Imagine a young lady biding her time, taking unspectacular roles as the mousy supporting character in TV movies with titles like Beanpole (1990). Picture her on the set of network fare such as Alice and Highway to Heaven. Her name is Hayley Carr, and she knows that she is destined for bigger things, because she has seen herself naked. Bigger things have grown in. The pink-skinned brunette is tired of playing cute; she has the equipment to portray uninhibited and curvaceous. Dead Babies (2000) gave Carr the chance to utilize her full-figure faculties. When Hayley peeled off her T-shirt and swung it, strutting stripped to the bush, her upper-echelon floater breasts blotted out any notion of the tame little thing she had been before.