2.06 No Exit (transcript)
Written by: Matt Witten
Directed by: Kim Manners
Air Date: 2 Nov 2006TEASER
EXT. PHILADELPHIA - NIGHT
Shots of the city at night, closing in on an apartment building. The lights in an upper window are flickering. We zoom into:
INT. APARTMENT - NIGHT
A young blonde woman, KATIE BURNS, is talking on the phone while pacing under the flickering lights. She is annoyed.
KATIE
I checked the fuses. They're fine. It's the wiring. Look, you promised the place would be ready when I moved in. No. You come up now! Please. Thank you.
She hangs up. She grimaces at something on the table, reaches out a finger and dabs it. It's a thick black goo.
KATIE
Gross.
More goo drips on her shoulder. She looks up, getting scared. She goes over to the light switch by the wall, out of which the goo is oozing thickly.
KATIE
What the hell?
She looks deeper into the light switch; a creepy, bloodshot eyes appears. She screams.
ACT ONE
TITLE CARD:
SUPERNATURAL
EXT. HARVELLE'S ROADHOUSE - DAY
SAM and DEAN are getting out of the IMPALA, parked in front of the ROADHOUSE.
DEAN
Los Angeles, California.
SAM
What's in L.A.?
DEAN
Young girl's been kidnapped by an evil cult.
SAM
Yeah? Girl got a name?
DEAN
Katie Holmes.
SAM
(laughs)
That's funny. And for you, so bitchy.
From inside the roadhouse comes the sound of breaking glass and shouting voices. DEAN turns.
DEAN
Of course, on the other hand — catfight.
They go into:
INT. ROADHOUSE - DAY
On the upper levels, ELLEN and JO are shouting. SAM and DEAN enter cautiously.
ELLEN
I am your mother, I don't have to be reasonable!
JO
You can't keep me here!
ELLEN
Oh, don't you bet on that, sweetie.
JO
What are you going to do, are you going to chain me up in the basement?
ELLEN
You know what, you've had worse ideas than that recently. Hey, you don't wanna stay, don't stay. Go back to school.
JO
I didn't belong there! I was a freak with a knife collection.
ELLEN
Yeah, and getting yourself killed on some dusty back road, that's where you belong?!
(she turns and sees the boys)
Guys, bad time.
SAM
Yes, ma'am.
DEAN
Yeah, we rarely drink before ten anyway.
JO.
Wait. I wanna know what they think about this.
A mom, a dad, and two kids under three, all wearing bright yellow t-shirts that read "Nebraska is for Lovers" enter.
ELLEN
I don't care what they think!
DAD
Are you guys open?
JO
No!
ELLEN
Yes!
DAD
We'll just... check out the Arby's down the road.
They leave. The phone rings. JO glares at it, then at ELLEN, who stalks over to answer it.
ELLEN
Harvelle's. Yeah, preacher.
JO
Three weeks ago a young girls disappears from a Philadelphia apartment.
(she shoves a file folder at DEAN)
Take it, it won't bite.
DEAN
No, but your mom might.
She pinches her lips, still holding out the folder. He takes it reluctantly.
JO
And this girl wasn't the first. Over the past eighty years six women have vanished. All from the same building, all young blondes. Only happens every decade or two so cops never eyeball the pattern. So we're either dealing with one very old serial killer, or —
DEAN
Who put this together? Ash?
JO
I did it myself.
DEAN
(impressed)
Hmm.
SAM
I gotta admit. We hit the road for a lot less.
ELLEN
Good. You like the case so much, you take it.
JO
Mom!
ELLEN
Joanna Beth, this family has lost enough. And I won't lose you too. I just won't.
EXT. PHILADELPHIA - DAY
The IMPALA roars into town. They park in front of the apartment building from the TEASER. Close shot of a doorknob; it opens to reveal SAM, followed by DEAN. They enter:
INT. APARTMENT BUILDING - DAY
SAM
i feel kind of bad, snaking Jo's case.
DEAN
Yeah, maybe she put together a good file. But could you see her out here working one of these things? I don't think so.
(Both pull out EMF readers)
You getting anything?
SAM
No, not yet.
As SAM runs his reader over the light switch, it purrs. He leans over.
SAM
What's that?
DEAN
What?
SAM
(touching the goo)
Holy crap.
DEAN
(also touching the goo)
That's ectoplasm. Well, Sam, I think I know what we're dealing with here. It's the Stay-Puff Marshmallow Man.
SAM
(rolling his eyes)
Dean, I've only seen this stuff, like, twice. I mean, to make this stuff you have to be one majorly pissed off spirit.
DEAN
All right, let's find this badass before he snags any more girls.
They exit the apartment and walk down the hallway; hearing voices, they hide around a corner. DEAN frowns as he realizes the woman's voice belongs to JO.
JO
It's so convenient.
LANDLORD
Yeah, it's a great building, fixed it up real nice. All the apartments come furnished, too.
JO
It is so spacious. You know, my friend told me I absolutely have to come check it out, and I have to admit, she was right. You did a really good job with this place.
DEAN
(stepping out)
What the hell are you doing here?
JO
There you are, honey.
(grabbing DEAN around the waist)
This is my boyfriend Dean and his buddy Sam.
LANDLORD
Good to meetcha. Quite a gal you've got here.
DEAN
(smacking her ass)
Oh yeah, she's a pistol.
JO
So, did you already check out that apartment? The one for rent.
DEAN
Yeah. Yes. Loved it. Heh. Great flow.
LANDLORD
How'd you get in?
DEAN
It was open.
JO
Now, Ed, um, when did the last tenant move out?
LANDLORD
Oh, about a month ago. Cut and run, too. Stick me for the rent.
JO
Well. Her loss, our gain! 'Cause if Dean-o loves it, it's good enough for me.
DEAN
Oh, sweetie.
(he smacks her again)
JO
(pulling out a wad of cash)
We'll take it.
INT. APARTMENT - DAY
JO
I'll flip you for the sofa.
DEAN
Does your mother even know you're here?
JO
Told her I was going to Vegas.
DEAN
You think she's gonna buy that?
JO
I'm not an idiot. I got Ash to lay a credit card trail all the way to the casinos.
DEAN
You know, you shouldn't lie to your mom. Shouldn't be here either.
JO
Well, I am. So untwist your boxers and deal with it.
SAM
Where'd you get all that money from, anyways?
JO
Working, at the Roadhouse.
DEAN
Hunters don't tip that well.
JO
Well, they aren't that good at poker, either.
DEAN'S cell phone rings. He answers it.
DEAN
Yeah.
ELLEN'S VOICE
Is she with you?
DEAN
Oh, hi Ellen.
ELLEN
She left a note she's in Vegas. I don't believe it for a second.
DEAN
(holding the phone back, to JO)
I'm telling her.
(they have a furious, muttered argument)
ELLEN'S VOICE
Dean?
DEAN
I haven't seen her.
ELLEN'S VOICE
You sure about that?
DEAN
Yeah, I'm sure.
ELLEN
Well, please. If she shows up, you'll drag her butt right back here, won't you?
DEAN
Absolutely.
ELLEN
Okay. Thanks, honey.
DEAN hangs up the phone; JO grins cheerfully.
LATER
DEAN is pacing, JO sitting at the table with blueprints spread out. She's flipping a small knife around.
JO
This place was built in 1924. It was originally a warehouse, converted into apartments a few months ago.
DEAN
Yeah? What was here before 1924.
JO
Nothing. Empty field.
SAM
So, most likely scenario, someone died bloody in the building, and now he's back and raising hell.
JO
I already checked. In the past eighty two years, zero violent deaths. Unless you count a janitor who slipped on a wet floor.
(to DEAN)
Would you sit down, please?
DEAN
(sitting)
So, have you checked police reports, county death records...
JO
Obituaries, mortuary reports and seven other sources. I know what I'm doing.
DEAN
I think the jury's still out on that one. Could you put the knife down?
She does.
SAM
Okay! So, uh, it's something else, then. Maybe some kind of cursed object that brought a spirit with it.
JO
Well, we've got to scan the whole building. Everywhere we can get to, right?
DEAN
Right. So. You and me, we'll take the top two floors.
JO
We'd move faster if we split up.
DEAN
Oh, this isn't negotiable.
INT. APARTMENT BUILDING - LATER
JO and DEAN are walking down a dim hallway with EMF readers.
JO
So. You gonna buy me dinner?
DEAN
What are you talking about?
JO
It's just if you're gonna ride me this close it's only decent you buy me dinner.
DEAN
Oh, that's hilarious. You know, it's bad enough I lied to your mom, but if you think I'm letting you out of my sight... I don't know if you've noticed, but you're kind of the spirit's type.
JO
Exactly.
DEAN
You wanna be bait?
JO
Quickest way to draw it out and you know it.
DEAN
Oh.
JO
What?
DEAN
I'm so regretting this.
JO
You know, I've had it up to here with your crap.
DEAN
Excuse me?
JO
Your chauvinist crap. You think women can't do the job.
DEAN
Sweetheart, this ain't gender studies. Women can do the job fine. Amateurs can't. You have no experience. What you do have is a bunch of half-baked romantic that some barflies put in your head.
JO
Now you sound like my mother.
DEAN
Oh, and that's a bad thing? Because let me tell you...
JO
What?
DEAN
Forget it.
JO
No, you started this.
DEAN
Jo, you've got options. No one in their right mind chooses this life. My dad started me in this when I was so young... I wish I could do something else.
JO
You love the job.
DEAN
Yeah, but I'm a little twisted.
JO
You don't think I'm a little twisted too?
DEAN
Jo, you've got a mother that worries about you. Who wants something more for you. Those are good things. You don't throw things like that away. Might be hard to find later.
They approach a grating near the floor. As JO stands in front of it, a dark hand slides through the holes towards her legs. She turns around, gasping.
DEAN
What?
JO
I'm not sure.
DEAN
You smell that?
JO
(sniffing)
What is that, a gas leak?
DEAN
No. Something else. I know it. I just can't put my finger on it.
JO crouches by the grating; her EMF reader purrs.
DEAN
Mazel Tov. You just found your first spirit.
JO
It's inside the vent.
DEAN crouches beside her, shining his flashlight. He hands it to her.
DEAN
Here.
He pulls out a screwdriver and unscrews the grating, pulling it off the wall.
DEAN
There's something in there. Here.
He reaches his arm inside, feeling around. He pulls his hand out, holding a clump of blond hair.
DEAN
Somebody's keeping souvenirs.
INT ANOTHER APARTMENT - NIGHT
Another young blonde woman, TERESA ELLIS, enters her apartment, carrying mail. She drops her bag on the counter and starts opening a letter, muttering to herself. Goo drips from the ceiling onto the paper, which she tosses in the garbage. The lights flicker; looking up, she sees a large crack appear in the ceiling.
TERESA This building, I swear to God...
A loud scraping sound pulls her eyes back up; a long crack is moving across the ceiling. Panicked, she picks up the phone, but gets only static.
TERESA Screw it, I'm out of here.
She goes to the door and tries to open it, but can't. She looks down by a grating near the floor; the creepy slimy hands from earlier reach out and grab her legs. She screams as they pull her to the floor.
END ACT ONE
ACT TWO
INT. APARTMENT - MORNING
DEAN is twisted up in a very awkward sleep-position on a leather sofa. Sirens sound nearby and he wakes, groaning. JO is sitting at the table, twirling her knife and studying notes and blueprints.
JO
Morning, princess.
DEAN
Where's Sam?
JO
Went to get coffee.
DEAN gets up slowly, grimacing.
DEAN
Ugh. My back. How'd you sleep on that big soft bed?
JO
I didn't. Just been going over everything.
He looks down at her, considering. He places a bag onto the table and pulls out a Bowie knife, unsnapping it from the sheath and handing it to her, hilt-first.
DEAN
Here.
JO
What's this for?
DEAN
Work a hell of a lot better than that little pig-sticker you're twirling around.
JO takes the knife, then hands him hers. He studies it, and sees engraved on the blade: W.A.H. He looks up at JO, getting it.
JO
William Anthony Harvelle.
DEAN
I'm sorry. My mistake.
He takes his knife back, sheathing it.
JO
What do you.. what do you remember about your dad? I mean, what's the first thing that pops into your head?
(he shakes his head)
Come on, tell me.
DEAN
(sitting)
I was six or seven, and uh, he took me shooting for the first time. You know, balls on a fence, that kind of thing. I bulls-eyed every one of 'em. He gave me this smile, like... I don't know.
JO
He must have been proud.
DEAN
What about your dad?
JO
I was still in pigtails when my dad died, but I remember him coming home from a hunt. He'd burst through that door like, like Steve McQueen or something. And he'd sweep me up in his arms, and I'd breathe in that old leather jacket of his. And my mom, who was sour and pissed from the minute he left, she started smiling again. And we were... we were a family. You wanna know why I want to do the job? For him. It's my way of being close to him. Now tell me what's wrong with that.
DEAN
Nothing.
SAM bursts through the door (like Steve McQueen or something).
DEAN
Where's the coffee?
SAM
There are cops outside. Another girl disappeared.
LATER
SAM and JO are studying the notes, a little more urgently than before. DEAN returns, shutting the door.
DEAN
Teresa Ellis, Apartment 2F. Boyfriend reported her missing around dawn.
JO
And her apartment?
DEAN
Cracks all over the plaster, walls, ceiling. There was ectoplasm, too.
SAM
Well, between that and that tuft of hair I'd say this sucker's coming from the walls.
DEAN
But who is it? Building's history is totally clean.
JO
(picking up a photograph)
Well, maybe we're looking in the wrong place.
DEAN
What do you mean?
JO
Check this out.
SAM
(looking at the photo)
An empty field?
JO
It's where this building was built. Take a look at the one next door. The windows.
SAM
Bars.
DEAN
We're next door to a prison?
JO
(on the phone)
Thanks, Ash. And if you breathe a word of this to my mom... That's right. I will. With pliers.
(hanging up)
Okay. Moyamensing prison. Built in 1835, torn down in 1963. And get this. They used to execute people by hanging them in the empty field next door.
SAM
Well, then, we need a list. All the people executed there.
JO
Ash is already on it.
LATER
SAM is scrolling down a very long list of names on his laptop.
SAM
A hundred fifty seven names?
DEAN
We've gotta narrow that down.
SAM
Yeah.
DEAN
Or else we're gonna be digging up a hell of a lot of stiffs.
SAM scrolls down to the name HERMAN WEBSTER MUDGETT and clicks on it, frowning.
SAM
Herman Webster Mudgett?
JO
Yeah?
SAM
Wasn't that H. H. Holmes' real name?
DEAN
You've gotta be kiddin' me.
DEAN
Yep. Holmes was executed at Moyamensing, May 7, 1896.
SAM
H. H. Holmes himself. Come on, I mean, what are the odds?
JO
Who is this guy?
DEAN
The term "multi-murderer." They coined it to describe Holmes. He was America's first serial killer, before anybody knew what a serial killer was.
SAM
Yeah, he confessed to twenty seven murders, but some put the death toll at over a hundred.
DEAN
And his victim flavor of choice? Pretty petite blondes. He, uh, he used chloroform to kill 'em.
(beat)
Which is what I smelled in the hallway last night. At his place, cops found human remains, bone fragments, and long locks of bloody blonde hair.
(to JO)
Boy, you sure know how to pick 'em.
JO
Well, we just find the bones, salt 'em and burn 'em, right?
SAM
Well, it's not that easy. His body is buried in town, but it's encased in a couple tons of concrete.
JO
What? Why?
DEAN
The story goes that he didn't want anybody mutilating his corpse. 'Cause, you know, that's what he used to do.
SAM
You know somethin'. We might have an even bigger problem than that.
JO
How does this get bigger?
SAM
Holmes built an apartment building in Chicago. He called it the Murder Castle. The whole place was a death factory, they had, uh, trap doors, acid vats, quick line pits... he built these secret chambers inside the walls. He'd lock his victims in, keep them alive for days. Some he'd suffocate, others he'd let starve to death.
JO
So Teresa could still be alive. She could be inside these walls.
DEAN
We need sledgehammers, crowbars. We've got to smash these walls, anywhere thick enough to hide a girl.
INT. APT. BUILDING WALLS - DAY
DEAN and JO are squeezing through crawl-spaces inside the building walls. JO is on the phone.
JO
Okay. Call us after you check the southeast wall.
(hanging up)
Sam's almost done with the first floor. Hasn't found jack squat either.
(DEAN stops)
What is it?
DEAN
It's too narrow. Can't go any further.
JO
Let me see.
DEAN
What are you-
(she squeezes past him)
Ugh. Shoulda cleaned the pipes.
JO
What?
DEAN
I, uh, I wish the pipes were cleaner.
JO
Shut up. I can fit in there.
DEAN
You're not going in there by yourself.
JO
You got a better idea?
DEAN
You-
JO
Uh-huh.
She continues down the tight space past DEAN. After she goes out of sight, he calls her on the phone.
DEAN
Where are you?
JO
On the north wall.
She finds an air duct and starts climbing down it.
JO
I'm heading down some kind of air duct.
DEAN
No, no, no, no, stay up here.
JO
Look, we've gotta find this girl, don't we? I'm okay.
DEAN
(studying the blueprints)
All right. I'm heading to you.
She comes out into a similar space on a lower level and presses on. Goo starts pouring out from the wall cracks.
JO
Oh god.
DEAN
(over the phone)
What is it? Jo? Jo!
JO screams. DEAN runs down to the lower level, trying to hear where she is.
DEAN
Jo!
He takes the sledgehammer he's carrying and smashes a large hole in the wall. He pokes his head in and finds where JO was, her cell phone lying on the floor. She is gone.
END ACT TWO
ACT THREE
DEAN rushes back up the hallway, running headlong into SAM.
SAM
Whoa.
DEAN
He's got Jo.
SAM
What? How'd that happen?
DEAN
I wasn't with her, I left her alone. Damnit!
SAM
Hey, hey, look, we'll find her, all right?
DEAN
Where?
SAM
Inside the walls.
DEAN
We've been inside the walls all night. None of the other girls were there, she won't be either.
INT. APARTMENT - NIGHT
SAM
Look. We've just gotta take a beat and think about this. Maybe we got Holmes' M.O. wrong.
DEAN
Yeah, well, we'd better friggin' think fast.
DEAN'S cell phone rings again; he answers it.
DEAN
Yeah.
ELLEN'S VOICE
You lied to me. She's there.
DEAN
Ellen.
ELLEN
No - Ash told me everything. Man's a genius, but he folds like a cheap suit. Now you put my damn daughter on the phone.
DEAN
She's gonna have to call you back, she's taking care of, uh, feminine business.
ELLEN
Yeah, right. Where is she? Where is she?!
DEAN
Look, we'll get her back.
ELLEN
Get her back? Back from what?
DEAN
The spirit we're hunting, it took her.
ELLEN
Oh my god.
DEAN
She'll be okay, I promise.
ELLEN
You promise. That is not the first time I've heard that from a Winchester.
DEAN
What?
ELLEN
If anything happens to her...
DEAN
It won't. I won't let it. Ellen, I'm sorry, I really am.
ELLEN
I'm taking the first flight out. I'll be there in a few hours.
She hangs up.
DEAN
Damnit!
SAM
Don't beat yourself up, Dean. There's nothing you could have done.
DEAN
Tell me you've got something.
SAM
Uh, maybe. Look. You look at the layout of the Holmes murder castle, there's all the torture chambers inside the walls, right?
DEAN
Right.
SAM
But there's one we haven't considered yet. The one in this basement.
DEAN
This building doesn't have a basement.
SAM
You're right, it doesn't. But I just noticed this. Beneath the foundation, it looks like part of an old sewer system that hasn't been used for —
DEAN
Let's go.
DEAN grabs his jacket and books; Sam follows.
INT. CREEPY SEWER - NIGHT
JO wakes in a small, dark place, lying on her back. She still has her flashlight; she shines it around to reveal a wall wood a few inches above her face - it has long scratches gouged in it. She sobs with a hand over her face, then collects herself. To her right is another wood panel with a slit; looking through she can see a larger, round chamber with similar compartments to the one she's in around it. She hears a noise.
JO
Hello?
TERESA
(in another compartment)
Is - is anybody there?
JO
Your name's Teresa?
TERESA
Yes.
JO
This won't make you feel better, but I'm here to rescue you.
TERESA
Oh god. He's out there, he's gonna kill us!
JO
No, he won't. We're getting out. My friends are looking for us, they'll find us.
Quiet footsteps fall nearby: the spirit approaches.
TERESA
Oh god, it's him!
JO
Shh! Just be quiet!
All is very quiet. Then the Creepy Hand bursts through into JO'S prison and grabs her by the head. She screams as it rips off a chunk of her hair.
END ACT THREE
ACT FOUR
EXT. STREET - DAY
SAM and DEAN, with a metal detector and a shovel, respectively, search the streets of Philadelphia. They follow the trail into an open field until SAM stops over one spot, the metal detector whining.
SAM
Here.
DEAN drops his bag and starts digging furiously. After some shovel work, they dig with their hands to uncover a metal trap door, which they pull open. DEAN hands SAM a shotgun and takes one, and a flashlight, then starts descending. SAM follows.
INT. CREEPY SEWER PRISON - DAY
JO is kicking steadily and furiously on the wall of her wooden cell. She drops back in exhaustion. She hears footsteps approaching and turns; a scraggly-bearded mouth appears at the opening.
HOLMES
You're so pretty. So beautiful.
JO
Go to hell!
He reaches his Creepy Hand through the opening and fondles he. She turns away and groans in disgust and horror. Suddenly she turns, stabbing into the hand with her knife. The spirit flees, screaming.
JO
How do you like that? Pure iron, you creepy-ass son of a bitch!
INT. SEWERS - DAY
DEAN and SAM crawl along on elbows and knees through the narrow sewer tunnels.
INT. CREEPY SEWER PRISON - DAY
JO lies very still, listening.
TERESA
Is he gone?
JO
I don't know.
He isn't. HOLMES grabs JO by the arm again, pulling her back, and clamps a hand down over her mouth.
HOLMES
Shhh.
JO struggles, trying to scream but gagged by HOLMES' hand.
DEAN
Hey!
DEAN fires his gun into HOLMES' chest, sending him flying backwards and out of sight.
DEAN
Jo?!
JO
I'm here!
DEAN finds an iron bar leaning against a wall and starts to pry open JO'S prison with it. SAM investigates the other compartments; one contains gruesome body parts. He finds TERESA.
SAM
We're gonna get you out of here, all right?
DEAN
Sam!
(handing the bar to SAM)
Hang on.
(he opens the compartment to let JO out)
You all right?
JO
Been better. Let's get the hell out of here before he comes back.
DEAN
Actually, I don't think you're leaving here just yet.
JO
What?
DEAN
Remember when I said you being bait was a bad plan? Now it's kind of the only one we got.
He turns to SAM, who has an armful of terrified TERESA. He shrugs.
LATER
JO is sitting alone, silently, in the middle of the chamber. She has her arms wrapped around her knees and is trembling, but breathing deeply and steadily. HOLMES appears behind her. He walks forward. When he gets very close:
DEAN
Now!
JO dives forwards as SAM and DEAN fire at something on the walls; several bags unroll and spill salt in a perfect circle around HOLMES, trapping him. DEAN pulls JO to safety as HOLMES circles, gibbering and screaming in terror.
JO
Scream all you want, you dick, but there's no way you're stepping over that salt!
A grate slams shut, sealing off the room.
EXT. STREET - DAY
JO and SAM are standing at the entrance to the sewers. looking down.
SAM
So? This job as glamorous as you thought it would be?
JO
Well, except for all the pee-your-pants terror, yeah. Sure. But that Teresa girl's gonna live a life because of us. It's worth it, isn't it?
SAM
Yeah. Yeah it is.
JO
Hey, what if somebody finds that sewer down there, or a storm washes the salt away?
SAM
Both very fine points. Which is why we're waiting here.
JO
For what?
The loud beeping of Large Truck Backing up is heard. SAM smiles and looks over his shoulder: a cement mixer is backing into the field, stopping just over the sewer entrance. DEAN is driving.
SAM
For that.
(waving at him to stop the truck)
Whoa!
DEAN gets out of the cab; he and SAM set up the cement mixer right over the entrance.
JO
You ripped off a cement truck?
DEAN
I'll give it back.
(watching the cement pour on down)
Well, that oughta keep him down there till hell freezes over.
END ACT FOUR
ACT FIVE
EXT. HIGHWAY - NIGHT
The IMPALA zooms quietly down a dark road. DEAN is revealed first, driving; JO is visible in the seat behind him. DEAN glances nervously to his right; JO'S eyes flicker to DEAN. Pan over to the right to reveal SAM sitting next to JO, looking straight ahead at ELLEN, who stares at the road with a set jaw. Dean glances at her again before he speaks.
DEAN
Boy, you, you really weren't kidding about flying out, were you?
ELLEN gives no reaction whatsoever; SAM and JO exchange a look.
DEAN
How about we listen to some music?
He flicks the radio on:
SONG
You're as cold as ice...
ELLEN reaches forward and flicks the radio off. JO and SAM exchange another look, and DEAN glances back as if for assistance. He sighs.
DEAN
This is gonna be a long drive.
INT. ROADHOUSE - DAY
ELLEN storms in, dragging JO by the elbow. DEAN and SAM follow.
DEAN
Ellen? This is my fault. Okay? I lied to you and I'm sorry. But Jo did good out there, I think her dad would be proud.
ELLEN
Don't you dare say that. Not you. I need a moment with my daughter. Alone.
SAM and DEAN go outside.
JO
You're angry. I understand.
ELLEN
Angry? Angry doesn't begin to touch it.
JO
Let's just think about this. Everything's okay, I'm alive...
ELLEN
Not after I'm through with you.
JO
Is this about me hunting, or something else?
ELLEN
You let those boys use you as bait!
JO
They were right there, backing me up the whole time.
ELLEN
That is why you do not have the sense to do this job, you're trusting your life to them.
JO
What are you talking about?
ELLEN
Like father, like sons, that is what I'm talking about.
JO
John? I thought you and John were friends.
ELLEN
Yeah, we were, I'm sorry, I didn't mean...
JO
Mom? What aren't you telling me?
EXT. ROADHOUSE - DAY
SAM and DEAN are leaning on the IMPALA as JO comes storming out. She glares at DEAN and keeps stalking, so he follows.
DEAN
That bad, huh?
JO
Not right now.
DEAN
What happened? Hey, talk to me.
JO
Get off me!
DEAN
Sorry. See you around.
He turns to leave.
JO
Dean. It turns out my dad had a partner on his last hunt. Funny, he usually worked alone; this guy did too, but... I guess my father figured he could trust him. Mistake. Guy screwed up, got my dad killed.
DEAN
What does this have to do with—
JO
It was your father, Dean.
DEAN
What?
JO
Why do you think John never came back? Never told you about us? Because he couldn't look my mom in the eye after that, that's why.
DEAN
Jo.
JO
Just... just get out of here. Please, just leave.
END EPISODE
transcript by gelasius 11/05/06
