Irish Twilight

Drumming (Wishes) - short story

Wed, 25 Nov 2009 01:12:43 GMT

So, this one has nothing to do with Supernatural. It's simply a short story of mine.
If you read it, please let me know what you think. I've been thinking about taking up writing as a more serious hobby than I have been. And this would be the kind of style I would be writing in, so please let me know what you think.

February 14 2009

And I thought that I found myself today

And I thought that I had control

All the change in my life just fell away

Frank was practicing the drums again.

That was the first thought that registered as Elena woke. She smiled as she lay there and listened to the beat. He was actually getting pretty good. Not a few times now she had had to stop herself from going over to her neighbour’s house when she heard him playing and asking for a lesson. She’d been enamoured with the drums since early high school. But Frank was a middle-aged man who had taken up the drums after his wife walked out on him last summer. Awkward wouldn’t begin to cover it.

She rolled to her back, taking in the sunlight peeking through the gap in the dark blue curtains her mother had made. She loved Saturday mornings.

This was contentment. Waking up in a small house with more history than a textbook. Walls she remembered jumping through the frames of as a kid, a roof that all the uncles and cousins had come over to help re-shingle one summer, a driveway laid with bricks she’d spent a few weeks carrying to her mom, who laid each one carefully.

A small house by a railroad track with a large, close-knit family inhabiting it. Playing tag and running through the sprinkler. Going for bike rides up the street to fly back down the hill in the waning evening light. Passing home-cooked meals around the table set for six. Laughing and teasing and loving.

Or at least, that’s the way it had been. The image she still tried to keep in the forefront of her mind.

But these days, the reality was a little different. There were still those light-hearted moments. Jokes and teasing and genuine concern. But now it seemed they came a little fewer and farther between. Between silences and despair and complaints and disproportionate anger.

And she’d stupidly thought she could fix it. Like anything she could do would make a difference.

No, the truth was, it was inescapable. And that’s all she’d being trying to do – escape and evade.

But the ugly truth has a way of sneaking up on you, even as you’re trying desperately to avoid it.

And the truth was there was no way Elena could have stopped what would happen to her family. No way for her to make her mother feel more loved and her sister feel more supported all at the same time. There was no escape. No avoiding the truth. No way of protecting them both at the same time.

She lay in her bed as the sobs from across the hall drowned out the faint beat of Frank’s drumming and wished with all her heart that everyone else could love as unconditionally as she did.

And I’d rather be in the ground with you

Than be the last one standing

SPN Transcripts: 4x17 It's A Terrible Life - part 2

Thu, 02 Apr 2009 02:31:00 GMT

Here's part 2!
Enjoy!

Dean’s apartment. Later
Dean: Oh, jackpot!
Sam: What you got?
Dean: I just found the best site ever. Real, actual ghost hunters. These guys are genius. Check it out.
Sam: Instructional videos?

Ghostfacers video
Ed: We know why you're watching.
Harry: You've got a problem.
Ed: A ghost problem.
Harry: A ghost-related problem. A ghost.. it's like a ghost-adjacent...it's like a problem, and the ghost...
Ed: Whatever. Well, you've come to the right place. The only decent place, really, because the Ghostfacers know how to solve it.
Harry: Period.
Ed: Watch and learn.
Harry: See, the first step in any supernatural fight...
Both: Figure out what you're up against.

Dean: That's him. That's the ghost.
Sam: P.T. Sandover ... died 1916. Devoted his life to his work. No wife, no kids. Used to say he was the company and his very blood pumped through the building.
Dean: Wow. Okay. So, slight workaholic. Maybe he's still here, you know, watching over the company ... even killing for it.
Sam: Plus, turns out this isn't the first time people started killing themselves in the building. 1929.
Dean: Yeah, but lots of guys jumped off of lots of high-rises that year.
Sam: How many companies had 17 suicides?
Dean: Okay, so, P.T. Sandover ... protector of the company. His ghost wakes up and becomes active during times of grave economic distress.
Sam: Well, I mean, the worst time we've seen since the great depression...
Dean: Is now. Yeah, now sucks. My portfolio's in the sewer. I don't even want to talk about it.
Sam: So, Sandover's helping the bottom line...
Dean: By zapping some model employees.
Sam: Yeah. I mean, Ian and Paul ... it was like he turned them into different people.
Dean: Perfect worker bees ... exactly. So devoted to the company that they would commit hara-kiri if they failed it.
Sam: One more interesting fact: the building wasn't always that high. Used to be 14 floors. And the room where the ghost attacked, 1444 ... once upon a time, that was the old man's office.

Ghostfacers video
Harry: Once you've got that thing in your sights...
Both: You kill it!
Harry: Using special ghost-hunting weapons.
Ed: First, salt. It's like acid to ghosts.
Harry: Burny acid.
Ed: Not LSD.
Harry: No. It's a bad trip for ghosts. Next up ... iron.
Sam: That's why the wrench worked.
Ed: Pure power in your hand ...
Harry: Dissipates ghosts instantly.
Ed: Next little trick ... we learned this from those useless douche bags...
Harry: ...that we hate...
Ed: ... the Winchesters.
Harry: Gun.
Ed: Shotgun shell. Pack it up with fresh rock salt.
Harry: Very effective.
Ed: Very effective.
Harry: Winchesters still suck ass, though.
Ed: Affirmative. Suckage ... major.

Dean’s apartment.
Dean: Where do we even get a gun?
Sam: Gun store?
Dean: Isn't there, like, some kind of waiting period or something?
Sam: I think so.
Dean: Then how in the hell?
Sam: I don't know, man. It seems pretty impossible, honestly.
Dean: Right.

Ghostfacers video
Ed: The aforementioned super-annoying Winchester douche-nozzles also taught us this one other thing.
Harry: You have to burn the remains. Okay, this next part gets a little gross. Sometimes... you might have to... dig up the body. Sorry.
Ed: It's illegal in some states.
Harry: All states.
Ed: Possibly all states.

Dean’s apartment
Sam: Sandover was cremated.
Dean: What? So, what do we do now?

Ghostfacers video
Harry: Now, if the deceased has been cremated...
Ed: ...don't panic.
Harry: Don't panic.
Ed: You just got to look for some other remains.
Harry: Hair in a locket, maybe, fingernails, baby teeth ...
Ed: Milk teeth.
Harry: Genetic material. You know what we're talking about.
Ed: Go find it.
Harry: Fight well, young lions.
Ed: Godspeed.

Elevator
Dean: Set your cell phone to walkie-talkie in case we get separated.
Sam: How the hell are we gonna find some ancient speck of DNA in a skyscraper?
Dean: Well, that creepy storeroom used to be Sandover's office, right?

Room 1444
Security guard: [finds Sam rifling through desk] What the hell are you doing here?
Sam: Uh... nothing. I just ...
Security Guard: Come with me.
Sam: Man, l-listen ... it's okay. I work here.
SG: Whatever. Tell it to the cops.
[SG leads Sam from the room. Dean watches from behind a shelf.]

Elevator
[SG and Sam are in elevator. Elevator stops between floors. SG opens the doors and moves to climb out]
SG: Well, come on.
Sam: What?
SG: Last time this happened, it took them two hours to get here.
Sam: Let's just wait.
[SG ignores him and climbs out. He turns around, lying on the floor on his stomach, with his upper body leaning onto the elevator for Sam]
Sam: Seriously, I'll wait.
SG: Look, I don't have the rest of my life to—
[The elevator jerks, killing the guard and splattering Sam with blood. Sam’s phone rings. He answers it]
Dean: [over phone] Hey. You okay?
Sam: Call you back.

Tech Support. Night.
Sam: Dean? You there?
Dean: Yeah. Listen, I think I got it. Meet me on 22.
Sam: Okay. Yeah. Just, uh... take the stairs.

22nd floor hallway
Dean: Woah. That's a lot of blood.
Sam: Yeah, I know.
Dean: Right. So, uh, in there. [gestures to a glass case in the wall]
Sam: P.T. Sandover's gloves.
Dean: Yeah. How much you want to bet there's a little smidge of DNA in there? You know, like a fingernail clipping or a hair or two. Something.
Sam: So, you ready?
Dean: I have no idea.
Sam: Me neither. Go for it.
Dean: Right.
[Ghost appears, throws them both, Sam dissipates it with the salt]
Dean: Nice!
[Ghost appears behind Dean]
Sam: Dean! [tosses iron poker, Dean catches it and dissipates ghost] Nice catch.
Dean: Right?!
[Sam and Dean fight with ghost. I overpowers Dean. Sam burns the gloves. Ghost burns up before touching Dean]
Sam: That was amazing!
Dean: Right? Right?!

Dean’s office
Dean: Man, I got to tell you, I've never had so much fun in my life.
Sam: Me neither.
Dean: It was a hell of a workout, too, wasn't it?
Sam: We should keep doing this.
Dean: I know.
Sam: I mean it. There’ve got to be other ghosts out there. We could help a lot of people.
Dean: Yeah, right. We'd be like the Ghostfacers.
Sam: No, really. I mean... for real.
Dean: What? Quit our jobs and hit the road?
Sam: Exactly.
Dean: How would we live? Come on. You got to be kidding me. How would we get by ... with stolen credit cards? Huh? Eating diner food drenched in saturated fats? Sharing a crap motel room every night?
Sam: That's all just details.
Dean: Details are everything! You don't want to go fighting ghosts without any health insurance.
Sam: All right. Uh... confession.
Dean: What?
Sam: Remember those dreams I told you about, with the ghosts?
Dean: Yeah.
Sam: I was fighting them.
Dean: Okay.
Sam: With you. We were these, like... hunters. And we were friends. More like brothers, really. I mean, what if that's who we really are? I mean, you saw us back there, working together. The ghost was scrambling people's brains. What if it scrambled ours?
Dean: That's insane.
Sam: Is it? Think about it for just one second. What if we think this is our life... but it's not?
Dean: Hey, man, the ghost is dead, and we're still standing. I mean, I'm sorry, but ...
Sam: Look, all I know is, this isn't who we're supposed to be.
Dean: No. I'm Dean Smith, okay? Director of sales and marketing. I went to Stanford. My father's name is Bob, my mother's name is Ellen, and my sister's name is Jo.
Sam: When's the last time you talked to them? To any of them?
Dean: Okay. You're upset. You're upset, you're confused ...
Sam: Yeah, 'cause I only moved here 'cause I just broke up with my fiancée, Madison. But I called her number and I got a damn animal hospital.
Dean: Okay, what are you saying? You trying to say that ... that my family isn't real? Huh? That we've been injected with fake memories? Come on!
Sam: All I know is, I’ve got this feeling in my gut. And I know ... I know that, deep down, you’ve got to be feeling it, too. We're supposed to be something else. You're not just some corporate douche bag. This isn't you. I know you.
Dean: Know me? You don't know me, pal. You should go.

Tech Support
[Sam sits at his desk, obviously unhappy and frustrated. The phone rings repeatedly. Sam stands up, pulls one of the fire pokers from the night before out from under his desk and smashes the phone with it repeatedly]
Sam: I quit.

Dean’s office
[Dean sits at his desk, obviously tired and unhappy. Mr Adler enters.]
Mr. Adler: Got a minute?
Dean: Sure. Of course.
Mr. Adler: How are you feeling, Dean?
Dean: Uh... great.
Mr. Adler: You look a little tired. Been working hard, I gather. Ah, don't be modest. I hear everything. And I'm pleased with what I'm hearing. That's why it's important to me that you're happy. [takes a scrap piece of paper from Dean’s desk, writes a number on it, and passes it to him] How's that for a bonus?
Dean: That’s very generous.
Mr. Adler : Purely selfish. I want to make sure you're not going anywhere.
Dean: Are you sure?
Mr. Adler : Positive. You are Sandover material, son ... real go-getter, carving your own way.
Dean: Well, thanks. I try.
Mr. Adler : I see big things in your future. Maybe even... Senior V.P., Eastern Great Lakes Division. Don't get me wrong. You'll have to work for it ... seven days a week, lunch at your desk ... but in 8 to 10 short years, that could be you.
Dean: Uh, well, thank you. Thank you, sir. It's, um... but... I am giving my notice.
Mr. Adler : This is a joke. You're kidding me, right?
Dean: No, I... I recently ... uh, very recently ... realized that I have some other work I have to do. It's, uh... very important to me.
Mr. Adler : Other work? Another company?
Dean: No, I .... It's hard to explain. Um... it's just that this... this is, it's just... it's not who I'm supposed to be. What?
Mr. Adler : Dean, Dean, Dean. Finally. [reaches across the desk and touches Dean on the forehead]
Dean: What the hell? Why am I wearing a tie? My god, am I hungry.
Mr. Adler : Welcome back.
Dean: Wait. Did I ... did I just get touched by ... you're an angel, aren't you?
Mr. Adler : I'm Zachariah.
Dean: Oh, great. That's all I need, is another one of you guys.
Zachariah: I'm hardly "another one," Dean. I'm Castiel's superior. Believe me, I had no interest in popping down here and into one of these smelly things. But after the unfortunate... situation with Uriel, I felt it necessary to pay a visit ... get my ducks in a row.
Dean: I am not one of your ducks.
Zachariah: Starting with your attitude.
Dean: Oh, so, what? This ... this was all some sort of a lesson? Is that what you're telling me? Well, very creative.
Zachariah: You should see my decoupage.
Dean: Gross. No, thank you. So, what, I'm ... I'm just hallucinating all this? Is that it?
Zachariah: Not at all. Real place, real haunting. Just plunked you in the middle without the benefit of your memories. Just to shake things up? Hmm? So you guys can have fun watching us run around like ass-clowns in ... in monkey suits?
Zachariah: To prove to you that the path you're on is truly in your blood. You're a hunter. Not because your dad made you. Not because God called you back from Hell. But because it is what you are. And you love it. You'll find your way to it in the dark every single time, and you're miserable without it. Dean, let's be real here ... you're good at this. You'll be successful. You will stop it.
Dean: Stop what? The apocalypse, huh? Lucifer? What? Be specific, man!
Zachariah: You'll do everything you're destined to do. All of it. But I know, I know. [mocking him] You're not strong enough. You're scared. You’ve got daddy issues. You can't do it, right?
Dean: Angel or not, I will stab you in your face.
Zachariah: All I'm saying is... it's how you look at it. Most folks live and die without moving anything more than the dirt it takes to bury them. You get to change things... save people. Maybe even the world. All the while, you drive a classic car and fornicate with women. This isn't a curse ... it's a gift. So, for god's sakes, Dean, quit whining about it. Look around. There are plenty of fates worse than yours. So, you with me? You want to go steam yourself another latte? Or are you ready to stand up... and be who you really are?

This time I'm going to need a few special requests if someone wants the next one because school's getting pretty crazy as the year wraps up.
~Melis

SPN Transcripts: 4x17 It's A Terrible Life - part 1

Thu, 02 Apr 2009 02:26:47 GMT

Hey everyone!
I've had a request, so here it is: episode 4x17 transcribed.
And a HUGE thank you to everyone who shared clips, experiences, and photos from the LA Con. For all of us who wished we could have been there it really means a lot.

4x17 “It’s A Terrible Life”

Dean’s apartment
[Dean wakes and gets ready for work.]
Song: [A Well Respected Man by The Kinks] “'Cause he gets up in the morning And he goes to work at 9 And he comes back home at 5:30 Gets the same train every time 'cause his world is built 'round punctuality It never fails And he's oh so good And he's oh –“
[Dean gets in his car and turns on the radio. Classic rock strains play. Dean changes the station.]
Radio: According to the Wall Street Journal, Citigroup Inc. Is negotiating with...
“He's a well-respected man about town Doing the best things so conservatively And he likes his own backyard ...”

Dean’s office
Dean:[on phone] All I want to know is, when are they gonna have another show like "Project Runway"?

Dean: [on phone] Net profitability aside, it's the client-retention rate that concerns me, maximizing return on sales. Buzz me back once you've seen the spreadsheets. [hangs up phone] Mr. Adler.
Mr. Adler: Dean. Good stuff.
Dean: Good stuff?
Mr. Adler: Big things. Good stuff.
Dean: Good stuff.

Dean: [on phone] Oh, I hear you. I haven't been to the gym in ages. Carrying a little bloat around myself. Yeah, it's a sedentary lifestyle, my man. No two ways. All right, tell me one more time. You said, uh, lemon and ... what was it? Cayenne and maple syrup. Are you serious? How much did you lose?

Scene 2: Elevator.
Sam: Do I know you?
Dean: I don't think so.
Sam: I'm sorry, man. You just look really familiar.
Dean: Save it for the health club, pal.

Scene 3: Tech Support
Sam: Tech support. This is Sam Wesson. Okay. Uh, well, did you try turning it off and then on? Okay, go ahead and turn it off. No, no, no, no. Just ... just off. All right, give it a second. Turn it back on. Okay, is it ... is it printing now? Great. Anytime.
Ian: Hey.
Sam: Yo.
Ian: What do you think of, uh, Mimi?
Sam: She's okay.
Ian: Might have to hit that.
Sam: Oh, dude, that's totally age-inappropriate.
Ian: Experience.
Sam: Uh, trifocals.
Ian: There's a milf there, Sam. I just know it. Maybe a gmilf.
Sam: Come on.
Ian: Coffee break?
Sam: Yeah, for sure.
Ian: Paul, time for a refuel, buddy.
Paul: Sorry. No time.
Ian: Since when? Dude, we get paid by the hour.
Paul: Working!
Ian: Okay.
Sam: He seems stressed.
Ian: Probably just freaked 'cause he got busted surfing porn on the internet.
Sam: No, no, no. Wait. When?
Ian: He got sent up to HR [human resources] yesterday. Guess they put the fear of god in him.

Lunch Room
[Ian takes some packs of pencils from the cabinet and puts them in his pocket]
Sam: Ian! Dude!
Ian: Just doing a little shopping. Running low at home. So, Sam... had any of those dreams lately? What? Don't be like that. Come on. It's the highlight of my day.
Sam: I never should have told you in the first place.
Ian: They're genius! Don't hold out on me, dude. Share with the class.
Sam: You're just gonna be a dick about it.
Ian: What?! No way! I won't say a word ... total respect. Go.
Sam: I dreamt that I saved a grim reaper named Tessa from demons.
Ian: Classic! How much D&D [Dungeons and Dragons] did you play when you were a kid? Oh, my. Okay, so you're rescuing the grim reaper. You're a hero. I mean, thank god we got Harry Potter here to save us all from the apocalypse.
Sam: Dick.
Ian: Wizard.

Elevator
Sam: Can I ask you a question?
Dean: Look, man, I told you, I'm not into the ...
Sam: Oh, dude, come on. I'm not either. I just want to ask you one question.
Dean: Sure.
Sam: What do you think about ghosts?
Dean: Ghosts?
Sam: Do you believe in them?
Dean: Uh, tell you the truth, I've never given it much thought.
Sam: Vampires?
Dean: What? Why?
Sam: 'Cause I've been having some... weird dreams lately. You know what I mean?
Dean: No, not really.
Sam: So... you've never had any... weird dreams?
Dean: All right, look, man, uh... I don't know you, okay? But I'm gonna do a public service and, uh, let you know that ... that you over-share.

Tech Support
Sam: Did you turn it off, then on? All right, well, let's try that. No, no, it's fine. I'll wait. Is it printing now? Oh, that's great. Anytime.
Ian: Whatcha doin'?
Sam: Nothing.
Ian: You get an e-mail from human resources?
Sam: No. Why?
Ian: Damn it. Guess it's just me, then. I'm supposed to, quote, "report to H.R.," unquote.
Sam: Well, they're probably finally busting you for snaking all those office supplies.
Ian: I hope they spank me.
[Ian leaves]
Paul: No, no, no, no, no, no. Come on! Don't do this to me. Please!
Sam: Hey, man. You okay?
Paul: It froze.
Sam: They're crap, Paul. They freeze all the time.
Paul: You don't understand. When ... when I rebooted, everything was gone. A whole day's work ... deleted.
Sam: Well, did you back up?
Paul: No, I didn't back up. I wish to god I backed up, but I didn't. I'll get it back. I'll find it. It's somewhere. Find it!
Sam: Paul, it's okay, man. These things happen.

Tech Support. Night.
Paul: Come on! Come on! Come on! Come on! Please! Please! All that work... gone. Failed.
[goes into the lunch room and puts his head in the microwave, killing himself]

Tech Support. Day.
Dean: Something about this seem not right to you?
Businessman: Uh, yeah. Try the whole thing. I'm telling you, man... I'll never eat popcorn again.
Dean: Yeah, right.

Dean’s office.
Dean: Two weeks?

Tech Support
Sam: Hey, why would someone kill themselves two weeks before they were supposed to retire? I mean, Paul was two weeks from freedom. He should have been... happy, right?
Ian: I don't have time for this, am.
Sam: That's very funny. What's with you?
Ian: I'm working. It's important.
Sam: H.R. bust your balls or something? You're wearing the shirt. Did you shave?
Ian: [answers phone]Tech support. This is Ian. Be right up. [to Sam] I have to go up to 22, speak to a manager.

Dean’s office.
Dean: Hi. "Ian," is it? Yeah, come on in. Yesterday, you filled out a 445-t. And, uh, no problem ... just a ... just a few errors. I mean, we did just switch over to Vista, so I'm sure the dash-r's, am I right?
Ian: Oh, no.
Dean: No, no, no. It's fine. It's fine. I just need you to redo one today so I can get the show on the road with the invoicing.
Ian: Oh, my god.
Dean: No, it's fine. Just re-file it, and we're square.
Ian: I can't believe I did this. I can't ... I can't believe it. I... can't believe I did this.
Dean: Hey, guy, come on ...
Ian: No, no. It affected profits. It ... I screwed up. I can't ... I can't ... I am so sorry. How could I do that? I failed Sandover. I failed the company.
Dean: Uh, why don't you sit down, Ian?
Ian: No. [runs from the room]
Dean: [following him] Ian. Ian! Hey! [finds Ian in the bathroom, looking at himself in the mirror over the sink] Ian, hey. Just chill out, man. Okay? [the water and soap start running and overflowing to the florr] Hey, maybe we should get out of here, huh? Come on. Ian. Look at me.
[Ian turns to look at Dean, pulls a pencil from his pocket, and stabs himself in the neck. Dean sees the ghost of an old man in a reflection. It disappears.] Somebody help me!

Hallway
Dean: I, uh, I followed him into the bathroom. He was, uh... he was standing there in front of the mirror, and then ... [he is distracted by sharing a look with Sam]... and, uh, he stabbed himself in the neck. I'm sorry. That's, uh...

Tech Support
Sam: Tech support. This is Sam.
Dean: [over the phone] I need to see you in my office ... now.

Dean’s office
Dean: Come on in. Shut the door. Who the hell are you?
Sam: I'm not sure I know.
Dean: What the hell does that mean?
Sam: Sam Wesson. I started here three weeks ago.
Dean: All right. You cornered me in the elevator, talking about ghosts. And now...
Sam: Now what?
Dean: Now nothing. I, uh... So, you started working here three weeks ago, huh? Me too. [explaining his drink:] It's, uh, the master cleanse. You tried it? Phenomenal. Detoxes you like nobody's business.
Sam: When you were in that bathroom with Ian... did you see something?
Dean: I don't know. I don't know what I saw.
Sam: Wait. Are you saying that ... did you... see a ghost?
Dean: I was freaking out. The guy penciled his damn neck.
Sam: You did, didn't you? Okay, listen ... what if these suicides... aren't suicides? I mean, what if there's something... not natural?
Dean: So, what? Ghosts are real? And they're responsible for all the dead bodies around here? Is that what you're telling me?
Sam: Look... I know it sounds crazy. But yes ... that's what I'm telling you.
Dean: Based on what?
Sam: Instinct?
Dean: I've got the same instinct.
Sam: Seriously? You know those dreams I was telling you about? I was dreaming about ghosts.
Dean: Yeah?
Sam: And then it turns out that there's a real ghost.
Dean: So you're telling me that your dreams are special visions and you're some kind of psychic?
Sam: No. I mean, that would be nuts. I'm just saying, something weird is definitely going on around here, right? So I've been digging around a little. I think I found a connection between the two guys. [places two sheets of paper in front of Dean]
Dean: You broke into their e-mail accounts?
Sam: I used... some skills that I happen to have to... satisfy my curiosity.
Dean: Nice.
Sam: Yeah, okay. So, it turns out Ian and Paul both got this same e-mail telling them to report to H.R., room 1444.
Dean: H.R.'s on 7.
Sam: Exactly.
Dean: Should we go check this out?
Sam: Like... right now?
Dean: No. No, it's getting late. You're right.
Sam: I am dying to check this out right now.
Dean: Right?!

Room 1444
Tech Support Employee: Hello? Hello?
[Ghost terrorizing man. Sam and Dean arrive, Sam kicks in door, Dean is surprised. Struggle with ghost. Dean dissipates it with an iron wrench. Sam and Dean free Tech Support Guy]
Sam: How'd you know how to do that?
Dean: I have no idea.

Dean’s apartment
Dean: Holy crap, dude.
Sam: Yeah. I could use a beer.
Dean: Oh, sorry, man. I'm on the cleanse. I got rid of all the carbs in the house.
Sam: Hey, how the hell did you know that ghosts are scared of wrenches?
Dean: Crazy, right? And nice job kicking in that door, too. That was very Jet Li. What are you ... like, a black belt or something?
Sam: No. I have no clue how I did that. It's like... we've done this before.
Dean: What do you mean, "before"? Like "Shirley McLain" before?
Sam: No. I just can't shake this feeling like i ... like i don't belong here, you know what i mean? Like I should do something more than sit in a cubicle.
Dean: I think most people who work in a cubicle feel that same way.
Sam: No. Well, look, it's more than that. Like ... like I don't like my job. I don't like this town. I don't like my clothes. I don't like my own last name. I ... I don't know how else to explain it, except that... it feels like I should be doing something else. There's just... something in my blood. Like I was destined for something different. What about you? You ever feel that way?
Dean: I don't believe in destiny. I do believe in dealing with what's right in front of us, though.
Sam: All right. So, what do we do now?
Dean: We do what I do best, Sammy: Research.
Sam: Okay. Did you just call me "Sammy"?
Dean: Did I?
Sam: I think you did. Yeah. Don't.
Dean: Sorry.

SPN Transcripts: 4x16 On the Head of a Pin - part 2

Mon, 30 Mar 2009 22:58:23 GMT

Here's part 2!
Let me know if you enjoy and would like me to keep up with these.
If I get enough responses and have enough time I may consider it.

Scene 9: Outside torture room/ Inside torture room.
Castiel: Anna.
Anna: Hello, Castiel.
Castiel: Your human body.
Anna: It was destroyed, I know. But, I guess I’m sentimental. Called in some old favours, and....
Castiel: You shouldn’t be here. We still have orders to kill you.
Anna: Somehow, I don’t think you’ll try. Where’s Uriel?
Castiel: He went to receive revelation.
Anna: Right.

Alastair: You know, it’s your professionalism that I respect.

Anna: Why are you letting Dean do this?
Castiel: He’s doing God’s work.
Anna: Torturing? That’s God’s work? Stop him, Cas. Please. Before you ruin the one real weapon you have.
Castiel: Who are we to question the will of God?
Anna: Unless this isn’t His will.
Castiel: Then where do the orders come from?
Anna: I don’t know. One of our superiors maybe. But not Him.

Dean: Who’s murdering the angels?

Anna: The Father you love, you think He wants this? You think He’d ask this of you? You think this is righteous? What you’re feeling, it’s called doubt. These orders are wrong and you know it. But you can do the right thing. You’re afraid, Cas. I was too. [places her hand on top of his] But, together we can s—
Castiel: Together? [removes his hand from under hers] I am nothing like you. You fell. Go.
Anna: Cas,...
Castiel: Go.

Scene 10: Torture room.
Alastair: You’re just not getting deep enough. Well, you lack the resources. Reality is just too concrete up here. Honestly, Dean, you have no idea how bad it really was ... and what you really did for us.
Dean: Shut up.
Alastair: Oh, the whole bloody thing, Dean. The reason Lilith wanted you there in the first place.
Dean: Well, then I’ll just make you shut up.
Alastair: Lilith threw you down—
[Dean pours salt down Alastair’s throat]
Alastair: There’s something caught in my throat ... I think it’s my throat.
Dean: Hm, well, strap in, ‘cause I’m just starting to have fun.
Alastair: You know, it was supposed to be your father. He was supposed to bring it on. But in the end, it was you.
Dean: Bring what on?
Alastair: Every night, the same offer, remember? The same as your father. And finally you said, ‘Sign me up.’ Oh, the first time you picked up my razor, the first time you sliced into that weeping bitch – that was the first seal.
Dean: You’re lying.
Alastair: And it is written that the first seal shall be broken when a righteous man sheds blood in Hell. As he breaks, so shall it break. [Dean turns and walks away, stopping with his back to Alastair] We had to break the first seal before any of the others. Only way to get the dominoes to fall, right? Top of the one at the front of the line. When we win, when we bring on the apocalypse and burn this earth down, we’ll owe it all to you, Dean Winchester. Believe me, son. I wouldn’t lie about that. It’s kind of a religious sort of thing with me. [Alastair notices the dripping water and a break in the Devil’s Trap.]
Dean: No. I don’t think you are lying. But even if the demons to win, you won’t be there to see it.
[Dean turns around to face Alastair again, only to find he’s free and standing right behind him.]
Alastair: You should talk to you plumber about the pipes.

Scene 11: Torture room.
[Alastair has beaten Dean up really bad. He holds him by the neck against the Pentagram, choking him]
Alastair: You’ve got a lot to learn, boy. So I’ll see you back in class bright and early Monday morning.
[Castiel grabs Alastair’s shoulder, turns him and stabs him in the chest with Ruby’s knife]
Alastair: Oh, almost. Looks like God is on my side today.
[Castiel telekinetically twists the knife, but Alastair pulls it out. They fight. Alastair pins Castiel on a coathook]
Alastair: You know, like roaches, you celestials. I really wish I knew how to kill you. But all I can do is send you back to heaven. [Chants in Latin, the light of Castiel’s grace starts to appear at his eyes and mouth, but Alastair is cut off and flies back, pinned to the wall. It’s Sam.]
Alastair: Stupid pet tricks.
Sam: Who’s murdering the angels? How are they doing it?
Alastair: You think I’m gonna tell you?
Sam: Yeah, I do. How are the demons killing the angels?
Alastair: I don’t know.
Sam: Right.
Alastair: It’s not us. We’re not doing it.
Sam: I don’t believe you.
Alastair: Lilith is not behind this. She wouldn’t kill seven angels. She’d kill a hundred, a thousand. Oh, go ahead, send me back. If you can.
Sam: I’m stronger than that now. Now I can kill.

Scene 12: Hospital. Hallway.
Castiel: Sam.
Sam: Get in there and heal him. Miracle! Now!
Castiel: I can’t.
Sam: You and Uriel put him in there
Castiel: No.
Sam: because you can’t keep a simple Devil’s Trap together.
Castiel: I don’t know what happened. That trap .... It shouldn’t have broken. I am sorry.
Sam: This whole thing was pointless. You understand that? The demons aren’t doing the hits. Something else is killing your soldiers.
Castiel: Perhaps Alastair was lying.
Sam: No, he wasn’t.

Scene 13: Park bench. Day.
Uriel: Castiel. I received revelation from our superiors. Our brothers and sisters are dying and they … they want us to stop hunting the demon responsible. Something is wrong up there. I mean, can you feel it.
Castiel: The murders. Maybe they aren’t demonic. Sam Winchester said the demons had nothing to do with it.
Uriel: If not the demons, what could it be?
Castiel: The will of heaven. We are failing, Uriel, we are losing the war. Perhaps the garrison is being punished.
Uriel: You think our Father would—
Castiel: I think maybe our Father isn’t giving the orders anymore. Maybe there is something wrong.
Uriel: Well, I won’t wait to be gutted.

Scene 14: Outside. Night.
Castiel: Anna! Anna, please.
Anna: Decided to kill me after all?
Castiel: I’m alone.
Anna: What do you want from me, Castiel?
Castiel: I’m considering disobedience.
Anna: Good.
Castiel: No, it isn’t. For the first time, I feel…
Anna: It gets worse. Choosing your own course of action is confusing, terrifying. [Anna touches his arm. He looks down at her hand. She pulls away.] Oh, that’s right. You’re too good for my help. I’m just trash, a walking blasphemy.
Castiel: Anna, I don’t know what to do. Please tell me what to do.
Anna: Like the old days? No. I’m sorry. It’s time to think for yourself.
[Castiel notices the handle for a water fountain]

Scene 15: Torture room.
[Castiel ponders the broken Devil’s Trap. Turns the water off telekinetically]
Uriel: You called. What do you say, Castiel? Will you join me? Will you fight with me?
Castiel: It’s strange. Strange how a leaky pipe can undo the work of angels when we ourselves are supposed to be the agents of fate.
Uriel: Alastair was much more powerful than we had imagined.
Castiel: No. No demon can overpower that trap. I made it myself. We’ve been friends for a long time, Uriel. Fought by each other’s sides, served together away from home. For what seems like forever. We’re brothers, Uriel. Pay me that respect, tell me the truth.
Uriel: The truth is, the only thing that can kill an angel [a long metal stake falls from his sleeve so that the handle rests in his hand] is another angel.
Castiel: You.
Uriel: I’m afraid so.
Castiel: And you broke the Devil’s Trap, set Alastair on Dean.
Uriel: Alastair should never have been taken alive. Really inconvenient, Cas. Yes, I did turn the screw a little. Alastair should’ve killed Dean and escaped and you should’ve gone on happily scapegoating the demons.
Castiel: For the murders of our kin?
Uriel: Not murders, Castiel. No, my work is conversion. How long have we waited here? How long have we played this game? By rules that makes no sense.
Castiel: It is our father’s world, Uriel.
Uriel: Our father? He stopped being that, if he ever was, the moment he created them. Humanity. His favourites. Those whining, puking larvae.
Castiel: Are you trying to convert me?
Uriel: I wanted you to join me and I still do. With you we can be powerful enough to –
Castiel: To?
Uriel: To raise our brother.
Castiel: Lucifer.
Uriel: You do remember him. How strong he was. How beautiful. And he didn’t bow to humanity. He was punished for defending us. Now if you want to believe in something, Cas, believe in him.
Castiel: Lucifer is not God.
Uriel: God isn’t God anymore. He doesn’t care what we do. I am proof of that.
Castiel: But this.... What were you going to do, Uriel? Were you going to kill the whole garrison?
Uriel: I only killed the ones who said no. Others have joined me, Cas. Now, please, brother, don’t fight me. Help me. Help me spread the word. Help me bring on the apocalypse. All you have to do is be unafraid.
Castiel: For the first time in a long time, I am. [punches Uriel through a wall]
[They fight. Uriel gains the upper hand. Castiel is on his knees]
Castiel: You can’t win, Uriel. I still serve God.
Uriel: You haven’t even met the man! There is no will. [punches Cas] No wrath. [punches Cas] No God.
Anna: [stabs Uriel through the neck from behind] Maybe. Maybe not. But there’s still me.

Scene 16: Dean’s hospital room.
Castiel: Are you alright?
Dean: No thanks to you.
Castiel: You need to be more careful.
Dean: You need to learn how to manage a damn Devil’s Trap.
Castiel: That’s not what I mean. Uriel’s dead.
Dean: Was it the demons?
Castiel: It was disobedience. He was workin’ against us.
Dean: Is it true? Did I break the first seal? Did I start all this?
Castiel: Yes. When we discovered Lilith’s plan for you, we laid siege to Hell. And we fought our way to get to you before you –
Dean: Jump-started the apocalypse.
Castiel: We were too late.
Dean: Why didn’t you just leave me there then?
Castiel: It’s not blame that falls on you, Dean. It’s fate. The righteous man who begins it is the only one who can finish it. You have to stop it.
Dean: Lucifer? The apocalypse? What does that mean? Hey! Don’t you go disappearing on me you son-of-a-bitch. What does that mean?
Castiel: I don’t know.
Dean: Bull!
Castiel: I don’t. Dean, they don’t tell me much. I know our fate rests with you.
Dean: Well, then you guys are screwed. I can’t do it, Cas. It’s too big. Alastair was right. I’m not all here, I’m not—I’m not strong enough. Well, I guess I’m not the man either of our dads wanted me to be. Find someone else. It’s not me.

SPN Transcripts: 4x16 On the Head of a Pin - part 1

Mon, 30 Mar 2009 22:06:27 GMT

I absolutely had to transcribe this episode. Talk about blowing one's mind.
I thought I'd share because a lot of you ESL people seem particularly interested. I know I would be if Supernatural was in Spanish :)
Anyways, here's part one. There aren't many descriptions, I focus more on what they say.

Scene 1: Parking lot. Night. An angel lies dead amidst broken cars.
Castiel: Goodbye, sister. [Castiel leaves as the police arrive]
Police officer: What the hell?

Scene 2: Impala. Night.
Sam: Ruby’ll meet us outside Cheyenne. She’s been trackin’ some leads. Look, I know she’s not exactly on your Christmas list, but if she can help us get to Lilith –
Dean: Hey, man, work with Ruby, don’t. I don’t really give a rat’s ass.
Sam: What’s your problem?
Dean: Pamela didn’t want anything to do with this and we dragged her back into it, Sam.
Sam: She knew what was at stake.
Dean: Oh, yeah savin’ the world. And we’re doin’ such a damn good job of it.
Sam: Dean –
Dean: I’m tired of burying friends, Sam.
Sam: Look, we catch a fresh trail...
Dean: And we follow it, I know. Like I said, I’m just... I’m just gettin’ tired.
Sam: Well get angry.

Scene 3: Motel room. Night.
Dean: Ah, home crappy home.
Uriel: Winchester and Winchester.
Dean: Oh, come on.
Uriel: You are needed.
Dean: Needed? We just got back from ‘needed’.
Uriel: Now, you mind your tone with me.
Dean: No, you mind your damn tone with us.
Sam: We just got back from Pamela’s funeral.
Dean: Yeah, Pamela. You know, psychic Pamela? You remember her? Cas, you remember her, you – you burned her eyes out. Remember that? Good times. Yeah, then she died savin’ one of your precious seals. So maybe you could stop pushin’ us around like chess pieces for five freakin’ minutes!
Uriel: We raised you out of Hell for our purposes.
Dean: Yeah, what were those again? What exactly do you want from me?
Uriel: Start with gratitude.
Dean: Oh,...
Castiel: Dean, we know this is difficult to understand.
Uriel: And we don’t care. Now, seven angels have been murdered. All of them from our garrison. The last one was killed tonight.
Dean: Demons? How’re they doin’ it?
Uriel: We don’t know.
Sam: I’m sorry but what do you want us to do about it? I mean, a demon with the juice to ice angels has to be out of our league, right?
Uriel: We can handle the demons, thank you very much.
Castiel: Once we find whoever it is.
Dean: So you need our help hunting a demon?
Castiel: Not quite. We have Alastair.
Dean: Great. He should be able to name your trigger man.
Castiel: But he won’t talk. Alastair’s will is very strong. We’ve arrived at an impasse.
Dean: Yeah, well, he’s like a black belt in torture. I mean, you guys are out of your league.
Uriel: That’s why we’ve come to his student. You happen to be the most qualified interrogator we’ve got.
Castiel: Dean, you’re our best hope.
Dean: No, no way. You can’t ask me to do this, Cas. Not this.
Uriel: Who said anything about asking?
[Uriel, Cas, and Dean all disappear]
Sam: Dammit!

Scene 4: Warehouse. Outside torture room. Night.
Castiel: This Devil’s Trap is old Inokian. He’s bound completely.
Dean: Fascinating. Where’s the door?
Castiel: Where are you going?
Dean: To hitch back to Cheyenne, thank you very much.
Uriel: Angels are dying, boy.
Dean: Everybody’s dying these days. And, hey, I get it, you’re all-powerful, you can make me do whatever you want. But you can’t make me do this.
Castiel: This is too much to ask, I know. But we have to ask it.
Dean: I want to Cas alone.
Uriel:I think I’ll go seek revelation. We might have further orders.
Dean: Well, get some donuts while you’re out.
Uriel: [laughs] Ah, this one just won’t quit, will he? I think I’m starting to like you, boy.
Dean: If you guys don’t walk enough, you’re gonna get flabby. You know, I’m startin’ to think Junkless has a better sense of humour than you do.
Castiel: Uriel’s the funniest angel in the garrison. Ask anyone.
Dean: What’s goin’ on, Cas? Since when does Uriel put a leash on you?
Castiel: My superiors have begun to question my sympathies.
Dean: Your sympathies?
Castiel: I was getting to close to the humans in my charge: you. They feel I’ve begun to express emotions; doorways to doubt. This can impair my judgement.
Dean: Well, tell Uriel, or whoever, you do not want me doing this. Trust me.
Castiel: Want it, no. But I’ve been told we need it.
Dean: You ask me to open that door and walk through it, you will not like what walks back out.
Castiel: For what it’s worth, I would give anything not to have you do this.

Scene 5: Inside torture room. Dean arrives, pushing a cart.
Alastair: [singing:] Heaven. I’m in heaven. And my heart beats so that I can hardly speak. And I seem to find the happiness I seek when we’re out together and dancing cheek to cheek. [laughing] I’m sorry. This is a very serious, very emotional situation for you. I shouldn’t laugh, it’s just that, I mean, are they serious? They sent you to torture me?
Dean: You’ve got one chance. One. Tell me who’s killing the angels. I want a name.
Alastair: You think I’ll see all your scary toys and spill my guts?
Dean: Oh, you’ll spill your guts one way or another. I just didn’t want to ruin my shoes. Now answer the question.
Alastair: Or what ? You’ll work me over? But then, maybe, you don’t want to. Maybe, you’re a little scared to.
Dean: I’m here, aren’t I?
Alastair: Not entirely. You left part of yourself back in the Pit. Let’s see if we can get the two of you back together again, shall we?
Dean: You’re gonna be disappointed.
Alastair: You have not disappointed me so far. Come on, you’ve gotta want a little payback for everything I did to you, for all the pokes and prods. No? Well, how about for all the things I did to your daddy?

Scene 6: Motel room. Ruby arrives.
Ruby: I can still smell them. Seriously, Sam, I’m not exactly dying to tangle with angels again.
Sam: I need you to find out where they took Dean.
Ruby: Not sure I see the problem. You know they have Alastair strung up six ways from Sunday. Dean cuts himself a slice, Al’s reduced to a quivering heap and the good guys get the goods. What’s wrong with that?
Sam: He can’t do it.
Ruby: Look, I get it – you don’t want him going all torture master again...
Sam: No, I mean he can’t do it. He can’t get the job done. Something happened to him downstairs, Ruby. He’s not what he used to be, he’s not strong enough.
Ruby: And you are?
Sam: I will be.

Scene 7: Torture room
Alastair: I had your pop on my rack for close to a century.
Dean: You can’t stall forever.
Alastair: John Winchester made quite a name for himself. A hundred years. After each session I’d make him the same offer I made you: I’d put down my blade if he picked one up...
Dean: Just give me the demon’s name, Alastair.
Alastair: ... but he said nine, each and every time ... I couldn’t break him. Pulled out all the stops. But John, he was made of something unique, the stuff of heroes. And then came Dean. Dean Winchester. I thought I was up against it again. But, daddy’s little girl, he broke. He broke in thirty. Ah, just not the man your daddy wanted you to be, huh, Dean? No. Now we’re getting somewhere. Holy water? Come on. Grasshopper, you’re gonna have to get creative to impress me.
Dean: You know something, Alastair? I could still dream, even in Hell. And over and over and over, you know what I dreamt? I dreamt of this moment. And believe me... I’ve got a few ideas. Let’s get started.

Scene 8: Torture room.
Dean: Let me know if you want some more, there’s plenty left.
Alastair: Go directly to Hell. Do not pass ‘Go’, do not collect two hundred dollars.

Scene 9: Motel room.
Ruby: [chanting Latin] Relax. The fire is our friend. Besides, the only part of the map we need, is the ‘where’s Dean?’ part. Out. There. Your brother is there. Now, it’s a good thing angels aren’t concerned with hiding their dirty business. Not used to being spied on, I mean, who’d be stupid enough to try?
Sam: Ruby, it’s been weeks. I need it.
Ruby: You don’t seem too happy about it.
Sam: You think I want to do this? This is the last thing I.... But I need to be strong enough.
Ruby: It’s okay. It’s okay, Sammy. You can have it. [they kiss, she pulls a knife from her boot and slits her arm. Sam drinks her blood]. It’s okay, Sam.

Alastair: There’s that little pig poker. I wondered where it went. Do you really think this is gonna fix you? Give you closure? Oh, well, that is sad. That’s really sad. Sad, sad. [Dean stab’s Alastair with Ruby’s knife covered in salt] I carved you into a new animal, Dean. There is no going back.
Dean: Maybe you’re right. But now it’s my turn to carve. [twists the knife]
[off to the side, a handle twists and water begins to drip from a pipe]

Transcripts: SN 3x14 Long Distance Call part 2 of 2

Sun, 04 May 2008 03:37:18 GMT

Here's part 2 of the transcript for Supernatural 3x14 Long Distance Call.
Please leave me a quick comment to let me know if it was useful to you!
=D
I get to fly a plane for the first time tomorrow!!

EDIT: THe conversation on the TV at the end was thoughtfully provided by cecily1880. Thank you!

Scene 14: Dean in motel room. Sam enters.

Dean: What's up?

Sam: That girl, Lanie --Her mom's ghost spooked her out pretty bad last night.

Dean: That sucks.

Sam: Yeah, it does. What are you doing?

Dean: I think dad's right. I think the demon is here. [hands Sam some papers] Check it out.

Sam: What is this --Weather reports?

Dean: Omens -- demonic omens. Electrical storms everywhere we've been for the past two weeks.

Sam: I-I don't remember any lightning storms.

Dean: Well, I don't remember you studying meteorology as a kid, either. But I'm telling you – That bastard's been tailing me, wearing some poor dude's meat.

Sam: And it's following you because...?

Dean: I guess I'm big game, you know? My ass is too sweet to let out of sight.

Sam: Okay, sure.

Dean: Don't get too excited, Sammy. You might pull something.

Sam: Dean, look, I want to believe this, man. I really do.

Dean: Then believe it! I mean, if we get this sucker, it's Miller time.

Sam: Yeah, that's another thing. Dad rattles off an exorcism that can kill a demon -- I mean, not just send it back to hell, but kill it?

Dean: I checked it out. This is heavy-duty dark ages. 15th century.

Sam: Yeah, I checked on it too, Dean. And so did Bobby.

Dean: Okay. And?

Sam: Look, it definitely is an exorcism, okay? There's just no evidence that it can kill a demon.

Dean: No evidence it can't.

Sam: Dean, come on.

Dean: Hey, as far as I know, the only one of us that's actually been to hell is dad, okay? Think maybe he picked up a couple of tricks down there -- like which exorcisms work?

Sam: Maybe it does, okay? Look, I hope it does too, but we just got to be sure.

Dean: Why aren't we sure?

Sam: Because I don't know what's going on around here, Dean. I mean, some guy blows his brains out, a little girl is scared out of her wits.

Dean: Wow, man! A couple of civvies are freaked out by some ghosts. News flash, Sam: people are supposed to be freaked out by ghosts!

Sam: Dad tell you where to find the demon?

Dean: I'm waiting on the call!

Sam: I told Lanie I'd stop by.

Dean: Oh, good, yeah. No, you go hang out with jailbait. Just watch out for Chris Hansen. Meanwhile, I'll be here, you know, getting ready to save my life. You are unbelievable, you know that? I mean, for months we've been trying to break this demon deal. Now dad's about to give us the freakin' address, and you can't accept it?! The man is dead, and you're still butting heads with the guy!

Sam: That is not what this is about.

Dean: Then what is it?!

Sam: The fact is, we got no hard proof here, Dean. After everything, you're still just going on blind faith!

Dean: Yeah, well, maybe! You know, maybe that's all I got, okay?!

Sam: Please. Just please don't go anywhere until I get back, okay, Dean? Please.

Scene 15: Lanie’s room.

Sam: Have you told your father about any of this?

Lanie: And bother him at work? No. He wouldn't believe me anyway. He'd just chuck me into therapy.

Sam: So what did your mother say?

Lanie: That she wanted to see me. So,at first, I thought I was supposed to go to the cemetery.

Sam: Did you?

Lanie: Nothing happened. But then she started asking me to do other things.

Sam: What sort of things?

Lanie: Bad things.

Scene 16: Lanie’s little brother Simon’s room.

[Simon’s toy phone rings and he answers it]

Simon: Hello? Simon Greenfield speaking. Hi, mommy. Yeah, I want to see you. Where are you?

Scene 17: Dean in motel room.

[Dean’s phone rings.]

Dean: Dad?

John: Dean.

Dean: Where's the demon?

Scene 18: Lanie’s room.

Sam: Lanie, please. Tell me what happened. It's very important.

Lanie: Mom told me to go to dad's medicine cabinet.

Sam: And?

Lanie: Take his sleeping pills -- Take all his sleeping pills!

Sam: She wanted you to kill yourself?

Lanie: Why would my mom want me to do that?

Sam: I don't know.

Lanie: I mean, just so I could come to her?

Sam: What'd you say?

Lanie: She wanted me to come to her.

Sam: No, no, no, no, no. How did she say it exactly?

Lanie: “Come to me” -- Like, a million times.

Sam: Lanie, that's not your mother.

Scene 19: Lanie’s house, hallway.

Sam: All right, listen to me. Don't answer the phone. Don't use the computer. Don't do anything unless I say to, all right? [Lanie is staring into Simon’s empty room] Lanie.

Lanie: Where's Simon?

Dean setting up for the exorcism at the house.

Sam saves Simon from getting run over by a truck.

Scene 20: Sam in car on the phone with Dean.

Dean: Hello?

Sam: Dean, it's not dad.

Dean: What is it?

Sam: A Crocotta.

Dean: Is that a sandwich?

Sam: Some kind of scavenger -- Mimics loved ones, whispers "come to me," and lures you into the dark and swallows your soul.

Dean: Crocotta -- Right. Damn, that makes sense.

Sam: Dean, look. I'm sorry, man. I know --

Dean: Hey, don't these things live in filth?

Sam: Yeah.

Dean: Sam, the flies at the phone company.

Scene 21: Sam calls Dean from the parking lot of the phone company.

Dean’s voicemail: This is Herman Munster. Leave a message.

Sam: Dean, I'm in the parking lot. He's here. Hurry.

[Stewie approaches his car. Sam slams him up against it with a knife against the back of his neck]

Stewie: Whoa, what the hell?!

Sam: I know what you are.

Stewie: Wait, mister, please.

Sam: And I know how to kill you.

Stewie: Okay, wait, wait. If we're overcharging you for the call-waiting or something, I-I can fix that. I'm your friend. Just – Just don't kill me. Don't kill me, please!

[Clark appears and knocks Sam out from behind]

Stewie: Yeah! That's what happens when you mess with the phone company, dillweed! Thank you, Clark.

Clark: Forget about it.

Stewie: Clark?

[Clark knocks Stewie out too.]

Scene 22: Sam regains consciousness. He is in the phone company building. He and Stewie are tied to chairs facing each other.

Stewie: I'm -- I'm sorry, Clark. I'm sorry for whatever I did to you. I'm sorry. Please.

Sam: Wait! Wait. Don't do it.

Clark: You're awake.

Stewie: You're not a killer, Clark. No! There's a -- There's a good man inside of you. I know it.

Clark: What do you think, Sammy? Am I a good man?

Sam: Just let him go.

Clark: I would. I really would. If only I'd had more than a salad for lunch. See... I'm starving.

Sam: No! [Clark kills Stewie] Ugh!

[Clark eats Stewie]

Sam: My last call with Dean -- It was you. You led me here.

Clark: Some calls I make, some calls I take. But you have to admit, I had you fooled for a while. All that Edison phone crap... oh, well.

Sam: What are you doing?

Clark: I'm killing your brother. Or maybe I'm killing another guy. We'll just have to see how it goes.

Scene 23: Locker room. A man’s phone rings.

Guy: Hello?

Hi, daddy.

Guy: Hey, baby. I thought you said you weren't gonna call anymore.

I know, daddy.

Guy: You know how sad this makes your old man. How upset I was at your funeral.

I had to call. I know who killed me, daddy.

Guy: What?

The man who killed me -- He's at the house right now.

Guy: What -- What are you saying to me?

He's at the house, daddy. He wants to kill you, too.

Scene 24: Phone company.

Sam: You know, mimicking Dean's one thing. But my dad -- That's a hell of a trick.

Clark: Well, once I made you two as hunters, it was easy. Found Dean's number, then your number, then your father's numbers, then to e-mails, voice mails -- Everything. You see, people think that that stuff just gets erased. But it doesn't. You'd be surprised at how much of yourself is just floating out there, waiting to be plucked.

Sam; Dean's not gonna fall for this. He's not gonna kill that guy.

Clark: Then the guy kills him.

Scene 25: House

[Guy arrives at the house where Dean’s waiting. He bursts through the back door and opens fire. Dean rushes him and throws the gun to the side. They fight.]

Scene 26: Phone company.

Clark: Technology...makes life so much easier. It used to be I'd -- I'd hide in the woods for days, weeks, whispering to people, trying to draw them out into the night. But they had community. They all looked out after each other. I'd be lucky to eat maybe one, two souls a year. But now when I'm hungry, I simply make a phone call. You're all so connected... but you've never been so alone.

[Sam manages to free his hands and charges Clark. They fight.]

Scene 26: Dean has managed to get Guy into the Devil’s Trap.

Guy: What is this?

Dean: Your funeral. [begins reading exorcism]

Did you do this to my daughter, too? [steps out of the Devil’s Trap]

Dean: How the hell did you get out?

Did you do this to my daughter, too?!

Dean: Wait. This is a mistake.

You killed her. [charges Dean] You killed her, you son of a bitch!

Scene 27:

[Sam and Clark struggling with knife. Sam impales the back of Clark’s head on spikes in the wall]

Scene 28: House

Guy: She was 9 years old!

Dean: Stop! I didn't! You got to believe me! [Dean manages to get the upper hand, leaving Guy on the floor, Dean pointing a gun at him]

Guy: Why did you kill her?

Dean: I'm sorry. I didn't kill your daughter.

Guy: Then what are you doing here?

Dean: I don't know.

Scene 29: Motel room. Sam enters

Dean: I see they fixed your face.

Sam: Right back at you.

Dean: So, Crocotta, huh?

Sam: Yep.

Dean: That would explain the flies.

Sam: Yeah, it would. Hey, um... look, I'm sorry it wasn't dad.

Dean: I gave you a hell of a time on this one.

Sam: Nah …

Dean: No, you were right.

Sam: Forget about it.

Dean: I can't. I wanted to believe so badly that there was a way out of this. I mean, I'm staring down the barrel at this thing... you know: Hell... for real, forever, and I'm just...

Sam: Yeah.

Dean: I'm scared, Sam. I'm really scared.

Sam: I know.

Dean: I guess I was willing to believe anything -- You know, last act of a desperate man.

Sam: There's nothing wrong with having hope, you know.

Dean: Hope doesn't get you jack squat. I can't expect dad to show up with some miracle at the last minute. I can't expect anybody to, you know? And the only person that can get me out of this thing is me.

Sam: And me.

Dean: "And me"?

Sam: What?

Dean: Deep revelation, having a real moment here, and that's what you come back with -- "And me"?

Sam: Do you want a poem?

Dean: Moment's gone. [turns on the TV.] Unbelievable. [Holds two beers out towards Sam without looking at him. Sam smiles to himself a little and takes one. Dean opens the other.]
On TV:

Man (OS): So was I, I have a lot of work to do
Woman (OS): A the rate you're going it won't take long. You'll have everything tidied up and be off again here before we even have time to get used to you.
Man (OS):Oh I'll be around long enough for you and me to uhh ... I'll be around.

Transcripts: SN 3x14 Long Distance Call part 1 of 2

Sun, 04 May 2008 03:34:30 GMT

Hello again!
Here is part 1 of my transcription of the Supernatural episode 3x14 Long Distance Call.
I am leaving tomorrow for a two week holiday in Europe, so I will not be able to see the last two episodes of the season until I return, which also means I will be offline in order to stay spoiler free. However, if anyone would like me to make a transcirpt of either or both of the last two episodes, leave me a message (irish_twilight@hotmail.com) or comment requesting them and I will gladly do it for you when I return (remember: spoiler free!!). But just to let you know, you won't hear back from me until the 20th when I return to Canada and watch the episodes!!
So, anyways, here is part 1 of the transcript:

3x14 Long Distance Call

Subtitles made using the help of www.tvsubtitles.com

Recap:

Dean: I got a year to live and I'd like to make the most of it. What do you say we kill some evil sons-of-a-bitches and we raise a little hell?

Sam: I know how you feel, Dean. Dad's dead. He left a hole and it hurts so bad that you can't take it.

Dean: I'm ok. I swear to the next person who ask me if I'm ok, I’m gonna start to throw punches.

Dean: There's no way of savin’ me from the pit, is there?

Ruby: No.

DreamDean: You’re gonna die. And this is what you’re gonna become.

Dean: I don't want to go to hell.

Sam: We'll find a way to save you.

Sam: Let Dean out of his deal right now.

CrossroadsDemon: I'm just a saleswoman. I got a boss like everybody.

Sam: Who holds the contract?

CrossroadsDemon: I can't tell you.

Dean: Tell me what?

Ruby: There's a new big up-and-comer. Her name is Lilith.

Dean: Lilith? You knew about this? Gee Sam, is there anything else I should know?

Scene 1: Ben in his study.

Ben : Hello.

Linda: Ben?

Ben: Linda.

Linda: I had to talk to you.

Ben: You can't keep calling here.

Linda: I know. Just tell me you thought about it, please.

Ben: There's nothing to think about.

Linda: Don't say that.

Ben: I can't. You know I can't -- My wife.

Linda: I'm begging you. Come to me. Come to me, Ben.

Ben: No. Linda, please. Please, just leave me alone.

Linda: I'm not gonna stop. I miss you, Ben. We can be together. We can be happy.

Ben: This is -- This is crazy.

Linda: I love you forever. Don't you love me?

Ben: You know I do. More than anything. But... I'm sorry.

Linda: Ben, wait.

Ben: Okay, Linda. You win. I'm coming. [kills himself]

Scene 2: Dean on a bench in a public square. Sam approaches.

Dean: [on the phone] Yep. I got it. Okay, bye. [gets off phone. To Sam:] So?

Sam: So, the professor doesn't know crap.

Dean: Shocking. Pack your panties, Sammy. We're hitting the road.

Sam: What? What's up?

Dean: That was Bobby. Some banker guy blew his head off in Ohio, and he thinks there's a spirit involved.

Sam: So you two were talking a case?

Dean: No, we were actually talking about our feelings and then our favorite boy bands. Yeah, we were talking a case.

Sam: So,a spirit

Dean: What? Yeah, well, banker was complaining about some electrical problems at his pad for, like, a week -- Phones going haywire, computers flipping on and off.

Sam: Huh?

Dean: Uh-Huh. This is not ringing your bell?

Sam: Well, sure, yeah, but, Dean, we're on a case.

Dean: Whose?

Sam: Yours.

Dean: Right, yeah. Could have fooled me.

Sam: What the hell else have we ha doing lately other than trying to break your deal?

Dean: Chasing our tails, that's what. Sam, we've talked to every professor, witch, soothsayer, and two-bit carny act in the lower 48. Nobody knows squat. And we can't find Bela. We can't find the colt. So, until we actually find something, I'd like to do my job.

Sam: Well, there's one thing we haven't tried yet.

Dean: No, Sam. No.

Sam: Dean, we should summon Ruby.

Dean: I'm not gonna have this fight with you.

Sam: She says she knows how to save you!

Dean: Well, she can't!

Sam: Oh, really? You know that for sure?

Dean: I do.

Sam: How?

Dean: Because she told me, okay?

Sam: What?

Dean: She told me... flat-out that she could not save me -- Nobody can.

Sam: And you just somehow neglected to mention this to me?

Dean: Well, you know, I really don't care what that bitch thinks, and neither should you, so...

Sam: So, what? Now you're keeping secrets from me, Dean?

Dean: You really want to talk about who's keeping secrets from who?

[Sam starts to walk away]

Dean: Now where are you going?

Sam: Guess I'm going to Ohio.

Scene 3: Investigation at Ben’s study.

Ben’s wife: I found him...there.

Dean: Why don't you just tell us everything you saw, Mrs. Waters?

Ben’s wife: You mean besides my dead husband?

Sam: Well, just everything else...you saw, please.

Ben’s wife: There was, uh, blood...everywhere. The phone was ripped from the wall, his favorite Scotch on the desk. What else could you possibly want to know?

Sam: Why was the phone ripped from the wall?

Ben’s wife: I don't know.

Sam: You mind if I take a look?

Ben’s wife: I already went over all this with the other detectives.

Dean: We'll be out of your hair in no time ma'am.

Sam: Ma'am, what time did your husband die?

Ben’s wife: Sometime after 11:00.

Dean: What about strange phone calls? Receive any of those lately -- Weird interference, static, anything like that?

Ben’s wife: No. No.

Dean: Mrs. Waters, withholding information from the police is a capital offence.

[Sam gives Dean a glare and a cough]

Dean: … in some parts he world, I'm sure.

Ben’s wife: A couple of weeks ago, um, there was this...

Dean: This what?

Ben’s wife: I woke up one morning, I heard Ben in his study. I thought he was talking to a woman.

Sam: What made you think that?

Ben’s wife: Because he kept calling her Linda. The thing is...I picked up the other line, and ... nobody was there. Ben was talking to nobody.

Sam: There was nothing?

Ben’s wife: Just static.

Sam: Did you ever speak to Ben about this phone call?

Ben’s wife: No. I should have, but, no.

Sam: Did he ever say who Linda was?

Ben’s wife: What difference does it make?! There was no one on the other end!

Scene 4: Sam and Dean in motel room.

Dean: Linda's a babe... or was.

Sam: Find her?

Dean: Yeah, Linda Bateman. She and Ben Waters were high school sweethearts.

Sam: So what happened?

Dean: Drunk driver hit them head on. Ben walked away.

Sam: So, what then? Dead flame calls to chat?

Dean: You would think, but Linda was cremated. So why is she still floating around?

Sam: Uh, you got me.

Dean: What about that, uh, caller I.D.?

Sam: Turns out it's a phone number.

Dean: It's no phone number ever seen.

Sam: Yeah, because it's about a century old. From back when phones had cranks.

Dean: So why use that number to reach out and touch someone?

Sam: You got me there, too, but either way, we should run a trace on it.

Dean: Well, how the hell are we gonna trace a number that's over 100 years old?

Scene 5: Phone company. Sam and Dean being escorted by Clark.

Clark: We don't get too many folks from H.Q. down here.

Dean: Yes, well, office mentioned that there would be a lunch.

Clark: Well, I'm sure we can arrange something. The man you gentlemen want to be speaking to is right this –

[a fly bothers Sam]

Clark: I know. Sorry. Got something of a hygiene issue down here, if you ask me. Stewie? What did I tell you about keeping this place clean?

Stewie: Spam mail. Spam mail.

Clark: Stewie Meyers. Mr. Cambell, Mr. Reany …

Stewie: I don't know how all this got here.

Clark: ...from headquarters.

Stewie: Oh.

Clark: You give these gentlemen whatever they need.

Dean: Thank you.

Sam: Thanks.

Stewie: So, can I help you?

Dean: Is that,uh,bustyasianbeauties.com?

Stewie: No. Maybe.

Dean: Word to the wise – Platinum membership worth every penny.

Sam: Right. Anyway, um, we're here to trace a number.

Stewie: Where did you get this?

Sam: Off caller i.D.

Stewie: Oh, no. That's impossible.

Dean: Hasn't been used in a few years. We know.

Stewie: "A few years." It's prehistoric. Trust me. Nobody's using this number anymore.

Sam: Sure. Could you run it anyways?

Stewie: Sure. Why don't I just rearrange my whole life first?

Dean: Listen, uh, Stewie. You got like six kinds of employee-code violations down here, not to mention the sickening porn clogging up your hard drive. When my partner says run the number, I suggest you run the number.

[Stewie turns back to his computer and runs the number.]

Stewie: Holy crap.

Sam: What?

Stewie: I can't tell you where the number comes from. But I can tell you where it's been going.

Sam: What do you mean?

Stewie: 10 different houses in the past two weeks all got calls from the same number. So, are we done here? 'Cause I was sort of busy.

Dean: Right.

Scene 6: Sam knocks on a door. A man answers.

Lanie’s father: Yeah.

Sam: Hello, sir. I'm with the phone company.

Lanie’s father: Uh, we didn't call the phone company.

Sam: Oh, no, sir. No, see, we're calling you. We've had a lot of complaints from the neighborhood lately.

Lanie’s dad: Complaints?

Sam: Yes, sir, uh, dropped calls, static, maybe even strange voices on the other end of the line?

Lanie’s dad: No, we haven't had any of that here.

Sam: Nothing?

Lanie’s dad: No.

Sam: Okay, uh, great. Just thought we'd check. Thanks. [Sam notices Lanie behind her father, looking spooked]

Lanie’s dad: No problem. Okay, let's go. Come on, Simon.

Scene 7: Outside house, Sam getting into his car, Lanie approaches.

Lanie: No way you work for the phone company.

Sam: Sure I do.

Lanie: Since when does a phone guy drive a rental or wear a cheap suit?

Sam: Yeah? Well, maybe we're both keg secrets.

Lanie: Why did you ask my dad if we heard strange voices on the phone?

Sam: Why? Did you hear something?

Lanie: No.

Sam: My mistake. Thought maybe you did.

Lanie: Well, I didn't, okay?

Sam: Okay. Sorry to bother you. Because, you know... if you did, then I would have told you that I've been right where you're standing right now. Hearing things, even seeing things that couldn't be explained. Maybe I would have been able to help out a little bit. Anyways...

Lanie: Wait. Maybe...maybe I've been talking on the phone...with my mom.

Sam: Well, that's not so strange.

Lanie: She's dead... like three years now dead.

Sam: How often does she call you?

Lanie: A few times. It started a week ago. I thought I was, like, crazy or something.

Sam: Well, I can tell you one thing for sure, and you're gonna have to go with me on this, okay? You're not crazy.

Scene 8: Dean in street. Phone conversation between Sam and Dean.

Dean: Dude, stiffs are calling people all over town.

Sam: Yeah, Tell me about it

Dean: I just talked to an eighty years grandmother who's having phone sex with her husband... who died in Korea.

Sam: Ugh.

Dean: Completely rocked my understanding of the word "necrophilia."

Sam: So, what the hell's going on here, Dean?

Dean: Beats me, but we better find out soon. This place is turning into spook central.

Sam: Yeah. All right, I'll call you later.

Dean: Yep.

[Dean’s phone rings again right after he hangs up.]

Dean: Yeah, what? Sam?

John: Dean. Dean, is that you?

Dean: Dad?

Scene 9: Sam and Dean in motel room.

Sam: I mean Dad? You really think it was dad?

Dean: I don't know. Maybe.

Sam: Well, what did he sound like?

Dean: Like Oprah. It was dad. He sounded like dad. What do you think?

Sam: What did he say?

Dean: My name.

Sam: That's it?

Dean: Yeah, the call dropped out.

Sam: Why would he even call in the first place, Dean?

Dean: I don't know, man. Why are ghosts calling anybody in this town? But, I mean, other people are hearing from their loved ones. Why can't we? It's at least a possibility, right?

Sam: Yeah, I guess.

Dean: Okay, so what...what if it really is dad? What happens if he calls back?

Sam: What do you mean?

Dean: What do I say?

Sam: "Hello"?

Dean: "Hello"? That’s what you come back with -- "Hello"? [gets up, grabs jacket and opens door] "Hello." [Dean leaves]

Scene 10: Dean returns to the motel room.

Dean: Find anything?

Sam: After three hours, I have found no reason why anything supernatural would be going on here.

Dean: Wow, you know, you'd think a Stanford education and a high school hookup rate of 0.0 would produce better results than that.

Sam: Hilarious.

Dean: Sammy, you're just looking in the wrong places, pal.

Sam: And what are the right places, Dean?

Dean: The motel pamphlet rack. [throws a pamphlet down in front of Sam] Milan, Ohio – Birthplace of Thomas Edison.

Sam: Yeah, right. So what?

Dean: Keep reading.

Sam: [reads, pauses, looks up at Dean] You're kidding.

Scene 11: Edison museum.

Tour guide: And we're walking. And here we have one of the museum's most unique and treasured possessions -- Thomas Edison's "spirit phone." Did you know that Mr. Edison, while being one of America's most beloved inventors, was also a devout "occultist"? Ooh-Ooh.

Dean: [whispered to Sam] What's with the quotey fingers?

Tour guide: He spent years working on this - his final invention which he was convinced could be used to "communicate" with the "dead." Pretty spooky, huh? And we're walking. We are walking. And we are not touching that. And we are walking.

[Sam and Dean stay behind at the spirit phone. Sam scans it for EMF]

Dean: Anything?

Sam: Nothing.

Dean: What do you think?

Sam: Honestly? It kind of looks like an old pile of junk to me.

Dean: It's not even plugged in.

Sam: Maybe it doesn't work like that.

Dean: Okay. Maybe it's like a radio tower, you know, broadcasting the dead all over town.

Sam: Could be.

Dean: Well, you know, the caller I.D.'s 100 years old, right? Right around the time this thing was built.

Sam: Yeah, but why would it all of a sudden start working now?

Dean: I don't know. But as long as the moldy are calling the freshes around here, it's the best reason we got.

Sam: Yeah, maybe.

Dean: So maybe it really is dad.

Scene 12: Night. Sam is sleeping, Dean is sitting at the table, dressed, with coffee, staring at his phone.

[Dean’s phone rings. He gets up and moves to the bathroom, closing the door behind him]

Dean: Dad?

John: Dean.

Dean: Is it really you?

John: It's me.

Dean: How can I be sure?

John: You can't. Dean, how could you do it?

Dean: Do what?

John: Sell your soul.

Dean: I was looking after Sammy like you told me to.

John: I never wanted this. Never. You're my boy. I love you. I can't watch you go to hell, Dean.

Dean: I'm sorry. I don't know how to stop it

John: Because if you break the deal, Sam dies, right?

Dean: What?

John: Well, I know a way out...for both of you.

Dean: How?

John: The demon who holds your contract -- He's here...now.

Scene 13: Lanie’s room. On the computer instant messaging.

Friend: (ok, see you tomorrow)

(Lanie? Is that you?)

(Mom?)

(I asked you a question last night. Have you thought about it?)

(I don't know what you want )

(Of course you do. I want to see you)

(I went to see you. At the cemetery.)

(That's not what I mean.)

(But I am scared.)

(Don't be scared. I am right here with you. Come to me)

Transcripts: SN 3x13 Ghostfacers part 2 of 2

Thu, 01 May 2008 23:34:23 GMT

Here is part 2 of my transcription of Supernatural 3x13 Ghostfacers

Back at Eagle’s nest

Ed: Oh, god, what's happened? Oh, god. He's gone. He just disappeared.

Harry: Okay, let's just go through all the angles. Let's go through all the cameras we have.

Sam: Well, it's 12:04, Dean. You good? You happy?

Dean: Yeah, I am happy.

Sam: "Let's go hunt the Morton house," you said. "It's our Grand Canyon."

Dean: Sam, I don't want to hear it.

Sam: You got two months left, Dean. Instead, we're gonna die tonight. [slams a chair against the front door and it smashes]

Spruce: Whoa! What the hell is going on?

Sam: I'll tell you what's going on. Every door, every window, I'm guessing every exit out of this house -- They're all sealed.

Maggie: But w-why are they sealed?

Dean: It's a supernatural lockdown, okay? Whatever took Corbett doesn't want us to leave, and it's no death echo. This is a bad mother, and it wants us scared.

Maggie: Or it just wants us.

Spruce: Uh, guys, the camera's fritzing again.

Ed: Whoa. whoa. guys, the EMF's starting to spike.

Sam: Everybody, stay close. there's something coming.

Dean: Is this the same echo you guys saw earlier?

Spruce: No, it's a different guy.

Dean: Multiple echoes? what the hell's going on?

Sam: Beats me.

Dean: Okay. all right. all right. all right. [approaches echo, gets in its face] Uh, hey, buddy! Hey. hey. wake up. you're dead! Hello!

What's he doing? what's he doing?

Sam: It's rare, but sometimes you can shock an echo out of its loop if you can talk to the part of the ghost that's still human, but usually you have to have some kind of connection to the deceased.

Dean: Come on! Wake up! Be dead!

You guys hear that? what's that sound?

You guys hear that?

Dean: Snap out of it, buddy, huh? Come on, what are you waiting for? You're gonzo! you're dead! hey! [echo gets hit my a nonexistent train]

Ed: Where the hell did it go?

Dean: Dude, there's no records of any of this here. No one got shot here. Obviously, no one got run over by a freaking train.

Sam: Stay close.

Maggie: Did the echoes take Corbett?

Dean: Yes. No. I don't know. We don't know what’s doing what here, that's what we're trying to figure out, okay?

Sam: All right, stay close. Okay, look, death echoes are ghosts, okay? Now, ghosts -- they usually haunt places where they lived or where they died.

Dean: Except these mooks didn't live or die here.

Sam: Right.

Maggie: So, what are they doing here?

Dean: Hey, give the lady a cigar. All right, seriously, does looking at this nightmare through that camera make you feel better or something? I mean...

Maggie: Um...I, uh...Well, yeah. uh, yeah. I think so.

Dean: Oh.

Sam: [reading from certificate] Freeman Daggett, house's last owner, officially commended for 20 years of fine service at the Gamble General Hospital.

Dean: He's a doctor?

Sam: Janitor.

Dean: This looks like his den. When'd you say he died -- 64?

Sam: Yeah, heart attack.

Maggie: What are these, c-rations?

Dean: Yeah, army-issued, three squares -- Like a lifetime supply.

Maggie: God, is that all he ate?

Dean: One-stop shopping. Hello. Locked.

Ed: Oh, come on, guys. this is ridiculous. I mean, how the hell is this supposed to find Corbett, huh? We should be digging up the friggin' floorboards right now.

Sam: [reads the title of a pamphlet] Huh. "survival under atomic attack." An optimist.

Dean: Crap. Crap. Taxidermy. Okay. You said Daggett was a hospital janitor?

Sam: Yeah.

Dean: Ew. Got three toe tags here -- One, death by gunshots, train accident, and suicide.

Sam: Ew.

Ed: What?

Sam: Well, that explains why all the death echoes are here. They're here because their bodies are here somewhere in the house.

Dean: Daggett brought the remains home from the morgue … to play.

Harry and Ed: Eeewww.

Spruce: That’s nasty, dude.

Dean: [notices something] Wait a minute.

Maggie has wandered off on her own looking for Corbett.

Maggie: Corbett. Okay, Maggie.

Dean: [startles her when he finds her] Closer to the herd, okay?

Harry: Maggie? Maggie?

Dean: She's fine.

Ed: Harry. Harry, I got an 8.6 and climbing fast. Something huge is coming.

Look. something big is coming.

It's past 11, you guys.

What?

Nobody move!

Hold on. hold on. stay quiet.

It's really cold in here.

[There’s a distortion and flash on the camera then Sam disappears]

Dean: Sam?

Some kind of surge.

Dean: Sam?

Oh, no.

Dean: Sam!

Sammy!

Corbett!

Dean: Sam!

Corbett!

Dean: Sam!

Maggie: God. God, I am so scared. I'm so scared.

Harry: It's gonna be okay. it's gonna be okay, Maggie.

Ed: Corbett! [notices Harry and Maggie making out] My best friend... And my best sister.

Harry: Ed.

Ed: Harry.

Harry: Ed.

Ed: Harry.

Harry: Ed. Listen, Ed.

Ed: Are you banging my sister?

No!

Ed: [to Spruce] Hold my glasses.

Harry: Ed. Ed! Ed! Ed! Ed! Ed!

Dean: What the [bleep] are you doing?! [breaks up the catfight] Cut it out! We're down by two people. [keeps moving] Sam! Sammy!

Harry: Sorry.

Ed: I'm sorry. [to Spruce] Give me my glasses. Did he knock my -- my tooth there?

Spruce: Uh, no.

Ed: I won that, right?

Spruce: Yeah.

Harry: Thanks, Spruce.

Spruce: Yeah, it's my fault.

Maggie: That's real great. That's nice. Thanks.

Sam and Corbett. Tied to chairs at either end of a table at which other corpses are also sitting.

Sam: Corbett. Corbett. Hey. Corbett, hey. Hey, you got to keep listening to my voice, okay? I'm right here. Stay awake.

[Daggett shows up]

Daggett: Don't listen. It stops hurting, so don't worry.

Sam: Corbett, stay with me. Stay with me, you got it? I'm right here. Hey. Stay with me. [to Daggett] Don't. Don't. No. Corbett! No! [Daggett kills Corbett] Corbett!

Harry: Corbett!

Ed: where'd you guys go?

MaggieWhere are you guys?

Harry: Dean, what are you doing?

Dean: Okay, so Daggett was a cold war nut, okay? He was -- he was an amateur taxidermist. He liked to slow dance with cadavers, and all he ate were c-rations. So what the hell are we looking for?!

Maggie: Horrible little life.

Dean: Yeah, a lonely life. A Cold War life. He was scared. He was scared. He was scared.

Harry: Scared of what? What? Dean, where are you going?

Maggie: Wait, don't leave me in here, you guys.

Harry: Wait. Dean!

Sam and Daggett in bomb shelter.

Sam: [as Daggett approaches him] Get away from me.

Daggett: This won't hurt. It's okay. It's okay. Relax. Relax. [he moves back to reveal he has put a party hat on Sam’s head]

Whoa. whoa. whoa.

Maggie: Where are you going?

Dean: Guys like Daggett back then, the ones who were really scared of the Russkies --They built bomb shelters. I'm guessing he's got one. I'll bet you it's in the basement.

[the basement door slams shut with Dean and Spruce in the basement and Ed, Harry, and Maggie left upstairs]

Ed: That is not funny.

Spruce: Um, who closed the door?

Dean: It did. It wants to separate us. Ed! Listen to me!

Ed: What?

Dean: There's some salt in my duffle. Make a circle and get inside.

[Ed and Harry share puzzled looks.]

Harry: [whispered] That’s stupid.

Ed: Inside your duffle bag?

Dean: In the salt, you idiot!

Ed: Oh, okay. yeah. yeah.

Ed: Harry, hurry up. get in the circle. get in the circle. Come on. come on. quick. quick.

Harry: Guys, guys, I don't want to die, okay, and I don't want you to die.

Ed: Harry, listen -- listen to me, okay? listen. If we don't die ...it's totally okay if you, uh, do my sister.

Maggie: Ow. Nice. Hey, guys. oh. oh, no. My camera.

Ed: Get in close.

Why does this keep happening? why does this keep happening?

Why does this keep happening?

Oh, my god.

Oh, god. oh, god.

It's -- it's Corbett.

Oh. oh, c-Corbett.

Basement

Spruce: Hey, can I ask you something?

Dean: What?

Spruce: Earlier, you and Sam -- He said you had two months left?

Dean: [not really paying attention to what he’s saying, busy looking for Sam] Yeah, it's complicated. A while ago, Sam... [realizes what he’s talking about] No, no, no. I'm not gonna whine about my [bleep] problems to some [bleep] reality show. I'm gonna do my [bleep] job.

[pause]

Spruce: Is it cancer?

Dean: Shut up. You hear that?

Sam and Daggett.

Daggett: I've been waiting for some more friends. I get lonely. But you're coming to my party, aren't you?

Spruce: Is that music?

Dean: Yeah, it's coming from behind this wall. [moves a shelf to get to the wall]

Spruce: Wow, you're strong.

[Dean gives Spruce the finger]

Daggett: You'll stay a good, long time.

Dean: [busts into the bomb shelter] Sam! [shoots Daggett with rock salt]

Spruce: [enters behind Dean, finds Corbett] Oh, no, Corbett.

Ed: Oh, god, what have we done? Oh, Corbett.

Harry: Ed.

Ed: Yeah?

Harry: Corbett's a -- he's a death echo. He's reliving his own murder.

Maggie: Over and over forever.

Basement.

Spruce: So, what's this Daggett guy's problem anyway?

Sam: Loneliness.

Dean: He's never heard of a Realdoll?

Sam: No, no, no, Daggett was the Norman Bates, stuff-your-mother kind of lonely. That's why he lifted these bodies from the morgue, threw himself a birthday party, except they were the only ones who would come. Anyway, so, at midnight, he sealed them in the bomb shelter and went upstairs and O.D.'d on horse tranqs. [= overdosed on horse tranquilizers]

Dean: How do you know this?

Sam: ‘Cause he told me.

Dean: Oh. yeah. Okay, so now that he's dead, what? Same song, different verse, trying to get people to come to his party?

Sam: Pretty much, yeah. Stay forever.

Spruce: [watching Dean reload his shotgun] Are those real bullets?

Dean: It's rock salt.

Main floor.

Harry: [mumbling Ghostfacers theme song.]

Maggie: Guys … [camera’s fritzing again. Corbett appears]

Ed: Oh, no.

Maggie: Corbett.

Ed: Wait, guys. Guys, it's -- it's Corbett. He's -- he's -- he's trapped. He's in a lot of pain, you know? We gotta try and -- We gotta try and pull him out of his loop. We have to.

Harry: Ed.

Ed: [stands up, moves to approach Corbett] Corbett. Corbett, it's -- Oh, god.

Harry: Don't cross the line of salt.

Ed: I gotta do it, Harry. [leaves circle of salt] Corbett, listen to me. Okay, I'm not gonna hurt you. Listen. Listen. oh, god. Corbett. Oh. oh, god. [Corbett starts to flicker] Whoa.

Harry: Get back, get back, get back.

Ed: [retreats back into the circle of salt] Oh, I can't, okay? He's not hearing me, okay? He won't stop dying.

Basement. Dean is trying to get the door open.

Sam: [notices Spruce’s camera is still rolling] Seriously -- you're still shooting?

Dean: It makes him feel better. Don't ask.

Spruce: Ah, hell, guys. Getting your ghost-roll thing. something's coming. Oh, my – [Spruce is thrown to the ground. Sam shoots Daggett with rock salt]

Main floor.

Harry: I know how we can get through to him.

Ed: How?

Harry: Ed… He had feelings for you.

Ed: Huh?

Harry: He wanted you.

Ed: Wa-- wanted me to what?

Harry: You know. And you know what you've got to do. You can do it, Ed. You've always been the brave one. Yes, you can. You make us brave -- Maggie, right?

Maggie: Yeah. Yeah, you do. You totally do.

Harry: Ed... You got to go be gay for that poor, dead intern. You got to send him into the light.

Ed: [leaves circle and approaches Corbett again] Corbett.

Harry: [Maggie goes to follow Ed with the camera] Maggie, no. No.

Maggie: No, it's okay. It’s okay. Don’t worry. [follows Ed]

Ed: Corbett, look. Hey, it's just Ed, buddy. it's just me. Hey, hey, Corbett, listen to me. listen to me. I -- we... Okay. You meant... Corbett, you meant a lot to the team. You meant... you meant a lot to me. You know, never … never back down... Never say a bad word, okay? I remember that, Corbett. I-I remember that. I remember because I love you, Corbett. I really, truly love you. [Corbett pauses in his shaking] Do you remember that? Do you?

Corbett: Hey. Ed?

Ed: Yeah. Yeah, Corbett, it's... Corbett, yeah, it's me. It's me. Look at me. You got to help us, man. You have to help us, Corbett. Please. Please. Please help us right now.

Basement.

Sam: [to Spruce] Take it easy. You all right?

Spruce: Uh, guys... [Daggett shows up again throws Dean into a corner]

Sam: [to Dagget] Hey! Hey! Come here! [bleep]

[Daggett throws Sam into another corner and approaches Spruce]

Spruce: This is bad -- very bad.

[Corbett’s ghost appears and Daggett turns to face it]

Spruce: Corbett?

[Corbett rushes Daggett. They both disappear in a flash of light]

[Dean and Sam get up]

Spruce: [to Dean] You all right, dude? [to Sam] You all right? Oh, my god.

Morning. Outside Morton house.

Ed [voice-over]: Leap year, February 29th, the Morton house. A tragic day -- A day of souls bound in torment, of lives held in cruel balance. But the Ghostfacers -- They did the best that they could.

Harry: We lost a beloved friend, but we gained new allies.

Ed: We know this much -- That every day, including today, is a new beginning. We learned more than we can say in the brutal feat of the Morton house.

Harry: The Ghostfacers were forced to face something far more scary than ghosts. They were forced to face themselves.

Ed: War changes man.

Harry: And Maggie.

Ed: War changes man... and one woman. You know, Corbett, we just... Oh, gosh, we just like to think that you're out there watching over us.

Harry: As far as we're concerned, you're not an intern anymore. You have more than earned full Ghostfacer status. Plus, it'd be cool to have a ghost on the team.

Ed: Yeah. Yeah. And here we were, thinking that, you know, we were teaching you, and all this time, you were teaching us... About heart, about dedication, and ... about how gay love can pierce through the veil of death and save the day. Thank you, Alan J. Corbett.

Harry: Go well into that starry night, young Turk. Go well.

Insert: One-on-one with Corbett

Corbett: Come on, Spruce. I got to get all this stuff packed up.

Spruce: So? Pack and talk.

Corbett: I don't know what to say.

Spruce: Say what comes to mind. This is one of our confessional moments, Corbett, so confess. What do you think is gonna happen tonight? What do you think's gonna happen tonight on this trip?

Corbett: I think tonight -- I really do -- I think all our dreams are gonna come true. Does that sound stupid?

Spruce: Kind of does, yeah.

End Ghostfacers. Reveal Sam and Dean sitting in front of a computer monitor watching the episode with the Ghostfacers watching over their shoulders.

Ed: So, guys, what do you think? You all right?

Dean: You know, I kind of think it was half awesome.

Maggie: Half awesome -- that's full-on good, right?

Sam: Yeah. I mean, it's bizarre how y'all are able to -- To honor Corbett's memory while grossly exploiting the manner of his death. Well done.

Dean: Yeah, that's a real tight rope you guys are walking.

Sam: Yeah. all right, guys.

Ed: No, that's reality, man. Yeah. Corbett gave his life searching for the truth, and it is our job over here to share it with the world.

Sam: Right. Well, um, our experience -- You know what you get when you show the world the truth?

Dean: A straightjacket or a punch in the face -- Sometimes both.

Sam: Right.

Harry: Oh, come on, guys, don't be 'facer haters because we happen to have gotten the footage of the century.

Ed: Oh, yeah.

Dean: You got us there.

Sam: Yeah.

Dean: Yeah, well, we'll see you guys around.

[Sam and Dean leave, Ed closes the door after them]

Harry: [about Sam and Dean] Dicks.

Ed: Oh, yeah.

Maggie: Totally.

Harry: Yeah, yep.

Spruce: I’ll start laying off some dvds.

Harry: Sounds like a good idea, Spruce. You know, guys, I think we're gonna need a bigger office here, you know, ‘cause we're gonna go national, and then it's gonna go international, and then --

Ed: Hey, Menudo left their dance bag behind. [finds a duffel Sam and Dean left] What's inside, huh? [pulls out a strange looking contraption] Woah. What the hell is this?

Spruce: [static starts appearing on the monitors] Uh, I seem to be having some technical difficulty over here.

Harry: Wait, wait, wait, wait, wait, wait. Wait, wait, wait, wait, wait, wait. Wait! Wait! Wait! Wait! Wait! "No operating system found"? Wait a minute.

Sam and Dean getting into the Impala

Sam: We clean?

Ghostfacers: [from inside the house] No-o-o-o-o-o-o!

Dean: Electromagnet wiped out every tape and hard drive they have.

Sam: World just isn't ready for the Ghostfacers.

Dean: That's too bad. I kind of liked the show.

Sam: It had its moments.

Voiceover:

Ed: That is money in the bank.

Transcripts: SN 3x13 Ghostfacers part 1 of 2

Thu, 01 May 2008 23:31:57 GMT

Hello all. I am back again with another transcript in anticipation of the episode tonight.
Here's the transcript for 3x13 Ghostfacers.
Please do not judge my transcribing abilities on only this episode because it is not done very well. There are too many parts where everyone is shouting at once, but I have done my very best to make some sense of it.
And, I will try VERY hard to get the transcript of tonight's episode up before I leave for Europe on Sunday, but I have a lot to do between now and then. I will do my best. Leaving me encouragement might help ;)
So, without further ado ....

3x13 Ghostfacers

Recap:

Dean: So, what do you say we kill some evil sons-of-a-bitches and we raise a little hell?

CrossroadsDemon: So, you're offering up your own soul?

Dean: All you got to do is bring Sam back.

Bobby: How long did they give you?

Dean: One year.

Dean: I don't want to go to hell.

Sam: We'll find a way to save you.

Sam: Ed Zeddmore and Harry Spangler -- Hellhoundslair.com.

Harry: What are you guys doing here?

Dean: What the hell are you doing here?

Ed: Uh, we belong here. We're professional paranormal investigators. We're just trying to get a book and movie deal, okay?

Dean: Get that damn thing out of my face. Go, go, go, go!

Ed:: Sweet lord …

Harry: … of the rings. Run!

Harry: Forget it. I'm not going back in there again.

Ed: Harry, this is our ticket to the big time -- Fame, money, sex...with girls.

Scene 1: Harry and Ed in a lavish sitting room, dressed in suits, introducing the pilot.

Harry: Hello. I am Harry Spangler.

Ed: And I am Ed Zeddmore. Now, if you've received this tape, you must be some sort of bigwig network executive. Well, today is your lucky day, mister.

Harry: Because the unsolicited pilot you are about to watch is the bold, new future of "reality tv."

Ed: We know you've had it hard during the crippling writers' strike.

Harry: Lazy fat cats.

Ed: Who needs writers when you got guys like us? Our team faced horrible horrors to bring you the footage that will change your world forever. So strap in for the scariest hour in the history of television.

Harry: In the history of your life.

Ed: Strap in for...

Both: "Ghostfacers."

Theme song:

Ghost. Ghostfacers.

We’re facing ghosts where the others will not.

Ghost. Ghostfacers.

Stay in the kitchen when the kitchen gets hot.

Ghost. Ghostfacers.

We face the nightmare. We face the dread.

Ghost. Ghostfacers.

We face the faces. We face the dead.

…. Into the Supernatural.

We’re who you’re gonna call.

We’ve faced them all.

Ghost. Ghost facers.

We face the faces. We face the dead.

Ghost. Ghostfacers.

Scene 2:

Ed: You know, it can get kind of hard balancing our daytime careers with our nighttime missions.

Harry: Yeah, but Ed and I pretty much call the shots at the Kinko's where we work, so we can usually pretty much get off by 6:00 every night?

Ed: Yeah, 6:00. It used to be just, you know, you and I taking on the cases -- Just Harry and me.

Harry: Two lone wolves.

Ed: And two lone wolves need, uh... other wolves.

Scene 3: Ghostfacer headquarters. Sprucecam.

Ed: Morning, 'facers.

Harry: Good morning, Ghostfacers.

Spruce: It's 7:00 p.m., dude.

Harry: It's morning to a Ghostfacer.

Ed: Corbett, what do we got, buddy?

Corbett: Oh, I'm just putting up some of the --

Ed: Yeah, this has got to go up here. That's got to go here. Got to see the whole field. Markers, eraser -- good job.

Insert: One-on-one with Corbett

Corbett: I first saw Ed putting up flyers down at the -- the outlet mall in Scogan. So, I-I read one, and I thought to myself, "Huh. Where do ghosts come from?" And now here I am.

Scene 3: back to continuous at Ghostfacer headquarters

Harry: Ed, your sister's abusing staff.

Ed: That's adopted sister, thank you very much.

Insert: One-on-one with Maggie

Maggie: Ed has been obsessed with the supernatural since we were kids, you know, and then he meets Harry at computer camp … And love at first geek.

Insert: One-on-one with Spruce

Spruce: Spruce here. What up, player? I am 15/16 Jew, 1/16 Cherokee. My grandfather is a Mohel, my great-grandfather was a tallis maker, and my great-great-grandfather was a degenerate gambler and had a peyote addiction.

Scene 3: back to continuous at Ghostfacer headquarters

Ed: Okay, people. let's cut the chatter and get on a mission. Okay? Morton house ...one of our big fish. All right, we all know the legend. Every four years, supposedly, this becomes the most haunted place in America.

Harry: The leap year ghost, some call it. The ghost returns at midnight just as February 29th begins.

Maggie: And no one has ever stayed the night, right?

Harry: Yeah, well, every testimony that we dug up, every eyewitness has cut and run well before midnight.

Ed: Well, that's all about to change, baby.

Harry: Absolutely true, Ed. Absolutely true.

Ed: [tastes a drink Corbett just handed him] Mmm. that's good.

Corbett: It's French vanilla, cause the other day, you said how much you liked it, so...

Ed: Thank you.

Corbett: You are welcome.

Insert: One-on-one with Harry

Harry: I like Corbett. I do. Shows up early, does his job, lot of good hustle out. I think he's got the hots for Ed, and that could spell trouble for the whole team.

Insert: One-on-one with Corbett

Corbett: Ed's kind of the more rugged, with that really golden ... beautiful sort of beard. Definitely nice. Uh, and Harry's nice.

Scene 3: back to continuous at Ghostfacer headquarters

Ed: 29th is this Friday, facers. We want this mission, we got to move on it now, or guess what -- He's gone for another four years.

Oh, watch out!

Who is that?

Ed: Dad! told you we were gonna have the garage right now. Just cut the cameras.

Harry: We don't need that. We don't need this part.

Scene 4: Outside. Night. Ghostfacers approaching Morton house.

Ed: Stay low. Follow formation.

Okay, as suspected.

A lot of people have tried to break into the Morton house.

The local authorities have just gotten fed up.

Harry: Looks like the cops have got this place pretty well fenced off.

Maggie: Wait. Didn't you guys get, like, a permit or something?

Ed: A permit?

Harry: That's a good idea for next time.

Ed: Yeah.

Car!

Car. shh, shh!

Flashlights off.

Maggie: Stay totally still

[Ghostfacers hide. Impala drives by slowly.]

Spruce: It's okay. Not cops -- just hicks.

Oh, right on.

Guys, let's go! let's go! let's go!

Go! go!

Scene 5: Continuous. Inside the Morton house.

Ed: There's the kitchen sink.

Harry: Copy that, copy that. All right, everybody. Ghostfacers, let's line up. Everybody.

Ed: We'll set up camp right here. This is command center one.

Harry: We'll call this the eagle's nest.

Corbett: Hallway cam one up and running.

Ed: Looking good, Corbett.

Corbett: Copy that, Ed.

Ed: Uh...uh, you're welcome. All right, Spruce, how are we doing there, buddy?

Spruce: Checking basement camera two, mein fuhrer.

Ed: Maggie, I got no visual on you, Maggie.

Maggie: This is Maggie. Do you copy?

Ed: There you are. Hello. Harry, are you alive?

Harry: Upstairs, Ed. Camera one.

Ed: Looking good. I can smell syndication. Alright, fellas. Let's regroup at the eagle nest.

All right, Spangler.

Battery check, battery check. check.

Okay.

Spruce: Check. check. Yo, Corbett, dude. You’re robocop.

Corbett: R-robocop? You think I -- you think I look like robocop?

Ed: Everybody, bring it in. bring it in. We've all been here before. standard walk-through. Team one, west. Team two, east. Spin the tires, light the fires. Ghostfacers on three.

All: 1, 2, 3... Ghostfacers!

Team Ed and Corbett

Ed: Hello! I'm speaking to the restless spirits of the Morton house! Okay. Hello! My name's Ed.

Corbett: Careful.

Ed: Watch my back.

Corbett: Okay. okay.

Ed: What's your name? .3, .29.

Corbett: Is there an entity or entities here with us now? Can you give us a sign of your presence?

Ed: You got to breathe, buddy.

Corbett: I can't breathe.

Ed: Corbett, night vision.

Corbett: Okay. Okay. Yeah.

Ed: Calm down, buddy. Breathe, all right?

Corbett: What?

Ed: Calm the whirlwinds of your mind.

Team Harry, Spruce, Maggie

Harry: We're doing a basic EMF, EVP, temp-flux sweep. Looks like we've got all of our ducks in a row here.

Spruce: [pauses, the camera’s doing something strange] Woah

Harry: What?

Spruce: I don't know. Camera’s fritzing or something. It's weird. It's gone.

Harry: All right. [about to kick in a door, talking to Spruce] Get this, get this.

Spruce: Turn the knob. [Maggie turns the knob]

Harry: All right... Oh, my god! oh, my god! Oh, my god! oh, my god! Oh, my god! oh, my god!

Spruce: It’s just a rat, dude.

Insert: One-on-one with Harry

Harry: I don't really like rats. They're gross. Rats are like the rats of the world.

Harry: What -- was that an apparition? Was that a spectral -- was that a .4? What do we got, 'cause the EMP was just off the – [Spruce throws the dead rat at Harry] Oh, god! Oh, that is so not funny, Spruce!

Team Ed and Corbett

Corbett: Oh, god. okay, it was just... I think it was just this branch... Okay...in the window. This is spooky, man.

Ed: This place...

Corbett: Okay. Oh, no!

Dean: Freeze! Police officers! Don't move! All right. All right. All right. Take it easy. Take it easy.

Sam: Let's see some identification. Come on. Let's see some I.D.

Corbett: What -- are we under -- under arrest?

Ed: We are unarmed.

Corbett: Oh, god. oh, god.

Dean: Want to explain that weirdo outfit, Mr. Corbett?

Ed: I know you.

Dean: Yeah, sure you do. Give me some identification.

Ed: Yeah, ho-- whoa, hold on a second. I know the both of you guys. Yeah.

Corbett: What?

Ed: Yeah. Huh.

Sam: Holy sh--

Dean: What?

Sam: Uh, west Texas -- the -- the -- the tulpa we had to take out, those two goofballs that almost got us killed... The hellhounds or something?

Dean: Fu-- me.

Ed: Yeah, we're not hellhounds anymore, okay? It didn't test that well.

Corbett: Ed, what's going on?

Ed: They're not cops, buddy -- no, not at all.

Dean: Ed, Ed, you had a partner, too, didn't you --

Dean: A different guy?

Ed: Oh, yeah, yeah.

Dean: Is he around here somewhere?

Ed: He's running around, chasing ghosts. Doin’ what we do.

Dean: Okay, well, listen, you and Rambo need to get your girlfriends and get out of here.

Ed: All right. Listen here, chisel chest, okay? We were here first. We've already set up base camp. We beat you.

Dean: [calmly, to Sam] They were here first. [suddenly grabs Ed and shoves him up against the wall]

Ed: Oh, god.

Dean: Ed...

Ed: Yeah?

Dean: ...where's your partner?

Team Harry, Spruce, Maggie

Harry: 10.6. 10.7, guys. The EMF is really spiking here.

Maggie: Pressure's down, like, 11 degrees.

Harry: All right, all right, keep your eyes peeled. This could be it. Maggie, can I get a reading in here, please?

Spruce: Something keeps messing with the chip. I don't know what's going on here. Guys. guys. guys.

Ghost: Look, buddy. I'm sorry. That's it. I'm telling you, that's all the money I – [ghost is shot by unknown source and disappears]

Team Ed and Corbett, Dean and Sam return to Eagle’s nest

Dean: What are you doing at the Morton House, Ed? Huh? On leap year -- what are you thinking?

Ed: We're here to spend the night, okay? It's for our tv show.

Sam: What? Great. Perfect.

Corbett: Yeah, nobody's ever spent the night before.

Dean: Uh, actually, yeah, they have.

Ed: Uh, we've never heard of them.

Dean: Yeah, you know why? ‘Cause the ones that have haven't lived to talk about it!

Ed: Oh, come on, I don't believe you.

Sam: Look -- missing-persons reports going back almost a half century. John Graham stayed on a dare -- gone. Julie Wilkerson -- gone. There are tons more. All of them came to just stay the night through, always on a leap year. The only body they ever found was the last owner, Freeman Daggett.

Ed: These look legit.

Sam: They are legit. Look, Ed, we ain't got much time here, buddy. Starting at midnight, your friends are going to die.

Oh, my god! oh, my god!

Oh, my god! oh, my god! oh, my god!

Harry: Guys! guys! oh, my god! oh, my god! we got one! Corbett! Corbett, we saw one! we saw one! It was a full apparition! it was like a class four.

Maggie: It was nuts! It was totally amazing!

Harry: It was a spectral illumination! it... Hey, aren't those the [bleep] from Texas?

Ed: Yes.

Dean: All right, let's have this reunion across the street, guys.

Harry: Crap. What are you guys doing here?

Dean: Come on, come on. We'll get you ice cream -- our treat. What do you say? Let's go.

Ed: Guys, I think we should listen.

Harry: Yeah, I say no. look at this. look, look. Ed, Ed.

Maggie: No. no. look at this. Okay, honest-to-god proof, all right?

Ed: Are you kidding me?

Harry: Yeah. No, not kidding.

Ed: What kind of reading did we get?

Harry: Uh, it was a 10.9.

Ed: 10.9?

Harry: Yeah, it was 10.9. It was almost 11. I came out, and I was like, "what's going on?" And I was like –

Maggie: Hold it, oh my god, watch this part.

Oh! He got blasted.

It was crazy.

[Sam and Dean go off to the side, Spruce follows, taping]

Sam: You think we’re off on this? I mean, that was just a death echo.

Dean: Yeah, but what’s it doing here? Did anybody get shot here?

Sam: No, not that I could find.

Spruce: What's a death echo?

Sam: Look, if we’ve got a problem here that ghost ain't it.

Harry: [in the background] Yeah, that's real. Like, that happened.

Spruce: What's a death echo?

Dean: Echoes are trapped in a loop, okay? They keep replaying how they died over and over and over again, usually in the place where they were ganked. It's about as dangerous as a scary movie.

Sam: So, maybe the echo's not dangerous, but maybe something else is.

Dean: You're right. All right, we need to get out of here, guys. Come on. let's go. let's go. let's go. Pack it up.

Maggie: What about all of our equipment?

Lots of fun. let's go.

Harry: We got more material. We got all kinds of stuff. We'll make you guys recurring guest stars.

Ed: Wait! Wait! Wait! Where's Corbett?

Corbett upstairs

Corbett: I wish to communicate with the restless spirits here. [his flashlight goes out] Uh, lights out? Oh, I think I got night vision here. That's better. [we see a ghost in his night vision]

Rest of the team, Dean and Sam

No man left behind.

[Corbett screams]

That was Corbett.

That was Corbett! Corbett!

Corbett! it's okay!

We'll get him! go back!

Guys!

No!

Spruce: Where are you, dude? Tell us where you are!

Corbett!

Let me go!

Guys!

Harry: Corbett, you need to come back, Corbett.

No!!

Dean: Hey! hey! hey! come on.

Corbett's...

Sam: He's not here. Let's go. Let's go.

No. no. no. but that's Corbett.

Harry: No, that was Corbett. didn't you hear that?

Go, go, go, come on.

Guys. guys. guys.

Here we go. here we go. keep it moving. keep it moving.

Corbett?

Hey. hey. hey. watch him. watch him.

Go. go. move. move.

Turn it off!

Transcripts: SN 3x06 part 2 of 2

Thu, 27 Mar 2008 21:15:20 GMT

Here's my transcript of the first half of the episode Red Sky At Morning
(this one I never touched up. I gave up on capital letters at one point and I don't have all of the stage directions. If it's a problem for you and you need something clarified for some reason just let me know.)

Scene 11 – Night. Inside the house Dean and Sam are staying in. Candles are lit. Bela is waiting downstairs in an elegant dress.

Bela: what is taking so long? Sam's already halfway there . . . with his date.

Dean: i'm so not okay with this.

Bela: what are you, a woman? come down,already.

Dean: *comes downstairs in a tux. Stands waiting for Bela’s reaction* all right. get it out. i look ridiculous.

Bela: *impressed* not exactly the word i'd use.

Dean: what?

Bela: you know, when this is over, we should really have angry sex.

Dean: don't objectify me. let's go.

Scene 12 – Sea Pines museum. Charity ball.

*Bela and Dean enter*

Bela: are you chewing gum? try to behave as if you've lived this life before, yeah?

*Dean takes out his gum and sticks it to the underside of a fountain, then returns to Bela’s side.*

*Sam and Gert arrive*

Gert: this will get their tongues wagging, eh, my adonis?

Sam: just remember, we're on business.

Gert: oh, but sometimes business can be pleasure, hmm?

Sam: right. you know, uh, could you excuse me for a moment? great. thanks. thanks. *walks up to Dean and Bela* exactly how long do you expect me to entertain my date?

Bela: as long as it takes.

Dean: look, there's security all over this place, all right? this is an uncrashable party without Gert's invitation, so...

Sam: we can crash anything, Dean.

Dean: yeah, i know. but this is easier, and it's a lot more entertaining.

Sam: you know there are limits to what i'll do, right?

Dean: aw, he's playing hard-to-get. that's cute. *to Bela* come on. *to Sam* i want all the details in the morning. *walks away with Bela*

Gert: *approaches Sam with two glasses of champagne* to us.

*Sam takes his drink and downs it all at once.*

Scene 13 – Dean and Bela in a side hall, sizing up security

Bela: private security?

Dean: i don't think so. look at the way they're standing. they're pros. probably state troopers moonlighting.

Bela: posted to every door, too.

Dean: yeah. i don't think we're gonna be able to just waltz upstairs.

Bela: what do you suggest?

Dean: i'm thinking.

Bela: don't strain yourself. interesting, how the legend is so much more than the man.

Dean: you got any bright ideas, i'm all ears.

Bela: okay. *pretends to faint*

Dean: *catches her and lowers her to the floor* honey? honey? are you all right? waiter... hi, uh, my wife has a severe shellfish allergy. there's no crab in that?

Waiter: no,sir.

Dean: no? *takes one and tries it* oh, they're excellent, by the way.

Guard: what seems to be the trouble?

Dean: uh, the champagne. my wife she's a lightweight when it comes to the sauce. is there somewhere i can lay her down till she gets her sea legs back?

Guard: follow me.

Dean: right. thank you. come on, you lush. *follows the guard to a room upstairs. Lays Bela on a couch * you think she's a pain in the ass now, try living with her. thank you very much. *closes door behind guard* hey, maybe next time give me a little heads-up with your plan.

Bela: i didn't want you thinking. you're not very good at that. oh, look at you. searching for a witty rejoinder?

Dean: screw you.

Bela: very Oscar Wilde. *Dean begins to leave, Bela calls after him* room 235. it's in a locked glass case wired for alarm. i'm sure that won't be a problem.

Scene 14 – The dance downstairs. Gert and Sam are dancing.

Gert: where's Alex and your friend? they're missing a great party.

Sam: i'm, uh i'm sure they're entertaining themselves.

Gert: naughty. then i guess we'll just have to entertain ourselves.

Sam: y-you know, um, Mrs. Case... i'm sorry. ms. case, i don't want to give you the wrong idea.

Gert: call me Gert.

Sam: okay.

Gert: you remind me of my late husband. he was shy, too. till we got belowdeck. you're just firm all over.

Scene 15 – Guard knocks on door of Bela’s room.

Gurad: sir? ma'am? everything all right?

Bela: *answers the door with one strap of her dress hanging down her shoulder* hi.

Guard: feeling better, i see?

Bela: yes. much. thank you.

Guard: so if you're...done with the room?

Bela: well, not exactly. could we have a few more minutes?

Guard: uh, yes, ma'am.

Bela: *closes door, guard hears Bela through the door* stop it. that tickles.

*as guard turns to walks down the hall Dean almost runs into him*

Dean: sorry. it's,uh... nature called. thanks for looking after my wife.

Guard: oh, she's being looked after, all right.

Dean: *gives guard a strange look, enters Bela’s room to find her fixing her dress strap8 any trouble?

Bela: nothing i couldn't handle. the hand? *Dean shows it to her* may i?

Dean: no. *wraps it in his handkerchief and puts it in the inside pocket of his suit jacket*

Bela: it might be more inconspicuous in my purse.

Dean: nice try.

Bela: just trying to be helpful.

Dean: well, sweetheart, i don't need your kind of help.

Scene 16 – Sam and Gert still dancing

Sam: man, this is one long song.

Gert: i hope it never ends. how's the investigation going?

Sam: these things take time.

Gert: people are talking about the Warren brothers' deaths. strange. do you think it's connected to Sheila's?

Sam: yeah. yeah, we think so.

Gert: i think they had it coming, you know, in a biblical sort of way.

Sam: what do you mean?

Gert: you know about their father.

Sam: no.

Gert: come here. i'll whisper it to you. people say... that the old man didn't die of natural causes.

Sam: then how?

Gert: rumor is the boys did it. nothing was ever proved, but people still whisper.

Sam: o-okay,okay. so, did did Sheila have any connection to them?

Gert: well, none that i know of.

Sam: did Sheila have any kind of tragedy in her life?

Gert: yes. as a matter of fact, there was a car accident when she was a teenager.

Sam: what happened?

Gert: her car flipped over. well, she was okay, but her cousin Brian was killed. why? is that important?

*Bela and Dean arrive*

Bela: well, having a nice time?

Gert: he's delightful. he wants me.

Bela: *to the boys* i'm going to get Gert into a cold shower.

Sam: great idea.

Bela: see you at the cemetery.

Dean: you stink like sex.

Scene 17 – Dean and Sam get into the Impala

Sam: you got it, right? tell me i didn't get groped all night by Mrs. Havisham for nothing.

Dean: i got it. Mrs. who?

Sam: never mind. just let me see it. what?

Dean: *Bela stole the hand and left a trinket in its place* i'm gonna kill her.

Scene 18 – Bela, with a bag of money, in her car parked on the docks.

Bela: *sees the ghost ship* oh,no.

Scene 19 – Dean and Sam in the abandoned house.

Dean: you know what? you're right. i'm not gonna kill her. i think slow torture's the way to go.

Sam: Dean, look, you got to relax.

Dean: relax?! oh, yeah. yeah, i'll relax. I can’t believe she got another one over on us!!

Sam: you.

Dean: what?

Sam: i-i mean, she got one over on you, not us.

Dean: thank you, Sam! it's very helpful!

Bela: *knocks on door* hello? could you open up? *the boys open it, very angry* just let me explain. i sold it. i had a buyer lined up as soon as i knew it existed.

Sam: so,the whole reason for us going to the charity ball was...

Bela: i needed a cover. you were convenient.

Sam: look, you sold it to a buyer. just go buy it back.

Bela: it's halfway across the ocean. i can't get it back in time.

Dean: in time for what?

Sam: what's going on with you, Bela? you look like you've seen a ghost.

Bela: i saw the ship.

Dean: you what? Wow, you know, i knew you were an immoral, thieving, con-artist bitch, but just when i thought my opinion of you couldn't get any lower...

Bela: what are you talking about?

Sam: we figured out the spirit's motive. this is the captain of our ship, *shows her a picture* the one who hung our ghost boy.

Bela: so?

Sam: so, they were brothers. Very Cain and Abel. so, now our spirit, he's going after a very specific kind of target -- people who've spilled their own family's blood. see, first, there was Sheila, who killed her cousin in a car accident. and the Warren brothers, who murdered their father for the inheritance. and now you.

Bela: my god.

Dean: so, who was it, Bela? hmm? who'd you kill? was it daddy? your little sis, maybe?

Bela: it's none of your business.

Dean: no. right. well, have a nice life --you know, whatever's left of it. Sam, let's go.

Bela: you can't just leave me here.

Dean: watch us.

Bela: please. i need your help.

Dean: our help? Well, now, how could a couple of serial killers possibly help you?

Bela: okay, that was a bit harsh, i admit it. but it doesn't warrant a death sentence.

Sam: that's not why you're gonna die. what did you do, Bela?

Bela: you wouldn't understand. no one did. never mind. i'll just do what i've always done. i'll deal with it myself.

Dean: you do realize you just sold the only thing that could save your life.

Bela: i'm aware.

Sam: well...maybe not the only thing.

Scene 20 – Night. Outdoors. Cemetery. Bad weather. Sam is setting up a ritual.

Bela: do you really think this is gonna work?

Dean: almost definitely not. Sammy, you’d better start reading. *to Bela* stay close!

Bela: behind you!

*Dean tries to shoot the ghost, but he flings him away and grabs Bela’s face. He then steps back and she starts to choke and cough up water.*

Dean: *makes his way back over to Bela and holds her while she coughs, drowning* Sammy, read faster!

*Sam finishes the incantation and the Captain of the ship appears. The ghost turns to face him.*

Ghost: you...hanged me!

Captain: i'm sorry.

Ghost: your own brother!

Captain: i'm so sorry.

*the ghost lunges at his brother and they disappear in a wave of water. Bela stops drowning*

Scene 21 – Dean and Sam in the abandoned house, packing.

Bela: *enters* you boys should learn to lock your doors. anyone could just barge in.

Sam: anyone just did.

Dean: did you come to say goodbye or thank you?

Bela: i've come to settle affairs. giving the spirit what he really wanted -- his own brother. very clever, Sam. *opens her bag and tosses each of the brothers a wad of cash* it's $10,000. that should cover it. *they look at her blankly* i don't like being in anyone's debt.

Dean: so, ponying up 10 grand is easier for you than a simple thank you? you're so damaged.

Bela: takes one to know one. goodbye, lads. *walks out the door*

Sam: sh’se got style. you got to give her that.

Dean: i suppose.

Sam: you know, Dean, we don't know where this money's been.

Dean: no... but i know where it's going.

Scene 22 – Sam and Dean in the Impala, driving at night. Sam is reading a map with a flashlight.

Sam: seriously? Atlantic city?

Dean: hell yeah. play some roulette. always bet on black. hey, listen, i've been doing some thinking. And, um, i want you to know i understand why you did it. i understand why you went after the crossroads demon. you know, if the situation was reversed, i guess i'd have done the same thing. i mean, i'm not blind. i see what you're going through with this whole deal. me going away and all that. but you're gonna be okay.

Sam: you think so.

Dean: yeah. you'll keep hunting. you know, you'll live your life. you're stronger than me. you are. you are. you'll get over it. but i want you to know i'm sorry. i'm sorry for putting you through all this.

Sam: you know what, Dean? go screw yourself.

Dean: what?

Sam: i don't want an apology from you. and by the way, i'm a big boy now. i can take care of myself.

Dean: oh, well, excuse me.

Sam: so would you please quit worrying about me? that's the whole problem in the first place! i don't want you to worry about me, Dean. i want you to worry about you. i want you to give a crap that you're dying!

*Dean is silent, watching the road*

Sam: so, that's it? nothing else to say for you?

Dean: i think maybe i'll play craps [a betting game – he’s changing the subject back to what he’s going to do with the money in Atlantic City].

Transcripts: 3x06 part 1 of 2

Thu, 27 Mar 2008 21:12:54 GMT

3x07 Red Sky At Morning

Scene 1 – In the Impala

Dean: So, I've been waiting since Maple Springs. Have you got something to tell me?

Sam: It's not your birthday.

Dean: No.

Sam: Happy Purim[Jewish holiday]? Dude, I don't know. I have no idea what you're talking --

Dean: There's a bullet missing from the Colt. Do you want to tell me how that happened? I know it wasn't me. So unless you were shooting at some incredibly evil cans... you went after her, didn't you? The Crossroads Demon. After i told you not to.

Sam: Yeah, well...

Dean: You could have gotten yourself killed!

Sam: I didn't.

Dean: And you shot her.

Sam: She was a smartass.

Dean: So, what? Does that mean I'm out of my deal?

Sam: Don't you think I might have mentioned that little fact, Dean? No. Someone else holds the contract.

Dean: Who?

Sam: She wouldn't say.

Dean: Well, we should find out who. Of course, our best lead would be the crossroads demon. Oh, wait a minute...

Sam: That's not funny.

Dean: No, it's not! It was a stupid freaking risk, and you shouldn't have done it.

Sam: I shouldn't have done it? You're my brother, Dean. And no matter what you do, I'm gonna try and save you. And I'm sure as hell not gonna apologize for it, all right?

Scene 3 – victim #1, a young woman jogging, sees a ghost ship, then later dies in her shower.

Scene 2 - Gert Case’s house

Gert: But I don't understand. I already went over all this with the other detectives.

Dean: Right, yes. But, see, we're with the sheriff's department, not the police department --different departments.

Sam: So, Mrs. Case...

Gert: Please. Ms. Case.

Sam: Okay. Um, Ms. Case, um... you were the one who found your niece, correct?

Gert: I came home, she was in the shower.

Dean: Drowned?

Gert: So the coroner says. Now, you tell me, how can someone drown in the shower?

Sam: How would you describe Sheila's behavior in the days before her death? I mean, did she seem frightened? Maybe she said something out of the ordinary?

Gert: Wait a minute. You're working with Alex, aren't you?

Dean: Yep. Absolutely. Alex and us, we're like this.*holds up crossed fingers*

Gert: Why didn't you say so? Alex has been such a comfort. But I'm sorry. I thought the case was solved.

Sam: Well, no. No, not yet.

Gert: I see.

Sam: So, anyways, we were talking about your niece.

Gert: Well, yes. Sheila mentioned something quite strange before she died. She said she saw a boat.

Dean: A boat?

Gert: Yes. One minute it was there, then it was gone. It just disappeared right before her eyes. You think it could be a ghost ship? Alex thinks it could be a ghost ship.

Sam: Well, ah, it could be.

Gert: You let me know if there's anything else I can do for you. Anything at all.

Scene 4 – Daylight. Walking along the docks

Dean: What a crazy, old broad.

Sam: Why? Because she believes in ghosts?

Dean: Look at you. Sticking up for your girlfriend. You cougar hound.

Sam: Bite me.

Dean: Not if she bites you first. So, who's this Alex? We got another player in town?

Sam: Maybe, maybe not. Doesn't change our job.

Dean: And we’re thinking ghost ship, right?

Sam: It's not the first one sighted around here, either. Every 37 years, like clockwork, reports of a vanishing three-mast clipper ship out in the bay. And every 37 years, a rash of weirdo, dry-land drownings.

Dean: So, whatever's happening is just getting started.

Sam: Yeah.

Dean: What's the lore?

Sam: Well, there are apparitions of old wrecks sighted all over the world. The S.S. Violet, the Griffin, the Flying Dutchman. Almost all of them are death omens.

Dean: So, you see the ship and then a few hours later, you pucker up and kiss your ass goodbye?

Sam: Basically.

Dean: What's the next step?

Sam: I [need] to I.D. the boat.

Dean: That shouldn't be too hard. I mean, how many three-mast clipper ships have wrecked off the coast?

Sam: I checked that too, actually. Over 150.

Dean: Crap. *walks up to a meter where there is no car parked* This is where we parked the car, right?

Sam: I thought so.

Dean: Where's my car?

Sam: Did you feed the meter?

Dean: Yes, I fed the meter. Sam, where's my car? Somebody stole my car!

Sam: Calm down.

Dean: I am calmed down! Somebody stole my ca-- *bends down with hands on knees, hyperventilating*

Sam: Oh, my god. Take it easy.

Bela: *walks over* The '67 Impala? Was that yours?

Sam: Bela

Bela: I'm sorry. I had that car towed.

Dean: You what?!

Bela: Well, it was in a tow-away zone.

Dean: No, it wasn't!

Bela: It was when I finished with it.

Dean: What the hell are you even doing here?

Bela: A little yachting.

Sam: You're Alex. You're working with that old lady.

Bela: Gert's a dear old friend.

Dean: Yeah, right. What's your angle?

Bela: There's no angle. There's a lot of lovely old women like Gert up and down the eastern seaboard. I sell them charms, perform seances so they can commune with their dead cats.

Dean: And let me guess, it's all a con, none of it’s real.

Bela: The comfort I provide them is very real.

Sam: How do you sleep at night?

Bela: On silk sheets, rolling naked in money. Really, Sam, I'd expect the attitude from him. But you?

Sam: You shot me.

Bela: I barely grazed you. *to Dean, referring to Sam* Cute. But a bit of a drama queen, yeah?

Dean: You do know what's going on around here. This ghost-ship thing, it is real.

Bela: I'm aware. Thanks for telling Gert the case wasn't solved by the way.

Dean: It isn't.

Bela: She didn't know that. Now the old bag's stopped payment and she's demanding some real answers. Look... just stay out of my way before you cause any more trouble. And I'd get to that car if I were you… before they find the arsenal in the trunk. Ciao.

Dean: Can I shoot her?

Sam: Not in public.

Scene 5 – Death of victim #2, this time in a bathtub

Scene 6 – Street. Daylight. Bela, pretending to be a reporter, is interviewing victim #2’s brother.

Mr. Warren: No. The police said that he drowned, but I don't u-understand how...

Bela: I am so sorry for your loss, Mr. Warren. Now, if you could just tell me one more time about the ship your brother saw.

Dean: Ma'am, I think this man's been through quite enough. You should go.

Bela: But I just have a few more questions.

Sam: No, you don't.

Bela: Thank you for your time.

Dean: Sorry you had to deal with that. They're like roaches.

Sam: So, we heard you say your brother saw a ship.

Mr. Warren: Yeah, that's right.

Dean: Did he tell you what it looked like?

Mr. Warren: It was, uh... like the old Yankee clippers. A smuggling vessel. With the rakish topsail, a Barkentine rigging, angel figurehead on the bow.

Sam: That's a lot of detail for a ship your brother saw.

Mr. Warren: My brother and I were night diving. I saw the ship, too.

Bela: *in the distance, talking to two policemen in uniform. Sam sees her.* Excuse me, officers, I'm not sure those men are detectives.

Sam: All right. Well, we'll be in touch.

Dean: Thank you.

Scene 7 – Dean and Sam loading guns and putting them in trunk. Bela approaches.

Bela: I see you got your car back.

Dean: Do you really want to come near me when I’ve got a loaded gun in my hands?

Bela: Now, now. Mind your blood pressure. Why are you even still here? You have enough to I.D. [identify] the boat.

Sam: That guy back there saw the ship.

Bela: Yeah? And?

Sam: and he's going to die, so we have to save him.

Bela: how sweet.

Dean: You think this is funny?

Bela: he's cannon fodder. He can't be saved in time, and you know it.

Dean: Yeah, well, see, we have souls, so we're gonna try.

Bela: well,i'm actually gonna find the ship and put an end to this. But you have fun.

Dean: Hey, Bela, how'd you get like this, huh? What, did daddy not give you enough hugs or something?

Bela: I don't know. Did your daddy give you enough? Don't you dare look down your nose at me. You're not better than I am.

Dean: we help people.

Bela: come on. you do this out of vengeance and obsession. you're a stone's throw from being a serial killer. whereas i, on the other hand, i get paid to do a job and i do it. so, you tell me -- which is healthier?

Sam: Bela, why don't you just leave? we've got work to do.

Bela: yeah. you're 0 for 2. bang-up job so far.

Scene 8 – Night. Dean and Sam in the impala outside Mr. Warren’s house. Sam is looking through some research on the brothers.

Dean: anything good?

Sam: no. not really. i mean, both brothers are duke university grads. no criminal record. i mean, a few speeding tickets. they inherited their father's real estate fortune six years ago.

Dean: how much?

Sam: $112 million.

Dean: nice life.

Sam: yeah. i mean, nice, clean, above board. so, why did they see the ship? why Sheila, too? what do they all have in common?

Dean: maybe nothing.

Sam: no. there's always something.

Mr. Warren: hey, you!

Dean: i think we've been made.

Mr. Warren: what are you guys doing?! you watching me?!

Sam: sir, calm down. please.

Mr. Warren: you guys aren't cops! not dressed like that. not -- not in that crappy car.

Dean: whoa, hey. no need to get nasty.

Sam: we are cops, okay? we're undercover. we're here because we think you're in danger.

Mr. Warren: from who?!

Sam: if you just settle down, we'll talk about it.

Mr. Warren: look, you guys just stay away from me! *goes and gets into his car*

Sam: wait.

Dean: hey, you moron! we're trying to help you! *Mr Warren’s car dies in the driveway* that can't be good.

Sam: no. get the salt gun.

*Peter is drowned in his car. Sam arrives at the window too late*

Sam: peter!

Dean: *arrives on the passenger side* Sam! *Sam moves over and Dean shoots the ghost in the passenger seat. Sam opens the door to check Mr. Warren’s pulse and finds him dead.*

Scene 9 – Night. Sam and Dean driving in the Impala. The radio is playing. Dean turns it off suddenly.

Dean: Do you want to say it, or should i?

Sam: what?

Dean: you can't save everybody, Sam.

Sam: Yeah, right. so -- so, what? you feel better now or what?

Dean: no. not really.

Sam: me neither.

Dena: you got to under--

Sam: it's just lately i feel like i can't save anybody.

Scene 10 – Sam and Dean inside an empty house. Bela knocks on the door.

Lisa: dear god... are you actually squatting? charming. so, how did things go last night with Peter? *stony silence and death glares from the boys* that well, huh?

Dena: if you say "i told you so," i swear to god, i'll start swinging.

Bela: look, i think the three of us should have a heart-to-heart.

Dean: that's assuming you have a heart.

Bela: Dean, please. i'm sorry about what i said before, okay? i come bearing gifts.

Sam: such as?

Bela: i've I.D.ed [identified] the ship. it's the Espirito Santo, a merchant sailing vessel. quite a colorful history. in 1859,a sailor was accused of treason. he was tried aboard ship in a kangaroo court and hanged. he was 37.

Sam: which would explain the 37-year cycle.

Bela: aren't you a sharp tack?

Sam: there's a photo of him somewhere. here.

Dean: isn't that the customer we saw last night?

Bela: you saw him?

Dean: yeah, that's him. except he was missing a hand.

Bela: his right hand.

Sam: how did you know?

Bela: the sailor's body was cremated, but not before they cut off his hand to make a hand of glory.

Dean: a hand of glory? i think i got one of those at the end of my Thai massage last week.

Sam: dean, the right hand of a hanged man is a serious occult object. it's very powerful.

Bela: so they say.

Dean: and officially counts as remains.

Sam: But still none of this explains why the ghost is choosing these victims.

Bela: i'll tell you why. who cares? find the hand, burn it, and stop the bloody thing.

Dean: i don't get it. why are you telling us all this?

Bela: because i know exactly where the hand is.

Dean: where?

Bela: at the Sea Pines Museum. it's a macabre bit of maritime history. but i need help.

Sam: what kind of help?

Transcripts: SN 3x03 part 2 of 2

Mon, 24 Mar 2008 23:51:14 GMT

Here's the second half of my transcription of Bad Day At Black Rock

Scene 12:

Kubrick: Looks good. I like that when they drop the whole onion in the fryer.

Creely: Nearest location... You seeing that?

Kubrick: Yes, I am.

Scene 13:
Grossman: Adios compadre. Oh, man. What do you want?
Dean: Heard about your friend. It's bad luck.
Grossman: Piss off.
Dean: We know someone hired you
to steal the rabbit's foot... A woman.
Grossman: Yeah? How do you know that?
Dean: Because she just stole it back from us.
Sam; Listen, man, this is...
Dean: Sam, you okay?
Sam: Yeah. I'm good.
Dean: I want you to tell us her name.
Grossman: Screw you.
Dean: It wasn't a freak accident that killed your partner.
Grossman: What?
Dean: It was the rabbit's foot.
Grossman: You're crazy, man.
Dean: You know I'm not. You saw what happened, what it did... All the flukes, all the luck. When you lose the foot, that luck goes sour. That's what killed your friend. And my brother here is next, and who knows how many more innocent people after that. Now, if you don't help us stop this thing, then that puts those deaths on your head. Now, I can read people... and I get it. You're a thief and a scumbag. That's fine. But you're not a killer . . . are you?
Scene 14:
Creely: No one saw which way they went, and their meal was free, so there's no credit-card trail.
Kubrick: Don't worry. We'll find them.
Creely: What makes you so sure?
Kubrick: 'cause there's a higher power at work here. I know it now.
Scene 15:
Dean: Hello.
Bobby: Dean, great news. Wasn't easy, but I found a heavyweight cleansing ritual that should do the trick.
Dean: Bobby, that's, uh, great, except Sam, uh...Sam lost the foot.
Bobby: He what?
Dean: Bobby, listen, listen. This hot chick stole it from him. I'm serious. In her mid-20s, and she was sharp, you know? Good enough of a con to play us. And she only gave the guys she hired a name... Probably an alias or something. Luigi or something.
Sam: Lugosi.
Dean: Lugosi?
Bobby: Lugosi. Oh, crap. It's probably Bela.
Dean; Bela Lugosi? That's cute.
Bobby: Bela Talbot's her real name. Crossed paths with her once or twice.
Dean: She knew about the rabbit's foot. Is she a hunter?
Bobby: Pretty friggin' far from a hunter, but she knows her way
around the territory. She's been out of the country. Last I heard, she was in the middle east someplace.
Dean: I guess she's back.
Bobby: Which means seriously bad luck for you.
Dean: Great.
Bobby: But if it is Bela, at least I might know some folks who know where to find her.
Dean: Thanks, Bobby, again.
Bobby: Just look out for your brother, you idiot.
Dean: [notices Sam standing there with the most adorably pathetic facial expression] What?
Sam: I lost my shoe.
Scene 16:
Dean: All right, Bobby, thanks. Hey, we owe you...another one. All right, Bobby's got it on pretty good authority that this Bela chick lives in Queens. So it will take me about two hours
to get there.
Sam: So, what are we doing then?
Dean: You, my brother, are staying here, 'cause I don't want your bad luck getting us killed.
Scene 17:
Sam: What am I even supposed to do, Dean?
Dean: Nothing. Nothing. Come here. I don't want you doing anything. I want you to sit right here and don't move, okay? Don't turn on the light. Don't turn off the light. Don't even scratch your nose.
Scene 18:
Bela: Because you shook on 1.5. Well, maybe I should just take it
somewhere else. Don't threaten me, Luke. Despite your reputation,
you don't scare me. Well, I'm glad you see it that way. I'll see you at the airstrip in an hour.
Dean: You left without your tip.
Scene 19:
Sam: Oh, come on. I... I didn't...
[The air conditioner catches on fire. Sam uses the sheets from on of the beds to put out, then notices the sleeve of his jacket has caught fire. He puts it out with the curtain, but falls over backwards in the process, taking the curtain down with him and knocking himself out. Kubrick and Creely just happen to be standing right outside the window to witness this.]
Scene 20:
Dean: You're gonna give it back.
Bela: Sweetie, no, I'm not.
Dean: Yeah? We'll see. Bela, right?
Bela: That's right... Dean.
Dean: You know the thing's cursed, don't you?
Bela: You'd be surprised what some people would pay for something like that.
Dean: Really?
Bela: There's a lucrative market out there. A lot of money to be made. You hunters, with all those amulets and talismans you use to stop those big, bad monsters... Any one of them could put your children's children through college.
Dean: So, you know the truth about what's really going on out there, and this is what you decide
to do with it? You become a thief.
Bela: I procure unique items for a select clientele.
Dean: Yeah. A thief.
Bela: No. A great thief.

Scene 21:
Creedy: Oh, he's awake.
Kubrick: Back with us, eh?
Creedy: We didn't even have to touch you. You just went all spastic and knocked yourself out. It was like watching Jerry Lewis trying to stack chairs.
Sam: Who are you? What do you want...
Kubrick: I used to think your friend Gordon sent me...
Sam: Gordon? Oh, come on.
Kubrick: ...because he asked me to track you down and put a bullet in your brain.
Sam; Great. That sounds like him.
Kubruck: But as it turns out... I'm on a mission from God.
Scene 21:
Dean: Look, Bela. My brother, he... touched the foot. And when you took it from him, his luck went from...
Bela: Oh, I know how it works.
Dean: So, then you know he's gonna die unless we can destroy it.
Bela: Oh. You can have the foot... For $1.5 million.
Dean: Nice. Yeah. I'll just call my banker. How'd you even find the damn thing, stuck in the back of some storage place, middle of nowhere?
Bela: I just asked a few of the ghosts of the people it had killed. They were very tuned in to its location.
Dean: So you're only after yourself, huh? It's all about number one.
Bela: Being a hunter is so much more noble? A bunch of obsessed, revenge-driven sociopaths trying to save a world that can't be saved.
Dean: Well, aren't you a glass half full.
Bela: We're all going to hell, Dean. Might as well enjoy the ride.
Dean: I actually agree with you there. Anyhoo, this has been charming, but, uh, look at the time. Oh, and... [holds up rabbit’s foot] This. You're not the only one with sticky fingers. If it's any consolation, I think you're a truly awful person.
Scene 22:
Kubrick: You were a part of that demon plan to open the gate, weren't you?
Sam: We did everything we could to stop it.
Kubrick: Lie, lie, lie! You were in on it. You know what they're next move is, too, don't you?
Sam: No, I don't, okay? You're wrong about all of this.
Kubrick: Where are they gonna hit us next? Where?! Gordon told me about you, Sam, about your powers. You're some kind of weirdo psychic freak.
Sam: No, not anymore. I have no powers, no visions... nothing. It just...
Kubrick: Lie! Now no more lies. There's an army of demons out there, pushing at a world already on the brink. We're on deck for the end game here, right? So maybe, just maybe you can understand why we can't take chances. [puts gun up to Sam’s head]
Sam: Whoa! Okay, okay. Now, hold on a minute.
Creedy: Kubrick, get...
Kubrick: No! You saw what happened, Creedy. Ask yourself... Why are we here? Because you saw a picture on the web? Because we chose this motel instead of another? Luck like that doesn't just happen.
Sam: Look, I can explain all of that.
Kubrick: Shut up. It's God, Creedy. He led us here for one reason... To do his work. This is destiny. [points his gun at Sam’s face again.]
Sam: Whoa.
Dean: No. No destiny. [Has his gun aimed at Kubrick] Just a rabbit's foot.
Kubrick: Put the gun down, son, or you're gonna be scraping brain off the wall.
Dean: Oh, this thing?
Kubrick: Yeah, that thing.
Dean: Okay. But, you see, there's something about me that you don't know. [puts his gun down on a table, but picks up a pen]
Kubrick: Yeah? What would that be?
Dean: It's my lucky day. [tosses the pen into the barrel of Kubrick’s gun] Oh, my God! Did you see that shot?! [Creedy runs at Dean, misses, hits the wall, falls back and loses consciousness] I'm amazing. [Kubrick removes the pen from his gun barrel, but Dean picks up the television remote from the table and throws it at Kubrick’s forehead, knocking him unconscious] I'm Batman.
Sam: [sarcastically] Yeah. You're Batman.
Scene 23:
Sam: All right. Bone ash, cayenne pepper. That should do it.
Dean: One second.
Sam: Dean...
Dean: Hey, back off, jinx. I'm bringing home the bacon. All right. [holds rabbit’s foot over coals] Say goodbye to "Wascawy Wabbit."
Bela: I think you'll find that belongs to me. Or, you know... Whatever. Put the foot down, honey.
Dean: No. You're not gonna shoot anybody. See, I happen to be able to read people. Okay, you're a thief. fine. But you're not...
[Bela shoots Sam in the shoulder.]
Sam: Oh!
Dean: [makes a move towards Bela] Son of a...
Bela: Back off, tiger. Back off. You make one more move, and I'll pull the trigger. You've got the luck, Dean. You I can't hit. But your brother . . . him I can't miss.
Dean: What the hell is wrong with you?! You don't just do around shooting people like that!
Bela: Relax. It's a shoulder hit. I can aim. Besides, who here hasn't shot a few people? Put the rabbit's foot on the ground now.
Dean: All right! All right. Take it easy. [leans forward to put it on the ground] Think fast. [Dean tosses the rabbit’s foot at Bela, who catches it reflexively]
Bela: Damn.
Dean: Now, what do you say we destroy that ugly-ass piece of dead thing?

Scene 24:
Bela: Thanks very much. I'm out $1.5 million and on the bad side of a very powerful, fairly psychotic buyer.
Dean: Wow. I really don't feel bad about that. Sam?
Sam: Nope. Not even a little.
Bela: Maybe next time, I'll hang you out to dry.
Dean: Oh, don't go away angry. Just go away.
Bela: Have a nice night, boys.
Scene 25:
Dean: You good?
Sam; I'll live.
Dean: I guess we're back to normal now, huh? No good luck. No bad luck. Oh, I forgot. We're at $46,000. I almost forgot about the... scratch tickets.
[cut to Bela in her car, where she has the scratch tickets she stole from Dean’s jacket]
Dean: Son of a bitch!

Scene 26:
Kubrick: You were right about everything. Sam Winchester is more than a monster. He's the adversary.
Gordon: And what was it that convinced you?
Kubrick: God led me to him... And his will is clear.
Gordon: Okay. That's great. I'm glad to have you on board. But, uh, first things first. We got to get me the hell out of here. 'Cause like I told you before, Sam Winchester must die.
END OF EPISODE
Kubrick visits Gordon at the prison Dean and Sam are walking from the graveyard. Bela drops the rabbit’s foot into the coals. Graveyard at night. Sam is just finishing preparing a fire. Dean is playing scratch cards. Motel room. Kubrick is interrogating Sam and punching him a lot when he doesn’t like what he hears. Bela’s house Creedy is duct-taping Sam to a chair. Sam regains consciousness. Bela’s house. Dean and Bela have each other at gunpoint. Sam is still sitting in the chair when suddenly the air conditioner starts smoking. inside Bela’s very nice-looking house. Bela is on the phone. Dean leads Sam into the motel room. Dean and Sam pull up outside a motelDean and Sam, outside. Sam steps in gum and as Dean is talking, he tries to scrape it off on a gutter drain, but he loses his shoe through a hole in the grate. Grossman in his apartment, drinking to a picture of him and Wayne.

Transcripts: SN 3x03 part 1 of 2

Mon, 24 Mar 2008 23:49:11 GMT

Here's the first half of my transcription of Bad Day at Black Rock.

3x03 Bad Day At Black RockKubrick visits Gordon Walker in prison.

Scene 1:

Kubrick: It's true. The devil's gate was opened in Wyoming. Big... St. Helens big. There's no solid fix on how many demons got out, but it's in the hundreds... an army.

Gordon: Sam Winchester was there, wasn't he?

Kubrick: Talked to a guy who knows guy who knows Bobby Singer, and, yeah, looks like the Winchesters were at ground zero when the gate was popped. But Singer said they went in there to stop it.

Gordon: mnh-mnh. Bobby's edge ain't what it used to be. Sam could have him believing anything by now.

Kubrick: Listen, Gordon. As far as talk goes, Sam Winchester checks out. He's a hunter. That's all.

Gordon: That's all? Kubrick... I'm not even sure he's human. Think I'm crazy? I told you there was a war coming six months ago. Take a look around. It's here. Now I'm telling you this boy

is a part of it. Track him down, Kubrick. You'll come to see it, too. Sam Winchester must die.

Scene 2:
Dean: Because demon, that’s why. I mean, the second you find out this Ruby chick is a demon, you go for the holy water, you don’t chat.
Sam: No one was chatting, Dean.
Dean: Oh, yeah? Then why didn’t you send her ass back to hell?
Sam: Because . . . because she said that she might be able to help us out.
Dean: How? No, really, Sam, how? How could she possibly help us?
Sam: She told me she could help you, okay? Help you out of the crossroads deal.
Dean: What’s wrong with you, huh? She’s lying. You’ve got to know that, don’t you? She knows what your weakness is. It’s me. What else did she say?
Sam: [silence]
Dean: Dude.
Sam: Nothing.
Dean: [turns and looks at him]
Sam: Nothing, okay? Look, I’m not an idiot, Dean. I’m not talking about trusting her, I’m talking about using her. I mean, we’re at war, right? And we don’t know jack [meaning ‘anything’] about the enemy. We don’t know where they are. We don’t know what they’re doing. I mean, hell, we don’t even know what they want. Now, this Ruby girl knows more than we will ever find out on our own. Now, yes, it’s a risk, I know that. But we need to take it.
Dean: You’re okay, right? I mean, you’re feeling okay?
Sam: Yes, I’m fine! Why are you always asking me that?! [cell phone rings. Sam checks his.] It's not mine.
Dean: [Checks his cell] Nope. [idea occurs to him] Check the glove compartment. It's dad's.
Sam: Dad's?
Dean: Yes. I keep it charged in case any of his old contacts call.
Sam: [gets the phone out of the glove box and answers it]Yes, this is Edgar Casey. No, no, no, no. Don't... don't call the police. I'll handle this myself. Thanks. You know, can you just... can you just lock it back up for me? Great. Uh, I... I don't have my... my book in front of me. Do you... do you have the address so I can... Sure. Okay. Go ahead. Right. Thanks a lot. Dad ever tell you he kept a container at a storage place?
Dean: What?
Sam: Outside of Buffalo.
Dean: No way.
Sam: Yeah. And someone just broke into it.
Scene 3:
Creedy: So, you've got no hard evidence on this Winchester guy? You're just working off
Gordon's instincts.
Kubrick: You ever hunt with Gordon?
Creedy: No. I heard he's good.
Kubrick: Good? He's the best. Saved my ass more times than I can count. So, if he says Sam Winchester's dangerous, I believe him.
Creedy: He's gonna be covering his tracks. Won't be easy to find.
Kubrick: Last I got puts him in Nebraska three weeks back.
Creedy: Not exactly a fresh lead.
Kubrick: He ain't invisible, Creedy. Some hunter out there knows something. So we start calling our contacts. All we need is one break. Don't play with my Jesus.

Scene 4:
Dean: [laughs to himself] Man.
Sam: What?
Dean: Just dad. You know, him and his secrets. We spent all this time with this guy, and it's like we barely even know the man.
Sam: Well, we're about to learn something. [opens door, notices symbols painted on floor] No demons allowed.
Dean: Blood. Check this out. [points out tripwire which causes a shotgun to shoot whoever triggers it]
Sam: Whoever broke in here got tagged.
Dean: Dear old dad. I’ve got two sets of boot treads. It looks like it was a two-man job. And our friend with the buckshot in him... It looks like he kept walking.
Sam: So, what's the deal? Dad would do work here or something?
Dean: Living the high life, as usual. [picks up a small trophy and reads the plaque] 1995.
Sam: No way! That's my division championship soccer trophy. I can't believe he kept this.
Dean: It was the probably the closest you ever came to being a boy. Oh, wow! It's my first sawed-off. I made it myself. Sixth grade. Holy crap. Look at this. He had land mines... Which they didn't take. Or the guns. Guess they knew what they were after ?
Sam: Hey, Dean, check this out. See these symbols? That’s binding magic. These are curse boxes.
Dean: Curse boxes? They're supposed to keep the evil mojo in, right? Kind of like the Pandora deal.
Sam: Yeah, yeah they're built to contain the power of the cursed object.
Dean: Dad's journal did mention a whole bunch of stuff. You know, dangerous,
hexed items, fetishes. He never did say where they ended up.
Sam: Yeah. This must be his toxic-waste dump. One box is missing. Great.
Dean: Well, maybe they didn't open it.
Scene 5:
Grossman: Come on, man. Let's open it.
Wayne: Shut up about the damn box! Do you see what's happening here? I'm literally bleeding to death.
Grossman: I'm gonna open it.
Wayne: Grossman...
Grossman: Look, what if this is really worth something? What, we should just hand it over to her? We took all the risk. Hell, Wayne, you got shot, and all for a lousy few hundred bucks. Now, we could make more selling whatever it is ourselves. [opens the box to find a rabbit’s foot inside] Huh?
Wayne: you kidding me? Are you kidding me?! It's a rabbit's foot. It's a rabbit's foot, Grossman! I'm gonna die for a damn rabbit's foot.
Grossman: Oh. [knock on door, answers it] Hi, Foster.
Foster: Hey, listen, guys, not to be a drag or nothing, but it's 6:00 in the morning.
Grossman: Right.
Foster: Can't you guys keep it down?
Grossman: No, we just got a situation here is all. Sorry.
Foster: [notices Wayne] What the hell happened to you?
Wayne: A shotgun happened to me.
Foster: Hey, Grossman,
Grossman: Yeah?
Foster: Under my sink, there's a medical kit. And get some water boiling. I used to be an army medic, you know, in ‘nam [short for Vietnam]. So, I guess this is your lucky day.
Scene 6:
Dean: Connecticut. Last three digits 8-8-0.
Sam: Yep. That's it.
Dean: Should have blacked out their plates before they parked in front of
the security camera.
Scene 7:
Wayne: Four kings. You see that?
Grossman: Yeah, yeah, yeah.
Wayne: Deal it up again. Royal flush. Grossman, that's the second
royal flush in eight hands. I can't lose. I mean, really, I... I can't lose. I think this thing really works. You know what I'm saying? I'll tell you one thing... there's no way in hell we are handing it over to that stuck-up bitch.
Dean: Freeze!
Sam: Freeze!
Dean: Nobody move!
Sam: Don't move.
Dean: Don't move!
Grossman: What is it?
Sam: Stop!
Dean: All right. Give us the box. And please tell me that you didn’t...
Sam: Oh, they did.
Dean: You opened it?!
Wayne: Are you guys cops?
Dean: Huh?
Wayne: Are you guys cops?!
Dean: What was in the box? Oh, was that it, huh? It was, wasn't it? What is that thing?
Sam: Sorry. Dean... I got it.
Wayne: No, you don't. Damn! Whoa!
Dean: Sam! That was lucky break. Is that a rabbit's foot?
Sam: I think it is.
Dean: Huh.
Scene 8:
Sam: I'm not finding anything on it in dad's journal. Dean, come on.
Dean: What? Hey, that was my gun he was aiming at your head. and my gun don't jam, so that was a lucky break. Not to mention them taking themselves out... also a lucky break. Here. Scratch one. Come on, Sam. Scratch and win.
Sam: Look, Dean, it's got to be cursed somehow. Otherwise, dad wouldn't
have locked it up.
Dean: $1,200. You just won $1,200. Whoo! I don't know, man. It doesn't seem that cursed to me.
Scene 9:
Dean: Oh, man.
Sam: Now, look, Bobby, we didn't know.
Bobby: You touched it? Damn it, Sam.
Sam: Well, dad never told us about this thing. I mean, you knew about his storage place in Black Rock?
Bobby: His lockup? Yeah, I knew. Hell, I built those curse boxes for him. Listen, you have got a serious problem. That rabbit's foot ain't no dime-store notion. It's real hoodoo... old-world stuff. Made by a Baton Rouge conjure woman about 100 years ago.
Sam: It's a hell of a luck charm.
Bobby It's not a luck charm. It's a curse. She made it to kill people, Sam. See, you touch it, you own it. You own it, sure, you get a run of good luck to beat the devil. But... you lose it, that luck turns. It turns so bad that you're dead inside a week.
Sam: So, I won't lose it, Bobby.
Bobby: Everybody loses it!
Sam: Well, then, how do we break the curse?
Bobby: I don't know if you can. Let me look through my library and make some calls. Just sit tight.
Dean: Dude, we're up 15 grand.
Dean: Don't worry. Bobby will find a way to break it. Till then, I say we hit Vegas, pull a little "Rain Man." You can be Rain Man.
Sam: We just lay low until Bobby calls back, okay? [they’ve entered a restaurant] Hi. Uh, table for two, please.
Host: Congratulations!
Dean: Say that again?
Host: You are the one millionth guest of the Biggerson's restaurant family.
Scene 10:
Kubrick: Right. If you hear anything, give me a call. Well, that clears my book. The word's out. Now we wait.
Creedy: Now we eat.
Kubrick: Good idea. What do you like? I got canned everything.
Creedy: No, no, man. Not eating in the r.v. Look, I know a good place. Wide menu, good service, homey atmosphere... Garlic knots. The menu's on their website.
Scene 11:
Sam: Bobby's right. This lore goes way back. Pure hoodoo. You can't just cut one off any rabbit. It has to be in a cemetery under a full moon on a friday the 13th.
Dean: I think from now on, we only go to places with Biggerson's.
Waitress: Can I freshen you up?
Sam: Yeah. Yeah, sure. Thanks. [waitress spills some coffee onto the table] Oh.
Waitress: Oh.
Sam: Oh, I... No, don't worry. That's okay. That's... I got it.
Waitress: It's no trouble, really. [wiping it up with a rag]
Sam: Okay.
Waitress: Sorry about that.
Sam: It's all right.
[waitress walks away, Sam and Dean lean over the table towards each other to better watch her leave]
Dean: Dude, if you were ever gonna get lucky...
Sam: Shut up. [spills his coffee into his lap] Oh! Oh, jeez! [gets up quickly and knock’s a waiter’s platter from his hands] Sorry.
Dean: How was that good? Son of a bitch. Come on.
Sam: Whoa! [trips and falls in the parking lot]
Dean: Wow. You suck. So, what, now your luck turns bad?
Sam: I guess.
Dean: I wonder how bad.
Sam and Dean in a booth at the restaurant. Kubrick and Creedy in the RVSam, standing outside the Impala, talking on the phone with Bobby. Dean, in the background, adding up the scratch tickets. Dean joins Sam in the Impala after buying scratch tickets. Dean and Sam pull up beside a car parked outside the apartment. Grossman and Wayne in their apartment. Wayne has been shot in the shoulder. Dean and Sam at storage place. Kubrick and Creedy in Kubrick’s RV/mobile home/trailer Dean and Sam in the Impala

Transcripts: SN 3x02 part 2 of 2

Mon, 24 Mar 2008 23:42:13 GMT

Here's the second half of my transcription of The Kids Are Alright

Scene 11: Katie’s mom’s house. Kitchen. Mom is making a grilled cheese sandwich for Katie. Her hair is down, but she holds the back of her neck for a second as though it hurts. She puts the sandwich on a plate and sets it in front of Katie.

Katie: Thank you, mommy.

Mom: You eat. Mommy will be right back. [leaves, still holding the back of her neck. She goes to the bathroom, locks the door, and uses a handheld mirror and the bathroom mirror to see the sore on the back of her neck, which is identical to that of the widow Sam was talking to. ]

Katie: Mommy? [rattles to door handle]

Mom: Just – just give mommy a second.

Katie: Let me in. Mommy. Let me in. [rattle the door] Mommy! Let me in! What are you doing?! Let me in!! Let me in! Let me in! Let me in! Let me in!

Mom: Give mommy a minute. [freaking out about the sore and Katie’s behaviour. Katie’s getting more violent with the door]

[doorbell rings. The door stops rattling. Katie answers the door. The realtor from Ben’s party is holding a gift basket.]

Realtor: Aren’t you just the cutest thing?

Mom: [comes to door and takes gift basket] Oh, thank you. Uh, Katie, could you put these in the kitchen please? [Katie takes the basket and leaves]

Realtor: Katie seems okay, considering.

Mom: She’s fine. Yeah. Um, look, I’m –

Realtor: And you -- how are you doing really?

Mom: I’m fine. Look, we’re fine. Um, this isn’t a good time.

Realtor: I just wasn’t sure if you were planning on keeping the house or selling. We at Cicero would really like –

Mom: Look, I told you it’s not a good time! [closes the door on her, locks it, and turns around with her eyes closed]

Katie: I want ice cream. Mommy, ice cream, please.

Scene 12: Dean is walking back to his car, which is parked beside a park, when he notices Ben sitting on a bench looking sad. He almost gets into his car anyways, but then changes his mind and goes over to him.

Dean: Hey, Ben.

Ben: Hey. You were at my party.

Dean: Yeah. Yeah, I’m Dean. [sits down on the bench beside him] Everything okay? Something wrong?

Ben: [shrugs]

Dean: [notices some boys nearby playing with a handheld game and that Ben is holding an empty case] Is that your game they’re playing with?

Ben: Ryan Humphrey borrowed it, and now he won’t give it back.

Dean: Well, do you want me to – [starts to get up]

Ben: [throws out an arm to stop him] No! Don’t go over there! Only bitches send a grown-up

Dean: [impressed] You’re not wrong.

Ben: And I’m not a bitch.

Dean: Is that Humphrey? The one that needs to lay off the burgers?

Ben: [nods]

SCENE SKIPS AHEAD

Ben walks up to the guys, Ryan had his back to him. He clears his throat, but Ryan ignores him. He turns back to Dean, who gives him a thumbs up. He turns back to Ryan

Ben: Ryan.

Ryan: [stops playing, he and the other boys turn to face Ben]

Ben: I’d like my game back, please.

Ryan: Fine. Take it back. [daring Ben to take it by force. Ben looks at all the boys staring him down, then starts to turn away] See? Told you guys he was a –

[Ben turns back fast and knees Ryan where it hurts – twice. Dean, watching from the bench, cringes, then looks around, checking to make sure no parents are looking, and laughs. Ben takes the game from Ryan’s hand while he’s lying in pain on the grass.]

Ben: Thanks. [runs back over to Dean in triumph] Dude, that was awesome! [Dean hold up his hand and gives him a high-five]

Lisa: Benjamin Isaac Braeden. What’s gotten into you?

Ben: He stole my game.

Lisa: So you kick him? Since when is – [notices Dean] Did you tell my son to beat up that kid?

Dean: What? Somebody had to teach him how to kick a bully in the nads.

Lisa: Who asked you to teach him anything?

Dean: Well just relax.

Lisa: [grabs Dean by the arm so he stands up, and pulls him aside] What are you even still doing here? We had one weekend together a million years ago. You don’t know me. And you have no business with my son.

Dean: Lisa.

Lisa: [goes back over to Ben, takes his hand and starts to lead him away] Just leave us alone.

Ben: [pulls his hand out of his mom’s]

Lisa: Ben!

Ben: [runs back to Dean and gives him a hug] Thanks. [he goes back and takes his mom’s hand again and they leave]

Scene 13: Katie’s mom puts her in the car, supposedly to go get ice cream, but drives the car to a body of water, locks the doors, turns off the emergency brake and gets out. She watches Katie, in the car, roll into the water. She goes home, crying, to find Katie sitting at the table, dripping water onto the floor.

Katie: Hi mommy. Can I have that ice cream now?

Scene 14: Motel room. Sam is researching Changelings. Dean enters.

Dean: There’s something wrong with the kids in this town.

Sam: Yeah, tell me about it. So, what do you know about Changelings.

Dean: Evil monster babies?

Sam: No, not necessarily babies.

Dean: The kids . . . creepy, stare-at-you-like-you’re-lunch kids.

Sam: Yeah. There’s one at every victim’s house. So, changelings can perfectly mimic children. According to lore, they climb in the window, snatch the kid. Now, there were marks on the window sill at one of the kid’s houses. Looked to me like blood.

Dean: So the Changeling grabs a kid, assumes its form, joins the happy family just for kicks?

Sam: Not quite. Changelings feed on the mom. Synovial fluid. The moms have these odd bruises on the back of their necks. Changelings can drain them for a few weeks before mom finally croaks.

Dean: And then there’s dad and the babysitter.

Sam: Yeah. Seems like anyone that gets between the Changeling and its food source ends up dead.

Dean: And fire’s the only way to waste them?

Sam: Yep.

Dean: Great. We’ll just bust in, drag the kids out, torch ‘em on the front lawn. That’ll play great with the neighbours. What about the real ones? What happens to them?

Sam: According to lore, they stash them underground somewhere. I don’t know why, but if it’s true, the real kids might be out there somewhere.

Dean: We’d better start looking. So, any kid in the neighbourhood is vulnerable?

Sam: Yep.

Dean: We’ve got to make a stop. I want to check on someone.

Sam: Well, Dean, if the real kids are still alive we don’t have time to --

Dean: We have to.

Scene 15: Lisa’s front door. Dean knocks and she answers.

Lisa: Dean.

Dean: Hey, I was thinking . . . Ben’s birthday. I didn’t even bring him a present.

Lisa: That’s okay.

Dean: No, no. No, I feel terrible. [fishes out a credit card and hold it out to her] So, uh, here. Take a long weekend, just the two of you, on me.

Lisa: What?

Dean: Yeah, in fact I hear six flags is great this time of year. Go now. Avoid the traffic.

Lisa: [reads the credit card] “Siegfried Houdini.” Whose card is this?

Dean: Mine. Never mind. It’ll work. I promise.

Lisa: [hands the card back to him] You should leave.

Dean: Lisa . . .

Ben: [appears in background inside the house] Mommy, what’s wrong?

Dean: Nothing, Ben, it’s cool.

Ben: Make him go away, mommy.

Lisa: You heard him. Get out.

Dean: [in shock, scared] Lisa . . .I don’t think this is a good idea.

Lisa: Get out! [shuts door in his face]

Scene 16: Dean and Sam go to a house being built and find the kid locked up inside. They also find the Changeling mother (disguised as the Realtor), who attacks them. Ben helps Dean get the other children out while Sam and Dean fight off the mom. They set her on fire, she disappears, and all the other Changeling children (Changeling Katie and Ben) also disappear in a burst of flame wherever they are.

Scene 17: Sam and Dean bring Ben back to Lisa. She runs out to meet them, then Dean goes inside with her to explain things while Sam leaves to give them some time.

Lisa: Changelings?

Dean: You know how I never mentioned my job? This is my job.

Lisa: I so didn’t want to know that. Do you think he’ll be okay?

Dean: Yeah, I think he’ll be fine. Okay, seriously, I mean, you’re 100% sure that he is not mine, right?

Lisa: You’re off the hook. I did a blood test when he was a baby. There was this guy. Some bar back in a biker joint. What? I had a type. Leather jacket, couple of scars, no mailing address I was there. Guess I was a little wild back then. Before I became a mom. So, yeah, you can relax.

Dean: Good.

Lisa: I swear you look disappointed.

Dean: Yeah, I don’t know. It’s weird, you know, your life. I mean, this house and kid. It’s not my life. Never will be. Some stuff happened to me recently, and, uh, anyway, a guy in my situation, you start to think, you know. I’m going to be gone one day and what am I leaving behind besides a car?

Lisa: I don’t know. Ben may not be your kid, but he wouldn’t be alive if it wasn’t for you. That’s a lot if you ask me.

Dean: You know, just for the record, you’ve got a great kid. I would have been proud to be his dad.

Lisa: [kisses Dean on the lips] Look, if, um, if you want to stick around for a while, you’re welcome to stay.

Dean: I can’t. I’ve got a lot of work to do, and it’s not my life.

Scene18: A montage of scenes of Sam alone in the hotel room on the phone trying to track down what happened to his mom’s friends.

Sam: No, that’s all I needed. Thank you very much. [hangs up] Oh my god.

Scene 19:

Sam: They’re dead. All of them. All of my mom’s friends. Our doctor, our uncle, everyone who ever knew her systematically wiped of the map one at a time. Someone went through a hell of a lot of trouble trying to cover their tracks.

Ruby: Yep. The yellow-eyed demon.

Sam: So, what’s your deal? You show up wherever I am. You know all about me. You know all about my mom.

Ruby: I already told you. I’m --

Sam: Oh, right, right. Yeah, yeah, just a hunter. Just some hunter who happens to know more about my own family than I do. Just tell me who you are.

Ruby: Sam, it --

Sam: Just . . . [walks closer to her] tell me who you are.

Ruby: It doesn’t matter --

Sam: [leans in and gets right in her face] Just tell me . . . who you are!

Ruby: Fine. [closes eyes and opens them again to show they are black – she’s a demon]

Sam: [Sam backs up quickly and reaches for his bag, where it’s laying on the bed]

Ruby: Think twice before going for that holy water.

Sam: Just give me one reason I should.

Ruby: I’m here to help you, Sam.

Sam: Is that some kind of joke?

Ruby: God’s honest truth. Or, whatever.

Sam: You’re a demon

Ruby: Don’t be such a racist. I’m here because I want to help you. And I can. If you trust me.

Sam: Trust you? [holds out a flask of holly water, ready to hit her with it]

Ruby: Sam, calm down.

Sam: Start talking. All those murders . . . what was the demon trying to cover up?

Ruby: I don’t know.

Sam: What happened to my mother?

Ruby: I honestly don’t know. That’s what I’m trying to find out. All I know is that it’s about you.

Sam: What?

Ruby: don’t you get it, Sam. It’s all about you. What happened to your mom, what happened to her friends. They’re trying to cover up what he did to you. And I want ot help you figure it out.

Sam: Why would you want to help me?

Ruby: I have my reasons. Not all demons are the same, Sam. Not all of us want the same thing. Me? I want to help you from time to time. That’s all. And if you let me, there’s something in it for you.

Sam: What could you possibly –

Ruby: I could help you save your brother.

END OF EPISODE

Transcripts: SN 3x02 part 1 of 2

Mon, 24 Mar 2008 23:40:29 GMT

Here's the first half of my transcription of the episode The Kids Are Alright.

3x02 The Kids Are Alright

Scene 1: It’s dark out. Dad drives up and lets daughter out of the van, Mom comes out to meet them.

Mom: Hey, sweetie. Hey.

Dad: Hi

Mom: Thanks for driving her back here.

Dad: Well It’s not like I had a choice. She pitched a fit.

Mom: Hey, sweetie. What’s wrong?

Katie: Nothing. I missed you.

Mom: Okay, but tonight’s your dad’s night.

Katie: No. I don’t like dad’s night. I don’t want dad to have a night anymore.

Mom: Since when? You used to love going to your dad’s house. And, you know, he loves you and he misses you a lot.

Katie: But I hate it there.

Mom: You don’t hate it.

Katie. Yes I do. He’s mean and there are monsters there. I don’t want to go back. Please don’t let the monsters get me.

Mom: Okay, sweetie.

Scene 2:

Dad, back in own garage is killed in awful supernatural way – he is pushed onto his power saw by some unseen force.

Scene 3: Sam is sitting inside a restaurant with his laptop open, talking on the phone.

Sam: What do you mean you don’t think it’ll work, Bobby? It’s a demon-dispelling ritual. Well, maybe we got the translation wrong. Look, we can’t just let Dean fry in hell while we . . . . Well, there’s go to be something. Yeah. No. I gotta go. Okay nevermind.

Dean: [enters the restaurant with a newspaper] Hey. Who was that?

Sam: I was just ordering pizza.

Dean: Dude, you do realize that you’re in a restaurant?

Sam: Yeah. Yeah. Oh, yeah. I just felt like pizza, you know?

Dean: Okay, Weirdy McWeirderton [what Dean’s trying to say here is that Sam’s weird/strange] So, I think I’ve got something.

Sam: Yeah?

Dean: Cicero, Indiana. Falls on his own power saw.

Sam: And? That, that’s it? One power saw?

Dean: Well, . . . yeah.

Sam: And you think that this is a case?

Dean: Well, I don’t know. Could be.

Sam: I don’t know, Dean.

Dean: Alright, there’s something better in Cicero than just a case.

Sam: And that is?

Dean: Lisa Braeden.

Sam: Should I even ask?

Dean: Remember that road trip I took, uh, gosh, about 8 years ago now? You were in Orlando with dad wrapping up that banshee thing.

Sam: Yeah, yeah, the 5 states 5 day thing

Dean: Well, kind of. Although I spent most of my time in Lisa Braeden’s loft.

Sam: So let me get this straight. You want, you want to drive all the way to Cicero just to hook up with some random chick.

Dean: She was a yoga teacher. It was the bendiest weekend of my life. Come on. Havea heart, huh? It’s my dying wish.

Sam: Yeah, well how many dying wishes are you going to get?

Dean: As many as I can squeeze out. Come on, smile, Sam. God knows I’m gonna be smiling after 24 hours with Gumby girl. [laughs, Sam laughs at Dean] Gumby girl. [thinks for a minute] Does that make me Pokey?

Scene 4:

Dean: [lets Sam out at a motel in Cicero] Don’t wait up for me, Sammy.

Scene 5: Dean arrives at Lisa’s house and she answers the door.

Lisa: Dean!

Dean: Lisa. How’s it going?

Lisa: Wow. So, how long has it been?

Dean: Eight, going on nine years now. Crazy, right?

Lisa: So, what are you doing here?

Dean: Oh, I was just passing through. And I couldn’t resist. I remember that you love surprises.

Lisa: Yeah. Dean Winchester. Wow. Just . . . wow. I’m – I’m sorry. You kind of came at a bad time. We’re having a party.

Dean: A party? Well, I love parties.

Scene 6: Lisa’s backyard. Lots of little kids are running around.

Dean: So, uh, who’s the party for?

Lisa: Ben, my son.

Dean: Oh, you have a –

Lisa: Yep. That’s him [points]

Ben: [unwrapping presents, opens a CD] Yes! AC/DC rules!!

Dean: How old?

Lisa: 8. Oh, Dean, could you excuse me for a minute?

[two women at the party watching Dean and talking about him]

Mom: Did you hear Lisa call him “Dean”?

Realtor: Yeah, why?

Mom: You don’t know about Dean? The Dean. Best-night-of-my-life Dean.

Realtor: No, tell me.

Mom: Oh my God. So, they had this crazy, semi-illegal –

[Dean turns around to face them and they shut up]

Dean: Hi.

Mom: Hi.

Realtor: Hello.

[they’re looking at him seductively like they want to eat him up, so Dean awkwardly walks away . . . and ends up with Ben. Both Dean and Ben are eating cake]

Ben: What’s up?

Dean: What’s up with you?

[A mom and her daughter walk by. Dean checks out the mom, while Ben checks out the daughter.]

Dean: So, it’s your birthday.

Ben: Guilty.

Dean: It’s a cool party.

Ben: Dude, it’s so freaking sweet. And this moon bounce – it’s epic.

Dean: Yeah, it’s pretty awesome.

Ben: You know who else thinks they’re awesome? Chicks. It’s like hot chick city out there. [hits Dean on the arm to emphasize his point. Dean is in shock. Ben puts down his cake and runs over to the moon bounce. Dean just watches, you can tell he’s thinking what we’re thinking. Then he runs back towards the house.]

Scene 7: Inside Lisa’s kitchen during the party.

Lisa: So, how’re you holding up?

Katie’s mom: Fine.

Lisa: Really?

Katie’s mom: Oh, you know. I just . . . . Never mind.

Lisa: What?

Katie’s mom: It’s just . . . I’m worried about Katie. I think there might be something . . . wrong with her.

Lisa: Of course there is. The poor girl just lost her dad. She’s devastated.

Katie’s mom: No. that’s not what I’m talking about. There is something really wrong with her. I’m not sure that Katie is . . . Katie.

Lisa: What?

Katie’s mom: I’m not sure that’s my daughter.

Lisa: I know you’re grieving, but you can’t talk like that. Katie needs you.

Katie’s mom: No, you don’t understand.

Lisa: Seriously, we’re going to get you help. It’ll be okay.

Katie’s mom: [puts down her glass and walks away] Katie? Come on, we’re leaving.

[Dean walks in as Katie’s mom is leaving]

Dean: Hey. So, I, uh, met Ben. Cool kid.

Lisa: Yeah.

Dean: You know, I couldn’t help but notice that, uh, he’s turning 8.

Lisa: [still clueless]

Dean: You and me . . . you know.

Lisa: [catches on, laughs semi-akwardly] You’re not trying to ask me if he’s yours?

Dean: No. No, of course not. He’s not, is he?

Lisa: What? No.

Dean: Right. [watches Ben, still disturbed by the similarities, not sure he believes Lisa. Then he notices Katie and her mom leaving.] Something wrong with your friend?

Lisa: She’s been through a lot. Her ex just died in this horrible accident.

Dean: Oh, yeah, didn’t I just read about that? The, uh, the power saw.

Lisa: Yeah. Guess there’s been a lot of bad luck in the neighbourhood lately.

Dean: What kind of bad luck?

Scene 8: Motel diner. Sam is doing research on his laptop. Ruby enters and sits down across the table from him in the booth.

Ruby: Hello, Sam.

Sam: You’ve been following me since Lincoln.

Ruby: [pushes his laptop closed and grabs one of his potato wedges of his untouched plate] Not much gets by you, huh? These are amazing. [referring to the wedges] It’s like deep-fried crack. Try some.

Sam: That knife you had. You can kill demons with that thing?

Ruby: Sure comes in handy when I have to swoop in and save the damsel in distress.

Sam: Where did you get it?

Ruby: Skymall.

Sam: Why are you following me?

Ruby: I’m interested in you.

Sam: Why?

Ruby: Because you’re tall. I love a tall man. And then there’s the whole antichrist thing.

Sam: Excuse me?

Ruby: Generation of psychic kids, yellow-eyed-demon rounds you up, celebrity death match ensues. You’re the sole survivor.

Sam: How do you know about that?

Ruby: I’m a good hunter. So, yellow eyes had some pretty big plans for you, Sam.

Sam: “Had” being the key word.

Ruby: Oh, yeah, yeah, yeah, that’s right. Ding-dong the demon’s dead. Good job with that. It doesn’t change the fact that you’re special . . . and that Anthony Michael Hall e.s.p. visions come into play.

Sam: No, that stuff’s not happening anymore. Not since yellow eyes died.

Ruby: Well, I’m thinking you’re still a pretty big deal. I mean, after all that business with your mom.

Sam: What about my mom?

Ruby: You know, what happened to her friends. You . . . don’t know. You’ve got a little bit of catching up to do my friend. So, [reaches for Sam’s hand, pulls it towards her, and takes the pen out of it] why don’t you look into your mom’s pals [uses the pen to write her phone number on his palm] and then give me a call and we’ll talk again? [puts the pen back in his hand and leaves the table, then turns back] And, by the way, you do know there’s a job in this town, right? [leaves the diner]

[Sam’s cell phone rings, he answers it]

Sam: Hello.

Dean: [in the impala outside Lisa’s house] Dude, there is a job here.

Sam: Really?

Dean: Yeah, you know that one freak accident we read about in the paper? It turns out there’s four more that never even made the paper, all in this Morning Hill gated community. People falling off ladders and drowning in their Jacuzzis all over the neighbourhood.

Sam: That is weird.

Dean: Yeah, something’s up . . . something these nice, big gates can’t protect them from.

Scene 9: Katie’s mom’s house. Mom is sleeping on the couch. She is startled when she wakes up to find Katie sitting beside her, staring at her.

Mom: Katie. What are you doing?

Katie: Play with me mommy.

Mom: Sure, yeah. [gets up off couch and starts walking towards the kitchen] Let’s, um, let’s play.

Katie: Oh, good. [jumps up off couch and hugs her mom from behind.] I love you mommy.

Mom: [turns around and hugs Katie back.] I love you too, sweetie. [notices her daughter’s reflection in a mirror – Katie’s skin is all gross and grayish pushes he daughter away from herself to look at her better, and sees she is normal]

Katie: I’m hungry, mommy.

Mom: Yeah. Yeah.

Scene 10: Home of victim who fell off ladder. Sam and his widow enter the backyard.

Sam: So, once again, I’m very sorry to disturb you. We just really want to expedite that life insurance policy.

Widow: Of course.

Sam: Okay.

Widow: This is, um, where he fell.

Sam: Now, how exactly did he --

Widow: He was just inside changing a light bulb. He must have lost his balance.

Sam: Were you here when this happened?

Widow: No, I was out. The only one here was our daughter, Dakota.

Sam: Okay. [notices Dakota in the window, she just stares at him. He also notices something red on the window sill and the fence] Okay. Well, uh, I think that’s all I need. I’ll get out of your way now.

Widow: Thank you

Sam: [notices an odd sore on the back of the widow’s neck as she leads him to the door]

Transcripts: SN 3x01 last convo

Mon, 24 Mar 2008 23:36:35 GMT

3x01 The Magnificent Seven
I didn't transcribe the whole episode, just the last conversation between Sam and Dean.

3x01 The Magnificent Seven
Sam: So, I was talking to Tamara and she mentioned this hoodoo priestess outside Shreveport that might be able to help us out. You know with your . . . your demon deal.

Dean: Nah.Sam: "Nah?" What does that mean, "nah"?Dean: Sam, no hoodoo spell’s gonna break this deal.Sam: We don’t know that, Dean.Dean: Yes, we do. Forget it. She can’t help.Sam: Look, it’s worth a —

Dean: We’re not goin and that’s that. What about Reno, huh? [slap’s Sam’s chest with the back of his hand and starts to walk by]

Sam: [grabs Dean’s arm and turns him back to face him, than lets go] You know what? I’ve had it. I’ve been bending over backwards trying to be nice to you and . . . I don’t care anymore.Dean: That didn’t last long.

Sam: Yeah, well, you know what? I’ve been bustin my ass tryin to keep you alive, Dean. And you act like you couldn’t care less. What, you got a death wish or somethin?Dean: No, it’s not like that.Sam: Then what’s it like, Dean?Dean: Sam, . . .Sam: Please, tell me.

Dean: [If] we trap the crossroads demon, trick it, try to welch our way out of the deal in any way, . . . you die, okay? You die. Those are the terms, there’s no way out of it. If you try to find a way, so help me God, I’m gonna stop you.Sam: [in shock, recovers enough to say:] How could you make that deal, Dean?Dean: Cause I couldn’t live with you dead. Couldn’t do it.Sam: So what now I live and you die?Dean: That’s the general idea, yeah. [tries to walk away]

Sam: Yeah, [runs after Dean and gets in front of him, forcing him to stop and face him], well you’re a hypocrite, Dean. How did you feel when dad sold his soul for you? Cause I was there. I remember. You were twisted and broken. And now you go and do the same thing. To me. What you did was selfish.Dean: Yeah, you’re right it was selfish. But I’m okay with that.Sam: I’m not.

Dean: Tough. After everything I’ve done for this family, I think I’m entitled. Truth is I’m tired, Sam. And I don’t know, it’s like there’s a light at the end of the tunnelSam: It’s hellfire, Dean.

Dean: Yeah, well, whatever. You’re alive. I feel good, for the first time in a long time. I’ve got a year to live, Sam. I’d like to make the most of it. So what do you say we kill some evil sons-of-a-bitches and we raise a little hell? [walks by Sam over to the driver’s side door of the impala]

Sam: [still where he was, half turns to Dean, serious and exasperated] You’re unbelievable.Dean: [smirks] Very true. [gets into the Impala]

[Sam follows suit and they drive away.]

Transcripts: Season 2 DVD Special Features Part 4

Mon, 24 Mar 2008 23:30:49 GMT

Here's the last one I've got for this: a transcription of the featurette "Inside the Writer's Room"
I also included a few explanations of some of the allusions (they're *ed and explained at the end)
Enjoy! and please comment if you find it useful.

Behind the Scenes

Inside the Writer’s Room

Dean: Old school haunted houses. Secret passageways, fog. We might even run into Fred and Daphne while we’re inside. Mmm, Daphne.*

Eric Kripke: I definitely set out to do a horror movie. A TV series that kind of caught the vibe of ‘The Ring’ and ‘The Grudge’

Dean: Yeah, like strange.

Eric: You know, one of the rules of the show is that we don’t invent anything. Every story we tell in every episode is based on, like, a real piece of folklore.

Sam: There’s a hundred different legends on the ‘walking dead,’ but they all have different methods for killing them. Some say setting them on fire, uh, feeding their hearts to wild dogs, that’s my personal favourite.

Crew: Action!

Eric: That showed up on the first day of work with, like, eighty of these just little one-liners of what episodes could be just pulled from just this real like folklore across the country. You know, like killer clowns, and ‘arm ripped off’, and, you know, all these –

John Shiban: “The licked hand.”

Eric: Yeah, “The licked hand”

John Shiban: That’s one of my favorites.

Eric: That’s a fun show to work on because you don’t sit around, like, banging your head against the wall, you just start doing research. And the homework is cool and all the ghost stories and stuff.

Sam: It’s an invisible killer.

Dean: My favourite kind. What do you think, Scully? You want to check it out?

Sam: I’m not Scully, you’re Scully. No, I’m Mulder. You’re a red-headed woman.**

John Shiban: We’ll pull from old and new horror movies that we love and scenes that we knew and it’ll be a seed for an episode. We’ll start kicking it around and how, what the Winchester version is.

Sam: We can’t stay here. We’ve got to get out of here, get somewhere. Let people know what’s coming.

Dean: Yeah, that is a good point. ‘Night of the Living Dead’ didn’t exactly end pretty.

John Shiban: We’ll take vampires and do what other movies and shows have done with vampires. We were working on a werewolf idea, and it’s “how is it ours?” What’s different about it, what makes it a Supernatural monster not one you would see on something else. So, they all have their origins in real lore, but then we, then we run with it.

Sam: 157 names?

Dean: We’ve got to narrow that down.

Sam: Yeah.

Dean: Or else we’re gonna be digging up a hell of a lot of stiffs.***

Sam: Herman Webster Mudgett? Wasn’t that H. H. Holmes’ real name?

Dean: The term ‘multi-murderer,’ they coined it to describe Holmes. He was America’s first serial killer.

Eric: What’s great about these urban legends is they’re all designed to have, like, these shocking twists in them at the end.

John Shiban: The escaped psychotic with the hook for a hand. I just love that.

Eric: You know, where the boyfriend disappears and the girl’s in the car, then she hears the scratching on the roof of the car and she’s all freaked out. And then she finally escapes the car and turns around and the boyfriend’s hanging upside down dead scratching against the car.

John Shiban: And we actually turned that into an episode, which I was really happy about. It’s a classic.

Eric: Bloody Mary, for me, like, always scared the crap out of me. You’d go in the bathroom and turn out the lights and say ‘Bloody Mary’ in the bathroom mirror and she claws your eyes out. For my money**** that episode was really scary. It’s like a gross joke, basically. It’s the same pattern, it’s set up and then punch line. And that really lends itself dramatically, you know, to a really satisfying show because you get to have these fun little twists that are, like, gross, or shocking, or scary, or disturbing and it really works out well.

Sam: I’d say we’ve officially crossed over into weird.

Crew: And, action!

Eric: We’re telling episodes this season that are philosophical, wildly structured, and we’re telling episodes that are going to be just straight comedies.

Dean: Awesome.

Eric: You know, one episode can be angsty, the next can be scary as hell, another one can be funny, you know, romance. You can just keep hop-scotching genres and form.

Dean: Los Angeles, California.

Sam: What’s in L.A.?

Dean: A young girl has been kidnapped by an evil cult.

Sam: Yeah? Girl got a name?

Dean: Katie Holmes.

Bob: Once we sort of settle on what the monster is, or the creature, or the spirit . . .

Dean: I think I know what we’re dealing with here. It’s the Stay-Puffed Marshmallow Man.

Bob: . . . beyond that: what’s the story about? And what is the personal story about and how does this spirit, creature, monster, affect our boys. So, we always try to make the stories a little deeper.

Sam: I’m one of them.

Dean: No, you’re not.

Sam: Dean, the demon said he had plans for me and children like me.

Dean: Yeah.

Sam: Yeah, maybe this is his plan. Maybe we’re all a bunch of psychic freaks. Maybe we’re all supposed to be –

Dean: What, killers?

Sam: Yeah.

Dean: So, the demon wants you out there killing with your minds, is that it? Come on, give ma a break. You’re not a murderer, Sam. You don’t have it in your bones.

Sam: No? Last I checked, I kill all kinds of things.

Dean: Well, those things were asking for it. There’s a difference.

Eric: We you have a show that’s about, like, good and evil and faith and destiny and life and death, and it’s like the real big issues. The show’s core is through the emotion of the brothers and what we always say in the Writer’s Room is, you know, “Everything is family.” Whenever we’re in a dead end and we can’t figure anything out we’re like, “Okay, well, it’s a family show. What’s the family version of this and how do we make that work?”

Dean: Before Dad died he told me something. Something about you.

Sam: What? Dean, what did he tell you?

Dean: He said that he wanted me to watch out for you, take care of you.

Sam: He told you that a million times.

Dean: No, this time was different. He said that I had to save you.

Sam: Save me from what?

Dean: He just said that I had to save you, that nothing else mattered, and that if I couldn’t I’d –

Sam: You’d what, Dean?

Dean: I’d have to kill you.

Bob: Most hour-long shows have a seven-day prep[aration] but, this show can’t handle a seven-day prep[aration]. If they’re not prep[ar]ing before 7 days, we’re, we’re in trouble because of all the visual effects and special effects. We’re building new sets every week. We don’t have any permanent sets. So, they at least have to get the story way, way in advance.

Eric: So, I mean, we lock in every big move and every creature and every stunt and all the things that, you know, we need to get rolling on because each one is, like, a new deal every time. And that’s hard, I mean, because that takes, like, all the steps from development, I mean, from the effects guys and what’s it going to look like and how are they going to make that work and, you know, everyone just, you know, busts their ass just trying to get that done every week.

Sam: Geez! Get down!

John: I do sometimes read the fan stuff and when they say, “Oh, that was so scary,” or “That clown was terrifying,” I get a kick out of it, it’s exciting to, to, you know, leave people with images that stick with them. It’s a way to have a roller coaster ride and survive it.

Eric: And that’s how things roll around here at Supernatural.

Sam: Our lives are weird, man.

Dean: You’re telling me.

*Fred and Daphne are the lead characters in Scooby-Doo, which is an old cartoon show about four friends and their dog who solve mysteries involving supposed supernatural beings.

** Mulder and Scully are the two main characters in the X-Files, a show about two FBI agents who investigate the supernatural and aliens. Mulder is a man and Scully is a woman.

*** ‘stiff’ is a slang term for a dead body.

**** ‘For my money’ – here it is not meant to be taken literally, I don’t think. It’s more an expression meaning ‘in my opinion’ or ‘from my point of view.’ Probably having to do with when a person goes to the movies and decides afterwards whether or not the movie was worth the money the person spent to go see it.

Transcripts: Season 2 DVD Special Features Part 3

Mon, 24 Mar 2008 23:26:54 GMT

Here's the transcription of the last part of the Devil's Road Map: "Behind All Hell Breaks Loose"

2.22 All Hell Breaks Loose Part 2

Behind All Hell Breaks Loose

Eric Kripke: Act one is Sam’s dead, Dean takes him to a cabin, –

Fredric Lehne: Rise and shine buddy boy

Kim Manners: . . . and when the gun goes in it gets turned, Serge will start sparking –

Eric: You know, if we’re going to end, let’s end epically.

John Shiban: There’s a pretty complex process that goes into the writing of an episode of Supernatural. Particularly one as important and big as 2.22, which is the season 2 ending episode.

Eric: You know, the writing process on Supernatural moves pretty fast. I mean, usually what we do is we start with story ideas. So, then we get in the room. And, I’ll tell you, sometimes getting into the Room – the Room is usually, like, a 3 or 4 day process. By the time you start getting into day 2 or 3 then you start talking about, “You know what would be a cool scene? This scene. You know what would be a cool scene? That scene.” Um, and then you start stringing them together.

John: We’ll start kicking them around. Before you know it we’re posting things on our whiteboard and saying, “Okay, this part we like, this part works. This, this” – we’re getting closer to a story. And that can take anything from an hour – sometimes it just clicks and you go, “That’s it. I got it.” And other times it’ll be days of going back in that room, “What do we like? What do we not like?”

Eric: You do it until you have this board, which is, like, totally covered with, like, the writing that looks like in “A Beautiful Mind,” like this ‘crazy madman’ scrawl. And, uh, and then you have an episode.

Eric: Why did John, in the season opener, make such a [crappy] deal and go straight to hell, if Dean’s going to make a deal for his own soul, but he gets, like, 1 year, you know? It’s like we have to at least answer – I mean, I think – and it bothers me a little bit. It’s like, --

___: Yeah

Eric: -- if we could, just a tiny bit.

___: I know.

John: I don’t think people backtrack like that, but –

Eric: Everything’s centered on the climax of the episode. You know, the finale. Um, and, and on one hand, like, it had to be big, it was, it was the season finale and it was the climax of the season finale. And we were killing the bad guy that has been our bad guy for two seasons. So, you know, it had to be huge. And, and Kim and I from the beginning, were like, “Look, we have to do this right or else we’re not going to do it.” Um, but it was just, how can you accomplish that with our resources and still make it feel appropriately climactic.

Bob: That was the biggest episode that we ever attempted and even after bringing it down a lot it’s still probably the biggest episode.

Jared: Basically, 2.22 is a gigantic episode with a lot of guest stars and a lot of stunts and special effects.

Jensen: It’s the season finale and it’s huge. It’s got a lot of emotional stuff, it’s got a lot of action stuff, it’s got a lot of – I mean, we’re tying up a lot of lose ends that have been, you know, that have been played out since season 1. so, it’s a very very important episode.

Cyrus??:: 2.22 is probably the most complicated episode I’ve ever worked on on any series. And, uh, Kim Manners who’s our Executive Producer and Head Director, uh, who did a quarter of all the “X-Files,” I think he’ll say the same thing.

Kim: Well, every time you do a season finale, it’s like doing a new Pilot for next season. You want to set the hook so that the audience really wants to come back and see what Sam and Dean are going to be doing next year.

Bob: The challenge was, was getting a script down and into a manageable budget. Keep it exciting and keep both the studio and the network happy that the changes that were made, um, you know, didn’t hurt the final product.

Kim: Then when I got the entire script I read it and I knew it was huge. And I worked on the end of Act 3 and all of Act 4 and Act 5 and worked for about 22 hours doing homework on it, and then sat down with John Lond, our storyboard artist, and I said, “We’re going to do 5 and a half storyboards here and basically we’re going to prove that this is impossible to shoot.”

Eric: And then our production up north calls and says, “You know this script is over budget and there’s no way in hell we’re going to be able to shoot this material.

Cyrus??: Keep whittling at it, keep whittling at it, keep conversation going back and forth until you reach some sort of consensus or you simply run out of time.

Eric: Because, there’s another idea that I sort of like . . .

Eric: So, the first step was I was sitting my seat with the script, reading it over, being like, “How can I totally re-conceive the finale?” Because, originally there was this giant devil’s trap and at every corner of the devil’s trap, there was a church. And inside every church was a holy relic that was really powerful. And Jake was going from church to church to church destroying these relics because once he could destroy them he could destroy this devil’s trap. And so Sam and Dean and all the heroes were, like, racing after him to stop him from destroying these things. None of this is in the final story. So it was this whole sub-plot, that, you know, production called me and said that one way to make huge savings is we can’t build any of these churches. So, well how can we not build these churches? I have all these set pieces and all these actions sequences that are taking place at these churches. I said, “Well, what if” – and this was sort of the moment, where I was, like, looking at this giant devil’s trap, and I said, “What if instead of these churches and these holy relics, what if it was just train tracks connecting all the different points?” And tracks are made of iron. And iron in our show keeps away evil spirits. And you start to think about it more and more and you’re like, “God, that’s so much cooler!” ‘Cause it’s like Western and it’s American and it’s so much more the tone of our show. And so, I called them and I’m like, “No more churches. Churches are out.” You know, it’s about these, these railroad tracks that you’re going to get across now, which was this last minute element that was put into it. And, and instead of this massive major fight between Sam and Jake, which, you know, when Kim and I were talking through, said, “Okay, well what if they just have a, you know, they have a stand-off and everyone’s holding guns at each other, but because it’s Supernatural, Jake makes Ellen hold a gun to her own head. And that becomes the stand-off.” “Oh, yeah, cool! That’s different.” And that’s also, you know, simpler and it doesn’t require as many camera set-ups for Kim to shoot. And it’s done as a real team effort. I mean, I think the script actually improved because simpler is better in a lot of ways in terms of story simplicity. And the, the title of this episode is All Hell Breaks Loose and, uh, it did.

Dean: Go!

Eric: . . . on page 17, the, uh, Dean’s – middle of the page there – “Damn it, Sam, you almost died, what would I have . . .” He almost lets loose that Sam died.

Kim: Right.

Eric: You know, that’s, that’s what makes him cut off. He almost told him. And probably was going to finish with: “What would I have done if you were dead and what was I supposed to --!” You know, . . .

Kim: Right.

Eric: . . . he almost gave up the secret there.

Kim: Right.

Eric: . . uh, but cut himself off.

___: It started off as a 6 hour mini-series that Eric gave us and we’ve now finally whittled it down to what probably will be only about 2 hours.

Bob: The story became a little more contained. The original script was really kind of big and all over the place and, um, we had to contain it.

Ivan: They changed the whole sequence where originally in this script, Sam was supposed to fight Jake and have sort of the, uh, Rocky Balboa slug-fest [Rocky Balboa was a boxer. The expression refers to a fist-fight / hand-to-hand fighting] at the end of the, at the end of the episode. Uh, and when he comes up and comes upon Dean and Dad he’s covered in blood that, you know, was the result of this slug-fest. The biggest hurtle that we had was the availability of Jeffery Dean Morgan. Um, he wasn’t available during the actually filming of the episode, uh, and we ended up shooting all of his pieces six weeks in advance. And we’re now going to get into re-doing the Jared portion of that on blue-screen as well because Jared isn’t going to be covered in blood.

Jared: [can’t tell what he says]

Kim: I’m just going to say, as you’re walking in, you’ve got your eyes shifting from here to here. I’ll say “Now” and then look to you for the nod, I’ll say, “He walks away.”

Jared: And if you want to during the meat [‘meat’ referring to the middle, the most important part] of it, tell me “Look at Jensen,” “Look at Jeffery” just say “Jensen,” “Jeffery,” “Jensen,” “Jeffery.”

Kim: Yep.

___: Okay, good.

Kim: Just go right away.

Jared: Hopefully it all, it all turns out and they’re going to, they keep on saying, “roto” me into the shot, which they’re just going to overlap my shot that we just did today with the shots of Jensen and Jeff, with me and a couple of tennis balls. Which is always really interesting, but, um, I think Kim was able to pull some stuff out of me like he always is.

Eric: You know, so the blue-screen deal was, was a major crisis and problem. And then, we finally got that solved and done. Um, and then, you know, a couple of weeks later the next crisis came up which was the cemetery. Um, which was arguably an even bigger problem.

Kim: We found a location that worked great for this big exterior cemetery scene, uh, but then we realized that we – the nights up here are only 9 and a half hours long, that’s all you’ve got of darkness by the time you break for lunch. And we had four nights to shoot this sequence and we couldn’t do it. So we came up with this notion that we would make a Supernatural solar eclipse and shoot what we call ‘day for night.’ Well, there were no trees in this location so we had to find another location to put the cemetery where there were some trees where we could justify some shadowing.

___: We go to the location we finally thought was going to work, and it’s raining so hard we can’t even see each other as we’re scouting this location.

Kim: And we were there for about an hour and a half and everybody kept looking at each other kind of out of the sides of their eyes. And we realized that even if we shot it ‘day for night’ the elements [weather/nature] were going to kill us.

___: We’re standing in the middle of field and we said, “Hey, you know what? This is going to have to all go to stage. So now, we have to take away all the ideas, all the blocking, everything we knew about what we were going to do for this cemetery, all the stuff we shot with Jeffery Dean Morgan, and now we’re going to do it all on stage.

Kim: So, at the last minute, we moved it to the interior Stage 3 here at the studio. They’re downstairs right now spreading two truckloads of dirt that smells a lot like manure – I’m very suspicious of that.

___: So, everybody just comes back, get in the conference room, start throwing out ideas, and how can we re-create, to the best of our ability, this whole cemetery.

Eric: People are – everyone’s yelling at each other on the phone and trying to figure out ways to solve it, coming up with crazy ideas. And, and – but, you know, and, and it’s painful and hard and exhausting, but when it’s all said and done you look at the final product and you sort of forget all that. Um, I mean there’s an expression that, you know, pain is temporary and film is forever. Um, and that’s sort of true. It’s the season finale and it ends it on an appropriately climactic note, and I think it’s going to be one of our great episodes, and it’s a major pay-off for a lot of story issues, um, and it’s worth it. It’s worth, it’s worth the pain and it’s worth the trouble and, you know, I think everyone feels that way.

Eric: Thank you for an unbelievable season and everybody in that room, ah, is the reason that this season has turned out better than season 1.

Cyrus??: It starts with the writing. Thank you.

Eric: No, thank you very much. You guys are executing like nobody’s business.

Dean: There’s nothing I can say to keep you out of this, is there?

Sam: No, sorry.

Kim: Print it! That was very nice.

Transcripts: Season 2 DVD Special Features Part 2

Mon, 24 Mar 2008 23:24:29 GMT

Here's the second installment!

2.14 Born Under A Bad Sign

Hi, this is Jared Padalecki I play Sam Winchester and Born Under a Bad Sign was the episode of season two that we had Christmas break during which was a really fun episode for me because there were so many mirrors to the finale last season and I got to explore a different part of Sam where I got to be possessed by a demon and got to do the scene, essentially, that we did last year with Nicki Aycox and get exorcised. Which was really fun for me and I had the Supernatural season one DVD on in my trailer and so between shots I’d go back and I’d watch what she was doing and try and mirror some of the mannerisms that she had. But I remember I’ve got, uh, full gortex on underneath my clothing because Jensen kept on throwing water at me in the buckets and instead of just sitting there and soaking in water for a twelve hour day, I have this material on underneath my pants and underneath my jacket and shirt that kept the water from getting to my skin. And it was really actually uncomfortable because it sorts suffocates your skin and you start sweating anyway. [laughs] So instead of having water from a bucket being thrown on me it’s just my own sweat that sort of touching my legs and my stomach. So that wasn’t any fun.

And then at the end when I finally have been exorcised and I sort of come to, I say, “Did I miss anything?” Initially that’s just when the scene ended. But Jensen and I thought of kind of a fun thing, which was, uh, Dean coming over and hitting Sam, kind of like, “Are you kidding me? You just beat the crap out of me and you don’t even remember it?” And we asked our director John Miller Tobin, who did a great job and was a really fun guy, if we could have a take for ourselves. And we did it and he laughed and he thought it was great and he was like, “Yeah, you know what? Let’s print that and let’s let the guys down south see it and see if they liked it.” And so that was sort of fun to think of something with Jensen and sort of see it on television a couple months later.

2.15 Tall Tales

Eric: Like everything else in, in Supernatural, you know the Trickster has a real and extensive basis in folklore. And it goes much further back than urban legend. It goes back into, you know, world mythology. But it is based in real stories that are told, which is this idea of a Trickster god.

___: The type of Trickster I think that’s most common, or that everybody knows about, is supposed to be a deity. Troublesome. Tricky. Tricksters do appear in every culture. Coyote and Raven, and sometimes called Crow, is a big Native American trickster. Um, there is Loki, who is part of the Norse tradition. Most people know Puck from A Midsummer Night’s Dream by Shakespeare. He’s a Celtic trickster. So those, those are some of the examples, but my favorite trickster is Were Rabbit.

___: A trickster will often target people who are getting to big for their own breeches [an expression meaning growing a big ego, becoming full of themselves]. That is to say, a trickster will look at what are cultural norms and if somebody is trying to pull themselves up, outside of the community, at he expense of the community, the trickster will often recognize that person and in some ways undermine what it is that they’re up to.

Dean: I can’t let you just keep hurting people.

Trickster: Those people got what was coming to them [an expression meaning got what they deserved]. Hoisting on their own petards [(a petard being an explosive device) meaning ruined through their own fault, harmed by their own weapon]

___: What we think happened is not so much that they do shapeshifting and different things, as they examine their victim or the situation and they find the weak spot. And then they poke at it.

Bobby: These things create chaos and mischief as easy as breathing and it’s got you so turned around and at each other’s throats you can’t even think straight.

___: What’s remarkable about the trickster is he often acts by proxy. He doesn’t do things directly, he’s able to manipulate the situation so it seems that somebody else might be at fault here. Uh, and of course, that’s incredibly powerful. And so we do find that tricksters can be more than mischievous, they can be downright threatening.

Trickster: You want to see a real trick?

John: A trickster is something that can, in our world, make anything out of thin air. But, if it can make anything why is it choosing to make one thing versus another, well, because it’s a fan of the Weekly World News and it thinks the coolest monsters are in there and it wants to throw the coolest monsters at these people and see how they react.

___: The Winchester boys and the Weekly World News are kind of in the same business, revealing the unrevealable. So, uh, they would frequently make mention of us on the show and, uh, after the last time they did I sent them a letter saying that if they ever needed any help preparing a front page, a story to help with the show, please to get in touch with us and we’d be happy to help. And about a month later they did.

Eric: Then they became like this big part of the episode, and it just out of – just because they originally, you know, were originally interested and sent us a couple issues. All of a sudden we have the Weekly World News episode.

___: Well, there are no other newspapers like the Weekly World News and, um, we’re pretty much the home to the urban legend. We, uh, we have Big Foot, we have Bat Boy, and we were the first newspaper to break the news of Elvis sightings in the [19]90’s.

Eric: The alligator in the sewer’s a classic story. It’s hilarious. It’s so funny. And, and so I knew that I wanted to do it in an episode, but we could never do it because we’re never going to make an episode, we’re never going to make a real episode of Supernatural about the alligator in the sewer, about the guys hunting the sewer looking for the giant alligator, I mean, it’s stupid. And, we also knew that we were never going to do alien abduction because it’s a hard and fast rule of the show that there’s no such thing as aliens. Ghosts, demons, that’s real, but no one’s coming in from outer space. It’s always been a rule of the show. But we said, well, with this episode, where we have this trickster character who can create anything out of thin air, wouldn’t it be hilarious, in our show, to have an alien abduction.

Curtis: They probed me. Again, and again, and again, and a . . .

___: Most of the E.T.’s [extra-terrestrials / aliens] we’ve interviewed are very nice. Uh, they come in peace. You know, they’re just nice folk who, you know, just happen not to be from here. But you do get the occasional, you know, wise guy. You get the kids who are out for a joy ride, the drunk traveling sales-being who’ll, you know, leave a few crop circles around just to get people crazy. So, yeah, they get goofy sometimes but, for the most part they don’t mean us harm. Song: Lady in Red by Chris DeBurgh. One of our managing editors once said that the difference between the Weekly World News and other newspapers is that if somebody calls up and says, “My toaster is talking to me.” I don’t refer him to professional help, I ask him to put the toaster on the phone. Uh, that’s the Weekly World News. You know, we’re the only place you’re going to read the interview with the toaster.

Dean: Just your typical haunted campus, alien abduction, alligator in a sewer gig.

2.16 Roadkill

My name’s Ivan Hayden. I’m the Visual Effects Supervisor for Supernatural. Roadkill. We got to do some really fun things with this episode. At the start there was a shot that was done where ghost Greely turns around towards Trisha and spits out some blood. After they got it into post they sort of felt that it lacked a little bit of punch and they asked us what we could do with it. So, we went and created a sort of mummified-looking face and morphed the images together to make it look like this guy decomposes before your very eyes and it really worked out well. We did a shot on the blue-screen where the Impala, or Metallicar as I’m hearing that it’s called, drives through our ghost and cuts him in half and turns him into smoke. And, we got to play with fluid dynamics and have a lot of fun with the particle systems so that once Greely gets hit by the car and gets cut in half, turns into smoke, we then sort of re-created the wind draft that comes behind it and blows him away completely and it really worked. We got to do our patented ‘blasted in the head at close range with a rock salt shotgun,’ which everyone has come to love. And we always get a kick out of [get a thrill out of] getting to shoot someone in the head with a rock salt shotgun. We accomplish this by placing an actor on blue-screen with what we call a ‘paparazzi,’ which is a quick flash bulb like what the paparazzis use, to simulate the muzzle flash of the gun and he reacts to being hit, sort of stepping sideways or bulging his eyes out or whichever plays best for camera. Then we do, in the same camera angle and set-up, we bring our actor in with a practical gun and their armor on the day and he actually fires the gun. We line up the two plates so that the gun actually looks positioned to someone’s head and then he actually pulls the trigger so we can get the interactive muzzle flash and we can posit the two together. Using the blue-screen element we have a good mat-line on our actor. We can use some particle systems that we’ve got, some pre-existing smoke elements and turn them into ectoplasmic goo.

2.17 Heart

___: Werewolves, traditionally, represent probably one of the first, uh, stories told around the fire in a cave.

___: The first signs we have of this lore, this shapeshifter lore, is really, really ancient. From back in the Stone Age from France in 30,000 B.C. they painted animals and they painted magicians shapeshifting into those animals. And the reason that lore is there is that it was really a valuable ability on their part to look like and be able to act like animals, because the more they could do that the closer they could get to the animal itself.

___: In the Middle Ages in Europe, all these thousands of years later, it was a whole different picture.

___: In cultures that were set up around Christianity, and the Church, anything that possesses the human vessel, which is made in the image of God, and has a soul that was given by God himself, would be a corruption. So, if, for example, you transformed into an animal, that would be a corruption of the holy vessel and holy soul of a human being. And that, of course, would be considered a curse.

___: It was a curse in European culture, sure, because it was something that the individual couldn’t control. And this is really very much reflected in the modern entertainment literature.

___: There’s many many ways to become a werewolf in mythology and lore. There are certain flowers that if you innocently pluck it in the forest you become a werewolf. If you drink water from the track of a wolf, you become a werewolf. If you, eat a wolf’s brain, mmm, then you become a werewolf. The Hollywood version created a universal, which is getting bit by another werewolf. That comes from the vampire legend. So Hollywood created its own myth. I mean, all myths are created to fill some kind of need and Hollywood certainly had a commercial need to, to, uh, to create werewolf myths. They wanted it to seem logical in the 1930’s and 40’s.

Sam: She says she had no idea what I’m talking about.

Dean: She’s lying.

Sam: Or maybe she really doesn’t know she’s changing, you know? Maybe, maybe when the creature takes over she blacks out.

Dean: Like a really hot Incredible Hulk.

___: There are different beliefs about werewolves. Some of the beliefs propose that they’re people who voluntarily become werewolves. And there are other beliefs that propose that people become werewolves involuntarily.

Eric: These mythologies kind of take on a life of their own sometimes, and in this specific case, she has no idea that it’s happening to her. And that’s kind of the version of this that we play. That she’s a monster without knowing she’s a monster.

Madison: I don’t remember anything. I probably killed someone last night.

Eric: In our world, anything that changes shape from one thing into another can be disrupted or wasted [killed] by silver. Actually, spirits are repelled by silver. There’s a lot of lore how demons are repelled by silver.

___: Any silver implement – a silver bullet, a silver knife, a silver, uh, cane – can be used to kill an evil creature, especially if that silver is blessed by the Church.

Dean: Werewolves are bad-ass. We haven’t seen one since we were kids.

Sam: Okay, Sparky.

Dean: You know what the best part about it is? We already know how to bring these suckers down: one of these bad boys right to the heart.

___: There’s just something about a silver bullet that kind of feels really pure and really cool, doesn’t it? I mean, it’s very believable somehow that a silver bullet could pierce these supernatural barriers at war.

Sera: I think the reason that werewolves are so popular is that we really relate to them and we’re afraid of them because werewolves are not that different from people in certain ways. If you’ve ever experienced a moment of being so angry that you see red, if you’ve ever been cut off in traffic and you really just wanted to kill the person who cut you off in traffic, then you can relate to werewolves I think.

Eric: The scariest monster is the monster you face in the mirror. And all monsters are are internal fears, and anxieties made manifest, that’s what makes the great monsters great. So, it’s like, “What creatures can we create that will really touch a nerve? How can we make their inner demons external?” That’s the best horror. Werewolves totally fall under that. Werewolves is a story about primal man lining in a civilized shell.

___: This is such a deep instinct with us. Bring the power of the animal into the human world. Shapeshift into a more powerful animal. Let your anger come out in the form of a wolf. These are seductive, seductive things.

2.18 Hollywood Babylon

Sam: Maybe the spirits are trying to shut down the movie because they think it sucks.

___: Ghosts come in places where people are put under great stress. They also come in places where people face great failure and great tragedy. Of course, Hollywood has more than enough of both.

___: The majority of people that want to be a movie star don’t make it. Some of them have really interesting stories and we latch onto those.

Eric: You’re the beauty queen in Indiana and you’re going to go step of the bus to, like, be a movie star and you end up jumping to your death off the Hollywood sign.

___: Peg Entwistle who is probably the poster child for broken dreams, was a stage actor from New York and decided she had nothing to lose by coming to Hollywood and maybe she could be a star. Well, her first, uh, film flopped terribly with the preview audience.

___: And finally in desperation one night, her home overlooked the Hollywood hill so she saw the sign, “Hollywood Land”, which is what it read back then. She climbed up that hill, climbed up the letter ‘H,’ stood at the top, and in the bright lights jumped to her death. In fact, remarkably, he suicide gave her more publicity than she ever had achieved in life.

___: It becomes a ghost story because there are sightings of her around, um, the Hollywood sign. And then you also have sightings by hikers up in the Hollywood hills.

Sam: Wait. There.

Dean: It’s like Three Men and a Baby all over again. There’s a scene in the movie where people say that the camera caught a ghost on film. Apparently in the background of one of the scenes there was this boy that nobody remembers from set. Spirit photography?

___: Every Hollywood studio – bar none [no exceptions] – is haunted. I’ve been to a number of studios. And yes, they all have ghosts.

___: As far as haunted studios, you have Universal, which of course was famous for making all of the Universal monster films and Lon Chaney Senior worked there. And on the stage where he did Phantom of the Opera, that is probably the most haunted stage in Hollywood.

Gerard: Rumors of a haunted film set, free publicity, especially when you’re making a horror movie. I mean, uh, it’s already all over the internet.

Sam: Yeah. We know.

___: The people who’ve seen the ghost on Sound Stage 28 see Lon Chaney dressed in his make-up. You know, his mask and his hat and the black outfit. Now, ghosts as a rule, don’t wear things like that, they’re more normal. So I always debated why would he appear on that sound stage in that costume. And evidently from what I’ve gathered, Lon Chaney ordered and electrician to go up and adjust the lights on catwalks. Well, the electrician fell to his death and crashed, broke his neck. Now, I think the reason Lon Chaney is there is guilt. He made a mistake and someone died over it. And now he’s there to warn people to keep the safety procedures up, warn them not to take a risk and have another tragedy like what happened during the filming of that particular piece.

Frankie/Gerard: Working on a movie like this, weird crap’s bound to happen.

Actor: Frankie thinks the stage is haunted. Like for real.

Frankie/Gerard: All I’m saying is, they call wrap, I get done, and I get out of here. Fast.

Eric: You know, those are really rich stories and those are really rich emotions that people really relate to. And so, um, ghost stories are always told about people with unfinished business, people, you know, who have something that they’re, you know, forlorn about despondent about, and Hollywood just has more of that than most places.

2.19 Folsom Prison Blues

Hey, I’m Jensen Ackles. I play Dean Winchester. This was kind of a special episode for me: Folsom Prison Blues. Cause it was filmed at, right during my birthday, March first. And actually the day of filming, we were at a prison, we’ve got about 50 extras, these grizzled hard looking men, and they were all standing around in the prison yard and we got the whole crew out there it was the first shot of the day and everybody’s all set, they’ve set up the first shot, the extras are all paced all around and they call me to set. So I come walking out and as soon as I walk out the door everybody busts into a ‘happy birthday’ song. And I’ve got to tell you it was probably the scariest song I’ve ever heard in my life. ‘Cause these guy, looking around at them just going ‘hhheeeeeh’[how do you spell that threatening greeting sound prison inmates make?]. So I turned around and ran back to my trailer and that was it. No, but uh, enjoy. It was a fun episode to do.

2.20 What Is And What Should Never Be

My name is Ivan Hayden. I’m the Visual Effects Supervisor for Supernatural. What is and What Should. This is my personal favourite episode. It brings up a great moment and a great character beat for Dean, where he’s given the choice that he can live out his wildest fantasies, but the power of genies and what they do in our world is they put you into a trance while they drink your blood so you slowly die but while you’re dying you’re having a pretty good time. So Dean gets to go back in time and live his life, for just an episode, as if the yellow-eyed demon had never come into their lives. And I think it’s a great episode and a great story point, but what we had to do in this was help breath some supernatural life into our genie. He’s an actor who’s bald, covered in tattoos and what he does is he lays his hands on you and you go into this deep trance. So what we’re going to be doing is we’re going to be making CG fire crawl up his hands, and as he lays his hands on top of you it’s sort of like a blue sterno-flame burning and it puts you into a trance. His eyes ignite into flames and all of this is going to be generated in a computer. We’re not using any live plates so it’s a very challenging shot to do. Fire, water, and smoke are always the bane of the visual-effects-man’s existence. And, uh, it’s looking great. The tests are really coming together and once it’s all in there it’s really going to add a eerie quality to our genie.

2.21 All Hell Breaks Loose Part 1

I’m Bob Singer, Executive Producer, along with Eric Kripke and Kim Manners, of Supernatural and also the Director of All Hell Breaks Loose part 1, which was really a, kind of teeing up All Hell Breaks Loose Part 2 and physically, unbelievably demanding. Vancouver is in its 40 days and nights of rain, and we were out there at this place called Bordertown which is this Western town knee-deep in mud, and spent the majority of the episode out there. Night, day, cold, wet. So, trying to get good drama and be scary and do all the things you’re supposed to do, while fighting the elements is difficult and, I’m not that young of a man anymore, so for me it was hard. But, it was a really good episode to direct. I also got to work with Fredric Lehne who I met many many years ago when he was just a young kid and he starred in a movie “The Week” that I produced. His name then was Fred Laney, so he’s since changed that. But I hadn’t seen him in over 20 years and he played the demon who has been the nemesis for our guys for two years. So, um, 20 years later he went from a hero for me to an ultra-villain, so that was fun. That movie, “The Week” introduced Michelle Pfeiffer to the world, so we got a kick out of that too. So, all around fun episode to do, but, physically hard.

Transcripts: Season 2 DVD Special Features Part 1

Mon, 24 Mar 2008 23:21:02 GMT

Here's the first installment of transcripts I've done for the Season 2 DVD special features.
I used only audio to make the transcript, so there are a few blanks where the names of speakers should be because I didn't recognize their voice. I knew most of them though (like Eric, Sera, Bob, Kim, Ivan, John).
Anyways, hope you enjoy!

2.02 Everybody Loves A Clown

Kid: I saw a clown

Dad: Don’t be afraid of clowns. They’re, they’re nice. They’re your friends.

Eric: Clowns are friggin’[really, intensely] scary, man. I don’t know, I mean, everyone’s got, like, and issue with clowns.

___: Coulrophobia, actually is just meaning a dreaded fear of a thing. In this case it happens to be clowns, okay? That then a child or an adolescent, or even adults if they’ve been traumatized in childhood, want to avoid.

Dean: Well, I know what you’re thinking, Sam. ‘Why did it have to be clowns?’

Sam: Give me a break.

Dean: Ha ha ha. You didn’t think I’d remember, did you? I mean, come on, you still bust out crying whenever you see Ronald McDonald on the television.

___: Sam, uh, part of his character is that he was afraid of clowns as a little boy. So, we purposely arraigned pieces in the story, that weren’t necessarily scripted, to make him uncomfortable.

___: The idea of being afraid of clowns is a lot to do with the make-up. Because the make-up that is put on a person’s face when the become a clown hides all those little visual cues that everybody has that you don’t even realize you’re picking up on.

___: We look at the eyes, we look at the mouth. With a clown face on people get fearful. People don’t know what is really going on.

___: It’s very disconcerting. And the clothing that they wear. You can’t read them. You have no idea. They’ve got this big painted smile but they could be thinking anything. And that freaks people out.

Eric: The innocence that people used to have with clowns . . . . People, I think, have gotten too sophisticated and they know that there’s a dude behind that mask. And it’s the idea of: “That’s not a happy person. That’s like a sad, lonely, and dangerous person with a mask pretending to be happy.” And there’s something inherently suspicious about that.

John: All those kind of issues are in there to me and that’s what’s so interesting about picking clowns for this, is because it hits at the heart of the family, hits at the heart of innocence, it hits at the heart of childhood. And, not to sound dark, but, it’s sort of downhill from there, kids, because you’re just going to find out that even the, you can’t even trust the clowns. There are several urban legends of phantom clowns. There’s one famous one in the Boston area in the [19]70’s.

Eric: These elementary school kids and junior high kids were reporting that this filthy clown in a white van was trying to grab kids and throw them in his van. And that certain kids were grabbed and that the vans disappeared.

___: And, when I heard of that particular story, it was that there was some speculation because they could never trace these clowns. Um, that they might actually be ghosts of clowns as opposed to being just, kind of, very sick [in the head -- like not mentally stable, not sick as in ill] people, um, who are after the children

Eric: It wasn’t real. I mean, the police investigated. There was no such thing. But, I mean, it was this crazy scare. This kind of odd mass hysteria that there were these serial killer clowns out there. And I love that. I mean, that’s friggin’ great, but when Sam talks about, like, “oh there was these phantom clown sightings here, here, and here” – these were the towns where there really was phantom clown hysteria in the [19]70’s. You know, so we really wanted to do that episode. We couldn’t quite find the angle on it until this season, you know, when John pitched this idea of this creature that is taking the form of clowns so he can be invited in the houses.

John: That episode, of all the ones I’ve written, has, uh, has gotten probably the most visceral reaction from people of, of, “Oh my God,” you know, “I couldn’t watch it.”

Eric: Like, every so often you’re like, “Oh, that was so fun!” or “What a fun episode!”, but every so often they give you one like “Okay, that really upset me.” Then you know that you did your job. Then you kind of smile and you’re like, “Good times.”

2.03 Bloodlust

This is Sera Gamble. I wrote the episode Bloodlust. After the episode was shot, Bob Singer came to me and asked me if I wanted to see a very early cut, which I thought was kind of a privilege. It was very nice of him to show it to me. There’s a shot at the end of Bloodlust that just takes my breath away. It’s in one of the last scenes, maybe the last scene. Dean, turns back around to look at the house where Gordon is still tied up, where they’ve left him, and it just so happens that when they were shooting the sun was setting behind him and there’s this amazing flare off the camera and it looks like Dean has a halo. It’s so beautiful and it’s lingering, and Bob says it’s a happy accident, but it makes Jensen look so angelic and beautiful. I think it’s one of the best shots in all of Supernatual.

2.04 Children Shouldn’t Play With Dead Things

Hi this is Jared Padalecki. I play Sam Winchester and during this episode Children Shouldn’t Play With Dead Things one of the things I really remember most about it was that I did the whole episode with a broken hand and with no cast. I knew it was hurt but I thought it was just a sprain or something. And I finally had an appointment during the shooting and we took some x-rays and found out it was broken but unfortunately I had already committed myself to camera. And I think we had done the last scene of the show and I didn’t have a cast on my hand so it’s not like we could just go, put a cast on my hand, and half of the episode I have a cast half of the episode I don’t have a cast. So you’ll notice, during certain parts of the shooting, I remember at the end, when we’re leaving the cemetery there’s a scene where Jensen and I get into the Impala and it was my right hand that’s hurt and I’m sitting in the passenger side and I actually reached over with my left hand to close the door instead of just reaching out with my right hand which was closest to the door. And I didn’t realize I’d done it.

And also during uh (laughs) there’s a shot where we’re patting down the cemetery after we finally rebury her. I guess I was just kind of horsing around and I started hitting the ground with the shovel and I bent down really low and my pants up and ripped. I mean just ripped right down the back, right down the butt. So everybody was sort of cracking up and I was pretty embarrassed, but, uh, it was a good time.

2.05 Simon Said

This is Eric Kripke, creator of Supernatural. Episode 2.05 Simon Said, this was a really hard episode for us. It was one of those episodes where the script did not translate to the screen as smoothly as we had hoped because the mind-control aspect that Andy has is really really hard to dramatize. He looks at you and all of a sudden your eyes swim as you fall under his mind-control and you do whatever he says. And, you know, that made, like, a lot of sense when you’re reading it on a page, but that doesn’t actually translate when you’re looking at it dramatically, and looking at it with actors. It was one of those episodes where, had we done it again, we would have come up with a real visual signature to signify, “Oh, they’re under mind control.” Some flash in their eyes, or some effect that we just didn’t have. So, you look at the final product: we pulled out every trick in the book we could think to do, to try to show that they were under mind control. We changed Andy’s voice, we changed the speed of the film, we tried all of these tricks to try to make it happen. And I don’t even know, even after doing all that, if it was completely effective, just because we didn’t quite figure that out. Simon Said was a better script than it was an episode, because it was one of those things that didn’t translate as well as we’d hoped.

2.06 No Exit

Hi, I’m Kim Manners. I directed an episode called No Exit of this season on Supernatural and I wanted to tell the fans a story: When Jensen and Jared were crawling through the sewer pipe we had water in it and I made them crawl through that pipe over and over and over again and they were getting soaking wet. So, at the end of the night they grabbed me (we had wrapped) and they threw me in the sewer tunnel and got me soaking wet. And we went outside and it was freezing cold. So I had to get them back so I rescheduled the show so that the last shot on the last day, it was Jared and Jensen and they had to open a hatch and go down into the sewer system. And at the bottom there was no way out. So I was on top with two 5 gallon buckets of water watching a handheld monitor and I got the shot and I had the effects guys hand me the water and I hit them both with 10 gallons of water. [laughs] I thought that was pretty good.

2.08 Crossroad Blues

Sera: Crossroad Blues is an episode about people who make deals with demons at crossroads. Um, it’s our episode where we’re playing with the myth of, um, making a deal with the Devil and selling your soul.

Eric: For a very long time I’ve been into blues music. Um, and I came across this story of Robert Johnson, I came across his music, at a really young age, when I was still in high school. Um, and was just, you know, intrigued by it. And this idea of someone who has, you know, sold his soul to become this great musician, and, and, you know, I’m certainly aware that that, you know, wasn’t really Robert Johnson, it may have been someone else that this legend created, but it sort of doesn’t matter. Like it, it’s kind of about these – you know, the legends are more important than the actual men.

Sera: The more I read about Robert Johnson, the more I realized that it was – it’s really one of the coolest urban legends ever, because so much about it is actually true and correct. You know, the only part of the story that we don’t know for sure if it’s true is that actual part where he talks to the Devil. Everything else really happened.

___: Oftentimes we find there’s a very close connection between the Devil and the music and so it only makes sense that the best musicians have some sort of pact with the Devil.

Eric: The fact of the matter is he was a sharecropper who was not a particularly good guitarist, who actually got a lot of scorn for being kind of a, a piss-poor guitarist. And he vanished for a couple years and he came back better than anyone has ever been since. So you tell me what happened in those two years.

___: Whether or not this was a Devil pact to make him become a great musician, or perhaps he had encountered and African deity, uh, I don’t think it’s that simple. I think what we’ve got is multiple traditions feeding into this, uh, story where you can interpret it as potentially, uh, a Devil, or potentially an African spirit.

Dean: That’s serious spell work. I mean, that’s deep south hoodoo stuff.

Sam: Used to summon a demon.

Dean: Not just summon one. Crossroads are where pacts are made. These people are actually making deals with the damn thing.

___: In the south, you had this tradition, where you come to the crossroads and, um, you can meet one of the gods, the African gods of the crossroads and be taught things. And this concept has gotten mixed up with Devil pacts.

___: . . .in Africa, which would be around ***, one of the most powerful spirits, Ellegua, who is, among other things, the guardian of the crossroads.

___: In the traditions, Ellegua will actually, if the person comes to the crossroads at a certain time, will, not ask them to sell their soul, but is willing to give them information. Basically, how to play the blues guitar.

___: Why a crossroads? A crossroads is a wonderful spot. It’s sort of a threshold spot. You could go one way or you could go another way. It’s betwixt and between. It’s neither here nor there. And at the crossroads, then, you can make a pact with the Devil.

Sam: So, it’s just like the Robert Johnson legend, right? I mean, selling your soul at the crossroads kind of deal?

Dean: Yeah, except that wasn’t a legend. I mean, you know his music. You don’t know Robert Johnson’s songs? Sam, there’s occult references all over his lyrics. I mean, Crossroad Blues, Mean Devil Blues, Hell Hound On My Trail?

___: Once people have got this great story everything starts feeding into it. The way the myth specifically attached to him was because Tommy Johnson was much more famous in the Delta than Robert Johnson, but not very well remembered today. And Tommy Johnson’s brother, who was a preacher, and who was very very into all sorts of mystical, magical sorts of things, told this involved story about Tommy Johnson going down to the crossroads at midnight and meeting a black man there who tuned his guitar for him. And he said after that happened he could play anything he wanted to play. And then a number of people who had already been into Robert Johnson and into the Devil songs said, “Oh, that’s how it works.” Now most people think that is the Robert Johnson story.

Robert Johnson (singing): I went to the crossroads, fell down on my knees

___: People try to give answers to questions that are unanswerable. And certainly when we’re talking about hoodoo beliefs in the Mississippi Delta in 1930, a lot of it we just don’t know and will never know.

___: When you go back and forth with that, that concept is now mixed with that hoodoo concept of a guardian of the crossroads. So did he sell his soul or was he given an opportunity by one of the African deities. I can’t answer that. You may have to wait until the afterlife to find out.

2.09 Croatoan

Bob Singer: Everything has a realistic take to it and this always has to have some element of mythology in it so we like to show to feel, you know, even though it’s supernatural, that these things could happen.

___: Disappearing cities, disappearing colonies, disappearing communities have certainly captured people’s imagination and there are examples of this going all the way back to classical times.

John: The lost colony of Roanoke is probably the grand daddy of all American urban legends. It has been around for 400 years and it has always fascinated me.

Eric: I remember in fifth grade I’d be, “Whoa! That’s so cool,” like, “A vanishing colony!” like, you know, it’s like, a historical ghost story. And so, you know, I was always enamored with it.

___: People’s imaginations run wild with the thoughts of what could have happened to these people of Roanoke

Sam: Roanoke was one of the first English colonies in America, late 1500’s.

Dean: The only thing they left behind was a single word carved in a tree. Croatoan?

Sam: Yeah. And, I mean, there were theories: Indian raid, disease. But nobody knows what really happened. They were all just gone. I mean, wiped out overnight.

___: The first group of English to land at this place called Roanoke actually arrived in 1584. It was really an exploring party and so this sets up really the famous colonization of Roanoke, which happens in 1587, when a large group of about, depending on the document, 119 or 121 people, come over from England and go. Among them is, this man, John White, who’d been there in 1585, who is now coming back and he’s going to be the governor of the colony. And they’re going to create a city, the city of Raleigh, uh, on Roanoke, and this is going to be a fort, basically, and they’re going to live there, and they’re going to stay there. And as the summer comes to its end, it’s fairly clear that these colonists understand that they need more supplies from England. And so he leaves in 1587 with the idea that he will be back next year. Well, here’s where history intervenes. White goes back to England and in 1588 tensions between England and Spain explode in an event that we now speak of as the Spanish Armada: the arrival of the greatest fleet in the world, coming to England to invade England in 1588. Meanwhile, we can just imagine poor John White is in England knowing that he’s not going to be able to get a ship over there in 1588 because everybody’s busy. So he makes it back in 1590. And when the English come back to re-supply Roanoke in 1590, they go to the city of Raleigh, they go to this little post, and there’s no one there.

Doctor: There’s no one. Not anywhere. They’ve all just vanished.

___: It was a thriving colony one moment, the next moment, everybody’s gone. The only thing that they leave, is a rather cryptic inscription on a tree that says ‘croatoan.’ But, of course, nobody knows really when that inscription was made. It could’ve been made much earlier on. There’s nothing that necessarily suggests that the last person leaving the colony inscribed that on the tree. Uh, but, of course, narratives can make use of these little clues and put them together in such a way that you can make a convincing story, or at least a believable story.

John: No one has ever figured out what happened to them. It’s always been fascinating to me. I’ve heard many weird theories over the years. Everything from America’s first alien abduction to a tsunami to disease to, of course the obvious was that they were wiped out by Native Americans.

Eric: I think they either ran out of food and went to the Indian tribe for help and something bad happened along the way, or there was an Indian raid and something bad happened to them and the survivors wrote ‘croatoan’ to tell them, you know, that that’s what happened.

___: I think that today people are interested in it because this is a genuine mystery. This is something about the past for which we have not found an answer and, in all likelihood, will never find an answer.

2.12 Nightshifter

My name is Jerry Wanek and I am the Production Designer. The episode Nightshifter was yet again an episode that took place in my home state of Wisconsin. And Phil Sgriccia directed the episode and Phil has a great sense of humor so we thought, you know, what’s indigenous about Milwaukee, where this took place, that we can make into one of our classic motel rooms. So we did the, uh, “Brew City Motel” [‘brew’ being a term for beer]. And the whole, décor of the hotel is based on beer bottles, beer labels, and things that people in Milwaukee love. So, we took these 40 ounce beer bottles and did a room divider out of the beer bottles and different tap handles. And it actually looked quite good, it, you know, that’s not just me coming from Wisconsin, but it turned out quite good. And a couple of pictures on the wall are from polka festivals which I actually have pictures of a polka band that my dad actually played are on the wall, then I had my little nephews underneath this huge cow, that is also a shot I took while in Wisconsin. So, whatever state we’re in and whatever region, we try to stay close to the people and what is happening in that state. Try to stay honest

ficgen "He Didn't Have A Family" - 3x12 tag

Thu, 13 Mar 2008 02:31:32 GMT

Hey everyone!
I LOVED the episode Jus In Bello, but I was not satisfied with the lack of a brotherly conversation at the end to discuss our boys' reactions to the events of the epi. So, I created my own heat-warming Impala conversation between the brothers to wrap up the episode. Hope you like it!
Title: He Didn't Have A Family
Author: IrishTwilight
Summary: Jus In Bello tag. General.
Words: 874
Please let me know what you think!

"Are you mad?"

Sam turned to his brother in surprise, trying to make out his expression in the light from passing cars as they drove. "About what?"

"That I didn’t let Ruby do the spell."

Sam thought about it. Dean waited.

"No." Only Sam caught the slight relaxing of shoulders that conveyed Dean’s relief.

"Why not?"

"Because you were right."

Dean’s mouth quirked into a cocky grin. "I’m always right."

Sam smiled and shook his head slightly before turning serious again. There was something he needed to say. "Hey, Dean?"

"Yeah?"

"Thanks."

Dean shot him a glance.

"For talking me out of it, I mean." Sam shifted nervously, but continued, "I don’t know why I was even considering it in the first place. I guess I was just so tired of losing and of the other side breaking the rules that I wanted to break some this time. I just didn’t want to lose them all."

Dean could hear the emotion in his brother’s voice. He had been angry at Sam for not helping him argue with Ruby, but now that he understood him, it was hard to be mad. "I know."

"And then we did things the right way and people still got hurt, and . . . I guess I just don’t know anymore, I mean, after everything Ruby said . . ."

"Sammy, I’m not sure about Ruby’s theory."

Sam turned to his brother in surprise, "What do you mean?"

"I mean, she blamed us for not doing that spell. She blamed us for their deaths, for Lilith coming back, because someone got away to report to her."

Sam didn’t understand where Dean was going with this. "Yeah?"

Dean turned from the road to look at Sam. "But if we had done the spell and exorcized them all . . ."

"No one would have reported to Lilith," Sam finished, beginning to understand what

Dean was getting at. He knew how a general worked. "And she would have come herself to find out what had happened, because no one would have reported positively or negatively on the status of the job. She would have come anyways." Sam began to think seriously about everything Ruby had said. Then a realization hit him. "She asked for the Colt."

Dean met his eyes. "She was going to kill them?"

"I dunno, but . . ."

"Yeah. I wonder what she was trying to do."

Neither brother had an answer for that.

Silence fell, broken only by the softly turned down classic rock humming from the radio.

Dean snuck glances at Sam where he sat in the passenger seat, lost in thought. Ruby had told him that she wanted to toughen Sam up, to get him ready to fight the demon war on his own.

But Sam was already scaring him with his new lack of conscience. His little brother had always been the softer one, defending the innocent and not-so-innocent. But now . . . panic began to build inside him at the thought of Yellow-Eyes’ words, the doubt that his brother had come back the same as he’d left, and the thought that now some random demon was wearing away at the little conscience Sam appeared to have left.

And Sam . . . Sammy was just trying to be like him. With effort, Dean pushed the panic back down. They’d made it through. Sam hadn’t killed any virgins. And he was here to look after his little brother. They could get through this. There was no way he was letting Ruby mess with Sam’s head.

At the other end of the bench seat, Sam’s mind churned with unanswered questions. He knew that Ruby claimed she wanted to help him and could save Dean. But why? Why was she so interested in helping them out? She was a demon. And all the other demons seemed to want Sam dead. Saw him as competition. Why was Ruby fighting on his side? What did she want from him?

And could they trust her? All she’d ever done was save they’re lives. But Sam still just wasn’t sure. He knew they could use her help. But trusting her? He didn’t think he could.

"He didn’t have a family."

"What?" Dean’s quiet statement took him by surprise in the silence that had fallen after their discussion about Ruby.

"Henricksen. He was just like us. Spent his life fighting a never-ending tide of evil, making little headway, . . . and when he dies . . ."

"No one remembers him," Sam finished his brother’s thought and studied him from the corner of his eye, trying to think of something to say. A way to let his brother know he wasn’t as forgettable as he thought he was. "We do."

"What?"

"We do. We got to see who he could be. And all those people who were possessed – they know him." Dean’s focus remained stoically on the blacktop being eaten by the Impala, but Sam could see the subtle shift in his bearing that meant Dean really was listening, so he continued. "It will never be publicised, the world will never know what he did, but those people are alive because of him. And that’s what matters."

"I know."

"And we remember him."

Dean finally turned his head to meet Sam’s eyes. Then he flicked his gaze back to the road.

"Yeah."

Family Heirloom -- ficgen

Mon, 03 Mar 2008 19:12:13 GMT

Title: Family Heirloom
Author: IrishTwilight
Summary: Post-aired episodes. Short one-shot about Dean's deal. I don't want to give anything away. General.
Words: 910

"Nice car."

The smooth voice startled him as he was fishing the keys from his pocket. He glanced up to see a young woman on the sidewalk, looking at his car with appreciation.

"Yeah," he breathed as he paused and ran a gentle hand along the hood, "it is." He looked back up at the girl. She was looking at him now. Her blue eyes sparkled with shy interest as she regarded him, a small smile turning up the corners of her mouth.

"Did you want a ride?" Now where had that question come from?

Her smile grew, reaching her eyes. "That would be awesome."

He smiled in return and crossed over to the passenger side, unlocking the door for her and holding it open as she slid in, onto the soft leather seat, before closing the door after her.

By the time he had crossed back over to the driver’s side, she had leaned over and unlocked his door for him. "Thanks," he said as he got in and started the car. She smiled at the purr of the engine.

"I’m Tracy," she volunteered as they pulled out of the lot.

"Sam," he replied. "So, anywhere in particular you’d like to go?"

"The diner on Richmond. I’ve got a shift at 4."

"You waitress?"

"Yep. It pays the bills. I’m actually saving up to go back to school." Sam turned to look at her. She appeared almost embarrassed to admit her dreams.

"Good for you. I’m sure you’ll make it. Going back to school isn’t always easy . . . but it’s worth it."

"Really?" she said. Sam couldn’t help but notice the way her face lit up. "Thanks. Not everyone’s been so supportive. But it’s something I’ve kind of always wanted, you know?"

"Yeah," he cleared his throat, casting around for something to change the subject "So, you like the car?"

"It’s beautiful. Where’d you get it?"

Sam’s eyes focussed on the steering wheel in front of him, rubbing circles on the leather with his thumb and listening to the comforting rumble. "It’s kind of a family heirloom."

"Really? So, it’s from your dad?"

"Um, it was. He gave it to my brother." Sam’s eyes flicked to Tracy, then back to the road. "And my brother gave it to me."

"Take care of my baby, Sammy."
"Dean, no."
"You’d better. I told you before: if you don’t, I swear, I’ll haunt your ass."
"It wasn’t funny then and it isn’t funny now."
"I know." Sam looked sharply at his brother. Dean pulled the keys from the pocket of that worn leather coat and held them out. Sam just looked at him in disbelief.
"She’s yours now, Sammy."

Looking for a distraction from his thoughts, he chanced a glance at Tracy again. He saw the concern and question grow in her eyes as she swept her softly highlighted brown hair back behind her ear. "Your brother?"

"Yeah. Dean."

"Dean, no. You can’t give up. We still have time, we’ll find a way."
"Time? Today’s my last day, Sammy."
"Not if I have anything to say about it."

He could see Tracy was apprehensive to ask the question. She could tell by his mood that there was more to the story. She bit her lip, debating asking such a personal question from a man she barely knew, but at the same time not knowing how to drop the subject. She was saved from coming up with something to say when they pulled up in front of the diner.

"Thanks," she said, her smile expressing real gratitude. "That was awesome."

Sam grinned in return. "You said it would be." Her shy smile returned. "And you’re welcome," he added.

"So, . . . maybe I’ll see you around again?" Her eyes were clearly hopeful, and Sam found himself hoping too.

"Actually, I’m coming in. I’m meeting someone."

Tracy looked happy at the news. "Oh, okay, I’ll see you inside then." With another smile, she got out of the car, running her hand gently along the hood as she left, and vanished around the back of the building to the employee entrance.

Sam sat for a few moments before getting out of the Impala. He took in the bright sunshine for a moment, and entered the diner, his eyes scanning the interior, taking in exits, patrons, and staff, then he walked over to the corner booth and slid in.

No sooner had he sat down when Tracy was at his elbow, ready to take their order. He smiled up at her. "Hey Tracy. Long time no see."

She laughed softly. The man across the table from Sam looked at him in confusion.

"So, what’ll it be, Sam?"

"Just two coffees for now, thanks," he answered, ignoring the questioning stare from across the table.

"Coming right up," Tracy promised before dashing away.

Sam finally met the incredulous green eyed-stare. "What?"

"Dude, how does a chick that hot know your name?"

"Dean . . ."

"You should so totally go for it. We can stay in town another couple days. No, seriously, man. She so has the hots for you."

"My car."

"What?"

"She has the hots for my car."

"Oh."

Sam just smiled to himself. Eventually he would tell that Dean that he didn’t plan on keeping the gift he gave him when he thought he was going to die – before they got him out of the deal.

But in the meantime . . . Sam was going to have some fun.

Tue, 08 Jan 2008 00:14:01 GMT

Title: After the Anger Fades
Author: irish_twilight3
Words: 888
Summary: Pre-series. The day Sam left for Stanford. Mostly from Dean’s POV. Gen (no wincest)
Oneshot
This came to me randomly in class while being bored out of my mind by a lecture on plagerism. Hope you like it ;)

"Sam, wait." The words left his mouth before he could stop them.

Sam half turned back, his hand still on the doorknob, and gazed out the window as dawn’s light began to creep into the room, refusing to meet Dean’s eyes. "What?"

Dean just looked at his brother, Sam’s shoulders drooping from the weight of his backpack and duffel, the weight of the fight with Dad, and the weariness of another long night spent fighting the supernatural. The more Sam’s aches – physical and deeper – became apparent to Dean’s scrutiny, the less he felt he had the heart to beg him to stay. Why was he really asking his brother to stay and endure this life? So that he could protect him? Dean could no longer tell himself that was the only reason. The truth was he needed Sam’s company, liked having his little brother around, and didn’t want him leaving on such bad terms. But what kind of company would Sam be if Dean stopped him from chasing the life he really wanted for himself? Maybe . . . maybe he should just let him go.

Confused by Dean’s silence, Sam finally turned his head to meet Dean’s eyes. What Dean saw there stopped any arguments he may have made. The weariness and hurt in Sam’s eyes spoke volumes. The anger that had fuelled him through his frantic packing had faded, and now Dean could see how much it hurt his brother to make this decision.

This wasn’t a rash action, a simple, thoughtless, regret-it-in-the-morning result of the fight with their father. No, Sam had been mulling over this for a while. It was what he had decided he wanted, needed. And who was Dean to stand in the way of that?

For a rare moment, Dean had his carefully erected walls down and his thought process played across his face. Sam had been afraid to meet his eyes. Afraid to see them begging to stay. Afraid he wouldn’t be able to refuse.

But instead, when he finally worked up his courage and resolve and looked at his brother, he could see something else . . . Dean wasn’t going to ask him to stay. He was saying goodbye.

Tense muscles, defensive body posture relaxed. Sam’s hand slipped from the doorknob as he turned to face his brother fully.

"It’ll be alright, Dean."

Dean hated that – he was the one who was supposed to be looking after Sam, reassuring.

"Of course it will, Sam," he conceded, trying to reclaim his place as big brother. He threw his cocky grin back in place, "We’ll see you later."

Sam just gave a sad kind of smile, not wanting to hurt his brother by telling him he was planning on taking his father’s words to heart – he wasn’t coming back.

But after all these years, Dean could read his brother like a book. He knew Sam was serious about this ‘leaving for good’ business. But he also knew no clash of words or wills, no force supernatural or otherwise, could keep him and his brother apart forever.

"‘Bye, Dean."

Dean couldn’t say all he wanted to say. Couldn’t voice all the feelings churning inside him . . . especially not the foremost in his mind. He had never been good with chick flick moments.

The unspoken words – feelings, regrets, apologies – hung in the comfortable silence between them. Until Sam broke the spell, reaching for the doorknob again. With one last look back at Dean, standing by the bed where the dawn light spilled in the open door, Sam tugged the duffel up higher on his shoulder and headed out into the too-bright sunshine.

"See ya, Sammy," Dean spoke into the silence.

~*~

Dean didn’t know how long he stood there before he heard his father’s motel room door open and his large frame filled the doorway Sam had left open, blocking out the summer sun that had been slowly warming Dean, helping the healing a little.

His dad was all business.

"Caleb called. There’s a poltergeist over in Minnesota. Pack up."

Everything safely locked inside, his walls securely back in place, Dean didn’t miss a beat before responding, "Yes, sir," and reaching for his duffel.

After a few moments of shoving clothes inside it – a ritual as old as time – he realized he hadn’t heard his father leave. Sneaking a glance, he saw him standing just inside the door, guards down, weariness seeping from him, anger forgotten, staring out the window with a far-off look in his eyes. And something else. Something Dean was sure was . . . regret.

"Dad?" Dean asked, careful to keep his voice neutral.

Then the moment was broken. Steely, hard, protected eyes met his, mirroring the walls behind his own.

"I’ll go check us out of this dump."

Then he was gone. And Dean was alone. He looked at the bed, sheets still rumpled, where Sammy had slept. And suddenly he felt so empty and alone. His eyes found the window, and as he looked out across the town, at that highway fading out in the distance, he heard his brother’s words again:

"It’ll be alright, Dean."

And it would. ‘Cause Sammy was okay. And he was where he wanted to be.

As he fingered the amulet that hung from his neck, he told himself that’s all that mattered . . . and went back to packing. Ready for the next hunt.

Thanks for reading!! Please let me know what you thought! :D

Where There's Life There's Hope 2/?

Thu, 29 Nov 2007 17:00:23 GMT

Thanks for all the lovely comments on part 1 everyone! Because you liked my first fanfic so much, I've decided to continue it. So, here's part 2!
Title: Where There’s Life There’s Hope 2/?
Summary: This takes place after Season 2. What would happen if Sam and Dean were arrested again? I love the Hendrickson storyline and I've had this idea for a while now.
Words: 1,100
Characters: Sam, Dean, Hendrickson, Mara
Rating: PG
Part 1/?: http://irish-twilight3.livejournal.com/816.html#cutid1

Mara turned around to knock on the door, then stopped when she saw someone approaching from down the hall. She cringed inwardly, but managed a neutral look and tone as she greeted him.

"Hendrickson."

"Daniels. It’s been a while," Hendrickson said with a smirk.

Despite his attitude, she wasn’t about to back down. He could never prove she lied. "It has. I suppose you’re here to see the Winchesters."

"You suppose right. Are they in there?" he asked with a nod towards the door.

"Yes, but we were just in the middle of a discussion, so you’ll have to wait to see them."

Hendrickson’s smirk didn’t leave his face. He was so cocky, he thought he had them this time. "Sure thing. I’ll come back later."

Mara waited until he was out of sight to knock on the door, before opening it to see Sam and Dean waiting for her. She took a deep breath, sat at the table, pulled out a pad of paper and a pen, and waited in silence.

Dean looked at Sam, and they agreed without words that he should start.

Dean met her eyes and inwardly steeled himself before beginning. "Mara, we’ve decided to tell you the truth, but maybe this would work better if you asked us the questions you need to know, and we give you straight answers whenever possible."

Mara couldn’t believe it, but her expression only betrayed a hint of her skepticism "You’ll answer any question?"

"Well, sweetheart, some things are still off limits," Dean drawled flirtatiously.

Sam rolled his eyes and gave Dean a sharp look, then turned to Mara. "Yes. We want out of here, and to do that we need your help. You can’t –and probably won’t – help us if you don’t understand or believe that we’re innocent."

She turned to Dean, "So, you’re innocent?"

"That’s a complicated question. We’re innocent of some of the murder charges, yes."

Mara’s breath caught. This really shouldn’t be bothering her this much. She’d dealt with plenty of felons and heard some evil, tortured stories. But, for some unidentifiable reason, she desperately wanted to believe the Winchester’s were innocent. She needed to take a step back and deal with this like any other case. She had to swallow before she could get out, "But you did kill . . ."

"Lots of things."

Now she was confused again. "Things?"

Dean and Sam looked at each other. She could tell they really didn’t know where to start, so she decided to try to make this easier, "Okay, let’s come back to that. We’ll start with what happened in Milwaukee."

Dean smirked, "Well, that’s not really moving away from that topic, but okay."

"You mean, you did commit those two murders?" Mara held her breath while she waited for an answer.

"The man, I didn’t kill. But the woman, I killed. Only, she wasn’t a woman."

"What do you mean?"

"Didn’t anyone wonder why she was identical to one of the hostages and not wearing many clothes? Geez, the cops really have no idea what they’re doing, do they?" Dean turned to his brother for agreement, but Sam just shook he head in exasperation.

Mara smiled to herself, sometimes she felt the same way. "Maybe they didn’t, but I did. I talked to the hostage, Sherry. She swore you saved her life . . . but she couldn’t explain it to me."

"The man was killed by a shapeshifter," Sam spoke up.

"A shapeshifter?" This wasn’t making any sense, but since when did anything surrounding the Winchesters make sense?

"A shapeshifter is a creature that can take the appearance of anyone," Sam explained. "When it changes form it sheds it’s old skin."

Dean continued, and Mara turned her gaze to him. He could tell Mara had a lot of questions, but she was waiting to hear the whole story first, which he admired. "The shapeshifter in Milwaukee was kidnapping bank and jewellery store employees, taking their place, robbing the bank, then killing them, making it look like a suicide and disappearing with the money. Ronald, the guy who took everyone hostage, was a security guard at another bank that was hit. He figured out, more or less, what was going on at the same time we did and tried to stop it. We ended up kind of working together until the sniper got him – which he didn’t deserve, by the way." Dean glared at Mara. Mara was taken aback by his anger, even though she knew it wasn’t really directed at her.

Sam, trying to change the subject, continued for his brother, "So, anyways, it was the shifter who was actually trying to rob the bank and we were trying to stop him. He killed that African-American man and took his place, but we found the body and knew it was him, so he escaped and shifted again."

As long as Mara ignored the logic leap a shapeshifter implied, the story actually made a lot more sense now. The whole way the robbery went down never really clicked for her before, there were so many variables that didn’t fit. As much as she was loath to admit it, the presence of the shapeshifter explained a lot. "So, it changed again . . . into Sherry?"

Dean smiled, "Wow. You’re good. You’re taking this all very well."

Mara tried hard not to blush. "I’m still not sure I believe all this. I’m just trying to understand."

"Fair enough," Sam conceded. "So, yeah, it turned into Sherry and that’s what Dean killed, the shapeshifter as Sherry."

Mara looked at Dean, "And stopped the shifter from killing the real Sherry."

"Yes."

Mara sat back in her chair and took a breath. She still had one question. "So, how did you guys know about the shapeshifter?"

Dean and Sam looked at each other, then Dean turned to her and answered, "It’s kinda what we do."

"So, the nurse in Green River, who you asked me to look up . . ."

"Her spirit was killing all those inmates. Which is why we needed to know where she was buried. We had to salt and burn her bones to destroy her spirit." Dean gave her a wink, "Thanks for your help with that, by the way."

Mara smiled, "You’re welcome . . . I think." She knew she needed time for this to process. "I appreciate everything you’ve told me. But there’s one more thing I need to know before you’re sent to Jefferson County Jail."

She could tell the brothers must be nervous, but their faces were stone as they waited for her to ask the question. She smiled.

"So, you guys, . . . you save lives?"

Thanks for reading :D!!

ficgen - Where There's Life There's Hope 1/?

Tue, 27 Nov 2007 19:45:12 GMT

Okay, so this is my first attempt at fanfic. Any advice would be much appreciated!

Title: Where There's Life There's Hope 1/?
Summary: This takes place atfter Season 2. What would happen if Sam and Dean were arrested again? I love the Hendrickson storyline and I've had this idea for a while now.
Words: 833
Characters: Sam, Dean, Hendrickson, various others
Rating: PG

Pennsylvania

"Hey, Dad! Dad, come look!"

He grabbed his coffee and headed for the living room, calling, "What is it?"

"It’s those guys." His daughter was standing in front of the television, pointing at the screen.

"Who?" he asked. Then the newscaster showed the photos again. "Oh my god."

Boston

"Breakfast is ready!"

"Coming!"

"Could you grab the syrup on your way?"

She ducked into the kitchen and opened the cupboard to get the syrup. She was just about to take it to the dining room when the television on the counter caught her attention.

" . . . apprehended outside . . . facing several charges, which include three counts of first degree murder, credit card fraud, and, oddly, grave desecration." The pictures on the screen left her standing speechless, frozen, holding the forgotten syrup.

"Emily! The syrup please!"

New York

"Huh," he remarked as he picked up the newspaper.

"What?" his daughter asked, curious.

"I swear I’ve seen these men before somewhere . . . . Probably in some new bulletin," he concluded before setting the front section back down on the table and opening the business section, which effectively hid from him Sarah’s reaction to the faces of the two convicts staring up at her.

Little Rock, Arkansas

"Daniels," she answered the phone at her desk.

"You wanted to know if the Winchester name ever came up again."

"Yes."

"Sam and Dean were arrested last night here in Arkansas."

"Where are they now?"

"Police headquarters in Pine Bluff."

"Thank you." Mara put the phone down and took a deep breath before turning off her computer and reaching for her purse and keys.

Pine Bluff, Arkansas

Mara entered the room, closing the door sharply behind her.

Dean shot her a flirtatious smile of recognition, despite the fact that he was handcuffed to the table at which he sat. Sam, also handcuffed to the same table, simply looked surprised to see her and shot his brother a glance. The two men locked eyes for a minute in silent communication before Dean turned back to her.

"So, what can we do for you, Mara?" Dean drawled with his trademark humour.

Mara shook her head slightly at his ability to cover his fear even in the worst of circumstances. She took a seat at the table and set her briefcase down beside her. The brothers simply looked at her, waiting. Not for the first time, she marvelled at their good looks – too bad they were felons. Although, they wouldn’t be for long. Not if she had anything to say about it.

"I’d hoped never to see you guys again."

Sam slid a look at Dean, which Dean returned before turning to Mara with raised eyebrows and a slight shrug, quipping, "Well, what can I say? I missed your smile."

Mara couldn’t help it – she smiled quickly before recovering and folding her hands together on the table in front of her. "Yes, well, as entertaining as it was to let you escape from Hendrickson last year, this time I’m not lettting you get away without telling me exactly how it is you’ve gotten yourselves so firmly set in Hendrickson’s sights. If your’e not killing these people, who is? And what do you have to do with it? Nothing I learn about you makes sense. In Hendrickson’s mind, you’ve already been tried and found guilty. But me? I’m not so sure. And I don’t know why. So if I’m going to be able to help you out of this, you’re going to need to tell me the truth. All of it."

Now shock was evident on both their faces. Sam and Dean regarded each other with another of those silent communications only they understood and Mara took that as her cue to leave. She picked up her briefcase and left the room, closing the door behind her.

Dean was the first to break the silence left in her wake, "Well, this is a helluva mess."

"You’ve got that right," Sam conceded. "Do you trust her?"

Dean thought about it for a moment. "Yes," he finally answered.

"Me too."

Dean wasn’t expecting that. "Why?"

"Because she didn’t tell Hendrickson where we went last year – she didn’t tell him which cemetery."

"But he must have tried to get it out of her, and you said she would have to tell him . . ."

"So she lied. She lied for us."

Dean stared at his handcuffs in thought.

Sam broke the silence this time. "I think we should tell her."

Dean jerked his head up to meet Sam’s eyes in shock. "You do?"

"Yeah, I do. Look, Dean, we need to get out of here, and soon. And I don’t see another way out. We don’t have someone on the inside this time . . . unless we get Mara."

"But how far are we willing to let this go, Sammy? Sure, say we tell Mara and she believes us, but what does she tell the jury?"

Sam didn’t have an answer for that . . . and neither did Mara from where she stood leaning against the interrogation room door.

*Note* If you're curious and weren't able to figure it out, the characters at the beginning are, in order: Jerry from 1x04 Phantom Traveler, Emily from 1x11 Scarecrow, Sarah from 1x19 Provenance, and Mara from 2x12 Folsom Prison Blues.