Σενάριο Supernatural | 8×05 Blood Brother
Written by: Ben Edlund
Directed by: Guy Bee
Air Date: October 31, 2012
NOW
EXT. DOCK – NIGHT
Eagle Harbor, Washington
A man walks along the dock. BENNY steps out behind him.
BENNY
Hello, Quentin.
QUENTIN
Benny. No, It – it can’t be you.
BENNY
I get the confusion. You of all people knew I was really, truly dead. After all, you held down my legs, didn’t you? When the old man told Sorento to saw off my head. Where is he?
QUENTIN
Are you serious? Did you really think I’d tell you where he is?
BENNY
Well, I guess I was… [he holds up a large knife] …kind of hoping you wouldn’t.
QUENTIN
On the other hand, I might show you where he is. [Two other men walk up behind BENNY.] After me and my boys take off your hands and feet.
BENNY
Well, don’t go through all that trouble on my account.
QUENTIN
Please. You go and crawl your way out of God’s ass for another ride on the merry-go-round? The old man’s gonna want to see this for himself.
BENNY
Mm. Well, they might be able to kill me. And that’s all right. ‘Cause if they do, I know exactly where I’m going… and who I’ll see when I get there.
QUENTIN growls and his fangs descend. BENNY lunges at him and cuts off his head before turning to face the other two men, who are holding knives.
SUPERNATURAL (Title Card)
ACT ONE
INT. MOTEL ROOM – NIGHT
Enid, Oregon
SAM and DEAN enter. SAM immediately crosses to the bathroom and turns on the light. DEAN looks around the room.
DEAN
Well, that is twice that he’s burned us. Shame on you.
SAM
No, no, no, no. I’m the one who said he set us up.
DEAN
No, you said, “I wonder if Kevin is setting us up,” and then you started in with the – the techno babble. That was like two states ago.
SAM
Yeah, well, whatever. Either way, that’s another room billed to one of Kevin’s false credit IDs. [DEAN picks the lock on the mini-bar.] And the motel ran his number today.
DEAN
Just like he actually checked in?
SAM
Yes.
DEAN
Kid’s like Rain Man. He’s like a crappy little credit-card-counting… criminal prodigy Rain Man.
SAM
Well, he was in advanced placement.
DEAN
Shut up.
DEAN hands SAM a beer from the mini-bar.
DEAN
When’s that little idiot gonna stop running from us?
SAM
I don’t know, Dean. I mean, you did try to kill his mother.
DEAN
I was trying to kill Crowley, okay? Who happened to be wearing Kevin’s mother at the time. Well, there’s a difference.
SAM
Apparently not to Kevin. Oh, I know. Maybe because – oh, yeah – it’s his mother.
DEAN’s phone rings.
DEAN
Hold that thought. No, actually, you know what? Don’t hold that thought.
DEAN (on phone)
Hello? Hello? Uh, hang on. There’s not enough bars.
DEAN goes outside and closes the door behind him.
EXT. MOTEL – NIGHT
DEAN (on phone)
Benny?
EXT. DOCK – NIGHT
BENNY’s bloody knife lies on the ground. BENNY is bleeding from several wounds.
BENNY (on phone)
(speaking slowly) Hey, Dean. You, um – you got a minute? Afraid I messed up, buddy.
Their conversation alternates between DEAN outside the motel and BENNY on the dock.
DEAN (on phone)
What did you do?
BENNY (on phone)
No, man, not like that.
INT. MOTEL ROOM – NIGHT
SAM looks out the window at DEAN talking on the phone.
EXT. MOTEL – NIGHT
DEAN looks over his shoulder at the motel room window.
DEAN (on phone)
I’m sorry. You took on how many? Are you crazy?
BENNY (on phone)
Hey. [We see QUENTIN’s men lying dead on the dock.] See, the thing is, my legs – they ain’t working so good. There’s, uh… a fuel barge not too far from here. I’m pretty sure I can make it at a slow crawl. I was kind of hoping maybe I could ask you for one more favor?
INT. MOTEL ROOM – NIGHT
DEAN puts a bag down on the bed.
SAM
And – and what exactly is that supposed to mean, you’ve got to go?
DEAN
Which words are giving you trouble?
SAM
We’re on the case, remember, Dean? The – the Winchester holy grail, “shut the gates of hell forever” case.
DEAN
Sure are. But in order to close the Gates of Hell, we need our Prophet, am I right? So step one – find Kevin Tran. Well, he ain’t here. But he wanted us to be, which means we’re probably as far away from him as he could possibly put us. So step two – find Kevin Tran. [He looks in the mini-bar.] You mind if I take the Toblerone?
EXT. MOTEL – NIGHT
DEAN leaves the motel room, followed by SAM.
SAM
Wait. Dean, seriously?
DEAN
Hey, the trail is dead, but the room is paid for. You got some research to do, and I got some personal crap I got to take care of. That’s all.
SAM
What does that mean – “personal”?
DEAN
Did you have a stroke? Vocabulary? Personal, as in my own grown-up personal – I don’t know – crap.
SAM
Damn it –
DEAN
What, Sam? Last I counted, you took a year off from the job. I need a day.
DEAN gets into the IMPALA and starts the engine.
IMPALA – NIGHT
DEAN drives.
FLASHBACK – PURGATORY
DEAN falls on his back to the ground during a fight. He looks for his weapon, which is out of reach.
IMPALA – NIGHT
DEAN drives.
FLASHBACK – PURGATORY
DEAN kicks out with a leg and knocks the monster he is fighting down. DEAN gets up and grabs his weapon.
IMPALA – NIGHT
DEAN drives.
FLASHBACK – PURGATORY
DEAN hurls the monster to the ground and swings his weapon at it three times.
IMPALA – NIGHT
DEAN drives.
FLASHBACK – PURGATORY
DEAN reaches behind him to put a hand on BENNY’s arm. They appear to have been fighting back to back. Another monster runs at them. BENNY is whistling. A second monster runs towards them. DEAN and BENNY get ready to strike.
IMPALA – NIGHT
DEAN drives.
INT. MOTEL ROOM – NIGHT
SAM looks up Cascadia Credit, KEVIN TRAN’s Princeton admission form, and a credit card application with KEVIN’s picture in the name of “Kevin Park” on his laptop.
SAM
You are a wascally wabbit, Mr. Tran.
SAM then calls up a credit card application in the name of Amelia Richardson.
SAM
Concerned. Not stalking… concerned.
He hears a whirring noise coming from the bathroom and goes to investigate. The bathroom fan is making the noise.
FLASHBACK
INT. MOTEL – DAY
We see a close-up of a noisy air conditioner in the motel reception. SAM enters with RIOT on a leash.
SAM
Everett. Hey, buddy, you still on duty?
EVERETT
Yeah, yeah.
SAM
How’s your dad?
EVERETT
He’s kind of having it rough on the new regimen. Can’t keep anything down.
SAM
That sucks.
EVERETT
Yeah.
SAM
Listen, um, I’m gonna stay on another week, okay? But I need you to run it on this card, ’cause I just canceled the one you had on file.
EVERETT
Okay, sure. [SAM looks at the noisy air conditioner.] Figured you’d have moved on by now.
SAM
Right. Well, I’m – I’m kind of between jobs. [SAM looks again at the noisy air conditioner.] Uh… plus, uh, dog has a surgery follow-up on Tuesday.
EVERETT
Yeah, you really messed up that dog.
SAM
Right. Uh, thanks for that.
They both look at the noisy air conditioner.
EVERETT
Oh, yeah, it’s all that thing does – piss, moan, and eat up money we ain’t got.
SAM
Well, you got any tools?
EVERETT
Hell, if you can fix it, you don’t need to go and look for a job. You got one here.
The flashback ends.
INT. MOTEL ROOM – NIGHT
SAM screws the cover back onto the fan. He turns it on and it operates quietly. He turns it off.
EXT. DOCK – DAY
DEAN pulls up in the IMPALA and parks next to a pick-up truck. He looks into the cabin of the truck and then opens the covered truck bed. He opens a small ice chest, which contains blood bags. DEAN shakes his head, takes the ice chest and closes the truck bed.
EXT – FUEL BARGE – DAY
DEAN
Benny!
INT. FUEL BARGE – DAY
DEAN walks down a flight of stairs and finds BENNY leaning against a wall.
DEAN
Benny? Not lookin’ good.
BENNY
[chuckles] Up yours.
DEAN opens the ice chest.
ACT TWO
INT. FUEL BARGE – DAY
DEAN leans against a table, on which there are many empty blood bags. BENNY comes out of a bathroom wearing clean clothes and drying his hair with a towel.
DEAN
Wow. You, uh… look okay.
BENNY
Getting there.
DEAN
Dude, you were double-hamstrung.
BENNY
Yeah, well, a little rest, a half a cooler full of AB-negative – most wounds short of an amputation will mend up… vampirically speaking.
DEAN
Uh-huh.
BENNY picks up a bag and puts on his cap.
BENNY
I’ll be 100% before you know it. [He picks up the ice chest and holds out a hand to DEAN.] Thank you, brother. [They shake.]
DEAN
Benny, what’s going on?
BENNY
Oh, your work here is done, Dean. You already saved the day. You know, I got my, uh, deal, and you got – what’d you call it? A family business?
DEAN
Benny. What’s going on?
BENNY
You and that whole “friend” thing, man.
FLASHBACK – PURGATORY
DEAN stands up after killing a monster. BENNY cleans his weapon on another monster’s clothing. A third monster swings a weapon at CASTIEL, who puts a hand on the monster’s head and smites him in a blaze of light. The monster falls to the ground dead.
BENNY
Well, I got to admit, Dean – he’s got his strong points, but holy hell if he ain’t a magnet.
DEAN
Well, before we found Cas, you said it was my humanity that was drawing too much attention.
BENNY
Yeah, that too.
CASTIEL
Well, I think we’re clear for the moment. It does present a curious curl in the metaphysics, doesn’t it? If you murder a monster in monster heaven, where does it go?
BENNY
And this is the crazy aunt I want to take on the road?
CASTIEL
I am not your aunt.
BENNY
What? Really?
CASTIEL
I have no possible relationship to your sibling offspring.
BENNY
Now, you’re kidding me.
DEAN
Oh, you two are killing me.
CASTIEL
I have to agree with the vampire, Dean. The risk of crossing Purgatory with a seraph – it’s… less than strategic, and certainly when we have no reason to believe that I can pass through the door that you’re headed for.
BENNY
You see, you’re an intact, living human being stuck in Purgatory’s craw. This dimension wants to spit you out, which is exactly what’s gonna power our escape pod. Now, I’m pretty sure I can squeeze through, too, because, after all, you take away the fangs and the fun, I was born human, too. But…
CASTIEL
I don’t think it would work for me.
BENNY
You hear what he’s telling you, Dean? Your buddy is saying –
DEAN
Listen to me, you undead blood junkie, I’m the one with the mojo. I’m the one with the plan. Cas… we’re gonna shove your ass back through the eye of that needle if it kills all three of us.
BENNY
Obviously, I’m less than comfortable with that.
INT. FUEL BARGE – DAY
BENNY
Well, it’s good to know you’re still dumb as ever.
DEAN
Yeah, well, some things never change. Now, why are you getting into machete fights with your own kind?
BENNY
Quentin, the one I came for? We were in the same nest. I’m hunting the vampire who turned me, my maker.
DEAN
Well, now, don’t get me wrong. I’m down with the hunting, but, uh… why?
BENNY
Kill him before he kills me… again.
EXT. MOTEL – NIGHT
SAM is using his laptop outside his motel room. He looks up as a moth flies into a bug zapper, and a few moments later looks up again as a woman in a bath robe gets ice from an ice machine.
FLASHBACK
INT. MOTEL – DAY
RIOT lies on the floor watching SAM fix an ice machine. SAM flips a switch to test it.
EVERETT
Awesome. Uh, if you’re still on the clock, lady in 118 says the sink’s backed up.
INT. MOTEL ROOM – DAY
SAM is crouching on the floor under the sink. Three glasses with pieces of lime in them are on the counter. AMELIA enters, carrying shopping bags.
AMELIA
What the hell? What are you doing here? [SAM stands up.] I knew there was something off about you, with your creepy Army-Navy and your sideburns –
SAM
Stop, stop. Um, I’m fixing your sink.
AMELIA
What?
INT. FUEL BARGE – DAY
A bloodstained wallet, money clip, keys and matches are spread out on a table. BENNY picks up the money clip.
BENNY
Quentin and I went way back – one of the old man’s favorites, next to me, it turns out.
DEAN looks through a notebook.
DEAN
Listen to this. “Age of Aquarius II, 0800,” and then there’s some other numbers all crossed out. Some other weird names here, too – the Big Mermaid, Solitaire – it’s all crossed out, except this one – the Lucky Myra.
BENNY
Yachts. Names of yachts – Lucky Myra… [BENNY takes the notebook from DEAN] …Age of Aquarius II. Look at this one – Sea You Later, spelled s-e-a. I mean, come on.
BENNY puts the notebook down on the table and DEAN points to it.
DEAN
So, then these are launch times. And what – destinations?
BENNY
Mm-hmm. Except none of them ever get there.
BENNY
The Lucky Myra left yesterday afternoon. I guarantee you it’s already been hit.
DEAN
What do you mean, “hit”?
BENNY
Boarded, burned, and buried at sea. My nest – that’s how we fed… How we always fed. We kept a tight little fleet, maybe a half-dozen boats. Nothing ostentatious, just pleasure craft. I must have circled the Americas ten times during my tour. A few of us would act as stringers and patrol the harbors, looking for the right-size target – fat, rich yachts going to far-off ports. Take down the boat’s name and destination, radio it to the crew in the water. And then we just, uh… let the ocean swallow up all our sins.
DEAN
Vampire pirates? That’s what you guys are? Vampirates.
BENNY
You know, all the years we ran together, I can’t believe nobody ever thought of that.
DEAN
What do you mean? It’s like the third thing you say.
BENNY
No, it isn’t.
DEAN
All right, so, y-your maker is set up to feed around here, right? [He takes money and a piece of paper from the wallet on the table.] Well, what are we looking for? [He puts the money in his pocket.]
BENNY
Well, he likes to live in style. He usually rents legitimately. Always remote, always coastal.
DEAN unfolds the piece of paper.
DEAN
So an island, maybe? You got a cable bill here. Hmm. Quentin’s got the NFL package. Prentiss Island. Heard of it?
BENNY
Oh, yeah.
IMPALA – NIGHT
The IMPALA drives down a road.
DEAN
Yeah, so, if you were your maker’s favorite, why did he kill you?
BENNY
When you get turned, it’s like you’re reborn into a vampire nest. Your maker – he means everything to you. [He takes a blood bag out of the ice chest.] I mean, you really start believing he’s God. Now, if your maker happens to believe the same thing, well… [He drinks from the blood bag.]
DEAN
See how that could be a pickle.
BENNY
Mm.
DEAN
Well, uh – you really have to do that? I mean, right now? [He grimaces slightly.]
BENNY
[chuckles] I’m sorry, brother. I’m better, but I’m still on the mend.
DEAN
Right.
BENNY
Anyway…our father – he was a jealous god. He kept the family together but kept us apart from the rest of the world, always at sea. I always did what was best for the nest… till I met her. Andrea. Andrea Kormos. Beautiful. I mean, words don’t even cut it, you know? Greek, heiress.
DEAN
Come on.
BENNY
She was sailing a 42-foot sloop to the Canary Islands. Now, I should have called her boat’s destination in to my crew, but instead, I joined her on it.
DEAN
Seriously? Was Fabio on the cover of that paperback? [He laughs.]
BENNY
My life changed when she entered it, Dean. Everything I had been or done up to that point just… seemed to vanish… into what we had become together. I mean… We found it, man. Eventually, we settled in Louisiana. And then one night, we were coming home, and the old man – he was just there. Quentin, Sorento, my oldest nestmates. It was only that night I understood what a crime it was to him – me leaving him. They pinned me down, and they beheaded me. The last thing I saw was the old man tearing out Andrea’s throat.
DEAN
Well, that’s what payback’s all about – am I right?
BENNY
Docks are up ahead. Should be able to find a dinghy to use.
EXT. WATER – NIGHT
DEAN and BENNY are in a small motor boat. As they approach the shore, DEAN sits at the bow with a rope and prepares to jump off.
EXT. SHORE – NIGHT
DEAN jumps off the boat and secures the rope. BENNY throws him two bags. They walk through a forest. DEAN is texting.
BENNY
We’re close.
DEAN’s message is to SAM and reads “Hunting vamps – nest on Prentiss Island…” He continues to type “not…”
BENNY
Remind you of anything?
DEAN’s message now ends “not alone”. He uses the backspace key to delete the entire message and puts his phone away. BENNY takes his weapon out of his bag. DEAN takes his own weapon out of his bag.
BENNY
It’s weird being back – in the world, I mean. [They throw their bags on the ground.] Isn’t it?
DEAN
Sure as hell is.
BENNY
I mean, what do you do with it all? All the – all the everything? Hell, I don’t even know if this world is real, if I’m real.
DEAN
Hey, listen to me. I’ve seen what happens down that rabbit hole, okay? We’re real. Benny, this is real. It’s the only way to play this game, you get me?
EXT. LARGE HOUSE – NIGHT
INT. LARGE HOUSE – NIGHT
BENNY and DEAN enter and go through the entry hallway into the main room with their weapons ready. BENNY looks at a harpsichord.
DEAN
[whispering] Time to move, Benny.
BENNY
The old man’s harpsichord.
DEAN
Benny!
DEAN walks away. BENNY looks at a framed photograph of a woman on a table.
BENNY
No. No, no.
The woman in the photograph, ANDREA, comes down the stairs.
ANDREA
Benny?
BENNY
Andrea.
A man walks up behind BENNY, another appears around a corner and a third comes down the stairs behind ANDREA. The man behind BENNY knocks him to the ground. DEAN listens from behind a wall as BENNY is hit again and again.
DEAN
Idiot.
ACT THREE
INT. LARGE HOUSE – NIGHT
BENNY is handcuffed to a chair. SORENTO leans over him from behind.
SORENTO
Gonna make me do this all over again, aren’t you?
BENNY
Hello, Sorento. [to ANDREA, who is standing in front of him with another vampire behind her] He turned you. [She nods.]
CUT TO:
DEAN walks around a corner. His phone buzzes.
INT. MOTEL ROOM – NIGHT
SAM is calling.
INT. LARGE HOUSE – NIGHT
DEAN takes out his phone, but doesn’t accept the call.
DEAN
[to himself] Little busy right now.
He puts the phone back in his pocket as he walks slowly down a hallway. He ducks out of sight as a man appears at the end of the hallway. After a few moments he opens the door of the room he was hiding in.
DEAN’S VOICE ON PHONE MESSAGE
This is Dean’s other, other cell…
INT. MOTEL ROOM – NIGHT
DEAN’S VOICE ON PHONE MESSAGE
…so you must know what to do.
SAM hangs up. He is looking at AMELIA’s Texas drivers license on his laptop.
AMELIA (V-O)
So, that’s what you do?
FLASHBACK
INT. MOTEL – DAY
The scene carries on from SAM’s previous flashback. The door of the motel room is open and AMELIA is still holding shopping bags.
AMELIA
You stalk helpless women and you break into their motel room… [she puts the shopping bags on the counter] …and you fix their plumbing? Why are you fixing my sink?
SAM
Well, because somebody jammed about 800 limes down the drain… [he shows her the garbage disposal unit] and blew out the disposal.
SAM takes a bag of limes out of one of the shopping bags.
AMELIA
Oh. Right. Don’t touch the produce.
SAM
Right.
AMELIA
I thought you were leaving town.
SAM
I am. I’m just helping out with maintenance at the motel, you know, while Everett’s dad is sick.
AMELIA
Who’s Everett?
SAM
How long have you been here?
AMELIA
Three months. Why?
SAM
Well, you know, usually when someone moves into a town, they – they actually, uh, you know, move into the town.
AMELIA
I did.
SAM
A motel is not actually part of the town that it’s in. It’s not part of anywhere.
AMELIA
Well, I haven’t found a place yet. Why am I explaining myself to you? You’re a drifter or a handyman.
SAM
I-I think I should just go.
AMELIA
Yeah, I think you should go.
SAM picks up his tray of tools. On his way out, he takes AMELIA’s keys out of the door and puts them on the kitchen bench. He closes the door behind him.
The flashback ends.
INT. MOTEL ROOM – NIGHT
SAM’s phone rings.
SAM (on phone)
Hey.
DEAN (on phone)
Okay, what?
SAM (on phone)
What?
INT. LARGE HOUSE – NIGHT
DEAN (on phone)
[slowly] Why did you call me?
The scene alternates between SAM in the motel room and DEAN in the vampires’ house.
SAM (on phone)
[slowly] Why are you whispering?
DEAN (on phone)
It’s kind of hard to explain right, but I’m sort of in the middle of cleaning out a vampire’s nest, and it’s sort of gone a little sideways on me.
SAM (on phone)
What?! [DEAN takes the phone away from his ear and holds it against his chest.] Are you an idiot, Dean? You know better than to go into a vamp nest alone.
DEAN (on phone)
I’m not alone, damn it. All right? I’m not alone. I’ve got backup – guy who’s been tracking the nest for a while.
SAM (on phone)
What guy? Garth?
DEAN (on phone)
What? No. You don’t know him. He’s a friend.
SAM (on phone)
A friend? Dean, you don’t have any – all your friends are dead.
DEAN (on phone)
That’s not what I called to talk about! [He holds the phone to his chest again.]
CUT TO:
ANDREA
Sorento, go. Tell the old man it’s true. [SORENTO leaves.]
BENNY
He listens to you?
ANDREA
It’s been a long time. Our father has come to trust my judgment over Sorento’s. I answer only to him.
BENNY
Well, sleeping with God has got to have some perks.
ANDREA hits BENNY across the face.
ANDREA
Yes, it does. [to the two vampires standing behind her] Make sure the old man has everything he needs. [They leave.]
ANDREA roughly pulls BENNY forward, then strokes his face and kisses him.
ANDREA
Oh, Benny. When I heard you were back – I don’t know – somehow, I knew it was true. I had to believe it, to hope.
BENNY
Andrea, what happened? The old man said he was gonna bleed you dry.
ANDREA
I don’t know. He changed his mind. I blacked out. When I woke up, I was drinking from his wrist.
BENNY
I’m sorry. All this is because of me. I’m sorry.
ANDREA
No. It’s not your fault. You never hid anything from me, Benny. I chose you.
BENNY
But why’d you stay… with them, with him? Why?
ANDREA
You remember what it’s like at first. First, everything resets. Life is blood. That’s all. And whoever gives it to you –
BENNY
I know. It’s complicated. Every damn thing is complicated.
ANDREA takes a large clasp knife from her waistband and holds it out to BENNY.
ANDREA
It doesn’t have to be.
BENNY
Andrea.
ANDREA
Benny, I can’t kill him… [she tucks the knife into his jacket] …none of us can. But you – you came back from the grave. You’re proof that he’s not all-powerful, that he’s not God. He’s scared of you, Benny – I know it. [She presses keys into his hand.]
BENNY
You understand that I came back to burn his operation to the ground, to stop the killing.
A door opens.
ANDREA
Do what you came for, and we can be together. [She strokes his face and steps away.]
SORENTO
He wants Benny brought to him.
CUT TO:
DEAN is texting on the phone as SAM talks. The scene alternates between DEAN in the vampires’ house and SAM in the motel room.
SAM (on phone)
I get the separate-lives thing, but this is a hunting thing, and we need to find that line –
DEAN (on phone)
Oh, my God, stop talking. I texted you my 20.
SAM (on phone)
Yeah, I got it. Look, I’m on my way. And, listen, if you handle it, great. I’ll buy your friend the first round. But, Dean, listen to me. It – Dean? Dean, are you there? [DEAN has left his phone, still on, on a sideboard.] Dean. [A VAMPIRE hears the phone and walks over to the sideboard.] Dean. You kidding me?
DEAN cuts off the VAMPIRE’s head, then picks up his phone from the ground. The screen is shattered.
DEAN
Oh, man, come on.
INT. MOTEL ROOM – NIGHT
SAM hangs up and throws his phone to the floor.
SAM
Damn it!
INT. LARGE HOUSE – NIGHT
As DEAN prepares to move the body of the VAMPIRE he killed, he looks up and sees a SECOND VAMPIRE watching him.
ACT FOUR
INT. LARGE HOUSE – NIGHT
SORENTO brings BENNY into a room where BENNY’S MAKER is waiting.
BENNY
Hello, father.
BENNY’S MAKER
Benny. I have no words.
BENNY
Now, I know that ain’t true.
BENNY’S MAKER
Can you help us understand? I know you don’t owe us anything, but how? How are you here, standing in front of me?
BENNY
I found a way back.
BENNY’S MAKER
From Hell?
BENNY
Right next door, as far as I could tell.
BENNY’S MAKER
Next door? What’s that?
BENNY
Oh, I think I’ll just have to show you.
BENNY’S MAKER
I know it won’t change anything, but I regretted having you killed. When it was all done, I wailed when I saw you in all those pieces. [SORENTO holds a large knife.] Didn’t I, Sorento? Didn’t I wail like the ugliest baby in the world?
SORENTO
Yes, father. That’s when you decided to turn his cow.
BENNY’S MAKER
Poor So-So is bitter because your “cow” outranks him now.
BENNY
Why didn’t you let her die? She meant nothing to you.
BENNY’S MAKER
But she meant everything to you. If that’s all I could salvage from my wayward son – the woman he defied his maker for – I wanted someone to remember you by.
CUT TO:
A body lies on the ground in the hallway and we hear the sound of another body being dragged away. Two more VAMPIRES appear at the end of the hallway. At the other end of the hallway, we see a body being dragged into a room. The VAMPIRES run for the room. There is a slashing sound and the sound of a head hitting the floor, then another slashing sound. A head flies through the air into the hallway. DEAN steps out of the room with his Purgatory weapon in his hand and walks down the hallway towards the camera.
FLASHBACK – PURGATORY
DEAN
What the hell do you know about the value of life? You’re a vampire.
DEAN, BENNY and CASTIEL are walking through the forest.
BENNY
Yep. And I think we both know which of our kinds kills more humans.
CASTIEL
Well, statistically speaking, that’d be your –
DEAN
Yes, thank you, Cas.
BENNY
I get it. You’re worried what I might do if we make it topside. I’ll start eating your little piggies. I already told you, man – by the time I got iced, I was strictly on blood transfusions, donated blood. Not donated to me, I’ll give you that, but I paid good black-market scratch for it.
DEAN
So, what is that? Like the vampire Zone diet?
BENNY
Look, all I’m saying is I started seeing something in humanity, okay? Something that shouldn’t be taken. I drink blood. I don’t drink people.
DEAN
And why the hell should I believe you?
BENNY
What does it matter what you believe? You got your head so far up your ass, Dean, you don’t even realize we’re already done for. The angel knows it. We are never gonna make it with him next to us glowing like a beacon.
DEAN
Do I need to remind you of our deal? Of what you committed to?
BENNY
He is gonna get us killed.
CASTIEL
We may get to test that theory.
DEAN
More monsters?
CASTIEL
Leviathan.
DEAN
Why don’t you blip out of here?
CASTIEL
They’re too close. I can’t. Run.
INT. LARGE HOUSE – NIGHT
DEAN walks through the house.
EXT. MOTEL – NIGHT
SAM breaks into a car in the parking lot and drives off.
FLASHBACK
EXT. MOTEL – DAY
RIOT barks and runs towards one of the motel rooms.
SAM
No, no, no. Dog, dog, dog! Oh…
INT. MOTEL ROOM – DAY
RIOT runs into AMELIA’s room.
SAM (V-O)
…no, dog… don’t bother the…
RIOT jumps up on the sofa and lies across AMELIA’s lap.
EXT. MOTEL – DAY
SAM
…angry lady.
INT. MOTEL ROOM – DAY
SAM knocks on AMELIA’s open door.
SAM
Uh, hey, sorry.
AMELIA
“Dog”? That’s what you’re calling him?
SAM
Uh…
AMELIA
Well, it’s accurate. [SAM stands in the doorway with a leash in his hands.] Is Dog taking his antibiotics?
SAM
Uh, yes, he is. He’s doing much better. Thank you. You know, um… [he walks into the room] …I have to say – um… I’ve seen a lot of stitches in my time, and you’ve got really good hands.
AMELIA
Thank you.
SAM
So, you think I’m creepy?
AMELIA
I think it’s creepy you buy all your clothing at army surplus. White supremacists do that.
SAM
Yeah, but I’m not.
AMELIA
Drifting serial killers do that.
SAM
Fair enough.
AMELIA
You come from nowhere, you appear to be going nowhere, and you’ve, quote, “seen a lot of stitches.” It’s all pretty solid creepy.
SAM sits down opposite AMELIA.
SAM
You have no idea where you’re going, either, do you?
AMELIA
No. Not really.
SAM
And that’s because you have no one. I mean, at all, right? I mean, that’s why you’re… here, in this place.
AMELIA
I used to – have someone, I mean. But that’s over now. It’s gone. You know what that’s like, don’t you?
The flashback ends.
CAR – NIGHT
SAM holds his phone to his ear while driving.
DEAN’S VOICE ON PHONE MESSAGE
This is Dean’s other, other –
SAM hangs up and drops the phone to the floor of the car. He speeds up from eighty miles an hour to ninety.
INT. LARGE HOUSE – NIGHT
BENNY’S MAKER
I suppose you coming back from the dead – well, that’s the definition of mutiny, isn’t it? All of this has me feeling so… tired.
BENNY
You should have let me go.
BENNY’S MAKER
But, Benny, I don’t let things go.
BENNY
Really? You lived so long, how is it you have so little, hmm? Nothing but a beat-up old harpsichord and nest of hyenas.
BENNY’S MAKER
I have the sea. And I have Andrea.
BENNY
No. You don’t have her. [He holds up the handcuffs.] At least that much I know.
SERANO
Oh, that dumb bitch.
SERANO lunges at BENNY, who leans back to avoid the knife. BENNY grabs SERANO’s wrist and handcuffs it. He hurls SERANO into a wardrobe, then pushes him to his knees. BENNY stands on the loose end of the handcuffs and pulls SERANO’s head back with his hair.
SERANO
When the hell did you learn to fight like that?
BENNY
I’ve had a lot of practice.
BENNY cuts off SERANO’s head. He spreads his arms wide and lets his knife fall to the ground.
BENNY
You just gonna sit there?
BENNY’S MAKER
You’re right. I’ve been here so, so long, Benny, seen all the outcomes, all the patterns a trillion times. It all means so little. This universe is a pyramid of despair, nothing else.
BENNY
A little dark.
BENNY’S MAKER
I am evil, after all. At least I’ve had that much to keep me cold at night. You never had that, did you? Everything had to be thought about, considered.
BENNY
You know what Socrates said about a life unconsidered.
BENNY’S MAKER
Yes. But what we have in us? Benny, that’s not life. That’s what you still don’t get. That’s why it’s always been so hard for you, my poor Benjamin.
BENNY throws BENNY’S MAKER into a glass pane.
BENNY
Get up.
BENNY’S MAKER laughs. Blood runs from his nose.
BENNY’S MAKER
This is the one last thing I can take from you.
BENNY
No. You try, damn it. You try and kill me again.
BENNY’S MAKER
This is my story, you gnat.
BENNY
Get up!
BENNY’S MAKER
It ends the way I choose, not you.
BENNY hauls BENNY’S MAKER to his feet.
BENNY
Well, at least I can finally show you something new, old man. A whole new… [he flips open the large clasp knife ANDREA gave him] …world.
CUT TO:
ANDREA waits downstairs. BENNY walks past her and lays the bloody clasp knife on the harpsichord.
BENNY
The old man is dead. [He holds out a hand.] Let’s go.
ANDREA takes his hand, but stays where she is.
ANDREA
Where, Benny?
BENNY
What are you talking about? Anywhere. [ANDREA looks down.] You’re not leaving here, are you? And you never were.
ANDREA
We have everything we need right here. The operation is still perfect. We can ride the high seas, plunder together. We can have the life we always wanted.
BENNY
What I wanted was to leave a burning crater behind. I wanted to put your memory to rest.
ANDREA
But I’m not a memory. Benny, I’m right here.
BENNY
What I loved – it ain’t here anymore. It was snuffed out a long time ago by monsters like me… like what you’ve become.
ANDREA
You think you’re better than me now?
BENNY
No. I think we’re all damned.
ANDREA snarls and her fangs descend. DEAN stabs her from behind and then cuts off her head. BENNY and DEAN look at each other before BENNY looks down at ANDREA’s body.
ACT FIVE
EXT. SHORE – NIGHT
DEAN and BENNY prepare to launch the boat.
BENNY
Why’d you do it, Dean?
DEAN
Do what?
BENNY
Resurrect me. You could have drained my soul into any culvert, and no one would have been the wiser.
DEAN
What the hell are you talking about? Hey, you good?
BENNY
Man… I don’t know what I am.
FLASHBACK – PURGATORY
DEAN, BENNY and CASTIEL run through the forest. Something hits the ground near DEAN in a cloud of thick black smoke. DEAN, BENNY and CASTIEL stop. The smoke clears and a mass of black goo transforms into a LEVIATHAN.
DEAN
Oh, great.
The LEVIATHAN moves towards DEAN. CASTIEL heads in the opposite direction, but another missile of black smoke hits the ground in front of him and becomes a SECOND LEVIATHAN. DEAN swings at the first LEVIATHAN with his weapon. The SECOND LEVIATHAN throws CASTIEL to the ground. DEAN hacks again at the first LEVIATHAN, who is down. The SECOND LEVIATHAN’s mouth transforms. BENNY cuts off the SECOND LEVIATHAN’s head and gives CASTIEL a hand to pull him up.
EXT. WATER – NIGHT
DEAN and BENNY are in the boat approaching the dock. BENNY is steering and DEAN is standing at the bow with rope. SAM waits on the dock. DEAN throws the rope to SAM and tosses his and BENNY’s bags onto the dock.
EXT. DOCK – NIGHT
DEAN steps off the boat. SAM looks past him to BENNY. BENNY joins DEAN on the dock.
BENNY
[to SAM] I’m Benny.
BENNY offers SAM his hand. SAM takes it.
BENNY
Heard a lot about you, Sam.
In slow motion, SAM looks at DEAN as SAM undoes the cover of a knife holster at his side with his left hand. SAM’s fingers flex on his knife. BENNY watches. DEAN shakes his head and SAM loosens his grip on his knife. BENNY lets go of SAM’s hand.
BENNY
I can see you two have a lot to talk about.
BENNY pats DEAN on the arm, picks up his bag and steps between SAM and DEAN as he walks away. SAM and DEAN look at each other. For Sam’s look, refer here
END
