<script>
  <scene>
    <scene_description>CHERRY FALLS FIRST DRAFT FEBRUARY 14, 1998 FADE IN:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TOWN - NIGHT</stage_direction>
    <scene_description>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:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LOVER'S LANE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>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.</scene_description>
    <character>STACY</character>
    <dialogue>No.</dialogue>
    <scene_description>He doesn't give up easy. He playfully wrestles his hand free and slides it under her skirt. She grabs his hand again.</scene_description>
    <character>STACY</character>
    <dialogue>I said no.</dialogue>
    <character>ROD</character>
    <dialogue>But you don't really mean it.</dialogue>
    <scene_description>He struggles to free his hand.</scene_description>
    <character>STACY</character>
    <dialogue>Yes I do. Keep it in your pants Rod.</dialogue>
    <scene_description>He gives up, aggravated.</scene_description>
    <character>ROD</character>
    <dialogue>Maybe it won't stay in.</dialogue>
    <character>STACY</character>
    <dialogue>Maybe you better just drive me home.</dialogue>
    <scene_description>He starts the car, glares at her for a second, then turns it off.</scene_description>
    <character>ROD</character>
    <dialogue>Let me just ask you a serious question first.</dialogue>
    <character>STACY</character>
    <dialogue>What?</dialogue>
    <character>ROD</character>
    <dialogue>Aren't you worried you could die a virgin?</dialogue>
    <character>STACY</character>
    <parenthetical>(sarcastically)</parenthetical>
    <dialogue>Yeah. I'm extremely worried</dialogue>
    <scene_description>about that. It's right up there with global warming.</scene_description>
    <character>ROD</character>
    <dialogue>On our way home, a drunken driver could hit us head on</dialogue>
    <scene_description>and send us flying through the windshield. Terminate us instantly. We'd never experience what it means to make love.</scene_description>
    <character>STACY</character>
    <dialogue>If sheep don't count.</dialogue>
    <character>ROD</character>
    <dialogue>That wasn't me ...</dialogue>
    <character>STACY</character>
    <dialogue>I know. I'm kidding you. Chill out.</dialogue>
    <character>ROD</character>
    <dialogue>Well I'm trying to be real here and you're mocking me.</dialogue>
    <character>STACY</character>
    <parenthetical>(softening)</parenthetical>
    <dialogue>I'm sorry, but you're not going to die a virgin Rod.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LOVER'S LANE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROD'S CAR</stage_direction>
    <scene_description>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.</scene_description>
    <character>STACY</character>
    <dialogue>Stop it.</dialogue>
    <scene_description>He doesn't.</scene_description>
    <character>STACY</character>
    <dialogue>Rod!</dialogue>
    <character>ROD</character>
    <parenthetical>(exasperated)</parenthetical>
    <dialogue>You're being unfair.</dialogue>
    <character>STACY</character>
    <dialogue>Unfair?!</dialogue>
    <character>ROD</character>
    <dialogue>Yes. Unfair to me.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD</stage_direction>
    <scene_description>She runs away from the car, down the road, very upset.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD</stage_direction>
    <scene_description>Stacy runs down the road alone, still very upset.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Rod pulls up next to her and rolls down his window.</scene_description>
    <character>ROD</character>
    <dialogue>Stacy! I'm sorry.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD</stage_direction>
    <scene_description>She pays no attention to him.</scene_description>
    <character>ROD</character>
    <dialogue>Please get back in the car, Stacy.</dialogue>
    <scene_description>She turns and heads down a path into the dark woods, purposely going where he can't follow.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Rod, frustrated, hits the steering wheel and floors it.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>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.</scene_description>
    <character>STACY</character>
    <dialogue>Rod?</dialogue>
    <scene_description>No answer.</scene_description>
    <character>STACY</character>
    <dialogue>Is that you Rod?</dialogue>
    <scene_description>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.</scene_description>
    <character>STACY</character>
    <dialogue>Come out Rod. This SCREAM bull shit ain't gonna work with me!</dialogue>
    <scene_description>No answer. Even the birds have stopped chirping.</scene_description>
    <character>STACY</character>
    <parenthetical>(terrified)</parenthetical>
    <dialogue>Rod? You're freaking me out. Game's over. I lose. Come out and we'll fuck.</dialogue>
    <scene_description>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.</scene_description>
    <character>STACY</character>
    <parenthetical>(in full panic)</parenthetical>
    <character>NO!</character>
    <dialogue>Stacy starts to run. The killer starts after her.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STACY'S</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>Stacy runs for the edge of the woods but she isn't quite fast enough to elude her pursuer.</scene_description>
    <character>STACY</character>
    <dialogue>Help!</dialogue>
    <scene_description>The killer catches Stacy from behind and savagely smashes her head against a tree, cracking a branch. Stacy falls to the ground, dazed.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Rod sits up in his seat, thinking he's heard something</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>Stacy, half conscious, bleeding from the head, is dragged back deeper into the woods.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STACY'S</stage_direction>
    <scene_description>Rod gets out of the car and cautiously moves to the edge of the dark woods.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>Rod's POV - The woods are pitch black.</scene_description>
    <character>ROD</character>
    <dialogue>Stacy?</dialogue>
    <character>STACY(O.C.)</character>
    <parenthetical>(struggling, in the distance)</parenthetical>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Rod grabs his flashlight from the glove compartment.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>Rod's flashlight beam frantically cuts through the woods. Rod charges through the woods, desperately looking for any sign of Stacy.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>Stacy's right hand is raised above her head and placed, palm out, against a tree trunk.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>Rod searches for Stacy, his flashlight jaggedly cutting the darkness.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>Rod stops and frantically looks around, knowing he's fighting a losing battle.</scene_description>
    <character>ROD</character>
    <dialogue>Stacy?!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>The hammer descends on the nail. Stacy screams out in pain, even through the gag, as he hand is nailed to the tree.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>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:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NIGHT SKY</stage_direction>
    <scene_description>The full moon looks down on the town.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CUL DE SAC</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>Cut it out.</dialogue>
    <character>KENNY</character>
    <dialogue>Why?</dialogue>
    <character>JODY</character>
    <dialogue>I was supposed to be home fifteen minutes ago.</dialogue>
    <character>KENNY</character>
    <dialogue>So? You're already late. A few more minutes won't matter.</dialogue>
    <scene_description>He slides a second finger into her pants. She closes her legs, making his probing much more difficult.</scene_description>
    <character>JODY</character>
    <dialogue>I got to get home.</dialogue>
    <character>KENNY</character>
    <dialogue>Fuck your curfew. Most sixth graders can stay out later than you.</dialogue>
    <scene_description>He starts kissing her again.</scene_description>
    <character>JODY</character>
    <dialogue>Kenny....</dialogue>
    <scene_description>She pulls his hand out of her pants. He stares at her for a second, completely exasperated. He sits up and starts the car.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CUL DE SAC</stage_direction>
    <scene_description>The car squeals away.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Jody and Kenny drive home, not talking. He pulls up in front of her house.</scene_description>
    <character>KENNY</character>
    <dialogue>You know, maybe we ought to start seeing other people.</dialogue>
    <character>JODY</character>
    <dialogue>What?</dialogue>
    <character>KENNY</character>
    <dialogue>Jody, we've been going out for over a year. I love you but I'm all out of patience.</dialogue>
    <scene_description>Jody doesn't know what to say. She didn't expect this.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MARKEN HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARKEN'S HOUSE - BACK FOYER</stage_direction>
    <scene_description>All is quiet in the house. The back door opens. Jody tiptoes up back staircase.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARKEN'S HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S BEDROOM</stage_direction>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>It's almost ten o'clock.</dialogue>
    <character>JODY</character>
    <dialogue>Daddy you scared me!</dialogue>
    <character>BRENT</character>
    <dialogue>You're grounded Friday night!</dialogue>
    <character>JODY</character>
    <dialogue>What? I WAS AT SANDY'S I JUST LOST TRACK OF TIME.</dialogue>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>Your curfew is 9:30 and you know it, little miss.</dialogue>
    <character>JODY</character>
    <dialogue>It won't happen again.</dialogue>
    <character>BRENT</character>
    <dialogue>You said that two weeks ago.</dialogue>
    <character>JODY</character>
    <dialogue>Dad ! Most of my friends can stay out until 11 on school nights and 1 on weekends!</dialogue>
    <character>BRENT</character>
    <dialogue>They're not all the sheriff's daughter. Goodnight.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY</stage_direction>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>Hello. (beat) One second.</dialogue>
    <parenthetical>(to her dad)</parenthetical>
    <dialogue>Hey Adolph, it's the station!</dialogue>
    <scene_description>Brent comes out and picks up the phone as Jody heads back to her room, disappointed.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Jody flops on the bed.</scene_description>
    <character>BRENT(O.C.)</character>
    <dialogue>Hello. (beat) What?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY</stage_direction>
    <scene_description>Brent it shocked.</scene_description>
    <character>BRENT</character>
    <dialogue>Where?</dialogue>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>I'm on my way.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S</stage_direction>
    <scene_description>Jody sits up on her bed, also sensing something big has happened.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY</stage_direction>
    <scene_description>Brent buttons up his shirt.</scene_description>
    <character>MARGE</character>
    <dialogue>What happened?</dialogue>
    <character>BRENT</character>
    <dialogue>Two kids were found mutilated in the woods. Lock the door after me.</dialogue>
    <scene_description>Brent grabs his gun belt and heads down the stairs. Jody appears. She and her mom share a concerned glance. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STACY'S HOUSE</stage_direction>
    <scene_description>Brent pulls up. A lot of official cars are already there.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>A trail of flares eerily light up the woods, leading to the crime scene.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>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.</scene_description>
    <character>DEPUTY</character>
    <dialogue>Her parents reported her missing about an hour ago.</dialogue>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>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'?</dialogue>
    <character>DEPUTY</character>
    <dialogue>The same type that decides to carve into her stomach.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SCHOOLYARD</stage_direction>
    <scene_description>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.</scene_description>
    <character>CLASSMATE 1</character>
    <dialogue>Jody!</dialogue>
    <character>JODY</character>
    <dialogue>Hi.</dialogue>
    <character>CLASSMATE 2</character>
    <dialogue>Was Stacy raped?</dialogue>
    <character>JODY</character>
    <dialogue>I dunno. My dad never came home last night.</dialogue>
    <scene_description>Jody's POV - Kenny takes Sharon's hand for a second.</scene_description>
    <character>CLASSMATE 1(O.C.)</character>
    <dialogue>I bet she was. I heard someone</dialogue>
    <scene_description>stuffed a tent spike up her ass.</scene_description>
    <character>CLASSMATE 2(O.C.)</character>
    <dialogue>Gives new meaning to the idea</dialogue>
    <scene_description>of getting 'nailed'.</scene_description>
    <character>CLASSMATE 1(O.C.)</character>
    <dialogue>Ha-ha. So funny. Sickfuck.</dialogue>
    <scene_description>Jody doesn't respond. She stares at Kenny. Jody's POV - Kenny walks into school with Sharon. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOMEROOM</stage_direction>
    <scene_description>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.</scene_description>
    <character>MR. MARLISTON</character>
    <dialogue>No one understands what leads people to do irrational things. We only know that unpunished violence festers, then explodes.</dialogue>
    <scene_description>Jody sits down in the back.</scene_description>
    <character>MARLISTON</character>
    <dialogue>Witness the L.A. Riots. Years of police brutality in forty-eight hours. Jody?</dialogue>
    <character>JODY</character>
    <dialogue>Yes Mr. Marliston?</dialogue>
    <character>MR. MARLISTON</character>
    <dialogue>Your dad's in the principal's office. He wants to see you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HIGH SCHOOL PRINCIPAL'S OFFICE</stage_direction>
    <scene_description>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.</scene_description>
    <character>TOM</character>
    <dialogue>You aren't planning to tell these kids that 'virgin' was tattooed into both Stacy and Rod, are you?</dialogue>
    <character>BRENT</character>
    <dialogue>No.</dialogue>
    <character>TOM</character>
    <dialogue>Good.</dialogue>
    <character>BRENT</character>
    <dialogue>But I am going to have to question all of their past boyfriends and girlfriends.</dialogue>
    <character>TOM</character>
    <dialogue>Fine, just don't mention the carving This is going to be a tough enough day as it is.</dialogue>
    <scene_description>There's a knock at the door. Jody enters.</scene_description>
    <character>BRENT</character>
    <dialogue>Hi honey.</dialogue>
    <character>JODY</character>
    <dialogue>Hi Daddy. Hi Mr. Sisler.</dialogue>
    <character>TOM</character>
    <dialogue>Hi Jody.</dialogue>
    <character>BRENT</character>
    <dialogue>I just wanted to check that you were okay?</dialogue>
    <character>JODY</character>
    <dialogue>I'm fine. I've just never had someone my age die before. It's so weird.</dialogue>
    <character>BRENT</character>
    <dialogue>How well did you know Stacy and Rod?</dialogue>
    <character>JODY</character>
    <dialogue>I've been in the same class with Stacy for years but we weren't tight or anything.</dialogue>
    <character>BRENT</character>
    <dialogue>Had either of them broken up with someone recently? Hurt someone?</dialogue>
    <character>JODY</character>
    <dialogue>No. Those two were together before Kenny and I started hanging out and that's over, what, God a year now.</dialogue>
    <character>BRENT</character>
    <dialogue>I want you to head right home after school.</dialogue>
    <character>JODY</character>
    <dialogue>I will. Is that all?</dialogue>
    <character>TOM</character>
    <dialogue>Could you tell Mr. Marliston we'd like to see him.</dialogue>
    <scene_description>SURE.: She leaves.</scene_description>
    <character>BRENT</character>
    <dialogue>Why'd you send for Lenny Marliston?</dialogue>
    <character>TOM</character>
    <dialogue>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?</dialogue>
    <character>BRENT</character>
    <dialogue>She's my daughter, Tom.</dialogue>
    <character>TOM</character>
    <dialogue>So?</dialogue>
    <character>BRENT</character>
    <dialogue>So you just don't point blank ask your teenage daughter</dialogue>
    <scene_description>about sex.</scene_description>
    <character>TOM</character>
    <dialogue>Why not? You worried you might find out how much she actually knows?</dialogue>
    <scene_description>Brent gives Tom a 'keep your cynical shit off my daughter' look.</scene_description>
    <character>LEONARD</character>
    <dialogue>You rang?</dialogue>
    <character>TOM</character>
    <dialogue>Come in Leonard. Have you met Brent Marken?</dialogue>
    <character>LEONARD</character>
    <dialogue>No but I've always wanted to.</dialogue>
    <scene_description>He shakes his hand firmly.</scene_description>
    <character>BRENT</character>
    <dialogue>Nice to meet you too. My daughter speaks highly of you.</dialogue>
    <scene_description>Leonard examines Brent's face carefully. Brent is a little taken aback by his intensity.</scene_description>
    <character>LEONARD</character>
    <dialogue>We have the same color eyes.</dialogue>
    <character>BRENT</character>
    <dialogue>I guess we do.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAFTERIA</stage_direction>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>Go sit next to him.</dialogue>
    <character>SANDY</character>
    <dialogue>Who?</dialogue>
    <character>JODY</character>
    <dialogue>Mark Shale.</dialogue>
    <character>SANDY</character>
    <dialogue>Why?</dialogue>
    <character>JODY</character>
    <dialogue>Don't you want to talk to him? You watch him eat everyday.</dialogue>
    <character>SANDY</character>
    <dialogue>I don't watch him eat everyday.</dialogue>
    <character>JODY</character>
    <dialogue>You stare at him non-stop, like every lunch. Like this. Like most people stare at car accidents.</dialogue>
    <scene_description>Jody imitates Sandy.</scene_description>
    <character>SANDY</character>
    <dialogue>The seat behind him is open. Come on, I can eavesdrop too.</dialogue>
    <character>JODY</character>
    <dialogue>You eventually have to talk to him.</dialogue>
    <character>SANDY</character>
    <dialogue>Why? All my mom and dad ever do is watch each other eat and they've been married for twenty years.</dialogue>
    <scene_description>Cindy sees Jody approaching and motions her over.</scene_description>
    <character>CINDY</character>
    <dialogue>Jody!</dialogue>
    <scene_description>Jody starts toward her table.</scene_description>
    <character>SANDY</character>
    <dialogue>No! That's his table.</dialogue>
    <character>JODY</character>
    <dialogue>You're going to look really amoebic splitting off from me now.</dialogue>
    <scene_description>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.</scene_description>
    <character>CINDY</character>
    <dialogue>Did your dad question you this morning?</dialogue>
    <character>JODY</character>
    <dialogue>Just a little.</dialogue>
    <character>BEN</character>
    <dialogue>Did he ask you if Stacy and Rod has ever exchanged bodily fluids?</dialogue>
    <character>JODY</character>
    <dialogue>No. Why?</dialogue>
    <character>CINDY</character>
    <dialogue>He asked Marliston.</dialogue>
    <character>JODY</character>
    <dialogue>If they had ever gone all the way?</dialogue>
    <character>BEN</character>
    <dialogue>Yeah. Chris BERRINGER WAS PARKED OUTSIDE THE WINDOW.</dialogue>
    <character>CINDY</character>
    <dialogue>I wonder why it's so important to know if they fucked?</dialogue>
    <scene_description>Sandy is completely frozen. Jody realizes it. Mark is paying no attention to her.</scene_description>
    <character>BEN</character>
    <dialogue>What I don't understand is why they asked Marliston if Rod was a virgin. They could have asked you Cindy.</dialogue>
    <character>CINDY</character>
    <dialogue>I never fucked Rod.</dialogue>
    <character>BEN</character>
    <dialogue>Exactly. Then he must be a virgin.</dialogue>
    <scene_description>Jody nudges Sandy under the table, trying to prompt her to say something. Sandy can only stare at Mark as he eats.</scene_description>
    <character>CINDY(O.C.)</character>
    <dialogue>If I'm so all-used-up Ben, why do you try to hook me up non-stop?</dialogue>
    <character>BEN(O.C.)</character>
    <dialogue>As fucking if.</dialogue>
    <scene_description>Across the cafeteria, a sophomore ANNETTE storms in very upset. She confronts DYLAN, her junior boyfriend.</scene_description>
    <character>ANNETTE</character>
    <dialogue>You're a shitsucking liar!</dialogue>
    <character>DYLAN</character>
    <parenthetical>(taunting)</parenthetical>
    <dialogue>Better than being a 'cocksucking' liar!</dialogue>
    <character>ANNETTE</character>
    <dialogue>Shut your face!</dialogue>
    <scene_description>Annette leaps on Dylan and starts violently scratching him. Mr. Marliston runs over and pulls her off. He drags Annette away.</scene_description>
    <character>ANNETTE</character>
    <dialogue>He's been telling people....</dialogue>
    <character>LEONARD</character>
    <dialogue>You can tell me all about it in my office. Calm down. We're all on edge today.</dialogue>
    <scene_description>He guides her out. Sandy gets up her nerve and makes eye contact with Mark.</scene_description>
    <character>SANDY</character>
    <dialogue>What's up with that?</dialogue>
    <scene_description>Mark opens a TWINKIE and starts to eat it.</scene_description>
    <character>MARK</character>
    <dialogue>Dylan's been telling people that Annette gave him a blow job.</dialogue>
    <character>SANDY</character>
    <dialogue>And she didn't?</dialogue>
    <scene_description>Ben and Mark laugh.</scene_description>
    <character>BEN</character>
    <dialogue>There's a better chance that he got head from all five Spice Girls.</dialogue>
    <character>SANDY</character>
    <dialogue>That's horrible.</dialogue>
    <scene_description>Cindy laughs at Sandy. Sandy doesn't appreciate being laughed at.</scene_description>
    <character>CINDY</character>
    <dialogue>I think it's funny.</dialogue>
    <character>BEN</character>
    <dialogue>Me too. I'm going to start telling people that I saw her drop</dialogue>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>You wouldn't?</dialogue>
    <character>BEN</character>
    <dialogue>I would if Dylan paid me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SCHOOL</stage_direction>
    <scene_description>The bell rings. It's the end of the day.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SCHOOL</stage_direction>
    <scene_description>All the kids charge out. Jody walks out with Sandy.</scene_description>
    <character>SANDY</character>
    <parenthetical>(flustered)</parenthetical>
    <dialogue>What am I supposed to say? 'Nice sweater Mark'? 'Did you buy it at Eddie Bauer's?'</dialogue>
    <character>JODY</character>
    <parenthetical>(teasing a bit)</parenthetical>
    <dialogue>You could tell him you really liked the way he chews with his back molars.</dialogue>
    <character>SANDY</character>
    <dialogue>You're so fucking lucky your dad is the sheriff.</dialogue>
    <character>JODY</character>
    <dialogue>You are 'sp fucking' wrong.</dialogue>
    <character>SANDY</character>
    <dialogue>You get to be a little Chelsea Clinton. Everyone wants to meet you. Party with you. Have sex with you.</dialogue>
    <character>JODY</character>
    <dialogue>But you can't do any of it. So it sucks. I always have to 'set an example'.</dialogue>
    <scene_description>Jody stops, noticing something.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT</stage_direction>
    <scene_description>Jody's POV - Kenny is walking to his car with Sharon. Sandy sees how upset Jody is.</scene_description>
    <character>SANDY</character>
    <dialogue>He's just trying to mess with your head. Ignore him.</dialogue>
    <character>JODY</character>
    <dialogue>Does she fuck?</dialogue>
    <character>SANDY</character>
    <parenthetical>(trying to comfort)</parenthetical>
    <dialogue>I doubt it. Who'd want to fuck her. She probably reeks worse than the docks down in those panties.</dialogue>
    <scene_description>DISSOLVE TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>Jody is slowly pedaling her bicycle next to Sandy.</scene_description>
    <character>JODY</character>
    <parenthetical>(frustrated)</parenthetical>
    <dialogue>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.</dialogue>
    <character>STACY</character>
    <dialogue>What did you say?</dialogue>
    <character>JODY</character>
    <dialogue>That I was sorry. I'd drifted off. That I'd been thinking about Stacy and Rod.</dialogue>
    <character>SANDY</character>
    <dialogue>Oh nice save.</dialogue>
    <character>JODY</character>
    <dialogue>I was desperate. It was gross.</dialogue>
    <character>SANDY</character>
    <dialogue>Kenny'll come running back. This is just his way of pressuring you.</dialogue>
    <character>JODY</character>
    <dialogue>He says he loves me.</dialogue>
    <character>SANDY</character>
    <dialogue>Personally I think he has a deep, almost pathological desire to corrupt you. But I suppose that's a type of love.</dialogue>
    <dialogue>I certainly wish someone wanted to corrupt me.</dialogue>
    <character>JODY</character>
    <parenthetical>(musing)</parenthetical>
    <dialogue>Maybe I should blister through a bottle of Tequila and just fuck his brains out.</dialogue>
    <character>SANDY</character>
    <dialogue>No!</dialogue>
    <character>JODY</character>
    <dialogue>You're the one always saying 'Just do it'.</dialogue>
    <character>SANDY</character>
    <dialogue>That was before he pulled this 'Dick me or I dump you' shit. I say fuck his best friend. Jody laughs.</dialogue>
    <character>JODY</character>
    <dialogue>I don't know what I'm so scared of.</dialogue>
    <character>SANDY</character>
    <dialogue>Want to come in for awhile? Log onto AOL, flirt with some married men, head into a private S&M chat room . . .</dialogue>
    <character>JODY</character>
    <dialogue>How do you know what to type back when they start to cyber with you.</dialogue>
    <character>SANDY</character>
    <dialogue>I keep a couple of my dad's porno books hidden in my desk for emergency reference.</dialogue>
    <scene_description>Jody laughs.</scene_description>
    <character>JODY</character>
    <dialogue>I promised I'd go right home after school.</dialogue>
    <character>SANDY</character>
    <dialogue>OK. increase the peace.</dialogue>
    <scene_description>Sandy hip-hops up her driveway and into her house. Jody jumps on her bike and pedals off down the street. Dissolve to:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHERRY FALLS - NIGHT</stage_direction>
    <scene_description>Night has set again on the town. An OWL HOOTS. THE STREETS ARE QUIET.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>The killer's car, the black IMPERIAL, lurks in the shadows of a suburban street. The killer is staking out a specific house.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ANNETTE'S HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RESTAURANT</stage_direction>
    <scene_description>Annette's parents pull up in front of a restaurant and head inside. THE KILLER'S IMPERIAL PULLS up across the street.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RESTAURANT</stage_direction>
    <scene_description>The killer's car drives away.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ANNETTE'S</stage_direction>
    <scene_description>A gloved finger pushes in the back doorbell.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BACK HALLWAY</stage_direction>
    <scene_description>Annette opens the back door. It's chain locked. She peeks through the chain,</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Someone is standing there in the shadows.</scene_description>
    <character>KILLER(O.C.)</character>
    <dialogue>HI. Annette?</dialogue>
    <scene_description>It's a WOMAN'S VOICE. INTERCUT WITH:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Annette has never seen this woman before. WE still don't see the killer's face.</scene_description>
    <character>ANNETTE</character>
    <parenthetical>(suspicious)</parenthetical>
    <dialogue>Yeah?</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>I'm Lisa Sherman. Dylan's aunt. He asked me to come talk to you.</dialogue>
    <character>ANNETTE</character>
    <dialogue>Why?</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>He feels terrible about those things he said to you in school.</dialogue>
    <character>ANNETTE</character>
    <parenthetical>(really angry)</parenthetical>
    <dialogue>He should. Four guys hit on me today, and not because they find me intellectually stimulating.</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>I think I know how to restore your reputation.</dialogue>
    <character>ANNETTE</character>
    <parenthetical>(excited)</parenthetical>
    <dialogue>You do?</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>Can I come in? I'll need to use the phone.</dialogue>
    <scene_description>Annette isn't sure what to do but this is too important to pass up.</scene_description>
    <character>ANNETTE</character>
    <dialogue>Sure.</dialogue>
    <scene_description>Annette unlocks the chain. The killer heads inside. THE DOOR OMINOUSLY closes behind them.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RESTAURANT</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE - DOWNSTAIRS HALLWAY</stage_direction>
    <scene_description>ANNETTE comes charging down the hallway, groggy, bleeding profusely from the side of her head, terrified.</scene_description>
    <character>ANNETTE</character>
    <dialogue>Help!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RESTAURANT</stage_direction>
    <scene_description>More wine is poured. The two couples eye each other, giggling.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RESTAURANT</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>The killer lowers Annette's throat closer to the shard of glass.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RESTAURANT</stage_direction>
    <scene_description>Annette's mom pushes the man's hand under her dress.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Annette's throat touches the glass. She's all but lost.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RESTAURANT</stage_direction>
    <scene_description>Annette's mom lets out a huge laugh, knocking over her red win, soaking the white tablecloth in red.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Annette's eyes roll up into her head. Annette, half alive is dragged out the window. Out come the hammer and nails. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Annette's parents pull into the driveway: They are still giggling. It's been a great night. They are sauced.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Annette's parents come inside.</scene_description>
    <character>MOTHER</character>
    <dialogue>Annette. We're home.</dialogue>
    <scene_description>She notices a red spot on the carpet and leans over to inspect it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY</stage_direction>
    <scene_description>Annette's mom starts down the hallway, noticing the trail of blood leading to Annette's door, realizing something is wrong.</scene_description>
    <character>MOTHER</character>
    <parenthetical>(concerned)</parenthetical>
    <dialogue>Annette?</dialogue>
    <scene_description>She tugs at Annette's door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>The door is still barricaded.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CORRIDOR</stage_direction>
    <scene_description>Her mother frantically tugs at the door. Her dad appears.</scene_description>
    <character>MOTHER</character>
    <dialogue>Annette!!</dialogue>
    <scene_description>Her dad lifts his foot and starts kicking at the door. It begins to splinter.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>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.</scene_description>
    <character>MOTHER</character>
    <dialogue>Annette?</dialogue>
    <scene_description>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:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>COP Cars are everywhere.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Annette's parents are downstairs, shocked. They hug each other, having nowhere else to turn. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARKEN LIVING ROOM</stage_direction>
    <scene_description>Brent enters his own house. Marge is waiting for him.</scene_description>
    <character>BRENT</character>
    <dialogue>Is Jody still awake?</dialogue>
    <character>MARGE</character>
    <dialogue>She just turned off her light.</dialogue>
    <scene_description>Brent darts up the stairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S BEDROOM</stage_direction>
    <scene_description>Jody is in bed. There's a soft knock on the door. She rolls over.</scene_description>
    <character>JODY</character>
    <dialogue>Come in.</dialogue>
    <scene_description>Brent walks in and seats himself on the edge of the bed.</scene_description>
    <character>BRENT</character>
    <dialogue>Hi honey.</dialogue>
    <character>JODY</character>
    <dialogue>What's wrong?</dialogue>
    <character>BRENT</character>
    <dialogue>I have a question to ask you. A personal question.</dialogue>
    <scene_description>Jody sits up, pulling the covers up over her breasts.</scene_description>
    <character>JODY</character>
    <parenthetical>(uncomfortable)</parenthetical>
    <dialogue>How personal?</dialogue>
    <scene_description>Brent takes a deep breath. He's really uncomfortable.</scene_description>
    <character>BRENT</character>
    <dialogue>I need to know how far you and Kenny went?</dialogue>
    <scene_description>Jody is really uncomfortable with this question.</scene_description>
    <character>JODY</character>
    <dialogue>What do you mean?</dialogue>
    <character>BRENT</character>
    <parenthetical>(gently probing)</parenthetical>
    <dialogue>Well, I assume you let him kiss you?</dialogue>
    <character>JODY</character>
    <dialogue>Well yeah. Of course. Everyone kisses.</dialogue>
    <character>BRENT</character>
    <dialogue>I'm not criticizing.</dialogue>
    <scene_description>(very uncomfortable)\_ Did you two get any further?</scene_description>
    <character>JODY</character>
    <dialogue>A little.</dialogue>
    <character>BRENT</character>
    <dialogue>How much further?</dialogue>
    <character>JODY</character>
    <dialogue>Daddy! I DON'T THINK THIS IS ANY OF YOUR BUSINESS!</dialogue>
    <character>BRENT</character>
    <dialogue>I wouldn't ask if I didn't have to.</dialogue>
    <character>JODY</character>
    <dialogue>Not much further.</dialogue>
    <character>BRENT</character>
    <dialogue>You never went, uh, all the way?</dialogue>
    <character>JOY</character>
    <parenthetical>(sighs)</parenthetical>
    <dialogue>No.</dialogue>
    <scene_description>Brent nods, worried. He's obviously upset.</scene_description>
    <character>BRENT</character>
    <parenthetical>(very worried)</parenthetical>
    <dialogue>Ok.</dialogue>
    <character>JODY</character>
    <parenthetical>(confused)</parenthetical>
    <dialogue>Daddy, are you upset that I'm still a virgin?!</dialogue>
    <character>BRENT</character>
    <dialogue>No honey.</dialogue>
    <character>JODY</character>
    <dialogue>You are upset.</dialogue>
    <character>BRENT</character>
    <dialogue>I'm not.</dialogue>
    <character>JODY</character>
    <parenthetical>(upset)</parenthetical>
    <dialogue>I thought you'd be pleased.</dialogue>
    <character>BRENT</character>
    <dialogue>I am. I'm so very proud of you. Go back to sleep.</dialogue>
    <scene_description>He kisses her on the forehead and heads out. She is very confused.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Brent comes down the stairs.</scene_description>
    <character>MARGE</character>
    <dialogue>Well?</dialogue>
    <character>BRENT</character>
    <dialogue>She's still a virgin.</dialogue>
    <character>MARGE</character>
    <dialogue>Did you warn her?</dialogue>
    <character>BRENT</character>
    <dialogue>No. Let her get at least one more peacefully night's sleep.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CHERRY FALLS</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRINCIPAL'S OFFICE</stage_direction>
    <scene_description>Brent is upset, confused.</scene_description>
    <character>BRENT</character>
    <dialogue>If I'd gone public with this yesterday Annette Michaels might be alive today.</dialogue>
    <character>TOM</character>
    <dialogue>Oh GOD Brent, is there anything you don't feel guilty about?</dialogue>
    <character>BRENT</character>
    <dialogue>is there anything you do?</dialogue>
    <character>TOM</character>
    <dialogue>Focus on the present. You always want to change the past. Let's figure out what you are going to tell the parents</dialogue>
    <scene_description>today, not what you should told them yesterday.</scene_description>
    <character>BRENT</character>
    <dialogue>I'm going to tell them everything I know. I'm calling a town meeting for eight p.m.</dialogue>
    <character>TOM</character>
    <dialogue>You tell these people someone is out there killing virgins and we're going to have a goddamn fuckfest on our hands.</dialogue>
    <character>BRENT</character>
    <dialogue>Better than a pile of dead teenagers.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TOWN HALL</stage_direction>
    <scene_description>The town bell rings in the steeple. It's eight o'clock.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MAIN STREET</stage_direction>
    <scene_description>The shops close down. All the townsfolk head toward the assembly hall.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SCHOOL</stage_direction>
    <scene_description>The parents arrive. They are all concerned. They've all heard rumors by now. They hurry into the school, whispering to one another.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AUDITORIUM</stage_direction>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>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.</dialogue>
    <scene_description>The crowd grows still. Everyone is interested in this information. Brent pauses.</scene_description>
    <character>FATHER 1</character>
    <dialogue>Well, what is it?</dialogue>
    <character>BRENT</character>
    <dialogue>All three of the victims attended our</dialogue>
    <scene_description>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.</scene_description>
    <character>MOTHER 1</character>
    <dialogue>So?</dialogue>
    <character>MOTHER 2</character>
    <parenthetical>(very concerned)</parenthetical>
    <dialogue>You're almost positive that's who this monster is targeting?</dialogue>
    <character>MOTHER 1</character>
    <dialogue>Virgins?</dialogue>
    <character>BRENT</character>
    <dialogue>We found the word 'virgin' written at both crime scenes.</dialogue>
    <character>FATHER 1</character>
    <dialogue>Why didn't you tell us this yesterday?</dialogue>
    <character>BRENT</character>
    <dialogue>We didn't think this was a serial killer. We thought it was an isolated incident.</dialogue>
    <scene_description>This is all very upsetting to everyone.</scene_description>
    <character>MOTHER 3</character>
    <dialogue>Are you close to an arrest?</dialogue>
    <character>BRENT</character>
    <dialogue>I can't say we are.</dialogue>
    <character>FATHER 2</character>
    <dialogue>What are we supposed to do?</dialogue>
    <character>BRENT</character>
    <dialogue>What do you mean?</dialogue>
    <character>MOTHER 2</character>
    <dialogue>What are we supposed to tell our kids?</dialogue>
    <character>FATHER 2</character>
    <dialogue>To go out and get laid if they wanna feel safe?</dialogue>
    <character>BRENT</character>
    <dialogue>I think that's' up to each and everyone of you.</dialogue>
    <character>FATHER 3</character>
    <dialogue>I can't lock my daughter in the basement.</dialogue>
    <character>FATHER 2</character>
    <dialogue>I wouldn't worry about it Victor.</dialogue>
    <scene_description>A few other parents laugh.</scene_description>
    <character>FATHER 3</character>
    <dialogue>What's that supposed to mean?</dialogue>
    <character>FATHER 2</character>
    <dialogue>Nothing.</dialogue>
    <character>FATHER 3</character>
    <dialogue>What are you saying about my daughter?</dialogue>
    <scene_description>Father 3 starts towards Father 2. Tempers are short.</scene_description>
    <character>FATHER 2</character>
    <parenthetical>(getting worried)</parenthetical>
    <dialogue>Calm down. I was joking.</dialogue>
    <scene_description>Father 3 pushes Father 2.</scene_description>
    <character>FATHER 3</character>
    <dialogue>Hell of a time to be joking about a thing like that you sick bastard!</dialogue>
    <scene_description>Father 3 swings at him. A fight ensues. Other parents start to jump in. Tempers are short. Brent leaps down to break it up.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TOWN</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SANDY'S BEDROOM</stage_direction>
    <scene_description>Jody is talking on the phone to Sandy. Sandy's room is typical teenage room, identical in feel to Jody's.</scene_description>
    <character>SANDY</character>
    <parenthetical>(really worried)</parenthetical>
    <dialogue>What are we going to do?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S BEDROOM</stage_direction>
    <scene_description>Jody is lying on her bed.</scene_description>
    <character>JODY</character>
    <dialogue>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.</dialogue>
    <character>SANDY</character>
    <dialogue>There will be a lot fewer by tomorrow night.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>The killer's imperial pulls up across the street from Jody's.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S</stage_direction>
    <character>JODY</character>
    <dialogue>Not that many.</dialogue>
    <character>SANDY</character>
    <dialogue>You watch. There's going to be a hymen holocaust tomorrow. Maybe I'll finally talk to Mark Shale.</dialogue>
    <character>JODY</character>
    <dialogue>NO?!</dialogue>
    <scene_description>There's a sound on the phone. Sandy's brother ANDY has picked it up.</scene_description>
    <character>SANDY</character>
    <dialogue>Andy! I'm on the phone!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DOWNSTAIRS AT SANDY'S</stage_direction>
    <scene_description>ANDY, Sandy's thirteen year old brother is on the line.</scene_description>
    <character>ANDY(ON THE PHONE)</character>
    <dialogue>I just wanted to offer my services to Jody.</dialogue>
    <character>SANDY</character>
    <dialogue>Your services?</dialogue>
    <character>ANDY</character>
    <dialogue>I'm willing to help save her life.</dialogue>
    <dialogue>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...</dialogue>
    <character>SANDY</character>
    <dialogue>MOM!</dialogue>
    <scene_description>Andy hangs up laughing.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S</stage_direction>
    <scene_description>Jody chuckles but all of a sudden the line goes dead.</scene_description>
    <character>JODY</character>
    <dialogue>Hello?</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Someone is standing in the shadows below. All Jody can make out is that it's a woman.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRS</stage_direction>
    <scene_description>Jody, dressed only in her nightshirt, cautiously heads downstairs to the back door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BACK HALLWAY</stage_direction>
    <scene_description>JODY looks through the back door window.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACK DOOR</stage_direction>
    <scene_description>There's someone in the shadows. Jody opens the door a crack.</scene_description>
    <character>JODY</character>
    <dialogue>Yes?</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>Are you Jody?</dialogue>
    <scene_description>Once again, a woman's voice.</scene_description>
    <character>JODY</character>
    <dialogue>Yeah.</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>I'm Kenny's Aunt Lisa.</dialogue>
    <character>JODY</character>
    <dialogue>Kenny's aunt?</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>Yes. He asked me to come over and talk to you.</dialogue>
    <scene_description>Jody senses something is off.</scene_description>
    <character>JODY</character>
    <dialogue>On what side of the family?</dialogue>
    <character>KILLER(O.C.)</character>
    <dialogue>His mother's side.</dialogue>
    <character>JODY</character>
    <dialogue>His mother's an only child.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRONT HALLWAY</stage_direction>
    <scene_description>Jody runs to the front hall and double locks the front door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Jody picks up a phone but it's dead downstairs too. She looks around.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>She notices a shadow move across the back window. The killer hasn't left. The killer seems to be following her.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRONT HALL CLOSET</stage_direction>
    <scene_description>Jody grabs a baseball bat from the front hall closet. The killer's shadow appears outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN</stage_direction>
    <scene_description>Jody runs into the kitchen, grabs a knife. The window above her breaks. The killer is right outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DINING ROOM</stage_direction>
    <scene_description>Jody runs into the dining room, not sure where to go. Suddenly the window breaks there. The killer is stalking her from the outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE - MONTAGE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FOYER</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FAMILY ROOM</stage_direction>
    <scene_description>Jody enters. She sees the killer's shadow cross the window. She runs out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY</stage_direction>
    <scene_description>Jody creeps through the dark house, unsure where to go.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEN</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Jody tears for the front door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRONT HALL</stage_direction>
    <scene_description>Jody's too nervous to unlock the front door. She hears the killer coming so she tears up the stairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRCASE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRS</stage_direction>
    <scene_description>Jody charges up the stairs and into the bathroom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BATHROOM</stage_direction>
    <scene_description>Jody closes the bathroom door and locks it. The killer starts kicking it in.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BATHROOM</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF</stage_direction>
    <scene_description>Jody squeezes through and grabs hold of the chimney, using it to pull herself out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BATHROOM</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACKYARD</stage_direction>
    <scene_description>Jody falls twenty feet to the ground below.</scene_description>
    <character>JODY</character>
    <dialogue>Help!</dialogue>
    <scene_description>Jody smashes to the ground.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NEIGHBOR'S</stage_direction>
    <scene_description>A neighbor hears the clatter and comes running out to see what's going on.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACKYARD</stage_direction>
    <scene_description>Jody lies still on the ground.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF</stage_direction>
    <scene_description>The killer, still in silhouette, looks down from the roof.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACKYARD</stage_direction>
    <scene_description>Jody's neighbor runs over to help her. Jody rolls over, still groggy. Jody looks up to the roof.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF</stage_direction>
    <scene_description>THE KILLER IS GONE.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACKYARD</stage_direction>
    <scene_description>Jody looks back down at her bloody leg. There is a 'V' carved into it. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Later that night. Police cars are lined up outside the house.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Police are scouring the house. Jody is trying to sup some hot chocolate but her hands are still shaking.</scene_description>
    <character>JODY</character>
    <dialogue>It was a she.</dialogue>
    <character>BRENT</character>
    <dialogue>Are you sure?</dialogue>
    <character>JODY</character>
    <dialogue>She said she was Kenny's aunt Lisa.</dialogue>
    <scene_description>Her mom comes in with a bottle of cognac, ready to pour a little into Jody's cup.</scene_description>
    <character>BRENT</character>
    <dialogue>What are you doing?</dialogue>
    <character>MARGE</character>
    <dialogue>This will relax her.</dialogue>
    <character>BRENT</character>
    <dialogue>She's underage.</dialogue>
    <scene_description>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.</scene_description>
    <character>SANDY</character>
    <dialogue>Oh my god. ARE YOU OK?</dialogue>
    <scene_description>Jody breaks into tears. They hug.</scene_description>
    <character>JODY</character>
    <dialogue>Someone tried to kill me.</dialogue>
    <character>SANDY</character>
    <dialogue>The phone just went dead. I called the police and ran right over as fast as I could.</dialogue>
    <scene_description>Sandy is really terrified too. Dissolve to:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHERRY FALLS</stage_direction>
    <scene_description>Another morning in CHERRY FALLS. The town may look peaceful but it isn't.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SANDY'S BATHROOM</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SANDY'S BEDROOM</stage_direction>
    <scene_description>Sandy slides into a slightly provocative dress. She looks much hotter than she did when we first met her.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRCASE</stage_direction>
    <scene_description>Sandy starts down the stairs. She stops to check out where her mother is.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN</stage_direction>
    <scene_description>SANDY'S MOTHER is making breakfast.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRCASE</stage_direction>
    <scene_description>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.</scene_description>
    <character>MOTHER</character>
    <dialogue>You're wearing a skirt?</dialogue>
    <scene_description>Sandy doesn't want to get into it. She charges right out the door.</scene_description>
    <character>SANDY</character>
    <dialogue>Bye mom.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SANDY'S HOUSE</stage_direction>
    <scene_description>Sandy goes tearing up the street as her mother opens the door after her.</scene_description>
    <character>MOTHER</character>
    <dialogue>SANDY?!</dialogue>
    <scene_description>No way is Sandy turning around.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SCHOOL</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FRONT OF SCHOOL</stage_direction>
    <scene_description>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.</scene_description>
    <character>CINDY</character>
    <dialogue>I'm not fucking you. Not for all your CDS.</dialogue>
    <character>BEN</character>
    <dialogue>You want me to die? I thought you and I were tight.</dialogue>
    <character>CINDY</character>
    <dialogue>ARE YOU THE KILLER BEN?</dialogue>
    <character>BEN</character>
    <dialogue>WOULD that impress you? IS that what it takes to impress the empress?</dialogue>
    <character>CINDY</character>
    <dialogue>Your mind is just twisted enough. I believe you'd do all this just to get a dip or two.</dialogue>
    <scene_description>Sandy walks up.</scene_description>
    <character>SANDY</character>
    <dialogue>Hi Mark, Cindy, Ben.</dialogue>
    <character>MARK</character>
    <dialogue>Hi Sandy.</dialogue>
    <scene_description>They all stare at her for a second, noticing the change in her appearance.</scene_description>
    <character>BEN</character>
    <dialogue>Did you want something?</dialogue>
    <scene_description>Sandy freezes. She doesn't known what to say.</scene_description>
    <character>SANDY</character>
    <parenthetical>(almost frozen)</parenthetical>
    <dialogue>Yes.(beat) I was just curious Mark, if you brought a Twinkie today?</dialogue>
    <scene_description>Ben and Cindy crack up. That was a really lame, stupid question.</scene_description>
    <character>BEN</character>
    <parenthetical>(sarcastically)</parenthetical>
    <dialogue>You wonder about that everyday Sandy?</dialogue>
    <character>MARK</character>
    <dialogue>Shut up Ben.</dialogue>
    <parenthetical>(to sandy)</parenthetical>
    <dialogue>Actually, my mom always packs two.</dialogue>
    <character>SANDY</character>
    <dialogue>You got a great mom. I'm lucky to get a zucchini stick.</dialogue>
    <character>MARK</character>
    <dialogue>Did you want one?</dialogue>
    <character>SANDY</character>
    <parenthetical>(trying to cover)</parenthetical>
    <dialogue>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.</dialogue>
    <character>MARK</character>
    <dialogue>They're tasty.</dialogue>
    <scene_description>He gets out the Twinkie and gives it to her. She unwraps it and takes a bite. Ben and Cindy watch, amazed and entertained.</scene_description>
    <character>SANDY</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>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.</scene_description>
    <character>MARK</character>
    <dialogue>You can have both if you want.</dialogue>
    <character>SANDY</character>
    <dialogue>No, you keep one.</dialogue>
    <scene_description>Cindy laughs. The pairing up has started. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE STATION</stage_direction>
    <scene_description>Jody is sitting in the police station working with a SKETCH ARTIST.</scene_description>
    <character>JODY</character>
    <dialogue>A little larger nose.</dialogue>
    <scene_description>The artist makes a change.</scene_description>
    <character>ARTIST</character>
    <dialogue>How's that?</dialogue>
    <scene_description>Jody re-examines the picture. She's spooked.</scene_description>
    <character>JODY</character>
    <dialogue>That's her.</dialogue>
    <scene_description>The artist picks up the phone and dials.</scene_description>
    <character>ARTIST</character>
    <dialogue>Brent, we got a sketch.</dialogue>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>You know her?</dialogue>
    <character>BRENT</character>
    <dialogue>It can't be.</dialogue>
    <character>JODY</character>
    <dialogue>Who is she Daddy?</dialogue>
    <character>BRENT</character>
    <dialogue>Never mind darling. You go back to school. I don't want you missing anymore classes today.</dialogue>
    <scene_description>He picks up the picture and heads quickly into his own office. Jody watches through his window, sensing he's very, very upset.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE</stage_direction>
    <scene_description>Brent picks up the phone and quickly dials a number.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MAIN ROOM</stage_direction>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>IT'S LISA SHERMAN. But she still looks like we're eighteen.</dialogue>
    <character>TOM</character>
    <parenthetical>(on phone)</parenthetical>
    <dialogue>That's impossible.</dialogue>
    <character>BRENT</character>
    <parenthetical>(growing frantic)</parenthetical>
    <dialogue>I swear to God. It's her. She told Jody she was Kenny's 'AUNT LISA'. I'm getting this sickly feeling...</dialogue>
    <character>TOM</character>
    <dialogue>Calm down Brent.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE</stage_direction>
    <scene_description>Brent looks out and sees that JODY is on the phone, eavesdropping.</scene_description>
    <character>BRENT</character>
    <dialogue>I'll call you right back.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MAIN ROOM</stage_direction>
    <scene_description>Jody, busted, hangs up. Brent comes storming out. HER FATHER is livid. SHE'S NEVER SEEN HIM SO ANGRY AND UPTIGHT.</scene_description>
    <character>BRENT</character>
    <dialogue>You were eavesdropping.</dialogue>
    <character>JODY</character>
    <parenthetical>(a little scared)</parenthetical>
    <dialogue>No I wasn't.</dialogue>
    <character>BRENT</character>
    <dialogue>What did you hear?</dialogue>
    <character>JODY</character>
    <dialogue>Nothing. I just picked up the phone to say goodbye to you. You didn't say goodbye.</dialogue>
    <character>BRENT</character>
    <dialogue>Ok. Goodbye. Now get back to school.</dialogue>
    <scene_description>She nods and heads out, freaked. Her father's never treated her this harshly before.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HIGH SCHOOL</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HIGH SCHOOL</stage_direction>
    <scene_description>Jody opens her locker. Sandy comes running up to her, very excited.</scene_description>
    <character>SANDY</character>
    <dialogue>You ok?</dialogue>
    <character>JODY</character>
    <parenthetical>(noticing Sandy's attire)</parenthetical>
    <dialogue>FINE. Are you?</dialogue>
    <character>SANDY</character>
    <dialogue>Hurricane Hormone. it's flattened the whole school. Guess what?</dialogue>
    <character>JODY</character>
    <dialogue>What?</dialogue>
    <character>SANDY</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Mark invited me to the party.</dialogue>
    <character>JODY</character>
    <dialogue>What party?</dialogue>
    <character>SANDY</character>
    <dialogue>Shh. Ben's party. Tonight. Haven't you heard?</dialogue>
    <character>JODY</character>
    <dialogue>No.</dialogue>
    <scene_description>Sandy notices that a teacher is nearby. Sandy pulls Jody into a stairwell.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRWELL</stage_direction>
    <scene_description>Jody is now really intrigued.</scene_description>
    <character>SANDY</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>You can't tell your parents.</dialogue>
    <character>JODY</character>
    <dialogue>Ok.</dialogue>
    <character>SANDY</character>
    <dialogue>Especially not your dad.</dialogue>
    <character>JODY</character>
    <dialogue>I won't.</dialogue>
    <character>SANDY</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>It's like a pop your cherry party. Everyone's saying it's 'Fuck or Die' time.</dialogue>
    <character>JODY</character>
    <dialogue>You're thinking of sleeping with Mark tonight?</dialogue>
    <character>SANDY</character>
    <dialogue>Unless he makes a move during seventh period.</dialogue>
    <character>JODY</character>
    <dialogue>Didn't you have something a little more romantic in mind for your first time?</dialogue>
    <character>SANDY</character>
    <parenthetical>(very excited)</parenthetical>
    <dialogue>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.</dialogue>
    <character>JODY</character>
    <dialogue>Stag?</dialogue>
    <character>SANDY</character>
    <dialogue>Kenny'll want to go with you. Cindy's holding a Q and A session at the bleachers. Come on.</dialogue>
    <character>JODY</character>
    <dialogue>I can't right now.</dialogue>
    <character>SANDY</character>
    <dialogue>Jody, you have to go to the party. For your own safety.</dialogue>
    <scene_description>Sandy takes off.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BLEACHERS</stage_direction>
    <scene_description>Cindy is setting with a group of girls, the center of attention.</scene_description>
    <character>CINDY</character>
    <dialogue>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...</dialogue>
    <character>HYPOCRITE GIRL 1</character>
    <dialogue>Yeah. SO?</dialogue>
    <character>HYPOCRITE GIRL 2</character>
    <dialogue>What were we supposed to call you Cindy?</dialogue>
    <character>GIRL 1</character>
    <dialogue>The slut from heaven?</dialogue>
    <character>GIRL 3</character>
    <dialogue>Just answer our questions please?</dialogue>
    <scene_description>Sandy runs up.</scene_description>
    <character>CINDY</character>
    <parenthetical>(loving the role)</parenthetical>
    <dialogue>What do you want to know?</dialogue>
    <character>GIRL 3</character>
    <dialogue>What to do.</dialogue>
    <character>CINDY</character>
    <dialogue>You have to do everything Boys are totally clueless when it comes to sex.</dialogue>
    <scene_description>This answer terrifies the audience.</scene_description>
    <character>CINDY</character>
    <dialogue>It starts with them trying to unhook our bras, fumbling around, and never changes. Wait until they try to put their dicks in you.</dialogue>
    <character>GIRL 2</character>
    <dialogue>Please don't say they need our help with that.</dialogue>
    <character>CINDY</character>
    <dialogue>Always. Unless you want them to just poke around endlessly.</dialogue>
    <scene_description>The girls had no idea.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Three stoners are smoking a bowl in their car. They are not nearly as collaborative or supportive of one another as the girls were.</scene_description>
    <character>BOY 1</character>
    <dialogue>Romeo here asked me if chicks has two holes or three.</dialogue>
    <character>BOY 2</character>
    <dialogue>I did not.</dialogue>
    <character>BOY 1</character>
    <dialogue>You did so.</dialogue>
    <character>BOY 2</character>
    <dialogue>I was kidding.</dialogue>
    <character>BOY 3</character>
    <dialogue>Were not dude.</dialogue>
    <character>BOY 1</character>
    <dialogue>I know it's a total bummer that three kids are dead, but, I'm sorry, this is kind of great.</dialogue>
    <character>BOY 3</character>
    <dialogue>I'm way into this. This may be the best of all possible worlds.</dialogue>
    <character>BOY 2</character>
    <dialogue>No. The killer could be offing chicks who haven't given head.</dialogue>
    <scene_description>They all laugh again and nod, slapping hands, Beavis and Butt-head style.</scene_description>
    <character>BOY 2</character>
    <dialogue>Then I'd only have to worry about one.</dialogue>
    <scene_description>They all laugh again.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT</stage_direction>
    <scene_description>Two HOMELY GIRLS, one rail thin, the other slightly overweight, walk back towards the school.</scene_description>
    <character>HOMELY GIRL 1</character>
    <dialogue>We'll meet someone at the party.</dialogue>
    <character>HOMELY GIRL 2</character>
    <dialogue>You don't know that.</dialogue>
    <character>HOMELY GIRL 1</character>
    <dialogue>If we don't, we sit back and watch everyone else camel. That's got to be better than hanging at your house.</dialogue>
    <character>HOMELY GIRL 2</character>
    <dialogue>I'm not going.</dialogue>
    <scene_description>They notice a group of kids huddled around a car.</scene_description>
    <character>HOMELY GIRL 1</character>
    <dialogue>What's that?</dialogue>
    <scene_description>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.</scene_description>
    <character>HOMELY GIRL 2</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Ok. Pick me up at seven.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CORRIDOR</stage_direction>
    <scene_description>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.</scene_description>
    <character>KENNY</character>
    <parenthetical>(very concerned)</parenthetical>
    <dialogue>Are you O.K.?</dialogue>
    <character>JODY</character>
    <dialogue>I'm fine.</dialogue>
    <character>KENNY</character>
    <dialogue>I heard you got attacked.</dialogue>
    <character>JODY</character>
    <dialogue>I did.</dialogue>
    <character>KENNY</character>
    <dialogue>I was worried about you. Did you hear about the bash?</dialogue>
    <character>JODY</character>
    <dialogue>Yeah. I think it's really sick.</dialogue>
    <character>KENNY</character>
    <dialogue>Why?</dialogue>
    <character>JODY</character>
    <dialogue>Three of our classmates are dead. That's not really the occasion for a party.</dialogue>
    <character>KENNY</character>
    <dialogue>Nobody wants to be the fourth. Please go with me.</dialogue>
    <character>JODY</character>
    <dialogue>Did Sharon say no?</dialogue>
    <character>KENNY</character>
    <dialogue>You know I want to go with you.</dialogue>
    <character>JODY</character>
    <dialogue>I'm so flattered but I can't. I'm grounded.</dialogue>
    <character>KENNY</character>
    <dialogue>Everyone's grounded. There's a</dialogue>
    <scene_description>killer on the loose.</scene_description>
    <character>JODY</character>
    <dialogue>No I'm really grounded. When I got in late the other night, my father was waiting up for me.</dialogue>
    <scene_description>He grabs her passionately.</scene_description>
    <character>KENNY</character>
    <dialogue>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.</dialogue>
    <character>JODY</character>
    <dialogue>I'm not using him as an excuse.</dialogue>
    <scene_description>OF COURSE SHE IS.</scene_description>
    <character>KENNY</character>
    <dialogue>Yes you are. You always do. It's why we broke up. You always hide behind him.</dialogue>
    <character>JODY</character>
    <dialogue>I do not.</dialogue>
    <character>KENNY</character>
    <dialogue>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.</dialogue>
    <character>JODY</character>
    <dialogue>I have to go home after school. I have something really important I have to ask my mom.</dialogue>
    <character>KENNY</character>
    <dialogue>They're not picking me up until six.</dialogue>
    <character>JODY</character>
    <dialogue>I'll think about it.</dialogue>
    <character>KENNY</character>
    <dialogue>Yes!</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SCHOOL</stage_direction>
    <scene_description>The clock strikes three. The bell rings.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SCHOOL</stage_direction>
    <scene_description>Kids charge out, ready for a memorable evening.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S HOUSE</stage_direction>
    <scene_description>Jody's mother is in the kitchen, preparing dinner, watching TV.</scene_description>
    <character>REPORTER</character>
    <parenthetical>(on TV)</parenthetical>
    <dialogue>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.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HIGH SCHOOL</stage_direction>
    <scene_description>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.</scene_description>
    <character>GIRL</character>
    <dialogue>Hi.</dialogue>
    <character>MIKE</character>
    <dialogue>Hi, I'm Mike Stanton.</dialogue>
    <character>GIRL</character>
    <dialogue>I know.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN</stage_direction>
    <scene_description>Jody's mom can't believe what she's seeing on the news.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Jody walks in the back door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN</stage_direction>
    <scene_description>Her mom flips off the TV AS Jody enters the kitchen.</scene_description>
    <character>JODY</character>
    <dialogue>Hi mom.</dialogue>
    <character>MARGE</character>
    <dialogue>Hi princess.</dialogue>
    <character>JODY</character>
    <dialogue>Mom?</dialogue>
    <character>MARGE</character>
    <dialogue>Yes?</dialogue>
    <character>JODY</character>
    <dialogue>I need to ask you something.</dialogue>
    <character>MARGE</character>
    <dialogue>You can ask me anything.</dialogue>
    <character>JODY</character>
    <dialogue>Have you ever heard of someone named Lisa Sherman?</dialogue>
    <scene_description>Mom's cutting hand starts to shake. She pretends that she doesn't know who Lisa Sherman is but she obviously does.</scene_description>
    <character>MARGE</character>
    <dialogue>Lisa Sherman?</dialogue>
    <character>JODY</character>
    <dialogue>Yeah. Who is she?</dialogue>
    <character>MARGE</character>
    <dialogue>I don't know. Where did you hear that name.</dialogue>
    <character>JODY</character>
    <dialogue>I overheard daddy mentioning her to someone. I he thinks she's the killer.</dialogue>
    <character>MARGE</character>
    <dialogue>What?</dialogue>
    <character>JODY</character>
    <dialogue>That's what he said.</dialogue>
    <character>MARGE</character>
    <dialogue>Did he say anything else about her?</dialogue>
    <character>JODY</character>
    <dialogue>No but he got really weird. Like I've never seen him act. REALLY angry and super uptight.</dialogue>
    <character>MARGE</character>
    <parenthetical>(lying)</parenthetical>
    <dialogue>I've never heard of her. Maybe something else was on his mind.</dialogue>
    <character>JODY</character>
    <dialogue>No. I think she lived her a long time ago. Like twenty-eight years ago. When dad was eighteen.</dialogue>
    <character>MARGE</character>
    <dialogue>Not that I know of.</dialogue>
    <scene_description>Jody is suspicious. Jody thinks for a moment, then picks her coat back up.</scene_description>
    <character>MARGE</character>
    <dialogue>Where are you going?</dialogue>
    <character>JODY</character>
    <dialogue>The library. I'll be fine.</dialogue>
    <scene_description>Jody heads out the door. Her mother goes to the window, very concerned and watches her ride away. She picks up the phone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE STATION - BRENT'S OFFICE</stage_direction>
    <scene_description>BRENT is on the phone. His deputy is with him.</scene_description>
    <character>BRENT</character>
    <dialogue>What's the address? Thanks.</dialogue>
    <scene_description>He hangs up the phone.</scene_description>
    <character>DEPUTY</character>
    <dialogue>You found her?</dialogue>
    <character>BRENT</character>
    <dialogue>There's a Lisa Shermer living just sixty miles west of here. Over the Indiana border. I'm going.</dialogue>
    <character>DEPUTY</character>
    <dialogue>We need you here. I can bring her in.</dialogue>
    <character>BRENT</character>
    <dialogue>No. I'll handle this.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. STATION</stage_direction>
    <scene_description>Brent and the deputy head into the main station area. Brent grabs his gun. The DESK SERGEANT is on the phone.</scene_description>
    <character>DESK SERGEANT</character>
    <dialogue>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.</dialogue>
    <character>BRENT</character>
    <dialogue>Put a squad car at every entrance to town.</dialogue>
    <scene_description>The desk sergeant picks up another call.</scene_description>
    <character>SERGEANT</character>
    <dialogue>Your wife's on line three.</dialogue>
    <character>BRENT</character>
    <dialogue>I can't talk to her now.</dialogue>
    <character>SERGEANT</character>
    <dialogue>There's a problem with Jody.</dialogue>
    <character>BRENT</character>
    <dialogue>Tell her she has to handle it.</dialogue>
    <scene_description>He heads outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POLICE STATION</stage_direction>
    <scene_description>The deputy walks Brent to his car.</scene_description>
    <character>DEPUTY</character>
    <dialogue>As bizarre as it may sound, seems someone is planning to have a big party tonight.</dialogue>
    <character>BRENT</character>
    <dialogue>No?</dialogue>
    <character>DEPUTY</character>
    <dialogue>Should we close down any eruption?</dialogue>
    <character>BRENT</character>
    <dialogue>Are you sure?</dialogue>
    <character>DEPUTY</character>
    <dialogue>We're seeing all the signs in town.</dialogue>
    <character>BRENT</character>
    <dialogue>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.</dialogue>
    <scene_description>He jumps in his car and speeds away.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LIBRARY</stage_direction>
    <scene_description>The gray old ivy-covered town library. Jody rides up and heads inside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIBRARY</stage_direction>
    <scene_description>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.</scene_description>
    <character>MISS DUNLOP</character>
    <dialogue>Hi Jody. What can I DO for you?</dialogue>
    <character>JODY</character>
    <dialogue>Hi Miss Dunlop. Where do you keep the old town papers?</dialogue>
    <character>MISS DUNLOP</character>
    <dialogue>They're all on microfiche. What year are you looking for?</dialogue>
    <character>JODY</character>
    <dialogue>Twenty eight years ago.</dialogue>
    <character>MISS DUNLOP</character>
    <dialogue>Follow me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LIBRARY - UPSTAIRS</stage_direction>
    <scene_description>They head up the stairs and into the microfilm room.</scene_description>
    <character>JODY</character>
    <dialogue>This place is empty.</dialogue>
    <character>MISS DUNLOP</character>
    <dialogue>Everyone's getting ready for the party.</dialogue>
    <character>JODY</character>
    <dialogue>You heard about that?</dialogue>
    <character>MISS DUNLOP</character>
    <dialogue>Of course. NO ONE EVER SHUTS UP IN THE LIBARY. Kids were whispering about it all day.</dialogue>
    <character>JODY</character>
    <dialogue>Don't you think it's sick?</dialogue>
    <character>MISS DUNLOP</character>
    <dialogue>Not at all. In fact, I thought about going.</dialogue>
    <character>JODY</character>
    <dialogue>You Miss Dunlop?</dialogue>
    <scene_description>She hands Jody the microfiche.</scene_description>
    <character>MISS DUNLOP</character>
    <dialogue>Unfortunately I qualify. Think I'm too old?</dialogue>
    <character>JODY</character>
    <parenthetical>(lying)</parenthetical>
    <dialogue>No.</dialogue>
    <character>MISS DUNLOP</character>
    <dialogue>You're sweet. I really wish someone had thrown a party like that when I was your age.</dialogue>
    <dialogue>My life might have been very different.</dialogue>
    <scene_description>SHE SLOWLY HEADS DOWN THE STAIRS. cut to:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIBRARY - MICROFICHE ROOM</stage_direction>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <parenthetical>(a little scared)</parenthetical>
    <dialogue>Is that you Miss Dunlop?</dialogue>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>Who's there?</dialogue>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>Mom? You were spying on me.</dialogue>
    <scene_description>Mom looks at the monitor, at the picture of Lisa Sherman's face.</scene_description>
    <character>MARGE</character>
    <dialogue>I want you to come home with me right now, Jody.</dialogue>
    <character>JODY</character>
    <dialogue>Who is she?</dialogue>
    <character>MARGE</character>
    <dialogue>She's nobody you should be concerned with.</dialogue>
    <character>JODY</character>
    <dialogue>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.</dialogue>
    <character>MARGE</character>
    <dialogue>Don't make me order you.</dialogue>
    <scene_description>Jody sits back down.</scene_description>
    <character>JODY</character>
    <dialogue>You going to drag me out and me in my room until I go to college?</dialogue>
    <scene_description>Marge sits down next to Jody and takes her hand.</scene_description>
    <character>MARGE</character>
    <dialogue>If I have to. Please let me protect you.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIBRARY</stage_direction>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>Wait.</dialogue>
    <character>MARGE</character>
    <dialogue>What?</dialogue>
    <character>JODY</character>
    <parenthetical>(asserting herself)</parenthetical>
    <dialogue>I'm not leaving. I want to know why you and dad are so freaked out. Three of my classmates are dead.</dialogue>
    <scene_description>Mom doesn't like this at all. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LIBRARY</stage_direction>
    <scene_description>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.</scene_description>
    <character>MARGE</character>
    <dialogue>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.</dialogue>
    <character>JODY</character>
    <dialogue>Attacked how?</dialogue>
    <character>MARGE</character>
    <dialogue>She was raped. At least that's what she claimed.</dialogue>
    <character>JODY</character>
    <dialogue>You didn't believe her?</dialogue>
    <character>MARGE</character>
    <parenthetical>(confessing)</parenthetical>
    <dialogue>No, I believed her. She was in pretty bad shape. Inside and out. But the boys were never formally charged.</dialogue>
    <character>JODY</character>
    <dialogue>Why not?</dialogue>
    <character>MARGE</character>
    <dialogue>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'.</dialogue>
    <character>JODY</character>
    <dialogue>People thought these guys had a right to rape her because she called them 'queers'?</dialogue>
    <character>MARGE</character>
    <dialogue>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....</dialogue>
    <character>JODY</character>
    <dialogue>And the police did nothing?</dialogue>
    <scene_description>EVERYONE JUST KIND OF LOOKED THE OTHER WAY.:</scene_description>
    <character>JODY</character>
    <dialogue>How could you?</dialogue>
    <character>MARGE</character>
    <dialogue>I don't know. We just did. I guess</dialogue>
    <scene_description>I was kind of scared going against the gain. Against the whole town.</scene_description>
    <character>JODY</character>
    <dialogue>The word is Mob.</dialogue>
    <character>MARGE</character>
    <dialogue>I've regretted it ever since. Never run with the herd just because they're the herd.</dialogue>
    <character>JODY</character>
    <dialogue>Who were they?</dialogue>
    <scene_description>Marge freezes. She didn't want to be asked that.</scene_description>
    <character>MARGE</character>
    <dialogue>Who?</dialogue>
    <character>JODY</character>
    <dialogue>The men. Do any of them still live around here?</dialogue>
    <character>MARGE</character>
    <dialogue>Two men left town right after it happened.</dialogue>
    <character>JODY</character>
    <dialogue>You're not telling me something.</dialogue>
    <scene_description>Marge takes a deep breath, unsure what to say.</scene_description>
    <character>MARGE</character>
    <dialogue>Mr. Sisler was one of them.</dialogue>
    <character>JODY</character>
    <parenthetical>(shocked)</parenthetical>
    <dialogue>The principal?</dialogue>
    <character>MARGE</character>
    <dialogue>Yes.</dialogue>
    <character>JODY</character>
    <dialogue>Who was the fourth?</dialogue>
    <scene_description>Marge is stricken. She looks down.</scene_description>
    <character>MARGE</character>
    <dialogue>God. It's like everything that was ever repressed in this town is suddenly bubbling up through the ground.</dialogue>
    <scene_description>Jody gets it.</scene_description>
    <character>JODY</character>
    <dialogue>Dad?</dialogue>
    <scene_description>Her mother can't deny it any longer.</scene_description>
    <character>JODY</character>
    <parenthetical>(horrified)</parenthetical>
    <dialogue>THAT'S why he called Mr. Sisler first. He was one of them.</dialogue>
    <character>MARGE</character>
    <dialogue>Not a day has gone by where your</dialogue>
    <scene_description>father has not torn himself to shreds for what happened. We both have...</scene_description>
    <character>JODY</character>
    <dialogue>NO!</dialogue>
    <scene_description>Jody gets up.</scene_description>
    <character>MARGE</character>
    <dialogue>He dedicated his life to law enforcement after...</dialogue>
    <scene_description>Jody runs off, very upset.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LIBRARY</stage_direction>
    <scene_description>Jody jumps on her bicycle and speeds off.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GARDEN</stage_direction>
    <scene_description>Marge sits down and stares straight ahead, crushed.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INDIANA DIRT ROAD</stage_direction>
    <scene_description>The rusty old mailbox on the forgotten dirt road reads 'Lisa Sherman' Brent's police car turns into the driveway.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Brent pulls up to the house. he sits and stares for a moment.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LISA SHERMAN'S HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FRONT DOOR</stage_direction>
    <scene_description>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.</scene_description>
    <character>CARETAKER</character>
    <dialogue>Hello?</dialogue>
    <character>BRENT</character>
    <dialogue>I'm looking for Lisa Sherman.</dialogue>
    <character>CARETAKER</character>
    <dialogue>She's not here.</dialogue>
    <character>BRENT</character>
    <dialogue>You know where I can find her?</dialogue>
    <character>CARETAKER</character>
    <dialogue>St. Michael's.</dialogue>
    <character>BRENT</character>
    <dialogue>She works at a church?</dialogue>
    <character>CARETAKER</character>
    <dialogue>She resides there. Out back. She died a year and a half ago.</dialogue>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>Of what?</dialogue>
    <character>CARETAKER</character>
    <dialogue>A bullet to the right cerebellum.</dialogue>
    <character>BRENT</character>
    <dialogue>She was murdered?</dialogue>
    <character>CARETAKER</character>
    <dialogue>No. She ate a pistol for lunch one day.</dialogue>
    <scene_description>Brent can't help but feel responsible.</scene_description>
    <character>BRENT</character>
    <dialogue>Can you describe her? How old was she?</dialogue>
    <character>CARETAKER</character>
    <dialogue>I never met the woman. I'm just taking care of the place until they sell it.</dialogue>
    <character>BRENT</character>
    <dialogue>Can you get inside?</dialogue>
    <character>CARETAKER</character>
    <dialogue>I can.</dialogue>
    <character>BRENT</character>
    <dialogue>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.</dialogue>
    <character>CARETAKER</character>
    <dialogue>I don't give a fuck what your reasons are. You pay me ten dollars, you can go inside</dialogue>
    <scene_description>Otherwise, get a warrant. He pulls out his wallet. Cut to:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KENNY'S HOUSE</stage_direction>
    <scene_description>Jody rides up to Kenny's house.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Kenny sees her from his bedroom window.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRONT HALLWAY</stage_direction>
    <scene_description>Kenny comes tearing downstairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FRONT DOOR</stage_direction>
    <scene_description>Kenny, opens the front door, very excited.</scene_description>
    <character>KENNY</character>
    <dialogue>Jody! (he kisses her) Yes! You're here.</dialogue>
    <scene_description>Jody wipes a tear from her eye. Kenny notices how upset she is.</scene_description>
    <character>KENNT</character>
    <dialogue>What's the matter?</dialogue>
    <scene_description>Jody bursts into tears. She hugs him. He hugs her back and leads her inside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>Is there a picture of her somewhere?</dialogue>
    <character>CARETAKER</character>
    <dialogue>No pictures. No mirrors. Was she a crazy woman when you knew her?</dialogue>
    <character>BRENT</character>
    <parenthetical>(feeling very guilty)</parenthetical>
    <dialogue>No.</dialogue>
    <character>CARETAKER</character>
    <dialogue>Couldn't tell she going to off herself, huh?</dialogue>
    <character>BRENT</character>
    <dialogue>No, you couldn't.</dialogue>
    <character>CARETAKER</character>
    <dialogue>I've been in a lot of people's houses and this one's the creepiest.</dialogue>
    <character>BRENT</character>
    <dialogue>Really?</dialogue>
    <character>CARETAKER</character>
    <dialogue>Yeah. You should check downstairs.</dialogue>
    <character>BRENT</character>
    <dialogue>Why?</dialogue>
    <character>CARETAKER</character>
    <dialogue>People always keep their secrets in their attics or in their basements. All the weirdness in this house took place in the basement.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT</stage_direction>
    <scene_description>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.</scene_description>
    <character>CARETAKER</character>
    <dialogue>They look like they'd fit you. Three bucks.</dialogue>
    <scene_description>Brent things for a moment then throws the pants down. He darts back up the stairs. The caretaker laughs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KENNY'S</stage_direction>
    <scene_description>Jody and Kenny are in Kenny's bedroom, sitting on his bed.</scene_description>
    <character>KENNY</character>
    <dialogue>All our parents are weirdoes. I think my dad is into hookers. I know he lit cats on fire when he was a kid.</dialogue>
    <character>JODY</character>
    <parenthetical>(all wound up)</parenthetical>
    <dialogue>My dad acts like he's Johnny Fucking Perfect and he's really Johnny Fucking Rapist.</dialogue>
    <character>KENNY</character>
    <parenthetical>(compassionately)</parenthetical>
    <dialogue>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.</dialogue>
    <character>JODY</character>
    <dialogue>I can't believe I listened to one word of his shit.</dialogue>
    <character>KENNY</character>
    <dialogue>But if he'd been sent to jail, there would be no Jody.</dialogue>
    <character>JODY</character>
    <dialogue>So I should feel happy that he got away with it?</dialogue>
    <character>KENNY</character>
    <dialogue>I don't know. I kind of am.</dialogue>
    <scene_description>Jody, still crying, stares at Kenny for a second then leans in and kisses him with everything she's got, Ready for action.</scene_description>
    <character>KENNY</character>
    <dialogue>Are you coming to the party?</dialogue>
    <character>JODY</character>
    <dialogue>Let's just start a party right here, right fucking now.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOWN HALL</stage_direction>
    <scene_description>Brent comes storming out of the hall of records.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PHONE BOOTH</stage_direction>
    <scene_description>Frantic dialing. Brent is on the phone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRINCIPAL'S OFFICE</stage_direction>
    <scene_description>The phone rings. The answering machine picks up.</scene_description>
    <character>BRENT</character>
    <parenthetical>(leaving a message)</parenthetical>
    <dialogue>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.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KENNY'S</stage_direction>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <parenthetical>(worried)</parenthetical>
    <dialogue>What's wrong? Am I doing something wrong?</dialogue>
    <character>KENNY</character>
    <dialogue>Just making me feel like a piece of meat.</dialogue>
    <character>JODY</character>
    <dialogue>I'm making you feel like meat?</dialogue>
    <character>KENNY</character>
    <dialogue>Yeah.</dialogue>
    <scene_description>Jody rolls over, a bit pissed off and very confused.</scene_description>
    <character>JODY</character>
    <dialogue>You break up with me because I won't fuck you.</dialogue>
    <character>KENNY</character>
    <dialogue>That's not why we broke up.</dialogue>
    <character>JODY</character>
    <dialogue>You flaunt some slut in my face.</dialogue>
    <character>KENNY</character>
    <dialogue>Sharon's far from a slut.</dialogue>
    <character>JODY</character>
    <dialogue>And when I finally agree to spread my legs, you accuse me of treating you like meat.</dialogue>
    <character>KENNY</character>
    <dialogue>Jody, you're only doing this to get back at your dad. It doesn't have that much to do with me.</dialogue>
    <scene_description>She gets up angry, and starts putting her clothes back on. That was the wrong note to play. The truth hurts.</scene_description>
    <character>KENNY</character>
    <dialogue>Please don't go. Please. Stay, We'll just talk. Then go to the party.</dialogue>
    <character>JODY</character>
    <dialogue>This party is sick.</dialogue>
    <scene_description>She heads to the door.</scene_description>
    <character>KENNY</character>
    <dialogue>Jody. Wait.</dialogue>
    <character>JODY</character>
    <dialogue>What?</dialogue>
    <character>KENNY</character>
    <dialogue>I'm scared. Three kids are dead. I want to go to this party.</dialogue>
    <character>JODY</character>
    <dialogue>Then go to the party. Run with the herd Kenny. Just don't spew out all that 'be an individual, assert yourself' crap anymore.</dialogue>
    <scene_description>She heads out, very upset.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DRUG STORE</stage_direction>
    <scene_description>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:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>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.</scene_description>
    <character>DAD</character>
    <dialogue>I know where you're going.</dialogue>
    <character>SANDY</character>
    <parenthetical>(concerned)</parenthetical>
    <dialogue>You do?</dialogue>
    <character>DAD</character>
    <dialogue>Your brother told us.</dialogue>
    <character>SANDY</character>
    <dialogue>Daddy....</dialogue>
    <character>DAD</character>
    <dialogue>Shh. I'm not going to tell you not to go.</dialogue>
    <character>SANDY</character>
    <dialogue>You're not?</dialogue>
    <character>DAD</character>
    <dialogue>No. I couldn't do that. I have something for you.</dialogue>
    <scene_description>He places something on her dresser, smiles at her, and leaves. She looks at what he's left. It's a condom. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>Carloads of kids head toward Cherry Falls, howling out the windows, guzzling beer.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>Police cars screech to a stop, barricading the entrances to town, preparing for the onslaught.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Brent is driving out of the Indiana town when he sees something out the window.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>It's ST. MICHAELS church. Brent pulls over.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GRAVEYARD</stage_direction>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>Lisa, I'm so sorry.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SANDY'S LIVING ROOM</stage_direction>
    <scene_description>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.</scene_description>
    <character>ANDY</character>
    <dialogue>Just think of it like she's having a flu shot. Purely preventive.</dialogue>
    <scene_description>Cut to:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TOWN</stage_direction>
    <scene_description>Jody pedals quickly down the street. She's going nowhere. She starts to cry.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROADHOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NEIGHBOR'S YARD</stage_direction>
    <scene_description>Two computer nerds are hidden behind a tree, watching the other kids arrive. They spot the two homely girls we saw earlier.</scene_description>
    <character>NERD 1</character>
    <dialogue>There's Jan and Heather. Let's grab them quick before someone else does.</dialogue>
    <character>NERD 2</character>
    <dialogue>Ok.</dialogue>
    <character>NERD 1</character>
    <dialogue>Hide your laptop here.</dialogue>
    <character>NERD 2</character>
    <dialogue>No.</dialogue>
    <character>NERD 1</character>
    <dialogue>You can't bring it.</dialogue>
    <character>NERD 2</character>
    <dialogue>I'm not leaving it here.</dialogue>
    <scene_description>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.</scene_description>
    <character>GIRL IN WINDOW</character>
    <dialogue>Marisa! Find someone fast. Floor space is almost gone.</dialogue>
    <scene_description>This only heightens the uncomfortable ness outside. One of the homely girls looks at the laptop.</scene_description>
    <character>NERD 2</character>
    <dialogue>Ever play QUAKE?</dialogue>
    <character>HOMELY GIRL 2</character>
    <dialogue>What's that?</dialogue>
    <character>NERD 2</character>
    <dialogue>A computer game.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Ben and Cindy arrive.</scene_description>
    <character>CINDY</character>
    <parenthetical>(finalizing)</parenthetical>
    <dialogue>I get all your CDs.</dialogue>
    <character>BEN</character>
    <dialogue>Not my imports.</dialogue>
    <character>CINDY</character>
    <dialogue>Ok not your imports. All your other CDS and your K2 snowboard.</dialogue>
    <character>BEN</character>
    <dialogue>That's an awful lot for ten minutes of beasting?</dialogue>
    <character>CINDY</character>
    <dialogue>Don't flatter yourself. You'll be lucky to last ten seconds with me Ben.</dialogue>
    <scene_description>She kisses him passionately, and gets out of the car. He follows her, smitten, like a puppy dog.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>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:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>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.</scene_description>
    <character>OWNER</character>
    <dialogue>Are you O.K.?</dialogue>
    <character>JODY</character>
    <dialogue>I'm ok.</dialogue>
    <character>CAR OWNER</character>
    <dialogue>Are you sure?</dialogue>
    <character>JODY</character>
    <dialogue>Yes.</dialogue>
    <character>LEONARD(O.C.)</character>
    <dialogue>You don't look OK.</dialogue>
    <scene_description>Jody turns around. Her teacher Leonard Marliston is there. The killer's IMPERIAL is parked behind him. Jody wipes away the tears.</scene_description>
    <character>JODY</character>
    <parenthetical>(starting to cry)</parenthetical>
    <dialogue>I am.</dialogue>
    <character>LEONARD</character>
    <dialogue>My house is just a couple of blocks away. Why don't you come on over and clean those cuts up.</dialogue>
    <character>JODY</character>
    <dialogue>Ok. Should I put my bike in the back of your car?</dialogue>
    <character>LEONARD</character>
    <dialogue>Can you just follow me? The back is full?</dialogue>
    <character>JODY</character>
    <dialogue>Sure.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARTY HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TOWN SQUARE</stage_direction>
    <scene_description>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:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Leonard drives down the road. He smiles into his rear view mirror.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LEONARD'S HOUSE</stage_direction>
    <scene_description>Leonard pulls into his driveway. Jody pulls in behind. She leans the bike on the front porch and they head into the house.</scene_description>
    <character>LEONARD</character>
    <dialogue>You aren't going to the party?</dialogue>
    <character>JODY</character>
    <dialogue>You know about that too?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LEONARD'S HOUSE</stage_direction>
    <scene_description>Mr. Leonard opens the door to his house. Jody walks in behind him.</scene_description>
    <character>LEONARD</character>
    <dialogue>of COURSE. You're not scared?</dialogue>
    <character>JODY</character>
    <dialogue>Of course I'm scared.</dialogue>
    <character>LEONARD</character>
    <dialogue>Then you should go.</dialogue>
    <character>JODY</character>
    <dialogue>You think I should go to the party, Mr. Marliston?</dialogue>
    <character>LEONARD</character>
    <dialogue>I really do. For your own safety.</dialogue>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>I just feel so manipulated. By everyone. My dad, my boyfriend, and now some psychopath I don't even know.</dialogue>
    <scene_description>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.</scene_description>
    <character>LEONARD</character>
    <dialogue>We're all manipulated. From the moment we're born. The event that fatalistically shaped my life happened before I was even born.</dialogue>
    <character>JODY</character>
    <dialogue>Really?</dialogue>
    <character>LEONARD</character>
    <dialogue>Yes. We have no real freedom. You of all people should understand that. This may sting.</dialogue>
    <scene_description>Jody is beginning to feel strange. There's something off kilter about this whole encounter.</scene_description>
    <character>JODY</character>
    <dialogue>Me? Why me?</dialogue>
    <character>LEONARD</character>
    <dialogue>Because of your father.</dialogue>
    <scene_description>The way what his sins shaped you. He starts putting a disinfectant on her wound.</scene_description>
    <character>JODY</character>
    <dialogue>What do you know about my father?</dialogue>
    <character>LEONARD</character>
    <dialogue>He's a rapist. Like mine.</dialogue>
    <scene_description>She grimaces. The disinfectant hurts.</scene_description>
    <character>JODY</character>
    <dialogue>(a little scared)\_</dialogue>
    <scene_description>Your father raped someone?</scene_description>
    <character>LEONARD</character>
    <dialogue>Lisa Sherman was my mother. Do you know who that is?</dialogue>
    <character>JODY</character>
    <dialogue>Yes.</dialogue>
    <character>LEONARD</character>
    <dialogue>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.</dialogue>
    <character>JODY</character>
    <dialogue>You're the killed.</dialogue>
    <character>LEONARD</character>
    <dialogue>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.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BACK DOOR</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT STAIRS</stage_direction>
    <scene_description>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:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PARTY HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. A CLOSET</stage_direction>
    <scene_description>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.</scene_description>
    <character>MARK</character>
    <dialogue>You're so beautiful.</dialogue>
    <character>SANDY</character>
    <dialogue>So are you.</dialogue>
    <character>MARK</character>
    <dialogue>Now don't be nervous.</dialogue>
    <character>SANDY</character>
    <dialogue>You're the one who's hand is shaking.</dialogue>
    <scene_description>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.</scene_description>
    <character>NERD 2</character>
    <dialogue>Hey! That was a 3k machine.</dialogue>
    <character>NERD 1</character>
    <dialogue>Told you to hide it.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Cindy and Ben are naked under a blanket in the corner.</scene_description>
    <character>BEN</character>
    <dialogue>One more time.</dialogue>
    <character>CINDY</character>
    <parenthetical>(negotiating)</parenthetical>
    <dialogue>I get the imports.</dialogue>
    <character>BEN</character>
    <dialogue>Ok!</dialogue>
    <scene_description>He's all over her. She's into it too.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Sharon turns up the heat on Kenny, running her hands across his bare chest. Kenny breaks off the kiss, not really into it.</scene_description>
    <character>SHARON</character>
    <dialogue>You ok?</dialogue>
    <character>KENNY</character>
    <dialogue>Just thinking about something.</dialogue>
    <character>SHARON</character>
    <dialogue>What?</dialogue>
    <character>KENNY</character>
    <dialogue>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.</dialogue>
    <character>SHARON</character>
    <dialogue>I guess so. Luckily we won't have that problem.</dialogue>
    <scene_description>She kisses him again. He stops her again, buttons his shirt.</scene_description>
    <character>SHARON</character>
    <dialogue>What are you doing?</dialogue>
    <character>KENNY</character>
    <dialogue>I got to go.</dialogue>
    <character>SHARON</character>
    <dialogue>What?</dialogue>
    <character>KENNY</character>
    <dialogue>I'm worried about someone.</dialogue>
    <scene_description>He puts his clothes on.</scene_description>
    <character>SHARON</character>
    <dialogue>You can't just leave me here.</dialogue>
    <character>BOY'S VOICE</character>
    <dialogue>Stay put Sharon. I'll hop on over when I'm done here.</dialogue>
    <character>GIRL'S VOICE</character>
    <dialogue>You will not!</dialogue>
    <scene_description>Others laugh. Kenny looks around.</scene_description>
    <character>KENNY</character>
    <dialogue>Jody was right, this party IS sick.</dialogue>
    <scene_description>Kenny buttons his shirt and heads out. Sharon is pissed. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LEONARD'S HOUSE</stage_direction>
    <scene_description>Leonard goes to his station wagon and opens the back.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>A body is hidden under a blanket. Leonard picks it up. It's too heavy.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT</stage_direction>
    <scene_description>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.</scene_description>
    <character>LEONARD</character>
    <parenthetical>(singing)</parenthetical>
    <dialogue>'It's a family affair, It's a family affair.'</dialogue>
    <scene_description>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.</scene_description>
    <character>LEONARD</character>
    <dialogue>Well, we may be family One in four chance.</dialogue>
    <scene_description>Leonard picks up his razor and starts towards Jody.</scene_description>
    <character>LEONARD</character>
    <dialogue>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.</dialogue>
    <scene_description>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.</scene_description>
    <character>LEONARD</character>
    <dialogue>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.</dialogue>
    <scene_description>Jody concentrates on trying to show no pain, not to flinch. It's tough. Her father watches, horrified. Cut to:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>Kenny runs down the street, heading toward Jody's house. He stops to catch his breath for a second. He notices something.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LEONARD'S</stage_direction>
    <scene_description>Jody's bicycle is still leaning against Leonard's porch.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>Kenny crosses the street to Leonard's house and inspects the bicycle. It's hers.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT</stage_direction>
    <scene_description>Leonard continues to work on Jody's bare leg, starting the 'R'. Jody and her father stare at each other, helplessly.</scene_description>
    <character>LEONARD</character>
    <dialogue>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.</dialogue>
    <scene_description>Jody gags in pain. Brent looks away.</scene_description>
    <character>LEONARD</character>
    <dialogue>Open your eyes Brent. Watch. Or will I cause her much more pain.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Kenny rings it again. No one answers. He walks over to the window and looks through a crack underneath the curtains.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Kenny's POV - Jody's coat and purse are still on the couch.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Kenny climbs into the living room and looks around.</scene_description>
    <character>KENNY</character>
    <dialogue>Hello? Jody?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT</stage_direction>
    <scene_description>Leonard hears Kenny. He can't ignore him any longer.</scene_description>
    <character>LEONARD</character>
    <dialogue>Who the fuck is breaking into my house?</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE</stage_direction>
    <scene_description>Leonard comes out of the basement and peers into the living room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Leonard sees Kenny opening Jody's purse, checking it out. Leonard keeps the razor hidden behind his back.</scene_description>
    <character>LEONARD</character>
    <dialogue>My wallet's on the mantle when you've finished your rifling, Kenny.</dialogue>
    <scene_description>Kenny looks up, startled.</scene_description>
    <character>KENNY</character>
    <parenthetical>(nervously)</parenthetical>
    <dialogue>Oh, hey Mr. Marliston. W-What's Jody's bike doing on your front porch?</dialogue>
    <character>LEONARD</character>
    <dialogue>That all depends Kenny. Depends on why the FUCK you've broken into your history teacher's house?</dialogue>
    <character>KENNY</character>
    <dialogue>Alright, Marliston, I know she's here.</dialogue>
    <character>LEONARD</character>
    <dialogue>What are you talking about? No one here but us chickens.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT</stage_direction>
    <scene_description>Jody cuts through her dad's ropes. Her dad immediately takes Jody's gag off.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Kenny heads out the door.</scene_description>
    <character>JODY(O.C.)</character>
    <dialogue>Help!</dialogue>
    <scene_description>Kenny hears the cry and turns around.</scene_description>
    <character>KENNY</character>
    <dialogue>That was Jody!</dialogue>
    <scene_description>Leonard says nothing. He just stares at Kenny.</scene_description>
    <character>JODY(O.C.)</character>
    <dialogue>Somebody help!</dialogue>
    <scene_description>Kenny heads toward the basement door to investigate. Brent starts kicking on the other side of the locked door.</scene_description>
    <character>KENNY</character>
    <dialogue>Jody?!</dialogue>
    <scene_description>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.</scene_description>
    <character>BRENT</character>
    <dialogue>Jody run!</dialogue>
    <scene_description>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.</scene_description>
    <character>JODY</character>
    <dialogue>No!</dialogue>
    <character>BRENT</character>
    <parenthetical>(dying)</parenthetical>
    <dialogue>Run!</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOP OF STAIRS</stage_direction>
    <scene_description>Kenny slams the door shut as Leonard charges up the stairs. Kenny holds the door shut with all his might.</scene_description>
    <character>JODY</character>
    <dialogue>My dad's down there!</dialogue>
    <character>KENNY</character>
    <dialogue>He's dead! We've got to get the fuck out of here!</dialogue>
    <scene_description>Kenny pushes a dresser in front of it, trapping Leonard.</scene_description>
    <character>JODY</character>
    <dialogue>I can't walk. I think he cut right through a tendon.</dialogue>
    <scene_description>Leonard starts chopping through the door with an axe. Kenny helps Jody out the front door.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Jody and Kenny limp out of the house. Kenny grabs Jody's bike.</scene_description>
    <character>KENNY</character>
    <dialogue>Climb on.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BACK PANTRY</stage_direction>
    <scene_description>Leonard breaks through the door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN</stage_direction>
    <scene_description>Leonard runs into the kitchen and looks out the window.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Kenny and Jody are peddling away down the driveway.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACK DOOR</stage_direction>
    <scene_description>Leonard bursts out of the house and jumps into his car.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Leonard starts the car.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>The car squeals out of the driveway, rims sparking wildly.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUBURBAN STREET</stage_direction>
    <scene_description>Kenny frantically pedals the bike up the pristine suburban street. Jody hangs on for dear life.</scene_description>
    <character>JODY</character>
    <dialogue>Go to the police station!</dialogue>
    <character>KENNY</character>
    <dialogue>Deputy Webber's at the party. It's only three blocks away.</dialogue>
    <scene_description>Leonard's car squeals around the corner behind them.</scene_description>
    <character>JODY</character>
    <dialogue>Fuck! It's him.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Leonard steps on the gas.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACKYARD</stage_direction>
    <scene_description>Kenny and Jody tumble up someone's driveway, smashing into their fence.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>Leonard can't hold the car straight and it 360s across several lawns. Finally stopping, smashing into a parked car.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACKYARD</stage_direction>
    <scene_description>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.</scene_description>
    <character>KENNY</character>
    <dialogue>Shit.</dialogue>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FRONT OF HOUSE</stage_direction>
    <scene_description>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.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARTY HOUSE</stage_direction>
    <scene_description>The house is dark. The lights are all out.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROAD</stage_direction>
    <scene_description>The deputy checks his watch. A policeman comes running up.</scene_description>
    <character>POLICEMAN</character>
    <dialogue>We just found another body.</dialogue>
    <character>DEPUTY</character>
    <dialogue>Who's?</dialogue>
    <character>POLICEMAN</character>
    <dialogue>Tom Sisler. He was murdered at school.</dialogue>
    <scene_description>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.</scene_description>
    <character>DEPUTY</character>
    <dialogue>Jesus. Any word from Brent?</dialogue>
    <character>POLICEMAN</character>
    <dialogue>Nope. The switchboard is lightning up downtown.</dialogue>
    <scene_description>Kids from other towns are starting to congregate in the parks and at the high school. It's turning into WOODSTOCK except there's no concert.</scene_description>
    <character>DEPUTY</character>
    <dialogue>Call Brent on the horn. See where he is. What</dialogue>
    <scene_description>he wants us to do. I'll head over to the school.</scene_description>
    <character>POLICEMAN</character>
    <dialogue>Ok.</dialogue>
    <scene_description>The deputy jumps into his car.</scene_description>
    <character>DEPUTY</character>
    <dialogue>Don't leave this party until you hear from me.</dialogue>
    <scene_description>The policeman looks up at the house.</scene_description>
    <character>POLICEMAN</character>
    <dialogue>But I shouldn't shut it down?</dialogue>
    <character>DEPUTY</character>
    <dialogue>No. Hell, it's the quietest goddamn party I've ever seen.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SUBURBAN STREET</stage_direction>
    <scene_description>Jody and Kenny climb over a fence into another backyard. Jody is limping badly. Kenny is helping her along.</scene_description>
    <character>JODY</character>
    <dialogue>Thanks for coming back for me.</dialogue>
    <character>KENNY</character>
    <dialogue>I love you.</dialogue>
    <scene_description>She kisses him. He kisses her back.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>Leonard has pulled over down the street from the party.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET</stage_direction>
    <scene_description>Kenny and Jody appear from a backyard, across the street from the party.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. POLICE CAR</stage_direction>
    <scene_description>The officer sits in his car, trying to call Brent.</scene_description>
    <character>OFFICER</character>
    <dialogue>Brent?</dialogue>
    <parenthetical>(no answer)</parenthetical>
    <dialogue>Come in Brent.</dialogue>
    <scene_description>There's a knock at the car window. The officer looks up, startled.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAR</stage_direction>
    <scene_description>Leonard is looking in the window.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR</stage_direction>
    <scene_description>The officer rolls down the window.</scene_description>
    <character>OFFICER</character>
    <dialogue>Jesus Christ had balls in his soup, Marliston, what'd you do, eat out a pizza or something? What the fuck happened to your face?</dialogue>
    <character>LEONARD</character>
    <dialogue>Hey, look, Elvis.</dialogue>
    <character>OFFICER</character>
    <dialogue>Where?</dialogue>
    <character>LEONARD</character>
    <dialogue>You really are a god damn rube.</dialogue>
    <scene_description>Leonard slashes the officer's throat open in one savage swoop. He slumps over the steering wheel, throat cut beyond repair, blood squirting everywhere.</scene_description>
    <character>LEONARD</character>
    <parenthetical>(humming)</parenthetical>
    <dialogue>'Family affair. Oh yes it's a</dialogue>
    <scene_description>family affair'.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARTY</stage_direction>
    <scene_description>Jody and Kenny limp up to the party. There are no police outside.</scene_description>
    <character>JODY</character>
    <dialogue>Where are the police?</dialogue>
    <scene_description>Jody looks down the road, lets out a blood curdling scream. LEONARD is slowly limping towards the house, gore dripping razor in hands. JODY Oh GOD IT'S HIM! KENNY Quick! In the house. He won't look for us in there. Kenny and Jody limp toward the front door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PARTY HOUSE</stage_direction>
    <scene_description>Kenny and Jody limp through the front door. Couples are everywhere. There's no room to even walk. The party has reached it's 'climax'. We see the faces of teenage boys and girls as they lose their virginity. They run the gamut of emotions. Some are terrified, some are ecstatic. Some are concentrating as hard as they've ever concentrated, some are closing their eyes, trying to fade out. We see Sandy, Mark, Cindy, and Ben all having a blast. Sharon has managed to find a new partner and the nerds are riding the homely girls. It's orgiastic. Kenny and Jody can only marvel at it as they limp through the maze of bodies looking for a place to hide. KENNY GRABS a sheet off the ground and carries Jody up the stairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MASTER BEDROOM</stage_direction>
    <scene_description>Kenny carries Jody into the huge bedroom. A couple of kids look up as the door opens. There must be over a 100 teenagers in the room, adjoining bathroom, and closets. The room is just a sea of kids humping two deep, under blankets.</scene_description>
    <character>KID ON FLOOR</character>
    <dialogue>There's no room in here.</dialogue>
    <character>ANOTHER KID</character>
    <dialogue>Yeah. Get lost we're packed.</dialogue>
    <scene_description>Kenny pays no attention to them. He shoves his way into a corner, pissing off everyone on the way, stepping on a few hands and other appendages. He puts Jody down and starts unbuttoning her shirt.</scene_description>
    <character>JODY</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>What are you doing?</dialogue>
    <character>KENNY</character>
    <dialogue>Pretend we're just another couple.</dialogue>
    <scene_description>He pulls her under the sheet.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PARTY - DOWNSTAIRS</stage_direction>
    <scene_description>Leonard comes in the front door, his razor in hand, the policeman's blood still dripping from it. He looks around, wondering if they're here. No one seems to notice Leonard as he hunts for Jody and Kenny, walking through the sea of bodies, dripping blood on the backs of a couple of kids. A serial killer at a fuckfest. Leonard smiles at the sight of all the teenagers copulating.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MASTER BEDROOM</stage_direction>
    <scene_description>Kenny and Jody curl up next to each other. Kenny kisses her. She kisses him back. They're into each other. They can't keep their hands off each other. They start to really make out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PARTY DOWNSTAIRS BEDROOM</stage_direction>
    <scene_description>Leonard moves into one of the bedrooms. He switches the lights on. The kids look up pissed off. There's not an inch of floor space.</scene_description>
    <character>BOY</character>
    <dialogue>Hey! Turn that off.</dialogue>
    <character>GIRL</character>
    <dialogue>Mr. Marliston?!</dialogue>
    <character>LEONARD</character>
    <dialogue>Hi Samantha. Excuse me.</dialogue>
    <scene_description>He steps over a thrusting hairy ass, surveys the room. No Kenny. No Jody.</scene_description>
    <character>GIRL</character>
    <parenthetical>(freaked)</parenthetical>
    <dialogue>What are you doing here?!</dialogue>
    <scene_description>The girl breaks into orgasm before she can barely finish the sentence. Leonard flips the lights off and heads out of the room. Through out the entire proceedings, everyone was fucking like no one entered the room. Homeostasis remains stable.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PARTY STAIRCASE</stage_direction>
    <scene_description>Leonard heads up the stairs, still looking for Kenny and Jody. A couple of kids on the staircase notice him. He almost trips on one. They start whispering to each other, freaked out that a teacher is there. More and more kids start looking up The party has definitely been disturbed.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MASTER BEDROOM</stage_direction>
    <scene_description>Jody hears the disturbance. She stops Kenny and listens.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Leonard checks another bedroom. He flips the lights on. No Jody, no Kenny. He leaves. More and more kids notice him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MASTER BEDROOM</stage_direction>
    <scene_description>Jody and Kenny know he's close. Leonard appears in the doorway.</scene_description>
    <character>KENNY</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>It's him.</dialogue>
    <scene_description>Leonard accidentally steps on a boy's hand as he enters the room. The boy, JIMMY, is pissed off. He looks up and realizes who it is.</scene_description>
    <character>LEONARD</character>
    <dialogue>Pay no attention to me.</dialogue>
    <character>JIMMY</character>
    <dialogue>What are you doing here?</dialogue>
    <character>BOY ACROSS THE ROOM</character>
    <dialogue>He's looking to get laid.</dialogue>
    <character>JIMMY'S GIRLFRIEND</character>
    <dialogue>Mr. Marliston?</dialogue>
    <scene_description>She grabs her clothes, embarrassed. Jimmy gets up. He's very drunk. Kenny and Jody peek out from under their sheet.</scene_description>
    <character>JIMMY</character>
    <dialogue>You fucked me up!</dialogue>
    <character>LEONARD</character>
    <dialogue>What?</dialogue>
    <character>JIMMY</character>
    <dialogue>You gave me a 'D'.</dialogue>
    <character>LEONARD</character>
    <dialogue>I'm sure you should have failed.</dialogue>
    <character>JIMMY</character>
    <dialogue>I was grounded for two fucking months because of you!</dialogue>
    <scene_description>Jody knows her friend is in danger.</scene_description>
    <character>JODY</character>
    <dialogue>Jimmy leave him alone! He's imbalanced.</dialogue>
    <scene_description>Leonard sees Jody. He starts toward her but Jimmy stupidly jumps in his way.</scene_description>
    <character>LEONARD</character>
    <dialogue>Please get out of my way or I'll have to hurt you.</dialogue>
    <character>JIMMY</character>
    <dialogue>I knew you were a pervert. Always wearing those fucking doofy glasses, and driving a station wagon.</dialogue>
    <character>JODY</character>
    <dialogue>He's dangerous Jimmy!</dialogue>
    <character>JIMMY</character>
    <dialogue>So am I! I'm gonna rip your cock off</dialogue>
    <scene_description>Marliston!</scene_description>
    <character>LEONARD</character>
    <dialogue>Touché'</dialogue>
    <scene_description>Leonard winds back, slashes at Jimmy, lopping off his dick. Blood flies up, splatters across Jimmy's face. Jimmy screams. Leonard slashes open his neck. Blood splatters everywhere, on kid's backs, faces, butts. His girlfriend screams as Jimmy falls to the ground, dying. Leonard begins to panic. So do the kids. Leonard sees Jody across the room and starts toward her as the other kids in the room rise to their feet and stampede the fuck out of dodge like a herd of frightened elephants.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DIFFERENT BEDROOM</stage_direction>
    <scene_description>Kids in other rooms hear the commotion and break their embraces.</scene_description>
    <character>BOY(O.C.)</character>
    <dialogue>Run! Mr. Marliston's here! And he's horny!</dialogue>
    <scene_description>Panic sweeps through the whole party. Everyone wants out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Leonard can't get to Jody because too many kids are trying to get out the bedroom door, pushing toward it, sweeping him up in their flow. It has turned quickly into chaos with a teenage logjam at the door. Leonard keeps his eyes pinned on Jody across the room, through the bodies. He can't make headway so he raises the razor to slash way to her. Jody sees him raise the razor.</scene_description>
    <character>JODY</character>
    <dialogue>No!</dialogue>
    <scene_description>Leonard starts slashing his way toward Jody. He slashes a girl across the stomach, a boy across the face, a girl across the breasts. It's a bloodbath, everyone's screaming. KIDS' bodies fall to the ground, tripping people, creating even more chaos. Leonard loses his balance and is pushed to the ground as kids stampede over him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MASTER BEDROOM</stage_direction>
    <scene_description>Jody and Kenny try to make it to the door. Leonard tries to get up but he can't. He starts crawling toward Jody, slashing the legs of a couple of kids who are in his way, sending them to the ground. One kid does a back flip through a glass coffee table, exploding it, sending a shard of glass out his throat. Blood sprays across the ceiling like a lawn sprinkler. Through the sea of legs, Leonard sees Jody's leg, the 'VIR' still freshly carved. He slashes his way towards Jody.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Half naked kids come streaming out of the house, it's a bizarre sight. Some of them stop and scream, noticing the deputy (his body has been hung upside down from a telephone pole, and disemboweled). The house is almost bursting as kids climb out the windows and appear from the back.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STAIRWELL</stage_direction>
    <scene_description>Too many kids are trying to get out at one. The staircase and all the hallways start totally backed up but all the kids keep pushing forward. Something's got to give.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Leonard keeps crawling toward Jody, getting closer and closer. He scrunches over Jimmy's severed penis, staining his khakis with gore.</scene_description>
    <character>LEONARD</character>
    <dialogue>Come on! These are eighty dollar INDEPENDENT khakis! Limited Edition! God damn it!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. STAIRWELL</stage_direction>
    <scene_description>The pushing continues. There's nowhere to go. A boy gets pushed over the balcony, falling to the ground below.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Leonard is just a few feet from Jody's leg. Jody and Kenny push closer to the door. Leonard reaches for Jody's leg. He can't quite grab it. Kenny and Jody reach the door. They're almost out. Leonard lungs and grabs Jody's leg. Jody screams out in pain, falls into the crowd.</scene_description>
    <character>JODY</character>
    <dialogue>Kenny!</dialogue>
    <scene_description>Kenny tries to grab for her but he can't reach her. The force of the mob pushes him out the door, through the vortex.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UPSTAIRS</stage_direction>
    <scene_description>Kids jam the staircase. There's too many trying to get down at once. Everyone's still pushing. The kids on the staircase can't keep their position and start falling forward, pushing harder.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Leonard keeps hold of Jody's leg and pulls her toward him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BALCONEY</stage_direction>
    <scene_description>Kenny tries to get back to Jody but there's no way he can make headway back into that room.</scene_description>
    <character>KENNY</character>
    <dialogue>Jody?!</dialogue>
    <scene_description>The staircase is now jammed with people, starts to buckle. The banister breaks. Kids start falling off the balcony and staircase, onto kids below, CRACKING SKULLS, breaking bones.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DOWNSTAIRS</stage_direction>
    <scene_description>Lamps smash to the ground. Tables are trampled. Basically, the entire inside of the house is destroyed in the stampede which puts something out of fucking JUMANJI to shame.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Leonard gets hold of Jody's waist and pulls her towards him, razor ready.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UPSTAIRS CORRIDOR</stage_direction>
    <scene_description>Everyone gives one final push out. Kenny is swept on to the staircase. It can't take the pressure and finally cracks. Kids tumble on top of each other falling to the floor below as the staircase splinters. Hurt kids are everywhere as more and more get pushed over the edge. It's a disaster. Broken boned teenagers litter the floor like it were a battlefield. Kenny manages to grab hold of the second floor as kids fall past him. The whole house begins to buckle.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>The room empties as the kids push out. Leonard pulls Jody up next to him and puts the razor to her neck. He draws the first spot of blood.</scene_description>
    <character>JODY</character>
    <dialogue>Please! You wouldn't kill your sister, would you?</dialogue>
    <character>LEONARD</character>
    <dialogue>You think you're my sister?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. STAIRCASE</stage_direction>
    <scene_description>Kenny manages to pull himself back up to the second floor.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Jody turns to look at LEONARD as Kenny appears in the doorway.</scene_description>
    <character>JODY</character>
    <dialogue>We have the same color eyes.</dialogue>
    <scene_description>He looks into her eyes.</scene_description>
    <character>LEONARD</character>
    <dialogue>You're right. We do.</dialogue>
    <scene_description>Leonard stares at Jody for a moment, relaxing his grip, giving Kenny just the break he needs to dive for Leonard's arm, surprising him, knocking him over. They struggle for the razor but Leonard overpowers him and grabs it, cutting his own hand. He turns and slices Kenny down the side, cutting him deep. Kenny fights off the pain and leaps on Leonard's back, grabbing his arm around the neck. Leonard stands up and twirls around, trying to knock Kenny off his back, smashing him into walls. Kenny screams in pain, but doesn't let go, pulling at Leonard's face and throat. Leonard spins faster. JODY struggles to her feet, holding her neck, still losing a little blood. Kenny's grips start to slip as Leonard reaches back, to slice him across the face and neck. LEONARD, backs up towards the window, slips over a dildo. He screams, loses his grip on Kenny, goes crashing out the second story window.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>Leonard crashes to the ground below, landing on his back on the front steps.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Jody looks out after him. He looks up to her. Their eyes meet.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE</stage_direction>
    <scene_description>KIDS start circling Leonard. Leonard gets to his knees, still holding the razor. They start taunting him.</scene_description>
    <character>BOY 1</character>
    <dialogue>It's the freak!</dialogue>
    <scene_description>The kids inch closer to Leonard.</scene_description>
    <character>GIRL 1</character>
    <dialogue>He's still got the blade!</dialogue>
    <scene_description>One kid kicks him. Leonard slashes at the kid, but misses. Another boy kicks the knife out of his hands. A third picks it up.</scene_description>
    <character>BOY 3</character>
    <dialogue>Come on! It's fuck him up time!</dialogue>
    <scene_description>One boy kicks Leonard in the face. Another kicks him in the ribs, another in the balls. Leonard tries to fight back for a second but slowly they all descend on him, taking turns kicking and beating the ever living shit out of him. It's a feeding frenzy. He disappears under the angry mob of teenagers.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Jody helps Kenny to his feet.</scene_description>
    <character>KENNY</character>
    <dialogue>Come on. Lets get out of here.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FRONT YARD</stage_direction>
    <scene_description>Police cars screech to a stop out front. The kids are all disappearing off down the street. JODY AND KENNY emerge out the front door, look down at LEONARD, barely alive, lying at bloody mess at the base of the steps.</scene_description>
    <character>LEONARD</character>
    <dialogue>J-Jody. P-please help me. Please.</dialogue>
    <scene_description>Leonard spits up blood. Jody squeals. Kenny covers her eyes. CLOSE on the BALCONY overhead. The railing breaks off and the balcony comes crashing down, falling on Leonard, killing him. Jody embraces Kenny tightly.</scene_description>
    <character>KENNY</character>
    <dialogue>It's all over now.</dialogue>
    <scene_description>dissolve to:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AVON LAKE CEMETERY</stage_direction>
    <scene_description>Cemetery- Brent's coffin is in a grave. People are leaving the funeral. Jody is with her Mom. They are the last ones there. They watch as the workers start to throw dirt on the coffin. Jody takes her mom's hand in her own. They're close again. Dissolve to:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S BEDROOM - A MONTH LATER</stage_direction>
    <scene_description>It's night. Jody is asleep.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BEDROOM</stage_direction>
    <scene_description>Someone is in the shadows outside, climbing up to her bedroom window.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM</stage_direction>
    <scene_description>Intruder's POV - Through the window, Jody is sound asleep in her bed, vulnerable. The window opens. Someone steps in and moves quietly over to the edge of the bed. She wakes, startled. She looks up. IT'S KENNY.</scene_description>
    <character>KENNY</character>
    <parenthetical>(smiling)</parenthetical>
    <dialogue>I'm all out of patience.</dialogue>
    <scene_description>He climbs in her bed and takes her. She lets him. She's into it. A pair of eyes peer through the slates of Jody's closet door. Someone is hidden in her closet. KILLER'S POV - Jody and Kenny are now in the middle of making love for the first time. It's getting hot.</scene_description>
    <character>JODY</character>
    <dialogue>Oh God, this is the way it should be.</dialogue>
    <scene_description>The closet door opens. The real LISA SHERMAN is there. Maybe she wasn't dead after all! She starts toward Jody, raising a huge butcher knife over her head. Jody sees her and screams. The knife comes down toward the center of Kenny's back. His face contorts as the knife enters his body. Jody screams as he coughs up blood all over her breasts. He looks helplessly at Jody, dying as the knife comes down again. But now it's her father who's doing the stabbing!</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JODY'S BEDROOM</stage_direction>
    <scene_description>Jody wakes up from her dream, startled and shaken. She looks next to herself in bed. Kenny is lying there asleep, smiling, probably dreaming of her. The window is open. He must have climbed in. There is a little red spot on the sheet next to her. She cuddles up next to him as the sun starts to rise outside. Dissolve to:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHERRY FALLS</stage_direction>
    <scene_description>The entrance to the town. The hanging sign reads 'Entering Cherry Falls, Ohio'. The beautiful town is now peaceful again. The crickets are chirping, the robins begin cooing. Suddenly a window comes up and the hanging sign begins to sway back and forth, almost on its own. CUT TO BLACK THE END</scene_description>
  </scene>
</script>

Summary: In the woods outside of Cherry Falls, Virginia, a teenage couple, Rod Harper (Jesse Bradford) and Stacy Twelfmann (Bre Blair) are getting romantic in a car when a black-haired woman appears and murders them both. Meanwhile, in town, teenager Jody Marken (Brittany Murphy), the daughter of the local sheriff, is with her boyfriend, Kenny (Gabriel Mann), who thinks it is time to "see other people." Jody goes back home to find her father, Brent (Michael Biehn), upset that she is out past her curfew. Brent and his deputies begin to investigate the murders the next day. They see that the killer carved the word "virgin" into both victims. At school, Brent sees English teacher Mr. Leonard Marliston (Jay Mohr), who urges him to divulge more details of the murder to students and the town so as to eliminate the possibility of secrets. Annette Duwald, also a virgin, is home alone when she is killed in the same manner as the other two teenagers. Concerned for the town's safety, Brent holds a meeting at the high school to tell parents the nature of the crimes. No students are invited, but Jody and her friend Timmy, who stayed after school, witness the meeting. Timmy asks to borrow Jody's cell phone, and goes into the stairwell to make a call. Jody goes downstairs to find him, and discovers his dead body in a locker room. She is confronted by the killer, who attacks her, but she manages to escape. At the police station, Jody describes the killer to an officer, who draws a composite. Brent confides with an old friend, Tom Sisler, the current high school principal, that the suspect looks like "Lora Lee Sherman."  The two are both visibly nervous, and Jody listens in on their conversation. Back at school, Jody and Kenny reconcile. Later Jody learns from her mother about the tale of Lora Lee. Twenty-seven years ago, Lora Lee was a high school loner. She claimed that four popular boys at school, including Brent and the high school principal, raped her one night. Her cries fell on deaf ears and she left the city for the rural outskirts, where she was rarely seen or heard from again. After Jody discovers the truth, disappointed with the hypocrisy of her parents, she visits Kenny at his house. They talk and Jody, being upset with her parents, tries to have sex with Kenny. He refuses, causing her to get upset and leave. After catching news of the killer's targeting of virgins, the high school students in town congregate at an abandoned hunting lodge to indulge in a mass orgy. Brent goes to the school to meet Sisler only to find the principal dead in his office with the words "virgin not" carved into his forehead. Before Brent can react he is knocked out by the killer. Jody, who has refused to attend the orgy with Kenny, is out riding her bike when she cycles by Mr. Marliston's house and witnesses him dragging a heavy trunk inside. She helps him get it into the house, and he casually mentions that her father is inside it. She opens it and finds her father, beaten and bloody, before she is knocked unconscious. At the orgy, Kenny is about to have sex with a girl when he has second thoughts and leaves to find Jody. Driving around, he is puzzled to see her bicycle outside of Marliston's house. In his basement, Marliston puts on a wig and makeup to "become" Lora Lee Sherman. Marliston reveals that he is Lora Lee Sherman's illegitimate son, and asks Brent to retell the story of what happened that night 25 years ago. Brent reveals that the four boys, including himself, did indeed rape Lora Lee. Marliston says his mother became an abusive "psycho" after the rape and that one of the rapists is his father; there is an implication that Brent is in fact Marliston's biological father. By targeting virgins, Marliston would rob all the wealthy parents of their "precious virginal children". Kenny enters the house and frees Jody as Brent fights with Marliston, who manages to brutally kill him. Jody and Kenny flee to the orgy with Marliston in furious pursuit, killing a deputy en route. He bursts inside wielding an axe and mass panic erupts. After wildly stabbing panicking students and then trying to escape, Marliston fights both Jody and Kenny, with Kenny being severely wounded during the melee. Eventually, Marliston is pushed off a balcony by Jody and impaled on fence posts. At first he seems to be dead, before reviving briefly only to be promptly shot dead by Deputy Sheriff Mina, who unloads two pistols into him. The next day, Jody hides the reasons for the killings from the police and she and her mother head away from the station. As they leave town, Jody sees someone resembling Lora Lee Sherman disappear behind a moving school bus. The film ends with a shot of the waterfalls outside town, turning red.