FADE IN:
EXT. HOUSE - EVENING
The setting sun paints the skyline in brilliant hues of
orange and red. This is the house from the prologue of
HALLOWEEN: H20.
SUPERIMPOSE TITLES: "Langdon, Illinois".
"October 31, 1996".
"Halloween".
CUT TO:
INT. HOUSE - KITCHEN
Dr. SAM LOOMIS relies heavily on a cane to walk over to the
sink. He looks out the window at children running down the
street.
Nurse MARION CHAMBERS walks through the room, hefting a purse
onto her shoulder.
MARION
Sam.
Loomis is transfixed by the sight of the young ghouls and
goblins cavorting in the yards of dead leaves and grinning
gourds. He almost smiles slightly.
MARION
Doctor Loomis?
LOOMIS
Hmm? Oh, yes, Marion, good night.
MARION
Are you sure you'll be all right
tonight?
LOOMIS
I'll be quite all right.
He returns his attention to the window. Marion shrugs at the
whims of a stubborn old man, and exits.
CUT TO:
SLOW-MOTION ZOOM through the parade of trick-or-treaters,
settling again on Loomis's home. Marion's car pulls out of
the driveway.
CUT TO:
INT. HOUSE - OFFICE
Dr. Loomis settles in his chair, setting the cane against his
desk. A closed file folder rests on the desk.
MYERS, MICHAEL A.
He places a gnarled hand on the file, but does not open it.
Perhaps he does not want to entertain the obsession that
gnaws at him.
Loomis pushes the file aside.
His other hand brings a new obsession into view; an ornate
puzzle box, inlaid with beautiful designs. His old fingers
trace the grooves in the sides.
THE BOX
It is different from the Lament Configuration, but all-at
once recognizable.
He begins to push and tug with his fingertips, turning the
box on the desk.
A slight wind comes through the open window. The Myers file
opens. Loomis pays it no attention.
He runs his finger along the corner of the box. Suddenly, a
small cylinder emerges from either side. He draws his hands
back and watches.
The two cylinders make a quarter-rotation and stop. A disc on
the top panel starts to turn.
The box splits in half, each half retracting onto the
cylinders. In the center is revealed a smaller box, one
turned on its corner like a diamond, skewered on a pin.
The small box rotates. A haunting, familiar theme plays
softly.
Loomis is unable to look away. His hands waver, as if he is
debating whether or not to touch the mechanism.
The breeze dies, and the laughter of innocent children fades
out.
A FACELESS CENOBITE stands beside Loomis - the flesh peeled
forward from its bald head, and stapled cruelly over its
eyes, nose and mouth.
The Cenobite stands rigid, as a series of small, taut chains
extends from its shoulders into its jawbone. Other tiny
chains hold its limbs rigid at the elbows, knees etc.
Loomis gapes and shoves away in his chair.
The cane clatters on the floor.
Loomis is gasping for breath, reaching for the cane, for some
sort of stability in the face of this nightmare.
The Faceless Cenobite takes the cane in its gloved hands and
holds it teasingly in front of Loomis. As the speechless
doctor reaches out, the Cenobite places the cane on the desk.
PINHEAD (V.O.)
Come, Doctor. We have such sights
to show you...
Loomis clutches at his chest.
LOOMIS
No -
ZOOM OUT of the office as the Faceless Cenobite grabs Loomis
by the arms. The door slams shut.
CUT TO:
EXT. CITY STREET - NIGHT
MYLES BARTON, aka "Deckard", carries a bag of groceries and a
spring in his step as he walks into an apartment building.
SUPERIMPOSE TITLE: "Haddonfield, Illinois."
"October 30, 2003."
CUT TO:
INT. APARTMENT - LIVING ROOM
Myles enters and sets the bag on a table beside the door. He
tosses his keys and sniffs the air. The sound of sizzling
becomes audible.
INT. KITCHENETTE
SARA MOYER pulls her hair back into a ponytail as she stands
over a wok full of vegetables. Myles steps in and places his
hands on her shoulders.
SARA
AAA -
He clamps his hand over her mouth and brings his face into
view.
MYLES
It's me.
Sara shrugs him off and slaps his arm.
MYLES
Hey!
SARA
Kids.
MYLES
Didn't mean to scare you. I got the
soy sauce.
SARA
Good boy.
She pecks him on the lips and stirs the vegetables.
INT. LIVING ROOM - CONTINUOUS
Myles retrieves the bag and starts unloading it on the
counter.
MYLES
Sara, are we doing anything
tomorrow?
SARA
I've got a test, remember? It's
Friday.
MYLES
I mean, tomorrow night.
SARA
Like what?
MYLES
Well, it's Halloween.
Sara turns and walks over to the counter, opposite Myles.
SARA
You know how I feel. I'm not going
to let October 31st be a dark day
for the rest of my life.
MYLES
It's only been a year. I thought
maybe you'd want to stay in. If you
do, that's cool.
She beams and kisses him again, longer this time.
SARA
You're sweet.
CUT TO:
INT. LIVING ROOM - LATER
Carpenter's "The Thing" in muted on the television set. In
front of the couch, two half-eaten plates of stir-fry sit on
a coffee table.
CUT TO:
INT. BEDROOM
Sara is lying wide awake beside Myles, apparently more
troubled than she'd let on. A static-filled NEWSCASTER'S
VOICE rambles in her head as we ZOOM IN.
NEWSCASTER (V.O.)
It has been confirmed that mass
murderer Michael Myers has escaped
from the morgue where his body was
taken following a bloodbath earlier
tonight at the infamous childhood
home of the "Halloween Killer".
Myers is reported to have been
badly burned, and extremely
dangerous. Local and State Police
are combing downtown Haddonfield
and asking that residents stay
inside and lock their doors...
PULL OUT as Sara jolts back to the present. She shakes her
head and sighs, turning to Myles.
He has been nailed to the mattress with a butcher knife.
Sara's jaw drops in a silent shriek. She turns and sees a
SHAPE standing at the foot of the bed.
The moonlight worming through the half-closed blinds falls on
a pale, scarred, hairless face - the melted mask of Michael
Myers.
The Shape reaches up and digs his fingers under the charred
rubber on his head.
He begins to peel the mask off before her, strings of pus and
blood coming out from his dark face, a nauseating ripping
sound as the mask - the inside gummed with burnt, scabby
flesh - is pulled away.
The mask lands on the floor.
Sara, trembling violently, sits up in the bed. The Shape is
stock-still.
Sara SCREAMS.
CUT TO:
EXT. APARTMENT - NIGHT (CONTINUOUS)
The bedroom window shatters in a million points of light.
A split-second later, Sara is hurled through the blinds and
plummets OUT OF FRAME.
CRANE OVER Sara's corpse, bleeding out into the street,
tangled in a mess of Venetian blinds.
CUT TO:
INT. APARTMENT - BEDROOM
The Shape, face still unseen, walks over to Myles and
wrenches the knife out.
LOOMIS (V.O.)
Michael.
The Shape spins.
SHAPE'S POV: Loomis stands in the doorway, in the classic
trenchcoat, gloves on his burned hands.
LOOMIS
God damn you, Michael.
The butcher knife vibrates as it sinks into the doorframe.
Loomis isn't there.
Michael cocks his head to one side, looking at the empty
doorway. Then, he pulls the knife out and exits the room.
CUT TO:
INT. BOOKSTORE
TOMMY DOYLE stares blankly at a book showing rune symbols. A
jingling bell draws his head up.
A CUSTOMER has entered the dim, musty store. A middle-aged
man, he frowns disdainfully at his surroundings.
SUPERIMPOSE TITLE: "October 31, 2003."
"Halloween."
TOMMY
Anything I can help you with, sir?
CUSTOMER
Yes, I'm looking for a book about
Halloween. Not the holiday with the
candy and masks, but the Celtic
mythology. Like, the REAL
Halloween. Know what I'm saying?
Tommy nods grimly. After a moment, he pulls out a book from
under the counter.
TOMMY
This is entirely about the festival
of Samhain. I think you'll find
this an enlightening read.
CUSTOMER
Great, how much?
TOMMY
For you? Twenty bucks.
CUSTOMER
Twenty bucks, eh?
The customer peers at Tommy's nametag. It says KEN.
CUSTOMER
Well, Ken, I'll offer you ten.
PAN DOWN to his suddenly-empty hands.
Tommy replaces the book under the counter and smiles thinly.
TOMMY
Have a nice day.
The customer scowls and storms out. Tommy goes back to his
reading.
CUT TO:
EXT. BOOKSTORE - DAY
TYSON USED BOOKS, the sign reads.
SUPERIMPOSE TITLE: "Chicago, Illinois".
CUT TO:
INT. BOOKSTORE
Tommy picks up the ringing phone.
TOMMY
Tyson Books, Ken speaking.
INT. CAR
INTERCUT between Tommy and KARA STRODE, who is sitting in
busy traffic.
KARA
Hey, it's me.
TOMMY
Where are you at?
KARA
Stuck a couple of blocks from the
store. Listen, Daggett has been
pestering me about trick-or
treating.
TOMMY
You're kidding, right? Why did you
even call me?
KARA
Well, it's just that...he's turning
eight, Tommy.
TOMMY
Ken.
KARA
Sorry. He's turning eight and every
year on his birthday, we lock all
the doors and you sit by the window
with that glazed look in your eyes.
He's starting to think that there's
something wrong with his being
born.
Beside her, cherubic young DAGGETT TYSON - perhaps better
known as Stephen Lloyd - nods his head frantically.
DAGGETT
(whispering)
And tell him I want candy!
KARA
(laughing)
Dad, he wants some candy. At least
give him that.
TOMMY
You know how I feel about this. You
know WHY.
KARA
I do, but...can't we move on? I
don't want to live in the shadow of
1995 for the rest of my life.
TOMMY
Well, it was 1978 for me, so
forgive me if it's a little more
difficult on this end.
KARA
I know, I know. I really do
understand. At least I try to.
TOMMY
Isabelle...
KARA
I hate that name.
TOMMY
You picked it.
KARA
It's your son's birthday. Let him
trick-or-treat around the apartment
building. Bring home a cake.
Do something to make this his
special day.
Tommy glances at a recent photo of the three of them.
TOMMY
Okay. I'm closing up in a few
hours. I'll bring something home,
and we'll play it by ear from
there. Agreed?
KARA
Good enough for me.
She gives a thumbs-up to Daggett.
KARA
I love you.
TOMMY
I love you too.
He hangs up and looks around the empty store.
TOMMY
A few hours...why even wait?
CUT TO:
INT. LOOMIS HOUSE - FRONT HALL
A grinning female real-estate AGENT opens the door and steps
back to allow a young couple to enter.
AGENT
Welcome to your new house!
Frail CHARLIE turns to new wife BETTY and flashes a big
smile.
CHARLIE
Can you believe it, sweetheart?
BETTY
This hall is so narrow! Ugh, I
can't wait to push the couch
through here.
She goes in past them. Charlie shrugs at the agent.
CHARLIE
Must be post-wedding stress
disorder, or something.
INT. OFFICE
The office is of course now empty. Betty frowns at the small
space.
BETTY
What am I going to do with this
room? CHARLIE!
CHARLIE (O.S.)
Coming dear!
She kneels and scrapes with her thumbnail at a ruddy spot on
the hardwood floor.
BETTY
Charlie, I thought you had the
house cleaned!
Her nail breaks and she jerks her hand back, wincing. She's
stubbed her thumb. A drop of blood falls to the floor.
DROP DOWN INTO THE FLOOR, into a dusty, cobwebbed crawlspace.
A tiny rivulet of blood drips into the darkness...
CUT TO:
INT. APARTMENT BUILDING - LOBBY
Kara and Daggett walk into the spacious lobby of a very nice
building. Daggett drags a large shopping bag.
Aging doorman BRAD holds the door and nods to them.
BRAD
Good evening, Missus Tyson.
KARA
Hello Brad.
DAGGETT
Hi Brad!
BRAD
Big number eight for you today, huh
Dag?
DAGGETT
I hope so!
Brad laughs.
BRAD
How's the husband, Missus Tyson?
Business taking off yet?
KARA
Um, he's doing all right. Thanks
Brad.
She and Daggett cross the lobby to the elevator. Brad
whistles a tune and looks out at the darkening sky.
CUT TO:
INT. ELEVATOR
Daggett opens the shopping bag and pulls out an oversized
generic monster mask.
DAGGETT
I'm gonna scare Dad!
KARA
Don't you dare. You know your dad
doesn't like Halloween. But since
it's your birthday, he's going to
let you go trick-or-treating. So
you be nice okay?
INT. HALLWAY - CONTINUOUS
They step off the elevator into a carpeted hall, doors
decorated with paper skeletons and grisly doorknockers.
Twentysomething neighbor DARREN walks out of his apartment
with a plastic cauldron.
DARREN
Hey guys! All ready for the big
night?
KARA
Yep, costume and everything.
DAGGETT
Look at it!
DARREN
Hey!
(to Kara)
You serious, Isabelle? Is Ken okay
with this?
KARA
He's fine. You gonna have a
birthday present for this little
beast?
DARREN
You bet. I'm filling this thing
(patting cauldron)
to the top with all sorts of
goodies. I'm gonna leave it out
here tonight, so you save some for
the other kids, okay Daggett?
DAGGETT
Eh. Fine.
He stomps in mock frustration and runs down the hall to the
Tysons' apartment. Kara waves to Darren and heads after her
son.
CUT TO:
INT. LOOMIS HOUSE - OFFICE
Blood. Everywhere. A shriveled corpse, barely discernable as
Betty, lies in the corner.
TRACK DOWN THE HALLWAY, past Charlie's corpse, and the husk
of the real-estate agent by the door.
EXT. LOOMIS HOUSE - EVENING (CONTINUOUS)
A sedan, presumably belonging to one of the victims, pulls
away from the house.
CUT TO:
INT. SEDAN
Gloved hands grip the wheel tightly. PULL BACK to reveal the
rear of a bald, pink head.
CUT TO:
EXT. DEPARTMENT STORE - EVENING
A teenaged GUY bursts out of the store in a Shape mask,
scaring the hell out of his GIRLFRIEND as she unlocks their
car.
GIRLFRIEND
You ass! Take that thing off, it's
creepy.
He peels the mask off and stuffs it into a shopping bag,
throwing it into the car.
GIRLFRIEND
I want to go in just two more
places.
GUY
Awww, c'mon! We're gonna miss the
party!
GIRLFRIEND
Two more stores. I'll let you wear
that mask when we get home tonight.
The guy laughs and leads her down the sidewalk.
SHAPE'S POV: Stepping out from an alleyway beside the store,
crossing the empty sidewalk to the car.
CUT TO:
Further down the sidewalk, the young couple are still
giggling with one another, blissfully ignorant as their car
drives by.
CUT TO:
EXT. BOOKSTORE - EVENING
Tommy locks up and stuffs a few tomes under his arm. He
weaves his way through the crowds to his car.
As he unlocks the door, someone across the street catches his
eye.
TOMMY'S POV: Loomis, standing amidst the bustling crowds -
looking directly at him?
He drops the books and starts across the street, dodging
around the slow-moving traffic.
TOMMY'S POV: Loomis is now gone.
Tommy bobs his head around passerby in frustration. No sign
of him.
He leans against a cornerstone and massages his forehead.
TOMMY
Not tonight. Don't do this tonight.
C'mon.
LOOMIS (O.S.)
Tommy?
He looks up in disbelief.
TOMMY
Doctor Loomis.
Loomis smiles weakly, leaning on his cane.
LOOMIS
It wasn't easy to find you.
TOMMY
Find me?
(pause)
Doctor Loomis, I thought you were
dead.
LOOMIS
Not dead, just very much retired.
He gestures for Tommy to come with him.
CUT TO:
INT. CAFE
Tommy and Loomis sit in a corner of a posh coffeehouse.
TOMMY
Tell me how you can be sitting here
right now.
LOOMIS
Have you forgotten so much already?
Who concealed you and Laurie Strode
away from the world?
TOMMY
I heard about her resurfacing...and
death.
LOOMIS
Laurie chose to confront the evil.
I made a similar mistake some years
ago...I quite literally bear the
scars of that encounter.
TOMMY
So you disappeared yourself?
LOOMIS
Yes, I was as fragile as I am now.
(pause)
Unfortunately, I was so weak of
memory, that a few files left in my
office fell into Michael's hands.
That is how he found Laurie.
Thankfully, he did not find out
about you.
TOMMY
We're doing well. Kara has her own
practice.
LOOMIS
Kara...?
TOMMY
Isabelle. We still use the names.
LOOMIS
Isabelle.
Loomis smiles and sips his coffee.
TOMMY
They're based on names of
runes...Ken, Kenaz...Isabelle,
Isa...Tyson, Tiwaz.
LOOMIS
And Daggett?
TOMMY
Dagaz.
LOOMIS
How is the child?
TOMMY
He's fine. He doesn't know
anything.
(pause)
Doctor Loomis, why did you come
looking for me? It wasn't just to
catch up, was it?
LOOMIS
No.
(long pause)
You know as well as I that Michael
is still alive.
That his rage continues to boil
inside of him. He still seeks the
child, Tommy.
TOMMY
Do you think he's going to find us?
LOOMIS
He may already have.
Tommy rises quickly.
TOMMY
We have to go.
INT. PARKING GARAGE
Brad saunters through the cavernous garage, shining a
flashlight into the interiors of parked cars. Tires can be
heard squealing on another level.
Brad pauses behind a Jeep, and politely taps on the rear
windshield.
There's a muffled commotion inside. A shirtless male TEEN
leans out, his face crimson.
TEEN
Uh...um...
BRAD
Take it somewhere else, kids.
TEEN
Yeah, sure. Uh, sorry.
BRAD
Happy Halloween, junior.
Brad gets a few yards away before a stifled laugh escapes.
INT. LOWER LEVEL - CONTINUOUS
He walks down a ramp to the next area.
The Shape's stolen car is parked at the other end; its brake
lights wink off.
BRAD
Hmmm.
He starts toward the car, footsteps echoing loudly in the
otherwise silent garage
Suddenly, a car thumps down the ramp behind Brad and turns
toward him with a squeal.
Brad whirls around and stumbles back as the teens' Jeep roars
by.
BRAD
HEY!!
They're gone. Brad grits his teeth and looks at his empty
hands.
BRAD
Aww!
His flashlight lies shattered on the concrete.
BRAD
Ain't that a...
Kneeling, he scoops the bits of plastic into his hand. Stands
up.
THE MASKED SHAPE stands beside him.
Brad cries out as the butcher knife plunges into his abdomen.
He's thrown back onto the trunk of a car.
The Shape pulls the knife out and brings it down again,
through Brad's throat - the car's windshield shatters and a
piercing alarm goes off.
WIDE: The Shape stands reticent over the body as the alarm
squeals.
CUT TO:
INT. TYSON APARTMENT
Daggett pulls on the mask, along with some tattered felt rags
that Kara is arranging on his shoulders.
KARA
That looks really scary.
DAGGETT
Can we go yet?
KARA
Not just yet, we have to wait for
your father.
Just then, Tommy comes in. Kara's smile is wiped off by the
entrance of Dr. Loomis.
KARA
I...Doctor...
LOOMIS
Kara.
Loomis's eyes settle on the child. He seems at once proud and
terrified.
LOOMIS (CONT'D)
...I must speak to you both.
CUT TO:
INT. KITCHEN
Kara and Tommy sit at the kitchen table. Daggett pouts in the
doorway.
TOMMY
Daggett, go back in the living
room.
DAGGETT
I want to go trick-or-treating -
TOMMY
Do as I say!!
Kara sighs angrily. Daggett stomps out.
LOOMIS
Kara, I wish I didn't have to be
here tonight.
KARA
Why DO you have to be here, Doctor
Loomis? Why, on tonight of all
nights, do you have to come out of
the woodwork and scare us half to
death?
LOOMIS
I fear that Michael may be close.
Kara falls silent. She instinctively looks for Daggett in the
living room.
TOMMY
Kara, it's only been a year since
Michael was last seen.
KARA
He's probably dead!
LOOMIS
Fire isn't enough. Not for Michael.
KARA
It's been eight years. Eight years
since I was named Kara Strode.
Eight years since we've seen you,
or Michael, or ANYONE. How do you
know that you're not the one
endangering us, Doctor Loomis?
LOOMIS
I may have found the only way to
stop him.
He reaches into the pocket of his coat, and pulls out the
puzzle box.
INT. LIVING ROOM (CONTINUOUS)
As they argue, Daggett looks from them to the front door.
Them to the front door. He hears laughter in the hallway.
CUT TO:
INT. HALLWAY
A woman in a French maid's uniform, TRISTA, raps on Darren's
door. As she waits, she takes a piece of candy from the
cauldron.
Darren opens the door, wearing a smoking jacket, pipe
clenched between his teeth.
A plastic monocle drops from his eye.
DARREN
Well, hello little girl. You want
some candy?
TRISTA
Well, I'm not here to clean.
DARREN
You wanna come in for a minute
before we leave?
TRISTA
Only for a minute. I've got my hair
just the way I want it.
She steps in past Darren, who stoops to admire her behind.
INT. DARREN'S APARTMENT - CONTINUOUS
DARREN
Want a smoke?
TRISTA
No! There are kids out there.
DARREN
So?
He holds up a bong in one hand and a baggie in the other.
TRISTA
Mmmm. Trick or treat.
CUT TO:
INT. TYSON APARTMENT - KITCHEN
CU on the puzzle box, resting on the table.
TOMMY
What is it?
LOOMIS
Is it a piece called the Nauthiz
Configuration. My research on the
pagan ritual of Samhain led me to a
shopkeeper.
TOMMY
I never saw anything like this in
my research. What does it
represent?
LOOMIS
Actually - it is a puzzle.
He slides the box toward Kara, who recoils.
KARA
I don't understand what this has to
do with Michael.
LOOMIS
This puzzle may very well hold the
answer to Michael Myers.
TOMMY
The answer...
He takes the box into his hands, looking over each panel.
Kara is increasingly uncomfortable.
KARA
Daggett, come in here please.
(beat)
Daggett?
Tommy glances through the doorway -
At the open front door.
CUT TO:
INT. HALLWAY
Daggett looks nervous as hell, but that doesn't stop him from
pulling on the mask and getting onto the elevator.
As the doors close, Kara and Tommy run out of the apartment
at the other end of the hall.
A few children emerge from a nearby door and race past the,
giggling.
KARA
Daggett!
TOMMY
He's not out here. Start knocking
on doors.
Dr. Loomis comes out.
LOOMIS
Does he have any friends in the
building? Anywhere he would
immediately go?
KARA
No. Oh, god. Tommy, stay here in
case he comes back. Doctor Loomis,
I hope you're wrong!
CUT TO:
INT. TYSON APARTMENT - KITCHEN
Tommy sits before the box again. He glances worriedly between
the door and the box.
His fingers trace the designs on the side panels. He seems to
become more and more interested in the box and what it holds.
CUT TO:
INT. STAIRWELL
Kara races down a flight of stairs and onto the next floor.
Loomis makes a slower descent, his chest heaving.
KARA
Doctor Loomis!
LOOMIS
Go ahead without me.
CUT TO:
INT. LOBBY
The elevator doors open. The masked Daggett steps into the
empty, dark lobby.
A plastic jack-o'-lantern sits on a small desk beside the
mailboxes. It grins darkly at him.
Daggett walks over to the pumpkin and plugs in the cord.
As it lights up, the faintest outline of The Shape can be
seen in the B.G.
The front doors burst open. Two laughing girls stumble in and
manage to make it onto the elevator before collapsing.
Daggett quickly boards the elevator again.
DAGGETT'S POV: Just before the doors close, the Shape steps
in front of them - then he's gone.
CUT TO:
INT. TYSON APARTMENT - KITCHEN
Tommy draws his hands back as the two cylinders emerge from
the sides of the box.
A quarter-turn, and the disc on top starts to move with a
raspy sound.
CUT TO:
INT. HALLWAY
Daggett is back on their floor. He walks over to Darren's
plastic cauldron and digs out a handful of candy.
Trista opens the door. Her hair seems to be a bit out of
place.
TRISTA
Hi there! Trick or treat!
DAGGETT
(muffled)
That's what I say.
Darren leans out and coughs on some smoke.
DARREN
Hey Dag! Take as much as you want,
buddy.
CUT TO:
INT. TYSON APARTMENT - KITCHEN
The tiny diamond in the center of the box has begun to
rotate. The haunting tune plays gently.
In the B.G., the walls seem to have developed paper-thin
cracks, through which a blinding light creeps.
Tommy examines the insides of the puzzle, frowning.
TOMMY
What answers are in here, Doctor
Loomis?
FEMALE VOICE (O.S.)
Eternity.
Tommy sits up to see the Faceless Cenobite and a STRIPPED
CENOBITE before him.
The Stripped Cenobite, a voluptuous leather-bound female, has
the flesh peeled & pinned back in all her most alluring
places, revealing the gruesome physiology underneath.
Red lips are pulled over white teeth by tiny hooks. A model's
permanent smile.
STRIPPED CENOBITE
Is this what you wanted, Tommy?
The Faceless Cenobite steps forward stiffly and grabs Tommy
by the throat, lifting him from the chair.
TOMMY
Who...are you???
STRIPPED CENOBITE
Come with me, Tommy.
She moves seductively, playing her fingertips over the raw,
exposed muscle on her hips.
TOMMY
Let - me - GO -
A hooked chain lashes into each of Tommy's shoulders, and he
is jerked out of the Faceless Cenobite's grasp!
Tommy slams into the wall. Two more chains pierce his ankles,
holding him in place. He screams in agony.
TOMMY
WHO ARE YOU?!?
NEW ANGLE
TRACK with the back of PINHEAD's skull as he approaches
Tommy.
Finally, his face is revealed. Although he appears
emotionless, the black eyes glitter with relish.
PINHEAD
We are your new obsession, Tommy.
TOMMY
Please, lord, don't hurt my family.
Don't hurt my family. Take whatever
you want and go!
PINHEAD
We shall.
He turns and casts an uncommunicative glance toward the other
Cenobites. They walk out of the kitchen.
PINHEAD (CONT'D)
It won't be a long wait.
CUT TO:
INT. STAIRWELL
The Shape ascends the stairs, staring blankly ahead, butcher
knife clutched in his hand.
INT. LOBBY
Kara pounds the wall in frustration, peering outside. Dr.
Loomis catches up with her.
KARA
He must be upstairs. He must have
gone in somewhere, c'mon!
CUT TO:
INT. DARREN'S APARTMENT - LIVING ROOM
Daggett sits with a full shopping bag of candy. The empty
cauldron is overturned beside him.
DARREN
Hey man, where're your folks?
DAGGETT
At home arguing.
DARREN
Ah, I see.
The lights flicker.
DARREN
Whoa. Spooky, huh?
TRISTA
You should let his parents know
that he's here.
DARREN
Right, right. We gotta get going
soon anyway.
He dials his cell phone and listens for a moment.
DARREN
Ain't answering. I'll go over there
and see if they're done fighting
yet.
CUT TO:
INT. HALLWAY
Darren puts the monocle back in his eye and pads over to the
Tyson apartment in his slippers.
He knocks and waits patiently.
The Shape enters from the stairwell in the B.G. and plods
toward Darren.
Darren knocks again. He notices the approaching Shape.
DARREN
How you doin', man.
He returns his attention to the door. The Shape stops
directly behind him.
DARREN
(under his breath)
C'mon, Tyson, get your shit
together.
The Shape grabs Darren's head with both hands, his fingertips
pushing the monocle into Darren's eye.
DARREN
HEY! AAAAAAAAAAAAAAAAA!!
The monocle is gone in a gush of blood. As Darren falls limp,
the Shape discards him and opens the door.
INT. TYSON APARTMENT - CONTINUOUS
SHAPE'S POV: The apartment is now empty. Only the solved
Nauthiz Configuration can be seen in the kitchen.
INT. KITCHEN
A new angle reveals that Tommy is still chained to the wall,
just inside the doorway.
He sees the Shape walk through the living room and down the
hall - but he cannot say a word, for a leather strap is
across his mouth, pinning his head back.
CUT TO:
INT. ELEVATOR
Kara stabs impatiently at the buttons.
KARA
Doctor, do you still have a gun?
LOOMIS
I'm afraid not.
KARA
Doctor Loomis - do you really think
he's here? Michael?
LOOMIS
Yes.
The elevator lurches to a stop.
KARA
(jabbing the buttons
again)
What the hell?? NO!
CUT TO:
INT. HALLWAY
Trista and Daggett step into the empty hall. He has taken off
his mask, his expression frightened.
TRISTA
Darren? It's fucking quiet out
here.
(beat)
Sorry about that.
DAGGETT
That's okay.
TRISTA
Hey, are you all right? There's
nothing to worry about. Is that
your apartment?
She points to an open door. Daggett nods.
TRISTA (CONT'D)
Okay then, we can get you home.
C'mon!
TRISTA'S POV: As they near the door, the Shape rushes out -
NEW ANGLE:
And pins her to the wall with an arm, stabbing her in the
stomach. Trista shrieks.
Daggett staggers back as the Shape guts her repeatedly, then
lets her body slide to the floor.
The Shape slowly turns to him. Daggett screams louder than
Trista and runs.
The elevator doors open halfway, Kara shoving on them.
KARA
DAGGETT!!!
The child races toward her - he stumbles and crashes into the
floor.
The Shape begins his slow pursuit.
KARA
Oh, my God. DAGGETT!! GET UP!!
Loomis's pale face is visible over her shoulder.
LOOMIS'S POV: The Shape is halfway down the hall. He seems to
be staring right at us.
Kara leans through the half-open doors and strains for
Daggett's hand.
He gets to his knees, rubbing his head.
KARA (CONT'D)
DAGGETT!!!
He reaches out groggily. She jerks him into the elevator -
The Shape grabs a handful of hair and jerks HER out.
The doors close.
INT. ELEVATOR
Loomis punches a button, and they begin to descend.
DAGGETT
MOMMY! MOMMY! MOMMY!
Loomis slips a gloved hand over Daggett's mouth.
LOOMIS
It's all right now. You're safe!
CUT TO:
INT. HALLWAY
The Shape hurls Kara to the floor by her hair.
He turns back and jams the butcher knife between the doors,
trying to pry them open.
KARA
NO!!!
She grabs The Shape's arm. He throws it back, sending her
head smacking HARD against the wall.
Kara falls, unconscious.
CUT TO:
INT. ELEVATOR
Loomis clutches Daggett to him as the elevator stops.
LOOMIS'S POV: The doors pull back to reveal Pinhead standing
expectantly in the lobby.
CUT TO:
INT. TYSON APARTMENT - KITCHEN
Tommy tugs on the hooks embedded in his shoulders. One comes
loose, then the other.
He peels the strap off his head and falls to the floor.
TOMMY
KARA!! DAGGETT!!!
After removing the hooks from his ankles, he limps out.
CUT TO:
INT. HALLWAY
The lights flicker out over the Shape.
A pale blue light swells in their place, casting an eerie hue
on his blank face.
He steps over Kara and heads down the hall.
The Faceless Cenobite emerges from a random apartment at the
other end, drawing a serrated blade from a hook on its waist.
Teeth gnash beneath its flesh-mask.
The Shape stops and observes the Cenobite silently. It's a
surreal showdown.
The Cenobite draws a second blade with its other hand, and
raises them like a voracious child at a banquet.
Then it charges toward the Shape, shrieking animalistically.
They collide - The Shape buries the knife to the hilt in the
Cenobite's abdomen. Serrated blades bite into either of the
Shape's arms.
He lifts the Cenobite off the floor by the knife handle. The
Cenobite's arms fall limp, its teeth gnashing furiously.
The Shape drops the Cenobite.
CUT TO:
INT. TYSON APARTMENT - BEDROOM
The apartment is dark. Tommy frantically pulls a pistol from
his sock drawer, and slams a full clip into it.
INT. INNER HALLWAY - CONTINUOUS
Emerging from the bedroom, he runs through the living room
and pauses beside the open front door.
CUT TO:
INT. HALLWAY
Kara is now the only one in the hall. Tommy hauls her to her
feet.
TOMMY
Isa - Kara! Kara, c'mon!
KARA
Daggett...
TOMMY
Where is he? Where is he, Kara?
KARA
Loomis...with Loomis...the
elevator.
Tommy nods and drags her into the stairwell.
INT. STAIRWELL - CONTINUOUS
The Shape is standing at the top of the next flight.
Tommy draws the pistol from his waistband and fires twice.
The Shape plummets down the stairs and right into Tommy! They
bounce off the wall, tumbling down the next flight.
KARA
TOMMY!!
Tommy's head bangs off the wall on the next landing.
He careens away from the Shape, firing eight more times.
The Shape jerks back with each bullet's impact, slamming
against the wall over and over, and finally sliding down to a
sitting position.
The killer lies between Tommy and Kara. Tommy motions up to
her.
TOMMY
C'mon!
KARA
I can't.
TOMMY
There's not much time! Daggett,
Kara!
She nods, and comes down the stairs, stopping just short of
the Shape's reach.
KARA
He's breathing.
TOMMY
I KNOW.
Tommy stands up and inches toward her. He reaches out.
TOMMY
Take my hand, and jump over him.
Kara nods. She slips her fingers around his.
And jumps.
The Shape lunges forward, almost catching her ankle. Kara
falls into Tommy's arms.
The Shape falls back and lies still again.
Kara is ready to flee, tugging on Tommy's arm, but he stoops
in front of the Shape and narrows his eyes.
KARA
Tommy, DON'T. C'mon.
TOMMY
I have to see. I HAVE TO.
He reaches out.
Kara squeezes his arm painfully tight. Tommy looks back at
her.
TOMMY
...Okay.
They run down the stairs.
CUT TO:
INT. LOBBY
Tommy and Kara emerge from the stairwell into the deserted
lobby.
KARA
Doctor Loomis!!
TOMMY
Maybe they left.
KARA
We have to go back. Maybe Michael
won't get up.
TOMMY
No, there are others. We need to
call -
He stops mid-sentence and picks something up.
A piece of hard candy.
Now, in the light from the electric jack-o'-lantern, more
candy is visible - a trail of it leading to a side door.
TOMMY
No.
KARA
Tommy...
He picks up another piece, approaching the door. It reads
MAINTENANCE.
INT. MAINTENANCE CORRIDOR - CONTINUOUS
Tommy opens the door. The corridor is narrow, and illuminated
with the same eerie blue light.
Kara joins him in following the candy.
INT. BOILER ROOM - CONTINUOUS
The walls and floor are stained with moisture. Dr. Loomis
stands in front of a bank of rusty pipes.
TOMMY
Doctor. Where is he?
LOOMIS
He's quite all right.
TOMMY
WHERE?
The Stripped Cenobite steps out of the shadows. Kara screams.
TOMMY
Doctor Loomis??
Pinhead reveals himself on the other side of Loomis. He holds
a final piece of candy.
It falls to the floor in SLOW-MOTION, shattering.
PINHEAD
It's our game now, Tommy.
KARA
WHERE IS MY FUCKING SON?!?
A chain lashes out from nowhere and wraps around her wrist. A
second chain for her other wrist, and Kara is pulled taut.
Tommy pulls out the pistol.
TOMMY
Let her go. Give me my fucking son.
PINHEAD
You have no son, Tommy. And you
have no bullets.
The gun flies from Tommy's hand, into Pinhead's.
Pinhead fires twice - thick, long nails skewer Tommy's hands,
crucifying him on a row of pipes. Steam bathes his screaming
form.
PINHEAD
(to Stripped Cenobite)
Find him.
She nods and retreats into the darkness.
TOMMY
DOCTOR LOOMIS!! HELP!!
LOOMIS
I cannot help you, Tommy.
He looks away from Pinhead regretfully.
KARA
What's going on? Please, somebody
tell me what's happened to my son!
PINHEAD
Doctor Loomis has delivered the
child to us, as he delivered the
box to you. But these things are
only means to a greater end.
TOMMY
Loomis? What the FUCK did you do?
LOOMIS!
PINHEAD
Silence!
CUT TO:
INT. HALLWAY
The Stripped Cenobite enters a blue corridor where the
Faceless Cenobite stands behind Daggett, his hands resting on
the boy's shoulders.
CUT TO:
INT. ANOTHER HALLWAY
Chains dangle from the ceiling of this hallway, scraping
against apartment doors.
The Shape enters the hallway.
His fingers tighten around the knife. Blood runs from
bulletholes in his boiler suit.
He walks through the swinging chains, looking from side to
side at each door.
DAGGETT (V.O.)
No, help me!
The Shape stops outside the appropriate door and reaches for
the knob.
A chain lashes around it!
Another chain wraps around his neck. The Shape staggers back,
stabbing overhead at it.
The Faceless Cenobite enters the hallway and pulls out its
dual knives.
Another chain now holds the Shape's arm immobile. He
struggles violently.
The Cenobite draws ever closer, knocking the hanging chains
aside in angry sweeping motions.
The Shape pulls downward - and the chains tear from the
ceiling, freeing him.
He turns away from the Cenobite. A web of chains crisscrosses
in his path.
Turning back, he catches the Cenobite's wrist in one hand,
and its throat in the other. He throws the being back down
the hall.
The Cenobite lands and springs to its feet, snarling.
The Shape pulls the chain from around his throat.
The Faceless Cenobite continues to snarl gutturally, and
withdraws.
The web of chains also withdraws. The Shape turns to see the
Stripped Cenobite leading Daggett out of the hallway.
CUT TO:
INT. BOILER ROOM
Tommy growls at Loomis through the dissipating steam.
TOMMY
You betrayed me. You betrayed
Daggett...why? Why, after a
lifetime of trying to stop Michael
Myers?!
LOOMIS
Michael will be contained now.
TOMMY
What are you talking about??
LOOMIS
It seeks Order, Tommy. It will
bring Order.
TOMMY
What?
KARA
(to Pinhead)
Please! You don't know what you're
doing! You can't stop Michael!
He simply stares at her with a bemused look.
CUT TO:
INT. LOBBY
The Shape enters to find Daggett standing alone in the middle
of the room.
Daggett trembles, eyeing Michael from the corner of his
vision.
The Shape slowly comes forward. Stopping a few feet from the
child, he raises the butcher knife.
SHAPE'S POV: The boy looks up at him - now wearing a silvery
red clown costume.
The Shape hesitates. He cocks his head to one side.
Daggett walks away from him and into the maintenance
corridor.
CUT TO:
INT. BOILER ROOM
The Stripped Cenobite carries an unconscious Daggett into the
room.
KARA
DAGGETT!! WHAT DID YOU DO TO HIM?!?
PINHEAD
It is time.
Behind him, the bank of pipes begins to split, a bright light
cutting through them. The entire wall starts to open and
retract.
Beyond it is a huge brick hallway, littered with dead leaves
and creeping vines.
The Stripped Cenobite enters with Daggett.
TOMMY
Please, NO!!
The Faceless Cenobite enters the room, holding the puzzle
box. It goes next.
Pinhead looks to Loomis.
LOOMIS
I must be here.
PINHEAD
Go.
Loomis stares at the floor, and limps into the hallway.
Pinhead turns and leaves last, Tommy and Kara screaming
Daggett's name.
Tommy pulls one of his hands free with an anguished cry. Then
the other.
The chains slip away from Kara's arms, and they run to one
another.
TOMMY
I'm going after him.
KARA
I'm going with you.
TOMMY
No -
He squeezes Kara's shoulders and pulls her toward him,
looking over her shoulder.
The Daggett in the clown suit walks by, going into the brick
tunnel.
The Shape enters, following him.
KARA
(whispering)
Dear God...
TOMMY
(whispering)
I don't think he can see us.
As soon as the Shape enters the tunnel, the walls begin to
close again.
KARA
C'mon!
TOMMY
You're staying!
He pushes her away and runs into the tunnel.
KARA
TOMMY!!
The walls slam shut, the pipes clanging and fusing together
again.
CUT TO:
INT. HELL - ENTRYWAY
Tommy is alone in the tunnel. He slowly proceeds into Hell.
CUT TO:
INT. CHAMBER
Loomis descends stone steps into a dark room, splashing in a
shallow pool of water.
Pinhead is suddenly before him.
PINHEAD
There is another here with us...
He pulls a hooked knife from his waist and holds it out to
Loomis.
PINHEAD (CONT'D)
Now, Doctor.
Loomis's face is filled with misery as he takes the knife.
CUT TO:
INT. ENTRYWAY
Tommy comes upon a normal-looking door set into the wall. He
goes in.
INT. DOYLE HOUSE - LIVING ROOM (CONTINUOUS)
It's the same room it was in 1978: the couch, the little
black-and-white TV, the tall curtains and encroaching
shadows.
Tommy shrinks back against the door. There's a creak
elsewhere in the house.
CUT TO:
INT. UPSTAIRS HALLWAY
Stepping as quietly as possible up the stairs, Tommy stares
toward the rear room where Michael Myers was shot six times.
TOMMY
(whispering)
You can't kill the bogeyman.
Someone is in the room; a shadow falls into the hallway.
Loomis hobbles out on his cane.
LOOMIS
Tommy. You shouldn't have come
here.
TOMMY
Where's Daggett?
LOOMIS
Do you think it matters, Tommy? Do
you know where you are?
TOMMY
I'm not in this house.
LOOMIS
This is HELL, Tommy! Don't you see
that I've sent Michael Myers to
Hell?? Finally, the evil is where
it belongs!
TOMMY
You used Daggett. You used me.
LOOMIS
I had to -
TOMMY
Did you sell your soul for all
this, Loomis?!?
LOOMIS
Tommy!
He leans on the railing. rasping.
LOOMIS (CONT'D)
I had no choice! They WANTED him!
TOMMY
For what?
LOOMIS
I told you - It seeks Order from
Chaos. Michael - the focus, the
discipline that comes from his rage
- it represents something to these
demons that you cannot comprehend!
TOMMY
I understand Order and Chaos. I
understand the curse that drives
Michael Myers to kill. It's EVIL!
And now evil has my son!
Loomis pulls the knife from his coat and lunges at Tommy.
He's far too slow, and Tommy grabs his wrist, grappling with
him.
He sends Loomis tumbling over the railing, his cane snapping
in half as he lands on it and bounces to the floor.
Loomis appears to be dead. Tommy walks to the rear room.
INT. REAR ROOM - CONTINUOUS
Tommy goes to the open window and looks out into the front
yard.
TOMMY'S POV: There is a trampled, body-shaped patch in the
grass.
EXT. DOYLE HOUSE - NIGHT (CONTINUOUS)
The Faceless Cenobite, clinging to the side of the house,
grabs Tommy's shirt!
It and Tommy both fall - plummeting THROUGH the yard, sending
a ripple through the grass.
CUT TO:
INT. TORTURE ROOM
Tommy slams into a stone floor.
He is in a small, dimly-lit room with chains and torture
pillars suspended from the ceiling.
DAGGETT (V.O.)
Daddy?
TOMMY
Daggett! Where are you?
DAGGETT (V.O.)
Daddy, help!
TOMMY'S POV: Rushing through the chains and past the torture
pillars, in pursuit of the child's voice -
The Faceless Cenobite leaps out from behind a pillar!
It swipes at Tommy with its twin knives, driving him back as
each slash misses his throat by millimeters.
Tommy swings a torture pillar into the Cenobite, knocking it
into the wall.
The Cenobite springs back, only to be impaled on a pillar
spike.
Tommy slams it against the wall again. The pillar swings
back, spinning, and the Cenobite manages to slash Tommy's
shoulder.
TOMMY
Aaaaaaaah!!
He stumbles back and over a stone bannister -
INT. STAIRWELL - CONTINUOUS
Crashing onto a long flight of steps and rolling down.
INT. LOWER TUNNEL - CONTINUOUS
The arched tunnel leads to a large wooden door. Tommy begins
limping toward it.
In the B.G., the Faceless Cenobite descends the stairs.
Tommy reaches the door and jerks on it without a budge. He
begins pounding on the door.
TOMMY
HELP!! GOD HELP!! HELP ME!!
The Faceless Cenobite clicks its knives together, teeth
gnashing.
Tommy grabs a brick from the floor and smashes it against the
door latch repeatedly.
Finally, the door gives, and he ducks out of the Cenobite's
grasp.
CUT TO:
INT. CORRIDOR
The Shape briskly turns a corner and stops.
The corridor ahead is empty; apparently he has lost the
clown.
He turns back, and there, hanging from a vine-entangled
snare, is LAURIE STRODE.
She swings limply back and forth, her eyes shut. She is
wearing a hospital gown which is also entangled.
The Shape approaches her face, raising the knife, then
lowering it, then raising it again.
Laurie opens her eyes.
LAURIE
I told you I'd see you in Hell.
She jams a hook into his chest. The Shape staggers back.
Laurie drops to the floor - then rises as the Stripped
Cenobite.
She puts another hook into the other side of his chest. Two
chains descend, linking onto the hooks, and the Shape is
pulled off his feet.
STRIPPED CENOBITE
Goodbye, Michael.
He rises into the ceiling.
CUT TO:
INT. CHAMBER
Tommy heads down steps into a dank chamber, where he sees a
familiar huddled form.
TOMMY
...Loomis?
Loomis looks up fearfully.
LOOMIS
(relieved)
Tommy!
TOMMY
Keep away from me.
LOOMIS
Tommy, you don't understand!
(getting to his feet)
They tore me apart once...they're
going to tear me apart again!
TOMMY
Stay back -
Loomis grabs weakly at Tommy. They struggle again, and this
time Tommy pushes against Loomis's head - and the doctor's
face peels away, revealing the skinless visage beneath.
TOMMY
Nooooo!!
He lurches away from Loomis.
LOOMIS
You see what I am...what I've
become.
TOMMY
Fight them, Loomis.
LOOMIS
There is no fighting them. I'm
already dead...I'm already beaten.
A chain shoots out from the darkness and impales his elbow.
LOOMIS
Aaaaaaah!
His other elbow is similarly skewered. A third chain hooks
the back of his neck.
ZOOM OUT from the pathetic, faceless Loomis as he hangs like
a marionette.
LOOMIS
Tommy!...
Tommy stands in place, horrified. Loomis manages to focus on
him.
LOOMIS
Get out, now!
Tommy flees.
The chains pull taut, and Loomis lifts off the floor.
PINHEAD (V.O.)
It was a most simple task, Doctor.
Loomis quivers in mid-air. PAN DOWN to reveal Pinhead before
him.
LOOMIS
Our...bargain...was fulfilled...!
PINHEAD
You should have dealt with Tommy.
Now a far worse fate awaits you
both.
LOOMIS
I gave you Michael!
PINHEAD
YOU do not set the terms, Doctor.
He turns and moves from the room.
LOOMIS
Wait!! WAIT!!
PINHEAD (O.S.)
You will have a final session with
your patient.
CUT TO:
INT. GASH
Inside the walls of Hell, The Shape is barely visible.
Dark, rubbery appendages move over his body. Needles on the
appendages thread through his boiler suit and flesh.
Another tubular limb pierces his throat below the chin,
pumping as it drains his blood. Tiny blades dance across the
mask, cutting it off in triangular pieces.
The Shape's face is not revealed; rather, a mass of teeming
limbs sweeps to cover the grotesque countenance.
We move through the stages of transformation in a series of
FLASH CUTS:
A long blade slamming into the Shape's outer thigh.
An eye opening wide in the midst of the tubes.
The limb pulls away from his throat with a final spurt of
blood; another translucent limb replaces it. Blue fluid
enters the Shape's body.
A needle piercing the open eye.
CUT TO:
INT. CORRIDOR
Tommy is growing weaker, and more desperate.
TOMMY
DAGGETT!!
INT. CENTER OF HELL - CONTINUOUS
The tunnel opens up onto a walkway, and Tommy finds himself
atop the incomprehensible labyrinth, the vertical structure
dropping into an enormous abyss, the horizon endless,
catwalks extending from here to there and into eternity.
LEVIATHAN, the massive diamond, the ruler of Hell and
embodiment of Order, turns on its own axis above the
labyrinth.
Beams of black light project from the faces of the diamond,
dancing over the maze and sweeping through the tunnels. Tommy
cringes as a massive beam moves across him.
XCU on Tommy's eyes, images of the Shape's mask and slashing
knives reflected therein.
The black light passes. Tommy falls to his knees, gasping.
PINHEAD (O.S.)
Where has obsession led you now,
Tommy?
Pinhead flows down the walkway, relishing the tormented soul
before him.
PINHEAD (CONT'D)
You will share an eternal grave
with Doctor Loomis.
TOMMY
Give me my son. He didn't do
anything!
PINHEAD
He is innocent. You are not.
TOMMY
Please!
PINHEAD
Your son is already gone. You are
alone in Hell, and there is no hope
for you here.
TOMMY
What do you want with me?
PINHEAD
You chose to follow us. You have
made your own fate.
TOMMY
What are you??
PINHEAD
No more explanations. Welcome to
forever.
He turns and walks away.
Tommy lunges at his back, but only finds himself lying on the
walkway with Pinhead a speck in the distance.
He rolls onto his back to stare at the rotating Leviathan.
CUT TO:
INT. ROOM
In another unremarkable brick room, the Faceless Cenobite is
lying on a wall - untethered, it simply splays out its body
and adheres to the surface.
The Stripped Cenobite stands in an archway and observes as
long blades cut into the scar tissue stapled over the
Cenobite's face.
Mechanical pincers withdraw a shard of metal from the tissue -
a piece of the torture pillar, no doubt.
Another piece is removed from the impalement wound. Needles
rapidly sew this gash.
The scar tissue is then sewn closed over the Cenobite's
face...
And three long, crescent-shaped blades are vertically
inserted into the flesh.
The Faceless Cenobite drops from the wall with the its new
facial accessories, stalking past the Stripped Cenobite and
into the labyrinth.
CUT TO:
INT. TOMMY'S CHAMBER
XCU on Tommy's weathered face; his time in Hell has already
taken its toll on him.
KARA (V.O.)
Tommy...
He looks up -
No longer on the walkway, Tommy finds himself in a dark
chamber formed by Romanesque architecture.
On a stone slab in the center of the room, Kara lies nude,
beckoning to him.
KARA
Come here, Tommy.
TOMMY
No. Daggett...
KARA
He's gone now. It's just me here.
I'm scared.
She writhes on the slab, and arcane markings are visible on
her body now, tattooed across her limbs.
TOMMY
Kara...what happened to you?
KARA
I couldn't let you go in there
alone, Tommy. I love you too
much...you've protected me all
these years.
Tommy walks over to the slab.
KARA (CONT'D)
But I'm so scared right now. Don't
leave me.
TOMMY
You know I wouldn't.
KARA
Please don't leave me...
She takes his hands, and draws him onto her body.
Tommy hesitates for a moment, looking at the strange
characters on her flesh - then he begins to kiss them,
working his way up to ner neck.
CUT TO:
INT. CENTER OF HELL
A rectangular chamber rises from the abyss, opening onto a
walkway.
CU on a dark boot as it steps out.
CUT TO:
INT. TOMMY'S CHAMBER
Tommy tears his shirt off. Kara runs her fingertips up his
arms -
And stabs her fingers into a knife wound.
Tommy pulls back, gasping, then leans in, relishing the pain.
CUT TO:
INT. CENTER OF HELL
CU on a cold, blue mask. Black eyes beneath, featureless
orbs, almost no eyes at all.
CUT TO:
INT. TOMMY'S CHAMBER
Tommy makes love to Kara. She surrounds him in her tattooed
flesh, moaning.
CUT TO:
INT. CENTER OF HELL
WIDE SHOT of a dark figure, having emerged from the chamber
onto the walkway. It can only be the Shape...
CUT TO:
INT. TOMMY'S CHAMBER
As Tommy moves inside Kara, he looks into her eyes.
The blackest eyes...the Devil's eyes.
Tommy stumbles off and away from the slab, pulling up his
jeans.
Kara sits up, tilting her head.
KARA
What's wrong? Isn't this what
you've always wanted? Playing
husband and wife wasn't ever
enough, was it, Tommy?
TOMMY
No. You're not her. Shit...you're
not Kara.
The Stripped Cenobite stares back at him now, an amused smile
spreading across her pale face.
STRIPPED CENOBITE
Isn't this what you've always
wanted?
She massages her exposed muscle and moans.
TOMMY
No!!
STRIPPED CENOBITE
What do you want, Tommy? Is it HIM?
Tommy simply shakes his head at the seductively-posed
Cenobite, backing out of the chamber.
CUT TO:
INT. LOOMIS'S CHAMBER
The faceless Dr. Sam Loomis still dangles from the three
chains piercing his flesh.
TRACK WITH the back of a masked head, approaching his splayed
figure.
LOOMIS
Michael...
From an ANGLE OVER LOOMIS'S SHOULDER, we can see the pale
blue face of the SHAPE CENOBITE, the same mask, the same
expressionless, inhuman stare.
LOOMIS
Michael. You're not under their
control.
(pause)
Don't let them exploit your
rage...this place is frightening to
you, isn't it?...this isn't home.
The chains snap away, dropping Loomis to the floor.
LOOMIS (CONT'D)
You've never allowed yourself to be
controlled, Michael.
Instantaneously, we find ourselves in a new locale:
INT. MYERS HOUSE - FOYER
Loomis stands on a split-level floor overlooking the entryway
of the dusty, cobweb-infested house.
The Shape Cenobite now stands on a stairway overlooking
Loomis's position. Although the angle exposes his full body,
it is still cloaked in shadow.
LOOMIS
Remember this place?...The source
of your rage, your pain. Home,
Michael. Remember who you are?
The Shape takes a step down the stairs. Then another.
SHAPE'S POV: Advancing toward Loomis as he speaks.
LOOMIS (CONT'D)
I'm not going to manipulate you. I
don't want to harm who you are. But
help me, Michael...help me
understand. Let someone understand.
Behind Loomis's back, he produces the wicked knife that
Pinhead gave him.
LOOMIS (CONT'D)
Let me help you, Michael.
The Shape stops at the foot of the stairs.
CU on the dark, bone-like protrusions emerging from his outer
legs.
The Shape Cenobite grabs onto one of the protrusions, and as
he pulls it from his leather-clad leg, it is revealed to be
the handle of a thin knife.
LOOMIS
Michael!
The Shape hesitates.
Loomis, a pathetic image with his bloodied, skinless visage
and gore-stained overcoat, reaches out with a gloved hand.
LOOMIS (CONT'D)
Let me take this from you...you
don't need it now...
He slips his fingers around the blade of the knife. The Shape
seems to be catatonic, staring into space.
Then he jerks the knife back - severing Loomis's fingers from
his hand.
LOOMIS
Aaaaaah!!
Loomis slashes at the Shape Cenobite with his other hand. The
Shape grabs Loomis's hand, and throws him back into the wall,
shaking the foundations of the "house".
Before Loomis can react, the Shape grabs his coat and hurls
him through the railing into the entryway.
Loomis lands in a cloud of dust and scattering splinters of
wood. He clutches at his mutilated hand.
The Shape Cenobite tromps down the stairs into the entryway.
Loomis crawls to the front door and pries it open with his
remaining fingers.
LOOMIS'S POV: Through a mess of cobwebs stretching across the
doorway, we see the CENTER OF HELL, and the spinning
Leviathan.
The Shape hauls Loomis to his feet and and stabs him in the
gut. The doctor claws at the Shape's wrist, gasping.
The Shape throws Loomis forward again.
Chains lash down from the darkness.
Loomis's corpse now swings back and forth, the chains having
hooked him under the jawbone.
The Shape Cenobite walks out the front door, into Hell.
CUT TO:
INT. CORRIDOR
Tommy, shirtless and bloodied, slides down the wall and
stares blankly ahead.
PINHEAD (V.O.)
Your fate is catching up with you,
Tommy.
Pinhead steps in front of the ruin of a man and smiles.
PINHEAD (CONT'D)
Even now, he walks these halls
under the guiding hand of our Lord -
seeking you.
TOMMY
Who? WHO?? Michael?
PINHEAD
Soon enough, Tommy.
Pinhead is gone.
Tommy pulls himself back to his feet. He looks back in the
direction from which he came.
The Shape Cenobite is standing at the end of the corridor -
we now see him in all his unholy glory.
Dressed from head to toe in leather formed to resemble his
boiler suit, the Shape still wears his classic mask - only it
is a half-mask, covering just his face, and it has been sewn
into his head behind the ears.
Fake hair is teased out over eyes of purest black.
He has half a dozen knives buried in either leg. On his
torso, skin is peeled back and sewn to the suit, exposing
several holes in a triangular, constellational pattern that
may represent bullet wounds.
The Shape Cenobite stares Tommy down.
He backs into the arms of the Stripped Cenobite.
STRIPPED CENOBITE
Let him take you.
The Shape walks forward.
Tommy stands numb in the Stripped Cenobite's grasp.
STRIPPED CENOBITE
Let him take you...
Tommy starts to struggle. The Stripped Cenobite looks up, and
several chains descend to hold Tommy in place.
The female steps in front of him and kisses his lips gently.
STRIPPED CENOBITE
Goodbye now, Tommy.
She frowns.
PULL OUT to reveal the Shape Cenobite directly behind her.
NEW ANGLE
He has buried two knives in her back.
The Shape lifts the Stripped Cenobite off the floor, and
throws his arms out, slicing her wide open.
She slams into the floor, convulsing, cut nearly in half.
Tommy gapes at the transformed Shape.
The Shape rears back to stab his face.
A chain lashes around the Shape's raised wrist. Another
plunges into the floor before him.
The Shape uses his free hand to literally shatter the chain
in front of him. He pulls free of the other chain, but dozens
more stab down all around him, forming a sort of cage that
contains the slasher.
Tommy is released, and makes a break for it.
SLOW-MOTION: The Shape makes a violent, 360-degree slash -
breaking all the chains surrounding him. Broken links bounce
off the floor in every direction.
CUT TO:
INT. CENTER OF HELL
Tommy once again escapes the labyrinth, and finds himself
below the gyrating Leviathan.
TOMMY
Why are you letting me live?!?
PINHEAD (V.O.)
He SHALL be contained. You are an
instrument in his indoctrination.
TOMMY
NO!! I won't be a tool for you
bastards!! Kill me or let me go!
PINHEAD (V.O.)
You don't make the bargains.
TOMMY
Really?
(pause)
Maybe I know how to stop him. Maybe
I know how to bring him under
control.
PINHEAD (V.O.)
Explain. My patience is waning.
TOMMY
Looking into his mind, or even his
soul, won't reveal him. You have to
let me stop him.
PINHEAD (V.O.)
What are you bargaining for?
TOMMY
My freedom. I want to be with my
wife and son.
PINHEAD (V.O.)
If you try the patience of
Leviathan...
(pause)
Bring him to us, and DO NOT FAIL,
or we will discover new depths of
suffering in your flesh.
TOMMY
You'll get what you want.
CUT TO:
INT. LABYRINTH - CORRIDOR
The remade Faceless Cenobite stalks the corridors like a
feral creature, peering around corners and hissing.
In the B.G., the Faceless Cenobite's hunt is joined by the
TWIN CENOBITES - two brothers bound together by a metal
spindle that pulls the flesh from their faces and twists it
into a cruel knot.
Their bodysuits sewn together, one brother's face in a
demented grin, the other's an exaggerated frown, the Twins
follow the Faceless one silently.
The Shape steps out behind them. The Twins whirl around, each
clamping an arm on the Shape.
He shrugs them off and pulls a knife from his thigh, slicing
through the ribbon of scar tissue that binds their heads.
The leather suit rips apart, and the Twins separate.
One again clamps his working hand onto the Shape's shoulder.
The Shape chops his arm off in a fluid motion, and with the
backswing, slices open his twisted face.
The other brother catches the Shape's fist and hurls him into
the wall. The Shape careens off like a rag doll.
The Shape Cenobite lies still on the floor.
Alone with him, the living Twin fingers the blood spindle
dangling from his head, and looks without emotion at his
slain brother.
The Shape rises in the B.G., turning his head mechanically to
stare at the Twin.
NEW ANGLE: The Twin is pulled OUT OF FRAME.
The Shape grabs the spindle still attached to the Twin's face
and jerks it upward, ripping half of the Twin's countenance
away.
The brother drops, leaving only the slasher to cock his head
and observe his work.
CUT TO:
INT. CORRIDOR
The Faceless Cenobite turns and looks back with sightless
eyes. Realizing it is alone, it draws its knives and heads
back.
CUT TO:
Rounding a corner, it comes across the dead Twins.
Behind the contemplative Cenobite, The Shape lowers himself
from a ceiling beam.
The Faceless Cenobite spins on its heel, only to catch a
knife in the cheek.
CUT TO:
INT. ANOTHER CORRIDOR
Tommy is running as fast as he can in his search for Michael.
CUT TO:
INT. CORRIDOR
The Shape Cenobite hurls the Faceless Cenobite back -
An "X" of chains lashes across the hallway, cushioning the
Faceless Cenobite's fall. It springs back to its feet, and
grinds its knives together in a shower of sparks.
The Shape stares it down with cold indifference.
The Faceless one attacks with a lightning-quick slashing of
blades, disarming the Shape, and head-butts him - leaving
three vertical gashes in the permanent mask.
INT. CENTER OF HELL - CONTINUOUS
The Shape staggers back onto a narrow stone walkway. The
Cenobite strides after him with confidence.
It brings both knives down at the Shape's head - and the
Shape catches its wrist, hurling it off the catwalk.
Sparks shear away from stone as the Faceless Cenobite stabs
into the walkway, dangling above the infinite.
The Shape looks down at it and tilts his head to the side,
then leans to detach the Cenobite.
TOMMY (V.O.)
Michael!
The Shape hesitates and looks away.
The Cenobite struggles to lift itself up.
Pulling another knife from his leg, the Shape sinks the blade
deep into the Faceless Cenobite's skull.
It hangs on for one final, desperate second, kicking its legs
- then drops into the abyss.
TOMMY (V.O.)
Michael!
CUT TO:
INT. HALL OF PILLARS
The Shape Cenobite enters a lengthy chamber with a vaulted
ceiling supported by enormous stone pillars.
A high balcony encircles the hall. Water pattering on the
floor is the only sound.
SHAPE'S POV: Tommy steps from behind a pillar several rows
down the line.
The Shape stops.
TOMMY
You're not going to be fooled by me
again. I know that.
(pause)
Daggett isn't here anymore,
Michael. You're alone here, and you
can't get out. It's over.
The Shape doesn't move a muscle.
TOMMY (CONT'D)
Are you getting me? YOU FAILED.
You'll wander these halls for
eternity looking for something that
isn't here.
CU: Pinhead watches from the balcony.
TOMMY (CONT'D)
Whatever it is that drives you,
Michael...whatever YOU are...it's
done.
He approaches the Shape, who is still motionless. Tommy
doesn't make the mistake of getting TOO close.
The Shape Cenobite almost seems to be contemplating the hall,
and his victim. Tommy cocks his head.
Above, Pinhead does the same.
The Shape hunches over - and draws two knives from his
thighs. He slashes out at Tommy, who leaps back.
PAN AROUND the Shape Cenobite to where Tommy once stood - it
is now Pinhead, his hands open in a welcoming gesture.
PINHEAD
You are Order?...I see nothing of
the sort.
The Shape STABS FORWARD.
Pinhead catches his wrist in an icy lock.
The second knife slashes out - and stops in mid-air as
Pinhead grabs the Shape's other wrist.
The slasher stares coldly at Xipe Totec as he pushes against
the demon's grip.
PINHEAD
Without your prey, you are without
Order. You are Chaos.
(pause)
A child.
He throws his arms out, and a metaphysical force propels the
Shape into a pillar with Hell-quaking force.
Pinhead advances on the crippled Shape, gloating.
PINHEAD
A failed experiment in humanity,
this pathetic specimen. An attempt
by Man to bring Order out of flesh.
The Shape staggers to one knee and swings. Grasping his arm,
Pinhead hurls him further down the hall, which seems to have
extended into eternity.
PINHEAD (CONT'D)
You are a cosmic folly, Michael.
Even Leviathan was taken by your so
called psyche.
The Shape rolls over the floor like a broken marionette,
falling into a prone position.
Tommy is now watching from the upper balcony.
He looks away from the conflict and sees the Faceless
Cenobite, dead for all intents and purposes, hanging in the
corridor from a tangle of branches.
Its serrated knife falls from a white hand.
Clattering on the floor - as the diamond-shaped puzzle box.
Tommy kneels and scoops up the configuration.
Below, the Shape attempts another feeble swing, and Pinhead
thrusts out an open palm, knocking the Cenobite into another
pillar. And another. And another.
Michael Myers's head smacks off of pillar after pillar, and
he cartwheels into the floor with a final crash that sends up
a cloud of dust.
Tommy creeps down a spiral staircase to the bottom level of
the hall, turning the puzzle in his hands.
The Shape looks up again:
SHAPE CENOBITE'S POV: A man in a smart, 60s-style suit looks
down on him with thin hair, a pockmarked face and heavy
frown.
FATHER
Michael, what have you done? You
killed them. Judith...Laurie. You
made us leave, Michael, your mother
and I. We didn't want to, but...
The Shape stands up, cocking his head.
FATHER (CONT'D)
God, Michael, we wanted to love
you. We wanted to understand. We --
Father grunts and looks down at the knife in his heart.
The Shape gives him a cold, clinical look and steps back.
Pinhead jerks the knife out and tosses it aside.
PINHEAD
There really is no rhyme or reason
to your evil.
Pinhead looks over the Shape's shoulders; twin chains hook
Myers on either side, tugging him back.
PINHEAD (CONT'D)
Hell will break you.
TOMMY (O.S.)
Wait!!
Pinhead turns, to see Tommy clutching a half-solved cube,
thrusting it toward the demon.
TOMMY
You got what you wanted, pinhead.
Now I want mine.
PINHEAD
Give me the box!
TOMMY
I don't want him. I want OUT.
He turns the pointed end of the puzzle, and a flash draws the
point inward, producing a cube.
TOMMY (CONT'D)
Goodbye, demon.
PINHEAD
You cannot halt Hell's
machinations!
TOMMY
I don't fucking care. LET ME OUT!!
CUT TO:
INT. CENTER OF HELL
Leviathan - now a cube - screams to a halt, hovering still
over the Labyrinth, a surreal image made more bizarre.
White beams of light erupt from the cube, streaking into the
thousands of corridors.
CUT TO:
INT. HALL OF PILLARS
Tommy runs back up the staircase.
Pinhead's head darts from side to side as chain after
desperate chain lashes out --
Each stabbing into the stone steps just below Tommy's feet,
as he leaps out of view.
CUT TO:
INT. CORRIDOR
Tommy runs for his life.
CUT TO:
INT. HALL OF PILLARS
Pinhead is fuming. White blurs streak past him with
otherworldly shrieks.
The Shape Cenobite sits up in the B.G.
CUT TO:
INT. CORRIDOR
Tommy sees a bright column of light ahead: a rift in the
Labyrinth, an escape. Souls tear past him in brilliant
flashes, into the rift.
Tommy looks back and stumbles in his shock.
The Shape Cenobite is in swift pursuit, cruising down the
corridor with a blade in each hand.
Tommy looks back
The rift is closing!
He rushes for it.
The Shape hurls a knife.
It slams into the back of Tommy's knee. He staggers to the
floor and shoves himself back up, limping towards freedom.
Tommy hits the wall, inches from the rift, and looks back
again.
The Shape is coming - a wall of chains criss-crosses the
corridor rapidly, fencing him off.
The Shape's arm pushes through the chains and swings a knife
at Tommy. He stumbles into the rift.
DISSOLVE TO:
INT. BOILER ROOM
Tommy sits up, rubbing his head.
He's lying before a grimy wall of pipes. The room is
otherwise empty.
Tommy looks down and sees a piece of Halloween candy under
his hand. He laughs bitterly.
CUT TO:
INT. HELL - CHAMBER
The Shape Cenobite is truly a marionette at this point - red
hot chains spearing each hand, he is held in place.
A tableau of violent imagery flashes before him - Laurie
screaming, Dr. Loomis's intense stare, Michael's parents
gawking.
He slashes at the images, the chains always tugging him just
out of reach.
Pinhead stands at the top of a flight of steps and watches
with satisfaction.
PINHEAD
Keep struggling, child. Struggle
against Order. Bleed.
He smiles. ZOOM OUT, past the tormented Shape, down a long
blue corridor to the
INT. CENTER OF HELL
Where the Faceless Cenobite draws his knives against one
another, beneath the whirling Leviathan.
A smile forms beneath the taut flesh-mask.
CUT TO BLACK.