英语剧本《处女杀手》
时间:2007-10-27 22:00:50来源: 作者:
Cherry Falls (2000)
by Ken Selden.
First draft, February 14, 1998.
by Ken Selden.
First draft, February 14, 1998.
FADE IN:
EXT. TOWN - NIGHT
The hanging sign says 'Entering Cherry Falls, Ohio'
We see Cherry Falls - A small town in rural Northeastern Ohio. This is
Norman Rockwell land, red barns on dirt roads, a square in the center of
town. But things are hidden here. The barns are locked, the shades are
drawn.
Dissolve to:
EXT. LOVER'S LANE
A romantic turn-off used exclusively for parking. A river gushes by.
Crickets chirp. The trees blow in the autumn wind. A single car sits on
the lonely road. The muffled sound of a young couple making out drifts
through the streamed up windows.
INT. CAR
A teenage boy's hand is under a teenage girl's shirt, gently massaging her
breast. He pulls his hand out from under her shirt and places it on her
bare knee.
As he starts to slide his hand up her leg, she grabs his hand and gently
pulls it away. She places it back on her breast, sliding it under her
shirt.
We pull back. STACY and ROD, two healthy sixteen year olds, are
passionately making out in the proverbial back seat of a big American car.
Rod smiles seductively, kisses Stacy, and places his hand back on her
knee. Once again, she stops him, this time just squeezing his hand
tightly.
STACY
No.
He doesn't give up easy. He playfully wrestles his hand free and slides it
under her skirt. She grabs his hand again.
STACY
I said no.
ROD
But you don't really
mean it.
He struggles to free his hand.
STACY
Yes I do. Keep it in your
pants Rod.
He gives up, aggravated.
ROD
Maybe it won't stay in.
STACY
Maybe you better just
drive me home.
He starts the car, glares at her for a second, then turns it off.
ROD
Let me just ask you a serious
question first.
STACY
What?
ROD
Aren't you worried you
could die a virgin?
STACY
(sarcastically)
Yeah. I'm extremely worried
about that. It's right up
there with global warming.
ROD
On our way home, a drunken
driver could hit us head on
and send us flying through
the windshield. Terminate
us instantly. We'd never
experience what it means to
make love.
STACY
If sheep don't count.
ROD
That wasn't me ...
STACY
I know. I'm kidding you.
Chill out.
ROD
Well I'm trying to be real
here and you're mocking me.
STACY
(softening)
I'm sorry, but you're not
going to die a virgin Rod.
EXT. LOVER'S LANE
There is another car around the bend, hidden from sight. It's an old beat
up Imperial from the late sixties. Someone is watching them. It's probably
a psychopath.
INT. ROD'S CAR
Rod leans in and starts kissing Stacy again.
ROD(cont.)
I don't wanna take that chance.
I want my first time to be with you.
She kisses him back. He slides his hand under her skirt again.
STACY
Stop it.
He doesn't.
STACY
Rod!
ROD
(exasperated)
You're being unfair.
STACY
Unfair?!
ROD
Yes. Unfair to me.
He begins to overpower her. This is quickly turning into date rape. SHE
STARTS TO FIGHT BACK BUT HE DOESN'T STOP. FINALLY, SHE SCRATCHES him
savagely across the face. This catches his attention. He jumps back, cut
slightly, surprised.
She opens the car door and quickly escapes.
EXT. ROAD
She runs away from the car, down the road, very upset.
INT. CAR
Rod catches himself. He looks at his bloodied face in the rear view mirror
and realizes what he's done.
He starts up the car.
EXT. ROAD
Stacy runs down the road alone, still very upset.
INT. CAR
Rod pulls up next to her and rolls down his window.
ROD
Stacy! I'm sorry.
EXT. ROAD
She pays no attention to him.
ROD
Please get back in the car, Stacy.
She turns and heads down a path into the dark woods, purposely going where
he can't follow.
INT. CAR
Rod, frustrated, hits the steering wheel and floors it.
EXT. ROAD
As Rod's car tears off, down the road, the other car that was parked at
lover's lane drives up and pulls over, lights still off.
EXT. WOODS
Stacy heads deeper into the woods. When she finally stops to catch her
breath and wipe away her tears, she hears someone approaching her.
Suddenly, the footsteps stop. Stacy senses that someone is watching her.
STACY
Rod?
No answer.
STACY
Is that you Rod?
Still no answer. A little frightened, she starts to walk again. Again she
hears the footsteps following her. She stops again. Whoever is out there
stops too. She looks around in every direction.
STACY
Come out Rod.
This SCREAM bull shit ain't
gonna work with me!
No answer. Even the birds have stopped chirping.
STACY
(terrified)
Rod? You're freaking me
out. Game's over. I lose.
Come out and we'll fuck.
She hears the footsteps behind her and quickly turns around. She sees the
silhouette of someone standing a few feet away.
The wind picks up. Stacy realizes it isn't Rod. All she can see is that
whoever is there is carrying a small sledge hammer in one hand and a very
long, jagged, steel nail in the other.
STACY
(in full panic)
NO!
Stacy starts to run. The killer starts after her.
EXT. STACY'S
Rod is sitting in his car in front of Stacy's house at the edge of the
woods, waiting for her to appear. He checks his watch.
EXT. WOODS
Stacy runs for the edge of the woods but she isn't quite fast enough to
elude her pursuer.
STACY
Help!
The killer catches Stacy from behind and savagely smashes her head against
a tree, cracking a branch. Stacy falls to the ground, dazed.
INT. CAR
Rod sits up in his seat, thinking he's heard something
EXT. WOODS
Stacy, half conscious, bleeding from the head, is dragged back deeper into
the woods.
EXT. STACY'S
Rod gets out of the car and cautiously moves to the edge of the dark
woods.
EXT. WOODS
Rod's POV - The woods are pitch black.
ROD
Stacy?
STACY(O.C.)
(struggling, in the distance)
ROD!
EXT. WOODS
The killer kicks Stacy in the side, instantly shutting her up. He gags her
and ties her to a tree trunk. She struggles, but she's no match for the
killer.
INT. CAR
Rod grabs his flashlight from the glove compartment.
EXT. WOODS
Rod's flashlight beam frantically cuts through the woods.
Rod charges through the woods, desperately looking for any sign of Stacy.
EXT. WOODS
Stacy's right hand is raised above her head and placed, palm out, against
a tree trunk.
EXT. WOODS
Rod searches for Stacy, his flashlight jaggedly cutting the darkness.
EXT. WOODS
The huge nail, extremely sharp and jagged, is placed in the center of
Stacy's outstretched palm.
The hammer is pulled back, aimed at the head of the nail.
EXT. WOODS
Rod stops and frantically looks around, knowing he's fighting a losing
battle.
ROD
Stacy?!
EXT. WOODS
The hammer descends on the nail.
Stacy screams out in pain, even through the gag, as he hand is nailed to
the tree.
EXT. WOODS
Rod hears her muffled cry and runs toward the sound.
Stacy's left hand is now placed up against a different tree.
Another nail is readied.
Stacy tries to free her nailed hand but it's useless. She goes into shock.
Rod's flashlight continues to cut through the night. His feet trample
fallen branches. Suddenly, he stops. He's found her.
Stacy is stretched out between two trees, gagged, one hand nailed to each
tree. She almost looks crucified.
Rod, starts toward her, not sure what to do. He looks into Stacy's
terrified eyes. She's looking behind him.
Rod quickly turns around but he's too late.
A knife comes plunging down toward Rod's chest.
Stacy frantically tries to free herself but she only succeeds in ripping
her palms on the nails.
Rod falls to his knees, blood streaming from his chest and mouth.
Stacy can't even react anymore, she's so horrified.
The killer's hand rips open Stacy's shirt and feels her soft ripe stomach.
Stacy looks down, terrified of what the killer has planned.
A small but extremely sharp razor attached to the end of a pencil is
placed up against Stacy's bare stomach. The killer's hand grips it like
it's an ordinary pencil.
Stacy's eyes grow abnormally wide as the carving starts. She's never
experienced such pain.
Blood drips to the ground.
Dissolve to:
EXT. NIGHT SKY
The full moon looks down on the town.
EXT. CUL DE SAC
Another romantic turn off. A view from the top of a hill overlooking the
sleepy town. A lonely car sits there, the sound of a teenage couple making
out drifting through it's steamed up windows. It's almost a repeat of the
first scene.
INT. CAR
The boy pulls his hand from under the girl's shirt and unsnaps her jeans.
She pushes his hand away but he puts it right back, wriggling a finger
down into her pants.
JODY MARKEN, a pretty all-American sixteen year old girl, strong willed
but still innocent, stops kissing her boyfriend KENNY, trying to hold him
off. Kenny is also sixteen. He's thin and a bit shaggy, but very cute
nonetheless. His hair is shoulder length, his stare intense. He takes
himself seriously, all rebel.
JODY
Cut it out.
KENNY
Why?
JODY
I was supposed to be home
fifteen minutes ago.
KENNY
So? You're already late.
A few more minutes won't
matter.
He slides a second finger into her pants. She closes her legs, making his
probing much more difficult.
JODY
I got to get home.
KENNY
Fuck your curfew. Most
sixth graders can stay out
later than you.
He starts kissing her again.
JODY
Kenny....
She pulls his hand out of her pants. He stares at her for a second,
completely exasperated. He sits up and starts the car.
EXT. CUL DE SAC
The car squeals away.
INT. CAR
Jody and Kenny drive home, not talking.
He pulls up in front of her house.
KENNY
You know, maybe we ought to
start seeing other people.
JODY
What?
KENNY
Jody, we've been going out
for over a year. I love you
but I'm all out of patience.
Jody doesn't know what to say. She didn't expect this.
EXT. MARKEN HOUSE
Jody gets out of the car, very upset. Kenny takes off, not even waiting to
see if she gets inside safely, leaving her all alone on the dark street. A
car backfires in the distance. A nearby noise startles her. Something's
behind the garbage cans. She heads quickly up the driveway, disappearing
behind the house.
INT. MARKEN'S HOUSE - BACK FOYER
All is quiet in the house. The back door opens. Jody tiptoes up back
staircase.
INT. MARKEN'S HOUSE
Jody appears on the second floor. It's a family house, politely decorated
and immaculately clean. She quietly creeps down the hallway toward her
room. As she passes her parents' room, she looks down. She's relieved that
no light is coming from under their door.
INT. JODY'S BEDROOM
Jody creeps into her bedroom and quietly shuts the door. She's made it.
She sits on the bed to catch her breath.
Something moves in the corner of her room. Jody jumps, scared.
Someone is sitting in her rocking chair.
BRENT
It's almost ten o'clock.
JODY
Daddy you scared me!
BRENT
You're grounded Friday night!
JODY
What? I WAS AT SANDY'S I JUST
LOST TRACK OF TIME.
BRENT MARKEN gets up and heads to the door. He's a big man, 45 years old,
well built. He's dressed in a tree-shirt and jeans.
BRENT
Your curfew is 9:30 and you
know it, little miss.
JODY
It won't happen again.
BRENT
You said that two weeks ago.
JODY
Dad ! Most of my friends can
stay out until 11 on school nights
and 1 on weekends!
BRENT
They're not all the sheriff's daughter.
Goodnight.
He leaves. Jody is furious. She lies down on the bed to stew. She might at
well have stayed out. The phone in the hallway rings. She leaps up.
INT. HALLWAY
Jody runs up to the phone but waits for it to ring a second time before
picking it up. She crosses her fingers, praying it's Kenny.
JODY
Hello. (beat) One second.
(to her dad)
Hey Adolph, it's the station!
Brent comes out and picks up the phone as Jody heads back to her room,
disappointed.
INT. BEDROOM
Jody flops on the bed.
BRENT(O.C.)
Hello. (beat) What?
INT. HALLWAY
Brent it shocked.
BRENT
Where?
MARGE MARKEN, Jody's mother, comes out of the bedroom, sensing something
terrible has happened. Marge is a couple of years older than Brent. She's
a bit lifeless, a pretty woman who's whole life is her daughter and a
bottle of Peachtree Schnapps.
BRENT(CONT'D)
I'm on my way.
INT. JODY'S
Jody sits up on her bed, also sensing something big has happened.
INT. HALLWAY
Brent buttons up his shirt.
MARGE
What happened?
BRENT
Two kids were found mutilated
in the woods. Lock the door
after me.
Brent grabs his gun belt and heads down the stairs.
Jody appears. She and her mom share a concerned glance.
CUT TO:
EXT. STACY'S HOUSE
Brent pulls up. A lot of official cars are already there.
EXT. WOODS
A trail of flares eerily light up the woods, leading to the crime scene.
EXT. WOODS
The murder sit. Police cameras flash. Stacy is still nailed to the tree.
Rod is dead on the ground below her in a puddle of his own blood.
Brent walks up, immediately repulsed by the gruesome sight. His deputy,
JACK WEBBER, sidles up next to him.
DEPUTY
Her parents reported her missing about
an hour ago.
A flash bulb momentarily lights up the scene. Brent pulls out his
flashlight to better survey the carnage.
He starts on Rod, throat slit, chest gutted. He then moves to Stacy,
looking at one nailed hand, then the other.
BRENT
What kind of a person wakes
up in the morning and says
to themselves, 'Think I'll nail
a sixteen year old girl to a tree today'?
DEPUTY
The same type that decides to carve into
her stomach.
Brent finally shines the flashlight beam on Stacy's stomach. Carved into
her flesh is the word 'VIRGIN'.
CUT TO:
MONTAGE
High school kids are getting ready for school.
Body parts are being covered. Pants and stocking are pulled up over bare
teenage legs.
Shirts and bras cover bare teenage chests.
Zippers are pulled tight. Buttons are buttoned.
The school bell rings and the kids arrive in cars, on bikes, walking.
IT'S A TYPICAL small town American high school, somewhat repressed but
alive. The news spreads quickly about the double killing as the crowd
splits into its various tribes: punk rockers, jocks, potheads,
cheerleaders, nerds.
The killing is on everyone's mind.
EXT. SCHOOLYARD
Jody rides up on her bike and glances across the schoolyard as she locks
it in the bike rack.
Jody's POV - Kenny is leaning against a tree, talking with a busty girl,
SHARON.
Jody is upset to see Kenny flirting with someone else. As she starts
toward the front door of the school, a few other CLASSMATES run up to her.
She keeps glancing over at Kenny but he doesn't notice her.
CLASSMATE 1
Jody!
JODY
Hi.
CLASSMATE 2
Was Stacy raped?
JODY
I dunno. My dad never came home
last night.
Jody's POV - Kenny takes Sharon's hand for a second.
CLASSMATE 1(O.C.)
I bet she was. I heard someone
stuffed a tent spike up her ass.
CLASSMATE 2(O.C.)
Gives new meaning to the idea
of getting 'nailed'.
CLASSMATE 1(O.C.)
Ha-ha. So funny. Sickfuck.
Jody doesn't respond. She stares at Kenny.
Jody's POV - Kenny walks into school with Sharon.
CUT TO:
INT. HOMEROOM
Jody enters her homeroom, still upset.
Her teacher LEONARD MARLISTON is lecturing the class. Leonard is twenty-
five and quite hip looking for a teacher. He has long somewhat stringy
brown hair. He is a bit thin and is dressed casually, almost in hippy
attire. He wears wire-rim glasses and lace-up boots.
MR. MARLISTON
No one understands what leads people
to do irrational things. We only
know that unpunished violence
festers, then explodes.
Jody sits down in the back.
MARLISTON(CONT'D)
Witness the L.A. Riots. Years of
police brutality in forty-eight hours. Jody?
JODY
Yes Mr. Marliston?
MR. MARLISTON
Your dad's in the principal's office.
He wants to see you.
INT. HIGH SCHOOL PRINCIPAL'S OFFICE
Brent is talking to TOM SISLER, the principal. Tom is a wiry, hard
featured man in his mid-forties. They have known each other for a long
time but are not really friends. Brent knows Tom too well. Tom's a cynical
bastard.
Tom is examining the photos taken at the crime scene.
TOM
You aren't planning to tell these kids
that 'virgin' was tattooed into both Stacy
and Rod, are you?
BRENT
No.
TOM
Good.
BRENT
But I am going to have to question
all of their past boyfriends and girlfriends.
TOM
Fine, just don't mention the carving
This is going to be a tough enough day
as it is.
There's a knock at the door. Jody enters.
BRENT
Hi honey.
JODY
Hi Daddy. Hi Mr. Sisler.
TOM
Hi Jody.
BRENT
I just wanted to check that
you were okay?
JODY
I'm fine. I've just never had
someone my age die before.
It's so weird.
BRENT
How well did you know Stacy and
Rod?
JODY
I've been in the same class
with Stacy for years but we
weren't tight or anything.
BRENT
Had either of them broken
up with someone recently?
Hurt someone?
JODY
No. Those two were together
before Kenny and I started
hanging out and that's over,
what, God a year now.
BRENT
I want you to head right home
after school.
JODY
I will. Is that all?
TOM
Could you tell Mr. Marliston
we'd like to see him.
JODY
SURE.
She leaves.
BRENT
Why'd you send for Lenny Marliston?
TOM
The kids adore him. They confide
in him. His patchouli reeking rear
might know if Stacy and Rod were
really virgins. Why didn't you
ask Jody that?
BRENT
She's my daughter, Tom.
TOM
So?
BRENT
So you just don't point
blank ask your teenage daughter
about sex.
TOM
Why not? You worried you might
find out how much she actually
knows?
Brent gives Tom a 'keep your cynical shit off my daughter' look.
LEONARD
You rang?
TOM
Come in Leonard. Have you
met Brent Marken?
LEONARD
No but I've always wanted to.
He shakes his hand firmly.
BRENT
Nice to meet you too. My
daughter speaks highly of you.
Leonard examines Brent's face carefully. Brent is a little taken aback by
his intensity.
LEONARD
We have the same color eyes.
BRENT
I guess we do.
CUT TO:
INT. CAFTERIA
MARK SHALE, a seventeen year old, rail thin pothead is sitting at a table
in the crowded cafeteria eating lunch. The place is a zoo. CINDY, a cute,
mini-skirted brunette, and BEN, a frizzy-haired, tattooed, pierced, punk-
rocker, are sitting with him.
Jody is standing at the door with her best friend SANDY, looking for a
place to sit. Sandy is thin and a little underdeveloped for her age. She
is wearing very little make-up, a baggy shirt and baggy jeans. Although
she looks much more tomboyish than Jody and a year or two younger, she is
still quite cute and curvy, just lacking a bit in self-confidence when it
comes to boys. Sandy is staring at Mark.
JODY
Go sit next to him.
SANDY
Who?
JODY
Mark Shale.
SANDY
Why?
JODY
Don't you want to talk to him?
You watch him eat everyday.
SANDY
I don't watch him eat everyday.
JODY
You stare at him non-stop,
like every lunch. Like this. Like
most people stare at car accidents.
Jody imitates Sandy.
SANDY
The seat behind him is open. Come on,
I can eavesdrop too.
JODY
You eventually have to talk to him.
SANDY
Why? All my mom and dad ever do is
watch each other eat and they've been
married for twenty years.
Cindy sees Jody approaching and motions her over.
CINDY
Jody!
Jody starts toward her table.
SANDY
No! That's his table.
JODY
You're going to look really
amoebic splitting off from me now.
The other three kids look up as Jody sits don.
Sandy has no choice but to sit down next to Mark. She immediately freezes
up.
CINDY
Did your dad question you
this morning?
JODY
Just a little.
BEN
Did he ask you if Stacy
and Rod has ever exchanged
bodily fluids?
JODY
No. Why?
CINDY
He asked Marliston.
JODY
If they had ever gone all the way?
BEN
Yeah. Chris BERRINGER WAS PARKED
OUTSIDE THE WINDOW.
CINDY
I wonder why it's so important
to know if they fucked?
Sandy is completely frozen. Jody realizes it. Mark is paying no attention
to her.
BEN
What I don't understand is
why they asked Marliston if
Rod was a virgin. They could have
asked you Cindy.
CINDY
I never fucked Rod.
BEN
Exactly. Then he must be a virgin.
Jody nudges Sandy under the table, trying to prompt her to say something.
Sandy can only stare at Mark as he eats.
CINDY(O.C.)
If I'm so all-used-up Ben,
why do you try to hook me
up non-stop?
BEN(O.C.)
As fucking if.
Across the cafeteria, a sophomore ANNETTE storms in very upset. She
confronts DYLAN, her junior boyfriend.
ANNETTE
You're a shitsucking liar!
DYLAN
(taunting)
Better than being a 'cocksucking'
liar!
ANNETTE
Shut your face!
Annette leaps on Dylan and starts violently scratching him. Mr. Marliston
runs over and pulls her off. He drags Annette away.
ANNETTE
He's been telling people....
LEONARD
You can tell me all about it in
my office. Calm down. We're all
on edge today.
He guides her out.
Sandy gets up her nerve and makes eye contact with Mark.
SANDY
What's up with that?
Mark opens a TWINKIE and starts to eat it.
MARK
Dylan's been telling people
that Annette gave him a blow
job.
SANDY
And she didn't?
Ben and Mark laugh.
BEN
There's a better chance that he
got head from all five Spice Girls.
SANDY
That's horrible.
Cindy laughs at Sandy. Sandy doesn't appreciate being laughed at.
CINDY
I think it's funny.
BEN
Me too. I'm going to start
telling people that I saw her drop
to her knees and latch on to his
unit vector.
Cindy laughs. The first meeting hasn't gone well for Sandy. Jody feels for
her and jumps to her rescue.
JODY
You wouldn't?
BEN
I would if Dylan paid me.
INT. SCHOOL
The bell rings. It's the end of the day.
EXT. SCHOOL
All the kids charge out. Jody walks out with Sandy.
SANDY
(flustered)
What am I supposed to say?
'Nice sweater Mark'? 'Did you
buy it at Eddie Bauer's?'
JODY
(teasing a bit)
You could tell him you really
liked the way he chews with his
back molars.
SANDY
You're so fucking lucky your
dad is the sheriff.
JODY
You are 'sp fucking' wrong.
SANDY
You get to be a little Chelsea
Clinton. Everyone wants to meet
you. Party with you. Have sex with you.
JODY
But you can't do any of it.
So it sucks. I always have to
'set an example'.
Jody stops, noticing something.
EXT. PARKING LOT
Jody's POV - Kenny is walking to his car with Sharon.
Sandy sees how upset Jody is.
SANDY
He's just trying to mess
with your head. Ignore
him.
JODY
Does she fuck?
SANDY
(trying to comfort)
I doubt it. Who'd want
to fuck her. She probably
reeks worse than the docks
down in those panties.
DISSOLVE TO:
EXT. STREET
Jody is slowly pedaling her bicycle next to Sandy.
JODY
(frustrated)
Mr. Jenkins called on me in
class today. It was so embarrassing.
I was seriously spaced. I'd been thinking
about Kenny for over twenty minutes.
When I snapped out of it, I looked pathetic.
I was teared up. Everyone was staring at me.
STACY
What did you say?
JODY
That I was sorry. I'd drifted off.
That I'd been thinking about Stacy
and Rod.
SANDY
Oh nice save.
JODY
I was desperate. It was gross.
SANDY
Kenny'll come running back.
This is just his way of pressuring
you.
JODY
He says he loves me.
SANDY
Personally I think he has a deep,
almost pathological desire to corrupt
you. But I suppose that's a type of love.
I certainly wish someone wanted to corrupt me.
JODY
(musing)
Maybe I should blister through a bottle of
Tequila and just fuck his brains out.
SANDY
No!
JODY
You're the one always saying 'Just do it'.
SANDY
That was before he pulled this 'Dick me
or I dump you' shit. I say fuck his best
friend.
Jody laughs.
JODY
I don't know what I'm so scared of.
SANDY
Want to come in for awhile?
Log onto AOL, flirt with some married men,
head into a private S&M chat room . . .
JODY
How do you know what to type back when
they start to cyber with you.
SANDY
I keep a couple of my dad's porno books
hidden in my desk for emergency reference.
Jody laughs.
JODY
I promised I'd go right home after school.
SANDY
OK. increase the peace.
Sandy hip-hops up her driveway and into her house. Jody jumps on her bike
and pedals off down the street.
Dissolve to:
EXT. CHERRY FALLS - NIGHT
Night has set again on the town. An OWL HOOTS. THE STREETS ARE QUIET.
EXT. STREET
The killer's car, the black IMPERIAL, lurks in the shadows of a suburban
street. The killer is staking out a specific house.
EXT. ANNETTE'S HOUSE
Annette, the girl who flipped out in the cafeteria appears at the front
door. Her MOTHER and FATHER are going out.
They kiss ANNETTE goodbye, get in their car and drive away. Annette heads
back inside and double locks the door.
EXT. RESTAURANT
Annette's parents pull up in front of a restaurant and head inside.
THE KILLER'S IMPERIAL PULLS up across the street.
INT. RESTAURANT
The killer's car drives away.
EXT. ANNETTE'S
A gloved finger pushes in the back doorbell.
INT. BACK HALLWAY
Annette opens the back door. It's chain locked. She peeks through the
chain,
EXT. HOUSE
Someone is standing there in the shadows.
KILLER(O.C.)
HI. Annette?
It's a WOMAN'S VOICE.
INTERCUT WITH:
INT. HOUSE
Annette has never seen this woman before. WE still don't see the killer's
face.
ANNETTE
(suspicious)
Yeah?
KILLER(O.C.)
I'm Lisa Sherman. Dylan's
aunt. He asked me to come
talk to you.
ANNETTE
Why?
KILLER(O.C.)
He feels terrible about those things
he said to you in school.
ANNETTE
(really angry)
He should. Four guys hit on me today,
and not because they find me intellectually
stimulating.
KILLER(O.C.)
I think I know how to restore your
reputation.
ANNETTE
(excited)
You do?
KILLER(O.C.)
Can I come in? I'll need to use the
phone.
Annette isn't sure what to do but this is too important to pass up.
ANNETTE
Sure.
Annette unlocks the chain. The killer heads inside.
THE DOOR OMINOUSLY closes behind them.
INT. RESTAURANT
Wine is being poured into already half-filled glasses.
Annette's parents and the other couple are now a little tipsy, much looser
than when we saw them earlier. They are laughing, rubbing each other,
getting physical.
The other HUSBAND leans in and kisses Annette's' mother on the nose.
Annette's father is at first taken aback but then he responds by kissing
the other WIFE on the ear. They all laugh. It's getting fancy for Cherry
Falls.
INT. HOUSE - DOWNSTAIRS HALLWAY
ANNETTE comes charging down the hallway, groggy, bleeding profusely from
the side of her head, terrified.
ANNETTE
Help!
INT. RESTAURANT
More wine is poured. The two couples eye each other, giggling.
INT. BEDROOM
Annette charges into her bedroom and slams the door behind her, locking
it. She quickly pulls her dresser in front of the door.
The door handle moves. The killer is on the other side.
Annette picks up the telephone. it's dead.
The killer kicks the door a couple of times.
Annette backs away from the door, all the way to the window. She grabs a
sharp pen, holding it like it's a knife. The kicking stops, All is
momentarily quiet.
Suddenly the killer's shadow appears in the window behind Annette. The
window smashes an d Annette's neck is pulled towards the shards of glass
that remain in the broken window.
Annette struggles but she's not strong enough.
INT. RESTAURANT
Under the table, the other man puts his hand on Annette's mom's knee.
Annette's mom smiles at the man, drunk and interested.
INT. HOUSE
The killer lowers Annette's throat closer to the shard of glass.
INT. RESTAURANT
Annette's mom pushes the man's hand under her dress.
INT. HOUSE
Annette's throat touches the glass. She's all but lost.
INT. RESTAURANT
Annette's mom lets out a huge laugh, knocking over her red win, soaking
the white tablecloth in red.
INT. HOUSE
Annette's eyes roll up into her head.
Annette, half alive is dragged out the window.
Out come the hammer and nails.
CUT TO:
EXT. HOUSE
Annette's parents pull into the driveway:
They are still giggling. It's been a great night. They are sauced.
INT. LIVING ROOM
Annette's parents come inside.
MOTHER
Annette. We're home.
She notices a red spot on the carpet and leans over to inspect it.
INT. HALLWAY
Annette's mom starts down the hallway, noticing the trail of blood leading
to Annette's door, realizing something is wrong.
MOTHER
(concerned)
Annette?
She tugs at Annette's door.
INT. BEDROOM
The door is still barricaded.
EXT. CORRIDOR
Her mother frantically tugs at the door. Her dad appears.
MOTHER
Annette!!
Her dad lifts his foot and starts kicking at the door.
It begins to splinter.
INT. BEDROOM
They break through. Annette's dad pushes the dresser out of the way and
they barge in.
The room seems to be empty except the window has been broken and blood's
splattered around it.
MOTHER
Annette?
She notices the shade to the other window has been drawn and is flapping
oddly, caught on something.
She walks over, frightened, gathers her nerve, then pulls the shade up.
Annette has been nailed to the outside of the house, her dead eyes looking
in.
'VIRGIN' is carved deeply in her forehead.
Her mother screams.
CUT TO:
EXT. HOUSE
COP Cars are everywhere.
INT. BEDROOM
Brent is staring at the word 'VIRGIN', carved into Annette's forehead.
He's really worried, He's figured out that his town is under siege.
INT. LIVING ROOM
Annette's parents are downstairs, shocked. They hug each other, having
nowhere else to turn.
CUT TO:
INT. MARKEN LIVING ROOM
Brent enters his own house. Marge is waiting for him.
BRENT
Is Jody still awake?
MARGE
She just turned off her light.
Brent darts up the stairs.
INT. JODY'S BEDROOM
Jody is in bed. There's a soft knock on the door. She rolls over.
JODY
Come in.
Brent walks in and seats himself on the edge of the bed.
BRENT
Hi honey.
JODY
What's wrong?
BRENT
I have a question to ask you.
A personal question.
Jody sits up, pulling the covers up over her breasts.
JODY
(uncomfortable)
How personal?
Brent takes a deep breath. He's really uncomfortable.
BRENT
I need to know how far you
and Kenny went?
Jody is really uncomfortable with this question.
JODY
What do you mean?
BRENT
(gently probing)
Well, I assume you let him kiss you?
JODY
Well yeah. Of course.
Everyone kisses.
BRENT
I'm not criticizing.
(very uncomfortable)_
Did you two get any further?
JODY
A little.
BRENT
How much further?
JODY
Daddy! I DON'T THINK THIS IS
ANY OF YOUR BUSINESS!
BRENT
I wouldn't ask if I didn't have
to.
JODY
Not much further.
BRENT
You never went, uh, all the way?
JOY
(sighs)
No.
Brent nods, worried. He's obviously upset.
BRENT
(very worried)
Ok.
JODY
(confused)
Daddy, are you upset that
I'm still a virgin?!
BRENT
No honey.
JODY
You are upset.
BRENT
I'm not.
JODY
(upset)
I thought you'd be pleased.
BRENT
I am. I'm so very proud
of you. Go back to sleep.
He kisses her on the forehead and heads out. She is very confused.
INT. LIVING ROOM
Brent comes down the stairs.
MARGE
Well?
BRENT
She's still a virgin.
MARGE
Did you warn her?
BRENT
No. Let her get at least
one more peacefully night's
sleep.
EXT. CHERRY FALLS
It's a new day. As the kids arrive at school, rumors are flying. Everyone
is a little more on edge. The same tribes exist but kids are starting to
glance and listen to kids from other tribes. The social structure is
starting to fray.
INT. PRINCIPAL'S OFFICE
Brent is upset, confused.
BRENT
If I'd gone public with this
yesterday Annette Michaels might
be alive today.
TOM
Oh GOD Brent, is there anything
you don't feel guilty about?
BRENT
is there anything you do?
TOM
Focus on the present. You always
want to change the past. Let's figure
out what you are going to tell the parents
today, not what you should told them
yesterday.
BRENT
I'm going to tell them everything I know.
I'm calling a town meeting for eight p.m.
TOM
You tell these people someone is out there
killing virgins and we're going to have a
goddamn fuckfest on our hands.
BRENT
Better than a pile of dead teenagers.
EXT. TOWN HALL
The town bell rings in the steeple. It's eight o'clock.
EXT. MAIN STREET
The shops close down. All the townsfolk head toward the assembly hall.
EXT. SCHOOL
The parents arrive. They are all concerned. They've all heard rumors by
now. They hurry into the school, whispering to one another.
INT. AUDITORIUM
The parents are seated, whispering, buzzing. Brent walks up to the podium.
He's very nervous as he looks out at the crowd, realizing he's going to
really, really upset them. He takes a deep breath.
BRENT
I think you all know why I CALLED THIS
Town meeting. In the last two days, three
of our children have been murdered and it
appears that we have now established a common
link between the killings.
The crowd grows still. Everyone is interested in this information.
Brent pauses.
FATHER 1
Well, what is it?
BRENT
All three of the victims attended our
public high school and all three were or appear
to have been...um...virgins.
There is a ripple of confusion that runs through the auditorium.
MOTHER 1
So?
MOTHER 2
(very concerned)
You're almost positive that's
who this monster is targeting?
MOTHER 1
Virgins?
BRENT
We found the word 'virgin' written
at both crime scenes.
FATHER 1
Why didn't you tell us this yesterday?
BRENT
We didn't think this was a serial killer.
We thought it was an isolated incident.
This is all very upsetting to everyone.
MOTHER 3
Are you close to an arrest?
BRENT
I can't say we are.
FATHER 2
What are we supposed to do?
BRENT
What do you mean?
MOTHER 2
What are we supposed to tell
our kids?
FATHER 2
To go out and get laid if they
wanna feel safe?
BRENT
I think that's' up to each and
everyone of you.
FATHER 3
I can't lock my daughter in
the basement.
FATHER 2
I wouldn't worry about it Victor.
A few other parents laugh.
FATHER 3
What's that supposed to mean?
FATHER 2
Nothing.
FATHER 3
What are you saying about my
daughter?
Father 3 starts towards Father 2. Tempers are short.
FATHER 2
(getting worried)
Calm down. I was joking.
Father 3 pushes Father 2.
FATHER 3
Hell of a time to be joking about
a thing like that you sick bastard!
Father 3 swings at him. A fight ensues. Other parents start to jump in.
Tempers are short. Brent leaps down to break it up.
EXT. TOWN
A match lights a long fuse.
Fire crackles along the ground toward a huge string of firecrackers and
Roman candles. They ignite. The firecrackers explode as balls of fire
shoot into the night sky. TEENAGERS howl.
INT. SANDY'S BEDROOM
Jody is talking on the phone to Sandy. Sandy's room is typical teenage
room, identical in feel to Jody's.
SANDY
(really worried)
What are we going to do?
INT. JODY'S BEDROOM
Jody is lying on her bed.
JODY
Sandy, you have to chill out,
at least two-thirds of the kids
in our class are still virgins.
He can't butcher all of us.
SANDY
There will be a lot fewer by
tomorrow night.
EXT. HOUSE
The killer's imperial pulls up across the street from Jody's.
INT. JODY'S
JODY
Not that many.
SANDY
You watch. There's going to be
a hymen holocaust tomorrow.
Maybe I'll finally talk to Mark
Shale.
JODY
NO?!
There's a sound on the phone. Sandy's brother ANDY has picked it up.
SANDY
Andy! I'm on the phone!
INT. DOWNSTAIRS AT SANDY'S
ANDY, Sandy's thirteen year old brother is on the line.
ANDY(ON THE PHONE)
I just wanted to offer my
services to Jody.
SANDY
Your services?
ANDY
I'm willing to help save her life.
Jody, if you want to come over right
now. We could slip up into the attic for
a few minutes. There's an old mattress
up there...
SANDY
MOM!
Andy hangs up laughing.
INT. JODY'S
Jody chuckles but all of a sudden the line goes dead.
JODY
Hello?
Jody tries to call back but the phone isn't working. This spooks her. The
doorbell rings downstairs. Now Jody is more than spooked. She's SCARED.
She goes to the window to see who it is.
EXT. HOUSE
Someone is standing in the shadows below. All Jody can make out is that
it's a woman.
INT. STAIRS
Jody, dressed only in her nightshirt, cautiously heads downstairs to the
back door.
INT. BACK HALLWAY
JODY looks through the back door window.
EXT. BACK DOOR
There's someone in the shadows.
Jody opens the door a crack.
JODY
Yes?
KILLER(O.C.)
Are you Jody?
Once again, a woman's voice.
JODY
Yeah.
KILLER(O.C.)
I'm Kenny's Aunt Lisa.
JODY
Kenny's aunt?
KILLER(O.C.)
Yes. He asked me to come over
and talk to you.
Jody senses something is off.
JODY
On what side of the family?
KILLER(O.C.)
His mother's side.
JODY
His mother's an only child.
Jody suddenly gets it and tries to slam the door closed but the killer is
too fast, sliding a hand and foot in, pushing her way into the house.
Jody fights to push the door shut but she can't. The killer is stronger.
The killer's hand gropes for the lock latch.
Jody frantically looks around for a weapon and spots an electric
screwdriver sitting in the back pantry. She grabs for the screwdriver with
one hand as the killer pushes harder.
Jody drills the killer's elbow.
The killer screams and lets go. Jody slams the door shut, double locking
it.
INT. FRONT HALLWAY
Jody runs to the front hall and double locks the front door.
INT. LIVING ROOM
Jody picks up a phone but it's dead downstairs too. She looks around.
EXT. HOUSE
She notices a shadow move across the back window. The killer hasn't left.
The killer seems to be following her.
INT. FRONT HALL CLOSET
Jody grabs a baseball bat from the front hall closet. The killer's shadow
appears outside.
INT. KITCHEN
Jody runs into the kitchen, grabs a knife. The window above her breaks.
The killer is right outside.
INT. DINING ROOM
Jody runs into the dining room, not sure where to go. Suddenly the window
breaks there. The killer is stalking her from the outside.
INT. HOUSE - MONTAGE
THE HOUSE is under siege and Jody is trapped in it. She runs from room to
room, turning the lights out but windows break wherever she goes. It's
terrifying.
INT. FOYER
Suddenly there is a silence. Jody stops running. She realizes that the
killer must be climbing in somewhere. Jody isn't sure what to do.
She hears something in the family room.
INT. FAMILY ROOM
Jody enters. She sees the killer's shadow cross the window. She runs out.
INT. HALLWAY
Jody creeps through the dark house, unsure where to go.
INT. DEN
Jody creeps back into the den. The killer doesn't seem to be there either.
The window is broken. The curtains flap in the breeze. She moves toward
it, wondering whether it's safe to climb out. She looks in the mirror.
In the mirror, Jody can see the killer's shoes peeking out from under the
drapes. The killer's in the room. The drapes start to move.
Jody turns around and swings the bat, hitting the killer squarely in the
head, sending her to the ground, pulling the drapes down.
INT. HOUSE
Jody tears for the front door.
INT. FRONT HALL
Jody's too nervous to unlock the front door.
She hears the killer coming so she tears up the stairs.
INT. STAIRCASE
Jody scampers up the staircase but she's not fast enough. The killer grabs
her leg through the wooden slatted banister starts pulling her off the
staircase, breaking the wooden slats.
Jody grabs one of the jagged slats and rams the sharp end into the
killer's hand, freeing herself.
INT. STAIRS
Jody charges up the stairs and into the bathroom.
INT. BATHROOM
Jody closes the bathroom door and locks it.
The killer starts kicking it in.
INT. BATHROOM
Jody opens the small bathroom window to climb out on the roof.
The door starts to splinter.
Jody tries to wriggle her way out but it's tight.
Behind her she hears the door splintering open.
EXT. ROOF
Jody squeezes through and grabs hold of the chimney, using it to pull
herself out.
INT. BATHROOM
The killer's hand grabs Jody's leg just as Jody's pulling herself free.
The killer closes the window on Jody's leg, trapping it inside. Out comes
the razor.
EXT. ROOF
Jody fights for her freedom, tugging at the chimney, kicking and
screaming: All of a sudden she feels a surge of pain. She screams and
kicks with all her might, freeing herself, her momentum sending her
rolling down the roof. She rolls off the roof, barely grabbing hold of the
gutter, hanging from it.
The gutter starts to break.
Above her she can hear the killer coming out onto the roof.
The killer's silhouette hovers above, ready to grab her.
Jody knows she has no choice.
Jody lets go of the gutter.
EXT. BACKYARD
Jody falls twenty feet to the ground below.
JODY
Help!
Jody smashes to the ground.
EXT. NEIGHBOR'S
A neighbor hears the clatter and comes running out to see what's going on.
EXT. BACKYARD
Jody lies still on the ground.
EXT. ROOF
The killer, still in silhouette, looks down from the roof.
EXT. BACKYARD
Jody's neighbor runs over to help her.
Jody rolls over, still groggy.
Jody looks up to the roof.
EXT. ROOF
THE KILLER IS GONE.
EXT. BACKYARD
Jody looks back down at her bloody leg. There is a 'V' carved into it.
CUT TO:
EXT. HOUSE
Later that night. Police cars are lined up outside the house.
INT. HOUSE
Police are scouring the house. Jody is trying to sup some hot chocolate
but her hands are still shaking.
JODY
It was a she.
BRENT
Are you sure?
JODY
She said she was Kenny's aunt Lisa.
Her mom comes in with a bottle of cognac, ready to pour a little into
Jody's cup.
BRENT
What are you doing?
MARGE
This will relax her.
BRENT
She's underage.
Brent motions towards the cops, his co-workers, who are scurrying around
the house. Mom gives Brent a dirty look and pours just a spot into Jody's
glass. Sandy enters. She sees Jody and runs to her.
SANDY
Oh my god. ARE YOU OK?
Jody breaks into tears. They hug.
JODY
Someone tried to kill me.
SANDY
The phone just went dead.
I called the police and ran
right over as fast as I could.
Sandy is really terrified too.
Dissolve to:
EXT. CHERRY FALLS
Another morning in CHERRY FALLS. The town may look peaceful but it isn't.
INT. SANDY'S BATHROOM
Sandy is getting dressed in her usual manner but he hand is shaking. She's
still terrified. She looks at herself in the mirror and decides to make a
change.
Lipstick goes on. mascara and eyeliner follow.
Sandy examines herself in the mirror. She's all made-up. SHE USUALLY wears
a tenth as much.
INT. SANDY'S BEDROOM
Sandy slides into a slightly provocative dress. She looks much hotter than
she did when we first met her.
INT. STAIRCASE
Sandy starts down the stairs. She stops to check out where her mother is.
INT. KITCHEN
SANDY'S MOTHER is making breakfast.
INT. STAIRCASE
Sandy hurries downstairs, grabs her coat and heads out the door, hoping
her mom won't notice how she's dressed.
Her mom hears her and catches a glimpse of her new outfit.
MOTHER
You're wearing a skirt?
Sandy doesn't want to get into it. She charges right out the door.
SANDY
Bye mom.
EXT. SANDY'S HOUSE
Sandy goes tearing up the street as her mother opens the door after her.
MOTHER
SANDY?!
No way is Sandy turning around.
EXT. SCHOOL
The kids arrive at School. Everyone is freaked. The word spreads fast
about Jody's attack. Many of the kids, like Sandy, have worn a little
extra make-up or a little tighter jeans. There's a sexual electricity
everywhere mixed in with a lot of fear.
The normal tribes are disbanding. What are forming in their place are
sexual tribes. Today, at the high school, sexual history bands kids
together. Not aesthetics, popularity, or wealth. Punkers chat with nerds,
cheerleaders with potheads.
In the parking lot, we see that Aunt Lisa's IMPERIAL is parked. The killer
is close by.
EXT. FRONT OF SCHOOL
Sandy arrives at school. She looks around.
She spots Mark talking with Cindy and BEN. She gathers her confidence up,
unbuttons her top button to reveal what cleavage she has, and starts
towards them.
Cindy is laughing at Ben.
CINDY
I'm not fucking you.
Not for all your CDS.
BEN
You want me to die? I thought
you and I were tight.
CINDY
ARE YOU THE KILLER BEN?
BEN
WOULD that impress you?
IS that what it takes to
impress the empress?
CINDY
Your mind is just twisted enough.
I believe you'd do all this just to
get a dip or two.
Sandy walks up.
SANDY
Hi Mark, Cindy, Ben.
MARK
Hi Sandy.
They all stare at her for a second, noticing the change in her appearance.
BEN
Did you want something?
Sandy freezes. She doesn't known what to say.
SANDY
(almost frozen)
Yes.(beat) I was just curious
Mark, if you brought a Twinkie
today?
Ben and Cindy crack up. That was a really lame, stupid question.
BEN
(sarcastically)
You wonder about that everyday Sandy?
MARK
Shut up Ben.
(to sandy)
Actually, my mom always
packs two.
SANDY
You got a great mom.
I'm lucky to get a zucchini
stick.
MARK
Did you want one?
SANDY
(trying to cover)
Yeah I was talking about Twinkies
the other day and I realized I hadn't had one
in years. Then I remembered seeing you with
one.
MARK
They're tasty.
He gets out the Twinkie and gives it to her. She unwraps it and takes a
bite. Ben and Cindy watch, amazed and entertained.
SANDY
Thanks.
Sandy gets a little cream on her cheek and licks it away with her tongue,
a little embarrassed. The sight of her tongue turns Mark on.
MARK
You can have both if you want.
SANDY
No, you keep one.
Cindy laughs. The pairing up has started.
CUT TO:
INT. POLICE STATION
Jody is sitting in the police station working with a SKETCH ARTIST.
JODY
A little larger nose.
The artist makes a change.
ARTIST
How's that?
Jody re-examines the picture. She's spooked.
JODY
That's her.
The artist picks up the phone and dials.
ARTIST
Brent, we got a sketch.
Brent comes into the room and picks up the sketch,
FOR THE FIRST TIME we see a picture of the killer. She looks about
eighteen years old and has her hair done in an old fashioned wave. She
looks like your average small town girl from the late sixties.
Brent's face goes white when he sees who it is.
Jody notices this.
JODY
You know her?
BRENT
It can't be.
JODY
Who is she Daddy?
BRENT
Never mind darling.
You go back to school.
I don't want you missing
anymore classes today.
He picks up the picture and heads quickly into his own office. Jody
watches through his window, sensing he's very, very upset.
INT. OFFICE
Brent picks up the phone and quickly dials a number.
INT. MAIN ROOM
Jody has never seen her dad like this. She quietly picks up the phone and
listens in.
Her dad is talking to the principal, Tom Sisler.
BRENT
IT'S LISA SHERMAN. But she still
looks like we're eighteen.
TOM
(on phone)
That's impossible.
BRENT
(growing frantic)
I swear to God. It's her.
She told Jody she was Kenny's
'AUNT LISA'. I'm getting this
sickly feeling...
TOM
Calm down Brent.
INT. OFFICE
Brent looks out and sees that JODY is on the phone, eavesdropping.
BRENT
I'll call you right back.
INT. MAIN ROOM
Jody, busted, hangs up.
Brent comes storming out. HER FATHER is livid. SHE'S NEVER SEEN HIM SO
ANGRY AND UPTIGHT.
BRENT
You were eavesdropping.
JODY
(a little scared)
No I wasn't.
BRENT
What did you hear?
JODY
Nothing. I just picked up the phone
to say goodbye to you. You didn't say
goodbye.
BRENT
Ok. Goodbye. Now get back to school.
She nods and heads out, freaked. Her father's never treated her this
harshly before.
EXT. HIGH SCHOOL
As Jody approaches the high school, she's still on the edge, given the
attack of the night before as well as he dad's reaction to the picture.
She hears a moan coming from behind some bushes. She stops and notices a
Girl's shoe sticking out from under the bush. Worried it might be someone
badly hurt, she cautiously starts toward it. Suddenly a couple of more
feet pop out. Jody jumps back, frightened, but then realizes that it's
just a couple of her classmates having sex in the bushes.
Jody heads toward the main school entrance. She starts noticing a lot of
kids are outside, a few more hidden from sight, having sex. Something's
up.
INT. HIGH SCHOOL
Jody opens her locker. Sandy comes running up to her, very excited.
SANDY
You ok?
JODY
(noticing Sandy's attire)
FINE. Are you?
SANDY
Hurricane Hormone. it's flattened the
whole school. Guess what?
JODY
What?
SANDY
(whispering)
Mark invited me to the party.
JODY
What party?
SANDY
Shh. Ben's party. Tonight.
Haven't you heard?
JODY
No.
Sandy notices that a teacher is nearby. Sandy pulls Jody into a stairwell.
INT. STAIRWELL
Jody is now really intrigued.
SANDY
(whispering)
You can't tell your parents.
JODY
Ok.
SANDY
Especially not your dad.
JODY
I won't.
SANDY
(whispering)
It's like a pop your cherry party.
Everyone's saying it's 'Fuck or Die' time.
JODY
You're thinking of sleeping with Mark
tonight?
SANDY
Unless he makes a move during
seventh period.
JODY
Didn't you have something a little
more romantic in mind for your first
time?
SANDY
(very excited)
I kind of like the idea that we can all
lose it together, on the same night.
It'll be a lot less scary. You have to
go.
JODY
Stag?
SANDY
Kenny'll want to go with you.
Cindy's holding a Q and A
session at the bleachers.
Come on.
JODY
I can't right now.
SANDY
Jody, you have to go to the party.
For your own safety.
Sandy takes off.
EXT. BLEACHERS
Cindy is setting with a group of girls, the center of attention.
CINDY
You all are such hypocrites.
All year long you sit on your
judgmental little butts and
call me the slut from hell.
NOW YOU RUN TO ME, quaking in fear,
BEGGING for advice...
HYPOCRITE GIRL 1
Yeah. SO?
HYPOCRITE GIRL 2
What were we supposed to call you
Cindy?
GIRL 1
The slut from heaven?
GIRL 3
Just answer our questions please?
Sandy runs up.
CINDY
(loving the role)
What do you want to know?
GIRL 3
What to do.
CINDY
You have to do everything
Boys are totally clueless when
it comes to sex.
This answer terrifies the audience.
CINDY(cont'd)
It starts with them trying to
unhook our bras, fumbling around,
and never changes. Wait until they try
to put their dicks in you.
GIRL 2
Please don't say they need our help
with that.
CINDY
Always. Unless you want them to just
poke around endlessly.
The girls had no idea.
INT. CAR
Three stoners are smoking a bowl in their car. They are not nearly as
collaborative or supportive of one another as the girls were.
BOY 1
Romeo here asked me if chicks has two
holes or three.
BOY 2
I did not.
BOY 1
You did so.
BOY 2
I was kidding.
BOY 3
Were not dude.
BOY 1
I know it's a total bummer
that three kids are dead, but, I'm sorry,
this is kind of great.
BOY 3
I'm way into this. This may be the best
of all possible worlds.
BOY 2
No. The killer could be offing
chicks who haven't given head.
They all laugh again and nod, slapping hands, Beavis and Butt-head style.
BOY 2
Then I'd only have to worry about
one.
They all laugh again.
EXT. PARKING LOT
Two HOMELY GIRLS, one rail thin, the other slightly overweight, walk back
towards the school.
HOMELY GIRL 1
We'll meet someone at the party.
HOMELY GIRL 2
You don't know that.
HOMELY GIRL 1
If we don't, we sit back and watch
everyone else camel.
That's got to be better than
hanging at your house.
HOMELY GIRL 2
I'm not going.
They notice a group of kids huddled around a car.
HOMELY GIRL 1
What's that?
They walk up.
'VIRGIN' has been written in blood on one of the windshields. A mutilated
boy looks out of the driver's window of the car. The girl's faces go
white. IT'S ANOTHER BODY!
More and more kids gather around the murder site. The kids are all
freaked, giving each other the eye. No one wants to be next.
All of a sudden the body moves, screaming to the heavens, freaking all the
kids out. The dead body leaps out of the car and runs away as other kids
and teachers run over. Everyone heard the scream.
Homely girl 2 whispers to her friend.
HOMELY GIRL 2
(whispering)
Ok. Pick me up at seven.
INT. CORRIDOR
Chaos has taken over the school. Hardly anyone is still going to classes.
Kenny is standing in the hallway, looking for Jody. He knows her class
schedule and that she'll be passing by.
Jody appears from her classroom. She starts toward Kenny, at first not
noticing him.
Jody looks up and she sees him. She stops. She knows what he's there to
talk to her about. He runs over to her.
KENNY
(very concerned)
Are you O.K.?
JODY
I'm fine.
KENNY
I heard you got attacked.
JODY
I did.
KENNY
I was worried about you.
Did you hear about the bash?
JODY
Yeah. I think it's really sick.
KENNY
Why?
JODY
Three of our classmates are dead.
That's not really the occasion
for a party.
KENNY
Nobody wants to be the fourth.
Please go with me.
JODY
Did Sharon say no?
KENNY
You know I want to go with you.
JODY
I'm so flattered but I can't.
I'm grounded.
KENNY
Everyone's grounded. There's a
killer on the loose.
JODY
No I'm really grounded.
When I got in late the other night,
my father was waiting up for me.
He grabs her passionately.
KENNY
If you don't want to go with me just
say so. Say 'Kenny, I DON'T WANT TO MAKE
LOVE TO YOU' but don't use your dad as an
excuse. I'm so sick of it.
JODY
I'm not using him as an excuse.
OF COURSE SHE IS.
KENNY
Yes you are. You always do.
It's why we broke up. You always
hide behind him.
JODY
I do not.
KENNY
I feel like I NEED YOU DAD'S
permission just to kiss you.
Jody, it's time to assert yourself
To be a big girl. An individual.
I'm going to this party tonight.
Jimmy's my ride. Come over to my
house after school. We'll go together.
JODY
I have to go home after school.
I have something really important
I have to ask my mom.
KENNY
They're not picking me up until six.
JODY
I'll think about it.
KENNY
Yes!
He kisses her full throttle. She's into it. She smiles at him as he darts
off. She's happy but scared. She's got her guy back, at least for the
moment.
INT. SCHOOL
The clock strikes three. The bell rings.
EXT. SCHOOL
Kids charge out, ready for a memorable evening.
INT. JODY'S HOUSE
Jody's mother is in the kitchen, preparing dinner, watching TV.
REPORTER
(on TV)
A series of savage killings has turned
this small community of Cherry Falls, Ohio
inside out. In the last two days, three teenagers
have been killed, a fourth attacked. The killer
seems to be targeting high school virgins. Here's
our WWJB reporter Mike Stanton outside the local
high school with an up to the minute report.
EXT. HIGH SCHOOL
MIKE STANTON turns around toward the high school to report on the day's
events but before he can get a word out a young GIRL who has recognized
him, walks up to him. Her GIRLFRIENDS giggle behind her.
GIRL
Hi.
MIKE
Hi, I'm Mike Stanton.
GIRL
I know.
She grabs him and kisses him. He's shocked. She runs off giggling with her
friends. A boy walks through in the background and makes a lewd hip
humping gesture at the TV camera.
INT. KITCHEN
Jody's mom can't believe what she's seeing on the news.
EXT. HOUSE
Jody walks in the back door.
INT. KITCHEN
Her mom flips off the TV AS Jody enters the kitchen.
JODY
Hi mom.
MARGE
Hi princess.
JODY
Mom?
MARGE
Yes?
JODY
I need to ask you something.
MARGE
You can ask me anything.
JODY
Have you ever heard of someone
named Lisa Sherman?
Mom's cutting hand starts to shake. She pretends that she doesn't know who
Lisa Sherman is but she obviously does.
MARGE
Lisa Sherman?
JODY
Yeah. Who is she?
MARGE
I don't know. Where did you
hear that name.
JODY
I overheard daddy mentioning
her to someone. I he thinks she's the
killer.
MARGE
What?
JODY
That's what he said.
MARGE
Did he say anything else about her?
JODY
No but he got really weird.
Like I've never seen him act.
REALLY angry and super uptight.
MARGE
(lying)
I've never heard of her.
Maybe something else was on
his mind.
JODY
No. I think she lived her a
long time ago. Like twenty-eight
years ago. When dad was eighteen.
MARGE
Not that I know of.
Jody is suspicious. Jody thinks for a moment, then picks her coat back up.
MARGE
Where are you going?
JODY
The library. I'll be fine.
Jody heads out the door. Her mother goes to the window, very concerned and
watches her ride away. She picks up the phone.
INT. POLICE STATION - BRENT'S OFFICE
BRENT is on the phone. His deputy is with him.
BRENT
What's the address?
Thanks.
He hangs up the phone.
DEPUTY
You found her?
BRENT
There's a Lisa Shermer living just sixty
miles west of here. Over the Indiana border.
I'm going.
DEPUTY
We need you here. I can bring her in.
BRENT
No. I'll handle this.
INT. STATION
Brent and the deputy head into the main station area. Brent grabs his gun.
The DESK SERGEANT is on the phone.
DESK SERGEANT
Sir, we're getting calls from other
towns. Boys throughout the country have
heard about what's going on here and they're
heading our way, apparently, looking for girls.
BRENT
Put a squad car at every entrance to town.
The desk sergeant picks up another call.
SERGEANT
Your wife's on line three.
BRENT
I can't talk to her now.
SERGEANT
There's a problem with Jody.
BRENT
Tell her she has to handle it.
He heads outside.
EXT. POLICE STATION
The deputy walks Brent to his car.
DEPUTY
As bizarre as it may sound,
seems someone is planning to
have a big party tonight.
BRENT
No?
DEPUTY
Should we close down any eruption?
BRENT
Are you sure?
DEPUTY
We're seeing all the signs in town.
BRENT
I like the idea of all the kids in
one place. If it happens, just keep
a man outside until you hear from me.
I'll be back in a couple of hours.
He jumps in his car and speeds away.
EXT. LIBRARY
The gray old ivy-covered town library. Jody rides up and heads inside.
INT. LIBRARY
Jody enters the vast library. It's empty. Almost spooky. A seventy year
old lady, MISS DUNLOP is behind the desk, robotically stamping the back
flaps of books.
MISS DUNLOP
Hi Jody. What can I DO for you?
JODY
Hi Miss Dunlop. Where do you keep
the old town papers?
MISS DUNLOP
They're all on microfiche.
What year are you looking for?
JODY
Twenty eight years ago.
MISS DUNLOP
Follow me.
INT. LIBRARY - UPSTAIRS
They head up the stairs and into the microfilm room.
JODY
This place is empty.
MISS DUNLOP
Everyone's getting ready for the party.
JODY
You heard about that?
MISS DUNLOP
Of course. NO ONE EVER SHUTS UP
IN THE LIBARY. Kids were whispering
about it all day.
JODY
Don't you think it's sick?
MISS DUNLOP
Not at all. In fact, I thought
about going.
JODY
You Miss Dunlop?
She hands Jody the microfiche.
MISS DUNLOP
Unfortunately I qualify.
Think I'm too old?
JODY
(lying)
No.
MISS DUNLOP
You're sweet. I really wish
someone had thrown a party
like that when I was your age.
My life might have been very
different.
SHE SLOWLY HEADS DOWN THE STAIRS.
cut to:
INT. LIBRARY - MICROFICHE ROOM
The newspaper headlines from 1970 pass by.
Jody is watching them flash by.
She slows down, then goes back. She's found what she's looking for.
A picture of LISA SHERMAN. It's her yearbook picture. She looks eerily
identical to the picture that Jody drew. The headline reads 'High School
Senior Attacked In park'.
Jody hears footsteps coming up the stairs. She looks up. The footsteps
stop.
The old library is still. She senses that someone is watching her.
JODY
(a little scared)
Is that you Miss Dunlop?
No answer. She hears a bit of rustling from behind one of the shelves of
books directly behind her.
A book accidentally drops to the ground.
She realizes that someone is right there, watching her.
JODY
Who's there?
She sees a pair of shoes behind the book shelf but she can't see the face.
The shoes start around the book shelf, toward her.
Jody leaps to her feet, ready to run. Her mom appears.
JODY
Mom? You were spying on me.
Mom looks at the monitor, at the picture of Lisa Sherman's face.
MARGE
I want you to come home with
me right now, Jody.
JODY
Who is she?
MARGE
She's nobody you should be concerned
with.
JODY
Whoever tried to kill me
was made up to look exactly
like this picture of Lisa Sherman,
clothes and all. I think that
concerns me.
MARGE
Don't make me order you.
Jody sits back down.
JODY
You going to drag me out and me in my
room until I go to college?
Marge sits down next to Jody and takes her hand.
MARGE
If I have to. Please
let me protect you.
Jody is at a crossroads. Jody doesn't know what to do. Her mother hugs
her, puts her arm around her, and almost lifts her out of her seat. She
leads her down the stairs, away from the old newspaper.
INT. LIBRARY
Jody's mom leads her across the vast hallway. They come to the door
leading out of the library. Jody stops and looks back. She sees the old
spinster Miss Dunlop, stacking the books.
JODY
Wait.
MARGE
What?
JODY
(asserting herself)
I'm not leaving. I want to
know why you and dad are
so freaked out. Three of my
classmates are dead.
Mom doesn't like this at all.
CUT TO:
EXT. LIBRARY
A beautiful garden on the edge of the library. The autumn wind is blowing.
The leaves are at the height of foliage. Jody and her mom are seated on a
carved stone bench.
MARGE
Years ago, something horrible
happened in this town. When I
was still in high school. A girl
named Elizabeth Sherman was attacked by
four drunken seniors.
JODY
Attacked how?
MARGE
She was raped. At least that's
what she claimed.
JODY
You didn't believe her?
MARGE
(confessing)
No, I believed her. She was in
pretty bad shape. Inside and out.
But the boys were never formally
charged.
JODY
Why not?
MARGE
They were children of our leading
citizens, stars of the football team.
And she was a loner. An angry girl
that no one really liked. She'd called
them 'queers'.
JODY
People thought these guys had a
right to rape her because she called
them 'queers'?
MARGE
They were proving to her they weren't.
They were very drunk. Things were different
back then. You think kids are sexually
bottled up today....
JODY
And the police did nothing?
MARGE
EVERYONE JUST KIND OF LOOKED THE OTHER WAY.
JODY
How could you?
MARGE
I don't know. We just did. I guess
I was kind of scared going against the gain.
Against the whole town.
JODY
The word is Mob.
MARGE
I've regretted it ever since.
Never run with the herd just because
they're the herd.
JODY
Who were they?
Marge freezes. She didn't want to be asked that.
MARGE
Who?
JODY
The men. Do any of them still
live around here?
MARGE
Two men left town right after
it happened.
JODY
You're not telling me something.
Marge takes a deep breath, unsure what to say.
MARGE
Mr. Sisler was one of them.
JODY
(shocked)
The principal?
MARGE
Yes.
JODY
Who was the fourth?
Marge is stricken. She looks down.
MARGE
God. It's like everything that was
ever repressed in this town is suddenly
bubbling up through the ground.
Jody gets it.
JODY
Dad?
Her mother can't deny it any longer.
JODY(CONT'D)
(horrified)
THAT'S why he called Mr. Sisler first.
He was one of them.
MARGE
Not a day has gone by where your
father has not torn himself to shreds
for what happened. We both have...
JODY
NO!
Jody gets up.
MARGE
He dedicated his life to law
enforcement after...
Jody runs off, very upset.
EXT. LIBRARY
Jody jumps on her bicycle and speeds off.
EXT. GARDEN
Marge sits down and stares straight ahead, crushed.
EXT. INDIANA DIRT ROAD
The rusty old mailbox on the forgotten dirt road reads 'Lisa Sherman'
Brent's police car turns into the driveway.
INT. CAR
Brent pulls up to the house. he sits and stares for a moment.
EXT. LISA SHERMAN'S HOUSE
It's a dilapidated old house, uncared for, overgrown, a 'For Sale' sign
stands crookedly in the front yard.
Brent gets out of the car and heads to the front door, stepping over rusty
tools and old auto parts.
EXT. FRONT DOOR
Brent lifts his hand and is about to knock. He can't. He walks around in a
circle, composing himself, preparing himself to face Lisa Sherman after
all these years. He draws the gun from his holster and knocks.
No one answers.
He knocks again.
No one answers, again.
A WOMAN, THE CARETAKER, appears from the side of the house.
CARETAKER
Hello?
BRENT
I'm looking for Lisa Sherman.
CARETAKER
She's not here.
BRENT
You know where I can find her?
CARETAKER
St. Michael's.
BRENT
She works at a church?
CARETAKER
She resides there. Out back.
She died a year and a half ago.
Brent feels terribly guilty about what he did to Lisa Sherman, but also
terribly relieved that he'll never have to face her. It's been a long
time since he's confronted his hidden past. He puts his gun away.
BRENT
Of what?
CARETAKER
A bullet to the right cerebellum.
BRENT
She was murdered?
CARETAKER
No. She ate a pistol for lunch
one day.
Brent can't help but feel responsible.
BRENT
Can you describe her? How old
was she?
CARETAKER
I never met the woman. I'm just taking
care of the place until they sell it.
BRENT
Can you get inside?
CARETAKER
I can.
BRENT
I knew Lisa Sherman long ago.
It's extremely important that I
get inside and try to verify that it's the
same woman who lived here.
CARETAKER
I don't give a fuck what your reasons
are. You pay me ten dollars, you can go inside
Otherwise, get a warrant.
He pulls out his wallet.
Cut to:
EXT. KENNY'S HOUSE
Jody rides up to Kenny's house.
INT. HOUSE
Kenny sees her from his bedroom window.
INT. FRONT HALLWAY
Kenny comes tearing downstairs.
EXT. FRONT DOOR
Kenny, opens the front door, very excited.
KENNY
Jody!
(he kisses her)
Yes! You're here.
Jody wipes a tear from her eye. Kenny notices how upset she is.
KENNT(CONT'D)
What's the matter?
Jody bursts into tears. She hugs him. He hugs her back and leads her
inside.
INT. HOUSE
An old rundown house. The clutter smells. Whoever lived here had little to
no self respect. Garbage is piled up in every corner, order is nowhere.
Brent is repulsed by what he sees. he wasn't expecting such chaos. He
knows he helped create this mess.
BRENT
Is there a picture of her somewhere?
CARETAKER
No pictures. No mirrors.
Was she a crazy woman when
you knew her?
BRENT
(feeling very guilty)
No.
CARETAKER
Couldn't tell she going to off
herself, huh?
BRENT
No, you couldn't.
CARETAKER
I've been in a lot of people's
houses and this one's the creepiest.
BRENT
Really?
CARETAKER
Yeah. You should check downstairs.
BRENT
Why?
CARETAKER
People always keep their secrets in their
attics or in their basements. All the
weirdness in this house took place in the
basement.
The woman flips on the basement light. There are several locks on the
door. Brent is very scared of what he's going to find down there.
INT. BASEMENT
Brent steps down into the basement.
It is a combination prison/bedroom. It looks like it hasn't been cleaned
in years. Water drips for the ceiling. Rat traps are everywhere. Old
broken child's TOYS are stacked in one corner below some handcuffs which
are bolted into the wall above a cot. The cot is small, the mattress
rotted. Old shit lies dried on the floor piss stains line every wall.
Huge nails and odd iron objects sit in one corner.
Brent walks over to the dresser and looks in it. He pulls out a pair of
grown man's trousers. He examines them.
CARETAKER
They look like they'd fit you.
Three bucks.
Brent things for a moment then throws the pants down. He darts back up the
stairs. The caretaker laughs.
INT. KENNY'S
Jody and Kenny are in Kenny's bedroom, sitting on his bed.
KENNY
All our parents are weirdoes.
I think my dad is into hookers.
I know he lit cats on fire when
he was a kid.
JODY
(all wound up)
My dad acts like he's Johnny Fucking
Perfect and he's really Johnny Fucking
Rapist.
KENNY
(compassionately)
I think this is a big part of growing up.
It's losing your spiritual virginity.
It's when you finally discover that your
parents aren't anything they told you they
were. They're even bigger hypocrites than
your friends.
JODY
I can't believe I listened to one word of
his shit.
KENNY
But if he'd been sent to jail,
there would be no Jody.
JODY
So I should feel happy that he got
away with it?
KENNY
I don't know. I kind of am.
Jody, still crying, stares at Kenny for a second then leans in and kisses
him with everything she's got, Ready for action.
KENNY
Are you coming to the party?
JODY
Let's just start a party right here,
right fucking now.
Jody quickly takes her own shirt off, rips off his, and pounces on him.
He's taken aback by her sudden aggressiveness. He has no idea how to
respond to it.
INT. TOWN HALL
Brent comes storming out of the hall of records.
INT. PHONE BOOTH
Frantic dialing. Brent is on the phone.
INT. PRINCIPAL'S OFFICE
The phone rings. The answering machine picks up.
BRENT
(leaving a message)
Tom? Lisa Sherman is dead. But you'll
never believe what I found out. Meet
me at the Roadhouse on Route nine in a
half hour. We need to talk in private.
As Brent finishes his message the camera moves across the principal's
desk, first revealing a few blood drops on a piece of paper and then the
killer's hand, holding the razor. The killer has been listening to the
message.
Tom, the principal, is sitting in the corner in a large puddle of his own
blood, tied to the radiator. He's barely alive. His tongue has been cut
out, his foot cut off at the ankle and shoved into his mouth. One eye is
missing, the other one has been left in only so that Tom can look into the
killer's face as he's tortured.
The razor blade is lifted off the table.
Tom braces himself, gripping his hands, preparing for more pain.
The camera moves back to the phone as we hear Tom gag and then the killer
walking out of the room.
INT. KENNY'S
Jody is all over Kenny. He's really weirded out by her aggressiveness.
She reaches for his crotch and finds that he's soft. She rolls over,
embarrassed.
JODY
(worried)
What's wrong? Am I doing something
wrong?
KENNY
Just making me feel like a piece
of meat.
JODY
I'm making you feel like meat?
KENNY
Yeah.
Jody rolls over, a bit pissed off and very confused.
JODY
You break up with me because
I won't fuck you.
KENNY
That's not why we broke up.
JODY
You flaunt some slut in my face.
KENNY
Sharon's far from a slut.
JODY
And when I finally agree to spread
my legs, you accuse me of treating
you like meat.
KENNY
Jody, you're only doing this to
get back at your dad. It doesn't
have that much to do with me.
She gets up angry, and starts putting her clothes back on. That was the
wrong note to play. The truth hurts.
KENNY
Please don't go. Please.
Stay, We'll just talk. Then
go to the party.
JODY
This party is sick.
She heads to the door.
KENNY
Jody. Wait.
JODY
What?
KENNY
I'm scared. Three kids are
dead. I want to go to this
party.
JODY
Then go to the party. Run
with the herd Kenny. Just
don't spew out all that 'be
an individual, assert yourself'
crap anymore.
She heads out, very upset.
INT. DRUG STORE
INSERT- A condom slides across the counter. The register rings it up.
A teenage boy is standing there buying the condom. The camera pulls back
to reveal another teenage boy behind him, also holding a condom and then
another and another. All told, the store is completely jam packed with
over a hundred boys, all standing in line, all buying condoms.
CUT TO:
INT. BEDROOM
Sandy is getting ready to go to the party, making herself look as hot as
possible, and she looks hot. There's a knock on the door. She's scared to
answer it, considering how she's dressed. Her dad comes in and sits on the
bed. Sandy turns away from and buttons her top shirt button up.
DAD
I know where you're going.
SANDY
(concerned)
You do?
DAD
Your brother told us.
SANDY
Daddy....
DAD
Shh. I'm not going to tell
you not to go.
SANDY
You're not?
DAD
No. I couldn't do that.
I have something for you.
He places something on her dresser, smiles at her, and leaves.
She looks at what he's left. It's a condom.
CUT TO:
EXT. STREET
Carloads of kids head toward Cherry Falls, howling out the windows,
guzzling beer.
EXT. STREET
Police cars screech to a stop, barricading the entrances to town,
preparing for the onslaught.
INT. CAR
Brent is driving out of the Indiana town when he sees something out the
window.
EXT. STREET
It's ST. MICHAELS church. Brent pulls over.
EXT. GRAVEYARD
Lisa Sherman's headstone. It's a modern one. Her picture is on it. It's
the same woman as the sketch artist drew.
Brent stares at the headstone, alone in the cemetery, feeling ashamed.
BRENT
Lisa, I'm so sorry.
INT. SANDY'S LIVING ROOM
Sandy appears at the top of the stairs, decked out, ready for the party.
Her mom bursts into tears. Sandy heads toward the front door. her father
walks up to her and hugs her. Her brother Andy, smirks in the b.g.
Mom cries harder.
ANDY
Just think of it like she's having
a flu shot. Purely preventive.
Cut to:
INT. HOUSE
A kid raided his parent's liquor cabinet, pouring five different types of
liquor into a pickle jar.
ANOTHER HOUSE
Another kid raids his parents weed stash, grabbing a handful of buds.
A THIRD HOUSE
A third kid raided his parents medicine cabinet. Lots of barbiturates in
this house.
MONTAGE - OTHER HOUSES
Kids are climbing out their windows, climbing down trees and sheet ropes,
trying to get out, sometimes being chased and caught by their parents. One
kid is locked in his room, another driven far from town. everyone's
grounded but everyone's going to the party any way.
EXT. WOODS
Kids from other towns park cars at the edge of town and try to sneak into
Cherry falls through the woods.
Police try and cut them off.
EXT. TOWN
Jody pedals quickly down the street. She's going nowhere. She starts to
cry.
EXT. ROADHOUSE
Brent pulls into the roadhouse to look for Tom Sisler. As he walks inside
we notice the killer's Imperial is parked there as well. Brent's in
trouble.
INT. CAR
Mark's car pulls up in front of the party house. Sandy squeezes his arm,
excited. Music blares from the house. They all hop out and head up to the
bash.
EXT. HOUSE
All sorts of kids make their way across the front lawn. They are carrying
pillows, sheets, blankets, anything and everything that will make the wood
floors more comfortable.
One couple runs towards the front door howling.
Another boy pulls his obviously frightened girlfriend into the house,
reassuring her that everything will be fine.
Lots of kids are milling around outside because two big football players
and their dates are guarding the front door. There's a big sign that says
"Couples only". Lots of hooking up is taking place on the front lawn.
EXT. NEIGHBOR'S YARD
Two computer nerds are hidden behind a tree, watching the other kids
arrive. They spot the two homely girls we saw earlier.
NERD 1
There's Jan and Heather.
Let's grab them quick before
someone else does.
NERD 2
Ok.
NERD 1
Hide your laptop here.
NERD 2
No.
NERD 1
You can't bring it.
NERD 2
I'm not leaving it here.
Nerd 2 heads toward the girls, taking his laptop. Nerd 1 follows, pissed
off. They walk up near the homely girls and make eye contact. After
several uncomfortable moments, someone shouts for an upper window.
GIRL IN WINDOW
Marisa! Find someone fast.
Floor space is almost gone.
This only heightens the uncomfortable ness outside. One of the homely
girls looks at the laptop.
NERD 2
Ever play QUAKE?
HOMELY GIRL 2
What's that?
NERD 2
A computer game.
The four just gravitate toward each other, now 'coupled'. They enter the
house next to each other, all four terrified, none even acknowledging yet
that they're all in danger.
INT. CAR
Ben and Cindy arrive.
CINDY
(finalizing)
I get all your CDs.
BEN
Not my imports.
CINDY
Ok not your imports. All
your other CDS and your
K2 snowboard.
BEN
That's an awful lot for ten
minutes of beasting?
CINDY
Don't flatter yourself.
You'll be lucky to last
ten seconds with me Ben.
She kisses him passionately, and gets out of the car. He follows her,
smitten, like a puppy dog.
INT. HOUSE
Kids file through the house, creating floor space, moving furniture,
piling it high.
A keg of beer flows in the corner.
Rock n' Roll blares from all directions. Everyone's excited.
CUT TO:
EXT. STREET
Jody rides down the street, just pedaling fast, as fast as she can.
She's in her own world, very upset.
A car comes toward the intersection on the other street but doesn't slow
down, knowing the light is about to change.
A boy in a passing car whistles at Jody, waking her out of her stupor.
Jody looks up just as the light turns red. She hits her brakes and skids
into the tail of the oncoming car. She glances off it and goes sliding off
the road, into a few garbage cans.
The car nicks another car and pulls over.
Across the street, we see that the Killer's IMPERIAL is stopped at the red
light.
Jody gets up, shaken. He knees and elbows are badly scratched.
The OWNER of the car comes running over to Jody.
OWNER
Are you O.K.?
JODY
I'm ok.
CAR OWNER
Are you sure?
JODY
Yes.
LEONARD(O.C.)
You don't look OK.
Jody turns around. Her teacher Leonard Marliston is there. The killer's
IMPERIAL is parked behind him. Jody wipes away the tears.
JODY
(starting to cry)
I am.
LEONARD
My house is just a couple of blocks
away. Why don't you come on over and
clean those cuts up.
JODY
Ok. Should I put my bike in the back
of your car?
LEONARD
Can you just follow me?
The back is full?
JODY
Sure.
CUT TO:
EXT. PARTY HOUSE
Kids are still arriving from all over but there's no more room in the
house so the party starts spilling out into the backyard.
One couple spreads out on the roof.
A cop car has pulled up in front and the deputy is just keeping a watch on
the house.
EXT. TOWN SQUARE
Kids are starting to gather and hook up in the town square. As the police
try to break up one gathering, another one starts.
CUT TO:
INT. CAR
Leonard drives down the road. He smiles into his rear view mirror.
EXT. STREET
In Leonard's rear view mirror we see Jody pedaling behind him.
A couple of boys lean out of their cars and invite Jody to the go to the
party. Sirens scream out in the distance.
EXT. LEONARD'S HOUSE
Leonard pulls into his driveway. Jody pulls in behind. She leans the bike
on the front porch and they head into the house.
LEONARD
You aren't going to the party?
JODY
You know about that too?
INT. LEONARD'S HOUSE
Mr. Leonard opens the door to his house. Jody walks in behind him.
LEONARD
of COURSE. You're not scared?
JODY
Of course I'm scared.
LEONARD
Then you should go.
JODY
You think I should go to
the party, Mr. Marliston?
LEONARD
I really do. For your own
safety.
Jody doesn't know what to make of this. It's not what she expected to hear
from her teacher.
Leonard goes into the kitchen. Jody sits on the couch and looks around.
She's immediately sensing that something is off about the place. It's
certainly not the way she imagined a teacher's house to look. It has all
sorts of city plans, maps, and drawings on the walls. Years of Cherry
Falls yearbooks and newspapers are stacked in piles.
He reappears with two beers and a pot filled with soapy water. He hands
her a beer.
JODY
I just feel so manipulated.
By everyone. My dad, my boyfriend,
and now some psychopath I don't
even know.
SHE TAKES THE BEER, surprised he's giving her alcohol. He kneels down in
front of her and begins to clean the wound on her leg.
LEONARD
We're all manipulated. From the moment
we're born. The event that fatalistically shaped
my life happened before I was even born.
JODY
Really?
LEONARD
Yes. We have no real freedom.
You of all people should understand
that. This may sting.
Jody is beginning to feel strange. There's something off kilter about this
whole encounter.
JODY
Me? Why me?
LEONARD
Because of your father.
The way what his sins shaped you.
He starts putting a disinfectant on her wound.
JODY
What do you know about my father?
LEONARD
He's a rapist. Like mine.
She grimaces. The disinfectant hurts.
JODY
(a little scared)_
Your father raped someone?
LEONARD
Lisa Sherman was my mother.
Do you know who that is?
JODY
Yes.
LEONARD
I was born nine months after she was
raped. One of the four men who raped
her is my father. I have no idea which one.
JODY
You're the killed.
LEONARD
Yes that's the whole point. This is
what I was put on this earth to do.
Rape the town that raped my mother.
Steal its pristine innocence like it
stole hers. I've planned this since I was
a very little boy. You have no real freedom
either. Your father has cast a shadow that
you've never eluded.
Jody gets up and starts backing away from him but he gets up quickly. He's
not letting her get away.
Jody bolts for the door but she doesn't have time to open it.
Leonard grabs her and throws her across the room.
Jody smashes into a table. He bends down to pick her up, but she pulls a
book case over on him, narrowly escaping.
She runs for the back door.
INT. BACK DOOR
Jody opens the back door and gets halfway out when Leonard runs up to her,
pulls her away from the door, and slugs her in the face, sending her
sprawling to the ground. He picks her up and punches her a second time,
breaking her nose, knocking her half out. He picks her up by the waist and
carries her to the basement stairs.
INT. BASEMENT STAIRS
Leonard throws Jody down into the dark basement. She tumbles down the
stairs, hitting her head on the cold stone floor.
He comes charging down after her, closing the door behind them.
CUT TO:
INT. PARTY HOUSE
The CD is now skipping. Kids are in every corner, bed , and closet, making
out. Every square inch of the house is being taken as the party shifts
into higher gear. It's a sea of sheets and blankets rippling with bodies
under them. Giggles and moans are heard every second.
INT. A CLOSET
Sandy and Mark are gently kissing in the closet, still standing up. Mark
studies Sandy's face for a second, then slowly lifts her dress, sliding
his hand on to her thighs.
MARK
You're so beautiful.
SANDY
So are you.
MARK
Now don't be nervous.
SANDY
You're the one who's hand is shaking.
Mark smiles, embarrassed. They kiss. They're falling in love.
ECU - ELECTRONIC beeps come off a computer screen as a warrior armed with
a huge plasma gun fights his way into a dark cave, shooting plasma
everywhere.
The nerds and the homely girls are in the corner playing the computer
game, ALL SCARED TO MAKE a move. People around them are shushing them as
they blow up monster. One guy finally has had it. H gets up, grabs the
laptop and tosses it out the window. NERD 2 IS PISSED OFF.
NERD 2
Hey! That was a 3k machine.
NERD 1
Told you to hide it.
Homely girl 2 starts to laugh. It was kind of funny. Then they all start
to laugh, even NERD 2. There's nothing left to do but laugh. Except kiss.
And that they do.
INT. BEDROOM
Cindy and Ben are naked under a blanket in the corner.
BEN
One more time.
CINDY
(negotiating)
I get the imports.
BEN
Ok!
He's all over her. She's into it too.
INT. BEDROOM
Sharon turns up the heat on Kenny, running her hands across his bare
chest. Kenny breaks off the kiss, not really into it.
SHARON
You ok?
KENNY
Just thinking about something.
SHARON
What?
KENNY
There's going to be very few
virgins left in school on Monday.
It could be really dangerous for them
if the killer isn't caught.
SHARON
I guess so. Luckily we won't have
that problem.
She kisses him again. He stops her again, buttons his shirt.
SHARON
What are you doing?
KENNY
I got to go.
SHARON
What?
KENNY
I'm worried about someone.
He puts his clothes on.
SHARON
You can't just leave me here.
BOY'S VOICE
Stay put Sharon. I'll hop on over
when I'm done here.
GIRL'S VOICE
You will not!
Others laugh. Kenny looks around.
KENNY
Jody was right, this party IS sick.
Kenny buttons his shirt and heads out. Sharon is pissed.
CUT TO:
INT. BASEMENT
As Jody comes to, she finds herself gagged, tied to a chair in the dark
basement. She can't see much but she can hear the sounds of water dripping
and a rat scurrying around. She tips her chair over and falls onto the
cold floor. She tries to removes her gag by rubbing her head against the
ground.
EXT. LEONARD'S HOUSE
Leonard goes to his station wagon and opens the back.
INT. CAR
A body is hidden under a blanket. Leonard picks it up. It's too heavy.
INT. BASEMENT
Jody can't undo her gag but she notices a piece of glass under a dresser.
She turns herself around to grab for it.
She squeezes her hand under the dresser, reaching for the shard.
The door at the top of the stairs opens.
Leonard appears in silhouette carrying the body wrapped in a blanket. He
throws it down the stairs and turns the lights on.
The basement is almost an exact replication of the basement in his
mother's house. A cot in the same spot. The dresser as well. The Lisa
Sherman costume is neatly hung from big metal hooks.
Leonard sits Jody back up.
A little blood drips from Jody's closed hands. She has the shard.
Leonard ties the other body to a chair facing Jody. He starts singing SLY
AND THE FAMILY STONE.
LEONARD
(singing)
'It's a family affair,
It's a family affair.'
He undoes the blanket revealing the battered but still breathing body of
Jody's dad. Brent's bleeding from the forehead, nose, and mouth. He's
badly beaten up.
Jody gags on her gag. Her dad looks her in the eye.
LEONARD
Well, we may be family
One in four chance.
Leonard picks up his razor and starts towards Jody.
LEONARD
Sheriff Brent, you will be the
second of the four horsemen of
the apocalypse to die. But first you
will watch as I slice up your little
girl.
Brent starts frantically shaking no, trying to escape as Leonard kneels in
front of Jody and runs his hands up under her dress, exposing her shaved,
nubile leg. The 'V' is still fresh in her calf.
Leonard starts to cut an 'I' next to it.
Jody's face grimaces in pain. Blood drips to the ground. Her leg starts to
shake.
LEONARD
You're shaking too much.
If you don't stop shaking Jody,
I'll have to kill before I carve.
We wouldn't want that.
Jody concentrates on trying to show no pain, not to flinch. It's tough.
Her father watches,
horrified.
Cut to:
EXT. STREET
Kenny runs down the street, heading toward Jody's house. He stops to catch
his breath for a second.
He notices something.
EXT. LEONARD'S
Jody's bicycle is still leaning against Leonard's porch.
EXT. STREET
Kenny crosses the street to Leonard's house and inspects the bicycle. It's
hers.
INT. BASEMENT
Leonard continues to work on Jody's bare leg, starting the 'R'. Jody and
her father stare at each other, helplessly.
LEONARD
My mother said, after you and your
three droogs raped her Brent, that people
in town refused to let her use their bathrooms.
Is that true? Did people really call her a slut
and tell her 'you can't shit here'? She used to
snarl that at me. That's all she really did, at least
in my direction, was snarl. When she looked at me,
she saw only you.
Jody gags in pain. Brent looks away.
LEONARD
Open your eyes Brent. Watch. Or
will I cause her much more pain.
Brent opens his eyes. More blood drips. Jody starts to lose consciousness,
barely able to stand it
anymore. The doorbell rings. Leonard looks up, concerned.
EXT. HOUSE
Kenny rings it again. No one answers.
He walks over to the window and looks through a crack underneath the
curtains.
INT. HOUSE
Kenny's POV - Jody's coat and purse are still on the couch.
EXT. HOUSE
Kenny senses that something is really off. He rings again but no one
answers. Worried, he pops the screen. It's breaking and entering time.
INT. LIVING ROOM
Kenny climbs into the living room and looks around.
KENNY
Hello? Jody?
INT. BASEMENT
Leonard hears Kenny. He can't ignore him any longer.
LEONARD
Who the fuck is breaking into my house?
Leonard checks Jody's and Brent's ropes are tight, then heads up the
stairs. As soon as he disappears, Jody wriggles toward her father and
starts cutting his ropes with the shard of glass.
INT. HOUSE
Leonard comes out of the basement and peers into the living room.
INT. LIVING ROOM
Leonard sees Kenny opening Jody's purse, checking it out.
Leonard keeps the razor hidden behind his back.
LEONARD
My wallet's on the mantle
when you've finished your rifling,
Kenny.
Kenny looks up, startled.
KENNY
(nervously)
Oh, hey Mr. Marliston. W-What's Jody's
bike doing on your front porch?
LEONARD
That all depends Kenny. Depends on why
the FUCK you've broken into your history
teacher's house?
KENNY
Alright, Marliston, I know she's here.
LEONARD
What are you talking about? No one here
but us chickens.
INT. BASEMENT
Jody cuts through her dad's ropes. Her dad immediately takes Jody's gag
off.
INT. LIVING ROOM
Kenny heads out the door.
JODY(O.C.)
Help!
Kenny hears the cry and turns around.
KENNY
That was Jody!
Leonard says nothing. He just stares at Kenny.
JODY(O.C.)
Somebody help!
Kenny heads toward the basement door to investigate. Brent starts kicking
on the other side of the locked door.
KENNY
Jody?!
Leonard moves towards Kenny with the razor. Kenny turns just in time. He
grabs Leonard's arm as Leonard tries to slit his throat. They struggle.
The door lock starts to shake as Brent continues to kick the door open
from the other side.
Leonard picks up a lamp with his free hand and smashes Kenny across the
head. Kenny falls to the ground.
The door pops open. Brent charges out. Leonard turns to him and slashes
him across the chest as Brent sprays red paint in Leonard's eyes. Leonard
screams, and lunges at Brent.
Brent grabs Leonard. Using every ounce of energy he has, he throws Leonard
down the basement stairs.
Leonard grabs Brent as he tumbles down the stairs. The two roll to the
bottom, smashing their heads along the way. As they come to a stop, Brent
smashes his head hard on the floor. Leonard ends up on top of him. He
raises the razor and slits Brent across the face.
BRENT
Jody run!
Jody crawls up the stairs, dragging her bad leg.
Instinctually, Brent hangs on to Leonard, as Leonard tries to get to Jody.
Leonard slashes Brent across the face again.
JODY
No!
BRENT
(dying)
Run!
Jody crawls to the top of the stairs. Leonard does everything he can to
get away from Brent but Brent hangs on. Jody watches, horrified, at the
top of the stair. Kenny appears at the top of the stairs and pulls Jody
away from the gruesome sight as Leonard continues to slash Brent's body
open. Brent rolls over, a bloody mess.
INT. TOP OF STAIRS
Kenny slams the door shut as Leonard charges up the stairs. Kenny holds
the door shut with all his might.
JODY
My dad's down there!
KENNY
He's dead! We've got to
get the fuck out of here!
Kenny pushes a dresser in front of it, trapping Leonard.
JODY
I can't walk. I think he cut right
through a tendon.
Leonard starts chopping through the door with an axe.
Kenny helps Jody out the front door.
EXT. HOUSE
Jody and Kenny limp out of the house. Kenny grabs Jody's bike.
KENNY
Climb on.
INT. BACK PANTRY
Leonard breaks through the door.
INT. KITCHEN
Leonard runs into the kitchen and looks out the window.
EXT. HOUSE
Kenny and Jody are peddling away down the driveway.
EXT. BACK DOOR
Leonard bursts out of the house and jumps into his car.
INT. CAR
Leonard starts the car.
EXT. HOUSE
The car squeals out of the driveway, rims sparking wildly.
EXT. SUBURBAN STREET
Kenny frantically pedals the bike up the pristine suburban street. Jody
hangs on for dear life.
JODY
Go to the police station!
KENNY
Deputy Webber's at the party.
It's only three blocks away.
Leonard's car squeals around the corner behind them.
JODY
Fuck! It's him.
INT. CAR
Leonard steps on the gas.
EXT. STREET
Kenny peddles as fast as he can, going up onto the sidewalk but that
doesn't stop Leonard. He comes screeching up on the sidewalk right behind
Kenny, ready to run him over.
Kenny tears up onto a lawn, Leonard follows him, grass spewing up
everywhere.
Kenny cuts hard between two trees and back onto the street. He heads onto
the other sidewalk. LEONARD remains in pursuit, knocking into several
cars, flattening several fences, and mutilating a cat along the way.
Leonard gains on them as they zigzag up and down the pristine street,
destroying it.
Leonard pulls up right behind them. He hits the gas. Kenny has to turn
hard to avoid getting hit.
Kenny can't hold the bike upright and it slides out from under them.
EXT. BACKYARD
Kenny and Jody tumble up someone's driveway, smashing into their fence.
EXT. STREET
Leonard can't hold the car straight and it 360s across several lawns.
Finally stopping, smashing into a parked car.
EXT. BACKYARD
Kenny helps Jody to her feet.
BACK OF HOUSE
The GERMAN SHEPARD that lives in the house comes charging out of the dog
door towards them, barking and snarling.
KENNY
Shit.
Kenny helps Jody over the fence, then leaps up on it just as the German
Shepard snaps at
him.
He jumps down on the other side, safe.
The German Shepard smells something else and tears away.
EXT. FRONT OF HOUSE
Leonard gets out of his car and takes a step toward the house when the
German Shepard comes charging out the open fence. Leonard screams. The
dog pounces on him, starts humping his leg. Leonard rolls his eyes. The
dog thrusts away.
CLOSE ON THE RAZOR. Leonard raises the razor, contemplates, then rolls his
eyes. He pushes the dog off of him. It lets out a panted growl, almost
like it's saying 'going so soon lover boy?' Leonard hops back in his car,
speeds off down the street. The dog barks wildly up at the night sky. Talk
about being left with a hard-on.
EXT. PARTY HOUSE
The house is dark. The lights are all out.
EXT. ROAD
The deputy checks his watch. A policeman comes running up.
POLICEMAN
We just found another body.
DEPUTY
Who's?
POLICEMAN
Tom Sisler. He was murdered at school.
Two kids went into his office to fuck and
they found him, with his tongue cut out and
his foot jammed into his mouth. Killer also
chopped off his pecker and stuffed it in his
pencil holder.
DEPUTY
Jesus. Any word from Brent?
POLICEMAN
Nope. The switchboard is lightning up downtown.
Kids from other towns are starting to congregate
in the parks and at the high school. It's turning
into WOODSTOCK exc