Pilot Transcript

 

Written by: Eric Kripke
Directed by: David Nutter
TEASER

SUBTITLE
Lawrence, Kansas
22 years ago

EXT. WINCHESTER HOUSE - NIGHT

INT. SAM’S NURSERY - NIGHT

SAM (6 months old) is in his crib. MARY carries in DEAN (age 4) and sets him down by the crib.

MARY
Come on, let’s say goodnight to your brother.

DEAN (age 4)
‘Night, Sam.

MARY
Goodnight, love.

JOHN
Hey, Dean.

DEAN
Daddy!

JOHN
Hey, buddy. So what do you think? You think Sammy’s ready to toss around a football yet?

DEAN
No, Daddy.

JOHN
No.

MARY
You got him?

JOHN
I got him. Sweet dreams, Sam.

INT. BEDROOM - NIGHT

MARY wakes to hear strange noises over the baby monitor.

MARY
John?

INT: SAM’S NURSERY - NIGHT

MARY sees a figure standing over SAM’S crib, assumes it is JOHN.

MARY
John? Is he hungry?

FIGURE
Shhh.

MARY
All right.

INT. HALLWAY - NIGHT

The lights are flickering as MARY goes into the hallway; she stops by a lamp on the wall and taps it, frowning.

INT: LIVING ROOM - NIGHT

JOHN has fallen asleep watching a war movie. MARY comes downstairs and sees him, realizing that the figure in SAM’S nursery is not JOHN. She runs back upstairs, yelling for SAM.

INT: SAM’S NURSERY

MARY runs in and stops suddenly, seeing something.

INT: LIVING ROOM

JOHN hears MARY scream and wakes up. He runs upstairs, yelling her name.

INT: SAM’S NURSERY

As JOHN runs in, the room is quiet. SAM is awake.

JOHN
Mary?!
(pause)
Hey, Sammy. You okay?

As JOHN looks into Sam’s crib, something wet drips onto the pillow. He reaches in to touch it, and another drop - of blood - falls on his hand. Terrified, he looks up. He sees MARY plastered to the ceiling, bleeding from the abdomen, staring open-mouthed at him. He yells her name. MARY bursts into flames; the fire spreads over the ceiling. JOHN bundles SAM out of his crib and runs into:

INT: HALLWAY

DEAN
Daddy!

JOHN
Take your brother outside as fast as you can and don’t look back. Now, Dean, go!

Taking SAM, DEAN runs downstairs and out the front door. JOHN goes back into the nursery to find the flames engulfing the room. He yells for her again.

EXT. WINCHESTER HOUSE - NIGHT

DEAN runs outside holding SAM, then stops, turning to look at the house.

DEAN
It’s okay, Sammy.

JOHN comes barreling out of the burning house and scoops up DEAN, still holding SAM, and carries them both to safety.

JOHN
I gotcha.

LATER

The fire department has arrived and is putting out the flames. Several gawkers are kept back by the police. Pan over to the other side of the street, where JOHN sits on the hood of the IMPALA, cradling SAM in his arms, DEAN leaning on his side.

END OF TEASER

ACT ONE

SUBTITLE
Stanford University
Present Day

INT: SAM’S APARTMENT

JESS and SAM are getting ready for a Halloween party. JESS is wearing a “sexy nurse” outfit; SAM, when he appears, is dressed in jeans and a t-shirt.

JESS
Sam! Get a move on, wouldya? We were supposed to be there like fifteen minutes ago.
(beat)
Sam! You comin’, or what?

SAM
Do I have to?

JESS
Yes! It’ll be fun. And where is your costume?

SAM
You know how I feel about Halloween.

INT. BAR - NIGHT

JESS, SAM, and an unnamed FRIEND in a ghoul costume sit around a small table doing shots.

JESS
So here’s to Sam, and his awesome LSAT victory.

SAM
All right, all right, it’s not that big a deal.

JESS
He acts all humble, but he scored a 174.

FRIEND
Is that good?

JESS
Scary good.

FRIEND
So there you go, you are a first-round draft pick. You can go to any law school you want!

SAM
Actually, I got an interview here. Monday. If it goes okay, I think I’ve got a shot at a full ride next year.

JESS
Hey! It’s gonna go great.

SAM
It’d better.

FRIEND
How does it feel to be the golden boy of your family?

SAM
Ah, they don’t know.

FRIEND
Oh, no, I would be gloating! Why not?

SAM
Because we’re not exactly the Bradys.

FRIEND
And I’m not exactly the Huxtables. More shots?

JESS and SAM
No. No!

FRIEND saunters up to the bar anyway. JESS and SAM are alone.

JESS
You know, seriously. I’m proud of you. And you’re gonna knock ‘em dead on Monday and you’re gonna get that full ride. I know it.

SAM
What would I do without you?

JESS
Crash and burn.

She pulls him in for a kiss.

INT: SAM’S BEDROOM - NIGHT

It’s later, after the party. SAM and JESS are asleep. A noise comes from another room, like someone tripping. Sam wakes up, suddenly alert. He creeps out to:

INT HALLWAY - NIGHT

SAM stalks the intruder. He attacks, and they fight. Both are very skilled, blocking and ducking each others' strikes. Finally SAM is pinned to the ground and he sees the intruder’s face.

DEAN
Whoa, easy, tiger.

SAM
Dean? You scared the crap out of me!

DEAN
That’s ‘cause you’re out of practice.

Suddenly SAM lashes out, flipping them over so he is pinning DEAN down.

DEAN
Or not. Get off me.

SAM
What the hell are you doing here?

DEAN
I was looking for a beer.

SAM
What. The hell. Are you doing here?

DEAN
Okay. All right. We gotta talk.

SAM
Uh, the phone?

DEAN
If I’d’a called, would you have picked up?

The light flicks on to reveal JESS, who is bleary with sleep. She is wearing very short shorts and a cropped Smurf’s shirt.

JESS
Sam?

SAM
Jess, hey. Dean, this is my girlfriend, Jessica.

JESS
Wait, your brother Dean?

DEAN
(in full flirt mode)
Oh, I love the Smurfs. You know, I gotta tell you. You are completely out of my brother’s league.

JESS
Just let me put something on.

DEAN
No no, no, I wouldn’t dream of it. Seriously. Anyway, I gotta borrow your boyfriend here, talk about some private family business. But, uh, nice meeting you.

SAM
No.
(He goes to JESS and puts an arm around her. She watches him sideways.)
No, whatever you want to say, you can say it in front of her.

DEAN
Okay. Um. Dad hasn’t been home in a few days.

SAM
So he’s working overtime on a Miller Time shift, he’ll stumble back in sooner or later.

DEAN
(significantly)
Dad’s on a hunting trip. And he hasn’t been home in a few days.

SAM
Jess, excuse us. We have to go outside.

INT: STAIRWELL

SAM and DEAN are moving downstairs through the following.

SAM
I mean, come on. You can’t just break in, middle of the night, and expect me to hit the road with you.

DEAN
You’re not hearing me, Sammy. Dad’s missing. I need you to help me find him.

SAM
You remember the poltergeist in Amherst? Or the Devil’s Gate in Clifton? He was missing then, too. He’s always missing, and he’s always fine.

DEAN
Not for this long. Now are you gonna come with me or not?

SAM
(stopping)
I’m not.

DEAN
Why not?

SAM
I swore I was done hunting. For good.

DEAN
(starts walking again)
Come on. It wasn’t easy, but it wasn’t that bad.

SAM
Yeah? When I told Dad I was scared of the thing in my closet he gave me a .45.

DEAN
Well, what was he supposed to do?

SAM
I was nine years old! He was supposed to say "Don’t be afraid of the dark".

DEAN
Don’t be afraid of the dark? Are you kidding me? Of course you should be afraid of the dark, you know what’s out there.

SAM
Yeah, I know, but still. The way we grew up, after Mom was killed, and Dad’s obsession to find the thing that killed her. But we still haven’t found the damn thing. So we kill everything we can find.

DEAN
We save a lot of people doing it, too.

SAM
You think Mom would have wanted this for us?

DEAN rolls his eyes and goes out the door, SAM following, to:

EXT: PARKING LOT - NIGHT

SAM (cont.)
The weapon training, and melting the silver into bullets? Man, Dean, we were raised like warriors.

They cross the parking lot to the same IMPALA from the flashback scene.

DEAN
So what are you gonna do? You’re just gonna live some normal, apple pie life? Is that it?

SAM
No. Not normal. Safe.

DEAN
And that’s why you ran away.

SAM
I was just going to college. It was Dad who said if I was gonna go I should stay gone. And that’s what I’m doing.

DEAN
Yeah, well, Dad’s in real trouble right now. If he’s not dead already, I can feel it. I can’t do this alone.

SAM
Yes, you can.

DEAN
Yeah, well, I don’t want to.

SAM
(beat)
What was he hunting?

CUT TO:

DEAN opens the trunk of the IMPALA. It is full of weapons, papers, and other clutter; he pulls up a shotgun and uses it to brace the trunk open. He digs through the clutter.

DEAN
All right, let’s see, where the hell did I put that thing?

SAM
So when Dad left, why didn’t you go with him?

DEAN
I was working my own gig. This, uh, voodoo thing, down in New Orleans.

SAM
Dad let you go on a hunting trip by yourself?

DEAN
I’m twentysix, dude.
(He pulls out several papers.)
All right, here we go. So Dad was checking out this two lane blacktop just outside of Jericho, California. About a month ago, this guy. They found his car, but he vanished. Completely M.I.A.

SAM
So maybe he was kidnapped.

DEAN
Yeah. Well, here’s another one in April, another one in December ‘04, ‘03, ‘98, ‘92, ten of them over the past twenty years, all men, all the same five-mile stretch of road. It started happening more and more, so Dad went to go dig around. That was about three weeks ago. I hadn’t heard from him since, which is bad enough.
(He pulls out a small tape recorder.)
Then I get this voicemail yesterday.

He presses “play”. The recording is JOHN’S voice, and is broken up, full of static.

JOHN’S VOICE
Dean... something big is starting to happen... I need to try and figure out what’s going on. It may... Be very careful, Dean. We’re all in danger.

SAM
You know there’s EVP on that?

DEAN
Not bad, Sammy. Kinda like riding a bike, isn’t it? All right. I slowed the message down, I ran it through a gold wave, took out the hiss, and this is what I got.

DEAN presses “play” again. An eerie woman’s voice whispers slowly.

VOICE
I can never go home...

SAM
Never go home.

DEAN stands and shuts the trunk, leaning on it.

DEAN
You know, in almost two years I’ve never bothered you, never asked you for a thing.

SAM
All right. I’ll go. I’ll help you find him. But I have to get back first thing Monday. Just wait here.

DEAN
What’s first thing Monday?

SAM
I have this... I have an interview.

DEAN
What, a job interview? Skip it.

SAM
It’s a law school interview, and it’s my whole future on a plate.

DEAN
Law school?

SAM
So we got a deal, or not?

INT: SAM’S APARTMENT

SAM is packing a duffel bag. He pulls out a large hook-shaped knife and slides it inside. JESS is hovering nearby, confused.

JESS
Wait, you’re taking off? Is this about your dad? Is he all right?

SAM
Yeah. You know, just a little family drama.

JESS
Your brother said he was on some kind of hunting trip.

SAM
Oh, yeah, he’s just deer hunting up at the cabin. He’s probably got Jim, Jack, and José along with him. I’m just going to go bring him back.

JESS
What about the interview?

SAM
I’ll make the interview. This is only for a couple days.

JESS
Sam, I mean, please. Just stop for a second. You sure you’re okay?

SAM
I’m fine.

JESS
It’s just... you won’t even talk about your family. And now you’re taking off in the middle of the night to spend a weekend with them? And with Monday coming up, which is kind of a huge deal.

SAM
Hey. Everything’s going to be okay. I will be back in time, I promise.

SAM kisses her on the cheek and leaves. She shouts after him.

JESS
At least tell me where you’re going.

EXT: CENTENNIAL HIGHWAY - NIGHT

A young man (TROY) is driving down the highway, talking on his cell phone.

SUBTITLE
Jericho, CA

TROY
Amy, I can't come over tonight. Because I've got work in the morning, that's why. (pause) Yeah, okay, I miss it and my dad's gonna have my ass.

He hears a high-pitched whine, looks over and sees a woman in a white dress on the side of the road. She's dancing vaguely, appearing drugged.

TROY
Hey, Amy, let me call you back?

The car radio flickers, buzzing. He pulls the car over.

TROY
Car trouble or something?

WOMAN
Take me home?

TROY
Sure, get in.
(she does)
So, where do you live?

WOMAN
At the end of Breckenridge Road.

MAN
You coming from a Halloween party or something?
(nervous laugh)
You know, a girl like you really shouldn't be alone out here.

She looks at him mournfully, seductively, pulls her skirt up over her thigh.

WOMAN
I'm with you.
(touching his face)
Do you think I'm pretty?

TROY
Uh... huh.

WOMAN
Will you come home with me?

TROY
Um... Hell yeah.

He drives off.

EXT HOUSE - NIGHT

They pull up to an old abandoned house at the end of a road. She stares at it sadly.

TROY
Come on. You don't live here.

WOMAN
I can never go home.

TROY
What are you talking about? Nobody even lives here. Where do you live?

He turns, and she's gone. He gets out of the car, nervous.

TROY
That's good. Joke's over, okay? You want me to leave?
(walking towards the house)
Hello? Hello?

A bird flies at his face, and he yells, running back to the car. He gets in and starts to drive away, frantic. He looks in the mirror, and sees the WOMAN sitting in the back seat. He yells again, and drives straight through a "Bridge Closed" sign, stopping about halfway across the bridge. From our view outside the car we can hear him screaming; blood splatters onto the windows.

EXT: GAS STATION - DAY

Soundtrack: "Rambling Man"

The IMPALA is parked in front of a pump. SAM is sitting in the passenger’s side with the door open, rifling through a box of tapes. DEAN comes out of the convenience mart carrying junk food.

DEAN
Hey! You want breakfast?

SAM
No, thanks. So how’d you pay for that stuff? You and Dad still running credit card scams?

DEAN
Yeah, well, hunting ain’t exactly a pro ball career. Besides, all we do is apply, it’s not our fault they send us the cards.

SAM
Yeah? And what names did you write on the application this time?

DEAN gets in behind the wheel.

DEAN
Uh, Burt Aframian. And his son Hector. Scored two cards out of the deal.

SAM
That sounds about right. I swear, man, you’ve gotta update your cassette tape collection.

DEAN
Why?

SAM
Well, for one, they’re cassette tapes. And two, Black Sabbath? Motörhead? Metallica? It’s the greatest hits of mullet rock.

DEAN
Well, house rules, Sammy. Driver picks the music, shotgun shuts his cakehole.

He snatches a tape from Sam and pops it in; "Back in Black" by AC/DC blasts from the speakers.

SAM
You know, Sammy is a chubby twelve-year-old. It’s Sam, okay?

DEAN
Sorry, I can’t hear you, the music’s too loud.

EXT: CENTENNIAL HIGHWAY - DAY

They drive past a sign: "Jericho 7". Sam is talking on his cell phone.

SAM
Thank you.
(to DEAN)
All right. So, there’s no one matching Dad at the hospital or morgue, so that’s something, I guess.

DEAN
Check it out.

EXT: SYLVANIA BRIDGE - DAY

There is a crime scene in progress on a bridge ahead of them - police tape around a beat-up car, several police cars, various people in uniform milling around. On the riverbed below, several more people are conducting a search.

DEAN
Let’s go.

COP1
(yelling down)
You guys find anything?

MAN
(yelling up)
No! Nothing!

COP2
(in the beat-up car)
No sign of struggle, no footprints, no fingerprints. Spotless. It’s almost too clean.

COP1
So, this kid Troy. He’s dating your daughter, isn’t he?

COP2
Yeah.

COP1
How’s Amy doing?

COP2
She’s putting up Missing posters downtown.

DEAN and SAM walk into the crime scene like they belong there.

DEAN
You fellas had another one like this just last month, didn’t you?

COP1
And who are you?

DEAN
(flashing the badge)
Federal Marshals.

COP1
You two are a little young for Marshals, aren’t you?

DEAN
Thanks, that’s awfully kind of you. You did have another one just like this, correct?

COP1
Yeah, that’s right. About a mile up the road. There’ve been others before that.

SAM
So, this victim, you knew him?

COP1
Town like this, everybody knows everybody.

DEAN
Any connection between the victims, besides that they’re all men?

COP1
No. Not so far as we can tell.

SAM
So what’s the theory?

COP1
Honestly, we don’t know. Serial murder, kidnapping ring,

DEAN
Well, that is exactly the kind of crack police work I’d expect out of you guys.

SAM steps on DEAN’s foot, hard.

SAM
Thank you for your time. Gentlemen.

As they walk away, DEAN smacks SAM on the head.

SAM
Ow! What was that for?

DEAN
Why’d you have to step on my foot?

SAM
Why do you have to talk to the police like that?

DEAN
Come on. They don’t really know what’s going on. We’re all alone on this. I mean, if we’re going to find Dad we’ve got to get to the bottom of this thing ourselves.

Sam clears his throat. Behind DEAN are a grim-looking SHERIFF and two men in FBI jackets.

SHERIFF
Can I help you boys?

DEAN
No, sir, we were just leaving. Agent Mulder. Agent Scully.

EXT. DOWNTOWN JERICHO - DAY

DEAN and SAM walk past a movie theater. The Marquee reads:

EMERGENCY TOWN HALL MEETING
SUNDAY 8PM
BE SAFE OUT THERE

A teenaged girl is tacking up posters showing Troy's face.

DEAN
I'll bet you that's her.

SAM
Yeah.

DEAN
You must be Amy.

AMY
Yeah.

DEAN
Yeah, Troy told us about you. We're his uncles. I'm Dean, this is Sammy.

AMY
He never mentioned you to me.

DEAN
Well, that's Troy, I guess. We're not around much, we're up in Modesto.

SAM
So, we're looking for him too, and we're kinda asking around.

A goth girl approaches, puts a hand gently on AMY'S arm.

GIRL
Hey, are you okay?

AMY
Yeah.

SAM
Mind if we ask you a couple questions?

INT DINER - DAY
The four of them are sitting in a booth, DEAN and SAM opposite the two girls.

AMY
I was on the phone with Troy. He was driving home. He said he would call me right back, and, uh, he never did.

SAM
He didn't say anything strange, or out of the ordinary?

AMY
No. Nothing I can remember.

SAM
(indicating Amy's pentagram)
I like your necklace.

AMY
Troy gave it to me. Mostly to scare my parents. With all that devil stuff.

SAM
Actually, it means just the opposite. A pentagram is protection against evil. Really powerful. I mean, if you believe in that kind of thing.

DEAN
Okay. Thank you, Unsolved Mysteries. Here's the deal, ladies. The way Troy disappeared, something's not right. So if you've heard anything.
(The girls share a look.)
What is it?

GIRL
Well, it's just... I mean, with all these guys going missing, people talk.

DEAN and SAM (in unison)
What do they talk about?

GIRL
It's kind of this local legend. This one girl? She got murdered out on Centennial, like decades ago. Well, supposedly she's still out there. She hitchhikes, and whoever picks her up? Well, they disappear forever.

INT: LIBRARY - DAY

Sitting at a computer, Dean types in a search screen "Female Murder Hitchhiking". He finds no results. He tries "Female Murder Centennial Highway" - the same.

SAM
Let me try.

DEAN
I got it.

SAM shoves DEAN'S chair out of the way and takes over. DEAN hits him in the shoulder.

DEAN
Dude! You're such a control freak.

SAM
So angry spirits are born out of violent death, right?

DEAN
Yeah.

SAM
Well, maybe it's not murder.

He tries the search function "Female Suicide Centennial Highway" and finds an article entitled "Suicide on Centennial". He opens it.

SAM
This was 1981. Constance Welch, twenty four years, jumps off Sylvania Bridge, drowns in the river.

DEAN
Does it say why she did it?

SAM
Yeah.

DEAN
What?

SAM
An hour before they found her she calls 9-1-1, apparently her two little kids are in the bathtub, she leaves them alone for a minute, and when she comes back they aren't breathing. Both die.
(reading)
'Our babies were gone, and Constance just couldn't bear it', said husband Joseph Welch.

DEAN
The bridge look familiar to you?

EXT: SYLVANIA BRIDGE - NIGHTDEAN and SAM come back to the bridge, stopping the car near the entrance. They get out and look over the edge.

DEAN
So this is where Constance took the swan dive.

SAM
So you think Dad would have been here?

DEAN
Well, he’s chasing the same story and we’re chasing him.

SAM
Okay, so now what?

DEAN
Now we keep digging until we find him. Might take a while.

SAM
Dean, I told you, I’ve gotta get back by Monday—

DEAN
—Monday. Right. The interview.

SAM
Yeah.

DEAN
Yeah, I forgot. You’re really serious about this, aren’t you? You think you’re just going to become some lawyer? Marry your girl?

SAM
Maybe. Why not?

DEAN
Does Jessica know the truth about you? I mean, does she know about the things you’ve done?

SAM
No, and she’s not ever going to know.

DEAN
Well, that’s healthy. You can pretend all you want, Sammy. But sooner or later you’re going to have to face up to who you really are.

SAM
And who’s that?

DEAN
You're one of us.

SAM
No. I’m not like you. This is not going to be my life.

DEAN
You have a responsibility to—

SAM
To Dad? And his crusade? If it weren’t for pictures I wouldn’t even know what Mom looks like. And what difference would it make? Even if we do find the thing that killed her, Mom’s gone. And she isn’t coming back.

DEAN has been fuming during this, and he finally grabs SAM by the collar and shoves him up against the railing of the bridge.

DEAN
Don’t talk about her like that.

He releases SAM and walks away. He stops, seeing a woman in a white dress standing on the bridge railing.

DEAN
Sam.

The woman looks at them sadly, then dives limply off the bridge. SAM and DEAN run to the railing and look over.

DEAN
Where'd she go?

SAM
I don't know.

Behind them, the headlights of Dean's car turn on and the engine starts.

DEAN
What the—

SAM
Who's driving your car?

DEAN slowly pulls the keys out of his pocket and jingles them. The car jerks into motion, heading straight for them. They run.

SAM
Dean? Go! Go!

They reach the railing of the bridge and leap over to get away from the possessed car.

END ACT ONE

ACT TWO

Sam is hanging from the edge of the bridge, having caught himself. He pulls himself up and looks around.

SAM
Dean? Dean!

Below, a filthy and annoyed Dean crawls out of the water and onto the mud, panting.

DEAN
What?

SAM
Hey! Are you all right?

DEAN
I'm super.

CUT TO:

EXT. ON THE BRIDGE - NIGHT

Dean shuts the trunk of his car and leans on it.

SAM
Your car all right?

DEAN
Yeah, whatever she did to it, seems all right now. That Constance chick, what a b*tch!

SAM
Well, she doesn't want us digging around, that's for sure. So where's the job go from here, genius?

Dean throws up his arms in frustration, then flicks mud off his hands. Sam sniffs.

SAM
You smell like a toilet.

CUT TO:

INT. MOTEL LOBBY - DAY

Dean throws down a Mastercard bearing the name "Hector Aframian".

DEAN
One room, please.

The clerk, an old and grumpy-looking man, picks up the card and frowns at it.

CLERK
You guys having a reunion or something?

SAM
What do you mean?

CLERK
I had another guy, Burt Aframian. He came and bought out a room for the whole month.

Dean looks at Sam significantly.

CUT TO:

INT JOHN'S MOTEL ROOM - DAY

Sam picks the lock open and enters. Outside, Dean stands watch, until Sam's hand reaches out and grabs him, pulling him bodily inside. They look around the room. Its walls are organized madness - completely covered in newspaper clippings, maps, notes, arrows, etc. The floor is cluttered.

SAM
Whoa.

Dean turns on a light by the bed and picks up a half-eaten hamburger sitting there. Sam steps over a line of salt on the floor. Dean sniffs the burger and recoils.

DEAN
I don't think he's been here for a couple days at least.

Sam fingers the salt on the floor and looks up.

SAM
Salt, cats-eye shells... he was worried. Trying to keep something from coming in.

Dean looks at the papers covering one wall.

SAM
What have you got here?

DEAN
Centennial Highway victims. I don't get it. I mean, different men, different jobs, ages, ethnicities. There's always a connection, right? What do these guys have in common?

Sam has crossed over to the other wall and looks at the papers taped there - they include old articles and drawings, a post-it reading "Mortis Danse" and a scrap of paper that says "Woman In White" at the far end. Sam turns on another lamp.

SAM
Dad figured it out.

DEAN
What do you mean?

SAM
He found the same article we did. Constance Welch. She's a Woman In White.

DEAN
(to the photos on the wall)
You sly dogs. All right, so if we're dealing with a Woman In White Dad would have found the corpse and destroyed it.

SAM
She might have another weakness.

DEAN
Well, Dad would want to make sure. He'd dig her up. Does it say where she's buried?

SAM
No, not that I can tell. If I were Dad, though, I'd go ask her husband. If he's still alive.

DEAN
All right. Why don't you, uh, see if you can find an address, I'm gonna get cleaned up.

SAM
Hey, Dean? What I said earlier... about Mom and Dad, I'm sorry.

DEAN
(holding up a hand)
No chick-flick moments.

SAM
All right. Jerk.

DEAN
B*tch.

As Dean walks into another room Sam sees something, crosses over to pick it up. It is a photograph of John and the boys, appearing about (eight and twelve?) Sam holds the photo, smiling sadly.

LATER

Sam paces, holding his phone. A voicemail message is playing.

JESS' VOICE
Hey, it's me, it's about ten twenty...

Dean comes out of the bathroom, grabs his jacket.

DEAN
Hey, man. I'm starving, I'm gonna grab a little something to eat in that diner down the street. You want anything?

SAM
No, thanks.

DEAN
Aframian's buying.

Sam shakes his head, still listening to the message. Dean goes out to:

EXT. PARKING LOT - DAY

Dean looks over and sees the two deputies from earlier talking to the motel clerk. The clerk points at Dean, who turns, cursing, and pulls out his cell phone.

INSIDE, Sam is still listening to the message.

JESS' VOICE
So call me soon, okay? I love you.

The phone beeps, Sam looks at it, and presses a button.

SAM
What?

DEAN
Dude, five-oh, take off.

SAM
What about you?

DEAN
Uh, they kinda spotted me. Go find Dad.

He hangs up the phone as the deputies approach. He turns and grins at them.

DEAN
Problem, officers?

DEPUTY
Where's your partner?

DEAN
Partner? What, what partner?

Deputy1 jerks his thumb towards the motel room, Deputy 2 heads over there. Dean fidgets nervously.

INSIDE, Sam sees the deputy approach, pulls back from the window.

DEPUTY
So. Fake U.S. Marshal. Fake credit cards. You got anything that's real?

DEAN
My boobs.

CUT TO:

Deputy2 slams Dean over the side of the cop car as Deputy1 reads him his rights.

DEPUTY
You have the right to remain silent...

END OF ACT TWO

ACT THREE


INT. POLICE STATION - DAY

The door opens, and the Sheriff from earlier enters, carrying a box. He sets it down on the table.

SHERIFF
So you want to give us your real name?

DEAN
I told you, it's Nugent. Ted Nugent.

SHERIFF
I'm not sure you realize just how much trouble you're in here.

DEAN
We talkin', like, misdemeanor kind of trouble, or, uh, squeal like a pig trouble?

SHERIFF
You got the faces of ten missing persons taped to your wall. Along with a whole lot of Satanic mumbo-jumbo. Boy, you are officially a suspect.

DEAN
That makes sense. Because when the first one went missing in '82 I was three.

SHERIFF
I know you've got partners, one of 'em's an older guy. Maybe he started the whole thing. So tell me. Dean. This his?

He tosses a brown leather book (JOHN'S JOURNAL) on the table. Dean stares at it.

SHERIFF
I thought that might be your name. See, I leafed through this. What little I could make out — I mean, it's nine kinds of crazy. But I found this, too.

He opens the journal to a page that reads:
DEAN 35-111

SHERIFF
Now. You're stayin' right here until you tell me exactly what the hell that means.

EXT WELCH HOUSE - DAY

Sam knocks on a grimy door. Joseph Welch opens it.

SAM
Hi. Are you Joseph Welch?

JOSEPH
Yeah.

CUT TO:

SAM and JOSEPH are walking down the driveway, Joseph holding the photo Sam had found earlier.

JOSEPH
Yeah, he was older, but that's him. He came by three or four days ago. Said he was a reporter.

SAM
That's right. We're working on a story together.

JOSEPH
Well, I don't know what the hell kinda story you're working on. The questions he asked me?

SAM
About your wife Constance?

JOSEPH
He asked me where she was buried.

SAM
And, where is that again?

JOSEPH
What, I gotta go through this twice?

SAM
It's fact checking. If you don't mind.

JOSEPH
In a plot. Behind my old place over on Breckenridge.

SAM
And why did you move?

JOSEPH
I'm not gonna live in the house where my children died.

SAM
Mr. Welch, did you ever marry again?

JOSEPH
No way. Constance, she was the love of my life. Prettiest woman I ever known.

SAM
So you had a happy marriage?

JOSEPH
(hesitates)
Definitely.

SAM
Well, that should do it. Thanks for your time.
(As Sam starts to open the car door, he pauses and looks back.)
Mr. Welch, did you ever hear of a Woman In White?

JOSEPH
A what?

SAM
A Woman In White. Or sometimes Weeping Woman? It's a ghost story. Well, it's more of a phenomenon, really. Um, they're spirits. They've been sighted for hundreds of years, dozens of places, in Hawaii, Mexico, lately Arizona, Indiana. All these are different women, you understand. But all share the same story.

JOSEPH
Boy, I don't care much for nonsense.

SAM
See, when they were alive, their husbands were unfaithful to them. And these women, basically suffering from temporary insanity murdered their children. Then once they realized what they had done, they took their own lives. So now their spirits are cursed, walking back roads, waterways. And if they find an unfaithful man, they kill him. And that man is never seen again.

JOSEPH
You think... you think that has something to do with... Constance? You smartass!

SAM
You tell me.

JOSEPH
I mean, maybe... maybe I made some mistakes. But no matter what I did, Constance, she never would have killed her own children. Now, you get the hell out of here! And you don't come back!

INT. POLICE STATION - NIGHT

Dean is still being interrogated about the journal, which is open to the page reading "Dean 33-111". He leans forward, frustrated.

DEAN
I don't know how many times I gotta tell you. It's my high school locker combo.

SHERIFF
We gonna do this all night long?

DEPUTY
(poking his head in)
We just got a 9-1-1, shots fired over at Whiteford Road.

SHERIFF
You have to go to the bathroom?

DEAN
No.

SHERIFF
Good.

He handcuffs Dean to the table and leaves. Dean sees a paper clip poking out of the journal, picks it up, smiles. Moments later, as the deputies are still heading out the door, he is free. He ducks out of sight behind the door, then escapes to:

EXT POLICE STATION - NIGHT

Dean climbs out and down the fire escape, carrying John's journal. He calls from a payphone to:

EXT HIGHWAY - NIGHT

Sam is driving Dean's car, and his phone rings.

DEAN (in phone booth)
Fake 9-1-1 phone call? I don't know, Sammy, that's pretty illegal.

SAM
You're welcome.

DEAN
Listen, we gotta talk.

SAM
Tell me about it. So the husband was unfaithful. We are dealing with a Woman In White. And she's buried behind her old house, so that should have been Dad's next stop.

DEAN
Sammy, would you shut up for a second?

SAM
I just can't figure out why Dad hasn't destroyed the corpse yet.

DEAN
Well, that's what I'm trying to tell you. He's gone. Dad left Jericho.

SAM
What? How do you know?

DEAN
I've got his journal.

SAM
He doesn't go anywhere without that thing.

DEAN
Yeah, well, he did this time.

SAM
What's it say?

DEAN
Ah, the same old ex-marine crap, when he wants to let us know where he's going.

SAM
Coordinates. Where to?

DEAN
I'm not sure yet.

SAM
I don't understand. I mean, what could be so important that Dad would just skip out in the middle of a job? Dean, what the hell is going on?

He looks up suddenly, dropping the phone as he sees Constance in the road ahead of him and tries to brake. The car goes right through her as he slows to a stop.

DEAN
Sam? Sam!

Inside the car, we see Constance sitting in the back seat.

CONSTANCE
Take me home.

END ACT THREE

ACT FOUR

CONSTANCE
Take me home!

SAM
No.

CONSTANCE glares, and the doors lock themselves, SAM struggling to reopen them. The gas pedal presses down and the car begins to drive itself. SAM tries to take control but can't. The car pulls up in front of the abandoned house.

SAM
Don't do this.

CONSTANCE
I can never go home.

SAM
You're scared to go home.

SAM looks back, and she's disappeared, reappearing in the front seat. She climbs into his lap, aggressively sexual.

CONSTANCE
Hold me. I'm so cold.

SAM
You can't kill me. I'm not unfaithful. I've never been!

CONSTANCE
You will be. Just hold me.

CONSTANCE kisses SAM as he struggles to reach for the keys. She pulls back and disappears; a moment later Sam yells in pain as her image flickers in front of him, stabbing her hand into his chest. A gunshot goes off and Constance is startled; outside the shattered window Dean approaches, still firing at her. Sam manages to sit forward and start the car.

SAM
I'm taking you home.

SAM drives the car forward, smashing it through the side of the house. DEAN runs to meet him.

DEAN
Sam! Sam! You okay?

SAM
I think...

DEAN
Can you move?

SAM
Yeah. Help me?

As DEAN helps SAM out of the car, CONSTANCE picks up a large framed photograph depicting her and two young children. She looks at it, distraught. She drops the photo angrily and backs up; a bureau flies towards Sam and Dean, pinning them against the car. The lights flicker; Constance looks around, scared. Water begins to pour down the staircase as she goes to it. At the top are the boy and girl from the photograph. They hold hands.

BOY and GIRL (in unison)
You've come home to us, Mommy.

CONSTANCE looks at them, distraught. Suddenly they are behind her; they embrace her tightly and she screams, her image flickering. In a surge of energy, still screaming, she and the two children melt into a puddle in the floor. SAM and DEAN shove the bureau over and go to look at the spot where they vanished.

DEAN
So this is where she drowned her kids.

SAM
That's why she could never go home. She was too scared to face them.

DEAN
You found her weak spot. Nice work, Sammy.

DEAN slaps SAM on the chest where he's been injured; SAM whimpers in pain.

SAM
Yeah, I wish I could say the same for you. What were you thinking shooting Casper in the face, you freak?

DEAN
Hey. Saved your ass. I'll tell you another thing, if you screwed up my car, I'll kill you.

EXT. HIGHWAY - NIGHT

The Impala tears down the road; one headlight is out. Inside, SAM has the journal and a map open on his lap and is finding coordinates with a ruler, a flashlight tucked under his cheek.

SAM
Okay, here's where Dad went, it's called Blackwater Ridge, Colorado.

DEAN
(nodding)
Sounds charming. How far?

SAM
About six hundred miles.

DEAN
Hey, if we shag ass we could make it by morning.

SAM
(looks at him, hesitating)
Dean, um...

DEAN
You're not going.

SAM
The interview's in like, ten hours. I gotta be there.

Dean nods, disappointed.

DEAN
Yeah. Yeah, whatever. I'll take you home.

EXT. SAM'S APARTMENT, NIGHT

They pull up in front of the apartment, DEAN still frowning. SAM gets out, leans over to look through the window.

SAM
Call me if you find him?
(DEAN nods.)
And maybe I'll hook up with you later, huh?

DEAN
Yeah, all right.
(SAM starts to walk away.)
Sam? You know, we made a hell of a team back there.

SAM
Yeah.

DEAN drives off. SAM goes into:

INT. SAM'S APARTMENT - NIGHT

The house is quiet.

SAM
Jess? You home?

On the table SAM sees a plate of cookies with a note reading "Missed you! Love you!" He picks one up and eats it as he creeps into the bedroom, smiling. He sits on the bed, shuts his eyes, and flops onto his back.

Blood drips onto his face; he flinches and opens his eyes. He gasps in horror: JESS is pinned to the ceiling, staring down at him and bleeding from the belly.

SAM
No!

JESS bursts into flame; the fire spreads across the ceiling. DEAN kicks the front door open.

DEAN
Sam!

SAM
Jess!

DEAN comes running into the bedroom

DEAN
Sam! Sam!

DEAN looks up and sees JESS, horrified. He grabs SAM off the bed and bodily shoves him out the door, SAM struggling all the way.

SAM
Jess! Jess! No!

Flames engulf the apartment.

EXT. SAM'S APARTMENT - NIGHT

In a scene much like the end of the flashback, a fire truck is parked outside the building, firemen and police keeping back gawkers. DEAN looks on, then turns and walks back to his car. SAM is standing behind the open trunk, loading a shotgun. DEAN looks at the trunk, then at SAM, whose face is set in a mask of desperate anger. SAM sighs, nods, tosses the shotgun into the trunk.

SAM
We got work to do.

He shuts the trunk.

END EPISODE



october57rain
october57rain
Latest page update: made by october57rain , Dec 13 2013, 11:42 AM EST (about this update - complete history)
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