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NOWHERE
Episode 1.3
"The Trouble With Carly"
Written by Joseph D. Blackerby
CLOSE ON STEAM RISING FROM A BATHTUB
A feminine hand reaches under the faucet as water cascades
over. A slender leg slips into the water as she shuts the
faucet off.
INT. CARLY'S BATHROOM - NIGHT
With only sections of skin visible CARLY (Molly Shannon) lies
surrounded by bubbles and closes her eyes -- completely
relaxed. The faucet drips a clear drop of water -- then it
drips one that's completely black. Another drip. Another.
Then a steady stream pours out silently, slipping into the
water like a thin trail of black ink. But it moves and
circles through the water like a snake. Carly doesn't see
it. She brushes the trail away as it circles her neck. Then
it tightens. Her eyes fly open -- she tries to scream but
the black thing is strangling her. She rises out of the tub,
but it pulls her back down. She gasps for air, but gets
none. As she struggles with the formless beast, her hand
crashes down on a porcelain soap dish and it shatters. She
takes a shard and slices the black substance away from her
neck. It retreats enough for her to tumble out of the tub.
She rises, wielding the shard like a knife, but the tub is
empty again. Carly falls to her knees, heaving and sobbing.
INT. JAKE'S BEDROOM - WEEPING WILLOW HOTEL - DAY
JAKE'S (Jared Padalecki) eyes flutter open as he hears a
strange noise outside his window. He gets up -- looks out.
Three stories below, Paul(Mandy Patinkin) shovels dirt out of
a widening hole. He's dirty and already covered in sweat.
He's like a robot, not stopping to rest at all. Jake hollers
down to see if he needs help, but Paul just waves him off.
INT. KITCHEN - WEEPING WILLOW HOTEL - DAY
An industrial kitchen made of cold stainless steel. BONNIE
(Elizabeth Pena) cooks eggs, bacon and pancakes with one hand
while downing coffee with the other. Jake walks in, yawning.
JAKE
What's Dad doing out there?
BONNIE
He said something about a busted
sewer line. You know how your
father is. Always wants to fix it
himself.
JAKE
Have you noticed Dad acting a
little...strange lately?
BONNIE
Not more than usual. Why do you
ask?
Jake just shrugs it off as he pours a glass of orange juice.
INT. BLUE EYE CAFE - DAY
Carly stares into space as PENNY (Sherilyn Fenn) walks over
with a pot of coffee. She looks concerned at the dark
circles under Carly's eyes.
PENNY
You okay hun? You look exhausted.
CARLY
I had a rough night.
(raises her cup)
Fill her up. I've got a packed
day.
PENNY
I guess on the plus side, the real
estate market seems to be up.
Seems like you're always busy
showing houses.
CARLY
Yeah...that's good. Penny, can I
ask you something? At what point
does a crazy person know they're
crazy? I mean, if you're crazy,
how would you know it?
PENNY
I don't know. I guess when you
start believing what people have
been telling you all along.
With a laugh, she briskly walks to another table, but it's
obvious Carly wasn't joking.
EXT. VACANT HOUSE - DAY
Carly walks with a young couple outside a small quaint home
with a colorful garden and a white picket fence. As they
walk by a flower bed, Carly sees a moving hand sticking out
of the dirt. She turns her eyes away and keeps walking.
When she glances back, the hand is gone. She tries to hide a
big yawn, but the couple notices. They tell her they will
call her later to see more houses and get into their car. As
they leave, FOWLER (Edward Burns) and BANKS (Lake Bell) pull
up alongside the house. Carly doesn't look happy to see
them.
CARLY
What is it with you two? I just
want to be left alone.
BANKS
Actually Carly, we have some bad
news.
Carly sinks to the front porch steps.
BANKS
Most of the remains at the cottage
are still being identified, but one
has been. The newer of the group.
It's Wendy.
CARLY
(visibly shocked)
Gwen?
FOWLER
Gwen?
CARLY
It's what I used to call her. She
never liked her name.
Her eyes fill with tears and she breaks down into sobs.
CARLY
I always dreamed she was somewhere
else, living a great life.
BANKS
How long has she been missing?
CARLY
Sixteen years. I was eighteen, she
was fifteen.
BANKS
I'm very sorry to tell you this.
Is there anyone you'd like us to
call or can we take you anywhere?
CARLY
I just want to stay here for a
while.
FOWLER
We'll come back -- ask you some
questions later, okay?
Carly nods and they walk down the sidewalk. When they both
get in the car and out of earshot --
FOWLER
Grimm pegged Wendy's age at
seventeen, right? Where was she
for two years?
BANKS
What's your plan?
FOWLER
The only thing I know for sure is
that Reverend knows more than he's
telling us. I'm going on a little
field trip.
EXT. DESTINY COMMUNITY CHURCH - NIGHT
A simple church with a tall tower and a steeple on top.
Attached is the living quarters. Fowler sneaks up using the
trees for cover. Dim lights glow inside the sanctuary.
Fowler tries the door -- unlocked. He opens it and quietly
slips inside.
INT. SANCTUARY/NARTHEX - DESTINY COMMUNITY CHURCH - NIGHT
Fowler creeps down the dark narthex keeping to the wall.
Soft light shines in from the sanctuary further down. Fowler
peeks around the corner -- sees CLEAVER (Lance Henriksen)
near the pulpit. He takes an elaborately stitched scarf from
around his neck and folds it neatly. Fowler notices some
kind of symbol, but he can't make it out. Cleaver pops open
a hidden door on a bench near the pulpit and places the scarf
inside. He then heads towards the narthex. Fowler quickly
retreats back -- looks for a place to hide. He lays on the
floor and rolls under a bench just as Cleaver enters the
narthex.
Cleaver looks around like he's heard something, but then
clicks off the light in the sanctuary and walks out of the
room. Fowler breathes a sigh of relief. After a moment he
rolls out and heads into the sanctuary. He heads straight to
the bench and after a moment is able to open the hidden door.
He takes out the scarf looks the symbol over closely. It
incorporates an open eye. He takes out his notebook and
makes a quick sketch of the symbol. Before he can put it
back he hears a noise up front. He hastily replaces the
scarf and hides behind a pew. When the church goes quiet
again, Fowler quickly heads for the exit. He doesn't see a
small part of the scarf hanging out beneath the hidden door.
EXT. VACANT VICTORIAN HOUSE - NIGHT
Carly locks up another empty house. She stretches her neck
and walks down the steps. She hears a strange gurgling
noise. She frowns -- puzzled at the sound and looks for an
answer. She traces the noise to nearby sewer grate and bends
down to listen. The gurgling gets louder. Getting scared,
she backs away just as the black mass oozes up through the
gate. She screams and runs for her car. The black ooze
chases after, moving like a snake. Carly fumbles for her
keys, but makes it inside just as the tar-like liquid misses
hitting her foot. She starts the car up -- looks to the
window. The black liquid splatters against the driver's
window -- it covers it all. A hideous FACE materializes
within the ooze with its mouth wide open in a silent scream.
Carly jams on the gas screaming and crying and the car tears
away, pulling the ooze off with it. Her car disappears into
the night.
INT. BLUE EYE CAFE - DAY
The cafe is mostly empty as Banks starts in on a bowl of
oatmeal when Fowler hurries in, his hands full of papers.
BANKS
Don't you ever sleep?
FOWLER
I got in a few hours. What do you
know about an organization called
the Illuminati?
BANKS
I've heard the name before, but
other than that --
FOWLER
It's one of the oldest secret
organizations in the world -- maybe
the oldest. It dates as far back
as recorded history.
BANKS
If you know about it, how can it be
secret?
FOWLER
C'mon, don't bust my balls now.
The fact the organization existed
isn't the secret. It's what they
do that no one seems to know.
BANKS
So in theory, they could be a
knitting circle.
FOWLER
Banks, you're killin' me.
BANKS
And I'm trying to enjoy my
breakfast.
FOWLER
See this?
He pushes the drawing he made over to her.
FOWLER
This was on a scarf that Cleaver
wanted to keep out of sight. The
all-seeing eye is a symbol heavily
used by the Illuminati.
BANKS
But it's also used by the Masons,
so what's your point?
FOWLER
That's what I'm trying to tell you.
The Masons, the Knights Templar,
they were all created by the
Illuminati. It's all part of the
same network. The symbols only
vary a little from organization to
organization.
BANKS
I still don't know what you're
getting at.
FOWLER
There were rumors that in the early
days of the Illuminati, they
performed ceremonies similar to the
ones done by the ancient Aztecs.
Ceremonies that included human
sacrifice.
BANKS
So you think that's the connection
between Cleaver and the murders in
the cave?
FOWLER
It's a start.
BANKS
Pretty thin start, but at this
point, it's all we've got. Be
careful who you talk to this about.
There are lots of ears in Destiny
and they aren't all on your side.
As if to answer a nearby PATRON at another table turns away
like he doesn't want to be caught eavesdropping.
INT. STORAGE BUILDING - WEEPING WILLOW HOTEL - DAY
Jake slides in and shuts the door behind him. He clicks on
the work light and pulls out the lockbox from a hidden place
behind several boxes. He sets it on the table and attempts
to open it, but it's locked tight. He takes out a
screwdriver and jimmies the lock until it finally pops open.
He slowly opens it and looks inside. His face furrows into a
frown as he pulls out an old black and white photograph with
a group of men all staring at the camera. He also finds a
small withered manila envelope. He studies the photograph
but WE can't make out the people it shows.
EXT. BACK OF BLUE EYE CAFE - DAY
Penny takes a big bag of garbage out the back door and tosses
it in the dumpster. She takes out a cigarette and lights it
- inhales the smoke with a relaxed sigh. She's startled by a
noise on the other side of the dumpster. She circles around
- curious, but nervous. She finds Carly, slumped down on the
ground. She looks up at Penny with mascara stained eyes.
CARLY
I'm sorry. I didn't know where
else to go.
She breaks down into violent sobs. Penny immediately tosses
her cigarette and cradles Carly in her arms.
EXT. DESTINY COMMUNITY CHURCH - DAY
As Fowler gets of his car, he spots Cleaver walking outside
and jogs over.
FOWLER
Reverend Cleaver; glad I caught
you. Got a few minutes?
CLEAVER
I suppose God could wait.
FOWLER
Thank you Reverend.
CLEAVER
I was being sarcastic.
FOWLER
Yeah, I know. Listen, about that
cottage --
CLEAVER
I already have gone over this with
you. I have never lived in that
cottage.
FOWLER
But it is a family property. My
question is about your father and
grandfather.
CLEAVER
Oh?
FOWLER
To the best of your knowledge, were
they ever associated with an
organization. Masons, things like
that?
CLEAVER
I don't understand the reason for
the question.
FOWLER
Well, the ritual nature of the
murders has been compared to that
of an organization or cult --
CLEAVER
Are you suggesting that my family
had something to do with this?
Agent Fowler, I must warn you, this
is not a good path to take.
FOWLER
Was that a warning -- or a threat?
CLEAVER
Why Agent Fowler. You're baiting
me.
FOWLER
Am I?
CLEAVER
Agent Fowler, I appreciate that you
have a job to do, but please stay
out of my way when doing it. I have
souls to save.
(coldly)
God be with you.
As he walks out of earshot --
FOWLER
You too. You're gonna need it.
INT. LOBBY - WEEPING WILLOW HOTEL - DAY
Paul walks in through the back entrance, dirty and sweaty.
Bonnie looks up from the front desk.
BONNIE
Hi honey. Did you get that sewer
problem all worked out?
PAUL
Huh? Oh, yeah. Well, I need some
tools, but it shouldn't be too bad.
BONNIE
Hmmm, now I see it too.
PAUL
See what?
BONNIE
Jake said you seemed a little off.
He thought you were acting kind of
strange.
PAUL
He said that, huh?
BONNIE
Are you okay?
PAUL
Fine. I'm going to clean up.
BONNIE
You want something to drink or --
PAUL
I'm fine.
Bonnie looks puzzled as he heads upstairs.
INT. BLUE EYE CAFE - NIGHT
The cafe is closed, empty and dark with only the back kitchen
light on. Banks knocks on the door and Penny hurries out to
let her in.
PENNY
Thanks for coming Gretchen.
BANKS
How is she?
PENNY
Pretty shook up.
Penny leads Banks into the back where Carly sits nursing a
cup of water. Banks sits down at the table -- her face
changes from tough to tender.
BANKS
How are ya holding up?
CARLY
Not so good. I think I'm losing my
mind.
BANKS
You've had a lot going on in the
last few days.
Why don't you start at the
beginning? I've been told I'm a
good listener.
Carly sniffles and nods.
INT. DESTINY FBI OFFICE - NIGHT
Fowler goes through some old records and finally finds what
he's looking for. In a folder marked Illuminati 1959, he
finds a stack of papers, including surveillance records. He
hears a noise at the door and when he walks over to check, he
finds a yellow manila envelope that has been shoved under the
door. Fowler opens the door and looks out, but no one is
there. He opens the envelope and only finds a photograph
inside. It's an old black and white picture (similar to the
one Jake looked at earlier) of a group of men, but the left
side has been ripped away. Most of the faces look blurry,
but one stands out very clearly: Reverend Roland Cleaver. He
doesn't look much younger than he does now. Fowler calls
Banks and finds out she's at the Blue Eye Cafe. He heads out
the door.
INT. BLUE EYE CAFE - NIGHT
Banks meets Fowler at the door and lets him in. She speaks
in a hushed tone so Penny and Carly can't hear in the other
room.
BANKS
Carly's pretty freaked out. She
told me something's been chasing
her for the past few days.
Basically since we discovered her
sister's body.
FOWLER
'Something'?
BANKS
She doesn't know what it is, but
she's genuinely frightened.
FOWLER
I need to show her something.
BANKS
You think that's a good idea?
FOWLER
We can't help her if we don't know
what she's up against.
Banks leads Fowler into the back room and he gives Carly a
sympathetic hello. He lays the photograph in front of her.
FOWLER
I need you to look at this and tell
me if you recognize anyone. Can
you do that?
Carly nods and looks it over.
CARLY
Why is Reverend Cleaver in this?
FOWLER
I'm not sure.
Then she sees something else. She picks up the photograph --
takes a closer look.
CARLY
(points)
That man. That's my father.
Alasdair Morris.
Fowler and Banks look over Carly's shoulder at a sullen
looking man standing next to Cleaver.
FOWLER
Do you know why your father and the
Reverend would be in the same
picture?
CARLY
No.
BANKS
Hey wait a minute. That's the
parlour in the Weeping Willow.
It's decorated a little different --
FOWLER
Are you sure about that?
BANKS
Positive. I'll head over there to
talk to the Rivkins.
FOWLER
I think it's time I talked with the
Reverend again, but this time get
some answers.
Carly firmly grabs Fowler's arm.
CARLY
Could you stay? Just for a little
while? I know it's silly --
FOWLER
I'll stay until Banks gets back.
Fair enough?
Carly nods and smiles.
INT. LOBBY - WEEPING WILLOW HOTEL - NIGHT
Jake slouches on the sofa watching TV. Paul, freshly
showered comes downstairs.
PAUL
Is there something you want to talk
to me about?
JAKE
I'm sorry?
PAUL
I think you know.
JAKE
Dad, I --
CLEAVER (O.S.)
Paul.
Paul turns around -- surprised to see Cleaver there.
PAUL
Roland...
CLEAVER
A word please?
Paul looks to Jake nervously as he steps away to talk with
Cleaver.
INT. BLUE EYE CAFE - NIGHT
Carly looks off into space, but Penny's eyes zero in on
Fowler.
PENNY
So how are you liking our fair
little town?
FOWLER
It's never dull.
PENNY
Ain't that the truth. I gotta ask
though -- why did the FBI put an
office in Destiny anyway?
FOWLER
You know, I've been trying to
figure that out since I came.
PENNY
Maybe some night we should get
together -- try to figure it out.
Fowler grins at Penny's flirting. Then a SCRATCHING comes
from outside. Fowler goes to full alert -- checks it out.
He peers out the window. Something whips by! He turns back
to the women.
FOWLER
Stay here and don't open the door
until I tell you to!
He heads outside, gun drawn. Carly pulls the door shut.
EXT. WEEPING WILLOW HOTEL - NIGHT
Banks walks up to the front entrance, but is surprised to see
Cleaver and Paul near the entrance, talking in hushed tones.
She can't make out what's being said, but Paul doesn't appear
to like it. She stays hidden in the bushes to keep out of
sight.
EXT. BACK ALLEY - NIGHT
Fowler creeps down the alley, checking either side. There is
an eerie silence. He whips around corner -- just to find
nothing.
INT. BLUE EYE CAFE - NIGHT
Carly shakes in fear. Penny stands -- gets an idea.
PENNY
Ice cream.
CARLY
Huh?
PENNY
I'll get some ice cream. That'll
take the edge off.
CARLY
Does have lots of scotch?
PENNY
No, but trust me, it'll help.
She hurries to the large walk-in freezer and steps inside.
She finds a big tub of chocolate and is about to walk out
when she hears soft MOAN that gets louder and louder. The
door suddenly slams shut! She's locked inside!
PENNY
Carly! CARLY, OPEN THE DOOR!
Carly sees the black ooze slither underneath the door and
head straight for her. Carly is petrified and starts to run,
but a disembodied voice comes from the ooze!
EERIE VOICE
Carly...don't run. You don't need
to go...
Carly turns to face the thing. Her face is mixed with fear
and recognition.
CARLY
Daddy?
EXT. BACK ALLEY - NIGHT
Fowler hears a noise behind a row of garbage cans. He rushes
over -- but only finds a rat going through the trash. He
shakes his head -- starts back -- a shovel swings around and
CRACKS him right in the face. He falls hard on his back --
unconscious.
EXT./INT. WEEPING WILLOW HOTEL - NIGHT
Banks watches Cleaver leave and when he's gone, she slips
inside. She finds Paul with his head hanging down.
BANKS
Paul? What's going on?
Paul looks up at her -- she can see the conflict in his face.
PAUL
It's too late...it's just too late.
BANKS
What's too late?
PAUL
It's out of my hands. I'm sorry.
He collapses on a chair, covers his face with his hands.
CLOSE ON CARLY'S EYES
She opens her eyes wearily -- tries to move, but finds she
can't. Now WE can see she's tied to rock slab. She looks
down -- sees the black ooze at her feet. It once again forms
the hideous face and gives her an evil smile.
CARLY
What are you doing to me?
EERIE VOICE
It's what needs to happen.
She feels a presence above her and looks up. She SCREAMS at
the terrifying mask that stares back at her. The FIGURE
wearing the mask raises a wicked looking dagger and BRINGS IT
DOWN. ALL WE HEAR IS A SICKENING THUD.
CUT TO BLACK
INT. HOSPITAL ROOM - DAY
Fowler wakes with a bandage on his head. He takes in his
surroundings. He's in a small hospital room and finds Banks
sitting next to him. He can tell something's wrong by her
face.
FOWLER
What is it? What happened?
BANKS
Carly's dead.
Fowler looks shocked.
FADE TO BLACK.
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Script created with Final Draft by Final Draft, Inc.