Heretic

Sister Barnes and Sister Paxton are Mormon missionaries canvassing a quiet neighborhood when they knock on Mr. Reed's door. He is warm, gracious, apparently interested in the Church — wife upstairs, blueberry pie in the oven. They come inside.

The warmth curdles fast. Reed is too prepared. His questions about faith are surgical, designed to destabilize rather than inquire. He launches an extended argument: that all religions are iterations of the same base story, that belief is a system of control, that the LDS Church is no different from any other mechanism of manipulation. He is brilliant and relentless and does not stop talking.

The sisters realize the door is locked. There is no wife. There is no blueberry pie. The house was arranged for them. Reed has done this before.

Paxton — more intellectually restless than Barnes — begins to engage with Reed's arguments openly, challenging her companion, drifting toward his framing. The tension between the two women compounds the threat from Reed: Barnes finds herself defending her faith against both of them simultaneously.

Reed's intentions become clear — this is not merely a debate exercise. There are signs in the house of previous women who did not leave. The conversation has always been moving toward violence; he was simply enjoying the architecture of it.

Barnes fights back. In the climax she wounds Reed fatally. She and Paxton escape into the rain.

The film ends outside — both women alive, faith tested to its foundations, the house behind them.