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HALLOWEEN 8: HOMECOMING
SCREEN IS BLACK
OVER which we HEAR a slow, rhythmic CLACK-CLACK-CLACK, hard and insistent as the beat of a petrified heart. And SUDDENLY FLUORESCENT LIGHT invades our space, harsh and ugly, and we find ourselves in a featureless white CORRIDOR that seems to stretch to infinity. Soft and muffled, as if coming from some hidden dimension, we hear crazed laughter, pathetic whimpering, wild canine yelping: the sounds of madness emanating from the walls...then FOOTSTEPS.
FEMALE VOICE (OVER)
Sometimes, when I'm up here late at night, I think of the tunnel, you know, the one you're supposed to see when you die? Only there's a door at the far end, and on the
other side is either heaven or hell.
(a beat)
In my mind...it's this door.
ANGLE ON A DOOR
at the far end of the corridor. There's a window in it.
FEMALE VOICE #2 (OVER)
Um. Dr. Howard said five milligrams Zyprexa twice a day. Or was that Dr. Fein?
FEMALE VOICE #1 (OVER)
Howard. Fein's the one with the curly hair.
FEMALE VOICE #2 (OVER)
Right. Why's she here?
Two nurses walk down the hall, pushing a medicine cart, their uniforms as hard white as the fluorescence. The first voice belongs to HEAD NURSE WELLES, the other to NURSE PHILLIPS, a young newcomer to the facility. The CLACKING sound, everpresent, grows LOUDER.
NURSE WELLES
Extreme dissociative disorder. Hasn't said a word in two years. At least to anyone you or I can see.
NURSE PHILLIPS
Why's she in lockdown?
The older woman looks at the younger one.
NURSE WELLES
You've never heard of Laurie Strode?
The novice shakes her head.
NURSE WELLES
The Halloween murders? Michael Myers?
NURSE PHILLIPS
I...just moved here from Wisconsin.
NURSE WELLES
She decapitated a man.
FLASH TO:
SWINGING a fire ax in one terrible vicious arc -- BEHEADING the man trapped between the tree and the EMS van --
BACK TO:
as the two nurses continue down the corridor.
NURSE PHILLIPS
My God. Decapitated?
FLASH TO:
as POLICE cover the area for evidence while in the background we see the headless body being removed. Suddenly we hear:
VOICE (O.S.)
Over here!
ANGLE ON TWO COPS
standing over the severed head, which still wears the white mask. One of them reaches down and pulls the mask off.
COP
(gagging)
Oh, no. Oh, God....
NURSE PHILLIPS (V.o.)
Why'd she do it?
BACK TO:
as the two nurses approach the door at the end of the hall.
NURSE WELLES
I don't know, does insanity run
in families? Are people born evil or can they be made that way?
NURSE PHILLIPS
Um, we didn't really study that
in --
NURSE WELLES
I guess those are philosophical questions, not psychiatric
ones, right?
They stop at the door. A small square of reinforced glass looks into the room.
POV INSIDE ROOM
where we see the perfectly-arranged items, as if some attempt has been made to find order in a random universe. It resembles a teenage girl's room, circa late seventies, a haven for someone surrounding herself with the artifacts of a gentler past.
We hear the CLACK-CLACK-CLACK...and move SLOWLY to FIND
LAURIE STRODE
sitting in a straight-backed chair, tilting it back and forth as if it were a rocking chair. It rises up, then clacks back to the tile floor, a metronome counting down the end of time.
FLASH TO:
Michael Myers is lying on the floor. We hear SIRENS in the distance...the sound of the door OPENING...FOOTSTEPS.
TWO POLICE OFFICERS
are the first on the scene. They enter cautiously, moving slowly with guns drawn. They notice the body lying nearby.
OFFICER
See if he's still breathing. I'll secure the floor.
The other cop steps over, looks at the body, the blood.
OFFICER #2
No way, man. This guy is chum.
He turns back to his partner, who's disappeared further inside.
And Michael Myers RISES to a sit behind him....
BACK TO:
in her chair, rocking gently. Eyes open but unseeing.
FLASH TO:
as Michael GRABS the cop from behind, bringing him down quickly, wrapping one big hand around the man's throat and CRUSHING his windpipe -- then SMASHING his head into the floor, knocking him senseless. He quickly starts removing the unconscious man's police uniform.
BACK TO:
where we are MOVING SLOWLY into Laurie's EYES....
FLASH TO:
The first cop returns to the room just in time to see a SHAPE slipping out through a side door. It is wearing a police uniform. It moves out into the night and is gone.
OFFICER #1
(calling out)
Ron? Where the hell you going?
Then he looks back down at the body on the floor, wearing the bloody jumpsuit, the white mask.
BACK TO:
as they become giant mirrors of a haunted soul.
FLASH TO:
As Laurie drives the commandeered vehicle as the man in the white mask fights his way out of the body bag behind her --
FLASH TO:
the BRAKES as the body is PROPELLED through the windshield --
FLASH TO:
CRASHING down the hill and PINNING the man against the tree --
FLASH TO:
in Laurie's hands SWINGING in one unmerciful arc --
FLASH TO:
lying on the ground, as a hand reaches to pull off the white mask...and we see the face of the police officer revealed.
BACK TO:
as we are sucked into the enormous black pupils until we suddenly REVERSE ourselves and are LOOKING
THROUGH LAURIE'S EYES
and OUT THE WINDOW of the SANITARIUM and INTO THE WOODS surrounding the facility -- where we get just the faintest glimpse of a dark shape, white face, moving, moving --
Then we hear the door OPENING and the two nurses entering. They move around in front of us, wheeling the medicine cart alongside the chair. We notice the different bottles of medicine, several hypodermic syringes.
Nurse phillips
Does anyone come by to visit her?
Nurse welles
Her son used to, but then he just stopped.
WIDER ANGLE
as Nurse Welles gently places a pill on Laurie's tongue, then washes it down with a paper cup of water. She straightens.
But SUDDENLY Laurie's body starts to CONVULSE violently, KNOCKING over the medicine tray. Her chair TOPPLES to the floor beside the spilled medicine bottles and syringes.
The two nurses struggle to get her calm again, finally righting the chair. Laurie seems over it. Nurse Phillips bends to gather up the medications.
Nurse PHILLIPS
Jesus. Has she ever done that before?
Nurse wELLES
Not on my watch. I'll talk to Dr. Howard in the morning about upping her meds.
And Laurie watches through her vacant eyes as the two nurses leave the room, locking the door behind them.
But she is concealing something in her hand....
CUT TO:
The MAIN FLOOR, where a bored night-duty staffer, FRANKLIN MUNROE, is sitting at the security desk by a bank of MONITORS when he hears FOOTSTEPS. He gets up, moves to the hallway.
FOLLOW FRANKLIN
around a corner. He stops.
POV DOWN THE HALL
he sees nothing. It's silent again.
ANGLE ON FRANKLIN
as he starts to turn back -- when SUDDENLY a SHAPE comes out of the darkness of a doorway. Franklin JUMPS back, almost slamming into a wall, catching his breath.
FRANKLIN
Jesus Christ, Harold! You trying to give me a heart attack?
The figure moves into the half-light and we see it's one of the patients, walking with the stiff movements of neurological disorder. He's wearing a bright red-and-white clown mask.
FRANKLIN
How the hell you get out this time?
Franklin takes the man's arm and walks him down the hall.
FRANKLIN
Who you supposed to be today?
(nodding at the mask)
Oh, yeah, I get it. Gacy, right?
HAROLD
(savant monotone)
John Wayne Gacy. Born in Chicago, Illinois on March 17, 1942. Killed thirty-three people and buried them under his house. Executed on May 14, 1994.
His voice trails off as they disappear down the hall.
CUT TO:
We find another staffer, WILLIE HAINES, sneaking a smoke just inside the facility's gates. He watches the smoke curl lazily in the night air. Then something CRUNCHES in the bushes just beyond the steel fence. Willie turns and looks.
POV INTO WOODS
bordering the well-tended grounds. It's DARK and QUIET.
ANGLE ON WILLIE
as he turns away and takes a deep drag of his cigarette. Then we hear the CRACK of a branch. Willie snuffs out his cigarette and goes over to the gate and opens it. He steps outside the sanitarium grounds. He pulls his flashlight from his belt and surveys the near woods. Suddenly there's a SOUND, and his flashlight beam SWINGS up to
ANGLE ON FIGURE
standing there in the dark, just in front of the trees. The FLASHLIGHT BEAM moves up the figure...to the dark jumpsuit...the white mask.
ANGLE ON WILLIE
looking at the figure standing there. He shakes his head.
WILLIE
Damn, Harold, you like to scare the shit out of me. How many times I tell you I'm the one gets stepped on every time you get out?
He turns toward the gate, then back to the figure in the mask.
WILLIE
Well? Come on.
And the figure follows him onto the sanitarium grounds.
WILLIE
(looking at the mask)
Who you supposed to be today? Hmm. White mask, white mask....Don't think I know that one.
CUT TO:
Franklin Munroe looks up as Willie enters with the other man.
FRANKLIN
God damn. He get out again?
WILLIE
Don't know how he does that shit.
(to figure)
You stay right the fuck there.
Willie sidles over to the security desk, looks at Franklin.
WILLIE
We really got to write this up?
FRANKLIN
You like your job?
But Willie isn't paying attention. He is looking at
THE SECURITY MONITORS
which show the different floors of the facility. And on one of them we see Harold wandering around in his clown mask....
ANGLE ON
Franklin looking at the monitor, then back at Willie, then over at the hall where the figure was standing -- but he's no longer there.
FRANKLIN
Shit!
And both men are up and moving.
FRANKLIN
Check outside, I've got the floors.
CUT TO:
The TOP FLOOR. A dark shape, in silhouette, MOVES down the white corridor as if following some sense only he possesses.
POV DOWN HALL
where we see the single door...and we begin to hear the steady rhythmic CLACK-CLACK-CLACK from just beyond it.
CUT TO:
We find Franklin running down the hallway till reaching one of the doors and quickly OPENING it -- and INSIDE we find Harold, now in a Ted Bundy mask, sitting in bed with a Detective magazine. The walls are covered with novelty masks of infamous serial killers. He looks at Franklin and blinks.
HAROLD
Ted Bundy, born November 24, 19 --
But Franklin is already out the door and moving down the hall.
CUT TO:
as Michael approaches the door at the end of the hall with utter unstoppable determination. The CLACKING gets louder.
POV THROUGH THE WINDOW
looking INTO Laurie's ROOM. Laurie is sitting in her chair, rocking back and forth. SUDDENLY we MOVE
THROUGH THE GLASS
to see what's on the other side of the window as MICHAEL'S FACE stares back at us from just outside the door.
ANGLE ON
brother and sister staring at each other for one interminable instant -- then Michael THRUSTS his body into the door.
CUT TO:
Franklin reaches floor after floor, pokes his head into the hall, sees nothing, then ducks back in, continues the search.
CUT TO:
Michael POUNDS at Laurie's door with desperate animal ferocity, until one of the hinges BURSTS free of its housing. He is about to hit the door again when he notices something:
HIS POV
through the little window -- and the room appears empty.
ANGLE ON MICHAEL
as he gives one last mighty THRUST of his shoulders and the door BURSTS OPEN --
Michael charging blindly inside --
AS LAURIE LUNGES
at him from the side, a hypodermic syringe raised high in her hand -- and she PLUNGES it into Michael's neck and squeezes the air inside him.
He drops to his knees as the embolism hits him. She stares into his eyes as his body convulses.
Laurie
Did you really think I wouldn't be waiting for you?
He reaches out to grab her but she runs through the door.
Laurie running down the hall as Michael staggers to his feet, starts coming after her in his methodical gait.
Laurie ducks inside, barrels up the flight of the stairs and through the door to the roof, setting off the ALARM.
Laurie runs across the roof, turns to looks back at
THE DOOR
-- as Michael comes out after her. He's in no hurry: there's nowhere for her to go.
ANGLE ON LAURIE
as she turns to face him, unafraid.
Laurie
Just you and me, right? Isn't that the way it needs to be?
She takes a step backward. Then another.
He moves forward slowly, then hesitates.
Laurie
(continuing)
What's the matter, just hate to see it end?
They look at each other across the roof.
LAURIE
(continuing)
You tried to turn me into you, but you failed. And you'll never find my son. Never.
He just stares at her through empty eyes.
LAURIE
(continuing)
You can kill me, but you can't take my soul -- it's not mine to give.
She takes another step backward.
ANGLE TO SEE
she is standing almost at the very edge of the roof.
ANGLE ON MICHAEL
as his hesitation leaves him. He strides purposefully forward until they are standing only a few feet apart.
He has a knife in his hand. She looks at it, at him.
LAURIE
(barely a whisper)
I'm not afraid to die...
He looks into her eyes with a weird curiosity.
LAURIE
(continuing)
...and I'm not afraid of you.
And he THRUSTS the knife up into her stomach --
But she clasps both hands around his wrist in an iron grip --
LAURIE
Come with me, Michael....
And she steps backward and OVER the edge of the roof, PULLING Michael, who's still gripping the knife, over with her....
ANGLE ON THEM
as Michael catches the edge of the roof with one hand, his other still gripping the knife imbedded in her belly as she holds onto his wrist, trying to pull him down with her.
CLOSER ON THEM
as once again, and for the last time, their eyes meet, this time only inches separating them --
He lets go of the knife --
And Laurie FALLS, free of him forever --
THROUGH MICHAEL'S EYES
we see her body hit the dark rocky hillside far below.
ANGLE ON MICHAEL
as he slowly pulls himself back up onto the roof.
He stares down into the unfathomable depths and
SUDDENLY HIS IMAGE
seems to SHIMMER...then PIXILATES into a
VIDEO IMAGE
of Michael Myers on a TV MONITOR -- a GRAPHIC of a WEB PAGE.
VOICE (OVER)
My guest tonight is Internet entrepreneur Freddie Harris, whose latest venture seems to have captured the imagination of Net surfers everywhere.
where an INTERVIEW is ON THE AIR. Host BARRY FISHER sits across a desk from tonight's guest, FREDDIE HARRIS.
Freddie
Well, Barry, to succeed you have to keep your finger on the pulse of America. The Net is real, it's immediate. Anything can happen -- and we hope it does.
BARRY
To those viewers who may not know, tomorrow night, Halloween, live on the Internet, five college students are going to enter the childhood home of infamous mass murder Michael Myers.
Freddie
Barry, we are going to explore the heart of darkness, the enigma inside the conundrum in the center of the riddle: the childhood home of the most brutal mass murderer in history.
Barry
Well, I don't know if it's really --
Freddie
This is the house where Michael Myers was born, where he spent his formative years. If there are any secrets to be learned about why he did what he did -- they're in that house. And tomorrow night we'll uncover them.
Barry
I've read where you've promised the five students free college tuition through graduation.
Freddie
All they have to do is spend the night in the house and discover the truth behind the killer.
BARRY
This is be the first Internet production of its kind, isn't that true?
Freddie
(selling it)
This is where it's all heading, Barry. Put down the remote and pick up your mouse -- this ain't TV, it's real life. The Net as a source of entertainment is an unstoppable force. Or, as I call it...Netertainment!
BARRY
Well, that's quite the sales pitch, Freddie. But do you have any concerns for the safety of the six students? I mean, the house hasn't been entered in how many years?
Freddie
We're not looking to get anyone hurt, Barry, just uncover the truth behind a legend.
BARRY
What do you think it says about a society that so many of us are willing to sit back and watch other people do things, on TV, and, now, on the Net?
Freddie
See, Barry, I believe reality is he biggest illusion of all. Did you know I'm a practicing Buddhist? Who's to say that virtual reality is any less real that real reality?
BARRY
Well, I'm not really sure I --
Freddie
Besides, doesn't everyone have just a little of the voyeur in them?
BARRY
Well, I'll let that be a rhetorical question. How were the students picked?
Freddie
They were chosen from among the student body of Braddock University just outside Haddonfield. They represent a cross-section of America. We've got Jim Douglas....
CUT TO:
The room is in an astonishing state of disarray, books and half-written term papers co-mingling with beer cans and bongs. JIM DOUGLAS is talking to an unseen INTERVIEWER. The sequence is shot in STREAMING VIDEO.
INTERVIEWER (O.S.)
What about the publicity? The loss of privacy?
JIM
Privacy? That's a joke, man. Who's ever private anymore? Anywhere you go -- the bank, 7-Eleven -- there's a camera. You can't even screw your girlfriend in an elevator anymore without winding up on "America's Most Outrageous Copulations." Privacy is an antiquated notion, man.
Freddie (V.O.)
Donna Chang....
CUT TO:
This one couldn't be more different from Jim's. It's neat and ordered; the walls are covered with posters of Gloria Steinen and Eleanor Smeal. DONNA CHANG, bright, intense, is being interviewed in STREAMING VIDEO.
DONNA
I don't know why I sent my name in. In many ways it's against everything I believe in. I mean, the sensationalism and everything. But I'm fascinated by the narratives that inform our culture. This is just one of those narratives.
Freddie (V.O.)
Jenna Cartman....
CUT TO:
Where we find JENNA CARTMAN, pretty and pouty in jeans and sweatshirt, working a waitress shift.
JeNNA
Well, we're all, like, different people. Donna is real, you know, political. She's all like, you shouldn't buy into this whole Madison Avenue paternal media whatever. Like I give a shit that some fat chick burned her bra fifty years ago.
Freddie (V.O.)
Rudy Johnson....
CUT TO:
At the university's Home Economics program, where we watch RUDY JOHNSON in STREAMING VIDEO as he prepares a soufflé.
RUDY
A group of people is like the ingredients in a recipe. You have to nurse them along, be attentive, and everything will blend just perfectly. If you don't -- disaster.
He flashes a smile as he slips the soufflé in the oven.
Freddie (V.O.)
Bill Woodhouse....
CUT TO:
We FOLLOW student BILL WOODHOUSE, in STREAMING VIDEO, as he takes a lap around the track.
BILL
Yeah, Rudy's got this whole peace-out thing going, like we're this little microcosm of America, our own little melting pot. But it's a fantasy. Nothing ever really melts, it just burns.
Freddie (V.O.)
And Sara Mercer.
CUT TO:
Where we find SARA MERCER, attractive in an unassuming way, intelligent eyes looking earnestly at us in STREAMING VIDEO.
SARA
Actually, I'd never even heard of Michael Myers before the drawing.
INTERVIEWER (O.S.)
Really?
SARA
It's just, my scholarship runs out this year and, well, I could really use free college tuition and housing till graduation.
INTERVIEWER (O.S.)
No interest in uncovering the mystery of the Halloween murders?
SARA
(smiling)
Well. Everyone likes a good mystery.
HER IMAGE TRANSFORMS
...from STREAMING VIDEO into reality as we GO TO
Sara is tossing some books in her backpack when we hear the familiar "You've Got Mail," and she goes to her desk.
ANGLE ON COMPUTER
where we see new e-mail from someone called "Deckard799."
ANGLE ON SARA
smiling as she reads the message. She types her response.
SARA
(as she types)
This isn't fair. You know everything about me and I don't know anything about you.
She is about to post, then adds:
SARA
I don't even know if "Deckard" is your real name.
She clicks on "send."
Female VOICE (O.S.)
Chat room romance?
ANGLE TO FIND
Sara's roommate, JANE, in the open doorway. Sara turns.
Sara
Yes, that's so like me. Just meet some stud online and bingo.
Jane nods to Sara's backpack brimming with books.
Jane
You're not even going to be gone a day.
Sara
You know, for the ride over.
JANE
A two hour car ride without a book
-- wow, that would be torture.
Male voice (O.S.)
Don't do it.
Angle to find
ARON, a geeky guy in a Michael Myers t-shirt, standing in the doorway.
Aron
(continuing)
Some things you just don't fuck with. Michael Myers is one of those things.
JANE
Don't you have a letter to write to Charlie Manson or something?
SARA
It's just a house, Aron.
Aron
It's the house where it all started.
He comes further into the room.
ArON
(continuing)
He walked its hallways, played in its rooms, dreamed in bed at night. He kept his mother company in the kitchen, watched TV in the living room with the family....
His eyes are lit with the intensity of a zealot.
ARON
(continuing)
Then one day he picked up a knife.
JANE
Aron, that's enough.
ArON
(ignoring her)
And he never put it down again.
And Jane shoves Aron out the door and closes it.
JANE
That guy is fucking weird.
SARA
(a beat)
It's not as if I haven't thought about it, you know, all those people killed and here we are, capitalizing on it.
JANE
Yeah, I guess that's never been done before.
On her look at Sara we
CUT TO:
Where we are FOLLOWING Rudy Johnson while he talks on his cell phone.
RUDY
Sherilyn, baby, of course I want to spend Halloween with you, but this changes things a little right now.
WIDER ANGLE
as he moves over to a long table decked out for a "going away" meal. The other students are taking their seats.
RUDY
(continuing)
Yeah, baby, I remember last Christmas. But you know I gotta go down and sign the papers every time Lester dies.
JIM
(looking up)
Every time?
Rudy takes his seat at the table, nods to the others.
RUDY
(on phone)
I'll call you, baby....Yeah. Soon's I get back....Right. Bye.
He clicks off the phone, looks around at the others.
RUDY
My kinda girlfriend.
BILL
We kinda figured.
JIM
(to Rudy)
What do you mean "every time" Lester dies?
DONNA
Turkey looks good.
SARA
I think it's a goose.
JENNA
Aren't gooses the ones with the long necks?
DONNA
They're called geese. And swans are the ones with the long necks.
But Jim slaps his hand down on the table.
JIM
(to Rudy)
No. I wanna know. What do you mean "every time" Lester dies?
RUDY
Oh, Lester's my uncle. Great-uncle actually, he's ninety-six.
Rudy breaks off a piece of goose drumstick and tastes it.
RUDY
Not bad. Hint of tarragon.
JENNA
Can you eat swans?
RUDY
Too tough. Anyway, old Uncle Lester's heart stops every so often, usually around the holidays -- you know, all the excitement.
So they bring him to emergency, get him going again, and I'm the one goes down and signs him out.
BILL
Some folks just take a lot of killing, I guess.
SARA
Like Rasputin.
JENNA
Who?
SARA
Turn of the century Russian. His enemies poisoned him but he lived. So they shot him, and when that didn't work, they dumped him in an icy river.
RUDY
White guy?
SARA
Yeah. Then they burned the body and buried it.
RUDY
That's some cold shit.
DONNA
Look, there's something I need to say....
BILL
Say away, baby. Haven't had my dose of feminist propaganda today.
DONNA
Good one, Bill.
(to the others)
It's just...I don't want this thing to be, well, exploitational.
BILL
Jeez, a live-on-the-Net tour
of the home of the worst serial killer in history. What could be exploitational about that?
DONNA
I don't want this to be seen as glorifying violence.
JENNA
I thought Ted Bundy killed the most people.
RUDY
Nah, man, Bundy is nowhere near the record. Henry Lee Lucas did like three hundred.
BILL
I heard he made a lot of those up.
JIM
You're all missing the point.
The others turn to him.
JIM
Michael Myers isn't real.
JENNA
Sure he is. There's a book about him and everything.
JIM
He might have been real once, but not anymore. Michael Myers has entered the dark mythology of America, my friends.
RUDY
Dark mythology. I like that.
JIM
(hamming it up)
He's become part of the horror that's been the underside of this country ever since the first white man murdered the first Indian and started seeing the ghosts of revenge in every shadow.
RUDY
Ghosts of revenge? You just make this shit up? Out of your head like?
JIM
(on a roll)
He's the great white shark of our unconscious.
BILL
Go, Jimbo!
JIM
(building steam)
He's every murderous impulse we've ever had.
RUDY
Can I get a witness!
JIM
He's the voice that whispers
to us to flatten the old lady taking forever at the checkout counter in front of us.
THE OTHERS
(chanting)
Go, Jimbo! Go, Jimbo!
JIM
He's that little itch at the
base of our brains where reptiles once ruled. He's all of us, my friends, each and every one.
They give him a sarcastic round of applause and he turns to
THE DIGITAL CAMERA
a few yards away, with a small crew documenting the occasion for the Net. Jim stands, smiles at us and bows dramatically.
JIM (STREAMING VIDEO)
(playing to camera)
Thank you, you're beautiful. Great crowd, great crowd.
CUT TO:
on which we are watching the same image.
BOY'S VOICE (O.S.)
This is boring.
BOY'S VOICE #2 (O.S.)
Boring is as boring thinks.
This is the room of an adolescent with a high-tech mindset. Instead of sports paraphernalia and posters of rock heroes, every available inch of space is taken up by computer parts of varying age and condition, software on floppies and CDs, manuals on computer language and code. MYLES BERMAN is sitting in front of the computer screen, on which we watch Sara's interview.
His friend SCOTT stands watching over his shoulder, bored.
SCOTT
It's just media hype.
MYLES
Like you don't think she's hot.
ANGLE ON
the COMPUTER SCREEN, as the camera finds the quiet Sara.
BACK TO SCENE
as Scott looks at her, unimpressed.
SCOTT
She's like what, twenty?
MYLES
Nevertheless.
SCOTT
Can you get some porno up on that thing?
MYLES
Forget it.
SCOTT
Then let's go to the mall.
Myles looks up from the computer for the first time, blinks.
SCOTT
You know, food, movies, real girls. It would involve leaving the room.
MYLES
I promised my mom I'd study.
SCOTT
"Prognosis Negative" just opened at the Multiplex.
MYLES
Isn't that an "R"?
SCOTT
Like they check ID over there.
MYLES
Let me sign off.
But when Scott turns away Myles hits his e-mail "send" and we
CUT TO:
We are looking THROUGH the support beams of a wooden SCAFFOLDING, down a long straight stretch of road with highway lights creating pockets of light, pools of darkness. We hear VOICES and find
A PICKUP TRUCK
at the side of the road. Two men JERRY and KENNY, put the finishing touches on a billboard supported by the scaffolding.
JERRY
Throw that in the back, will you?
Kenny puts a large, claw-toothed hammer into the flatbed.
THROUGH THE SUPPORTS
a figure appears in the distance, at first just a vague shimmering...but moving steadily toward us, vanishing in every patch of darkness, reappearing under each new light.
THE TWO MEN
gather the rest of their tools, put them into the flatbed.
The men climb into the cab.
The dark-clad figure suddenly STOPS. He is looking up.
HIS POV
on the BILLBOARD, which we now finally see from the front -- a giant white Michael Myers mask stares down at us under copy that announces: "Secrets of the Myers House Revealed. Tomorrow Night. Live."
ANGLE ON FIGURE
staring up at the sign for a long time, seemingly frozen.
The driver reaches for the ignition, hesitates. He is looking up at something.
POV IN REARVIEW MIRROR
where we see the figure standing there, in white mask, at the back of the flatbed.
KENNY
What the -- ?
JERRY
What is it?
The first man turns around quickly.
POV THROUGH REAR WINDOW
...but the figure has vanished.
ANGLE IN CAB
as Kenny turns back to the wheel.
KENNY
It's nothing. Just...nothing.
JERRY
The ignition switch is that one right there on the steering column.
KENNY
What, like you got a date or something.
JERRY
Well, not with an actual person.
A SHADOW crosses their faces and they both look up
THROUGH THE WINDSHIELD
as SUDDENLY the SHAPE appears out of nowhere -- and SMASHES DOWNWARD with the huge hammer -- CRASHING THROUGH the windshield straight for Kenny's skull as we
CUT TO:
OCTOBER 31st. HALLOWEEN.
We MOVE SLOWLY down a tree-lined street to FIND
The place is long ago boarded up and fallen into disrepair. Graffiti is scratched across the façade, left there no doubt by the heartiest of local teenagers willing to take a dare.
The front door is OPEN. We hear VOICES coming from inside.
WE KEEP MOVING
...slowly up the walkway toward the front door.
We MOVE among the old dusty furniture as through a museum.
Freddie (O.S.)
No, I think you got to go a little lower with that one over there....
MOVE UP THE STAIRS
where the voices grow louder.
MALE VOICE (O.S.)
This is what I do for a living, okay?
Freddie (O.S.)
That's why I hired you, isn't it?
(a beat)
No, baby, I wasn't talking to you.
ANGLE TO FIND
Freddie in the upstairs HALLWAY, on the cell phone while directing a thirtyish guy, Brian, how to set up a small digi-cam. CHARLEY, a middle-aged electrician, is running cable in the background.
Freddie
(on phone)
What? Yeah, baby, just tell them to be cool, a loan means they get their money back, right? They can look that up in the dictionary.
(to Brian)
You get the master bedroom?
Brian
Between the stationary cameras and the minis they'll be wearing, you should be covered.
Freddie
(on phone)
I got my own problems, here, baby, I'm dealing with Orson fucking Welles Junior here.
(to Brian)
Look, Brian, we're not remaking "Barton Fink" here. I'm on a schedule.
Brian turns to him.
Brian
High angles are scary, low angles are scary, medium angles are boring.
Freddie
You learned about scaring people shooting weddings and Bar Mitzvahs?
Brian
Hey, I graduated Long Beach Film School. Same as Spielberg.
Freddie
(frustrated)
Fine. You know...fine.
(on phone)
I'll call you later, baby, I gotta get back to town.
He flips the phone closed, looks back over at Brian.
Freddie
Just make sure it gets done by this afternoon.
He passes Brian in the hallway, heading for the stairs.
Brian
By the way....
Freddie turns back to him.
Brian
Welles was overrated.
Freddie just shakes his head and continues down the stairs. FOLLOW HIM out the front door, mumbling to himself.
Freddie
Welles was overrated. Shit. Man was a motherfucking genius.
THE IMAGE TRANSFORMS
into VIDEO as we look THROUGH A WINDOW as Freddie gets in his car. As the car PULLS OUT...we get just a hint of another vehicle passing.
WIDER TO INCLUDE
Brian looking through the video camera for a test. He turns it off, sets it down, looks directly out the window.
HIS POV
...as we see just the tail end of a pickup truck disappearing under a red-leafed autumn tree.
ANGLE ON BRIAN
as he turns back into the house, looks around for a place to position the next camera.
CUT TO:
Police and state mental health OFFICIALS move about gathering information and evidence. Two DETECTIVES are interviewing the hapless Franklin Munroe.
Detective
But you're saying all the other patients are accounted for.
FRANKLIN
Like I told you, there was someone else in the building. How he got out I don't know.
ANGLE TO FIND
a quiet, serious, dark-suited man watching from a few yards away: JEB DONASLDSON steps over, flashes his wallet I.D.
Donaldson
Jeb Donaldson, State Police.
Detective
I'm just about finished with this man.
DonaldSON
Take your time. I'm just a fly on the wall.
FRANKLIN
(to first cop)
Look, man, all I know is what I saw.
DeTECTIVE
And this other patient...
(checking his notes)
...Harold Trumble. You're certain he was in his room.
Franklin
I saw him on the monitor and when I checked his room he was in it.
DonaLDSON
Your monitors cover the entire grounds?
FRANKLIN
Yeah, man, but there are some, like, blind stops. Around corners, the stairwells, that kind of thing.
Donaldson nods, moves over to
THE SECURITY DESK
where other officers are going over last night's tapes.
THE SECURITY MONITORS
show the various VIEWS from around the facility recorded last night: we see the babbling Harold on one, the dark-clad figure approaching Laurie's door on another.
ANGLE ON
Donaldson as he watches curiously for a moment until a hospital administrator, HORACE JORDAN, comes up alongside.
Jordan
You Donaldson from State Police?
Donaldson looks up and smiles pleasantly at the man.
CUT TO:
The two men walk down a hallway on another floor.
JoRDAN
He's actually quite harmless, despite his fascination.
DonaLDSON
Well, you never know what he might've seen. Always best to --
He's cut off by the RING of a cell phone. He takes it out of his coat pocket, squints at the number, shrugs at Jordan.
DonaLDSON
Duty calls.
(on cell phone)
Yes, honey....No, I haven't forgotten....I'll pick them up on the way home....Yes, I've got it....Two quarts....Right. Love you. Bye.
He hangs up the phone, Jordan looks at him.
JoRDAN
Yeah, I'm married too.
They reach one of the doors and Jordan OPENS it.
Harold looks up at them -- wearing a Laurie Strode novelty mask.
Harold
Laurie Strode, sister of mass murderer Michael Myers....
The two men stop in the doorway, look at him, at each other.
Cut TO:
Sara is at her computer reading her e-mail as Jane comes in.
JANE
Shouldn't you be getting ready?
SARA
I'm ready.
Jane looks at her disapprovingly.
JANE
You're wearing that?
Sara
I thought I was.
JANE
I mean, you're going to be all over the Internet and everything. I better find you something.
She goes to the closet, rummages through her clothes.
JANE
So, you don't think it's kind of, well, creepy, going in that house?
SARA
(a few beats)
When I was a little girl there was this streetlamp outside my window. And when the curtain blew in just the right way, it cast a shadow on my wall that looked like -- this is going to sound silly.
Jane stops rummaging, turns to Sara.
JAne
No, what?
SARA
Well, it looked like a giant rabbit.
Jane
(laughing)
A rabbit?
SARA
Go figure. I was scared of rabbits. It's something about the ears.
Jane
Yes! I can see that.
SARA
Anyway, I'd lie there, unable to move, wanting to shut my eyes but afraid to. I didn't want to call to my parents because I knew that it wasn't real, that it was just
a shadow on the wall. I didn't want them to think I was weak.
JaNe
You knew it was a shadow but you were still scared?
SARA
That's the thing about fear. It doesn't matter if it's a killer rabbit or just a shadow.
JANE
I guess not.
Jane finds a sexy sweater, steps over to Sara, looks over her shoulder at the computer screen open to her e-mail reader.
JANE
Same guy?
SARA
Yeah. He's in graduate school.
JANE
I'll bet. Probably some fifty-year-old lard-ass with a bad comb-over.
Jane drapes the sweater over Sara's shoulders and steps back.
JANE
Perfect!
CUT TO:
Myles sits at his computer, distracted.
SCOTT (O.S.)
So the good news is....
ANGLE TO FIND
Scott standing at the open door of the room. Myles looks over at him.
MYLES
Make some noise or something when you come in.
SCOTT
I told your mom we were studying. You want to hear the news or not?
MYLES
Sure.
ScOTT
I scored us an invite to Jennifer's Halloween Net party tonight. You'll get to see your girlfriend hi-def widescreen.
MYLES
Yeah, great.
ScOTT
Well, thanks for the enthusiasm.
MYLES
Man, I really screwed up.
ScOTT
Well, I could've told you that.
MYLES
No, this is serious.
Scott comes farther into the room, looks at his friend.
MYLES
(continuing)
There's this...person I know and somehow she kinda got the idea I'm...older than I am.
SCOTT
She? There's a "she" in your life?
Myles looks over at the computer, back at Scott.
SCOTT
(realizing)
No!
Myles steps over to the computer, calls up his e-mail reader.
MYLES
Check it out.
Scott reads one of Sara's messages, his eyes widening.
SCOTT
Holy shit. This is the chick in the Halloween thing.
MYLES
We met in a chat room.
Scott turns and stares at his friend.
SCOTT
You are God, man.
MYLES
She was asking for tech support to set up her off-line reader and...
oh, what difference does it make.
SCOTT
This is so cool!
MYLES
Are you out of your mind? She thinks I'm in graduate school. I told her I'm twenty-four.
SCOTT
You actually convinced a college chick you're in her league? I'd say that's cool.
MYLES
She thinks I'm a physics major.
ScOTT
Your first mistake. You should've said business. Women really go for that kind of guy. Too bad you're not that kind of guy.
MYLES
Like we're ever going to meet.
SCOTT
Then what's the point?
MYLES
Did you know that in the Middle Ages sometimes a knight would spend his entire life courting a woman in poems and sonnets? They'd never even touch.
SCOTT
You need help, man.
MYLES
Leave me alone.
SCOTT
No, really. I'm worried about you. They don't have you on Ritalin or anything, do they?
CUT TO:
Donaldson is sitting in his very low-tech space. If it weren't for the voices and occasional static-laced dispatch sounds in the BACKGROUND, we wouldn't know he's carved this dark space of an office out of State Police headquarters. The only anomaly among the ancient filing cabinets and stacks of paperwork is the computer sitting on his cluttered desk. He looks at it as if it were an alien presence. He looks down at a pad on his desk.
INSERT PAD
covered with his notes from the sanitarium. We see the name underlined: LAURIE STRODE.
ANGLE ON DONALDSON
as he stands up, stretches, moves to the window.
POV THROUGH WINDOW
as Halloween begins to take shape. We see costumed kids, some of them wearing cheap Michael Myers masks, moving in small clusters, older ones on the edge of rowdiness, little ones shepherded by watchful parents.
ANGLE ON DONALDSON
as he turns around -- and SUDDENLY a face appears behind him, horrible and ghoulish -- and he jumps back, startled.
ANGLE ON
the "ghoul" as it removes what proves to be a Halloween mask, revealing a young desk-duty officer, NORA MANN.
DonalDSON
Jesus, Nora.
Nora
Oh, did I startle you?
DonalDSON
At what point in your training did they tell you a sense of humor was important?
NoRA
Hmm. I don't seem to recall.
DonalDSON
And the purpose of this visit? Other than to jump-start my heart.
NoRA
Haddonfield P.D.'s faxing us what you asked for on Laurie Strode. There's a shitload of it. On the other hand, you could save a forest by entering the electronic age.
She looks over at the computer on his desk, back at him.
NoRA
She ain't hard to find.
DonalDSON
Isn't there someone out there with a heart condition you can try that mask on?
NoRA
I'll see what I can do.
She turns and leaves the room.
ANGLE ON DONALDSON
as he looks back at the computer. He sighs, then finally sits back down at his desk, moves the mouse and clicks. We hear the annoying connection noise as the Internet comes up. He types something on the keyboard.
THE COMPUTER SCREEN
is on a search engine as he types in "LAURIE STRODE" and clicks the mouse again. About a hundred references pop up.
ANGLE ON DONALDSON
as he looks at the computer screen curiously. He moves the mouse, we hear the clicks, watch different colors play across his face as different sites come up. Until:
ON THE COMPUTER SCREEN
we see a web site slowly come up, rendering shape from blotches of color...turning into the Michael Myers HOME PAGE.
ANGLE ON DONALDSON
as the investigator looks curiously at the computer screen a moment. He drums his fingers restlessly on his desk. Looks at his notes. At the computer screen. Back at his notes.
Then he stands, grabs his coat, and heads for the door....
CUT TO:
We find Brian at the equipment truck parked at the curb, getting another mini-DV camera out of the back, while on his cell phone.
Brian
Yeah, I've just got one placement left and we're ready to roll.
FOLLOW HIM up the walkway toward the house with the camera.
Brian
(continuing)
We'll be up and running in no time.
As he heads up the steps of the porch we
ANGLE TO FIND
...the old pickup truck partially hidden by the fall trees.
Brian carries the camera up the stairs and down a hall toward a narrow cabinet. He stops, hears something from downstairs.
HIS POV
down the stairs...there's nothing there.
FOLLOW HIM
as he turns away, moves down the hallway to the cabinet. He yanks it open -- and something FLIES out at him out of the darkness. He jumps back startled, then looks down at the stuffed animal lying at his feet: a child's ancient pink Easter bunny. He straightens and turns back to the cabinet. Then he hears another sound, coming from behind him.
ANGLE DOWN HALLWAY
as he sets down the camera. He starts moving down the hall. Now it's quiet again. He peers into the doorway of a bedroom, but there's nothing there. He turns back into the hall -- when SUDDENLY a shape comes up at him from behind a door, featureless white mask staring at him --
Brian jumps back in fright -- but the figure simply pulls the cheap novelty mask down from his face...revealing Charley, the jumpsuited technician, grinning at him.
Brian
Jesus shit, man!
Charley
Hey, it's Halloween, get into the spirit.
Brian
I'm here to do a fucking job, okay?
CHARLEY
Sorry, it was just a joke. Don't go Oliver Stone on me.
Brian
Look, just check out the control room and make sure we're going online tonight, okay?
CHARLEY
You got it.
Charley turns away and heads down the stairs and we
FOLLOW BRIAN
back to the cabinet. He lifts the camera and positions it. Then he hears something behind him. This time he just ignores it, sighing. He reaches around behind the camera and
THROUGH THE CAMERA
the VIDEO IMAGE comes ON -- as we see the SHAPE coming up behind Brian and we
CUT TO:
Which as been turned into a CONTROL ROOM of sorts. Charley takes up position at a MIXING PANEL with an array of dials, levers, and switchers, controlling a bank of MONITORS. It's somewhat jury-rigged, with a tangle of wires and electrical cables feeding the system.
Charley sets a giant cup of Starbuck's Mochaccino at the edge. He flips a switch on the console and several MONITORS light up. He reaches to take a sip of his coffee, never noticing that on one of the monitors Michael Myers is PULLING Brian out of view.
By the time Charley looks up, the monitor shows nothing.
CUT TO:
The students have assembled in the PARKING LOT, a small group of other college kids there to see them off. One young guy has a VIDEO CAMERA to memorialize the occasion.
Student
(to Bill)
So, tell us, tough guy, what are you going to do if Michael Myers decides to come home tonight?
Bill
Hide behind one of the women?
Rudy
At least he's honest.
Jenna
(looking at her watch)
Why are men always late?
JiM
Just giving you time to touch up your makeup.
Jenna sighs, looks back at her watch.
CUT TO:
Looking THROUGH THE WINDSHIELD as the van turns into the university driveway, Freddie behind the wheel.
The van PULLS UP and the doors open as Freddie turns to them.
Freddie
You folks need a ride?
They all climb on board and take their seats.
Freddie
Buckle yourselves in, kids, I'm not known for my driving.
ANGLE ON SARA
settling into her seat near the back, as Freddie starts PULLING OUT of the parking lot.
HER POV
OUT THE WINDOW...as we see Aron, amid the small cluster of other students, watching somberly as the van pulls away.
Freddie (O.S.)
The house has been rigged with cameras.
ANGLE IN VAN
as Freddie continues his spiel.
Freddie
(continuing)
So keep your fingers out of your noses, kids, don't be doing anything you don't want the viewing public to see.
Jim gives Donna a nudge.
JiM
You like an audience, don't you?
DONNA
Have I forgotten to ignore you today?
JIM
No, I think you remembered.
DONNA
Good. Just checking.
Freddie
And leave your cell phones in the van, I don't want them going off and blowing the atmospherics.
Jenna
No cell phones?
BILL
Yeah, imagine that. Kind of what it was like in Grandpa's day.
The students settle into their seats for the long ride.
ANGLE ON VAN
as it zips past us down the long straight road.
CUT TO:
We find the state cop intent behind the wheel. His cell phone RINGS. He looks at the number, sighs, answers it.
DonaLDSON
Yes, honey....I left you a message....No, I'll be back late tonight....What?...Well, I imagine I can pick it up at the market, they're open twenty-four hours, aren't they?...Yes. I will....Only one quart?...Yes, got it....Love you too. Bye.
He flips the phone closed and we GO TO an
ANGLE ON CAR
as it PASSES us and
WE FIND
the road sign indicating: "HADDONFIELD, 93 MILES."
CUT TO:
The six students are looking out the windows as they turn down a tree-lined street and come to a STOP in front of:
Dark and quiet in the early NIGHT. Charley waits on the front lawn, with a camera to catch the arrival.
We move slowly over to an upstairs window. We see the curtains being pulled slightly apart.
THROUGH MICHAEL'S EYES
we watch out the window as the van doors open and Freddie and the kids climb out....
CUT TO:
Charley comes over carrying a large plastic box.
Freddie
Where's Brian?
CHARLEY
Finished up and took off. I haven't seen him since this afternoon.
Freddie
Shit.
CHARLEY
Don't need him. Once we're up the system pretty much runs itself.
Freddie
Gear 'em up and let's get rolling.
Charley hands each of them a large, police-style flashlight, then pulls out what looks like a baseball-style cap, puts it on his head. He turns to the students.
CHARLEY
This is a hat-cam. Whatever you see, we'll see. I've also got some mini clip-on cameras.
THROUGH THE HAT-CAM
we see the students looking back at us.
Charley hands out hat-cams and several species of clip-on mini-cameras, then jogs to the garage. We notice the large portable generator parked outside.
Freddie checks his watch.
Freddie
All right, guys, two minutes.
Jenna checks her hair in the van side mirror.
JiM
Lighten up, Jenna, it's streaming video, not cinemascope.
Freddie gets on a walkie-talkie.
Freddie
You getting set up back there, Charley?
CUT TO:
Charley takes up position at a CONTROL CONSOLE, takes a sip of his everpresent Mochaccino, and picks up his walkie.
CHARLEY
Coming on line....
And he flips a few switches and
THE MONITORS
light up with various views from around the house. From the kids' MINI-CAMs we see Freddie at the front of the house.
CUT TO:
High school kids are arriving for tonight's Internet Halloween party, Myles and Scott included.
ON THE PLASMA SCREEN
across the room we see Freddie talking TO CAMERA:
Freddie (STREAMING VIDEO)
We're here in front of the Myers house in Haddonfield. I'm about to go to the control room.
(to the students)
Sixty seconds....
SUDDENLY we go INTO the PLASMA SCREEN and POP OUT at
as Freddie heads around back and into:
Freddie positions himself at the console beside Charley.
Freddie
(continuing)
From here we'll be watching the team members as they enter and move about the Myers house.
(to Charley)
We ready?
CHARLEY
Everything's a go.
Freddie scowls at Charley's giant cup of Mochaccino.
FreDDIE
You know how much caffeine they got in one of those?
CHARLEY
Let me guess. A lot?
Freddie
That shit'll kill you.
ChaRLEY
Well, that's all just a matter of timing, isn't it?
ON THE MONITORS
we watch as the students approach the door of the old house.
The door creaks OPEN and they enter.
CUT TO:
We see a GRID of views from around the Myers house play across the PLASMA SCREEN before the audience of high school kids. One of the boys works a mouse across the grid to maximize one view or another.
CUT TO:
The students poke about with FLASHLIGHTS: the furniture all appears to be in place, covered with years worth of dust. It's as if the occupants quickly fled a disaster.
BILL
Let's keep an eye on each other, this place is old, might have rotting timbers.
RUDY
Did you think I was planning on wandering around here by myself?
Donna
Looks like nothing's been moved in years.
SARA
After the murders the family just sealed the place off and left everything.
JiM
Don't suppose they would've had much luck finding buyers anyway.
The five students enter, their flashlight beams casting about the old fixtures.
RUDY
I love these old stoves. Call me crazy, but I just don't think electric burners allow flavors to meld the same way.
Donna
Not a big fan of the microwave, I take it.
He looks at her with disdain.
Bill
And it's so quick.
Rudy goes over to examine an old spice rack, pulls a jar out.
RUDY
Wow, wonder what twenty-year-old fennel tastes like.
Jim
What are we going to find in the kitchen? Unless you think his diet turned him into a killer.
Jenna
Wasn't there that serial killer who ate all those Devil Dogs?
DonnA
That was Twinkies.
Sara
And he wasn't a serial killer.
BILL
Check this out....
ANGLE ON
Bill, over by the kitchen counter. He is looking at an old knife rack. Slowly he pulls a large blade out of its slot.
Rudy
You don't suppose that's the one he used to....
JiM
No way, cops would've kept that in an evidence locker somewhere.
Jenna
Still, it's pretty creepy.
RuDY
Fuck yeah.
JIM
Duly noted.
CUT TO:
viewed through Rudy's HAT-CAM VIEW, seen on a MONITOR.
The two men at the CONTROL PANEL, watching the same image.
POV FROM BACK DOOR WINDOW
where someone is watching them too....
ANGLE ON FREDDIE
as he turns around, if sensing something. He looks through the back door window -- but now it is empty.
He turns back to the monitors.
CUT TO:
The students moving back through the living room.
BILL
(to Jim and Donna)
Why don't you check out the basement? We'll look upstairs.
CUT TO:
The police detective turns the wheel toward an exit.
ANGLE ON CAR
as it whizzes onto the exit ramp marked for "HADDONFIELD."
CUT TO:
Jim and Donna walk down rickety stairs, their FLASHLIGHT BEAMS cutting across piles of old furniture, firewood, cartons, beams and shadows crisscrossed by naked pipes.
Donna
So, why do you think he did it?
JIM
Population control.
They wander about in the semi-dark.
Donna
I have a theory.
JIM
Let me guess. TV violence.
He moves over to an ancient console television, sits on it.
JIM
(continuing)
I mean, they didn't have video games back then, so it must have been Saturday morning cartoons that turned him into a killer.
Donna
I think he just liked it.
Jim moves over to her, looks at her face in the half-light.
JIM
What, no abuse excuse? No Freud? Don't tell me that beneath that icy surface you actually believe in free will. Makes me want to see what other doors of mystery you might open to the man with the right key.
Donna
Does that half-ass Jim Morrison shit work with the chicks in the poetry department?
JIM
It's been known to.
Donna
Yeah? Well, it doesn't cut it with critical studies.
CUT TO:
Bill, Rudy, Jenna, and Sara enter what looks like the MASTER BEDROOM. Jenna flops onto the bed, creating a cloud of dust that makes them cough.
Bill
Good one, Jenna.
JeNNA
Do you suppose this is where he was, you know, conceived?
RUDY
Man, I don't even have an opinion.
Sara opens the door of a walk-in closet, pushes away a mass of cobwebs, steps inside.
Bill
What are you looking for?
RUDY
Maybe she'll find a man-size dress in there.
Jenna looks at him blankly.
RUDY
You know, like Papa was Norman Bates or some shit.
JeNNA
Who's Norman Bates?
He just looks at her and sighs.
BILL
(to Sara)
You finding anything in there