Nowhere - Episode 1-1
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NOWHERE
Episode 1.1
"Pilot"
Written by Joseph D. Blackerby
EXT. SPOTSWOOD MARINA - NIGHT
A ramshackle marina on the edge of a big city. It's a foggy
night. FBI Agent BEN FOWLER (Edward Burns) is on
surveillance with his partner, JACK MURPHY. They see VINCE
CARR (Brian Thompson)get out of his car and disappear inside
a warehouse.
Fowler stands, ready to follow, but Murphy protests.
MURPHY
DEA will be here any minute. We
are just supposed to be baby-sit
this dock and take pictures.
FOWLER
My coffee was cold four hours ago.
Fowler steps out of the car and creeps down to the warehouse.
Murphy reluctantly follows. They make their way around the
warehouse and guns drawn quietly duck inside a side door.
Inside, they catch Carr in the middle of a drug deal. When
Murphy accidentally kicks a piece of scrap metal, Carr and
five other men spot them. Fowler trains his gun on Carr.
FOWLER
Freeze, FBI!
Two of the men immediately run for the door, but Carr and
three others turn and start firing. The warehouse turns into
an Old West shootout. Fowler clips a couple of them, then
spots Carr running outside. He gives chase.
Murphy takes care of the rest of the gunmen, but takes a
bullet in the chest. He sinks to the ground.
Fowler chases Carr through the docks, exchanging shots.
Carr takes a wrong turn and ends up on a pier where a fifty
foot drop into the rocky shallow water is his only option.
He turns back, furious he's been trapped. Fowler turns the
corner and trains his pistol on Carr, who points his back. A
standoff.
FOWLER
Don't do somethin' stupid Carr.
CARR
You don't know what I'm capable of.
FOWLER
Don't end it like this.
CARR
It's just the beginning Agent
Fowler.
He fires and Fowler immediately fires back. Fowler takes a
bullet in the shoulder and slumps to the ground. Carr, hit
in the chest, stumbles back and goes over the edge of the
pier. Fowler looks up, sees that he's gone, sinks to his
knees.
Fowler goes back to the warehouse, just as non-descript black
sedans and a black van with 'DEA' stenciled on the side pulls
up. As agents enter the warehouse, Fowler passes them as if
they don't exist. He enters the warehouse and finds Murphy
dead. He cries and collapses next to his partner in pain and
grief.
INT. FBI OFFICE - DAY
Fowler walks into a modern office honeycombed with cubicles
and buzzing with activity. He has a sling around his arm.
A few agents in suits greet him without meeting his eyes and
a couple gently pat him on the back as they pass. He heads
into a glass door with a portly gentleman seated at a desk.
The door reads "Captain Rozell". ROZELL greets him.
Rozell gestures Fowler to a chair and settles in behind his
cluttered desk.
ROZELL
How's the arm?
FOWLER
I'll live.
ROZELL
Glad to hear it. You're a hard man
to get a hold of. Haven't seen you
in a while.
FOWLER
It's been kind of a blur.
ROZELL
Let me put it into focus for you.
Carr's body still hasn't been
found. Hell at this point it's
just your word that he was even
there. You're on thin ice with
lead in your pockets.
He tosses a file folder on his desk.
FOWLER
You're suspending me?
(looks through the folder)
Reassignment?
ROZELL
A second chance.
FOWLER
Destiny? Never heard of it.
ROZELL
Neither has the majority of the
population. Which makes it a
perfect place to keep a low
profile. The office there hasn't
been open since the fifties. Your
assignment is to inventory the
files, answer the phone, and stay
the hell out of sight until I say
otherwise. I'll see what I can do
to get you back here.
FOWLER
If I say no?
ROZELL
Then I've lost a good agent.
Fowler grimly weighs his options.
EXT. COUNTRY HIGHWAY - DAY
Fowler drives down the small two-lane highway with the window
open, glancing at a map like he's lost. The Eagles' 'Take It
Easy' plays on the radio. He obviously accepted the offer of
reassignment.
He sees a sign up ahead. WELCOME TO DESTINY. As soon as he
passes it, the wind blows hard through the window, sending
the map flying out the passenger window. He shivers, closes
the window and turns up the heat.
EXT. DESTINY TOWN SQUARE - DAY
A typical old-fashioned town. A block of buildings surround
a park containing a ramshackle gazebo. The buildings are very
rustic and old fashioned. He stops his car and squints out
the window, trying to make out a street sign peppered with BB
gun shots that are rusted through. He glances at the map and
then out the window. He's lost.
A rap on the window startles him. He rolls down the window
to see a pretty teenage girl named MILLY JOHNS. She is
wearing a conservative blouse and a high school cheerleading
letterman's jacket. She is holding a flowered purse and a
couple of books.
Milly tells him he looks lost and Fowler gratefully asks
where he can find the Weeping Willow Hotel. He finds out
that the sign blew down last winter and it's on the next
block.
Milly smiles, turns and with a bouncing walk, makes her way
across the square toward a building marked 'Library.' Fowler
shakes his head and parks across the street in front of a
solid looking hotel three stories high.
INT. WEEPING WILLOW HOTEL - DAY
The lobby of the hotel resembles a shabby living room. A
television in the corner is showing a black and white rerun
of a Twilight Zone episode and JAKE RIVKIN (Jared Padalecki)
a teenaged boy in a stretched out shirt is lounging across a
plastic covered sofa vacantly watching. The counter is old
fashioned mahogany large, ornately carved and holds an old
brass cash register. A wide staircase on the right leads
upstairs. Despite the shabbiness, the hotel is much bigger
than the town needs and is obviously left over from Destiny's
heyday. Fowler walks in and greets PAUL RIVKIN (Mandy
Patinkin), the owner.
FOWLER
Do you have a weekly rate? I'll
just need to stay until I can find
something to rent.
PAUL
(snorts)
Good luck with that.
He slaps a key on the desk and dials the phone to verify
Fowler's credit card. Then BONNIE RIVKIN (Elizabeth Pena),
his wife, interrupts.
BONNIE
(scolding)
Paul, is that anyway to treat a
newcomer?
(to Fowler) )
Don't mind him. He's a grumpy old
bastard. How can I help you?
FOWLER
Do you know where 158 Stimon Street
is?
Paul angrily runs Fowler's credit card through an ancient
credit card imprinter and slides it back across the counter
along with a blue smeared receipt. As he does so, he gives
Fowler a lopsided and obviously insincere smile.
BONNIE
The old FBI office?
(Fowler looks up,
surprised she knows where
and what it is)
Yes, Stimon Street is one block up
and right from here. Behind the
Library.
PAUL
Thank you for choosing Destiny.
Your room is at the top of the
stairs.
Fowler is a bit weirded out by the couple. There's just
something not quite right about them. They continue to
watch him as he carries his bag toward the stairs. Bonnie
with a saccharin sweet smile and Paul with barely disguised
scorn.
INT. DESTINY FBI OFFICE - DAY
Fowler lets himself in and is immediately surrounded by dust
in the air. The office is a mess and full of cobwebs. No
one's been here for many years. He sighs and shakes his
head. Then a shadow falls over him. He turns around. There
is SHERIFF GRETCHEN BANKS (Lake Bell). She looks great in
the uniform and Fowler notices it.
BANKS
You must be the FBI guy.
FOWLER
FBI guy?
BANKS
That's what they're calling you.
FOWLER
Who?
BANKS
Everybody. The whole town is
talking.
FOWLER
I've only met three people.
BANKS
Well, the ones you've met gossip.
What brings you to Destiny?
FOWLER
I'm going to spend the next few
weeks, I think, cleaning up this
place.
BANKS
I'm Sheriff Banks, Gretchen Banks.
Well, you can't do that on an empty
stomach. You hungry?
FOWLER
Famished.
BANKS
Then I'll take you to the best -
and only caf� in town. Let's go.
INT. BLUE EYE CAFE - DAY
An old-fashioned greasy spoon diner, complete with waitress
PENNY ROSE (Sherilyn Fenn). She flashes a flirtatious wink
at Fowler when she meets him. He and Banks sit at their
table and as Penny comes over to take their order, Banks
tells Fowler Penny's a walking tabloid.
PENNY
Know what you want hun?
FOWLER
What's good here?
PENNY
If I told you that, you'd never
come back.
Fowler and Banks order their food and Penny bustles off.
Banks spots CARLY MORRIS (Molly Shannon) eyeing them. She's
overdressed for the diner in a crisp blue skirt and pumps
that match her bag. Her hair and makeup are perfect and this
stands out in a room full of farmers and farmers' wives in
jeans or shabby dresses. She's also wearing a distinctive
gold jacket with a name tag. Banks lets Fowler know he's
just been made as a potential customer. Carly is the local
real estate agent.
She clumsily introduces herself and Fowler makes an
appointment for the next morning to look at rental houses.
Carly quickly returns to her table.
FOWLER
Everyone here seems a little --
off.
BANKS
You have no idea.
EXT. VACANT HOUSE - DAY
Carly leads Fowler to a nice looking cottage and fumbles for
the keys. She lets Fowler inside and he likes what he sees.
He steps into the living room and freezes.
FOWLER
Ummm, Carly? How long has this
cottage been empty?
CARLY
Couple of years at least. Why?
Carly walks into the living room and gasps. In the middle of
the room lies a teenage girl, facedown with a pool of blood
by her head.
INT. VACANT HOUSE - LATER
Banks' police jeep is outside the house, flashers going off.
Inside the house, she carefully takes photographs of the
body. She finishes and Fowler slowly turns the body over.
He's surprised to see it's Milly, the pretty girl who gave
him directions.
BANKS
It's Milly Johns. Geez, someone
sure did a number on her.
FOWLER
Actually, it looks like more than
one. Look at all the footsteps.
There's at least two sets, maybe
more. Why would someone want to
kill her?
Banks tells Fowler that Milly was a popular girl, straight
A's, Student Council President, that sort of thing. Fowler
thinks it's a pretty unlikely motive for murder. Fowler does
a quick inspection of Milly's body and the surrounding area.
Milly has multiple bruises and her clothes are ripped, but
still on. There are several sets of muddy footprints around
the body. The main wound looks to be from her head. The
coroner and funeral home director FINNIUS GRIMM (Robert
Englund) comes to collect Milly.
INT. FRANCES JOHNS' HOUSE - DAY
A comfortable home, furnished simply, but with class. Family
photos cover the mantle and a dried flower centerpiece is in
the center of a highly polished coffee table in the center of
the room. FRANCES (Guest Star) Milly's mother and Banks are
seated on the couch. Frances goes to pieces as Banks tells
her about Milly. She claims to know who did it.
Frances tells them that Milly recently broke up with her
boyfriend Steve when he kept pressing her physically to do
things she didn't want to do. When they broke up he told her
he was going to get her one way or the other.
EXT. STEVE'S HOUSE - DAY
An expensive ranch style home surrounded by a well kept lawn
and an expensive SUV in the drive. A bumper sticker reads:
"My child is an honor student at Rugby County High School" A
flag in the school colors is affixed to the antenna. Just
before they knock, Banks gets a call on her cell phone.
Grimm calls to tell them that Milly was killed by a massive
blow to the back of the head, most likely by a brick. She
was roughed up, but not sexually assaulted. Banks thanks him
and hangs up.
Fowler knocks and STEVE answers. He's a large young man
trying to grow a goatee. His hair is close cropped. He
wears a football jersey and is eating a sandwich. He's
belligerent and defiant that he had nothing to do with
Milly's death. When Fowler points out that the house next
door is being redone with new bricks, Steve abruptly ends the
questioning and shuts the door.
Fowler asks how far the cottage is and Banks tells him about
a block and a half. Steve is now at the top of their suspect
list.
INT. DESTINY FBI OFFICE - NIGHT
That night, Fowler still tries to put his office together.
It's getting better, but still pretty messy. There's a knock
at the door. He's surprised to see Frances. She's wearing a
black dress and wants to know why Steve was at Milly's
visitation and not in jail. Fowler tries to explain that
it's still early in the investigation and they need more
physical evidence, but Frances won't hear it. She fires back
that everyone knows Steve and his friends did it and she
wants justice, one way or the other. With that, she storms
off.
INT. EDWARD'S HOUSE - NIGHT
On the second story of the house, EDWARD, a jock teenager
sits at his desk doing homework, but looks bored. The room
is papered with swimsuit pinups and football schedules. He
gets up to go to the bathroom. His mother calls out his name
and asks if he took out the garbage. He yells down that he
did from the bathroom. With the door open the sound of him
relieving himself is clear.
He's surprised to see his window open, the wind billows the
curtains. He closes the window and turns. His face and body
light up like something right in front of him is exploding
into flame. He gasps!
CUT TO BLACK
Edward's mother walks in carrying a load of laundry, nagging
that the trash has not been taken out and screams! Edward
lays on the floor. His body is gray in color and he looks
like a statue. His face is frozen in horror. She runs to
his side, but upon the first touch, his entire body crumbles
to ash.
INT. EDWARD'S HOUSE - LATER THAT NIGHT
Banks and Fowler look over what's left of Edward's body.
BANKS
Edward was friends with Steve. I
wanted to talk to him about Milly
tomorrow.
FOWLER
(gestures to the ashes)
Gonna be hard to do. This is first
for me. It's the first time I've
had to vacuum a body up to get it
out of the house.
BANKS
That's not funny.
But she suppresses a grin as Fowler walks to the window and
looks around the outside. There are black streaks on either
side. He feels them with his finger. They're ridged and he
realizes they're burns. And they're in the shape of spidery
fingers. Something crawled in the window.
EXT. CEMETARY - DAY
At Milly's funeral, Frances sees Steve, Terry and Craig in
the crowd and screams at them until they leave, but even
then, Steve looks smug. Fowler follows them out. He tells
them that he wants to talk to them about Milly and Edward,
but Steve fires back a snotty remark. Fowler passes out his
card.
Terry looks confused as he takes the card and glances at
Steve; Craig looks scared and looks to Steve as if for
permission to take the card. He can tell by Steve's glances
to either boy that he is the leader and they don't want to
talk. But Fowler also notices that Craig looks scared. He
lets them leave. Only Craig looks back and Steve shoves him
toward a pickup truck.
INT. BLUE EYE CAFE - NIGHT
Fowler and Banks grab a bite to eat. It's obvious people in
the diner are talking about the murders and shooting looks
over to them. Penny comes up to them to take their order.
PENNY
Guess you can tell that the whole
town is wonderin' what's going on.
FOWLER
You don't seem too interested.
PENNY
My family's been here a long time.
Nothing much surprises me much
anymore.
History has a way of repeating
itself until it just makes you
numb.
This strikes Fowler.
INT. DESTINY FBI OFFICE - NIGHT
The office is slightly cleaner, but dust still hangs in the
air. Fowler looks through an ancient filing cabinet. A
montage begins of all the file headings and newspaper
clippings. Headlines like: "Strange object spotted in
Destiny skies" and "Monster in the Forest?" The dates on the
files go back decades. Basically, it's years and years of
paranormal activity, all centered in Destiny.
Fowler has files out everywhere. All over the floor and
desks. He's looking for something.
EXT. STEVE'S HOUSE - NIGHT
It's late. Steve gets out of a friend's pickup truck and
stumbles towards the front door, drunk as a skunk. A bright
light suddenly shines on his back. He's mad at first, but
then turns to face the light.
He yells in terror at what he sees. He runs for the front
door and trips. A scaly black clawed hand grabs his leg and
it immediately shoots up smoke. Steve screams and breaks
away. He fumbles with the front door, but it's too late. He
turns to face his attacker and screams.
INT. DESTINY FBI OFFICE - NIGHT
Fowler is reading a file intently. Banks walks in and
notices the files everywhere. She cracks a joke about him
making progress. Fowler tells her that these types of
murders have happened before. Banks kneels down next to him.
FOWLER
In 1956. The agent here was
investigating these same types of
deaths. But back then it was
criminals just released from
prison. He thought it was a kind
of vigilante killing, but could
never figure out how bodies were
burning like they were.
BANKS
I'm still in the dark.
FOWLER
According to this an informant told
him that a man named Burton McQuade
was causing the deaths. Supposedly
he had this book that could summon
a fire demon called -- here it is --
Aziezel to carry out his will.
Banks finds it hard to believe, but Fowler reminds her that
in every story, no matter how bizarre, there is some truth.
They just have to wade through the BS to figure out what it
is. Banks tells him about Steve and they head out.
EXT. STEVE'S HOUSE - NIGHT
Steve's body is still in its ash form, laying near the door.
Fowler comments that it looks like he was burned alive. The
body crumbles as the wind blows. Fowler is covered in ash
from Steve's body.
FOWLER
I've never been so grossed out in
my life.
BANKS
Thought you FBI guys were made of
stronger stuff?
FOWLER
I think this qualifies as above and
beyond.
Banks gets a call from Grimm. They have to leave. Banks
leaves the scene to a deputy who pulls a wet/dry vacuum out
of the trunk of his car.
INT. GRIMM FUNERAL HOME - NIGHT
In a section of the funeral home that's reserved for
autopsies and examining. Grimm has spread out sections of
carpet, clothing and photos of foot prints in neat piles on
the table next to a microscope and slides. Grimm runs down
the details:
GRIMM
This is what I have so far. Three
sets of footprints at the scene.
Pretty standard athletic shoes all
three Nike brand, two of them less
than a year old, commonly found in
any athletic shoe retail outlet.
One of them less than two months
old. This one. A special edition
trainer available only at the Foot
Locker. The nearest Foot Locker is
in Rugby. The carpet here. Fairly
recently steam cleaned. It still
retains a high concentration of
your standard industrial carpet
cleaning solution. Some of the
solution soaked into your girl's
clothes here.
Grimm goes on to tell them that Milly was not killed there as
the drag marks on the carpet show. He also confirms that it
was a brick that killed Milly. Fowler and Banks both think
they know where they can find it.
As they walk outside, they see Craig across the street
looking like he's been following them. Nervously glancing
both ways as he crosses the street, he approaches them and
tells them he needs to talk.
INT. DESTINY SHERIFF'S OFFICE - NIGHT
Craig is visibly shaken and wanted to come forward sooner,
but he was scared. Fowler urges him to come clean.
CRAIG
Steve was just goofin' around.
Just teasin' her. He was mad that
she wouldn't sleep with him, but
geez, everyone knew Milly wasn't
like that. But Steve, he got all
pissed off. We were driving home
and she was walking, and he hollers
at her. Steve offered her a ride
home. I got in the back, her and
Steve and Edward were in the front.
Well, Steve, he's just playin'. He
drives to his house, not Milly's.
We all got out of the truck.
Milly's really pissed off now.
Cause she's like 3 miles further
away from home than when she
started. He was gonna take her
home. We were just goofin' around,
you know? Well, Steve got a little
pushy and Milly, she hauls off and
smacks him with her book bag. He
lost it�he just lost it. Grabbed
and hit her.
We tried to stop him, but before we
knew what happened he grabbed a
brick and hit her in the head. She
stopped moving�she didn't move
again. He made us put her inside
that vacant house. Told us he'd
tell the police we helped kill her.
I was scared�
Banks tells him he did the right thing. Craig now looks both
scared and relieved.
EXT. PARK - NIGHT
A popular make-out parking place. Inside a steamed up car,
Terry and his girlfriend ALLISON are kissing passionately.
Allison hears a noise and reacts, but Terry blows it off. He
leans over to kiss her -
As his head moves away, she can see a horrible fiery face
staring through the window next to him. She SCREAMS. He
turns and sees it.
There's a roaring of fire and her screams are drowned out by
it.
EXT. PARK - LATER THAT NIGHT
A smoldering car is surrounded by yellow crime scene tape. A
fire truck and two police cars are nearby. Firemen are busy
stowing their equipment and a deputy is taking photographs.
Fowler and Banks question Allison, who is in a state of
shock. She is wrapped in a gray blanket and clutching a
bottle of water to her chest as she tries to describe what
she saw.
ALLISON
It was...hideous. Crooked sharp
teeth, small horns and eyes that
looked like they were on fire. I
don't know, but it seemed like it
was only focused on Terry. It
didn't see me, or care about me. It
only wanted him.
Fowler and Banks excuse themselves and walk away from the
crowd to talk privately.
FOWLER
What she described was almost word
for word what these witnesses
described Aziezel as looking like
in the file from the 1956
incidents.
BANKS
So you think a fire demon named
Aziezel is responsible for these
murders?
FOWLER
Don't look at me like I'm nuts.
I've looked through the files and I
know that this town has got some
kind of strange vibe. Most
communities have one or two
paranormal occurrences reported in
a given year. Destiny has
hundreds. Don't patronize me
Sheriff Banks, because I have a
feeling that you're not as
skeptical as you seem.
BANKS
I'm sorry, but I now have four
murders to solve, and I can't
easily go to the parents of those
children and tell them their
children were killed by a fire
demon. I have a responsibility to
this community and vibe or no vibe,
no one is going to buy the fire
demon story without some sort of
proof.
FOWLER
In my job, and yours you have to
stay open minded. Just like I was
trained to do, I'm following the
facts and witness accounts like I
would do in any investigation.
Whatever the conclusion is, I will
accept it and I'll back you up.
Good enough?
Banks agrees and is grateful for Fowler's attitude and gives
him a reassuring squeeze on the arm. Fowler tells her he's
got somewhere to go and Banks returns to the scene.
EXT./INT. - LIBRARY - DAY
Fowler waits outside as the Librarian opens up for the
morning. She looks at him strangely, but lets him in.
Fowler asks her about public records and she shows him to the
back. They enter a large room lined with shelves containing
large leather bound books. She removes one labeled "Public
Records 1956" and Fowler begins turning the pages.
INT. FRANCES JOHNS' HOUSE - DAY
Fowler is shown in and thanks Frances for agreeing to see
him. They make small talk for a moment, but then Frances
urges Fowler to ask her what he came there to ask her.
FOWLER
Have you ever heard the name
Aziezel?
FRANCES
No, I haven't. Why?
FOWLER
I did a little research this
morning and while your married name
is Johns, your maiden name is
McQuade. Your grandfather was
Burton McQuade, yes?
FRANCES
Yes.
FOWLER
Burton McQuade was part of a group.
A secretive organization that
served the community as a kind of a
neighborhood watch group of its
time. Back in 1956, the
prosecuting attorney of the time
was pretty ineffective at getting
convictions on what the community
considered open and shut cases.
Criminals were going free and your
grandfather's group wasn't terribly
happy about it, was he?
FRANCES
He told me stories�there was a lot
of corruption back then.
FOWLER
But your grandfather had other
hobbies. The library has extensive
records. His group was quite
interested in the occult. And
Destiny has definitely had its
share of dealings with the darker
side of the world. They found an
old book, thought lost forever that
could summon a fire demon named
Aziezel to exact justice and
revenge when it was called. He
used that book, didn't he? You
know what I think? I think your
grandfather handed that book down
to you and gave you means to carry
out justice on your own. You made
yourself Judge, Jury and
Executioner.
FRANCES
I think you'd better leave now.
FOWLER
You can't do this. You don't for
sure if those boys really killed
Milly.
FRANCES
OF COURSE I KNOW! Everyone knows!
Everyone but you and that air
headed sheriff!
FOWLER
You're only making things worse!
Milly's murder is going to be
solved. You will see justice. You
don't have to do this!
FRANCES
Don't tell me what I should and
shouldn't do! Those boys are
walking around free and my baby
girl is in a box in the ground!
They deserve to burn for what
they've done. It doesn't matter.
You have no proof and it's almost
finished anyway. You're too late.
Fowler realizes what this means. He heads for the door.
EXT. PARK - NIGHT
Banks is still wrapping up the crime scene. Fowler screeches
up and ushers her in. She tells him that she couldn't secure
the warrant for the Johns' house seeing as they couldn't
prove the existence of the demon. Fowler scowls at the bad
joke and tells her they need to get to the jail. Craig is
the last.
INT. DESTINY SHERIFF'S OFFICE - NIGHT
Craig lies on a cot in the darkened jail cell. He is the
only inmate. A strange glowing yellow light appears outside
of the barred up window. He looks scared. The glass
shatters and scaly black hands reach inside and pull the bars
out, leaving them sizzling on the ground.
Fowler and Banks burst inside. Banks quickly unlocks Craig's
cell as the hands come through. She looks up to see the
horrifying face of Aziezel staring back at her from the
window.
Fowler fires a few times as they rush out the door.
EXT. DESTINY COUNTRY ROAD - NIGHT
Fowler and Banks quickly push Craig into the car and drive
off. They hear a terrible ROAR behind them. Fowler rolls
down the window a bit and looks out. Something dark is
flying after them. He fires a few times at it.
BANKS
I don't think that's going to work.
FOWLER
Yeah, but it sure makes me feel
better.
He ducks back inside and there is a loud THUMP on the roof.
They watch in horror as the roof bubbles and smokes above
them. Aziezel is burning his way through. Banks swerves to
try and throw it off. Fowler tells Banks that warrant or
not, they have to go to Johns' house. They're almost there.
She slams on her brakes and Aziezel flies off, landing in
front of them. She floors it and drives right through it,
never stopping to look behind her.
FOWLER
I don't think that worked either.
BANKS
Yeah, but it made me feel better.
EXT./INT. FRANCES JOHNS' HOUSE - NIGHT
Banks stops the car and she and Fowler pull a freaked out
Craig out. They can hear the roar of Aziezel approaching.
Banks bangs on the door, calling out for Frances.
Fowler kicks the door in. Inside, Frances has an old book in
front of her. She is reciting an incantation in a strange
language. She looks up, furious to see them, and even more
furious to see Craig alive. She screams and runs for him,
dropping the book. Banks knocks her out with one punch.
Banks grabs the book as Aziezel bursts inside. Fowler gets in
front of Craig to protect him. Banks has trouble reading,
but she does her best.
Fowler attempts to hit Aziezel with a chair, but it does
little to stop it. It grabs Fowler on the arm and it smokes
and burns him. Just then Banks finally reads the right words
and in a ball of flame, Aziezel is gone.
Fowler and Banks exchange a look of relief. Craig sinks to
the floor, crying.
INT. DESTINY SHERIFF'S OFFICE - DAY
Fowler's burns are bandaged up. Frances sits handcuffed in a
chair, crying that she failed. Fowler brings a file folder
and sits down beside her. Banks looks on from the
background.
FOWLER
We've gotten the results back on
the physical evidence.
FRANCES
I already know the answer.
FOWLER
We discovered three sets of
footprints at the crime scene. Mr.
Grimm was able to positively match
those shoe marks to Steve, Craig
and Edward. Terry wasn't even
there.
FRANCES
What?
FOWLER
Craig confirmed it. Terry was out
on a date the night Milly died.
Your vigilante justice was nothing
more than cold blooded murder.
He lets it sink in and Frances goes to pieces.
EXT. DESTINY FBI OFFICE - DAY
Fowler is locking up as Banks approaches. He's sick of
cleaning and wants to grab a bite to eat. She agrees to join
him. He tells her that the book is now locked in the vault.
BANKS
So are you going to try and get
transferred back?
FOWLER
I think I'll stick around. Things
are starting to get interesting
around here.
BANKS
It's just the tip of the iceberg.
They walk into the Blue Eye Caf�.
FADE TO BLACK.
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