The killer (Philippe Nahon) breaks into the house, stomps around heavily, and slaughters everyone except Alex, who he takes prisoner, and Marie, who hides under the bed -- yes, hides under the bed. The killer lifts up the mattress to check, but looks under the wrong end. Uh, huh. Marie should then remain still as a church mouse until the killer leaves, but no, she follows him downstairs and eventually ends up locked in the back of the truck with the kidnapped and chained Alex.
From the point when Marie crawls out from under the bed and follows the killer downstairs, she persists in making one wrong decision after another and ignoring obvious opportunities to escape. Perhaps she feels her presence is needed for the movie to continue, a likely possibility as the list of living characters shrinks steadily. She does have wit enough to pick up a big kitchen knife, so that we can enjoy the slasher movie cliche where such knives make the noise of steel against steel all by themselves, just by existing, and without having to scrape against anything.
After the truck leaves the deserted house, and stops at a gas station, Marie has another opportunity to get help, but blows it. Reader, take my advice and never hang up on a 911 operator just because you get mad at them because they're so stupid they want to know where you're calling from, especially not if the slasher has picked up an axe.
The rest of the movie you will have to see for yourself -- or, not, which would be my recommendation. I am tempted at this point to issue a Spoiler Warning and engage in discussion of several crucial events in the movie that would seem to be physically, logically and dramatically impossible, but clever viewers will be able to see for themselves that the movie's plot has a hole that is not only large enough to drive a truck through, but in fact does have a truck driven right through it.
Note: The film's British title is "Switchblade Romance," which, if you see the film, will seem curiouser and curiouser.
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