Cherry
Falls (2000)
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
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