The PRIEST, amidst the burial proceedings under heavy, gray
skies, delivers his sermon. ANNE MARTIN, mid 40s, stands in
somber black attire, clutching a single rose, her unwavering
gaze fixed on the closed casket.
PRIEST (O.C.)
This young man was a part of our
community, and his passing leaves us
with a mix of emotions. We can't deny
the sadness of losing someone so
young, with potential yet to be
fulfilled.
INTERCUT BETWEEN CEMETERY AND SCHOOL HALLWAY
INT. SCHOOL HALLWAY - DAY
Amidst the blaring school fire alarm and scattered backpacks
and papers cluttering the hallway, a young man's legs move
slowly forward, a sizable gun's barrel tracking in line with
his knees.
EXT. CEMETERY - DAY
Anne's gaze drifts from the priest then to his book.
INT. SCHOOL HALLWAY - DAY
Teenager's screams echo as the legs continue their ominous
stroll with the gun.
EXT. CEMETERY - DAY
Anne's gaze again drifts from his book to the other grave
sites scattered across the cemetery.
2.
PRIEST (O.C.)
Let us offer our prayers, not just
for the departed soul but also for
each other, that we may find strength
in our shared grief, support in our
unity, and comfort in our memories.
Anne's gaze finally drifts to the closed casket, a solemn
moment as she closes her eyes.
Genres:
["Drama","Thriller"]
Ratings
Scene
2 -
Grief and Gain
INT. SCHOOL HALLWAY - DAY
The gun's barrel ascends, aiming amid the relentless chaos.
END INTERCUT
EXT. CEMETERY - DAY
A gunshot cracks the silence, jolting Anne's eyes open, the
echo haunting the air.
Anne stands alone, no one else present at the burial as she
witnesses the casket descending into the earth. With the
departure of the priest, she finds herself truly alone.
A solemn moment lingers before she gently places a single
rose onto the lowered casket. With a heavy heart, she
quietly walks away, leaving the site deserted, devoid of any
onlookers.
INT. CAPITOL BUILDING - DAY
The resonant click of heels reverberates through the grand
lobby as RUTH WALTERS, mid 60s, and MAYOR NATHAN ASHFORD,
50s, stride in tandem, engaged in a hushed discussion while
reviewing notes.
RUTH
Today marks a pivotal moment, Mr.
Ashford. The city is ready to rally
behind you. A united front is your
ticket to a guaranteed reelection.
MAYOR ASHFORD
Can they overlook the loss of ten
lives, six of them innocent children?
The numbers scream failure.
RUTH
I built this town, Mr. Ashford. They
know me. They'll support you.
3.
MAYOR ASHFORD
And what about exploiting a national
tragedy as a political strategy?
RUTH
Only when I need a winner.
Ruth strides ahead, leaving Mayor Ashford briefly halted.
MAYOR ASHFORD
Shouldn't I be the one delivering
this speech? I am the mayor, after
all.
RUTH
You're right. But let's not forget
why you hold that title in the first
place.
With Ruth resuming her purposeful walk, Mayor Ashford slowly
follows.
Genres:
["Drama","Political Thriller"]
Ratings
Scene
3 -
A Call for Unity
EXT. CAPITOL BUILDING - DAY
Anne's gaze shifts upward to a towering capitol building.
Across the street, a large crowd piques her interest. On the
monumental concrete steps, a podium stands prominently.
Ruth stands confidently, delivering a speech to the gathered
crowd, Mayor Ashford by her side. Ruth's movements are
purposeful, her voice carrying across the air, her message
clear even from afar.
RUTH
Today, we stand at a crossroads where
the safety of our communities demands
our urgent attention.
(a beat)
The debate on gun control is not just
a political issue, it's a matter that
strikes at the very heart of our
society, our families, and our
future.
Anne stands at the periphery of the gathering, her gaze
fixed on Ruth, who commands the attention of the crowd.
4.
RUTH (cont'd)
In the vision Mayor Ashford presents
through his proposed policies, we
have an opportunity to ourselves, to
our children, and to those we've lost
to construct a society that is safer
and more secure.
(a beat)
Let's set aside our differences and
work towards a future where we can
all feel secure without sacrificing
anymore of our own.
The crowd cheers loudly, showing agreement with Ruth's
words. Anne briefly locks eyes with Ruth, sharing a moment.
Anne quickly steps back, avoiding any attention coming her
way, and moves away from the crowd.
Genres:
["Drama","Political"]
Ratings
Scene
4 -
Seeking Answers
EXT. BEAVERTON HIGH SCHOOL - DAY
As the bell rings, students scatter across the yard, engaged
in various activities, playing catch, sharing notes, and
chatting away in small groups.
INT. GUIDANCE COUNSELOR'S OFFICE - DAY
The door clicks shut as Anne tentatively settles into a
chair. Across from her, MR. REID (50's), composed, takes a
seat behind his desk.
ANNE
Thank you for meeting with me, Mr.
Reid.
MR. REID
It's no trouble at all, Ms. Martin.
I'm here to help.
ANNE
Anne. Please, call me Anne.
Anne pauses briefly, collecting her thoughts before
continuing.
ANNE (cont'd)
I'm really struggling to make sense
of it all. I just need to understand
if you noticed anything out of the
ordinary with Ethan before... well,
before everything happened. Poor
grades, missed classes, anything that
seemed off to you?
5.
MR. REID
Honestly, Anne, nothing stands out. I
told the detectives the same thing.
Ethan was a good kid. I saw potential
for a bright future in him.
ANNE
It's almost harder to accept that he
wasn't troubled. Overnight, the town
has turned against me, convinced he
was a monster.
MR. REID
In my studies, I've read that there
is no such thing as a bad kid just
angry, hurt, tired, scared, confused,
impulsive ones expressing their
feelings and needs the only way they
know how.
ANNE
I just want to understand why Ethan
felt this was his only way.
MR. REID
I did go through some of his work,
just in case. See if there were any
hints.
Mr. Reid reaches into his desk, extracting a file stuffed
with Ethan's schoolwork. He lays it open, inviting Anne to
sift through.
MR. REID (cont'd)
Impressive papers, solid scores. He
even aced the mile run, top of his
class in Pennsylvania.
Anne finishes scanning the papers.
ANNE
Any odd friends you can think of?
Mr. Reid takes a second.
MR. REID
Can't say that I recall any peculiar
friendships he had.
(a beat)
But he did share lunch a few times
with another boy.
ANNE
Is he here?
6.
MR. REID
I'm not certain if that's advisable,
Anne.
ANNE
Please...
Reluctantly, Mr. Reid navigates his computer, pondering
briefly before reaching for the office phone.
MR. REID
Hi, Ms. James. Can you send William
to my office, please? Thank you.
He hangs up, offering Anne a reassuring glance.
MR. REID (cont'd)
He'll be on his way soon. It's
preferable if the questions come
directly from me.
ANNE
Thank you.
A distinct knock reverberates through the room.
MR. REID
Come in.
The door slowly swings open, revealing WILLIAM, 14. As he
enters, his steps falter upon noticing Anne's presence.
MR. REID (cont'd)
Hey, William. It's all right. Have a
seat.
William hesitantly closes the door behind him and takes a
seat beside Anne.
MR. REID (cont'd)
This is Ethan's mom, Anne. Anne, this
is William.
Anne manages a faint smile, her eyes expressing a mix of
apprehension and curiosity as William nervously shifts his
gaze between her and Mr. Reid.
MR. REID (cont'd)
I noticed you and Ethan together
during lunch. Were you two close
friends?
William's nervousness becomes evident as he fumbles for
words.
7.
WILLIAM
Um, not really. We mainly just hung
out at the planetarium before it
closed and played video games
sometimes.
Anne seizes the opportunity to engage.
ANNE
What kind of games?
Mr. Reid looks cautiously at Anne, unsure where the
conversation is headed.
WILLIAM
Minecraft mostly. He was really good
at it.
Mr. Reid attempts to regain control of the discussion.
MR. REID
Did he ever mention anything to you
while playing? Anything out of the
ordinary?
The atmosphere tenses as William hesitates before
responding.
WILLIAM
Like if he was planning to bring a
gun to school and hurt people?
Anne and Mr. Reid are taken aback by the blunt question.
MR. REID
Yes, exactly that.
They both hold their breath, awaiting William's response.
WILLIAM
No, we never talked about anything
else besides space or the game.
A collective sigh of relief washes over Mr. Reid and Anne at
William's answer.
MR. REID
Thank you, William. You can head out
now.
William gets up and exits.
8.
MR. REID (cont'd)
I'm sorry, Anne. If there was
anything, I missed it entirely.
ANNE
Me too.
The room lingers in a heavy silence.
ANNE (cont'd)
How long has the planetarium been
closed? Ethan never mentioned it.
MR. REID
It's been shut down for a few months
now. I'm not sure if the school can
afford to repair it.
ANNE
Thank you, Mr. Reid. Your help means
a lot.
Anne rises to leave.
Genres:
["Drama","Mystery"]
Ratings
Scene
5 -
Judgment on Main Street
INT. SCHOOL HALLWAY - DAY
The bell rings, and Anne slowly makes her way through the
hallway. Students whisper and shoot odd looks her way.
She spots a taped off locker that grabs her attention. Anne
stares at it for a moment before continuing on her way.
EXT. SCHOOL PARKING LOT - DAY
Amidst the bustling activity of students heading to and from
their cars, Anne navigates through the parking lot, sensing
the weight of their stares judgment and unease etched on
their faces. She walks past the lot's edge, moving along the
street, leaving the whispers and stares behind her.
EXT. MAIN STREET - DAY
As Anne continues her solitary walk down the street, a
ripple of recognition spreads among the townsfolk. Whispers
and murmurs trail in her wake, eyes filled with a mix of
disdain and surprise fixating on her.
Anne walks past a bus station adorned with a prominent ad
for her realty company. She notices something unusual about
her picture, devil horns and a tail have been added.
9.
She continues on her way, shaking her head at the
mischievous graffiti as she enters a cafe, her gaze fixed
downward.
INT. CAFE - DAY
Anne steps into the cafe, her eyes scanning the room. In the
back, a hand waves discreetly, catching her attention. She
acknowledges with a nod and moves toward the booth at the
rear. There sits NICK WHITE, late 30s, who stands to greet
her.
ANNE
Mr. White?
NICK
Please, call me Nick. Have a seat.
Anne settles into the booth as Nick resumes his place.
NICK (cont'd)
Glad you agreed to this. These
situations tend to attract a lot of
attention.
ANNE
Not entirely sure what I've gotten
myself into. My friend Emily
mentioned you're a PR expert. She
said you might be able to help?
NICK
She's great. I'm sure you're facing a
lot of inquiries.
ANNE
More judgment than curiosity. It's
like waking up in a story I never
knew was being written.
She casts a glance around the room, noticing the sideways
looks fixed on her.
NICK
How long have you been in Beaverton?
ANNE
Around eight months. We lived in New
York City for most of Ethan's life,
but we moved here when I opened my
business. Well, whatever is left of
it now.
10.
NICK
Hopefully, sharing your side will
ease the pressure. That's why I'm
here.
Anne looks perplexed as a WAITRESS approaches.
WAITRESS
What can I get y'all?
NICK
Black coffee for me. Anything for
you, Anne?
The waitress's chipper demeanor shifts upon addressing Anne.
ANNE
Same.
Annoyed, the waitress leaves. Anne turns her attention back
to Nick.
ANNE (cont'd)
I'm sorry. What do you mean by my
side?
NICK
What truly happened.
ANNE
I wish I knew. Or why it unfolded
that way.
NICK
Do you think something was off? I
mean, he entered the school, and...
you know what happened.
ANNE
Ethan was good. He wouldn't hurt
anyone.
NICK
Then why did it happen?
Anne's disbelief clouds her expression.
NICK (cont'd)
Look, I understand. You're in a
vulnerable place right now. My job is
to protect you.
ANNE
By blaming my son?
11.
NICK
If it brings you some sense of
closure, then yes. Because I can see
you're not finding any peace in this
chaos right now.
Anne shakes her head, frustrated.
ANNE
I think I've made a mistake. I'm not
ready for this. I'm sorry for wasting
your time.
Nick nods in understanding, then stands up, leaving a $20
bill on the table. He offers her his card before heading
out.
NICK
Call me when you're ready... I'm on
your side, Anne. Remember that.
Anne watches him leave, sliding his card into her phone card
holder. Confused, the waitress returns, holding two coffees.
WAITRESS
Where did he go?
Anne remains silent.
Unexpectedly, the waitress places the coffee in front of
Anne, spits into it, and cruelly taunts her, drawing stares
from other customers.
WAITRESS (cont'd)
Should've spat on your boy's grave
too!
Suddenly, Officer MARK PATTERSON, mid 40s, stands from a
nearby booth, confronting the waitress.
MARK
Is there a problem here?
The waitress dismisses Mark, but he approaches Anne,
concerned.
MARK (cont'd)
You alright?
ANNE
I'm fine.
MARK
You sure?
12.
ANNE
I said I'm fine!
Mark acknowledges Anne with a solemn nod before returning to
his booth. Anne and Mark sit back to back, each facing
opposite directions.
Mark tries to lighten the mood.
MARK
Coffee's not that great here anyway.
(a beat)
Sure you're okay?
ANNE
I'll manage. It's hard to imagine
things getting worse these days.
Mark struggles to find the right words.
MARK
If it counts for anything, no parent
should have to bury their child.
ANNE
Losing your child is tough, but
knowing your child caused pain to
others, it's a different kind of
sadness.
Mark absorbs her words, contemplating silently.
ANNE (cont'd)
Can I ask you something?
MARK
Sure.
ANNE
Have you ever felt like one day, the
world just decided who you were
without knowing your whole story?
Mark considers her question.
MARK
Can't say that I have.
Anne stands up and heads for the exit. She notices his
police badge with the name "Patterson" and nods in
acknowledgment before leaving.
ANNE
Thanks, Officer, for what it's worth.
13.
Mark sits silently watching her departure.
Genres:
["Drama","Thriller"]
Ratings
Scene
6 -
Descent into Despair
EXT. MAIN STREET - DAY
Anne moves along the street, a singular figure amidst the
flow of pedestrians. The stares and hushed conversations
persist.
EXT. ANNE'S HOUSE - DAY
A 'For Sale By Owner' sign dominates the front yard, a stark
contrast to the once well kept property now overridden by
overgrown grass and wilted flowers. Anne steps toward the
mailbox, a sense of weariness evident in her movements.
INT. ANNE'S LIVING ROOM - DAY
The living room is an avalanche of boxes stacked
haphazardly, embodying the chaotic state of transition. Anne
enters, sorting through a mound of mail with a tinge of
desolation in her eyes.
INT. ANNE'S KITCHEN - DAY
Anne places the mail on the weathered counter, her fingers
lingering on a particular envelope. With a swift motion, she
tears it open, her breath catching as she reads the
contents. The words "regret to inform," "outstanding
mortgage," and "foreclosure process" hit her like a wave.
In disbelief, her emotions boil over and she instinctively
reaches for her phone, hastily dialing a number.
PHONE (V.O.)
Thank you for contacting the
Pennsylvania State Services Helpline.
We regret to inform you that the
current estimated hold time is three
hours and forty five minutes. Your
patience is sincerely appreciated as
we strive to assist you.
She slams the phone down, overwhelmed by a flood of
emotions. Defeated, she collapses to the kitchen floor in a
mixture of frustration and sorrow.
14.
Genres:
["Drama"]
Ratings
Scene
7 -
Echoes of Innocence
INT. ETHAN'S ROOM - DAY
The door creaks open, revealing Anne as she steps into the
room. The space feels frozen in time, Ethan's sanctuary
preserved meticulously.
Movie posters adorn the walls, an array of video games
meticulously arranged, and the bed impeccably made. Anne
shuts the door softly behind her, a sense of reverence in
her movements as she surveys the room.
She approaches Ethan's desk, her hand lingering on the chair
where he would spend hours immersed in homework.
INT. ETHAN'S ROOM - FLASHBACK
Anne leans over Ethan's shoulder, both engrossed in
something on the page, sharing a lighthearted moment,
laughter filling the room.
END FLASHBACK
INT. ETHAN'S ROOM - DAY
Anne moves toward the bed, settling at its edge, her touch
gentle on the comforter.
INT. ETHAN'S ROOM - FLASHBACK
A younger Ethan and Anne lie side by side on the bed, gazing
at the ceiling illuminated by a star projector. Ethan points
to a specific star.
YOUNG ETHAN
What's that one?
ANNE
That's the north star. You follow
that one whenever you're lost.
YOUNG ETHAN
I hope I'm never lost.
END FLASHBACK
INT. ETHAN'S ROOM - DAY
Anne stands, taking one last lingering look around the room.
With a heavy heart, she exits, closing the door behind her.
15.
INT. ANNE'S BEDROOM - NIGHT
The room is a canvas of disarray, strewn with half packed
boxes and remnants of clothes. Anne tosses and turns within
the tumult of her subconscious, trapped in the haunting of a
nightmare.
INTERCUT BETWEEN ANNE'S BEDROOM AND SCHOOL HALLWAY
INT. SCHOOL HALLWAY - DAY
Menacing strides echo down the corridor, a pair of legs
moving with an ominous purpose.
INT. ANNE'S BEDROOM - NIGHT
Anne moves restlessly.
INT. SCHOOL HALLWAY - DAY
Screams reverberate through the halls. As the legs persist,
the glint of the gun barrel chillingly evident.
INT. ANNE'S BEDROOM - NIGHT
Anne's restless movements intensify once again.
INT. SCHOOL HALLWAY - DAY
The legs come to an abrupt halt. The gun barrel rises,
poised with deadly intent. A deafening shot pierces the air.
END INTERCUT
INT. ANNE'S BEDROOM - NIGHT
Anne jolts awake, her heart pounding with the haunting
echoes of the gunshot. She gathers herself, her gaze drawn
to a cherished picture of her and Ethan. The nostalgia of
happier times contrasts painfully with the present.
Steeled by wakefulness, she rises and sits against the bed,
defeated.
16.
Genres:
["Drama","Thriller"]
Ratings
Scene
8 -
Morning Reflections
INT. MARK'S BEDROOM - MORNING
Mark stands before the mirror, buttoning up his shirt. Soft
morning light streams through the window, bathing the room
in a serene glow. He fastens the last button, revealing a
delicate pink friendship bracelet on his wrist.
INT. MARK'S BATHROOM - MORNING
After brushing his teeth, he pauses to stare at the half
full mouthwash bottle in the mirror cabinet, considering its
alcohol content. He takes a deep breath, drinks from the
bottle, holds it momentarily, then spits it out decisively.
INT. MARK'S KITCHEN - MORNING
Mark makes his way to the comforting hum of the coffee
machine, greeted by the enthusiastic presence of his loyal
companion, BRODY, the black lab. He bends down, showering
Brody with affectionate pats, the dog's tail wagging in
delight.
MARK
Good boy, Brody.
Mark's morning routine continues seamlessly as he retrieves
his freshly brewed coffee. He makes his way out to his front
porch to take in the morning.
EXT. MARK'S FRONT PORCH - MORNING
Mark swings open the door, stepping onto the porch with his
morning coffee, accompanied by Brody. A passing car beeps,
it's DRIVER waving a greeting.
DRIVER
Morning, Mark! Rooting for ya
tomorrow!
Mark acknowledges with a nod, his thoughts lingering.
MARK
Appreciate it...
The car drifts away, leaving Mark contemplating the
impending day.
Suddenly, an elderly woman, HELGA, appears on the porch.
HELGA
I hope you saved some for me.
17.
MARK
Morning, Helga. Thanks for coming.
HELGA
It's no trouble. How're you holding
up?
Mark takes a sip, evading the weight of her inquiry.
MARK
Good.
Helga understands, gracefully changing the subject.
HELGA
You're going to do great. She'd be
proud of you.
Mark nods, attempting to dodge the emotion.
MARK
Food's in the cupboard. He did his
business this morning, so he should
be fine.
HELGA
I've had my fair share of furry
friends, Mark.
They share a fleeting smile as Mark sets down his coffee and
moves off.
Genres:
["Drama"]
Ratings
Scene
9 -
Morning Contrasts
EXT. MARKS HOUSE - MORNING
Mark maneuvers his patrol car out of the driveway, heading
off for the day.
INT. MARK'S PATROL CAR - MORNING
Mark cruises through the streets, acknowledging waves from
the locals.
He decides to switch on the radio, and the familiar beat of
"Lean on Me" by Bill Withers fills the car. Mark turns up
the volume, joining in with the lyrics.
MARK
(singing along)
Lean on me, when you're not strong
and I'll be your friend. I'll help
you carry on...
18.
Mark maintains the rhythm of the song as he veers left,
speeding past a sign indicating "YOUNGSTOWN 30 MILES AHEAD."
INT. ANNE'S BEDROOM - MORNING
Anne stirs uneasily in bed as a sudden loud knock startles
her. Slow to rise, she hesitantly prepares herself while the
knock repeats.
INT. ANNE'S LIVING ROOM - MORNING
Approaching the door, the knock persists. Anne peers through
the peephole, relief washing over her as she opens the door
to EMILY, mid 40s.
EMILY
I rushed over as soon as I landed!
ANNE
Hi, Em.
Anne welcomes Emily inside, and they immediately embrace,
sharing a heartfelt hug.
EMILY
New furniture, huh? Cardboard's all
the rage these days.
Anne manages a faint smile, grateful for Emily's attempt to
lighten the atmosphere.
EMILY (cont'd)
I feel terrible for missing it. Did
anyone else show up?
ANNE
It's okay. No one came.
EMILY
What about your mom?
ANNE
What about her?
As they move toward the kitchen, Anne takes the lead, with
Emily trailing behind.
Genres:
["Drama","Thriller"]
Ratings
Scene
10 -
A Morning of Regret and Reflection
INT. ANNE'S KITCHEN - MORNING
Emily offers her explanation, regret lacing her words.
19.
EMILY
I should've been there. He's my
godson. But this trip for work was...
ANNE
It's okay.
Emily meets Anne's gaze, a sense of remorse coloring her
expression.
EMILY
I should've been here, though. This
was more important.
Anne nods, a hint of defeat in her demeanor.
EMILY (cont'd)
Did you meet with Nick?
ANNE
Yeah, I did. I'm still not sure if
I'm ready for everything just yet.
EMILY
It's okay. Take you time. What can I
do for you?
ANNE
I just want my old life back. I want
my son back.
Emily nods and goes in for a hug with Anne.
EMILY
Anne, I am so sorry. It wasn't your
fault.
They release the hug as Anne tries to gather herself.
EMILY (cont'd)
Have you gotten any sort of reason on
why he did it?
Anne shakes her head.
ANNE
I've heard everything. I didn't do
enough for him. I didn't hug him
enough. I let him hang out with the
wrong crowd... I thought I was a good
mom, I truly believed that.
EMILY
You are a good mom.
20.
ANNE
I wasn't good enough. Bringing him
here, I thought it was the right
thing to do.
Anne turns away, feeling defeated.
EMILY
Anne, this wasn't your fault. Give it
time. People will forget.
ANNE
Forget? I can't even remember the
last time I sold a house.
Everything's slipping away, and now
this? Emily, my life feels like it's
crumbling.
A pause hangs between them as Anne gestures to the streets
teeming with people who turned their backs on her.
EMILY
I didn't come to stir things up. I
came to apologize and be by your
side. As your friend.
Anne nods, her guard easing down.
ANNE
I'm sorry. It's just been hard.
EMILY
Have you heard anything from Ray?
Anne shakes her head silently.
EMILY (cont'd)
What about staying with me for a
while? You know, until the house
sells? It might be good for you to
have a change of scenery.
ANNE
It's alright. I still have so much
packing to take care of.
EMILY
Are you absolutely sure?
ANNE
Yes, I'm sure. Thank you, though.
21.
EMILY
Alright. Just know I'm here if you
change your mind or need anything.
Seriously.
Anne nods as Emily heads out but pauses at the doorway.
EMILY (cont'd)
And I don't think you should leave.
You should stay, fight back.
ANNE
And do what?
EMILY
Go back to work. Show everyone this
won't define you.
Emily leaves, leaving Anne contemplating her next move.
Genres:
["Drama"]
Ratings
Scene
11 -
Moments of Reflection
EXT. SAINT FRANCIS CHURCH - DAY
Mark's vehicle smoothly pulls into the parking lot, finding
a secluded spot amidst a few pedestrians strolling past the
church.
INT. MARK'S PATROL CAR - DAY
Mark cuts the engine and begins to unfasten his shirt,
exposing a simple white undershirt beneath.
INT. SAINT FRANCIS CHURCH BASEMENT - DAY
Eleven individuals, men and women, sit in a circle of
chairs, their expressions weighted with the search for
solace within the therapy circle. Mark joins the group, each
face solemn and seeking support.
EJ, mid 40's, speaks as Mark and the others look on.
EJ
And since then, I haven't had a drink
in 56 days. Thank you.
Applause ripples through the circle as EJ takes his seat, a
sense of collective pride in the room. The group's leader,
PAM, takes charge.
PAM
Thank you, EJ. We're very proud of
you.
22.
One of the members pats EJ on the shoulder.
PAM (cont'd)
Anyone else? Mark, how about you? How
are you doing?
Mark fidgets with his friendship bracelet, collecting his
thoughts.
MARK
Good. Busy.
PAM
Anything you'd like to share?
Mark surveys the room, a mix of emotions flickering across
his face.
MARK
Tomorrow will be two weeks. With all
that's been going on, it's a miracle.
I owe that to all of you.
Applause resonates for Mark.
PAM
Well we're very proud of you, Mark.
And I know Melissa would be very
proud of you as well.
Mark nods again, but his expression shifts as Pam mentions
Melissa's name, sending him into a momentary trance.
INTERCUT BETWEEN BASEMENT AND SCHOOL HALLWAY
Genres:
["Drama","Thriller"]
Ratings
Scene
12 -
Fractured Reflections
INT. SCHOOL HALLWAY - DAY
The haunting image of legs maneuvering with a gun barrel
along the corridor, screams piercing the air
INT. SAINT FRANCIS CHURCH BASEMENT - DAY
Mark is lost in a daze, closing his eyes.
INT. SCHOOL HALLWAY - DAY
The gun barrel menacingly targets a terrified TEACHER.
END INTERCUT
23.
INT. SAINT FRANCIS CHURCH BASEMENT - DAY
The abrupt sound of a gunshot startles Mark, which in turn,
the group, halting Pam's words. Mark struggles to regain
composure.
MARK
Excuse me.
He abruptly stands and leaves.
INT. BATHROOM - DAY
Mark splashes water on his face, trying to ground himself.
His gaze meets his reflection in the mirror, lingering on
the friendship bracelet. He inhales deeply, centering
himself before returning.
INT. ANNE'S BEDROOM - DAY
Anne rummages through a cardboard box filled with her
clothes, a myriad of options laid across her bed. She
ponders each choice, weighing them with a thoughtful eye,
seeking the perfect ensemble.
Outside her window, the sounds of carefree children playing
echo softly. Anne turns, drawn to the sight, watching
families traverse the street, their laughter and joy a balm
to her spirit.
Determined, she selects a pair of pants and a shirt, holding
them together with a tentative smile before heading to her
bathroom to prepare for the day.
EXT. BEAVERTON REALTY OFFICE - DAY
Anne strides purposefully to the front door, unlocking it
with a determined click.
INT. BEAVERTON REALTY OFFICE - DAY
The office remains cloaked in darkness and eerie silence.
With a decisive flick, Anne illuminates the space. The air
is stale, untouched for days, desks scattered with abandoned
paperwork and dormant computers.
Anne navigates the deserted office, a snapshot frozen in
time now left deserted.
24.
Her desk, pristine and undisturbed, stands as a monument to
her former routine. Among the serenity, a photo catches her
eye, a tender moment captured between her and Ethan, nestled
in the corner.
Seating herself, Anne attempts to reclaim a sense of
normalcy, trying to immerse herself in the once familiar
surroundings. A conscious effort to reclaim a semblance of
her life.
She casts her gaze around, lifting a stack of papers
containing home listings the remnants of projects she was
ardently working on.
She looks over, her eyes fixed on the blinking red light on
her office phone. A silent hesitation lingers before she
summons the courage to press the speaker button.
PHONE (V.O.)
You have thirty eight new messages.
First new message.
A hesitant, apologetic WOMAN'S VOICE filters through the
speaker.
WOMAN 1 (V.O.)
Hi, yes. This is Fannie from Wood
Street. I just wanted to let you know
that we will be going with another
realty. Um...
The line goes dead. Anne swiftly deletes the message,
bracing herself for the next onslaught.
PHONE (V.O.)
Next new message.
A MAN'S VOICE pierces through, filled with hostility.
MAN 1 (V.O.)
You'll get out of this town if you
know what's good for you.
Anne's fingers tremble as she hurriedly erases the message,
anxiety etching lines of worry on her face.
PHONE (V.O.)
Next new message.
Another WOMAN'S VOICE echoes with venom and accusation.
WOMAN 2 (V.O.)
You should be ashamed of yourself
giving birth to that monster!
25.
Anne's breath catches, her heart races, and in a moment of
overwhelming despair, she screams, swiping the phone off the
desk. It crashes to the floor, shattering into pieces.
Shaking, Anne sinks into her chair, trying to collect the
shattered remnants of her composure.
Genres:
["Drama","Thriller"]
Ratings
Scene
13 -
Tensions on the Road
EXT. ROAD - DAY
Cars weave through the midday traffic, casting fleeting
shadows over the asphalt. Mark's patrol car glides along the
thoroughfare, tailing the procession of vehicles.
INT. MARK'S PATROL CAR - DAY
Mark navigates the hum of traffic, his gaze shifting between
the road and the vehicles around him. A red light halts the
flow, and Mark's trained eye catches a newer car ahead with
a faulty taillight.
As the light transitions to green, Mark, spurred by duty,
flicks on his patrol lights and signals the car ahead to
pull over. The car complies, easing to the roadside.
EXT. ROADSIDE - DAY
Mark steps out of his patrol car and approaches the stopped
vehicle. He inspects the taillight before tapping on the
driver's side window.
INT. RUTH'S CAR DAY
The window rolls down.
MARK
License and registration.
To the surprise of Mark, it's revealed to be Ruth.
RUTH
Good Afternoon, Officer Patterson.
What seems to be the matter?
Mark, taken aback by the unexpected encounter, composes
himself.
MARK
Afternoon, Ruth. Just a busted
taillight.
26.
RUTH
Oh, I've been meaning to fix that.
Seems I always forget.
Mark awkwardly chuckles.
RUTH (cont'd)
Will you still need my information?
MARK
Yes, please.
Ruth rummages through her bag, fishing out the requested
documents and hands them to Mark.
RUTH
That's the information you need, but
don't mind the photo. Bit outdated.
Mark scrutinizes the documents, his focus momentarily
diverted.
RUTH (cont'd)
Anticipating the election debate,
Officer?
Mark continues to scan.
MARK
Yes, I suppose.
RUTH
But probably more eager to tear it
all down, aren't you?
Mark looks at Ruth.
MARK
Pardon me?
RUTH
Well I just meant that showing any
sympathy to Anne Martin or her son
could have consequences.
Mark returns Ruth's documents, his expression clouded with
mixed emotions.
RUTH (cont'd)
Will that be all?
Mark meets Ruth's gaze, a mix of resignation and disdain on
his face.
27.
MARK
Have a nice day, Ruth.
Ruth rolls up her window, departing with an air of pride,
leaving Mark to wrestle with the remnants of their
unsettling exchange as she disappears down the road.
Genres:
["Drama","Thriller"]
Ratings
Scene
14 -
Confrontation in the Kitchen
INT. ANNE'S HOUSE - DAY
Anne walks into the house, sighing as she shuts the door.
She drops her things on the floor and heads directly to the
kitchen.
INT. ANNE'S KITCHEN - DAY
Anne sets her phone on the counter and starts rummaging
through the refrigerator. Suddenly, the phone rings,
startling her. Without checking the caller ID, she answers.
ANNE
Hello?
INTERCUT BETWEEN RAY'S OFFICE AND ANNE'S KITCHEN.
INT. RAY'S OFFICE - DAY
RAY, 40's in his sleek office overlooking New York City, is
taken aback by Anne's unexpected answer..
ANNE (O.S.)
Hello?
RAY
Hi. It's me.
INT. ANNE'S KITCHEN - DAY
Anne freezes, her hand still on the refrigerator door. She
slowly turns away, leaning against the cold metal surface.
ANNE
What do you want?
INT. RAY'S OFFICE - DAY
RAY
I just wanted to check on you, Anne.
Make sure you're okay.
28.
ANNE (O.S.)
Why?
RAY
He was my son too.
INT. ANNE'S KITCHEN - DAY
ANNE
Didn't seem that way.
RAY (O.S.)
Come on, Anne. Can we talk?
ANNE
What's there to talk about? You
abandoned us. You're not even on his
birth certificate anymore.
RAY (O.S.)
You have to understand, my job, it's
complicated...
ANNE
Your job? Try dealing with our son,
my son, being demonized!
Anne moves to the table and takes a seat.
RAY (O.S.)
I was out of the country when your
mom emailed me, told me what
happened.
ANNE
Of course she did.
RAY (O.S.)
I want to help. Privately, if you'll
let me.
ANNE
Why now? You walked out. You have a
new family.
RAY (V.O.)
And I appreciate you keeping us out
of all of this.
29.
Genres:
["Drama"]
Ratings
Scene
15 -
Fractured Resolve
INT. RAY'S OFFICE - DAY
RAY
Do you need help, Anne? I can send
some money.
END INTERCUT
INT. ANNE'S KITCHEN - DAY
Anne shoots a glare at the foreclosure notice.
ANNE
Screw you, Ray. Money can't fix
everything. Thanks for your concern.
She hangs up abruptly and sulks in her chair.
INT. LIVING ROOM - NIGHT
A flickering TV casting shadows across the room. Anne enters
quietly as she tidies up the remnants of Chinese takeout.
INT. KITCHEN - NIGHT
She disposes of the empty containers, her gaze snagging on
the ominous letter from the county. She pauses, then
crumples it up and tosses it into the trash along with the
rest of the containers.
INT. LIVING ROOM - NIGHT
Anne returns, gently draping a blanket over herself before
settling on the couch. Her fingers fiddle with the remote,
skimming through channels in a futile attempt to find
solace.
She halts at a commercial break and then reaches for her
phone, seeking a distraction.
The TV switches to a news channel. The screen divides,
presenting two NEWS ANCHORS, each on one side. GAVIN
BLACKWOOD, leads the conversation.
GAVIN
And we're back live, I'm Gavin
Blackwood.
(MORE)
30.
GAVIN (cont'd)
So almost a month has passed but I
wanted to talk to you, as you are
from the area, what's your take on
the Beaverton school shooting?
NEWS ANCHOR 2
It's a complex issue, isn't it?
GAVIN
Is it? The kid entered the school and
started shooting. Doesn't seem that
complex from where I'm sitting.
NEWS ANCHOR 2
It's complex for the community,
though. Who shoulders the blame? The
school? The mother? The shooter
himself? Perhaps all of the above?
There are numerous factors at play in
such tragic events.
GAVIN
Speaking of the community, Beaverton
was considered one of the safest
counties until this incident. What's
the sentiment there now?
NEWS ANCHOR 2
Fear... Fear of a recurrence. Fear
for their children's safety.
Anne leans in, her attention piqued.
GAVIN
Am I right in saying that the kid
responsible was undoubtedly a
monster?
NEWS ANCHOR 2
Guns don't kill, Gavin. It's the
individuals wielding them that do.
GAVIN
Let's take a call from a listener in
the Beaverton area. Hello, you're on
the air.
The LISTENER's voice crackles through the line.
LISTENER
That shooter can burn in hell for all
I care!
The call abruptly ends.
31.
GAVIN
We'll continue this discussion right
after a brief word from our sponsors.
Anne's face contorts in disgust, her hand slamming the
remote to silence the TV. In a sudden burst of emotion, she
hurls her phone at the screen.
Clutching the pillow like a lifeline, she collapses to the
floor, her fingers trembling as they find Nick's business
card. Her grip tightens around it, a fierce determination
rising within her, her gaze fixated on the phone.
Genres:
["Drama","Thriller"]
Ratings
Scene
16 -
A Mother's Dilemma
EXT. OFFICE BUILDING - MORNING
Amidst the bustle of cars and passersby, we hear a voice.
NICK (V.O.)
Are you absolutely certain about
this?
INT. NICK'S OFFICE - MORNING
Anne sits composed but with an air of apprehension, across
from Nick, his workspace compact yet organized.
ANNE
Yes, I'm sure.
NICK
What brought on this change? What's
different now?
Anne takes a moment to gather her thoughts.
ANNE
I'm tired of the media... of
everyone, painting my son as a
monster.
NICK
And why do you believe otherwise?
ANNE
He was a good boy.
NICK
He walked into a school and took ten
lives, six of them teenagers. It's a
lot to take in.
Anne wrestles with that reality.
32.
ANNE
You didn't know him.
NICK
But did you?
Anne sits back, contemplative and quiet, grappling with that
very question.
NICK (cont'd)
That's how it's going to be. They'll
dig and probe, making Michael Myers
look like the tooth fairy compared to
Ethan. Are you prepared for that?
Anne ponders deeply.
NICK (cont'd)
It's going to be ugly, frustrating...
But they'll pay for it.
Anne, puzzled, leans in.
ANNE
What do you mean by "pay"?
NICK
The mother of a school shooter on
live TV not long after his burial?
You can name your price. CNN. Fox.
Everyone wants that exclusive.
ANNE
This isn't about money. It's about
showing the world Ethan was a good
kid.
NICK
Well, I'm certainly not doing this
for free, and neither should you.
Anne thinks hard.
NICK (cont'd)
What about your husband?
Anne is quick to correct him.
ANNE
Ex.
NICK
Ex-husband. What does he think?
33.
ANNE
He's been out of the picture and
wants to keep it that way.
Nick nods understandingly.
NICK
Those corporate types do tend to keep
their distance.
(a pause)
Look, take the day to think about it.
If this is what you truly want...
Anne interjects.
ANNE
I don't have a choice.
Nick accepts this.
NICK
Then I'll set it up. Stay by your
phone.
Anne hesitantly shakes his hand and heads for the door, but
Nick halts her.
NICK (cont'd)
Anne...
She turns to face him.
NICK (cont'd)
You're doing the right thing.
Anne nods and leaves.
Genres:
["Drama","Thriller"]
Ratings
Scene
17 -
Debate Tensions and Haunting Memories
EXT. CITY BUILDING - AFTERNOON
The lively hum of the city fills the air as cars and people
traverse the streets, the atmosphere charged with
anticipation.
INT. BATHROOM - AFTERNOON
Mark stands by the sink, his expression a mixture of
contemplation and resolve. The distant clamor of people
gathering upstairs seeps through the walls. He closes his
eyes, engrossed in a silent prayer. Upon finishing, he exits
the bathroom.
34.
INT. HALLWAY - AFTERNOON
Stepping into the hallway, Mark collides with Ruth, their
paths intertwining.
RUTH
Seeing me twice in two days, Officer
Patterson? Are you shadowing me now?
Mark cracks a faint smile at her teasing comment.
RUTH (cont'd)
This town needs a leader.
MARK
I know.
Ruth studies Mark for a moment, her gaze assessing him.
RUTH
We'll see about that...
With that cryptic statement, Ruth proceeds down the hall,
leaving Mark to refocus his thoughts.
INT. AUDITORIUM - AFTERNOON
The expansive auditorium fills with an eager audience, each
seat occupied in anticipation of the debate. Two towering
podiums dominate the stage, flanking a central desk where
Mayor Ashford sits.
Ruth assumes her seat in the middle, exchanging nods of
recognition with a few passing attendees.
MAYOR ASHFORD
Good afternoon everyone and welcome.
Tonight we are continuing our debates
for commitment 2023 and we're focused
on a big one, the race for sheriff of
our beloved Beaverton, which up until
recently, was considered one of the
safest places in western
Pennsylvania. Two people have
qualified to run for Sheriff,
including Officer Tom Williams from
Fredericksburg, along with his
challenger Officer Mark Patterson,
from our proud Beaverton police
department. Let's please welcome them
both now.
35.
As Mayor Ashford gestures, Mark and TOM WILLIAMS, the
challenger, stride towards their podiums, engaging in a
brief handshake before facing the expectant crowd.
MAYOR ASHFORD (cont'd)
Gentleman, we have a lot to get to so
lets start with opening statements.
We begin with Officer Williams. You
have sixty seconds.
The audience leans in as Tom begins, his voice resonating
through the room.
TOM
Citizens of Beaverton, I'll cut right
to the chase.
(a beat)
I believed this town was safe, that
the current administration was doing
well. But recent events unveiled a
different truth. Beaverton isn't
safe. The Sheriff's office hasn't
been proactive in preventing crime,
especially the recent tragedy that
unfolded in our midst.
The crowd somber at the mention of the devastating incident.
TOM (cont'd)
Our deputies are scarce; crime isn't
deterred. What does it say when our
own Sheriff's office was late to
intervene in one of the most
appalling shootings in our history?
Mark listens intently, acknowledging the weight of Tom's
accusations.
TOM (cont'd)
I aim to be your Sheriff to bring
change, to make this town secure. You
deserve safety for the taxes you pay.
Before Tom can continue, the buzzer sounds, marking the end
of his time. The audience applauds his impassioned plea..
MAYOR ASHFORD
Officer Patterson, your opening
statement.
Mark takes a deep breath, addressing the expectant crowd,
his demeanor composed yet contemplative.
36.
MARK
Thank you, Mayor. It's an honor to
serve this community. We've
maintained a high morale and our
crime stats are impressive.
However, Mark's attention momentarily wavers as he notices a
hooded YOUNG MAN entering the auditorium, searching for a
seat.
MARK (cont'd)
We've increased our deputy count to
address the growing community's
needs.
His focus shifts back to the hooded young man, a sense of
urgency gripping him.
MARK (cont'd)
We've faced challenges and worked to
restore trust and safety...
Suddenly, Mark's attention is jarred, transported mentally
to a haunting memory.
INTERCUT BETWEEN SCHOOL HALLWAY AND AUDITORIUM
Genres:
["Drama","Thriller"]
Ratings
Scene
18 -
Misjudgment and Decisions
INT. SCHOOL HALLWAY - DAY
Legs advance ominously down a hallway, a gun barrel
following suit.
INT. AUDITORIUM - AFTERNOON
Mark's eyes are fixed on the hooded young man, the crowd
sensing the change in his demeanor.
INT. SCHOOL HALLWAY - DAY
The ominous footsteps advance as the fire alarm blares,
mingled with the terrified screams of teenagers.
INT. AUDITORIUM - AFTERNOON
Mark senses the audience's unease. His attention shifts to
the hooded young man in the corner, who stares back at him.
37.
INT. SCHOOL HALLWAY - DAY
The pair of legs halt, the gun barrel rising steadily. The
ominous click of the gun being cocked echoes in the air,
signifying imminent danger.
END INTERCUT.
INT. AUDITORIUM - AFTERNOON
Suddenly, Mark snaps back to reality. His eyes fixate on the
hooded young man, a surge of alarm flooding over him as the
figure reaches into his pockets and pulls out his phone.
MARK
Get down!
Instinctively, Mark draws his weapon, aiming it at the
hooded figure. Shock and horror grip the onlookers, their
gasps filling the room. With trembling hands, the young man
raises his arms and slowly removes his hood, revealing his
innocence.
Mark quickly realizes his error. He carefully lowers his
weapon, trying to regain control in the chaos. Remorse shows
on his face as he looks around. Finally, he lowers his gun
and rushes off the stage, leaving the crowd confused.
INT. ANNE'S LIVING ROOM - EARLY EVENING
Anne and Emily navigate through the labyrinth of boxes, the
never ending task of packing stretching out before them.
Emily holds up a lamp, sporting a hopeful expression.
EMILY
Is there a genie in here?
ANNE
Afraid not. No genie, no wishes.
EMILY
Trash then?
ANNE
It was Ray's. Definitely trash.
EMILY
Got it. Off to the big trash pile it
goes.
Anne's phone buzzes, interrupting the chore. She answers,
her expression changing with the conversation.
38.
ANNE
Hello? Hey Nick. Tonight? Alright,
I'll be there. Thank you.
She ends the call, contemplating the sudden request. Emily
notices the shift in Anne's demeanor.
EMILY
Everything alright?
Anne turns, her thoughts swirling.
ANNE
They want to do the interview
tonight.
EMILY
Are you going to do it?
ANNE
I think I have to.
EMILY
You don't have to decide now. Maybe
sleep on it?
Anne gears up, her resolve firm.
ANNE
I have to do this. For Ethan. For
myself. Will you be there with me?
EMILY
Absolutely.
Anne heads upstairs to prepare, Emily following closely
behind, offering support.
Genres:
["Drama","Thriller"]
Ratings
Scene
19 -
Exclusive Priorities
EXT. NEWS STUDIO - NIGHT
Traffic speeds along the street in the darkness.
INT. NEWS DESK AREA - NIGHT
Reporters focus on their desks as GAVIN BLACKWOOD, the lead
anchor, strolls through the area, accompanied by TYLER, a
production assistant.
GAVIN
Anything worth my time tonight?
39.
Tyler shuffles through his notes, searching for something
substantial.
TYLER
(finding notes)
Unrest in the Middle East, supply
chain issues in the Atlantic... Oh,
here's something quirky! A dog in
Peru celebrates its 30th birthday,
breaking records as the oldest living
dog.
Gavin gives Tyler a disapproving glance. His phone buzzes in
his pocket, prompting him to check it.
On the screen, a TEXT MESSAGE from Nick White reads, "She's
in for tonight."
ARIA LAWSON, the lead producer, leads a production meeting
with numerous crew members gathered around.
ARIA
We'll start with the Middle East
coverage, then transition to...
Gavin interrupts abruptly, barging into the room.
GAVIN
Cancel everything. I've got her.
Aria and the crew members exchange puzzled looks.
ARIA
Excuse me?
GAVIN
I got her.
ARIA
Who?
40.
GAVIN
The mother.
Aria's face lights up in comprehension. She follows Gavin
out quickly.
INT. NEWS DESK AREA - NIGHT
Gavin, engrossed in his phone, strides through the area
chatting with Aria.
ARIA
Gavin, how on earth did you manage to
get her?
GAVIN
PR guys always play ball for the
right price. Can we ramp this up on
socials? I want this to blow up as
the biggest news clip of the year.
Aria tries to rein him in.
ARIA
Sure. But what's your approach?
GAVIN
Why does it matter? This is the
year's headline, and I scored the
exclusive.
ARIA
Shouldn't we discuss it with Randal
first?
Gavin dismisses the idea with a scoff.
GAVIN
Why? So he can scrap it and spotlight
the world's oldest living dog?
ARIA
People love dogs.
GAVIN
And they love a juicy story. This is
as good as it gets.
Aria disagrees, shaking her head.
ARIA
I think it's risky...
41.
GAVIN
Well, that's why you're in the
control room.
(a beat)
Just make sure the audio is perfect,
and the connection is rock solid.
Every word has to echo across the
globe.
Gavin strides off, leaving Aria with an uneasy expression,
watching him go.
Genres:
["Drama","Thriller"]
Ratings
Scene
20 -
Facing the Spotlight
INT. GREEN ROOM - NIGHT
Anne, with Emily by her side, sits anxiously. Her phone
rings, Nick's face pops up.
EMILY
You okay?
ANNE
Yeah. Let's do this.
A VIDEO CALL flashes on Anne's phone. She answers and Nick
appears on the screen.
NICK
Hey, Anne. Ready for this?
ANNE
As ready as I'll ever be.
Nick notices Emily on the screen.
NICK
Hey, Em. Nice to see you.
EMILY
Make sure she's okay, Nick.
Nick nods in affirmation.
NICK
Relax and be yourself. You got this.
Gavin's eager to chat with you.
Anne hesitates for a moment.
ANNE
Gavin? You mean Gavin Blackwood?
NICK
Yes, that's right. Good luck.
42.
Anne nods, a mix of worry and determination evident as the
call ends. There's a knock, Gavin enters.
ANNE
Hello, Mr. Blackwood.
GAVIN
Hey there, Ms. Martin. How are you
holding up?
ANNE
I'm good. Call me Anne.
GAVIN
Nice to meet you, Anne. This is a
brave step you're taking.
ANNE
It's for my son.
Gavin nods, acknowledging her strength.
GAVIN
He was fortunate to have you.
Anne manages a grateful smile.
GAVIN (cont'd)
I'll make this easy. Just a few
questions, and you tell your story to
the world. I'll be right here guiding
you. Ready?
Anne nods.
GAVIN (cont'd)
Great. Standby for the intro, and
we'll bring you live. Talk soon,
Anne.
Gavin exits. Anne steadies herself for the momentous
conversation
NEWS TITLE SCREEN "Coastal News Network." The news music
sets the tone.
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
A Mother's Voice: The Weight of Tragedy
INT. NEWS STUDIO - NIGHT
Gavin sits poised for the live segment, addressing the
camera.
43.
GAVIN
Good evening, everyone. I'm Gavin
Blackwood, reporting for the Coastal
News Network. Tonight, we have an
exclusive interview with Anne Martin,
the mother connected to the recent
tragic school shooting in Beaverton,
Pennsylvania. Joining us live is
Anne. Good evening, Anne.
The screen presents Gavin and Anne in separate sides of the
news desk.
ANNE
Good evening, Gavin. Thank you for
having me.
Anne's demeanor is a blend of weariness and resilience.
INT. RUTH'S OFFICE - NIGHT
Ruth strides into her office, still clad in the attire she
wore for the assembly. Her handbag thuds onto the couch, and
she calls out with an air of authority.
RUTH
Stanley, can you brew some coffee
please? It's going to be a long
night.
An older male voice, STANLEY, responds promptly..
STANLEY
Coming right up.
Ruth takes her place at the elegant desk adorned with photos
capturing moments of her political prowess. She taps on her
computer, her fingers dancing over the keys, awaiting its
awakening. Simultaneously, her eyes fixate on the TV in the
corner, which she turns on.
STANLEY, in his early 70s, enters the room with a tray
bearing coffee.
Ruth raises a finger to hush him, engrossed in the unfolding
drama on the TV screen. Stanley places the coffee next to
her and turns his attention to the broadcast.
STANLEY (cont'd)
What's she doing on there?
Ruth, fixated on the screen, responds with a tone of
anticipation.
44.
RUTH
Something very stupid.
They both watch, waiting to see how the events unfold.
Genres:
["Drama","Thriller"]
Ratings
Scene
22 -
A Mother's Burden
INT. NEWS STUDIO NIGHT
Gavin sifts through his notes, glancing up at the split
screen that features him and Anne.
GAVIN
It must have been incredibly
challenging. Can you share more about
your experience?
ANNE
My entire life has been upended. The
judgment, the hurtful comments...
it's been a struggle.
Gavin's expression softens as he leans forward.
GAVIN
What kind of things have people been
saying?
Anne's gaze shifts slightly.
ANNE
That my son was a monster. Some even
go so far as to label me a monster
for being his mother. It's a constant
battle.
GAVIN
What was your son like?
ANNE
He was funny, smart, curious. Always
questioned everything.
GAVIN
How about your fondest memory of him?
ANNE
It has to be his first day at summer
space camp. He was in third grade,
and I'll never forget the look on his
face when we arrived. He was so
excited, practically jumping out of
the car.
45.
GAVIN
Do you, deep down, believe your son
was a good boy, despite the tragedy?
Anne's composure wavers for a moment as she struggles to
articulate her thoughts. Emily nods at her, giving her a
hint of confidence.
ANNE
It's... complicated. It's difficult
to express, but yes, deep down, I do
believe he was a good boy.
Before Anne can collect her thoughts, Gavin shifts gears,
catching her off guard with a different line of questioning.
GAVIN
Were there any signs, Ms. Martin?
Signs of trouble, negative
influences, difficulties at home?
Perhaps not enough time spent with
him?
Anne appears momentarily stunned, caught off balance by the
unexpected turn of the conversation.
ANNE
No, nothing of that sort. Being a
single parent presents its
challenges, but...
GAVIN
And in facing those challenges, how
would you characterize your
parenting?
ANNE
I'm not sure I understand the
question.
GAVIN
Would you describe yourself as a good
mother, despite the tragedy your son
has caused?
ANNE
Well, there are days when you wonder
if you could've done more, but
overall, I believe I was a good
mother.
Gavin, unyielding in his pursuit of probing questions, leans
forward, pressing further.
46.
GAVIN
And the rifle? They say it was
registered in your name. Why would a
responsible mother keep such a large
weapon so easily accessible?
Anne hesitates, searching for the right words.
ANNE
It was just my son and me... it used
to be. I kept it for protection, for
emergencies. I needed to have quick
access to it.
Gavin presses on, undeterred by her response.
GAVIN
Regardless, your son committed a
horrific act with that weapon. Do you
feel responsible for what happened,
or do you still consider yourself a
good mother?
Anne's composure falters as she grapples with the unexpected
line of inquiry. The studio falls into a tense silence.
GAVIN (cont'd)
Ms. Martin, moments ago, you spoke
about wanting others to see your son
as a good person. Do you think the
families of the ten victims, six of
whom were teenagers, feel the same
way?
Genres:
["Drama","Thriller"]
Ratings
Scene
23 -
A Night of Vulnerability
INT. PETEY'S PUB - NIGHT
Patrons anxiously watch the TV in the corner, their eyes
fixed on Anne as they await her response.
Mark occupies the secluded corner booth, discreetly
observing the screen along with the others.
INT. RUTH'S OFFICE - NIGHT
Ruth sits in her dimly lit office, fixated on the screen.
Her fingers lightly tap against the armrest of her chair as
she observes Anne's reaction intently.
47.
INT. NEWS STUDIO - NIGHT
Back to the screen between Gavin and Anne. Anne hesitates as
she struggles for words.
ANNE
I... I think...
Anne pauses, attempting to gather her thoughts. Suddenly,
without warning, she removes herself from the desk and
swiftly exits the screen. Gavin, perplexed, tries to regain
control.
GAVIN
Ms. Martin? Ms. Martin?
Gavin's voice echoes in the studio as he realizes Anne's
abrupt departure. The screen collapses into a single frame
on Gavin.
GAVIN (cont'd)
We'll try to reconnect with Ms.
Martin shortly. Please bear with us
as we take a brief break for our
sponsors.
Gavin glances over at Aria, who expresses her disapproval
with a shake of her head.
INT. RUTH'S OFFICE - NIGHT
Ruth takes a contemplative sip of her coffee, her gaze fixed
on the now blank screen.
INT. NEWS STUDIO - NIGHT
Anne storms out while Emily trails behind, attempting to
intervene.
EMILY
Anne! Hold on!
Anne hastily gathers her things, moving frenetically around
the room.
ANNE
I should've never agreed to that!
EMILY
What did you expect would happen?
48.
ANNE
I don't know! Maybe I thought they'd
see Ethan the way I do.
Anne urgently heads towards the door.
EMILY
Where are you going?
Anne exits, leaving Emily stunned, the sound of a car engine
starting and pulling away echoing in the silence.
INT. ANNE'S CAR - NIGHT
Anne drives with urgency, tears streaming down her face,
navigating through traffic, headlights piercing the
darkness.
EXT. HIGHWAY - NIGHT
Anne continues driving, the road stretching ahead into the
distance.
EXT. PETEY'S PUB - NIGHT
Anne pulls into a parking spot at the dimly lit dive bar,
stepping out of her car.
INT. PETEY'S PUB - NIGHT
Collecting herself, Anne enters. The bar is modestly
occupied. Making her way to the counter, Anne takes a seat.
A few patrons shoot curious glances her way.
Over her shoulder, Mark sits in a booth, absently fiddling
with his sobriety coin while sipping water.
The BARTENDER approaches Anne.
BARTENDER
What can I get you?
Anne thinks for a second.
ANNE
Gin. Straight.
BARTENDER
You got it.
49.
As Anne takes a deep breath and settles in, Mark,
recognizing her, strikes up a conversation.
MARK (O.C.)
I've never tried the coffee here. But
I bet it's not great.
Anne maintains her focus ahead.
ANNE
Good thing I'm not getting coffee,
then.
MARK
Yeah, probably a wise choice.
The bartender brings Anne's drink over, and she nods in
thanks. She decides to join Mark, heading to his booth. They
exchange distressed looks, and Mark gestures for her to take
a seat across from him.
MARK (cont'd)
You look like you've had a rough day.
ANNE
You could say that. Or a rough few
weeks.
Mark nods. Anne takes another gulp, almost finishing the
drink. She looks over to the bartender and holds up her
glass, signaling for another one. She turns to Mark.
ANNE (cont'd)
It's Officer Patterson, right?
Mark nods.
MARK
Call me Mark.
ANNE
You really going to let me drink
alone, Mark?
Anne finishes her drink swiftly and signals for another,
glancing at Mark expectantly. He looks at his coin,
signaling his choice.
ANNE (cont'd)
Water it is.
Mark nods with a knowing smirk.
50.
MARK
It's Anne, isn't it?
Anne nods.
MARK (cont'd)
So, what brings you here, Anne? Most
folks at this place are running from
something.
ANNE
Does that mean you're running too?
MARK
I asked first.
Anne has her next drink delivered to her before she starts.
ANNE
Well, I made the brilliant decision
to defend my son on national
television after he killed ten
people. Surprisingly, it didn't go
well.
(a beat)
Your turn.
Mark nods in understanding, fiddling with his coin.
MARK
Thought running for Sheriff was a
good idea, until I ended up pulling a
gun in a crowded room...
Anne's eyes shift to Mark's wrist, noticing a bracelet.
ANNE
I like your bracelet. Did your
daughter make that for you?
Mark shakes his head.
MARK
No kids. My sister Melissa made it.
She used to craft them for her kids.
ANNE
She had a bunch?
MARK
Yeah, you could say that.
ANNE
So you're the cool uncle?
51.
Mark shakes his head.
MARK
No. She was an art teacher.
Anne studies the bracelet and looks up at Mark concerned.
ANNE
Was?
Anne realizes, her expression shifting to understanding.
ANNE (cont'd)
I should probably go.
Anne goes to get up but Mark gently stops her.
MARK
It's okay. Please.
Anne slides back in, feeling a bit awkward, attempting to
break the tension.
ANNE
Ethan was everything to me. He was
all I had, and he was good.
Mark nods in solidarity.
MARK
She was everything to me too.
They share a moment, raising their drinks for a toast.
ANNE
Here's to everything.
MARK
To everything.
They take a sip, settling in for a more comfortable
conversation.
ANNE
What was she like?
Mark reflects for a moment.
MARK
She was funny. Always had a joke,
even in the toughest moments.
(a beat)
And she smiled a lot, even when there
wasn't much reason to.
52.
Anne smiles warmly at Mark.
MARK (cont'd)
She made a deal with me, said if she
earned her teaching license, I had to
get sober. So, she got it. I've been
trying to keep my end of the bargain
ever since.
Anne's smile reflects warmth and understanding.
ANNE
Ethan was always so curious. From the
day he was born, he wanted to know
how everything worked, why things
were the way they were.
(a beat)
When he was little, he loved stars. I
got him a machine that made our
ceiling look like the night sky.
Every night, we'd lie in bed, staring
at the stars. He'd ask about each
one, and I'd try my best to answer,
even if I didn't know...
Anne takes a sip of her drink.
ANNE (cont'd)
Did you ever want kids?
Mark reflects for a moment, his expression distant.
MARK
Sometimes... My sister and I grew up
without parents. Dad passed away when
I was five and our mom left us with
grandma a few months later and never
came back. Next time I saw her, I was
forty one and I arrested her for drug
possession. Turns out, being a drug
dealer was more her choice than being
a mother.
Anne takes another sip.
ANNE
My ex-husband and I lived in the
city. He left us two years after
Ethan was born. We decided to
surprise him at his office for a
little birthday party, only to catch
him with his secretary on his desk.
That was the moment I knew it was
over. His money lost its grip on me.
(MORE)
53.
ANNE (cont'd)
I filed for divorce and moved here a
few months back to be closer to
family.
MARK
You still have family in Beaverton?
ANNE
Not much anymore...
MARK
And what's Ethan's father think of
all this?
ANNE
Same thing he wanted out of the
divorce. No ties. No custody. Just
writing a check to erase it all..
(a beat)
Part of the agreement was changing
Ethan's last name to my maiden name.
It's as if he never existed.
Anne takes another sip.
MARK
What did Ethan think of him?
ANNE
He didn't see him until he was ten.
Anne's soft voice triggers a vivid flashback.
Genres:
["Drama"]
Ratings
Scene
24 -
A Game of Missed Connections
EXT. LITTLE LEAGUE FIELD - DAY
The bustling park is filled with families, eagerly watching
their children play baseball.
Anne sits in the stands, passionately cheering for ten year
old Ethan positioned in the outfield.
The batter swings, sending the ball soaring towards Ethan,
who unfortunately misses the catch. Anne's side sighs in
disappointment, while the opposing team celebrates the
batter rounding the bases.
ANNE (V.O.)
He showed up at one of his little
league games. It was only because
Ethan's team was playing against his
new son's team.
54.
Anne glances over at the other side and spots Ray,
enthusiastically cheering. Their eyes briefly meet, but Ray
quickly looks away.
As the teams return, Ethan, with a defeated expression,
walks in. One of his TEAMMATES playfully scolds him.
TEAMMATE
Way to go, starboy!
Ethan throws his glove against the fence, looking up at
Anne, who offers reassurance.
ANNE
(mouthing to Ethan)
It's okay.
Ethan, deflated, gathers his belongings as everyone
disperses. On the opposing side, Ray swiftly exits with his
son, the game's hero.
Ethan emerges from the dugout, scanning the surroundings in
search of Ray.
ANNE (V.O.)
Ethan looked for him after the game,
but he'd already left. After that
day, he never brought him up again.
Ethan gazes up at Anne, his disappointment evident as she
shakes her head, signaling the conclusion of the flashback.
Genres:
["Drama"]
Ratings
Scene
25 -
Memories and Connections
INT. PETEY'S PUB - NIGHT
They take a second as Mark can see Anne is struggling.
MARK
I'm sorry if my questions made you
uncomfortable. Just part of the job,
I suppose.
Mark chuckles.
ANNE
Let's play a game.
MARK
What kind of game?
ANNE
Tell me something about Melissa.
Something nice. And I'll tell you
something nice about Ethan.
(MORE)
55.
ANNE (cont'd)
We keep going until we run out of
nice things to say.
Mark nods, reflecting for a moment.
MARK
One time, she was supposed to drive
me to school, but I decided I didn't
want to go, so I hid her keys. When
she realized they were missing, she
made me help her find them. Trouble
was, I couldn't remember where I put
them. She was furious, but looking
back, it was hilarious.
ANNE
Did you manage to find them
eventually?
MARK
Yeah, we did. I say "we," but I
actually hid them in the toilet bowl.
ANNE
Typical boy.
Mark nods knowingly.
MARK
She got me back, though. First week
on the job, she hid my keys, and I
ended up late to the station. Got an
earful from the Sergeant, but it was
a good payback.
Anne laughs as she takes a sip.
ANNE
That's a really good one.
MARK
Your turn.
Anne takes a deep breath, contemplating.
ANNE
So, a few years ago, I was showing
this house on Brady's Run Road. A
beautiful old Victorian.
Mark interjects.
MARK
1708?
56.
Anne nods.
ANNE
Yes, the old Walton house.
MARK
That was my great grandmother's
place. Well, before we came along.
ANNE
Did the steps creak back then too?
MARK
Always.
Anne smiles, delving into her story.
ANNE
Ethan always insisted on joining me
whenever I showed that house, whether
it was a private tour or an open
house. I could never figure out why.
(a beat)
So, one cold day, I was heading out
for a showing there, and I told him
he couldn't come.
He was persistent without giving a
reason. I said no and promised to be
back. As I'm preparing to leave, he
sneaks into the back of my car,
wrapped up in a blanket. I drive
off..
MARK
You had no clue he was in there?
ANNE
Not a clue. I arrive, do the showing,
and when I return, I find the back
door of my car wide open. I start
searching, and suddenly, I hear his
voice calling for me. I follow the
sound and discover him in the
basement, surrounded by a litter of
kittens. Turns out, every time we
went there, he would feed the cat and
ensure the kittens were taken care
of.
MARK
Sounds like he was a great kid.
57.
ANNE
He truly was. I wish everyone knew
that about him.
Anne and Mark seize a moment for themselves, the ambience of
the bar shifting as the lights flicker.
ANNE (cont'd)
Well thank you for that.
MARK
No, thank you. It's been good.
ANNE
Agreed.
Anne glances around, noticing the emptied out pub.
ANNE (cont'd)
Looks like it's time to head out,
huh?
MARK
Seems that way.
Anne reaches for her phone.
ANNE
Ah, damn. My phone's dead. Do you
have Uber?
MARK
I don't. I've got this new app,
Sober. Haven't tried it yet, but
tonight might be the night.
Anne smirks.
ANNE
Nice try. I'll just charge up at the
bar and get one.
She rises swiftly, stumbling slightly, and Mark reaches out
to steady her.
MARK
Gotcha.
They share a moment before leaving together.
58.
Genres:
["Drama","Character Study"]
Ratings
Scene
26 -
A Ride of Reflection
EXT. PETEY'S PUB - NIGHT
Mark assists Anne down the stairs, and she notices a patrol
car.
ANNE
I don't have to get in the back of
that, do I?
MARK
Depends. Say the alphabet backwards
for me.
He grins, holding the door open for her, and she chuckles as
she settles into the passenger seat.
INT. MARK'S PATROL CAR - NIGHT
Anne settles into the front seat as Mark enters and closes
the door. Anne's curious gaze roams over the array of
controls.
ANNE
Which one's for the siren?
Mark glances at her with a smirk. In a swift move, he flicks
on the siren and lights briefly, eliciting a smile from Anne
before they set off.
INT. MARK'S PATROL CAR - NIGHT
Mark steers down the highway, occasionally glancing at Anne
lost in thought beside him.
ANNE
What do you think, Mark?
MARK
What do I think about what?
ANNE
Am I foolish for standing up for my
son?
MARK
You're just being a mother. I wish
mine had fought for me too.
Anne nods.
59.
ANNE
I just wish people could see him the
way I did.
Mark switches on the radio. "Lean on Me" fills the car,
capturing Anne's attention.
ANNE (cont'd)
Great song.
MARK
It was Melissa's favorite.
Anne catches on, and Mark turns up the volume.
ANNE
Lean on me.
MARK
When you're not strong.
ANNE
And I'll be your friend.
ANNE AND MARK
I'll help you carry on...
They share a smile, the song enveloping them as they drive.
Genres:
["Drama","Character Study"]
Ratings
Scene
27 -
A Night of Care and Reflection
EXT. ANNE'S HOUSE - NIGHT
Mark pulls into the driveway and switches off the car.
INT. MARK'S PATROL CAR - NIGHT
Mark tries to rouse Anne gently.
MARK
Anne? You okay?
He tries to nudge her awake, but she remains fast asleep. He
shakes his head playfully and steps out.
EXT. ANNE'S HOUSE - NIGHT
Mark carries Anne toward her door, searching for her keys
and finding them in her jacket. He unlocks the door and
maneuvers inside, carrying her.
60.
INT. ANNE'S HOUSE - NIGHT
Mark closes the door behind him, surveying the boxes and
clutter dominating the space. Spotting a staircase, he
carefully ascends with Anne.
INT. ANNE'S BEDROOM - NIGHT
Mark carefully lays Anne down on her bed, arranging pillows
and tucking her in. He looks around for extra blankets,
covering her up before sitting on the edge.
MARK
Anything you need, Anne?
Anne begins to snore loudly, and Mark nods to himself.
As he starts to get up, Anne's hand wraps around his wrist.
He gently removes it, noticing the friendship bracelet on
his wrist and hers.
After a moment of contemplation, he unties the bracelet from
his wrist, placing it on her bedside table.
Before clicking off the light, he plugs in her phone to
charge and quietly exits, closing the door behind him.
INT. ANNE'S HOUSE - NIGHT
As Mark heads out, he passes a door that piques his
interest. He pauses, backtracking to open it.
INT. ETHAN'S ROOM - NIGHT
Mark steps into Ethan's room, feeling the weight of the
space. Trophies and posters surround him, drawing his
attention to the bed, perfectly preserved.
Lost in thought, he finds himself drifting off for a moment.
INTERCUT BETWEEN SCHOOL AND ETHAN'S ROOM
INT. SCHOOL HALLWAY - DAY
Amidst the blaring school fire alarm and scattered backpacks
and papers cluttering the hallway, a young man's legs move
slowly forward, a sizable gun's barrel tracking in line with
his knees.
61.
INT. ETHAN'S ROOM - NIGHT
Mark's attention fixates on a dangling fragment of a sleeve
peeking out from the closet. He steps closer, extending his
hand to touch it.
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
A Badge of Regret
INT. SCHOOL HALLWAY - DAY
Teenager's screams echo as the legs continue their ominous
stroll with the gun.
END INTERCUT
INT. ETHAN'S ROOM - NIGHT
Mark, shaken, snaps out of his reverie, quickly exiting the
room.
INT. ANNE'S LIVING ROOM - NIGHT
Mark descends the stairs and leaves the house
EXT. ANNE'S HOUSE - NIGHT
Mark quickly gets into his car, pulling out of the driveway
and driving off.
EXT. POLICE STATION - MORNING
Officers bustle in and out while patrol cars begin their
day's rounds.
INT. POLICE STATION - MORNING
The station hums with activity as officers and personnel
prep for the day.
Ruth strides confidently alongside Tom Williams and Mayor
Ashford, who guides Tom through the station.
MAYOR ASHFORD
Here are some of our holding cells.
With the city's growth, we're looking
to expand these soon.
TOM
That's promising.
62.
They veer toward an office labeled "Sheriff's Office."
MAYOR ASHFORD
And this will be your space.
Mayor Ashford opens the door, ushering Tom and Ruth inside
before following and shutting the door.
INT. SHERIFF'S OFFICE - MORNING
They take in the office surroundings. Ruth gestures toward
the chair.
RUTH
Why don't you take a seat, see if it
suits you?
Tom nods, moving to the chair and settling in. He eases into
it, getting a feel for the space.
RUTH (cont'd)
Well?
TOM
Feels right.
They share a nod, all smiling in agreement.
EXT. POLICE STATION - MORNING
A patrol car glides into the parking lot.
INT. MARK'S PATROL CAR - MORNING
Mark parks and switches off the engine. He pauses,
collecting himself, glancing in the rear-view mirror. With
closed eyes, he makes a sign of the cross.
EXT. POLICE STATION - MORNING
Mark steps out of his car, moving slowly towards the
entrance. Officers observe him with a mix of confusion and
concern, pausing their activities to watch his unusual
demeanor.
63.
INT. POLICE STATION - MORNING
As Mark enters, he nods to everyone, trying to maintain a
facade of normalcy. The officers stop in their tracks,
gazing at him as he passes by.
An OFFICER attempts to intercept him.
OFFICER
Patterson? What brings you here?
Mark feigns composure.
MARK
It's Thursday. Get that case file on
my desk this afternoon.
He looks toward the office door, finding it open with Tom
sitting in the chair. Skirting the officer's attempt to
chat, he heads inside.
INT. SHERIFF'S OFFICE - MORNING
Mark barges in, freezing as he finds Tom seated in the
Sheriff's chair, accompanied by Mayor Ashford and Ruth.
MARK
What the hell is happening here?
Ruth responds, the others struggling for words.
RUTH
What's it look like, Mark?
MARK
You tell me...
MAYOR ASHFORD
Close the door.
Mayor Ashford gestures for Mark to sit, standing behind Ruth
while Tom remains at the desk.
MAYOR ASHFORD (cont'd)
How are you feeling today?
MARK
I was fine until I walked in here.
MAYOR ASHFORD
And yesterday?
Mark hesitates, uncertain how to respond.
64.
MAYOR ASHFORD (cont'd)
You do realize that your actions were
unacceptable, don't you? It's
fortunate the family isn't pressing
charges, and we managed to keep it
out of the news because the last
thing we need is...
Mark interjects forcefully.
MARK
More bad press for your reelection,
right!?
Tom steps in, trying to reason.
TOM
You could've seriously hurt someone!
MARK
Yeah, you're lucky it wasn't you!
The room erupts into a heated argument among Mayor Ashford,
Tom, and Mark. Ruth stands up, swiftly putting a stop to the
commotion.
RUTH
Gentlemen!
They pause, focusing on Ruth.
RUTH (cont'd)
This was meant to be a civil meeting.
Let's keep it that way.
The men compose themselves momentarily.
RUTH (cont'd)
Mayor, Mr. Williams, take a moment.
Mayor Ashford and Tom exchange a glance, nodding. Tom rises,
and they exit, leaving Ruth and Mark alone.
RUTH (cont'd)
You know this isn't easy, Mr.
Patterson. You've been a great asset
to this community. Up until recently,
at least.
Mark shakes his head, puzzled.
MARK
What do you mean?
65.
RUTH
You know what I'm talking about.
MARK
Yesterday? It was a suspicious
character, that's all. We're all on
high alert, aren't we?
RUTH
I'm not talking about that, Mark...
I'm talking about what happened on
the day of the tragedy.
Mark starts to fidget nervously.
RUTH (cont'd)
Do you know what this is?
Mark tries to regain himself.
MARK
No.
Ruth hands Mark a file. He opens it and reads, his shock
evident in his silence.
RUTH (O.S.)
The ballistics report is back. It's
mostly Ethan's, but there's one
detail that's rather intriguing.
Mark feels defeated.
RUTH
Now, I see two ways out. One, a quiet
resignation. Everyone understands
given yesterday's events.
(a beat)
Or two, tomorrow's headlines.
Mark is taken aback.
MARK
Why are you doing this?
Ruth stands up, pacing slowly.
RUTH
Because it's what's best for the
community.
MARK
Not too me... To her.
66.
Ruth halts and locks eyes with Mark.
RUTH
Anne Martin and her son, they ruined
everything.
Mark nods, placing the file on the desk. He removes his
badge and gun, leaving them behind.
RUTH (cont'd)
I appreciate your cooperation, Mr.
Patterson.
Mark moves to leave, but Ruth's voice halts him.
RUTH (cont'd)
Oh, and one more thing... Does she
know yet?
Mark glances back at Ruth, then turns toward the door. With
a silent resolve, he walks to the exit, meeting Tom and
Mayor Ashford there. Without uttering a word, he passes
them.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
A Step Towards Confrontation
INT. POLICE STATION - MORNING
Mark rushes through the station. He pushes open the door,
departing for the last time.
INT. ANNE'S BEDROOM - AFTERNOON
Groggy from the night before, Anne slowly awakens, squinting
against the bright sunlight streaming through the window.
She surveys her surroundings. Spotting her phone plugged in,
she checks the time and shakes her head in dismay.
Disoriented, she inadvertently places her phone on top of a
bracelet. After moving the phone and noticing the bracelet,
she lifts it up, revealing the words "LEAN ON ME"
intricately designed within the letters. A faint smile
crosses her lips as she slides it onto her wrist, fastening
it with a tie and admiring its presence.
INT. ANNE'S KITCHEN - AFTERNOON
Struggling to shake off the drowsiness, Anne shuffles into
the kitchen. She starts the coffee machine and rummages
through the refrigerator.
67.
Seated with her coffee and a bowl of cereal, she
absentmindedly eats, her gaze repeatedly drawn to the
bracelet adorning her wrist. Each bite draws her attention.
Finishing her meal, she pushes her bowl aside and ascends
the stairs.
EXT. POLICE STATION - AFTERNOON
Anne pulls her car into the parking lot, her demeanor a mix
of determination and apprehension.
INT. ANNE'S CAR - AFTERNOON
She takes a moment to compose herself, eyeing the bustling
activity outside. A glance at her bracelet brings a small
smile before she steps out confidently.
EXT. POLICE STATION - AFTERNOON
Anne strides through the parking lot, her attire reflecting
a poised yet troubled state.
INT. POLICE STATION - AFTERNOON
Approaching the front desk, Anne tries to mask her
uncertainty as she speaks to the OFFICER who appears
preoccupied.
OFFICER
Can I help you?
Looking up, the officer recognizes Anne instantly.
ANNE
Is Officer Patterson available?
The officer gestures casually.
OFFICER
Back and too the left.
As Anne navigates the station, the officers' curious glances
unnerve her. Spotting the Sheriff's office, she hesitates
before knocking.
Genres:
["Drama"]
Ratings
Scene
30 -
Confrontation at the Sheriff's Office
INT. SHERIFF'S OFFICE - AFTERNOON
Tom, Ruth, and the tension filled atmosphere inside catch
Anne by surprise as Tom invites her in.
68.
TOM
Come in.
Anne enters hesitantly, the unexpected encounter with Ruth
intensifying the discomfort.
TOM (cont'd)
Ms. Martin. How can we help you?
Anne tries to compose herself, but her focus shifts to Ruth,
whose gaze unnerves her.
ANNE
I, uh, I'm looking for Officer
Patterson?
An uneasy silence hangs between Anne and Ruth, their eyes
locked.
ANNE (cont'd)
I'm sorry. I think I'm in the wrong
place.
Anne moves to leave but is halted by Ruth's voice.
RUTH
Wait, Anne. Come back.
Reluctantly, Anne reenters.
RUTH (cont'd)
Close the door.
Anne shuts the door slowly.
RUTH (cont'd)
What brings you here?
Struggling to find words, Anne stammers.
ANNE
I just wanted to check if Officer
Patterson was in.
RUTH
Mark, you mean?
Anne nods weakly. Ruth approaches her slowly.
RUTH (cont'd)
He's no longer with the department as
of this morning.
Anne nods again, feeling the weight of Ruth's presence.
69.
RUTH (cont'd)
He didn't tell you that?
ANNE
No...
Ruth nods.
RUTH
He didn't mention anything else?
Anne deflates as Ruth starts pacing around her.
RUTH (cont'd)
You know, Anne, strangely, we owe you
a thank you. Without your
intervention, we'd still have Mr.
Patterson jeopardizing our children's
safety.
ANNE
What did you do to him?
RUTH
Me? Nothing. It seems he stumbled
into more trouble, thanks to you.
Ruth fixes a stern gaze on Anne.
ANNE
Where is he?
RUTH
That's not our concern anymore.
Anne's gaze drifts to the desk along with Mark's badge, gun,
and sobriety token.
RUTH (cont'd)
You had no business moving here,
Anne. You should've stayed with your
husband.
ANNE
Why? So you could wine and dine in
the city with all of his rich
friends, funding your crazy ideas for
this worthless town?
RUTH
I built this damn town, Anne! Ethan
grew up fatherless.
(MORE)
70.
RUTH (cont'd)
It's your fault you couldn't hold it
together there, and it's your fault
for all this chaos here!
ANNE
Oh, go to hell!
RUTH
Now is that any way to speak to your
mother?
Anne pauses, shaking her head in disbelief. Tom stares at
Ruth, clearly shocked by what he had just learned.
ANNE
You're not my mother. You made damn
sure of that.
Ruth smirks and walks away from Anne.
RUTH
Stay away from Mark. He's not the man
you believe him to be.
Anne absorbs Ruth's words, glancing briefly at Tom. She
processes the information and swiftly exits, slamming the
door behind her as Ruth gazes out the window.
TOM
Isn't your last name Walters?
Ruth's gaze stays fixed outside.
RUTH
It wasn't always...
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Frantic Rescue
EXT. POLICE STATION - AFTERNOON
Anne storms out of the building, heading straight to her
car. She gets in and drives off hastily, her departure
marked by the screech of tires and a cloud of dust.
INT. ANNE'S CAR - AFTERNOON
Anne navigates through traffic erratically, dialing her
phone only to get Emily's voicemail.
EMILY (V.O.)
Hi, this is Emily. Leave a message.
Disappointed, she disconnects the call, her focus returning
to the road.
71.
EXT. PETEY'S PUB - AFTERNOON
Anne screeches into the parking lot, the engine still
rumbling as she flings open the car door, racing toward the
building.
INT. PETEY'S PUB - AFTERNOON
Breathless, Anne approaches the bartender urgently.
ANNE
Hey!
(a beat)
Have you seen a man, possibly in a
police uniform, come in here?
The bartender turns, responding promptly.
BARTENDER
Yeah, he was causing trouble, got
kicked out about half an hour ago.
ANNE
Where did he go?
BARTENDER
Wasn't my turn to watch him.
Anne's frustration erupts, her hand slamming onto the bar.
INT. ANNE'S CAR - AFTERNOON
As she drives slowly through a rough neighborhood, she
notices a patrol car hidden in an alley. Looking through the
windshield, she sees Mark slumped over in the driver's seat,
motionless.
ANNE
Damn it.
EXT. ALLEY - AFTERNOON
Anne stops and dashes across the street, urgency in every
stride.
She races to the patrol car, discovering a disheveled Mark
slumped in the driver's seat. Anne opens the door; bottles
clatter out as Mark tumbles halfway.
ANNE
Mark? Can you hear me?
72.
Mark drifts in and out of coherence, barely responsive.
Panic sets in as Anne calls for help.
ANNE (cont'd)
Help!
Unable to find aid, Anne settles Mark back into the car. She
attempts entry at a locked door, pounding to no avail.
Frustrated, she returns to the car and wrestles Mark's limp
body from the front to the backseat, a struggle against his
dead weight.
INT. MARK'S PATROL CAR - AFTERNOON
Finally, she hoists herself into the driver's seat of Mark's
patrol car, spotting the keys on the floor.
She starts the engine, searching for the siren amidst the
array of buttons, activating it as she throws the car into
reverse.
EXT. ALLEY - AFTERNOON
Anne reverses the patrol car, then swiftly maneuvers onto
the road, accelerating in drive.
EXT. ROAD - AFTERNOON
The patrol car streaks through traffic, lights flashing and
siren blaring, vehicles parting to make way.
INT. MARK'S PATROL CAR - AFTERNOON
Anne steals a glance at the rear-view mirror, her voice
quivering.
ANNE
Mark. Stay with me!
She continues to drive at breakneck speed, fighting against
time.
EXT. HOSPITAL - AFTERNOON
Anne screeches into the parking lot, the patrol car jerking
to a halt. With urgency, she heads straight for the
Emergency section, the bustle of people coming and going
around her.
73.
She parks haphazardly, leaping out and hurrying to the
backseat of the patrol car. Alone, she wrestles Mark's
unresponsive body from the car, struggling against his
weight.
INT. EMERGENCY ROOM LOBBY - AFTERNOON
She lugs him through the sliding doors.
ANNE
Help! Somebody, please!
The room buzzes with uncertainty as Anne's plea echoes.
A moment of recognition sweeps through the crowd as they
realize who she is and who she's brought.
ANNE (cont'd)
Please!
Amidst the uncertainty, two NURSES dash forward, taking
charge as they swiftly relieve Anne of Mark's weight.
ANNE (cont'd)
Please help him! He might have
alcohol poisoning.
The nurses nod in acknowledgment, signaling for a gurney.
With practiced efficiency, they transfer Mark onto it,
wheeling him away. Anne tries to follow but is halted by one
of the nurses.
NURSE
We've got this. Wait here, please.
Defeated, Anne watches as they whisk Mark down the hall, her
shoulders slumping as she turns away.
Genres:
["Drama","Thriller"]
Ratings
Scene
32 -
A Mother's Anxiety
INT. WAITING ROOM - AFTERNOON
Anne occupies a corner, solitary in her worry, her gaze
fixed on the sluggish movement of the clock. Leaning against
the wall, she waits in an almost unbearable silence.
Anne notices a YOUNG BOY with a cast on his arm, his MOTHER
comforting him nearby.
An OLD COUPLE enters, finding their seats. Overwhelmed by
the emotions swirling around her, Anne begins to drift off.
74.
INTERCUT BETWEEN WAITING ROOM AND EMERGENCY ROOM
INT. EMERGENCY ROOM - DAY
Chaos reigns as gurneys whisk shooting victims through the
room.
INT. WAITING ROOM - AFTERNOON
Anne's gaze shifts to a COUPLE in tears.
INT. EMERGENCY ROOM - DAY
Frantic PARENTS rush around, their hands stained with blood.
INT. WAITING ROOM - AFTERNOON
Anne's attention snaps towards the door.
INT. EMERGENCY ROOM - DAY
Anne bursts in, scanning the chaos, searching desperately
for her son amidst the turmoil. She frantically looks
around, unable to locate him.
ANNE
Ethan!
END INTERCUT
INT. WAITING ROOM - AFTERNOON
Restlessly, her eyes dart around the room until they settle
on the clock, which has advanced several hours since she
first arrived. In the distance, a coffee pot catches her
attention.
At the dispenser, she grabs a cup, filling it with a meager
amount. Taking a sip, she recoils at the taste, grimacing
slightly.
Approaching the front desk, Anne addresses the ATTENDANT,
who seems absorbed in their task.
ANNE
Hi, excuse me?
The attendant doesn't look up.
75.
ANNE (cont'd)
Hello?
The attendant, annoyed, glances up.
ATTENDANT
Yes?
ANNE
I was wondering if there's any update
on Mr. Patterson?
The attendant annoyance grows.
ATTENDANT
The doctor will inform you if there's
news.
Anne's attempt at conversation falters.
ANNE
And the coffee's run out.
The attendant scoffs, dismissing Anne's concern, and resumes
their work.
ATTENDANT
Wait for the doctor's update.
Anne slumps back into her seat, defeated. The attendant
shoots her a glare as he picks up the phone and dials 911.
Her eyes wander and land on the friendship bracelet around
her wrist. She idly fidgets with it.
A DOCTOR enters and scans the room, then looks at his
clipboard.
DOCTOR
Looking for Anne?
Anne nods, her worry palpable.
ANNE
Yes, that's me.
DOCTOR
You brought him in, didn't you?
ANNE
Yes. How is he?
76.
DOCTOR
He's stable, a bit groggy. It was
crucial you got him here when you
did. He's been asking for you.
Anne hurries to keep pace with the Doctor as they make their
way towards the hospital room.
Genres:
["Drama","Thriller"]
Ratings
Scene
33 -
Revelations in Recovery
INT. HOSPITAL ROOM - AFTERNOON
The room is softly lit by medical monitors, casting a gentle
glow over Mark as he lies connected to the rhythmic beeping
of machines.
Anne steps in quietly, trailed by the Doctor. She stands at
the foot of the bed, her gaze fixed on Mark, who appears
fragile.
DOCTOR
The alcohol poisoning was severe. We
took necessary measures. He's stable
now.
ANNE
Thank you, Doctor.
DOCTOR
I'll give you two a minute.
The Doctor nods, acknowledging her gratitude, and exits,
leaving Anne alone with Mark. She approaches him, taking his
hand in hers, a mixture of relief and concern in her eyes.
Mark stirs, slowly regaining consciousness, and manages a
faint smile upon seeing Anne.
MARK
Is the coffee any good in this place?
Anne chuckles softly.
ANNE
You won't find any. Plus hospital
coffee's a universal disappointment.
Mark surveys the room, a tinge of remorse in his expression.
MARK
Seems like I messed up pretty bad,
huh?
ANNE
We'll get through this, Mark.
77.
Anne grabs a chair nearby, positioning it beside Mark's bed
and holding his hand firmly.
MARK
How'd you find me?
ANNE
I went to the station, you know? They
told me you'd resigned this morning.
When I saw your things there, I
thought maybe you'd just left. I
drove around for a bit, trying to
find you.
Mark nods silently, acknowledging her words.
MARK
Are you running away too?
ANNE
Seems like it, doesn't it?
Anne smiles at Mark.
ANNE (cont'd)
Mark, I'm truly sorry for all of
this. Sometimes I can't help but
think if we hadn't met, you'd still
be on the right path.
Mark lies there, lost in contemplation.
MARK
It's not on you... This would've
happened regardless.
Anne gazes at him, puzzled.
ANNE
What do you mean?
Mark draws in a deep breath, retracting his hand from Anne's
grasp.
MARK
I've been lying, Anne. To you, to
everyone.
ANNE
I don't understand.
78.
MARK
Back at the diner, when you asked if
I ever felt like the world decided
who I was without knowing my story...
I lied. The world did, a long time
ago.
Mark meets Anne's gaze, his eyes carrying the weight of an
untold truth.
MARK (cont'd)
The day of the shooting... when they
called for all units to respond... I
didn't arrive with everyone else.
INTERCUT BETWEEN HOSPITAL ROOM, MARK'S LIVING ROOM, PATROL
CAR, and SCHOOL HALLWAY.
Genres:
["Drama","Mystery"]
Ratings
Scene
34 -
A Desperate Response
INT. MARK'S LIVING ROOM - DAY
Mark lies sprawled on the couch, unconscious, an empty vodka
bottle on the coffee table.
MARK (V.O.)
I blacked out from drinking the night
before. I was in a daze until the
radio call. I might have still been
drunk, for all I remember.
The radio crackles urgently.
RADIO (O.S.)
All units, we have a 1065 in progress
at Beaverton Area High School. Shots
fired. Repeat, shots fired.
Mark jolts awake, disoriented and clearly inebriated. Still
in his police uniform, he struggles to gather himself.
MARK (V.O.)
I was in no state to respond.
Mark fumbles, grabbing his utility belt and keys, navigating
through scattered dog toys as he heads to the door.
INT. HOSPITAL ROOM - AFTERNOON
Mark's distant gaze suggests a flurry of memories flooding
back. Anne watches, waiting for him to continue, a mixture
of concern and empathy etched on her face.
79.
INT. MARK'S PATROL CAR - DAY
Mark maneuvers the car with a blurred perspective, the world
swirling around him.
MARK (V.O.)
I was so late by the time I arrived.
My mind was foggy. I parked my
vehicle away from the others.
Protocol dictates we don't enter
until the area is secured. I had no
clue what was happening.
EXT. SCHOOL PARKING LOT - DAY
Mark pulls the car into a secluded area, away from the
cluster of patrol vehicles. He steps out, attempting to
compose himself, but the struggle is evident.
With a determined yet unsteady hand, he holsters his weapon
and enters the school from a rear entrance.
INT. SCHOOL HALLWAY - DAY
Mark steps cautiously into the school corridor, his grip
tight on the gun, trying to maintain focus despite his
compromised condition.
The shrill sound of the fire alarm echoes through the halls,
disorienting him further.
INT. HOSPITAL ROOM - AFTERNOON
Anne observes Mark, her gaze fixed on his changing vitals.
The heart rate monitor shows a slight increase, indicating
his rising emotional distress.
INT. SCHOOL HALLWAY - DAY
Mark presses on, navigating through the chaos. Suddenly, a
single gunshot reverberates through the corridor, causing
him to quicken his pace.
MARK (V.O.)
Everything was a blur. Instinct drove
me forward. And then... I saw him.
The tension in the hallway amplifies as Mark rushes towards
the source of the sound.
80.
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Shattered Trust
INT. HOSPITAL ROOM - AFTERNOON
Anne's eyes widen, registering the intense narrative
unfolding in her mind.
INT. SCHOOL HALLWAY - DAY
Mark appears a few paces behind ETHAN, whose figure is
cloaked in black attire, sporting a ski mask and wielding a
hefty firearm.
MARK
Drop the weapon! Hands up, now!
Ethan freezes, then slowly pivots toward Mark. Mark's eyes
dart down, and horror engulfs him as he recognizes the
victim at Ethan's feet, identifiable by the pink friendship
bracelet.
Rage and fear surge through Mark, his grip tightening on the
gun. Ethan begins a deliberate advance, his weapon lowering
along with his menacing stride.
MARK (cont'd)
I said drop it!
Mark retreats, the firearm still trained on Ethan, who
ominously continues his approach.
Suddenly, Ethan halts, the tension peaking as he maneuvers
his weapon, aiming it at Mark. The deafening echo of a
gunshot shatters the chaos.
END INTERCUT
INT. HOSPITAL ROOM - AFTERNOON
Mark lies there, vulnerable and tearful, as Anne sits beside
him, shock etched across her face.
MARK
After that, I... I took the bracelet
and I just left. I drove around for
what felt like hours. When I finally
returned to the scene, it was all
over.
(a beat)
The detectives had taken charge of
the investigation by then. I'm sure
you must have spoken with enough of
them.
81.
Mark, on the brink of tears, turns to Anne, his remorse
palpable.
MARK (cont'd)
I am so sorry, Anne.
ANNE
Why are you telling me this?
MARK
The ballistics report... it showed a
different bullet. Not from Ethan's
gun. From mine. I needed you to
know... from me.
Anne rises abruptly, her emotions raw. She gazes at Mark and
then down at the friendship bracelet adorning her wrist,
torn by frustration.
ANNE
This belongs to you.
With a surge of emotion, Anne rips off the bracelet, leaving
Mark overwhelmed with grief and regret.
Genres:
["Drama","Thriller"]
Ratings
Scene
36 -
Fractured Bonds
INT. HOSPITAL HALLWAY - AFTERNOON
Anne, holding back tears, hastily navigates through the
corridor. Rounding a corner, she's met by the two POLICE
OFFICERS.
OFFICER 1
Excuse me, Anne Martin?
Anne, bewildered and trying to compose herself, responds.
ANNE
Yes?
The other officer steps forward and places Anne under
arrest, delivering the Miranda rights.
OFFICER 2
You're under arrest for the suspicion
of theft of a police vehicle. You
have the right to remain silent.
Anything you say can and will be used
against you in a court of law.
(a beat)
You have the right to an attorney. If
you cannot afford an attorney, one
will be provided for you.
(MORE)
82.
OFFICER 2 (cont'd)
Do you understand these rights as I
have read them to you?
Shaken, Anne walks alongside the officers, her hands
restrained in cuffs.
EXT. HOSPITAL - DAY
The officers walk Anne out the doors to their patrol car. A
few people look at her as they get her in and drive off.
INT. PATROL CAR - DAY
Anne looks out the window as they car drives through the
town. On lookers watch and see Anne with shock as the car
moves along.
INT. JAIL CELL - EVENING
Anne, sullen and withdrawn, sits huddled in a corner,
surrounded by cold, unyielding bars.
Anne tries to reminisces of Ethan in a good way.
INTERCUT BETWEEN JAIL CELL, SPACE CAMP, AND SCHOOL HALLWAY.
INT. SPACE CAMP - DAY
Anne observes Ethan bursting out of the car, his face alive
with excitement as he rushes towards the camp's entrance.
But another thought clouds her mind.
INT. SCHOOL HALLWAY - DAY
Screams of teenagers reverberate as ominous footsteps echo
down the hallway, carrying the weight of a gun.
Attempting to focus on happier memories, Anne's mind returns
to...
INT. SPACE CAMP - DAY
Ethan's finger pointing at the stars, his wonder and awe
palpable.
Yet, once more, tragedy intrudes.
83.
INT. SCHOOL HALLWAY - DAY
The gun's barrel rises amidst chaos, its ominous presence
foreboding. A deafening shot shatters the air.
END INTERCUT.
INT. JAIL CELL - EVENING
The buzzer blares, jolting Anne from her thoughts. Officers
return, peering into the cell.
OFFICER
Martin, you're outta here.
Anne, taken aback, rises and heads for the cell's exit.
EXT. POLICE STATION - NIGHT
The door swings open, and Anne steps out. A surprise awaits
her as she faces Ruth, who spins around, locking eyes with
Anne.
ANNE
What the hell are you doing here?
RUTH
What's it look like? Bailing my
daughter out from this mess.
Anne nods, irritated.
RUTH (cont'd)
Let's grab a bite. You look like you
haven't eaten in days.
Ruth heads to her car, assuming Anne will follow. But Anne
remains rooted to the spot, her emotions churning.
RUTH (cont'd)
Well come on now.
Anne stands there, fighting back tears.
ANNE
Why did you let this happen to him?
RUTH
Because he killed my grandson. Now
get in the car.
Puzzled, Ruth retraces her steps toward Anne.
84.
RUTH (cont'd)
Come on, Anne. We'll hash this out
later. Let's just get in the damn
car.
Ruth reaches out to comfort Anne, but Anne recoils.
ANNE
Don't touch me!
Ruth staggers back, stunned.
ANNE (cont'd)
You don't just waltz in and out when
it suits you to be a mother. You made
your choice long ago that I wasn't
worth your time. Ethan wasn't worth
your time. That this town was the
only thing worth your time.
RUTH
I came from nothing! I had to fight
for everything I have, and I wanted
to give it all to you when I'm gone!
Can't you understand that?
ANNE
I didn't want a town! I wanted a
mother. Someone who loved me, who
cared about me.
RUTH
So I missed a few birthdays. That
doesn't mean I didn't care about you.
ANNE
You turned your back on us the moment
we arrived, didn't you? Because my
rich ex-husband wanted nothing to do
with us. With your precious town!
RUTH
You threw it all away, Anne! You were
given a chance of a lifetime. You and
Ethan could've had a whole different
life.
ANNE
Well, excuse the hell out of me for
not being you! It was your choice to
look the other way while Dad cheated
on you just to cash in on his life
insurance!
(MORE)
85.
ANNE (cont'd)
I may be everything you're not, but I
didn't have a say in any of this.
Just like I didn't choose for Ethan
to walk into that school and never
walk out again!
RUTH
And whose fault is that?
Anne locks eyes with Ruth in an unyielding stare.
RUTH (cont'd)
In the end, we can fix this. I can
fix this. But I need you focused, no
distractions.
Anne scoffs.
ANNE
So that's what they are to you?
Mark's a distraction. Ethan's a
distraction!?
RUTH
Look where we stand now? I just
bailed you out of jail and your
son...
Anne halts Ruth with a sharp glare.
ANNE
What about my son?
Ruth hesitates, weighing her words.
ANNE (cont'd)
All I ever wanted, was to be the
mother you couldn't be. To spend my
life doing what was right by me and
my son.
RUTH
And where did that get you?
ANNE
I've been more a mother to Ethan in
the last week than you have been mine
my entire life...
RUTH
Just get in the car, Anne.
ANNE
Thanks, Mom.
86.
Anne strides off into the darkness, her emotions restrained.
Ruth tries to call out, but her voice fades in the night.
RUTH
Anne. Come back. Anne!
Anne disappears into the dark streets, leaving Ruth behind.
Genres:
["Drama","Family","Crime"]
Ratings
Scene
37 -
Celestial Reflections
INT. ANNE'S LIVING ROOM - NIGHT
Anne enters, shutting the door behind her. The room is
enveloped in darkness as she sinks to the floor.
Struggling to compose herself, she surveys the room, her
mind whirring with possibilities. A glance reveals an empty
box. With resolve, she grabs it and ascends the stairs.
INT. ETHAN'S ROOM - NIGHT
Anne pushes the door open, stepping into Ethan's sanctuary.
The box finds its place as she takes in the space, her
movements deliberate.
Her fingers delicately trace the desk's surface. An instinct
pulls her toward the closet, where a frayed piece of sleeve
captures her attention. Softly, she extends her hand,
emotions teetering on the edge.
Overwhelmed by emotion, she forcefully swings open the
closet, angrily flinging the hanging clothes in a fit of
frustration.
Storming to the walls, she tears posters down with a
vengeance, each rip echoing her inner turmoil.
Spotting one of his baseball bats, she seizes it, swinging
at the dresser with force, shattering it to pieces.
Wildly swinging the bat, she knocks items off their places,
sending them crashing to the ground. Sheets fly as she rips
the covers off the bed.
ANNE
Why did you do this to me!?
Exhausted, she collapses onto the floor, breathless and
drained, her body limp with despair.
87.
INT. ETHAN'S ROOM - NIGHT
Coming to, she inadvertently nudges something beneath the
bed. Curiosity piqued, she reaches, retrieving the star
machine. Sitting on the floor, she switches it on, filling
the room with a celestial glow, stars dancing across the
ceiling.
A bittersweet smile adorns her face as she fixates on the
brightest star, immersed in its luminance. She carefully
positions the machine on the bed, then settles into the
chair at his desk, where she starts penning her thoughts on
the loose sheets of paper she discovers.
INT. HOSPITAL ROOM - MORNING
Mark lies in bed, gradually roused from sleep by the
rhythmic beeping of the vital monitor. A NURSE attends to
his IV, gently stirring him awake.
NURSE
Morning, Mark. How're you feeling?
Mark tries to gather his thoughts, his voice groggy.
MARK
Hungry.
The nurse offers a warm smile.
NURSE
I'm sure you are. We'll sort that out
soon. The doctor will swing by
shortly.
She departs, leaving Mark to survey his surroundings, taking
stock of the medical equipment tethering him to the room.
He locates the TV remote and flicks on the screen, the news
murmuring in the background. His gaze drifts to the bedside
table, where a friendship bracelet catches his eye.
The Doctor arrives.
DOCTOR
Morning, Mr. Patterson. How are we
feeling today?
MARK
I think I'm alright.
88.
DOCTOR
You'll feel a bit weak for a bit, but
you'll bounce back. Lucky you made it
in when you did. You were in pretty
rough shape.
Mark nods, a tinge of embarrassment coloring his expression.
MARK
Thank you, Doctor.
The doctor nods in acknowledgment, moving to check on Mark's
condition.
DOCTOR
We'll have you out of here soon. Just
relax and let us know if you need
anything.
Mark nods in understanding as the doctor exits the room.
Suddenly, the local news broadcast on the TV catches Mark's
attention.
DAVID
(on TV)
Today marks a new chapter for
Beaverton as the incoming Sheriff
takes the oath of office, defeating
local Beaverton Officer, Mark
Patterson.
Mark switches off the TV, a mix of relief and regret
flickering in his eyes. He shifts his gaze to the bedside
table, where the friendship bracelet lies.
Genres:
["Drama","Family","Tragedy"]
Ratings
Scene
38 -
Unopened Door
EXT. ANNE'S HOUSE - DAY
Mark and Brody walk up to Anne's house. The realty sign has
disappeared, and the yard looks neat and tidy compared to
before.
He takes a deep breath, clutching a small tin of coffee, and
proceeds towards the front door with Brody by his side.
Before knocking, he hesitates, his hand poised midair,
wavering for a moment before finally tapping on the door.
INT. ANNE'S LIVING ROOM - DAY
Anne tapes up another box, the sound muffled by the knock at
the door. She glances toward the entrance, pausing her
packing.
89.
Approaching cautiously, she peers through the peephole and
sees Mark standing outside.
She stands still, uncertain whether to open the door or not.
INTERCUT BETWEEN INSIDE ANNE'S LIVING ROOM AND OUTSIDE
ANNE'S
HOUSE
EXT. ANNE'S HOUSE - DAY
Mark waits, glancing around to ensure there's no one else
nearby. His gaze catches a glimpse of a mirror through the
window, revealing Anne standing at the door.
MARK
Anne, I just wanted to thank you. I
know it doesn't change anything, but
I'm truly sorry.
INT. ANNE'S LIVING ROOM - DAY
Anne remains at the door, her hand hovering uncertainty by
her side.
EXT. ANNE'S HOUSE - DAY
Mark glances back at the door, mirroring Anne's position,
his hand gently resting on the door.
MARK
I never wanted any of this. I know
you believed in him. But she believed
in me too. That matters.
He lingers for a moment longer before placing the coffee tin
by the door next to a CERTIFIED WHITE ENVELOPE.
MARK (cont'd)
Here's to everything.
With a lingering glance back, he starts walking down the
street with Brody faithfully at his side.
END INTERCUT
90.
Genres:
["Drama","Romance"]
Ratings
Scene
39 -
Reflections of Loss and Hope
INT. ANNE'S LIVING ROOM - DAY
Anne moves away from the door and watches Mark's retreating
figure through the window. She then returns to the front
door.
EXT. ANNE'S HOUSE - DAY
Anne cautiously cracks open the door, observing Mark's
departure. As she watches, her gaze drifts downward,
catching sight of the coffee tin. She picks it up and finds
a note attached. Unfolding the note, she reads it.
MARK (V.O.)
Just in case you can't find a decent
cup of coffee anywhere.
Anne smiles softly, lifting her eyes to see Mark walking
away.
Glancing backward, she notices the white envelope on the
ground. Stooping down, she retrieves it, taking it inside
before gently closing the door behind her.
INT. ANNE'S KITCHEN - DAY
Anne walks in and sets the coffee tin on the counter.
Curiously, she opens the white envelope and pulls out a
letter. A check falls out as she opens the letter and begins
to read.
ANNE (O.S.)
Here's your cut. Hope it helps. Nick.
She bends down and picks up the check that is written out in
her name for ten thousand dollars. Amazed, she smiles and
looks up to the sky in thanks.
EXT. CEMETERY - DAY
Mark walks alongside Brody among the rows of gravestones,
the quiet solemnity of the cemetery enveloping them.
Coming to a stop before a familiar marker, Melissa's, Mark
pauses, a flood of emotions crossing his face. He stands
there for a moment.
Finally, he lowers himself to the ground, settling next to
the stone, as though in the company of Melissa herself.
91.
MARK
Remember that one time? You were so
determined to get me to school, and I
played hide and seek with your keys?
(a beat)
We both searched, but I'd hidden them
too well.
He smiles at the memory before growing more solemn.
MARK (cont'd)
I messed up, big time. I wish you
were here to tell me it's gonna be
okay...
(a beat)
I let you down, didn't keep my
promise. I'm sorry for lying. I'm
sorry for not being who you thought I
was.
He turns to Brody, sharing his heartache.
MARK (cont'd)
People died because of me. Innocent
people. That's on my conscience.
(a beat)
But losing you, that's the hardest
part. I don't know how to navigate
without you... But I'll try. I
promise that much.
Mark delicately takes the friendship bracelet from his
pocket, pressing a gentle kiss on it before placing it
beside the tombstone. He begins to sing a rendition of "Lean
on Me" by Bill Withers.
MARK (cont'd)
For it won't be long. Till I'm gonna
need somebody to lean on.
Brody extends a comforting gesture, easing the weight of the
moment. The instrumental of the song echoes around them.
Mark taps the headstone affectionately before rising. As he
walks away with Brody, the inscription on the headstone
comes into view: "Art is not what you see, but what you make
others see."
SUPER: ONE MONTH LATER
92.
Genres:
["Drama"]
Ratings
Scene
40 -
Echoes of Sorrow
INT. SCHOOL HALLWAY - DAY
The school bell echoes through the bustling hallway as
students flock to their classes.
INT. GUIDANCE COUNSELOR'S OFFICE - DAY
The instrumental of the song continues to echoes.
Mr. Reid sits behind his desk, sifting through paperwork.
The SECRETARY enters, carrying a certified envelope.
SECRETARY
Mail's here.
She hands the envelope to Mr. Reid and leaves. He carefully
opens it, extracting a letter, and begins to read its
contents.
INTERCUT AMONG GUIDANCE COUNSELOR'S OFFICE, OUTSIDE CAFE,
ANNE (V.O.)
Where do I even start? This hasn't
been easy. Not for me, not for this
school, not for this town.
EXT. CAFE - DAY
A stack of newspapers cascades gracefully onto the cafe
doorstep. The bold headline captures attention: "A LETTER
FROM A MOTHER." Intrigued hands eagerly snatch up their
copies.
ANNE (V.O.)
But if there's one thing I've
learned, it's that things can change.
Things will get better.
INT. SHERIFF'S OFFICE - DAY
Tom sits in his chair behind the desk, his expression heavy
as he unfolds the letter.
ANNE (V.O.)
My son, Ethan, he caused a horror, a
tragedy that's left a permanent scar.
(MORE)
93.
ANNE (V.O.) (cont'd)
I know that. I know that ten families
had to say goodbye to their loved
ones, most of them just innocent
kids. And for that pain, that loss, I
am deeply sorry.
Genres:
["Drama","Mystery"]
Ratings
Scene
41 -
Echoes of Grief and Innocence
INT. RUTH'S OFFICE - DAY
Ruth sits on a sizable couch, the weight of the letter
palpable as she reads through its contents.
ANNE (V.O.)
But I had to bury someone too. My
little boy. I had to lay to rest the
little boy who witnessed my lowest
moments and cherished my best. I had
to bid farewell to the little boy
who'd spend nights questioning the
mysteries of the universe.
At the stir of commotion outside, she rises from her seat.
Stepping over to the window, she gazes outside.
EXT. BUS STATION - DAY
A fresh white poster replaces Anne's old, graffiti covered
one. On it, two bold black words stand out: "BE KIND."
INT. RAY'S LIVING ROOM - DAY
Ray sits in a chair, absorbed in the heartfelt words of the
letter as TWO YOUNG CHILDREN play with toys nearby.
ANNE (V.O.)
I had to bury the little boy who fell
off his bike, scraped his knees, just
like any other kid. I had to say
goodbye to the little boy who struck
out at his little league game, just
like any other kid.
Ray's WIFE enters the room and notices him engrossed in the
letter's contents.
ANNE (V.O.) (CONT'D)
I had to mourn the little boy who'd
beg for two dollars, running after
the ice cream truck, just like any
other kid.
94.
Genres:
["Drama"]
Ratings
Scene
42 -
Letters of Healing
INT. NICK'S OFFICE - DAY
Nick sits at his desk, solemnly engrossed in the letter's
words.
ANNE (V.O.)
I wasn't a flawless parent. No one
is. But Ethan was just a boy, like
any other. He lost his way somewhere.
I can't pinpoint when or where. All I
do know is that the day I laid Ethan
to rest, a part of me was buried
alongside him.
INT. NEWS DESK AREA - DAY
Gavin sits beside a box containing his belongings, engrossed
in the heartfelt message conveyed in the letter.
ANNE (V.O.)
I only wish people could grasp that
the Ethan who entered that school
wasn't the Ethan I knew. The Ethan I
knew was gentle. He was
compassionate. He had a vibrant sense
of humor.
EXT. REHAB CENTER - DAY
Mark perches on the steps, absorbing every word of the
letter, his emotions stirred.
ANNE (V.O.)
Healing begins with forgiveness, and
I want you all to know that I offer
my forgiveness. In return, as our
community unites in the aftermath of
this tragedy, my sole request is
this, forgive Ethan.
EXT. CITY STREETS - DAY
Folks on the streets, some with newspapers, others on their
phones, all caught up in reading the heartfelt letter.
ANNE (V.O.)
Not for the actions that defined his
last moments. But for the essence of
who he was, truly... A kindhearted
boy who lost his way.
95.
INT. GUIDANCE COUNSELOR'S OFFICE - DAY
Mr. Reid remains engrossed in the letter's contents.
ANNE (V.O.)
A donation, made in Ethan's memory,
has been gifted to the school with
the hope of reviving the planetarium
so others can look up to the stars
and never lose their way. It's what
Ethan would've wished for.
Mr. Reid momentarily halts his reading, glancing back into
the envelope. His eyes widen as he withdraws a check for ten
thousand dollars.
END INTERCUT
INT. BEAVERTON REALTY OFFICE - EVENING
Anne sits at her desk looking over some papers.
ANNE (V.O.)
For a while, I was lost. I considered
running away, like I've done before.
But I realized staying put was the
only way to heal us all. Now, like
Ethan, I look at the stars. Not to
escape, but to rebuild.
The office phone rings, catching her off guard. She smiles
as she picks it up.