Written by Cathryn Humphris
Directed by Mike Rohl


TEASER

LOCATION TITLE:
Baltimore, Maryland


INT. POLICE STATION - NIGHT

Background chatter as a man is led down a dim police-station hallway in cuffs. Pan into the bustling office, where PETER SHERIDAN is on his cell phone, a mug of coffee in hand.


SHERIDAN
Under what name? Oh, yeah, that's my favorite so far. Possible ID's in three states that we know of.
(He pulls a paper from the fax machine and stares at it.)
I gotta call you back.



EXT. MOTEL - NIGHT

A SWAT team approaches a motel room from the outside.



INT. POLICE STATION - NIGHT

SHERIDAN enters an interrogation room; the prisoner is not visible. He sits down.


SHERIDAN
Well, first I thought you were just stepping up your game. Credit card fraud, breaking and entering, and this one... puzzled me. Grave desecration. But still these are a long way from murder. Then we get a fax from St. Louis. Where you're suspected of torturing and murdering a young woman. However, no one could prove anything, of course, because supposedly you died there.



EXT. MOTEL - NIGHT

The SWAT team breaks open a 2nd-floor door with a battering ram; inside, SAM stops, holding his hands up.



INT. POLICE STATION - NIGHT

SHERIDAN
But I gotta tell you something. You look pretty healthy to me.




INT. MOTEL - NIGHT

DIANA BALLARD advances on SAM, her gun forward.




INT. POLICE STATION - NIGHT

SHERIDAN
So now we know Karen Giles wasn't the first person you murdered.



INT. MOTEL - NIGHT

BALLARD
Going somewhere, Sam?



INT. POLICE STATION - NIGHT

SHERIDAN
But I guarantee you she's the last.


He stands and walks out; we pan across to reveal that the prisoner is DEAN.

END TEASER


ACT ONE

TITLE CARD:
SUPERNATURAL


INT. POLICE STATION - NIGHT

The policewoman from earlier enters another interrogation room, where SAM is pacing by the window. She places a coffee cup on the table.


BALLARD
Thought you might be thirsty.


SAM
Okay, so you're the good cop. Where's the bad cop?


BALLARD
Oh, he's with your brother.


SAM
Okay. And you're holding us why?


BALLARD
Well, he's being held on suspicion of murder. And you, we'll see.


SAM
(leaning forward, shocked)
Murder?!


BALLARD
You sound genuinely surprised. Or are you that good of an actor?


SAM
Who was he supposed to have murdered?!


BALLARD
We'll get around to that.


SAM
Well, you can't just hold us here without formal charges!


BALLARD
Well actually, we can, for forty eight hours, but you being a pre-law student, would know that. I know all about you, Sam.
(She reads from a file.)
You're twenty three years old, no job, no home address. Your mother died when you were a baby, your father's whereabouts are unknown. And then there's the case of your brother Dean. Whose demise was, well, just a little bit exaggerated. Feel free to jump in whenever you like.
(SAM leans against the wall, folding his arms.)
Shy? No problem. I'll keep going. Your family moved around a lot when you were a kid. Despite that, you were a straight-A student. Got into Stanford with a full ride.
(She closes the file.)
Then about a year ago there was a fire in your apartment. One fatality. Jessica Moore, your girlfriend. After she died, you fell off the grid. Left behind everything.


SAM
I needed some time off. To deal. So I'm taking a road trip with my brother.


BALLARD
How's that going for you?


SAM
Great. I mean... we saw the second largest ball of twine in the continental US. Awesome.


He pulls a chair up to the table and straddles it.


BALLARD
We ran Dean's fingerprints through AFIS.


SAM
Okay.


BALLARD
Got over a dozen possible hits.


SAM
Possible hits. Which makes them worthless.


BALLARD
But it makes you wonder. What are we gonna find when we run your prints?


SAM
Yeah, well.
(He pounds his fist on the table sarcastically.)
You be sure to let me know, all right.
(pointing at the cup)
May I?


BALLARD
Please.


SAM
Great.


He sniffs the cup and sips it as she leans over him, intently.


BALLARD
Sam, you seem like a good kid. It's not your fault Dean's your brother. We can't pick our family. Right now detectives in St. Louis are exhuming a corpse. They're trying to figure out how your brother faked his own death. After torturing all those young women. Dean's a bad guy. His life is over. Yours doesn't have to be.


SAM looks at her, incredulous.


SAM
You want me to turn against my own brother?


BALLARD
No. We already caught him cold. Red-handed at the Karen Giles murder scene. We just need you to fill in some missing pieces.


SAM
Why would I do that?


BALLARD
Because I can talk to the DA. Make a deal for you. You can get on with your life. Dean's as good as gone.


SAM thinks for a moment, looking distraught, then begins speaking quietly.


SAM
My dad and Tony Giles were old friends. They were in the service together. We've known him since we were kids, you know? So we came as soon as we heard about his death.


FLASHBACK:


EXT. CAFE - DAY

DEAN is sitting at a cafe table reading a newspaper; the headline reads mMan's Throat Slit Without A Trace.


SAM approaches with two cups of coffee and sets one down. As he sits, DEAN hands over the paper.


SAM
There you go.


DEAN
Anthony Giles.


SAM
Who's Anthony Giles?


DEAN
He's a Baltimore lawyer. Working late in his office, check it out.


SAM
(reading)
Uh... (mutters) throat was slit, room was clean. Huh. No DNA, no prints.


DEAN
Keep reading, it gets better.


SAM
Security cameras failed to capture footage of the assailant.


DEAN
So I'm thinking either somebody tampered with the tapes,


SAM
Or it's an invisible killer.


DEAN
My favorite kind. What do you think, Scully? You wanna check it out?


SAM
I'm not Scully, you're Scully.


DEAN
No, I'm Mulder. You're a red-headed woman.



INT. POLICE STATION

SAM is continuing his story.


SAM
Woulda been kinda hard for Dean to kill Tony, considering we weren't in town at the time.


BALLARD
So tell me what happened next.


SAM
Okay, uh, that's when we went to see Karen. She was barely holding it together. We just wanted to be there for her. You know?


FLASHBACK:

INT. GILES HOUSE - DAY

KAREN, a young woman with dark hair and dark-framed glasses, is sitting in her home, on the verge of tears. She's looking at some forms that SAM and DEAN, dressed as insurance company employees, have given her.


KAREN
Insurance. I totally forgot about the insurance.


SAM
We're very sorry to bother you right now, but the company is required to conduct its own investigation. You understand.


KAREN
Sure.


SAM
Okay. Um. If you could just tell us anything you remember about the night your husband died.


KAREN
Uh, Tony and I were just supposed to have dinner. He called and said he was having computer troubles and that, that he had to work late. That was it.


SAM
Do you have any idea who could have done this to him?


KAREN
No. No, it's like I told the police, I, I have no idea.


DEAN
Did Tony mention anything, you know, unusual to you? In the days before his death?


KAREN
Unusual...


DEAN
Yeah, like strange?


KAREN
(shaking her head)
Strange?


DEAN
You know, Karen, weird? Weird noises, uh, visions, anything like that?


SAM clears his throat and gives DEAN a look; KAREN turns to SAM, who turns on his concerned-face again, then shoots DEAN another look as she glances down.


KAREN
He had a nightmare the day before he died.


SAM
What kind of a nightmare?


KAREN
Uh, he said that he woke up in the middle of the night and there was a woman standing at the foot of the bed, he blinked and she was gone, I mean, it was just a nightmare.


DEAN
Did he say what she looked like?


KAREN
What the hell difference does it make what she looked like?


DEAN
Uh, it's just, our, our company's very thorough.


KAREN
He said she was pale, and she had dark red eyes.


SAM (V.O.)
So I gave Karen a hug, told her to call me if she needed anything,



INT. POLICE STATION

SAM
... and that was it. End of story.


BALLARD
Sam, I am trying to help you here. But you have got to be honest with me. Now we have an eyewitness. Someone who saw two men fitting your and your brother's description breaking into Giles' office.


SAM
Okay, look, Karen called us later, said that there was some stuff that she wanted from Tony's office, but the police weren't letting her in. I, like, a picture of the two of them in Paris, and some other stuff. Look, it was wrong to enter a crime scene, but she gave us the key!


FLASHBACK:

EXT. GILES' OFFICE - NIGHT

SAM picks the lock on GILES office and he and DEAN enter, ducking under the police tape. SAM shines his flashlight on a pool of blood on the floor.


SAM
Hey. Anthony Giles' body was found right about here.
(reading)
"Throat slit so deep part of his spinal cord was visible."


DEAN
(whistling)
What do you think? Vengeful spirit? Underlining vengeful?


SAM
Yeah, maybe. I mean he did see that woman at the foot of his bed.


DEAN picks up a sheet of paper lying on the desk.


DEAN
Take a look at this.


SAM takes the paper. It contains small-font printing of the word "danashulps" repeated over and over to fill the page.


SAM
Dana Shulps. A name?


DEAN finds another paper.


DEAN
I dunno, but it's everywhere.
(grinning)
Well, all work and no play makes Jack a dull boy.


SAM shines his flashlight down on the glass table in front of him, pausing. He breathes on the glass, revealing the same letters - "DANASHULPS" — impressed in the surface.


SAM
Wow. I'd say we've officially crossed over into weird.


DEAN
Maybe Giles knew her.


SAM
Or maybe it's the name of our pale red-eyed mystery girl.


DEAN
Well. Let's see what we can see.


LATER, they are frustrated and have found nothing after searching through all accessible paper and computer files in the office. SAM is at the desktop computer.


DEAN
There's not a single mention of a Dana Shulps anywhere. There's not a D. Shulps. Or any other kind of friggin' Shulps.


SAM
Great.


DEAN
What have you got?


SAM
Nothing. No Dana Shulps has ever lived or died in Baltimore in the last fifty years at least.


DEAN
So what now?


SAM
Well, I think I'm pretty close to cracking Giles' password. Maybe there's something in his personal files, you know?


DEAN
By close you mean...


SAM
Thirty minutes, maybe?


DEAN
(glances at his watch)
Awesome. So I guess I just get to, uh, hang out.
(muttering)
Awesome.


SAM types, concentrating. DEAN sits down, annoyed, and starts making clicking and mouth-fart noises.


SAM
Dude, seriously.


DEAN
All right, I'm gonna go talk to Karen again, see if she knows anything about this Dana Shulps, huh?


SAM
Great.


DEAN
Keep going, Sparky.



END FLASHBACK


INT. POLICE STATION

SAM
Then Dean went back to Karen's place to check up on her. I mean, you know, she had been pretty upset earlier.


BALLARD
So why didn't you go with him?


SAM
I just went back to the motel.
(beat)
How'd you know I was there, by the way?


BALLARD
We found the motel matchbook on your brother when we arrested him. Let's quit fooling around. Now you were with your brother the whole time you were in Baltimore. Why separate now? Because your brother left you. To go murder Karen.


SAM
He didn't kill anyone.


BALLARD
(hitting the table)
I heard the 9-1-1 call! Karen was terrified. She said someone was in the house.


FLASHBACK:

INT. GILES HOUSE - NIGHT

KAREN is sitting on the sofa in pajamas,pyjamas, crying. The TV is on, low. As she blows her nose, she hears a figure pass by. She takes off her glasses to rub her eyes; she pauses, then puts them back on. Across the room in a mirror she sees a ghostly figure. She yelps. She turns on the light and the figure is gone. She gets up, panicked, and goes into the hallway, then into the bedroom and shuts the door. She calls 9-1-1.


OPERATOR
Hello, emergency services.


KAREN
Hello? I think I saw someone in my house.


OPERATOR
What is your address?


KAREN
It's 421 Clinton Avenue. Please, can you -
(There is a click, and the call is disconnected. )
Hello?


The printer on her desk flicks on and starts printing out the same repeated pattern as before: "danashulpsdanashulpsdanashulps". KAREN fumbles for a flashlight, turns, and sees the ghost behind her - it's a young blond woman with dripping red eyes. KAREN screams.

END ACT ONE


ACT TWO

EXT. GILES HOUSE - NIGHT

DEAN arrives at KAREN'S and knocks on the door.


DEAN
Karen, you in there?


DEAN looks around, then picks the lock and enters. He tries the light by the door, but it doesn't work. He goes further into the house, up the stairs and into the bedroom. He pushes open the door and sees KAREN lying on the floor in a pool of her own blood. Her throat is slit deeply. He sees the pages from the printer and frowns.


DEAN
Seriously, what the hell?


DEAN kneels down by KAREN'S body, noticing bruises on her wrists. He takes one wrist in his hand.


POLICEWOMAN
Freeze.


Behind DEAN, two cops have their guns trained on him.


POLICEWOMAN
Stay on your knees. Hands where I can see them. Now!
(He complies.)
Cuff him.


END FLASHBACK


INT. POLICE STATION

SHERIDAN is sitting in an observation room from which he can see DEAN, handcuffed to a table. BALLARD enters.


BALLARD
You getting anywhere with him?


SHERIDAN
No. Just a lot of wise-ass remarks. You?


BALLARD
Sam's story matches Dean's to the last detail.


SHERIDAN
Hmm. Yeah, well, these guys are good. I'll give 'em that.


BALLARD
If we don't get Sam to flip we have nothing but a lot of circumstantial evidence.


SHERIDAN
Hey. We've got Dean at the crime scene with blood on his hands. Juries have convicted for less.


BALLARD
Yeah, but, I mean, where's the murder weapon? What's the motive? You talk about reasonable doubt.


SHERIDAN
Diana.
(He touches her face)
Do you have reasonable doubt? We keep leaning on these guys, one of them will tumble. And don't forget about St. Louis. I'm telling you. This Dean guy is our guy.


BALLARD
I know Tony Giles was a friend of yours.


SHERIDAN
Yeah. He was, he was a good friend.


BALLARD
Look, and I know you want to clean this mess up quick. But come on, Tony knew a lot of criminal types, I mean, maybe we're just...


SHERIDAN
Criminal types? He was a defense lawyer, for godsakes, of course he knew criminal types.


BALLARD
All right, let's get back at 'em.


SHERIDAN
No, you know what? Let 'em stew in their juices for a bit. Come here.
(He kisses her.)



INT. DEAN'S INTERROGATION ROOM

DEAN, still handcuffed to the table, is muttering to himself, thinking.


DEAN
Dana Shulps, Dana Shulps, Dana Shulps Dana, Dana Shulps...



INT. SAM'S INTERROGATION ROOM

SAM pulls a pad of paper and a pen to him and writes "DANA SHULPS" in block letters, frowning in thought.



INT. DEAN'S INTERROGATION ROOM

DEAN
Maybe it's not a name. Maybe it's not a name.




INT. SAM'S INTERROGATION ROOM

SAM
Anagram, maybe?


He writes "ANDA SH..." underneath the first line, then continues.



INT. DEAN'S INTERROGATION ROOM - DAY

Head down, DEAN continues to mutter to himself. There's a knock on the door; he looks up. A smiling middle-aged man pokes his head in.


KRAUS
Mr. Winchester?


DEAN
Yeah.


KRAUS
I'm Jeffrey Kraus. I'm with the public defender's office. I'm your lawyer.


DEAN
(deadpan)
Oh. Thank god. I'm saved.
(as Kraus sits...)
Hey, could I, uh, steal a pen from you? Some paper?


KRAUS
Sure.
(he hands over the items and Dean starts scribbling)
Uh, well, the police haven't found a weapon yet. So that's good. But, uh, they got your prints. And literally blood on your hands. And with your police record, uh...
(seeing that DEAN is ignoring him)
Mr. Winchester? What are you doing?


DEAN
I think it's an anagram.


KRAUS
A what?


DEAN
An anagram. Same letters, different words.


The pad of paper now reads:
DNA SHULPS
DAN SHULPAS
LAND PUSHAS
SUPASH LAND
PUSH LANDAS
PLUSH DANAS


DEAN
Uh, do me a favor? See if you recognize any of these words, you know, local names, places, anything like that?


KRAUS
Do you understand how serious these charges are?


DEAN
I'm handcuffed to a table. Yeah, I get it. Humor me. Take a quick look.


KRAUS pulls the pad over to him.


KRAUS
Well, S-U-P, I don't know about that, but Ashland is a street name. Not far from here.


DEAN
A street.


DEAN takes the pad back, tears off a sheet of paper and starts writing again.


KRAUS
Let's start with where you were the night Anthony Giles died.


DEAN
Can you get in to see my brother?


KRAUS
Mr. Winchester, you could be facing the death penalty here.


DEAN
Hey, thanks for the law review, Matlock. But. If you want to help me...
(holding up the folded note he's just finished)
I need you to see my brother.



INT. POLICE STATION - DAY

BALLARD is writing an email at her computer. Suddenly the repeating string DANASHULPS starts scrolling across the screen. She looks around, nervous.



INT. SAM'S INTERROGATION ROOM - DAY

SAM is looking at the note DEAN sent him, which reads:
HILTS —
IT'S A STREET
ASHLAND.
-MCQUEEN


KRAUS
I hope that's meaningful. But I'd like to discuss your case now.


SAM
(gesturing to the chair)
Sure thing, Matlock.


KRAUS
You two really are brothers, aren't you?
(sitting)
Now. As you know, the DA might be interested in...


A knock on the door is quickly followed by BALLARD, who addresses KRAUS.


BALLARD
We need you. With the other one.