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NOWHERE
Episode 1.2
"Full Disclosure"
Written by Joseph D. Blackerby
Story by Joseph D. Blackerby and Rachel McNamara
INT. WEEPING WILLOW HOTEL ROOM - NIGHT
Dark with an occasional pair of headlights that streak
through the window. But echoing through the room is the
sound of a couple making wild passionate love.
Fowler (Edward Burns) lays in bed, the sheets in disarray,
tossing and turning. He's wide awake. He tries to muffle
the sounds with a pillow over his head, but it's too much.
He angrily flings the covers off.
INT. WEEPING WILLOW LOBBY - NIGHT
Fowler stomps down the stairs -- finds it deserted except for
Jake (Jared Padalecki) who stares into the TV munching on
popcorn.
FOWLER
You hear that?
JAKE
It's the Newtons. They're like
rabbits. Truth is it used to turn
me on, but now I just kinda drown
it out.
Fowler slumps on the couch. Jake offers popcorn, but Fowler
refuses. After a few mindnumbing moments of watching the
"Andy Griffith Show", the sounds from upstairs stop, but
suddenly -- BANG! A gunshot. Fowler leaps to his feet,
alarmed, but Jake calms him and tells him that's how they end
it every time. Just as Fowler rises to go back to bed -- the
Newtons start Round Two. He plops back down on the couch.
FOWLER
Pass the popcorn.
INT. DESTINY FBI OFFICE - DAY
Fowler lays back in his chair, fast asleep. Banks (Lake
Bell) walks in -- sees Fowler asleep and with a devious grins
SLAMS the door. Fowler falls back in his chair -- hits the
floor. He stumbles to his feet -- mutters that it wasn't
funny. Banks disagrees and does little to stifle her
giggles.
Fowler tells her about his sleepless nights and the endless
passion of the Newtons. Banks notices the office a little
more put together, but it's still a mess. Fowler thinks he's
making a good dent when suddenly there's a loud POP and the
lights go out. While in the dark --
FOWLER
I don't suppose you know a good
electrician?
EXT./INT. CARLY'S OFFICE - DAY
Fowler waits outside as CARLY (Molly Shannon) screeches up to
the curb narrowly missing Fowler's knees. She leaps out,
apologizing profusely. She opens her office and lets Fowler
inside.
Carly's office is neat and organized -- surprising
considering how flustered Carly is. Carly takes her seat at
her desk -- takes a deep breath -- she's all smiles again.
Fowler strolls around the office looking at photographs of
property for sale. His eyes fall on a secluded looking
cottage, surrounded by the forest. He wants it. But Carly
tries to talk him out of it, saying it's way out of town and
wouldn't be very convenient for him to drive into town every
day. But Fowler stands firm and wants to see it. Carly
reluctantly agrees.
EXT. SECLUDED COTTAGE - DAY
Fowler and Carly step out of the car near the stone walkway
leading to the cottage. The trees seem to envelop it in dark
shade. It's got a creepy vibe, but Fowler doesn't seem to
notice. He heads up to the front door, but Carly abruptly
stops on the porch and hands him the key.
CARLY
Why don't you go in, take a little
look around?
FOWLER
You're not coming?
CARLY
I feel...a little sick. The car
ride maybe. I'm just going to stay
out here and enjoy the air.
FOWLER
Are you sure?
Carly looks to the front door -- sees BLOOD run out from
underneath and drip down through the boards in the porch.
She nods quickly and backs away. Fowler shakes his head --
he looks where the blood was running, but it's not there --
he walks in.
INT. SECLUDED COTTAGE - DAY
Dusty and unused for years. Flowing white drapes cover the
sparse furniture. Fowler's eyes shine. It's perfect. He
looks back through the open door at Carly, who appears very
unsettled. Frowning, he looks quickly through the rooms and
finds it's old, but very normal. He walks back out and tells
Carly he'll take it. She tries to talk him out of it, but
his mind is made up. In fact, he's going to stay there that
night with his sleeping bag.
EXT. WEEPING WILLOW HOTEL - DAY
Fowler carries out a suitcase and tosses it in the trunk.
Banks taps him on the shoulder and when he turns, sees she's
with REVEREND ROLAND CLEAVER (Lance Henriksen). Banks
introduces them. When they shake hands, Fowler gets a little
shock to his hand.
FOWLER
Whoa, little static electricity
there or something.
CLEAVER
I have that effect on people
sometimes.
FOWLER
Thought you were trying to threaten
me into church or something.
CLEAVER
Not in my nature, although I wonder
if that would work to get more
members...
(they both laugh)
Sheriff Banks tells me that you're
renting my property.
FOWLER
That's your cottage?
CLEAVER
Not mine per say, but it's been a
part of my family for many years.
From what I understand, it has
quite a history. Speaking of, I
hear you've re-opened the old FBI
office.
FOWLER
Not by choice, believe me.
CLEAVER
I just fail to understand what the
FBI finds so interesting about
Destiny.
Fowler tells him he wonders the same thing. They quickly say
their good-byes and continue on their way. As they clear his
earshot, he mutters to Banks.
FOWLER
For a minister, he sure keeps a lot
of secrets.
BANKS
How do you know that? I don't get
that impression at all.
FOWLER
After a while, you can see it in
their eyes.
INT. SECLUDED COTTAGE - NIGHT
The air inside the cottage is frosty. Fowler's breath comes
out of his mouth like smoke as he shivers inside his sleeping
bag. He mutters to himself that maybe he should have had the
power turned on before he slept in it. He lays back --
enjoys the quiet when -- A CREAK from somewhere upstairs!
He freezes -- listens again. Another CREAK. Using stealth
he slips out of his sleeping bag, unsheathes his gun and
creeps upstairs, grimacing at each SQUEAK he makes. He
shines his flashlight around the upstairs portion of the
cottage, but doesn't find anything. He takes a step inside
one of the rooms -- the board CRACKS and BREAKS. He falls
through the ceiling down to the first floor, but he doesn't
stop. The floor breaks beneath him and once again he falls
through, but this time into darkness!
INT. DARK CHAMBER - BENEATH THE SECLUDED COTTAGE - NIGHT
Fowler slowly comes too -- coughs at all the dust around him.
He's in pitch black and fumbles around until he finally finds
his flashlight.
He clicks it on and finds he's in a cave of some kind. But
it's been used. He shines the light on a makeshift rock
table in the center of the chamber and finds manacles on both
ends. Now he uneasily inspects it closer and finds dark,
dried blood all over it. This table was obviously used for
sacrifices, but what kind? He finds his answer in the corner
of the chamber. There with the skull frozen in a horrified
scream is a human skeleton.
EXT. SECLUDED COTTAGE - NIGHT
Now the cottage is lit up by police and ambulance flashers.
Banks walks out as Fowler, dirty from his ordeal, holds an
ice pack against his head.
BANKS
Finneas wants the body out of here.
Did you clear it?
FOWLER
Yeah, but I only want him down
there. Keep the footprints to a
minimum.
BANKS
How did you find this?
FOWLER
I fell into it. What I can't
figure out is how anyone else could
have. I checked inside and outside
the house and I can't find any kind
of entrance other than the one I
made earlier.
BANKS
How's your head? You took a pretty
nasty fall.
FOWLER
I'll live.
BANKS
(sly smile)
Is that what all the New York tough
guys say?
Fowler grins as she checks his head.
INT. DARK CHAMBER - BENEATH THE SECLUDED COTTAGE - DAY
Sunlight now shines into the chamber from above and lights
have been set all around the scene. The cave chamber is
circular with the area holding the sacrificial table in a
sunken part almost like a small arena. As Fowler inspects
the table, Banks notices ancient looking writing on the
walls, seemingly in blood. She, nor Fowler have any idea
what the peculiar symbols mean. Banks walks along the walls
and notices that some of the rock looks man-made, almost like
a sloppy concrete patch job. She chips away some it and a
skull falls out! Another body. She shines her flashlight
around the chamber and sees many more patch jobs around the
cavern.
BANKS
Uh...Fowler? We're going to need a
lot more body bags.
INT. SPACIOUS HOUSE - DAY
Carly shows a young couple, JIM AND TAMMY around a well
designed ranch house with vaulted ceilings. As she talks
with them about it, over their shoulders she sees a MAN climb
a tall ladder and attach a rope with a hangman's noose tied
in it to one of the high rafters. She watches in horror as
he leaps off the ladder and she can hear the sickening SNAP
of his neck breaking. Jim interrupts her and points out the
horrified look on her face. She covers quickly, but can
hardly look away at the corpse swinging from the rafters.
JIM
Well, I don't know about Tammy
here, but I love this house. What
about it honey?
TAMMY
Oh I love it Jimmy!
JIM
Well I guess that settles it. Is
there anything else you want to
tell us before we make an offer?
CARLY
(defensive)
No. Why would there be?
The corpse behind Jim swings back and forth like a pendulum.
JIM
Oh you know, any history of the
house. Storm damage,
flooding....mass murders.
Carly looks like she's busted until Jim starts laughing.
Carly finally gets that he's joking and lets out a strained
chuckle. She looks back up at the rafters and the corpse is
gone.
BEGIN MONTAGE
Quick shots of Carly showing various houses --
-- Carly takes a young couple through an upstairs hallway.
CARLY
And this would make a perfect
nursery for a new family...
She opens the door and sees a vision of a man stabbing a
woman on the floor -- blood sprays all over the wall. Wide
eyed, Carly closes the door and offers a weak smile.
-- Carly shows another house. As she leads the new family
in, the rooms around them erupt in flames and screams of
agony echo loudly.
CARLY
And this home is the perfect place
to start new memories...
No one but Carly can see the carnage around them.
-- In the foyer of a large house, Carly talks to another
family.
CARLY
And nothing says 'home' like a nice
safe house to sleep your work days
away...
A MAN breaks through the rails of the loft on the second
floor and with a loud wail, lands with a SPLAT directly
between Carly and the family. She keeps her concrete smile
firmly on through it all.
END MONTAGE
INT. CARLY'S HOUSE - NIGHT
Carly walks briskly into the house, quickly pours a shot of
whiskey from a small bar near the door. She gulps it down --
then runs to the bathroom and throws it all up into the
toilet. Clearly, she is a tortured woman.
EXT. SECLUDED COTTAGE - MORNING
As the sun rises, body bags are still being carried out.
Finneas Grimm (Robert Englund) follows a gurney and veers off
towards Banks.
GRIMM
That's the last of them. Thirteen
total. All female.
BANKS
Do you have a guess to C.O.D yet?
GRIMM
It's fairly obvious that all the
victims had their chest cavities
opened. From first glance I'd say
that their hearts were removed.
Maybe more -- I'm not sure.
BANKS
Were they alive when this was done?
GRIMM
Hard to say. I'll know more after
I examine them.
(about to leave, but --)
Sheriff Banks, did you know that
the Aztecs would perform a ceremony
that would have end results very
similar to your crime scene. In
ancient days some European cults
would do the very same thing. They
would cut the hearts out of the
victims while they were still alive
and then wall them up to hide their
souls away. A form of possession.
BANKS
That's awful!
GRIMM
Really? I find it rather --
fascinating.
He leaves Banks dumbfounded as he walks away.
INT. CARLY'S OFFICE - DAY
Carly pops three aspirin as Fowler lets himself inside. She
plasters on a sales smile as he sits down.
FOWLER
Sorry to interrupt your day, but I
had a few questions for you.
CARLY
No bother at all.
FOWLER
Are you all right? You look --
tired.
CARLY
I'm fine. Just a lot --
(points to her head --
wacky expression)
-- going on up here, you know?
FOWLER
I'll make this as quick as
possible. How long has that
property been vacant?
CARLY
About two years I think. It was
rented for a little while back
then.
FOWLER
To who?
CARLY
Don't really remember his name. He
was in and out of town pretty fast.
FOWLER
Well if you could get me those
records, I would appreciate it.
CARLY
No problem.
FOWLER
Reverend Cleaver mentioned that it
was a family home. What do you
know about his family?
CARLY
Not much. I haven't been here that
long myself. Bit of a newbie.
Fowler jots down the information quickly in a notebook.
FOWLER
Okay, just one more question. Why
didn't you want to go inside the
cottage the other day?
CARLY
Pardon me?
FOWLER
You seemed a little off your game
when we went there. Frightened
even.
CARLY
I don't know what you're talking
about.
Fowler stares her down -- knows she's lying.
FOWLER
Uh-huh. Well I do appreciate your
time.
She eyes him as he leaves.
INT. GRIMM FUNERAL PARLOUR - DAY
Grimm is in the middle of going over his findings with Banks
when Fowler hurries in -- he knocks over a metal pan
startling them both.
FOWLER
Sorry I'm late.
BANKS
Where have you been?
FOWLER
I had to interview Carly Morris.
BANKS
And you leave me with the corpses?
Nice.
GRIMM
Do you mind? I do have ten other
bodies to go over.
FOWLER / BANKS
Sorry.
GRIMM
I still have a lot to do, but I
wanted to pass along something that
may help you. After a quick review
of all thirteen skeletons, it's
pretty apparent that cause of death
was blood loss and shock as the
chest cavities were cut open. The
hearts were removed while they were
alive. Look at these marks here on
the wrist bones.
FOWLER
Jesus! What kind of ritual does
something like that?
Grimm is about to speak, but Banks interrupts --
BANKS
I believe that the Aztecs performed
this kind of ritual, but I believe
some early European cults practiced
it as well.
FOWLER
Wow. How did you know all that?
Banks just shrugs as Grimm gives her the look of death. It's
only after Fowler asks about the age of the skeletons that
Grimm snaps back.
GRIMM
That's the reason I called you.
Twelve of these skeletons are at
least twenty years old, but the
thirteenth -- well that's a
different story. It's less than
three years old. It also wasn't
walled up like the others which
suggests --
BANKS
A different motive.
Grimm looks at her incredulously again. Fowler starts for
the door. He tells them that he has to go check something
out and he'll catch up with them later.
EXT./INT. SECLUDED COTTAGE - NIGHT
Using a flashlight, Fowler investigates the outside of the
cottage before starting down into the cavern below. As he
searches, he hears a NOISE from nearby. He searches with his
flashlight, but doesn't see anything. Then a SHADOW passes
by right in front. He whips around -- still can't see
anything. Suddenly a FIGURE lurches out of the darkness and
knocks Fowler down. They struggle and a box falls from the
Figure's hands. As Fowler goes for it, the Figure takes out
a pistol and Fowler barely has time to dive behind some rocks
for cover. He comes up with his gun -- fires at the
retreating shadow. As the Figure vanishes, Fowler feels
something on the back of his hand. He pulls it forward --
blood. He hit his head on the rocks as the Figure tackled
him. He falls to his knees and passes out.
INT. DESTINY EMERGENCY ROOM - NIGHT
Fowler slowly opens his eyes to see Banks and Jake standing
over him. When he asks what happened, Banks tells him that
she found him at the cottage and had to get Jake to help her
transport him to the ER.
BANKS
Who attacked you?
FOWLER
I didn't see them, but they were
after something. A box -- some
kind of lockbox. Looked old and
had some sort of gold symbol on it.
JAKE
They must have got it, because we
didn't see anything around when we
found you.
FOWLER
But that proves that at least one
person knew what was going on down
there.
He stands to his feet, but stumbles back, still a little
woozy.
BANKS
Take it easy, you took a pretty
good knock to the head.
FOWLER
I'm fine.
But then he plops back on the bed.
FOWLER
I just need a minute.
INT. BLUE EYE CAFE - DAY
Fowler hungrily gulps down a huge breakfast platter as Banks
watches in awe.
BANKS
Where do you put it all?
FOWLER
I honestly don't know. I haven't
been this hungry in ages.
From behind him, Fowler can hear Penny gossiping with Jim and
Tammy. They tell her about how when Carly showed them the
house, she freaked out and ran out. Something hits Fowler
and he tells Banks they need to go.
EXT. SECLUDED COTTAGE - DAY
Carly steps out of her car nervously as Fowler and Banks wait
for her. She asks why Fowler called her out here. Fowler
wants her to walk through the house with them. Carly looks
to the front porch -- shakes her head no. Fowler presses her
to and even begins guiding her towards the door. She becomes
wild -- like having a panic attack. Banks tries to calm her
down and finally gets her talking. She asks what's wrong.
CARLY
I can see it! I can see
everything! I can't take it!
She breaks down and tells them that when she shows a house,
she can see every terrible thing that happened in that house
like a movie playing back. It's a curse that she's been
hiding for quite some time. By hiding the horrible or tragic
things that have transpired in each house, she is cursed to
re-live it.
Fowler finally convinces her to walk through the house with
them and she agrees.
INT. SECLUDED COTTAGE/CAVERN - DAY
From the moment she walks in, through Carly's eyes, the house
is splattered with blood. A true horror show. Fowler and
Banks see her reaction.
BANKS
What is it Carly? What do you see?
CARLY
Blood...all over. It's all over...
BANKS
It's okay sweetie. It's the past.
It can't hurt you.
They continue to lead her through. They guide her down to
the cavern and she becomes increasingly frightened. When
they get to the cave floor the room becomes a blur. Carly
can see lots of figures standing around the stone table, but
it's moving too fast.
CARLY
I--I can't see anything. It's
blurry.
It's like lots of different times are converging on each
other. A lot has happened in this chamber. But Carly does
see a TEENAGE GIRL sprawled out on the table. A figure
raises a long wicked knife and brings it down into the girl's
chest. At the same times figures with knives from different
times all bring them down into various women. Carly turns
from the sight.
FOWLER
What do you see Carly?
CARLY
I can't -- I don't know. A girl
just got stabbed.
FOWLER
Can you see who did it?
CARLY
No, but the girl looks -- I think I
know her -- I don't know.
FOWLER
Please try Carly. Anything can
help.
Carly then sees a MAN in the back. He moves out from behind
the blurry people and Carly can see directly into his eyes:
It's ROLAND CLEAVER. Carly looks terrified and breaks away
from Fowler and Banks. She runs upstairs and out of the
house.
BANKS
What happened to her?
FOWLER
She saw something she knew.
EXT. SECLUDED COTTAGE - DAY
Carly catches her breath and calms down. When Fowler and
Banks come back up, she doesn't want to talk. She gets in
her car and drives away.
INT. DESTINY FBI OFFICE - NIGHT
Jake Rivkin finishes up wiring in a new light for Fowler.
The two talk briefly and Jake agrees to keep his ears open
around town for any news of the cottage.
EXT. WEEPING WILLOW HOTEL - NIGHT
Jake walks to a storage building next to the hotel and puts
his tools away. As he makes some room on a shelf, the
LOCKBOX from the cottage falls onto the floor. Jake looks at
it curiously and picks it up.
INT. GRIMM FUNERAL PARLOUR - NIGHT
Grimm uses his parlour as a makeshift morgue (the small town
way) and puts away his book, "HOW TO COOK LIKE A GOURMET" as
Fowler and Banks enter.
GRIMM
Thanks for coming on short notice.
FOWLER
It's awfully late. Couldn't this
have waited until morning?
GRIMM
The dead never sleep Agent Fowler.
FOWLER
I thought they always slept?
GRIMM
(amused)
Now that wouldn't be much fun.
BANKS
What you do you have?
GRIMM
I can't make any positive IDs on
the any of the bodies save for one.
The newer victim.
BANKS
So who is she?
GRIMM
Let's see seventeen year old
female, ID came back as a Wendy
Morris.
FOWLER
Morris?
Grimm nods. Fowler asks if Wendy Morris has any living
relatives. Grimm looks at the clipboard and nods.
GRIMM
Just one. A sister -- Carly.
Carly Morris.
Fowler and Banks exchange a glance. The mystery just
deepened.
FADE TO BLACK.
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Script created with Final Draft by Final Draft, Inc.