I would love to see this. I am going to mention something that some readers might struggle with. It only took a minute to figure it out. I would imagine on screen it would be perfectly clear. Though some might be left wondering. How does Charles fit into Ginna's life? You never mention, you imply that Ginna and Charles had an affair in Ohio. If this was completely clear, then killing his wife, stalking Ginna, and killing the three men for being rude to her would also be crystal clear. That's really the only thing I could think of that wasn't fully expressed. Excellent screenplay. I hope something comes of this.

Action lines and dialogue combine to show a story to the reader/audience. Your actions lines are long and clunky. Your dialogue is 99% unuseable. These two combined tell an extremely dull fractured story, that unfortunately lacks any kind of imagination. A script can get away with different styles of written action if the dialogue is good, and the scenes flow, laying out a story for the viewer. This does not. Because the actions lines are bad, and the dialogue is worse, it is agony to read. An example. Near the end of the script, Lily is shocked hearing about the accident and how her father died. She goes through this monologue "Mom barely spoke of him... she'd change the subject or shut down". Idunn never spoke of Will. How about Olivia? Her Aunts? If she truly cared, she'd have found out. Because no one here has a conflict with her. Olivia gives Lily a portfolio of Will's work. "It was your father's. I've been meaning to give it to you for a while." Why didn't she? Where's Lily's excitement that this is her dead father's photos, that she's seeing for the first time? Barely turning a page, she finds the perfect photo. Just this little scene, while the thought behind the action is fine, the execution of it is forced and unnatural. There isn't one scene in this that doesn't read exactly the same. On-the-nose dialogue, where the character says exactly what's on their mind, in the most simple direct way, should be used sparingly. Your dialogue is a mixture of on-the-nose and dialogue that has place in a script. All of your characters speak exactly the same way, mundane and typical of real-life boring people. The overwhelming majority of your dialogue is forbidden in produced screenplays. This is not an easy fix screenplay. You don't seem to understand the basics of structure. Lily is your protagonist. Yet she has no conflict or goal. We should know both before we head into Act Two. My sincere advice is to read some books on screenwriting. You need to learn the basics. Rewatch some films you love. Instead of just watching, breakdown what you learn from each scene either visually or verbally. Good Luck.

Create characters that live within the moment. An example, you could have the Dr rush from the room after Jessica is pulled off him, go to his office, and slam the door. He could literally pace, and look at different patient charts, disgusted by each and every one. Tossing them as if "why the hell do I bother?" He could sink into his leather chair and ponder. Let the actors act, and the director direct. You're doing their job in telling the story. Which is 180 degrees from what you should be doing. Good Luck in the future with this.

This was an easy read. You might want to have someone proof read it. There were some grammatical and punctuation errors. It could use a nice polishing. You must have worked extremely hard on this script. It could be made into a very good movie. I wish you the best of luck with it.