AERIAL SHOT — from high above the Caribbean, we glide toward
the northern coast of Haiti.
The sea is a deep, bruised indigo. Waves crash against jagged
coral cliffs. Fishing boats dot the surf like specks of
resistance.
We pass over rusting shipwrecks, bleached-white bones of the
past.
We move inland — across sugarcane fields, then abandoned
factories, then tent cities sprawling over hillsides. Plastic
tarps shimmer like scales in the rising light.
The sounds of morning creep in — distant roosters, church
bells, and the pop-pop-pop of gunfire echoing from deeper in
the capital.
EXT. PORT-AU-PRINCE – SKYLINE – CONTINUOUS
From a distance, the city looks peaceful. Mist rolls off the
mountains. Sunlight hits the Presidential Palace, now
surrounded by razor wire and burned-out cars.
A black plume of smoke rises in the south.
Beneath it, a girl’s voice speaks.
ELSIE (V.O.)
“They told us we were free. But
they never stopped charging us for
it.”
CONTINUED – SCREENPLAY: THE WEIGHT OF FREEDOM
Genres:
["Drama","Political","Social Issues"]
Ratings
Scene
2 -
Echoes of Struggle: Haiti's Tumultuous Journey
EXT. VARIOUS HISTORICAL LOCATIONS – INTERCUT – FLASHBACKS –
DAY/NIGHT
ELSIE (V.O.)
(soft, deliberate)
“Saint-Domingue. 1791. The richest
colony on earth... built on
sugar... and shackles.”
— FLASH:
INT. SUGAR PLANTATION – 1790s – NIGHT
Enslaved Africans haul wagons under lash. A teenage boy
collapses — a WHIP cracks. A French overseer screams in
slurred Creole.
ELSIE (V.O.)
“Half the world’s sugar... came
from here.”
— FLASH:
EXT. BATTLEFIELD – 1804 – DAY
Toussaint Louverture’s army charges in tattered uniforms. A
white flag drops. Blood in the soil. The Haitian flag is
stitched from a torn French banner.
ELSIE (V.O.)
“We became the first free Black
republic... and the most punished.”
— FLASH:
INT. PARIS BANK OFFICE – 1825 – DAY
A Haitian diplomat signs a document with shaking hands. A
French official smiles. Golden coins are shoveled into
crates.
ELSIE (V.O.)
“We were forced to pay for our
freedom... to the people who
enslaved us.”
— FLASH:
EXT. PORT-AU-PRINCE – 1915 – DAY
U.S. Marines land on the beach. Haitian protesters throw
stones. A rifle fires. A man drops.
ELSIE (V.O.)
“Then came the boots. The banks.
The bullets.”
Genres:
["Historical","Drama"]
Ratings
Scene
3 -
Desperation in Port-au-Prince
EXT. PORT-AU-PRINCE – FOOD LINE – PRESENT DAY – MORNING
RACKET.
A bottle shatters. Screams.
Dozens of Haitians shove against metal barricades. Women
scream for water. Children cry.
Soldiers in mismatched uniforms — some police, some private
contractors — push back with shields.
ELSIE JEAN-BAPTISTE (28)
Camera bag slung across her chest,
a microphone clipped to her shirt.
Dust in her curls, fire in her
eyes.
She records into a handheld recorder, ducking behind a wall
as shots fire in the air.
ELSIE (INTO RECORDER)
Day forty-six. The government
promised rice. It’s been three
days.
A woman screams nearby. A man punches another for a bag of
flour. A child is trampled and pulled away by a grandmother.
ELSIE (V.O.)
“They keep asking us to wait. For
food. For safety. For leadership.
But history taught us one thing...”
Her eyes rise toward a distant wall tagged with a mural of
Toussaint Louverture, mouth sewn shut.
ELSIE (V.O.)
“No one is coming.”
Elsie uploading the podcast, lets do some charecter
development i want to know who she whats her back ground
family ect
Genres:
["Drama","Historical"]
Ratings
Scene
4 -
Echoes of the Past
INT. ELSIE'S APARTMENT – PORT-AU-PRINCE – NIGHT
Electricity flickers. The ceiling fan barely spins. Rain taps
the corrugated rooftop.
A modest one-room apartment — walls lined with books, old
family photos, hand-stitched maps of Haiti. A battered laptop
glows on a wooden table.
CLOSE ON – SCREEN
Audio editing software. Track title: How Did We Get Here –
Ep. 3: The Price of Independence.
Elsie sits cross-legged on the floor. Headphones on. Editing.
She’s calm, focused — her face lit by the screen, exhaustion
in her posture, but fire in her eyes.
ELSIE (V.O.)
“If you want to understand what’s
happening now… you have to know who
profited from our pain.”
On her desk:
* A framed photo of her father in a police uniform
* A Catholic prayer candle, half-melted
* A mug with the words: ‘Pressé, mais pas cassé’ (Pressed,
but not broken)
Genres:
["Drama","Historical"]
Ratings
Scene
5 -
Echoes of Truth
FLASHBACK – INT. RADIO STATION – ELSIE AGE 10 – DAY
Young Elsie, in uniform, sits behind a mic at a community
station. Her father, COMMANDER JEAN-BAPTISTE, coaches her
from behind the glass.
She reads nervously from a script. He nods, proud.
BACK TO PRESENT – INT. ELSIE'S APARTMENT
She uploads the episode. A progress bar crawls. The Wi-Fi
stutters.
ELSIE (SOFTLY)
C’mon… don’t die on me now.
A knock at the door. Three sharp raps.
She tenses. Pauses the upload.
Peeks out the curtain.
It’s her uncle, JOACHIM (50s) — wiry, scarred, a former
journalist turned community activist.
She opens the door quickly. He steps in with urgency and a
soaked jacket.
JOACHIM
You need to stop talking about the
banks.
ELSIE
Then who will?
JOACHIM
You think they won’t come for you?
You’re your father’s daughter — but
this is different.
ELSIE
He died trying to protect this
city. I’m just trying to protect
the truth.
They share a quiet beat.
He sees the audio bar: 86%.
He puts a tattered envelope on the desk.
JOACHIM (SOFTLY)
From your mother. Found it cleaning
the old place.
She hesitates. Opens it. A letter — faded and delicate.
Inside: A photo of her mother, pregnant, smiling in front of
a church. Behind her: a young Jean-Baptiste in uniform.
Genres:
["Drama","Historical"]
Ratings
Scene
6 -
Hope and Despair
FLASHBACK – EXT. CHURCH STEPS – 1997 – DAY
Elsie’s parents, hand in hand, talking with parish leaders
about hosting a literacy program in the courtyard.
We glimpse idealism in their eyes — and the seeds of Elsie’s
mission.
BACK TO PRESENT
The upload completes.
Elsie presses publish.
ONSCREEN:
Episode Released: “The Price of Independence – LIVE”
ELSIE (V.O.)
“We inherited this land. And the
scars. And maybe... the chance to
heal it.”
She looks at the candle. Lights it.
The flame flickers... steady.
EXT. CITADELLE MARKET – DOWNTOWN SLUM – NIGHT
A maze of crumbling concrete, graffiti, and sweat. Vendors
sleep beneath plastic tarps. Rats dart past buckets of
spoiled rice.
RICO (15) runs barefoot across a rooftop. A small, wiry boy —
too thin, too fast, too clever. His face is streaked with
dirt and rage.
In his hand: a burner phone and a plastic pouch filled with
cash and blue tablets.
He leaps down into an alley.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
7 -
High Stakes in the Abandoned Barbershop
INT. ABANDONED BARBERSHOP – NIGHT
Rico bursts in. A gang of teens with machine pistols turn to
him.
BIG MARC (19), the one they all fear, stands near a
flickering TV showing UN convoys.
BIG MARC
What you got?
Rico tosses the pouch to him. Catches his breath.
RICO
Three streets. Two dead drop boxes.
No cops. No tails.
Marc inspects it. Grunts.
BIG MARC
You late.
Rico’s eyes flash.
RICO
I had to move. There’s a journalist
digging around on Dantor Street.
Marc tenses.
BIG MARC
You talk to her?
RICO
Nah. I saw her. That press girl.
The one who does radio.
(beat)
She’s not afraid of us.
Marc leans in.
BIG MARC
She should be.
He presses a folded paper into Rico’s chest.
BIG MARC (CONT'D)
New job. Big one. Night drop.
Presidential road.
Rico opens the note. Sees coordinates.
BIG MARC (CONT'D)
This ain’t kiddie runs no more. You
flinch — I bury you.
Marc’s smile never touches his eyes.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
8 -
Echoes of the Past
EXT. RICO’S HOME – ROOFTOP – LATER
Rico climbs into a corrugated metal shack — his “room.”
He opens a hidden box.
Inside:
* An old photo of his mother — young, beautiful, smiling in a
nurse’s uniform.
* A school ID with his name: FRÉDÉRIC DANTOR
* A comic book, worn and weathered: Superman in the City of
Fire
He turns on a cracked radio.
A woman’s voice — Elsie’s voice — comes through.
ELSIE (V.O.)
“…it began with a price. A debt no
free people should ever owe.”
Rico stares at the ceiling.
He says nothing. But the story is already working inside him.
INT. JOACHIM’S KITCHEN – SAME NIGHT
Joachim drinks from a chipped tin cup. He listens to the same
broadcast.
He turns to a faded photo pinned to his wall — himself, his
brother (Elsie’s father), and their childhood friend, Armand
Dantor — Rico’s grandfather.
Three boys in Catholic school uniforms. Smiling. Whole.
Tarps ripple in the wind. The camp stretches in tiers — blue
tents, salvaged doors, cracked bathtubs used for washing.
CLOSE ON:
SOLÈNE DORVAL (33)
A strong face shaped by fatigue and
grace. Her skin is weathered by sun
and ash. Her long braids are bound
in a faded scarf the color of rust.
Her eyes — clear, intelligent, and
far older than her years.
She squats over a charcoal stove, cooking watery cornmeal in
a dented pot. Her eight-year-old daughter, MYA, sleeps curled
under a woven sheet behind her.
Solène wears a long cotton skirt, patched at the hem, and a T-
shirt that reads: “Pa gen fanmi san fanm” — There is no
family without women.
Around her:
* A plastic jerrycan she fills at dawn
* A copy of Haitian Creole proverbs, spine cracked
* A handmade chalkboard where she teaches local children in
the afternoons
She hums softly — a lullaby that’s half-prayer, half-memory.
Genres:
["Drama"]
Ratings
Scene
10 -
Shadows of Chaos
INT. MAKESHIFT CLASSROOM – LATER
Children gather around her. Solène writes on the board with
chalk:
“Konesans se limyè.”
(Knowledge is light.)
She turns, smiles faintly at her students. Mya watches her
from the side, proud.
EXT. CAMP FOOD DISTRIBUTION ZONE – DAY
Solène waits in a line of hundreds, bucket in hand. The sun
is brutal.
Tension ripples down the queue. A fight breaks out ahead — a
woman screams. A guard with a baton strikes wildly.
A man yells:
MAN
No food today! They gave it to the
minister’s convoy!
Chaos erupts.
Solène grabs Mya’s hand and runs.
EXT. BACKSIDE OF THE CAMP – MOMENTS LATER
She crouches behind a crumbling cinder block wall. Mya pants
beside her.
Solène peeks out — and freezes.
A black SUV screeches around a bend. Armed men spill out,
shouting orders. One carries a radio. The insignia on his
vest is governmental.
A man in a gray suit argues with a uniformed guard —
suddenly, he’s shot in the chest.
Solène covers Mya’s eyes.
Through the crack in the wall, she sees one of the men
recording the body with a phone — then wiping blood off his
hands and walking away.
She’s just witnessed a political assassination.
EXT. SOLÈNE’S TENT – NIGHT
She writes by candlelight on scrap paper:
“Today I saw what they do in the dark.
If you find this, let it be proof.”
She folds the paper, wraps it in plastic, and hides it under
a floorboard.
Then she pulls her daughter into her lap, rocking her slowly.
FLASHBACK – EXT. SCHOOL COURTYARD – PORT-AU-PRINCE – 2008 –
LATE AFTERNOON
Sunlight glows golden through banana leaves.
Children in uniform chase each other between white-painted
benches. Their laughter fills the air.
At the chalkboard, SOLÈNE (early 20s) stands with a lesson
plan pinned to the wall:
"Konbyen tan kounye a?" (What time is it?)
She gestures to a wooden clock she made from recycled bottle
caps.
A boy gets it wrong. She smiles warmly, kneels beside him,
and whispers encouragement.
Genres:
["Drama","Thriller"]
Ratings
Scene
11 -
A Moment of Hope
INT. TEACHERS' OFFICE – MOMENTS LATER
Piles of notebooks. Open windows. The smell of fried plantain
from a nearby street.
Solène walks in, wiping chalk off her skirt.
Inside is EMMANUEL DORVAL (30s) — her husband. Tall, warm
eyes, a social studies teacher with ink-stained fingers and a
homemade guitar leaning beside his desk.
He’s drawing a map of the Caribbean with colored pencils. The
lines are meticulous.
SOLÈNE
Still tracing the future?
EMMANUEL (GRINNING)
I’m just reminding them who we
are... before someone else redraws
it for them.
He gets up, kisses her cheek.
EMMANUEL (CONT'D)
Did you hear? They approved our
radio program. We start next week.
She lights up.
SOLÈNE
You’re serious?
He pulls a flyer from his folder:
"LIMYÈ LAKAY – Radio for the People. Sundays at 6.”
She takes his hand, squeezing it. For a moment, the world
feels light.
Genres:
["Drama","Historical"]
Ratings
Scene
12 -
Whispers of Hope
EXT. SCHOOL ROOFTOP – DUSK
The two of them sit watching the sun sink behind the city.
Emmanuel strums the guitar softly.
The sounds of life below: honking, vendors, roosters, music —
the heartbeat of a living city.
SOLÈNE
You think we’ll stay here forever?
EMMANUEL
Forever is a big word.
(beat)
But I think this is where we’ll
plant something worth remembering.
BACK TO PRESENT – EXT. ENCAMPMENT – NIGHT
Solène blinks awake beside Mya. Her hand instinctively
reaches for the folded letter hidden beneath the tarp — the
flyer from the past, still faintly visible.
She presses it to her chest.
Then she whispers to Mya, asleep:
SOLÈNE
We’ll find a place to plant again.
CONTINUED – SCREENPLAY: THE WEIGHT OF FREEDOM
Genres:
["Drama","Historical"]
Ratings
Scene
13 -
Promises Amidst Skepticism
EXT. NATIONAL SQUARE – PORT-AU-PRINCE – MIDDAY
A makeshift press podium has been erected in front of a
hollowed-out government building. The Haitian flag, tattered
and sun-bleached, droops beside a UN banner.
A crowd gathers, tense and hungry. Mothers. Veterans. Youths
with empty bowls. Armed guards form a loose perimeter.
CAMERAS ROLL.
At the microphone steps MINISTER ALAIN VERRET (50s) —
polished, rehearsed. His suit crisp, his voice deliberate.
Behind him stands a stoic UN Colonel, two U.S. Embassy
officials, and a private security firm rep in sunglasses.
MINISTER VERRET
(to cameras, in French)
The international community stands
with Haiti.
(beat, in Creole)
A new humanitarian corridor will
open tomorrow morning — Route
Nationale #1. A convoy of food,
medicine, and supplies will arrive
at the docks by 10 A.M.
Scattered applause. Most people don’t cheer. They squint in
distrust.
VERRET
This will be a new chapter. A
moment of unity. We ask all
citizens to remain calm and
organized.
INTERCUT:
Genres:
["Drama","Political","Thriller"]
Ratings
Scene
14 -
Divided Loyalties
INT. ELSIE’S APARTMENT – SAME TIME
Elsie watches the speech on a cracked TV, recording on her
phone.
ELSIE (TO RECORDER)
And just like that… the theater
begins.
Convoy means coverage.
Coverage means spin.
Spin means... somebody’s stealing.
She zooms in on a private contractor behind the Minister.
He’s familiar — she saw him at the site of the assassination.
EXT. SLUM BALCONY – SAME TIME
Rico watches the broadcast through a neighbor’s window.
Beside him, Big Marc loads a duffel bag of ammunition.
BIG MARC
Ten bucks says that convoy never
makes it to the people.
He tosses Rico a small packet.
BIG MARC (CONT'D)
Tomorrow, we own Route #1.
Rico looks away — something in him turning.
Genres:
["Drama","Thriller"]
Ratings
Scene
15 -
Echoes of Distrust
EXT. ENCAMPMENT HILLSIDE – SAME TIME
Solène and Mya sit near a crackling radio with several other
families.
The voice crackles:
RADIO ANNOUNCER (V.O.)
…a convoy from Cap-Haïtien to Port-
au-Prince. Food, medicine, and
emergency aid…
Solène doesn’t move.
A neighbor claps excitedly.
NEIGHBOR
Maybe it’s real this time.
Solène stares out over the city, skeptical.
SOLÈNE
Or maybe it’s bait.
She pulls Mya close.
INT. JOACHIM’S HOUSE – NIGHT
Joachim paces as he makes a satellite phone call.
JOACHIM
(to phone)
If she goes after the convoy story,
she’ll be in the blast zone. You
know how these things end.
He opens an old drawer. Inside: his press badge from 1986…
and a locked pistol.
EXT. NATIONAL SQUARE – LATER
As the crowd disperses, a banner unfurls from a nearby
building — spray-painted overnight.
“WE REMEMBER THE LAST CONVOY.”
Below it: a mural of a mother holding an empty pot —
surrounded by barbed wire.
ELSIE (V.O.)
They promise rice, but deliver
smoke.
They call it aid. We call it firewood for the next lie.
Still… we go. Because hunger always shows up to the meeting.
INT. ELSIE’S APARTMENT – NIGHT
The room is dim, lit by a single desk lamp and the dull glow
of a laptop screen.
Elsie types rapidly, surrounded by voice recorders,
notebooks, and a map of Port-au-Prince littered with pins and
red yarn. She has screenshots from the assassination video
(blurred but chilling).
On screen:
"BREAKING: Anonymous Tip – Minister Elie Morte Assassinated"
She pauses the footage — zooms in on a figure stepping away
from the body.
It’s one of the men who stood behind Minister Verret at the
convoy press conference.
ELSIE (V.O.)
Same man. Two scenes. One death.
She overlays the two images.
BAM — it matches.
Genres:
["Drama","Thriller"]
Ratings
Scene
16 -
Shadows of Power
INT. COMMUNITY NEWSROOM – NIGHT
Elsie enters an old building with a sign: “Radio Limyè Lakay
– Truth Before Power”
Inside: dusty equipment, a corkboard full of flyers, and
Uncle Joachim, hunched over an analog radio transmitter.
JOACHIM
(low, cautious)
You ever consider going easier on
your enemies?
ELSIE
Only when they’re dead.
She drops the photo composite in front of him.
ELSIE (CONT'D)
That’s the same man. He was at the
minister’s murder scene, and again
at the convoy press op. Who is he?
Joachim sighs. Pulls a faded manila folder from a drawer.
JOACHIM
I’ve seen him before. Worked for
the security ministry under
Martelly. Disappeared after ’18.
He’s a ghost now. Black ops,
private contracts.
He hands her the file:
“NOLAN LECOURT – Strategic Security Solutions”
ELSIE
Private contractor?
JOACHIM
French-trained. Canadian passport.
Paid to make things disappear — and
people, too.
(beat)
If this guy’s back... it means the
real government isn’t the one with
flags.
Genres:
["Thriller","Political Drama"]
Ratings
Scene
17 -
Into the Unknown
INT. ELSIE’S APARTMENT – LATER
She uploads a new podcast teaser:
“What if the people guarding the food... were also the ones
burning the granaries?”
“Tomorrow I’ll follow the convoy. I’ll name names. Stay with
me, Lakay.”
She saves the file:
“EP 4 – Black Gloves, White Rice”
As it renders, she opens an email from a foreign journalist
contact:
Subject: “Confirmation: LeCourt tied to 2004 coup team.”
Attachment: U.S. State Dept. redacted doc.
She exhales — the rabbit hole just got deeper.
NEXT MORNING:
Elsie packs her recorder, press badge, and a small pistol.
She pulls a photograph of her father from the wall and folds
it into her notebook.
Joachim watches from the doorway, silent. He’s seen this
before — a journalist walking toward fire.
JOACHIM
You’ll need more than a microphone
this time.
Elsie meets his eyes.
ELSIE
No.
(pause)
They’ll need more silence.
She walks out.
CONTINUED – SCREENPLAY: THE WEIGHT OF FREEDOM
Genres:
["Drama","Thriller"]
Ratings
Scene
18 -
Fog of Uncertainty
EXT. ENCAMPMENT TRAIL – JUST BEFORE SUNRISE
Thick fog. The sky bruises with first light.
Solène adjusts the straps of her old canvas bag. She carries
a water jug, some cassava, a strip of cloth for Mya to rest
under.
Mya (8) walks silently beside her, clutching a doll made of
rags.
They pass neighbors still sleeping in tarps. One elderly
woman opens an eye.
ELDERLY WOMAN
You sure they’ll give it out this
time?
Solène looks down the path.
SOLÈNE
No. But I’m sure she’s hungry.
They continue down the ridge. Toward the city. Toward the
unknown.
INT. ABANDONED POOL HALL – RICO’S HIDEOUT – SAME TIME
Rico tightens the strap of a satchel across his shoulder.
Inside: wires, signal scrambler, burner phone, a smoke bomb.
Big Marc paces in front of six other boys, each armed. They
chant — loud, aggressive, proud.
BIG MARC
Route One is ours.
Say it again.
BOYS
ROUTE ONE IS OURS!
But Rico doesn’t yell. He watches the satellite map on a
stolen tablet.
RICO (QUIETLY, TO HIMSELF)
Not if they burn it before we get
there.
He slips the old photo of his mother into his pocket, eyes
darting toward the city.
A boy hands him a cracked earpiece.
BOY
They say a reporter’s gonna be
there too.
Maybe even the American press.
Rico blinks. He knows who they mean.
Genres:
["Drama","Thriller"]
Ratings
Scene
19 -
Corridor of Compassion: A Skeptical Journey
EXT. UN LOADING ZONE – DOCKS – MORNING
Steel doors groan open.
Rows of white trucks lined with blue UN flags sit gleaming
under the rising sun.
Armed troops patrol. The lead truck has a mounted gun turret.
Private contractors in sunglasses run comms with UN officers.
Nearby: stacks of rice bags, water tanks, pallets of
antibiotics… all labeled USAID, UNHCR, WFP.
We hear radio chatter:
CONTRACTOR (O.S.)
Convoy movement authorized. Route
One cleared to checkpoint Bravo.
Behind the convoys: a TV van, a drone team, and several
international journalists loading gear.
One of them speaks quietly:
JOURNALIST
They’re calling it the “Corridor of
Compassion.”
Another scoffs.
CAMERAWOMAN
They called Fallujah a “stability
zone,” too.
INTERCUT – MONTAGE
* Solène and Mya walking barefoot on cracked pavement.
* Rico, gripping a small phone with GPS coordinates.
* Convoy trucks, one by one, roaring to life. Engines like
tanks.
Genres:
["Drama","Thriller"]
Ratings
Scene
20 -
Journey Through Uncertainty
EXT. HILLSIDE OUTLOOK – SIMULTANEOUS
From a ridge, Elsie watches it all through a long lens —
convoy, city, civilians, shadows.
She speaks into her recorder:
ELSIE (V.O.)
And so it begins…
One road.
Three armies.
No guarantees of arrival.
FADE TO BLACK.
TITLE CARD:
DAY ONE — THE CORRIDOR
EXT. ROUTE NATIONALE #1 – HAITIAN HIGHWAY – LATE MORNING
The sun is cruel now. Heat bakes the road. Dust hangs like
fog.
Solène and Mya walk along the edge of the highway. Trucks
rumble in the far distance. But this road — now eerily quiet.
They pass abandoned buildings, burned-out tires, and a white
sign tagged with red spray paint:
“NO PROMISES BEYOND THIS POINT”
Mya’s legs wobble.
Solène stops. Kneels. Soaks a cloth with water and gently
presses it to her daughter’s face.
SOLÈNE
We’re halfway. You’re strong, okay?
Mya nods, though her eyes are glassy.
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
Echoes of the Past
EXT. ABANDONED TOLL BOOTH – HIDDEN RIDGELINE – SAME TIME
Rico and the gang crouch behind crates. Big Marc reviews the
plan:
* Smoke bombs here.
* Signal scrambler planted at the underpass.
* Sniper nest behind billboard.
BIG MARC
We don’t stop the front truck. We
blind it. Then cut through the
second.
He slaps Rico’s chest.
BIG MARC (CONT'D)
You run comms. One call — just one.
They go boom.
Rico nods but looks over the ridge... where a familiar figure
is walking the road below.
Solène. Holding Mya’s hand.
His face changes.
FLASHBACK – INT. COMMUNITY CLINIC – YEARS EARLIER
A younger Solène, in a nurse’s apron, bandages Rico’s skinned
knee. He’s maybe 9. Scared. Angry.
She touches his face.
SOLÈNE (GENTLY)
You run fast. You fall fast. But
you get up faster, Frédéric.
Back to:
Genres:
["Thriller","Drama"]
Ratings
Scene
22 -
Tension on the Ridgeline
EXT. RIDGELINE – PRESENT
Rico turns to Marc.
RICO
There’s civilians on the road.
Marc shrugs.
BIG MARC
Then they picked the wrong day to
walk.
INT. ELSIE’S APARTMENT – SAME TIME
Joachim helps Elsie tighten the strap on her flak vest.
JOACHIM
Promise me you won’t be brave
today.
She laughs softly. Takes a breath.
ELSIE
No promises.
He presses something into her hand — a folded note.
JOACHIM (QUIET)
Your father wrote that before the
’94 riots. I never showed you.
She unfolds it.
“The truth doesn’t make us safe. But it makes us worthy of
surviving.”
She looks up, holding back emotion.
ELSIE
I’ll come back.
Joachim nods — but doesn’t believe her.
EXT. ROUTE NATIONALE #1 – MOMENTS LATER
Solène and Mya reach a turn in the road — just as the convoy
appears in the distance, a dust cloud rising.
Rico watches them through binoculars.
The signal jammer is activated.
The first convoy truck approaches... unaware that two wires
now wait to be triggered.
Elsie’s voice comes through a hidden earpiece.
ELSIE (V.O.)
And just like that... history steps
out from the shadows, dressed as
hope.
CUT TO BLACK.
END OF ACT I
This section sets up:
Genres:
["Drama","Thriller"]
Ratings
Scene
23 -
Corruption on the Road
INT. LEAD CONVOY TRUCK – MOVING – LATE MORNING
A dusty windshield. A mounted GPS flickers.
Inside, COMMANDER DE KLERK (55) — South African UN logistics
veteran — drives with quiet precision. Next to him: PRIVATE
JAMESON (22), a young Canadian soldier on his first foreign
deployment.
Between them: maps, radios, and a sealed envelope marked
“AUTHORIZED HANDS ONLY.”
De Klerk scans the road ahead.
JAMESON
So... this is it? The big food
drop?
De Klerk chuckles darkly.
DE KLERK
Depends who you ask.
(beat)
To the ministers, it’s a photo op.
To the NGOs, a PR bandage.
To the gangs — a buffet.
And to the people?
(pause)
A question with no answer.
Jameson shifts in his seat.
JAMESON
It just seems like... they’ve been
sending aid here for years. Why is
it still this bad?
De Klerk exhales — a long, burdened breath.
DE KLERK
Because most of it doesn’t get
here.
He opens the sealed envelope. Inside: an inventory log and a
secondary manifest — half the contents “re-routed” to a
private address in Pétion-Ville.
Jameson stares.
JAMESON
That’s not a depot.
DE KLERK
It’s the Prime Minister’s brother’s
compound.
Jameson looks sick.
Genres:
["Drama","Thriller"]
Ratings
Scene
24 -
Shadows of Exploitation
INT. MEDIA VAN – MID-CONVOY – SAME TIME
TARA WEXLER (30s), a freelance American journalist, flips
through a confidential folder while her Haitian fixer, MARCO
(40s), watches nervously.
Inside: scans of U.S. and French aid contracts, showing
massive transfers of funds to shell NGOs — most operated by
foreign board members.
TARA
These were supposed to be schools.
She points to the photos — empty concrete foundations, half-
built hospitals, fenced-off food warehouses.
Marco shrugs.
MARCO
They built them. Took pictures.
Then sold the concrete.
(beat)
Next contract. Same scam.
Tara shakes her head, frustrated.
TARA
This place had a slave revolt that
defeated Napoleon.
She looks out the window — sees children barefoot in the
trash.
TARA (CONT'D)
And they’ve been paying for it ever
since.
INT. ARMORED UN ESCORT TRUCK – REAR OF CONVOY
In the back, soldiers ride in silence. Sweat clings to them.
Their guns are polished; their eyes are tired.
One soldier holds a book — The Black Jacobins by CLR James.
It’s dog-eared.
Another watches a WhatsApp video — gang members dancing in
stolen UN vests.
A third — Haitian-born SERGEANT MAURICE (40s) — closes his
eyes.
YOUNG SOLDIER
You okay, Sarge?
Maurice speaks slowly.
MAURICE
My father fought for the army
before the Duvaliers came. Thought
we were protecting the people.
(beat)
Then they made us protect the money
instead.
He looks out through the grate as the hills roll by.
Genres:
["Drama","Thriller"]
Ratings
Scene
25 -
Tension on Route Nationale #1
INTERCUT: INT. ELSIE’S VEHICLE – AHEAD ON THE HILLSIDE
Elsie, following in a battered Jeep, listens to her recorder
and reads the leaked memo.
ELSIE (V.O.)
In 2004, Aristide asked for
reparations from France.
Within months, he was gone.
They called it “democracy restoration.”
She looks ahead: white trucks, armed guards, and the illusion
of progress.
EXT. ROUTE NATIONALE #1 – SAME TIME
The convoy rounds the bend toward the ambush site.
Rico stands above the ridge, fingers trembling over the
detonator.
Below: Solène and Mya approach the road… still unaware.
The trucks draw closer.
ELSIE (V.O.)
History doesn’t repeat in Haiti...
it reloads.
FADE TO BLACK.
Genres:
["Drama","Thriller"]
Ratings
Scene
26 -
A Choice Between Duty and Compassion
EXT. ROUTE NATIONALE #1 – RIDGELINE ABOVE CONVOY – SECONDS
BEFORE
Rico crouches behind a tangle of overgrowth, overlooking the
convoy as it snakes toward the kill zone. His thumb hovers
over the detonator switch.
Big Marc crackles in his earpiece.
BIG MARC (V.O.)
Five seconds. We light the lead and
eat the rest.
Rico’s binoculars drift — and then freeze.
Down below, Solène helps Mya out of a ditch. The child limps,
trying to keep up.
Rico’s throat tightens. Sweat beads on his upper lip.
FLASHBACK – INT. SCHOOL YARD – YEARS EARLIER
Solène, laughing, teaches a group of children how to plant
beans in reused water jugs. A younger Rico, dirt-smudged,
watches her from the edge.
She notices. Offers him a smile. Hands him a small seed.
SOLÈNE
Even weeds grow if no one stops
them.
But a seed — that’s a choice.
BACK TO PRESENT
The convoy enters the blast radius.
Rico’s finger trembles. Mya stumbles — falls in the path of a
low-sweeping drone camera.
A nearby soldier on the convoy spots them and shouts — panic
builds.
Rico makes a decision.
He throws down the detonator and scrambles down the rocky
ridge.
Genres:
["Drama","Thriller"]
Ratings
Scene
27 -
Chaos Beneath the Convoy
EXT. ROADWAY BELOW – CONTINUOUS
Solène hears him sliding behind them.
She turns, shielding Mya.
Rico bursts through the trees, panting, eyes wide.
SOLÈNE
You—?
Rico doesn’t speak. He grabs Solène’s hand.
RICO
Come with me now. Run. No time!
EXT. RIDGELINE – MOMENTS LATER
Big Marc, confused, yells into his comms.
BIG MARC
Rico! Where’s my switch!?
EXT. UNDERPASS – SAME TIME
Rico drags Solène and Mya into a cement tunnel just beneath
the convoy route.
They duck behind a pillar.
Above them, the first truck passes. Then the second.
Then the third.
BAM — the road explodes.
Screams. Gunfire. Tires screeching.
Dust rains down into the tunnel as the sky ignites.
Solène holds Mya tight. Rico breathes hard.
SOLÈNE
What did you do?
Rico meets her eyes — for the first time, vulnerable.
RICO
Something I never did before.
(beat)
I stopped.
EXT. CONVOY ROUTE – ABOVE – CHAOS
The convoy burns.
Elsie’s Jeep jerks to a halt. She grabs her recorder and
scrambles out.
Cameras fly. Soldiers return fire into smoke.
The illusion of aid — reduced to rubble.
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
Betrayal in the Shadows
INT. ABANDONED FACTORY – LATER THAT NIGHT
Big Marc paces under broken fluorescent lights, rage
simmering beneath his silence.
His crew surrounds him — dirty, shaken, confused. Smoke still
clings to their clothes.
He holds the detonator Rico left behind.
GANG MEMBER
Maybe he got hit in the blast—
Marc slams him against the wall.
BIG MARC
No. He walked away.
(pause)
I gave that boy everything. His
gun. His name. His place.
He nods to another boy.
BIG MARC (CONT'D)
Find him. Burn him out.
And the woman too. Teacher’s bitch cost us the whole op.
Camera lingers on Marc’s face — less rage now, more wounded
pride. He’s not just hunting Rico. He’s hunting humiliation.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Confronting Shadows
INT. HIDDEN CELLAR – NEAR THE CANAL – NIGHT
A flickering candle. Concrete walls. Rats skitter in corners.
Rico, Solène, and Mya huddle together, still catching their
breath. Mya’s curled in Solène’s lap, asleep.
Solène cradles the child but keeps her eyes locked on Rico.
SOLÈNE
You ran with Marc for three years.
(pause)
How many times have you done this?
Rico doesn’t answer.
SOLÈNE (CONT'D)
How many people didn’t have a Rico
to stop it?
He swallows hard.
RICO
Too many.
(beat)
I thought I was helping her.
Feeding her. Protecting her. But
you... you were feeding minds. And
I burned that too.
She studies him. Still unsure if she can trust him. But she
softens slightly.
SOLÈNE
You saved her today. That counts.
(beat)
But it doesn’t erase.
Rico nods. Guilty. But changed.
Genres:
["Drama","Thriller"]
Ratings
Scene
30 -
Awakening Amidst the Ashes
EXT. BLAST SITE – NIGHT – SAME TIME
Searchlights cut through smoke. Ambulances haul away bodies.
Aid bags lie torn open, soaked in diesel.
Elsie, in a press vest, stands in front of her tripod-mounted
phone, streaming live to her growing audience.
She speaks directly to camera — unfiltered.
ELSIE
This is not a failed food drop.
This was a spectacle — designed to pacify, not to nourish.
(beat)
We’ve traced the rice bags to shell NGOs linked to three
politicians.
The people were right. The convoy was never meant to reach
them.
She turns the phone to the chaos behind her: looted trucks, a
child covered in ash, dazed soldiers.
ELSIE (CONT'D)
But something else happened here
tonight.
The lie was interrupted. The illusion shattered.
(pause)
We don’t need more handouts.
We need memory. Justice. Infrastructure.
And the courage to name names.
She steps closer to the lens.
ELSIE (CONT'D)
To the international community —
look at this.
And then look at your ledgers.
Thousands are watching. Her feed floods with comments. Likes.
Alerts. A surge of digital resistance begins.
Behind her, the mural of Toussaint Louverture has been tagged
anew.
Under his image: "Nou pap konn dòmi ankò."
We will not sleep again.
CONTINUED – SCREENPLAY: THE WEIGHT OF FREEDOM
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Breaking News: Chaos in Haiti
INT. INTERNATIONAL NEWSROOM – NEW YORK – MORNING AFTER
Clean. Cold. Glass walls. High-tech monitors. The CNN-style
set buzzes with urgency.
Anchor RACHEL MAHER (40s) sits poised in front of a green
screen showing Haiti’s smoldering highway.
Her makeup is flawless. Her tone — calm, concerned, and
entirely sanitized.
RACHEL (ON AIR)
This morning, tragedy in Port-au-
Prince, where a humanitarian convoy
was attacked en route to deliver
food and medical supplies.
(beat)
Initial reports suggest local gangs
were responsible. No claims have
been made.
Footage rolls: UN soldiers firing into smoke. A drone shot of
chaos. No sign of civilians, Solène, or Rico.
Cut to a graphic of the Haitian flag, overlaid with the
headline:
"Aid Convoy Sabotaged – Unrest in the Region Escalates"
PRODUCER 1
She’s got half a million views and
climbing. That’s going viral.
Producer 2 taps a tablet.
PRODUCER 2
State Department just flagged her
feed. They want to know who leaked
the procurement documents.
INT. ON-AIR DESK – CONTINUOUS
Rachel continues. The screen now shows stock footage of
looters — not from Haiti, but generic protest clips.
RACHEL
The U.N. and Haitian government
officials have condemned the
violence and pledged to investigate
what they’re calling “an attack on
international goodwill.”
(pause)
A State Department spokesperson
released a statement just moments
ago—
She reads off a prompter:
RACHEL (CONT'D)
“Haiti’s challenges require stable
partnerships, not chaos. The U.S.
remains committed to supporting aid
efforts in a secure and lawful
manner.”
Genres:
["Drama","Thriller"]
Ratings
Scene
32 -
Voices in the Shadows
INT. GREEN ROOM – MOMENTS LATER
Off-air now, Rachel removes her mic. She sighs.
RACHEL (TO ASSISTANT)
God, how many times have we done
this story?
ASSISTANT
Change the country, change the
year, keep the script.
They share a bitter smile.
INTERCUT — INT. ELSIE’S HIDEOUT – SAME TIME
Elsie watches the broadcast from her laptop, in a dark
safehouse with Solène and Rico. Mya sleeps nearby.
She slams the lid shut.
ELSIE
They're going to bury it. Again.
Solène gently touches her shoulder.
SOLÈNE
Then we dig louder.
CONTINUED – SCREENPLAY: THE WEIGHT OF FREEDOM
Genres:
["Drama","Thriller"]
Ratings
Scene
33 -
Night of Vengeance
EXT. PORT-AU-PRINCE – DOWNTOWN DISTRICT – NIGHT
Aerial shot over the city: generators hum. Fires glow across
rooftops.
Gunfire crackles in the distance.
This is Marc’s world now.
INT. NIGHTCLUB BASEMENT – SAME NIGHT
Big Marc sits beneath flashing lights and blaring music.
A radio scanner, a list of safehouses, and a blood-streaked
phone sit on the table in front of him.
A corrupt police officer, CAPTAIN DELMAS, paces nearby.
DELMAS
No sightings. But if he’s with the
teacher, I know where she used to
run clinics.
BIG MARC
Find them. Anyone helping them —
make it public.
Hang ‘em from the bridges. Let the streets do the rest.
He slams a machete into the table.
BIG MARC (CONT'D)
I made that boy from scratch.
He bleeds, I want to smell it.
Genres:
["Drama","Thriller"]
Ratings
Scene
34 -
The Hunt for Rico
EXT. SIDE STREET – NEAR THE MARKET – LATER
Marc’s soldiers ransack stalls, shake down vendors, smash
phones.
They kick over food crates, light piles of trash.
One gang member holds up a charcoal sketch of Rico, rough but
accurate.
GANG MEMBER
You seen this face?
An old woman nods subtly toward a corner alley.
The thug rushes off, but by the time he gets there—
Just shadows and rats.
INT. UNDERGROUND SAFEHOUSE – SAME TIME
Rico, pacing. Twitching. Breathing hard.
Solène stitches a tear in Mya’s sleeve. Calm. Focused.
RICO
He’ll find me. He always finds me.
SOLÈNE
Then don’t be you. Be something
new.
Rico doesn’t get it.
SOLÈNE (CONT'D)
Marc raised a weapon.
But I’ve seen what’s under the trigger finger.
(beat)
You saved her. That wasn’t reflex. That was soul.
Rico sinks to the floor. Breaks.
EXT. PORT-AU-PRINCE – VARIOUS LOCATIONS – MONTAGE
* Marc’s men interrogate a priest who once fed Solène.
* A community radio station is burned — they aired Elsie’s
voice.
* Flyers with Rico’s face are stapled to walls.
* Marc speaks with a government advisor, who offers him
access to satellite maps in exchange for “deniability.”
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Echoes of Defiance
INT. GOVT. OPERATIONS ROOM – SAME TIME
The advisor hands Marc a data stick.
GOVT. OFFICIAL
I don’t care what you do.
Just don’t let her go live again. Or him.
BIG MARC
They’re ghosts by morning.
EXT. HIGHWAY MURAL WALL – NEXT DAY
Marc walks past the Toussaint Louverture mural — now freshly
painted with Elsie’s face beside his.
Beneath it, someone has written in chalk:
“Nou se nasyon memwa.”
We are a nation of memory.
Marc stares at it.
Spits.
Then turns, stone-faced.
Genres:
["Drama","Thriller"]
Ratings
Scene
36 -
Voices in the Shadows
INT. SAFEHOUSE – NIGHT
A single lantern burns on a wooden crate.
Rain taps the metal roof above.
Elsie, Solène, Rico, and Marco (the fixer) sit close,
exhausted. Mya sleeps nearby, wrapped in blankets.
A printed map of Haiti is spread out between them, marked
with red Xs and burn zones.
Elsie scrolls through comments on her livestream replay —
thousands of views, messages from France, Nigeria, Brazil,
Canada.
She exhales. Heavy.
ELSIE
They're watching now.
But do they even understand?
Marco sips water from a tin mug.
MARCO
Maybe not yet.
Rico glances between them.
RICO
You mean the gangs? The hunger?
ELSIE
I mean everything.
(beat)
France made us pay 150 million
francs — for the crime of breaking
our chains.
It took us 122 years to pay it off.
We borrowed the money — from French banks.
(beat)
That’s like asking a man to pay rent for the house he burned
down to escape slavery.
Marco leans forward.
MARCO
Then came America. The occupation.
The Marines.
They rewrote our constitution, gave our land to corporations
— then left us in the hands of dictators they funded.
Solène, quietly:
SOLÈNE
Papa Doc.
My cousin died in Fort Dimanche. For a poem.
Elsie’s gaze burns.
ELSIE
They say reparations are
impossible.
But the theft was possible.
The loans. The occupations. The rigged elections — those were
possible.
Rico shakes his head.
RICO
They won’t give back what they
took.
ELSIE
Maybe not.
(beat)
But if the world can trace a
bitcoin across ten servers, it can
trace where $13 billion in quake
aid disappeared.
(beat)
And if France can pay Holocaust
survivors,
and the U.S. can pay Japanese internment victims,
then Haiti deserves to be seen. Counted. Paid.
Solène places her hand over the map.
SOLÈNE
Not to our politicians.
ELSIE
To our communities. Our schools.
To every child eating salt and clay for dinner.
(beat)
Reparations isn’t about charity.
It’s about stopping the robbery that never ended.
A long silence.
Then Rico — voice soft.
RICO
You think your little podcast can
do all that?
Elsie looks up — not cocky, but calm.
ELSIE
No.
(beat)
But it can start the asking.
CONTINUED – SCREENPLAY: THE WEIGHT OF FREEDOM
Genres:
["Drama","Political","Thriller"]
Ratings
Scene
37 -
Echoes of History: The Ruins of Memory
INT. BURNED LIBRARY RUINS – DAY
Elsie wanders through the scorched shell of the National
Archives, camcorder in hand. Dust hangs in the sunlight like
ghosts.
She steps over charred pages, camera rolling.
ELSIE (V.O.)
They burned our history.
Not to erase it.
To keep us from tracing it.
She lifts a blackened book spine — the cover flakes off:
"La Dette de l’Indépendance – 1825."
Suddenly—
FLASH-COLLAGE — STYLIZED HISTORICAL EXPOSE
* A FRENCH WARSHIP off Haiti’s coast, 1825. Cannons gleaming.
* SLAVES shaking hands with plantation owners in faux
treaties.
* A French bank ledger, payments flowing out of Port-au-
Prince.
* U.S. MARINES storming ashore, 1915.
* PAPA DOC in dark glasses, raising his arms to cheering
crowds — then turning to secret police beatings.
* BILL CLINTON and U.N. troops — smiling photo ops, overlaid
with images of collapsing hospitals.
These clips are grainy, projected against crumbling walls as
if memory itself is trying to speak.
Genres:
["Historical","Drama"]
Ratings
Scene
38 -
Echoes of Betrayal
INT. ARCHIVE – BACK TO SCENE
Elsie stares directly into her handheld camera.
ELSIE
If history was a wound,
Haiti never got the stitches.
Just more knives.
INT. BIG MARC’S HIDEOUT – NIGHT
Marc sits alone. A storm rattles the tin roof.
He watches a video of Rico’s betrayal on a cracked phone
screen.
Then — silence. The power dies.
In the dark, a sound: a faint creaking… a memory.
FLASHBACK – INT. CHILDHOOD BEDROOM – NIGHT – CIRCA 2004 COUP
Young Marc (age 9) hides under a bed.
Outside, men yell in Creole. Gunshots. A scream.
His father’s boots are the last thing he sees — dragging out
a man, another revolutionary, into the street.
Marc curls tighter into shadow, his eyes wide.
Outside, the radio crackles:
RADIO (V.O.)
Aristide has fled… U.S. involvement
suspected…
Then—
BOOM — the house explodes in light.
INT. PRESENT – HIDEOUT
Marc jolts awake. Breath ragged. He’s not angry.
He’s shattered.
He lifts a rusted revolver, places it gently on the table
beside a child's crayon drawing — found in a looted church.
Big Marc is haunted. Not just hunting.
Genres:
["Drama","Thriller"]
Ratings
Scene
39 -
Voices of Resilience
EXT. MAKESHIFT SQUARE – DAY
Solène, Rico, Elsie, and Marco stand before a circle of
neighbors.
Women. Teenagers. Old men with radios.
A faded chalkboard has been set up. Solène draws a triangle.
SOLÈNE
The gang took our food.
The government took our voice.
The world took our truth.
But no one can take our bodies.
Or our children.
People nod. Some cry.
A mother raises her hand — they want to help.
INT. RADIO STATION – LATER
Marco and Elsie connect a makeshift transmitter to a solar
rig. Rico guards the door with a machete.
Solène radios in to Elsie on a hilltop comm tower.
SOLÈNE (INTO RADIO)
Flood warnings confirmed.
Evacuating Zone 3.
Elsie’s voice cuts in:
ELSIE (V.O.)
We're moving food from Cap-Haïtien.
Hang tight.
Water surges through narrow alleyways — the drainage canal
fails. Chaos.
Rico runs door to door, pulling kids out, screaming through
the wind.
Suddenly — the ground gives. A mudslide barrels downhill.
Rico grabs a girl, dives for cover behind a brick wall. It
holds. Just barely.
SCENE 48
Genres:
["Drama","Thriller"]
Ratings
Scene
50 -
Rising from the Ruins
EXT. POST-STORM – SUNRISE
The aftermath. Flooded streets. Mud-streaked walls.
But people are already rebuilding.
Elsie arrives with relief trucks.
She climbs onto a truck bed.
ELSIE
We are not waiting anymore.
(beat)
This time — we save ourselves.
SCENE 49
INT. UNITED NATIONS POLICY CHAMBER – NEW YORK – DAY
Diplomats speak over one another in multiple languages.
Slides flicker: “Haiti – Reparations Debate.”
A skeptical U.S. delegate leans back.
U.S. DELEGATE
It’s not our job to fix what happened centuries ago.
KENYAN DELEGATE
Then let us speak plainly.
If it were Europe, this chamber would have already passed
five resolutions.
Murmurs. Silence. Then—
FRENCH DELEGATE (40s, female), takes the floor. Tense.
FRENCH DELEGATE
We are prepared… to acknowledge the
historical debt.
Gasps ripple through the room.
SCENE 50
Genres:
["Drama","Political","Historical"]
Ratings
Scene
51 -
Homecoming in Port-au-Prince
EXT. MIAMI AIRPORT – DAY
A young Haitian-American tech worker, LENNY CHARLES (26),
steps off a plane, wearing a backpack, camera strapped to his
chest.
He scans the arrivals, spots a hand-painted sign:
“Welcome Home, Lenny!”
Held by his aunt and cousins.
SCENE 51
INT. TAP-TAP (COLORFUL BUS) – MOVING – DAY
Lenny stares out at Port-au-Prince — crumbled buildings
beside new gardens. Solar panels glint. Graffiti reads:
“REPARASYON PA FÈ WONT” (REPARATIONS AREN’T SHAMEFUL)
His aunt laughs.
AUNT
Not what you expected?
LENNY
I thought it’d be worse.
AUNT
Was. Now? You’re just in time.
SCENE 52
Genres:
["Drama"]
Ratings
Scene
52 -
Rebuilding Together: A Community's Resilience
EXT. REBUILDING ZONE – DAYS AFTER STORM
Rico leads a team of former gang boys, now in safety vests.
They're clearing debris and laying bricks.
Solène and Mya direct foot traffic, organizing tents and
water stations.
Lenny films the process for a livestream.
He pans across: kids distributing food, men pouring concrete,
elders leading prayer circles.
LENNY (INTO CAMERA)
What they said on the news — it’s
not this.
This is revolution. Quiet. Patient. Beautiful.
SCENE 53
INT. MAKESHIFT TENT – NIGHT
Rico sits, bandaged hand. A young boy draws beside him.
Big Marc, now gaunt, enters with a bucket of water and nails.
They lock eyes.
BIG MARC
They let me work here. Said you
vouched for me.
Rico nods.
RICO
It’s not about what you deserve.
It’s about what we’re building.
Marc kneels beside him.
For the first time — they hammer in silence. Together.
SCENE 54
Genres:
["Drama","Social Justice"]
Ratings
Scene
53 -
The Dawn of Knowledge
INT. SCHOOLHOUSE – DAWN
Solène writes on the chalkboard:
“Today’s Lesson: The Price of Silence”
The children settle in. Mya hands out pencils.
On the wall is a new portrait: Solène holding a book in one
hand and rice in the other.
SCENE 55
INT. INTERNATIONAL PRESS ROOM – DAY
A screen lights up: ELSIE, via satellite from her new media
studio in Cap-Haïtien.
She addresses global media:
ELSIE
We aren’t a failed state.
We are a tested one.
(beat)
And we’ve passed your worst tests.
Now it’s your turn.
SCENE 56
Genres:
["Drama","Political","Educational"]
Ratings
Scene
54 -
Unearthing the Past: The Weight of Debt
INT. COWORKING SPACE – CAP-HAÏTIEN – NIGHT
A solar-powered café filled with laptops and activists.
LENNY sits in front of dual screens, scrolling through
digitized French colonial records and IMF loan files. A local
coder, MARISE (30s, sharp), sits beside him.
On screen:
* “Banque Nationale d’Haïti – 1825 to 1911 transactions”
* Followed by: “Loan restructuring 1986-2004: Duvalier era”
LENNY
Wait — these weren’t canceled?
MARISE
Rolled over. Then sold.
She types quickly. Pulls up a spreadsheet.
MARISE (CONT'D)
BNP Paribas. Société Générale.
Even Citibank.
LENNY
They’re still profiting off slavery-
era debt?
Marise nods grimly.
MARISE
Off our independence. Literally.
SCENE 57
Genres:
["Drama","Political","Historical"]
Ratings
Scene
55 -
The Bold Broadcast
INT. ELSIE’S MEDIA STUDIO – LATER THAT NIGHT
Lenny plays the video of their findings for Elsie and her
producer.
She listens in stunned silence. Then:
ELSIE
Send me everything.
LENNY
We’ll get sued.
ELSIE
Good. That means it’s real.
She spins toward the mic. Begins recording.
SCENE 58
MONTAGE – “DEBT IS A WEAPON” REPORT GOES VIRAL
* Elsie’s voiceover plays over split-screens of news anchors
reacting around the world.