PROM NIGHT
Written by
William Gray
From a story by
Bob Guza
FINAL DRAFT
FADE IN:
EXT. ELEMENTARY SCHOOL - DAY
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.
ALEX
C'mon, Robin.
ROBIN
(STUTTERING BADLY)
W-w-where's D-d-daddy?
ALEX
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.
ROBIN
N-n-n-no, Alex. Let's w-w-wait.
ALEX
Why?
Robin is staring at Nick. Alex looks, understands.
He's angry.
ALEX
(CONTINUING)
You're crazy, I'm not waiting.
(CONTINUED)
CONTINUED :
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.
KIM
Okay, let's go.
The sisters start to walk across the lawn.
ROBIN
Y-you 1-1-like him?
KIM
Who?
ROBIN
(SMILES SHYLY)
Y-you know.
KIM
Nick? Oh, he's all right, I guess.
They walk on in silence with Robin stealing glances at
her big sister.
ROBIN
(FINALLY)
Are y-y-you g-gonna m-in-marry him?
KIM
Robin?
Robin smiles and takes Kim's hand. They walk along the
road, kicking rocks and swinging their bookbags. Sud-
denly Kim halts.
KIM
(CONTINUING)
Oh, damn!
Robin looks up in surprise.
KIM
(CONTINUING)
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.
(CONTINUED)
3.
CONTINUED! (2)
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.
ROBIN
(CALLS OUT)
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.
WENDY
I want to play 'Murder.' Who's
the killer?
NICK
You, Wendy!
JUDE
(GIGGLING)
you, Nick.
KELLY
Yes, Nick!
WENDY
(LAUGHING)
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.
NICK
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.
NICK (O.S.
The killer strikes!
(CONTINUED)
4.
1 CONTINUED; (3) I
Robin hears Jude's SQUEAL of LAUGHTER. Nick has caught
her. Immediately Jude's VOICE TAKES UP the "kill"
chant in unison with Nick.
INT. APARTMENT BUILDING UNDER CONSTRUCTION - DAY 2
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.
WENDY
(HISSING)
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.
(CONTINUED)
5.
CONTINUED:
NICK
(CALLING OUT)
Here, killers, here!
Nick's head disappears from the opening and Robin hears
the POUNDING of RUNNING FEET.
WENDY
(MALICIOUSLY)
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.
WENDY
(CONTINUING; SLOWLY)
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."
INT. STORAGE ROOM - DAY 3
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.
WENDY
Killers, here!
Wendy advances. Terrified, Robin begins to back away.
ROBIN
N-n-n-no!
(CONTINUED)
6.
CONTINUED:
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.
ROBIN
(CONTINUING)
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.
NICK
(WHISPERING HOARSELY)
We gotta get somebody quick!
Nick starts to go. Wendy instantly whirls, grabs his
arm.
WENDY
Are you crazy? They'll put us in
jail!
Confused, Nick cannot reply. The other girls grow
silent.
WENDY
(CONTINUING)
If we tell anyone, they'll say
it's our fault. Who'd believe it
was an accident?
Nick starts to protest.
WENDY
(CONTINUING;
INTERRUPTING)
Listen to me!
(MORE)
(CONTINUED)
7.
CONTINUED: (2)
WENDY (C ONT D )
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.
WENDY
(CONTINUING)
Everybody swear never to tell!
Wendy glares at Jude.
WENDY
(CONTINUING)
Jude?
JUDE
(SOFTLY)
I swear.
WENDY
Kelly?
Kelly looks from Wendy to the mangled body and begins
to whimper.
WENDY
(CONTINUING; STERNLY)
Kelly!
The frightened girl looks up at Wendy.
KELLY
(WHISPERS)
I don't wanta go to jail...
WENDY
Swear!
KELLY
I swear.
Wendy turns to Nick. At first he appears defiant, ready
to object, but he wilts under her withering gaze.
NICK
(FINALLY)
I won't tell.
WENDY
SLOWLY NODS)
Good.
(CONTINUED)
CONTINUED: (3)
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.
CUT TO:
INT. STORAGE ROOM - DUSK
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.
EXT. APARTMENT BUILDING UNDER CONSTRUCTION - DUSK 5
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.
INT. STORAGE ROOM - DUSK
Hammond moves quickly to the door, grabbing his
hysterical wife as she bursts into the room.
HA:MMIOND
No!
VIVIAN
(SOBBING WILDLY)
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.
KIM
WHISPERING)
Daddy?
HAMMOND
(angrily,
TO VIVIAN)
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.
HA ` 0 N D
(CONTINUING)
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.
CUT TO:
INT. BEDROOM - DAY
Another SCREAM, as throbbing DISCO MUSIC pulsates from
a large portable RADIO sitting on a dresser.
SUPER: APRIL 27, 1980.
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.
VIVIAN (O.S.)
(CALLS OUT)
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.
KIM
(CALLS OUT)
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.
8 INT. KITCHEN - DAY
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.
(CONTINUED)
8 CONTINUED:
HAMMOND
(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.
HAMMOND
(CONTINUING)
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.
KIM
(LAUGHS)
Mmmm, sounds like fun!
HAMMOND
(SMILING)
And how is the next queen of the
Winston High Junior-Senior Prom?
KIM
Scared tiff.
She leans over to kiss her mother. Vivian automatical-
ly turns her cheek to Kim without looking at her.
KIM
(CONTINUING)
Morning, Mom. We got any yogurt?
VIVIAN
(WITHOUT LOOKING
AT KIM)
No, dear. Fix yourself a good
meal. You're getting awfully
thin.
Kim and her father exchange glances. He shrugs
HAIVMOND
who's your lucky escort tonight?
KIM
You know, Daddy... Nick.
(CONTINUED)
1L,
CONTINUED: (2)
HAM`IOND
(NODS)
I've been trying to forget. The
boy's too sure of himself.
KIM
(INTERRUPTS)
Mom, tell him...
VIVIAN
(SOFTLY)
Seven years ago today.
Hammond carefully folds his paper and places it on the
table.
HAMϿ�TOND
(affects a casual
ATTITUDE)
Vi, I made you an appointment with
Dr. Fairchild.
Vivian finally looks up at him.
HAMMOND
(CONTINUING)
It's this morning, actually.
Sorry I forgot to mention it.
VIVIAN
Today?
HAMMOND
(LOOKS AWAY)
You'd better get ready. He's
fitting you in early before his
other... people.
VIVIAN
(UPSET)
It doesn't help. You know that!
HAMIOND
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.
HAM4OND
(CONTINUING)
Morning, Alex.
(CONTINUED)
1J.
CONTINUED: (3)
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.
KIM
Have you got a date for tonight?
His mouth crammed.full of Twinkie, Alex mumbles his
reply.
KIM
(CONTINUING)
I happen to know Jude might be
available. Of course, she is older,
but...
Alex almost chokes.
ALEX
C'mon, Kimbo, I may be hard up...
KIM
Alex! Jude's cute... Besides,
she's funny and really smart.
Give you somebody to do equations
with!
ALEX
(SARCASTIC)
Great... Anyway, I'm in charge of
the sound system tonight.
KIM
Not bad but it's not romance.
ALEX
It'll do for tonight.
Kim shoots him a look, then backs off.
KIM
If you get a chance, dance with
Jude once or twice, okay?
ALEX
Sure.
He returns her glass of milk, empty.
(CONTINUED)
8 CONTINUED: (4) 8
ALEX
(CONTINUING)
Any more milk?
9 INT. LIVING ROOM - DAY
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.
HAMMOND
Trust me.
Vivian does not move. Finally, after a long pause,
she turns toward her husband. Her eyes filled with
tears, she nods.
10 INT. CAR (MOVING) - DAY 10
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.
11 EXT. OFFICE BUILDING - DAY 11
The Hammonds' car pulls up in front of a towering
modern building.
12 INT. CAR - DAY 12
Hammond cuts off the engine and turns to Kim and Alex.
HAMMOND
I'll just be a minute...
Vivian is already reaching for the door handle,
13 EXT. OFFICE BUILDING - DAY 13
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.
KIM
See you later,'Mom.
Vivian gives her a thin smile. Hammond takes her arm
and leads her into the imposing building.
15.
14 INT. LOBBY - DAY 14
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.
15 INT. ELEVATOR - DAY 15
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.
CLEANING WOMAN
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.
16 INT. CORRIDOR - DAY 16
Hammond and Vivian move down the long, empty hallway.
As they round a corner, a figure is visible unlocking
a door.
HAI` IOND
(CALLS OUT)
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.
17 INT. OFFICE - DAY 17
Fairchild bustles about the reception area, turning on
lights, checking his messages and appointment calendar.
Fairchild is obsessively neat, the office reflects him.
HAIIOND
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.
(CONTINUED)
17 CONTINUED: 17
Fairchild nods in return. Stepping over to his inner
office, he opens the door.
FAIRCHILD
Have a seat, Vivian. I'll be
right in.
She slowly crosses the room, turning suddenly in the
doorway.
VIVIAN
(TO HAMMOND)
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.
HAMMOND
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
(CONTINUING)
Thank you, Doctor.
Hammond exits.
18 , INT. CORRIDOR - DAY 18
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.
H.ANMOND
She's at it again.
FAIRCHILD
(NODS)
Today's the date?
HAIM BOND
Seven years ago today Robin was
killed.
Fairchild looks up from filling his container with
water.
(CONTINUED)
17.
18 CONTINUED: 18
HA,E,10ND
(CONTINUING; MUSING)
This would have been her first prom.
FAIRCHILD
Pardon?
HAKMOND
Tonight's the Junior-Senior Prom
at our high school. Robin would
have been sixteen, She and Alex.
FAIRCHILD
The twins... How is Alex?
HAIIOND
Fine. I just thank God he was too
young to really understand what
happened to his sister.
FAIRCHILD
And your older daughter?
HANMOND
(SMILES)
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.
FAIRCHILD
(looking up at Hammond)
And yourself? No scars?
HATIOND
(after a pause)
I've learned to live them..
Vivian seems worse this time.
FAIRCHILD
(NODS)
The persistence of Vivian's trauma.
I wonder if there isn't something
more serious at work here?
HAMOND
Something more serious than her
daughter's death?
19 INT. OFFICE - DAY 19
Vivian fidgets in her chair. She seems very small and
vulnerable in the large, somber office.
18.
20 INT. CAR (MOVING) DAY 20
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.
KIM
(SCREAMS)
Daddy!
Hammond slams on the brakes, throwing Alex against
the dashboard.
21 EXT. STREET - DAY 21
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.
22 INT. CAR - DAY 22
Hammond lets out a sigh and turns to his children.
HAMMOND
You all right?
They both nod. Alex massages his wrist. Hammond
slips the car into gear and cautiously continues
driving.
KIM
You're worried about Mom?
HALMOND
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.
KIM
Hey, keep that!
Alex groans but does as she asks.
ALEX
Disco sucks!
HAMZMOND
(REPROVINGLY)
Alex!
(CONTINUED)
19.
22 CONTINUED: 22
ALEX
Sorry, Dad...
(turns back to
KIM)
Disco bites it!
HAMMOND
(DRYLY)
That's much better.
The car pulls into the Winston High School parking lot.
They pile out.
23 EXT. PARKING LOT - DAY 23
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.
HANMMMOND
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.
KIM
He's creepy.
ALEX
I heard he's wacko.
HAIIOND
The man is not... wacko.
KIM
Kelly says he's a pervert, spying
on the girls undressing in the
locker room.
HAIIOND
Sykes may have some problems, but
he's no Peeping Tom. He's been
thoroughly checked out.
(CONTINUED)
20,
23 CONTINUED: 23
They climb the broad front steps of the high school.
Hammond glances at his watch.
HAMNIOND
(CONTINUING)
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.
KIM
I'.ve got to decide on my hair
style for tonight.
HAMMOND
(WRYLY)
Wonderful. Alex?
ALEX
I'm building an atomic bomb in
shop.
Smiling, he moves inside. Hammond shakes his head
and hurries off.
24 INT. CORRIDOR - DAY 24
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.
25 INT. OFFICE DAY 25
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.
HAMMIOND
Who are you?
21.
25 CONTINUED: 25
Flustered, the attractive young Woman hastily gets to
her feet and straightens her skirt.
WOMAN
(BADLY FLUSTERED)
Oh God! They told me you wouldn't
be in till nine!
HAMMOND
(INCREDULOUS)
What're you doing, robbing me?
WOMAN
(GIGGLING
NERVOUSLY)
Oh... no, I'm your Working Girl
Hammond stares, wide-eyed.
WOMAN
(CONTINUING)
your temporary secretary.
What's-her-name is sick.
(extends her hand)
Hi. I'm Adele.
HAM 0ND
(taking her hand)
What happened?
WOMAN (ADELE)
Well you see, Mr. Hammond, the,
air conditioner fan was set for
high but...
HAP-MOND
(INTERRUPTS)
Please, Miss... Adele,
ADELE
(INTERRUPTS)
Cooper... Ms. Cooper.
HA MOND
Whatever! I have some important
calls to make. Please see that I'm
not disturbed...
(wades through the
papers to his inner
OFFICE DOOR)
, and put all this back where it
belongs!
He enters his office.
26 INT. HA,1NI OND' S OFFICE - DAY 26
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.
CUT TO:
27 INT. BEDROOM - DAY 27
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.
WENDY
(BREATHLESSLY)
Nick?
A long pause, followed by HEAVY BREATHING. Wendy is
about to respond when the inhuman VOICE speaks in an
eerie, androgynous stutter.
TELEPHONE VOICE
W-Wendy? T-t-tonight it's m-m-my
t-turn!
Wendy's shock quickly turns to anger.
WENDY
Screw you, Lou!
Wendy slams the receiver into its cradle. Grabbing her
books, she storms out of her bedroom.
28 INT. FRONT HALL - DAY 28
Wendy hurries do-in the ornate staircase.
Waiting at the bottom holding the girl's sweater is
MAUDE, the Richards' elderly housekeeper.
MAUDE
You be home for dinner, Wendy?
Wendy angrily grabs her sweater from the woman.
WENDY
How the hell do I know?
She exits.
L3.
29 EXT. RICHARD'S HOUSE - DAY 29
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.
30 INT. KITCHEN - DAY 30
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.
KELLY
(MUMBLING )
Hullo?
A pause, then HEAVY BREATHING. Kelly's eyes grow wide
as the dreadful voice speaks.
TELEPHONE VOICE
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.
31 INT. HALL - DAY 31
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.
KELLY
Yes?
DREW (O.S.)
Christ, Kelly, c'mon! We're late!
Relief floods across her face. Kelly quickly unfastens
the latch.
KELLY
Oh, Drew, thank God!
She throws herself into the arms of the pleasantly sur-
prised DREW SHINNICK, a muscular blond athlete.
DREW
(holding her tightly)
I'm glad to see you, too.
(CONTINUED)
24.
31 CONTINUED: 31
She looks up at him.
KELLY
Drew, this horrible -voice...
DREW
Nightmare?
KELLY
On the telephone. It sounded so
evil!
DREW
(LAUGHING)
What'd you get, a heavy breather?
KELLY
Worse than that...
DREW
(INTERRUPTS)
Turned you on did he? Maybe I
should try that!
She breaks from his grasp.
KELLY
'm serious!
Drew makes a grab for her but she avoids him, hurries
inside. He sighs and leans against the doorjamb to
wait.
DREW
So am I.,.
32 INT. CAR (MOVING) - DAY 32
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.
KELLY
(ANGRY)
I thought we were late.
(CONTINUED)
32 CONTINUED: 32
DREW
We'll get there... eventually.
KELLY
Really?
Drew HONKS the HORN at another driver.
DREW
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.
KELLY
(MOCK-SWEETLY)
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.
33 INT. HALL - DAY
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.
TELEPHONE VOICE
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?
JUDE
(shakes her head)
Getting closer, though.
26.
33 CONTINUED: 33
MRS. CUNNINGHAM
A boy?
JUDE
(SMILES)
An obscene call... and not very
obscene at that!
Mrs. Cunningham starts to say something.
JUDE
(CONTINUING)
Sorry, Mom, gotta run.
Giving her mother a quick peck on the cheek, Jude
exits.
34 EXT. CUNNINGHAM'S HOUSE - DAY
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.
GUY
Hey, beautiful, need a lift?
Jude continues walking, the van moving slowly alongside
her.
JUDE
No thanks.
GUY
C'mon, I won't bite.
Jude chomps down hard on her apple.
JUDE
So who are you?
TheGuy leans further out the window.
GUY
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.
(CONTINUED)
27.
34 CONTINUED: 27
GUY
(CONTINUING)
but they call me Slick!
Jude laughs, almost choking on her apple.
JUDE
I can see why... How old are you,
Slick?
GUY (SLICK)
Old enough...
JUDE
I've heard about guys like you...
running over girls on the sidewalk...
SLICK
Just some girls... If they're good
lookin' I give 'em a ride.
JUDE
(SMILING)
Can you stop that thing?
Slick jams on the brakes. The van jerks to a halt.
He opens the passenger door.
JUDE
(CONTINUING)
I'm going straight to Winston High,
understand?
SLICK
(NODS)
Straight to Winston.
She climbs inside.
35 INT. VAN (MOVING- DAY 35
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.
JUDE
Looks like a cheap motel.
SLICK
Cheap?... that's a two hundred
dollar waterbed there...
Jude turns around for a look.
(CONTINUED)
35 CONTINUED: 35
SLICK
(CONTINUING)
Hand me that history book.
JUDE
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.
SLICK
Straight to Winston High?
36 EXT. SCHOOL PARKING LOT DAY
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.
37 INT. VAN
The air is thick with smoke.
JUDE
(COUGHING)
How old are you, really?
SLICK
You won't believe it...
(PAUSES FOR
DRAMATIC EFFECT)
Sixteen!
JUDE
(CONSIDERING
I believe it.
They both break up giggling.
SLICK
You going to the prom tonight?
Jude looks away, embarrassed.
JUDE
Sure, of course.
SLICK
(GLUMLY)
Not me. My date got sick.
(CONTINUED)
LV.
37 CONTINUED: 37
JUDE
(BRIGHTENING)
Yeah? Well, as a matter of fact..
(THINKING FURIOUSLY)
My date is uh, not that certain...
Something might be happening, he's
not sure, you know?
SLICK
(NODDING SOLEMNLY)
Yeah, right...
Jude watches him. He's slow picking up her hint.
JUDE
So I guess we're both maybe not
going...
SLICK
Yeah... too bad...
He looks at her.
SLICK
(CONTINUING)
Hey, you think...
JUDE
I'd love to!
She kisses him on the cheek.
JUDE
(CONTINUING)
See you at eight, same spot!
She exits, hurrying across the parking lot as he grins
foolishly after her. Suddenly, it dawns on him.
SLICK
(CALLS OUT)
What's your name?
38 INT. APARTMENT LIVING ROOM - DAY 38
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.
(CONTINUED)
30.
38 CONTINUED:
MCBRIDE
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.
MCBRIDE
(CONTINUING)
For a guy who moves so fast around
a disco floor, you are the slowest
goddamn thing...
Nick nods sleepily, yawns.
NICK
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.
39 INT. CORRIDOR - DAY
The TELEPHONE keeps RINGING. McBride looks at his son.
MCBRIDE
Why didn't you answer i
NICK
It's just Wendy. She's pissed off.
She wants me to take her to the
prom tonight.
MCBRIDE
I thought you two broke up.
The TELEPHONE continues to RING.
NICK
Three months ago... you can't tell
Wendy anything she doesn't want to
hear.
MCBRIDE
Aren't you going with the Hammond
girl? The principal's daughter?
NICK
(SMILES)
Kim.
39 CONTINUED; 39
MCBRIDE
God, I wish I had your women
problems.
They walk down the corridor as the TELEPHONE continues
to RING.
40 INT. SCHOOL SHOP - DAY 40
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.
ALEX
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.
41 INT. SCHOOL CORRIDOR - DAY 41
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.
SYKES
S-s-sorry, Missy. You hurt?
Her heart pounding wildly, Kim rushes into the gym.
Sykes picks up his mop.
32-
42, INT. DAY 42
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
MADNESS."
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.
WENDY (O.S.)
Bravo...
Kim stops abruptly. Standing onstage, watching her, is
Wendy.
WENDY
(CONTINUING)
Practicing for tonight?
KIM
Yes, as a matter of fact... I was
just...
WENDY
Thinking about Nick, maybe?
KIM
That's my business.
WENDY
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...
KIM
You really ought to tell him that.
WENDY
I'm telling you, okay? Stay away
from Nick!
KIM
You and Nick haven't been together
in ages.
WENDY
You know nothing about it!
(CONTINUED)
_J _J
42 CONTINUED: 42
KIM
Really? So who are you going with
tonight?
WENDY
It's not who you go with, honey...
it's who takes you home.
KIM
I'll try and remember that.
WENDY
Wait and see, bitch... Just wait
and see...
43 INT. HALLWAY - DAY 43
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.
KIM
: So then she threatened me.
VICKI
Wendy's a jerk!
FIRST MALE (V.0.)
She didn't!
SECOND MALE (V.0.)
Swear to God!
FIRST MALE (V.0.)
(INCREDULOUS)
In the teachers' lounge?
OTHER VOICES
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.
JUDE
guys.
KIM
Jude.
(CONTINUED)
34.
43 CONTINUED: 43
VICKI
Missed you on the bus today.
JUDE
I didn't ride it.
VICKI
I thought you were too big to hide.
KIM
(CHIDING)
Vicki...
JUDE
(IGNORING VICKI)
I got a ride.
VICKI
Who with?
KIM
None of your business.
JUDE
(BLASE)
A guy.
Vicki and Kim are left hanging, waiting for more.
VICKI
(FINALLY)
Jude!
Jude can hold it back no longer.
JUDE
(EXPLODES)
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.
LOU
I knew there was some reason Kim
wouldn't go out with me. She likes
girls!
The girls separate.
(CONTINUED)
43 CONTINUED: (2) 43
VICKI
Say goodbye, Lou.
KIM
(to Vicki and Jude)
Let's go.
They head down the hallway to their lockers. Lou tags
along.
LOU
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.
VICKI
Poor girl must be exhausted. Look
how he has to hold her up...
(sees Nick approaching
WITH WENDY)
Uh oh.
Kim stops suddenly and turns to look. Lou bumps into
her, his hand purposely grazing her rear.
KIM
Go play with yourself, Lou.
LOU
I'm saving it for you.
Kim sighs with disgust and turns around as Nick walks
up talking to Wendy.
NICK
Wendy, for Christ sake, I never...
(SEES KIM)
Kim!
KIM
(IGNORING WENDY)
Hello, Nick.
Seeing Kim, Wendy quickly reaches up and kisses Nick on
the mouth.
WENDY
We'll talk about it later, lover.
Bye.
Wendy smiles and strolls away. Lou follows her.
(CONTINUED)
36.
43. CONTINUED: (3) 43
NICK
(EMBARRASSED)
I told her to leave me alone.
KIM
(NODS)
Worked real well.
The BELL RINGS signalling first period class. Kim
turns to Vicki and Jude.
KIM
(CONTINUING)
We'd better go.
Kim brushes past Nick without a word. The two girls ex-
change puzzled glances and follow her.
NICK
(WORRIED)
Kim?
Kim does not turn back. Walking next to her, Vicki
watches her friend curiously. Kim giggles. A sneaky
smile creeps across her face.
JUDE
(GRINNING)
That's cruel!
KIM
Shhh!
VICKI
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.
44 INT. CORRIDOR - DAY 44
A tall dark figure walks quickly down a concrete cor-
ridor. From somewhere nearby, loud VOICES, SPLASHING
water, can be HEARD.
45 INT. POOL GALLERY 45
A shadow moves behind the opaque glass plate of a heavy
door.
(CONTINUED)
45 CONTINUED: 45
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.
46 INT. POOL 46
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.
47 ANGLE ON HAMMOND 47
as he watches Nick intently from the gallery door.
48 INT. POOL 48
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.
DREW
You wanta take care of yourself,
man... Kim's expecting a lot from
you tonight...
Nick laughs.
49 INT. GALLERY DOOR 49
The door is easing shut. Hammond is nowhere to be seen.
50 INT. GYM - DAY 50
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.
51 INT. GYM - BACKSTAGE 51
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.
(CONTINUED)
38.
51 CONTINUED: 51
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.
ALEX (O.S.)
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.
HAMMOND
Alex?... What the hell're you
doing?
ALEX
I'm testing the board... I didn't
hear you... nobody's supposed to
be here yet...
HAMMOND
No, well'...
He looks around. He's still trying to get himself
together.
HAMMOND
(CONTINUING)
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
(CONTINUING)
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.
HA, MOND
(CONTINUING)
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.
39.
52 INT. CLASSROOM (LAB) - DAY 52
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.
WELLER
Miss Hammond!
Wide-eyed, Kim desperately tries to crush the note in
her hand.
(CONTINUED)
52 CONTINUED: 52
WELLER
(CONTINUING)
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!
KIM
(barely a whisper)
Read the note?
WELLER
(STERNLY)
Now, Miss Hammond!
Kim swallows and steals a quick glance at her friends.
Vicki winces. Jude tries to disappear beneath her, seat.
KIM
Yessir...
(clears her throat)
Well, it's mostly talking
about...
WELLER
(INTERRUPTS)
Word for word, please. Exactly
as it is written.
KIM
(NODS)
Right..
(coughs and finally
begins, slowly, in a
STILTED MANNER)
What a hunk!
Titters from the class.
KIM
(CONTINUING)
Really cute... Tall... a great
BODY
The class roars with laughter.
KIM
(CONTINUING)
Kinda the Latin lover type.
(MORE)
(CONTINUED)
41-
52 CONTINUED (2) 52
KIM (CONS'' D)
(reading ahead,
KIM GIGGLES)
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.
WELLER
After school, Miss Hammond. One
hour detention study hall... you
and your friends!
Kim looks from Jude to Vicki.
KIM
But, Mr. Weller, tonight's the
prom...
WELLER
(DISDAINFULLY)
Tell that to your...
(SNIFFS)
hunk!
He spins on his heel and marches back to his desk. The
three girls hurriedly exit.
53 INT. ROOM (SCHOOL) - DAY 53
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.
54 INT. CAFETERIA - DAY 54
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.
(CONTINUED)
4L.
54 CONTINUED: 54
VICKI
(NUDGING JUDE)
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.
KIM
Looks like a party.
JUDE
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.
SLICK
(ANGRILY)
Hey, clown, what the...
Three of Lou's gang quickly step up behind the masked
figure.
LOU
Say what?
SLICK
(SHRUGS)
Forget it, Lou.
LOU
(SMIRKS)
That's what I figured.
Slick bends over to pick up his lunch.
SLICK
(SOFTLY)
Asshole!
Lou and his friends shove ahead in the line until he is
standing behind Kim. Lou nuzzles Kim's neck.
LOU
(muffled by the mask)
Like me better now?
(CONTINUED)
43.
54 CONTINUED: (2) 54
Startled, Kim spins around. Her fear quickly becomes
anger.
KIM
It's an improvement!
She turns her back to him.
LOU
You like it so much...
(spins her around to
FACE HIM)
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.
LOU
(CONTINUING;
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.
TEACHER
This time you're out, Perano.
Lou points to Alex who is being helped up from the
floor.
LOU
He started i
TEACHER
I'll bet... Alex?
(CONTINUED)
54 CONTINUED: (3) 54
Alex nods, leaning on the other teacher for support.
KIM
That's not true! Alex was trying
to help me.
The teacher looks from Kim to Lou to Alex.
TEACHER
You'd better come along to your
father's office.
LOU
(SNEERS)
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.
55 INT. HALLWAY - DAY 55
Lou and Alex accompany the teachers down the corridor
toward the principal's office. Nick and Wendy approach
from the opposite direction, talking heatedly.
NICK
I don't care who. Just
somebody else!
WENDY
(BITTER)
You never had it so good as with
me.
NICK
I've got it now... better!
WENDY
(ANGRILY)
You don't even know...
(spots Lou and
CALLS OUT)
Lou!
The surprised Lou tries to stop but the Teachers hurry
him and Alex past the couple. Wendy watches Nick.
LOU
(turning back to Wendy)
I got this appointment.
(CONTINUED)
45.
55 CONTINUED: 55
WENDY
I'LL WAI
Wendy turns to see Nick's reaction but he is already
walking towards the cafeteria. The irate girl glares
after him.
56 INT. OFFICE - DAY 56
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.
HAMMOND
(EXASPERATED)
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.
HAMMOND
(CONTINUING)
What is it?
ADELE
(WHISPERING)
There are some gentlemen here to
see you, Mr. Hammond.
HAMMOND
Can't it wait?
ADELE
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.
HAMMOND
(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.
HAIIOND
(CONTINUING)
Damn!
(CONTINUED)
46.
56 CONTINUED: 56
Frustrated, Hammond slams the receiver into its cradle.
HAMMOND
(CONTINUING)
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.
HAMMOND
(CONTINUING ;WEARILY)
You again?
TEACHER
(NODS)
Brawling in the cafeteria... both
of them.
He places Lou's ski mask on Hammond's desk. The prin-
cipal glances at it.
HAMMOND
(FINALLY)
Thank you. I'll handle it.
The Teachers exit.
HAMMOND
(CONTINUING)
Explanations?
He looks at Alex. The boy stares at the floor and says
nothing. Hammond holds the mask up to Lou.
HAIIOND
(CONTINUING)
Halloween?
LOU
I was just foolin' around with
this girl...
ALEX
(INTERRUPTS)
Kim!
Hammond frowns.
LOU
when this -- your son
tackled me and...
HAMMOND
(INTERRUPTS)
Is this true, Alex?
(CONTINUED)
47.
56 CONTINUED: (2) 56
LOU
(SNIDE)
I knew It !
Hammond whirls on him.
HAMMOND
You knew what?
LOU
It just figures.
HAIV MOND
(his voice rising
WITH ANGER)
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
LOOK AWAY)
Damn right I will! You're a
disgrace to this school and this
community...
(RECOVERS SOMEWHAT)
You're suspended --
indefinitely! Now get out!
LOU
(SNEERS)
What about your son?
HAMMOND
(ICILY)
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.
LOU
See you around.
He exits, slamming the door.
HAMMOND
(WITHOUT LOOKING
AT ALEX)
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_
48.
57 EXT. FRONT LAWN - DAY 57
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.
LOU
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.
KIM
What a pair!
VICKI
Made for each other!
Kim opens a carton of yogurt.
KIM
You wearing that green gown tonight?
VICKI
You kidding? That was last year.
This year... red silk!
(smiles and runs her
hand from her neck
to her waist)
Cut to here! ...
NICK (O.S.)
Cut to where?
Kim and Vicki turn to see Nick ambling across the lawn
toward them.
VICKI
(MOCK-SEDUCTIVELY)
Anywhere you like...
KIM
(SMILING)
On the prowl!
58 EXT. STREET - DAY
Wendy's white Mustang streaks through traffic, dodging
in and out of lanes, running yellows, burning around
corners.
59 INT. MUSTANG 59
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,
60 EXT. DRIVE-IN 60
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.
61 INT. MUSTANG 61
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.
CAR-HOP
Ready to order?
WENDY
(TO LOU)
What do you want?
Lou's shifting around in his seat, pulling himself
together.
LOU
I'm uh... a little short on cash..
WENDY
You can owe me.
LOU
Yeah? Okay then, a couple of
burgers, a large fries... what
kind of beer you got?
CAR- HOP
C'mon man, this is a drive-in not
a bar.
LOU
All right, all right... don't get
nervous... Gimme a coke...
(MORE)
(CONTINUED)
50.
61 CONTINUED:
LOU (CONT'D)
(nods to Wendy)
She'll have the same.
WENDY
A small diet cola.
WENDY
That ' sit.
The Car-hop shrugs, wheels away. Wendy turns to Lou.
WENDY
I'll buy you one for Christmas,
all right? Now, how do I know
you're serious?
LOU
Whatta you mean, serious? I hate
that school, Hammond and his
asshole family...
WENDY
I don't want anyone hurt... not
badly.
LOU
You got it... anything your little
heart desires...
WENDY
Lou, shouldn't we go over this.
Lou puts his finger to her mouth, silencing her.
LOU
I'll take care of it, Scout's
honor... Don't worry about it...
(CONTINUED)
Di.
61 CONTINUED: (2) 61
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.
LOU
(CONTINUING)
Jesus Christ!
WENDY
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.
WEND Y
Damn stick shift!
Lou starts to protest, then dissolves.
62,. INT. MUSTANG - DAY 62
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.
CAR-HOP
Enjoy your meal.
63 EXT. LAKE-SIDE BLUFFS - DAY 63
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.
63 CONTINUED:
Nick and Kim walk slowly along the rim of the bluffs.
Nick has his arm around her. She leans into him.
KIM
I am excited, it's just... in some
ways it's such an awful day... It's
Robin's day...
64 EXT. BLUFFS CLOSER ANGLE 64
KIM
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.
KIM
(CONTINUING)
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.
KIN
I love you too.
Di.
64 CONTINUED: 64
NICK
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.
NICK
(CONTINUING)
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.
KIM
That's my father... I've got to go,
Okay?
NICK
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.
JUDE
Hey, Nick!
Nick turns and heads the other way.
65 EXT. CEMETERY - HAMMOND PLOT - DAY 65
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.
HP`�MOND (0. S.
We have to go, Vi.
(CONTINUED)
J4.
65 CONTINUED: 65
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.
HAMMOND
(CONTINUING)
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.
66 EXT. TENNIS COURTS DAY
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.
HENRI-ANNE
(SOUTHERN ACCENT)
No, no, Miss Cantrell! Never bend
from the waist... Squat!
(DEMONSTRATES)
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.
66 CONTINUED: 66
HENRI-ANNE
(CONTINUING)
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.
JUDE
(GIGGLING)
Ball?
KIM
Shhh!
Kelly takes Jude aside as Kim and Vicki approach Henri
Anne.
KIM
(CONTINUING;
WHISPERS)
You sure she likes Weller?
VICKI
Positive. I heard her say she's
had the hots for him since they
met!
KIM
She said that?
VICKI
Well, not exactly.
HENRI-ANNE
Oh, Kim. You'll be in the gym
promptly at three-fifteen for
rehearsal?
KIM
Well, actually no, Miss Benton.
can't make it... You know Mr.
Weller?
HENRI-ANNE
We're... acquainted.
KIM
He.. umm..
VICKI
(BLURTS OUT)
He's got a crush on Kim!
(CONTINUED)
56.
660 CONTINUED: (2) 66
Kim stares in amazement aL Vicki;
HENRI --ANNE
(staring at Kim)
He has what?
Kim, wide-eyed, can only look at Vicki.
VICKI
He keeps making Kim stay after
school in detention study hall for
no reason... Just so he can be
near her.
HENRI-ANNE
That's horrible!
Kim gulps.
HENRI-ANNE
(CONTINUING)
You mean to tell me that awful man
A girl half his age!
(a very slight
SMILE)
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.
HENRI-ANNE
(CONTINUING;
FINALLY)
Leave everything to me...
She hurries away. Kim turns on Vicki and starts to
protest.
VICKI
(INTERRUPTING)
It worked, didn't it?
67 EXT. SCHOOL GROUNDS - DAY 67
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.
(CONTINUED)
57-
67 CONTIPRJED 67
VICKI
Mr. Sykes!
KIM
Vicki, don't...
VICKI
Oh, Mr. Sykes...
Sykes stops, turns around.
VICKI
(CONTINUING)
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.
68 INT. GIRLS' LOCKER ROOM - DAY 68
Kim and Kelly are undressing. Three girls pass them
headin g for the showers.
KELLY
I'm not like the others, Kim.
Drew needs somebody like Vicki
who'll give him what he wants.
KIM
(LAUGHS)
Vicki's sex life is more talk than
action. Besides, Drew wants you.
KELLY
I'm afraid if I don't make it with
him he'll find somebody who will.
KIM
(SHRUGS)
Let him.
KELLY
I'd die if he did...
The girls wrap towels around themselves and walk to-
wards the showers.
Sa .
69 INTT. SHIER AREA - DAY 69
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.
MELANIE
See you outside, Wendy.
WENDY
Just be a minute...
Kim and Kelly hang up their towels and step into the
showers.
KELLY
What about you and Nick?
KIM
What about us?
Wendy finishes brushing her hair, shoots Kim.a dark
look, exits.
KELLY
What.happened when he asked you?
Kim smiles.
KIM
Maybe I asked him...
Kelly looks at her friend.
70 INT. LOCKER ROOM - DAY 70
Wendy finishes buttoning her blouse. She's pulling on
her jeans when she hears a SCUFFLING SOUND.
WENDY
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.
WENDY
(CONTINUING)
Melanie?...
Still no answer. Shaking her head, Wendy returns to
her locker.
(CONTINUED)
70 CONTINUED: 70
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.
WENDY
(CONTINUING)
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.
71 INT. SHOWER AREA 71
Wendy's SCREAM is all but DROWNED OUT by the SHOWERS.
Rinsing off, Kim and Kelly hear nothing.
KELLY
I think I'll let Drew do it.
The door to the locker roor slowly opens behind them.
KIM
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.
WENDY (O.S.)
If you ever try anything like that
again, you cow!
Melanie thinks it's hilarious.
MELANIE
(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.
WENDY
What's this supposed to mean?
(CONTINUED)
vv.
71 CONTINUED - 71
KIM
(SARCASTIC)
I know it's not much of a picture,
Wendy, but you didn't have to go
that far...
Wendy is furious.
WENDY
I didn't!
She turns, glares at Melanie.
MELANIE
Don't look at me...
WENDY
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
BREATHING.
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.
KIM
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.
KELLY
KIM 1
61.
72 INT. LOCKER ROOM 72
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.
KIM
What did you see?
Kelly just shakes her head.
KELLY
Just... just... a shadow or.,.
Kim heads for the exit door across the room. Kelly
stays with her.
73 EXT. SCHOOL 73
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.
74 INT. LOCKER ROOM 74
Kim turns back.to Kelly who's started to cry.
KELLY
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.
KELLY
(CONTINUING)
What? What!s wrong?
Kelly's on the edge of hysteria. She runs over to Kim.
They both look.
75 KIM'S AND KELLY'S POV 75
What the girls see is the mirror. Something has
changed. A long wedge of glass has been lifted out o
it.
76 BACK TO SCENE 76
Kim shuts the door, presses against it, stares at
Kelly.
77 INT. HALLWAY - DAY 77
Kim walks quickly down a long school corridor and turns
into her father's office.
UL.
78 INT. OFFICE - DAY 78
Kim enters. Adele Cooper is seated behind the secre-
tary's desk thumbing through a fashion magazine.
KIM
I'd like to see my f ather .
ADELE
Another Hammond?
KIM
(AGITATED)
Is he here?
ADELE
No, he's not. He said he'd be
back but...
She trails off. Kim is obviously upset.
ADELE
(CONTINUING)
What's urrong?
KIM
Oh... There was... Somebody broke
a mirror in the shower room...
There was somebody in there...
ADELE
A mirror? Seven years bad luck...
She tries to smile. Kim just looks at her.
79 INT. HALLWAY - DAY 79
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.
80 INT. HALLWAY (WELLER'S CLASSROOM) - DAY 80
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."
VICKI (O.S.)
Did it work?
Kim is startled, turns. Vicki and Jude and approach-
ing. Vicki hurries to the door, reads the note.
(CONTINUED)
ai.
80 CONTINUED : 80
VICKI
(CONTINUING)
It worked!
She lets out a whoop, embraces Jude. Kim stands back,
somehow less impressed.
81 INT. GYM - DAY 81
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.
HENRI-ANNE
Careful, Monty... A little
higher...
(sees Kim and
SMILES)
I'm glad you could make it!
KIM
Something came up...
(looks at Weller)
'Afternoon, Mr. Weller.
WELLER
(EMBARRASSED)
Oh, hello, Miss... Hammond. I was
just... uh...
Henri-Anne mercifully interrupts him.
HENRI-ANNE
Let's get started.
(CALLS OUT)
Nick!
Nick pokes his head out of the sound booth set on a
platform near the stage.
HENRI-ANNE
(CONTINUING)
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.
(CONTINUED)
81
81 CONTINUED:
ALEX
All set, Miss Benton. Just have
Davy roll the tapes.
HENRI -ANNE
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.
HENRI-ANNE
(CONTINUING)
Nick! Kim! Come with me.
Henri-Anne bounds up onto the stage. Kim and Nick fol-
low her behind the curtain.
82 INT. GYM (BACKSTAGE) - DAY 82
Henri-Anne takes Kim to one of the wings of the dark
cluttered area.
HENRI -ANNE
You'll wait here...
(looks around for
NICK)
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.
HENRI-ANNE
CONTINUING; WHIRLS
AROUND)
Nick!
NICK
(GRINS)
Scary place!
HENRI-ANNE
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.
(CONTINUED)
65-
82 CONTINUED: 82
HENRI-ANNE
(CONTINUIN
G)
Come along.
Nick follows her to the opposite wing. Kim cannot see
them from her position.
HENRI-ANNE
(continuing; calls out)
Can you hear me, Kim?
KIM
CALLS)
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.
HENRI-ANNE
(SHOUTING)
All right, Alex, start the tape.
A TRUMPET FANFARE BLARES OUT of the SPEAKERS.
HENRI-ANNE
(CONTINUING;
SHOUTING)
Listen for your cue, king and
queen...
PROFESSIONAL MUSIC is HEARD.
HENRI-ANNE
(CONTINUING;
SHOUTING)
Start walking -- slowly!
Kim begins to cross the stage. She smiles when she
spots Nick. The curtain slowly opens.
VOICE (TAPED)
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.
(CONTINUED)
66.
82 CONTINUED: (2) 82
VOICE (TAPED)
(CONTINUING)
These two seniors were selected by
their fellow students as the most
popular boy and girl in the class..
NICK
(to Kim as they
WALK)
Bullshit!
Kim smiles.
Peeking out from behind the curtain, Wendy turns to
Lou.
WENDY
(BITTERLY)
Bullshit!
LOU
(GRINS)
Shhh!
VOICE (TAPED)
Nick is a three-sport letterman
and president of the Key Club. He
plans to attend State University
in the fall.
KIM
Because he can't get in anywhere
else!
VOICE (TAPED)
Kim is the head cheerleader and
ranked number one on the girls'
tennis team. She hopes to become
a teacher.
NICK
If she ever graduates...
Nick and Kim stop downstage center.
HENRI-ANNE
(SHOVING ALEX
FORWARD)
Now, Alex.
Self-consciously, Alex stumbles up to Kim and pretends
to give her a bouquet of roses.
(CONTINUED)
67.
82 CONTINUED: (3) 82
HENRI -ANNE
(CONTINUING)
That's it, Alex. Now kiss her!
ALEX
My sister?
HENRI-ANNE
Alex!
Alex awkwardly kisses Kim on the cheek.
HENRI-ANNE
(CONTINUING)
Now the king.
ALEX
Kiss the king?
NICK
On the mouth!
Kim laughs at Alex's discomfort.
HENRI-ANNE
Shake hands...
They shake.
HENRI -ANNE
(CONTINUING)
Alex, step back...
Alex moves next to her.
HENRI -ANNE
(CONTINUING)
Kim and Nick, start down the..
(looks at the
STAGE APRON)
Where are the steps?
Silence.
HENRI-ANNE
(continuing; to the
ENTIRE GYM)
You expect our king and queen to
jump to the floor?
A STUDENT in the back timidly responds.
(CONTINUED)
68.
82 CONTINUED: (4) 82
STUDENT
I'll find them, Miss Benton.
Henri-Anne turns back to Nick and Kim.
HENRI-ANNE
You'll descend the steps...
Nick and Kim climb down from the stage.
HENRI-ANNE
(CONTINUING)
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.
HENRI-ANNE
(CONTINUING)
Wait for the spotlights and your
music cue, then dance...
(SIGHS)
It'll be beautiful!
83 TNT. HALLWAY - DAY 83
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.
84 INT. OFFICE - DAY 84
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.
KIM
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.
ADELE
You okay?
KIM
Yeah... I've calmed down a bit...
(CONTINUED)
69.
84 CONTINUED: 84
Adele launches into another contortion.
ADELE
This works for me.
KIM
Has my father been back?
ADELE
Nope. Haven't seen him all
afternoon.
KIM
And he didn't leave a message?
ADELE
Not a word.
KIM
(PUZZLED)
Strange... He usually gives me a
ride home.
ADELE
Let me finish and I'll give you a
lift.
KIM
Thanks, but I can walk.
Kim starts to leave, turning around at the door.
KIM
(CONTINUING)
Guess I won't be seeing you again.
Standing on her head, Adele smiles.
ADELE
Guess again. Three different
students asked me to the prom
tonight... I thought you had to be
enrolled!
KIM
You're going?
ADELE
(NODS)
Not with any of them. Know any
good-looking fathers?
CONTINUED)
70.
84 CONTINUED: (2) 84
KIM
(SMILES) -
I'll keep my eyes open. See you
later.
She exits as Adele slowly lowers her legs to the floor.
85 INT. HALLWAY - DAY 85
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.
KELLY
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.
KELLY
(CONTINUING)
Why?
86 INT. SHOWER ROOM - DAY 86
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.
87 EXT. HAMMONDS' HOUSE - DUSK 87
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.
88 EXT. HAMONDS ' BACKYARD - DUSK 88
Stepping around the corner of the house, Kim sees her
father furiously chopping an old stump in the flower
garden.
(CONTINUED)
/ l.
88 CONTINUED: 88
Hammond's axe slashes into the rotten wood, sending
splinters flying in all directions. Kim watches him
work. He appears angry and upset.
KIM
Hi.
Oblivious, Hammond buries the axe in the stump. Kim
moves around to face him. When he sees her, Hammond
jumps, startled.
HAMMOND
I didn't hear you.
KIM
(SMILES)
Sorry.
Wiping the sweat from his forehead, Hammond struggles
to catch his breath.
HAMMOND
I'm getting too old for this.
KIM
Why are you doing it now?
HAMMOND
Your mother's been hounding me to
get it done... You got nay message?
KIM
(PUZZLED)
No.
HAMMOND
(ANGRILY)
I told that woman to tell you I
had a meeting and couldn't drive
you home.
KIM
Your secretary?
HAMMOND
(NODS)
Idiot!
KIM
I liked her.
Hammond angrily jerks the axe from the stump.
(CONTINUED)
72.
88 CONTINUED: 2) 88
KIM
(CONTINUING)
You okay?
HA` ONND
(SHRUGS)
This thing with your mother...
Have you seen her yet?
KIM
No. How is she?
HAMMOND
(SIGHS)
One minute she's depressed, the
next she's bubbling over like a
child... She wants to go with me
tonight.
KIM
Great!
HAMMOND
I'm not so sure.
KIM
I think getting dressed up and
going out might be good for her.
HA",24OND
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.
89 INT. KITCHEN - DUSK 89
Kim enters from the backyard. Looking around, she no-
tices that nothing is being prepared for dinner.
Curious, she moves toward the living room.
90 INT. LIVING ROOM - DUSK 90
Vivian is arranging fresh roses on the mantel shrine
when Kim enters. The girl stands for several seconds
watching her mother before she speaks.
KIM
Hi, Mom.
(CONTINUED)
/,5
90 CONTINUED: 90
VIVIAN
(WITHOUT TURNING
AROUND)
Hello, Robin. Don't eat anything.
Dinner's almost ready.
Disturbed, Kim frowns and slowly crosses the room to
her mother.
KIM
Nothing's cooking, Mom. You
must've forgotten.
Slipping out of her reverie, Vivian turns around to
face Kim.
VIVIAN
Oh.. I don't know what I was
thinking.
KIM
(SMILES)
It doesn't matter.
VIVIAN
(EXCITEDLY)
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.
KIM
You'll be beautiful.
91 INT. HALLWAY - HAMMONDS' HOUSE - DUSK
As Kim walks down the hallway, she notices that Alex's
door is closed. She enters her bedroom.
92 INT. BEDROOM - DUSK 92
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.
(CONTINUED)
92 CONTINUED: 92
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.
93 INT. BEDROOM - DUSK 93
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.
WENDY
(into the receiver)
What I'm wearing now?... Oh,
tonight!
(smiles, gently
stroking the gown)
You'll find out soon enough.
(STIFFENS)
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.
94 INT. BEDROOM - NIGHT 94
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.
VIVIAN (O.S.)
Kim!
Vivian comes in looking anxious and flustered. She's
dressed in an elegant black satin pantsuit. Kim turns,
looks at her.
(CONTINUED)
75.
94 CONTINUED: 94
KI`RF
Mom, it looks great...
Vivian doesn't seem to hear her. She's rummaging
through her purse.
VIVIAN
Kim, have you got any of my
makeup?
KIM
No... I never...
VIVIAN
That deep red lipstick, you
remember? You liked it...
KIM
I wouldn't take it without asking
you...
Vivian's very wound up.
VIVIAN
It was on my dressing table, I set
it aside...
She's looking around Kim's room as if she expects to
see it.
VIVIAN
(CONTINUING)
Why does this always happen at
the last minute?
Hammond's VOICE bellows from downstairs.
HAMMOND (O.S.)
let's go, we can't be late...
VIVIAN
(TO KIM)
I set it aside...
She heads for the door, stops, looks fully at Kim for
the first time.
VIVIAN
(CONTINUING)
You look lovely, dear.
She goes out.
76.
95 INT. DOWNSTAIRS HALL - NIGHT 95
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.
HAMIM0ND
My God, we're going to look like
twins.
Vivian stops dead, looks at him. Hammond forces a
smile.
HAMMOND
(CONTINUING)
I'm joking, Vi, it's beautiful.._
C'mon...
She hesitates, then comes down to him.
VIVIAN
I told you I'd bought it.
HAMMOND
Of course you did.
He opens the door for her. She pauses to check herself
in the mirror.
HAMMOND
(CONTINUING)
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.
96 EXT. HOUSE - NIGHT 96
Hammond takes Vivian's arm as they step outside, walk
toward the car in the driveway.
97 INT. PARKED CAR - POV 97
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.
98 EXT. HOUSE 98
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.
(CONTINUED)
I I
98 CONTINUED: 98
A streetlight reflecting off its windshield prevents
him from seeing inside. Vivian interrupts his
speculations.
VIVIAN
I'm going back to change.
She turns back to the house. Hammond holds on to her
arm.
HAMMOND
Vi... there's no time...
VIVIAN
I'm not going to look ridiculous!
IAMMOND
You don't look ridiculous, you
look fine...
99 INT. PARKED CAR - POV 99
The figure in the front seat watches the confrontation
in the Hammond driveway.
100 EXT. HOUSE 100
Hammond takes Vivian by the shoulders, faces her.
HAMMON D
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.
HAMMOND
(CONTINUING)
Now, Vi, if you think it's going
to be too difficult for you...
VIVIAN
You don't want me to go.
(CONTINUED)
78.
100 CONTINUED: 100
HAMMOND
T
Certainly I want you to go,
just saying...
VIVIAN
You don't think I can do it... You
think I'll embarrass you...
HARMOND
No! I don't... believe me..
VIVIAN
Then why are you saying these
things?
HAMMMOND
Vi... I just..
He's trying to stay calm, to keep the lid on. She's on
the verge of tears.
HAMMOND
(CONTINUING)
I'm sorry... I didn't mean to
upset you...
VIVIAN
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.
HANMOND
Let's get going...
He walks around to the driver's door. Vivian stares
after him with hard cold eyes.
101 INT. PARKED CAR - POV 101
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.
102 EXT. PARKED CAR 102
The figure climbs out of his car, gazes at the fading
taillights of the Hammond car. The figure is Nick
McBride.
103 INT. BEDROOM - NIGHT 103
Kim reaches for a small bottle of cologne.
(CONTINUED)
79.
103 CONTINUED: 103
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.
KIM
Well?
Alex gapes, stunned by his sister's appearance.
ALEX
(FINALLY)
Amazing!
KIM
(SMILES)
You like?
ALEX
You look almost like a woman!
KIM
(LAUGHS)
Thanks!
She picks up her corsage from her dressing table.
KIM
(CONTINUING)
You want to help or just leer?
ALEX
You're my sister... I'll leer!
KIM
(LAUGHS)
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.
ALEX
Hey!
KIM
You shouldn't have pulled away...
The DOORBELL RINGS.
KIM
(CONTINUING)
It's him!
(CONTINUED)
80,
103 CONTINUED: (2) 103.
ALE
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.
VIVIA N
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.
FADE OUT.
THE END
