A FAMILY of EIGHT huddles outside a small storefront under a
faded sign, "The Family Bookstore."
Tattered flyers for prayer circles and quotes from Psalms
peak from under a Notice plastered on the door:
“UNAUTHORIZED RELIGIOUS GATHERING - PROPERTY SEIZED BY ORDER
OF THE U.S. GOVERNMENT IN PARTNERSHIP WITH NEXUS UNDER THE
REPORT YOUR NEIGHBOR PROGRAM.”
A FAITHSEC AGENT, futuristic uniform, AR visor hiding his
face, attaches a large Nexus-branded lock to the scissor gate.
A hovering PILLR DRONE records the scene.
The Agent turns to the GRANDPA (70s), clutching his coat.
FAITHSEC AGENT
Hold still.
He waves a sleek, Nexus-branded scanner over the old man.
The device locks onto an item in his pocket, BEEPS.
It lights up with a rendered image: “Unlicensed Religious
Artifact Detected.” The FaithSec Agent glances at the screen.
FAITHSEC AGENT (CONT'D)
Hardcover. Published 1982.
Unauthorized edition. Hand it over.
The Grandpa clutches his hands, beseeching.
GRANDPA
This is all I have left of my wife.
FAITHSEC AGENT
Don’t test me old man. You can hand
it over willingly, or we'll add
obstruction of justice to your record
and your next stop will be re-
education camp.
The FaithSec Agent holds out a gloved hand.
The Grandpa reluctantly hands over his Bible, breaks into
TEARS. His Bible is bagged as "FaithSec Evidence." His
Daughter consoles him.
DAUGHTER
Don't worry, Papa. They can't take
our faith.
A SECOND AGENT arrives to escort them to a sleek, branded
Nexus FaithSec van, with an LED readout:
“FAITH VIOLATIONS DETECTED. COMPLIANCE IN PROGRESS."
The FaithSec Agent backs up the Second Agent.
FAITHSEC AGENT
They were flagged on Pillr two weeks
ago. Sure took long enough to shut
this place down.
The Family exchanges frightened glances but says nothing.
SECOND AGENT
What do you expect? Nexus barely
has boots on the ground out here.
FAITHSEC AGENT
Yeah, well, wait til FaithSec's fully
operational. These small towns won’t
stand a chance.
DOWN THE STREET
J.J. (60s) a buff Veteran with a prosthetic leg, clenches his
jaw as he watches the family being loaded into the van.
Next to him, MEKONG SILVER (60s), slick silver ponytail, in a
wheelchair, adjusts his lens, zooms in on the FaithSec Evidence
Bag, "Property of Nexus: Protecting Worship Integrity."
J.J.
That's the third this week.
Mekong looks around to ensure no-one is watching, checks to
ensure his pics have uploaded securely.
A Nexus Mapping Vehicle rolls down the street. Its mounted
cameras scan buildings and pedestrians. On its side, glowing
letters read: “Faith Perfected. Worship Secured.”
Pedestrians avert their eyes as the vehicle passes. A MAN
pulls up his hood and turns his back to avoid detection.
MEKONG SILVER
They'll take your soul if you let
them, J.J.
EST. ARCHER FAMILY COMPOUND - N. LAKE TAHOE, NEVADA - SUNSET
Tucked among tall evergreens, a mansion, carriage house, and
modern wood and glass church. O.S. sounds of METAL ON WOOD.
Genres:
["Dystopian","Sci-Fi","Drama"]
Ratings
Scene
2 -
Stormy Reflections
INT. THE NEW CHURCH - EVENING
ELLIOT ARCHER (30), bun and beard, PLANES a length of wood.
He works precisely, measures its width, resumes planing.
O.S. THUNDER RUMBLES. Rain PATTERS on stained glass windows.
Elliot hoists the wood into a cement hole in the floor with
the aid of a pulley. The post slides in, sets perfectly.
Elliot checks the vertical alignment with a level. The bubble
is dead center.
He walks down the aisle, adjusts the Walkman on his tool belt.
Bob Dylan's "A HARD RAIN IS GONNA FALL" blasts from earphones
around his neck.
Elliot turns to asses his work: a life-like Jesus hangs high
on a simple wooden cross. He strolls among pews, scrutinizes
the crossbar from different angles.
ELLIOT
(singing sotto)
"I saw ten thousand talkers whose
tongues were all broken."
BACK AT THE ALTAR
Elliot climbs a stepladder, places the level on the crossbar.
The bubble is off center. He TAPS the joint with a hammer.
The bubble centers.
Satisfied, he pockets his tools, climbs down.
O.S. LIGHTENING CRACKS. Lights FLICKER. The power cuts off.
All is instantly DARK.
As he descends in the dark, Elliot misses a rung, stumbles,
stretches his hand to break his fall, jams it on the ground.
A generator RUMBLES to life. The church lights up.
Elliot raises his hand, a thick 4" nail skewered through his
right palm. With a GRUNT, he pulls it out. Blood gushes.
Elliot sits on the ladder, PRESSES HIS LEFT THUMB TO HIS RIGHT
PALM, WRAPS HIS FINGERS AROUND HIS THUMB.
O.S. WET SQUEAKY FOOTSTEPS.
TAISHA ARCHER (60s) shakes out an umbrella as she strides
down the aisle in Wellingtons, an Hermes scarf on her head.
She stops to admire the space with a mix of pride and longing.
TAISHA
Magnificent, Elliot. So powerful in
its simplicity.
Taisha plants a kiss on her son's head, sees the pool of blood.
TAISHA (CONT'D)
I came to make sure the new generator
kicked in.
Elliot rises, dusts off his palms, clean and DEVOID OF INJURY.
ELLIOT
You don't need an excuse to visit
your own church, Mother.
TAISHA
I can't help being a worry wart. If
there's something that can go wrong-
Elliot removes his belt, picks up and packs his tools.
ELLIOT
Then you should stop your scheme to
launch this madness.
TAISHA
I will not have those Nexus fear
mongers and their FaithSec militia
dictate what I do on my own property.
Taisha's gaze flickers to the pool of blood. Her hand moves
instinctively to her cross necklace, but she stops herself.
TAISHA (CONT'D)
They think they can exploit people's
faith for their patents and profit
margins. But not here. I won't let
them.
She reaches to caress her son's cheek. He takes hold of her
hand, looks at her dirt crusted fingernails.
ELLIOT
Gardening without gloves... again?
Taisha waves him off.
TAISHA
I started to tidy up my favorite
patch of flowers and before I knew
it-
ELLIOT
You have to stop digging in the dirt.
TAISHA
And you have to stop pretending the
dirt isn’t where life begins.
She pauses, her tone shifting.
TAISHA (CONT'D)
Come inside. I’ll make us supper.
ELLIOT
Another time. People are expecting
me.
Her phone BUZZES. She pulls it from her pocket. A text from
Rees reads: "Arriving 5:10 AM." She pockets her phone.
TAISHA
Alright. We'll talk tomorrow.
Taisha walks away, voice trailing over her shoulder.
TAISHA (CONT'D)
I don't know why you waste your time
in that dump of a casino.
ELLIOT
It's not a waste of time and we've
had this conversation.
TAISHA
You’re right. We have. And you
still haven’t convinced me.
AT THE DOOR
Taisha turns to look back.
The crucifix behind him, Elliot stretches his arms wide, unties
his hair and lets it fall around his face. The light from
above casts a faint halo over him as he shakes out his hair.
He hangs his head for a moment, fingers threading through the
long strands before twisting them into a bun. The pose and
the light create a fleeting, almost holy image - gone as
quickly as it came.
Genres:
["Drama","Family"]
Ratings
Scene
3 -
A Moment of Kindness
INT. SAN FRANCISCO INT'L AIRPORT - BAGGAGE CLAIM - NIGHT
Luggage appears through rubber curtains and slides onto a
conveyor belt. THUD, THUD, THUD.
LOUD SPEAKER (O.S.)
Passengers arriving on Turkish Air
Flight 687 from Mogadishu can claim
their luggage on Carrousel Seven.
CARROUSEL SEVEN
WEARY PASSENGERS scramble to stake a spot by the conveyor
belt, parking trolleys and creating an inaccessible wall.
A Pillr-branded drone hovers; its camera swivels to scan
passengers and luggage. A screen on its side reads: “For
Your Safety: Pillr Is Watching.”
A WOMAN in a burqa, struggles to adjust an INFANT on her hip
as she wrangles a luggage cart. The TODDLER at her side WAILS.
She bends to SOOTHE her Daughter. The Infant on her hip
flails. Through the burqa, her eyes rise to watch.
REES JONES (30) flowing hair, sharp eyes anticipating others'
movements, as she maneuvers through the Bustling Crowd.
The Toddler cannot be consoled; her SCREECH is piercing.
Rees's hand goes to her ear. She turns her head as PEOPLE
stare at the Woman with disapproving TSKS, SIGHS, WHISPERS.
Rees walks over to the Woman, bends, face to face with the
Toddler, pulls a hanky from her pocket, wipes her tears.
WOMAN IN BURQA
Their eyes bore into me. I feel
their hate. She does too.
Rees smiles sympathetically.
REES
It was a long flight. And when you're
tired the world can seem a loud,
scary place, but guess what?
Rees takes the Toddler's hands, covers her ears.
REES (CONT'D)
See? When you block out the noise,
it's not so scary any more.
The Toddler's eyes widen. Rees removes her hands from her
ears. The Toddler covers her ears, looks up at her Mother,
GIGGLES.
WOMAN IN BURQA
If only life were that easy.
As Rees straightens, the drone’s camera pivots, briefly
scanning her face before moving on.
REES
Sometimes it is. Sometimes we just
need someone to remind us how.
Rees glances at a Pillr kiosk, where a rotating screen flashes
advertisements: “Pillr: Faith Perfected. Worship Secured.”
OVER BLACK - O.S. RHYTHMIC THUMP.
FLASHBACK
Genres:
["Drama","Thriller"]
Ratings
Scene
4 -
Defiance in the Bunker
INT. BUNKER - SYRIA - DAY
Black turns to grey. SMOKE. SCREAMS. MEN BARK ORDERS.
Door BURSTS open. Daylight slices through dust motes. GIRLS
huddle afraid. They're dirty, battered, terrified.
SOLDIERS, desert camouflage, the best U.S. military gear,
professional, efficient, flash lights on the Girls.
Rees, a couple of years younger, steps forward, defiant,
SHOUTING MOS. The Soldiers grab her. She KICKS and SCREAMS,
disappears into a BLAZE OF LIGHT.
Stunned Girls stare after her. A smudged-face GIRL with
piercing blue eyes bursts into TEARS.
Rees breaks free, runs back towards the door. A BOMB EXPLODES.
She is thrown to the ground, hands clasping her bloody ears,
eyes wide.
END FLASHBACK
Genres:
["Drama","War"]
Ratings
Scene
5 -
Caught in the Clouds
INT. AIRPLANE - BATHROOM - DAWN
Rees opens her eyes to: PAOLO CERON (40s) foxy, penetrating
eyes. He smiles.
Rees grips her thighs around his waist, MOANS. The rhythmic
THUMP picks up pace. A KNOCK on door.
FEMALE FLIGHT ATTENDANT (O.S.)
Everything okay?
REES
(breathing hard)
Just a bit of motion sickness. It's
under control.
Genres:
["Drama","Romance"]
Ratings
Scene
6 -
Turbulence and Tension
INT. AIRPLANE - FIRST CLASS CABIN - NIGHT
The FLIGHT ATTENDANT, a perky blonde, rolls her eyes.
PERKY BLONDE
That's rich. A former airborne
captain scared of commercial flights.
2ND FEMALE FLIGHT ATTENDANT
I'd console Mr. Tall-Dark-and-Italian
any day of the week.
PERKY BLONDE
Not him. They saw her ID at check-
in.
(imitating gate agent)
"Thank you for your service, Captain
Jones. It's our honor to upgrade
you."
The plane LURCHES. The Perky Blonde hurries to catch an OLD
WOMAN tottering up the aisle. O.S. the seat belt signal DINGS.
CAPTAIN (O.S.)
Folks, this is your Captain. We've
hit some cross winds. Nothing to
worry about. Please ensure your
seat belts are securely fastened.
It's a balmy seventy-two degrees in
downtown Reno and you're heading for
a scorcher. Keep your cool and we'll
have you on the ground pronto.
Paolo slips into his seat, picks newspaper off floor, folds
it precisely, tucks it into chair pocket, reveals headline:
"TERRORISTS GAIN FOOTHOLD IN SOMALIA, July 20, 2029."
BATHROOM
Rees pats her face dry, looks at mirror, arranges her hair to
hide her state-of-art COCHLEAR IMPLANTS.
CABIN
Rees slides past Paolo to her window seat. She looks out to
see the neon sparkle of Reno on the desert horizon.
PAOLO
Welcome to the world's biggest little
city.
The plane lurches. Paolo reaches for her hand. Rees pulls
back, smiles tightly.
Flocked wallpaper pealing at edges, faux Art Deco high-top
tables and matted 1970s carpet.
FRONT OF ROOM
The only customers, a motley crew of VETS including J.J. and
Mekong Silver stare transfixed as:
Elliot, with a flourish, presents a fan of cards to MAVE (60s)
wizened but sharp-eyed behind her cat eye spectacles.
ELLIOT
Mave, choose carefully. A single
card could reveal the future.
She plucks a card, eyes twinkling.
BACK OF ROOM
A neon beer sign flickers across the face of SIMA (27) petite,
dark, kohl-rimmed eyes, as she PUFFs a cigarette while
simultaneously stacking quarters.
ADELITA (21) wholesome despite eye black and taught spandex
curves, swats at the smoke, fake COUGHS, all the while her
eyes fixed on Elliot.
SIMA
When can we quit this charade?
Sima blows smoke rings.
ADELITA
(fake COUGHS)
You gotta' stop with the smoke.
SIMA
Bellamy's back on Monday. We can
give notice then.
ADELITA
Jeez. What's the hurry?
SIMA
The summer will soon be over and we
won't have had any fun.
ADELITA
You don't call this fun?
Adelita tips over Sima's stacks of quarters. Sima SQUEALS.
ADELITA (CONT'D)
Ssh! Watch Elliot.
SIMA
God, it's not like we haven't seen
this before. He'll almost nail it,
then do something goofy, like spill
a beer, and J.J. and his band of
jolly gimps will laugh like it's the
best show in town.
ADELITA
Maybe it is. Maybe there's more
going on than meets the eye.
MATT SMILEY (30) handsome and knows it, appears out of the
dark entrance, sits at a high-top table.
Sima's eyes pop, jaw drops.
SIMA
(mouths silently)
Fuck me now.
ADELITA
Should I tell him you want your cherry-
Adelita inserts forefinger into cheek, makes a POPPING sound.
Adelita grabs a tray, saunters over to Matt, slaps a coaster
on the table, dazzles a smile.
Matt’s eyes stay locked on Elliot, his phone raised, videoing
the scene with deliberate precision.
ADELITA (CONT'D)
Welcome to the splendiferous Majestic
Cabaret Lounge and Casino. What can
I get you?
MATT
A beer.
ADELITA
Any old beer?
Matt briefly glances at her, returns his attention to Elliot.
MATT
Whatever's coldest.
Adelita watches as Matt slips a small notebook from his jacket
and jots something down.
ADELITA
Then our local Stoney Head wins.
FRONT OF ROOM
Elliot caresses Mave's cheek, adjusts her beret and flicks
his wrist. A card flutters out of her hair.
Elliot snaps his fingers, sends the card flying. The card
flutters in the air.
The Vet they call the HULK (60s) reaches for the card, knocks
the rest of the pack over, along with the table of drinks.
The floor is a mess of beer bottles, glasses and cards.
BACK OF ROOM
Sima grabs a cloth and bucket. As she hurries forward, she
bumps the table and tips over the stacks of quarters.
Adelita sets a beer before Matt.
MATT
I was told this magician was...
special.
ADELITA
That mess wasn't his fault.
Matt tucks a bill into Adelita's pocket, hands her his business
card.
MATT
I'm new in town, looking for someone
who knows their way around.
Matt slugs the beer, rises and heads for the door.
O.S. LAUGHTER, MERRIMENT.
Sima appears by Adelita's side.
SIMA
Ooh, Mr. Handsome give you his digits?
Adelita takes the tip from her pocket, tucks it into Sima's
bra strap.
ADELITA
Think he's your type?
Adelita teases Sima with the business card. She snatches it.
SIMA
(reading)
Matt Smiley. CPA. That's an
accountant, right?
Adelita fakes a bored YAWN.
ADELITA
Maybe. But he wasn't here just for
the show.
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
8 -
Unexpected Encounters at Dawn
INT. ARRIVALS - RENO AIRPORT - DAWN
Rees stands with her back to a column, scans the PASSERSBY
with sharp observation.
LOUD SPEAKER (O.S.)
Final boarding call for flight two
three seven departing for San
Francisco.
Her gaze flickers to a
LED BILLBOARD SCREEN
A clean-cut family smiles in a pristine church setting.
BILLBOARD (O.S.)
Nexus FaithSec: Protecting the
sanctity of your worship.
The screen glitches, briefly shows a jarring error message:
“System Error: Rebooting...”
The image resets, displays: “Faith Perfected. Worship Secured.”
Rees narrows her eyes at the ad, a hand instinctively brushing
hair behind her ear, as she continues to observe.
Paolo approaches Rees from behind.
PAOLO
Sure you don't want to take me up on
that ride?
Rees doesn’t react. Paolo taps her shoulder. She spins
sharply, her hand clenched into a fist. Paolo steps back,
hands raised in mock surrender.
PAOLO (CONT'D)
I'm innocent. I promise.
LOUD SPEAKER SCREECHES. Pain flashes across Rees's face.
She covers her ears briefly, forcing a tight smile.
REES
It's not you.
Paolo pulls a business card from his pocket, offers it with a
charming smile.
PAOLO
Then, let me take you to dinner.
(playful)
It would nice to get to know you now
that we've met-
(fake coughs somewhat
embarrassed)
REES
Biblically?
Rees glances at the card: "Paolo Ceron, Cybersecurity
Consultant."
PAOLO
You can at least tell me your name.
REES
Mareesepha. Rees for short.
Paolo kisses the back of her hand.
PAOLO
Don't keep me waiting, Rees.
Paolo walks away, pushes a trolley piled high with boxes.
Genres:
["Drama","Thriller"]
Ratings
Scene
9 -
Dawn at Reno Airport
EXT. RENO AIRPORT - DAWN
An unlicensed black Sedan pulls up. The DRIVER hops out,
pops the trunk, loads Paolo's boxes.
Above them, a small FaithSec drone hums, scans the area.
SEDAN DRIVER
Mr. Smiley sends his apologies, Sir.
He got a tip about a group of vets
with some sort of magician as their
ring leader.
PAOLO
Magician?
SEDAN DRIVER
Rumors about "miraculous healings,"
Sir. Unlicensed gatherings. Smiley
thought you'd want to know.
Paolo raises an eyebrow, intrigued but careful to hide it.
PAOLO
Faith-based or faith-driven?
SEDAN DRIVER
Unclear. But there’s chatter about
it spreading - people coming to...
witness. He went to check it out
personally.
PAOLO
Interesting. I'll look forward to
his report.
The Driver SHUTS the trunk. The drone BUZZES LOUDLY, its
lights flicker erratically.
SEDAN DRIVER
Watch out. These things have been
on the fritz all week.
The drone SPUTTERS and CRASHES to the ground. The Driver
flinches but quickly regains his composure, scoops up the
broken drone and tosses it into the trunk.
SEDAN DRIVER (CONT'D)
Guess FaithSec’s got some bugs to
work out.
Off Paolo's inscrutable look, the Driver snaps a military
salute.
SEDAN DRIVER (CONT'D)
Welcome to Nevada's Report Your
Neighbor Program, Sir.
PAOLO
What do they call it here?
SEDAN DRIVER
Cybersecurity Patch Assurance, CPA
for short. To the public, we're
just a bunch of computer nerds.
Paolo smirks faintly as he climbs into the sedan.
The car pulls away, leaving the flickering remnants of the
drone behind.
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
10 -
Secrets at Dawn
EXT. MAJESTIC CABARET LOUNGE & CASINO - DAWN
O.S. A FLOOD OF LAUGHTER spills onto the empty street as Elliot
strides onto the sidewalk followed by the Vets.
J.J. leads the group, followed by Mekong Silver with Mave, in
leg braces by his side, and two OTHERS in wheelchairs behind.
The neon 'Majestic Cabaret Lounge & Casino" sign casts an
eerie glow, giving Elliot an ethereal aura.
ELLIOT
My magic enthusiasts, thank you for
another stellar night.
J.J.
Ach, Laddie, it's our pleasure. One
of these days, you'll be famous.
MAVE
Until then, you'll have us to put up
with.
Elliot touches Mave's cheek with affection.
ELLIOT
Sorry I spoiled your trick, but tell
me you'll survive.
MAVE
A dousing of beer isn't enough to
get me down. I'll survive.
Elliot winks. The Vets wheel away, their CHATTER and LAUGHTER
echoing in the empty street.
ACROSS THE STREET
From the shadows, Matt watches Elliot walk in the opposite
direction, casually flipping a deck of cards in one hand.
He replays a slo-mo video of Elliot’s card trick.
ON PHONE
The King of Diamonds hovers in mid-air, suspended as if by an
unseen force.
When he looks up, Elliot is turning a corner down the street.
Matt steps onto the sidewalk, hesitates. His expression
tightens as if weighing his next move.
MATT
What are you hiding?
After a moment, Matt turns and walks in the opposite direction,
blending into the early morning shadows.
AROUND CORNER
Elliot stops at the boarded entrance of a synagogue, covered
with fresh notices:
- "UNAUTHORIZED RELIGIOUS GATHERING."
- "PROPERTY SEIZED BY ORDER OF THE U.S. GOVERNMENT IN
PARTNERSHIP WITH NEXUS UNDER THE REPORT YOUR NEIGHBOR PROGRAM.”
- "FAITH PERFECTED. WORSHIP SECURED."
He stares at them, his fingers twitching around the deck of
cards in his hands. His eyes linger on: “Faith Perfected.
Worship Secured.” He snorts in derision.
He pulls a single card from the deck and begins flipping it
between his fingers. The motion, fluid at first, grows faster
and more precise.
THE CARD
Spins unnaturally, moving with impossible precision. It hovers
mid-air for a beat, defying gravity, before he catches it in
a quick snap.
Elliot freezes. He glances around, his gaze sweeping the
empty street and shadows. Satisfied no one has seen, he tucks
the card back into the deck and shoves it into his pocket.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
11 -
Competition at Dawn
EXT. RENO AIRPORT PARKING LOT - EARLY MORNING
Adelita pulls into a parking spot.
INT. ADELITA'S CAR - CONTINUOUS
Adelita scrubs her face with wet wipes, squirts drops into
her eyes, slicks pink on her lips.
She stuffs her wig into a bag, stashes it under front seat,
grabs a placard from back seat, car keys and hightails it to:
INT. RENO AIRPORT - CONTINUOUS
Adelita runs in, placard held aloft with the name REES JONES.
Rees waves. Adelita hurries over, placard still held high.
Rees grabs the placard, folds it away.
ADELITA
I'm late. Sorry.
Rees extends the handle of her carry-on, wheels it toward
exit. Adelita looks around for other bags. When she turns
around, Rees is out the door.
OUTSIDE
Rees rolls her bag across the pavement. CRUNCH. A wheel
sticks on a piece of plastic from the broken FaithSec drone.
She bends to remove the jammed debris.
A WOMAN, 20s, exits the airport. Her phone DINGS with a
notification. She pulls out her phone.
WOMAN’S PHONE - SCREEN CLOSE-UP
WOMAN'S PHONE (O.S.)
(Pillr App)
Good morning, Sirena. It's time for
your daily affirmation.
A cheerful icon of a sunrise animates on the screen.
WOMAN'S PHONE (O.S.) (CONT'D)
(Pillr App)
"Blessed are the seekers, for they
will find clarity in Nexus. Today's
reading is from 'FaithSec
Reflections,' chapter five, verse
three. Open your heart and listen."
The WOMAN hesitates before lifting the phone closer. Her
lips move faintly as she listens, captivated.
Rees straightens, watching the Woman, her brow furrowed.
Adelita catches up, follows her gaze to the Woman beaming
beatifically.
WOMAN'S PHONE (O.S.) (CONT'D)
(Pillr App)
“Trust the path, trust the system.
Through order, faith is perfected.”
REES
(sotto)
What is that?
Adelita smirks, nodding toward the Woman.
ADELITA
That’s your competition.
Rees raises an eyebrow, glances from the Woman back to Adelita.
REES
We'll see about that.
Genres:
["Drama","Thriller"]
Ratings
Scene
12 -
Morning Disconnect at the Lake
EXT. LAKE TAHOE SHORELINE - EARLY MORNING
The lake is golden, awash with light of the rising sun.
Elliot sits cross-legged on a boulder at the edge of the water,
eyes closed. At first glance, it looks like he’s levitating,
but as the camera shifts, the rock beneath him becomes clear.
A light breeze ripples across the surface, but the water around
Elliot is eerily still, as if undisturbed by nature.
EXT. WATERSIDE GRILL - LAKE TAHOE SHORELINE - EARLY MORNING
O.S. last refrain of "JUST LIKE HEAVEN' by The Cure. Taisha
jogs in place, searches for music on her iPod.
ROCKY BOSQUET (25), a taut cafe au lait, pulls up on a
motorbike, flips down the kick stand, dismounts.
Taisha plays "RUNNING UP THAT HILL" by Kate Bush, adjusts her
earphones, turns up the VOLUME.
Rocky removes his helmet and leather jacket, waves at Taisha.
ROCKY
Beautiful morning!
She doesn't hear him. Rocky opens the metal pannier on his
bike, pulls out a 12lb Mackinaw in plastic on ice. He hoists
the fish over his shoulder, CHUCKLES.
ROCKY (CONT'D)
Whoa, chilly baby!
Rocky saunters towards the restaurant, WHISTLES a tune. Behind
him, a Delivery Truck pulls up.
Genres:
["Drama","Romance"]
Ratings
Scene
13 -
Morning at the Waterside Grill
INT. WATERSIDE GRILL - EARLY MORNING
Rocky TAPS out a beat on the bar, watches STAFF bustle about.
The MANAGER walks through swing doors from the kitchen.
WATERSIDE MANAGER
Rocky, my man, you've got yourself
one happy chef, which means you've
also made my day.
ROCKY
It's my mission to please.
The Manager gives Rocky a hand slap, knuckle bump.
The Delivery TRUCK DRIVER wheels in a cart laden with boxes,
cuts by Rocky, almost knocks him off his feet. Rocky LAUGHS.
ROCKY (CONT'D)
Hey, Bud, you need a hand with that?
TRUCK DRIVER
(to Manager)
You need to put cones outside when
you're expecting a delivery. That
pissants got me walking double the
distance the way he's parked.
The Truck Driver disappears into a back room.
WATERSIDE MANAGER
Cranky son of a gun. Little wonder
his wife runs around on him.
The Manager pours a lemonade, sets it before Rocky.
WATERSIDE MANAGER (CONT'D)
How's your pa?
ROCKY
Lonely, but he'll never show it.
Same as how he hides his worry about
the fish disappearing from the lake.
WATERSIDE MANAGER
And they say climate change isn't
real. Hey, my check book's in the
office. Be right back.
As he walks off, the Manager's cell RINGS.
WATERSIDE MANAGER (into phone)
What did I tell you about calling me
at work?
(beat)
Babe, don't worry. Your old man is
clueless.
EST. BIRDS EYE OF HIGHWAY 431 - NEVADA - MORNING
A twisting mountain road from Reno to Lake Tahoe.
EXT. ADELITA'S CAR WINDING UP HIGHWAY 431 - MORNING
RADIO NEWSCASTER (O.S.)
Amid heightened security alerts, the
Strum administration has announced a
one-billion-dollar partnership with
Nexus to expand the government's
Report Your Neighbor Program.
Genres:
["Drama","Slice of Life"]
Ratings
Scene
14 -
Frustration on the Road
INT. ADELITA'S CAR
Adelita drums her fingers on the wheel, visibly annoyed. She
switches off the radio.
ADELITA
You didn't hear one word I said.
Rees turns radio back on with a CLICK.
RADIO NEWSCASTER (O.S.)
The funds will support rural task
forces to counter "faith-based
extremism." Nexus CEO Stellan Voss
met with President Strum yesterday
at Camp David, where they unveiled
plans to roll out advanced FaithSec
surveillance technologies.
Adelita snaps the radio off again with a jab of her finger.
REES
You were saying?
ADELITA (O.S.)
Just that even though Tahoe is one
of the clearest lakes in the world,
they're starting to notice changes
in its water levels and temperatures.
REES
Climate change.
ADELITA (O.S.)
It's getting worse. Anyway... glad
to be back?
REES
Not happy to be deaf and unemployed,
so yeah. I'm glad Taisha has work
for me.
Adelita glances at her.
ADELITA
(off Rees's look)
Taisha gave me the whole story.
Seminary, military chaplain, airborne.
Afghanistan, then Syria. All that
and they still kicked you out?
An oncoming car cuts the curve, crosses the double yellow
lines. Adelita swerves, hits the HORN.
ADELITA (CONT'D)
(out the window)
MO-TH-ER FU-CK-ER!
She straightens the wheel, muttering under her breath, as
Rees side-eyes her with faint amusement.
ADELITA (CONT'D)
Ever since the techies took over the
old Mountain Restaurant and turned
it into HQ for their server farm, I
swear, they'll be the death of me.
They turn the bend to see a building with the historic sign
"Mountain Restaurant." In its parking lot, Paolo steps out
of the sedan. Rees puts a hand on the steering wheel.
REES
Slow down for a minute.
She watches the Driver unload boxes from the car as Paolo
directs TWO MEN unloading equipment from a FaithSec van.
Adelita flips the bird in their general direction and catching
Paolo's attention. He catches Rees's eye briefly before turning
to the Driver who's asking a question.
ADELITA
They think they rule the world.
Genres:
["Drama","Thriller"]
Ratings
Scene
15 -
A Moment of Compassion
EXT. LAKE TAHOE SHORELINE - MORNING
Seagulls SQUAWK and hover. Elliot comes out of his meditative
trance. Something splashes on the surface ten feet away.
Elliot stands to get a better view. Eyes fixed on the
splashing, he steps forward. His bare foot meets the water,
the surface tension rippling beneath him.
TEN FEET OFFSHORE
A pure white gull flutters on the water, its wing bent at an
unnatural angle.
Elliot steps closer, his feet barely submerged. He crouches
and scoops the bird into his hands, his voice low and soothing.
ELLIOT
Easy... it’s okay.
The gull trembles but calms as Elliot cradles it. He strokes
the broken wing, his touch deliberate, almost reverent. The
bird lets out a CHIRP, then grows still, its breathing even.
Genres:
["Drama"]
Ratings
Scene
16 -
A Moment of Tension
EXT. WATERSIDE GRILL - LAKE TAHOE SHORELINE - MORNING
Rocky exits, a skip in his stride. He kisses the check,
pockets it, pulls out his cell, dials. O.S. a phone RINGS.
As he dons his jacket and helmet, he sees Taisha crouched
behind a tree, snapping photos of the shoreline with her phone.
THE TREE
Taisha squints into the glare of the sun on the water, her
hand shielding her eyes. Her breathing is shallow, her face
tense with belief.
THE GULL
Takes flight, soaring upward.
Taisha tilts her head to follow its ascent. Lost in the moment,
she steps forward. SNAP. A twig breaks underfoot.
THE SHORELINE
Elliot stops mid-motion. His body still. Slowly,
deliberately, he looks directly toward her hiding spot.
Taisha freezes. For a moment, their eyes seem to lock, though
the distance between them makes it unclear.
Elliot tilts his head, an unreadable expression on his face,
as if sensing her presence more than seeing her.
THE TREE
Taisha pulls back sharply. Her foot catches on a root. She
stumbles, drops her phone and falls hard on her hands, scraping
her palms on the rough ground. She stares at her bloody hands,
trembling. She grabs her phone and leaps to her feet.
Heart pounding, she bolts toward the road, her breath ragged,
movements erratic. She clutches her phone to her chest, making
her gait off balance. As she reaches the road, she looks
over her shoulder back to the shore. Elliot is gone.
O.S. COMMOTION
The truck HONKS. Tires SCREECH. A THUD. A WOMAN SCREAMS.
Taisha's phone HITS the pavement, CRACKS. A Dog BARKS.
Genres:
["Drama","Thriller"]
Ratings
Scene
17 -
Contrasting Perspectives at Lake Tahoe
INT. ADELITA'S CAR - MORNING
Adelita swerves across the road into a byway.
ADELITA
Ta da!
Lake Tahoe sparkles cerulean blue. The peaks beyond look
like they're dusted with powdered sugar.
Rees exits the car, inhales deeply. Adelita follows.
ADELITA (CONT'D)
Pretty isn't it?
(off Rees's silence)
Too bad rising temps are messing
with everything. Even here, in Tahoe.
People don't think about it, but
vector-borne diseases hit the elderly
hardest. Half the town's on edge.
REES
(deep in thought)
Hmmm.
ADELITA
I'll call Taisha. Tell her we're
almost home.
Adelita lists to phone RING on the other end.
ADELITA (CONT'D)
No answer. Let's send a pic.
Adelita reaches her arm around Rees, holds up her cell for a
selfie. Rees pulls away, palm up covering her face. Adelita
is miffed, snaps a selfie of herself cross-eyed, sends it to
Sima: "She's a bit of a bitch."
The rustic restaurant has been gutted and replaced with sleek
cubicles. Monitors glow with data feeds. STAFF move with
quiet efficiency.
An AIDE (20s), fresh-faced and eager, stands at attention, as
Paolo enters.
AIDE
This way, Sir.
Paolo takes it all in with a critical eye as she leads him to
a glass-walled corner office, talking as she walks.
AIDE (CONT'D)
Here’s the current status for the
region, Sir.
She swipes her tablet, pulls up graphs and heat maps.
AIDE (CONT'D)
We’ve deployed 23 surveillance drones
in key zones, with another twelve
scheduled for launch next week. As
of this morning, 62% of Reno's
population has downloaded the Pillr
app, though only 41% are active daily
users.
Paolo raises an eyebrow.
PAOLO
Forty-one percent. That’s... quaint.
AIDE
Our goal is 75% active engagement by
the end of the quarter. FaithSec
teams are running outreach programs,
targeting schools and senior centers.
PAOLO
And the "reporting program"?
AIDE
We’ve received over 200 submissions
in the last month. Mostly minor
infractions... unauthorized
gatherings, unregistered faith
leaders, that sort of thing. But
there’s... one possible outlier.
The Aide hesitates, glancing at Paolo.
PAOLO
Go on.
AIDE
A group of veterans - disabled, mostly -
frequent a cabaret called the
Majestic. Reports suggest they’ve
been... organizing.
PAOLO
Organizing what?
AIDE
That’s unclear. It might be harmless,
but Mr. Smiley flagged them. Said
it felt... coordinated.
Paolo stops walking, his sharp gaze fixed on the Aide.
PAOLO
Coordinated, huh? Get me details.
I want every thread unraveled - phones
tapped, social feeds scoured, every
last detail on my desk. Yesterday.
AIDE
Yes, Sir.
CORNER OFFICE
Paolo studies the remnants of the once popular restaurant - a
wall covered with historic black and white photos.
He leans in to look at the largest portrait: Taisha between
two grizzled men proudly holding up massive Mackinaw trout.
The door CREAKS open. The Driver rolls in a dolly stacked
with Paolo's boxes.
DRIVER
Where do you want these, Sir?
Paolo doesn’t turn.
PAOLO
Leave them. I'll deal with it.
Paolo steps away from the photo, crosses to the dolly and
removes the lid from the top box to reveal vinyl albums.
He pulls out “Kind of Blue” by Miles Davis, taps his fingers
in the air and nods his head to an imaginary tune. His lips
twitch into a hint of a smile before he puts the record away
and closes the box.
He looks back at the wall, presses a button on his phone.
AIDE (O.S.)
Yes, Sir.
PAOLO
Has that fool Smiley showed up yet?
AIDE (O.S.)
No, Sir. Would you like me to get
him on the phone for you?
PAOLO
Don't bother. But, I want every
face in these photos run through
facial recognition. Cross-reference
them with the Pillr database.
Paolo hands up, his eyes on Taisha’s smiling face in the photo.
PAOLO (CONT'D)
Let’s see what secrets this little
lakeside paradise is hiding.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
19 -
The Search at Archer Mansion
EXT. ARCHER MANSION - MORNING
Adelita pulls into driveway of a stone and timber mansion
tucked amid tall evergreens. She hops out of the car, Rees
right behind her.
ADELITA
Hello! Sorry, we're late!
Adelita shoots Rees a "that's weird" look, runs into the house.
INT. ARCHER MANSION - FOYER - CONTINUOUS
ADELITA
Mami, we made it.
Her VOICE echoes in the silence. She heads off to search the
rooms, leaving Rees in the plush foyer.
Rees picks up a framed photo: Two young women, each holding a
child. Years later, we can still identify Rees and Elliot.
She sets it down, her gaze shifting to a table where an open
binder holds floral sketches and handwritten notes. She flips
a page. A loose newspaper clipping flutters to the floor.
O.S. Adelita's FOOTSTEPS on the stairs.
Rees glances at the headline as she picks it up and places it
back in the folder, "The Price of Faith."
Adelita barely glances at Rees as she heads out the door.
ADELITA (CONT'D)
Probably in the church.
Genres:
["Drama","Mystery"]
Ratings
Scene
20 -
Reviving Hope
EXT. THE NEW CHURCH - MORNING
Boxes scatter the front porch.
ADELITA
Smells like a funeral parlor.
Rees and Adelita open one the boxes. Inside are Orchids,
Casablancas, Tuberose, Roses, Tulips - all white, all limp.
ADELITA (CONT'D)
They're for your inaugural service.
Taisha's going to be so upset.
REES
What about buckets... and ice?
ADELITA
Good idea. In the cellar.
(pointing)
I'll get a hose.
Rees strides towards a side door.
INSIDE CELLAR
An impeccably organized wine cellar. Rees grabs a bag of ice
from the freezer, pauses when she spots an old, dusty bottle
labeled “Elliot’s Reserve.”
She hesitates, then moves on.
MONTAGE - REES AND ADELITA SAVE THE FLOWERS
- Adelita clips the stalks.
- Rees fills buckets of iced water.
- Adelita places the flowers in water.
- Rees sets the buckets aside in the shade.
END MONTAGE
Genres:
["Drama","Character Study"]
Ratings
Scene
21 -
Urgent Call to Action
EXT. THE NEW CHURCH - DAY
The boxes are empty. Rees looks up at the sun high overheard.
REES
Where is everyone? It's almost noon.
Adelita checks her pocket.
ADELITA
Fu-
(rolling her eyes)
I left my phone in the car.
EXT. ADELITA'S CAR - DAY
Adelita looks at her phone, smirks when she reads 11:50 AM.
She scrolls through missed calls from "Mami Cell," hits play.
LUPE (O.S.)
Adelita, Mija, please answer, por
favor. I'm at the hospital with
Taisha. Find Elliot. Bring Rees.
Genres:
["Drama","Mystery"]
Ratings
Scene
22 -
Urgency in the Workshop
INT. ELLIOT'S WORKSHOP & LOFT - DAY
Old carriage house turned wood workshop. A ladder leads to a
loft. Adelita pokes her head in the door.
ADELITA
Elliot!
Adelita pushes open the door, steps inside. Rees follows.
Adelita takes three steps up the ladder.
ADELITA (CONT'D)
Elliot?
Rees admires massive blocks of wood, some with life-size
figures emerging from them, similar to Michelangelo's Slaves.
ADELITA (CONT'D)
Those are his idea of a hobby. You
should see his furniture. There's a
piece in the White House, a sideboard
or some such thing.
REES
When we were kids and went to the
coast, he would comb the beach, up
and down, up and down in case he'd
missed a special piece of driftwood.
Adelita scribbles a note on a chalkboard by the door.
ADELITA
His head might be wooden too. This
is his idea of a modern lifestyle
device. Refuses to carry a phone.
Adelita's phone BUZZES. She reads a text.
ADELITA (CONT'D)
That's Doctor Ken looking for me
now. We better hop to.
Genres:
["Drama"]
Ratings
Scene
23 -
A Moment of Reassurance
EXT. COMMUNITY HOSPITAL - DAY
A contemporary two-story building set among tall Pines.
DR. KENNETH ROBERTSON (75) silver fox, paces as he listens on
his cell.
DR. ROBERTSON (into phone)
I don't see the need for you to make
the trip, Doctor. Remote we may be,
but we're not entirely parochial.
The family's generosity ensures we
have every technological gizmo money
can buy.
The Doc puffs a cigarette while he listens to the other end.
A car pulls into the lot with a SCREECH. Adelita leaps out.
The Doc snubs his cigarette, pockets it.
DR. ROBERTSON
Thank you for your consult, Doctor.
I'll keep you posted.
Adelita runs towards the Doc, worry etched on her face.
DR. ROBERTSON (CONT'D)
No reason to panic. Your mother
said you were ignoring her, asked me
to ping you.
Rees strides up.
ADELITA
Doctor Kenneth Robertson, this is-
Rees extends a hand.
REES
Been a while, Doc.
The Doc pulls her into his arms.
DR. ROBERTSON
Well, I'll be damned. Mareesepha
Jones, back home. About time, Lass.
Rees pats the Doc on the back pulls away with a smile.
REES
I look forward to catching up.
Meanwhile?
DR. ROBERTSON
Taisha took a nasty bump to the head.
She's unconscious but stable. We're
running the usual precautionary tests.
ADELITA
The way my mother's been calling,
you'd think it was the apocalypse.
DR. ROBERTSON
Not quite the welcome Taisha had in
mind for our new spiritual leader.
The Doc slings his arm around both women, leads them inside.
Adelita SNIFFS.
ADELITA
You promised to quit.
DR. ROBERTSON
You must forgive an old man his
occasional foible.
Genres:
["Drama","Mystery"]
Ratings
Scene
24 -
Navigating Tensions in the Hospital
INT. COMMUNITY HOSPITAL - RECEPTION - DAY
A modern, cheerful space. Busy STAFF move with purpose.
DR. ROBERTSON
This way, Ladies, to the Archer Wing.
WAITING ROOM
LUPE GUERRA (40s), Adelita's mother in fuck-me pumps,
alternates between wringing her hands and checking her phone.
O.S. a Talk Show DRONES on the mounted TV.
Dr. Robertson opens the door. Lupe rushes toward Rees.
LUPE
Mareesepha! Sweetheart!
Lupe hugs Rees, pulls back to hold her at arms' length, plucks
a petal off her shoulder.
LUPE (CONT'D)
Look at you! So grown-up. And only
half a tomboy. When Taisha told me
what happened - bombs, explosions -
aye! Did they give you a medal?
REES
Not exactly.
Lupe strokes her hair, brushing it behind her ears. Rees
flinches subtly but doesn't pull away.
LUPE
And your poor mami.
(crossing herself)
May she rest in peace.
REES
We both know that’s unlikely.
LUPE
And, now, this. As if our plate
wasn't already spilling over.
Lupe pulls a handkerchief from her sleeve, dabs a tear.
LUPE (CONT'D)
Oh, Mija... Taisha was run down by a
motorcycle.
DR. ROBERTSON
It was an accident. He's a nice
local boy.
Lupe spins on Adelita.
LUPE
And you! Where were you all night?
I’ve been calling and calling.
ADELITA
I was... helping the Doc.
Dr. Robertson interjects smoothly.
DR. ROBERTSON
Adelita’s research takes her into
the community now. That means late-
night house calls.
ADELITA
God’s work is never done, Mami.
Lupe frowns but is momentarily appeased.
LUPE
Fine. If it means you spend less
time with those... unfortunate girls.
ADELITA
Uh—
DR. ROBERTSON
Her new role will focus on family
practice. I'll ensure it meets her
pre-med requirements.
Lupe nods approvingly, softening.
DR. ROBERTSON (CONT'D)
I could use a cup of coffee. Rees?
REES
Black. Thanks, Doc.
ADELITA
I'll help. Milk and four sugars,
Mami?
LUPE
Si, and now that you're here I can
go peepee... I mean powder my nose.
Rees is left alone. She glances at the T.V. where a TICKER
scrolls: "Congress Approves $1 Billion Expansion for Rural
Programs to Combat Unlicensed Religious Activity."
LATER
Empty cups scatter the coffee table.
Dr. Robertson paces. Lupe compulsively straightens items
around the room. Adelita flips through a magazine, her
attention elsewhere.
Rees stands erect, gazing out the window, arms crossed as
though bracing against an invisible storm.
The door opens and the ER DOCTOR (30s) enters briskly. Dr.
Robertson steps forward, a protective edge in his posture.
DR. ROBERTSON
I set her broken arm when she was
ten. You can give it to me straight,
Doctor.
The ER DOCTOR hesitates, choosing her words carefully.
ER DOCTOR
She's stable but unresponsive. We've
done everything we can to make her
comfortable-
LUPE
We can't take her home? She'll want
to wake up in her own bed.
ER DOCTOR
It's been a long day. For everyone.
My advice? Go home. Get some rest.
DR. ROBERTSON
Might I see her for a moment?
ER DOCTOR
She's in good hands. If there's any
change, you'll be the first to know.
The ER Doctor exits, leaving the room in heavy silence.
LUPE
That doesn't sound like standard
precautions to me.
DR. ROBERTSON
Taisha's strong. She'll pull through.
Dr. Robertson checks his watch, masking his own unease with a
glance toward Adelita.
DR. ROBERTSON (CONT'D)
My, it's that time already.
(sotto to Adelita)
Our group is convening.
ADELITA
I'll take Rees home and come right
back.
REES
No need. I could use a walk.
Lupe pulls keys from her purse, drops them into Rees's hand.
LUPE
Gold Buick. Parking lot out front.
Press button and she'll speak to
you.
(turning to Adelita)
The house is a shambles. You're
coming with me.
(to Rees, softening)
Dinner will be served at eight.
Don't be late.
Lupe turns on her 5-inch heels, marches out, Adelita in tow.
Genres:
["Drama"]
Ratings
Scene
25 -
Dinner Dilemmas
EXT. COMMUNITY HOSPITAL - PARKING LOT
Adelita barely keeps stride with her mother. Lupe grips her
phone like a weapon, each word precise and clipped.
LUPE (into phone)
Received your text, Jude, stop.
Everything will be ready for your
arrival, stop. Yes, dinner at eight.
Lupe fiddles with her phone, hits send.
LUPE
Pray he's on the plane and can't
respond. I don't need more orders
from him.
ADELITA
Mami, under the circumstances,
wouldn't it be okay to - I don't
know - order take-out?
LUPE
Standards matter. Especially today.
ADELITA
It's not our last supper. You can
impress another day.
They reach Adelita's car.
LUPE
In twenty-two years, when have I
ever let this family down?
Adelita rolls her eyes.
ADELITA
Jude the Jerk flies in and we all
have to kowtow.
LUPE
Adelita, you can't talk like that
about my boss's son.
ADELITA
Like it's a secret he's a grade-A
burro?
LUPE
The sooner you go off to university,
the better.
ADELITA
Ah! I forgot something. I'll be
right back.
Adelita dashes back into the hospital.
Genres:
["Drama"]
Ratings
Scene
26 -
A Moment of Triumph and Urgency
INT. COMMUNITY HOSPITAL - HALLWAY
Adelita stops outside a room with a sign, "PRIVATE - MEETING
IN SESSION." She pops her head in the door, steps into
THERAPY SESSION ROOM
FIVE TEEN GIRLS (ages 17-19), sit in a loose circle. Each
carries an air of misfit rebellion: multi-colored hair, face
piercings, scars, guarded posture. Dr. Robertson grabs a six-
pack of sodas from the fridge, holds it aloft.
DR. ROBERTSON
Who's thirsty?
MIA THOMPSON (19) pale and wiry, darts up and snags the six-
pack. Her quick LAUGH reveals teeth damaged from bulimia.
DR. ROBERTSON (CONT'D)
Don't take it as an endorsement for
good health.
Mia GIGGLES, covers her mouth. Dr. Robertson spots Adelita.
DR. ROBERTSON (CONT'D)
Hey, Ladies, look who made it - our
resident over-achiever.
GIRLS IN UNISON
Hi, Addie.
ADELITA
Sorry, Chicas, just popping in for a
quick word with the doc.
Adelita exchanges hugs and intricate handshakes with the girls.
She reaches Dr. Robertson and gives him a peck on the cheek
DR. ROBERTSON
What did I do to deserve that?
ADELITA
Thanks for covering for me, but now
you're stuck taking me on house calls.
DR. ROBERTSON
Only as an observer.
ADELITA
Scout's honor. Can you come for
dinner?
DR. ROBERTSON
I wouldn't miss the fireworks for
all the tea in China.
ADELITA
Eight o'clock. Jude's rules.
Rees waves to the Girls, exits.
DR. ROBERTSON
Ladies, shall we?
Dr. Robertson settles into a chair in the circle.
DR. ROBERTSON (CONT'D)
Last time, we talked about those
little voices that tell us negative
stories. Sometimes, I look in the
mirror and wonder, "What if all my
best efforts don't really make a
difference?"
He pauses to scan the room.
The Girls respond with small but telling gestures - a nod, a
twitch of the mouth, a shift in their seat. The weight of
his words settles over them, unspoken but deeply felt.
DR. ROBERTSON (CONT'D)
But then I remind myself, even the
smallest ripple can change the tide.
The Girls CHUCKLE. The mood lightens as they lean in to listen.
HALLWAY
Adelita’s phone RINGS. She glances at the ID: Mame Cell.
Instead of answering, she texts: COMING.
Her attention is caught by CHEERS and APPLAUSE spilling from
the open door of the
PHYSICAL THERAPY CLINIC
A jubilant Mave releases her grip of the parallel bars, steps
onto the floor free of leg braces.
PHYSICAL THERAPIST
Take it easy, Mave. Still a ways
'til your first marathon.
The Physical Therapist leads Mave to a chair.
MAVE
It's my crystals and Tibetan bells.
They work miracles.
ADELITA
(to herself)
Goddamm. A miracle indeed.
Her phone DINGS. She doesn't bother to check it, hurries
toward the exit, sidesteps as MARCUS "TANK" THOMSON (67), a
disabled Vet in a wheelchair, whizzes past.
TANK THOMSON
(shouting)
Mave! Mave, Mekong and the boys
have been hauled in for questioning
by FaithSec. We gotta run!
Genres:
["Drama","Family","Mystery"]
Ratings
Scene
27 -
A Moment of Reflection
INT. COMMUNITY HOSPITAL - RECEPTION
Rees walks past the BUSY Reception Desk. A list of services
read: Cancer Center, Neurology, Orthopedics and Sports
Medicine, Pediatrics, Physical Therapy, Sleep Disorder Center.
Rees heads towards Intensive Care in The Archer Wing.
INTENSIVE CARE RECEPTION
IC RECEPTION NURSE
Can I help you?
REES
I'm here to see Taisha Archer.
IC RECEPTION NURSE
Mrs. Archer isn't receiving visitors
at the moment. Doctor's orders.
REES
I'm the family chaplain, here on
God's orders. I'm sure you'll allow
the exception.
Rees reads the white board on the wall.
REES (CONT'D)
Room 16? Thank you.
ROOM SIXTEEN
Rees steps inside, her gaze sweeping the machines and tubes
surrounding Taisha. She hesitates, then sits at her bedside,
taking Taisha’s hand in hers.
REES (CONT'D)
You always did know how to make an
impression.
Rees INHALES, smiles, saddened by Taisha's bruised face.
REES (CONT'D)
You called so here I am. After all
these years, I have to say your timing
is impeccable.
Rees leans closer, her voice dropping to a whisper.
REES (CONT'D)
Where do I even begin? Was it you
who sent me ice-skates for my twelfth
birthday? 'Cos we didn't have two
dimes to rub together and that was
when mama could still work, if you
call hooking a job... before things
went really sour and everything went
up her nose. She sold those shiny
skates for a hit.
Rees kisses Taisha's hand. Lays it back down, lifeless.
REES (CONT'D)
I guess that's all water under the
bridge. And, whatever this is...
you have my attention. I'm here.
Rees stands and presses a kiss to Taisha’s forehead.
INTENSIVE CARE RECEPTION
Rocky POUNDS the counter, his voice raised.
ROCKY
I have to see Ms. Archer.
RECEPTION NURSE
And I've told you, no visitors
allowed. None. Zip. Nada. Zero.
Rees steps in, placing a calming hand on Rocky’s shoulder.
REES
Let’s take a walk.
ROCKY
I need to explain—
REES
You will. Just not here.
Genres:
["Drama"]
Ratings
Scene
28 -
After the Accident
EXT. COMMUNITY HOSPITAL - MOMENTS LATER
Rees and Rocky sit on a bench by the entrance.
ROCKY
It all happened so fast. Truck
honked. I looked back. Next thing,
bam. I tried to swerve, but it was
too late.
REES
It's amazing you're not hurt.
Rocky gives a shy grin, winces. He deflects by pulling
Taisha's cracked pink phone from his pocket.
ROCKY
This is what I wanted to tell her.
I have her phone safe. This is why
she was so excited. She must have
taken a photo - I'm guessing - of
something like she'd never seen
before...
(he fumbles for the
right words)
REES
...a leprechaun, maybe?
ROCKY
(confused, then curious)
A what now?
REES
(grinning)
You know, a little green guy with a
pot of gold?
ROCKY
(laughing despite
himself)
You're messing with me.
REES
Maybe. But you should see your face.
She playfully nudges him and Rocky CHUCKLES.
REES (CONT'D)
Whatever it is, we’ll figure it out.
(standing)
You know what? Feels like I've been
on the road forever. Hungry?
Genres:
["Drama","Family"]
Ratings
Scene
29 -
Lakeside Musings
EXT. LAKESIDE PARK - DAY
Rees and Rocky sit side by side on a bench facing the lake.
They munch on sandwiches and chips, drink sodas.
ROCKY
You think Ms. Archer's a bird spotter?
Could be that's what got her fired
up. We have lots of pretty birds
around, tanagers, woodpeckers, even
a yellow-headed black bird.
REES
Serious?
ROCKY
I don't lie. But, other than the
potential for a bird sighting, I
don't know what could be so exciting
along these shores. Unless the fish
return. That would be something.
Genres:
["Drama"]
Ratings
Scene
30 -
Balancing Curiosity
EXT. LAKE TAHOE SHORELINE - DAY
Rees strolls along the shore, skips stones as she goes. A
step behind, Rocky's attempts are less successful.
ROCKY
This is where she was taking pics
like real intense looking toward the
water over there.
Rees shields her eyes, scans the shoreline.
A CANOEIST paddles close to shore, maneuvers around an object
where a white gull perches. She walks over to see the keel
of a boat just under the surface.
REES
You think she saw this?
ROCKY
Can't see how that's so exciting
(shrugging)
But, maybe.
Rees removes her shoes, steps into the water and walks along
the keel, arms out for balance as if walking a tightrope.
Rocky HOOTS and APPLAUDS.
ROCKY (CONT'D)
You're walking on water!
Rees glances down at her feet, wryly amused, but lets the
comment hang.
Genres:
["Drama","Romance"]
Ratings
Scene
31 -
Uneasy Encounters at the Dock
EXT. BOSQUET & SON FISHING CHARTERS - AFTERNOON
A weathered wooden cabin backs onto a dock with a moored
Skipjack. The gold Buick pulls up. Rocky steps out.
ROCKY
Thanks for lunch.
Rocky waves as he walks away, somewhat hesitant.
Rees backs out, waits for traffic to pass.
ROCKY (CONT'D)
Hey! Rees, wait!
Rees pulls back in.
ROCKY (CONT'D)
You want the grand tour? Bosquet
and Son's Fine Fishing Charters?
Rees cuts the engine, hops out. She looks up at the sign.
ROCKY (CONT'D)
Keep tellin' Pops to change it.
REES
The fish will be back.
ROCKY
Pop says all we need is faith.
Rees follows Rocky along side of the cabin towards the dock.
Down the dock, Matt Smiley disembarks from the Skipjack.
MATT
Next time, we'll do some fishing.
As Matt walks away, ALEX BOSQUET (50s) weathered, fit, pulls
out a boom box, turns on music: Soulful, sad, FADO plays.
Rocky and Rees stand aside to let Matt stride past, a camera
around his neck.
ROCKY
Nice day!
MATT
Enjoy it while you can.
ROCKY
(sotto)
Obviously not from around here.
(to Rees)
Pretty sure that's the guy who spooked
Ms. Archer.
Rees turns to get a good look at Matt only to find he's turned
to stare at her. He nods his head to acknowledge her in what
way exactly is uncertain, but it makes her uneasy. She turns
back to Rocky, forces a smile.
Down the dock, Alex dances with the mop as he swabs the deck
of the Skipjack.
ROCKY (CONT'D)
Pardon my Pops. He's gone a bit
loco since my mom passed.
The MUSIC crescendos. Alex twirls with a flourish, realizes
he's not alone, turns down the MUSIC.
ROCKY (CONT'D)
Pops, meet my new friend, Rees.
ALEX
Any friend of my son's is welcome.
Hop aboard, Boo.
REES
(to Rocky)
Boo?
ROCKY
(to Alex)
Go easy on the charm, Pops. We don't
want to scare her away.
Alex extends a hand to help Rees aboard.
ROCKY (CONT'D)
What did that fat cat want?
ALEX
Answers to a litany of questions
ain't none of his business. Who
lives there? What do they do?
ROCKY
Bet you gave him an earful.
ALEX
Sent him packing with enough tales
to boggle his tiny mind for weeks.
(MORE)
ALEX (CONT'D)
Enough side tracking, where you been
all day?
Rocky hands his father the check.
ROCKY
I had an accident with my bike.
Rocky lifts his pants' leg. His leg is scraped, knee bandaged.
REES
You're son's a lucky man.
ALEX
(roughing Rocky's
hair)
He's got a good guardian angel,
alright. We'll talk about this later.
(to Rees)
So, how about a cruise? We can catch
the sunset.
REES
Rain check?
Rees gives Rocky a buddy-like hug, nods to Alex.
ALEX
Sunset happens every night.
Rees hops ashore, walks down the pier, with a backwards wave.
ALEX (CONT'D)
Where's your manners? See the lady
to her car.
Rocky's feet POUND on the wooden boards.
Genres:
["Drama","Slice of Life"]
Ratings
Scene
32 -
Keys and Kindness
EXT. BOSQUET & SON FISHING CHARTERS - LUPE'S BUICK
Rocky catches up as Rees pretends to fumble her keys.
ROCKY
Hey, I want to thank you again for
today. I mean, you didn't have to
stick around.
REES
What kind of buddy would that make
me?
Rocky gives an "aw shucks" smile.
ROCKY
Also, I know a guy. He's dope with
anything techno, works at the server
farm. He'll get the pics off the
phone for Ms. Archer. Just guessin'.
REES
She'll love that. How about you
call me when you have them?
ROCKY
Let me run inside for a pen.
REES
Where's your phone?
ROCKY
The accident. It must have fell out
my pocket. I'll get a new one,
eventually.
Fluorescent tubes BUZZ, cast a sterile glow over cobwebbed
bottles of wine lining the walls. A row of jail cells lurks
ominously at the end of the room.
The Vets - SHERLOCK (66) with his monocle and plaid waistcoat,
Mekong Silver, J.J., and TOM “RADIO” WILSON aka THE VOICE
(65) - sit tethered with zip ties cutting into their wrists.
Paolo strides up and down, a cattle prod in hand.
PAOLO
I want to know what goes on at the
club you all love to frequent... the
mighty Majestic.
SHERLOCK
We enjoy card tricks.
J.J.
Yeah, they're like the beer they
serve, weak and lukewarm.
SHERLOCK
But, the waitresses are hot.
The Vets LAUGH.
THE VOICE
(hard of hearing)
What did he say?
Paolo slams the prod against a metal chair. SPARKS echo off
the walls. The laugher dies instantly.
PAOLO
Comedians, huh? Humor’s important.
Keeps people sane... until things go
south.
Paolo moves to J.J., crouches to lean in nose-to-nose. He
hovers the sparking prod near J.J.’s leg.
PAOLO (CONT'D)
Do I look like someone in the mood
for jokes?
J.J. glares at him. Paolo smiles coldly and flicks the prod
off. His voice drops to an icy calm as he resumes pacing.
PAOLO (CONT'D)
Let’s try again. What happens after
the magic show?
J.J.
We go home. We're just old men trying
to pass the time.
PAOLO
Time’s a luxury you don’t have, my
friend.
He gestures to the GUARD (20s) at the door, who steps forward
with a clipboard and small black pouch.
PAOLO (CONT'D)
Let’s make things clearer. FaithSec
laws mandate that all religious
symbols, including personal
adornments, require proper licensing.
Noncompliance? A felony.
(beat)
Let's start with you.
Paolo yanks the chain from Mekong Silver’s neck. A small
crucifix dangles from his hand. Paolo inspects it with mock
curiosity.
PAOLO (CONT'D)
A relic of faith, or an act of
defiance? Do you have a license for
this?
MEKONG SILVER
I earned that when I served. Same
as my country’s flag.
Paolo grins, unimpressed. He tosses the crucifix into the
black pouch held by the Guard.
PAOLO
Consider it confiscated until you
can prove otherwise.
(to the Group)
FaithSec doesn't take kindly to
unlicensed expressions of faith.
Penalty for the first offense - pay
a fine or attend a re-education
program. It only goes up from there.
He steps toward J.J., grabs his buffed arm and yanks up his
sleeve, revealing a full-sleeve tattoo of religious imagery:
a vivid Jesus with thorns, a crucifix, and angels in battle.
PAOLO (CONT'D)
Now this... this is multiple
infractions... all on one arm.
J.J.
Yeah, all the things you'll never
control - faith, pain and hope.
PAOLO
As you say, this ink is a manifesto.
Unauthorized display of religious
symbols. Bastardization of said
symbols. Stirring up rebellion in
plain sight. Sedition is what this
looks like to me.
Paolo leans in, a smirk tugging at his lips.
PAOLO (CONT'D)
Inciting rebellion’s not the same as
living it, though. It’s a felony.
But not quite treason. Not yet.
SHERLOCK
Jesus, all this fuss for a shitty
magic show.
Paolo turns sharply, silencing Sherlock with a glare. He
straightens, addressing the group.
PAOLO
The magic doesn’t matter. It’s the
ripples. You see, they have a way
of expanding. A cross here, a tattoo
there... Next thing you know, people
start asking questions FaithSec can’t
answer. People have been known to
disappear for less.
The Vets exchange nervous glances. Paolo picks up on it
instantly, circling behind them like a wolf.
Paolo flicks the cattle prod back on, the sparking filling
the room. He circles behind the men, his tone icy.
PAOLO (CONT'D)
You’ve got secrets. And secrets?
They have a way of rotting under the
light.
Genres:
["Drama","Thriller"]
Ratings
Scene
34 -
A Night of Flirtation and Friendship
INT. LULU'S BAR & GRILLE - EVENING
A circular bar in center of room, tables around the wall and
separate dining room. A COUPLE huddles at a table for two.
A FOURSOME settles a bar tab.
Sitting at the bar, Sima swirls remnants of wine in a glass,
checks her phone, sends a text.
Adelita walks in, takes a seat next to her friend.
ADELITA
Sorry.
SIMA
One of these days, you'll actually
be on time for something.
ADELITA
It's been a day.
A BARTENDER (50s), saunters over, all business.
ADELITA (CONT'D)
Whatever she's having, thanks.
SIMA
Make it two.
Sima slugs the last of her wine.
SIMA (CONT'D)
So where to? This place makes the
Majestic look hip and happening.
ADELITA
I can only stay for one.
SIMA
You are so harshing my mellow.
(MORE)
SIMA (CONT'D)
I went to the office, caught up on
my work, went to the gym, did my
laundry, even put groceries in the
fridge. I was so good, and this is
my reward?
ADELITA
Taisha's in the hospital and we're
having a family dinner. You know
you're always welcome.
SIMA
How does that get me a boyfriend?
ADELITA
You can flirt with Jude.
SIMA
The bitter brother everyone loves to
hate.
Bartender sets down two glasses of wine.
ADELITA
He's not all bad, if you like rich.
And you do.
SIMA
Ha! We do.
ADELITA
He's got the mansion in the hills,
pool, jacuzzi, Porsche... all wrapped
up with a lousy attitude.
SIMA
And that hand. It's so creepy how
he wields it like a badge of honor.
ADELITA
He thinks Elliot should’ve fixed it.
SIMA
(snorting her wine)
Elliot’s a magician, not a miracle
worker.
The door opens. Matt walks in, scans the room before taking
a seat directly across the girls.
SIMA (CONT'D)
(covering her mouth
with her hand)
Is that our handsome Mr. CPA?
Adelita takes a surreptitious look.
ADELITA
That's Stoney Head alright.
Sima flashes a not very discreet smile in Matt's direction.
He smiles.
SIMA
The night may not be a dud, after
all.
ADELITA
Then I'll leave you to it.
Sima grabs Adelita's wrist.
SIMA
Not so fast. What do I say?
Adelita looks at Matt; his eyes on a sports game on TV.
ADELITA
He'll probably talk your head off
about sports. Just smile and nod.
Adelita gives Sima an air kiss, walks out.
Genres:
["Drama","Romance"]
Ratings
Scene
35 -
Evening Preparations
EXT. LUPE'S BUICK - LAKE TAHOE SHORELINE ROAD - EVENING
Rees searches the verge of the road, illuminated by the car's
headlights. Something glints at the edge of the light’s reach.
Rees picks up a soda can, tosses it aside. She continues to
sweep the scrub in the fading light.
Her foot strikes something solid. She bends down again, this
time retrieving a phone - dead, but intact.
REES
Mission accomplished.
INT. ARCHER MANSION - UPSTAIRS HALLWAY - EVENING
Rees approaches her room as Lupe exits.
LUPE
Ah! There you are. You forgot to
pack a dress so I hung one up for
you. Lucky you, Taisha takes care
of her figure.
REES
Aaaa-
LUPE
And I ran your bath. We serve dinner-
REES
At eight. Got it.
Genres:
["Drama"]
Ratings
Scene
36 -
Tension in Tranquility
INT. ARCHER MANSION - ELLIOT'S FORMER BEDROOM - NIGHT
Rees surveys the room. Her carry-on sits open on the bed,
its contents unpacked: clothes folded neatly, shoes lined up,
a dress hanging by the door.
She throws her purse on the bed, removes a small handgun and
slips it under the mattress. From a side pocket, she retrieves
a silver four-leaf clover on a chain.
She holds it up to the light, her expression softening. She
places it atop a piece of driftwood on the nightstand.
BATHROOM
Rees luxuriates in a tub full of bubbles, eyes closed.
O.S. CARPETED FOOTSTEPS.
BEDROOM
Elliot enters, WHISTLING softly. He glances at the open carry-
on, then heads to the closet
WALK-IN CLOSET
Flips through a myriad of multi-colored shirts, pulls one
out, heads out the room, does a spin, walks into
BATHROOM
Elliot heads straight for the cabinet above the sink.
Rees, eyes closed, SPLASHES water over her shoulders, HUMS A
HYMN.
Elliot admires the scene, grabs a pack of razor blades, tiptoes
out backwards.
Genres:
["Drama","Thriller"]
Ratings
Scene
37 -
Tensions at the Table
INT. ARCHER MANSION - SITTING ROOM
JUDE ARCHER (28) epitome of big-city slick, sits opposite Dr.
Robertson. They swirl Scotch in heavy crystal glasses.
Rees enters. Dr. Robertson stands to hug her. Jude sets his
drink aside.
JUDE
It's been a while, dear cousin.
REES
You're a lawyer now, congratulations.
DR. ROBERTSON
Lass, a drink?
JUDE
The good doctor brought single Malt.
Apparently, he heard about our party
weekend when the cellar ran dry.
REES
A glass of wine, perhaps.
Elliot enters, a bottle of red wine in hand.
JUDE
Ah, my brother, always a step ahead.
ELLIOT
When Lupe takes over the kitchen,
it's a sacred occasion.
JUDE
Mama hasn't mentioned our ever
replenishing cellar, courtesy of my
brother?
ELLIOT
You're still harping on about that.
JUDE
She was mortified when the wine ran
out, but big bro' swooped in with a
miracle.
ELLIOT
There was a late wine delivery that
hadn't made it to the shelves.
JUDE
So you say.
Elliot pours Rees a glass, hands it to her with a small smile.
ELLIOT
You can't replicate this. Vintage
Brunello di Montalcino.
Rees holds up her glass in a toast.
REES
A speedy calm to the storms of life.
DR. ROBERTSON
Solange.
JUDE
Doctor, why don't you tell our
prodigal war hero about your lost
girls' program? Or as I prefer, the
sorry sluts who cried wolf.
DR. ROBERTSON
It's been a long and trying day.
REES
I'm interested. Tell me.
O.S. A GONG. Jude checks his watch.
JUDE
Precision timing. Don't you miss
the military, dear cuz?
DINING ROOM
Everyone takes a seat at the long table facing the lake. Jude
sits at the head, Lupe at the opposite end.
Rees is flanked by Dr. Robertson and Elliot, whose hand brushes
hers as they bow their heads for grace. Rees startles at the
contact, a shiver racing up her arm.
Lupe watches them intently as she clasps Dr. Robertson’s hand.
Adelita, half-bowed, glances sideways at Rees and Elliot.
LUPE
Elliot, would you do the honors?
From the lake looking in: Elliot bows his head, long hair
around his shoulders, arms extended, palms up.
A cell phone BUZZES. Dr. Robertson pulls out his phone.
DR. ROBERTSON
Could be the hospital.
He reads the text, his expression somber.
DR. ROBERTSON (CONT'D)
Sorry to leave this fine supper, but
one of my patients is about to take
his last breath.
Adelita leaps up.
ADELITA
I'll get my things.
DR. ROBERTSON
Rees?
LUPE
The food will keep. God's work
doesn't wait.
REES
Of course.
DR. ROBERTSON
(to Elliot)
Anyone else?
ELLIOT
I'm picking up Eva at the bus station.
LUPE
I thought she was seeking fame and
fortune in L.A.
JUDE
Elliot's darling ex is staying with
me. She's back to pack the last of
her things.
Elliot smirks.
JUDE (CONT'D)
Oh, another elephant in the room.
Speaking of, Mareesepha, or whatever
your concoction of a name is, I'm
sorry our Mama's whim got you here
on a mad goose chase.
DR. ROBERTSON
Jude, that's enough.
JUDE
Let's be honest, Doctor. How is a
deaf girl supposed to lead the masses
to the promised land?
ELLIOT
Why don't you go back to swimming
with the sharks where you belong?
Rees places a gentle hand on Elliot's. Again, electricity
shoots up her arm.
REES
(to Jude)
You have my deepest sympathies.
Fate does seem to have dealt you a
cruel hand.
JUDE
That your best shot? I expected
more. Deaf you may be, but got a
medal for your trouble, right?
ADELITA
Rees, let's go.
Rees turns to leave.
JUDE
What? You're not going to tell me
to go to hell?
REES
Why bother? You're already there.
Genres:
["Drama","Family"]
Ratings
Scene
38 -
Behind Bars: A Desperate Debate
INT. MOUNTAIN RESTAURANT - CELLAR BASEMENT - NIGHT
The Vets are behind bars in the cells, some dozing. FOOTSTEPS
on the floor above, DOORS SLAM, SILENCE. J.J. opens his eyes,
stands and stretches.
J.J.
Well, ain't this a fine how-do-you-
do. How youse holding up?
SHERLOCK
We have to tell him something or who
knows how long they'll keep us here.
Sherlock's stomach GROWLS.
J.J.
Nah, it's a fishing expedition. If
he were serious he'd do more than
wave that prod around like a spare
prick in a brothel.
SHERLOCK LAUGHS. The others awake.
MEKONG SILVER
Anyway, what's there to tell?
SHERLOCK
Well, our man J.J. here was crippled
with back pain until he was the target
of a magic trick.
J.J.
Pure conjecture. My doc says the
stem cells kicked in and the ozone
shots took care of the rest.
MEKONG SILVER
So, we tell them your story and
there's nothing to it but the miracles
of modern science.
J.J.
We won't be feeding them any stories.
Period.
THE VOICE
What did he say?
SHERLOCK
(speaking loudly)
We have to come up with something.
I've seen that prod applied to the
flesh of men and it's not pretty.
Genres:
["Drama","Thriller"]
Ratings
Scene
39 -
A Flirtatious Farewell
EXT. SIMA'S APARTMENT COMPLEX - NIGHT
A car pulls up.
INT. SIMA'S CAR - NIGHT
Matt is behind the wheel. He turns off the engine.
SIMA
I could have totally made it, but I
so appreciate gallantry.
EXT. SIMA'S CAR - NIGHT
Matt exits and walks round the car, in time to catch Sima's
stumble. She looks up at him with adoring eyes.
SIMA
Maybe I should have had more than an
artichoke for dinner.
MATT
Maybe you shouldn't have washed it
down with a bottle of wine.
SIMA
And maybe you shouldn't be so
distracting to the eye.
Sima leads the way to the elevator.
Genres:
["Romance","Drama"]
Ratings
Scene
40 -
Elevator Encounters
INT. SIMA'S APARTMENT COMPLEX - ELEVATOR - NIGHT
MATT
How long have you lived here?
SIMA
Since I moved from Massachusetts.
MATT
East coast, huh. I've been trying
to pinpoint your accent.
SIMA
I'm from way way East.
The elevator door opens. Matt hands Sima her keys.
SIMA (CONT'D)
I'm Persian, like the cat. Don't
you want to come in? Stay warm while
you wait for a cab.
Sima drapes herself around Matt.
SIMA (CONT'D)
I can show you my diploma from MIT
and then you can call me doctor.
MATT
(impressed)
I would never have guessed. You
must be brilliant.
SIMA
Just determined. My father always
said education was the one thing
they couldn't take from you.
MATT
(stepping into the
elevator)
Tell me more about your family.
SIMA
They're in Toronto now. Except my
brother. He's... complicated.
MATT
I know something about complicated.
As the elevator doors close, he kisses her, watches them in
the mirrored wall, his expressions predatory.
Genres:
["Romance","Drama"]
Ratings
Scene
41 -
A Night of Farewell
INT. SMITH RESIDENCE - BEDROOM - NIGHT
A wealthy home. A DYING MAN lies in repose, a rosary in his
lifeless hands. Dr. Robertson comforts his tearful WIFE.
Rees dips her thumb into a crystal bowl of oil. She anoints
the Dying Man's forehead and hands.
REES
Through this holy anointing may the
Lord in his love and mercy help you
with the grace of the Holy Spirit.
May the Lord who frees you from sin
save you and raise you up. Amen.
The Dying Man gasps his last BREATH. Dr. Robertson closes
his eyes. The Wife WHIMPERS.
DR. ROBERTSON
Take as long as you like.
KITCHEN
Adelita rummages in the fridge, munches on carrots.
ADELITA
I don't know what it is about death
that gives me an appetite. Anyone
else?
Rees looks wan.
DR. ROBERTSON
You okay?
REES
It's not a part of my job I ever got
used to. You know, I'm not really
qualified to bless olive oil.
Dr. Robertson holds up an open bottle of oil on the counter.
DR. ROBERTSON
It's extra virgin. You'll be
forgiven.
ADELITA
Why don't I take Rees home and I'll
come back to help the Missus?
Genres:
["Drama"]
Ratings
Scene
42 -
Unrequited Flirtation
INT. SIMA'S APARTMENT - NIGHT
A nice apartment, conservative, girly.
SIMA (O.S.)
Beer's in the fridge. Help yourself.
BATHROOM
Sima looks in the mirror, slaps her face.
SIMA (CONT'D)
What would Adelita do?
She takes perfume from the cabinet, sprays her neck, down her
pants. She fluffs her hair.
LIVING ROOM
Matt sips a beer, looks at framed photos of Sima and Adelita.
MATT
You and your girlfriend get around.
Sima wraps an arm around his shoulder in attempt to be flirty
but his detachment is clear.
SIMA
That's Stanford when I went to check
out the campus with her. That's us
at Burning Man.
MATT
Sex and drugs on the playa, huh?
SIMA
I am so going to miss her. But,
you're here, so tell me what's a guy
like you doing in a place like Tahoe?
MATT
(turning on the charm,
albeit fake)
Oh, I'm just looking for a nice girl
to settle down with, have some fun.
Genres:
["Romance","Drama"]
Ratings
Scene
43 -
The Illusion of Understanding
INT. HERMANOS DEL TRUENO - NIGHT
A Mexican restaurant with a mural of two god-like men in clouds
flashing thunder bolts onto molcajetes of salsa.
Paolo sits alone in the empty restaurant. He shovels food in
his mouth as he watches Matt's video of Elliot's card trick
on his tablet. He rewinds it again, ZOOMS IN on the Vets.
PAOLO
(sotto)
It's a shitty magic show. What am I
not seeing?
(beat)
Is the joke on us?
Genres:
["Thriller","Drama"]
Ratings
Scene
44 -
Aftermath of Betrayal
INT. SIMA'S APARTMENT - BEDROOM
Sima's face is smashed into a pillow as Matt brutalizes her
sexually from behind. He finishes with a GRUNT. Silent tears
stream down her face as she leaps up to go to the bathroom.
O.S. FAUCET RUNS, turns off. Sima stands at the bathroom
door, wrapped in a towel, watches Matt get dressed.
SIMA
Was it- was I... okay?
MATT
Sure, Babe. Exactly what I needed.
His phone BUZZES. He checks it.
MATT (CONT'D)
Looks like Lake Tahoe's about to get
very interesting.
He grabs his jacket, pecks her on the cheek as he heads out.
MATT (CONT'D)
I'll call you.
Genres:
["Drama","Thriller"]
Ratings
Scene
45 -
A Moment of Anxiety and Camaraderie
INT. HERMANOS DEL TRUENO - NIGHT
Paolo's hand begins to tremble. He tries to steady it with
his other hand. Fumbling, he manages to pull a pill container
from his pocket but can't open the cap.
PAOLO
(calling out)
Say, Hermano, can you help me?
JUAN ZEPEDA (24), one of the brothers in the mural, looks up
from behind the counter.
JUAN ZEPEDA
Say what?
Paolo drops the pill container. It rolls across the floor.
Juan picks it up, reads the label as he opens the container.
JUAN ZEPEDA (CONT'D)
Propranolol. My tio takes these for
his heart.
Juan tips two tiny pink pills into Paulo's hand. Paolo throws
them over his throat, swallows them dry.
JUAN ZEPEDA (CONT'D)
You need to get to a hospital?
PAOLO
I'm fine. Nothing anyone can do.
Juan puts the cap back on the container, shaking his head.
JUAN ZEPEDA
Fuck these caps. A man could die
trying to open this bullshit.
PAOLO
Wouldn't that be a joke.
JUAN ZEPEDA
I pray you find a miracle, Hermano.
Paolo nods faintly, staring at the footage looping on his
tablet: The Vets at the Majestic laugh and clap in slow
motion. He rewinds it, zoning in on their faces.
Genres:
["Drama","Thriller"]
Ratings
Scene
46 -
Caution Under the Stars
EXT. ARCHER RESIDENCE - NIGHT
Adelita's car pulls up.
INT. ADELITA'S CAR - NIGHT
Rees startles awake. She composes herself, steps one foot
out the car.
REES
Thanks for the ride.
ADELITA
You're welcome. You want my advise?
REES
What have you got?
ADELITA
Be careful of getting too close.
Rees steps out the car, leans back in.
REES
What makes you think I'm getting
close?
ADELITA
Just saying, people like Elliot don't
let you in unless they've already
decided how the story ends.
Genres:
["Drama","Thriller"]
Ratings
Scene
47 -
Reflections in the Night
INT. CHURCH - NIGHT
Rees enters, pauses to take it all in.
She strolls up center aisle, admires the pews, the molding
details, the stained glass windows.
She approaches the chancel, looks up at Jesus on the cross,
her expression judging, harsh.
REES
Fuck you.
Behind her a BANG. Rees flinches, turns to see Elliot with a
length of wood over his shoulder.
ELLIOT
Didn't take you for a doubting Thomas.
REES
Didn't take you for a late worker.
Thought you were picking up your
girlfriend.
ELLIOT
Ex and she has a husband for that.
REES
Oh. Jude did mention-
She starts to walk away.
REES (CONT'D)
Sorry. I'm tired. I think exhaustion
has set in. Or civilian life's made
me weak.
ELLIOT
Traded in your khaki's for a dress.
Looks good from where I'm standing.
Rees flushes.
REES
Lupe insisted. I didn't think it
was an argument I could win.
Silence hangs between them. Rees looks away first.
REES (CONT'D)
The church really is beautiful.
Elliot hoists the wood over his shoulder, turns to walk away.
REES (CONT'D)
Why are you still here, Elliot?
ELLIOT
(without looking back)
Because it's easier to fix a building
than it is people.
REES
You think that's why I'm here, to
fix you?
ELLIOT
Aren't you?
Genres:
["Drama"]
Ratings
Scene
48 -
Elusive Truths in the Garden
EXT. ARCHER MANSION - GARDEN - NIGHT
Lights twinkle in the trees. Sprinklers CLICK on. Water
SPRAYS softly. The atmosphere is magical.
Rees stops pacing, look up at the the moon and stars.
REES
You turned away when I needed you
most. All those innocent girls.
Why? Why should I believe in you?
ADELITA (O.S.)
Does he ever answer?
Startled, Rees turns to see Adelita on a bench out of reach
of the SPRAY. She's blowing smoke rings not very successfully.
REES
Does who answer?
ADELITA
The man in the moon. Who do you
think?
REES
I thought you were going back to the
house.
ADELITA
The patient died. He's in no hurry.
REES
(indicating the
cigarette)
You have another one of those?
Adelita tosses a pack to Rees followed by a lighter thrown
high. Rees shows dexterity, catches it easily.
ADELITA
Nice catch. Military training?
Rees doesn't answer, lights the cigarette, takes a deep
satisfying drag.
ADELITA (CONT'D)
You ever think you're asking the
wrong question?
REES
What's the right one?
ADELITA
Not “why should I believe?” But,
“why do you want to?”
REES
I guess I want to believe there’s a
reason for all of this.
ADELITA
Reason or excuse?
Rees glances at Adelita, startled by the bluntness.
ADELITA (CONT'D)
(flicking ash)
Taisha believes Elliot has a gift
that could change the world. I heard
her arguing about it with my mother
and mom said, "Maybe he doesn't want
to change the world."
REES
So he's selfish?
ADELITA
Or like the rest of us... just human.
REES
You don't believe he has a gift.
ADELITA
I believe in empirical data. So
far, there's none, and yet...
REES
And yet?
ADELITA
I don't know... it's a feeling.
REES
Like faith. You can't see it. You
can't explain it.
ADELITA
But it's something you'll die for.
Adelita drags on the cigarette, successfully blows smoke rings.