Q: Where does the killer confront Wendy at?
Text:  
<b>                                  PROM NIGHT
</b>


                                  Written by

                                 William Gray



                                From a story by

                                   Bob Guza



<b>                                                     FINAL DRAFT
</b>
                         

                         

<b>                         FADE IN:
</b>
<b>          EXT. ELEMENTARY SCHOOL - DAY
</b>
          SUPER: April 27, 1973
          All is quiet outside this suburban school on a sunny
          Friday afternoon. Cars idle in the driveway awaiting
          the three o'clock onslaught of liberated children.
          Two faded yellow buses stand ready.

          The lull is shattered by the CLANGING of the final BELL.
          A swarm of children pours out the door and down the
          broad front steps, scattering across the lawn toward
          the cars and the buses.

          Moving slowly through the crowd, ROBIN and ALEX HAMMOND,
          nine-year-old identical twins, appear at the doorway..
          Attractive, dark-haired children, they seem more sub-
          dued than the others. As they walk quietly down the
          stairs, Robin lags behind, staring at a boy teasing a
          girl nearby. He is NICK MCBRIDE, eleven years old,
          two grades ahead of Robin and the most popular boy in
          school. The pretty girl laughing at his antics is KIM
          HAMMOND, also eleven, Robin's older sister.

<b>                         ALEX
</b>          C'mon, Robin.

<b>                         ROBIN
</b>
<b>                         (STUTTERING BADLY)
</b>          W-w-where's D-d-daddy?

<b>                         ALEX
</b>          He's got a meeting at the high
          school. We're supposed to walk
          home with Kim...
          (sees Robin watching
          the young couple)
          She's too busy. Let's go
          by ourselves.

<b>                         ROBIN
</b>          N-n-n-no, Alex. Let's w-w-wait.

<b>                         ALEX
</b>          Why?
          Robin is staring at Nick. Alex looks, understands.
          He's angry.

<b>                         ALEX
</b>
<b>                         (CONTINUING)
</b>          You're crazy, I'm not waiting.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         CONTINUED :
</b>          He strides away. Robin's eyes remain on Nick and Kim.
          Nick says something to Kurt. She shakes her head and
          pains toward Robin. Robin quickly turns away as they
          look at her.. When she glances back, Ki_m is walking
          towards her and Nick is bicycling away.

<b>                         KIM
</b>          Okay, let's go.
          The sisters start to walk across the lawn.

<b>                         ROBIN
</b>          Y-you 1-1-like him?

<b>                         KIM
</b>          Who?

<b>                         ROBIN
</b>
<b>                         (SMILES SHYLY)
</b>          Y-you know.

<b>                         KIM
</b>          Nick? Oh, he's all right, I guess.
          They walk on in silence with Robin stealing glances at
          her big sister.

<b>                         ROBIN
</b>
<b>                         (FINALLY)
</b>          Are y-y-you g-gonna m-in-marry him?

<b>                         KIM
</b>          Robin?
          Robin smiles and takes Kim's hand. They walk along the
          road, kicking rocks and swinging their bookbags. Sud-
          denly Kim halts.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          Oh, damn!
          Robin looks up in surprise.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          Debbie was gonna lend me her new
          record. Look, you go on home
          by yourself. Tell Mom I'll be
          a little late.
          Before Robin can reply, Kim is hurrying away.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          3.
</b>
<b>          CONTINUED! (2)
</b>          Robin watches her go, then moves off alone, breaking
          into a skip and playing imaginary hopscotch.
          As she turns off the main road into a side street,
          Robin passes a construction site. The empty skeleton
          of a half-finished apartment building looms up above
          the dark shade trees. Hearing VOICES, Robin stops to
          investigate.

<b>                         ROBIN
</b>
<b>                         (CALLS OUT)
</b>          Alex?
          The VOICES continue. Robin moves closer, peering
          through the tall bushes surrounding the lot. She
          sees Nick playing in.the framework with three of his
          classmates. Robin recognizes JUDE CUNNINGHAM, and
          KELLY LYNCH as Kim's two best friends. The fourth
          child, WENDY RICHARDS, is a dark-haired girl, domin-
          eering and loud. As Robin watches, Wendy jumps
          up onto the floor of the building.

<b>                         WENDY
</b>          I want to play 'Murder.' Who's
          the killer?

<b>                         NICK
</b>          You, Wendy!

<b>                         JUDE
</b>
<b>                         (GIGGLING)
</b>          you, Nick.

<b>                         KELLY
</b>          Yes, Nick!

<b>                         WENDY
</b>
<b>                         (LAUGHING)
</b>          You'll never catch me. Hide your
          eyes, killer!
          As Nick turns his back, hiding his eyes against an ex-
          posed beam, the children scatter through the structure.
          Robin watches with mounting excitement as Nick finishes
          counting, and whirls around.

<b>                         NICK
</b>          The killer is coming for you!
          He moves into the building, chanting "Kill, kill.," in a
          low monotone. As he disappears from view, Robin cau-
          tiously edges out of the bushes and moves up to the
          building.

<b>          NICK (O.S.
</b>          The killer strikes!

<b>                          (CONTINUED)
</b>
                         

                         

                         

                         

<b>          4.
</b>
<b>                         1 CONTINUED; (3) I
</b>          Robin hears Jude's SQUEAL of LAUGHTER. Nick has caught
          her. Immediately Jude's VOICE TAKES UP the "kill"
          chant in unison with Nick.

<b>          INT. APARTMENT BUILDING UNDER CONSTRUCTION - DAY 2
</b>
          Robin climbs up onto the floor and peers into the dark,
          gloomy structure. Suddenly, she hears a SHRIEK. Ter-
          rified, she backs against a wall. LAUGHTER FOLLOWS im-
          mediately and Robin hears Kelly's VOICE TAKING UP the
          chant. As the three "killers" move through the vast
          structure searching for Wendy, "KILL, KILT" ECHOES off
          the walls and hardwood floors.
          Robin cautiously steps out of the doorway into the im-
          mense unfinished lobby. Ominous shadows slash across
          the floor as the excited girl listens to the relentless
          CHANTING of the children.
          Robin pushes on a makeshift wooden door. It slips off
          its temporary hinges, crashing down to the floor. The
          NOISE is like a rifle shot; suddenly, there is ABSOLUTE
          SILENCE in the structure.
          Petrified, Robin crouches behind a wall, waiting. The
          CHANTING quickly RESUMES and she breathes a long sigh
          of relief.
          Robin moves through a dark corridor, hugging the walls.
          Flushed with excitement, she imagines herself a "killer"
          searching for Wendy. As she moves past an empty room,
          she hears a SOFT GIGGLE. Robin stops and listens care-
          fully. Once again she hears the GIGGLE, LOUDER this
          time, coming from nearby.
          Stepping to a doorway, she leans around the corner and
          peers inside. In the darkness she can see nothing.
          Gathering her courage, she quietly slips into the room.
          The room appears empty but a closet door is slightly
          ajar. As Robin approaches, she hears a FAINT GASP from
          behind her. Whirling around, she sees Wendy crouched
          behind a cardboard box in the corner.

<b>                         WENDY
</b>
<b>                         (HISSING)
</b>          You better not tell!
          Before Robin can react, she hears a THUD from above.
          Looking up, she sees Nick's head appear through an
          opening in the ceiling. Seeing Robin, then Wendy
          standing in the corner, he howls in triumph.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          5.
</b>
<b>                         CONTINUED:
</b>
<b>                         NICK
</b>
<b>                         (CALLING OUT)
</b>          Here, killers, here!
          Nick's head disappears from the opening and Robin hears
          the POUNDING of RUNNING FEET.

<b>                         WENDY
</b>
<b>                         (MALICIOUSLY)
</b>          Now you've done it, you idiot!
          The CHANTING GROWS LOUDER as the "killers" rush towards
          the room. Trapped, Wendy looks frantically for an es-
          cape but finds nothing. Turning around suddenly, she
          grins at Robin, a cruel, hard expression on her face.

<b>                         WENDY
</b>
<b>                         (CONTINUING; SLOWLY)
</b>          Kill, kill, kill...
          Picking up the chant, Wendy begins to advance on Robin.
          Terrified, Robin turns and rushes out of the room,
          bowling over Nick in the doorway. Delighted that the
          game is continuing with a new victim, he follows Wendy
          in pursuit of Robin.
          Robin flees down the long, dark corridor, "KILL, KILL
          ECHOING in her wake. As she rounds a corner, Jude ap-
          pears, looming up in front of her. Robin screams and
          sprints in the opposite direction. Kelly leaps out of
          a doorway and grabs for her, but Robin, swinging out
          blindly, escapes the "killer."

<b>          INT. STORAGE ROOM - DAY 3
</b>
          Darting into the large room, Robin collapses against a
          wall, gasping for breath. As her eyes adjusts to the
          darkness, she spies a rickety ladder extending through
          a hole in the floor to the basement below. Stacked up-
          right near the opening are several sheets of window
          glass. Before Robin can make a move towards the lad-
          der, she hears a horrible SCREECH and Wendy appears in
          the doorway, a vicious look on her face.

<b>                         WENDY
</b>          Killers, here!
          Wendy advances. Terrified, Robin begins to back away.

<b>                         ROBIN
</b>          N-n-n-no!

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          6.
</b>
<b>                         CONTINUED:
</b>          Nick, Jude and Kelly appear in the doorway, chanting
          "Kill, kill." Moving quickly, Robin grabs the ladder
          and starts down into the basement, careful not to knock
          over the sheets of glass stacked near the opening.
          Peering into the pitch-black basement, Robin hesitates.
          But as Wendy and her fellow "killers" close in on her,
          Robin continues down the ladder. Wendy rushes up and
          grabs the ladder.

<b>                         ROBIN
</b>
<b>                         (CONTINUING)
</b>          P-p-please!
          Wendy grins and shakes the ladder. The chanting is
          deafening. Robin hugs the wooden slats. Wendy shakes
          even harder. Robin screams. Nick moves around Wendy
          to get a better look. He accidentally bumps the glass
          stacked next to the opening. The sudden movement is
          just enough to dislodge a razor-sharp pane of glass and
          send it hurtling down directly at Robin.
          The girl's last scream catches in her throat as the
          glass slices through her neck. She is instantly
          decapitated.
          Horrified, Wendy watches the glass and the body crash
          to the concrete basement floor. Kelly screams. Jude
          sobs loudly. Nick can only stare in shock. Finally,
          he manages to speak.

<b>                         NICK
</b>
<b>                         (WHISPERING HOARSELY)
</b>          We gotta get somebody quick!
          Nick starts to go. Wendy instantly whirls, grabs his
          arm.

<b>                         WENDY
</b>          Are you crazy? They'll put us in
          jail!
          Confused, Nick cannot reply. The other girls grow
          silent.

<b>                         WENDY
</b>
<b>                         (CONTINUING)
</b>          If we tell anyone, they'll say
          it's our fault. Who'd believe it
          was an accident?
          Nick starts to protest.

<b>                         WENDY
</b>
<b>                         (CONTINUING;
</b>
<b>                         INTERRUPTING)
</b>          Listen to me!

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          7.
</b>
<b>                         CONTINUED: (2)
</b>
<b>           WENDY (C ONT D )
</b>          We'll go home now and never ever
          tell anyone. They'll think it was
          an accident. 1,10 one but us will
          ever know.
          She looks at each of them. They are still too numb to
          respond.

<b>                         WENDY
</b>
<b>                         (CONTINUING)
</b>          Everybody swear never to tell!
          Wendy glares at Jude.

<b>                         WENDY
</b>
<b>                         (CONTINUING)
</b>          Jude?

<b>                         JUDE
</b>
<b>                         (SOFTLY)
</b>          I swear.

<b>                         WENDY
</b>          Kelly?
          Kelly looks from Wendy to the mangled body and begins
          to whimper.

<b>                         WENDY
</b>
<b>                         (CONTINUING; STERNLY)
</b>          Kelly!
          The frightened girl looks up at Wendy.

<b>                         KELLY
</b>
<b>                         (WHISPERS)
</b>          I don't wanta go to jail...

<b>                         WENDY
</b>          Swear!

<b>                         KELLY
</b>          I swear.
          Wendy turns to Nick. At first he appears defiant, ready
          to object, but he wilts under her withering gaze.

<b>                         NICK
</b>
<b>                         (FINALLY)
</b>          I won't tell.

<b>                         WENDY
</b>
<b>                         SLOWLY NODS)
</b>          Good.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         CONTINUED: (3)
</b>          With a final glance down at Robin's mutiliated body,
          Wendy quickly ushers her shocked friends out of the
          room.
          As their FOOTSTEPS ECHO away across the hardwood floor,
          there is a terrible silence. Then, starting very
          quietly, more FOOTSTEPS are HEARD, this time a single
          person approaching the ladder from above. The FOOT-
          STEPS STOP and a deep, black shadow falls across the
          ladder; HEAVY BREATHING punctuates the oppressive
          quiet, growing louder and more anguished.

<b>                         CUT TO:
</b>
<b>          INT. STORAGE ROOM - DUSK
</b>
          We slowly TILT UP TO the tortured features of RAYMOND
          HAMMOND, Robin's father. A handsome, dark-haired man
          in his late thirties, he teaches history at George
          Winston High School.
          Wracked with grief, he stands near the opening in the
          floor and watches as two Paramedics bring up the body
          of his daughter from the dark basement.
          A young Policeman standing nearby raises the white
          sheet covering Robin's remains. Hammond steps up
          and gazes at his daughter's decapitated body. A
          look of absolute horror and revulsion freezes
          on his face; what he sees he will never forget.
          Paralyzed, Hammond barely hears the CAR PULLING UP
          in front of the construction site. He turns and
          looks out the window.

<b>          EXT. APARTMENT BUILDING UNDER CONSTRUCTION - DUSK 5
</b>
          A Police Officer is getting out of his car. Walking
          around to the passenger side, he opens the door
          for an attractive blonde woman in her mid-thirties.
          VIVIAN HANMOND, Robin's mother, appears pale and
          haggard as she steps out of the car. Kim and Alex
          slowly climb out of the back, With the Police Officer
          escorting her, Vivian and her children move toward
          the skeleton of a building.
          Catching sight of her husband framed in a lower window,
          Vivian suddenly breaks. away from the Police Officer and
          runs inside the building.

                         

                         

                         

                         

<b>          INT. STORAGE ROOM - DUSK
</b>
          Hammond moves quickly to the door, grabbing his
          hysterical wife as she bursts into the room.

<b>                         HA:MMIOND
</b>          No!

<b>                         VIVIAN
</b>
<b>                         (SOBBING WILDLY)
</b>          Where is she? Where is Robin?
          Seeing the covered figure lying on a stretcher, Vivian
          moans in anguish.
          Struggling furiously, she strains to break her hus-
          band's hold, but he is too powerful.. They are both
          in tears, shaking with grief, when Kim and Alex step
          into the doorway.

<b>                         KIM
</b>
<b>                         WHISPERING)
</b>          Daddy?

<b>                         HAMMOND
</b>          (angrily,

<b>                         TO VIVIAN)
</b>          Why did you bring them here?
          Vivian collapses, burying her head in his shoulder
          and sobbing furiously, but Hammond pushes her out of
          the room.

<b>          HA ` 0 N D
</b>
<b>                         (CONTINUING)
</b>          Kim! Alex! Stay out in the
          hallway!
          Kim stumbles out into the corridor and begins to
          cry softly. Alex takes his mother's hand and tries
          comfort her.
          The Paramedics pick up the stretcher and maneuver it
          out of the room. As they pass through the doorway into
          the corridor, a corner of the sheet slips off Robin's
          corpse. Before a Paramedic can replace it, the de-
          capitated torso is briefly glimpsed by the family.
          Alex is shocked. Kim doesn't appear to realize what
          she sees. But Vivian's horror wells up in her
          throat, bursting out in a deranged scream.

<b>                         CUT TO:
</b>
                         

                         

                         

                         

<b>          INT. BEDROOM - DAY
</b>
          Another SCREAM, as throbbing DISCO MUSIC pulsates from
          a large portable RADIO sitting on a dresser.

<b>          SUPER: APRIL 27, 1980.
</b>          A young woman with long, golden brown hair and a trim
          figure is slipping into a pair of tight jeans. Pull-
          ing on a halter top, she sways to the MUSIC.

<b>          VIVIAN (O.S.)
</b>
<b>                         (CALLS OUT)
</b>          Kim! Turn that music down. You're
          driving me crazy!
          Turning around at the SOUND of her mother's VOICE, Kim
          Hammond reaches for the volume control Now eighteen,
          she is a strikingly beautiful girl with an open,
          innocent quality.

<b>                         KIM
</b>
<b>                         (CALLS OUT)
</b>          Okay, Mom!
          Kim quickly finishes dressing, whirling around the room
          to the pounding disco rhythm. Giving her hair a few
          final strokes with a brush, she gazes at a photograph
          of a young man stuck in her mirror. On the picture
          is written: "To Kim, the best on the floor... dancing,
          that is! Love, Nick."
          Kim glances at another photograph stuck in her mirror.
          This one shows her sister, Robin, taken a few days be-
          fore the accident. Her sadness passes as quickly as it
          came. Gathering her textbooks, she switches OFF the
          RADIO and exits.

<b>          8 INT. KITCHEN - DAY
</b>
          Raymond and Vivian Hammond are just finishing break-
          fast. The years have favored him; except for a touch
          of gray around the temples and a few extra pounds, he
          looks much the same way as we remember him. Vivian,
          however, wears the strain of the past seven years
          in her gaunt, drawn features and high-strung manner.
          Thumbing through his morning newspaper, Hammond steals
          quick glances at his wife. She does not look up at
          him, but stares at the table, toying with her spoon.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         8 CONTINUED:
</b>
<b>                         HAMMOND
</b>          (reading the paper)
          I'll tell you, Vi, I'm thinking
          of starting up an armed robbery
          course at the high school..
          I've got a feeling it'd be
          popular...
          He smiles at his joke, looks at her. She doesn't seem
          to have heard him.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          I just hope there's no trouble
          at the prom tonight...
          Kim bursts into the kitchen, interrupting her father
          with a kiss on the head.

<b>                         KIM
</b>
<b>                         (LAUGHS)
</b>          Mmmm, sounds like fun!

<b>                         HAMMOND
</b>
<b>                         (SMILING)
</b>          And how is the next queen of the
          Winston High Junior-Senior Prom?

<b>                         KIM
</b>          Scared tiff.
          She leans over to kiss her mother. Vivian automatical-
          ly turns her cheek to Kim without looking at her.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          Morning, Mom. We got any yogurt?

<b>                         VIVIAN
</b>
<b>                         (WITHOUT LOOKING
</b>
<b>                         AT KIM)
</b>          No, dear. Fix yourself a good
          meal. You're getting awfully
          thin.
          Kim and her father exchange glances. He shrugs

<b>                         HAIVMOND
</b>          who's your lucky escort tonight?

<b>                         KIM
</b>          You know, Daddy... Nick.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          1L,
</b>
<b>                         CONTINUED: (2)
</b>
<b>                          HAM`IOND
</b>
<b>                          (NODS)
</b>          I've been trying to forget. The
          boy's too sure of himself.

<b>                         KIM
</b>
<b>                         (INTERRUPTS)
</b>          Mom, tell him...

<b>                         VIVIAN
</b>
<b>                         (SOFTLY)
</b>          Seven years ago today.
          Hammond carefully folds his paper and places it on the
          table.

<b>                         HAMϿTOND
</b>          (affects a casual

<b>                         ATTITUDE)
</b>          Vi, I made you an appointment with
          Dr. Fairchild.
          Vivian finally looks up at him.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          It's this morning, actually.
          Sorry I forgot to mention it.

<b>                         VIVIAN
</b>          Today?

<b>                         HAMMOND
</b>
<b>                         (LOOKS AWAY)
</b>          You'd better get ready. He's
          fitting you in early before his
          other... people.

<b>                         VIVIAN
</b>
<b>                         (UPSET)
</b>          It doesn't help. You know that!

<b>                         HAMIOND
</b>          Now, Vi...
          Vivian stumbles to her feet and rushes out of the kitch-
          en before he can finish. With a glance at Kim, Hammond
          hurries after his wife. Going out through the swinging
          door, he bumps into a young man just entering.

<b>                         HAM4OND
</b>
<b>                         (CONTINUING)
</b>          Morning, Alex.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          1J.
</b>
<b>                         CONTINUED: (3)
</b>          Hammond exits. Alex, now sixteen, a tall, slender
          boy, casts a knowing look at Kim. Kim nods. Alex.
          shakes his head, then begins to rummage through the
          Pantry, pulling out a Hostess viTikie. ?lopping
          down at the table, he flips open his electronics book
          and begins to read. Munching on his Twinkie, he
          swipes sips from Kim's glass of milk.

<b>                         KIM
</b>          Have you got a date for tonight?
          His mouth crammed.full of Twinkie, Alex mumbles his
          reply.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          I happen to know Jude might be
          available. Of course, she is older,
          but...
          Alex almost chokes.

<b>                         ALEX
</b>          C'mon, Kimbo, I may be hard up...

<b>                         KIM
</b>          Alex! Jude's cute... Besides,
          she's funny and really smart.
          Give you somebody to do equations
          with!

<b>                         ALEX
</b>
<b>                         (SARCASTIC)
</b>          Great... Anyway, I'm in charge of
          the sound system tonight.

<b>                         KIM
</b>          Not bad but it's not romance.

<b>                         ALEX
</b>          It'll do for tonight.
          Kim shoots him a look, then backs off.

<b>                         KIM
</b>          If you get a chance, dance with
          Jude once or twice, okay?

<b>                         ALEX
</b>          Sure.
          He returns her glass of milk, empty.

<b>                          (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         8 CONTINUED: (4) 8
</b>
<b>                         ALEX
</b>
<b>                         (CONTINUING)
</b>          Any more milk?

<b>          9 INT. LIVING ROOM - DAY
</b>
          Hammond and Vivian are standing by the fireplace. His
          hand is on her shoulder. She faces the mantel, her
          back to him. On the mantel is a small shrine to the
          memory oftheir dead daughter; a framed photograph,
          fresh roses, two candles and a lock of her hair in a
          glass case.

<b>                         HAMMOND
</b>          Trust me.
          Vivian does not move. Finally, after a long pause,
          she turns toward her husband. Her eyes filled with
          tears, she nods.

<b>          10 INT. CAR (MOVING) - DAY 10
</b>
          Hammond is driving. Vivian stares blankly out the win-
          dow at the grimy city streets. Sitting in the back,
          Kim and Alex exchange uncertain glances. A tense si-
          lence pervades.

<b>          11 EXT. OFFICE BUILDING - DAY 11
</b>
          The Hammonds' car pulls up in front of a towering
          modern building.

<b>          12 INT. CAR - DAY 12
</b>
          Hammond cuts off the engine and turns to Kim and Alex.

<b>                         HAMMOND
</b>          I'll just be a minute...
          Vivian is already reaching for the door handle,

<b>          13 EXT. OFFICE BUILDING - DAY 13
</b>
          Alex jumps out of the car and opens the door for his
          mother. Taking her arm, he helps her out. Kim leans
          over in the back seat.

<b>                         KIM
</b>          See you later,'Mom.
          Vivian gives her a thin smile. Hammond takes her arm
          and leads her into the imposing building.

                         

                         

                         

                         

<b>          15.
</b>
<b>          14 INT. LOBBY - DAY 14
</b>
          Hammond and Vivian cross the room. Though she offers
          no resistance, it appears he is pulling her along.
          They hurry into an elevator after an elderly CLEANING
          WOMAN carrying a mop and a bucket.

<b>          15 INT. ELEVATOR - DAY 15
</b>
          They stand in silence. The Cleaning Woman puffs on a
          cigarette, blithely ignoring the NO SMOKING sign posted
          on the wall. Vivian nervously reaches into her purse
          and removes a bottle of Valium. Quickly popping two
          pills into her mouth, she swallows with difficulty and
          snaps her purse shut. Hammond says nothing.
          Just as the elevator doors slide open, the Cleaning Wo-
          man touches Vivian on the shoulder, causing her to jump
          in fright.

<b>                         CLEANING WOMAN
</b>          Could I have one of those? My
          nerves are shot this morning.
          With a terrified glance back at the woman, Vivian
          rushes out of the elevator. Hammond follows.

<b>          16 INT. CORRIDOR - DAY 16
</b>
          Hammond and Vivian move down the long, empty hallway.
          As they round a corner, a figure is visible unlocking
          a door.

<b>                         HAI` IOND
</b>
<b>                         (CALLS OUT)
</b>          Dr. Fairchild!
          DR. RUPERT FAIRCHILD straightens up and turns around.
          He's a. portly man in his fifties, trying to disguise
          his girth with careful tailoring.

<b>          17 INT. OFFICE - DAY 17
</b>
          Fairchild bustles about the reception area, turning on
          lights, checking his messages and appointment calendar.
          Fairchild is obsessively neat, the office reflects him.

<b>                         HAIIOND
</b>          We appreciate your seeing... us.
          I know how busy you must be.
          Vivian is staring at a painting of a young girl playing
          with a kitten. Catching Fairchild's eye, Hammond nods
          toward the outer door. Vivian does not notice the
          gesture.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         17 CONTINUED: 17
</b>          Fairchild nods in return. Stepping over to his inner
          office, he opens the door.

<b>                         FAIRCHILD
</b>          Have a seat, Vivian. I'll be
          right in.
          She slowly crosses the room, turning suddenly in the
          doorway.

<b>                         VIVIAN
</b>
<b>                         (TO HAMMOND)
</b>          Don't forget we're going to the
          cemetery this afternoon. I want
          Robin to have her flowers.
          Hammond moves over to his wife. Taking her by the
          shoulders, he kisses her lightly on the forehead.

<b>                         HAMMOND
</b>          I won't forget.
          Vivian looks from Hammond to Fairchild, who smiles.
          She enters the office, leaving the door open. Hammond
          shakes hands with Fairchild, and for Vivian's benefit
          adds...
          HA�I`i IOND

<b>                         (CONTINUING)
</b>          Thank you, Doctor.
          Hammond exits.

<b>          18 , INT. CORRIDOR - DAY 18
</b>
          Hammond leans against the wall outside Fairchild's of-
          fice. He glances at his watch. The door opens and
          Fairchild steps out, holding a container. Hammond
          walks with him down the corridor towards the water
          fountain.

<b>          H.ANMOND
</b>          She's at it again.

<b>                         FAIRCHILD
</b>
<b>                         (NODS)
</b>          Today's the date?

<b>                         HAIM BOND
</b>          Seven years ago today Robin was
          killed.
          Fairchild looks up from filling his container with
          water.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          17.
</b>
<b>                         18 CONTINUED: 18
</b>
<b>          HA,E,10ND
</b>
<b>                         (CONTINUING; MUSING)
</b>          This would have been her first prom.

<b>                         FAIRCHILD
</b>          Pardon?

<b>                         HAKMOND
</b>          Tonight's the Junior-Senior Prom
          at our high school. Robin would
          have been sixteen, She and Alex.

<b>                         FAIRCHILD
</b>          The twins... How is Alex?

<b>                         HAIIOND
</b>          Fine. I just thank God he was too
          young to really understand what
          happened to his sister.

<b>                         FAIRCHILD
</b>          And your older daughter?

<b>                         HANMOND
</b>
<b>                         (SMILES)
</b>          Kimmy's my princess. Sometimes she'll
          get depressed for a while... but it
          never lasts long. Young people seem
          so much more... resilient.
          They walk back to the office.

<b>                         FAIRCHILD
</b>          (looking up at Hammond)
          And yourself? No scars?

<b>                         HATIOND
</b>          (after a pause)
          I've learned to live them..
          Vivian seems worse this time.

<b>                         FAIRCHILD
</b>
<b>                         (NODS)
</b>          The persistence of Vivian's trauma.
          I wonder if there isn't something
          more serious at work here?

<b>                         HAMOND
</b>          Something more serious than her
          daughter's death?

<b>          19 INT. OFFICE - DAY 19
</b>
          Vivian fidgets in her chair. She seems very small and
          vulnerable in the large, somber office.

                         

                         

                         

                         

<b>          18.
</b>
<b>          20 INT. CAR (MOVING) DAY 20
</b>
          Alex is seated opposite his father in the front seat.
          Kim is in back. Easy listening MUSIC PLAYS softly on
          the car RADIO. Alex fiddles with the tuning dial,
          searching for music more to his tastes. Lost in
          thought, Hammond does not see the young girl skipping
          through the pedestrian crossing.

<b>                         KIM
</b>
<b>                         (SCREAMS)
</b>          Daddy!
          Hammond slams on the brakes, throwing Alex against
          the dashboard.

<b>          21 EXT. STREET - DAY 21
</b>
          The CAR SCREECHES to a halt inches away from the terri-
          fied child who stands frozen in the middle of the
          crossing. After a moment, realizing she is safe, the
          girl giggles nervously and skips away.

<b>          22 INT. CAR - DAY 22
</b>
          Hammond lets out a sigh and turns to his children.

<b>                         HAMMOND
</b>          You all right?
          They both nod. Alex massages his wrist. Hammond
          slips the car into gear and cautiously continues
          driving.

<b>                         KIM
</b>          You're worried about Mom?

<b>                         HALMOND
</b>          I was...
          He is interrupted by DISCO MUSIC ON the RADIO. Play-
          ing with the tuning dial, Alex quickly tries to pass
          over the music.

<b>                         KIM
</b>          Hey, keep that!
          Alex groans but does as she asks.

<b>                         ALEX
</b>          Disco sucks!

<b>                         HAMZMOND
</b>
<b>                         (REPROVINGLY)
</b>          Alex!

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          19.
</b>
<b>                         22 CONTINUED: 22
</b>
<b>                          ALEX
</b>           Sorry, Dad...
           (turns back to

<b>                          KIM)
</b>          Disco bites it!

<b>                         HAMMOND
</b>
<b>                         (DRYLY)
</b>          That's much better.
          The car pulls into the Winston High School parking lot.
          They pile out.

<b>          23 EXT. PARKING LOT - DAY 23
</b>
           Hammond, Kim and Alex walk through the empty lot
           towards the school. Suddenly, we HEAR a loud GRATING
          SOUND coming from nearby. The sudden noise startles
          Kim and she huddles against her father.
          A seedy little middle-aged man with a stubble of gray
          beard appears from behind a row of bushes, brandishing
          a pair of electric hedge clippers.

<b>                         HANMMMOND
</b>          Good morning, Mr. Sykes.
          SANFORD SYKES, the newly-hired custodian, bares his
          yellow teeth in a crooked grin and waves the whirring
          blades in salute. Kim shudders and stays close to
          her father as they walk on.

<b>                         KIM
</b>          He's creepy.

<b>                         ALEX
</b>          I heard he's wacko.

<b>                         HAIIOND
</b>          The man is not... wacko.

<b>                         KIM
</b>          Kelly says he's a pervert, spying
          on the girls undressing in the
          locker room.

<b>                         HAIIOND
</b>          Sykes may have some problems, but
          he's no Peeping Tom. He's been
          thoroughly checked out.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          20,
</b>
<b>                         23 CONTINUED: 23
</b>          They climb the broad front steps of the high school.
          Hammond glances at his watch.

<b>                         HAMNIOND
</b>
<b>                         (CONTINUING)
</b>          You're early today. Plenty of
          time to study with no one to
          bother you.
          Kim reaches up.and kisses her father on the cheek.
          Pulling out a fashion magazine, she rushes off, call-
          ing back over her shoulder.

<b>                         KIM
</b>          I'.ve got to decide on my hair
          style for tonight.

<b>                         HAMMOND
</b>
<b>                         (WRYLY)
</b>          Wonderful. Alex?

<b>                         ALEX
</b>          I'm building an atomic bomb in
          shop.
          Smiling, he moves inside. Hammond shakes his head
          and hurries off.

<b>          24 INT. CORRIDOR - DAY 24
</b>
          Hammond moves through the empty hallway, stopping at
          a door which reads: PRINCIPAL: RAYMOND HAMMOND. He
          is fumbling for his key when he sees through the
          frosted glass a figure moving around in his office.
          Reaching for the doorknob, he very quietly opens the
          door.

<b>          25 INT. OFFICE DAY 25
</b>
          As the door slowly swings open, Hammond sees the outer
          office covered with pieces of paper; sheets are
          scattered across desks and chairs and over most of
          the floor. Stepping inside, Hammond spies a WOMAN
          bending over, frantically picking up paper from the
          floor.
          He slams the door. At the sudden SOUND, the startled
          Woman whirls around, still squatting, and falls on her
          rear.

<b>                         HAMMIOND
</b>          Who are you?

                         

                         

                         

                         

<b>          21.
</b>
<b>                         25 CONTINUED: 25
</b>          Flustered, the attractive young Woman hastily gets to
          her feet and straightens her skirt.

<b>                         WOMAN
</b>
<b>                         (BADLY FLUSTERED)
</b>          Oh God! They told me you wouldn't
          be in till nine!

<b>                         HAMMOND
</b>
<b>                         (INCREDULOUS)
</b>          What're you doing, robbing me?

<b>                         WOMAN
</b>
<b>                         (GIGGLING
</b>
<b>                         NERVOUSLY)
</b>          Oh... no, I'm your Working Girl
          Hammond stares, wide-eyed.

<b>                         WOMAN
</b>
<b>                         (CONTINUING)
</b>          your temporary secretary.
          What's-her-name is sick.
          (extends her hand)
          Hi. I'm Adele.

<b>                         HAM 0ND
</b>          (taking her hand)
          What happened?

<b>                         WOMAN (ADELE)
</b>          Well you see, Mr. Hammond, the,
          air conditioner fan was set for
          high but...

<b>                         HAP-MOND
</b>
<b>                         (INTERRUPTS)
</b>          Please, Miss... Adele,

<b>                         ADELE
</b>
<b>                         (INTERRUPTS)
</b>          Cooper... Ms. Cooper.

<b>                         HA MOND
</b>          Whatever! I have some important
          calls to make. Please see that I'm
          not disturbed...
          (wades through the
          papers to his inner

<b>                         OFFICE DOOR)
</b>          , and put all this back where it
          belongs!
          He enters his office.

                         

                         

                         

                         

<b>          26 INT. HA,1NI OND' S OFFICE - DAY 26
</b>
          Hammond tosses his briefcase onto the desk and drops
          into his chair. He stares at the telephone for a long
          moment, drumming his finger on the desk.

<b>                         CUT TO:
</b>
<b>          27 INT. BEDROOM - DAY 27
</b>
          A pink TELEPHONE RINGS. The plush bedroom is empty;
          suddenly Wendy Richards rushes in. Now eighteen, Wendy
          is a raven-haired beauty with a full figure, accentua-
          ted by a low-cut black blouse and tight designer jeans.
          Tossing her books onto the bed, she eagerly grabs the
          receiver.

<b>                         WENDY
</b>
<b>                         (BREATHLESSLY)
</b>          Nick?
          A long pause, followed by HEAVY BREATHING. Wendy is
          about to respond when the inhuman VOICE speaks in an
          eerie, androgynous stutter.

<b>                         TELEPHONE VOICE
</b>          W-Wendy? T-t-tonight it's m-m-my
          t-turn!
          Wendy's shock quickly turns to anger.

<b>                         WENDY
</b>          Screw you, Lou!
          Wendy slams the receiver into its cradle. Grabbing her
          books, she storms out of her bedroom.

<b>          28 INT. FRONT HALL - DAY 28
</b>
          Wendy hurries do-in the ornate staircase.
          Waiting at the bottom holding the girl's sweater is
          MAUDE, the Richards' elderly housekeeper.

<b>                         MAUDE
</b>          You be home for dinner, Wendy?
          Wendy angrily grabs her sweater from the woman.

<b>                         WENDY
</b>          How the hell do I know?
          She exits.

                         

                         

                         

                         

<b>          L3.
</b>
<b>          29 EXT. RICHARD'S HOUSE - DAY 29
</b>
          The expansive residence sits back off the road in this
          upper-middle-class suburb. Wendy climbs into her
          white Mustang and starts the engine. TIRES SQUEALING,
          she ROARS out of the driveway with the RADIO BLASTING.

<b>          30 INT. KITCHEN - DAY 30
</b>
          Kelly Lynch is just finishing breakfast when the
          TELEPHONE RINGS. The petite blonde eighteen-year-old
          stuffs a last bite of toast into her mouth and picks
          up the receiver.

<b>                         KELLY
</b>
<b>                         (MUMBLING )
</b>          Hullo?
          A pause, then HEAVY BREATHING. Kelly's eyes grow wide
          as the dreadful voice speaks.

<b>                         TELEPHONE VOICE
</b>          K-K-Kelly? T-tonight it's m-m-�IZ
          Horrified, Kelly drops the phone. The DOORBELL RINGS.
          Frightened, she gasps, hugging the wall. The DOORBELL
          RINGS again. Very slowly she moves out of the kitchen.

<b>          31 INT. HALL - DAY 31
</b>
          Kelly cautiously approaches the front door. Peering
          through a crack in the drapes, she sees a dark figure
          huddled near the door. With the latch secured, she
          takes a deep breath and opens the door.

<b>                         KELLY
</b>          Yes?

<b>          DREW (O.S.)
</b>          Christ, Kelly, c'mon! We're late!
          Relief floods across her face. Kelly quickly unfastens
          the latch.

<b>                         KELLY
</b>          Oh, Drew, thank God!
          She throws herself into the arms of the pleasantly sur-
          prised DREW SHINNICK, a muscular blond athlete.

<b>                         DREW
</b>          (holding her tightly)
          I'm glad to see you, too.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          24.
</b>
<b>                         31 CONTINUED: 31
</b>          She looks up at him.

<b>                         KELLY
</b>          Drew, this horrible -voice...

<b>                         DREW
</b>          Nightmare?

<b>                         KELLY
</b>          On the telephone. It sounded so
          evil!

<b>                         DREW
</b>
<b>                         (LAUGHING)
</b>          What'd you get, a heavy breather?

<b>                         KELLY
</b>          Worse than that...

<b>                         DREW
</b>
<b>                         (INTERRUPTS)
</b>          Turned you on did he? Maybe I
          should try that!
          She breaks from his grasp.

<b>                         KELLY
</b>          'm serious!
          Drew makes a grab for her but she avoids him, hurries
          inside. He sighs and leans against the doorjamb to
          wait.

<b>                         DREW
</b>          So am I.,.

<b>          32 INT. CAR (MOVING) - DAY 32
</b>
          Drew is driving, his-arm around Kelly. She still
          appears shaken by the telephone call. The RADIO is ON.
          His right hand slowly descends towards her breast.
          She swats it away. The hand moves to her back, slid-
          ing down. She leans back, pinning his arm against the
          seat.
          The car stops at a light and Drew is instantly on Kelly,
          biting her neck and kissing her hard on the mouth. She
          pushes him back.

<b>                         KELLY
</b>
<b>                         (ANGRY)
</b>          I thought we were late.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         32 CONTINUED: 32
</b>
<b>                         DREW
</b>          We'll get there... eventually.

<b>                         KELLY
</b>          Really?
          Drew HONKS the HORN at another driver.

<b>                         DREW
</b>          Hell, you should be glad. A lot
          of girls would love to have
          someone steady like me.
          His irrepressible right hand starts up her leg.

<b>                         KELLY
</b>
<b>                         (MOCK-SWEETLY)
</b>          Steady? You mean persistent,
          don't you, darling?
          Grabbing his hand, she holds it firmly in her lap,
          which doesn't bother Drew at all.

<b>          33 INT. HALL - DAY
</b>
          Jude Cunningham is leaving her house when the TELE-
          PHONE RINGS. The chubby, brown-haired girl rushes
          back into the hallway.
          A plump, middle-aged woman hurries out of the kitchen,
          wiping her hands on an apron. MRS. CUNNINGHAM
          eagerly watches her daughter snap up the receiver.
          The pause, the HEAVY BREATHING and the strange,
          terrifying voice.

<b>                         TELEPHONE VOICE
</b>          J-Jude? T-t-tonight it's my-my
          t-t-turn!
          A disappointed Jude slowly replaces the receiver. Mrs.
          Cunningham looks on sympathetically.
          Still no date?

<b>                         JUDE
</b>          (shakes her head)
          Getting closer, though.

                         

                         

                         

                         

<b>          26.
</b>
<b>                         33 CONTINUED: 33
</b>
<b>           MRS. CUNNINGHAM
</b>           A boy?

<b>                         JUDE
</b>
<b>                         (SMILES)
</b>          An obscene call... and not very
          obscene at that!
          Mrs. Cunningham starts to say something.

<b>                         JUDE
</b>
<b>                         (CONTINUING)
</b>          Sorry, Mom, gotta run.
          Giving her mother a quick peck on the cheek, Jude
          exits.

<b>          34 EXT. CUNNINGHAM'S HOUSE - DAY
</b>
          The small house appears almost identical to the other
          dwellings in this lower-middle-class neighborhood. Jude
          pulls an apple from her large purse, munching while
          she walks to the bus stop.
          A gaudily-painted van pulls up alongside her. The win-
          dow slowly rolls down and a young curly-haired GUY
          wearing glasses sticks out his head.

<b>                         GUY
</b>          Hey, beautiful, need a lift?
          Jude continues walking, the van moving slowly alongside
          her.

<b>                         JUDE
</b>          No thanks.

<b>                         GUY
</b>          C'mon, I won't bite.
          Jude chomps down hard on her apple.

<b>                         JUDE
</b>          So who are you?
          TheGuy leans further out the window.

<b>                         GUY
</b>          Seymour Stone but..
          He's cut short as the van bounces up onto the sidewalk.
          Jude shrieks. The flustered boy steers the van quickly
          back onto the road.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          27.
</b>
<b>                         34 CONTINUED: 27
</b>
<b>                         GUY
</b>
<b>                         (CONTINUING)
</b>          but they call me Slick!
          Jude laughs, almost choking on her apple.

<b>                         JUDE
</b>          I can see why... How old are you,
          Slick?

<b>                         GUY (SLICK)
</b>          Old enough...

<b>                         JUDE
</b>          I've heard about guys like you...
          running over girls on the sidewalk...

<b>                         SLICK
</b>          Just some girls... If they're good
          lookin' I give 'em a ride.

<b>                         JUDE
</b>
<b>                         (SMILING)
</b>          Can you stop that thing?
          Slick jams on the brakes. The van jerks to a halt.
          He opens the passenger door.

<b>                         JUDE
</b>
<b>                         (CONTINUING)
</b>          I'm going straight to Winston High,
          understand?

<b>                         SLICK
</b>
<b>                         (NODS)
</b>          Straight to Winston.
          She climbs inside.

<b>          35 INT. VAN (MOVING- DAY 35
</b>
          The interior is decked out in plush red carpet with a
          bed in back, a stereo cassette deck, and a small fridge.
          MUSIC is PLAYING. Jude looks around.

<b>                         JUDE
</b>          Looks like a cheap motel.

<b>                         SLICK
</b>          Cheap?... that's a two hundred
          dollar waterbed there...
          Jude turns around for a look.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         35 CONTINUED: 35
</b>
<b>                         SLICK
</b>
<b>                         (CONTINUING)
</b>          Hand me that history book.

<b>                         JUDE
</b>          You think this is the time to study?
          She grabs the book, gives it to him. He places it on
          the fold-down table between them, flips it open. The
          inside is hollowed out into a container. It contains
          nearly a hundred neatly rolled joints.

<b>                         SLICK
</b>          Straight to Winston High?

<b>          36 EXT. SCHOOL PARKING LOT DAY
</b>
          The van weaves through the parked cars, passing up
          several vacant spots. It finally SCREECHES to a halt
          at the far end of the lot near some high bluffs over-
          looking a lake.

<b>          37 INT. VAN
</b>
          The air is thick with smoke.

<b>                         JUDE
</b>
<b>                         (COUGHING)
</b>          How old are you, really?

<b>                         SLICK
</b>          You won't believe it...

<b>                         (PAUSES FOR
</b>
<b>                         DRAMATIC EFFECT)
</b>          Sixteen!

<b>                         JUDE
</b>
<b>                         (CONSIDERING
</b>          I believe it.
          They both break up giggling.

<b>                         SLICK
</b>          You going to the prom tonight?
          Jude looks away, embarrassed.

<b>                         JUDE
</b>          Sure, of course.

<b>                         SLICK
</b>
<b>                         (GLUMLY)
</b>          Not me. My date got sick.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          LV.
</b>
<b>                         37 CONTINUED: 37
</b>
<b>                         JUDE
</b>
<b>                         (BRIGHTENING)
</b>          Yeah? Well, as a matter of fact..

<b>                         (THINKING FURIOUSLY)
</b>          My date is uh, not that certain...
          Something might be happening, he's
          not sure, you know?

<b>                         SLICK
</b>
<b>                         (NODDING SOLEMNLY)
</b>          Yeah, right...
          Jude watches him. He's slow picking up her hint.

<b>                         JUDE
</b>          So I guess we're both maybe not
          going...

<b>                         SLICK
</b>          Yeah... too bad...
          He looks at her.

<b>                         SLICK
</b>
<b>                         (CONTINUING)
</b>          Hey, you think...

<b>                         JUDE
</b>          I'd love to!
          She kisses him on the cheek.

<b>                         JUDE
</b>
<b>                         (CONTINUING)
</b>          See you at eight, same spot!
          She exits, hurrying across the parking lot as he grins
          foolishly after her. Suddenly, it dawns on him.

<b>                         SLICK
</b>
<b>                         (CALLS OUT)
</b>          What's your name?

<b>          38 INT. APARTMENT LIVING ROOM - DAY 38
</b>
          A tall rugged-looking man wearing a police uniform
          stands in ,the center of the room checking over his
          revolver. He's DARRYL McBRIDE, forty-eight years old
          and a veteran Sergeant on the Police Force. Satisfied
          with the condition of the gun, he jams it back into its
          holster, turns, calls out.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          30.
</b>
<b>                         38 CONTINUED:
</b>
<b>                         MCBRIDE
</b>          Let's go, son!
          A handsome dark-haired boy of eighteen emerges from a
          back room. He's Nick McBride. His father pulls open
          the front door.

<b>                         MCBRIDE
</b>
<b>                         (CONTINUING)
</b>          For a guy who moves so fast around
          a disco floor, you are the slowest
          goddamn thing...
          Nick nods sleepily, yawns.

<b>                         NICK
</b>          Right, I know...
          McBride steps out into the hallway. Nick grabs his
          books and follows. The TELEPHONE RINGS. Nick hesi-
          tates. Shaking his head he exits, shutting the door.

<b>          39 INT. CORRIDOR - DAY
</b>
          The TELEPHONE keeps RINGING. McBride looks at his son.

<b>                         MCBRIDE
</b>          Why didn't you answer i

<b>                         NICK
</b>          It's just Wendy. She's pissed off.
          She wants me to take her to the
          prom tonight.

<b>                         MCBRIDE
</b>          I thought you two broke up.
          The TELEPHONE continues to RING.

<b>                         NICK
</b>          Three months ago... you can't tell
          Wendy anything she doesn't want to
          hear.

<b>                         MCBRIDE
</b>          Aren't you going with the Hammond
          girl? The principal's daughter?

<b>                         NICK
</b>
<b>                         (SMILES)
</b>          Kim.

                         

                         

                         

                         

<b>                         39 CONTINUED; 39
</b>
<b>                         MCBRIDE
</b>          God, I wish I had your women
          problems.
          They walk down the corridor as the TELEPHONE continues
          to RING.

<b>          40 INT. SCHOOL SHOP - DAY 40
</b>
          Alex is alone in the large room. ROCK MUSIC BOOMS out
          of two huge SPEAKERS suspended from the ceiling. Alex
          sits behind a console, flipping switches and turning
          dials, electronically distorting the music.
          A wall TELEPHONE RINGS.. Caught up in his own manufac-
          tured sounds, Alex ignores it. After several more
          RINGS, he reluctantly leaves the console and answers
          the phone.

<b>                         ALEX
</b>          Hello... what?...
          He listens, expressionless, then hangs up. He flips
          a switch on the console and the MUSIC STOPS. He sits
          there a moment, thinking. Then he turns out the lights
          and exits.

<b>          41 INT. SCHOOL CORRIDOR - DAY 41
</b>
          Kim walks down the long deserted corridor. She hears
          FOOTSTEPS. She turns. No one. Shaking her head, she
          continues walking.
          The FOOTSTEPS return, louder. Kim begins to hurry.
          She rounds a corner and slips against the wall, waiting.
          Silence. With a deep breath, she moves on to her
          locker.
          Kim quickly twists the dial on the combination lock and
          yanks open the door. Grabbing several books she slams
          the door shut.
          A mop HANDLE CRASHES into the locker, missing her head
          by inches. The SHARP REPORT echoes down the corridor.
          Terrified, Kim jumps back, spins around. Sykes is
          standing there.

<b>                         SYKES
</b>          S-s-sorry, Missy. You hurt?
          Her heart pounding wildly, Kim rushes into the gym.
          Sykes picks up his mop.

                         

                         

                         

                         

<b>                         32-
</b>
<b>          42, INT. DAY 42
</b>
          Kim runs into the huge deserted gym, glancing frantical-
          ly over her shoulder. Her FOOTSTEPS CLATTER across the
          hardwood floor. She stops, waits to recover her breath.
          The room glows tgith a crystalline light sparkling off
          the silver decorations put up for the Prom. Stretched
          across the bleachers is a banner reading: "DISCO

<b>          MADNESS."
</b>          Gazing around, Kim feels the excitement of anticipation.
          Imagining herself in Nick's arms, she begins to dance,
          whirling through the gym to the music in her head.
          Suddenly, someone is clapping, slowly.

<b>          WENDY (O.S.)
</b>          Bravo...
          Kim stops abruptly. Standing onstage, watching her, is
          Wendy.

<b>                         WENDY
</b>
<b>                         (CONTINUING)
</b>          Practicing for tonight?

<b>                         KIM
</b>          Yes, as a matter of fact... I was
          just...

<b>                         WENDY
</b>          Thinking about Nick, maybe?

<b>                         KIM
</b>          That's my business.

<b>                         WENDY
</b>          You wish! Nick is King of the
          Prom, you happen to be Queen of
          the Prom... that's all there is to
          it, Hammond... As far as anything
          else... Nick is mine...

<b>                         KIM
</b>          You really ought to tell him that.

<b>                         WENDY
</b>          I'm telling you, okay? Stay away
          from Nick!

<b>                         KIM
</b>          You and Nick haven't been together
          in ages.

<b>                         WENDY
</b>          You know nothing about it!

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         _J _J
</b>
<b>                         42 CONTINUED: 42
</b>
<b>                         KIM
</b>          Really? So who are you going with
          tonight?

<b>                         WENDY
</b>          It's not who you go with, honey...
          it's who takes you home.

<b>                         KIM
</b>          I'll try and remember that.

<b>                         WENDY
</b>          Wait and see, bitch... Just wait
          and see...

<b>          43 INT. HALLWAY - DAY 43
</b>
          The corridor is packed with students -- flirting,
          gossiping, fighting, a few even studying. We PICK UP
          Kim and VICKI CANTRELL, eighteen, moving down the crowd-
          ed hallway through the various conversations.

<b>                         KIM
</b>          : So then she threatened me.

<b>                          VICKI
</b>          Wendy's a jerk!

<b>           FIRST MALE (V.0.)
</b>          She didn't!

<b>           SECOND MALE (V.0.)
</b>          Swear to God!

<b>           FIRST MALE (V.0.)
</b>
<b>                          (INCREDULOUS)
</b>          In the teachers' lounge?

<b>                         OTHER VOICES
</b>          Dual headers... thinks he's a
          fox... Dust'll run you... long and
          slinky and tight... swings like my
          mother... how much for half a lid?
          Jude joins Kim and Vicki as they walk.

<b>                         JUDE
</b>          guys.

<b>                         KIM
</b>          Jude.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          34.
</b>
<b>                         43 CONTINUED: 43
</b>
<b>                         VICKI
</b>          Missed you on the bus today.

<b>                         JUDE
</b>          I didn't ride it.

<b>                         VICKI
</b>          I thought you were too big to hide.

<b>                         KIM
</b>
<b>                         (CHIDING)
</b>          Vicki...

<b>                         JUDE
</b>
<b>                         (IGNORING VICKI)
</b>          I got a ride.

<b>                         VICKI
</b>          Who with?

<b>                         KIM
</b>          None of your business.

<b>                         JUDE
</b>
<b>                         (BLASE)
</b>          A guy.
          Vicki and Kim are left hanging, waiting for more.

<b>                         VICKI
</b>
<b>                         (FINALLY)
</b>          Jude!
          Jude can hold it back no longer.

<b>                         JUDE
</b>
<b>                         (EXPLODES)
</b>          I'm going to the prom!
          Kim. and Vicki excitedly hug Jude. A big, bushy-haired
          youth with a stubble of beard strolls by, smirking when
          he sees the girls embracing. LOU PERANO, a twenty-year-
          old high school junior, stops and stares.

<b>                         LOU
</b>          I knew there was some reason Kim
          wouldn't go out with me. She likes
          girls!
          The girls separate.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         43 CONTINUED: (2) 43
</b>
<b>                         VICKI
</b>          Say goodbye, Lou.

<b>                         KIM
</b>          (to Vicki and Jude)
          Let's go.
          They head down the hallway to their lockers. Lou tags
          along.

<b>                         LOU
</b>          You girls get bored with each
          other, I'm always around, you know?
          They pass Kelly and Drew huddled at her locker. His
          hands rest on her shoulders. They are talking intently.

<b>                         VICKI
</b>          Poor girl must be exhausted. Look
          how he has to hold her up...
          (sees Nick approaching

<b>                         WITH WENDY)
</b>          Uh oh.
          Kim stops suddenly and turns to look. Lou bumps into
          her, his hand purposely grazing her rear.

<b>                         KIM
</b>          Go play with yourself, Lou.

<b>                         LOU
</b>          I'm saving it for you.
          Kim sighs with disgust and turns around as Nick walks
          up talking to Wendy.

<b>                         NICK
</b>          Wendy, for Christ sake, I never...

<b>                         (SEES KIM)
</b>          Kim!

<b>                         KIM
</b>
<b>                         (IGNORING WENDY)
</b>          Hello, Nick.
          Seeing Kim, Wendy quickly reaches up and kisses Nick on
          the mouth.

<b>                         WENDY
</b>          We'll talk about it later, lover.
          Bye.
          Wendy smiles and strolls away. Lou follows her.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          36.
</b>
<b>          43. CONTINUED: (3) 43
</b>
<b>                         NICK
</b>
<b>                         (EMBARRASSED)
</b>          I told her to leave me alone.

<b>                         KIM
</b>
<b>                         (NODS)
</b>          Worked real well.
          The BELL RINGS signalling first period class. Kim
          turns to Vicki and Jude.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          We'd better go.
          Kim brushes past Nick without a word. The two girls ex-
          change puzzled glances and follow her.

<b>                         NICK
</b>
<b>                         (WORRIED)
</b>          Kim?
          Kim does not turn back. Walking next to her, Vicki
          watches her friend curiously. Kim giggles. A sneaky
          smile creeps across her face.

<b>                         JUDE
</b>
<b>                         (GRINNING)
</b>          That's cruel!

<b>                         KIM
</b>          Shhh!

<b>                         VICKI
</b>          Oh no you don't...
          (turns back and
          calls to Nick)
          She's smiling, Nick. Big grin
          spread all over her face.
          Kim punches her friend but the damage is done. Nick
          grins broadly. Blushing, Kim turns back, flashes him a
          quick smile and disappears around a corner to the hoots
          of Vicki and Jude.

<b>          44 INT. CORRIDOR - DAY 44
</b>
          A tall dark figure walks quickly down a concrete cor-
          ridor. From somewhere nearby, loud VOICES, SPLASHING
          water, can be HEARD.

<b>          45 INT. POOL GALLERY 45
</b>
          A shadow moves behind the opaque glass plate of a heavy
          door.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         45 CONTINUED: 45
</b>          The door edges open. Raymond Hammond appears. Prop-
          ping the door open with his shoulder, he starts down
          across the narrow gallery to the pool below.

<b>          46 INT. POOL 46
</b>
          A class of senior male students occupies the water,
          among them Nick McBride and Drew Shinnick. With no
          Phys. Ed. instructor in sight, it's a general goof-off
          period.
          Nick walks out onto the diving board. Drew is treading
          water below him.

<b>          47 ANGLE ON HAMMOND 47
</b>          as he watches Nick intently from the gallery door.

<b>          48 INT. POOL 48
</b>
          Nick launches himself out over Drew in an apparent
          belly-flop. At the last moment, he tucks in and hits
          the water in a flipped over cannonball. He surfaces to
          a chorus of whistles and cheers. It was a close shave.

<b>                         DREW
</b>          You wanta take care of yourself,
          man... Kim's expecting a lot from
          you tonight...
          Nick laughs.

<b>          49 INT. GALLERY DOOR 49
</b>
          The door is easing shut. Hammond is nowhere to be seen.

<b>          50 INT. GYM - DAY 50
</b>
          A side door opens. Hammond steps in, gazes around.
          The gym is empty, silent. He walks to the stage steps,
          climbs up, pushes through the thick curtain.

<b>          51 INT. GYM - BACKSTAGE 51
</b>
          It's a dark cluttered area broken up by tall partitions,
          discarded flats from old student productions, banks of
          lights.
          Hammond crosses to a rear door, tries it. It's locked.
          He turns back. As he does so there's a sudden WHIRRING
          SOUND. A row of spotlights flashes on right in front
          of him, almost blinding him. He tries to shield his
          eyes.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          38.
</b>
<b>                         51 CONTINUED: 51
</b>          He spins around. Another bank of lights flares at
          him. He staggers downstage. The curtains begin to
          swing open. Startled, he jumps away from them. His
          foot lands on a package of photo-flood bulbs.. There's
          a LOUD POP. Then a VOICE.

<b>          ALEX (O.S.)
</b>          Who's there?
          Hammond, shaken, looks across to the far wing. There's
          an elevated platform where the electronic control panel
          is located. Alex peers down.

<b>                         HAMMOND
</b>          Alex?... What the hell're you
          doing?

<b>                         ALEX
</b>          I'm testing the board... I didn't
          hear you... nobody's supposed to
          be here yet...

<b>                         HAMMOND
</b>          No, well'...
          He looks around. He's still trying to get himself
          together.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          I'm.. I'm thinking we might have
          a fire hazzard here, all these
          extra lights.
          He looks awkward, as if he'd been caught at something.
          H.A1 ll4OND

<b>                         (CONTINUING)
</b>          all right...
          He turns, climbs down the stage steps and starts back
          across the gym. At the other end of the floor a door
          opens, Sykes looks in. Hammond sees him.

<b>          HA, MOND
</b>
<b>                         (CONTINUING)
</b>          Ah... Mr. Sykes...
          Sykes waits as Hammond hurries across to him. The two
          men go out together.
          Alex walks out onto the stage, watches them go.

                         

                         

                         

                         

<b>          39.
</b>
<b>          52 INT. CLASSROOM (LAB) - DAY 52
</b>
          First period biology class features MONTY WELLER, a
          tall, thin Englishman in his late thirties. This stuf-
          fy, dour science teacher drones on about the joys of ex-
          ploring frog vertebrae while most of his class naps,
          daydreams or passes notes.
          Seated in the back near the door, Jude is furtively
          opening a handwritten note. She quickly reads it.
          Stifling a giggle, she looks up to see Kim and Vicki
          across the aisle, eagerly awaiting her reply. Jude
          tears out part of a page from her biology book and
          scrawls her answer. Folding the note, she taps the boy
          next to her and motions for him to pass it on.
          Vicki grabs the note from the boy. Quickly scanning
          it, she nods, impressed. Kim reads it and mouths the
          word "Wow" to Jude who blushes happily.
          Glancing out into the hallway, Jude notices Slick walk-
          ing past. Seeing her in class, he stops and waves.
          Jude frantically tries to motion him away. Their backs
          to the door, Kim and Vicki watch with curiosity as Jude
          gestures in their direction. Seeing her friends
          watching her, Jude smiles and tries to ignore Slick.
          Not to be denied, he exaggeratedly mimes Weller, nose
          to his textbook, lecturing on, oblivious to his class.
          Jude laughs in spite of herself. Kim and Vicki turn
          around.
          Glancing out the door, the two girls stare in disbelief
          at the small weird curly-haired boy doing a perfect im-
          itation of the eminently boring Weller. Their surprise
          turns to hilarity as they realize this boy must be
          Jude's prom date. Kim holds up the note, raising her
          eyebrows as she gestures toward Slick. Jude nods. Kim
          and Vicki can barely contain their laughter. They do
          not notice Mr. Weller eyeing them suspiciously as he
          rattles on about frog intestines. Slick mouths the
          words, "See you at lunch.., in the van." Jude nods and
          smiles.
          With a final bow and a wave, he exits.
          Kim suddenly looks up to find a red-faced Mr. Weller
          looming above her.

<b>                         WELLER
</b>          Miss Hammond!
          Wide-eyed, Kim desperately tries to crush the note in
          her hand.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         52 CONTINUED: 52
</b>
<b>                         WELLER
</b>
<b>                         (CONTINUING)
</b>          Since you obviously find your own
          words more interesting than those
          of Farnsworth on the anatomy of a
          frog...
          (pauses to share his
          wit with the class)
          , read the note!

<b>                         KIM
</b>          (barely a whisper)
          Read the note?

<b>                         WELLER
</b>
<b>                         (STERNLY)
</b>          Now, Miss Hammond!
          Kim swallows and steals a quick glance at her friends.
          Vicki winces. Jude tries to disappear beneath her, seat.

<b>                         KIM
</b>          Yessir...
          (clears her throat)
          Well, it's mostly talking
          about...

<b>                         WELLER
</b>
<b>                         (INTERRUPTS)
</b>          Word for word, please. Exactly
          as it is written.

<b>                         KIM
</b>
<b>                         (NODS)
</b>          Right..
          (coughs and finally
          begins, slowly, in a

<b>                         STILTED MANNER)
</b>          What a hunk!
          Titters from the class.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          Really cute... Tall... a great

<b>                         BODY
</b>          The class roars with laughter.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          Kinda the Latin lover type.

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         41-
</b>
<b>                         52 CONTINUED (2) 52
</b>
<b>           KIM (CONS'' D)
</b>          (reading ahead,

<b>                         KIM GIGGLES)
</b>          and his name is Slick!
          The classroom erupts into laughter as the BELL RINGS,
          signaling the end of the class. Still laughing, stu-
          dents gather their books and shuffle out, several giv-
          ing Kim sympathetic glances as they pass.

<b>                         WELLER
</b>          After school, Miss Hammond. One
          hour detention study hall... you
          and your friends!
          Kim looks from Jude to Vicki.

<b>                         KIM
</b>          But, Mr. Weller, tonight's the
          prom...

<b>                         WELLER
</b>
<b>                         (DISDAINFULLY)
</b>          Tell that to your...

<b>                         (SNIFFS)
</b>          hunk!
          He spins on his heel and marches back to his desk. The
          three girls hurriedly exit.

<b>          53 INT. ROOM (SCHOOL) - DAY 53
</b>
          A hand is flipping through the pages of the Winston
          High yearbook, the back pages where the individual
          photographs of graduating students are placed. The
          hand stops, moves across an open page to a smiling head
          shot of Nick McBride.
          The hand rips the picture from the page, sets it down
          on a plain wooden desk alongside three other pictures
          -with similar torn edges. The other pictures are of
          Jude Cunningham, Kelly Lynch, and Wendy Richards.
          The yearbook is slammed shut.

<b>          54 INT. CAFETERIA - DAY 54
</b>
          Kim, Jude and Vicki enter the crowded room. MUSIC from
          several portable RADIOS can be HEARD above the clamor
          as the girls move into the long lunch line. Kim spots
          Alex seated nearby and waves to him.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          4L.
</b>
<b>                         54 CONTINUED: 54
</b>
<b>                         VICKI
</b>
<b>                         (NUDGING JUDE)
</b>          Here comes the incredible hunk
          himself.
          Jude looks up to see Slick slowly making his way down
          the line towards them. He is carrying a tray piled
          high with snack food: potato chips, cookies, candy.
          Jude smiles as he passes her, grinning.

<b>                         KIM
</b>          Looks like a party.

<b>                         JUDE
</b>          Yeah -- I don't think he's gonna
          be too good for my diet...
          Slick moves down the lunch line. Suddenly he is bumped
          from behind, sending the tray and the snacks flying
          across the room. Looking around, Slick jumps back,
          startled by a tall figure wearing a dark ski mask.

<b>                         SLICK
</b>
<b>                         (ANGRILY)
</b>          Hey, clown, what the...
          Three of Lou's gang quickly step up behind the masked
          figure.

<b>                         LOU
</b>          Say what?

<b>                         SLICK
</b>
<b>                         (SHRUGS)
</b>          Forget it, Lou.

<b>                         LOU
</b>
<b>                         (SMIRKS)
</b>          That's what I figured.
          Slick bends over to pick up his lunch.

<b>                         SLICK
</b>
<b>                         (SOFTLY)
</b>          Asshole!
          Lou and his friends shove ahead in the line until he is
          standing behind Kim. Lou nuzzles Kim's neck.

<b>                         LOU
</b>          (muffled by the mask)
          Like me better now?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          43.
</b>
<b>                         54 CONTINUED: (2) 54
</b>          Startled, Kim spins around. Her fear quickly becomes
          anger.

<b>                         KIM
</b>          It's an improvement!
          She turns her back to him.

<b>                         LOU
</b>          You like it so much...
          (spins her around to

<b>                         FACE HIM)
</b>          Have a taste.
          He kisses her hard on the mouth. Swinging at him, Kim
          breaks away. Laughing, Lou grabs her wrists and rough-
          ly pulls her to him. Alex instantly jumps to his feet.

<b>                         LOU
</b>
<b>                         (CONTINUING;
</b>          holding Kim close)
          Be nice...
          Alex leaps over the metal railing separating the line
          from the tables. Crashing into Lou, he drives the
          larger boy back into the salad counter, sending food
          and utensils flying. As they tumble off the counter
          onto the floor, Alex gets in several furious punches
          before Lou's gang can pry him loose.
          Two of the gang pin Alex against the counter. Wiping
          blood from his mouth, Lou grins maliciously and slugs
          Alex in the stomach. The boy groans and doubles over.
          Lou grabs Alex's hair and slams his head back against
          the glass shield of the counter.
          As Lou rears back to throw another punch, his two
          friends suddenly release Alex and scatter. The boy
          crumples to the floor. Lou turns around to see two
          MALE TEACHERS rapidly approaching. The larger teacher
          grabs Lou.

<b>                         TEACHER
</b>          This time you're out, Perano.
          Lou points to Alex who is being helped up from the
          floor.

<b>                         LOU
</b>          He started i

<b>                         TEACHER
</b>          I'll bet... Alex?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         54 CONTINUED: (3) 54
</b>          Alex nods, leaning on the other teacher for support.

<b>                         KIM
</b>          That's not true! Alex was trying
          to help me.
          The teacher looks from Kim to Lou to Alex.

<b>                         TEACHER
</b>          You'd better come along to your
          father's office.

<b>                         LOU
</b>
<b>                         (SNEERS)
</b>          Wonder who'll get off with just
          a warning?
          Several students laugh. The two Teachers march Lou and
          Alex through the silent cafeteria. Lou swaggers bask-
          ing in the attention. Alex walks with his head bowed.
          They exit.

<b>          55 INT. HALLWAY - DAY 55
</b>
          Lou and Alex accompany the teachers down the corridor
          toward the principal's office. Nick and Wendy approach
          from the opposite direction, talking heatedly.

<b>                         NICK
</b>          I don't care who. Just
          somebody else!

<b>                         WENDY
</b>
<b>                         (BITTER)
</b>          You never had it so good as with
          me.

<b>                         NICK
</b>          I've got it now... better!

<b>                         WENDY
</b>
<b>                         (ANGRILY)
</b>          You don't even know...
          (spots Lou and

<b>                         CALLS OUT)
</b>          Lou!
          The surprised Lou tries to stop but the Teachers hurry
          him and Alex past the couple. Wendy watches Nick.

<b>                         LOU
</b>          (turning back to Wendy)
          I got this appointment.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          45.
</b>
<b>                         55 CONTINUED: 55
</b>
<b>                         WENDY
</b>
<b>                         I'LL WAI
</b>          Wendy turns to see Nick's reaction but he is already
          walking towards the cafeteria. The irate girl glares
          after him.

<b>          56 INT. OFFICE - DAY 56
</b>
          Hammond is talking on the telephone. He appears agi-
          tated, running his fingers through his hair and tugging
          at the knot in his loosened tie.

<b>                         HAMMOND
</b>
<b>                         (EXASPERATED)
</b>          No, Vi. I didn't forget.
          I told you we'd go to the cemetery...
          The door opens and Adele Cooper's head peers around the
          corner. Seeing Hammond talking on the phone, she nods
          toward the outer office. Hammond gestures for her to
          wait. She persists until he angrily takes the receiver
          from his ear and covers the mouthpiece.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          What is it?

<b>                         ADELE
</b>
<b>                         (WHISPERING)
</b>          There are some gentlemen here to
          see you, Mr. Hammond.

<b>                         HAMMOND
</b>          Can't it wait?

<b>                         ADELE
</b>          I didn't ask... But one looks
          a little like that child in the
          picture on your desk.
          Hammond automatically glances at the photograph of
          Robin framed alongside one of the rest of his family.

<b>                         HAMMOND
</b>          (into the receiver)
          I've got to go now, Vi... We'll be
          there within the hour...
          There's a loud CLICK on the other end of the line.

<b>                         HAIIOND
</b>
<b>                         (CONTINUING)
</b>          Damn!

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          46.
</b>
<b>                         56 CONTINUED: 56
</b>          Frustrated, Hammond slams the receiver into its cradle.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          All right, send them in.
          The two Male Teachers enter first, followed by Lou and
          finally Alex. Hammond gives his son a sharp look, then
          turns to glare at Lou.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING ;WEARILY)
</b>          You again?

<b>                         TEACHER
</b>
<b>                         (NODS)
</b>          Brawling in the cafeteria... both
          of them.
          He places Lou's ski mask on Hammond's desk. The prin-
          cipal glances at it.

<b>                         HAMMOND
</b>
<b>                         (FINALLY)
</b>          Thank you. I'll handle it.
          The Teachers exit.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          Explanations?
          He looks at Alex. The boy stares at the floor and says
          nothing. Hammond holds the mask up to Lou.

<b>                         HAIIOND
</b>
<b>                         (CONTINUING)
</b>          Halloween?

<b>                         LOU
</b>          I was just foolin' around with
          this girl...

<b>                         ALEX
</b>
<b>                          (INTERRUPTS)
</b>          Kim!
          Hammond frowns.

<b>                          LOU
</b>          when this -- your son
          tackled me and...

<b>                         HAMMOND
</b>
<b>                         (INTERRUPTS)
</b>          Is this true, Alex?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          47.
</b>
<b>                         56 CONTINUED: (2) 56
</b>
<b>                         LOU
</b>
<b>                         (SNIDE)
</b>          I knew It !
          Hammond whirls on him.

<b>                         HAMMOND
</b>          You knew what?

<b>                         LOU
</b>          It just figures.

<b>                         HAIV MOND
</b>          (his voice rising

<b>                         WITH ANGER)
</b>          That I'll play favorites? That
          I'll go easy on Alex because he's
          my son?
          (pauses, waiting for
          Lou to back down and

<b>                         LOOK AWAY)
</b>          Damn right I will! You're a
          disgrace to this school and this
          community...

<b>                         (RECOVERS SOMEWHAT)
</b>          You're suspended --
          indefinitely! Now get out!

<b>                         LOU
</b>
<b>                         (SNEERS)
</b>          What about your son?

<b>                         HAMMOND
</b>
<b>                         (ICILY)
</b>          If you're not off school grounds
          in five minutes, I'll have you
          arrested for trespassing.
          Lou stalks to the door. Opening it, he turns to Alex.

<b>                         LOU
</b>          See you around.
          He exits, slamming the door.

<b>                         HAMMOND
</b>
<b>                         (WITHOUT LOOKING
</b>
<b>                         AT ALEX)
</b>          Have the nurse take a look at you,
          then get back here.
          Alex exits. Hammond angrily grabs Lou's ski mask and
          hurls it at the trash can_

                         

                         

                         

                         

<b>          48.
</b>
<b>          57 EXT. FRONT LAWN - DAY 57
</b>
          Kim and Vicki are sprawled on the grass eating lunch.
          Lou storms down the front steps. Pausing at the bottom,
          he turns, strolls over to Kim.

<b>                         LOU
</b>          Watch for me, little girl. You
          know I'm just a kiss away.
          Lou laughs and walks off toward the parking lot. Kim
          shudders.
          Wendy's white Mustang slides up to the curb. The pass-
          enger window rolls down and Lou leans over to look in-
          side. After a moment he climbs in and the MUSTANG
          PEELS out of the lot, leaving twin black tread marks in
          its wake.

<b>                         KIM
</b>          What a pair!

<b>                         VICKI
</b>          Made for each other!
          Kim opens a carton of yogurt.

<b>                         KIM
</b>          You wearing that green gown tonight?

<b>                         VICKI
</b>          You kidding? That was last year.
          This year... red silk!
          (smiles and runs her
          hand from her neck
          to her waist)
          Cut to here! ...

<b>          NICK (O.S.)
</b>          Cut to where?
          Kim and Vicki turn to see Nick ambling across the lawn
          toward them.

<b>                         VICKI
</b>
<b>                         (MOCK-SEDUCTIVELY)
</b>          Anywhere you like...

<b>                         KIM
</b>
<b>                         (SMILING)
</b>          On the prowl!

<b>          58 EXT. STREET - DAY
</b>
          Wendy's white Mustang streaks through traffic, dodging
          in and out of lanes, running yellows, burning around
          corners.

                         

                         

                         

                         

<b>          59 INT. MUSTANG 59
</b>
          Lou sits pinned to the passenger seat, eyes wide,
          staring straight ahead as if he can't quite believe
          this trip. His bravado seems to have left him. He
          glances over at Wendy in the driver's seat. She's
          puffing on a cigarette, handling the wheel almost
          casually. She's in control,

<b>          60 EXT. DRIVE-IN 60
</b>
          The Mustang suddenly slows down and makes a hard left
          turn, narrowly beating a horn-honking oncoming van.
          The big white car bounces up over the curb and sweeps
          into the end slot at a sprawling fast-food drive-in.

<b>          61 INT. MUSTANG 61
</b>
          Lou's still pinned to his seat. Wendy shuts off the
          engine, looks at him. He looks at her, lets out a
          long deep breath.
          A cute little CAR-HOP in a cut-off costume and roller
          skates glides over. She leans into Wendy's window,
          talks through a wad of gum.

<b>                         CAR-HOP
</b>          Ready to order?

<b>                         WENDY
</b>
<b>                         (TO LOU)
</b>          What do you want?
          Lou's shifting around in his seat, pulling himself
          together.

<b>                         LOU
</b>          I'm uh... a little short on cash..

<b>                         WENDY
</b>          You can owe me.

<b>                         LOU
</b>          Yeah? Okay then, a couple of
          burgers, a large fries... what
          kind of beer you got?

<b>                         CAR- HOP
</b>          C'mon man, this is a drive-in not
          a bar.

<b>                         LOU
</b>          All right, all right... don't get
          nervous... Gimme a coke...

<b>                         (MORE)
</b>
<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          50.
</b>
<b>                         61 CONTINUED:
</b>
<b>                          LOU (CONT'D)
</b>          (nods to Wendy)
          She'll have the same.

<b>                         WENDY
</b>          A small diet cola.

<b>                         WENDY
</b>          That ' sit.
          The Car-hop shrugs, wheels away. Wendy turns to Lou.

<b>                         WENDY
</b>          I'll buy you one for Christmas,
          all right? Now, how do I know
          you're serious?

<b>                         LOU
</b>          Whatta you mean, serious? I hate
          that school, Hammond and his
          asshole family...

<b>                         WENDY
</b>          I don't want anyone hurt... not
          badly.

<b>                         LOU
</b>          You got it... anything your little
          heart desires...

<b>                         WENDY
</b>          Lou, shouldn't we go over this.
          Lou puts his finger to her mouth, silencing her.

<b>                         LOU
</b>          I'll take care of it, Scout's
          honor... Don't worry about it...

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
          Di.

<b>                         61 CONTINUED: (2) 61
</b>          He caresses her cheek and lips, then kisses her. At
          first reluctant, Wendy quickly takes over. When they
          finally break from their passionate clinch, he is
          gasping.

<b>                         LOU
</b>
<b>                         (CONTINUING)
</b>          Jesus Christ!

<b>                         WENDY
</b>          Don't worry about it..
          She unbuttons his shirt and begins to kiss and lick his
          chest. Slowly she works her way down. Lou begins to
          writhe. Wendy's head disappears from VIEW. Lou's eyes
          snap open in surprise.
          Wendy groans.

<b>                         WEND Y
</b>          Damn stick shift!
          Lou starts to protest, then dissolves.

<b>          62,. INT. MUSTANG - DAY 62
</b>
          The Car-hop wheels up to the Mustang carrying a tray
          loaded with food. She leans over and peers inside.
          Wendy is behind the wheel, perfectly composed. A mind-
          blown Lou is hurriedly doing up his belt, tucking in
          his shirt. He glances at the Car-hop then turns away
          to finish the job.

<b>                         CAR-HOP
</b>          Enjoy your meal.

<b>          63 EXT. LAKE-SIDE BLUFFS - DAY 63
</b>
          A WIDE VIEW; high weather-worn bluffs tumbling down to
          a strip of beach and the calm blue waters of the lake.
          Above the bluffs there's a narrow shaded park and then
          the buildings and parking lots of Winston High.

                         

                         

                         

                         

<b>                         63 CONTINUED:
</b>          Nick and Kim walk slowly along the rim of the bluffs.
          Nick has his arm around her. She leans into him.

<b>                         KIM
</b>          I am excited, it's just... in some
          ways it's such an awful day... It's
          Robin's day...

<b>          64 EXT. BLUFFS CLOSER ANGLE 64
</b>

<b>                         KIM
</b>          My mother's all upset, as usual.
          My father too... he doesn't show
          it so much... It's hard to get
          over something like that. Robin
          would have been a junior, like
          Alex. This would've been her first
          prom... I guess that's'why it seems
          so much worse this year...
          She stops, turns and faces Nick. It's hard for him to
          meet her gaze.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          The Queen of the Prom is determined
          not to let it get to her... She
          must maintain her... whatever, at all
          costs..
          She tries a weak smile. Nick stares at her, then sud-
          denly takes her, pulls her to him, embraces her. She's
          caught by surprise, but she responds.
          She smiles.

<b>                         KIN
</b>          I love you too.

                         

                         

                         

                         
          Di.

<b>                         64 CONTINUED: 64
</b>
<b>                         NICK
</b>          I'm... I want you to know that...
          Robin's death... I remember it and
          I've always been... so sorry
          about it...
          Kim looks puzzled.

<b>                         NICK
</b>
<b>                         (CONTINUING)
</b>          I mean... I know what you're
          feeling... I've...
          (looks at her)
          :Listen I...
          Across the school parking lot a CAR HORN BLARES, inter-
          rupts Nick. Kim reacts.

<b>                         KIM
</b>          That's my father... I've got to go,
          Okay?

<b>                         NICK
</b>          Yeah... I'll see you later.
          She hesitates a moment, then kisses him quickly, turns
          and goes. Nick looks shaken up. He stares after her
          as she hurries away.
          Behind Nick, in the other corner of the parking lot, a
          metal door slides open, loud RAUNCHY ROCK and ROLL sud-
          denly infests the air. Nick turns, sees Jude climbing
          out of Slick's van. Jude looks about as stoned as she
          can get. She spots Nick, waves.

<b>                         JUDE
</b>          Hey, Nick!
          Nick turns and heads the other way.

<b>          65 EXT. CEMETERY - HAMMOND PLOT - DAY 65
</b>
          There's a small marble headstone inset with the carved
          face of an angel and the inscription "Robin Anne Hammond
          1964 - 1973 Too Soon Taken From Us."
          Kneeling beside the grave is Vivian Hammond. She's ar-
          ranging a large bouquet of mixed flowers, fussing with
          them, trying for some kind of impossible perfection.

<b>          HP`�MOND (0. S.
</b>          We have to go, Vi.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          J4.
</b>
<b>                         65 CONTINUED: 65
</b>          She doesn't react, she keeps playing with the flowers.
          Hammond moves in behind her, puts his hands on her
          shoulders. She looks at him.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          We have to get back.
          She stands, with her husband's support. Kim and Alex
          are standing quietly at the foot of the grave. Vivian
          looks at them both. Her eyes hold a terrible rage, a
          terrible sadness. Hammond carefully guides her away.
          Kim has a flower of her own, a white rose, which she
          drops on her sister's grave. She turns, meets Alex's
          stare, moves off after her parents. Alex remains a mo-
          ment longer, then. he, too, goes.

<b>          66 EXT. TENNIS COURTS DAY
</b>
          During the afternoon phys. ed. class, the girls play
          tennis: Kim with Kelly and Vicki with Jude. Sykes
          lingers nearby, watching the girls. Their instructor
          is Miss HENRI-ANNE BENTON, a stocky woman in her late
          thirties with teased, lacquered hair. A product of
          genteel Southern womanhood, Henri-Anne stalks the
          courts in her baggy Bermuda shorts, constantly blowing
          a silver whistle hanging from her neck.
          A very stoned, giggling Jude runs Vicki ragged, hitting
          balls over the fence, straight up in the air and occa-
          sionally even back over her head. Each time a ball
          flies over the fence, Vicki runs to retrieve it to the
          delight of Sykes.
          At one point, Vicki bends over to pick up a ball under
          Sykes' appreciative gaze. The shrill WHISTLE inter-
          rupts her as Henri-Anne rushes over.

<b>                         HENRI-ANNE
</b>
<b>                         (SOUTHERN ACCENT)
</b>          No, no, Miss Cantrell! Never bend
          from the waist... Squat!

<b>                         (DEMONSTRATES)
</b>          Always squat to retrieve.
          Otherwise, you look like the broad
          side of a barn!
          (glares at Sykes)
          Isn't that so, Mr. Sykes?
          Embarrassed, the custodian scuttles away to the girls'
          Laughter.

                         

                         

                         

                         

<b>                         66 CONTINUED: 66
</b>
<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING)
</b>          That's enough for today, ladies.
          We don't want you all worn out for
          the ball tonight.
          Kim, Jude and Kelly gather'around with the other girls.

<b>                         JUDE
</b>
<b>                         (GIGGLING)
</b>          Ball?

<b>                         KIM
</b>          Shhh!
          Kelly takes Jude aside as Kim and Vicki approach Henri
          Anne.

<b>                         KIM
</b>
<b>                         (CONTINUING;
</b>
<b>                         WHISPERS)
</b>          You sure she likes Weller?

<b>                         VICKI
</b>          Positive. I heard her say she's
          had the hots for him since they
          met!

<b>                         KIM
</b>          She said that?

<b>                         VICKI
</b>          Well, not exactly.

<b>                         HENRI-ANNE
</b>          Oh, Kim. You'll be in the gym
          promptly at three-fifteen for
          rehearsal?

<b>                         KIM
</b>          Well, actually no, Miss Benton.
          can't make it... You know Mr.
          Weller?

<b>                         HENRI-ANNE
</b>          We're... acquainted.

<b>                         KIM
</b>          He.. umm..

<b>                         VICKI
</b>
<b>                         (BLURTS OUT)
</b>          He's got a crush on Kim!

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          56.
</b>
<b>                         660 CONTINUED: (2) 66
</b>          Kim stares in amazement aL Vicki;

<b>                         HENRI --ANNE
</b>          (staring at Kim)
          He has what?
          Kim, wide-eyed, can only look at Vicki.

<b>                         VICKI
</b>          He keeps making Kim stay after
          school in detention study hall for
          no reason... Just so he can be
          near her.

<b>                         HENRI-ANNE
</b>          That's horrible!
          Kim gulps.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING)
</b>          You mean to tell me that awful man
          A girl half his age!
          (a very slight

<b>                         SMILE)
</b>          So you have detention this
          afternoon?
          Kim nods meekly. Lost in thought, Henri-Anne fondles a
          tennis ball, a curious smile playing across her face.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING;
</b>
<b>                         FINALLY)
</b>          Leave everything to me...
          She hurries away. Kim turns on Vicki and starts to
          protest.

<b>                         VICKI
</b>
<b>                         (INTERRUPTING)
</b>          It worked, didn't it?

<b>          67 EXT. SCHOOL GROUNDS - DAY 67
</b>
          Kim and Vicki, and behind them, Jude and Kelly are
          walking back to the gym and the dressing rooms from the
          tennis courts. Vicki's in high spirits and Jude still
          can't stop giggling.
          Vicki spots old Sykes heading out toward the playing
          field. She calls out to him.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         57-
</b>
<b>                         67 CONTIPRJED 67
</b>
<b>                         VICKI
</b>          Mr. Sykes!

<b>                         KIM
</b>          Vicki, don't...

<b>                         VICKI
</b>          Oh, Mr. Sykes...
          Sykes stops, turns around.

<b>                         VICKI
</b>
<b>                         (CONTINUING)
</b>          This is just for you...
          She turns, bends over, quickly yanks down her shorts
          and moons him. There's a squeal of laughter from Jude
          and from Kelly. Vicki whips her shorts back up and
          runs to the gym door, the other girls in pursuit.
          Kim looks back at Sykes. He's just standing in the
          field, not moving. There's a look in his eyes.

<b>          68 INT. GIRLS' LOCKER ROOM - DAY 68
</b>
           Kim and Kelly are undressing. Three girls pass them
          headin g for the showers.

<b>                         KELLY
</b>          I'm not like the others, Kim.
          Drew needs somebody like Vicki
          who'll give him what he wants.

<b>                         KIM
</b>
<b>                         (LAUGHS)
</b>          Vicki's sex life is more talk than
          action. Besides, Drew wants you.

<b>                         KELLY
</b>          I'm afraid if I don't make it with
          him he'll find somebody who will.

<b>                         KIM
</b>
<b>                         (SHRUGS)
</b>          Let him.

<b>                         KELLY
</b>          I'd die if he did...
          The girls wrap towels around themselves and walk to-
          wards the showers.

                         

                         

                         

                         
          Sa .

<b>          69 INTT. SHIER AREA - DAY 69
</b>          A girl (MELANIE) is leaving as Kim and'Kelly enter.
          Wendy is standing in front of a mirror drying her hair.
          Kim ignores her and Wendy returns the compliment.

<b>                         MELANIE
</b>          See you outside, Wendy.

<b>                         WENDY
</b>          Just be a minute...
          Kim and Kelly hang up their towels and step into the
          showers.

<b>                         KELLY
</b>          What about you and Nick?

<b>                         KIM
</b>          What about us?
          Wendy finishes brushing her hair, shoots Kim.a dark
          look, exits.

<b>                         KELLY
</b>          What.happened when he asked you?
          Kim smiles.

<b>                         KIM
</b>          Maybe I asked him...
          Kelly looks at her friend.

<b>          70 INT. LOCKER ROOM - DAY 70
</b>
          Wendy finishes buttoning her blouse. She's pulling on
          her jeans when she hears a SCUFFLING SOUND.

<b>                         WENDY
</b>          I'll be right there, Melanie.
          No answer. Curious, Wendy moves around the lockers,
          investigating. The room appears empty.
          There's a sudden LOUD CREAKING. Wendy whirls around.
          A locker door is swinging slowly open.

<b>                         WENDY
</b>
<b>                         (CONTINUING)
</b>          Melanie?...
          Still no answer. Shaking her head, Wendy returns to
          her locker.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         70 CONTINUED: 70
</b>          She's about to shut it when she sees something, a pic-
          ture, taped to the side of the door. It's her photo,
          torn from the School Yearbook. She rips it from the
          door, looks at it.

<b>                         WENDY
</b>
<b>                         (CONTINUING)
</b>          What's this for, Melanie?
          Her voice echoes through the empty room. She gazes
          around, fear creeping into her face. She quickly
          finishes dressing, grabs her books, turns to leave.
          Suddenly she screams.

<b>          71 INT. SHOWER AREA 71
</b>
          Wendy's SCREAM is all but DROWNED OUT by the SHOWERS.
          Rinsing off, Kim and Kelly hear nothing.

<b>                         KELLY
</b>          I think I'll let Drew do it.
          The door to the locker roor slowly opens behind them.

<b>                         KIM
</b>          Let him?
          She looks at Kelly. Neither girl hears the SQUISH of
          RUBBER SOLES moving across the wet tile floor.
          Suddenly there are LOUD VOICES. Melanie comes through
          from the locker room, laughing. Behind her, Wendy's
          ANGRY WORDS are AUDIBLE.

<b>          WENDY (O.S.)
</b>          If you ever try anything like that
          again, you cow!
          Melanie thinks it's hilarious.

<b>                         MELANIE
</b>          (to Kim and Kelly)
          You should've seen her jump...
          Nadia Comenici never did better...
          Wendy storms in. She's got the photo in her hand. She
          waves it at Kim and Kelly.

<b>                         WENDY
</b>          What's this supposed to mean?

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
          vv.

<b>                         71 CONTINUED - 71
</b>
<b>                         KIM
</b>
<b>                         (SARCASTIC)
</b>          I know it's not much of a picture,
          Wendy, but you didn't have to go
          that far...
          Wendy is furious.

<b>                         WENDY
</b>          I didn't!
          She turns, glares at Melanie.

<b>                         MELANIE
</b>          Don't look at me...

<b>                         WENDY
</b>          You're all... children...
          She storms out. Melanie looks at Kim and Kelly,
          shrugs, follows Wendy. A DOOR SLAMS in the locker
          room.
          Kim and Kelly look at each other, laugh, turn their
          faces back to the steaming water. Neither one hears
          the SOUND across the room, a HARSH RHYTHMIC HEAVY

<b>          BREATHING.
</b>          Kelly bends her head away from the water, clears her
          eyes., She squints out through the steam at the big
          wall mirror across the room. She sees something. She
          steps back into Kim, her eyes wide with fear.

<b>                         KIM
</b>          Watch it...
          Kelly covers her breasts with her arms, presses against
          the wall, terrified.
          Suddenly there's an EXPLOSION of SOUND. Kim screams,
          jumps back, stares. There's a jagged hole in the cen-
          ter of the mirror, huge cracks radiating from it,
          spidering across its surface.
          For a moment no one moves. Splinters of GLASS TRICKLE
          down to the floor. There's no other sound. Kim grabs
          for her towel, steps out of the shower, looks. There's
          no one. She heads for the locker room door. Kelly
          runs after her.

<b>                         KELLY
</b>
<b>                         KIM 1
</b>
                         

                         

                         

                         

<b>          61.
</b>
<b>          72 INT. LOCKER ROOM 72
</b>
          Kim rushes into the room, Kelly right behind her.
          There's no one. Kelly is quivering. She clutches at
          Kim's arm. Kim looks at her.

<b>                         KIM
</b>          What did you see?
          Kelly just shakes her head.

<b>                         KELLY
</b>          Just... just... a shadow or.,.
          Kim heads for the exit door across the room. Kelly
          stays with her.

<b>          73 EXT. SCHOOL 73
</b>
          Kim opens the outside door, peers down the walkway to
          the tennis courts, playing fields. There's no sign of
          anyone. She closes the door.

<b>          74 INT. LOCKER ROOM 74
</b>
          Kim turns back.to Kelly who's started to cry.

<b>                         KELLY
</b>          Someone was there! Someone was...
          in there...
          Kim is taking charge. She moves cautiously back to the
          shower room door, opens it, looks in. She gasps.

<b>                         KELLY
</b>
<b>                         (CONTINUING)
</b>          What? What!s wrong?
          Kelly's on the edge of hysteria. She runs over to Kim.
          They both look.

<b>          75 KIM'S AND KELLY'S POV 75
</b>          What the girls see is the mirror. Something has
          changed. A long wedge of glass has been lifted out o
          it.

<b>          76 BACK TO SCENE 76
</b>          Kim shuts the door, presses against it, stares at
          Kelly.

<b>          77 INT. HALLWAY - DAY 77
</b>
          Kim walks quickly down a long school corridor and turns
          into her father's office.

                         

                         

                         

                         

<b>          UL.
</b>
<b>          78 INT. OFFICE - DAY 78
</b>
          Kim enters. Adele Cooper is seated behind the secre-
          tary's desk thumbing through a fashion magazine.

<b>                         KIM
</b>          I'd like to see my f ather .

<b>                         ADELE
</b>          Another Hammond?

<b>                         KIM
</b>
<b>                         (AGITATED)
</b>          Is he here?

<b>                         ADELE
</b>          No, he's not. He said he'd be
          back but...
          She trails off. Kim is obviously upset.

<b>                         ADELE
</b>
<b>                         (CONTINUING)
</b>          What's urrong?

<b>                         KIM
</b>          Oh... There was... Somebody broke
          a mirror in the shower room...
          There was somebody in there...

<b>                         ADELE
</b>          A mirror? Seven years bad luck...
          She tries to smile. Kim just looks at her.

<b>          79 INT. HALLWAY - DAY 79
</b>
          Kim turns a corner, heading for class, and almost runs
          into Sykes, cleaning the floor. Sykes turns. For a
          moment their eyes lock. Then Kim hurries away, almost
          running. Sykes stares after her.

<b>          80 INT. HALLWAY (WELLER'S CLASSROOM) - DAY 80
</b>
           Kim comes down the hallway and stops at the door.
           There's a piece of paper with a hastily scrawled mes-
           sage taped there. It heads: "Detention Postponed
           Until Monday -- EMERGENCY! Weller."

<b>           VICKI (O.S.)
</b>          Did it work?
          Kim is startled, turns. Vicki and Jude and approach-
          ing. Vicki hurries to the door, reads the note.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
          ai.

<b>                         80 CONTINUED : 80
</b>
<b>                         VICKI
</b>
<b>                         (CONTINUING)
</b>          It worked!
          She lets out a whoop, embraces Jude. Kim stands back,
          somehow less impressed.

<b>          81 INT. GYM - DAY 81
</b>
          Several students are putting last-minute touches on the
          decor as Kim comes in. Huge speakers are being hoisted
          on pulleys to hang from the ceiling. A vast, raised
          platform covers much of the gym floor, its plexiglass
          surface designed to be illuminated from below. Perched
          on a ladder, Weller is hanging shimmering silver strips
          while Henri-Anne Benton supervises from the disco
          floor.

<b>                         HENRI-ANNE
</b>          Careful, Monty... A little
          higher...
          (sees Kim and

<b>                         SMILES)
</b>          I'm glad you could make it!

<b>                         KIM
</b>          Something came up...
          (looks at Weller)
          'Afternoon, Mr. Weller.

<b>                         WELLER
</b>
<b>                         (EMBARRASSED)
</b>          Oh, hello, Miss... Hammond. I was
          just... uh...
          Henri-Anne mercifully interrupts him.

<b>                         HENRI-ANNE
</b>          Let's get started.

<b>                         (CALLS OUT)
</b>          Nick!
          Nick pokes his head out of the sound booth set on a
          platform near the stage.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING)
</b>          Onstage! Tell Alex we're ready.
          Alex emerges from the booth. DAVY MATLOCK, a pudgy,
          fifteen-year-old sophomore and Alex's technical assis-
          tant, leans out behind him.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         81
</b>
<b>                         81 CONTINUED:
</b>
<b>                         ALEX
</b>          All set, Miss Benton. Just have
          Davy roll the tapes.

<b>                         HENRI -ANNE
</b>          Wonderful. You can be Mr. Hanunond
          for the rehearsal!
          Alex groans. Kim smiles as Nick joins her. She takes
          his hand, clutches it. They start to walk away, talk-
          ing quietly. Nick puts his arm around her.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING)
</b>          Nick! Kim! Come with me.
          Henri-Anne bounds up onto the stage. Kim and Nick fol-
          low her behind the curtain.

<b>          82 INT. GYM (BACKSTAGE) - DAY 82
</b>
          Henri-Anne takes Kim to one of the wings of the dark
          cluttered area.

<b>                         HENRI -ANNE
</b>          You'll wait here...
          (looks around for

<b>                         NICK)
</b>          Nick?
          Nick silently creeps from behind a partition and moves
          up directly behind Henri-Anne. He mimes choking her, a
          crazed expression on his face. Kim has to laugh at his
          clowning.

<b>                         HENRI-ANNE
</b>
<b>                         CONTINUING; WHIRLS
</b>
<b>                         AROUND)
</b>          Nick!

<b>                         NICK
</b>
<b>                         (GRINS)
</b>          Scary place!

<b>                         HENRI-ANNE
</b>          You have to stand up here tonight,
          not me. If you don't know what to
          do, you'll look the fool!
          Nick glances at Kim. She shrugs.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         65-
</b>
<b>                         82 CONTINUED: 82
</b>
<b>                          HENRI-ANNE
</b>
<b>                          (CONTINUIN
</b>
<b>                          G)
</b>          Come along.
          Nick follows her to the opposite wing. Kim cannot see
          them from her position.

<b>                         HENRI-ANNE
</b>          (continuing; calls out)
          Can you hear me, Kim?

<b>                         KIM
</b>
<b>                         CALLS)
</b>          Yes.
          Kim leans against a wall, gazing around at her gloomy
          surroundings. She does not hear the WHISPERED CONVER-
          SATION coming from behind a nearby partition. She does
          not see Wendy and Lou lurking there, watching her.

<b>                         HENRI-ANNE
</b>
<b>                         (SHOUTING)
</b>          All right, Alex, start the tape.
          A TRUMPET FANFARE BLARES OUT of the SPEAKERS.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING;
</b>
<b>                         SHOUTING)
</b>          Listen for your cue, king and
          queen...
          PROFESSIONAL MUSIC is HEARD.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING;
</b>
<b>                         SHOUTING)
</b>          Start walking -- slowly!
          Kim begins to cross the stage. She smiles when she
          spots Nick. The curtain slowly opens.

<b>                         VOICE (TAPED)
</b>          The King and Queen of the George
          Winston High School Junion-Senior
          Prom for 1980 -- Nick McBride and
          Kim Hammond!
          They meet backstage center and turn towards the parting
          curtain. Henri-Anne stands at the front of the stage,
          her hand resting on Alex's shoulder, as Kim and Nick
          proceed downstage.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          66.
</b>
<b>                         82 CONTINUED: (2) 82
</b>
<b>                          VOICE (TAPED)
</b>
<b>                         (CONTINUING)
</b>          These two seniors were selected by
          their fellow students as the most
          popular boy and girl in the class..

<b>                         NICK
</b>          (to Kim as they

<b>                         WALK)
</b>          Bullshit!
          Kim smiles.
          Peeking out from behind the curtain, Wendy turns to
          Lou.

<b>                         WENDY
</b>
<b>                         (BITTERLY)
</b>          Bullshit!

<b>                         LOU
</b>
<b>                         (GRINS)
</b>          Shhh!

<b>                         VOICE (TAPED)
</b>          Nick is a three-sport letterman
          and president of the Key Club. He
          plans to attend State University
          in the fall.

<b>                         KIM
</b>          Because he can't get in anywhere
          else!

<b>                         VOICE (TAPED)
</b>          Kim is the head cheerleader and
          ranked number one on the girls'
          tennis team. She hopes to become
          a teacher.

<b>                         NICK
</b>          If she ever graduates...
          Nick and Kim stop downstage center.

<b>                         HENRI-ANNE
</b>
<b>                         (SHOVING ALEX
</b>
<b>                         FORWARD)
</b>          Now, Alex.
          Self-consciously, Alex stumbles up to Kim and pretends
          to give her a bouquet of roses.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          67.
</b>
<b>                         82 CONTINUED: (3) 82
</b>
<b>                         HENRI -ANNE
</b>
<b>                         (CONTINUING)
</b>          That's it, Alex. Now kiss her!

<b>                         ALEX
</b>          My sister?

<b>                         HENRI-ANNE
</b>          Alex!
          Alex awkwardly kisses Kim on the cheek.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING)
</b>          Now the king.

<b>                         ALEX
</b>          Kiss the king?

<b>                         NICK
</b>          On the mouth!
          Kim laughs at Alex's discomfort.

<b>                         HENRI-ANNE
</b>          Shake hands...
          They shake.

<b>                         HENRI -ANNE
</b>
<b>                         (CONTINUING)
</b>          Alex, step back...
          Alex moves next to her.

<b>                         HENRI -ANNE
</b>
<b>                         (CONTINUING)
</b>          Kim and Nick, start down the..
          (looks at the

<b>                         STAGE APRON)
</b>          Where are the steps?
          Silence.

<b>                         HENRI-ANNE
</b>          (continuing; to the

<b>                         ENTIRE GYM)
</b>          You expect our king and queen to
          jump to the floor?
          A STUDENT in the back timidly responds.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          68.
</b>
<b>                         82 CONTINUED: (4) 82
</b>
<b>                         STUDENT
</b>          I'll find them, Miss Benton.
          Henri-Anne turns back to Nick and Kim.

<b>                         HENRI-ANNE
</b>          You'll descend the steps...
          Nick and Kim climb down from the stage.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING)
</b>          Nick, give Kim your arm...
          (as he does)
          Move to the center of the floor.
          Nick and Kim self-consciously cross the room, aware
          that everyone is watching them.

<b>                         HENRI-ANNE
</b>
<b>                         (CONTINUING)
</b>          Wait for the spotlights and your
          music cue, then dance...

<b>                         (SIGHS)
</b>          It'll be beautiful!

<b>          83 TNT. HALLWAY - DAY 83
</b>          Kim strides down the empty corridor, flushed and ex-
          cited from the rehearsal. Arriving at her father's of-
          fice, she flings open the door.

<b>          84 INT. OFFICE - DAY 84
</b>
          Kim enters and surveys the apparently empty office.
          Hearing GRUNTS and GROANS from behind the desk, Kim
          steps around and sees Adele Cooper stretched across the
          floor. The secretary is practicing her "Rainbow" exer-
          cise, arching her body towards the ceiling while keep-
          ing her hands and feet on the floor.

<b>                         KIM
</b>          Hello?
          Adele twists her head around to look at Kim. Her
          "Rainbow" collapses. Spinning around, Adele sits
          cross-legged on the floor and smiles at Kim.

<b>                         ADELE
</b>          You okay?

<b>                         KIM
</b>          Yeah... I've calmed down a bit...

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          69.
</b>
<b>                         84 CONTINUED: 84
</b>          Adele launches into another contortion.

<b>                         ADELE
</b>          This works for me.

<b>                         KIM
</b>          Has my father been back?

<b>                         ADELE
</b>          Nope. Haven't seen him all
          afternoon.

<b>                         KIM
</b>          And he didn't leave a message?

<b>                         ADELE
</b>          Not a word.

<b>                         KIM
</b>
<b>                         (PUZZLED)
</b>          Strange... He usually gives me a
          ride home.

<b>                         ADELE
</b>          Let me finish and I'll give you a
          lift.

<b>                         KIM
</b>          Thanks, but I can walk.
          Kim starts to leave, turning around at the door.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          Guess I won't be seeing you again.
          Standing on her head, Adele smiles.

<b>                         ADELE
</b>          Guess again. Three different
          students asked me to the prom
          tonight... I thought you had to be
          enrolled!

<b>                         KIM
</b>          You're going?

<b>                         ADELE
</b>
<b>                         (NODS)
</b>          Not with any of them. Know any
          good-looking fathers?

<b>                         CONTINUED)
</b>
                         

                         

                         

                         

<b>          70.
</b>
<b>                         84 CONTINUED: (2) 84
</b>
<b>                         KIM
</b>
<b>                         (SMILES) -
</b>          I'll keep my eyes open. See you
          later.
          She exits as Adele slowly lowers her legs to the floor.

<b>          85 INT. HALLWAY - DAY 85
</b>
          Jude approaches her locker, stops. There's a picture
          taped to her locker door, her picture, ripped out of
          the Winston High Yearbook. She looks at it, reaches up
          and pulls it off the door. She winces, looks at her
          finger. It's bleeding. She looks at the picture.
          There's a tiny sliver of glass embedded in it.
          Jude hears SOMEONE COMING. She turns to see Kelly com-
          ing toward her.

<b>                         KELLY
</b>          Jude... look...
          She has something in her hand. It's a photo of her, a,
          Yearbook photo with the same torn edges. Jude holds up
          her version.

<b>                         KELLY
</b>
<b>                          (CONTINUING)
</b>           Why?

<b>          86 INT. SHOWER ROOM - DAY 86
</b>
          The DOOR CREAKS open. A light is flicked on. Sykes
          stands there, a broom and a big waste-pan in his hands.
          He stares at the broken mirror with its center hole and
          its missing wedge.
          He shuffles across the floor and starts to clean up the
          debris.

<b>          87 EXT. HAMMONDS' HOUSE - DUSK 87
</b>
          The split-level suburban residence sits on a tree-lined
          street in an older, middle-class neighborhood. Walking
          up the driveway, Kim hears a LOUD THUD from behind the
          house. As the SOUND CONTINUES, Kim walks around back
          to investigate.

<b>          88 EXT. HAMONDS ' BACKYARD - DUSK 88
</b>
          Stepping around the corner of the house, Kim sees her
          father furiously chopping an old stump in the flower
          garden.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         
           / l.

<b>                         88 CONTINUED: 88
</b>          Hammond's axe slashes into the rotten wood, sending
          splinters flying in all directions. Kim watches him
          work. He appears angry and upset.

<b>                         KIM
</b>          Hi.
          Oblivious, Hammond buries the axe in the stump. Kim
          moves around to face him. When he sees her, Hammond
          jumps, startled.

<b>                         HAMMOND
</b>          I didn't hear you.

<b>                         KIM
</b>
<b>                         (SMILES)
</b>          Sorry.
          Wiping the sweat from his forehead, Hammond struggles
          to catch his breath.

<b>                         HAMMOND
</b>          I'm getting too old for this.

<b>                         KIM
</b>          Why are you doing it now?

<b>                         HAMMOND
</b>          Your mother's been hounding me to
          get it done... You got nay message?

<b>                         KIM
</b>
<b>                         (PUZZLED)
</b>          No.

<b>                         HAMMOND
</b>
<b>                         (ANGRILY)
</b>          I told that woman to tell you I
          had a meeting and couldn't drive
          you home.

<b>                         KIM
</b>          Your secretary?

<b>                         HAMMOND
</b>
<b>                         (NODS)
</b>          Idiot!

<b>                         KIM
</b>          I liked her.
          Hammond angrily jerks the axe from the stump.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          72.
</b>
<b>                         88 CONTINUED: 2) 88
</b>
<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          You okay?

<b>                         HA` ONND
</b>
<b>                         (SHRUGS)
</b>          This thing with your mother...
          Have you seen her yet?

<b>                         KIM
</b>          No. How is she?

<b>                         HAMMOND
</b>
<b>                         (SIGHS)
</b>          One minute she's depressed, the
          next she's bubbling over like a
          child... She wants to go with me
          tonight.

<b>                         KIM
</b>          Great!

<b>                         HAMMOND
</b>          I'm not so sure.

<b>                         KIM
</b>          I think getting dressed up and
          going out might be good for her.

<b>          HA",24OND
</b>          She's had a bad day, Kim. I'm not
          sure she can handle it... See if
          you can talk to her.
          Hammond picks up the axe and sends it crashing into the
          stump.

<b>          89 INT. KITCHEN - DUSK 89
</b>
          Kim enters from the backyard. Looking around, she no-
          tices that nothing is being prepared for dinner.
          Curious, she moves toward the living room.

<b>          90 INT. LIVING ROOM - DUSK 90
</b>
          Vivian is arranging fresh roses on the mantel shrine
          when Kim enters. The girl stands for several seconds
          watching her mother before she speaks.

<b>                         KIM
</b>          Hi, Mom.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          /,5
</b>
<b>                         90 CONTINUED: 90
</b>
<b>                         VIVIAN
</b>
<b>                         (WITHOUT TURNING
</b>
<b>                         AROUND)
</b>          Hello, Robin. Don't eat anything.
          Dinner's almost ready.
          Disturbed, Kim frowns and slowly crosses the room to
          her mother.

<b>                         KIM
</b>          Nothing's cooking, Mom. You
          must've forgotten.
          Slipping out of her reverie, Vivian turns around to
          face Kim.

<b>                         VIVIAN
</b>          Oh.. I don't know what I was
          thinking.

<b>                         KIM
</b>
<b>                         (SMILES)
</b>          It doesn't matter.

<b>                         VIVIAN
</b>
<b>                         (EXCITEDLY)
</b>          Have you seen the new satin
          pantsuit I'm wearing?
          Vivian smiles at her daughter. Kim studies her for a
          long moment, then leans over and kisses her on the
          cheek.

<b>                         KIM
</b>          You'll be beautiful.

<b>          91 INT. HALLWAY - HAMMONDS' HOUSE - DUSK
</b>
          As Kim walks down the hallway, she notices that Alex's
          door is closed. She enters her bedroom.

<b>          92 INT. BEDROOM - DUSK 92
</b>
          Kim crosses the room and switches ON her RADIO. ROCK
          MUSIC is HEARD as she tosses her books onto the desk
          and moves to the closet. She carefully pulls out her
          prom dress, a mid-length, off-the-shoulder gown in a
          white, clinging material. Holding it up against her
          body, she inspects the gown in the full-length mirror
          on the closet door. Watching her reflection, Kim
          twirls around, hugging the gowm to her body. Satis-
          fied, she gently lays the go%.m on her bed.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         92 CONTINUED: 92
</b>          Kim begins to undress. Outside, the twilight shadows
          deepen.
          THROUGH the VINDOM, a slight movement is SEAN among the
          trees; suddenly, a dark figure becomes VISIBLE, ap-
          proaching.the window. Kim does not notice the figure
          as she finishes undressing. She wraps herself in a
          robe and sits at her dressing table.
          Putting her hair up, she does not see the shadowy
          figure peering inside. When Kim stands up, the figure
          slips away from the window. As she crosses the room,
          the face reappears, hidden by the shadows, watching her
          enter the bathroom.

<b>          93 INT. BEDROOM - DUSK 93
</b>
          Wearing only a bra and panties, Wendy is sprawled
          across her bed, talking on the telephone. A black silk
          gown is draped across her legs.

<b>                         WENDY
</b>          (into the receiver)
          What I'm wearing now?... Oh,
          tonight!
          (smiles, gently
          stroking the gown)
          You'll find out soon enough.

<b>                         (STIFFENS)
</b>          Now, are we all set?... It better.
          I don't want her to ever forget
          tonight!... Okay, 'bye.
          Wendy hangs up the receiver and glances at her night
          table. A photograph of a grinning Nick McBride stares
          back. Wendy smiles and caresses her gown.

<b>          94 INT. BEDROOM - NIGHT 94
</b>
          Seated at her dressing table, Kim puts the final touch-
          es on her makeup. Her hair is swept up and back, fall-
          ing in soft waves to her shoulders. Wearing the rav-
          ishing white gown, she looks older and very beautiful.
          Vivian's VOICE is HEARD from down the hall.

<b>          VIVIAN (O.S.)
</b>          Kim!
          Vivian comes in looking anxious and flustered. She's
          dressed in an elegant black satin pantsuit. Kim turns,
          looks at her.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          75.
</b>
<b>                         94 CONTINUED: 94
</b>
<b>                         KI`RF
</b>          Mom, it looks great...
          Vivian doesn't seem to hear her. She's rummaging
          through her purse.

<b>                         VIVIAN
</b>          Kim, have you got any of my
          makeup?

<b>                         KIM
</b>          No... I never...

<b>                         VIVIAN
</b>          That deep red lipstick, you
          remember? You liked it...

<b>                         KIM
</b>          I wouldn't take it without asking
          you...
          Vivian's very wound up.

<b>                         VIVIAN
</b>          It was on my dressing table, I set
          it aside...
          She's looking around Kim's room as if she expects to
          see it.

<b>                         VIVIAN
</b>
<b>                         (CONTINUING)
</b>          Why does this always happen at
          the last minute?
          Hammond's VOICE bellows from downstairs.

<b>          HAMMOND (O.S.)
</b>          let's go, we can't be late...

<b>                         VIVIAN
</b>
<b>                         (TO KIM)
</b>          I set it aside...
          She heads for the door, stops, looks fully at Kim for
          the first time.

<b>                         VIVIAN
</b>
<b>                         (CONTINUING)
</b>          You look lovely, dear.
          She goes out.

                         

                         

                         

                         

<b>          76.
</b>
<b>          95 INT. DOWNSTAIRS HALL - NIGHT 95
</b>
          Hammond stands in front of a hall mirror, straightening
          his bow tie. He seems agitated, nervous. He turns as
          Vivian starts down the stairs. He looks surprised at
          her outfit. There's a certain similarity between it
          and his own formal suit.

<b>                         HAMIM0ND
</b>          My God, we're going to look like
          twins.
          Vivian stops dead, looks at him. Hammond forces a
          smile.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          I'm joking, Vi, it's beautiful.._
          C'mon...
          She hesitates, then comes down to him.

<b>                         VIVIAN
</b>          I told you I'd bought it.

<b>                         HAMMOND
</b>          Of course you did.
          He opens the door for her. She pauses to check herself
          in the mirror.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          we've got to go.
          He puts an arm around her, kisses her gently on the
          cheek. She just stares at herself in the mirror.

<b>          96 EXT. HOUSE - NIGHT 96
</b>
          Hammond takes Vivian's arm as they step outside, walk
          toward the car in the driveway.

<b>          97 INT. PARKED CAR - POV 97
</b>
          Someone is watching Hammond and Vivian from a car
          parked across and just down the street. A shadow moves
          in the foreground, in the front seat of the car.

<b>          98 EXT. HOUSE 98
</b>
          Hammond guides his wife to their family car, opens the
          passenger door for her_ He looks past her, down the
          street, sees a car parked there.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>                         I I
</b>
<b>                         98 CONTINUED: 98
</b>          A streetlight reflecting off its windshield prevents
          him from seeing inside. Vivian interrupts his
          speculations.

<b>                         VIVIAN
</b>          I'm going back to change.
          She turns back to the house. Hammond holds on to her
          arm.

<b>                         HAMMOND
</b>          Vi... there's no time...

<b>                         VIVIAN
</b>          I'm not going to look ridiculous!

<b>                         IAMMOND
</b>          You don't look ridiculous, you
          look fine...

<b>          99 INT. PARKED CAR - POV 99
</b>
          The figure in the front seat watches the confrontation
          in the Hammond driveway.

<b>          100 EXT. HOUSE 100
</b>
          Hammond takes Vivian by the shoulders, faces her.

<b>                         HAMMON D
</b>          Vi.. this is a big night for the
          school, it's a big night for me...
          I know how you're feeling... I
          understand... It's difficult for
          all of us... But we've got to make
          a special effort, Vi... We can't
          let the... terrible memories of
          this day affect us... That may
          seem cold and... insensitive to
          you, but it's the way it has to
          be..
          He pauses, staring down at his wife. She's holding his
          gaze.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          Now, Vi, if you think it's going
          to be too difficult for you...

<b>                         VIVIAN
</b>          You don't want me to go.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          78.
</b>
<b>                         100 CONTINUED: 100
</b>
<b>                         HAMMOND
</b>
<b>                         T
</b>          Certainly I want you to go,
          just saying...

<b>                         VIVIAN
</b>          You don't think I can do it... You
          think I'll embarrass you...

<b>                         HARMOND
</b>          No! I don't... believe me..

<b>                         VIVIAN
</b>          Then why are you saying these
          things?

<b>                         HAMMMOND
</b>          Vi... I just..
          He's trying to stay calm, to keep the lid on. She's on
          the verge of tears.

<b>                         HAMMOND
</b>
<b>                         (CONTINUING)
</b>          I'm sorry... I didn't mean to
          upset you...

<b>                         VIVIAN
</b>          You treat me like a child! I'm
          your wife!
          She glares at him. He releases her from his grip, ges-
          tures toward the car.

<b>                         HANMOND
</b>          Let's get going...
          He walks around to the driver's door. Vivian stares
          after him with hard cold eyes.

<b>          101 INT. PARKED CAR - POV 101
</b>
          The figure in the parked car watches as Hammond starts
          up the car, waits for Vivian to get in, backs out of
          the driveway, and moves off down the street.

<b>          102 EXT. PARKED CAR 102
</b>
          The figure climbs out of his car, gazes at the fading
          taillights of the Hammond car. The figure is Nick
          McBride.

<b>          103 INT. BEDROOM - NIGHT 103
</b>
          Kim reaches for a small bottle of cologne.

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          79.
</b>
<b>                         103 CONTINUED: 103
</b>          As she gently tracks the perf me across her skin, she
          is startled by another reflection in her mirror.
          Whirling around, she sees Alex. Standing up, she pir-
          ouettes and curtsies before her brother.

<b>                         KIM
</b>          Well?
          Alex gapes, stunned by his sister's appearance.

<b>                         ALEX
</b>
<b>                         (FINALLY)
</b>          Amazing!

<b>                         KIM
</b>
<b>                         (SMILES)
</b>          You like?

<b>                         ALEX
</b>          You look almost like a woman!

<b>                         KIM
</b>
<b>                         (LAUGHS)
</b>          Thanks!
          She picks up her corsage from her dressing table.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          You want to help or just leer?

<b>                         ALEX
</b>          You're my sister... I'll leer!

<b>                         KIM
</b>
<b>                         (LAUGHS)
</b>          Pin this on me, you creep,
          late.
          Alex takes the corsage. As he attaches the bright red
          flower on her gown, she playfully dabs perfume on his
          neck. He pulls back, pricking himself on the pin.

<b>                         ALEX
</b>          Hey!

<b>                         KIM
</b>          You shouldn't have pulled away...
          The DOORBELL RINGS.

<b>                         KIM
</b>
<b>                         (CONTINUING)
</b>          It's him!

<b>                         (CONTINUED)
</b>
                         

                         

                         

                         

<b>          80,
</b>
<b>          103 CONTINUED: (2) 103.
</b>
<b>                         ALE 
</b>          er's face is revealed. It is the nine-year-old Alex.
          Kim cradles the killer on the ground. She turns his
          head toward the light. We SEE his face full-on.

<b>                         VIVIA N
</b>          Robin!
          She rushes forward, lunging for the body. Hammond
          grabs her, restraining her.
          Alex's dark eyes stare back unseeing at his family.
          His resemblance to his dead twin sister is uncanny.
          His hair falls onto his forehead in bangs, as Robin's
          had done seven years before. His makeup has been slop-
          pily applied. The rouged cheeks and the smudged red
          lips amplify the grotesque impersonation.
          Kim strokes her brother's hair. Hammond presses his
          hysterical wife to him. The onlookers slowly close in.
          We SLOWLY DISSOLVE FROM Alex's face TO a photograph of
          the Hammond family taken seven years earlier. We MOVE
          IN CLOSE ON the twins. Alex and Robin are smiling.

<b>          FADE OUT.
</b>
<b>                         THE END
</b>
The killer confronts her while she is in the bathroom and he has an axe.