PROLOGUE
EXT. HOUSE - NIGHT
Lawrence, Kansas
22 Years Ago
Crickets chirp. A large deciduous tree with no leaves stands outside one of several suburban homes.
INT. NURSERY - NIGHT
A WOMAN, MARY WINCHESTER, wearing a white nightgown, carries a SMALL CHILD, her son DEAN, into a dark room.
MARY
Come on, let's say goodnight to
your brother.
Mary turns on the lights; it's the nursery of a BABY, SAM, who is lying in his crib and looking over at Mary and Dean. Mary sets Dean down. Dean leans over the side of the crib and kisses Sam on the forehead.
DEAN
'Night, Sam.
Mary leans over Sam as well.
MARY
Goodnight, love.
Mary brushes Sam's hair back and kisses his forehead.
MAN
Hey, Dean.
Dean turns. The man in the doorway wearing a USMC T-shirt is JOHN. Dean runs over to him.
DEAN
Daddy!
JOHN
Hey, buddy.
John scoops Dean up.
JOHN
So, what do you think? You think
Sammy's ready to toss around a
football yet?
DEAN
(laughing)
No, Daddy.
JOHN
(amused)
No?
Mary passes John and Dean on her way out of the room.
MARY
You got him?
JOHN
I got him.
John hugs Dean closer.
JOHN
Sweet dreams, Sam.
John carries Dean out of the room, flipping off the lights. Sam watches them go, gurgling, then tries to reach his toes.
The baseball themed mobile above Sam's crib begins to spin on its own while Sam watches. The transportation-themed clock on the wall ticks, ticks, stops. The moon-shaped night light flickers. A MAN appears, looming over the crib slowly. He smiles sinisterly, eyes glowing yellow.
MAN
Hello, little prince.
INT. DEAN'S ROOM - NIGHT
Dean crawls into bed while John flips on a firetruck nightlight.
JOHN
Alright, buddy. Sweet dreams.
DEAN
'Night, Daddy.
John tucks him in and kisses his forehead. Dean snuggles down into the blanket and watches him as he flips the light off.
JOHN
Goodnight, son.
John leaves. Dean closes his eyes.
INT. NURSERY - NIGHT
The yellow-eyed man leans over the crib, watching Sam.
MAN
What a darling little thing.
Hard to believe you're going
to be the one to save us all.
He reaches down, brushing his knuckles across Sam's cheek; Sam whines and starts crying, and the man pulls back, smiling.
INT. MASTER BEDROOM - NIGHT
Lights flicker on a baby monitor sitting on a nightstand next to a photo of Mary and John. Sam's crying comes from the baby monitor. Mary, asleep in bed, stirs. She turns on the light on the nightstand.
MARY
John?
Mary turns; she's alone. She gets up.
INT. HALLWAY - NIGHT
Mary walks down the hall to Sam's nursery. The man, seen only in silhouette, stands over the crib.
MARY
John? Is he hungry?
The man turns his head.
MAN
Shh.
MARY
Alright.
Mary heads back down the hallway. The light by the stairs is flickering. Mary frowns and goes to tap at it till the light steadies, then walks back into her room.
INT. DEAN'S ROOM - NIGHT
Dean's lying in bed awake, looking at the ceiling. He turns his head and looks toward the door, watching Mary's shadow vanish.
Sam is still fussing from the nursery. Dean gets up.
INT. THE HALLWAY - NIGHT
Dean creeps down the hallway toward Sam's nursery, moving slowly. He looks toward the light flickering from downstairs, then back up to the man in the nursery. He moves closer.
DEAN
Sammy? Daddy?
The man turns, surprised. Dean sees his yellow eyes and gasps. That's not John. He backs away down the hall, looking scared, then stops and looks past the man, toward Sam's crib.
MAN
(mumbling)
Well, well, well, what
have we here? Hm...
DEAN
Mo-
MAN
No, no, no.
The man raises a finger, cutting Dean's scream off.
MAN
None of that, now, kiddo.
The man turns his head and beckons Dean forward. Dean moves toward him unwillingly, feet dragging on the floor.
MAN
Now, what are you doing up,
hm? Boy like you should be
tucked in bed, sleeping
right about now.
Dean just looks at him, scared.
INT. MASTER BEDROOM - NIGHT
The baby monitor lights flicker again. Mary rolls over in bed, closer to the nightstand. She pauses, listening to the voice.
MAN (O.S.)
... quite the predicament...
Mary sits up, paling; that's not John's voice. She gets up.
INT. NURSERY - NIGHT
The man grabs Dean's shoulder. Dean flinches away as the man crouches down to get a better look at him, yellow eyes glowing. He reaches up and taps Dean's nose with a malicious grin.
MAN
The righteous one.
Dean whimpers. The man chuckles.
MAN
Aw, don't worry, now,
boy. I won't hurt you.
Mary runs into the room, looking panicked.
MARY
Sammy- Dean!
The man looks up. Mary gasps. The rest of the color drains from her face; the man just grins, showing his teeth.
MARY
(whispering)
You... get away from them...
The man smirks. He raises a hand and the door slams shut.
INT. LIVING ROOM - NIGHT
Upstairs, Mary screams. John wakes up.
JOHN
Mary? Mary!
John scrambles out of his chair and rushes upstairs.
INT. NURSERY - NIGHT
The man has pinned Mary against the wall. He raises his hand further, sliding Mary up the wall slowly toward the ceiling. Dean manages to wriggle away from him, crying.
DEAN
No! Mommy! Stop it!
He hits at the man's hand and the man pauses.
DEAN
Stop it! Please...
The man looks at him, then back up at Mary. A slow smile creeps across his face, getting an idea.
MAN
Isn't that sweet? He
doesn't want me to
hurt his precious mommy.
Mary writhes against the wall.
MARY
(pained)
Get away from him!
The man ignores her. He looks down and smiles at Dean.
MAN
How 'bout this, kiddo?
I won't hurt your mom
if you give me something
in return. Let's say…
MARY
No! Dean, don't!
MAN
(cont.)
Your soul, perhaps?
Dean blinks. Mary yells out in anger, struggling again.
INT. HALLWAY - NIGHT
John checks the master bedroom, then Dean's room. He hears Mary yelling from the nursery and rushes down the hall, but he can't open the door. He bangs on it, jiggling the doorknob.
JOHN
Mary? Dean? Let me in!
He pounds on the door again, frantic.
INT. NURSERY - NIGHT
Dean turns toward the door, but the man turns Dean's face back toward him. He lifts his other hand and silences Mary.
MAN
Tick tock, kiddo. I'll
spare your mother, and
I'll even spare your pops.
All you gotta do is
say 'it's a deal'.
Dean looks up at him. He flinches as John pounds on the door again. Sam starts crying again from the noise, wailing.
JOHN (O.S.)
Dean! Mary!
Mary cries out, her voice muffled.
MAN
So whaddya say, kid?
Dean looks at Mary. Then he looks back at Sam's crib.
DEAN
You won't hurt Sammy
either, right?
MAN
Nope. Nobody needs
to get hurt at all.
All I want is your
soul, and that won't
hurt you. (quieter)
Not right now, anyway.
Dean still looks scared, but he nods.
MAN
So, it's a deal?
DEAN
(shakily)
S'a deal.
The man grins.
MAN
Atta boy.
MARY
(muffled)
NO! DEAN-!
The man pulls Dean forward and kisses his forehead.
INT. HALLWAY - NIGHT
John pounds on the door again, and tries the doorknob. It's unlocked. He blinks - what the hell? - but pushes the door open and rushes inside anyway, just as Mary falls back to the floor. The man is gone. Sam is still crying.
JOHN
Mary- Dean- what-
Mary scrambles to her feet and rushes over to Dean.
DEAN
Mommy!
She scoops Dean up and he hugs her tightly. John rushes over to them, checking Mary over. She's uninjured, so he goes to Sam.
JOHN
What happened?
DEAN
Bad man!
MARY
He's gone. He's gone...
John picks Sam up and shushes him, worried. He looks at the window, but it's closed, sealed tightly and locked.
JOHN
How'd he even get in?
Mary hesitates. She cradles Dean closer and looks up at John.
MARY
(whispering)
I wanted to tell you.
John looks even more worried.
JOHN
Tell me what?
ACT ONE
Stanford University
Present Day
It is 31 October 2005
"Gasoline" by Ginger begins to play
APARTMENT
INT. BEDROOM - DAY
YOUNG WOMAN
Sam!
This young woman, JESS, comes around a corner; she is wearing a sexy nurse costume and adjusting her hat. The photo of MARY and JOHN from earlier is on the dresser.
JESS
Get a move on, would
you? We were supposed
to be there like fifteen
minutes ago!
Jess walks off.
JESS
Sam! You coming or what?
A YOUNG MAN pokes his head around the corner; this is SAM. He's wearing jeans and three shirts, not a costume.
SAM
Do I have to?
JESS
Yes! It'll be fun.
Sam comes into the room.
JESS
And where is your
costume, mister?
Sam laughs and ducks his head, peering at her through his lashes.
SAM
You know how I feel
about Halloween.
PARTY
INT. BAR – NIGHT
The bar is decorated for Halloween (including a gargoyle with cobwebs and a baseball hat that says "GET NAKED"). Someone pours someone else a shot. Everyone is in costume.
Jess raises a glass as a young man in a ghoul costume, LUIS, comes up to the table where Sam and Jess are. Sam is still not in costume.
JESS
So here's to Sam and
his awesome LSAT victory.
SAM
All right, all right,
it's not that big a deal.
Jess, Sam, and Luis clink glasses.
JESS
Yeah, he acts all humble,
but he scored a one seventy-
four.
Luis drinks his shot and so does Sam.
LUIS
Is that good?
JESS
Scary good.
Jess drinks.
LUIS
So there you go. You are a
first-round draft pick.
You can go to any law school
you want!
Luis sits next to Sam.
SAM
Actually, I got an interview
here. Monday. If it goes okay
I think I got a shot at a full
ride next year.
JESS
Hey. It's gonna go great.
SAM
It better.
LUIS
How does it feel to be the
golden boy of your family?
SAM
I'm not the golden boy.
LUIS
Yeah, yeah. What'd they
say, anyway? Bet your mom
was pretty psyched about it.
SAM
Eh... she doesn't...
LUIS
... I swear, if you didn't
brag about this to Hell an-
SAM
Hey, hey- I did. I bragged.
LUIS
But not to your mother.
SAM
Not yet. Besides, it's
not really a big deal to
them anyway.
Jess raises an eyebrow.
JESS
Their oldest son getting
an interview at the biggest
law school in the world? Yeah.
Sam falters. Jess pauses.
SAM
(quieter)
Yeah.
Jess stares at him while Luis glances between them. He fixes his eyes on Sam for a moment, smirking knowingly while the two are distracted, then jumps up.
LUIS
Alright, more shots!
Jess and Sam speak in chorus.
JESS and SAM
No. No.
SAM
No.
Luis goes up to the bar anyway.
JESS
No, seriously. I'm proud
of you. And you're gonna
knock 'em dead on Monday,
and you're gonna get that
full ride. I know it.
SAM
What would I do without you?
JESS
Crash and burn.
Jess smiles and pulls Sam in for a kiss.
APARTMENT
INT. BEDROOM - NIGHT
Sam and Jess lie in bed, asleep back to back. Jess shifts positions. There's a noise outside the room, like a window being slid open slowly; Sam opens his eyes.
INT. KITCHEN - NIGHT
A TEENAGE BOY slides in through the window, feet-first. He lands carefully and turns to close it behind him, holding his breath.
He looks around, adjusting, and heads to the fridge.
INT. BEDROOM - NIGHT
Sam gets up, trying not to disturb Jess, and grabs a baseball bat propped up beside the bed. He leaves the room silently, entering the hallway and walking slowly toward the kitchen.
The boy opens the fridge and pulls a beer out, holding it up to the light to read the label. He grins, and shuts the fridge.
Sam peers around the doorframe, hefting the bat, and pauses.
CUT TO:
The boy lifts his head slightly, glancing to the side. His grin widens; he knows Sam's there, but he doesn't turn around. The boy twists the cap off of the bottle and deposits it on the counter while Sam sighs and turns, stepping into the room.
SAM
You could've knocked.
Sam turns the light on while the boy, ADAM, grins and takes a sip of the beer, finally turning to face him. He tilts the bottle toward Sam and tilts his head.
ADAM
Where's the fun in
that, Sammy?
Sam rolls his eyes and puts the bat down, smiling. Adam pauses mid-sip and stares at him.
ADAM
Jeez.
SAM
What?
ADAM
You still haven't
cut your damn hair.
Sam laughs. He walks over.
SAM
Never.
ADAM
What's it been, four
years? Same haircut.
Never changes.
Sam smirks and opens the fridge, pulling out a beer. Adam takes another sip and leans back against the counter.
ADAM
So-
JESS (O.S.)
Sam?
Sam and Adam turn and look up in unison. Jess stands in the doorway, wearing very short shorts and a cropped Smurfs top.
Adam whistles with the bottle to his lips; Sam smacks his shoulder and puts the bottle down, walking over to Jess.
SAM
Hey, Jess.
JESS
Hey...
Jess steps into the kitchen, watching Adam curiously.
JESS
Who's this?
ADAM
Adam. Nice to meet'cha.
Jess's eyes widen. She looks up at Sam, who pauses beside her and turns back to face Adam, arching an eyebrow at his brother.
JESS
Adam as in- your brother-?
Sam's lips twitch.
SAM
(amused)
Mhm.
Adam grins at Sam, then tilts his bottle toward Jess.
ADAM
You know, I love the
Smurfs. I gotta tell you...
Jess glances down at herself, looking embarrassed, while Sam sighs and pushes himself away from the wall, heading back over to grab his beer again.
ADAM
(cont.)
You are way out of
my brother's league.
Sam snorts.
SAM
She's way out of yours.
ADAM
Is she, though?
JESS
(laughing)
Let me just go put
something else on-
SAM
You're fourteen-
okay, babe-
ADAM
First of all that's
ageist, I don't appreciate
that, second of all please
don't I wouldn't dream of-
Sam plucks him on the forehead to cut him off and Adam smacks his hand away while Jess giggles, watching the two fondly.
ADAM
Alright, okay, go change
if you must. (a pause) I
gotta talk to Sammy about
some private family matters
anyway.
Jess and Sam pause, Jess worried and Sam confused.
ADAM
Nice meeting you, though!
Jess smiles, though she looks concerned.
JESS
You too.
Jess leaves.
Sam frowns and puts his beer down again, turning to Adam. He's serious now, worried. Adam takes another sip, thinking.
SAM
What's going on?
Adam leans against the counter again, looking up at him.
ADAM
Well, Mom and Dad are
on a hunting trip...
Sam arches an eyebrow. Adam sighs.
ADAM
(cont.)
And they haven't been
home in a few weeks.
Sam stares at him. Adam finishes his beer off and turns to throw it in the trash, then pushes himself up to sit on the counter.
SAM
... I've got some time
before my interview.
Adam grins.
INT. LIVING ROOM - NIGHT
Sam sits down with his laptop while Adam leans over the back of the couch, watching.
SAM
You didn't drive here, right?
Adam gives him a look. Sam shrugs.
SAM
Just making sure. (a pause)
Which license plate did
Mom and Dad use?
ADAM
Uh... last one I saw
was... the usual. KAZ 2Y5.
Sam nods and starts typing. Adam watches the screen, leaning down a little more, and Sam tilts the screen up for him.
SAM
Looks like they were
headed north of here.
Did they say anything
about what they were
hunting?
Adam shrugs, thinking, while Sam opens a new tab.
ADAM
Dad said he thought it
was some kind of spirit,
Mom said it sounded like
a Woman in White. (frustrated)
Should've been an easy hunt,
but then they both just up
and vanished.
Sam starts typing again. Adam glances back down.
SAM
(mumbling)
Centennial highway...
ADAM
You know... it really
would suck if, after
everything, the thing that
takes them down is a ghost.
Sam clicks on something and types something else in.
ADAM
Except maybe Dad. I could
live without Dad.
SAM
Oh, don't say that.
ADAM
(shrugging)
I'm not saying I want him
to die or anything, I'm
just saying I could live
without him if he did. He's
had a stick shoved up his
ass ever since- (stops)
Sam stops typing, but doesn't look up. Adam sinks down a little and buries his face into his arms, letting out a sigh.
SAM
Well, they stopped at a hotel...
ADAM
(muffled)
Great. We'll go in the
morning and-
Sam snorts and closes the laptop.
SAM
We're going now. C'mon.
Adam raises his head and shoots him a dubious look, then turns his head to look out the window. It's still dark.
ADAM
It's the middle of the night!
SAM
And who's the one that
broke into my apartment,
in the middle of the night?
ADAM
Y- ... you're the smart one?
SAM
Nice try. We're going.
Adam pushes himself up and groans.
ADAM
What about your girlfriend?
SAM
She'll be fine. I'll let
her know what's going on.
Adam raises an eyebrow. Sam pauses, and sighs.
SAM
Well, you know... the
monster-free edition.
Adam sighs.
ADAM
Still following Dad's rules.
SAM
The ones that keep other
people safe? Yes, I am.
Sam ruffles his hair and gets up, putting the laptop down. Adam ducks away from him, but he smirks, running his fingers through his hair and jumping over the back of the couch to sit down.
SAM
When I get back, we're going.
Adam salutes him.
ADAM
(mockingly)
Yes, sir.
INT. BEDROOM - NIGHT
Sam is packing a duffel bag. He pulls out a large hook-shaped knife and slides it inside. Jess sits on the bed, watching.
JESS
So you're taking off?
Sam looks up.
JESS
(worried)
Is everything okay?
SAM
Yeah! Yeah, everything's
fine, you know. Just a little
family drama. Nothing serious.
Jess doesn't look convinced.
SAM
(gently)
Seriously, Jess. It's okay.
They probably got caught up
deer hunting up at the cabin
or something with a few of
their friends. I'm just going
up to make sure they didn't
get mauled by a bear and bring
'em back. That's it. Nothing big.
Jess eyes him for a moment, while Sam rummages in one of the drawers and comes out with a couple shirts, which go in the duffel. Jess sighs.
JESS
What about the interview?
SAM
I'll make the interview.
This is only for a couple
of days. I'll be back in time.
Sam goes around the bed. Jess gets up and follows.
JESS
Sam, I mean- please. Just
stop for a second, okay?
Sam stops and turns.
JESS
You sure you're okay?
SAM
(chuckling)
I'm fine.
JESS
It's just... you won't even
talk about your family. And now
you're taking off in the middle
of the night to spend a weekend
with them? (a pause) And with
Monday coming up, which is
kind of a huge deal.
SAM
(softly)
Hey. Everything's going to be
okay. I will be back in time.
I promise.
He kisses her on the cheek and leaves.
JESS
At least tell me where
you're going-! ...
CENTENNIAL HIGHWAY
EXT. CENTENNIAL HIGHWAY - NIGHT
Jericho, California
The Eagles of Death Metal's "Speaking in Tongues" plays. A YOUNG MAN, TROY, is driving down the highway, talking on his phone.
TROY
Amy, I can't come over tonight.
(a pause) Because I've got work
in the morning, that's why.
(another pause) ... yeah,
I miss it and my Dad's gonna
have my ass.
A high-pitched whine catches his attention. Troy looks over and sees a WOMAN in a white dress on the side of the road. She's moving as though dancing; she flickers, and for a moment she's gone.
TROY
Hey, ah, Amy, let me call
you back?
Troy hangs up. He tries several times to turn off the radio, which is flickering. Nothing happens. He pulls up next to the woman, whose dress is torn in several places, and stops, leaning across the shotgun seat.
TROY
Car trouble or something?
The woman looks at him.
WOMAN
... take me home?
Troy opens the passenger side door.
TROY
Sure, get in.
The woman, who is barefoot, climbs in and closes the door.
TROY
So, where do you live?
WOMAN
At the end of Breckenridge Road.
Troy nods.
TROY
You comin' from a Halloween
part or somethin'?
The woman's dress is very low-cut. Troy notices, stares, and looks away again, laughing nervously.
TROY
You know, a girl like you
really shouldn't be alone
out here.
She looks at him mournfully, seductively, and pulls her skirt up over her thigh.
WOMAN
I'm with you.
Troy looks away. The woman takes his chin and turns his face back toward her.
WOMAN
Do you think I'm pretty?
Troy nods, swallows.
TROY
Uh... huh.
WOMAN
Will you come home with me?
TROY
Um. Hell yeah.
He drives off.
EXT. ABANDONED HOUSE - NIGHT
They pull up to an old abandoned house at the end of the road. The woman stares at it sadly.
TROY
Come on. You don't live here.
WOMAN
(whispering)
I can never go home.
TROY
What are you talking about?
Nobody even lives here. Where
do you live?
He turns, and she's gone. He checks the backseat, also empty, and gets out of the car, nervous.
TROY
That's good. Joke's over,
okay? (a pause) You want
me to leave?
Troy looks around; no signs of life except crickets. He walks toward the house.
TROY
Hello? ... hello?
There's a picture of the woman and two children inside the house; the picture is covered in dust. Troy peers through the hole in the screen door. A bird flies at his face, scaring him into falling over. He yells, leaps to his feet, and runs back to the car. He gets in and drives off.
EXT. CENTENNIAL HIGHWAY - NIGHT
Troy looks behind him - no one's there - then in the rearview mirror. The woman's in the backseat. Troy yells again and drives straight through a 'Bridged Closed' sign, stopping about halfway across the bridge. He screams. Blood spatters the windows.
ACT TWO
EXT. MOTEL - NIGHT
Sam pulls up beside the IMPALA in his TRUCK, turning the engine off. He looks over at Adam, who is asleep in the passenger seat.
Sam turns, opening the door and trying to get out quietly. Adam stirs and rolls his head to the side, waking up.
ADAM
(mumbling)
Wha's hap'nin'?
Sam sighs, glancing back.
SAM
We're here. It's okay.
Go back to sleep, I'm just
taking a look around.
Adam looks at him, then turns his head and looks out the window. He lifts his head, lighting up.
ADAM
Heyyyy, the Impala!
SAM
(amused)
Yeah. 'Least we know they
didn't disappear on the
highway or abandon the hunt.
That does raise the question...
ADAM
... if they're not here,
then where are they?
Adam rubs his eyes and sighs.
SAM
We'll find 'em. Stay here,
I'm gonna see if they left
anything behind.
ADAM
Mmmmhm. Okay.
Sam ducks out and shuts the door, walking toward the motel room. He looks through the window; the blinds are shut. He looks back up at the numbers on the door, pulling out a lock pick set.
JOHN AND MARY'S ROOM
INT. MOTEL ROOM - NIGHT
The door swings open. Sam straightens up and glances over his shoulder, tucking the lock pick set away and stepping inside. Sam steps inside and looks around - every vertical surface has papers pinned to it; maps, newspaper clippings, pictures, notes. There are books on the desk and assorted junk on the floor and bed, including something with a hazardous-material symbol.
SAM
(under his breath)
Jeez...
He steps over a line of salt on the floor and crouches down. A worried look crosses his face, scooping a few grains up. The door opens; Sam jumps and whirls around.
ADAM
Easy, easy, it's just me.
Sam lifts his hands, having been ready to grab his knife.
SAM
I told you to stay in the truck.
ADAM
(shrugging)
I got bored. And I need the
sound of the engine to fall
asleep anyway. (a pause)
Wow, this place is a wreck.
SAM
Tell me about it...
Sam looks around, venturing over to the papers covering one wall. Adam kicks the door shut behind him, walking forward.
ADAM
Salt... they were trying
to keep something out.
He picks up a half-eaten hamburger on the nightstand.
SAM
Yeah.
Sam looks back.
SAM
Don't eat that.
ADAM
(disgusted)
Wasn't planning on it. This
burger's days old. Recent.
He puts the burger down, looking at the wall Sam's looking at.
ADAM
What'cha got there?
SAM
Centennial Highway victims.
ADAM
(smirking)
Ah, the horndogs.
Sam snorts out a laugh, startled. Adam turns and heads over to another wall. He studies the papers, looking at the note reading 'Woman and White', then to the article printout below it.
ADAM
And there she is.
He turns on a lamp and Sam turns, walking over.
SAM
Constance Welch...
ADAM
(sighing)
This is so simple...
Sam shrugs, taking the article off of the wall. He holds it up to the light to read it better as Adam sits on the bed.
SAM
They would've found the
corpse and destroyed it.
ADAM
That's why it's simple.
SAM
(pointedly)
Unless-
He arches an eyebrow. Adam mimics him.
SAM
(cont.)
She has another weakness.
ADAM
(shrugging)
Mom would've wanted to make
sure. They'd dig her up, yada
yada yada... does it say where
she's buried?
SAM
No, not that I can tell. But-
He turns the paper so Adam can see and taps the picture of JOSEPH WELCH. The caption says he's thirty; the article dates to 1981, so he must be sixty-four.
SAM
If I were Mom and Dad, I'd
ask her husband.
Adam sighs, staring at the article.
ADAM
If he's still alive.
Sam hums in agreement and pins the article back to the wall. Adam looks at the clock on the nightstand, and smirks.
ADAM
Well, I don't think I'd
enjoy being woken up in
the middle of the night to
be interrogated about my
dead wife, so I think it's
safe to say we should wait
for morning on this one.
Sam rolls his eyes.
SAM
Right. We'll get a room
and head out in the morning.
ADAM
Sweet.
Adam stands up and grins, walking to the door.
ADAM
You do that. I'm gonna break
into the Impala and see if Dad
left any beer in the back.
Adam leaves. Sam snorts and turns, looking around. He notices something on the mirror and his smile wavers, walking forward to get a closer look. A rosary hangs in front of the mirror, and stuck into the mirror frame is a photo of John sitting on the hood of the Impala, next to Mary holding a boy in a baseball cap who is presumably DEAN and with a younger boy, presumably Sam, on John's lap. Sam takes the photo off the mirror and holds it.
His eyes glisten; he rubs them and tucks the photo away, turning to flip the lamp off. He leaves the room and shuts the door.
SAM AND ADAM'S ROOM
INT. MOTEL ROOM - DAY
ADAM
Baaaaad news!
Sam pokes his head out of the bathroom, brushing his teeth. He pulls the toothbrush out and walks forward, frowning.
SAM
What?
ADAM
We've got a dead guy.
Adam turns the volume up on the TV and Sam sits down on the empty bed, watching. They're showing a faraway video of SYLVANIA BRIDGE on the news. On one side of the screen there's a picture of Troy, with his name printed across; TROY SQUIRE.
Sam winces.
SAM
Dammit.
ADAM
Man, you know... (a pause)
Nevermind.
Sam glances at him. Adam mutes the TV again.
SAM
What?
ADAM
Nothing, nothing. Forget it.
Adam chuckles, standing up.
ADAM
So, let's go terrorize some
poor widower. The sooner we
get this over with, the sooner
we can figure out where the hell
Mom and Dad went.
Sam nods and gets up, putting the toothbrush back in his mouth and heading back to the bathroom.
SAM
Yeah, alright...
Adam gets up and grabs his duffel bag, pulling a knife out from under his pillow and tucking it inside. Sam walks back out of the bathroom and grabs his own bag, putting the toothbrush away.
SAM
You can stay here if you want.
You're a little too young to
pretend to be a reporter.
ADAM
Once again, ageism. And why
are you always pretending
to be reporters and agents
and priests and stuff? Why not
just a concerned citizen who's
willing to lend an ear and a
shoulder to a poor man in need?
SAM
Because typically a 'concerned
citizen' would get run off
of someone's property with
a shotgun or pitchfork.
Sam zips up his bag and turns. Adam sighs and shoulders his bag.
ADAM
Maybe you would. I'm coming.
Sam offers him an amused look. Adam steps around the bed and opens the door for him, sweeping his gaze around the room while Sam walks over to leave the room. Adam follows, shutting the door behind them.
WELCH HOUSE
INT. HOUSE - DAY
Sam, seen through the chain-link covering a grimy glass window, knocks on the door the window is in. An old man opens it; it's recognizably Joseph Welch.
SAM
Hi. Are you Joseph Welch?
JOSEPH
Yeah.
EXT. DRIVEWAY - DAY
Sam and Joseph are walking down the junk-filled driveway, Joseph holding the photo Sam found on John and Mary's motel room mirror. Adam watches them from the truck, twirling an unopened pack of cigarettes.
JOSEPH
Yeah, they were older,
but that's them.
Joseph hands the photo back to Sam.
JOSEPH
They came by three or four
days ago. Said they were
reporters or something.
SAM
That's right. We're working
on a story together.
JOSEPH
Well, I don't know what the
hell kinda story you're working
on. The kinds of questions that
man asked me?
Sam grimaces.
SAM
About your wife, Constance?
JOSEPH
He asked me where she was buried.
SAM
And where is that again?
JOSEPH
What, I gotta go through this
twice?
Sam briefly looks sympathetic; he glances back at the truck, and Adam looks up briefly to raise his eyebrows at him before sinking back in the seat again so he can't be seen. Sam clears his throat and turns back to Joseph, offering a smile.
SAM
It's fact-checking. If you
don't mind.
JOSEPH
In a plot. Behind my old
place over on Breckenridge.
SAM
And why did you move?
JOSEPH
I'm not gonna live in the
house where my children died.
Sam stops walking. Joseph stops too.
SAM
Mr. Welch, did you ever
marry again?
JOSEPH
No way. Constance, she was
the love of my life. Prettiest
woman I ever known.
SAM
So you had a happy marriage?
Joseph hesitates.
JOSEPH
Definitely.
SAM
Well, that should do it.
Thanks for your time.
Sam turns toward the truck. Joseph walks away. Sam takes a few steps forward, looking at Adam again, then pauses. He waits a moment, then turns and looks back up at Joseph.
SAM
Mr. Welch, did you ever
hear of a woman in white?
Joseph turns around.
JOSEPH
A what?
SAM
A woman in white. Or sometimes
a weeping woman?
Joseph just stares.
SAM
It's a ghost story. Well, it's
more of a phenomenon, really.
Sam starts back toward Joseph.
SAM
Um, they're spirits. They've
been sighted for hundreds of
years, dozens of places, in
Hawaii, Mexico, lately in
Arizona, Indiana. All of these
are different women.
Sam stops in front of Joseph.
SAM
But all share the same story.
JOSEPH
Boy, I don't care much for
nonsense.
Joseph walks away. Sam follows him.
SAM
See, when they were alive,
their husbands were unfaithful
to them.
Joseph stops.
SAM
And these women, basically
suffering from temporary
insanity, murdered their
children.
Joseph turns around, looking horrified.
SAM
Then once they realized
what they had done, they
took their own lives. So
now their spirits are cursed,
walking backroads, waterways.
And if they find an unfaithful
man, they kill him. And that
man is never seen again.
JOSEPH
You think... you think that
has something to do with...
Constance? You smartass-
SAM
You tell me.
JOSEPH
I mean, maybe... maybe I
made some mistakes. But no
matter what I did, Constance,
she would have never killed
her own children. Now, you
get the hell out of here!
And don't you come back!
Joseph's face shakes, whether from anger or grief it's impossible to tell. After a long moment, he turns away. Sam sighs, turns, and heads back to the truck, climbing in.
ADAM
Well, that went well.
Adam sits his seat up again and rips the cigarette pack open. Sam sighs, frustrated.
SAM
Yeah. Hey- what the hell?
Sam swipes the cigarettes from Adam. Adam yelps and reaches out to take them back, but Sam holds them out the window, out of his reach.
SAM
Smoking? Really? You know
these things can give you
lung cancer, right?
ADAM
And alcohol can give me
liver cirrhosis but I still
drink! Give me my cigarettes-
SAM
You're not even supposed to
be drinking! You're fourteen!
ADAM
Does the word ageism mean
absolutely nothing to you?!
They glare at each other for a moment. Sam pulls the cigarettes back in, but pockets them, and Adam hisses and sits back.
ADAM
Buzzkill. Should've stayed
with Bobby.
SAM
Bobby lets you have these?
Adam pauses. He looks at Sam, then sinks down a little more and turns his head to look out the window.
ADAM
... probably not anymore.
SAM
Oh, you're damn right...
ACT THREE
SAM AND ADAM'S ROOM
INT. MOTEL ROOM - DAY, LATER
Sam is on the phone with Jess. Adam is watching TV.
JESS
(over the phone)
So, any luck?
SAM
Uh, no, not yet. We're up
here at the cabin, but there's
been no sign of them yet.
Adam rolls his eyes. He turns the volume down and scoots closer to the TV, kicking Sam's foot as he paces in front of him.
JESS
(over the phone)
Damn...
Sam kicks Adam back. He steps away when Adam kicks at him again.
SAM
Yeah. Hey, don't worry, I'm
sure it's all good. We're
giving it a few hours before
we go out and search the woods
for them ourselves. (chuckles)
CUT TO:
INT. DINER - DAY, LATER
Jess is sitting at a table. Luis takes a seat across from her with a hamburger and a tray of fries, which he sets between them. Jess smiles at him and takes one of the fries out.
JESS
Okay. Well, keep me updated, yeah?
Luis gestures for the ketchup. Jess passes it over.
SAM
(over the phone)
I will.
LUIS
Yo, hey! Is that Sam?
INT. MOTEL ROOM - DAY, LATER
Sam pauses, sitting down on his bed with an amused expression.
SAM
Keeping Luis out of trouble?
JESS
(over the phone)
Yep. (laughs) He wants to
talk to you. Here.
INT. DINER - DAY, LATER
Luis takes the phone from Jess when she offers it to him, holding it between his cheek and shoulder.
LUIS
Sam, my man!
Sam sighs affectionately. Luis turns the ketchup over, squeezing two drops onto the hamburger like eyes.
SAM
(over the phone)
Hey, Luis.
LUIS
Boy, you better get your ass
back here soon. I'm saying, if
you're not back for that
interview, I will kick your-
JESS
(laughing)
Luis!
SAM
(over the phone)
Hey, don't worry. I'll be there.
Luis smirks. He gestures for the mustard; Jess passes it over.
LUIS
Good. Don't leave us hanging
now, lawyer boy. Your
girlfriend's already sick
with worry, and Brady's been
on my ass. You promised
you'd be planning his bachelor
party, don't forget that.
Sam chuckles. Luis draws a smiley face with the mustard.
SAM
(over the phone)
I haven't. Really. If I'd
known you'd miss me this-
LUIS
Ah, don't flatter yourself!
I'm just disappointed, you
promised me a pool rematch
and never showed. Felt like
I was ditched at the prom.
SAM
(over the phone)
Oh, you'll get your rematch.
I mean, if you're that
desperate to lose to me
again. I don't mind.
LUIS
Don't get cocky now.
JESS
Okay, okay, okay, enough.
(giggles) Lemme talk to him.
Luis grins and puts the top bun back on the hamburger.
LUIS
Alright, here's your
worried girlfriend. Hey,
while you're gone, would
you be mad if I-
Jess snatches the phone.
SAM
(over the phone)
What? If you what-
JESS
Ignore him, he's stupid.
Luis mocks her silently, picking the burger up and taking a bite. He makes a face, but keeps chewing, staring at Jess.
JESS
Look, I'll call you later,
I'm on babysitting duty.
Gotta make sure the little
tyke doesn't choke and die.
Jess eyes Luis. He sticks his tongue out.
SAM
(over the phone)
Right, yeah. (chuckles) Uh,
stay safe, alright?
JESS
You too. I love you.
SAM
(over the phone)
Love you too.
Jess hangs up and puts the phone down, kicking Luis under the table. He jumps and gasps, dropping the burger onto the plate.
JESS
You're an ass!
LUIS
And since I'm apparently
a kid, that's child abuse!
Luis rubs his knee and glares at her, picking the burger up.
LUIS
What, I can't joke around
with my best friend about
his girl? What else is a
man supposed to joke
around with his best friend
about?
Jess shifts, threatening to kick him again. Luis recoils.
LUIS
Okay, okay! Jeez, okay...
JESS
Hmph.
LUIS
You know, you never actually
told me what the hell he's
doing out there anyway.
Luis takes another bite and Jess grabs another fry, shrugging.
JESS
Family thing. He's up at his
parents' cabin, I guess they
were on a hunt and...
She frowns. Luis glances up at her, furrowing his eyebrows, then looks away again. He looks around the diner, looking thoughtful.
JESS
(cont.)
I dunno. He went with his
little brother. Guess he was
worried about something happening.
Sam says everything's fine, but...
I don't know, he seems worried.
LUIS
Well, obviously. Out hunting?
So dangerous, man. Those deer...
Jess throws her fry at him. Luis flinches, batting it away.
LUIS
Okay, I was being genuine-
JESS
You were not!
LUIS
Jessica! I! Am! Afraid! Of!
Deer!
Jess pauses. She stares at him, silent, then bursts into laughter; Luis raises his eyebrows and grins, sitting back.
JESS
You know what? You're an
idiot. I'm not surprised.
LUIS
Wh- have you ever seen a
video of deer attacking people?
JESS
... no, but now I'm curious
as to what kind of stuff you
have in your YouTube recommended.
Luis groans, rolling his eyes.
LUIS
You don't wanna know. But
I'm showing you one of those
videos when we get back.
Jess smirks.
JESS
Fine!
LUIS
Fine!
Jess grabs another fry and sits back. Luis brushes some salt off of his shirt and takes another bite of the burger.
JESS
... you think they're okay?
Sam's parents? He doesn't
talk about them much, but...
LUIS
Hey, I'm sure they're fine.
(a pause) I mean, they're old,
right? And his dad was a marine.
I'm sure they've seen way worse
stuff in their lives than...
He stops for a second, swallowing. Jess looks up.
LUIS
(dryly)
... killer deer.
JESS
(chuckling)
Right. (a pause) His dad
was a marine? He never
told me that.
Luis pauses. He looks up at her again, then down at the half-eaten burger, licking his lips. He looks up again and smirks.
LUIS
Amazing what a guy would
tell you once you get him
drunk, huh?
Jess laughs. Luis ducks his head, smile wavering, and takes another bite, falling silent.
INT. MOTEL ROOM - NIGHT
Adam is sprawled out on his stomach, now reading a book. Sam is on his laptop in the other bed, typing away. He pauses, checks the time, and pushes the laptop away, closing it.
SAM
Alright. Keep the door locked-
ADAM
I know, Sam.
SAM
Don't go out, don't let
anybody else inside-
ADAM
(sighing)
I know, Sam.
SAM
I know you know, but I
also know you, and you're
planning on going out
and getting another pack
of cigarettes from the
nearest drugstore as soon
as I leave the room.
Adam pauses, gaze locked on his book. He makes a face.
SAM
(warningly)
Adam Winchester, if you-
ADAM
Alright, alright! I won't
leave the room to get a
pack of cigarettes.
SAM
You won't leave the room
at all, to get anything.
ADAM
(groaning)
I won't leave the room
at all, to get anything.
SAM
Good. If you need anything,
call my cell. If I don't
pick up, then you call-
ADAM
Bobby. Sam, I know.
Adam finally looks up. He closes the book, using his finger to keep his place, and raises his eyebrows at Sam mockingly.
ADAM
You know, I could just
go with you. (pointedly)
Hunt with you. It's a ghost,
right? How dangerous is it?
Sam shakes his head.
SAM
Not happening.
ADAM
Sam, c'mon! You're going to
an abandoned house to burn
a corpse. In the middle of
the night. You're gonna be
way out in the middle of
nowhere. If that thing
overpowers you or something,
what then? You don't have
any backup, you get killed.
SAM
(firmly)
And you're fourteen. You
shouldn't have to be the one
to save my ass if I do need it.
ADAM
Yeah? Well I'm the only one
you've got here with you, pal.
SAM
Yeah, you're the only one
I've g- (stops)
Adam stares at him, a flicker of realization crossing his face. He frowns, and sighs, shoulders drooping slightly.
SAM
You're staying here. I'll
be fine, and I'll be back
in a few hours. That's final.
ADAM
Yeah, alright.
Sam grabs the keys to his truck and shrugs his jacket on.
ADAM
Bring back a six pack.
Sam snorts.
SAM
I'll bring you one beer.
Sam leaves. Adam stares at the door for a moment, then starts to get up to lock it behind him. He pauses, however, and looks at the nightstand drawer. He moves over to open it, pulling out the keys to the Impala. He raises an eyebrow and spins them on his finger. He gets up and grabs his bag, leaving the room.
HIGHWAY
EXT. HIGHWAY - NIGHT and EXT. MOTEL PARKING LOT - NIGHT, alternating
Sam is driving his truck down the highway when his phone rings. He pulls it out and answers it, eyes on the road. Adam is sitting in the driver's seat of the Impala, with JOHN'S JOURNAL open in his lap. The keys are in the ignition, not turned on.
ADAM
Baaaaad news.
SAM
Adam? What? Are you okay?
ADAM
Yeah, no, I'm fine. This
is just a little worse than
we thought. (a pause) They're
gone. That's why they didn't
destroy the corpse, they never
even made it to the house.
They left Jericho.
SAM
What? How do you know?
Adam glares at the journal, using a flashlight to read it.
ADAM
I've got Dad's journal.
Sam falters. He tightens his grip on the wheel and the phone.
SAM
He doesn't go anywhere
without that thing.
ADAM
Well, he did this time.
SAM
What's it say?
ADAM
Ah, the same old ex-marine
crap, when he wants to let
us know where they're going.
SAM
Coordinates. Where to?
Adam looks down at the journal again, opened to the last page John wrote on, with the words "ADAM 35- 111" circled.
ADAM
I don't know yet. That's what
I'm trying to figure out now.
Sam sighs through his teeth. He frowns.
SAM
Where'd you even find it?
ADAM
Ah... it... was in the car.
Sam groans.
SAM
Adam-
ADAM
I know, I know.
SAM
Didn't you check the car
yesterday? You haven't had it
all this time, have you?
ADAM
(scoffing)
Of course not. No, it was
in the glovebox. I was
looking for batteries.
Sam sighs again.
SAM
Alright. Well, go back inside
and lock the door. I left my
laptop, you can use that to
look up the coordinates. (a
pause) I don't get it. Why
the hell would they bail in
the middle of a hunt? Unless...
Sam looks up and slams the brake, dropping the phone. Constance appeared on the road in front of him. The truck goes through her as Sam brings it to a halt.
ADAM
(over the phone)
Sam? Sam!
Inside the truck, Sam breathes hard. Constance is beside him.
CONSTANCE
Take me home.
ACT FOUR
HIGHWAY
EXT. HIGHWAY - NIGHT
CONSTANCE
Take me home!
Sam sneers.
SAM
No.
Constance glares and the doors lock themselves; Sam struggles to reopen them. The gas pedal presses down and the truck begins to drive itself. Sam tries to steer, but Constance is doing that too. Sam continues to dry to get the door open. In the seat beside him, Constance flickers.
BRECKENRIDGE ROAD
EXT. ABANDONED HOUSE - NIGHT
The truck pulls up in front of Constance's house and stops. The engine shuts off and so do the lights.
SAM
Don't do this.
CONSTANCE
(sadly)
I can never go home.
SAM
... you're scared to go home.
Sam looks over and Constance isn't there. He glances around, turning to look behind him, then turns back and jumps. She's back in the passenger seat. She climbs into his lap, shoving him back hard enough to recline the seat. Sam struggles.
CONSTANCE
(whispering)
Hold me, I'm so cold...
SAM
You can't kill me. I'm not
unfaithful. I've never been-
CONSTANCE
You will be. Just hold me.
Constance kisses Sam as he continues to struggle, reaching for his keys. She pulls back and disappears, a flash of something horrible behind her face as she vanishes. Sam looks around for a moment, then yells in pain and yanks his jacket open. There are five new holes burned into the fabric, matching to Constance's fingers; she flickers in front of him, her hand reaching into his chest. Sam yells out again and arches his back.
A gunshot goes off, shattering the window and startling Constance. Adam approaches, still firing at her. She glares at him and vanishes, then reappears; he keeps firing until she disappears again. Sam manages to sit up and restart the truck.
SAM
(lowly)
I'm taking you home.
Sam drives forward. Adam stares after the truck.
ADAM
You crazy motherfucker...
Sam smashes through the side of the house; Adam pulls his cell phone out and snaps a picture, then rushes forward.
ADAM
Hey, hey! You okay in there?
Are you dead?
SAM
I don't think so...
ADAM
Yeah, you're not. Can
you move?
SAM
Yeah. (a pause) Help me.
Adam leans through the window to give Sam a hand, helping him climb out. Constance picks up the large framed photograph seen when she brought Troy there; the woman is Constance, and the children are presumably hers.
Adam helps Sam out of the truck.
ADAM
There you go.
Adam closes the car door. They look around and see Constance; she looks up. She glares at them and throws the picture down. A bureau scoots towards Sam and Adam, pinning them against the car. The lights flicker; Constance looks around, scared. Water begins to pour down the staircase. She goes over.
At the top are the boy and girl from the photograph. They hold hands and speak in chorus.
CHILDREN
You've come home to us, Mommy.
Constance looks at them, distraught. Suddenly they are behind her; they embrace her tightly and she screams, her image flickering. In a surge of energy, still screaming, Constance and her children melt into a puddle on the floor. Adam flinches.
ADAM
Jesus Christ...
Sam stares for a moment, then wriggles slightly and starts pushing the bureau away; Adam helps him, freeing them both.
ADAM
So this is where she
drowned her kids.
Sam nods.
SAM
That's why she could never
go home. She was too scared
to face them.
ADAM
(appreciatively)
You found her weak spot.
Good work.
SAM
(laughing)
Yeah, I wish I could say
the same for you. What were
you thinking, shooting Casper
in the face, you freak?
ADAM
Hey! I saved your ass,
didn't I? Told you that you'd
need my help, Sasquatch. I'd
be a little more grateful.
Sam laughs tiredly, shaking his head.
SAM
You're right. Thanks.
Adam smirks. He pauses, looking around. Sam turns and heads back over to the truck, checking it over.
SAM
... you drove here.
ADAM
(proudly)
Uh huh.
SAM
And you didn't hit anything.
ADAM
No, I hit a deer on the way.
It's fine. I'll clean the
blood off later or something.
Adam looks around again, then looks down at the puddle.
ADAM
Let's get outta here.
SAM
Gladly...
SAM AND ADAM'S ROOM
INT. MOTEL ROOM - NIGHT
Adam falls back onto his bed. Sam is changing shirts, the laptop propped up on a table; he tugs the shirt over his head and leans forward, scanning the screen and narrowing his eyes slightly.
SAM
So according to this, Mom
and Dad went to Blackwater
Ridge, Colorado.
Adam sits up and stares at him.
ADAM
Sounds fun. How far?
SAM
About six hundred miles.
Adam lights up.
ADAM
Hey, cool. If we shake it
we could probably make it
there by morning.
Sam hesitates. He closes the laptop and sits down, crossing his arms over the table and looking over at Adam thoughtfully.
SAM
I... ah, maybe...
Adam looks over at him. He crosses his legs, eyebrows raising.
SAM
I don't know, man. I've
got an interview to get
to soon. And I don't know
what the hell's going on-
Sam gestures to the journal, beside Adam.
SAM
But I think they're okay.
ADAM
(amused)
You think.
SAM
Come on, you know Mom
and Dad. For all we know...
ADAM
I do know them, which is
why I know they'd never
bail on a hunt last second.
SAM
Unless something else
came up. Something more
important. Something like...
Adam pauses. His lips form an 'o' shape, sitting back.
SAM
So whatever it is, maybe
it can wait a couple days.
We can go back to Stanford,
lie low for a bit, then once
I get my interview over with
I'll take you to Colorado.
Adam tilts his head back, contemplating.
SAM
And you can stay with me
and Jess.
ADAM
You sonofabitch. I'm in.
Sam rolls his eyes, grinning.
APARTMENT
INT. SAM'S APARTMENT - NIGHT
Someone's pounding on the door. Jess, wearing a white nightgown, shuffles down the hallway to answer it. She opens the door to reveal Luis standing there; he walks in without saying anything.
JESS
Luis?
Jess shuts the door, following him to the kitchen.
JESS
What are you doing here?
Is everything okay?
LUIS
Uh...
Luis stops and turns to face her again. He's out of breath, like he'd been running. Jess steps closer to him, looking worried.
JESS
What's going on?
LUIS
At the risk of sounding
completely insane, is there
any way I can convince you
to skip town with me for a
few days? Just, get outta here?
JESS
What?
LUIS
See? Crazy. Uh.
He turns away, running his fingers through his hair.
LUIS
Sonofabitch...
Jess watches him for a few seconds, then frowns and steps forward again, grabbing his arm and turning him around.
JESS
Hey, are you drunk?
LUIS
(scoffing)
Not this time. Listen-
JESS
Look, Sam's on his way back.
Why don't you stay here until
he gets back? He can drive
you home.
LUIS
No. Nononono, Jess. Please.
Listen to me for a second.
Jess looks startled.
JESS
Okay, I'm listening.
LUIS
There's something-
He cuts off when the lights start flickering. Jess cranes her neck to glance over her shoulder while Luis looks up at the ceiling, visibly paling. He shakes Jess off, only to grab her wrist and tug her closer to him, wrapping his arms around her.
LUIS
Oh, god...
The YELLOW-EYED MAN stands in the doorway, looking amused.
MAN
Yeah. Not quite.
JESS
What-?
Jess turns, and gasps, flinching back into Luis. He pulls her closer and glares at the man for a moment, then turns and pushes Jess toward the other doorway.
LUIS
Go. Run. Now!
Jess shoots him a terrified look, rushing out of the room. The man steps forward calmly; Luis shuffles over to block the doorway.
LUIS
You don't have to do this.
You don't have to hurt her.
MAN
Of course I do.
LUIS
No, just listen, she-
MAN
Is Sam's only connection
to this... sweet, normal,
domestic life he's formed.
And apparently...
The man steps closer to Luis, who flinches. But he doesn't retreat, squaring his shoulders and standing in the doorway.
MAN
(cont.)
... she's yours, too, Dean.
Luis, now revealed to be DEAN, flinches again.
MAN
(gently)
Move, son.
DEAN
Don't call me son. And no,
I'm not moving. You can't-
MAN
Move. Before I make you.
Dean stares at him. He swallows and blinks; his eyes turn black.
DEAN
Then make me. (a pause)
Sir.
EXT. SAM'S APARTMENT - NIGHT
Sam opens the door and frowns, realizing it was unlocked. Adam follows him inside, already shrugging out of his jacket.
ADAM
Fuck, it's cold outside...
Sam shuts the door.
SAM
Jess? You home?
Adam sits down on the couch and watches Sam walk into the kitchen. Sam notices a plate of chocolate chip cookies on the table, with a note that reads 'Missed you! Love you!', next to a National Geographic. Sam picks one up and eats it as he sneaks into the bedroom, smiling. The shower is audibly running. Sam sits on the bed, shuts his eyes, and flops onto his back.
ADAM (O.S.)
I'm taking one of these cookies!
SAM
Have at it!
Sam opens his eyes, and gasps.
Jess is pinned to the ceiling, staring down at him and bleeding from the belly.
SAM
No!
Jess bursts into flames; the fire spreads across the ceiling. Adam rushes down the hallway, bursting into the room.
SAM
No! Jess-! Jess-!
Adam stares at the fire in horror, rushing forward.
ADAM
Sam!
Adam grabs Sam and hauls him off of the bed, bodily shoving him toward the door with Sam struggling against him the whole way.
SAM
Jess! Jess, no!
AFTER THE FIRE
EXT. SAM'S APARTMENT - NIGHT
A fire truck is parked outside the building, firemen and police holding back gawkers. Adam looks on, then turns and walks back to the Impala and Sam's truck. Sam is walking back and forth between the two vehicles, transferring weapons from the arsenal in the Impala; Adam reaches in and hands him a shotgun.
Sam stops and looks up at him, his face cold, set in a mask of desperate anger. He pauses when he looks at Adam, and falters. He sighs, nods, and takes the shotgun, putting it in the truck.
SAM
We got work to do.
Sam shuts the Impala's trunk.
INT. SAM'S APARTMENT - NIGHT
After the firemen and police leave, two figures make their way out of the bedroom. The yellow-eyed man is holding a cookie. Dean stands beside him, head ducked, eyes fixed on the floor.
MAN
I think that was my
finest work yet, huh?
Dean doesn't respond. The man sighs.
MAN
Right, then, about that
little rebellious streak
of yours. Awfully bad time
for it to be rearing its
ugly head now. I don't have
time for your disobedience.
So with that said, I think...
Dean squeezes his eyes shut, knowing what's coming. The man chuckles and finishes the cookie off, grabbing his shoulder.
MAN
It's time for you and
Alastair to spend some
time together again.
They vanish.