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Σενάριο Supernatural | 4×15 Death Takes a Holiday

Reaper Trap 4x15 Death Takes a Holiday

 Σενάριο Supernatural | 4×15 Death Takes a Holiday 

Written by: Jeremy Carver

Directed by: Steve Boyum

Air Date: 12 Mar 2009

THEN

From 4.01 Lazarus Rising, BOBBY talks to SAM and DEAN.

BOBBY
Sam, Dean, Pamela Barnes. Best damn psychic in the state.

From 4.09 I Know What You Did Last Summer, ALASTAIR talks to DEAN.

ALASTAIR
Don’t you recognize me? But we were so close.

DEAN
Alastair.

ALASTAIR punches DEAN.

From 4.06 Yellow Fever, LILITH and DEAN.

ANNA (voiceover from 4.09 I Know What You Did Last Summer)
Lilith is trying to break the sixty-six seals.

From 4.09 I Know What You Did Last Summer, ANNA talks to the THERAPIST.

ANNA
Lucifer—

From (3.01 The Magnificent Seven?), a horde of black-smoke demons descend on a city.

ANNA (voiceover from 4.09 I Know What You Did Last Summer)
will bring the apocalypse.

From 4.14 Sex and Violence, DEAN talks to SAM.

DEAN
Well, I don’t know when it happened, but the Sam I knew—

From 4.01 Lazarus Rising, SAM exorcises a DEMON.

DEAN (voiceover from 4.14 Sex and Violence)
He’s gone. The lies.

From 4.14 Sex and Violence, DEAN talks to SAM, who looks away.

DEAN
The secrets.

From (4.03 In the Beginning?), SAM gets in a car with RUBY.

From 4.14 Sex and Violence, DEAN talks to SAM.

DEAN
What else aren’t you telling me?

SAM
You’re holding me back.

From 4.04 Metamorphosis, SAM exorcises a DEMON while RUBY watches.

SAM (voiceover from 4.14 Sex and Violence)
I’m a better hunter—stronger—

From 4.14 Sex and Violence, SAM kisses CARA, both shirtless.

SAM (voiceover from 4.14 Sex and Violence)
Smarter.

From 4.13 After School Special, SAM drives a ghost out of JENNIFER.

SAM (voiceover from 4.14 Sex and Violence)
I can take on demons you’re too scared to—

From 4.14 Sex and Violence, SAM talks to DEAN.

SAM
—go near.

DEAN knocks SAM through the door.

From 4.14 Sex and Violence, SAM talks to DEAN.

SAM
You know I didn’t mean the things I said back there, right? That it was just the siren’s spell talking?

DEAN
Of course. Me too.

SAM
So, we’re good?

DEAN
Yeah, we’re good.

SAM nods.

NOW

EXT. BISON BUD’S BAR – NIGHT

Two MEN, JIM JENKINS and PETE HENSLEY, leave the bar, talking.

JIM
Okay, okay, now, come on, you tell me—now why kick that field goal?

PETE
Because it’s called football.

JIM
No, it’s called fantasy football, and those three points screwed me.

PETE
Seriously, Jim, you need to get a life.

JIM and PETE round the corner and are met by a YOUNG MAN.

YOUNG MAN
Hey, guys, got any change?

JIM
Sorry, pal.

The YOUNG MAN pulls out a gun and points it at JIM and PETE.

YOUNG MAN
How about your wallets?

A BAR EMPLOYEE at the Dumpster takes notice.

PETE
No problem.

JIM
Take it easy, all right?

YOUNG MAN
Just give me the wallets!

JIM
Hold on, man.

The YOUNG MAN fires, hitting JIM in the heart. JIM falls.

PETE
Jim!

The YOUNG MAN runs. PETE drops to his knees next to JIM.

PETE
Jim! Jim!

PETE looks up at the EMPLOYEE.

PETE
Call 911! Now!

The EMPLOYEE runs.

PETE does chest compressions, then breathes into JIM’s mouth.

PETE
Come on.

PETE does more chest compressions, then goes to repeat the breaths. JIM inhales on his own.

JIM
Hey.

PETE
Don’t move. Don’t move, man.

PETE helps JIM sit up.

JIM
I feel okay.

JIM pulls open his shirt far enough to reveal the bullet hole, with powder marks but no blood.

PETE
You’re not even bleeding.

JIM looks up.

JIM
Give me a hand.

PETE helps JIM stand.

PETE
How you even alive right now?

JIM
I don’t know.

ACT ONE

DINER

INT. DINER – DAY

DEAN taps a button on the jukebox, then thumps the jukebox. SAM is at a table, laptop open, talking on the phone.

SAM
No, no, no, you’re right, it’s definitely weird. …Okay, Bobby, thanks.

SAM puts the phone away. DEAN comes over.

«DEATH TAKES A HOLIDAY»

DEAN
What’s up?

DEAN sits down. SAM starts typing.

SAM
Bobby found something in Wyoming.

DEAN
A job?

SAM
Maybe.

DEAN bites into a burger.

SAM
Small town, no one’s died in the past week and a half.

Starring
JARED PADALECKI

DEAN
That so unusual?

JENSEN ACKLES

SAM
Well, it’s how they’re not dying.

Guest Starring
MISHA COLLINS

SAM
One guy with terminal cancer strolls right out of hospice.

TRACI DINWIDDIE

SAM
Another guy gets capped by a mugger and walks away without a scratch.

CHRISTOPHER HEYERDAHL

DEAN
Capped in the ass?

SAM’s browser has two tabs open to the Greybull Gazette; the top tab has an article with the headline «Shooting victim walks away unharmed» and the subheading «Man miraculously survives after direct shot to heart». The first paragraph reads «Police and medical authorities are struggling for an explanation as to why local resident James Jenkins was able to walk away from a point-blank shooting incident. After leaving Bison Bud’s Bar, Mr. Jenkins and friend Pete Hensley were confronted by a mugger in a nearby alley. After a brief altercation, the mugger fired a shot from a 9mm Automatic, hitting Jenkins [directly in the heart…]»

SAM
Police say Mr. Jenkins was shot in the heart at point-blank range by a nine-millimeter.

LINDSEY McKEON

DEAN keeps eating, speaking with his mouth full.

DEAN
And he’s not a doughnut?

ALEXANDER GOULD

SAM
Locals are saying it’s a miracle.

DEAN
Okay.

SAM
It’s got to be something nasty, right? I mean, people making deals or something.

DEAN considers this.

DEAN
You think?

SAM
What else would it be?

DEAN
I don’t know.

SAM
All right.

SAM puts his laptop in his bag.

SAM
Get that to go.

Co-Producers
JERRY WANEK
SERGE LADOUCEUR

DEAN looks down and doesn’t move.

SAM
Come on.

SAM stands up, picking up his bag. DEAN doesn’t move except to chew. SAM looks at him, swinging his bag over his shoulder.

Supervising Producer
SERA GAMBLE

SAM
What?

Co-Executive Producer
PETER JOHNSON

DEAN looks up and keeps chewing, then glances away and back.

DEAN
Sure you want me going with you?

SAM
Why wouldn’t I?

DEAN
I don’t want to be holding you back or nothing.

Co-Executive Producer
BEN EDLUND

SAM
Dude, I’ve told you a hundred times, that was the siren talking, not me.

Co-Executive Producer
PHIL SGRICCIA

SAM
Can we get past this?

Executive Producer
McG

DEAN puts down the burger.

DEAN
Yeah, we’re past it.

DEAN brushes off his hands.

JIM JENKINS’ HOUSE

EXT. HOUSE – DAY

The Impala is parked outside JIM’s house. Birds chirp.

Greybull, Wyoming

JIM (voiceover)
Now, you two said you were bloggers?

INT. DINING ROOM – DAY

SAM and DEAN are sitting at JIM’s dining room table. JIM sits down across from SAM. JIM’s wife and daughter are visible in the next room.

Executive Producer
KIM MANNERS

SAM
Yes, sir. Floored by the Lord dot com.

DEAN
All of God’s glory fit to blog.

DEAN grins. SAM glances at him and clears his throat.

Produced by
VLADIMIR STEFOFF

SAM
Um. Some of the people around town are saying what happened to you was a miracle.

Created by
ERIC KRIPKE

JIM
It was. Plain as day.

SAM
How can you be so sure?

JIM
How else do you explain it? The doctors can’t.

Written by
JEREMY CARVER

JIM
There’s a bullet in my heart, and it’s pumping like a piston.

DEAN
Well, how do you explain it?

JIM hesitates. He looks over at his daughter.

JIM
Look, honestly.

Directed by
STEVE BOYUM

JIM
I was nobody’s saint—not exactly father of the year, either.

DEAN
Okay.

JIM
But when that guy shot me and I didn’t bleed a drop? I just knew the Lord was giving me a second chance.

DEAN
That so?

JIM
I had this feeling—like angels were watching over me.

JIM pauses. DEAN nods.

JIM
I wouldn’t expect you guys to understand.

DEAN
Well, we’ll just have to try.

SAM
You wouldn’t have happened to have swung by a crossroads in the past week or so?

JIM, confused
No.

SAM
Maybe you met someone? With black eyes? Or red?

JIM leans forward.

JIM
Who’d you guys say you were again?

DEAN looks over at SAM.

DEAN
Never mind. Thank you for your time.

DEAN gets up. SAM follows.

MOTEL

INT. MOTEL ROOM – NIGHT

DEAN is sitting at a table on the laptop, reading a news article. SAM opens the door and comes in.

SAM
Hey.

SAM closes the door. DEAN looks up.

DEAN
Anything?

SAM comes over.

SAM
That cancer survivor? He was clinically dead, his wife pulled the plug, and now he’s taking her out for their twentieth anniversary.

DEAN
Any sign of a deal?

SAM
No. What about you? Found anyone dying around here?

DEAN
Not since Cole Griffith.

DEAN’s looking at the obituaries in the Greybull Gazette. He clicks on the picture of COLE GRIFFITH to enlarge it.

DEAN
He dropped ten days ago. It was the last death I could find.

SAM
So, what are you thinking?

DEAN
Eh, maybe it is what the people say it is.

DEAN gets up. SAM goes over to the laptop, scoffing.

SAM
Miracles? Dean, our experience, when do miracles just happen?

DEAN
Well, there’s no deals. There’s, uh, no skeevy faith healers.

DEAN pours a cup of coffee.

DEAN
I mean, these souls just ain’t getting dragged into the light.

SAM thinks.

SAM
Maybe ’cause there’s no one around to carry them.

DEAN comes back over.

DEAN
What do you mean?

SAM
Well, grim reapers—that’s what they do, right? Schlep souls? So, if death ain’t in town—

DEAN
Then nobody’s dying. So what? The local reaper’s on strike? Playing the back nine? I don’t know, Sam.

DEAN drinks his coffee.

SAM
Well, then, let’s talk to somebody who might.

DEAN
Well, last I checked, huggy bear ain’t available.

SAM
No, dude, the kid.

DEAN
The kid? The kid’s a doornail.

SAM
Exactly. Look, if he was the last person to die around here, then maybe he’s seen something. We should talk to him.

DEAN
I love how matter-of-fact you are about that. Strange lives.

DEAN drinks more coffee.

CEMETERY

EXT. CEMETERY – NIGHT

SAM and DEAN are at a gravestone engraved «Beloved Son Cole Griffith 1997 – 2009 Forever In Our Memories». Five candles are arranged around a pentacle drawn on a cloth spread over the grave. SAM puts a bundle of sticks in the center of the pentacle. DEAN sits on another gravestone and flips through John’s journal.

DEAN
You sure this is gonna work?

SAM looks up.

SAM
No. But if his spirit’s around, this should smoke him out.

SAM pours something into a bowl. DEAN closes the journal.

SAM
What?

DEAN
This job is jacked, that’s what.

SAM
How so?

DEAN
You want me to gank a monster or torch a corpse, hey, let’s light it up, right? But this? If we fix whatever this is, people are gonna start dropping dead. Good people.

SAM stands up.

SAM
Look, I don’t want them to die, either, Dean, but there’s a natural order.

DEAN
You’re kidding, right?

SAM
What?

DEAN
You don’t see the irony in that? I mean, you and me, we’re like the poster boys of the unnatural order. All we do is ditch death.

SAM
Yeah, but the normal rules don’t really apply to us, do they?

DEAN stares.

DEAN
We’re no different than anybody else.

SAM
I’m infected with demon blood. You’ve been to hell.

DEAN looks away.

SAM
Look, I know you want to think of yourself as Joe the Plumber, Dean, but you’re not. Neither am I. The sooner you accept that, the better off you’re gonna be.

DEAN looks up.

DEAN
Ah, Joe the Plumber was a douche.

SAM
You gonna help me finish this?

DEAN stands up.

MAN
Hey!

SAM and DEAN look towards the voice: it’s a MAN carrying a flashlight.

MAN
What are you doing here?

SAM
Uh—

SAM glances at DEAN.

SAM
Just take it easy.

MAN
What the hell is this?

DEAN
Okay, this—this—this is not what it looks like.

DEAN laughs.

MAN
Really? ‘Cause it looks like devil worship.

DEAN
What? No! No, this is not devil worship. This—This is—this—this is, uh—

DEAN gives up.

DEAN
I don’t have a good answer.

SAM
We’re leaving.

MAN
You’re not going anywhere.

SAM frowns. The MAN takes a few steps forward.

MAN
Ever again. Sam.

The MAN looks at DEAN. His eyes go white.

DEAN
Alastair.

ALASTAIR’s eyes go back to human.

DEAN
I thought you got deep fried, extra-crispy.

ALASTAIR
Nah. Just the pediatrician I was riding. His wife’s still looking for him. It’s hilarious. Anyway.

ALASTAIR looks at SAM, who is fuming.

ALASTAIR
No time to chat. Got a hot date with death.

ALASTAIR flicks his hand. DEAN goes flying across the graveyard and collides with the gravestone of someone surnamed Myth, 1957 – 2001.

SAM
Dean!

ALASTAIR turns back to SAM and flicks his hand. Nothing happens. ALASTAIR tries again. SAM smirks.

ALASTAIR
You’re stronger, Sam. You’ve been soloflexing with your little slut?

SAM
You have no idea.

SAM flicks his hand and ALASTAIR goes flying. SAM raises a hand to exorcise him. ALASTAIR flees the MAN’s body. SAM drops his hand, surprised. SAM watches the smoke vanish.

ACT TWO

MOTEL

INT. MOTEL ROOM – NIGHT

DEAN is lying on a bed, holding an ice pack to his head. SAM opens the door and comes in.

SAM
How you doing?

DEAN
I’m in pain, that’s how I’m doing. I think I have a concussion.

SAM
You want some aspirin?

DEAN sits up.

DEAN
No thanks, House. So, demons, huh?

SAM
Yeah. So much for miracles.

DEAN
And what the hell happened with Alastair again?

SAM
I told you, he tried to fling me or whatever.

SAM flicks his hand in demonstration, going over to the coffeemaker.

SAM
And it didn’t work, so he bailed.

DEAN
Well, how come he couldn’t fling you? He chucked you pretty good last time.

SAM turns to face DEAN and pauses before answering.

SAM
Got no idea.

SAM turns back to the coffeemaker, then back to DEAN when DEAN starts speaking.

DEAN
Sam, do me a favor. If you’re gonna keep your little secrets, I can’t really stop you, but just don’t treat me like an idiot, okay?

SAM
What? Dean, I’m not keeping secrets.

DEAN
Mm-hm. Whatever. So, did you go back and q-and-a the dead kid?

SAM comes over to the other bed, holding up a thin notebook.

SAM
Didn’t have to. Bobby called. He did some digging.

DEAN
And?

SAM
He thinks I’m right. Local reaper’s gone. Not just gone—kidnapped.

DEAN
By demons? Why?

SAM
Listen to this.

SAM reads from the notebook.

SAM
«And he bloodied death under the newborn sky—sweet to taste, but bitter when once devoured.»

DEAN
Swanky. What the hell’s that mean?

SAM
Well, it’s from a very obscure, very arcane version of Revelations.

DEAN
Which means what I think it means?

SAM
Basically, you kill a reaper under the solstice moon—tomorrow night, by the way—you got yourself a broken seal.

DEAN
How do you ice a reaper? You can’t kill death.

SAM
I don’t know. Maybe demons can. Where the hell are the angels is what I want to know. We could use their help for once.

DEAN
It looks like we’re gonna have to take care of this one ourselves.

SAM
What are we gonna do, just swing in and save the friendly neighborhood reaper?

DEAN
You got a better idea, I’m all ears.

SAM
Dean, reapers are invisible. The only people that can see them are the dead and the dying.

DEAN
Well, if ghosts are the only ones that can see them…

SAM
Yeah?

DEAN
Then we become ghosts.

DEAN puts the icepack back to his head, smirking.

SAM
You do have a concussion.

DEAN
Sounds crazy, I know.

SAM
It is crazy.

DEAN smirks more.

SAM
How?

MOTEL AGAIN

INT. MOTEL ROOM – DAY

SAM opens the door. On the other side is PAMELA, and behind her DEAN. They enter.

PAMELA
I can’t even begin to tell you how crazy you two are.

PAMELA feels the counter, then the chair.

SAM
Well, Pamela, you’re a sight for sore eyes.

SAM closes the door. PAMELA turns around, lowering her sunglasses far enough to reveal white plastic eyes.

PAMELA
Aw, that’s sweet, grumpy.

PAMELA puts her sunglasses back.

PAMELA
What do you say to deaf people?

DEAN looks down. SAM looks uncomfortable.

PAMELA
Which one of you brainiacs came up with astral projection?

DEAN raises a hand.

DEAN
Yo.

PAMELA
Of course. Chachi.

DEAN turns to SAM and mouths ‘Chachi?’ SAM shrugs.

PAMELA
So, let’s be clear. You want to rip your souls out of your bodies and take a little stroll through the spirit world?

DEAN
Mm-hm.

PAMELA
Do you have any idea how heavy-duty insane that is?

PAMELA folds her arms.

DEAN
Maybe, but that’s where the reaper is, so…

PAMELA
So, it’s nuts.

DEAN
Not if you know what you’re doing.

PAMELA
You don’t know what you’re doing.

DEAN
No, but you do.

PAMELA
Yeah, I do. And guess what? I’m sick of being hauled back into your angel-demon, Soc-Greaser crap.

DEAN
Look, I’d love to be kicking back with a cold one, watching Judge Judy, too.

PAMELA
Nice. More blind jokes?

DEAN
You know what I mean. We’re talking the end of the world here, okay? No more tasseled leather pants, no more Ramones CDs, no more nothing.

DEAN pauses.

DEAN
We need your help.

INT. MOTEL ROOM – DAY, LATER

SAM closes the curtains. DEAN flicks closed a lighter and drops it on the table next to some of the several candles burning around the motel room. He brings one of the candles over to a bedside table, shielding the flame with one hand. PAMELA is sitting on a chair between the beds.

PAMELA
Tell me something, geniuses. Even if you do break into the veil and you find the reaper, how you gonna save it?

SAM closes the curtains on another window.

DEAN
With style and class.

PAMELA
You’re gonna be two walking pieces of fog who can’t touch or move anything. You’ll be defenseless, hotshot.

SAM
I seem to recall a bunch of ghosts beating the crap out of us.

PAMELA
Yeah, well, they had plenty of time to practice.

DEAN
Well, then, I guess we got to start cramming.

PAMELA
Wow, couple of heroes. All right.

PAMELA pats one of the beds.

PAMELA
Lie down. Close your eyes.

INT. MOTEL ROOM – DAY, LATER

SAM and DEAN are lying on the beds, SAM diagonally.

PAMELA
Animum vult decipi, ergo decipiatur. Vis, vis, vis. Okay, guys. That’s it. Showtime.

DEAN sits up as the room goes from full color to shades of blue. He looks at PAMELA.

DEAN
Well, nothing like shooting blanks. What’s plan B?

PAMELA does not hear him. DEAN looks at SAM, lying on the other bed, then over one shoulder at SAM, standing. SAM spreads his hands. DEAN looks over his other shoulder at himself, unconscious on the bed.

DEAN
Oh, I’m so feeling up Demi Moore.

PAMELA
All right, so, I’m assuming you’re somewhere over the rainbow. Remember I have to bring you back.

PAMELA stands and goes over to SAM. DEAN watches her.

PAMELA
I’ll whisper the incantation in your ear.

She leans over SAM to do exactly that.

PAMELA
You have got a great ass.

SAM grins.

DEAN
What’d she—

DEAN looks at SAM.

DEAN
What’d she say?

SAM shrugs.

STREET

EXT. STREET – DAY

SAM and DEAN walk along the street, looking around. Everything is still shaded blue. A car goes past. A JOGGER goes right through SAM without noticing. DEAN laughs, watching her go. DEAN turns back to SAM.

DEAN
That was wild.

SAM looks at him, incredulous. DEAN sticks his arm into SAM’s chest up to the elbow. SAM looks down at it, then up at DEAN, face stony.

DEAN
Am I making you uncomfortable?

SAM
Get out of me.

DEAN pulls his arm back.

DEAN
You’re such a prude. Come on.

DEAN keeps going. SAM follows.

EXT. ANOTHER STREET – DAY

DEAN and SAM cross the street. Their breath is visible in the cold.

DEAN
Oh, man, we’ve been spooking this town for hours. No demons, no black smoke. I say we hit Victoria’s Secret and get our peep on, huh?

SAM looks up and to the right.

SAM
Hey. Three o’clock. Kid in the window.

DEAN looks up. The KID is looking out an upstairs window at SAM and DEAN. It’s the same face from the obituary photo earlier: COLE GRIFFITH.

SAM
Am I crazy or is he looking at us?

DEAN
It’s ’cause we’ve seen him before.

SAM
We have?

DEAN
Newspaper. Cole Griffith, the last person to die in this town.

COLE flickers and vanishes. DEAN and SAM look at each other.

COLE’S HOUSE

INT. COLE’S ROOM – DAY

MRS. GRIFFITH opens the door and comes in, looking around.

MRS. GRIFFITH
Cole?

She wraps her bathrobe tighter.

MRS. GRIFFITH
It’s Mom. Your dad thinks I’m crazy. Are you here? A picture frame fell over. I could have sworn it was you, baby. Are you still here with me?

A soccer ball is sitting on the dresser. It starts spinning. MRS. GRIFFITH stares. The ball flies past MRS. GRIFFITH and bounces off the door. MRS. GRIFFITH puts her hands to her head.

MRS. GRIFFITH
Oh, my god!

MRS. GRIFFITH leaves the room, going through DEAN and SAM. COLE is standing by the dresser; he throws more balls.

DEAN
Stop! How are you doing that?

COLE
Who are you?

SAM
Relax, Cole. It’s okay.

COLE
How do you know my name?

SAM
Look, this isn’t gonna be easy to hear, but…you’re—dead. You’re a spirit. Us too.

DEAN glances back at SAM.

COLE
Yeah, thanks, Haley Joel. I know I’m dead. What do you want?

SAM
We just want to talk.

COLE
About what?

KITCHEN

INT. KITCHEN – DAY

MRS. GRIFFITH pours herself a glass of vodka and takes a sip. COLE is leaning on the wall watching her. DEAN and SAM are sitting at the dining room table watching him.

COLE
I was outside all morning.

COLE turns around.

COLE
They tell you to be careful when it’s cold.

DEAN
Cold air can cause an asthma attack?

COLE nods, shrugging.

COLE
But then I was in my room. It happened so fast. I called out for my mom, but nothing came out. Everything started spinning, and then I was just standing there, looking down at my body.

COLE leans on the table.

SAM
And that’s when you saw the man?

COLE
Creepy old guy in a black suit. He wanted me to go with him, but…

COLE looks back at MRS. GRIFFITH.

COLE
I didn’t want to go.

SAM
Reaper.

DEAN nods.

SAM
How’d you get rid of him?

COLE
I didn’t. The black smoke did.

DEAN
Black smoke?

COLE
It was everywhere. I hid in the closet, and when I came out, it was gone, and so was he.

DEAN leans forward.

DEAN
Do you know where the smoke went?

COLE
No. But I know where it is.

The lights start flickering. COLE jumps. DEAN looks up. MRS. GRIFFITH looks around.

COLE
They’re back.

DEAN
Who?

COLE vanishes. DEAN and SAM look around. A blast of wind hits them in the face. Something white and human-shaped goes through the room and up the stairs.

SAM
Another reaper.

SAM and DEAN get up and go to the stairs.

DEAN
Hey! Hey! Wait! We need to talk to you!

SAM and DEAN stare. A WOMAN descends the stairs: it’s TESSA.

TESSA
Dean.

SAM glances at DEAN, who is still confused.

DEAN
Do I know you?

TESSA
We go way back.

ACT THREE

KITCHEN

INT. KITCHEN – DAY

TESSA goes into the kitchen, DEAN and SAM following, and turns around.

TESSA
You don’t remember me?

DEAN
Honestly, if I had a nickel for every time I heard a girl say that… You’re gonna have to freshen my memory.

TESSA steps forward, reaches up, and pulls DEAN down into a kiss.

From 2.01 In My Time of Dying, in black and white: DEAN lying in a hospital bed with a breathing tube. TESSA talking to DEAN on the stairs. TESSA as the white person-shape hovering over DEAN as DOCTORS and NURSES work to restart his heart. TESSA talking to DEAN. A semitruck plowing into the Impala (from 1.22 Devil’s Trap). Back to TESSA kissing DEAN, then back to the flashback. TESSA after DEAN has realized she’s a reaper. DEAN in a corridor, TESSA as the white person-shape flitting behind him. DEAN in the Impala after the crash, unconscious and bloody. TESSA talking to DEAN. TESSA talking to DEAN on the stairs. Back to TESSA kissing DEAN, then back to the flashback. TESSA as the white person-shape hovering over DEAN as DOCTORS and NURSES work to restart his heart. John’s journal open to the page on «REAPERS», «GRIM SPECTRE OF DEATH». TESSA talking to DEAN and touching his cheek. DEAN in the hospital bed, waking up. TESSA as the white person-shape hovering over DEAN as DOCTORS and NURSES work to restart his heart.

TESSA pulls away. DEAN watches her for a moment.

DEAN
Tessa.

TESSA
That’s one of my names, yeah.

SAM
So, you do know her.

DEAN
From the hospital after the accident.

SAM
The accident with Dad?

DEAN nods.

SAM
So, this is the reaper that came after you.

DEAN
Yeah.

TESSA turns to look at SAM.

TESSA
Well, this was fun.

She turns back to DEAN.

TESSA
Now, if you’ll excuse me—

TESSA moves to turn away and DEAN stops her.

DEAN
Wait, wait, wait, wait, you can’t—you can’t take the kid.

TESSA
Why?

DEAN
Demons are in town, that’s why. They’ve already snatched your reaper pal. The kid knows where.

TESSA
So?

SAM
So, you should shag ass. For all we know, they could try and snatch you, too.

TESSA
Except that this town is off the rails.

MRS. GRIFFITH comes out of the dining room, picks something off a side table, puts up her hair, and leaves. SAM watches her.

TESSA
And someone has to set it straight.

DEAN
Yeah, we understand that, but these are special circumstances.

TESSA
What? Your whole angel-demon dance-off? I could care less. I just want to do my job.

SAM
Right, yeah, and, look, we want to help you do your job. So, if you would just bail town—

TESSA
No.

DEAN
Well, then, could you hold off until we fix this? Please.

TESSA sighs.

TESSA
All right, but just so we’re clear, when I start reaping again, I’m starting with the kid.

SAM
Understood. I’ll find him.

SAM turns to go upstairs.

DEAN
Wait, wait, wait, wait. What—

SAM turns back.

DEAN
What are you gonna say to him?

SAM
Whatever I have to.

SAM leaves. DEAN and TESSA watch him go.

COLE’S ROOM

INT. COLE’S ROOM – DAY

SAM comes into the room, looking around. He sits down next to the open closet. COLE is just visible inside.

SAM
This all must be pretty overwhelming, huh? Pretty scary, too.

COLE
The worst is my mom.

SAM
Must be hard seeing her like this.

COLE leans out of the shadow.

SAM
She’s always coming in here, talking to me, telling me how sad she is. I knock some stuff over to let her know I’m here, but…she only gets sadder.

SAM laughs a little.

SAM
Well, you might want to ease up on the flying soccer balls.

COLE
I’m not telling you where the smoke is.

SAM thinks.

SAM
Hey. What if I told you that if you helped me, you wouldn’t have to leave here? Ever?

COLE
What about the one downstairs?

SAM
Tessa? Oh, she wouldn’t bother you. No reaper would. You could just stay here with your family for as long as you wanted.

COLE
You can do that?

SAM
Yeah, you bet I can do that.

COLE
You swear?

SAM hesitates.

SAM
I swear.

KITCHEN

INT. KITCHEN – DAY

TESSA
I’ll tell you, life is funny.

DEAN
What do you mean?

TESSA
You and me, together again.

DEAN
Are you—are you making a move on me?

TESSA shakes her head.

TESSA
You’re the one that got away, Dean. You’d be surprised how little that happens to me.

DEAN
Can I tell you something between you and me?

TESSA
Who am I gonna tell?

DEAN nods.

DEAN
After our little, uh, experience…for that whole year, I felt like I had this…hole in my gut…like I was missing something. I didn’t know what. Do you know what it was?

TESSA listens.

DEAN
It was you. The pain of losing my father and Sammy. I just…I wish I had gone with you for good. But I guess things are different now.

TESSA
What? The angels on your shoulder?

DEAN
So, you know about that, huh? Well, hey, don’t get me wrong. I mean, most the ones I’ve met are dicks with wings. But still… You know, I’ve done things. Horrible things. And someone upstairs still decided to give me a second chance. It just makes me feel…I don’t know.

TESSA
Uh-huh.

SAM clears his throat. He has just come downstairs, COLE behind him.

SAM
Hey, guys.

TESSA
Hey, Cole. I’m Tessa. I’m not going to hurt you.

SAM
It’s okay, Cole. Just tell them what you told me.

COLE
I saw the black smoke at my funeral.

SAM glances back at DEAN.

DEAN
At the cemetery?

COLE
At the funeral home. It was everywhere.

The lights flicker. Everyone looks around. DEAN looks at TESSA.

DEAN
You doing that?

TESSA
No.

The front door opens. Black smoke pours through, filling the house. Everyone ducks as it pours over them. When it is gone, everyone looks around: TESSA is gone.

DEAN
Tessa!

SAM looks at COLE.

SAM
Cole, you okay?

DEAN
Well, how the hell are we supposed to fight that?

SAM
I don’t know. Learn some ghost moves?

DEAN
By tonight? Yeah, sure. I’ll meet you back at Mr. Miyagi’s.

COLE
Who’s Mr. Miyagi?

SAM looks between DEAN and COLE.

PORCH

EXT. FRONT PORCH – DAY

DEAN, COLE, and SAM stand on the porch. DEAN is staring at a miniature windmill.

COLE
It’s not gonna move if you don’t concentrate.

DEAN
I am concentrating.

SAM raises his eyebrows. DEAN lets out a breath and glares. The windmill turns a quarter turn.

DEAN
Ah, here we go, baby.

The windmill stops. COLE looks at DEAN.

COLE
You pull a muscle?

DEAN
All right, Yoda, let’s see what you got.

COLE looks at the windmill. It starts spinning and doesn’t stop. The porch swing starts swinging. The wind chimes start chiming. SAM laughs a little.

DEAN
Dude! You are so Amityville.

COLE grins.

COLE
This isn’t even the good stuff.

LIVING ROOM

INT. LIVING ROOM – DAY

COLE punches SAM in the stomach. SAM folds over.

COLE
See? If you want to hit something, you just got to get mad.

SAM straightens up.

SAM
Yeah, got it.

COLE looks at DEAN.

COLE
Now you try. Hit me.

DEAN
Uh, I think I’ll stick to just picking on somebody my own size.

DEAN indicates SAM. COLE whacks DEAN in the face. SAM laughs. DEAN rubs his face. COLE goes over to SAM.

COLE
Hit me as hard as you can.

SAM
Dude, I’m not gonna do Fight Club with a twelve-year-old.

COLE whacks SAM in the face. SAM shakes it off.

SAM
All right, cut it out.

COLE
Make me.

COLE takes another swing. SAM blocks and swings back. COLE vanishes. DEAN and SAM look around. COLE reappears out of reach.

DEAN
Whoa. Whoa, you got to teach us that.

FUNERAL HOME

EXT. FUNERAL HOME – NIGHT

The walls of the funeral home are covered in glowing blue diagrams, mostly six-sided figures, some in circles and some in squares, all with lines through them and squiggles inside the triangles thus formed. DEAN and SAM cross the street to the building. Pedestrians go by, ignoring both DEAN and the glowing blue diagrams.

DEAN
This looks like New Jack City. Can nobody can see this?

SAM
Maybe it’s demon invisible ink. Only see it in the veil.

DEAN
Any idea what it’s for?

SAM
We’ll find out.

INT. FUNERAL HOME – NIGHT

A door is standing open. SAM goes in. DEAN follows. SAM goes one way around the stairs, DEAN the other. SAM shrugs: he saw nothing. DEAN turns around.

In the open space in the middle of the room, there is a square with triangles on each side to form an eight-pointed star, with squiggles at each point. Lying in the figure are TESSA and an old man in a suit, presumably the first REAPER. SAM and DEAN come for a closer look. On the far side of the reaper trap is a MAN standing guard. He has not seen SAM and DEAN. DEAN whispers.

DEAN
Dude, check me out.

DEAN takes a few steps forward and vanishes. He reappears behind the MAN and taps him on the shoulder; when the MAN turns around, DEAN punches him in the face. When the MAN straightens up and takes a swing, DEAN is gone. The MAN looks around: he and the REAPERS are the only ones visible. A hand taps the MAN’s shoulder; this time it’s SAM who punches him. DEAN has reappeared on the MAN’s other side and punches again. SAM knees the MAN in the chest. The MAN scrambles away. DEAN kicks him. The MAN hides behind the coffin on the dais. DEAN and SAM follow him up.

DEAN
You know, this ghost thing, it’s, it’s kind of rad.

Another MAN comes out from behind a curtain, carrying a chain and making pained noises. The first MAN scrambles over the coffin and out of the way. The second MAN pulls the chain tight and hooks it to a candle stand.

SAM
It’s iron.

The MAN, who must be a DEMON, lets go of the chain. His hands are smoking. SAM and DEAN look around; the chain surrounds them.

A third DEMON comes into the room.

DEMON
Boys. Find the place okay?

The DEMON’s eyes roll white: it’s ALASTAIR.

ACT FOUR

FUNERAL HOME

INT. FUNERAL HOME – NIGHT

ALASTAIR’s eyes return to human. He walks up to the chain. One of the DEMONS hands him a shotgun and leaves. ALASTAIR checks the shotgun, then aims at DEAN and fires. DEAN disintegrates.

ALASTAIR
Rock salt’s not so much fun anymore, is it?

SAM glares at ALASTAIR. DEAN reappears.

DEAN
Alastair. You bastard.

ALASTAIR
Well, go on. Why don’t you try some of your mojo on me now, hotshot?

DEAN glances at SAM. SAM fumes.

ALASTAIR
It’s hard to get it up when you’re not wearing your meat, huh?

SAM
Go to hell.

ALASTAIR
Ah, if only I could.

ALASTAIR turns away, crossing the room.

ALASTAIR
But they just keep sending me back up to this arctic craphole.

DEAN
To kill death?

ALASTAIR
No, to kill death twice. It takes two to break a seal. I figured another one would show up, though. They’re like lemmings.

ALASTAIR pumps the shotgun and fires. SAM disintegrates. ALASTAIR comes back up to the chain.

ALASTAIR
By the way, it’s, uh, good to see you again, Dean.

DEAN
You can shoot us all you want, but you can’t kill us.

SAM reappears, his arms wrapped around his torso.

ALASTAIR
Ah, that so?

MOTEL ROOM

INT. MOTEL ROOM – NIGHT

PAMELA is still sitting in the chair between the beds with DEAN’s and SAM’s bodies. Something creaks in the room. PAMELA looks around. She stands up and goes over to the door, bolting and chaining it. A window is open, the curtain blowing.

FUNERAL HOME

INT. FUNERAL HOME – NIGHT

ALASTAIR is holding a scythe, turning it over in his hands.

ALASTAIR
Anyhoo…

DEAN and SAM watch ALASTAIR.

ALASTAIR
Moon’s in the right spot. The board is set. Let’s get started, shall we?

DEAN
You’re gonna kill a reaper with that? It’s little on the nose, don’t you think?

ALASTAIR
Is it? An old friend lent it to me. You know, he doesn’t really ride a pale horse? But he does have three amigos.

ALASTAIR goes over to the REAPERS.

ALASTAIR
And they’re just jonesing for the apocalypse.

ALASTAIR kneels next to the old man REAPER.

ALASTAIR
It pays to have friends in low places.

ALASTAIR grabs the REAPER by the collar and hauls him up.

ALASTAIR
Don’t you think?

ALASTAIR puts the scythe behind the REAPER’s neck.

ALASTAIR
Hic cruor messorius, illud sigillum, quod luciferem reverendum obstringit, aperiat ut resurgat!

ALASTAIR pulls the scythe. White-blue light. ALASTAIR lowers the dead REAPER to the floor. ALASTAIR straightens up.

SAM looks up: there’s a chandelier hanging above the reaper trap.

ALASTAIR steps over the dead REAPER and grabs TESSA by the shoulder, holding the scythe to her neck. She’s awake. SAM glances between DEAN and the chandelier.

TESSA
Stop!

DEAN stares at the chandelier and concentrates.

ALASTAIR
Hic cruor messorius—

SAM stares at the chandelier and concentrates.

MOTEL ROOM

INT. MOTEL ROOM – NIGHT

PAMELA closes the window. She goes into the middle of the room, then approaches a curtain.

PAMELA
I know you’re here. What’s the matter, you reeking son of a bitch? You afraid of a skirt?

PAMELA rips back the curtain: it’s the shower curtain, and the bathroom is empty except for PAMELA.

PAMELA leaves the bathroom. A DEMON is waiting just outside. She senses him and runs to SAM, leaning over him.

PAMELA
Vis, vis, vis!

The DEMON grabs PAMELA and drags her up. PAMELA kicks at him. He grabs her ankle and hauls, kicking the chair away.

PAMELA
Son of a bitch!

FUNERAL HOME

INT. FUNERAL HOME – NIGHT

No time has passed since cutting away from ALASTAIR.

ALASTAIR
—illud sigillum, quod luciferem reverendum obstringit—

The chandelier is shaking with the force SAM and DEAN are applying. TESSA watches them.

ALASTAIR
—aperiat ut—

The chandelier falls.

ALASTAIR
—resurgat!

The chandelier lands on a corner of the reaper trap, breaking it. TESSA vanishes. She reappears at the candle stand and unhooks the chain.

DEAN
Bye-bye.

TESSA, DEAN, and SAM vanish.

STREET

EXT. FUNERAL HOME – NIGHT

TESSA and DEAN appear. They look around.

TESSA
Where’s your brother?

DEAN
I’ll go find him. You get out of here.

MOTEL ROOM

INT. MOTEL ROOM – NIGHT

PAMELA and the DEMON fight. PAMELA gets loose of the demon and leans over SAM.

PAMELA
Animum vult decipi, ergo—

The DEMON grabs PAMELA and throws her across the room, knocking over candles and the coffeemaker. PAMELA sits up. The DEMON pulls out a knife and stabs PAMELA in the gut.

SAM sits up. The DEMON pulls out the knife.

SAM
Pamela!

SAM raises a hand and flings the DEMON against the wall. SAM stands and exorcises the DEMON with his mind. The DEMON’s host slumps to the floor.

SAM turns to PAMELA, crouching down to her level. PAMELA is laughing.

SAM
What’s so funny?

PAMELA
I can’t die—not in this town.

PAMELA takes her hand away from the injury. There is no blood.

SAM
Pamela—

PAMELA
Quit your worrying, grumpy. How about you make me a drink, huh?

SAM
You need a doctor.

PAMELA
Make me a drink, Sam.

SAM swallows.

ALLEY

EXT. ALLEY – NIGHT

DEAN walks along the alley, looking around.

ALASTAIR
You can’t run.

ALASTAIR is standing in the alley.

ALASTAIR
Dean.

DEAN stops and stares. ALASTAIR advances. DEAN retreats.

ALASTAIR
Not from me. I’m inside that angsty little noggin of yours.

Blue-white lightning strikes ALASTAIR. He vanishes.

DEAN
What the hell?

CASTIEL
Guess again.

DEAN turns around. CASTIEL is behind him.

ACT FIVE

ALLEY

EXT. ALLEY – NIGHT

CASTIEL
What just happened? You and Sam just saved a seal. We captured Alastair. Dean, this was a victory.

DEAN
Well, no thanks to you.

CASTIEL
What makes you say that?

DEAN
You were here the whole time?

CASTIEL
Enough of it.

CASTIEL looks away.

DEAN
Well, thanks for your help with the rock salt.

CASTIEL
That script on the funeral home—we couldn’t penetrate it.

DEAN
That was angel-proofing.

CASTIEL
Why do you think I recruited you and Sam in the first place?

CASTIEL looks at DEAN.

DEAN
You recruited us?

CASTIEL
That wasn’t your friend Bobby who called, Dean. It wasn’t Bobby who told Sam about the seal.

DEAN
That was you?

CASTIEL looks down.

DEAN
If you want our help, why the hell didn’t you just ask?

CASTIEL
Because whatever I ask, you seem to do the exact opposite.

DEAN
So, what now, huh? The people in this town, they just gonna start dying again?

CASTIEL
Yes.

DEAN
These are good people. What, you think you can make a few exceptions?

CASTIEL
To everything there is a season.

DEAN
You made an exception for me.

CASTIEL pauses, then looks at DEAN.

CASTIEL
You’re different.

A long pause. TESSA is next to DEAN.

TESSA
Dean? I could use your help.

CASTIEL is gone.

COLE’S HOUSE

INT. DINING ROOM – NIGHT

MRS. GRIFFITH is looking at a memory book. There is a picture of COLE, age 3, and a lock of his hair. She turns the page; there is a photo of MRS. GRIFFITH with COLE as a small child. COLE is watching her. She is crying.

TESSA
Hey, Cole.

COLE startles and turns around. TESSA is there, wearing a white dress instead of the jeans and black jacket of a moment ago. DEAN is behind him.

COLE
Tell your brother thanks for nothing.

DEAN looks down.

TESSA
Look at her, Cole.

COLE glances back.

TESSA
Do you see how unhappy she is?

COLE
That’s why I want to stay with her.

TESSA
As long as she can feel you, she’ll be in pain, because she can’t let go.

COLE glances back again.

TESSA
Because you won’t let go of her.

COLE
Why won’t anybody tell me what’s on the other side?

TESSA
Maybe nobody wants to ruin the surprise.

DEAN looks away.

COLE
That’s not an answer.

DEAN
She won’t answer you, Cole. Reapers never do. But trust me. Staying here is a whole lot worse than anything over there.

COLE
Why?

DEAN
Because one day, your family will be gone, and there’ll be nothing left here for you. It’s okay to be scared.

COLE
I’m not scared.

DEAN
We’re all scared. That’s the big secret. We’re all scared.

A pause.

COLE
Are you coming?

TESSA looks down.

DEAN
Oh, I’m sure I’ll be there sooner than you think.

COLE looks back at MRS. GRIFFITH. He unfolds his arms and walks toward TESSA. She hugs him, closing her eyes. He melts into her, vanishing in white light.

MRS. GRIFFITH looks up. She doesn’t look as sad.

TESSA turns to face DEAN.

DEAN
Look out for that boy.

TESSA
Look out for yourself, Dean.

DEAN
What do you mean?

TESSA
I’ve been around death from the get-go. You know what I see most? Lies. «He’s in a better place.» «At least they’re together now.» You all lie to yourselves, Dean, ’cause like you said, deep down, you’re all scared. Stop lying to yourself, Dean.

DEAN
What?

TESSA
The angels have something good in store for you. A second chance. Really? ‘Cause I’m pretty sure, deep down, you know something nasty’s coming down the road. Trust your instincts, Dean. There’s no such thing as miracles.

DEAN
What are you saying?

TESSA says nothing. A moment later, she is gone.

MOTEL ROOM

INT. MOTEL ROOM – NIGHT

PAMELA sits on the edge of DEAN’s bed, one hand to the stab wound, leaning on the other.

PAMELA
Imum vult decipi, ergo decipiatur. Vis, vis, vis.

PAMELA gets up to move to the other bed. SAM gets up to help her.

SAM
Hey, we just got to talk to Tessa, that’s all. Get her to hold off reaping till we get you better.

PAMELA
I’m pretty sure she’s started up again.

Blood is pouring over PAMELA’s hand.

DEAN takes a deep breath and sits up. PAMELA takes a drink. She’s breathing hard. DEAN looks at PAMELA and sees the blood.

DEAN
What happened?

SAM
Dean, where’s Tessa?

DEAN
She’s…

PAMELA takes off her sunglasses.

SAM
Pamela, I’m so sorry.

PAMELA
Stop.

SAM
You don’t deserve this.

PAMELA
Yeah, I don’t. I told you I didn’t want anything to do with this. Do me a favor? Tell that bastard Bobby Singer—to go to hell for ever introducing me to you two in the first place.

PAMELA starts coughing.

DEAN
Take it easy, Pamela. If it’s any consolation, you’re going to a better place.

PAMELA turns her head toward DEAN.

PAMELA
You’re lying.

SAM looks at DEAN.

PAMELA
But what the hell, right? Everybody’s got to go sometime.

PAMELA beckons SAM closer.

PAMELA
Come here.

SAM leans close. PAMELA whispers in his ear.

PAMELA
I know what you did to that demon, Sam.

SAM’s eyes widen.

PAMELA
I can feel what’s inside of you. If you think you have good intentions, think again.

PAMELA starts coughing again. She leans back against the headboard, a trickle of blood coming out of her mouth, and is still.

SAM
Pamela?

PAMELA’s head slides down.

DEAN
Pamela!

DEAN looks at SAM.

DEAN
What did she say to you?

SAM looks away.

EPILOGUE

We dedicate the entire season to Kim Manners.

A photo of Kim Manners directing Jensen and Jared. A second photo of Kim Manners directing.

We miss you, Kim.

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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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