RECALL

A Comedy

He got 43 votes.
Now he's in charge.

When a small New Mexico town's mayor is recalled for corruption, an obscure charter clause installs the second-place finisher—a conspiracy podcaster who believes the water is poisoned. His mother was a downwinder. She died waiting for the government to believe her. Now he has real power. With monsoon season approaching, he has to fix a flooding street and pass a contractor verification ordinance before the town washes out—and before the machine ruins his estranged daughter's career for standing near him.

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The Story

Synopsis

Gil Padilla is 58 years old. He lives in a trailer outside Aguaverde, New Mexico. He runs a podcast called "Desert Truth" that nobody listens to. He believes the government is poisoning the water. He ran for mayor as a protest and got 43 votes out of 4,259. At his swearing-in, he tells the room: "Statistically, almost none of you voted for me." The laughter dies. This man is serious.

His mother grew up sixty miles from Trinity. She was three years old when the bomb went off. Nobody told her family to evacuate. She got thyroid cancer, applied for compensation four times, and died filling out the fourth application. Gil isn't crazy. He's looking in the wrong place, but for the right reasons.

When Mayor Richard Brandt is caught embezzling, Gil takes office and sets two goals: fix Oak Street's flooding drainage before monsoon season, and pass a Verification Ordinance so no contractor gets paid without independent sign-off. Wade Sutter, the council president who runs the machine, weaponizes procedure to stop him. Gil publishes everything—and forgets to redact. A records clerk named Marlene gets death threats. This is where being right stops being enough. Marlene doesn't quit. She teaches Gil how to do transparency properly: "Don't be sorry. Be boring."

The monsoon hits. Gil hauls sandbags at 2 AM. The ordinance passes. Gil doesn't file for the election—"If I file, it's about me. If I don't, it's about the ordinance." He loses anyway. Sixty-one percent vote for someone else. But the ordinance stays. His estranged daughter texts: "You good?" He texts back: "Yeah." She texts: "Stay boring." He texts: "Trying."

Genre
Comedy-Drama
Tone
The Holdovers meets Being There
Setting
Small-town New Mexico
Runtime
122 minutes
Status
In Development
"They picked someone who now has to follow the ordinance."

— Gil Padilla

The Full Story

Act by Act

Cold Open

Oak Street floods at night. A homeowner wades through his basement, phone on speaker, hold music playing. When the dispatcher answers, he delivers the film's thesis: "I'm not in immediate danger. I'm in predictable danger."

CUT TO: A packed town council chamber. GIL PADILLA (58) sits at the dais with a thick binder. He starts reading the agenda out loud. WADE SUTTER (63), council president, leans in: "Mayor, we don't read the entire agenda. People have copies." Gil blinks: "They do?" The room laughs. Then Gil calls for an independent audit. The laughter dies. Wade says it's not on the agenda. Gil holds up the binder: "It is now." The vote passes. Wade notes the audit is "redundant." Gil responds: "So it should be easy."

TITLE: SIX MONTHS EARLIER — HE GOT 43 VOTES. NOW HE'S IN CHARGE.

Act One — The Accidental Mayor

Mayor RICHARD BRANDT works a Rotary luncheon while HECTOR RAMIREZ discovers the water utility's numbers don't add up. He calls Channel 1 News. The scandal breaks. Recall petitions circulate.

Gil lives in a trailer outside Aguaverde, running a podcast called Desert Truth. His mother was a downwinder—she grew up sixty miles from Trinity, got cancer, spent thirty years being told it wasn't connected to the bomb. She died filling out her fourth compensation application. Gil isn't crazy. He's grieving in a way that looks like madness.

SANDRA CHEN, the town manager, and DOLORES VEGA, the town clerk, discover an archaic charter clause: in a recall vacancy, the office passes to the second-place finisher. That's Gil. Forty-three votes out of 4,259.

At his swearing-in, Gil tells the room: "Statistically, almost none of you voted for me." The nervous laughter dies. He sets two goals: fix Oak Street's flooding drainage before monsoon season, and pass a Verification Ordinance so no contractor gets paid without independent sign-off.

Act Two — The Water Is Clean

Gil goes to Oak Street with a tape measure. They dig and find the pipe is eight inches, not twelve. The town paid for the wrong size. Small-town fraud: simple, stupid, expensive.

Then the lab results arrive. The water is clean. Gil has to be wrong out loud. It breaks his identity—but forces a pivot. The poison isn't chemical. It's procedural.

Wade escalates. He fixes a bus route for one councilmember, pressures others through "stability," kills quorum to stop votes. "The system moves at the speed of comfort."

DESTINY PADILLA (28), Gil's estranged daughter, returns to town. She's a clinic nurse who changed her last name. One night she finds MR. LUCERO—an Oak Street resident—sleeping in his car because his flooded basement smells like death. His oxygen concentrator won't work. Destiny finds an outlet, plugs him in, watches the machine do its steady job. "Wade said they'd handle it," Lucero says. "Last year."

At a Dairy Queen, Gil interrogates the cashier about health inspection logs before ordering a Blizzard with no candy. ("So... ice cream." "Yes.") Destiny walks in. "So you were wrong." About the water. About everything. He absorbs it.

In a diner, the disgraced Brandt explains why he stole: "I told myself I was owed." Gil responds: "You were good at the job. But you stole. I'm not good at the job. But I wake up knowing what I didn't take."

The Marlene Hinge

Gil publishes everything—but forgets to redact. MARLENE TORRES, a records clerk, gets death threats because her phone number is visible. Gil's transparency becomes someone else's nightmare.

Marlene doesn't quit. She teaches Gil how to do it properly. "Don't be sorry. Be boring." She builds a system: release log, redaction checklist, chain of custody. The conspiracy wall comes down. Boring public records go up.

This is the movie's moral hinge: being right isn't the same as being careful.

Act Two Break — Publish

Gil presses PUBLISH—properly this time. Phones buzz. The room shifts. Wade's mask becomes visible.

Destiny pays immediately. HR presents a "Civic Neutrality Acknowledgement." She refuses to sign: "If you need me in the exam rooms, I'm here. If you need me to pretend I'm not related to him, I'm not." She walks out, finds a supply closet, and shakes. She types a text to Gil: "Just... be boring. Please." She doesn't send it.

Wade calls a motion of no confidence. It passes. Gil loses on camera. He says the boring truth: "If you can't verify the work, you shouldn't pay for the work."

Act Three — The Storm

The monsoon hits. Oak Street fails again. Gil hauls sandbags at 2 AM. Marlene shouts: "Sandbags on the low side, not the pretty side! You want pretty, go to Santa Fe!"

Wade arrives with an umbrella and a camera crew. Gil tells him to count sandbags. Wade tells him to watch his tone. Gil tells him to watch his town.

In the shelter, Hector shows up with copies he kept after Wade "restructured" him out. Emails proving the fraud was intentional.

Emergency session. Dolores runs the roll call. The evidence is boring and devastating: invoices that say twelve-inch, field notes that say eight-inch. Gil asks for two votes: pass the Verification Ordinance and request a state investigation.

Roll call. Holt: Yes. Morales swallows, looks at Wade, looks at the room: Yes. Patel: Yes. Wade: No. The ordinance passes. Wade stands: "You're all going to regret this." Gil holds his gaze: "Maybe. But we'll know."

Aftermath — Boring Is the Dream

Oak Street gets fixed properly. Gil doesn't file for the election. "If I file, it's about me. If I don't, it's about the ordinance."

Election night. Holt wins with sixty-one percent. Tommy looks crushed: "They didn't pick you." Gil smiles: "They picked someone who now has to follow the ordinance."

Destiny watches from afar. She doesn't clap. She doesn't leave. That matters.

In his trailer, the conspiracy wall is gone. A corkboard of boring public records. Boring. Beautiful. His phone buzzes.

Destiny: "You good?"
Gil: "Yeah."
Destiny: "Stay boring."
Gil: "Trying."

He looks up at the New Mexico sky. A habit. A reminder. A choice.

The People

Characters

Gil Padilla

The Accidental Mayor

A conspiracy podcaster who ran for mayor as a protest and got 43 votes. His mother was a downwinder—she grew up sixty miles from Trinity and died of thyroid cancer while the government denied any connection. His paranoia isn't madness. It's grief that never found justice. He's looking in the wrong place, but for the right reasons. He has to learn that being right isn't enough—you have to be careful too.

Wade Sutter

The Council President

Silver hair, practiced smile, the man who has outlasted everyone. He's spent decades making the system work for people like him. When Gil arrives with his binder and his questions, Wade sees an amateur. What he doesn't see is that amateurs sometimes win by not knowing what's supposed to be impossible.

Sandra Chen

The Town Manager

The person who actually keeps Aguaverde running. She streamlined the payment system Brandt used to steal. She didn't know. But she made it possible. Her arc is about confronting the quiet ways good people enable bad outcomes—and choosing to help fix them.

Dolores Vega

The Town Clerk

Seventies. Knitting. Calm as weather. She's seen every mayor this town has ever had, and she knows where all the documents are. When the council asks for rescue, she keeps knitting. "We can call for a vote." Her deadpan carries the film's procedural comedy. "In '92 we used correction fluid. The fumes kept us honest."

Destiny Padilla

The Estranged Daughter

Gil's daughter, a clinic nurse who changed her last name and hasn't spoken to him in four years. She finds an Oak Street resident sleeping in his car because his flooded basement smells like death, and plugs in his oxygen concentrator. When the clinic pressures her to sign a "Civic Neutrality Acknowledgement," she refuses. Her final text—"Stay boring"—is the film's emotional thesis.

Hector Ramirez

The Whistleblower

Fifties. Works at the water utility. When the numbers stop adding up, he picks up the phone. His hands shake—just a little. Wade "restructures" him out of his job, but he keeps the copies. He's the one who starts it all—and the one who ends it, showing up at the shelter with the evidence that proves the fraud was intentional.

Marlene Torres

The Moral Hinge

Fifties. Records clerk. When Gil's unredacted documents put her phone number online, she gets death threats. She doesn't quit. She teaches him how to do transparency right: "Don't be sorry. Be boring." She builds the system that saves him: release log, redaction checklist, chain of custody. The film's moral center runs through her.

Richard Brandt

The Disgraced Mayor

He was great at the job. He also stole. Not because he's evil—because he told himself he was owed. His diner scene with Gil is the film's moral thesis: two ways of failing, and which one a town can survive.

Tommy Chen

The Documenter

Sandra's son. He's the one with the phone always out, filming everything. At first he's chasing clips. By the end he's documenting. When Gil asks if the records are safe, Tommy says: "They're mirrored." The civic nerds laugh.

The Vision

Director's Note

This is a comedy that lets laughter die. Most of the film is funny—Gil reading the agenda out loud until Wade tells him people have copies, measuring drainage pipes with a tape measure, asking the Dairy Queen cashier about health inspection logs before ordering a Blizzard with no candy. ("So... ice cream," the cashier says, defeated.) The comedy comes from sincerity colliding with procedure.

But Gil's paranoia has roots. His mother was a downwinder—she grew up sixty miles from Trinity and spent thirty years being told her cancer wasn't connected to the bomb. She died filling out her fourth compensation application. Gil isn't crazy. He's grieving in a way that looks like madness. He's looking for poison because once there was poison, and nobody believed her.

There are four scenes where the laughter stops. The diner, where the disgraced mayor explains why he stole. The Marlene hinge, where Gil's transparency almost destroys someone and he has to learn that being right isn't enough. The supply closet, where Destiny shakes after refusing to sign a loyalty form. And the trailer at the end, where Gil sits in front of hegot43votes.com—now a boring public records tracker—and keeps working.

The film is about earned distrust versus reflexive distrust. Can institutions be trusted again? Can a man whose family was poisoned from the sky choose to believe in a town anyway? He loses the election. Sixty-one percent vote for someone else. But the ordinance stays. The records stay public. Destiny texts: "Stay boring." Gil texts: "Trying." That's the win—not stated, just lived.

In the tradition of:

  • The Holdovers
  • Being There
  • Little Miss Sunshine
  • Nebraska
  • Sideways
"Don't be sorry. Be boring."

— Marlene Torres

The Approach

Why Comedy-Drama

Where the Laughs Come From

The comedy comes from sincerity, not stupidity. Gil isn't funny because he's incompetent—he's funny because he's serious. He reads the charter. He shows up at 6:47 AM. He asks the Dairy Queen cashier about health inspection logs before ordering a Blizzard with no candy. ("So... ice cream." "Yes.") The gap between his earnestness and everyone else's exhaustion is the joke.

Dolores knitting through chaos. Wade's medical-grade smile. Tommy filming everything. The comedy is character revealed through absurd sincerity—not punchlines.

The Tonal Architecture

This is a comedy that lets laughter die. The film is funny for most of its runtime, then earns the right to be devastating. Four scenes where the laughter stops: the diner thesis, the Marlene hinge, the supply closet, the trailer corkboard.

The laughs are calibrated for prestige: one comedy beat every 5-6 pages. Dense enough to earn the genre label, spaced enough to let the drama breathe. This is The Holdovers territory—funny until it's heartbreaking, then funny again because life keeps going.

The Moral Engine

Gil's distrust was earned—the government really did poison his mother and lie about it for decades. The question isn't whether he's right to be suspicious. The question is whether he can trust again, and whether institutions can earn trust back.

The Marlene hinge forces the film's thesis: being right isn't the same as being careful. Transparency without process has victims. Gil has to learn that the antidote to corruption isn't exposure—it's boring, careful, verified attention to procedure.

The Awards Case

Original Screenplay: Thesis-scene architecture. The diner scene, the Marlene hinge, and the final text exchange are the kind of structural work that gets noticed.

Lead Actor: A 58-year-old conspiracy podcaster who has to be funny, then wrong, then careful, then defeated, then quietly victorious. This is a transformation role with comedy-to-drama range.

Supporting: Dolores's deadpan. Destiny's cost. Marlene's moral weight. Three distinct paths to recognition.

Comparable Films

The Holdovers Laugh density + emotional depth
Nebraska Regional specificity + dry wit
Being There Sincerity as comedy engine
Spotlight Procedural heroism

The Materials

Downloads

Production materials for industry professionals.

Screenplay

Complete shooting script. 122 pages.

Industry Treatment

Complete story synopsis with character breakdowns.

Director's Statement

Creative vision, approach, and non-negotiables.

Quick Reference

One-page overview: logline, hook, casting, awards.

Pattern Films Overview

Company profile, principals, projects in development.

The Team

Pattern Films

Liana Marie Sive

Writer / Producer

Background in systematic research and complex narrative development. Author of The First Fault-Line. Graduate work at UC San Diego and Caltech. She writes films about people who arrive late—to responsibility, to clarity, to courage—and who discover that lateness doesn't disqualify them.

Eugene B. Sive Jr.

Cinematographer / Producer

50+ years of experience in film and television production. Visual storytelling with emphasis on practical, location-based shooting. His approach: sincerity is static; competence moves. The camera doesn't chase. It observes.

Albuquerque, New Mexico

Character-driven cinema from the American Southwest.
For inquiries, representation, or to request the full screenplay:

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