LET’S BEGIN
LOVEJOY Story Presentation
Buggsy Productions Inc.
LET’S BEGIN
EXT. LOVEJOY TOWN LIMITS - MORNING
The morning sun fights through a row of plush green trees. In the distance, a blue F-150 blows into town, its tires crunching over a gravel road. Dust trails linger in the air. A dingy BABY PIGLET waddles and OINKS past a wood carved sign reading, “Welcome to Lovejoy, Mississippi: Population 4,844.”
The morning sun fights through a row of plush green trees. In the distance, a blue F-150 blows into town, its tires crunching over a gravel road. Dust trails linger in the air. A dingy BABY PIGLET waddles and OINKS past a wood carved sign reading, “Welcome to Lovejoy, Mississippi: Population 4,844.”
CONTACT
ROBERT WALKER
(770) 256 – 6104
robert@sytalentagency.com
robert@sytalentagency.com
Literally Agent
SCREENPLAY AVAILABLE UPON REQUEST
Ab ut the Writer / Director
Yolanda Buggs
is an award-winning writer/director/producer from Decatur, Georgia. She began her career as a WGA
Writer-Trainee on the sitcom “The Parkers.” While working on the show, she directed the new 30-second
Main Titles for Season 4 of the series. Yolanda later worked as an in-house producer for
Steve Harvey’s production company where she successfully developed and supervised multiple projects.
Further accomplishments by Yolanda include producing an independent sitcom, “Beauty & The Baller,”
which streams on Amazon Prime. She made her feature film directorial debut with a suspense thriller
entitled “As Evil Does,” which streams on TubiTV and IMDB TV.
Yolanda has won an Outstanding Directing and Producing Award at the Los Angeles Web Festival. She also won first place in the Fox Diversity Television Writing Program with a spec sitcom script. Additionally, her original feature, “Lovejoy,” won the grand prize award in the Cynosure Screenwriting Competition, a contest geared toward female protagonist driven stories. Ms. Buggs has placed as a Semi-Finalist in the Women in Film/Black List Episodic Writing Lab and the Emerging Screenwriters Competition with her original pilot, “Suburbia Falls.” One of her proudest writing achievements has been placing in the top 10% of the Academy Nicholl Screenwriting Fellowship with her non-linear dramatic feature screenplay, “Awakened,” which lends voice to the LGBTQ+ communities.
Yolanda has recently completed her latest project, “In The Gray,” an experimental short film exploring gender diversity. “In The Gray” has garnered Yolanda an Outstanding Achievement For Mobile Short, a Best Mobile Short Award, a Best LGBTQ Honorable Mention and Best Experimental Short Nomination.
Yolanda earned a Master of Fine Arts (MFA) in Screenwriting at The American Film Institute. She is presently a Screenwriting Professor at Loyola Marymount University.
Yolanda has won an Outstanding Directing and Producing Award at the Los Angeles Web Festival. She also won first place in the Fox Diversity Television Writing Program with a spec sitcom script. Additionally, her original feature, “Lovejoy,” won the grand prize award in the Cynosure Screenwriting Competition, a contest geared toward female protagonist driven stories. Ms. Buggs has placed as a Semi-Finalist in the Women in Film/Black List Episodic Writing Lab and the Emerging Screenwriters Competition with her original pilot, “Suburbia Falls.” One of her proudest writing achievements has been placing in the top 10% of the Academy Nicholl Screenwriting Fellowship with her non-linear dramatic feature screenplay, “Awakened,” which lends voice to the LGBTQ+ communities.
Yolanda has recently completed her latest project, “In The Gray,” an experimental short film exploring gender diversity. “In The Gray” has garnered Yolanda an Outstanding Achievement For Mobile Short, a Best Mobile Short Award, a Best LGBTQ Honorable Mention and Best Experimental Short Nomination.
Yolanda earned a Master of Fine Arts (MFA) in Screenwriting at The American Film Institute. She is presently a Screenwriting Professor at Loyola Marymount University.
YOLANDA BUGGS
WRITER/DIRECTOR
WRITER/DIRECTOR
Craig has no response. Father and son comfort each other.
The filmmaker envisions this movie as a prelude to a weekly dramatic television series.
L O V E J Y
The Movie
Presenting…
When there is nowhere else for you to go, you can always come home.
L O V E J Y
Black Love Is…
BEAUTIFUL
COMPLICATED
PASSIONATE
START
HERE
HERE
Simmering beneath this family crisis are escalating racial tensions that are sparked
by a petition to remove confederate flags from the town square.
by a petition to remove confederate flags from the town square.
TWO WHITE COPS approach, guns drawn. Mae pulls Miles back. Ed is swallowed by the hoard of
chaotic PROTESTORS.
Cops rush the center of the mob. A GUN SHOT! Mae screams! Protestors scatter, revealing Ed’s clipboard
on the ground. A few feet away, Miles spots Ed curled up on the ground.
MILES
Where’s my granddaddy?
Where’s my granddaddy?
MAE ALICE
Ed!
Ed!
MAE ALICE
Ed! Ed!
Ed! Ed!
Mae is snatched up and handcuffed. She watches Ed on the ground, motionless as she is shoved into the
back of a…
Miles breaks free. Races to Ed. Mae runs over. Panicked.
MILES
Granddaddy!
Granddaddy!
Ed greets a WHITE MAN, 50, bald head, covered in tattoos.
ED
Sir, if I could just have a min—
Sir, if I could just have a min—
ANGRY WHITE MAN#2
Over our dead bodies!
Over our dead bodies!
ED
Be my pleasure. Few less bigots in the world.
Be my pleasure. Few less bigots in the world.
The White Man knocks the clipboard from Ed’s hand. Ed looks up and finds himself besieged by four more
ANGRY WHITE MEN.
ANGRY WHITE MAN#1
This is the nigger I was telling you brothers about! He’s out here trying to erase our history!
This is the nigger I was telling you brothers about! He’s out here trying to erase our history!
Miles tries to run over to help Ed but Mae holds him back.
MAE ALICE
Ed! Let’s just go! Please!
Ed! Let’s just go! Please!
MILES
Granddaddy, come on!
Granddaddy, come on!
Several ALLIES rush to Ed’s side in solidarity. An impromptu protest forms. Tempers flare. Miles
watches the verbal spare.
TOWN SQUARE
Miles shakes Ed’s stiff body.
Miles shakes Ed’s stiff body.
MILES
Granddaddy!
Granddaddy!
SQUAD CAR - CONTINUOUS
Mae stumbles in. Next to her, a HANDCUFFED BROTHA who’s been badly beaten. As they drive off, Mae helplessly watches a distraught Miles fall on Ed, crying. Unable to speak, Mae’s forehead falls against the window. Her tears now streaming.
Mae stumbles in. Next to her, a HANDCUFFED BROTHA who’s been badly beaten. As they drive off, Mae helplessly watches a distraught Miles fall on Ed, crying. Unable to speak, Mae’s forehead falls against the window. Her tears now streaming.
An impromptu protest forms. Tempers flare. A WHITE COP approaches, gun drawn. Mae Alice pulls Miles back
from the chaos. Ed is swallowed by a hoard of chaotic PROTESTORS.
MILES
Where’s my granddaddy?
MAE ALICE
Ed!
COPS rush the center of the mob. A GUN SHOT! Mae SCREAMS!
Protestors scatter, revealing Ed on the ground. Miles spots Ed.
MILES
Granddaddy!
Miles breaks free. Races to Ed. Mae runs over. Panicked.
MAE ALICE
Ed! Ed!
Cops snatch up Mae, handcuff her. She watches Ed on the ground, motionless as she is shoved into the back of a squad car.
MILES
Where’s my granddaddy?
MAE ALICE
Ed!
COPS rush the center of the mob. A GUN SHOT! Mae SCREAMS!
Protestors scatter, revealing Ed on the ground. Miles spots Ed.
MILES
Granddaddy!
Miles breaks free. Races to Ed. Mae runs over. Panicked.
MAE ALICE
Ed! Ed!
Cops snatch up Mae, handcuff her. She watches Ed on the ground, motionless as she is shoved into the back of a squad car.
SQUAD CAR - CONTINUOUS
Mae stumbles in. Next to her, a HANDCUFFED BROTHA who’s been badly beaten. As they drive off, Mae helplessly watches a distraught Miles fall on Ed, crying. Unable to speak, Mae’s forehead falls against the window. Her tears now streaming.
Mae stumbles in. Next to her, a HANDCUFFED BROTHA who’s been badly beaten. As they drive off, Mae helplessly watches a distraught Miles fall on Ed, crying. Unable to speak, Mae’s forehead falls against the window. Her tears now streaming.
As pressure starts to mount, Sydney feels the urge to flee once again. The question - will she stay this
time and face her challenges or run?
As pressure starts to mount, Sydney feels the urge to flee once again.
The question - will she stay this time and face her challenges or run?
The question - will she stay this time and face her challenges or run?
Ed slams his glass down on a side table. Some water spills out. He stands, mad and offended.
ED
This ain’t funny Mae Alice! This my grandbaby’s life!
This ain’t funny Mae Alice! This my grandbaby’s life!
MAE ALICE
I know that, Ed. I shouldn’t’ve laughed. I know it’s been hard on you. Your family. I’ve been there.
I know that, Ed. I shouldn’t’ve laughed. I know it’s been hard on you. Your family. I’ve been there.
MAE ALICE
My niece Debra.
(pauses)
And Ed, I can tell you right now. Sydney needs unconditional love.
My niece Debra.
(pauses)
And Ed, I can tell you right now. Sydney needs unconditional love.
She eases closer to him, takes his hand, calms him down.
Ed looks at her, confused.
Ed pulls his hand away.
ED
(snaps)
You saying I don’t love my Toodles?
(snaps)
You saying I don’t love my Toodles?
MAE ALICE
(snaps)
Did you hear me say that?
(snaps)
Did you hear me say that?
Ed paces across the porch. He turns his gaze to the yard.
ED
(locks her eyes)
Sorry Mae.
(locks her eyes)
Sorry Mae.
MAE ALICE
Now I love you. I do. And I’m here for you. But not as a punching bag.
Now I love you. I do. And I’m here for you. But not as a punching bag.
MAE ALICE
Take a deep breath with me.
Take a deep breath with me.
She crosses over to Ed, puts her arms around his waist.
Ed rises, takes Mae’s hands, pulls her up. She stands. He holds her close. They start dancing.
ED
But now it’s me and you. ‘Til
these old squeaky wheels fall off.
MAE ALICE
Speak for yourself. My wheels greased
up and rolling just fine.
ED
Yes Lordy. And some fine wheels
they happen to be.
Mae Alice playfully pops him. Still dancing.
MAE ALICE
You so fresh.
ED
You bring out that lion in me, Mae.
She giggles. Ed spins her, scoops her back up in a firm hold. She rests contently in his arms. A light back and forth sway.
ED
But now it’s me and you. ‘Til
these old squeaky wheels fall off.
MAE ALICE
Speak for yourself. My wheels greased
up and rolling just fine.
ED
Yes Lordy. And some fine wheels
they happen to be.
Mae Alice playfully pops him. Still dancing.
MAE ALICE
You so fresh.
ED
You bring out that lion in me, Mae.
She giggles. Ed spins her, scoops her back up in a firm hold. She rests contently in his arms. A light back and forth sway.
Ed rises, takes her hands, pulls her up. She stands. He holds her close. They start dancing.
ED
But now it’s me and you. ‘Til
these old squeaky wheels fall off.
MAE ALICE
Speak for yourself. My wheels greased
up and rolling just fine.
ED
Yes Lordy. And some fine wheels
they happen to be.
Mae Alice playfully pops him. Still dancing.
MAE ALICE
You so fresh.
ED
You bring out that lion in me, Mae.
She giggles. Ed spins her, scoops her back up in a firm hold. She rests contently in his arms. A light back and forth sway.
ED
But now it’s me and you. ‘Til
these old squeaky wheels fall off.
MAE ALICE
Speak for yourself. My wheels greased
up and rolling just fine.
ED
Yes Lordy. And some fine wheels
they happen to be.
Mae Alice playfully pops him. Still dancing.
MAE ALICE
You so fresh.
ED
You bring out that lion in me, Mae.
She giggles. Ed spins her, scoops her back up in a firm hold. She rests contently in his arms. A light back and forth sway.
Ed paces across the porch. He turns his gaze to the yard.
MAE ALICE
Now I love you. I do. And I’m here for you.
But not as a verbal punching bag.
ED
(locks her eyes)
Sorry Mae.
She crosses over to Ed, puts her arms around his waist.
MAE ALICE
Take a deep breath with me.
MAE ALICE
Now I love you. I do. And I’m here for you.
But not as a verbal punching bag.
ED
(locks her eyes)
Sorry Mae.
She crosses over to Ed, puts her arms around his waist.
MAE ALICE
Take a deep breath with me.
SYDNEY
Granddaddy…
Granddaddy…
He stops at the door. Heavy hearts weigh the room down.
Engulfed in guilt, she watches Ed leave. He stops.
SYDNEY
Thanks for always taking my calls. Passing my messages. Being there.
Thanks for always taking my calls. Passing my messages. Being there.
ED
I’m grateful God brought you home. I really am. But you get a good night’s rest. ‘Cause come mornin’, Toodles. I’ll be needin’ to hear what the hell you gotta say for ya’self. Walkin’ out on family. That’s not how you was raised.
I’m grateful God brought you home. I really am. But you get a good night’s rest. ‘Cause come mornin’, Toodles. I’ll be needin’ to hear what the hell you gotta say for ya’self. Walkin’ out on family. That’s not how you was raised.
ED
(turns back)
Miles threw ya’letters out. Craig’s the one got ‘em out the trash. The boy knows where they are. He’ll read ‘em when he’s good and ready.
(turns back)
Miles threw ya’letters out. Craig’s the one got ‘em out the trash. The boy knows where they are. He’ll read ‘em when he’s good and ready.
Ed leaves. Door closes. She stares at the ceiling. Egg on her face. Regret in her eyes. She hears Ed’s
bedroom door close.
EXT. GRASSY PASTURE - MORNING
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
SYDNEY
Granddaddy…
He stops at the door. Heavy hearts weigh the room down.
SYDNEY
Thanks for always taking my calls.
Passing my messages. Being there.
ED
I’m grateful God brought you home.
I really am. But you get a good
night’s rest. ‘Cause come mornin’,
Toodles. I’ll be needin’ to hear
what the hell you gotta say for
ya’self. Walkin’ out on family.
That’s not how you was raised.
Engulfed in guilt, she watches Ed leave. He stops.
ED
(turns back)
Miles threw ya’letters out. Craig’s
the one got ‘em out the trash. The
boy knows where they are. He’ll
read ‘em when he’s good and ready.
Ed leaves. Door closes. She stares at the ceiling. Egg on her face. Regret in her eyes. She hears Ed’s bedroom door close.
Granddaddy…
He stops at the door. Heavy hearts weigh the room down.
SYDNEY
Thanks for always taking my calls.
Passing my messages. Being there.
ED
I’m grateful God brought you home.
I really am. But you get a good
night’s rest. ‘Cause come mornin’,
Toodles. I’ll be needin’ to hear
what the hell you gotta say for
ya’self. Walkin’ out on family.
That’s not how you was raised.
Engulfed in guilt, she watches Ed leave. He stops.
ED
(turns back)
Miles threw ya’letters out. Craig’s
the one got ‘em out the trash. The
boy knows where they are. He’ll
read ‘em when he’s good and ready.
Ed leaves. Door closes. She stares at the ceiling. Egg on her face. Regret in her eyes. She hears Ed’s bedroom door close.
Sadly, Sydney now finds strangers in the place she once called home.
INT/EXT. ROBERTSON HOUSE - SCREENED-IN FRONT PORCH - LATER
WIND CHIMES CLANK. Sydney smokes. Rocks on a porch swing. She sees Craig pull in and park. She smashes out her cigarette. Fans smoke. Hides the pack. Craig approaches, drained.
WIND CHIMES CLANK. Sydney smokes. Rocks on a porch swing. She sees Craig pull in and park. She smashes out her cigarette. Fans smoke. Hides the pack. Craig approaches, drained.
CRAIG
Do you honestly expect for us to just pick up where we left off?
Do you honestly expect for us to just pick up where we left off?
CRAIG
So you’ve gone off and explored the world. Now you’re coming back, what? This… new and improved… enlightened person?
So you’ve gone off and explored the world. Now you’re coming back, what? This… new and improved… enlightened person?
SYDNEY
Where’s my son?
Where’s my son?
SYDNEY
Craig, we need to talk?
Craig, we need to talk?
SYDNEY
No. But we have to start somewhere.
No. But we have to start somewhere.
Their eyes connect momentarily. He beelines to the door.
He stops. She notes his missing wedding band.
SYDNEY
I never said that. I’m still struggling like everybody else.
I never said that. I’m still struggling like everybody else.
SYDNEY
I’m just asking for a conversation.
I’m just asking for a conversation.
SYDNEY
(takes a breath, pauses)
Craig, I’m sorry. For everything… I should’ve led with that.
(takes a breath, pauses)
Craig, I’m sorry. For everything… I should’ve led with that.
CRAIG
I can’t do this with you right now.
I can’t do this with you right now.
CRAIG
It’s always about what you want.
It’s always about what you want.
CRAIG
If a man walked out on his family
the way you did, he’d be called…
(locks into her stare)
A deadbeat. A coward!
SYDNEY
I’ve made mistakes. I admit that.
Just don’t keep my son away from me.
Craig stands, now towering over her, his anger brewing.
CRAIG
For a long time I imagined how it
would be when you finally came
home. Thought I’d be so happy. Now
that I see you, I can’t stand the
sight… And you smell disgusting.
Craig sees tears swell in her eyes. He pauses then walks off.
Porch door SLAMS. She lights a cigarette, rocks reflectively.
If a man walked out on his family
the way you did, he’d be called…
(locks into her stare)
A deadbeat. A coward!
SYDNEY
I’ve made mistakes. I admit that.
Just don’t keep my son away from me.
Craig stands, now towering over her, his anger brewing.
CRAIG
For a long time I imagined how it
would be when you finally came
home. Thought I’d be so happy. Now
that I see you, I can’t stand the
sight… And you smell disgusting.
Craig sees tears swell in her eyes. He pauses then walks off.
Porch door SLAMS. She lights a cigarette, rocks reflectively.
EXT. GRASSY PASTURE - MORNING
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
CRAIG
I had no idea she was coming home.
I had no idea she was coming home.
Silence. Faye moves. Craig stops her. Leans in for a kiss. She pulls away. Knocks the basin. Water
spills. She wipes frantically. Craig puts a hand over hers, stops her wiping. She looks up. Her eyes
meet his gaze, becoming fixed stares.
FAYE
She’s my best friend, Craig. And I—
She’s my best friend, Craig. And I—
Craig locks her stare, his eyes trapped in her webbing gaze.
FAYE
I’ll bring Miles home in the morning. You should say good night before you leave.
I’ll bring Miles home in the morning. You should say good night before you leave.
Faye hops up, empties the water. Drops the basin in the sink.
Hurt and disappointed, Craig relents and walks away. Faye closes her eyes and exhales out the weight
of the world.
Sydney has returned home to find that her husband Craig has moved on and started a new relationship.
Craig locks her stare, his eyes trapped in her webbing gaze.
CRAIG
I had no idea she was coming home.
Silence. Faye moves. Craig stops her. Leans in for a kiss
She pulls away. Knocks the basin. Water spills. She wipes frantically. Craig puts a hand over hers, stops her wiping.
She looks up. Her eyes meet his gaze, becoming fixed stares.
FAYE
She’s my best friend, Craig. And I—-
Faye hops up, empties the water. Drops the basin in the sink.
FAYE
I’ll bring Miles home in the
morning. You should say good night
before you leave.
Hurt and disappointed, Craig relents and walks away. Faye closes her eyes and exhales out the weight of the world.
CRAIG
I had no idea she was coming home.
Silence. Faye moves. Craig stops her. Leans in for a kiss
She pulls away. Knocks the basin. Water spills. She wipes frantically. Craig puts a hand over hers, stops her wiping.
She looks up. Her eyes meet his gaze, becoming fixed stares.
FAYE
She’s my best friend, Craig. And I—-
Faye hops up, empties the water. Drops the basin in the sink.
FAYE
I’ll bring Miles home in the
morning. You should say good night
before you leave.
Hurt and disappointed, Craig relents and walks away. Faye closes her eyes and exhales out the weight of the world.
EXT. GRASSY PASTURE - MORNING
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
CRAIG
It’s alright, son. You’re alright. I got you… I got you.
It’s alright, son. You’re alright. I got you… I got you.
MILES
You could’a just let it fly out. The window was open. Granddaddy said, “Don’t kill it! It’s bad luck.” But you did it anyway. Now she’s back and it’s all your fault.
You could’a just let it fly out. The window was open. Granddaddy said, “Don’t kill it! It’s bad luck.” But you did it anyway. Now she’s back and it’s all your fault.
CRAIG
(tightens his hold)
I know… I’m sorry, son.
(tightens his hold)
I know… I’m sorry, son.
Miles fights tears. He picks at the skin around his thumb.
MILES
Why’s she back? Why dad?
Why’s she back? Why dad?
Craig has no response. Father and son comfort each other.
EXT. GRASSY PASTURE - MORNING
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
CRAIG
It’s alright, son. You’re alright.
I got you… I got you.
MILES
You could’a just let it fly out.
The window was open. Granddaddy
said, “Don’t kill that bee! It’s bad
luck.” But you did it anyway. Now
she’s back and it’s all your fault.
CRAIG
(tightens his hold)
I know… I’m sorry, son.
Miles fights tears. He picks at the skin around his thumb.
MILES
Why’s she back? Why dad?
Craig has no response. Father and son comfort each other.
Craig closes in on Miles, the air smacking their faces.
He catches his son in a safe bear hug, wrestles him down. Miles struggles to break free. Craig holds him tighter.
CRAIG
It’s alright, son. You’re alright.
I got you… I got you.
MILES
You could’a just let it fly out.
The window was open. Granddaddy
said, “Don’t kill that bee! It’s bad
luck.” But you did it anyway. Now
she’s back and it’s all your fault.
CRAIG
(tightens his hold)
I know… I’m sorry, son.
Miles fights tears. He picks at the skin around his thumb.
MILES
Why’s she back? Why dad?
Craig has no response. Father and son comfort each other.
Miles feels betrayed and
abandoned by his mother –
someone who was once the
center of his world. Now,
Sydney must chisel away at the
bitterness he feels towards her.
abandoned by his mother –
someone who was once the
center of his world. Now,
Sydney must chisel away at the
bitterness he feels towards her.
Sydney must face the pain of her past in order to reclaim her life
and reconcile with the family she abandoned two years earlier.
and reconcile with the family she abandoned two years earlier.
EXT. ROBERTSON FARM - MORNING
Two-story brick home with a screened-in porch and back deck. A tin topped barn house connects to a hog pen. An apple tree grows next to a garden and two acres of thriving cotton.
Sydney eases into the driveway and parks at the farmhouse.
Two-story brick home with a screened-in porch and back deck. A tin topped barn house connects to a hog pen. An apple tree grows next to a garden and two acres of thriving cotton.
Sydney eases into the driveway and parks at the farmhouse.
EXT. ROBERTSON FARM - GARDEN - MORNING
Sydney surveys the land, then slowly approaches.
Sydney surveys the land, then slowly approaches.
SYDNEY
(self conscious)
My hair. Outfit. I know it’s probably shocking at first glance.
(self conscious)
My hair. Outfit. I know it’s probably shocking at first glance.
ED ROBERTSON, 78, dark skin, gray hair, tall, lean frame, faces her. A rabbit’s foot dangles from his
coverall pocket. Sydney watches Ed shuffle over. She notes his slow movement. Slightly slumped
posture. He quizzically eyes her hair.
SYDNEY
Hi granddaddy. I’m home.
Hi granddaddy. I’m home.
ED
The second, third, fourth and fifth glances too. You look like’a outta work clown hunting for the circus. Just need a sign and a cup.
The second, third, fourth and fifth glances too. You look like’a outta work clown hunting for the circus. Just need a sign and a cup.
Sydney removes Ed’s rabbit’s foot, plays with it nervously.
SYDNEY
Granddaddy, that’s mean.
Granddaddy, that’s mean.
ED
And those big red shoes. That nose.
And those big red shoes. That nose.
ED
You said you’d be home last month.
You said you’d be home last month.
ED
Still got my health. You?
Still got my health. You?
SYDNEY
I’m just glad to be home.
I’m just glad to be home.
SYDNEY
You’re not glad to see me either?
You’re not glad to see me either?
SYDNEY
Got cold feet. Even now the butterflies won’t stop dancing.
Got cold feet. Even now the butterflies won’t stop dancing.
Ed takes a pause. Sydney feels the sting of his rejection.
SYDNEY
You’re not glad to see me either?
ED
You said you’d be home last month.
SYDNEY
Got cold feet. Even now the
butterflies won’t stop dancing.
Sydney removes Ed’s rabbit’s foot, plays with it nervously.
SYDNEY (CONT’D)
Farm looks great. How are you?
ED
Still got my health. You?
SYDNEY
I’m just glad to be home.
Ed takes a pause. Sydney feels the sting of his rejection.
You’re not glad to see me either?
ED
You said you’d be home last month.
SYDNEY
Got cold feet. Even now the
butterflies won’t stop dancing.
Sydney removes Ed’s rabbit’s foot, plays with it nervously.
SYDNEY (CONT’D)
Farm looks great. How are you?
ED
Still got my health. You?
SYDNEY
I’m just glad to be home.
Ed takes a pause. Sydney feels the sting of his rejection.
EXT. LOVEJOY TOWN SQUARE - MORNING
Compact town square. Blink and you’ll miss it. Post office. Bank. Pharmacy. Library. Courthouse. Chamber of Commerce. American and Confederate flags wave in front of businesses.
Compact town square. Blink and you’ll miss it. Post office. Bank. Pharmacy. Library. Courthouse. Chamber of Commerce. American and Confederate flags wave in front of businesses.
EXT. LOVEJOY TOWN LIMITS - MORNING
The morning sun fights through a row of plush green trees. In the distance, a white F-150 blows into town, its tires crunching over a gravel road. Dust trails linger in the air. A dingy BABY PIGLET waddles and OINKS past a wood carved sign reading, “Welcome to Lovejoy, Mississippi: Population 4,844.”
The morning sun fights through a row of plush green trees. In the distance, a white F-150 blows into town, its tires crunching over a gravel road. Dust trails linger in the air. A dingy BABY PIGLET waddles and OINKS past a wood carved sign reading, “Welcome to Lovejoy, Mississippi: Population 4,844.”
Lovejoy is an emotionally complex, faith-based love story that opens as Sydney Robertson returns to town.
The Backst ry
Craig and Sydney were high school sweethearts that grew up in the small, farming town of Lovejoy,
Mississippi.
They got married and had children. Life was beautiful until tragedy and secrets divided them. Unable to cope, Sydney left everything behind and fled town, abandoning her family.
They got married and had children. Life was beautiful until tragedy and secrets divided them. Unable to cope, Sydney left everything behind and fled town, abandoning her family.
The Backst ry
Craig and Sydney were high school sweethearts that grew up in the small, farming town of Lovejoy,
Mississippi.
They got married and had children. Life was beautiful until tragedy and secrets divided them. Unable to cope, Sydney left everything behind and fled town, abandoning her family.
They got married and had children. Life was beautiful until tragedy and secrets divided them. Unable to cope, Sydney left everything behind and fled town, abandoning her family.
Dream Cast
Samuel L. Jackson
As “ED”
As “ED”
Jill Scott
As “Sydney”
As “Sydney”
Michael Ealy
As “Craig”
As “Craig”
Tonea Stewart
As “Mae Alice”
As “Mae Alice”
He sees her sincerity and reluctantly sits. Small talk.
No response. She rocks the porch swing. Another long pause.
She waits for a response. Receives nothing. She sighs. He notes her wedding ring, spots cigarette ash
on the porch.
SYDNEY
Heard you won state. Knew you could do it. Bet that was one hella’va game… Congratulations.
Heard you won state. Knew you could do it. Bet that was one hella’va game… Congratulations.
SYDNEY
You must hate me… And you got every right. But he’s my son too.
You must hate me… And you got every right. But he’s my son too.
CRAIG
Until your next parental hiatus?
Until your next parental hiatus?
CRAIG
If a man walked out on his family the way you did, he’d be called…
(locks into her stare)
A deadbeat. A coward!
If a man walked out on his family the way you did, he’d be called…
(locks into her stare)
A deadbeat. A coward!
CRAIG
You abandoned us for over two years. Letters here and there. Then you waltz back to town. No notice. Acting like we owe you something.
(dials his anger down)
Raising a kid doesn’t come and go at your whim. Parents get tired, but the good ones don’t bail out.
You abandoned us for over two years. Letters here and there. Then you waltz back to town. No notice. Acting like we owe you something.
(dials his anger down)
Raising a kid doesn’t come and go at your whim. Parents get tired, but the good ones don’t bail out.
SYDNEY
Me leaving didn’t mean I don’t love him… Or you.
Me leaving didn’t mean I don’t love him… Or you.
SYDNEY
I’ve made mistakes. I admit that. Just don’t keep him away from me.
I’ve made mistakes. I admit that. Just don’t keep him away from me.
SYDNEY
Not a day goes by, I don’t regret what I did to my family.
Not a day goes by, I don’t regret what I did to my family.
CRAIG
For a long time I imagined how it would be when you finally came home. Thought I’d be so happy. Now that I see you… I can’t stand the sight… And you smell disgusting.
For a long time I imagined how it would be when you finally came home. Thought I’d be so happy. Now that I see you… I can’t stand the sight… And you smell disgusting.
Sydney stares into Craig’s hardening eyes. Her remorse shows.
Craig sees tears swell in her eyes. He pauses then walks off. Porch door SLAMS. She lights a
cigarette, rocks reflectively.
SYDNEY
See you cleared out Gracie’s room.
Suppose it was time.
(pauses, treads lightly)
And you moved out of our room.
See you cleared out Gracie’s room.
Suppose it was time.
(pauses, treads lightly)
And you moved out of our room.
Craig stands, now towering over her, his anger brewing.