1 EXT. CEMETERY - DAY
We see the world below as a bird flies over a picturesque
rural area, with lush fields and old country roads. Small
farmhouses dot the landscape, surrounded by patches of dense
woods and small quilts of farm land.
The fields give way to the more manicured grounds of the
cemetery. The countryside subtly blends into the grass of the
cemetery.
The graves present a stark contrast to the rural
surroundings. It's organized and well maintained, with neatly
trimmed grass and rows of gravestones aligned with precision.
The headstones vary in size and style, indicating different
eras and status of the departed.
Large, non-indigenous trees stand within the cemetery, their
leaves stirring the breeze; a timelessness scene.
CUT TO:A small group of family and close friends are gathered
at a burial. They are all dressed primarily in black, in the
deepest solemn remembrance, that of one lost too young . The
grave itself is surrounded by four overlapping pieces of too-
green fake sod covering the edges. The white coffin is
suspended above the grave with a wreath of calla lilies,
white roses, vines of English ivy, and local greenery. There
is a large photo of the deceased, an attractive young woman,
She appears to be in her early 20s. Her features are soft and
gentle, with a smile suggesting a life lived with joy and
kindness.
Her hair, chestnut color, cascades around her shoulders,
framing her face. Even in a photo, she exudes an undeniable
kind spirited beauty that transcends youth.
She is dressed in a warm white sweater, understated but and
memorable. The pearl earrings and necklace accenting her
classic beauty.
Above the photo is a dripping garland of flowers and greenery
matching the large coffin flower arrangement, already
starting to wilt, it stands testament to the fragility of
life.
SARAH, a 30 year old, with the cherubic face of a woman with
a newborn, sits in the front row of folding chairs, holding a
sleeping infant. Her simple black tea length dress with a
lace sheath, black tights and headband, with a small black
veil blanket her in an unmistakable cloak of death and
mourning. Her husband, BEN is on one side of her and her best
friend, STACEY, is on the other side.
Ben is in his 30s, with ash brown hair neatly combed in a
trendy, hipster style. He is the quintessential young
professional dad. His demeanor is warm and kind, often
lighting up the room with his repertoire of bad dad jokes,
much to the amusement and occasional groans of his children.
Behind his playful facade lies a fierce protectiveness of his
family.
Stacey is the very picture of a typical woman, in most
senses. Her hair, weight, build are all about average. Ever
the girl next door, what sets her apart is her an understated
charm, and her natural but attractive appearance. Her hair is
a rich shade of dark blonde, that compliments her overall
look.
Both Ben and Stacey are so close as to be able to catch her,
or the baby, if need be.
PASTOR
(Reading from a Bible.)
The Lord is my shepherd, I shall
not want. He maketh me lie down in
green pastures...
CUT TO:
Sarah's gaze is fixed on the coffin that holds her sister,
CLAIRE. The weight of loss so heavy that it's all she can do
not to crumble. Claire, had been a ray of light in her life,
always warm and supportive. Sarah's heart aches as she
recalls Claire's laughter and the countless moments and deep
bond they shared. Tears brim in her eyes, not just for the
sister she has lost, but for the future they were supposed to
have together.
BLUR FADE TO:
TIGHT FULL BODY OF PASTOR AND CROWD
PASTOR (CONT'D)
(Crossing himself)
I will dwell in the house of the
Lord forever.
Everyone leaves the gravesite. Sarah falls to her knees, with
the infant. Stacey gently takes the baby and walks away.
Sarah begins to sob, her chest heaving with each labored
breath. Through her tears, she starts singing "You Are My
Sunshine" very quietly. Ben, hesitates for a moment to allow
Sarah to have this final moment with her sister. He is nearly
as heart broken but resigned to be a strong support for his
wife, whom he loves dearly. Ben slowly approaches her and
gently pulls her up, steering her away from the grave site.
BEN
Sarah, honey, we have to leave now.
Sarah resists slightly as she looks back at the grave, but
goes with him.
PULL OUT:
2 DRONE PULLS UP AND AWAY FROM THE GRAVEYARD - SUPERSCRIPT
"Title and starring credits"
FADE TO: BLACK
3 BLACK SCREEN - SUPERSCRIPT
"13 Years Later"
FADE TO:
Genres:
["Drama"]
Ratings
Scene
2 -
A Swing of Joy and Tragedy
4 EXT. SOFTBALL FIELD - DAY
The family is at JENNA'S's softball game.
The game is at a local softball field where two middle school
teams play. The atmosphere is lively and filled with the
cheerful sounds of a typical softball game.
In the stands, SARAH, a supportive and attentive mother, sits
beside ALISSA, Jenna's younger sister. Both are wearing the
team's colors, their faces lit up with excitement. They chat
animatedly, their eyes following every move on the field.
BEN, Jenna's dad and the coach of her team, is on the
sidelines, his focus is on the game. He's in his element. His
coaching style is both firm and kind. He is clearly respected
and liked by the team.
On the plate, JENNA stands at bat, her stance confident and
determined. Her teammates and the opposing team are equally
focused on her, the game is friendly but competitive.
It's a snapshot of a happy, loving, suburban family spending
their day together. The parents, always focused on their kids
growth and future. It is the quintessential spring day.
Everyone, from players to families, is caught up in the
excitement and joy of the game, creating a vibrant, wholesome
atmosphere.
The coach, Ben, runs over to give her a pep talk.
BEN
(Supportively)
You've got this, honey. I know you
can do it.
JENNA
Dad, come on. I don't need a pep
talk. I'm 14!
SARAH AND ALISSA SEE JENNA AT BACK AND JUMP TO ATTENTION,
THEIR HANDS CLASPED IN ANTICIPATION AND WORRY.
BEN
(winks)
You're right. Just keep your eye on
the ball.
Jenna hits the ball with a CRACK! Excitement overcomes the
crowd as parents and onlookers jump to their feet.Cheers
erupt.
Jenna immediately sprints to first base.The crowd is whipped
into a screaming frenzy as it appears that Jenna may have
hit a home run.
Jenna is between first and second base as the ball flies into
the sun and over the far wall. The girl before her comes in
at a slow jog and steps firmly on home plate.
Arms up and fists pumping, Jenna crosses home plate. She
throws her helmet off excitedly.
Ben runs over, picks Jenna up and spins her around. Everyone
is cheering.
They high-five with both hands.Jenna runs off to grab her bat
near the first base line.
Batters are warming up on the side near her. The reserve
pitchers and hitters are warming up, hoping for a chance to
get into the game.
Jenna looks up to see her friends and family, who are still
cheering for her in the dugout. A broad smile crosses her
face.
Jenna sees something shift in the crowd. She can't make out
what's happening. The cheerful faces turn to looks of horror.
The kids on the dugout are yelling warnings to look out.
CRACK! A bat in full swing makes contact with Jenna's head.
Jenna is hit hard, just missing the temple, by one of the
girls practicing.
FADE TO BLACK.
Genres:
["Drama","Family","Sports"]
Ratings
Scene
3 -
Emergency Response
5 INT. HOSPITAL EMERGENCY ROOM - DAY
We see lights flashing against the breezeway windows as Jenna
is rolled in. In the foreground are numerous paramedics and
nurses' running out to help. We get a glimpse of the nurses
station beyond the doors and the doors into the main
emergency area.
FRONT VIEW HOSPITAL DOORS OPENING
Paramedics rush Jenna into the hospital.
She's unconscious on a gurney. Ben, Sara, and Alissa are
alongside. We see breathing apparatus, blood pressure
monitor, and IV. Her head is bandaged, and there is a lot of
blood.
The paramedic is a young man in his late twenties. His build
is athletic, with well-defined muscles that are not overly
toned. His movements are calm and efficient, showing a deep
understanding of his role and responsibilities.
PARAMEDIC
(getting her vitals)
Hit in the head with a bat.
Possible bleed or shock. BP 75/48,
blood oxygen 97%.
Alissa, her face tear-streaked and red, waits by her sister's
side.
SARAH
(Rubbing Jenna's arm)
It's going to be all right, honey.
You're going to be fine. Can you
hear me? You're going to be fine.
The gurney is pushed rapidly through the entry area as they
approach the patients and staff-only area. Large beige double
door with small upper windows that have chicken wire inside
the glass with Numerous medical and warning signs are on them
delineate the treatment area from triage..
SARAH (CONT'D)
(Looking at nurse and
speaking frantically)
Please call Dr. Gary Walter. He's
her doctor.
NURSE
We'll call him immediately. I need
to ask you to stay here while we
take her to x-ray.
BEN
(Letting go of Jenna's
hand to hold Sarah)
Jenna, we love you so much. We'll
be right here, waiting.
Alissa touches Jenna's shoulder, then goes with her parents.
ALISSA
I love you sis.
Jenna's gurney is pushed through the busy hospital hallway,
lined on either side with a series of make shift rooms, each
separated by blue curtains that sway gently with the movement
of staff and patients. The curtains, a calming shade of blue,
range from fully drawn to partially open. Some cubicles are
closed off, for more serious cases, while others are open,
allowing glimpses of patients and their care.
Each cubicle is equipped with a medical monitor, its screen
displaying vital signs with a low din of beeps and dings.
Jenna is swiftly moved along the hallway on her gurney. The
urgency of her situation is evident in the pace. They pass
the main area of cubicles, heading towards a more secluded
area, perhaps reserved for more critical cases.Ben, Alissa,
and Sarah still standing outside of the doors, clinging to
one another, share a sense of helplessness, fear, and longing
to have control over the situation.
6 INTERIOR CAT SCAN ROOM
Jenna is taken directly to the CAT Scan room. The machine
itself, a cylindrical giant that hums with power. The room is
bathed in white industrial light, creating a glow around the
huge machine.
The room is filled with a gentle, persistent whirring while
the machine readies to unravel the mysteries of Jenna's
injury while nearby, computers are on the ready to translate
the data into images that will define fate.
Jenna is still unconscious as the nurse, a professional woman
in her mid 40s, mostly covered with a mask and white coat a
top her purple scrubs prepares to move Jenna to the table.
The much younger male is an orderly works quietly on the far
side of the machine, prepping it for Jenna's procedure.
NURSE
(Loading something into a
syringe.)
Just in case she wakes up, I’m
going to give her a sedative so she
won’t move during the CT scan.
CUT TO:
Jenna, still on a gurney and starts to twitch lightly.
Suddenly, her back comes up off the gurney into an intense
and unnatural back bend.
NURSE (CONT'D)
She’s seizing. I need some help
here.
The orderly, surprised but in control, runs around the
machine and holds on to Jenna to support her. The nurse puts
the sedative into the IV. Jenna‘s body slumps down calmly.
CUT TO:
Genres:
["Drama","Medical"]
Ratings
Scene
4 -
A Glimmer of Hope
7 INT. EMERGENCY WAITING ROOM - DAY
Jenna's family have been moved to the family waiting area for
critical care and are seated close to one another, each on
their own couch or chair. Veiling it's macabre true purpose
as a place to await confirmation of life or death of loved
ones, the room feels like any typical waiting area, designed
to offer a semblance of comfort. The floors are covered in
neutral-colored carpet, soft underfoot, contributing to the
room's muted and calm atmosphere. Arranged thoughtfully
around the space are several couches and chairs, upholstered
in durable yet welcoming fabrics, inviting patients and
visitors to settle in while they wait. The furniture is
complemented by wood coffee tables and matching end tables,
their surfaces, although older, are polished to a gentle
shine, adding a touch of warmth to the room. In one corner, a
small coffee stand offers a selection of hot beverages. Along
one wall, a set of medical pamphlets is neatly displayed,
offering information on various health topics. On the coffee
tables, a collection of magazines lies fanned out, a
distraction from whatever disaster brought people here.
Ben, Sarah, and Alissa look up.DR. WALKER walks through the
breezeway, into the waiting area, wearing blue scrubs with a
mask hanging around his neck. Stacey is with him.
Dr. Walker is a commanding but gentle looking man, about six
feet tall, and in his 50s. Only his full head of gray hair
gives away his age. He is in good shape and well put
together, more like a man in his early 40s.
SARAH
(Pleasantly surprised)
Stacey, you're here!
STACEY
(A tiny bit annoyed)
Gary called me when he heard. He
knew you'd want your best friend to
be with you.
SARAH
(Looking relieved)
I totally forgot you did your
residency here. I'm so glad he did.
Stacey sits down by the family.
Ben stands and shakes Dr. Walker's hand in a familial way.
BEN
Gary! Thanks, man, for coming right
in.
DR. WALKER
Of course. It's no problem at all.
(Dr. Walker sits across
from Ben and Sarah. He
Removes his mask and
looks concerned but
hopeful.)
We got very lucky. Jenna does not
have a brain bleed.
Ben, Sarah, and Alissa are visibly relieved and eager to hear
more.
STACEY
I peeked in on her in the CT room
and talked to the nurse. She's
sedated so there's no need to
worry. She can't feel a thing.
DR. WALKER
But, she does have a serious
concussion. She had a seizure
during her CT scan but that's not
really unusual with a concussion. I
would like to have her in the ICU
to be monitored for at least a few
more hours.
BEN
(holding Sarah, Alissa
holding her dad's arm)
What do we do now?
DR. WALKER
We wait. We'll keep her here
overnight and see if she's got good
vitals. In the morning we can talk
about her going home.
(he smiles)
SARAH
(Hugging Dr. Walker)
Thank you so much. Can we see her?
DR. WALKER
Of course. Follow me.
FADE TO:
Genres:
["Drama"]
Ratings
Scene
5 -
Healing and Tensions
8 INT. HOSPITAL ROOM - DAY
The hospital room is softly lit with numerous monitors.
Neutral beige machines, walls, and blankets add to the
peaceful environment. Only the large black TV overhead
interrupts the calming atmosphere. There is a tray of food
and drinks on one side. Some flowers and a "get well" balloon
are in the window. Jenna is wearing a hospital gown and has a
padded head bandage on, with bruising visible around it.
Sarah, Ben, Stacey and Alissa are in the room, lightly joking
around. Their demeanor a stark contrast from the night
before. Alissa is sitting in a recliner in the corner of the
room, on her phone happily scrolling through social media.
BEN
We got lost trying to find your
room, but now ICU.
Everyone moans at the bad joke.
BEN (CONT'D)
Fine. We had to wait ages for your
CT scan. There was only a skeleton
staff working yesterday.
SARAH
Oh my God, you're killing us.
BEN
(Pointing at his arm)
What, it's humorous.
JENNA
(Finally giggles a
little)
Ooh, it hurts to laugh.
BEN
I'm sorry. I'll stop...for a while.
Dr. Walker walks in.
DR. WALKER
(holding chart, smiling)
How are you feeling?
JENNA
(smiles a small smile at
Dr. Walker and sounds a
little tired.)
I feel better. I just have a
headache and I'm tired.
DR. WALKER
(Looking at her head
where she was hit. She
has a big bruise and some
swelling.)
We'll make sure you have some pain
killers for the next few days. It
looks like you're a good healer.
Your vitals are good, and you get
to go home today.
Sarah, clearly relieved, smiles at Jenna.
BEN
(Squeezing Sara's
shoulder reassuringly)
That's great! Thank you so much!
DR. WALKER
(handing over papers)
That's what cousins who go to
medical school are for.
(MORE)
DR. WALKER (CONT'D)
Here are all of her recovery
directions and a prescription for
pain. Most importantly, she needs
to rest for the next 2-3 days. If
you see any signs of anything out
of the ordinary, like confusion or
nausea, call me immediately.
SARAH
We absolutely will. We can't thank
you enough.
(Smiling and starting to
turn to walk out.)
It was my pleasure. She was a model
patient.
Dr. Walker leaves
CUT TO:
9 EXT: PARKING LOT - MOMENTS LATER
The hospital's modern facade towers behind them, a contrast
to the expansive, open parking lot ahead. We hear the sounds
of muffled conversations of other patients and families
nearby as well as a nearing siren.
While Ben is helping Jenna into the car. Alissa is getting in
on the other side. Sarah is walking slowly with Stacey. Sarah
looks tired and a little annoyed.
STACEY
(In hushed tones)
I just don't understand why you
didn't call me. I had to hear it
from Gary. I'm a nurse and your
best friend.
SARAH
(exhales like she's
giving up)
I was only thinking about Jenna. It
never occurred to me to call
anybody. My whole family was with
me.
STACEY
(Looking faux wounded)
We're basically sisters and I
wasn't there to help you.
(Hollering from beside
the driver's door of the
car)
Sarah, are you coming? We need to
get this patient home.
SARAH
(hollering back)
I'm coming.
(to Stacey)
I'll call you later.
STACEY
Don't forget me this time.
FADE IN:
Genres:
["Drama"]
Ratings
Scene
6 -
A Sunday in Jenna's Room
10 INT. JENNA PHILLIP'S ROOM - DAY
We see Jenna's room, the space of a young girl torn between
childhood and adulthood. A twin-sized bed, against the far
wall is draped in pink bedding, flanked by posters of popular
bands and personal memorabilia on a cork board. A cluttered
study desk, home to a laptop, scattered books, and a pink
lamp, occupies another corner. Shelves above the desk proudly
display a mix of trophies, books, and quirky souvenirs.
Prized stuffed animals litter the floor.
Jenna is in bed, propped up. It's Sunday. Alissa walks in and
plops herself at the end of Jenna's bed, cross legged. They
do a secret handshake that looks extremely complicated. The
girls giggle.
Alissa is still in her pajamas.
ALISSA
(Her expression turns
serious)
Every day, I worry all day.
Jenna nods affirmatively and looks around cautiously.
JENNA
Something's waiting in the bushes
of love.
Both girls burst out laughing.
STACEY
(from downstairs)
Hellooooo!
We hear the door close.
SARAH
(From the kitchen)
I'm in the kitchen.
JENNA
What are they doing now?
ALISSA
Planning the book club meeting, I
think.
JENNA
They should call it wine club.
Both girls giggle.
Alissa pulls her phone out of her pocket and moves to be
sitting next to Jenna on the bed.
ALISSA
You have to see this filter. It's
so funny!
She holds her phone up and they start making funny faces at
the screen.
A frightening face appears on the screen and gets larger,
like it's moving towards them. Both girls scream.
ALISSA (CONT'D)
(Laughing)
Oh my God! That scared me to death!
They totally got us!
JENNA
(Looking concerned)
Are you sure it was supposed to do
that. That didn't look like part of
the app to me.
ALISSA
Of course it was, silly!
JENNA
Maybe I'm just still a little worn
out. Don't tell anyone though.Do
you think mom and dad will let me
go back to school tomorrow?
ALISSA
(Alissa lightly tickles
Jenna.)
You seem fine to me!
(Both girls giggle)
ALISSA (CONT'D)
Actually, you do seem worn out. Why
don't you take a little rest.
JENNA
Yeah, that's a good idea.
FADE TO:
Genres:
["Drama","Family","Slice of Life"]
Ratings
Scene
7 -
A Day in the Suburbs
11 EXT. NEIGHBORHOOD - DAY
The Philips live in a typical suburban neighborhood. Their
house sits on quite a street with trees that flower in the
spring and line the road with red and orange foliage in the
fall. There's a grassy park directly across with a large
community area, swings and jogging trails. Kids are coming
from houses surrounding the park to meet at the bus stop, the
boys joking around and boys teasing each other. One is
kicking a soccer ball. A group of three girls are looking
secretive and giggling.
CUT TO:
12 12 INT. KITCHEN - MORNING
The Kitchen is spacious yet cozy, with natural light
streaming through the windows, casting a reflective glow on
the granite countertops. Modern stainless steel appliances
keep the room bright, along with white backsplash tiles,
complementing the wooden cabinets. A central island, with a
butcher block countertop, serves as both a prep area and a
gathering spot. Potted herbs on the windowsill add a touch of
Genres:
["Drama","Family"]
Ratings
Scene
8 -
Morning Brew and Banter
green and the light scent of basil and mint.INT. FAMILY
KITCHEN – DAY
They are having breakfast and playfully bickering.
BEN
(to Alissa)
Honey, can you hand me my coffee?
Alissa grabs the mug from the Keurig on the counter and hands
it to Ben.
BEN (CONT'D)
Thanks Honey. Words cannot espresso
what you bean to me.
SARAH
(rolling her eyes)
Ugh, noooo!
ALISSA
(conspiratorially)
Never make fun of his coffee, he'll
roast you.
SARAH
Oh God, that's enough from you two!
Genres:
["Drama","Comedy"]
Ratings
Scene
9 -
Reflections of Dread
13 INT. JENNA PHILLIP’S ROOM
Jenna is finishing getting ready for school. She looks
stylish, preppy and age appropriate. Teen pop rock music is
playing from her phone. She’s clearly a happy, normal young
teen.
Looking in her wall mirror, she inspects her bruise and
bandage. She grabs her phone, and turns off the music.
SARAH
(Yelling up the stairs
pleasantly)
Jenna, come downstairs and get
something to eat before the bus
comes.
JENNA
(Turns toward door)
I’ll be down in a second.
Jenna starts toward the bedroom door. As soon as she can no
longer see herself, her reflection turns back, as if it's not
attached to her anymore. The reflection’s expression turns
sinister. I has a downward cast of the chin and an inhuman
smile.
CUT TO:
Genres:
["Horror","Teen Drama"]
Ratings
Scene
10 -
Reflections of Fear and Love
14 INT. FAMILY ENTRY WAY – MOMENTS LATER
We see the updated entryway of a suburban home.
To the right, ascends the staircase. The stairs boast white
posts, supporting a sleek black railing that contrasts
beautifully.
Beneath the staircase, against the wall, sits a white hallway
table. Its design is simple yet sophisticated, On top of the
table are a few tastefully chosen decorations, a couple of
books, and a silver-framed mirror hanging directly above. The
mirror reflects the light, making the space appear larger and
more open.
POV OF SARAH, SCENE IS SHOT IN THE ENTRYWAY MIRROR
Sarah sees Jenna from the kitchen and walks into the
entryway. She hugs Jenna from behind and has a granola bar in
her hand.
SARAH
(Holding the granola bar
in front of Jenna)
You always say you'll eat and you
never have time.
JENNA
It's not my fault; it's no fair
that the middle school bus comes
before the high school bus!
(Taking the granola bar
and hugging back)
Thanks Mama.
SARAH
(Looking at the photo.)
You're her spitting image, you
know. She's always here with us,
and seeing you reminds me of that
every day.
JENNA
I know Mom.
SARAH
(Hugging a little
tighter)
I just can't imagine losing you
both. I don't know what I would
have done.
JENNA
I'm ok, Mom. I promise. Except
you're squishing me to death and
I've gotta go.
Jenna turns to walk away. In the mirror above the little
table, her reflection stops being accurate for a moment and
it looks as if it's glaring menacingly. Sarah feels like
someone is watching her and spins around. When Sarah looks
back, it's gone.
SARAH
Have a good day at school. I love
you!
SARAH'S POV
There are a stack of new yard signs by the door that say
"Listed by Ben Phillips" on them.
Jenna swings her backpack on and goes out the door.
JENNA
I love you more!
Sarah picks up the photo.
CUT TO:
BEGIN FLASHBACK:
15 THE PHILLIPS'S BACKYARD 13 YEARS AGO- DAY
The backyard is set for a small but well decorated party.
It's decor is all country chic; everything is pink and white-
washed. Little touches of babies breath, coordinated pink
place settings, and pink flower arrangements demonstrate the
care that was taken for the event. A large sign is emblazoned
with the words WELCOME JENNA and a photo matte lays on the
table for everyone to sign. There are gifts wrapped in all
manner of pink paper, in a pile next to Sarah. On the other
side of Sarah is Claire, in a wheelchair. In her pink and
white floral dress, she looks beautiful and happy but
something is missing in her expression.
One her knee, Stacey bounces baby Alissa while sitting next
to Claire. A friend of Sarah's from work, Kim, is sitting
next to the gifts, with a clipboard in hand, writing down
gifts and gift-givers for thank you cards.
Sarah is opening an professionally wrapped gift. It's the
frame that she's holding in her hand.
SARAH
(Inspecting the ornate
frame closely)
Stacey, it's beautiful. We should
take a photo for it.
STACEY
Claire and Alissa have to be in it
too! It's a sisters photo!
Sarah stands up next to Claire. Stacey stands on the other
side and puts Alissa on Claire's lap. Sarah holds out her
phone to Kim.
SARAH
Kim, could you take a picture?
KIM
(Smiling)
Of course!
Kim lines them up and counts to three as she takes the photo
that is in the frame present day.
END FLASHBACK:
FADE TO:
Genres:
["Drama","Family"]
Ratings
Scene
11 -
Welcome Back, Jenna
16 EXT. BUS STOP - DAY
A beautiful spring day unfolds with the sun shining brightly
in a clear blue sky. Birds chirp and a gentle breeze rustles
the leaves of the large trees lining the street. A group of
kids, all around Jenna's age, are gathered at the end of the
cul-de-sac. Some playing hacky-sack while others talking and
laughing.
In this well-established family neighborhood, the houses are
well-kept, each with its own unique charm. Gardens bloom with
colorful flowers and the lawns are tended and green.
The boys suddenly stop their goofing off as Jenna arrives.
Everyone looks a little shocked at the bandages and bruise
but quickly stop gawking and welcome Jenna. They talk over
each other, excitedly.
GIRL 1
(Reaching out to hug
Jenna)
Jenna! You're back!
GIRL 2
We missed you!
GIRL 3
Are you ok?
BOY 1
That bandage is epic! You have to
tell everyone you were mauled by a
bear!
Jenna makes a "Yeah right" face.
BOY 2
Or a shark!
GIRL 1
(Taking Jenna's hand and
leading her to the bus)
Leave her alone, you guys!
(MORE)
GIRL 1 (CONT'D)
You're so weird! What was the
hospital like?
We see a subtle reflection in the bus window that doesn't
match exactly what Jenna's doing. It's very still and smiling
while Jenna is moving and talking.
JENNA
(Barely audible because
the focus is on Boy 1.)
My family and Stacey were there. I
barely remember anything.
Boy 1 notices the odd reflection in the bus window. He looks
back at her quickly but when he looks back at the reflection
it's normal. He blinks a few times and forgets about it.
They all get on the bus and we see it pull away.
CUT TO:
Genres:
["Drama","Coming-of-age","Family"]
Ratings
Scene
12 -
A Compassionate Wake-Up Call
17 INT. SCIENCE CLASSROOM - DAY
The Jr. High Science classroom consists of rows of Long,
black countertops running along the perimeter and in rows
down the middle of the room, each equipped with Bunsen
burners, beakers, and an assortment of glassware. The walls
are lined with cabinets full of chemicals and microscopes,
and posters of the periodic table and world maps. The
teacher, Mr. Taylor, a friendly looking black man in a
sweater vest, in his 40s, is at the large white board. All
of the kids have laptops open ready to take notes on the
latest chapter.
Jenna, sitting in her seat near the middle of the class, is
leaning heavily on her hand. Her head dips and her eyes
close. Mr. Taylor walks over to her and gently touches her
shoulder to wake her. He's not annoyed.
MR. TAYLOR
(kindly and quietly)
Jenna...
JENNA
(slightly startled)
I'm sorry Mr. Taylor.
MR. TAYLOR
It's ok. I know you're still
healing. Why don't you go down to
the nurse's room and lay down for a
while. Ok?
JENNA
(looks up, then stands up
a little shakily.)
Yeah, that's a good idea. Thank you
Jenna closes her laptop, grabs her things, and walks out of
the room.
CUT TO:
Genres:
["Drama","Family","Supernatural"]
Ratings
Scene
13 -
A Call for Care
18 INT. SCHOOL FRONT OFFICE - DAY
The front office has a wall to wall mahogany desk separating
the desks of the office workers from the small entry area
with just enough space for a hinged countertop on the left.
The ever present sign in/sign out book sits on the counter.
The room is dated, with older desks and woodwork. The two
metal desks further back in the room overlook the heavy wood
and glass door into the Nurse's Room. School posters,
pamphlets, and signs line the walls of the room.
Stacey, dressed in scrubs and a long sleeved undershirt with
her hair is in a bun, is standing at the front desk, is on
the phone with Sarah.
Jenna, visible through the window in the door to the nurse's
room, appears to be sleeping. The room has been darkened for
her. The only light is from the window in the door.
STACEY
(leaning on the counter)
Hey, I think you need to come get
Jenna. She's really tired and feels
a little queasy.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
14 -
A Mother's Urgency
19 INT. OFFICE BUILDING - DAY
Sarah, sitting at a desk, in a well lit and pleasant
professional looking real estate office, is talking to
Stacey. She's wearing a smart blouse and slacks, her hair is
pulled up loosely and her look matches the somewhat urban
environment of the office. Family photos take up one corner
of Sarah's glass topped desk, the largest being a photo of
her sister, Claire.
Sarah starts to rush to put some things away.
SARAH
Oh God, is she ok? Should you call
911 instead of me coming? I could
meet you at the hospital.
CUT TO: SCHOOL
FRONT OFFICE
STACEY
(calmly)
No. No, don't worry. Plenty of time
has passed. She's out of the woods.
(MORE)
STACEY (CONT'D)
I'm sure it's nothing, but you
should take her in to have her
checked, just to be extra cautious.
CUT TO: OFFICE
BUILDING
SARAH
(relieved)
Thank God my best friend is the
school nurse! I'm so glad you're at
the school today.
Sarah is grabbing her purse and pulling her keys out.
CUT TO: SCHOOL
FRONT OFFICE
STACEY
(semi-Jokingly)
I'm still mad at you though.
Seriously, I'm always here for you,
and I'm a nurse, you know.
CUT TO: OFFICE
BUILDING
SARAH
(rolls eyes, impatiently)
I know. I know. I really am sorry.
It was just so hectic, and I
couldn't think of anything else but
her being ok. I just can't lose her
and Claire.
CUT TO: SCHOOL
FRONT OFFICE
STACEY
It's fine. I'll get over it. How
long will it take you to get here?
CUT TO: OFFICE
BUILDING
SARAH
I'll be there in 30 minutes. Bye.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
15 -
A Haunting Reflection
20 INT. SCHOOL FRONT OFFICE - DAY
About a half of an hour later, a chool office worker walks up
from a cubicle at the back of the room. She's a little dowdy
and doesn't wear makeup but still comes across as youthful
because of her rosy complexion and chipper demeanor, that she
probably exhibits all of the time.
OFFICE WORKER
(sing songy)
Off to lunch.
STACEY
Have a good one.
Stacey quietly goes back to the nurse's room and checks on
Jenna.
21 INT. NURSE'S ROOM - DAY
One side of the room features an examination table that
doubles as a bed with a brown faux leather pad, complete with
a roll of white tissue paper for sanitation and a paper
pillowcase covered pillow. Beside the bed, a small table
holds essential medical supplies: bandages, thermometer,
antiseptic wipes, and a box of colorful Band-Aids.
Inside the room, Stacey walks by the mirror and stops to fix
a messy piece of her hair, sticking out from her bun. She
dips her head to tuck in the piece of hair in and then checks
it in the mirror. When she looks up, the sinister dark figure
is right behind her.
She jumps, gasps, and quickly turns and looks around. Jenna
is asleep in the bed. A fine mist slowly starts to seep out
of the mirror, getting thicker behind Stacey. The mist begins
to solidify into an unnaturally bent, gnarled, and blackened
hand. The other hand starts to emerge the same way. Then arms
start emerging. Suddenly, the hands grab at Stacey.
With a chime from the door alarm, the office worker comes
back unexpectedly. At the moment a door chimes the hands
quickly recoil.
Although never realizing that she was in danger, Stacey
automatically jumps at the noise. She's thinks that she's
just on edge and tries to calm herself.
STACEY
(talking to herself)
Jesus, get a grip.
Stacey sees the office worker walking toward her cubicle. She
quickly looks back and everything looks normal.
OFFICE WORKER
(hollering so she can be
heard in the Nurse's
room)
I forgot my purse!
Stacey is shaken but she thinks it was her imagination. She
shakes her head and blinks a few times, then leaves the
nurse's room.
Genres:
["Horror","Thriller","Supernatural"]
Ratings
Scene
16 -
A Lesson in Respect
22 INT. FRONT OFFICE - DAY
STACEY
Don't worry about closing for
lunch. I'll stay out here and watch
the desk during your break. I don't
want to wake her.
Stacey looks into the room with a concerned expression. The
office employee leaves, crossing paths with Sarah as she
arrives to pick up Jenna.
CUT TO:
23 INT. NURSE'S ROOM - DAY
Jenna sits on the examination bed, swinging her legs. She
looks bored and a little pale.
The door opens and a worried SARAH rushes in.
SARAH
Jenna, sweetheart, are you okay?
JENNA
(shrugging)
I guess.
STACEY
(smiling)
She'll be fine, just needs some
rest. I hope you feel better soon,
Jenna.
JENNA
(rolling her eyes)
Are you sure about that?
Sarah looks shocked and embarrassed. Stacey's smile fades and
turns to a look of disbelief.
SARAH
Jenna! What on earth? That's not
how we speak to people who are
helping us, especially someone
who's like family. Apologize to
Stacy right now.
Stacy's expression turns to a happy grin.
Jenna sighs, rolling her eyes again, but complies.
JENNA
(reluctantly)
Sorry, Stacy.
NURSE STACY
It's alright, honey. You're just
out of sorts. Get some rest.
Sarah gives Stacy a grateful, apologetic smile as she ushers
Jenna out of the office.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
17 -
Tension in the Parking Lot
24 EXT. SCHOOL - DAY
A spacious asphalt parking lot adjacent to the school. The
lot is neatly organized with well-defined parking spaces,
accommodating the cars of teachers, staff, and visitors.
Around the perimeter, a few trees provide shade. A couple of
walkways lead from the parking area to the school's main
entrance.
The lot also includes a designated area for school buses,
marked by clear signage.
Near the entrance, a welcome sign displays the school's name
and mascot.
Sarah and Jenna walk towards their car. Sarah's expression is
a mix of concern and frustration.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
18 -
A Moment of Understanding
25 INT. CAR - DAY
Sarah and Jenna are in the car, in the school parking lot.
The atmosphere inside the car is tense and quiet. Jenna seems
lost in thought, her expression troubled.
SARAH
(concerned)
What's come over you, Jenna?
Jenna turns to look at Sarah. There's vulnerability in her
eyes, a mix of confusion and fear.
JENNA
(struggling to find the
words)
I... I don't know. It's just...ever
since my injury I see things
differently.
Jenna's voice trails off. She looks out of the window, trying
to gather her thoughts.
SARAH
(gently)
You can talk to me, Jenna. Whatever
it is, we'll figure it out
together. Everything looks worse
when you don't feel good.
Jenna takes a deep breath and looks back at Sarah with a
relieved expression.
JENNA
It's just that, I mean, I know I
shouldn't have been rude to her,
but I've never really likes Stacey.
I understand that she's your best
friend and all but I don't think
she wants me around.
Sarah, with relief in her eyes, reaches out and puts her hand
on Jenna's shoulder, giving her a reassuring look.
SARAH
Oh, honey, Stacey loves you! She's
never had kids of her own so she
just isn't great at showing it.
Jenna manages a small smile, nodding slightly as she turns
her gaze back to the road ahead.
Genres:
["Drama"]
Ratings
Scene
19 -
Facing Fears: A Visit to Dr. Walker
26 INT. DR. WALKER'S OFFICE - DAY
DR. WALKER
(Walking in with chart)
I wish I could say I'm happy to see
you.
(He smiles and looks at
the chart.)
It looks here like you're having a
few symptoms we'd like to keep an
eye on.
Jenna nods affirmatively.
SARAH
She fell asleep in class and felt
nauseous.
Dr. Walker checks Jenna's pulse, then looks into her eyes
with a light.
DR. WALKER
Everything looks good. I don't
think we have anything to worry
about, but let's get you in for an
MRI tomorrow, to be on the safe
side.
JENNA
(whining)
Oh, do I have to? I don't want to
go into that tube thing.
DR. WALKER
Don't worry, it not bad at all, and
we'll be close by.
Genres:
["Drama"]
Ratings
Scene
20 -
Nightmare in the Mirror
27 INT. JENNA PHILLIP'S ROOM - NIGHT
Lying next to Jenna in her bed, Sarah is giving her daughter
her headache medicine. Jenna looks worn out and has bags
under her eyes.
SARAH
That'll help.
Jenna swallows the pills and looks at her mom with a worried
expression.
SARAH (CONT'D)
I know you hate tight spaces, but
don't worry about the MRI tomorrow.
It's no big deal. It's open on the
ends, and it won't take long. You
just lay in a big tube, like a sci-
fi movie.
(MORE)
SARAH (CONT'D)
You know what would be awesome? I
can take a picture of you in it.
Just think how cool you'll look on
your socials.
Sarah smiles reassuringly.
Jenna looks at her mom like she's a dork.
JENNA
(groggily)
Socials, mom? Really? I just don't
want to go in that tube. Isn't
there any other way?
SARAH
(Holding Jenna's hand)
I understand. I don't like them
either. You know, when we were
kids, my sister always had to
convince me to play when Claire and
Stacey and I would go meet up with
the neighborhood kids to play hide
and seek. She had to hide with me
or I wouldn't do it. Just imagine
Auntie Claire is with you. She was
super brave.
JENNA
(Jenna gets comfortable
in the bed. Speaking a
little sarcastically but
kindly.)
If I have to I will, but I get to
pick dinner afterward...and a
family movie.
SARAH
Deal!
Sarah lays down next to her.
As Jenna falls asleep Sarah quietly starts to sing "You are
my Sunshine". In a dark corner of the room, where the mirror
is located, a mist moves out of the mirror, into the room.
Sarah doesn't see it. Sarah sighs and turns off the bed side
light. As Sarah turns toward the door to get up she sees a
dark shadow, the shape of a woman, but distorted, in the
mirror. Feeling uneasy, she turns the small light back on. A
mostly blacked out and scary female figure, with a sickening
smile, is right in front of her when the lights come on.
Sarah screams and stumbles back into the bed.
The figure disappears, like smoke sucked back into the
mirror, as Jenna startles awake.
JENNA
(Sitting up quickly)
Mom, what's wron......
(Jenna begins to have a
seizure)
Jenna's back arches into an upside- down U shape and her
mouth opens to a weird wide smile. Her eyes are very wide and
her hands are clutched and claw like.
SARAH
(Trying to help Jenna and
Hysterically screaming)
Ben, Ben, call 911! Jenna's having
a seizure.
Ben runs in, with the phone up to his ear.
BEN
Talking rapidly)
It looks like a seizure. I don't
know, a minute or two...3018
Cherrywood...Please hurry.
FADE TO:
28 EXT. JENNA'S DRIVEWAY - NIGHT
Ambulance lights are visible out the window. Paramedics put
Jenna in the ambulance.
Genres:
["Drama","Horror","Family"]
Ratings
Scene
21 -
Urgent Call
29 INT. STACEY'S HOUSE - NIGHT
Stacey's house is a cute little craftsman. It's decorated
well but somewhat generically, like a staged home, mostly in
beiges. It appears that she spends ample time at Home Goods.
Stacey is on her L shaped greige couch. There's a furry
blanket on her lap. The TV is on, her phone next to her, and
laptop open in her lap. Photos of Sarah's family line the
shelves where you would expect to see photos of Stacey's
family.
The phone rings. Stacey looks at it and looks a little
excited.
STACEY
Hey sis, whatcha' doing?
(Stacey goes from smiling
to listening intently and
looking worried.)
Oh my God, what happened?
I'm so glad you called
me. I'll come right now.
FADE IN:
Genres:
["Drama","Mystery","Family"]
Ratings
Scene
22 -
Waiting in Uncertainty
30 INT. MRI WAITING ROOM - NIGHT
Sarah and Ben are in a small waiting room. It's modern, with
it's gray walls and furniture, and newer than most hospital
waiting areas. A poster on the bright white walls reminds
them to remove any any metal and gives other guidelines for
the MRI.
Sarah hangs up her phone and drops it in her purse.
SARAH
(Nervously)
I hate that she's in that machine.
She's probably so scared.
BEN
(Rubbing Sarah's leg)
She'll be ok. She's a tough kid,
and the nurses and doctors are
there to help her.
Genres:
["Drama"]
Ratings
Scene
23 -
The Watchful Eye
31 INT. MRI ROOM - NIGHT
By comparison to the CAT scan room, the MRI room, with it's
soft colors, large windows, and art on the walls, make the
room feel surprisingly welcoming. The cabinets are white with
modern mirror trim in a stripe along the top and bottom of
the room. The large, cylindrical MRI scanner sits like a
gentle giant with it's human conveyor belt of a tongue
sticking out. A nearby console, replacing the CT scan bunker
room, is pleasantly manned by a nurse and technician.
Jenna relaxes as she's brought into the unexpectedly nice
room and helped onto the machine.
The net cover is put over Jenna's face. She is wide eyed but
calm.
She's alone and slowly slides into the machine. It looks far
more claustrophobic than it is.
We see the MRI machine moving with Jenna's legs sticking out.
Everything seems to be going fine.
CUT TO:
MRI ROOM - AT FLOOR LEVEL
Something or someone is watching Jenna get the MRI from an
odd viewpoint, seemingly peeking out from under a cabinet in
the room.
CUT TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
24 -
Support in Uncertainty
32 INT. MRI WAITING ROOM - MOMENTS LATER
Stacey enters the waiting room. Ben stands politely as she
enters.
STACEY
(Stacey looks concerned
and rushed, as if she ran
up the stairs to get
there faster.)
I'm so glad you called me.I talked
with the shift nurse really
quickly. They're going to finish
the MRI then come in to talk to
you.
BEN
(Earnestly)
Thank you so much for coming,
Stacey.
Ben hugs Stacey.
Stacey smiles appreciatively and they both sit down.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
25 -
Unusual Findings
33 INT. MRI ROOM
We see the results of the MRI on the screen. The scan shows
that Jenna is healing from her concussion and is deeply
asleep. The scans need to be accurate.
Dr. Walker and the radiologist looking at screen.
DR. WALKER
She's healing well, but it's just
weird how her scans look like she's
in REM sleep. She's wide awake but
her frontal lobe seems almost
catatonic, she's so calm.
RADIOLOGIST
(With a little laugh)
If only all of our patients were so
calm in the machine.
DR. WALKER
(Smiles uneasily)
No kidding.
Genres:
["Drama","Mystery"]
Ratings
Scene
26 -
Reassurance in the Waiting Room
34 INT. MRI WAITING ROOM
DR. WALKER
(Enters looking positive)
It's good news. She doesn't have
any signs of a brain bleed or
additional swelling.
SARAH
Thank God! Um, I wanted to talk to
you about something. Is it possible
that whatever caused Claire's
seizure is hereditary?
DR. WALKER
Why do you ask?
SARAH
(nervously)
Um, it's just that the seizures
looked so much alike. I'll never
forget that arched back and weird
smile. And her hands! It was like
seeing Claire all over again.
STACEY
(Impatiently)
What are you talking about? There's
no way. Claire had a stroke. This
was an accident.
DR. WALKER
She's right. Seizures can cause
severe muscle contractions. They
can look similar. It's not related.
BEN
(Holding Sarah closely)
Thank God.
DR. WALKER
We're going to keep her in the ICU
again to monitor her overnight. We
gave her something to keep her
relaxed and asleep. It's almost
2am. You should go home and get a
few hours of sleep while she's
sedated.
SARAH
Can't we stay here with her?
BEN
(Nodding affirmatively)
We'd really rather stay.
DR. WALKER
I'm on shift all night so I'll be
here with her. She's completely
safe here, and you can't stay in
the ICU anyway. Besides, I bet it
would make Alissa feel better to
see you. I'm sure she's worried.
STACEY
(Excited to help)
I can stay too. They'll let me stay
since I used to work here. I've got
friends in high places.
BEN
(Looks at Sarah with a
little nod.)
Ok, just a few hours, though. We'll
be back soon. Thank you both so
much.
Genres:
["Drama","Medical"]
Ratings
Scene
27 -
Whispers of Fear and Grief
35 INT. SARAH AND BEN'S ROOM - NIGHT
Sarah and Ben are facing each other, talking in bed.
SARAH
I'm so scared. I wish I knew how to
help her. My nerves are shot. I'm
so jumpy and worried. I think I
caused her seizure by startling her
so badly. I screamed and scared her
half to death.
BEN
I'm sure that's not true. It was
just bad timing. It's good you were
still in the room. What if she had
the seizure and she was alone?
SARAH
I can't even think about that.
BEN
What scared you so badly that you
screamed?
SARAH
I was afraid to tell you. It sounds
crazy. Do you promise not to say
anything to anyone?
BEN
Of course, babe. You can tell me
anything.
SARAH
I could have sworn I saw a dark
figure, like a woman, but not
right. It was like something evil,
right in front of me, just before
the seizure. It seemed so real.
BEN
(Hugging Sarah)
It's ok. You're under so much
stress. Something's bound to give.
Once we get Jenna back to normal,
maybe you should talk to someone.
SARAH
(Nodding yes)
I just wish my sister was here. It
just kills me that they never met,
and I wasn't here for her in the
end. Ben, Jenna has to be ok. I
can't do this again.
BEN
You won't have to. We're all going
to get her through this together.
You know there's nothing you could
have done for Claire. No one blames
you. For Pete's sake, you were
having a baby! And she wasn't
alone, Stacey was there for her.
SARAH
I know, I just miss her so much.
BEN
I know you do.
Ben kisses Sarah on the forehead. They close their eyes.
DISSOLVE TO:
BEGIN FLASHBACK:
Genres:
["Drama","Thriller","Family"]
Ratings
Scene
28 -
A Toast to 21
36 INT. BAR - NIGHT
Dream sequence is a series of short scenes of this memory,
like seeing it in a slow strobe light.
The bar is a small retro upscale lounge, complete with dim
lighting and fake candles on the tables. The sounds of indie
music blend with the clatter of craft cocktails being
prepared and conversations of the many patrons. The decor is
a blend of old-school dive and contemporary cool, a fusion of
nostalgia and trendiness.
Younger looking Sarah, Claire, and Stacey are sitting at a
table, a little tipsy, and having a great time. There is a
"21" balloon at the table. Sarah is not pregnant yet.
CLOSE UP
Three shots of tequila with lime and salt are set on the
table.
SARAH
(holding up a shot)
Happy birthday to my only sister! I
love you, Claire!
Stacy looks suddenly livid but quickly forces a big smile
after the toast.
All three girls put salt on their wrist, lick it off, take
the shots, then suck on a lime wedge. They all laugh and
exhale, as if the shot was very strong.
STACEY
I'll get the next round!
CLAIRE
Oh no, not me!
SARAH
Just one more. It's your birthday!
CLAIRE
Okay, just one, since Stacey's
buying.
CUT TO:
Genres:
["Drama","Family","Slice of Life"]
Ratings
Scene
29 -
A Night of Crisis
37 EXT. BAR - NIGHT
The front of the building merges gritty charm with eclectic
flair. The vintage neon sign, a relic from its past, now
glows ironically against the backdrop of exposed brick and
street art murals. Quirky string lights dangle above the
entrance, The doorway, framed with reclaimed wood, opens to
an interior where retro meets modern.
The three girls exit the bar, giggling. They get to the
parking lot, and suddenly Claire starts to have a seizure.
Claire has a seizure. Her back arks into an upside down U and
her face contorts into a weird, inhuman smile.
SARAH
(on her knees, trying to
help)
Call 911, she's not breathing!
POV OF SARAH
Claire is still not breathing.
Stacey, feverishly doing compressions, looks at the paramedic
as he rushes in to Sarah's field of view.
PARAMEDIC
(recognizing Stacey from
nursing)
How long?
STACEY
Almost 5 minutes.
PARAMEDIC
(Takes over the CPR from
Stacey)
What happened?
STACEY
Seizure with muscle spasms and
cardiac arrest.
(MORE)
STACEY (CONT'D)
It looks like tetanus she told me
she stepped on a nail a while back
but that was at least a couple
weeks ago.
CUT TO:
38 INT. AMBULANCE
Sarah is holding Claire's hand. She's breathing now, with the
assistance of the paramedic and a bag. The doors slam shut.
39 INT. HOSPITAL HALLWAY - DAY
A much younger Sarah and Ben are talking to a doctor. They
both look heart broken but also relieved.
DOCTOR
She's out of the coma and she's
awake... The brain damage from the
length of time she went without
oxygen...She's going to need to
stay here for treatment...
SMASH CUT TO:
Genres:
["Drama","Medical"]
Ratings
Scene
30 -
Awakening Distress
40 INT. BEN AND SARAH'S BEDROOM - MORNING
A cozy and well-appointed middle-class bedroom. The room
features a king-sized bed at its center, adorned with a plush
comforter and simple yet elegant matching headboard,
complementing the room's decor.
Beside the bed, matching nightstands hold table lamps and
small personal items.
A few pieces of art add character and personality to the
space. A window dressed with sheer curtains allowing natural
light to filter in.
Sarah wakes up with a jump and is breathing hard. Ben is
still asleep.
END FLASHBACK:
FADE TO:
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
31 -
Nightmare in the ICU
41 INT. HOSPITAL ICU DESK - NIGHT
A large, L-shaped workstation, equipped with multiple
computer monitors, keyboards, and phones.
The counter is cluttered with medical charts, patient files,
and administrative documents and coffee cups. Essential
medical supplies, like gloves, masks, and hand sanitizer, are
on a cart at the end of the desk.
Stacey and the night nurse are sitting at the desk chatting.
Dr. Walker walks up and leans on the desk, looking at the ICU
monitor that shows a front view of each room.
DR. WALKER
How's our patient doing this
evening?
NIGHT NURSE
Sleeping like a baby. She's been
stable since she arrived.
DR. WALKER
(looking at the video
monitor of Jenna's room
while talking)
That's great.
Dr. Walker looks at the monitor more closely, then looks up
into the window of Jenna's room. He quickly looks back down
and we see an image of a figure bending over Jenna. He looks
up again and no-one is in the room.
DR. WALKER (CONT'D)
What the fuck?
Dr. Walker runs to the room. The night nurse is confused and
checks Jenna's vitals remotely, then follows a few seconds
later.
NIGHT NURSE
(To Stacey)
Stay here
Dr. Walker opens the door and looks around. No one is there.
He hears a noise above him and looks up. The creature is on
the ceiling. It lets go with one hand, as if it's about to
launch onto Jenna and him. He slams his hand down on the code
blue emergency button. All of the lights come on, and a siren
goes off. "Code Blue, ICU, Code Blue, ICU" repeats through
the speakers. He looks back up and there's nothing there.
The night nurse runs in, along with an orderly.
NIGHT NURSE (CONT'D)
(Urgently)
What's going on?
The orderly checks Jenna and turns off the alarm. They all go
out into the hall.
ORDERLY
False Alarm. We're good for now.
The orderly leaves. Jenna remains asleep due to being
sedated.
CUT TO:
Genres:
["Thriller","Horror"]
Ratings
Scene
32 -
Unseen Intruder
42 INT. HOSPITAL ICU DESK - NIGHT
Dr. Walker quietly talks to the night nurse and Stacey.
DR. WALKER
(Frazzled and commanding)
Someone was in that room. Show me
the recording from the main camera.
Dr. Walker, Stacey and the Night Nurse are rewind the
footage. They are all leaning in, looking at the video.
DR. WALKER (CONT'D)
Stop, rewind in slow motion. There!
Who is that? Hand me my phone over
there, will ya?
We see an image of the silhouette of a very thin woman with
her hair down leaning over Jenna.
Dr. Walker takes a photo of the screen.
NIGHT NURSE
What on earth?
STACEY
Let's look at the hallway cameras a
few seconds beforehand.
The Night Nurse switches to the hallway camera and types in a
time stamp. There's no one in the hallway.
DR. WALKER
(Annoyed)
What the hell is going on here?
Where did she come from?
FADE TO:
Genres:
["Mystery","Thriller","Drama"]
Ratings
Scene
33 -
Facing Fear
43 EXT. HOSPITAL - MORNING
A car glides smoothly along a well-paved road, approaching a
large, modern hospital.
The building, with its expansive windows and prominent
entrance, stands among the spring blossoms.
The car's window frames a picturesque view. The hospital's
surroundings are well manicured and beautiful under the blue
sky.
The car slows as it nears the entrance, pulling into a spot
near the hospital's large circular entryway.
INSIDE THE CAR
Ben and Sarah look at each other and smile, reassuringly but
tightly. They are somber and scared that they're about to see
their daughter attached to machines and possibly next to
death.
ALISSA
(Hopping out of the car.)
Let's go, you guys!
Ben and Sarah put on a brave face for Alissa and try to seem
happy as they all walk up to the hospital door.
FADE TO:
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
34 -
A Morning of Relief and Family Bonding
44 INT. HOSPITAL ROOM - MORNING
Jenna is awake and eating from a tray of hospital food. She
looks normal...,with pink in her cheeks, even a little perky.
Alissa is the first in the door. Ben and Sarah come in right
after her.
JENNA
(In a chipper tone of
voice)
Hi!
Sarah and Ben's concerned looks turn into relief, followed by
surprised big smiles. Alissa runs to Jenna's side and they do
their secret hand shake. Sarah rushes to Jenna's bedside and
hugs her while Ben stands to the side appreciating them.
Dr. Walker walks in, smiles, and goes to the sink to wash his
hands. He faces the family and looks tired.
DR. WALKER
I'm glad you're all here. It looks
like Jenna didn't have an acute
seizure at all. She had what's
called a Vasovagal syncope. It's
usually harmless and doesn't
require treatment. It can cause
seizure like movements that are
extremely frightening, but it's not
an actual seizure. It's a sudden
lowering of blood pressure that
leads to reduced blood flow to your
brain, so you briefly lose
consciousness. It's actually very
common, even without a head injury.
SARAH
(Looks at Ben, knowingly)
Oh my God, I'm so sorry honey. I
was just so tired and edgy that I
startled over nothing, and I caused
you to have this... vaso thing.
BEN
(Rubbing Sarah's shoulder
lightly)
It's not anyone's fault. We're just
so glad that you're ok.
JENNA
He's right, mom. It's not anybody's
fault, and I'm fine.
DR. WALKER
You'll be able to go home as soon
as we get your paperwork done. It
won't take long. You can even go
back to school tomorrow.
JENNA
YES!
Jenna and Alissa high five.
DR. WALKER
But no softball or sports. You're
grounded for the rest of the
season.
JENNA
Oookay, I get it.
DR. WALKER
You, young lady, were an
exceptional patient. I wish
everyone was so easy. She was
completely calm in the MRI. You
would have thought she was asleep,
by her scans.
SARAH
That's great, honey. I told you it
would be fine.
JENNA
I did what you said and imagined
Auntie Claire was with me.
(MORE)
JENNA (CONT'D)
It was like she was right there in
the room. I wasn't scared at all.
CUT TO:
45 INT. CAR - DAY
We see Jenna's reflection in the car window, it looks normal.
She relaxes and takes a deep breath as they roll up to the
stop sign.
A ball loudly hits the window, scaring everyone. The
neighborhood boys run by and wave. The family realizes how on
edge they've been and laugh a little.
BEN
Okay, we're all a little tightly-
wound! We need to relax tonight.
Family movie night! Jenna gets to
pick!
Everyone is excited.
FADE TO:
Genres:
["Drama","Family"]
Ratings
Scene
35 -
A Morning of Reflection
46 INT. DR. WALKER'S OFFICE - MORNING
The office is small yet well-organized, with two large
windows affording a view of the manicured hospital lawn. The
walls are adorned with framed medical certifications, awards,
and family photos. A large wooden desk sits prominently in
the room, somewhat cluttered with medical journals, a large
monitor, and paperwork.
Dr. Walker sits behind the desk in a white coat that covers
his blue scrubs.
He is watching a recorded YouTube seminar. Across the bottom
of the screen reads Dr. Michael Harris.
CUT TO: MONITOR
DR. HARRIS
(on the screen)
The body on the right, known as the
physiological body is in the space-
time realm. Its twin is in a
different time-space realm. In
dreams, the second body may appear
to us like our physiological body
does in waking consciousness.
CUT TO: DR.
WALKER'S OFFICE
Dr. Walker dials the phone.
DR. WALKER
Hey Mike, It's Gary.
FADE TO:
Genres:
["Drama","Mystery"]
Ratings
Scene
36 -
A Pint and a Phantom
47 INT. PUB STYLE BAR - LATE AFTERNOON
The walls are adorned with historical photographs and vintage
British advertisements creating a casual environment
comfortable for Doctors and students alike. The floor,
booths, chairs and tables scattered throughout are all
seemingly of the same age darkened wood and create a relaxed
environment.
A large, polished wooden bar with glass and brass fittings
dominates one side of the pub, showcasing an array of taps
and liquors.
A warm stone fireplace, adds to the cozy ambiance, a
quintessentially British setting transported to the Unite
States.
Dr. Walker is seated at a booth. He's wearing jeans and a
button up shirt with a sweater over the top. In front of him
is a full pint of lager.
CUT TO:
INTERIOR OF PUB DOOR AS DR. HARRIS WALKS IN.
Dr. Harris is in his mid 70s and a little shorter than Dr.
Walker. He looks a little more scholarly and bright eyed with
a spirited personality, despite his age. He's wearing dark
jeans, nice shoes, and a pullover.
Dr. Walker stands up and the two men embrace with a masculine
handshake/hug/pat on the back.
DR. HARRIS
Gary! What's it been, like 3
years...at that radiology seminar?
DR. WALKER
Yeah, I think that's about right.
You look great, Prof. Have a seat.
Let's get you a drink.
Dr. Walker waves down a waitress, dressed in all black with a
black apron. She's looks a little older than Dr. Harris and
has probably worked at the pub for 20 years.
PUB WAITRESS
What can I getcha?
DR. HARRIS
How about a whiskey sour. Can you
do a Boston?
PUB WAITRESS
(A little smile/smirk
comes to her lip)
(MORE)
PUB WAITRESS (CONT'D)
I sure can. One Boston sour coming
up.
The waitress leaves.
DR. WALKER
(gesturing at the drinks)
We are creatures of habit, aren't
we?
DR. HARRIS
We sure are. So, what's up? Is
everything ok with you? Not that I
mind a social call.
DR. WALKER
Oh, I'm fine. You know me, still a
workaholic and loving it. I
actually wanted to get your opinion
on a patient.
DR. HARRIS
Okay. Shoot.
DR. WALKER
(Leaning in)
I've got this young patient that
had a head injury a couple of weeks
back. She's showing signs of post
concussion syndrome, but all of her
tests are coming back normal.
DR. HARRIS
Was there anything at all unusual,
maybe unrelated to the injury?
DR. WALKERHer scans are more than
good...She was awake but looked like
she was asleep or meditating. I kept
her in the ICU over night and, Mike..
I gotta tell you...I can't believe I'm
saying this...
(Leaning in further and
almost whispering)
I saw something I can't explain in
her room.
DR. HARRIS
(Leaning in also and
speaking in a hushed
tone)
Okay, what did you see?
The Boston sour is set on the table with a THUD. Both men sit
up, a little startled, like their bubble just popped.
CUT TO:
The drink looks perfectly frothy, with a little design made
from bitters on top, and a fancy cherry.
PUB WAITRESS
(with a bit of a flourish
and a smile)
One Boston Sour...
The waitress waits for him to try it.
PUB WAITRESS (CONT'D)
well?
Dr. Harris takes a sip. He looks at it appreciatively.
DR. HARRIS
Daaamn! That's as good as it gets.
The pub waitress smiles knowingly and leaves. They both pick
up their drinks, make a silent toast, and take a sip before
leaning in again.
DR. WALKER
(Speaking quietly)
Okay, here we go... I saw someone
in her room, on the monitor, but
when I looked toward the room, no
one was there. The whole front of
the room is a window. I should have
seen something. I ran right over
and nothing was in there.
DR. HARRIS
What do you think it was?
DR. WALKER
Wait, it gets weirder... when I
looked up there was this thing...
on the ceiling, almost like the
shadow of a woman.
Dr. Harris sits up a little and a wide grin spreads across
his face.
DR. HARRIS
(Raising an eyebrow)
So, you're telling me you're a
little less skeptical of my work
these days?
DR. WALKER
I never SAID I was skeptical. It
just seemed more like theoretical
or quantum medicine. You know,
Schrodinger's cat stuff.
DR. HARRIS
(Still amused but paying
attention)
Alright, fair enough. Tell me
everything.
FADE TO:
The beer is just about empty and the Boston sour is empty on
the table.DR. HARRIS
(A little excitedly)
Do you think they'd be willing to
do a consultation with me?
DR. WALKER
I'll certainly ask.
DR. HARRIS
I can tell you that, if this is
what I think it is, it's going to
get worse before it gets better.
DR. WALKER
(Sarcastically)
Great. What do you think it is?
DR. HARRIS
Why don't you have them give you
permission for a specialist to
check her MRI and send me her test
results. Then I'll tell you what I
think it is.
DR. WALKER
That's no problem, but what do you
think I saw? What was that thing in
her room.
DR. HARRIS
Well, there ARE a ton of scientific
studies on reports of mists, both
with near death experiences and
deathbed witnesses. It's certainly
possible that they could be a
physical manifestation of the life
force. If you're asking for my
clinical opinion, I think you saw a
ghost.
Dr. Walker smirks at Dr. Harris. He finishes the last gulp of
beer and puts the glass on the table.
CUT TO:
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
37 -
A Frightening Reflection
48 INT. PHILLIPS'S HOUSE DINING ROOM - EVENING
The Phillip's dining room is a classic space with white
wainscotting and chair rail underneath neutrally painted
walls. A large set of three paintings of flowers hangs over
an antique buffet that matches the long dining room table.
The family is finishing up dinner. They are laughing. Sarah
walks into the kitchen a few feet away and starts to clean
up. Jenna gets up to help, too. As she takes the dishes into
the kitchen, we see her reflection in the window momentarily.
It's obscured by the cabinet door as she opens it. When she
closes the cabinet she sees the dark scary figure instead of
her reflection.
Jenna screams
Sarah whirls around and sees it too. Jenna seems almost stuck
in place. She grabs Jenna away from the window.
Everyone runs into the living room.
CUT TO:
Genres:
["Horror","Family Drama"]
Ratings
Scene
38 -
Night of Fear
49 INT. LIVING ROOM - NIGHT
The Phillip's living room is contemporary but homey with
shades of beige, gray, and white, accented by pops of black,
and soft pillows. Family photos hang on the walls.
In the center of the room, a plush, L-shaped sectional sofa
faces a fireplace with a large flat-screen TV mounted above
it. A soft area rug anchors the seating area, adding warmth
to the hardwood flooring. Nearby, a stylish floor lamp
provides warm lighting.
JENNA
(breathing heavily) There's
someone... or something... outside!
Mom, what was that?
BEN
What the hell happened? What did
you see?
SARAH
I don't know! It looked un- unhuman
(In a hushed tone)
Ben, it was the same thing I saw
before, when Jenna had the seizure.
BEN
Grab me the flashlight in the
kitchen drawer. I'm going to make
sure there's no one outside...and
Sarah, lock all the doors.
CUT TO:
Genres:
["Thriller","Mystery","Horror"]
Ratings
Scene
39 -
Reflections of Fear
50 INT. ENTRY WAY - NIGHT
Jenna looks in the entryway mirror as Ben goes outside to
look around. She sees herself but with an unnatural and evil
looking smile. Her mirror self beckons to her with its hand.
It seems to transfix her. She becomes almost catatonic and
quietly goes upstairs, humming "You Are My Sunshine" while
the family tries to figure out if someone is outside.
ALISSA
(Talking to Sarah)
What do you mean, not human? Like a
dog?
(Sarcastically)
Or a demon? Or what?
SARAH
More like someone in a mask, but
more realistic.
Ben comes back in.
BEN
(Putting away flashlight)
I didn't see anything.
SARAH
Do you think we should call the
police?
There's a loud knock at the door that scares everyone. Ben
opens it. It's Stacey.
BEN
(Accusingly)
Were you just looking in the
kitchen window?
STACEY
(A little defensively)
No, why? And why is the door
locked? You never lock it. I told
you I should have a damn key!
BEN
(calming down)
It's nothing. Sorry. Jenna and
Sarah thought they saw something
outside and we're all a little
freaked out.
CUT TO:
Genres:
["Thriller","Mystery","Family Drama"]
Ratings
Scene
40 -
Reflections of Terror
51 INT. JENNA PHILLIP'S BATHROOM - NIGHT
The traditional bathroom with travertine tiles and a white
cabinet, shared by the two sisters, has been treated to a
girly makeover, complete with a small chandelier over the
bath tub and rhinestone holders for the sisters toiletries
and cosmetics. Each girl has a towel with their name
embroidered on it hanging on the towel rack.
Jenna stands still in her bathroom, blankly looking into the
mirror. The person on the other side of the mirror is not
her. It's a frightening dark figure of a woman, reaching out
to Jenna.
SMASH CUT TO:
Looking out from inside of the mirror we see a catatonic
Jenna, slowly reaching towards the hand. As they touch
mirror explodes loudly.
The shards of glass burst around Jenna, not at her, as if in
slow motion.
CUT TO:
Genres:
["Horror","Psychological Thriller"]
Ratings
Scene
41 -
The Haunting Mist
52 INT. LIVING ROOM - NIGHT
A very loud crash is heard upstairs. They all run up the
stairs to the bathroom shared by the sisters. Jenna is
standing oddly still looking at the mirror frame. The mirror
is broken and there's a black mist between Jenna and the
mirror. The mist dissipates when Jenna startles.
Ben runs in to get Jenna.
BEN
(Shocked)
Jenna! Are you Okay? What happened
to the mirror?
JENNA
I - I don't know.
BEN
(to Sarah)
What in the hell was that?
SARAH
I don't know, but it looked like it
was going to do something to Jenna!
What do we do?
Ben picks Jenna up. She's a little disoriented, but awake.
They all run back downstairs.
CUT TO:
Genres:
["Horror","Family Drama"]
Ratings
Scene
42 -
Reflections of Concern
53 INT. LIVING ROOM - NIGHT
BEN
(Speaking to Jenna)
Are you sure you're ok? Did you get
cut?
JENNA
I'm fine. It didn't cut me at all.
BEN
(Speaking slowly and
kindly)
Think really hard? You were in the
entry way, then what happened? What
do you remember, honey?
JENNA
(Contemplatively)
I was looking in the mirror and I
thought I should go upstairs to
rest. I went to get a glass of
water first and I saw something in
my bathroom mirror. But, like it
was inside the mirror, not
reflected in it.
CUT TO:
Genres:
["Horror","Mystery","Family Drama"]
Ratings
Scene
43 -
Seeking Help in the Dark
54 INT. LIVING ROOM - NIGHT
JENNA
I wasn't scared though. I think it
was a woman or a girl. She was all
covered in black and she reached
out to me. I was reaching for her
when the mirror exploded.
BEN
That's it, I'm calling the police.
SARAH
Ben, you can't. What are we
supposed to tell them? A black mist
is after our daughter? They'll have
us all committed.
BEN
(Getting himself under
control again)
You're right. Shit! Um, let's call
Gary. He's family. He won't think
we're crazy. Even if he does, he'll
still try to help.
CUT TO:
55 DR. WALKER'S HOME OFFICE
The home office, a mid-century modern man cave, has been
decorated authentically and carefully, in rich wood tones.
At the center of the room is a wooden desk with tapered legs.
On the desk, a vintage desk lamp with a brass finish lights
an array of medical journals, a laptop, and an old fashioned
name plate.
Behind the desk, a geometric shelving unit displays an mix of
medical books, decorative period objects, and framed family
pictures.
To one side, a tufted low-profile sofa and a pair of iconic
armchairs sit around coffee table with a scotch service and
six glasses on a tray in the middle.
Dr. Walker is on the phone
DR. WALKER
(Listening and looking
concerned but not as
shocked as one would
expect.)
Well, I have heard of something
like this before. I have a highly
respected colleague that studies
things like this. He's close by and
may be able to help.
(MORE)
DR. WALKER (CONT'D)
I actually already consulted with
him on Jenna's case, so I know he'd
be willing to help.
CUT TO: LIVING
ROOM
BEN
Okay, well that's good news. Who is
he?
CUT TO: DR.
WALKER'S HOME
OFFICE
DR. WALKER
He's a friend from college. He
specializes in the psychiatry of
altered states of consciousness.
His name is Michael Harris. You can
look up his work on YouTube.
CUT TO: LIVING
ROOM
BEN
(nodding and agreeing
with Dr. Walker while
writing down the
information about Dr.
Harris)
Do you think he might be able to
come here? I know no one does house
calls anymore but I don't think the
hospital is the right place... Ok,
call us as soon as you find out.
(Meaningfully)
Thank you.
SARAH
(Frantically)
What did he say? We need help now!
Ben hangs up the phone. Takes a breath and walks over to calm
Sarah down and hold her hand.
BEN
(calming down)
It's ok, babe. Gary's calling a
colleague to see if he'll come
over. A Dr. Michael Harris. He said
he's on YouTube?
Alissa grabs her tablet and looks up Dr. Harris.
SARAH
(Also surprised)
Oh thank God! What should we do
now...while we wait?
STACEY
(standing up from her
seat on a chair)
Maybe we all just need to calm
down. I'll go make some tea while
we're waiting.
ALISSA
(Looks up from the
tablet, nervously)
I don't think that's a good idea.
Let's all stay together.
SARAH
(Realizing that she's
scaring Alissa and likely
overreacting.)
No, she's right, honey. We're all
jumpy, and some herbal tea would
probably do us all some good.
Ben's cell phone rings. He looks at it confusingly because
it's only been a minute. It's an unknown number. He answers
it.
BEN
Yes, this is him.
(Ben nods affirmatively)
Thank you for calling so quickly...
You have the address?... Great.
We'll see you both soon.
Everyone looks at Ben.
BEN (CONT'D)
That was fast! Dr. Harris will be
here soon.
ALISSA
(showing everyone the
tablet)
Guys, check this out. Dr. Harris
is, like, famous. She starts to
play part of a video.
CUT TO:
A video of a lecture of Dr. Harris starts to play.
DR. HARRIS
(from the video)
To quote Theodore Zahn, et al.
(MORE)
DR. HARRIS (CONT'D)
An important neurological question
is the relationship between
dissociative processes and temporal
lobe epilepsy. Can individuals with
temporal lobe epilepsy show
dissociative symptoms?...
STACEY
(wide-eyed and confused)
Ooo-kay then! That's some dry
material. I'll go make the tea.
JENNA
I'll go with you.
56 INT. KITCHEN - NIGHT
Stacey and Jenna walk into the kitchen. Jenna glances at the
window and Stacey pulls the curtain closed and smiles at her.
Jenna smiles back. Stacey starts getting tea out of the
cupboard while Jenna starts getting mugs. There are three
mugs on the counter and she's grabbing two more, in one hand.
Jenna starts to blink and look faint. She closes the cupboard
and the face of the dark female figure is looking right at
her, from the reflection in the cupboard glass. She drops the
mugs and they shatter.
Stacey spins around.
STACEY
(rushing to her)
Are you ok. What happened?
Ben, Sarah, and Alissa run in. A chorus of, "What's going on?
What happened?" erupts?
Jenna has her hand on her forehead.
JENNA
(Looking flushed, tachy)
I-I-I don't remember. I think I
almost fainted.
SARAH
You need to lay down. You're just
not healed yet, and this is too
much stress. Come on, you can lay
down our room; that way you'll be
so you'll be close by.JENNA
(suddenly oddly tired)
That's a good idea.
They leave the room.
57 INT. BEN AND SARAH'S BEDROOM - MOMENTS LATER
Jenna is in the bed, on her side, falling asleep. Sarah rubs
her hair while humming "You Are My Sunshine". Sarah leaves
the room and makes sure the door is a bit open. On her way
back to the living room she stops and opens the door to
another room.
FADE TO:
BEGIN FLASHBACK:
Genres:
["Thriller","Horror","Family Drama"]
Ratings
Scene
45 -
Bittersweet Homecoming
58 INT. CLAIRE'S ROOM - DAY - 14 YEARS AGO
Claire's room, a combination of a guest room and hospital
room, is comfortable but has a hospital bed, counter and
shelves that look far more medical than decorative. There are
family photos on the dresser and a few knickknacks of
Claire's childhood, like an old bunny, a homecoming princess
sash, and a crown.
In her early 20s, Claire is cute and petite. She looks happy,
despite being in a wheelchair. Her arms are weak but she can
use them to adjusts the blanket over her legs awkwardly.
Ben and Sarah are both in their mid 20s. Ben is holding one-
year-old Alissa while a nurse aide pushes the wheel chair.
Claire is being wheeled into her new room.
SARAH
(Excitedly)
Welcome home! Do you like it? We
have everything you need, and Ben
and I are right next door.
CLAIRE
(Like a little girl)
It's so pretty! You remembered my
pictures and my bunny. I love it.
Sis, It's just like we said, when
we were kids. We can live together
forever.
Sarah smiles painfully and looks a little teary.
SARAH
It sure is.
END FLASHBACK:
Sarah hears the doorbell ring, and it takes her from her
memory. She sighs sadly and closes the door.
Genres:
["Horror","Family Drama"]
Ratings
Scene
46 -
Confronting the Unknown
59 INT. FAMILY ENTRY WAY – NIGHT
Sarah, walking up to Ben as he opens the door.
Ben finds Dr. Walker and Ben at the door together, having
arrived at the same time.
BEN
Gary, thank you so much for coming.
You must be Dr. Harris. I'm Ben and
this is my wife, Sarah.
DR. HARRIS
It's great to meet you. I wish the
circumstances were better.
They all shake hands. Sarah gestures toward the living room.
60 INT. LIVING ROOM - NIGHT
SARAH
(Motioning for Dr. Harris
to have a seat.)
Please have a seat. Let me
introduce you. This is my daughter,
Alissa, and my friend, Stacey.
Stacey looks a bit annoyed.
STACEY
I'm basically family.
SARAH
Can I get you anything, Dr. Harris?
DR. HARRIS
(Taking a seat)
No, thank you, I'm fine. Why don't
you tell me what's been going on.
Ben leans in and starts at the beginning.
BEN
It started when Jenna was hit with
a bat at the softball game last
week.
(MORE)
BEN (CONT'D)
She had a concussion, but nothing
else. We got really lucky, But..
SARAH
But then she started acting off and
when I saw something in her room
and screamed I scared her so badly
that she had this fainting thing
that looked like a seizure.
DR. HARRIS
Wait, back up, what do you mean,
you saw something in her room?
SARAH
(Nervously)
Well, I saw it first, but
everyone's seen it now, except Ben.
It's like the figure of a woman in
black, or more like covered with
black. It looks...evil! Then there
was this mist that seemed like it
was coming for her, when the mirror
broke. Ben saw that. He saw the
mist too.
DR. HARRIS
(Nodding)
And you all saw this?
(He looks around)
Everyone nods affirmatively.
DR. HARRIS (CONT'D)
Ok, I have an idea of what's going
on here, but you're going to have
to have an open mind.
(MORE)
DR. HARRIS (CONT'D)
(Everyone nods in
affirmation.)
There's a study by Dr. Christian
Hallman about the dreaming state of
consciousness.
He takes a beat and looks around to see if they're all with
him. We see everyone leaning in and interested.
DR. HARRIS (CONT'D)
Most people have been conditioned
at an early age to forget their
dreams. When young children wake up
after dreams, they're usually told
to go back to sleep. Children learn
to forget or not talk about their
dreams. However, some people have
dreams they aren't able to forget.
Precognitive dreams are a good
example.
SARAH
(Looking confused)
So, what are you saying? That she
has night terrors, or she's
psychic, or something?
DR. HARRIS
No, this may be difficult to wrap
your head around, but I believe
that Jenna's consciousness has
split into two separate beings. One
made of matter, and one made of
anti-matter.
BEN
I don't understand, what does that
mean?
Dr. Harris pulls out his laptop and opens a graphic on the
computer.
DR. HARRIS
(Gesturing at the screen)
Ok, this shows us that there are
twin complementary bodies. Look at
this diagram the cube on the right
represents the realm of the waking,
and the cube on the left is the
realm of dreaming. The body on the
right, known as the physiological
body is in the space-time realm.
Its twin is in a different time-
space realm.
BEN
(Impatiently)
No offense, but this sounds like
some sort of witchy crystals crap.
SARAH
(Surprised at Ben's
rudeness)
Ben! Wait, let him talk. I know I
saw something. WE all saw it! It's
not crap.
BEN
(sighs)
Fine. Sorry. Go ahead.
DR. HARRIS
I know this sounds fantastical, but
this IS real science. According to
The Mirror Principle, the
properties of the physical body are
positively charged and the dream
body are negatively charged, like
matter and antimatter.
Ben is squinting; you can tell he's trying to make sense of
it.
BEN
(Irritated)
Are you trying to tell me this
thing is my daughter's evil twin?
She's one of the sweetest girls
you'll ever meet. She doesn't have
an evil bone in her body, or anti-
body, for that matter!
DR. WALKER
Ben, you minored in Psychology,
right? Remember Carl Jung's
theories on how everyone has two
sides to their nature? This stuff
shows up in science, philosophy,
religion, everywhere...
BEN
(sighs)
Yeah, I do, and you're right about
that.
Sarah takes a deep, calming breath.
SARAH
(Nicely)
Let's calm down. Getting
frustrated isn't doing any good.
(to Dr. Harris)
You called it The Mirror Principle.
Is it possible that there is some
literal truth to that name?
DR. HARRIS
Possibly, I guess, but I don't
think the theory is meant to be
that literal. It's more like the
proverbial devil on her shoulder,
not a literal evil twin or mirror
reflection of one. But, if the two
halves are able to split, the
negative side is likely to be
dangerous and hostile.
SARAH
But how could they split? What
would cause that?
DR. HARRIS
I work with a lot of mediums and
study their brain scans and
experiences. They sometimes mirror
those of people who had a traumatic
head injury. It's possible that
Jenna's head injury has somehow
caused a split.
ALISSA
Mediums? Like that TV guy that
talks to dead people that
celebrities knew?
DR. HARRIS
(smiling)
Exactly. I've even worked with him.
ALISSA
(Impressed and excited)
Really? That's so cool!
DR. HARRIS
(Smiling a bit more)
I think that in both cases, the
physical differences in the brain
are what's important.
Earlier today, Gary sent me Jenna's
MRI. When I saw it, I immediately
noticed that her brain scan looked
more like a medium than a young
girl. Her brain activity was
similar to someone in a trance, not
a waking teenager.
ALISSA
(in a disbelieving
teenage tone)
My sister's a medium now?
Seriously?
DR. HARRIS
(Calmly)
Not permanently, but I believe
she's having an acute dissociative
episode. It's what used to be
called multiple personality
syndrome. I think that she's being
used by another entity, trying to
get through, and it's succeeding.
(MORE)
DR. HARRIS (CONT'D)
It will want more and more time in
the physical world until it gets
whatever it wants.
SARAH
I just can't believe this. I know
you're a really well respected
doctor but this is just crazy. I'm
supposed to believe that what's
happening to Jenna is either a
complete psychotic break that we
can somehow see or that she's
possessed? Neither option makes any
sense. We need time to figure this
out.
DR. HARRIS
You just said it your self. You DID
see it so you know this is real.
There is no time.
If this entity uses her mind too
long, it could cause permanent
damage. We need to stop this, right
now.
A sort of "intervention" is our
best shot. Finding out the entity's
name is crucial, as well as its
reasons for being here. We have to
do what ever is needed to get it to
talk.
SARAH
You're describing an exorcism, not
an intervention!
DR. HARRIS
(In a calm but firm
clinical voice)
Sarah, psychiatry has long been
intertwined with belief systems.
Exorcism is the most ancient
treatment for dissociative
disorders. The Christians and
Catholics call it an exorcism,
Rabbinic exorcism to the Jews..
There's the Navajo Way, Vodun, and
others. No matter what you call it,
the world agrees that it is real
SARAH
(Defeated)
How do we know what to do?
DR. HARRIS
We'll have to play it by ear. We
won't know until we find out who
the entity is, if it's part of her
or an intruder, and there's only
one way to do that.
SARAH
How?
DR. HARRIS
Are you willing to draw them out?
Before we start, I have to be
honest with you. It WILL be
difficult. But you have to be
strong. Once we start, we have no
choice but to finish.
BEN
It doesn't sound like we have any
other options, do we? What do we
do, exactly?
DR. HARRIS
I need you ALL to help confront
Jenna so the creature will show
it's self.
Can you think of anyone that was
close to Jenna that might have a
reason to communicate through her?
A grandparent, friend, anyone?
SARAH
Just my sister, Claire. She died
here, 14 years ago.
STACEY
But she never even met Jenna. She
died the day Jenna was born. Gary,
you delivered her at the hospital.
DR. HARRIS
(Raising his eyebrow)
The same day? Really, possibly some
sort of transference. That's
interesting.
STACEY
(Defensively)
Why is it interesting? They never
even met.
DR. HARRIS
They're both related to you mother.
STACEY
So what?
DR. HARRIS
I don't have time to explain spooky
attraction and Dr. Way's theory of
microchimeric cells to you right
now. Just trust me, it's really
science.
We need to get started.
I'm going to hypnotize Jenna so the
other side will be free to come
out. One thing is clear, when
Jenna's asleep, this thing has
power over her.
(looking at everyone
intently)
It's important to
remember that the other
personality may be
nothing like Jenna. Often
times, the other
personality is angry...
and possibly dangerous.)
ALISSA
No way! I am not going to be part
of this! There is no way I'm going
to tie up my sister while you
hypnotize her and do God-knows-what
to her.
DR. HARRIS
Alissa...
SARAH
Honey, Jenna needs you. She needs
all of us. If we want to get
through to her, she needs the help
of her whole family, and especially
her big sister.
BEN
Your mom's right. We have to do
this as a family, and we don't have
any other choice. The hospital
can't help us. They'll just put her
in a psych ward. The police can't
help; they'll put all of us in a
psych ward. We have to try to help
her ourselves.
ALISSA
(In tears)
Ok, I'll try.
DR. HARRIS
I have to remind you that once we
start, we have to finish the
process. We could cause her to get
worse if we just stop. She could
end up with permanent psychosis, or
catatonic.
A huge crash is heard in Ben and Sarah's room. They run to
the doorway of the room.
Genres:
["Thriller","Mystery","Supernatural"]
Ratings
Scene
47 -
Confronting the Darkness
61 INT. BEN AND SARAH'S ROOM - NIGHT
The room is unnaturally dark, the bedside lamp is still on
but muted, like looking through a black fog. Staring to where
the mirror had been, Jenna sits on the bed catatonically.
Shards of glass surround her from the broken mirror, that was
previously over the dresser.
JENNA
Please go away.
No one moves.
JENNA (CONT'D)
(demonic voice)
Leave. Get out! All of you!
Sarah starts to step forward to talk to Jenna, but Jenna
lunges menacingly toward the door. Sarah screams and slams
the door. Sarah and Dr. Walker hold it shut while Jenna tries
desperately to open it from inside.
We hear desperate scratching.
DR. HARRIS
We need to make a plan, and
quickly. We can't leave her
unattended for long.
They are all a little breathless and scared. Sarah is nearly
hyperventilating. Everyone talks in hushed tones.
SARAH
Why is this happening? I don't
understand! Can't we do something
or give her something!
62 INT. BEN AND SARAH'S ROOM - NIGHT
Ben slowly opens the door. Jenna is standing there, about 5
feet away, looking very docile but evil and creepy. One hand
is behind her back.
JENNA
(unusually childlike)
Please, don't let them hurt me. I'm
your little girl. I promise I'll be
good. Don't you love me anymore?
BEN
Sweetheart, we do love you, so
much, but this isn't you. We need
to get you some help. Look,
everyone is here to help you
because we all love you so much.
Jenna looks up slowly at each person and she suddenly lunges
forward, near Stacey, with a piece of broken mirror, she's
using as a weapon. She is hissing.
The three men wrestle the mirror shard away from her. In the
scuffle, Stacey gets cut on her arm. The men and Sarah get a
hold of Jenna and drag her, kicking and screaming, to the
hallway. Once out of the room, Jenna suddenly slumps down
calmly.
BEN (CONT'D)
(Struggling)
We'll take her to Claire's room.
That's the safest place. We still
have a hospital bed in there.
63 INT. CLAIRE'S ROOM - NIGHT
The men lift Jenna into the room and onto the bed. The side
rails of the bed are pulled up by Alissa and Sarah.
DR. HARRIS
(out of breath)
Could I get a cup of water?
Ben gets a cup from the cupboard and fills it with water.
BEN
Is that for Holy Water? Are you
going to bless it?
DR. HARRIS
(Looking at Ben oddly)
No, I'm going to drink it. I'm a
doctor, not a priest.
Dr. Harris takes a sip of water, puts the glass down, and
turns away to face Jenna. He motions for Dr. Walker to stand
on the other side of Jenna.
DR. HARRIS (CONT'D)
Let's have everyone move back.
We're going to start immediately.
Everyone else moves back.
DR. HARRIS (CONT'D)
(Talking very calmly)
Jenna, I'm Dr. Harris. I'm here to
help you feel better. Dr. Walker is
here with me too.
Jenna's back begins to bend in a U shape as her hands flex
into claws.
DR. HARRIS (CONT'D)
We're going to find out what's
going on; don't worry. Everyone who
loves you the most is here for you.
Dr. Harris stands in front of Jenna. He pulls a small leather
bound notebook from his pocket and starts to read from it.
DR. HARRIS (CONT'D)
Allow your eyes to close. Relax
now, and as you lie there imagine a
warm dimly lit place...
Jenna starts to writhe moving unnaturally, almost in a
seizure like manner, her face turning to an evil smile.
SARAH
(Frantically)
She's going to hurt herself! Can't
you give her something to calm her
down first?
Jenna is still struggling but she calms down when Dr. Harris
stops talking hypnotically.
DR. HARRIS
I don't see any reason why a mild
sedative would be counterindicated.
Dr. Walker, can you get me 1.5 Mg
of Midazolam from my bag?
Dr. Walker quickly finds the medicine and gives it to Dr.
Harris. He immediately gives her the shot. She doesn't seem
to notice.
DR. HARRIS (CONT'D)
Let's see if this helps.
Jenna gets a little less agitated.
DR. HARRIS (CONT'D)
You're in a warm and comfortable
place. You feel safe.
Imagine there is a tiny point of
light... and imagine that this tiny
point is moving down and away...
guiding you down, down, down.
(MORE)
DR. HARRIS (CONT'D)
You feel yourself safely following
the tiny point of light.
Jenna stops struggling.
DR. HARRIS (CONT'D)
Your eyes are getting heavy. You
can feel the weight of your arms
and legs. Your whole body is
getting heavy and tired. You are
relaxing deeper and deeper now...
I'm going to count backwards from
three. On one, you will open your
eyes, very be relaxed.
Jenna is totally calm now.
DR. HARRIS (CONT'D)
Three, two, one.
Jenna's eyes pop wide open. She looks catatonic. Everyone
jumps a little.
DR. HARRIS (CONT'D)
It's ok, this is normal. She's
doing great. I'm going to continue.
Dr. Harris steps a little closer to Jenna. He looks around
for approval. Everyone nods or mumbles approval.
As Dr. Harris keeps reading, the lights start to flicker and
increase in speed.
DR. HARRIS (CONT'D)
You are now traveling backwards in
time – getting younger and younger,
well before your head injury.
(MORE)
DR. HARRIS (CONT'D)
When I touch your forehead and you
will answer my questions about that
time.
Dr. Harris reaches out slowly and touches Jenna's forehead.
As the lights go out, we hear glass break. Alissa screams and
fumbles, running her hands along the wall. She finds the
switch and flips it twice. The lights come back on.
Jenna rises straight up, as if pulled up from her waiste. She
drops to her knees on the table, sitting stiffly and
catatonic on the bed. The mirror over the sink is broken.
Everyone is very quiet. They start looking around, fearing
that something, or someone, may be in the room with them.
Black hands shoot out from under the bed and grab Stacey's
ankles. Stacey falls backwards as she's being pulled under
the bed.Ben grabs Stacey under her arms and is trying to pull
her out from under the bed. She is hysterical.
The lights start flickering again.
Jenna starts to slowly turn around but her legs do not.
Ben and Stacey are struggling hard and losing ground.
SARAH
(grabbing Jenna's face)
Wake up Jenna! God damnit, Jenna,
wake up!
Sarah grabs the glass of water on the counter and throws it
on Jenna. It wakes her. The doctors jump in to hold onto
Jenna.
Alissa is cowering in a corner.
Jenna un-bends and goes back to laying in her catatonic
state, with her eyes open. She is breathing heavily, almost
panting.
At the same time, Ben and Stacey come flying out from under
the bed due to the force that Ben was pulling with. They both
hit the cabinets hard.Ben and Stacey are on the ground,
shuffling to get up.
Everyone is yelling.
Once they get Stacey up and help her calm down, everyone
backs up slowly, moving farther away from the bed. Stacey is
visibly shaken.
SARAH (CONT'D)
It's the reflections! That's how it
gets out. The Mirror theory IS
literal.
STACEY
Where do you think it went?
DR. HARRIS
Back into Jenna? I don't know, but
we need to keep going. The only
mirror in the room is broken, so we
may have some time.
Dr. Harris lightly touches Jenna's head. Her breathing calms
instantly.
DR. HARRIS (CONT'D)
(Removing his hand)
Jenna, where are you?
JENNA
(Calmly)
Outside.
DR. HARRIS
Is it day or night?
JENNA
Night.
DR. HARRIS
How old are you?
JENNA
21 years old.
Everyone looks confusedly at one another.
DR. HARRIS
What's your name?
JENNA
(In a demonic mocking
voice)
I don't know you. What's your name?
DR. HARRIS
(Raising his voice a
little)
What do you see?
Jenna starts hissing. She is still laying on her back with
her eyes closed.
JENNA
(screaming bloody murder)
LET ME GO!
Everyone freezes, rattled by the intensity of the scream.
JENNA (CONT'D)
(In a more adult voice,
tensely but not crazy)
I see a bright light, it's coming
so fast! Everything is gone. I'm
floating. I fall and wake up.
I see you.
Jenna's eyes pop open and she slowly turns her head toward
Stacey and Sarah.
JENNA (CONT'D)
(Shrieking)
I SEE YOU!
Jenna starts struggling against her bindings.
DR. HARRIS
(Reading with more force
in his voice.)
I'm talking to Jenna. Jenna, can
you tell me who is talking through
you? Do you know this person?
Dr. Harris motions for Ben to say something.
DR. HARRIS (CONT'D)
I need you all to help me. Talk to
her. Get Jenna to tell us who she's
with.
BEN
Jenna, it's Daddy. I love you,
pumpkin. Tell me, who is with you?
Jenna keeps struggling.
DR. HARRIS
Alissa, can you ask your sister to
help us? What do you want to say to
her?
ALISSA
(Starts shaky. Gaining
strength as she goes.)
Jenna, I love you. Please help us.
Dr. Harris needs to know who was
talking to us? Do you know? I'm
your sister, Jenna, you can tell me
anything.
(Yelling)
Tell me who it is!
(Starts talking to the
entity instead)
WHO ARE YOU? I HATE you! GET AWAY
FROM MY SISTER!
CLAIRE
(Through Jenna, quietly.)
You are my sunshine, my only
sunshine. You make me hap.....
SARAH
(Stunned)
Claire, is that you?
(Suddenly angry)
Claire? Why? Why are you doing
this? Leave Jenna alone!
Jenna starts twisting weirdly and turns impossibly backwards
to face Stacey.
Her bones pop and creak as she contorts inhumanly.
DR. HARRIS
Sarah, be careful! It's trying to
trick you! It wants you to THINK
it's Claire.
JENNA
(Screaming louder and
louder)
Damned. Damned. DAMNED!
Jenna suddenly slumps back down, unconscious. Everyone gets a
little closer to see if she's okay. Dr. Harris takes her hand
slowly and carefully, then reaches in to check her pulse.When
Dr. Harris finally touches her neck, the room erupts with a
shattering noise. The window breaks and a strong wind catches
the photo of Claire, Sarah, and Stacey smashing it against
the wall. Everyone ducks to avoid being hit by glass.
DR. HARRIS
(rushing)
I think we have this backwards. We
need a mirror!
BEN
What? Why. That's insane.
DR. WALKER
(Figuring it out)
No, he's right. If we want this out
of Jenna, we need to let it out in
the open, where we can deal with
it.
SARAH
There's one in the closet.
Sarah quickly opens the closet and pulls the door mirror off
of the inside. She turns it away from Jenna and hands it to
Dr. Walker.
DR. HARRIS
You and Ben hold the mirror next to
Jenna. Flip it towards her when I
say go. Do NOT let go!
Dr. Walker and Ben nod and get into position.
DR. HARRIS (CONT'D)
Everyone hold on...Go!
Everything is silent for a moment.
A black spot appears on Jenna's arm. A spider web of black
veins start to and grow across Jenna's arm leading to the
point where she is touching the mirror . A mist starts in
that same spot, swirling in the mirror, and coalesces into
the dark figure, laying in the same position as Jenna but
replacing her as the reflection in the mirror.
At that moment a creepy, black, gnarled hand slowly reaches
out over Jenna. The mirror doesn't break.
An undead dark creature, in the shape of Jenna, slowly crawls
out of the mirror and on top of Jenna, its movements erratic
and uncoordinated. The disjointed gait of decay in motion.
Sarah, Stacey, and Alissa shriek and back up, huddled against
the wall. The creature slowly climbs on top of Jenna, but
it's contorted and backwards. The spine is bent 180 degrees
so that both the feet and the hands are facing forwards.
The dark, distorted version of Claire is perched like a
gargoyle on top of Jenna, in a low stance; an undead animal
in human form, about to pounce.
The black figure moves oddly and surveys the group. No one is
breathing. It looks at Stacey. She tries to look away. It
slowly moves its glare to Sarah. Suddenly, it leaps off the
table and lunges at Sarah.
She's panicked, trapped with her back against the wall, and
scrambling backwards frantically, to no avail.
SARAH
(Crying, yelling)
No, no, stay away!
The black figure turns to mist as it enters Sarah's chest.
Sarah stiffens and becomes expressionless.
SMASH CUT TO:
BEGIN FLASHBACK:
64 INT: BAR - NIGHT
A female hand is pouring powder into a shot of tequila at the
bar. We can see Sarah and Claire at a table, in the distance.
It is Claire's 21st birthday party.
CUT TO:
Although barely visible through Stacey's hair, we see a
moment of triumphant satisfaction as she gives Claire CPR.
CUT TO:
65 INT. CLAIRE'S HOSPITAL-LIKE BEDROOM - DAY - ONE YEAR LATER
Claire, in her wheelchair, is saying goodbye to Sarah, who is
now 9 months pregnant, and in labor. A nervous but excited
Sarah and Ben are leaving to go to the hospital, to give
birth to Jenna.
CUT TO:
CUT TO:
A hypodermic needle being filled with strychnine.
CUT TO:
66 EXT. WIDE OPEN WHITE SPACE - DAY
We see Claire, happy and healthy, walking away into a soft
white light, it's warm glow enveloping her. Looking back over
her shoulder at her sister, her expression feels like a
loving good bye.
END FLASHBACK:
SMASH CUT TO:
Sarah's eyes open suddenly. She takes a beat, then looks at
Stacey. You can see the anger grow in her expression.
SARAH
(Hysterical)
You killed her! You killed my
sister! You sick bitch! You were my
best friend. Why?
STACEY
(Defending herself)
How can you say that? I AM your
best friend! I'm better to you than
she was, and I love you more. I
should have been your sister. But
you know that because you picked
me!
SARAH
WHAT?
STACEY
Best friends are the sisters you
pick. This is MY family. The girls
don't even remember her, but you
act like she's so fucking
important.
(switching to self-
righteousness)
What was I supposed to do. Just let
you walk all over me forever? She
wouldn't die in that fucking
parking lot, so I had to finish the
job when I had the chance. You
wouldn't believe how easy it is for
nurses to get strychnine.
Everything goes quiet. They're all momentarily shocked at
what they just heard. Jenna is asleep but almost panting.
Alissa and Dr. Walker are with her, trying to calm her.
A white mist leaves Sarah's chest.
It flows into Jenna's chest and there's a sudden pulse of
light around Jenna.
Jenna takes a deep, cleansing breath, like she hasn't
breathed for minutes. Alissa and Dr. Walker help her sit up.
Stacey, sensing that no one is focused on her, tries to run.
Both Ben and Dr. Harris, lunge forward, grab Stacey by each
arm, and hold her. Sarah steps towards her so they are face
to face.
Sarah, looking livid and indignant, backhands Stacey.
SARAH
(Angrily)
Claire is my ONLY sister. SHE will
forever live in me... and my
daughters.
YOU are dead to me.
Stacey, looking unhinged, starts screaming.
STACEY
(Hysterically)
NO, No, NO! I did it for us. How
could you do this to me? You bitch!
Ben and Dr. Harris drag Stacey out of the room kicking and
screaming.
CUT TO:
Jenna looks around, both confused and drained , she's a mess.
Sarah runs over to her and grabs her hand.
SARAH
Jenna, Jenna, talk to me! It's
mommy.
JENNA
(Weakly)
It's over.
67 EXT. HOUSE - NIGHT
Outside the house, police cars and ambulances light up the
neighborhood. Stacey, having given up the fight, is arrested.
Dr. Harris and Dr. Walker are talking to a police officer.
POLICE OFFICER
(Taking notes)
You believe it was strychnine?
DR. HARRIS
Yes, it's also consistent with the
acute muscle spasms in her back,
face, and hands, and the seizure
like episodes.
The Police officer finishes and leaves.
DR. WALKER
God, I wish I'd listened to you in
class. I have so much to learn
about all of this.
DR. HARRIS
(Insinuating he'd like to
have Dr. Walker be his
protégé.)
I'm not a spring chicken anymore...
but...you always were my favorite
student.
Dr. Walker smiles.
Paramedics are making sure the family is ok.
PULL BACK FROM THE SCENE.
FADE TO BLACK.
FADE IN:
Genres:
["Horror","Mystery","Drama"]
Ratings
Scene
52 -
A Day of Normalcy
68 EXT. HOUSE - DAY
About a month later. The family is in the kitchen, looking
content, happy, and normal.
Alissa and Jenna, ready for school, do their handshake. Sarah
sees the bus through the window.
SARAH
There's the bus!
JENNA
Gotta go!
She grabs her backpack.
The photo in the entryway with Stacey in it has been changed
from one with Stacey to one without her. There are no photos
of Stacey anywhere.
We hear the door close behind Jenna.
FADE OUT.
69 CREDITS RUN
ACKNOWLEDGMENT - Copywritten quote in section 12: Bad Lip
Reading, "Bushes of Love"