Michael Myers is shown to have been killed by Laurie Strode at the conclusion of Halloween H20; however, his demise may have been brought about in a significantly different and more gruesome manner.
In hindsight, we all know that Laurie didn’t actually kill her former brother, thanks to a nonsensical plot twist involving Michael putting his clothes and mask on a paramedic and crushing his throat so that he couldn’t speak.
However, in the present day, we all know that Laurie didn’t actually kill her former brother. Up until that point, the ending of Halloween H20 was arguably the ideal finish to the story of Laurie and Michael, but the best killers are never out of the picture for very long.
Oddly enough, all of that was rendered moot 20 years after H20’s release, when Blumhouse and director David Gordon Green teamed up with Halloween creator John Carpenter to retcon all the prior sequels out of existence, something that H20 had actually done as well, from 3 onward. This rendered all of that irrelevant.
It goes without saying that the continuity of the Halloween franchise is extremely convoluted, and the endeavor of trying to make any sense of all the many timelines is quite likely to result in irritation. It is in your best interest to take it easy and let Michael take care of the business.
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After what appears to be a fatal wound to her brother, but which she is well aware did not actually cause his death, Laurie prevents the coroners from removing the body and transporting it by holding them at gunpoint in order to hijack their van and the body bag containing Michael. She does this in order to get her hands on Michael.
Laurie is only concerned with one thing at a time, and that is making sure that the Implacable Man, the source of all of her misery, is irrefutably, irretrievably, and for all intents and purposes, completely and utterly dead.
After driving herself, the van, and Michael of a fairly steep slope (nearly killing herself in the process), Laurie is again framed both literally and thematically as an inverted mirror image of Michael after she ejects her indestructible brother through the front windshield of the van and then drives herself, the van, and Michael off another fairly steep slope.
(Neither Laurie nor the audience is aware of this fact, despite the fact that the sequel to the film, “Halloween: Resurrection,” released in 2002 would show that the body with which she was communicating was not truly Michael but rather a paramedic he had managed to disguise.)
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Therefore, in the study of the film, the man who she kills by pinning him between the van and a tree and then beheading him must be considered to be Michael.
The last scene depicts the protagonist and antagonist reaching out toward one another and almost (but not quite) holding one another’s hands. This is yet another overt proof of Laurie’s unbreakable if antagonistic, bond with her brother.
In its recurring framing of the twins as mirror copies of each other — separate, sure, opposite, yes, but reflected all the same — “H20” investigates the complicated dynamic that exists between the two, which David Gordon Green’s reboot would go on to further investigate.
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There are moments when Laurie stands for everything that Michael does not represent and vice versa. At other times, in order to destroy him and “free” herself and others, she is required to embrace the violence, hate, and unwavering single-mindedness that are hallmarks of his psychopathy. This comes at a significant personal cost, though.