Plot
Three years after the events that happened in California, Laurie Strode (Jamie Lee Curtis) had been sent to a psychiatric hospital after it is revealed that she had beheaded a paramedic instead of Michael; the paramedic had located the body of Myers in the dining hall of Laurie's school, but Myers had attacked the paramedic, crushed his larynx so he wouldn't cry out and forcefully switched clothing and his mask. Myers then goes into hiding for the next three years.
On October 31, 2001, still in captivity, Laurie pretends to be heavily medicated, behaving as though she had extreme dissociative disorder. In fact, she hides her pills and prepares herself for the inevitable confrontation with Michael. Meanwhile a security guard named Willie finds his boss' decapitated skinned head in the washing machine and is then killed when Michael slits his throat. When Michael finally appears, Laurie lures him into a trap, as she attempts to kill Myers, she second guesses herself, to make sure that it is really her brother this time. Myers takes advantage, and stabs her in the back on the roof. She then kisses him and finally says, "I'll see you in hell" and falls to the ground to her death. Michael then returns home to stay. His mission is complete after over twenty years of searching and hunting Laurie down.
The following year on October 30, 2002, Michael is living in a section of tunnels below his childhood house. Six college students - Bill Woodlake (Thomas Ian Nicholas), Donna Chang (Daisy McCrackin), Jen Danzig (Katee Sackhoff), Jim Morgan (Luke Kirby), Rudy Grimes (Sean Patrick Thomas), and Sara Moyer (Bianca Kajlich) - win a competition to appear on an Internet reality show directed by Freddie Harris (Busta Rhymes) and his assistant, Nora Winston (Tyra Banks), in which they have to spend a night in the childhood home of Michael Myers. Their mission is to find out what led him to kill. Sara's cyber friend Myles "Deckard" Barton (Ryan Merriman) watches the broadcast during a Halloween party. On the day of Halloween, they start to search the entire house for something that can provide a clue to Michael's past, and decide to separate into three groups to cover more areas.
The event goes horribly wrong as Michael returns home, and kills Charley the cameraman by stabbing him in the neck with a camera tripod. Later on, Bill is stabbed in the head, Donna is impaled on a metal spike, Jen is decapitated, Jim's head is crushed, Rudy duels with Michael and is pinned to a door with 3 knives, and off screen, Nora is strangled with a cord and stabbed in the stomach. All these people die, and Myles realizes the deaths are real while the rest of the party claims they are staged. When Myles starts helping Sara get out the house, Freddie runs into her and also helps 'kill' Michael. Michael survives and stabs Freddie. When Sara fights Michael with a chainsaw, she cuts some sparking wires which start a blaze. After this, Freddie arrives and fights with Michael and electrocutes him, then manages to save Sara's life as she is trapped under a tables of heavy wires. Michael's house is burned to the ground as Freddie and Sara flee.
In the final scene of the movie, Michael's body is sent to the morgue. As a female coroner opens the body bag, Michael's eyes suddenly open showing that he is still alive while making a groaning noise as the film cuts to the credits.
Read more about this topic: Halloween: Resurrection
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)