🎬 ETERNAL DESIRES — WEEK 1, DAY 1: MONDAY
The Trap Springs Shut (20 Scenes with Full Dialogue)
1. MANSION - MASTER SUITE - DAY
(DESMOND, 50s, sharp, calculating, stands by a large window overlooking the bayou. VIOLET, 40s, sleek, cold, adjusts his expensive tie.)
VIOLET: (A soft, proprietary touch) You look… decisive. Is the mood holding?
DESMOND: The mood is irrelevant. Her actions are the only thing that matters. She threatened to leave, taking half the Laurent empire with her.
VIOLET: And the children’s trust? The one with the penalty clause?
DESMOND: (Scoffs, turns to her) If she files for divorce, everything is scrutinized. The will must stand as is. Everything to Jessica and Isaac, controlled by me. Her departure is not an option.
VIOLET: (Smiles, dangerously beautiful) Then you must act now, my love. Before she can sign those final papers with her lawyer. Before she rips our future into pieces.
(Desmond walks to a crystal decanter, pouring two scotches.)
DESMOND: (Raises his glass) To our future. And her regrettable mistake.
(They clink glasses.)
2. MANSION - PIANO ROOM - DAY
(CASSANDRA, 40s, elegant, haunted, finishes playing a beautiful, mournful piece. She closes the piano lid, breathing heavily. She opens the piano bench. Hidden beneath a velvet cloth are divorce papers, signed by her. She pulls out her phone and dials.)
CASSANDRA: (Into phone, voice low and firm) Yes, it’s Cassandra. Please confirm the meeting with Mr. Howard for Friday afternoon. I need this finalized. I need out. I won't spend another day in this prison.
3. JACOBS HOME - KITCHEN - DAY
(ALANA, 20s, vibrant, hustling, is rushing out, grabbing a cup of coffee. LORETTA, 50s, tired, deeply spiritual, watches with worry.)
LORETTA: Another double shift at the bar? You’re burning yourself out, child. And Diego… he worries me. He’s too tied up with the street life.
ALANA: (Takes a quick sip) He’s changed, Mom. I told you. He’s putting in the work. He’s got that big investigative piece, and he’s clean. He’s going to be a journalist.
LORETTA: That kind of danger sticks to you, Alana. You can’t wash it off like grease.
ALANA: (Kisses her cheek) I love him fiercely. And I’m a survivor. Always have been. I’ll see you late tonight. Don’t wait up.
4. LOCAL COFFEE SHOP - DAY
(DIEGO, 20s, passionate, driven, reviews notes for a big interview. RILEY, 20s, goofy, tech-nerd, sips an iced drink.)
RILEY: A journalist! Investigative! Who knew? You’ll need a tux, bro. I’m thinking dark navy.
DIEGO: (Smiles, relaxed for the first time) I owe you two tuxes. One for the wedding, one for the night I officially put all my old habits in the grave. This article on the city council corruption is the start. No more looking back. Just Alana and me.
5. CHURCH - STUDY - DAY
(MARCUS, 30s, handsome, conflicted, is prepping a sermon. CHRISTOPHER, 20s, sensitive, anxious, enters nervously, holding a book.)
CHRISTOPHER: Pastor Baptiste? I was hoping you could lend me a theological text on… conviction.
MARCUS: (Looks up, their eyes lock in recognition and tension) Of course, Christopher. (He hands him a book. Their fingers brush.) Is everything alright with you and Daphne?
CHRISTOPHER: (Whispered) I can’t talk about Daphne. (Christopher’s phone rings aggressively—it’s DAPHNE.)
MARCUS: (Quietly) Take your time. I’m here.
CHRISTOPHER: (Answering, voice tight) Yes, Daphne. I’m studying. I’ll call you later.
6. A PRIVATE CLUB - DAY
(VIOLET meets her uncle MATTHEW DESCHAMPS, 60s, charming, sinister, in a quiet, luxurious corner.)
VIOLET: Desmond is moving too slowly. Cassandra is going to ruin everything, Uncle.
MATTHEW: Patience, Violet. That is not how a Deschamps operates. Your father taught you that the family legacy requires sacrifices. Your sacrifice, in particular, was very useful to our survival. Don't waste it with panic.
VIOLET: (Her face tightens at the mention of her father) I won't. I just need a clean solution.
MATTHEW: That, my dear, is precisely what you’ve engineered.
7. HIGH SCHOOL - CAFETERIA - DAY
(DEREK, 17, arrogant bully, taunts JAMAL, 16, defensive, angry. JESSICA, 17, quiet, perceptive, watches. MALI, 17, nervous, tries to avoid eye contact.)
DEREK: What, does your waitress mom want a tip? Maybe she can serve my buddy here. We need more service in this school. Just like your drug-peddling boyfriend—
JESSICA: (Slams her hand on the table, startling everyone) Derek, sit down. Your father’s donation buys a wing for the library, not a personality for you.
DEREK: (Stares at her, slightly intimidated) You sound just like your mother, Princess. Always sticking your perfect nose where it doesn't belong.
JAMAL: (To Jessica, grateful) Don't bother with him.
8. BELLE MARIAS HOSPITAL - DAY
(NAOMI, 50s, guarded, administrative worker, reviews ELI's complex files with DR. ANDRE BISHOP, 50s, kind, respected.)
NAOMI: Eli’s stability is my first concern, Doctor. He needs his medication regulated.
DR. BISHOP: I agree. We’re doing everything we can.
NAOMI: By the way, Dr. Bishop, was Cassandra Deschamps’ recent appointment really just a check-up? She seemed... anxious when she came in.
DR. BISHOP: (Stares at her, firm but calm) Mrs. Deschamps' privacy is paramount, Naomi. We must adhere to standard procedures. Nothing suspicious.
9. SINCLAIR HOME - DAY
(AVA, 60s, glamorous but slurring, is clearly drinking. MONIQUE, 30s, polished, cold, walks in, annoyed.)
AVA: You are destroying yourself with Matthew Deschamps! He’s a serpent! He’s only using you for your family’s power!
MONIQUE: (Fixing her jacket) You destroyed yourself with that bottle, Mother. I’m building an empire. I know exactly what Matthew is. Now, if you’ll excuse me, I have a meeting. Try to stay standing until dinner.
10. DESMOND’S PRIVATE OFFICE - DAY
(Desmond is on a high-pressure call, whispering intensely into his secure line.)
DESMOND: I need that transfer expedited. By Friday morning. I don't care about the red tape; override it. If the SEC sees this, everything collapses. Cassandra... she knows about the shell company. Just do it!
11. LOCAL DINER - DAY
(Alana serves TIA, 20s, glamorous influencer, who is glued to her phone, complaining.)
TIA: Ugh, another troll. This one says my bag is fake. I swear, the jealousy in this town is rampant.
ALANA: Ignore them. They’re irrelevant. (She spots a post over Tia's shoulder) Who’s that?
TIA: (Sighs dreamily) Isaac Deschamps. Cassandra’s son. Handsome, rich, moody. And back in town. You know what? We should crash his welcome back party this weekend. For a distraction.
12. MANSION - ISAAC’S ROOM - DAY
(Cassandra finds ISAAC, 18, moody, artistic, sketching in his room. She sits by him.)
ISAAC: You look tired, Mom. And sad. You never play that piece unless you’re sad.
CASSANDRA: I'm fine, my love. (She brushes his hair back) But listen to me. I want you to be strong. When things get complicated—and they will—trust your gut. Always. Don't let anyone tell you what you see and what you feel isn't real.
13. ROSITA’S HOME - DAY
(ROSITA, 50s, dramatic, loud, sees DETECTIVE SELENA KNOX, 40s, stoic, professional, on the street. Rosita flings open her screen door.)
ROSITA: Look who it is. The cop killer! They let you walk free, but my Manuel is gone! You come near my neighborhood, my son!
SELENA: (Calmly, turning to her) Rosita, I cleared that case legally. Move on.
ROSITA: Trouble follows you like a shadow, Detective! Just like it follows that low-class waitress Alana! Go back to your own damn side of town!
14. JOURNALIST OFFICE - EVENING
(Diego is reviewing documents when his editor walks in and takes the Laurent file off his desk.)
EDITOR: The story is pulled. Corporate says the Laurents are too big a liability. A legal nightmare.
DIEGO: You can’t! It’s solid! It’s a cover-up, Editor! Financial crimes! They’re controlling everything!
EDITOR: (Lowers his voice) Then find a new job, Diego. You just hit the ceiling of Belle Marias. They own the air here.
15. LAURENT HOME - EVENING
(DAPHNE, 30s, smiling, manipulative, insists CHRISTOPHER announce their "pregnancy" to his mother tonight.)
DAPHNE: We have to lock in our future, Christopher. Your mother needs good news after all this Cassandra drama.
CHRISTOPHER: I can't, Daphne. Not tonight. I... I can't keep doing this.
DAPHNE: (Smile vanishes, voice steel) You will. We have an image to maintain. Do you think I want my child growing up without the Laurent name?
16. MANSION - DEN - EVENING
(VIOLET and DESMOND review their week. Violet secretly adds a small white pill into a cup of herbal tea prepared for Cassandra.)
DESMOND: You're certain this will work? No traces?
VIOLET: (Holding the tea cup carefully) I am certain. She will be calm, distressed, and completely alone by Friday. The perfect image of a desperate society wife.
17. MANSION - BEDROOM - EVENING
(Cassandra, stressed, takes the cup of herbal tea from her bedside. She takes a large sip. She immediately feels dizzy and slightly nauseated. She quickly grabs her phone.)
CASSANDRA: (Text message to friend) Too dizzy. Must cancel dinner. See you later this week. (She sets the phone down, her eyelids feeling heavy.)
18. ALANA’S APARTMENT - EVENING
(Alana and Diego share a passionate, loving scene, talking about their future plans.)
ALANA: I’m scared, Diego. You’re pushing too hard on these rich monsters.
DIEGO: I’m doing this so we can have a clean start. No more secrets, no more shady deals. Just us, and my clean paycheck. I’ll be the best damn journalist in this town. For us. I promise.
19. DARK ALLEY - NIGHT
(NOAH, 30s, dangerous, resentful, intercepts DIEGO as he leaves his office.)
NOAH: Running from the Laurents, now, Diego? You left the game, but you didn't pay the exit fee.
DIEGO: I don’t owe you anything, Noah.
NOAH: I need twenty thousand by Friday night, or I pay Alana a visit. Think of it as a severance package for your new, clean life. I know where she works.
20. MANSION - JESSICA’S BEDROOM - NIGHT
(JESSICA wakes from a brief, blurry nightmare. She stares at her mirror. For a flicker of a second, she sees a double reflection of her mother—one shadowy, one clear. She screams softly, rubs her eyes, and turns on her light.)
JESSICA: (To herself, terrified) It’s just the stress... just a reflection... Mom, stop.
Next: We move into Tuesday, where the consequences of the Monday actions escalate. Would you like me to proceed with the full dialogue for Tuesday: Seeds of Doubt?
Tuesday
Here is the complete, full-dialogue transcript for Tuesday: Seeds of Doubt, where the initial plot movements begin to create suspicion and stress in both the Laurent-Deschamps and Jacobs households.
🎬 ETERNAL DESIRES — WEEK 1, DAY 2: TUESDAY
Seeds of Doubt (20 Scenes with Full Dialogue)
1. MANSION - KITCHEN - DAY
(CASSANDRA is groggy and suspicious, making coffee. VIOLET enters, perfectly composed.)
CASSANDRA: (Quietly, but pointed) That tea you gave me last night. What was in it? I was dizzy for hours.
VIOLET: (Feigning concern, touching Cassandra's arm) Oh, honey, just chamomile and valerian root. You were so stressed, I thought a proper sedative would help. Didn't it help you sleep?
CASSANDRA: I slept like the dead. But I felt off. Don't touch me.
VIOLET: (Pulls her hand away, offended) My God, Cassandra. I'm your sister. I'm just trying to help you through this difficult time.
CASSANDRA: (Sighs) Right. Of course.
2. ALANA’S APARTMENT - DAY
(ALANA is pacing, upset. DIEGO is packing his journalist bag.)
ALANA: You should go to the police about Noah. He threatened me, Diego. That’s a line he crossed.
DIEGO: And then what? I tell them I was dealing drugs with him six months ago, and they let me go because I’m a "changed man"? My past will resurface, and it will hurt you worse than Noah can.
ALANA: I’d rather face the truth together than have him hanging over us.
DIEGO: I know how to handle this. I'll get the money from this investigation. I just need to finish the piece.
3. JAX REYNOLDS - PRIVATE INVESTIGATOR OFFICE - DAY
(JAX, 30s, intellectual, reviews a screen full of Desmond's financial data.)
JAX: (To himself, squinting at the ledger) Shell companies... offshore accounts... the numbers are too clean for a legitimate operation of this size.
(He circles a large, suspicious transfer labeled "Belize Holdings.")
JAX (V.O.): Barbara Laurent hired me to find inconsistencies in her son-in-law's accounts. I'm finding crimes.
4. HOTEL ROOM - DAY
(MONIQUE and MATTHEW share a passionate, illicit scene. They are both dressed in expensive clothes.)
MONIQUE: Riley is getting suspicious about the patent documents. He keeps asking why I need him to sign them before the wedding.
MATTHEW: Riley is a boy with a toy. He’s useful now, but temporary. When Desmond is neutralized—and he will be, thanks to Violet—we will consolidate the Laurent power. You and I, Monique. The new dynasty.
MONIQUE: (Seductively) I like the sound of that.
5. COLLEGE CAMPUS - DAY
(ISAAC, looking moody, encounters TIA, who is aggressively flirty.)
TIA: Hey, moody. Isaac, right? I'm Tia. Sorry about your mom, but you can't mope all day. Belle Marias is too pretty for that.
ISAAC: (Coldly) I wasn't moping.
TIA: Right. You were intensely contemplating how to fill your social calendar. Look, my friend Alana is working Friday, but I still want to go to that party. Dinner first? My treat.
ISAAC: (A faint smile touches his lips) Fine. Where and when?
6. SINCLAIR HOME - DAY
(AVA, looking worse for wear, sits across from CHRISTOPHER.)
AVA: I am so sorry, Christopher. My drinking... I'm going to a meeting today, I promise. I just feel like I'm losing everything.
CHRISTOPHER: Mom, you don't have to apologize. I just want you to be okay.
AVA: (Teary-eyed) I'm trying. But this whole family is unraveling. You, Monique... please don't let me down.
CHRISTOPHER: (Distracted, thinking of Marcus) I won't. I won't let you down.
7. HOSPITAL - WAITING ROOM - DAY
(LORETTA is there for a fake appointment, using a different name. She sees DR. BISHOP pass by. Her body language shifts to panic.)
LORETTA: (To the receptionist, urgently) I... I suddenly feel much better. I need to cancel my appointment. Now.
(She rushes out, brushing past Dr. Bishop, who notices her familiar face but can’t place it.)
DR. BISHOP: (To the receptionist) Did that woman have an appointment? She looked troubled.
RECEPTIONIST: She canceled, Doctor. She just ran out.
8. HIGH SCHOOL - DETENTION - DAY
(JAMAL and MALI are sweeping the floor after their fight incident.)
JAMAL: I shouldn't have hit him. But he just kept talking about Alana and my mom.
MALI: You need to channel that anger, Jamal. You're better than Derek. Your sister and your mother believe in you.
JAMAL: (Sighs) It's hard when my dad isn't here, you know? When everything feels like a fight.
MALI: (Gently) You have people fighting for you.
9. POLICE STATION - INTERVIEW ROOM - DAY
(SELENA questions DESMOND about a minor embezzlement case linked to his company. Desmond is masterful.)
SELENA: Mr. Laurent, this transfer is missing paperwork. It’s sloppy for a man of your caliber.
DESMOND: Detective, "sloppy" is the cost of moving hundreds of millions quickly. I run an agile, modern company. I didn't personally sign off on every comma. It's a clerical error, nothing more.
SELENA: (Leans forward) I don't believe in clerical errors when the numbers are this big, Mr. Laurent.
DESMOND: (Smiles smoothly) You'll find everything perfectly legal, Detective. Good day.
10. PRIVATE CLUB - DAY
(VIOLET meets with an UNKNOWN CONTACT, sliding an envelope across the table.)
VIOLET: This is Cassandra's schedule for the next three days. The most crucial night is Friday.
CONTACT: And the fee?
VIOLET: Double if the disappearance is clean. And if the will is found unsigned.
11. LAWYER’S OFFICE - DAY
(CASSANDRA and her LAWYER review the divorce terms.)
LAWYER: You are resolute about the children's trust. You want no possibility of Desmond controlling those assets should you remarry.
CASSANDRA: I will not remarry. I just want my children protected from their father’s greed. I need this finalized. I need the papers signed and filed.
12. DINER - DAY
(LAILA, a gossipy reporter, tries to get an exclusive from ROSITA, who is eating alone.)
LAILA: Rosita, you always have the best tips. Tell me about the Laurent drama. Is Desmond having an affair?
ROSITA: (Loudly, chewing) Affairs are what rich people do. I’m concerned with that waitress, Alana. My son Diego is wasting his life on her. She’s dragging him down, Laila. Mark my words. Trouble will find those two.
13. CHURCH - EVENING
(MARCUS struggles to write his sermon. His father, JOSHUA, a PRIEST, enters.)
JOSHUA: You look strained, son. The Word is not flowing?
MARCUS: I feel... hypocritical, Father. Preaching about conviction when my own heart is so torn.
JOSHUA: The Devil uses temptation. You must reject it. Find strength in your righteous path, Marcus. Always.
MARCUS: (Looks down at his Bible) Yes, Father. Righteousness.
14. RILEY’S APARTMENT - EVENING
(RILEY is excited about his upcoming patent. MONIQUE is impatient.)
RILEY: This new algorithm will change the tech world, honey! I’m finally going to be a mogul.
MONIQUE: (Taps her finger on a folder) That’s wonderful, darling. Now, I need you to sign these papers for me. Just so we can integrate your tech with Desmond’s company before our wedding. It's time sensitive.
RILEY: Why the rush? We have months.
MONIQUE: (Fakes a sweet smile) It's business, Riley. It can't wait.
15. LOCAL BAR - EVENING
(ALANA is working late. DIEGO brings her flowers. They share a brief, stressed argument.)
DIEGO: Hey. I got you these.
ALANA: (Takes them, tired) Thanks. Did you finish the article? Did you raise the money for Noah?
DIEGO: No, and no. Don’t talk about Noah here. I’m close, Alana. But the Laurents are fighting back. I need more time.
ALANA: Time is what we don’t have, Diego.
16. NAOMI’S HOME - EVENING
(Eli, Naomi’s DEAF son, is watching TV. He uses ASL to sign a disturbing message to NAOMI.)
ELI (in ASL): Mommy. Bad dream. The car. Dark car. Lady crying. Two ladies.
NAOMI: (Her eyes widen slightly, she signs back calmly) Just a silly dream, Eli. We are safe. We are home.
17. AVA’S CAR - NIGHT
(AVA is alone in her car, parked, clearly taking large swigs from a hidden bottle of vodka. She is crying, distraught.)
AVA: (Whispering to herself) I hate this. I hate them. Why can't I stop? I'm going to ruin everything. Just one more…
18. MANSION - DEN - NIGHT
(VIOLET and DESMOND review their plan for the week, now accelerated to Thursday.)
VIOLET: I told them Thursday. The will is being finalized tomorrow. We cannot wait for Friday.
DESMOND: (Coldly) I need my alibi solid. I am on a private jet out of state by Thursday evening. You handle the staging. Make it look final.
VIOLET: (A cold, empty look) I will erase her. Forever.
19. MANSION - PIANO ROOM - NIGHT
(JESSICA attempts to play her mother's favorite piece. She hits the correct notes, but the music feels hollow. She starts shaking, feeling a sudden, intense chill.)
JESSICA: (Muttering) Why is it so cold?
20. MANSION - BALCONY - NIGHT
(CASSANDRA stands on the balcony, looking out over Belle Marias. She clutches the divorce papers in her hand, having decided to rewrite her will completely on Wednesday.)
CASSANDRA: (To herself, resolute) I won't let him win. I won't let them have the house, the money, or my children.
(She texts a family friend a coded message.)
CASSANDRA (V.O.): I know they are planning something. I’m rewriting everything tomorrow.
(A shadow moves past her window. CLIFFHANGER: She is being watched.)
Wednesday
Here is the complete, full-dialogue transcript for Wednesday: Pressure Points, where Cassandra makes her final preparations, Desmond's operation faces a setback, and the love triangles and secrets intensify across Belle Marias.
🎬 ETERNAL DESIRES — WEEK 1, DAY 3: WEDNESDAY (REVISED)
Pressure Points (20 Scenes with Full Dialogue)
1. PRIVATE BANK VAULT - DAY
(CASSANDRA meets with her Lawyer, MR. HOWARD. She is visibly resolute.)
CASSANDRA: I want the new will executed today, Mr. Howard. Everything goes into a secure trust for Jessica and Isaac. Desmond is explicitly removed as a beneficiary and a trustee.
MR. HOWARD: It’s a very aggressive move, Cassandra. It cuts him out entirely.
CASSANDRA: That is the point. I need to protect them from his financial... activities. And from Violet. I can't wait until Friday. I want this done now.
2. DESMOND’S PRIVATE OFFICE - DAY
(DESMOND is on the phone, furious.)
DESMOND: What do you mean the transfer is stalled?! I need that liquidity now! The bank is telling me Cassandra just froze a major portion of her personal assets?
ASSISTANT (V.O.): Sir, she moved everything into an encrypted children's trust. We think she's onto the Belize holdings.
DESMOND: (Slams the phone down) That selfish, manipulative witch! She’s trying to bankrupt me on her way out! Violet, you need to accelerate. Tonight.
3. ALANA’S APARTMENT - DAY
(ALANA finds a new notebook where DIEGO has been scribbling notes on the Laurent investigation.)
ALANA: (Reads aloud) "Laurent-Deschamps. Off-shore funds. Illegal shell companies." Diego, this is massive. This is a story that could take down the entire city council!
DIEGO: And get me the money I need to pay off Noah. I have to finish it. This is my only way out of the mess I made.
ALANA: I’m scared, Diego. You're dealing with monsters.
4. LAURENT-SINCLAIR OFFICES - DAY
(AVA finds MONIQUE in her office.)
AVA: You need to call off the wedding, Monique. You don't love Riley. You're sleeping with Matthew, for God's sake.
MONIQUE: Riley is a pawn for Desmond’s new tech division, Mother. He has no clue. And Matthew is the true key to power in this family. At least I'm not stumbling through the day drunk.
AVA: (Wincing) You are cruel.
5. MANSION - STUDY - DAY
(BARBARA LAURENT meets with JAX.)
BARBARA: You're saying Desmond's financials are worse than just reckless?
JAX: There are several shell companies, Mrs. Laurent. They appear to be laundering money through a pharmaceutical front. It’s too vast for one man. Someone else is involved.
BARBARA: (Eyes narrow) Start with Violet. She’s too poised for a woman who has endured that family for so long.
6. A SEEDY BAR - DAY
(VIOLET meets MATTHEW. Violet is panicking about the will change.)
VIOLET: Cassandra is rewriting the will today. She’s protecting the fortune! Our plan is useless if she moves the money!
MATTHEW: (Sips his whiskey calmly) It doesn't matter what she writes, my dear. It only matters that it's not filed before she is found. An unsigned document holds no power. Tonight, we move.
7. PUBLIC PARK BENCH - DAY
(CHRISTOPHER and MARCUS are meeting secretly.)
MARCUS: I read your poem, Christopher. It’s beautiful, but it's heartbreaking. You can't marry Daphne.
CHRISTOPHER: I have to. My mother, the family... if they knew the truth about me, it would destroy them. Especially now.
MARCUS: (Takes his hand) What about what will destroy you? I have feelings for you, Christopher. Deep ones. This is tearing me apart.
(They share a tender, conflicted first kiss.)
8. HOSPITAL - PHYSICAL THERAPY - DAY
(NAOMI watches as ELI signs furiously to her, pointing outside.)
ELI (in ASL): Scary Lady. Black hair. Outside. Watching us. She came when the loud noise happened.
NAOMI: (Signs back, tense) You saw her here, Eli?
ELI (in ASL): No! Her car. By the big water house. She was watching.
NAOMI: (To herself) Violet.
9. COFFEE SHOP - DAY
(RILEY is showing DAPHNE a new tech design. Daphne subtly probes him for money.)
RILEY: This encryption software is foolproof! I’m going to make a fortune for us.
DAPHNE: That’s lovely, darling. But we need to plan for the baby. We need cash flow now. How much have you saved, personally? Separate from the company funds?
RILEY: A decent amount. Why?
DAPHNE: (Fakes a cough) Just thinking about a private, safe savings account.
10. HIGH SCHOOL - LOCKER ROOM - DAY
(DEREK taunts JAMAL again. Jamal finally snaps.)
DEREK: Look, it's the scholarship case. Go back to your side of town, Jamal.
JAMAL: (Explodes) Shut up, Derek!
(Jamal shoves Derek. A fistfight breaks out. MALI runs in, screaming.)
MALI: Stop it! Both of you, stop!
11. POLICE STATION - DAY
(SELENA reviews the fight footage from the high school.)
SELENA: Derek is clearly the aggressor. Spoiled little jock. His parents are huge Desmond Laurent donors. (To herself) The apple doesn't fall far from the corrupted tree. I’m going to watch that family closely.
12. HOSPITAL LOBBY - DAY
(LAILA corners DR. BISHOP, trying to be seductive for information.)
LAILA: Doctor, you’re connected to all the elite. I’m doing a piece on Matthew Deschamps’ mysterious new venture. Tell me, is he as ruthless as they say?
DR. BISHOP: (Politely shutting her down) Ms. Monroe, I am a physician, not a gossip columnist. I am only concerned with the health of my patients.
LAILA: (A wry smile) You’re too handsome to be that moral, Doctor.
13. JACOBS HOME - EVENING
(LORETTA is worried about ALANA’s late night at work.)
LORETTA: That bar is trouble, Alana. Can you just take tomorrow off? Stay home with me?
ALANA: I need the money, Mama. It’s the last shift, I promise. I’ll come straight home early Friday, I swear. No messing around.
14. MANSION - LIBRARY - EVENING
(JESSICA shows ISAAC the shadowy photo she took on Monday.)
JESSICA: Look! It happened again last night. She was there. I feel her tension, Isaac. It's like she’s fighting.
ISAAC: (Laughs nervously) It's probably just a smudge on the lens, Jess. You're stressed. Mom's unhappiness is hitting you hard.
15. MANSION - BEDROOM - EVENING
(CASSANDRA writes an emotional, secret letter to her children, placing it inside the spine of a specific book in her library.)
CASSANDRA (V.O.): My darlings, if you ever read this, know that I did not leave you willingly. Your father and your aunt have betrayed me. I have taken steps to protect you. Find the truth, and always know how fiercely I loved you.
16. LOCAL BAR - EVENING
(ALANA is working. DIEGO calls her from his office.)
DIEGO: Alana, the Laurent lead is huge. I’m talking federal crime level. I’m finishing the whole thing tonight so I can drop it tomorrow. It'll get me the money for Noah and finally clear my name.
ALANA: Just be careful. Please.
17. AVA’S CAR - NIGHT
(AVA is heavily intoxicated, crying, driving aimlessly. She is rambling to herself.)
AVA: (Slurring) I'm a terrible mother... a terrible wife... I’m going to lose everything. They all hate me.
18. MANSION - DEN - NIGHT
(VIOLET confirms the accelerated plan with MATTHEW via phone.)
VIOLET: Desmond is out. I told them Thursday night. It must be tonight. She knows too much now. She has the will.
MATTHEW (V.O.): Handle it, Violet. But make it quiet. And make it look tragic.
19. ABANDONED WAREHOUSE - NIGHT
(NOAH confronts DIEGO, who is leaving his office.)
NOAH: I’m tired of waiting, journalist. The deadline is midnight Friday. You miss it, and I take Alana out of the picture. No more warnings.
20. MANSION - STUDY - NIGHT
(CASSANDRA finds a hard drive containing evidence of Desmond’s financial crimes in his desk. She has the proof she needs to ruin him.)
CASSANDRA (V.O.): (A fierce realization) The shell companies! It's all here.
(She hastily texts a family friend a warning.)
CASSANDRA (Text Message): I know everything. I have the proof. Going public on Friday.
(A phone in the corner of the room, hidden by Violet, lights up, having intercepted the message. CLIFFHANGER: Violet now knows Cassandra has the proof and plans to expose her, guaranteeing the climax on Thursday.)
Here is the complete, full-dialogue transcript for **Thursday: The Final Hours**, the dramatic day where both worlds collide, all secrets come to a head, and the chain of events leading to the central supernatural twist is initiated.
---
## 🎬 ETERNAL DESIRES — WEEK 1, DAY 4: THURSDAY
### The Final Hours (20 Scenes with Full Dialogue)
#### 1. MANSION - VIOLET’S ROOM - DAY
**(VIOLET is on the phone, her voice barely controlled, having seen Cassandra's intercepted text.)**
**VIOLET:** It has to be tonight. She has the proof. She knows about the funds and the shell companies. Desmond is leaving this evening. The alibi will be perfect. You know what needs to be done. Make it look like a tragic, drunken fall.
**CONTACT (V.O.):** Understood. I will arrive at 10 PM.
---
#### 2. PRIVATE JET HANGAR - DAY
**(DESMOND and his ASSISTANT are preparing to board the jet.)**
**ASSISTANT:** Sir, the transfer is still stuck. We are facing a complete liquidity crisis.
**DESMOND:** (Calmly, but with a cold fury) I will be in New York until Saturday. Handle the paperwork. Everything will be resolved when I return. Tell the children I miss them deeply.
---
#### 3. ALANA’S APARTMENT - DAY
**(ALANA is leaving for her evening shift. DIEGO is finalizing his exposé.)**
**ALANA:** I hate that Noah is out there. Promise me you won't leave this office until that article is published. Stay safe.
**DIEGO:** I promise. It drops at midnight. I’m going to ruin the Laurents, clear my debt, and buy us a ticket out of this town.
**ALANA:** (Kisses him fiercely) I love you, journalist.
---
#### 4. BELLE MARIAS HOSPITAL - DAY
**(JAX shows his findings to DR. BISHOP.)**
**JAX:** Doctor, the shell company Desmond is using, 'Aethelred Labs,' has you listed as a consultant. What is your connection to this pharmaceutical company?
**DR. BISHOP:** (Stares at the paperwork, genuinely surprised) Aethelred? I've never heard of it. My name must have been used fraudulently. This is highly illegal.
**JAX:** You need to talk to the police.
---
#### 5. CHRISTOPHER’S CAR - DAY
**(CHRISTOPHER and MARCUS share a rushed, tearful moment.)**
**CHRISTOPHER:** I can't do the wedding. I told Daphne. I can't live a lie anymore.
**MARCUS:** (Elated, but nervous) What did she say?
**CHRISTOPHER:** She went silent. But I'm going to tell my family tonight. I'm going to choose myself. I choose you.
---
#### 6. ROSITA’S HOME - DAY
**(ROSITA intercepts LAILA MONROE, who is still looking for gossip.)**
**ROSITA:** That boy, Diego, he's up to no good again. I saw him with that reporter, Laila. Asking questions about the Deschamps’ money. He’s going to get himself hurt, and he’ll take that *Alana* with him.
**LAILA:** (Taking notes) Diego Morales investigating Desmond Laurent... that’s a scoop.
---
#### 7. MANSION - ISAAC’S ROOM - DAY
**(ISAAC finds CASSANDRA's packed suitcase hidden in her closet, clearly intended for a quick departure.)**
**ISAAC:** (To himself) Why would Mom pack to leave, but file for divorce from here? She wasn't just leaving him, she was *running* from him.
---
#### 8. POLICE STATION - DAY
**(SELENA is reviewing the files on the Laurents and the high school fight.)**
**SELENA:** (To a junior officer) Put a tail on Desmond Laurent’s corporate holdings. Everything feels linked. The money, the fight, the divorce papers. Something is coming.
---
#### 9. MANSION - VIOLET’S ROOM - EVENING
**(VIOLET is waiting, dressed in all black, looking out at the darkened fountain area.)**
**VIOLET (V.O.):** Tonight, I reclaim my life. I reclaim the name. Cassandra Deschamps ceases to exist.
---
#### 10. LOCAL BAR - EVENING
**(ALANA is working. She receives a text from DIEGO: "Exposé is locked and loaded. Publishing at midnight. See you soon.")**
**ALANA:** (Smiling to herself) Thank God. It’s over.
---
#### 11. AVA’S CAR - EVENING
**(AVA is heavily drunk, slurring a painful phone call to CHRISTOPHER.)**
**AVA:** Christopher, I can't... I can't live like this. I ruined everything. Your father, your sister... I'm so sorry. I'm leaving.
**CHRISTOPHER:** (On the phone, panicked) Mom, where are you? Don't leave! Wait for me!
**(Ava hangs up, speeds off, crying uncontrollably.)**
---
#### 12. MANSION - STUDY - EVENING
**(CASSANDRA is nervously copying files from the hard drive onto a USB stick.)**
**CASSANDRA:** (Whispering) One more copy. One more place to hide it. If I leave this proof here, he can't cover it up.
---
#### 13. MANSION - LIBRARY - EVENING
**(JESSICA, restless, goes to the library and pulls down the book where Cassandra hid the letter. She almost opens it, but gets distracted by a noise outside.)**
**JESSICA:** (To herself) Why am I so restless? (She puts the book back and runs out.)
---
#### 14. NAOMI’S HOME - NIGHT
**(ELI is drawing a frantic picture: a figure falling, and a dark car speeding away.)**
**ELI (in ASL):** Mommy! Bad! Bad!
**NAOMI:** (She sees the drawing, fear in her eyes) Eli, what did you see?
---
#### 15. JOURNALIST OFFICE - NIGHT
**(DIEGO is hitting the 'publish' button for his explosive exposé. The computer screen confirms the article is live. He texts ALANA: "Published. Clean slate.")**
---
#### 16. MANSION - BALCONY - NIGHT
**(CASSANDRA, on the balcony, calls the friend she texted earlier, but the line goes dead. She turns, startled, to see VIOLET standing in the doorway.)**
**CASSANDRA:** Violet! What are you doing?
**VIOLET:** (Dead calm, holding a handkerchief) Your final farewell, sister. You thought you could ruin us? You ruined me years ago when you let Father hurt me. This is what you earned.
**CASSANDRA:** I know what you and Desmond did! I have the proof!
**VIOLET:** (Smiles, a cold flash) Not for long.
**(A desperate struggle ensues. Violet shoves Cassandra over the balcony railing.)**
---
#### 17. MANSION GROUNDS - NIGHT
**(Cassandra’s body lands silently in the fountain below. VIOLET rushes down, meticulously placing the liquor bottle and a fake note near the body.)**
**VIOLET:** Sleep now, Cassandra.
---
#### 18. DARK STREET - NIGHT
**(ALANA is running, taking a shortcut home, texting Diego she’s on her way. NOAH appears behind her.)**
**NOAH:** You didn't answer my call, Alana. Now you pay.
**(Alana screams and pushes him, running into the street.)**
---
#### 19. DARK STREET - NIGHT
**(AVA, heavily drunk and speeding, is driving recklessly. She doesn’t see ALANA dart into the road. A screech of tires, a sickening THUD.)**
**AVA:** (Screams, braking hard) Oh my God!
**(Ava looks at Alana's crumpled, still body in her headlights. She panics, puts the car in drive, and speeds away.)**
---
#### 20. DOUBLE DEATH / THE EXCHANGE - NIGHT
**(Alana’s body lies lifeless in the street. Cassandra’s body lies in the mansion fountain. In a flash of spectral light, CASSANDRA'S SOUL rises from her body, defiant, and speeds across the city toward Alana's body.)**
**ALANA’S SOUL:** (Rises, confused, seeing her body) No! Wait!
**(Cassandra's soul slams into Alana’s body. Alana’s soul is violently ejected, a silent scream of agony. Alana’s body GASPS, then slowly opens its eyes. The eyes hold Cassandra’s cold, vengeful determination. The struggle begins.)**
**ALANA’S BODY (Cassandra's voice, raspy):** V-Violet...
Here is the complete, full-dialogue transcript for Friday: The Exchange & The Aftermath. This is the climax of the first week, where the two tragedies merge, the central supernatural premise is established, and the main players react to the chaos.
🎬 ETERNAL DESIRES — WEEK 1, DAY 5: FRIDAY
The Exchange & The Aftermath (20 Scenes with Full Dialogue)
1. MANSION GROUNDS - NIGHT
(VIOLET is standing by the fountain, looking at CASSANDRA's body. The Contact who helped with the staging approaches.)
CONTACT: Is it done?
VIOLET: (Voice is cold, even) It is. She was distraught, drinking heavily, and signed a farewell note. It was tragic. Now, get that hard drive out of the study. And make sure the new will is not found.
CONTACT: (Nods) Understood.
2. DARK STREET - NIGHT
(ALANA’s body lies lifeless. AVA’s car has sped away. NOAH steps out from the shadows. He sees Alana.)
NOAH: (To himself, terrified) No, no, no! This wasn't me! This wasn't the plan!
(Noah turns and runs, terrified of being tied to the death.)
3. JOURNALIST OFFICE - NIGHT
(DIEGO sees a breaking news flash on his computer: "Tragedy strikes Laurent Mansion... Socialite Cassandra Deschamps dead.")
DIEGO: (To himself, stunned) What? It actually happened...
(His phone rings. It’s a police alert about an unidentified hit-and-run victim in Alana’s neighborhood.)
POLICE (V.O.): Young woman, dark hair, no ID...
DIEGO: (Drops his phone, already running) No, no, no! Alana!
4. MANSION - VIOLET’S ROOM - NIGHT
(VIOLET is wiping down the windows of the room nearest the balcony. She stops, shuddering, feeling an invisible cold wave wash over the house.)
VIOLET: (Whispering) You're gone. Stay gone.
5. NAOMI’S HOME - NIGHT
(ELI is signing furiously to NAOMI, pointing toward the window.)
ELI (in ASL): Look! The lady! She flew! She was fire! She went toward the poor street!
NAOMI: (Hugging him tight, terrified) Eli, you’re imagining things. It’s over.
6. DARK STREET - NIGHT
(ALANA’s body is twitching. CASSANDRA'S SOUL is settling into the new vessel. ALANA’S SOUL, shimmering, watches in horror.)
ALANA’S SOUL: (Soundlessly screaming) Get out! That’s mine! You can't!
CASSANDRA’S SOUL (V.O.): (In Alana's voice, a gasp) The children...
(Alana's soul is forced backward, recoiling from her own body.)
7. DARK STREET - NIGHT
(The body stands up slowly. It is ALANA, but the eyes are distant, confused. She looks at the scene of the accident, touching her new face.)
"ALANA" (CASSANDRA): (Raspy whisper) What... What body is this? Where is my dress? (She touches her face) I... Jessica?
8. MANSION - JESSICA’S BEDROOM - NIGHT
(JESSICA wakes up abruptly, sitting bolt upright. She feels a deep, warm rush of energy, a feeling she associates with her mother, but it’s distant and dislocated.)
JESSICA: (To herself) Mom? No... that feeling... it's still here.
9. MANSION - CRIME SCENE - NIGHT
(Police and Paramedics arrive. VIOLET rushes out, playing the hysterical, grieving sister perfectly.)
VIOLET: Oh, Cassandra! Why, why would you do this? (She points to the note and the bottle.) She was so distressed!
SELENA: (Observing the scene, skeptical) Ma’am, please step back.
10. DARK STREET - NIGHT
(DIEGO arrives frantically, shoving past the police tape. He sees Alana, alive, speaking to the officers.)
DIEGO: Alana! Thank God! (He rushes to her, heartbroken relief on his face.)
11. DARK STREET - NIGHT
(DIEGO grabs "ALANA" (CASSANDRA) and hugs her tightly.)
DIEGO: I thought I lost you! I saw the news alert! I love you so much—
"ALANA" (CASSANDRA): (Pulls away sharply, seeing his face, which she doesn't recognize as her husband's) Who are you? Get away from me! Where is Desmond?
DIEGO: (Confused) Desmond? It’s Diego! What are you talking about?
12. MANSION - CRIME SCENE - NIGHT
(JAX arrives at the mansion, spotting BARBARA LAURENT talking to the police. He looks at the body.)
JAX: (To Barbara) Suicide, Mrs. Laurent? After she just rewrote her will to secure her children's future?
BARBARA: (Shaking her head) Something is deeply wrong, Jax. Find out what.
13. HOSPITAL - LOBBY - NIGHT
(LORETTA arrives, frantic. A NURSE recognizes her.)
NURSE: You're Alana Jacobs' mother? She's stable. She was in an accident.
LORETTA: (Sobs in relief) Thank you, God!
14. HOSPITAL - EMERGENCY ROOM - NIGHT
(SELENA questions "ALANA" (CASSANDRA), who is agitated but coherent.)
SELENA: Can you tell me what happened? Who hit you?
"ALANA" (CASSANDRA): (Stares at Selena) I don't know who hit me. But my sister Violet... she was trying to destroy me. I need to see my children. Jessica and Isaac.
SELENA: (Scribbles a note) Her sister... and she's asking for the Deschamps children... Interesting.
15. PRIVATE MEETING PLACE - NIGHT
(CHRISTOPHER and MARCUS meet, hearing the news of Cassandra's death on the radio.)
CHRISTOPHER: My God. Cassandra is dead.
MARCUS: I told you, Christopher, the closer you get to that family, the darker the shadow. We have to be careful.
16. HOSPITAL - EMERGENCY ROOM - NIGHT
**(A DOCTOR checks "ALANA" (CASSANDRA).) **
DOCTOR: Physically, you're fine. But you're extremely disoriented.
"ALANA" (CASSANDRA): (Looks at her hands, then sees her reflection in a nearby monitor—Alana's face) No. No! This isn't my body! Where am I?
(The energy of Alana's soul briefly flashes through the room, unseen by the Doctor.)
17. MANSION - ISAAC’S ROOM - NIGHT
(VIOLET hugs ISAAC, tears fake.)
VIOLET: She left us, darling. She was so unhappy.
ISAAC: (Pulls away, cold) You’re lying, Aunt Violet. She was planning to leave him. She wouldn't leave us.
18. HOSPITAL - EMERGENCY ROOM - NIGHT
(ALANA'S SOUL hovers near her body, screaming soundlessly at Cassandra inside.)
ALANA’S SOUL: I want my life! I want Diego! Give it back!
(CASSANDRA, inside Alana’s body, suddenly has a sharp flash of Alana's memory: Diego's kiss, Loretta's love.)
"ALANA" (CASSANDRA): (A flash of pain crosses her face) My head...
19. HOSPITAL - LOBBY - NIGHT
(DR. BISHOP is called in for consultation on a high-profile patient. He sees Loretta in the waiting room.)
DR. BISHOP: (Approaching cautiously) Forgive me, but I recognized you earlier. Have we met?
LORETTA: (Turns, terrified, recognizing the father of the child she kept secret) No. Never.
DR. BISHOP: You look familiar. But I hope your daughter is well.
20. HOSPITAL - EMERGENCY ROOM - NIGHT
(“ALANA” (CASSANDRA) forces the shock down, finding control. She looks out the window, Alana's vibrant eyes now filled with Cassandra's cold, calculated fury.)
"ALANA" (CASSANDRA): (To herself, low and determined) I am alive. And you, Violet, will pay. You will all pay.
(FADE OUT. END of WEEK 1.)