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Σενάριο Supernatural | 12×01 Keep Calm and Carry On

12x01 impala mary winchester dean

Σενάριο Supernatural | 12×01 Keep Calm and Carry On

Written by: Andrew Dabb

Directed by: Phil Sgriccia

Air Date: October 13, 2016

THE ROAD SO FAR “Bad Boy”s by April Wine plays over the season 11 recap

♪ I look out the window see the fishes get the run-around. I tell the boys I gotta be movin’ on. I’m tired of playin’ the game the ending’s always the same. Odds are you won’t last too long. I can see you, you can’t see me. Don’t feel shame no more. I’m not here, you’re not there. That I know for sure. Bad boys, they call us. Bad boys, they call us. Bad boys. Nobody wants to run, and nobody wants to hide. The moment of truth becomes a burning inside. Hey, look at me, and you’ll see how I’ve changed my ways. Bad boys, see how they run. ♪

TEASER

EXTERIOR: THE SCENE OPENS WHERE THE SEASON 11 EPISODE 23 ENDED, MARY AND DEAN ARE IN A PARK AT NIGHT LOCKING AT EACH OTHER. DEAN LOOKS DOWN AT THE PHONE IN HIS HAND AND PUTS IT IN HIS POCKET.

DEAN I, uh… Are you… really…real? ♪

WHILE MARY IS LOOKING AT HIM, DEAN APPROACHES AND REACHES OUT TO TOUCH HER. MARY GRABS DEAN’S ARM, THROWS HIM TO THE GROUND AND PUTS HER FOOT ON HIS NECK.

DEAN Ohh!

MARY Where am I? Who the hell are you?

DEAN

I'm -- I'm Dean. Winchester. I'm your son. 

MARY No. My Dean is 4 years old.

DEAN (breathing shakily) I was when you died.

MARY STANDS UP, LETTING DEAN GO AND GASPS

MARY remembering Sammy. Sammy!

A BABY IS HEARD CRYING. THERE’S A SCREAM AND MARY IS SEEN BURNING ON THE CEILING OF SAM’S ROOM. MARY EXHALES SHARPLY.
DEAN (breathing heavily) Mom. Listen to me. Your name — your name is Mary Sandra Campbell, okay? You were born December 5, 1954, to Samuel and Deanna Campbell. Your father, he bounced around a lot for, uh, work, and you bounced right along with him, and you ended up in Lawrence, Kansas.

MARY How do you know all that?

DEAN Dad told me. March 23, 1972, you walked out of a movie theater — «Slaughterhouse-Five.» You loved it, and you bumped into a big Marine and you knocked him flat on his ass. You were embarrassed, and he laughed it off, said you could make it up to him with a cup of coffee. So, you went to, uh, Mulroney’s and you talked and he was cute and he knew the words to every Zeppelin song, so when he asked you for your number, you gave it to him, even though you knew your dad would be pissed. That was the night that — that you met –

MARY John Winchester.

DEAN August 19, 1975, you were married… in Reno. Your idea. A few years later, I came along, then Sammy.

MARY And then I burned. How long have I been gone?

DEAN 33 years.

MARY MOVES FORWARD TOUCHING DEAN.

MARY Dean.

DEAN Hi, Mom.

SLOWLY MARY MOVES IN TO HUG DEAN WHO HAS A STRICKEN LOOK ON HIS FACE.

SEASON 12 TITLE CARD

ACT ONE

EXTERIOR NIGHT: «Diesel Smoke, Dangerous Curves» by The Little Willies PLAYS IN TRUCK. THE RADIO STARTS TO CRACKLE, THERE’S A RUMBLE JUST BEFORE CASTIEL SMASHES THROUGH A BILLBOARD ADVERTISING A MYSTERY SPOT. ♪There’s a cute little waitress at the bottom of the grades. Well, I must have closed my eyes for a while cause here I am, and I’m runnin’ wild. I turn my brakes, strip my gears. Gonna have to ride her down, I fear. Diesel smoke. Dangerous curves. ♪

THE MAN WALKS OVER TO THE EDGE OF THE CRATER MADE BY THE LANDING AND SEES CASTIEL PULLING HIMSELF OUT.

MAN Holy mother.

CASTIEL STANDS UP AND LOOKS AROUND

CASTIEL Where am I?

MAN Uh…Earth?

CASTIEL No. How far am I from Lebanon, Kansas?

MAN Uh… Th-three hours, maybe. Wait, wait, wait, wait. Who — What are you, man?

CASTIEL WALKS TOWARDS THE MAN AND TOUCHES HIM ON THE FOREHEAD. THE MAN DROPS TO THE GROUND. CASTIEL LEAVES HIM THERE AS HE DRIVES OFF IN THE TRUCK.

EXTERIOR DAWN: THE SCENE CHANGES TOTHE SAME PARK AS BEFORE BUT NOW THE SUN IS RISING. DEAN AND MARY ARE SITTING ON A BENCH. DEAN HAS PLACED HIS COAT AROUND MARY’S SHOULDERS.

MARY How did he die?

DEAN He gave himself up for me.

Mary chuckles and sniffles. Although tears are in her eyes she smiles as she thinks of John.

MARY That sounds like John. And he was a Hunter? And he raised you and Sam to…

DEAN Yeah, he did.

MARY And you said we’ve met before, when you traveled through time.

DEAN (nodding) Twice. Your memory got wiped, so…

MARY And I saw you when I was a ghost… which I don’t remember, either. And God’s…sister brought me back to life?

DEAN Pretty much. It’s a lot. And I know it’s a lot. And I’ll explain everything. I will. But right now, let’s get out of here. Let’s get you home. Come on, Mom.

DEAN AND MARY GET UP OFF THE BENCH. DEAN PLACES HIS HAND ON MARY’S SHOULDER AS THEY WALK OFF.

EXTERIOR DAY: THE SSCENE CHANGES TO TONI BEVELL KNOCKING ON A DOOR WHILE A ROOSTER CROWS IN DISTANCE. BEHIND TONI IS THE SUV AND THE MAN WHO PICKED HER UP AT THE AIRPORT. THE DOOR OPENS.

LADY ANTONIA BEVELL Dr. Gregory Marion?

GREGORY MARION Uh-huh.

TONI I need your help.

GREGORY It’s — It’s 6:00 a.m.

TONI It’s an emergency.

TONI WALKS DOWN THE STEPS HEADED TOWARD THE SUV AS GREGORY FOLLOWS.

GREGORY Lady, hold up. You have a clinic at the back of your house. I trust it’s fully stocked.

GREGORY Lady. Lady, seriously. Unless your uh — your puggle got hit by a car or something, it can wait.

TONI It really can’t.

THERE’S A BEEPING AS THE REAR DOOR OF THE SUV OPENS TO REVEAL SAM LAYING IN THE BACK TRUSSED UP AND CLEARLY IN DISTRESS.

TONI He was shot in the leg. A single, .38-caliber bullet. I need the round dug out, the wound sutured, and some anesthesia to go.

GREGORY No. No way.

Gregory sees a gun in an inside coat pocket of the SUV driver.

GREGORY I’m a veterinarian.

TONI Animals, people. They’re all meat. But I understand this is an unusual request, and I want to do everything I can to ease your concerns.

GREGORY Yeah, not happening. Mnh-mnh.

TONI OPENS A BAG AND SHOWS THE CONTENT, A GREAT DEAL OF MONEY, TO GREGORY.
TONI Hear me out.

INTERIOR: A BODY IS LAYING ON THE FLOOR WITH ITS EYES BURNED OUT. CAMERA PANS UP TO SEE CROWLEY, WHO JUST ENTERED, KNEELING DOWN NEXT TO THE BODY. A DOOR OPENS AND TWO DEMONS ENTER.

LUCIFER’S HENCHMAN This is stupid. You think this is stupid, right?

JARVIS I think when Lucifer, Prince of Darkness, King of Hell asks you to do something, you do it.

LUCIFER’S HENCHMAN Whatever.

JARVIS Whatever? What are you, a 14-year-old girl now?

LUCIFER’S HENCHMAN I mean, not right now. I possessed one once, but — Pbht — it didn’t work out. A lot of feelings and urges and ugly snot crying about how Julie’s with Craig Castle now, even though he’s total bae, but she’s, like, a busted bitch on ice. Hormones, dude.

JARVIS Whatever. Let’s clean this up. Then we go meet the man.

THE DEMONS PULL OUT LARGE PLASTIC MANS AND GET TO WORK.

EXTERIOR DAY: SCENE CHANGES TO A WHITE FARM HOUSE THEN TRANSITIONS TO IHE INSIDE WHERE TONI IS ON THE PHONE.

TONI I know, darling. But mummy will be home soon. I miss you, too. I love you so, so much.

BEHIND TONI IS A DOOR WITH STAIRS LEADING DOWN TO A CELLAR WHERE SAM IS CHAINED TO A CHAR THAT’S PLACED OVER A DRAIN. A WOMAN WALKS OVER AND USES A CATTLE PROD ON AN UNCONSCIOUS SAM.

SAM Aah! (gasping)

MS WATT Be a good boy.

TONI WALKS DOWN THE STAIRS.

SAM You.

SAM GRUNTS AS HE TESTS HIS BONDS. TONI SITS DOWN, PULLS OUT A BOOK, PULLS OUT A PEN, TAKES OFF THE CAP, AND PUTS THE CAP ON THE TABLE SITUATED NEXT TO HER.

TONI Now, Sam. Let’s begin.

ACT 2

SAM IS SITTING, FACING TONI.

SAM Toni Bevell, London Chapterhouse.

TONI That’s right.

SAM So, you’re what? You’re, uh, English Men of Letters?

TONI British.

AS TONI WRITES SAM SIGHS AND SHAKES HIS HEAD.

SAM Where are we?

TONI Does it matter?

SAM Just wondering how far I’m gonna have to walk back to town after I kill you. And her. But you first.

TONI Yes, well, before you murder us all, we do have a few questions about you, your brother, Hunters in America, and how you saved the sun.

SAM (chuckles) Right. You shoot me, kidnap me, but yeah, happy to help.

TONI I didn’t want to hurt you, Sam. You gave me no choice. And, well, I could say it was never supposed to go this way, but you’re…you. It was always going to go this way.

SAM And you know me?

TONI We do. We’ve been watching you and your brother for years. Every since you almost ended the world the first time. We knew all about Lucifer, the angels falling.

SAM Then where were you?
TONI Fair question. See, some of us wanted to get involved, but the old men wouldn’t allow it. Thought we were overstepping our bounds. After all this business with the Darkness, even they have to agree, things need to change. And while you might not believe this, Sam, we’re here to help.

SAM Yeah, no, I-I can tell.

TONI I want to apologize for locking you up. You’re dangerous — to others and yourself — but if you answer my questions, you walk right out that door. I promise.

SAM Pass.

TONI Sam.

SAM You can ask me any kind of question you want. The answer’s gonna be the exact same — Screw you. You want to get mad? You want to get mean? I’ve been tortured by the Devil himself. So you, you’re just an accent in a pantsuit. What can you do to me?

TONI PLACES THE CAP BACK ON THE PEN MAKING SURE IT CLOSES WITH A CLICK. SHE NODS TO MS WATTS WHO TURNS ON THE WATER. A HOSE LEADS TO A POINT ABOVE SAM’S HEAD.

SAM A cold shower? That’s your play?

After a while Sam starts shivering.

SAM Screw you.

INTERIOR: DEAN AND MARY ENTER THE MEN OF LETTERS’ BUNKER.

MARY You live here?

DEAN Yeah, when we’re not on the road. It’s an old Men of Letters bunker.

MARY Men of Letters? Yeah. They’re a myth. An old Hunter’s story.

DEAN Not so much. New duds look good.

MARY Well, thanks. It’s better than walking around in that nightgown the rest —

DEAN AND MARY SEE SEVERAL LARGE SPLATTERS OF BLOOD ON THE FLOOR.

MARY That’s blood.

DEAN Yeah.

DEAN REMOVES HIS GUN AND COCKS IT. WALKING FORWARD HE CHECKS OUT THE IMMEDIATE AREA. HE NOTICES THE SIGIL ON THE WALL.

DEAN Sammy? Cass?

DEAN PULLS OUT A GUN FROM UNDER THE MAP TABLE AND HANDS IT TO MARY.

DEAN Take this. Stay here.

Dean walks off to check out the bunker.

MARY Dean.

DEAN Sammy?

MARY MOVES AROUND CHECKING OUT THE BOOK. SHE HEARS A DOOR OPEN AND HIDES BEHIND A PILLAR AS FOOTSTEPS APPROACH.

MARY Hands in the air. Get on your knees.

CASTIEL Who are you, and where is Sam?

MARY Hands, now.

DEAN Whoa, whoa, whoa, whoa, whoa, whoa, whoa! It’s okay. It’s okay. He’s a friend, all right? Hey, Cass.

A RELIEVED CASTIEL STEPS FORWARD AND EMBRACES DEAN.

CASTIEL Dean!

DEAN Hey. Okay. All right.

CASTIEL Dean. You’re alive?

DEAN Yeah.

CASTIEL What about the bomb and the Darkness? What happened?

DEAN I’ll tell you everything. Where is Sam?

CASTIEL He’s not here.

MARY Are you a Hunter?

CASTIEL No, I’m an angel.

DEAN (speaking simultaneously with Castiel) He’s an angel.

MARY Come again?

DEAN An Angel, with a-a capital «A.» You know, wings, harp.

CASTIEL No, I don’t have a harp.

DEAN This is Castiel. Cass, this is…Mary. Winchester.

CASTIEL Your mother.

DEAN Yeah. So, wait, uh, where — where is Sam? He’s not answering his phone, there’s blood on the floor. What’s going on?

CASTIEL I don’t know. We came back here, there was a woman waiting for us. She blasted me away. I don’t know who she was. I don’t know what happened to Sam.

MARY I don’t understand. What happened?

DEAN Okay, well, the bunker’s empty, so — so they’ve obviously left here. You said woman — not an angel, not a demon, a-a human.

CASTIEL She was human.
DEAN When did this go down?

Dean walks to one of the tables and grabs his laptop.

CASTIEL It was 2:12 a.m.

MARY Is that a-a computer?

CASTIEL Yes. I don’t trust them.

ON THE LAPTOP DEAN CLICKS THROUGH DIFFERENT VIEWS OF STREETS.

DEAN Got something. An S.U.V. ran a red light a few blocks from here at 2:21 a.m. And there wasn’t another car for 40 minutes.

MARY How did you do that?

DEAN I hacked the traffic cams. Welcome to the future.

CASTIEL You think it’s them?

DEAN It’s worth a shot.

THE SCENE CHANGES AS THE DOOR TO THE DOOR TO THE BUNKER GARAGE IS OPENED. CARS, INCLUDING BABY, ARE VISIBLE. DEAN SWITCHES THE LIGHT ON AS MARY AND CASTIEL ENTER. MARY STOPS WALKING. DEAN STOPS AND LOOKS AT HIS MOTHER.

DEAN Mom?

Exhaling sharply, Mary walks towards Baby. She runs her hand lightly over the car.

MARY This was John’s car. Oh, she’s still beautiful.

DEAN Hell, yeah, she is.

MARY Hi, sweetheart. Remember me?

MARY LEANS DOWN AND LOOKS INTO THE CAR SMILING. SHE STARTS LOOKING AT THE FRONT SEAT BUT HER EYES AND HER THOUGHTS LINGER ON THE BACK SEAT. DEAN LEANS DOWN LOOKING AT THE INTERIOR OF THE CAR WITH PRIDE. DEAN LOOKS AT HIS MOM AND REALIZES SHE’S HAVING VERY SPECIFIC MEMORIES OF TIME IN THE BACK SEAT. DEAN LOOKS AROUND THE CAR, AND LOOKS AT HIS MOM.

DEAN Oh…

MARY LOOKS UP AT DEAN. DEAN REALIZES HE MIGHT HAVE BEEN CONCEIVED IN THAT CAR, STANDS UP QUICKLY AND LOOKS OVER THE CAR. DEAN SWALLOWS HARD, AND GLANCES AT CASTIEL WHO GIVES HIM A QUIZZICAL LOOK.

DEAN We should go.

INTERIOR; IN THE CELLAR OF THE FARMHOUSE THE WATER IS STILL POURING FROM THE HOSE AND WE CAN HEAR SAM SHIVERING. MS WATTS TURNS OFF THE WATER.

TONI Can I end this, Sam, please?

SAM (shivering) Screw you.

TONI What do you imagine is happening here? Do you think you’re being brave, that you’re the hero of this story? Well, you’re no hero, Sam. You’re just bad at your job.

SAM Yeah, and you’re better?

TONI So much better. You drive back roads, catching cases at random. You get word a body’s dropped, you check it out, and maybe you even kill the thing that did it. But that person is still dead, and maybe a few more. But my people? We plan ahead. We study lore, and we use it against our enemies. Back home, every thoroughfare, every bridge, every dock, every airport has been warded. The moment a monster steps foot in Britain, we know about it. Within 20 minutes, he’s been picked up. And within 40, he’s dead. There hasn’t been a monster-related death in Britain since 1965 because we are good at our job. TONI’S WORDS PLAY OVER A MONTAGE OF A MONSTER COMING OUT OF THE WATER UNDER A WARDED BRIDGE. HE’S CAPTURED AND ENDS UP ON A TABLE WHERE A MAN WITH A WITH LOOKS LIKE A CELTIC CROSS ON HIS RIGHT HAND SEVERS THE MONSTERS HEAD. Now, you were always a lost cause, Sam, but I’m hoping there are other Hunters we can work with, teach. So, I need you to give me names and locations and everything else. Dead drops, meeting places, an organizational hierarchy, because maybe with all of us working together, we can do what you never could — make America safe.

SAM Or maybe you tie them to a chair. Maybe you do worse. So, maybe… maybe you can go to Hell.

TONI Hmm. Have it your way.

AFTER NODDING TO MS WATTS, TONI WALKS UP THE STAIRS AND CLOSES THE DOOR. MS WATTS LIGHTS A BLOW TORCH AND WALKS TOWARDS SAM.

MS WATTS Are you really gonna make me do this?

SAM Screw…you.

MS WATTS SQUATS DOWN AND STARTS TO BRING THE BLOW TORCH TOWARDS SAM’S RIGHT FOOT. SAM TRIES TO MOVE HIS FOOT AWAY.

SAM No! Don’t. Don’t. Don’t.

AS THE BLOW TORCH BURNS SAM’S FOOT, HE SCREAMS.

ACT 3

INTERIOR: THE TWO DEMONS ENTER THE HOUSE AND CLOSE THE DOOR. THERE’S A BODY WITH BURNED OUT EYES IN THE FOREGROUND.

LUCIFER’S HENCHMAN So, so gross. thought he was supposed to meet us.

A CELL PHONE RING AND JARVIS ANSWERS IT.

JARVIS What? Yes. No, I — Of course, my liege. We’re here, but — but where’s…

LUCIFER’S HENCHMAN What’s he saying?

JARVIS He won’t tell me where he is. He thinks we’re being followed. Come on. There’s no way we’re being followed.

IN THE BACKGROUND CROWLEY CLEARS THROAT. HE STEPS INTO A DOORWAY.

CROWLEY Hello, boys.

JARVIS Lucifer? I, uh, have to go.

JARVIS HANGS UP ON LUCIFER

CROWLEY Still betting that horse, are we?

LUCIFER’S HENCHMAN Yeah, ’cause we’re not stupid.

CROWLEY (sighing) Keep telling yourself that, dear. That dustup with the Darkness must’ve really taken it out of the old boy. That’s why he’s jumping from vessel to vessel to vessel. It’s why Lucifer’s running — because he’s weak.

JARVIS So? He’ll get stronger. Lucifer will lead us to glory. As long as he’s out there, Hell will never follow you.

CROWLEY Well, like they say, «Duh.» But when I kill the Devil –

JARVIS (laughs) You were his dog. Even powered down, he could kick your Posh Spice ass.

AN ANGEL BLADE SLIPS DOWN CROWLEY’S SLEEVE WHICH HE USES TO KILL THE TWO DEMONS.

CROWLEY Who’s laughing now?

CROWLEY LOOKS AROUND THE ROOM AT THE BODIES.

CROWLEY Hmm.

CROWLEY PICKS UP A PHOTO OF THE FAMILY.

CROWLEY Eeny… …meeny… …miney… …Mo.

HE POINTS AT EACH OF THE PEOPLE IN THE PHOTO AND ENDS UP POINTING AT THE ONE PERSON WHO’S BODY IS NOT IN THE ROOM.

INTERIOR: DEAN, CASTIEL, AND MARY ENTER A GARAGE WHERE THE DRIVER OF THE SUV IS WORKING ON THE VEHICLE.

CASTIEL Jamie Ross?

JAMIE ROSS Who’s asking?

CASTIEL STEPS FORWARD.

CASTIEL The blond woman that you drove yesterday, what was her name?

JAMIE Blonde? Sorry, mate, you got the wrong –

CASTIEL HEAD BUTTS JAMIE TWICE.
DEAN Cass!

MARY That’s an angel?

CASTIEL Blonde. Name. Now.

JAMIE I-I-I don’t know her name.

CASTIEL What do you know?

INTERIOR: TONI OPENS THE DOOR AND WALKS DOWN THE STAIRS. SAM’S RGHT FOOT HAS BEEN BURNED BY THE BLOW TORCH. SAM GROANS WEAKLY.

MS WATTS No one can take that much pain and not break. No one.

TONI What are you saying?

MS WATTS I Th– Ma’am. If you want him dead, then I’ll slit his throat right now. But if you want to take this to the next level, you need to make the call. Bring in Mr. Ketch.

TONI I don’t want that psychopath anywhere near me.

MS WATTS So?

TONI So… we stop trying to break his body. We break his mind.

EXTERIOR DAY; INDISTINCT CONVERSATIONS AND THE NOISE OF VIDEO GAMES ARE HEARD. THE CAMERA PANS TO MARY WHO’S WATCHING THE SCENE. CASTIEL IS PICKING UP COFFEE.

CASTIEL Thank you.

CASTEIL TAKES THE COFFEE TO MARY AND SITS DOWN.

CROWLEY This must be difficult for you. I remember my first moments on Earth. It was jarring.

MARY One word for it. I grew up with Hunters. I’ve heard of people coming back from the dead before. But to actually do it… after 30 years. A lot’s changed.

MARY LOOKS AROUND.

MARY A lot.

DEAN WALKS OVER AND SITS DOWN

CASTIEL Find anything?

DEAN Yeah, ran the, uh, tail number that what’s-his-face gave us. The plane that Evil Elsa flew in on has diplomatic registry.

MARY Which means?

DEAN Which means its flight plans are sealed unless you want to hack the State Department.

MARY Who are these people?

CASTIEL LOOKS UP AND SPOTS GREGORY MARION’S VECHICLE.

CASTIEL Dean.

DEAN LOOKS AROUND AND SEES IT HEAD TOWARD THE VETERINARY CLINIC. GREGORY UNLOADS HIS VECHICLE AND WALKS TOWARD THE CLINIC DOOR. DEAN WALKS QUIELTY UP BEHIND HIM AND PLACES HIS GUN TO GREGORY’S NECK.

DEAN Dr. Marion, how about you let us in?

INTERIOR: GREGORY IS SITTING IN FRONT OF HIS DESK WITH CASTIEL, DEAN, AND MARY STANDING BEFORE HIM.

DEAN So, you dug the bullet out of his leg, no questions asked?

GREGORY She offered me 100 grand.

MARY And you took it?

GREGORY Student loans were a bitch, okay?

ANGRELY CASTIEL STARTS TOWARDS GREGORY.

DEAN Cass! Cass! Cass! Don’t hurt him. Not yet.

GREGORY All right, look, she didn’t give me her name. When we were done, the driver bailed, I got paid, and then some other chick shows up, and they all drive away.

MARY And that’s everything you know?

GREGORY (insincerely) Yeah. Totally.

MARY Hurt him.

CASTIEL STEPS FORWARD AND GRABS GREGORY BY HIS COLLAR.

GREGORY Oh, oh, aah! I have her phone number! Okay? Okay, look, look, look. Look, I don’t know where they are, but she called me a couple hours ago — a few hours ago, asking about the sedative I gave the guy. So…I’ve got her phone number.

INTERIOR: SAM COMES OUT OF CONSCIOUSNESS. HE FINDS HIMSELF ON THE FLOOR, UNCHAINED, AND SITS UP. CLEARLY IN PAIN, SAM LOOKS AT HIS FOOT THAT HAS BEEN WRAPPED. HE LOOKS AROUND REALIZING HE’S ALONE IN THE CELLAR. HE TOUCHES HIS NECK AND FEELS A NEEDLE PUNCTURE. LOOKING UP HE SPOTS A CAMERA AND REALIZES HE’S BEING WATCHED. THE VIEW SWITCHES TO A MONITOR WHERE TONI AND MS WATTS ARE WATCHING SAM.

MS WATTS I don’t think its working.

TONI Wait. Soon, he’ll be begging to answer our questions. Anything to make it stop.

TONI’S CELL PHONE RINGS.

TONI Dr. Marion.

GREGORY Yeah, I’m just calling, you know, to, uh, check on the patient.

TONI Is everything all right, doctor?

GREGORY Yeah, yeah, sure. Definitely.

TONI I’m hanging up now.
GREGORY Uh –

DEAN GRABS THE PHONE OUT OF GREGORY’S HAND.

DEAN Listen, bitch. I don’t care who you are, I don’t care what you want. You have my brother.

TONI Dean Winchester. I heard you were dead.

DEAN Well, you heard wrong. Now, I’m gonna give you one chance — just one — to hand Sam back.

TONI Sorry. Not possible.

DEAN Oh, you think you can run from me? Try it. Because when I find you — and I will find you — if he is not in one piece, I will take you apart. You understand me?

TONI HANGS UP THE PHONE AND TURNS TO LOOK AT MS WATTS.

TONI We have a problem.

DEAN BENDS GREGORY’S PHONE IN HALF.

EXTERIOR DAY: DEAN AND MARY, IN THE FRONT SEAT, DRIVE OFF WITH CASTIEL.

INTERIOR: SAM IS LIMPING AROUND THE CELLAR. HE RATTLES THE OUTSIDE CELLAR DOOR WHICH IS CHAINED SHUT.

SAM Let me out!

SAM HEARS A HIGH PITCHED RINGING WHICH INTENSIFIES. HE STARTS TO SEE IMAGES OF PEOPLE DYING LIKE KEVIN AND MARY. THERE’S A DISEMBODIED SCREAM.

EXTERIOR DAY: DEAN IS DRIVING DOWN THE ROAD AND WE LOOK INTO THE INTERIOR OF THE IMPALA.

MARY Now what?

DEAN Well, we got her number. Let’s head back to the bunker, and we’ll put a trace on it.

TIRES SCREECH AS THE IMPALA IS HIT BY ANOTHER VECHICLE. THE WINDOW NEXT TO MAY SHATTERS. THE CAR SKIDS AS DEAN CONTROLS IT WHILE SLAMMING ON THE BREAKS. MARY FALLS OVER ON THE SEAT. DEAN REACHES OVER TO HIS MOTHER.
DEAN Mom?

CASTIEL LEANS OVER THE FRONT SEAT.

CASTIEL She’s unconscious, but there’s no serious damage.

DEAN All right. Help her.

DEAN GETS OUT AND CHECKS THE DAMAGE TO THE IMPALA. CASTIEL EXITS, OPENS THE PASSENGER SIDE DOOR AND PLACES MARY UPRIGHT IN THE SEAT. SHE’S BLEEDING FROM A CUT TO HER HEAD.

MS WATTS Dean Winchester, I presume.

DEAN LOOKS AROUND TO SEE MS WATTS.

ACT 3

INTERIOR: IN THE CELLAR OF THE FARM HOUSE SAM IS STILL HEARING HIGH PITCHED RINGING. HE DROPS TO HIS KNEES AND LOOKS UP TO SEE A HALLUCINATION OF JESSICA BURNING ON THE CEILING. TONI KEEPS WATCH ON THE MONITOR.

SAM Jessica.

EXTERIOR DAY: MS WATTS STEPS AWAY FROM HER VECHICLE. BEHIND HER BACK SHE ACTIVATES THE WARDING ON HER BRASS KNUCKLES. SHE WALKS TOWARD DEAN.

MS WATTS You should be more careful with your location services on your phone.

DEAN Are you one of them?

MS WATTS I’m one of them.

DEAN Yeah.

DEAN WALKS TOWARDS MS WATTS AND GRABS HER BY HER COLLAR.

DEAN You tell me where my brother is, and I might take it easy on you.

MS WATT Oh, please don’t.

FIGHTING ENSUES WITH MS WATTS GETTING THE UPPER HAND AGAINST BOTH DEAN AND CASTIEL. DEAN STANDS AND REACHES FOR HIS GUN.

MS. WATT Looking for this? So, round two? Anyone?

INTERIOR: SAM IS ON HIS KNEES HEARING DISEMBODIED VOICES.

DEAN (echoing, disembodied) Dead. I’m dead because of you. I’m dead because of you. This is all your fault. This is your fault.

SAM LOOKS UP AND SEES A HALLUCINATION OF DEAN.

SAM Dean?

DEAN (echoing, disembodied) We’re all dead because of you, Sam.

EXTERIOR DAY: FIGHT BETWEEN DEAN, MS WATTS, AND CASTIEL CONTINUES. AFTER THROWING DEAN AGAINST HER VECHILE, SHE KICKS AN ANGEL BLAD OUT OF CASTIEL’S HAND.

INTERIOR: WHILE SAM IS HEARING VOICES HE LOOKS AT HIMSELF IN A MIRROR.

DEAN (echoing, disembodied) It should’ve been you. It should’ve been you. You’re a freak. You are a freak. You’re a freak. It’s your fault.

SAM You’re right.

EXTERIOR DAY: MS WATTS PICKS UP THE GUN FROM THE IMPALA, COCKS IT, AND POINTS IT AT DEAN AND CASTIEL.

MS WATTS You know, I would’ve thought for two strapping lads like yourselves, you would’ve lasted a tad longer. But hey, you know what they say. Good things come to those –

THE TIP OF THE ANGEL BLADE STICKS OUT OF MS WATTS CHEST. SHE REFLECTIVELY PULLS THE TRIGGER TWICE AS DEAN SCRAMBLES OUT OF THE WAY. HER BODY FALLS TO THE GROUND.

DEAN Thanks, Mom.

INTERIOR: SAM COVERS HIS EARS TO STOP THE RINGING. HE HEARS DEAN’S VOICE AS HE LOOKS AT HIMSELF IN THE MIRROR.

DEAN (echoing, disembodied) Your fault! It’s your fault. Just die. It’s your fault. It’s your fault.

SAM BREAKS THE MIRROR AND PICKS UP A LARGE PIECE OF GLASS. TONI WATCHES IN THE MONITOR.

DEAN (echoing, disembodied) It’s your fault. It’s all your fault. Just die. Why won’t you die, Sam? Why don’t you die? It’s your fault.

SAM PUT THE GLASS TO HIS THROAT. SLASHES HIS NECK, AND FALLS TO THE GROUND.

TONI No.

TONI GRAGS THE CATTLE PROD, OPENS THE DOOR AND RUNS DOWN THE STAIRS. SHE CHECKS SAM WHO’S LAYING IN A POOLOF BLOOD.

ACT 4

SAM JUMPS OFF THE GROUND, GRABS TONI’S NECK AND SHOWS HER THE LONG CUT ON HIS HAND.

SAM Maybe you’re not as good at your job as you think.

SAM CONTINUES TO CHOKE TONI UNTIL SHE FALLS TO THE GROUND. AS SAM STARTS UP THE STAIRS, TONI GETS UP AND GRABS THE CATTLE PROD USING IT AGAINST SAM.

SAM Aah!

SHE MAKES HER WAY PAST HIM AND IS ABLE TO CLOSE AND LOCK THE DOOR..

SAM No! No!

SAM POUNDS ON THE DOOR

SAM No! No!

SAM LAYS BACK AGAINST THE STAIRS.

EXTERIOR DAY: DEAN AND CASTIEL HIDE MS WATTS’ CAR. MARY LOOKS AT HER HANDS. DEAN WALKS OVER AND KNEES DOWN IN FRONT OF HIS MOTHER.

DEAN Found her cellphone in the car. Last phone call was made from Aldrich, Missouri. We’re guessing Sam’s probably around there.

MARY Good. That’s great.

DEAN You okay?

MARY SHAKES HER HEAD.

MARY No. I’m sorry. I just… I spent my life running from this, from hunting. And I got out. I never wanted this for you and Sam.

DEAN Mom, I-I get it. I do. If I had kids, I wouldn’t want them in this. But Sam and me… saving people and hunting things, this is our life. I think we make the world a better place. I know that we do.
BLACK SABBATH’S «SOLITUDE» PLAYS OVER THE CLOSING MONTAGE

DEAN BACKS THE IMPALA UP AND THEY DRIVE AWAY.

EXTERIOR DAY: A POLICE OFFICER IS KNEELING LOOKING DOWN.

POLICE OFFICER Witnesses say he was sweating and pale and psycho. He said his name was freaking Lucifer.

THE CAMERA PULLS BACK TO SHOW A BODY ON THE GROUND WITH ITS EYES BURND OUT. FURTHER BACK CROWLEY IS STANDING BEHIND THE CRIME SCENE TAPE. HE TURNS AND WALKS AWAY.

♪ My name, it means nothing, my fortune is less. ♪

EXTERIOR: THE IMPALA DRIVES AWAY INTO THE GATHERING DARKNESS. DEAN LOOKS AT HIS MOTHER WHO’S SITTING IN THE BACK SEAT.

♪My future is shrouded in dark wilderness. Sunshine is far away, clouds linger on. Everything I possessed, now they are gone. They are gone. They are gone. ♪

INTERIOR: SAM IS SITTING ON THE STAIRS IN PAIN. TONI WATCHES THE MONITOR. THE CAMERA PULLS BACK AS SAM LEANS HIS HEAD AGAINST THE RAIL AND CLOSES HIS EYES.

♪The world is a lonely place, you’re on your own ♪

END CREDITS

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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.

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