I
INT. WONDERFUL TASTE OFFICE - DAY
Ophelia sits at her desk, typing on her computer. Coworkers chat in the background.
COWORKER 1
(leaning against Ophelia’s desk)
Have you heard about Charlotte’s campaign? She’s really pushing for growth in Wells.
COWORKER 2
(nodding)
And have you noticed all the newcomers? They seem...off.
OPHELIA
(skeptical)
What do you mean?
COWORKER 2
(lowering voice)
They’re just so...standoffish. And with the disappearances...it’s weird.
AXEL
( chiming in)
Rumors are going around about Charlotte’s involvement with some shady people.
OPHELIA
(raising an eyebrow)
What kind of rumors?
Before Axel can respond, Ophelia’s phone rings. She answers, listens for a moment, and her expression changes.
OPHELIA
(concerned)
I need to go.
CUT TO:
INT. POLICE STATION - DAY
Ophelia sits across from OFFICER JENKINS, who looks somber.
OFFICER JENKINS
I’m afraid we have some bad news, Ophelia. Your mother’s body was found.
OPHELIA
(shocked)
What? Where?
OFFICER JENKINS
We’re still investigating, but I can assure you we’re doing everything we can.
OPHELIA
(determined)
I want to see her.
OFFICER JENKINS
I’m afraid that’s not possible. The investigation is ongoing.
Ophelia’s frustration grows.
OPHELIA
(standing up)
What’s going on? You’re not telling me something.
OFFICER JENKINS
(firmly)
I’m telling you everything I can, Ophelia. The case is being resolved.
Ophelia’s eyes narrow, unsatisfied.
CUT TO:
EXT. POLICE STATION - DAY
Ophelia exits the station, looking determined.
OPHELIA
(to herself)
I’ll find out what’s going on, no matter what it takes.
Here’s the next scene:
INT. WONDERFUL TASTE OFFICE - DAY
Ophelia sits at her desk, still reeling from the news. She picks up the phone and dials.
OPHELIA
(into phone)
Hi, I need to take the rest of the day and tomorrow off.
CUT TO:
EXT. OPHELIA’S MOM HOUSE - DAY
Ophelia arrives at her mom’s house, only to find it swarming with police officers. She approaches CAPTAIN CHASE.
OPHELIA
(concerned)
Captain Chase, I need to get inside.
CAPTAIN CHASE
(firmly)
I’m afraid that’s not possible, Ophelia.
Ophelia tries to convince him, but he remains resolute.
CUT TO:
EXT. OPHELIA’S MOM HOUSE - DAY
As Ophelia is turned away, she runs into FRANCESCA, her best friend.
FRANCESCA
(concerned)
Ophelia, I’m so sorry. I was trying to get some information for the Daily Wells.
OPHELIA
(tearfully)
They won’t let me inside.
Francesca consoles Ophelia, and they share a hug.
FRANCESCA
(determined)
I’ll investigate, Ophelia. I promise.
CUT TO:
INT. OPHELIA’S APARTMENT - NIGHT
Ophelia collapses onto her bed, exhausted.
CUT TO:
INT. OPHELIA’S APARTMENT - MORNING
Ophelia wakes up, still grieving. She begins to surf the internet, searching for information on her mom’s death and the disappearances.
However, she finds nothing but Charlotte’s campaign ads, Wonderful Taste advertisements, and the Wells Police Department’s celebration of the reemerged individuals. A photo of Charlotte and Captain Chase at a 5k event catches her eye.
OPHELIA
(frustrated)
What’s going on?
Ophelia sees an advertisement for a private investigator named ELEANOR and picks up the phone.
OPHELIA
(into phone)
Hi, I need your help.
OPHELIA
(into phone)
Yes, I’ll pay the fee in cash.
ELEANOR (V.O.)
Over the phone
Meet me at the IHOP near the outskirts of Wells.
As Ophelia leaves her apartment building, she notices a police car parked a distance away.
OPHELIA
(to herself)
What’s going on?
CUT TO:
EXT. IHOP PARKING LOT - DAY
Ophelia arrives at the bustling IHOP.
CUT TO:
INT. IHOP - DAY
Ophelia scans the crowded restaurant and spots Eleanor in a corner booth.
OPHELIA’S POV
Eleanor, a striking 6′0 woman with light brown hair, tawny skin, and piercing green eyes, sits confidently. She wears brown pants, a black cardigan, and a blue jacket.
Ophelia approaches the booth and sits across from Eleanor.
ELEANOR
(smiling)
Ophelia, thanks for coming.
OPHELIA
(nervously)
Thanks for agreeing to meet.
Eleanor pulls out a notebook and begins taking notes as Ophelia briefs her on the strange occurrences.
OPHELIA
(concerned)
...and then I found out about my mom’s death. The police aren’t doing anything.
ELEANOR
(scribbling notes)
I see. I’ve gotten calls from Wells before, but they always cancelled when their loved ones reemerged.
OPHELIA
(curious)
What do you mean?
ELEANOR
(serious)
Your mom’s death is the first one I’ve encountered. I think there’s more to this than just disappearances.
Ophelia’s eyes widen, eager for answers.
INT. IHOP - DAY
Ophelia remembers something and pulls out an envelope filled with cash.
OPHELIA
-handing Eleanor the envelope-
Here’s the payment.
ELEANOR
(smiling)
Thank you, Ophelia.
ELEANOR
(serious)
Now, is there anyone you know who could be a source of information?
OPHELIA
(thoughtful)
Francesca, my best friend, works at the Daily Wells. I’ll reach out to her and get her in touch with you.
ELEANOR
(nodding)
Thank you, that’s helpful.
Eleanor gathers her belongings.
ELEANOR
(serious)
Be careful, Ophelia. If there’s a cop car watching your place...we don’t know what’s going on yet.
OPHELIA
(determined)
I’ll be fine.
ELEANOR
(firmly)
Contact me if anything new or urgent comes up. I’ll be poking around, trying to solve your mom’s case.
Ophelia and Eleanor share a departing handshake.
CUT TO:
INT. IHOP - DAY
Eleanor exits, leaving Ophelia to order a pancakes and egg meal to go.
CUT TO:
INT. OPHELIA’S APARTMENT BUILDING LOBBY - DAY
Ophelia enters, and the front desk lady looks up.
FRONT DESK LADY
(consolingly)
Ophelia, I’m so sorry about your mom.
OPHELIA
(calmly)
Thank you.
FRONT DESK LADY
(handling Ophelia an envelope)
Someone from the bank left this for you.
Ophelia takes the envelope, still shaken but composed.
OPHELIA
(politely)
Thank you.
The front desk lady nods sympathetically.
INT. OPHELIA’S APARTMENT - DAY
Ophelia enters, eating her breakfast, and opens the letter from the bank.
OPHELIA’S POV
The letter details the inheritances Ophelia is poised to receive after her mom’s death, including $90,000 and the house, currently under police custody.
OPHELIA
(confused)
How did the bank know already? Did the media say something?
Ophelia thinks, then shakes her head.
OPHELIA
(to herself)
No, they didn’t even broadcast the disappearances, only their return.
Ophelia puts the letter aside and finishes her breakfast.
CUT TO:
INT. OPHELIA’S APARTMENT - LATER
Ophelia sits at her computer, browsing the Daily Wells website.
OPHELIA’S POV
The website shows no mention of her mom’s death.
Ophelia navigates to the official WPD website.
OPHELIA’S POV
The website reports her mom’s death as a “tragic accidental drowning.”
OPHELIA
(scoffs)
Accidental drowning?
Ophelia’s expression turns incredulous.
CUT TO:
INT. OPHELIA’S APARTMENT - LATER
Ophelia calls Francesca, who answers.
FRANCESCA
(apologetically)
Ophelia, I’m so sorry. I tried to get more information, but the police and upper management are being tight-lipped.
OPHELIA
(concerned)
Francesca, what’s going on?
FRANCESCA
(hesitantly)
I don’t want to ruin your mood further, but...I’ll try to dig deeper.
OPHELIA
(determined)
Francesca, I need to know what’s happening.
Francesca’s voice is laced with concern.
INT. OPHELIA’S APARTMENT - DAY
Ophelia shares the police’s official ruling with Francesca.
FRANCESCA
(skeptical)
Accidental drowning? That doesn’t sound right.
OPHELIA
(in agreement)
I know. Mom had health problems, but nothing that would lead to drowning.
FRANCESCA
(concerned)
And the article is vague about your mom’s body...why wouldn’t they let you see her?
Ophelia debates telling Francesca about Eleanor.
OPHELIA
(hesitantly)
Francesca, I need to tell you something.
FRANCESCA
(curious)
What is it?
OPHELIA
(serious)
I hired a private investigator, Eleanor. She’s looking into Mom’s death.
Francesca’s expression changes, concerned about potential repercussions.
FRANCESCA
(cautious)
Ophelia, I don’t know...
OPHELIA
(reassuring)
I trust her, Francesca. And I think she can help.
Francesca nods, accepting Ophelia’s trust in Eleanor.
FRANCESCA
(determined)
Okay, I’ll talk to her.
Ophelia shares Eleanor’s phone number with Francesca.
CUT TO:
INT. ELEANOR’S OFFICE - DAY
Eleanor receives the article from Ophelia, her expression focused.
ELEANOR
(to herself)
Accidental drowning...I don’t think so.
INT. ELEANOR’S CAR - DAY
Eleanor sits in her car, recording two cops talking while guarding Ophelia’s mom house.
COP 1
(whispering)
I heard the article didn’t mention the body was sickly pale...too pale.
COP 2
(leaning in)
And the bite wounds...my buddy was one of the first to find her. He said it was like nothing he’s ever seen.
The two cops speculate.
COP 1
(quietly)
Must’ve been a wild animal attack.
COP 2
(nodding)
And with the disappearances...the higher-ups didn’t want to incite a panic.
Eleanor stops recording, her expression thoughtful.
CUT TO:
EXT. POND - DAY
Eleanor arrives at the nearby pond, analyzing the area. She walks along the marsh, eyes scanning the ground.
ELEANOR’S POV
She finds footsteps in the wet, sticky mud - fresh, only two or three days old.
Eleanor examines the footsteps, deducing they belong to an elderly person.
ELEANOR
(to herself)
Shorter, slower, cautious...an elder.
The footsteps lead to where the marsh meets the pond.
ELEANOR
(thoughtfully)
Too far to drown.
Eleanor’s eyes narrow, her mind racing with possibilities.
INT. POND - DAY
Eleanor examines the footsteps, noticing they change direction.
ELEANOR’S POV
The steps originally came from the park, but now head toward Ophelia’s mom house.
Eleanor observes three additional sets of footsteps, one on each side and one behind.
ELEANOR
(to herself)
Quick, long-strided, dynamic gait...a trio of younger people.
Eleanor’s eyes widen as she notices large stains of dark red color accompanying each step.
ELEANOR
(alarmed)
Blood.
Eleanor carefully collects the bloodstains into a bag.
ELEANOR’S POV
The footsteps continue to Ophelia’s mom house, sealed off with yellow tape.
Suddenly, a convoy of police cars comes into view.
Eleanor quickly retreats, getting into her car hidden in the bushes.
CUT TO:
EXT. ROAD - DAY
Eleanor drives off in the opposite direction as the police cars pass by.
The sun begins to set, casting a golden glow.
CUT TO:
INT. ELEANOR’S CAR - DAY
Eleanor’s expression is thoughtful, her mind racing with the implications.
CUT TO:
INT. OPHELIA’S APARTMENT - DAY
Ophelia settles in, looking concerned.
CUT TO:
INT. FRANCESCA’S APARTMENT - DAY
Francesca sits at her computer, researching.
Both Ophelia and Francesca look determined.
END
