'Foster Me' Official Script

1. Foster Me
SCENE 1
[INT. Foster Home the character ISRAEL has moved in to.]
[ISRAEL wakes up to a loud sound of children whispering. Unable to find
sleep, he attempts to find out where the sound is coming from and finds
himself standing in front of his foster mother, SARAH MILLER, who appears
agitated that ISRAEL is still awake late at night. Diegetic sound of
whispers will continue to play in the background while ISRAEL and SARAH
MILLER are talking to each other]
SARAH MILLER
[Staring directly at Israel, speaking in an irritated tone]
Why’re you awake?
[Close up camera shot on ISRAEL who is unable to speak. ISRAEL is shocked
to find his mother standing in the hallway as if she heard his every
movements in his room.]
ISRAEL
[Stuttering] I… I’m…
[SARAH MILLER and ISRAEL look directly at each other. A moment of silence
passes as both of them blink at each other to see who will speak first]
[Tracking shot of SARAH MILLER suddenly chasing ISREAL up to his room in
anger. ISRAEL screams in fear up to his room, SARAH MILLER follows, as they
are both running out of the frame]

2. SCENE 2
[INT. ISRAEL’S Family home. ISRAEL lives with his mother, SUSAN, and his
father, PAUL. Camera in a close up shot onto ISRAEL who is sitting on the
floor, drawing a picture of his family. PAUL is at work whereas SUSAN is
sitting across from ISRAEL, watching television.]
[NARRATOR. Non-diegetic sound of ISRAEL explaining his relationship with
his parents.]
NARRATOR. ISRAEL
I’ve always been stuck in my own world…
My dad never made time for me.
[Sad tone] whereas my mother…
…she seemed to be the same each day.
[At the end of the narration, the scene shows ISRAEL drawing a picture of
his family. ISRAEL is impressed by his work and gets up to show SUSAN.]
ISRAEL
[Excitedly holding his drawing towards SUSAN] Mummy look!
SUSAN
[Takes drawing, looking confused] What’s this?
ISRAEL
It’s us! See.
[Points at drawing of PAUL] That’s daddy…
[Points at drawing of himself] That’s me…
[Points at drawing of SUSAN] And there’s you!
Holding my hand, saying ‘I Lo-‘
SUSAN
[Cuts of ISRAEL] No, no, no…
I don’t. I DON’T!
Sorry, I didn’t mean that. I just can’t…
[Aggressively rips drawing] NO!
[Low angle camera shot on to SUSAN shouting at ISRAEL about the drawing.
ISRAEL is shocked about his mothers sudden rage and very close to bursting
out in tears.]
SUSAN
[Shouting] Why do you do this to me?
You don’t appreciate the things I do for you.
I’ve suffered for you [points at ISRAEL] yet you do this.
This drawing! THIS!
[SUSAN is suddenly panicked. She is breathing heavy and starts to pull her
hair]

3. SUSAN (cont’d)
[Breaking down in tears] You know this will never happen!
NEVER! So stop doing these types of crap to me…
[Points to herself] and face your reality.
ISRAEL
[Crying] I just wanted to-
SUSAN
[Cuts of ISRAEL] Just go!
[ISRAEL runs out of the frame crying. The camera is focused on SUSAN who
still remains breathing heavily, falling on to the couch whilst crying.
SUSAN pulls out a bottle of pills, and breathes a sigh of relief when she
swallows them all.]
SUSAN
[Whispering] Sorry son. I’m so sorry.

4. SCENE 2 [Cont’d]
[NARRATION. ISRAEL Playing as a non-diegetic sound in the background and
secondly, the audience will visually follow the narration since the scenes
will cut to ISRAEL’s father, PAUL, and his mother, SUSAN.]
[The scene cuts to ISRAEL’s father, PAUL, leaving to go to work]
PAUL
[Rushing to go to work] I’ll see you later son.
[The scene cuts to a close up camera shot onto ISRAEL’s mother, SUSAN,
stressed and taking a continuous amount of pills.]

5. SCENE 3
[INT. ISRAEL’S family home. There is a mysterious knock on the door. The
camera focus on to the door from a mid shot view until SUSAN walks in to
the frame.]
SUSAN
[Forces a smile] Hi, is everything alright?
[Standing in front of SUSAN is a POLICE OFFICER and a SOCIAL WORKER]
POLICE OFFICER
We’ve had a report of a disturbance in this very house miss. We need to
come in and talk.

6. SCENE 4
[INT. ISRAEL’S family home. SUSAN is screaming for ISRAEL not to leave
whilst being held back by the POLICE OFFICER. As this is happening, the
SOCIAL WORKER is trying to take ISRAEL away.]
SUSAN
[Attempting to break free from the POLICE OFFICER’S grasp]
No! That’s my son!
ISRAEL!
[Close up shot of ISRAEL turning around, looking directly at his mother for
one last time. The POLICE OFFICER is still struggling to keep SUSAN calm as
she is resisting against the POLICE OFFICER.]
POLICE OFFICER
[To SUSAN] Miss, please stop resisting.
SUSAN (Cont’d)
NO! ISRAEL!
[Breathing Heavy]Please don’t leave me!
[ISRAEL turns away from his mother and walks out of his home with the
SOCIAL WORKER. The diegetic sound of SUSAN crying for ISRAEL grows louder
and echoes in the background.]
SUSAN (Cont’d)
I’m sorry!
I’M SORRY!

7. SCENE 5
[INT. CPS CARE HOME. ISRAEL is in the hands of social workers. Pan shot
zooming on to ISRAEL playing with toys whilst diegetic sound of kids
playing outside is in the background. One SOCIAL WORKER, notices how ISRAEL
is Isolating himself and goes to comfort him.]
SOCIAL WORKER #2
[Kneels down besides ISRAEL]
Israel don’t isolate yourself, okay?
[Places hands on ISRAEL’S shoulder]
The right person will come and take care of you.
It’s all in a matter of time.
ISRAEL
[Looks up from toys and sadly stares at SOCIAL WORKER #2]

8. SCENE 6
[INT. CPS CARE HOME. The scene shows ISRAEL continuing to isolate himself
from the rest of the children in the home. Non-diegetic sound of children
laughing is playing in the background however, the camera focus on to
ISRAEL from a high angle shot when SOCIAL WORKER #2 is excited to announce
the good news. She is standing besides another women.]
SOCIAL WORKER #2
[Shouting] Israel!
Meet Sarah Miller [gestures her hands towards SARAH MILLER]
She would like to take care of you.
SARAH MILLER
[Beams a smile] It’s so nice to meet you Israel.
Don’t you worry about anything, okay?
You’re in the right hands now.
[Holds out her arms towards ISRAEL]
[The camera cuts to a close up shot of SARAH MILLER’S holding out her arms
towards ISRAEL. ISRAEL remains quiet but hugs SARAH MILLER back. Sad Non-
Diegetic playing in the background.]
ISRAEL
[Hugs SARAH MILLER back]

9. SCENE 7
[INT. SARAH MILLER’S CAR. SARAH MILLER is officially ISRAEL’S foster mother
and is driving ISRAEL to her home. ISRAEL remains quiet and is fascinated
by the setting outside. Eventually, they stop near SARAH MILLER’S home.]
SARAH MILLER
My kids are so excited to see you!
Honestly, they can’t wait at all.
See Look! [Points to her house] My house is right there.
[EXT. OUTSIDE SARAH MILLER’S CAR. SARAH MILLER parks her car. The camera
focus on to SARAH MILLER and ISRAEL from a tracking shot, walking to their
home together.]

10. SCENE 8
[EXT. OUTSIDE SARAH MILLER’S HOME. SARAH MILLER is about to open the door
to her home but before she does, she asks ISRAEL a question. Camera focus
on to SARAH MILLER from a low angle shot from ISRAEL’S perspective. Camera
focus on to ISRAEL from a high angle shot from SARAH MILLER’S perspective.]
SARAH MILLER
Are you scared?
ISRAEL
[Shyly] Kind of
SARAH MILLER
[Smiles] Don’t be.
[SARAH MILLER inserts the key to her house. The camera focus on to an over
shoulder shot, slowing zooming in to all three children greeting ISRAEL.]
KIM, AYANA & ZAINA
[Beams a big smile, turning their heads to the right] Hi!

11. SCENE 9
[INT. DINING ROOM. The atmosphere of the room is very friendly as SARAH
MILLER, KIM, AYANA, ZAINA and ISRAEL are eating dinner together around a
dining table. Camera shot focus on the entire family, moving in a 360 angle
The atmosphere of the room is very friendly]
[KIM is sitting across AYANA, whereas ZAINA is sitting across ISRAEL. SARAH
MILLER is sitting in the centre of the table, besides the children]
KIM
Israel, can you pass me the salt please?[Points to the salt]
ISRAEL
[Going to grab the salt]
AYANA
[Gently pushes ISRAEL’S hands down] Don’t.
ZAINA
Yeah, she’s so lazy
KIM
[Gawps]
ZAINA (Cont’d)
You’ll know what I mean after a couple of days.
Everything will soon change.

12. SCENE 10
[Diegetic sound of ZAINA describing KIM’s laziness will playing in the
background as a form of narration.]
[EXT. LOCAL PARK. ZAINA and ISRAEL are being pushed on the swings by SARAH
MILLER, laughing together. Roles reverse when SARAH MILLER is being pushed
even by ZAINA and ISRAEL]

13. SCENE 11
[EXT. FIELD – DAY. The children are playing with each other, playing the
game ‘It’. SARAH MILLER is sitting down with a bunch of food besides her,
watching the children play.]
AYANA
[Running towards ISRAEL] IT!
ISRAEL
Aw Man! [Smiling]
[Camera full shot focus on to SARAH MILLER. ISRAEL, ANAYA, KIM and ZAINA
run in and out of the frame in a straight direction.]
SARAH MILLER
[Shouting] Come on Israel!

14. SCENE 12
[INT. ISRAEL’S ROOM. It is late at night and all the kids are asleep apart
from ISRAEL. SARAH MILLER helps ISRAEL find sleep by reading a bedtime
story, ‘The Old Women Who Lived In A Shoe’]
[Camera focus on to SARAH MILLER and ISRAEL from a mid shot, slowly zooming
in.]
ISRAEL
[Slowly falls to sleep]
SARAH MILLER
“There was an old women who lived in a shoe.
She had so many children,
She didn’t know what to do.” [Shuts book]

15. SCENE 13
[INT. KITCHEN. It is morning and ISRAEL has just waken up from his sleep.
He goes downstairs to wish ‘good morning’ to SARAH MILLER however, SARAH
MILLER appears to be distressed as she has her back turned against ISRAEL.]
[Camera focus on to SARAH MILLER from a close up shot as she is cutting up
vegetables with her back turned against ISRAEL]
ISRAEL
[Sheepishly] Morning Mum
SARAH MILLER
[Instantly stops cutting up vegetables]
ISRAEL
[Looks confused]

16. SCENE 14
[INT. LIVING ROOM. The scene cuts to ISRAEL walking in the living room,
finding his older sister KIM laughing at a blank TV screen]
ISRAEL
[Frightened] Kim?
KIM
[Laughing hysterically out loud]
[Camera follows KIM laughing at a blank TV screen in a tracking shot as she
keeps on pointing to the screen. Her laugh continues to grow louder.]
KIM (Cont’d)
[Laughing hysterically] This is too funny!
I can't breathe!
ISRAEL
[Appears scared]

17. SCENE 15
[INT. HALLWAY. Tracking shot on to ISRAEL climbing upstairs to the diegetic
sound of two girls whispering. The scene cuts straight after ISRAEL
witnesses KIM’S strange behaviour however, when ISRAEL targets the sound,
there is a moment of silence. The whispers have abruptly stopped as soon as
ISRAEL is standing outside the twins, AYANA and ZAINA’s, door. Seconds
later, ISRAEL is quickly pulled in to the room.]
ZAINA
[Stiff tone] What were you doing outside our room?
AYANA
Why was you listening?
ISRAEL
[Stuttering] I… I was-
AYANA
[Quickly] You what?
ZAINA
[Shouting] Speak up!
ISRAEL
[Shaky voice] I’m trying to-
ZAINA AND AYANA
Shhh!
[The twins start to get worried, looking around themselves in fear]
ZAINA AND AYANA (Cont’d)
[Look sharply at ISRAEL] The spirits are here.
ISRAEL
[Scared]
[ZAINA AND AYANA’S explanation about the spirits will play as narration in
the background.]
ZAINA
Every year, our brothers and sisters come back.
AYANA
There used to be so many of us, but they left…
One by one…

18. Because of our mum.
ZAINA AND AYANA
[Shouting] But now they are back!
AYA
[Whispering] And they want her soul
ZAINA AND AYANA
[Screaming] They want her soul!
They want her soul!
They want her soul!

19. SCENE 16
[INT. ISRAEL’S ROOM. ISRAEL is playing with his toys by himself in his
room. The camera will focus on to ISRAEL’s hands, slowly transitioning
upwards to his face. However, besides ISRAEL is his deceased younger
brother, Kelvin.]
KELVIN
[Smiles] Kelvin
ISRAEL
[Screams]

20. SCENE 22
[INT. ISRAEL’S ROOM. ISRAEL is scared for his life since he has had
encounters with a number of spirits. The camera is focus on to ISRAEL from
a close up shot, as ISRAEL is hiding under his bed away from his family.]
[ISRAEL thinks he is by himself, but is visited by his older sister, KIM.
KIM leans on top of ISRAEL’s bed.]
KIM
[Smiling] Are you playing hide and seek?
ISRAEL
[Speechless] Um…
[Two of ISRAEL’S deceased sisters, NUMAYA and NABILA, appear besides KIM]
NUMAYA AND NABILA
[Smiling] We want to play
NUMAYA
But don’t hide…
NABILA
Count with us [Laughs]

21. SCENE 27
[EXT. FOREST. ISRAEL, KIM, AYANA an ZAINA are chasing SARAH MILLER through
an isolated forest. The souls of the DECEASED SIBLINGS are visible in human
form and are chasing SARAH MILLER also]
ALL SIBLINGS (Together)
Mummy!
Mummy!
Why’re you running away?
[The siblings catch up with SARSAH MILLER and drag her back, out of the
frame.]

22. SCENE 29
[EXT. FOREST. ALL SIBLINGS push SARAH MILLER up against a tree whilst SARAH
MILLER is screaming for help]
[The sound of ALL SIBLINGS laughing will play as diegetic sound in the
background.]
SARAH
No!
[Shaking her head away from the DECEASED SIBLINGS]
Stop it!
[screams] Plea-
[SIBLING #1 puts tape around SARAH MILLER’S mouth to shut her up]

23. SCENE 31
[EXT. FOREST. While SARAH MILLER is tied on to a tree, ALL SIBLINGS are
chanting around SARAH MILLER. The camera will focus on the entire setting
from a high angle shot.]
ALL SIBLINGS
A life for a life
A cut for a cut
Mummy,
Now your time is up!

24. SCENE 33
[EXT. FOREST. As ALL SIBLINGS continues to chant around SARAH MILLER,
SIBLING #4 stops and stands in front of SARAH MILLER. Camera focus on top
SARAH MILLER and SIBLING #4 from a mid shot view]
[SIBLING #4 lifts his hands up to order silence. The rest of ALL SIBLINGS
halt in their positions.]
SIBLING #4
[Lifts up hand] Shh!
[Pulls out a knife] We have to be quiet to hear her scream.
[Diegetic sound of the kids chanting ‘Do it! Do it!’ and SARAH MILLER
screaming will play louder as SIBLING #4 walks closer to SARAH MILLER,
raising the knife higher. However, ISRAEL steps in.]
ISRAEL
Wait! [steps beside SIBLING #4]
[Grabs a knife] I want to do it.
[ALL SIBLINGS will count down from 10 seconds to 1 ]
END OF SCRIPT