Sanctuary

Driven by a violent storm from his usual sleeping spot against a headstone in St. Pelagius Cemetery, MONROE LATAMOR (45), a mute, homeless drifter, seeks shelter inside the adjoining church. Unbeknownst to him, he has arrived at the exact moment a funeral service is being held for Mr. Oliva—and he is the sole person in attendance.

Oliva’s will contains an extraordinary provision: his multi-million-dollar estate is to be divided equally among anyone who attends his funeral. With only one mourner present, Monroe has unknowingly inherited the entire fortune.

NICK CAPALDI (40), Oliva’s bitter, small-time attorney, learns from FATHER AGUILERA, the parish priest, that the sole attendee was likely homeless. While Aguilera calls it a miracle, Capaldi—long disillusioned with faith—sees only legal urgency. He has thirty days to locate Monroe and execute the will before the inheritance reverts to the state.

Unaware of his windfall, Monroe resumes his quiet routine, including breakfast at a soup kitchen run by MARY (35), a compassionate volunteer writing a book about homelessness. Monroe is an enigma—nearly silent, speaking only in rare, raspy one-word responses.

Using a sketch artist, Father Aguilera and his altar boy help Capaldi produce a likeness of Monroe. Capaldi blankets the city with flyers, but they are repeatedly torn down by BIG JERSEY, Monroe’s imposing friend and protector. Eventually, it is Aguilera who finds Monroe in the church, seated beneath a painting of its patron saint, the young martyr Pelagius.

When Capaldi informs Monroe that he is now a millionaire, it is unclear whether Monroe even comprehends the magnitude of the news. Mary steps in as his financial guide, while Capaldi—recently abandoned after a long, stagnant relationship—finds himself drawn to her.

In a rare moment of full speech, Monroe confesses to Father Aguilera that he has killed a man. The revelation shakes the priest, who feels morally compelled to alert the police.

Rather than indulge himself, Monroe uses his fortune to purchase the dilapidated All American Motel, transforming it into Pelagius House, a clean, dignified refuge for the town’s homeless. As the community begins to heal, police arrive with questions, and MARCELA, Oliva’s estranged, hard-edged daughter, appears, determined to overturn the will.

After spending a night in Monroe’s room at Pelagius House, Marcela experiences a quiet reckoning—and leaves changed. That same night, Monroe vanishes without a trace.

Despite an all-out search by Capaldi, Mary, Aguilera, and the newly united homeless community, Monroe is never found. Yet his presence lingers: lives are transformed, the church is revived, Marcela finds peace with her father’s memory, and Capaldi and Mary become partners in both work and love.

Months later, a woman approaches Father Aguilera with astonishing information. She leads him to a grave marker in the parish cemetery. According to the stone, Monroe Latamor died over fifty years earlier during a failed prison escape.

Confronted with the impossible, Capaldi—once a man who had lost his faith—now believes in miracles.

••• From the Screenwriting Staffing “Recommend” coverage:

The story itself is extremely inspiring and makes the reader feel good after finishing. The character Monroe doesn’t say much but his actions are filled with love and kindness. Monroe acts through his heart instead of his mouth. Even though he rarely speaks, he is easily likable and near impossible to not support, which says a lot about the writer. The characters surrounding Monroe, such as Capaldi, Father Aguilera, and Mary all have individual wants and desires. They are all unique in their own respect and add to the overall theme of compassion. They help build his character into the hero that he is, and when he disappears they are the heroes remaining. Even Mrs. Whitehurst, who is an unlikable antagonist practically the whole time, has a life altering moment that feels real. The writing and attention to character development truly makes this script feel realistic and worth something.