Βρίσκεστε Εδώ
Αρχική Σελίδα > Supernatural > Seasons > Season 4 > Σενάριο Supernatural | 4×19 Jump the Shark

Σενάριο Supernatural | 4×19 Jump the Shark

4x19 Jump the Shark sam dean adam

Σενάριο Supernatural | 4×19 Jump the Shark 

Written by: Andrew Dabb and Daniel Loflin

Directed by: Phil Sgriccia

Air Date: 23 Apr 2009

THEN

From 4.09 I Know What You Did Last Summer, SAM and DEAN run at the church window and jump out of it, through the glass.

From 1.20 Dead Man’s Blood, JOHN talks to SAM.

JOHN
You left. Your brother and me, we needed you. You walked away, Sam. You walked away!

SAM
You’re the one who said «don’t come back», Dad. You’re the one who closed that door, not me!

From 1.18 Something Wicked, SAM and DEAN shoot the striga.

From 1.20 Dead Man’s Blood, JOHN talks to SAM.

JOHN
Sammy, I just couldn’t accept the fact that you and me—we’re just different.

SAM
We’re not different. Not anymore.

From 2.02 Everybody Loves a Clown, DEAN shoots the RAKSHASHA.

From 3.02 The Kids Are Alright, SAM lights a flamethrower. The ADULT CHANGELING screams and burns.

From 4.16 On the Head of a Pin, SAM talks to RUBY.

SAM
Ruby, it’s been weeks. I need it.

RUBY cuts her arm, smirking.

DEAN (voiceover from 4.04 Metamorphosis)
Do you even know how far off the reservation you’ve gone?

SAM drinks RUBY’s blood.

From 4.04 Metamorphosis, DEAN talks to SAM.

DEAN
How far from normal? From human?

From 4.03 In the Beginning, CASTIEL talks to DEAN.

CASTIEL
Your brother is headed down a dangerous road, Dean.

From 4.16 On the Head of a Pin, SAM drives.

From 4.04 Metamorphosis, DEAN smashes things and talks to SAM.

DEAN
It’s already gone too far, Sam. If I didn’t know you, I would want to hunt you.

NOW

INT. HALLWAY – NIGHT

The camera approaches a window. Next to the window is a table with a lamp and two photographs; one is of a young man and a woman, ADAM and KATE MILLIGAN. KATE herself runs into the table, looking back fearfully. She shrieks and runs down the hallway. She looks back and keeps running.

KATE
No! Go away!

KATE gets into her bedroom and locks the door behind her.

INT. BEDROOM – NIGHT

KATE, who is wearing a coat over blue scrubs, leans against the door as SOMEONE pounds on it.

The pounding abruptly stops.

KATE waits a moment, breathing hard, and shoves the dresser in front of the door. She relaxes a bit, walking backward towards her bed. SOMEONE ELSE is under the bed.

KATE sits on the bed, still breathing hard.

KATE
Oh, my god. Oh, my god. Oh, god. It’s okay. It’s okay.

KATE yells: the SOMEONE ELSE has grabbed her by the ankle and pulled, dragging her onto the floor. The SOMEONE ELSE drags KATE under the bed. KATE screams, grabbing at the floor. KATE grabs the nightstand right before she goes under, knocking it over and knocking a picture onto the floor: it’s of JOHN WINCHESTER.

ACT ONE

MIDDLE OF NOWHERE

EXT. LAKESIDE – DAY

«JUMP THE SHARK»

The Impala is parked next to a lake. SAM is leaning against the hood, brushing his teeth. DEAN is lying across the front seat, head and shoulders up against the door. DEAN twists around, getting SAM’s attention, and opens the door, which nearly dumps him on the ground.

SAM
Hey. How’d you sleep?

DEAN climbs out of the car.

DEAN
How do you think? I’m starving. Let’s get breakfast.

SAM
Where? We’re like two hours from anything.

DEAN
But I’m hungry now.

DEAN comes around to the front of the car.

SAM
There’s probably still a sandwich in the back seat.

DEAN turns around, rubbing a hand over his face, and reaches in through the open back window, pulling out a paper bag. He opens the bag and sniffs, then leans his head back and inhales.

DEAN
It’s tuna.

A phone rings inside the car. DEAN tosses the bag back into the back seat and puts his hands to his jeans pockets. SAM spits out toothpaste foam. DEAN leans in through the front window and rummages in the glove compartment, pulling out the ringing phone. DEAN hits his head on the roof as he tries to get out. DEAN looks at the phone.

SAM
Isn’t that Dad’s phone?

DEAN flips the phone open, presses a button, and puts it to his ear.

DEAN
Hello?

A YOUNG MAN, ADAM MILLIGAN, answers.

ADAM
Uh, is this John?

DEAN
He can’t come to the phone. Can I help you?

ADAM
No no no—I really—I need to talk to John. This is Adam Milligan. He knows me.

DEAN
Well, sorry to be the one to break this to you, pal, but John died more than two years ago.

A shocked sound.

DEAN
Who is this?

ADAM
I’m his son.

DEAN stares.

WINDOM

The Impala parks next to Cousin Oliver’s Hilltop Cafe.

Windom, Minnesota

A van goes past.

DEAN and SAM get out of the car.

Co-Executive Producer
PHIL SGRICCIA

SAM
Dean, look, best I can tell, Adam Milligan is real.

DEAN unlocks and opens the trunk, then the weapons box. SAM reads from a paper in an open folder.

SAM
Um, born September twenty-ninth, 1990 to Kate Milligan. No father listed on the birth certificate. He’s an Eagle Scout.

DEAN pulls assorted weapons out of the trunk, including Ruby’s knife.

SAM
Graduated from high school with honors and currently goes to the University of Wisconsin—biology major, pre-med.

DEAN closes the weapons box.

SAM
Dean? You listening?

DEAN
This is a trap.

DEAN closes the trunk and heads past SAM. SAM closes the folder.

DINER

INT. DINER – DAY

Executive Producer
McG

DEAN and SAM enter the diner with a bell ringing at the door. There’s a MAN at the counter, a WAITRESS serving a burger, a couple other customers.

Executive Producer
KIM MANNERS

DEAN and SAM scan opposite halves of the diner; DEAN sees an empty table in a corner with four chairs. He pulls one of the chairs away from the table and next to the potted plant.

Produced by
VLADIMIR STEFOFF

DEAN and SAM sit in the two chairs on the other side of the table, ensuring that ADAM will sit in the last chair. SAM thumps John’s journal and the folder on the table.

SAM
Dean, I’m telling you, the kid checks out.

Created by
ERIC KRIPKE

DEAN
Great, so he’s an actual person on the planet Earth. Sucks he’s got a demon in him.

Another WAITRESS, DENISE, approaches the table with menus and glasses of water; she gives them each a glass.

DENISE
Hi. Welcome to Cousin Oliver’s.

SAM
Thanks.

DENISE
Can I—

DEAN
We’re actually waiting on somebody.

DENISE, annoyed, slaps down a menu in front of each of them.

SAM
Thank you—

SAM picks up his menu long enough to slap it down. DEAN takes his glass and pours it into the potted plant behind him.

SAM
What are you—

DEAN puts the glass between his knees and pulls out a flask, unscrewing the top.

Written by
ANDREW DABB &
DANIEL LOFLIN

SAM
Holy water?

DEAN
Yup.

Under the table, DEAN fills the glass with water from the flask.

DEAN
One sip of Jesus juice, this evil bitch is gonna be in a world of hurt.

DENISE walks past; when she is out of sight, DEAN puts the glass in front of the third place at the table. DEAN pulls out a felt-wrapped package and undoes it.

SAM
And what if he’s not possessed?

Directed by
PHIL SGRICCIA

DEAN
Then he is a shapeshifter.

DEAN’s package contains silver cutlery, which he sets at the third place at the table, removing the silverware already there and dropping it on the floor.

SAM
Hence the silver.

SAM moves the journal on top of the menu.

DEAN
Look, either way, this thing is gonna bleed. I mean, using Dad as bait? That’s the last mistake of its short, pitiful life.

SAM frowns, watching DEAN, who looks over.

DEAN
What?

SAM looks away.

DEAN
What?

SAM
Dean…listen. There’s an entry in Dad’s journal.

SAM flips through same.

SAM
From January of 1990, saying he’s headed to Minnesota to check out a case. That’s, roughly, oh, about nine months before the kid was born.

DEAN
Coincidence.

SAM
Coincidence. Next two pages of the journal—torn out.

SAM indicates the remains of the pages; these must have been deliberately left, because the journal is clearly a three-ring add-and-remove-pages type.

DEAN
You’re not actually buying this, are you?

SAM
Look, man, I don’t want to believe it either, I’m just saying it’s possible.

SAM closes the journal and picks it up, waving it.

SAM
I mean, Dad would be gone for weeks at a time, and he wasn’t exactly a monk.

SAM puts the journal away.

SAM
I mean, a hunter rolls into town, kills a monster, saves the girl…sometimes the girl’s grateful.

DEAN
Well, now I’m thinking about Dad sex. Stop talking.

SAM
Maybe he slipped one past the goalie.

DEAN
Dude!

The door chimes. A YOUNG MAN has just come in: this is ADAM MILLIGAN. SAM looks up, then DEAN. ADAM looks around, looking for the unfamiliar faces.

SAM
Adam?

ADAM looks over. SAM raises a hand. ADAM comes over.

ADAM
You Sam?

SAM
Yeah. Uh, this is Dean.

ADAM
Hey.

ADAM sets his backpack on the floor next to the empty chair and takes that chair. The door chimes again.

ADAM
So, um…how did you know my dad?

SAM
Uh, we worked together.

ADAM’s facial expressions indicate confusion.

ADAM
How did he die?

SAM
On the job.

ADAM
He was a mechanic, right?

DEAN
A car fell on him.

DENISE comes up to the table, much friendlier.

DENISE
Hey, Adam. How you doing?

DENISE puts a glass of water in front of ADAM. DEAN leans forward to take it. SAM frowns.

DEAN
Oh, I’ll take that. I am very thirsty.

DEAN takes a sip. DENISE eyes DEAN, displeased.

DENISE
The usual, Adam?

ADAM
Uh, yeah. Thanks, Denise.

DENISE leaves. ADAM takes the glass of holy water. DEAN and SAM watch carefully as he drinks; nothing happens. ADAM is not, then, possessed, or not by a demon less powerful than Azazel. ADAM wipes his mouth with the back of his hand.

SAM
So, uh, when’s the last time you saw John?

ADAM
I don’t even know. It’s…a couple years.

Under the table, DEAN pulls out a gun and aims at ADAM.

SAM
Why did you decide to call him now?

ADAM
I didn’t know who else to call. He’s the only family I got.

SAM blinks.

ADAM
My mom’s missing.

SAM
Really? I’m sorry. Uh, for how long?

DEAN
It’s tragic, really. But if you’re John’s kid, how come we’ve never heard of you?

ADAM
‘Cause John and me didn’t really know each other. Not until a few years ago, anyway.

SAM
What do you mean?

ADAM
My mom never talked about him. I knew some stuff.

DEAN
What kind of stuff?

ADAM
My mom’s a nurse, and Dad came into the ER, pretty torn up. Hunting accident or something. And I knew his name. John Winchester. That’s about it. We’re not exactly a nuclear family.

SAM
Yeah, well, who is these days?

DEAN
So, when did you, uh, when did you finally meet him?

ADAM
When I was twelve. My mom had one of his old numbers, and—

DEAN’s hand tightens on the gun.

ADAM
—and after I begged her—God, twenty-four-seven—she finally called him. God, when John heard he had a son, he raced to town. I mean, he dropped everything. He drove all night.

DENISE puts a plate in front of ADAM.

DENISE
There you go.

ADAM
Thanks.

DEAN
Well, that’s heartwarming.

ADAM indicates his food.

ADAM
You mind?

DEAN
Please, dig in.

ADAM takes the napkin out from under the silverware without touching the silverware and spreads the napkin on his lap. DEAN cocks the gun.

ADAM
He would swing by once a year or so.

ADAM picks up the knife and fork; nothing happens. So ADAM is not a shapeshifter, nor anything else that reacts on contact with silver. DEAN glances away.

ADAM
You know, called when he could. But still…

ADAM takes a bite. DEAN uncocks the gun and puts it away.

ADAM
He taught me poker and pool and even bought me my first beer when I was fifteen. And, uh…he showed me how to drive. Dad, he had this beautiful ‘sixty-seven Impala—

DEAN
Oh, this is crap. You know what, you’re lying.

ADAM
No, I’m not.

DEAN
Uh, yeah, you are.

ADAM
I’m sorry, but who the hell are you to call me a liar?

DEAN
We’re John Winchester’s sons, that’s who.

DEAN indicates himself and SAM.

DEAN
We are his sons.

ADAM stares at DEAN, then at SAM, then at DEAN.

ADAM
I’ve got brothers?

DEAN
No, you don’t have brothers. Look, man, I don’t know if you’re a hunter or what kind of game you’re playing here.

ADAM
I have never been hunting in my life.

DEAN
Whatever. I’m out of here. Come on, Sam.

DEAN gets up and goes to leave.

ADAM
I can prove it.

MILLIGAN HOUSE

INT. MILLIGAN HOUSE – DAY

DEAN holds a framed picture of ADAM and JOHN; JOHN is wearing a baseball cap. SAM and DEAN examine the picture.

DEAN
He took you to a baseball game?

ADAM
Yeah, when I turned fourteen. Dad was around for a few of my birthdays.

SAM holds John’s journal, open to a page he reads from.

SAM
September twenty-ninth, two thousand four. One word. ‘Minnesota.’

DEAN
He took you to a freakin’ baseball game?

ADAM
Yeah. Why? What’d Dad do with you on your birthday?

ADAM takes the picture back.

DEAN
Oh…

DEAN frowns. ADAM looks away.

SAM
Adam, you said you called Dad because your mom was missing.

ADAM
Yeah.

SAM
How long has she been gone?

ADAM
Three days.

DEAN
Who was the last person to see her?

ADAM
Mr. Abbinanti, our neighbor. He saw her come home Tuesday night, but she never showed up to work on Wednesday.

DEAN sees another picture, this one of JOHN hugging KATE. KATE resembles MARY.

SAM
Did you call the police?

ADAM
Mom’s supervisor at the hospital did. And then I drove down here as fast as I could.

ADAM pauses.

ADAM
I should have been here.

DEAN
What’d the, uh, what’d the cops say?

ADAM
That they, uh, they searched the house. They didn’t find anything.

ADAM pauses.

ADAM
She wouldn’t leave without telling anybody. It’s like she just dropped off the face of the earth, you know?

KATE’S ROOM

INT. KATE’S ROOM – DAY

DEAN shifts KATE’s dresser. Seeing nothing behind it, he shifts it back. There are more pictures on the dresser: one of KATE, JOHN, and a younger ADAM, and one of KATE and a very small ADAM. DEAN focuses on the one with JOHN.

DEAN
The, uh, nightstand was knocked over. Was there anything else?

ADAM
Oh, not really. The sheriff said there’s no sign of a break-in.

DEAN looks around.

ADAM
What, you think the cops missed something?

DEAN
Maybe. Yeah. They don’t have my eyes.

ADAM
You’re a mechanic.

DEAN
Yeah. That’s right.

ADAM hesitates.

ADAM
Dean, what else can you tell me about Dad?

DEAN
You knew him.

ADAM
Not as well as you.

DEAN
Trust me, kid, you don’t want to know.

SAM appears at the door, holding up a handful of papers.

DEAN
Give us a minute.

DEAN leaves.

INT. HALLWAY – DAY

DEAN and SAM stop walking.

DEAN
You talk to the cops?

SAM
Yeah. Like Adam said, no leads on his mom.

DEAN
Shocker there.

SAM
But I did find this.

SAM goes through papers till he finds a copy of the Windom Gazette dated January 9, 1990. The headline is «Missing Bodies Found» and the subtitle «Seventeen bodies recovered from abandoned shed».

SAM
Um…here. In nineteen ninety, there were seventeen grave robberies in Windom.

DEAN
You think that’s why Dad came through here?

SAM
I’d say so. Check it out.

SAM points at the photo accompanying the article. DEAN takes a closer look. JOHN is in the background of the photo. DEAN nods.

DEAN
All right, so he was hunting something. What?

SAM
No idea. Those were the pages he threw out of the journal. But last month, the corpse snatching started up again. Three bodies from the local cemetery.

DEAN
So whatever he was after, he didn’t kill it. It’s back.

SAM
And, what, it’s stepped up its game to fresh meat? I mean, Kate’s missing, and, uh—

SAM goes to the next paper. This one’s a copy of a photo of a MAN in large black glasses, JOE BARTON.

SAM
So is a local bartender—a guy named Joe Barton.

DEAN takes the photo.

INT. KATE’S BEDROOM – DAY

ADAM is sitting on KATE’s bed. DEAN comes to the door and holds up the photo.

DEAN
Hey, does your mom know Joe Barton?

ADAM
Uh, I don’t think so. Why?

DEAN looks back at SAM, then at ADAM. A long pause. DEAN notices something by ADAM’s feet: scratches on the floor. DEAN comes over for a closer look.

ADAM
What is it?

DEAN
Watch out.

DEAN flips up the edge of the comforter and looks under the bed, then gets up.

DEAN
Give me a hand with the mattress.

DEAN tosses the pillows aside and with ADAM’s help moves the mattress off the bedframe. Under the bed is a vent large enough to fit someone through. SAM looks at it. DEAN looks at SAM. They raise their fists for rock-paper-scissors. SAM picks rock, DEAN scissors. SAM smirks and DEAN waves his arms, frustrated, then puts his hands on his hips.

DEAN
Every time.

AIR DUCT

INT. AIR DUCT – DAY

A thump, the sound of the vent cover coming off, and light from a flashlight fills the duct. There are red stains along the duct. DEAN shines the light around, then slides inside. There is a T-junction at the end of the duct he’s in.

DEAN
Why didn’t I pick paper?

DEAN crawls to the T-junction. More red stains: blood. DEAN crawls a bit further; to one side is another vent cover, undisturbed. DEAN has a pistol in his other hand, which he points around the corner before he leans around himself. There is a large amount of blood and bits of flesh or bone in the duct.

ACT TWO

MOTEL ROOM

INT. MOTEL ROOM – DAY

DEAN cleans a shotgun. A knock at the door. DEAN turns. A closeup of the motel card—they’re at the Kismet Motel, advertising fishing charters and happy hour in the Sonny Buono Lounge—and SAM opens the door. ADAM enters.

ADAM
Who the hell are you?

SAM
Adam, hey.

SAM closes the door behind ADAM. DEAN flips a cloth over the shotgun.

SAM
Take it easy.

ADAM
No, don’t tell me to take it easy, okay? My house is a crime scene, my mom’s probably dead, and you two—well, you tell me to call the cops, but you got to bail before they show? So, who are you really?

Silence.

ADAM
Cops didn’t know where to look for my mom, Dean, but you did. And I heard you talking earlier—something about grave robberies.

ADAM spots the end of the shotgun poking out from under the cloth.

ADAM
You’re not mechanics. I just want to know what’s going on.

Silence.

ADAM
Please.

SAM
We’re hunters.

DEAN
Sammy!

SAM
He deserves to know, Dean.

ADAM
What do you mean, ‘hunters’?

DEAN shakes his head.

MOTEL ROOM, LATER

EXT. KISMET MOTEL – DAY

The Impala and ADAM’s truck are outside the Kismet Motel.

INT. MOTEL ROOM – DAY

ADAM
Okay, so…basically, you’re saying that every movie monster, every nightmare that I’ve ever had, that’s all real?

DEAN
Godzilla’s just a movie.

SAM
We hunt them. So did Dad.

ADAM nods.

ADAM
Okay.

DEAN
«Okay»? That’s it?

ADAM
What am I supposed to say?

DEAN
That we’re liars, that we’re crazy. Nobody just says «okay.»

ADAM
Well, you’re my brothers. You’re telling me the truth, right?

DEAN
Yeah.

ADAM
Then I believe you. Now, what took my mom?

SAM
We’re not sure. Something’s in town stealing bodies, living and dead, but we don’t know what.

DEAN
There’s a long list of freaks that fit the bill.

ADAM
You think maybe she might still be alive?

DEAN looks down. ADAM turns to SAM. SAM looks down. ADAM nods, realizing, and looks down.

ADAM
Oh. How can I help?

DEAN
You can’t.

ADAM
This thing killed my mom. If you’re hunting it, I want in.

DEAN
No.

SAM
Dean, look, maybe—

DEAN
Maybe what?

SAM
He lost his mother. Maybe we can understand what that feels like.

DEAN
Why do you think Dad never told us about this kid, Sam? Huh? Why do you think he ripped out the pages?

SAM
Because—

DEAN
Because he was protecting him!

SAM
Dad’s dead, Dean.

DEAN
That doesn’t matter! He didn’t want Adam to have our lives, okay? And we are gonna respect his wishes.

ADAM
Do I get a say in this?

DEAN
No!

SAM
No.

DEAN heads for the door.

DEAN
Babysit the kid.

SAM
Where are you going?

DEAN grabs his jacket.

DEAN
I’m going out!

DEAN leaves. SAM sighs.

ADAM
Is he always like that?

SAM laughs.

SAM
Welcome to the family.

ADAM looks down.

SAM
Here.

SAM pulls out his gun and ejects the clip.

SAM
I’m gonna teach you a few things.

ADAM
Uh, Dean said—

SAM
I know what Dean said.

SAM holds the unloaded gun out to ADAM.

SAM
And I know what it’s like to want revenge.

MILLSAP TOMB

INT. TOMB — DAY

The CEMETERY DIRECTOR escorts DEAN, who is in FBI suit and tie.

DIRECTOR
This tomb was built in 1926. Four generations of the Millsap family were interred here.

DEAN
They don’t build ’em like this anymore.

DIRECTOR
Tell me, Agent Nugent, have you thought about where you might like to spend eternity?

DEAN hesitates.

DEAN
All the damn time.

DEAN looks around the tomb.

DEAN
So, three bodies went missing. Any idea who did it?

DIRECTOR
Hooligans. Sick, deranged hooligans.

DEAN notices something spilled on the side of the tomb. He touches it, smells it, and recoils.

DEAN
This isn’t blood. What is this?

DIRECTOR
No, it’s embalming fluid. Whoever committed this crime didn’t just take the corpses. They opened them up.

DEAN looks up.

BAR

INT. BAR – NIGHT

DEAN takes a seat at the empty bar and unfolds the papers he’s carrying. The BARTENDER spots him and fills a glass at the tap.

BARTENDER
First beer’s on the house for cops. Feds too.

DEAN
Am I that obvious?

BARTENDER
I know all the local badges.

She sets the glass in front of DEAN.

BARTENDER
And you’ve got that…Law & Order vibe.

The BARTENDER picks up a cloth and starts drying another glass.

BARTENDER
So, what’s the FBI doing in Windom?

DEAN
Looking into the disappearance of Joe Barton.

DEAN slides the photo of JOE across the bar. The BARTENDER looks at it, stricken.

DEAN
I assume you knew him?

BARTENDER
A little. I’m his wife. Lisa.

DEAN
Well, Lisa, what can you tell me about his disappearance?

LISA
Same thing I told the sheriff. He stayed late Friday before last to do inventory. Never came home.

DEAN takes the glass of beer.

DEAN
And the police?

LISA
Nothing. Truth is, I was scared they stopped looking. But now you’re here.

DEAN looks at the photos behind the bar. One is of JOE in a police uniform.

DEAN
Joe was a cop?

LISA
Deputy. For a little while. That was a looong time ago.

DEAN
He didn’t happen to work the, uh, the grave robbery case, back in ‘ninety?

LISA
He did. Yeah. Joe was the one who found those bodies. He got an award for that.

DEAN
That was an interesting case.

Framed near the police!JOE photo is the «Missing Bodies Found» article.

DEAN
He ever tell you how he did it?

DEAN scans the newspaper photo for JOHN.

LISA
Most of the time, he said good, solid police work. But after a few beers, he’d admit he had a little help.

DEAN
From who?

LISA
A ‘specialist’. That’s all he’d say.

DEAN
Cops ever find the guy that stole the bodies?

DEAN takes a drink.

LISA
No.

But when I asked Joe about it, he’d say not to worry—that «we took care of what done it.»

MOTEL ROOM

INT. MOTEL ROOM – NIGHT

ADAM is practicing disassembling a gun while SAM cleans a shotgun.

ADAM
Sam…how did Dad really die?

SAM
Demon.

ADAM
You hunted it down? Got revenge?

SAM
Dean killed it.

ADAM
So it’s over for you.

SAM looks at ADAM.

SAM
It’s never over.

The lights go out. Something rattles.

ADAM
What the—

SAM
Shh.

SAM and ADAM stand.

SAM
Stay here.

SAM loads the shotgun, approaching the door. He opens the door and looks around, aiming the shotgun in whichever direction he’s looking; nothing. A noise behind SAM; he turns and aims in its general direction. Again. There’s a vent near the ceiling; SAM aims at that.

SAM
It’s in the vents. Go!

SAM fires at the vent, then hustles ADAM out of the room, following right behind.

EXT. KISMET MOTEL – NIGHT

They hurry down the stairs.

SAM
Where’s your car?

ADAM
Over here.

SAM
All right, keys.

ADAM
Here.

ADAM heads for the passenger side of his truck, SAM for the driver’s side. While SAM fumbles with the keys, something grabs his ankle, yanking him to the ground and under the truck. SAM grabs the truck to resist.

ADAM
Sam!

The Impala pulls up.

ADAM
Dean, help!

ADAM grab one of SAM’s arms and DEAN the other and they pull him free. DEAN gets out of the car, grabs the dropped shotgun, and fires. DEAN looks at SAM, SAM looks at ADAM, ADAM flops onto the ground.

ACT THREE

ADAM’s truck backs out of the space. He’d parked right over a sewer grate, which is half open. DEAN gets out of the truck and approaches the grate, aiming the shotgun. There’s blood on the edge. DEAN gets up and heads past SAM, who is leaning on the hood of the Impala.

DEAN
I winged it. Did you see anything?

SAM
I didn’t get a good look.

DEAN
What the hell is this thing?

ADAM
Why—who—should we go after it?

DEAN
No, no. In that maze? That thing’s long gone.

SAM
All right, so, we don’t know what it is, but we do know who it’s going after. Joe Barton, Adam’s mom—

DEAN
And Adam. It was under his truck, just waiting for him.

SAM
It set a trap, and I walked right into it.

DEAN
Doesn’t matter. You’re right—there’s a pattern. Joe Barton was a cop. I’m pretty sure he helped out Dad. So we’ve got him, Dad’s girl, and his son.

SAM
All the people Dad knew in town.

DEAN
At least we know why it’s back.

ADAM
It wants revenge.

DEAN and SAM look at ADAM.

MILLIGAN HOUSE

INT. KITCHEN – NIGHT

The door opens and ADAM, DEAN, and SAM enter.

DEAN
Grab your stuff. We’ll hit the road.

ADAM flips on the lights and heads upstairs. SAM sits at the kitchen table.

SAM
We shouldn’t leave.

SAM thumps his injured ankle on another chair.

DEAN
Yeah, let’s stay here, where the kid’s mom got ganked. Good one.

SAM
I’m serious.

DEAN
No, Sam, we’re gonna take the kid, we’re gonna drop him off at Bobby’s, and then you and me are gonna come back here and finish what Dad started.

SAM stops moving, an ace bandage in one hand.

SAM
How? We got no leads, no witnesses. We do have what this thing wants.

DEAN
You want to use the kid as bait? That’s why you want to stay here?

SAM
Maybe this thing will come back. We could train Adam—get him ready.

DEAN
He could die, Sam.

SAM
We could all die, Dean. Even if we do kill this thing, there are tons of other freaks that want revenge, on Dad, on us. What if they find the kid instead and he’s not ready?

SAM unrolls the ace bandage and starts wrapping his ankle. ADAM returns, backpack over one shoulder.

ADAM
I’ll do it. Whatever it takes, I’ll do it. I want to do it.

DEAN looks at SAM, who looks at ADAM.

SHOOTING RANGE

EXT. OUTDOORS – DAY

Three gunshots. The first one makes a hole in a piece of metal, through which SAM and ADAM are visible, SAM holding a gun. The other side of the metal is a sign, «NO TRESPASSING», «TRESPASSING ON THIS PROPERTY IS STRICTLY FORBIDDEN», «VIOLATORS WILL BE PROSECUTED TO THE FULLEST EXTENT OF THE LAW IN ACCORDANCE WITH MINNESOTA PENAL CODE 555.512.457.800.8», on which two red rings have been spraypainted. There are three small holes close together inside the smaller ring. SAM lowers the gun.

ADAM
Whoa.

SAM
It’s easy. Just feel the recoil and time the trigger pulls. Three taps.

SAM holds the gun out to ADAM.

ADAM
Yeah?

SAM
Go ahead.

ADAM takes the gun and moves in front of SAM. He fires three times, kicking up leaves; all three shots hit the sign, fairly close together, one on and two inside the inner ring. SAM grins. A distance away, DEAN, leaning against the Impala, shakes his head and looks away.

ADAM
Beginner’s luck, right?

SAM
Nah, man. You’re a natural. Good shooting.

SAM claps ADAM on the back.

ADAM
Thanks.

MILLIGAN HOUSE

INT. KITCHEN – DAY

Books, one on «HELLHOUNDS», one on «THE ALL-WATCHING BAPHOMET», one on «AFFLICTIONS OF GHOSTS», one on something not visibly named (the legible text says ‘in Europe’, ‘references are rare as they were carefully’, and ‘fear of panicking the population’); all are illustrated. The last appears to show something exploding out of someone’s chest.

SAM
So, then we lit it on fire.

ADAM
With a homemade flamethrower?

SAM
Yeah. They’re easy to build. I’ll show you.

ADAM
That is some job you got, man.

SAM
Being a hunter isn’t a job, Adam. It’s life. You’re pre-med. You got a girlfriend, friends?

ADAM nods.

SAM
Not anymore you don’t. If you’re really gonna do this, you can’t have those kinds of connections, ever. They’re weaknesses. You’ll just put those people in danger, get them killed.

DEAN, across the room, looks away.

SAM
That’s the price we pay. You cut ’em out, and you don’t look back. There’s only one thing you can count on. Family.

DEAN
Sam.

SAM looks over.

DEAN
Can I talk to you?

DEAN gets up and goes over by the stairs. SAM follows.

DEAN
What the hell was that?

SAM
What?

DEAN
‘Hunting is life. You can’t have connections.’ Dad gave you that exact same speech, remember? It was just before you ditched us for Stanford. You hated Dad for saying that stuff, and now you’re quoting him?

SAM
Yeah, well, turns out Dad was right.

DEAN
Since when?

SAM
Since always. Dean, when I look at Adam, you know what I see?

DEAN
A normal kid.

SAM
No. Meat. Because the demons and monsters out there, that’s all he is. I hated Dad for a long time. I did. But now I think I understand. So we didn’t have a dog and a white picket fence. So what? Dad did right by us. He taught us how to protect ourselves. Adam deserves the same.

DEAN
Listen to yourself, man.

SAM
You think I’m wrong?

DEAN
I think it’s too late for us. This is our life. This is who we are, okay? And it’s fine. I accept that. But with Adam, he’s still got a chance, man. He can go to school. He could be a doctor.

SAM
What makes Adam so special?

DEAN
What, are you jealous of the kid?

SAM
Are you?

A pause.

SAM
Dean…all this…it’s not real. The dad Adam knew—he wasn’t real. The things out there in the shadows—they are real. The world is coming to an end. That’s real. Everything else is just part of the crap people tell themselves to get through the day.

DEAN
Dad didn’t have a choice with us, okay? But with Adam, he did. Adam doesn’t have to be cursed.

SAM
He’s a Winchester. He’s already cursed.

DEAN
No. No, whatever’s hunting Adam, I’m gonna find it.

SAM
You already looked everywhere, Dean.

DEAN
Well, then I’ll look again.

DEAN leaves.

TOMB

EXT. ROAD – NIGHT

The Impala drives past and into the cemetery.

INT. TOMB – NIGHT

DEAN opens the tomb. He turns on a flashlight and shines it around. He spots a loose stone, large enough to hide a tunnel, and works it out of the wall with a crowbar. There is indeed a tunnel behind it. DEAN shines the light along the tunnel. He shakes his head and crawls in.

At the far end of the tunnel is another room.

DEAN
Home sweet home.

DEAN shines the light around. He steps in blood; there’s quite a lot of it next to a severed arm and a pair of large black glasses. DEAN picks those up and looks at them.

DEAN
Sloppy Joe.

DEAN hears something in the tunnel and fires several times. The tunnel collapses.

DEAN
Oh, son of a bitch!

DEAN tries to make a call. No signal.

DEAN
Son of a bitch.

MILLIGAN HOUSE

INT. ASSORTED ROOMS – NIGHT

SAM pours salt along every window and door. ADAM nails boards over every vent.

INT. KATE’S BEDROOM – NIGHT

The vent in the floor, vent cover mostly off, remains unsalted and un-nailed-closed. SAM and ADAM stand over it.

SAM
All right. We’ve closed off every other way into the house. If this thing’s coming, it’s coming through here.

A creak, like a door opening.

ADAM
You were saying?

KATE
Adam! Adam!

ADAM
Mom?

SAM
No.

ADAM
Mom!

SAM
Adam!

ADAM takes off downstairs. SAM chambers a shotgun round and follows.

INT. KITCHEN – NIGHT

ADAM
Mom.

SAM
Adam, wait!

KATE
It took me, but I got away.

ADAM
It’s okay.

KATE
I got away.

ADAM hugs KATE. SAM aims the shotgun.

SAM
Adam, step away from her.

ADAM
Sam, what the hell?!

SAM
She’s not your mother!

KATE
Adam, who—what is going on?

TOMB

INT. TOMB – NIGHT

DEAN kicks at the door out of the tomb. It remains sealed. DEAN explores, pushing a skeleton out of the way with a foot. There is a sealed coffin with relatively fresh blood on the outside. DEAN opens the coffin: it’s KATE MILLIGAN. Most of her.

MILLIGAN HOUSE

INT. KITCHEN – NIGHT

SAM
Get away from him!

‘KATE’
What is going on?

SAM
You listen to me.

ADAM
It’s really her, okay?

SAM
There was too much blood. Your mother’s dead. There was too much blood in the vents!

SAM shoves ADAM away from ‘KATE’. ADAM takes the shotgun.

‘KATE’
Adam!

SAM
Shoot it!

‘KATE’
He’s crazy! Honey, it’s me!

ADAM points the gun at ‘KATE’, then at ‘SAM’, looking confused and terrified.

SAM
Look—Adam!

‘KATE’
Honey, it’s me!

SAM
Look, that’s not your mother!

‘KATE’
Baby, please!

SAM
Shoot it! It’s not human!

ADAM levels the gun at ‘KATE’ and smirks.

ADAM
I know.

ADAM hits SAM on the chin with the butt of the shotgun. SAM goes down. ‘KATE’ smiles.

TOMB

INT. TOMB – NIGHT

DEAN opens another coffin. This one has the corpse of ADAM MILLIGAN. DEAN puts a hand to his mouth; there’s quite a lot of blood.

ACT FOUR

TOMB

INT. TOMB – NIGHT

DEAN, now aware that his brother’s alone with a monster, redoubles his efforts to escape. He looks around; there’s a stained-glass window above him, depicting an angel.

MILLIGAN HOUSE

INT. KITCHEN – NIGHT

‘KATE’ is humming. SAM is tied to a table, unconscious. When he stirs, he notices he’s tied at wrists and ankles, with duct tape across his waist. He struggles and groans. ‘KATE’ is cleaning her fingernails with the point of a knife.

SAM
Silver. No wonder none of the tests worked. You’re not shapeshifters. You’re ghouls.

‘KATE’
You know, I find that term racist.

She emphasizes the point by waving her knife. ‘KATE’ sniffs SAM from hand to neck and nibbles his ear.

‘KATE’
Mmm. Fresh meat. So much better than what we’re used to.

SAM
I should have known. It was the fresh kills that threw me. Ghouls don’t usually go after the living. See, you’re just filthy scavengers, feeding off the dead—taking the form of the last corpse you choke down.

‘ADAM’
And their thoughts. And their memories. Like Adam, for instance.

‘KATE’
Well, we are what we eat.

SAM
You’re monsters.

‘KATE’ draws the knife across SAM’s arm, drawing blood.

‘ADAM’
You know, you use that word a lot, Sam.

‘KATE’ drinks SAM’s blood. ‘ADAM’ thunks the knife into the table by SAM’s head.

‘ADAM’
But I don’t think you know what it means.

‘KATE’ looks up.

‘KATE’
His blood, it tastes different.

‘ADAM’
Our father was a monster? Why? Because of what he ate? He never hurt anyone, Sam. Living, anyway.

‘KATE’ pulls the knife free.

‘KATE’
No. He was no monster. But the thing that killed him was. A monster named John Winchester.

SAM looks at her.

TOMB

INT. TOMB – NIGHT

DEAN breaks a long piece of metal off one of the coffins and tries to use it to pry the door open. It doesn’t work.

DEAN
Holy crap.

DEAN stacks one coffin on another, stands on them, and uses the metal bar to smash through the stained-glass window. DEAN grabs the edge of the window and swings himself out.

MILLIGAN HOUSE

INT. KITCHEN – NIGHT

There’s a stab wound in SAM’s side; ‘ADAM’ digs a finger into it.

‘KATE’
Thanks to your daddy, my brother and I grew up on our own. At least we had each other.

‘ADAM’ licks his finger.

‘ADAM’
Like you and your brother. Inseparable.

‘KATE’
Actually, it was very hard to get you on your own.

‘ADAM’
Like you said, Sam, the only thing you can count on is family.

‘KATE’ drinks some more blood, then licks her fingers.

‘KATE’
And for twenty years, we lived like rats.

‘ADAM’
Graveyard after graveyard, all that stinking flesh.

‘KATE’
Then we thought, ‘hey, why not move up to fresher game?’

‘ADAM’
And we knew just where to start.

‘ADAM’ digs the point of the knife into the cut in SAM’s arm.

‘ADAM’
Revenge—it’s never over, is it, Sam?

‘KATE’
First, it was John’s cop friend, and then his slut, and then his son.

‘KATE’ points with the knife at herself, then at ‘ADAM’.

‘ADAM’
Then I called John, but the son of a bitch was already dead.

‘KATE’
So I guess you and Dean will have to do instead.

‘ADAM’
Dean won’t interrupt us this time. We’re gonna feed on you nice and slow—like we did with Adam.

‘KATE’
Oh, and, by the way, he really was your brother.

SAM struggles.

‘KATE’
You should know that.

‘ADAM’
He was still alive when we took our first bites.

‘KATE’
And he was a screamer.

‘KATE’ and ‘ADAM’ each open gashes along one of SAM’s arms. Blood drips into bowls placed to catch it.

‘ADAM’
Sam, the more you struggle, the faster you’re gonna bleed out.

So you might as well lie back and relax.

DEAN
Hey!

DEAN appears, aiming a shotgun. He fires and ‘ADAM’ hits the wall, a hole through his shoulder.

SAM
Dean, they’re ghouls!

DEAN pauses, then fires at ‘KATE’. Blood spatters the wall; her headless corpse collapses.

DEAN
Which means head-shot.

‘ADAM’ slams DEAN, breaking a lot of glass on the way down. DEAN grabs ‘ADAM’ and slams him down, then takes his metal bar and tries to slam ‘ADAM’s’ head. ‘ADAM’ dodges. They fight; ‘ADAM’ goes down, and DEAN beats his head in. Silence falls.

SAM
Dean!

DEAN comes over to SAM and cuts through the ropes and duct tape, grabbing a couple towels on the way. He helps SAM sit up and uses the towels as pressure bandages, murmuring the whole time.

DEAN
Come on. Come on. Come on. Hang on. All right, here we go. Here we go. Hang on, buddy. All right.

SAM
Thank you.

DEAN
That’s what family’s for, right? Keep pressure on that.

EPILOGUE

EXT. FOREST – NIGHT

SAM
You sure we should do this?

ADAM’s body, wrapped in sheets, is lying on a pyre.

DEAN opens a bottle of lighter fluid.

DEAN
Ghouls didn’t fake those pictures. They didn’t fake Dad’s journal.

DEAN sprinkles lighter fluid over ADAM.

DEAN
Adam was our brother. He died like a hunter. He deserves to go out like one.

SAM
Maybe we can bring him back. Get a hold of Cas, call in a favor.

DEAN
No, Adam’s in a better place.

DEAN lights a match and tosses it on the pyre. ADAM’s body goes up in flames.

DEAN
You know, I finally get why you and Dad butted heads so much. You two were practically the same person.

SAM looks over.

DEAN
I mean, I worshipped the guy, you know? I dressed like him, I acted like him, I listen to the same music. But you were more like him than I will ever be. And I see that now.

SAM
I’ll take that as a compliment.

DEAN
You take it any way you want.

Share, fellow hunter!Share on FacebookTweet about this on TwitterShare on TumblrShare on Google+Email this to someone
Sofia

Χάζευα πολλά χρόνια το Supernatural στην τηλεόραση χωρίς να ξέρω ακριβώς τι είναι, αλλά δεν είχα κάτσει ποτέ να τη δω ολόκληρη. Όταν το έκανα ήταν λίγο ανάποδο αφού είδα την 8η σεζόν πρώτα και μετά την έπιασα απ’την αρχή. Την λάτρεψα αμέσως και ήταν αυτή που με εισήγαγε στον μαγικό κόσμο των ξένων σειρών. Ανακάλυψα το Supernatural Greece λίγους μήνες αργότερα και μπήκα στην ομάδα σχεδόν αμέσως. Όσες σειρές και να δω, καλύτερες ή χειρότερες, το Supernatural θα είναι πάντα το NO.1 στην καρδιά μου. Επίσης δεν θα καταφέρω ποτέ να διαλέξω ανάμεσα στο τρίο Ντιν/ Σαμ/ Καστιέλ.

Top