A pretty 16-year-old girl tickles her baby sister. A jovial

father works the barbecue. Mom blows bubbles for the baby.

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...

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...

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:

08/12/2002 Pink Revisions 2.

Lights in the building flip on as the sky grows dark. Birds

fly off, spooked by something prowling in the underbrush.

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.

08/12/2002 Pink Revisions 3.

SWINGING a fire ax in one terrible vicious arc -- BEHEADING

the man trapped between the tree and the EMS van --

Their long shadows precede them as they round the corner.

NURSE PHILLIPS

Why? When?

NURSE WELLES

Halloween, three years ago, 20

years after the first murders, her

brother finally found her.

NURSE PHILLIPS

But... I thought he was dead.

Michael Myers is lying alone on the floor. We hear SIRENS in

the distance...the sound of the door OPENING...FOOTSTEPS.

TWO POLICE OFFICERS

are the first on the scene. They enter cautiously, moving

slowly with guns drawn. They notice the body lying nearby.

OFFICER

See if he’s still breathing. I’ll

secure the floor.

The other cop, with a large red nose and bushy mustache,

steps over, looks at the body and the blood. He leans

forward, closer and CLOSER...

MICHAEL’S HAND SHOOTS OUT, violently pinning the hapless cop

to the wall, thumb crushing his windpipe.

The lights are so low the nurses appear in silhouette.

NURSE PHILLIPS

(whispering)

You mean he was still...?

NURSE WELLES

Just listen. She didn’t take her

brother’s death for granted.

08/12/2002 Pink Revisions 4.

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 -- BEHEADING

the man trapped between the tree and the EMS van --

The decapitated masked-head rolls across the ground.

EXT. THE HILLCREST ACADEMY - NIGHT - (FLASHBACK)

With the flashing lights off police vehicles in the distant

background, a HULKING FIGURE in a police uniform, his face

hidden by shadow, escapes into the night.

INT. SANITARIUM - HALLWAY - NIGHT

NURSE PHILLIPS

Oh my God, she killed the wrong

man.

THE SEVERED HEAD - (FLASHBACK)

As a hand reaches to pull off the WHITE MASK, we reveal the

big nose and bushy mustache of THE POLICE OFFICER.

NURSE PHILLIPS

(horrified)

But why didn’t the policeman say...

NURSE WELLES

Nurse Welles pulls out a large ring of keys and moves to the

door at the end of the hall.

The Nurses enter to find Laurie in a white ROBE sitting in

front of a WINDOW...

08/12/2002 Pink Revisions 5.

NURSE PHILLIPS

Hello Ms. Strode. And how was your

dinner?

NURSE WELLES

She can’t hear you. She hasn’t

spoken a word in years.

(beat)

Extreme dissociative disorder.

LAURIE STRODE

She sits in a straight-backed chair, tilting it back and

forth as if it were a rocking chair. In her arms she clings

to a tattered Raggedy Anne doll.

Nurse Welles takes a paper cup filled with meds and puts them

to Laurie’s lips. She takes them in her mouth passively, and

accepts a sip of water, while staring blankly out the window.

NURSE WELLES (cont’d)

The doctors think she’s a suicide

threat. They found her up on the

roof more than once.

(beat)

Maybe it’s the guilt...

They push their cart back out the door.

NURSE WELLES (cont’d)

Now all she does is stare out the

window. God knows what she sees out

there.

CLOSE ON LAURIE

As the door shuts, she spits the meds into her hand.

Then, she peels back the fabric on the doll’s head and dumps

the pills into the stuffing. There are HUNDREDS of pills

already there. The doll is like a bean-bag.

In the WOODS around the facility, we get just the faintest

glimpse of a dark shape, white face, moving through the

shadows.

WILLIE, a chubby baby-faced young staffer, armed with nothing

but a flashlight, exits the building and peers into the mist.

08/12/2002 Pink Revisions 6.

The grounds are dark and his flashlight is dim.

WILLIE

Hey. HELLO? Who’s out there?

He walks over the wet grass, towards the front gate, pointing

the light one way and then another. Bushes and branches

undulate in the murk.

He sees the gate is open.

Something CRUNCHES in the bushes just beyond the steel fence.

Willie WHIPS AROUND and points his flashlight into the woods

bordering the property. Nothing there.

The CRACK of a twig. A figure moves in the gloom behind him,

A FIGURE IN A WHITE MASK. Willie looks up, but too late to

notice.

Willie closes the gate. He is spooked.

Then, he nervously tries to light a cigarette, but the pack,

lighter and flashlight are too many things to hold. He

fumbles the flashlight, and drops it on the ground.

As he picks it up and turns back, the beam lights up...

A MASKED FIGURE

Arms raised, right on top of him!

ANGLE ON WILLIE

He JUMPS back and almost falls to the ground.

WILLIE (cont’d)

Jesus Christ! You want to give me a

heart attack?

The figure moves into the half-light. It’s one of the

patients, walking awkwardly and flapping his arms. He’s

wearing a red-and-white clown mask.

WILLIE (cont’d)

Harold, How the hell did you get

out again

HAROLD pulls up his mask, revealing a sweet faced man-child

who avoids eye contact.

WILLIE (cont’d)

And, who you supposed to be today?

08/12/2002 Pink Revisions 7.

Willie takes the man’s arm and walks back.

HAROLD

(savant monotone)

John Wayne Gacy. Born in Chicago,

Illinois on March 17, 1942. Killed

thirty-three people and buried them

under his house. Executed on May

14, 1994.

Willie leads him through the SIDE DOOR of the Sanitarium.

She continues staring out the window. Patient. Waiting.

FRANKLIN MUNROE, a wily old veteran sits at the security desk

by a bank of MONITORS. He hands Willie a stack of paperwork.

WILLIE

I put Harold back in his room.

FRANKLIN

He didn’t scare you with his

Halloween mask did he?

The Older man has a hearty guffaw.

WILLIE

No...

Franklin looks up at the monitor just is time to see a

HULKING FIGURE move in and out of view.

FRANKLIN

(sarcastic)

Willie, I don’t mean to criticize

your work, but if Harold’s in his

room, how come I see him in the

basement?

WILLIE

I... But... I just... Just two

seconds ago he was..

FRANKLIN

Come on, let’s go get him.

08/12/2002 Pink Revisions 8.

Willie and Franklin jog down the hall. The chubby younger man

is distracted by a VENDING MACHINE, and lags behind.

Mmmmm. Hostess snacks.

FRANKLIN

What the hell are you doing?

WILLIE

I skipped dinner.

FRANKLIN

(weary)

Well, hurry up.

We FOLLOW Franklin as he moves farther and farther into the

dark bowels of the basement. He stops.

POV DOWN THE HALL

He sees nothing. Gurgling pipes snake along the walls. The

floors are damp, the walls grimy. Old machinery growls.

FRANKLIN

Harold?

Franklin creeps down the hall, constantly looking over his

shoulder. As he rounds another corner he sees...

A HULKING FIGURE

stands in a dark corner, near laundry bins, facing the wall.

FRANKLIN

What’s gotten into you? You’re not

supposed to be down here.

Franklin approaches, but the hulking figure doesn’t respond

or turn around. Something makes Franklin hesitate.

FRANKLIN (cont’d)

Harold?

Cautiously, Franklin moves closer, reaches out to touch the

man’s shoulder...

08/12/2002 Pink Revisions 9.

Willie starts on a second round of Hostess snowballs, his

lips frosted with icing, when from somewhere he hears an

agonized, echoing SCREAM that is cut violently short.

Willie stands and walks down the corridor in the direction

Franklin had gone minutes earlier.

As he darts down hallways and rounds corners.

Willie creeps into the area and steps cautiously around a

laundry bin, looking for his partner but seeing nothing...

A single yellow bulb, hanging from a chain, swings back and

forth, causing shadows to rise and fall on the walls.

THUM-THUMP! THUM-THUMP! THUM-THUMP!

He looks at the dryer as the clothes spin.

THUM-THUMP! THUM-THUMP! THUM-THUMP!

Something in the dryer is banging around with the clothes...

like a tennis shoe, only HEAVIER.

Willie flips the dryer off. The thumping stops.

WILLIE

Harold? Frankie?

Through the glass door of the dryer, he sees a STAIN spread

across the laundry, turning the fabric a GHASTLY RED.

His hand shaking, Willie reaches out and OPENS THE DRYER

DOOR...

VIEW FROM INSIDE THE DRYER

Willie bends down and looks through the circular doorway.

He REACHES IN, tentatively poking and digging through the

bloodstained linen until he UNCOVERS SOMETHING...

An EYE stares back at him from between the sheets.

ANOTHER ANGLE ON WILLIE

He backs away in horror and revulsion. HE STUMBLES AND TRIPS -

08/12/2002 Pink Revisions 10.

AND FALLS over Franklin’s DEAD BODY. His HEADLESS dead body.

Willie scrambles back to his feet.

Behind Willie, Michael Myers lowers himself with one hand

from the pipes on the ceiling, and before the guard can

scream...

Michael reaches around and slices his throat.

Harold, with the clown mask pushed up around his forehead,

sits in bed with a Detective magazine. The walls are covered

with other disturbing Halloween masks.

HAROLD

Ted Bundy, born November 24, 19 --

He looks up just in time to see a dark figure with a gruesome

blade walk past his observation window.

The dark shape, in silhouette, enters from the stairwell, led

by some preternatural instinct. No one is left to stop him.

The shadow plods down the hallway with grim determination,

and reaches the door at the end of the hall.

Laurie lying in bed, hidden under piles of blankets.

CRASH! The figure hurls himself against her door. CRASH! And

again, until one of the hinges BURSTS free of its housing.

as he gives one last mighty THRUST of his shoulders and the

door BURSTS OPEN --

He flies into the room towards the bed, thrashing wildly,

slashing the blankets with his blade, but there is NO ONE IN

THE BED - just PILLOWS and the limp RAGGEDY ANNE DOLL.

Laurie appears behind him, wielding a TABLE LAMP. CRACK! She

clubs the back of his head. Glass flies. Bulb POPS!

Michael SLIPS on HUNDREDS OF PILLS, scattered on the floor

like marbles. Laurie backs out into the hallway, and RUNS.

08/12/2002 Pink Revisions 11.

Laurie flees down the corridor as Michael staggers after her

in his relentless, methodical gait.

All around we can hear the patients waking up. Some are

crying out, others bark, some scream.

ON LAURIE

She desperately tries one door and then another, but they are

ALL LOCKED. Michael is getting closer and CLOSER.

Laurie is desperate. The SOUND of hollering, babbling

patients rises to a cacophony.

Finally she finds an open door labeled “ROOF ACCESS.” She

scrambles through. Slips, regains her footing and runs.

Laurie looks back down the stairs and sees his shadow

lumbering after her - She barrels up the steps...

And goes through the door to the roof, setting off the ALARM.

Michael bursts through the door to find what seems to be an

EMPTY ROOFTOP. He looks right. Looks left. Steps forward.

He sees Laurie’s robe dangling from the guard rail.

As he moves to the EDGE OF THE ROOFTOP, we REVEAL Laurie,

crouching in the one place he can’t see her, behind the

housing of the doorway he came through.

Not scared, her face one of resolve, she smiles.

ON MICHAEL, as he reaches the edge of the roof, a COIL OF

ROPE ensnares his feet...

QUICK CUTS - CLOSE ON

A lever is pulled. A spool turns, pulling the rope through

pulleys, and Michael’s feet are jerked up toward the top of -

A CANTILEVERED HOOK meant to hold a window washer’s rig.

He dangles, upside down, like a wolf in a snare, over the

edge of the building. His KNIFE clatters onto the roof.

And Laurie rises up from her hiding place.

08/12/2002 Pink Revisions 12.

LAURIE

I’ve been waiting for you Michael.

Calm. Resolute. Walking towards him.

LAURIE (cont’d)

I knew you’d come for me sooner or

later. What took you so long?.

Michael doesn’t answer. She walks closer, TAUNTING HIM.

LAURIE (cont’d)

You failed Michael. I’m just not

afraid of you anymore.

(beat)

But are you afraid of me?

He’s silent. She stands just out of his reach.

She picks up the knife. And holds it to the rope where it

passes through the pulley and begins cutting...

But then she hesitates. She looks down at Michael’s mask.

LAURIE (cont’d)

I just have to be sure.

She steps forward, reaches out and grabs the mask. TUGS IT!

It starts to come off...

Then, just as the rope is about to snap, Michael SPINS and

GRABS LAURIE’S HAND, twisting her arm behind her.

HE BURIES THE KNIFE IN HER BACK!

She arches her spine in pain, THE ROPE SNAPS, and they both

tumble and FALL.

But Michael catches the edge of the roof with one hand, his

other still gripping the knife imbedded in her back, holding

her like a dance partner... or a ghastly lover.

For a moment they hang over the abyss.

CLOSE ON LAURIE AND MICHAEL

For the last time, their eyes meet, this time only inches

apart. She seems oddly serene, even triumphant.

LAURIE (cont’d)

I’ll see you in Hell.

08/12/2002 Pink Revisions 13.

(MORE)

She gently kisses his masked lips.

And Laurie FALLS, her white robe falling with her, the fabric

flapping like angel’s wings, and she is swallowed by the

darkness.

ANGLE ON MICHAEL

as he slowly pulls himself back up onto the roof....

MICHAEL’S POV

He looks in Harold’s window, opens the door, approaches the

babbling, childish man, sitting on his bed.

Harold wears a clown mask eerily similar to the mask Michael

himself wore when he murdered his older sister.

Harold looks up in fascination and wonder. A knife drops into

frame, the tip pointed at Harold’s eye.

HAROLD

M...M...M....

A grimy hand lowers the blade and puts it in Harold’s hand.

Harold clutches the bloody knife, the collector’s Holy Grail.

HAROLD (cont’d)

Michael Myers. Born Oct. 19, 1957.

Harold continues to mumble statistics as we ROLL CREDITS.

HAROLD (V.O.)

Killed his older sister, October

31, 1963. Killed 3 high school

students, October 31, 1978...

As the corridor around him DISSOLVES, becoming the

SUBTERRANEAN TUNNEL that we saw in the opening, Michael Myers

lumbers into the dark, like Death himself, returning home.

PROFESSOR

Jung tells us that the human psyche

contains a kind of bogeyman. It is

the part of ourselves that the

conscious mind denies. The dark,

violent, unpleasant side.

08/12/2002 Pink Revisions 14.

PROFESSOR(cont’d)

(beat)

In order to become fully integrated

- become whole - we must face this

figure... a figure he called...

PAN over a row of students, all bored to tears. Then we find

SARA MOYER, the only one taking notes. She is fascinated.

PROFESSOR (cont’d)

Stay with me, people. Take that

Kierkegaardian “leap of faith.”

Jung called this figure...

SARA

The shadow.

PROFESSOR

Thank you Sara. I’m glad somebody

was awake...

Out of class walks SARA, an ugly duckling who woke up about a

week ago to find herself a swan. She’s smart and capable but

“afraid of her own shadow.”

She pushes her SCOOTER across campus, looking over her

shoulder, sensing that she is being followed.

STALKER’S POV

And she is. We follow her from behind trees. Watch her from

over fence tops. Peer at her through branches of a hedge.

BETWEEN BUILDINGS

It’s early and the campus seems deserted. Sara takes a short

cut, walking the scooter through a space between buildings.

STALKER’S POV

We continue to follow her, getting closer and closer until...

JEN

Booo!

Sara SCREAMS a distinctive, blood curdling SHRIEK.

Unnaturally piercing. It could wake the dead.

JEN (cont’d)

Ouch my ears.

SARA

Damn it, Jen!

08/12/2002 Pink Revisions 15.

JEN DANZIG, a bubbly girl with a made-for-TV smile and a

sadistic sense of humor, bursts into laughter.

JEN

That expression was classic! I

should have had a camera.

But Sara is genuinely upset. She’s spooked and mortified.

SARA

Don’t you EVER sneak up on me like

that. Not ever. You know I hate

that more than anything.

JEN

Hey, I was just kidding. Are you

all right? Hey Sara...

Jen hugs her friend. Sara takes a deep breath. .

SARA

I just... I’m okay.

JEN

Well you better toughen up girl,

‘cause you’re gonna be a star.

Beat.

SARA

Oh no. What did you sign us up for

this time?

Jen grabs Sara’s hand and drags her towards...

Sara and Jen cut through the line and work their way to the

grill.

There they find RUDY GRIMES, an African American with a

smooth voice and easy smile. He is chopping up vegetables to

put on the grill. Other students nearby flip burgers.

JEN

Hey Rudy.

RUDY

Don’t distract me.

He chops the vegetables with LIGHTNING SPEED, while the beat

of house music blares from a nearby Boom box.

08/12/2002 Pink Revisions 16.

JEN

Have you checked your E-mail?

RUDY

No. You send me something?

He juggles the knives and twirls them in his hands like a

drummer showing off... his hands darting over the food like

he has eight instead of two.

JEN

It’s back on. They’ve got a new

investor.

Rudy cheers and holds up his arms like a man scoring a

touchdown.

RUDY

This better not be one of your

little jokes.

JEN

No, it’s true. But Sara doesn’t

want to go.

RUDY

What? Unacceptable! Un-ex-ceptable.

SARA

I might do it. I just haven’t

decided yet.

Jen urges Rudy on with a surreptitious nod.

RUDY

Sara! What about the mystery?

Those inner-chambers-of-the-humanmind

that you’re always going on

about. Where’s your sense of

adventure?

SARA

(eyeing nearby trays)

The turkey tetrazinni is adventure

enough for me thanks.

RUDY

You know Donna is going, and that

guy with the hair, Jim...

(beat)

We’re gonna big bigger than “Real

World.” Bigger than “Survivor”!

08/12/2002 Pink Revisions 17.

SARA

(smiling)

Every time I let you two talk me

into something, I live to regret

it.

RUDY

Baby, without us, you’d die of

boredom.

CLOSE ON the KNIFE as he buries it in a nearby pumpkin.

FREDDIE HARRIS, slick as a snake oil salesman, charming as a

circus ringmaster, sits across from host BOB GREEN, a

smiling, small-time sycophant.

Behind them are images on a large flat screen.

BOB

My guest is Internet entrepreneur

Freddie Harris, whose latest

venture has captured the

imagination of net surfers

throughout Illinois.

FREDDIE

Well Bob, Entertainment as we know

it is OVER. Today’s audience

doesn’t want tired old plots and

slick production values.

Bob nods his head in oh-so-earnest agreement.

FREDDIE (cont’d)

They want “reality,” and they want

to see it NOW... as it happens.

(on a roll)

This is the future. This is

America’s pulse. Put down the

remote and pick up your mouse. It’s

not TV, IT’S DANGERTAINMENT!

Freddie glances off camera at NORA WINSTON, who gives him a

reassuring thumbs-up. She is a lithe, Amazonian dream. Razor

sharp eyes. Knows what she wants and just how to get it.

The faces of the six Haddonfield students flash up on the

screen behind Bob and Freddie.

08/12/2002 Pink Revisions 18.

BOB

For those viewers who may not be

familiar with his show, Mr. Harris

has selected six Haddonfield

University students from hundreds

of E-mail submissions.

(beat)

Now, during the internet

broadcasts, you’ll be sending them

to “infamous locales.”

FREDDIE

That’s right. The sites of ritual

cult suicides, mysterious

disappearances, unexplained

murders.

(beat)

And as we look for answers, you’ll

see EVERYTHING they see. LIVE.

On the screen, we see video images of various ghastly

environments. Bob presses a button and we hear the voice of

the first caller.

BOB

Dan from Haddonfield, you’re on

with Bob and Freddie.

DAN (O.C.)

Yeah, Mr. Harris. I don’t get it.

What will these kids DO exactly?

FREDDIE

Explore. Discover. Uncover.

DAN (O.C.)

Uncover what?

FREDDIE

Well... We don’t know exactly what

they’ll find, but we do know that

not since Geraldo entered Al

Capone’s safe on LIVE TV has -

DAN (O.C.)

But there was nothing IN Al

Capone’s safe.

(beat)

What if nothing happens?

There is an awkward pause.

08/12/2002 Pink Revisions 19.

(MORE)

FREDDIE

Oh in places like these SOMETHING

is bound to happen. I can give you

my personal guarantee.

DAN

But if it’s “real” how can you be

so sure that...

The host cuts him off in mid sentence.

HOST

Thanks for the call, Dan.

(beat)

Now Freddie, 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.

FREDDIE

Halloween night, live on the

internet, our six college students

will enter and explore the

childhood home of infamous mass

murderer... Michael Myers.

The studio audience (off camera) APPLAUDS.

The image is momentarily frozen, then compressed and shot

down a cybertube. Reaching its destination, 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, no. It’s like we’re

investigative reporters searching a

crime scene.

08/12/2002 Pink Revisions 20.

JEN(cont’d)

(beat)

And look at the scholarship...

SARA

Yeah. I could really use that money

next semester. I’m running on

fumes.

JEN

Besides that, THOUSANDS of people

are going to see my... our faces.

That kind of exposure is priceless.

Sara looks to Jen and smiles, okay you got me...

MALE VOICE (O.S.)

Don’t do it.

ANGLE TO FIND

ARON, a creepy student, who has wandered in the open door,

and has been looking over their shoulders at the screen.

JEN

Aron. Don’t you KNOCK, you circus

freak?

ARON

That’s the house where it all

started.

He takes two steps into the room, looking around as if he

were standing, at that very moment inside Michael’s house.

ARON (cont’d)

He walked its hallways, hid in its

closets, dreamed in its bedrooms.

He helped his mother in the

kitchen, watched TV in the living

room with dad, played in his

sisters bedroom...

(beat)

Then one day he picked up a knife.

Aron backs up to the door.

ARON (cont’d)

And he never put it down again.

And as mysteriously as he came, Aron exits.

JEN

Don’t pay any attention to him, he

just thinks he can scare us.

08/12/2002 Pink Revisions 21.

In Sara’s case it seems to have worked.

SARA

I need to send a quick E-mail.

She begins typing...

A40 A40 INT. CYBERTUBE DIGITAL TRANSITION:

The room of a typical adolescent with an addiction to video

games and the internet. MYLES BARTON, a clever 15-year-old in

the midst of a “geeky” stage, checks his email:

MYLES quickly clicks the window to hide it from his nosy

friend Scott, who is looking over his shoulder.

SCOTT

Deckard? Who’s Deckard?

MYLES

It’s just my screenname.

Scott reads some of another E-mail on the screen

SCOTT

You told her you’re a graduate

student? Graduate of what, junior

high?

MYLES

Shut up. We talk like EVERY day.

It’s like we’re dating.

SCOTT

Yahoo chat rooms don’t count. She’s

never even seen you.

(groaning)

Now what are you doing?

MYLES

Hold on. Just gimmie a second.

Myles types clicks the weblink and waits for the page to

download. Scott is so bored his head is about to explode.

08/12/2002 Pink Revisions 22.

SCOTT

(pointing across the room)

Oh my God, look!

MYLES

What?

SCOTT

Over there, that girl’s HOT!

Confused, Myles looks around his room. Sees nothing.

MYLES

What girl?

SCOTT

(pointing at the wall)

And check THAT out, three tacos for

a dollar. And there, 9 different

movies in one place!

MYLES

What, are you stoned?

SCOTT

Oh sorry, you’re right. There are

no real girls, tacos or movies

here.... BECAUSE WE’RE STILL IN

YOUR FUCKING ROOM!

MYLES

Okay, okay. I’m logging off.

Just as turn to leave, the DANGERTAINMENT Website pops up on

the screen with picture of the home of Michael Myers.

MICHAEL MYER’S POV

We see through his eyes as he barrels through the underbrush

like a juggernaut. As the familiar HALLOWEEN THEME rises,

Michael plods on and on. Over logs. Tearing through bushes.

He is determined, unstoppable, and hellbent on getting

somewhere. Suddenly he reaches a clearing and comes upon...

AN OLD RED CAMARO - MICHAEL’S POV

He looks inside the car at the empty black-leather seats.

There is a lace bra hanging on the open door.

08/12/2002 Pink Revisions 23.

Nearby he hears the sound of a teenaged girl GIGGLING. He

follows a trail of discarded prep school uniforms: white

oxford shirts, plaid skirt and saddle shoes, ratty tubesock &

silk panties.

It leads to a small clearing where there is a campfire and a

TENT. On the nylon walls is a shadow dance of the couple

inside, bodies entwined in graphic motion.

ON MICHAEL

The mask emerges from the gloom, and his head tilts slightly

as he watches the girl’s shadow undulate, a sight he doesn’t

fully understand.

Suddenly the girl lifts her head from his lap and SITS UP.

Something has her unnerved. She listens intently.

BOY

Hey, don’t stop.

GIRL

I heard something.

BOY

No you didn’t. Keep going.

GIRL

Go out there and check.

BOY

I’ll check when you’re finished.

GIRL

Check NOW.

BOY

There’s NOTHING out there.

She crosses her arms. No dice.

He sits up and scrambles out of the tent. Not happy.

ON THE GIRL

She listens to the boy trudge around the campsite and mutter

to himself. Rustle. Bustle. Then silence.

GIRL

Sean? Do you see anything?

08/12/2002 Pink Revisions 24.

Beat. Silence. Then a snapping twig. A grunt. A muffled gasp?

GIRL (cont’d)

Sean?

Beat. More silence. Out the crack in the tent door, she sees

only dying embers and dancing shadows.

She hears the JINGLE OF KEYS. Then more silence.

The girl cautiously steps out of the tent. She scans the

trees with her flashlight. She sees nothing.

ON THE GIRL

Half naked. Spooked. Stepping gingerly over pine needles.

GIRL

(a whisper)

Sean?

An interminable moment, then she WHIPS OPEN TO see...

THE BOY, Sean, holding a roll of toilet paper.

BOY

Nothing’s out here.

She’s speechless. Nearly had a coronary. Then...

VAARROOM!! The car engine roars to life. Headlights swing

across the tent, momentarily illuminating the surprised

couple as Michael drives off into the night.

Scott and Myles ride their bikes down the sidewalk. Scott

makes a right turn, but Myles stops, preferring to go left.

MYLES

Let’s go the other way.

SCOTT

What are you scared?

MYLES

The other way is shorter.

SCOTT

It’s like three times longer.

08/12/2002 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.

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

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.

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?

08/12/2002 Pink Revisions 26.

A few of them shrug. Sara climbs on a Honda scooter and zips

out into the street.

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.

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

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

08/12/2002 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.

Sara races her little scooter into the parking lot. She sees

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?

08/12/2002 Pink Revisions 28.

Sara looks down at her sweatshirt and jeans.

Freddie’s image on a FLATSCREEN covers a good part of the

wall. He looks to camera with his best entrepreneurial face.

FREDDIE (MONITOR)

The search is over and you six have

been selected to explore America’s

worst nightmare.

(beat)

Tomorrow night, Halloween, live in

front of the Internet nation, you

will enter the birthplace of evil -

the childhood home of the most

brutal mass murderer in history.

ON JEN AND SARA

JEN

Oh, do you know Jim? His band plays

at Lupos on Thursday nights.

JIM MORGAN is a wannabe rock star, half “lizard king”, half

“Puff Daddy.” Majors in music, minors in womanizing.

JIM

(knowing smile)

Of course I remember. Backstage at

the labor day concert. You, me and

a bottle of tequila, right Alice?

SARA

No. I’m Sara. We’ve never met.

JIM

(relieved)

Thank god.

On the other side of the meeting room, another camera has

been set up and the students are doing interviews in turn.

DONNA CHANG is consummate euro-trash. Wearing all black

clothing and thick-rimed dark glasses, and smoking imported

cigarettes, she is a siren of “deconstructionism”.

NORA (OFF CAMERA)

So Donna, what do you think caused

Michael Myers to kill?

08/12/2002 Pink Revisions 29.

DONNA

I’m not interested in “causes” as

such. I’m interested in how Michael

Myers embodies the politics of

violence embedded in pop-mythology.

NORA

(to the cameraman)

What the Hell is she talking about?

He shrugs: with face like that, who cares?

DONNA

I also TOTALLY love Halloween. Once

I wrote a whole paper on the neopagan

symbolism of candy corn.

JEN

You remember Bill. He’s going to

Yale Law next year.

BILL WOODLAKE is a player. Silk tie and slick suit, he’s

always working an angle. Dry, cruel wit. Often smirking.

BILL

Jen’s told me EVERYTHING about you.

Don’t worry, I think it’s GREAT

that you’re doing a little girlgirl

“experimentation.” You’re

rommates! Had to happen, right?

SARAH

What?! I’m not... We’re not...

BILL

(winking)

We’re just messing with you, Suzy.

SARA

It’s Sara.

Jen checks her teeth for lipstick stains and then flashes her

prime-time smile.

NORA (OFF CAMERA)

What do you hope to find in the

house tomorrow night.

08/12/2002 Pink Revisions 30.

JEN

My way into network broadcasting?

Ha ha. No seriously, this is just

the kind of investigative

journalism I’ve always dreamed of.

(beat)

Some of my friends say I look like

a younger, sexier Diane Sawyer, and

I’m not saying that’s true but...

what was the question?

(beat)

Right. I don’t know what we’ll

find, but you’re gonna LOVE

watching me look for it.

She stands with Donna. From across the room, Jim flashes his

I-just-can’t-help-myself grin.

DONNA

He is so arrogant it’s offensive. I

mean POLITICALLY offensive - to

woman as a gender.

(beat)

It would be a lot easier to take if

he wasn’t so... So...

SARA

... if he wasn’t so cute?

DONNA

Yeah.

Bill looks argues his case adamantly to camera.

BILL

And let me say this, Myers was

never proven guilty in a court of

law. The “alleged killer” always

wears a mask. Lacking DNA evidence -

he could be ANYONE.

(smiling)

Reasonable doubt, baby.

She looks a bit bewildered. Rudy approaches.

08/12/2002 Pink Revisions 31.

RUDY

Hey, you look pale. You want half

my sandwich?

Famished, Sara nods. She takes one bite of the odd looking

combo of ingredients stuffed inside pannini bread. Her eyes

light up as she chews. Rapture!

SARA

This is the best sandwich I have

ever had in my entire life.

RUDY

Oh yeah. I know it is.

RUDY

Never underestimate the effect of a

poor diet. Not enough protein, a

bit too much Zinc... Next thing you

know, you’re cutting up bodies in

the bathtub.

(beat)

That’s why I’ll be opening my own

line of diners...

Jen, Bill, and Jim all get their room keys and their

itinerary. Jim wears sunglasses and looks aloof.

BILL

Jimbo, as your attorney, I’d advise

you to court the media.

JIM

Nahhh, I want to antagonize the

press. Think “Oasis.”

BILL

Then as your attorney, I’d advise

you to start drinking heavily.

JIM

So when do I get ask YOU some

probing questions?

NORA (O.S.)

You’re barking up the wrong tree

Fido. And... we’re rolling.

08/12/2002 Pink Revisions 32.

JIM

(into camera)

You don’t have to go far to find

Michael Myers. He’s hiding in that

little reptilian brain at the base

of your skull. He whispers to you

to STRANGLE the old lady taking too

long at the check out counter.

(moving close to camera)

He’s the great white shark of your

unconscious...

(right up to the lens)

Get to know him baby, he’s YOU!

There is a round of SARCASTIC applause from the other

students. Jim eats it up, taking a bow.

Freddie and Nora review their casting choices.

FREDDIE

(worried)

These kids are striking me a bit

phony. I mean, they’re promoting

restaurants, rock bands, and

personal politics. This is bad.

Americans can sniff out an agenda a

mile away.

NORA

Wait until they get in the house.

They’ll get “real”... real quick.

Sara looks extremely uncomfortable in front of the camera.

NORA

Sara, honey, when we do the shoot

tomorrow night, you’re going to

have to wear some make up.

SARA

I am wearing make-up.

NORA

(interview voice)

So Sara, tell us, why do ordinary

people turn to murder?

08/12/2002 Pink Revisions 33.

SARA

Well... I - I - I think a lot has

to do with - uhm - upbringing and -

Suddenly a 2K light topples over, CRASH, and sends a GIANT

SHADOW on the wall behind her. This startles her and she lets

out her distinctive EAR PIERCING SCREEEEEEEAM.

The sound man rips off his earphones and grabs his ears. The

glass in Rudy’s hand SHATTERS.

RUDY

Damn! That girl can sing.

Everyone in the entire meeting room looks over at her. What a

bizarre sound.

NORA

Relax, honey, this is just a

rehearsal.

SARA

Sorry.

Freddie bends over to Nora and whispers in her ear.

FREDDIE

Now THAT is what we’re looking for.

NORA

(smiling sadistically)

Shhhh. Yes. She’s perfect.

Freddie sits in bed watching a KUNG FU movie and

shadowboxing. He is only wearing pajama bottoms, and he is

surprisingly muscular. Suddenly there is a ominous KNOCK.

There is a insistent KNOCK on the door.

Freddie opens the door to find Sara with a beleaguered

expression.

SARA

I’m dropping out.

FREDDIE

What?

08/12/2002 Pink Revisions 34.

SARA

I’m sorry, but I’m so freaked out

right now I can’t even sleep.

FREDDIE

Wait. Wait. Slow down -

SARA

I’m ALL WRONG for this. Can’t you

see? I’m not like the others -

FREDDIE

I know you’re not like the others.

The others are just smart ass, wise

cracking, wanna-be, posers.

(beat)

You’re the real thing. You’re what

the internet audience wants to see.

SARA

But what if I DON’T WANT to be

famous.

FREDDIE

What do you mean you don’t want to

be famous? That’s the American

Dream!

Beat. Sara’s not buying it.

FREDDIE (cont’d)

Besides, you signed a contract. I

am personally counting on you.

It’s hard for Sara to get the words out...

SARA

I think... I think I’m just scared.

FREDDIE

That’s okay. That’s good. Fear is

good.

(beat)

Fear tells you you’re about to do

something exciting. Fear motivates.

Fear makes you feel ALIVE.

SARA

Fear makes me want to throw up.

08/12/2002 Pink Revisions 35.

FREDDIE

Sara, trust me, before all this is

over, you’re gonna surprise

yourself.

Beat. Sara, unconvinced, slips back out the door.

SARA

Well, anyway... I’m sorry to bother

you. I -

FREDDIE

Do me a favor. Just sleep on it.

Sara nods and Freddie SHUTS THE DOOR.

FREDDIE (cont’d)

(chuckling to himself)

Freddie. Freddie. The shit you come

up with off the top of your head.

STALKER’S POV. We watch Freddie through the window. Then we

turn, moving quickly down the path.

STALKER’S POV

We approach the room from the bushes that surround the Hotel.

Peer in the BATHROOM WINDOW to catch a glimpse of Donna

stepping in the shower.

She languishes under the stream of hot water as steam clouds

the glass and ruins the delicious view.

We move on, creeping along the wall to the BEDROOM WINDOW

where we can see Sara switching off the light.

Jen is in bed, asleep. Sara tosses and turns, wide awake.

Suddenly she sees... A SHADOW moving across the bedroom wall.

She closes her eyes, shaking it off. But when she opens them

the SHADOW IS MOVING closer and CLOSER. Sara whispers...

SARA

It’s nothing.

And the shadow disappears. Sara breathes a sigh of relief.

She turns over on the pillow, facing the other way.

08/12/2002 Pink Revisions 36.

In the window behind her, A silhouetted FIGURE rises from the

darkness. Sara’s eyes open as if she can feel the stalker’s

presence. Watching her.

ON SARA

Turning around slowly, not really wanting to look. She is

startled by THE FIGURE COMING THROUGH THE OPEN WINDOW.

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, foot in the window, head on the floor,

holding two six packs of beer. Rudy is at the window, holding

a KNIFE, a baguette, and several types of gourmet cheese.

Donna appears, dripping wet, and wrapped in a towel.

DONNA

DEFINITELY exhibiting signs of

arrested social development.

JEN

And you’re late.

But Jen GIGGLES again and opens the door, letting the boys,

and the PARTY inside. Jim appears with a BOOM BOX.

JIM

Sorry Donna, did we compromise your

virtue?

DONNA

(drinking)

That’s okay. You brought beer.

VIEW FROM OUTSIDE THE WINDOW

The party revs up. Donna dances on the bed like a flygirl in

her towel. Bill, Jenna and Jim drink and cheer her on.

CLOSE ON SARA

Embarrassed, and a bit intimidated by the revelry, Sara

lingers near the door. She stares out into the darkness, lost

in thought. Wind through the trees. Shadows dance.

08/12/2002 Pink Revisions 37.

CLOSE ON THE CURB.

A red Camaro rolls to a stop. The door opens. A massive boot

steps on to the sidewalk. We PULL BACK to reveal...

MICHAEL MYERS HOUSE

Old, boarded up and fallen into disrepair. Graffiti is

scratched on the rotten walls. Gnarled trees and twisting

vines are decades overgrown.

And Michael stands in front of it like the prodigal son.

DISSOLVE TO:

START on a pickup truck, loaded with pumpkins -

Then, we come across the window of a vintage clothing store.

Donna and Jen are inside, looking through the racks.

Jen and Donna knock on the dressing room door.

DONNA

Are you coming out soon or are you

thinking of subletting?

SARA (O.C.)

I don’t like it. It’s not me.

JEN

You have to get something nice,

Sara. You’re gonna be on TV.

SARA (O.C.)

It’s not TV, it’s the internet.

JEN

(looking in the mirror)

Well, we gotta start someplace.

Sara comes out of the dressing room wearing a lace camisole

as a top - much sexier than anything she’s used to.

Jen gasps with enthusiasm.

SARA

It’s a bit... revealing.

08/12/2002 Pink Revisions 38.

JEN

Oh, don’t start. I think you look

RADIANT.

DONNA

Better than radiant. DEVASTATING.

Sara looks at her reflection, impressed with her own

metamorphosis. She does look fantastic.

Then behind her, she catches a glimpse of SHADOWY FIGURE in a

WHITE MASK looking in the storefront window.

She GASPS, SQUEALS and SPINS around. But the figure in the

window is gone.

Donna and Jen look at each other. Not this again.

JEN

See another rabbit?

Sara approaches the storefront window and looks out.

DONNA

Sciophobia. Fear of shadows.

SARA

Donna, spare me the Psych 101.

Sara looks down the road and catches site of a RED CAMARO

rounding a corner, its engine growling as it disappears.

The Computer screen shows Freddie’s “Michael Myers” webpage.

Scott watches as Myles clicks an icon. And up pops a PICTURE

OF SARA next to the other five group members.

MYLES

(enraptured)

There she is.

SCOTT

Dude, she’s like 20 years old.

MYLES

So what. I have a college level

vocabulary.

SCOTT

And she’s not even the best looking

of the three. Donna’s the hottie.

08/12/2002 Pink Revisions 39.

MYLES

(angry)

Oh - I can’t even talk to you. You -

you have NO appreciation for -

SCOTT

And Jen’s got a WAY bigger rack.

MYLES

Sara’s a really nice girl. Someone

I can relate to. YOU wouldn’t

understand.

Beat. Scott looks at his friend in disbelief.

SCOTT

Oh my God. You’re pussy whipped.

No, it’s worse... You’ve been CYBERWHIPPED!

(beat)

Hey, were’s your costume?

MYLES

I’m not going out tonight. I

promised to watch her first

episode. She’s really nervous about

it.

Scott’s mouth drops open.

SCOTT

(Deadly serious)

No. No. Micki Stern’s party is

tonight... you know that.

MYLES

(sighing)

Oh right. I guess I forgot.

SCOTT

Forgot? Do you have any idea what

it means for two FRESHMEN to get

in? It’s never happened before.

(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.

Beat. Scott points at the computer.

08/12/2002 Pink Revisions 40.

SCOTT

The point is, Myles Barton, you can

either sit in your room playing in

the magical world of make believe.

(pointing outside)

OR... you can come with me to this

party and learn to walk like a man.

ON Myle’s conflicted expression we CUT TO:

Sara uses her palm pilot to send an E-mail message.

She smiles as she sends it.

JEN

Your chat room romance?

SARA

(blushing)

Shhh. He’s just a friend.

JEN

He’s probably fifty and fat, with a

a bad toupee.

SARA

Jen.

JEN

He probably collects human skin.

SARA

JEN.

A technician outfits the students with their camera

equipment. Freddie gives them a pep talk.

FREDDIE

Okay, listen up. The house has been

rigged with several cameras, but

for the most part, the audience is

going to see ONLY what YOU see.

Freddie holds up a tiny camera about the size of a pen.

FREDDIE (cont’d)

These cameras can be clipped onto a

hat, your collar, even rigged to a

pair of glasses.

08/12/2002 Pink Revisions 41.

They have finished outfitting Jim with a camera. He walks

around the room, turning one way and then another, watching

the view displayed on the monitor.

He walks closer and closer to Donna, until her face fills the

video screen. She smiles mysteriously.

DONNA

Cameras are so... phallic.

JIM

Is that good or bad?

DONNA

Depends who’s watching.

FREDDIE

Leave your cell phones and pagers

in the Van. I don’t want anything

to ruin the atmosphere.

Rudy grabs a little camera and puts it in his mouth. The

inside of his mouth fills the screen.

RUDY

Ohhh, looks like a cavity.

FREDDIE

The viewers control what they

watch. They can switch from camera

to camera depending on what’s most

interesting.

(beat)

So, if you want to be the star of

the show, do something interesting.

Bill surreptitiously extends his arm around Jen’s shoulder

and points it down her blouse.

BILL

Objects in mirror are larger than

they appear.

For a moment, Jen squints at the monitor showing her

cleavage, and then she recognizes herself. She gasps and

elbows Bill in the stomach. Eruptions of laughter.

FREDDIE

Once you’re inside, you don’t leave

the house until the show’s over.

08/12/2002 Pink Revisions 42.

Rudy passes his camera to Sara, who sneaks behind Bill and

points the camera up under tail of his untucked Oxford shirt.

Jen squeals at the sight on the monitor.

JEN

Back hair! Back hair! Aaaaaaahhh!

The meeting is dissolving into chaos as they horse around

with their cameras.

FREDDIE

Hey, come on, FOCUS. We’re trying

to make history here.

Behind him on the monitor is a dark, blurry blob. The

students can’t figure out what they’re looking at.

CLOSE ON JIM

He has dropped the little camera down the front of his pants.

The others HOWL with laughter and shock.

FREDDIE (cont’d)

I can’t work with this.

CLOSE ON CABLES running from a GENERATOR parked in the

driveway. We follow the cables into the open door of...

We continue following the cables to find...

Nora sitting at a MIXING PANEL controlling a bank of

MONITORS. It’s somewhat jury-rigged, with a tangle of wires

and ELECTRICAL CORDS feeding the system.

The view on one monitor, up a flight of stairs, is adjusted

again and again.

NORA

(into a walkie)

Hey Orson Welles, pick a placement

and move on.

A technician inside turns the camera and points it at his

face to demonstrate...

CHARLEY (O.C.)

(over walkie)

High angles. Scary. Low angles.

Scary. Medium angles. BOOOORING.

08/12/2002 Pink Revisions 43.

NORA

I’m on a schedule here, Charley.

We’re not remaking “Touch of Evil.”

A young technician, Charley, continues to fiddle with the

camera, trying various shots up the stairs. A single

worklight floods the otherwise darkened space.

CHARLEY

Never show a fool an unfinished

masterpiece.

NORA (O.C.)

(over the walkie)

We’re not remaking “Touch of Evil.”

CHARLEY

Good. Welles is overrated.

Behind him an ominous SHADOW of a hulking figure moves across

the wall. Getting closer and closer.

NORA

(over walkie)

Overrated?! Did you learn that one

shooting weddings and Bar Mitzvahs?

CHARLEY

Hey, I went to film school at Long

Beach State. Same as Speilburg.

Nora plugs in the cappuccino maker and scoops up some fresh

ground coffee. Her back is to the monitor.

NORA

Would you please just tell Max to

rig a camera in the sister’s room.

CHARLEY (O.C.)

Max is back at the hotel helping

Freddie.

NORA

Well who’s in there with you.

CHARLEY (O.C.)

Nobody.

08/12/2002 Pink Revisions 44.

NORA

But... okay.

(beat)

Oh, did you call the tow truck?

CHARLEY

Why would I call a tow truck?

NORA

Nevermind, I’ll do it. Some jerk

ignored the signs and parked his

Camaro in front of the house.

(beat)

It’s gonna ruin the establishing

shot.

She puts down the walkie, and flips on the espresso machine.

Charley tapes down electrical cables to the floor. Behind him

the SHADOWY FIGURE crouches by the camera.

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.

POV OF THE CAMERA

Charley looks up as the person holding the camera... as the

camera moves TOWARDS him.

CHARLEY

Whoa. You scared me.

The tri-pod leg with the jagged tip is lifted up to point

directly at Charlie.

CHARLEY (cont’d)

(nervous)

Why are you wearing the mask?

He backs up into the wall as the camera comes closer and

closer.

CHARLEY (cont’d)

This isn’t funny.

Charlie opens his mouth to scream too late. The tip of the

tri-pod PLUNGES INTO HIS NECK. Camera pointed at his face.

08/12/2002 Pink Revisions 45.

(MORE)

Nora reclines in her chair, SIPS HER CAPPUCCINO and speaks

into her cell phone.

Her back is to the monitors, one of which displays an extreme

close-up of Charlie’s bug-eyed, gruesome face as he struggles

to pull the tri-pod leg from his neck.

Nora’s checking her nails. She has no idea.

NORA (INTO PHONE)

Freddie, honey, relax. It’s all

good. We’ve got it under control.

The life goes out of Charlie’s eyes.

NORA (cont’d)

I called the police Sergeant. He

was just worried about us causing

false 911 calls. I smoothed it out.

CLOSE ON Charlie’s dead body is dragged down the hallway.

The video camera/tri-pod is flung back at the foot of the

stairway. The uneven legs land at a bizarre slant.

Nora turns back to look at the monitors and sees the dutchtilt

view up the stairs. She’s genuinely impressed.

NORA

Nice angle, Charlie.

We are looking THROUGH THE WINDSHIELD of a van DRIVING SLOWLY

along the idyllic suburban streets, where clusters of kids in

Halloween costumes go from house to house.

Freddie is driving and Bill is talking his ear off.

BILL

Two words Freddie: product

placement. While we “investigate,”

why couldn’t we be drinking Pepsi

or sporting Gap wear?

(offering his card)

08/12/2002 Pink Revisions 46.

BILL(cont’d)

For just ten percent plus expenses,

I could set you up.

In the back seats, the students are upbeat as they roll

towards their destination. Jim, Donna and Jen eat Rudy’s

sandwiches, and they’re in ecstasy - yum!

JIM

What - is - in - this - sandwich?

RUDY

(smiling)

Some Italian spices, some

Indonesian. Very special sauce.

(beat)

Just wait. Someday there’ll be a

“Rudy’s” on every corner.

JEN

You’re gonna be a millionaire.

RUDY

Billionaire baby. Billionaire.

DONNA

Wow. You could really undermine the

socio-economic boundaries between

fast food and gourmet.

JIM

Can’t you even eat without doing a

dissertation?

DONNA

Yes, but it wouldn’t taste as good.

JIM

How do you figure?

DONNA

I tend to eroticize both food and

language. I’m very orally fixated.

Beat.

JIM

Bon Appetit.

Jim and Donna make eye contact as she eats.

08/12/2002 Pink Revisions 47.

(MORE)

FREDDIE

Come on, people. Get fired up!

Tonight, thousands, potentially

MILLIONS, of people are going to be

seeing through your eyes.

CLOSE ON SARA

Looking at the window, in her own world. Suddenly she sees a

TOW TRUCK pass them pulling a RED CAMARO. Chills.

Out the windows, they watch as the neighborhood grows ever

more derelict. Half the street lights are out, and there’s

not a trick-or-treater in sight.

Their happy-go-lucky smiles start to fade.

The van PULLS UP in front of the old, foreboding house.

In 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 the kids

climb out....

The six students gaze up at the ominous, dilapidated

structure towering over them. Sara notices movement in the

window. Was that a person?

A group of journalists and Local News Crews crowd around

Freddie. He looks straight into the video camera and whips up

excitement for the show.

FREDDIE

In just ten minutes we enter the

mystery wrapped up inside a riddle,

inside an enigma.

(beat)

Remember, EVERYTHING you will see

is real. These are not actors. The

contents of the house have not been

disturbed in any way.

(beat)

08/12/2002 Pink Revisions 48.

FREDDIE(cont’d)

No one knows exactly what is about

happen, but we do know this - No

one leaves the house until the

show’s over.

Myles and Scott ride their bikes down the sidewalk; They both

wear normal clothes, but carry BACKPACKS.

Miles stops to look at a display of PLASMA COMPUTER screens

that show the “DANGERTAINMENT” website. In the corner, there

is a digital countdown. Only minutes to go. He is mesmerized.

SCOTT

God, it’s like crack cocaine with

you.

MYLES

It’s starting in a couple minutes.

When do think the party’ll be over?

Scott rubs his temple. As they ride off...

SCOTT

Please. PLEASE don’t embarrass me

tonight.

INT. GARAGE - LATE AFTERNOON

NORA sits at the bank of monitors. There are views of every

room in the house, and one of the front.

On several screens, several CAMERA POV’s light up. Each is

labeled according to it’s owner: Sara, Rudy, Bill...

EXT. MYERS HOUSE - FRONT PORCH - LATE AFTERNOON

The students clip on their cameras and adjust the wires that

lead to their belt packs.

EXT. MYERS HOUSE - BACK TO FREDDIE

FREDDIE

Just seconds to go. The windows are

boarded up, and the doors will be

locked behind them. If someone

tries to sneak out, we’ll see it on

camera. Are we ready?

Freddie pulls out an air horn.

FREDDIE (cont’d)

LET THE DANGERTAINMENT BEGIN!

08/12/2002 Pink Revisions 49.

EXT. MYERS HOUSE - FRONT PORCH - LATE AFTERNOON

The AIR HORN blares. They look at the front door, and at each

other. The wind picks up. Time to begin.

They hesitate. Nobody takes the lead.

JENNA

Oh good God, let’s just DO IT!

Jenna steps up and pushes open the door, revealing...

INT. MYERS HOUSE - FOYER - LATE AFTERNOON

The interior is as rotten as the exterior. The students enter

as quietly as they would a church.

INT. MYERS HOUSE - GARAGE - LATE AFTERNOON

The monitors track the student’s entrance. Several views

become a bit hazy. The reception on Bill’s camera is

terrible. Nora is clearly frustrated.

Then, behind her, a FIGURE IN A WHITE MASK APPROACHES,

slowly, creeping, hands outstretched.

He GRABS NORA’S SHOULDER.

NORA

(swatting him away)

Hey, off me.

She doesn’t seem to realize who it is behind her. The FIGURE

strokes her hair and moves his hands up and down her body.

NORA (cont’d)

Hmmm. Alright. That’s nice. You’re

turning me on now baby.

The figure continues to caress her back with one hand, and

with the other he LIFTS A GLINTING KNIFE!

NORA (cont’d)

Pumpkin, where the HELL is Charlie?

What, did you cut his throat and

hide the body?

She looks back, not at all surprised to see “Michael Myers.”

The figure pulls off his mask, REVEALING FREDDIE.

FREDDIE

Doesn’t anything scare you?

08/12/2002 Pink Revisions 50.

He tosses the RUBBER knife on the console.

NORA

Yes. We’re already having trouble

with camera two and our technician

has gone AWOL. That scares me.

FREDDIE

Damn, I sent Max back to homebase

to work the website.

(beat)

You can handle it. This console can

run on auto-pilot if it has to.

NORA

Your leaving me to do this by

myself?

(fed up)

I’m taking an Executive Producer

credit AND a director credit.

FREDDIE

Anything you want, baby. Just get

me through the night.

(checking his watch)

It’s show time, folks!

OMITTED

Sunlight bleeding between the boards on the windows paints

the room in bands of light and dark. The furniture all

appears to be in place, covered with years worth of dust.

SARA

What. Did they just seal up the

house and leave it... without

taking anything?

Rudy finds “National Geographic” and “Reader’s Digests”

sitting on the coffee table, all from 1963.

RUDY

Seems like it. Seems like they

didn’t even stop to pack a bag.

The mood is a bit ominous. They seem eager to break it.

BILL

We could cover more area if we

split up. What should we do?

08/12/2002 Pink Revisions 51.

Jim opens his baggy coat to and takes a swig from his flask.

JIM

We don’t have to “DO” anything,

technically - except stay in the

house.

Jim chases the shot with beer.

SARA

Aren’t we supposed to be looking

for answers?

JIM

Okay. The devil made him do it.

(satisfied)

I’m done.

Sara and Rudy wander out of the room towards the kitchen.

Bill and Jen move towards the TV room; as they go...

JEN

We owe it to the people watching to

at least take a look around.

BILL

That’s cute. Already worried about

your fan base.

JEN

Bill, you’re like this close to

getting voted off the island.

INT. MYERS HOUSE - KITCHEN - DUSK

Sara and Rudy enter. By force of habit, she flips the light

switch, but nothing happens. The room is murky.

They scan hanging pots, jars and mixing bowls. Vintage

appliances and crumbling plaster. It looks like it was a

mother’s “dream kitchen” once.

RUDY

Look at the size of that stove.

Somebody here liked to cook.

(beat)

Ever tasted 40-year-old fennel?

Rudy examines an old spice rack, pulls a jar out.

SARA (O.C.)

Oh don’t. It’s got to be rotten.

08/12/2002 Pink Revisions 52.

RUDY

(sniffing)

That’s weird.

SARA (O.C.)

What?

RUDY

It smells fresh.

INT. MYERS HOUSE - TV ROOM - DUSK

Bill and Jen walk through the first floor, marveling that

everything is still in place, right down to coasters and

porcelain figurines.

The atmosphere is creepy. They seem afraid to touch anything.

Bill tries to break the mood, playing to the cameras.

BILL

Jen, maybe you’d like to take this

opportunity to tell your many fans

about how you’ve overcome problems

reaching orgasm.

JEN

(embarrassed)

What?! I don’t - I never -

BILL

- Jen. Be brave. Help other women

come forward and face this issue.

JEN

(to camera, newscaster)

Tonight on Dangertainment, Jennifer

Danzig interviews Bill, the man

with the world’s smallest penis.

OMITTED

OMITTED

OMITTED

OMITTED

INT. MYERS HOUSE - STAIRWAY TO 2ND FLOOR - DUSK

MICHAEL’S POV FROM THE TOP OF THE STAIRS

He watches, catching glimpses off the students through the

living room door and the TV ROOM. He hears Jen’s laughter.

08/12/2002 Pink Revisions 53.

BACK TO THE KITCHEN

The sound of ringing metal. Sara whips around to see...

Rudy looking at an old knife rack, holding the blade he has

pulled from its slot.

RUDY

You don’t suppose that’s the he

used to...

SARA

No they would’ve kept that in an

evidence locker somewhere.

Rudy, suddenly spooked by the blade, puts it back.

SARA (cont’d)

Wonder what’s in here.

She tries to open a closet door and Rudy comes over to help.

Suddenly the door OPENS -- and a tiny wooden chair slides

out. It looks like an infant’s feeding chair.

RUDY

Check this out....

Jen and Jim enter from the dining room.

DONNA

Okay. I’ll admit it. This place is

creepy.

RUDY