SEVENTY TIMES SEVEN
- BASED ON A TRUE STORY -
Written By: Scott Green
FORGIVENESS HAS NO LIMITS!
Scott Green
601.870.4811 [email protected]
This screenplay may not be used or reproduced in any part for any
purpose without the expressed written permission of the author.
FADE IN:
1. EXT. EARLY MORNING - PRESENT DAY
Clouds drift across a pale sky. The sun peeks over the
horizon. Birds sing into the stillness of a crisp morning.
No music. Just nature.
1a. EXT. SEAN’S HOME - EARLY MORNING
The CAMERA PANS DOWN from the treetops to a modest but
elegant home tucked inside a quiet suburban neighborhood.
1b. INT. SEAN’S LIVING ROOM - DAY
A Keurig Coffee Maker pours its black magic into a large
mug. SEAN (40S, WHITE, CALM PRESENCE) pours the coffee into
a Black Thermos. We never see his face in this scene,
either back of head, or body and hands. A happy dog wags
his tail by Sean’s feet, waiting patiently. Sean walks over
to his laptop. He tosses a treat to the dog, gives him a
gentle head-pat, then settles at the desk. He sips from the
thermos and stares at the screen. On the laptop, a single
sentence reads:
‘Recovering from the trauma of abuse and
forgiving your abusers is a silent struggle
far more common than we often admit.’
Sean places the thermos down, next to a potted Lotus
flower. His hands hover over the keyboard then starts
typing. As he types, we hear his voice-over (V.O.):
SEAN (V.O.)
...We smile in public. We offer hugs and
handshakes to one another...but beneath the
surface are hidden wounds and buried secrets
we swore we’d never tell.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
2 -
Echoes of the Past
2. EXT. NEW HOPE ASSEMBLY - DAY
A modern Mega-Church stands alone alongside a busy highway,
surrounded by clean-cut open fields.
2a. INT. PASTOR PAUL’S OFFICE - DAY
A wall clock ticks. The same Black Thermos, worn but
dependable, sits on a side table in front of a large desk.
A hand grabs the thermos and pulls it out of frame,
revealing PASTOR PAUL GRIFFIN (50s, warm, disarming) — his
nameplate sitting in front of him. He reaches into his
pocket and pulls out a pack of gum.
PASTOR PAUL
I’m sorry about the loss of your mother.
She was... an interesting person.
SEAN (O.S.)
That’s one way of saying it.
PASTOR PAUL
Gum?
From behind Sean, we see him politely decline with a small
shake of his head. Paul shrugs and unwraps two sticks for
himself.
PASTOR PAUL
I remember there were...some issues between
you two, but do you really believe that
she... hated you?
Sean hesitates. The CAMERA SLOWLY SWINGS AROUND from behind
Pastor Paul, moving over his shoulder — revealing SEAN
GRAYSON, weary but pulled-together, meeting the question
head-on.
SEAN (confident)
Absolutely.
PASTOR PAUL (O.S.)
What about your sister?
Did she hate her too?
SEAN
No. They had their differences,
but they were very close.
PASTOR PAUL
So how does a mother love one child—
and hate the other?
Sean hesitates, pondering the question.
SEAN
I asked that same question for years.
It wasn’t until recently, when the pieces
started to fit, that it finally made sense.
PASTOR PAUL
What did? What pieces?
SEAN
Things my dad and sister told me
over the years; trying to justify
her behavior. Now it all adds up.
PASTOR PAUL
How? Tell me about that.
Sean exhales. The answer is heavy. He takes another sip
from his thermos.
SEAN
Before I was born, they were a happy
Family, Mom, Dad and my sister — Then I came
along... and everything changed.
Pastor Paul picks up a notebook, quietly listening.
SEAN
Mom had just recovered from a miscarriage—
after falling off a horse.
Sean turns his head toward the window. CAMERA PANS OUT THE
OFFICE WINDOW to an open field.
3. EXT. OPEN FIELD - DAY
Wide shots of a young woman rides a horse across the grassy
expanse, wind in her hair, joyful.
SEAN (V.O.)
She loved that horse. And not even a
miscarriage could keep her from riding it.
MONTAGE - OPENING CREDITS BEGIN:
The lady rider rides freely across a vast, sun-drenched
field. Her joy rises with the wind. The horse kicks up dust
beneath a clear Carolina sky as the TITLE CREDITS fill the
screen, soft, elegant typography over golden light and
motion.
END MONTAGE - OPENING CREDITS.
Genres:
["Drama"]
Ratings
Scene
3 -
A Special Anniversary
3a. EXT. HORSE FARM - DAY
SUPERIMPOSE: BASED ON A TRUE STORY
SUPERIMPOSE: NORTH CAROLINA. SEPTEMBER, 1968
CHARLIE (50s, kindly, Black, in work clothes) steps out of
the barn, wiping his hands on a rag. He squints toward the
field, smiling as J’NET GREYSON (late-20s, radiant and
confident)reins her horse in with practiced ease.
CHARLIE
Afternoon, Miss J'net,
Welcome back! It’s been a while.
J'net dismounts smoothly, grinning.
J'net
Thank you, Charlie. Yes, it
has. How’ve you been?
CHARLIE
Just fine, but you gave me
a real scare when you fell.
J'net
I’m glad you were there to help me.
CHARLIE
Aw, you’re like family, I see you
more than my own sisters.
She chuckles, pats her horse affectionately.
J'NET
Here... (handing him the reins)
I’m off to cook Ray’s favorite
dinner. Today’s our anniversary.
CHARLIE
Happy Anniversary. Tell Mr. Ray
I said hello. I listen to
him on the radio all the time.
J'net (smiling)
Will do...Thank you, Charlie, see you later.
J'net heads toward her car, keys jingling in her hand.
Charlie watches her for a beat, smiling, then turns and
gently leads the horse back into the barn.
CUT TO:
4. EXT. GREYSON FAMILY HOME - DAY
A modest family home in the middle of the suburbs. The
sound of a KITCHEN TIMER goes off.
CUT TO:
4a. INT. GREYSON KITCHEN - DAY
The CAMERA PANS DOWN to a bubbling POT ROAST in the oven.
J’NET (dressed for the occasion) rushes in, turns the timer
off, throws on oven mitts, and pulls the roast out. The
doorbell RINGS.
J’net (calling out)
RENEE! IT’S DARLENE. CAN YOU
GET THE DOOR PLEASE?
4b. INT. GREYSON LIVING ROOM - DAY (CONTINUOUS)
RENEE
OKEY!
RENEE, (5 years old, wise beyond her years) jumps up from
her toys and dashes to the door, flinging it open. DARLENE
(late-20s), J'net’s best friend, steps inside, smiling
warmly.
DARLENE
Hey Munchkin! Ready for a sleepover?
RENEE
Can I bring my talking Barbie?
As Renee shuts the door behind her, a framed photo of Ray
and J’net is knocked over from a wall shelf. Darlene
instinctively sets it back in place like she’s done a
thousand times before.
DARLENE
Chrissy's got birthday toys to play with,
But sure, if you want. Where’s Mommie?
J’NET (O.S.)
(calling out) IN THE KITCHEN!
4c. INT. GREYSON KITCHEN - DAY(CONTINUOUS)
J’net is rinsing a dish as Darlene walks in, sniffing the
air.
DARLENE
Mmmm, smells great. Whatcha’ cookin’?
J’NET
Ray’s favorite; salad, pot roast, baby carrots,
and homemade mashed potatoes with gravy.
And for dessert... strawberry cheesecake.
She dries her hands and takes a puff from a cigarette
resting in an ashtray. Darlene looks over the sliced
cucumbers, stealing one and sampling it.
DARLENE (teasing)
Dinner, dessert... and maybe
a little midnight snack?
J’NET (laughing)
Dinner’s just the warm-up.
I’m gonna ask him tonight.
DARLENE
Oooo, that better be a good cheesecake.
J’net laughs and glances at the clock.
J’NET
Ooo, God, it's getting late — he should
be home any minute now.
She stubs out the cigarette and yanks off her apron.
DARLENE
OK, I'll grab Renee and let you two
lovebirds enjoy your evening. Good luck.
J’NET
All her things are packed by the front door.
Thank you, Darlene. I owe you one.
Renee runs in, clutching her talking Barbie.
RENEE
I got my Barbie.
DARLENE
Okay, come on, Munchkin, let’s go!
J’NET (calling out)
WAIT, give mommy a hug first.
Renee drops her Barbie and runs into J'net's arms.
J’NET
I’ll pick you up after school tomorrow.
Be good for Ms. Darlene, and play
nice with Chrissy, OK?
RENEE (nodding)
I will, Mommy.
J’NET (kissing her forehead)
Bye, honey.
Darlene takes another cucumber and leads Renee toward the
door.
DARLENE (winking)
Don’t do anything I wouldn’t do…
but if you do, I want details.
J’net laughs and waves at the door as they leave. She turns
and glances over the set table, confirming it’s ready,
smiles, then crosses to the mirror, smoothing her hair.
Genres:
["Drama","Family"]
Ratings
Scene
4 -
A Warm Evening Goodbye
5. EXT. SUBURBAN NEIGHBORHOOD - DUSK.
A single car drives down a quiet street. A pop song ends on
the radio.
Radio Announcer: (V.O.)
It’s 6 p.m., and you’re listening to
WSOC Radio 930. Stay tuned for the
latest news, sports, and weather…
The car pulls into the driveway of the Greyson home as
Darlene and Renee emerge.
5a. EXT. GREYSON HOME - FRONT YARD - DUSK
RAY, (mid-30s, business man), steps out, holding a floral
Bouquet of Daisies.
RENEE
DADDY!
Renee races to him. He bends over, scooping her into a hug.
RAY
Hey, Muffin! Where are you off to?
RENEE
Ms. Darlene’s house! I’m gonna
play with Chrissy!
RAY
Well, thank you, Darlene.
Darlene opens her car door and stows Renee's little
suitcase inside.
DARLENE(smiling)
You two deserve a night to yourselves.
RAY
Sounds like J'net thought of everything.
DARLENE (to Renee)
Tell Daddy goodnight, sweetie.
RENEE (waving)
Goodnight, Daddy.
RAY
Goodnight, Muffin, Have fun!
Renee climbs into the back seat. Darlene shuts the door.
DARLENE (calling out)
HAPPY ANNIVERSARY, RAY.
RAY
Thank you. Goodnight!
He waves as they drive off. Ray turns, holds the daisies
up, smells them one last time, and walks inside
confidently.
Genres:
["Drama","Family"]
Ratings
Scene
5 -
Anniversary Surprises
6. INT. GREYSON FAMILY LIVING ROOM - (CONTINUOUS)
Ray steps inside, holding the flowers. The radio plays soft
music. As he shuts the door, the framed photo falls over
again. Ray instinctively sets it back up as a normal
occurrence.
RAY (calling out)
J'net, where are you? I’ve got big news!
6a. INT. GREYSON KITCHEN - (CONTINUOUS)
J'NET (calling back)
IN THE KITCHEN, I’M COMING RIGHT OUT!
She straightens her dress, picks up the covered pot roast,
stops to take a deep breath and finally exits the kitchen.
6b. INT. GREYSON LIVING ROOM - (CONTINUOUS)
Ray tosses his coat over a chair and spots the dining
table, candles lit, table set for two. J’net enters
carrying a steaming covered pot roast. She sets it down,
smiling with quiet pride.
RAY
Wow, you went all out.
J'NET
Of course, tonight is special.
RAY
Oh, you bet it is.
She notices the flowers in Ray’s hands.
J'NET (teasing)
Are those for me... or some other
lucky lady?
RAY (joking)
Well Darlene didn’t want them.
J’net responds with mock shock and a playful punch. Ray
smiles and hands the flowers over to her.
RAY
Happy Anniversary! I
remembered you hated roses,
So, Tah-Dah...you get daisies.
Ray kisses her sweetly. J'net smiles, touched by his
thoughtfulness.
J'NET
They’re perfect. Thank you.
RAY
Is that pot roast I smell?
J'NET
Yup, with carrots and mashed potatoes,
lumpy, just the way you like them.
(winking) And I saved a little
surprise for dessert.
She carries the flowers into the kitchen. Ray starts
undoing his tie and unbuttoning his top button.
RAY
Oooo, I love surprises.
J'NET (O.S.) (calling out)
THEN YOU’LL LOVE THIS ONE.
SO WHAT’S YOUR BIG NEWS??
RAY
Oh yeah...Joan Wallace came into the station
today, and now, guess which WSOC Radio DJ
just got promoted... to become the next TV
celebrity?
J'NET (O.S.) (calling out)
DON?
RAY
Come on, really?
J'NET (O.S.)
ELLIS?
RAY (mock offended)
Wow, you really have no faith in me, do you?
J'net re-enters carrying a bottle of wine and a vase with
the daisy’s, setting them down on the table in the center.
J'NET (smirking)
Well, I’m all out of guesses.
Ray sweeps her into a big embrace.
RAY
Come on, one more guess.
J'NET (laughing)
Okay, Fine...is it YOU???
RAY
Ding, Ding! I start next week
— and it comes with a raise...We can
finally afford that trip to see your folks.
J'NET
That’s great, Mom will scream.
RAY
Not your dad?
J'NET
He still hasn’t forgiven us for eloping.
RAY
I bet he still thinks it was my idea.
J’NET
If he knew it was mine, he still
wouldn’t be talking to me.
They break their embrace. Ray gallantly pulls out her
chair; she sits. He slides into his seat beside her.
RAY (sniffing)
Mmmm, Pot Roast smells delicious.
J'NET
Thank you. (pause) I was going to wait to
talk to you about something, but since
you’re already in such a good mood...
J'net hesitates briefly, then begins to pour wine into
their glasses.
RAY
Okay, hit me. (serving himself salad)
J'NET
Well, now that Renee’s in school, I’ve been
feeling... a little stir-crazy. I was thinking
about taking a... part-time job at Sharon’s Deli.
RAY
A job?
J'NET
Mornings only. Baking pies, cakes, and some
biscuits. I’d be home before Renee’s out of
school.
Ray thinks it over, fork halfway to his mouth.
RAY
Honey, you don’t need to work.
We talked about this.
J'NET
I know, but I want to... I want to feel
useful again.
Ray sets down his fork, looking at her, taking this in.
RAY (reassuring)
You ARE useful.
J'NET
To you and Renee, yes, but during the day,
I need to do something productive outside these
four walls. This is for me, I need this...
Ray studies her for a moment, then smiles warmly.
RAY (nodding)
Well, if this will make you happy...
and your home for Renee in the afternoons...
Then I guess it’s OK.
J’net beams.
J'NET
Thank you. I’ll call Sharon first thing
in the morning.
Ray raises his wine glass. J'net lifts hers to meet his.
RAY (toasting)
To us. Six wonderful years!
J'NET
...And new jobs.
RAY
And new jobs! (leaning in)
Happy Anniversary, Beautiful!
J'NET (leaning in)
Happy Anniversary, handsome!
They clink glasses and share a soft kiss. They remain
kissing as the camera pans across the flickering
candlelight... finally settling on a framed family photo of
Ray, J’net, and Renee.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Romance"]
Ratings
Scene
6 -
A Stormy Revelation
7. EXT. HOSPITAL - DAY
A clean, sturdy hospital, under a gray October sky. A sign
in front reads: "WOMEN'S MEDICAL CENTER."
SUPERIMPOSE: ONE MONTH LATER
7a. INT. DOCTOR BROWN’S OFFICE - DAY
Family photos and medical diplomas decorate the walls.
DOCTOR BROWN (mid 50’s, warm but clinical) enters and sits
behind his desk, opening J’net’s file. Ray and J’net sit
silently across from him, waiting for his report. J’net
nervously fidgeting tissue in her lap.
DOCTOR BROWN
Sorry to keep you waiting. I just got the
results back.(smiling) Congratulations,
J’net — you’re about four weeks pregnant.
J’net blinks — stunned, uncertain. Ray lights up like a kid
on Christmas.
RAY (excitedly)
Are you serious?! Babe—this is INCREDIBLE!
(laughing) Renee’s gonna be a big sister!
J’net’s smile falters; uncertainty flickers across her
face.
J'NET (unsure)
Wait... are you sure? I mean... is it safe?
So soon after the miscarriage?
DOCTOR BROWN
Everything looks strong. Just no
horseback riding this time,or
anything too physical. Otherwise,
things are looking good.
RAY
No worries. Her saddle days are over.
J'net’s face darkens — The faint sound of distant thunder
rumbles. She looks down and starts fidgeting with her
tissue again.
DOCTOR BROWN
It’s normal to feel uneasy after what you
went through. But many women go on to have
completely healthy pregnancies after a
miscarriage. Take it easy this trimester—no
heavy lifting, no stress. Think of it as
doctor-ordered pampering.
RAY
J-net just started a job at the deli. She's
up at five every morning, carrying heavy trays,
baking, dodging spills all day...
J'NET (cutting in)
It’s fine. I can handle it.
J'net, trying to stay strong but feeling her world unravel.
RAY (continuing)
Maybe it’s time for a break? I’m sure Sharon
would understand. I just don’t want—
J'NET (snapping)
I said I'm fine.
Silence. Everyone stiffens and tries to ignore the tension.
The rain outside begins to tap against the glass.
DOCTOR BROWN
J’net... no one’s questioning your strength.
This is about giving your body a chance to
rest—for you and the baby. A little time off
could make a big difference.
Ray nods, relieved to have backup.
RAY
Better safe than sorry. I can talk
to Sharon if you want.
J’net looks away, gritting her teeth and tightening her
lips. She looks out the window—her reflection pale against
the clouds. A flash of lightning cuts across her face, then
fades.
DOCTOR BROWN
Based on the scan, your due date’s June
twenty-first. And with your previous
C-section, we’ll likely schedule another.
(pauses, carefully) Was this pregnancy
planned?
RAY
No. This is a total surprise.
The doctor nods quietly and makes a note. The sound of his
pen fades under the soft swell of melancholy music. J’net
lowers her eyes, resting a hand on her belly—a tear
slipping down as thunder rumbles again in the distance.
7b. EXT. THE WOMEN’S HOSPITAL - DAY (CONTINUOUS)
Through the rain-streaked window, we glimpse J’net sitting
still, fragile. The camera slowly pulls back, the rain
falling steady, gentle, endless.
Genres:
["Drama"]
Ratings
Scene
7 -
Fractured Choices
8. EXT. GREYSON FAMILY HOME - DAY (LATER THE SAME DAY)
A lone tire rolls into frame, splashing through puddles.
Rain comes down in sheets.The Greyson house looms
ahead—quiet, unwelcoming.
8a. INT. RAY’S CAR - DAY
Ray cuts the engine. The wipers slow... then stop. He
glances at J’net — she’s staring out the rain-blurred
window.
RAY
You haven’t said a word the whole
Drive home. Aren’t you happy?
J'NET
I want to be... I know I should be.
But I’m not.
RAY
Why not? After the miscarriage… I thought
this would feel like a second chance.
J'net looks at Ray, voice hardening.
J'NET
You don’t have to give anything up.
You still get to go to work, keep your life.
But I’m supposed to quit my job, stop riding,
and stay trapped in that house like before.
(pause) I can’t do it again. I won’t.
Before Ray can answer, she throws open the door and bolts
into the rain. Ray hesitates, then scrambles after her.
Thunder rumbles overhead.
8b. INT. GREYSON LIVING ROOM - DAY (CONTINUOUS)
The front door bursts open. J’net storms in, soaked and
shaking. Ray follows, dripping, desperate. The door slams
shut behind him, knocking over the same framed photo, this
time, it falls to the floor, and no one picks it up.
RAY (pleading)
I thought you liked being a mother.
J'NET (removing her raincoat)
I did. (beat) I do. But that was my choice.
Now,(voice breaking) I finally feel like me
again… and you expect me to give it all up?
Just like that? I didn’t ask for this. I
didn’t want this.(quietly) I don’t want to
have this baby.
Ray stands there, stunned. Lightning flashes through the
windows.
RAY
What? ...What are you saying?
A long, crushing silence. Thunder rumbles outside.
J'NET (whispers)
I want an abortion.
Ray flinches as if struck. His voice drops, controlled but
trembling.
RAY (slow and firm)
Listen to me— I’m here for you, Whatever
you need, I’ll do it, but that’s my baby too
and we are not ending this pregnancy.
He steps closer to her.
RAY
You will not take this child from me.
And I don’t ever want to hear those words
again. Do you understand?
J'net glares at him — broken, furious, defeated. She calmly
picks up her purse, turns, and walks down the hall. SLAM!
Ray stands frozen, he takes a deep breath, turns around and
notices the framed photo on the floor. He picks it up and
notices a large crack in the glass, right down the middle.
Out of frustration, he suddenly hurls the framed photo
across the room, smashing it, before attempting to calm
himself.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
8 -
Tensions and Ties
9. EXT. THE GREYSON HOUSE - MORNING
The weather has cleared, leaving everything drenched.
9a. INT. LIVING ROOM - MORNING.
J’NET lies curled on the couch, wrapped in a blanket. The
room’s a wreck—dishes stacked, laundry slumped, TV
murmuring a game show no one’s watching. The doorbell
rings.
DARLENE (V.O.)(calling out)
J'NET? IT’S DARLENE!
J'net doesn't move or respond.
DARLENE (V.O.)
YOU HOME? (pause) J’NET?
J'NET (calling out sharply)
IT’S UNLOCKED!
The front door creaks open. Darlene steps inside, holding a
pie box, and sees J’net on the sofa. The door shuts behind
her but no frame is there to fall over. Darlene notices it
missing.
DARLENE (replacing the photo)
Hey, your picture’s missing.
Darlene turns around and see’s J’net couch-rotting under
her blanket.
DARLENE
Oh, honey, what’s wrong? Are you sick?
J'NET
Didn’t feel like getting up.
DARLENE (glancing around)
You didn’t feel like cleaning either, huh?
J'NET (snapping)
If you’re here to judge me, you can leave.
J’net sits up and reaches for her cigarettes.
DARLENE
I’m only teasing. Here, I brought your
favorite pie—chocolate chess. Fresh from
the deli.
J'net lights a cigarette as Darlene sits across from her.
J'NET (suspicious)
You hate that deli.
DARLENE (dismissing)
Well, maybe I’m growing as a person.
J’NET (flat)
Why were you there?
DARLENE (shrugging)
Just... visiting Sharon.
J'NET (eyes narrowing)
You hate Sharon.
DARLENE (dismissing)
Oh come on, that was high school drama.
We’re adults now, people change.
J'NET (direct)
You asked Sharon for my job, didn’t you?
A long, heavy pause. Darlene exhales.
DARLENE (caught)
Technically... you quit.
J'net’s anger flares.
J'NET (snapping)
I was forced to. I loved that job, Darlene.
Damnet, This is just like the school newspaper
that you took from me.
DARLENE
You still remember that?
J’NET
I forget nothing.
Silence. Darlene shifts, uneasy.
DARLENE
I didn’t mean to hurt you. I just…
needed work, and you quit. I’m sorry!
J'NET (sharply)
You’re right, I quit. So congratulations.
J’net slumps back, takes another drag.
DARLENE (sitting back)
I don’t have to take it.
J'NET
No, keep it. Seems like everyone else
is getting what they want lately.
Darlene gives a sharp response.
DARLENE
Ouch.
J’net takes a deep sigh. Her tone begins to soften.
J’NET
I’m sorry, this pregnancy is affecting
everything I do... It’s like a curse…
I can’t seem to do anything right.
DARLENE (leaning forward)
J’net... that baby’s not a curse, honey.
It’s a blessing. Some women never get a
second chance after (pausing) what
happened to you.
J'net’s eyes flick up — sharp, alert.
J'NET
What?
DARLENE (hesitant)
When you... miscarried.
A long, eerie silence. J’net stares into space, piecing
something together.
J'NET (whispers, voice breaking)
You’re right. I fell off my horse...
(long beat) and I lost the baby.
DARLENE
Right. But life’s giving now you another chance.
Not everyone is given an opportunity like this.
J'net snaps back to the moment and stands to her feet.
J'NET (abruptly)
Darlene, I need to rest. I’m feeling tired.
Darlene (quickly standing)
Oh. Ok, sure. Can I get you anything?
J'NET
Can you pick up Renee after school?
Keep her at your place till Ray gets home?
DARLENE
Of course, anything you need.
J'NET (heading down the hallway)
Thanks... and thanks for the pie,
just leave it on the counter.
J'net hurries down the hall to the bedroom, SLAMS the door.
Darlene (calling out)
You’re welcome. I’ll let myself out. Bye.
Darlene sets the pie on the counter, quietly exits.
Genres:
["Drama"]
Ratings
Scene
9 -
One Last Ride
10. EXT. COUNTRY ROAD - LATER THE SAME DAY.
A lonely ribbon of dirt road stretches through open fields.
From above, J’net’s car winds along it — small, determined,
fading toward the horizon.
10a.EXT. HORSE FARM - DAY (CONTINUOUS)
J’net’s car pulls into the gravel drive. Charlie waits by
the barn, her horse already saddled.
CHARLIE
Afternoon, Mrs. J'net.
J'NET
Hey, Charlie. Thanks for setting
her up so fast.
Charlie hands over the reins.
CHARLIE
Saddled her right after you called.
(looking up) Nice day for a ride.
J'NET
Yes, it is. (to herself) It certainly is.
CHARLIE
I’ll be out back. If you need
anything, just holler.
J'NET
Thank you.
He disappears behind the barn. Silence. J’net exhales
slowly. The world seems to hold its breath. She slips her
boot into the stirrup, pulls herself up into the saddle.
She sits there — still — staring out at the open pasture.
The sunlight flickers through the clouds. Then, quietly to
herself—
J’NET
One last ride.
Her heels press in. The horse launches forward — galloping
full speed. Wind tears at her hair. The world blurs around
her. She doesn’t pull back. Faster. Faster. Her eyes
glisten — not fear, not joy — something deeper. She
disappears behind a set of trees. The sound of pounding
hooves builds — then cuts— A SCREAM. A distant THUD.
Silence.
10b.EXT. HORSE FARM - (CONTINUOUS)
Charlie carries a feed bucket, whistling softly. Then — he
freezes. The horse gallops back toward him — riderless.
CHARLIE (yelling, panicked)
MRS. J'NET! Oh God...
Charlie drops the bucket and runs in her direction
CUT TO:
Genres:
["Drama","Tragedy"]
Ratings
Scene
10 -
Emergency Room Tensions
11. EXT. COUNTRY ROAD - DAY (LATER THE SAME DAY)
An ambulance speeds down the road, sirens wailing. It pulls
into the hospital Emergency Room.
CUT TO:
11a.INT. EMERGENCY ROOM HALLWAY
DOCTORS and NURSES are quickly moving around. Distraught
PATIENTS line the hallways. A normal day in the E.R.
11c.INT. EMERGENCY ROOM - ROOM 114
J’NET lies on a hospital bed, clothes dirty, face scraped.
An ER DOCTOR (40s, calm but firm) flips through her chart.
ER DOCTOR
You’re very lucky. That fall could’ve
easily ended the pregnancy.
J'NET (flat, sarcastic)
Yeah, Lucky me.
Ray bursts into the room, breathless.
RAY
I got here as fast as I could. Are you OK?
The doctor glances between them.
ER DOCTOR (to J’net)
MISTER Grayson?
J'NET (confirming)
Yes, that's my husband.
She turns her head away in shame, eyes wet but defiant.
RAY
Is she going to be alright?
ER DOCTOR
Both she and the baby are stable.
Heartbeat’s strong. She’s bruised,
but no internal damage.
Ray exhales, relief washing through him. His knees almost
buckle.
RAY (whispering)
Thank God.
ER DOCTOR (concerned)
Mr. Grayson... could I speak with you
in the hall for a moment?
RAY
Of course.
Ray glances at J’net — she doesn’t respond. He hesitates,
then follows the doctor out. J’net lies still, eyes open,
distant. The rhythmic beep of the monitor fills the
silence.
Genres:
["Drama"]
Ratings
Scene
11 -
Confronting Fears
11d.INT. ER HALLWAY - DAY (CONTINUOUS)
The doctor guides Ray a few steps away — just out of
earshot. The buzz of monitors hums faintly from every
direction.
RAY
What’s going on?
ER DOCTOR (quiet, steady)
I understand your wife miscarried once
before… also after a riding accident?
RAY (avoiding eye contact)
Yeah. About six months ago.
ER DOCTOR
Then you understand why this is concerning,
getting back on a horse again while being
pregnant.
Ray sighs, running a hand over his face.
RAY
Yeah. Believe me, I know. I’ve
already got a buyer for the horse.
The doctor pauses, choosing his words carefully.
ER DOCTOR
That’s probably wise… but honestly, that’s
not my biggest concern. From what I’ve seen
today — I’m not sure she wants this
pregnancy.
Ray freezes — the words hit hard.
RAY (shamefully)
She doesn’t. Not really.
She’s been... distant lately. Depressed.
She just started working again. This
pregnancy wasn’t planned. Now she feels...
trapped and I don’t know how to help her.
ER DOCTOR
You can start by taking her seriously.
This kind of withdrawal isn’t uncommon, but
it is dangerous. And if this wasn’t an
accident... you need to act now.
Ray swallows, guilt and fear warring on his face.
RAY
I’ll get her help. Therapy —
whatever it takes, I promise.
ER DOCTOR
Good. I’ll note that in her discharge.
Don’t wait on this, Mr. Grayson.
Next time, you might not be this lucky.
Ray swallows hard.
RAY
Understood.
The doctor steps away, leaving Ray standing alone in the
corridor. The weight of it all sinks in. After a long beat,
he turns back toward the door. The camera holds as it
swings shut behind him — the soft click echoing down the
hall.
CROSSFADE:
12. EXT. GREYSON FAMILY HOME - NIGHT
A full moon hangs over the still neighborhood.
12a.EXT. GREYSON FAMILY HOME - NIGHT
Lights blaze through the windows. Muffled shouting erupts
inside.
J'NET (PRELAP - Screaming)
You are NOT selling my horse.
RAY (PRELAP - Shouting)
You left me no choice!
12b.INT. GREYSON HOME - HALLWAY - NIGHT (CONTINUOUS)
The bedroom door is closed tight. The argument behind it is
fierce — voices crashing into each other. The CAMERA SLOWLY
TRACKS BACKWARD down the hallway...
J'NET (V.O.)
You already took everything from me!
My job, my freedom — now this?!
RAY (V.O.)
So your going to repay me by taking
our BABY from me? This is MY baby too.
Why are you being so selfish?
Further down the hall, six-year-old Renee sits in her
doorway, silently crying and rocking back and forth,
clutching her Barbie to her chest. The CAMERA COMES TO REST
ON HER.
J’NET (V.O.)
You’re not the one stuck inside like a
prisoner for five years, raising it alone!
You were hardly around for Renee and you
sure as hell wont be around for this one.
The sound of glass shatters behind the bedroom door, then
Silence. Renee stops rocking, eyes widen and she squeezes
the doll tighter. The sudden silence becomes just as
unsettling as the arguing. She starts rocking again,
frightened.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
12 -
The Proposal
13. INT. GREYSON LIVING ROOM - MORNING
A grainy 1968 COMMERCIAL flickers on the TV — laughter from
another time. J’NET lies on the couch under a blanket,
hollow-eyed. The phone RINGS. A hand snakes out, knocking
over a half-full wine glass, then finding the receiver.
J'NET (groggy)
Hello?
13a.INT. JOAN WALLACE'S HOUSE - DAY - (CONTINUOUS)
JOAN WALLACE (early 60s, elegant, composed, wealth clings
to her like a second skin) signs papers while talking,
barely looking up. Her southern drawl flows as she speaks.
JOAN (warm, commanding)
J’net, darling. Joan Wallace. How are you?
INTERCUT between J'NET and JOAN as they speak.
J’net sits upright fast, brushing her hair from her face.
J'NET
Oh—Ms. Wallace. I’m... fine. And you?
JOAN
I’m wonderful. Listen, be a dear and join me
for lunch today.
J'NET
Lunch? Oh, I don’t think I—
Joan stops signing and shifts tone ever so slightly,
playful, but pointed.
JOAN (interrupting, amused)
Darling, I’ve already cleared my schedule
today just for you. There’s something
important I would like to discuss. (pause)
Let’s say, 12:30, my house?
J’net blinks, thrown off.
J'NET (flustered)
Um... OK, I guess I can throw myself
together and be there.
Joan
Perfect. See you soon, dear.
CLICK. J’net stares at the receiver, then at the clock,
11:00 a.m. Panic sets in. She bolts up, the blanket sliding
off as she runs down the hall.
14. EXT. JOAN WALLACE'S ESTATE - FRONT GATE - LATER
Elegant, orchestral music plays as J’net’s car creeps
toward an enormous wrought iron gate. A GUARD steps
forward, checks her name, then nods. The gate swings open.
14a.EXT. JOAN’S FRONT DOOR - DAY
J’net, now dressed in her Sunday best, anxiously adjusts
her skirt and RINGS the ornate bell.. MARIA, (50’s-60’s, a
stone-faced maid), answers.
MARIA
Can I help you?
J'NET
I'm J'net Grayson. I believe
Mrs. Wallace is expecting me?
Maria gives her a slow once-over... then steps aside.
MARIA
Right this way, ma'am.
J'net follows her inside.
14b.INT. JOAN’S HOUSE - (CONTINUOUS)
Luxury oozes from every corner — grand staircase, oil
paintings, gleaming marble. Joan appears at the far end,
arms open.
JOAN
There you are, darling. Welcome.
They embrace — polite, calculated warmth.
J'NET
Your home is... incredible.
JOAN
I know. My family’s lived here for
generations. Every room has its secrets.
(leans in, dryly) If the walls could talk,
I’d have them sign NDAs.
J'net offers a polite laugh. Joan links arms with her and
leads her across the foyer.
J'NET
I’m honored you invited me today…
but I have to admit — I’m a little confused.
They approach a beautifully arranged lunch table. Maria
stands nearby.
JOAN
Maria? Tea, please.
MARIA
Right away, ma’am.
Maria exits.
JOAN (lowering her voice)
She’s always... hovering. Like a ghost in
orthopedic shoes.
J’net suppresses a laugh as they sit.
JOAN
So—Ray is doing well at WSOC?
J'NET
He is. He’s been working harder than ever.
JOAN
I thought so. I pushed for his promotion,
you know. John Hopper’s an old friend.
J’NET
Oh? I... didn’t know that.
JOAN (chuckling)
Most people don’t know how much I do behind
the scenes. I liked Ray immediately —
There's something familiar about him.
Charisma. Presence.
J'NET
Ray does have a way with people.
JOAN
My twin sister, Jean, was the same way.
We were inseparable, until she died a few
years ago — heart disease.
J'NET
I’m so sorry.
Maria returns with tea. Steam curls between them.
JOAN
Thank you, (softly) Before she died, she
promised she’d find her way back to me.
Somehow.
A pause. Joan fixes her gaze on J’net.
JOAN (continuing)
That brings me to why I asked you here.
J'net stiffens slightly.
J’NET
Me? How do I fit into this?
JOAN (picking up her teacup)
Last week, I had a dream — a premonition.
I saw Jean returning to me... Through a
child. (pause) Your child.
J’net looks at her, stunned at her words.
J'NET (stunned)
You mean, like ...a spirit?
JOAN
Oh, Do you believe in reincarnation?
J'NET
Reincarnation? (pause) I don’t know
what I believe. My parents are Christians,
but I’ve never been devout.
JOAN (very direct)
When is your baby due?
J'NET
June 21st.
Joan’s eyes light up, and she sets her teacup down.
JOAN (thinking outloud)
Jean died on June 19th. That’s just
three days. If it happens, then I’ll
know for sure.
J'NET
Know what?
JOAN (focusing back on J’net)
That Jean has found her way back.
J'NET
WHAT???
J’net sits frozen, trying to process. Joan reaches out and
clasps J’nets hands into hers.
JOAN (leaning in)
If your baby arrives on the 19th, and is a girl,
I will provide everything your daughter could
ever need — education, security, a life of wealth
and happiness. You and Ray will be well taken
care of, trust me. (pause) All I ask... is that
you let me be part of her life, like an Auntie.
J'net leans back, overwhelmed.
J'NET
Mrs. Joan, this is so...
JOAN (leaning back)
Superstitious? Peculiar? How about
Eccentric? I know what people are saying
about me behind my back.
J'NET
I was going to say... Generous.
I don’t know how to respond.
JOAN
Just say yes. You and Ray have nothing to
lose... Oh, Darling, I can give her the
world, let me do this for you. For her.
(pause) For Jean.
J'net sits back, torn between disbelief and the lure of
Joan’s promise. Her face lights up with a flicker of hope,
despite her confusion.
J'NET
Well, I need to discuss this with Ray.
You know, he wants a boy.
JOAN
Trust me, darling, my offer will
change his mind.
Maria appears with lunch, breaking the moment.
JOAN
Right on time.
Silverware clinks as Maria serves lunch. J'net sits frozen,
her mind racing, contemplating, dreaming.
CROSSFADE:
Genres:
["Drama","Mystery"]
Ratings
Scene
13 -
Joy and Disappointment: A Birth Story
15. INT. GREYSON MASTER BEDROOM - AFTERNOON
Phone RINGS. J'net races across the room to answer, her
face brighter than before.
J'NET
Hello?
VOICE ON PHONE
Mrs. Grayson? This is Stacy with
Dr. Brown’s office, just confirming your
request to move your C-section to June 19th
at 5 AM.
J'NET (smiling to herself)
Perfect. Thank you so much.
She hangs up and moves to the mirror, gazing at her
reflection. She cradles her belly tenderly, still smiling,
a glimmer of hope reborn.
BEGIN MONTAGE:
16. — EXT. LOCAL PARK - DAY
J’net and Renee walk side by side, eating ice cream,
laughing. J’net’s baby bump is visible — she glows with
Hope.
17. — INT. BABY STORE - DAY
Ray and J’net shop for baby items, smiling, happy. J’net
holds up an infant’s dress and laughs.
18. — INT. GREYSON KITCHEN - NIGHT
Ray, wearing an apron, cooks dinner. Smoke rises from the
stove. Renee runs around reacting as J’net waddles in,
laughing, to take over.
19. — INT. GREYSON BEDROOM - NIGHT
J’net stands alone in the empty nursery, looking around and
smiling to herself with happy anticipation.
END MONTAGE
CROSSFADE AND MUSIC FADES:
20. EXT. WOMEN’S HOSPITAL - EARLY MORNING
SUPERIMPOSE: JUNE 19, 196932
20a.INT. HOSPITAL MATERNITY WAITING ROOM - EARLY MORNING
CUT TO CLOSEUP of a Styrofoam cup of coffee. Ray nervously
picks it up and drinks from it. He is joined by Darlene and
Renee. A sprinkle of HOSPITAL STAFF and PEOPLE fill the
scene.
RAY (nervous)
Anyone else want coffee?
DARLENE
Ray, that’s your third cup.
RAY
I know, but this waiting is killing me.
Darlene
Do you need something to eat?
To calm you down?
RAY
I just need to know that J’net
and the baby are alright.
RENEE
Daddy, is Mommy OK?
Darlene leans in, warm but weary.
DARLENE
She’s fine, sweetheart. The doctor’s
helping her with your new sister.
RAY (correcting)
...or brother.
Darlene gives him a small smile — let him have that.
20b.INT. WOMEN’S HOSPITAL DELIVERY ROOM - EARLY MORNING
A sterile room buzzes with low chatter and the soft
clinking of surgical tools. J'net lies on the table, draped
and curtained, her face tight with anticipation. Doctor
Brown is performing a C-section.
DOCTOR BROWN (V.O.)
Just another minute, Mrs. Grayson. You’re
going to feel just a little pressure; your
baby is almost here.
J’net lies still, her face tight with anticipation. A white
curtain blocks her view of the surgery. A NURSE wipes her
brow.
NURSE
Almost done. You’re doing great.
J’NET (quietly)
Am I?
Doctor Brown leans over his work.
DOCTOR BROWN (cheerfully)
Annnnnd...Here we are. We have a baby.
A newborn cry splits the air — raw, piercing, alive.
J’net’s eyes widened, trembling with hope.
J'NET
What is it???
The entire room seems to hold its breath.
DOCTOR BROWN (proudly)
Congratulations, Mrs. Grayson,
It's a healthy baby boy.
The room buzzes at the announcement, but J’net’s face
falls, her smile shattering. She turns her head sharply
away from the doctor, from the baby’s cries. The color
drains from her face. Her hand curls into the sheet. Doctor
Brown holds up her SON for her to see.
DOCTOR BROWN
Would you like to hold your son?
J'net shakes her head no and turns away, a single tear
slipping down her cheek. Doctor Brown hesitates, then
gently passes the baby to a nurse. The NURSES exchange
uneasy glances and quiet whispers. The baby’s cries echo
against tile and stainless steel as the music builds. J’net
closes her eyes, her face turned toward the wall. The
beeping of monitors fades into soft, emotional music.
CUT TO:
20c.INT. HOSPITAL MATERNITY WAITING ROOM - MOMENTS LATER
A silent montage, carried only by the music. DARLENE and
RENEE sit patiently. RAY paces, full of nervous energy. A
NURSE steps out with a bright smile.
NURSE
It’s a BOY!
RAY’s face lights up — a lifetime of hope released in one
joyful laugh. He turns to share the moment with his family
— but then he freezes. At the far end of the hallway stands
JOAN, holding a pink balloon bouquet and a wrapped baby
gift that reads “It’s a Girl!” She stops mid-step. The
smile fades from her lips as the news reaches her. Her
shoulders sink. She pauses long enough to process the news.
The music softens. She lowers her head, and turns around.
One pink balloon slips free, rising toward the ceiling, the
others drift behind her like ghosts as she disappears down
the hall. RAY watches her go for a moment, conflicted,
uncertain, then forces a smile, turning back toward RENEE
and DARLENE, trying to reclaim his joy.
WIDE SHOT — from down the hall, the lone pink balloon
floats in the foreground, while the family celebrates in
the background — hugging, laughing, unaware of the shadow
that’s just passed.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
14 -
Echoes of Neglect
21. INT. PASTOR’S JOSEPH’S OFFICE - DAY (present day)
A soft tick of a clock. Pastor Paul leans in gently.
PASTOR PAUL
So you believe your mother resented you…
Because you weren’t the daughter she hoped
for
SEAN
Yeah. And everything else she hoped
would come with it.
The Pastor nods slowly, choosing his words.
PASTOR PAUL
(pausing) You know, even when things don’t
go as planned, most mothers—
SEAN (interrupting, quietly)
—don’t lock their kids out of love.
A silence.
PASTOR PAUL (lowering his eyes)
Fair enough. (looking back at his notes)
So what kind of abuse did you experience?
SEAN (pondering)
Neglect counts as abuse, right?
PASTOR PAUL
There are several types of abuse. Physical,
Mental, Emotional, Sexual ...and yes, even
Neglect. (pause) So what type did you
experience?
Sean pauses and lowers his eyes, voice almost to a whisper.
SEAN (softly)
All of them.
Pastor Paul quickly looks up, and his eyes flicker with
sadness and disbelief, the weight of Sean’s words hanging
in the air. Sean sinks further into his chair.
CROSSFADE:
22. EXT. GREYSON FAMILY HOUSE - DAY
SUPERIMPOSE: FOUR MONTHS LATER
22a.INT. LIVING ROOM - DAY
Renee, six, sits on the floor playing jacks. Behind her,
BABY SEAN’s wails echo from another room. The house is
cluttered, curtains half-drawn. The doorbell rings.
Renee jumps up and opens the door. Darlene stands there,
instantly alarmed by the noise.
DARLENE
Hey Renee. (pause to hear the baby crying)
Is that Sean?
Renee
Uh Huh.
Renee steps aside silently. Darlene walks in, worried.
DARLENE
Where’s your mama?
RENEE
She’s sleeping and won't wake up.
Darlene freezes — eyes narrow.
DARLENE
WHAT???
She rushes down the hall as Renee shuts the door.
22b.INT. GREYSON MASTER BEDROOM - (CONTINUOUS)
J'net lies in bed, motionless, a few pill bottles cluttered
on the nightstand, and a dim light fills the room. Darlene
rushes to her side, shaking her shoulders.
DARLENE (Firm and loud)
J'net! (shaking harder) Wake up!
Come on, wake up!
J'net stirs groggily, slurred.
J'net
Leave me alone... let me sleep…
Relief flashes across Darlene’s face — she’s alive. She
snatches a bottle from the nightstand.
DARLENE (reads under her breath)
Sleeping Pills? Who’s Richard?
Sean’s cries grow louder down the hall. Darlene pockets the
bottle and hurries out.
22c.INT. LIVING ROOM - (Continuous)
Baby Sean is still wailing. Darlene rushes to the crib,
lifting him into her arms, gently bouncing him.
DARLENE (to Sean, soothing)
Shhh, shhh, it's okay, you’re alright.
She turns to Renee, forcing calm.
DARLENE
How long has he been crying?
RENEE
A while. I tried waking up Mommy…
But she just yelled at me.
Darlene swallows the lump in her throat.
DARLENE
Okay. Let’s help him out, huh?
He’s dirty, Can you grab a clean
diaper and a washcloth?
Renee nods and runs off. Darlene lays Sean down and opens
the soiled diaper. Her face tightens — the rash is raw and
angry. She works quietly, gently, trying not to cry.
Genres:
["Drama"]
Ratings
Scene
15 -
A Father's Burden
22d.EXT. GREYSON HOUSE - DAY
A car pulls into the drive beside Darlene’s car. Ray steps
out, lunchbox in hand, shoulders slumped from work.
22e.INT. GREYSON LIVING ROOM - (CONTINUOUS)
Ray enters. He’s hit immediately by the tension and smell
in the room. Renee bolts toward him, arms wide.
RENEE
DADDY!!!
The door shuts, the photo tumbles. He ignores it and scoops
Renee up and hugs her tight.
RAY
Hey, Muffin. (looking around) Where’s Mommy?
Darlene (seriously)
Ray...you better come see this.
Ray replaces the photo and crosses to the crib.
Darlene (quietly)
I just got here. She’s passed out from
sleeping pills. (She hands him the bottle.)
Here.
RAY (reading)
Richard...? Who the hell is Richard?
DARLENE
No idea. (pause) Sean’s diaper also
hasn’t been changed in hours.
She opens the clean diaper again. Ray’s jaw sets. His hands
Clench.
DARLENE
He’s gonna need a doctor.
RAY
My God. That’s worse than the last time.
Darlene
I can take Renee to my place. She can play
with Chrissy while you take him in.
Ray nods, exhausted.
RAY
(sighs), Thank you. I’ll pick her up on
the way home.
Darlene
Ray, (pausing) J'net has been my best friend
since high school, but lately, it’s like she’s
disappearing... right in front of me.(chokes up)
RAY
I know, I’m trying to help, but I don’t
know how to stop it.
DARLENE
Then you have to try harder. She needs you.
(turning to Renee) Come on, Renee, I’m going
to take you to play with Chrissy for a little
while.
Renee hesitates. She looks frightened.
DARLENE
What’s the matter, honey?
RENEE (fighting her tears)
Is Mommie dying?
Ray kneels down, swallowing emotion.
RAY
No, sweetheart. She’s just tired
and needs to rest. Go with Darlene,
and I’ll come get you soon, OK?
Renee nods, barely convinced. Darlene takes her hand, and
they head out. Ray stands in the silence that follows.
He stares at the pill bottle in his hand — then slips it
into his coat pocket. He turns to Sean.
RAY
Come on little man, let’s take a little trip.
FADE OUT:
Genres:
["Drama"]
Ratings
Scene
16 -
A Father's Promise
23. EXT. HOSPITAL - (LATER THAT NIGHT)
23a.INT. HOSPITAL - DOCTOR’S EXAM ROOM - (CONTINIUOUS)
DOCTOR STUART finishes his exam, gently redressing the
baby. He jots a few notes on the chart, his expression
tight.
DOCTOR STUART
Alright… I’m giving you a cream for the
Rash — Nystatin. Use it after every change.
And some Indomethacin for the fever.
If it doesn’t improve in two days,
bring him back in.
RAY
Absolutely.
The doctor closes the chart — his tone shifts, heavier.
DOCTOR STUART
Ray... this is the second time
I’ve seen him like this.
RAY (shamefully)
I know.
DOCTOR STUART
This kind of rash doesn’t just show up
overnight. It means he’s been left too long
— and I can’t ignore that. You and J’net are good
friends, but if this happens again, I’ll have
to call CPS....I won’t have a choice.
Ray bows his head.
RAY
I understand. You have my word.
This won’t happen again.
DOCTOR STUART
Good. Let’s schedule a follow-up
for next week.
RAY
Of course. Thank you, Stu.
Doctor Stuart gives a quiet nod, then exits. The door
CLICKS shut behind him. The silence presses in. Ray reaches
inside his pocket and pulls the bottle of sleeping pills
out, stairs at it, then he looks down at Sean, tears
forming. He tucks the bottle back in his pocket and reaches
for his son, cradling him tightly in his arms.
RAY (whispers)
I’m sorry, Sean. I should’ve protected
you better... I swear, this will never
happen again.
Ray holds the baby close — his face pressed into Sean’s
hair, trying to hold both of them together.
SEAN (V.O.)
That’s when Dad made her see a
Psychiatrist. For a while, it worked.
Two, maybe three years. Then she started
to slip again. More meds... different
bottles... same darkness.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
17 -
Breaking Point
24. INT. GREYSON FAMILY HOME - DAY
Closeup on a cabinet full of prescriptions. J’net grabs
them and tosses them into her purse.
CUTTO:
J'net shoves clothes into a suitcase — sleeves hanging out,
socks mismatched. SEAN (4) screams from the hallway. RENEE
(10) wipes tears as she frantically zips her backpack,
books spilling.
SUPERIMPOSE: MAY, 1974
J'NET (sharply)
Hurry up, get everything in the car.
Renee (crying)
I don’t want to leave Daddy!
J'NET
Just do what I said.
24a.EXT. GREYSON FAMILY HOME - FRONT YARD - DAY (MOMENTS
LATER)
Ray’s car pulls up fast. J'net hauls the last suitcase to
the car. Ray jumps out, frantic.
RAY (shouting)
J’net — what the hell is going on?!
Are you taking the kids?!
J'net throws the luggage in the trunk.
J'NET
RENEE! GRAB SEAN AND GET IN THE CAR! NOW!
RAY
J'NET, STOP! TALK TO ME!
J'net whirls on him, rage and heartbreak on her face.
J’NET
You think I wouldn’t find out
about you and Darlene?
RAY
I TOLD YOU — WE’RE NOT DATING!
It was one meal. This is crazy!
J'NET
Don’t you dare say that to me. I ended
things with Richard — for you!
And now you humiliate me with her?
RAY
Where are you taking my children?
J'NET
My parents. And if you really want us
to be together as a family, sell the house,
come to Louisiana. Leave her here.
J'net slams the trunk shut, jumps into the driver’s seat,
while the kids are crying inside. The car roars to life and
she slams on the gas. The car fishtails down the street,
leaving Ray behind in a cloud of dust.
RAY (running after her)
J’NET....COME BACK!!!!!
The car speeds through the endless stretch of road — a
small, fragile shape swallowed by the horizon. The wind
howls. The sound of the baby crying fades... replaced by
silence and Ray, standing alone.
CROSSFADE:
24b.EXT. HIGHWAY - DAWN
Several wide shots of J'net's car continuing down the
highway, whizzing past traffic, and finally, past a
WELCOME TO LOUISIANA road sign.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
18 -
Homecoming and Heartbreak
25. EXT. GRANDPARENTS HOME - NIGHT
A wide shot — J’net’s car rolls to a stop in front of a
small Louisiana home, porch light glowing like a beacon.
HER PARENTS step out — waiting, worried, hopeful. J’net
climbs out, her exhaustion plain. Her MOTHER wraps her in a
long, steady hug. J’net drops her purse on the porch,
spilling everything out and melts into her mother’s
embrace. Her FATHER leans into the car, gently lifting a
half-asleep Sean from the backseat. Renee clings to her
grandmother. The camera lingers on the small family under
the warm porch light — a quiet moment of brokenness and
unconditional grace.
CROSSFADE:
26. INT. GRANDPARENT’S HOME - LATER THAT NIGHT
Closeup on two empty glasses, being filled with white milk.
J’net’s mother, MILDRED (mid 50’s) brings the glasses and a
plate of cookies to the table in front of J’net, sitting,
looking off in despair. Her father, ERNIE (late 50’s) sits
on the other side, watching. J‘Net looks up at the plate of
cookies and milk, and a calming smile stretches across her
face.
J’NET
When I was a little girl, whenever I had a
problem, you always gave me milk and cookies.
Her mother sits beside her, next to Ernie.
MILDRED (smiling)
And we would sit and solve the
problems of the world together.
J’NET (pauseing)
Well, there are some problems that milk and
cookies can’t solve.
MILDRED
That’s true, but I know someone who can.
J’NET (deep sigh)
Mamma please, I don’t need your religion right
now. I’m Hurting. I’m ANGRY. I need your HELP,
not your judgmental religion.
ERNIE (softly)
Only God can judge you, Nettie. But only
He can HELP you too.
J’NET (getting angry)
I don’t NEED His help right now. Where was His
help when Ray took everything away from me. And
where was He when I caught Ray having dinner with
My BEST FRIEND! Where was He then?
MILDRED
He’s always been there, Honey, you’re just too
hurt to notice Him.
J’NET (raising her voice)
DAMN RIGHT I’M HURT! I have a RIGHT to be hurt.
I just need some time to figure things out…
J’net suddenly looks quickly around the room.
J’NET
Where my purse?
She spots it and pulls it in front of her. She starts
digging through it frantically, searching for something.
J’NET (desperate)
Where is it??? I had them in here.
Earnie looks at Mildred and they both watch as J’net starts
pouring everything out on the table and tearing through
everything.
J’NET
WHERE ARE THEY? THEY WERE RIGHT HERE!
RENEE (O.S.)
MAMMA?
Everyone turns and see’s Renee and Sean standing in the
doorway in their pajammas.
J’NET (shouting)
RENEE, HAVE YOU BEEN IN MOMMIES PURSE?
RENEE
No ma’am.
J’NET
SEAN? I KNOW YOU’VE BEEN IN MY PURSE BEFORE!
WHERE’S MY STUFF?
SEAN
I haven’t.
J’NET (snapping)
YOU’RE A LIAR! I KNOW YOU HAVE IT!
Mildred has seen enough, she immediately stands to her
feet.
MILDRED (firm but soft)
J’NET! Is THIS what your looking for?
She pulls three pill bottles out of her apron pocket and
places them on the table. J’net stands there, in shock and
shame.
MILDRED
They fell out of your purse on the
porch when you arrived.
Ernie stands and lovingly escorts Renee and Sean back to
bed and leaves J’net alone with Mildred. J’net falls into
her chair, sobbing, with Mildred holding her.
SEAN (V.O.)
Mom was falling apart. Memaw and Papaw finally
convinced her to check into a rehab for six
months while they took care of Renee and I.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
19 -
A Fragile Reunion
27. INT. PASTOR’S OFFICE - DAY (Present time)
Sean sits across from Pastor Paul, his tone softer now.
Sean looked off, remembering, smiling.
SEAN
It was the first time I really... felt loved.
Pastor Paul nods, quietly absorbing it.
PASTOR PAUL
And your dad? Did he stay in touch?
SEAN
Yeah. Memaw kept him in the loop —
let us talk every time he called.
He said he was coming for us.
Promised we’d be a family again.
CROSSFADE:
28. EXT. OUTSIDE THE GRANDPARENTS HOME - DUSK
SUPERIMPOSE: SIX MONTHS LATER
A moving truck rolls up the drive. Sean and Renee burst out
the front door, racing across the yard, and leap into Ray’s
arms. Laughter, tears, sunlight. After a moment, J’net
steps out onto the porch. She looks different. Clear eyes.
Steadier hands. Ray sets Sean down, crosses to her. A
hesitant smile, then he pulls her close. She melts into his
embrace.
SEAN (V.O.)
After Mom got out, things started to feel...
normal again. Dad left everything behind, found a
new job, and bought a new house. For a while, it
felt like a fresh start. Like maybe this time,
we’d make it... (pause)
CUT TO:
29. INT. PASTOR’S OFFICE - DAY (Present time)
SEAN
...until I turned ten.
Sean sits slouched in his chair, rubbing his palms
together, a nervous, unconscious rhythm. Pastor Paul leans
forward slightly.
PASTOR PAUL
What happened?
SEAN
One of Mom’s friends from rehab was a police
woman, recovering from her own addictions. She
encouraged Mom to joined the police force.
Paul’s brows rise, surprised.
PASTOR PAUL
The police force? That’s... quite a leap.
Sean lets out a dry, humorless laugh.
SEAN
She had a whole community of new friends
in the force. She worked nights and Dad was
traveling weeks at a time. So most nights,
it was just me and Renee.
PASTOR PAUL
She left you two alone at night?
SEAN
The police patrolled outside several times.
The neighborhood was safe.
The air in the room tightens.
SEAN
The real danger... (pause)
was inside our home.
Pastor Paul sinks back, silent — already sensing where this
is heading. Camera HOLD on Sean’s face. His jaw trembles
slightly. His eyes — hollow.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
20 -
Morning Tensions
30. EXT. NEW GREYSON HOUSE - MORNING
A car pulls into the driveway. J'net (mid-30s) steps out,
still in her police uniform, hair pulled back, weary after
a long night shift.
SUPERIMPOSE: LOUISIANA, SEPTEMBER, 1979
30a.INT. NEW GREYSON HOUSE - LIVING ROOM - MORNING
J'net enters, tossing her keys and gun belt onto a table.
She freezes — dirty dinner dishes clutter the coffee table.
Her face tightens with rage. She stands there for a beat…
then storms down the hallway.
30b.INT. SEAN'S ROOM - (CONTINUOUS)
J'net flips on the light. SEAN (10) stirs in his bed,
blinking against the glare. She sees the mess — toys
scattered, clothes on the floor.
J'NET (angrily)
SEAN, GET UP!
Sean struggles to sit upright, half-asleep.
J'NET
I told you to clean this room
before I got home, why wasn't it done?
SEAN (wiping his eyes)
Renee made me go to bed early…
I didn’t have time to clean it.
J'NET
Get out of bed and clean it — NOW.
And if you miss that bus,
your ass is mine. Understand?
SEAN (frightened)
Yes, ma’am.
J’net leaves as Sean scrambles out of bed, eyes darting
nervously as he gathers toys and clothes in trembling
hands.
30c.INT. RENEE’S ROOM - (CONTINUOUS)
J'net storms in and flicks on the light.
J'NET
Renee…
RENEE (16) stirs in her sleep, slowly waking up.
J'NET (firmly)
RENEE...WAKE UP... Why’d you make Sean go to
bed without cleaning his room?
RENEE
He broke my lava lamp.
J'NET
Then he’ll buy you a new one.
Now get up. I’ve been up all night and I
need to sleep. No noise. No fighting....and
make sure Sean finishes his room before his
bus comes.
RENEE (quietly)
Yes ma'am.
J'net glares at her a beat longer, then storms off.
CUT TO:
30d.INT. MASTER BATHROOM - (moments later)
The cabinet slides open. Rows of pill bottles. J’net’s hand
trembles as she picks a bottle, pours out three pills, and
swallows them dry. She stares at her reflection — eyes
glassy, jaw clenched.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
21 -
Shattered Silence
31. INT. NEW GREYSON HOUSE - KITCHEN - (LATER THAT
MORNING)
An empty cereal box sits on the table. Renee is dressed and
rinsing her bowl at the sink. Sean enters, exhausted and
nervous. He picks up the cereal box, shakes it, and finds
it empty.
RENEE
Did you finish your room?
SEAN
Yeah...Is there any more cereal?
RENEE
No, make some toast — but hurry.
The bus will be here in a few minutes.
Renee exits. Sean moves quickly — grabs a glass, pours
orange juice. As he pours, the juice misses — the glass
falls. CRASH. Juice and shattered glass explode across the
floor. Sean freezes, breath hitching. The kitchen is
silent—until…
J'NET (O.S.) (screaming)
WHAT THE HELL WAS THAT?
Sean freezes in terror. His lip quivers. He searches for a
towel. As he crouches to clean, he slices his hand on the
broken glass — blood mixes with the orange juice. J'net,
wearing her robe, storms into the kitchen, eyes blazing.
J'NET (SCREAMING)
WHAT HAPPENED?
SEAN (stammering)
I... I was pouring… and it slipped.
Her face twists.
J'NET (shrieking)
You’re always breaking things!
I work all night — and this is
what I come home to?!
Before he can answer, she snaps — grabs his throat, slams
him back against the wall. The sound of impact echoes.
31a.INT. RENEE’S BEDROOM - CONTINUOUS
Renee is collecting her books and coat for school when she
hears a LOUD STRUGGLE and SCREAMING in the kitchen. She
drops everything and runs out of her room.
31b.INT. NEW GREYSON HOUSE - KITCHEN - CONTINUOUS
Sean struggles, gasping for air, clawing at her hands. He
slips — falls to the floor in a puddle of orange juice and
broken glass.
J'NET
YOU NEVER LISTEN, DO YOU? THIS TIME
YOU'RE GOING TO LISTEN TO ME!
J'net straddles him, pinning him down under her knees. She
clenches her fists and swings at him, hammering his head
and chest.
SEAN (choking through tears)
MAMA! PLEASE STOP! You're hurting me!
Renee races into the kitchen, panicked.
RENEE
MAMA — GET OFF HIM!
She reaches around and grabs her mother’s arms from behind,
wrestling them backward.
J'NET (shrieking)
LET ME GO! GET OFF ME!
RENEE (straining)
SEAN — GET OUT! HURRY!
She keeps her mother's arms pinned back, muscles trembling
with effort. Sean wriggles free, scrambles to grab his
books, and bolts out the door, sobbing. Renee releases her
mother's arms and stands back in fear as J’net screams and
writhes in anger on the floor.
CUT TO:
32. EXT. GREYSON HOUSE - FRONT YARD / STREET (CONTINUOUS)
Sean runs out of the house and down the street, crying. The
school bus is stopped ahead and CHILDREN are already
climbing aboard. Sean catches up, choking back the tears.
32a.INT. SCHOOL BUS - (CONTINUOUS)
Sean stumbles onto the bus, finds the nearest empty seat,
and collapses into it. He slides low, curling into himself,
silently weeping. Some of the KIDS notice. They point and
laugh.
SEAN (V.O.)
The beatings became a regular thing
whenever Dad was away.
Sean stares blankly out the window, cheeks wet with tears.
He is alone in a sea of faces.
CROSSFADE:
33. INT. PASTOR’S OFFICE - DAY
The clock ticks. The silence stretches — thick and
unresolved — until Pastor Paul finally speaks.
PASTOR PAUL
Your sister was brave to take on your mother
like that, I’m glad she was there.
Sean leans forward. His voice drops — steady, but bitter.
SEAN
So was I, until I wasn’t. When Mom wasn’t
abusing me... Renee was. She locked me
inside my toy chest, threw me through a
bedroom window. Once, she accidentally hit
me with a golf club — (pointing under his
eye) thirteen stitches.
Pastor Paul closes his eyes, grief-stricken.
PASTOR PAUL
Sean, why didn’t you tell someone?
Sean laughs softly — dry, empty.
SEAN
Mom was a cop with the whole force
on her side, who’s gonna believe me?
Pastor Paul lowered his head in disbelief.
SEAN (continues)
Sometimes I’d sit in my room, crying...
Praying that Dad would come home.
PASTOR PAUL
And when he did?
SEAN
The beatings would stop. Those were the
only times I ever felt... safe.
A softer breath escapes him, almost like a memory being
exhaled.
SEAN (continues)
He’d take me out. Just us. A movie, lunch
and ice cream... For a few hours...
it almost felt... normal.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
22 -
A Diner Conversation: Absence and Comfort
34. EXT. LOCAL DINER - DAY
SEAN (V.O.)
But he always had to leave again.
34a.INT: LOCAL DINER - DAY (CONTINUOUS)
Inside a small-town diner, Ray and Sean sit across from
each other in a booth. Half-eaten burgers sit between them.
RAY
Pretty scary movie, huh?
Do you know who played Mrs. Engles?
SEAN (taking a bite)
Who?
RAY
Yvonne De Carlo. She was Lily on
The Munsters.
SEAN
No way, that was her?
I love The Munsters.
Ray chuckles warmly and watches Sean take another bite.
RAY
How’s school going?
SEAN (while chewing)
Okay. Math’s hard, though.
RAY
We’re not asking for perfect grades —
just no more F’s, alright?
A WAITRESS drops off the check. Ray reaches for his wallet.
RAY
(to the waitress) Thank you. (back to Sean)
I gotta leave again tomorrow morning.
Sean’s face falls, and puts his burger down. Appetite lost.
SEAN (hanging his head)
How long this time?
RAY
Two weeks. I’m driving back to
North Carolina to look up some
old contacts.
After a moment, Sean pushes his food away, upset.
RAY
What’s wrong, buddy?
Sean hesitates, gathering courage.
SEAN
I don’t like it when you go away.
RAY
I know... but my job requires me to travel.
Sean looks up, vulnerable.
SEAN
It’s just... when you’re gone... (gathering
courage) Momma... she’s... mean.
Ray leans in, concern growing.
RAY
Mean how?
SEAN
She screams. I had some friends over
once outside when she got home, she threw
rocks at them until they ran away.
Everyone’s scared of her.
Ray stares — disbelief giving way to dread.
SEAN
And when she gets mad at me…
She… hits me.
A heavy pause. Ray sits back, guilt and anger mixing.
RAY (softly)
I’m sorry, Sean, you don’t deserve that. Your
mother’s struggling with some things... but
that’s no excuse. Believe me, I’ll talk to her, I
promise. This won't last forever. Just a little
longer, then I’ll be home more.
Sean wipes his eyes, trying to be brave. Ray reaches across
the table, ruffles his hair.
RAY (trying to distract)
Hey, you want some ice cream?
Sean shrugs, unable to smile. Ray flags down the waitress.
RAY (to the waitress)
Miss? Can we get two hot fudge sundaes?
Waitress
You got it, hun.
Sean manages a small, grateful smile. Ray watches him,
trying to hide his guilt.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
23 -
Shattered Bonds
35. INT. NEW GREYSON HOUSE LIVING ROOM - AFTERNOON
J-net is passed out in a recliner with the tv on, playing
an afternoon game show. Several pill bottles are spilled
over on the side table beside her. A cigarette is still
burning in an ashtray nearby.
35a.EXT. NEW GREYSON HOUSE - AFTERNOON
Sean, weighed down by his backpack and the world, trudges
up the driveway after school.
35b.INT. NEW GREYSON HOUSE - LIVING ROOM - DAY
Sean pushes open the front door — SLAM! — louder than he
meant. He freezes. J'net jolts awake in her recliner, eyes
blazing.
SEAN (scared)
I’m sorry. I didn’t know you
were sleeping.
J-net rises, slow and predatory. Her glassy stare locks on
him. She steps closer—then slaps him hard across the face.
SMACK! Sean gasps, stumbling, eyes watering, trying to hold
back tears and shock.
J'NET (pausing briefly)
Next time, you’ll enter the house like
you’re supposed to.
She glares down at him. Sean’s losing the battle with the
tears, but he is paralyzed by fear.
J'NET
Stop crying, you want another one?
He tries, but he can’t. Her eyes narrow.
J'NET (leaning over)
You gonna run and tell your daddy again?
Stir up more trouble between us?
SEAN (shaking fearfully)
No ma'am.
J'NET (voice rising)
But you always do, and then your father
comes and threatens me. Is that what you want?
SEAN (looking down)
No ma’am.
J-net exhales sharply, drops back into her recliner, and
lights another cigarette. Smoke curls around her head.
J’NET
You know where your father is right now?
Sean shakes his head.
J’NET
North Carolina, with that back-stabbing
tramp Darlene. See? he doesn’t love us, he’d
rather be with her, and leave you here with me.
Sean looks up at her with tears welling up.
J’NET
We have enough trouble of our own, I sure as hell
don’t need you making things worse between us.
SEAN
I’m...I’m Sorry.
J'NET
Damn right you are. (pause)
Things would’ve been a whole
lot better if you were a girl.
She takes another long drag off her cigarette.
J’NET
Sometimes... I wish you had never been born.
The words hit harder than the slap. Sean glares at her,
pauses for a moment, takes a deep breath and responds.
SEAN (barely a whisper)
Me too.
She turns, looks him up and down with disgust.
J'NET (disgusted)
Go to your room... Don’t come out till after
I go to work. I’m tired of looking at you.
Sean walks past her slowly, trying to hide his emotions,
keeping his eyes forward. He rushes down the hall and
disappears into his room, slamming his bedroom door shut
behind him. J’net reaches over and grabs another bottle and
pops two more pills, swallowing them dry.
35c.INT. SEAN’S BEDROOM – (CONTINUOUS)
Sean bursts into the room, tosses his book bag to the
floor. It hits with a dull thud. He drops onto the edge of
his bed, staring ahead — frozen. His breath comes shallow
and uneven. A long beat. The silence hums. His fists
clench, knuckles white. His jaw trembles. The tears
threaten, but he swallows them back. Then — a shaky exhale.
His shoulders drop. The rage drains, leaving only
emptiness. Sean leans back slowly, collapsing into the
mattress. He stares up at the ceiling — blank, distant.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
24 -
A Night of Secrets and Comfort
36. EXT. NEW GREYSON HOUSE - LATER THAT NIGHT
Stillness. The house sits in heavy quiet. A faint glow from
Sean’s bedroom window, the only sign of life.
36a.INT. HALLWAY - NIGHT
Renee walks down the hall and stops outside Sean’s room.
She knocks and slowly opens his door.
36b.INT. SEAN’S ROOM - CONTINUOUS
Sean lies on his bed, homework spread out in front of him.
His eyes are puffy from crying. Renee peers in. Sean wipes
his eyes quickly, pretending to be fine.
RENEE
Mom’s gone. I’m cooking pizza in a
little bit. You want some?
Sean nods silently without looking up.
RENEE
You finished your homework?
He nods again.
SEAN
Will you check it for me?
RENEE
After we eat.
Sean closes his books, relieved.
RENEE
You wanna play a game?
He looks up at her, surprised.
SEAN
What game?
RENEE
It’s called “Let’s Pretend.” I found
some cool books in Mom’s room. We open
to a random page and act out whatever’s
happening in the book.
SEAN
What kind of books?
RENEE
Westerns. Cowboys, shootouts,
saving the girl — that kind of thing.
SEAN
With Indians and stuff?
RENEE
Yeah, and after he saves them, they reward
him. You can be the cowboy. I’ll be the girl
he saves. Come on, the books are in my room.
SEAN
But Mom said I’m not allowed in there.
She’ll...
RENEE
It’s fine if I say it’s okay.
She’s at work. Just don’t tell her
about the books or the game.
She’ll get mad at both of us.
Sean stays frozen, eyes flicking to the door — the old fear
still there. A long beat. He chews his lip, torn...
RENEE
I promise. You won’t get in trouble.
I won’t tell if you don’t.
A long beat. Sean looks down. Then…
SEAN
OK.
He gets up and follows her into the hallway.
36c.INT. HALLWAY - CONTINUOUS
Renee steps into her room first. Turns, waiting. Sean
follows — slow, uncertain. The door closes behind them. The
camera lingers on the door. The quiet hum of the house
returns. Then — slowly — we pull back down the hall...
FADE TO BLACK / CUT TO:
Genres:
["Drama"]
Ratings
Scene
25 -
Unveiling the Past
37. INT. PASTOR PAUL’S OFFICE - DAY
Sean is looking down, struggling with his confession.
SEAN
At first, I thought it was just a game.
I didn’t know what the books were, I thought
they were just stories, I didn’t understand
what she was doing to me, until I saw the
magazines.
PASTOR PAUL
Magazines?
SEAN
Mom found a stack of Dad’s porn in the
closet. One night I walked in on her and
Renee — they were flipping through them.
She made me sit down and watch... told me the
women in those pictures were whores and tramps
for posing like that, and the men who
looked at them... were pigs going to hell.
PASTOR PAUL
My God, Sean. I had no idea.
SEAN
Once I saw what they were doing
in the magazines, I understood what my
sister was doing to me.
Sean is looking down, struggling with his confession.
SEAN
She said she was just... getting me
ready so I wouldn’t be clueless when I
started dating.
His voice cracks. He looks away, ashamed. Pastor Paul
slides a box of tissues toward him — wordless.
SEAN (choking up)
I’m sorry... I’ve never told anyone that before.
PASTOR PAUL
You’ve carried that alone all these years?
Sean nods, barely meeting his eyes.
PASTOR PAUL
How long did it go on?
A long pause.
SEAN
A few months. Maybe longer. After that…
I couldn’t even look at her. Still can’t.
Sometimes I just... feel dirty.
PASTOR PAUL (softly)
Sean, that wasn’t your fault. You didn’t do
anything wrong. You were a kid, a victim.
She was six years older than you, she knew
better.
SEAN
I know that now. But back then, Mom told me
everything was my fault.
A long, tense silence.
SEAN
When you hear something enough
times in your life, you start to believe it.
Sean stands, moves toward the window. The light hits his
face — fractured between shadow and sun.
PASTOR PAUL
We can stop here for today if you want.
SEAN
No, I... want to keep going. If that’s okay.
PASTOR PAUL
Of course it is. Whatever you want.
Take your time.
Sean nods, breathing deep — steadying himself.
SEAN
When I turned fourteen... Dad lost
his job. He was home again — looking for more
work.
PASTOR PAUL
And your sister?
SEAN (Over his shoulder)
She and mom had a falling out and she moved to
Indiana with a friend. Memaw got cancer and Mom
buried herself with work and taking care of
Memaw. I think she was avoiding dad and me, she
was hardly at home.
PASTOR PAUL (leaning in)
So... with your mom and Renee both gone, and
your Dad back... Things must have got better?
SEAN (shaking his head)
Not really. By then, the damage was already done.
I spent the next couple years just... trying to
find myself...
Hold on Sean's face as he looks out, remembering.
SEAN
...I found a group of friends who were as
messed up as I was... But at least they
accepted me, faults and everything.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
26 -
Birthday Toasts and Broken Hearts
38. EXT. DANCE CLUB - NIGHT
Music THUMPS from inside. The parking lot buzzes with
people laughing, smoking, making out. Neon bleeds into the
night air.
SUPERIMPOSE: JUNE, 1986
38a.INT. INSIDE DANCE CLUB - NIGHT
A haze of colored lights and pulsing bass. Bodies grind,
laughter explodes, sweat glimmers. DAVID (18, fabulous,
fierce, peroxide blond hair, ear-ring) weaves through the
chaos, balancing three beers. He reaches a small corner
table where SEAN (mature-looking 16, short rock-star hair,
ear-ring) and LISA (19, hot with trendy blue streaks in her
hair) sit waiting. David slams the drinks down with
theatrical flair.
DAVID (disgruntled)
The bartender’s straight.
LISA (laughing)
So I assume you didn’t get his number?
DAVID
No, but I got his name...
LISA
Well, that’s more than the last guy
you hooked up with.
David slides a beer across the table toward Sean like it’s
a sacred offering.
DAVID
Here. To puberty, bad choices, and your
first illegal drink. Happy Birthday, Sean!
Lisa and David raise their mugs.
LISA
To Bad Choices.
Sean
Thanks, but you know I don’t drink.
DAVID
You’re sixteen. That’s WHEN you drink.
LISA (glancing around)
SHHHHH, (leaning in) I told the manager he
was eighteen. You wanna get us kicked out?
Sean lifts his mug and clinks theirs, and reluctantly takes
a sip, immediately spitting it out like poison.
SEAN
UGH! Tastes like a dirty
gym sock in soured apple juice.
Lisa cackles, grabbing his beer.
LISA
Give it here, lightweight. Mama’s thirsty.
She snatches his beer for herself. Sean wipes his mouth.
SEAN
Is Danny coming?
LISA
No, he said he had to work late.
DAVID (confused)
Wait, I thought you dumped him.
LISA
I did. Then I... un-dumped him.
DAVID (dramatic)
Girl. I just saw him at the bar with
some skank who looks like Baby Jane
Hudson with bad contour.
LISA (spins around, eyes blazing)
WHAT???
David points towards the bar. She spots DANNY through the
crowd, pawing a CLUB GIRL.
LISA (getting louder)
Are you KIDDING ME?!
She grabs her purse like it’s a weapon and storms toward
the bar.
DAVID (to Sean)
And cue the meltdown. Come on.
This is gonna be better than cable.
Sean sighs, following him into the chaos.
Genres:
["Drama","Coming of Age"]
Ratings
Scene
27 -
Chaos at the Club
38b.INT. DANCE CLUB - BAR AREA - (CONTINUOUS)
LISA is in full meltdown—screaming and beating Danny with
her purse like a woman possessed.
LISA (screaming)
WORKING LATE, HUH? WHO THE HELL IS THIS SKANK???
The sleazy CLUB GIRL steps in, clutching her drink.
CLUB GIRL (snapping back)
Who you calling a Skank, Psycho Barbie?
Danny has his arms up, trying to protect himself from
Lisa’s attack.
DANNY
LISA! CALM DOWN! It’s not
what it looks like!
LISA (still swinging)
DON’T TELL ME TO CALM DOWN…
CLUB GIRL (to Danny, furious)
What do you MEAN it’s not
what it looks like?
Sean and David dive in, trying to restrain Lisa.
CLUB GIRL (to Lisa)
IT’S EXACTLY WHAT IT LOOKS LIKE!!!
SEAN
Lisa! Let’s go!
LISA (Screaming)
IT’S OVER, DANNY! WE’RE DONE!
She shoves him one last time and storms off, yelling at no
one in particular. Club Girl looks Danny up and down — then
SLAPS him.
CLUB GIRL
You didn’t say you had a girlfriend!
DANNY (pleading)
Oh COME ON, NOT YOU TOO!!!
She hits him again. David bursts out laughing.
DAVID
This is better than ALL MY CHILDREN.
SEAN (pulling David)
Come on... Lisa needs us right now.
They disappear into the crowd, chasing Lisa through the
flashing lights as Danny stands there, dazed, dignity in
ruins.
Genres:
["Drama","Family","Coming-of-age"]
Ratings
Scene
28 -
The Great Escape
39. EXT. DANCE CLUB - PARKING LOT - NIGHT
Police cruisers pull into the packed lot, lights flashing.
PEOPLE scatter. Sean and David catch up to Lisa, standing
by her car, lighting a cigarette.
SEAN (to David, eyes wide)
Why are the cops here?
DAVID
Might be a raid, but don’t worry,
we’re outside. Just stay chill.
(to Lisa) Babe, let it go. He’s trash.
Dollar store trash. Clearance aisle.
LISA
Why would he lie to me like that?
DAVID
Because men are walking, talking skid marks.
Sean looks ahead and sees FOUR POLICE OFFICERS heading
toward the entrance, and behind them, J’net in her uniform.
SEAN (starting to hyperventilate)
Um...Guys?
LISA
I can’t believe I fell for his...
SEAN (cutting in, panicked)
GUYS...That's, that’s my MOM.
Lisa and David whip around. J’net, in uniform, is heading
in their direction with the other officers.
DAVID (instantly)
GET DOWN!!
David shoves Sean to the ground and steps in front of him
like a human shield. Sean scrambles under Lisa’s parked
car. J’net and her team stride right past, completely
missing him.
DAVID (to Lisa)
We need to evacuate the virgin. Now!
Lisa bolts to the car door and unlocks it. David dives in
after her.
39a.INT. LISA’S CAR – NIGHT
Sean is crawling in through the back door.
LISA (to Sean)
HURRY! BACKSEAT—HEAD DOWN!
And don’t touch my diaphragm.
DAVID
You keep that in the CAR?
LISA
You better not open the glove box.
David recoils in disgust. Sean crouches on the floor in the
back, heart pounding.
SEAN
Oh my God, she knows I’m here.
LISA
How would she?
SEAN
I DON’T KNOW! ...WITCHCRAFT!
DAVID
Relax, Casper. She didn’t see you.(to Lisa)
But just so we’re clear, if we get caught,
I’m telling the cops you kidnapped both of
us.
LISA
Kidnapped? Boy, you climbed in here like I
was giving away Madonna tickets. (puse) Get
Him under that blanket, we’re taking him
to my place.
39b.EXT. PARKING LOT - NIGHT (CONTINUOUS)
Lisa’s car inches past the cruisers... then punches it down
the road, screeching the tires. Laughter spills out as they
speed away.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Birthday Escapades
40. INT. LISA’S APARTMENT - NIGHT – MOMENTS LATER
The door bursts open. Lisa flicks on the light — the place
glows with 80s nostalgia: Olivia Newton-John posters,
Grease vinyl on the wall, Boy George smiling from a
magazine cover.
Lisa and David tumble in, laughing like outlaws. Sean
trails behind — pale, wide-eyed, like he just survived a
crime scene.
DAVID
Okay, that was EPIC. But next birthday,
we’re doing it here, no cops, no skanks,
just cake and vodka.
SEAN (still rattled)
HOW DID SHE KNOW?
Lisa tosses her purse down and charges into the kitchen to
fetch a beer.
LISA
Maybe it wasn’t about you, maybe
it was just a raid. Just tell your
Mom, you were here all night.
SEAN (falling into the sofa)
I’m never going out again.
DAVID
Oh Please. You didn’t drink, didn’t smoke,
didn’t flash anyone. You're basically a…
Catholic pamphlet of Saints. I’ve seen nuns
take more risks.
Sean sits up, defensive.
SEAN
I’m not a saint.
LISA
Yes, you are. That’s why we dragged you out
tonight. You need to unclench, Sean. Quit
being such a mama’s boy.
SEAN
Who said I was a mama’s boy?
You obviously don’t know my mama.
David grabs the remote and turns on the TV — MTV flashes to
life, music videos blaring.
DAVID
If you two are going to fight, take it to
the back. I want my MTV.
Lisa smirks, stands, then yanks Sean up by the arm.
LISA
Come on. Prove it. Show me you can be a man.
SEAN
WAIT - WHAT ARE YOU DOING?
LISA
Giving you my birthday present.
She drags him down the hall, into the bedroom and slams the
door shut. David stares down the hallway, beer in hand,
shaking his head.
DAVID
Unbelievable. The Virgin Saint gets more
action than I do....Now that’s a miracle.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Coming-of-age","Comedy"]
Ratings
Scene
30 -
Confrontation and Consequences
41. EXT. GREYSON HOUSE - LATER SAME NIGHT
Wide shot of Lisa’s car pulling up quietly to the curb.
Sean steps out, shoulders slumped. She waves and drives
off. Sean stares at the dark house for a moment before
heading inside.
41a.INT. GREYSON HOUSE - LIVING ROOM
The lights are low. RAY sits at the kitchen table, papers
spread out, glasses low on his nose. The TV hums softly in
the background. The front door creaks open. Sean freezes
when he sees his dad waiting.
RAY (firmly)
Where have you been?
SEAN
At a friend's house, hanging out.
RAY
Which friend?
Shawn shifted a little.
SEAN
David and Lisa. We were watching MTV and
playing CLUE. I told you where I was going.
RAY
We know you were at the club. Karen Miller
saw you and called your mother at the station.
Your mother called me and then went looking for
you. I tried to stop her, but she just blamed me
and said I didn’t care about what you did.
Sean’s face drains.
SEAN
Dad-
RAY (cutting him off)
Sean, you told me you were going to a
friend’s house for your birthday. I
trusted you. Now your mother’s furious at
me.
SEAN (pausing)
I’m sorry. I didn’t mean to mess
things up for you.
RAY
It’s not about me, (pause)
You lied to me.
A long silence. Sean hangs his head.
RAY
I didn’t want to be the bad guy, but you’re
grounded for two weeks. (pause) But it’s
gonna be much longer before I can trust
you again.
Sean looks crushed. Ray exhales, rubs his temple, starts to
walk away — then stops and turns.
RAY
MeMaw’s back in the hospital. Your mother
was going to deal with you herself, but
right after she left the club, the hospital
called her out.
SEAN
I’m sorry, Dad. I swear—I’ll never lie to
you again.
Ray finally looks at him — not angry now, just tired.
RAY
I hope not. Because if I can’t trust you…
I can’t protect you.
He turns and walks down the hall. Sean stands there in the
quiet, staring at the empty doorway — the weight of
everything settling in.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
31 -
Morning of Loss
42. EXT. GREYSON HOUSE - MORNING
The first light creeps over the horizon. The neighborhood
is still, suspended in quiet — until a PHONE RINGS inside
the house, shattering the silence.
CUT TO:
42a.INT. SEAN’S BEDROOM - MORNING
A teenage mess. Movie Posters on the wall, clothes on the
floor, an open textbook on the desk. Sean sleeps heavily
under the covers. The door opens. A shaft of hallway light
spills in as RAY steps inside, careful, quiet.
RAY
Sean?
Sean stirs under the covers, groggy as Ray flips the light
on. Sean squints.
RAY
Sean, I need you to wake up.
SEAN (half-asleep)
What time is it?
RAY
6:15.
Ray sits on the edge of the bed. Sean rubs his eyes,
slowly pulling himself upright.
SEAN
What’s going on?
Ray hesitates, searching for the words.
RAY
Your mom just called...(he hesitates)
MeMaw’s gone. Early this morning.
Sean blinks — still half in dream, half in disbelief.
SEAN
What?
RAY
The cancer spread faster than they thought.
She went peacefully in her sleep.
Sean stares at the blanket in his lap. A long silence.
SEAN
Is Mom okay?
RAY
She’s holding it together for PawPaw,
But she needs us. Get dressed.
Ray stands, starts toward the door, then turns back.
RAY
And Sean... We’re not gonna talk about last
night. If your mother asks... I handled it.
SEAN
Yes, sir.
Ray gives a small nod and leaves, closing the door softly
behind him. Sean sits in silence, rubbing his face — the
news, the guilt, the exhaustion all colliding. He looks
toward the window, light creeping in.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
32 -
A Journey of Grief and Faith
43. EXT. FUNERAL HOME - DAY
Birds are singing above the crowded funeral home. Mourners
slowly walking inside.
43a.INT. FUNERAL HOME - VIEWING ROOM - DAY
Soft murmurs. Hushed tears. A low organ hum. Clusters of
mourners gather, their movements slow and reverent. J’net
stands near the casket, surrounded by FRIENDS — composed,
but hollow-eyed. Across the room, Sean sits alone, staring
at the casket. Still. Distant. RAY approaches quietly and
sits beside him.
RAY
You holding up?
SEAN
I think so. (looks across the room)
Mom still hasn’t said a word to me.
RAY
Maybe that’s for the best... for now.
He reaches into his pocket and pulls out a small gold box.
RAY
Here, your Memaw wanted you to have this.
He quietly hands him the small, gold box. Sean hesitates,
then opens it. Inside — a silver cross necklace. He lifts
it carefully. The metal glints in the low light.
RAY
She bought it for your birthday.
Said she wanted you to understand
what really matters in life.
Sean’s throat tightens. He can’t find words. Ray rests a
hand on his shoulder and leans in, his voice firm but not
harsh.
RAY
This Sunday...we’re going to church.
Sean looks up, surprised.
SEAN
Church?
RAY
Don’t make any plans.
Ray stands, gives his shoulder a small squeeze, and moves
off toward J’net. Sean stays behind, staring at the cross.
A thin beam of sunlight finds it — gleaming in his hands
like something holy, fragile, and undeserved. The hum of
conversation fades to silence.
CROSSFADE:
44. EXT. FAMILY FAITH CHURCH - MORNING
Cars fill the lot. Sunday best everywhere. Gospel music
drifts from inside, bright and full of life.
44a.INT. FAMILY FAITH CHURCH - DAY
The sanctuary glows in warm morning light. Soft music plays
under a hush of reverence. PASTOR SCOTT (paunchy, mid 50’s)
stands at the pulpit, delivering the altar call — calm,
sincere. His voice is like a hushed muffle. The
CONGREGATION is still. A few TEENAGERS in the back whisper
and snicker. In a middle pew, Sean sits beside Ray and
J’net, a small silver cross glinting at his neck. He
watches as people begin to rise, one by one, walking toward
the altar. Sean’s eyes flicker — nerves, longing — and he
slowly stands. Ray notices first. Then J’net. Neither stops
him. Sean steps into the aisle, breath tight, and walks
forward. He joins the small group at the front, bowing his
head as the music swells. A few teens laugh softly in the
back.
SEAN (V.O.)
That morning, I just wanted to understand…
what really mattered. I knew something was
missing — so I prayed. And for the first
time... I felt it. Something shifted inside.
Something... was different.
Two hands rest on his back — cautious, almost unsure. Sean
lifts his eyes, glancing behind him and see’s both Ray and
J’net standing behind him. A small, quiet smile from each
of them.
SEAN (V.O.)
Even Mom started reading her Bible.
She was trying. We both were.
The camera catches all three of them, standing together as
a family at the altar, heads bowed in prayer, then drifts
upward — following the music — to the wooden cross on the
wall, glowing in the light. The music fades. Silence
lingers.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Family"]
Ratings
Scene
33 -
Faith and Friendship in the Chaos
45. EXT. SCHOOL GROUNDS - DAY
The bell rings — chaos erupts. Backpacks slam, sneakers
squeak, laughter and shouting fill the courtyard.
SUPERIMPOSE: OCTOBER 1986
Sean eats his lunch alone on a bench, quiet, half-drifting.
At the next table, TODD and CHANCE sit with a Bible open —
strangely calm in the storm. A group of FOOTBALL PLAYERS
barrels by, loud and cocky. One JOCK slows, spots the
Bible.
JOCK
What are you two freaks reading?
He snatches the Bible from the table and examines it.
JOCK
A Bible? Seriously? What is this,
the Jesus Club?
Laughter from his friends and the nearby tables.
TODD
Mind giving that back?
JOCK
Why don’t you pray and ask God to make me?
Todd just smiles calmly. Sean glances up from his sandwich,
and watches with curiosity and interest.
TODD
Go ahead, keep it. You probably
need it more than we do.
A few heads turn. The crowd quiets slightly. Sean freezes.
CHANCE (whispering)
Bold move. I don’t support it,
but I admire it.
JOCK
What’d you say?
Sean watches with great interest and curiosity.
TODD
God’s got a plan for you, man. You might
even find it — if you read that book.
JOCK
God doesn’t give a crap about me,
or anyone else in this school.
He tosses the Bible. It skids across the table like a
hockey puck. Sean flinches. Todd retrieves it calmly.
TODD
You’re wrong…
Silence.
CHANCE (under his breath)
We’re dead!
TODD (soft but unwavering)
That’s why He sent Jesus, because
He does care. Even for you.
A TEACHER appears.
TEACHER
Is there a problem here?
The Jock backs off immediately.
JOCK
Whatever, freak.
His crew struts off, laughing. The teacher moves on. Sean
stands, still processing, then walks over.
SEAN
Hey... I’m Sean. That was... awesome.
TODD
Thanks. I’m Todd, and this is Chance.
CHANCE
Aren’t you in my science class?
SEAN
Yeah.
They shake hands.
CHANCE
Pull up a chair.
SEAN
Thanks.
Sean sits, still shaken but intrigued.
SEAN
Weren’t you scared he’d deck you?
TODD
Used to be. But... I don’t know.
Feels different now.
CHANCE
He’s been lifting weights, a Bible in
each hand. Thinks he’s the Chuck Norris
of prayer.
Todd shoots him a look.
SEAN
I’ve never met anyone our age who
actually... lives out their faith.
At my church, the youth group makes
fun of me for being a Christian.
TODD
Then come to ours. Nobody’s laughing —
CHANCE
Yeah, we’re too busy worshipping, eating pizza,
and pretending we understand Revelation.
Sean smiles for real — first time in a while.
SEAN
What church?
Todd tears a page from his notebook, scribbles a number and
Address.
TODD
New Hope. We meet tomorrow night.
We can pick you up if you want to come.
SEAN
Yeah, let me give you my address.
Chance hands him a pen and paper. They trade info.
TODD
We meet out here every day
for lunch. You in?
CHANCE
Membership’s free, tithing optional.
Sean can’t control his excitement.
SEAN
Yeah, I’m in.
They crack the Bible open. The three of them talk, read,
and laugh.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Coming-of-Age"]
Ratings
Scene
34 -
A Choice of Paths
46. EXT. GREYSON HOUSE - FRONT YARD - EVENING.
Sean walks outside his home and to the curb, clutching a
Bible. The street hums with the soft buzz of crickets and
faraway music. Then—tires squeal. Lisa’s car swings around
the corner, bass thumping. David hangs halfway out the
window, Danny rides shotgun looking unimpressed.
DAVID (cheerfully loud)
Hey loser, Get in — we’re making
bad choices tonight!
SEAN (looking up front)
Is that Danny?
DAVID (whispering)
See? Lisa’s already made the first one.
DANNY (from inside)
You better watch it, Twinkle-toes.
David rolls his eyes.
SEAN
Thanks, but… I already have plans.
David
Plans? With who? Where we going?
Are there snacks?
SEAN
Some friends from school are picking me up.
LISA (squinting)
Wait, is that... a Bible?
Sean subtly tries to hide it behind his leg.
SEAN
Um…
Right on cue, a modest sedan pulls up beside them. Todd
leans out the window, grinning.
TODD (calling out from the car)
HEY SEAN, READY FOR CHURCH, BRO?!
DAVID (loud dramatic gasp)
Oh no. Sean joined a convent.
Wait, do they even let boys do that?
LISA
We’re headed somewhere with actual music —
not tambourines and casseroles. (pause)
It’s either us or the choir boys.
SEAN
You making me choose?
DAVID (flirting)
Ooo, I chose the choir boys.
LISA
Call it an intervention. Before
you trade your weekends for potlucks.
Sean looks between the two cars — the noise and neon of
one, the quiet sincerity of the other. His choice hangs for
a moment.
LISA
Never mind, we’re not spending our night
with an altar boy. Call us if you decide
to leave Sunday school.
Lisa floors it, tires squealing. David waves dramatically
like he’s saying goodbye forever. The car disappears.
CHANCE (breaking the moment)
You coming, man? They’re about to start.
Sean looks down at his Bible, smiles to himself, then holds
his bible up, proudly.
SEAN
Let’s do this.
Sean leaps forward and climbs into the back seat. Todd and
Chance let out a whoop, crank up the Christian music and
peel off.
Genres:
["Drama","Comedy"]
Ratings
Scene
35 -
A Night of Belonging and Healing
47. EXT. NEW HOPE ASSEMBLY PARKING LOT - NIGHT
The modest sedan glides into a crowded lot. Cars line every
space. Laughter and music spill into the night air. Sean
steps out with Todd and Chance, taking in the sight — teens
everywhere, buzzing with energy, filing toward the glowing
building. Sean stops for a moment to look around.
TODD
Come on man, don’t chicken out now.
Sean follows, clutching his Bible like a lifeline as they
head inside.
47a.INT. NEW HOPE YOUTH ROOM - NIGHT
The doors swing open — and sound explodes. A youth band
tears through an upbeat worship song on a small stage.
Lights flash. Dozens of TEENS jump, clap, shout, sing. It’s
joy and surrender all at once. Sean freezes just inside the
door, stunned. This isn’t like his family’s church. It’s
alive. Todd and Chance grin, pulling him forward to a row
near the back. Sean glances around — hands lifted, faces
shining, no one holding back. A smile flickers across his
face.
Near the front, MICHELLE (16) catches his eye. She nudges
her friend JENNY (17); they whisper, then giggle when Sean
smiles back. He looks away quickly, flustered — but a spark
of belonging lingers.
CROSSFADE:
47b.INT NEW HOPE YOUTH ROOM - NIGHT (LATER THAT NIGHT)
The energy has settled. The lights are dim. A single
keyboard hums soft, ambient chords. JEFF, (youth pastor
— late 20s), warm, grounded — stands at the front.
JEFF
None of you are here tonight by accident.
God knew exactly what He was doing when He
brought you here. (pause) Some of you have
walked through things no one your age should
ever face — abuse, neglect, rejection...
Sean’s smile fades. His face tightens. Eyes glassy.
JEFF
But hear me — God saw every moment.
He never walked away. He never forgot you.
The enemy came after you because he’s
terrified of what God will do through you.
Sean’s eyes well. A tear slips free. Then another.
JEFF
You don’t have to carry that pain anymore.
If you’re ready to give it to Jesus — to let
Him bring healing into your life — come forward.
Our leaders are here to pray with you.
The keyboard swells, filling the room. One by one, teens
rise and walk toward the altar. Sean watches, heart
pounding. He hesitates — then stands. Todd and Chance rise
beside him, resting hands on his shoulders. Steady. Sure.
Together, they walk forward.
47c.INT. NEW HOPE YOUTH ROOM – FRONT ALTAR – (CONTINUOUS)
Sean kneels among the others. A gentle LEADER places a hand
on his back. Sean closes his eyes… and breaks.
His body trembles as deep, raw sobs pour out — years of
silence and shame releasing in waves.
SEAN (V.O.)
That night changed everything. For the first
time in my life, I didn’t feel alone. I felt
like God heard my cries... like He was
telling me I was loved. That I belonged.
That I mattered.(long pause) And just when I
thought I was free from it all...
CUT TO:
Genres:
["Drama","Spiritual"]
Ratings
Scene
36 -
Divided Beliefs
48. EXT. GREYSON HOUSE - NIGHT
Crickets hum beneath a heavy sky. The house glows faintly
from within.
J'NET (V.O.)
You’re not going back to that church again.
48a.INT. GREYSON HOUSE - LIVING ROOM - NIGHT
SEAN
What? Why not?
J’net sits in her chair, a cigarette burning low between
her fingers. The TV glows silently, casting blue light
across her face. Sean stands near the doorway, tense. Ray
sits back in his recliner, quiet, watchful.
J'NET
Because it’s dangerous. That youth
group—whatever they call it—is pulling you
away from your family. From your real
church.
SEAN
Mom, nobody’s pulling me anywhere.
I finally found people who actually care.
The kids at our church treat me like I’m
some kind of disease.
J'NET
That’s not true. You’re overacting.
SEAN
No, I’m not. They mock me for being a
Christian. But this group—
They accept me for who I am.
J’NET
That’s how they work. They make you feel
seen, then fill your head with ideas until
you can’t tell what’s real anymore.
RAY (to J’net)
Honey... he’s not asking for drugs or
parties. He’s asking to go to church.
A church with kids his own age.
That’s not the worst thing.
J'NET (stern)
I wish, just once, you’d back me up.
I’m trying to protect him, and you keep
handing him the keys. First the nightclub,
now this?
RAY
This isn’t a nightclub. It’s a church.
There’s a big difference.
J'NET
You don’t get it. They’re brainwashing him.
SEAN
If you knew the thoughts I’ve been having around
here lately, you’d agree, my brain NEEDS washing.
The words hang there. J’net freezes, shocked. Ray looks
down, jaw tight.
RAY
Alright. Here’s what we’ll do.
Sundays, you’re with us at our church.
Wednesday nights, you can go to yours.
Deal?
Sean’s relief floods the room.
SEAN (relieved)
Yes sir. Thank you. I promise—
I won’t miss a single Sunday.
Sean hurries down the hallway to his room and closes the
door behind him. Silence. J’net stares at Ray, her voice
low, bitter.
J'NET (under her breath)
He did it again. We never argued like this
until he came along...and you're too blind
to see it.
RAY
That’s enough, J’net, I’m done.
J’NET
No, I’M done!
J’net grabs her purse, storms out, and slams the door
behind her. Ray sits back, rubbing his temples—alone again
in the quiet.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
37 -
The Weight of Forgiveness
49. EXT. FAMILY FAITH CHURCH - DAY
Several cars fill the parking lot of the small church.
49a.INT. FAMILY FAITH CHURCH - SANCTUARY - DAY
The sanctuary is filled. PASTOR SCOTT preaches from the
pulpit, full of warmth and humor. Sean sits between his
parents, notebook in his lap, eyes locked on the pastor.
He scribbles notes with intensity.
PASTOR SCOTT
Peter is my favorite disciple. Why?
Because he messed up... A LOT!
I can relate to Peter.
Light chuckles ripple through the room.
PASTOR SCOTT (grinning)
Ahhh, Maybe we all can.
Quick cuts of people in the congregation — smiling,
nodding, leaning in.
PASTOR SCOTT
The twelve disciples weren’t spiritual
superheroes. They were common fishermen,
political radicals, and even a tax collector.
(pause) That had to make for some awkward
moments at camp.
More chuckles, warmer this time.
PASTOR SCOTT
One day, Peter asked Jesus an important
question, “How many times do I have to
forgive someone? Seven times?” (pause)
Sounds like Peter was done with someone.
Laughter ripples through the room.
QUICK CUTS – CONGREGATION REACTIONS:
– Sean cracks a smile.
- A WOMAN nods slowly.
– A HUSBAND chuckles, nudges his WIFE. She looks flustered.
PASTOR SCOTT (continuing)
...And Jesus, maybe with a knowing grin,
says to Peter, ”not seven times, but SEVENTY
times seven.”
Sean’s smile fades.
PASTOR SCOTT
Jesus wasn’t giving him a math problem. He
was saying: Stop Counting. Love, real love,
keeps no record of wrongdoings. Even when
they mistreat you... hurt you... Take
advantage of you... You forgive, every time.
Forgiveness has no limits.
Sean looks down. Slowly writes in his notebook: “70x7 =
Forgiveness without limit.” His hand stops. He side-eyes
his mother. A long, heavy beat. The weight of it settles in
his chest.
PASTOR SCOTT
Some of us, need to learn how to
forgive. Let us pray.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
38 -
Growing Pains and New Beginnings
50. EXT. LOCAL FAST FOOD JOINT - NIGHT
The parking lot is buzzing with activity, cars parking,
teenagers everywhere, noise, music, life. Sean, Todd and
Chance walk to the front door.
50a.INT. LOCAL FAST FOOD JOINT - NIGHT - CONTINUOUS
Sean, Todd, and Chance step inside, swallowed by the hum of
Chatter, music and atmosphere. Sean scans the room.
JENNY (calling out)
Hey Sean—we saved you a spot!
Sean forces a smile and heads toward her as Todd and Chance
head upfront to order. Sean slides into a seat beside Jenny
and Michelle.
SEAN
Thanks. (to Michelle) Hey.
MICHELLE (smiling)
Hey. Want some fries? I’m done.
SEAN
Sure, thanks.
He slowly picks at them. She studies him a moment —
something’s off.
MICHELLE
You Okay?
SEAN (pondering)
Yeah, just having some trouble applying
everything I’m learning in church.
MICHELLE
Ahhh, those are called growing pains. It’s not
easy, sometimes it hurts, but it’s necessary to
grow as a Chrisian.
SEAN (softly)
Wow, you sound like you’ve done this for awhile.
MICHELLE
Not really. Pastor Jeff just finished a series
on GROWING PAINS before you came.
JENNY (jumping in)
You coming to the youth games Friday night?
SEAN
Yeah! My dad’s letting me borrow the car,
unless it explodes or something. It runs great
as long as you don’t accelerate, brake, or turn
left.
They laugh. Sean looks at Michelle again, finding courage.
SEAN (pauses, unsure)
Hey, uh, (trying for casual) What are you doing
Saturday night?
MICHELLE
Nothing, yet.
SEAN
Want to go to the mall? I’m meeting Todd and
Chance. Then spaghetti at Chad’s and maybe a
movie?
MICHELLE
That sounds fun. I’ll ask my mom, but I’m
sure it’s fine.
SEAN
Awesome. I’ll swing by around five?
MICHELLE (grinning)
Better fix the car first.
SEAN
Nah, I’m trusting divine protection
and a quart of hope.
Michelle laughs and turns to Jenny, trying (and failing) to
hide her excitement. Jenny smirks knowingly. Sean watches,
like he’s seeing Michelle in a whole new light. He smiles.
CROSSFADE:
Genres:
["Drama","Teen","Spiritual"]
Ratings
Scene
39 -
Unraveling Ties
51. INT. PASTOR PAUL’S OFFICE - DAY
The two sit across from each other — light filtering
through the blinds. Pastor Paul pulls out his pack of gum
again.
SEAN (smiling)
That’s when Michelle and I started dating.
She was... different. Not like any girl I’d
ever known.
Paul offers more gum to Sean. Once again, he nods no.
PASTOR PAUL
So you started to fit in? Find your place?
SEAN
Yeah. Church felt like home for the first
Time. But while things got better there...
they got worse at home. A week later,
Mom got fired from the force.
PASTOR PAUL
For what?
SEAN
“Inappropriate behavior with a coworker.”
That’s what they said but she denied it.
but I don’t think Dad believed her.
They fought. A lot. I knew I couldn’t stay there.
PASTOR PAUL
What other options did you have?
SEAN
I was feeling called into ministry. The church
had just started a live-in Bible College. God
provided my tuition and a car. By the time I
graduated, Michelle and I were already planning
our wedding.
PASTOR PAUL
I bet your mother wasn’t thrilled
about that, was she?
SEAN
She hated Michelle. Did everything she
could to split us up. Even called her
sister, Tammy, begging her to intervene,
but Tammy and her family stood with us.
That made Mom furious. She even refused to
participate in the wedding because it was
in THAT church.
PASTOR PAUL
Michelle must be an incredible person
to endure all that for you.
Sean smiles faintly, a warmth in his eyes.
SEAN (smiling)
Outside of my faith... she’s the
best thing that ever happened to me.
After the wedding, Lighthouse Fellowship
in Mississippi hired me as a youth pastor.
We packed up and headed out — fresh start,
new life.
PASTOR PAUL (smiling)
Away from all the chaos. Sounds like a
happy ending.
SEAN
It would have been...
Sean’s smile fades. His eyes lowered, voice tightening.
Pastor Paul leans forward, sensing the shift.
SEAN
But the story doesn’t end there.
Pastor Paul’s expression darkens slightly. The silence
stretches.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
40 -
Dinner Dread and Playful Banter
52. EXT. SEAN’S NEW HOME - DAY
Sean and Michelle (visibly pregnant) unload groceries from
the car.
SUPERIMPOSE: MARCH 1995
SEAN
How about take out tonight?
Give the chef a night off?
MICHELLE
Tempting… but weren’t we invited
to the Guidry’s for supper?
SEAN (making a face)
Oh, right. (pause) I’ll just “come down
with something” around 5:30.
MICHELLE
She’ll just pack it up and deliver it to our
doorstep. Like Meals on Wheels.
52a. INT. SEAN’S NEW HOME - KITCHEN - CONTINUOUS
They place the bags of groceries on the table.
SEAN
Oh great. Then you can eat my share.
MICHELLE (laughing)
Come on, her cooking’s not THAT bad.
SEAN
Michelle, they found KITTY LITTER in her
casserole at the potluck.
MICHELLE
So if her food starts purring,
don’t eat it.
SEAN (twisting his face)
That is not comforting.
Michelle laughs. The phone rings. Sean sees the caller ID.
SEAN
It’s Dad.
MICHELLE
Tell him his pregnant daughter-in-law
deserves another cheesecake.
SEAN
Got it. (answers) Hey, Dad.
Genres:
["Drama","Comedy"]
Ratings
Scene
41 -
Boundaries and Blessings
52b.INT. GREYSON HOUSE - (CONTINUOUS)
RAY
Hey, how’s my favorite expecting couple?
SEAN (laughs)
Better than the first trimester.
She’s craving cheesecake again.
INTERCUT BETWEEN GREYSON'S HOUSE AND SEAN’S NEW HOME
RAY
Done. I’ll order another one.
Guess what? Your sister and her friend
broke up. Renee is moving back home.
Sean freezes, surprised.
SEAN (shocked)
Really? Where is she going to stay?
RAY
Your mom offered her old room back,
providing she goes to church with us.
SEAN
Moving back AND going to church?
Yeah, she’s desperate.
RAY
Your mother’s thrilled. Her back’s been acting up
— She could use the help around the house.
SEAN
Ahhh, Well, sounds like it’ll benift everyone.
RAY
So, when are you two coming back down?
We haven’t seen you since New Years.
SEAN
Probably not till after the baby’s born. But
hey—you and Mom could come here. Make it a
Weekend.
RAY
I’d love that. When?
SEAN
Next weekend maybe? The youth group’s
doing a special Sunday service, I’m preaching.
RAY
Perfect. Your mother’s not going to come,
But I’ll drive up Friday, head back Monday
before Renee arrives. Sound good?
SEAN
Absolutely.
RAY
And tell Michelle I’m bringing that
cheesecake. (pause) Hold on—your mother
wants to say something.
SEAN (bracing himself)
Oh, Okay…
A brief pause.
J'NET (O.S.)
What do you think you’re doing?
SEAN (confused)
Um… talking to dad?
J'NET
Did you just invite your father
to come visit?
SEAN
Yeah, Why?
J'NET
How dare you be so inconsiderate—
asking him to drive all that way
and leave me here by myself?
SEAN
I included you in the invitation.
He said you weren’t coming, but there’s
plenty of room here for both of you.
J'NET
I have no intention of staying under the
same roof as you and Michelle.
SEAN
Wow. Well, that’s your choice.
But Dad’s always welcome.
J'NET
You never think about how your actions are
going to affect other people. Once again,
your selfishness is interfering with our
marriage. I am so tired of you disrupting
our lives.
Sean stops unpacking, jaw tight.
SEAN
How is inviting Dad for a weekend
“interfering”?
J'NET
You’re putting him at risk! What if
something happens to him on the road?
I’d be left alone. (unraveling) Now I have
to BEG him not to go, and he’ll get mad at me,
and once again, it’ll be YOUR fault!
Sean closes his eyes, grips the counter. Then—calm, steady:
SEAN (calm but firm)
No ma’am. Not this time. Not anymore.
I’m done carrying that baggage. Whatever’s
wrong in your marriage—that’s between
you and Dad. But I’m not carrying the blame
anymore for your short-comings.
The GUILT TRAIN stops here.
A long silence. Then—CLICK. Sean lowers the phone. Exhales.
Something inside him releases. Michelle watches, impressed.
MICHELLE (small smile)
Can we frame that and hang it over the
fireplace? Because that was art.
Sean snickers, the tension melting. Michelle wraps her arms
around him and kisses him.
SEAN (V.O.)
Mom and I didn’t talk again for three
months. And it was the most GLORIOUS
three months of my life. My only regret?
Not doing it sooner.
CUE UPBEAT BACKGROUND MUSIC:
BEGIN MONTAGE — “THE BLESSING YEARS”
(Quick 5–6 second bursts, bright and full of life)
Genres:
["Drama"]
Ratings
Scene
42 -
The Blessing Years
53. INT. LIGHTHOUSE FELLOWSHIP - YOUTH ROOM - DAY
Sean stands before a group of TEENS, preaching with
contagious energy. The room bursts into laughter at one of
his jokes. Behind him, Michelle stands off to the side, her
belly now round with life, smiling proudly.
54. INT. LIGHTHOUSE FELLOWSHIP ALTAR – DAY
Sean and Michelle kneel with a group of teens, praying over
them. Hands lifted, tears, laughter, a sense of real
connection.
55. INT. HOSPITAL – DELIVERY ROOM – DAY
Michelle’s in labor, gripping Sean’s hand. Sweat, tears,
anticipation. A NURSE gently hands Sean a newborn — BABY
JESSI. Sean looks at Michelle, overwhelmed. They both smile
through tears.
56. INT. SEAN’S LIVING ROOM – DAY
First birthday party. Cake smashed on Jessi’s cheeks as
Sean lifts her high into the air. Laughter fills the frame
— FRIENDS and CHURCH MEMBERS cheering.
57. INT. SEAN’S HOME – NIGHT
Warm lamplight. Sean sits on the floor, reading a Bible
story to little JESSI (3). Michelle watches from the
kitchen — smiling, peaceful — her belly pregnant again.
Sean glances up at her, their eyes meet — contentment.
58. INT. MS HOSPITAL – DAY
Another delivery room. Another miracle. Sean, in scrubs,
holds BABY VICTORIA to the window. MICHELLE’S FAMILY cheers
from behind the glass. Sean weeps openly — joy, awe,
purpose.
59. INT. SEAN’S LIVING ROOM – NIGHT
Now a family of four. Popcorn bowl, a Disney movie on the
TV. Michelle rests her head on Sean’s shoulder. Jessi
giggles. Baby Victoria sleeps in his arms.
60. EXT. LIGHTHOUSE FELLOWSHIP – DAY
Bright sunlight. The little church looks vibrant and alive.
The camera slowly pushes in on the church sign:
“CONGRATULATIONS SEAN GREYSON — OUR NEW PASTOR!”
61. INT. SEAN’S KITCHEN – LATE NIGHT
The house is dark and quiet now. Sean sits alone at the
kitchen table — Bible open, head in his hands. He breathes
deep, praying silently. The upbeat music fades into a
single sustained note — hopeful, but weary.
END MONTAGE
FADE OUT TO BLACK / FADE IN FROM BLACK:
Genres:
["Drama","Family","Spiritual"]
Ratings
Scene
43 -
Confrontation and Support
62. EXT. LIGHTHOUSE FELLOWSHIP
The sun is starting to set behind the small church.
62a.INT. SEAN’S OFFICE - DAY
A child’s crayon drawing of Sean’s family of four hangs on
the wall — smiling stick figures under a bright sun.
SUPERIMPOSE: OCTOBER 2013
Sean sits behind his desk, composed but alert. Across from
him sits HAL, a stiff, conservative-looking board member.
The air hums with tension.
HAL
Thank you, Pastor, for seeing me so quickly.
SEAN
When you called, it sounded urgent.
HAL
Some of the church members have concerns
about the newer folks attending the church.
SEAN
Concerns? What kind? Are the new people
being disruptive? Disrespectful?
HAL
No, nothing like that. It’s just that...
Most of them come from a... demographic
that doesn't exactly reflect the values or
image of our church. If this trend continues,
it could hurt us.
SEAN
Demographic? (pause) You mean—what?
Like wealthy white racists with a talent
for gossip and judgment?
Hall’s eyes narrow.
HAL
Fine. The Black members.
Sean leans back, silent. The clock ticks. Then—
SEAN
You mean the new people coming to our
church through our food program.
HAL
Yes.
Sean nods slowly, as if thinking it over.
SEAN
Alright. I’ll make you a deal. I won’t
invite any more Black people to our church.
HAL (perks up)
Really?
SEAN
But I won’t invite White people either.
HAL
What? I don’t understand.
SEAN
I’ll just invite people, Hal.
The last time I checked, Jesus died
for all of us. And as long as I’m
the pastor here, this church will
welcome everyone — Black, white, rich,
poor, clean, dirty — EVERYONE!
Sean leans in and clears his throat.
SEAN
And if that’s a problem for anyone,
they can find another church that
fits their... “demographic.”
HAL (icy)
You’re going to lose most of our
faithful tithers.
SEAN
God is our provider. (pause) Hal,
I’ll chase after the lost sheep that
go astray, but the goats are free to go.
Hal stands to his feet.
HAL (coldly)
You’ll regret this.
SEAN (sharply)
Not today.
Hal storms out, door slamming behind him.
63. INT: CHURCH SECRETARY’S OFFICE - DAY (CONTINUOUS)
Hal strides past SANDRA (50’s-60’s Black church secretary).
She stiffens, watching him pass. When he’s gone, she rolls
her eyes — then quietly sticks out her tongue at his back.
She grabs her notepad and heads for Sean’s office.
63a.INT: PASTOR SEAN’S OFFICE - DAY (CONTINUOUS)
SANDRA
Pastor? You alright?
SEAN
I am now, (exhales) but I was about
two seconds from losing my sanctification
with that man... I’ve got no patience for...
Glow Stick people like that.
SANDRA (raising an eyebrow)
Glow Stick people?
SEAN
Yeah, the kind of people you just want to
snap in half and shake the crap out of ‘em
until the light comes on.
SANDRA (smirks)
Oh, I dated one of those in college.
SEAN
Did the light ever come on?
SANDRA
Still waiting.
SEAN
Send him my sermon, “Let There
Be Light.”
They share a genuine laugh — a release valve after all that
tension. Then Sandra’s expression softens.
SANDRA (laughs, then softens)
Well... thank God you didn’t snap anybody
in half. God brought you here for a reason.
And for the record — I believe in you.
You’ve got this.
SEAN
Thanks, Sandra. That means more
than you know.
She smiles, then remembers something.
SANDRA
Oh—While Mr. Glow Stick was still here,
your sister called.
She tears a page from her pad and offers him the message.
SEAN (looking up in shock)
My sister?
SANDRA
I didn’t even know you had one.
SEAN (lowering his eyes)
We’re... not exactly close.
She nods, sets the message on his desk.
SANDRA
If you need anything, I’ll be in my
office finishing the end-of-month reports.
SEAN
Thank you.
She leaves quietly. Sean stares at the message for a long
moment — conflicted. Finally, he grabs it and crumples it
in his fist... and tosses it in the trash. The crayon
drawing of his family catches his eye again — bright,
simple, innocent. He exhales.
CROSSFADE
Genres:
["Drama"]
Ratings
Scene
44 -
Confronting the Past
64. INT. SEAN’S BEDROOM - NIGHT
The camera fades up on a nightstand photo of Sean and
Michelle, smiling, embracing. The camera starts to slowly
pans to the bed as we hear the disgruntled moans of a
nightmare. The camera lands on Sean, twitching in his
sleep.
SEAN (still sleeping)
No, I don’t want to play this game anymore.
Please stop. Don’t do that.
Michelle sits up next to Sean and begins to wake him.
MICHELLE
Sean, wake up. Wake up.
Sean stirs in his sleep, coming out of it.
SEAN
Huh? What’s wrong?
MICHELLE
You’re were having that dream again.
Sean sits up in bed, rubbing his eyes. Michelle sits up
next to him.
Michelle
You OK?
SEAN
Yeah. It was happening all over again.
Michelle wraps her arms around him, holding him.
MICHELLE
You can’t keep carrying this all by yourself.
Why don’t you call your Pastor friend, Paul?
Sean pauses, then slowly nods in agreement.
CROSSFADE
65. INT. PASTOR PAUL’S OFFICE - DAY
Soft light filters through half-closed blinds. Pastor Paul
sits behind his desk — steady, compassionate. Sean sits
weary, eyes heavy with old pain.
SEAN
The dreams came back.
PASTOR PAUL
I’m not surprised. Your sister calling you,
triggered some repressed memories.
SEAN
I knew she moved back, but I’ve been trying
to avoid her.
PASTOR PAUL
You can’t escape your feelings.
What you’re experiencing is normal, Sean.
What she did to you left deep scars.
But the scars don’t mean you’re still
wounded. They mean you survived.
Sean nods, but the words don’t seem to ease him.
SEAN
Then why does it still hurt?
Why does hearing her name feel like
I’m being molested all over again?
PASTOR PAUL
Because forgiveness doesn’t erase memory.
It transforms it. It’s not saying what she
did was okay — it’s saying you’re not
staying there anymore.
Sean leans forward, voice rising with years of frustration.
SEAN
Everyone keeps saying I need to
just forgive, and move on. But why
is the burden on me to do all the work?
I’m the one who got hurt. When are they
held accountable for what THEY did?
PASTOR PAUL
When they stand before God.
Your forgiveness isn’t a free pass — it
doesn’t cancel justice. They still have to
answer to God for every cruel thing they
did to you. It’s not your burden to carry
anymore. God is their judge, not you.
Sean wipes his eyes. His voice drops.
SEAN (softer)
Some days, I think I’ve let go.
Then it all comes crashing back… and part
of me wants them to hurt like I still do.
PASTOR PAUL
That’s human. But the unforgiveness is poison.
You drink it, hoping they die…
but it’s killing you instead. It
Hardens your heart, and numbs your spirit
until you can’t feel God anymore.
Sean looks down — broken, quiet.
SEAN
I’m tired. Tired of hurting.
Tired of remembering. (pause)
How do I stop?
PASTOR PAUL
You let go. Surrender the right to revenge.
Trust God to deal with them — His way. HIS
judgment is way worse than anything you can do.
(pause) Do you trust God?
Sean looks up at him, confused by his question.
SEAN (almost a whisper)
Of course I do.
PASTOR PAUL
Even if He forgives them?
Sean shifts, uneasy — that question hits deep.
PASTOR PAUL
Letting go means trusting His mercy, too.
If they repent, He may extend grace.
If not, His judgment will be just.
Either way... it’s not your call.
Sean exhales — slow, conflicted.
SEAN
So I forgive them... even if they never
apologize. Even if it still hurts.
PASTOR PAUL
Exactly. “If you forgive others... your
Father will forgive you.” (smiles faintly)
You know the rest.
SEAN (softly recalling)
“…But if you do not forgive... your
Father will not forgive your sins.”
Matthew 6:14–15.
A long silence. Sean breathes — caught between peace and
pain. Across from him, Pastor Paul pulls out his pack of
gum and offers it again. Sean refuses with a small shake of
his head. Paul shrugs, unwraps two pieces, and pops them in
his mouth.
SEAN
I still want to confront them.
Hold them accountable. I need them
to know what they did to me.
PASTOR PAUL
Then you should. But only when love leads
you — not your anger. Confrontation isn’t
unforgiveness. It’s bringing light into
darkness. (pause) Just... be ready. They may
not respond how you hope.
Sean nods slowly. There’s a quiet resolve in his eyes — not
rage this time, but direction.
SEAN
Then that’s what I have to do. Confront
them... When the time is right.
PASTOR PAUL
That’s it. You got this.
He reaches across the desk.
PASTOR PAUL
Let’s pray.
Sean extends his hand. Paul pauses, pulls back, grabs a
tissue, spits out his gum. Then he takes Sean’s
still-outstretched hand. They bow their heads. Two men —
bound by faith, pain, and grace — praying together.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
45 -
Home for the Holidays
66. EXT. SUBURBAN NEIGHBORHOOD - NIGHT
Sean’s car hums along the highway, city streets, and
finally, past rows of cozy homes lit up for Christmas.
“I’ll Be Home for Christmas” plays faintly from the radio.
SUPERIMPOSE: TWO MONTHS LATER
The car stops in front of Sean’s parents’ house, warm light
glowing through frosted windows. VICTORIA (12) hops out,
then JESSI (15), followed by Michelle and Sean.
They stand as a family, taking in the house. Jessi heads
toward the back of the car.
VICTORIA
JESSI, BE CAREFUL!
JESSI (confused)
Huh?
VICTORIA
If you step on a crack,
you break your mamma’s back!
Sean glances down at the sidewalk… and spots a big crack
right in front of his shoe. Michelle instantly clocks the
look in his eyes.
MICHELLE
Don’t even think about it.
Sean gives her a guilty side-eye.
SEAN
Doesn’t work. I already tried.
Michelle smirks. The front door opens, Ray steps out
smiling.
RAY
Is that my two beautiful granddaughters?
JESSI / VICTORIA
Hi Grandpa!
JESSI
You’re looking good.
They both hug him warmly.
RAY
It’s so good to have you all here.
SEAN
Sorry we can only stay the night. I’ve got a
church meeting on Sunday — prep’s been heavy,
plus we have Michelle’s family to visit.
RAY
I understand. Renee already changed
the sheets in the guest bedroom.
SEAN
Thanks, Dad.
Genres:
["Family Drama","Slice of Life"]
Ratings
Scene
46 -
Christmas Tensions
67. INT. NEW GREYSON HOME - LIVING ROOM - (CONTINUOUS)
J’NET sits in her recliner, arms folded, stone-faced. Sean
enters with his and Michelle’s suitcase.
SEAN
Merry Christmas!
J'NET (coldly)
Where are the girls?
Jessi, Victoria and Michelle enter behind him, each with a
wrapped gift.
JESSI / VICTORIA:
MERRY CHRISTMAS, GRANDMA.
They both hug her. J’net softens slightly.
J'NET
Well, look at you two. Growing up so fast.
Your father should bring you around more
before you’re all grown.
SEAN (taking off his coat)
Road goes both ways, you know.
J’net rolls her eyes.
JESSI
After graduation, I’m moving down here for
Bible college; the same one dad graduated from.
J’net attempts to hide her disappointment.
J'NET
And you, Victoria?
VICTORIA
Still homeschooling, but I’m
thinking about it.
J'NET
Well, you have plenty of time.
There’s lots of other options to consider.
(changing the subject) Why don’t you two
go see if the fudge I made is still in the
kitchen, before your Grandpa eats it all.
JESSI / VICTORIA (laughing)
Thanks, Grandma.
The girls hurry off. Sean and Michelle sit together on the
sofa.
MICHELLE
Merry Christmas!
J'NET (flat)
Merry Christmas.
MICHELLE
Is that a new chair?
J'NET
Yeah, Renee got it for me. My back has been
hurting, and this one has extra support.
Michelle shoots Sean a quick glance.
MICHELLE (whispering)
You must have stepped on a lot of cracks.
Sean smirks as his phone unexpectedly goes off. He reaches
into his pocket and pulls it out. Ray enters the room and
sits in his chair next to J’net. After checking his phone
and rejecting the call, Sean leans to Michelle.
SEAN
It’s Hal again. Probably more complaints.
He tucks his phone back into his pocket. From down the
hall—
RENEE (V.O.)
Is that my brother I hear?
Sean stiffens.
RAY
Yes, come say hi.
RENEE (50) enters. Sweatpants, oversized Christmas sweater,
big grin.
RENEE
MERRY CHRISTMAS, BROTHER!!!!
Sean rises, polite but guarded. She hugs him.
SEAN
Merry Christmas!
The girls reappear, fudge in hand.
RENEE
And there are my two favorite nieces.
JESSI
We’re your ONLY nieces!
RENEE
You’re still my favorites,
now come give me a hug.
The girls giggle and each give her a hug. Michelle steps
forward and offers a polite hug.
Michelle (smiling)
You’re looking good.
RENEE
Thank you, I feel better since I started
going to church with mom and dad. I even started
attending a Bible study. Memaw would be so proud.
MICHELLE
Church can make a huge difference in how we feel.
J’NET (sharply)
SOME churches can.
Sean catches her sarcasm and takes a deep breath.
RAY (quickly re-directing)
Girls, we’ve got presents for you.
Renee, wanna bring them in?
J’NET
They JUST got here, what’s the rush?
RAY
IT’S A WONDERFUL LIFE comes on
tonight, I want everyone to watch it together.
It’s a tradition.
RENEE
OK, girls, wanna help me carry the
presents in? You can be my helper elves.
JESSI / VICTORIA
Sure.
They exit excitedly down the hall together.
SEAN (to Ray)
We brought a gift for you and Mom.
Michelle hands Sean the gift, a simple wrapped box. Sean
presents it to his dad.
SEAN
From both of us.
RAY
Oh, let your mother open it.
My hands are a little stiff today.
He passes it to J’net, who opens it with little enthusiasm.
J'NET
What’s this?
SEAN
A devotional book for married couples.
Michelle and I have one, It’s got great
tips for building a strong marriage.
RAY
Thank you, Sean. That’s really thoughtful.
J'NET
Thoughtful? You think we need help
in our marriage?
SEAN
No, I—It’s just been a blessing
to us, and I wanted to pass it on.
RAY
It’s a great gift, J’net.
J'NET
Well, I don’t appreciate the implication.
And I certainly don’t need marital advice
from someone who’s been brainwashed by a
religious cult.
Michelle subtly squeezes Sean’s arm.
MICHELLE (lightly)
It also doubles as a coaster.
Ray sighs as J’net tosses the book to the floor. Suddenly,
Renee, wearing a Santa hat, and the girls return, arms full
of wrapped presents.
RENEE
Ho ho ho!
RAY
Hey, are you Santa now?
RENEE
Yup—and I’ve got some elves helping me,
and we got presents for everyone.
The girls laugh. The room softens, tension easing as they
start passing out gifts.
CROSSFADE:
Genres:
["Family Drama","Holiday"]
Ratings
Scene
47 -
Christmas Confrontation and Forgiveness
68. EXT. NEW GREYSON HOME - BACK PORCH - LATER THAT NIGHT.
CAMERA PANS the soft Christmas lights glowing from the
windows and lands on Sean and Michelle, sitting on the
porch together, sipping hot chocolate. Quiet peace.
MICHELLE
That was sweet of your family to host
Christmas, it was actually...
Pleasant for a change.
SEAN (confused)
Yeah. Renee’s going to church,
reading her Bible, even Mom appeared...
Generous with the girls gifts.
MICHELLE
NOW do you believe in Christmas miracles?
SEAN
Not with her, it could just be a
glitch in the matrix.
Michelle snorts and gives him a playful punch. The door
opens. Renee steps out, bundled in a blanket, and holding a
hot chocolate.
RENEE
I’m sorry to interrupt, the girls
are looking for their pajamas.
MICHELLE
Oh shoot, I left their suitcases in the car.
She stands, Sean rises with her.
SEAN
I’ll grab them.
MICHELLE
No—Stay, visit with your sister. I got it.
RENEE
Thank you, Michelle.
Michelle kisses Sean, grabs her cup and exits. Sean
hesitates briefly, then sits back down slowly. Renee takes
Michelle’s seat.
RENEE
Beautiful night, huh?
Sean fights through the awkwardness.
SEAN
Cold, but yeah... it is.
RENEE
It's been a while since we talked.
Sean shifts in his seat, guarded.
SEAN
It has been.
RENEE
Moving back here with Mom and Dad has been
really hard...They fight non-stop now.
SEAN (dry)
Even when I’m not around to “cause it”?
RENEE
You’re just the scapegoat.
Trust me, they fight either way.
SEAN
That’s why I gave them the Couples
Devotional. Thought it might help.
Renee
I heard what Mom said. I’m sorry. I don’t
know why she’s always been so hard on you.
SEAN
If you ever figure it out, let me know.
RENEE (quietly)
She’s always treated you like that,
hasn’t she?
SEAN (nodding)
Pretty much.
RENEE
I’ve told her she has no right.
I get why you don’t come around.
That’s why I had to leave too.
Honestly... I don’t blame you.
A long pause. Sean stares into his cup. Tightens his grip.
SEAN
She’s... part of the reason…
but not the only one.
RENEE (hesitates)
What’s the other?
Sean realizes this is his opportunity.
SEAN (pausing)
Let’s just say... neither of you
made my childhood easy.
RENE (defensive)
Me? I protected you from her.
I pulled her off you — gave you
space to run!
SEAN (quiet but firm)
You did. But then…
Who protected me from you?
Silence. Renee looks away.
RENEE (trying to deflect)
Yeah... we fought a lot, didn’t we?
SEAN
That’s not what I’m talking about.
Sean looks out into the dark yard, swallowing hard. Then he
turns his gaze directly on her, his face a mask of resolve.
SEAN
I didn’t just have one abuser. I had two.
(pause) You took advantage of me.
Renee exhales slowly, her breath trembling in the night
air. She looks down — hands twisting the edge of her
sweater.
RENEE
Sean, we were both children.
SEAN (firmly)
I was eleven. You were seventeen.
Renee's face falls. The words hang there, heavy and final.
She looks down, unable to meet his gaze. Her voice, when it
comes, is barely a whisper.
RENEE
I know. I’m sorry. I wish I could
take it back. Every second.
SEAN
So do I. (pause)It took me years to stop
blaming myself. Years to believe that
what happened wasn’t my fault.
Renee wipes her face.
SEAN
I felt filthy inside. Broken.
I hated myself. And I hated you…
I wanted you to suffer the way I did.
Renee nods, tears streaming.
RENEE
You have every right to hate me...
I deserve it.
SEAN (CONT'D)
But, I don’t hate you anymore.
When I gave my life to Christ,
I experienced real grace. I had
my own sins to deal with.
Sean takes a long deep breath.
SEAN (CONT'D)
God says if we confess our sins... He will
forgive our sins. So I did, and He has.
Renee looks up at him, tears still streaming down her face.
SEAN (CONT'D)
If God can forgive my sins against Him,
Then I need to forgive others their sins
against me.(pause) Renee, I... Forgive you.
Renee begins to weep harder, hunched over, clutching her
elbows, her shoulders shaking with silent sobs. Sean is
composed, but his voice cracks under the weight, fighting
back his own tears.
SEAN
I’ve carried it long enough.
It’s not mine to carry anymore.
Renee catches her breath.
RENEE (weeping)
I hated myself for what I did to you, (pause)
I thought God hated me too. I finally prayed
for forgiveness, and I know He has, (pause)
but I never expected that you would.
God’s grace is more than I deserve.
Sean is deeply moved by her honest confession.
SEAN
It’s more than ANY of us deserve.
RENEE
Thank you. You have no idea what
this means to me.
Sean reaches over and grabs some tissue from the table and
hands it to her, keeping some for himself. After a moment…
SEAN (CONT'D)
C’mon. Dry your eyes. It’s Christmas.
They’re gonna send out a search party for us.
Renee nods weakly and stands. She hesitates, then hugs him.
He stiffens... then slowly returns the embrace — small,
fragile, real. She walks inside, wiping her face.
Sean takes a moment, wipes his own face and finally follows
her inside.
FADE OUT:
69. INT. NEW GREYSON HOME - BATHROOM - MOMENTS LATER
Water runs. Sean splashes his face, towel-dries, then
catches his reflection. He studies himself — hollow, worn.
His fingers touch the silver cross necklace, grounding him.
A long breath. He exhales, turns, and leaves.
Genres:
["Drama"]
Ratings
Scene
48 -
Silent Night, Hidden Pain
70. INT. NEW GREYSON HOME - LIVING ROOM - MOMENTS LATER
The family sits in a warm, cozy room watching the ending of
It’s A Wonderful Life. The credits roll.
RAY (wiping his eyes)
Gets me every time.
J'NET
Have you girls seen that one before?
VICTORIA
Yeah. Dad has a color version at home.
RAY (mock offense)
Color? No way. Black and white—
the way it was meant to be seen.
SEAN
Color helps the younger ones ease into
the classics. Makes it feel less… ancient.
J'NET
That’s the problem with this generation.
Always changing what isn’t broken.
RAY
Well, I’m calling it a night. Renee,
Are you still making french toast in
The morning?
RENEE
Of course, some traditions have to be kept.
JESSI / VICTORIA
Yay!
MICHELLE
It’s your bedtime too, girls.
Let’s go brush our teeth.
JESSI
Can we brush with grandma’s fudge?
MICHELLE (grinning)
Nice try. Let’s go.
The girls hug everyone goodnight and leave with Ray and
Michelle. The house quiets, leaving Sean, Renee, and J’net.
RENEE
Feels nice. All of us together like this.
J'NET
Reminds me of Christmases past,
when you two were little.
RENEE
Some of them were special. Others…
not so much.
SEAN
Remember that year Dad was between jobs,
and all we got were candy bars?
RENEE
Yeah, but we were together. That’s what mattered.
J'NET
We may not have had much, but you two never
went without.
A long pause. Sean shifts in his seat, eyes down.
RENEE (gently deflecting)
Sean, you and Michelle are doing a great job
raising those girls.
SEAN
Thanks. Michelle’s the patient
one—homeschooling’s her superpower.
RENEE
Honestly, I think it’s
a better option these days.
J'NET
I don’t. You’re sheltering them.
Keeping them from the real world.
You both survived public school — it didn’t kill
you.
SEAN
They’re in church, sports, and a huge
homeschooling group. They’re around kids all the
time.
J’NET
You’re brainwashing them with that church.
You should let them see other beliefs.
Let them decide for themselves.
SEAN
Michelle and I are accountable to God for how we
raise our girls, once they turn eighteen, they
become accountable for themselves.
RENEE
Mom, they’re thriving.
Sean and Michelle are amazing parents.
J’net doesn’t blink.
J'NET (straight face)
So were your father and I. We weren’t
perfect — but we raised you right.
RENEE (half-smiling)
Well, we WERE angels.
J’NET
You weren’t angels, but we did a good job
raising you.
Sean stares into his mug. Hesitating.
SEAN (softly)
I... I don’t remember it... quite that way.
J’net slowly turns toward him, eyebrows raised.
J'NET (sternly)
What’s that supposed to mean?
SEAN (gathering courage)
It means... I remember being raised...
very... differently.
J'NET
And just how do you remember it?
Renee shifts, uncomfortable. Sean takes a steadying breath.
SEAN
I remember. I remember everything you did to me.
J’NET
What I did to you?
Sean slowly seizes the moment.
SEAN
You beat me. You screamed that I was a mistake.
That I ruined your life. That you wished I’d
never been born.
Renee’s breath catches.
SEAN (continues)
You blamed me for everything that went wrong
between you and Dad — because I wasn’t a girl.
Then you hit me again. You said I’d grow up to
be just like him, a pig going to hell.
A long, stunned silence. Heavy tension. Renee holds her
breath.
J'NET (flatly)
That’s not true. You’re a liar.
Sean reels, speechless. Renee glances at him, then
speaks—quiet but resolute.
RENEE (softly)
No, Mom. He’s not lying. I pulled you
off of him, more than once.
A thick silence. J’net leans back, processing. And then...
J'NET
Well...(long pause) you deserved it.
CLOSE UP on Sean’s face. The words hit like a slap.
SEAN (shocked whisper)
What?
J'NET
You heard me. If I hit you,
you earned it. Every bit of it.
RENEE (pleading)
Momma, No.
SEAN (struggling for composure)
No ma’am. No child deserves what you did
to me.
J'NET
Well, you did. You made my life hell
from the day you were born.
RENEE (sternly)
Stop it, Mama.
SEAN (coldly controlled)
And to think, I was ready... to forgive you...
But you don’t even WANT it.
J’NET (snapping)
I DIDN’T ASK FOR IT! You should be apologizing
to ME for the misery you put me through. You’re
the reason I was depressed all those years.
Everything was perfect until you came along.
RENEE (cutting her off)
MAMMA… STOP!
Sean stands abruptly, eyes glassy.
SEAN
Then I guess you don’t have to worry about
it anymore. I never had a mother before…
And I sure as hell don’t need one NOW!
He walks out without looking back. Renee stares at J’net,
stunned. J’net glances at her and sees her staring.
J’NET (looking away)
Not a word.
She closes her eyes, shutting the world out.
71. INT. NEW GREYSON HOME - HALLWAY -NIGHT (CONTINUOUS)
Sean walks past the girls’ room. Michelle helps unpack
their bag. He keeps going, quiet, eyes burning.
71a.INT. GUEST BEDROOM - NIGHT (CONTINUOUS)
Sean closes the door behind him, walks across the room and
leans against the wall. His breath shakes—then the dam
breaks. Silent sobs rack his body. He slowly slides down
the floor, back against the wall and curls into a fetal
position, broken. The door creaks open. Michelle steps in,
startled. She freezes, then rushes to him, kneeling.
Without a word, she wraps her arms around him and holds
him. He weeps into her arms.
71b.EXT. NEW GREYSON HOME - NIGHT
The neighborhood is silent and the air is heavy as the
camera slowly pulls back to a wide shot.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
49 -
Secrets and Regrets
72. EXT. LIGHTHOUSE FELLOWSHIP - DAY
SUPERIMPOSE: SEPTEMBER 22, 2014
72a.INT. LIGHTHOUSE FELLOWSHIP - SECRETARY’S OFFICE - DAY
Sandra is typing away when HAL walks in.
HAL
Is the Pastor in his office?
SANDRA
Yes, but let me check to see…
HAL (cutting her off)
Don’t bother, I’ll check myself.
He strides past her and opens Sean’s door.
72b.INT. SEAN’S OFFICE - (CONTINUOUS)
Sean sits behind his desk, studying from his bible. He
looks up as Hal storms in.
HAL
Afternoon Pastor, got a minute?
Sandra appears in the doorway, uneasy.
SANDRA
Pastor... I…
HAL (firmly)
I’m a board member of this church, I don’t
need an appointment to see my pastor.
SEAN (sitting back)
It’s OK Sandra.
Sandra glances once more at Hal and rolls her eyes.
SANDRA (mumbling to herself)
Glow stick people...
Sean suppresses a smile, then turns to Hal.
SEAN (short and direct)
What’s on your mind, Hal?
HAL (sitting)
There are rumors going around the church.
SEAN
What kind of rumors?
HAL
That God is leading you to step down.
SEAN (tilting his head)
Really? That’s news to me.
Who told you that?
HAL
Nevermind that. Some of the board members
and I agree that your season here might be
coming to a close. But if you’re not sensing
that... then we may need to discuss it
further at the next board meeting.
SEAN
You better make sure you have the support of ALL
the board members, and not just the ones you’ve
been secretly meeting with behind closed doors.
A tense pause.
HAL
You know, don’t you?
SEAN
Yeah, I know. People talk. I know about your plan
to remove me after the holidays, and Brother John
asking the youth pastor to step in as interim
after I’m gone. I also know about the stunt with
the general fund, to let it dry up so the bills
and salaries won’t get paid. But that also
includes our Missionaries and Outreaches.
HAL (shocked)
That wasn’t our idea, that was all John.
We didn’t agree to that.
SEAN
Then why are all three of you refusing to open
the CD? You and I both know there’s plenty in
there to cover payroll, missions, repairs and pad
the general fund for six months.
HAL
Those CD’s were put aside for emergancies only.
SEAN
And you don’t consider the church falling short
on bills, mission support and staff salaries an
emergancy? John told someone the entire board’s
behind this decision, yet the trustees I talked
to, hadn’t heard a word about it. Seems to be a
very selective breakdown in communication.
HAL (defencefully)
John is acting completely on his own.
We only talked about it, that’s all.
SEAN
And yet, you still wanna talk about MY future
here as pastor of the church?
HAL
There’s been some concerns...
SEAN
Well, there’s a right way and a wrong way to
handle them. What you three are plotting behind
my back is the wrong way. You’d better pray hard
before your next move, Hal. God doesn’t bless
what’s being hidden in secret.
HAL (sharply)
This isn’t over.
Hal slowly rises, shaken.
He takes out his phone and dials as he walks out.
SEAN (calling out)
So... I guess we’ll continue this
conversation at the next board meeting?
HAL
(into the phone, passing SANDRA)
He knows. He knows everything.
Sean leans back, exhales, exhausted. Sandra peeks in, like
she’s been waiting for the all-clear.
SANDRA
Pastor? I couldn’t help but overhear.
SEAN
I’m sorry, Sandra.
SANDRA
Don’t be. That was more exciting than
the Women’s Quilting Club last week.
Sean lets out a tired laugh.
SANDRA
I’m proud of you pastor, You got this.
SEAN
Thank you.
The church phone rings. Sandra picks it up.
SANDRA (into phone)
Lighthouse Fellowship, this is Sandra.
How can I help you?
She listens and looks at Sean.
SANDRA
Yes, sir—it’s good to hear your voice too.
He’s right here—just a moment.
She puts the call on hold.
SANDRA
It’s your father.
SEAN (sighs)
Thank you.
He picks up the phone. Sandra gives a supportive nod and
steps out, closing the door softly behind her.
SEAN (into phone)
Hey Dad—can I call you back in a little bit?
RAY
I just wanted to let you know…
Your mom’s back in the hospital.
Sean closes his eyes, leans back, bracing.
SEAN
Again? What for this time?
RAY
Her breathing’s bad. Back pain’s gotten
worse. They’re running tests.
SEAN
Is Renee with her?
RAY
Yeah, she’s with her today and tonight.
I’m going tomorrow for our anniversary.
It’ll be fifty-two years.
SEAN
I’m sorry you have to spend it at the
hospital. Thanks for letting me know.
Keep me posted?
RAY
I will. I love you, son.
SEAN
I love you too, Dad. Bye.
He hangs up. Sits in stillness for a moment, and drops his
head into his hands, letting out a frustrated, exhausted
sigh.
CROSSFADE:
73. EXT. LA HOSPITAL - LATE NIGHT
The camera slowly pushes in toward a single glowing window
on the fourth floor.
73a.INT. LA HOSPITAL - J’NET’S ROOM - LATE NIGHT
Soft instrumental music hums faintly from a bedside radio.
RENEE sleeps in a recliner, curled under a thin blanket.
The camera pans the quiet room — oxygen machine, IV drip,
faint rhythmic beeping — and finds J’NET, propped up in
bed, her glasses low on her nose. A notebook rests on her
lap. A pen trembles in her hand. She writes slowly,
deliberately.
INSERT – NOTEBOOK PAGE
Dear Sean, I am sorry for my words
and actions over the holidays.
You were right, you were just a child…
The camera moves closer as she reads what she’s written.
INSERT – FINAL LINES
...Please find it in your heart to forgive me,
and allow me the chance to be a mother to you again.
I have so many regrets and just want to start over,
if you’ll let me. I Love You, Mama.
A single tear slides down her cheek. She stares at the page
for a long beat — breathing unevenly — caught between
remorse and pride. After a moment, she snaps. She rips the
page from the notebook, crumples it in her shaking hands,
and hurls it across the room. The ball of paper lands near
the window as J’net leans back against her pillow, her face
breaking. She sobs silently, shoulders shaking, careful not
to wake Renee. The soft music continues as the camera
slowly pulls back, framing both women in the dim light —
one resting peacefully, one unraveling.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
50 -
Morning Tensions
74. EXT. SEAN’S HOUSE - EARLY MORNING
74a.INT. SEAN’S HOUSE - LIVING ROOM - EARLY MORNING.
Michelle moves around the kitchen, cooking breakfast and
pouring juice. Victoria sits at the table, working on a
homeschool worksheet.
MICHELLE
Did you call Jessi? See if she can
Meet us for lunch if we come down?
VICTORIA
She said she’ll call me back later
after her classes.
MICHELLE (sighing)
I miss her, and its only been a month.
VICTORIA (changing the subject)
Can I go to Alison’s this afternoon?
She’s having a few friends over.
MICHELLE
We’ll ask your dad when he gets up.
VICTORIA
Why bother? He never lets me do anything.
MICHELLE
If he doesn’t, I’m sure he has a reason.
VICTORIA
He wants to keep me locked up like a
prisoner. I need to get out and breathe.
Sean enters, half-dressed, hair still damp from the shower.
SEAN (overhearing)
And go where?
VICTORIA (turning around)
Alison’s house. She’s having some
friends over.
Sean sits at the table, and Michelle pours him a glass of
Orange juice.
SEAN
(to Michelle) Thank you. (back to Victoria)
Will either of her parents be home?
VICTORIA
Dad, I’m the only one in my friend group
who even has two parents.
SEAN
Really? Wow, that’s... sad. But OK,
Will her mom be there?
VICTORIA
I think so.
SEAN
If her mom’s there, you can go.
VICTORIA
And if she’s NOT?
SEAN (smirking)
Then Rapunzel stays in the tower
one more day like a prisoner.
VICTORIA
That’s not funny.
Michelle serves hot scrambled eggs and toast to Sean.
MICHELLE
Victoria, we’ll talk about it after lunch.
Take your worksheet into the other room
while I speak with your dad.
VICTORIA (frustrated)
Gladly.
She grabs her books and exits. Michelle sits beside Sean,
who takes his fork and starts playing with his eggs.
MICHELLE
Good morning. How’d you sleep?
SEAN
Barely.
MICHELLE (sitting beside him)
I could tell. You were tossing all night.
SEAN
Sorry.
MICHELLE
It’s okay. I know you’ve got a lot
on your mind lately.
SEAN
Let’s see… angry teenage daughter, church drama,
board plotting a coup — oh, and today I get
to counsel a church member about drugs and
infidelity.
MICHELLE (touching his arm)
No one said parenting or pastoring would be
easy.
SEAN (remembering)
Oh yeah, and Dad called. Mom’s back in the
hospital.
MICHELLE
Again?
SEAN
Today’s their anniversary—52 years.
MICHELLE
Wow. How’d he put up with her that long?
SEAN
He probably installed some kind of emotional
noise-canceling headphones.
MICHELLE (smirking)
If he did, I want the brand.
Sean’s phone buzzes. He checks it.
SEAN
It’s Renee. Probably an update on Mom.
He puts his fork down and answers, putting it on speaker.
SEAN
Hey Renee.
Genres:
["Drama","Family"]
Ratings
Scene
51 -
Unresolved Pain
74b. INT. HOSPITAL WAITING ROOM - DAY (CONTINIOUS)
RENEE
Are you busy?
SEAN (O.S.)
Just having breakfast. What’s going on?
RENEE
It’s Mom.
INTERCUT between SEAN and RENEE as they speak.
SEAN (tensing up)
What about her?
RENEE
The tests came back.(pause)
It’s stage four. Breast cancer.
Sean grips the edge of the table, his knuckles white.
Silence hangs, heavy.
RENEE
Sean... our mother is dying. What are we
supposed to do? I can’t lose mamma. (sobbing)
Michelle freezes. Sean takes a slow deep breath.
SEAN
I’m sorry.
RENEE
They’re talking about setting up hospice.
SEAN
Already? How long are we looking at?
RENEE
Three to six months.
Michelle freezes. Sean’s jaw tightens; no tears, just
shock.
SEAN (softly)
My God. (pause)Okay, I’ll pack a bag.
I can be there by tonight.
RENEE
No, don’t come.
SEAN
WHAT?
RENEE
She doesn’t want you to know. (pause)
She told me not to call you.
SEAN
Are you serious?
RENEE
She didn’t want you involved. I called
because you’re her son, you deserve to know.
SEAN
Unbelievable. She’s dying, and she still
wants to keep me out. Does she hate me
that much?
RENEE
She doesn’t hate you.
SEAN
Then why? Why does she keep shutting me out?
RENEE
Sean, I don’t know... what she’s doing is wrong.
But please, for your own sake...
You have to forgive her.
SEAN (erupting)
I’m tired of forgiving her! She isn’t
even SORRY. Everybody else keeps making
excuses for her while I’m the one left
wounded and bleeding!
Michelle gently touches his arm as his anger continues to
rise.
SEAN (cont.)
Fine. I won’t come. I won’t call.
I’ll stay here and honor her dying wish —
pretend she never existed.
RENEE
Sean, don’t do this. You’ve always been
better than her. Please — just pray for
Her. I’ll keep you updated.
SEAN
Right, everyone keeps expecting ME to do the
right thing and keep forgiving her while she
keeps getting away with hurting me. Thanks for
calling, but I’m sick of playing her games.
Goodbye.
He hangs up. The silence is heavy.
MICHELLE (softly)
Sean, I’m so sorry.
SEAN
I’m not. As far as I’m concerned, I don’t
even have a mother. She sure as hell never
acted like one.
Sean begins to relive the sting of rejection, yet again.
MICHELLE
I know it still hurts.
SEAN (voice raising)
DAMN RIGHT it still hurts, and I’m TIRED of
hurting. She’s already dead to me. (pause) I
can’t do this anymore. I can’t keep...
pretending.
He stands abruptly, pushing the table back, causing some
dishes to fall over and break. He storms out. Michelle
stays frozen, hand over her mouth, eyes glistening. Behind
her, Victoria stands in the doorway — pale — having seen
and heard everything.
75. INT. SEAN’S HOUSE - MASTER BEDROOM - MOMENTS LATER
Sean storms in and sits heavily on the edge of the bed.
He stares at the floor, trying to steady his breath.
SEAN (praying)
God... what’s happening to me? I don’t know
how to deal with this. I want to forgive
Her, I really do, but she’s making it so...
damn hard.
He buries his face in his hands and begins to weep. After a
long moment, his phone rings again. He wipes his eyes,
glances at the screen. Renee. He exhales slowly, hesitates
then answers.
SEAN (trying to compose himself)
What?
Only the sound of Renee’s broken sobs.
RENEE(screaming)
SHE’S GONE, SEAN! MOMMA’S GONE!
Sean’s breath catches. His grip loosens. The phone slips in
slow motion from his fingers — hits the floor with a dull
thud. He stares blankly ahead. The muffled sound of Renee’s
cries are faintly heard through the speaker. Silence
stretches. Then, faintly, somber music begins as Sean
stairs blankly into the room.
SLOW FADE TO BLACK / SLOW FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
52 -
Facing Grief
76. EXT. CITY STREETS - DAY
A slow aerial shot of traffic moving through busy streets.
Somber music continues to drift over the noise of the city.
A single car, Sean’s car, weaves through the traffic —
steady, deliberate — The music deepens, slower now.
CROSSFADE:
77. EXT. FUNERAL HOME - DAY
An aerial shot of the car pulling up into a funeral home
and parks.
CROSSFADE:
77a. EXT. FUNERAL HOME FRONT DOOR - (CONTINIOUS)
Sean, Ray and Renee get out of the car and walk slowly to
the front door together.
77b.INT. FUNERAL HOME LOBBY - (CONTINIOUS)
The htree of them enter through the front door. Muted
light. Quiet footsteps. A FUNERAL DIRECTOR stepsup and
greets them. The music continues, filling the silence.
CROSSFADE:
77c.INT. FUNERAL HOME HALLWAY - DAY - MOMENTS LATER
The Funeral Director leads them to a door, speaks to them a
moment, then walks away. Ray and Renee gives Sean a
desperate look, Renee squeezes his hand then slowly walks
through the door with Ray, leaving Sean in the hallway,
where he sits and leans against the wall, waiting. CLOSEUP
on Sean as he closes his eyes, attempting to process
everything that is happening. He sighs deeply.
CROSSFADE
Sean is hunched over, head in his hands. He sits back up,
runs his hands through his hair, still no tears, just
somber numbness.
CROSSFADE
Sean leans against the wall, gripping a water bottle. He
takes a sip, then exhales slowly — eyes fixed on the closed
double doors ahead. They finally open. Ray and Renee step
out, tears streaking their face. Sean stands and
straightens himself, offers them a tissue. Ray squeezes his
hand, then sits down quietly with Renee. Sean looks back at
the doors. Pauses. Takes one long breath. Then another.
Finally, he steps forward and pushes them open and walks
through them. Music fades as the door closes behind Sean.
Genres:
["Drama"]
Ratings
Scene
53 -
Confronting Silence
77d.INT. FUNERAL VIEWING ROOM. (CONTINUOUS)
Silence. The door shuts behind Sean with a soft metallic
click. A stark, sterile space — cold light on tile and
chrome. Against the far wall, J’net’s body rests on a metal
table, covered with a white sheet. Her wet hair spills out,
straight, stringy, lifeless. Sean stands frozen. Then,
slowly he moves closer. He reaches out, touches her cheek
with the back of his hand. Cold. He flinches slightly, then
just stares. After a long moment of silence.
SEAN (softly)
Why? ...Why did you hate me?
A long silence. His breath trembles.
SEAN
What did I ever do... to make
you hate me so much?
Silence stretches—then her voice flickers in his mind,
faint but sharp:
J'NET (V.O.)
You deserved it.
Sean’s jaw tightens. He looks away, blinking back the
tears.
SEAN
You had a chance. All you had to say was
“I’m sorry.” And I would’ve forgiven you.
We could’ve started over. But now... we’ll
never know.
After another moment, he turns. Walks away. Pauses. Looking
back one last time.
SEAN (whispering)
At least you’ll never be able
to hurt me again.
He turns. Leaves. The door closes behind him with a soft
Click. WIDE SHOT — the empty room. J’net’s body is still
beneath the sheet. Cold. Still. Silent.
FADE TO BLACK / FADE FROM BLACK:
78. EXT. NEW HOPE ASSEMBLY - DAY
The Megachurch stands against a blue sky.
birds flit between trees, a light wind moves the grass.
From inside, the faint hum of soulful worship music drifts
through the open doors. A place of life. Renewal. Hope.
78a.INT. NEW HOPE ASSEMBLY - SANCTUARY - DAY (CONTINUOUS)
The sanctuary pulses with energy — hands raised, voices
soaring. A joyful congregation sings with eyes closed,
faces glowing in worship. The CAMERA FINDS Jessi and her
husband immersed in the moment. The camera glides further,
revealing Victoria and Michelle, singing with lifted hands.
And finally… Sean. Standing beside Michelle, he stares
toward the stage — expression unreadable.
Surrounded by light, he somehow looks adrift. After a beat,
he exhales… lowers his gaze… and quietly steps out of the
row. Michelle and Jessi both notice. Jessi starts to
follow, but Michelle gently touches her arm — a small shake
of her head. Jessi pauses, uncertain, then nods. Michelle
watches Sean go. Her eyes fill with quiet understanding…
and a trace of sorrow.
78b.EXT. NEW HOPE ASSEMBLY - DAY (CONTINUOUS)
The worship continues faintly behind him — muffled through
the walls like a memory. Sean walks toward a grove of trees
behind the church. The breeze stirs the leaves, brushing
across his face. He closes his eyes. Breathes.
The wind moves through his hair, like a whisper — gentle,
almost sacred. For a brief moment, peace finds him...
tangled with pain.
78c.WIDE SHOT – SAME SCENE – DISTANT VIEW
Sean stands small beneath the vast trees and open sky. A
solitary figure caught between faith and grief. The sound
of distant worship floats in the air — fading, but never
gone.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
54 -
Bittersweet Farewell
79. EXT. NEW GREYSON HOUSE - DAY
The air seems heavy with grief and silence.
79a. INT. NEW GREYSON HOUSE - LIVING ROOM - DAY
A soft, natural light fills the room. The camera settles on
a small cremation box resting on a shelf beside a framed
photo of J’net — smiling, younger, alive.
RENE (O.S.)
Now I can keep Mama with me forever.
She rests a hand on the box, tenderly. The CAMERA FINDS
Sean standing nearby — still, eyes fixed on the display.
His face is calm, but something behind it flickers.
RENEE
Do you want to keep some of her ashes?
SEAN (without hesitation)
No. She’s better off with you. Besides…
I’m pretty sure she’d haunt us if we split
her up.
Renee lets out a small, surprised laugh. Even RAY cracks a
grin.
RAY
Sean, I know you have to go back to
Mississippi. But I want to say thank you
for being here. Your sister and I couldn’t
have gotten through this without you.
SEAN
She’s gone, but we’re still a family.
RAY
Yes, we are.
RENEE
Maybe now you’ll come visit us a little
More?
SEAN
I will. (muttering) As long as y’all don’t
try to pawn off her ashes to me.
They all chuckle — soft, shared. Sean pulls them both into
a long hug. For a moment, the room is warm again. Then he
steps back, picks up his bag, and heads for the door.
CUT TO:
79b.EXT. NEW GREYSON HOUSE - FRONT YARD
Sean steps outside. The wind moves gently through the trees
— a familiar sound. He closes his eyes, breathes deep. The
CAMERA PULLS BACK as Michelle approaches, waiting by the
car. She reaches out and takes his hand. They share a quiet
look — no words, just understanding. Together, they walk
toward the car. The wind rises softly again, brushing
across the yard... like a sigh.
79c.EXT. NEW GREYSON HOUSE - FRONT PORCH
Ray and Renee stand side by side, waving as Sean and
Michelle drive away, back to the real world of Mississippi.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Family"]
Ratings
Scene
55 -
A New Beginning at Lighthouse Fellowship
80. EXT. LIGHTHOUSE FELLOWSHIP - DAY
80a.INT. LIGHTHOUSE FELLOWSHIP - SANCTUARY - DAY
Sean steps behind the pulpit. The CONGREGATION settles—more
diverse now, faces of every color, every age. Hope hums in
the air.
SEAN
Thank you for staying after service for this
emergency membership meeting. As you know,
with Brother John’s resignation, we’re one
deacon short of conducting official church
business. To help us move forward, I’ve
invited a representative from the District
Office.
The crowd begins to stir.
SEAN
Our Superintendent, Brother Larry,
is here to address us today.
Sean steps aside. BROTHER LARRY (well-dressed man in his
60’s) approaches the pulpit, warm and calm. The people lean
forever to what Bro.Larry has to say.
BROTHER LARRY
Good afternoon, everyone. We’ll be brief—
We know it’s lunchtime, and some of your
stomachs are already speaking in tongues.
Light chuckles throughout the congregation.
BROTHER LARRY
We understand that, according to your
bylaws, without a third deacon, you cannot
conduct any new church business.
Hal smiled smugly to himself.
BROTHER LARRY (CONT'D)
We’ve also received several reports—from
Pastor Sean and other members—regarding actions
by certain board members attempting to undermine
this church’s leadership through divisive
behavior.
Flash shots of CHURCH MEMBERS' facial reactions. Some in
shock, some smug smirks.
BROTHER LARRY (CONT’D)
Because of these troubling developments,
and at Pastor Sean’s request-with our full
Support-we are enacting a status change for this
church. From this moment forward, this church
will no longer be governed by its local board.
It will now operate under the oversight of
the District Council, in full partnership
with your pastor.
Gasps and murmurs fill the room. Hal’s smirk quickly fades.
Sandra’s grin widens.
BROTHER LARRY (CONT'D)
Effective immediately, all former board
members are relieved of their elected
positions until a new group of eligible
deacons are appointed.
The room begins to buzz.
BROTHER LARRY
Until then, Pastor Sean will form an advisory
committee—with direct oversight from our office.
If you have any concerns, feel free to bring them
to him—or to us. Your pastor has our full support
behind him. That concludes our meeting. Thank you
for your time.
Mixed reactions. Some scowl and storm out, others cheer
quietly. Hal immediately storms up to Sean.
HAL (through gritted teeth)
Well played, Pastor. Guess you’ll do
anything to keep your job, huh? We’ll see
how long this church lasts without its
faithful tithers.
He storms off. Sandra steps up with a proud smile.
SANDRA
About time for some fresh blood around here.
And as for the glowsticks, maybe this will shake
them up a little and get that light turned on.
SEAN (smirking)
Let’s hope.
Brother Larry approaches, extending a hand.
BROTHER LARRY
Pastor Sean?
SEAN
Brother Larry—I can’t thank you enough.
BROTHER LARRY
We’ve known about the problems here since
the last pastor. This time, we had the right
support to address it. Sometimes... trees need
pruning before they can bear fruit.
SEAN
Well, we just trimmed a few dead branches.
SANDRA (cutting in)
Can we take those branches out back
and burn ‘em?
SEAN (chuckling with mock shock)
SANDRA.
SANDRA
I swear, if we’re not on the cover story of
Charisma next month, I’m writing a letter.
They laugh and Sandra steps away. Brother Larry looks
around, taking in the crowd.
BROTHER LARRY
You know... it’s been four years since I
last visited this church. You know what
I see that has changed the most?
SEAN
What’s that?
Brother Larry gestures to the congregation.
BROTHER LARRY
This. A congregation that reflects its community.
Most churches in Mississippi are still one
race. But this... this is the first church
I’ve seen here with this much diversity.
Sean looks around, noticing what he is pointing out. Black
and white members shaking hands, hugging, laughing. Real
unity. Real healing.
BROTHER LARRY
You’ve done what most pastors say can’t be
done. Well done, Pastor Sean. The District
stands with you.
SEAN (humbled)
Thank you, Brother Larry.
Brother Larry steps away to greet other people. Sean closes
his eyes for a brief moment, taking it in, then looks
upward.
SEAN (whispers to himself)
Thank you, God.
He opens his eyes, hopeful. Stronger.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Spiritual"]
Ratings
Scene
56 -
Family Ties and Responsibilities
81. EXT. FAITH ASSEMBLY - SEAN’S OFFICE - DAY
The sun glints off the modest church building. A quiet
breeze moves the trees.
SUPERIMPOSE: MARCH, 2022
81a.INT. FAITH ASSEMBLY - SEAN’S OFFICE - DAY
Stacks of papers and folders sprawl across the desk. A
half-empty coffee cup. The sound of pen scratching against
paper as Sean writes sermon notes. Sandra peeks around the
doorframe, grinning.
SANDRA
Hey, Grandpa! Welcome back.
SEAN (without looking up)
It’s Poppi!
She enters his office with a cup of coffee in her hand.
SANDRA
Sorry — my bad, Poppi Grandpa.
Sean finally looks up, and smiles.
SANDRA
How’s our new little mama doing?
Sean leans back, grateful for the interruption.
SEAN
Outside of no sleep, no showers, and diaper
duty—she’s great.
SANDRA
And Michelle? What’s her ‘Grandma’ name again?
SEAN
Gigi. She’s already planning to go back
to see our little Jackson.
SANDRA (smiling)
Ooo, She’s got it bad.
Isn’t grandparenting fun?
SEAN
Oh yeah, but I’m still trying to figure
out how my baby got married and had a baby of her
own. I blinked and went from youth pastor to a
Poppi.
SANDRA
Awe, You’re gonna make a wonderful Poppi.
SEAN
Well, THANK YOU, but getting me to talk
about my grandson isn’t going to distract me
from recognizing that you're twenty minutes
late.
SANDRA
Oh, did I forget to tell you I brought donuts?
SEAN (smirking)
I MIGHT overlook this transgretion if you
brought one with sprinkles.
Sean’s personal phone BUZZES. He sees it’s Jessi, calling.
SEAN (smiling)
Ah, it’s our little mama calling.
SANDRA
I won’t hold you up. Donuts are out front.
And yes — there are sprinkles.
SEAN (smiling)
THANK YOU!
Sandra scoots outside his office and shuts his door behind
her. Sean answers his phone.
SEAN
Hey sweetie, what’s up?
81b. ENT.NEW GREYSON HOUSE - LIVING ROOM - CONTINIUOUS
JESSI
Hey, I know you and mom just got home, but you
might need to come back.
INTERCUT between SEAN and JESSI as they speak.
SEAN
Why? Is everything OK?
JESSI
With us, yes, but Aunt Renee is in
the emergency room.
SEAN
What happened?
JESSI
She’s had an infection in her foot for awhile,
and she hasn’t told anyone. The skin on her heel
started falling off and she had to go in. They’re
admitting her so they can give her antibiotics.
SEAN
It’s THAT bad? Why hasn’t she told anyone?
JESSI
She tried to take care of it herself, said she
couldn’t leave grandpa by himself.
SEAN
So, who’s with Dad now?
JESSI
I’m am, but I can’t stay, I have Jackson
and my job. Somebody has to take care of
grandpa while she’s gone.
Sean drops his head into his palm and sighs in frustration.
SEAN
OK, I’ll grab a few things and head back down
there. Thank you helping and for calling me.
JESSI
I’m so sorry dad, I wish I could do
more to help. I can try to get some people
from our church to help out.
SEAN
That’s a possibility, we’ll figure this
out after I arrive. Thank you.
JESSI
I love you.
SEAN
I love you too, sweetie.
He hangs up. Sits in silence for a beat. His eyes scan the
chaos of his desk—half-written sermons, unfinished letters,
church bulletins—life and duty piling up again. He rubs his
temples, weary but resolved.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
57 -
Healing Through Laughter
82. EXT. LA HOSPITAL - DAY
A quiet spring morning. Birds chirp. A breeze moves the
trees outside the hospital.
82a.INT. LA HOSPITAL ROOM - DAY
The steady hum of monitors. A vase of flowers wilts on the
windowsill. Sean sits beside Renee, who’s pale but alert,
an IV in her arm.
SEAN
Well, congratulations. You get to keep your
foot. Guess you’re not de-feeted after all.
RENE (groans)
That’s not funny.
SEAN
Tough crowd. I thought it had legs.
Renee stares blankly.
RENEE
Who’s with dad?
SEAN (gasps)
Ahhh, I KNEW I forgot something.
RENEE
That’s not funny either.
SEAN
Fine, Grumpy. Michelle’s with him so
I can come cheer you up.
RENEE
I’m sorry. (pause) I don’t mean to
be cranky, you know I hate isolation and
these antibiotics are wrecking my kidneys.
SEAN (deadpan)
Are you kidneying me?
RENEE
Did you just - make a kidney pun?
SEAN
I have a renal treasure of puns.
RENE (flatly)
Wow. You’re in rare form today.
SEAN
Urine?! See? You just made a kidney joke!
Nice one! I knew you had it in you.
Renee finally cracks, laughing through her eye-roll.
RENEE
You’re impossible. But…
I’m glad you’re here.
SEAN
Somebody’s gotta show up and annoy you.
RENEE
Mission accomplished.
A small pause. Her face softens.
RENEE
I miss Mama.
SEAN (looking off)
I know.
RENEE
Don’t you?
SEAN (quietly)
Not yet.
Sean looks down, twisting his wedding ring. Silence.
RENEE
Sean... eventually, you have to forgive her.
SEAN
I’m not bitter anymore. I just have
a lot of... unanswered questions.
Renee stares at him for a moment, pondering, then reaches
for her purse, pulling out a wrinkled, folded letter.
RENEE
Well... maybe this will answer some of them.
SEAN
What’s that?
RENEE
The night before momma passed away, she fell
asleep and I found this on the floor.
She hands it to him. Sean hesitates, then unfolds it. He
reads silently. Renee watches, eyes glistening. After a
moment, Sean lowers the paper—his expression breaking.
SEAN
Why? Why didn’t she give this to me
herself? And why is it crumbled up?
RENEE
I guess she was too prideful to
admit she was wrong.
Sean’s eyes fill as he absorbs that. Long silence.
SEAN
Wow. She was so close. Right there—
and she still couldn’t do it.
RENEE
But she did try, Sean. She loved you.
She wanted you to know.
Sean looked down, pondering.
SEAN (softly)
But she STILL chose not to tell me.
She made that choice by keeping this from me.
RENEE (realizing)
I’m sorry. I didn’t mean to re-open
the wound again.
SEAN
The wounds were already there. The scars,
they’re not something to hide anymore.
They’re proof of where I’ve been…
and what God’s already healed.
Renee nods softly, emotional.
RENEE
That’s beautiful. So... what now?
SEAN
I think... God wants me to write a book.
Tell my story. Maybe help somebody else find
healing too.
RENEE
That’s perfect. Just—leave me out of it.
SEAN (grinning)
Oh no, you’re in it. Especially the time you
hit me in the face with a golf club.
RENEE (snickering)
STOP IT!
SEAN (pointing to his face)
Thirteen stitches. I still have the scar.
RENEE (now laughing)
I’m never going to live that down, am I?
SEAN
Or the time you threw me through
the bedroom window.
RENEE
That was self-defense!
SEAN
And when you made me wear a dress and locked
me outside in front of all my friends—
82b.EXT. LA HOSPITAL - DAY (CONTINUOUS)
The wind stirs the trees again.
RENEE (V.O.)
Oh yeah. But you sure looked
cute in that dress.
SEAN (V.O.)
Lime green is not my color...
They both laugh—free, full, unguarded.
FADE TO BLACK / FADE FROM BLACK:
Genres:
["Drama","Family","Comedy"]
Ratings
Scene
58 -
Easter's Heartbreak
83. EXT. GRASSY FIELD - EASTER DAY
SUPERIMPOSE: TWO WEEKS LATER - EASTER SUNDAY
CHILDREN in bright Easter outfits race across a sunny
field, laughing as they hunt for eggs. Pastel baskets fill
with candy and color.
83a.EXT. OUTSIDE LIGHTHOUSE FELLOWSHIP - EASTER DAY
FAMILIES exit the church, smiling and chatting in their
Sunday best. A nearby sign reads: “HE IS ALIVE!” Laughter
and joy float in the spring air.
84. EXT. LOCAL RESTAURANT - DAY
Cars roll by. A soft breeze carries snippets of
conversation and clinking dishes.
84a.INT. LOCAL 5-STAR RESTAURANT - (CONTINUOUS)
Sean and Michelle sit with SANDRA, TERESA, and JAMES.
Half-eaten plates. Full glasses. Post-service energy hums
in the air.
TERESA
Pastor, that was a wonderful Easter message.
SEAN
Thank you, Teresa. That means a lot.
Sandra, how was the children's church?
SANDRA
It was great—but James, your grandson got a
little... creative this morning.
JAMES
Oh boy. What’d he do?
SANDRA
I asked what Easter meant, and he said,
“It’s when Jesus rose from the dead and came
out of the tomb.”
SEAN
Solid theology so far.
SANDRA
Then he said, “That’s when Jesus saw his
shadow and went back in for six more weeks.”
The table erupts in laughter.
JAMES (chuckling)
Maybe I should sign him up for
Weather Channel Sunday School.
SANDRA
Long as he doesn’t start predicting
the rapture.
Laughter ripples again.
TERESA (redirecting)
Pastor, how’s your sister doing?
SEAN
Still in the hospital. I talked to her this
morning... The infection got worse last
night, she sounded tired. I’m gonna call
and check on her this evening.
TERESA
Is your dad managing okay?
SEAN
Yeah, Jessi’s been checking in, and a few
friends from her church have been helping out.
But depending on what the doctors say, I might
need to head back tomorrow. They might have to
remove her foot afterall.
JAMES
I thought they were able to save it?
SEAN
We thought so too. But the antibiotics
aren’t working...The infection’s spreading
into her leg. If they have to take it...She
won’t be able to take care of Dad while she
recovers. I don’t know what we’ll do.
Sean’s phone rings. He checks the screen.
SEAN
This is the hospital now.
I’ll take it outside.
MICHELLE
You want a refill on your tea?
SEAN
Yes, please. Can you get a dessert menu?
I’ll be right back.
He stands and walks off, answering the call as he goes.
JAMES
Michelle, how’s that grandson of yours?
MICHELLE
Oh, he’s doing great. Jessi sent me a
picture this morning — he was wearing a
bowtie and bunny ears.
She pulls out her phone to show the photo. Everyone leans
in.
SANDRA
Aww, He looks like a little gospel playboy.
Everyone laughs. A WAITRESS stops by.
WAITRESS
Does anyone need anything?
MICHELLE
Can my husband have a refill on sweet tea,
please? And we’ll have a dessert menu.
WAITRESS
Sure, anyone else?
SANDRA
I could use another Coke, unless y’all are
serving that communion wine.
WAITRESS (smiling)
Sure, I can even serve it like grape juice in a
tiny shot glass.
SANDRA
Girl, don’t tempt me. You hand me that, and
I might start confessing to strangers.
TERESA
Start? Honey, you’ve been confessing all
during lunch!
Everyone laughs again.
WAITRESS (laughing)
I’ll be right back.
TERESA (to Michelle)
How about Victoria?
MICHELLE
Still in Colorado. Working hard,
paying rent. She’s doing great. I just
miss her, especially on days like today.
TERESA
Our boys had to work offshore this week.
It’s just us this Easter. I know exactly
what you mean.
James raises his glass with a warm smile.
JAMES
Well, here’s to spending Easter with
family...the CHURCH family.
SANDRA
I’ll drink to that.
JAMES
You’ll drink to anything.
EVERYONE (laughing)
HEAR, HEAR.
Sean returns. The laughter dies instantly. His face says it
all—drained, pale, trembling. He sits beside Michelle,
speechless.
MICHELLE
Sean? What is it? What’s wrong?
Sean can barely speak. His voice cracks.
SEAN (choking up)
Renee went into septic shock.
She... passed away this morning.
Silence. The sound drops out. Everyone freezes, stunned.
Michelle wraps her arms around him as he breaks down.
The others reach across the table—hands on shoulders,
silent prayers, quiet tears. The camera slowly pulls back,
the sound replaced by soft, mournful music. Sean is held
tightly in the center of the group—surrounded by love,
swallowed by grief.
FADE TO BLACK / FADE FROM BLACK:
85. EXT. NEW GREYSON HOUSE - NIGHT
Slow motion — a porch light flickers. The wind stirs the
trees. Crickets hum faintly in the dark. Michelle rests a
gentle hand on Sean’s arm. Sean hesitates, then raises his
hand and knocks softly. The door opens. JESSI answers with
RAY, lit with hope, steps up from behind her to greet them.
His face brightens for half a heartbeat... then he sees
Sean’s eyes. The light dies. Sean’s lips tremble. He tries
to speak—but the words collapse into a single, broken
sound. RAY staggers back, the truth hitting like a freight
train. His knees buckle. Sean and Jessi catch him. Michelle
wraps her arms around them. The four cling together on the
porch — grief tearing through them, raw and wordless.
FADE TO BLACK / FADE FROM BLACK:
86. INT. FUNERAL HOME - DAY
A sterile quiet. The FUNERAL DIRECTOR sets a small box in
Sean’s hands — plain, heavy, devastating. A white label
reads: RENEE GREYSON. Sean stares at it. His breath
trembles. Michelle places a hand on his back — a silent
anchor. He doesn’t look up. Doesn’t cry.
The Funeral Director gives a gentle nod. Sean nods back,
tight-lipped, and shakes his hand. He turns and walks out,
Michelle close behind. The funeral home door closes softly
behind them.
87. INT. NEW GREYSON HOUSE - LIVING ROOM - LATER THAT DAY
Soft afternoon light filters through half-drawn curtains.
Sean stands by the living room shelf. He sets Renee’s ashes
beside another box — his mother’s. He lingers there,
fingers brushing both lids. His hand trembles, then drops
to his side. He exhales — a long, empty breath — and turns
away. He walks away. The CAMERA HOLDS on the two boxes,
side by side in the still light — a quiet witness to
everything left unsaid, as the music fades.
FADE TO BLACK / FADE UP FROM BACK:
Genres:
["Drama","Family","Tragedy"]
Ratings
Scene
59 -
Conversations of Healing
88. EXT. COFFEE SHOP - DAY
A quiet corner café. Sunlight glints off parked cars, wind
in the trees, the hum of small-town calm.
SUPERIMPOSE: THREE MONTHS LATER
88a.INT. COFFEE SHOP - DAY - (CONTINUOUS)
Sean and Pastor Paul sit across from each other, coffee
steaming between them. The café noise fades beneath the
weight of the conversation.
PASTOR PAUL
So that’s why you resigned your pastorate
and moved back home?
SEAN
Yeah. Dad needed me.
PASTOR PAUL
That must’ve been a difficult
transition.
SEAN
It has been. Losing Renee really broke him.
I don’t think he has much time left.
A quiet moment between them.
PASTOR PAUL
And you? How have you handled all this?
SEAN
Both of my abusers are gone now,
and for the first time in my life…
I’m not living in reaction to them.
I’m just... living. One day at a time.
And I’m writing again.
PASTOR PAUL
Writing what?
SEAN
My story. I want to help people who’ve
been through what I have — people carrying
the same scars. Not just about the pain —
but survival. Maybe even forgiveness.
Pastor Paul nods in agreement.
PASTOR PAUL
That’s a dangerous word... forgiveness.
Are you ready to tell the whole story?
Sean hesitates while pondering the question.
SEAN
Yeah. I think I am. Hiding it didn’t
protect me — it just kept me stuck
in bitterness.
PASTOR PAUL (leaning in)
Then let me ask... have you truly
forgiven them?
Sean looks down at his coffee, turning the cup slowly.
SEAN (quietly)
When I confronted Renee... she broke down.
She admitted everything. It didn’t erase
what she did to me— but it gave me closure.
That day — something broke in me, too. Not
anger — just... release. (pause) Yeah,
(nodding) I forgave her.
PASTOR PAUL (tilting his head)
What about your mother?
Sean freezes. The question hits deeper. He takes a breath.
SEAN
That one is a little harder.(pause)
When I confronted her, she said I…
deserved it.
Pastor Paul closes his eyes, absorbing the weight of that.
SEAN (continued)
That hurt more than the abuse. I wanted
her to see me — just once — as her son.
Not as her shame. But she rejected me
to her last breath.
A long pause.
PASTOR PAUL
But... have you Forgiven her?
Sean meets his eyes, steady, raw, honest.
SEAN (long pause)
I don’t hate her anymore. That’s new.
I finally realized — her misery wasn’t my
fault. She chose bitterness, but I refuse
to. Now... I just feel... sorry for her.
PASTOR PAUL
That’s grace, Sean. That’s a good beginning.
Sean takes a sip.
SEAN
I don’t know if I’ve forgiven her yet…
But I guess forgiveness starts somewhere…
even if it’s just the first breath
after you stop fighting it.
Pastor Paul smiles, eyes warm.
PASTOR PAUL
That’s exactly where it starts.
Sean smiles.
SEAN
Guess God’s not done with me yet.
Pastor Paul pulls out his pack of gum and makes an offer.
PASTOR PAUL
Gum?
Sean looks at it for a moment and smiles real big.
SEAN (laughing)
SURE!
The camera lingers on them, laughing and sharing gum — two
souls, sunlight, coffee, and quiet grace.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
60 -
A Journey of Forgiveness
89. INT. NEW GREYSON LIVING ROOM - DAY
CLOSE ON: two small boxes of ashes — J’net and Renee,
resting side by side on the shelf. Sean’s hands enter the
frame. Gently, he lifts each box, one at a time, removing
them from sight.
SEAN (V.O.)
Neither dad or I could keep their ashes
around. It was too depressing. We both
needed closure.
89a.EXT. GRAVESIDE - DAY
A still afternoon. The wind moves softly through the trees.
WIDE SHOT: Sean, Michelle, and Ray stand together at a
small open graveside. They’re joined by Jessi, Seth,
Victoria, and little Jackson — each holding an Easter lily.
A quiet reverence hangs in the air. CLOSE ON: Sean
kneeling, holding both boxes. Carefully — almost reverently
— he lowers them into the earth. He stands, his expression
calm. There are no tears — just a calm and quiet peace.
SEAN (V.O.)
That morning, it hit me. While I was
laying to rest the ashes of the two
people who hurt me the most… I was
surrounded by the people who loved me
the most.
CLOSE ON: his face — steady, softened. He turns toward his
family — Michelle holding her lily, Ray wiping his eyes.
Jessi cradles Jackson beside Seth, with Victoria standing
quietly near them. Sean touches his silver cross necklace,
looks to his father.
SEAN (to Ray)
I think I finally understand what really
matters in life.
Ray looks at him — eyes full, voice gentle.
RAY (softly)
Me too.
WIDE SHOT: Michelle steps forward and lays her lily by the
grave. One by one, the others follow — Jessi, Seth,
Victoria, Ray. Each places their lily beside the grave,
then steps back.
When they turn to leave, Sean remains behind — alone,
still. A CLOSE UP as He looks down one final time.
SEAN (whispering)
I... I forgive you, Mother.
A long pause. A single tear finally slips free. He wipes it
away, exhales, and turns to join his family. WIDE SHOT:
Sean walks out of frame, joining them as they move toward
the car. The camera PULLS BACK — the family small against
the rolling green field, sunlight breaking through the
trees.
FADE TO BLACK:
90. INT. LIGHTHOUSE FELLOWSHIP - SEAN’S OFFICE - DAY
Soft piano continues under the image. We return to where it
began — Sean at his laptop, the familiar black thermos
nearby. He types the final line...
SEAN (V.O.)
“I am no longer a victim of my past.
I am free. I may be closing one chapter
of my life... but I’m still living the
rest of the story, one day at a time.”
- THE END
A quiet smile. He sips from the thermos. His dog circles
his feet, tail wagging. Sean stands, stretches, and walks
toward the window. The dog trots behind him — faithful,
free.
The camera keeps panning until it stops on a wooden frame
hanging on the wall. Within it, a crumbled note,
hand-written by J’net. We can read the last line:
I have so many regrets and just want to start over,
if you’ll let me. Love, Mama.
CROSSFADE:
80a.INT. NEW HOPE ASSEMBLY - SANCTUARY - DAY
Music swells — a live performance begins. On stage, JESSI
GRIFFIN sings her original song “WHERE IT HAPPENS” (written
and performed by Jessi Griffin, used with permission).
Sean, Michelle, Ray, Jessi, Seth, Jackson, and Victoria sit
together in a pew — a family whole again. Sean closes his
eyes — worshipful, restored. Hands lifted in praise. Tears,
smiles, voices lifted together. Jessi sings with radiant
strength. Sean wraps his arm around Michelle, smiling.
Healing looks like this.
CROSSFADE:
91. INT. NEW HOPE ASSEMBLY - BOOKSTORE – DAY - (song
continues)
A slow reveal: A clean, well-lit shelf. Front and center
sits a new book — “70x7: FORGIVING YOUR ABUSERS” By Sean
Grayson. The camera PULLS BACK slowly — the cover glowing
under the soft light, and sitting right beside it, a potted
Lotus flower. The song carries us out — a hymn of healing.
SUPERIMPOSE:
“And when you stand praying, if you hold anything against
anyone, forgive them, so that your Father in heaven may
forgive you your sins.”
- Mark 11:25
THE END