电影剧本大全_CHERRY FALLS

SCREENPLAY 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

[1] [2] [3] [4] 下一页