Priceless 2016

As the dark expanse of the highway unwinds before him, James (Joel Smallbone) navigates the desolate landscape in his truck, his thoughts a jumble of memories from a bygone era. In a voice that’s equal parts melancholic and introspective, he recounts how his life was once filled with joy, surrounded by the love of his wife and young daughter. Tragedy struck when his wife’s untimely passing left him reeling, and he struggled to find steady employment, ultimately losing custody of his daughter to Child Protection Services. Now, he’s on a solo journey, driving through the night in exchange for a sizeable paycheck, as long as he agrees not to carry any illicit cargo.

As the hours blend together, James’ fatigue becomes increasingly evident. His eyelids heavy, he fights to stay alert, but his attention is finally pried loose when he narrowly avoids a catastrophic collision with another vehicle. Pulling over to assess the damage, he’s startled by the sound of a woman’s anguished cries emanating from the back of his truck. The source of the noise is shrouded in mystery, locked away behind a padlock and an impenetrable cargo barrier.

With a crowbar, James breaks the padlock free, and the door creaks open to reveal two young women (Bianca A. Santos and Amber Midthunder) huddled together in the corner. Their eyes are sunken, their faces pale, and their very presence seems to exude an aura of despair. The one who hadn’t been crying earlier flings something at James, prompting him to slam the door shut once more.

A minute passes, and James reopens the door, this time prepared for what he might find. He’s met with a mixture of wariness and desperation as the women begin to stir. Without uttering a word in English, they rise from their huddle and cautiously approach the front seats. James invites them to ride up front, but only if they clean themselves first. The women comply, their silence punctuated by the occasional whispered conversation.

As the miles tick by, James becomes aware of the younger woman’s growing chilliness. In a moment of kindness, he offers her his button-down shirt, but it’s met with hesitation. Undeterred, James tosses the garment onto the dashboard, and it’s eventually claimed by the younger girl, who uses it to cover both their legs. The women’s tacit acceptance of this small act of charity serves as a fleeting respite from their shared struggles, as they continue on their journey together, bound for destinations unknown.

As James navigates the open road behind the wheel, his attention is divided between the hum of the engine and the gentle slumber of his two young passengers in the backseat. Meanwhile, a faint glow emanates from the floor where Emerson (Sierra Rose Smith) lies, her small fingers wrapped around a borrowed cell phone as she conducts a hushed conversation with her father. The sound of James’s voice is warm and familiar as he answers the phone, his tone brightening at the sound of his daughter’s voice on the other end.

But just as it seems like they’re reconnecting, a flashback swoops in to reveal the reason behind Emerson’s borrowed phone - a tender scene unfolds as we see her being taken from her father’s care and placed with her paternal grandmother. The weight of this memory is palpable as James talks to his daughter on the phone, trying to reassure her that he’s just around the corner, planning to stop by in two days’ time.

Emerson’s excitement at hearing her father’s plans is contagious, and their conversation is filled with affectionate declarations of love and missed moments. As they bid each other farewell, James’s words are met with a warm smile from his daughter before she hangs up. But as the camera pans back to reveal the silent tears streaming down the face of the older woman who had been listening in on the conversation, we’re reminded that even in the midst of joy and reunion, there is always another side to the story waiting to be told.

As the miles ticked by, James announced a brief reprieve from the dusty trail, revealing a rundown pit stop where his passengers could scrub away the grime and refresh themselves. With stern instructions to maintain silence, the trio ventured inside, emerging like butterflies from cocoons in new attire, courtesy of James’ generosity. The older sister, Antonia (Bianca A. Santos), beamed with gratitude as Maria (Amber Midthunder) joined her in a radiant smile, their faces aglow with renewed vitality.

Their momentary peace was shattered by the arrival of a rough-looking patriarch, who launched into a coarse diatribe in Spanish, his words dripping with disrespect. Antonia’s steely gaze drew attention to James, and it wasn’t until then that he became aware of the unfolding scene. With swift and decisive action, he intervened, forcefully rebuffing the unwanted advances and sending the would-be harasser crashing against the wall.

As they hastily departed the pit stop, a subtle shift took place among the trio. The earlier tension gave way to a growing sense of camaraderie, and James discovered that his passengers shared a common language. It was here that the true nature of their journey unfolded: Antonia and Maria, sisterly bound, had been smuggled into the United States as a means of repaying the debt their father owed to ruthless men. As James ensured they were not being coerced against their will, the trio embarked on the remainder of their arduous journey, marked by an uneventful yet palpable sense of mutual understanding.

As James arrives at the roadside motel’s drop-off point, he enters the unassuming lobby to inform the receptionist that he has arrived with a truckload of passengers. However, the man behind the counter seems puzzled by James’ declaration, prompting him to re-emerge into the evening air. Meanwhile, a sleek black van pulls up to the curb, disgorging two men clad in attire that screams “unsavory character.” As one of them opens the side door, revealing a cargo hold filled with young women, the other individual - seemingly the ringleader - engages James in cordial conversation before gesturing for him to assist Antonia and Maria out of the truck. The introductions prove enlightening: this pair comprises Caro (Jim Parrack), the enigmatic leader, and CJ (Travis Hammer), his loyal second-in-command. With an air of ceremony, Caro bestows each woman with a rose before guiding them into the van’s passenger seats. The trio’s expressions - those of the women, as well as James’ own - betray a mix of trepidation and suspicion, yet they ultimately succumb to the allure of the mysterious venture and climb aboard. CJ hands James an envelope containing cryptic instructions, politely sidestepping his queries about the destination or the purpose of their journey. As the van disappears into the night, James re-enters the motel lobby, seeking answers from the receptionist regarding the recent events. However, the latter proves as evasive as the earlier enigma, prompting him to inquire about securing a room for the evening. The response is characteristically candid: the proprietor only rents rooms by the hour and hints at an alternative arrangement should James be seeking “amusement” during his stay. Handing over a business card with a discreet phone number, he watches as James’ gaze lingers on the card before quickly exiting into the night.

As the fog of confusion lifts from James’ sleep-deprived eyes, he’s forced to confront a harsh reality: Antonia and Maria weren’t brought to the motel for menial labor as he initially assumed, but rather as pawns in a sinister game of human exploitation. The weight of his unwitting complicity settles heavily on his shoulders as he makes his way to a new motel, where the owner’s (David Koechner) initial suspicion gives way to outright hostility. The man, fueled by a sense of vigilante justice, orders James off his property, warning that if he knew what was really going on, he’d be calling the authorities in a heartbeat. Stung by the rebuff and struggling to process the unfolding nightmare, James seeks solace at a rowdy bar, where the sounds of laughter and music serve as a temporary distraction from the turmoil in his mind.

Later, fate intervenes in the form of the very same individual who had previously sent him packing. As they strike up a conversation, James seizes the opportunity to recount the events that have transpired, his desperation to reclaim Antonia and Maria palpable. The man, introduced as Dale, extends an unexpected olive branch, offering James a refuge at his motel in exchange for his assistance with certain… arrangements. James is left to wonder what hidden agenda drives Dale’s willingness to help him, but the latter’s enigmatic responses only serve to heighten his doubts.

As he grapples with the moral implications of his decision to stay and try to rescue the girls, James finds himself torn between his responsibility to his own daughter and a growing sense of empathy for the plight of Antonia and Maria. It is in this crucible of conflicting loyalties that Dale delivers a poignant reminder: being a father is indeed a sacred trust, but so too are the bonds of parenthood that unite countless other individuals across the globe. As the night wears on, James finds himself increasingly entwined in a complex web of moral obligation and uncertain consequence, his path forward shrouded in uncertainty as he prepares to face another day.

As James revs up his motorcycle and heads back to the seedy Motel 12, he’s fueled by a sense of determination rather than recklessness. Stopping at a local diner along the way, he spots a police officer (Luce Rains) sipping coffee and decides to take a chance on reporting the motel’s illicit activities. James approaches the officer, his words laced with a mix of frustration and conviction as he explains that prostitution is rampant at the motel. The officer’s expression remains stoic, but he scribbles down notes nonetheless, seemingly unphased by the allegations.

James deliberately omits his last name from the record, instead offering a vague address where he can be reached if further questions arise. With the officer’s disinterest palpable, James takes his leave and continues on to the motel. Meanwhile, at room 123, Caro’s polite demeanor has given way to aggression as he advances on Antonia (Caro). Despite her tears and pleas, she ultimately succumbs to his demands, agreeing to work off her father’s debt by sleeping with him. James arrives just as this sordid scene is unfolding, and it’s a testament to his growing sense of unease that he fails to intervene.

Later that evening, James seeks out the services of an escort agency, calling the number provided by the motel receptionist. The man on the other end, CJ, greets him with a mixture of recognition and suspicion as he inquires about James’ intentions. When James feigns interest in Antonia’s services, CJ warns that she’s not yet available, but his resolve falters when James offers a staggering sum – $1,000 for an hour with her. CJ’s hesitation is palpable before he reluctantly agrees to set up the encounter, unaware of the storm brewing as Caro receives the news and prepares to crash the party.

As if fate had finally caught up with her, Antonia steps into the dimly lit room where James waits, his countenance etched with a mixture of devastation and determination. The sight of her arm bearing the unmistakable fingerprint-shaped bruises only serves to deepen his concern. Initially, Antonia mistakenly assumes James’ presence is motivated by a desire for intimacy, but he dispels this notion, revealing his true intention: to whisk her away from the clutches of despair. His words are laced with sincerity, yet they fall on deaf ears as Antonia’s anguish boils over into tears and accusations. James apologizes profusely, reiterating his offer to extricate her from the sordid situation, but Antonia remains resolute in her refusal to abandon Maria by her side.

The hours tick by like grains of sand in an hourglass as Antonia succumbs to exhaustion on the bed, while James paces the room with increasing frustration. The air is heavy with tension as CJ’s arrival at the door marks the expiration of their allotted time together. In a final, desperate bid to persuade Antonia, James makes one more overture, only to be met with adamant refusal. With his efforts foiled, he departs, leaving Antonia to her fate.

As James disappears into the shadows, he encounters an old acquaintance - the police officer who had earlier shared a laugh and a cup of coffee with CJ at the diner. Seizing the opportunity, James conceals himself behind a beam and waits patiently as the officer enters the room where Antonia awaits. With a swift and silent strike, James dispatches the officer with a fire extinguisher, appropriating his gun in the process. CJ gives chase, but James’s nimble feet prove more than a match for her pursuit, ultimately forcing them to shut down their illicit operation for the night amidst chaos and panic.

As the sun rises on another day, Caro the pimp, CJ, and the police officer who had paid a visit to Dale’s motel the previous night descend upon the establishment once more, this time in search of James. The shrewd motel proprietor, Dale (no stranger to trouble), expertly wards them off with his quick wit and silver tongue, though it’s clear that they’re not entirely convinced by his denials. Meanwhile, James is inside his room, attempting to mend fences with his mother (Lora Martinez-Cunningham) over the phone, only to be met with her ire for having broken a promise to her young granddaughter, Emerson.

As James navigates this delicate conversation, Dale seizes the opportunity to warn him about the growing threat lurking outside. Despite the chaos in the background - courtesy of Caro and his cohorts, who are busy harassing motel guests and snooping around rooms in search of their quarry - James’s mother finally relents, allowing him to speak with Emerson. However, just as he’s about to reconnect with his niece, Dale’s voice interrupts on the room phone, cautioning James that Caro and the others have descended upon the motel, hell-bent on finding him.

With tensions running high, James’s mother hangs up on him, leaving him to deal with the fallout. In a bold move, Dale confronts the unwanted visitors outside, leveraging his business acumen to persuade them to disperse. As the standoff resolves, James is left grappling with the consequences of his decisions.

In a calculated move, Dale relocates James to his own residence and lends him a car, reasoning that using the same motorcycle would be an impractical giveaway. That night, they pay a visit to Caro’s apartment, only to find it abandoned - a fact that becomes clear as they’re met with eerie silence and an unsettling atmosphere.

The drive back proves to be a catalyst for introspection on James’s part, as he asks Dale to pull over, citing the need for some fresh air. Though initially reluctant, Dale agrees, dropping James off before continuing on his own. It is here that James finds himself drawn into a solitary journey, one that ultimately leads him to track down the girls and locate them in a brothel managed by a mysterious woman with no male presence.

With Antonia (barely able to walk due to her drugged state) by his side, James makes a forceful entry into the establishment, determined to rescue her. Though it’s clear that there will be more challenges ahead, James is resolute in his vow to ensure Maria’s safe return, vowing not to rest until both girls are free from their captors’ grasp.

As they arrive at Dale’s residence, James’s anticipation is met with an unexpected silence. A call to his friend yields a surprise - it’s Caro who answers, her tone cold and calculating. The proposition she presents is straightforward: release Antonia, and he’ll not only spare Dale but also ensure Maria remains unharmed, provided the sisters remain together. The threat of harm hangs heavy in the air as they agree to meet at dawn in a public place. As the morning sun rises, Antonia offers James words of comfort, urging him to trust her completely, no matter what transpires during their encounter. The camera pans to James’s phone, where he’s discreetly contacted the authorities, his voice hushed as the dispatcher requests his location.

The agreed-upon meeting spot is a playground bustling with children and their anxious parents. Caro has brought Dale and Maria, but it seems they’re not alone - there’s an air of unease in the atmosphere. As James arrives, he finds himself locked in a heated exchange with Caro, his hand instinctively reaching for his gun. The scene descends into chaos as parents scramble to protect their children, screaming and panicked. In response, Caro seizes Maria, pressing the barrel of her gun against the girl’s head. James hesitates momentarily before complying, attempting to stall for time as the sound of sirens grows louder.

As the standoff unfolds, Dale, sensing an opportunity, springs into action, tackling Caro from behind. The sudden turn of events results in a gunshot wound for Dale, but James seizes control of the situation, disarming Caro and rendering her powerless. As police officers rush to the scene, James finds himself poised to end Caro’s life, his finger hovering over the trigger. But Antonia’s anguished cries pierce the air, snapping him back to reality. He surrenders, allowing the authorities to take control. The scene fades into darkness as James cradles Dale’s lifeless body, tears streaming down his face. Nearby, Antonia and Maria cling to each other in a desperate attempt to find solace amidst the devastation.

The screen fades to black, only to be illuminated by the haunting words “one year later.” The camera pans across a desolate alleyway, where a young girl, Kelli (Jodi Lynn Thomas), stands shrouded in darkness. A car screeches to a halt before her, and the driver’s voice is laced with an air of desperation as he propositions her for a price. Kelli’s response is measured, yet her countenance betrays a deep-seated resignation. As the man drives away, a figure emerges from the shadows - James (insert actor name) - his features obscured by a hoodie. He approaches Kelli with an air of quiet confidence and offers to pay the hundred dollars she demands. With a subtle nod, he leads her to a seedy motel room, where the atmosphere is heavy with tension.

As they sit facing each other on the creaking bedframes, James’s words flow like a gentle stream, coaxing Kelli to open up about her life. The narrative unfolds as Antonia (insert actor name) materializes from the shadows, her presence a harbinger of hope. Together, the trio shares their stories, weaving a tapestry of struggle and redemption. The scene shifts, and James and Antonia are seen cruising into the sunset, their hands intertwined as they gaze out at the golden-hued horizon. Antonia’s head rests on James’s shoulder, her engagement ring glinting in the fading light.

As the camera pans across the sweeping landscape, James’s voiceover becomes a poignant reflection on the sacrifice of Dale (insert actor name), whose selfless act had ripple effects that transformed countless lives. The scene shifts once more, and we find ourselves at a sprawling ranch nestled within a remote, emerald valley. James and Antonia alight from their vehicle, where they are greeted with open arms by Emerson (insert actor name). Kelli stands alongside them, her presence a testament to the sanctuary that now surrounds her.

The camera pans out, revealing a veritable oasis of hope, as scores of women inhabit the ranch’s grounds. It is here that James and Antonia have created a haven for those who had previously known only the bitter taste of exploitation. Hand in hand, they stroll to the edge of a precipice, their eyes drinking in the breathtaking vista below - a sea of emerald hills stretching towards the horizon under the warm caress of the golden sun.