He comes further into the room.

His eyes are lit with the intensity of a zealot.

And Jane shoves Aron out the door and closes it.

On her look at Sara we

Int. Cafeteria - nIGHT

Where we are FOLLOWING Rudy Johnson while he talks on his cell phone.

WIDER ANGLE

as he moves over to a long table decked out for a "going away" meal. The other students are taking their seats.

Rudy takes his seat at the table, nods to the others.

He clicks off the phone, looks around at the others.

But Jim slaps his hand down on the table.

Rudy breaks off a piece of goose drumstick and tastes it.

The others turn to him.

They give him a sarcastic round of applause and he turns to

THE DIGITAL CAMERA

a few yards away, with a small crew documenting the occasion for the Net. Jim stands, smiles at us and bows dramatically.

A computer screen

on which we are watching the same image.

INt. myles's bedroom - night

This is the room of an adolescent with a high-tech mindset. Instead of sports paraphernalia and posters of rock heroes, every available inch of space is taken up by computer parts of varying age and condition, software on floppies and CDs, manuals on computer language and code. MYLES BERMAN is sitting in front of the computer screen, on which we watch Sara's interview.

His friend SCOTT stands watching over his shoulder, bored.

ANGLE ON

the COMPUTER SCREEN, as the camera finds the quiet Sara.

BACK TO SCENE

as Scott looks at her, unimpressed.

Myles looks up from the computer for the first time, blinks.

But when Scott turns away Myles hits his e-mail "send" and we

Ext. A country road - night

We are looking THROUGH the support beams of a wooden SCAFFOLDING, down a long straight stretch of road with highway lights creating pockets of light, pools of darkness. We hear VOICES and find

A PICKUP TRUCK

at the side of the road. Two men JERRY and KENNY, put the finishing touches on a billboard supported by the scaffolding.

Kenny puts a large, claw-toothed hammer into the flatbed.

THROUGH THE SUPPORTS

a figure appears in the distance, at first just a vague shimmering...but moving steadily toward us, vanishing in every patch of darkness, reappearing under each new light.

THE TWO MEN

gather the rest of their tools, put them into the flatbed.

INT. truck - CONTINUOUS

The men climb into the cab.

Ext. ROAD - night

The dark-clad figure suddenly STOPS. He is looking up.

HIS POV

on the BILLBOARD, which we now finally see from the front -- a giant white Michael Myers mask stares down at us under copy that announces: "Secrets of the Myers House Revealed. Tomorrow Night. Live."

ANGLE ON FIGURE

staring up at the sign for a long time, seemingly frozen.

INT. TRUCK -night

The driver reaches for the ignition, hesitates. He is looking up at something.

POV IN REARVIEW MIRROR

where we see the figure standing there, in white mask, at the back of the flatbed.

The first man turns around quickly.

POV THROUGH REAR WINDOW

...but the figure has vanished.

ANGLE IN CAB

as Kenny turns back to the wheel.

A SHADOW crosses their faces and they both look up

THROUGH THE WINDSHIELD

as SUDDENLY the SHAPE appears out of nowhere -- and SMASHES DOWNWARD with the huge hammer -- CRASHING THROUGH the windshield straight for Kenny's skull as we

Ext. HADDONFIELD - MORNING

OCTOBER 31st. HALLOWEEN.

We MOVE SLOWLY down a tree-lined street to FIND

Ext. MyerS HOUSE - cONTINUOUS

The place is long ago boarded up and fallen into disrepair. Graffiti is scratched across the façade, left there no doubt by the heartiest of local teenagers willing to take a dare.

The front door is OPEN. We hear VOICES coming from inside.

WE KEEP MOVING

...slowly up the walkway toward the front door.

INt. myers HOUSE - morninG

We MOVE among the old dusty furniture as through a museum.

MOVE UP THE STAIRS

where the voices grow louder.

ANGLE TO FIND

Freddie in the upstairs HALLWAY, on the cell phone while directing a thirtyish guy, Brian, how to set up a small digi-cam. CHARLEY, a middle-aged electrician, is running cable in the background.

Brian turns to him.

He flips the phone closed, looks back over at Brian.

He passes Brian in the hallway, heading for the stairs.

Freddie turns back to him.

Freddie just shakes his head and continues down the stairs. FOLLOW HIM out the front door, mumbling to himself.

THE IMAGE TRANSFORMS

into VIDEO as we look THROUGH A WINDOW as Freddie gets in his car. As the car PULLS OUT...we get just a hint of another vehicle passing.

WIDER TO INCLUDE

Brian looking through the video camera for a test. He turns it off, sets it down, looks directly out the window.

HIS POV

...as we see just the tail end of a pickup truck disappearing under a red-leafed autumn tree.

ANGLE ON BRIAN

as he turns back into the house, looks around for a place to position the next camera.

Int sanitarium - DAY

Police and state mental health OFFICIALS move about gathering information and evidence. Two DETECTIVES are interviewing the hapless Franklin Munroe.

ANGLE TO FIND

a quiet, serious, dark-suited man watching from a few yards away: JEB DONASLDSON steps over, flashes his wallet I.D.

Donaldson nods, moves over to

THE SECURITY DESK

where other officers are going over last night's tapes.

THE SECURITY MONITORS

show the various VIEWS from around the facility recorded last night: we see the babbling Harold on one, the dark-clad figure approaching Laurie's door on another.

ANGLE ON

Donaldson as he watches curiously for a moment until a hospital administrator, HORACE JORDAN, comes up alongside.

Donaldson looks up and smiles pleasantly at the man.

Int. Sanitarium - daY

The two men walk down a hallway on another floor.

He's cut off by the RING of a cell phone. He takes it out of his coat pocket, squints at the number, shrugs at Jordan.

He hangs up the phone, Jordan looks at him.

They reach one of the doors and Jordan OPENS it.

Int. Harold's room - cONTINUOUS

Harold looks up at them -- wearing a Laurie Strode novelty mask.

The two men stop in the doorway, look at him, at each other.

Int. Sara's rOOM - afternooN

Sara is at her computer reading her e-mail as Jane comes in.

Jane looks at her disapprovingly.

She goes to the closet, rummages through her clothes.

Jane stops rummaging, turns to Sara.

Jane finds a sexy sweater, steps over to Sara, looks over her shoulder at the computer screen open to her e-mail reader.

Jane drapes the sweater over Sara's shoulders and steps back.

Int. MYLES'S ROOM - AfTERNOON

Myles sits at his computer, distracted.

So the good news is....

ANGLE TO FIND

Scott standing at the open door of the room. Myles looks over at him.

Scott comes farther into the room, looks at his friend.

Myles looks over at the computer, back at Scott.

Myles steps over to the computer, calls up his e-mail reader.

Scott reads one of Sara's messages, his eyes widening.

Scott turns and stares at his friend.

Int. Donaldson's office - afternoon

Donaldson is sitting in his very low-tech space. If it weren't for the voices and occasional static-laced dispatch sounds in the BACKGROUND, we wouldn't know he's carved this dark space of an office out of State Police headquarters. The only anomaly among the ancient filing cabinets and stacks of paperwork is the computer sitting on his cluttered desk. He looks at it as if it were an alien presence. He looks down at a pad on his desk.

INSERT PAD

covered with his notes from the sanitarium. We see the name underlined: LAURIE STRODE.

ANGLE ON DONALDSON

as he stands up, stretches, moves to the window.

POV THROUGH WINDOW

as Halloween begins to take shape. We see costumed kids, some of them wearing cheap Michael Myers masks, moving in small clusters, older ones on the edge of rowdiness, little ones shepherded by watchful parents.

ANGLE ON DONALDSON

as he turns around -- and SUDDENLY a face appears behind him, horrible and ghoulish -- and he jumps back, startled.

ANGLE ON

the "ghoul" as it removes what proves to be a Halloween mask, revealing a young desk-duty officer, NORA MANN.

She looks over at the computer on his desk, back at him.

She turns and leaves the room.

ANGLE ON DONALDSON

as he looks back at the computer. He sighs, then finally sits back down at his desk, moves the mouse and clicks. We hear the annoying connection noise as the Internet comes up. He types something on the keyboard.

THE COMPUTER SCREEN

is on a search engine as he types in "LAURIE STRODE" and clicks the mouse again. About a hundred references pop up.

ANGLE ON DONALDSON

as he looks at the computer screen curiously. He moves the mouse, we hear the clicks, watch different colors play across his face as different sites come up. Until:

ON THE COMPUTER SCREEN

we see a web site slowly come up, rendering shape from blotches of color...turning into the Michael Myers HOME PAGE.

ANGLE ON DONALDSON

as the investigator looks curiously at the computer screen a moment. He drums his fingers restlessly on his desk. Looks at his notes. At the computer screen. Back at his notes.

Then he stands, grabs his coat, and heads for the door....

Ext. myers house - aFTERNOON

We find Brian at the equipment truck parked at the curb, getting another mini-DV camera out of the back, while on his cell phone.

FOLLOW HIM up the walkway toward the house with the camera.

As he heads up the steps of the porch we

ANGLE TO FIND

...the old pickup truck partially hidden by the fall trees.

Int. MYERS HOUSE - aFTERNOON

Brian carries the camera up the stairs and down a hall toward a narrow cabinet. He stops, hears something from downstairs.

HIS POV

down the stairs...there's nothing there.

FOLLOW HIM

as he turns away, moves down the hallway to the cabinet. He yanks it open -- and something FLIES out at him out of the darkness. He jumps back startled, then looks down at the stuffed animal lying at his feet: a child's ancient pink Easter bunny. He straightens and turns back to the cabinet. Then he hears another sound, coming from behind him.

ANGLE DOWN HALLWAY

as he sets down the camera. He starts moving down the hall. Now it's quiet again. He peers into the doorway of a bedroom, but there's nothing there. He turns back into the hall -- when SUDDENLY a shape comes up at him from behind a door, featureless white mask staring at him --

Brian jumps back in fright -- but the figure simply pulls the cheap novelty mask down from his face...revealing Charley, the jumpsuited technician, grinning at him.

Charley turns away and heads down the stairs and we

FOLLOW BRIAN

back to the cabinet. He lifts the camera and positions it. Then he hears something behind him. This time he just ignores it, sighing. He reaches around behind the camera and

THROUGH THE CAMERA

the VIDEO IMAGE comes ON -- as we see the SHAPE coming up behind Brian and we

Int. GARAGE/CONTROL ROOM - same time

Which as been turned into a CONTROL ROOM of sorts. Charley takes up position at a MIXING PANEL with an array of dials, levers, and switchers, controlling a bank of MONITORS. It's somewhat jury-rigged, with a tangle of wires and electrical cables feeding the system.

Charley sets a giant cup of Starbuck's Mochaccino at the edge. He flips a switch on the console and several MONITORS light up. He reaches to take a sip of his coffee, never noticing that on one of the monitors Michael Myers is PULLING Brian out of view.

By the time Charley looks up, the monitor shows nothing.

Ext. Campus - late afternoon

The students have assembled in the PARKING LOT, a small group of other college kids there to see them off. One young guy has a VIDEO CAMERA to memorialize the occasion.

Jenna sighs, looks back at her watch.

Int. Van - aFTERNOON

Looking THROUGH THE WINDSHIELD as the van turns into the university driveway, Freddie behind the wheel.

Ext. campus - aFTERNOON

The van PULLS UP and the doors open as Freddie turns to them.

Int. van - aFTERNOON

They all climb on board and take their seats.

ANGLE ON SARA

settling into her seat near the back, as Freddie starts PULLING OUT of the parking lot.

HER POV

OUT THE WINDOW...as we see Aron, amid the small cluster of other students, watching somberly as the van pulls away.

ANGLE IN VAN

as Freddie continues his spiel.

Jim gives Donna a nudge.

The students settle into their seats for the long ride.

ANGLE ON VAN

as it zips past us down the long straight road.

Int. Donaldson's car - late afternoon

We find the state cop intent behind the wheel. His cell phone RINGS. He looks at the number, sighs, answers it.

He flips the phone closed and we GO TO an

ANGLE ON CAR

as it PASSES us and

WE FIND

the road sign indicating: "HADDONFIELD, 93 MILES."

Int. VAN - dusk

The six students are looking out the windows as they turn down a tree-lined street and come to a STOP in front of:

Ext. MyerS HOUSE - nIGHT

Dark and quiet in the early NIGHT. Charley waits on the front lawn, with a camera to catch the arrival.

Int. Myers HOUSE - night

We move slowly over to an upstairs window. We see the curtains being pulled slightly apart.

THROUGH MICHAEL'S EYES

we watch out the window as the van doors open and Freddie and the kids climb out....

Ext. MyerS HOUSE - night

Charley comes over carrying a large plastic box.

Charley hands each of them a large, police-style flashlight, then pulls out what looks like a baseball-style cap, puts it on his head. He turns to the students.

THROUGH THE HAT-CAM

we see the students looking back at us.

Ext. MyeRS HOUSE - cONTINUOUS

Charley hands out hat-cams and several species of clip-on mini-cameras, then jogs to the garage. We notice the large portable generator parked outside.

Freddie checks his watch.

Jenna checks her hair in the van side mirror.

Freddie gets on a walkie-talkie.

Int. garage/control room - followinG

Charley takes up position at a CONTROL CONSOLE, takes a sip of his everpresent Mochaccino, and picks up his walkie.

And he flips a few switches and

THE MONITORS

light up with various views from around the house. From the kids' MINI-CAMs we see Freddie at the front of the house.

Int. party HOUSE - night

High school kids are arriving for tonight's Internet Halloween party, Myles and Scott included.

ON THE PLASMA SCREEN

across the room we see Freddie talking TO CAMERA:

SUDDENLY we go INTO the PLASMA SCREEN and POP OUT at

Ext. MyerS HOUSE - niGHT

as Freddie heads around back and into:

Int. garage/CONTROL ROOM - followinG

Freddie positions himself at the console beside Charley.

Freddie scowls at Charley's giant cup of Mochaccino.

ON THE MONITORS

we watch as the students approach the door of the old house.

INt. MyeRS HOUSE - fOLLOWING

The door creaks OPEN and they enter.

Int. party housE - nIGHT

We see a GRID of views from around the Myers house play across the PLASMA SCREEN before the audience of high school kids. One of the boys works a mouse across the grid to maximize one view or another.

Int. MyeRS HOUSE - nIGHT

The students poke about with FLASHLIGHTS: the furniture all appears to be in place, covered with years worth of dust. It's as if the occupants quickly fled a disaster.

Int. KITCHEN - nIGHT

The five students enter, their flashlight beams casting about the old fixtures.

He looks at her with disdain.

Rudy goes over to examine an old spice rack, pulls a jar out.

ANGLE ON

Bill, over by the kitchen counter. He is looking at an old knife rack. Slowly he pulls a large blade out of its slot.

The same image

viewed through Rudy's HAT-CAM VIEW, seen on a MONITOR.

int. garage/control room - nIGHT

The two men at the CONTROL PANEL, watching the same image.

POV FROM BACK DOOR WINDOW

where someone is watching them too....

ANGLE ON FREDDIE

as he turns around, if sensing something. He looks through the back door window -- but now it is empty.

He turns back to the monitors.

int. hoUSE - nIGHT

The students moving back through the living room.

Int. Donaldson's cAR - nIGHT

The police detective turns the wheel toward an exit.

ANGLE ON CAR

as it whizzes onto the exit ramp marked for "HADDONFIELD."

Int. Myers basement - nIGHT

Jim and Donna walk down rickety stairs, their FLASHLIGHT BEAMS cutting across piles of old furniture, firewood, cartons, beams and shadows crisscrossed by naked pipes.

They wander about in the semi-dark.

He moves over to an ancient console television, sits on it.

Jim moves over to her, looks at her face in the half-light.

Int. Upstairs - nIGHT

Bill, Rudy, Jenna, and Sara enter what looks like the MASTER BEDROOM. Jenna flops onto the bed, creating a cloud of dust that makes them cough.

Sara opens the door of a walk-in closet, pushes away a mass of cobwebs, steps inside.

Jenna looks at him blankly.

He just looks at her and sighs.

ANGLE IN CLOSET

as Sara pushes aside some hanging clothes -- and a WHITE FACE peers back at her from the darkness --

Sara SCREAMS and falls back against the door, pushing it shut behind her and leaving her in the dark as her flashlight tumbles to the floor.

ANGLE IN BEDROOM

as Bill and Rudy run over but the door is jammed tight.

INSIDE THE CLOSET

Sara finds her flashlight just as the door OPENS and --

A TAILOR'S MANNEQUIN in a cheap wig tumbles free from behind the clothes, falling harmlessly to the floor.

ANGLE ON

Sara, Rudy, and Bill, staring down at the thing.

He steps back, sits down on the bed -- then realizes where he is and jumps back up.

They all start laughing at the ridiculousness of it.

Then Sara looks around.

And SUDDENLY we are SUCKED out of the scene and POP OUT:

Int. GaRAGE/CONTROL ROOM - nIGHT

Freddie and Charley watching on the monitors.

Charley gets up, heads for the back door.

Charley steps outside, Freddie looks at the monitors.

Freddie looks over at Charley's giant cup of Mochaccino. He picks it up, sniffs it and grimaces, sets it back down.

Int. House - night

Where we find Rudy wandering down an upstairs HALLWAY.

At the end of the hall he looks up, stops a rope hanging down from the trap door leading to the attic.

He reaches up, pulls on the rope, but it's suck. He keeps tugging at it, then hears something from behind him.

He turns, looks back.

HIS POV

down the dark hallway. Only shadows.

ANGLE ON RUDY

as he turns away from the attic door, starts down the hall.

Ext. BaCKYARD - fOLLOWING

Charley steps out into the night. Reaches to his shirt pocket for his cigarettes. We hear the CRACK of a branch. He looks over into the narrow alley between the garage and house. He starts to turn away, then hears another sound.

FOLLOW HIM

as he walks into the shadowy space.

BEHIND THEM

we see a large shape come up in the darkness.

ANGLE ON CHARLEY

as he continues down the alley another few feet then turns around -- and the shape is standing there BLOCKING his way. Charley is only momentarily startled, but not surprised.

But he is cut off in mid-thought. His mouth opens but nothing comes out. He looks down at his stomach -- and sees the gardener's trowel imbedded in there, Michael Myers's hand wrapped around the handle. On Charley's bewildered look we

Int. Basement - night

Jim playfully swings around in front of Donna, blocking her.

But suddenly she grabs his shirt and pulls him to her.

TIGHTER ON THEM

as Jim is taken aback when she kisses him passionately. And in an instant they are all over each other, kissing, groping, until Donna pushes him gently away.

He points to the lapel cam she's wearing.

He folds her sweater back to BLOCK the lapel cam, then kisses her again and they fall back against an old door -- and SUDDENLY the ancient wood of the door GIVES WAY and they TUMBLE through it and land on the dusty floor inside.

Int. Basement room - cONTINUOUS

Their flashlights roll free casting crazy shifting light --

HITTING FACES

all around them, wild feral animal faces with gaping jaws.

ANGLE ON

Jim and Donna as they regroup, find their flashlights, get back to their feet. Now we see that all around them is a macabre collection of skinned and stuffed animals: a huge German Shepherd, several cats, exotic birds, part of what we may only conclude to be a bizarre family pet collection.

THE SAME IMAGES

on the giant PLASMA SCREEN.

Int. PartY - nIGHT

The Internet party guests watch the action.

Int. gARAGE/CONTROL ROOM - night

Freddie watching on the MONITOR. He smiles.

Int. UPSTAIRS - nIGHT

Sara and Bill enter what looks like the room of a small boy. Apart from decades of dust, it seems preserved in a pristine state, as if it were some kind of shrine. Stuffed animals gaze back at us from the bed, Lionel train tracks circumnavigate the room, a baseball and mitt sit perched on the dresser.

ANGLE ON

an old trunk at the foot of the small bed. Sara kneels beside it, tries to get it open.

ANGLE ON

Bill, going through the drawers of a child-size dresser.

ANGLE ON

Sara as she finally gets the ancient trunk lid open -- and a small head POPS out and she falls back onto her seat. The head bobs crazily on a spring and we realize it's an old jack-in-the-box, with eerie painted face and gazing glass eyes.

Bill looks over from the dresser.

Sara catches her breath, looks inside the trunk and finds a family photo album. She opens it.

INSERT ALBUM

where we see early sixties snapshots of a couple with a daughter and young son...then the addition of a baby girl...the kids growing to school age....

ANGLE IN ROOM

as Bill slams shut the last drawer, goes over to a side door. He opens it and steps into an adjoining room.

Sara looks back at the photo album.

INSERT ALBUM

The boy in the photos grows increasingly distant. There are shots with him off to the side, resentfully watching his parents cuddling his new baby sister.

Go CLOSER on the PHOTO of the boy, moving INTO the deep-set haunted eyes -- are they sad, resentful, or utterly dead?

And SUDDENLY we

MICHAEL'S POV

...as he enters his house. He looks around in the darkness, one way and another with his predatory gaze. He moves to:

Int. Kitchen - cONTINUOUS

Michael goes over to the cutlery rack. He pulls out a knife. The blade catches light in a SPARK of brilliance and we

A huge BLADE

SLASHING into FRAME --

Int. party HOUSE - night

As a big kid in cheap Michael Myers costume LASHES OUT with a rubber knife, striking one of the smaller kids, who feigns a dramatic death.

Int. MICHAEL'S ROOM - night

Sara is looking at the family album curiously.

There's no response. She gets up and moves to the side door.

POV THROUGH ROOM

to the adjoining room. All we see is darkness.

FOLLOW HER

as she steps into the next room -- which, by its stacks of albums, collection of dolls, Aerosmith posters on the walls, we take to be the habitat of a teenage girl circa 1970s.

Int. BASEMENT storeroom - nIGHT

Jim and Donna cast their flashlights about the basement storeroom, with its odd store of stuffed animals.

A tiny cascade of dry mortar tumbles loose from the wall.

He is looking at an old brick wall sealing off a corner of the room. The bricks seem haphazardly set, the ancient mortar easily giving way under his fingers. He removes one brick, then another, and a few tumble free to the floor.

She turns to shine her flashlight on the opposing wall --

And a HAND comes free from the brick wall behind her and LANDS on her shoulder. Donna SCREAMS and her flashlight SWINGS wildly back at the opening in the bricks --

ANGLE ON A FACE

staring back at them, lips pulled back, grimacing in death.

WIDER ANGLE

as SUDDENLY the rest of the bricks come tumbling loose as -- a decomposed BODY crashes through and lands on the floor, the handle of a huge knife sticking out of the back --

Donna screams, staring at the mummified corpse with parched skin over sunken eyeholes, teeth bared in final terror.

THE SAME scene

viewed on the giant PLASMA SCREEN at the party.

The kids just sit there rapt, stunned into speechlessness.

Int. gARAGE/CONTROL ROOM - nIGHT

Freddie slaps his hand down on the console in excitement.

Int. basement STOREROOM - nIGHT

Jim and Donna staring down at the macabre ancient corpse.

But Jim is looking at something curiously.

He reaches down to the corpse and turns it over -- and one of the arms falls off. He grabs it up and is on the move....

Int. UPSTAIRS -nIGHT

Sara walks down the HALL, flashlight in hand.

And SUDDENLY a FIGURE comes out of nowhere behind her --

She SCREAMS and the figure jumps back --

TWO FLASHLIGHT BEAMS SWING wildly until we see --

SARA AND RUDY

staring at each other across dueling flashlights.

The basement STOREROOM - nIGHT

Donna, only a few beats behind Jim, makes her way among the piles of old junk when she drops her flashlight. It rolls away in the dark. She kneels by an old sofa, feels under it.

POV ON HER

from someone watching behind a support pillar.

ANGLE ON DONNA

as she finds the flashlight and starts for the stairs.

The plaSMA SCREEN

at the kids' PARTY -- on which we see a dark figure DART OUT OF THE SHADOWS and GRAB Donna. There is a GLINT of steel, a quick muffled scream...and they fall out of frame.

ANGLE ON MYLES

watching the screen curiously.

Int. GARAGE/CONTROL ROOM - nIGHT

Freddie is momentarily turned away from the monitors.

He shakes his head, turns back to the control panel.

Int. BasEMENT - nIGHT

...where we find Donna lying face down on the floor. One eye stares out at nothing, a pool of blood grows around her head.

Int. Upstairs - niGHT

Sara and Rudy moving down the HALLWAY when:

ANGLE TO FIND

Jenna at the far end of the hall, carrying something.

She holds up a plastic-wrapped box.

And SUDDENLY a large shape LUNGES out of a dark doorway behind her --

Sara SCREAMS and Jenna turns -- just as the figure raises the huge blade in his hand and SLASHES it down toward her.

Jenna ducks out of the way and darts down the hall as Rudy grabs Sara's hand and they run for the stairs.

FOLLOW THEM

running wildly down the stairs as --

THE FIGURE

pursues them in his purposeful unhurried gait.

THE PLASMA SCREEN

where we watch the same scene.

Int. party HOUSE - nIGHT

The kids cheer along with the action.

Int. CONTROL ROOM - nIGHT

Freddie is watching the MONITORS when there is a KNOCK at the door. He looks around.

Cursing, he gets up and goes to the door and OPENS it.

ANGLE ON

Donaldson standing there, holding open his wallet I.D.

Int. House - nIGHT

Sara and Rudy reaching the front door.

They turn toward the kitchen just as a SHAPE comes out of the darkness and GRABS Sara --

But Jim appears out of nowhere and SWINGS something at the figure -- CATCHING HIM on the chin and sending him sprawling to the floor.

The white mask comes flying off -- revealing Bill underneath the costume.

Sara and Rudy look from Bill to Jim in confusion.

Bill slowly gets to his feet, looks at the others.

Jim points down at the club he used on Bill. It's an arm from the "corpse." In the FLASHLIGHT BEAM we see it's phony.

BEHIND THEM

we notice a SHAPE, moving up the stairs in the dark....

Int. PARTY - nIGHT

Where the kids look at each other.

Int. Living room - nIGHT

Jim and Bill are still facing off.

Int. upstairs - nIGHT

Where we find Jenna still searching for a place to hide. She looks up and notices the pull-down ladder to the attic door. She reaches up, grabs it and gives it a yank --

ANGLE ON DOOR

as it POPS OPEN -- and A BODY DROPS DOWN, head first, catching by its feet. Brian's dead face stares back at Jenna, upside-down like a slaughtered animal, eyes still open.

ANGLE ON JENNA

screaming at the grisly sight as we

Int. downstairs - FOLLOWING

They hear Jenna's scream. Jim nods upstairs.

They all turn as

JENNA APPEARS

at the top of the stairs, her shirt covered in Brian's blood. She opens her mouth but can barely speak.

WIDER ANGLE

as they all look up at her.

Sara turns to Bill.

He goes over to the door, tries the knob --

ANGLE UPSTAIRS

as a blade suddenly SLASHES out behind Jenna, cleanly SLICING through her neck before she realizes is. Her head sits there for an instant -- TOPPLES down the stairs one bump at a time.

The plasma screen

...as we see Jenna's HAT-CAM VIEW of the dizzying descent down the stairs...until it reaches the floor and the HAT-CAM pops off, landing inches away from her head and pointed back at her open dead eyes.

Int. PARTY - NIGHT

The kids stare at the plasma screen in amazement.

Int. GARAGE/CONTROL ROOM - nIGHT

Freddie is looking in shock at Donaldson, not noticing the MONITOR on the control panel.

But he cuts himself short as he notices:

THE MONITOR

...and the weird angle looking into Jenna's eyes.

Int. house - nIGHT

The shape moving silently down the stairs while

ANGLE ON

the front door, as Bill gives up on the jammed doorknob.

A hand

reaches out of the dark, finds Bill's dropped mask on the floor.

THROUGH MICHAEL'S EYES

we study the white novelty mask curiously for a moment. Then he lets it fall back to the floor.

ANGLE ON STUDENTS

as they hear a sound behind them and turn.

Sara's FLASHLIGHT BEAM rises up and HITS

THE SHAPE

standing there in the white mask and dark jumpsuit.

WIDER ANGLE

as they all turn to Bill -- who is clearly not wearing the mask this time. SUDDENLY the knife in Michael Myers's hand THRUSTS UPWARD deep into Bill's abdomen.

Bill stares into those dead eyes for one quizzical disbelieving second -- then Michael LIFTS the impaled man high up in the air as

THE OTHERS

watch in one monstrous beat of shock -- then run all directions as

MICHAEL DROPS

the quivering dying body of Bill to the floor.

THE MONITOR

where we watch as Sara runs up the stairs, reaching the second floor landing and nearly stumbling over Jenna's headless torso.

Int. GARAGE/CONTROL ROOM - nIGHT

Freddie finally realizing something is very wrong, jumping up and running back toward the house, Donaldson a beat behind.

Ext. Backyard - nIGHT

The two men running out of the garage.

The two men separate and we

INt. upstairs BEDROOM - nIGHT

Sara SHUTS the door, TOPPLING a bookcase over to block it.

Int. KITCHEN - nIGHT

Rudy runs for the back door but KNOCKS OVER a baker's rack, blocking his escape as

MICHAEL APPEARS

behind him, striding unhurriedly toward him.

WIDER ANGLE

as Rudy grabs an old rolling pin and SMASHES it down on Michael's shoulder and Michael's knife clatters to the floor.

Rudy raises the rolling pin again but this time Michael's hand reaches out and GRABS Rudy powerfully by the throat and DRAGS him over to the stove.

Michael opens the oven door with his free hand and shoves Rudy's head inside -- then SMASHES the door down again and again on Rudy's head, turning it to pulp.

Int. BEDROOM - nIGHT

Sara looks around in desperation, her eyes finding the small NET-CAM set in the corner of the room....

THE PLASMA SCREEN

at the party as Sara looks INTO CAMERA.

Int. party - nIGHT

Myles looks at the others.

JASON, one of the bigger kids, comes up in his face.

Myles and Scott trade looks.

Suddenly the bigger Jason comes up in Myles's face.

Jason looks at him a beat, then they all start laughing.

Scott looks at his friend, back at the party, the giant screen.

Myles grabs his backpack to leave as the others turn back to

THE PLASMA SCREEN

where Sara is pleading to the Internet viewers.

INt. kITCHEN - nIGHT

Michael looks around, finds the knife on the floor. He starts back into the house when we hear something and

ANGLE TO

The back door -- as it opens and Donaldson comes charging in, pulling his pistol out of a shoulder holster as

MICHAEL SPINS

toward him and GRABS his gun hand. Donaldson looks into Michael's eyes for an instant as Michael turns the gun back toward his chest and FIRES -- and Donaldson goes FLYING back against the wall and crumples to the floor.

Michael turns back into the house.

Int. myers BEDROOM - nIGHT

Sara spins around as she begins to hear FOOTSTEPS on the stairs...then in the hall outside her door. She quickly gets her palm pilot out of her bag and turns back to the NET-CAM.

There is a BANG on the door behind her and we

MYLES'S ROOM

as he quickly enters -- then notices his COMPUTER SCREEN.

Myles almost trips lurching for his keyboard.

THE SCREEN

on Sara's palm pilot, as the words pop up:

THE PARTY

where the kids stare in stupefaction at the PLASMA SCREEN.

Scott nods smugly, jumps up and does a victory dance.

Int. MYERS BEDROOM - nIGHT

Sara looks back at the door -- as it suddenly SHAKES violently as Michael throws his weight against it.

Int. MYLES'S HOUSE - nIGHT

Myles runs down the stairs so fast he almost takes a header.

INT. LIVING ROOM - fOLLOWING

Myles's MOTHER looks over from the TV and his FATHER looks up from his evening paper.

Myles tries to calm himself and get their attention.

A beat, as Myles steels himself for the inevitable.

Myles looks at his father another beat, then runs back upstairs.

Int. MYERS BEDROOM - nIGHT

The BANGING on the door STOPS: has he given up?

INt. HALL - nIGHT

Michael Myers notices something on the floor. He reaches down.

THE COMPUTER SCREEN

in MYLES'S ROOM -- as Michael Myers looks directly at us. He is looking INTO one of the dropped HAT-CAMS.

Ext. myers House - night

Freddie KICKING at the front door until it finally BURSTS open.

Int. House/CONTROL ROOM - cONTINUOUS

Freddie running in, spotting Bill's body on the floor.

Int. myers Bedroom - nIGHT

Sara taking a tentative step toward the door as the message BEEP comes on her palm pilot and the words jump on the screen: