Given a grim diagnosis during a routine doctor's checkup, a man who once had it all finds his attempt to disappear into a working-class suburb and spend his remaining days subsisting on vodka and junk food hopelessly disrupted when he falls for the beautiful divorcée next door and a busybody neighbor notices a miraculous stain on his stucco wall. Henry Poole (Luke Wilson) had a comfortable life and a beautiful fiancée. But just when it seemed that the future couldn't look any brighter for Henry, a visit to the doctor's office casts a dark cloud over his sunny outlook. Shattered, Henry wants nothing more in life than to simply vanish into his surroundings, and what better way to accomplish that feat than to purchase a cookie-cutter house in a working-class suburb and spend his final days awaiting the inevitable in peaceful solitude. Unfortunately for Henry, his new neighbors aren't about to let the handsome neighborhood newcomer spend his days sulking. The first to stop by and welcome Henry to his new home is local yenta Esperanza (Adriana Barraza), who comes knocking on his door with a fresh plate of homemade tamales and laundry list of questions.Later, after taking notice of sad-eyed divorcée Dawn (Radha Mitchell) and her taciturn eight-year-old daughter, Millie (Morgan Lily), who hasn't spoken a work since her father left, Henry finds his self-imposed exile shattered when Esperanza notices a stain on his stucco wall that seems to possess miraculous powers. Before Henry can say "Hail Mary," Esperanza is leading pilgrimages to the "holy site" in his backyard and inviting Father Salizar (George Lopez) to give his blessings to the sacrosanct blemish. As skeptical as Henry may be about the healing powers of the curious apparition, however, his growing friendship with young Millie not only brings him closer to Dawn, but also proves to him that there's no escaping the power of hope. Cheryl Hines, Richard Benjamin, and Jessica Walter co-star in a wry existential comedy drama penned by first-time feature film screenwriter Albert Torres, and directed by Mark Pellington (Arlington Road, The Mothman Prophecies).