TEASER
FADE IN:
INT. CATHOLIC CHURCH - NIGHT
Zooming down the aisle of the church as moonlight glints through stained glass.  As the camera pans closer to the front of the church, a fifteen year old girl, HANNAH, sits with her ankles crossed alone.  In her hands is an open bible.  We see there are tear marks on her face.
FOOTSTEPS come from the back end of the church that echo around the room as a young PRIEST approaches the girl.  He wears long sleeves and a tall collar, always sure to make sure his wrists and neck are covered with fabric.
PRIEST
Hannah?  What are you doing here?
HANNAH looks up to the PRIEST and wipes her tears as if to hide them.
HANNAH
(nervously)
I- I needed to hear a story.
The PRIEST gestures a hand to ask if he can sit.  HANNAH nods and he sits down with a CREAK of the wood.
PRIEST
Well, you've come to a good place for that haven't you?
HANNAH remains silent.
PRIEST
What kind of story are you looking for?
HANNAH
I'm not sure. 
(She squints and looks the priest in the eyes)
I thought maybe you would just know.  Aren't priests supposed to know that kind of thing?
PRIEST
I think that, when necessary, stories come to us in the times we need them.  Yes.
HANNAH
What stories do you need, father?
A beat.
PRIEST
I think for people- me even, stories provide the message we need to hear.  The guidance and advice. That is what makes a good story - well- a good story.  It is comforting and reassuring when the hero follows his trials, gets retribution, and lives happily ever after.  We have constructed this ideal of a story collectively as a society that makes us comfortable.
HANNAH comes across as against this idea.  She does not want to hear a comforting story.
PRIEST
But often this type of story leaves out the emotion and feeling a realistic one can bring.  Because in real life, good people don't always get happy endings.  It just doesn't work that way.
HANNAH
I don't think I deserve a happy ending.
The PRIEST looks at HANNAH with pity.  This girl is so young, yet she somehow feels the weight of something heavy on her shoulders.  He wants to help this child of God, for it is his duty.
He closes his eyes and we see his lips move in prayer.  He needs an answer.  When he opens them, his gaze falls on the stained glass and the figures of Adam and Eve carved into it.  In this moment he has realized the story he needs to tell.
PRIEST
Most good people don't think they do, Hannah.
HANNAH tilts her head.
PRIEST
Did Jesus think he would get a happy ending?
HANNAH
No.
(pause)
But he thought he deserved one.
PRIEST
True, you're correct. 
HANNAH
Father, forgive me if this is not my place, but I do not think the story of Jesus is the message I need to hear.
PRIEST
I never presumed it was.
The PRIEST takes the bible from HANNAH's lap and flips it to the beginning.
PRIEST
Our story, the one I think you need, begins with a child not unlike yourself.
EXT.  HEAVEN, GROVE OF TREES - MORNING
SAMAEL, a lanky yet confident young angel, sits cross legged on the stump of an old tree on top of a mountain.  He looks directly into the sunlight and smiles.
PRIEST  (V.O.)
He was an angel, the oldest among them, and God's favorite.  While his siblings enjoyed spending their time playing, learning, and working- the oldest angel sat on this particular tree stump and watched the light.  There was nothing he loved more than the light, and so his father had named him-
GOD, a tall, bearded man, approaches SAMAEL on the stump. 
GOD
Samael.
SAMAEL
Yes, Father?
GOD
Back again?
SAMAEL looks back to the sun and shrugs his shoulders.
SAMAEL
Is my presence required elsewhere?
GOD
(smiling softly)
No.  I do wish to discuss something with you.
SAMAEL
Anything.
GOD
It is about your brothers.  They wish to spend more time with you.
SAMAEL's previous peaceful demeanor shifts with this statement.  
SAMAEL
I do not wish the same.
GOD
Now, Sam-
SAMAEL
They don't understand me.
GOD
Why would you say such a thing?
SAMAEL
Gabriel comes here simply to taunt me, my namesake.  Raphael ignores me all together, and Michael-
SAMAEL bunches up in a defensive position.
SAMAEL
He asks me so many questions.  Sam, why do you like the sun?  Why do you like this spot?  I worry he will never find his own pleasures if he basks in mine.
GOD
He looks up to you.
SAMAEL
I do not know why.
GOD steps slightly adjacent from the view of the sun from the stump, careful not to block it completely for he knows how important it is his son is never deprived of the light.
GOD
You are a the oldest and wisest of your siblings, and the bringer of light.  Michael wishes to be like you, is that not the highest flattery?
SAMAEL
You have taught me to not be vain, Father.
GOD
I suppose I have.
A beat.
SAMAEL
Are you going to order me to spend more time with him?
GOD
Samael, there will come a time when you need to make the important decisions for yourself.  When that time comes it is crucial you know how to make the right choice, which is not always easy.  Until then, I will take every opportunity I can to pose practice questions so you may learn how to do this properly.  Remember this, though.  I will never make you do anything, for I have created you and shall not force my own will onto you.
SAMAEL
And if I make the wrong choice? 
GOD
I will be there to pick you up when you fall.
SAMAEL smiles at his father, and GOD returns this.  They are happy in the glow of the sunlight on the mightiest of mountains.
INTRO.  TITLE CARD

INT. BOSTON, MA. APARTMENT - DAWN
The camera points into the top of a prepared cup of coffee as it is picked up off the counter top.  We then see the small, cheap apartment with peeling wallpaper and dusty windows.  The man that took the coffee, BRIAN, is tall and dressed in a grey cardigan with glasses too big for his face. 
He walks around the kitchen with a spring in his step, sipping slowly at his coffee and humming the melody to STRANGERS IN THE NIGHT - FRANK SINATRA.  He sits down at a desk covered in notebooks, papers, and textbooks.
Before he can turn the page and resume his work, the phone on the wall rings.
BRIAN
(sing-songy)
He-llo?
A deep male voice, BRIAN's friend, MALCOLM, comes through the phone.
MALCOLM
Hey, Bri, you still coming tonight?
Brian glances at the pile of papers on his desk and reaches up to push his glasses.
BRIAN
Uh... I don't know man, I have a lot of work to do-
MALCOLM
We've been planning this thing for months.  It was your idea!  Now you're gonna back out? 
BRIAN
Malcolm, you know it's not like that.
MALCOLM
Like hell it isn't.
BRIAN cringes at the profanity.
MALCOLM
You've been avoiding me for weeks.  Won't talk to me.  What's going on, man? 
BRIAN
Look... I- I'll be there tonight, ok?  I will be.  Promise.
MALCOLM
The door is always open.
BRIAN knows this is a loaded statement.  He hangs up the phone on the wall with a CLICK and leans his back up against it, looking at the ceiling.
EXT.  CHINATOWN STREETS - MOMENTS LATER
BRIAN is walking down the crowded street with a big wool overcoat and dark green hat.  His hands are shoved into his pockets as each breath puffs visibly into the freezing air. 
He stops in front of a store with an old sign in mandarin before opening the door with a BELL RING.
INT.  SMALL BAKERY, CHINATOWN - CONTINUOUS
A short, older than middle aged, asian woman stands behind a counter of baked goods.  When she looks up and sees him, a smile spreads across her face.
AIKO
(in mandarin)
Brian!  What a wonderful surprise.
BRIAN
(also in mandarin)
It is always nice to hear your voice, Aiko. 
AIKO
I always keep two warmed pork buns for you.
AIKO turns around to go get him the buns.  BRIAN stops her.
BRIAN
Actually, I'm here for personal business. 
AIKO's smile fades briefly, but only for a moment.
AIKO
Of course.
She goes to the back room to fetch his things BRIand BRIAN is left alone.  He stands awkwardly at the counter and pretends to look at the baked goods.  The other patrons know what he is there for, though, and give him shady looks.
AIKO returns with a crumpled paper bag stapled shut.  She hands it to him and pats his arm as she does so. 
AIKO
Take this with you too, ok?
BRIAN
Oh, no I can't-
AIKO
(In mandarin)
Brian!  Take the food.  I must make sure you are fed.
BRIAN
(mandarin)
Thank you.
We see BRIAN make his way to the door and the camera flashes to AIKO one more time.  She grips the counter and looks ashamed of herself.  The door RINGS again as he leaves.
EXT. BOSTON CITY SKYLINE 
ESTABLISHING SHOT
EXT. CHINATOWN STREETS - CONTINUOUS
BRIAN makes his way through the streets.  It is clear his feet are practiced in their route to various dark alley ways, shady stalls, and dilapidated apartment buildings. 
He looks ashamed as he makes his rounds and his pockets fill with cash.  
INT. BOSTON, MA. APARTMENT - AFTERNOON
BRIAN enters his apartment and locks the door before walking briskly to his bedside and taking the safe from under the mattress.  He licks his lip as the lock CLICKS open. 
From his coat pocket he shoves in the loose bills, not well stacked or organized.  His mouth moves as he estimates the count and quickly locks it back up.
BRIAN looks up for a moment to glance out the window.  Is this what he's become?  What he's made himself to be?
CUT TO:
INT. BOSTON, MA. APARTMENT, BATHROOM - EVENING
BRIAN showers as the song STRANGERS IN THE NIGHT by FRANK SINATRA plays on his radio, which is propped on top of the closed toilet lid.  He is singing, and his voice sounds good.
We watch him shave, do his hair, clean his glasses, and pick out a white collared shirt and blue jeans.  BRIAN grabs his coat, and before he leaves, glances once more at the money box he knows is locked under his bed.
As he reaches for the doorknob, the camera zooms on his hand and...
INT.  MIDDLE CLASS AMERICAN HOME, WHEAT RIDGE COLORADO - NIGHT
A smaller hand turns the brass doorknob as SCREAMING echoes on the other side. 
We see HANNAH, age 14, as she sneaks into the room.  Her step father, ANDY, a middle aged man wearing a button up shirt with beer stains, lies dead on the floor in a pool of his own blood.
Standing above him is HANNAH's brother, EMMETT, an older teenager with a military shave.  There is blood on his hands and the LAMP that lies at his feet.   
HANNAH
Emmett?
EMMETT turns around to look at his little sister.  His eyes resemble that of a lost dog on the street.
EMMETT
(voice shaking)
What the are you doing here, Hannah?  Didn't you have a sleepover or somethin'?
HANNAH
I-
EMMETT
You what!  What did you want me to do... Hannah what did you- what am I supposed to...
HANNAH approaches her brother slowly.
HANNAH
You have to step away.  You don't know what's happening.
EMMETT
He's dead!  Hannah... Jesus fuckin Christ... what are we gonna do?
Before HANNAH can respond, the sound of police sirens starts to RING down the street.
EMMETT
No, no, no, no, no-
EMMETT starts grabbing at his hair, recently cut short.  He is frustrated there is nothing to grab and starts scratching.  HANNAH runs up to him.
HANNAH
Emmett, stop- stop it.  You're going to hurt yourself, stop.
She attempts to pull his hands away, but he flinches back.
EMMETT
(gasping for air as a panic attack strikes)
Hurt myself?  The cops are at our door.  And I- I didn't.  I didn't!
HANNAH
Listen to me.  Everything is going to be fine, ok?  Remember what Mom taught you, right?  Big, deep breath.  Ready?  We'll do it together.  One,
HANNAH sucks in a deep breath, but EMMETT is beginning to hyperventilate.  He notices the blood on his hands and tries to wipe them off on his shirt frantically.  HANNAH grabs his hands between her own.
HANNAH
You have to listen to me.  Emmett, come on.  Take a deep breathe with me.  One-
EMMETT seems to focus on her again, and he watches her deeply inhale.  He mimics the movement.
FULL SHOT - STREET OUTSIDE HOUSE
The cops are streaming out of their cars and running to the door.  One leads the others, officer LANKHAM, on their way to the door with guns drawn.
INT. HOME KITCHEN - CONTINUOUS
HANNAH
Two-
HANNAH and EMMETT take deep breathes together.  He is starting to calm down as his eyes flutter shut.
EXT. - STREET OUTSIDE HOUSE
The cops are inaudibly pounding on the door.
LANKHAM
(mouth moving with no sound)
Police!  Open up!
INT. HOME KITCHEN
HANNAH
Three.
The door of the house BANGS again.  They are trying to break in.  HANNAH reaches out and fixes a strand of hair on EMMETT'S head.
HANNAH
That's it, Emmett.  Just close your eyes and think about the flowers ok?  Think about the garden.  The one you love so much.
BANG.
HANNAH
This isn't your fault, and I'm sorry.  I wish I could change things.  I wish I could make it better, but I can't.
BANG.
HANNAH
Emmett, I'm so sorry.
HANNAH leads EMMETT in a daze to the chair across from the dead body.  She kisses the top of his head before walking to the front of the house to open up the door.
HANNAH opens the door, and the police storm into the house.  She follows the with slow movements to the kitchen.  
CUT TO:
A cop is tightening handcuffs onto emmett's wrists.  He is still perfectly calm.
BACK TO:
Hannah is standing pitifully as the cops arrest her brother.
HANNAH
I was at a friend's house and a neighbor called about a commotion so I came right home.  When I got here he was...
LANKHAM
Take your time, Ms. Bailey.
HANNAH
He was standing over him... with blood and-
HANNAH chokes down a sob, LANKHAM reaches over to comfort her.
HANNAH
This isn't his fault, you must understand.  You must.
LANKHAM
Best case scenario, he makes an insanity plea.
HANNAH
(stiffening)
My brother is not insane.
LANKHAM
Look at what he has done tonight.  There are people, places that can help him-
HANNAH
No!
HANNAH stands abruptly and points at LANKHAM.
HANNAH
No, Emmett does not deserve that.  He's not-
LANKHAM
He's not what?  Insane?  Are you claiming that your brother was in sound mind when he beat his step father with a lamp to death?  Because that would mean some very bad things for him, sweetheart.  I just want what's best for the kid. 
A beat.
HANNAH
Has my Mother been contacted?
LANKHAM looks to one other cop who nods.
HANNAH
Then I suppose I'll wait for her outside. 
LANKHAM
Don't leave the yard yet, kid.
HANNAH nods and walks in a daze past the tarp over her step father to the back door.  As she walks towards it, a high pitched SCREAM echoes in the room.
HANNAH's mother, MALLORY, sprints into the kitchen and falls to her knees beside her husband.  HANNAH doesn't look back as she walks out into the back yard.
EXT.  BAILEY FAMILY GARDEN - CONTINUOUS
HANNAH walks through the stone path with perfectly alligned rocks.  Everything in this garden is meticulously placed and planned out, each tree the exact same space apart, each flower box the same area.  It is beautiful here, even in the inky night time.
Her hands trace over plants already frozen for the winter time, dead leaves hanging off their branches.  There is noticeably one box of flowers trampled.  HANNAH kneels to it and puts her fingers in the dirt.  As she picks her hand up to squint at it...
EXT.  GARDEN OF EDEN - DAY
SAMAEL's hand reaches up from the soil and he rubs it between his fingers.