EXT. FUNERAL HOME - DAY
A gray day, overcast and still. The kind of sky that feels
like it's holding its breath.
Inside a parked car, ROB and JENNA sit in silence. Rob grips
the steering wheel, staring ahead. Jenna watches him, unsure
whether to speak.
JENNA
You don't have to go in alone.
ROB
You don't do dead bodies.
JENNA
That's not the point. I can stand
in the lobby. I just... don't want
you carrying this alone.
ROB
He's getting cremated in a few
hours. This is it. The last time
I'll ever see him.
JENNA
You sure it'll help?
ROB
I don't know. But not seeing him...
that'll feel worse.
He finally looks at her.
JENNA
Understandable. Everyone handles
this stuff differently.
(beat)
I once fainted during a frog
dissection in high school. Still
had to call my mom to pick me up.
ROB
Yeah, this is like that. But the
frog smoked Marlboros and drank
scotch.
They both manage a laugh — brief, tired, but real.
JENNA
I'm sorry.
ROB
He wanted his ashes scattered in
Sedona. Said it was the only place
he felt true peace, especially
during the cancer.
A beat. They share a small, sad smile.
JENNA
I'll be here. Right here.
Rob exhales, nods. He opens the door.
JENNA (CONT’D)
You can come back and tell me
everything. Or nothing.
He pauses. Leans in and kisses her forehead.
ROB
Thanks.
He steps out and closes the door. Jenna watches as he walks
toward the funeral home, shoulders squared but heavy.
Genres:
["Drama"]
Ratings
Scene
2 -
Unexpected Farewell
INT. FUNERAL HOME – VIEWING ROOM – DAY
Warm, low lighting. Quiet as velvet. A MAN'S BODY lies on a
table beneath a crisp white sheet. Peaceful. Eyes closed.
Still.
ROB enters slowly, led by a composed FEMALE FUNERAL ARRANGER
(40s, calm, soft-spoken).
FUNERAL ARRANGER
Take as much time as you need.
She exits, leaving Rob in the hush of the room.
Rob steps toward the table. His movements are unsure, like
the room might fall away beneath him.
He reaches the body. Looks down at his father's face — STEVE
FITCH (76) — calm in death, a faint smirk still curling at
one corner of his mouth.
Rob's eyes well up as he takes this moment in. He blinks
hard, swallows, then leans down, gently brushing back a
strand of Steve's gray hair.
ROB
(whispering)
Hey, Dad. You look good. Better
than the last few months anyway.
A pause. He struggles for words.
ROB (CONT’D)
I should've visited more.
Should've... I don't know. Been a
better son. But you weren't exactly
father of the year either, so I
guess we're even.
A pause.
Then — ever so subtly — the sheet at Steve's groin begins to
RISE.
Rob freezes.
Looks again. Yep. It's happening.
ROB (CONT’D)
(quiet)
Seriously?
The rise continues. It's undeniable. Rob looks around the
room like he's being pranked.
His dad still looks serene. Maybe even smug.
Rob backs away slowly and heads to the door.
Genres:
["Drama","Dark Comedy"]
Ratings
Scene
3 -
Awkward Encounters at the Funeral Home
INT. FUNERAL HOME – HALLWAY – CONTINUOUS
Rob opens the door. The Funeral Arranger is standing right
there, hands folded.
ROB
Umm...
He jerks his thumb over his shoulder.
ROB (CONT’D)
Is that... normal?
She peers in, spots the protruding sheet situation.
FUNERAL ARRANGER
Oh my.
(beat)
Yes.
(MORE)
FUNERAL ARRANGER (CONT’D)
It is not uncommon for certain...
bodily responses to occur
posthumously. Independent of the
mind or spirit.
Rob shakes his head in disbelief.
ROB
You're his last conquest. Congrats.
She nods, professional to the end.
CUT TO BLACK.
White text appears, letter by letter, as if being TYPED on a
death certificate:
S E V E N
M O N T H S
L A T E R
Each letter appears with a faint TYPEWRITER CLICK.
The text sits there.
Then, one by one, each letter FADES/DISSOLVES like ash
disintegrating.
Starting with the first letter.
S crumbles.
E crumbles.
V crumbles.
Until all the letters have turned to ash and disappeared.
SILENCE. BLACK.
SMASH CUT TO:
Genres:
["Drama","Dark Comedy"]
Ratings
Scene
4 -
The Vasectomy Dilemma
INT. DR. STERLING'S OFFICE - DAY
CLOSE-UP on a penis diagram. Clearly labeled.
DR. STERLING (early 60s, wearing a Christmas tie) points to
different parts as he speaks.
DR. STERLING
Very simple. Incision here, pull
the vas deferens out, cut it,
cauterize the ends. Twenty minutes.
Easy peasy.
Rob and Jenna hold hands. Rob winces with each word, his
balls trying to retreat into his body.
ROB
Why is it so barbaric? No
disruptors have created a pill for
this?
DR. STERLING
Why? It works. After a week, your
sex life will be back to normal.
JENNA
What's "normal" in your opinion?
Rob ignores her.
ROB
Can I be put under?
Dr. Sterling laughs.
DR. STERLING
Do I look like Michael Jackson's
doctor? It's nothing more than a
rubber band snap.
He SLAPS Rob's hand. Rob jumps.
ROB
Jesus!
Rob bolts from the office like his life depends on it.
JENNA
(to Dr. Sterling)
He's such a pussy. Sorry.
DR. STERLING
They all are. See you Friday!
Genres:
["Drama","Comedy"]
Ratings
Scene
5 -
Confrontation and Playfulness
EXT. DR. STERLING'S OFFICE BUILDING - SAN FRANCISCO - DAY
Jenna exits the building. Rob's already in the SILVER
MINIVAN.
She gets in. Silence.
JENNA
You can't run from everything.
ROB
Watch me.
She stares at him. That landed harder than he meant.
JENNA
You've been running since your dad
died.
Rob doesn't respond. Because she's right.
JENNA (CONT’D)
I'm not asking you to be perfect.
I'm asking you to be present.
He grips the steering wheel. Won't look at her.
ROB
Can we just go?
Jenna jingles the keys in front of him like a baby, teasing.
ROB (CONT’D)
Why don't we just use condoms?
JENNA
Condoms can break!
ROB
What is there, like a 0.001% chance
of breakage?
JENNA
With your clumsy ass, more like
twenty percent. Besides, I hate
condoms. I feel like I'm getting
screwed by a balloon animal.
TWO TEENAGE GIRLS slow down and stare through the window.
ROB
Can we just go already?
Jenna hands over the keys.
JENNA
On one condition.
CUT TO:
Genres:
["Drama","Comedy"]
Ratings
Scene
6 -
Tensions in Therapy
INT. MARRIAGE THERAPIST'S OFFICE - DAY
Tastefully decorated in a neutral palette that screams "we're
not picking sides." Rob and Jenna sit on opposite ends of a
loveseat, legs crossed away from each other like opposing
magnets.
DR. ROBERTS (50s, patient, a little dead inside) watches them
over her glasses.
DR. ROBERTS
You booked a last-minute
appointment to sit here in silence?
JENNA
I've said all I need to say. Rob
apparently doesn't find me
attractive anymore.
ROB
How could you say that?
JENNA
Because it's true.
DR. ROBERTS
How many times a week do you two
have sex?
ROB
Well --
JENNA
You might want to phrase that as
months instead of weeks.
DR. ROBERTS
Months, then.
JENNA
About once. Twice if it's a "wild"
month.
ROB
We have two kids.
JENNA
So? My girlfriend Pam has four
kids. Her and her husband fuck like
rabbits.
ROB
Her kids are teenagers!
JENNA
And?
ROB
Teenagers lock themselves in their
rooms and vape. Our kids are like
tiny drunk stalkers who know where
we sleep!
DR. ROBERTS
It is possible to maintain a
healthy sex life while raising
young children.
ROB
In theory. But our kids are
challenging.
JENNA
Seems like his fist gets more
action than I do.
Silence. Dr. Roberts writes something down.
ROB
Are you seriously writing that
down?
DR. ROBERTS
I write everything down.
ROB
Great. So now there's a permanent
record that I jerk off.
JENNA
At least you're getting some.
DR. ROBERTS
Let's try an exercise. Rob, tell
Jenna one thing you love about her.
Right now.
Rob looks at Jenna. Panics slightly.
ROB
You're... you're a great mom.
Jenna's face falls.
JENNA
(to Dr. Roberts)
He just called me his employee.
DR. ROBERTS
That's not what he --
JENNA
Yes it is. "You're a great mom."
That's like saying "You perform
your duties adequately."
ROB
What do you want me to say? You're
sexy? You're exciting? We're in our
late-thirties with two kids.
Nobody's sexy. Nobody's exciting.
We're all just trying not to die.
Long pause. Dr. Roberts looks at them both, then her watch.
DR. ROBERTS
I think we should schedule a follow-
up.
ROB
Is that therapist-speak for "you
people are fucked"?
DR. ROBERTS
No. It's therapist-speak for
"please leave before you make me
want a drink."
She smiles. They don't.
INT. ROB AND JENNA'S BEDROOM - NIGHT
Rob lies awake. Jenna sleeps facing away, snoring.
His hand starts moving under the sheets.
JENNA
(eyes closed)
Don't you fucking dare.
Genres:
["Drama","Comedy"]
Ratings
Scene
7 -
Morning Mayhem
INT. KITCHEN - DAY
Morning chaos. Rob frantically makes sandwiches. ALAN (4),
and LACEY (7), chase each other screaming.
Jenna enters, pantsuit, kisses the kids.
JENNA
Bye. Have a good day.
(to Rob)
Bye, Daddy.
She gives Rob a perfunctory kiss on the cheek.
ROB
A little help?
JENNA
I have to be at work in twenty
minutes. Oh, the kids can't bring
peanut butter to school. Allergies.
She grabs her bag and leaves.
ROB
Mommy's a lovely lady, isn't she?
Genres:
["Drama","Family"]
Ratings
Scene
8 -
The Uncomfortable Drive
INT. MINIVAN (MOVING) - DAY
Rob drives. In the back ride Alan (in a car seat) and Lacey.
The two kids loudly sing along to an awful POP SONG that
plays on the radio.
Judging by the look on his face, Rob's very close to blowing
his brains out.
LACEY
Dad?
ROB
Yes, honey?
LACEY
What's a mastectomy? Mom said
you're getting a mastectomy.
Rob laughs.
ROB
No, no, a mastectomy is the removal
of a woman's breasts. As you can
see, Daddy doesn't have those.
LACEY
Then what are you getting?
ROB
Mommy wanted me to get a vasectomy.
LACEY
What is that?
ROB
Never-mind. You'll understand when
you get older.
LACEY
What is it, Dad?
ROB
Nothing. Don't worry about it.
LACEY
(loudly)
What's a vasectomy, Dad?
Genres:
["Comedy","Drama"]
Ratings
Scene
9 -
A Lighthearted Farewell
EXT. DUNKIRK ELEMENTARY SCHOOL - DAY
The minivan is pulled up in front. Lacey steps out the
sliding door.
LACEY
That's sick!
ROB
That's why it was your mother's
idea. Have a good day, honey. Love
you.
The Traveling Wilburys' song “End of the Line” comes on the
radio. Rob glances at Alan in the rearview.
ROB (CONT’D)
Word to the wise. Take your time
with all of it. Love, marriage,
figuring stuff out. No rush.
Alan stares back. A long FART bubbles from his diaper.
ROB (CONT’D)
Wisdom, pure wisdom.
Genres:
["Drama","Comedy"]
Ratings
Scene
10 -
Awkward Encounters at Blue Bell Pre-School
EXT. BLUE BELL PRE-SCHOOL - DAY
Rob's minivan pulls up front.
SANDRA (20's, blonde, cute) pops out the entrance, sporting a
cleavage-hugging Christmas sweater and opens the mini-van
door.
ALAN
Hi, Miss Sandra.
SANDRA
Hello there, handsome. I see you
take after your dad.
ROB
(embarrassed)
Hehe, uh...thanks.
Sandra pulls Alan out of his car seat. Awkward moment as Rob
stares at her chest, lost in her cuteness.
Sandra notices Rob staring.
SANDRA
It's ugly Christmas sweater day.
Just in case you thought this was
mine.
ROB
Oh yeah, right. That's funny.
SANDRA
I'll see you later, Mr. Fitch.
ROB
Rob.
SANDRA
Ok. See you later.
ALAN
Bye daddy.
Sandra smiles and closes the door as Rob remains lost in the
moment.
Genres:
["Drama","Comedy"]
Ratings
Scene
11 -
A Bittersweet Reunion
INT. COFFEE HOUSE - DAY
A slow pour of hot water over grounds. Rob watches like he's
staring into the void.
The Traveling Wilburys song plays faintly on the café
speaker.
Rob's brow furrows. That was his dad's song.
BARISTA
Cafe Au Lait for Rob.
Rob takes the coffee, rushes toward the door.
KELSEY (O.S.)
Ummm, hello?
KELSEY (mid-30s, confident, pulled-together) sits near the
window, smirking.
ROB
(barely looking)
Hi.
KELSEY
That's how you greet an old high
school buddy?
Rob stops. Looks closer.
ROB
Kelsey! Shit, sorry. I thought you
were some random chick flirting
with me.
KELSEY
Don't flatter yourself.
Rob plants a fake frown.
KELSEY (CONT’D)
Sit down, you lunatic.
ROB
Can't stay long. Running late.
KELSEY
You can't stay for five fucking
minutes?
Rob pulls up a chair.
ROB
What brings you back?
KELSEY
I'm in town for the holidays.
ROB
East Coast still treating you well?
KELSEY
Trying to jump-start my acting
career. Landed a speaking role on a
soap opera.
ROB
Who'd you play?
KELSEY
A gardener. "Grace? I remember
Grace. She always loved my
tomatoes."
They laugh.
ROB
You've never grown a tomato in your
life.
KELSEY
That's why it's called acting. So
what's new? Married? Single? Gay?
ROB
Married. Two kids. A car that
smells like string cheese and
broken dreams.
KELSEY
Living the dream.
The song hits another line. Rob blinks. Kelsey notices.
KELSEY (CONT’D)
You okay?
ROB
That song. My dad used to blast it.
Haven't heard it since he died.
KELSEY
Weird timing.
She slides a napkin toward him — name, number, hotel.
KELSEY (CONT’D)
InterContinental. Room 608.
Minibar's fully stocked.
Rob looks at it. Then her.
ROB
Good to see you.
KELSEY
Likewise.
They hug. She lingers a second too long.
Rob exits into daylight.
Genres:
["Drama","Romance","Comedy"]
Ratings
Scene
12 -
Caught in Silence
INT. ROB'S OFFICE - AD AGENCY - DAY
Rob sits at his desk, staring at his computer. Should be
working but he's not.
His phone buzzes. Text from JENNA: "Did you schedule the
vasectomy?"
He ignores it. Opens a browser. Types into ChatGPT: "how long
does grief last"
He stares at the results. Deletes the search. Types: "signs
your marriage is ending"
Stares at that. Deletes it.
Opens Instagram instead. Scrolls to Kelsey's profile. Studies
her photos.
His BOSS (40s, energetic) pops his head in.
BOSS
Fitch! Client presentation in
twenty. You ready?
ROB
(not looking up)
Yeah. Always.
The Boss leaves. Rob looks at Kelsey's photo one more time.
Closes his laptop. Sits in the silence of his office. Lost.
Genres:
["Drama","Relationship"]
Ratings
Scene
13 -
Christmas Reflections
INT. NITECAP BAR - NIGHT
Christmas Eve. Half-dead lights flicker. A melancholy
Christmas song croons from a haunted jukebox.
Rob sits at the bar, swirling a half-empty glass of bourbon.
NICK (O.S.)
Reflections in a double bourbon.
Rob turns. NICK (70s, wiry, weathered, faded 49ers jacket)
raises his glass.
ROB
That's something my dad used to
say.
NICK
Your old man had a lot of sayings.
ROB
You knew him?
NICK
Knew him, drank with him, lost
money to him. Who didn't?
Rob offers a hand.
ROB
Rob.
NICK
Nick.
They shake.
NICK (CONT’D)
You miss the old bastard?
ROB
Yeah. This was our Christmas Eve
thing. We'd skip Midnight Mass and
sneak here instead.
Nick chuckles.
NICK
He was one crazy sonofabitch. I
remember he came in here with one
of the Giants players, a pitcher...
ROB
Jack Nosey. Friends since high
school.
NICK
Yeah! Gets him shit-faced the night
before a game. Jack stumbles out,
your dad calls his bookie. Lays
five-large on the game.
Nick takes a drink.
NICK (CONT’D)
Next day, we're watching. Jack
looks like absolute shit.
(MORE)
NICK (CONT’D)
Eyes blazing, pale as a ghost,
barfs in the dugout. You could see
the pain. Guess what?
ROB
What?
NICK
Guy pitches a god-damned no-hitter.
Your dad looked like he was gonna
eat his gun.
They laugh. Somewhere between fond and broken.
The bar door CREAKS open.
BLACK SANTA waddles in — fat, sweaty, thrift-store suit,
ringing a plastic bell. Bluetooth speaker plays distorted
jingle bells.
BLACK SANTA
Ho ho ho, sinners! Who wants a
Santa call tonight? Ten bucks gets
your kid some real holiday magic!
I'm in the miracle business, baby.
Been doing it a long time.
Groans ripple through the bar.
NICK
Here we go...
BLACK SANTA
(eyeing Rob)
You look like you got them
chillens.
ROB
Two.
BLACK SANTA
For ten semolians, I'll call 'em
from wherever they need to hear
from. Sometimes that's the North
Pole. Sometimes it's further. Way
further.
ROB
What do you mean?
BLACK SANTA
Just means I got good reception.
He smiles mysteriously.
BLACK SANTA (CONT’D)
Plant the seed early. Wonder, man.
That's the gift.
Rob hesitates. That lands.
He hands over a ten.
ROB
Let's make their night weird.
BLACK SANTA
Respect. Names and number?
ROB
Lacey and Alan.
Santa types into his cracked phone.
BLACK SANTA
They'll get the call around ten.
He heads to the bar.
BLACK SANTA (CONT’D)
Brandy. Heavy pour. Santa's off the
clock.
The bartender pours. Slams the glass down.
NICK
A Black Santa. What's next, a sober
Irishman?
BLACK SANTA
Let's not dream too big, old man.
The bar chuckles.
ROB
Time I head home. Before Santa gets
there first.
Rob stands, offers a hand to Nick.
NICK
Take care of 'em. Your family. One
minute they're five, next minute
you're sitting here talking to
ghosts.
That one hits.
As Rob turns to leave, Black Santa calls out.
BLACK SANTA
Hey, Rob?
Rob stops. Turns back.
ROB
How'd you know my name?
BLACK SANTA
You told me. When you gave me your
kids' names. Remember?
Rob doesn't remember saying his own name. But maybe he did?
BLACK SANTA (CONT’D)
(suddenly serious)
You look like a man with unfinished
business.
ROB
What?
BLACK SANTA
Nothing, baby. Just, when that call
comes through tonight? Answer it.
Even if it don't make no sense.
Especially if it don't make sense.
It might not be who you expect. But
it'll be who you need.
Rob nods, confused. Something about Black Santa's eyes
feels... knowing.
Black Santa raises his glass in a toast.
Rob exits into the cold.
Genres:
["Drama","Comedy"]
Ratings
Scene
14 -
A Call from Beyond
INT. ROB AND JENNA'S HOUSE - NIGHT - CONTINUOUS
Rob enters the house. Darkness. The entire house is
illuminated solely by Christmas lights. Still wearing his
overcoat, Rob heads upstairs, walks past a Christmas tree.
INT. ROB AND JENNA'S BEDROOM -- NIGHT
Jenna's asleep in bed, wearing a Santa hat. Rob wakes her up.
JENNA
What the hell!?
ROB
And a Merry Christmas to you, babe.
Rob kisses his wife.
JENNA
Jesus, you smell like the
Tenderloin.
ROB
Where are the kids?
JENNA
They're asleep.
ROB
Shit. I set up a Santa call.
JENNA
A Santa what?
Rob's phone RINGS. Loud. Sudden.
They both jump.
Rob checks. UNKNOWN NUMBER.
ROB
Probably Black Santa.
He answers, annoyed.
ROB (CONT’D)
Hello?
Weird static and background noise like jail.
MAN (O.S.)
Hey kiddo. I know this is awkward
but it was my only option.
Rob sits up. That voice.
ROB
Who is this?
MAN (O.S.)
Robert, this is your father.
He walks out of the room into the hallway. The lights flicker
as he walks.
ROB
My father's six feet under.
MAN (O.S.)
My body was reduced to ashes. Now
I'm stuck in this stupid waiting
room.
ROB
Is this Pete? You bastard. Some AI
shit you made?
MAN (O.S.)
Remember when I caught you screwing
Kathy Sweetzer and didn't tell your
mother?
Rob turns serious. Nobody else knows that. Nobody.
ROB
Dad?
STEVE
Yes, dipshit. Here’s the deal. I
only get three shots at this. One
minute eleven seconds per call.
That’s the rule.
ROB
Why?
STEVE
One-one-one. Biblical or some shit,
I don't know. Point is, I have
three chances to reach you. I can
also swap a call for ghosting if I
choose to go that route.
Rob paces in the dark, phone pressed to his ear.
MAN
Death also has three parts. Body
goes, then a waiting room.
Purgatory. Buffer zone between
heaven and hell.
ROB
Uh huh..
MAN
I'm stuck here until I'm cleared.
Like an elevator that got stuck. A
real megillah.
ROB
On your way up? With your antics,
I'm suspecting down.
MAN (O.S.)
Wherever I'm going, they won't let
me until I tie up loose ends.
ROB
Loose ends?
MAN (O.S.)
Late in the game to tell you this,
but, you have a brother somewhere.
If you don't find him by New Year's
Eve and make it known, I'm stuck in
this shithole for another year.
Rob snaps back to reality.
ROB
This is insane. I’m having a
conversation with a dead man.
MAN (O.S.)
You think I like admitting I
knocked up some broad while married
to your mother?
ROB
Thanks for letting me throw ten
bucks down the toilet. Fun story.
He hangs up. Looks at the phone, it reads: 11:11PM. Lights
stop flickering.
Pokes his head into the kids' rooms. Both asleep. Peeks in on
Jenna -- snoring.
Genres:
["Drama","Fantasy","Comedy"]
Ratings
Scene
15 -
Midnight Revelations
INT. MINIVAN (MOVING) - NIGHT
Rob drives, cell to his ear. It RINGS.
KELSEY (O.S.)
Hello?
ROB
About that drink--
KELSEY (O.S.)
Come to my room. 608. Don't
overthink it.
She hangs up.
INT. INTERCONTINENTAL HOTEL - HALLWAY - NIGHT
Rob proceeds through the hall, searching for 333.
The HALLWAY LIGHTS flicker. His phone RINGS. UNKNOWN CALLER.
MAN (O.S.)
It's Dad. Seconds call. You going
to help me or not? Don’t make me
call Aunt Sharon for help, please
god.
ROB
Honestly, what the fuck is going on
here? I think I'd know if I had a
brother.
MAN (O.S.)
Calm down. He's your half brother.
ROB
An illegitimate child? Good one.
MAN (O.S.)
You think it's easy to admit this?
ROB
My dad was many things, but a
cheating bastard wasn't one.
MAN (O.S.)
I wish you were right. I screwed
up. Multiple times.
ROB
This isn't funny anymore.
MAN (O.S.)
Damn right. You think this is easy?
I'm stuck in a waiting room with
dead celebrities and politicians,
doing crossword puzzles until
someone decides if I go up or down.
ROB
Does mom know?
MAN
Hell no! Don't say a word. She's a
saint.
ROB
She was smart to divorce you.
MAN (O.S.)
(voice yelling in b.g.)
Goddamn it! I'll be off in a
minute!
(to Rob)
I wasted my first call thinking
you'd listen. You need to find your
brother before midnight New Year's
Eve or my ass is stuck here for
good. This is my second shot. One
more after this and that’s it.
ROB
Sure, dad.
MAN (O.S.)
And Rob? Stay away from that hotel
room. Keep your dick in your pants.
Somebody in this family needs to
have integrity.
ROB
How did you -
STEVE (O.S.)
I can see you right now. You're
standing outside that woman's door
thinking about throwing your life
away. Don't do it. Jenna's not
perfect, but she's real. This
Kelsey? She's a fantasy with a bad
tit-job. Walk away.
The line goes dead with a strange STATIC burst. Rob looks at
his phone. CALL DURATION: 1:11
ROB
(sarcastic)
Merry Christmas.
The lights stop flickering. He locates Room 333. Knocks.
Kelsey answers in a white bathrobe.
ROB (CONT’D)
Hi.
Genres:
["Drama","Mystery","Family"]
Ratings
Scene
16 -
Temptation and Conscience
INT. KELSEY'S HOTEL ROOM - NIGHT
Candlelight. Soft music. Kelsey closes the door behind Rob.
She lets the robe slip. Underneath: sheer black lingerie.
KELSEY
You coming in or what?
Rob steps inside. The door closes behind him.
She moves closer. Runs her hand down his chest.
KELSEY (CONT’D)
Relax. Nobody has to know.
ROB
I know.
KELSEY
So?
She kisses him. For a moment—just a moment—he kisses back.
Then pulls away.
ROB
I can't.
KELSEY
(pulling him back)
Yes you can.
She kisses him again. Harder. He responds. His hands move to
her waist.
Then -
His phone BUZZES in his pocket. Vibrates against both of
them.
They break apart.
ROB
I'm sorry.
He pulls out his phone. TEXT from JENNA: "Kids are asking
about you."
Below it: PHOTO of Alan and Lacey in pajamas, holding a
drawing that says "WE MISS DADDY."
Rob stares at it.
KELSEY
(reading his face)
That's her?
ROB
Them. All of them.
Long pause.
KELSEY
What's wrong?
ROB
I... I can't. I know this sounds
like bullshit, but I actually
can't.
KELSEY
Performance anxiety? I have wine.
ROB
It's not that. I just... this isn't
right.
KELSEY
Your wife doesn't have to know.
ROB
I'd know.
Kelsey's face hardens. Disappointment. Then understanding.
KELSEY
You're really not going to do this.
ROB
I'm really not.
KELSEY
Then why'd you come?
ROB
I don't know. Honestly. But I
should go.
He turns to leave.
KELSEY
Rob?
He stops.
KELSEY (CONT’D)
Your dad would've stayed.
That lands like a punch. Rob turns back slowly.
ROB
What did you say?
KELSEY
She's lucky. Whoever she is.
Weird. Rob nods. Leaves.
Genres:
["Drama","Romance"]
Ratings
Scene
17 -
The Blue Angel Revelation
INT. ROB AND JENNA'S HOUSE -- NIGHT
Rob somberly enters. The house is dark except for the
Christmas lights.
The Blue Angel ornament falls from the top if the tree as he
closes the door. He walks over, picks it up and prepares to
place it back on top of the tree when he notices something.
The bottom of the angel contains the following words:
THE GUARDIAN ANGEL TO THE LOST SOULS OF LAS VEGAS
Rob types those exact words into Google on his phone. A
website pops up: "BLUE ANGEL MOTEL" in neon blue lettering.
Address: 2110 FREMONT STREET, LAS VEGAS, NV
A picture loads: A GIANT FEMALE BLUE ANGEL sculpture atop the
motel.
Rob pulls out the ornament. Compares.
An exact match.
ROB
Son-of-a-bitch.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
18 -
Christmas Secrets
INT. ROB AND JENNA'S BEDROOM -- CHRISTMAS MORNING
Rob shoves a plethora of clothes, toiletries, and other
belongings into a large suitcase.
JENNA (O.S.)
Come on, Rob! We're gonna open the
presents!
ROB
I'll be down in a second!
He quickly zips up his suitcase, sitting on it to keep it
shut.
INT. LIVING ROOM - DAY
Jenna, Alan, and Lacey gather in front of the couch.
Buzzing around like a nervous wreck, Rob quickly hands a
series of gifts to his kids.
ROB
To Alan, from Santa. To Alan, from
Santa. To Lacey, from Santa. To
Lacey, from Santa. To Lacey, from
Mommy and Daddy. Andddd...
Rob checks under the Christmas tree, can't find anything.
Jenna grins and raises an eyebrow.
ROB (CONT’D)
And, of course, I'm saving the best
for last. I'll be back in a jiffy,
babe.
Rob kisses his wife on the cheek and speeds up the stairs.
INT. ROB AND JENNA'S BEDROOM - DAY
Rob fishes inside his wallet, nothing. He pulls out his AMEX.
Genres:
["Drama","Family"]
Ratings
Scene
19 -
Unexpected Departures
INT. LIVING ROOM - DAY
Rob enters, holding out a fat envelope with a dramatic
flourish.
ROB
Ta-da!
JENNA
What the hell is that?
ROB
A peace offering. Or a guilt
offering. Maybe both.
Jenna awkwardly reaches into the un-sealed envelope and pulls
out the AMEX card.
ROB (CONT’D)
I know it's not jewelry or...
whatever normal people do. But I
thought maybe you could use it for
something you actually want. No
judgment.
Jenna stares at him. Unsure if she should be touched or
irritated.
JENNA
So this is, like a build-your-own-
gift-card?
ROB
Exactly. Customizable emotional
compensation.
(beat)
And if that doesn't scream romance,
I don't know what does.
Jenna laughs — despite herself. She sets the envelope down
and walks over to him.
JENNA
You're a mess.
ROB
Absolutely.
Lacey plays with a doll.
LACEY
Dad, thanks for the --
ROB
Gotta go.
Yet again, he jets up the stairs. Merely seconds later, he
jets back down the steps, rolling down his suitcase.
JENNA
No. No. Don't even -
ROB
I gotta fly to Vegas.
JENNA
Of course you do.
ROB
Feel free to come with me if you'd
like. Trust me, the Blue Angel
Motel looks pretty damn seedy.
Could be fun?
JENNA
Blue Angel Motel?
ROB
It's for my dad. He wants me to
find my half-brother.
JENNA
Your dead dad?
ROB
Yep.
JENNA
I'm confused. What the actual fuck
is going on here?
ROB
Look, I'll be back in two days.
Three max.
Jenna stares at him in stunned silence. Rob quickly pecks
each kid on the cheek.
ROB (CONT’D)
Love you... love you...
He moves to kiss Jenna on the cheek.
ROB (CONT’D)
Love you.
Jenna turns away and blocks her cheek.
Genres:
["Drama","Romance","Comedy"]
Ratings
Scene
20 -
Anxious Arrival in Vegas
EXT. LAS VEGAS - NIGHT
An AIRPLANE flies high above the illuminated landscape of Las
Vegas, Nevada.
INT. CAB (MOVING) – NIGHT
Rob stares out the window, anxiety rising.
ROB
Uh... are we still in Vegas?
EXT. FREMONT STREET – CONTINUOUS
The cab drifts past dingy motels, pawnshops, and neon that
flickers like a dying pulse.
INT. CAB – CONTINUOUS
CAB DRIVER
(flat)
Blue Angel Motel, right?
ROB
Yeah.
The cab weaves through streets that look like broken dreams.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
21 -
Into the Ghost Town
EXT. VACANT LOT – NIGHT
The cab slows into nothing. An empty lot. Debris. Faint
buzzing from a busted transformer.
CAB DRIVER (O.S.)
You have reached your destination.
INT. CAB – CONTINUOUS
ROB
There's literally nothing here.
CAB DRIVER
This part of town's a ghost. Want
me to circle back?
ROB
No. No, I'll get out.
EXT. VACANT LOT – NIGHT
Rob steps out. Distant screaming echoes. Somewhere, a bottle
breaks. A grocery bag floats past like a sad tumbleweed.
Then — a faint blue GLOW down the block.
He walks toward it.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
22 -
Theft and Misunderstanding on Fremont Street
EXT. FREMONT STREET – MOMENTS LATER
Rob approaches the BLUE ANGEL — a weathered neon sculpture,
fenced off like an endangered animal in front of an Arco gas
station.
VOICE (O.S.)
She's my guardian. Keeps me safe.
Rob jumps. A SHIRTLESS MAN stands beside him, calm as a monk.
ROB
Can you watch my bag for a minute?
Here's five bucks.
SHIRTLESS MAN
You got it.
Rob hops the fence.
CLOSE ON: Inscription at the statue's base — "THE BLUE ANGEL.
DESIGNED BY MAUREEN JAMES, 1968."
Rob types her name into his phone. Glances back —
His suitcase is gone. So is the man.
ROB
Fuck.
VOICE (O.S.)
Hey!
An OLD SECURITY GUARD rides up on a sputtering motorized
scooter.
SECURITY GUARD
You! Stop!
Rob climbs back over the fence. In the background of the
vacant lot, partially obscured by darkness: An 18-WHEELER
with "BRUCE'S TRUCKING" logo visible on its side, parked near
an adjacent warehouse.
The guard whistles. An ELDERLY DOG slowly emerges from the
shadows. THREE LEGS. WHEEZING. ONE EYE.
The dog looks at Rob. Wheezes. Lies down.
SECURITY GUARD (CONT’D)
Look what you did! You traumatized
Sergeant!
ROB
Sergeant looks traumatized by
existence.
He hops down. No suitcase. No sign of the guy.
ROB (CONT’D)
You should be chasing the thief,
not me.
He flips the bird.
SIREN. TIRES SCREECH.
A patrol car lights up the street. Two COPS step out.
COP #1
Hands on your head!
ROB
I didn't do anything! Just hopped a
fence!
COP #2
City property. You ran from
security.
They cuff Rob.
INT. BACK OF POLICE CAR – MOMENTS LATER
Through the window, Rob sees the security guard SLOWLY
flipping him off as he chats with the cops.
Other window, the SHIRTLESS MAN strolls away, dragging Rob's
suitcase like it's luggage from a game show win.
ROB
Hey! That's him!
Too late. The guy vanishes.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
23 -
Midnight Revelations
EXT. VACANT LOT – MINUTES LATER
The cops un-cuff Rob.
COP #1
You're lucky. Harold says you
didn't break anything.
COP #2
I'd get out of here. This place
turns weird after midnight.
The cops leave. Harold scoots over.
HAROLD
Drama queen. You could've just
asked.
ROB
What happened to the motel?
HAROLD
Shithole closed down a few years
ago. The angel was designated a
city landmark and moved here to
protect her.
ROB
Do you know Maureen James? She
designed the angel.
HAROLD
Nah. But if you find her, tell her
she gave the angel some righteous
knockers.
Harold scoots off. Dog trails him like a retired sidekick.
Genres:
["Drama","Mystery"]
Ratings
Scene
24 -
Isolation and Disconnection
EXT. STRATOSPHERE – NIGHT
Rob enters his room. Drops onto the bed, fully clothed.
DISSOLVE TO:
INT. STRATOSPHERE – MORNING
Alarm blares. The Traveling Wilburys “End of the Line” plays.
His phone BUZZES. Text from JENNA: "The kids miss you."
He stares at it. Doesn't respond.
Rob gets up. Goes to the window. Looks down at the street.
BELOW: The SHIRTLESS MAN from last night walks by wearing
Rob's CLOTHES. The full outfit. Jacket, pants, shoes.
Dragging the empty suitcase.
ROB
(to himself)
Of course.
He Googles: MAUREEN JAMES, LAS VEGAS
A few results. One — 75 years old. Las Vegas.
He dials.
WOMAN (O.S.)
Hello?
ROB
Hi. This is Rob Fitch. Steve
Fitch's son—
CLICK. Dial tone.
He scribbles her address on a slip of paper.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
25 -
Deceptive Entry and Sudden Assault
EXT. CONDOMINIUM COMPLEX - DAY
A TAXI stops in front of the retro-style (circa early 70's)
complex.
Rob hops out the taxi and heads to the main door. He scrolls
through the resident directory, finds "MAUREEN JAMES." He
hits the buzzer.
MAUREEN (O.S.)
(through intercom)
Who is it?
ROB
Fed-Ex for Maureen James.
MAUREEN (O.S.)
I'm not expecting anything.
ROB
Really? Must be a Christmas
present.
MAUREEN (O.S.)
Nope, don't know anyone that would
send me anything.
ROB
Ma'am, somebody sent you something
and obviously it's urgent. I need a
signature.
Maureen doesn't respond.
An OLD LADY (80s), hobbles out the door, wheeling a grocery
cart. Rob holds the door open.
ROB (CONT’D)
There you go, ma'am.
OLD LADY
Such a gentleman.
Once the old lady leaves, Rob slips in through the door.
INT. CONDOMINIUM COMPLEX - LOBBY - DAY - CONTINUOUS
Rob moves to the elevators, presses the "Up" button. Ding!
The elevator arrives.
Out steps a tall, heavy-set WAYNE NEWTON LOOKALIKE.
ROB
Danke schoen.
W.N. LOOKALIKE
Are you the delivery guy?
ROB
Delivery?
The Wayne Newton lookalike whacks Rob in the back of the legs
with a nightstick and sprays his eyes with pepper spray.
Rob screams, runs off in a panic. BAM! He smacks into a wall.
BLACK
Genres:
["Drama","Thriller"]
Ratings
Scene
26 -
Waiting Room of Legends
INT. WAITING ROOM
A 1960s institutional room. Smoke-filled. DMV-style. The
Benny Hill Show plays on TV monitors.
Rob walks past rows of MEN waiting. Playing cards. Reading
newspapers. Smoking. Drinking.
Throughout: deceased celebrities everywhere. ELVIS. SINATRA.
BABE RUTH. PICASSO. WILT CHAMBERLIN. JOHN F KENNEDY.
In the corner: A single PAY PHONE with a LINE of people
waiting.
At the end sits STEVE FITCH, doing a crossword puzzle.
STEVE
Thirteen letters. Two words. One
who shows up when it matters most.
ROB
Dad?
STEVE
Are you going to help me with the
puzzle or not?
ROB
I don’t know. “Reliable friend?”
Rob laughs. Dad is not amused.
STEVE
Doesn’t fit.
Rob looks around at the bizarre waiting room. Celebrities
playing cards. Smoking.
ROB
How does this place work?
STEVE
Badly. Been waiting three hours to
use that phone. Rules are posted.
Steve nods to the wall: A HAND PAINTED DINER MENU BOARD
THE RULES:
- 3 ATTEMPTS TO REACH LIVING
- PHONE CALLS = 1:11 MAXIMUM (IF ANSWERED)
- NO ANSWER = ATTEMPT WASTED
- PHYSICAL MANIFESTATIONS = 1 ATTEMPT
- ALL ATTEMPTS USED = WAIT MINIMUM 1 YEAR
- TIE UP LOOSE ENDS OR STAY INDEFINITELY
- NO WHINING ALLOWED
Below the sign someone has scrawled in marker: “Bullshit
Rules, Frank”
Someone taps Rob's shoulder. DEAN MARTIN holds martinis.
DEAN MARTIN
'Scuse me. What'll it be, Stevie
baby?
STEVE
Hello, Dean.
Dean hands Steve a martini.
DEAN MARTIN
Let's do another round before you
head up to the big house. This your
kid?
STEVE
Yeah. Rob, meet Dean.
They shake hands.
DEAN MARTIN
Do I look blurry to you? Cause you
look blurry to me!
ROB
Ummm, no.
DEAN MARTIN
(to Steve)
Yeah, the phone situation here is
worse than LAX. And the martinis
aren't much better.
He sips his drink, makes a face.
STEVE
I used my first call on you
Christmas Eve. Through that Black
Santa character. Don't ask me how
it works. The logistics are above
my pay grade.
ROB
So you can only call me once more?
STEVE
That's the deal. Two calls to tie
up loose ends, or you're stuck here
another year. Maybe longer. Some of
these poor bastards have been here
since the '60s.
He gestures to a MAN in a leisure suit doing a crossword.
STEVE (CONT’D)
So don't fuck this up, kiddo. Find
your brother. Make it right.
DEAN MARTIN
Well, make your pops proud and
follow that sperm trail. I'm sure
it's a long and winding road.
FEMALE VOICE (O.S.)
(via intercom)
Rob? Rob?
STEVE
That's your ride. You better pick
up.
ROB
Wait, I have questions-
STEVE
No time. If you want answers, find
the right people.
FEMALE VOICE (O.S.)
Rob? Rob? Rob?
The voice becomes clearer, pulling him back.
Genres:
["Fantasy","Drama","Comedy"]
Ratings
Scene
27 -
Unexpected Connections
INT. HOSPITAL ROOM - NIGHT
Rob quickly awakens. He finds himself confined to a bed,
hooked up to an I.V. A large bandage is wrapped around his
forehead.
Sitting next to him are MAUREEN JAMES, (76) and the Wayne
Newton look-alike.
ROB
What am I doing here?
MAUREEN
I apologize for my son's behavior.
He gets a little out-of-hand
sometimes.
Maureen slaps her son in the back of the head. Suddenly, the
tough, stocky dude cowers in fear.
MAUREEN (CONT’D)
Rob, I'm Maureen. This is my son--
ROB
--Wayne?
MAUREEN
How'd you guess?
BIG WAYNE
It's Big Wayne, actually.
ROB
Big Wayne? Well, that's not fitting
at all.
DR. RICHARDS, (40s) a handsome doc who appears straight out
of a soap opera, whizzes into the room with a clipboard in
hand. He double takes Maureen.
DR. RICHARDS
(to Maureen, smooth)
If you’re the one who put him in
the hospital, please injure me
next.
He winks, then moves directly to Rob. Maureen giggles.
DR. RICHARDS (CONT’D)
Robert! Let me take a look at that
injury.
He peeks under Rob's bandage.
DR. RICHARDS (CONT’D)
Healing perfectly. Concussion's
minor. No internal bleeding. You
get to live.
He claps his hands, does the "clapping-out" gesture.
DR. RICHARDS (CONT’D)
Drink fluids, avoid small talk, and
stay away from interpretive dance.
You're discharged! Happy Holidays.
He unhooks Rob's I.V. and leaves.
ROB
(pointing to Big Wayne)
Please tell me he's not my brother.
MAUREEN
What? That's crazy talk. His
father's in showbiz.
BIG WAYNE
Hence, my dashing good looks.
ROB
Thanks for taking care of me. Guess
I'll head back to my hotel.
MAUREEN AND BIG WAYNE
(in unison)
No!
MAUREEN
Besides, it's your condo. Your
daddy owns it.
(MORE)
MAUREEN (CONT’D)
We're essentially squatters. When I
heard your voice, I thought you
were coming to kick us out.
ROB
Not to worry. I just came to look
for my half-brother.
MAUREEN
I'm not sure I can help, but I'll
try.
Genres:
["Drama","Comedy"]
Ratings
Scene
28 -
Nostalgia and Distraction
INT. MAUREEN'S CONDO - DINING ROOM - NIGHT
A funky art-deco table. Big Wayne SHOVELS food into his mouth
like it's his last meal.
Across from him, Rob watches, disturbed. His plate untouched.
A Sinatra-era Christmas song plays softly.
Maureen hands Rob a martini.
MAUREEN
This'll cure whatever the hospital
missed.
Rob sips. Eyes bulge.
ROB
Holy hell.
MAUREEN
(laughing)
Your dad could handle two of these
on an empty stomach. While dancing.
ROB
How did you two meet?
MAUREEN
After my no so lucrative art
career, I became a realtor. Your
dad was selling this condo, won it
from a bookie. I came to look. He
invited me to stay. We fell madly
in love.
ROB
Even though he was married?
MAUREEN
It was the 80s. Anything goes. I'd
visit him in San Francisco, mostly
he'd come here. Then one morning...
he was gone.
She tears up.
MAUREEN (CONT’D)
I really thought he loved me.
ROB
I'm sure he did.
MAUREEN
Then why did he leave?
ROB
He was married. Makes it difficult.
Big Wayne wipes his mouth.
BIG WAYNE
You wanna see my act?
Genres:
["Drama","Mystery"]
Ratings
Scene
29 -
A Tender Moment in Lonesome Town
INT. MAUREEN'S CONDO - LIVING ROOM - LATER
Big Wayne sings into an old karaoke machine. The intro to
"Lonesome Town" by Ricky Nelson begins.
He closes his eyes. And when he sings, something changes. His
voice—surprisingly tender, aching with loneliness.
BIG WAYNE
(singing)
There's a place where lovers go to
cry their troubles away...
Rob and Maureen, both tipsy, stop dancing. Just listen.
The Christmas lights flicker softly. Big Wayne pours
everything into it.
BIG WAYNE (CONT’D)
(singing)
And they call it Lonesome Town
where the broken hearts stay.
Maureen's eyes well up. Rob watches her watching her son.
BIG WAYNE (CONT’D)
(singing)
You can buy a dream or two to last
you all through the years.
Rob finds himself moved despite himself. This ridiculous man
in a cheap black suit, singing about loneliness in a Vegas
condo.
BIG WAYNE (CONT’D)
(singing)
And the only price you pay is a
heart full of tears.
The song ends. Silence.
Then Rob and Maureen applaud. Quietly. Reverently.
Maureen wipes her eyes.
MAUREEN
(whispered)
Your dad loved this song.
ROB
I didn't know that.
MAUREEN
He'd play it late at night. After
too much scotch. Said it reminded
him of everywhere he'd been and
everyone he'd left behind.
Big Wayne takes an elaborate bow.
BIG WAYNE
Thank you, thank you. I'll be here
all week. Literally. I live here.
They laugh through their tears.
MAUREEN
Come with me.
Genres:
["Drama","Musical"]
Ratings
Scene
30 -
Echoes of Abandonment
INT. DEN - CONTINUOUS
Warm light glows off dark wood. A wall of framed photographs.
Maureen points to one: Steve—mid-30s, sitting cross-legged in
the desert at sunset. Barefoot, shirt open, joint between his
fingers. Eyes closed. Peaceful.
He's high.
ROB
MAUREEN
He's meditating.
(beat)
Or both. With your dad, it wasn't
always easy to tell.
ROB
He looks calm.
MAUREEN
That was rare. Like watching a
storm take a nap.
Another photo: Steve and Maureen at a dusty roadside motel.
Laughing. Half-empty bottle between them.
MAUREEN (CONT’D)
He loved hard. Fought hard, too.
But when it was just us, no
expectations, the world dropped its
shoulders for a minute.
Rob stares. Something hits him.
ROB
I found something. In his apartment
after he died.
He pulls out his phone, shows her a photo of the Blue Angel
ornament.
ROB (CONT’D)
This was on his Christmas tree.
Maureen's face lights up. She takes the phone, staring at the
image.
MAUREEN
(softly)
The Blue Angel. I made that for
him.
ROB
You made it?
MAUREEN
After I designed the sculpture for
the motel. I wanted him to have a
piece of it. Something small he
could keep. I gave it to him our
last Christmas together.
She wipes her eyes.
MAUREEN (CONT’D)
I didn't think he'd keep it.
ROB
He kept it on his tree. Every year.
Top of the tree.
MAUREEN
(crying now)
He did love me. Didn't he?
ROB
Yeah. I think he did.
She composes herself. Fishes through a box. Her hands pause
on something. She pulls out a FOLDED PIECE OF PAPER. Yellowed
with age. She stares at it for a long moment.
MAUREEN
(quietly)
I wrote this for him. After he
left. Never sent it.
She hands it to Rob. He unfolds it carefully. The handwriting
is elegant, deliberate. He reads aloud, slowly:
ROB
(reading)
"Long gone yesterday, when you
could have shaped me in the quiet
of your hands, loved me into
anything, but you chose absence,
and I unraveled anyway, becoming
everything that never waited."
Silence. The weight of it settles in the room.
Rob looks up at Maureen. Her eyes are wet but she's not
crying. Just remembering.
MAUREEN
I was angry for a long time. Then I
wasn't. Then I just... missed him.
ROB
(still holding the poem)
This is beautiful.
Maureen watches him.
MAUREEN
Your father was good at leaving.
Great at it, actually. But he
wasn't good at much else. Don't be
him, Rob.
ROB
(looking at the poem)
Can I keep this?
MAUREEN
Why would you want it?
ROB
Because it's not just about him
leaving you. It's about him leaving
all of us. And maybe, maybe it
reminds me what happens if I keep
running.
Maureen nods. Studies him.
MAUREEN
You're not like him. Not
completely.
ROB
How do you know?
MAUREEN
Because you're here. You're
looking. He never looked back. Not
once.
She reaches into the box again. Pulls out a POSTCARD. Hands
it to Rob.
MAUREEN (CONT’D)
El Rancho Motel. New Mexico, near
an Indian Reservation. Movie stars
used to hang out there. I used to
joke he went there to find his
second mistress.
Rob pockets the poem carefully, then studies the postcard.
ROB
I think I know where my brother is.
MAUREEN
At the El Rancho? How are you
getting there?
Maureen tosses him car keys with large fuzzy dice attached.
MAUREEN (CONT’D)
Your father's Buick. Least I can do
for stealing his condo for four
decades.
ROB
Are you serious?
MAUREEN
Good luck, Rob.
Rob stands. Looks at the poem in his hand one more time
before folding it and putting it in his pocket next to the
postcard.
Two pieces of his father. Two women left behind.
He's starting to see the pattern.
EXT. CONDOMINIUM COMPLEX - NIGHT
An 80s Buick Grand Prix tears out and zooms down the road.
Maureen and Big Wayne run out to wave goodbye.
MAUREEN
Good luck, Rob! If you get lost,
there's a CB radio in the car!
INT. BUICK GRAND PRIX (MOVING) - NIGHT
Rob sits behind the wheel. Making a sharp turn, a series of 8-
TRACK TAPES spill out the open glove compartment. Without
checking the case, Rob pops in one of the tapes.
Harry Chapin's song pumps through the speakers. As the song
progresses, Rob gradually bobs his head to the tune and
finally increases the volume to the max.
ROB
(singing)
And the cat's in the cradle and the
silver spoon. Little boy blue and
the man on the moon.
INT. BUICK (MOVING) - NIGHT
Later, much later. Rob passes a REST STOP. In the parking
lot: an 18-WHEELER with "BRUCE'S TRUCKING" on the side.
Rob glances at it.
Keeps driving.
Genres:
["Drama"]
Ratings
Scene
31 -
Midnight Reflections at the Diner
EXT. MOON RIVER DINER -- NIGHT
The Grand Prix sits in the parking lot of this lonely highway
diner.
INT. MOON RIVER DINER - NIGHT
Rob sits in a corner booth, sipping black coffee and picking
at a half-eaten slice of apple pie. Dean Martin's "Christmas
Blues" crackles softly from the overhead speakers, warm, sad,
and a little drunk, like the room itself.
He studies the postcard from his dad like it might rearrange
itself into a clue.
The WAITRESS (60s), worn but graceful, refills his mug.
ROB
Now that's real coffee. I never get
this back home.
WAITRESS
You from space?
ROB
San Francisco. So, kind of.
WAITRESS
(smiles)
That tracks.
ROB
Out there, coffee's a five-step
ritual. Pour-overs. Latte art.
People whispering like it's a damn
church. Then they charge you seven
bucks to feel judged.
WAITRESS
Sounds exhausting. And profitable.
ROB
Oh, it is. But this? This tastes
like actual life.
She leans on the counter, curious.
WAITRESS
What brings a space traveler like
you all the way to Moon River?
ROB
Chasing my dad's ghosts.
WAITRESS
Ghosts?
ROB
Yeah. People. Places. Old echoes.
(beat)
I guess I'm just trying to figure
out who he really was. Before I end
up exactly like him.
The waitress lets that hang, a quiet pause full of
understanding, then gently redirects.
WAITRESS
So what is it you do out in San
Francisco, besides ghost hunting?
Rob offers a faint smile. He watches the muted TV in the
corner where a loud, slick commercial plays.
ROB
That's what I do. Sell ideas
wrapped in noise.
WAITRESS
Advertising?
ROB
Guilty.
WAITRESS
I hate commercials.
ROB
Same.
She leans lightly on the counter. Not judging. Just curious.
WAITRESS
Why do it?
ROB
I used to think it meant something.
(beat)
Now I'm not sure it ever did.
She refills his mug again, a simple act of generosity.
WAITRESS
Well, around here, we keep it
simple. Coffee's hot. Pie's decent.
(MORE)
WAITRESS (CONT’D)
Ghosts don't mind you asking
questions, long as you stay polite.
Rob nods his head. It's the first real peace he's had in days
until --
A BEEPING sound is heard O.S.
Rob grabs his cell phone. The caller ID reads - "10 MISSED
CALLS." He scrolls down the Missed Call list. The name
"JENNA" appears over and over again.
ROB
(under his breath)
Fuck.
Rob quickly dials Jenna. The waitress goes about her
business.
JENNA (O.S.)
(from cell phone)
How's it going, dickhead? Catch
herpes yet?
ROB
I'm so so sorry. It completely
slipped my mind to call you.
JENNA (O.S.)
Slipped your mind to call your
wife?
ROB
I'm sorry.
JENNA (O.S.)
I'm tired of your fucking sorries!
Genres:
["Drama","Mystery"]
Ratings
Scene
32 -
Breaking Point
EXT. ROB AND JENNA'S HOUSE - NIGHT
On her cell phone, Jenna paces around on the front porch.
JENNA
Enough is enough. I'm at the end of
my rope.
INTERCUT - PHONE CONVERSATION
ROB
What do you want me to say?
JENNA
Nothing. I want you to pick up your
shit and throw it into a U-Haul,
because you're no longer welcome in
this house.
ROB
What?
JENNA
You heard me.
ROB
You can't kick me out! Who do you
think pays the bills?
JENNA
Say hello to child support and
alimony! And in case you missed it,
I have a job. I don't need you.
ROB
You really want to call it quits?
JENNA
Just spoke to a lawyer this
afternoon. Want me to forward you
his number?
ROB
What about the kids?
JENNA
Yes, I know, Rob. You've been such
an active presence in the kids'
lives that they'd die without you.
Did you know that when I went to
see Lacey's Thanksgiving pageant,
Principal Morrow assumed I was a
single parent?
ROB
Why? Did he ask you out?
JENNA
Principal Morrow's a woman, you
dumbass!
ROB
Ok, you got me there. Can't you at
least give me a second to explain?
JENNA
No!
ROB
I'm just trying to find my brother
for God's sake!
JENNA
Why don't you just look for him on
Facebook like the rest of the
fucking world?
Jenna hangs up and flings her cell into the bushes.
Genres:
["Drama"]
Ratings
Scene
33 -
The Haunting Comfort
INT. MOON RIVER DINER - NIGHT
Rob hangs up. Defeated.
The waitress walks back over with the coffee pot.
WAITRESS
Sounds rough.
ROB
Yeah. It's not going so well.
WAITRESS
Sometimes you just gotta keep
driving. The road provides.
She refills his cup.
WAITRESS (CONT’D)
So where are you headed?
ROB
Gallup, New Mexico. The El Rancho
Motel.
WAITRESS
(knowing smile)
I know it. You'll have no problem
finding ghosts there. Lots of
history in that place.
ROB
Hope they're friendlies.
The waitress shrugs her shoulders, starts to walk away.
WAITRESS
Safe travels, Rob. And tell Steve I
said hello.
Rob freezes.
ROB
What did you say?
WAITRESS
I said I hope you find what you're
looking for. Third time’s a charm.
ROB
No, you said... did you say Steve?
The waitress just smiles. Wipes down the counter. The lights
flicker a bit.
He looks down at his plate. Underneath his coffee cup: A
NAPKIN with handwritten words:
THE ROAD PROVIDES. KEEP GOING. I LOVE YOU.
Rob picks it up. Stares at the handwriting. His father's
handwriting. His hands start trembling as his eyes tear up.
ROB (CONT’D)
(whispering)
You ghosted me. I love you too.
He looks up. The waitress is GONE.
The diner is EMPTY. The haunting Christmas song echoes
throughout the diner. The CLOCK on the wall reads: 11:11
Rob tucks the napkin in his pocket, exits the diner into the
parking lot. In the distance, three trucks are parked in the
truck stop area. One of them has "BRUCE'S TRUCKING" on the
side.
Genres:
["Drama","Mystery","Family"]
Ratings
Scene
34 -
Cultural Missteps in the Snow
EXT. HIGHWAY 86 - NIGHT
The Buick Grand Prix travels down a lonely road. Heavy snow
falls.
EXT. EL RANCHO MOTEL - NIGHT
A rustic ski lodge-style motel. TWO NATIVE AMERICAN MEN smoke
on the front porch.
The Buick parks. Rob exits, approaches.
ROB
(to the Native Americans)
How.
Rob disappears inside.
NATIVE AMERICAN #1
(perfect English)
Wow. That's the first time I've
heard that shit.
NATIVE AMERICAN #2
Fucking bilagaana.
Genres:
["Drama","Mystery","Road Trip"]
Ratings
Scene
35 -
A Mysterious Encounter at El Rancho Motel
INT. EL RANCHO MOTEL - LOBBY - NIGHT
Rob approaches the desk. A SHORT, OLD NATIVE AMERICAN CLERK
eyeballs him.
ROB
I need a room.
The clerk nods, marks an "X" on a hand-drawn motel diagram.
Hands Rob a key.
ROB (CONT’D)
Weird question. My father used to
come here. Steve Fitch?
The clerk stares blankly.
NATIVE AMERICAN CLERK
(broken English)
No... I don't know no Steve Fitch.
I start work two years ago. Talk to
man at bar. He's been here long
time.
The clerk mutters something in his native language as Rob
walks off.
Genres:
["Drama","Mystery"]
Ratings
Scene
36 -
Closing Time at El Rancho
INT. EL RANCHO BAR - NIGHT
Tiny bar. Eight stools. Rob nurses a beer alone. Christmas
song on the jukebox.
BOBBY PROUDFOOT (late 60s, Native American bartender) wipes
down the counter.
BOBBY
Bar's closing in fifteen.
ROB
I heard you've worked here a while.
BOBBY
Forty-eight years.
ROB
(extending hand)
Rob Fitch.
BOBBY
(shaking)
Bobby Proudfoot. You wouldn't
happen to be related to -
ROB
- Steve Fitch?
BOBBY
I was gonna say OJ Simpson, but
close enough.
Rob chuckles politely.
ROB
I take it my dad left quite a
legacy.
BOBBY
We used to call him "Wandering
Dick."
Bobby holds his hands apart to show size.
BOBBY (CONT’D)
Thank God my wife gave birth to all
boys. I may have had to take a
tomahawk to his back.
ROB
I'm sure you're not the only one.
BOBBY
So he was doing a little hanky-
panky behind your mother's back.
ROB
Apparently.
BOBBY
A lot of guys come here to escape
reality. Cowboy around. Ride
horses. Drink whiskey. Chase women.
Felt like the Old West back then
with the movie stars and all.
(beat)
My father always told me...
Bobby utters a phrase in his Navajo language.
ROB
What does that mean?
BOBBY
Man who escapes from problems will
face bigger problems for the rest
of his life.
ROB
Ain't that the truth.
BOBBY
And I always say...
Bobby utters another Navajo phrase.
BOBBY (CONT’D)
Get the fuck out of here. It's
closing time.
Rob laughs, slaps down cash.
ROB
Do you know if there was one
particular woman my dad used to
see?
BOBBY
I wish I could tell you. I'd need a
pen with a lot more ink.
They shake hands and Rob exits.
Genres:
["Drama","Mystery"]
Ratings
Scene
37 -
Reconciliation Call
INT. ROB'S MOTEL ROOM - DAY
Rob sleeps. Phone RINGS. "JENNA" on caller ID. He answers.
ROB
Hello?
JENNA (O.S.)
Are you almost done?
ROB
I think so.
JENNA (O.S.)
You think so?
ROB
It's a lost cause. I don't know why
I started this.
INTERCUT - PHONE CONVERSATION
JENNA
Why do you say that?
ROB
I gambled away my marriage because
I had a dream about my dad. Maybe
it's the anxiety meds. But I'll be
coming home... if that means
anything.
JENNA
I'm happy to hear that.
ROB
Probably cheaper than having a
process server travel to bumfuck,
New Mexico.
JENNA
I lied. I never spoke to any
divorce lawyer.
ROB
You lied?
JENNA
I was scared! I love you, Rob.
ROB
Are you saying you believe me now?
JENNA
Yes.
ROB
(laughs)
I love you too, baby. Sorry for
this whole ordeal.
JENNA
I was being selfish.
ROB
You were selfish.
JENNA
(sarcastically)
Thanks.
ROB
I'll call you later.
JENNA
See you tonight.
They hang up.
Genres:
["Drama"]
Ratings
Scene
38 -
Discovering Steve's Legacy
INT. EL RANCHO MOTEL - HALLWAY - MORNING
Rob walks past a wall of framed photographs. 60s, 70s, 80s
eras.
He stops. Browses.
ROBERT MITCHUM playing chess with a NATIVE AMERICAN.
RONALD REAGAN drinking at the bar.
BURT REYNOLDS and DOM DELUISE dancing with LADIES.
Rob takes a closer look. In the background: STEVE in a cowboy
hat, holding up a bottle of whiskey.
More photos: Steve bench-pressing a NATIVE AMERICAN GIRL as
his weight.
Steve doing shots with CLINT EASTWOOD.
Steve getting high with WILLIE NELSON.
Steve playing Twister with NATIVE AMERICAN WOMEN in various
states of undress.
At the end: A BEAUTIFUL NATIVE AMERICAN GIRL sitting on
Steve's lap. They stare lovingly into each other's eyes.
Rob takes the frame off the wall.
Genres:
["Drama","Mystery","Character Study"]
Ratings
Scene
39 -
Urgent Pursuit
INT. MOTEL BAR - MORNING
Bobby stacks bottles. Rob approaches, slaps down the photo.
ROB
Who's this woman?
BOBBY
Rosemary. Used to work here. Your
daddy took a liking to her. Big
tips. Made me wish I could grow a
pair of tits.
ROB
Where does she live?
BOBBY
Navajo Reservation. About ten
miles. Haven't talked to her in
years.
Rob runs out.
Genres:
["Drama","Mystery"]
Ratings
Scene
40 -
Confrontation on the Reservation
EXT. NAVAJO INDIAN RESERVATION - DAY
The Buick pulls in. Scattered mobile homes. NATIVE AMERICAN
RESIDENTS stare at Rob.
Rob approaches an OLD RESIDENT, shows him the photo.
ROB
You know where this woman lives?
Rosemary?
The old resident points to a mobile home.
EXT. MOBILE HOME - MOMENTS LATER
Rob knocks. ROSEMARY (60s, weathered but still beautiful)
answers in a tank top and jeans.
ROB
Hi. I'm Rob Fitch. Steve Fitch's
son.
He flashes the photograph. She winces.
ROB (CONT’D)
This is you, isn't it?
ROSEMARY
Yeah. Why are you here?
ROB
I came to find my brother. You know
his whereabouts?
ROSEMARY
Your brother? Why ask me?
ROB
You did have a child with my
father, didn't you?
ROSEMARY
What gives you that idea?
ROB
(referring to photo)
Looks like you two were crazy in
love.
ROSEMARY
We were close.
ROB
Close enough to have a kid
together?
ROSEMARY
Want to come in?
Genres:
["Drama","Mystery"]
Ratings
Scene
41 -
A Moment of Connection
INT. ROSEMARY'S MOBILE HOME - DAY
Wall - to - wall clutter. Fake Christmas tree in corner. Rob
trudges through dirty clothes.
Rosemary lights a cigarette, pours tap water. Hands it to
Rob. He eyeballs the murky water, sets it aside.
ROB
So, do you have a child?
ROSEMARY
Yes. A son. George.
ROB
Can I meet him?
ROSEMARY
He's at the reservation library.
Can't get his head out of books.
ROB
That's a good thing.
ROSEMARY
Writers don't make money. I ain't
exactly living the high life. It'd
be nice if he chipped in.
ROB
Did my father ever meet his son?
ROSEMARY
No. He didn't know I was pregnant.
Bobby would tell me, "Steve's
looking for you. He misses you. He
left thirty bouquets of roses."
(giggles at the memory)
(MORE)
ROSEMARY (CONT’D)
I disappeared for two years. Didn't
return 'til I was sure Pilgrim
stopped coming around.
ROB
Why didn't you tell my dad?
ROSEMARY
It was the 80s. Interracial
relationships? I would've gotten
kicked off the reservation. Hard
raising a kid alone. But I felt it
was best to keep it under wraps.
ROB
I'm sorry.
Rob writes out a check.
ROB (CONT’D)
Here's a couple thousand. For the
missing child support.
ROSEMARY
You're too kind.
She takes the check, nearly bursting into tears. Huge bear
hug.
ROSEMARY (CONT’D)
God bless you, son.
ROB
I should go meet my brother.
Genres:
["Drama"]
Ratings
Scene
42 -
Unexpected Connections
INT. RESERVATION LIBRARY - DAY
Rob searches. Receives cold stares from locals.
A NATIVE AMERICAN MAN (30s), sits alone, typing on a laptop.
Thick glasses, dorky blue sweater vest, long unkempt hair.
He IS Rob. But Native American and much, much nerdier.
Rob approaches. George doesn’t look up.
ROB
Excuse me? Are you George?
GEORGE
(still typing)
I am. And you are?
ROB
Rob. I'm your half-brother.
GEORGE
Okay. Take a seat.
Rob glares, confused by George's lack of reaction. He sits.
GEORGE (CONT’D)
I’m working on my fifth novel.
ROB
You've been published?
GEORGE
No.
Resumes typing. Like this is normal.
ROB
So, we have a lot to catch up on.
Right?
GEORGE
(distracted)
Where are you from, Robert?
ROB
San Francisco.
George STOPS. Closes his laptop with ceremony. Stares at Rob.
GEORGE
(dramatically)
The - city - by - the - bay?
ROB
Have you ever been?
GEORGE
God no. Take me with you.
ROB
Just like that?
GEORGE
Just like that. I need to get
published. I need to escape this
reservation and get to the big city
where people actually read. Where
culture exists. Where writers are
made.
ROB
You want to to San Francisco, to be
a writer?
GEORGE
And because it's San Fran.
"San Fran" grates on Rob's nerves.
GEORGE (CONT’D)
Amazing writers came from San Fran.
Kerouac. Ginsberg. The Beats. Who
doesn't want to go to San Fran? I
heard it's beautiful. The nightlife
is supposed to be incredible.
Rob studies him. Something’s off.
ROB
You don't really seem like the
nightlife type.
GEORGE
Normally, I'm not.
(leans in like he’s
telling a secret)
But in San Fran, I might change my
tune.
George delivers a feminine smile. Rob uncomfortably smiles
back.
ROB
Well, it was great meeting you.
(tosses business card)
Call me. We'll do lunch.
Rob walks away.
GEORGE
You're not taking me with you?
Rob stops. Looks around at the depressing environment.
Reconsiders.
ROB
Sure... I guess.
George leaps up, grabs his laptop.
GEORGE
This is all I need. San Fran, here
I come!
Genres:
["Drama","Family","Literary"]
Ratings
Scene
43 -
Driving Tensions
INT. BUICK (MOVING) - DAY
George rides shotgun, typing.
Silence except his aggressive keynotes.
ROB
What's your novel about?
GEORGE
(without looking up)
A psycho-sexual thriller about a
cannibal living in San Fran.
ROB
San Francisco.
GEORGE
Right, San Fran. He works at a tech
company and eats his coworkers.
It’s a metaphor.
ROB
(through gritted teeth)
It's San Francisco. Nobody who
lives there calls it San Fran.
GEORGE
Really? But it's shorter. More
efficient. San Fran.
Rob grips the wheel tighter.
ROB
Can I hear some?
GEORGE
Really?
ROB
Sure.
George clears his throat. Reads from his laptop with INTENSE
dramatic flair:
GEORGE
"Chapter One. Derek Bloodstone
stared at his coworker's succulent
neck. He imagined it tasted like
chicken. But better. Like chicken
that went to college."
Rob stares at him.
GEORGE (CONT’D)
(continuing)
"His fingers trembled as he reached
for the stapler. But it wasn't a
stapler in his mind. In his mind,
it was a fork."
ROB
Okay, I get it -
GEORGE
"'Can I borrow that stapler,
Derek?' Janet asked, her voice
dripping with ignorance. She had no
idea she was talking to a man who
wanted to eat her. In a bad way."
Beat.
ROB
...In a bad way?
GEORGE
As opposed to the good way. You
know, sexually.
ROB
Jesus Christ.
GEORGE
(proud)
I know. It's provocative. Anyhoo,
I'm so excited to see San Fran.
What's the first thing we should
do, Fisherman’s Wharf?
Rob's eye twitches.
Genres:
["Drama","Comedy"]
Ratings
Scene
44 -
Temptation on the Road
INT. BUICK (MOVING) - NIGHT
Later, much later.
George has fallen asleep. A MUFFLED VOICE is heard. STATIC.
Rob glances at the CB RADIO.
FEMALE VOICE (O.S.)
Howdy, partners! Any hot guys out
there? Anybody feeling sexy?
Rob picks up the microphone.
ROB
Um, howdy.
FEMALE VOICE (O.S.)
Then why don't you get your cute
butt down here? We've got a full
bar and beautiful vixens.
ROB
I think I'll pass.
George whacks Rob's shoulder.
FEMALE VOICE (O.S.)
We're running a special at the
Peachtree Bunny Ranch. Buy one, get
one half off.
ROB
No thanks.
Rob hangs up. George stares at him.
GEORGE
Are you insane? We have to go.
ROB
Bullshit. This is nonstop to San
Francisco.
GEORGE
How could you not take advantage?
ROB
Because I'm married?
GEORGE
Then stay at the bar. More for me.
ROB
How do you expect to pay?
George lifts his sweater vest, revealing a fanny pack. Unzips
it. Cash inside.
GEORGE
I think I have enough.
ROB
Promise to make it quick?
GEORGE
Promise.
Genres:
["Drama","Road Trip","Comedy"]
Ratings
Scene
45 -
A Night at the Peachtree Bunny Ranch
INT. PEACHTREE BUNNY RANCH - NIGHT
About a dozen LOW-RENT PROSTITUTES lined up. Crooked teeth,
awful boob jobs, middle-aged women, cellulite.
Rob struggles to hide disgust. George stares in awe.
GEORGE
I'll take one of each.
The gray-suited MADAM (ironically looks like a model) steps
between George and the ladies.
MADAM
Rules are rules. Limit two per
customer.
GEORGE
Okay. I'll take her, and her.
TWO UGLY PROSTITUTES with huge asses walk arm-in-arm with
George down the hall.
George shoots Rob a gloating wink.
Genres:
["Drama","Dark Comedy"]
Ratings
Scene
46 -
Chaos at the Peachtree Bunny Ranch
INT. PEACHTREE BUNNY RANCH - BAR - NIGHT
Rob nurses a beer. The FEMALE BARTENDER (young, naturally-
pretty, sexy Elf outfit) plays on her iPhone.
Rob notices t-shirts and hoodies for sale.
ROB
How much are those hoodies?
FEMALE BARTENDER
Forty-five.
ROB
I'll take one in large. Lost all my
luggage ya know.
She hands him the hoodie, deadpan. "PEACHTREE BUNNY RANCH" in
bright pink letters.
FEMALE BARTENDER
No, I don't know.
George performs a goofy dance as he approaches.
ROB
Satisfied customer?
GEORGE
Big time.
ROB
(whispering)
And I thought you were gay.
GEORGE
Gay? Why would you make such an
illogical assumption?
ROB
San Fran and all the... nightlife.
GEORGE
Yeah. The Crazy Horse. The Lusty
Lady. I heard the women in San Fran
are beyond incredible.
Rob digests this, shakes his head.
MADAM
You owe us four hundred dollars.
George delivers a rueful nod.
ROB
(to George)
Is she serious?
MADAM
Damn right. Tonto here's a
cheapskate.
ROB
(to George)
You said you had money!
GEORGE
Yeah! Fifty dollars.
ROB
You expect to get laid for fifty
dollars?
GEORGE
I don't know! I've never been to a
whorehouse before. I've never even
been laid.
UGLY PROSTITUTE
Surprise surprise.
ROB
Well, I'm not paying.
MADAM
The hell you aren't.
The madam gets angry.
MADAM (CONT’D)
Somebody's gonna fucking pay!
ROB
Okay, fine!
Rob tosses the madam a credit card. She swipes it.
ROB (CONT’D)
(to George)
Perhaps it's a good thing my dad
never met you.
The madam hands Rob his card and receipt.
MADAM
Sign here.
Suddenly, TWO MEN IN SANTA MASKS burst through, guns drawn.
SANTA #1
Nobody fucking move!
Prostitutes scream.
George FREEZES. His eyes go wide. He starts breathing
rapidly.
GEORGE
(hyperventilating)
Oh no. Oh no no no no no.
Rob raises his arms with a jaded sigh.
ROB
Just fucking shoot me.
SANTA #2
Don't talk either!
George is now WHEEZING. Clutching his chest.
GEORGE
(gasping)
Can't... breathe... this is...
happening...
ROB
(to George)
Are you having a heart attack?
GEORGE
(gasping)
Panic... attack... can't...
handle...guns...
A cell phone RINGS. Ozzy Osbourne's "Crazy Train" plays as
the ringtone.
SANTA #1
Whose is that?!
Rob reaches into his pocket, pulls out his cell. "JENNA" on
caller ID.
ROB
(holding up cell)
It's my wife.
SANTA #1
Well? Answer it, dickwad.
ROB
Do I have to?
SANTA #1
It's your wife. That's
disrespectful.
George is now FULLY SPIRALING. Breathing into his hands.
Rocking back and forth.
GEORGE
(rapid-fire)
Golden Gate. Alcatraz. Cable Cars.
Fisherman’s Wharf. Golden Gate.
Alcatraz...
EVERYONE stares at George curiously.
Ring tone continues. With a heavy sigh, Rob answers.
ROB
Hello?
JENNA (O.S.)
Are you almost home?
ROB
Not quite.
JENNA (O.S.)
Figures.
ROB
I didn't anticipate getting held at
gunpoint tonight!
JENNA (O.S.)
What? What's going on? Where are
you?
Rob looks around at the scantily clad hookers.
ROB
I'm at a 7-Eleven.
SANTA #1
(loudly)
He's at a fucking whorehouse!
JENNA (O.S.)
You're fucking where?
ROB
It was all my brother's idea!
JENNA (O.S.)
I just fucking knew it!
ROB
I was just at the bar! I swear, I
didn't screw anyone!
BARTENDER
(shouting)
He's telling the truth! I can vouch
for him!
JENNA (O.S.)
Who's that bitch? Just when I was
starting to feel for you again...
ROB
I'm at gunpoint! Does that mean
nothing?
JENNA (O.S.)
No! I hope he shoots your fucking
balls off!
She hangs up. Rob throws his phone to the floor, stomps it to
bits.
SANTA #2
Dude, you have anger issues.
George is now FULLY HYPERVENTILATING. Making weird squeaking
noises.
GEORGE
(gasping)
I... can't... I have to...
confession...
ROB
(to George)
What?
GEORGE
(louder, gasping)
I HAVE TO MAKE A CONFESSION!
SANTA #1
What the fuck is happening right
now?
George stands up, swaying, hyperventilating.
GEORGE
(shouting through gasps)
WAIT! STOP! BEFORE I PASS OUT AND
DIE!
Everyone freezes. Looks at him.
SANTA #2
What the fuck?
George is crying now, gasping for air, but pushing through.
GEORGE
Before I die, before we ALL die, I
need to make a confession!
Rob stares at him.
ROB
George, what are you -
GEORGE
(to Rob, dramatically,
still gasping)
I'm not your brother!
Silence. Even the Santas look confused.
ROB
What?
GEORGE
(catching his breath
slightly)
I'm not your half-brother! My dad's
a white guy from Albuquerque! Bobby
the bartender set this whole thing
up with my mom to con you out of
money!
His breathing starts to slow as the confession comes out.
GEORGE (CONT’D)
I'm sorry! I just wanted to get to
San Francisco and you seemed nice
and I'm a coward and I'm weak and -
SANTA #1
(to Santa #2)
Are you following this?
SANTA #2
Not at all.
George's breathing is almost normal now. The confession has
calmed him.
GEORGE
(to Rob, calmer now)
The panic attacks are real though.
ROB
Well that's comforting.
SANTA #1
Jesus Christ, this is taking
forever.
(to Madam)
Where's the money?
Everyone is exhausted and wants it over with. The Madam gives
in.
MADAM
In the safe. Back office.
SANTA #1
(to Santa #2)
Go. I got these idiots.
Santa #2 runs to the back.
Rob stares at George, processing everything. Furious but
also, something else.
The weight of the confession settling in.
ROB
(to George, quietly)
You're not my brother.
GEORGE
I'm so sorry.
Rob's jaw clenches. His fists ball up.
Then he exhales. Long and slow.
ROB
My dad would've killed you. Right
here. Right now.
GEORGE
I know.
ROB
He would've thrown you under the
bus and walked away. Wouldn't have
lost a second of sleep.
George nods, tears streaming.
ROB (CONT’D)
But I'm not my father.
SANTA #2 (O.S.)
Got it!
Santa #2 returns with bags of cash.
SANTA #1
Finally! Let's go!
(to Rob and George))
You two need some serious therapy.
The Santas bolt for the door.
The moment they're gone, everyone unfreezes.
The madam runs to check on her girls. Chaos. She calls the
police.
ROB
(to George)
Let’s get out of here.
Genres:
["Drama","Comedy","Crime"]
Ratings
Scene
47 -
Graffiti and Growth
EXT. PEACHTREE BUNNY RANCH - PARKING LOT - NIGHT
Rob and George hurry out into the night. Rob walks quickly
toward the Buick.
Then stops dead.
A GIANT VEINY PENIS is spray-painted on the driver's side
door. Incredibly detailed. Almost artistic.
ROB
Are you fucking kidding me?
GEORGE
Wow. They really captured the...
veins.
Rob stares at it. Then starts laughing. A broken, hysterical
laugh that borders on crying.
George stands there awkwardly, unsure what to do.
Rob stops laughing. Turns to George.
ROB
This wasn't your idea. Was it? The
con.
GEORGE
No. My mom and Bobby—
ROB
They manipulated you. Used you
because you're easy to push around.
George looks down, ashamed.
ROB (CONT’D)
But you went along with it. And
that's on you.
GEORGE
I know.
Rob pulls out his phone. Opens the Uber app.
GEORGE (CONT’D)
What are you doing?
ROB
Sending you home.
GEORGE
You don't have to -
ROB
I know I don't.
He taps through the app.
ROB (CONT’D)
Go home. Tell your mom you're done
being her accomplice. Get a job.
Any job. But do it honestly. No
more shortcuts. No more cons.
GEORGE
Why are you helping me?
ROB
Because when I look at you, I see
someone who needs to figure out his
own path. And I can't do that for
you. But I can get you a ride home.
Sirens in the distance.
ROB (CONT’D)
Your Uber's four minutes away. Wait
here. And George?
GEORGE
Yeah?
ROB
Be better than the people who
raised you. You've got your own
journey to go on.
George wipes his eyes. Nods.
They shake hands.
GEORGE
Thank you. And, I'm sorry. For
everything.
ROB
I know.
Rob gets in the Buick. The giant penis mocking him from the
door.
He looks at George one more time through the window.
Genres:
["Drama","Character Study"]
Ratings
Scene
48 -
Small Victories
INT. BUICK (MOVING) - NIGHT
Rob drives in silence. Alone. The giant penis visible on his
door in the side mirror.
He looks at it. Laughs. A broken, exhausted laugh.
But this time, there's something different in it.
He didn't abandon George. Didn't leave him stranded.
He's not his father.
ROB
(to himself)
Small victories.
He keeps driving into the night.
INT. BUICK (MOVING) - NIGHT
Rob drives in silence. The 8-track plays Harry Chapin's song.
He sings along softly, almost talking to himself. His voice
cracks on certain lines.
The song fills the car. He lets it.
EXT. DESERT HIGHWAY - NIGHT
The Buick drives down an empty road. Headlights cutting
through darkness.
The song continues. Lonely. Haunting.
Genres:
["Drama","Road Trip"]
Ratings
Scene
49 -
A Sign in the Night
EXT. TRUCK STOP - NIGHT
Rob sits on the hood of the Buick, eating a burger, drinking
a 40oz.
Behind him in the parking lot: Several 18-WHEELERS. One of
them has "BRUCE'S TRUCKING" on the side.
Rob doesn't notice it.
Buzzed. Exhausted. Defeated.
A shooting star streaks across the sky. Burns out.
ROB
(to the sky)
I'm sorry I failed you, Dad. You're
probably stuck in that waiting room
forever because of me.
(beat)
I'm a shitty husband. Shitty
father. Shitty son. But I tried. I
found the Blue Angel. Found
Maureen. Found the El Rancho.
Found... George and his con artist
mom.
(beat)
I want to help you. I really do.
But I'm not a detective. I'm an ad
exec who makes meaningless garbage.
(beat)
If you can give me a sign—any sign,
I'll keep going. But right now? My
hands are tied.
He slides off the hood. Gets in the car.
INT. BUICK - SAME
Turns the key. The engine WHINES. Dies.
Tries again. COUGHS. More smoke.
Third try. Nothing. Just smoke pouring from the hood.
Rob stares through the windshield as the smoke clears.
Across the highway: A BILLBOARD.
IF YOU ARE LOOKING FOR A SIGN. THIS IS IT.
Rob stares at it.
ROB
(whispered)
You've got to be kidding me.
Gets out. Walks toward the billboard like a man possessed.
Crosses the highway without looking.
Genres:
["Drama","Mystery"]
Ratings
Scene
50 -
Highway Encounter
EXT. HIGHWAY - NIGHT
An 18-WHEELER barrels down the road.
HORN BLARING.
Rob stands in the middle of the highway, staring up at the
sign.
The truck BRAKES HARD. Screeching. Smoking rubber.
Stops THREE FEET from Rob.
Rob opens his eyes. Still alive.
The driver's door opens. A TRUCKER climbs down, 6'2", 250
pounds, tight T-shirt, leather pants, mustache.
This is BRUCE (40s).
BRUCE
(high-pitched voice,
theatrical)
Are you INSANE? I almost killed
you!
ROB
Yeah, that may have been the plan.
BRUCE
You want to kill yourself? Do it on
your own time!
Behind them: CAR stuck. HONKING.
BRUCE (CONT’D)
(shouting back)
Oh, blow it out your ass, bitch!
(to Rob)
Is there anything I can do to help?
ROB
My car just died. I could use a
lift.
BRUCE
(pointing to truck)
I think I can manage that.
ROB
Nearest airport? Or bus station?
BRUCE
What about your car?
Rob glances back at the Buick. Smoke. Giant spray-painted
penis on the door.
ROB
It's not mine.
BRUCE
The cock or the car?
ROB
Neither.
BRUCE
Where you headed?
ROB
San Francisco.
BRUCE
(delighted)
Bananas! That's my route. I can
take you all the way.
ROB
Are you sure?
BRUCE
Honey, I could use the company.
Climb on in.
Genres:
["Drama","Road Trip"]
Ratings
Scene
51 -
Unexpected Brotherhood
INT. TRUCK (MOVING) - NIGHT
Rob rides shotgun. Nina Simone plays on the radio.
Bruce keeps glancing at Rob. Again. And again.
Rob shifts uncomfortably. This goes on for a full minute.
Finally:
ROB
Is everything okay?
BRUCE
You just look very familiar.
ROB
Can't say I get that a lot.
Beat.
ROB (CONT’D)
Actually, I've seen your truck
before.
BRUCE
What?
ROB
Your truck. The logo on the side.
"Bruce’s Trucking." I've been
seeing it all week. In Vegas.
Outside the Blue Angel Motel. Then
again in New Mexico. At a truck
stop.
BRUCE
That's my company.
ROB
I thought it was just a
coincidence. But every time I
turned around, there it was. Your
truck.
BRUCE
Where'd you say you saw it?
ROB
Vegas. Near the Blue Angel. Then
New Mexico. You've been following
my route.
BRUCE
(slowly)
I didn't know I was following
anyone.
They stare at each other. The weight of this sinking in.
ROB
Strange.
BRUCE
What's your name?
ROB
Rob.
BRUCE
Rob what?
ROB
(slowly)
Fitch. Rob Fitch.
Bruce nearly swerves off the road. Straightens the wheel.
Long silence.
BRUCE
Your dad's name Steve?
ROB
(cautious)
Yeah. How did you—
BRUCE
Steve Fitch. Lived in San
Francisco. Liked scotch. Smoked
Marlboros.
ROB
(very still)
How do you know that?
BRUCE
Because he's my dad too.
The words hang in the air.
ROB
What?
BRUCE
I'm Bruce. Bruce Fitch.
ROB
(shaking his head)
No. No, this is -
BRUCE
My mom was Gail. She tended bar at
The Banana Hammock in San
Francisco. They dated in the late
'70s. She got pregnant. He left
before she could tell him.
ROB
(processing)
The Banana Hammock. He told me
about that place.
BRUCE
Who told you?
ROB
My dad. He's been... calling me.
Bruce pulls the truck over to the shoulder. Puts it in park.
Turns to face Rob.
BRUCE
He's been calling you.
ROB
I know how it sounds —
BRUCE
When did this start?
ROB
After he died. Seven months ago. He
tells me things. Clues. About
finding you.
Long pause. Bruce stares at him.
BRUCE
Grief does weird things to people.
ROB
That's what everyone says.
BRUCE
But you don't believe that.
ROB
I didn't. But then I stood in the
middle of a highway and asked for a
sign. And you almost hit me. And
you're my brother. And I've been
seeing your truck for a week.
(beat)
So either I'm having a complete
psychotic break, or something else
is happening.
BRUCE
You really think he's been...
guiding you?
ROB
You tell me what that is.
Bruce exhales. Stares out the windshield.
BRUCE
I saw his obituary."Survived by his
son, Robert Fitch." That's when I
knew I had a brother. I thought
about reaching out. But I didn't
know what to say.
ROB
Why didn't you?
BRUCE
Scared, I guess. Figured you had
your own life. Didn't want to
intrude. And then tonight I'm
driving and I almost kill a guy and
it's YOU.
(beat)
What are the odds?
ROB
Apparently pretty good if you're
Steve Fitch's kid.
They sit in silence. Processing the impossibility of it.
Bruce shifts back into drive.
They drive in silence for a moment. Then:
ROB (CONT’D)
This is fucking insane.
BRUCE
Yep.
Rob stares at him. Then laughs. A real, genuine laugh that
turns into near-hysteria.
ROB
Craziest week of my life.
BRUCE
Want to hear something crazier?
ROB
I don't think I can handle crazier.
BRUCE
I almost didn't take this route. My
dispatcher wanted me to go through
Idaho. I insisted on this way.
Don't know why. Just had a feeling.
They let that sink in.
ROB
The Banana Hammock. That was really
the name?
BRUCE
Oh yeah. Very popular spot. Donna
Summer performed there.
ROB
My dad went to a gay bar?
BRUCE
Even vegetarians need a burger from
time to time.
(beat)
He thought my mom was a guy at
first. That tells you something.
ROB
She was tending bar at a place
called The Banana Hammock.
Reasonable assumption.
BRUCE
Mom would tell me stories. Said he
was charming. Funny. Kind of an
asshole. But in a way that made you
like him anyway.
ROB
That's him.
BRUCE
What do you get when you cross a
sex addict with a love addict?
ROB
What?
BRUCE
Our parents.
Rob laughs despite himself. First real laugh in days.
They drive in comfortable silence for a moment.
CUT TO:
EXT. BAY BRIDGE - NIGHT
The 18-wheeler crosses the Bay Bridge. San Francisco glows in
the distance.
Genres:
["Drama","Family","Mystery"]
Ratings
Scene
52 -
Late Night Visit
EXT. ROB AND JENNA'S HOUSE - NIGHT
The truck pulls up. Double-parked.
Rob climbs out.
BRUCE
It was great meeting you, brother.
Bruce starts to shift out of park.
ROB
Hey. Where do you think you're
going?
BRUCE
I can't leave my truck double-
parked.
ROB
It's 3 AM. This is Noe Valley. Come
on.
BRUCE
I can only stay a few minutes.
Rob pulls off his PEACHTREE BUNNY RANCH hoodie, tosses it in
the truck.
They walk to the door. Rob unlocks it.
Genres:
["Drama","Comedy"]
Ratings
Scene
53 -
A Haunting Absence
INT. ROB AND JENNA'S HOUSE - NIGHT
Dark. The Christmas tree lights glow softly.
Rob flips the light switch. The house feels vacant.
ROB
(whispered)
Holy shit.
He scrambles around like a man drowning.
BRUCE
Were you guys robbed?
Rob runs upstairs.
INT. ALAN AND LACEY'S BEDROOM - NIGHT
Rob checks the beds. Both empty. Stuffed animals gone.
INT. ROB AND JENNA'S BEDROOM - NIGHT
The bed is made. Half the dresser drawers are open. Empty.
Her closet: Empty.
Genres:
["Drama","Mystery"]
Ratings
Scene
54 -
Silent Despair
INT. LIVING ROOM - NIGHT
Rob comes downstairs slowly. Defeated.
BRUCE
Maybe they just went to dinner?
Rob shakes his head. Sits on the floor where the couch used
to be.
BRUCE (CONT’D)
What happened?
ROB
I'm a scumbag. That's what
happened.
(standing)
Thanks for everything.
They hug.
BRUCE
I'm sorry, man.
ROB
Not your fault. Have a good New
Year.
BRUCE
I'm staying right here with you.
ROB
Not necessary. I'm fine. I need to
figure this shit out.
BRUCE
You sure?
ROB
Yeah. Go. I'm sure you have plans.
BRUCE
(relieved)
I do, actually. Big party in the
Castro. But I'll check in tomorrow.
You need anything, you call me.
He writes his number on a piece of paper, hands it to Rob.
BRUCE (CONT’D)
I mean it. You're my brother.
Rob nods, unable to speak.
Bruce leaves. The door closes. Rob stands alone in the empty
living room.
The Christmas tree lights blink. On. Off. On. Off.
He sits on the floor and breaks down. Sobbing. Ugly crying.
The kind that comes from somewhere deep.
The tree lights blink. On. Off. On. Off.
DISSOLVE TO:
Genres:
["Drama"]
Ratings
Scene
55 -
Brotherly Bonds in Solitude
INT. ROB AND JENNA'S HOUSE - LIVING ROOM - DAY(DECEMBER 30TH)
Rob sits alone on the floor where the couch used to be. Empty
room. Christmas tree lights still blinking.
His phone RINGS. BRUCE.
ROB
Hey.
BRUCE (O.S.)
You okay?
ROB
Not really.
BRUCE (O.S.)
Want company?
ROB
Nah. I'm good.
BRUCE (O.S.)
Bullshit. I'll be there in twenty.
ROB
Bruce, I don't think—
BRUCE (O.S.)
I'm your brother. That's what we
do. We show up.
He hangs up.
Rob sits there. Stares at the empty room.
The Christmas tree lights blink. On. Off. On. Off.
DISSOLVE TO:
Genres:
["Drama"]
Ratings
Scene
56 -
Facing the Future Together
INT. ROB AND JENNA'S HOUSE - LATER
Rob and Bruce sit on the floor, drinking beer. Pizza boxes.
BRUCE
So what are you going to do?
ROB
Grovel. Beg. Whatever it takes.
BRUCE
You love her?
ROB
Yeah. More than I realized.
BRUCE
Then tell her that. Tell her
everything. The whole crazy trip.
Black Santa. Me. All of it.
ROB
She'll think I'm insane.
BRUCE
Maybe. But at least she'll know
you're trying.
They sit in silence.
BRUCE (CONT’D)
You know what Dad told me once? In
a dream after he died.
Rob looks up.
BRUCE (CONT’D)
He said, "Being present is harder
than being gone. But it's the only
thing that matters."
ROB
He said that?
BRUCE
In the dream, yeah. I don't know if
it was real or just my brain. But
it felt real.
ROB
(quiet)
It was real.
They drink.
BRUCE
Tomorrow. New Year's Eve. We do
this together. As a family.
ROB
Yeah. As a family.
DISSOLVE TO:
Genres:
["Drama"]
Ratings
Scene
57 -
A Desperate Call for Reconnection
INT. ROB AND JENNA'S HOUSE - DAY (DECEMBER 31ST - MORNING)
Rob paces, phone to his ear. Bruce sits on the floor,
watching.
JENNA (O.S.)
Hello?
ROB
Jenna. Don't hang up.
JENNA (O.S.)
Why would I listen to you?
ROB
Because I found him. My brother.
And I know how insane this sounds,
but it was all real. The calls. My
dad. Everything.
JENNA (O.S.)
Rob -
ROB
His name is Bruce. He's a trucker.
I've been seeing his truck all week
without knowing it. Dad was...
guiding me to him.
Silence.
JENNA (O.S.)
Are you on drugs?
ROB
I wish I was. It would make more
sense. But Jenna, I need you to
hear me. I've been running. From
you, from the kids, from everything
that matters. And I'm done running.
Long pause.
JENNA (O.S.)
Where are you right now?
ROB
Home. At the house.
JENNA (O.S.)
I’m coming over.
She hangs up. Rob looks to Bruce.
ROB
She’s coming.
BRUCE
That’s good. Right?
ROB
I don’t know. Maybe she’s coming to
serve me papers in person.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
58 -
Reunion and Reconciliation
EXT. ROB AND JENNA HOUSE - PORCH - LATER
A CAR pulls up. Jenna gets out, sunglasses on. Guarded.
She sees Rob. Then notices Bruce on the porch steps. She
stops.
JENNA
Who's that?
ROB
That's Bruce. My brother.
JENNA
(not moving closer)
Your brother.
ROB
Yes.
JENNA
The one your dead father told you
about over the phone from
purgatory.
ROB
Yes.
She walks closer but doesn't take off her sunglasses. Stops
ten feet away.
JENNA
Rob, I want to believe you. I
really do. But do you know how this
sounds?
ROB
Insane. I know.
JENNA
And now you've got some random guy
sitting on our porch and you want
me to, what? Believe he's your long-
lost half-brother?
BRUCE
(standing)
I can show you proof.
JENNA
(to Bruce)
Stay there. Don't move.
(to Rob)
How do I know you didn't just hire
someone to play along with this
delusion?
ROB
Why would I do that?
JENNA
Because you're desperate! Because
you don't want to face the fact
that maybe - just maybe - you had a
breakdown after your dad died and
this whole thing is grief
psychosis!
Bruce pulls out his wallet. Slowly walks toward them.
BRUCE
Ma'am, I understand your
skepticism.
JENNA
I said don't move!
Bruce stops. Holds up his hands.
BRUCE
I'm just trying to show you
something.
He carefully sets his wallet on the ground. Steps back.
BRUCE (CONT’D)
That's got my ID. Birth
certificate. Photos of my mom and
Steve together. From the '80s.
Before Rob was born.
Jenna looks at Rob. Then at the wallet on the ground.
Slowly, she walks over. Picks it up. Opens it.
Pulls out the ID. BRUCE FITCH.
Then a folded birth certificate. Father: STEVE FITCH.
Then photos. A young STEVE with a beautiful woman. At a bar.
Laughing. His arm around her.
Jenna stares at the photos. Her hands start shaking.
JENNA
(quietly)
Oh my god.
ROB
I'm not crazy.
JENNA
(looking up)
He looks just like you. Like...
exactly like you but...
BRUCE
Gayer?
Despite everything, Jenna laughs. A small, shocked laugh.
JENNA
I was going to say "with better
fashion sense" but yeah.
She walks to Bruce. Hands him back his wallet.
JENNA (CONT’D)
I'm Jenna.
BRUCE
Bruce. I'm sorry we're meeting
under, bizarre circumstances.
JENNA
That's one word for it.
She turns to Rob.
JENNA (CONT’D)
So this is real. All of it.
ROB
All of it.
JENNA
The phone calls. The quest. The -
ROB
The whorehouse.
JENNA
(sharp)
What?
BRUCE
He didn't do anything. I can vouch
for him.
JENNA
You were there too?!
BRUCE
No! God no. He just told me about
it.
ROB
It's a long story. But I swear, I
swear, I didn't cheat on you. With
Kelsey. With anyone.
JENNA
Who's Kelsey?
ROB
...I'll explain later.
Jenna takes off her sunglasses. Her eyes are red.
JENNA
I thought I was losing you. Not to
another woman. Just, losing you.
Like you were disappearing into
grief and I couldn't pull you back.
ROB
You weren't losing me. I was losing
myself.
She walks to him. Stops inches away.
JENNA
Are you back?
ROB
I'm back.
She studies his face. Then pulls him into a fierce hug. They
hold each other. Bruce looks away, gives them privacy.
JENNA
(into his shoulder)
If you ever leave like that again -
ROB
I won't.
JENNA
I will hunt you down and kill you
myself.
ROB
Fair.
She pulls back.
JENNA
Now what?
ROB
Now, we celebrate New Year's Eve.
As a family.
JENNA
(looking at Bruce)
All of us?
BRUCE
I can go if this is -
JENNA
No. Stay.
(beat)
You're family now. Apparently.
Bruce smiles. So does Rob.
JENNA (CONT’D)
But I'm going to need that full
explanation about the whorehouse.
ROB
After the kids go to bed.
JENNA
Deal.
She heads toward the house. Stops. Turns back.
JENNA (CONT’D)
And Rob?
ROB
Yeah?
JENNA
I love you too.
She goes inside. Rob and Bruce stand there.
BRUCE
She's great.
ROB
Yeah. She is.
BRUCE
Don't fuck it up again.
ROB
I won't.
MONTAGE - LATER THAT NIGHT
- Rob and Bruce clean up the living room, sweeping,
organizing
- Bruce brings in a small COUCH from his truck - "Had this in
storage"
- They hang NEW YEAR'S decorations - silver streamers, a
"2026" banner
- Rob finds party hats in a closet, blows off dust
- They set up folding chairs in a circle
- Rob hangs a PHOTO of Steve on the wall - young, smiling
- Bruce sees it, touches the frame gently
- The house starts to feel like home again
- Rob and Bruce crack open beers, sit on the floor
- They don't talk. Don't need to.
- Brothers.
Genres:
["Drama","Family","Mystery"]
Ratings
Scene
59 -
New Year's Revelations
INT. ROB AND JENNA'S HOUSE - 11:30 PM - NEW YEAR'S EVE
The family gathers. Jenna returns with ALAN and LACEY. SYLVIA
(Rob's mom, 70s) is with them.
The kids run to Rob.
LACEY
Daddy!
ALAN
Daddy!
Rob scoops them up. Holds them tight.
ROB
I missed you guys so much.
SYLVIA
(to Rob)
You look terrible.
ROB
Thanks, Mom.
She hugs him anyway.
SYLVIA
Jenna told me everything. About
Bruce.
ROB
(gesturing to Bruce)
Mom, this is Bruce. Your...
stepson. Sort of.
SYLVIA
(studying Bruce)
You have his eyes.
BRUCE
I've been told.
SYLVIA
He was a bastard. But he made
beautiful children.
She hugs Bruce. He's caught off guard but accepts it.
The kids run around. Bruce plays with them.
Jenna sits next to Rob on the floor.
JENNA
Your mom brought champagne.
ROB
Of course she did.
They watch the chaos. Family. Messy and real.
JENNA
Are we going to be okay?
ROB
Yeah. I think we are.
The TV plays the New Year's countdown. Times Square on mute.
Neighbors start counting outside.
NEIGHBORS
Ten! Nine! Eight!
Rob looks around. His family together. His brother. His kids.
His mother. His wife.
NEIGHBORS (CONT’D)
Seven! Six! Five!
A strange feeling washes over him. Peace. Completion.
But also, something unfinished.
Did Dad make it? Is he free?
NEIGHBORS (CONT’D)
Four! Three! Two! One!
EVERYONE. HAPPY NEW YEAR!
Fireworks EXPLODE outside. Neighbors cheer, hug, kiss.
Rob hugs his kids. Kisses Jenna. It's tender. Real.
But his eyes keep drifting to the window. Waiting. Hoping.
Nothing.
Maybe that's okay. Maybe faith is enough.
Then —
A KNOCK at the door.
Everyone stops. Rob walks to the door slowly. Opens it.
BLACK SANTA stands on the porch.
Still in his thrift-store suit. Still carrying his duffel bag
and Bluetooth speaker. But something's different about him
now. He seems to glow faintly in the streetlight. Or maybe
it's just the fireworks reflecting off him.
Rob's breath catches.
ROB
No way.
Jenna comes up behind him.
JENNA
Who is that?
ROB
That's... that's the guy from
Christmas Eve.
Black Santa steps forward, smiling wide.
BLACK SANTA
Happy New Year, Rob Fitch.
ROB
How did you... what are you doing
here?
BLACK SANTA
Making my rounds. New Year's Eve,
Christmas Eve - I stay busy during
the holidays. People need hope, you
feel me?
Rob walks onto the porch. The family watches from inside,
confused.
JENNA
Rob, who is this?
ROB
(to Black Santa)
You knew. On Christmas Eve. You
knew something.
BLACK SANTA
I know a lot of things, baby. Part
of the job.
ROB
What job?
Black Santa gestures to his suit, his bell, his whole
presence.
BLACK SANTA
Messenger service. I deliver calls,
messages, miracles. Whatever needs
delivering. Your daddy had a hell
of a message to deliver.
He glances toward Bruce inside.
BLACK SANTA (CONT’D)
Looks like it got delivered.
ROB
That call on Christmas Eve. Through
your phone. That was really him,
wasn't it?
BLACK SANTA
Sometimes the call comes from the
North Pole. Sometimes it comes from
a little further away. Either way,
the message gets through.
Tears start forming in Rob's eyes.
ROB
Did he... is he okay? Did he make
it?
BLACK SANTA
He made it. Because you made it.
You found your brother. Kept your
family. Showed up when it mattered.
Rob's tearing up now. Jenna wraps her arms around him from
behind.
ROB
What if I hadn't answered?
BLACK SANTA
Then he'd still be sitting there
doing crosswords with Sinatra,
wondering if his kid gave a damn.
Rob's tears come harder.
BLACK SANTA (CONT’D)
But you answered. You listened. You
found your way. That's all he
needed to know.
Beat. Black Santa looks between Rob and Bruce.
BLACK SANTA (CONT’D)
Your daddy asked me to tell you
both something.
Bruce steps forward, stands beside Rob.
BLACK SANTA (CONT’D)
(to Rob)
He said: "You did what I couldn't.
You showed up. You chose them.
That's everything."
Rob wipes his eyes.
BLACK SANTA (CONT’D)
(to Bruce)
And to you, he said: "I'm sorry I
never met you. But my boy found
you, and that's the next best
thing. You're family now."
Bruce nods, crying.
BLACK SANTA (CONT’D)
(to both)
And then he said: "Tell them
both—two words. Present father."
ROB
What?
BLACK SANTA
That was the crossword answer he
was stuck on. "Present father."
Took him seven months and a crazy
road trip to figure it out.
Rob looks back at his family in the doorway. Jenna. The kids.
His mom.
ROB
(understanding)
Present father.
BLACK SANTA
Now you got it. There it is.
He grins.
BLACK SANTA (CONT’D)
Oh, and one more thing. He said:
"Rob, get the vasectomy. Trust me
on this one."
Everyone laughs. Even through their tears.
BLACK SANTA (CONT’D)
Happy New Year, Fitch family. Plant
them seeds.
He turns and walks down the street.
His Bluetooth speaker starts playing “What the World Needs
Now” by Jackie DeShannon
The music floats through the New Year's night as Black Santa
turns the corner and disappears.
Rob and Bruce stand at the gate, watching him go. The family
slowly joins them.
Jenna puts her arm around Rob. Sylvia stands beside Bruce.
Alan and Lacey watch the strange man disappear into the
night.
The family stands there in the quiet. Fireworks pop in the
distance. Neighbors celebrate. The world keeps spinning.
But for this moment, they're all just... still.
Bruce looks up. Meets Rob's eyes.
They don't say anything. They don't need to. They're brothers
now.
Rob looks at his family. His wife. His kids. His mother. His
brother.
Everyone he searched for. Everyone he almost lost. Everyone
who's here.
He takes a breath. The first real breath he's taken in
months.
Jenna squeezes his hand.
JENNA
(softly)
He's free now.
ROB
Yeah. He is.
The music continues in the distance. The Traveling Wilburys
fading away.
The kids are already running back inside, their attention
spans exhausted.
But the adults remain. Quiet. Present.
Sylvia heads inside. Jenna kisses Rob's cheek. Follows Sylvia
in.
It's just Rob and Bruce now. Standing at the gate. New Year's
morning stretching ahead of them.
BRUCE
You okay?
ROB
Yeah. I think I am.
They turn toward the house together.
HOLD on them walking up the pathway. Two brothers. Side by
side.
They reach the porch. The door's open. Light spills out.
Their family visible inside, starting coffee, laughing,
alive. Then step inside. The door closes behind them.
FADE TO BLACK.
[CREDITS BEGIN]
Genres:
["Drama","Family","Fantasy"]
Ratings
Scene
60 -
A Toast to Remember
EXT. SEDONA COMMUNITY CEMETERY - DAY
Late afternoon. Long shadows across red rock formations in
the distance. The cemetery is quiet, nearly empty.
Steve's gravesite is UNCONVENTIONAL. No traditional
headstone. A flat natural stone marker with "STEVE FITCH" and
dates etched simply. Small pile of red rocks arranged around
it. A weathered wooden BENCH nearby.
Two glasses of scotch sit on the stone marker, amber liquid
catching the light.
Rob and Bruce stand side by side, staring at the grave. Long
beat of silence.
ROB
Can’t believe it’s been a year.
BRUCE
Time is going fast. Too fast.
Bruce picks up one glass. Rob takes the other.
BRUCE (CONT’D)
To Steve Fitch. Who fucked up a lot
but got a few things right.
ROB
To Dad.
They clink glasses. Drink. Both wince at the burn.
They sit on the bench. Stare out at the red rock cliffs
glowing orange in the dying sun.
Silence. Just wind through juniper trees.
THE END