About the Story

Frank Morrison wants what's best for his son. Since he and his wife Susan divorced a few years ago, their son has been rebellious and troubled, with a history of lying. But Frank and Susan love Danny dearly; they understand that beneath his defiant exterior lies a boy who needs compassion, understanding and good parenting. For his sake, and with the mutual regard they still share, Frank and Susan have tried to be the best parents possible.

Now everything is changing. Susan has found someone new: she's about to become Mr. Rick Barnes. A newcomer in town, Barnes has already made his mark as a wealthy philanthropist. He'll be able to give Danny things that Frank a boat builder, simply can't. Struggling with jealousy, Frank has to admit that two parents at home might be just what Danny needs.

Before the wedding is over. Danny starts telling Frank stories about Rick Barnes - stories that become increasingly troubling as time goes on. Frank is torn between refusing to believe his son, whose reputation for telling the truth has always been spotty, and considering the awful possibility that Barnes might be an altogether different person than he appears to be.

When Danny tells his dad about the murder committed by his stepfather, Frank's sheer instinct must determine what's true and what isn't. As events first support, then contradict Danny's desperate story, Frank realizes time is running out and his ability to see the truth may put his son's life in jeopardy.

DOMESTIC DISTURBANCE was an excellent film for JOHN TRAVOLTA because audiences love him and they love it when he plays a hero, as he did in "The General's Daughter" and "Phenomenon," which Jonathon Krane executive produced (Jonathon Krane executive produced Domestic Disturbance). The audience also loves when Travolta plays a father like he did in the"Look Who's Talking" films.

Travolta joined the production soon after he read the script. A father of two himself, he saw the combination of character and suspense as a strong draw. "I thought it was a very original premise," he says, "with all these wonderful elements. The 'cry wolf' theme, with the father being the only one who believes his son, fused with a very primal instinct: protecting one's child. I think it's your natural instinct, and hits a primal nerve in all parents watching."

And with an excellent thriller filmmaker like Harold Becker, Travolta felt this film would work well. Add to that the fact that Harold had been looking for something for he and Travolta to do together since their success in Pulp Fiction. FPO