A beautiful young computer technician starting off her career in Silicon Valley during the Eighties, is stalked and harassed by a nerdy, dangerous and mentally-unstable colleague with a twisted obsession.
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Laura Black has got it. She has got her master's in computer science and she has got that great job in Silicon Valley. Time to say 'bye bye' to mom and dad and to leave Virginia. Everything seems to be fine with one exception. That guy Richard Farley at her new job. If he would stop his attempts to date her. For weeks his psycho terror has been going on now. Laura decides not to let him win. She does not want to be his 'victim'. May be an official complaint about Farley would solve her problem?Written by
When Richard Farley (Richard Thomas) arrives heavily armed at the building where Laura Black (Brooke Shields) works, he notices his former colleague Lawrence Kane (John Durbin) approaching him and says, "Hi Larry". Larry replies, "You can't be serious", when he sees the guns that Richard is carrying and walks on. Then Richard calls, "Hey Larry. Cowboys and Indians". He then shoots Larry and from there his madness escalates. See more »
After Laura's been shot she goes out into the hallway and leans her back against a mural on the wall - the cameraman is reflected in the glass of the mural. See more »
[Chris and Laura are running tests when Chris glances up for a second and sees security guards escorting Farley down the hall]
[Chris gestures towards Farley with his head. Laura looks up to see Farley being escorted off the property. As he walks past, Penny comes into the office]
Richard Farley has been terminated by the company, effective today.
When did this happen?
Late last night.
Laura, do you have a place to go for the weekend?
What do you mean?
Why don' you go ...
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STALKING LAURA, a true story about one man's increasing obsession with a work colleague which leads to eventual tragedy, is an astonishingly good film and quite possibly one of my favourite made-for-TV movies of all time. On the face of it, it looks like every other TV-movie ever made: matter of fact, routine, bogged down with the 'true story' hook. Indeed, for the first half of the production, all is familiar and safe, rather than gripping.
The film is anchored by Richard Thomas delivering a completely surprising turn as the villain of the piece. Thomas underplays it, selling us his nice-guy John Boy Walton character with a few hidden undertones; a little too insistent here, a gaze lingering too long here. Shields is perfectly adequate as the increasingly frustrated object of his obsession, but the film belongs to Thomas.
Then he flips and the film becomes something else: gripping, gutsy, compelling, harrowing and completely shocking. I wasn't expecting what happened next, but from that point in I was glued to the screen. Few films have the guts to tackle such disturbing – and, indeed, increasingly familiar, at least in the news – subject matter, but this movie handles it with aplomb. Kudos then, to both scriptwriter and director for making an unforgettable movie.
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