The last half of the screenplay . . .
Some abbreviations you might not know:
V.O. Voice only, or voice over (character's voice only)
P.O.V. Point of view
O.S. Off-screen, or off-stage (again, character's voice only;
character isn't in the shot at that moment)
* * * * * * * * * * * * * * * *
INT. MOTEL ROOM
Laura has Nikki at the bathroom sink, rubbing hair-coloring into Nikki's hair as she balks . . .
NIKKI
Mom, this stuff stinks!
LAURA
I know. We're both going to stink for awhile.
INT. BUSY FAST FOOD RESTAURANT - DAY
Mom and daughter gently elbow their way through the crowd in search of a table. Their long blond hair is gone, replaced with short brown locks. Back in a corner they find an empty table; still cluttered with an earlier customer's garbage. Laura dispenses with the trash while Nikki sits and waits; then they tear into their meal, hungry from a long stint without food. After a few bites, Laura takes notice of the people at surrounding tables. Everywhere she looks, people seem to be staring at her . . . some frowning, some smiling. The scene rattles her composure.
INT. CAR - ON THE ROAD
The twosome have taken to eating in the car after the restaurant scare. Nikki smashes up the wrapper her hamburger came in and shows it to her mom.
LAURA
(frustrated)
Just . . . put it in the pile. When I find a
trash can I'll empty all of it.
ANOTHER ANGLE - AT NIKKI'S FEET
Nikki tosses the wad at her feet, joining a large pile of bags and wrappers collected from more than one fast-food stop.
INT MIKE'S BEDROOM - WINDOWS ESTABLISHING NIGHT
Mike is sitting up in bed, attempting to put himself to sleep by reading. Marie sleeps beside him. The effort is unsuccessful and he slams the book shut, tossing it on a nearby nightstand. The noise awakens Marie, who opens her eyes. After a beat Marie sits up beside him.
MARIE
(timidly)
Can't you try to get some sleep?
MIKE
(harsh)
What do you think I'm doing? Every time
I get this damned case off my mind for even
a minute it pops back in there. I can't
believe the judge let Derek Wells off. He
was helping her escape!
MARIE
No one could prove it.
(silent for a beat)
We've done everything we can. You've got
FBI and Child Find involved. Put it in their
hands.
(on Mike's hard glare)
They'll find them. Don't worry.
Marie turns over and lays her head on the pillow. Mike scowls at the back of her head, reaches over and turns off the light.
INT. ANOTHER SMALL MOTEL ROOM - NIGHT
The T.V.'s blaring away as Laura walks out of the bathroom. She walks to the television and turns it off. Not Nikki's first choice . . .
NIKKI
MOM . . . MY SHOW ISN'T OVER!
LAURA
It's late.
NIKKI
I haven't watched T.V. in days! Please
let me watch my show . . .
(Laura is silent, thinking)
PLEASE . . .
LAURA
All right.
(turns the television back on)
But just this show. No more.
Laura stretches out on the bed and sighs, covering her eyes with her arm. Nikki's attention strays from the television to her mom for a moment.
NIKKI
Where're we goin' tomorrow?
LAURA
(leans up on her elbow)
Actually, I'm thinking of staying here for
awhile. This seems like a quiet little town.
I thought we'd check around, see if we can
turn up someplace suitable. What do you
think?
NIKKI
I'm kinda' tired of the car.
LAURA
(lays back down, covering
her eyes again)
So am I.
We DISSOLVE into a SERIES OF SHOTS OF LAURA AND NIKKI, newspaper in hand, touring one shanty after another. Each time they walk in, either Laura shakes her head no, or Nikki, or both. Now we slowly DISSOLVE INTO . . .
INT. SMALL APARTMENT
The front door opens. Laura, Nikki and the MANAGER of the apartments walk in. Finally, a fleeting smile of satisfaction from the two as they look over the pint-sized room. It's nicely decorated, clean, completely furnished.
LAURA
This is great! We'll take it.
NIKKI
Yeah, mom!
MANAGER
Fine. I'll need the first month's rent in
advance, and a cleaning deposit of three
hundred dollars.
LAURA
(suddenly uncomfortable)
My daughter and I . . . probably won't be
staying long. I was hoping you'd let us pay
by the week. In advance.
The manager is an elderly woman, rather stern-looking, with her white hair tightly styled. She shakes her head . . .
MANAGER
I'm sorry. I live on a fixed income. I
need someone stable to rent this place . . .
so I have a somewhat steady income.
LAURA
(very disappointed)
I understand.
(takes Nikki's hand)
Come on, Nikki.
NIKKI
(resists)
MOM . . .
LAURA
No, baby. We'll just have to keep
looking.
They head out the door. The manager, however, isn't impervious to their plight. It weighs heavily on her as well.
MANAGER
You might try Judy's Apartments over on
Parkens Avenue. I know she's rented out
by the week before. Just don't tell her I
sent you-- she's not fond of weekly renters
either.
LAURA
Thank you.
Nikki and her mom walk to their car.
INT. TINY STUDIO APARTMENT - WINDOWS ESTABLISHING - DAY
The CAMERA explores about the room, a step above the other dumps they looked at, but a far cry from the doll-house they really wanted. But, it's furnished and livable. The CAMERA moves INTO the kitchen. All the appliances, paint, counters, are a sterile white. The kitchen space is so small it's hardly functional . . . an apartment-sized refrigerator, cramped table and chairs. Nikki dawdles over her cereal, moping in silence as she sits at the table. Laura fixes toast in the oven.
LAURA
(mutters)
Never thought I'd find myself missing a
toaster. It's amazing how much you take
for granted, until you don't have it anymore.
NIKKI
(huffs)
We don't have nothin' anymore.
LAURA
Don't have anything anymore.
NIKKI
I miss Uncle Derek. And my friends.
Laura brings the toast to the table and sits down.
LAURA
I miss them, too. But we don't miss daddy.
That's why we're running. We can't
forget that, ever.
There's a KNOCK at the BACK DOOR. Laura freezes in fear. She walks to the back door and cracks open the window curtain. A quick, puzzled look and she opens the door. The elderly white-haired manager who turned them away days earlier is at the door. She holds a big casserole dish.
MANAGER
(a warm smile)
I felt badly that I couldn't be of more help.
When I heard you'd found a place here, I
wanted to bring you this.
LAURA
Thank you. Won't you come in?
MANAGER
For a little while. I do need to get back
soon.
LAURA
(shuts the door as the woman
enters)
Please, sit down.
The woman sits at the table, giving Nikki a pleasant smile. Nikki's expression is dubious; the verdict isn't in yet as far as she's concerned.
MANAGER
You know I . . . sensed something rather
desperate in your situation. It set me to
worryin'. I was hopin' there was somethin'
I could do.
LAURA
(holds up the casserole)
You've already done so much. This is
wonderful.
(sits at the table)
I'm sorry I gave you the wrong impression.
We're fine. Really.
MANAGER
(turns around the milk carton
on the table)
Are you sure?
Laura does a double-take as she gawps at the carton.
ANOTHER ANGLE - CLOSE UP OF THE CARTON
Laura and Nikki's pictures are plastered on the side of the carton, an advertisement for Child Find. Laura's so shocked she has no rebuttal. Nikki sees her mom's state and frets . . .
NIKKI
Mommy? Is she goin' to take us back
to daddy?
LAURA
What . . . do you want?
MANAGER
Nothing. I'm not going to tell anyone,
sweetie. But when I saw your picture
on the carton, I thought you should know.
LAURA
(tersely)
Thank you.
MANAGER
Why'd you run? Your husband?
Tears well up in Laura's eyes as she stares at the picture.
LAURA
Ex-husband.
MANAGER
You're hot property right now. You need
to disappear. Go underground.
LAURA
Underground?
MANAGER
Have you ever heard of the underground
railroad?
LAURA
I remember it from my history class.
Why?
MANAGER
It's in operation . . . for parents like
yourself who're running from ignorant
court decisions, abusive spouses. Here's
the number of a main contact.
(gives Laura a note)
If you've got a good case, they'll help
you disappear.
The manager gets up to leave. Laura follows her to the door.
LAURA
Thank you, Mrs. . . .?
MANAGER
Just call me Annie. You'll call them?
LAURA
I will. Thanks again.
Annie leaves as Laura stares thoughtfully at the note while she shuts the door.
EXT. PHONE BOOTH - ESTABLISHING - DAY
Laura's seen from a distance, inside the booth. The top of Nikki's head is barely visible in the booth. Laura holds up the note with the phone number on it, picks up the receiver and dials the number. The CAMERA closes in on the booth as Laura talks to the person on the other end of the phone.
ANOTHER ANGLE - INT. PHONE BOOTH - DAY
CONTACT (V.O.)
We'll need documentation on your case,
Mrs. Flenner.
LAURA
I can get it. My boss is supportive.
CONTACT (V.O.)
You can count on his cooperation?
LAURA
Yes. He'll forward the documents.
And he'll be discreet about it.
CONTACT (V.O.)
Tell him to send the information by
Federal Express to this address . . .
Laura listens and jots down the address.
INT. RUN-DOWN MOTEL ROOM - NIGHT
Laura flips through the television's channels, then flips it off. She glances at Nikki who is asleep sprawled in the middle of the bed. Laura vacated their apartment as soon as Annie left, unwilling to take any chances with her daughter having even one person out there knowing who and where she was. Laura gently slides Nikki over to one side, covers her and kisses her cheek. Her new doll is stranded under the covers and Laura retrieves it, tucking it into Nikki's arms. She settles into a chair, lights a cigarette and turns out the light. Smoking in the dark.
INT. LAURA'S CAR - DAY
Mother and daughter's mood seems upbeat for a change.
NIKKI
How far is Atlanta?
LAURA
A couple day's drive from here.
NIKKI
What's a safe house?
LAURA
A place where we'll be hidden. And
safe. Pretty nice, huh?
NIKKI
Yeah.
LAURA
There's a contact meeting us in Atlanta.
All we've got to do is just get there!
So what do you say, should we kick
up the speed?
NIKKI
Yeah!
Laura laughs lightly as they move down the road.
EXT. DESERTED TRAIN STATION - ESTABLISHING - DAY
A moody, overcast day that puts Laura and Nikki on edge as they wait. They're backed against a sheltered side of the building, fidgeting uncomfortably in the dismal weather. Laura's nervous; a perfect place for a mugging. An old model Ford pick-up pulls up beside the building and stops. A MIDDLE-AGED MAN wearing denim jeans, jacket, cowboy hat and boots gets out of the truck to rendezvous with Laura and Nikki. The man's name is JACK.
JACK
Laura Flenner?
Laura has trouble finding her voice.
LAURA
Ah yes . . . yes, I am.
JACK
I'm Jack. Shall we go?
NIKKI
Uh-huh!
Jack chuckles lightly, kneeling down to greet Nikki.
JACK
Hello, Nikki. You ready to get out
of here, I take it?
NIKKI
(a little overwhelmed)
Uh-huh.
JACK
(smiles)
That's good enough for me. Let's get
your things.
EXT. JACK'S TRUCK - LATER
The last bag is gently tossed into the back of the truck.
LAURA
What about my car?
JACK
I'll come back for it later. After I've
got you safely stashed away.
LAURA
When will I get it back?
JACK
You won't.
LAURA
I just BOUGHT that car! It's brand
new!
JACK
Which is worth more? The car, or your
daughter?
Laura glares at him in silence for a moment, sizing him up; rude, blunt, but making a valid point.
LAURA
Why . . . are you doing this?
JACK
(a trace of a smile)
Personal reasons.
LAURA
Everyone asks you that.
JACK
How'd you know?
LAURA
Your smile.
INT. JACK'S TRUCK - ON THE ROAD
Nikki opens the truck's glove compartment while exploring around. A gun and holster are stuffed inside.
LAURA
(alarmed)
Is that . . .
JACK
Loaded? Yes, mam.
LAURA
(as Nikki reaches for it)
Nikki! Don't touch! It's loaded.
(to Jack)
Have you ever had to use it?
JACK
Yes, mam.
(on Laura's horrified look)
People who come to me are in desperate
times. I don't let no one interfere with
my work.
Jack drives on in silence, and Laura opts to leave him to his thoughts.
EXT. FRONT DOOR - ROOMY COUNTRY HOUSE - NIGHT
Laura, Nikki and Jack stand at the front door. A couple in their sixties answer the door. They look thrilled to have their company. They're MR. and MRS. DAVID JOHANSEN. They've been providing a safe house since the underground movement's resurgence.
MARTHA JOHANSEN
Welcome to our home, Mrs. Flenner. I'm
Martha Johansen, and this is my husband
David.
LAURA
Hello! Thank you so much for your
hospitality! What you're doing . . .
MARTHA
Is our small way of trying to help.
JACK
I'll get the rest of her things . . .
LAURA
Let me help . . .
MARTHA
(takes Laura's arm)
He likes to do it . . . considers it
part of his service. Come, let's take
off the coats and get comfortable.
INT. LIVING ROOM - MOMENTS LATER
Nikki and Laura relax on the couch with the Johansens. Jack opens the door and walks in, carrying more bags, and a WOMAN on his arm. They're exchanging pleasantries. Martha Johansen stands as the woman rounds the corner.
MARTHA
Dyane! Good to see you . . .
DYANE
(walks to Laura)
I'm Dyane McDermitt . . .
LAURA
(a growing smile)
You're the woman on the phone . . .
my contact.
Dyane nods, smiling. Laura clasps her hands warmly.
DYANE
We've got a lot to talk about, but
tonight you and your daughter need
to settle in and rest. I'll come by
tomorrow and we can talk then. So,
Martha; are there any of your snicker-
doodles left?
The CAMERA lingers on Laura's grateful expression as Dyane and Martha head for the stash of cookies.
EXT. PARK - ESTABLISHING - DAY
Nikki plays on the playground equipment while Dyane and Laura watch from a nearby bench.
LAURA
I hope the worst is over.
DYANE
Don't expect a normal life, Laura. That's
behind you forever. The life you've
chosen is temporary, and full of risks.
But no matter how bad it gets, Nikki
can handle it better than she can handle
the alternative. Remember that when
you're at low ebb.
LAURA
(a bitter laugh)
Which's most of the time. I keep
seeing how unfair this is to her.
(her emotions spilling over)
She's just a little girl; who's lost her
innocence, her friends . . . her childhood.
DYANE
And what've you lost? The law practice
you left behind, the love of a man who
meant so much.
LAURA
(sighs, wipes her eyes)
Derek. God, what I'd give if I could see
him . . . talk to him.
DYANE
That . . . would be very dangerous.
LAURA
I know.
DYANE
Dwelling on the past will weigh you down.
Look to the future. First, new names for
you and your daughter. You pick them
out and I'll get you birth certificates . . .
other supporting documentation.
LAURA
(surprised)
You can do that?
DYANE
(nods)
Not just any name. Take a walk
through the cemetery at the end of
town. Find two names you can live
with; preferably related.
LAURA
Why from there?
DYANE
(smiles)
Just trust me.
EXT. LARGE MATURE CEMETERY - DAY
Mother and daughter tread lightly through the cemetery, hand in hand. They move from one headstone to another, pausing briefly in front of each one, quiet and sullen. Finally Nikki ventures her opinion of the whole affair.
NIKKI
Mommy, it's not right to take someone's
name.
LAURA
They're through with it, honey. Wouldn't
you let a little girl use your name if it kept
her from harm?
NIKKI
I guess.
LAURA
Of course you would.
They continue their trek through the cemetery hand in hand.
CLOSE UP - HANDS DOCTORING A BIRTH CERTIFICATE
An undisclosed person works her superb scroll work on a document. Other documents are close by in a pile.
INT. LAURA AND NIKKI'S NEW BEDROOM - NIGHT
Laura sits at the table and studies the documents.
LAURA
It's now official, Christi Turner.
NIKKI
I hate that name.
LAURA
You're lucky. I could've given you
Millicent Turner.
NIKKI
I can't even say that!
LAURA
I'll call myself Millie, for short.
NIKKI
Ugggh. Glad I can just call you mommy.
They're startled by an urgent KNOCK on the DOOR. A nervous look between them, and then Laura hurries to answer it. Martha Johansen stands at the bedroom entrance, clearly upset.
MARTHA
I'm sorry, Laura, but you've got to pack
your things . . . tonight. Jack's on his
way over to get you out of here . . .
LAURA
(as Nikki flies off the bed
to join her)
WHAT? WHY?
MARTHA
One of the moms we've helped just got
arrested. She may talk if given a chance
to plea-bargain, and that could bring the
authorities here as early as morning.
You've got to get out tonight!
Martha leaves and Laura closes the door behind her. Laura has no time to wallow in self-pity. She rushes around gathering their things, slamming drawers and closet doors as she packs. Only Nikki remains eerily calm as she watches her mother's emotions turn their once cheerful room into a ransacked mess.
INT. JACK'S TRUCK - NIGHT
Jack, Laura and Nikki are crammed into the cab of his truck. Nikki's asleep, her head resting on her mom's lap.
LAURA
How long will this go on?
JACK
You know the answer to that: as long
as it takes. We had to move eight
families tonight because one person
got caught. If she talks, the effects will
be far reaching.
LAURA
If the Johansens are caught?
JACK
They'll go to jail.
LAURA
Jesus! They're getting on in years . . .
They couldn't start over.
JACK
People get involved in this movement
because they've been touched by it in
some way.
LAURA
You included?
Jack nods. They continue the trip in silence.
EXT. RURAL ELEMENTARY SCHOOL - DAY
The children head through the heavy double doors, braving the first day of school. Some enter with friends; some, like Nikki, need the security of a parent to escort them in. The CAMERA closes in on Nikki and Laura as they walk.
NIKKI
Mom?
LAURA
Yes, Christi?
Nikki recoils slightly, then remembers the new pen name.
NIKKI
I don't wanna' do this.
LAURA
(kneels before Nikki)
You've got to, honey. This is our chance
to build us a new life. You're going to
meet lots of new friends. They'll be
calling you Christi Turner, so that's what
you have to answer to. Forget your old
name. Remember, one slip could make
us lose everything! We've come so far . . .
NIKKI
I'll try.
LAURA
That's my girl! Let's go in.
EXT. DOWNTOWN STREET - DAY
Laura walks, newspaper in hand, crossing off the list of available jobs. She stops in front of a two-story building, checks the number on the front then walks in.
INT. UNFAMILIAR OFFICE - MOMENTS LATER
A cynical looking EMPLOYER sits behind his desk and gives Laura a hard once-over.
EMPLOYER
Your skills are impressive. The problem
I have with this application is that none of
the information is verifiable.
(looks at the application)
No referrals . . . no references . . .
I'm sorry, Ms. Turner.
LAURA
So am I.
EXT. STREET CORNER - WITH LAURA
Laura throws the paper in the trash can. Looking around, she sees a help-wanted poster in a small pet store window.
EXT. NIKKI'S SCHOOL - DAY
Nikki walks out of the building, chatting with TWO NEW FRIENDS as Laura strolls over to meet her. Nikki's face beams when she sees her mother.
NIKKI
That's my mom! Hi, mom!
LAURA
(gives Nikki a big hug)
Hi, honey. Who're your friends?
FIRST GIRL
I'm Amy . . .
SECOND GIRL
I'm 'lizabeth!
LAURA
Nice to meet you Amy, Elizabeth.
Christi, tell your friends you'll see them
tomorrow.
NIKKI
I told them they could come over for
dinner.
LAURA
Don't you think you should've asked
mommy, first?
NIKKI
Well . . .
LAURA
Well?
NIKKI
Well . . . can they?
LAURA
They'll have to go home and ask their
moms. Give them your phone number
so they can call and let you know.
NIKKI
I already did.
LAURA
(an amused smirk)
You've thought of everything, haven't
you? Say good-bye to your friends.
The girls exchange passionate good-byes as if they'll never see each other again. Sadly, Laura wonders if that might not be true. Laura and Nikki head off for a leisurely walk on their way home.
LAURA
How was your first day of school?
NIKKI
Ok. I think I like it here.
LAURA
Me, too. I got a job today.
NIKKI
(a burst of excitement)
That means we can stay!
Laura smiles, but in her eyes harbor nagging doubts.
INT. LAURA'S NEW LIVING QUARTERS - NIGHT
Laura sets the dinner plates out on the table. One extra for Amy, who's joining them for dinner. Their new house is a guest house that they have all to themselves. Laura dishes up the food for the girls and sits down.
INT. LAURA'S LIVING ROOM - LATER THAT EVENING
Amy and Nikki play with a board game on the floor. Amy sees a shadow pass by the window and runs to open the front door. AMY'S MOM stands at the door.
LAURA
(sharply, in alarm)
AMY!
AMY'S MOM
(frowns)
Is something wrong?
Laura rushes to the door, apologetic.
LAURA
You're Amy's mom? I'm so sorry.
Involuntary reaction, I guess. I don't
let Ni . . . Christi answer the door. I'm
too afraid of who might be out there. We
found out the hard way, once.
AMY'S MOM
(a suspicious smile)
It's hard when you're living alone. Come
along, Amy. Thank Mrs. Turner for
dinner.
AMY
Thank you for dinner, Mrs. Turner.
LAURA
You're welcome, Amy.
NIKKI
Bye, Amy. See you tomorrow.
They walk out as Laura closes the door. She turns and leans on the door as she sighs, looking at Nikki.
LAURA
(disgusted)
Well, that went well.
INT. LAURA'S BEDROOM - NIGHT
Laura and Nikki huddle on the bed, browsing over the first papers Nikki's brought home. Nikki proudly holds up one, then another. Laura makes the appropriate fuss over each.
LAURA
I love the colors you used in this one,
Christi. You're turning into quite the
artist.
INSERT - CLOSE UP OF THE PAPER
Non-descript blots criss-cross the paper, but mom uses her imagination to find the masterpiece beneath the mess.
RESUME SHOT
Laura collects the papers together and sets them aside. She looks ruefully into Nikki's eyes . . .
LAURA
Amy's mom worries me. I got the feeling
she's suspicious . . .
NIKKI
She knows about us?
LAURA
I don't see how, but I guess it could be
possible. We'll keep our eyes open, ok?
Nikki nods, less than pleased with the news.
INT. LAURA'S BEDROOM - LATER THAT NIGHT
Laura tosses in bed. Nikki's oblivious, sleeping like a rock beside her. Laura gives up, turning on the bedside lamp. Something weighs heavily on Laura as she meditates in silence, sitting up in bed. Her gaze eventually fixes on Derek's picture on the table beside the bed. She picks it up, bringing it close to her face for a beat, then replaces it on the table.
INT. KITCHEN - MOMENTS LATER
Laura sits at the kitchen table, staring at the phone. She picks it up, dialing a number she's surprised she still remembers. She can't risk calling Derek directly, but . . . The phone rings several times, but no answer. Laura hangs up the phone. She sits in her chair, hugging her knee and staring at the phone. Derek's father wasn't there, so maybe she'd have better luck with his mom. She picks up the phone again and dials his mother's phone number. She waits . . .
LAURA
Hello? Mrs. Wells? It's Laura.
(pauses at the quiet gasp
on the other end of the
phone)
I'm trying to reach Derek.
MRS. WELLS (V.O.)
Laura. Are you all right?
LAURA
Yes. Nikki and I are fine.
MRS. WELLS (V.O.)
(a long pause)
Derek was devastated after you left. But
I think you did the right thing. I pray
you'll do the right thing now.
LAURA
I will, Mrs. Wells.
LAURA - ON THE PHONE - SOMETIME LATER
Laura wipes the tears from her eyes as she pours out her heart over the phone.
LAURA
It's been so hard, Derek. We're
constantly running to avoid getting
caught. We lose friends faster than
we make them. And you . . . you're
never out of my mind . . . even when
I sleep.
(whispers as her sobbing robs
her of her ability to speak)
I don't think I can survive any more
without you beside me. I'm being a
hundred percent selfish, but I need you!
DEREK (V.O.)
I'm on my way.
Derek hangs up. Laura looks at the phone, transfixed. As Derek's words gradually sink in, she can't contain her elation.
INSERT - CLOSE UP OF UNFAMILIAR OFFICE - NIGHT
TWO UNIDENTIFIED MEN sit in a cramped, makeshift office. One of the men finishes jotting down a note and removes his head-set. He hands the note to his partner.
FIRST MAN
We got it.
EXT. SMALL APARTMENT DOOR - MORNING
Derek knocks hesitantly on the door, as if he wishes it won't open. He has on his traveling clothes. As he takes a step back to leave, the door opens and we see it's Derek's father. Derek walks in without saying a word. Their relationship still suffers even now.
INT. MR. WELLS' APARTMENT
Derek turns to face his father.
DEREK
I've come to say good-bye.
MR. WELLS
(sadly)
You're going to Laura.
(on Derek's silent nod)
Have you told your Mother?
DEREK
Yes.
MR. WELLS
How'd she take it?
DEREK
Hard.
MR. WELLS
Well, you can understand why. We
may never see you again. You're trading
in your life here for that of a fugitive.
Derek sits on his father's tiny couch.
DEREK
What life? Mike Flenner's pulled strings
everywhere in this town! Not only did he
get me fired, he fixed it so I can't walk
down to Circle K and get a job! I can't
even get a loan to fix up that jalopy parked
outside.
MR. WELLS
(gently)
I'll have a talk with your mom . . .
DEREK
No. She'll handle this better alone.
MR. WELLS
She still blames me.
DEREK
(stands)
I hope she can work through her
anger. It'll destroy her if she lets it.
And I'm not helping the situation by
leaving, but I have my own guilt to
live with.
MR. WELLS
What do you mean?
DEREK
I'm the reason Laura's life is played out
behind closed doors. I have to try and
make it up to her.
MR. WELLS
(a sad, lopsided smile)
Where've I heard that before?
DEREK
(a faint trace of smile)
History repeats itself.
EXT. NIKKI'S ELEMENTARY SCHOOL - MORNING
Laura walks with Nikki as they head in for school. Laura can't withhold her news a moment longer. She turns to Nikki with an ecstatic smile.
LAURA
Uncle Derek is coming, baby!
NIKKI
HERE? TO SEE US?
LAURA
YES! He's going to stay, Nikki!
NIKKI
(laughs)
Christi, mom! When'll he be here?
LAURA
Soon, baby! Soon we'll be a family
again!
Laura takes Nikki's hand and together they almost dance into the building. The CAMERA slowly zooms in on the building. A moment later Laura walks back out alone; still smiling. She walks toward the CAMERA, a visible bounce to her step. As she draws near, however, her step slows with a growing sense of apprehension. She finds herself scanning the greens and the nearby parked cars as she walks to work.
ANOTHER ANGLE - INT. PARKED CAR ALONG THE CURB
Inside the car a man reads the newspaper as Laura passes by. He watches her retreat in the rear-view mirror.
ANOTHER ANGLE - WITH LAURA
Laura walks a few yards behind the car and turns back slightly, getting a mental picture of the car and person inside. She continues on, sensing something isn't right.
EXT. AIRPORT PARKING LOT - DAY
Derek parks his jalopy in an obscure far corner of the lot. He shoves the parking ticket in the window.
DEREK
(under his breath)
If I ever come back here, this ticket'll
be worth more than you are.
Derek grabs his duffel bags out of the front seat and gets out of the car.
INT. AIRPORT TERMINAL
Derek walks down the crowded terminal complex. He passes coffee shops, rental car agencies, and finally a gift shop. Something catches his eye and he stops, then moves in closer for a better look.
ANOTHER ANGLE - GIFT SHOP WINDOW
A beautiful, very expensive collector's sculpture is displayed in the window; a crystal figurine. Derek walks to within inches of the glass, scrutinizing the sculpture. A smile plays across his face.
INT. AIRPLANE
Derek sits reading a newspaper. His gift-wrapped present occupies an empty seat beside him.
EXT. SCHOOL - MID-AFTERNOON
Mom and daughter walk hand-in-hand, turning for home. Laura has her antenna up, the uneasiness making her restless. Nikki knows this restlessness . . . and her mood sobers immediately.
NIKKI
Mom? What is it?
LAURA
(looking around)
I . . . don't know.
(notices she's upsetting
Nikki)
It's nothing. Let's go home.
They move with quick, nervous steps, the wide open space making Laura feel vulnerable.
EXT. GUEST HOUSE - DAY
Laura and Nikki reach the front lawn of the guest house. Another unidentified car is parked nearby with someone inside. Laura draws Nikki closer to her and hastens their steps. A CAR DOOR is HEARD SHUTTING BEHIND THEM. Laura startles, breaking into a slow run with Nikki. Nikki can't keep up in her confusion, so Laura scoops Nikki into her arms and bolts for the door as she HEARS STEPS BEHIND HER.
DEREK (O.S.)
Laura . . .
Laura wheels around as Derek runs for the door to meet them. They embrace tightly, squeezing Nikki in the middle. All three try to talk at once and the result is nonsensical words and phrases, but the message comes across nevertheless. Laura manages to unearth her key from the tangle of arms and opens the front door. They pour into the living room, shutting the front door behind them.
ANOTHER ANGLE - THE STREET IN FRONT OF THE HOUSE
The man that was parked at Nikki's school cruises the street in front of the house. He doesn't stop.
INT. LAURA'S LIVING ROOM - LATER THAT NIGHT
A birthday cake's placed on the coffee table and wrapped presents adorn the area. Nikki blows out the candles while Laura and Derek applaud.
NIKKI
This is the best birthday ever!
Derek hands her his gift. She tears open the paper and box, then stares, dumbfounded. Her eyes dance, reflecting the dazzling prisms of light that bounce off the crystal sculpture. Laura gasps in delight . . .
NIKKI
IT'S BEAUTIFUL!
She clears an area on the coffee table, sets it down and continues to stare at it, gently stroking the top of the figurine's head.
INT. LAURA'S LIVING ROOM - LATER
Nikki sleeps on the floor while Laura and Derek cuddle on the couch.
DEREK
I thought Nikki's birthday was the tenth.
LAURA
It is. But she doesn't know that. Or if
she does she's not letting on. And tonight
seemed so much more appropriate. Who
knows where we'll be on the tenth?
A shadow passes across Derek's face. It clears as he reaches into his pocket.
DEREK
(pulls out a box that looks
like it might hold a ring.)
I brought you something as well.
Laura hesitates to take the box in her excitement and disbelief. Drawing the courage to open the lid, she finds an engagement ring sparkling inside. She wraps her arms around Derek's neck.
INT. LAURA'S BEDROOM - THAT NIGHT
The lights are dimmed . . . music plays quietly. Derek lays Laura back on the bed, the time and bitter struggles melting away as they absorb once again the physical and mental imprint of each other. An imprint to last a lifetime, if it has to. A sense of desperation underlies their passion; commingled with a promise of life and love anew . . . better than before . . . sharing the realization that each moment can never again be taken for granted.
ANOTHER ANGLE - THE LIVING ROOM
Nikki is bundled warmly on the couch, sleeping peacefully, with a trace of a smile curling the corner of her mouth. Her figurine stands watch three feet away on the coffee table.
INT. KITCHEN - EARLY MORNING
The new-found family celebrates the morning together in their cramped kitchen. Laura fixes Derek bacon and eggs while Nikki dishes out the toast. Derek makes two cups of coffee and sits down at the table; grateful to be served by two equally grateful hostesses. Nikki and Laura finish their tasks, set the food down on the table and sit down. Nikki spies Laura's ring on her left hand and pulls her hand over to give the ring a close inspection.
NIKKI
WOW! Did Uncle Derek give you this?
LAURA
Yup! Beautiful, isn't it?
NIKKI
Yeah! Does this mean you're married
now?
LAURA
(as she and Derek laugh)
Not yet.
They dig into their meal, Laura finding her appetite for the first time in months.
NIKKI
Did 'ya know they gave us new names?
DEREK
(surprised)
Really? What are they?
NIKKI
I'm Christi Turner . . .
LAURA
And I'm . . . Millicent Turner.
Millie, for short.
DEREK
Uggh. I hate that name.
NIKKI
(a jubilant laugh)
I told you!
DEREK
However did you come up with those
names? Were you hungover at the time?
LAURA
A requirement from the underground.
They gave me a new driver's license, and
both of us new birth certificates.
NIKKI
We went through a cemetery!
LAURA
(on Derek's confused look)
We had to find two dead women with
the same last name. The choice was
rather limited.
DEREK
How morbid.
LAURA
That's just the tip of the iceberg.
(deepening look of
misgiving)
Our life will never be what it was back
there.
DEREK
(a reassuring smile)
It'll be better.
LAURA
(earnest)
No, it won't. I feel terrible for all the
things you've had to give up to come
here.
DEREK
Yeah, well when you left it forced me
to see how much those "things" meant
without you. If they held any importance
next to you and Nikki, I wouldn't be here.
Derek reaches for Laura's hand across the table and raises it to his lips.
EXT. NIKKI'S SCHOOL - THE SAME MORNING
Laura keeps a tight clinch on Nikki as they make their way toward the school's front doors. Laura gasps slightly as she spies the same man in the same car, blatantly watching Nikki and herself this time. Now the man has a PARTNER with him. She walks the sidewalk alongside his car at a hurried pace and hears the car doors open. Refusing to give in to panic, she doesn't look back, focusing instead on reaching the front doors as soon as possible without drawing attention to herself. Once inside, she pushes Nikki off to one side, staring for a beat out the glass insert in the door. The man has walked within a few yards of the front door and taken a stance off to the side of the walkway. He wears a nice three-piece suit; the shadow of a gun outlined under his jacket as it moves with his body. Laura sees no sign of the second man as she takes Nikki's hand and hurries down the hallway to the office.
INT. SCHOOL OFFICE
LAURA
I need to use a phone. Where can I
find one?
RECEPTIONIST
You can use mine.
LAURA
I'd prefer a pay phone, if you have one.
RECEPTIONIST
(surprised)
In the lounge. Go to the end of the hall
and turn right. Three doors down.
Laura mumbles a thank you and then flies out the door, Nikki in tow.
ANOTHER ANGLE - SCHOOL LOUNGE
Laura fumbles with the coins as she fights to control her jitters. Nikki looks at her mother blankly, slowly coming to understand that the nightmare's starting all over again. The adrenalin rushes through Laura's body . . . she can't hold still while she waits for Derek to pick up the phone.
LAURA
Derek! Thank God! Something's
happened. I need you to drive to
Nikki's school and pick us up right
away! We have to leave town!
(beat)
Take First Avenue south until it dead-ends,
then turn right at the side road . . . you'll
see it. Come to the very back entrance.
We'll be waiting . . . but hurry!
Laura hangs up the phone, clasps Nikki's hand and takes her to a far table where they sit down to wait.
LAURA
You know what's happening, don't you?
NIKKI
(a tear slides down her cheek)
Yes. Mom, I really like it here. Do
we have to leave?
LAURA
Listen, honey; there're two men in front
of the school waiting to take us back to
daddy if we go back out there. We
have to run. But we've got Derek with
us now . . . we're not alone anymore.
Nikki lays her head down, refusing to be comforted.
INT. LAURA'S GUEST HOUSE
Derek throws all he can readily grab into suitcases and his duffel-bags. He's a mass of high-strung tension, banging suitcases against furniture and walls in his hasty retreat out the door. The CAMERA stays on the door as he swings it shut. We HEAR his STEPS FADE. Seconds later we HEAR his STEPS AGAIN, and the door opens. Derek's in the house in a flash, and makes a beeline for Nikki's crystal sculpture, tucking it in his bag. Then he grabs Nikki's new doll and tucks it under his arm. Again he shuts the door and we HEAR his FOOTSTEPS FADE. Seconds later we AGAIN HEAR his FOOTSTEPS. He opens the door a second time, his expression that of a trapped animal. He drops the suitcases, bags and doll on the floor, eases the door shut and locks it. His next move is for the window. He looks out, taking care to keep hidden behind the curtain.
EXT. GUEST HOUSE
From a distance, TWO POLICEMEN are seen at the main house, rounding up the COUPLE who've given Laura shelter. Derek watches as the husband and wife are handcuffed and led to the waiting police car. With the couple secured in the back seat, one of the policemen heads for the guest house.
INT. GUEST HOUSE - AT THE WINDOW
We see a BLUR of MOVEMENT as Derek drops the curtain and hustles from the window. We HEAR the RUSTLING SOUNDS of Derek stowing away the bags.
CLOSE UP ON THE FRONT DOORKNOB
We HEAR and SEE the DOORKNOB turn. The policeman realizes the door is locked. KEYS JINGLE outside. Within a moment the door unlocks and the policeman walks IN, moving cautiously about the room. He finds no trace of Derek. Gun drawn, he opens the closet, but finds nothing. He then looks under the bed.
ANOTHER ANGLE - UNDER THE BED
The bags are stuffed under the bed, along with Nikki's doll. The policeman retrieves the doll and looks at it, puzzled. He puts it down on the bed to continue his search.
INT. BATHROOM
The policeman's steps have slowed to a snail's pace as he enters the bathroom; the last room to search. Initial scanning of the bathroom finds it empty. But there is no escape window and the shower curtain is partially drawn. The CAMERA follows the policeman's P.O.V. as he steps warily to the shower. He puts his hand on the curtain to pull it back . . .
PARTNER (O.S.)
Mickey, let's go! We got the call . . .
she's at the school.
POLICEMAN
(rushes out of the bathroom)
No one here.
(stops at the bed, picks up
the doll)
Better take this. The little girl'll want it.
PARTNER
That isn't our problem. We're not
running a daycare service. Drop the doll
and let's get going.
The policeman props the doll back on the pillow, then after a seconds indecision picks it back up and tucks it under his arm. He hurries out to his partner, shutting the door behind him.
INT. BATHROOM
The shower curtain is pulled back and Derek steps out. A quick check at the front window and Derek drags out the bags and resumes his plan of action.
INT. SCHOOL LOUNGE
Laura and Nikki still sit at the table.
LAURA
(checks the wall clock)
It's time. Derek will be out back.
Let's go, honey.
They stand and head for the door. From Laura's P.O.V., one of the F.B.I. men can be seen through the door's small window as he passes by the door, walking down the hallway. Laura jerks in shock. She whirls around looking for another possible exit, and in her panic doesn't see one. She shepherds Nikki to a darkened corner.
LAURA
Stay here, Nikki!
Terror rivets Laura to the floor for a moment, then the urge to escape moves her toward the door in slow, cautious steps. Reaching the door's window she sneaks a peek. The instant her face is in the window the door bangs open, knocking Laura against the wall. Nikki screams and races for the back of the lounge. Laura scrambles her hand over an adjacent counter and finds an automatic coffee maker; grabbing it, full pot included, as the agent pushes himself in the front door. When the agent looks behind the over-sized door his head is met with a nasty surprise. Glass shatters, coffee sprays over the lounge and Laura makes her escape while the agent's momentarily knocked off his feet. Nikki's found an exit door in an obscure corner, opens it and turns to watch her mother racing for her. They flee out the door, trying every doorknob as they race down the hall. Every door in the hallway is either locked or full of children in class. They round the corner at the same instant the agent opens the lounge door at the far end of the hall. Laura finds a storeroom door open and pushes Nikki in. The door shuts, surrounding them in almost complete darkness. One faint beam of light from a hole in the wall shines onto the door, illuminating Laura's hand as she feels around for a lock--
LAURA
(a breathless whisper)
Damn! No lock.
We HEAR Laura PULL A CHAIN which turns on an overhead bulb. Laura and Nikki huddle against the wall. A look of dread passes across Laura's face as she thinks on their tenuous situation. She rummages through her purse, looking for her address book. Finding it she takes the book and stuffs it down Nikki's backpack.
LAURA
I gave you my address book. Look up
Dyane McDermitt's phone number, honey.
Guard it, Nikki! Learn it. It's the most
important number you'll ever know.
Dyane will always be there if you need her.
Laura turns off the light.
EXT. STOREROOM DOOR
The CAMERA focuses on the agent's feet as he approaches the storeroom. The faint beam of light from under the door disappeared as Laura turned off the bulb. The agent stops in front of the door.
INT. LAURA'S CAR
Derek drives fast, yet slow enough to avoid attracting unwanted police attention. A stoplight turns yellow as he approaches. His first instinct is to tromp on it, but as he does so, he notices a police car sitting by the side of the road. He's forced to wait out the light, fidgeting in nervous energy; looking like he could crawl out of his skin.
EXT. FRONT OF THE SCHOOL.
The two policemen who were at the guest house enter the front doors. Children stop in the hall and gawk.
EXT. BACK OF THE SCHOOL - MOMENTS LATER
Derek careens up the rear entrance and stops. The agent's car has gotten there before him. Derek discerns the scenario in a flash-- one agent sits behind the wheel, having deposited Nikki in the back seat, the other agent is handcuffing Laura. Both agents see Derek at the same moment. The agent behind the wheel opens his door to confront Derek, but Derek leaps from his car and races to cut off the agent before he can get out of the front seat. Derek slams the car door on the agent's leg, then opens the door, pulling him out of the car. The exchange is explosive. At the same time, Laura resists the other agent's efforts to stuff her in the back seat; butting him with her body and knocking them to the ground. Derek's hammered at the one agent enough to disorient him, and uses the precious seconds he gains to retrieve Nikki from the back seat. He looks over the trunk of the car and sees the struggle between Laura and her captor running its course; the agent having the upper-hand as he pulls a shaken and bruised Laura to her feet. Laura sees that Derek has Nicki . . .
LAURA
(screams)
GET HER OUT OF HERE!
NIKKI
MOMMY!!
In a panic, Derek stalls for a beat, unsure what to do. The two policemen burst through the back doors and one helps grab onto Laura while the other races for Derek. The agent Derek battered comes around and grabs Derek's arm, snapping him out of it. With his free arm Derek shoves the agent backward and flees with Nikki.
NIKKI
(hysterical)
MOMMY!!
Derek and Nikki are in Laura's car and gone. The first agent dashes around the side of the car and helps his partner throw Laura in the back seat. They jump in the front and take off in pursuit. The policemen race back to their car.
ANOTHER ANGLE - INT. AGENT'S CAR - THROUGH THE FRONT WINDSHIELD
Laura's car is seen in the distance, the agents making slow progress catching up to it. Laura's jostled around the back seat as the car swerves through traffic, but she fights to stay upright so she can watch Derek's progress through the streets. Both cars take risky chances, narrowly avoiding one accident after another. A near-miss involving Derek's car rips a choked scream from Laura's throat and she stares, helplessly, as her car closes-in on Derek.
ANOTHER ANGLE - EXT. CARS - AT STREET CORNER
Derek approaches a red stop light and races through it. The agent's car follows, but screeches the brakes as a third car having the right-of-way enters the intersection and slams into them.
ANOTHER ANGLE - INT. AGENT'S CAR
Laura's been thrown onto the floor. She painfully raises up to watch Derek's car disappearing in the distance. The gash on her forehead has streaked her face with blood, but she smiles through the blood and tears.
LAURA
(whispers to herself)
Keep her safe, Derek. I love you,
baby.
INT. MIKE FLENNER'S LIVING ROOM - DAY
Mike hangs up the phone, his face a mask of mixed emotions as Marie walks in.
MIKE
They got her.
MARIE
NIKKI?
MIKE
Laura. They're extraditing her back here.
MARIE
What about Nikki?
MIKE
(flies into a rage)
DAMN LAURA! And DAMN those
incompetents we've got working on this
case! Derek got away with Nikki right
under their noses! Now they haven't
got a clue where Nikki is!
MARIE
What's going to happen to Laura?
MIKE
Whatever it is, it won't be enough
for me!
(sees Marie's doubtful look)
WHAT?
MARIE
Why is she subjecting herself to all this?
MIKE
You're asking me? Who knows . . . the
woman's psychotic.
MARIE
(her doubt finds voice)
Is she?
Mike looks ready to slap Marie around the room . . .
MIKE
You start whining and throwing
insinuations around and it's bad news.
I just found out my kid's been hidden
away . . . someplace where I may never
find her. That's enough bad news for
one day.
(threatening)
You understand what I'm saying?
Marie nods, deciding discretion may help keep her facial structures intact.
INT. MOTEL ROOM - NIGHT
Nikki sleeps restlessly in the double bed she shares with Derek. Derek sits up in bed, catching the news. He glances painfully at Nikki, watching her toss and turn and moan every so often, helpless to do anything about it. Nikki abruptly rolls over in her sleep and hugs Derek, her subconscious reaching out for protection from her perpetual nightmare. Derek pulls her close to him, covering her with the blanket she just kicked off. His attention returns to the news.
NEWSCASTER
And now for news around the state; two
people were arrested at their home in
Waynesboro today, in connection with the
abduction of Nikki Flenner by her mother,
Laura Flenner. Mr. and Mrs. Bo Collins had
been providing shelter for the mother and
daughter, allegedly a part of the growing
underground railroad that's been seeing so
much publicity lately.
ANOTHER ANGLE - DEREK
Listens in silence as the commentary continues O.S.
NEWSCASTER (O.S.)
A fourth person, Derek Wells, is being
sought. Mr. Wells eluded police,
escaping with the six-year old girl, Nikki
Flenner. No word on their whereabouts.
DEREK
(over the Newscaster's voice)
That's seven years old. Jerk.
NEWSCASTER
(continuing O.S.)
The underground railroad was born into
existence out of the desperate actions taken
by parents such as Mrs. Flenner . . .
Derek flips off the television, climbs back in bed and hugs Nikki tightly while she sleeps.
INT. LOCAL POLICE STATION - DALLAS AREA - DAY
Laura sits on her cot inside a cell she shares with another woman. The CAMERA moves in closer as Laura stares blankly into space, the fire of life gone out of her. Her CELLMATE looks at her curiously.
WOMAN
Should I be worried here? Nothing
personal, but your eyes have a kinda'
um . . . crazy look about 'em, you know?
LAURA
(disgusted)
I'm not crazy. My ex holds that honor.
WOMAN
So, like, you didn't axe someone?
LAURA
No. Did you?
WOMAN
(laughs)
Nah, of course not. I just got a little . . .
heavy-handed with my kids. I'm in here
to cool off, is what they said.
Laura shakes her head, stands and walks to the front of the cell so the woman can't see the contempt on her face.
INT. VISITING ROOM
Laura's boss, Jerry Burgess, sits on one side of the table. Laura sits across from him behind the glass partition.
JERRY
I'll do what I can, Laura. You
know that.
LAURA
(nods)
I know even you can't work miracles.
But I'm about due for one.
JERRY
The justice system has a short supply of
miracles these days.
LAURA
(sighs)
Then I guess I am in trouble.
JERRY
I'm sorry, Laura. Sorry for the way
everything turned out.
Laura's lip quivers as her thoughts race back to her daughter . . .
LAURA
I miss her so much. But I know the
outcome could've been much worse.
For now, she's safe and loved. Knowing
that is all that gets me through this.
JERRY
You know where she is?
LAURA
Yes. Through my contact.
(silent a beat)
I'm no stranger to the legal system. I
know what I'm facing.
JERRY
I have a few palms greased around this
town. I'll see what I can do.
LAURA
(shakes her head)
I'm grateful . . . for everything.
JERRY
Don't hand me an award yet. I can't
promise . . .
LAURA
(interrupts)
I know.
JERRY
Be strong, Laura. This won't last forever.
Laura smiles at her boss weakly.
INT. COURTROOM - LATE AFTERNOON
Laura stands before the same judge once again. There is no jury to listen to her case, but the room is packed with the press and curiosity seekers who've been hearing a lot of publicity about the case. Mike and Marie Flenner sit in the first row. Mike looks ready for blood, but Marie's gaze upon Laura is softer; a hint of sympathy. Laura's former attorney is again representing her defense. Even his expression looks downtrodden.
JUDGE
Mrs. Flenner, you've refused to provide
testimony in your own defense. More
importantly, you've refused to disclose the
whereabouts of your daughter. This court
must assume you do not trust the system to
act in your daughter's best interest. The
court's also been informed that you've
refused to accept a lesser sentence in
exchange for naming names. The people in
your underground movement are breaking the
law; they're vigilantes. Their interference is
undermining our legal system, and bringing
chaos with it.
LAURA
Their interference, your Honor, is saving
lives when nothing else can. Lives like that
of my daughter!
JUDGE
Laura, I've watched you defend cases in
this very courtroom . . . staunchly defending
our system and how it works. You've
strayed from your beliefs; lost your way.
The beliefs are still the same. The system still
works most of the time, if you let it.
LAURA
Your Honor, may I speak?
(on the Judge's nod)
'Most of the time' is a handy catch-all phrase
we attorneys use all-too-often-- a type of
file thirteen for cases that don't fall neatly
into place-- too much gray area. For the
thousands of people that get fair treatment
within our system, the knowledge that it
works 'most of the time' is easy to live with.
But most of the time isn't good enough for
innocent children. If we let them slip through
loopholes, disregard their suffering because
the system tells us to, then we've ALL
lost our way.
JUDGE
Let's get your daughter back here. Let her
speak, Laura. If I feel it's warranted, I'll
order a re-examination of the case.
I promise you.
LAURA
I appreciate that, but I can't. Until I
see a lot of things change, until he . . .
(points at Mike)
. . . can't hurt her anymore, I won't
gamble with her life.
JUDGE
(sighs, genuinely disappointed)
I'm very sorry to hear you say that, but
I know your convictions are as stubborn
as you are-- at this point there's nothing I
can say to change your mind. I feel I have
no choice in the matter but to uphold the
court's decision that you remain in custody
until and if such time as you change
your mind and decide to reveal the
location of your daughter's whereabouts.
I truly hope for your sake you reconsider.
The gavel comes down and Laura is led off as Mike flies to his feet, screaming as the scene starts to FADE . . .
MIKE
I want my daughter back! I wanna'
know where she is . . . tell me where
Nikki is! Laura, you bitch! I'll find her . . .
INT. LAURA'S CELL
Laura sits on her cot, thick notebook in hand, writing at a frantic pace. A NEW CELLMATE pokes her head down from the top bunk, looking curiously at Laura.
CELLMATE
Can I interest you in a game of cards?
LAURA
(a million miles away)
No, thank you.
CELLMATE
(after a beat of silence)
All you ever do is write in that crazy book.
Write to senators, write to congressmen . . .
LAURA
(aggravated)
You read my book?
CELLMATE
Nothin' else to read around here.
Nothing as interesting.
LAURA
(sarcastic)
I'm glad you find my life so entertaining.
CELLMATE
It is! Why do you write so much,
anyway? Does it help you forget?
LAURA
Nothing short of death will make me
forget. It helps me . . . accept; and I
can release a lot of anger.
CELLMATE
Maybe I should try that.
(on Laura's silence)
Your little girl . . . is she all right?
LAURA
(sighs)
As far as I know.
CELLMATE
When will you see her again?
LAURA
Probably not for many years.
CELLMATE
(shocked)
You'll be stuck in here as long as most
murderers and rapists!
LAURA
(spiteful)
While a real rapist goes free.
CELLMATE
(bitter)
And I was stupid enough to think my
charges would be dismissed.
LAURA
(puts down her pen, smiles
knowingly)
They will be. The system works . . .
most of the time.
INT. VISITING ROOM
Laura is led into the visiting room by a guard. She sees Mike sitting behind the glass barricade and stops short, frozen in place.
LAURA
(refusing to sit down)
WHAT the HELL DO YOU WANT?
MIKE
Sit down, Laura. Please?
LAURA
(sits reluctantly)
You can be glad this glass stands between
us, or my fingers would be around your
neck!
MIKE
I miss you, too. If you'll quit spouting
threats for five minutes, I'll tell you why
I'm here.
(on Laura's intense and silent
glare)
I've come because . . . I want Nikki back.
LAURA
IS THIS SOME SORT OF SICK JOKE?
MIKE
I miss her, Laura.
LAURA
(hard as nails)
Can't Marie handle your "needs" any
longer?
MIKE
(squelches a quick-retort
impulse)
I swear to you, I won't lay a hand on her.
LAURA
It's not your hand I'm worried about,
so much.
MIKE
What if I agree to get psychiatric counseling?
Will you consider bringing her back?
Laura grins in silence, finding it satisfying to watch him grovel.
MIKE
DAMN IT, she's MY daughter too, you
know. You seem to forget that!
LAURA
You gave up that right the first time you
molested her! AND the right to ever see
her again! The court may not see it that
way . . . yet. But they will. THEY WILL!
Laura jumps up and exits the room in a flurry of motion as the CAMERA lingers on Mike's wrathful expression.
INT. LAURA'S CELL
Laura sits on her bed, reading a note to herself.
LAURA
(quietly)
. . . I'm writing down all the things I want
to say in a notebook, so I won't forget. I
hope you do the same. I love you, Mom.
Your Nikki
Laura puts down the note and cries . . . over all she's missing. A DIFFERENT CELLMATE looks down from the overhead cot.
CELLMATE
(softly)
That was a real nice letter.
LAURA
(between her sobs)
Yes, it was.
The cellmate sees her misery and climbs down from her cot, putting a sympathetic arm around Laura. Laura weeps openly into her shoulder . . .
LAURA
She's growing up, and I'm missing everything!
The piano lessons . . . reading me her first
book . . . puberty, for Christ's sake! I'm
not there to help her through it! Poor
Derek-- it's got to be such a scary time--
for both of them.
CELLMATE
I know. Maybe you can help me through it.
Laura laughs in spite of herself.
CELLMATE
Yeah, you're missing all those things. But
the point is; she's doing all those things . . .
all those wonderfully NORMAL things!
She sounds smart, happy and well-
adjusted. She has you to thank for it.
You won't get back those times, but there'll
be other times. Your sacrifice has made
sure of that. It won't be forgotten.
LAURA
(a faint smile)
Quite a speech. You should've been an
attorney.
CELLMATE
That was my second career choice.
They laugh together.
* * * * * * * * * * * * * * * * * * * * *
EXT. MIKE'S HOME - YEARS LATER
A RING of the DOORBELL brings a much older, worn-looking Mike to the front door. He opens the door and the color drains from his face.
ANOTHER ANGLE - NIKKI
A blond and beautiful, very grown up Nikki Flenner confronts her father at the door.
MIKE
(stunned, in disbelief)
Nikki?
NIKKI
(a look of steel)
I haven't heard that name in years. Eleven,
to be exact. My name is Melanie Wells.
MIKE
Wells? As in . . .
NIKKI
Derek? I'll tell my dad you send your
regards.
MARIE (O.S.)
Mike, who is it?
MIKE
(quickly)
It's nothing . . .
NIKKI
(shouts above Mike)
IT'S NIKKI, MARIE!
Marie rushes to the door as Mike's beleaguered expression deepens.
MARIE
(elated)
My God, Nikki, it's you!
Nikki manages a smile
for Marie)
Well, don't just stand there; come in,
come in!
Marie reaches through Mike to shuffle Nikki into the living room.
ANOTHER ANGLE - MIKE'S LIVING ROOM
Marie attempts to take Nikki's coat . . .
NIKKI
I don't want to make myself comfortable.
I won't be staying long.
The flicker of a ghostly memory passes across Marie's face-- the exact words she'd uttered to Nikki's mother years ago. Mike reluctantly enters the living room and watches Nikki walk over to the crystal girl
on the piano.
MARIE
My, you're so beautiful, Nikki. And
so grown up. How old are you now?
MIKE
(before Nikki can answer)
Eighteen.
NIKKI
(turns around to face them)
I'm surprised you remember.
MIKE
Why . . . are you here?
NIKKI
Curiosity, for one thing. I wanted to
see what kind of life you've made for
yourself after destroying mom's.
MARIA
Nikki, you're not being fair. What your
mother did to us . . .
NIKKI
(interrupts, glaring at Mike)
Is NOTHING compared to what he did
to me! Right, Mike?
MARIE
Nikki! What's happened to you?
NIKKI
Let's skip the small talk, shall we? I'm here
to give you one chance. That's one more
than you gave my mother. You've got to
the end of the week to get mom out of
prison. Then I go to the judge, and you
can kiss your cushy little life good-bye.
MARIE
How dare you walk in here and threaten us!
Nikki reacts in one swift movement, scooping up the crystal girl and shattering it on the floor. Then she rounds on Mike . . .
NIKKI
HOW DARE YOU RAPE ME!
Marie staggers under the shock.
NIKKI
I'm not six years old anymore. I have
a voice. And it WILL be heard.
(malicious)
Nice to see ya', Pop.
Nikki turns on her heels and stomps out of the house. Mike follows her to the porch, but stops when he sees Derek step out of his car. Nikki rushes into his arms for a comforting hug. Looking over Nikki's shoulder, Derek glares threateningly at Mike as Mike retreats into the house and slams the door.
INT. PRISON VISITATION ROOM
Laura is led into the room by a guard. She looks gaunt and weary. Her steps slow drastically as she approaches.
ANOTHER ANGLE - NIKKI
Nikki stands transfixed on the other side of the glass, her eyes filling with tears . . .
ANOTHER ANGLE - LAURA
as she stumbles, knees buckling, over to the glass. She flings the chair aside and stands in front of the glass, pressing her palms against it.
LAURA
NIKKI!!
NIKKI
Mom! Yeah, it's me!
(presses her palms on
her side of the glass)
I look a little different?
LAURA
(wipes her eyes, pulls a
tissue from her pocket)
I'd say so!
NIKKI
(lip quivering)
So do you. You look so tired. Have
they treated you bad here?
LAURA
They've treated me as well as can be
expected. But you, you're so beautiful
Nikki! And I'm so proud.
NIKKI
I wanted you to be.
LAURA
(bites her lip)
I can't believe you're here! God, I can't
believe it . . .
(swallowing hard)
How's . . . Derek?
NIKKI
Well.
(a beat of hesitation)
Married.
Laura lowers her head in disappointment.
NIKKI
Her name is Connie. He married her
when I was thirteen.
(beat)
I tried to write you about it . . . several
times. I couldn't. You'd already been
hurt so much.
LAURA
I understand, baby.
NIKKI
(her tears fall stubbornly)
No one's called me baby but you.
Funny how much I missed that word.
LAURA
(her expression turns grim)
What about your father? Have you seen
him?
NIKKI
Yeah. Interesting. I promised I'd keep
his secret if he'd get you out of here.
(a vindictive smile)
I don't think I'll keep that promise.
LAURA
What good will that serve? Why
destroy him now, after all these years?
NIKKI
It'll make ME feel a lot better!
Laura watches the hatred flare up in Nikki's eyes . . .
NIKKI
Mom, all those things you accused him of
he did . . . and more.
INSERT - CLOSE UP OF LAURA
The finality of hearing those words out of Nikki's mouth is a crushing blow to Laura; dashing her hopes that somehow, maybe Mike hadn't been as cruel as she'd pictured him.
RESUME SHOT
NIKKI
I've waited twelve years . . . to thank him.
(her expression softens)
And to thank you . . . for saving my life.
(as Laura shakes her head)
I'm okay. I've got a great boyfriend, a
part-time job and I'm on the Dean's list
at school.
(on Laura's grateful smile)
Mom, about Connie . . . I want you to
know I wasn't alone. She was there for
me; helped me through some sticky times.
LAURA
(a flicker of a smile)
I'll have to thank her someday.
NIKKI
(smiles through her tears)
You can thank her Friday when we come
to pick you up.
Laura has no response. Only the tears that slide over her cheeks.
NIKKI
We'll be a family again, Mom! We've got
a lot of catching up to do.
LAURA
(laughs joyously)
I've got my notebook ready!
INT. LAURA'S PRISON
Laura is escorted by a PRISON GUARD to the front entrance. Wearing the street clothes she wore the first day of her incarceration, the clothes now hang loosely on her emaciated frame. A slight hesitation as she pulls herself together, then she's out the front door.
EXT. PRISON - DAY
Derek, CONNIE and Nikki stand at the curb, leaning on the side of their car as they wait for Laura. Laura walks out and they stand at attention; suspended in temporary disbelief. Nikki breaks the trance first, rushes to her mom and hugs her tightly. Laura can't hug Nikki tightly enough as she kisses Nikki's cheeks. Derek and Connie slowly walk toward mother and daughter, waiting for them to come up for air. Laura takes notice of them beside her and she steps away from Nikki for a moment. Connie is crying as Laura embraces her warmly. After a beat, Laura can no longer withhold latching onto Derek, the years of deprivation and loneliness flooding out on Derek's shoulder in a torrent of tears. Their embrace is inconsolable and bittersweet. All four begin to move slowly to Derek's car.
FADE OUT
THE END
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An Arizonan for most of my life, I have turned to this beautiful state I call home to draw upon for my inspiration. From painting to writing, much of the majesty of this state is reflected in my work. Follow my work as I post it.......you will see the awe and wonder of Arizona for yourself as well.
I've Come Home
My book, "I've Come Home" is now for sale on Amazon.com in its new streamlined form! Thank you for sharing this info, friends!
