING

(EXT.) HADDONFIELD - LOGAN RESIDENCE - BACK -
FALL NIGHT - DAMP GROUND - OVERCAST SKYS:

TRACKING SHOT over a TEENAGE GIRLS left shoulder in an
alley that follows behind her, as she is playing with
her PHONE. She approaches the LOGAN RESIDENCE on the
left side of the alley. She enters the NEIGHBORING yard
to head into her own HOME, with the ground still very
sloshy from all the rain. As she approaches the back
door, the TEENAGE GIRL glances to her RIGHT, and she
sees MICHELLE's BODY lying motionless, just outside the
back door. She gasps!

TEENAGE GIRL
Oh my GOD! Miss Logan!

Panicked, the TEENAGE GIRL runs and jumps the fence and
rushes over to MICHELLE on the ground. She rolls over
MICHELLE's body, revealing she is alive, barely.

MICHELLE weakened, short of breath.

MICHELLE
They're Brothers!

TEENAGE GIRL
What?

MICHELLE
I've been poisoned! Help me!

TEENAGE GIRL
Alright Miss Logan, just relax.
I'll call 911!

The TEENAGE GIRL stands to her feet, and begins dialing
on her phone. As the CAMERA then PANS LEFT and begins to
RISE UP high above the scene, as the screen begins
FADING to BLACK. The TEENAGE GIRL begins improvising a
few lines into her phone frantically (O.S.). Which also
fades with the shot.

FADE OUT:

FADE IN:

(EXT.) HADDONFIELD - LOGAN RESIDENCE - FRONT -
FALL NIGHT - WINDY - BEGINS TO RAIN:

AN AMBULANCE is parked in the middle of the street, as
the TEENAGE GIRL is standing with her family, and
wrapped in her FATHER's arms. With MICHELLE on a GURNEY
being pushed out the front gate, with an OXYGEN MASK on.

P.O.V. inside a MASK, lurking across the street, watching
the scene unfolding, as it THUNDERS and begins to RAIN.

Before being loaded in the AMBULANCE, MICHELLE weakened
looks and see JACOB lurking across the street in the
MASK, as if he is MICHAEL. The EMT's shut the doors and
the screen goes black.

FADE OUT: :confused:

FADE IN:

SCENE #6 A SHOCKING REVELATION:

(INT.) HADDONFIELD - HOSPITAL ROOM - NIGHT -
THUNDERSTORM - PATIENT MICHELLE:

P.O.V. of MICHELLE OPENING her EYES as if waking from a
nap, SHOWING an OUT OF FOCUS person leaning over her.

CLOSE UP SHOT of a NAME TAG on a WHITE SHIRT, with the
name BRACKETT engraved on it. It then reveals a clear
VIEW of the FIGURE and MICHELLE lying in the HOSPITAL
BED, It's a female NURSE named CHELSEY.

MICHELLE
What's your name?

CHELSEY
It's CHELSEY ma'am. You had yourself
a close call there tonight. Didn’t
you?

MICHELLE
So! You're related to the Sherriff?

CHELSEY
Seen the name tag. Did you? Yeah!
He's a local celebrity. Don't
worry though, I'm not as strict.

MICHELLE
No it's not that, I need to talk
to him. I have something important he
needs to know. Others might be in danger.

CHELSEY
Why would you say that? Ma'am!

MICHELLE
Well, I guess I can tell you, and
you can get a hold him. Right?

CHELSEY
Sure can!

MICHELLE
I have a confession to make. You
know Michael Myers?

CHELSEY
Who doesn’t!

MICHELLE
Well my son Jacob!.... He is, Michael’s
brother!

CHELSEY
That's not possible! Ma'am! Michael
only had a sister, and his Mother
and Father died a long time ago.

MICHELLE
Yes it is! Before Michael's father
died, we had an affair, and I had
JAKE soon after..... I only hid it,
because I was worried for JAKE. I
didn’t want the attention or JAKE to
get ridiculed.... or worse, so I kept it
secret. JAKE always new, though.... It
always affected him!... Now I'm worried,
he's went off the deep end, with the
news of Michael's death.

CHELSEY
Oh my GOD!

MICHELLE
He's the one that poisoned me, and
I'm worried; he's not going to stop
with me! He left me to die, dressed
up like Michael. You need to stop him,
PLEASE!

CHELSEY begins seeing that MICHELLE is serious and
stands from her seated position, next to MICHELLE on
the HOSPITAL BED.

CHELSEY
Don't you worry! I'll take care of
it. You just rest!

As CHELSEY is now exiting the room just before the
door, MICHELLE stops her.

MICHELLE
If you see my son...... RUN!

CHELSEY exits the room looking worried.

CUT TO:

(EXT.) HADDONFIELD - HOSPITAL - FRONT ENTRANCE - NIGHT -
THUNDERSTORM:

P.O.V. through a MASK of the front of the HOSPITAL again
hearing the breathing, with the rain pouring down, with
lightning and thunder. Then with a bright flash of
lightning, blinding the audience and a loud crackle of
THUNDER almost at the exact same time. The screen QUICKLY
FADES to BLACK out of the bright flash.

FADE OUT:

SCENE #7: MOTHER'S KEEPER

FADE IN:

(EXT) HADDONFIELD - HOSPITAL - FRONT ENTRANCE - NIGHT -
THUNDERSTORM:

It starts from the exact ANGLE and spot of the P.O.V.
from the previous scene. As if some time has passed,
with a V.O. playing from CHELSEY, as if she is leaving
a message for SHERRIFF BRACKETT on his phone. While
SHERRIFF BRACKETT on duty is pulling up in front of the
hospital. *BEEP*

CHELSEY (V.O)
(urgent)
Uncle! It's Chelsey. I have a
situation at the hospital, When
you get this, I need you to get
here as soon as possible.
Hurry, Please!

Right as SHERRIFF BRACKETT reaches the hospital
entrance the scene ends like the previous scene did,
with the bright blinding flash, and loud thunder
immediately following it at the same time.

CUT TO:

(INT.) HADDONFIELD - HOSPITAL - HALLWAY -NIGHT -
THUNDERSTORM:

Coming out of the BRIGHT FLASH of the previous scene, It
turns into a light, on the ceiling of the hallway in the
hospital. As the CAMERA is pointing UP right at it, and
without moving the CAMERA's POSITION it ROLLS as if on
a pivot slowly, towards some DOUBLE DOORS and stops
PARALLEL.

Right as the CAMERA STOPS the DOUBLE DOORS burst open.

With SHERRIFF BRACKETT and CHELSEY walking and talking,
with a since of urgency in SHERRIFF BRACKETT, but also
unbelieving.

This is caught by a KNEE HIGH ANGLE IN-BETWEEN the two,
that's pointed slightly up and TRACKING BACKWARDS WITH
THEIR URGENT PACE. (about ten steps of dialogue, maybe
one line each, they then stop and finish scene abruptly.)

SHERRIFF BRACKETT
So, you're telling me that son of
bitch, has a brother? Is that what
you are trying to tell me?

CHELSEY
That's what she said. She was
serious about it!

SHERRIFF BRACKETT
How do you know that old bag, isn’t
making shit up, and just wanting
attention? With all the bullshit
that has happened, in the past few
days.

CHELSEY
I don't! But wouldn’t you like to
find out? Just to make sure. Incase
the chance, she is telling the
truth.

SHERRIFF BRACKETT
That's just what this town needs!
What room is she in?

CHELSEY
This way!

They walk past that CAMERA VIEW ABOVE and out of scene
towards MICHELLE's room.

CUT TO: :confused:

(INT.) (X) HADDONFIELD - HOSPITAL ROOM - NIGHT -
THUNDERSTORM - PATIENT MICHELLE:

SHERRIFF BRACKETT and CHELSEY are talking, (improvising)
focused on each other and not where they are going as
they enter MICHELLE's room.

They both look up, and are frozen in horror, as they see
MICHELLE has been BRUTALLY STABBED to death. CHELSEY
SCREAMS, covers her mouth with her hand, traumatized!

CHELSEY
Oh my GOD! NO! NO! NO!

CHELSEY (cont'd)
You still think that she is
making it up, for attention?

SHERRIFF BRACKETT
How long, has she been unattended?

CHELSEY
Probably 30 minutes or so. Just
long enough for me to call you,
and help out a few other patients

Two other DOCTORS come running over to the scene. With
SHERRIFF BRACKETT then handing CHELSEY over to them.

SHERRIFF BRACKETT
Get her out of here. I'll take
care of this. You guys just get
back to work. GOD damn it!
Here we go again!

As SHERRIFF BRACKETT says his last line frustrated and
looking at MICHELLE's bloody body. He then grabs his
RADIO to report the situation, he glances up at a
security camera in the corner of the hallway pointed at
MICHELLE's room. (show camera after he looks up)

SHERRIFF BRACKETT
(radio)
I need everybody available to
respond to the hospital, immediately!
We have another homicide, that
appears to be imitating Michael
Myers. The suspect is believed to
be the victim’s son. His name is
Jacob Logan, It's happened within
the last 30 minutes. So the suspect
couldn’t have gotten far. I have
been informed the suspect is reported
to be Michael Myers brother, so he
is considered extremely dangerous.
I'm going to review the security feed,
and will be able to give you a better
description, when you arrive. I need
you guys here. NOW!

DEPUTY BOWERS (V.0)
Roger That!

As SHERRIFF BRACKETT receives the response the screen
FADES to black.

FADE OUT:

SCENE #8: FAMILIAR FACE

FADE IN:

(INT.) HADDONFIELD - HOSPITAL - SURVIELLENCE ROOM -
GREEN/GRAY DULL LIT:

Begins with SHERRIFF BRACKETT, leaning with both hands
on a desk loaded with monitors, standing to the immediate
LEFT of a hospital SECURITY GAURD that's in control of the
monitors, with 4 DEPUTIES standing behind them, also
looking on.

SHERRIFF BRACKETT
Can you rewind that? until we, see
the suspect. Please!

SECURITY GAURD
Yes sir! Not a problem.

Dialogue then stops and the CAMERA then begins to PAN
from LEFT to RIGHT showing the DEPUTY's faces behind
the two, as they are all looking on, as the SECURITY
GAURD is rewinding the video. Upon reaching DEPUTY4
the last one on the right, who is rubbing his chin,
while looking on. He suddenly drops his hand and turns
his back as if he saw something shocking.

DEPUTY4
Jesus Christ!

SHERRIFF BRACKETT points at the monitor.

SHERRIFF BRACKETT
Whoa! Whoa! Whoa! Right There,
Right There! Stop!

P.O.V set on the TV/SECURITY MONITOR as the screen begins
to play. It shows the figure of what appears to be
Michael Myers, slowly coming from a stairwell underneath
the CAMERA and entering the first room.

DEPUTY BOWERS (O.S.)
I thought that bastard was dead!

SHERRIFF BRACKETT (O.S.)
You idiot! That's not Michael.
It's his god damn Brother! The son
of a bitch, is a COPYCAT!

The video continues showing JACOB exiting the room, with
his knife now covered with blood, as he slowly walks
back the way he came and exits the screen.

After the video concludes, SHERRIFF BRACKETT, begins
shouting orders to the DEPUTY’S. First SHERRIFF BRACKETT
points at DEPUTY SCHLAGEL and DEPUTY ANDREWS.

SHERRIFF BRACKETT
Now we know what we are dealing
with. I want Schlagle and Andrew,
to head out and patrol all the back
roads and alleys around the hospital.
If you see him, shoot the piece of shit!

DEPUTY SCHLAGEL
Sounds good Sherriff! You got it.

DEPUTY SCHLAGEL and DEPUTY ANDREWS exit the room.

SHERRIFF BRACKETT directs his attention to DEPUTY BOWERS

SHERRIFF BRACKETT
And Bowers! I need you to call the
morgue, and if you can't reach
anyone. I want you to go ahead, and
get over there. To clarify that
Michael's body is still there, and
that the son of a bitch is DEAD! I
don't want people spreading stories.

DEPUTY BOWERS
I'm on it!

DEPUTY BOWERS turns and also exits the room.

SHERRIFF BRACKETT then puts his attention towards the
last two, DEPUTY4 and GUARD.

SHERRIFF BRACKETT
Me and you! We're going to head to
JAKE's house, to see if that
bastard, is dumb enough to come
home. Now can you two give me a
minute? I need a moment. PLEASE!

As the last two then exit the room. SHERRIFF BRACKETT
leans back on the desk and looks at the monitor. Which
shows, a frozen image of JAKE, facing the screen. He
rubs his forehead and slams his fist on the table in
frustration.

SHERRIFF BRACKETT
Damn it!

The scene FADES to BLACK as the SHERRIFF turns to exit.

FADE OUT: :confused:

SCENE #9: WAKING THE DEAD

FADE IN:

(INT.) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT -
NIGHT:

Begins showing BECKY jamming and slightly dancing with
her EARBUDS in, with a quite muffled SOUND of the music
playing.

The phone begins to ring, but she doesn’t hear it,
because of the music, as she just continues on dancing.

CUT TO:

(EXT.) HADDONFIELD - DEPUTY BOWERS VEHICLE - NIGHT -
RAINING:

P.O.V. from passenger seat as DEPUTY BOWERS is sitting
with his car turned off, as he hangs up his phone in
frustration.

DEPUTY BOWERS
Damn it! BECKY! Pick up the phone!

DEPUTY BOWERS tosses the phone in the passenger seat. He
starts the vehicle and pulls away.

CUT TO:

(INT.) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT -
NIGHT:

Back at the morgue BECKY finally pushes MICHAEL's body
under the examining light, still inside the BODY BAG,
she pulls out her EARBUDS and drapes them over her
shoulder and around her neck, with the muffled music
getting louder.

BECKY
You're up, big guy!

BECKY then begins unzipping the body bag slowly, and it
gets stuck under his chin once again. As she then begins
struggling with the zipper.

BECKY
Cheap ass city! When are they
going to get some new bags?

The zipper then releases, as she then opens the bag and
spreads it all around MICHAEL's body on the GURNEY, as
she then hesitates, but removes the KNIFE from his leg.
She discards the KNIFE and picks up some SHEARS and
snips them together a few times, with the SOUND of them
grinding together, she sarcastically says in a sexual
manner.

BECKY
Now! Let's get you out of them
clothes, big boy!

BECKY places the SHEARS in the bottom of MICHAEL's right
pant leg and snips them once slowly, while glancing up
at him.

CLOSE UP of MICHAEL's torso, as you HEAR one more slow
snip, You then see MICHAEL take an ominous deep breath.

BECKY extremely startled jumps up, throwing the SHEARS
down. Frightened, she runs over to the PHONE on the wall.

BECKY
(terrified)
Oh my GOD! Oh my GOD! Oh my GOD!

BECKY reaches the PHONE and begins dialing 911
frantically with her back turned to MICHAEL.

CLOSE UP of MICHAEL's MASK, suddenly his EYES OPEN.

Back to BECKY on the phone. In the background behind her,
MICHAEL slowly sits up on the GURNEY and begins
approaching BECKY.

BECKY (cont'd)
(impatient)
Come on! Come on! Come on!

Right as the DISPATCHER picks up the call, Michael grabs
BECKY by her EARBUDS that were placed over her shoulder,
around her neck, dangling down her back.

He begins strangling her. Which rips her away from the
PHONE yanking the CORD out with her, as she screams the
call is dropped.

CUT TO:

(INT.) HADDONFIELD - 911 DISPATCH OFFICES:

It then shows a quick shot of a FEMALE DISPATCHER
hearing BECKY SCREAM (O.S.), and then losing the call.

FEMALE DISPATCHER
Hello! Ma'am! Ma'am!

CUT TO:

(INT.) (X) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT - NIGHT:

Back to the struggle between the two, as BECKY is being
strangled, and man handled.

CLOSE UP SHOT of the tension in MICHAEL's hands and then
the CORD cutting into BECKY's NECK.

With BECKY now being lifted off the ground, her legs
begin to slow, from all the kicking and flailing she
was doing. Showing that she is beginning to fade. Right
when her legs stop kicking, MICHAEL slams her head down
extremely hard onto a bone saw, that sticks into her
head, he then tosses her aside, like nothing.

CUT TO:

(INT.) HADDONFIELD - 911 DISPATCH OFFICES:

The FEMALE DISPATCHER grabs the police RADIO and reports
the call.

FEMALE DISPATCHER
I just received a call, I traced to
BECKY down at the morgue. It didn’t
sound good! I need somebody to go
check it out. PLEASE!

CUT TO:

(INT.) HADDONFIELD - DEPUTY BOWERS VEHICLE - DRIVING -
NIGHT - RAINING:

P.O.V. from the passenger seat

DEPUTY BOWERS driving responds to the call.

DEPUTY BOWERS
(radio)
I'm already on my way. I got it!

FEMALE DISPATCHER (V.O.)
Copy That!

DEPUTY BOWERS
Shit!

DEPUTY BOWERS slaps the wheel and puts his RADIO back.
He flips on the SIRENS, hits the gas and speeds off.

CUT TO:

SCENE #10: NO ONE'S HOME

(EXT.) HADDONFIELD - LOGAN RESIDENCE - FRONT -
NIGHT - THUNDERSTORM:

SHERRIFF BRACKETT and DEPUTY4 pull up in front of JAKE'S
house, as the TEENAGE GIRL is sitting on the neighboring
porch.

SHERRIFF BRACKETT and DEPUTY4 enter the front gate.

TEENAGE GIRL
How is Miss Logan doing? Sherriff!

SHERRIFF begins walking through the yard approaching the
house.

SHERRIFF BRACKETT
She died! I'm sorry! But right now!
I need you to go inside and lock
your doors. PLEASE!

The TEENAGE GIRL who was twiddling with her phone
complies, looking a little startled she heads inside.

SHERRIFF BRACKETT begins knocking on the door, with
DEPUTY4 by his side and begins shouting demands.

SHERRIFF BRACKETT
It's the police! Open up Jake! We
need to put a stop to this, right
now! Before anyone else gets hurt.

SHERRIFF BRACKETT and DEPUTY4 draw their WEAPONS, as
the TEENAGE GIRL is watching out a window. They knock one
more time, with no answer they decide to head in.

SHERRIFF BRACKETT
All right Jake! We gave you a shot,
we are coming in.

SHERRIFF BRACKETT kicks in the door and scans the room.

SHERRIFF BRACKETT
I want you to check the upstairs.
I got it down here.

SHERRIFF BRACKETT searches with no luck. He comes across
a locked basement door, and violently kicks it in.

CUT TO: :confused:

(INT.) HADDONFIELD - LOGAN RESIDENCE - BASEMENT -
NIGHT - THUNDERSTORM - VERY DARK:

With SHERRIFF BRACKETT standing at the top of the stairs
looking down, he then slowly starts his descent, as some
lightning flashes out the small window, adding more light.
He flips a light switch and the light briefly comes on
and then goes out, with a loud pop as if the bulb busted.
He then reaches the bottom of the stairs, as the
lightning, lights the room again.

SHERRIFF BRACKETT
Oh my GOD!

CLOSE UP of the HEADLESS RAT on the floor lit by a flash
of lightning, as it then goes back to black with the
darkness of the room.

CLOSE UP of LAURIE's clipping that's circled in blood,
also lit up by the lightning, followed by a loud clap of
thunder.

SHERRIFF BRACKETT removes the clipping from the wall, as
it FADES to BLACK as the lightning fades.

FADE OUT:

SCENE #11: BACK TO THE MORGUE

FADE IN:

(INT.) HADDONFIELD - MORGUE - HALLWAY - DARK -
FALL NIGHT - THUNDERSTORM:

DEPUTY BOWERS enters the MORGUES main entrance, in the
very dark hallway. He begins very slowly and hesitant,
making his way, as he shouts.

DEPUTY BOWERS
BECKY! BECKY! Are you alive?

DEPUTY BOWERS takes a few more steps as he is becoming
worried with no response. He draws out his WEAPON, as
he heads down the dark hall doing a poor job of scanning.

CLOSE UP of a supply closet, that has its door cracked,
showing the large figure of MICHAEL standing inside, as
DEPUTY BOWERS passes right by, unaware of the danger.
He reaches the autopsy room doors and heads in.

CUT TO:

(INT.) HADDONFIELD - MORGUE/AUTOPSY ROOM - DIMLY LIT -
NIGHT:

DEPUTY BOWERS enters the room and immediately sees
BECKY's lifeless body with the BONE SAW stuck in her
head, as he realizes MICHAEL's body is also missing.
In a panic, he grabs his RADIO and begins reporting to
SHERRIFF BRACKETT. Standing just inside the autopsy room
doors, so the reply will surely echo down the hall.

DEPUTY BOWERS
(radio)
Sherriff! It's DEPUTY BOWERS! I'm
at the morgue and I got some bad
news. BECKY's dead Sherriff! I
don't see Michael's body anywhere.
The son of a bitch is alive,
Sherriff!

CUT TO:

(INT.) (X) HADDONFIELD - MORGUE - HALLWAY - DARK -
FALL NIGHT - THUNDERSTORM:

P.O.V. facing the DOUBLE DOORS entering the autopsy room
with a small light shining from within the room, through
the cracks of the doors.

SHERRIFF BRACKETT replies, as it echoes down the hall,
loud enough for Michael to hear in the supply closet.

SHERRIFF BRACKETT (V.O.)
(radio, response)
Now don't be crazy! That's exactly,
what Jake wants us to think! He
probably stole the damn body. Not
a bad way to cover up your mothers
murder, if you ask me. Make it look
like Michael did it.

CLOSE UP of MICHAEL, as he turns his head towards the
sound, curiously. Still standing in the closet.

DEPUTY BOWERS (V.O.)
You're probably right, Sherriff.
There is no way Michael could have
survived what he went through. Jake
got BECKY pretty bad though,
Sherriff!

SHERRIFF BRACKETT (V.O.)
Yeah that's terrible. I'm standing
in the psychos basement, as we
speak. I want you to get out of
there. I'll send someone else to take
care of the scene over there later. I
think he might be going to go after
Laurie. I want you to go ahead and
go to the Psychiatric Hospital and
keep an eye out there, in case he
shows up.

With the revelation to the whereabouts of Laurie, It
shows Michael ominously just waiting in the closet.
Then back to the previous shot in the hall.

DEPUTY BOWERS (V.O)
Roger That! Sherriff!

After DEPUTY BOWERS reply, he exits through the doors
into the hallway. As he casually begins his way down the
dark hall approaching the cracked supply closet that
contained MICHAEL.

Suddenly a mop handle falls from within the closet and
onto the hallway floor clanking loudly. Frightening
DEPUTY BOWERS, he jumps and grabs his gun, and then
cautiously approaches, unable to see inside. Once
reaching the door he quickly flings it open, seeing
nothing but an empty closet, as he takes a quick breath.

MICHAEL violently grabs DEPUTY BOWERS by his throat,
lifts him off the ground, and slams him to his back with
his head just inside the closet door, he looks up.

MICHAEL begins slamming the door into his head, until he
ceases to move, except the twitching of his nerves, and
with the last violent slam of the door, the scene CUTS.

CUT TO: :confused:

(INT.) HADDONFIELD - LOGAN RESIDENCE - BASEMENT -
FALL NIGHT - THUNDERSTORM - VERY DARK:

SHERRIFF BRACKETT standing in the dark basement, as he
holds the clipping of Laurie in his hand, with the light
shining from upstairs.

DEPUTY4 begins his way down the stairs, where he stops
halfway, shocked at the sight of the room.

DEPUTY4
I checked everywhere upstairs and
there is no one, here. Wow! What
a freak show. I think we found our
guy sheriff!

SHERRIFF BRACKETT
Tell me about it! He's definitely
our man. Let me make a radio call
and we're getting out of this hell
hole, there is nothing else here.

SHERRIFF BRACKETT grabs his RADIO.

SHERRIFF BRACKETT
(radio)
Deputy Andrews! Deputy Andrews!
You there?

DEPUTY ANDREWS (V.O.)
Yes, Sherriff?

SHERRIFF BRACKETT
(radio)
Are you and Schlagel still
patrolling, near the hospital?

DEPUTY ANDREWS (V.O.)
That's affirmative, No sign of
him. Sir!

SHERRIFF BRACKETT
Well I'm going to need you and
Schlagel, to head to the psychiatric
hospital, and get some extra bodies
up there, to keep an eye on Laurie.
I have reason to believe, that's
where he's heading.

DEPUTY ANDREWS (V.O)
Alright Sherriff! We're on our way!

SHERRIFF BRACKETT clips his radio back to its holster
and tosses the clipping with LAURIE to the floor and
heads up the stairs.

The CAMERA follows the clipping of LAURIE to the floor.

CUT TO:

SCENE #12: GET YOUR FILL

(EXT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM:

CLOSE UP of a California license plate, as it pulls up to
the gas station pump, and begins to ZOOM OUT as two people
exit a HUMMER showing that they are the only customers.

A YOUNG MAN exits the driver side and a HOT BLONDE exits
the passenger side. The YOUNG MAN approaches the pump and
hands the HOT BLOND his WALLET.

YOUNG MAN
Here! Hurry up, we need to get
back on the road, and get out of
this GOD forsaken town.

HOT BLONDE
I just have to use the restroom!

The HOT BLONDE begins slapping the WALLET against her
left palm and walking towards the building. She stops
outside the door and asks.

HOT BLONDE
You hungry? You want some hot dogs,
or something?

YOUNG MAN
Yeah! Just grab me a bag of chips,
that will hold me over.

HOT BLONDE
What number is the pump?

YOUNG MAN
The only one being used!

The HOT BLONDE gives the YOUNG MAN a dirty look,
sticking out her tongue, and then enters the building.

CUT TO:

(INT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM:

The HOT BLONDE enters the gas station, with the WALLET
in hand and the YOUNG MAN outside at the pump. She looks
around the store for a restroom inside, but it's nowhere
to be found. She then approaches the CLERK who is a
rather skinny teenager, who definitely appreciates her
beauty.

HOT BLONDE
Where's your guys restroom located?

The CLERK then pulls up a rest room key, jingling it.

CLERK
It's outside.

The HOT BLONDE grabs the keys, and heads for the exit.

HOT BLONDE
(snooty)
You guys definitely need to do
some updating!

CUT TO:

(EXT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM:

The HOT BLONDE exits the gas station heading toward the
side of the building. As she shakes the keys catching
the YOUNG MAN's attention at the pump, she yells.

HOT BLONDE
If this restroom is a dump, I'm
kicking your ASS!

The YOUNG MAN pumping the gas glances up snickering.

CUT TO:

(EXT.) HADDONFIELD - GAS STATION - RESTROOM - NIGHT -
THUNDERSTORM:

With the rain pouring down the HOT BLONDE comes running
into the scene, on the side of the building just
outside the restroom, but she sees the door is already
opened. Hesitating, she stops!

HOT BLONDE
So much for the keys!

CUT TO:

(INT.) (X) HADDONFIELD - GAS STATION - RESTROOM -
NIGHT - THUNDERSTORM:

The HOT BLONDE bravely enters anyway, and flips the
light switch, but there is no lights.

HOT BLONDE
OK, I'm kicking his ASS!

The HOT BLONDE leaves the door cracked lighting only
the first stall, in a two stall restroom.

The HOT BLONDE then enters the stall that’s lit up from
the cracked door. The HOT BLONDE then wipes the seat and
SHIVERS making a sound as if she is grossed out. She
then takes a seat and you begin HEARING her use it, she
wraps the toilet paper, so she can wipe. Then suddenly
you HEAR the TOILET in the darkened stall flush. You
see the HOT BLONDE is startled.

HOT BLONDE
I'm sorry! I didn’t know somebody
was in here.

The HOT BLONDE begins reaching for her pants still
seated, she pauses as there is no response. She sees and
hears heavy footstep come out of the stall next to her,
casting shadows and they stop in front of her stall. :confused:

She pulls up her pants and flushes the toilet. Frightened
she reaches for the door. She opens it revealing MICHAEL
or JAKE standing there, just as there is a flash of
lightning. The HOT BLONDE begins to scream, which is
covered by a loud clap of thunder.

He then grabs her by putting his hand over her mouth,
man handling her, he quickly slams her head into the
sink, breaking her neck like a rag doll.

CUT TO:

(EXT.) (X) HADDONFIELD - GAS STATION - NIGHT -
THUNDERSTORM:

The YOUNG MAN leaning over still pumping his gas, he
begins getting impatient from it taking so long, not
really looking or focusing on anything.

MICHAEL or JAKE catches the YOUNG MANS attention walking
away as if he wasn’t paying attention to the YOUNG MAN.

The YOUNG MAN for some reason put his foot in his mouth.
Getting the big guys attention!

YOUNG MAN
Hey Bub! Halloween is over Bro.
Aren’t you also a little big?
To be playing dress up anyway!

MICHAEL or JAKE then turns and slowly begins
approaching the YOUNG MAN, right as MICHAEL or JAKE
reach the front of the vehicle he stops, just silently
lurking, over the YOUNG MAN in plain sight.

YOUNG MAN
These damn Hummers take forever to
fill up! Don't they?

The pump then clicks indicating the HUMMER is finally
full as the YOUNG MAN now stands there awkwardly as
his cocky demeanor has completely changed. (for some
reason)

The YOUNG MAN then removes the nozzle from the
HUMMER as MICHAEL or JAKE begins approaching him. The
YOUNG MAN with the nozzle still in his hand puts his
hands up, like he is being held up, and begins speaking.

YOUND MAN
Hey man! I'm sorry! I was just
kidd. (kidding)

The YOUNG MAN gets cut off before he can get the last
word of dialogue out. MICHAEL or JAKE quickly grabs the
nozzle and violently shoves it into the YOUNG MAN's eye
socket, hard enough for it to stay on its own. MICHAEL
or JAKE then squeezes the nozzle, setting it in place
allowing it to continue pumping.

P.O.V. of a GROUND VIEW in between the HUMMER and the
pumps as the YOUNG MAN's body falls in the shot facing
the camera with the nozzle in his eye socket, with gas
pumping out his mouth/eye socket/ or nose. The shot
then pans up to the pump as the meter continue to run.

CUT TO:

SCENE #13: CUSTOMER SERVICE

(EXT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM:

P.O.V. from inside a MASK across the street from the
gas station witnessing what just happened with the sound
of heavy breathing and rain coming down, watching the
other walking out of view to the LEFT SIDE of the SHOT.

Once he is out of view the CLERK then rushes out of the
gas station terrified, rushing over to the YOUNG MAN,
and apparently stopping the gas from pumping. The CLERK
then rushes back towards the entrance.

CUT TO:

(INT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM:

The CLERK, terrified at what he just saw rushes inside.
He quickly runs behind the counter, and grabs the phone
to dial 911, as he dials the number, he sits down behind
the counter with his back up against it.

CLERK
Oh my GOD! Help me Please! I need
to report a murder! Please Hurry!

FEMALE DISPATCHER (V.O)
Relax take a breath! What's your
location?

CLERK
I'm at the Fill’er Up station on
route 31, there is a dead body out
front. I also let someone use the
restroom outside that never came
back. So I think there might be two
people dead! Holy Shit! Hurry!

As the FEMALE DISPATCHER starts her next dialogue, the
buzzer letting the CLERK know, there is a CUSTOMER
rings. The CLERK realizes someone has entered the gas
station. He slowly pokes his head over the counter.

FEMALE DISPATCHER (V.O)
I need you to remain calm, I'll
radio you some help! Someone will
be there within 10 minutes!

CLERKS P.O.V, you see MICHAEL or JAKE just standing
inside the door, slowly scanning turning his head.

CUT TO: :confused:

(INT.) HADDONFIELD - 911 DISPATCH OFFICES:

Showing the DISPATCHER you begin to HEAR the scary
situation on the other end of the line, unfolding.

CLERK (V.O)
Oh my GOD! He's back! What do?
I do!

As the DISPATCHER begins her dialogue you begin to HEAR
what sounds like the CLERK being brutally beaten with
the PHONE.

FEMALE DISPATCHER
(worried)
Do you have anything? To defend
yourself with! You have all the
authority to use lethal force. In
Self Defense!

CLERK (V.O)
NO! Don't! Please! Stop! NO!

The FEMALE DISPATCHER then horrified at gory SOUND of
the CLERK being brutally beaten and pleading for his
life, she decides to RADIO out the situation.

FEMALE DISPATCHER
(radio)
I have a CLERK being attacked at
the Fill'er Up station on route 31.
He said there is one person already
dead and possibly another. I need
someone respond immediately.

CUT TO:

(INT.) (X) HADDONFIELD - GAS STATION - NIGHT -
THUNDERSTORM:

CLERKS P.O.V. looking up at MICHAEL or JAKE as he tosses
the bloody PHONE aside. SHERRIFF BRACKETT responds to
the FEMALE DISPATCHER's radio plea.

SHERRIFF BRACKETT (V.O)
I need as many units to respond on
this one. It's JAKE, I'm 10 minutes
away. We can't let the son of a
bitch get away. Get there NOW!

It then shows a quick shot of the CLERK still alive, but
covered in blood, missing some teeth, and the floor all
around him splattered with blood.

CLERKS P.O.V. as he's shaking and very weak, he reaches
under the counter and pulls out a SHOTGUN and slowly
lifts it aiming it at MICHAEL or JAKE, like he barely
has the strength to lift the GUN, and begins to say.

CLERK
DIE!

As the CLERK says DIE, with the barrel of the shotgun
pointed up at MICHAEL or JAKE, MICHAEL or JAKE arrogantly
cocks his head.

Then with a QUICK CAMERA ACTION grabs the GUN and flips
it around shoving the barrel into the CLERKS HEAD, that
goes into his skull. (he can pull the trigger or not.)
After the MURDER it shows MICHAEL or JAKES legs walking
back towards the door.

Switching to a shot focused on the CLERKS face, now dead
you HEAR the heavy FOOTSTEPS as MICHAEL or JAKE head
towards the door slowly, with the sound of the FEMALE
DISPATCHER on the phone (V.O. improvising), and then
the SOUND of the BUZZER as he exits. As the shot remains
on the deceased CLERK.

FADE to BLACK about 3 or 4 seconds after the buzzer
sounds indicating MICHAEL or JAKE left.

FADE OUT:

SCENE #14 MICHAEL'S ALIVE

FADE IN:

(EXT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM:

It comes out of the black screen as if some time has
passed, with the CAMERA set up across the street, that
shows an OFFICER taping off the gruesome scene, with 3
or 4 POLICE CARS and their lights flashing, parked in
front of the gas station.

CUT TO:

(INT.) HADDONFIELD - GAS STATION - NIGHT - THUNDERSTORM:

P.O.V. from the DEAD CLERK, looking towards where MICHAEL
or JAKE stood killing him, and in their place SHERRIFF
BRACKETT's standing and is becoming increasingly agitated
with the rising body count.

SHERRIFF BRACKETT
The GOD damn son of a bitch is
worse than his brother! Fucking
nut job runs in that shitty
bloodline, that's for sure. Michael
took my daughter! Well I'm taking
the cock suckers, Brother!

SHERRIFF BRACKETT then flings a small shelf off the
counter in frustration that flies out into the store.

The STORE MANAGER arrives in a pajama get up, and enters
the building. Seeing the SHERRIFF's outburst.

SHERRIFF BRACKETT
Sorry about that! We'll just
pretend like that happened earlier.
It's been a rough couple of days!

The STORE MANAGER ignores SHERRIFF BRACKETT at first,
and rushes over to see the CLERKS body. The STORE
MANAGER places his hand on his forehead in shock.

STORE MANAGER
What am I going to tell his mother?
He was such a good kid.

SHERRIFF BRACKETT
Don't you worry about that, we'll
take care of letting her know!

STORE MANAGER
Yeah! She needs to know before the
news station picks up on it. I'm
sure they're on their way, already.
I knew I shouldn’t have let the
kid, work the late shift. He wanted
to pull a double, so he could have
some extra money for some damn
video game.

SHERRIFF BRACKETT puts his arm on the STORE MANAGER.

SHERRIFF BRACKETT
Stop beating yourself, up! It's not
your fault. Let's take a look at
those surveillance tapes, just to
make sure, and get a print out of
this son of a bitch.

They head into a back room walking out of the scene.

CUT TO:

(INT.) HADDONFIELD - GAS STATION - BACK ROOM - NIGHT -
THUNDERSTORM:

As they walk in the back room the STORE MANAGER pulls
up a chair in front of a COMPUTER SCREEN.

SHERRIFF BRACKETT
I'm going to have to admit, I'm
getting tired of watching these
damn videos. It's the second God
damn one tonight.

They begin watching the screen as MICHAEL or JAKE walk
into VIEW of the pumps just before killing the YOUNG
MAN. Something catches SHERRIFF BRACKETTS attention.

SHERRIFF BRACKETT
What's that?

STORE MANAGER
What’s what?

SHERRIFF BRACKETT
That right there! In the upper left
of the screen. Can you isolate that?
And then zoom in?

STORE MANAGER
Sure can!

SHERRIFF BRACKETT
It's kind of funny! This gas
station has a high tech computer
surveillance system, but you still
got a damn outhouse!

As the MANAGER ZOOMS IN on the image, it becomes clear
to SHERRIFF BRACKETT, that there is more than one
killer, as it shows two MASKED MEN in the same shot.

SHERRIFF BRACKETT
Oh my GOD! MICHAEL IS ALIVE! Print
that image, and give it to my guys.
So they can give it to the news
reporter. So the public can also
know what's happening. Thinking
about it! Go ahead and get me one
too. Memory is getting bad with my
old age.

Before SHERRIFF BRACKETT begins to exit he pats the
STORE MANAGER on the shoulder, who is still sitting at
the COMPUTER SCREEN, who hands him the print outs.

STORE MANAGER
Here you go!

SHERRIFF BRACKETT
Thanks man! Sorry about the kid.

SHERRIFF BRACKETT turns to leave the room, but stops
and talks DEPUTY4, just as he walks in.

DEPUTY4
What is it Sherriff?

SHERRIFF BRACKETT hands DEPUTY4 one of the print
outs, while keeping one safely in view, to himself!

SHERRIFF BRACKETT
I want you to give this to the news
reporters, and have them retract
their story about Michael's death.

DEPUTY4
What? You saying Michael's Alive?

SHERRIFF BRACKETT
Unfortunately yes! Then tell them,
that there are not just one, but
there are two of them bastards
to worry about. Can you do that?

DEPUTY4
If that's what you think is best.

SHERRIFF BRACKETT
I want everyone in this town to be
on edge, and for them to report
anything what so ever. Tell them
hell, if they break a nail, call it
in!

DEPUTY4
You got it! I've never seen
you like this!

SHERRIFF BRACKETT
I'm just tired and irritated, should
be in a nice warm bed right now.
But these two assholes have other
things in mind. I'm going to head
out of here, before I waste anymore
time.

DEPUTY4
Alright! You should grab you some
coffee, Sherriff! I got a feeling
that it's going to be a long night.

The scene begins to FADE as DEPUTY4 speaks his last
line.

FADE OUT:

SCENE #15 SHOULD'VE LISTENED

FADE IN:

(INT.) HADDONFIELD - SHERRIFFS VEHICLE - PATROLLING -
ALLEY - RAIN STOPS:

SHERRIFF BRACKETT pulls over in a darkened alley and
begins looking at a picture of ANNIE that is in his
wallet, and then the print out of MICHAEL.

SHERRIFF BRACKETT
I'll get the son of a bitch. Annie!
I promise!

The rain stops. He tosses the picture to the passenger
seat, YAWNS and grabs his CELL PHONE and begins dialing.

SHERRIFF BRACKETT
About time that rain stopped.

SHERRIFF BRACKETT calls DEPUTY SCHLAGEL at the hospital.

SHERRIFF BRACKETT
Hey! It's Sherriff. I was just
calling to see how it's going over
there and how Laurie's doing.

DEPUTY SCHLAGEL (V.O)
Things are good and quite. I
don't know if Laurie is medicated
or what. She's been asleep the
whole time that we've been here.
She has no idea what's happening.

CUT TO:

(EXT.) HADDONFIELD - SHERRIFF'S VEHICLE - PARKED -
ALLEY - CAR RUNNING - RAIN JUST STOPPED:

P.O.V VIEW from INSIDE A MASK about 20 feet or so behind
SHERRIFF BRACKETTS vehicle, that's parked on the right
side of the very dark alley, showing a GARAGE on the
left of the ALLEY, 50 yards up with its GARAGE DOOR UP,
with the light on inside and MUSIC playing loudly, you
also HEAR the heavy breathing again from within the MASK.

The Sherriff continues his phone conversation.

SHERRIFF BRACKETT (V.O)
Good! Now if she does wake up. I
don't want you to say anything
about this, or what is going on. I
want to be the one that breaks the
news that Michael is still alive.

DEPUTY SCHLAGEL (V.O)
Whoa! Whoa! What did I miss?
Michael's ALIVE?

SHERRIFF BRACKETT (V.O)
I just got done watching another
Video! It had both of them bastards
in the same shot. So yeah! The
boogeyman is back!

The P.O.V then begins slowly getting closer to the
SHERRIFF's vehicle as the brake lights, light up.

DEPUTY SCHLAGEL (V.O)
(exhaling, heavily)

SHERRIFF BRACKETT (V.O)
Hey I'm going to get off here.
Remember, if Laurie comes too,
don't say anything to her. I'm
going to patrol a few back alleys
and then make my way over there. I
want to be the one to talk to her
about everything.

DEPUTY SCHLAGEL (V.O)
Sherriff you're repeating yourself,
I think you need a nap! I guess I'll
see you in a few. See you Sherriff!

As the P.O.V. reaches the back of the vehicle, the
conversation ends. You HEAR the beep of the PHONE,
SHERRIFF BRACKETT hangs up the PHONE, pulls away
heading towards the GARAGE, up the alley.

(INT.) HADDONFIELD - 2 MAN PARTY GARAGE - ALLEY -
NIGHT - RAIN JUST STOPPED - GARAGE DOOR OPENED:

It opens with music playing loudly, in a Smokey garage
with adult female and black light posters on the walls.

You HEAR the bubbling of a WATER BONG as TEENAGER1, lifts
his head and exhales a big plume of smoke, with a smile on
his face, sitting on a couch that's located in the middle
of the garage, with its back turned from the alley and
the opened garage door, with a circular table in front of
it. TEENAGER2 sees SHERRIFF BRACKETT pull up outside.

TEENAGER2 quietly trying to get TEENAGER1's attention.

TEENAGER2
PSS! PSSSSSS!

It works; TEENAGER1 turns his head after another big hit
from the BONG, he sees SHERRIFF BRACKETT's car, he coughs
it out shocked as smoke goes everywhere.

TEENAGER1 sits the BONG on the floor behind the front of
the couch, by its edge, and then jumps to his feet.

The TEENAGERS face SHERRIFF BRACKETT's car. Who, rolls
down his window, and takes a whiff.

SHERRIFF BRACKETT
Smells like a good time boys!

TEENAGER2 then casually slides the bong more behind the
couch, with his foot. He looks around, like did anyone
see that!

TEENAGER1
I don't know what you’re talking
about, officer!

SHERRIFF BRACKETT
Well that's the least of your
worries boys!

SHERRIFF BRACKETT holds the printout picture up.

SHERRIFF BRACKETT
Have seen this person anytime at
all within the last 24 hours?

The TEENAGERS look at each other, and answer together.

TEENAGER1 and 2
NO!

SHERRIFF BRACKETT
I didn’t think so! I would have
probably been cleaning up your dead
bodies, if you did! Well if you do,
you know who to call right? That pot
didn’t make you forget the number,
to 911? Did it?

The TEENAGERS again look at each other and answer at
the same time, after an uncomfortable pause.

TEENAGER1 and 2
NO!

SHERRIFF BRACKETT shakes his head and snickers.

SHERRIFF BRACKETT
You two have to look at each other
for approval to everything you do.
I don't think I want to know what
else you can't do without each
other. Just saying 2 guys alone in
a garage, one in the morning. Don't
look so good! Ahhh! I'm just
giving you two a hard time. But if
you do see him, my best advice, is
to run the other direction.

TEENAGER1 and 2
Alight officer!

After answering at the same time again, the TEENAGERS
look at each other and shake their heads.

SHERRIFF BRACKETT
You two definitely spend too much
time together!

CUT TO:

(EXT.) HADDONFIELD - 2 MAN PARTY GARAGE - ALLEY -
NIGHT - RAIN JUST STOPPED - GARAGE DOOR OPENED:

P.O.V. inside the mask from behind SHERRIFF BRACKETT's
VEHICLE, again hearing the heavy breathing.

SHERRIFF BRACKETT
I'm out of here boys. Nice talking
to you. And oh yeah! If I was you,
I would probably shut that door and
head in the house. Take it easy on
the reefer boys!

SHERRIFF BRACKETT pulls away.

CUT TO:

(INT.) (X) HADDONFIELD - 2 MAN PARTY GARAGE - ALLEY -
NIGHT - RAIN JUST STOPPED - GARAGE DOOR OPENED:

Now with the TEENAGERS back inside the garage, as they
don't take the SHERRIFF's advice. TEENAGER1 bends
down grabs the BONG from its hiding spot.

TEENAGER1 flops on the sofa, with his back turned from
the open door, he drags the circular table closer to him.

TEENAGER2 flips the light switch flipping off the regular
light and flips on a BLACK LIGHT.

TEENAGER2
Who needs to shut the door? When
you're protected by the light. Don't
go into the light, my little friend!

TEENAGER1 takes a hit from the BONG, and holds it in.

TEENAGER1
You know? maybe this stuff, Isn’t
all that good for us. With the
shit, that comes out of your mouth,
(coughs) kind of makes me wonder.

TEENAGER2 then begins playing with the radio station
changing it, also turning his back, to the open door.

TEENAGER2
Damn pigs! Always trying to be
haters, and ruin a good time.

TEENAGER1 hits the bong as he holds it in and snickers.

TEENAGER1
Yeah man! It's medical, I swear!

TEENAGER2 finally settles on a station that begins
playing some kind of song.

TEENAGER1 takes another big hit and extra suck of air,
holding it in.

TEENAGER2 turns and you see the instant change to
soberness and fear in his face. As he sees MICHAEL or
JAKE standing in the black light, behind TEENAGER1 who is
still holding the hit in oblivious.

TEENAGER2
It's Him!

TEENAGER1 trying to talk and still hold the hit in.

TEENAGER1
It's Who man? It's WHH--

TEENAGER1 just as his lips pucker saying WHO, before he
can finish. MICHAEL or JAKE grabs the back of his head
and slams it onto the FLOURESCENT BONG on the table,
that goes in his mouth and up into his brain.

TEENAGER2 freaks out and begins running towards the door,
that's next to the radio that leads into the back
yard. MICHAEL or JAKE then grabs something heavy, and
with a stiff arm, throws it into the radio, causing a
FAKE RECORD SKIP SOUND and then goes into THE MUSIC.
(YOU KNOW WHAT MUSIC, he must not have liked the music)

TEENAGER2 stops in his tracks as the RADIO explodes,
but he quickly continues on, opening the door and exiting
the garage.

MICHAEL or JAKE slowly turns the other way and walks out
towards the alley.

It then PANS down as the big guy walks out, showing
TEENAGER1's head on the table, with the bong in his mouth
going into his brain, with smoke coming out his nostrils.

FADE OUT:

SCENE #16 LAURIE'S WORST NIGHTMARE

SCENE #16 LAURIE'S WORST NIGHTMARE

FADE IN:

(INT.) HADDONFIELD - PSYCHIATRIC HOSPITAL -
LAURIE'S ROOM - NIGHT - BEGINNING TO STORM:

It begins with a black screen and a LOUD CRACK of THUNDER
while still black, followed with the SOUND of a NEWS
ALERT beginning broadcast.

It then FADES IN showing the TV in a dark hospital room
that is suddenly lit up by a bright flash of lightning
and another LOUD CRACK of THUNDER, while the NEWS REPORT
continues playing.

The CAMERA then begins to PAN towards the subject in the
bed at a pace that doesn’t show them until the last line
of the NEWS REPORT.

NEWS REPORTER
We interrupt this program to bring
you an important news alert. We
have been informed by our local
authorities that former local
resident and known psychopath,
Michael Myers who was believed to
have been killed, late last night.
Is still alive and on the loose. We
have also been informed, that
another local resident named Jacob
Myers Logan is feared to be acting
as a copycat to Michael. The two
are believed to have murdered
at least 5 people already. We have
also received this image from local
authorities, and that if you are to
see either of these two men, you
are ordered to contact the police
immediately and to not take actions
into your own hands. These two are
considered extremely dangerous
individuals. If we receive any
further information on this growing
situation, we will bring them to
you, as soon as they come in.

LAURIE laying in her bed in the fetal position, wearing
a plain white cotton outfit with her back turned from
the door, showing her emotionless face.

She then in a zombie like state gets out of her bed and
begins lumbering towards the door.

CUT TO:

(INT.) HADDONFIELD - PSYCHIATRIC HOSPITAL - HALLWAY -
VERY EMPTY - NIGHT - STORMING:

LAURIE lumbers out, into a deserted hallway, 4 or 5
steps down the hall as the SHOT FOLLOWS her.

Suddenly DEPUTY ANDREWS wraps his arms gently around
LAURIE, who freaks out and begins struggling trying to,
get away.

LAURIE
NO! NO! Let me go! I need to get
out of here! Let Me Go!

DEPUTY ANDREWS
LAURIE stop! We are here to protect
you, there is nothing to worry about.
I promise you! We are right here!

DEPUTY ANDREWS finishes his last line, and SHERRIFF
BRACKETT comes rushing in, who takes over the DEPUTY's
position, wrapping his arms around LAURIE, escorting
her towards her room, while scolding DEPUTY ANDREWS.

LAURIE
He's coming for me!

SHERRIFF BRACKETT
I thought I said not to say anything
to her, until I got here!

SHERRIFF BRACKETT and LAURIE enter her room.

DEPUTY SCHLAGEL
She saw it on the news Sherriff!
There was nothing we could do.

SHERRIFF BRACKETT then returns out of the room without
LAURIE, greeted by DEPUTY SCHLAGEL.

SHERRIFF BRACKETT
Yeah! I guess news travels fast.
UMMM! Where's DEPUTY BOWERS? I
didn’t see him.

DEPUTY SCHLAGEL
Last I seen or heard from him, was
at the hospital. Watching the video
of that woman’s murder. Why you ask
Sherriff?

SHERRIFF BRACKETT
Damn it! Yeah, I sent him here after
he reported BECKY's murder. Michael
must have got him. Damn it! Shit!
These sons of bitches are driving me
crazy. We're spread so damn thin, as
it is.

DEPUTY SCHLAGEL
Do you want me? To get ahold of
DEPUTY BOWERS, wife? Sir!

SHERRIFF BRACKETT
No I don't! He might have got jammed
up, in something else.

DEPUTY SCHLAGEL
You’re the boss!

SHERRIFF BRACKETT
Right now, I kind of wish I wasn’t!
I'm going to go, talk to Laurie.

SHERRIFF BRACKETT pats DEPUTY SCHLAGEL on the shoulder
and heads into LAURIE's room.

CUT TO:

(INT.) HADDONFIELD - PSYCHIATRIC HOSPITAL -
LAURIE'S ROOM - DARK - NIGHT - STORMING:

SHERRIFF BRACKETT enters LAURIE's room as she is
sitting on the edge of her bed, facing the window.

SHERRIFF BRACKETT pulls up a small chair sitting in her
view, as she wipes a tear.

LAURIE
Is it really true? Michael's still
alive!

SHERRIFF BRACKETT
Yes Laurie, it is!

LAURIE
It feels too much like a bad dream!

SHERRIFF BRACKETT
Well it's very real LAURIE. I also
have some news that's going to shock
you!

LAURIE
I don't think it can get much
fucking worse!

SHERRIFF BRACKETT
Well Jacob Logan! The guy, that is
imitating your brother. Laurie, he
is also your brother!

LAURIE
NO! How is that possible?

SHERRIFF BRACKETT
Well Laurie, your father had an
affair with this man’s mother,
just before your father died. She
hid it from everyone, for fear of
the repercussions and the attention.

LAURIE remains silent looking very worried.

SHERRIFF BRACKETT
It will be ok Laurie, you don't
need to worry. There will be an
officer here, the rest of the night.
I just wanted to come see how you
was doing. You should try to get
some rest, the Deputy will come
get you if anything happens. And
Laurie or should I say Angel, I'm
sorry for not telling you, that
Michael was your brother, and
hiding it for so long. Just thought
it was best for you. I'm Sorry!

LAURIE
It's OK. I think I'm past that now!
I'm sorry I couldn’t protect Annie!

As LAURIE finishes her statement a call comes over
SHERRIFF BRACKETT's RADIO.

FEMALE DISPATCHER (V.O)
(radio)
You out there? Sherriff Brackett!

SHERRIFF BRACKETT
(radio)
Brackett here! What you need?

FEMALE DISPATCHER (V.O)
(radio)
Sherriff I just received a call
from a young man, that said he had
talked to you, just moments before
his friend was killed in his garage.
He wanted me to tell you, that he
was sorry they didn’t listen to you.
Just thought you would want to know.

SHERRIFF BRACKETT
Damn it! Alright, thank you!

SHERRIFF BRACKETT obviously beaten down some more looks
at LAURIE who is curled up on her bed.

SHERRIFF BRACKETT
I'm going to get back out there,
before anybody else dies. It will
be alright, Laurie! Don't worry!
I'll get the son of a bitch!

LAURIE draws her knees to her chest, and sits up playing
with the sheets, staring blankly into space, as SHERRIFF
BRACKETT exits to the hallway.

CUT TO:

(INT.) HADDONFIELD - PSYCHIATRIC HOSPITAL - HALLWAY -
NIGHT - STORMING:

SHERRIFF BRACKETT exits Laurie's room and sees DEPUTY
SCHLAGEL and DEPUTY ANDREWS sitting and talking.

SHERRIFF BRACKETT
Hey, I only need one of you
outside of her room!

The two DEPUTIES stand to their feet.

SHERRIFF BRACKETT
I want one of you, to head out
front to the cruiser, and then
radio up if you see anything! And
the other to get her out of here,
if you see anything. OK?

DEPUTY ANDREWS
Why don't we just take her
somewhere safe? Right now!

SHERRIFF BRACKETT turns to walk away and responds.

SHERRIFF BRACKETT
I guess, just think of Laurie as
bait! As long as Michael or Jake,
knows where she is, We'll know
where they're going!

SHERRIFF BRACKETT heads down the hall, he sees a blonde
female NURSE, with a pony tail approaching.

SHERRIFF BRACKETT
Are you Laurie’s nurse?

NURSE
Why, yes I am!

SHERRIFF BRACKETT
I would like you to give Laurie
something, to help her get some
sleep. If you would? She's been
through a lot. I don't want her
worrying all night!

NURSE
Sure Sherriff! Not a problem! Just
give me a little bit. I have a few
other things to take care of first.

SHERRIFF BRACKETT
Alright! That's fine, No hurry.

SHERRIFF BRACKETT then exits down the hall.

FADE OUT:

SCENE #17 BROTHERLY LOVE

FADE IN:

(INT.) HADDONFIELD - SHERRIFF'S VEHICLE -
ROAD ALONG SIDE WOODS/RIVER - NIGHT - STORMIMG:

P.O.V. passenger seat looking up as SHERRIFF BRACKETT
is driving with it silent, and just the SOUNDS of the
wipers going back and forth and the rain coming down.

SHERRIFF BRACKETT yawns, wipes some sleep from his eyes,
again showing the ware from the long night.

SHERRIFF BRACKETTS P.O.V. showing the long dark road
ahead. Suddenly he has a vision of MICHAEL walking in
front of the vehicle and turning, to face him.

SHERRIFF BRACKETT stays his course as MICHAEL disappears,
right before being hit, a hallucination.

SHERRIFF BRACKETT
Holy Shit!!!

He shakes his head as if to say I'm awake now.

CUT TO:

(INT.) (X) HADDONFIELD - VEHICLE - PARKED -
JUST BEFORE A BRIDGE - BESIDE WOODS -
NIGHT - STORMING:

VIEW from the back seat, as a young couple is meeting
in the middle of the front seat, kissing passionately.

HORNY GIRL
You couldn’t (kiss) wait (kiss)
to get (kiss) home, huh? (kiss)

HORNY GUY
Your too beautiful, couldn’t do it!

It then shows a shot of each as they say their lines.

HORNY GIRL
(reveals breasts)
Was it these?

HORNY GUY
Definitely! Oh, you’re going to
get it!

P.O.V. from the back seat as the HORNY GIRL topless
climbs to the backseat, with just the sound of the heavy
RAIN.

P.O.V. from the passenger seat as the HORNY GUY puts his
back against the driver side door, stretches his legs
out, over the passenger seat and begins frantically
trying to get his pants off.

Out of nowhere behind him you see the body of a man as if
he is just walking by, quickly followed by the busting of
the glass with a butcher KNIFE going through the back of
the HORNY GUYS head and out the front of his right eye,
with the eye stuck to the tip of the butcher KNIFE, that
dislodges from its socket towards the screen, that plops
off as MICHAEL or JAKE retracts the KNIFE from the HORNY
GUYS head.

The HORNY GIRL begins screaming with blood splattered all
over her chest. MICHAEL or JAKE as if he was just passing
by continues walking, sparing the HORNY GIRLS life.

CUT TO:

(EXT.) HADDONFIELD - VEHICLE - SIDE OF THE ROAD -
JUST BEFORE BRIDGE - BESIDE WOODEN AREA -
NIGHT - STORMING:

MUSIC PLAYING (AGAIN YOU KNOW WHAT MUSIC)

After the scene of what just happened.

SLOW MOTION as MICHAEL or JAKE is walking away with the
busted glass, as it is still hitting the ground. The
girl screaming also starts in slow motion and picks up,
as the shot also picks up with the glass as it rebounds
off the road.

MICHAEL or JAKE walks out of scene in regular speed as
the HORNY GIRL continues to scream.

HELICOPTER P.O.V. as MICHAEL or JAKE continues walking
away towards the BRIDGE, that's high above a river. In
the headlights of the parked vehicle.

CUT TO:

(EXT.) HADDONFIELD - BRIDGE - HIGH ABOVE RIVER -
WOODEN AREA BOTH ENDS OF BRIDGE - NIGHT -
STORMING - BROTHERLY LOVE:

P.O.V. from the middle of the bridge as MICHAEL's head
comes into the line of sight in SLOW MOTION over the
bubble of the road in the middle of the bridge, as the
MUSIC plays until his whole body is visible.

P.O.V. from inside a MASK with the sound of breathing,
appearing to be climbing a small grassy ditch and then
steps onto a road showing this person’s feet as they
do all those actions, which then turns towards the bridge
and begins walking, it looks up and shows the image of
MICHAEL or JAKE, who is shocked as he stops where he
is on the bridge. P.O.V. ends with a flash of lightning.
(The audience will have no clue who's who. But I will
show just to make this easier to write.)

MICHAEL already on the Bridge, cocks his head curiously
and takes a large breath, that comes out of his mask,
from the cold air.

A side shot shows both as they look into each other’s
souls for the first time.

They both approach each other with bad intentions.
MICHEAL coming from the right of the screen comes with
a lumbering overhand stab attempt, which is blocked by
JACOB's hand, where he remains holding MICHAEL's arm,
right where he caught it, as JACOB then plunges his knife
into MICHAEL's abdomen. In which MICHAEL reacts, by
grabbing JACOB's arm, as he rips the knife from his body.
Then as both are holding each other’s arms and knifes in
place, MICHAEL head butts JACOB, knocking him on his back.

CUT TO:

(INT.) HADDONFIELD - SHERRIFF'S VEHICLE -
PULLING UP TO BRIDGE - NEED BACK UP - NIGHT -
STORMING:

P.O.V. from backseat as SHERRIFF BRACKETT approaches
the action on the bridge and sees the two.

SHERRIFF BRACKETT
Holy Shit!!!

SHERRIFF BRACKETT then squints and shakes his head,
as if he is seeing things. With the car now stopped.
He grabs the RADIO, for backup.

SHERRIFF BRACKETT
(radio)
It's Sherriff! I need back up!
You're not going to believe this. I
have both of them! We are on the
Rivers Gate Bridge! I need everyone
to respond, I mean everyone! NOW!

He hits the police lights, grabs his gun, exiting the car.

CUT TO:

(EXT.) HADDONFIELD - BRIDGE - HIGH ABOVE RIVER -
WOODEN AREA BOTH ENDS OF BRIDGE - NIGHT -
STORMING - BROTHERLY LOVE 2:

Picks up with the fight on the bridge, with SHERRIFF
BRACKETT, now at the opposite end of the HORNY COUPLE.

With JACOB still on the ground, from the head butt, and
MICHAEL acting like a gentleman, letting JACOB get back
to his feet, or so it seemed.

with JACOB's left hand held high, as he is getting to
his feet. MICHAEL sticks the BUTCHER KNIFE clean through
the palm of JACOB's hand towards the screen (show close
up), and drives JACOB back to the edge of the rail.

As MICHAEL holds the knife still through JACOB's hand and
JACOB's upper body over the rail. High above the river.

SHERRIFF BRACKETT
MICHAEL!!!

MICHAEL slowly turns his head and looks at the SHERRIFF
still maintaining control of JACOB. MICHAEL ominously
turns his head back to the action and swiftly rips the
knife out of JACOB's hand. Grabs JACOB's feet and flips
him over the rail.

P.O.V. inside the mask falling towards the river.

MICHAEL gathers himself and looks towards the SHERRIFF.

SHERRIFF BRACKETT
MICHAEL? Stay where you are!

MICHAEL cocks his head, breathing heavily as shown coming
out the mask in the cold air, he takes a step towards
SHERRIFF BRACKETT who is having none of that.

SHERRIFF BRACKETT
I said stay where you are!

SHERRIFF BRACKETT wastes no time, he pulls the trigger
knocking MICHAEL backwards towards the rail. He fires 3
more times knocking him back each time, upon the last
shot, MICHAEL falls over the rail also.

SHERRIFF BRACKETT runs over to the rail looking down, in
time to see MICHAEL hit the water below.

SHERRIFF BRACKETT near the rail breathes deeply.

CUT TO::confused:

(EXT.) HADDONFIELD - BRIDGE - AFTERMATH - NIGHT -
STORMING:

HELICOPTER P.O.V. of the bridge showing the SHERRIFFS
CAR with its lights flashing, with SHERRIFF BRACKETT in
the headlights, in the middle of the BRIDGE, leaning on
the rail, as DEPUTY SCHLAGEL and ANDREWS pull up behind
the SHERRIFF's CAR. The two DEPUTIES jump out and rush
over to the scene.

The SHOT picks up on the bridge.

DEPUTY SCHLAGEL
Where'd they go Sherriff?

SHERRIFF BRACKETT
The EDGE!

DEPUTY SCHLAGEL
What?

SHERRIFF BRACKETT
Over the edge! They went over the
edge!

DEPUTY ANDREWS
Well good! That means they're dead.

DEPUTY SCHLAGEL
Yeah! Nobody could have survived
that fall, Sherriff!

SHERRIFF BRACKETT
You really think it killed them! I
shot the son of a bitch and I don't
think he's dead! You see what he
survived, already! I won't believe
it, until I see the bodies, and when
we find them, we're burning the
bastards!

CUT TO:

(INT.) HADDONFIELD - SHERRIFF'S VEHICLE - PARKED -
EDGE OF BRIDGE - NIGHT - STORMING:

P.O.V. from the passenger seat as SHERRIFF BRACKETT
gets in his vehicle, and leaves the door open, grabbing
his RADIO, as DEPUTY SCHLAGEL and DEPUTY ANDREWS loiter
outside in the rain, close by.

SHERRIFF BRACKETT
(radio)
All units stand down! I now need
2 or 3 boats in the water, just
south of the Rivers Gate Bridge, as
quick as possible. Hopefully we're
just looking for bodies. They went
over the rail and into the river.

The SHERRIFF slams his door, rolls down the window and
barks orders at DEPUTY SCHLAGEL and DEPUTY ANDREWS.

SHERRIFF BRACKETT
Hey! I want the two of you, to get
down along the riverbank, and
begin searching. Make sure you have
your flashlights and your weapons,
and if you come across either of
their bodies. Put some extra
bullets in them.

DEPUTY SCHLAGEL
Sherriff, what about Laurie?

SHERRIFF BRACKETT
She'll be fine, we know where they
Are. We just need to find them! Get
to it!

The SHERRIFF starts his car, and pulls away.

CUT TO:

SCENE #18 NAP TIME

(INT.) HADDONFIELD - PSYCHIATRIC HOSPITAL -
LAURIE'S ROOM - DARK - NIGHT - THUNDERSTORM:

LAURIE's room as she is still sitting up in her bed,
with her knees to her chest with her arms wrapped around
her legs, with her slightly rocking back and forth,
visibly worried.

The NURSE then enters with a small cup of water and some
pills in her hand.

NURSE
It's OK Laurie! There is nothing to
worry about. The Sherriff wants you
to get some sleep. I need you to
take these pills, for me.

LAURIE
NO! I don't need any god damn pills,
I've had plenty of sleep!

NURSE
Laurie I'm serious, there is nothing
to worry about. I overheard on the
Deputy’s radios, they got both of
them, they already took the Deputies
that was here, to the scene.

The NURSE reaches out her hand with the pills.

NURSE
Come on LAURIE, take them!

LAURIE
No, I'm not Dammit !

NURSE
I'm not asking you Laurie! If you
don't take them, I'm coming back
with two big guys, and I'm going to
give you a shot, and then you won't
wake up until tomorrow afternoon.
So what's it going to be?

LAURIE with a defiant look, glances up. the NURSE places
the pills in LAURIE's hand, who throws them in her mouth.
The NURSE hands her the cup of water.

NURSE
Now! I want to see you swallow,
and take a drink.

LAURIE complies!

NURSE
NOW! I want you to open your
mouth and lift your tongue!

The NURSE looks in LAURIE's mouth.

Nurse
NOW! Was that so hard? LAURIE!
NOW! Get some sleep, everything
will be fine.

The NURSE then turns to exit the room and just before
leaving as she shuts the door she quietly says.

NURSE
NUT JOB!

LAURIE, still looking defiant, removes the PILLS from
the top corner of her mouth and tosses them in the trash.

LAURIE
Everything won't be fine!

The scene FADES OUT on LAURIE looking angry.

FADE OUT:

SCENE #19 OFFICER'S DOWN

FADE IN:

(EXT.) HADDONFIELD - RIVERBANKS - WITHIN THE WOODS -
LOOKING OUT ON RIVER:

TRACKING SHOT from within the woods, behind a few
nicely spread out trees, looking out onto the river.
Showing a couple of POLICE BOATS, moving with the shot
on both sides of the river, shining their spot lights
in the water and on the banks. The shot then ends as
the BOAT closest to the CAMERA, shines its LIGHT in the
CAMERA, which causes the screen to get bright.

CUT TO:

(EXT.) HADDONFIELD - DEPUTY1'S VEHICLE -
SLOWLY PATROLLING ROAD - RIVERBANK/WOODEN AREA -
NIGHT - STORMING:

Begins with a bright light SHINING in the CAMERA from a
POLICE CAR.

With the CAMERA LOCATED within the woods, between the road
and river.

DEPUTY ANDREWS who is shining the bright search light,
moves it to reveal the scene, showing the POLICE CAR up
on the road, slowly patrolling.

You then hear the SOUNDS of TWIGS BREAKING, as if
something is in the woods. With the CAMERA stationary as
the DEPUTIES, slowly drive out of scene, still moving
the search light around.

CUT TO:

(INT.) HADDONFIELD - DEPUTY SCHLAGEL'S VEHICLE -
SLOWLY PATROLLING ROAD - RIVERBANK/WOODEN AREA -
NIGHT - STORMING:

Begins inside the VEHICLE with DEPUTY SCHLAGEL driving
and DEPUTY ANDREWS moving the spotlight, shining it in
the woods. Who are both, showing their frustration.

DEPUTY SCHLAGEL
We need to get ahold of the Sherriff,
and call it a night! How long have we
been out here?

DEPUTY ANDREWS looks at his watch, with a long exhale.

DEPUTY ANDREWS
I agree with you there! Right now,
it's 4 o'clock! It’s been almost an
hour out here!

DEPUTY SCHLAGEL
An 18 hour day, right after a 16
hour day, not to healthy for you!
They better hope they're dead,
cause if I find them. I'll kill'em!
We're not going to find them anyway
out here. With all the rain we got,
the river as high as it is, plus
that current. Their bodies are
probably 20, 25 miles downriver,
by now!

DEPUTY ANDREWS shines the spotlight, something moves.

DEPUTY ANDREWS
Hey hold up! I think I saw
something. Pull Over!

DEPUTY SCHLAGEL
Are you kidding me? Now we got to
get out, in this shit? I'm just
drying off. How about I stay here,
and you go check it out!

DEPUTY ANDREWS
Suck it up. We got a job to do!

DEPUTY SCHLAGEL
There is nowhere to pull over. I
think I should stay with the car.

DEPUTY ANDREWS
You’re not getting out of it that
easy. Just flip the lights on.

DEPUTY SCHLAGEL
Fine!

It then shows a shot of the car stopping with a squeal.

CUT TO:

(EXT.) (X) HADDONFIELD - RIVERBANKS/WOODS - NIGHT -
STORMING:

P.O.V. from within the woods of DEPUTY ANDREWS and
DEPUTY SCHLAGEL approaching from the road, with their
flashlights shining through the rain.

DEPUTY SCHLAGEL
I think you're seeing things buddy!
We've just been up to long.

DEPUTY ANDREWS
You just hope I'm seeing things.
That's what I think, It is!

P.O.V. shows a BABY DEER run through the shot, within
the woods breaking some twigs along its way.

DEPUTY SCHLAGEL
What the hell was that?

DEPUTY ANDREWS
I don't know! But I think, we
should split up.

DEPUTY SCHLAGEL
Really! Because to me, that sounds
like a horrible idea, right know.

The DEPUTIES enter the woods, drawing their GUNS.

DEPUTY ANDREWS
Come on! It will get done faster.
You go that way, and I'll head this
way. We'll go about 100 yards each
way, and if we don't find anything.
We'll call it a night. Sound good?

DEPUTY SCHLAGEL
FINE!

Shows a shot of two men heading in opposite directions.

TRACKING SHOT of DEPUTY SCHLAGEL's feet stepping over
branches that CRACKLE under his feet, walking left to
right. The CAMERA PANS up to his FACE, out of nowhere a
BABY DEER jumps CLOSE by frightening DEPUTY SCHLAGEL

DEPUTY SCHLAGEL
Holy shit! Damn it Bambi, you
scared the shit out of me.

Suddenly DEPUTY SCHLAGEL, HEARS the ECHO of two GUN
SHOTS and DEPUTY ANDREWS SCREAM off in the distance!

DEPUTY SCHLAGEL
Shit!

DEPUTY SCHLAGEL immediately begins rushing towards the
SCREAM. (again the audience won't know, who is who. But
I will say, to make it easier.)

CLOSE UP of JAKES LEFT HAND, with the HUGE CUT on it
from the KNIFE that went through it. As he's restraining
DEPUTY ANDREWS’s arm that has the GUN. You HEAR CRUSHING
of BONES as if JAKE is squeezing.

The CAMERA PANS back to show the whole scene, and
JAKES other hand on the CHIN of DEPUTY ANDREWS.

DEPUTY ANDREWS
NO! NO! PLEASE!

DEPUTY ANDREWS flails at the over powering figure,
uselessly being man handled, who slowly begins leading
DEPUTY ANDREWS backwards onto a large splintered piece
of timber. That slowly starts to go into his back, as
DEPUTY ANDREWS begins spitting blood out of his mouth.

The TIMBER finally reaches the front of DEPUTY ANDREWS
chest with a small impression, beginning to show on his
STERNUM from the inside.

JAKE then quickly applies force, as the TIMBER bursts
through towards the screen.

It immediately shows DEPUTY SCHLAGEL rushing through the
woods, He suddenly stops, as he sees the bloody scene.
DEPUTY SCHLAGEL looks to see JAKE turn his head towards
him, who is still standing over the top of his IMPALED
PARTNER.

DEPUTY SCHLAGEL panics and begins running towards the
road, he grabs his RADIO from his belt, while
shooting back towards JAKE, as he begins reporting.

DEPUTY SCHLAGEL
(radio)
He's not dead! At least one of them
are still alive. ANDREWS is dead,
and I could use some assistance.
I'm on route 410, right by the river.
Hurry, don't know how long I can out
run him.

DEPUTY SCHLAGEL exits the tree line and stumbles looking
back, quickly regaining his barring’s, as he reaches the
ditch, just before the road. He continues looking back.
But he does it one to many times. Right as he reaches
the road and in the headlights of the POLICE CAR. He
hits a brick wall.

MICHAEL catches him by his THROAT and lifts him off the
ground, as it shows the full body VIEW of both in the
headlights of the vehicle, with DEPUTY SCHLAGEL 5 inches
off the ground, as steam comes off the road with the rain
coming down.

DEPUTY SCHLAGEL begins GURGLING as if his wind pipe is
being crushed, he begins spitting up blood.

MICHAEL cocks his head, as he then slowly slides the
DEPUTY's BATON from its holster.

MICHAEL flips it, to where he is holding the long end,
and with a swift CAMERA ACTION, he swings the
BATON overhand sticking the HANDLE in DEPUTY SCHLAGEL's
skull.

MICHAEL drops the DEPUTY's body, that crumples to the
ground.

SLOW MOTION begins with MICHAEL walking towards the
CAMERA, that's still in the middle of the road looking
at the scene from a distance.

Suddenly MICHAEL FADES away.

Suddenly POLICE CARS FADE IN the background, approaching
in the distance up the road with their lights flashing.

It then SKIPS to the CARS that were approaching, now
parked behind DEPUTY SCHLAGEL's vehicle, with SHERRIFF
BRACKETT, in SLOW MOTION pacing over the DEPUTY's body,
with his hands on his head.

The headlights of the vehicle seem to get brighter and
envelope the whole screen. When the screen becomes
extremely bright it then FADES to black, and SHERRIFF
BRACKETT speaks up, over the black screen.
(just want it to seem like a dramatic time lapse.)

SHERRIFF BRACKETT (V.O)
We know where he's heading!
All units to the hospital NOW!

FADE OUT:

SCENE #20: LIGHTS OUT

FADE IN:

(INT.) HADDONFIELD - PSYCHIATRIC HOSPITAL -
LAURIE'S ROOM - DARK - NIGHT - STORMING:

P.O.V. looking out the one window in LAURIE's room,
with the SOUND of the TV playing.

A bright flash of lightning out the window, quickly
followed by a loud clap of thunder.

LAURIE nervously bites her nails, as there is another
bright flash of lightning.

Suddenly the power goes out, shutting off the TV and it
gets extremely dark followed by the loud thunder, this
startles LAURIE.

Suddenly a backup generator kicks on, only lighting a
few select devices in the building that was already
pretty dark to begin with!

LAURIE panics and gets to her feet, she knows something
is wrong. She begins lumbering towards the door, she
reaches for the door knob and slowly begins twisting it,
and cautiously peeks out the door.

CUT TO:

(INT.) (X) HADDONFIELD - PSYCHIATRIC HOSPITAL -
HALLWAY - POWER OUT - NIGHT - STORMING:

P.O.V. of the extremely dark hallway focused on LAURIE's
door as she cautiously pokes her head out, looking both
ways, in the background it shows a door with a lit up
EXIT SIGN above it, as if it's a stairwell.

LAURIE comes out and cautiously heads away from the
stairwell towards the CAMERA.

It then shows a shot of her feet as she almost tip toes
down the hall slowly, barefoot.

TRACKING SHOT over her shoulder, following her as she
walks, approaching the center area where the NURSES,
monitor the area.

Before reaching it, something startles LAURIE, she sees
a SHADOW of the NURSE, who is sitting down appearing to
be filling out paperwork, and a SHADOW of what appears
to be MICHAEL standing behind her.

LAURIE terrified slowly peeks around the corner seeing
the NURSE, come into view first who is working at what
looks like a reception counter, and then just a plain
old coat rack with a doctor’s coat on it, and a hat
that's casting a shadow on the wall.

Relieved LAURIE slowly comes around the corner
approaching the NURSE, who looks up and gets startled.

NURSE
LAURIE! what are you doing?
Why are you not asleep?

LAURIE
What's going on? Why is nobody
acting like anything is wrong?

NURSE
Laurie! It's just the storm. It
knocked the power out. You didn’t
take the pills, did you?

LAURIE
No, I didn’t! I knew something
like this would happen!

NURSE
Laurie! There is nothing wrong.
The Sherriff said earlier, they
have them both. You have nothing
to worry about. I promise!

LAURIE
How do you know that? Have you
talked to the Sherriff, since then.

NURSE
No, I haven’t! But trust me!
There is nothing you need to worry
about. Just go back to your room
and get some sleep.

LAURIE complies and begins slowly heading back to her
room, looking down at the ground.

BACKWARDS TRACKING SHOT in front of LAURIE showing her
and the dark hallway behind her, as she slowly walks.

Suddenly you see MICHAEL behind her down the hall.

In SLOW MOTION LAURIE turns her head, and sees him with
a scream, she begins running down the hall in the other
direction.

The NURSE stands to her feet and looks in LAURIE's
direction, oblivious to the MICHAEL coming her way.

NURSE
LAURIE, What is it? What is wrong?

The NURSE looks back, but it is too late. MICHAEL
reaches over the counter, grabs the NURSE by her pony
tail, and pulls her head to the edge of the counter,
with her head just hanging over the edge struggling. He
lifts his butcher KNIFE.

Just as LAURIE looks back, the NURSE screams.

MICHAEL lowers the blade quickly decapitating the NURSE.

It then shows LAURIE screaming and running for the
stairwell at the other end of the hall.

That also shows MICHAEL in the background, holding the
NURSE's decapitated head, by its pony tail at his side.

LAURIE bursts through the door, into the stairwell.

CUT TO:

SCENE #21 MY BROTHERS KEEPER

(INT.) HADDONFIELD - PSYCHIATRIC HOSPITAL - STAIRWELL -
POWER OUT - NIGHT - STORMING:

LAURIE bursts through the door and clashes into the
rail terrified, she looks over the rail, and down the
stairwell, a few floors down sees another terrifying
sight, as JAKE is slowly ascending the stairs, towards
her. Like a horrible NIGHTMARE, she shouts.

LAURIE
NO! NO! GOD, NO!

LAURIE, realizing her only way out or hope is UP.
She runs up the stairs, but realizes, she was already
on the top floor, as she runs into the door that leads
to the roof, that's locked.

She begins fearing she is trapped, and looks over at a
fire extinguisher that's next to the door and begins
beating the lock, until it releases.

LAURIE
Come on! Come on! PLEASE!

The lock brakes, LAURIE then runs out to the rooftop and
into the storm, just as JAKE reached the stairs below
her, with no sight of the MICHAEL yet.

CUT TO:

(EXT.) (X) HADDONFIELD - PSYCHIATRIC HOSPITAL -
ROOFTOP - NIGHT - STORMING:

LAURIE frantically bursts from the stairwell door, out
onto the roof and into the storm. She begins looking
for another way down and out of this trap.

She sees another door on the on the other side of the
building that leads into another stairwell.

LAURIE rushes over to it, but it's locked, from the
inside. Defeated she gives up and begins accepting her
fate, she cries.

Suddenly the door she exited, is flung open violently,
JAKE comes walking out onto the roof.

LAURIE shrieks, covers her mouth and crawls down behind
a ventilation system, peeking over, as JAKE is getting
closer, as he searches the rooftop. She hunkers down,
against the ventilation duct, with her hand over her
mouth, now behind her on the other side of the
ventilation duct, JAKE walks into view.

Just as he is getting closer and about to find her, :eek:

I'll be nice and atleast post their final confrontation, to the victor go the spoils (LAURIE), but won't post the resolution to the story.


Just as he is getting closer and about to find her,
MICHAEL grabs JAKE's shoulder and tosses him to his back
violently.

JAKE gets back to his feet.

Showing both figures, standing immediately opposite of
each other, glaring into each other’s souls again, the
final fight ensues, to the victor goes the spoils.

LAURIE in fear just looks on, as they are in between her
and the exit into the stairwell.

The two engage in an epic fight, beating each other
mercilessly, this comes to a climax with MICHAEL losing
his KNIFE.

After losing his KNIFE he grabs JAKE holding him in a
bear hug lifting him off the ground, you HEAR the
crushing sounds as if his back is breaking.

JAKE places his left hand behind MICHAEL's head and
drives his KNIFE directly into the center of MICHAEL's
chest, which weakens him, and begins releasing his grip.

JAKE begins softly lowering MICHAEL's body to the ground.

It shows a CLOSE UP of JAKE's HAND, that's on the back
of MICHAEL's head, revealing the large cut from the
previous fight.

After the fight JAKE stands to his feet, and has now
heard LAURIE react to the final stabbing.

JAKE turns to look at her, and LAURIE knows she has been
found, she comes out from the hiding spot.

LAURIE
MICHAEL! Is that you, MICHAEL?

There is a slight pause and then shows a CLOSE UP of
JAKE. Who then ominously shakes his head NO three times,
LEFT, RIGHT, LEFT (slowly).

LAURIE screams and out of nowhere MICHAEL is standing
behind, what the audience will now finally know, is JAKE.

MICHAEL rips the KNIFE painfully from his chest. MICHAEL
reaches up and grabs an ELECTRICAL CORD ripping it from
one end.

MICHAEL quickly wraps it around JAKE's neck, and then
violently, sticks the KNIFE he ripped from his chest,
into the top of JAKES HEAD up to the handle.

MICHAEL tosses JAKE's body off the side of the building,
who hangs by his neck, with the KNIFE, still stuck in
his head, as he bounces off the side of the building,
resting against it.

MICHAEL weakened by his stab wound drops to his knees,
and slowly gets back to his feet staggering.

LAURIE's demeanor changes, she seems concerned for
MICHAEL, like she doesn’t want him to die, she slowly
approaches him.

LAURIE
Michael, I love you! Why can't you
talk to me, and tell me what you
want? Or anyone for that matter?
Instead of killing people to make
your point. People are forgiving,
Michael. And I forgive You!

Just as LAURIE is within close proximity of MICHAEL and
finishes her last line, as if he was playing possum, in
his weakened state on one knee. He lunges for LAURIE
and wraps her in his arms. She struggles to get away,
as MICHAEL just calmly looks into her eyes, as she
struggles.

LAURIE eventually realizes it's useless to struggle, she
can't escape his strength. And just as you see the
acceptance in her eyes, she looks into MICHAEL's eyes.:eek: