FADE IN:
EST. KENNEDY HIGH - AFTERNOON
The afternoon of the following day.
CUT TO:
INT. SCHOOL HALLWAY
Osbourne is walking down an empty corridor when he crosses
paths with Principal Krupps.
KRUPPS
Erick, can I have a word with you?
OSBOURNE
Certainly, Mr. Krupps.
The two men step to one side of the hall.
KRUPPS
It seems I owe you an apology,
Erick.
OSBOURNE
(raising an eyebrow)
Indeed? How so?
KRUPPS
A week ago, you said that I was
using Sam McPherson as a
substitute for my daughter Amanda.
OSBOURNE
I don't believe it's that cut and
dried—
KRUPPS
No, you were right. I apologize
for my behavior that day. I was in
denial...but Sam made me face up to
the truth.
OSBOURNE
(surprised)
Miss McPherson did?
KRUPPS
Couldn't deny my feelings to her.
OSBOURNE
I see. Then...you've discontinued
the relationship?
KRUPPS
Of course not. Now that we both
understand the context, it makes
things much simpler.
OSBOURNE
Mr. Krupps, you simply cannot be
Miss McPherson's surrogate father.
KRUPPS
Why not? Her question, not mine.
OSBOURNE
(flabbergasted)
It's obviously improper—!
KRUPPS
We don't think so.
OSBOURNE
"We"? Miss McPherson is incapable
of making this decision.
KRUPPS
Why not? My question, not hers.
I'm not horning in on anyone's
territory—except maybe for Mike
McQueen's, and just between you, me
and the wall, I don't think he's up
to it.
OSBOURNE
That's not—
KRUPPS
Frankly, it's this attitude that
Sam isn't able to think for herself
that alienates her the most. I
expected better than that from you,
Erick.
With that, Krupps turns and walks away, leaving Osbourne to
scratch his head.
CUT TO:
INT. ANOTHER HALLWAY
Harrison is packing up at his locker. He closes the door—
and jumps when he sees Natalie standing behind it.
HARRISON
(irate)
Now who's sneaking?
NATALIE
Sorry.
(pause)
You wanna hit me?
HARRISON
(heavy sigh)
No, I don't want to hit you.
NATALIE
Good. Here.
She holds out a small white box.
HARRISON
What's that?
NATALIE
(laughing)
Well, take it and find out.
Reluctantly, Harrison takes the box and opens it. Inside is a
slip of paper.
HARRISON
(reading)
"Good for two tickets to a special
showing of 'The Breakfast Club',
Saturday at midnight".
He looks at her skeptically.
HARRISON (CONT'D)
Why are you doing this?
NATALIE
Well, candy and flowers seemed
stupid, and I know you wouldn't go
out to dinner with me or anything,
so...
(cajoling)
Come on, Harrison, say yes, please?
I'll take care of everything. All
you have to do is meet me at my
place at eleven-thirty on Saturday.
Come on, I know how much you love
John Hughes movies.
HARRISON
How do you know that?
NATALIE
(shrugs)
Sam talks about you sometimes.
(pause)
You're Brian, right? The Brain.
The geeky one? Sam says she's
Alison, which—though I like Ally
Sheedy—I cannot see at all.
HARRISON
I think she means in the "being a
misfit" sense.
NATALIE
But they're all misfits! Even the
ones who aren't. Isn't that the
point? That we're all the same
underneath? We're all in the same
boat together, whether we know it
or not?
Harrison is fascinated despite himself.
HARRISON
Yeah...I guess it is.
NATALIE
Besides, the music is the bomb.
She hums a few bars of "We Are Not Alone" while Harrison
looks on, impressed, again in spite of himself.
HARRISON
Not many people pay attention to
the music. Except the main theme.
NATALIE
Are you kidding? I've had that
soundtrack for years. Simple
Minds, though? Way oversold.
"Don't You Forget About Me" was not
their best work.
(pause)
So, what do you say? Say yes.
Please? Pretty please?
Harrison's face scrunches up.
HARRISON
Natalie, I can't.
NATALIE
What are you going to do Saturday
night instead? Stay home and fight
with Brooke?
HARRISON
Hey, you're the reason I'm fighting
with Brooke in the first place.
NATALIE
(snorting)
Oh, that's bull and you know it,
Harrison. You and Brooke were
fighting long before me.
(pause)
Don't you want to have fun for a
change? Just once?
HARRISON
(rubbing his eyes)
Okay, okay. But JUST the movie.
Nothing else.
She holds up her hands.
NATALIE
Absolutely. I swear. See you
Saturday night.
She moves off down the hall, lightly, almost skipping.
HARRISON
(calling)
Hey!
Natalie stops, turns.
HARRISON (CONT'D)
Which one are you?
A sly smile appears on Natalie's lips.
NATALIE
I'm the girl who doesn't get
detention.
And she disappears around a corner.
Harrison stares after Natalie for a moment, bemused. With a
sigh, he turns to pick up his backpack—and Brooke comes
rushing up.
BROOKE
Harrison! I'm glad I caught you.
He looks at her, and she grimaces.
BROOKE (CONT'D)
I know that look. It's the "is she
mad at me today?" look.
Harrison starts to protest, but Brooke holds up a hand to stop
him.
BROOKE (CONT'D)
No, you're completely justified.
I have been totally schizoid. But
that's all going to change.
HARRISON
(cautiously)
Brooke, what are you talking about?
BROOKE
Look, I've been so wrapped up in
Sam, and Dad and Jane... I haven't
been taking responsiblity for our
relationship.
HARRISON
I'm not sure what that means
exactly, but—
BROOKE
I've just been blindly reacting to
things instead of keeping my cool.
Take Natalie, for instance.
Harrison is suddenly very uncomfortable.
HARRISON
N-Natalie? Wh-Wh-What about
Natalie?
BROOKE
You were right—it's absolutely
stupid to let what she does get to
me. And blaming you when she comes
on to you? You were so right not
to let me get away with that.
Obviously it's not YOUR fault. I
mean, it's not like you're
encouraging her.
Harrison does a very good imitation of a fish out of water.
HARRISON
Uhhh...right.
BROOKE
So from now on, I'm going to
remember that her advances are
totally unwelcome and that you want
nothing to do with her.
HARRISON
Uhhh...
BROOKE
And as for YOU—
She leans in and kisses him, quick, on the lips.
BROOKE (CONT'D)
—you don't have to worry. From
now on, I am going to be fully
committed to making our
relationship work. Starting with
Saturday.
Once again, Harrison practically goes into convulsions.
HARRISON
S-S-Saturday?
BROOKE
Sure! We'll hang out all
afternoon. No shopping, I promise.
There will only be guy- and girl-
friendly activities.
For the first time, she seems to sense something wrong.
BROOKE (CONT'D)
Harrison? Are you okay?
HARRISON
Huh? Oh, um, ah, yeah. Fine.
That's good enough for Brooke.
BROOKE
Great!
She backs away.
BROOKE (CONT'D)
I'll call you! We'll make plans!
She turns and heads off, stepping as sprightly as Natalie did.
HARRISON
(after her)
Right! Plans! Saturday!
(to himself)
Great. Just great. You're
spending time with Brooke AND
Natalie on the same day.
He picks up his backpack, slings it over his shoulder, and
starts off down the hall. He's only gone a short distance,
though, when Sam joins up with him. He gives her a sour look
but doesn't say anything.
SAM
(tight-lipped)
I see. You're so repulsed by me
that you can't stand to be seen in
the same hallway?
HARRISON
Sam, don't be silly. Of course I'm
not repulsed by you.
Sam turns her face away.
HARRISON (CONT'D)
Maybe I was a little harsh the other day.
SAM
But you still meant it.
HARRISON
(slightly defensive)
Sam, you've changed.
SAM
No I haven't! It's still me!
HARRISON
But...
(waving his arms)
...you know.
SAM
(insistent)
It's not hurting anyone!
HARRISON
It's hurting YOU.
SAM
Harrison, I'm fine. I swear to
God.
HARRISON
And by the way, what's this thing
with you and Principal Krupps?
Sam glares at him.
SAM
Don't you start, too.
HARRISON
What do you expect? You're fooling
around with this guy—
SAM
We were just playing...
HARRISON
Yeah, I heard. You and Mr. Krupps
in a hot tub, all touchy-feely.
SAM
It wasn't—! It was just a game.
We were just kidding.
HARRISON
For God's sake, Sam, why? The guy
is old enough to be your father.
SAM
It was just fun, okay? Making
everyone wonder.
(pause)
Anyway, we're not doing that
anymore.
HARRISON
You thought it would be fun to make
me—make everyone think you were
sleeping around with the principal.
SAM
(gesturing)
Hence the repulsion.
HARRISON
For the last time, I am not
repulsed by you! Besides, you
pushed me away first.
(pause)
You always pushed me away first.
SAM
(hurt)
Oh, that's not fair!
HARRISON
Why not? It's true. What, was it
just a mistake?
SAM
(looking at the floor)
Pushing you away is always a
mistake.
HARRISON
Huh?
SAM
(louder)
Nothing.
HARRISON
You just...sometimes you make it
really hard to be your friend.
Sam stops walking; Harrison overruns her by a couple of steps.
SAM
Do not! Besides, I didn't think
you were. Anymore.
HARRISON
(angry)
Come on, Sam, just cut the self-
pity act already. If I wasn't your
friend I wouldn't be standing here
arguing with you.
SAM
If you were my friend, you wouldn't
have slept with Brooke.
Now it's Harrison's turn to be injured.
HARRISON
That's low, Sam.
SAM
Why? It's true.
Harrison is left avoiding her eyes.
HARRISON
Yeah.
SAM
I guess maybe there really is too
much water under the bridge.
(shrugs)
Sorry for bothering you.
She turns away, but Harrison catches her arm.
HARRISON
Wait. Look, I know there's been
some bad stuff—really bad stuff—
between us. But there's been lots
of good stuff, too! Years and
years of good stuff.
SAM
So what are you saying exactly,
Harrison?
HARRISON
I don't know! I thought we weren't
going to fight each other anymore.
SAM
Never seeing each other again would
accomplish that.
HARRISON
Is that what you want, Sam? Is
that what you really want?
Sam turns her back to Harrison again, mumbling something
unintelligible.
HARRISON (CONT'D)
What? Tell me, Sam.
He spins her around, and is shocked to find her crying. She
shakes his arm off.
SAM
How...how could you...
Harrison makes a move towards her, but she steps back, fists
clenched at her sides, glaring at him furiously through her
tears.
SAM (CONT'D)
You were EVERYTHING to me! Last
summer, I thought...I thought...
HARRISON
Sam, please stop crying—
SAM
(unhearing)
...and then you...you...you just...
She turns and runs off down the hallway. Harrison takes a
step to follow, then stops himself.
HARRISON
(to himself)
Don't run after her, Harrison.
It's a seriously bad idea. Don't
run after her, don't run after her,
don't... Aw, hell—SAM!
He takes off after Sam.
CUT TO:
INT. STAIRWELL - MOMENTS LATER
Sam is sitting at the bottom of the steps, huddled against the
wall, staring at nothing. Harrison comes up and gingerly sits
down beside her.
HARRISON
You're right. You're absolutely
right. I ruined everything between
us. And you probably shouldn't
ever see me again, not after what I
did. B'but...I don't want to never
see you again. Okay, and I know I
have absolutely no right to ask you
to have anything to do with me...
SAM
(dead)
What do you want, Harrison?
Harrison gropes for words for a moment.
HARRISON
I want...another chance. A—a
chance for us to be—I don't even
know what, but— Oh, God, this
sounds so lame... I just can't
stand the thought of you walking
out of my life forever, okay?
Several heartbeats' worth of silence. Then Sam stands up,
looking straight ahead, not at Harrison.
SAM
Okay.
HARRISON
Huh?
SAM
The coffee shop. Ten A.M.,
Saturday. If we're both there...
then we'll try. To be...something.
Otherwise...we'll know it's over
forever.
Without another word or a backward glance, she walks off.
Harrison is totally relieved for a couple of moments before
it dawns on him.
HARRISON
Wait a—Saturday?
He smacks his forehead in frustration.
CUT TO:
INT. SAM'S APARTMENT - NIGHT
The apartment is dark. The front door opens—a rectangle of
light, shilouetting Sam's figure. She steps inside, flips the
light switch—and freezes.
The apartment has been ransacked.
The matress has been upended, the dresser drawers opened and
dumped on the floor. Sam blindly closes the door behind her,
stepping dazedly over the piles of her things, looking around
in shock. She stoops down and picks up the photograph of her
father.
INSERT: THE PHOTOGRAPH
The glass inside the frame is shattered.
CUT TO:
INT. KRUPPS' VESTIBULE - LATER
The doorbell rings, a fairly normal chime for such a large
house. After a few moments Krupps approaches the double doors
and opens them.
Standing on the portico is Sam, a suitcase in each hand.
SAM
Hi.
BLACK OUT.
END OF ACT FOUR
THE END
