FADE IN

INT. MARIA'S BEDROOM -- NIGHT

Slow music plays in the background.

Candles flicker throughout the room.

JOHNNY, (25), buff, and MARIA (28), curvy, passionately kiss.

Johnny reaches for Maria's belt buckle.  Maria reaches for his shirt.

Johnny throws her on to the bed.

MARIA
Mmm.  That feels so good.

Her eyes close.

INT. MARIA'S BEDROOM - LATER

Maria sleeps.  Johnny lies awake on his side.

He turns over to kiss Maria on the cheek.  She stirs.

Johnny grabs his pants and rises from the bed.

INT. DANIELS' KITCHEN - NIGHT

JESSICA (21) and SARAH (21), quietly sit at the kitchen table, doing homework.

The radio softly plays slow rock.

EXT. PARSONS' HOME - LATER

A yellow economy car pulls into the driveway.  The motor turns off.

A car door opens and closes.

FOOTSTEPS.

The trunk opens.

A hand holds a flashlight, while another hand searches the trunk.

The hands retrieve a length of rope, a knife and a pistol.

The trunk closes.

A pair of sneakers make their way up the sidewalk to the front door.

A hand inserts the key into the lock and turns.

LOCKED.

A balcony rail hangs a few feet above the front door.

The rope flies up to catch the railing.

The hands pull the rope tight.

INT. PARSONS' KITCHEN - CONTINUOUS

Footsteps sound in the distance.

Sarah looks up.

SARAH
Psst, Jessica.  Do you hear that?

Jessica looks up and turns toward her sister.

JESSICA
Hear what?

SARAH
That noise.  Listen.

They listen quietly.

A SQUEAK.

They stand and move together toward the hallway.

JESSICA
I think it's coming from outside.

INT. DOWNSTAIRS HALLWAY - MOMENTS LATER

They stand by the door.  Jessica leans in, puts her ear to the door.

Jessica stands upright, looks at her sister and shrugs her shoulders.

JESSICA
No one's there Sarah. Must have been imagining it.

SARAH
Maybe we are overtired and hearing things.

Jessica looks at her watch.

JESSICA
No wonder.  It's after midnight.

She yawns.

JESSICA
I'm done studying.  Going to bed.  Night sis.

SARAH
Night.  I'll be there in a sec.  Let me clean up.

Jessica heads upstairs.

INT. KITCHEN -- MOMENTS LATER

Sarah walks back toward the kitchen.

She cleans up the table and shuts off the light.

INT. DOWNSTAIRS HALLWAY - CONTINUOUS

Sarah pauses to check that the front door is locked.  She

adjusts the thermostat as she heads upstairs.

EXT. PARSONS HOME - MOMENTS LATER

The hands untie the rope.

A hand moves to the balcony of the door.

It opens.

INT. UPSTAIRS HALLWAY - CONTINUOUS

The balcony door closes.

A flashlight illuminates the dark hallway.

The floor squeaks as the flashlight closes in on the stairs.

INT. MASTER BEDROOM - MOMENTS LATER

The door opens halfway.  The flashlight reveals MARTHA PARSONS' (40s) sleeping form.

She stirs as the flashlight moves closer.

GLASS BREAKING.

A lamp lies smashed on the floor.

The flashlight ducks out and behind the bedroom door.

Martha awakes but does not move.

MARTHA
(sleepily)
Is someone there?

The sound of a few panicked breaths from the hallway.

The flashlight goes out.

Gentle snoring drifts from the bed.

Two gloved hands wield a knife high over Mrs. Parson's.

They descend.

Blood spatters the sheets.

INT. UPSTAIRS HALLWAY - MOMENTS LATER

Sneakered feet leave bloody footprints down the hallway.

The sound of running water grows louder as the bathroom door approaches.

Jessica stands in the open bathroom washing her face.

Jessica turns suddenly as she shuts off the water.

Something in the hallway draws her attention.

She bends down and fingers a bloody footprint.

She follows the trail to the master bedroom.

INT. MASTER BEDROOM - CONTINUOUS

Jessica cautiously steps through the doorway into the darkened room.

She timidly approaches the bed.

She reaches the end, turns on the light, head towards the bed.

JESSICA
Mom?

She reaches a hand out to her mother's shoulder.

JESSICA
Mom?

She turns on the bedside light.

Martha's bloody and mutilated corpse lies in the bed.

Jessica screams.

INT. UPSTAIRS HALLWAY - MOMENTS LATER

Sarah bolts out into the hallway from her bedroom.

She rushes to the master bedroom doorway.

Her face contorts in pain as she slumps to the floor.

A knife protrudes from her thigh.

Her eyes go wide in shock.

SARAH
YOU!

A pillow, with a pistol pressed to it, descends to her face.

Silenced gunshot.

Sarah jerks and stills.

A pair of gloved hands drag her lifeless body through the doorway.

EXT.  PARSONS' HOME - MORNING

ALAN, (40s), stands on the doorstep.  He knocks on the front door.

No response.

He knocks again.

No response.

He rings the doorbell.

A distant DING DONG.

No response.

He removes a key from his pocket, inserts it into the lock and opens the door.

INT. DOWNSTAIRS HALLWAY - CONTINUOUS

Alan stands in the doorway.

ALAN
Hello!

Silence.

Alan heads up the stairs.

INT. UPSTAIRS HALLWAY - MOMENTS LATER

Alan emerges into the hall.  He spots the trail of bloody footprints in the hall.

Panic overtakes his face.

ALAN
Martha!

He races to the master bedroom doorway.

Alan emits a shrill scream.

INT. MASTER BEDROOM - CONTINUOUS

Martha's corpse lies in a pool of clotted blood.  Her vacant eyes stare at the ceiling.

Alan rushes to the bedside telephone.

He dials 911.

EXT. PARSONS' HOME - LATER

A coroner's van, a police van, two marked police cars, and an unmarked police car sit parked in front of the house.

Two UNIFORMED COPS stretch crime scene tape across the front steps.

A CRIMINALIST marks spots on the sidewalk.

Detective O'REILY, a chunky fifties, and Detective KIRK (40s), stand with Alan by the unmarked police car.

Alan's face bears the marks of shed tears.

ALAN
It's like I said, I came over to pick up my nieces.  When they didn't answer the door, I used my key.  That's when I found them.

O'Reilly hands Alan a business card.

O'REILLY
If you think of anything else, give us a call.  We'll be in touch.

Alan nods politely to the officers.  He turns to leave, but stops a few feet away to watch the activity near the front door.

Two CORONER'S OFFICE WORKERS lead a sheet covered body out to the wagon on a gurney.

Officer RAY, a thin thirty, walks toward O'Reilly.  He holds a zip lock bag raised high in the air.

RAY
Excuse me, Detective?

O'Reilly turns to Ray.

O'REILLY
What is it officer?

RAY
Um... We found this in one of the rooms.  I thought you'd want to see it.

He hands over the bag that contains the gun.  O'Reilly examines the gun through the bag.

O'REILLY
Thanks.  Get this over to the forensics guys.

He hands the bag back to Ray.

O'REILLY
Anything else?

Ray nods.

RAY
We just got a call about another murder about a mile from here.

KIRK
Any connection?

RAY
Apparently the ID we got on one of the vics was a Mr. James Parsons.  The father of the girls murdered here last night.

O'REILLY
Shit!  Thanks.

Ray walks toward one of the marked cars.

KIRK
Somebody had it in for this family.

O'Reilly moves over to Alan.

O'REILLY
Mr. Parsons?  I just got word of another murder that is apparently connected to this one.

ALAN
What do u mean?

O'Reilly sucks in his top lip.  He looks carefully at Alan as he speaks.

O'REILLY
I hate to be the one to tell you this, but your brother was also murdered last night.

Alan's face twists into a mask of anguish and shock.  He brings a hand to his face.

ALAN
Oh my.

Alan blinks as tears fill his eyes.

O'Reilly puts a gentle hand on the man's shoulder.

O'REILLY
Mr. Parsons, where was your nephew last night?

Alan looks away for a moment.  He pulls a scrap of paper from his wallet and a pen from his pocket.  He writes something down and hands it to O'Reilly.

ALAN
His friend's getting married today.

Alan shrugs as O'Reilly and Kirk look at the paper.

KIRK
Again, we're sorry for your loss.  We'll be in touch.

Alan nods absently.

EXT. MIKE'S HOUSE - DAY

Several large white tents, decorated for a wedding, occupy the sprawling backyard.

MC
I present to you for the first time, Mr. and Mrs. Michael White.

KAREN and MIKE, both traditionally attired, enter as Johnny races toward them.  He hugs them both as he grabs Mike.  They begin to dance.

The music plays traditional music, yet upbeat.

EXT. MIKE'S HOUSE - LATER

People eat while dinner music plays.

Johnny sits next to Maria with the rest of the bridal party.  He leans over to give her a peck on the cheek.

Maria appears slightly uncomfortable with the gesture.

Johnny hits an empty glass with a spoon.  The newlyweds share a kiss.

Silence descends as Johnny, glass raised, stands.

JOHNNY
I would like to propose a toast.  To Mike, for finally making an honest woman out of Karen.  Congratulations.

Applause breaks out.

O'Reilly and Kirk appear from the side of the house.

They proceed to the bandstand and O'Reilly leans in to say something to the MC.  The MC points to MIKE'S MOM (50s).

Mike's Mom assumes a puzzled expression as the two men approach.  She smiles politely and nods her head as she stands.

The two detectives take seats as Mike's mom approaches the bridal party.

MIKE'S MOM
Excuse me, but those men need to speak with you Johnny.

JOHNNY
Did they say what they wanted?

Mike's mom shakes her head.

MIKE'S MOM
No, but they say it's important.

Johnny stands as the older woman departs.

JOHNNY
Okay, thanks.
(to Mike)
Excuse me.

Johnny, glass in hand, approaches the detectives.

JOHNNY
Can I help you?

O'REILLY
Are you Johnny Parsons?

JOHNNY
Yes.

HKIRK
Is there some place a little more private we can talk?

Johnny nods as he indicates for them to follow him around the house.

EXT. MIKE'S HOUSE - SIDE - MOMENTS LATER

O'REILLY
My name is Detective O'Reilly and this here is my partner Detective Kirk.

They take out their badges for Johnny to see.  

Johnny's confusion grows.

JOHNNY
What can I do for you?

KIRK
Where were you last night?

JOHNNY
Beg your pardon?

O'REILLY
Were you home last night?

Johnny, still puzzled, shakes his head.

JOHNNY
No, I was with my girlfriend until late last night, and then I spent the night here.

O'REILLY
What time did you get back here?

Johnny scrunches up his eyes as he thinks.

JOHNNY
Two...maybe three?  What's with the questions?

O'Reilly pauses to regard Johnny.  Compassion fills his features.

O'REILLY
Mr. Parsons, I hate to have to tell you like this, but your mother, sisters, father, brother and step mother were all murdered last night.

Kirk studies Johnny's face carefully as the shock wave strikes.  Johnny slumps a shoulder against the house as tears fill his eyes.

KIRK
Mr. Parsons, we understand how difficult this is, but we need just a few more minutes of your time.

Johnny nods as he blinks the tears away.

O'REILLY
Do you have any idea who would want to kill your family?

Johnny shakes his head disbelievingly.

JOHNNY
No.

KIRK
So no one that you know of had a motive to do this?

JOHNNY
I can't think of anyone that could do something so awful.

O'REILLY
One more question, Mr.
Parsons.  Did anyone in the house own a gun?

JOHNNY
No, not that I'm aware of.

INT. NYPD 69TH PRECINCT - LATER

The aging run down police station shows its years.  The detectives sit at scratched up hardwood desks.  The computers remain the only sign of modern technology.

Detective O'Reilly talks on the phone when an OFFICER (20s) walks over to him holding a piece of paper.

OFFICER
Sir?

O'REILLY
Hold on a sec.

O'Reilly wheels in his chair to face him.  He covers the mouthpiece with one hand.

O'REILLY
What is it?

OFFICER
We have a positive ID on the gun.

O'Reilly removes his hand as he speaks into the phone.

O'REILLY
I'll call you back.

He hangs up the phone.

O'REILLY
Let's hear it.

OFFICER
It's registered to Johnny Parsons.  Address is the same as the first crime scene.

O'REILLY
We got him.

O'Reilly stands and nods to the officer.

O'REILLY
Good work.

O'Reilly turns and walks across the detective's room to where Kirk sits at his desk.

O'REILLY
It's his gun.  The son.

KIRK
Weapon of opportunity?

O'REILLY
Let's go see a judge about a warrant and find out why he lied.

Kirk grabs his jacket as they head towards the door.

INT. ALAN'S LIVING ROOM - AFTERNOON

RABBI COOPER (50s) sits next to Johnny on the couch.

Alan, telephone in hand, paces nearby.

ALAN
No, that is not acceptable.
Yes, I understand that you want to find the killer.  I want that too, but an autopsy is out of the question...

The doorbell rings.

ALAN
Hold on.

He hands the phone to Rabbi Cooper.

ALAN
See if you can talk some sense into them.

Rabbi Cooper disappears down the hall with the phone.

The doorbell rings.

ALAN
I'm coming!

He opens the door.  O'Reilly and Kirk stand in the doorway.

ALAN
Detectives.  What can I do for you?

KIRK
We got a warrant to search the premises.

He smiles as he hands it to Alan.

Alan looks at it briefly and hands it back.

He moves out of the doorway to let them in.

O'Reilly notes Johnny.

O'REILLY
(to Kirk)
You search the house.  I'll talk to Johnny.

Kirk disappears down the hall.  Alan flashes Johnny a concerned look before he follows Kirk.

O'Reilly joins Johnny on the couch.  Johnny shoots him a nervous glance.

O'REILLY
I just want to ask you a couple more questions.  My partner and I were talking earlier, and we've agreed that something smells funny about all this.

JOHNNY
What do you mean?

O'REILLY
Well, the murders were committed in the middle of the night.  Everyone was asleep.  Strangely enough, your bedroom was empty last night.

JOHNNY
I was with Maria, and then I spent the night at Mike's.

O'Reilly strokes his chin as he nods.

O'REILLY
Yeah, so you said, but, don't you find it convenient that you just happened to not be home when it happened?

Johnny shrugs uncomfortably as he casts his eyes downward.

JOHNNY
No.

O'REILLY
Well a lot of people do, which is why I need you to come down to the station and answer some more questions.

Johnny laughs.

JOHNNY
You make it sound as if I'm a suspect now.

O'REILLY
We found a gun.  Your gun to be precise was.  The one you said you didn't own.  It was used to commit at least one of the murders.

O'Reilly scrutinizes Johnny's expressionless face.  He reaches into his back pocket and pulls out his CUFFS.

O'REILLY
Johnny Parsons, you are under arrest for the murders of your family.  At this time I have to tell you that you have the right to remain silent.

EXT. ALAN'S HOUSE - MOMENTS LATER

O'Reilly leads Johnny, head down, to the car.

NEIGHBORS come out to look.

O'Reilly assists Johnny into the car.

Alan and Rabbi Cooper run out onto the front steps.

Kirk exits the house and moves to the car.  The engine starts.

INT. FUNERAL HOME - MORNING

Six coffins’ lay side by side in the center of the room.

Memorial flowers abound.

Rows of seated people stretch to the back of the room.

Alan and Maria sit together in the front row.

RABBI COOPER (50s), stocky with a red beard, takes the podium.

                         RABBI COOPER
What can I say about the Parsons family?  I can remember not too long ago when James and Martha came to me about leading the wedding for their son Steve.  Without any hesitation, I said yes.  I've known the family for many, many years.  My wife and I were very close to them.

Tears stream down Alan's face.  Maria pats his arm as she hands him a tissue.

RABBI COOPER
When I heard the news of these meaningless deaths, I...

His voice breaks as tears fill his eyes.  He looks up.

RABBI COOPER
The girls were so young.  I remember...

He pauses.

RABBI COOPER
I remember when Sarah came to me for a blessing before her trip.  Jessica.  I even had a boy for her, but she told me he was too old for her.  I said what you don't trust your rabbi?

The audience chuckles as the rabbi takes a sip of water.

RABBI COOPER
I take a look at the crowd here today, and see many faces.  You'll also notice that the one person who most needs to be here.  The one person who is perhaps grieving the most over this tragedy can't be here.  I ask you to remember him in his time of need and trial.

EXT.  BROOKLYN COURTHOUSE - MORNING

INSERT TITLE: "Five Months Later"

Reporters and cameramen are outside.  All at once, a very upset young man JOHNNY PARSONS bolts out of the courthouse.  He is quickly followed by bailiffs, attorneys, and a young girl MARIA SANTIAGO.  The young girl catches up to the young man and tries to console him.

MARIA
(crying)
Johnny, calm down.  Please, baby.

JOHNNY
(very angry)
Leave me alone!!  Everyone, just leave me alone!!!!

And without thinking, Johnny runs into the street.

MARIA
(hysterically crying)
Johnny!!!  Stop!!!  Don't do this!!!

Johnny doesn't stop.  Seconds later, a gunshot is heard

FREEZE FRAME

MARIA
I don't know why he didn't stop.  Maybe he couldn't hear me.  Maybe all he could hear were the confused voices in his head.  Maybe he didn't want to hear anybody.  We never really know why we do anything.  His heart was so broken...his will was completely demolished...his soul was tormented beyond anyone's comprehension.  Maybe that's what led him to do what he felt he had to do.  Maybe...o

DISSOLVE TO:

EXT.  BROOKLYN COURTROOM -- DAY

INSERT: A FEW DAYS EARLIER

Members of the news media, television, radio and newspaper, have crowded outside the courthouse steps, awaiting the arrival of the defendant, Johnny Parsons.  

A plain white van approaches the courthouse.  The DRIVER sees the melee and heads for an underground entrance.

DRIVER
Sorry, Parsons.  Can't take you in that way.  We'll have to go underneath.  It might take a few extra minutes, but you'll be safer.

Johnny quietly nods and watches the confusion outside the courthouse as they go around the corner.

EXT. BROOKLYN COURTROOM -- CONTINUOUS

A packed house.  All twelve members of the jury as well as family and friends of the prisoner.  As the doors open, BARRY KEMP, 34, the District Attorney, and Defense Attorney WINSTON FRANKEL, 42, make their way to their respective places.  Both are dressed appropriately for court, with Winston dressing like the successful defense attorney he is.

BARRY
This could be one for the books. 

WINSTON
I know.  It could turn into a media circus as well.

Both sides hear the sound of a door opening.

They turn around to see Parsons, fully dressed in a suit, being led to the defense table.  Frankel also walks to the table, sits down and gets a few words in with his client before the trial starts.

WINSTON
Hi Johnny.  You doing okay?

JOHNNY
I'm fine, Mr. Frankel.

WINSTON
Good.

The bailiff arrives.  Winston notices.

WINSTON
Show time.

BAILIFF
All rise!  The third circuit court for the County and City of New York...and the Borough of Brooklyn... is now in session... The honorable Judge Carol Hartmann presiding.

Judge Hartmann arrives out from her chambers.  She has a stack of papers in her hand that looks like the size of a phone book.

JUDGE HARTMANN
You may be seated.  Bailiff, please call the first case.

BAILIFF
The State of New York versus John Vincent Parsons...Charge is murder in the first degree in the deaths of  James Parsons, Bruce William Parsons, Jessica Marie Parson, Martha Parsons, and Sarah Parsons.

BARRY
(standing)
The people move to waive reading of the charges and go directly to opening statements.

JUDGE HARTMANN
Any objection from the defense Mr. Frankel?

WINSTON
(standing)
No objections, your honor.

JUDGE HARTMANN
Very well.  Mr. Kemp, are the people ready with their opening statements?

BARRY
We are, your honor.

JUDGE HARTMANN
You may proceed, Mr. Kemp.

Kemp moves around to the front of his table as Winston sits.

BARRY
Good morning your honor, ladies and gentlemen.  Five months ago, a tragedy took place in two Brooklyn homes.  That tragedy was the destruction of a beloved family.  John Vincent Parsons, the man you see sitting over there, committed those murders in cold blood.  During the course of this trial, the prosecution will present evidence that will prove without a doubt that Mr. Parsons committed these murders with malice and forethought...that they were per-meditated...and that after all the evidence is presented, you will go back in that jury room and come back here with a guilty verdict and a sentence of penalty of death.  Thank you.

Kemp pauses in front of the jury box for just a moment, then returns to his seat at the prosecution table.  Judge Hartmann makes a few notes as the courtroom remains hushed.

JUDGE HARTMANN
Mr. Frankel, are you ready with your opening statement?

WINSTON
Yes, your honor.

JUDGE HARTMANN
Please proceed.

Winston stands and walks to the jury box.  He takes a second before starting his statement.

WINSTON
Good morning your honor, esteemed members of the jury.  My client, John Vincent Parsons, is accused of murdering his entire family in cold blood.  That he pre-mediated these killings.  He was treated like crap by members of his family over a period of time.  This may have led to anger and resentment Mr. Parsons felt, and maybe the reason for his actions.  Some say it could be self defense.  Maybe he's ill and should be treated.  But, Mr. Parsons is NOT a cold blooded assassin.  He is a troubled young man who needs help...OUR help.  Once you hear the entire story, you will see why a verdict of guilty would not be beneficial.  Once you know the mind of John Parsons, you will be able to get him the help he needs.

He sits back down and gives a quick glance to the prosecution.  Barry looks back in confusion.

JUDGE HARTMANN
Thank you, Mr. Frankel.  Is the prosecution ready to begin?

BARRY
We are your honor.

JUDGE HARTMANN
Then call your first witness.

BARRY
Very well.  The prosecution calls Linda Peters to the stand.

They all turn to see LINDA PETERS, 55, slowly make her way to the stand.

BAILIFF
Raise your right hand.
(she does)
Do you swear to tell the whole truth, and nothing but the truth, so help you God?

LINDA
I do.

BAILIFF
You may be seated.

Barry rises and approaches the bench. 

BARRY
Ms. Peters, can you please tell the court about your relationship with the defendant?

LINDA
I have been a family friend for about three years.

BARRY
How well do you know Mr.
Parsons?

LINDA
Well I was mostly friends with his mom.  John was hardly home.

BARRY
I see.  Did you happen to be around on the night of the murders?

LINDA
Sort of.  I heard yelling and screaming, but at the time, I wasn't sure where it was coming from.  It was late.

BARRY
Did you go check?

LINDA
I went to the window, but the noise had stopped.

BARRY
Do you remember the time?

Linda nods.

LINDA
My alarm clock read 12:37.

BARRY
Thanks, no further questions.

JUDGE LOMBARD
Mr. Frankel?

WINSTON
I have nothing your honor.

JUDGE LOMBARD
(to Linda)
You may step down.  Mr. Kemp, proceed.

Linda returns to the gallery as murmurs arise.

BARRY
I would like to call Alan Parsons to the stand.

Silence descends as Alan takes the stand.

BAILIFF
Do you swear to tell the whole truth and nothing but?

ALAN
Of course.
(awkwardly)
I do.

BARRY
Mr. Parsons, could you please state your name and occupation for the record.

ALAN
Alan Jay Parsons.  I own my own photography place.

BARRY
And you lived next door to the Daniels family?

ALAN
Yes.

BARRY
How close were you to them?

ALAN
Very close.  Johnny is my nephew.

BARRY
You lived next door to them.

ALAN
Yes.

BARRY
You found the bodies?

Alan nods hesitantly.

ALAN
Yes.

Barry retrieves several PHOTOS from his table.  He looks to Alan with forced compassion.

BARRY
Now Mr. Parsons, I know this is hard for you, but is this what you found?

He lays the photographs in front of him.

Alan glances at them and then quickly looks up.  A tear forms in his eye.  His voice breaks.

ALAN
Y...yes.

BARRY
Your honor, the prosecution would like to enter into evidence exhibits one through seven.  The crime scene photographs of the murders.

He scoops them up and lays them before the judge.

JUDGE HARTMANN
Mr. Frankel?

Winston stands.

WINSTON
We have no objection your honor.

He sits.

JUDGE HARTMANN
So noted.  The court will enter into evidence exhibits one through seven.

The bailiff retrieves the photos from the judge and hands them to JUROR 1.  The jury looks through them as the trial proceeds.

BARRY
Mr. Parsons, does your
nephew have a history of mental illness?

Winston gets on his feet.

WINSTON
Objection!  Heresay!

JUDGE HARTMANN
Sustained.

Winston sits.

BARRY
Mr. Parsons, did your nephew ever discuss his psychiatric treatment with you?

ALAN
Yes, when he was younger, sometimes I'd take him to see his shrink when his mom couldn't.  He told me once that the doctor just didn't get that his parents were out to get him.

BARRY
Out to get him?

ALAN
At the time I thought it was just kid stuff, but he thought that his parents, his father in particular, enjoyed making him suffer.

BARRY
Now Mr. Parsons, did you ever see your nephew fight with his immediate family members?

Alan nods.

ALAN
Yes.

BARRY
Violently?

Alan nods.

ALAN
Just the once.  A couple of weeks before the murder he and is sister Sarah were out in the front yard.  There was a lot of wrestling and name calling.  I was about to break it up, but their mom came out and shushed em' inside.

BARRY
Do you know what they were fighting about?

ALAN
Sarah was screaming that he'd stolen from her.

Barry smirks.

BARRY
Thank you.  No further questions your Honor.

Barry returns to his seat.

JUDGE HARTMANN
Mr. Frankel?

Winston rises and makes his way quickly to the front.

WINSTON
Mr. Parsons, Johnny's father was your brother, correct?

ALAN
Yes.

WINSTON
Did you two ever fight?

ALAN
When we were kids.

WINSTON
Yes or no Mr. Parsons.

ALAN
Yes.

Winston nods.

WINSTON
Did you kill him?

Barry leaps from his seat.

BARRY
Objection!

WINSTON
Withdrawn.  Nothing further your Honor.

Winston returns to his seat.

JUDGE HARTMANN
(to Alan)
You may step down.

Barry pauses to leaf through a legal pad on the prosecution table.

BARRY
The prosecution would now like to call Dr. Lynn Matthews to the stand.

DR. MATTHEWS, an attractive forties, makes her way to the front as murmurs arise.  She carries a folder in one hand.

BAILIFF
Raise your fight hand.

The room quiets as she does so.

BAILIFF
Do you swear to tell the truth, the whole truth, and nothing but the truth.  So help you God?

DR. MATTHEWS
I do.

JUDGE HARTMANN
Please be seated doctor.

Dr. Matthews places the folder in front of her.  She collects her skirt around her thighs as she sits.

Barry approaches.

BARRY
Dr. Matthews, as you know, you've been called here to testify about Mr. Parsons' state of mind in the days following the murders.  Can you state for the court your full name and occupation, please?

DR. MATTHEWS
Doctor Lynn Anne Matthews.
I'm a practicing psychiatrist, but I occasionally do some contract work for the NYPD.

BARRY
And was Johnny Parsons such a contract case?

DR. MATTHEWS
Yes.

BARRY
When did you first meet with him?

DR. MATTHEWS
Two days after the murders took place.

BARRY
What, in your professional opinion, was his state of mind during your first meeting?

Dr. Matthews carefully chooses her words.

DR. MATTHEWS
He was withdrawn at first, but when I asked him about the murders he became confrontational.

BARRY
Was that unusual?

DR. MATTHEWS
In most cases yes.  Having never interviewed him before I can't know what a normal grief response is for him, but it was outside the norm.

BARRY
Did you perform any tests on Mr. Parsons?

DR. MATTHEWS
Yes.

BARRY
And your conclusions?

She consults the folder.

DR. MATTHEWS
While Mr. Parsons appears both rational and lucid, he exhibits no emotion towards the murders of his entire immediate family.  Possible sociopathic tendencies should be further explored.

BARRY
And did you explore them?

Dr. Matthews shakes her head.

DR. MATTHEWS
No, there was insufficient time.

BARRY
Can you explain to the court in layman's terms what sociopathic tendencies are?

Dr. Matthews smiles gently at the request.

DR. MATTHEWS
It basically means that he is unable to care for or have feelings for anyone or anything that does not directly benefit him.

Barry smiles broadly.

BARRY
Thank you, no further questions.

Barry nods to the judge as he returns to his seat.

Winston slowly makes his way toward Dr. Matthews.

WINSTON
Does everyone grieve in the same way?

Dr. Matthews chuckles lightly.

DR. MATTHEWS
No.  The stages are the same, but the process is different for everyone.

WINSTON
And isn't it true that one of those stages is denial?

DR. MATTHEWS
Yes, it is.

WINSTON
In your professional opinion, is it possible that you misread these alleged sociopathic tendencies for denial?

Dr. Matthews pauses for a moment.

DR. MATTHEWS
Unlikely, but yes, it's possible.

WINSTON
Thank you.  Nothing further.

INT. RIKER'S ISLAND - LATE

Alone in his cell, Johnny seems lost and confused.

The sound of footsteps approaching.

Winston appears, at the cell door, escorted by a GUARD.

The guard opens the cell door and John enters, closing the door behind him.

WINSTON
Hi John, how are you holding up?

JOHNNY
Under the circumstances, the best I can be, I expect.

Winston paces briefly before he joins Johnny.

WINSTON
We took a beating out there today.  Not totally unexpected, but worse than I anticipated.  I'm sorry.

JOHNNY
So what do we do about it?

WINSTON
I need the whole truth.  I need to know everything that happened.

JOHNNY
I told...

WINSTON
Everything Johnny.  Everything.  I know you're hiding something from me.  I need you to open up to me.

JOHNNY
I can't.

WINSTON
Why?

JOHNNY
I don't know.  I...it's...  it's complicated.

WINSTON
Johnny, if they find you guilty you'll get the death penalty.

JOHNNY
So?  Maybe I'm better off.

WINSTON
This isn't funny.  I need the whole truth from you, and I mean the whole truth.

Johnny thinks for a moment.

JOHNNY
I will admit to everything Winston.  Including who killed my family.

WINSTON
I'm listening.

JOHNNY
No, not here, not now.

Winston, puzzled, looks to Johnny.

WINSTON
Then where?  When?

JOHNNY
Put me on the stand.  Let me testify.

WINSTON
Absolutely not.  Out of the question.

JOHNNY
You know that I know who the killer is, but I will not say who unless you put me on the stand.  Understood?

WINSTON
A threat, huh, John?

JOHNNY
No, just telling it like it is.  You're my lawyer.  You're paid to listen to your client.  So listen to me.  I know exactly what I'm doing.
Put me on the stand and I'll tell the whole story from
beginning to end.

Winston, visibly troubled, considers the proposition.

WINSTON
All right, you win.

Winston prepares to leave.

WINSTON
Guard!  We're done here.

The guard approaches and opens the cell.

WINSTON
Good night Johnny.  Sleep well.

JOHNNY
You too.

Winston steps out.  The cell closes and audibly locks.

INT. ESPN SPORTS ZONE - NIGHT

A large sports bar.  Several different types of sports are playing on the big screens.

PAUL, GARY and CINDY, all thirties, sit together at a table.  Winston enters the bar and looks around.  Gary spots him and waves.

GARY
Winston, hey Winston, over here!

Winston looks around the room and notices his friend waving at him.  He moves over to their table.

WINSTON
Paul, Gary, Cindy.  Glad you made it.

PAUL
Well, we needed some drinks.
It's been a long rough day.

WINSTON
I know, tell me about it.

CINDY
What do you mean?

WINSTON
You remember that case I was telling you about?

A WAITRESS arrives.

WAITRESS
Can I get you something?

WINSTON
A round of beers and a sandwich platter for four.

The waitress writes it down quickly.

WATIRESS
Coming right up.

The group waits for the waitress to depart.

GARY
So you were saying?

WINSTON
You know that murder trial I'm in the middle of?

GARY
What of it?

WINSTON
My client wants to testify.

PAUL
Not exactly unheard of.  Not smart, but not unheard of.

The waitress arrives with their order.

PAUL
Thanks.

WAITRESS
Enjoy.

She departs with a slight smile.

CINDY
What did you tell him?

WINSTON
I tried to talk him out of it, but he's determined to tell his story from beginning to end in front of the jury.

Gary shrugs.

GARY
So, he's brainless, but at the end of the day, it is his call.

INT. RIKER'S ISLAND - JOHNNY CELL - LATER

Johnny finishes a letter.  A guard stands off to the left of Johnny's cell.

JOHNNY
Dear Maria, Sorry I haven't written in a while, but life has been a little overwhelming lately.  I've convinced my lawyer to put me on the stand to tell the jury what really happened.  I do wish you would come and pay a visit and or at least come to court.  It's not looking good for me.  Hope to see you soon.  Love always, Johnny.

Johnny looks up and over at the guard.

JOHNNY
Excuse me, sir?

The guard turns to Johnny.

GUARD
Yes?

JOHNNY
Can you see that this gets to where it has to go?

Johnny hands him the letter through the bars.

JOHNNY
Thanks.

The guard nods and walks away.

INT. BROOKLYN COURTHOUSE

The increased number of gallery members forces some to stand.  Johnny sits at the defense table.

Winston enters the courtroom, takes note of the crowd and walks over to his seat.  He glances over at the prosecution as he sits.

The judge arrives and makes her way over to the bench, with her eyes fixed on the defense table.

BAILIFF
All rise.

All stand.

Judge Hartmann nods to the assembled and sits.

JUDGE HARTMANN
Let's get this started.

All sit.

JUDGE HARTMANN
Counsel, call your first witness.

WINSTON
Your honor, the defense calls Johnny Parsons to the stand.

Johnny stands and walks slowly to the witness box.  He shakes slightly.

He looks around the room expectantly before disappointment clouds his features.

The Bailiff holds the Bible out to Johnny.

BAILIFF
Raise your right hand.

Johnny slowly complies.

BAILIFF
Do you swear to tell the whole truth and nothing but the truth so help you God?

JOHNNY
I do.

Barry can not contain his smirk.  The judge gives him a stern look.

BAILIFF
You may be seated.

The bailiff returns to his position.

Johnny sits.

Winston and Barry exchange evil looks as Winston makes his way towards his client.  He sets some papers down near Johnny.

Johnny brightens.

Winston paces.

Judge Hartmann becomes impatient.

JUDGE HARTMANN
Mr. Frankel, is something wrong?

JOHN
No, your honor.  I just need a minute.

JUDGE HARTMANN
I think you just took one.
Let's get on with it, shall we?

WINSTON
Yes ma'm.

Winston returns his attention to Johnny and whispers to himself.

WINSTON
It's now or never Winston.

Winston takes a deep breath before speaking again.

WINSTON
Good morning, Johnny.  Before we get to your story I need to ask you something, okay?

Johnny nods his assent.

WINSTON
Your parents were divorced, correct?

JOHNNY
Correct.

WINSTON
For how long?

JOHNNY
Since 1987, I believe.  I was very little, so I'm not really sure.

WINSTON
Would you say that you had a good relationship with your family and/or parents?

BARRY
Objection, relevance.

Winston's gaze moves from the jury to the prosecution and finally to the judge.

WINSTON
I am getting to it your honor.  Just let me get through this line of questioning and you'll understand.

JUDGE HARTMANN
Very well, I'll allow it.  I'm curious myself as to where you're going with this.  Overruled.

Winston smiles.

WINSTON
Thank you, your honor.  Now, as I was saying...am I correct in saying that your family's relationship was fairly good after the divorce,  in that even your parents got along?

JOHNNY
Yes sir.

WINSTON
But then it all came crashing down, didn't it?

JOHNNY
Yes it did, but not right away.  Things started to fall apart after my father remarried.

WINSTON
Tell us what happened.

Johnny begins slowly as he carefully chooses his words.

JOHNNY
My sister, who had been overseas for two years, surprised us by coming home two days early.

Johnny leans in as he closes his eyes.

INT. JOHNNY'S BEDROOM - AFTERNOON

INSERT TITLE CARD: FIVE MONTHS EARLIER 

Johnny sits at his desk chatting on-line.

JOHNNY
It was a beautiful day.  Nice and quiet.  Just like I like it. I was in a fairly good mood.  That is, until my sister came barging into my room like a raving lunatic.

Jessica bursts in.

JESSICA
Johnny, go downstairs.  Dad wants to have a talk with you.

JOHNNY
Tell him I'll call him later.

Jessica stomps her foot.

JESSICA
No, downstairs, now.

JOHNNY
Okay, okay, sheesh.

INT. STAIRWELL - CONTINUOUS

Johnny travels from the third to first floors quickly.

INT. LIVING ROOM - MOMENTS LATER

Johnny emerges through the doorway into the spacious room.  He is met by a graying JAMES (40s) and Sarah.

Surprise strikes Johnny.

JOHNNY
Hi Dad.  Sarah?  What are you doing home?

James turns, red faced, to Johnny.  He seethes.

JAMES
Don't you hi dad me.  You owe your sister an apology.

Johnny's confused.

JOHNNY
What do you mean?

JAMES
Well let me see.

James runs a hand through his salt and pepper beard.

Johnny stiffens.

JAMES
Your sister is overdrawn on her bank account to the tune of six hundred dollars.  I'm only going to ask this once.  Did you take the money?

Johnny shakes his head.

JOHNNY
Absolutely not.

Jack's voice is chillingly calm.

JAMES
You're a damn liar.

Johnny backs up a little.  He trembles slightly.

JAMES
I'm going to the bank with Sarah tomorrow.  It'll go better for you if you fess up now.

JOHNNY
I can't confess to something I haven't done.

Sarah's eyes fill with tears as she screams.

SARAH
I want my money back!  I know you took it!

Johnny scoffs.

JOHNNY
I don't think so.

JAMES
John, do I look like an idiot to you?  This isn't the first time you've done this.

Johnny folds his arms as he leans back into the door frame.

JOHNNY
Well you owe me money too.

JAMES
From when?

JOHNNY
When I helped you move the business.

Johnny's lips thin across his face.

JAMES
Fine, I'll give Sarah a hundred dollars.

JOHNNY
That's not fair!

JAMES
And stealing from your sister is?

Johnny turns and storms up the stairs.

INT. JOHNNY'S BEDROOM - A LITTLE LATER

Johnny sits, fuming at his desk.

Jessica and Sarah burst through the door and begin tossing the room.

Johnny stands, speechless, as he watches them finger his things.

Finding nothing, they leave.  Sarah slams the door behind them.

Johnny fumes for a moment.  He locks the door.

INT. GIRLS' ROOM - A COUPLE MINUTES LATER

Jessica helps Sarah unpack.

Sarah comes across a bag of small presents and hands one to Jessica.

Jessica indicates the other gifts.

JESSICA
Are you going to give Charlie his present?

SARAH
After what he did?

A cruel smile overtakes Sarah's face.

SARAH
In fact, I think I'll tell him that.

Sarah rushes out the door.

INT. HALLWAY - CONTINUOUS

Sarah stands outside Johnny's closed door.

SARAH
I brought you a present from Israel, but you're not getting it anytime soon.

JOHNNY (O/S)
Fine!  I don't want your stinkin' present anyway.

Sarah turns triumphantly toward her door.  She places a hand on her door knob and pauses.

SARAH
And as far as I'm concerned I have no brothers!

She returns to her room.

INT. GIRLS' ROOM - CONTINUOUS

Sarah enters and flops down on the bed.  Jessica looks up at her quizzically.

JESSICA
What happened to Bruce?
Isn't he still your brother?

SARAH
Not after last night.

Jessica leans in closer with interest.

JESSICA
What happened last night?

SARAH
He picked me up at the airport, but I couldn't spend the night because of Sheila.

Jessica's disappointment shows.

JESSICA
So you disown him?

SARAH
He didn't even try to put his foot down.  He just said okay, and I ended up at Dad's house.

INT. BROOKLYN COURTROOM - AFTERNOON

The stenographer's rapid typing is the only sound.

JOHNNY
That's when the trouble started, but by the next weekend, things had gone from bad to worse.

The jury intently watches the proceedings.

Judge Hartmann bangs her gavel.

JUDGE HARTMANN
We'll recess here and pick up after lunch.

BAILIFF
All rise.

The room stands as Judge Hartmann sweeps out.  The room's voices merge into white noise.

Johnny stands and exits the witness box.  Winston moves over to his side.

WINSTON
How you holding up?

Johnny shrugs.

JOHNNY
Pretty well.

WINSTON
Good.  Let's get you some lunch.  There's no telling what they're going to throw at you later on.

Winston walks Johnny over to the awaiting guards.

INT. COURTHOUSE HOLDING CELL - LATER

Johnny sits nibbling on a sandwich.

Rabbi Cooper, escorted by a guard, appears.

GUARD
Here we are.

Rabbi Cooper pulls up a chair while the guard takes a nearby position.

Johnny greets the rabbi with a warm smile.

JOHNNY
Rabbi Cooper, this is a surprise.  To what do I owe this visit?

RABBI COOPER
You're like family to me Jonathan.  I thought I'd come by to see how you're doing.

JOHNNY
Thanks.  No one's come to visit.

Rabbi Cooper adopts a pensive expression.

RABBI COOPER
That's a shame.  I'm sorry.

A moment of awkward silence.  Rabbi Cooper looks down briefly.

RABBI COOPER
 Look, John, we need to talk.

Johnny pulls his chair closer to the bars.

A pained look overcomes Rabbi Cooper.

RABBI COOPER
Why'd you do it son?

JOHNNY
What makes you think I did it?

RABBI COOPER
I know you Johnny.  Probably better then you know yourself.  God knows.  He knows everything.  He knows what you're capable of better than I do. So tell me, why did you do it?

Johnny looks to the ceiling as he chuckles lightly.

JOHNNY
I don't believe this.  You too?

RABBI COOPER
Not an answer.

Johnny laughs loudly.  His voice fills with menace.

JOHNNY
You know what?  I wish I did do it.  I felt like a robot, you know?

The rabbi leans in a little closer.  His concern evident.

RABBI COOPER
No, I don't.  Enlighten me.

JOHNNY
I wasn't appreciated.  It was like whatever my sisters wanted they got, but when it came to me it was like I never existed.

RABBI COOPER
So you killed them out of envy?  You should have come to speak with me or my wife.

JOHNNY
I didn't kill them!

The rabbi remains calm, but repositions himself back slightly.

RABBI COOPER
Look, John, the torah says it's a sin to commit murder.  And what you...whoever did, it's just beyond words.

He looks to Johnny for a response and gets nothing but a blank stare.

RABBI COOPER
It's never too late.  If you pray, it may help your cause.  God can answer you and you may be lucky.

Rabbi Cooper stands and nods to the guard as he repositions his chair.

He turns back to Johnny.

RABBI COOPER
It's never too late for anyone.  You know how we ask forgiveness on Yom Kippur?  God sees the remorse in all of us and lets us live another year because he knows we can better ourselves.  Pretend this is Yom Kippur.  Pray like you've never prayed before and maybe, just maybe,
God will find it in his heart to forgive you.

Rabbi Cooper turns back and follows the guard out.

Johnny calls after him.

JOHNNY
I've done nothing to be forgiven for.

INT. BROOKLYN COURTROOM

People file in.  Members of the press mix conspicuously amongst the gallery.

Winston makes his way in through a side entrance.  Johnny follows.

Barry and the rest of the prosecution arrive.

The Bailiff raises his hand for quiet.

The room settles down.
BAILIFF
All rise.  The Honorable Judge Hartmann now entering.

The gallery rises.  Judge Hartmann enters and takes her seat on the bench.

The gallery sits as the judge settles in.

JUDGE HARTMANN
Court will now resume.  Mr. Frankel?

Winston nods as he stands.

WINSTON
The defense recalls the defendant to the stand.

Johnny rises and walks quickly to the witness box.

JUDGE HARTMANN
Reminder Mr. Parsons, you are still under oath.

Johnny nods politely to the judge as he sits.

Winston retrieves a legal pad from his table and moves over to Johnny.

He glances at the pad as he begins to move about the front of the room.

He looks up at Johnny.

WINSTON
Johnny, before we broke for lunch, you stated that your sister had been overseas.  Why was she away?

JOHNNY
She was studying.

WINSTON
What happened next?

Winston makes his way back to stand near the defense table.

JOHNNY
Well, a week went by.  I went to spend the weekend at my friend's house for a bachelor party.

EXT. PARSONS' HOUSE - AFTERNOON

Johnny, holding an overnight bag, sits on the steps.

A Ford Taurus pulls up.

Mike exits the car.

MIKE
Hey dude.

He opens the trunk.  Johnny walks up and drops his bag inside.

Mike closes the trunk and they get inside the car.

INT. MIKE'S CAR - CONTINUOUS

Johnny looks through Mike's CD case, while Mike drives.

Johnny selects a disk and pops it in.

80s music plays.

JOHNNY
Pretty cool CD.

MIKE
Adam burned it for me.

JOHNNY
Who's Adam?

MIKE
You'll meet him at my house this weekend.

INT. MIKE'S HOUSE - A LITTLE LATER

A fireplace takes up one wall.

Several YOUNG MEN sit around the room.

Mike enters through the front door with Johnny close behind.

A cute PUPPY bounds up to greet them.

Johnny drops his bag near the fireplace.

Johnny addresses the group.

JOHNNY
Hi.

MIKE
Guys, this is Johnny.

ADAM (20s) stands and shakes Johnny's hand.

ADAM
Adam, nice to meet you.

JOHNNY
Ditto.

MIKE
I'll be right back.

INT. MIKE'S HOUSE - DINING ROOM - LATER

Mike's family and friends sit around the table.  Glasses of champagne sit at each place.

DAD (50s) raises his glass.

The others follow suit.

DAD
To Mike and his bride to be.

ALL
To Mike.

They all drink.

JOHNNY
That was a great weekend.  I didn't know it at the time, bit it was to be my last great weekend.

EXT. PARSONS' HOME - NIGHT

Johnny grabs his bag out of the trunk of Mike's car.

Johnny gives Mike a parting hug.

JOHNNY
I guess I'll see you at the wedding.

MIKE
Yup, see ya there.

Johnny disengages and makes his way to the door as Mike gets into his car.

Johnny pauses at the doorstep to wave.

The car departs as Johnny turns and opens the door.

INT. PARSONS' HOME - MOMENTS LATER

Johnny enters the darkened living room.

Two cats run up to him and rub on his legs.

MARTHA (O/S)
Johnny!

Johnny turns to the stairwell and starts up the steps.

INT. JOHNNY'S BEDROOM - MOMENTS LATER

Johnny enters the darkened bedroom and turns on a light.

He surveys the disheveled room.

A puzzled look that quickly turns to anger overcomes his face.

Johnny bolts out the door.

INT. PARSONS' KITCHEN - MOMENTS LATER

Johnny bursts in on Martha.

JOHNNY
Who took my video games?

Martha speaks matter of factly.

MARTHA
Your father and I told the girls to take anything that they might be able to sell.

JOHNNY
What the hell?  Why?

MARTHA
Because of what you did.

JOHNNY
Fuck this shit!

Johnny races out of the room.  Martha follows.

INT. GIRLS' ROOM - MOMENTS LATER

Johnny bursts into the unoccupied room.

He spies the connected video game system.

JOHNNY
Aha!  I knew it!  I paid for this!

Martha appears in the doorway.

MARTHA
You're going to cause more trouble for yourself.

JOHNNY
So?

Johnny unplugs the game system and begins to carry it out of the room.

He stops, and turns back toward the room.

He kneels in front of the bed and slides the game system underneath.

MARTHA
They found Ray's credit card in your and some of Jessica's checks in your room.  You're in a lot of trouble Johnny.

Johnny looks up and stares blankly at her.

MARTHA
Why did you do it?  Tell me.

Tears fill Johnny's eyes but refuse to fall.

JOHNNY
You want the truth?

MARTHA
That would be a refreshing
change.

JOHNNY
Dad.

MARTHA
Your father?

Johnny nods as he stands.  He blinks back the tears.

JOHNNY
When it comes to me, he turns away.  Never enough cash to go around when I need something.  He doesn't treat us kids equally.

MARTHA
That still doesn't give you the right to do this.  If you have a problem with your father, then you need to talk to him, not take it out on the rest of us.  You should really think about going back into therapy.

Johnny nods.

JOHNNY
I'll think about it.

INT. JOHNNY'S ROOM - LATER

Johnny lies sleeping in his bed.

Sarah bursts through the door.

SARAH
Johnny!  Give me back the video game!

Johnny starts awake.

JOHNNY
Fuck you.  It's mine.

SARAH
Mom and Dad said I could take anything up to five hundred dollars!

Johnny jumps out of bed.

JOHNNY
We'll see about this!

He grabs the telephone.

Sarah slumps against the wall.

Johnny dials.

INTERCUT AS NEEDED WITH FATHER'S HOME

AGNES (40s) answers the phone.

AGNES
Hello?

Johnny speaks calmly.

JOHNNY
Hi Agnes, sorry for calling in the middle of the night, but I need to talk to Dad.  It's important.

AGNES
Hold on.

James appears on the phone.  His voice sounds sleepy.

JAMES
Hello?

JOHNNY
Hi Dad, it's Johnny.  Um...I was sleeping, and Sarah came barging into my room like a raving lunatic.

James sounds annoyed.

JAMES
Are you five years old?
We'll talk about this later.
Put your sister on the phone.

Johnny hands Sarah the telephone.

He watches her disapprovingly as she paces with the phone.  She nods her head frequently.

SARAH
Okay Dad, Bye.

Sarah hangs up the phone and leaves the room without looking at Johnny.

Johnny shakes his head after her and returns to his bed.

INT. JOHNNY'S BEDROOM - EARLY MORNING

Johnny lies sleeping in bed.

The telephone rings.

Johnny stirs with a groan.

The telephone rings.

Johnny blindly reaches for the phone.

JOHNNY
Hello?

MUFFLED VOICE (V/O)
I hope you're up and dressed.
I'm picking you up in twenty minutes.

JOHNNY
Who is this?

CLICK.

INT. JOHNNY'S BEDROOM - A LITTLE LATER

Johnny dresses.

Modern music plays.

Johnny glances out of his window, and freezes.

A police car sits parked in front of the house.

Johnny hurriedly dons his sneakers and bolts from the room.

EXT. PARSONS' HOME - MOMENTS LATER

Johnny exits the house and heads down the sidewalk away from the empty police cruiser.

He takes out his cell phone and dials.

EXT. BROOKLYN NEIGHBORHOOD - LATER

Johnny stands on the corner.

A sedan pulls up a few feet away.

Johnny opens the passenger side door and climbs in.

INT. MARIA'S CAR - CONTINUOUS

Johnny greets MARIA (20s) with a kiss.

MARIA
What's up?

She puts the car in drive and they take off down the street.

JOHNNY
You would not believe the week I've had.

INT. MARIA'S CAR - LATER

Maria navigates through light highway traffic.

Johnny stares absentmindedly out the window.  The ocean becomes visible on the other side of the guardrail.

Suddenly, Johnny turns to Maria.

JOHNNY
Pull over!

Maria regards him unbelievingly.

MARIA
Johnny, are you nuts?

Johnny gestures with his hands.

JOHNNY
I know, just trust me.

He pleads with his eyes.

MARIA
That's not fair.

JOHNNY
That's why I do it.

He smirks. 

Maria pulls the car to the right shoulder.

EXT. BEACH - LATER

Cars zip past on the nearby highway.

Johnny walks hand in hand along the beach.

Johnny inhales deeply.

JOHNNY
Ahh!  Don't you love that smell?

Maria wrinkles her nose at him.

MARIA
I guess.

Johnny releases her hand and steps a few feet away to the edge of the water.

Maria watches him curiously.

MARIA
What's up?

Johnny turns to face her.

JOHNNY
There's something I've been meaning to ask you.

MARIA
You know you can ask me anything.

Johnny nods and takes her hand.  He hesitates.
JOHNNY
You've always been there for me.  I was hoping maybe you'd consider doing that for the rest of our lives?

Johnny pulls a red box from his pocket.  He drops to one knee as he opens the box.

JOHNNY
Maria Alfonso Santiago, will you marry me?

Maria opens her mouth to speak, but no sound escapes.

Tears fill her eyes.

MARIA
Y...yes.

Johnny stands as he places the ring on her finger.

They embrace.

INT. FIRST NATIONAL SAVINGS BANK

A nameplate on the desk reads: "Oliver Simpson - Branch Manager"

Sarah enters the large office.  MR. SIMPSON (40s) rises from the chair behind his desk to greet her.

They shake hands, and Sarah sits across the desk from him.

MR. SIMPSON
Welcome back Ms. Parsons.
What can I do for you today?

Sarah hesitates.  She glances down at her hands and that back up at Mr. Simpson.

SARAH
I've decided not to press charges against my brother.

Mr. Simpson leans back in his chair.

MR. SIMPSON
May I ask why the sudden change?

SARAH
My father feels that it wouldn't be in our family's best interests.

He nods reluctantly.

MR. SIMPSON
I'll see what I can do, but I hope you're making the right decision.

SARAH
Me too.

She stands.  

Mr. Simpson follows suit.

They shake hands.

MR. SIMPSON
Best of luck.

SARAH
Thanks.  Have a nice day.

EXT. PARSONS' HOME - AFTERNOON

A white van pulls up in front of the house.

James sits in the driver's seat.

INT. JAMES'S VAN - CONTINUOUS

James pulls out his cell and dials.

JAMES
Hey, it's me.  Come downstairs.

INT. JOHNNY'S BEDROOM - MOMENTS LATER

Johnny sits typing at his computer.

The telephone rings.

Johnny answers it.

JOHNNY
Hello?

JAMES
Come on downstairs.  We need to talk.

EXT. PARSON'S HOME - MOMENTS LATER

Johnny nods to his father and moves to the passenger side door.

He tries the handle.  It's locked.

Johnny taps on the door.

James puts Johnny on finger hold as he moves the stylus on his personal organizer.

Johnny shrugs in frustration.

James puts the organizer in the glove box and unlocks the door.

INT. JAMES'S VAN - CONTINUOUS

Johnny climbs up and into the van.  

He slams the door behind him.

JOHNNY
You wanted to talk?

JAMES
Why did you do it?

JOHNNY
You mean Sarah's money?

James shakes his head.

JAMES
Actually I was asking about Jessica's.

Johnny looks puzzled.

JOHNNY
Huh?

James shakes his head in anger as he reaches into the back for an envelope.  He thrusts the envelope at Johnny.

JAMES
Wanna explain these?

Johnny opens the envelope.  It's filled with letters and statements from a bank.

Johnny flushes.

JOHNNY
How did you get these?

James's voice fills with venom.

JAMES
Does it matter?  You stole two grand from her.  And just go ahead and deny it.

James runs his tongue over his top teeth as he sucks in his lips.

JOHNNY
The truth?

JAMES
(sarcastically)
Be a nice change for you.

JOHNNY
You mean you.

JAMES
Me?

Johnny nods.

JOHNNY
I had to steal from your precious darlings to get you to notice me.

James shakes his head dismissively.

JAMES
Tell it to your shrink! Although, you are that stupid!  Admit it John, you've been a liar and a thief your whole life.  It's got nothing to do with me.  Maybe prison is what you really need.

Johnny shakes his head unbelievingly.

JOHNNY
It's always been because of you.  Because you couldn't be bothered to stick around.

JAMES
Keep telling yourself that.  You might actually believe it one day.

Johnny opens the passenger side door.

James stops him with a hand.

JAMES
You need to get yourself some help.  I can't cover for you forever.

Johnny doesn't turn to face him.  He jumps out of the van and slams the door behind him.

EXT. PARSONS' HOME - CONTINUOUS

Johnny turns toward the house.

His sisters stand on the steps.  They pass him without a word.

Johnny turns at the door, and watches as they get into the van.  He shakes his head.

EXT. BEACH - NIGHT

The moonlit ocean shimmers.

The sound of gentle breakers.

Maria and Johnny hold hands as the wind blows through their hair.

Maria stops and let’s go of Johnny's hand.  She turns away from him as she gazes skyward.

JOHNNY
Maria?  Is something wrong?

He moves closer to her as she sits on the sand.

MARIA
I love this place at night.
Sometimes I come out here when I need to be alone and think.

She looks toward Johnny.

MARIA
And lately, I've been doing a lot of that.

Johnny grows concerned.

JOHNNY
What about?

MARIA
Us.

JOHNNY
What about us?

Maria shrugs sadly.

MARIA
That's just it. I'm not sure there can be an us anymore.

Johnny scoffs.

JOHNNY
You’re kidding, right?

Maria turns on him.

MARIA
We've been together for a year.  In that time, you promised me things that you have yet to make good on.

JOHNNY
Like what?

MARIA
Well we're engaged, and you haven't even tried to find a job yet.  What are we supposed to live on?  Where are we supposed to live? With your mom?

JOHNNY
I've looked into jobs.

MARIA
That's bullshit Jonathan and you know it!

Johnny plays with the sand.

Maria stands.

MARIA
I can't do this anymore John.
I can't wait around for you to grow up.

Maria walks away.

Johnny buries his face in his thighs.

Audible sobs.

EXT. PARSONS' HOME - NIGHT

Johnny makes his way through the drizzle to his parked car.  He gets in.

INT. JONNY'S CAR - CONTINUOUS

Johnny starts the ignition and turns on the radio.

80s rock music drifts from the speakers.

Johnny drives aimlessly.  He turns on the windshield wipers as the rain picks up.

INT. JOHNNY'S CAR - A LITTLE LATER

Johnny turns on to an on ramp.

JOHNNY
Shit!

Cars stand idling on the packed expressway.

INT. JOHNNY'S CAR - LATER

The rain begins to subside.

Johnny approaches James's modest suburban home and kills the ignition.  He coasts, lights off, into the double driveway.

EXT. JAMES'S HOUSE - CONTINUOUS

Johnny exits the car and approaches the garage door.

He slowly opens the door, making minimal sound, and enters.

INT. JAMES'S GARAGE - CONTINUOUS

Johnny feels for a flashlight on the far wall.  He clicks it on and shines it on his father's very orderly peg wall and toolbox.

Johnny moves to the toolbox and cautiously opens it.  He whispers.

JOHNNY
Bingo!

Johnny pockets something from the toolbox and closes it.

He clicks off the flashlight, returns it to its place, and exits the garage.

EXT. JAMES'S HOUSE - CONTINUOUS

Johnny closes the door as quietly as he opened it and approaches the front door.

Johnny knocks on the door.

James opens the door with a surprised look on his face.

Johnny brushes past his father.

INT. JAMES'S HOUSE - CONTINUOUS

BRUCE (27) sits on the sofa.  He looks curiously at Johnny.

Johnny approaches him.

JOHNNY
Hey Bruce.

Bruce shakes his head and looks away.

JOHNNY
Why the silent treatment?

James appears at Johnny's shoulder.

JAMES
You want to know why?  Take a look.

James walks over to the table and retrieves a pile of papers.  He hands the papers to Johnny.

Johnny skims through the papers.  

His features remain expressionless.

JAMES
Go ahead and tell me you're innocent.

Johnny looks blankly at James as he hands the papers back to him.

Johnny slides a hand into the pocket of his jacket.  He shrugs.

JAMES
Haven't you anything to say for yourself?

JOHNNY
Yeah.

JAMES
Well?

Johnny quickly withdraws his hand from his pocket.  He withdraws the hammer and before anyone can react, embeds it into James's head.

Blood sprays Johnny's face.

James slumps to the floor as Bruce rushes over to them.

Johnny catches Bruce in the side of the head, stunning him.  Johnny then calmly proceeds to bash Bruce's skull.

Blood spatters, coating Johnny's face and arms.

Johnny sits back on his haunches to admire his work.

JOHNNY
Something I should have done long ago.

Johnny sits and calmly walks to the front door.

EXT. JAMES'S HOUSE - CONTINUOUS

Johnny stands in the doorway.

Agnes's car pulls into the driveway.

Johnny ducks back inside.

INT. JAMES'S HOUSE - CONTINUOUS

Johnny takes position behind the slightly ajar door.

Agnes enters the house.  She freezes as she brings a hand to her mouth.

Johnny hits her in the head with the hammer from behind.

Agnes falls to the floor.  Johnny hits her again.

He drags her into the center of the room near the other bodies.

Johnny smiles as he admires the carnage.

He disappears down the hall.

INT. BROOKLYN COURTROOM

JOHNNY
So that's what happened.  My brother just got in the way.  My stepmother and father got what they deserved.

A cacophony of voices erupts.

Winston turns his attention to his notes as his face pales.

Johnny smiles proudly.

Judge Hartmann bangs her gavel twice.

JUDGE HARTMANN
Order, Order!  This is a courtroom.  Not a circus.  In light of recent events, we will recess for one hour.
Counsel has things to discuss, I'm sure.

INT. COURT HOLDING CELL - A LITTLE LATER

Johnny sits calmly in a chair.

Winston paces angrily.

WINSTON
(pissed off)
Do you know what you just did?

JOHNNY
I'm well aware of that.

WINSTON
Why?  You just screwed us.

JOHNNY
Needed to be said.  I'm proud of the good work I did.

FOOTSTEPS.

Maria, led by a guard, appears.

Johnny beams.

JOHNNY
Hey hon.

Winston shakes his head.

WINSTON
I gotta go meet with the Barry.
He probably just wants to gloat.

INT. RESTAURANT - LATER

The crowded restaurant displays a colorful fountain as its centerpiece.

Classical music plays softly.

Winston and Barry sit across from each other.

A WAITER flashes them a smile as he departs with their menus.

BARRY
So here's the deal Winston.  He's obviously a loon, so if you quit now, the death penalty comes off the table.  He gets life without parole.

WINSTON
At twenty-five, that's considered a death sentence.

BARRY
This is a gift, and you know it.

Winston nods his agreement as he sighs heavily.

WINSTON
I doubt Johnny will accept it.

Barry smirks.

BARRY
Still, doesn't hurt to ask him.  I know I'll sleep better.

INT. COURT HOLDING CELL - LATER

Johnny paces.

Winston approaches.

WINSTON
John, I got good news and bad news.

Winston pulls up a chair.  Johnny sits as he focuses his attention on Winston.

JOHNNY
I'm ready to hear it.  What is it?

WINSTON
The good news is that the prosecution is offering you a plea bargain.

Johnny looks puzzled.

JOHNNY
What's that mean?

WINSTON
It means you'll avoid the death penalty, but get life behind bars.

JOHNNY
No parole?

JOHN
No

JOHNNY
Then no.  I'm 25.  Life or death, it's all the same thing.

WINSTON
It's a one time deal.

John sighs heavily as he looks down for a moment.  He reluctantly stands.

JOHNNY
Either way I'm dead.  Thanks, but no thanks.

WINSTON
You won't be dead in jail.

JOHNNY
It'll feel like it.  Stuck in a hellhole.

WINSTON
So you’re sure about this?

JOHNNY
Yes I am.  I'd rather die quickly.

Winston nods sadly as he departs down the hall.

Johnny's smug smile fades.  He begins to cry.

INT. COURTHOUSE OFFICE - LATER

Barry holds his cell to his ear as a KNOCK sounds.

The door opens.  Winston stands in the doorway.

Barry motions him to have a seat.

BARRY
I'll call you back.

He flips the phone shut and puts it back on his clip.

BARRY
Well?

Winston shakes his head.

WINSTON
He didn't bite.

Barry nods sympathetically.

BARRY
Sorry to hear that.  May I ask why?

WINSTON
He views life in prison as the worst of two evils.

BARRY
Well, I did offer.

WINSTON
And I appreciate it.

He stands up and moves toward the door.

WINSTON
See you in court.

INT. BROOKLYN COURTHOUSE - AFTERNOON

The court recorder types away as Barry speaks before an eager courtroom.  Johnny sits in the witness box with his blank smile firmly fixed.

Barry paces as he speaks.

BARRY
So Mr.Parsons, what you’re saying is that you had these murders all planned out months in advance?

Johnny looks quizzically at Barry as Winston leaps up.

WINSTON
Objection!

JUDGE HARTMANN
Overruled.

Winston, dismayed, sits.

JOHNNY
In a way?

BARRY
In what way?

JOHNNY
Well, I knew how it was going to happen, but I didn't know when.

BARRY
I see.

Barry stops pacing, whirls around, and focuses on Maria in the back of the gallery.

BARRY
Was anyone else involved in the planning?

Winston looks both interested and hopeful.

JOHNNY
You know Kemp, you have some nerve.  You know that?  How dare you accuse Maria!  What would make you even think that she would be involved?

Barry raises his eyes as his smirk returns.

BARRY
Just a hunch and I don't recall mentioning a name.

Johnny stands.

JOHNNY
Well, fuck you Kemp!

Judge Hartmann bangs her gavel as she yells.

JUDGE LOMBARD
Mr. Parsons, watch your mouth or you'll be held in contempt.

Johnny turns to the judge.

JOHNNY
Fuck you and fuck the contempt.  What the fuck do I care if you hold me in contempt?  I'm dead anyway.

Judge Hartmann's lips thin as she looks to the bailiff.

Calm authority returns to her voice.

JUDGE HARTMANN
Bailiff.

The bailiff walks, cuffs out, toward Johnny.

Johnny calms as he holds his wrists extended near the Bailiff's waist.

As the guard moves to put the cuffs on, Johnny grabs his gun.

He brandishes it widely.

Gasps erupt.  The judge pales.  The bailiff takes a stunned step back.

JOHNNY
Okay, I'm in control now.
Everyone fuck off and leave me be.

He stands and heads toward the center of the room.

The bailiff leans into his radio.

JOHNNY
Okay, the ball's in my court now.

Winston, hands up, calmly rises.

WINSTON
Johnny, please stop and think of what you’re doing.

Johnny waves the gun at John.

JOHNNY
Shut up Winston.

Johnny points the gun at Winston.

JOHNNY
 I will kill you.

Uniformed OFFICERS burst in.  They train their weapons on Johnny.

OFFICER 1
Put the gun down and slowly back away.

Johnny's face and weapon remain fixed on John.

JOHNNY
Get away.  All of you.  If you know what's good for you.

BARRY
You're not man enough to shoot anyone face to face.  You are a coward.  You don't have the guts.

Johnny, momentarily distracted by Barry, looks away from Winston.

An officer shoots.

Blood explodes from Johnny's knee as he falls to the floor.

People flee the courtroom.

OFFICER 2
Give it up.  It's over.

JOHNNY
It's never over.

Johnny takes two random shots as more gunfire erupts from the officers.

Johnny jerks like a puppet as his body succumbs to the bullets.

The gun falls from his hand.

Maria pushes away an officer as she rushes to Johnny's side.

JOHNNY
 
(breathing heavily)
Maria.

MARIA
I'm here baby.

JOHNNY
(whispers)
Maria.

His head tilts to the left as his eyes glaze over.

EXT. WASHINGTON HEIGHTS CEMETERY - DUSK

INSERT TITLE CARD: SEVERAL WEEKS LATER

A car pulls up.

RUSTLING LEAVES.

A tombstone.  It reads: "JOHNNY PARSONS 1978-2004 Finally at Peace"

A hand picks up a rock and puts it on top of the stone.

Another hand puts flowers on the side of the tomb.

Maria kneels down and kisses the grave.

She gets up and heads into a brilliant sunset.

FADE OUT: