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«“HELLOWEEN: MYERS VS. PINHEAD” by Mike Yizzi The production logo slides into frame, then slowly vanishes. FADE IN: EXT- SMITH’S GROVE ...»

-- [ Page 1 ] --


by Mike Yizzi

The production logo slides into frame, then slowly




The screen shows a dark night sky with the moon shining


SUPERIMPOSE: October 28th 2007

The subtitles fade away.

SUPERIMPOSE: Smith’s Grove, Illinois

The camera shifts down to the front of Smith’s Grove

Sanitarium. The outside are lights on, illuminating the dark, eerie building.


SARA MOYER, 20s, sits on her bed, her eyes wide awake fearfully, her legs hugged to her chest.


A NURSE, 30, walks down the hall with a cart of food.

Behind her is another NURSE, 40, carrying a pill bottle.

They walk down the hallway to Sara’s room, straight ahead.


The door opens, the nurses walk in.


Sara, your dinner is here.

Sara doesn’t respond.


She hasn’t said anything in days. She Claims Michael Myers is after her. She says it’s from her nightmares




I know. It’s weird.

The nurse gently pulls Sara’s mouth open and drops the pill in it. Sara closes her mouth.


You should try and get some sleep Sara.

Sara slowly turns her head slowly.


I don’t sleep anymore.

The other nurse leaves the food cart by the door. They open the door and leave the room.

Sara opens her mouth and spits the pill into her hand. She gets up quietly, heads to the bathroom.

Sara drops the pill into the toilet before flushing it.

She walks back into her room. She walks slowly to the window. Her gaze shifts down, her eyes widen.

SARA’S POV The SHAPE stands on the grass, silently gazing at Sara, without emotion.


Frightened, Sara runs out the door.


She runs down the hallway. She hurries down the steps and heads for the back doors. A nurse from behind watches her race for the doors.



Sara makes it out the door.


She goes for the woods. As she runs, panicking, she looks to her side. She stops.

SARA’S POV The SHAPE stands by the building wall. He starts after Sara, wielding the KNIFE in his hand.



(panicking) No.

She races off into the woods.

The Shape starts after her.

She races through the woods, breathing rapidly.

The Shape chases after her.

She stops after she’s right near a river. She stops, breathing rapidly. She turns, startled.

SARA’S POVThe Shape is gone.

END POV She turns and screams.

SARA’S POV The SHAPE stands by the woods. He starts after her.

–  –  –

The Shape starts after her.

Sara walks backwards. She turns slightly to see the river’s edge. She drops backwards, vanishing into the water. The Shape gets to the edge. He drives his hand into the water, trying to grasp Sara, but to no avail. The Shape gets up.

He gazes at the river for a moment. He turns slowly and starts off towards the woods. As he’s walking, the Halloween theme plays in the background.


The screen fades to black.



-- Halloween, 1963. Michael stabs his Judith, numerously, violently.

Her topless body drops to the floor.

-- 6-year old Michael is unmasked by his parents. His cold, emotionless gaze locks forward as he wields up the bloodstained knife.

-- Halloween, 1988. Michael is being shot by the police, violently. Michael drops to the ground.

-- Michael climbs out of the sewer pipe as an explosion occurs from up top.

-- Michael grabs onto net with both hands. He gets up on the dock.

-- Michael attempts to grasp the fisherman.

The fisherman backs away startled.

Michael drops to the ground.

-- Halloween, 1989. Michael’s hand moves and turns over.

Thorn symbol is seen on his wrist. The hand clenches into a tight fist.

-- Halloween, 1995. A doctor is slammed against a glass window, bloodied.

-- The scared doctor runs out of the operation room.

Michael chases after him.



The screen is black. The Halloween theme fades. The credits roll. A sky-blue rendering of HELLOWEEN appears on the screen. Beneath it, a smaller sky-blue rendering of MYERS VS PINHEAD appears on the screen. The renderings slowly vanish. The instrumental theme from Hellbound: Hellraiser 2 begins playing.


-- LeMarchand constructs the Lament Configuration.

He finishes it.

-- Light illuminates Duc de L’isle’s dining room as he laughs malevolently.

The Lament Configuration is seen on the dinner table as the light illuminates the room.

Angelique gets up from the chair, resurrected.

-- Captain Elliot Spencer kneels down, holding the Lament Configuration.

He traces his finger around the long circle on the box. He pushes the button on the side. The box randomly shoots out of his hand, surrounded by electric.

Two sections of the box shoot upward and move to the opposite side of the box. It drops down. It rises back up and goes back to it’s box shape form. Chains burst out from the box, latching onto Spencer. He cries in agony.

-- Lines are scratched across Spencer’s head as he screams and laughs simultaneously.

Pins are embedded deep into his skull.

Blood slowly erupts from his head as he laughs loudly.

-- Elliot Spencer’s throat is slit. He drops to the floor.

-- Spencer is being possessed again by Pinhead, attaching onto him. Elliot Spencer disappears right into Pinhead.

Pinhead stands there.

END MONTAGE The screen fades to black as the theme fades.



The screen fades to Haddonfield Cemetery.

SUPERIMPOSE: October 30th, 2007 The subtitles fade away.

SUPERIMPOSE: Haddonfield Illinois The subtitles fade away.


LONG SHOT- A MAN stands by a tombstone.

JOHN TATE gazes down at a tombstone.

–  –  –

John walks away.

A tombstone reads: “LAURIE STRODE” “OCTOBER 6th, 1961- OCTOBER 30th, 2002” “BELOVED MOTHER AND SISTER”.

John walks to a van. He opens the front passenger seat door and gets in.

INT- VAN- CONTINUOUS TOMMY DOYLE watches John get in. Behind them is MOLLY TATE.

John gazes down, exhaling sadly. Molly puts her hand on his shoulder.

–  –  –

John and Molly kiss.

Tommy turns away from them, shifting his gaze to the windshield. His gaze becomes suspicious.

TOMMY’S POV The SHAPE stands beside a tree, gazing emotionless at Tommy.

END POV Tommy closes his eyes and opens them instantly.

TOMMY’S POV The Shape is gone.


–  –  –


I don’t think you want to know.

The van engine starts. It drives off down the road exiting the cemetery. As it drives off, the SHAPE stands behind a tree, breathing heavily. As they disappear down the road, the Shape steps out of view.

He heads for his car, gets in, and starts it. He drives off down the road, following them.


As he drives off farther and farther down the road, the screen fades to black.




The screen fades to the outside of an apartment in New York City.


KIRSTY, late 30s, sits at her kitchen table, reading the newspaper.

INSERT- The headline on the cover of it reads: “SURVIVOR OF THE HALLOWEEN MASSACRE IN 2002, VANISHED”.

Kirsty sighs.

–  –  –

Kirsty hears mail slide through the mail slot at the door.

She gets up.

She goes over to the door. She picks up the mail, skimming through it. She sighs, perturbed.

–  –  –

She walks into the kitchen and drops the mail onto the kitchen table. She goes over to the top kitchen cabinets before opening a cabinet door. She takes out a coffee mug.

She opens the bottom cabinet under the sink and pulls out a small pot. She puts it on the stove. Just as she’s about to turn it on, there’s a knock at the door. Kirsty stops and heads for the door.

She opens the door. There stands ELIZABETH, 70s.

–  –  –

EXT- VAN- DAY A van drives on the highway, surrounded by a bunch of cars.

INT- VAN- CONTINUOUS Tommy’s gaze is focused on the road. John is in the front passenger seat. Molly is in the back.

–  –  –


I don’t know either. Maybe he kills not only his family but the people he runs into here and there.


That doesn’t make sense to me. Besides, no one even knows if he killed her or not.


They searched a long way in those woods and found nothing. Not a blood spot on the ground, not a piece of clothing, not a body, nothing. It’s like she vanished without a trace.

–  –  –

INT- CAR- CONTINUOUS THE SHAPE’S POV Tommy’s van drives down. The Shape breathes heavily.

END POV The Shape’s fist tightens on the steering wheel.

CLOSE UP on the Shape dark, cold eyes. He continues to breathe heavily The car in front of the Shape’s switches to the right. The Shape moves up a bit.

INT- VAN- CONTINUOUS Tommy takes a look behind the steering wheel.

–  –  –

EXT- VAN- CONTINUOUS Tommy switches lanes to the very left. He drives to the ramp and goes down. After a moment, the Shape’s car follows them from a good distance.


Kirsty opens the refrigerator to get a jug of water. She grabs a glass out of the cabinet. She opens the jug of water, pours water into the glass, and hands it to Elizabeth.

–  –  –

Elizabeth goes to the door, opens it, and walks out.

INT- GAS STATION- DAY Tommy’s van pulls into the gas station drive way. The van stops right next to the gas pump. Tommy gets out, leaving John and Molly in the van. Tommy opens the gas tank on the side of the car. He grabs the gas hose and sticks it in.

From a long distance from the gas station, the Shape’s car can be seen parked across the street near the sidewalk.

THE SHAPE’S POV Tommy stands next to the gas pump, awaiting the pump to finish. The Shape’s heavy breathing can be heard. John gets out of the passenger’s side of the car.

END POV John goes over to Tommy.

John: Hey Tommy, I’ll be right back. I going in and getting something to drink, I’m thirsty.

Tommy nods his head.

–  –  –

John heads for the station.

Tommy turns back to pumping the gas. The pump stops filling the van with gas. Tommy pulls it out and places it back onto the pump. He twists the cap onto the tank and closes the side lid. He goes over to the car and opens the door.


–  –  –

MOLLY’S POV The SHAPE stands adjacent to his car, gazing silently back at Molly.

END POV Molly shuts her eyes for a moment. She springs them open.

MOLLY’S POV The Shape and the car are gone.

END POV Molly exhales. She gazes down. We hear Tommy’s voiceover as Molly gazes fearfully in the car.

–  –  –

Molly reaches under the from passenger car seat, retrieving a 9mm. She pulls out a box of bullets from the seat before loading the gun. She loads it up and lies it on the seat.


John pulls the refrigerator door open and grabs a coke. He goes up to the counter as Tommy pays for the gas. The CASHIER, about 23, hands back Tommy’s change.

–  –  –

Tommy turns the car on.

EXT- VAN- CONTINUOUS After a moment, Tommy’s van takes off. He drives out of the gas station drive way.

INT- CAR- CONTINUOUS THE SHAPE’S POV Tommy’s van drives off. We hear the Shape breathing heavily.

END POV EXT- VAN- CONTINUOUS As Tommy’s van drives off, the Shape’s car turn on. After a moment, the car pulls away from the curb and drives off, pursuing Tommy’s van.

EXT- HIGHWAY Tommy’s van drives on the highway, with his van surrounded by cars.

INT- VAN- CONTINUOUS Tommy’s gaze is focused on the road. John gazes forward as Molly’s eyes change direction, impatiently.

–  –  –


Yeah, but not where we’re going to.

We’re going to Manhattan. It’s not bad there.


I think I heard about something happening here before, but I can’t remember exactly what it was.

–  –  –


Yeah. Then we run away the moment we kill him. It’d take him a while before he finds us again.


I say we cut his head off. That oughta take care of him.

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