Below is Act 1 of For Always, an original 1/2 hour pilot script.

An exasperating, compulsively truthful cosmetician lands a job with a Kentucky mortuary unaware that more than just bodies get buried in the cemetery out back.

      COLD OPEN
      INT. BEDROOM - NIGHT
      NELL, twenty-nine year old African-American woman wearing eyeglasses, opens a piece of mail at her desk.
      NELL (V.O.)
      Everything begins with rejection.
      She reads a rejection letter from a publisher about her novel, "The Chatter of Animals."
      NELL (V.O.)
      What we become is determined by how we adapt to it. I learned this lesson from my childhood friend, Lily, whose life has been a long path of rejection.
      She runs the rejection letter through a shredder.
      Nell picks up a photograph.
      In the photo is Nell, an orange CAT, and a young WOMAN we are about to meet.
      INT. UPSCALE SALON, MEMPHIS, TENNESSEE - DAY
      Pretty, twenty-nine year old LILY HELLMAN holds a makeup brush in her hand.
      She looks at an UGLY WOMAN sitting in chair.
      LILY
      Darlin', I can make ya over, but ya need to lose fifteen pounds, get a cream for your hairy chin, and change your deodorant from mosquito repellent to somethin' more appealin’.
      EXT. UPSCALE SALON - MOMENTS LATER
      NELL (V.O.)
      It's a verbal tick on Lily's part that she can’t help but be rude to everyone she meets.
      ANGRY SALON OWNER shoves Lily out the doorway. Lily falls, landing on her butt.
      INT. APARTMENT - SAME DAY
      HANDSOME YOUNG MAN races around the room, packing a suitcase.
      HANDSOME YOUNG MAN
      You've got stop telling people horrible things about themselves, Lily.
      LILY
      I have to say what's true. Ya know that about me.
      HANDSOME YOUNG MAN
      I can't take it anymore. I don't need to hear that I snort like a pig when I sleep, or the moles on my back are too hairy, and or that one of my balls sags in a weird way during sex.
      He shoves the packed bag into Lily's arms, and opens the front door.
      LILY
      But I love ya.
      HANDSOME YOUNG MAN
      Here's what's true. I don't love you anymore. Our engagement's off.
      EXT. APARTMENT COMPLEX - MOMENTS LATER
      Tears stream down Lily’s face. She tosses her bag into the back of her beaten up hatchback.
      INSERT BUMPER STICKER ON CAR
      "COSMETOLOGISTS DO IT BETTER"
      EXT. MANSION - DAY
      NELL (V.O.)
      Still, our Lily's a survivor.
      Lily's hatchback drives up to the side door of a mansion.
      A "Delivery Entrance" sign hangs on the door.
      INT. CAR - CONTINUOUS
      Lily looks at herself in the rear-view mirror.
      LILY
      It's come to this, girl. Ya can't hold a job, or a fiancé, and now you're about to do the one thing ya always looked down on, “kitchen make-up.”
      INT. MANSION - SAME DAY - LATER
      NELL (V.O.)
      But while Lily's compulsively truthful, she's also a uniquely talented cosmetician.
      Make-up brush in hand, Lily circles a more than middle-aged UNPLEASANT LOOKING WOMAN sitting in a swivel chair.
      Lily goes to work, applying makeup to Unpleasant Looking Woman as swiftly as a sushi chef slicing raw fish.
      Lily swivels the chair around.
      The chair stops, and BEAUTIFUL WOMAN—formerly the Unpleasant Looking Woman—appears in the chair.
      EXT. MANSION - SAME DAY - MOMENTS LATER
      Delivery door bursts open.
      An ORANGE TABBY CAT flies through the open doorway. It leaps into an open window of Lily's car.
      Lily races out the door to her car.
      Beautiful Woman throws Lily’s make-up bag.
      Lily catches it. It's a good catch, too.
      BEAUTIFUL WOMAN
      I knew you were trash when you showed up in that metal heap.
      LILY
      Ya never looked this good, and ya know it. I want my money.
      BEAUTIFUL WOMAN
      After you demean me in my own home? I'll pay you over my dead body.
      Beautiful Woman picks up a potted plant, and aims it at Lily.
      Lily jumps into her car. She speeds away, but not before the potted plant hits and cracks a car window.
      EXT. HIGHWAY - SAME DAY - LATER
      NELL (V.O.)
      You'd think by now Lily would be used to rejection.
      Lily's car drives along the interstate, passing a sign—
      LEAVING TENNESSEE
      And another sign—
      WELCOME TO KENTUCKY
      Lily's car exits the highway.
      NELL (V.O.)
      But she's not.
      Lily's car drives along a road, until it comes to rest next to a river bank.
      INT. CAR - MOMENTS LATER
      Lily sits in her car, tears streaming down her face.
      LILY
      Ya've done it now, Lily Hellman. Ya've alienated everyone. There’s no one and nothin’ left. Ya don't belong anywhere. Time to drive into the Ohio River... be done with it all.
      As Lily's about to put her foot to the gas petal, the orange cat climbs out from under the passenger seat. The cat jumps into Lily's lap.
      LILY (CONT’D)
      Oh. How'd ya get in here? What the hell do I do now? I can't drown a cat. Even a mean, ugly woman's cat.
      Lily opens the car door, and puts the cat down on the ground.
      LILY (CONT’D)
      Go on now, shoo.
      The cat jumps back into the car, and onto Lily's lap.
      NELL (V.O.)
      Like my daddy used to say, never underestimate the well-timed appearance of a kitty cat.
      The cat purrs and rubs against Lily.
      Lily hugs the cat, and dries her tears on his fur.
      END COLD OPEN
      ACT ONE
      EXT. LOUISVILLE, KENTUCKY - NIGHT
      Lily's car sputters along a tree lined street. The car slows, and the engine quits.
      Lily pushes her car toward the curb.
      Two YOUNG GUYS walking on the sidewalk, run over, and help Lily push the car.
      LILY
      I had it. I mean, thanks. Hey, if ya grow a mustache, it would cover that cleft lip pretty good.
      GUY WITH CLEFT LIP
      You’re welcome, bitch.
      LILY
      Just tryin’ to help ya out. Ya might make it all the way to better lookin’.
      GUY'S FRIEND
      Come on, man, it's her karma.
      He spits at Lily's feet, and the two men walk away.
      EXT. HOUSE - NIGHT
      Lily climbs up a porch, hauling her makeup bag, a suitcase, and the cat wrapped in a sweater.
      INT. HOUSE - CONTINUOUS
      Nell types on her laptop.
      The doorbell rings. She jumps, startled, and picks up a baseball bat.
      EXT. PORCH - MOMENTS LATER
      The chain still in place, Nell peaks out the door at Lily.
      NELL
      Hell, no.
      The door slams in Lily's face.
      LILY
      Nell, please don’t turn me away. My car broke down. My phone needs rechargin'. The day’s been horrible.
      NELL (O.S.)
      Go away, Lily.
      The cat meows.
      The door opens.
      Lily exposes the cat under the sweater.
      LILY
      He's homeless like me.
      The door widens. Using her baseball bat, Nell waves Lily and the cat into the house.
      INT. KITCHEN - LATER
      Nell sets down a bowl of food for the cat.
      LILY
      That looks gross, Nell.
      The cat jumps from Lily's arms onto the floor, and eats the cat food.
      NELL
      Cats don’t care what food looks like. What are you doing with Frank, anyway?
      LILY
      Frank?
      NELL
      That's his name.
      LILY
      That still creeps me out, Nell. That whole hearing what the animals are sayin’ thing you got goin’.
      NELL
      I didn't invite you here.
      LILY
      I've no place else to go.
      NELL
      He can stay. You can't.
      The cat rubs against Nell's leg.
      NELL (CONT’D)
      Shit. No way. I don't care.
      LILY
      Okay, creep me out, but what’s Frank the cat sayin’?
      NELL
      Come on, I'll show you where you both can sleep tonight.
      INT. BEDROOM - LATER
      Nell turns the light on. Lily dumps her bag on the bed, and Frank jumps up onto it.
      NELL
      You don't need to unpack. You won't be staying more than the night.
      EXT. FOR ALWAYS FUNERAL HOME - DAY
      Storm clouds gather over the For Always Funeral Home.
      INT. FOR ALWAYS - MORTICIAN’S PREPARATORY ROOM - DAY
      At a stainless steel sink, a latex-gloved MARY MARTIN, a handsome, serious woman in her forties, wears her mortician scrubs, and a heavy duty face mask over her mouth and nose.
      She inserts a syringe through a rubber top of a medicine bottle. Mary withdraws some clear liquid.
      She picks up another bottle. It’s an ink bottle labeled as “ink for fountain pens.” She squirts the liquid from the syringe into the ink bottle.
      INT. HALLWAY OUTSIDE PREPATORY ROOM - CONTINUOUS
      JANET GAYNOR, pretty woman in her thirties, tries to open the door to the prep room. It’s locked. She rattles the door knob.
      INT. PREPARATORY ROOM - CONTINUOUS
      Mary jumps slightly at the sound at the door.
      JANET (O.S.)
      Mary? Why’s this door locked?
      Mary pulls her face mask down so that she can answer.
      MARY
      One minute, Janet!
      Mary picks up both the ink bottle and the medicine bottle, and carries them as if they might explode in her hands.
      A loud knock on the door, and—
      JANET (O.S.)
      Why’s this door locked?
      Mary jumps, and loses her grip on the medicine bottle. It shatters when it hits the hard floor.
      Mary holds her breath and pulls her face mask back on. She slowly steps away from the broken bottle, and spilled liquid.
      A louder pounding at the door.
      JANET (O.S.) (CONT’D)
      What’s going on in there? Mary? Mary? Are you all right?
      INT. HALLWAY OUTSIDE PREPATORY ROOM - MOMENTS LATER
      Janet steps back from the door, as it opens. Mary slips out, quickly closing the door behind her.
      MARY
      Sorry, love. It’s gruesome work today.
      Janet pulls Mary’s mask down from her face.
      MARY (CONT’D)
      Right. Forgot.
      Janet puts a finger to Mary’s lips.
      JANET
      It’s hard not to worry about you. You’re so secretive sometimes.
      MARY
      Nonsense.
      JANET
      A new body today? Do you need me to—
      Mary grabs Janet’s arm to prevent her from opening the door.
      MARY
      No. Closed casket case. You don’t want to see this one.
      JANET
      Oh. Okay.
      MARY
      Did you want something, Janet?
      JANET
      My father's in the hospital.
      MARY
      Oh no. What’s happened?
      JANET
      He fell. Broke his pelvis. I knew he would eventually. Fall, that is. I've got to go. Now. Immediately.
      MARY
      That's awful. Of course, you must go.... What of Mrs. Swanson?
      JANET
      She's set, ready for viewing.
      MARY
      Good. When will you be back?
      JANET
      That's the thing, I don't know. I'm leaving you a bit in the lurch.
      MARY
      I’ll muddle through.
      JANET
      I know you’re not comfortable with the aesthetic part of things.
      MARY
      Don't worry about me for one more minute. It’ll work out.
      JANET
      As soon as I've assessed his situation, I'll call.
      MARY
      Right. If there's anything?
      JANET
      I'll call.
      Mary nods, smiles a sort of smile.
      Janet gives her a kiss. It’s an intimate kiss.
      When Janet disappears down the hallway, Mary puts her face mask back on.
      INT. PREPARATORY ROOM - MOMENTS LATER
      The only body in the room, living or dead, is Mary’s, and she’s cleaning up the liquid and the shattered bottle from the floor.
      She disposes the mop head into a bucket marked as “hazardous waste.”
      EXT./INT. LOUISVILLE - DAY
      MONTAGE OF REJECTIONS
      - A salon door slams in Lily's face.
      - A residential door slams in Lily's face.
      - An apartment door slams in Lily's face.
      - A different salon door slams in Lily's face.
      - Lily's pushed out the door of another salon.
      - Lily shakes hands with MANAGER of car wash.
      - Lily with rag, cleaning the outside of a car, alongside THREE CAR WASHING MEN.
      - Lily's sprayed with a power hose by the three men, sending her out to the sidewalk.
      END MONTAGE
      EXT. NELL'S FRONT PORCH - EVENING
      Nell sits on a comfortable porch chair.
      Frank jumps up to the porch railing.
      Lily climbs the steps.
      She picks up Frank, and plops down in a chair.
      NELL
      Any luck?
      LILY
      No one wants to rent to someone without a job, and no one wants to hire someone without an address.
      NELL
      Why didn't you just use mine?
      LILY
      Why would I? Ya clearly want no part of me, Nell.
      Frank moves to a table between the two women.
      Lily reaches out to pet Frank. He nips lightly but pointedly at Lily's hand.
      LILY (CONT’D)
      Owww.
      NELL
      You're not bleeding.
      LILY
      Nell... When we last saw each other, you know before I left town... as usual, I said some things.
      NELL
      Let’s not discuss it.
      LILY
      You're my best friend in the world. More than my friend. But not in that sexual way ya'd like.
      NELL
      Stop right now, Lily. Tread softly.
      LILY
      I mean, like, we're sisters. Family. Like that. Since we were little, stuck in that foster home together. You used to think so, too, didn't ya?
      NELL
      Stuck in juvenile hall, you mean.
      LILY
      Not always. Okay, a lot. My fault. Usually.
      Nell raises an eyebrow at her.
      LILY (CONT’D)
      Ya egged me on a lot of times.
      Frank rubs against Lily’s legs.
      NELL
      Frank says I should lighten up. Give you a break.
      LILY
      He said that? Thanks, cat. I mean, Frank.
      The wind picks up. Leaves fly across the porch.
      NELL
      Didn’t say I agreed with him. Storm's coming. I'm going in.
      LILY
      Wait, Nell... please.
      The wind flings a flyer across the porch. It lands smack on Lily's face.
      Nell removes the flyer off Lily's face.
      NELL
      I believe this flyer is for you.
      She hands Lily the flyer.
      INSERT FLYER IN LILY'S HAND
      URGENT! EXPERIENCED COSMETOLOGIST NEEDED IMMEDIATELY. APPLY AT FOR ALWAYS, 3839 BARDSTOWN ROAD.
      END ACT ONE