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We make a pact---right here and now---we take this to our grave…

Jim Gillespie

Jennifer Love Hewitt, Sarah Michelle Gellar, Freddie Prinze Jr, Ryan Phillippe, Bridgette Wilson, Anne Heche, Johnny Galecki, Muse Watson

Kevin Williamson, based upon the novel by Lois Duncan

Synopsis:  On the night of the 4th of July, a drunken teenager sits precariously on a cliff-edge near to the North Carolina fishing-town of Southport, toying with a gold medallion... At the Croaker Festival, Helen Shivers (Sarah Michelle Gellar) is crowned Croaker Queen while her boyfriend, Barry Cox (Ryan Phillippe), her best friend, Julie James (Jennifer Love Hewitt), and Julie’s boyfriend, Ray Bronson (Freddie Prinze Jr), cheer from the balcony. Afterwards, Julie runs into Max (Johnny Galecki), an old friend who still has a crush on her. He asks her to go out with him before she leaves for college. As Julie hesitates, Barry breaks in on the scene, abusing Max and nearly starting a fight. The two couples drive to the beach, where they scare each other with the local legend of a mysterious killer with a hook for a hand. When it is time to leave, Ray insists on driving, as Barry, the car’s owner, has been drinking heavily. As they navigate the curving road above the beach, Barry throws open the car’s sunroof and stands up, dropping his bottle and spilling its contents all over Ray. Distracted, Ray does not see the figure in the road before them. The car strikes something, which is thrown up and over them, colliding with Barry and landing in the road. The terrified teenagers try to convince themselves that they hit a dog or a deer, but as they search the road with flashlights, their worst fears are confirmed when they find the body of a man, his face so damaged they cannot recognise him. Julie immediately insists on calling the police and an ambulance, but when Helen turns to do so, Barry stops her. Certain that no-one will believe he wasn’t driving, Barry suggests a cover-up. Ray, lacking the family and wealth of the others, agrees to go along with idea. Julie refuses, and Barry yells at her, pointing out that her future is under threat as well. At that moment the four of them hear a car. Hurriedly concealing the body, they find that the driver of the car is Max. Julie speaks to him, telling him that they had a slight accident due to Barry’s drinking. Max is obviously suspicious, but eventually drives on. The four take the body to the end of a pier. As they go to push it into the water, Ray finds he cannot go through with it. Desperate, Helen steps in. As she bends over to grip the body, the man comes suddenly to life, grappling with her. Helen screams, and Barry and Ray strike the man, pushing him into the water. As he sinks, Helen realises he has taken her Croaker Queen crown. Barry jumps in after him, and succeeds in prying the crown lose from the man’s fingers. At that moment, the man’s eyes fly open. Panic-stricken, Barry climbs from the water. He insists on the four of them making a pact never to speak of the incident in the future. Helen and Ray do so willingly, but Barry must force the words from Julie. The four then go their separate ways; as they leave the dock, none of them notice the gold medallion lying on the ground... A year later, Julie reluctantly returns home from college, where her worried mother confronts her over her erratic behaviour and poor grades. Julie finds a letter waiting for her. Inside is a piece of paper inscribed with the words I KNOW WHAT YOU DID LAST SUMMER...

Comments: There is a moment in Plan 9 From Outer Space, one dear to the heart of any true film lover, when Eros the alien (played by Dudley Manlove) finally loses patience with the representatives of the human race with whom he has been dealing, and he tells them what he really thinks of them: “You see? You see? Your stupid minds! Stupid! Stupid!”

For some reason, this scene kept coming to my mind, while I was watching I Know What You Did Last Summer.

...and it was stupid and irritating.

As regular visitors to this site would know, I’m not all that fond of Scream. It failed to grab me as a horror movie, and I felt that most of its attempts to parody the slasher genre were unsuccessful. Still, the film looks like an unqualified masterpiece when compared to the pre-written but post-shot IKWYDLS, which is not only a regurgitation of the very clichés that Kevin Williamson was supposed to be parodying in his magnum opus, but ultimately one of the dumbest films I’ve ever seen*.

(*ETA:  Obviously I wrote this before seeing the sequel...)

Frustratingly, at the outset IKWYDLS has a certain amount of potential, at least if we can ignore Kevin Williamson jumping up and down and waving his arms at the viewer. (We’re told no less than four times that the kids’ preferred coastal hang-out is called “Dawson’s Beach”.) The sense I get of this film is that it works reasonably well as long as it is following the novel it’s supposed to be  based upon, none whatsoever when it does not. The film suffers plot-wise once the two part company, and even more so on the level of its message. The novel, I gather, has the kids finally realising that they have to take responsibility for their actions, whatever the consequences. Evidently this was not a message anyone connected with the production of IKWYDLS much cared for, since their film offers instead a competing philosophy of, “Lie, lie, and keep on lying.”

Be that as it may, IKWYDLS does a fairly competent job in setting up its premise, with the relative situations of its four central characters and their disparate ambitions sketched. On the night of the 4th of July, after Helen’s triumph at the Croaker Queen Pageant, the four friends head out to celebrate. Julie has an awkward encounter with Max Neurick, who has a crush on her (Johnny Galecki, at the beginning of a lucrative career as Hollywood’s pre-eminent loser), which allows Barry to give an impressive display of both his social prejudices and his intense, albeit rather narrow, grasp of the vernacular. The rest of us can only look on in disgust and wonder why the other three let this foul-mouthed, petulant, bigoted jerk within a mile of them, let alone (in the case of Helen) into their underwear.

The Croaker Queen Pageant wasn't really a fair fight that year.

The two couples then take themselves off to the beach; a surprisingly deserted beach, considering the occasion. There, after an asinine scene in which Ray Bronson solemnly insists upon the fundamental truth of his story about “an escaped lunatic with a hook for a hand” and the others shake their heads thoughtfully, they separate---and even more surprisingly, Julie and Ray have sex as well as Helen and Barry. (Offscreen, of course. Tasteful slasher movies--- God love ’em...)

Frankly, it’s a bit of a surprise that Barry can manage it: he hasn’t stopped drinking all night, and is sloppy drunk by the time the kids get back to the car. (“Can you say ‘alcoholic’?” Julie inquires sweetly.) It’s Barry’s car, but although he protests vociferously, between them the others wrest his keys away, while Helen manoeuvres him into the back seat. As Ray drives off, Barry insists on standing up through the sun-roof and caterwauling. He manages to drop his bottle into Ray’s lap, so that Ray is pretty thoroughly distracted when something – or someone – appears in the road ahead of them...

(Uh, yeah. An impact like that, at the speed they were travelling? That should have snapped Barry in half. Tragically for all of us, it does not...)

The scene that follows is easily the film’s best, as the kids’ better impulses are overborne by their terror of the consequences. Two reactions, sadly, have a nasty ring of truth: Barry’s insistence that no-one will believe he wasn’t driving, and Ray’s that, being of a lower socio-economic standing than his friends, he’s in exponentially more trouble. Not that Barry actually has “better impulses”: right from the first moment he’s all for a cover-up; Helen initially sides with Julie but then, her dreams of fame and fortune slipping away, changes teams; while from the first Ray, though not as frank as Barry, is all for “stopping and thinking about this”. That just leaves Julie, who holds her ground for a time, only to have her resistance crumble when Barry reminds her that she can kiss her college scholarship goodbye...

They could only stare in horror at what they'd done to their careers...

And so the four of them transport the body down to the docks---where both Ray and Julie baulk in the face of reality. Barry goes berserk, refusing to let them back out; and unexpectedly, it is Helen who steps up to push the body into the water---and who is on the receiving end of their victim’s not-so-unexpected recovery from vehicular assault and battery. The man grabs at Helen, managing to rip away her Croaker Queen crown before they succeed in pushing him into the water. Barry immediately dives in after the incriminating object, and finds it still grasped in the hands of their victim. As he struggles to free it, the man’s eyes open...

(Tough bastard.)

As they hurry away from the scene of the crime – which crime is now murder – Barry forces the others to swear a pact: that they “take this to the grave”: though it takes verbal and physical abuse before Julie can be forced to utter the words...

We then cut to “one year later” and discover what benefits keeping silent have brought to the four.

Julie, looking like she hasn’t slept for the intervening 365 nights, is on the verge of getting kicked out of college; she and Ray have broken up and haven’t seen each other since. Helen and Barry have also broken up; while she, after a brief pursuit of her dreams in New York, has admitted failure and returned to Southport, where she is working in her parents’ department store under the supervision of her sneering, jeering elder sister, Elsa. Only Barry has emerged relatively unscathed; but then, he had no ambitions amounting to more than “be rich and drink a lot”.

Looking on the bright side, at least it washed your victim's blood off you.

Julie has not been home over the preceding twelve months. Her mother is horrified by her appearance, even more than by her failure to communicate and her plunging grades. Julie finds a letter waiting for her, no stamp, no postcode, no signature. It reads simply I KNOW WHAT YOU DID LAST SUMMER!

The letter leads Julie to Helen, who is at her parents’ store; and there we see that the business owned by the Shivers family has a sign over the door reading “Shiver’s”.

I want Helen dead. I want Elsa dead. I want their parents dead. I want their dog and their cat dead...

Oh, okay, that’s silly. Of course I don’t want their dog and cat dead...

After discussing the letter, Helen and Julie decide that they’d better consult with Barry and make their way to his palatial home. “You two look like shit that’s been over run over twice,” observes Mr Charm 1997. “You’re a prick,” responds Helen.

Well, congratulations, Helen---apparently you’ve had a breakthrough. Of course, if you’d made that diagnosis about 367 days ago, none of this would be happening.

"No, Mom, of course I'm thrilled to be home..."

Long story, and longer swearing, short: Barry decides that Max Neurick, who saw the four of them at the site of the car accident, is to blame; they thought they had hidden things from him, but maybe not. Barry, to whom the mere existence of poor people is in the nature of a personal affront, positively glows at the thought of having an excuse to beat up someone who not only works for a living, but is shorter than he is. That said, the main point – point, geddit? – of the confrontation scene is to draw our attention to the ice-hook that Max uses in his work.

Sure enough, not long afterwards, Max becomes the film’s first pre-meditated murder victim when he is hooked through the throat by someone wearing a full-length slicker and a matching rain-hat; though what the point of that murder was, I’m sure I couldn’t tell you.

Point, ged--- Oh, never mind.

While leaving the docks, Julie, Helen and Barry encounter Ray; Barry, of course, immediately makes a sneering reference to Ray having “grown up to be a fisherman”. Helen tactfully takes herself off, and Ray tries to reconnect with Julie. She insists that she doesn’t blame him for what happened, that she is responsible for her own actions---she just doesn’t want to know him anymore.

That night, Barry goes for a work-out at the local gym (“Southport Muscle”---and they let Ryan Philippe in!?). When he returns to his locker, he finds there a photograph of his car annotated “I KNOW”, and his leather jacket gone.

I think we can all agree THAT was inevitable.

Sure enough, outside, someone else is in Barry’s car. As it drives away – backwards – he pursues it angrily; only to realise that he may have committed a tactical error when the car changes gears and comes after him. To his credit, Barry does his best to fulfill everyone’s hopes and dreams by running right down the middle of the street and refusing to take cover. At the end the car hits him, and he and it go careening through a building, a wooden walkway and a stack of crates. You’d think this would be enough to finish off at least one of them, but the driver is apparently unharmed (I say again: tough bastard), while Barry suffers only a broken arm. As he lies stunned in the wreckage, the rain-slickered killer stalks towards him, brandishing his hook---

---and then he lets him live.


Julie, Helen and Ray visit Barry in hospital, where they discuss their situation in very loud voices, with the door wide open. As you do. Barry wants to know where Ray was the night before, given that he---dum, dum, dummm---owns a slicker – gasp! Helen counters that the killer must be a friend or relative of their victim, whose name, Julie has established through newspaper reports, is David Egan.

(By this time films weren’t giving me any of those mock-up newspapers that I love so much, but it turns out that mock-up internet searches for newspaper articles are carrying on the proud tradition...)

David Egan may not have been drinking, but someone was.

The two girls decide to track down Egan’s sister, Melissa, and see if they can get anything out of her. Faking a car breakdown, they impose upon the rather spacey Missy (she’s played by Anne Heche, so I guess “spacey” goes without saying), and try to draw her on the subject of her brother’s friends. She finally recalls a visitor to the house who called himself “Billy Blue”.

Suddenly Julie can’t take it and bolts. Out in the car she confesses to Helen that she suddenly realised the extent of the damage they’ve caused: not just David dead, but his mother institutionalised and Missy left to struggle on alone. “I don’t think we’re that powerful,” Helen objects.

If only that were true.

Anyway, Julie is not in a responsive mood when Helen tries tentatively to make her understand how much she’s missed their friendship...

(I can’t let this scene go without a comment on the wardrobes of the two girls. The relative moral standing of Julie and Helen is communicated by the fact that while the latter wears skimpy tops and micro-shorts, the former – in the middle of summer! – is wearing a full-length skirt and a top with long sleeves that also covers her from neck to waist. Weirdly, however---in a perfect Hollywood example of having your cake and eating it---that top manages to emphasise JLH’s breasts every bit as much as SMG’s skimpy outfit does hers.)

Which of these two do you think is going to die?

Okay--- Up until now IKWYDLS hasn’t been too bad; hardly brilliant, but not totally moronic; but here the film takes a sharp right-hand turn into Stupidsville and feels so much at home there, it decides to stop and sit a spell...

Helen goes home and, despite the fact she knows she might be in danger, she leaves the front door unlocked and thus lets the killer into the house. She stays in the kitchen just long enough for the killer to get up the stairs before her, and she neither sees him, despite his slicker swirling about, nor hears him, even though he’s wearing work boots. He is, presumably, hiding in the closet of Helen’s bedroom, from where he is able to hear Elsa mocking Helen for her fixation with her hair. Helen retires to bed, and wakes in the morning to find that her long blonde hair has been cut off, and that her Croaker Queen crown is on her head---all of which she slept through without pharmaceutical assistance (!!). Later that day, Helen takes her place in the Croaker Festival parade as out-going queen, and we see that her hair, though shorter, is flawlessly trimmed and styled. Either she found time in between trying to work out who’s trying to kill her and her friends to get the hairdresser’s, or our killer has some heretofore unsuspected talents.

This, however, is NOTHING compared to Julie’s little adventure. She is responding to Helen’s panicked phone-call when she hears strange noises coming from the boot of her car. She pulls over – on the side of a suburban street, in broad daylight, early in the morning on a public holiday; I just want to get that clear at the outset – and steels herself to take a look in the back.

She finds this---


Julie screams hysterically (does anyone in the nearby houses react? – they do not) and runs away. She runs the rest of the way to Helen’s house, and a few minutes later she’s back with Helen and Barry. She re-opens the car boot and finds this---

I mean, seriously...

Honestly--- How are supposed to react to a film that apparently wants you to take it seriously, but then serves up idiotic rubbish like this?

But, ah, my friends! – we’re not quite done with this scene yet. We note that JLH has swapped her modest-yet-sleazy top for one much smaller and tighter, in preparation for what creating what is – sadly enough – this film’s signature scene, in which Julie throws back her arms and screams out a challenge to the unknown killer: “What are you waiting for? Huh? What are you waiting for!?”

Does anyone in the nearby houses react? – they do not.

The three storm back to Helen’s house, where they find Ray waiting. Barry immediately assumes the worst: “You’re going to die!” he announces, and punches Ray in the face...with his broken arm.

Ah, well. No sense, no feeling.

Hilariously, Barry justifies his suspicions of Ray by saying, “How many fucked-up fishermen are out there?” – yes, seriously, he thinks someone being a fisherman is reason to suspect him of murder – although he soon comes up with an alternative theory as to why Ray is, supposedly, murdering and tormenting his way across Southport: “You always wanted to be one of us, but you were too jealous to handle it!”

She has breasts? I hadn't noticed that before.

Please, someone...kill this dickweed.

After a brain-[sic.]-storming session, Julie decides to take Elsa’s high-school yearbook to Missy Egan, to see if she can identify David’s friend, “Billy Blue” (Elsa, like David, was Class of ’92), while Helen is to take her place in the 4th of July parade, since their stalker is almost certain to show up: “This could be our chance to catch him!” Oh, yeah? And what are you going to do if you do catch him, under the circumstances? Oh, I see! – Barry’s going to pound his ass. Yes, that should solve everything.

Ray is noticeably reluctant to go along with any of this, and makes a surprising plea that, however belatedly, the four of them do the right thing.

Julie:  “I’m not interested in what’s right any more, Ray, I wanna do what’s smart.”

Our heroine, ladies and gentlemen!

Julie gets her way, and Helen is next seen riding in the parade, with Barry on the front of her float. Both of them are on the lookout for the killer, and before long they have indeed spotted someone in a slicker and fact, about a dozen of them, dotted through the crowd.

Such was Barry's hatred of fishermen, whenever he saw one he just had to beat him up...

Google informs me that the average July temperature in North Carolina is about 85F, or 30C. So why are all these people wearing rubber rain-slickers in the middle of the day?? Or aren’t fishermen “allowed” to dress any other way?

Anyway, thanks to this local, uh, peculiarity, the killer is safe in putting in an appearance: he shows up on a balcony and brandishes his hook at Helen.

Meanwhile, Julie is paying another call upon Missy Egan (whose fish-gutting is shot and scored as ominously as possible, even though, you know, fishing community). Julie is finally forced to admit that David’s death wasn’t an accident, and is taken aback when Missy replies that she knows that. Not as taken aback as we are, though, when Missy promptly follows up by producing her brother’s “suicide note” – which she apparently likes to keep close to hand for the purpose of showing it to random strangers, while she explains to them how she defrauded the insurance company.

Even though the note isn’t in her brother’s handwriting – people leave suicide notes written in anonymous block-letters, right? – Missy has accepted that her brother killed himself. As we saw in the newspaper article that Julie hunted out earlier, David was driving when his girlfriend, Susie Willis, was killed in a car accident. Missy explains that he couldn’t live with the guilt and went up there that night, where Susie died, to die himself.

Missy could keep her visitors amused for hours by dangling her brother's suicide note in front of them.

Julie tries to explain that it wasn’t suicide, but Missy has an understandable freak-out and orders her off the property; although not before insisting that David had no tattoos. Julie is staggered: the person they killed had “Susie” tattooed on his arm.

Death threats notwithstanding, Helen fulfils the rest of her duties as outgoing Croaker Queen, while Barry again watches from the balcony. And the night turns out to be a dream come true for more people than just the new Croaker Queen when the killer looms up behind Barry and stabs him repeatedly with his hook – yes!! – while Helen has screaming hysterics and disrupts the ceremony.

But of course, by the time a disbelieving deputy sheriff follows Helen up into the balcony, there’s no body, and no blood either, except a teeny splash to which the camera finally pans.


Helen can’t get anyone to listen to her, and finally allows the deputy to drive her home, riding in the back of his car behind the grill. They encounter a road-block. The deputy turns down a dark side-street, and they find their way blocked again by a broken-down car. The deputy stops his car and walks forward to see if he can help, as Helen starts to scream...


Because of course the killer just knew that Helen would be driven home at just that time by just that route.


(And, oh my God: I am now in a position to recognise that this scene was reproduced wholesale in Scream 2. WHY?? Because it was so brilliant the first time!?)

Helen smashes through a window of the locked police car and takes to her heels; and just in case it hasn’t pissed us off enough with its previous idiocy, IKWYDLS proceeds to rip off Halloween, with Helen pursued towards her parents' store and pounding on the doors as the killer closes in on her...

Elsa is working late and, in spite of her sister’s hysterical screaming, she takes her own sweet time letting her in. Now--- The film has gone out of its way to establish the antagonistic relationship between the two but, even so, you would like to think that if any woman, let alone her sister, turned up, terrified and dishevelled and insisting she’d been “attacked”, Elsa’s reaction would be something a little more helpful than a disbelieving eye-roll. In any event, that – at least in conjunction with Elsa being a glasses-wearing career-woman – is enough to sign her death-warrant. And get her body dumped in the toilet; nice.

It also helps that although Elsa had dead-bolted the front door of the store, so that she had to slowwwly sort through her keys as Helen screamed for help, she left the back door open...

"Yeah, yeah... Whatever."

Having disposed of Elsa, the killer turns his attention to Helen. In a sequence that seems to be there chiefly to reassure the viewer than no cliché will be left behind, Helen escapes the store with the killer still inside, only to have him appear in front of her in a textbook deployment of Offscreen Teleportation©.

He then proceeds to butcher her, fully five yards from the main street and its parade – and no-one sees or hears anything. I guess it helps that the murder exactly coincides with the world’s shortest ever fireworks display, which lasts just long enough to drown out Helen’s desperate screaming, and not a second longer...

Julie gets back to town and – not surprisingly – can’t find either Helen or Barry, so she settles for Ray. She blurts out to him her new theory that Ben Willis, the father of Susie Willis and – gasp! – a fisherman – killed David Egan, and then they killed him. Only they didn’t. Kill him, that is.

Ray is weirdly calm through all this, focused mainly on getting Julie onto his boat. He almost has when Julie notices that his boat is called Billy Blue...


Julie takes off with Ray in pursuit. He is about to catch her when a stranger from another boat forcibly intervenes, knocking Ray down. Julie begs him for help and he hurries her aboard his own boat and casts off as Ray starts to struggle to his feet.

"Well, we were running out of suspects, so I figured I'd better start behaving suspiciously."

Of course, the first thing Julie finds is a shrine to Susie Willis. The second thing is an anti-shrine to herself and her friends. (Featuring, among other things, Julie’s teddy bear and a lock of Helen’s hair.)

Though she shouldn’t have needed that. No-one addresses a young woman as “child” like that except a psycho-killer.

(Although--- How come everyone in this film has a regional accent except the four central characters?)

Julie rushes out and confronts, yes, Ben Willis, who smirks at her. She turns and runs, looking for somewhere to hide.

So jump overboard, you silly bitch!

What, she grew up in a fishing community and she can’t swim? Or if she cant, they should have established it earlier.

But I guess the real reason she doesn’t jump is, if we didn’t have an extended cat-and-mouse chase through the bowels of Ben Willis’s boat (which seems to have been designed by the Time Lords), then we couldn’t have the traditional “Final Girl discovers her friends’ dead bodies” scene, could we?

Absolutely no cliché will be left behind...

It was somehow oddly fitting that Barry ended up being served on the rocks...

Anyway, Ray sets out in pursuit in a small motor-boat and manages to climb onboard, where he is immediately confronted by a hook-wielding Ben. A fight develops, in which Ray holds his own, and Julie concentrates on saving her own ass. Between them, the two somehow manage to set Ben’s rigging apparatus into motion. (Plot point!)

Ray is still doing reasonably well against Ben when Julie decides to intervene: she shrieks, “Ray!!” at a crucial moment, which distracts him so much Ben is able to knock him overboard again. And having made this deeply helpful contribution to proceedings, Julie takes off again, and ends up finding Helen and Barry packed in ice down below...

Ray manages to grab a dragging net as he falls into the water, and manages to haul himself back up. Ben has cornered Julie – more or less – when Ray sends a pulley on a rope hurtling across the deck. It smacks Ben in the face and knocks him out cold – apparently – but as we’ve had occasion to remark once or twice before – tough bastard. He jumps them again, knocking Ray down – why not hook him, hmm? – and grabbing Julie by the throat.

“Happy 4th of July, Julie!” he leers.

Julie tries to splutter something between an excuse and an apology, but Ben isn’t interested. He offers her one last piece of advice:

“When you leave a man for dead, you’d better be sure he is dead!”

"And when I've polished off you two, I'll be retiring to Mexico..."

(Which would be all very well if slasher films didn’t inhabit a universe where a man being dead or not had nothing to do with his coming back.)

Ben lines up Julie for the kill, but Ray has one last trick up his sleeve. He sets the rigging going again and manages, as Ben swings his hook backwards, to catch him by the wrist and haul him into the air. The hand holding the hook connects violently with the pulley at the top of the rope, severing Ben’s arm at the wrist. As he drops again, the tangle of ropes catches him by one ankle. Ben is swung through the air and dumped overboard, disappearing into the dark waters below...

And even now IKWYDLS has one more jaw-dropping twist for us. What? – no, of course it’s not that Ben’s body isn’t found! – how would that be a twist? Rather, it’s that the script offers for our moral delectation the suggestion that since they didn’t actually kill Ben Willis – not for want of trying – then their behaviour wasn’t so bad after all. 

Julie and Ray do call the police this time. As his men inspect the scene, the sheriff comes up to them:

Sheriff:  “Do you two have any idea why this guy wanted you dead?”
Julie and Ray:

Talk about the Lost Generation.

"Can you believe that Ben Willis? Just because we nearly killed him twice, he gets all pissy!"

But of course that’s not the end! First we have to cut once more to “one year later”, with Julie’s life back on track and all the unpleasantness behind her. She is preparing to take a shower in the bathrooms attached to her college dormitory when sudden she notices that there is writing in the condensation on one of the mirrors---


---which discovery is immediately followed by a stupid false-scare kicker ending.

Absolutely noooooo cliché...
Want a second opinion of I Know What You Did Last Summer? Visit - where else? - Jabootu's Bad Movie Dimension. incredibly stupid film when I see one.

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----revised and reformatted 23/11/2014