Murder Justified2008

By

James Chancellor

James Chancellorjamesrc17@sbcglobal.net

Writers Guild 2002Copyright 2002-2008

"MURDER JUSTIFIED"

FADE IN:1#

RURAL HOME IN A LOWER CLASS NEIGHBORHOOD, HARRIS COUNTYTEXAS. -- NIGHT

Several police cars are sitting outside of a white, woodframed home. Lights from emergency vehicles flicker andreflect off the home, and surrounding structures.

Officers THOMPSON and GREER approach the door, guns directedat the doorway. Thompson calls into the home.

THOMPSONPolice! Come out with your hands inthe air.

There's a long pause with no reply. Flashlights beam intothe opened door. One officer's light encounters a view.

GREERMy God!

The officers storm into the home.

INT. YOUNG HOME -- MOMENTS LATER

STEVEN (O.S.)Let me go! Mom, help!

The screen door crashes open; Greer and Thompson emergeholding onto STEVEN RAY, 12, slender build, rusty brown hair. He is violently trying to break free, and attempts to kickthe officers' legs, but misses.

STEVEN (CONT'D)Let me go! You'll be sorry for doingthis.

Steven manages to pull free; he sprints away from Greer andThompson, running toward the garage area; his flight isblocked by a chain-link fence.

Several officers give chase, and they soon trap the boybetween the HOME and GARAGE.

Steven backs up against fence. His breath is rapid and hard;he struggles to let out a scream as the officers close in.

2.

STEVEN (CONT'D)Stay away from me!

THOMPSONSon, we're not trying to hurt you.

STEVENLiars!

The officers tighten their circle.

Steven drops to his knees and attempts to shoot betweenGreer's legs.

Thompson leaps down, grabs the boy and holds him tight.

THOMPSONCuff him!

Green gives Thompson a hard look.

GREERCuff him, with what? My handcuffsare not small enough!

Steven kicks and screams, but the officer hangs tight.

THOMPSONJust don't stand there...give me ahand.

The other officers shoot each other a look some smile.

OFFICERCall dispatch. Officer down,assistance needed!

Greer aids Thompson with the boy, and he gives the otherofficers a discouraging look.

GREERFunny guys!

CUT TO:

INT. HARRIS COUNTY COURTHOUSE -- LATER

Thompson enters the Courtroom, and a BAILIFF steps in frontof Thompson, takes a file. He walks it over to judge MAXWELL.

Maxwell looks over the report, then, looks hard at Thompson.

3.

MAXWELLA kid?

THOMPSONYes, sir.

MAXWELLWhy have you brought him here, insteadof taking him to Social Services?

THOMPSONHe's involved in a murder, and he'sviolent.

Maxwell looks at the file again.

MAXWELLSteven Ray, twelve years old! Whatam I supposed to do with a boy?

(Beat)Just how violent can a twelve yearold be?

THOMPSONVery violent, sir.

Maxwell makes a disgusted gesture.

MAXWELLOkay, bring him in.

A boy's screams are heard near the main entrance.

Maxwell looks up as the courtroom door flies open fromSteven's kick.

Greer enters, holding tightly to the struggling Steven, asecond Officer assist. After a beat, they walk him up infront of Maxwell's stand.

Maxwell looks at the boy, puzzled.

MAXWELL (CONT'D)Are you Steven Ray?

STEVENThat's none of your damn business!

Maxwell looks surprised by the remark.

4.

MAXWELLWe are here to help you son; nowplease, control yourself!

Steven makes several attempts to break free.

STEVENLiars, every one of you!

Steven unexpectedly kicks Greer in the BELT LINE. He pullsfree and sprints toward the door.

The bailiff leaps at the boy, misses and lands face down onthe floor. An Officer blocks his escape and Steven turnsback. Thompson aids Greer, recovers and resumes the chase.

Steven runs behind the judge.

Maxwell makes an attempt to catch the boy but fails, he standslooking frustrated.

Steven passes the judge's bench, and runs to a table coveredwith books, and computer equipment. He crawls under it.

The officers slowly surround him. The table shifts up andfall forward; the equipment falls, crashing into the floor.

Steven picks up several books and throws them to repel theofficers. One book flies just past Maxwell's head.

MOMENT PASS:

Steven is caught, several officers hold the boy, preventinghis escape.

Maxwell recomposes, and looks hard at the boy.

MAXWELLGet him out here!

THOMPSONWe can't put him in a county cell;we need an order to send him to theDetention Center.

MAXWELLIt's ordered! And see that he'sevaluated, A.S.A.P!

DISSOLVE TO:

5.

INT. DOCTORS COMPLEX HALLWAY -- EVENING

Looking through an opened door from a busy hall. A man issitting at a desk, slouched; one hand supports his head upoff of the desk. The desk is littered with files and papers. His white shit is wrinkled, attire, somewhat displaced for aprofessional.

Behind and above the desk hang wall-mounted plaques, awards,and diplomas.

INT. OFFICE -- CONTINUOUS

BILL PETERSON, 30's, face comes into view. Clearly, he'sfatigued, and his free hand searches through the piles ofpapers in search of a lost item. After a few moments ofsearching, his head-shakes negatively from discouragementand returns to the palm of his hand for support.

The telephone, sitting nearby but covered by paperwork, rings. Peterson looks toward the sound a moment; then pushes asidea pile to uncover the receiver.

PETERSONYeah, what?

There's a long pause.

PETERSON (CONT'D)But, I'm already....

A second pause follows. Peterson's expressions show a slightbitterness to the caller.

PETERSON (CONT'D)Okay, I'll look at him, but nopromises!

As he hangs up, sounds of footsteps near Peterson's openeddoor. A well-dressed man steps into the office, Dr.Armstrong, steps in and looks at Peterson. Peterson failsto give the visitor recognition as his eyes continue to scanthe desk.

ARMSTRONGDon't tell me you're taking on anothercase?

PETERSONI didn't say I would. I said I wouldlook at the boy, and the case.

6.

ARMSTRONGFor whom?

PETERSONMaxwell.

Armstrong pulls a chair up to the front of Peterson's desk. He looks worried, but Peterson's eyes avoid contact.

ARMSTRONGI can talk to him.

PETERSONWhat? Why would I want you to?

ARMSTRONGLook at yourself! Bill, you're takingon too, much.

Peterson resumes his search for the lost item.

ARMSTRONG (CONT'D)I'm concerned; the entire staff isconcerned.

(Beat)This will not help you to forget,please, slow down and pull yourselftogether.

Peterson stops searching; his eyes make direct contact withArmstrong's, and there is a brief hard stare.

PETERSON(Sarcastic)

Who do you think you are, my mother?

Armstrong slides out of the chair, then, walks to the doorway. He pauses, looks at Peterson.

ARMSTRONG(Somewhat bitter)

A friend, I thought!

Armstrong walks out without continuing.

CUT TO:

INT. A DARKENED LIVING ROOM -- LATER

The room's design clearly shows an upper class home, but theroom is in a disorderly condition.

7.

Headlights streak across partially drawn blinds, followed bythe sounds of a slamming car door.

The homes' door slowly opens. Peterson's hand is seensearching for the light switch. The light blinks on as hesteps inside, then, walks over to an end table. He pushesaside an empty container, exposing a telephone and answeringmachine. A button is pushed; no new calls are seen. Petersonshoves a briefcase onto the table, forcing it between thecontainer and phone.

Peterson walks to a nearby sofa, drops down into a somewhatslumped sitting position. A hand fumbles through oldnewspapers lying on a nearby coffee table, and it pulls outa remote control. The television turns on and channels scanstation to station repeatedly.

Leaning back onto the sofa's arm, the picture stops and thescreen displays a newscast and shows a mute icon. The remotedrops to the floor.

INT. A DARKENED LIVING ROOM -- LATER (DREAM)

The room's design clearly shows an upper class home. Flickering light can be seen in an adjacent room. Headlightsstreak across partially drawn blinds, followed by the soundsof a slamming car door.

The homes' door slowly opens. Peterson's hand is seensearching for the light switch.

PETERSONWhy is it so dark in here?

The light blinks on, and he walks toward the sofa. Hisbriefcase drops onto the sofa.

Unexpectedly, the lights dim. Peterson turns to the switchand sees Sandy, a beautiful woman, dressed in an eveninggown. Peterson smiles at her.

PETERSON (CONT'D)What, are we conserving power now?

Sandy walks over to Peterson; they embrace.

SANDYYou're late, again.

8.

PETERSONI know, sorry, dear, but the caseloadis taking more and more of my time.

SANDYForget about work tonight. It'stime we relaxed, and take some timefor ourselves.

Peterson smiles at her, they kiss.

PETERSONTell me, just what do you have inmind?

Sandy takes Peterson's hand and leads him toward theflickering light.

After a moment, a dining area comes into view; the table isset with two burning candles. Peterson escorts Sandy to herchair, seats her and then walks to his chair.

PETERSON (CONT'D)Looks like this meal took you allday to prepare. How did you findthe time?

SANDYI called it in.

Silence follows as both prepare to dine. After a moment thetelephone rings, Sandy answers.

SANDY (CONT'D)Yes.

(Beat)No, Sam, not tonight.

(Long beat)Okay, okay. I'll go.

Peterson's fork drops to his plate, and looks hard at Sandy.

PETERSONLet me guess, our evening is over.

Sandy walks back to the table.

SANDYJust for a little while. I'll beback and we'll resume.

9.

Peterson stands.

PETERSONThat station has more reporters; whysend you again?

SANDYThe strike is my story, Bill. Andit's my job to...

PETERSONThe strike...at night! I don't likeyou going out there this late; it'sdangerous!

SANDYThere's a possible break in the talks.

PETERSONI'll go with you.

SANDYNo, stay here and relax. Please! I'll be fine; besides, the crew willbe with me.

Sandy walks to a closet, removes a coat and starts towardthe door.

PETERSONI still don't like this.

SANDYI'll be fine, relax.

INT. DEN -- LATER

Peterson is working on files sitting on his desk. In thebackground, we see the table and the candles are half burnt. A television is heard in the background.

Peterson stands up and stretches; he hears Sandy's voice,steps into the living room. He sees her interviewing acompany manager. He smiles at the set; then, returns to theden.

On the screen, we see a suspicious person pushing throughthe crowd.

Peterson starts to sit back at his desk. Screams are heardfrom the television; a gunshot rings out.

10.

He runs back to the set, sees Sandy falling.

INT. A DARKENED LIVING ROOM--REAL TIME RESUMED

Peterson sits up screaming.

PETERSONNo!

He regains his thoughts, glances toward a clock; its flashing6 AM. He looks at his self a moment, shaking his head backand forth. Then he realizes he's in dire need of a showerand walks out of the living room.

FADE OUT:

FADE IN: (MAIN) GARNET, TEXAS, MAY 1999 GOODWIN CORRECTIONALFACILITY FOR BOYS.

THE CORRECTIONAL FACILITY LOOKS LIKE AN OLD COUNTRY SCHOOL,BRICK, AND THE GROUNDS ARE COMPLETELY SURROUNDED WITH A TEN-FOOT FENCE.

Steven stands looking out of a window from his room in thedetention center watching an active compound.

A VIEW of the compound shows several BOYS playing in themorning sun. SOUNDS of the outside activities, makes Steven'sthoughts drift.

A lone tear can be seen trickling down the boy's cheek.

CUT TO:

EXT. VISION--A CITY PARK IN HOUSTON TEXAS-DAY (SPRING 1993)

An eight-year-old boy is seen in a swing; he screams out athis mother, MARY RAY, 20's slender, with long golden brownhair. She stands behind the young boy, daydreaming.

STEVEN(Screaming)

Higher Mom, push me higher!

Mary continues her steady gentle pushes, and does not respondto the boy's request. Her facial expressions show she'sdeep in thought.

DISSOLVE TO:

11.

INT. THE RAY HOME LIVING ROOM--NIGHT (1988)

ALLEN RAY, 22, muscular build, can be seen sitting in theliving room. Credits roll up on a television screen signalingthe football games end. Empty beer cans litter the floorand sofa.

Allen stands up, slightly disoriented. He looks toward thebedroom then walks toward his sleeping wife, staggeringoccasionally.

INT. BEDROOM--FOLLOWING

Mary, now nineteen and pregnant, can be seen sleeping soundly.

Allen enters the bedroom and walks over to the bed. He sitson the edge staring at his wife. His hand reaches to Mary'suncovered leg, and glides upward, attempting entry into herpanties.

Mary moans and she pushes the intruding hand away.

Allen once again forces his hand into her panties. He thengrabs them and tries to pull them down.

MARY(Slight distress)

Stop it, Allen!

Mary sits up on the bed; again she pushes the hand away.

MARY (CONT'D)I told you, no more sex until afterthe baby is born. You're too roughand it hurts!

Allen raises his hand and SLAPS Mary in the face.

ALLENDoes that feel better, you heartlessbitch!

MARY(Crying)

Go away and leave me alone!

Allen stands up; bitterness can be heard in his voice.

12.

ALLENWell, if I can't get a littleaffection at home, I'll lookelsewhere!

The front door is heard SLAMMING.

Mary falls back on the bed, crying.

CUT TO:

INT. WEBSTER'S BAR--LATER

Allen is sitting on a barstool drinking. He looks over theroom and sees the same old familiar crowd. Expressions oflust and upset can still be seen on his face. A WOMANgiggles; his attention turns to the laugh and the conversationat a nearby table.

TRACY WALL, 30's, is dressed like a hooker and sits talkingto a middle-aged businessman.

MANI thought you had to cancel tonightbecause your sitter didn't show up?

TRACYShe didn't, but, hell Cindy's sixteennow. She's old enough to watchherself a few hours now. Don't youthink?

Allen stares at the two, deep in thought.

ALLEN (V.O.)(Thoughts)

Hell, that worn out hole never couldsatisfy me. But, he looks like thetype that's easily pleased.

(Beat)I know someone that might though! And she's only a few blocks away.

Allen quickly finishes his beer, then, exits the bar.

CUT TO:

INT. TRACY WALL'S HOME--NIGHT

CINDY WALL 16, is sitting in the dark living room watching alate night movie, in her nightgown.

13.

She jumps, slightly startled, when someone knocks at thefront door.

Cindy walks over to the front door slowly. She starts tolook out a peephole when, Allen knocks again.

CINDYWho's there?

ALLENIt's me Allen. I need to see yourmother.

Cindy relaxes when she hears the familiar voice, and opensthe door.

CINDYAllen, you scared the hell out ofme! I wasn't expecting visitorstonight.

ALLENSorry, babe. Didn't mean to do that!

CINDYMom's not home right now.

ALLEN(Acting surprised)

Damn. I really need to talk withher. Do you know when she'll return?

CINDYYour guess is just as good as mine!

ALLENMind if I come in and wait for her?

CINDYSure, you can keep me company. I'mwatching Fright Night Theater.

ALLENGreat, I can keep them Gremlins awayfrom you; that is, if you'll get mea cold brew?

CINDYHave a seat. I'll go get you a beer.

14.

Cindy exits briefly, returns with a beer, and sits on theopposite end of the sofa.

Allen takes the beer and pretends to watch television.

ALLENThanks, babe. What's playing?

CINDYNightmare Street, and it is realscary.

ALLENHas it been on long?

CINDYNo, it just started a few minutesago.

ALLENWell, if you get too scared, remember,I'm right here!

The room becomes silent except for the television.

Cindy slowly closes her eyes; her robe opens exposing a bareleg.

Allen continues drinking; he looks at the girl with lust inhis eyes.

Cindy relaxes on the sofa; turns a little exposing both legs.

Allen reaches for the remote control, turns off the set,grabs Cindy's legs pulling her into a laying position andcrawls up on her.

Cindy screams.

CINDYStop it, Allen. I'm not Mom!

ALLENI know. I don't want your momtonight.

Cindy struggles and attempts to push off the attacker.

Allen starts disrobing the girl.

15.

Cindy's hand accidentally hits the coffee table. Sheremembers there's a pair of SCISSORS lying on the table. Her hand frantically looks for the weapon. She grabs thescissors and stabs them into Allen's side just as he startsto climax.

Allen screams in pain, jumps off the girl, and runs out ofthe home.

CUT TO:

EXT. PARK SCENE--RESUMED

STEVEN(Screams)

Mom! Push me higher!

MARYSorry, Steven, I was just thinkingabout Allen.

STEVENWho?

MARYYour father, the man that's cominghome tomorrow!

(Beat)What am I thinking, you haven't seenhim. He's been in jail since youwere an infant.

STEVENMom, I need to go higher, so I canfly!

MARYDon't you even think about turningloose, young man! I can't handle aninjury, and your father's return atthe same time.

STEVENI bet he can't fly!

Mary stops the swing.

MARYGet out now, before you do somethingstupid!

16.

STEVENOh, Mom!

CUT TO:

EXT. CORRECTIONAL FACILITY-PRESENT TIME--DAY VIEW OUT OF THEWINDOW -- DAY

The scenes of CHILDREN at play resume.

INT. STEVEN'S ROOM CORRECTIONAL FACILITY-PRESENT TIME--DAY

The door to Steven's room opens. He looks toward the door,frightened, and backs away from the window.

A guard, DAVID ANDERSON, mid 50's, thin build enters; he isfollowed by.

BILL PETERSON, 30's, psychiatrist, well dressed, excellentcondition, dark hair and complexion.

Steven continues to silently back away from the intruders.

DAVIDSee, Doc, I told you. He acts likea frightened puppy!

Both men step closer to Steven.

PETERSONIt looks like he's been crying!

DAVIDYeah, he looks like that a lot. Wenever figured out why.

PETERSONSteven, there's no need to be scared. I have been sent over just to talkwith you. That's all.

Steven backs himself into a corner, near his bed.

STEVEN(Screaming)

Stay away from me! Why won't youpeople leave me alone?

PETERSONLooks like a difficult one.

17.

DAVIDHe's been here a week, so tell mesomething I don't already know!

PETERSONHas he been violent?

DAVIDWell, not since we've put him insolitary. But, when he first arrived,he was a bit violent.

PETERSONWhat happened?

DAVIDWe put him in with another boy theday he arrived.

(Beat)Doc, it was like throwing a cat inwith a dog! He hid in the corner ofthe room and refused to sleep oreat. If the other inmate got tooclose, Steven would start throwingobjects at the boy.

(Beat-a laugh)I hear he also gave the officers whobrought him in, what for!

PETERSONSo, I would assume he hasn't toldanyone here what happened that night?

DAVIDHe hasn't spoken to the living, onlyan occasional scream.

PETERSONWhat does that mean? Hasn't spokenwith the living?

DAVIDWe hear him talking in here. Itsounds like he's talking to someone,but there's never anyone in the room. Maybe he has an invisible friend orsomething?

PETERSONI see.

18.

The doctor walks closer to the frightened boy.

STEVEN(Screaming)

I told you to stay away from me! Get out of my room!

Steven picks up a pillow from his bed, and throws it at theapproaching doctor.

Peterson dodges the pillow and continues toward the boy.

DAVIDHis hearing is less than two weeks. Do you think you'll be able to findout why he killed his father by then?

PETERSONTwo weeks! Why so soon?

DAVIDThe boy caused a scene in court so;the judge thinks its best to hurrythe hearing...in case the lad needshospitalization. You know, a rubberroom....

PETERSONFrom his looks, I'd say he doesn'tneed it.

The doctor pulls a bright silver watch out of his pocketthen a syringe with a sedative.

PETERSON (CONT'D)Hypnotism works wonders in thesetypes of cases. Help me get him onthe bed please.

Peterson lays the watch on a nearby table, and then heprepares the syringe.

The men start toward Steven. He jumps up on the bedattempting to cross; David catches him before he makes it tothe floor.

STEVEN(Screaming)

Mom, make them go away!

19.

PETERSONYour mother isn't here son.

STEVENShe'll be here, and she'll take careof you two, Ass Holes!

DAVIDHurry up Doc! He's stronger than helooks!

Peterson moves over to aid David, injects the boy.

Steven becomes relaxed within moments.

PETERSONThat's better. Lay him on the bed.

DAVIDHe'll run off.

PETERSONI don't think so.

David lays the boy down and steps back.

Steven lies on his bed, alert, but almost motionless

STEVEN(Crying)

What have you done to me?

PETERSONIt's a mild sedative. Don't worryit will wear off shortly.

David moves away. He leans against a wall to rest and catchhis breath.

DAVIDI'm getting too old for this kind ofnonsense!

Peterson pulls a TAPE RECORDER from his briefcase, sets iton a nearby table, and pushes the record button.

PETERSONYou can go now. I'll call you whenI'm ready to leave.

20.

DAVIDOkay Doc. I need to go check onsome of our other guests. If hegives you any more trouble, justyell.

PETERSONWe'll be just fine, won't we, Steven?

STEVENGo to hell!

DAVID(Chuckles)

That shot didn't hinder his mindany!

David exits the room.

Peterson starts swinging the watch in front of Steven. Wecan see the boy's eyes fix to the moving object. The drugkeeps him from resisting or turning away.

PETERSONSteven, let your mind travel backinto your childhood and tell me thefirst thing that comes into yourmind.

Steven remains silent, looking at the swinging object. Hiseyes slowly close.

STEVEN(Screams)

There's a strange man in our house!

CUT TO:

RESUME VISION--RETURNING FROM PARK (1993)

INT. RAY HOME--DARK

Mary 22, can be seen carrying her exhausted son into a small run-down home in the northeast side of HOUSTON. She walkstoward the sofa and starts to lay down the sleeping boy. Allen 20's, voice startles her.

ALLENJust where the hell have you beenall day?

21.

Mary gasps in a slight panic, then, she realizes who isspeaking

MARYAllen! I didn't expect to see youtoday. Did they release you early?

ALLENIf you had stayed your ass at home,you would have known! I called allday long trying to reach you.

MARYSorry, but I wasn't expecting yourcall till tomorrow!

ALLENWhat's done is done! Now, put theboy to bed. We have some catchingup to do! Two years in a cage isrough on a guy!

Mary picks the boy up.

INT. BEDROOM--FOLLOWING

Mary enters the room carrying Steven to his bed; she placeshim on a small twin bed. She covers the boy, kisses him onthe forehead then exits the bedroom closing the door.

CUT TO:

INT. MAIN BEDROOM

Allen enters his bedroom, undresses and climbs into bedwaiting for his wife.

ALLEN(Yelling)

Hurry up! I'm not getting any youngeror any less horny you know!

Mary enters the room.

MARYKeep your voice down! You'll wakeup Steven.

Mary starts to undress and sits on the bed.

22.

STEVENMOM!

Mary attempts to get up, but Allen pulls her back down tohis side.

MARYLet me go. I'll be right back.

ALLENThe kid will keep, you stay put!

Mary does as Allen orders.

MOMENTS LATER:

The crying boy can be seen standing in the bedroom doorwaycalling for his mother.

STEVENMom, who is that man on top of you?

ALLEN(Screams out)

Get back in your room...now!

INT. HOME--FOLLOWING

Steven runs back to his room, jumps into bed, frightened. He covers up completely hiding and crying.

CUT TO:

EXT. FRONT PORCH OF THE RAY HOME--NEXT NIGHT

Steven is sitting on a porch swing outside the home lookingup into space. A stream of TEARS runs down the boy's leftcheek. Suddenly the sound of glass breaking can be heardinside the home.

Steven draws up on the swing, curling into a fetal position.

ALLEN (V.O.)(In a drunken voice)

You bitch! You almost hit me withthat vase.

MARY (V.O.)Well its too damn bad I missed!

23.

INT. RAY'S LIVING ROOM -- CONTINUOUS

Mary stands inside the bedroom doorway. She reaches over toa dresser and picks up a picture frame. She throws it atAllen, but again it misses and shatters on a living roomwall.

Allen walks over to Mary and grabs a handful of hair.

EXT. PORCH -- CONTINUOUS

Steven jumps when he hears the frame hitting the wall. Itis followed by the sound of a slap.

Steven hears his mother's scream. The crying boy tries tocover his ears to shield out the sounds.

INT. LIVING ROOM -- CONTINUOUS

Allen pulls Mary by the hair into the living room.

Mary SCREAMS in pain.

MARYI can't believe I ever loved you! Many times I wish we never...evermet!

ALLENInstead of dating you, I should havejust raped you and left!

MARYLike you did that schoolgirl... eight years ago! Why they let youout of prison is a mystery to me. You perverted bastard!

ALLENGood behavior got me out of thathellhole.

(He laughs)Those bastards will fall for thatgoody-boy act every time!

MARYLet me call them out here. Thenthey can see... The real you!

24.

EXT. PORCH -- CONTINUOUS

More STRUGGLING SOUNDS can be heard, followed by Mary'scrying. A body can be heard falling.

Allen storms out of the home, gets into his car and drivesaway.

Steven uncurls, and gets up his courage and climbs off theswing.

INT. HOME--FOLLOWING

Steven runs over to check on Mary still lying on the floor.

STEVENMom, are you all right?

Mary sits up and attempts to dry her tears.

MARYYes, dear. But you better go toyour room in case he returns.

INT. BEDROOM--FOLLOWING

Steven runs into his bedroom. He curls up on his bed andbegins talking as if he's praying.

STEVENPlease sir, if you are really thereand listening...don't let that man,you know the one that's supposed tobe my father, hurt Mom anymore.

(Beat)If he must hurt me, well, that's allright, as long as he will leave heralone.

(Beat)Please God, make him go away!

DISSOLVE TO:

INT. STEVEN'S ROOM--DAY (PRESENT TIME RESUMED)

Peterson looks at the boy lying on his bed, trembling, andcrying.

PETERSONI hate these types of cases.

(MORE)

25.

PETERSON (CONT'D)(Beat)

Steven, when you wake up, you willnot remember this discussion. WhenI say the word "Mother," you willreturn to this hypnotic state. Doyou understand?

STEVENYes.

Peterson picks up a tablet and begins to take notes when astrange uneasy feeling comes over him.

MARY (V.O.)Help my son, please!

Peterson looks around the room.

PETERSONI have been working these types ofcases too damn long. I'm startingto hear things!

Peterson pauses, scans the room then resumes writing notes. After a moment he walks to the door and calls out for David.

PETERSON (CONT'D)Guard, I'm ready to leave now.

David enters moments later.

DAVIDLooks like you still have him knockedout.

PETERSONYes, but I'm ready to wake him up.

(Beat)Steven, when I snap my finger andsay "Mother" you will wake up. But,you will no longer be violent to meor to David here. Understand?

STEVENYes.

Peterson SNAPS his fingers.

PETERSONMother!

26.

Steven sits up on his bed and looks as if nothing hashappened.

STEVENAre you two still here? I told youto leave me alone!

DAVIDI thought he wasn't supposed to beviolent?

PETERSONHe won't be, but his mouth will be!

(Beat)Make the necessary arrangements forme to visit this boy every afternoonuntil the hearing.

DAVIDI tell them up front.

PETERSONAlso, see about getting thisprescription filled. Steven willneed to take two tablets daily, untilfurther notice.

Peterson hands David the script.

DAVIDWill do, Doctor. I've just heardthrough the grapevine the judge inthis case is considering chargingthis boy as an adult. That is, ifhe's not insane.

(Beat)Maybe he's to be an example for otherjuvenile offenders.

PETERSONI'll just go have a talk with thejudge about this. We'll see what'sgoing on.

DAVIDGood luck! The judge is old hard-nosed Maxwell. He's a strict one!

PETERSONBy the way, do you know what happenedto this boy's mother?

27.

DAVIDThe last I heard about her was, thatshe's in the hospital in a comatosecondition.

(Beat)I'm told, she was found severelybeaten and almost dead out by theship channel. Speculation is herhusband committed the act and dumpedher to cover up his crime. Therewas no evidence to prove it though. I guess we'll never know what happenednow.

PETERSONYou never know. Something just maysurface!

CUT TO:

INT. BILL PETERSON'S HOME--NIGHT

Peterson enters his quiet middle-class home. He walks tothe home's only other occupant, the answering machine.

PETERSONNo calls, looks like another boringnight!

Peterson goes into his living room, turns on the television. He stops to look at a photo of his departed wife sitting onthe set.

PETERSON (CONT'D)It's been so deathly quiet since youleft me, Sandy. Seems only yesterdaywe laid here together laughing. Then, again, at times it feels likeyears of loneliness are hauntingthis empty shell of a home.

TIME PASSES TO 11P.M.

A late newscast plays on the set as Peterson drifts off tosleep.

MARY (V.O.)If you only knew how Allen was, you'dhelp my Steven.

Peterson wakes briefly, grabs the remote control.

28.

PETERSONStupid set. You're feeling a needto talk with me and ease mylonesomeness, too!

Peterson drops the remote, lays back and closes his eyes.

CUT TO:

INT. DREAM PAST EVENTS

Peterson in a dream sees Allen raping Cindy.

Dream scene from PAGE 5 SCENE 5 REPEATED: CINDY slowly closesher eyes; her robe opens exposing her bare legs.

Allen continues drinking. He looks at the girl with lust inhis eyes.

Cindy relaxes on the sofa; both her legs now up on the sofa.

Allen reaches for the remote control, turns off the set,grabs Cindy's legs pulling her into a laying position andcrawls up on her.

Cindy screams.

CINDYStop it, Allen. I'm not Mom.

ALLENI know. I didn't want your Momtonight!

Cindy struggles, attempting to push off the attacker.

Allen starts disrobing the girl.

Cindy's hand accidentally hits the coffee table. Sheremembers there's a pair of SCISSORS lying on the table. Her hand frantically looks for the weapon. She grabs thescissors and stabs them into Allen's side just as he startsto climax.

Allen SCREAMS in pain, jumps off the girl, and runs out ofthe home.

29.

EXT. ALLEN RAY'S BOYHOOD HOME--NIGHT

A police car pulls up into the drive of the country home. An OFFICER parks the auto then exits the car; he walks overto the back door.

OFFICERGet out, Allen.

Allen exits the car. (Now a 17) and the Officer grabs hisarm then takes him to the front door, and knocks.

GEORGE RAY, 40's, overweight, foul looking, opens the door.

GEORGEYeah, what do you want?

OFFICERDamn George, you're on the sauceagain.

GEORGEI can do whatever I please, in myown home!

OFFICERWell, this boy of yours has did itagain! We caught him breaking intoPullman's Grocery. This makes twicethis week, George, and if you can'tcontrol him. The department will!

GEORGEDamn you boy! Get to your room. I'll deal with you in a minute.

Allen runs out of the room.

OFFICERI'm telling you, George, this is thelast time. Next time, the office ofChildren's Welfare will be involved. And you don't want them looking atyour parenting skills.

GEORGEIt won't happen again!

George slams the door as the officer turns to walk away.

30.

OFFICERSee that it doesn't!

CUT TO:

INT. ALLEN'S BEDROOM--NIGHT

George walks into the room taking off his belt.

GEORGEI warned you...you, little bastard!

George swings at Allen, but misses knocking items off adresser.

Allen starts throwing items at his father. Then he tries torun for the door.

George grabs the boy, but he struggles free. George thenswings a fist hitting Allen in the mouth.

Allen falls into the floor, his lip busted and bleeding,George walks over, kicks the boy.

GEORGE (CONT'D)Next time, I'll kill you!

INT. LIVING ROOM--FOLLOWING

George staggers back into the living room, sits on the sofa,and resumes drinking, and passes out minutes later.

INT. BEDROOM

Allen crawls out a window, goes to a nearby shed and grabs agas can. He soaks the home, sets it on fire, then runs intothe woods and hides to watch.

ALLENWho's going to kill me now?

Allen then vanishes into the darkness.

CUT TO:

INT. PETERSON'S LIVING ROOM--DAY (REAL TIME RESUMED)

MARY (V.O.)See what type of man Allen was? Will you help him, please!

31.

An ALARM clock rings. Peterson sits up, rubs his eyes andturns off the alarm.

PETERSONNo more late night TV for me!

CUT TO:

INT. COUNTY GENERAL HOSPITAL--DAY

Peterson walks down a corridor, locates Mary's room. Heenters and sees a lifeless woman, connected to monitors andlife support. He then walks over and picks up her chart atthe foot of her bed.

PETERSONWas it you that caused my dream lastnight. No, I guess not.

A doctor enters the room.

DOCTORI thought I heard a voice in here.

PETERSONSorry, I didn't see you enter.

DOCTORThose charts are for hospital personaluse. May I ask, why you're readingthem?

PETERSONI'm also a doctor. Bill Peterson ismy name.

DOCTORMine is, Patrick Myers, but I'venever seen you here before?

PETERSONI don't work here. I work for thestate. I've been assigned to evaluateher son. I'm trying to piece togetherexactly what happened to her, andthe boy.

DOCTORI see. Well, there's little I cantell you.

(MORE)

32.

DOCTOR (CONT'D)She arrived here about like you seeher now; only the bruises and injurieshave healed slightly.

MARY (V.O.)(Very faint)

Help us, please.

Peterson looks around the room.

PETERSONDid you hear something?

(Beat)Never mind.

(Beat)Has she had any brain activity atall?

DOCTORNot much. Frankly, I thinkadministration will be seeking acourt order to terminate her lifesupport soon. If no family is foundsoon, that's generally what happensin these types of cases.

PETERSONThat won't help her son!

DOCTORI'm sorry to hear that. But, thatis not my decision. I can notifyyou though, if the administrationdoes attempt to terminate her support.

PETERSONPlease do. Here's my card.

Myers takes the card and starts to exit.

DOCTORIf anything develops, I'll contactyou.

PETERSONThank you.

(Beat) (To himself)Now, why did I do that?

CUT TO:

33.

INT. HARRIS COUNTY COURTHOUSE--DAY

Judge Maxwell's Chambers. Maxwell sitting at a desk reviewingthe morning briefs. A BAILIFF enters the room.

BAILIFFJudge. There's a Doctor Petersonhere to see you.

Maxwell drops the files down onto his desk.

MAXWELLJust what I need today, a doctor! Send him in.

Peterson enters the chambers.

MAXWELL (CONT'D)Peterson, that name sounds familiar.

Maxwell looks over his desk.

PETERSONI'm the doctor that was assigned tomentally evaluate the boy.

MAXWELLOh yes, that's how I know your name.

Maxwell locates the file and briefly looks it over.

MAXWELL (CONT'D)What can I do for you, Peterson?

(Beat)Are you here to give me a personalreport?

PETERSONNo sir, but I did come to ask if youwould consider dropping the charges. This crime is pointing more to, self-defense!

MAXWELLWhat? Let a murderer walk free?I hardly think so!

(BEAT)I remember that boy from hisarraignment. He's a wild animal, aviolent one!

34.

PETERSONHe's driven by fear. The boy's mindis in a constant state of terror.

MAXWELLThat's your opinion. I have my own. I should have guessed this was coming.

(Beat)I must admit, my first impressionsof the boy were, possibly, a bithasty.

Peterson gives Maxwell a bitter look.

PETERSONJudge Maxwell, I came to save a youngman's life.

MAXWELLHe took a life Doctor. I cannotjust dismiss the case as if nothinghappened.

PETERSONHas an attorney been appointed tohis case?

Maxwell pauses, searching for a reply.

MAXWELLNo, not yet.

PETERSONYou have scheduled a hearing in twoweeks! Don't you think the boy needsone soon?

MAXWELLYes, he does but... not many lawyerswish to step forward and take thistype of case. And in my opinion,the boy needs help, soon as possible.

Peterson pauses his reply, thinking. Suddenly he hears awoman's voice.

MARY (V.O.)Please help my son. He's all that Ihave!

35.

PETERSONWell I'd like to defend the boy!

(Thoughts)Am I nuts? Why did I say that?

MAXWELL(Laughs)

You must be joking. You're a doctor,not a lawyer!

PETERSONI also have been trained in the legalprofession. If no one else wantsthe job, I'll take it.

MAXWELLWell, I can see the determinationfrom your expression. I will allowit to prove I'm not the cold-heartedman you and everyone else thinks Iam!

(Beat)However, you can't be the boy's doctorand attorney. Someone else will beassigned to do the exam.

PETERSONI understand.

MAXWELLDo you need to postpone the hearing?

PETERSONI might, I'll need to get back withyou after I do a little research.

MAXWELLDo not wait long...if you need moretime tell me soon as possible!

PETERSONYes, sir. Now excuse me, I havework to do and only a few days to doit! It's been an experience talkingwith you! Good day.

Peterson exits the chambers.

CUT TO:

36.

INT. STEVEN'S ROOM--NEXT DAY

Peterson is entering Steven's room carrying video equipment. David enters behind Peterson carrying electronic equipment.

DAVIDSo, you went from doctor to lawyerin one day? How did you convinceold hard-nosed MAX to allow it?

PETERSONActually it was easy. He thoughtthis idea would better his image.

David laughs.

DAVIDOh, I see. He's found a new way totake advantage of this case.

PETERSONHe's a trying man, it seems!

DAVIDI can't believe that old fart isallowed to sit on the bench! Thepeople that elected him receivedmore than they bargained for.

PETERSONA high conviction rate, that's whatkeeps a judge!

Peterson turns his attention back to Steven.

PETERSON (CONT'D)Well, you seem a lot calmer today!

Steven looks puzzled, wondering why this man returned.

STEVENWhy are you back? I told youyesterday. Leave me alone!

PETERSONDave, has he been started on themedication I prescribed?

37.

DAVIDYes, we started him on it thismorning. Getting a pill down himwas a chore!

PETERSON(Laughs)

I bet it was!(To Steven)

I can't leave you alone Steven.(Beat)

I'm your attorney now.

STEVENBig deal!

PETERSONYes, it is a big deal. Do you wantto say in this prison the rest ofyour life?

STEVENWhat do you care? It's not you!

DAVIDAre you going to hypnotize him again?

PETERSONNo need to. All I need to do is saythe word, snap my finger, and it'sdone. I learned that trick yearsago. It works wonders with difficultcases.

DAVIDI bet it does! You should have taughtme that trick. We needed it gettingthat pill down!

(Beat)Well, you're all set up. Call outif you need me.

PETERSONThanks! Steven, about your question;you should have said, why do I care?

STEVENWhatever!

38.

PETERSONWhat would you say if I said, I'mdoing it for your mother?

STEVEN(Screams out)

You're a damn liar! She's dead!

PETERSONNo, your mother is very much alive! She's in County General hospital ina coma, but alive.

Peterson sees the information about Mary is working to calmthe boy.

STEVENI still think you're lying!

PETERSONAsk the guard! If that's not enough,I'll make arrangements for you tocall the hospital yourself.

STEVENYou're trying to trick me! If sheis alive and in a coma, how did sheask for your help?

PETERSONThat might be difficult to explain. Let's just say I heard her call outfor my help.

The Doctor's statement strikes a nerve. Steven becomes upsetand cries slightly.

Peterson looks puzzled by the BOY'S actions.

PETERSON (CONT'D)Why does that upset you?

STEVENBecause, I hear her voice too!

PETERSONNow we are getting somewhere. Pleasesit down and let's begin. Time iswasting away.

Steven starts to cooperate, but acts extremely cautious.

39.

Peterson says the word "MOTHER" and SNAPS his finger.

PETERSON (CONT'D)Yesterday, you told me about thefight your parents had when you wereyoung. Are there other events likethat one you can tell me about?

Peterson pulls a chair next to Steven and sits down.

Unexpectedly, Steven's hand reaches over and grabs Peterson'shand,

STEVENI was eight years old when...

The room darkens and Peterson sees the event.

DISSOLVE TO:

INT. THE KETTLE CAFÉ HOUSTON, TEXAS--VISION--DAY

Mary is in the small café. She's wearing a waitress uniform,turned away from the door, picking up an order of food.

Allen enters and walks up to the counter behind her.

ALLENHey babe, give me twenty dollars.

Mary turns around.

MARYWhat are you doing here, and whereis Steven?

ALLENIn the car, where else would he be?

MARYWhy do you want twenty dollars?

(Beat)You better not be planning to slackoff of your baby-sitting job! Someonehas to watch Steven while I work!

ALLEN(Resentment tone)

I'm watching him. Now give me themoney!

40.

MARYI shouldn't give you any, but thelast thing I need is for you to causea scene. I need to keep this job toput food on the table! Since youdon't!

Mary reaches under the counter and removes a bill from herpurse. She reluctantly hands it to Allen.

ALLENThanks, babe! Catch you back homelater.

Allen turns to exit.

MARYYou better watch Steven, and stayout of trouble.

ALLENYeah, yea!

Mary watches as the old banged-up Cutlass drives away.

MARY (V.O.)I wonder where the hell he's heading?

CUT TO:

INT. WEBSTER'S BAR-DAY

Allen sits on a barstool next to:

CLARA SIMPSON, 19 with long golden hair, childish attitude,who loves to tease the men. She's teasing Allen by slightlyraising her extremely short dress.

Allen reaches down, his hand slides up her leg near the pantyline.

Clara laughs then pushes his hand away.

ALLENSo sweet thing, how about comingback to my place and help me baby-sit?

Clara gives Allen a look.

41.

CLARAYou're a pervert! Using your kid totake me to your home!

ALLENHe won't watch! I promise!

Clara is just about to blow Allen off when she sees her ex-boyfriend entering the bar.

CLARATell you what, good looking. I'llgo home with you some other time. When you're not busy that is, butfor now, can you drive me home?

ALLENYou're there!

EXT. BAR PARKING LOT-DAY -- FOLLOWING

The two exit the building, walk toward the Cutlass.

Clara sees Steven sitting in the back seat. She looks atAllen, surprised.

CLARAYou call leaving him in the car baby-sitting?

ALLENHell, it works!

(Beat)Where to babe?

Both enter the auto.

INT. CAR -- MOMENTS LATER

CLARAJust out past North Lake.

ALLENOh, you live in the country!

CLARAAre you sure you're able to drive? You did drink several beers.

42.

ALLENI can drive the car and my instrumentup you!

CLARAJust keep your mind on the road.

(Beat)Take highway 14, I live about twomiles past the lake.

EXT. HIGHWAY

We see the CUTLASS driving up highway 14 approaching NorthLake.

INT. CAR -- MOMENTS LATER

Allen sees a dirt road ahead and knows it leads into a woodedarea. He turns onto the road and accelerates. Once out ofsight of the main highway he stops and turns off the engine.

CLARAWhy did you come up here?

ALLENI'd like to get to know you better. Can't we sit here and talk?

CLARAYea right! I don't live far fromhere. So I'll walk.

Clara attempts to exit the car.

Allen grabs her by the arm.

CLARA (CONT'D)Let go!

Clara tries to struggle to free herself.

ALLENHell no!

Clara has no chance to reply before Allen pins her to theseat with his hand in her panties.

CLARASick-o, the kid can see you!

43.

Steven looks frightened and curls up into a fetal positionhiding his face from view.

ALLENSo, it won't be the first time!

CLARAYou're a crazy S.O.B.

Clara struggles to free herself without success.

Allen rips off the under garment and tries to push the girlinto a laying position.

Clara SCREAMS in pain then starts trying to kick at Allen. She manages to sit up, briefly.

Allen pushes her upper body down; hard causing Clara's headhit the door extremely hard, knocking her unconscious.

Allen concludes the rape. He then exits the car draggingCLARA out by her feet. He picks her up and carries her tothe water then tosses her into the lake. Then he returns tothe car and starts to drive away.

INT. RAY HOME-DAY

Allen carries Steven into his bedroom. He tosses the boyonto his bed. Then he reaches down and grabs the boy'sprivate area, squeezing it in his hand.

Steven starts SCREAMING in pain.

ALLENDoesn't feel very good, does it? Tell your mother or anyone else whathappened today and I'll rip thislittle pecker off!

(Beat)Understand me?

Steven shakes his head yes and begins to cry.

Allen releases his grip, exits the room.

CUT TO:

44.

INT. DAY STEVEN'S ROOM--DAY (REAL TIME RESUMED)

PETERSONWhat kind of sick bastard was hisfather?

Peterson snaps his finger.

PETERSON (CONT'D)Steven, wake up now.

Steven shakes his head slightly then looks at Peterson inanger.

STEVENAre you still here?

PETERSONYes, we just finished a nice longtalk.

STEVENYea right!

Peterson prepares to leave.

PETERSONI might stop at the hospital to checkyour Mother's condition. Is thereanything you would like me to tellher?

STEVENI thought she was in a coma!

PETERSONThat doesn't mean she can't hear.

STEVENWell, if she's really there, tellher that I love her and not to worryabout me.

INT. HARRIS COUNTY COURTHOUSE JUDGE MAXWELL'S CHAMBERS--LATER

Peterson talking with Maxwell.

PETERSONCan the hearing be postponed for afew weeks? I need more time.

45.

MAXWELLI can give you two more weeks. Canyou assure me the boy will not harmhimself?

PETERSONI assure you, sir he will be justfine.

MAXWELLAnything else?

PETERSONYes, an injunction blocking thepossibility of County's attemptingany type of termination of Mrs. Ray'slife support?

MAXWELLMrs. Ray...I'm not aware she wasfound.

PETERSONYes, she was found right afterSteven's arrest. She's in a coma,and the Doctors are thinking aboutterminating her life support.

(Beat)If Steven finds out, it will devastateall my progress.

MAXWELLI'll check into the matter and getword over to the hospital today,ordering the continued life-supportuntil the hearing has concluded.

PETERSONThat will help a lot. Thank youJudge.

MAXWELLGood day Doctor, or should I sayCounselor?

Peterson smiles slightly as he exits the chambers.

CUT TO:

46.

INT. POLICE STATION RECORDS DIVISION--SAME DAY

Peterson is sitting at a computer in the records room. Hesearches back to through the years through all the missingpersons reports.

A case name pulls up one the computer screen.

CLARA SIMPSON

Missing: Clara Simpson, age nineteen, shoulder-length goldenblond hair, 125 pounds, 5 feet 6 inches.

Report filed by Robert Simpson, father. Last seen atWebster's bar. April 30, 1985 NOTE: Clara Simpson founddead in North Lake. Cause of death: drowning, blunt traumato the head. Cause UNKNOWN.

Possible foul play involved. "UNSOLVED"

PETERSONIt really did happen just like Stevensaid!

Peterson copies the files then exits.

INT. POLICE HEADQUARTERS -- FOLLOWING

Peterson walks up to the main information desk.

A YOUNG OFFICER stands at a computer, another Officer looksthrough a file cabinet.

PETERSONExcuse me?

OFFICERMay I help you with something?

PETERSONYes, I'm the attorney in the Raycase and I needed to follow up on alittle information.

OFFICERWhat type of information are yousearching for, sir?

47.

PETERSONA little over five years ago therewas a girl found dead in the NorthLake area. Can you tell me whohandled that case? Her name wasClara Simpson.

OFFICERLet's see if that name pulls up onthe computer.

(A brief pause)Yes, here it is.

(Pause)Clara Simpson, a nineteen year oldwas found dead. The case is stillofficially open. Detective LarryHill worked that case.

PETERSONIs it possible for me to speak withhim?

OFFICERLet me check and see if he's in hisoffice.

The younger Officer picks up the telephone.

OFFICER (CONT'D)Sir, there's a Mr. Peterson herewanting to speak with you about theSimpson case.

(Beat)Yes, sir, I'll tell him.

The Officer hangs up then looks at Peterson.

OFFICER (CONT'D)Please have a seat. Detective Hillwill be up in a moment.

PETERSONThank you.

CUT TO:

INT. WAITING AREA -- MOMENTS LATER

Peterson goes to the waiting area and waits. He waits foralmost thirty minutes and is just about go back up to the

48.

desk and complain when a middle-aged gray-haired man in arusty brown suit enters the waiting area.

Hill looks at Peterson wondering.

HILLMr. Peterson I presume?

PETERSONYes.

Hill walks over and shakes Peterson's hand.

HILLSorry to have kept you waiting solong, but I had a difficult timefinding the Simpson file.

PETERSONI understand. It looks like a busyday here.

HILLEveryday is busy!

(Beat)The desk said you wanted to speak tome about Clara Simpson.

PETERSONYes. I have some information thatwill be helpful to you and to myclient.

HILLI heard rumors you were defendingthe Ray kid. You have a difficultjob ahead!

PETERSONIt might not be so difficult.

HILLLet's go to my office to talk inprivate.

INT. HALLWAY-OFFICE --FOLLOWING

Peterson follows Hill into a small office.

49.

PETERSONThe department doesn't give you guysmuch room to work in, do they?

HILLNo, they don't.

(Beat)Now, what can I help you with?

PETERSONMaybe we can help each other. Ithink I know who killed the Simpsongirl.

HILLI hope you're not referring to theRay boy. He was too young back then.

PETERSONNo, but he's the witness. Did youknow Allen Ray, his father?

HILLEveryone in the department did.

(Beat)He was one bad egg. The boy shouldget a medal for killing him, insteadof prosecution.

PETERSONEveryone tells me he was, "a badone."

HILLSo, the boy claims he witnessed thismurder?

PETERSONThat boy witnessed too much in hislife. And that is a fact!

(Beat)Anyway, he was in the car when hisfather raped the girl and killedher.

HILLWhat you're telling me might true,but it's a little late to prove itnow, with Ray dead.

50.

PETERSONMaybe not! Steven told me duringthe struggle Clara hit her head onthe passenger door, and it soundedlike a hard blow.

Hill looks through some case records.

HILLWell, the boy knows more than heshould. It says here the girl didhave a head injury, and if my memoryis correct, she was indeed raped!

PETERSONThe car we speak of is still parkedat the Ray's home. Since the girlinjured herself on that door. Couldn't there possibly still besome type of evidence left behind?

HILLOh, I see what you're getting at. There might be some type of tissuesamples, but it's been a long time. More than likely it is all gone bynow.

PETERSONWould you please try? For the boy'ssake and the possibility you'll beable to close this case.

Hill pauses and thinks a moment.

HILLOkay, if it will help the boy, I'llsee what I can do. I will need toget a search warrant, and a labtechnician to examine the car forDNA.

PETERSONThe information is needed as soon aspossible.

HILLI can't promise anything there. Thelab has been backed up for monthsnow, but we'll see.

51.

PETERSONPlease call me if you find anythingat all.

Peterson hands Hill papers with the addresses and his contactinformation.

PETERSON (CONT'D)Thanks for your time.

HILLI'll be in touch. Good day.

Peterson exits as Hill picks up the phone.

CUT TO:

INT. MARY'S HOSPITAL ROOM -- LATER

Peterson is entering the room, and he picks up Mary's chart.

PETERSONDamn! Still no change!

(Beat)Come on now, Mary, wake up and helpme fight to save your son!

Peterson notices the monitors fluctuate as he speaks.

PETERSON (CONT'D)Steven said to tell you that he lovesyou!

Moments later:

A NURSE enters the room.

PETERSON (CONT'D)Nurse. Her brain activity increasedfor a moment while I was speaking toher.

NURSEThose monitors fluctuate all thetime. Sorry, but it means nothing.

PETERSONAre you sure?

NURSEYes, it's normal.

52.

PETERSONWell, I guess you would know.

NURSEI see it happen all the time!

The Nurse exits, Peterson looks at Mary. We can see hisexpression go from concern to slight affection.

PETERSONI hope we can get to know each other. So, please, come back for your son'ssake and mine!

CUT TO:

INT. STEVEN'S ROOM--DAY

Peterson walks into the room; David follows.

Steven jumps up off the bed from a sitting position

STEVENSo, you did tell me the truth?

PETERSONWhat?

STEVENMy mom, she is alive, and you did goto see her?

PETERSONI told you I was going to thehospital!

STEVENI know, but I didn't believe youthen.

PETERSONWhy do you believe me now?

STEVENBecause she told me! And thanks forgiving her my message.

David looks at the two talking in disbelief.

DAVIDIt's getting weird in here!

53.

Peterson looks at David.

PETERSONThis case is a lot weirder that youknow!

DAVIDI don't think I want to know. I'mjust glad the boy is getting betterand behaving himself.

PETERSONHe'll be out of your hair soon enough.

DAVIDWhat makes you say that?

PETERSONJust a feeling I have!

DAVIDWell, you have only a couple of weeksleft.

PETERSONI know. If it's all right I'llcontinue counseling Steven allweekend.

DAVIDFine by me, after all, you're theDoctor at law!

PETERSONLet's get started, Steven.

David discreetly rolls his eyes as he exits the room.

Steven hears the snap, and the word, Mother. Immediately helooks entranced.

PETERSON (CONT'D)Mother.

(Beat)Steven, is there any other eventsyou wish to tell me about?

STEVENI can see my room. It's dark inthere.

(MORE)

54.

STEVEN (CONT'D)I'm sitting on the edge of the bed. I think I'm getting ready to hide.

PETERSONHow old are you now?

STEVENTen.

PETERSONWhy are you getting ready to hide?

STEVENMy dad, he's real mad.

PETERSONWhy?

STEVENBecause there's no beer for him todrink! He's watching a footballgame in the living room. He'sswearing about mom not working enoughto buy any.

PETERSONWhere is your mom?

STEVENShe's at work. Working a doubleshift, and she will not be back homeuntil late.

(Steven pauses then,shows an expressionof terror.)

I got to go. He's coming after me!

PETERSONDon't de afraid. Just tell me whatyou see.

INT. VISION-THE RAY'S HOME--DAY

Steven, now 10-12 is hiding under his bed, staring at thedoor and SOUNDS of approaching footsteps. His bedroom doorsuddenly flies open, hitting into the wall.

ALLENGet out from under that bed! I'vegot a job for you.

55.

No reply, only low crying sounds.

ALLEN (CONT'D)You heard me boy. Don't make medrag you out from under that damnbed!

Steven slowly emerges out from under the bed.

Allen grabs the boy by the arm and leads him outside to thecar.

CUT TO:

EXT. INSIDE THE CUTLASS -- MOMENTS LATER

Allen's auto pulls up in front of a lifeless looking grocerystore.

ALLENNow, do it just like I told you todo! Screw this up or tell anyoneand I'll throw you into that lakelike I did Clara.

(Beat)You do remember her, don't you?

Steven shakes his head yes, expressions of fear.

ALLEN (CONT'D)Good, get in there then. There'sonly one man in the place thisafternoon.

Allen opens the car door as STEVEN exits the passenger side.

Steven runs into the store.

Allen opens his door, falls out of the car onto the ground.

CUT TO:

INT. GROCERY STORE -- MOMENTS LATER

Steven runs into the building screaming.

STEVENHelp mister, my dad, he's real sick!

A CLERK leaves his register and walks over to the panickingboy.

56.

CLERKWhat's the matter with him, son?

STEVENMy father has fallen out of the carand can't get up. Will you go seewhat's wrong?

CLERKYes, of course.

STEVEN(Starting to cry)

Help him, please.

CLERKStay here. I'll go check on him.

EXT. PARKING LOT -- CONTINUOUS

Clerk exits the building into the parking lot and sees ALLENlying beside the car, acting unconscious.

Clerk walks over to check on the man.

INT. GROCERY STORE -- CONTINUOUS

Steven waits until the clerk is out of sight, then goes tothe cash register, opens it and stuffs all the money intohis pants pockets. He then closes the drawer and returns tothe car.

EXT. PARKING LOT-- MOMENTS LATER

STEVENIs he all right, sir?

Clerk is trying to check Allen's pulse.

CLERKI don't now. Maybe he's having aheart attack. I can't find his pulse!

Allen slowly starts to show movement then his eyes driftopen.

ALLENWhere am I? What happened?

57.

CLERKIt appears you fainted! Come insideand I'll call for a paramedic.

Allen gets up acting like he's having a hard time doing so.

ALLENNo, that's okay. I have had thesefainting spells before. It willpass, I just need to get home andlay down.

CLERKAre you sure you can drive?

ALLENYes, and thanks for your concern.

(Beat)Let's go, Steven.

Steven gets back into the passengers seat.

Allen starts the car and drives away as the Clerk standswatching.

CUT TO:

INT. CUTLASS -- MOMENTS LATER

ALLEN(Low voice)

Did you get the money and close thedrawer like I told you to do.

STEVENYes!

CUT TO:

EXT. PARKING LOT -- CONTINUOUS

CLERK(Speaking to himself.)

Well, I guess he will be all right!

INT. CUTLASS -- MOMENTS LATER

Moment's pass, Allen starts to laugh as soon as the car wasout of the Clerk's sight.

58.

ALLENThat dumb fucker! It will be hoursbefore he knows what happened! Bythen he won't remember what we looklike.

The CAR stops outside of a second store. Allen gets themoney from STEVEN then goes inside and buys two six packs ofbeer.

INT. CORRECTIONAL FACILITY HALLWAY--DAY (REAL TIME RESUMED)

David unlocks the door to Steven's room.

Doctor DON CALLAWAY 40's enters the room holding a folder. He pauses and turns to David standing at the threshold.

CALLAWAYThat will be all for now.

David backs out pulling the door closes, but stays close by.

INT. STEVEN'S ROOM DAY--CONTINUED

CALLAWAYGood morning, Steven.

Steven stands from a sitting on his bed position and backaway from the stranger.

STEVENWho the hell are you, and what doyou want?

CALLAWAYI'm here to talk with you. My nameis Don Callaway, but you can call meDon.

(Beat)I'm here to talk with you.

STEVENWhat about?

CALLAWAYTo ask, why you shot your father. You see I'm a psychiatrist sent hereby the judge.

59.

STEVENI'm not talking to you. I alreadyhave a doctor.

(Steven screams)So get out!

CUT TO:

INT. HALLWAY -- CONTINUOUS

Peterson can be seen approaching Steven's room. He hearsSteven scream and increases his pace.

David sees Peterson and walks toward him then, whispers.

CUT TO:

INT. STEVEN'S ROOM DAY--CONTINUED

Peterson enters the room with a confused expression for amoment.

PETERSONWhat's going on in here?

CALLAWAYI'm trying to talk to this boy, buthe's being very, uncooperative.

PETERSONCallaway, isn't that your name? Isee Maxwell didn't waste any timesending in another doctor.

STEVENBill, make him go away!

PETERSONIt's all right Steven. He's nothere to hurt you!

CALLAWAYYou two are already on a first namebasis?

Callaway looks over the room and locates a chair then, writesa note in his tablet.

60.

CALLAWAY (CONT'D)I am supposed to test the boy's mentalawareness, but he's being unresponsiveand a bit violent!

(Beat)Maybe Maxwell was right in his opinionof an angry lad.

PETERSONIt's fear gripping the boy, not anger.

CALLAWAYRegardless of the cause, without hiscooperation I will not be able tofile a report.

(Beat)Do you have any suggestions?

Peterson drags a chair over and places it next to Callaway.

PETERSONI suggest you sit and listen while Iinterview him.

CALLAWAYThat is not standard procedure,Doctor.

PETERSONNo, it isn't. But this way you willknow what caused this boy's fear.

(Beat)Steven, please come here and sit onthe bed.

Steven walks near Peterson but keeps his distance fromCallaway. He sits down on a corner of his bed.

Peterson then snaps his finger as he says the word to putSteven back into hypnosis then; he moves his chair in frontof the boy and sits down.

PETERSON (CONT'D)Steven, remember you told me aboutthe incident at the grocery store?

STEVENYes.

61.

PETERSONMove on to the next major incidentafter that robbery.

STEVENI ran away one time.

PETERSONHow old were you then?

STEVENTwelve.

PETERSONWhat happened to make you want torun away from home?

STEVENIt was a late Saturday night, and Icouldn't sleep because of a storm.

CUT TO:

INT. VISION-STEVEN'S BEDROOM -- NIGHT

Steven is in his bed, clenching the covers over his headtighter as lightning flashes and loud CLAPS of thunderVIBRATES the room.

Sounds of a drunken man are heard nearing the doorway; thesounds send a wave of terror through Steven's facialexpressions.

STEVENNo, not again!

Steven gets out of bed and runs to his bedroom window. Hetries to open it, but has difficulty at first try. The windowopens as Allen enters the room, stumbling.

ALLENJust where the hell do you thinkyou're going?

CUT TO:

EXT. HOME -- CONTINUOUS

Steven crawls through the window and runs down the darkenedstreet. A hard rain pounds his face. He slips in the mud,but stands back up, more determined to escape.

62.

Allen appears in the window, looks out yelling.

ALLENGet your ass back in this house.

Allen then craws through the window, falls to the ground,battles to regain a standing position. He then runs afterthe boy, staggering several times, bumping into items in hispath.

Steven slows a moment to look back. He sees Allen following,and increases his speed.

ALLEN (CONT'D)You're going to regret doing thiswhen I catch up with you!

Steven leaves the road and runs down an alley trippingoccasionally on debris from the storm. He has a difficulttime keeping his footing from water and mud.

Due to the darkness, Steven cannot see he is nearing GreensCreek. His fear block the rushing water sounds nearing.

A SHOT of the creek shows it is swollen from the heavy rains.

Steven trips and slides down a hill. He reaches out at limbstrying to grab hold, but he is unable to stop the sliding. Suddenly, he finds himself sliding into the creek. The swiftcurrent against his body tries to push him away from thebank. His body slams into a small bush next to the bank; hegrabs a limb, and it stops him from being swept downstream. Steven screams in pain and fear.

STEVENHelp!

Allen stops at the waters edge.

ALLENI should drown your ass and be donewith you! But I wouldn't be able toexplain how you got out here!

Allen pulls the boy out of the creek and throws him on hisshoulder. He staggers and slides while walking back home.

63.

INT. RAY HOME--NIGHT

The front door opens and Allen enters; he sees Mary sittingon the sofa waiting and worrying.

CUT TO:

INT. STEVEN'S ROOM -- DAY (REAL TIME RESUMED)

Steven sits up and screams out.

STEVENNo, he's going to beat her again!

Steven unexpectedly breaks out of the hypnotic state,surprising Peterson.

STEVEN (CONT'D)(Crying)

I can't tell you the rest right now.

PETERSONThat's okay Steven, you can tell melater.

Steven can be seen trembling.

Peterson gestures Callaway away from the boy.

PETERSON (CONT'D)There must be a terrible memory hiddenat the end of that story, to breakhim out of the trance like that!

CALLAWAYMaybe, but I'm still confused. Whydid the boy panic so as his fatherentered the room?

PETERSONHis father entered the room at nightto rape the boy.

CALLAWAYOh, that indeed would trigger a panicepisode!

PETERSONNow do you see what caused the fear?

64.

CALLAWAYI can see the reason to fear hisfather, but no reason to kill him.

PETERSONYou will!

Callaway starts to exit the room.

CALLAWAYMaybe, but I cannot do the exam withhim under hypnosis. I'll have toreport my findings to the judge. Ifhe still insists on following throughwith the exam, you will be requestedto remove your hypnotic control.

(Beat)Good day, Mr. Peterson.

Callaway exits closing the door.

PETERSONAre you okay, Steven?

STEVENI'm glad he's gone!

PETERSONYou sound fine now!

(Beat)Why did you say, you can't tell methe rest, right now?

STEVENMom, she told me to say that!

PETERSONI don't understand, why?

STEVENI don't know. Maybe she will tellme later.

PETERSONI hope so...

(Beat) (To himself)This is getting too strange!

DISSOLVE TO:

65.

INT. DOCTOR PETERSON'S HOME--FOLLOWING WEEK--DAY

Peterson is in bed sleeping when the telephone rings. Heslowly arises to answer.

PETERSONHello?

(Beat)Judge Maxwell, isn't it a bit earlyfor you to be calling?

MAXWELLPeterson! Is it true you're usinghypnosis on the Ray boy?

PETERSONYes sir, it is.

MAXWELLWell, I don't like it! Get yourbutt in my chambers now!

PETERSONIf you insist! I'll be there shortly.

CUT TO:

INT. JUDGE MAXWELL'S CHAMBERS -- LATER

Peterson is escorted into the chambers by a Bailiff.

Maxwell can be seen talking with Callaway.

MAXWELLWell, it's about time you arrived,Doctor!

PETERSONI came as soon as I could.

MAXWELLLet's cut the formalities. Youalready know Callaway. He tells meyou're doing some type of hypnotictherapy on the Ray boy.

PETERSONYes, I am.

66.

MAXWELLWell, I don't like the sound of it. Why would you need to hypnotize theboy?

PETERSONTo get the truth about what happened,and why the boy killed his father!

MAXWELLYou're missing the point. We knowhe did it. The why's are of littlevalue now! Why not just plead himguilty and be done with it?

PETERSONBecause I think it's a case of self-defense!

MAXWELLI don't see how! There were no signsof a struggle. The boy had no woundsto speak of. And he surely didn'tclaim self-defense when he wasarrested.

PETERSONHe was in shock that night andfrightened. Wounds are sometimesunseen!

MAXWELLCallaway, what do you think of thishypnotic therapy?

CALLAWAYIt's an effective tool as long asit's used properly! But like I toldPeterson, I cannot do an evaluationwhile he's under hypnosis.

MAXWELLGood point! Peterson, how do weknow you're not influencing the boyunder hypnosis?

PETERSONEvery session is being taped, so youwill have no reason to think thatI'm influencing the boy!

(MORE)

67.

PETERSON (CONT'D)(Beat)

As for Callaway doing the mentalevaluation. It will not be necessary,since we are going to plead innocent!

Maxwell looks at the court schedule.

MAXWELLSo, you're going to plead not guilty?

PETERSONThat's correct.

MAXWELLWell then, we have a last minuteopening. Let's set the trial forthis Friday. There's an open juryin the Kingston case. The man hunghimself last week, so his trial willbe dismissed. That gives you fourdays.

(Beat)Do you to think you can be ready bythen?

PETERSONNo problem! And I'm sorry if thisupsets you judge, but we're going towin!

Maxwell laughs.

MAXWELLI hope you do; if not, the boy willbe in State care for the rest of hislife.

CUT TO:

INT. GOODWIN BOYS HOME HALLWAY--DAY

Peterson is walking down the hallway toward Steven's room.

David stops him in the hallway just outside Steven's room.

DAVIDDoc, you and them pills have workedmiracles on that boy!

68.

PETERSONI hope we're helping him!

DAVIDYou sure are! For the first timesince he's been here. He asked togo outside.

PETERSONThat is good news. Did he get to goout?

DAVIDYes. And his attitude is much bettertoward the staff.

PETERSONHe will get better with time. Thatboy has a lot hidden in his mind. And we know whom to thank for that!

DAVIDThere is some bad news though.

(Beat)I still hear him talking to someone. I think it's his mother.

Peterson giggles slightly as he opens the door.

PETERSONThat's all right. I talk to hertoo!

David looks surprised by the doctor's statement. He muttersto himself as he walks away.

DAVIDMaybe the boy's illness is rubbingoff on him!

CUT TO:

INT. STEVEN'S ROOM -- MOMENTS LATER

STEVENYou're back!

PETERSONI said I'd be back. Remember?

(MORE)

69.

PETERSON (CONT'D)(Beat)

Is that a tone of excitement I hearin your voice?

STEVENI got to go outside today!

PETERSONYes, I know. Why did you suddenlydecide to go out?

STEVENMom said it was time to get back outin the fresh air.

PETERSONWeren't you terrified?

STEVENA little, but she said not to worry. She would keep the bullies away. But, I tried to stay by the buildingaway from everyone. And I bumpedinto another boy, like me. He wastrying to hide.

PETERSONWhat happened then?

STEVENWe talked, and I think we're friendsnow. His name is Ken.

(Beat-sad eyed)Will you try to help him, too? Please?

PETERSONI don't know if I can, but I'll checkinto it.

STEVENCan we go out? I want you to meethim.

PETERSONMaybe later. We have more talkingto do first. The judge has movedyour trial to the end of this week.

(MORE)

70.

PETERSON (CONT'D)(Beat)

Go sit on your bed, please, and we'lltry again.

STEVENOkay.

Steven walks to his bed.

STEVEN (CONT'D)Will you please try to help him too?

PETERSONI'll try, but no promises.

(Beat)I'm still amazed you ventured out.

STEVENThank my mom.

PETERSONI will. I just wished she'd help mea little with this case!

STEVENDon't worry Doctor. She'll helpyou. This I do know.

CUT TO:

INT. OUTSIDE STEVEN'S ROOM HALLWAY--DAY

David stands near the door pretending to be sweeping thefloor.

DAVIDMaybe the boy's illness is rubbingoff on him!

David shakes his head, and walks away.

CUT TO:

INT. STEVEN'S ROOM--CONTINUED

Peterson snaps his fingers.

PETERSONMother.

71.

Steven looks expressionless, staring at an empty space onthe wall.

PETERSON (CONT'D)Steven, you told me a yesterday aboutthe storm. Will you tell me nowwhat happened after you returnedhome?

STEVENNo, Mom said wait. But, Dad did dosomething else you should know about.

PETERSONI'd like to hear the other storyfirst, but go ahead, and tell meabout it please.

STEVENLate one afternoon, Mom just leftfor work. Dad told me to get readyto go with him.

PETERSONWhere did he want you to go?

STEVENBack to the same bar where we pickedup Clara. It was about a year ago.

Steven's hand again reached out to Peterson; the room darkens.

CUT TO:

INT. VISION-RAY HOME--DAY

Steven is laying on the sofa watching television in the livingroom. ALLEN walks over and turns off the set.

ALLENIt's time you earned your keep!

Steven looks frightened and shocked by the statement.

ALLEN (CONT'D)There's a woman I know that's loaded. Tonight we will be going to her placeand this is what you are to do.

(MORE)

72.

ALLEN (CONT'D)(Beat)

I'll get her into the bedroom anddistract her. You find her purseand take all the money out of it. Like you did at the store. Alsolook around the home for money thatmight be hidden. Like in piggy banks,in books and things.

Steven acts as if he wants to flee away, but fears Allen toomuch to attempt it.

ALLEN (CONT'D)Screw up and you'll regret it! Andthat's a promise!

Allen grabs Steven by the arm and leads him out of the home.

CUT TO:

EXT. WEBSTER'S BAR PARKING LOT--NIGHT

Steven is seen waiting in the back seat of the Cutlass.

CUT TO:

INT. WEBSTER'S BAR-NIGHT

Allen can be seen inside looking through the crowd for hisvictim.

SARA BARNS, a middle-aged nicely built brown-haired woman.

Sara sees Allen looking through the crowd. She walks overto him and remarks.

SARA(Drinking heavily)

Well, it's about time you showed up. I though you were going to stand meup again!

ALLENStand you up. Never!

Sara giggles and becomes very friendly with Allen. She takesan arm and wraps it around his shoulders. Her hand slidesdown past his rib cage to the belt line. Then she gentlysqueezes his instrument.

73.

SARAWant to go home with me?

ALLENI thought you'd never ask!

Allen escorts Sara from the bar.

ALLEN (CONT'D)We'll have to take my car. I'mbabysitting again!

(Beat)I hope bringing the boy along doesn'tbother you.

SARAAs long as he stays out of the bedroomI don't mind.

(Giggling))It's a big house you know, maybehe'll get lost in it!

CUT TO:

EXT. OUTSIDE SARA'S HOME--NIGHT

The Cutlass is seen pulling into a driveway of an eleganttwo-story brick home.

ALLENSure hope your husband doesn't mindmy visit!

SARAHusband! Hell, I threw that bum outmonths ago! He was only after onething. My money!

ALLENThat's a good thing to know. I hatesurprise interruptions.

(Thought)He'll be the one that gets blamedfor what I'm going to do to you!

The Cutlass parks in front of the home, three exit enteringthe home.

CUT TO:

74.

INT. INSIDE SARA'S HOME LIVING ROOM AREA -- MOMENTS LATER

SARAThis way, darling! Tell the littleboy to go turn on the TV and helphimself to the refrigerator. Thatwill keep him occupied I'm sure.

Sara lays her purse on a coffee table near the living roomdoor, then, walks slowly up the staircase removing, garmentsto intrigue Allen.

Allen pulls Steven up close and whispers in his ear.

ALLENI'll be back in a few minutes. Remember what I told you to do!

Allen then follows Sara up the stairs. He picks up hergarments along the way.

Steven looks at Sara's purse. He then walks to it and removesall the cash. Then, he walks around the living room area,but makes no attempt to look for more valuables.

Minutes pass, Steven hears Sara moaning loudly. He quietlywalks upstairs toward the direction of the sound.

CUT TO:

INT. HALLWAY NEAR SARA'S--BEDROOM

Steven nears a bedroom door. It is partly open. He looksinto the room and sees the two adults in bed with all oftheir clothing off and his father lying on top of the rudewoman.

Sara's drunkenness causes her to become loud and arrogant. She starts complaining about Allen's performance.

SARAIs this the best you can do?

(Beat)Hell the paperboy has a bigger andbetter pecker than you!

ALLENShut up and enjoy it!

SARAGive me something to enjoy!

75.

Steven sees Allen move, Sara moans out sounds of enjoyment.

SARA (CONT'D)That's more like it!

Steven sees the movement continue for a short time longer.

Allen stops and lays motionless on top of Sara.

SARA (CONT'D)No! You can't be finished already!

ALLENSorry babe, but I am.

SARADamn you! I was expecting much morefrom you!

Sara pushes Allen off her. She sits up on the edge of thebed turned away from Allen.

SARA (CONT'D)Get out! Take your worthless assand your son and get out of my home!

Steven sees his father pick up a lamp from a nearby end table. He swings it, hitting SARA in back of the head. Blood andglass splatter over the room. SARA'S nude body falls facefirst into the floor.

The impact sound causes Steven to jump back away from thedoor.

ALLENSorry you didn't enjoy it bitch! It's the last dick you'll ever feel!

Allen then gets dressed and starts ram-sacking the room. Wesee him placing valuables in his pockets. Before exiting heremoves a large butterfly shaped diamond ring from Sara'sfinger, then wipes his fingerprints off of the lamp.

Steven runs in fear back down the stairs in tears, out thedoorway and gets into the Cutlass.

CUT TO:

INT. STEVEN'S ROOM -- DAY (REAL TIME RESUMED)

A cell-phone rings.

76.

PETERSONHello?

HILL (V.O.)Well, I might have some good news!

PETERSONI sure could use some about now.

CUT TO:

EXT. RAY HOME--DAY

A POLICE OFFICER is taking samples from a bloodstain insidethe Cutlass.

HILLWe found some hair on the Ray carpassenger door. It was between thearmrest and door panel. The victim'shair must have got caught in thespace there and pulled out. Alsothere seems to be an old bloodstaininside the door panel.

INT. STEVEN'S ROOM -- DAY

PETERSONI'm glad you found the evidence.

HILL (V.O.)It's not positive yet. We stillhave to test the samples and see ifit's a match. But, I can say thehair color is the same as ClaraSimpson's.

PETERSONWill it take long to test?

HILL (V.O.)It might, but I'll try to get a rushjob done.

PETERSONHere is another possible murder caseyou might want to check on.

HILL (V.O.)Another one! You're kidding.

77.

PETERSONI wish. Do you know a woman namedSara Barns?

HILL (V.O.)Let me think a minute.

(Beat)Barns. I remember a Barns beingmurdered about a year ago, but herhusband was convicted of the crime. It was a case of revenge.

PETERSONWell, detective. It looks like yougot the wrong man locked up for thatmurder.

HILL (V.O.)I hope you're pulling my leg, Doctor.

PETERSONSteven, did your father take morethan the woman's ring.

STEVENHe had all kinds of jewelry. And Ithink he took some kind of paperwork.

PETERSONDid you hear that detective? Maybeyou should search the Ray's home andsee if any of Mrs. Burns items arestill there.

HILL (V.O.)We'll do a search of the home whilewe are here.

Peterson hangs up the phone then remembers Steven is stillunder hypnosis. He looks to the boy and sees both of hishands at his groin in a protective posture.

PETERSONWhy are you sitting like that, Steven?

STEVENIn case he grabs me again to warn menot to tell.

78.

PETERSONThat's enough for now. You looklike you need a break!

CUT TO:

INT. RAY HOME--DAY

Detective Hill is seen with two police officers searchinginside the Ray's home. One Officer in the bedroom lifts upthe mattress on a bed in Allen and Mary's bedroom. He picksup a large diamond ring that is hidden under the mattresses.

OFFICERWow! Look at the size of thosediamonds on this ring!

Hill enters the bedroom.

HILLLet me see that ring.

The Officer hands the ring to Hill.

OFFICERA unique shape, isn't it? That'sthe first time I ever seen a butterflypattern.

HILLWell, I'll be damned! This ring didbelong to Mrs. Sara Barns. I rememberit was listed on the sheet of stolenitems.

OFFICERIs that the woman who was murderedlast year by her husband?

HILLShe was murdered all right. But itlooks now like the husband had nothingto do with it!

A SECOND OFFICER is searching in Steven's bedroom.

79.

SECOND OFFICER(Calls out)

Wasn't this place searched when theboy killed his father?

CUT TO:

INT. STEVEN'S BEDROOM

Hill enters the room and looks at the discovery.

HILLI think so. Why?

SECOND OFFICERThe boy's bed, there are bloodstainsall over the sheets! And bulletsunder the mattress! I wonder why?

HILLI bet I know someone that can answerwho question!

CUT TO:

INT. STEVEN'S ROOM -- LATER

STEVENCan we go out now? I want you tosee my friend.

PETERSONI'll get David to take you out whileI go check on why Ken's here. I'llmeet you outside in a few minutes. What's his full name?

STEVENKen Cellars.

Peterson exits, and locates David.

PETERSONDavid, do you know the boy Steventalked with today, named Ken?

DAVIDSorry, Doc. He's in the Northsection. I don't know much aboutthose inmates, but I can check.

80.

PETERSONNo need. I'm going to the officenow to look at his file. Do youhave time to take Steven back out? He wants to show me the boy?

DAVIDSure, I take him out. We'll be bythe picnic tables. That's where thetwo bumped into each other earlier.

PETERSONThanks, I'll be there shortly.

CUT TO:

EXT. COMPOUND -- LATER

David watches as Peterson exits the building with a folder.

DAVIDWell, did you find out anything?

PETERSONNot much. His file said he wasbrought here for shoplifting. Hisfather refused to claim the boy. Iwonder why.

DAVIDThis place needs to keep betterrecords.

PETERSONYes, I agree.

(Beat)Where's my little prisoner?

DAVIDOver by the building, with new hisfriend!

David points out the two boys.

PETERSONLooks like we're about to meet. Helooks small for thirteen, don't youthink?

The Men see Steven start walking toward them with boy, Ken11, years old.

81.

DAVIDLooks like the work of starvation tome. I've seen it before, neglectedkids stunted or ill from lack ofnourishment.

PETERSONYou think that's why.

DAVIDI'd bet on it.

(Beat)Doc! Is it my imagination or dothose two look a lot alike?

PETERSONOh, my God! Look at the two of them!

Peterson strains to look closer at the boys.

DAVIDYou're not thinking, what I'mthinking, are you?

PETERSONIf you're thinking those two lookrelated then, yes. The thought didenter my head.

DAVIDRelated hell, they look like brothersto me!

PETERSONI wouldn't go quite that far.

DAVID(Laughs)

I'm glad I'm not you! This casegets stranger every day!

PETERSONIf you only knew how strange it reallyis!

DAVIDI'm here when you want to tell it,Doc.

Steven interrupts.

82.

STEVENBill, here's the boy I told you about.

DAVID(Teasing)

Bill? Not doctor, that's a littleodd.

PETERSONHello there, son.

Peterson extends his hand out to Ken.

Ken hides behind Steven.

STEVENDon't worry. He won't hurt you. He's here to help us.

Ken slowly comes out from behind Steven

DAVIDLooks like they share more than looks!

KENYes, that' my name.

STEVENHis father didn't want him around,like mine.

PETERSONWhy are you here?

STEVENHe was hungry!

PETERSONHungry! Is that why you were chargedwith shoplifting, to get food?

KENYes, sir.

STEVENCall him Bill, I do.

David laughs.

Peterson looks hard at Ken then over a file.

83.

PETERSONIt says here, your father's name is,Tom Arnold.

KENHe's not my father! He's mystepfather!

PETERSONWhere's your mother?

KENShe died, a long time ago!

PETERSONWhat was her name? Maybe she hassome family around that might takeyou out of here.

KENTracy, but I don't think she has anyfamily.

Peterson becomes quiet; he looks distressed. He remembersthe dream of Allen raping Cindy, Tracy's is shown in notesto be the boy's Mother!

DAVIDDoc, is something wrong? You looklike you've seen a ghost.

PETERSONMaybe, I did!

(Beat)Do you know why your mother died,Ken?

KENNot really, but Tom said a bunch ofletters, I think it was AIDS.

Peterson is stunned, and thinks for a moment.

PETERSONI'll track down Tom, and see what Ican find out.

(Beat)David, will you please see the boysget back inside. I've somethingterribly important to do.

84.

Peterson starts walking away, deep in thought, before David'sreply.

DAVIDSure thing Doc.

(Beat)Oh, hell, he's not listening. Goback and play, boys. You still havefifteen minutes till dinner.

CUT TO:

INT. MARY'S HOSPITAL ROOM--SAME DAY

Peterson sits near Mary's bed, reading charts, and trying tofigure out the day's events.

PETERSONWhat are you doing to me, Mrs. Ray? The boy, is he Allen's?

(Beat)Damn, I wish you would wake up andexplain all of this!

CUT TO:

INT. HARRIS COUNTY COURT ROOM--DAY

The trial is in progress. Maxwell sits on the stand, Petersonsits with Steven and a prosecutor, BENNY WALTON, just calledhis first witness.

WALTONThe state calls Deputy Harry Thompsonto the stand.

Thompson walks from the audience to the stand. The standardswearing in can be seen.

WALTON (CONT'D)Deputy, you and an Officer Greerwere the first ones to arrive at theRay home the night of, April 23,199