H3D Script SAMPLE, dialogue needs help i believe, but over all story in the end,ROCKS

[H3orH3D_Script4U]

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:

[H3orH3D_Script4U]

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:

[H3orH3D_Script4U]

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:

[H3orH3D_Script4U]

(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:

[H3orH3D_Script4U]

But in the next scene it gets a whole lot more interesting, and into the beef of the main story, and the twist I added that has'nt been done before, or probably even thought of. It is a risk, ecspecially for true fans of the series!

[H3orH3D_Script4U]

Never wrote a script before, have just watched way too many movies, and if there is such a thing of over entertainment in one's life, that is definetely my problem, so be brutally honest of what you think so far. No problem with that what so ever, The script in my opinion can use some technical improvements, and dialogue, but the complete story and what I personally know it will make the audience feel or fans is perfect !!!

[H3orH3D_Script4U]

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:

[H3orH3D_Script4U]

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:

[H3orH3D_Script4U]

Alright that's enough. I'll leave you in suspense, I guess!

[MichaelMyers]

I am only halfway through. The script is pretty good. I could picture the scenes happening in my mind, which I guess is a good thing. Becky needs more of an introduction/character development, ala Laurie Strode. I don't, at this point, think she could take down Myers.

I like "re-capping" what happened in previous movies but I think the films are so far apart in release dates your return on doing that is somewhat diminished. Maybe just make this a story that could possibly have happened between II and IV?

Where is the Pale Horse quote from? The reason I ask is sometimes films give the author.