Missing Child
FADE IN:
INT. SEDAN - NIGHT
The SHOT is from the POV of someone sitting in the backseat
of a sedan, parked in an underground parking structure.
A LARGE MAN opens the front door and sits in the driver's
seat. His eyes are seen through the rear view mirror...
LARGE MAN
Are you looking forward to it?
The man backs the sedan out and begins to drive, spiraling
through the parking structure.
YOUNG WOMAN (V.O.)
I remember things, at least I think
I do, about when I was little. The
problem with these memories is that
I've never had anyone to tell me
what was real and was a dream...
The man pulls the sedan into a parking spot in a dark corner.
YOUNG WOMAN (V.O.)
...You once asked me, 'what was
worse, not remembering or not
knowing?'
The CAMERA POV follows the man as he opens his door and gets
out. He opens the back door and slides in...
YOUNG WOMAN (V.O.)
I always thought that the two most
important things were to remember
the beginning and to know the end.
LARGE MAN
Are you looking forward to it?
CUT TO:
INT. BEDROOM - MORNING
A YOUNG WOMAN gasps letting out a silent scream as she
springs up and awake, in bed. The young woman is GIA. She's
in her early 20s, dark hair, pretty but a little worn.
Next to her, a MAN is sound asleep.
Gia lies back down. She inches closer to the man for comfort.
He puts his arm around her. She tries to go back to sleep as
the CLOCK RADIO goes on playing Classic Rock MUSIC.
The man, JOE PHELAN, early 40s, lean and rugged, leans over
and turns the radio off.
Gia gets out of bed. On the floor is a knapsack and a box of
belongings; some clothes, a photo album, magazines, etc. She
grabs a pair of jeans from the box.
Joe picks up a Jump Rope from the floor.
INT. JOE'S LIVING ROOM - DAY
Gia turns on the TV.
INT. JOE'S BEDROOM - DAY
Joe is jumping rope.
INT. JOE'S KITCHEN - DAY
Gia makes a pot of coffee.
INT. JOE'S BEDROOM - DAY
Joe does push-ups alongside the bed.
INT. JOE'S LIVING ROOM - DAY
Gia sits before a computer. Joe enters.
GIA
I made some coffee, if you want.
He looks through some mail on the dining table.
JOE
Thanks.
Gia goes to the table and pours herself another cup of
coffee. She glances at a bill that Joe reads...
INSERT LETTER
FINAL NOTICE - Account Past Due!
BACK TO SCENE
Joe notices Gia looking.
JOE
This credit card is so screwed. I
paid the whole thing two weeks ago.
I gotta call them, again.
He crushes the bill and throws it in the trash can. Gia sits
back at the computer.
GIA
Do you want me to give you some
rent money?
JOE
No, no, no... Not necessary.
He stands behind Gia and looks at the computer screen.
JOE
How's everything goin', here?
GIA
I'm printing this out so I can look
it over at work.
JOE
Cool.
He gives her a kiss.
JOE
Got the keys?
GIA
Yeah.
Joe heads out the door.
The printer beside the computer generates a few pages. Gia
gathers the stack of papers.
EXT. JOE'S APARTMENT BUILDING - DAY
Wearing an iPod headset, Gia exits the apartment and walks
along the outside of the two story apartment building.
EXT./INT. GIA'S CAR - DAY
Gia sips her coffee as she drives her old, slightly dented
Honda Accord hatchback. MUSIC plays on the radio.
EXT. CORNER STRIP MALL - DAY
A few shops reside in a modest sized strip mall.
INT. BOUTIQUE CLOTHING STORE - DAY
MUSIC plays on the store speakers. The store owner, DEBBIE,
folds some clothes. She's blond, attractive and in her 30s.
On the floor nearby is NOAH who's about four years old. He
plays with a miniature toy car and a model airplane.
Gia sits next to Debbie, with a pen, reading through the
stack of papers she printed out before.
DEBBIE
Aren't you going to do that on
line?
GIA
I want to make sure I get
everything down first.
INSERT TOP OF PAPER
Application for Student Housing
BACK TO SCENE
DEBBIE
You're going to be fine, Gia.
A YOUNG COUPLE enters the store. Debbie approaches them.
DEBBIE
Can I help you?
Noah watches Gia go through the application.
NOAH
Are you going away?
GIA
I'll come back to visit, Noah.
She puts down the papers and sits next to Noah on the floor.
GIA
I'll write you letters. You and
your mom can visit me. It'll be
fun.
He gives Gia a smile.
EXT. JOE'S APARTMENT BUILDING - DAY
Gia walks along her building. At a row of apartment
mailboxes, she looks through some letters. She sees an
advertisement card.
INSERT CARD
Carpet Cleaning - Lowest Rate in Town
She flips the card over...
Beneath the words "Missing Child Alert" is a picture of a
young boy. Alongside is a photo of the same child, age
progressed to teenage years.
BACK TO SCENE
Gia drops the junk mail into a nearby trash bin.
INT. JOE'S LIVING ROOM - DAY
The TV is on. Gia works at the computer. A KNOCK ON THE DOOR
is heard.
Gia looks through the peep hole and then hesitates. Another
KNOCK is heard.
She opens the door to see TYLER JAY, late 20s, good looking
in an edgy, alternative sort of way; long hair, tatoos.
TYLER
Gia...
She reacts awkwardly as Tyler gives her a kiss.
GIA
What are you doing here?
TYLER
Returning your call?
GIA
You could've just called my cell.
TYLER
Can I come in?
(Gia seems uncomfortable)
We can talk about it here if you
want...
(speaking louder)
But this hallway kind of echoes. I
thought you'd appreciate some
privacy.
Gia steps back to let Tyler in. She quickly closes the door.
TYLER
Whose place is this?
GIA
I'm staying with someone... My
boyfriend. How did you know I was
here?
TYLER
An acquaintance of mine knows
someone who goes to that church of
yours. He told me where you worked.
I kind of followed you.
GIA
That's very flattering.
(beat)
Those videos are still on-line. You
promised you would take them off.
TYLER
My programmer's busy at some gaming
festival in Japan. As soon as he
gets back --
GIA
I asked you a year ago, Tyler.
TYLER
Why do you want them off? Does your
boyfriend know?
Gia glares at him.
TYLER
You should tell him. A lot of guys
get turned on by the idea.
GIA
Why are you here? To tell me you're
not going to do what you promised?!
TYLER
I wanted to see how you're doing. I
miss you.
GIA
I'm doing fine.
Tyler moves closer, making some contact.
TYLER
You still look good, why waste it?
I got my camera in the car. We can
shoot a scene up here.
GIA
You're a fucking lowlife! I want
you to leave.
TYLER
One more scene, Gia. I'll pay you
good --
The sound of a KEY IN THE DOOR LOCK is heard. Joe enters the
apartment.
JOE
(hesitantly)
Hello...
TYLER
This is your boyfriend?
JOE
What's going on, Gia?
GIA
Nothing --
TYLER
Sir, Tyler Jay...
He extends his hand towards Joe.
JOE
(shaking his hand)
How you doin', Tyler? I'm Joe.
TYLER
Me and Gia were just reminiscing
about the old times. You know how
that goes.
JOE
I hope I'm not interrupting.
Joe places his keys on the dining table.
GIA
You weren't.
Joe glances at the computer. He sees Gia's application
alongside.
TYLER
(seductively to Gia)
Maybe your boyfriend would want to
watch. He can even join in if he
wants.
Tyler puts his hand on Gia's waist.
She looks to Joe for some help.
JOE
What am I gonna be watching?
TYLER
Are you one of those church people?
Joe GRASPS Tyler by his head and KNEES HIM IN THE FACE,
dropping him to the floor.
JOE
Not exactly.
Joe pulls out a 9mm handgun.
TYLER
Is this guy a cop or something?
JOE
You're gonna wish I was a cop.
Joe VICIOUSLY KICKS Tyler who curls up in defense.
Gia looks on in shock as Joe drags and kicks Tyler towards
the door.
JOE
Get the fuck out!!!
Tyler stares at the gun as he struggles to his feet.
TYLER
Take it easy, dude!
He backs out the door and scurries down the stairs.
Out of breath, Joe looks out the window. He watches Tyler
rush away outside the apartment.
Joe places his gun on the table. He puts his handcuffs and a
stun gun alongside.
GIA
I wasn't doing anything with him.
He goes to Gia on the couch.
JOE
I know.
GIA
And I wasn't gonna do anything
either.
JOE
I didn't think you would.
EXT. PARK - DAY
Gia and Joe walk through the park.
GIA
Are you that passionate when you're
out catching bad guys?
JOE
Nah... When I'm working, it's just
a job. I do it for the money.
She holds Joe's hand.
JOE
So, who was that guy?
GIA
(pause)
I used to go out with him, sort of.
I attract a lot of assholes.
Joe laughs.
GIA
I should hire you to shoot him.
JOE
I'm a bounty hunter, not a hit man.
She gives him a smile. They sit on a bench.
JOE
I was lookin' through your photo
album. What happened to the
pictures from when you were
younger? The ones with your
parents?
GIA
I never knew my parents.
JOE
You know what I mean, your foster
parents.
GIA
I threw them out.
JOE
Why?
GIA
They reminded me of other pictures
my foster father took.
Joe caresses her forearm.
GIA
I want to put the bad stuff in my
life behind me.
He touches a birth mark on her arm. Gia smiles as she pulls
her arm away.
GIA
Don't look at that, it's ugly.
JOE
Nothin' on you is ugly, Gia.
INT. BOUTIQUE CLOTHING STORE - DAY
Gia and Debbie arrange a rack of shirts. Noah sits nearby,
drawing in a coloring book.
GIA
I'm glad he came home when he did.
DEBBIE
Don't you think Joe's a little old
for you to be getting so serious
about?
GIA
He's not that old. And we're not so
serious.
DEBBIE
Is he going to join you on your
'big cross country adventure'?
GIA
He might.
(cheerfully)
I got an e-mail before. They
accepted my application.
INT. JOE'S LIVING ROOM - NIGHT
Gia comes in. Joe is sitting at the computer.
JOE
Hey...
She nervously watches him gaze at the screen.
JOE
I found something on-line that
might interest you.
GIA
What's that?
JOE
I think I found your family, Gia.
GIA
What???
JOE
Come here...
He sits her down before the computer.
JOE
You gotta see this.
They both look at the screen...
INSERT COMPUTER SCREEN
M i s s i n g C h i l d
On the screen is a picture of a three year old girl. The
picture is tightly framed, only showing the girl's face.
BACK TO SCENE
GIA
Who's that?
JOE
That...
Joe clicks the mouse a few times.
JOE
Is you.
INSERT COMPUTER SCREEN
M i s s i n g C h i l d
On the screen is an age-progressed photo of a young woman
that resembles Gia.
BACK TO SCENE
GIA
What are you talking about?
JOE
I came across this website and this
picture. I think that's you.
She moves closer towards the screen and looks at the picture
in more detail.
GIA
This could be anybody.
JOE
Look at these other things; the
age, the fact that you've never had
contact with your real parents. And
read down here... 'Elizabeth
Whittle was the victim of a non
family abduction. Foul play
suspected. She is the only...' Bu
bu bu... Here look, 'Elizabeth has
a birth mark on her left forearm.'
Gia touches her birth mark on her arm.
JOE
It's at least a possibility.
(pause)
I talked to this man, Henry
Whittle. That's the guy, the
father. I mean, he may be your
father.
GIA
We've looked at pictures on-line
before. How come we didn't see this
one?
JOE
Do you know how many 'Missing
Children' pictures are out there?
GIA
I would've remembered being
kidnapped.
JOE
Do you remember your real mother,
your father, anything? You were
three years old.
Gia gazes at the missing child photo on the computer screen.
INT. GIA'S CAR - NIGHT
Gia drives through the night, a thousand thoughts racing
through her mind.
GIA (V.O.)
I always imagined what my real
parents were like and how they
might have raised me. I wondered if
my life would have been different.
Would it have been better? I got
used to the idea of not having
parents. If they are out there,
maybe they got used to the idea of
not having me.
(beat)
I tried to convince myself I didn't
want a family.
Uncomfortable in the silence, she turns on the radio to some
MUSIC.
EXT. DEBBIE'S APARTMENT - NIGHT
Gia, appearing distraught, stands outside an apartment in the
courtyard area. Noah, wearing pajamas, answers the door.
Debbie stands behind him.
NOAH
Gia!
GIA
Hey big guy...
Gia gives Noah a hug.
INT. DEBBIE'S LIVING ROOM - NIGHT
Gia is on the carpet playing with Noah and his toys.
Debbie comes into the room holding a laundry bin.
DEBBIE
It's getting late, Noah. Time for
bed.
NOAH
Can Gia tuck me in?
DEBBIE
(to Gia)
He had a bad dream last night.
Gia takes him by the hand.
GIA
Let's go, Noah.
INT. NOAH'S ROOM - NIGHT
Gia watches Noah as he crawls underneath his blanket. He
appears to be worried.
GIA
Are you afraid of having another
nightmare, Noah?
He shakes his head, "Yes".
Gia sits on the bed. She sees a model airplane resting on the
bedside table. She picks it up.
GIA
Do you remember when I bought this
for you?
NOAH
On my birthday.
GIA
I didn't tell you this before, but
there's something special about it.
(pause)
Inside there's a guardian angel...
(he reacts)
...And he's going to watch over
you. If you have another bad dream,
it'll be okay. Because your
guardian angel is here to make sure
you're safe and protected. This way
you can sleep and have nice dreams.
You won't have anything to worry
about.
Somewhat skeptical, he examines the model airplane.
NOAH
Where is he?
GIA
You can't see him but he's there.
Noah looks curiously at Gia and then smiles.
Gia puts the airplane back on the bedside table. She tucks
the blankets snugly around Noah and gives him a kiss.
GIA
Good night, Noah.
She turns off the light. In the dark, Gia stares at Noah for
a moment, lying safe and cozy under the blanket.
EXT. DEBBIE'S APARTMENT - NIGHT
Gia and Debbie sit on a step outside the apartment door, in a
courtyard area. Debbie fidgets with a cigarette before
lighting it.
DEBBIE
I've been thinking, I might have to
close the shop.
GIA
Why?
DEBBIE
There's too much competition at the
mall. I need more inventory, more
displays. I want to spend the money
on Noah's day care.
It's not fair to keep him stuck in
the store all day.
GIA
You're a good mother.
DEBBIE
Yeah, with all my wonderful habits.
Gia gives a slight laugh as Debbie takes a puff on her
cigarette.
GIA
Noah's growing fast. He's getting
so big.
DEBBIE
He's going to miss you.
Gia smiles.
GIA
I think about what my life would be
like if I had my parents, at least
my mother.
DEBBIE
I still have mine. It doesn't
always help, honey.
GIA
Yeah, but you know who they are and
what they are. I don't know
anything.
Debbie observes Gia who still appears to be unsettled.
DEBBIE
Why are you thinking about this
stuff again?
GIA
(pause)
Someone told me they might have
found my family.
DEBBIE
Someone...? Who? Mr. Bounty Hunter?
From her pocket, Gia takes a printout of the missing child
listing and gives it to Debbie.
GIA
He found this picture on-line --
DEBBIE
Gia... How many times are you going
to go through this?
(pause)
Isn't it better to think about
where you're going than worry about
where you might have been? Once you
start school, at least you'll have
that to focus on. If there's
something to this --
GIA
I can't get this out of my mind.
You know I look through Joe's mail
everyday. I keep hoping to see a
picture of myself on the back of
one of those stupid junk mail ads.
Debbie reacts with sadness.
GIA
I've got to do this, Debbie.
INT. PARKING STRUCTURE - NIGHT
Joe is leaning against his car in a parking lot. He watches
an attractive, well-dressed woman, KATHLEEN, walking towards
her vehicle. He steps towards her.
JOE
Kathleen...
She turns to see Joe. He gives her a hug.
JOE
Get my messages?
KATHLEEN
I was going to call you tonight.
What did you want talk about?
JOE
You still work at that lab, right?
She makes a face.
JOE
Can I least tell you what it is,
first?!
KATHLEEN
I have bills too, Joe. And I've a
lot more to worry about these days
than your credit rating.
JOE
I wasn't gonna ask you for one
penny.
KATHLEEN
Then what is it?
JOE
(his tone darkens)
It's more than my credit... And
these people aren't gonna just cut
my credit card in half.
KATHLEEN
What do you want from me?
JOE
A little favor, that's all.
KATHLEEN
Do you know I almost got fired the
last time I did you a little favor?
JOE
It's not gonna be like that. And I
promise it will be worth your
while.
She gives him a skeptical look.
JOE
Besides, this time it's for a good
cause. You'll be helping somebody
out.
INT. JOE'S LIVING ROOM - NIGHT
Gia sits at the computer. She looks at the age-progressed
photo of the missing child. She reads the description...
INSERT COMPUTER SCREEN
Elizabeth Whittle was the victim of a non-family abduction.
FOUL PLAY SUSPECTED. She is the only child of Henry and Ava
Whittle. Elizabeth has a birth mark on her left forearm.
BACK TO SCENE
She stares at the computer screen and lightly touches her
arm.
Gia rises to her feet and turns on the radio to some MUSIC.
INT. JOE'S BEDROOM - NIGHT
Gia is packing a travel bag. She pages through her photo
album before putting it in the bag.
She hears the front door open. The MUSIC, playing in the
other room, is turned off.
Gia sits on the bed.
GIA
(softly)
I will refrain from the path of
fools, for they run to evil. I will
cast my --
She stops her prayer as Joe enters.
JOE
Don't stop for me.
Gia closes her eyes and whispers to herself...
GIA
I will cast my lot to the Lord. I
will have one purse with him. I
will not fear his judgement, but
seek comfort there.
She opens her eyes to see Joe staring at her.
GIA
It's a prayer I like.
He nods.
JOE
Packed already?
He throws some underwear into a backpack.
GIA
Where are we gonna stay?
JOE
Maybe Henry will want you to stay
with him...
Gia seems preoccupied.
JOE
...Or we could find a motel out
there for the night. It'll be nice.
Joe sits on the bed next to her.
GIA
What if Henry is my father and that
is my family?
JOE
That's the idea, right?
GIA
What do I say?
JOE
What do you wanna say?
GIA
When I was younger, my foster
parents told me my real mother was
probably a drug addict or
something. I used to be mad at her
for leaving me... For never looking
for me. I hated her so much. I
never knew her but I still hated
her.
(pause)
Maybe it wasn't her fault.
Joe caresses her cheek.
He kisses her as they lie on the bed. Gia kisses him back,
more passionately. The mood rapidly changes to a sexual tone.
Gia almost becomes another person as she moves on top of Joe.
She is charged and aggressive. She leans over to the clock
radio and turns it on. A PULSATING BEAT sounds out.
She unbuckles Joe's belt, confidently taking control.
INT. CAR - DAY
Joe and Gia drive along a desert freeway. Alternative Rock
MUSIC plays on the radio.
GIA
How far is it?
Joe glances at a map.
JOE
If we don't hit any traffic, we
should get there before dark.
They continue down the thruway.
Joe turns the radio off.
They drive in silence for a few moments.
Gia puts on the radio again and scans for other stations.
JOE
You don't like silence, do you?
GIA
What?
JOE
Silence. You can't take it. Every
second of the day. You got the TV
on, the radio... Always some noise
to distract you.
GIA
That's not true.
She turns the radio off and sits back.
They continue for a few moments without saying anything. Gia
stares out the window, watching the scenery pass by.
GIA
I like music.
She turns the radio on again. Joe laughs.
JOE
Can't be afraid of your own
thoughts.
GIA
Just drive...
She playfully hits his arm.
INT. CAR - LATER
They continue along a smaller road.
Gia looks at the map, somewhat confused.
GIA
Why didn't you Mapquest it?
JOE
Can't you read a map?
She repositions her view of the map. Joe pulls over.
He takes a look at the map.
GIA
If you Mapquested it --
JOE
We're doin' fine. It's a little bit
further.
He hands her the map and gives her a kiss. She kisses him
back.
JOE
Keep your eyes open for 41.
They drive on.
INT. CAR - LATER
They drive down the service streets of a more rural area.
Now Gia is reading directions that are hand-written on a
piece of paper.
GIA
Make a right at the fork in the
road.
JOE
Are you sure it's a right?
Joe playfully takes the paper from her hands and turns it
upside down.
GIA
If we get lost it's because of your
sloppy writing.
JOE
Next time I'll Mapquest it.
Gia takes note of the desolate surroundings.
GIA
I couldn't imagine living in a
place like this.
JOE
Well... You might have.
Gia reacts.
Joe spots the fork in the road.
JOE
Here we go...
EXT. CAR - DAY
All the homes in the area are nicely spaced apart.
They pull into the driveway of a modest two story house.
Gia stares, not sure what to make of it.
JOE
Come on, let's go.
They get out of the car. Gia, wearing a T-shirt, rubs her
arms. Joe looks at her for a moment and then hands her a
sweater.
JOE
Here... It's gettin' cold.
She puts the sweater on. He warms her up by rubbing her
shoulder.
INT. HENRY'S HOUSE - CONTINUOUS
HENRY WHITTLE, 60s, silver hair and bearded, peeks through a
window curtain at Gia and Joe. With a sense of hope in his
eyes, he focuses on Gia.
EXT. HENRY'S HOUSE - DAY
Gia and Joe approach the front door. Joe looks for a doorbell
but doesn't find one. He knocks on the door.
Henry opens the door.
JOE
Henry? I'm Joe Phelan. We spoke on
the phone.
Joe extends his hand and they shake.
JOE
This is Gia.
She stands uncomfortably as Henry looks them over.
HENRY
Gia... Joe, why don't you come in.
INT. HENRY'S LIVING ROOM - DAY
They walk into the living room.
HENRY
I expected you earlier.
JOE
Yeah, the directions were a little
tricky.
HENRY
Did you find the fork in the road
alright? A lot of people don't spot
it. They make a left, and there's
another fork up near Cripple Creek.
They take that one and...
(he laughs)
...it just gets messy.
Gia carefully watches Henry, his gestures and mannerisms.
JOE
No, that was fine. We had a tough
time finding and gettin' on 41.
HENRY
Well, you made it.
JOE
Yeah.
HENRY
Can I get you folks anything to
drink; coffee, tea?
JOE
Do you have a beer?
HENRY
Sure Joe, I think I do. Gia...?
She stares at Henry.
GIA
Umm...I'm sorry?
HENRY
Anything to drink?
GIA
Water is fine.
HENRY
(smiling)
Easy to please.
She watches Henry leave the room.
GIA
(whispers)
He's old.
Joe sees that the TV is on.
JOE
He's like you with the TV on all
the time.
Gia looks at the TV.
Joe notices a shotgun resting on a rack on the wall.
Henry returns with the drinks. He gestures towards the TV...
HENRY
I'm a bit of a news junkie.
He hands the beer to Joe.
JOE
Thanks, Henry.
Henry then gives a glass of water to Gia.
HENRY
Here you go.
GIA
Thank you.
HENRY
Please, have a seat.
Joe and Gia sit on the couch
JOE
So what's in the news?
Henry sits down and sips from a cup of tea.
HENRY
It gets worse every day. The
president's always fighting with
the congress. Now the congress
can't decide whether or not to go
along with the president.
(pause)
I'm sorry, I don't mean to get
political on you folks.
JOE
That's okay.
HENRY
What's that they say...
(smiling)
'Never talk about religion or
politics.'
Henry and Joe force a laugh. Henry looks carefully at Gia and
her behavior.
HENRY
Gia's an interesting name.
GIA
It was something I chose myself. I
didn't want the name my foster
parents gave me.
He considers her words.
HENRY
Interesting choice.
Both Henry and Gia appear to be uncomfortable.
JOE
I heard there was some rain in the
forecast.
Gia studies the contours of Henry's aged face.
HENRY
I think that passed. I think those
weather men like to exaggerate the
precipitation. Helps them keep
their job.
More uncomfortable laughter, then silence...
And more silence.
Joe and Henry awkwardly look at each other.
GIA
What happened to your daughter?
Henry turns towards Gia.
HENRY
(pause)
Elizabeth...
He slowly nods as he takes a sip of tea.
HENRY
It was a Saturday, a cold one. Ava,
my wife, was working so I was
watching Elizabeth. She was playing
in her room with her doll
collection, I was trying to fix the
darn sink that was leaking in the
bathroom. The spindle I got over at
Higgins' Hardware was the wrong
size, so I had to return it. I took
Elizabeth with me. It's in the
strip mall off of Point St., you
passed it when you got off the 41.
I didn't want to bother taking
Elizabeth out of her car-seat and
putting her back in; she was always
making such a fuss about that...
Gia listens attentively.
HENRY
...So I left her there and went in.
When I came out, she was gone. I
called the Police, State
Troopers... There was a search.
They never found a trace. Ava... We
both were devastated. Then there
were accusations, stories...
(he fiddles with his
wedding band)
...I think that's what drained the
life from Ava. The stroke just
finished her off.
Gia and Joe exchange a look.
JOE
That's quite an ordeal to go
through. And to have to deal with
this for so many years.
HENRY
To tell you the truth Joe, it's
been a while since anyone's come
around asking about it.
(pause)
There have been several people who
have claimed to be or to know about
Elizabeth. They were mostly honest
folks trying to fill in the pieces
of their past.
Henry gives Gia a smile.
From his pocket, Joe takes out the missing child posting that
has a picture of young Elizabeth and the age-progressed
photo. He hands it to Henry.
JOE
I got this from the internet.
Henry looks at the pictures.
HENRY
I don't know too much about the
internet.
JOE
It's amazin' what they can do with
computers.
Henry hands the printout back to Joe.
HENRY
I'm not too good with computers.
(to Gia)
Maybe you'd like to look around the
house?
GIA
Yeah... Could I?
INT. STAIRCASE - DAY
Gia follows Henry up the stairs.
INT. ELIZABETH'S ROOM - DAY
Henry walks Gia into the bedroom which is in a pristine
state. The bed is tightly made. A doll and stuffed animal
collection sits neatly organized on a dresser next to a small
TV. In the corner of the room is a handmade doll house.
HENRY
This is Elizabeth's room.
Gia inquisitively looks around.
HENRY
Joe's a nice fella. How do you two
know each other?
GIA
I met him about a year ago, I was
out with some friends. He was
telling me about his work. I
thought it was interesting. He gave
me some ideas to help me try to
find my family. Then we kind of got
involved.
HENRY
Are you two a...
GIA
We live together.
HENRY
(a little shocked)
Oh... He's a bit older than you.
GIA
He's like a big kid. And everybody
tells me I have an old soul, so it
kind of works out.
HENRY
I'll bet.
She picks up a doll and examines it. She quickly returns it
to its original spot.
GIA
I'm sorry.
HENRY
It's okay. Does anything look
familiar?
Gia looks around some more.
GIA
I don't know...
She picks up a teddy bear resting on the pillow on the bed.
GIA
It's cute.
Gia looks curiously at a small price tag, still attached to
the stuffed animal.
HENRY
That was Elizabeth's favorite. She
liked to sleep with 'Mr. Bear'.
She returns the teddy bear to the pillow.
Her attention is drawn to a photograph of Elizabeth on the
dresser. It's a full body version of the same photo in the
missing child listing, which only showed Elizabeth's face. In
this picture, Gia can see the girl's arms.
Gia reacts. Henry notices the change in her demeanor.
GIA
Umm... Where's Joe?
INT. HENRY'S LIVING ROOM - DAY
Joe finishes off his beer as Gia approaches him.
GIA
(quietly to Joe)
I think we should go.
HENRY
I don't know what your plans were
for the evening but I was getting
ready to fix some dinner. I'd love
if you two could stay.
JOE
That'd be great.
GIA
(to Joe)
Can we talk?
JOE
(to Henry)
Do you mind if we...
HENRY
Sure, sure... You can go out back
if you want some privacy. But let
me know how many plates I should
set.
Gia and Joe step out to the backyard.
Henry peeks through the window blinds and watches Joe.
Henry's eyes shift over and settle on Gia as she walks.
Henry takes out a wallet sized photo of young Elizabeth and
gazes at it. A hint of a smile comes to his face.
He shuts the blinds and goes to the kitchen.
EXT. HENRY'S BACKYARD - DAY
Joe brings Gia to the far side of the backyard.
GIA
I saw a picture of Elizabeth where
I could see her arm.
JOE
Yeah... So?
GIA
Her birthmark is on a different
part.
She rolls up her sweater sleeve and points to her birthmark.
GIA
Hers is on the top part of her arm.
She starts to walk away.
GIA
I knew it was a mistake coming
here.
JOE
Gia... Don't say that.
He stops her and rolls down her sleeve. He gently takes her
hand.
JOE
You were lookin' at one picture.
Maybe the picture was taken at an
angle or she was holding her arm in
some way that makes it look
different.
GIA
This doesn't feel right.
JOE
How is it supposed to feel?
GIA
I don't know.
JOE
Come here...
He brings her closer for a hug.
JOE
You're scared. I would be too.
(pause)
We're gonna check this out. There
are other ways of knowing. Blood
tests, DNA tests... Whatever we
have to do to be certain. We drove
all this way, you wanna run home
because things don't feel right?
They continue holding each other as the last of the day's
sunlight disappears from view.
INT. HENRY'S KITCHEN - NIGHT
Henry washes some dishes as Gia and Joe enter.
HENRY
So, what did you two decide?
She looks at Henry, unsure of what to say.
JOE
We'd like to stay, if it's alright
with you, Henry.
Henry smiles.
Gia stands uncomfortably in the middle of the kitchen.
HENRY
If you could finish cleaning these,
that would help.
GIA
Okay...
Gia begins to awkwardly scrub some silverware. Henry checks
the oven.
Joe sits in the dining area.
HENRY
It's been a while since I've had
company. It's nice.
Henry gets some things from the refrigerator.
As Gia washes the silverware, she pricks her finger with a
knife.
GIA
Ow...!
Henry rushes over to Gia.
HENRY
Are you alright there?
He sees her injured finger and reacts.
GIA
I feel so stupid.
HENRY
Those old steak knives are sharp,
they'll get you every time.
Henry gets a Band-Aid and iodine from the cupboard.
HENRY
You should put a little pressure on
that.
He dries her finger and puts iodine on Gia's cut.
GIA
(she winces)
Ah...
HENRY
A little old-fashioned but it
works.
In a tenderly manner, Henry puts a band aid on Gia's wound.
She notices a few drops of blood on the kitchen counter.
GIA
I'm messing up your kitchen.
HENRY
Don't worry about that.
(smiling)
It's not a problem. Just be more
careful.
Gia and Henry look at each other for a moment.
HENRY
You two can have a seat in the
living room while I finish up here.
INT. HENRY'S LIVING ROOM - NIGHT
Joe and Gia sit on the couch.
JOE
After dinner we can look at more
pictures, or talk to Henry about
doin' some of those tests.
Gia watches Joe, as if she's studying him...
GIA
Okay.
A cell phone RINGS.
Joe pulls out his phone and glances at the display.
JOE
I gotta get this.
EXT. HENRY'S BACKYARD - CONTINUOUS
Gia looks out the back window at Joe, who nervously paces
about while talking on his cell phone.
She then walks towards the STAIRCASE.
INT. ELIZABETH'S ROOM - CONTINUOUS
Gia goes into Elizabeth's room. She picks up the photo of
Elizabeth and studies it closely. She puts the picture down
and examines the birthmark on her arm.
She sees "Mr. Bear" resting on the pillow and smiles.
INT. HENRY'S BEDROOM - CONTINUOUS
Gia peeks into the master bedroom and notices a photograph on
the dresser. She picks up the picture...
INSERT PHOTO
A photo of Henry with his wife and young Elizabeth.
BACK TO SCENE
She smiles as she places the picture frame back on the
dresser.
Gia sees a stack of magazines on the dresser. On top is a
copy of "Christians Today".
She picks up the magazine and sees beneath it is a
pornographic magazine. Not just a Playboy or Penthouse but a
pretty harsh skin rag.
Gia is shocked and embarrassed. She pages through it and sees
nude pictures of young but not very happy models.
She puts the magazine back and straightens out the stack.
HENRY (O.S.)
Are you a practicing Christian?
Gia is startled as she turns around to see Henry at the
doorway. Henry gestures to a Bible resting next to the
magazines.
GIA
Oh...sometimes. I go to church,
sometimes. I have some friends who
I go with.
HENRY
I guess then you can consider Jesus
Christ your personal savior...
'Sometimes'.
(smiling)
Dinner's ready.
INT. HENRY'S DINING ROOM - NIGHT
Henry, Gia and Joe are at the table eating a turkey dinner.
The TV news is on in the living room and can be heard
slightly in the background. Henry pours Gia a glass of wine.
GIA
Thank you.
JOE
This meal is great.
Henry looks at Gia's plate which is nearly full.
HENRY
I'm not sure Gia would agree.
GIA
No, it's good. I'm not very hungry.
JOE
You're a good cook, Henry.
HENRY
I try. Ava taught me everything I
know. She used to prepare a
wonderful meal every Sunday.
He gestures to a plate of dinner rolls and a plate of salt.
HENRY
'Bread on the table and salt on a
dish'. It was a family tradition of
hers that I held on to.
He gazes at Gia.
HENRY
You do remind me of her. Your hair,
your lips... Ava was a beautiful
woman.
Henry and Gia acknowledge a tender moment.
HENRY
And you took after her.
He gives Joe an earnest look.
HENRY
Ever since Elizabeth could walk,
she was always following her mother
around. They were very close.
(pause)
Elizabeth had this way that she'd
walk along, it was exactly like
Ava.
He turns to Gia.
HENRY
When I saw you out back... It was
like I was looking at Elizabeth
again.
Joe reacts optimistically.
HENRY
I've waited twenty years for this
moment. A day hasn't gone by that I
haven't thought of you. Though I
had just about given up all hope
that I'd ever see you again. And I
have you to thank, Joe.
JOE
You don't have to thank me.
HENRY
No...
Henry rises and leaves the room.
Joe is excited with anticipation.
GIA
(whispers)
What's going on?
Gia turns to where Henry went.
JOE
I'm not sure.
Henry returns with a grocery bag.
HENRY
I've stared at this bag for nearly
fifteen years.
He places the bag on the table in front of Joe. Gia's eyes
are fixed on the bag.
HENRY
After Ava died, I decided to put
the money from her life insurance
policy up for the reward.
Gia reacts to the mention of the reward. She shoots a look at
Joe.
Henry pulls out a stack of twenty dollar bills from the bag.
Joe gapes at it, giddy, almost elated.
JOE
I didn't think you'd keep this kind
of cash in the house.
HENRY
Friends thought I was crazy too.
(shakes his head "no")
Keeping this money here was the
safest place. In my heart I knew it
would bring Elizabeth back. Excuse
me...
Henry leaves the room.
GIA
(whispers)
You fucking prick --
Joe puts his hand over her mouth. She twists away.
JOE
Shhh...!
Gia stands.
GIA
This is why we're here?!
JOE
Quiet down.
Joe leads Gia to the LIVING ROOM.
GIA
You knew I wasn't his daughter.
She starts towards the door. Joe stops her.
JOE
I told you we're gonna do some
tests --
GIA
How do you think you're gonna get
away with this? He's gonna see my
arm. What kind of test could you
possibly --
JOE
I've got a DNA test lined up.
Gia looks as if the life had been knocked out of her. Joe
keeps a watchful eye on the kitchen.
JOE
I got a friend who's gonna do a
little favor for me. I show Henry a
piece of paper sayin' you're his
daughter and everybody's happy.
GIA
You're only doing this for the
money. It's just a job for you.
She tries to go towards the door. Joe firmly grabs her.
JOE
I need this money and I'm takin'
it! We can do it nicely. Warm his
heart, give him hope by makin' him
believe I've returned his daughter.
Or I can take that wine bottle and
bash his fuckin' head in until he
gives it up.
(pause)
Do you want to see that?!
Gia reacts to the rage in Joe's eyes.
JOE
Help me out on this one, Gia.
Henry is heard politely clearing his throat.
HENRY (O.S.)
Is everything okay?
Joe and Gia turn to Henry who stands outside the kitchen.
--------------------------------------------------------------
For a copy of the full script, contact Luke Sabis at Luke@MissingChild-movie.com