List of shots and props

-Extreme Long shot establishing the scene (Just of SJ)
-Point Of View shot in a Canted angle (later edit in the cutting to black indicating the losing and regaining of consciousness. SJ's son is also in this to create intrigue and the audience guessing whether or not he is real)
-Extreme Close Up of SJ's eye, zooms into a graphic match that matches the key hole of the door that FA opens
-Low Angle shot of FA as it puts him in a domineering position
-Two shot of FA and SJ
-Shot Reverse Shot as dialogue takes place (culminates in him shouting SM to come and her to go in)
-Match And Action of SJ's feet walking in
-Close up of FA as he closes the door but pauses before with a look of intrigue
-Two shot to show the equal balance between SM+SJ.
-Shot-Reverse-Shot of them speaking (building up a rapport)
-ECU of SM sensually stroking SJ's leg/knee.
-Medium shot (behind FA) focus pull on SJ and SM (he is a blurred silhouette) then focus pull to FA and they are blurred.
-FA enters (High Angle) SM leaving, brisks past SJ after FA requests that she go and do an irrelevant chore. Abraham notices this interaction and a Medium shot at a slightly low angle demonstrates this.
-Close up of the calendar that is already a prop in the room (Liam's from home), dissolve, then have a new date (4 weeks later)
-Two shot of FA and SJ
-Shot-Reverse-Shot and dialogue (affectionate between them, he somewhat takes advantage of her vulnerable nature, but less so than between SJ+SM) (Knock at the door FA goes just as SM re-enters) (he goes to the door and you can hear the talking in the background faintly, reentry of SM)
- Mid Shot of SM walking in, match and action of her sitting down
-Two shot of SM and SJ (FA talking to someone outside)
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-Close up of SM and SJ (Sister Mary said the charming from Father Abraham had happened to her but  she rejected him (has a nervous disposition about her whilst discussing this, could possibly use euphemistic language and talk in riddles with no clear objective to show how unnerved she continues to be over the incident)
-Deep focus of SJ, out of shot FA talking in a dominating tone
-Wide focus of both SJ and FA, dialogue and they walk over to the nunnery bedroom. (Low Angle)
-Cuts to the calendar in the corner (that was visible in the Low Angle), CU of the calendar, dissolve, visible change in time 

- MLS behind FA (he is on his knees praying to a large mural of Jesus). Low angle close up (FA dialogue confessing to his bad nature, include in him saying that he cannot stop with her) whilst this happens it pans into an ECU of his eyes
- Close up of the calendar that is already a prop in the room (Liam's from home), dissolve, then have a new date (6 weeks later)
-LS (establishing a sunday mass room with people inside), FA drags a visibly pregnant SJ in, cuts to an eyeline match of FA whilst maintaining the LS, she is shown to be inferior and submissive next to him. Continous dialogue about 'everything that has touched her becomes corrupted' etc. Whilst the maintained LS of the room continues DEEP FOCUS is concentrated on SM and SJ, of whom she is helping escape out of the room.
-High Angle on the door SJ and SM runs around (Match and Action)
-Long Shot of them running down the corridor
-High Angle on another room as they come around the corner (Match and Action)
-Montage of packing with two shots and ECU of eyes (SM and SJ) and items
-High angle as they briskly walk back around the door (Match and Action), LS as they briskly walk down the corridor, CU tight embrace and dialogue between SM and SJ, opens door (Match and Action) Low Angle, embrace and say goodbye.

-Edit to indicate a fast forward in time (different setting to the lake and nunnery)
-Medium Long shot establishing the scene
-High Angle shot of SJ and her son both cowering with her becoming increasingly erratic, he tugs to her and looks increasingly for the love and support he needs (also dialogue of him talking to her and her not responding), she does not register his existence.
-Focus Pull on her (indicating he's dead), zooms into her eye and a graphic match into her son's eye and they're now back at the lake
-Point Of View shot in Canted angle (back to the very beginning), SJ holding her son's hand (camera looks down to it still in the POV then returns to the default POV) walks into the lake to a fade out

Props:
Nun outfit x2, priest outfit, religious iconography, mural of Jesus