SEVENTY TIMES SEVEN
Written By: Scott Green
FORGIVENESS HAS NO LIMITS!
Scott Green
601.870.4811 [email protected]
This screenplay may not be used or reproduced in any part for any purpose
without the expressed written permission of the author.
FADE IN:
EXT. EARLY MORNING - PRESENT DAY
Clouds drift across a pale sky. The sun peeks over the
horizon. Birds sing into the stillness of a crisp morning.
No music. Just nature.
EXT. SEAN’S HOME - EARLY MORNING
The CAMERA PANS DOWN from the treetops to a modest but
elegant home tucked inside a quiet suburban neighborhood.
INT. SEAN’S LIVING ROOM - DAY
A Keurig Coffee Maker pours its black magic into a large
mug. SEAN (40s, white, calm presence) pours the coffee into
a BLACK THERMOS. We never see his face in this scene,
either back of head, or body and hands. A happy dog wags
his tail by Sean’s feet, waiting patiently. Sean walks over
to his laptop. He tosses a treat to the dog, gives him a
gentle head-pat, then settles at the desk. He sips from the
thermos and stares at the screen. On the laptop, a single
sentence:
‘Recovering from the trauma of abuse and forgiving your
abusers is a silent struggle far more common than we often
admit.’
Close-up on hands from behind Sean: Sean places the thermos
down, places his hands over the keyboard, hesitates for
just a moment, then starts typing. As he types, we read and
hear his voice-over (V.O.):
SEAN (V.O.)
...We smile in public. We offer hugs and
handshakes to each other...but beneath the
surface are hidden wounds and buried secrets
we swore we’d never tell.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
2 -
Echoes of the Past
EXT. NEW HOPE ASSEMBLY - DAY
A modern, Mega Church stands alone alongside a busy
highway, surrounded by clean cut open fields.
INT. PASTOR JOSEPH’S OFFICE - DAY
The same BLACK THERMOS, worn but dependable, sits on a
side table in front of a large desk. A hand grabs the
thermos and pulls it out of frame. PASTOR JOSEPH ABLES
(50s, warm friendly face), as shown on a nameplate, leans
forward, concerned.
PASTOR JOSEPH
I’m sorry about the loss of your mother. She
was... an interesting person.
SEAN
That’s one way of saying it.
PASTOR JOSEPH
I remember there were...some issues between
you two, but do you really believe that
she... hated you?
Sean pauses slightly before answering. The CAMERA SLOWLY
SWINGS AROUND from behind Pastor Joseph, revealing SEAN
GRAYSON, weary but composed.
SEAN (confident)
Absolutely.
PASTOR JOSEPH
What about your sister?
Did she hate her too?
SEAN
No. They had their differences,
but they were very close.
PASTOR JOSEPH
So how does a mother love one child—
and hate the other?
Sean hesitates, pondering the question.
SEAN
I asked that same question for years.
It wasn’t until recently, when the pieces
started to fit, that it finally made sense.
PASTOR JOSEPH
What did? What pieces?
SEAN
Things my dad and sister told me
over the years; trying to justify her
behavior. Now it adds up.
PASTOR JOSEPH
How? Tell me about that.
Sean exhales. The answer is heavy. He takes another sip
from his thermos.
SEAN
Before I was born, they were a happy
family—Mom, Dad, and my sister. Then I
came along... And everything changed.
Pastor Joseph picks up a notebook, quietly listening.
SEAN
Mom had just recovered from a miscarriage—
after falling off a horse.
Sean turns his head toward the window. CAMERA PANS OUT THE
OFFICE WINDOW to an open field.
EXT. OPEN FIELD - DAY
A young woman (J’NET GREYSON: mid-20s, radiant and
confident) rides a horse across the grassy expanse, wind in
her hair, joyful.
SEAN (V.O.)
She loved that horse. And not even a
miscarriage could keep her from riding it.
MONTAGE - OPENING CREDITS BEGIN:
J’net rides freely across a vast, sun-drenched field. Her
laughter rises in the wind. The horse kicks up dust beneath
a clear Carolina sky. TITLE CREDITS fill the screen—soft,
elegant typography over golden light and motion.
END MONTAGE - OPENING CREDITS.
EXT. HORSE FARM - DAY
CHARLIE (50s, kindly, Black, in work clothes) steps out of
the barn, wiping his hands on a rag. He squints toward the
field, smiling as J’NET reins her horse in with practiced
ease.
SUPERIMPOSE: BASED ON A TRUE STORY
SUPERIMPOSE: NORTH CAROLINA. SEPTEMBER, 1968
CHARLIE
Afternoon, Miss J'net,
Welcome back! It’s been a while.
J'net dismounts smoothly, grinning
J'net
Thank you, Charlie. Yes, it
has. How’ve you been?
CHARLIE
Just fine, but you gave me
a real scare when you fell.
J'net
I’m glad you were there to help me.
CHARLIE
Aw, you’re like family, I see you
more than my own sisters.
She chuckles, pats her horse affectionately.
J'NET
Here... (handing him the reins)
I’m off to cook Ray’s favorite
dinner. Today’s our anniversary.
CHARLIE
Well, Happy Anniversary. Tell
Mr. Ray I said hello. I listen to
him on the radio all the time.
J'net (smiling)
Will do...Thank you, Charlie, see you later.
J'net heads toward her car, keys jingling in her hand.
Charlie watches her for a beat, smiling, then turns and
gently leads the horse back into the barn.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
3 -
A Warm Evening Preparation
EXT. GREYSON FAMILY HOME - DAY
A modest family home in the middle of the suburbs. The
sound of a KITCHEN TIMER goes off.
CUT TO:
INT. GREYSON KITCHEN - DAY
The CAMERA PANS DOWN to a bubbling POT ROAST in the oven.
J’NET rushes in, turns the timer off, throws on oven mitts,
and pulls the roast out. The doorbell RINGS.
J’net (calling out)
RENEE! IT’S DARLENE. CAN YOU
GET THE DOOR? PLEASE?
INT. GREYSON LIVING ROOM - DAY (CONTINUOUS)
RENEE
OKEY!
RENEE, (5 years old, wise beyond her years) jumps up from
her toys and dashes to the door, flinging it open. DARLENE
(mid-20s, always made-up), J'net’s best friend, steps
inside, smiling warmly.
DARLENE
Hey there, Munchkin! Ready for a
sleepover? Chrissy's got all kinds
of new birthday toys to play with.
RENEE
Can I bring my talking Barbie?
DARLENE
Of course, honey. Where’s Mommie?
J’NET (O.S.)
(calling out) IN THE KITCHEN!
INT. GREYSON KITCHEN - DAY(CONTINUOUS)
J’net is rinsing a dish as Darlene walks in, sniffing the
air appreciatively.
DARLENE
Mmmm, smells incredible. Whatcha’ cookin’?
J’NET
Ray’s favorite; pot roast, baby carrots,
and homemade mashed potatoes with gravy.
And for dessert... strawberry cheesecake.
She dries her hands and takes a puff from a cigarette
resting in an ashtray.
DARLENE (teasing)
Dinner, dessert... and maybe
a little midnight snack?
J’NET (laughing)
Dinner’s just the warm-up.
I’m gonna ask him about the job.
DARLENE
That better be a good cheesecake.
Darlene laughs, and J’net glances at the clock.
J’NET
Ooo, God, it's getting late — he should
be home any minute now.
She stubs out the cigarette and yanks off her apron.
DARLENE
OK, I'll grab Renee and let you two
lovebirds, enjoy your evening. Good luck.
J’NET
All her things are packed by the front door.
Thank you, Darlene. I owe you one.
Renee runs in, clutching her talking Barbie.
RENEE
I got my Barbie.
DARLENE
Okay, come on, Munchkin, let’s go!
J’NET (calling out)
WAIT, give mommy a hug first.
Renee drops her Barbie and runs into J'net's arms.
J’NET
I’ll pick you up after school tomorrow.
Be good for Ms. Darlene, and play
nice with Chrissy, OK?
RENEE (nodding)
I will, Mommy.
J’NET (kissing her forehead)
Bye, honey.
Darlene takes Renee’s hand and leads her toward the door.
DARLENE (winking)
Don’t do anything I wouldn’t do...
but if you do, I want details.
J’net laughs and waves at the door as they leave. She turns
and glances over the set table, confirming it’s ready,
smiles, then crosses to the mirror, smoothing her hair.
Genres:
["Drama","Family"]
Ratings
Scene
4 -
A Heartfelt Departure
EXT. SUBURBAN NEIGHBORHOOD - DUSK.
A single car drives down a quiet street. A pop song plays
faintly from the radio.
Radio Announcer: (V.O.)
It’s 6 p.m., and you’re listening to
WSOC Radio 930. Stay tuned for the
latest news, sports, and weather…
The car pulls into the driveway of the Greyson home as
Darlene and Renee emerge.
EXT. GREYSON HOME - FRONT YARD - DUSK
RAY, (mid-30s, business man), steps out, holding a floral
bouquet.
RENEE
DADDY!
Renee races to him. He bends down, scooping her into a hug.
RAY
Hey, Muffin! Where are you off to?
RENEE
Ms. Darlene’s house! I’m gonna
play with Chrissy!
RAY
Well, thank you, Darlene.
DARLENE
Of course! You two deserve
a night to yourselves.
RAY
Sounds like J'net thought of everything.
DARLENE (to Renee)
Tell Daddy goodnight, sweetie.
Darlene opens her car door and stows Renee's little
suitcase inside.
RENEE (waving)
Goodnight, Daddy.
RAY
Goodnight, Muffin, Have fun!
Renee climbs into the back seat. Darlene shuts the door.
DARLENE (calling out)
HAPPY ANNIVERSARY, RAY.
RAY
Thank you, Darlene. Goodnight!
He waves as they drive off. Ray turns, holds the bouquet
up, smells them one last time, and walks inside
confidently.
Genres:
["Drama","Family","Slice of Life"]
Ratings
Scene
5 -
Anniversary Surprises
INT. GREYSON FAMILY LIVING ROOM - (CONTINUOUS)
Ray steps inside, holding the flowers. Soft music plays
from a radio.
RAY (calling out)
J'net, where are you? I’ve got big news!
INT. GREYSON KITCHEN - (CONTINUOUS)
J'NET (calling back)
IN THE KITCHEN, I’M COMING RIGHT OUT!
She straightens her dress, picks up the covered pot roast,
stops to take a deep breath and finally exits the kitchen.
INT. GREYSON LIVING ROOM - (CONTINUOUS)
Ray tosses his coat over a chair and spots the dining
table—candles lit, table set for two. J’net enters carrying
a steaming covered pot roast. She sets it down, smiling
with quiet pride.
RAY
Wow, you went all out.
J'NET
Why not? Tonight is special.
RAY
Oh, you bet it is.
She notices the flowers in Ray’s hands.
J'NET (teasing)
Are those for me... or some other
lucky lady?
RAY (joking)
Well Darlene didn’t want them.
J’net responds with mock shock and gasp. Ray smiles and
hands the flowers over to her.
RAY
Happy Anniversary! I
remembered you hated roses, so...
Tah-dah...you get daisies.
Ray kisses her sweetly. J'net smiles, touched by his
thoughtfulness.
J'NET
They’re perfect. Thank you.
RAY
Is that pot roast I smell?
J'NET
Yup, with carrots and mashed potatoes,
lumpy, just the way you like them.
(winking) And I saved a little
something extra for dessert.
She carries the flowers into the kitchen.
RAY (seductively)
You know I love surprises.
J'NET (O.S.) (calling out)
THEN YOU’LL LOVE THIS ONE.
SO WHAT’S YOUR BIG NEWS??
RAY
Oh yeah...Guess which WSOC Radio DJ
just got promoted... to become the
next TV personality?
J'NET (O.S.) (calling out)
DON?
RAY
Come on, really?
J'NET (O.S.)
ELLIS?
RAY (mock offended)
Wow, you really have no faith in me, do you?
J'net re-enters carrying a bottle of wine and a vase with
the daisy’s, setting them down on the table in the center.
J'NET (smirking)
Well, I’m all out of guesses.
Ray sweeps her into a big hug.
RAY
Come on, one more guess.
J'NET (laughing)
Okay, Okay...is it YOU???
RAY
Ding, Ding, Ding! I start next week
— and it comes with a raise...We can
finally afford that trip to see your folks.
J'NET
That’s great, Mom will be excited.
RAY
What about your dad?
J'NET
He still hasn’t forgiven us for eloping.
RAY
I bet he still thinks it was my idea.
J’NET
If he knew it was mine, he still
wouldn’t be talking to me.
They break their embrace. Ray gallantly pulls out her
chair; she sits. He slides into his seat beside her.
RAY (sniffing)
Mmmm, the Pot Roast smells delicious.
J'NET
Thank you...You know, I was going to wait to
talk to you about something, but since
you’re already in such a good mood...
J'net hesitates briefly, then begins to pour wine into
their glasses.
RAY
Okay, what’s up? (serving himself salad)
J'NET
Well, now that Renee’s in school all day...
I’ve been feeling... a little stir-crazy.
I was thinking about taking a... part-time
job at Sharon’s Deli.
RAY
A job?
J'NET
Mornings only. Baking pies, cakes, and some
biscuits. I’d be home before Renee’s out of
school, I promise.
Ray thinks it over, fork halfway to his mouth.
RAY
Well, it’s not like you HAVE to work,
remember? We talked about this once before.
J'NET
I know, but I want to... I need my
independence back. I want to feel
useful again.
Ray sets down his fork, looking at her, taking this in.
RAY (reassuring)
Honey, you ARE useful.
J'NET
To you and Renee, yes, but during the day,
I need to do something productive. This is
for me, I need this...
Ray studies her for a moment, then smiles warmly.
RAY (nodding)
Well, if this will make you happy... and if
you promise to be home for Renee in the
afternoons... Then I guess it’s OK.
J’net beams.
J'NET (excited and relieved)
Oh, I promise, Thank you. I’ll call
Sharon first thing in the morning.
Ray raises his wine glass. J'net lifts hers to meet his.
RAY (toasting)
To us. Six wonderful years!
J'NET
...And new jobs.
RAY
And new jobs! (leaning in)
Happy Anniversary, Beautiful!
J'NET (leaning in)
Happy Anniversary, handsome!
They clink glasses and share a soft kiss. The camera pans
across the flickering candlelight... finally settling on a
framed family photo of Ray, J’net, and Renee.
SLOW FADE OUT TO BLACK:
FADE IN FROM BLACK:
Genres:
["Drama","Romance","Family"]
Ratings
Scene
6 -
Fragile Hopes
EXT. HOSPITAL - DAY
A clean, sturdy hospital, under a gray October sky.
A sign in front reads: "WOMEN'S MEDICAL CENTER."
SUPERIMPOSE: ONE MONTH LATER
INT. DOCTOR BROWN’S OFFICE - DAY
Family photos and medical diplomas decorate the walls.
Doctor Brown (mid 50’s, warm but clinical) enters and sits
behind his desk, opening J’net’s file. Ray and J’net sit
silently across from him, waiting for his report.
DOCTOR BROWN
Sorry to keep you waiting. I just got the
results back.(smiling)Congratulations, J’net
— you’re about four weeks pregnant.
J’net blinks — stunned, uncertain.
Ray lights up like a kid on Christmas.
RAY (excitedly)
Are you serious?! Babe—this is INCREDIBLE!
(laughing) Renee’s gonna be a big sister!
J’net’s smile falters; uncertainty flickers across her
face.
J'NET (unsure)
Wait... are you sure? I mean... is it safe?
So soon after my miscarriage?
DOCTOR BROWN
Everything looks strong.
Just no horseback riding this time—or
anything too physical. Otherwise, things
look good.
RAY
No worries. Saddle days are over.
Lesson learned.
J'net’s face darkens — The faint sound of distant thunder
rumbles. She looks down and starts fidgeting with her
wedding ring.
DOCTOR BROWN
It’s normal to feel uneasy after what you
went through. But many women go on to have
completely healthy pregnancies after a
miscarriage. Take it easy this trimester—no
heavy lifting, no stress. Think of it as
doctor-ordered pampering.
RAY
J-net just started a job at the deli. She's
up at five, carrying heavy trays, baking,
dodging spills all day...
J'NET (cutting in)
It’s fine. I can handle it.
J'net, trying to stay strong but feeling her world unravel.
RAY (continuing)
Maybe it’s time for a break? I’m sure Sharon
would understand. I just don’t want—
J'NET (snapping)
I said I'm fine.
Silence. Everyone stiffens and tries to ignore the tension.
The rain outside begins to tap against the glass.
DOCTOR BROWN
J’net... no one’s questioning your strength.
This is about giving your body a chance to
rest—for you and the baby. A little time off
could make a big difference.
Ray nods, relieved to have backup.
RAY
Better safe than sorry. I can talk
to Sharon if you want.
J’net looks away, gritting her teeth and tightening her
lips. She looks out the window—her reflection pale against
the clouds. A flash of lightning cuts across her face, then
fades.
DOCTOR BROWN
Based on the scan, your due date’s June
twenty-first. And with your previous
C-section, we’ll likely schedule another.
(pauses, carefully) Was this pregnancy
planned?
RAY
No. This is a total surprise.
The doctor nods quietly and makes a note. The sound of his
pen fades under the soft swell of melancholy music.
J’net lowers her eyes, resting a hand on her belly—
a tear slipping down as thunder rumbles again in the
distance.
EXT. THE WOMEN’S HOSPITAL - DAY (CONTINUOUS)
Through the rain-streaked window, we glimpse J’net sitting
still, fragile. The camera slowly pulls back, the rain
falling steady, gentle, endless.
Genres:
["Drama"]
Ratings
Scene
7 -
Stormy Confrontation
EXT. GREYSON FAMILY HOME - DAY (LATER THE SAME DAY)
A lone tire rolls into frame, splashing through puddles.
Rain comes down in sheets.The Greyson house looms
ahead—quiet, unwelcoming.
INT. RAY’S CAR - DAY
Ray cuts the engine. The wipers slow... then stop.
He glances at J’net — she’s staring out the rain-blurred
window.
RAY
You haven’t said a word the whole drive.
Aren’t you happy? We’re having another baby.
J'NET
I want to be...I know I should be.
But I’m not.
RAY
Why not? After the miscarriage… I thought
this would feel like a second chance.
J'net looks at Ray, voice hardening.
J'NET
Because you don’t have to give anything up.
You still get to go to work, keep your life.
But I’m supposed to quit, stop riding, stay
trapped in that house—like before.
I can’t do it again. I won’t.
Before Ray can answer, she throws open the door and bolts
into the rain. Ray hesitates, then scrambles after her.
Thunder rumbles overhead.
INT. GREYSON LIVING ROOM - DAY (CONTINUOUS)
The front door bursts open. J’net storms in, soaked and
shaking. Ray follows, dripping, desperate.
RAY (pleading)
I thought you liked being a mother.
J'NET
I did. (beat) I do. But that was my choice.
Now,(voice breaking) I finally feel like me
again… and you expect me to give it all up?
Just like that? I didn’t ask for this.
I didn’t want this.(quietly) I don’t want to
have this baby.
Ray stands there, stunned. Lightning flashes through the
windows.
RAY
What? ...What are you saying?
A long, crushing silence. Thunder rumbles outside.
J'NET (whispers)
I want an abortion.
Ray flinches as if struck. His voice drops, controlled but
trembling.
RAY (slow and firm)
I pray that’s the hormones talking.
Listen to me— I’m here for you, whatever
you need. But that’s my baby too.
We are not ending this pregnancy.
He steps closer to her.
RAY
You will not take this child from me.
And I don’t ever want to hear those words
again. Do you understand?
J'net glares at him — broken, furious, defeated. She calmly
picks up her purse, turns, and walks down the hall. SLAM!
Ray stands frozen... fists clenched, jaw trembling. A
moment. He grabs a nearby vase and hurls it across the
room. CRASH! Glass explodes against the wall. Thunder
ROARS. He stands in the wreckage, chest heaving.
SLOW FADE TO BLACK
FADE UP FROM BLACK
Genres:
["Drama"]
Ratings
Scene
8 -
Morning Tensions
EXT. THE GREYSON HOUSE - MORNING
The weather has cleared, leaving everything drenched.
INT. LIVING ROOM - MORNING.
J’NET lies curled on the couch, wrapped in a blanket. The
room’s a wreck—dishes stacked, laundry slumped, TV
murmuring a game show no one’s watching. The doorbell
rings.
DARLENE (V.O.)(calling out)
J'NET? IT’S DARLENE!
J'net doesn't move.
DARLENE (V.O.)
YOU HOME? (pause) J’NET?
J'NET (calling out sharply)
IT’S UNLOCKED!
The front door creaks open. Darlene steps inside, holding a
pie box, and sees J’net on the sofa.
DARLENE
Oh, honey, what’s wrong? Are you sick?
J'NET
Didn’t feel like getting up.
DARLENE (glancing around)
You didn’t feel like cleaning either, huh?
J'NET (snapping)
If you’re here to judge me, you can leave.
J’net sits up and reaches for her cigarettes.
DARLENE
I’m only teasing. Here, I brought your
favorite pie—chocolate chess. Fresh from the
deli.
J'net lights her cigarette, suspicious.
J'NET
You hate that deli.
DARLENE
Maybe I’m growing as a person.
J’NET (flat)
Why were you there?
DARLENE (shrugging)
Just visiting Sharon.
J'NET (eyes narrowing)
You hate Sharon.
DARLENE
Oh come on, that was high school drama.
We’re adults now.
J'NET
You asked Sharon for my job, didn’t you?
A long, heavy pause. Darlene exhales.
DARLENE (caught)
Technically... you quit.
J'net’s anger flares.
J'NET (snapping)
I didn’t quit. I was pushed out. I loved
that job, Darlene. Just like the school
newspaper that you took from me.
DARLENE
You still remember that?
J’NET
I forget nothing.
Silence. Darlene shifts, uneasy.
DARLENE
I didn’t mean to hurt you. I just...
needed work. I’m sorry, okay?
J'NET (sharply)
You’re right, I quit. So congratulations.
J’net slumps back, takes another drag.
DARLENE
I don’t have to take it.
J'NET
No, keep it. Seems like everyone else
is getting what they want lately.
Darlene gives a sharp response.
DARLENE
Ouch.
J’net takes a deep sigh. Her tone begins to soften.
J’NET
I’m sorry, this pregnancy is destroying my
life. I can’t seem to do anything right.
It’s like a curse... a bad dream that wont
go away.
DARLENE
J’net... that baby’s not a curse, honey.
It’s a blessing. Some women never get a
second chance after - what happened with
you and the horse.
J'net’s eyes flick up — sharp, alert.
J'NET
What did you say?
DARLENE (hesitant)
When you... miscarried.
A long, eerie silence. J’net stares into space, piecing
something together.
J'NET (whispers, voice breaking)
You’re right. I fell off my horse...
(long beat) and I lost the baby.
DARLENE
See? And now—life’s giving you
another chance.
J'net snaps back to the moment and stands to her feet.
J'NET (abruptly)
Darlene, I need to rest. I’m feeling tired.
Darlene
Sure, Ok. Can I get you anything?
J'NET
Can you pick up Renee after school?
Keep her at your place till Ray gets home?
DARLENE
Of course, anything you need.
J'NET (heading down the hallway)
Thanks... and thanks for the pie,
just leave it on the counter.
J'net hurries to the bedroom — SLAMS the door.
Darlene (calling out)
You’re welcome. I’ll let myself out. Bye.
Darlene sets the pie on the counter, quietly exits.
Genres:
["Drama"]
Ratings
Scene
9 -
One Last Ride
EXT. COUNTRY ROAD - LATER THE SAME DAY.
A lonely ribbon of dirt road stretches through open fields.
From above, J’net’s car winds along it — small, determined,
fading toward the horizon.
EXT. HORSE FARM - DAY (CONTINUOUS)
J’net’s car pulls into the gravel drive. Charlie waits by
the fence, her horse already saddled.
CHARLIE
Afternoon, Mrs. J'net.
J'NET
Hey, Charlie. Thanks for setting
her up so fast.
Charlie hands over the reins. J’net’s hand trembles as she
strokes the horse’s mane — a flicker of emotion she hides
quickly.
CHARLIE
Saddled her right after you called.
(looking up) Nice day for a ride.
J'NET
Yes, it is. (to herself) It certainly is.
CHARLIE
I’ll be out back. If you need
anything, just holler.
J'NET
Thank you.
He disappears behind the barn. Silence. J’net exhales
slowly. The world seems to hold its breath. She slips her
boot into the stirrup, pulls herself up into the saddle.
She sits there — still — staring out at the open pasture.
The sunlight flickers through the clouds. Then, quietly to
herself—
J’NET
One last ride.
Her heels press in. The horse launches forward — galloping
full speed. Wind tears at her hair. The world blurs around
her. She doesn’t pull back. Faster. Faster. Her eyes
glisten — not fear, not joy — something deeper. She
disappears behind a set of trees. The sound of pounding
hooves builds — then cuts—A SCREAM. A distant THUD.
Silence.
EXT. HORSE FARM - (CONTINUOUS)
Charlie carries a feed bucket, whistling softly. Then — he
freezes. The horse gallops back toward him — riderless.
CHARLIE (yelling, panicked)
MRS. J'NET! Oh God...
Charlie drops the bucket and runs in her direction
CUT TO:
Genres:
["Drama","Family","Tragedy"]
Ratings
Scene
10 -
Emergency Tensions
EXT. COUNTRY ROAD - DAY (LATER THE SAME DAY)
An ambulance speeds down the road, sirens wailing. It pulls
into the hospital Emergency Room.
CUT TO:
EXT. HOSPITAL PARKING LOT - LATER THE SAME DAY
Ray's car skids into the hospital parking lot.
INT. EMERGENCY ROOM HALLWAY
DOCTORS and NURSES are quickly moving around. Distraught
patients line the hallways. A normal day in the E.R.
INT. EMERGENCY ROOM - ROOM 114
J’NET lies on a hospital bed, clothes dirty, face scraped.
An ER DOCTOR (40s, calm but firm) flips through her chart.
ER DOCTOR
You’re very lucky. That fall could’ve easily
ended the pregnancy.
J'NET (flat, sarcastic)
Yeah, Lucky me.
Ray bursts into the room, breathless.
RAY
I got here as fast as I could. Are you OK?
The doctor glances between them.
ER DOCTOR (to J’net)
MISTER Grayson?
J'NET (confirming)
Yes, that's my husband.
She turns her head away in shame, eyes wet but defiant.
RAY
Is she going to be alright?
ER DOCTOR
Both she and the baby are stable.
Heartbeat’s strong. She’s bruised, but no
internal damage.
Ray exhales — relief washing through him. His knees almost
buckle.
RAY (whispering)
Thank God.
ER DOCTOR (concerned)
Mr. Grayson… could I speak with you
in the hall for a moment?
RAY
Of course.
Ray glances at J’net — she doesn’t respond. He hesitates,
then follows the doctor out. J’net lies still, eyes open,
distant. The rhythmic beep of the monitor fills the
silence.
Genres:
["Drama"]
Ratings
Scene
11 -
Fractured Bonds
INT. ER HALLWAY - DAY (CONTINUOUS)
The doctor guides Ray a few steps away — just out of
earshot. The buzz of monitors hums faintly from every
direction.
RAY
What’s going on?
ER DOCTOR (quiet, steady)
I understand your wife miscarried once
before… also after a riding accident?
RAY (avoiding eye contact)
Yeah. About six months ago.
ER DOCTOR
Then you understand why this is concerning —
getting back on a horse while being pregnant
again.
Ray sighs, running a hand over his face.
RAY
Yeah. Believe me, I know. I’ve
already decided to sell the horse.
The doctor pauses, choosing his words carefully.
ER DOCTOR
That’s probably wise… but honestly, that’s
not my biggest concern. From what I’ve seen
today — I’m not sure she wants this
pregnancy.
Ray freezes — the words hit hard.
RAY (shamefully)
She doesn’t. Not really.
She’s been... distant. Depressed.
We’ve got a little girl in kindergarten, and
she just started working again. This wasn’t
planned. Now she feels... trapped.
I don’t know how to help her anymore.
ER DOCTOR
You can start by taking her seriously.
This kind of withdrawal isn’t uncommon, but
it is dangerous. And if this wasn’t an
accident... you need to act now.
Ray swallows, guilt and fear warring on his face.
RAY
I’ll get her help. Therapy —
whatever it takes, I promise.
ER DOCTOR
Good. I’ll note that in her discharge.
Don’t wait on this, Mr. Grayson.
Next time, you might not be this lucky.
Ray swallows hard.
RAY
Understood.
The doctor steps away, leaving Ray standing alone in the
corridor. The weight of it all sinks in. After a long beat,
he turns back toward the door. The camera holds as it
swings shut behind him — the soft click echoing down the
hall.
CROSSFADE:
EXT. GREYSON FAMILY HOME - NIGHT
A full moon hangs over the still neighborhood.
EXT. GREYSON FAMILY HOME - NIGHT
Lights blaze through the windows. Muffled shouting erupts
inside.
J'NET (PRELAP - Screaming)
You are NOT selling my horse.
RAY (PRELAP - Shouting)
You left me no choice!
INT. GREYSON HOME - HALLWAY - NIGHT (CONTINUOUS)
The bedroom door is closed tight. The argument behind it is
fierce — voices crashing into each other. The CAMERA SLOWLY
TRACKS BACKWARD down the hallway…
J'NET (V.O.)
You took everything from me! My job, my
freedom — now this?!
RAY (V.O.)
I’m trying to keep you safe!
J’NET (V.O.)
Safe from what, Ray? From LIVING?
Further down the hall, six-year-old Renee sits in her
doorway, silently crying and rocking back and forth,
clutching her Barbie to her chest. The CAMERA COMES TO REST
ON HER.
RAY (V.O.)
Why are you being so selfish?
This is MY baby too.
J’NET (V.O.)
You’re not the one stuck inside like a
prisoner for five years, raising it alone!
The sound of glass shatters behind the bedroom door, then
silence.
Renee stops rocking, eyes widen and she squeezes the doll
tighter. The sudden silence becomes just as unsettling as
the arguing. She starts rocking again, frightened.
SLOW FADE TO BLACK:
FADE IN FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
12 -
Unexpected Invitation
INT. GREYSON LIVING ROOM - MORNING
A grainy 1968 COMMERCIAL flickers on the TV — laughter from
another time. J’NET lies on the couch under a blanket,
hollow-eyed. The phone RINGS. A hand snakes out, knocking
over a half-full wine glass.
J'NET (groggy)
Hello?
INT. JOAN WALLACE'S HOUSE - DAY - (CONTINUOUS)
JOAN WALLACE (early 60s, elegant, composed, wealth clings
to her like a second skin) signs papers while talking,
barely looking up. Her southern drawl flows as she speaks.
JOAN (warm, commanding)
J’net, darling. Joan Wallace. How are you?
INTERCUT between J'NET and JOAN as they speak.
J’net sits upright fast, brushing her hair from her face.
J'NET
Oh—Ms. Wallace. I’m... fine. You?
JOAN
I’m wonderful. Listen, be a dear and join me
for lunch.
J'NET
Lunch? I don’t think I—
Joan stops signing and shifts tone ever so slightly —
playful, but pointed.
JOAN (interrupting, amused)
Darling, I’ve already cleared my schedule
today just for you. There’s something
important I would like to discuss. Let’s
say, 12:30, my house.
J’net blinks, thrown off.
J'NET (flustered)
Um…OK, I guess I can throw myself together
and be there.
Joan
Perfect. See you soon, dear.
CLICK. J’net stares at the receiver, then at the clock —
11:00 a.m. Panic sets in. She bolts up, the blanket sliding
off as she runs down the hall.
Genres:
["Drama"]
Ratings
Scene
13 -
Auntie Joan's Proposition
EXT. JOAN WALLACE'S ESTATE - FRONT GATE - LATER
Elegant, orchestral music plays as J’net’s car creeps
toward an enormous wrought iron gate. A GUARD steps
forward, checks her name, then nods. The gate swings open.
EXT. JOAN’S FRONT DOOR - DAY
J’net, now dressed in her Sunday best, anxiously adjusts
her skirt and RINGS the ornate bell.. MARIA, (50’s-60’s,
a stone-faced maid), answers.
MARIA
Can I help you?
J'NET
I'm J'net Grayson. I believe
Mrs. Wallace is expecting me?
Maria gives her a slow once-over... then steps aside.
MARIA
Right this way, ma'am.
J'net follows her inside.
INT. JOAN’S HOUSE - (CONTINUOUS)
Luxury oozes from every corner — grand staircase, oil
paintings, gleaming marble. Joan appears at the far end,
arms open.
JOAN
There you are, darling. Welcome.
They embrace — polite, calculated warmth.
J'NET
Your home is... incredible.
JOAN
I know. My family’s lived here for
generations. Every room has its secrets.
(leans in, dryly) If they could talk, I’d
have them sign NDAs.
J'net offers a polite laugh. Joan links arms with her and
leads her across the foyer.
J'NET
I’m honored you invited me today...
but I have to admit — I’m a little confused.
They approach a beautifully arranged lunch table. Maria
stands nearby.
JOAN
Maria? Tea, please.
MARIA
Right away, ma’am.
Maria exits.
JOAN (lowering her voice)
She’s always... hovering. Like a ghost in
orthopedic shoes.
J’net suppresses a laugh as they sit.
JOAN
So—Ray’s doing well at WSOC?
J'NET
He is. He’s been working harder than ever.
JOAN
I thought so. I pushed for his promotion,
you know. John Hopper’s an old friend.
J’NET
I... didn’t know that.
JOAN (chuckling)
Most people don’t know how much I do behind
the scenes. I liked Ray immediately —
there’s something familiar about him.
Charisma. Presence.
J'NET
Ray does have a way with people.
JOAN
My twin sister, Jean, was the same way.
We were inseparable, until she died a few
years ago — aneurysm.
J'NET
I’m so sorry.
Maria returns with tea. Steam curls between them.
JOAN
Thank you, (softly) Before she died, she
promised she’d find her way back to me.
Somehow.
A pause. Joan fixes her gaze on J’net.
JOAN (continuing)
That brings me to why I asked you here.
J'net stiffens slightly.
J’NET
Me? How do I fit into this?
JOAN (picking up her teacup)
Last week, I had a dream — a premonition.
I saw Jean returning to me... Through a
child. (pause) Your child.
J’net looks at her, stunned at her words.
J'NET (stunned)
You mean, like ...a spirit?
JOAN
Do you believe in reincarnation?
J'NET
Reincarnation? (pause) I don’t know
what I believe. My parents are Christians,
but I’ve never been devout.
JOAN (very direct)
When is your baby due?
J'NET
June 21st.
Joan’s eyes light up, and she sets her teacup down.
JOAN
Jean died on June 19th. If your child’s born
on that day—and it’s a girl—then I’ll know
for sure.
J'NET
Know what?
JOAN
That Jean has found her way back.
J'NET
WHAT???
J’net sits frozen, trying to process. Joan reaches out and
clasps J’nets hands into hers.
JOAN (leaning in)
If it happens, I will provide everything
your daughter could ever need — education,
security, a life of wealth and happiness.
You and Ray will be well taken care of,
trust me. (pause) All I ask... is that you
let me be part of her life, like an Auntie.
J'net leans back, overwhelmed.
J'NET
Mrs. Joan, this is so…
JOAN (leaning back)
Superstitious? Peculiar? How about
Eccentric? I know what people are saying
about me behind my back.
J'NET
I was going to say... Generous.
I don’t know how to respond.
JOAN
You and Ray have nothing to lose...
Oh, Darling, I can give her the world, let
me do this for you. For her. (pause) For
Jean.
J'net sits back, torn between disbelief and the lure of
Joan’s promise. Her face lights up with a flicker of hope,
despite her confusion.
J'NET
Well, I need to discuss this with Ray.
You know, he wants a boy.
JOAN
Trust me, darling, my offer will
change his mind.
Maria appears with lunch, breaking the moment.
JOAN
Right on time.
Silverware clinks as Maria serves lunch. J'net sits frozen,
her mind racing, contemplating, dreaming.
CROSSFADE:
Genres:
["Drama","Mystery"]
Ratings
Scene
14 -
Anticipation and Anxiety
INT. GREYSON MASTER BEDROOM - AFTERNOON
Phone RINGS. J'net races across the room to answer, her
face brighter than before.
J'NET
Hello?
VOICE ON PHONE
Mrs. Grayson? This is Stacy with
Dr. Brown’s office, just confirming your
request to move your C-section to June 19th
at 5 AM.
J'NET (smiling to herself)
Perfect. Thank you so much.
She hangs up and moves to the mirror, gazing at her
reflection. She cradles her belly tenderly, still smiling—
a glimmer of hope reborn.
BEGIN MONTAGE:
— EXT. LOCAL PARK - DAY
J’net and Renee walk side by side, eating ice cream,
laughing. J’net’s baby bump is visible — she glows with
hope.
— INT. BABY STORE - DAY
Ray and J’net shop for baby items, smiling, happy. J’net
holds up an infant’s dress and laughs.
— INT. GREYSON KITCHEN - NIGHT
Ray, wearing an apron, cooks dinner. Smoke rises from the
stove. Renee runs around reacting as J’net waddles in,
laughing, to take over.
— INT. GREYSON BEDROOM - NIGHT
J’net stands alone in the empty nursery, looking around and
smiling to herself with happy anticipation.
END MONTAGE
CROSSFADE AND MUSIC FADES:
EXT. WOMEN’S HOSPITAL - EARLY MORNING
SUPERIMPOSE: JUNE 19, 1969
INT. HOSPITAL MATERNITY WAITING ROOM - EARLY MORNING
CUT TO CLOSEUP of a Styrofoam cup of coffee. Ray nervously
picks it up and drinks from it. He is joined by Darlene and
Renee.
RAY (nervous)
Anyone else want coffee?
DARLENE
Ray, that’s your third cup.
RAY
I know, but this waiting is killing me.
Darlene
Do you need something to eat?
To calm you down?
RAY
I just need to know that J’net
and the baby are alright.
RENEE
Daddy, is Mommy OK?
Darlene leans in, warm but weary.
DARLENE
She’s fine, sweetheart. The doctor’s
helping her with your new sister.
RAY (correcting)
...or brother.
Darlene gives him a small smile — let him have that.
Genres:
["Drama","Family","Relationship"]
Ratings
Scene
15 -
Bittersweet Beginnings
INT. WOMEN’S HOSPITAL DELIVERY ROOM - EARLY MORNING
A sterile room buzzes with low chatter and the soft
clinking of surgical tools. J'net lies on the table, draped
and curtained, her face tight with anticipation. Doctor
Brown is performing a C-section.
DOCTOR BROWN (V.O.)
Just another minute, Mrs. Grayson. You’re
going to feel just a little pressure; your
baby is almost here.
J’net lies still, her face tight with anticipation. A white
curtain blocks her view of the surgery. A NURSE wipes her
brow.
NURSE
Almost done. You’re doing great.
J’NET (quietly)
Am I?
Doctor Brown leans over his work.
DOCTOR BROWN (cheerfully)
Annnnnd...Here we are. We have a baby.
A newborn cry splits the air — raw, piercing, alive.
J’net’s eyes widened, trembling with hope.
J'NET
What is it???
The entire room seems to hold its breath.
DOCTOR BROWN (proudly)
Congratulations, Mrs. Grayson,
It's a healthy baby boy.
The room buzzes at the announcement, but J’net’s face
falls, her smile shattering. She turns her head sharply
away from the doctor, from the baby’s cries. The color
drains from her face. Her hand curls into the sheet. Doctor
Brown holds up her son for her to see.
DOCTOR BROWN
Would you like to hold your son?
J'net shakes her head no and turns away, a single tear
slipping down her cheek. Doctor Brown hesitates, then
gently passes the baby to a nurse. The NURSES exchange
uneasy glances and quiet whispers. The baby’s cries echo
against tile and stainless steel as the music builds. J’net
closes her eyes, her face turned toward the wall. The
beeping of monitors fades into soft, emotional music.
CUT TO:
INT. HOSPITAL MATERNITY WAITING ROOM - MOMENTS LATER
A silent montage, carried only by the music.DARLENE and
RENEE sit patiently. RAY paces, full of nervous energy. A
NURSE steps out with a bright smile.
NURSE
It’s a boy.
RAY’s face lights up — a lifetime of hope released in one
joyful laugh. He turns to share the moment with his family
— but then he freezes.
At the far end of the hallway stands JOAN, holding a pink
balloon bouquet and a wrapped baby gift that reads “It’s a
Girl!” She stops mid-step. The smile fades from her lips as
the news reaches her. Her shoulders sink. She pauses long
enough to process the news. The music softens. She lowers
her head, and turns around. One pink balloon slips free,
rising toward the ceiling — the others drift behind her
like ghosts as she disappears down the hall.
RAY watches her go for a moment — conflicted, uncertain —
then forces a smile, turning back toward RENEE and DARLENE,
trying to reclaim his joy.
WIDE SHOT — from down the hall, the lone pink balloon
floats in the foreground, while the family celebrates in
the background — hugging, laughing, unaware of the shadow
that’s just passed.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
16 -
Confronting Neglect
INT. PASTOR’S JOSEPH’S OFFICE - DAY (present day)
A soft tick of a clock. Pastor Joseph leans in gently.
PASTOR JOSEPH
So you believe your mother resented you...
Because you weren’t the daughter she hoped
for?
SEAN
Yeah. And everything else she hoped
would come with it.
The Pastor nods slowly, choosing his words.
PASTOR JOSEPH
(pausing) You know, even when things don’t
go as planned, most mothers—
SEAN (interrupting, quietly)
—don’t lock their kids out of love.
A silence.
PASTOR JOSEPH (lowering his eyes)
Fair enough. (looking back at his notes)
So what kind of abuse did you experience?
SEAN (pondering)
Neglect counts as abuse, right?
PASTOR JOSEPH
There are several types of abuse. Physical,
Mental, Emotional, Sexual ...and yes, even
Neglect. (pause) So what type did you
experience?
Sean pauses and lowers his eyes, voice almost to a whisper.
SEAN (softly)
All of them.
Pastor Joseph quickly looks up, and his eyes flicker with
sadness and disbelief, the weight of Sean’s words hanging
in the air. Sean sinks further into his chair.
CROSSFADE:
EXT. GREYSON FAMILY HOUSE - DAY
SUPERIMPOSE: FOUR MONTHS LATER
INT. LIVING ROOM - DAY
Renee, six, sits on the floor playing jacks. Behind her,
BABY SEAN’s wails echo from another room. The house is
cluttered, curtains half-drawn. The doorbell rings. Renee
jumps up and opens the door. Darlene stands there,
instantly alarmed by the noise.
DARLENE
Hey Renee. (pause to hear the baby crying)
Is that Sean?
Renee
Uh Huh.
Renee steps aside silently. Darlene walks in, worried.
DARLENE
Where’s your mama?
RENEE
She’s sleeping and won't wake up.
Darlene freezes — eyes narrow.
DARLENE
WHAT???
She rushes down the hall.
INT. GREYSON MASTER BEDROOM - (CONTINUOUS)
J'net lies in bed, motionless, a few pill bottles cluttered
on the nightstand, and a dim light fills the room. Darlene
rushes to her side, shaking her shoulders.
DARLENE (Firm and loud)
J'net! (shaking harder) Wake up!
Come on, wake up!
J'net stirs groggily, slurred.
J'net
Leave me alone... let me sleep…
Relief flashes across Darlene’s face — she’s alive.
She snatches a bottle from the nightstand.
DARLENE (reads under her breath)
Sleeping Pills? Who’s Richard?
Sean’s cries grow louder down the hall. Darlene pockets the
bottle and hurries out.
INT. LIVING ROOM - (Continuous)
Baby Sean is still wailing. Darlene rushes to the crib,
lifting him into her arms, gently bouncing him.
DARLENE (to Sean, soothing)
Shhh, shhh, it's okay, you’re alright.
She turns to Renee, forcing calm.
DARLENE
How long has he been crying?
Renee
A while. I tried waking up Mommy...
But she just yelled at me.
Darlene swallows the lump in her throat.
DARLENE
Okay. Let’s help him out, huh?
He’s dirty, Can you grab a clean
diaper and a washcloth?
Renee nods and runs off. Darlene lays Sean down and opens
the soiled diaper. Her face tightens — the rash is raw and
angry. She works quietly, gently, trying not to cry.
Genres:
["Drama"]
Ratings
Scene
17 -
A Father's Burden
EXT. GREYSON HOUSE - DAY
A car pulls into the drive. Ray steps out, lunchbox in
hand, shoulders slumped from work.
INT. GREYSON LIVING ROOM - (CONTINUOUS)
Ray enters. He’s hit immediately by the tension and smell
in the room.
RAY
Darlene?
Renee bolts toward him, arms wide.
RENEE
DADDY!!!
He scoops her up and hugs her tight.
RAY
Hey, Muffin. (looking around) Where’s Mommy?
Darlene (seriously)
Ray...you better come here.
Ray crosses to the crib.
Darlene (quietly)
I just got here. She’s passed out from
sleeping pills. (She hands him the bottle.)
Here.
RAY (reading)
Richard...? Who the hell is Richard?
DARLENE
No idea. Sean’s diaper hadn’t
been changed in hours.
She opens the clean diaper again. Ray’s jaw sets. His hands
clench.
DARLENE
He’s gonna need a doctor.
RAY
My God. That’s worse than the last time.
Darlene
I can take Renee to my place. She can play
with Chrissy while you get him seen.
Ray nods, exhausted.
RAY
(sighs), Thank you. I’ll pick her up later.
Darlene
Ray, J'net has been my best friend since
high school, but it’s like she’s
disappearing... right in front of me.
(chokes up)
RAY
She is. And I can’t stop it.
DARLENE
Then you have to try harder. She needs you.
(turning to Renee) Come on, Renee, I’m going
to take you to play with Chrissy for a
little while.
Renee hesitates. She looks frightened.
DARLENE
What’s the matter, honey?
RENEE (fighting her tears)
Is Mommie dying?
Ray kneels down, swallowing emotion.
RAY
No, sweetheart. She’s just tired.
She just needs to rest. Go with Darlene,
and I’ll come get you soon, OK?
Renee nods, barely convinced. Darlene takes her hand, and
they head out. Ray stands in the silence that follows.
He stares at the pill bottle in his hand — then slips it
into his coat pocket. He turns to the baby.
RAY
Come on little man, let’s
get you cleaned up.
FADE OUT:
Genres:
["Drama"]
Ratings
Scene
18 -
A Father's Promise
INT. HOSPITAL - DOCTOR’S EXAM ROOM - (LATER THAT DAY)
DOCTOR STUART finishes his exam, gently redressing the
baby. He jots a few notes on the chart, his expression
tight.
DOCTOR STUART
Alright… I’m giving you a cream for the rash
— Nystatin. Use it after every change.
And some Indomethacin for the fever.
If he’s not better in two days, bring him
back in.
RAY
Absolutely.
The doctor closes the chart — his tone shifts, heavier.
DOCTOR STUART
Ray... this is the second time I’ve seen him
like this.
RAY (shamefully)
I know.
DOCTOR STUART
This kind of rash doesn’t just show up
overnight. It means he’s been left too long
— and I can’t ignore that. I know we’re
friends, but if it happens again, I’ll have
to call CPS....I won’t have a choice.
Ray bows his head. He doesn’t meet the doctor’s eyes.
RAY
I understand. You have my word. You won't
see this again.
DOCTOR STUART
Good. Let’s schedule a follow-up
for next week.
RAY
Of course. Thank you.
Doctor Stuart gives a quiet nod, then exits. The door
CLICKS shut. Ray stares at the closed door, still holding
his son. The silence presses in. He reaches inside his
pocket and pulls the bottle of sleeping pills out, stairs
at it, then he looks down at Sean, tears forming. He tucks
the bottle back in his pocket and reaches for his son,
cradling him tightly in his arms.
RAY (whispers)
I’m sorry, Sean. I should’ve protected
you... I swear, this will never happen
again.
Ray holds the baby close — his face pressed into Sean’s
hair, trying to hold both of them together.
SEAN (V.O.)
That’s when Dad made her see a
Psychiatrist. For a while, it worked.
Two, maybe three years. Then she started
to slip again. More meds... different
bottles... same darkness.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
19 -
Fractured Bonds
INT. GREYSON FAMILY HOME - DAY
Closeup on a cabinet full of prescriptions. J’net grabs
them and tosses them into her purse.
SEAN (V.O.)
She became anxious and paranoid.
Convinced everyone was against her.
J'net shoves clothes into a suitcase — sleeves hanging out,
socks mismatched. SEAN (4) screams from the hallway. RENEE
(10) wipes tears as she frantically zips her backpack,
books spilling.
SUPERIMPOSE: MAY, 1974
J'NET (sharply)
Hurry up, get everything in the car.
Renee (crying)
I don’t want to leave Daddy!
J'NET
Just do what I said.
EXT. GREYSON FAMILY HOME - FRONT YARD - DAY (MOMENTS LATER)
Ray’s car pulls up fast. J'net hauls the last suitcase to
the car. Ray jumps out, frantic.
RAY (shouting)
J’net — what the hell is going on?!
Are you taking the kids?!
J'net throws the luggage in the trunk.
J'NET
RENEE! GRAB SEAN AND GET IN THE CAR! NOW!
RAY
J'NET, STOP! TALK TO ME!
J'net whirls on him, rage and heartbreak on her face.
J’NET
You think I don’t know?
About you and Darlene?!
RAY
I TOLD YOU — WE’RE NOT DATING!
It was one meal. This is crazy!
J'NET
Don’t you dare say that to me. I ended
things with Richard — for you!
And now you humiliate me with her?
RAY
Where are you taking my children?
J'NET
To my parents. If you really want us — sell
the house, come to Louisiana. Leave her
here.
J'net slams the trunk shut, jumps into the driver’s seat,
and the kids are crying inside. The car fishtails down the
street, leaving Ray behind in a cloud of dust.
RAY
J’NET....COME BACK!!!!!
The car speeds through the endless stretch of road — a
small, fragile shape swallowed by the horizon. The wind
howls. The sound of the baby crying fades... replaced by
silence.
CROSSFADE:
EXT. HIGHWAY - DAWN
A wide shot of J'net's car continues down the highway,
whizzing past traffic, and past a WELCOME TO LOUISIANA road
sign.
CROSSFADE:
EXT. GRANDPARENTS HOUSE - NIGHT
A wide shot — J’net’s car rolls to a stop in front of a
small Louisiana home, porch light glowing like a beacon.
HER PARENTS step out — waiting, worried, hopeful.
SEAN (V.O.)
We ended up in Louisiana.
Mom was falling apart...
but my grandparents — they tried
their best to hold us together.
J’net climbs out, her exhaustion plain. Her MOTHER wraps
her in a long, steady hug — the kind that says you’re safe
now. Her FATHER leans into the car, gently lifting a
half-asleep Sean from the backseat. Renee clings to her
grandmother. The camera lingers on the small family under
the warm porch light — a quiet moment of grace.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
20 -
Echoes of the Past
INT. PASTOR’S OFFICE - DAY (Present time)
Sean sits across from Pastor Joseph, his tone softer now —
the first calm we’ve seen in him.
SEAN
It didn't take long for them to see what was
going on. Mom’s depression... the pills.
They convinced her to check into rehab while
they took care of us for six months.
Sean looked off, remembering, smiling.
SEAN
It was the first time I really felt loved.
Pastor Joseph nods, quietly absorbing it.
PASTOR JOSEPH
And your dad? Did he stay in touch?
SEAN
Yeah. Memaw kept him in the loop —
let us talk every time he called.
He said he was coming for us.
Said we’d be a family again.
CROSSFADE:
EXT. OUTSIDE THE GRANDPARENTS HOME - DUSK
SUPERIMPOSE: SIX MONTHS LATER
A moving truck rolls up the drive. Sean and Renee burst out
the front door — racing across the yard — and leap into
Ray’s arms. Laughter, tears, sunlight. J’net steps out onto
the porch. She looks... different. Clear eyes. Steadier
hands. Ray sets Sean down, crosses to her. A hesitant smile
— then he pulls her close. She melts into it.
SEAN (V.O.)
After Mom got out, things started
to feel... normal again.
Dad found a new job. Bought a house.
For a while, it felt like a fresh start.
Like maybe this time, we’d make it. (pause)
CUT TO:
INT. PASTOR’S OFFICE - DAY (Present time)
SEAN
...until I turned ten.
Sean sits slouched in his chair, rubbing his palms together
— a nervous, unconscious rhythm. Pastor Joseph leans
forward slightly.
PASTOR JOSEPH
What happened?
SEAN
Mom joined the police force.
Paul’s brows rise, surprised.
PASTOR JOSEPH
The police? That’s— quite a leap.
Sean lets out a dry, humorless laugh.
SEAN
Yeah. For her. For all of us.
She worked nights and Dad was traveling a
lot - weeks at a time on the road. So most
nights, it was just me and Renee.
PASTOR JOSEPH
She left you both alone at night?
SEAN
They patrolled the neighborhood
several times.
The air in the room tightens.
SEAN
Renee said that’s when she started using
again. Said it helped her “handle the job.”
Handle loneliness.
Pastor Joseph sinks back, silent — already sensing where
this is heading. Sean’s gaze drifts — unfocused now.
Somewhere far away.
SEAN (softly)
That’s when... it started.
A long, heavy silence.
Camera HOLD on Sean’s face. His jaw trembles slightly. His
eyes — hollow.
CROSSFADE:
Genres:
["Drama","Family","Psychological"]
Ratings
Scene
21 -
Morning Tensions
EXT. NEW GREYSON FAMILY HOME - MORNING
A car pulls into the driveway. J'net (mid-30s) steps out,
still in her police uniform, hair pulled back, weary after
a long night shift.
SUPERIMPOSE: LOUISIANA, SEPTEMBER, 1979
INT. NEW GREYSON LIVING ROOM - MORNING
J'net enters, tossing her keys and gun belt onto a table.
She freezes — dirty dinner dishes clutter the coffee table.
Her face tightens with rage. She stands there for a beat...
then storms down the hallway.
INT. SEAN'S ROOM - (CONTINUOUS)
J'net flips on the light. SEAN (10) stirs in his bed,
blinking against the glare. She sees the mess — toys
scattered, clothes on the floor.
J'NET (angrily)
SEAN, GET UP!
Sean struggles to sit upright, half-asleep. Toys litter the
floor.
J'NET
Didn’t I tell you to clean this
before I got home?
SEAN (quietly)
Yes, ma’am.
J'NET
Then why isn’t it done?
SEAN (wiping his eyes)
Renee made me go to bed early...
I didn’t have time to clean it.
J'NET
Get out of bed and clean it — NOW.
And if you miss that bus,
your ass is mine. Understand?
SEAN (frightened)
Yes, ma’am.
J’net leaves as Sean scrambles out of bed, eyes darting
nervously as he gathers toys and clothes in trembling
hands.
INT. RENEE’S ROOM - (CONTINUOUS)
J'net storms in and flicks on the light.
J'NET
Renee…
RENEE (16) stirs in her sleep, slowly waking up.
J'NET (firmly)
RENEE...WAKE UP.
RENEE
I’m awake.
J'NET
Why’d you make Sean go to bed
without cleaning his room?
RENEE
He broke my lava lamp.
J'NET
Then he’ll buy you a new one.
Now get up. I’ve been up all night and I
need sleep.No noise. No fighting....and make
sure Sean finishes his room before he
leaves.
RENEE (quietly)
Yes ma'am.
J'net glares at her a beat longer, then storms off,
slamming her bedroom door.
CUT TO:
INT. MASTER BATHROOM - (moments later)
The cabinet slides open. Rows of pill bottles.
Her hand trembles as she picks one, pours out three,
swallows them dry. She stares at her reflection — eyes
glassy, jaw clenched.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
22 -
Shattered Morning
INT. NEW GREYSON HOME - KITCHEN - (LATER THAT MORNING)
An empty cereal box sits on the table. Renee is dressed and
rinsing her bowl at the sink. Sean enters, exhausted and
nervous. He picks up the cereal box, shakes it, and finds
it empty.
RENEE
Did you finish your room?
SEAN
Yeah...Is there any more cereal?
RENEE
No, make some toast — but hurry.
The bus will be here in a few minutes.
Renee exits. Sean moves quickly — grabs a glass, pours
orange juice. As he pours, the juice misses — the glass
falls. CRASH. Juice and shattered glass explode across the
floor. Sean freezes, breath hitching. The kitchen is
silent—until…
J'NET (V.O.) (screaming)
WHAT THE HELL WAS THAT?
Sean freezes in terror. His lip quivers. He searches for a
towel. As he crouches to clean, he slices his hand on the
broken glass — blood mixes with the orange juice. J'net,
wearing her robe, storms into the kitchen, eyes blazing.
J'NET (SCREAMING)
WHAT HAPPENED?
SEAN (stammering)
I... I was pouring… and it slipped.
Her face twists.
J'NET (shrieking)
You’re always breaking things!
I work all night — and this is what I come
home to?!
Before he can answer, she snaps — grabs his throat, slams
him back against the wall. The sound of impact echoes.
INT. RENEE’S BEDROOM - CONTINUOUS
Renee is collecting her books and coat for school when she
hears a LOUD STRUGGLE and SCREAMING in the kitchen. She
drops everything and runs out of her room.
INT. NEW GREYSON HOME - KITCHEN - CONTINUOUS
Sean struggles, gasping for air, clawing at her hands. He
slips — falls to the floor in a puddle of orange juice and
broken glass.
J'NET
YOU NEVER LISTEN, DO YOU? THIS TIME
YOU'RE GOING TO LISTEN TO ME!
J'net straddles him, pinning him down under her knees. She
clenches her fists and swings at him, hammering his head
and chest.
SEAN (choking through tears)
MAMA! PLEASE STOP! You're hurting me!
Renee races into the kitchen, panicked.
RENEE
MAMA — GET OFF HIM!
She reaches around and grabs her mother’s arms from behind,
wrestling them backward.
J'NET (shrieking)
LET ME GO! GET OFF OF ME!
RENEE (straining)
SEAN — GET OUT! HURRY!
She keeps her mother's arms pinned back, muscles trembling
with effort. Sean wriggles free, scrambles to grab his
books, and bolts out the door, sobbing. Renee grits her
teeth, still wrestling her mother’s arms back. J’net is
screaming and writhing in anger.
CUT TO:
EXT. GREYSON HOME - FRONT YARD / STREET (CONTINUOUS)
Sean runs out of the house and down the street, crying. The
school bus slows down ahead, and CHILDREN are already
climbing aboard. Sean catches up, out of breath.
INT. SCHOOL BUS - (CONTINUOUS)
Sean stumbles onto the bus, finds the nearest empty seat,
and collapses into it. He slides low, curling into himself,
silently weeping. Some of the KIDS notice. They point and
laugh.
SEAN (V.O.)
I was too scared to tell anyone.
The beatings became a regular thing
whenever Dad was away.
Sean stares blankly out the window, cheeks wet with tears.
He is alone in a sea of faces.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
23 -
Confronting the Past
INT. PASTOR’S OFFICE - DAY
The silence stretches — thick and unresolved — until Pastor
Joseph finally speaks.
PASTOR JOSEPH
Your sister was brave to take on your
mother, I’m glad she was there.
Sean leans forward. His voice drops — steady, but bitter.
SEAN
So was I, until I wasn’t. When Mom wasn’t
beating me... Renee was. She locked me
inside my toy chest, threw me through a
bedroom window. Once, she accidentally hit
me with a golf club — (pointing under his
eye) thirteen stitches.
Pastor Joseph closes his eyes, grief-stricken.
PASTOR JOSEPH
Sean, why didn’t you tell someone?
Sean laughs softly — dry, empty.
SEAN
I thought it was just sibling rivalry.
Mom would scream it was my fault —
that I made her mad... that I deserved it.
A long, tense silence.
PASTOR JOSEPH
You know that isn’t true, don’t you?
Sean hesitates. Then, barely nods.
SEAN
When you hear something enough times...
You start to believe it.
Sean swallowed hard.
SEAN (continues)
After the beatings, I’d sit in my room,
crying...Praying that Dad would come home.
PASTOR JOSEPH
And when he did?
SEAN
The beatings would stop. Those were the
only times I ever felt... safe.
A softer breath escapes him, almost like a memory being
exhaled.
SEAN (continues)
He’d take me out. Just us. Movie,
ice cream… For a few hours...
it almost felt ...normal.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
24 -
A Diner Conversation: Secrets and Promises
EXT. LOCAL DINER - DAY
SEAN (V.O.)
But he always had to leave again.
The silence returns — heavier this time. Pastor Joseph
lowers his eyes, moved but wordless.
INT: LOCAL DINER - DAY (CONTINUOUS)
Inside a small-town diner, Ray and Sean sit across from
each other in a booth. Half-eaten burgers sit between them.
RAY
Pretty scary movie, huh?
Do you know who played Mrs. Engles?
SEAN (taking a bite)
Who?
RAY
Yvonne De Carlo. She was Lily on
The Munsters.
Sean’s eyes lit up.
SEAN
No way, that was her?
RAY (grinning)
Yup. She played Moses’ wife in
The Ten Commandments, too.
SEAN
Haven’t seen that one.
But I love The Munsters.
Ray chuckles warmly.
RAY
How’s school?
SEAN (looking down)
It’s okay. Math’s hard, though.
RAY
We’re not asking for perfect grades —
just no more F’s, alright?
A WAITRESS drops off the check. Ray reaches for his wallet.
RAY
(to the waitress) Thank you. (back to Sean)
I gotta leave again tomorrow morning.
Sean’s face falls.
SEAN
How long this time?
RAY
Two weeks. I’m driving to Utah —
You know I hate flying.
After a moment, Sean pushes his food away, upset.
RAY
What’s wrong, buddy?
Sean hesitates, gathering courage.
SEAN
I don’t like it when you go away.
RAY
I know... but it’s how I keep the lights on.
Sean looks up, vulnerable.
SEAN
It’s just... when you’re gone... (gathering
courage) Momma... she’s... mean.
Ray leans in, concern growing.
RAY
What do you mean?
SEAN
She screams. I had some friends over
once when she got home, she threw rocks
at them, made them run away.
Everyone’s scared of her.
Ray stares — disbelief giving way to dread.
RAY (almost unbelieving)
She threw rocks at your friends?
Sean nods, eyes filling with tears.
SEAN
And when she gets mad at me...
She… hits me.
A heavy pause. Ray sits back, guilt and anger mixing.
RAY (softly)
I’m sorry, Sean. Your mother’s struggling,
but... that’s no excuse. I’ll talk to her,
I promise... this won't last forever. Just a
little longer, then I’ll be home more.
Sean wipes his eyes, trying to be brave. Ray reaches across
the table, ruffles his hair.
RAY
Hey, you want ice cream?
Sean shrugs, unable to smile. Ray flags down the waitress.
RAY (to the waitress)
Miss? Can we get two hot fudge sundaes?
Waitress
You got it, hun.
Sean manages a small, grateful smile. Ray watches him,
trying to hide his guilt.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
25 -
Fractured Bonds
INT. GREYSON HOUSE LIVING ROOM - AFTERNOON
J-net is passed out in a recliner with the tv on, playing
an afternoon game show. Several pill bottles are spilled
over on the side table beside her. A cigarette is still
burning in an ashtray nearby.
EXT. NEW GREYSON HOUSE - AFTERNOON
Sean, weighed down by his backpack and the world, trudges
up the driveway after school.
INT. NEW GREYSON LIVING ROOM - DAY
Sean pushes open the front door — SLAM! — louder than he
meant. He freezes. J'net jolts awake in her recliner, eyes
blazing.
SEAN (scared)
I’m sorry. I didn’t know you
were sleeping.
J-net rises, slow and predatory. Her glassy stare locks on
him. She steps close—then SLAPS him across the face. CRACK.
Sean gasps, stumbling, eyes watering, trying to hold back
tears.
J'NET (pausing briefly)
Next time, you’ll enter the house like
you’re supposed to.
She glares down at him. Sean attempts to stop crying, but
he is paralyzed by fear.
J'NET (louder)
STOP CRYING!!
He tries, but he can’t. Her eyes narrow.
J'NET
You gonna run and tell your daddy again?
Stir up more trouble between us?
SEAN (shaking)
No ma'am.
J'NET (voice rising)
But you always do, and then your father
comes and threatens me, like it’s MY fault.
(leans in) And I sure as hell don’t need you
making things worse between us.
J-net exhales sharply, drops back into her recliner, and
lights a cigarette. Smoke curls around her head.
SEAN
I’m...I’m Sorry.
J'NET
Damn right you are. (pause)
Things would’ve been a whole
lot different if you were a girl.
She takes another long drag off her cigarette.
J’NET
Sometimes... I wish you had never been born.
The words hit harder than the slap. Sean glares at her,
pauses for a moment, takes a deep breath and responds.
SEAN (barely a whisper)
Me too.
She turns, looks him up and down with disgust.
J'NET (disgusted)
Go to your room... Don’t come out till after
I go to work. I don’t want to look at you.
Sean walks past her slowly, trying to hide his emotions,
keeping his eyes forward. He rushes down the hall and
disappears into his room, slamming his bedroom door shut
behind him. J’net reaches over and grabs another bottle and
pops two more pills, swallowing them dry.
INT. SEAN’S BEDROOM – (CONTINUOUS)
Sean bursts into the room, tosses his book bag to the
floor. It hits with a dull thud. He drops onto the edge of
his bed, staring ahead — frozen. His breath comes shallow
and uneven. A long beat. The silence hums. His fists
clench, knuckles white. His jaw trembles. The tears
threaten, but he swallows them back. Then — a shaky exhale.
His shoulders drop. The rage drains, leaving only
emptiness. Sean leans back slowly, collapsing into the
mattress. He stares up at the ceiling — blank, distant — a
boy learning how to disappear.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
26 -
A Night of Comfort
EXT. NEW GREYSON FAMILY HOME - LATER THAT NIGHT
Stillness. The house sits in heavy quiet. A faint glow
from Sean’s bedroom window, the only sign of life.
INT. HALLWAY - NIGHT
Renee walks down the hall and stops outside Sean’s room.
She knocks and slowly opens his door.
INT. SEAN’S ROOM - CONTINUOUS
Sean lies on his bed, homework spread out in front of him.
His eyes are puffy from crying. Renee peers in. Sean wipes
his eyes quickly, pretending to be fine.
RENEE
Mom’s gone. I’m cooking pizza in a
little bit. You want some?
Sean nods silently without looking up.
RENEE
You finished your homework?
He nods again.
SEAN
Will you check it for me?
RENEE
After we eat.
Sean closes his books, relieved.
RENEE
You wanna play a game?
He looks up at her, surprised.
SEAN
What game?
RENEE
It’s called “Let’s Pretend.” I found
some cool books in Mom’s room. We open
to a random page and act out whatever’s
happening in the book.
SEAN
What kind of books?
RENEE
Westerns. Cowboys, shootouts,
saving the girl — that kind of thing.
SEAN
Like Indians and stuff?
RENEE
Yeah, and after he saves them, they reward
him. You can be the cowboy. I’ll be the girl
he saves.
SEAN
Can I wear your cowboy hat?
RENEE (laughs)
Sure. Come on, the books are in my room.
Sean hesitates.
SEAN
But Mom said I’m not allowed in there.
She’ll...
RENEE
It’s fine if I say it’s okay.
She’s at work. Just don’t tell her
about the books or the game.
She’ll get mad at both of us.
Sean stays frozen, eyes flicking to the door — the old fear
still there. A long beat. He chews his lip, torn...
RENEE
I promise. You won’t get in trouble.
I won’t tell if you don’t.
A long beat. Sean looks down. Then…
SEAN
OK.
He gets up and follows her into the hallway.
INT. HALLWAY - CONTINUOUS
Renee steps into her room first. Turns, waiting.
Sean follows — slow, uncertain. The door closes behind
them. The camera lingers on the door. The quiet hum of the
house returns. Then — slowly — we pull back down the
hall...
FADE TO BLACK:
Genres:
["Drama"]
Ratings
Scene
27 -
Confronting Shadows
INT. PASTOR JOSEPH’S OFFICE - DAY
Sean is looking down, struggling with his confession.
PASTOR JOSEPH
So, your sister did this to you
while your mother was at work?
SEAN
At first, I thought it was just a game.
I didn’t know what the books were, I thought
they were just stories, I didn’t understand
what she was doing to me, until I saw the
magazines.
PASTOR JOSEPH
Magazines?
SEAN
Mom found a stack of Dad’s porn in the
closet. One night I walked in on her and
Renee — they were flipping through them,
laughing. She made me sit down... told me
the women in those pictures were whores and
tramps for posing like that, and the men who
looked at them... were pigs going to hell.
PASTOR JOSEPH
Sean, I had no idea.
SEAN
No one did. Once I saw what they were doing
in the magazines, I understood what my
sister was doing to me.
Sean is looking down, struggling with his confession.
SEAN
She said she was just... getting me ready
for girls, so I wouldn’t be clueless when I
started dating.
His voice cracks. He looks away, ashamed.
Pastor Joseph slides a box of tissues toward him —
wordless.
SEAN (choking up)
I’m sorry...
I’ve never told anyone that before.
PASTOR JOSEPH
You’ve carried that alone all these years?
Sean nods, barely meeting his eyes.
PASTOR JOSEPH
Sean, look at me. You didn’t do anything
wrong. You were a kid. You were a victim
Sean wipes his face, trying to steady himself.
PASTOR JOSEPH
How long did it go on?
A long pause…
SEAN
A few months. Maybe longer. After that...
I couldn’t even look at her. Still can’t.
Sometimes I just... feel dirty.
PASTOR JOSEPH (softly)
Sean, that wasn’t your fault. She was six
years older than you — she knew better.
SEAN
I know that now. But back then, Mom told me
everything was my fault, and I believed it.
PASTOR JOSEPH
That doesn’t make it true.
Sean stands, moves toward the window. The light hits his
face — fractured between shadow and sun.
PASTOR JOSEPH
We can stop here for today if you want.
SEAN
No, I... want to keep going. If that’s okay.
PASTOR JOSEPH
Of course it is. Whatever you want.
Take your time.
Sean nods, breathing deep — steadying himself.
SEAN
When I turned fourteen... Dad quit his job.
He was home again — looking for work.
PASTOR JOSEPH
And your sister?
SEAN (Over his shoulder)
Moved to Indiana with a friend. Mom was
hardly at home, she was busy with work and
taking care of Memaw — she had throat
cancer.
PASTOR JOSEPH (leaning in)
So... with your mom and Renee gone, and your
dad back... Things got better?
Sean turns from the window, eyes low.
SEAN (shaking his head)
Not really. By then, I was already gone.
The damage was done. All I could do was
survive it. I spent the next couple years
just... trying to find myself...
Hold on Sean's face as he looks out, remembering.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
28 -
Birthday Chaos at the Club
EXT. DANCE CLUB - NIGHT
Music THUMPS from inside. The parking lot buzzes with
people laughing, smoking, making out. Neon bleeds into the
night air.
SEAN (V.O.)
...I found a group of friends who were as
messed up as I was... But at least they
accepted me.
SUPERIMPOSE: JUNE, 1986
INT. INSIDE DANCE CLUB - NIGHT
A haze of colored lights and pulsing bass. Bodies grind,
laughter explodes, sweat glimmers.
DAVID (19, fabulous, fierce) weaves through the chaos,
balancing three beers like a catwalk waiter on a mission.
He reaches a small corner table where SEAN (16, clean-cut,
anxious) and LISA (20, hot, chaotic, unbothered) sit
waiting. David slams the drinks down with theatrical flair.
DAVID (disgruntled)
The bartender’s straight.
LISA (laughing)
So I assume you didn’t get his number?
DAVID
No, but I got his name...That’s more
than the last guy I hooked up with.
He slides a beer toward Sean like it’s a sacred offering.
DAVID
Here. To puberty, bad choices, and your
first illegal drink. Happy Birthday, Sean!
Lisa and David raise their mugs.
LISA
To Bad Choices.
Sean
Thanks, but I don’t drink.
DAVID
You’re sixteen. That’s WHEN you drink.
LISA (glancing around)
SHHHHH, (leaning in) I told the manager he
was eighteen. You wanna get us kicked out?
Sean lifts his mug and clinks theirs, and reluctantly takes
a sip, immediately spitting it out like poison.
SEAN
UGH! Tastes like NAIL POLISH remover.
Lisa cackles, grabbing his beer.
LISA
Give it here, lightweight. Mama’s thirsty.
She snatches his beer for herself. Sean wipes his mouth.
SEAN
Is Danny coming?
LISA
He said he had to work late.
DAVID (confused)
Wait, I thought you dumped him.
LISA
I did. Then I...un-dumped him.
DAVID (dramatic)
Girl. I just saw him clocking in at the bar
with some skank who looks like Baby Jane
Hudson with bad contour.
David points towards the bar.
LISA (spins around, eyes blazing)
WHAT???
She spots DANNY through the crowd, pawing a CLUB GIRL.
LISA
Are you KIDDING ME?!
She grabs her purse like it’s a weapon and storms toward
the bar.
DAVID
And cue the meltdown. (to Sean)
Come on. This is better than cable.
Sean sighs, following him into the chaos.
INT. DANCE CLUB - BAR AREA - (CONTINUOUS)
LISA is in full meltdown—screaming and beating DANNY with
her purse like a woman possessed.
LISA (screaming)
YOU LYING PIG, WHO IS THIS SKANK???
The sleazy CLUB GIRL steps in, clutching her drink.
CLUB GIRL (snapping back)
Who you calling a Skank, Barbie?
Danny has his arms up, trying to protect himself from
Lisa’s purse.
DANNY (hands up, panicked)
Lisa! Calm down! It’s not
what it looks like!
CLUB GIRL (to Danny, furious)
Not what it—?! Are you serious right now?
Sean and David dive in, trying to restrain Lisa.
SEAN
Lisa! Let’s go!
LISA (Screaming)
WE ARE DONE, DANNY! DONE!
She shoves him one last time and storms off, yelling at no
one in particular. Club Girl looks Danny up and down — then
SLAPS him.
CLUB GIRL
You didn’t say you had a girlfriend!
DANNY (pleading)
Oh COME ON, NOT YOU TOO!!!
She hits him again.
DAVID (laughing)
Oh my God, this is better than the
Backstage drama at a Drag show.
SEAN (pulling David)
Come on...Lisa needs us right now.
They disappear into the crowd, chasing Lisa through the
flashing lights as Danny stands there, dazed, lipstick on
his cheek, dignity in ruins.
Genres:
["Drama","Coming of Age","Teen"]
Ratings
Scene
29 -
Close Call at the Dance Club
EXT. DANCE CLUB - PARKING LOT - NIGHT
Police cruisers pull into the packed lot, lights flashing.
PEOPLE scatter. Sean and David catch up to Lisa, standing
by her car, lighting a cigarette.
SEAN (to David, eyes wide)
Why are the cops here?
DAVID
Might be a raid. Just stay chill. (Then, to
Lisa) Babe, let it go. He’s trash. Dollar
store trash. Clearance aisle.
LISA
Why would he lie to me like that?
DAVID
Because men are walking, talking skid marks.
Sean looks ahead and sees FOUR POLICE OFFICERS heading
toward the entrance, and behind them, J’net in her uniform.
SEAN (starting to hyperventilate)
Um...Guys?
LISA
I can’t believe I fell for his...
SEAN (cutting in, panicked)
GUYS...That's, that’s my MOM.
Lisa and David whip around. J’net, in uniform, is heading
in their direction with the other officers.
DAVID (instantly)
DOWN - NOW!
David shoves Sean to the ground and steps in front like a
human shield. Sean scrambles behind a parked car.
J’net and her team stride right past, completely missing
him.
DAVID (to Lisa)
We need to evacuate the virgin. Now.
Lisa bolts to the car and unlocks the doors. David dives in
after her.
INT. LISA’S CAR – NIGHT
LISA
HURRY! BACKSEAT—HEAD DOWN!
And don’t touch my diaphragm.
DAVID
You keep that in the CAR?
LISA
You better not open the glove box.
David recoils in disgust. Sean crouches on the floor in the
back, heart pounding.
SEAN
Oh my God, she knows I’m here.
LISA
How would she?
SEAN
I DON’T KNOW! ...WITCHCRAFT!
DAVID
Relax, Casper. She didn’t see you.(to Lisa)
But just so we’re clear, if we get caught,
I’m telling the cops you kidnapped both of
us.
LISA
Kidnapped? Boy, you climbed in here like I
was giving away Madonna tickets.
(gets in gear)
Get him under that blanket, we’re taking him
to my place.
EXT. PARKING LOT - NIGHT (CONTINUOUS)
Lisa’s car inches past the cruisers... then punches it down
the road, screeching the tires. Laughter spills out as
they speed away.
FADE TO BLACK:
FADE FROM BLACK:
Genres:
["Drama","Family","Thriller"]
Ratings
Scene
30 -
Birthday Surprises and Teasing Tensions
INT. LISA’S APARTMENT - NIGHT – MOMENTS LATER
The door bursts open. Lisa flicks on the light — the place
glows with 80s nostalgia: Olivia Newton-John posters,
Grease vinyl on the wall, Boy George smiling from a
magazine cover. Lisa and David tumble in, laughing like
outlaws. Sean trails behind — pale, wide-eyed, like he just
survived a crime scene.
DAVID
Okay, that was EPIC. But next birthday,
we’re doing it here, no cops, no skanks,
just cake and vodka.
SEAN (still rattled)
HOW DID SHE KNOW?
Lisa tosses her purse down and charges into the kitchen to
fetch a beer.
LISA
Maybe it wasn’t about you, maybe
it was just a raid. Just tell your
Mom, you were here all night.
SEAN (falling into the sofa)
I’m never going out again.
DAVID
Oh Please. You didn’t drink, didn’t smoke,
didn’t flash anyone. You're basically a...
Catholic pamphlet of Saints. I’ve seen nuns
take more risks.
Sean sits up, defensive.
SEAN
I’m not a saint.
LISA
Yes, you are. That’s why we dragged you out
tonight. You need to unclench, Sean. Quit
being such a mama’s boy.
SEAN
Who said I was a mama’s boy?
You obviously don’t know my mama.
David grabs the remote and turns on the TV — MTV flashes to
life, music videos blaring.
DAVID
If you two are going to fight, take it to
the back. I want my MTV.
Lisa smirks. She stands, then yanks Sean up by the arm.
LISA
Come on. Prove it. Show me you can be a man.
SEAN
WAIT - WHAT ARE YOU DOING?
LISA
Giving you my birthday present.
She drags him into the bedroom and slams the door shut.
David stares down the hallway, beer in hand, shaking his
head.
DAVID
Unbelievable. The Virgin Saint gets more
action than I do....Now that’s a miracle.
FADE TO BLACK:
FADE IN FROM BLACK:
Genres:
["Drama","Coming-of-age","Family"]
Ratings
Scene
31 -
Confrontation and Consequences
EXT. GREYSON HOUSE - LATER SAME NIGHT
Wide shot of Lisa’s car pulling up quietly to the curb.
Sean steps out, shoulders slumped. She waves and drives
off. Sean stares at the dark house for a moment before
heading inside.
INT. GREYSON HOUSE - LIVING ROOM
The lights are low. RAY sits at the kitchen table, papers
spread out, glasses low on his nose. The TV hums softly in
the background. The front door creaks open. Sean freezes
when he sees his dad waiting.
RAY (firmly)
Where have you been?
SEAN
At a friend's house, hanging out.
RAY
Which friend?
Shawn shifted a little.
SEAN
David and Lisa. We were watching MTV and
playing CLUE. I told you where I was going.
RAY
Karen Miller saw you at the club tonight and
called your mother at the station, telling
her where you were. Your mother called me
and then went looking for you. I tried to
stop her, but she just blamed me and said I
didn’t care about what you did.
Sean’s face drains.
SEAN
Dad-
RAY (cutting him off)
You told me you were going to a friend’s
house for your birthday. I trusted you. Now
your mother’s furious at me—for believing in
you.
SEAN (pausing)
I’m sorry, Dad. I didn’t mean to mess
things up for you.
RAY
It’s not about me, (pause)
You lied to me.
A long silence.
SEAN
I’m sorry.
RAY
You’re grounded for two weeks, (pause) but
it’s gonna be much longer before I can trust
you again.
Sean looks crushed. Ray exhales, rubs his temple, starts to
walk away — then stops.
RAY
MeMaw’s back in the hospital. Your mother
was going to deal with you herself, but
right after she left the club, the hospital
called her out.
SEAN
I’m sorry, Dad. I swear—I’ll never lie to
you again.
Ray finally looks at him — not angry now, just tired.
RAY
I hope not. Because if I can’t trust you...
I can’t protect you.
He turns and walks down the hall. Sean stands there in the
quiet, staring at the empty doorway — the weight of
everything settling in.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
32 -
Morning of Loss
EXT. GREYSON HOUSE - MORNING
The first light creeps over the horizon. The neighborhood
is still, suspended in quiet — until a PHONE RINGS inside
the house, shattering the calm.
CUT TO:
INT. SEAN’S BEDROOM - MORNING
A teenage mess. Posters, clothes on the floor, a half-open
textbook on the desk. Sean sleeps heavily under the covers.
The door opens. A shaft of hallway light spills in as RAY
steps inside, careful, quiet.
RAY
Sean?
Sean stirs under the covers, groggy as Ray flips the light
on. Sean squints, rubbing his eyes.
RAY
Sean, I need you to wake up.
SEAN (half-asleep)
Huh? What time is it?
RAY
6:15.
Ray sits on the edge of the bed. Sean rubs his eyes, slowly
pulling himself upright.
SEAN
What’s going on?
Ray hesitates, searching for the words.
RAY
Your mom just called...(he hesitates)
MeMaw’s gone. Early this morning.
Sean blinks — still half in dream, half in disbelief.
SEAN
What?
RAY
The cancer spread faster than they thought.
She went peacefully in her sleep.
Sean stares at the blanket in his lap. A long silence.
SEAN
Is Mom okay?
RAY
She’s holding it together for PawPaw, but
she needs us. Get dressed.
Ray stands, starts toward the door, then turns back.
RAY
And Sean... We’re not gonna talk about last
night. If your mother asks... I handled it.
SEAN
Yes, sir.
Ray gives a small nod and leaves, closing the door softly
behind him. Sean sits in silence, rubbing his face — the
news, the guilt, the exhaustion all colliding. He looks
toward the window, light creeping in.
FADE TO BLACK:
FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
33 -
A Journey of Faith and Reconciliation
INT. FUNERAL HOME - VIEWING ROOM - DAY
Soft murmurs. Hushed tears. A low organ hum.
Clusters of mourners gather, their movements slow and
reverent. J’NET stands near the casket, surrounded by
FRIENDS — composed, but hollow-eyed. Across the room, SEAN
sits alone, staring at the casket. Still. Distant. RAY
approaches quietly and sits beside him.
RAY
You holding up?
SEAN
I think so. (looks across the room)
Mom still hasn’t said a word to me.
RAY
Maybe that’s for the best... for now.
He reaches into his pocket and pulls out a small gold box,
polished from use.
RAY
Your Memaw wanted you to have this.
He quietly hands him a small, gold box. Sean hesitates,
then opens it. Inside — a silver cross necklace. He lifts
it carefully. The metal glints in the low light.
RAY
She bought it for your birthday.
Said she wanted you to understand
what really matters in life.
Sean’s throat tightens. He can’t find words. Ray rests a
hand on his shoulder and leans in, his voice firm but not
harsh.
RAY
This Sunday...we’re going to church.
Sean looks up, surprised.
SEAN
Church?
RAY
Don’t make any plans.
Ray stands, gives his shoulder a small squeeze, and moves
off toward J’net. Sean stays behind, staring at the cross.
A thin beam of sunlight finds it — gleaming in his hands
like something holy, fragile, and undeserved. The hum of
conversation fades to silence.
CROSSFADE:
EXT. FAMILY FAITH CHURCH - MORNING
Cars fill the lot. Sunday best everywhere. Gospel music
drifts from inside, bright and full of life.
INT. FAMILY FAITH CHURCH - DAY
The sanctuary glows in warm morning light. Soft music plays
under a hush of reverence.
PASTOR PAUL (paunchy, early 60’s) stands at the pulpit,
delivering the altar call — calm, sincere. His voice is
like a hushed muffle. The CONGREGATION is still. A few
TEENAGERS in the back whisper and snicker.
In a middle pew, SEAN sits beside RAY and J’NET, a small
silver cross glinting at his neck. He watches as people
begin to rise, one by one, walking toward the altar.
Sean’s eyes flicker — nerves, longing — and he slowly
stands. Ray notices first. Then J’net. Neither stops him.
Sean steps into the aisle, breath tight, and walks forward.
He joins the small group at the front, bowing his head as
the music swells. A few teens laugh softly behind him. He
ignores them.
SEAN (V.O.)
That morning, I just wanted to understand...
what really mattered. I knew something was
missing — so I prayed. And for the first
time... I felt it. Something shifted inside.
Something... different.
Ray and J’net rise, moving up behind him. They rest their
hands on his back — cautious, almost unsure. Sean lifts his
eyes, glancing between them. A small, quiet smile.
SEAN (V.O.)
Even Mom started reading her Bible.
She was trying. We both were.
The camera drifts upward — following the music — to the
wooden cross on the wall, glowing in the light. The music
fades. Silence lingers.
FADE TO BLACK:
HARD CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
34 -
Faith in the Face of Mockery
EXT. SCHOOL GROUNDS - DAY
The bell rings — chaos erupts. Backpacks slam, sneakers
squeak, laughter and shouting fill the courtyard.
SUPERIMPOSE: OCTOBER 1986
At a bench off to the side, SEAN eats alone, quiet,
half-lost in thought. Nearby, TODD and CHANCE sit with a
Bible open between them — calm in the storm. A group of
FOOTBALL PLAYERS passes, loud and cocky. One JOCK slows,
spotting them.
JOCK
What are you two freaks reading?
He snatches the Bible from the table and examines it.
JOCK
A Bible? Seriously? What is this,
the Jesus Club?
Laughter from the nearby tables.
TODD
Mind giving that back?
JOCK
Why don’t you pray and ask God to make me?
Todd doesn’t flinch. Just a calm smile. Sean looks up from
his lunch and watches.
TODD
Go ahead, keep it. You probably need it more
than we do.
A few heads turn. The crowd quiets slightly.
JOCK
What’d you say?
Sean watches with great interest and curiosity.
TODD
God’s got a plan for you, man.
Might even find it — if you read that book.
JOCK
God doesn’t give a crap about me,
or anyone else here.
He tosses the Bible back. It slides to a stop in front of
Todd. Sean flinches. Todd picks it up, steady.
TODD
You’re wrong…
The crowd quiets.
TODD (soft but unwavering)
That’s why He sent Jesus, because
He does care. Even for you.
A TEACHER steps up.
TEACHER
Is there a problem here?
The Jock glances at the teacher, then backs off.
JOCK
Whatever, freak.
His crew trails off laughing. The teacher moves on. Sean
stays frozen, still processing. Then — he stands, walks
over.
SEAN
Hey... I’m Sean.
That was... awesome.
TODD
Thanks. I’m Todd, and this is Chance.
They shake hands.
CHANCE
Pull up a chair?
SEAN
Thanks.
Sean sits, still shaken—but drawn in.
SEAN
Weren’t you scared he’d deck you?
TODD
Used to be. But... I don’t know.
Feels different now.
CHANCE
He’s been working out. Spiritually and,
you know... gym-ically.
Todd shoots him a look.
TODD
That’s not a word.
CHANCE
It is now.
SEAN
I’ve never met anyone who actually... lived
out their faith. At my church, half the
youth group makes fun of me for being a
Christian.
TODD
Then come to ours. Nobody’s laughing —
too busy worshipping.
CHANCE
And eating pizza. We’re spiritual and carby.
Sean smiles for real — first time in a while.
SEAN
What church?
Todd tears a page from his notebook, scribbles a number and
address.
TODD
Here. We meet tomorrow night.
We can pick you up if you want to come.
SEAN
Yeah, let me give you my address.
Chance hands him a pen and paper. They trade info.
TODD
We read out here every lunch. You in?
Sean can’t control his excitement.
SEAN
Yeah, I’m in.
They crack the Bible open. The three of them talk, read,
and laugh.
FADE TO BLACK:
HARD CUT TO:
Genres:
["Drama","Spiritual"]
Ratings
Scene
35 -
A Choice of Paths
EXT. SEAN’S HOME. FRONTYARD. EVENING.
Sean walks outside his home and to the curb, clutching a
Bible. The street hums with the soft buzz of crickets and
faraway music. Then—tires squeal. Lisa’s car swings around
the corner, bass thumping. David hangs halfway out the
window, Danny rides shotgun looking unimpressed.
DAVID (cheerfully loud)
Hey loser, Get in — we’re making
bad choices tonight!
SEAN
Is that Danny?
DAVID (whispering)
See? Lisa’s already made the first one.
SEAN
Thanks, but… I actually have plans.
David
Plans? With who? Where we going?
Are there snacks?
SEAN
Some friends from school are picking me up.
LISA (squinting)
Wait—is that a Bible?
Sean subtly tries to hide it behind his leg.
SEAN
Um…
Right on cue, a modest sedan pulls up beside them. Todd
leans out the window, grinning.
TODD (calling out from the car)
HEY SEAN—READY FOR CHURCH, BRO?!
DAVID (loud fake gasp)
Oh no. Sean joined the convent.
Wait, do they even let boys do that?
LISA
We’re headed somewhere with actual music —
not tambourines and casseroles. (pause)
It’s either us or the choir boys.
DAVID (flirting)
Ooo, I chose the choir boys.
SEAN
You making me choose?
LISA
Call it an intervention. Before
you trade your weekends for potlucks.
Sean looks between the two cars — the noise and neon of
one, the quiet sincerity of the other. His choice hangs for
a moment.
LISA
Never mind, we’re not spending our evening
with an altar boy. Call us if you decide to
leave Sunday school.
Lisa floors it, tires squealing. David waves dramatically
like he’s saying goodbye to a fallen comrade. The car
disappears. Silence again.
CHANCE
You coming, man? They’re
about to start.
Sean looks down at his Bible, smiles to himself, then holds
his bible up, proudly.
SEAN
Let’s do this.
Sean leaps forward and climbs into the back seat. Todd and
Chance let out a whoop, crank up the Christian music and
peel off.
Genres:
["Drama","Coming-of-Age"]
Ratings
Scene
36 -
A Night of Healing and Belonging
EXT. NEW HOPE ASSEMBLY PARKING LOT - NIGHT
The modest sedan glides into a crowded lot. Cars line every
space. Laughter and music spill into the night air. Sean
steps out with Todd and Chance, taking in the sight — teens
everywhere, buzzing with energy, filing toward the glowing
building. Sean stops for a moment to look around.
TODD
Come on man, don’t chicken out now.
Sean follows, clutching his Bible like a lifeline as they
head inside.
INT. NEW HOPE YOUTH ROOM - NIGHT
The doors swing open — and sound explodes. A youth band
tears through an upbeat worship song on a small stage.
Lights flash. Dozens of TEENS jump, clap, shout, sing. It’s
chaos and joy and surrender all at once. Sean freezes just
inside the door, stunned. This isn’t like his family’s
church. It’s alive. Todd and Chance grin, pulling him
forward to a row near the back. Sean glances around — hands
lifted, faces shining, no one holding back. A smile
flickers across his face.
Near the front, MICHELLE (16) catches his eye. She nudges
her friend JENNY (17); they whisper, then giggle when Sean
smiles back. He looks away quickly, flustered — but a spark
of belonging lingers.
CROSSFADE:
INT NEW HOPE YOUTH ROOM - NIGHT (LATER THAT NIGHT)
The energy has settled. The lights are dim. A single
keyboard hums soft, ambient chords. JEFF, the youth pastor
— late 20s, warm, grounded — stands at the front.
JEFF
None of you are here tonight by accident.
God knew exactly what He was doing when He
brought you here. (pause) Some of you have
walked through things no one your age should
ever face — abuse, neglect, rejection...
Sean’s smile fades. His face tightens. Eyes glassy.
JEFF
But hear me — God saw every moment.
He never walked away. He never forgot you.
The enemy came after you because he’s
terrified of what God will do through you.
Sean’s eyes well. A tear slips free. Then another.
JEFF
You don’t have to carry that pain anymore.
If you’re ready to give it to Jesus — to let
Him start healing your life — come forward.
Our leaders are here to pray with you.
The keyboard swells, filling the room. One by one, teens
rise and walk toward the altar. Sean watches, heart
pounding. He hesitates — then stands. Todd and Chance rise
beside him, resting hands on his shoulders. Steady. Sure.
Together, they walk forward.
INT. NEW HOPE YOUTH ROOM – FRONT ALTAR – (CONTINUOUS)
Sean kneels among the others. A gentle LEADER places a hand
on his back. Sean closes his eyes… and breaks. His body
trembles as deep, raw sobs pour out — years of silence and
shame releasing in waves.
SEAN (V.O.)
That night changed everything. For the first
time in my life, I didn’t feel alone.I felt
like God heard my cries... like He was
telling me I was loved. That I belonged.
That I mattered.
(long pause) And just when I thought I was
free from it all...
CUT TO:
Genres:
["Drama","Spiritual"]
Ratings
Scene
37 -
Tensions at Home
EXT. GREYSON HOME - NIGHT
Crickets hum beneath a heavy sky. The house glows faintly
from within.
J'NET (V.O.)
You’re not going back to that church again.
INT. GREYSON LIVING ROOM - NIGHT
SEAN
What? Why not?
J’net sits in her chair, a cigarette burning low between
her fingers. The TV glows silently, casting blue light
across her face. Sean stands near the doorway, tense. Ray
sits back in his recliner, quiet, watchful.
J'NET
Because it’s dangerous. That youth
group—whatever they call it—is pulling you
away from your family. From your real
church.
SEAN
Mom, nobody’s pulling me anywhere.
I finally found people who actually care.
The kids at our church treat me like I’m
some kind of joke.
J'NET
That’s not true. You’re overacting.
SEAN
No, I’m not. They mock me for being a
Christian. But this group—
They accept me. They listen.
J’NET
That’s how they work. They make you feel
seen, then fill your head with ideas until
you can’t tell what’s real anymore.
RAY (to J’net)
Honey... he’s not asking for drugs or
parties. He’s asking to go to church.
A church with kids his own age.
That’s not the worst thing.
J'NET (stern)
I wish, just once, you’d back me up.
I’m trying to protect him, and you keep
handing him the keys. First the nightclub,
now this?
RAY
This isn’t a nightclub. It’s a church.
There’s a big difference.
J'NET
You don’t get it. They’re brainwashing him.
SEAN
Mom... if you knew some of the things I’ve
been thinking about doing...You’d agree my
brain needed washing.
The words hang there. J’net freezes. Ray looks down, jaw
tight.
RAY
Alright. Here’s what we’ll do.
Sundays, you’re with us at our church.
Wednesday nights, you can go to yours.
Deal?
Sean’s relief floods the room.
SEAN (relieved)
Yes sir. Thank you. I promise—
I won’t miss a Sunday.
Sean hurries down the hallway to his room and closes the
door behind him. Silence. J’net stares after him, her voice
low, bitter.
J'NET (under her breath)
He did it again. We never argued like this
until he came along...and you're too blind
to see it.
RAY
That’s enough, J’net, I’m done.
J’NET
No, I’M done!
J’net grabs her purse, storms out, and slams the door
behind her. Ray sits back, rubbing his temples—alone again
in the quiet.
FADE OUT TO BLACK:
FADE IN FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
38 -
The Weight of Forgiveness
EXT. FAMILY FAITH CHURCH - DAY
Several cars fill the parking lot of the small church.
INT. FAMILY FAITH CHURCH - SANCTUARY - DAY
The sanctuary is filled. Pastor Paul preaches from the
pulpit, full of warmth and humor. Sean sits between his
parents, notebook in his lap, eyes locked on the pastor. He
scribbles notes with intensity.
PASTOR PAUL
Peter is my favorite disciple. Why?
Because he messed up… A LOT!
I can relate to Peter.
Light chuckles ripple through the room.
PASTOR PAUL (grinning)
Maybe we all can.
Quick cuts of people in the congregation — smiling,
nodding, leaning in.
PASTOR PAUL
The twelve disciples weren’t spiritual
superheroes—they were fishermen, political
radicals, and even a tax collector. That
had to make for some awkward moments at
camp.
More chuckles, warmer this time.
PASTOR PAUL
One day, Peter asked Jesus an important
question, “How many times do I have to
forgive someone? Seven times?” (pause)
Sounds like Peter was done with someone.
Laughter ripples through the room.
QUICK CUTS – CONGREGATION REACTIONS:
– Sean cracks a smile.
- A WOMAN nods slowly.
– A FATHER chuckles, nudges his WIFE. She looks irritated.
PASTOR PAUL (continuing)
...And Jesus, maybe with a grin, says ”not
seven times—but seventy times seven.”
Sean’s smile fades.
PASTOR PAUL
Jesus wasn’t giving us a math problem. He
was saying: stop counting. Love, real love,
keeps no record of wrongdoings. Even when
they mistreat you... hurt you... Take
advantage of you... You forgive every time.
Forgiveness has no limits.
Sean looks down. Slowly writes in his notebook:
“70x7 = Forgiveness.” His hand stops. He glances at his
mother. A long, heavy beat. The weight of it settles in his
chest.
PASTOR PAUL
Let us pray…
CROSSFADE:
Genres:
["Drama","Spiritual"]
Ratings
Scene
39 -
Tensions Over Pizza
EXT. PIZZA RESTAURANT - LATER THAT DAY
FAMILIES stroll by, sunlight glinting off parked cars.
CUT TO:
INT. PIZZA RESTAURANT - CONTINUOUS
Close on a stream of soda filling a glass — fizz rising. A
waitress loads it onto a tray, turns, and moves through a
blur of laughter and chatter. As she passes, the camera
lands on Ray, J’net, and Sean at a corner booth — the
picture of uneasy family normalcy. The air hums with quiet
conversation from nearby tables.
RAY
That was a good sermon this morning.
We all could stand to learn a little about
forgiveness.
J'NET
I can forgive... some things. But I don’t
forget.
RAY
Yeah. That’s kinda the problem.
J’net shoots him a look sharp enough to cut glass.
Across the room, Michelle spots Sean and waves. Sean
brightens instantly, waving back.
RAY (smirking)
She’s cute. Friend of yours?
SEAN (smiling)
Yeah. Michelle’s in the youth group.
J'NET
You mean that cult church?
Sean lowers his eyes. Doesn’t answer.
RAY
J'net, you don’t know that.
J'NET
I know that church is poison.
RAY
It's not poison, it's just... different.
J'NET
It’s not God’s kind of different.
The WAITRESS arrives — friendly but sensing the tension.
She sets down the steaming pizza.
WAITRESS
Here we go. Enjoy. I’ll check back in a bit.
RAY
Thank you.
Sean quietly starts counting slices, murmuring numbers
under his breath.
J'NET (cutting in, sharp)
What are you doing now?
SEAN
Just counting, so we can split it evenly—
J'NET
Of course. God forbid someone should touch
one of your slices.
RAY
J’net—
J'NET (getting louder)
No! I’ve had enough of this! You defend him
no matter what he does. He could slap me in
the face and you’d still take his side!
The room stiffens. Conversations falter. Michelle and her
family bow their heads, pretending not to notice. Sean
freezes, eyes burning.
RAY (leaning forward)
Stop it. You’re making a scene.
J'NET
Let ‘em watch. Go ahead, Sean, enjoy your
perfect little kingdom, Eat the whole damn
thing!
She grabs her purse, chair scraping loudly against tile.
J’NET
I hope you CHOKE on it!
She storms out. The bell above the door rattles. Silence
swallows the room. Sean stares down at the pizza — appetite
gone.
RAY (softly)
I’m sorry. You didn’t deserve that.
You know how she gets.
SEAN (choking back emotion)
Yeah, I know.
He looks away, fighting tears.
RAY
You have to be the bigger person. Like
Pastor Paul said, just forgive her and
move on.
Sean looks up — hollow, searching.
SEAN (pause)
How?
Ray looks at him, lost. No sermon answer this time.
A long silence.
FADE OUT TO BLACK:
FADE IN FROM BLACK:
Genres:
["Drama","Family"]
Ratings
Scene
40 -
A Night of Connection
INT. NEW HOPE YOUTH ROOM - NIGHT
Sean, Todd, and Chance step inside, swallowed by the hum of
chatter and the thrum of tuning guitars. The YOUTH BAND
preps at the front, cables coiled like snakes at their
feet. Sean scans the rows.
JENNY (calling out)
Hey Sean—we saved you a spot up front!
Sean smiles and heads toward her. He slides into a seat
beside Jenny and Michelle.
SEAN
Thanks. (to Michelle) Hey.
MICHELLE (smiling)
Hey.
She notices something in his expression.
MICHELLE
You Okay?
SEAN
Yeah, I’m sorry about my mom the other day.
MICHELLE
It’s okay. Sometimes, my mom can be a
real drag, too. But then, she came
to church and everything changed.
SEAN (softly)
My mom’s already GOING to church.
Michelle’s smile falters. She doesn’t know what to say.
JENNY (jumping in)
You coming to Weekend Warriors Friday?
SEAN
Yeah! My dad’s letting me borrow the car,
so I’ll be there. Unless it explodes or
something. He hasn’t changed the oil since
Moses.
They laugh. Sean looks at Michelle again, finding courage.
SEAN (pauses, unsure)
Hey, what are you doing Saturday night?
MICHELLE
Nothing yet.
SEAN
Want to go to the mall? I’m meeting Kay and
the gang. We’re grabbing spaghetti at Chad’s
after—maybe watch a movie?
MICHELLE
That sounds fun. I’ll ask my mom, but I’m
sure it’s fine.
SEAN
Awesome. I’ll swing by around five?
MICHELLE (grinning)
Better change the oil first.
Sean laughs. Michelle turns to Jenny, trying (and failing)
to hide her excitement. Jenny laughs quietly. Just then,
Pastor Jeff walks to the front.
JEFF
Hey guys—welcome to Sky Scrappers!
How many of you are excited to worship
the Lord tonight?
The CROWD erupts with cheers and claps.
JEFF
Then get on your feet and give Him
your loudest praise!
The band explodes into song. The room comes alive — arms
raised, voices loud.
Sean stands beside Michelle, swept up in the rhythm. Their
eyes meet — a small, shy smile shared between them.
Genres:
["Drama","Coming of Age","Spiritual"]
Ratings
Scene
41 -
Torn Apart
INT. PASTOR JOSEPH’S OFFICE - DAY
SEAN
Michelle and I started dating. She was
really different from any girl I had ever
known.
PASTOR JOSEPH
So you really started to fit in, find your
place?
SEAN
Oh yeah. But while things at church got
better for me, things at home continued to
get worse. The following week, mom was fired
from her job.
PASTOR JOSEPH
What happened?
SEAN
They said it was inappropriate behavior with
a coworker. She denied it... but I don’t
think Dad believed her. They fought alot
and I knew I couldn’t stay there.
PASTOR JOSEPH
What other option did you have?
SEAN
I felt called into ministry.
The church started a new Bible college.
I saved what I could and God took care of
the rest.
CUT TO:
INT. GREYSON LIVING ROOM – DAY
J'net storms down the hallway, lugging a packed bag. Ray
follows her, frustrated but trying to stay calm.
RAY
J'net, where are you going?
J'NET
I told him—if he ever went back to that
church again, I was gone. Now he wants
to go to LIVE there? They sucked him
right in, and you let them.
RAY
This is ridiculous. You’re leaving because
he wants to go into ministry?
J'NET
At that church? YES.
She moves toward the front door — then spots Sean sitting
stiffly on the sofa.
J'NET (seeing him)
Well, I hope you’re happy.
You got what you wanted — your church, your
father, the whole house. I thought your
church was supposed to bring families
together, not split them apart. Again,
YOU’RE the cause of this.
RAY
No—he’s not. You’re choosing to walk away.
J'NET
Because you never stand up for me. You keep
taking his side; you care more about him
than you do me. I feel like a damn outsider
in my own home. I’m going to my father's. At
least HE respects my opinions.
She exits, slamming the door behind her. Ray slowly stands.
After a moment of awkward silence, he speaks.
RAY
It’s not your fault, son.
You just... keep forgiving her, okay?
That’s all we can do.
Sean doesn’t move. A tear rolls down his cheek.
He wipes it away quickly and walks down the hall. Ray sinks
onto the sofa, rubbing his face with both hands.
The quiet feels heavier than words.
FADE TO BLACK:
Genres:
["Drama"]
Ratings
Scene
42 -
Unveiling Shadows
INT. PASTOR JOSEPH’S OFFICE - DAY
Sean sits silently, eyes downcast. Pastor Joseph watches
him, the weight of the story hanging between them.
PASTOR JOSEPH
Your mother... she wasn’t a stable woman,
was she?
SEAN
I’ve told you—She resented me from the
start. Didn’t matter what I did — I could
never get it right. Dad was the only one who
stood by me, and she hated that, too.
He exhales, remembering.
SEAN
Once I left for Bible school, she moved back
home. By the time I graduated, Michelle and
I were already planning our wedding.
PASTOR JOSEPH
Ah, yes... I remember. She wasn’t exactly
thrilled about that, was she?
SEAN
She hated Michelle. Tried everything to
split us up — even called her sister,
begging her to stop the wedding.
But Michelle’s family stood with us.
PASTOR JOSEPH
Sounds like you found your soulmate.
Sean smiles faintly, eyes softening.
SEAN (smiling)
Outside of my faith... She's the best thing
that ever happened to me. After the wedding,
Lighthouse Fellowship hired me as the youth
pastor in Mississippi. We packed up and left
— fresh start, new life.
PASTOR JOSEPH (smiling)
Away from all the chaos.
That must’ve felt like freedom.
SEAN
It did, for a while.
Sean’s smile fades. His eyes lowered, voice tightening.
Pastor Joseph leans forward, sensing the shift.
PASTOR JOSEPH
But?
Sean looks up, eyes clouded.
SEAN
The story doesn’t end there.
Pastor Joseph’s expression darkens slightly. The silence
stretches.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
43 -
Dinner Dilemmas and Cheesecake Wishes
EXT. SEAN’S HOME - DAY
Sean and Michelle (visibly pregnant) carry groceries toward
the house.
SUPERIMPOSE: MARCH 1995
SEAN
How about takeout tonight?
Give the chef a night off?
MICHELLE
Tempting… but weren’t we invited to the
Landry’s for supper?
SEAN
Oh, right. (pause)
I’ll just “come down with something”
before dinner.
MICHELLE
She’ll just pack it up and bring it over.
SEAN
Perfect. Then you can eat my share.
Michelle laughs.
INT. SEAN’S KITCHEN - DAY (continuous)
They place the bags of groceries on the table.
MICHELLE
Come on, her cooking’s not THAT bad.
SEAN
Michelle, they found KITTY LITTER in her
casserole at the potluck.
MICHELLE
I told you—if her food starts purring,
don’t eat it.
SEAN
Ewwww.
Michelle laughs. The phone rings. Sean sees the caller ID.
SEAN
Dad.
MICHELLE
Tell him his pregnant daughter-in-law
deserves another cheesecake.
SEAN
Got it. (answers) Hey, Dad.
Genres:
["Drama","Comedy"]
Ratings
Scene
44 -
Boundaries and Breakthroughs
INT. NEW GREYSON HOME - (CONTINUOUS)
RAY
Hey, how’s my favorite expecting couple?
SEAN (laughs)
Better than the first trimester. She’s
craving cheesecake again.
INTERCUT BETWEEN NEW GREYSON'S HOME AND SEAN’S HOUSE
RAY
Done. I’ll order another one. What are you
guys up to?
SEAN
Just unpacking groceries.
Sean slowly unpacks the groceries while talking.
RAY
Guess what?
SEAN
What?
RAY
Your sister and her girlfriend broke up.
Renee is moving back home.
Sean stops mid-motion, surprised.
SEAN (shocked)
Really? Where is she going to stay?
RAY
Your mom offered her room back here.She
hasn’t been feeling well lately, and could
use some extra help around the house.
SEAN
Wow. Well… if that works for you both,
I’m glad.
RAY
Yeah, your mom’s actually excited. (pause)
So, when are you two coming down?
We haven’t seen you since Christmas.
SEAN
Probably not till after the baby’s born. But
hey—you and Mom could come here. Make it a
weekend.
RAY
I’d love that. When?
SEAN
Next weekend maybe? The youth group’s doing
a special Sunday service.
RAY
Perfect. Your mother’s not going to come,
but I’ll drive up Friday, head back Monday
before Renee moves in. Sounds good?
SEAN
Absolutely.
RAY
And tell Michelle I’m bringing that
cheesecake. (pause) Hold on—your mother
wants to say something.
Sean freezes, then sighs.
SEAN (bracing himself)
Okay…
Brief Pause
J'NET (O.S.)
What do you think you’re doing?
SEAN
Uh… talking to dad?
J'NET
Did you just invite your father to come
visit?
SEAN
Yeah, Why?
J'NET
How dare you be so inconsiderate—
asking him to drive all that way
and leave me here by myself?
SEAN
He doesn’t have to come alone. You can come
too—there’s plenty of room here.
J'NET
I have no intention of staying under the
same roof as you and Michelle.
SEAN
Wow. Well, that’s your choice. But if Dad
wants to come, he’s always welcome.
J'NET
You’re so selfish. You never think about how
your actions are going to affect other
people. Once again, your selfishness is
interfering with our marriage. I am so tired
of you disrupting our lives.
Sean stops unpacking, jaw tight.
SEAN
How is inviting Dad for a weekend
“interfering”?
J'NET
You’re putting him at risk! What if
something happens on the road? I’d be left
alone—and that would be your fault!
(unraveling) Now I have to BEG him not to
go, and when he blames me for ruining
everything again, it’ll be YOUR fault!
Sean closes his eyes, grips the counter. Then—calm, steady:
SEAN (calm but firm)
No ma’am. Not this time.
I’m done carrying that.
Whatever’s wrong in your marriage—that’s
between you and Dad.
The guilt trip ends here.
A long silence. Then—CLICK. Sean lowers the phone. Exhales.
Something inside him releases. Michelle watches, impressed.
MICHELLE (small smile)
Can we frame that and hang it over the
fireplace? Because that was art.
Sean snickers, the tension melting. Michelle wraps her arms
around him.
SEAN (V.O.)
We didn’t talk again for three months. And
it was the most GLORIOUS three months of my
life. My only regret? Not do it sooner.
CUE UPBEAT BACKGROUND MUSIC:
BEGIN MONTAGE — “THE BLESSING YEARS”
(Quick 5–6 second bursts, bright and full of life)
Genres:
["Drama"]
Ratings
Scene
45 -
The Blessing Years
INT. LIGHTHOUSE FELLOWSHIP - YOUTH ROOM - DAY
Sean stands before a group of TEENS, preaching with
contagious energy. The room bursts into laughter at one of
his jokes. Behind him, Michelle stands off to the side, her
belly now round with life, smiling proudly.
INT. LIGHTHOUSE FELLOWSHIP ALTAR – DAY
Sean and Michelle kneel with a group of teens, praying over
them. Hands lifted, tears, laughter — a sense of real
connection.
INT. HOSPITAL – DELIVERY ROOM – DAY
Michelle’s in labor, gripping Sean’s hand. Sweat, tears,
anticipation. A NURSE gently hands Sean a newborn — BABY
JESSI. Sean looks at Michelle, overwhelmed. They both laugh
through tears.
INT. SEAN’S LIVING ROOM – DAY
First birthday party. Cake smashed on Jessi’s cheeks as
Sean lifts her high into the air. Laughter fills the frame
— FRIENDS and CHURCH MEMBERS cheering.
INT. SEAN’S HOME – NIGHT
Warm lamplight. Sean sits on the floor, reading a Bible
story to little JESSI (3). Michelle watches from the
kitchen — smiling, peaceful — her belly pregnant again.
Sean glances up at her, their eyes meet — contentment.
INT. MS HOSPITAL – DAY
Another delivery room. Another miracle.
Sean, in scrubs, holds BABY VICTORIA to the window.
MICHELLE’S FAMILY cheers from behind the glass.
Sean weeps openly — joy, awe, purpose.
INT. SEAN’S LIVING ROOM – NIGHT
Now a family of four. Popcorn bowl, a Disney movie on the
TV. Michelle rests her head on Sean’s shoulder. Jessi
giggles. Baby Victoria sleeps in his arms.
EXT. LIGHTHOUSE FELLOWSHIP – DAY
Bright sunlight. The little church looks vibrant and alive.
The camera slowly pushes in on the church sign:
“WELCOME SEAN GREYSON — OUR NEW PASTOR!”
INT. SEAN’S KITCHEN – LATE NIGHT
The house is dark and quiet now. Sean sits alone at the
kitchen table — Bible open, head in his hands. He breathes
deep, praying silently. The upbeat music fades into a
single sustained note — hopeful, but weary.
FADE OUT / END MONTAGE
Genres:
["Drama","Family","Spiritual"]
Ratings
Scene
46 -
A Test of Faith and Inclusivity
INT. SEAN’S OFFICE - DAY
FADE IN:
A child’s crayon drawing of Sean’s family of four hangs on
the wall — smiling stick figures under a bright sun.
SUPERIMPOSE: OCTOBER 2013
Sean sits behind his desk, composed but alert. Across from
him sits HAL, a stiff, conservative-looking board member.
The air hums with tension.
HAL
Thank you, Pastor, for seeing me so quickly.
SEAN
When you called, it sounded urgent.
HAL
Some of the members have concerns about the
newer folks attending the church.
SEAN
Concerns? What kind? Are they being
disruptive? Disrespectful?
HAL
No, nothing like that. It’s just that...
Most of them come from a... demographic
that doesn't exactly reflect the values or
image of our church. If this trend
continues, it could hurt us.
SEAN
Demographic? (pause) You mean—what?
Wealthy white folks with a talent for
gossip and judgment?
HAL
Fine. The Black members.
Sean leans back, silent. The clock ticks. Then—
SEAN
You realize the people you’re talking
about... came to our church through our
food outreach program.
HAL
Yes, we know.
Sean nods slowly, as if thinking it over.
SEAN
Alright. I’ll make you a deal. I won’t
invite any more Black people to our church.
HAL (perks up)
Really?
SEAN
But I won’t invite white people either.
HAL
What? I don’t understand.
SEAN
I’ll invite people, Hal.
The last time I checked, Jesus didn’t die
for one race. He died for all of us.
And as long as I’m the pastor here, this
church will welcome everyone — Black, white,
rich, poor, clean, dirty — doesn’t matter.
Sean leans in and clears his throat.
SEAN
If that’s a problem for anyone, they can
find another church that fits their
“demographic.”
HAL (icy)
You’re going to lose most of our faithful
tithers.
SEAN
Then they’re free to go. God is our
provider, not their bank accounts.
Hal stands to his feet.
HAL (coldly)
You’ll regret this.
SEAN (sharply)
Not today.
Hal storms out, door slamming behind him.
INT: CHURCH SECRETARY’S OFFICE - DAY (CONTINUOUS)
Hal strides past BEVERLY (50’s-60’s Black church
secretary). She stiffens, watching him pass. When he’s
gone, she rolls her eyes — then quietly sticks out her
tongue at his back. She grabs her notepad and heads for
Sean’s office.
INT: PASTOR SEAN’S OFFICE - DAY (CONTINUOUS)
BEVERLY
Pastor? You alright?
SEAN
I am now, (exhales) but I was about two
seconds from losing my sanctification with
him...I’ve got no patience for glow stick
people like that.
BEVERLY (raising an eyebrow)
Glow stick people?
SEAN
Yeah, the kind of people you just want to
snap in half and shake the crap out of ‘em
until the light comes on.
BEVERLY (smirks)
Oh, I dated one of those in college.
SEAN
Did the light ever come on?
BEVERLY
Still waiting.
SEAN
Send him my sermon podcast, “Let There Be
Light.”
They share a genuine laugh — a release valve after all that
tension. Then Beverly’s expression softens.
BEVERLY (laughs, then softens)
Well... thank God you didn’t snap anybody in
half. God brought you here for a reason.
And for the record — I believe in you.
You’ve got this.
SEAN
Thanks, Beverly. That means more than you
know.
She smiles, then remembers something.
BEVERLY
Oh—While Mr. Glow Stick was still here,
your sister called.
She offers him the written message with the number.
SEAN (looking up in shock)
My sister?
BEVERLY
I didn’t even know you had one.
Sean looks away, uneasy.
SEAN (lowering his eyes)
We’re... not exactly close.
She nods, sets the message on his desk.
BEVERLY
If you need anything, I’ll be in my
office finishing end-of-month reports.
SEAN
Thanks.
She leaves quietly. Sean stares at the message for a long
moment — conflicted. Finally, he crumples it in his fist...
and drops it in the trash.
The crayon drawing of his family catches his eye again —
bright, simple, innocent. He exhales.
Genres:
["Drama"]
Ratings
Scene
47 -
The Burden of Forgiveness
INT. PASTOR JOSEPH’S OFFICE - DAY
Soft light filters through half-closed blinds. Pastor
Joseph sits behind his desk — steady, compassionate.
Sean sits opposite him, weary, eyes heavy with old pain.
SEAN
Just the mention of her... brought it all
back. All the pain. The memories.
PASTOR JOSEPH
What you’re feeling is normal, Sean.
What she did left deep scars.
But scars don’t mean you’re still wounded.
They mean you survived.
Sean nods, but the words don’t seem to ease him.
SEAN
Then why does it still hurt?
Why does hearing her name feel like being
cut open again?
PASTOR JOSEPH
Because forgiveness doesn’t erase memory.
It transforms it. It’s not saying what she
did was okay — it’s saying you’re not
staying there anymore.
Sean leans forward, voice rising with years of frustration.
SEAN
Everyone keeps telling me I need to
just forgive, and move on.
But why is the burden on me?
I’m the one who got hurt.
Why do I have to do all the work?
When do they take responsibility for
what THEY did?
PASTOR JOSEPH
When they stand before God.
Your forgiveness isn’t a free pass — it
doesn’t cancel justice. They still have to
answer for every cruel thing they did. But
you don’t have to carry it anymore.
God is their judge, not you.
Sean wipes his eyes. His voice drops.
SEAN (softer)
Some days, I think I’ve let go.
Then it all crashes back...
and part of me wants them to hurt like I
still do.
PASTOR JOSEPH
That’s human. But unforgiveness is poison,
Sean. You drink it, hoping they die...
but it kills you slowly instead.
Hardens your heart. Numbs your spirit.
Until you can’t feel God anymore.
Sean looks down — broken, quiet.
SEAN
I’m tired. Tired of hurting.
Tired of remembering. (pause)
How do I stop?
PASTOR JOSEPH
You let go. Surrender the right to revenge.
Trust God to deal with them — His way.
SEAN
That’s easier said than done.
PASTOR JOSEPH
Maybe. But do you trust God?
Sean looks up at him, confused by his question.
SEAN
Of course I do.
PASTOR JOSEPH
Even if He forgives them?
Sean shifts, uneasy — that question hits deep.
PASTOR JOSEPH
Letting go means trusting His mercy, too.
If they repent, He may extend grace.
If not, His judgment will be just.
Either way... it’s not your call.
Sean exhales — slow, conflicted.
SEAN
So I forgive them... even if they never
apologize. Even if it still hurts.
PASTOR JOSEPH
Exactly. “If you forgive others... your
Father will forgive you.” (smiles faintly)
You know the rest.
SEAN (softly recalling)
“…But if you do not forgive... your
Father will not forgive your sins.”
Matthew 6:14–15.
A long silence. Sean breathes — torn between peace and
pain.
SEAN
I still want to confront them.
Hold them accountable.
I need them to know what they did.
PASTOR JOSEPH
Then you should. But only when love leads
you — not your anger. Confrontation isn’t
unforgiveness. It’s bringing light into
darkness. (pause) Just... be ready. They may
not respond how you hope.
Sean nods slowly. There’s a quiet resolve in his eyes — not
rage this time, but direction.
SEAN
Then that’s what I have to do. Confront
them... but only when the time is right. And
when my heart’s ready.
PASTOR JOSEPH
That’s it. You got this.
He reaches across the desk. Sean takes his hand.
PASTOR JOSEPH
Let’s pray.
Two men — bound by faith, pain, and grace. They bow their
heads.
FADE OUT:
FADE IN:
Genres:
["Drama"]
Ratings
Scene
48 -
Christmas Tensions
EXT. SUBURBAN NEIGHBORHOOD - NIGHT
Christmas lights sparkle along cozy suburban homes. Sean’s
car hums past — “O Holy Night” plays faintly from the
radio.
SUPERIMPOSE: TWO MONTHS LATER
Sean’s car stops in front of his parents’ house, warm
lights glowing through frosted windows. RAY stands at the
curb, smiling. JESSI (17) hops out first, then VICTORIA
(14).
RAY
Is that my two beautiful granddaughters?
JESSI
Hi Grandpa! You’re looking good.
VICTORIA
Hi Grandpa.
They both hug him warmly.
RAY
It’s so good to have you all here for
Christmas.
SEAN
Sorry we can only stay the night. I’ve got a
church meeting Sunday — prep’s been heavy.
RAY
I understand. Renee already changed the
sheets in the guest bedrooms.
SEAN
Thanks, Dad.
INT. NEW GREYSON HOME - LIVING ROOM - (CONTINUOUS)
J’NET sits in her recliner, arms folded, stone-faced. Sean
and MICHELLE enter with the girls.
SEAN
Merry Christmas!
J'NET
Where are the girls?
Jessi and Victoria enter with Michelle trailing behind.
JESSI / VICTORIA:
MERRY CHRISTMAS, GRANDMA.
They both hug her. J’net softens slightly.
J'NET
Well, look at you two. Growing up so fast.
Your father should bring you around more
before you’re all grown.
JESSI
After graduation, I’m moving here for
Bible college; same one dad graduated from.
J’net attempts to hide her disappointment.
J'NET
And you, Victoria?
VICTORIA
Still homeschooling, but I’m thinking
about it.
J'NET
Well, you have plenty of time. There’s
lots of other options to consider. (changing
the subject) Girls, go see if the fudge I
made is still in the kitchen, before your
Grandpa eats it all.
JESSI / VICTORIA
Thanks, Grandma.
The girls hurry off. Michelle steps forward.
MICHELLE
Merry Christmas!
J'NET (flat)
Merry Christmas.
MICHELLE
New chair?
J'NET
Yes. Renee got it for me. My back has been
hurting, and this one has extra support. She
understands thoughtful gifts.
SEAN
What’s that supposed to mean?
Sean’s phone unexpectedly goes off. He reaches into his
pocket and pulls it out.
J'NET
Nothing. Just... your sister’s
around more. She knows our needs.
After checking his phone and rejecting the call, he leans
to Michelle.
SEAN
It’s Hal again. I’ll talk to him later.
He tucks his phone back into his pocket.
J'NET
Still leading those poor souls astray?
RAY
J’net, not tonight. It’s Christmas.
J'NET (mock innocence)
Oh, heaven forbid I ruin Christmas again.
Michelle leans toward Sean.
MICHELLE (whispering)
Should have brought the Landry’s
Kitty Casserole.
Sean smirks and exhales slowly. From down the hall—
RENEE (V.O.)
Is that my brother I hear?
Sean stiffens.
RAY
Yes, come say hi.
RENEE (50) enters. sweatpants, oversized T-shirt, big grin.
RENEE
MERRY CHRISTMAS, BROTHER!!!!
Sean rises, polite but guarded. She hugs him.
SEAN
Merry Christmas!
The girls reappear, fudge in hand.
RENEE
Ooo, I see you found the fudge.
And how are my favorite nieces?
JESSI
We’re your ONLY nieces.
RENEE
Exactly! Now come give me a hug.
They oblige.
RAY
Girls, we’ve got presents for you.
Renee, wanna bring them in?
J’NET
They JUST got here, what’s the rush?
RAY
Because IT’S A WONDERFUL LIFE comes on
tonight, I want the girls to watch it with
us.
RENEE
OK, girls, wanna help me carry them in?
You can be my helper elves.
JESSI / VICTORIA
Sure.
They exit excitedly down the hall.
SEAN (to Ray)
We brought a gift for you and Mom.
Michelle hands Sean the gift, a simple wrapped box. Sean
presents it to his dad, the gesture slightly more formal
than the holiday suggests.
SEAN
From both of us.
RAY
Oh, let your mother open it.
My hands are a little stiff today.
He passes it to J’net, who opens it with little enthusiasm.
It’s a devotional book.
J'NET
What’s this?
SEAN
A devotional book for married couples.
Michelle and I read it together—
It’s got great tips for building a strong
marriage.
RAY
Thank you, Sean. That’s really thoughtful.
J'NET
Thoughtful? You think we need help
in our marriage?
SEAN
No, I—It’s just been a blessing
to us, and I wanted to pass it on.
RAY
It’s a kind gift, J’net.
J'NET
Well, I don’t appreciate the implication.
And I certainly don’t need advice from
someone who’s been brainwashed by a
religious cult.
Michelle subtly squeezes Sean’s arm.
MICHELLE (lightly)
It also doubles as a coaster.
Ray sighs as J’net tosses the book to the floor.
RAY
J’net. Please.
Renee, wearing a Santa hat, and the girls return, arms full
of wrapped presents.
RENEE
Ho ho ho! Santa and her elves have arrived!
RAY
Are you Santa now?
RENEE
Yup—and Santa’s got something for everyone.
The girls laugh. The room softens, tension easing as they
start opening gifts.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
49 -
Confrontation and Forgiveness
EXT. NEW GREYSON HOME - BACK PORCH - LATER THAT NIGHT.
Soft Christmas lights glow from the windows. Sean and
Michelle sit on the porch, sipping hot chocolate. Quiet
peace.
MICHELLE
That was sweet of your family... getting the
girls gifts.
SEAN
Yeah. First Christmas in years with
everyone together.
MICHELLE
Are you okay?
SEAN
As long as no one's fighting... yeah.
The door opens. RENEE steps out, bundled in a sweater.
RENEE
Michelle, the girls are looking
for their pajamas.
MICHELLE
Oh shoot, I left the suitcases in the car.
She stands, Sean rises with her.
SEAN
I’ll grab them.
MICHELLE
No—Stay, visit with your sister. I got it.
She kisses him and exits. Sean sits back down slowly. Renee
takes Michelle’s seat.
RENEE
Beautiful night, huh?
Sean fights through the awkwardness.
SEAN
It is.
RENEE
Been a while since we talked.
Sean shifts in his seat, guarded.
SEAN
Yeah... it has.
RENEE
Moving back here with Mom and Dad has been
rough on me...They fight non-stop now.
SEAN (dry)
Even when I’m not around to “cause it”?
RENEE
You’re just the scapegoat.
Trust me, they fight either way.
SEAN
That’s why I gave them the devotional
book. Thought it might help.
Renee
I heard what Mom said. I’m sorry. I don’t
know why she’s always been so hard on you.
SEAN
If you ever figure it out, let me know.
RENEE (quietly)
She’s always treated you like that,
hasn’t she?
SEAN
Pretty much.
RENEE
I’ve told her she has no right.
I get why you don’t come around.
Honestly... I do.
A long pause. Sean stares into his cup. Tightens his grip.
SEAN
She’s part of the reason...
but not the only one.
RENEE (hesitates)
What’s the other?
Sean realizes this is his opportunity.
SEAN (pausing)
Let’s just say... neither of you
made my childhood easy.
RENE (defensive)
Me? I protected you from her. I pulled her
off you — gave you space to run!
SEAN (quiet but firm)
You did. But then...
Who protected me from you?
Silence. Renee looks away.
RENEE (trying to deflect)
Yeah... we fought a lot, didn’t we?
SEAN
That’s not what I’m talking about.
Sean looks out into the dark yard, swallowing hard.
Then he turns his gaze directly on her, his face a mask of
resolve.
SEAN
I didn’t just have one abuser. I had two.
(pause) You took advantage of me.
Renee exhales slowly, her breath trembling in the night
air. She looks down — hands twisting the edge of her
sweater.
RENEE
Sean, we were both children.
SEAN
I was eleven. You were seventeen.
Renee's face falls. The words hang there, heavy and final.
She looks down, unable to meet his gaze. Her voice, when it
comes, is barely a whisper.
RENEE
I wish I could take it back.
Every second.
SEAN
So do I. (pause)It took me years to stop
blaming myself. Years to believe that what
happened wasn’t my fault.
Renee wipes her face.
SEAN
I felt filthy. Broken. I hated myself.
And I hated you... I wanted you to
suffer the way I was.
Renee nods, tears streaming.
SEAN (CONT'D)
But I’m not here for revenge...
When I gave my life to Christ,
I experienced His grace. I had
my own sins to deal with.
Sean takes a long deep breath.
SEAN (CONT'D)
God says if we confess our sins... He will
forgive our sins. So I did, and He has.
Renee looks up at him, tears still streaming down her face.
SEAN (CONT'D)
So...if God can forgive my sins against
Him, I need to forgive others their sins
against me.(pause)
Renee begins to weep harder, hunched over, clutching her
elbows, her shoulders shaking with silent sobs. Sean is
composed, but his voice cracks under the weight, fighting
back his own tears.
SEAN
I’ve carried it long enough.
It’s not mine to carry anymore.
Renee catches her breath.
RENEE (weeping)
I’m so sorry. I hated myself for
what I did, that’s why I moved away…
(pause) God’s grace is more than I deserve.
Sean is deeply moved by her honest repentance.
SEAN
More than ANY of us deserve.
Sean reaches over and grabs some tissue from the table and
hands it to her.
SEAN (CONT'D)
C’mon. Dry your eyes. It’s Christmas.
Let’s go be with the family.
Renee nods weakly, stands. She hesitates, then hugs him. He
stiffens... then slowly returns the embrace — small,
fragile, real. She walks inside, wiping her face. Sean
takes a moment and finally follows her inside.
FADE OUT:
INT. NEW GREYSON HOME - BATHROOM - MOMENTS LATER
Water runs. Sean splashes his face, towel-dries, then meets
his reflection. He studies himself — hollow, worn. His
fingers touch the silver cross necklace, grounding him. A
long breath. He exhales, turns, and leaves.
Genres:
["Drama"]
Ratings
Scene
50 -
Silent Night, Broken Bonds
INT. NEW GREYSON HOME - FAMILY LIVING ROOM - MOMENTS LATER
The family sits in a warm, cozy room watching the ending of
It’s A Wonderful Life. The credits roll.
RAY (wiping his eyes)
Gets me every time.
J'NET
Girls, Have you girls seen that one before?
VICTORIA
Yeah. Dad has a color version at home.
RAY (mock offense)
Color? No way. Black and white—
the way it was meant to be seen.
SEAN
Color helps the younger ones ease into
the classics. Doesn’t feel so ancient.
J'NET
That’s the problem with your generation.
Always changing what isn’t broken.
RAY
Well, I’m calling it a night. Hey Renee, are
you still making french toast in the
morning?
RENEE
Christmas around here wouldn’t be complete
without it. Some traditions have to be kept.
JESSI / VICTORIA
Yay!
MICHELLE
It’s your bedtime too, girls.
Let’s go brush first.
JESSI
Can we brush with grandma’s fudge?
MICHELLE (grinning)
Nice try. Let’s go.
The girls hug everyone goodnight and leave with Ray and
Michelle. The house quiets, leaving Sean, Renee, and J’net.
RENEE
Feels nice. All of us together like this.
J'NET
Reminds me of Christmases past,
when you two were little.
RENEE
Some of them were special. Others... not so
much.
SEAN
Remember that year Dad was between jobs,
and all we got were candy bars?
RENEE
But we were together. That’s what mattered.
J'NET
We may not have had much, but you two never
went without. Your father and I did really
well raising you both.
A long pause. Sean shifts in his seat, eyes down.
RENEE (gently deflecting)
Sean, you and Michelle are doing a great job
raising those girls.
SEAN
Thanks. Michelle’s the patient
one—homeschooling’s her superpower.
RENEE
Honestly, I think homeschooling is a
better option these days.
J'NET
You both survived public school.
It didn’t kill you.
RENEE (teasing)
Yeah, but Sean and I were already perfect.
SEAN (snickering)
Sure we were.
J'NET (straight face)
You sure as hell weren’t perfect, but you
were raised right. Your dad and I did our
best.
Sean stops smiling. He stares into his mug.
SEAN (softly)
I... I don’t remember it that way.
J’net slowly turns toward him, eyebrows raised.
J'NET (sternly)
What’s that supposed to mean?
SEAN (gathering courage)
It means... I remember... being raised...
very differently.
J'NET
And how do you remember it?
Renee shifts, uncomfortable. Sean takes a steadying breath.
SEAN
I remember what you did to me.
J’NET
And what did I do?
Sean slowly seizes the moment.
SEAN
You beat me. Screamed that I was a mistake
and a curse to you. You said you wished I
was never born. You blamed me for everything
that went wrong, then you hit me again. You
said I would grow up to be a pig, just like
Dad. So no... I wouldn’t say you did a
great job raising me.
A long, stunned silence. Heavy tension. Renee holds her
breath.
J'NET (flatly)
That’s not true. You’re a liar.
Sean reels, speechless. Renee glances at him, then
speaks—quiet but resolute.
RENEE (softly)
No, Mom. He’s not lying. I saw it. I stopped
you, more than once.
A thick silence. J’net leans back, processing. And then...
J'NET
Well...(long pause) you deserved it.
CLOSE UP on Sean’s face. The words hit like a slap.
SEAN (shocked whisper)
What?
J'NET
You heard me. If I hit you,
you earned it. Every bit of it.
RENEE (pleading)
Momma, No.
SEAN (struggling for composure)
No ma’am. No child deserves what you did
to me.
J'NET
Well, you did. You made my life hell.
RENEE (sternly)
Stop it, Mama.
SEAN (coldly controlled)
I was ready... to forgive you…
But you don’t even WANT it.
J’NET (snapping)
I DIDN’T ASK FOR IT! You should apologize to
me for what you did, turning your father
against me, taking everything from me, My
horse, my job, my marriage, my LIFE! You’re
the reason I was depressed all those years.
RENEE (cutting her off)
MAMMA… STOP!
Sean stands abruptly, eyes glassy.
SEAN
Guess some things never change.
All I ever wanted was for you to love me.
J’NET
How can I love the biggest thorn in my side?
You were a wound that never healed.
Sean nods slowly—broken but resolved.
SEAN
Then I guess you don’t have to worry about
it anymore. I never had a mother before...
And I sure as hell don’t need one NOW!
He walks out without looking back. Renee stares at J’net,
stunned. J’net glances at her and sees her staring.
J’NET (looking away)
Not a word.
She closes her eyes, shutting the world out. Renee stays
frozen in disgust.
INT. NEW GREYSON HOME - HALLWAY -NIGHT (CONTINUOUS)
Sean walks past the girls’ room. Michelle helps them brush
their teeth. He keeps going, quiet, eyes burning.
INT. NEW GREYSON HOME - GUEST BEDROOM - NIGHT (Continuous)
Sean closes the door behind him, walks across the room and
leans against the wall. His breath shakes—then the dam
breaks. Silent sobs rack his body. He slowly slides down
the floor, back against the wall and curls into a fetal
position, broken.
A beat. The door creaks open. Michelle steps in, startled.
She freezes—then rushes to him, kneeling. Without a word,
she wraps her arms around him and holds him. He weeps into
her arms.
EXT. NEW GREYSON HOME - NIGHT
The neighborhood is silent and the air is heavy as the
camera slowly pulls back to a wide shot.
FADE OUT:
Genres:
["Drama"]
Ratings
Scene
51 -
Confrontation and Regret
EXT. LIGHTHOUSE FELLOWSHIP - DAY
SUPERIMPOSE: SEPTEMBER 22, 2014
INT. LIGHTHOUSE FELLOWSHIP - SECRETARY’S OFFICE - DAY
Beverly is typing away when HAL walks in.
HAL
Is the Pastor in his office?
BEVERLY
Yes, but let me check to see…
HAL (cutting her off)
Don’t bother, I’ll check myself.
He strides past her and opens Sean’s door.
INT. SEAN’S OFFICE - (CONTINUOUS)
Sean sits behind his desk, studying from his bible. He
looks up as Hal storms in.
HAL
Afternoon Pastor, got a minute?
Beverly appears in the doorway, uneasy.
BEVERLY
Pastor... I…
HAL (firmly)
I’m a board member of this church, I don’t
need an appointment to see my pastor.
SEAN
It’s OK Beverly.
Beverly glances once more at Hal and rolls her eyes.
BEVERLY (mumbling to herself)
Glow stick people…
Sean suppresses a smile, then turns to Hal.
SEAN
Have a seat. What’s on your mind?
HAL (sitting)
There are rumors going around the church.
SEAN
What kind of rumors?
HAL
That God is leading you to step down.
SEAN (tilting his head)
Really? That’s news to me. Who told you
that?
HAL
Nevermind that. Some of the board members
and I feel that your season here might be
coming to a close. But if you’re not sensing
that... we may need to discuss it further at
the next board meeting.
SEAN
Really? (pause) Do ALL the board members
feel this way? Or just the ones you’ve been
meeting with behind closed doors?
A tense pause.
HAL
You know already, don’t you?
SEAN
Yeah, I know. People have come to me.
I know about the plan to remove me after the
holidays, about Brother John asking the
youth pastor to step in as interim, and the
stunt with the general fund—to let it dry up
so the bills and salaries won’t get paid.
HAL (shocked)
That part wasn’t our idea. That was John. We
told him no.
SEAN
Then why’s he refusing to open the CD? You
and I both know there’s plenty in there to
cover payroll and repairs. He’s been telling
folks the entire board’s behind it—yet the
other three deacons I talked to hadn’t heard
a word.
HAL (defencefully)
John is acting on his own.
We never agreed to that.
SEAN
But you’re still planning to “discuss my
future” at the next board meeting—just like
John announced.
HAL
We only talked about it, that’s all.
SEAN
Hal, there’s a right way and a wrong way to
handle church business. What you three are
plotting behind my back? That’s the wrong
way. You’d better pray hard before your next
move. God doesn’t bless what’s being done in
secret.
HAL (sharply)
This isn’t over.
Hal slowly rises, shaken. He takes out his phone and dials
as he walks out.
SEAN (calling out)
So... I guess we’ll continue this
conversation at the next board meeting?
HAL
(into the phone, passing BEVERLY)
He knows. He knows everything.
Sean leans back, exhales, exhausted. Beverly peeks in, like
she’s been waiting for the all-clear.
BEVERLY
Pastor? I couldn’t help but overhear.
SEAN
I’m sorry, Beverly.
BEVERLY
Don’t be. That was more exciting than the
Women's Group.
Sean lets out a tired laugh. The church phone rings.
Beverly picks it up.
BEVERLY (into phone)
Lighthouse Fellowship, this is Beverly.
How can I help you?
She listens. Looks at Sean.
BEVERLY
Yes, sir—it’s good to hear your voice too.
He’s right here—just a moment.
She puts the call on hold.
BEVERLY
It’s your father.
SEAN (sighs)
Thank you.
He picks up the phone. Beverly gives a supportive nod and
steps out, closing the door softly behind her.
SEAN (into phone)
Hey Dad—can I call you back in a little bit?
RAY
I just wanted to let you know...
Your mom’s back in the hospital.
Sean closes his eyes, leans back, bracing.
SEAN
Again? What for this time?
RAY
Her breathing’s bad. Back pain’s gotten
worse. They’re running tests.
SEAN
Is Renee with her?
RAY
Yeah, she’s with her tonight. I’m going
tomorrow for our anniversary. Fifty-two
years tomorrow.
SEAN
I’m sorry you have to spend it at the
hospital. Thanks for letting me know. Keep
me posted?
RAY
I will. I love you, son.
SEAN
I love you too, Dad. Bye.
He hangs up. Sits in stillness for a moment, and drops his
head into his hands, letting out a frustrated, exhausted
sigh.
CROSSFADE:
EXT. LA HOSPITAL - LATE NIGHT
The camera slowly pushes in toward a single glowing window
on the fourth floor.
INT. LA HOSPITAL - J’NET’S ROOM - LATE NIGHT
Soft instrumental music hums faintly from a bedside radio.
RENEE sleeps in a recliner, curled under a thin blanket.
The camera pans the quiet room — oxygen machine, IV drip,
faint rhythmic beeping — and finds J’NET, propped up in
bed, her glasses low on her nose. A notebook rests on her
lap. A pen trembles in her hand. She writes slowly,
deliberately.
INSERT – NOTEBOOK PAGE
Dear Sean, I am sorry for my words
and actions over the holidays.
You were right, you were just a child...
The camera moves closer as she reads what she’s written.
INSERT – FINAL LINES
...Please find it in your heart to forgive me,
and allow me the chance to be a mother to you again.
I have so many regrets and just want to start over.
Love, Mother.
A single tear slides down her cheek. She stares at the page
for a long beat — breathing unevenly — caught between
remorse and pride. Then, suddenly — she snaps. She rips the
page from the notebook, crumples it in her shaking hands,
and hurls it across the room. The ball of paper lands near
the window. J’net leans back against her pillow, her face
breaking. She sobs silently, shoulders shaking, careful not
to wake Renee. The soft music continues as the camera
slowly pulls back, framing both women in the dim light —
one resting peacefully, one unraveling.
FADE TO BLACK:
FADE FROM BLACK:
Genres:
["Drama"]
Ratings
Scene
52 -
A Morning of Revelation
EXT. SEAN’S HOUSE - EARLY MORNING
INT. SEAN’S HOUSE - LIVING ROOM - EARLY MORNING.
Michelle moves around the kitchen, cooking breakfast and
pouring juice. Victoria sits at the table, working on a
homeschool worksheet.
MICHELLE
Did you call Jessi? See if she can meet
us for lunch for your birthday?
VICTORIA
She said she’ll call me back later
after her classes.
MICHELLE
That Bible school sure keeps them busy, huh?
VICTORIA (changing the subject)
Can I go to Alison’s this afternoon?
She’s having a few friends over.
MICHELLE
Ask your dad when he gets up.
VICTORIA
Why bother? He never lets me do anything.
MICHELLE
If he doesn’t, I’m sure he has a reason.
VICTORIA
He wants to keep me locked up like a
prisoner. I need to get out and breathe.
Sean enters, half-dressed, hair still damp from the shower.
SEAN
And go where?
VICTORIA (turning around)
Alison’s house. She’s having some
friends over.
Sean sits at the table, and Michelle pours him a glass of
Orange juice.
SEAN
(to Michelle) Thank you. (back to Victoria)
Will either of her parents be home?
VICTORIA
Dad, I’m the only one in my friend group
who even has two parents.
SEAN
Really? That’s... sad. But OK, will her mom
be there?
VICTORIA
I guess, I think so.
SEAN
If her mom’s there, you can go.
VICTORIA
And if she’s NOT?
SEAN (smirking)
Then Rapunzel stays in the tower
one more day like a prisoner.
VICTORIA
That’s not funny.
Michelle serves hot scrambled eggs to Sean.
MICHELLE
Victoria, we’ll talk about it after lunch.
Take your worksheet into the other room
while I speak with your dad.
VICTORIA (frustrated)
Gladly.
She grabs her books and exits. Michelle sits beside Sean,
who takes his fork and starts playing with his eggs.
MICHELLE
Good morning. How’d you sleep?
SEAN
Barely.
MICHELLE
I could tell. You were tossing all night.
SEAN
Sorry.
MICHELLE
It’s okay. I know you’ve got a lot
on your mind lately.
SEAN
Let’s see… teenage daughter, church drama,
board plotting a coup—oh, and today I get to
counsel another member about drugs and
infidelity.
MICHELLE
No one said parenting or pastoring would be
easy.
SEAN
They’d be lying if they did. (pause)
Dad called. Mom’s back in the hospital.
MICHELLE
Again?
SEAN
Yeah, and today’s their anniversary—
52 years.
MICHELLE
Wow. How’d he put up with her that long?
SEAN
He probably stopped listening after
twenty years.
MICHELLE
Or he has an elaborate escape plan.
Sean’s phone buzzes. He checks it.
SEAN
It’s Renee. Probably an update on Mom.
He puts his fork down and answers, putting it on speaker.
SEAN
Hey Renee.
RENEE
Hey, are you busy?
SEAN
Just having breakfast. What’s going on?
RENEE
It’s Mom.
Sean tenses.
SEAN
What about her?
RENEE
The doctor came in while I was with Dad.
(pause)It’s stage four. Breast cancer.
Sean grips the edge of the table, his knuckles white.
Silence hangs, heavy.
RENEE
Sean... our mother is dying. What are we
supposed to do? I can’t lose mamma. (she
sobs)
Michelle freezes. Sean takes a slow deep breath—he’s not
crying. Just numb.
SEAN
I’m sorry.
RENEE
They’re talking about setting up hospice.
SEAN
Hospice? Already? How long are we
looking at?
RENEE
Three to six months.
Michelle freezes. Sean’s jaw tightens; no tears, just
shock.
SEAN (softly)
Three to six MONTHS? My God. (pause)
Okay, I’ll pack a bag.
I can be there by tonight.
RENEE
No, don’t come.
SEAN
WHAT?
RENEE
She doesn’t want you to know. (pause)
She told me not to call you.
SEAN
Are you serious?
RENEE
She didn’t want you involved. I called
because you’re her son, you deserve to know.
SEAN
Unbelievable. She’s dying, and she still
wants to keep me out. Does she hate me that
much?
RENEE
She doesn’t hate you.
SEAN
Then why? Why does she keep shutting me out?
RENEE
Sean, I know what she did... what she’s
doing is wrong. But please, for your own
sake... You have to forgive her.
SEAN (erupting)
I’m tired of forgiving her! Everybody else
keeps making excuses for her while I’m the
one left bleeding!
Michelle gently touches his arm.
SEAN (cont.)
Fine. I won’t come. I won’t call.
I’ll stay here and honor her dying wish —
pretend she never existed.
RENEE
Sean, don’t do this. You’ve always been
better than her. Please — just pray for her.
I’ll keep you updated.
SEAN
Thanks for calling. Goodbye.
He hangs up. The silence is heavy.
MICHELLE (softly)
Sean, I’m so sorry.
SEAN
I’m not. As far as I’m concerned, I don’t
even have a mother. She sure as hell never
acted like one.
Sean begins to experience the sting of rejection, yet
again.
MICHELLE
I know it still hurts.
SEAN
She’s already dead to me.
I can’t do this anymore.
He stands abruptly, storms out. Michelle stays frozen, hand
over her mouth, eyes glistening. Behind her, Victoria
stands in the doorway — pale — having heard everything.
INT. SEAN’S HOUSE - MASTER BEDROOM - MOMENTS LATER
Sean steps in and sits heavily on the edge of the bed. He
stares at the floor, trying to steady his breath.
SEAN (praying)
God... what’s happening?
I don’t know how to deal with this.
I want to forgive her — I really do —
but she’s making it so... damn hard.
He buries his face in his hands and begins to weep. After a
long moment, his phone rings. He wipes his eyes, glances at
the screen. Renee. He exhales shakily, then answers.
SEAN (trying to compose himself)
Yeah?
Only the sound of Renee’s broken sobs.
RENEE(screaming)
SHE’S GONE, SEAN! MOMMA’S GONE!
Sean’s breath catches. His grip loosens. The phone slips
from his fingers — hits the floor with a dull thud. He
stares blankly ahead, the sound of Renee’s cries faint
through the speaker. Silence stretches. Then, faintly,
somber music begins.
SLOW FADE TO BLACK:
Genres:
["Drama"]
Ratings
Scene
53 -
Final Confrontation
EXT. CITY STREETS - DAY
A slow aerial shot of traffic moving through busy streets.
Somber music drifts over the noise of the city. A single
car weaves through traffic — steady, deliberate — until it
turns into the parking lot of a funeral home.
The music deepens, slower now.
CROSSFADE:
EXT. FUNERAL HOME - DAY
An aerial shot of the car pulling up into a funeral home
and parks.
CROSSFADE:
INT. FUNERAL HOME LOBBY - DAY
Sean and Renee step inside. Muted light. Quiet footsteps. A
FUNERAL DIRECTOR meets them with a gentle nod. No words.
The music continues, filling the silence.
CROSSFADE:
INT. FUNERAL HOME HALLWAY - DAY - MOMENTS LATER
Sean leans against the wall, gripping a water bottle.
He takes a sip, then exhales slowly — eyes fixed on the
closed double doors ahead. They open. Renee steps out,
tears streaking her face. Sean straightens, offers her a
tissue. She squeezes his hand, sits down quietly. He looks
back at the doors. Pauses. Takes one long breath. Then
another. Finally, he steps forward and pushes them open.
Music fades as the door closes behind Sean.
INT. FUNERAL VIEWING ROOM. (CONTINUOUS)
Silence. The door shuts behind Sean with a soft metallic
click. A stark, sterile space — cold light on tile and
chrome. Against the far wall, J’net’s body rests on a metal
table, covered with a white sheet. Her wet hair spills out,
straight, stringy, lifeless.Sean stands frozen. Then,
slowly he moves closer. He reaches out, touches her cheek
with the back of his hand. Cold. He flinches slightly, then
just stares.
SEAN (softly)
Why? ...Why did you hate me?
A long silence. His breath trembles.
SEAN
What did I ever do... to make
you hate me so much?
Silence stretches—then her voice flickers in his mind,
faint but sharp:
J'NET (V.O.)
You deserved it.
Sean’s jaw tightens. He looks away, blinking back the
tears.
SEAN
You had a chance. All you had to say was
“I’m sorry.” And I would’ve forgiven you.
We could’ve started over. But now... we’ll
never know.
He turns. Walks away. Pauses. Looking back one last time.
SEAN
At least you’ll never be able to hurt me
again.
He turns. Leaves. The door closes behind him with a soft
click.
WIDE SHOT — the empty room. J’net’s body is still beneath
the sheet. Cold. Still. Silent.
FADE TO BLACK:
Genres:
["Drama"]
Ratings
Scene
54 -
Moments of Solitude and Connection
EXT. NEW HOPE ASSEMBLY - DAY
The Megachurch stands against a blue sky — birds flit
between trees, a light wind moves the grass. From inside,
the faint hum of worship music drifts through the open
doors.
A place of life. Renewal. Hope.
INT. NEW HOPE ASSEMBLY - SANCTUARY - DAY (CONTINUOUS)
The sanctuary pulses with energy — hands raised, voices
lifted. A joyful congregation sings, eyes closed, faces
glowing in worship.
CAMERA FINDS Sean among them. Standing beside Michelle,
Victoria, Jessi, and her husband. Michelle sings, eyes
closed. Jessi sways, tears of joy.
But Sean... doesn’t move. He stares at the stage,
expression unreadable. Surrounded by light, he looks
adrift. After a moment, he exhales, lowers his gaze... and
quietly steps out of the row. Michelle and Jessi notice.
Jessi starts to follow, but Michelle touches her arm — a
small shake of her head. Jessi hesitates, then nods.
Michelle watches him go. Her eyes fill with quiet
understanding — and sorrow.
EXT. NEW HOPE ASSEMBLY - DAY (CONTINUOUS)
The worship continues faintly behind him — muffled through
the walls like a memory. Sean walks toward a grove of trees
behind the church. The breeze stirs the leaves, brushing
across his face. He closes his eyes. Breathes. The wind
moves through his hair, like a whisper — gentle, almost
sacred. For a brief moment, peace finds him... tangled with
pain.
WIDE SHOT – SAME SCENE – DISTANT VIEW
Sean stands small beneath the vast trees and open sky. A
solitary figure caught between faith and grief. The sound
of distant worship floats in the air — fading, but never
gone.
FADE OUT TO BLACK:
FADE IN FROM BLACK:
INT. NEW GREYSON HOUSE - LIVING ROOM - DAY
A soft, natural light fills the room. The camera settles on
a small cremation box resting on a shelf beside a framed
photo of J’net — smiling, younger, alive.
RENE (gently, with a faint smile)
Now I can keep Mama with me forever.
She rests a hand on the box, tenderly.
CAMERA FINDS Sean standing nearby — still, eyes fixed on
the display. His face is calm, but something behind it
flickers.
RENEE
Do you want to keep some of her ashes?
SEAN (without hesitation)
No. She’s better off with you. Besides...
I’m pretty sure she’d haunt me if I split
her up.
Renee lets out a small, surprised laugh. Even RAY cracks a
grin.
RAY
Sean, I know you have to go back to
Mississippi. But I want to say thank you
for being here. Your sister and I couldn’t
have gotten through this without you.
SEAN
She’s gone, but we’re still a family.
RAY
Yes, we are.
RENEE
Maybe now you’ll come visit us a little
more?
SEAN
I will. (muttering) As long as y’all don’t
try to hand me any more ashes.
They all chuckle — soft, shared. Sean pulls them both into
a long hug. For a moment, the room is warm again. Then he
steps back, picks up his bag, and heads for the door.
CUT TO:
EXT. NEW GREYSON HOUSE - FRONT YARD
Sean steps outside. The wind moves gently through the trees
— a familiar sound. He closes his eyes, breathes deep.
CAMERA PULLS BACK as Michelle approaches, waiting by the
car. She reaches out and takes his hand. They share a quiet
look — no words, just understanding. Together, they walk
toward the car. The wind rises softly again, brushing
across the yard... like a sigh.
FADE TO BLACK:
FADE UP FROM BLACK:
Genres:
["Drama","Family"]
Ratings
Scene
55 -
A New Direction for the Lighthouse Fellowship
EXT. LIGHTHOUSE FELLOWSHIP - DAY
INT. LIGHTHOUSE FELLOWSHIP - SANCTUARY - DAY
Sean steps behind the pulpit. The CONGREGATION settles—more
diverse now, faces of every color, every age. Hope hums in
the air.
SEAN
Thank you for staying after service for this
emergency membership meeting. As you know,
with Brother Steven’s resignation, we’re one
deacon short of conducting official church
business. To help us move forward, I’ve
invited a representative from the District
Office. Our Superintendent, Brother Larry,
is here to address us today.
Sean steps aside. BROTHR LARRY (well-dressed man in his
60’s) approaches the pulpit, warm and calm. The people lean
forever to what Bro.Larry has to say.
BROTHER LARRY
Good afternoon, everyone. We’ll be brief—
We know it’s lunchtime, and some of your
stomachs are already speaking in tongues.
Light chuckles throughout the congregation.
BROTHER LARRY
We understand that, according to your
bylaws, without a third deacon, you cannot
conduct church business.
Hal smiled smugly to himself.
BROTHER LARRY (CONT'D)
We’ve also received several reports—from
Pastor Sean and others—regarding actions by
certain board members. Attempts to undermine
this church’s leadership through divisive
behavior.
Flash shots of CHURCH MEMBERS' facial reactions. Some in
shock, some smug smirks.
BROTHER LARRY (CONT’D)
Because of these troubling developments,
and at Pastor Sean’s request—with our full
support—we are enacting a status change.
From this moment forward, this church will
no longer be governed by its local board.
It will now operate under the oversight of
the District Council, in full partnership
with your pastor.
Gasps and murmurs fill the room. Hal’s smirk fades.
Beverly’s grin widens.
BROTHER LARRY (CONT'D)
Effective immediately, all former board
members are relieved of their elected
positions until a new group of eligible
deacons is appointed. Until then, Pastor
Sean will form an advisory committee—with
direct oversight from our office. If you
have any concerns, bring them to him—or to
us.
The room buzzes.
BROTHER LARRY (CONT’D)
That concludes our meeting. Thank you for
your time.
Mixed reactions. Some scowl and storm out, others cheer
quietly. Hal storms forward.
HAL (through gritted teeth)
Well played, Pastor. Guess you’ll do
anything to keep your job, huh? We’ll see
how long this church lasts without its
faithful tithers.
He storms off. Beverly steps up with a proud smile.
BEVERLY
About time for some fresh blood around here.
And as for the glowsticks—let’s hope they
light up on the way out.
SEAN (smirking)
Amen.
Brother Larry approaches, extending a hand.
BROTHER LARRY
Pastor Sean.
SEAN
Brother Larry—I can’t thank you enough.
BROTHER LARRY
We’ve known about the problems here since
the last pastor. This time, we had the right
support to fix it. Sometimes... trees need
pruning before they can bear fruit.
SEAN
Well, we just trimmed a few dead branches.
BEVERLY (cutting in)
Can we take those branches out back
and burn ‘em?
SEAN (chuckling)
BEVERLY.
BEVERLY
I swear, if we’re not on the cover story on
Charisma next month, I’m writing a letter.
They laugh and Beverly steps away. Brother Larry looks
around, taking in the crowd.
BROTHER LARRY
You know... it’s been four years since I
last visited this church. And I have to
say—the biggest change I’ve seen is this.
He gestures to the congregation.
BROTHER LARRY
A congregation that reflects its community.
Most churches in Mississippi are still one
race. But this... this is the first church
I’ve seen here with this much diversity.
Sean looks around, noticing what he is pointing out. Black
and white members shaking hands, hugging, laughing. Real
unity. Real healing.
BROTHER LARRY
You’ve done what most pastors say can’t be
done. Well done, Pastor Sean. The District
stands with you.
SEAN (humbled)
Thank you, Pastor Larry.
Brother Larry steps away to greet other people. Sean closes
his eyes for a brief moment, taking it in, then looks
upward.
SEAN (whispers to himself)
Thank you, God.
He opens his eyes, hopeful. Stronger.
FADE OUT:
FADE IN:
Genres:
["Drama","Spiritual"]
Ratings
Scene
56 -
Family Ties and Tough Choices
EXT. FAITH ASSEMBLY - SEAN’S OFFICE - DAY
The sun glints off the modest church building. A quiet
breeze moves the trees.
SUPERIMPOSE: MARCH, 2022
INT. FAITH ASSEMBLY - SEAN’S OFFICE - DAY
Stacks of papers and folders sprawl across the desk. A
half-empty coffee cup. The sound of pen scratching against
paper as Sean writes sermon notes. peeks around the
doorframe, grinning.
BEVERLY
Hey, Grandpa! Welcome back.
Sean looks up and smiles when he sees her.
SEAN (without looking up)
It’s Poppi!
She enters his office with a cup of coffee in her hand.
BEVERLY
Sorry — my bad, Poppi Grandpa.
Sean finally looks up, gives her a you’re not funny but I
love you stare.
She steps in, holding a coffee.
BEVERLY
We missed you, but how’s our
new little mama doing?
Sean leans back, grateful for the interruption.
SEAN
Outside of no sleep, no showers, and diaper
duty—she’s great.
BEVERLY
And how’s Poppi handling being a
grandparent?
SEAN
Still trying to figure out how my baby had a
baby. I blinked and went from youth pastor
to grandpa.
BEVERLY
You mean Poppi.
SEAN (smirking)
Don’t push it.
BEVERLY
And Michelle? What’s her grandma name again?
SEAN
Gigi. She’s already packing to go back
to see our little Jackson.
BEVERLY
Ooo, She’s got it bad.
Isn’t grandparenting fun?
SEAN
Oh yeah. You don’t have to change the
diapers, but you still get all the bragging
rights.
BEVERLY
You got that special Poppi glow.
SEAN
Well, THANK YOU, but getting me to talk
about my grandson isn’t going to distract me
from recognizing that you're twenty minutes
late.
BEVERLY
Did I forget to tell you I brought donuts?
SEAN (smirking)
I MIGHT overlook this tardy if you got
one with sprinkles.
Sean’s personal phone BUZZES. He sees it’s Renee, calling.
BEVERLY
I won’t hold you up. Donuts are out front.
And yes — there are sprinkles.
SEAN (smiling)
THANK YOU!
Beverly scoots outside his office and shuts his door behind
her. Sean answers his phone.
SEAN
Hey, what’s up?
RENEE
Hey, brother. Whatcha’ doing?
SEAN
Working on Sunday’s sermon.
RENEE
Sorry to interrupt…
SEAN
It’s fine, I could use a break.
What’s going on?
RENEE
Hey... do you have anything urgent on
Monday?
SEAN
Lately, everything feels urgent.
But what do you need?
RENEE
I’ve got a bad infection in my foot. I need
to go to the hospital. Can you come stay
with Dad while I’m there?
SEAN
How long are you expecting to be there?
RENEE
I don’t know... I’m afraid they’ll say
they need to take the foot.
Sean freezes, alarmed.
SEAN (alarmed)
WHAT?? How bad is it?
RENEE
The skin’s starting to fall off the heel…
SEAN (voice is raised)
RENEE. Why didn’t you go while I was down
there?
RENEE
You were busy with Jessi and the baby.
I couldn’t leave Dad alone, he needs 24-hour
care now.
Sean exhales, processing, torn.
SEAN
Okay. I’ll figure something out.
We’ll come back.
RENEE
Thank you, brother. I’ll let Dad know you're
coming.
SEAN
Okay. Bye.
He hangs up. Sits in silence for a beat. His eyes scan the
chaos of his desk—half-written sermons, unfinished letters,
church bulletins—life and duty piling up again. He rubs his
temples, weary but resolved.
CROSSFADE:
Genres:
["Drama","Family"]
Ratings
Scene
57 -
Healing Through Laughter
EXT. LA HOSPITAL - DAY
A quiet spring morning. Birds chirp. A breeze moves the
trees outside the hospital.
INT. LA HOSPITAL ROOM - DAY
The steady hum of monitors. A vase of flowers wilts on the
windowsill. Sean sits beside Renee, who’s pale but alert,
an IV in her arm.
SEAN
Well, congratulations. You get to keep your
foot. Guess you’re not defeeted after all.
RENE (groans)
That’s not funny.
SEAN
Tough crowd. I thought it had legs.
Renee stares blankly.
RENEE
Who’s with dad?
SEAN (gasps)
Ahhh, I KNEW I forgot something.
RENEE
That’s not funny either.
SEAN
Fine, Grumpy. Michelle’s with him so
I can come cheer you up.
RENEE
I’m sorry. (pause) These antibiotics
are wrecking my kidneys.
SEAN (deadpan)
Are you kidneying me?
RENEE
Did you just - make a kidney pun?
SEAN
I have a renal treasure of puns.
RENE (flatly)
Wow. You’re in rare form today.
SEAN
Urine?! See? You just made a kidney joke!
Nice one! I knew you had it in you.
Renee finally cracks, laughing through her eye-roll.
RENEE
You’re impossible. But...
I’m glad you’re here.
SEAN
Somebody’s gotta show up and annoy you.
RENEE
Mission accomplished.
A small pause. Her face softens.
RENEE
I miss Mama.
SEAN
I know.
RENEE
Don’t you?
SEAN (quietly)
Not yet.
Sean looks down, twisting his wedding ring. Silence.
RENEE
Sean... eventually, you have to forgive her.
SEAN
I’m not bitter anymore. I just have a lot
of... unanswered questions.
RENEE
Well... maybe this will answer some of them.
She reaches for her purse, pulling out a wrinkled, folded
letter.
SEAN
What’s that?
RENEE
The night before momma passed away, she fell
asleep and I found this on the floor.
She hands it to him. Sean hesitates, then unfolds it. He
reads silently. Renee watches, eyes glistening. After a
moment, Sean lowers the paper—his expression breaking.
SEAN
Why? Why didn’t she give this to me
herself? And why is it crumbled up?
RENEE
I guess she was too prideful to admit
she was wrong.
Sean’s eyes fill as he absorbs that. Long silence.
SEAN
She was so close. Right there—and she
still couldn’t do it.
RENEE
But she did try, Sean. She loved you.
She wanted you to know.
Sean looked down, pondering.
SEAN (softly)
She also chose not to tell me.
She made that choice.
RENEE
I’m sorry. I didn’t mean to open
the wound again.
SEAN
No... I’ve already made peace with the pain.
My scars—they’re not something to hide
anymore. They’re proof of where I’ve been...
and what God’s already healed.
Renee nods softly, emotional.
RENEE
That’s beautiful. So... what now?
SEAN
I think... God wants me to write a book.
Tell my story. Maybe help somebody else find
healing too.
RENEE
That’s perfect. Just—leave me out of it.
SEAN (grinning)
Oh no, you’re in it. Especially the time you
hit me in the face with a golf club.
RENEE
STOP IT! (snickering)
SEAN (pointing to his face)
Thirteen stitches. I still have the scar.
RENEE (now laughing)
Oh my God. I’m never going to live
that down.
SEAN
Or the time you threw me through
the bedroom window.
RENEE
That was self-defense!
SEAN
And when you made me wear a dress and locked
me outside in front of all my friends—
EXT. LA HOSPITAL - DAY (CONTINUOUS)
The wind stirs the trees again.
RENEE (V.O.)
You sure looked cute in that dress.
SEAN (V.O.)
Didn’t feel cute.
They both laugh—free, full, unguarded.
FADE TO BLACK:
FADE FROM BLACK:
Genres:
["Drama","Family","Comedy"]
Ratings
Scene
58 -
Easter's Shadow
EXT. GRASSY FIELD - EASTER DAY
SUPERIMPOSE: TWO WEEKS LATER - EASTER SUNDAY
CHILDREN in bright Easter outfits race across a sunny
field, laughing as they hunt for eggs. Pastel baskets fill
with candy and color.
EXT. OUTSIDE LIGHTHOUSE FELLOWSHIP - EASTER DAY
FAMILIES exit the church, smiling and chatting in their
Sunday best. A nearby sign reads: “HE IS ALIVE!” Laughter
and joy float in the spring air.
EXT. LOCAL RESTAURANT - DAY
Cars roll by. A soft breeze carries snippets of
conversation and clinking dishes.
INT. LOCAL 5-STAR RESTAURANT - (CONTINUOUS)
Sean and Michelle sit with BEVERLY, TERESA, and JAMES.
Half-eaten plates. Full glasses. Post-service energy hums
in the air.
TERESA
Pastor, that was a wonderful Easter message.
SEAN
Thank you, Teresa. That means a lot.
Beverly, how was the children's church?
BEVERLY
It was great—but James, your grandson got a
little... creative this morning.
JAMES
Oh boy. What’d he do?
BEVERLY
I asked what Easter meant, and he said,
“It’s when Jesus rose from the dead and came
out of the tomb.”
SEAN
Solid theology so far.
BEVERLY
Then he said, “That’s when Jesus saw his
shadow and went back in for six more weeks.”
The table erupts in laughter.
JAMES (chuckling)
Maybe I should sign him up for
Weather Channel Sunday School.
BEVERLY
Long as he doesn’t start predicting
the rapture.
Laughter ripples again.
TERESA (redirecting)
Pastor, how’s your sister doing?
SEAN
Still in the hospital. I talked to her this
morning... The infection got worse last
night. She didn’t sound good.
TERESA
Is your dad managing okay?
SEAN
Yeah, Jessi’s been checking in. But
depending on what the doctors say, I might
need to head back tomorrow.
JAMES
I thought they were able to save her foot?
SEAN
We thought so too. But the antibiotics
aren’t working...The infection’s spreading
into her leg. If they have to take it...She
won’t be able to take care of Dad. I don’t
know what we’ll do.
Sean’s phone rings. He checks the screen.
SEAN
This is the hospital now.
I’ll take it.
MICHELLE
You want a refill on your tea?
SEAN
Yes, please. If they ask for dessert, say
yes...I could use a resurrection myself.
I’ll be right back.
He stands and walks off, answering the call as he goes.
JAMES
Michelle, how’s that grandson of yours?
MICHELLE
Oh, he’s doing great. Jessi sent me a
picture this morning — he was wearing a
bowtie and bunny ears.
She pulls out her phone to show the photo. Everyone leans
in.
BEVERLY
Aww, He looks like a little gospel playboy.
Everyone laughs. A WAITRESS stops by.
WAITRESS
Does anyone need anything?
MICHELLE
Can my husband have a refill on sweet tea,
please? And we’ll have a dessert menu.
WAITRESS
Sure, anyone else?
BEVERLY
I could use another Coke, unless y’all are
serving that communion wine.
WAITRESS (smiling)
I can serve it to you like grape juice in a
tiny shot glass.
BEVERLY
Girl, don’t tempt me. You hand me that, and
I might start confessing to strangers.
TERESA
Start? Honey, you’ve been confessing all
during lunch!
Everyone laughs again.
WAITRESS (laughing)
I’ll be right back.
TERESA (to Michelle)
How about Victoria?
MICHELLE
Still in Colorado. Working hard,
paying rent. She’s doing great. I just
miss her, especially on days like today.
TERESA
Our boys had to work offshore this week.
It’s just us this Easter. I know exactly
what you mean.
James raises his glass with a warm smile.
JAMES
Well, here’s to spending Easter with
family...the CHURCH family.
BEVERLY
I’ll drink to that.
JAMES
You’ll drink to anything.
EVERYONE (laughing)
HEAR, HEAR.
Sean returns. The laughter dies instantly. His face says it
all—drained, pale, trembling. He sits beside Michelle,
speechless.
MICHELLE
Sean? What is it?
Sean can barely speak. His voice cracks.
SEAN (choking up)
She’s …gone. My sister... She passed
away this morning, during church.
Silence. The sound drops out.
Everyone freezes, stunned. Michelle wraps her arms around
him as he breaks down. The others reach across the
table—hands on shoulders, silent prayers, quiet tears.The
camera slowly pulls back, the sound replaced by soft,
mournful music.Sean is held tightly in the center of the
group—surrounded by love, swallowed by grief.
FADE TO BLACK:
FADE FROM BLACK:
EXT. NEW GREYSON HOUSE - NIGHT
Slow motion — a porch light flickers. The wind stirs the
trees. Crickets hum faintly in the dark. Michelle rests a
gentle hand on Sean’s arm. Sean hesitates, then raises his
hand and knocks softly. The door opens. JESSI answers with
RAY, lit with hope, steps up from behind her to greet them.
His face brightens for half a heartbeat... then he sees
Sean’s eyes. The light dies. Sean’s lips tremble. He tries
to speak—but the words collapse into a single, broken
sound. RAY staggers back, the truth hitting like a freight
train. His knees buckle.
Sean and Jessi catch him. Michelle wraps her arms around
them. The four cling together on the porch — grief tearing
through them, raw and wordless.
FADE TO BLACK:
INT. FUNERAL HOME - DAY
A sterile quiet. The FUNERAL DIRECTOR sets a small box in
Sean’s hands — plain, heavy, devastating. A white label
reads: RENEE GREYSON. Sean stares at it. His breath
trembles. MICHELLE places a hand on his back — a silent
anchor. He doesn’t look up. Doesn’t cry. The FUNERAL
DIRECTOR gives a gentle nod. Sean nods back, tight-lipped,
and shakes his hand. He turns and walks out, Michelle close
behind. The door closes softly behind them.
INT. NEW GREYSON HOUSE - LIVING ROOM - LATER THAT DAY
Soft afternoon light filters through half-drawn curtains.
Sean kneels by the living room shelf. He sets Renee’s ashes
beside another box — his mother’s. He lingers there,
fingers brushing both lids. His hand trembles, then drops
to his side. He exhales — a long, empty breath — and turns
away. He walks away. The CAMERA HOLDS on the two boxes,
side by side in the still light — a quiet witness to
everything left unsaid.
FADE TO BLACK:
FADE UP FROM BACK:
Genres:
["Drama","Family","Spiritual"]
Ratings
Scene
59 -
A Journey Towards Forgiveness
EXT. COFFEE SHOP - DAY
A quiet corner café. Sunlight glints off parked cars, wind
in the trees, the hum of small-town calm.
INT. COFFEE SHOP - DAY - (CONTINUOUS)
Sean and Pastor Joseph sit across from each other, coffee
steaming between them. The café noise fades beneath the
weight of the conversation.
PASTOR JOSEPH
So that’s why you resigned your pastorate
and moved back home?
SEAN
Yeah. Dad needed me.
PASTOR JOSEPH
That must’ve been a difficult
transition.
SEAN
It is. Losing Renee really broke him.
I don’t think he has much time left.
A quiet moment between them.
PASTOR JOSEPH
And you? How have you handled all this?
SEAN
Both of my abusers are now gone.
And for the first time in my life...
I’m not living in reaction to them.
I’m just... living. And I’m writing again.
PASTOR JOSEPH
Writing what?
SEAN
My story. I want to help people who’ve
been through what I have — people carrying
the same scars. Not just about the pain —
but survival. Maybe even forgiveness.
Pastor Joseph nods in agreement.
PASTOR JOSEPH
That’s a dangerous word... forgiveness.
Are you ready to tell the whole story?
Sean hesitates while pondering the question.
SEAN
Yeah. I think I am. Hiding it didn’t
protect me — it just kept me stuck.
PASTOR JOSEPH (leaning in)
Then let me ask... have you truly
forgiven them?
Sean looks down at his coffee, turning the cup slowly.
SEAN (quietly)
When I confronted Renee... she broke down.
She admitted everything. It didn’t erase
what she did to me— but it gave me closure.
That day — something broke in me, too. Not
anger — just... release. (pause) Yeah
(nodding) I forgave her.
PASTOR JOSEPH
What about your mother?
Sean freezes. The question hits deeper. He takes a breath.
SEAN
That one is a little harder.(pause)
When I confronted her, she said I...
deserved it.
Pastor Joseph closes his eyes, absorbing the weight of
that.
SEAN (continued)
That hurt more than the abuse. I wanted
her to see me — just once — as her son.
Not as her shame.
A long pause.
PASTOR JOSEPH
But... have you Forgiven her?
Sean meets his eyes, steady, raw, honest.
SEAN (long pause)
I don’t hate her anymore. That’s new.
I finally realized — her misery wasn’t my
fault. She chose bitterness, but I refused
to. Now... I just feel... sorry for her.
PASTOR JOSEPH
That’s grace, Sean. That’s a good beginning.
Sean takes a sip.
SEAN
I don’t know if I’ve forgiven her yet…
But I guess forgiveness starts somewhere...
even if it’s just the first breath
after you stop fighting it.
Pastor Joseph smiles, eyes warm.
PASTOR JOSEPH
That’s exactly where it starts.
Sean smiles.
SEAN
Guess God’s not done with me yet.
The camera lingers on them — two souls, sunlight, coffee,
and quiet grace.
CROSSFADE:
Genres:
["Drama"]
Ratings
Scene
60 -
Closure and New Beginnings
INT. NEW GREYSON LIVING ROOM - DAY
CLOSE ON: two small boxes of ashes — J’net and Renee,
resting side by side on the shelf. Sean’s hands enter the
frame. Gently, he lifts each box, one at a time, removing
them from sight.
SEAN (V.O.)
Neither dad or I could keep their ashes
around. It was too depressing. We both
needed closure.
EXT. GRAVESIDE - DAY
A still afternoon. The wind moves softly through the trees.
WIDE SHOT: Sean, Michelle, and Ray stand together at a
small open graveside. They’re joined by Jessi, Seth,
Victoria, and little Jackson — each holding an Easter lily.
A quiet reverence hangs in the air.
CLOSE ON: Sean kneeling, holding both boxes. Carefully —
almost reverently — he lowers them into the earth.
He stands, his expression calm. There are no tears — just a
calm and quiet peace.
SEAN (V.O.)
That morning, it hit me.
While I was laying to rest the ashes of the
two people who hurt me the most...
I was surrounded by the people who loved me
the most.
CLOSE ON: his face — steady, softened. He turns toward his
family — Michelle holding her lily, Ray wiping his eyes.
Jessi cradles Jackson beside Seth, with Victoria standing
quietly near them. Sean touches his silver cross necklace,
looks to his father.
SEAN (to Ray)
I think I finally understand what really
matters in life.
Ray looks at him — eyes full, voice gentle.
RAY (softly)
Me too.
WIDE SHOT: Michelle steps forward and lays her lily by the
grave. One by one, the others follow — Jessi, Seth,
Victoria, Ray. Each places their lily beside the grave,
then steps back. When they turn to leave, Sean remains
behind — alone, still.
A CLOSE UP as He looks down one final time.
SEAN (whispering)
I... I forgive you, Mother.
A long pause. A single tear finally slips free.
He wipes it away, exhales, and turns to join his family.
WIDE SHOT: Sean walks out of frame, joining them as they
move toward the car.
SEAN (V.O.)
I may be closing one chapter of my life...
but I’m still living the rest of the story.
The camera PULLS BACK — the family small against the
rolling green field, sunlight breaking through the trees.
FADE TO BLACK:
INT. LIGHTHOUSE FELLOWSHIP - SEAN’S OFFICE - PRESENT DAY
Soft piano continues under the image. We return to where it
began — Sean at his laptop, the familiar black thermos
nearby. He types the final line...
SEAN (V.O.)
“I am no longer a victim of my past.
I am free. There’s no more hiding and no
more secrets.”
- THE END -
A quiet smile. He sips from the thermos. His dog circles
his feet, tail wagging. Sean stands, stretches, and walks
toward the window. The dog trots behind him — faithful,
free.
CROSSFADE:
INT. NEW HOPE ASSEMBLY - SANCTUARY - DAY
Music swells — a live performance begins. On stage, JESSI
GRIFFIN sings her original song “WHERE IT HAPPENS” (written
and performed by Jessi Griffin, used with permission).
Sean, Michelle, Ray, Jessi, Seth, Jackson, and Victoria sit
together in a pew — a family whole again. Sean closes his
eyes — worshipful, restored.
CUT TO:
Hands lifted in praise.
Tears, smiles, voices lifted together.
Jessi sings with radiant strength.
Sean wraps his arm around Michelle, smiling.
Healing looks like this.
CROSSFADE:
INT. NEW HOPE ASSEMBLY - BOOKSTORE – DAY - (song continues)
A slow reveal: A clean, well-lit shelf. Front and center
sits a new book — “70x7: FORGIVING YOUR ABUSERS” By Sean
Grayson. The camera PULLS BACK slowly — the cover glowing
under the soft light. The song carries us out — a hymn of
healing.
THE END