nowhereepisode1_4
Script created with Final Draft by Final Draft, Inc.
[
bottom
]
NOWHERE
Episode 1.4
"Imprint"
Written by Joseph D. Blackerby
INT. PAWN SHOP - DAY
Dusty with endless shelves of junk. JAKE (Jared Padalecki)
roams down aisle by aisle, searching intently with his eyes.
He spots something hidden behind several other items and
reaches back for it. He pulls it out -- looks it over.
An old 35 millimeter camera. He looks it over, blows the
dust off. After a quick check it looks to still be in
working order. Satisfied, he heads for the cash register.
EXT. TOWN PARK - DAY
Situated near a crystal blue lake, the large park is covered
with shady trees and picnic tables. Jake and KELSEY (Ellen
Page), seventeen, pretty, full of spirit, finish their lunch.
Jake takes out his new camera.
JAKE
Check this out.
KELSEY
Where did you get that old thing?
JAKE
I'll have you know it's an antique.
C'mon, stand by the lake. I want to
try it out.
KELSEY
But I'm not photogenic.
JAKE
The Elephant Man isn't photogenic.
You -- are beautiful.
She gives him a quick kiss on the lips and poses in front of
the lake. After a few adjustments, he snaps a picture.
Kelsey shivers.
JAKE
You cold?
KELSEY
No, just got a chill.
JAKE
Okay, just one more...
He snaps one more. As the shutter CLICKS DOWN we CUT TO:
INT. DARKROOM - WEEPING WILLOW HOTEL - NIGHT
Built inside a small room in the basement of the hotel.
Bathed in the red light of the darkroom, Jake develops
photographs in small pans.
He hangs them on a clothesline and watches as the images fade
into the paper. As they appear he is drawn to one
particular. It's still not quite developed, but he can tell
there's something not right about it. As it gets clearer his
face turns to horror.
A hideous MAN with rotten teeth and a hollow face swings from
a noose in a nearby tree. His hazy eyes are OPEN, looking
down at Kelsey like prey.
INT. DARK CHAMBER - BENEATH THE SECLUDED COTTAGE - NIGHT
With his head still bandaged up, FOWLER (Edward Burns)
circles the scene. Carly is sprawled out on the rock table,
her white blouse splattered with blood. As he gets closer,
he can see a hole carved in her chest. He looks away,
disgusted with himself.
FOWLER
Son of a bitch...
BANKS (Lake Bell) excuses herself from an officer and walks
over to him.
BANKS
Fowler, what are you doing here?
You weren't supposed to be
discharged until morning.
FOWLER
There's more important things to
attend to. Besides, it was just a
bump on the head. Who found the
body?
BANKS
One of the deputies. When we were
out searching, I had him drop by.
FOWLER
I shouldn't have left her side.
They are interrupted by GRIMM (Robert Englund) who walks over
to the body with a small medical bag. As he puts on his
latex gloves --
GRIMM
Oh heavens. Such a young spirit.
He looks over the body, checks her wrists and ankles.
GRIMM
Cause of death initially looks to
be massive trauma to the chest,
followed by removal of the heart.
BANKS
She was alive when this was done to
her?
Grimm solemnly nods. Fowler angrily heads out of the cavern.
EXT. SECLUDED COTTAGE - NIGHT
As Fowler emerges from the cottage, he spots CLEAVER (Lance
Henriksen) in the gathering crowd. Steamed, Fowler hurries
over and grabs Cleaver by the shirt -- SLAMS him against a
tree.
FOWLER
Did you come back to admire your
handiwork?
CLEAVER
Agent Fowler, I have no idea what
you're talking about. I had simply
heard that something else had
happened in the cottage and --
FOWLER
You killed her. You killed her you
son of a bitch.
CLEAVER
I haven't killed anyone. Now
please release me.
But Fowler grabs him harder and shoves him back against the
tree. Banks hurries out -- steps in.
BANKS
Fowler! Let him go!
Before Banks breaks them apart, Fowler leans in -- only the
two of them can hear.
FOWLER
You're a liar. And I'm gonna prove
it. I don't care what faith you
hide behind.
Finally he lets go and stomps away. Banks turns to Cleaver.
BANKS
I'm very sorry Reverend.
CLEAVER
I understand his frustration. Not
being able to solve these murders
must be terribly stressful.
Banks looks at him. Was that sincere or a snub? She heads
off after Fowler.
INT. DARKROOM - WEEPING WILLOW HOTEL
Jake's darkroom is now filled with photographs drying on
clotheslines, all of different locations. He looks at one
inside an old rundown jail and the image of a PRISONER with a
slashed throat looks back at him with dark, haunting eyes.
Jake takes the photo and puts it in a section that is filled
with similar images of ghostly people. Then his eyes go to
the next photograph. In, the Prisoner has a knife drawn
across his neck along with a GUARD doing the slashing.
Amazed, Jake takes down the picture, studying every inch of
it. The door suddenly flings open and Kelsey walks in with
PAUL (Mandy Patinkin) right behind her.
JAKE
Hey! Shut the door Dad! I got
pictures here!
PAUL
Sorry son, but I thought Kelsey
might want to --
(sees the photos)
What have you got there?
JAKE
I'm not sure yet.
PAUL
Wait a minute...
As he gets closer to the one with the hanging man by the
lake, he looks like he can't believe what he's seeing.
PAUL
Where did you...
Then he suddenly spins and heads for the door.
JAKE
Dad?
But he gets no answer as Paul heads back upstairs. Kelsey
looks at the photos of her with the hanging man behind her
and shudders.
KELSEY
Jake, what are these?
JAKE
You're not gonna believe this, but
I think my camera takes more than
just a picture of the present.
(shows her another
picture)
I think it takes pictures of the
past too.
EXT. BANKS' HOUSE - DAY
Small and simple but with a well cared for garden of brightly
colored flowers. As Fowler walks up the sidewalk he sees a
vegetable garden framed in along the side. He raps on the
front door. Banks answers and looks surprised to see him.
FOWLER
Hey Banks, you got a minute?
BANKS
You know, I do have a first name.
FOWLER
I'm sorry. Old habit I had in the
city.
There's a moment of awkward silence, then --
BANKS
Ummm, would you...like to come in?
FOWLER
Sure, Gretchen.
She smiles at his deliberate use of her name and opens the
door wider to let him in. He now can see that she's wearing
baggy sweatpants and a T-shirt. Comfy clothes. She can feel
him looking at her.
BANKS
What?
FOWLER
It's just -- I've never seen you
out of uniform.
She leads him into --
INT. LIVING ROOM - BANKS' HOUSE - CONTINUOUS
The only furniture is a comfortable recliner, an ottoman and
a floor lamp. All four walls are floor to ceiling
bookshelves crammed with all sorts of books.
BANKS
I don't usually socialize outside
the office.
FOWLER
I can see why. No TV?
BANKS
Who needs TV?
FOWLER
You've got a point. Are there any
books in the world you haven't
read?
BANKS
You could read two books a day
every day of your life and only get
through a small percentage of the
world's literature.
FOWLER
Did you read that in a book?
Banks smiles and kicks the ottoman over to him. He sits down
and she settles into her recliner.
FOWLER
I wanted to thank you for stepping
in today. I was close to doing
something that I would have
regretted later.
BANKS
I could see that. What about the
Reverend makes you so eager to go
after him?
FOWLER
I'm a pretty good judge of
character -- well I used to be
before moving here. These days --
sheesh, I don't know.
BANKS
So you like him for Carly's murder?
FOWLER
Well -- yeah. Everything points to
him.
BANKS
Except for one thing. The night
Carly was murdered I saw the
Reverend at the Weeping Willow.
Thinking about your hunch, I
followed him. He went straight
back to his house and stayed there
until I was called into the murder
scene.
FOWLER
Oh you gotta be kidding me.
BANKS
There's no way he could have
committed that murder.
Fowler is stunned -- puts his head in his hands.
EXT. DESTINY COMMUNITY CHURCH - DAY
PENNY (Sherilyn Fenn) shivers in the cold, wraps her coat
tightly around her. She knocks on the door of the church's
residential quarters. Cleaver answers -- looks surprised to
see her.
CLEAVER
Penny?
PENNY
I'm sorry for coming uninvited. I
- I need to ask you something.
CLEAVER
Would you like to come in?
PENNY
No thank you. This won't take
long. I'm sorry for being so bold,
but it's cold and I've got my nerve
up to do this. There have been
rumors around Destiny that you
might have been involved in Carly's
death.
CLEAVER
I'm aware of that. An unfortunate
misunderstanding.
PENNY
So you're saying you didn't have
anything to do with it?
CLEAVER
Penny, do you think I did?
PENNY
No, but I had to ask.
CLEAVER
Were you Carly's friend?
PENNY
I think I might have been her only
one. And being her only friend I
felt like it was my responsibility
to do everything I could to find
her killer.
CLEAVER
That is very noble. It's very
chilly outside. Are you sure you
won't come in?
PENNY
I'm on a break. Thank you again
Reverend.
She walks back down the sidewalk. Cleaver watches her until
she's out of sight.
EXT. DESTINY FBI OFFICE - NIGHT
Fowler looks tired. He unlocks the office and is about to go
inside when he sees a shadow on the wall ahead of him. He
turns to see Jake.
FOWLER
You're out awfully late.
JAKE
I have something that needs a level
head to look at.
FOWLER
My level headness left a long time
ago, but I'll look at it anyway.
He opens the door and ushers Jake inside.
INT. DESTINY FBI OFFICE - LATER
The pictures that Jake took are spread out all over the desk.
Fowler looks them over, amazed.
FOWLER
So these images only appear after
you develop the film?
JAKE
Only on some of the pictures. I
went out today to a bunch of
different places and these --
people -- whatever you want to call
'em were only in some of them.
Fowler takes a closer look, separating the pictures with the
ghastly images from the ones without.
FOWLER
They look tied to certain
locations.
JAKE
You think they're ghosts?
FOWLER
I didn't say that.
JAKE
I did some checking online and
there have been cases of residual
energy showing up on film -- like a
ghost, but it's replaying an
incident like a movie. It's
usually associated with a
traumatic or violent event.
FOWLER
So the picture you took with these
people in them -- something violent
happened there.
JAKE
That's what I can't get my head
around. Everywhere I went had some
major event attached to it. The
camera is being selective.
FOWLER
That just took 'doesn't make any
sense' to the next level.
(off Jake's pleading face)
All right, all right. You fixed my
lights, so I owe you one. I'll
check out the serial number and see
what I can find. Can I keep these
pictures?
Jake nods and leaves. Fowler picks up the camera and
inspects it closer.
INT. JAKE'S ROOM - WEEPING WILLOW HOTEL - NIGHT
Jake opens the door yawning, but is snapped back to reality
when he sees his room in shambles. It's been torn apart.
Someone has been looking for something. He bolts out of the
room.
INT. LOBBY - WEEPING WILLOW HOTEL - MOMENTS LATER
Jake bolts down the stairs to BONNIE (Elizabeth Pena), who is
working at the front desk.
JAKE
Who's been upstairs?
BONNIE
What? Jake, what's wrong?
JAKE
Who's been upstairs? My room --
someone has broken into my room.
BONNIE
What? I've been up here all
evening. No one's been up there
but you. Is anything missing?
JAKE
I don't -- no.
(realizes)
I didn't have what they were
looking for.
He heads back upstairs.
INT. DESTINY FBI OFFICE - NIGHT
Fowler studies the pictures again. He's mesmerized by them.
There is a face in one of the photographs that looks familiar
to him. Then his eye catches the black and white photograph
with the younger Cleaver and Carly's father, Alasdair Morris.
He turns the photo around and compares it to the new photos
Jake took. There's a match. Behind Alasdair is a MAN with
crooked smile and pin stripe tie. It matches a series of
Jake's photographs that shows the same man getting stabbed by
a dark, HOODED FIGURE. Fowler looks up -- thinking. It's
only then that he sees the flash of glowing red eyes looking
at him from the window. He leaps out of his chair and rushes
to the door. He flings it open, but nothing is there.
EXT. BLUE EYE CAFE - DAY
Fowler is about to enter when Banks hurries out.
BANKS
Where have you been?
(sees his eyes)
You look tired. Rough night?
FOWLER
Something like that.
BANKS
I did a little digging and look
what I found.
She shows him copies of old papers. Looks like a contract.
FOWLER
Lease papers?
BANKS
Exactly. For the Reverend's
cottage. This lease is from
eighteen years ago. Look who the
renter is.
FOWLER
Alasdair Morris! Looks like we get
to talk to the Reverend again.
BANKS
You be nice this time.
FOWLER
I'm always nice.
They head for the car.
EXT. DESTINY COMMUNITY CHURCH - DAY
Fowler knocks on the door loudly. Cleaver answers, looks
annoyed at Fowler's presence.
CLEAVER
Not again. Agent Fowler, you must
stop --
FOWLER
Who is Alasdair Morris?
CLEAVER
What did you say?
FOWLER
Alasdair Morris. A former tenant
of yours.
Banks hands Cleaver the lease contract. Cleaver's face
darkens as he reads it.
CLEAVER
This was a long time ago. What
does it have to do with me?
FOWLER
You knew him.
He shows Cleaver the black and white photograph with the two
men standing together. Cleaver's expression falls.
CLEAVER
I'll tell you what you want to
know. But not here.
(points inside the church)
Voices carry around here.
EXT. CHURCH GROUNDS - LATER
Fowler and Banks follow Cleaver as they walk around a large,
impressive garden full of tall plants and flowers that shroud
them from view.
CLEAVER
As far back as the town's history
goes, there has been a group -- an
organization.
FOWLER
The Illuminati.
CLEAVER
The group has no official name, but
yes, that name has been mentioned
before. The group was involved in
every aspect of the town and had
connections to other groups all
over the world. On the outskirts
of town a hidden cave was
discovered. Inside was an archive
- a library.
BANKS
(interested)
A library? Library of what?
CLEAVER
Some kind of private collection.
Very old books, documents and
artifacts. Mostly dealing with the
occult. Alasdair became obsessed
with them. Studied them night and
day until he had gone through every
single piece. Then we discovered
he was trying out some of the
things that were in those books.
BANKS
What kind of things?
CLEAVER
Horrible things. We asked him to
leave the group immediately, but we
suspect he got away with a few
items from the collection.
BANKS
Where is the rest of the collection
now?
CLEAVER
Burned. When Carly's sister Wendy
disappeared, that was it. We
didn't want anyone to have access
to those types of things.
FOWLER
Did you suspect Alasdair for the
disappearance?
CLEAVER
I have read some of those books.
There was a ritual in there to
extend life by the slaying of your
own flesh and blood. When Wendy
and Alasdair disappeared around the
same time -- well you put the
pieces together.
FOWLER
What does any of this have to do
with Carly?
CLEAVER
The only way to reverse that ritual
was by the same blood spilled.
When Wendy's body was discovered
someone put the pieces together
about Alasdair.
BANKS
By killing Carly, they were trying
to stop Alasdair?
FOWLER
Or cover their tracks.
CLEAVER
That's all I can tell you.
Fowler starts to say something, but Banks guides him away,
quickly nodding a 'thank you' to Cleaver.
INT. DESTINY FBI OFFICE - DAY
Fowler lets Banks inside and flops down in a chair.
FOWLER
I still say he's involved.
BANKS
I agree, but not in the way you
think.
The fax machines BEEPS that it has received a fax.
BANKS
What's that?
FOWLER
Jake wanted me to track down a
serial number for an old camera --
see if I could find a previous
owner.
He leans forward, looks over the fax.
FOWLER
No way.
He leaps up -- grabs his jacket.
FOWLER
We need to go get Jake.
BANKS
Why?
FOWLER
That camera of his? It was
registered to Alasdair Morris.
INT. FOWLER'S CAR - LATER
Jake climbs in the backseat, breathless from hurrying.
JAKE
Why the rush? What's going on?
Fowler floors and speeds away from the Weeping Willow.
FOWLER
That camera only captures certain
deaths and I think I know why.
Alasdair Morris was kicked out of
Cleaver's group and I think he did
something to the camera to capture
things that the Illuminati did. I
think Morris was trying to expose
them.
BANKS
Then where are we going?
FOWLER
Back to the cabin. If Carly's
killer was tied to the Illuminati,
then the camera may capture it.
JAKE
Does this sound normal to anyone
else?
INT. SECLUDED COTTAGE - CAVERN BENEATH - NIGHT
Fowler leads the way down into the cavern and Jake sets up
the camera. He snaps a few shots of the stone table
JAKE
The lighting in here isn't ideal...
FOWLER
Just do the best you can.
There's a sudden NOISE at the other end of the cavern.
Fowler and Banks whip their guns out and go check it out.
They move along either side, but don't see anything. Jake
looks up from the camera and jumps back as a HOODED FIGURE
with the same mask seen during Carly's murder rushes at him.
They wrestle and Jake tries to throw a few punches. The
camera CLATTERS to the ground. Fowler runs back and TACKLES
the figure. The Figure pulls a long wicked KNIFE and tries
to stab Fowler, but is interrupted when Banks fires. Four
bullets hit the Figure, but it doesn't seem to slow the
Figure down. With an agile leap up, the Figure jumps up the
rocks and out of the cavern -- the feet barely touch the rock
-- it looks like the Figure is almost flying. With a nasty
SCREECH, the Figure is gone.
Fowler helps Jake up and they all look at the camera. It's
broken into a million pieces. Fowler can't hide his
disappointment.
FOWLER
Well, that's that.
Jake gingerly picks the exposed film up and slips it into his
pocket.
BANKS
Any chance of those coming out?
JAKE
Very slim.
FOWLER
Then they've won. They murdered an
innocent woman and covered it up
just so they're little secret club
could save face.
BANKS
I think it goes a lot deeper than
that.
FOWLER
Well this is as deep as we're gonna
be allowed to go.
He trudges up to the top floor with Banks and Jake following.
INT. DARKROOM - WEEPING WILLOW HOTEL - LATER THAT NIGHT
Jake sweats as he tries to develop the damaged film. The
clothesline shows most of the pictures washed out and not
viewable. He tries one last picture. WE can't see it, but
as he picks it up to look at it, his face shows disbelief and
fear.
JAKE
Oh my God...
Very clearly, it shows a Hooded Figure towering over Carly
with a knife.
The Figure is Paul Rivkin.
FADE TO BLACK.
NOWHERE WILL RETURN IN TWO WEEKS
[
top
]
Script created with Final Draft by Final Draft, Inc.