Final Draft

Month/Day/Year

(Based on, If Any)

Revisions by (Names of Subsequent Writers, in Order of Work Performed)

Current Revisions by (Current Writer, date)

Registered:####

HALL8WEEN

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EXT. BACKYARD - DAY - SUPER 8 FOOTAGE - HOME MOVIE A pretty 16-year-old girl tickles her baby sister. A jovial father works the barbecue. Mom blows bubbles for the baby.

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A family portrait: Mom, Dad, the sisters and a sullen little boy, with his back to camera, who won’t join the group. The Super-8 camera follows the boy through the back yard. When he finally turns, his expression is disturbingly blank. We go closer and CLOSER into the boys dark, soulless eyes. As his pupils fill the screen we find ourselves in...

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A LONG DARK TUNNEL

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Hazy. Subterranean. Dim lights rush by as we hurtle forward. LAURIE (V.O.) You’ve heard of the tunnel, the one we all go through sooner or later. At the end, there’s a door, and waiting for you on the other side of that door is either Heaven or Hell. (a beat) In my mind...this is the tunnel The tunnel DISSOLVES into a...

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INT. SANITARIUM - LONG INSTITUTIONAL CORRIDOR - DAY A hallway bathed in bright white light. We pass several doors and hear crazed laughter, pathetic whimpers, wild canine yelps: the sounds of human madness. LAURIE ...and this is the door. ANGLE ON A DOOR ... at the far end of the corridor. We keep moving toward the window in the door. Beyond it we can see LAURIE STRODE sitting motionless in a chair, staring at nothing. We move closer and CLOSER to her catatonic eyes. As her pupils fill the screen... DISSOLVE TO:

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08/12/2002

Pink Revisions 2.

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EXT. SANITARIUM - DUSK Lights in the building flip on as the sky grows dark. Birds fly off, spooked by something prowling in the underbrush.

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INT. SANITARIUM - CORRIDOR - NIGHT

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Two nurses walk down the hall, pushing a medicine cart, their uniforms as hard white as the fluorescence. They are HEAD NURSE WELLES, stern and no-nosense, and NURSE PHILLIPS, wideeyed and naive, a newcomer to the facility. Nurse Phillips looks at her clipboard. NURSE PHILLIPS Um. So, Dr. Howard says fifty milligrams Zyprexa twice a day. NURSE WELLES No dear, he wrote FIVE milligrams, and it’s Doctor Fien. Dr. Howard has curly hair. NURSE PHILLIPS Right. RIGHT. That decimal point looks like a zero. (looking at the name) Why is this patient in lock down? NURSE WELLES They didn’t tell you about Laurie Strode? She shakes her head innocently. NURSE WELLES (cont’d) You must have heard of her. Sister of Michael Myers? NURSE PHILLIPS Myers, the serial killer? NURSE WELLES Well, you’ll hear ALL the gossip soon enough. For now lets just concentrate on... NURSE PHILLIPS No, wait. Tell me about her? NURSE WELLES She cut off a man’s head.

She didn’t take her brother’s death for granted. TWO POLICE OFFICERS are the first on the scene. 7 8 INT. her brother finally found her.FOOTSTEPS.. NURSE PHILLIPS But. OFFICER See if he's still breathing. three years ago.. moving slowly with guns drawn. THE HILLCREST ACADEMY . MICHAEL’S HAND SHOOTS OUT.BEHEADING the man trapped between the tree and the EMS van -- 6 7 INT.the sound of the door OPENING. violently pinning the hapless cop to the wall. SANITARIUM . SANITARIUM .CORRIDOR . 6 INTERCUT . steps over. They notice the body lying nearby.LAURIE STRODE (STOCK .FLASHBACK FROM H20) SWINGING a fire ax in one terrible vicious arc -..NIGHT Their long shadows precede them as they round the corner..LONG CORRIDOR .NIGHT .. NURSE PHILLIPS Why? When? NURSE WELLES Halloween. 9 INT. with a large red nose and bushy mustache. I thought he was dead.. NURSE PHILLIPS (whispering) You mean he was still.(FLASHBACK) 8 Michael Myers is lying alone on the floor. secure the floor. closer and CLOSER.. He leans forward. 20 years after the first murders.NIGHT The lights are so low the nurses appear in silhouette.? NURSE WELLES Just listen. thumb crushing his windpipe. They enter cautiously.08/12/2002 Pink Revisions 3.. I'll The other cop. We hear SIRENS in the distance.. 9 . looks at the body and the blood..

EXT.CONTINUOUS The Nurses enter to find Laurie in a white ROBE sitting in front of a WINDOW. LAURIE’S ROOM .08/12/2002 Pink Revisions 4. EMS TRUCK . THE SEVERED HEAD ..NIGHT . escapes into the night.(FLASHBACK) With the flashing lights off police vehicles in the distant background..(FLASHBACK) As a hand reaches to pull off the WHITE MASK. 11 Nurse Welles pulls out a large ring of keys and moves to the door at the end of the hall. 11 NURSE WELLES He had crushed his larynx. 12 INT. THE HILLCREST ACADEMY ..HALLWAY . we reveal the big nose and bushy mustache of THE POLICE OFFICER.FOOTAGE FROM H20) 10 Laurie drives the commandeered vehicle as the man in the white mask fights his way out of the body bag behind her -LAURIE SLAMMING the BRAKES as the body is PROPELLED through the windshield -THE EMS VAN CRASHING down the hill and PINNING the man against the tree -LAURIE STRODE SWINGING a fire ax in one terrible vicious arc -. she killed the wrong man. INT. 12 .NIGHT NURSE PHILLIPS Oh my God.. NURSE PHILLIPS (horrified) But why didn’t the policeman say. his face hidden by shadow. 10 INT.(STOCK . a HULKING FIGURE in a police uniform. SANITARIUM .BEHEADING the man trapped between the tree and the EMS van -The decapitated masked-head rolls across the ground.

FOG 17 WILLIE. armed with nothing but a flashlight. CLOSE ON LAURIE As the door shuts. 16 17 EXT. moving through the shadows. And how was your dinner? NURSE WELLES She can’t hear you. tilting it back and forth as if it were a rocking chair. (beat) Maybe it’s the guilt. white face. Nurse Welles takes a paper cup filled with meds and puts them to Laurie’s lips. . NURSE WELLES (cont’d) Now all she does is stare out the window. The doll is like a bean-bag. Strode. exits the building and peers into the mist. There are HUNDREDS of pills already there. SANITARIUM . Then. NURSE PHILLIPS Hello Ms. 16 LAURIE’S POV . a chubby baby-faced young staffer. she spits the meds into her hand. They push their cart back out the door.NIGHT .OUT THE WINDOW In the WOODS around the facility. (beat) Extreme dissociative disorder. NURSE WELLES (cont’d) The doctors think she’s a suicide threat. and accepts a sip of water. They found her up on the roof more than once.. In her arms she clings to a tattered Raggedy Anne doll. God knows what she sees out there.08/12/2002 Pink Revisions 5. while staring blankly out the window. she peels back the fabric on the doll’s head and dumps the pills into the stuffing.. we get just the faintest glimpse of a dark shape. She takes them in her mouth passively. LAURIE STRODE She sits in a straight-backed chair. She hasn’t spoken a word in years.

Nothing there. Willie looks up. He fumbles the flashlight. Willie closes the gate. who you supposed to be today? .08/12/2002 Pink Revisions 6. It's one of the patients.. towards the front gate.. Bushes and branches undulate in the murk. but the pack. How the hell did you get out again HAROLD pulls up his mask. WILLIE Hey. right on top of him! ANGLE ON WILLIE He JUMPS back and almost falls to the ground. WILLIE (cont’d) And. The CRACK of a twig. Something CRUNCHES in the bushes just beyond the steel fence. the beam lights up. He is spooked. he nervously tries to light a cigarette. A MASKED FIGURE Arms raised. As he picks it up and turns back. Willie WHIPS AROUND and points his flashlight into the woods bordering the property. WILLIE (cont’d) Harold. and drops it on the ground. WILLIE (cont’d) Jesus Christ! You want to give me a heart attack? The figure moves into the half-light. HELLO? Who’s out there? He walks over the wet grass. lighter and flashlight are too many things to hold. walking awkwardly and flapping his arms. He's wearing a red-and-white clown mask. A figure moves in the gloom behind him. A FIGURE IN A WHITE MASK. but too late to notice. Then. revealing a sweet faced man-child who avoids eye contact. The grounds are dark and his flashlight is dim. He sees the gate is open. pointing the light one way and then another.

how come I see him in the basement? WILLIE I. SANITARIUM . Executed on May 14. FRANKLIN (sarcastic) Willie. Willie leads him through the SIDE DOOR of the Sanitarium.NIGHT She continues staring out the window. a wily old veteran sits at the security desk by a bank of MONITORS. LAURIE’S ROOM . FRANKLIN He didn’t scare you with his Halloween mask did he? The Older man has a hearty guffaw.. but if Harold’s in his room. Waiting. Illinois on March 17. FRANKLIN Come on. HAROLD (savant monotone) John Wayne Gacy. 1994. Willie takes the man's arm and walks back. He hands Willie a stack of paperwork.. Born in Chicago.NIGHT 19 FRANKLIN MUNROE.. Patient.08/12/2002 Pink Revisions 7. I don’t mean to criticize your work. 18 INT. 18 19 INT. I just. Just two seconds ago he was... WILLIE No. Killed thirty-three people and buried them under his house. let’s go get him. 1942.. WILLIE I put Harold back in his room..SECURITY . Franklin looks up at the monitor just is time to see a HULKING FIGURE move in and out of view. . But...

Something makes Franklin hesitate. Old machinery growls. The chubby younger man is distracted by a VENDING MACHINE.. SANITARIUM . SANITARIUM . constantly looking over his shoulder. Gurgling pipes snake along the walls. POV DOWN THE HALL He sees nothing.. As he rounds another corner he sees. A HULKING FIGURE 22 stands in a dark corner.. FRANKLIN (weary) Well. but the hulking figure doesn’t respond or turn around.NIGHT 20 Willie and Franklin jog down the hall. reaches out to touch the man’s shoulder. Franklin approaches. and lags behind.BASEMENT . FRANKLIN What the hell are you doing? WILLIE I skipped dinner.. Hostess snacks. 20 INT. FRANKLIN What’s gotten into you? You’re not supposed to be down here.NIGHT 21 We FOLLOW Franklin as he moves farther and farther into the dark bowels of the basement.08/12/2002 Pink Revisions 8. Franklin moves closer. He stops. FRANKLIN Harold? 22 ANOTHER CORRIDOR Franklin creeps down the hall. Mmmmm. near laundry bins.BASEMENT . the walls grimy. . The floors are damp. facing the wall. 21 INT. FRANKLIN (cont’d) Harold? Cautiously. hurry up.

24 25 BASEMENT . Willie flips the dryer off. tentatively poking and digging through the bloodstained linen until he UNCOVERS SOMETHING. His hand shaking.. swings back and forth. THUM-THUMP! THUM-THUMP! THUM-THUMP! Something in the dryer is banging around with the clothes. THUM-THUMP! THUM-THUMP! THUM-THUMP! He looks at the dryer as the clothes spin. WILLIE Harold? Frankie? Through the glass door of the dryer.. ANOTHER ANGLE ON WILLIE He backs away in horror and revulsion. An EYE stares back at him from between the sheets. he sees a STAIN spread across the laundry.LAUNDRY BINS Willie creeps into the area and steps cautiously around a laundry bin. The thumping stops. like a tennis shoe. VIEW FROM INSIDE THE DRYER Willie bends down and looks through the circular doorway.08/12/2002 Pink Revisions 9. only HEAVIER. when from somewhere he hears an agonized..BASEMENT VENDING MACHINE .. 23 24 WILLIE’S POV As he darts down hallways and rounds corners. SANITARIUM . HE STUMBLES AND TRIPS - ... 25 A single yellow bulb.NIGHT Willie starts on a second round of Hostess snowballs. He REACHES IN... turning the fabric a GHASTLY RED. hanging from a chain. looking for his partner but seeing nothing. Willie stands and walks down the corridor in the direction Franklin had gone minutes earlier. 23 INT. echoing SCREAM that is cut violently short. his lips frosted with icing. causing shadows to rise and fall on the walls. Willie reaches out and OPENS THE DRYER DOOR.

in silhouette. SANITARIUM . 29 CORRIDOR . 28 CRASH! The figure hurls himself against her door. hidden under piles of blankets.. thrashing wildly. Laurie appears behind him. TOP FLOOR . Laurie backs out into the hallway.08/12/2002 Pink Revisions 10. slashing the blankets with his blade. but there is NO ONE IN THE BED .ANOTHER FLOOR . 26 INT. Michael Myers lowers himself with one hand from the pipes on the ceiling. wielding a TABLE LAMP. Michael reaches around and slices his throat.just PILLOWS and the limp RAGGEDY ANNE DOLL. and RUNS. scattered on the floor like marbles. His HEADLESS dead body. until one of the hinges BURSTS free of its housing.CONTINUOUS 30 He flies into the room towards the bed. LAURIE’S ROOM .ANGLE ON MICHAEL 29 as he gives one last mighty THRUST of his shoulders and the door BURSTS OPEN -- 30 INT. Behind Willie. with the clown mask pushed up around his forehead. born November 24. HAROLD Ted Bundy. No one is left to stop him. sits in bed with a Detective magazine. led by some preternatural instinct. 28 INT. . enters from the stairwell. The walls are covered with other disturbing Halloween masks.CONTINUOUS Laurie lying in bed. The shadow plods down the hallway with grim determination.. and reaches the door at the end of the hall. Willie scrambles back to his feet. 27 INT. CRACK! She clubs the back of his head. LAURIE’S ROOM .NIGHT 27 The dark shape. 19 -He looks up just in time to see a dark figure with a gruesome blade walk past his observation window. and before the guard can scream. CRASH! And again. Glass flies.NIGHT 26 Harold.LONG CORRIDOR . Bulb POPS! Michael SLIPS on HUNDREDS OF PILLS. AND FALLS over Franklin’s DEAD BODY.

others bark. setting off the ALARM. LONG CORRIDOR . and Michael's feet are jerked up toward the top of A CANTILEVERED HOOK meant to hold a window washer’s rig.CLOSE ON A lever is pulled. And Laurie rises up from her hiding place. methodical gait. a COIL OF ROPE ensnares his feet. The SOUND of hollering. upside down.. As he moves to the EDGE OF THE ROOFTOP. some scream. 33 EXT. as he reaches the edge of the roof. crouching in the one place he can’t see her. He sees Laurie’s robe dangling from the guard rail. Looks left.FOLLOWING Laurie looks back down the stairs and sees his shadow lumbering after her . 31 INT. behind the housing of the doorway he came through.. . like a wolf in a snare. Slips.ROOF .CONTINUOUS 31 Laurie flees down the corridor as Michael staggers after her in his relentless. All around we can hear the patients waking up. QUICK CUTS .” She scrambles through. ON LAURIE She desperately tries one door and then another.NIGHT . ON MICHAEL. He dangles. Finally she finds an open door labeled “ROOF ACCESS.She barrels up the steps.08/12/2002 Pink Revisions 11. His KNIFE clatters onto the roof. Not scared... but they are ALL LOCKED. she smiles. over the edge of the building. her face one of resolve. 32 INT. A spool turns. STAIRWELL . SANITARIUM . babbling patients rises to a cacophony. regains her footing and runs. Laurie is desperate. He looks right. Michael is getting closer and CLOSER. we REVEAL Laurie. 32 And goes through the door to the roof.WIDE 33 Michael bursts through the door to find what seems to be an EMPTY ROOFTOP. Some are crying out. pulling the rope through pulleys. Steps forward.

She stands just out of his reach. LAURIE I’ve been waiting for you Michael. Resolute. (beat) But are you afraid of me? He’s silent. She picks up the knife. TAUNTING HIM. I’m just not afraid of you anymore. HE BURIES THE KNIFE IN HER BACK! She arches her spine in pain. LAURIE (cont’d) I knew you’d come for me sooner or later.. Michael SPINS and GRABS LAURIE’S HAND. LAURIE (cont’d) I’ll see you in Hell. this time only inches apart..08/12/2002 Pink Revisions 12. Then. She steps forward. But Michael catches the edge of the roof with one hand.. LAURIE (cont’d) You failed Michael. his other still gripping the knife imbedded in her back.. . holding her like a dance partner.. Walking towards him. She seems oddly serene. and they both tumble and FALL. And holds it to the rope where it passes through the pulley and begins cutting. Calm. or a ghastly lover. even triumphant. LAURIE (cont’d) I just have to be sure. their eyes meet. TUGS IT! It starts to come off. THE ROPE SNAPS. But then she hesitates. twisting her arm behind her. She walks closer. reaches out and grabs the mask. What took you so long?.. Michael doesn’t answer. She looks down at Michael’s mask. just as the rope is about to snap. CLOSE ON LAURIE AND MICHAEL For the last time. For a moment they hang over the abyss.

Harold clutches the bloody knife. the tip pointed at Harold’s eye. 34 INT..DAY PROFESSOR Jung tells us that the human psyche contains a kind of bogeyman. Harold wears a clown mask eerily similar to the mask Michael himself wore when he murdered his older sister. Born Oct.. HAROLD (cont’d) Michael Myers. It is the part of ourselves that the conscious mind denies.. like Death himself. the collector’s Holy Grail. opens the door. Michael Myers lumbers into the dark.. HAROLD (V. approaches the babbling. The dark. A grimy hand lowers the blade and puts it in Harold’s hand. returning home. Harold looks up in fascination and wonder. A knife drops into frame. 19.M. SANITARIUM . violent.LONG CORRIDOR .08/12/2002 Pink Revisions 13.) Killed his older sister.M. She gently kisses his masked lips. And Laurie FALLS.NIGHT MICHAEL’S POV 34 He looks in Harold’s window.. 35 INT. (MORE) 36 . unpleasant side. sitting on his bed. 1957. 1978.. Killed 3 high school students.. and she is swallowed by the darkness..O... ANGLE ON MICHAEL as he slowly pulls himself back up onto the roof. LECTURE HALL .NIGHT Harold continues to mumble statistics as we ROLL CREDITS. becoming the SUBTERRANEAN TUNNEL that we saw in the opening.. 35 As the corridor around him DISSOLVES. October 31. 36 INT. October 31. HAROLD M. childish man. SANITARIUM . the fabric flapping like angel’s wings. her white robe falling with her.. 1963.

. PROFESSOR Thank you Sara.” Jung called this figure. She’s smart and capable but “afraid of her own shadow.DAY 37 Out of class walks SARA. people. SARA The shadow. Jen! . I’m glad somebody was awake.. Then we find SARA MOYER. getting closer and closer until.” She pushes her SCOOTER across campus. STALKER’S POV We continue to follow her. Peer at her through branches of a hedge. all bored to tears... STALKER’S POV And she is. PROFESSOR (cont’d) Stay with me.we must face this figure. an ugly duckling who woke up about a week ago to find herself a swan. We follow her from behind trees. sensing that she is being followed. SARA Damn it.. looking over her shoulder. JEN Booo! Sara SCREAMS a distinctive.become whole . Unnaturally piercing.. BETWEEN BUILDINGS It’s early and the campus seems deserted... NORTHWESTERN UNIVERSITY .. She is fascinated. Watch her from over fence tops. a figure he called. Sara takes a short cut. walking the scooter through a space between buildings. (beat) In order to become fully integrated . JEN (cont’d) Ouch my ears. 37 EXT. the only one taking notes. It could wake the dead. blood curdling SHRIEK. Take that Kierkegaardian “leap of faith. PAN over a row of students.08/12/2002 PROFESSOR(cont'd) Pink Revisions 14..

JEN Well you better toughen up girl. SARA Oh no. Sara takes a deep breath. 38 INT... I was just kidding.08/12/2002 Pink Revisions 15. a bubbly girl with a made-for-TV smile and a sadistic sense of humor. an African American with a smooth voice and easy smile. CAFETERIA . Are you all right? Hey Sara. JEN Hey. while the beat of house music blares from a nearby Boom box. You know I hate that more than anything. She’s spooked and mortified. . bursts into laughter. Other students nearby flip burgers.. Beat. Not ever. . JEN That expression was classic! I should have had a camera. I’m okay.. JEN DANZIG. Jen hugs her friend. There they find RUDY GRIMES. But Sara is genuinely upset.DAY 38 Sara and Jen cut through the line and work their way to the grill.. He is chopping up vegetables to put on the grill. What did you sign us up for this time? Jen grabs Sara’s hand and drags her towards. SARA Don’t you EVER sneak up on me like that. RUDY Don’t distract me. ‘cause you’re gonna be a star. He chops the vegetables with LIGHTNING SPEED. SARA I just. JEN Hey Rudy..

” Bigger than “Survivor”! . RUDY This better not be one of your little jokes. Rudy cheers and holds up his arms like a man scoring a touchdown. and that guy with the hair. Where’s your sense of adventure? SARA (eyeing nearby trays) The turkey tetrazinni is adventure enough for me thanks.08/12/2002 Pink Revisions 16.. I just haven’t decided yet. RUDY What? Unacceptable! Un-ex-ceptable. JEN No. RUDY You know Donna is going. But Sara doesn’t want to go. JEN Have you checked your E-mail? RUDY No. RUDY Sara! What about the mystery? Those inner-chambers-of-the-humanmind that you’re always going on about. (beat) We’re gonna big bigger than “Real World. Jen urges Rudy on with a surreptitious nod. it’s true. They’ve got a new investor. Jim. You send me something? He juggles the knives and twirls them in his hands like a drummer showing off.. SARA I might do it.. his hands darting over the food like he has eight instead of two.. JEN It’s back on.

IT’S DANGERTAINMENT! Freddie glances off camera at NORA WINSTON. whose latest venture has captured the imagination of net surfers throughout Illinois. without us. Amazonian dream. RUDY Baby. Today’s audience doesn’t want tired old plots and slick production values. Bob nods his head in oh-so-earnest agreement. Put down the remote and pick up your mouse.. She is a lithe.. BOB My guest is Internet entrepreneur Freddie Harris. This is America’s pulse. charming as a circus ringmaster. Entertainment as we know it is OVER. who gives him a reassuring thumbs-up. you’d die of boredom. Knows what she wants and just how to get it.08/12/2002 Pink Revisions 17. FREDDIE Well Bob. It’s not TV. 39 INT. Razor sharp eyes. I live to regret it. SARA (smiling) Every time I let you two talk me into something. slick as a snake oil salesman. a smiling. CABLE ACCESS TALK SHOW .DAY 39 FREDDIE HARRIS. sits across from host BOB GREEN. FREDDIE (cont’d) They want “reality. small-time sycophant. as it happens. The faces of the six Haddonfield students flash up on the screen behind Bob and Freddie.” and they want to see it NOW. . (on a roll) This is the future. Behind them are images on a large flat screen. CLOSE ON the KNIFE as he buries it in a nearby pumpkin.

) Yeah.” FREDDIE That’s right.. unexplained murders.C. (beat) Now. BOB For those viewers who may not be familiar with his show. On the screen. LIVE. you’ll see EVERYTHING they see. DAN (O. you’re on with Bob and Freddie. .) Uncover what? FREDDIE Well. We don’t know exactly what they’ll find.C. I don’t get it. we see video images of various ghastly environments. What will these kids DO exactly? FREDDIE Explore. The sites of ritual cult suicides. but we do know that not since Geraldo entered Al Capone’s safe on LIVE TV has DAN (O. Mr. Mr. during the internet broadcasts.C. (beat) And as we look for answers.08/12/2002 Pink Revisions 18. you’ll be sending them to “infamous locales. Bob presses a button and we hear the voice of the first caller. DAN (O. (beat) What if nothing happens? There is an awkward pause. Uncover. Harris.) But there was nothing IN Al Capone’s safe. Harris has selected six Haddonfield University students from hundreds of E-mail submissions. mysterious disappearances.. BOB Dan from Haddonfield. Discover.

. FREDDIE Oh in places like these SOMETHING is bound to happen. The host cuts him off in mid sentence.. It’s like we’re investigative reporters searching a crime scene. I can give you my personal guarantee.. it uncompresses and unfreezes. A Raggedy Anne doll leans on the monitor. SARA Are you sure they’re not just putting us in a house with hidden cameras in the shower? JEN No. live on the internet.. 40 INT.. A39 INT. our six college students will enter and explore the childhood home of infamous mass murderer. then compressed and shot down a cybertube. SARA’S DORMROOM .. The studio audience (off camera) APPLAUDS. no. DAN But if it’s “real” how can you be so sure that. towards the face of SARA MOYER. FREDDIE Halloween night. Dan. CYBERTUBE DIGITAL TRANSITION: A39 The image is momentarily frozen. We PUSH IN on the screen. Sara and Jen sit at the desk reading it.. Reaching its destination. (beat) Now Freddie... Michael Myers. “CONGRATULATIONS: You have been cast. HOST Thanks for the call.08/12/2002 Pink Revisions 19.”..DAY 40 An E-mail pops onto a computer screen. what do you have planned for the pilot episode? An old picture of a seemingly ordinary suburban home pops up on screen next to the students faces. (MORE) .

.. That kind of exposure is priceless. Aron backs up to the door. ARON (cont’d) And he never put it down again. okay you got me. (beat) Then one day he picked up a knife. Pink Revisions 20. THOUSANDS of people are going to see my. JEN Don’t pay any attention to him. at that very moment inside Michael’s house. hid in its closets. a creepy student.. looking around as if he were standing.. he just thinks he can scare us. you circus freak? ARON That’s the house where it all started. He helped his mother in the kitchen. ARON (cont’d) He walked its hallways. He takes two steps into the room.S. played in his sisters bedroom. watched TV in the living room with dad.) Don’t do it.. Don’t you KNOCK.. And as mysteriously as he came... dreamed in its bedrooms. JEN Aron. MALE VOICE (O.08/12/2002 JEN(cont'd) (beat) And look at the scholarship. SARA Yeah. . Aron exits. I could really use that money next semester. and has been looking over their shoulders at the screen. our faces. ANGLE TO FIND ARON. JEN Besides that. Sara looks to Jen and smiles. I’m running on fumes. who has wandered in the open door.

MYLES’S BEDROOM . a clever 15-year-old in the midst of a “geeky” stage. MYLES BARTON. checks his email: “Deckard. SARA I need to send a quick E-mail. We talk like EVERY day. She begins typing. She’s never even seen you. (groaning) Now what are you doing? MYLES Hold on. . A40 41 INT. Scott reads some of another E-mail on the screen SCOTT You told her you’re a graduate student? Graduate of what. CYBERTUBE DIGITAL TRANSITION: A40 41 INT.DAY The room of a typical adolescent with an addiction to video games and the internet. who is looking over his shoulder. Scott is so bored his head is about to explode.. It’s like we’re dating. Just gimmie a second. Check out this website [URL].08/12/2002 Pink Revisions 21. SCOTT Deckard? Who’s Deckard? MYLES It’s just my screenname. you’re not going to believe what I’ve gotten myself into. junior high? MYLES Shut up.” MYLES quickly clicks the window to hide it from his nosy friend Scott. Myles types clicks the weblink and waits for the page to download. In Sara’s case it seems to have worked. SCOTT Yahoo chat rooms don’t count..

FORREST . are you stoned? SCOTT Oh sorry. Over logs. and hellbent on getting somewhere. He is determined. Tearing through bushes. tacos or movies here. 9 different movies in one place! MYLES What.. that girl’s HOT! Confused. Michael plods on and on. 43 EXT. you’re right.NIGHT AN OLD RED CAMARO . three tacos for a dollar. Myles looks around his room. look! MYLES What? SCOTT Over there.08/12/2002 Pink Revisions 22. There is a lace bra hanging on the open door. unstoppable. As the familiar HALLOWEEN THEME rises. 43 . Suddenly he reaches a clearing and comes upon.. 42 EXT. Sees nothing.. MYLES What girl? SCOTT (pointing at the wall) And check THAT out. I’m logging off. And there. BECAUSE WE’RE STILL IN YOUR FUCKING ROOM! MYLES Okay. CLEARING ... the DANGERTAINMENT Website pops up on the screen with picture of the home of Michael Myers. SCOTT (pointing across the room) Oh my God. There are no real girls. Just as turn to leave.NIGHT MICHAEL MYER’S POV 42 We see through his eyes as he barrels through the underbrush like a juggernaut. okay.MICHAEL'S POV He looks inside the car at the empty black-leather seats.

ratty tubesock & silk panties. He sits up and scrambles out of the tent. It leads to a small clearing where there is a campfire and a TENT. Then silence. Rustle. Something has her unnerved. TENT . BOY Hey. No dice. and his head tilts slightly as he watches the girl’s shadow undulate. ON MICHAEL The mask emerges from the gloom. a sight he doesn’t fully understand. She crosses her arms. Not happy.CONTINUOUS A43 Suddenly the girl lifts her head from his lap and SITS UP. bodies entwined in graphic motion. Nearby he hears the sound of a teenaged girl GIGGLING. On the nylon walls is a shadow dance of the couple inside. He follows a trail of discarded prep school uniforms: white oxford shirts. GIRL Go out there and check. BOY There’s NOTHING out there. BOY I’ll check when you’re finished. BOY No you didn’t. A43 INT. Keep going.08/12/2002 Pink Revisions 23. GIRL Check NOW. Bustle. don’t stop. GIRL I heard something. She listens intently. plaid skirt and saddle shoes. ON THE GIRL She listens to the boy trudge around the campsite and mutter to himself. GIRL Sean? Do you see anything? .

SCOTT What are you scared? MYLES The other way is shorter.NEAR THE TENT .NIGHT The girl cautiously steps out of the tent. SUBURBAN STREET . preferring to go left. VAARROOM!! The car engine roars to life. B43 EXT. CLEARING . B43 44 EXT. She’s speechless. She sees nothing. Then a snapping twig. Nearly had a coronary. then she WHIPS OPEN TO see. momentarily illuminating the surprised couple as Michael drives off into the night. Then more silence... . she sees only dying embers and dancing shadows. BOY Nothing’s out here. Stepping gingerly over pine needles. Scott makes a right turn. Beat. Spooked. Out the crack in the tent door. Silence. ON THE GIRL Half naked. SCOTT It’s like three times longer. but Myles stops. GIRL (a whisper) Sean? An interminable moment. MYLES Let’s go the other way. She hears the JINGLE OF KEYS. Then. THE BOY. More silence. A grunt.. Headlights swing across the tent. Sean.MORNING 44 Scott and Myles ride their bikes down the sidewalk. holding a roll of toilet paper. She scans the trees with her flashlight.. A muffled gasp? GIRL (cont’d) Sean? Beat.08/12/2002 Pink Revisions 24.

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Pink Revisions 25.

Myles hesitates. Looks down the long dark road. SCOTT (cont’d) Come on. Myers’s ghost isn’t gonna jump out and get you for trespassing. (teasing) We’ll ride real fast and I’ll tell you when to cover your eyes. MYLES (riding after him) Shut up.

45

EXT. DARK SUBURBAN STREET - MYERS HOUSE - MORNING

45

The two boys tear through the neighborhood as fast as their feet will pedal. They pass... A truck backing into a driveway. Two men slide open the back revealing that it is packed to the roof with camera and video equipment. Written across the truck: “Dangertainment” Nearby FREDDIE and NORA watch the men work and make check marks on their clipboards. FREDDIE What about night vision. I don’t want to miss anything because of low lighting. A pair of workmen pass by with a tri-pods and cables. NORA Got it covered, sweetheart.

46

EXT. DORMITORY - DAY

46

Sara exits her dorm carrying a duffle-bag and a helmet. There is a group of students milling about. SARA Hey, have any of you seen Jen? STUDENT Yeah, I think she and Rudy just took off. SARA (annoyed) Without me? Whose car did they take?

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Pink Revisions 26.

A few of them shrug. Sara climbs on a Honda scooter and zips out into the street.

47

EXT. BACK ROAD - DAY - MOVING

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Sara putts along on her scooter, only doing maybe 45 miles an hour. She seems lost in thought on the empty road. We FOLLOW HER as she drifts farther and farther ahead. Then we see, creeping into view, following at her pace... THE RED CAMARO Tinted windows. It’s engine growls with a bad muffler. ON SARA She rides on, for several miles, blissfully unaware of who is following her.

48

EXT. BACK ROAD - DAY

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Sara spots the car in her REAR VIEW MIRROR. She slows to 35 miles an hour and waves for it to pass. But the CAMARO doesn’t pass. It keeps pace, following 30 feet behind her. Sara slows down to 15 miles an hour, waves the car on, but it still will not pass. The glare and the dark glass make it impossible to see the driver

49 50

OMITTED EXT. BACK ROAD - DAY Sara PULLS OVER. And the CAMARO pulls over, just 50 feet behind her. A sign reads: Haddonfield 5 miles. Suddenly she smiles in recognition. SARA Jen! Rudy! Why’d you leave me behind? But there is NO RESPONSE. POV FROM THE CAMARO. The driver studies Sara’s face. WIDE ON THE ROAD

49 50

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Pink Revisions 27.

Suddenly the car peels out, lurches and swings out into the street, kicking up a cloud of dust as it roars past her. SARA (cont’d) Asshole! The car SCREECHES TO A HALT. Sara looks up and down the empty road. No one in sight for miles. Completely vulnerable. Now she is scared. Abruptly, the car PEELS OUT IN REVERSE, barreling towards her. But just as she is about to be RUN OVER, Sara turns her scooter and zips off the road... FORREST TRAIL She tears down the narrow path, for about twenty yards. The car follows her part way, ripping through the underbrush. Then it stops. The path is too narrow. It pulls back out and tears off down the road. Sara watches, shocked and unnerved.

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EXT. HADDONFIELD HOTEL - LATER

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Sara races her little scooter into the parking lot. She sees a van in the lot that has a banner, “Dangertainment.”

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INT. HADDONFIELD HOTEL - MEETING ROOM - DAY

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The six students, still wearing backpacks and carrying travel bags, are assembled as a small digital camera crew works around them, creating a PROMO for the Halloween event. It is chaotic, everyone is talking at once. Hand held digital cameras are moving from person to person. Jen, with a big duffle bag on rollers, rushes up to Sara. JEN We were supposed to meet at West Andrews. I thought I told you (beat) Wow, you don’t look so good. SARA I’m okay. Do you know anyone who drives a red Camaro? JEN No... but, is that what you’re wearing? Did you know we were going to be on camera today?

half “Puff Daddy.” Majors in music. ON JEN AND SARA JEN Oh. FREDDIE (MONITOR) The search is over and you six have been selected to explore America’s worst nightmare. me and a bottle of tequila. Backstage at the labor day concert. Sara looks down at her sweatshirt and jeans. 53 INTERVIEW AREA On the other side of the meeting room. you will enter the birthplace of evil the childhood home of the most brutal mass murderer in history. JIM MORGAN is a wannabe rock star. what do you think caused Michael Myers to kill? . He looks to camera with his best entrepreneurial face. minors in womanizing. I’m Sara. We’ve never met.08/12/2002 Pink Revisions 28. right Alice? SARA No. Wearing all black clothing and thick-rimed dark glasses. she is a siren of “deconstructionism”. another camera has been set up and the students are doing interviews in turn. 53 DONNA CHANG is consummate euro-trash. Freddie’s image on a FLATSCREEN covers a good part of the wall. JIM (relieved) Thank god. Halloween. You. (beat) Tomorrow night. live in front of the Internet nation. half “lizard king”. JIM (knowing smile) Of course I remember. NORA (OFF CAMERA) So Donna. and smoking imported cigarettes. do you know Jim? His band plays at Lupos on Thursday nights.

54 55 INTERVIEW AREA 55 Jen checks her teeth for lipstick stains and then flashes her prime-time smile. Once I wrote a whole paper on the neopagan symbolism of candy corn.. BILL WOODLAKE is a player.. Don’t worry. he’s always working an angle.. BILL (winking) We’re just messing with you. I think it’s GREAT that you’re doing a little girlgirl “experimentation. He’s going to Yale Law next year. who cares? DONNA I also TOTALLY love Halloween. Silk tie and slick suit. We’re not. NORA (OFF CAMERA) What do you hope to find in the house tomorrow night.08/12/2002 Pink Revisions 29. Dry. 54 BACK TO SARA JEN You remember Bill. NORA (to the cameraman) What the Hell is she talking about? He shrugs: with face like that. DONNA I’m not interested in “causes” as such. SARA It’s Sara. BILL Jen’s told me EVERYTHING about you. I’m interested in how Michael Myers embodies the politics of violence embedded in pop-mythology. . Often smirking. cruel wit.” You’re rommates! Had to happen. right? SARAH What?! I’m not.. Suzy.

this is just the kind of investigative journalism I’ve always dreamed of. Jim flashes his I-just-can’t-help-myself grin. baby. Myers was never proven guilty in a court of law. but you’re gonna LOVE watching me look for it.. 56 BACK TO SARA 56 She stands with Donna..08/12/2002 Pink Revisions 30. From across the room.to woman as a gender. (smiling) Reasonable doubt. 57 58 BACK TO SARA She looks a bit bewildered. I mean POLITICALLY offensive ... what was the question? (beat) Right.. Rudy approaches.. and I’m not saying that’s true but. SARA . sexier Diane Sawyer. (beat) It would be a lot easier to take if he wasn’t so. DONNA He is so arrogant it’s offensive. JEN My way into network broadcasting? Ha ha... No seriously. 57 INTERVIEW AREA Bill looks argues his case adamantly to camera. (beat) Some of my friends say I look like a younger. Lacking DNA evidence he could be ANYONE. 58 . if he wasn’t so cute? DONNA Yeah. I don’t know what we’ll find. BILL And let me say this. The “alleged killer” always wears a mask. So.

59 60 THE OTHER SIDE OF THE ROOM Jen. Think “Oasis.08/12/2002 Pink Revisions 31. Sara nods. Jim wears sunglasses and looks aloof. She takes one bite of the odd looking combo of ingredients stuffed inside pannini bread. and Jim all get their room keys and their itinerary. Rapture! SARA This is the best sandwich I have ever had in my entire life. Next thing you know. you’re cutting up bodies in the bathtub..S. I’d advise you to court the media. I know it is. RUDY Hey. RUDY Oh yeah.. Bill. Not enough protein... Her eyes light up as she chews. And. JIM Nahhh. 61 .. I want to antagonize the press.) You’re barking up the wrong tree Fido. you look pale. I’d advise you to start drinking heavily. a bit too much Zinc.” BILL Then as your attorney.. we’re rolling. 59 INTERVIEW AREA RUDY Never underestimate the effect of a poor diet. BILL Jimbo. as your attorney. (beat) That’s why I’ll be opening my own line of diners. You want half my sandwich? Famished. 60 61 INTERVIEW AREA JIM So when do I get ask YOU some probing questions? NORA (O.

NORA Sara. (right up to the lens) Get to know him baby. why do ordinary people turn to murder? 63 . He’s hiding in that little reptilian brain at the base of your skull. FREDDIE (worried) These kids are striking me a bit phony. They’ll get “real”.. Jim eats it up. This is bad. real quick. 62 63 INTERVIEW AREA Sara looks extremely uncomfortable in front of the camera. rock bands. tell us. taking a bow. (moving close to camera) He’s the great white shark of your unconscious.08/12/2002 Pink Revisions 32. honey.. you’re going to have to wear some make up. NORA Wait until they get in the house. JIM (into camera) You don’t have to go far to find Michael Myers. when we do the shoot tomorrow night. and personal politics. they’re promoting restaurants.. 62 CORNER OF THE ROOM Freddie and Nora review their casting choices. Americans can sniff out an agenda a mile away.. SARA I am wearing make-up. he’s YOU! There is a round of SARCASTIC applause from the other students. I mean. He whispers to you to STRANGLE the old lady taking too long at the check out counter. NORA (interview voice) So Sara.

He is only wearing pajama bottoms. 65 A65 OMITTED INT. Freddie opens the door to find Sara with a beleaguered expression.I . FREDDIE Now THAT is what we’re looking for.FREDDIE’S CABIN . What a bizarre sound. This startles her and she lets out her distinctive EAR PIERCING SCREEEEEEEAM.. SARA Sorry. and sends a GIANT SHADOW on the wall behind her. Yes. and he is surprisingly muscular. honey.CONTINUOUS 64 Everyone in the entire meeting room looks over at her. The sound man rips off his earphones and grabs his ears. There is a insistent KNOCK on the door. SARA Well. She’s perfect.NIGHT 65 A65 Freddie sits in bed watching a KUNG FU movie and shadowboxing.upbringing and Suddenly a 2K light topples over. FREDDIE What? . Suddenly there is a ominous KNOCK.I think a lot has to do with . Freddie bends over to Nora and whispers in her ear. SARA I’m dropping out. this is just a rehearsal. NORA (smiling sadistically) Shhhh. NORA Relax. The glass in Rudy’s hand SHATTERS. CRASH. RUDY Damn! That girl can sing. I .08/12/2002 Pink Revisions 33. HADDONFIELD HOTEL ..uhm . 64 THE MEETING ROOM .

It’s hard for Sara to get the words out. I think I’m just scared. FREDDIE Wait. Wait. you signed a contract. wanna-be. Slow down SARA I’m ALL WRONG for this. Sara’s not buying it. SARA I’m sorry... That’s good. I am personally counting on you. Fear is good. (beat) Fear tells you you’re about to do something exciting. but I’m so freaked out right now I can’t even sleep. Fear makes you feel ALIVE. The others are just smart ass. SARA But what if I DON’T WANT to be famous. Fear motivates. posers. FREDDIE What do you mean you don’t want to be famous? That’s the American Dream! Beat. FREDDIE (cont’d) Besides. (beat) You’re the real thing.08/12/2002 Pink Revisions 34. SARA Fear makes me want to throw up. SARA I think. FREDDIE That’s okay. You’re what the internet audience wants to see. Can’t you see? I’m not like the others FREDDIE I know you’re not like the others. wise cracking... .

Sara tosses and turns. We move on. facing the other way. 66 EXT. I’m sorry to bother you. She closes her eyes. FREDDIE Sara. Sara nods and Freddie SHUTS THE DOOR.OUTSIDE SARA’S CABIN STALKER’S POV 66 We approach the room from the bushes that surround the Hotel.08/12/2002 Pink Revisions 35. But when she opens them the SHADOW IS MOVING closer and CLOSER. HADDONFIELD HOTEL . She languishes under the stream of hot water as steam clouds the glass and ruins the delicious view. A SHADOW moving across the bedroom wall.. Just sleep on it. SARA Well. Beat. FREDDIE (cont’d) (chuckling to himself) Freddie.. wide awake. HADDONFIELD HOTEL . She turns over on the pillow. .OUTSIDE FREDDIE’S CABIN B65 STALKER’S POV. We watch Freddie through the window. asleep. moving quickly down the path. Freddie.. shaking it off. Sara whispers. B65 EXT. I FREDDIE Do me a favor. you’re gonna surprise yourself. creeping along the wall to the BEDROOM WINDOW where we can see Sara switching off the light. Suddenly she sees. SARA It’s nothing. unconvinced. anyway. Sara.. And the shadow disappears. Then we turn. trust me. before all this is over.. 67 INSIDE THE ROOM 67 Jen is in bed.. slips back out the door. Peer in the BATHROOM WINDOW to catch a glimpse of Donna stepping in the shower. Sara breathes a sigh of relief. The shit you come up with off the top of your head.

DONNA DEFINITELY exhibiting signs of arrested social development. head on the floor. a baguette. and a bit intimidated by the revelry. Sara SCREAMS! And the figure falls face first through the window onto the floor with a CRASH! Jen flips on the LIGHT and laughs hysterically. Bill is upside down. Watching her. Sara’s eyes open as if she can feel the stalker’s presence. and several types of gourmet cheese. not really wanting to look. holding a KNIFE. Sara lingers near the door. 68 OMITTED 68 . did we compromise your virtue? DONNA (drinking) That’s okay. Donna dances on the bed like a flygirl in her towel. Jim appears with a BOOM BOX. VIEW FROM OUTSIDE THE WINDOW The party revs up. Donna appears.08/12/2002 Pink Revisions 36. and the PARTY inside. dripping wet. Shadows dance. Bill. She stares out into the darkness. CLOSE ON SARA Embarrassed. JIM Sorry Donna. lost in thought. A silhouetted FIGURE rises from the darkness. Rudy is at the window. Jenna and Jim drink and cheer her on. Wind through the trees. ON SARA Turning around slowly. letting the boys. In the window behind her. But Jen GIGGLES again and opens the door. You brought beer. JEN And you’re late. She is startled by THE FIGURE COMING THROUGH THE OPEN WINDOW. foot in the window. holding two six packs of beer. and wrapped in a towel.

NIGHT CLOSE ON THE CURB.. 69 EXT. revealing.. A massive boot steps on to the sidewalk.C.MORNING START on a pickup truck. . DISSOLVE TO: 70 EXT. we come across the window of a vintage clothing store. It’s not me.. looking through the racks. You’re gonna be on TV. DONNA Are you coming out soon or are you thinking of subletting? SARA (O.C. Gnarled trees and twisting vines are decades overgrown. 71 INT. boarded up and fallen into disrepair.. JEN (looking in the mirror) Well. Donna and Jen are inside. Jen gasps with enthusiasm.08/12/2002 Pink Revisions 37.) I don’t like it.) It’s not TV. loaded with pumpkins - 70 Then. Graffiti is scratched on the rotten walls. Sara. VINTAGE CLOTHING STORE . SUBURBAN STREET . MICHAEL MYERS HOUSE Old. The door opens. SARA It’s a bit. SARA (O. 69 A red Camaro rolls to a stop. 71 Sara comes out of the dressing room wearing a lace camisole as a top . HADDONFIELD . And Michael stands in front of it like the prodigal son.CONTINUOUS Jen and Donna knock on the dressing room door. we gotta start someplace. it’s the internet. JEN You have to get something nice. We PULL BACK to reveal.much sexier than anything she’s used to.

DAY 72 The Computer screen shows Freddie’s “Michael Myers” webpage. Donna’s the hottie. She GASPS. SARA Donna. Then behind her. DEVASTATING. she’s like 20 years old. She does look fantastic. JEN See another rabbit? Sara approaches the storefront window and looks out. spare me the Psych 101. JEN Oh. Fear of shadows. impressed with her own metamorphosis. 72 INT. DONNA Better than radiant. I think you look RADIANT. . MYLES So what.08/12/2002 Pink Revisions 38. don’t start. SQUEALS and SPINS around. SCOTT Dude. Donna and Jen look at each other. DONNA Sciophobia. she catches a glimpse of SHADOWY FIGURE in a WHITE MASK looking in the storefront window. And up pops a PICTURE OF SARA next to the other five group members. Scott watches as Myles clicks an icon. Not this again. MYLES’S BEDROOM . MYLES (enraptured) There she is. Sara looks at her reflection. I have a college level vocabulary. its engine growling as it disappears. Sara looks down the road and catches site of a RED CAMARO rounding a corner. But the figure in the window is gone. SCOTT And she’s not even the best looking of the three.

08/12/2002 Pink Revisions 39. (beat) Do you know what I had to GO THROUGH to get us invited? MYLES Go through? Your sister invited us so you wouldn’t tell your mom about her tatoo. Micki Stern’s party is tonight. She’s really nervous about it. I promised to watch her first episode. it’s worse. Beat. You’ve been CYBERWHIPPED! (beat) Hey. SCOTT Forgot? Do you have any idea what it means for two FRESHMEN to get in? It’s never happened before. MYLES Sara’s a really nice girl. SCOTT Oh my God. you know that. YOU wouldn’t understand.. MYLES (angry) Oh .. MYLES (sighing) Oh right. . You’re pussy whipped. Scott looks at his friend in disbelief. Scott points at the computer. Scott’s mouth drops open. No. Beat. Someone I can relate to..I can’t even talk to you. were’s your costume? MYLES I’m not going out tonight. You you have NO appreciation for SCOTT And Jen’s got a WAY bigger rack. No. SCOTT (Deadly serious) No.. I guess I forgot.

JEN Your chat room romance? SARA (blushing) Shhh. (pointing outside) OR. with a a bad toupee. listen up.08/12/2002 Pink Revisions 40. The house has been rigged with several cameras. “I hope you’ll be watching tonight Deckard.. your collar. Sara. ON Myle’s conflicted expression we CUT TO: 73 INT.” She smiles as she sends it. but for the most part. Freddie gives them a pep talk. JEN He probably collects human skin. you can either sit in your room playing in the magical world of make believe. 73 . A technician outfits the students with their camera equipment. Freddie holds up a tiny camera about the size of a pen. the audience is going to see ONLY what YOU see. SARA JEN. Myles Barton. He’s just a friend. SARA Jen.DAY Sara uses her palm pilot to send an E-mail message. FREDDIE (cont’d) These cameras can be clipped onto a hat. HADDONFIELD HOTEL . FREDDIE Okay. SCOTT The point is. even rigged to a pair of glasses. JEN He’s probably fifty and fat. Later..MEETING ROOM . you can come with me to this party and learn to walk like a man.

I don’t want anything to ruin the atmosphere. (beat) So. do something interesting. and then she recognizes herself. you don’t leave the house until the show’s over. watching the view displayed on the monitor. phallic. Bill surreptitiously extends his arm around Jen’s shoulder and points it down her blouse. She smiles mysteriously. The inside of his mouth fills the screen. DONNA Cameras are so. FREDDIE The viewers control what they watch. Jen squints at the monitor showing her cleavage. He walks closer and closer to Donna. They have finished outfitting Jim with a camera. FREDDIE Leave your cell phones and pagers in the Van.08/12/2002 Pink Revisions 41. FREDDIE Once you’re inside.. JIM Is that good or bad? DONNA Depends who’s watching. They can switch from camera to camera depending on what’s most interesting. RUDY Ohhh. He walks around the room. BILL Objects in mirror are larger than they appear. turning one way and then another. . Rudy grabs a little camera and puts it in his mouth. looks like a cavity.. until her face fills the video screen. if you want to be the star of the show. She gasps and elbows Bill in the stomach. For a moment. Eruptions of laughter.

CLOSE ON JIM He has dropped the little camera down the front of his pants. FOCUS. . Scary.LATE AFTERNOON CLOSE ON CABLES running from a GENERATOR parked in the driveway.08/12/2002 Pink Revisions 42. The others HOWL with laughter and shock. FREDDIE Hey. Rudy passes his camera to Sara. BOOOORING. with a tangle of wires and ELECTRICAL CORDS feeding the system. We’re trying to make history here. up a flight of stairs. A technician inside turns the camera and points it at his face to demonstrate. It’s somewhat jury-rigged.C. 75 Nora sitting at a MIXING PANEL controlling a bank of MONITORS.. Jen squeals at the sight on the monitor. come on. CHARLEY (O. Low angles. The view on one monitor. FREDDIE (cont’d) I can’t work with this. who sneaks behind Bill and points the camera up under tail of his untucked Oxford shirt. 74 75 INT. MYERS HOUSE . MYERS HOUSE . blurry blob. Scary. 74 EXT.. is adjusted again and again.. JEN Back hair! Back hair! Aaaaaaahhh! The meeting is dissolving into chaos as they horse around with their cameras. We follow the cables into the open door of.. Medium angles. Behind him on the monitor is a dark. The students can’t figure out what they’re looking at. NORA (into a walkie) Hey Orson Welles. pick a placement and move on.) (over walkie) High angles.DUSK We continue following the cables to find...GARAGE .

Charley. 76 Behind him an ominous SHADOW of a hulking figure moves across the wall. CHARLEY Never show a fool an unfinished masterpiece. Same as Speilburg.CONTINUOUS 77 Nora plugs in the cappuccino maker and scoops up some fresh ground coffee. trying various shots up the stairs. continues to fiddle with the camera.) Nobody. Charley.” 76 INT. . Getting closer and closer. I went to film school at Long Beach State. NORA (O. NORA (over walkie) Overrated?! Did you learn that one shooting weddings and Bar Mitzvahs? CHARLEY Hey. A single worklight floods the otherwise darkened space. We’re not remaking “Touch of Evil.CONTINUOUS A young technician.08/12/2002 Pink Revisions 43.C. Her back is to the monitor. GARAGE .) Max is back at the hotel helping Freddie. 77 INT.STAIRWAY .) (over the walkie) We’re not remaking “Touch of Evil. NORA Would you please just tell Max to rig a camera in the sister’s room.” CHARLEY Good. CHARLEY (O.C. NORA I’m on a schedule here. CHARLEY (O. NORA Well who’s in there with you.C. MYERS HOUSE . Welles is overrated.

. (beat) Oh.CONTINUOUS 78 Charley tapes down electrical cables to the floor. (beat) It’s gonna ruin the establishing shot. 78 INT. POV OF THE CAMERA Charley looks up as the person holding the camera. as the camera moves TOWARDS him. Behind him the SHADOWY FIGURE crouches by the camera. She puts down the walkie. okay.. CHARLEY (cont’d) (nervous) Why are you wearing the mask? He backs up into the wall as the camera comes closer and closer.. You scared me. I’ll do it. Charlie opens his mouth to scream too late. NORA But. and flips on the espresso machine. CLOSE ON THE TRI-POD A massive hand bends the end of the METAL LEG back and forth until it BREAKS OFF leaving a jagged tip. The tri-pod leg with the jagged tip is lifted up to point directly at Charlie. Camera pointed at his face.. did you call the tow truck? CHARLEY Why would I call a tow truck? NORA Nevermind.08/12/2002 Pink Revisions 44. . CHARLEY Whoa. MYERS HOUSE .STAIRWAY . The tip of the tri-pod PLUNGES INTO HIS NECK. Some jerk ignored the signs and parked his Camaro in front of the house. CHARLEY (cont’d) This isn’t funny.

Nora’s checking her nails. where clusters of kids in Halloween costumes go from house to house. The life goes out of Charlie’s eyes. 83 INT.08/12/2002 Pink Revisions 45. 80 81 INT.LATE AFTERNOON . relax. The video camera/tri-pod is flung back at the foot of the stairway. It’s all good. She has no idea. one of which displays an extreme close-up of Charlie’s bug-eyed. NORA Nice angle. honey. GARAGE . BILL Two words Freddie: product placement. 79 Her back is to the monitors. GARAGE .STAIRWAY .MOVING 82 We are looking THROUGH THE WINDSHIELD of a van DRIVING SLOWLY along the idyllic suburban streets. NORA (INTO PHONE) Freddie. I smoothed it out.CONTINUOUS Freddie is driving and Bill is talking his ear off. MYERS HOUSE . He was just worried about us causing false 911 calls.MOVING .CONTINUOUS CLOSE ON Charlie’s dead body is dragged down the hallway. The uneven legs land at a bizarre slant. We’ve got it under control. Charlie. 82 EXT. While we “investigate. HADDONFIELD . 79 INT. NORA (cont’d) I called the police Sergeant. VAN .CONTINUOUS 81 Nora turns back to look at the monitors and sees the dutchtilt view up the stairs. gruesome face as he struggles to pull the tri-pod leg from his neck. 80 INT.” why couldn’t we be drinking Pepsi or sporting Gap wear? (offering his card) (MORE) 83 . She’s genuinely impressed. SIPS HER CAPPUCCINO and speaks into her cell phone.CONTINUOUS Nora reclines in her chair.

Beat. JEN You’re gonna be a millionaire.08/12/2002 BILL(cont'd) Pink Revisions 46. JIM Can’t you even eat without doing a dissertation? DONNA Yes. You could really undermine the socio-economic boundaries between fast food and gourmet. the students are upbeat as they roll towards their destination. For just ten percent plus expenses. . Very special sauce. JIM Bon Appetit. JIM How do you figure? DONNA I tend to eroticize both food and language. (beat) Just wait.in .sandwich? RUDY (smiling) Some Italian spices. I’m very orally fixated.yum! JIM What . and they’re in ecstasy . but it wouldn’t taste as good. DONNA Wow. Jim. I could set you up. Billionaire.is . RUDY Billionaire baby. In the back seats. Donna and Jen eat Rudy’s sandwiches. Someday there’ll be a “Rudy’s” on every corner. Jim and Donna make eye contact as she eats.this . some Indonesian.

LATE AFTERNOON The six students gaze up at the ominous.LATE AFTERNOON The van PULLS UP in front of the old. THROUGH MICHAEL’S EYES We watch out the window as the van doors open and the kids climb out. Half the street lights are out. These are not actors.. CLOSE ON SARA Looking at the window. Out the windows. Chills. MYERS HOUSE . Suddenly she sees a TOW TRUCK pass them pulling a RED CAMARO. slightly apart. FREDDIE Come on. in her own world. FREDDIE In just ten minutes we enter the mystery wrapped up inside a riddle. (beat) (MORE) . Sara notices movement in the window. (beat) Remember. dilapidated structure towering over them. foreboding house. and there’s not a trick-or-treater in sight. thousands. He looks straight into the video camera and whips up excitement for the show.LATE AFTERNOON In an upstairs window. 84 EXT. 84 85 INT. EVERYTHING you will see is real. Was that a person? 86 A86 EXT. potentially MILLIONS... MYERS HOUSE . The contents of the house have not been disturbed in any way.08/12/2002 Pink Revisions 47. of people are going to be seeing through your eyes. inside an enigma. MYERS HOUSE . MYERS HOUSE .DAY A86 A group of journalists and Local News Crews crowd around Freddie. they watch as the neighborhood grows ever more derelict. Get fired up! Tonight. we see the curtains being pulled 85 86 EXT. Their happy-go-lucky smiles start to fade. people.

PLEASE don’t embarrass me tonight. No one knows exactly what is about happen.LATE AFTERNOON The students clip on their cameras and adjust the wires that lead to their belt packs. Bill. FREDDIE (cont’d) LET THE DANGERTAINMENT BEGIN! .. Miles stops to look at a display of PLASMA COMPUTER screens that show the “DANGERTAINMENT” website. SCOTT God. it’s like crack cocaine with you. but we do know this . we’ll see it on camera. GARAGE .LATE AFTERNOON NORA sits at the bank of monitors. and one of the front. and the doors will be locked behind them. If someone tries to sneak out. MYLES It’s starting in a couple minutes. As they ride off. B86 EXT..LATE AFTERNOON B86 Myles and Scott ride their bikes down the sidewalk. INT. ELECTRONICS STORE . MYERS HOUSE . There are views of every room in the house. EXT. but carry BACKPACKS. MYERS HOUSE . He is mesmerized.No one leaves the house until the show’s over. They both wear normal clothes. Only minutes to go.FRONT PORCH . Rudy.. EXT. In the corner.08/12/2002 FREDDIE(cont'd) Pink Revisions 48. several CAMERA POV’s light up. Are we ready? Freddie pulls out an air horn.. The windows are boarded up. there is a digital countdown. SCOTT Please.BACK TO FREDDIE FREDDIE Just seconds to go. When do think the party’ll be over? Scott rubs his temple. Each is labeled according to it’s owner: Sara. On several screens.

08/12/2002 Pink Revisions 49. That’s nice. slowly..FRONT PORCH .GARAGE .. a FIGURE IN A WHITE MASK APPROACHES. Then. The wind picks up. INT. NORA (swatting him away) Hey. FREDDIE Doesn’t anything scare you? .” The figure pulls off his mask. He GRABS NORA’S SHOULDER. JENNA Oh good God. You’re turning me on now baby.LATE AFTERNOON The interior is as rotten as the exterior. The FIGURE strokes her hair and moves his hands up and down her body. behind her.FOYER . MYERS HOUSE . The reception on Bill’s camera is terrible. did you cut his throat and hide the body? She looks back.LATE AFTERNOON The AIR HORN blares. where the HELL is Charlie? What. Nobody takes the lead. let’s just DO IT! Jenna steps up and pushes open the door. They look at the front door. The students enter as quietly as they would a church. The figure continues to caress her back with one hand. NORA (cont’d) Hmmm. MYERS HOUSE . Several views become a bit hazy.LATE AFTERNOON The monitors track the student’s entrance. Alright. Time to begin. Nora is clearly frustrated. hands outstretched. They hesitate. REVEALING FREDDIE. and at each other. She doesn’t seem to realize who it is behind her. creeping. revealing. INT. MYERS HOUSE . and with the other he LIFTS A GLINTING KNIFE! NORA (cont’d) Pumpkin. not at all surprised to see “Michael Myers. off me. EXT.

(beat) You can handle it. all from 1963. The furniture all appears to be in place. That scares me. RUDY Seems like it. Did they just seal up the house and leave it. Seems like they didn’t even stop to pack a bag. What should we do? 90 . without taking anything? Rudy finds “National Geographic” and “Reader’s Digests” sitting on the coffee table. He tosses the RUBBER knife on the console. covered with years worth of dust. BILL We could cover more area if we split up. NORA Your leaving me to do this by myself? (fed up) I’m taking an Executive Producer credit AND a director credit. I sent Max back to homebase to work the website..LIVING ROOM . MYERS HOUSE .LATE AFTERNOON Sunlight bleeding between the boards on the windows paints the room in bands of light and dark. Just get me through the night. baby.08/12/2002 Pink Revisions 50. NORA Yes. (checking his watch) It’s show time. FREDDIE Damn. FREDDIE Anything you want. We’re already having trouble with camera two and our technician has gone AWOL. They seem eager to break it. SARA What. This console can run on auto-pilot if it has to. The mood is a bit ominous. folks! OMITTED 90 INT..

. as they go. Sara and Rudy wander out of the room towards the kitchen. but nothing happens. INT. SARA Aren’t we supposed to be looking for answers? JIM Okay. It looks like it was a mother’s “dream kitchen” once.KITCHEN . MYERS HOUSE . Vintage appliances and crumbling plaster.except stay in the house. Already worried about your fan base.) Oh don’t. you’re like this close to getting voted off the island. The devil made him do it. she flips the light switch.DUSK Sara and Rudy enter. JEN We owe it to the people watching to at least take a look around. (satisfied) I’m done. Jim chases the shot with beer. SARA (O. (beat) Ever tasted 40-year-old fennel? Rudy examines an old spice rack. Somebody here liked to cook. The room is murky. JIM We don’t have to “DO” anything. It’s got to be rotten. BILL That’s cute. By force of habit. RUDY Look at the size of that stove.C. They scan hanging pots.. Jim opens his baggy coat to and takes a swig from his flask. .08/12/2002 Pink Revisions 51. Bill and Jen move towards the TV room. technically . JEN Bill. jars and mixing bowls. pulls a jar out.

JEN (embarrassed) What?! I don’t . SARA (O.TV ROOM .DUSK Bill and Jen walk through the first floor.STAIRWAY TO 2ND FLOOR . newscaster) Tonight on Dangertainment. MYERS HOUSE . Help other women come forward and face this issue. Be brave. JEN (to camera. . He hears Jen’s laughter. playing to the cameras. marveling that everything is still in place. Bill tries to break the mood. catching glimpses off the students through the living room door and the TV ROOM.) What? RUDY It smells fresh. the man with the world’s smallest penis. The atmosphere is creepy.DUSK MICHAEL’S POV FROM THE TOP OF THE STAIRS He watches. maybe you’d like to take this opportunity to tell your many fans about how you’ve overcome problems reaching orgasm. right down to coasters and porcelain figurines.Jen. BILL Jen. INT. RUDY (sniffing) That’s weird.C. They seem afraid to touch anything. MYERS HOUSE .08/12/2002 Pink Revisions 52. OMITTED OMITTED OMITTED OMITTED INT.I never BILL . Jennifer Danzig interviews Bill.

This place is creepy. DONNA This wasn’t such a “Leave It To Beaver” family after all. Rudy.. Rudy looking at an old knife rack. RUDY You don’t suppose that’s the he used to.08/12/2002 Pink Revisions 53. RUDY You have no idea. holding the blade he has pulled from its slot. But a closer look at the feeding chair reveals LEATHER STRAPS designed to hold tiny hands and feet in place. I’ll admit it. puts it back. Look at this. you suppose they kept him in this? Bill and Donna hover at the doorway.... DONNA Okay.. Wow..and a tiny wooden chair slides out. JIM A chair.. Jen and Jim enter from the dining room. BACK TO THE KITCHEN The sound of ringing metal. RUDY Check this out. It looks like an infant’s feeding chair. . SARA My God. Suddenly the door OPENS -. She tries to open a closet door and Rudy comes over to help. SARA No they would’ve kept that in an evidence locker somewhere. suddenly spooked by the blade. SARA (cont’d) Wonder what’s in here. Sara whips around to see.

Yeah. Then out of the darkness SPRINGS. what are we doing here? SCOTT Hey. Maybe we SHOULD poke around a bit. The mood becomes ominous again. . They look intimidated. They’re in over their heads. JIM Okay. Myles continues down the hall.. Jim finds a strange twisted PIECE OF METAL in the shape of an eye-hook attached to the chair with a little chain. Screams and drunken play fights.. A pair of girls walk past them and giggle at their expense. He looks ridiculous. 94 Everyone is three years older and twice their size.DUSK) A FLESH EATING ZOMBIE! But a quick pan reveals we are now in. avoiding some football players dressed as cavemen.08/12/2002 Pink Revisions 54. SARA What is that? RUDY It’s the medieval key to Sara’s chastity belt. As they walk through the house they are bumped and jostled. A beer bottle crashes above their heads. be cool. SARA Rudy! Beat. All right? Scott leans against the wall and tries to do his best deadeye gangsta stare.. SMASH CUT: 94 (INT.” enter the Costume party. PARTY HOUSE . Pounding music and frenetic dancing. MYLES Scott. dressed as hit men from “Pulp Fiction. See what we can find.. THE PARTY HOUSE Myles and Scott. He’s looking for a place to hide.

A band of trickor-treaters cross the street to avoid the house.NIGHT B95 Bill and Jen cautiously ascend the stairs. high-speed computer Myles has ever seen .08/12/2002 Pink Revisions 55. Their flashlights scanning. A95 EXT. MYERS HOUSE . He clicks various icons. but the other falls on her butt. shuts the door behind him and breathes a sigh of relief.NIGHT Donna and Jim flip on their flashlights. MYERS HOUSE . He switches from a view of SARA IN THE KITCHEN to JIM WALKING DOWN A FLIGHT OF STAIRS.DINING ROOM .com up on screen. Jen’s leg nearly falls through but Bill catches her arm with one hand. Jen swats him.BACK OFFICE . PARTY HOUSE .. B95 INT.NIGHT A95 Streetlights glow against the darkening sky.BACK OFFICE Myles has dangertainment. INT. . most tricked-out.STAIRWAY TO 2ND FLOOR . 95 INT. 95 Then he looks up with the expression of a Knight who has just found the holy Grail. Suddenly one of boards on the steps crumbles. getting his choice of views throughout the house. BILL Careful.. The wood creeks as they go. REVERSE ANGLE on a desk. JEN Hands off. with the largest. bud! POV OF CAMERA At the bottom of the stairs. Rudy and light candles and set them on the table.complete with an ENORMOUS PLASMA FLATSCREEN. OMITTED INT. the “dutch tilted” camera that killed Charlie records them as they continue up. MYERS HOUSE . PARTY HOUSE .CONTINUOUS Myles slips into the empty room.

BILL This must be Lanie’s room. There’s an old high-school photo still on the desk. tracking them into. is trying to fix a cable.08/12/2002 Pink Revisions 56. picks up a hairbrush. JEN Oh. Then he pops back to Bill and Jen.. One flash and you could light up a thousand computer screens. BILL Maybe he got her when she was sitting right there. GARAGE 99 Nora. JEN HEY! Keep that camera on the money! He turns back.. Jen picks it up. The oldest sister. 98 Jen sits at a small dresser. helpless.SISTER’S ROOM . MYERS HOUSE . Jen and Bill have no idea. 98 INT.. BILL Come on Jen. ‘cause that’s gonna happen. Bill pokes through a closet. with a vampish expression. JEN Yeah. but the CAMERA signal from Lanie’s bedroom turns to snow. runs her finger over the seem of her top .Is she really going to do it? ANGLE FROM THE HALLWAY A DARK FIGURE hovers by the door. Early sixties memorabilia is strewn about. Jen. 99 INT.NIGHT Bill and Jen enter the frilly bedroom. pointing his camera at her. Launch your whole career. . brushing her hair. a self-satisfied little smile on her face. Light from a streetlight shines dimly through the boarded up windows. all young. The one he killed when he was six-years-old. looks into the mirror. You think? Beat.. alone at the switchboard. Poor little Lanie. and naked.

firewood. You know. like a klepto.NIGHT Jim and Donna walk down rickety stairs. think with your BODY? He’s standing very close to her now. poking through boxes. when are you gonna get out of your head. Michael Myers has fits of rage that he can’t help acting on. moves closer. he slashes teenaged girls. JIM Donna. 100 INTERCUT .PARTY HOUSE Myles looking at the plasma screen. DONNA That’s my theory. DONNA You mean continually. DONNA Impulse control disorder. JIM Huh? They explore as they talk. beams and shadows crisscrossed by rusty pipes. their FLASHLIGHT BEAMS cutting across piles of old furniture. cartons.08/12/2002 Pink Revisions 57. MYERS BASEMENT . MYLES (talking to the screen) Hey wait! There was somebody else in the hall! 100 101 INT. 101 . JIM Continuously. DONNA Don’t you ever have impulses you can’t control? Jim looks at her face in the half-light. JIM But instead of stealing silverware. “Continual” means recurring periodically. opening drawers. and for once. scanning stuffed animal heads. “Continuous” means uninterrupted. The image is snow. She smiles.

Suddenly a voice SCREAMS from upstairs. whachya doing in here ya’ little nerd? He’s caught. Sometimes even Poly Sci.DINING ROOM . oddly intrigued. it’s in the food. DONNA Does that line work on chicks in the music department? JIM Art History too. Behind Myles the door swings open. A drunken teenaged couple stumble in.08/12/2002 Pink Revisions 58.BACK OFFICE . coughing on all the dust. DONNA (smiling) Well. TEEN BOY Hey. 103 . 102 INT. Live. PARTY HOUSE .CONTINUOUS 102 Myles watches the plasma screen with rapt attention: Jim and Donna explore the basement. MYLES They’re exploring the house of a mass murderer.NIGHT Rudy and Sara enter. He thinks. Wanna watch? The couple looks at the plasma screen. it doesn’t cut it in critical studies. MYERS HOUSE . RUDY Wouldn’t you like to know. 103 INT. He tells it like it is. Remember the murder trial for that dude who ate nothing but twinkies? SARA Don’t you ever think about anything other than food. RUDY I’m telling you.

JEN (O.CONTINUOUS 106 All around them is darkness.SISTER’S ROOM .08/12/2002 Pink Revisions 59.. lighting her face from below.. A flurry of flashlights. just arriving in the room nearly jumps out of his skin. I turned my back for a second and then she was gone. Behind her Jen snaps on her flashlight..2ND FLOOR CORRIDOR . The room is pitch black. Turning the beam one way and then the other. 104 105 INT.) Sara. Rudy. Bill and Sara bolt out of the room. Sara turns just in time for.MASTER BEDROOM . MYERS HOUSE ..) OHMYGOD HEEEEELP! NO! STOP IT! (beat) SOMEBODY HELP ME! 104 INT.C.CONTINUOUS 107 Sara enters. MYERS HOUSE . SARA Jen??! A whimpering voice comes from somewhere.CONTINUOUS Sara and Rudy fly into the sister’s room to find Bill searching frantically. She is panting.CONTINUOUS Sara and Rudy dash upstairs.C. Scared.. CLICK.. MYERS HOUSE . SARA What happened?? BILL I don’t know. Jen erupts in a peal of laughter. MYERS HOUSE . Bill goes right and Sara goes left. .STAIRWAY TO 2ND FLOOR . 107 INT. JEN (O. 105 106 INT. JEN BOOO!! Sara lets loose her BLOODCURDLING SCREAM.

BILL She’s gonna get what’s coming to her. JEN (cont’d) Ha ha. SHUNK! SHUNK! SHUNK! Three horrible. You watch. Michael’s hand SLAPS OVER HIS MOUTH.RIGHT OVER BILL’S SHOULDER. the MASK APPEARS AGAIN in the mirror right over his shoulder..CONTINUOUS 108 Bill looks in a mirror and speaks directly into his camera and the internet audience. bloody thrusts of the gruesome blade sink into Bill’s chest. ON BILL Eyes bugging.2ND FLOOR CORRIDOR .08/12/2002 Pink Revisions 60. Aghast... Bill kicks and thrashes desperately. looking one direction then another. RUDY That’s just not right. . MYERS HOUSE . 108 INT.GRABBING BILL . but the room is empty. Where is the reflection coming from? SMASH! Hands shoot out through the glass. the MASK appears in the mirror . FROM BEHIND THE TWOWAY MIRROR . Struggling. Behind him. Bill Gasps! WIDE ON THE BATHROOM Bill SPINS AROUND! Points his flashlight into the darkness. SARA You. Suddenly emerging out of the gloom.DRAGGING HIM BACK. He is pulled through the hole and raked over the jagged glass. Still scanning the corners of empty room. Gotcha. bitch! JEN Slut! But Jen just keeps on laughing.. CLOSER ON BILL Spooked.

Jen. This is going well. GARAGE . NORA Relax Freddie. Quickly. The idiot.and his flashlight beam catches a WHITE FACE in the darkness -. FREDDIE (smiling hopefully) You think so? 109 110 INT. JEN (rolling around) And this must be the bed where he was conceived.MASTER BEDROOM . creating a cloud of dust.C. Michael drags Bill into the darkness.08/12/2002 Pink Revisions 61. . FREDDIE He must have dropped it.He JUMPS! A TAILOR’S MANNEQUIN in a cheap wig tumbles free from behind the clothes.CONTINUOUS CLOSE ON a GUSH of red wine filling a glass. falling harmlessly to the floor. ANGLE IN CLOSET He pushes aside some hanging clothes -. MYERS HOUSE . 109 INT. Find him on another view. NORA What just happened? We just lost Bill’s camera. 110 Rudy opens the door of a walk-in closet. Nora stares at the video screen while Freddie pours.) (cont’d) What is it? RUDY Nothing. steps inside. pushes away a mass of cobwebs. SARA (O. SARA Stop showing off. It’s pretty entertaining.NIGHT Jen flops onto the bed.

RUDY Hey. then reaches inside and pulls out an old family photo album. still angry at Jen. look at what I found. pushes aside cobwebs. The boy all alone in an dark room. Further pages are even more disturbing. The baby boy is strapped down in his high chair. SARA That poor little boy. points it at her face. staring blankly into space. JEN Oh Sara you overreact to EVERYTHING. and speaks directly to it. (beat) Hey. BACK IN THE ROOM Sara is pacing back and forth. (whispers) He’s gonna try and jump out someplace and scare me. There are pages and pages of pictures of a little boy. He opens it.08/12/2002 Pink Revisions 62. Rudy peels back some old clothes and finds a hidden latched panel in the wall. INSERT ALBUM “OUR SON” is written on the cover in gold letters. pointing his flashlight at the open Album. He only stands or sits with his arms straight at his sides. They must have been MONSTERS. RUDY (cont’d) And I thought MY parents were mean for not letting me eat Captain Crunch. But then. where’s Bill? JEN I think Bill is still mad at me. Rudy walks back out into the room from the closet. . She pulls off the clip-on camera. You watch. He never smiles. JEN (cont’d) YOU WATCH.

MORE teens file in. The more people outside get interested. 112 INT. Puzzled. JIM Keyhole? I don’t know. He tugs on the chain but the LID doesn’t budge. DOPEY TEEN (curious) Hey is that the Michael Myers thing? The plasma screen changes views to. They look at each other.NIGHT 112 Jim finds a chain attached to a bolt in the floor. carrying beer and munchies..BACK OFFICE 111 Myles continues watching. The more people come into the room.. He cleans the area around the bolt and finds A LARGE CIRCULAR METAL COVER. PARTY HOUSE . DONNA Sorry. DONNA (pointing her flashlight) What’s that? Her flashlight beam hits a tiny hole near the bolt. As Jim stands up he bumps into Donna. knocking her a bit off balance.. He grabs her to keep her from falling over and she bounces against him again.. Stumped. Jim traces the edge with his finger. DONNA You think they’ve got cameras down here? JIM What are you worried they might see? .08/12/2002 Pink Revisions 63. JIM Are you? Beat. 111 INT. A group of about 6 other partygoers is now sitting in front of the plasma screen in rapt attention. BASEMENT .

JIM Uhhh.. They move closer. He points his flashlight at the ceiling and sees a rope attached to the PULL DOWN LADDER to the attic.. 113 INT. DONNA (snubbed) You have got to be kidding me. a light bulb goes off in Jim’s head. But before their lips actually meet. He starts to tug it when. I don’t know what that word means but.. pointing the beam into LAURIE’S ROOM The beam scans a CRADLE and other nursery furnishings.. I just thought of something..DAY 113 Rudy creeps down the hallway.. There are odd sounds. RUDY (whispers) Bill? He walks around the corner. There is a LOUD CREAK behind him and he WHIPS around. Their faces are so close their noses are almost touching. in a room down the hall. Donna closes her eyes. MYERS HOUSE . Whistling and groaning wind. . Jim turns and runs back up the stairs. Beat. there is the glow of a flashlight.2ND FLOOR CORRIDOR . Creaks with every footstep. DONNA Just go with it. He turns the OTHER direction to see that. ready for the kiss. She smiles at him DONNA You’re such a lothario.08/12/2002 Pink Revisions 64. JIM Hold on.

Nancy Drew. A baseball and mitt. SARA Some people can’t let go. JEN (cont’d) You go. come’ere. Like a shrine. JEN (O. it seems preserved in a pristine state. Sure enough there’s a key taped there.” JEN This is the room where we’re gonna find answers. He turns the flashlight down the hall. holds it up and goes to the trunk. Rudy.MICHAEL’S BEDROOM . His bobbing flashlight is pointing in the opposite direction to where he is looking. MYERS HOUSE . His sister’s room too.. Rudy goes through the drawers of a child-size dresser. Jen points the flashlight beam at a large wooden toybox with wooden letters on its front spelling out “MICHAEL. Rudy has no idea. if he had a baseball card collection. Sara looks under the drawer that Rudy is checking. .) Hey. I could finance my first restaurant.. Jen kneels down by the old trunk at the foot of the bed. She peels it off. It momentarily lights up the MASKED FACE OF MICHAEL MYERS. Stuffed animals. 114 Apart from decades of dust.08/12/2002 Pink Revisions 65. Toy trains. JEN It’s locked. RUDY Why would his parents leave everything like this. RUDY Well.C. SARA Looks like any normal kid's room.NIGHT Rudy enters. appearing near the cradle. 114 INT.

with eerie painted face and gazing glass eyes. MYERS HOUSE . Stuffed animals bound lewdly with twine. Startled.NIGHT BACK TO SCENE Rudy slaps his hand over her mouth.BACK OFFICE A114 Myles covers his ears. Her flashlight slowly scanning the rubbish piled high near the walls. Nothing but the sound of her own breathing.MICHAEL’S BEDROOM . D114 INT. The other two come over to look as he flips through the pages.NIGHT D114 Donna sits alone in the basement. E114 INT. TIGHTER ANGLE Sara turns the key and gets the ancient trunk lid open. B114 C114 INT. an old jack-in-the-box. MYERS’ HOUSE . B114 INT.08/12/2002 Pink Revisions 66. INSERT COLORING BOOK . Rudy lifts the mattress of the bed and searches around the top of the box spring with his bare hand. He looks down at the high chair and grabs the strange EYE HOOK dangling on a chain. A114 INTERCUT .MICHAEL’S BEDROOM . MYERS HOUSE . SARA opens her mouth and SCREAMS.KITCHEN .PARTY HOUSE . JEN You looking for his Playboys? Rudy pulls out a coloring book. The scream blows a tweeter in one of the five surround-sound speakers. you GOTTA stop that.SIMULTANEOUS C114 Jim is a bit rattled by the scream upstairs. Muffled THUMPING comes from somewhere BENEATH THE FLOOR. Then she a CREAKING like footsteps from some hidden stairway. RUDY Okay. but he is relieved to hear Jenna’s laughter. A small head POPS OUT. muffling the blast. MYERS HOUSE . She shines the light on the METAL LID again.BASEMENT .NIGHT E114 Sara looks in the toybox: Dolls and toy soldiers melted into grotesque shapes.

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Pink Revisions 67.

It starts out conventionally enough. But as we go deeper into the pages, the colors go beyond their borders in increasingly abstract, even disturbing patterns. At the end of the book are blank pages left for doodling, where we find crude faces with agonized screams. RUDY This isn’t right. SARA (re: the book) It’s obvious that this boy was subjected to emotional and physical abuse. RUDY No, I mean all of this isn’t right. It’s too easy. Why is this stuff still here? There is a loud CREAK, like a footstep, just outside the bedroom doorway. Sara gasps. SARA (peering into darkness) There’s someone in the hall. Jen strides out into the hall with a cavalier smirk.

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INT. MYERS HOUSE - 2ND FLOOR CORRIDOR - CONTINUOUS She is unafraid of the darkness. JEN (mocking) Oh I wonder who it could be. (mock gasp) Maybe it’s the big bad bogeyman coming to get me. The only answer is moaning wind. JEN (cont’d) Come on Bill. I’ll even turn off my flashlight. She switches off her flashlight. Darkness. Quiet.

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INT. PARTY HOUSE - BACK OFFICE

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A KNIFE! A rubber knife, held by a kid in a killer’s costume comes down on his squealing girlfriend.

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Pink Revisions 68.

Scott enters the room and his mouth drops open in stunned disbelief. Half the party is packed in the room watching Jen on the plasma screen. And, stranger still, Myles is at the center of it all, working the keyboard and explaining the premise. MYLES (to All) They’re looking for clues, something that might explain why Michael Myers went bad. (nonchalant) Wazzup Scott. The view on the plasma screen changes to Jim and Donna.

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INT. MYERS HOUSE - BASEMENT - NIGHT

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Jim returns with the TWISTED METAL OBJECT that was chained to the high chair.He ignores Donna, who is frosty. DONNA Hey, if I’m keeping you from something, just let me know. But Donna becomes curious as he sticks the “key” in the hole. Jim SMILES as he pulls up a MAN HOLE COVER imbedded in the floor. Donna smiles back, impressed. DONNA (cont’d) Clever boy.

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INT. MYERS HOUSE - SUB-BASEMENT - NIGHT They climb down the ladder...

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Jim and Donna cast their flashlights about a small chamber cut into the ground beneath the house, little more than a cell. There are little children’s toys in the corner, along with a chain and collar. JIM You think they kept him down here? DONNA Maybe. Look at this.... Her flashlight beam plays across the rough-hewn walls, where we see odd patterns of scratches, symbols of some sort: runic marks or hieroglyphics.

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Pink Revisions 69.

DONNA (cont’d) Occult runes? Maybe this was some sort of secret religious chamber. (beat) You know what it makes me think? JIM His parents worshiped the Devil? Donna unclips Jim’s hat-cam and tosses it on the floor. DONNA Definitely no cameras down here. Beat. Then sudden PASSIONATE KISSING. Donna pulls her black turtle-neck, and her camera with it, up and off. She drops it to the floor.

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INTERCUT - PARTY HOUSE - BACK OFFICE

119

The teens cheer the make-out. All they can see is an oddly cropped view from Jim’s hat-cam. Donna’s tummy. Jim’s back. Strange SKELETAL FINGERS pop into view and press against Donna’s skin. Myles reacts with a jump. BACK TO THE SUB-BASEMENT Hands and lips moving furiously. Slurps and gasps. From somewhere comes a CREAKING and the sound of falling dirt. JIM Say something smart. DONNA Existence precedes essence. The signifier has no signified. JIM God you are sexy. There is a RUMBLING and the WALL COLLAPSES around them in a CLOUD of DUST and DIRT and... BODIES tumble free from the weakened earth. Decomposed corpses with parched skin over sunken eyeholes. Bony fingers seem to claw at Donna’s face. They are BURIED in mummified bodies and they scramble to free themselves, their flashlights casting lurid shadows around the chamber.

. brushing the rotting skin from their hair and clothes. Sara isn’t an actor. Jim holds the flashlight to one of the corpses.NIGHT 123 Jim and Donna extricate themselves from the gruesome remains. JIM No it’s not.” 121 122 INT. On closer inspection it’s clear that it’s PLASTIC. GARAGE . SUB-BASEMENT . . NORA That worked PERFECTLY. Others are cynical.BACK OFFICE Several teens react with screams. TEEN BOY Oh that is SO fake! Those people are actors. 121 INT.08/12/2002 Pink Revisions 70. So was “Blair Witch Project. One “rotting limb” still has a price tag. JIM (cont’d) Made in fucking Taiwan. MYLES No.. DOPEY TEEN Yeah. This is a documentary.CONTINUOUS Nora and Freddie are beside themselves with laughter. DONNA (hysterical) All his victims! It’s a mass grave! But Jim is looking down at something. 122 123 INT. FREDDIE Now the REAL fun starts. PARTY HOUSE . He switches views to one of SARA.

The SECOND HULKING FIGURE moves towards the front door. They move through the DINING ROOM. and locks it with a SNAP. FREDDIE (behind mask #1) CHARLIE.. Still no response.KITCHEN . head tilting. As the FIRST HULKING FIGURE adjusts the camera (the one with the broken tri-pod leg).. Then through the TV ROOM. and watches the first. I’M playing Michael Myers.. MYERS HOUSE . and follows him. The real Michael Myers is silent. (beat) Now you go in there and help Nora. WIDE ON THE FOYER The two “Michael Myers” face each other for a moment. also wearing a white mask. steps out of the shadows. Suddenly the first turns around. slips a KEY into the dead-bolt. We follow him as he creeps through the KITCHEN.. where the hell have you been? The REAL Michael Myers does not respond.....08/12/2002 Pink Revisions 71. before those kids see two of us.. It’ll ruin the effect. One stalking the other. INT. Into the FOYER. FREDDIE (cont’d) I’m serious. A HULKING FIGURE turns and we recognize the MASK OF MICHAEL MYERS. Go quickly. . That’s your job. a hand. BEHIND HIM A SECOND HULKING FIGURE.NIGHT At the back door. curiously.. FREDDIE (cont’d) I’m not paying YOU to be Michael Myers.

Blue light and dripping water fall from somewhere above. NORA Freddie. the only visible landmark is the distant glow. The glow is coming from something very far away.08/12/2002 Pink Revisions 72. stepping around rusty nails and SQUEAKING RATS.SAME TIME 127 The MASKED FIGURE approaches Nora from behind. FREDDIE (cont’d) God it’s hard to find good “help. DONNA Freddie is paying to have this cleaned. come look at this. 127 INT.. Donna holds back. brick walls of some antiquated sewer system. from beyond the crumbling wall. MYERS HOUSE . but unconcerned. picking dirt off her turtle neck. Donna is puzzled. She is riveted to the monitor. She is aware of him.FOLLOWING 126 At first she doesn’t know where she is.NIGHT Jim climbs a short ladder back up through the trap door. FREDDIE (cont’d) GO BACK TO THE GARAGE RIGHT NOW! Michael Myers turns and walks out the front door. Did you know that there are tunnels under the house? ON THE MONITOR .DONNA’S POV The flashlight beam runs over piles of rubble and twisted scraps of metal that reach out LIKE FIGURES LURKING in the dark. . She pulls the turtleneck back on and then notices. but the beam is swallowed by darkness. UNDERGROUND TUNNEL . GARAGE .SUB BASEMENT . Freddie locks the door behind him. 126 INT. She turns her flashlight to Cylindrical..” 125 INT. It leads to. 125 She shines her flashlight into the hole. a FAINT YELLOW LIGHT. She moves towards the glow. Pushing aside a couple planks she finds an enormous hole in the concrete foundation.

of LAURIE STRODE. Donna recoils in disgust and horror.. There are scraps. 128 INT. DONNA (touching her camera) Is anybody else seeing this? On makeshift table. It SQUEEEKS. . She reaches out to touch a “fake” half-eaten rat. CANDLES glow everywhere. bricks and sheets of plastic. ON A SHRINE In the corner.SAME TIME 130 Behind Nora.NIGHT 128 As she gets closer. and bones from a recent meal. 130 INT. It’s leg suddenly shakes. 129 An eerily NEAT little room. Nice prop. she can see the glow is coming form behind a SHEET OF CORRUGATED METAL. The furnishings are fashioned from trash. DONNA (cont’d) Yeah right. DONNA (into her microphone) Hey Freddie. Chicken? Donna looks closer. MICHAEL’S LAIR . Other bits of trash. was this on the program tonight? 129 INT. GARAGE . the FIGURE is making a loop out of a electrical cord that hangs down from above. metal and debris are meticulously and inscrutably organized into rows and piles: Aluminum cans.. nails. Shards of glass. A perfectly made cot is build from planks. And under it is a RAGGEDY ANNE DOLL with eight inch nails through the eyes. No RATS.08/12/2002 Pink Revisions 73. Still alive! Not fake at all. stacked like poker chips. taped to the wall. A deep rumble echoes in the distance. are little yellowed photographs. and looks around. copper wire are preserved in glass jars. tin cans and trash can lids act as cups and plates. TUNNEL .CONTINUOUS She pushes aside the metal.

. pulls out his KNIFE. NORA Freddie what is that place? We didn’t set that up. She whips around.. But she hits a DEAD END. She races down the main section of tunnel. 132 INT. hoisting Nora up towards the rafters.08/12/2002 Pink Revisions 74. Wrong way. Then she hears thumping. Somebody is REALLY LIVING DOWN THERE! She turns around to face the figure. and he drops the noose around her neck. She turns back. I don’t think they made this up. Moving quickly. TUNNELS . ON DONNA . Shadows move among the debris. Her shaky flashlight beam criss-crosses the murk.. ANGLE ON DONNA Uneasy. We see her legs kick and thrash as Michael. Disoriented moving in a new direction. She slips back into the tunnel..CONTINUOUS 132 Uncanny rumbles echo through the cavern. Coming closer. BLOWS OUT ALL THE CANDLES. Hanging her. DONNA Jim?! Come take a look at this.. almost as if the crumbling mounds were coming to life.NIGHT 131 Donna hears a something heavy and metal scrape against concrete. 131 INT. MICHAEL’S LAIR . NORA (cont’d) Freddie? Michael Myers pulls violently on the other end of the cord.. CAMERA’S VIEW . Then another heavy scrape as the “door” is shut. as if from an opening door.INFRA RED The grainy NIGHT VISION picks up what donna cannot see: A HULKING FIGURE lumbering around a corner. with his free hand. the sound of heavy feet climbing down metal rungs. Donna is spooked. A sudden draft.DONNA’S POV .

Donna bolts away from the gate. 133 INTERCUT .. We hold on her look of horror as the life dims from her eyes. ANOTHER TUNNEL Donna backtracks but the space is getting cramped. The pointed tip emerges from her chest RIGHT BEFORE HER EYES.. but the cord of her camera is caught on the jagged spikes. Blind panic. Michael calmly reaches through the bars and GRABS HER by the hair. She races down tunnel almost running smack into. She turns and BOLTS. . Horrid cries of agony. showing nothing but a blur of violent motion. turning one way and then another. lumbering towards her is MICHAEL MYERS. Closer and CLOSER CLOSE ON DONNA She screams in pain as the spike slides between her shoulder blades.PLASMA SCREEN 133 As DONNA SCREAMS her lapel-cam is jostled and shaken.THE PARTY HOUSE . Donna turns and flees back through the gate. . He SLOWLY PULLS HER BACK towards the ghastly metal spikes. Latching it. piles of brick and metal rods that reach out and tear at her clothes. And then another. Locking Michael out. SCOTT That was so bogus... racing down one tunnel. Passing more twisted shapes. Totally lost in the labyrinth. Slamming it shut behind her... Continues down the tunnel to a “T..08/12/2002 Pink Revisions 75. Michael walks towards the gate. He’s in no hurry.” But rounding the corner. Desperate. She opens the gate. As she frantically tries to free herself. But Myles is horrified. THE GATE Her flashlight roams up and down the strange metal spikes welded to the bars.

There are sparks. looking for one that works. and smoke as something shorts. 135 INT. suddenly whips around. POV OF THE FIGURE We watch her bustle around the room.08/12/2002 Pink Revisions 76. MYERS HOUSE . We move close to her but she doesn’t even realize that we are there. Sara.NIGHT A133 CLOSE ON an exposed electrical circuit board as DROPS OF BLOOD fall from somewhere high above. the sound crackles. alone. MYLES Wait. you are gullible. JEN We’re WEARING cameras. 134 OMITTED INT. MYERS HOUSE . behind her a DARK FIGURE MOVES by the windows. That really happened. REVERSE . A133 INT.NIGHT 135 Sara. She was just killed! The room erupts with laughter. Don’t worry. TEEN BOY Man. pokes through the bookcase. There are no cameras in here. He passes her the bong and blows out a another massive cloud of smoke. She pages through some magazines. Suddenly. RUDY We’re safe. shining the flashlight DIRECTLY IN OUR EYES.LIVING ROOM . We are hidden by darkness. and the video image goes fuzzy. .CLOSE ON THE WHITE MASK Staring back at her. GARAGE . sensing something. Myles clicks over various views.BATHROOM .SAME TIME 134 Rudy and Jen crouch in the hazy bathroom. The two stoners CRACK UP.

SARA He’s HERE! Michael Myers is in the house! Rudy looks at her calmly. MYERS HOUSE . (beat) America loves a show. From downstairs they can hear Sara screaming. Beat..08/12/2002 Pink Revisions 77. MYERS HOUSE . Glassy eyed. chill out.NIGHT 136 Rudy walks down the stairs. The mask.FOYER . A135 136 INT.CONTINUOUS Jenna takes a hit. JEN (deadpan) She must have seen another shadow. He’s here.BATHROOM . The three students look at each other. Calm down. A135 INT. SARA No I’m not.. She turns into the TV ROOM just as a SHAPE comes out of the darkness and GRABS her -But Jim appears out of nowhere and SWINGS something at the figure -. RUDY No. dude. completely hysterical. I’m just giving them a show. Easy. Sara. Sara comes flying in. You’re just freaking out again. . The figure flips the white mask back on top of his head -revealing Freddie beneath the Michael Myers costume. Shocked.CATCHING HIM on the chin and sending him sprawling backward onto the floor. He’s. Beat. They stare at him. I saw his face. munching on potato chips. JIM (glaring down at him) Freddie! What the fuck are you doing? FREDDIE Shhhh. in no hurry.

PARTY HOUSE . TEENS Turn up the sound! What’s wrong? CUT TO a different camera. 138 . moving up the stairs in the dark. JIM You knew you didn’t have a show anyone would watch. TEEN BOY Not this chick again. Jim points down at the club he used on Freddie.at our fucking expense. but many are garbled. BEHIND THEM We notice a DARK FIGURE. 137 INT.. but there is NO SOUND. and does a bong hit. Miles tries to find a workable view. The water pipe bubbles. JIM (to the others) It's all fake. They want a little thrill. LIVING ROOM . A little razzle dazzle. So you spiced it up . Reality is boring.. is it? The furniture. The image skips and freezes.. We’ve been set up. 138 INT.. the fucked up toys. RUDY (getting it) None of this shit is real. She’s boring. (beat) And that’s what we’re givin ‘em. It's an arm from the "corpse.08/12/2002 Pink Revisions 78.NIGHT The three continue to confront Freddie. People out there don’t want reality. the photos. They cut to a clear view of Jen’s Camera POV as she hides in the BATHROOM." In the FLASHLIGHT BEAM we see it's phony.. FREDDIE Grow up! Nobody wants to see you look though an EMPTY HOUSE.BACK OFFICE 137 The plasma screen shows Jim and Rudy yelling at someone.

. Looking up. SARA I SO did not sign up for this.NIGHT 141 Jen strolls along the hall. MYERS HOUSE . JEN (hushed) There you are. she sees the pull-down ladder to the attic door.INT. Play along. Freddie GRINS and pulls back on the mask and walks in the direction of the basement stairs. MYERS HOUSE .2ND FLOOR CORRIDOR . . 140 BACK TO . RUDY So what should we do? JIM (shrugging) I don’t know. 141 INT. RUDY Oh fuck that. FREDDIE Don’t blow it. and suddenly hears a CREAK. This girl is stoned.THE FOYER 140 The three students consider their options. like footsteps from above.SECOND FLOOR BATHROOM. MYERS HOUSE . FREDDIE (cont’d) (excited) Now I’m gonna go scare one of the other girls.08/12/2002 Pink Revisions 79. 139 A139 OMITTED INT. A Cloud of smoke billows out as she opens the door. There’s a lot of money in this for all of you on the back end.. I mean I guess I could use the money. Let’s just go. Bill. 139 A139 Jen stumbles out of the bathroom. She smiles to herself knowingly. I quit. SARA Me too.

and gives it a YANK. SARA We’re not scared Jen.. She opens 143 PARTY HOUSE .then TOPPLES downstairs one step at a time. You’ll have to do better than that. Splattering her with BLOOD Jen SCREAMS as Bill’s dead face stares back at her.THE PLASMA SCREEN 143 . and they are unimpressed. She reaches up. opening the attic doorway. cleanly SLICING through her neck before she realizes it.as we see Jen's HAT-CAM VIEW of the dizzying descent down the stairs.NIGHT 142 They hear the SCREAMS from upstairs..until it reaches the floor and the HAT-CAM points up at Sara’s stupefied expression. SARA (cont’d) You too Freddie. WIDER ANGLE They all look up at her... . Her head sits there for an instant -. but they just roll their eyes. The mask of Michael Myers appears in the gloom behind her. ANGLE ON JEN as a blade suddenly SLASHES out. catching by its feet.08/12/2002 Pink Revisions 80. Down crashes the ladder. head first. JIM She’s going for the first internet Emmy. her shirt covered in Bill’s blood. THE TOP OF THE STAIRS Jen appears. her mouth but can barely speak. grabs the rope. 142 INT. JEN (cont’d) (into the darkness) BOO! Then A BODY DROPS DOWN. FOYER .

A keyed deadbolt has it locked fast. Jim swings the rig at Michael again. It’s the only wood in the house that isn’t rotted. 144 MYERS HOUSE . Then the two boys take turns kicking the boards that are nailed to the outside.. Breaks into pieces. She SCREAMS.08/12/2002 Pink Revisions 81. It won’t budge. Michael Myers walks slowly down the stairs. The video feed is crystal clear now. TEEN GIRL (laughing) How’d they do that? TEEN BOY (yawning) It’s all digital effects. CRACK! The camera shatters on his masked skull. who holds the tri-pod and camera like a baseball bat.CONTINUOUS 147 Rudy grabs a wooden chair and SMASHES THE GLASS in the window. ON MICHAEL He enters the room and WHAM! He’s hit in the head with the video camera. FOYER .CONTINUOUS 146 Rudy tugs desperately on the door.NIGHT The kids stare at the plasma screen in amazement: Sara’s camera POV of the severed head. 145 146 INT.LIVING ROOM . MYLES (terrified) No it isn’t. 147 INT. And Michael has reached the bottom of the stairs. RUDY (panicking) Why is this locked? The three back up into the living room as. He turns to see Jim. PARTY HOUSE . .ON SARA Her friend’s head only inches from her feet. MYERS HOUSE .. 144 145 INT.

NIGHT 148 Sara flees up the stairs. Michael takes two steps up the stairs when. RUDY Just run. Tries to pull herself up.NIGHT 150 Sara SHUTS the door.MICHAEL’S BEDROOM . RUDY Hey Michael! Yeah.. and then they flee in different directions. Michael PRESSES. Turn This is REAL! 150 INT. MYERS HOUSE . and CRUNCHES of fractured bone. Michael is at the bottom of the stairs. 148 INT. But Myles is on a cell phone. 149 INT. I’m talking to you.08/12/2002 Pink Revisions 82. crushing his skull. It’s on the webcast! (INTO PHONE) is for . MYLES I KNOW what 911 emergency.THE PLASMA SCREEN 149 We watch Sara run up the stairs. Sara PANICS. TOPPLING a bookcase over to block it. Another view shows Rudy leading Michael into the kitchen. But she is caught. and her foot falls through! CRASH! She falls hard. For a moment Sara and Rudy can only watch in shock. Kill ‘em all. Yanks her leg up. nearly stumbling over Jen's headless torso on the second floor landing. You want a piece of me? Rudy backs up leading the killer back down the stairs. RUN! Michael’s arms shoot out and grab either side of Jim’s head. MYERS HOUSE . .STAIRWAY TO 2ND FLOOR . Her leg drops in the hole all the way to her thigh..this IS an not a prank. PARTY HOUSE . There are sickening POPS. As the boy’s eyes bulge. Michael drops Jim’s quivering dying body to the floor. Jim. TEENS (laughing) Get ‘em Michael. but halfway up she steps on the ROTTED BOARD.

. her eyes finding the small NET-CAM set in the corner of the room.. CLOSE ON MICHAEL’S HAND He grabs one knife and RAISES IT.NIGHT 154 Sara looks around in desperation. quickly grabbing something from the spice shelf. THUNK! The he picks up a THIRD KNIFE that sits on the counter. a little less protein in your diet will help control that aggression. 151 INT. and slashes the air near Michaels face. Rudy SMASHES the rolling pin down on Michael's shoulder... knife clatters to the floor. IT IS LOCKED with a keyed deadbolt. KITCHEN . . It falls out of frame with a fleshy THUNK! He grabs another knife and drives it out of frame. 154 INT.MYERS KITCHEN 153 Rudy pulls two carving knives from the rack. The Michael claws at Rudy.NIGHT 151 Rudy runs for the back door but like the front door. suddenly Michael’s SHOOTS out and GRABS Rudy powerfully by the throat and PINS HIM TO THE DOOR... with the precision of a Master chef. Michael appears behind him. Cayenne pepper! And he FLINGS a handful of the red powder in Michael’s face.08/12/2002 Pink Revisions 83. Michael slashes wildly with the knife RUDY Man. 152 INTERCUT . BEDROOM . RUDY What. but so does the pin. Rudy pushes the old feeding chair between them. striding unhurriedly closer. You trying to kill me? Huh? But. who ducks.PARTY HOUSE The teens CHEER! 152 153 BACK TO SCENE ..

SAME On MULTIPLE VIEWS on the Plasma screen. SARA Deckard. He's killing us! 155 156 INT. 155 INTERCUT . On her palm pilot.THE PLASMA SCREEN Sara looks INTO CAMERA. we see Michael methodically checking each room on the first floor. Another view shows Sara... as the words pop up: ... unsure of what Myles is doing. SARA (STREAMING VIDEO) Somebody out there. if you're there please let me know! SCOTT (pointing) Deckard? MYLES IS DECKARD! 159 THE PLASMA SCREEN 159 Sara listens to FOOTSTEPS coming from somewhere else in the house.BACK OFFICE 158 In the corner of the massive PLASMA SCREEN Myles sends an Email. MYERS HOUSE .MICHAEL’S BEDROOM . are you out there? 158 INT. please help us! This is really happening. SARA (ON SCREEN) Deckard. PARTY HOUSE .08/12/2002 Pink Revisions 84.NIGHT 157 Sara gets her palm pilot out of her bag and turns back to the NET-CAM. 156 157 INT. SARA (STREAMING VIDEO) Somebody PLEASE listen! TEEN GIRL (impressed) She is a really talented actor. Myles is frantically clicking over Browser Windows in the corner of the plasma screen. The crowd watches. Accessing his E-mail. PARTY HOUSE .

Eyes glowing in infra red.. HE’S COMING UP THE STAIRS 160 161 INT. Myles types.. oh God.. Then covers her own mouth. 162 THE PLASMA SCREEN 162 Michael Myers is looking INTO one of the dropped mini-cams. 165 .PARTY HOUSE .. Could all this really be.SAME The group of teens HOWL in anxiety! Edge of their seats.. 165 INTERCUT ..2ND FLOOR CORRIDOR 161 Michael reaches the top of the stairs and notices something on the floor. MYERS HOUSE .MULTIPLE VIEWS 164 ONE VIEW: Sara sees this on her palm pilot and SCREAMS. SARA (into NET-CAM) Deckard. ANOTHER VIEW: Michael hears the scream.. Now the teens look at the image in HORROR! Myles types.. TRUE? Shocked silence. directly at us. this is for real! Please. Help me.. HE’S OUTSIDE THE DOOR 164 PLASMA SCREEN . TEEN GIRL Tell her he’s coming up the stairs. Expressions of realization wash over them.08/12/2002 Pink Revisions 85. 163 INTERCUT . PARTY HOUSE . and turns to the door. He's killing people! 160 INT. DECKARD HERE .SAME 163 No more laughter.BACK OFFICE We PAN over two dozen teenaged mouths dropping open in disbelief. He reaches down.THE PARTY HOUSE .

She can’t. 171 . back to the wall. TUGS IT! TWISTS IT. looking for her. But it is too dark. MYERS HOUSE . 166 INT. LEDGE .CONTINUOUS 169 Sara stands on the narrow ledge. LEDGE . He GRABS SARA’S LEG. Too far. And Sara scrambles out onto.PARTY HOUSE .SAME TEEN BOY (on cell phone) Just send someone over there. Inside Michael thrashes around in a blind rage.MICHAEL’S BEDROOM . ON THE WINDOW Michael’s ARM CRASHES though the boards. Sara pushes open the window and scrambles through the space between two boards nailed to the outer frame. TRY THE WINDOW As he POUNDS and POUNDS on the door..PARTY HOUSE The teens SCREAM at the plasma screen. 168 169 EXT.. 166 WHAM! Michael throws all his weight against it. Something is REALLY HAPPENING. Sara’s palm pilot chimes with a message.. CLAWING BACK AND FORTH.NIGHT Sara shudders as the doorknob turns and the door shakes. Michael pushes his way in the room.ON SARA Looking down. It’s NO JOKE! (beat) Hello? 167 168 BACK TO BEDROOM CRASH! The door practically comes off its hinges. ALL JUMP! JUMP! 170 171 EXT. 170 INTERCUT . She can barely squeeze through. 167 INTERCUT ..08/12/2002 Pink Revisions 86.

trying not to move. She SMASHES the glass with her foot and quickly slips into the attic. Splinters fly. ATTIC . Where did she go? Sara is clings to the drain pipe directly above him. Michael’s head is only ten inches above her dangling feet. Sara holds her breath. Pitch Black. Then he darts back inside. points it at herself. 174 INT.NIGHT 176 HALLWAY. NEARLY FALLING OF THE LEDGE. 172 PARTY HOUSE The teen audience holds their breath. Sara kicks and thrashes. SARA (whispering) Deckard.FOLLOWING Sara looks down as her palm pilot BEEPS with a message: 174 CAN'T SEE YOU! She takes off her HAT-CAM. 172 173 LEDGE 173 He looks over to a second floor window. . SMASH! Michael’s head comes crashing though the boards. and hoists herself up to the attic window.08/12/2002 Pink Revisions 87. PARTY HOUSE . ON SARA She moves shimmies up the drainpipe. He looks RIGHT. but she grabs a drain pipe and HOISTS HERSELF UP. trying not to make a sound. un-boarded. listening to the CREAK of footsteps below. HE looks LEFT. DON’T SCREAM! Sara crouches down in the darkness behind some old boxes. Where is he? 175 INT.BACK OFFICE TEENS IN THE HALLWAY! IN THE HALLWAY! 175 176 INT. He looks down into the darkness below. ATTIC . about ten feet to his left. above the window.

CONTINUOUS 179 Several teens are crouched around Myles. We have to DO SOMETHING! (beat) I am NOT drunk! 180 INT. frantically offering advice. 181 PARTY HOUSE TEENS TURN OFF YOUR FLASHLIGHT! 181 . PARTY HOUSE ..ON SARA Slapping her hand to her mouth to keep herself from screaming. Ghastly hole in his neck. trying SO HARD not to make a board creak as she creeps.PARTY HOUSE TEENS DON’T DO IT! 177 178 ATTIC . pointing it with the camera at her face. Her palm pilot beeps. CLOSE ON SARA Her mouth open.BACK OFFICE . But it also illuminates.... CHARLIE’S DEAD BODY. Face twisted in agony. right beside her.CONTINUOUS 180 She moves towards the ladder to the second floor. HE’S IN HIS OLD BEDROOM But Sara is frozen with fear.. tracking Michael’s movement on multiple views. ATTIC .08/12/2002 Pink Revisions 88. TEENS Tell her GO! Now’s her chance! NOW! TEEN GIRL (over cell phone) Mom! This is serious. 177 INTERCUT .. Quick intake of breath. 178 179 INT. She pulls out her flashlight and flips it on.

She nearly loses her balance. PARTY HOUSE . 182 ATTIC .2ND FLOOR CORRIDOR 186 With the other hand he PULLS UP HIS MASK around his forehead. She creeps down the rungs. (beat) Where is he? SARA (whispers) I don't know. Eyes wide as saucers. Listening.2ND FLOOR CORRIDOR . I CAN’T SEE HIM! 184 INT. 183 INT. covering her mouth so she can't scream. THE MASKED MAN IS ON TOP OF HER. He looks behind her. She must nimbly climb around Bill’s corpse.CONTINUOUS With her back pressed against the wall she inches along. Step by agonizing step. Very carefully. MYLES I can’t see him. she turns off her flashlight. as she continues to shuffle across the floorboards.. She freezes. but they can’t see Michael anywhere.ON SARA 182 Realizing it’s giving her away. Then. . FREDDIE (whispers) Everybody’s dead. 185 INTERCUT . trying not to make a sound. rounding the corner.. and. but continues down. revealing the frightened face of FREDDIE. 184 A floorboard CREAKS LOUDLY as she steps on it. ON THE PULL DOWN LADDER Very slowly.NIGHT 183 The multiple screens show Sara. MYERS HOUSE .08/12/2002 Pink Revisions 89.PARTY HOUSE The teens SCREAM IN HORROR!! 185 186 BACK TO SCENE .

MASTER BEDROOM . swinging the KNIFE in wild arcs.. 187 INT..Freddie gripping Michael's wrist to avoid the knife. SMACK! Freddie lands three quick fists to the torso and a KICK to the masked JAW. Michael HURLS Freddie down the hall. He’s ready for more. WHAM! An explosion of splintered wood and plaster. They hear creaking FOOTSTEPS above them.08/12/2002 Pink Revisions 90.chaos of bodies thrashing in the darkness . Sara appears. But Michael keeps coming. They both go CRASHING through the door into..like two enraged bulls in a pen . 188 INT. Michael jumps back and Sara falls to the ground. You wanna be on Dangertainment? Michael marches towards him. BEAT. swinging a VIDEO CAMERA around by its cord and LOOPING THE CABLE like a tetherball around Michael's neck from behind . ANOTHER SPINNING KICK CATCHES Michael on the chin. He TUMBLES. CRASHES...CONTINUOUS 188 Michael slashes with his knife and Freddie CATCHES his hand and they struggle wildly across the room.. Freddie bobs and weaves. . sending Michael sprawling back against the wall.. MYERS HOUSE . Surprisingly Freddie barrels into to Michael's chest like a linebacker. Michael stands straight and stares at his doppelganger. FREDDIE So. FREDDIE We got to get the fuck out of here.NIGHT 187 Freddie and Sara move toward the stairs when SUDDENLY MICHAEL APPEARS OUT OF THE DARKNESS blocking their way to the stairs. Michael in on top of him. With unnatural strength. SUDDENLY. but finds his way BACK TO HIS FEET. Michael grabs the shoulders of the other man and the two SLAM from wall to wall .. Unstoppable.. but it barely turns his head. Freddie just grimaces.trying to choke him. avoiding the blade.

FREDDIE (deadpan) I think it’s time to go.THE CAMERA AND CABLE FALL WITH HIM.CONTINUOUS They look at each other.. amazed they're still alive.08/12/2002 Pink Revisions 91. I had no idea. the CAMERA dangling like a medallion on his chest. 190 INT. 191 192 INT. 190 191 EXT. (beat) I swear on my soul. once. then STOPS.CONTINUOUS They walk down the stairs. MYERS HOUSE . FREDDIE I saw his room. MYERS HOUSE . HOUSE . HOUSE ..STAIRWAY . MASTER BEDROOM . seemingly lifeless. Who knows for how long.SAME 195 . MASTER BEDROOM . HOUSE . the CABLE pulling like a NOOSE. unmoving. But Freddie SPRINGS at Michael again -. 189 EXT..CONTINUOUS Freddie and Sara rush to the window and look OUTSIDE to see. twice. POV OF CAMERA AROUND HIS NECK His leg twitches violently.FRONT DOOR . 193 194 EXT. Maybe the last twenty years.CONTINUOUS 189 Michael PLUMMETS toward the ground until but STOPS SHORT in mid-drop.PROPELLING Michael THROUGH THE WINDOW in an EXPLOSION of GLASS --.NIGHT OMITTED 194 195 INT.CONTINUOUS Michael HANGING there.. He was living underneath the house. 192 193 INT. He hangs there.

. no fuck that. but hesitates to open it. VIEW THROUGH THE FRONT DOOR WINDOW Sara can see only the edges of the porch and darkness beyond. SARA (cont’d) Where is he? Both she and Freddie crouch over the palm pilot.08/12/2002 Pink Revisions 92. SARA Wait! She shows him the screen of her palm pilot. SARA The cord broke. Let’s just run for it. He’s still alive!! Freddie looks at the door apprehensively.. And finally it beeps.. Sara pulls off her camera and speaks into it.. Freddie looks at the door. FREDDIE Shit. unsure.. Freddie grabs the doorknob. Sara stops him. FREDDIE We could try going out the back way. And they wait. SARA (whispering) Shhhh.. Behind you! . Seconds seem like hours.. And wait. It reads. I don’t see him.. waiting for the reply. CLOSE ON SARA AND FREDDIE AT THE FRONT DOOR There is an electronic BEEP as Freddie is about to open the door. He could be standing right there.

.. PARTY HOUSE .. Michael sticks him with the knife again and he crumples to the floor. Sara runs. 196 EXT. . TWO SHOT: FREDDIE AND SARA As they part. MYERS HOUSE .NIGHT Stumbling over the high chair to the back door.. LOCKED! The door behind her swings slowly shut revealing RUDY’S DEAD BODY Nailed up on the kitchen door with a half dozen kitchen knives. and Sara flees down the stairs to.. FREDDIE (choking) Run. shaking it. SARA No!!! Freddie drops to his knees.torn cable still dangling from his neck. and we RACE along with her.NIGHT 198 AND THE CHASE IS ON. MYERS HOUSE . KITCHEN .FRONT PORCH .CONTINUOUS OMITTED 196 197 INT. 199 She SLAMS against the door. we see that STANDING RIGHT BEHIND THEM IS MICHAEL MYERS . SHUNK! Michael buries the knife in Freddie’s shoulder. tugging it. 199 INT.. Like a bloodstained paper doll pinned to corkboard... The SHADOW of Michael Myers reaches the dining room. Michael grabs him by the throat....08/12/2002 Pink Revisions 93.Sara flies through the house.NIGHT OMITTED 197 198 INT.

AN IRON LADDER Leading up. scrambles up and sprints through the opening in the foundation. She runs smack into.08/12/2002 Pink Revisions 94. TUNNELS . TUNNELS . and Sara climbs down the LADDER to.. hustling three rungs at a time. 204 INT. MYERS HOUSE . SUBURBAN STREET . and finds.BASEMENT . It takes all her strength to push it up and slide it over.NIGHT OMITTED A201 202 INT. tripping over the table. her eyes still open.. 200 INT. . DONNA’S BODY Hung with the rats. 201 INT. and upending the plate of rats bones. 203 INT.NIGHT Rushing through the murk..CONTINUOUS 203 She tears through Michael’s room. Jagged rods piercing her flesh like a pins in a voodoo doll.NIGHT Panic and disorientation. Sara JUMPS AWAY in fright.SUB BASEMENT . Sara races this way and that through the maze.. going from basement window to window. A201 EXT.. Sara scrambles to find an escape.. Walls rushing past as she flees.. Below her THE SHADOW seems to follow after her. The SHADOW following close after her. mouth agape..CONTINUOUS 204 Sara dashes down another tunnel.. MYERS HOUSE .. 200 The SHADOW of Michael Myers reaches the bottom of the stairs. MICHAEL’S LAIR . 202 A wild flurry of movement while SHADOWS seem to reach out.CONTINUOUS 201 She slips and FALLS among the plastic corpses. ON SARA She reaches the top... She climbs it. and finds a MAN HOLE COVER.

SARA (whispers) How did this happen? You were the brave one.. 205 INT. She OVERTURNS an OLD LAWN MOWER. NORA’S DEAD BODY Swinging from the rafters like a gutted animal. only to SLIP on a. Then she looks over at THE WINDOW . ON THE MONITORS. CLOSE ON SARA’S FINGERS She touches the surface of a monitor as if to gently stroke Jen’s lifeless face. Then she races towards the DOOR.. Sara scrambles up. and pushes the man hole cover back into place.. Knives in Rudy’s chest. ON SARA Tears roll down her cheeks.08/12/2002 Pink Revisions 95.. SMACK! She is stunned for a second. on top of the man hole cover..CONTINUOUS 205 It leads into the control room. CRASH! The she piles up a chair. Sara stands up and approaches the control panel. All Sara’s friends are dead. a camera box. but then she snaps out of it as DROPS OF BLOOD land on her nose and cheek. GARAGE .... Sara PUSHES it over.. we see the viewpoints of each of the other students: Jen’s head. Jim’s lifeless hand. Looking up she sees. Donna’s impaled torso. GASOLINE dribbles from its tank.. Overwhelmed by grief. MASSIVE POOL OF BLOOD Her legs sliding out from under her. ON A HEAVY CONSOLE Filled with electronics and monitors.

she spots something even better. Where is she hiding? He patiently searches through the room. as if someone were starting a lawn mower. CLOSE ON SARA But then. Wielding the fearsome saw. A lawn mower. She riffles through them. ON SARA Something snaps. ON THE DOOR Michael bursts in. ON MICHAEL FROM THE BACK He hears the pull of a drawstring. WIDE ON THE GARAGE Michael looks one way and then another. Michael turns and BACKS UP to avoid losing an arm.Stepping forward. Gritting her teeth. As Michael’s shadow lumbers by outside. A PICK. Scanning the garden tools for a weapon: She sees a SHOVEL. MICHAEL JUMPS BACK And he barely avoids getting hit in the face by the blade of A CHAIN SAW! ON SARA . PUSH IN ON MICHAEL He turns around slowly as a motor buzzes to life. She YELLS over the roar of the motor SARA ARE YOU SCARED YET. Her hysteria melts and turns to rage. . MICHAEL??! She SWINGS AGAIN. Slowly lumbers towards the control panel.. He doesn’t see her.08/12/2002 Pink Revisions 96. She dashes to the far corner of the garage. Hedge CUTTERS..

Sara raises the chain saw like a sword and marches forward. SHE DUCKS As Michael SWINGS his butcher knife. His head tilts. Out of gas..08/12/2002 Pink Revisions 97..She’s got him now. SARA (cont’d) THIS IS FOR JEN!! She SWINGS AGAIN . the tip narrowly misses her face. SARA (cont’d) AND THIS IS FOR YOU!!! But just as she is about to swing. CLOSE ON THE UNWIELDY SAW BLADE It skips across the console. ON SARA Still advancing.Taking aim at Michael’s neck . Michael takes a step towards her. ON SARA Raising the saw high above her head . . ON MICHAEL He stares at her. Slices through plastic. avoiding the blade. slicing through hanging cables in her path. Michael keeps backing up. SARA Shit. Sara almost loses control of it. It won’t start. SARA THIS IS FOR RUDY!! She SWINGS and HITS . the saw SPUTTERS AND GOES DEAD. Silence. ON SARA Takes a step back. Blood splatters against garage wall.Tearing a GASH along Michael’s left arm. The chain TEARS UP the wood. Backing Michael into a corner. Pulls on the drawstring.Catching his knife and knocking it away.

. The POWER CABLE whips around near her face. Sara pulls and PULLS. She thrashes but she can’t get free.. SMACK! He hits him again.. In desperation. Michael takes another unhurried step towards her.. Smoke is everywhere. hitting him right in the forehead. She HURLS the dead saw at the madman. rushes in through the flames. but it still won’t start. walks back towards her through the web of wires. Pulls frantically on the drawstring. FREDDIE. Groggy. Disoriented. the fire races over a puddle of gasoline towards the old lawnmower which EXPLODES. but still alive. She backs up. Michael CATCHES the shovel with his free hand. As Freddie swings a third time.. CRASH! The crumbling. and PINS HER ANKLE TO THE FLOOR. knocking Sara to the ground. She lies there... Sara GRABS THE POWER CABLE to keep the sparking tip from hitting her face... weak and wounded. . He grabs the shovel. The sparking cable lashes around boxes and paper that suddenly burst into FLAME. and he raises his knife like death himself wielding the scythe. Michael. She backs up. nearly unconscious. Motherfucker.. she looks up to see.. burning DOOR falls to the ground. Fire crawls over the walls. But. He picks up his knife.08/12/2002 Pink Revisions 98. surprising him. CRACK! He hits Michael on the side of his head. Pulls frantically on the drawstring. Choking on the smoke. snapping his head and knocking the monster back. the shovel ringing like a bell. FREDDIE TRICK OR TREAT. relentlessly. slowly. Sara turns and runs. but it still won’t start.. holding it fast. Michael stands over her. A worktable CRASHES on top of her.

Freddie YELLS.CONTINUOUS They escape through the crumbling burning doorway. sending flames leaping high into the night sky. Freddie looks down at Sara holding the electrical cable... MYERS HOUSE . surrounded by dancing flames and arching bolts. Freddie DUCKS as Michael thrusts the knife at his face. The hot electrical wires hiss and crackle. 209 EXT. Then. his body held up by the cables in an eerie tableau. EXT. arms spread like a dark messiah. ON FREDDIE AND SARA As they rush out. on Michael Myers. SPINS and lands a KICK right in Michael’s sternum. The GARAGE ERUPTS in one final spasm of FIRE.. with his last bit of strength. The fire is finally out. Sara tosses the cable into the pool of blood at Michael’s feet..08/12/2002 Pink Revisions 99. Could HE have survived that inferno? 209 . and EMS vehicles are all around. fire. GARAGE . We hear a CRACKLE as Michael suddenly STIFFENS.. Smoke billows out windows. COP I have to know whether or not we have a manhunt on our hands. and then COLLAPSES in on itself. A COP talks to a FIREMAN. FREDDIE Happy Halloween. hurtling him back into flames and the tangled web of wires. They stumble across the lawn as. Michael slumps as the electricity shorts out in an explosion of sparks. is for you. Freddie takes ONE LAST LOOK AT MICHAEL. SARA (to Michael) AND THIS.. his back arching as the voltage courses through his body. assessing the carnage. They both seem to get the idea at the same instant.HOURS LATER By now police.

FREDDIE You see? I was right.PARTY HOUSE On the PLASMA SCREEN is a live video feed from a local news cast.. FIREMAN No way. Tears roll down her cheeks. SARA This wasn’t your fault..08/12/2002 Pink Revisions 100. We can see you on the News! INTERCUT . If that really was Michael Myers in there..gives it a little squeeze.. She looks down to see the message.. NEAR THE FIRE ENGINES Sara’s PALM PILOT BEEPS. Deckard.. to take all this back. 210 EXT. Every cent. He is bandaged and weak from loss of blood. and Sara looking into the News camera and calling out. FREDDIE (cont’d) I’d give every dollar I’ve ever made in my entire life.CONTINUOUS Sara stands nearby as Freddie sits on a gurney... he’s burned to a crisp.. THE TEENS CHEER. You’re alive! Sara smiles with relief. MYERS HOUSE . You surprised yourself. bits of the fire.. . 210 Sara reaches out and grabs Freddy’s hand . Then she walks towards the fire engines.ANOTHER ANGLE . It shows the fire engines. but he smiles. Pure evil. Several slap Myles on the back. This was. (looking back at the house) This was evil. SARA Thank you. COP Michael Myers or some copy cat. She looks like a little girl.

We’re done dancing for the cameras. Harris. Dangertainment is OFF THE AIR.) But how are YOU feeling right now? FREDDIE How do I feel? . NO MORE CAMERAS. REPORTERS EXCUSE ME! How does it feel now that it’s all over? Lights flash in Sara’s eyes. Abruptly. would you like to make a statement? What can you tell us about Michael Myers? VIDEO CAMERA POV The camera is pushed right up in Freddie’s face. speaking over one another. a tie-in or a celebrity scandal. ON SARA A group of REPORTERS and NEWS CAMERAMEN clamor behind the police line.08/12/2002 Pink Revisions 101. FREDDIE Michael Myers is not a sound bite. The all call out. Y’all can stop watching the screen ‘cause he’s probably standing right there behind you . She is surrounded by oppressive VIDEO CAMERAS. No cameras. REPORTERS Mr. He’s not a spin-off. SARA What makes you think it’s over? The reporters continue to crowd and clamor.right now. Microphones swoop on their poles. FREDDIE Hey. REPORTERS (O. (beat) That’s all.C. Freddie appears at Sara’s side and pushes a couple of the more oppressive camera people back. Sara catches Freddie’s eye as he sits by the ambulance.

HOSPITAL MORGUE ...) (cont’d) Feel THAT. CUT TO BLACK: ALTERNATE ENDING #1 INT. FREDDIE (O.08/12/2002 Pink Revisions 102. Then over the dark screen... A FEMALE CORONER closes a drawer and sighs. The other digs around bits of twisted metal and finds. stares directly into the lens. A HAND Shoots up from the darkness and grabs her neck. outraged.C. MYERS HOUSE . She looks weary. She peers down into the gloom of the tunnel below.GARAGE OMITTED A210 B210 EXT. She leans farther and farther down until. There are several other body bags already in the room. He brushes aside more ash and finds the SKULL. A210 INT. He reaches out and rips the camera from the reporter’s hand. The image SHAKES and GOES DARK as Freddie smashes the camera on the ground. looking for bodies. Freddie.MORNING Two crime scene investigators poke through the ashes. GARAGE(BURNED TO THE GROUND) . THE MAN HOLE COVER She kneels down and begins dragging the cover aside.. B210 One brushes aside blackened timbers and finds the torso of A SKELETON.NIGHT OMITTED EXT..NIGHT Two ORDERLIES wheel in a body bag on a gurney. . MYERS HOUSE . charcoal and melted plastic.

CORONER Another one? ORDERLY It’s your lucky night. Michael's charred hand SHOOTS OUT AND GRABS HER BY THE THROAT. and turns to see Aaron standing there. I have to see his face! The firemen unzips the bag revealing a glimpse of the WHITE MASK.. Sara approaches the gurney as they roll it down the driveway.. SARA Is that him? Wait. she tries to peel the off the mask tugging and pulling .. Suddenly. His overalls are singed black. The orderlies exit.) Don’t do it. The mask has melted to his face. I want to see his face. Alone in the room. A FIREMAN carrying GEAR stands nearby. MYERS HOUSE . Sarah pulls her hand back.S. SARA What are YOU doing here? AARON I told you not to go in the house.NIGHT EMT PERSONNEL carry a bodybag from the burned garage and placed on a gurney.. . the coroner unzips the bag. VOICE (O. CUT TO CREDITS: ALTERNATE ENDING #2 EXT.08/12/2002 Pink Revisions 103.. Sara reaches down. revealing the charred body of Michael Myers..but it won’t come off. It is the body of Michael Myers. Startled.. Slowly.

old FIREMAN reacts to Aaron with deadpan eyes. Ever. axe sticking out of its head like a sword in a dragon. Sara bravely reaches down and tugs on the mask but it won’t come off.. SARA Go home. The killer drops back on the gurney like a bag of wet cement.08/12/2002 Pink Revisions 104. SARA It’s melted to his face. It’s over. Suddenly a charred-black HAND SHOOTS OUT OF THE BODY BAG and GRABS AARON BY THE THROAT. He clearly thinks the kid is a freak. A crusty. Sara grits her teeth at the lifeless corpse. You can shoot him. Aaron can’t help but lean forward for a better look. The EMT personnel and FIREMAN jump back in SHOCK as MICHAEL SITS UP! But as Aaron struggles helplessly. FIREMAN What are you talking about? He’s a lump of charcoal. Aaron gasps for breath looks at Sara with surprise. SARA (cont’d) Now it’s over..HE KEEPS . Sara grabs and swings a FIRE AXE! THUNK! She buries the heavy blade to the hilt in Michael’s face. CUT TO CREDITS: . Don’t you get it? He won’t stop.COMING . AARON It’s never over. you can stab him. BUT . Once again.BACK. you can hang him up and burn him. Aaron.

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