Difference between revisions of "3.02 The Kids Are Alright (transcript)"
(Add missing dialogue, correct dialogue attribution, add further stage directions) |
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EXT. SUBURBAN HOUSE - NIGHT<br> | EXT. SUBURBAN HOUSE - NIGHT<br> | ||
<br> | <br> | ||
− | A young mother is standing outside her house with a mix of worry and impatience. A car pulls up into the driveway; a girl of about ten years steps out, as does her father.<br> | + | A young mother is standing outside her house with a mix of worry and impatience. A car pulls up into the driveway; a girl of about ten years steps out, as does her father. The girl runs to her mother and hugs her.<br> |
+ | <br> | ||
+ | MOM<br> | ||
+ | Hey, sweetie. Hey. | ||
+ | <br> | ||
+ | |||
+ | <br> | ||
+ | DAD<br> | ||
+ | Hey. | ||
+ | <br> | ||
<br> | <br> | ||
Line 25: | Line 34: | ||
MOM<br> | MOM<br> | ||
(to the girl, who is hugging her tightly)<br> | (to the girl, who is hugging her tightly)<br> | ||
− | Hey,sweetie. What's wrong? | + | Hey, sweetie. What's wrong? |
<br> | <br> | ||
<br> | <br> | ||
GIRL<br> | GIRL<br> | ||
− | Nothing. | + | Nothing. I missed you. |
<br> | <br> | ||
Line 37: | Line 46: | ||
Okay, but tonight's your dad's night. | Okay, but tonight's your dad's night. | ||
<br> | <br> | ||
+ | |||
<br> | <br> | ||
GIRL<br> | GIRL<br> | ||
Line 61: | Line 71: | ||
Yes, I do! He's mean, and there are monsters there. I don't w-want to go back. Please don't let the monsters get me. | Yes, I do! He's mean, and there are monsters there. I don't w-want to go back. Please don't let the monsters get me. | ||
<br> | <br> | ||
+ | |||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
Okay, sweetie. Okay.<br> | Okay, sweetie. Okay.<br> | ||
− | |||
− | |||
<br> | <br> | ||
INT. MAN'S WORKROOM - NIGHT<br> | INT. MAN'S WORKROOM - NIGHT<br> | ||
Line 79: | Line 88: | ||
INT. DINER - NIGHT<br> | INT. DINER - NIGHT<br> | ||
<br> | <br> | ||
− | SAM is sitting at a table in a generic | + | SAM is sitting at a table in a generic diner, working on his laptop and talking on his phone. DEAN is nowhere to be seen. SAM seems a bit frantic.<br> |
<br> | <br> | ||
SAM<br> | SAM<br> | ||
What do you mean you don't think it will work, Bobby? It's a demon-dispelling ritual. <br> | What do you mean you don't think it will work, Bobby? It's a demon-dispelling ritual. <br> | ||
− | ( | + | (DEAN, who’s outside, raps on the front window and waves)<br> |
− | Well,maybe we got the translation wrong. Look,we can't just let | + | Well, maybe we got the translation wrong. Look, we can't just let Dean fry in hell while we... there's got to be something. |
<br> | <br> | ||
− | (he sees DEAN approaching) | + | (he sees DEAN approaching the table) |
<br> | <br> | ||
Yeah. No. I gotta go. Okay. Never mind. | Yeah. No. I gotta go. Okay. Never mind. | ||
Line 107: | Line 116: | ||
DEAN<br> | DEAN<br> | ||
(looking around)<br> | (looking around)<br> | ||
− | Dude,you do realize that you're in a restaurant? | + | Dude, you do realize that you're in a restaurant? |
<br> | <br> | ||
Line 132: | Line 141: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | And? | + | And? What, that's it? One power saw? |
<br> | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Well...yeah. | + | Well... yeah. |
<br> | <br> | ||
Line 151: | Line 160: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | I don't know, Dean. | + | I don't know, Dean. I – I – |
<br> | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | + | All right, there's something better in Cicero than just a case. | |
<br> | <br> | ||
Line 176: | Line 185: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Remember that road trip I took, uh... gosh,about eight years ago now? You were in Orlando with | + | Remember that road trip I took, uh... gosh, about eight years ago now? You were in Orlando with Dad wrapping up that banshee thing. |
<br> | <br> | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | Yeah. The five states, five-day | + | Yeah. The five states, five-day – |
<br> | <br> | ||
Line 191: | Line 200: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | So let me get this straight. You want to drive all the way to Cicero just to hook up with some random chick? | + | 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? |
<br> | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | She was a yoga teacher. It was the bendiest weekend of my life. Come on. | + | She was a yoga teacher. It was the bendiest weekend of my life. Come on. Have a heart, huh? It's my dying wish. |
<br> | <br> | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | + | Yeah, well, how many dying wishes are you gonna get? | |
<br> | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | As many as I can squeeze out. Come on. Smile, Sam! God knows I'm gonna be smiling | + | As many as I can squeeze out. Come on. Smile, Sam! God knows I'm gonna be smiling after 24 hours with Gumby girl.<br> |
− | |||
− | after 24 hours with Gumby girl.<br> | ||
(chuckles to himself)<br> | (chuckles to himself)<br> | ||
Gumby girl. | Gumby girl. | ||
Line 222: | Line 229: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Don't wait up for me, | + | Don't wait up for me, Sammy. |
<br> | <br> | ||
Line 230: | Line 237: | ||
<br> | <br> | ||
<br> | <br> | ||
− | DEAN drives off | + | DEAN drives off. |
<br> | <br> | ||
<br> | <br> | ||
Line 236: | Line 243: | ||
EXT. LISA'S HOUSE - DAY<br> | EXT. LISA'S HOUSE - DAY<br> | ||
<br> | <br> | ||
− | Outside a nicely kept suburban house, DEAN rings the doorbell. The door opens to reveal LISA: late twenties, brunette, very fit; she is gorgeous. DEAN smiles awkwardly | + | Outside a nicely kept suburban house, DEAN rings the doorbell. The door opens to reveal LISA: late twenties, brunette, very fit; she is gorgeous. DEAN smiles awkwardly; LISA stares at him in surprise.<br> |
+ | <br> | ||
+ | LISA<br> | ||
+ | (with a big smile) | ||
+ | Dean! | ||
+ | <br> | ||
+ | |||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Lisa. How's it going | + | Lisa. How's it going? |
<br> | <br> | ||
− | |||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | + | Wow. So, how long has it been? | |
<br> | <br> | ||
− | |||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Crazy,right? | + | Eight, going on nine years now. Crazy, right? |
<br> | <br> | ||
Line 259: | Line 270: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Oh, I was just passing through, and I couldn't resist. I remember that you love surprises. | + | Oh, I was just – I was passing through, and, uh, I couldn't resist. I remember that you love surprises. |
<br> | <br> | ||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | Yeah. Dean Winchester. Wow. Just...wow. I'm | + | Yeah. Dean Winchester. Wow. Just... wow. I'm – I'm sorry. You kind of came at a bad time. We're having a party. |
<br> | <br> | ||
Line 271: | Line 282: | ||
A party? Well, I love parties. <br> | A party? Well, I love parties. <br> | ||
<br> | <br> | ||
− | + | Children are running around in the back yard, which is decorated for a kid's birthday party.<br> | |
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
Line 284: | Line 295: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Oh. | + | Oh. You have a – |
<br> | <br> | ||
Line 305: | Line 316: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | How old | + | How old – |
<br> | <br> | ||
Line 345: | Line 356: | ||
<br> | <br> | ||
WOMAN1<br> | WOMAN1<br> | ||
− | Oh, my god, so,they had this crazy, semi-illegal | + | Oh, my god, so, they had this crazy, semi-illegal – |
<br> | <br> | ||
<br> | <br> | ||
Line 368: | Line 379: | ||
<br> | <br> | ||
− | + | BEN<br> | |
What's up? | What's up? | ||
<br> | <br> | ||
<br> | <br> | ||
− | + | DEAN<br> | |
What's up with you? | What's up with you? | ||
+ | <br> | ||
<br> | <br> | ||
+ | A woman and her little girl walk by; in unison, DEAN checks out the mom as BEN checks out the girl. | ||
+ | <br> | ||
<br> | <br> | ||
+ | |||
DEAN<br> | DEAN<br> | ||
− | So,it's your birthday. | + | So, it's your birthday. |
<br> | <br> | ||
Line 394: | Line 409: | ||
<br> | <br> | ||
BEN<br> | BEN<br> | ||
− | Dude, it's so freakin' sweet. And this moon bounce | + | Dude, it's so freakin' sweet. And this moon bounce – it's epic. |
<br> | <br> | ||
Line 408: | Line 423: | ||
<br> | <br> | ||
<br> | <br> | ||
− | + | BEN follows a girl into the moon bounce. DEAN watches him, thinks frantically, then darts inside the house.<br> | |
<br> | <br> | ||
INT. KITCHEN - DAY<br> | INT. KITCHEN - DAY<br> | ||
Line 416: | Line 431: | ||
LISA | LISA | ||
<br> | <br> | ||
− | So...how you holding up? | + | So... how you holding up? |
<br> | <br> | ||
Line 431: | Line 446: | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | Oh,you know. I just... never mind. | + | Oh, you know. I just... never mind. |
<br> | <br> | ||
Line 441: | Line 456: | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | It's just... I'm worried about Katie. I think there might be something...wrong with her. | + | It's just... I'm worried about Katie. I think there might be something... wrong with her. |
<br> | <br> | ||
Line 451: | Line 466: | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | No. That's not what I'm talking about. There is something really... wrong with her. I'm not sure that | + | No. That's – that’s not what I'm talking about. There is something really... wrong with her. I'm not sure that Katie is... Katie. |
<br> | <br> | ||
Line 466: | Line 481: | ||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | I know you're grieving, but you can't talk like that. Katie needs you | + | I know you're grieving, but you can't talk like that. Katie needs you. |
<br> | <br> | ||
− | |||
− | |||
− | |||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | (outside)<br> | + | But you don't understand – |
− | Katie? Come on,we're leaving. | + | <br> |
+ | <br> | ||
+ | LISA<br> | ||
+ | Seriously. We're gonna get you help. It'll be okay. | ||
+ | <br> | ||
+ | <br> | ||
+ | The MOM shakes her head and runs outside to her daughter. <br> | ||
+ | <br> | ||
+ | MOM<br> | ||
+ | (outside)<br> | ||
+ | Katie? Come on, we're leaving. | ||
+ | <br> | ||
+ | <br> | ||
+ | DEAN enters the kitchen. | ||
<br> | <br> | ||
− | |||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | So, I, uh, met Ben. Cool kid. | + | Hey. So, I, uh, met Ben. Cool kid. |
<br> | <br> | ||
Line 489: | Line 513: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | I couldn't help but notice that, uh, he's turning eight. You and me...you know. | + | Yeah. You know, I couldn't help but notice that, uh, he's turning eight. You and me... you know. |
<br> | <br> | ||
Line 518: | Line 542: | ||
<br> | <br> | ||
(looking out at KATIE and her MOM)<br> | (looking out at KATIE and her MOM)<br> | ||
+ | <br> | ||
+ | MOM<br> | ||
+ | (outside)<br> | ||
+ | Katie, sweetheart, we got to go. Okay. Come on. | ||
+ | <br> | ||
+ | <br> | ||
+ | KATIE and her MOM walk past the kitchen on their way out. | ||
+ | <br> | ||
+ | <br> | ||
+ | MOM<br> | ||
+ | Come on, Katie. | ||
+ | <br> | ||
+ | <br> | ||
+ | DEAN<br> | ||
Something wrong with your friend? | Something wrong with your friend? | ||
<br> | <br> | ||
− | |||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
Line 528: | Line 565: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Oh, yeah. Didn't I just read about that? The power saw. | + | Oh, yeah. Didn't I just read about that? The, uh, the power saw. |
<br> | <br> | ||
Line 539: | Line 576: | ||
DEAN<br> | DEAN<br> | ||
What kind of bad luck? | What kind of bad luck? | ||
− | |||
<br> | <br> | ||
<br> | <br> | ||
INT. DINER - DAY<br> | INT. DINER - DAY<br> | ||
<br> | <br> | ||
− | SAM is sitting | + | SAM is sitting alone in a diner again, again with his laptop open. A young woman sits down across from him: it is Creepy Stalker Girl from last week (let's call her RUBY for simplicity).<br> |
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
Hello, Sam.<br> | Hello, Sam.<br> | ||
<br> | <br> | ||
− | |||
== ACT TWO == | == ACT TWO == | ||
Line 558: | Line 593: | ||
You've been following me since Lincoln. | You've been following me since Lincoln. | ||
<br> | <br> | ||
− | + | (she closes his laptop) | |
+ | <br> | ||
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
Not much gets by you, huh?<br> | Not much gets by you, huh?<br> | ||
− | (she takes | + | (she takes one of his fries)<br> |
− | These are amazing. | + | These are amazing. It's like deep-fried crack. Try some. |
<br> | <br> | ||
Line 583: | Line 619: | ||
Skymall. | Skymall. | ||
<br> | <br> | ||
− | + | (she takes a plate and squeezes ketchup onto it) | |
+ | <br> | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
Line 601: | Line 638: | ||
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
− | Because you're tall. | + | Because you're tall. I love a tall man. And then there's the whole antichrist thing. |
<br> | <br> | ||
Line 610: | Line 647: | ||
<br> | <br> | ||
− | + | RUBY<br> | |
− | + | You know, generation of psychic kids, Yellow-Eyed Demon rounds you up, celebrity death match ensues. You're the sole survivor. | |
<br> | <br> | ||
Line 621: | Line 658: | ||
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
− | I'm a good hunter. So, | + | I'm a good hunter. So, Yellow Eyes had some pretty big plans for you, Sam. |
<br> | <br> | ||
Line 654: | Line 691: | ||
You know, what happened to her friends.<br> | You know, what happened to her friends.<br> | ||
(off his attempted poker face)<br> | (off his attempted poker face)<br> | ||
− | You... don't know. You've got a little bit of catching up to do, my friend. So, why don't you look into your mom's | + | You... don't know. You've got a little bit of catching up to do, my friend. So, why don't you look into your mom's pals…<br> |
+ | (she writes a number on his hand) <br> | ||
+ | …and then give me a call and we'll talk again? <br> | ||
(she gets up to leave)<br> | (she gets up to leave)<br> | ||
− | And, by the way, you do know there's a job in this town,right? | + | And, by the way, you do know there's a job in this town, right? |
<br> | <br> | ||
<br> | <br> | ||
+ | Sam’s phone rings. | ||
<br> | <br> | ||
− | |||
<br> | <br> | ||
Line 666: | Line 705: | ||
Hello. | Hello. | ||
<br> | <br> | ||
− | + | <br> | |
+ | DEAN is in his car outside LISA’s.<br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
Line 679: | Line 719: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Yeah. You know that one freak accident we read about in the paper? | + | Yeah. You know that one freak accident we read about in the paper? Turns out there's four more that never even made the paper, all in this Morning Hill gated community. People falling off of ladders and drowning in their Jacuzzis all over the neighborhood. |
<br> | <br> | ||
Line 694: | Line 734: | ||
INT. SUBURBAN HOUSE - NIGHT<br> | INT. SUBURBAN HOUSE - NIGHT<br> | ||
<br> | <br> | ||
− | KATIE'S MOM is dozing, with the book The Historian on the pillow.<br> | + | KATIE'S MOM is dozing, with the book The Historian on the pillow. KATIE is watching her.<br> |
<br> | <br> | ||
MOM<br> | MOM<br> | ||
Line 712: | Line 752: | ||
<br> | <br> | ||
KATIE<br> | KATIE<br> | ||
− | Oh, good. I love you, mommy. | + | Oh, good. <br> |
+ | (she hugs her mother) <br> | ||
+ | I love you, mommy. | ||
<br> | <br> | ||
Line 719: | Line 761: | ||
I love you too, sweetie. | I love you too, sweetie. | ||
<br> | <br> | ||
− | + | <br> | |
+ | KATIE’S MOM catches sight of KATIE’s reflection in a mirror. Her skin is gray, veined and blotchy. She pushes KATIE back in alarm, only to find that she looks normal. | ||
+ | <br> | ||
<br> | <br> | ||
KATIE<br> | KATIE<br> | ||
Line 734: | Line 778: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | So,once again, I'm very sorry to disturb you. We just really want to expedite that life-insurance policy. | + | So, once again, I'm very sorry to disturb you. We just really want to expedite that life-insurance policy. |
<br> | <br> | ||
<br> | <br> | ||
MOTHER<br> | MOTHER<br> | ||
− | Of course. Okay.<br> | + | Of course. <br> |
+ | <br> | ||
+ | SAM<br> | ||
+ | Okay. | ||
+ | <br> | ||
(she takes him around back, where a ladder leans against the wall)<br> | (she takes him around back, where a ladder leans against the wall)<br> | ||
+ | <br> | ||
+ | MOTHER<br> | ||
This is, um, where he fell. | This is, um, where he fell. | ||
<br> | <br> | ||
Line 746: | Line 796: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | I see. Now, how exactly did he | + | I see. Now, how exactly did he – |
<br> | <br> | ||
Line 760: | Line 810: | ||
<br> | <br> | ||
MOTHER<br> | MOTHER<br> | ||
− | No. I was out. Uh,the only one here was our daughter, Dakota. | + | No. I was out. Uh, the only one here was our daughter, Dakota. |
<br> | <br> | ||
<br> | <br> | ||
− | + | Inside, a Creepy Little Girl is looking out at them. Something dark red is smudged on the window and railing.<br> | |
+ | <br> | ||
+ | SAM<br> | ||
+ | Okay. Well, uh, I think that's all I need. | ||
+ | <br> | ||
+ | <br> | ||
+ | MOTHER<br> | ||
+ | Okay. | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | |||
<br> | <br> | ||
− | + | I'll get out of your way now. | |
+ | <br> | ||
<br> | <br> | ||
MOTHER<br> | MOTHER<br> | ||
Line 780: | Line 837: | ||
<br> | <br> | ||
INT. KATIE'S HOUSE - DAY<br> | INT. KATIE'S HOUSE - DAY<br> | ||
+ | <br> | ||
+ | KATIE’S MOM is making a toasted sandwich. She puts a hand to the back of her neck. She sets the sandwich in front of KATIE. | ||
+ | <br> | ||
<br> | <br> | ||
KATIE<br> | KATIE<br> | ||
− | Thank you,mommy. | + | Thank you, mommy. |
<br> | <br> | ||
Line 790: | Line 850: | ||
<br> | <br> | ||
<br> | <br> | ||
− | Frazzled almost to the point of breaking, KATIE'S MOM enters the bathroom and | + | Frazzled almost to the point of breaking, KATIE'S MOM enters the bathroom and locks the door. She looks at a red mark on the back of her neck.<br> |
<br> | <br> | ||
Line 800: | Line 860: | ||
<br> | <br> | ||
MOMMY<br> | MOMMY<br> | ||
− | Just | + | Just – just give Mommy a second. |
<br> | <br> | ||
Line 810: | Line 870: | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | Give | + | Give Mommy a minute. |
<br> | <br> | ||
<br> | <br> | ||
− | The pounding and rattling continue to build, until it stops suddenly. MOM goes out to the front door, where a middle-aged woman is holding out a gift basket.<br> | + | The pounding and rattling continue to build, until it stops suddenly as the doorbell rings. MOM goes out to the front door, where a middle-aged woman is holding out a gift basket and speaking to KATIE.<br> |
<br> | <br> | ||
Line 835: | Line 895: | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | She's fine. Yeah. Um, look, I'm | + | She's fine. Yeah. Um, look, I'm – |
<br> | <br> | ||
<br> | <br> | ||
WOMAN<br> | WOMAN<br> | ||
− | And you | + | And you – how are you doing really? |
<br> | <br> | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | I'm fine. | + | I'm fine. Look, we're fine. Um, this isn't a good time. |
<br> | <br> | ||
<br> | <br> | ||
WOMAN<br> | WOMAN<br> | ||
− | I wasn't sure if you were keeping the house or selling. We at Cicero Realty would like | + | I wasn't sure if you were keeping the house or selling. We at Cicero Realty would like – |
<br> | <br> | ||
Line 858: | Line 918: | ||
<br> | <br> | ||
<br> | <br> | ||
− | She shuts the door and | + | She shuts the door and leans against it.<br> |
<br> | <br> | ||
Line 865: | Line 925: | ||
<br> | <br> | ||
<br> | <br> | ||
− | |||
== ACT THREE == | == ACT THREE == | ||
EXT. PARK - DAY | EXT. PARK - DAY | ||
<br> | <br> | ||
− | BEN is sitting sadly on a park bench. DEAN sees him, goes over and sits next to him.<br> | + | BEN is sitting sadly on a park bench. DEAN sees him, and goes over and sits next to him.<br> |
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
Line 883: | Line 942: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Yeah. Yeah, I'm Dean. Everything okay? Something wrong? | + | Yeah. Yeah, I'm Dean. <br> |
+ | (he sits down next to BEN) <br> | ||
+ | Everything okay? Something wrong? | ||
<br> | <br> | ||
− | (he looks over to a group of boys that are playing with a | + | (he looks over to a group of boys that are playing with a Gameboy-type thing)<br> |
Is that your game they're playing with? | Is that your game they're playing with? | ||
<br> | <br> | ||
Line 896: | Line 957: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Well,you want me to go... | + | Well, you want me to go... |
<br> | <br> | ||
<br> | <br> | ||
Line 919: | Line 980: | ||
<br> | <br> | ||
− | BEN nods, smiling slightly | + | BEN nods, smiling slightly.<br> |
<br> | <br> | ||
CUT TO:<br> | CUT TO:<br> | ||
<br> | <br> | ||
− | BEN walks across the park to the group of boys. They are all bigger than he.<br> | + | BEN walks across the park to the group of boys. They are all bigger than he. He clears his throat loudly and looks back at DEAN, who gives him a thumb’s up. He clears his throat again.<br> |
<br> | <br> | ||
BEN<br> | BEN<br> | ||
Line 935: | Line 996: | ||
<br> | <br> | ||
<br> | <br> | ||
− | + | The other boys laugh. BEN turns as if to leave.<br> | |
<br> | <br> | ||
RYAN | RYAN | ||
<br> | <br> | ||
− | See? Told you guys he was | + | See? Told you guys he was a– <br> |
<br> | <br> | ||
RYAN cuts off as BEN turns back suddenly and kicks RYAN hard between the legs. RYAN crumples to the ground, and BEN takes the game back. He goes back to the bench and a grinning DEAN. | RYAN cuts off as BEN turns back suddenly and kicks RYAN hard between the legs. RYAN crumples to the ground, and BEN takes the game back. He goes back to the bench and a grinning DEAN. | ||
Line 946: | Line 1,007: | ||
<br> | <br> | ||
BEN<br> | BEN<br> | ||
− | Thanks. Dude,that was awesome! | + | Thanks. Dude, that was awesome! |
<br> | <br> | ||
Line 971: | Line 1,032: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | What? Somebody had to teach him how to kick the bully in the nads | + | What? Somebody had to teach him how to kick the bully in the nads. |
<br> | <br> | ||
Line 1,004: | Line 1,065: | ||
Ben! | Ben! | ||
<br> | <br> | ||
− | + | <br> | |
+ | BEN runs back and hugs DEAN. <br> | ||
<br> | <br> | ||
BEN<br> | BEN<br> | ||
Line 1,010: | Line 1,072: | ||
<br> | <br> | ||
<br> | <br> | ||
− | He runs back to LISA and they leave.<br> | + | He runs back to LISA and they leave. DEAN notices three children with creepy stares watching.<br> |
<br> | <br> | ||
<br> | <br> | ||
− | INT. KATIE&MOM'S CAR - NIGHT<br> | + | INT. KATIE & MOM'S CAR - NIGHT<br> |
<br> | <br> | ||
MOM is strapping KATIE into her car seat, which is made difficult by the fact that KATIE keeps touching and petting her.<br> | MOM is strapping KATIE into her car seat, which is made difficult by the fact that KATIE keeps touching and petting her.<br> | ||
<br> | <br> | ||
KATIE<br> | KATIE<br> | ||
− | I love you most in the whole wide world, | + | I love you most in the whole wide world, Mommy. |
<br> | <br> | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | Um, me too, sweetie. Come on,hold still. | + | Um, me too, sweetie. Come on, hold still. |
<br> | <br> | ||
<br> | <br> | ||
− | She checks the mirror and sees a monster in the backseat. She turns around | + | She checks the mirror and sees a monster in the backseat. She turns around, but KATIE looks normal. |
<br> | <br> | ||
<br> | <br> | ||
KATIE<br> | KATIE<br> | ||
− | What's wrong, | + | What's wrong, Mommy? |
<br> | <br> | ||
<br> | <br> | ||
MOM<br> | MOM<br> | ||
− | Nothing,sweetie. | + | Nothing, sweetie. Nothing. |
<br> | <br> | ||
Line 1,052: | Line 1,114: | ||
<br> | <br> | ||
− | MOM finishes strapping KATIE in, and gets in the driver's seat. She drives the car to the edge of a lake, gets out, and rolls the car in. KATIE turns and watches MOM as she goes down. MOM returns home and goes inside, slamming and locking the door behind her. In the kitchen, seated over a puddle of water, is KATIE. She is dripping wet.<br> | + | MOM finishes strapping KATIE in, and gets in the driver's seat. She drives the car to the edge of a lake, gets out, and rolls the car in. KATIE turns and watches MOM as she goes down. MOM returns home and goes inside, slamming and locking the door behind her. She is crying brokenly. In the kitchen, seated over a puddle of water, is KATIE. She is dripping wet.<br> |
<br> | <br> | ||
KATIE<br> | KATIE<br> | ||
Line 1,059: | Line 1,121: | ||
<br> | <br> | ||
<br> | <br> | ||
− | |||
INT. MOTEL ROOM - NIGHT<br> | INT. MOTEL ROOM - NIGHT<br> | ||
Line 1,094: | Line 1,155: | ||
Yeah. There's one at every victim's house. <br> | Yeah. There's one at every victim's house. <br> | ||
<br> | <br> | ||
− | LATER, SAM is seated on the bed | + | LATER, SAM is seated on the bed, as DEAN prepares a kerosene torch.<br> |
<br> | <br> | ||
SAM<br> | SAM<br> | ||
So, changelings can perfectly mimic children. According to lore, they climb in the window, snatch the kid. There were marks on the windowsill at one of the kid's houses. Looked to me like blood. <br> | So, changelings can perfectly mimic children. According to lore, they climb in the window, snatch the kid. There were marks on the windowsill at one of the kid's houses. Looked to me like blood. <br> | ||
<br> | <br> | ||
− | They continue talking in voice-over as the scene shifts to KATIE'S house. MOM is asleep, with a bottle of pills on the bedside table. KATIE stares at MOM, brushes back the hair from her neck to reveal an 'odd bruise'. Her face morphs to look kind of like the | + | They continue talking in voice-over as the scene shifts to KATIE'S house. MOM is asleep, with a bottle of pills on the bedside table. KATIE stares at MOM, brushes back the hair from her neck to reveal an 'odd bruise'. Her face morphs to look kind of like the Flukeman from X-Files, and she leans in to MOM'S neck.<br> |
<br> | <br> | ||
− | DEAN(v.o.)<br> | + | DEAN (v.o.)<br> |
The changeling grabs a kid, assumes its form, joins the happy fam just for kicks? | The changeling grabs a kid, assumes its form, joins the happy fam just for kicks? | ||
<br> | <br> | ||
Line 1,112: | Line 1,173: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | And then there's dad and the babysitter | + | And then there's dad and the babysitter. |
<br> | <br> | ||
Line 1,151: | Line 1,212: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | + | Well Dean, if the real kids are still alive, we don't have time. | |
<br> | <br> | ||
Line 1,162: | Line 1,223: | ||
EXT. LISA'S HOUSE - NIGHT<br> | EXT. LISA'S HOUSE - NIGHT<br> | ||
<br> | <br> | ||
− | DEAN rings the doorbell, and LISA opens the door looking bewildered<br> | + | DEAN rings the doorbell, and LISA opens the door looking bewildered.<br> |
<br> | <br> | ||
Line 1,181: | Line 1,242: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | No. No, no, I feel terrible, so,uh... | + | No. No, no, I feel terrible, so, uh... |
<br> | <br> | ||
(hands her a credit card)<br> | (hands her a credit card)<br> | ||
− | Here. Take a long weekend | + | Here. Take a long weekend – just the two of you – on me. |
<br> | <br> | ||
Line 1,194: | Line 1,255: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | I hear Six Flags is great this time of year. Go now. | + | Yeah, I hear Six Flags is great this time of year. Go now. Avoid the traffic. |
<br> | <br> | ||
Line 1,221: | Line 1,282: | ||
BEN<br> | BEN<br> | ||
(coming down the stairs)<br> | (coming down the stairs)<br> | ||
− | Mommy, | + | Mommy, what’s wrong? |
<br> | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Nothing,Ben. It's cool. | + | Nothing, Ben. It's cool. |
<br> | <br> | ||
Line 1,238: | Line 1,299: | ||
You heard him. Get out. | You heard him. Get out. | ||
<br> | <br> | ||
− | |||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Lisa... I don't think | + | Lisa... I don't think that’s a good idea. |
<br> | <br> | ||
Line 1,248: | Line 1,308: | ||
Get out! | Get out! | ||
<br> | <br> | ||
− | + | <br> | |
+ | DEAN watches LISA and BEN from outside the house and notices a red mark on a window frame. He runs back to SAM, who’s in the Impala. | ||
+ | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
Line 1,292: | Line 1,354: | ||
<br> | <br> | ||
<br> | <br> | ||
− | INT. HOUSE - NIGHT<br> | + | INT. HOUSE-UNDER-CONSTRUCTION - NIGHT<br> |
<br> | <br> | ||
Inside, DEAN finds a series of cages, each containing abducted kids. He sees BEN.<br> | Inside, DEAN finds a series of cages, each containing abducted kids. He sees BEN.<br> | ||
Line 1,298: | Line 1,360: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Ben..Ben...it's okay. I'm gonna get you out of here. | + | Ben... Ben... it's okay. I'm gonna get you out of here. |
<br> | <br> | ||
<br> | <br> | ||
Line 1,305: | Line 1,367: | ||
<br> | <br> | ||
WOMAN<br> | WOMAN<br> | ||
− | What do you think you're doing? | + | What do you think you're doing? <br> |
<br> | <br> | ||
+ | SAM sees her monster-like reflection in a pane of glass. | ||
+ | |||
+ | ==ACT FOUR== | ||
+ | <br> | ||
+ | INT. HOUSE-UNDER-CONSTRUCTION - NIGHT<br> | ||
+ | <br> | ||
+ | WOMAN<br> | ||
+ | This is private property. I'm calling the police. | ||
+ | <br> | ||
+ | <br> | ||
+ | DEAN finds the real version of the Real Estate Woman in a cage. | ||
+ | <br> | ||
+ | <br> | ||
+ | WOMAN<br> | ||
+ | You heard me! Get out! | ||
+ | <br> | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
(reaching for his bag)<br> | (reaching for his bag)<br> | ||
Let me get my bag. I'm going. I don't mean to cause any trouble. | Let me get my bag. I'm going. I don't mean to cause any trouble. | ||
− | |||
<br> | <br> | ||
<br> | <br> | ||
Line 1,340: | Line 1,417: | ||
BEN<br> | BEN<br> | ||
(hugging her)<br> | (hugging her)<br> | ||
− | I don't want to go to bed. I want to be with you, | + | I don't want to go to bed. I want to be with you, Mommy. |
<br> | <br> | ||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | That's sweet,hon. Come on. Let's go. All right, come on. | + | That's sweet, hon. Come on. Let's go. All right, come on. |
<br> | <br> | ||
Line 1,366: | Line 1,443: | ||
(turning away) | (turning away) | ||
<br> | <br> | ||
− | That's funny | + | That's funny – I thought we were anti-olives this month. |
<br> | <br> | ||
<br> | <br> | ||
− | She looks down and sees BEN'S reflection in the glass table; it has the icky | + | She looks down and sees BEN'S reflection in the glass table; it has the icky Flukeman face. She gasps.<br> |
<br> | <br> | ||
<br> | <br> | ||
INT. HOUSE-UNDER-CONSTRUCTION - NIGHT<br> | INT. HOUSE-UNDER-CONSTRUCTION - NIGHT<br> | ||
+ | <br> | ||
+ | DEAN breaks open cages and he and BEN help children out. | ||
+ | <br> | ||
+ | <br> | ||
+ | BEN<br> | ||
+ | It's okay. You’re gonna get out of here, all right? | ||
+ | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | + | Come on, girls! Come on! Come on, come on!<br> | |
− | |||
− | |||
Everybody back! Everybody back! | Everybody back! Everybody back! | ||
<br> | <br> | ||
+ | (he clears off a windowsill and prepares to smash the glass)<br> | ||
+ | |||
(BEN helps to usher the other kids away)<br> | (BEN helps to usher the other kids away)<br> | ||
Cover your eyes! | Cover your eyes! | ||
Line 1,395: | Line 1,479: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | All right. All right, Ben. Come on. | + | All right. All right, Ben. Come on. Come on. |
<br> | <br> | ||
Line 1,415: | Line 1,499: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | We got to get these kids out quick. | + | Yeah. We got to get these kids out quick. |
<br> | <br> | ||
Line 1,425: | Line 1,509: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | I guess that's why the changelings are keeping the kids alive | + | I guess that's why the changelings are keeping the kids alive – so the mom can snack on them. |
<br> | <br> | ||
+ | <br> | ||
+ | The real KATIE screams as she sees the mother changeling behind her. | ||
+ | |||
<br> | <br> | ||
<br> | <br> | ||
Line 1,433: | Line 1,520: | ||
<br> | <br> | ||
!BEN<br> | !BEN<br> | ||
− | What's wrong, | + | What's wrong, Mommy? |
<br> | <br> | ||
Line 1,451: | Line 1,538: | ||
<br> | <br> | ||
!BEN<br> | !BEN<br> | ||
− | I'm Ben. I love you, | + | I'm Ben. I love you, Mommy. <br> |
<br> | <br> | ||
− | LISA runs out the front door, grabbing her keys along the way. On the front lawn, a line of Creepy Kids has formed, blocking her exit. She runs back inside.<br> | + | LISA runs out the front door, grabbing her keys along the way. On the front lawn, a line of three Creepy Kids has formed, blocking her exit. She runs back inside.<br> |
<br> | <br> | ||
BEN<br> | BEN<br> | ||
− | They don't want you to leave me, | + | They don't want you to leave me, Mommy. <br> |
<br> | <br> | ||
<br> | <br> | ||
Line 1,464: | Line 1,551: | ||
<br> | <br> | ||
!KATIE<br> | !KATIE<br> | ||
− | Mommy? Mommy? Let me in! What are you doing?! Let me in! Let me in! Let me in! | + | Mommy? Mommy? Let me in! What are you doing?! Let me in! Let me in! Let me in! Let me in! |
<br> | <br> | ||
Line 1,470: | Line 1,557: | ||
<br> | <br> | ||
INT. HOUSE-UNDER-CONSTRUCTION - NIGHT<br> | INT. HOUSE-UNDER-CONSTRUCTION - NIGHT<br> | ||
+ | <br> | ||
+ | The Changeling Mom fights with DEAN and SAM. | ||
+ | <br> | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
Ben, get them out of here! <br> | Ben, get them out of here! <br> | ||
<br> | <br> | ||
− | BEN helps the other kids up and out the window as DEAN and SAM confront the Changeling Mom. Eventually | + | BEN helps the other kids up and out the window as DEAN and SAM confront the Changeling Mom. Eventually SAM burns her to a crisp with DEAN'S homemade torch; as she goes up in flames, !BEN, !KATIE, and all the other changeling kids, also disappear in flames.<br> |
<br> | <br> | ||
<br> | <br> | ||
− | == ACT | + | == ACT FIVE == |
EXT. LISA'S HOUSE - DAY<br> | EXT. LISA'S HOUSE - DAY<br> | ||
Line 1,485: | Line 1,575: | ||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | Ben?! Ben! Baby,are you okay? | + | Ben?! Ben! Baby, are you okay? |
<br> | <br> | ||
<br> | <br> | ||
BEN<br> | BEN<br> | ||
− | I'm okay, | + | I'm okay, Mom. |
<br> | <br> | ||
Line 1,500: | Line 1,590: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | I'll explain everything if you want me to, but,trust me, you probably don't. | + | I'll explain everything if you want me to, but, trust me, you probably don't. The important thing is that Ben's safe. |
<br> | <br> | ||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | Thank you. Thank you. | + | Thank you. |
+ | (She hugs DEAN.) | ||
+ | Thank you. | ||
<br> | <br> | ||
Line 1,512: | Line 1,604: | ||
I'm gonna give you guys some time. | I'm gonna give you guys some time. | ||
<br> | <br> | ||
+ | <br> | ||
+ | LISA<br> | ||
+ | Come on. | ||
<br> | <br> | ||
<br> | <br> | ||
Line 1,520: | Line 1,615: | ||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | + | Changelings? | |
<br> | <br> | ||
Line 1,540: | Line 1,635: | ||
<br> | <br> | ||
(beat) | (beat) | ||
− | Okay. Seriously... I mean, you're a hundred percent | + | Okay. Seriously... I mean, you're a hundred percent sure that he is not mine, right? |
− | |||
− | sure that he is not mine, right? | ||
<br> | <br> | ||
Line 1,548: | Line 1,641: | ||
LISA<br> | LISA<br> | ||
(smiling)<br> | (smiling)<br> | ||
− | You're off the hook. I did a blood test when he was a baby. There was this guy | + | You're off the hook. I did a blood test when he was a baby. |
+ | <br> | ||
+ | <br> | ||
+ | DEAN<br> | ||
+ | Oh. | ||
+ | <br> | ||
+ | <br> | ||
+ | LISA<br> | ||
+ | There was this guy – some bar back in a biker joint.<br> | ||
(off DEAN'S look)<br> | (off DEAN'S look)<br> | ||
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. | 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. | ||
Line 1,558: | Line 1,659: | ||
<br> | <br> | ||
<br> | <br> | ||
− | He looks at BEN a little wistfully | + | He looks at BEN a little wistfully. |
<br> | <br> | ||
<br> | <br> | ||
Line 1,567: | Line 1,668: | ||
<br> | <br> | ||
DEAN<br> | DEAN<br> | ||
− | Yeah, I don't know. It's weird, you know your life... I mean, this house and a kid... it's not my life. Never will be. Some stuff happened to me recently, and, uh... anyway,a guy in my situation | + | Yeah, I don't know. It's weird, you know your life... I mean, this house and a 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 gonna be gone one day, and what am I leaving behind besides a car? <br> |
− | <br> | ||
<br> | <br> | ||
LISA<br> | LISA<br> | ||
− | 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. | + | 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. |
<br> | <br> | ||
Line 1,599: | Line 1,699: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | Hi. I needed to check some facts with your, uh | + | Hi. I needed to check some facts with your, uh, with your secretary about a fire that occurred on November 24, 2006 in Lawrence, Kansas. <br> |
− | with your secretary about a fire that occurred on November 24, 2006 in Lawrence, Kansas. <br> | ||
Hardecker was his name. | Hardecker was his name. | ||
<br> | <br> | ||
− | Okay. | + | Okay. Great.<br> |
I was just trying to find out the date he died. | I was just trying to find out the date he died. | ||
<br> | <br> | ||
Line 1,614: | Line 1,713: | ||
Dead on arrival. | Dead on arrival. | ||
<br> | <br> | ||
− | What I'm after is cause of death. | + | What I'm after is – is cause of death. |
<br> | <br> | ||
Heart condition? | Heart condition? | ||
Line 1,628: | Line 1,727: | ||
Any survivors? | Any survivors? | ||
<br> | <br> | ||
− | No, | + | No, that’s all I needed. Thank you very much. |
− | |||
− | Thank you very much. | ||
<br> | <br> | ||
<br> | <br> | ||
− | He | + | He tosses the phone onto the bed and puts his head in his hands.<br> |
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | Oh,my god. | + | Oh, my god. |
<br> | <br> | ||
Line 1,643: | Line 1,740: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | They're dead. All of them. All of my mom's friends. Her doctor, | + | They're dead. All of them. All of my mom's friends. Her doctor, her uncle – everyone who ever knew her, systematically wiped off the map one at a time. Someone went through a hell of a lot of trouble trying to cover their tracks. |
<br> | <br> | ||
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
− | The | + | Yep. The Yellow-Eyed Demon. |
<br> | <br> | ||
Line 1,656: | Line 1,753: | ||
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
− | I already told you. I'm | + | I already told you. I'm – |
<br> | <br> | ||
Line 1,666: | Line 1,763: | ||
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
− | Sam, it | + | Sam, it – |
<br> | <br> | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | Just...tell me who you are. | + | Just... tell me who you are. |
<br> | <br> | ||
Line 1,753: | Line 1,850: | ||
<br> | <br> | ||
RUBY<br> | RUBY<br> | ||
− | I honestly don't know. That's what | + | I honestly don't know. That's what I’m trying to find out. All I know is that it's about you. |
<br> | <br> | ||
Line 1,783: | Line 1,880: | ||
<br> | <br> | ||
SAM<br> | SAM<br> | ||
− | What could you possibly | + | What could you possibly – |
<br> | <br> | ||
Revision as of 10:45, 8 October 2013
Written by: Sera Gamble
Directed by: Phil Sgriccia
Air Date: 11 Oct 2007TEASER
EXT. SUBURBAN HOUSE - NIGHT
A young mother is standing outside her house with a mix of worry and impatience. A car pulls up into the driveway; a girl of about ten years steps out, as does her father. The girl runs to her mother and hugs her.
MOM
Hey, sweetie. Hey.
DAD
Hey.
MOM
Thanks for driving her back here.
DAD
It's not like I had a choice. She pitched a fit.
MOM
(to the girl, who is hugging her tightly)
Hey, sweetie. What's wrong?
GIRL
Nothing. I missed you.
MOM
Okay, but tonight's your dad's night.
GIRL
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. You know, he loves you, and he misses you a lot.
GIRL
But I hate it there!
MOM
You don't hate it.
GIRL
Yes, I do! He's mean, and there are monsters there. I don't w-want to go back. Please don't let the monsters get me.
MOM
Okay, sweetie. Okay.
INT. MAN'S WORKROOM - NIGHT
The little girl's father is in his workroom; there are wood-carved object sitting about, and one of those circular table saws you really don't want to see show up in a horror movie. He prepares to leave, and as he's shutting off the lights by the door, the table saw turns itself on. Curious, he approaches it, crouching down at table-height to shut it off. As he starts to leave a second time, the saw turns on again. This time he is less careful as he approaches, he trips and falls on the saw and dies a horrible gruesome death.
END TEASER
ACT ONE
INT. DINER - NIGHT
SAM is sitting at a table in a generic diner, working on his laptop and talking on his phone. DEAN is nowhere to be seen. SAM seems a bit frantic.
SAM
What do you mean you don't think it will work, Bobby? It's a demon-dispelling ritual.
(DEAN, who’s outside, raps on the front window and waves)
Well, maybe we got the translation wrong. Look, we can't just let Dean fry in hell while we... there's got to be something.
(he sees DEAN approaching the table)
Yeah. No. I gotta go. Okay. Never mind.
DEAN enters, looking suspiciously at SAM.
DEAN
Hey. Who was that?
SAM
(awkwardly)
I was just ordering pizza.
DEAN
(looking around)
Dude, you do realize that you're in a restaurant?
SAM
Yeah. Yeah. Oh, yeah. I just felt like pizza, you know?
DEAN
(sitting)
Okay, Weirdy Mcweirderton. So, I think I got something.
SAM
Yeah?
DEAN
Cicero, Indiana. Falls on his own power saw.
SAM
And? What, 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. I – I –
DEAN
All right, 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 eight years ago now? You were in Orlando with Dad wrapping up that banshee thing.
SAM
Yeah. The five states, five-day –
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. Have a heart, huh? It's my dying wish.
SAM
Yeah, well, how many dying wishes are you gonna 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.
(chuckles to himself)
Gumby girl.
(he frowns)
Does that make me Pokey?
EXT. MOTEL - DAY
Pulling up outside a motel in Cicero, Indiana, DEAN stops to let SAM out.
DEAN
Don't wait up for me, Sammy.
SAM
Wait, Dean. Dean, you... Dean!
DEAN drives off.
EXT. LISA'S HOUSE - DAY
Outside a nicely kept suburban house, DEAN rings the doorbell. The door opens to reveal LISA: late twenties, brunette, very fit; she is gorgeous. DEAN smiles awkwardly; LISA stares at him in surprise.
LISA
(with a big smile)
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
Yeah. So, what are you doing here?
DEAN
Oh, I was just – I was passing through, and, uh, 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.
Children are running around in the back yard, which is decorated for a kid's birthday party.
DEAN
So, uh, who's the party for?
LISA
Ben. My son.
DEAN
Oh. You have a –
LISA
Yep.
She gestures across the yard to a young boy wearing a black jacket and jeans. He is opening presents.
LISA
That's him.
BEN
Yes! AC/DC rules!
DEAN
How old –
LISA
Eight.
(she sees the MOM from the teaser enter the yard)
Oh, Dean, could you excuse me a minute?
DEAN
(stunned)
Yeah, sure. Don't mind me.
Two women are sitting in lawn chairs, watching DEAN pace awkwardly. They're whispering to each in gossiping tones.
WOMAN1
Did you hear Lisa call him "Dean"?
WOMAN2
Yeah. Why?
WOMAN1
You don't know about Dean? The Dean. Best-night-of-my-life Dean.
WOMAN2
No. Tell me.
WOMAN1
Oh, my god, so, they had this crazy, semi-illegal –
She cuts off as she sees DEAN approach.
DEAN
Hi.
WOMAN2
Hi.
WOMAN1
Hello.
DEAN looks very uncomfortable, smiles nervously, and flees. He finds BEN and a piece of cake.
BEN
What's up?
DEAN
What's up with you?
A woman and her little girl walk by; in unison, DEAN checks out the mom as BEN checks out the girl.
DEAN
So, it's your birthday.
BEN
Guilty.
DEAN
It's a cool party.
BEN
Dude, it's so freakin' sweet. And this moon bounce – it's epic.
DEAN
(slightly weirded out)
Yeah. It's pretty awesome.
BEN
You know who else thinks they're awesome? Chicks. It's like hot-chick city out there.
BEN follows a girl into the moon bounce. DEAN watches him, thinks frantically, then darts inside the house.
INT. KITCHEN - DAY
LISA is talking to the MOM, who is looking very frazzled.
LISA
So... how you holding up?
MOM
Fine.
LISA
Really?
MOM
Oh, you know. I just... never mind.
LISA
What?
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.
MOM
No. That's – 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?
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.
MOM
But you don't understand –
LISA
Seriously. We're gonna get you help. It'll be okay.
The MOM shakes her head and runs outside to her daughter.
MOM
(outside)
Katie? Come on, we're leaving.
DEAN enters the kitchen.
DEAN
Hey. So, I, uh, met Ben. Cool kid.
LISA
Yeah.
DEAN
Yeah. You know, I couldn't help but notice that, uh, he's turning eight. You and me... you know.
LISA
You're... not trying to ask me if he's yours?
DEAN
No. No, of course not.
(beat)
He's not, is he?
LISA
What?
(he raises his eyebrows)
No.
DEAN
Right.
(looking out at KATIE and her MOM)
MOM
(outside)
Katie, sweetheart, we got to go. Okay. Come on.
KATIE and her MOM walk past the kitchen on their way out.
MOM
Come on, Katie.
DEAN
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 neighborhood lately.
DEAN
What kind of bad luck?
INT. DINER - DAY
SAM is sitting alone in a diner again, again with his laptop open. A young woman sits down across from him: it is Creepy Stalker Girl from last week (let's call her RUBY for simplicity).
RUBY
Hello, Sam.
ACT TWO
INT. DINER - DAY
SAM
You've been following me since Lincoln.
(she closes his laptop)
RUBY
Not much gets by you, huh?
(she takes one of his fries)
These are amazing. 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.
(she takes a plate and squeezes ketchup onto it)
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
You know, 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... in that Anthony Michael Hall E.S.P. visions kind of way.
SAM
(firmly)
No. That's 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.
(off his attempted poker face)
You... don't know. You've got a little bit of catching up to do, my friend. So, why don't you look into your mom's pals…
(she writes a number on his hand)
…and then give me a call and we'll talk again?
(she gets up to leave)
And, by the way, you do know there's a job in this town, right?
Sam’s phone rings.
SAM
Hello.
DEAN is in his car outside LISA’s.
DEAN
Dude, there is a job here.
SAM
Really?
DEAN
Yeah. You know that one freak accident we read about in the paper? Turns out there's four more that never even made the paper, all in this Morning Hill gated community. People falling off of ladders and drowning in their Jacuzzis all over the neighborhood.
SAM
That is weird.
DEAN
Yeah, something's up. Something these nice, big gates can't protect them from.
INT. SUBURBAN HOUSE - NIGHT
KATIE'S MOM is dozing, with the book The Historian on the pillow. KATIE is watching her.
MOM
Katie. What are you doing?
KATIE
Play with me, mommy.
MOM
Okay. Sure. Yeah let's, um, let's play.
KATIE
Oh, good.
(she hugs her mother)
I love you, mommy.
MOM
I love you too, sweetie.
KATIE’S MOM catches sight of KATIE’s reflection in a mirror. Her skin is gray, veined and blotchy. She pushes KATIE back in alarm, only to find that she looks normal.
KATIE
I'm hungry, mommy.
MOM
Yeah.
EXT. ANOTHER SUBURBAN HOUSE - DAY
SAM, dressed in a dark suit and posing as an insurance agent, is speaking to another young mother.
SAM
So, once again, I'm very sorry to disturb you. We just really want to expedite that life-insurance policy.
MOTHER
Of course.
SAM
Okay.
(she takes him around back, where a ladder leans against the wall)
MOTHER
This is, um, where he fell.
SAM
I see. Now, how exactly did he –
MOTHER
He was just inside changing a light bulb. Must have lost his balance.
SAM
Were you here when this happened?
MOTHER
No. I was out. Uh, the only one here was our daughter, Dakota.
Inside, a Creepy Little Girl is looking out at them. Something dark red is smudged on the window and railing.
SAM
Okay. Well, uh, I think that's all I need.
MOTHER
Okay.
SAM
I'll get out of your way now.
MOTHER
Thank you.
She turns and goes up the steps with SAM behind her. He sees a strange bruise on the back of her neck.
INT. KATIE'S HOUSE - DAY
KATIE’S MOM is making a toasted sandwich. She puts a hand to the back of her neck. She sets the sandwich in front of KATIE.
KATIE
Thank you, mommy.
MOM
You eat. Mommy will be right back.
Frazzled almost to the point of breaking, KATIE'S MOM enters the bathroom and locks the door. She looks at a red mark on the back of her neck.
KATIE
(pounding on the door)
Mommy?
MOMMY
Just – just give Mommy a second.
KATIE
Let me in. Mommy! Let me in. Mommy! Let me in! What are you doing?! Let me in! Let me in! Let me in! Let me in! Let me in! Let me in!
MOM
Give Mommy a minute.
The pounding and rattling continue to build, until it stops suddenly as the doorbell rings. MOM goes out to the front door, where a middle-aged woman is holding out a gift basket and speaking to KATIE.
WOMAN
Aren't you just the cutest thing?
MOM
(taking the basket)
Oh, thank you. Uh, Katie, could you put these in the kitchen, please?
KATIE takes the basket and goes to the kitchen.
WOMAN
Katie seems okay, considering.
MOM
She's fine. Yeah. Um, look, I'm –
WOMAN
And you – how are you doing really?
MOM
I'm fine. Look, we're fine. Um, this isn't a good time.
WOMAN
I wasn't sure if you were keeping the house or selling. We at Cicero Realty would like –
MOM
Look, I told you, it's not a good time!
She shuts the door and leans against it.
KATIE
I want ice cream. Mommy. Ice cream, please.
ACT THREE
EXT. PARK - DAY
BEN is sitting sadly on a park bench. DEAN sees him, and goes over and sits next to him.
DEAN
Hey, Ben.
BEN
Hey. You were at my party.
DEAN
Yeah. Yeah, I'm Dean.
(he sits down next to BEN)
Everything okay? Something wrong?
(he looks over to a group of boys that are playing with a Gameboy-type thing)
Is that your game they're playing with?
BEN
Ryan Humphrey borrowed it, and now he won't give it back.
DEAN
Well, you want me to go...
BEN
No! Don't go over there! Only bitches send a grown-up.
DEAN
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, smiling slightly.
CUT TO:
BEN walks across the park to the group of boys. They are all bigger than he. He clears his throat loudly and looks back at DEAN, who gives him a thumb’s up. He clears his throat again.
BEN
Ryan. I'd like my game back, please.
RYAN
(threateningly)
Fine. Take it back.
The other boys laugh. BEN turns as if to leave.
RYAN
See? Told you guys he was a–
RYAN cuts off as BEN turns back suddenly and kicks RYAN hard between the legs. RYAN crumples to the ground, and BEN takes the game back. He goes back to the bench and a grinning DEAN.
BEN
Thanks. Dude, that was awesome!
LISA
(who has seen the end of the exchange)
Benjamin Isaac Braeden! What's gotten into you?
BEN
He stole my game.
LISA
So you kick him? Since when is...
(she looks at DEAN, who is still grinning)
Did you tell my son to beat up that kid?
DEAN
What? Somebody had to teach him how to kick the bully in the nads.
LISA
Who asked you to teach him anything?
DEAN
Just relax.
LISA
What are you even still doing here? We had one weekend together a million years ago. You don't know me. You have no business with my son.
DEAN
Lisa.
LISA
Just leave us alone.
She and BEN begin to leave, but BEN pulls out of her grip and runs back to give DEAN an impulsive hug.
LISA
Ben!
BEN runs back and hugs DEAN.
BEN
Thanks.
He runs back to LISA and they leave. DEAN notices three children with creepy stares watching.
INT. KATIE & MOM'S CAR - NIGHT
MOM is strapping KATIE into her car seat, which is made difficult by the fact that KATIE keeps touching and petting her.
KATIE
I love you most in the whole wide world, Mommy.
MOM
Um, me too, sweetie. Come on, hold still.
She checks the mirror and sees a monster in the backseat. She turns around, but KATIE looks normal.
KATIE
What's wrong, Mommy?
MOM
Nothing, sweetie. Nothing.
KATIE
Are we going for ice cream now?
MOM
Yeah, we're going for ice cream.
MOM finishes strapping KATIE in, and gets in the driver's seat. She drives the car to the edge of a lake, gets out, and rolls the car in. KATIE turns and watches MOM as she goes down. MOM returns home and goes inside, slamming and locking the door behind her. She is crying brokenly. In the kitchen, seated over a puddle of water, is KATIE. She is dripping wet.
KATIE
Can I have the ice cream now?
INT. MOTEL ROOM - NIGHT
SAM is at his computer, doing research. DEAN enters.
DEAN
Something's wrong with the kids in this town.
SAM
Yeah. Tell me about it.
(he is looking at several documents on Changelings)
So, what do you know about changelings?
DEAN
Evil monster babies?
SAM
No, not necessarily babies.
DEAN
(realizing)
The kids. Creepy, "stare at you like you're lunch" kids?
SAM
Yeah. There's one at every victim's house.
LATER, SAM is seated on the bed, as DEAN prepares a kerosene torch.
SAM
So, changelings can perfectly mimic children. According to lore, they climb in the window, snatch the kid. There were marks on the windowsill at one of the kid's houses. Looked to me like blood.
They continue talking in voice-over as the scene shifts to KATIE'S house. MOM is asleep, with a bottle of pills on the bedside table. KATIE stares at MOM, brushes back the hair from her neck to reveal an 'odd bruise'. Her face morphs to look kind of like the Flukeman from X-Files, and she leans in to MOM'S neck.
DEAN (v.o.)
The changeling grabs a kid, assumes its form, joins the happy fam 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 who gets between the changeling and its food source ends up dead.
DEAN
(holding up the torch)
And fire's the only way to waste them?
(SAM nods)
Great. We'll just bust in, drag the kids out, torch them on the front lawn. That will play great with the neighbors. What about the real ones? What happens to them?
SAM
They stash them underground somewhere. I don't know why, but if it's true, the real kids might be out there.
DEAN
We better start looking.
(beat)
So, any kid in the neighborhood is vulnerable?
SAM
Yep.
DEAN
We gotta make a stop. I want to check on someone.
SAM
Well Dean, if the real kids are still alive, we don't have time.
DEAN
We have to.
EXT. LISA'S HOUSE - NIGHT
DEAN rings the doorbell, and LISA opens the door looking bewildered.
LISA
Dean?
DEAN
I was thinking... Ben's birthday. I didn't bring him a present.
LISA
That's okay.
DEAN
No. No, no, I feel terrible, so, uh...
(hands her a credit card)
Here. Take a long weekend – just the two of you – on me.
LISA
What?
DEAN
Yeah, I hear Six Flags is great this time of year. Go now. Avoid the traffic.
LISA
(reading the name on the card)
"Siegfried Houdini." Whose card is this?
DEAN
Mine. Never mind. It'll work. I promise.
LISA
You should leave.
DEAN
Lisa...
BEN
(coming down the stairs)
Mommy, what’s wrong?
DEAN
Nothing, Ben. It's cool.
BEN
Make him go away, mommy.
LISA
You heard him. Get out.
DEAN
Lisa... I don't think that’s a good idea.
LISA
Get out!
DEAN watches LISA and BEN from outside the house and notices a red mark on a window frame. He runs back to SAM, who’s in the Impala.
DEAN
They took Ben. He's changed.
SAM
What?! Are you sure?
DEAN
Yeah, I'm sure. I checked his windowsill.
SAM
Blood?
DEAN
I don't think it is blood, and I think I know where the kids are.
EXT. HOUSE-UNDER-CONSTRUCTION - NIGHT
There's a large mound of dirt outside the semi-finished home. SAM inspects it.
SAM
Red dirt.
DEAN
That's what was on the window. You take the front. I'll go around.
INT. HOUSE-UNDER-CONSTRUCTION - NIGHT
Inside, DEAN finds a series of cages, each containing abducted kids. He sees BEN.
DEAN
Ben... Ben... it's okay. I'm gonna get you out of here.
In the back, the Real Estate Woman sees SAM.
WOMAN
What do you think you're doing?
SAM sees her monster-like reflection in a pane of glass.
ACT FOUR
INT. HOUSE-UNDER-CONSTRUCTION - NIGHT
WOMAN
This is private property. I'm calling the police.
DEAN finds the real version of the Real Estate Woman in a cage.
WOMAN
You heard me! Get out!
SAM
(reaching for his bag)
Let me get my bag. I'm going. I don't mean to cause any trouble.
INT. LISA'S HOUSE - NIGHT
BEN starts acting like a Creepy Child, standing stiff-armed in the living room.
BEN
Mommy?
LISA
Ben...
BEN
Play with me.
LISA
This isn't funny anymore. I put you to bed three times.
BEN
(hugging her)
I don't want to go to bed. I want to be with you, Mommy.
LISA
That's sweet, hon. Come on. Let's go. All right, come on.
BEN
I'm hungry.
LISA
Mini pizzas okay? Deluxe is all we've got.
BEN
Okay.
LISA
(turning away)
That's funny – I thought we were anti-olives this month.
She looks down and sees BEN'S reflection in the glass table; it has the icky Flukeman face. She gasps.
INT. HOUSE-UNDER-CONSTRUCTION - NIGHT
DEAN breaks open cages and he and BEN help children out.
BEN
It's okay. You’re gonna get out of here, all right?
DEAN
Come on, girls! Come on! Come on, come on!
Everybody back! Everybody back!
(he clears off a windowsill and prepares to smash the glass)
(BEN helps to usher the other kids away)
Cover your eyes!
He breaks the window with a plank of wood, and begins to brush the glass off.
BEN
(takes off his jacket)
Here. Use this.
DEAN
All right. All right, Ben. Come on. Come on.
BEN
(indicating another kid)
Him first.
SAM
(running in)
Hey! Dean! There's a mother.
DEAN
A mother changeling?
SAM
Yeah. We got to get these kids out quick.
DEAN
Right there. There's one more. You got to break the lock!
SAM
I guess that's why the changelings are keeping the kids alive – so the mom can snack on them.
The real KATIE screams as she sees the mother changeling behind her.
INT. LISA'S HOUSE - NIGHT
!BEN
What's wrong, Mommy?
LISA
You're not my son.
!BEN
Yes, I am.
LISA
Where's Ben?
!BEN
I'm Ben. I love you, Mommy.
LISA runs out the front door, grabbing her keys along the way. On the front lawn, a line of three Creepy Kids has formed, blocking her exit. She runs back inside.
BEN
They don't want you to leave me, Mommy.
INT. KATIE'S HOUSE - NIGHT
KATIE'S MOM is in the bathroom again, huddled on the floor, as !KATIE screams and pounds at the door.
!KATIE
Mommy? Mommy? Let me in! What are you doing?! Let me in! Let me in! Let me in! Let me in!
INT. HOUSE-UNDER-CONSTRUCTION - NIGHT
The Changeling Mom fights with DEAN and SAM.
DEAN
Ben, get them out of here!
BEN helps the other kids up and out the window as DEAN and SAM confront the Changeling Mom. Eventually SAM burns her to a crisp with DEAN'S homemade torch; as she goes up in flames, !BEN, !KATIE, and all the other changeling kids, also disappear in flames.
ACT FIVE
EXT. LISA'S HOUSE - DAY
DEAN and SAM drive BEN back home; he runs out to hug his mom.
LISA
Ben?! Ben! Baby, are you okay?
BEN
I'm okay, Mom.
LISA
Oh, my god. What the hell just happened?
DEAN
I'll explain everything if you want me to, but, trust me, you probably don't. The important thing is that Ben's safe.
LISA
Thank you.
(She hugs DEAN.)
Thank you.
SAM
I'm gonna give you guys some time.
LISA
Come on.
INT. LISA'S HOUSE - DAY
BEN is sitting at the kitchen table, listening to something on his portable CD player. DEAN and LISA talk in the hallway.
LISA
Changelings?
DEAN
You know how I never mentioned my job? This is my job.
LISA
I so didn't want to know that.
(looking at BEN)
Do you think he'll be okay?
DEAN
Yeah. I think he'll be fine.
(beat)
Okay. Seriously... I mean, you're a hundred percent sure that he is not mine, right?
LISA
(smiling)
You're off the hook. I did a blood test when he was a baby.
DEAN
Oh.
LISA
There was this guy – some bar back in a biker joint.
(off DEAN'S look)
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.
He looks at BEN a little wistfully.
LISA
I... I swear you look disappointed.
DEAN
Yeah, I don't know. It's weird, you know your life... I mean, this house and a 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 gonna 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 got a great kid. I would have been proud to be his dad.
She kisses him.
LISA
Look, if, um... if you want to stick around for a while... you're welcome to stay.
DEAN
(wistful pause)
I can't. I got a lot of work to do, and it's not my life.
INT. MOTEL ROOM - DAY
This sequence follows SAM in jump-cuts as he talks to several different people on the phone, while systematically crossing names off a list.
SAM
Hi. I needed to check some facts with your, uh, with your secretary about a fire that occurred on November 24, 2006 in Lawrence, Kansas.
Hardecker was his name.
Okay. Great.
I was just trying to find out the date he died.
This is police chief Phil Jones. July 13th.
Can you check the records for a Robert Campbell?
July 19, 2001.
Dead on arrival.
What I'm after is – is cause of death.
Heart condition?
Wasn't he a cardiac surgeon? Wouldn't he have known about that?
I'm looking for information on... on Mrs. Wallace's death.
Two deaths. Who was the other?
Ed Campbell.
Any survivors?
No, that’s all I needed. Thank you very much.
He tosses the phone onto the bed and puts his head in his hands.
SAM
Oh, my god.
LATER, in another room. About halfway through SAM'S first statement it's revealed that he's speaking to RUBY.
SAM
They're dead. All of them. All of my mom's friends. Her doctor, her uncle – everyone who ever knew her, systematically wiped off 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. 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... tell me who you are.
RUBY
It doesn't matter.
SAM
(shouting in her face)
Just tell me who you are!
RUBY
Fine.
She blinks her eyes once and they go demon-black; she blinks again and they become normal. SAM backs up, fumbling in his bag.
RUBY
Think twice before going for that holy water.
SAM
(pulling out a flask and holding it out)
Give me one reason I should.
RUBY
I'm here to help you, Sam.
SAM
Is this 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?
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?
RUBY
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 to 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 EPISODE