MEMORIES OF MALIA by Raymond Vaca

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MEMORIES OF MALIA

SCREENPLAY

RAYMOND VACA JR.

STORY

RAYMOND VACA JR.

WGAW #88672

MEMORIES OF MALIA

By Raymond Vaca Jr.

Script Synopsis

This story is based substantially upon true events. It is about the unconditional love between a father and his mentally/emotionally-affected daughter. Beginning at age 13, MALIA, for some unknown reason wants out of the family home. She becomes rebellious, a manipulator, angry, and uncaring, especially against her mother. As a result of her actions - runaways, suicide attempts, abusive behavior she is placed in a mental hospital, treatment and schools. For three years almost every weekend and some weekdays, the parents attempt to visit, attend counseling, treatments and anything else needed for MALIA to come home. Instead she refuses visits, or does not participate fully as she does not want to go home. The father misses work to attend the above meetings and declines an opportunity to live and work in Hawaii to be near MALIA. At sixteen, as insurance is exhausted she is forced to deal with placement outside after three years. First she stays with relatives and then returns back home. Slowly a trust is formed and a bonding relationship develops between father and daughter.

MALIA, during her senior year meets LARRY who helps persuade her to turn her life around. However she gets pregnant, leaves home again on the issue whether to keep the child, and returns home during her pregnancy upon a major turning point - the realization between father and daughter that she needs to be home. MALIA stays in school, gives birth with the father present, and graduates with her class. She becomes a caring mother and college student until she becomes terminally ill at 20. Told she has months she dies within a week but not before she marries LARRY and dies wanting to go home, to be home. The story is told post death during a local train ride from downtown Chicago to the South Chicago neighborhood where the father was raised but has not been back in ten years. In the end he chooses not to exit at the end of the line -South Chicago, instead choosing to leave his neighborhood and MALIA to his memories.

FADE IN

1 INT - HOUSE - MORNING 1

The front door is opened and AL (30) and FRANK (22) enter.

AL nods to FRANK to go in one direction as he goes the other.

Are you sure she is suppose to be home It's so dark and quiet in here

FRANK

Yeah, she just got out of the placement

I'll try her bedroom

FRANK runs to the bedroom as AL arrives there

They knock lightly on the door. They open the door slowly,

2 INT - BEDROOM - MORNING 2

The bedroom is dark as a blanket covers the window.

They see a bundle on the floor from the light from another room.

Here she is...on the floor sleeping

FRANK bends down on his knees. He looks to AL and puts his finger to his mouth for AL to be silent. He crawls to her on the floor. He feels her body through the blankets and shakes her

FRANK

BOO....

FRANK shakes her again, nothing.

FRANK

Something is wrong...look at her position, I'm shaking her and she's not moving

AL joins FRANK on the floor and removes the blanket off her.

AL looks at her closed eyes and opens them by hand

Her eyes are rolled back

FRANK feels around the floor, tossing things, searching for clues.

FRANK

Here is some medication bottles ...empty

AL starts to pick her up she is limp

FRANK starts to lift her from the legs

We got to get her to the hospital now

They carry her out of the bedroom

3 INT - HOSPITAL ER LOBBY- July 02, 1994 3

The ER doors opens and an ambulance crew brings in an injured man.

A lady in a wheelchair rolls past the ER counter looking lost. Nurses cross path as they hurry along. JON (39) arrives enters the lobby and sees immediate family

JON

They pulled me out of court and said a family member was in the hospital

FRANK

It's MALIA! I found empty bottles of meds. She was unresponsive to us She was limp, heavy

JON looks around the lobby and back to FRANK

FRANK

She tried to commit suicide just like mom tried a couple of weeks ago?

MALIA'S birthday is in a couple of weeks

MARIA (20) approaches and nods her head

MARIA

Mom says that she hasn't responded at all It's been a couple of hours

JON slowly slides his hand from his forehead to his chin

JON

I better get back there and see what's happening.

4 INT - HOSPITAL ER AREA 4

(Slow motion) JON enters into the ER area

Nurses run and equipment is moved back and forth to the rooms.

JON slowly looks around until he sees NADIA (41) sitting next to a bed.

JON reaches the room of his daughter

5 INT - HOSPITAL ER ROOM -AFTERNOON 5

JON enters the room and sees MALIA lying motionless, eyes closed.

Tubes connected to her body. He looks at the machines around her.

He goes bedside and tears swell as he reaches for her hand.

JON

Daddy's here for you

JON rubs her hand with both of his, he strokes her hair from her face.

A doctor enters the room standing next to JON who remains focused

JON

Doctor, how does it look?

DOCTOR

It's still too early to tell. We do know that she took some powerful medications. We need to determine what combinations

JON looks at the doctor

JON

Different affects for different drugs?

DOCTOR

Yes, some can cause harmful effects even ...If she lives through this

JON looks over to NADIA and then to the doctor

JON

You mean there can be paralysis if she recovers

DOCTOR

There can be organ or brain damage, but we need to complete the tests first. ...I will back to let you know

The doctor turns and leaves, JON stares at MALIA then over to NADIA

JON

What is it that can cause a healthy young girl to want to end her life?

NADIA shifts in her chair and wipes her eyes then looks at JON

NADIA

With me it was a sense of hopelessness, of not being happy with no reason to live, no one could understand, believing that things could never get better yet people believed that I had everything

JON

Look at all the people with money, or in sports that suffer from depression. Money and fame doesn't solve all problems. I guess it's too easy to say - talk to someone. This looks real bad.... I need to call my family

JON walks dazed like over to the phone, slowly dials leaning against the wall.

RING... RING....

MARTHA

Hello. Hello. Who is this?

JON can only speak softly

JON

It's me

MARTHA

Is that you JON...what's wrong

JON

MA...LI... A in hospital.... Des...sert Sam

MARTHA

Tell me what's wrong

JON leans his head against the wall as he holds the phone to his mouth in his shaking hands. His voice is cracked.

JON

Sheeeee's dyyying!

6 EXT - SKY -DAY -AFTERNOON 6

(Music -Ave Marie)

View of the blue sky. The clouds are slight.

7 EXT - HELICOPTER SPAN OF SOUTH CHICAGO -DAY 7

(Music - continues)

Aerial view of the steel mills that are or used to be located in South Chicago. Span to the South Chicago YMCA sign. Span down Commercial Avenue. Down Houston Avenue, slowing at the middle of the block on 88th Ave, focus on kids playing in front of two- story pink/white building, 8820 S. Houston.

8 EXT - COPTER SPAN OF DOWNTOWN -DAY 8

(Music continues)

Aerial view of White Sox Park, the Sears Tower, Science of Industry Museum and lakefront beach. Span people walking to the train station. Going down the stairs and entering the station.

9 INT - TRAIN STATION -DAY 9

(Music continues) The Illinois Central train, the I.C. to the locals, is boarding and about to leave the downtown Chicago station on its way to South Chicago. People rush to the train as the horn sounds

10 INT - TRAIN -DAY 10

(Music continues)

Passengers enter a car and rush pass passengers already sitting.

SABRINA (2) is sitting on NADIA'S (47) lap as they sit across from JON(45). He is sitting at the window looking out, upwards, then out to the crowd He watches the movements throughout the station.

NARRATIVE: JON

That suicide attempt was July 1994. It is now April, 2000. The millennium having just been entered. A new beginning for all? Not quite! This story is about MALIA. She just turned twenty years old. As a dad, I had lost precious time with MALIA during her early teens. I didn't get to see her grow as a young lady, didn't get to spend endless nights wondering if she would be home on time. Didn't get to take her to slumber parties or meet the new boyfriend. Didn't get to help her decide which college to go to. This was all due to the emotional and mental tribulations and turmoil that she went through during her young teenage life. Instead of being home she chose to be away from her family. There was a period when the sparkle in her eyes had returned. She was lovely, caring and a special part of my life. I had got to know her well these past few years. We had become close. We had I believe, a special relationship, an emotional bonding. Now, I am coming from a seminar in Milwaukee. Just making a side trip to my old neighborhood. I had invited my ex-wife, NADIA and my granddaughter, SABRINA. She is the only child of MALIA.

11 INT - TRAIN - DAY 11

(Music stops)

JON (45) turns and faces the direction that the train will travel and faces

NADIA (47) She is across holding SABRINA

NADIA

You promised the kids that you would bring them all back to South Chicago to see your old neighborhood again.

JON shrugs and looks at SABRINA

JON

We haven't been back since 1984

NADIA

I didn't like it then, it was so dirty and bad I don't know how you could have lived here

JON looks seriously at NADIA and leans forward

JON

It's different growing up in a big inner city, It becomes a part of you...you become part of it

NADIA

It was hard for the kids to ever believe that you actually grew up here, a tough place... ...When compared to home

JON shakes his head and raises his hands

JON

We had Richard Speck kill those nurses from the hospital from where I was born Down the street from my house we had a bombing during school lunch hour ...At Goldblatt's ...We had gangs killing each other

NADIA

How could you stand such a place?

JON leans back in his seat

JON

That was the life that was dealt You lived with it...Tried to live through it.

NADIA strokes SABRINA'S hair and looks at JON'S reflection in the window as the train moves.

NADIA

Remember you always told the kids that you probably wouldn't be around at fifty because of your family's health problems

JON nods his head as its image reflects off the window

NADIA

The kids hated for you to say that, especially MALIA, it seemed like she was so afraid of losing you

JON sits up and lets out a faint smile

JON

At the same time I don't think she wanted to be mentally ill like you and your mom.

NADIA

It seemed like she wanted a family ...But one she could choose.

JON

We went through so much ...hoping... waiting ...watching her get back on track

NADIA

Remember the first time you saw MALIA? It was her first time to Chicago at two weeks old.

JON

After my first year of law school.

JON smiles and lowers his head, then he looks out the window

12 INT - LIVING ROOM - DAY 12

August of 1979, JON (24) rushes home early from his construction job to see his daughter for the first time. He enters the living room

JON

Guys, I 'm home, where is everyone?

The family comes out from one of the bedrooms and enter the living room. GRANDPA (47) is sitting there. JON puts a white castle bag down.

NADIA

Here's your daddy, MALIA

NADIA (26) holds out MALIA for JON to pick up and hold for the first time. He lifts her gently, turning her around and just stares proudly.

JON

Oh, she looks o.k.

NADIA looks confused at JON and puts her hands on her hips

NADIA

What do you mean O.k.?

JON turns MALIA around, looks for defects

JON

I just thought that she would look different, more beautiful right off the bat.

NADIA stands with her mouth open

NADIA

How can you say such a thing about your own daughter?

JON

I just thought coming from me she would be beautiful right away, then I remembered that YOU'RE a part of this too.

NADIA stamps her feet on the ground

NADIA

You nerd!

LINDA (26) gets up from the couch and stands next to NADIA

LINDA

More like a jerk, with what you had to go through... labor, flying across country on the airline that crashed in Chicago two weeks ago.

JON points to the bag of white castle burgers

JON

I got you white castles in case your hungry.

NADIA goes to the bag and takes a whiff and backs away

NADIA

It will take more than white castles to make me happy... besides who says they're the best.

JON looks at NADIA as if she has asked a weird question

JON

You must have been deprived growing up

NADIA

Excuse me, I'm from Tucson

LINDA

I guess you were deprived

GRANDFATHER (47) still sitting reaches his arms out for MALIA.

GRANDFATHER

Let me hold my granddaughter... What is her name?

JON hands over MALIA. JON moves to NADIA and hugs her

LINDA

They named her MALIA

GRANDFATHER holds MALIA using his finger to tease her. MALIA smiles in his arms as her GRANDFATHER talks directly to her.

GRANDFATHER

MALEEKA...don't worry about your grandmother, she will come around once she sees you.

LINDA

DAD, it's MALIA! ...She looks so small next to you

GRANDFATHER looks to LINDA

GRANDFATHER

Get JON the credit card so he can get what the baby needs while she's here. Hey, what's that smell?

The group starts to whisper and giggle, breaking into laughter

JON

Thanks dad, now you get to change her

The group points to MALIA'S obvious mess

GRANDFATHER

Aw crap help! It's getting on me

The laughter continues as GRANDFATHER holds the baby outwards hoping someone grabs MALIA. He makes faces and coughs as the smell and mess increases.

13 INT - TRAIN - DAY 13

JON'S (45) smile is reflected in the window, light rain beats on the glass. He reaches over to SABRINA and whispers

JON

I love you, baby

SABRINA smiles at him. She reaches out for JON so she can hug him

SABRINA

I love you to papa

14 INT - APARTMENT - NIGHT 14

NADIA (26) is brushing MALIA'S (11months) hair

NADIA

She is tired. She played all day. Plus she gets up early in the morning when you see her on your way to school.

JON (24) shifts in his seat, and lowers his voice.

JON

It 's difficult ...to be without her

NADIA

Hopefully someday she will realize all the hard work and study you do for her, for the family

JON puts his law book down and stretches his arms

NADIA

She seems to know when you're about to come visit after school...she looks at the door.

JON puts his hand on his chin and looks at MALIA

JON

She needs to know that her daddy is around for her

NADIA puts both hands up in the air and laughs

NADIA

She knows...she cries every time you leave. She gets ALL excited when she sees you again.

NADIA continues to brush MALIA'S hair and shakes her head

NADIA

She really loves you. It's like she knows her picture on the wall called "daddy's little girl" It gives her a license to do whatever she wants

JON

She is daddy's little girl.

NADIA puts down MALIA who smiles at JON.

MALIA crawls under the chair where JON sits and lies into a bundle

NADIA

There she goes again...under your chair

JON

Is she sleeping?

MALIA has eyes closed and is on the verge of sleep

NADIA

Now she will fall asleep

JON wipes a corner of his eye trying to hide a teardrop

EXT - TRAIN CROSSING - DAY 15

The train slowly passes a train crossing. JON (45) sees a pickup truck with people moving their personals. He looks at NADIA (47)

JON

Remember the time we talked of moving together?

NADIA

I was getting kicked out after having MALIA

They watch as the pickup moves out of sight

16 INT - APARTMENT - DAY 16

NADIA'S apartment is a small two-bedroom unit. JON (24) and NADIA (26) sit at the kitchen table while the kids are asleep. The radio is on volume low Playing "magnet and steel"

NADIA

Section 8 says that if you move in me and the three kids have to leave this apartment or I have to pay a lot more to stay.

JON

Don't they know I'm in school full time?

NADIA

They know you only have the GI Bill.

NADIA walks over to the stove for a cup of coffee

JON

We are getting married in a couple of months. We will find a place to call home.

NADIA

They know my ex doesn't pay child support for FRANK and MARIA. We have no money!

JON reaches for the newspaper and then puts it down

JON

With your job and my GI Bill money we...

NADIA turns to JON and stops him with her hand movement.

NADIA

Why doesn't your mother just let us rent the spare bedroom that she has?

JON

She probably knows about your snoring

JON does a mock snore. NADIA laughs and puts her cup down

NADIA

We would be only until we got on our feet

JON

She leaves it empty for my sister's kids when they live here with her.

JON gets up and goes to the fridge to get a soda

NADIA

She knows we don't have anywhere to go yet?

NADIA starts pacing the floor and grabbing things to organize

JON

She knows we have little time, less money

NADIA

One of these kids is her own granddaughter

JON moves back to the table and sits down

JON

She knows we have a 4 and 6 year old plus A baby

NADIA stops pacing and looks excitedly towards JON

NADIA

MALIA is her own flesh and blood What 's the real reason?

JON moves to NADIA and takes her hands, he looks close into her eyes

JON

It probably has to do with you... I don't think she can deal with step kids. So she blows the chance of knowing her own grandchild

NADIA has a few tears running down her cheek.

NADIA

Doesn't it bother you that she treats you SO different from your sister and brother? Your sister lived there with her husband and kids Your sister's kids lived there without her Your brother lived there with his wife She baby-sits for your brother but not us

JON wipes the tears away off NADIA with his fingers

JON

We can only change that of which we are in control of. I feel sad that she may not be there to share in our kids accomplishments.

NADIA wipes the tears from her eyes, gives a faint smile.

JON

The focus must be on what we can do with what we have. You can't wait for help from others when you need it because it might never come.

NADIA

Your right, we have to depend on us We can't worry what others do around us We need to do what's best for MALIA

JON

Something good will come out of this

NADIA

Yeah, we can take her off our Christmas list.

17 EXT - APARTMENT BACKSIDE - DAY 17 The train moves slowly and NADIA (47) watches as we pass multi-story apartments with kids playing on the porches and stairs. She sees a party.

NADIA

Look SABRINA, those kids are having a party

SABRINA rushes to the window and looks out, her face reflected off the window. The kids play with their balloons ignoring the nearby train. A blue balloon is being blown up as its size increases.

18 INT - APARTMENT -DAY 18 A blue balloon burst screams and laughter result. FRANK (6) and MARIA (4) are blowing the last of the balloons

JON (25) and NADIA (27) are setting the table

JON

I can't believe that my beautiful girl is already one years old

MARIA

Oh thank you for calling me beautiful

FRANK

Shut up, it's not your birthday and you are not beautiful

MARIA

Dad, did you hear that?

JON

Well, it's NOT your birthday

MARIA flips her hair back while NADIA is counting balloons

MARIA

Mom! Daddy called me ugly

NADIA counting balloons doesn't look up or stop

NADIA

Twenty...Oh, that is nice...twenty one... We are so crowded in here

JON

When we leave -we leave knowing this place was our first marital house and the place of

MALIAS' first birthday.

MALIA is taken to the changing table to be changed,

JON

Put on that green Chinese outfit that we brought in Chicago Chinatown last year

NADIA

I hope she fits in it

NADIA struggles with the outfit fitting.

NADIA

I hope she doesn't destroy it

JON

She better not...I'm going to save it and put it on her first child on her first birthday.

NADIA finishes dressing MALIA and stands her up.

JON moves closer and kisses MALIA on the cheek

NADIA looks puzzled at JON

NADIA

What if she has a boy?

JON

I guess it would be the WONG thing to wear

NADIA laughs, JON moves closer to MALIA.

JON

Just enjoy today, MALIA will be with us forever, save the memories for another time.

19 INT -TRAIN - DAY 19

The train exits a tunnel. People are adjusting their eyes from the partial darkness of the tunnel. SABRINA picks her head up from NADIA'S

(47) shoulder. One young boy (7) begins reading to his little sister (2).

JON

Remember the trouble MALIA had when she tried to read or talk.

NADIA

Had to redo kindergarten because of that.

JON picks up a discarded newspaper then puts it down

JON

They called it a hearing deficiency

NADIA nods her head in the direction of the kids reading

NADIA

She heard words different than the actual way they were pronounced

NADIA excitedly leans forward

NADIA

That caused her to pronounce words the way that she heard them.

JON nods his head and leans to NADIA

JON

She repeated words she was hearing wrong. Then she tried to repeat it but it came out different and she didn't know it.

NADIA

We hoped retaining her would help her socially so she wouldn't have to worry about being made fun of by kids her age.

JON wipes his hand across his forehead and down his face

JON

Had to do what was best for her then Hoped it would be best for her in the long run.

NADIA

We ran it through speech specialist and teachers

20 EXT - TRAIN STOP- DAY 20

The train stops near the Chicago Science of Industry Museum. A group of school aged kids(5-8 years old) are about to enter the train. They stand in a straight line with their teachers.

21 INT -TRAIN -DAY 21

As the kids enter they sit all around JON, NADIA, and SABRINA. The kids are excited of their visit to the Museum. JON sees a small child about six years old. She looks like MALIA did at that age. He stares at her.

JON

That girl reminds me of the time me and MALIA danced under the London Bridge

NADIA

How peaceful it was once we moved to Lake Havasu City... the water

JON moves back in his seat and looks up to the ceiling, closes his eyes

JON

Six...such a innocent age

NADIA

You and her danced under the London Bridge during London Bridge days

NADIA looks at the girl and then leans forward to JON

NADIA

When she and you danced she was all smiles She was so proud to dance with her daddy.

JON pauses and looks down then looks at NADIA

JON

...That was our last dance...EVER.

JON looks away, reaches out and holds SABRINA, his eyes begin to moist looking at her in silence, looking out the window.

22 EXT - LONDON BRIDGE - NIGHT 22

(Music-low volume - "you're a big girl now")

JON (30) moves to where MALIA (6) is watching the ducks in the water. He pulls her away and towards the dance floor.

JON

Come on MALIA, we have to dance under the London Bridge, ..it's tradition

MALIA looking up at her dad and her body half bent lightly trying to pull away from his hold.

MALIA

But dad...there is a bunch of people Looking ... watching us

JON

Most of them are looking at the London Bridge It is so beautiful at night with all the lights.

MALIA

They will see us dancing too

JON

Let them see the most beautiful girl that I know

MALIA get closer to her dad and hugs him as they reach the dance floor.

JON

Let the expert show you how.

JON playfully makes mistakes and missteps

JON

Told you I was a good dancer

MALIA covers her face with her hands, laughing

MALIA

Dance right daddy...you're embarrassing me!

JON grabs MALIA and dances holding her hands

JON

Don't' worry ...your toes are safe

MALIA

MARIA said if I danced with you that you would step on my toes

JON looks down at MALIA

JON

I'm never going to hurt daddy's girl

MALIA looks up and flashes a smile

MALIA

I like dancing with you

JON

See dancing with your daddy can be fun

MALIA looks to JON and with an inquisitive face

MALIA

Dad, are you going to dance with me when I get bigger?

JON

I will dance with you ANYTIME that you want....it would be my honor

MALIA

What about when I get married?

JON stops and puts his hands on his hips

JON

I didn't even know that you had a boyfriend

MALIA starts laughing

MALIA

Not now, daddy!, when I get married when I am big, an adult.

JON bends down and looks into MALIA'S eyes

JON

Of course, ...I will be the proudest dad in the whole wide world to dance with you at your wedding...you will look so beautiful ...even more so than tonight

MALIA smiles wide as JON straightens up and they begin to dance to the music.

MALIA

Dad?

JON

What honey?

MALIA

I love you daddy

MALIA hugs her daddy tight

JON closes his eyes, a tear sneaks out (close up)

23 EXT - VIETNAM MEMORIAL WALL - DAY 23 Tears on JON'S (30) face as he holds MALIA'S (6) hand at the Vietnam memorial wall. People are leaving flowers, tracing names.

MALIA

Why is it so quiet ...no one is talking?

JON

This is the Vietnam memorial wall. It is for all the military men and woman who died while serving in Vietnam.

MALIA

Why are people crying?

JON kneels down and whispers to MALIA

JON

The names on the wall could be their father, Sister, brother, ...their sons, husbands.... A lot of boyfriends...a friend they grew up with or served in the military with.

MALIA

This is so sad...brothers, sisters, ...daddies

JON just nods his head. A woman walks, crying and holding an old teddy bear

MALIA

Did you see her with that little teddy bear?

JON looks into MALIA'S eyes

JON

Maybe her daddy gave her to her when she was just a baby. A lot of these people died so young, Some of these kids were only 18 or 19 and some had babies that they never saw.

MALIA

They didn't get to see their daddy?

JON nods and MALIA sees a tear on JON

MALIA

Why do you have a tear?

JON shifts his position and looks into the face of MALIA

JON

The feeling here is of sadness...yet one of being proud. Proud of these people and for me proud to have served in the military... letting these people know that they did not serve their country for nothing

MALIA moves closer to JON ands puts her arms around him.

JON

We have no say on how long we live All these names are memories to someone

MALIA brushes JON'S face with her small hand, wipes his eye

MALIA

Daddy, I don't want to die so young

24 INT - TRAIN - DAY 24

JON'S upward glance towards the sky into looking over to NADIA

JON

As a parent one thinks of the good times. When the kids are small and depending on you as mom or dad

NADIA

Then they get older...

JON

All those yeas watching the girls play softball, Remember I used to say I wonder which ones would be trouble?

NADIA

The group of girls went to school, hung out and played softball

JON

Well we found out!

25 INT - CAR -NIGHT July 1993 25

JON (38) is driving the car with NADIA (40) and the twins ((12)

JON

I wonder if the girls got the house clean

NADIA

We were only in Vegas over the weekend What could have gone wrong?

JON rolls his eyes and looks at NADIA

JON

The girls asked us to trust them. MARIA is eighteen and MALIA (13) is home with her.

NADIA

What about the letters?

JON

That was not good

NADIA

Damn right they were not good

JON looks disgusted at the thought

JON

I can't believe that MARIA would let some jerk in jail or prison write to her

NADIA

She also let them write to MALIA Plus she isn't doing very well in school

JON raises his voice slightly so not to wake MILO and MIKE

JON

That's the point she lies... Then she lies more when confronted with obvious evidence. Then she ask us to trust her

NADIA

It's hard to say no because you want to believe in them and want them to believe in us. We let MALIA go with her to see her boyfriend We find out that MARIA'S allowing MALIA to see these older guys

JON

Don't forget the phone calls, some long distance collect from the prison They look at each other as JON steps on the gas

NADIA

Not too much longer before home

26 INT - HOUSE - NIGHT 26

JON (38) opens the front door as he and the family enters. The house is silent

JON

Girls we are home

NADIA (40) looks into a room next to the foyer and is alarmed

NADIA

MIKE'S new bike is missing

JON

Where's the bike?

MARIA (18) approaches the foyer and looks scared and unconvincing

MARIA

I left it out by accident when cleaning and I guess someone came by and took it

JON takes a quick look outside on the patio

JON

We have stuff out all the time and nothing has ever been taken

MARIA folds her arms over her chest and sighs

MARIA

We were home the whole time

JON starts walking around the house noticing beer bottle caps, bottles, while NADIA heads towards the master bedroom

JON

This sounds like crap to me

NADIA screams

NADIA

The bedroom doorframe is broken into

JON leaves the bottle caps and hurries to the bedroom

27 INT - BEDROOM - NIGHT 27

JON sits on the bed, looks at the girls as they slowly enter the room

JON

Who broke into the bedroom?

MARIA

I have no idea how THIS happened

NADIA is looking through her dresser drawers

NADIA

My jewelry and property is missing

JON moves to and looks into his drawers

MARIA

What? We were home all weekend except for one hour at George's

JON turns and stares at the girls

JON

Alright how does this sound - we have almost two hundred dollars cash in my drawer that was not even touched! Only your mothers' stuff is gone

MARIA is pacing back and forth

MARIA

It wasn't us

JON approaches and gets into MARIA'S face

JON

This is not someone looking for JUST anything to steal and simply leaves the cash

MALIA has her hands on her hips

MALIA

Maybe they didn't see it

JON slowly turns to MALIA

JON

Of course it wasn't you either... ...But you sure know who did this

NADIA

I can't believe that you would ALLOW someone to steal from your own blood

NADIA puts her hands to her face. JON turns and leaves the room.

28 EXT - BACKYARD - NIGHT 28

JON and MILO go into the backyard. JON looks around and sees empty cases of beer and bottle caps throughout the yard leading to the alley gate.

JON

I can't believe that they are this stupid to think we would not see all of these beer cans and caps.

MILO

It looks like there was a lot of people

JON

They must have waited until the last minute since stuff is all over the place

MILO

This is why they didn't want to go to Vegas

JON stops at the alley gate, and looks into his son's face.

JON

It happens all the time, parents leave and kids think no one will find out. They ask to be trusted and this happens

JON puts his arm around the neck of MILO and heads back inside

29 INT - LIVING ROOM - NIGHT 29

JON confronts his daughters waiting in the living room

MALIA

No one was here

JON

Right, we find lots of beer bottles, cans and caps IN the house, IN the yard, and IN the dumpster, ...and you STILL deny everything

MARIA

We didn't have a party

JON raises his voice and stand over the girls

JON

THAT'S BULL! You had a beer party. You know who stole our stuff, left my two hundred dollars in plain view, no thief is going to leave money unless YOU convinced them not to take it.

NADIA

...What did I do to you that you let them break into my room and let them steal from me, ...your mother! I called the police, they agreed this is an inside job

JON

Dud! We don't need Colombo to solve this No forced entries other than the bedroom. A dumpster full of empty beer containers and two girls lying their ass off

MARIA stands up and puts her hands on her hip

MARIA

Well if you don't believe us then I'm leaving!

JON gets into MARIA'S face within inches

JON

LOOK, we are NOT retards to believe your story. I don't and the police don't You violated our trust by one- having a party. Two, by letting them break into our room, Three, letting them steal our stuff and four, Lying about it and not caring that you let them steal from your own parents

NADIA stands up and looks at the girls

NADIA

Your dad reads police reports all the time and hears excuses worse than yours ...Yet, you stand there and lie to our faces

MARIA is red and starts to tear

MARIA

But I am telling the truth!

JON rolls his eyes in disbelief, in pain he looks at the girls and puts his head down on his chest.

JON

You lied! You violated my trust Then you were either too lazy or too drunk to clean up the house before we got back.

MARIA

I didn't do anything wrong. If you don't believe me then I'm leaving

MARIA leaves the room

MALIA

You have no reason not to believe us I'm leaving too MALIA exits the room and then the girls separately leave the house.

30 INT - TRAIN - DAY 30

JON looking out the window

(Music - runway train) NARRATIVE: This was the beginning of many runaways by the girls, especially MALIA. She had found a network of friends, resources and even relatives who provided, allowed and let her stay away from home for up to weeks at a time. At one point she was a runaway for almost three months.

JON looks at NADIA who looks at him

JON

I still think of the times that I had the police go with me to MALIA'S friends home with information that she was there.

NADIA

I still can't believe that you would get in the car at night, different hours, and try to find her after talking to her friends by phone

JON

I knew I probably wouldn't find her... .... But I had to look

JON puts his head down while NADIA looks sad

NADIA

It's worse when the people put up runaways and don't bother to find out the truth

31 EXT - APARTMENT - NIGHT 31

JON (38) and an officer are at the rear patio door knocking and waiting for someone to answer. It is apparent that there are people inside by the noise.

JON

I've been here the other day and the mother says MALIA has not been here. I don't believe her The officer pounds on the door loudly with his flashlight

OFFICER

We will see soon enough

FEMALE VOICE

Who is it?

OFFICER

Police please open the door The door is slowly opened and a teenager sticks her head out

NANCY

Yes is anything wrong officer?

OFFICER

We have reason to believe that MALIA is here Can you go get her for us? This is her father

NANCY looks back into the house keeping the door slightly ajar She is also making gestures to someone in the house

NANCY

Shouldn't be too long. I don't know if she is here A noise is heard from the front of the house, a window opening

JON runs around the corner apartment to the front to see MALIA having jumped through the window and disappear into the dark.

JON

MALIA, come back The officer gets to the front next to JON

OFFICER

Was it her?

JON

Yeah, she jumped through the window while they stalled us

(Music - runaway train)

32 JON drives his car in areas known for drugs/ prostitution at night 32

33 JON looks through notebooks, drawers looking for names 33

34 JON looking through the phonebook for names/addresses 34

35 JON talking on the phone, taking notes 35

36 JON knocking on doors and talking to parents and friends 36

37 JON parks and thinks, staring straight ahead, a tear 37

(Music ends)

38 INT - TRAIN - DAY 38

NADIA moves up in his seat and leans to JON

NADIA

What happened to the family hiding her

JON leans back and is angry

JON

Not a damn thing! I tried to have her arrested for harboring a runaway...nothing

NADIA

No wonder these kids can run away They lie to their friends' parents or the their own parents don't care When you ask for help the police do nothing

39 INT - LIVING ROOM - DAY 39

NADIA (44) enters the living room reading the mail

JON (42) is reading the newspaper at the table

NADIA

We got a postcard today from MALIA

JON puts down his newspaper and gets up from the table to look.

JON

How long has she been runaway?

NADIA

Almost three months now, It says she is coming home soon

JON

How many runaways has this been?

NADIA

This is the longest one.... It is her sixth time of taking off She just says she doesn't want to be here.

JON

Well, she's been gone all summer. She has to be lying to people about us, claiming this and that

NADIA

Those people are stupid to believe such a kid You are out there looking for her at all hours We contact the police for help to try to get her back

JON

Sure there are real cases of some type of abuse But not everyone is abused. Some kids just don't like the rules, too hard, Want to be with the boyfriend the parent hates Parents too strict...just think of a reason

NADIA

I don't know which is worse her being runaway or having her back with her attitude

40 INT - BEDROOM - NIGHT 40

(Music - "crazy -like anyone" - Brother)

NADIA enters MALIA'S bedroom as she is on the phone

NADIA

I need you to get all your dirty clothes

MALIA holds her hand out as if for silence

NADIA

Clothes now!

MALIA

I will do it WHEN I can

NADIA

I need it now for washing

MALIA

LEAVE me alone, I will do it myself

NADIA approaches her with her hands on her hip

NADIA

I have a load going I need it now Just tell me where it is and I can get it

MALIA jumps out of bed and gets within inches of NADIA'S face

MALIA

GET AWAY...you're bothering me.

NADIA turns and walks away with no laundry, tears down her face

MALIA gets back on the phone

41 EXT - BACKYARD - DAY 41

(Music continues-"crazy")

NADIA is hanging clothes. MALIA is raking slowly. NADIA motions for help from MALIA but MALIA ignores her waving her off. NADIA hurriedly approaches MALIA to confront her. MALIA turns and starts yelling and hollering (no audio) NADIA turns and slowly walks away shaking her head

42 INT - LIVING ROOM -NIGHT 42

(Music continues - "crazy")

MALIA is lying on the sofa on the telephone when NADIA enters the room. NADIA motions for her to hang up. MALIA makes a face and simply turns around on the sofa. NADIA walks to the phone line and simulates yanking the line. MALIA jumps up from the sofa to see what is going on. NADIA stands there waiting for MALIA who slams the phone down and throws the phone near NADIA.

43 INT - MILO'S BEDROOM - NIGHT 43

JON (39) is disciplining MILO and MIKE when MALIA (14) walks in

JON

I told you guys to get your work done

MALIA

You don't have to listen its o.k.

JON turns to MALIA with narrow eyes

JON

You have no business here -GET OUT

MALIA back up against a wall

MALIA

I have to protect my brothers If you hit them I will call the police

JON

You need to keep out of this Just because you don't want to be here Don't give the boys an attitude

MALIA 's face is determined and intense

MALIA

Don't worry he can't do nothing

JON

I TOLD YOU TO SHUT UP

MALIA

I DON'T HAVE TO

JON moves to MALIA, he slaps her and picks her up by the shoulders and up against the wall

JON

I'M NOT YOUR MOTHER... .... YOU DON'T TALK SHIT TO ME

MIKE

Leave her alone

JON puts down MALIA and approaches MIKE (12)

JON

You got a problem with me Don't YOU start talking back to me

JON turns to MALIA

JON

I give you leeway because you have issues you need to work out... ...don't abuse it with me

44 EXT - TRAIN - DAY 44 The train continues as we pan in to see NADIA looking out the window with a tear swelling up. JON'S sullen reflection is seen on the window

JON

I know that she physically challenged you, even pushed you and sometimes hit you. I couldn't have her violence or disrespect towards you in my house... ...no matter how much I love her

NADIA

I know it was hard for you....to be in the middle

45 INT - KITCHEN -DAY 45

NADIA (40) is washing dishes and MALIA (14) is standing near the table

NADIA

Can you please pick up the table?

MALIA is walking into the kitchen

MALIA

NO, I DON'T have to

NADIA looks at MALIA and turns her head sideways as if confused

NADIA then narrows her eyes and shakes her head up and down

NADIA

Oh yes, you do need to do it

MALIA waves her hand in the air as if to wave her off

MALIA

No way, NO can do

NADIA approaches MALIA and comes to within inches of MALIA who in turn pushes NADIA backwards into the counter

NADIA

Watch who you are pushing

MALIA

I can do what I want

MALIA pushes and then punches NADIA on the side of her head. NADIA yells out in pain, sliding against the wall to the floor. JON (38) hears the commotion and runs into the kitchen. He sees NADIA holding her head sitting on the ground

JON

You DON'T hit your mother

JON goes to NADIA

MALIA stands with hands on her hips slowing moving out of the kitchen

MALIA

Well, she got into my face

JON bends over to see if there are any injuries, then looks to MALIA.

JON

You get your ass over here

MALIA runs to the counter and pulls out a knife and backs up

MALIA

NO LEAVE ME ALONE!

46 INTERIOR - HALLWAY - DAY 46

JON stands up and approaches MALIA

JON

Drop the knife before you hurt someone

MALIA

I DON'T CARE - STAY AWAY

MALIA is backing down the hallway reaching the end. MILO (12) opens his bedroom door and exits into the hallway. MALIA is swinging the knife side to side and back and forth. NADIA is now standing behind JON

JON

WATCH OUT - MILO is behind you Damn it you almost stabbed him

MALIA

I don't want to be here, let me leave Or I will runaway from here

JON

I can't do that. You are not old enough. You have to learn how to deal with your situations and not run from them.

JON jumps at MALIA and wrestles the knife from her.

MALIA

DON'T, LEAVE ME ALONE

JON

DON'T YELL AT ME

MALIA

I DON'T WANT TO BE HERE

JON turns to NADIA and nods his head

JON

Call the police ...we can't have this.

47 INT- KITCHEN -DAY 47 The officer sits at the kitchen table with everyone. NADIA (40) is pacing back and forth. MALIA (14) leans against a wall

OFFICER

Can you tell me what happened?

JON

What we have is my daughter grabbing a knife and recklessly swinging it around after she punched her mother on the head

MALIA

I told her to leave me alone

NADIA looks up at MALIA.

NADIA

There is no reason to hit your mother

MALIA unfolds her arms and waves it off

OFFICER

Was anyone injured?

JON

She is on mental health medications so I don't know how the blow affected her

MALIA circles her finger around her ear

OFFICER

Young lady you need to behave NOW ...If you don't I'll have to remove you

MALIA

I don't care I don't want to be here

NADIA sits down at the table

NADIA

She says that but doesn't say why

JON

She does not want to be here at home. We don't know why... .... But we try to work it out

MALIA

I don't have to tell you anything The officer looks at MALIA sternly

OFFICER

If you don't settle down I will have to take you to jail

MALIA is confrontational and doesn't back down

MALIA

I said I don't care... take me, I don't want to be here so anything is better

OFFICER

You won't be able to get out

MALIA

What part did you have trouble understanding. I said that's better than being here. The officer turns to JON

OFFICER

Why is she so angry? Is she on drugs?

JON

I don't think so but she runs away and I don't know what she is doing then

OFFICER

You guys are more patient than me I would have choked her by now

JON

Yeah, she knows how to manipulate She knows the difference between discipline and child abuse

MALIA lets out a smile as she listens leaning against a wall

NADIA

There is nothing to smile about

NADIA flips over the napkin holder on the table

JON

There comes a point where I don't care if I have to be arrested for knocking the crap out of her ... I can't sit back and let the kids destroy their life, end up in prison, drugs, they need to know the rules and the consequences now

OFFICER

Sometimes you have to do what is best for the child even if they don't know it , ...Don't see it right away

JON

There's too fine a line of what is discipline and what is abuse and who decides which is which...that's why our schools are screwed OFFICER starts gathering his materials and report

OFFICER

Do you want me to transport her to county mental health downtown?

JON looks at MALIA with sad eyes, almost tears

JON

Well, she can't stay home and disrespect her mother or me, let alone beat on her mother , who is emotionally disabled.

MALIA has a puzzled look on her face

MALIA

How am I disrespecting you?

JON looks directly at MALIA

JON

By disrespecting your mother you disrespect me because she is here with my blessings. ... You don't decide who lives in my house

MALIA listens and then puts her head down

OFFICER

Do you want me to take her to county?

JON

NO, we have insurance, take her to our covered facility

MALIA springs to life and stands erect and defiant

MALIA

I don't care, take me. I don't want to be here EVER. If you bring me back I will just take off again OFFICER gets up and turns MALIA around. He places her in handcuffs.

JON stands and watches sadly as the officer walks her out of the house

48 INT - DINING ROOM - AFTERNOON 48

JON (38) starts to unbutton his shirt and loosen his tie as he enters

JON

NADIA I am home Have you heard anything about MALIA?

NADIA (40) cooking in the kitchen looks up at JON

NADIA

They say she is being transferred to a different facility in a few weeks

JON walks to the kitchen

JON

We'll just continue our visits every weekend

NADIA

Most of the time she refuses to see us The other times she just sits there

JON stands next to NADIA and looks at her

JON

We can't give up on her... ...We just need to be there in case someday, sometime she wants to open up

JON opens the refrigerator to look inside

NADIA

It's difficult when the staff doesn't even require interaction To see her we have to wait for a meeting arranged by the doctors and staff

JON reaches for a soda and shuts the door

JON

And then she just sits there and says "whatever" when confronted

NADIA

You miss work every week to be there for her meetings plus she won't even acknowledge us when we visit at night and weekends

JON leans against the kitchen counter as NADIA sits

JON

I used to think that maybe it was you that all of this is about ... That she doesn't want to be mental like you and your mother....

JON puts his head down and places his hand on his chin

NADIA

I know you have not done anything bad to her I thought she loved you more than anything!

JON pounds his hand into his other hand

JON

But she doesn't seem to want anything to do with me either.

NADIA

You do and done so much with her I can't believe that she doesn't open up to you.

JON with a sincere look, pauses

JON

I've gone all these years with your mental health illness, ...waiting. We can wait for her too. Maybe someday she will understand, maybe even appreciate the sacrifices made for her

49 EXT - MENTAL FACILITY - MORNING 49 As JON and NADIA exit the administration building they enter into an area with a courtyard of grass, a swimming pool and a basketball court

JON

So this is the Wendy Center, it looks like a small high school campus

JON and NADIA slowly span the vast grounds

NADIA

Those must be the classes for school They start to walk and look for MALIA'S building number

NADIA

I don't see her anywhere

JON

Let's just follow the path to her building They pass the pool and find the building number

NADIA

Are you ready to go in?

JON

Are you prepared that she might not see us

NADIA starts to tear and wipes her eyes

NADIA

But I miss her and we did nothing wrong ...The staff doesn't make her talk

NADIA ring the doorbell and after a few moments a staff member turns on the intercom

JON

We are here to see MALIA

STAFF

She had indicated she doe not wish to see her parents at this time.

NADIA has a grief stricken look

NADIA

Can we just visit and just LOOK at her, be with her

STAFF

No can do, sorry please see up front for your next meeting

NADIA begins to cry. She shakes her head lightly. JON comforts her

JON

Give her time and see what happens

50 INT - STAFF MEETING - MORNING 50

JON and NADIA sit in a room with a psychologist, and social worker

SOCIAL WORKER

MALIA is on her way now The door opens and MALIA walks slowly in, sitting on a chair away from JON.

DOCTOR

Would you like to start MALIA

MALIA

I don't want to be here

MALIA turns her chair away from the group

DOCTOR

Tells us what it is that is bothering you

MALIA looks to the DOCTOR

MALIA

NOTHING...I'm fine

SOCIAL WORKER

How can we help you?

MALIA turns back towards the group

MALIA

Don't come to visit

JON

We just want to know what is wrong. Why you don't want to be home

MALIA

BECAUSE

DOCTOR

Because, would you care to elaborate

MALIA

Just because... oh you need to approve my visitation and phone lists

JON

We will do that once you start to cooperate

SOCIAL WORKER

You should cooperate or you can face time out

MALIA looks at the social worker in disgust

MALIA

WHATEVER!

MALIA stands up and pushes her chair away violently

DOCTOR

This might be a good time to let us talk

51 INT - TIME OUT ROOM - DAY 51

(Music- "touch"-naked on the floor)

MALIA is escorted to the time out room. She is disrobed and is given a blanket to cover her body. She is left alone in the time out room

STAFF

You must stay here until its time

MALIA

I don't care, GET OUT of here

MALIA lays wrapped in the blanket on the floor in the middle of the room, a bed a few feet away. Span around the room slowly.

MALIA

Tell them I don't want to go home I don't want them to come back The escort closes the observation latch and steps are heard leaving.

MALIA mumbles to herself and whispers

MALIA

I don't want to be home... I don't want to be home...

52 EXT - MALL PARKING LOT - DAY 52

(Same music continues)

NADIA and MALIA are walking from the car to the facility

NADIA

I hope you enjoyed our time together away from this place

MALIA

It sucked

NADIA stops and is stunned

NADIA

How can you say that? Didn't we buy you new pants...and a blouse?

MALIA

I never said I wanted to go

NADIA catches up to MALIA. She tries to hug her MALIA turns her body so as to avoid a hug

NADIA

Why do you say such things? .... Why can't I hug you?

MALIA

Don't have a cow over it They walk silently to the building for check-in. NADIA walks behind MALIA

53 INT - GROUP HOME - NIGHT 53

(Same music)

MALIA is hiding clothes and belongings out near the bushes next to the group home through her window. She enters the general area

STAFF

MALIA where have you been? you know you must be out here during these hours

MALIA puts her hands on her stomach

MALIA

I wasn't feeling well so I laid down STAFF unimpressed walks up to MALIA

STAFF

You were told to report any illness .... I have to write you up

MALIA

You don't have to be such a bitch ... This place sucks STAFF attempts to grab MALIA but MALIA pushes her and runs out of the opened door. She picks up her belongings and off into the darkness

54 INT - TIMEOUT ROOM - DAY 54 The room is dark, MALIA is lying on the ground, eyes closed, a tear drops

(Music ends)

55 INT - TRAIN - DAY 55

JON

Did you see that sign for Hawaii?

NADIA looks out the window and reads the sign "Hawaii -your paradise"

NADIA

I don't want to hear about it. You were there twice without me

JON breaks into a hula type waving of the arms as SABRINA follows

JON

Official business, had a job offer to work and live in Hawaii, had to check it out.

NADIA

I thought you were leaving us

JON

I was pretty close to going, had permission to sit for the Hawaii state bar exam

NADIA looks across at JON

NADIA

So why didn't you go?

JON leans back and looks at SABRINA

JON

MALIA, ...I was concerned that if I left and if she didn't want to go with me, how would it affect her mental health. How would the rest of her life turn out. I didn't want to be the cause... I felt I needed to be there for her, ...Let her see me there for her

NADIA

You were there all the time for her, nights, weekends. Going to meetings, missing work. Looking for her when she ran away

JON

And if I were in Hawaii during those times what would have been the results? How would she have responded?

NADIA

Well we know what happened when you were here

JON

Plus, I was concerned about keeping all the kids together since I felt that was one thing that MALIA seemed to want - a family

NADIA shift in her seat

NADIA

How can you tell since she didn't talk. Didn't want to see us or spend time with us

JON

I just wasn't ready to abandon ship and give up on her. Even at the darkest times... ...I just felt that I had to be here just in case she needed me

NADIA

So you gave up life in paradise?

JON shrugs his shoulders and raises his hands upwards

JON

Who can say it would have been paradise.

JON picks SABRINA up and then looks at NADIA

JON

I can die tomorrow knowing or at least believing that I was there when MALIA needed me most

NADIA

She needed us when insurance ran out

56 INT - OFFICE - AFTERNOON 56

JON, MALIA, and NADIA sit at the facility office discussing MALIA placement since insurance coverage has been exhausted.

JON

I understand that the insurance coverage is almost exhausted . THERAPIST peeks within the file and closes it

THERAPIST

If so, I don' know if she is ready for home or should we send her to the county

JON

You're not sending her to the county I don't believe that would be healthy

THERAPIST

Are you willing to give her a shot at home? Or perhaps let her live with a relative?

MALIA stares blankly at the painting on the wall, JON sits up

JON

We have been trying for THREE years to have her come home. Now that insurance is exhausted you don't want her and she has no place to hide

THERAPIST

Either she will grow up emotionally and allow herself to adjust to home or she will end up in the county

JON

What do you really care at this point? This facility should have been thinking of getting her home all these years. When we were rejected almost every weekend and this place did nothing to intervene. Nothing to help her grow and adjust with us

NADIA sits up on her chair

NADIA

Now you just want to dump her. You let her hide as long as you got your insurance money...

NADIA leans back

NADIA

...You did nothing to get her to cooperate. To this day we don't know WHY she was that way

THERAPIST

That is confidential

JON

WHATEVER!

57 EXT - TRAIN STOP - DAY 57

Three black teenage kids, two males (16-19) and one black female (17) LYZETTE are waiting for the train as it approaches.

Music is heard from their stereo. Train stops, they enter the train, music loud,

LYZETTE

Is this music too loud for your child?

JON

Actually, it sounds good, old school They sit in the next set of seats to JON

1stMALE

Man, what do you know about old school? .... About Chicago?

JON turns slightly facing them

JON

Born and raised in South Chicago Was here for the 69 cubs When the bears had Gale Sayers and Dick Butkus.

2nd MALE

Those are the dudes my pops says were real players played real sports

JON

Your dad was right, in the day guys like Billy Williams had to fight just to make $100,000

1st MALE

Man, that's whack compared with what They be pulling nowadays.

JON and the guys talk sports while LYZETTE turns to NADIA

LYZETTE

How old is your daughter?

NADIA

She's our grandchild, SABRINA

LYZETTE'S face lights up

LYZETTE

I have a little girl too, named LaTasha Hi, my name is LYZETTE

NADIA

You must be very proud of her, it takes a lot to raise a child when your so young

LYZETTE sits upright and leans towards NADIA. She is excited and talks fast

LYZETTE

Tell me about it, I got a job thou Plus my man and me are still kicking it, He sticks with me instead of running off with the homies or his cuz, not smoking up

NADIA

Your very lucky, not a lot of girls can get the support that you have

LYZETTE sits up and waves her hands in the air

LYZETTE

GIRLFRIEND, I know what you mean My own mama went through it, some of my girls got kicked out of their homes, ...Got left behind by their supposed man,

NADIA wipes her eyes and holds SABRINA tighter

LYZETTE Worse, even if their man stays, some get busted up... ... Go on welfare. I want to do it on my own but I know I will need some help along the way

NADIA

We didn't know what to do when our daughter while in high school told us that she was pregnant.

LYZETTE

Most here just quit school, there's no daycare that's reasonable or able to trust - what did you all do?

NADIA takes a staunch disposition

NADIA

My husband tried to be tough, had her move out if she wasn't going to do the right thing.

NADIA looks down and back at LYZETTE who wipes her eyes

NADIA

We were hoping she realized that she could not raise a child without some help

LYZETTE

Did she ever come back into your home? How did that happen?

NADIA takes a deep breath and smiles at LYZETTE

NADIA

That's another train ride in itself But if you have the time....

LYZETTE

...I wish I could but I got to get off at this next stop. ...With all these diseases, illnesses, not wanting a child and not wearing a condom these guys are like boys without a clue what it takes to be a MAN The group gather their belongings, shake hands and head to the exit. The train stops and they exit waving bye

58 INT - TRAIN - DAY 58

The TRAIN CONDUCTOR walks into the car

CONDUCTOR

Folks I hope you have had a nice ride here on this I.C. railroad we do have a few more stops to the end of the line, please start gathering your personals The CONDUCTOR leaves out the other side of the car to the next one

NADIA

I can't believe that we are so close to South Chicago after all these years

JON

Too bad the kids aren't here, It's different on the train, peaceful

NADIA

Different too is we didn't have SABRINA, I told that girl about MALIA'S pregnancy

JON

I knew something was wrong when LARRY'S parents came to the house with them

59 INT - HOUSE - NIGHT 59

MALIA (17) brings LARRY (18) and his parents into the kitchen area where JON (41) and NADIA (43) are sitting

JON

Come on in, what's the occasion? Please sit down TOM (45) and his wife (44) sit down but there is an awkward silence

TOM

I'm afraid it's not a social call We seem to have a problem with the kids. They go to the same school for about a year now. They are both getting good grades...

NADIA covers her face with her hands and then puts them down

NADIA

...What kind of problem? TOM looks over at LARRY and motions him to respond

LARRY

MALIA is pregnant

JON leans forward over the table and looks at MALIA

JON

And what are we going to do with that?

MALIA

I'm going to keep it

JON looks at MALIA sternly, slowly shaking his head

JON

You have another year of school left... .... There are alternatives

TOM

Well, we don't need to make two wrongs

JON looks over at TOM in anger

JON

I'm sorry, the last time I heard alternatives were still very much legal

TOM

That wouldn't be right

JON

Well, you're not the one to decide that

NADIA

You have such a good future in front of you. Graduation ceremony...college

MALIA

I can still graduate, there are now programs that allow expected mothers to stay in school. We can graduate with the rest of our class.

JON looks over at MALIA, their eyes meet, he shakes his head. She sees the pain in his face, his voice.

JON

You have three months to decide. You can live here for three months. If you don't take care of it, then you will need to find alternative housing TOM backs out of his chair and stands

TOM

I guess this would be a good time to leave

MALIA stands at her chair and backs up slowly

MALIA

I'm going with them. I need some time to pack my clothes

JON stands and looks at MALIA with hurt in his eyes

JON

You don't have to leave now... ...You have three months to think it over. We need to discuss your mental and emotional...

MALIA

...I am NOT going to change my mind.

JON sits down and lowers his head as MALIA leaves the room

60 INT - TRAIN - DAY 60

Music - (Carey/Houston)

JON (45) sits with his head down and then stares out the window.

61 JON thinks of the many runaways and efforts to look for MALIA 61

62 He thinks of her many placements away from the family home. 62

63 He thinks of MALIA'S attempt at suicide. 63

64 He thinks of their times together when she returned to the home. 64

65 Practicing pitching 65

66 Walks and talks 66

67 Trip to San Antonio, the Riverwalk. 67

68 INT - HOUSE - DAY 68

JON (42) enters the kitchen and is about to sit down

NADIA

You got a birthday card from MALIA

JON quickly grabs it off the table and holds it against the light

JON

Any money in it ?

NADIA

I didn't open it. It's for you

JON shifts the card around and then pauses and looks at it

JON

At least she didn't forget my birthday

NADIA

She has only been away a couple of weeks... ...Besides she loves you

JON lowers the card and looks at NADIA, then sits down

JON

Have you talked to her since?

NADIA approaches the table and sits down

NADIA

Yeah, still says she is having the baby

JON stands and paces with the card in his hand

JON

Everyone knows they can't raise that baby

NADIA

There's no way without help

JON returns to the table and stands

JON

It's not that we don't want to help It's more that we shouldn't have to

NADIA listens while folding a napkin

JON

She's still in school. They have no real jobs. Cant' pay rent on love. Who is going to watch the baby when they're in school or work?

NADIA

She knows all of that ...open your card

JON sits down and looks at the envelope closely

NADIA

I don't think it will blow up

JON looks at NADIA dearly, as he opens the envelope

JON

We lost three years without her. I don't want to go the rest of my life without her. Why can't she think straight?

NADIA

Think about that later, it's your day now

JON sits back and begins to relax, he pulls out the card

JON

This is a pretty big sized card, I hope it didn't cost her too much... WAIT, something is in here...

JON turns the card so he can read it

NADIA

Well read it out loud

JON

I don't know if I can read her writing

NADIA approaches JON and reaches for the card

NADIA

I will read it for you if you want

JON moves away and stands then turns away

JON

It says: "I hope you receive this card in good health. I hope that you can forgive me for what has happened. I didn't mean to hurt you but I know that I have. I just wish I could do half of the things that you do. You know the answers. You know how to fix anything, how to solve problems, get people out of trouble. You know what to say and when to say it. I wish I could live up to your expectations. I am trying. I love you, I NEED you" - MALIA"

JON reads it over and over to himself. A tear appears as he sits and looks up at the ceiling, in pain, he clears his throat.

(He realizes that his MALIA has really watched and learned from him and that he has impacted her life to an extent he had not fully realized.)

NADIA

Are you O.K.?

JON slowly stands up and holds the card up keeping it

JON

When you get ahold of MALIA... let her know she can come back home immediately

NADIA smiles and stands up quickly

NADIA

I don't think she likes it over there

JON

We can squeeze her in...I want her home.

NADIA

What about the three month period?

JON

Well, she's stubborn. Sounds like she will discipline herself to achieve her goals. We can only work with her now and hope she is making the right decision by not adding too much stress.

NADIA

Are you sure this is what you want?

JON

I'm just concerned of her mental health. Whether she is capable of handling the baby. She will need our help. I will be there for her ...I'm NOT going to turn my back on her... ...Not when she says she NEEDS me.

69 INT - SCHOOL - DAY 69

MALIA while pregnant attends school in the special classroom with all classmates being in the same condition

MALIA

It's almost Christmas and just two more months

JOANNE

Your lucky I still have five months to go.

MALIA

This program has been great... ...I just about have all my credits now DEBRA approaches MALIA and rubs her stomach

DEBRA

Girl your so skinny to carry such a big baby Any names yet

MALIA

Yeah, I'm thinking if a girl... SABRINA

70 INT - DELIVERY ROOM - NIGHT 70

Inside this tiny room is most of two families. There are balloons, very festive. Photographs and videos are being taken. The nurse walks in again

NURSE

Sorry, it's about time, the measurements are about there and the doctor will be here soon

MARIA

Will they take her to a delivery room?

NURSE

We don't move them anymore this is it. She will deliver on this bed Now you all have to leave except the father Loud groans of unhappy people begin to gather their things. JON approaches the nurse

JON

Can I stay to video and photograph I'll stay out of the way

NURSE

You can stay everyone else out The crowd heads out the door slowly. The nurse tends to MALIA and then moves to a table. JON goes to MALIA'S side and hugs her with his eyes swelling

JON

I love you The nurse leaves the table and moves to open the door.

LARRY'S mother is trying to listen with her ear to the door when the nurse opens the door. She and others listening fall to the ground. Everyone laughs.

MALIA

What's happening, the noise

LARRY

It's my mom and the group trying to listen They got busted when the nurse opened the door

The nurse reenters the room followed by the doctor. He examines MALIA motioning for the nurse to prepare. He moves to wash his hands as the nurse prepares the table and equipment needed. JON get the video ready for shooting. The nurse gets between MALIA'S legs.

NURSE

Keep pushing, harder, more Doctor, she is ready The nurse and the doctor change places, he puts gloves on

DOCTOR

I can see the head...it's coming A little more ...push

MALIA is pushing and blowing, her glasses slipping

MALIA

I'm trying, believe me, I'm tryiiiiiing

DOCTOR

It's coming, here it is ...it's a, it's a GIRL! The doctor hands the baby to the nurse and leaves. MALIA is relieved and starts to relax but she is exhausted. The NURSE is cleaning and wiping the baby as LARRY is paces back and forth. The NURSE puts the baby into the incubator with warm lights.

JON moves to MALIA and hugs her then holds her hand

JON

I love you

LARRY comes to the bedside so JON moves to the incubator taking video on the way.

JON places his finger into the tiny hand of the baby for her first physical contact with the family. She holds his finger as tears roll down his face. His voice choked JON whispers to the baby

JON

Don't tell your mother but I love you too.

71 EXT - GRADUATION AT HIGH SCHOOL - NIGHT 71 As the principal speaks JON videos from the stands the well dressed family members with flowers, balloons and of people taking photos and video. He focuses on the graduates at their seats, then to MALIA.

PRINCIPAL

John F. Kennedy once said: "With good conscience our only sure reward, With history the final judge of our deeds, Let us go forth to lead the land we live in asking his blessing and his help, but knowing that here on Earth-God's work must truly be our own" and so we, next to the last class of the century and millennium, can only hope that our work done in our High School is as honorable as the classes before us. The principal speaks

PRINCIPAL

Please help me congratulate this fine graduating class Students let fly their caps and cheers throughout the stadium

NADIA

I'm going on the field with the baby

JON

I'm going to shoot more video... I will be down in a bit

NADIA faces the crowd trying to find MALIA

NADIA

All of our kids are already out on the field I like it when everyone runs on the field and tries to find their kid...Are you o.k.?

JON wipes his eyes

JON

SABRINA got to watch her mother graduate This is one of my proudest moments in my life. She was SO determined to graduate

NADIA

...And to do it with good grades

JON looks sincerely at NADIA. He nods and she leaves

JON puts the camera down and marvels at the crowds of happy families

72 EXT - FOOTBALL FIELD - NIGHT 72

(Music-"wings beneath my wings")

JON is on the field still using the video to capture the moment. He finds his group and hugs MALIA. All around people ham it up for the video and photos. Kids are congratulating each other. Families are everywhere hugging, kisses, smiles, happy and proud. Flowers, roses, and balloons are seen all over. JON moves over to NADIA

JON

I'll be over here out of the way

NADIA

You're not in the way With a sense of pride JON leans over to NADIA, near her ear

JON

I just want MALIA to savor this moment

MALIA is holding SABRINA and being hugged by friends as well wishers give her flowers and congratulations

JON

To know that she did this on her own efforts To know that I am always watching from a distance

JON alone heads towards the track

NADIA

Don't go too far off

MALIA hears NADIA and looks away from her friends to see JON leaving

MALIA approaches NADIA

MALIA

Where is dad going?

NADIA wipes her eyes

NADIA

He just wants you to enjoy yourself

MALIA hands over SABRINA to NADIA. MALIA turns and starts running towards JON with roses swaying in one arm and trying to keep her graduation cap on with the other hand. NADIA smiles watching MALIA running after her father

MALIA

DAD.... DAD...WAIT!

JON turns around and sees MALIA running toward him and away from her friends and well wishers. He stops and waits not sure what is happening.

JON

Yeah, what's up? Did you forget something? Do I have toilet paper on my shoe?

MALIA pauses and runs straight into JON'S arms and hugs him tight, crying.

MALIA

Just wanted to say thank you for everything. That I could not have done this without you, I love you

JON

I love you too I'm SO proud of you They kiss and slowly they disembrace. She smiles and turns away but looks over her shoulder before she runs back to the group. He watches from a distance.

73 INT - TRAIN - DAY 73

TRAIN CONDUCTOR

There are but just a few more stops to the end of the line. Please begin to gather your belonging. The conductor turns and leaves this car. NADIA starts to brush SABRINA'S hair. An elderly man with a cane enters the car. The man sits and starts coughing hard

JON

He sounds pretty sick

NADIA covers her eyes then her ears

NADIA

I don't want to see or hear anyone sick

JON

I couldn't believe it when MALIA came home from her college classes saying she wasn't feeling well

NADIA

She was like you... never getting sick

JON

And for her wanting to go to the hospital

74 INT - HOSPITAL - AFTERNOON 74

JON is pacing back and forth and then heads to the nursing station.

NADIA approaches JON

JON

Any idea of how much longer before we can see her

NADIA whispers to JON as nurse gathers information from papers

NADIA

She has been here for hours already

JON

This isn't another attempt...

NADIA

...NO! Something is wrong...really bad The nurse nudges her shoulders and grabs a phone. JON turns to NADIA

JON

She is too young to be seriously ill She's strong and has her baby

NADIA

We just had the baby's birthday and MALIA seemed fine...so full of energy

JON looks straight ahead

JON

I got the video of the baby on her birthday with MALIA'S Chinese green suit. Remember from when MALIA.... Was one year old?

JON lowers his head just before the doors to the ER area open A pause then out comes a doctor slowly approaching the group

DOCTOR

Who is here on behalf of MALIA?

JON

We all are and more are coming

DOCTOR

Let me have the parents come back unless she is married.

JON and NADIA raise their hands and follow the doctor back into the ER area

75 INTERIOR - OFFICE - AFTERNOON 75

DOCTOR

Please sit down, what I have to say... ...You should be sitting down

NADIA hands go to her face and cries out

NADIA

NO, not my baby!

JON leads NADIA to a chair and sits down next to her

JON

Tell us in real terms, layman

The doctor leans forward over his desk

DOCTOR

Does cancer run in either of your families?

JON moves forward in his seat and grips the handles

JON

YES, my grandfather died of it and my mother has had tumors DOCTOR looks in his folder and leans back in his chair

DOCTOR

We found a tumor inside MALIA ...Her stomach area

NADIA jumps up and screams, shakes.

JON gets out of his chair and holds her as NADIA pleas to JON

NADIA

It can't be...she's too young She has her own baby to raise

DOCTOR

It looks advanced, might be leaking If that is the case then she does not have a lot of time.

JON sits NADIA down and leans forward

JON

How can she be leaking? What is not a lot of time?

DOCTOR

We would expect somewhere between four and six months. ` JON lets his hand slid down his face slowly

JON

Have you told MALIA about this?

DOCTOR

Not yet, I wanted to talk to next of kin

JON

Let me tell her then you can follow up on the medical stuff...would that be o.k.? DOCTOR sits upright in his chair

DOCTOR

This is somewhat unusual? Is there a reason I should be aware of?

JON sits down, pauses and looks at the doctor

JON

YES, I just got my daughter back after THREE years without... She had been in placements, hospitals, and runaways... .... I MISSED seeing her grow into a young lady. Now ...your telling me I will be without her .... For the rest of my life... .... Not watching her grow to be a real fine mother. DOCTOR nods his head

DOCTOR

Very well, you can tell her

NADIA

I'll go tell the people in the lobby They got to be dy...I'll let them know

76 INTERIOR - BEDSIDE 76

MALIA sees her dad approaching, she tries to sit up to greet him The straps and lines connected to her stop her

MALIA

DAD, when am I going home? I'm tired and I need to see SABRINA

JON moves to her bedside and holds her hand

JON

Honey, we have been talking to the doctor. He told us we have a problem

MALIA covers her face partially with her blanket, looks out over it

MALIA

No one told me anything!

MALIA cries into her hands

JON

I asked the doctor to let me tell you

MALIA puts her hands down and opens her eyes wide

77 INTERIOR - ER LOBBY 77

NADIA is crying and shaking as she exits the ER area. She approaches the whole family as they jump out of their chairs and go to her

FRANK

This doesn't look good, oh no!

NADIA

Listen up. listen

NADIA catches her breath

NADIA

MALIA has a tumor in her stomach .... It's advanced, maybe even leaking

MARIA

Oh no, she is too young for this

LARRY

Who is with her? Can I see her?

NADIA

Dad is telling her the news himself

78 INTERIOR - BEDSIDE - AFTERNOON 78

MALIA

Dad, you're scaring me... I don't want to be here I WANT to go HOME

JON holds her hands tighter and looks into her eyes

JON

Babe, they say the pain is from a tumor in your stomach area.

MALIA pulls away, pauses and then reaches for JON

MALIA

No, it can't be! ...I have SABRINA!

JON

They think it's leaking, which is not good

MALIA

Tell them to fix it. I have too much to do. ...Got my daughter to raise I have to finish my school...to get married ...I NEED you to be with me

MALIA looks to her dad for affirmation, he is silent, his eyes swelling

JON

They will let you come home now They say you have up to six months

MALIA starts weeping, she holds JON tighter

79 INTERIOR - ER LOBBY 79

FRANK

Do they say it's malignant?

NADIA sits herself and looks at the group

NADIA

She has two to six months to live FRANK and MARIA stare at each other

MARIA

It can't be happening to her

MARIA hugs NADIA and cries. FRANK paces back and forth, scratches his hair

LARRY

We have so much planned Just getting our careers started The group all gather close and hug each other, they cry or have tears slowly dripping down. Others just stare in disbelief and or in anger.

80 INTERIOR - BEDSIDE 80

JON

We will go home in a little bit, We will talk about what to do

MALIA

DAD, take me home as soon as possible

JON

Your going home, you're coming home

MALIA

Good, I want to be home as soon as I can to be with SABRINA as much as I can.

81 INTERIOR - TRAIN 81

CONDUCTOR

Folks, this is 87th Ave., part of South Chicago, the old steel mills used to be around these parts, ....they are gone now

JON looks out the window

JON

Well, we made it to South Chicago

NADIA

Are we getting off or what?

JON sits back into his seat and watches people exit onto the platform

JON

You wouldn't mind if we got off at the end of the line instead of here

NADIA

When you're here one kinda of forgets how other parts of the world are The train jerks forward and moves out past the platform and past the down guard rails while a boy on a bike waits and covers his eyes

CONDUCTOR

Folks, we are approaching the end of the line ...South Chicago, 91st Ave. The South Chicago YMCA is just down the street some. We leave for downtown Chicago in ten minutes

NADIA starts to gather all their belongings and is ready to get off

NADIA

Where are we going first, SABRINA and I are both hungry

JON is relaxed back against the rear cushion

JON

I'm thinking of maybe not getting off

NADIA

Why not? You wanted to come see your old neighborhood

JON looks out the window as the train pulls into the last stop

JON

Sometimes things are best left alone...undisturbed. I think I would prefer to remember THE DAY, my neighborhood as it was

NADIA

Are you sure of that?

JON

My friends and relatives all have moved. The steel mills are gone, knocked down. Homes are knocked down THIS South Chicago is NOT me It is NOT what I am about, where I am from.

82 INTERIOR - LIVING ROOM-AFTERNOON 82

MALIA comes into the room clutching her stomach, bent over in pain

MALIA

Dad, I don't feel good, I'm throwing up and I feel dizzy ...and real weak

JON stand up next to MALIA, trying to comfort her

JON

You have only been home six days

MARIA put down her magazine and rushes to MALIA

MARIA

Dad, maybe we should take her back to the hospital, she doesn't look good

JON looks sternly at MARIA

JON

They promised me SIX more months with my daughter, I want six months

MALIA slowly reaches for her dad while she is in pain

MALIA

DAD, I don't want to leave home I want to be home with everyone

JON holds MALIA tightly as she looks up for guidance

JON

HONEY, we better check with the doctors I don't want to lose time by not checking

JON motions to MARIA to call the hospital while still holding MALIA She breaks away and looks at JON

MALIA

Let me just walk around the house... ...One more time before I go, I want a good picture in my mind to remember

MALIA slowly walks using the walls as balance, with JON behind

JON

Take your time I want you in our house ...as much as possible

MALIA stops and turns looking at JON

MALIA

I'm going to miss this house... ... a lot has happened here, You did so much work in and on your house ... to make it a better place for us.

JON grabs a hold of MALIA and looks into her eyes

JON

This has always been YOUR home... ...Where you belong. I wanted only to make it as comfortable as possible for us. I always wanted you home ...when you weren't

MALIA

I should have been home.... I'm sorry ...I never wanted to hurt you...I...

JON put his finger to her mouth and shakes his head no

JON

It's o.k., that was the past .... We have tomorrow

JON hugs MALIA, his eyes moist, knowing. MALIA slowly goes through every room at her pace. She stops longer in some rooms than others

83 INT - BEDROOM - AFTERNOON 83

She ends up at her bedroom, looking at photos touching them and touching items of sentimental value. She spins around slowly then sits on her bed softly, pauses

MALIA

O.k., I am ready to go now. Let me kiss the baby good-bye

SABRINA is brought into the room and MALIA hugs SABRINA. She kisses her over and over. She tries to be strong but a tear flickers out of her eyes.

MALIA stands and heads out of her bedroom.

84 EXTERIOR - CAR 84

They approach the car. MALIA hugs SABRINA and gives her to MARIA.

MALIA looks back at the house for a few seconds, takes a deep breathe. She smiles at SABRINA, and JON helps her enter the car.

JON slowly drives off with her looking back until the house is no longer

85 INTERIOR - ER LOBBY- NIGHT 85

JON enters the ER lobby with MALIA in a wheel chair.

JON

My daughter needs a doctor now ...She was just here a few days ago She's complaining of pain and dizziness NURSE looks at her and rushes to her side

NURSE

Let me get her temperature, blood pressure and vital stats.

MALIA whispers to the nurse

MALIA

How does it look? My dad is so worried The nurse looks stricken and reacts immediately

NURSE

We need to get you seen right away ORDERLY, get her in trauma NOW The nurse rings a bell and hospital staff converges on MALIA. They quickly take her through the ER doors. MALIA looks back for JON

MALIA

Daddy, are you coming?

JON

Hell yeah

JON is not allowed to enter

STAFF

Sir Please let the staff do their jobs You will be allowed in very soon

JON is stunned and stands alone as the ER doors close with MALIA looking back at JON

86 INTERIOR - ER LOBBY- NIGHT 86

Family members have arrived and have waited for hours

DOCTOR

Parents for MALIA

JON

That's us. This is her family

DOCTOR

I'm afraid I have bad news

NADIA'S eyes open wide and she begins to collapse

NADIA

NO, she's not dead!

DOCTOR

No, she is alive, but...

FRANK

Is there something you can do? The doctor pauses and then in a matter of fact voice

DOCTOR

We don't expect her to live more than a day or so FRANK holds NADIA up and comforts her

MARIA with hands on her hip approaches in an angry voice

MARIA

You guys let her go home and said that she had months to go...not days

DOCTOR

Something unforeseen has occurred and as a result, matters have accelerated .... more advanced than we thought MIKE pokes his head into the conversation

MIKE

What does all that mean?

DOCTOR

Her interior organs can not function properly Her system is breaking down ...A clergy has been called for your convenience FRANK goes to MARIA as she lets out a scream and is lead to a seat by FRANK

JON

Is she responsive? Her thought process

DOCTOR

She is mentally strong and alert Physically she can function almost normally Just that things can go out ...all at once

87 INTERIOR - BEDSIDE- NIGHT 87

JON rushes to her bedside, drying his eyes as he approaches

MALIA

It doesn't look good around here. They are moving real fast, you have a tear What did the doctor say?

JON

It doesn't look good

JON pauses and looks into MALIA'S eyes, holds her hands

JON

They say that you only have a day or so ...That your system has broken down

MALIA looks away from JON

MALIA

I kinda of felt that when I was walking around the house for the last time. ...The house is so beautiful

JON gets closer to MALIA with teary eyes

JON

Honey, before everyone comes sees you, I just want to say...that I love you so much

MALIA reaches out to hug JON

MALIA

Dad, I love you too, ...I'm so sorry that I gave you so much trouble. I always knew that you loved me I just never showed you that I needed you

MALIA leans back on the bed as JON strokes her hair

JON

It doesn't matter now. I just wanted you to know that I had not given up on you. That I would be there when you needed me the most. The worse part of this is...is what all fathers look forward to. I am going to miss giving you away on your wedding. ...Plus our last dance.

MALIA 's eyes brighten up, open wide

MALIA

It's not too late, do you think LARRY and I should get married here,

JON

Well, it's cheaper than a fancy Las Vegas wedding that you wanted

MALIA laughs at her dad

MALIA

Don't make me laugh, It hurts

JON

The alternative is, I can take you home and have you walk down the alley into the back yard

MALIA smiles at JON and holds his hand

MALIA

I'm going to miss the house...it's...

JON

...Here comes the rest of the gang I'll just hang out back here watching you

JON steps away from the bed and whispers to NADIA

NADIA

I will call the priest for the marriage

MALIA

Did anyone tell LARRY?

88 INTERIOR - TRAIN - DAY 88

CONDUCTOR

Folks, this is the end of the line...South Chicago. 91st Ave...We leave in ten minutes

JON looks out the window and points for SABRINA. A group of young Hispanic boys enter the train with radio on. They cruise down the aisle. Playing is "...she's a big girl now, no more daddy's little girl"

JON

That song is a classic

NADIA looks down then at SABRINA

NADIA

It has too many memories for me

JON sits back into his seat and looks out the window

JON

I don't think I want to get off here I like my memories of South Chicago .... The way it was growing up.

NADIA

What about your old friends

JON

If they are lucky they got out of here, Most have moved on with their families People quit school to go to the mills. When the mills were closed, no jobs. Just growing up here people were already dying, going to jail ... And that was in the day.

NADIA

You won't get to see the changes Which houses were knocked down on your block?

JON

Don't need to see to know what houses are gone It's not MY South Chicago. It no longer contains that what made it... .... South Chicago to me

89 INTERIOR - BEDSIDE - NIGHT 89

MALIA lies in bed dressed in white with a vail, the bed is upright. LARRY stands next to her on one side while JON is on the other side.

(Wedding music)

PRIEST

We are gathered here today to bless the union of MALIA and LARRY, they are to form one as man and wife. We proceed with no objection

NADIA

My baby is getting married

JON slowly takes MALIA'S hand and places it into LARRY'S hand MALIA smiles at her dad as JON backs away

PRIEST

Do you LARRY take MALIA as your lawfully wedded wife to have and hold in health and through sickness...until death do you part

LARRY

I DO...until death does us part

PRIEST

Do you MALIA make the same avowal ...Until death do you part

MALIA looks over her shoulder to see JON who nods his blessings

MALIA

I do...till death does us part

PRIEST

May I introduce LARRY and MALIA as husband and wife. The crowd cheers and rice is throw. Nurses and family cry. Hugs are about. There is a mixture of tears and laughs. Music starts "butterfly kisses"

JON comes out from the back and approaches MALIA

JON

I believe the father of the bride gets to dance with the bride

MALIA

At least you won't step on my toes

JON

I told you I would never hurt you.

MALIA holds JON tight, a tear drips down her cheek. Others cry at the sight of father and daughter together. JON and MALIA begin to sway.

MALIA

I can't believe that this is only our second dance in my whole life

JON

I always tried to dance with you but you ran or hid from me

MALIA

I wish I could have it all back

JON

Sometimes the little things, the lightest moments have the biggest impact on your life

JON and MALIA sway to the music

MALIA

DADDY

JON

What honey?

MALIA

Will you take care of SABRINA for me?

JON

Sure I will, I'll watch over her from a distance. LARRY'S a good dad but if he needs a break I will be there for her as I was for you.

MALIA

If he's half a dad as you were than I know that SABRINA will be in good hand for the rest of her life.

JON

You sure know what to say

MALIA

I learned it from the best... They smile as both laugh before MALIA gets serious

MALIA

DADDY!

JON

What babe?

MALIA

I love you so much

MALIA lays her head on JON'S shoulder, her eyes slowly closes

90 INTERIOR - TRAIN - DAY 90

CONDUCTOR

Please take your seats The trip to downtown Chicago is about to begin... ...We are now leaving South Chicago The train slowly moves away for the old train station.

NADIA looks at JON as he strains to looks out the window

91 INTERIOR - BEDSIDE - NIGHT 91

Music (Carey/Houston) Most of the wedding guests have left. JON, LARRY and NADIA are at the bedside. The kids are in the back of the room with SABRINA.

MALIA

LARRY if you need any help with SABRINA Just tell my dad he will help you

LARRY looks over to JON they nod in agreement

NADIA

How do you feel now

MALIA

I'm feeling pretty weak, tired... It's been such a long day ...Seeing a lot of light in the distance

NADIA rushes to the phone

NADIA

Do you want me to call the staff?

MALIA

NO, it's been a good day for me All of those that I love... are here now ...No tomorrow can ever be better

MALIA lies in a flat position. NADIA kisses MALIA, touching her face softly.

NADIA

I just want you to know that I do love you and have always loved you.

MALIA reaches out to hug NADIA, they embrace, tears. MALIA smiles as NADIA backs away. LARRY approaches MALIA from the other side. They whisper, hug, kiss, he stands and holds her hands.

MALIA

SABRINA, where are you

NADIA brings SABRINA and places her into MALIA'S arms. MALIA slowly looks over every part of SABRINA especially her face

MALIA

You ...are so beautiful. Mommy loves you, but soon I have to go away. Daddy, nana and papa will take care of you. Be a good girl for mommy.

SABRINA nods her head and snuggles up against her mother

MALIA looks for her dad JON

MALIA

DAD, I need to say goodbye now

JON moves to her bedside, staring at her as he gets closer, a tear down his cheek as he reaches for her hand. The others move back

JON

Babe, you don't need to say good-bye ...You're never going to leave my heart. Maybe I won't be able to hug you ...But soon you will be able to guide me, ...help me, ...show me the right way

MALIA looks into her father's eyes

MALIA

I go knowing that you were there for me ...I'm so proud that you are MY dad The machines start to flicker, slowing down from previous beats. NADIA, LARRY and the others approach the bed. SABRINA touches MALIA'S face with her hand.

JON holds MALIA'S hand and rubs her face once more. He kisses her

JON

I'm going to miss you I love you But I will never forget...you and my memories

MALIA struggles to keep her eyes open. She slowly looks at LARRY and NADIA.

MALIA looks to her dad, JON. She runs her hand across SABRINA.

JON holds the hand of MALIA and of SABRINA within his hands

MALIA

I love all of you... I get to go home...

MALIA kisses SABRINA then looks up. All eyes become watery

MALIA

I'm going home now....

MALIA is silent, her mouth closes, her eyes shut, her breath no more.

Faces with tears stand around the bedside. SABRINA touches MALIA'S face.

92 INTERIOR - TRAIN 92

Close up of JON looking out the window with reflection. The young Hispanic turns up the radio

"You're a big girl now, no more daddy's little girl

NADIA

You know, I don't really know when a daughter stops being daddy's little girl

JON slowly turns his face to look at NADIA

JON

NEVER... they never stop

Close up of JON

Fade out

THE END

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