1.21 Salvation

The Road So Far

"Carry On My Wayward Son" by Kansas starts to play. All scenes from 1.01 Pilot, except where indicated.
The screen goes black.

Music:

Carry on

Mary, holding Dean, turns on Sammy's nursery light.

Music:

my wayward

John holds Dean, looking at baby Sammy, as Mary leaves.

Music:

son

Baby Sammy watching the family.

Music:

There'll be

A flash of white light.
John, in the nursery, as the flame overtakes him.

Music:

peace when you are

Young Dean, holding baby Sammy, looking up at the burning nursery.

Music:

done

John scoops up Dean and baby Sammy and races away from the house. The fire blows out the nursery windows.

Music:

Lay your weary head to rest

John and Dean sitting on the hood of John's Impala, John holding baby Sammy. John looks up at the remnants of the fire.

Music:

Don't you cry no more

A flash of white light.
Sam and Jess in Sam's apartment, talking with Dean.
Dean: Dad's missing. I need you to help me find him.
Dean and Sam, talking outside Sam's apartment.
Dean: I can't do this alone.
From 1.17 Hell House, Dean, with flashlight and shotgun, getting ready to open the cabinet. Camera shifts, and shows Sam ready as well.
Dean (voiceover from 1.02 Wendigo): Dad's giving us a job to do. He wants us to pick up where he left off.
From 1.03 Dead in the Water, Dean comes up out of the lake, holding Lucas.
Dean (voiceover from 1.02 Wendigo): Saving people.
From 1.19 Provenance, Sam swinging the fireplace poker through the ghost Melanie Merchant.
Dean (voiceover from 1.02 Wendigo): Hunting things.
A flash of white light.
A dark shape stands over Sammy's crib. Mary races into the nursery.
Sam (voiceover from 1.11 Scarecrow): This demon killed Mom
From 1.02 Wendigo, Jessica's tombstone, surrounded by candles, a teddy bear, cross, picture frame, box, and a flag.
Sam (voiceover from 1.11 Scarecrow): and Jess
From 1.02 Wendigo, Sam is talking to Dean at the campsite.
Sam: I gotta find Dad.
Jessica is on the ceiling, stomach sliced open, fire starting to burn behind her.
Sam (voiceover from 1.02 Wendigo): I gotta find Jessica's killer.
From 1.16 Shadow, Sam taps Meg on the shoulder and she turns around.

Music:

Ahhhhhh...

Meg: I'm Meg.
From 1.11 Scarecrow, Sam and Meg are talking on the side of the road.

Music:

ahhhh...

Sam: So where you headed?
Meg: No way I'm telling you.
Flash of white light.
From 1.11 Scarecrow, Meg pulls out a knife and quickly slits the van driver's throat.
Meg (voiceover from 1.11 Scarecrow): You could be some kind of freak.
From 1.16 Shadow, Dean recognizes Dad.

Music:

Once I rose above the noise and confusion

Dean: Dad?
John turns around, and steps into the light from outside. Dean and John share a long, emotional hug.

Music:

Just to get a glimpse

From 1.16 Shadow, Sam is watching Dad.

Music:

beyond this illusion

From 1.16 Shadow, John and Sam share emotional hug. Scene fades out.
From 1.03 Dead in the Water, scene fades in. First Dean, then Sam, step up to the white church.

Music:

I was soaring ever higher,

From 1.20 Dead Man's Blood, a shadow of bullets being forged.
John (voiceover from 1.20 Dead Man's Blood): In 1835, Samuel Colt made a special gun.
From 1.20 Dead Man's Blood, Colt and 13 bullets laying on piece of leather.
John (voiceover from 1.20 Dead Man's Blood): They say
From 1.20 Dead Man's Blood, John telling the boys the legend of the Colt.

Music:

but I flew too high

John: this gun can kill anything.
From 1.20 Dead Man's Blood, John raising the Colt to shoot Luther. The bullet flying through the air, and hitting Luther in the forehead.

Music:

Though my eyes could see

From 1.09 Home, Dean racing across the dark street to save Sam stuck in the house. Scene fades out.

Music:

I still was

From 1.20 Dead Man's Blood, scene fades in. With snow-capped mountains in the background, the Impala cruises down the road. Scene fades out.

Music:

a blind man

From 1.06 Hook Man, scene fades in. Dean shoots the Hook Man spirit with rock salt, dissipating him. Dean stops running, lowering the shotgun.

Music:

Though my mind could think I

From 1.12 Faith, Dean and Sam have tasers and flashlights, and throw open the door to the abandoned house.
Constance is being attacked by her children, who are dragging her down.

Music:

still was a mad man

From 1.14 Nightmare, Sam is getting a vision.

Music:

I hear the voices

From 1.14 Nightmare, flash of white light, Sam's eyes blown, and more flashes of vision.

Music:

when I'm dreamin',

Jessica is on the ceiling, stomach sliced open, fire starting to burn behind her.
Sam (voiceover from 1.09 Home): I have these nightmares.
Flash of white light.
From 1.09 Home Sam sits straight up in bed after receiving a vision.

Music:

I can hear

Sam (voiceover from 1.09 Home): And sometimes, they come true.
From 1.05 Bloody Mary, Jessica is standing on the street corner, looking at the Impala and Sam.

Music:

them say

White flash of Sam's vision.
From 1.02 Wendigo, Sam wakes up from a nightmare in the Impala.

Music:

Carry on

From 1.17 Hell House, Dean and Sam are shooting ghost of Mordechai.

Music:

my wayward son,

From 1.07 Hook Man, Sam and Dean are looking up, hearing a noise.

Music:

There'll be

From 1.12 Faith, Dean looks back, as the reaper is coming for him.

Music:

peace when you

From 1.20 Dead Man's Blood, John's talking with the boys.

Music:

are done

John: You two are all I've got. But I guess we are stronger as a family.

Music:

Lay your weary head

John: So we go after this damn thing.

Music:

to rest

John: Together.
Dean and Sam (together): Yes sir.
Sam smiles in satisfaction. Dean's satisfied. John gives a slight smile.

Music:

Don't you cry no more

INT. CHURCH - DAY
Blue Earth, Minnesota
Stained glass windows in a church showing Jesus calling the fishermen to be disciples. Camera pans down across a candelabra, showing an altar with the communion cup and a Bible, with someone turning pages. Pastor Jim is standing behind the altar, reading. He looks up when a wind ruffles his hair and blows the votive candles on the prayer altar. Meg enters the church.
Pastor: Good morning. Can I help you?
The Pastor comes down from the pulpit. Meg walks forward.
Meg: I kinda... I need to talk.
She slides sideways and sits into a pew.
Pastor: Well, that's what I'm here for.
She waits until he's leaning on the pew in front of her before speaking.
Meg: I've done some things.
A pause. She tilts her head.
Meg: Not good things.
Pastor: Well there's always forgiveness for us, if we seek it.
Meg: For everyone? Are you sure?.
Pastor: I like to say, 'Salvation was created for sinners.' Tell me what's on your mind.
Meg: Well. I've lied. A lot. I've stolen. I've lusted. And the other day I met this man. A nice guy, you know? We had a really good chat, sort of like this...
Pastor Jim smiles.
Meg: then I slit his throat and ripped his heart out through his chest.
Meg blinks and her eyes go black. Pastor Jim is shocked.
Meg: Does that make me a bad person?
Pastor Jim backs away.
Pastor: I know what you are.
Meg's eyes blink and return to normal. Pastor Jim slides out of the pew, continuing to back up.
Pastor: You can't be here.
Meg stands.
Pastor: This is hallowed ground.
Meg: Please. Maybe that works in the minor leagues. But not with me.
The Pastor runs for the door behind the pulpit. Meg starts to follow leisurely. He races down the stairs. He unlocks a door and rushes inside, sliding a ready to go barricade across the door. He turns to a well stocked hunter's chest of weapons and starts scrambling for something. Meg kicks open the door with ease, breaking the wood barricading it. Pastor Jim starts, then throws a knife covered in sigils at Meg's head. It misses her, yet she catches it easily. Horror is on his face.
Meg: You throw like a girl.
She starts stalking towards him, two steps to each one he half takes back.
Pastor: What do you want?
Meg: The Winchesters.
Pastor: I haven't spoken to John Winchester in over a year. You're wasting your time! Even if I did know where they were, I'd never tell you.
Meg: I know.
Suddenly Meg slits his throat with his own knife. He reaches up to grab his neck as the blood spurts out, before he falls back into a chair, gasping and dying. Meg turns to the side, smiles and walks away. Close up of Pastor Jim, dead.

SUPERNATURAL


Manning, Colorado
INT. MOTEL - DAY
The camera focuses on a nose, then an eye, of a deer. It then pans across a motel room and John's research. The walls are covered with information on the yellow-eyed demon. Weather charts, hieroglyphics, pictures, newspaper articles, written notes, a shelf of books and more charts and maps.

SALVATION

John sits, talking with the boys.
John: So this is it. This is everything I know.
The Colt lays on papers stacked in front of John, on a desk. A computer is open in front of John.
John: Look, our whole lives we been searching for this demon, right?
Sam leans against the counter while Dean stands behind John.
John: Not a trace, just... nothing. Until about a year ago. For the first time I picked up a trail.
Dean: And that's when you took off.
Dean walks around to the front of John, facing him.
John: Yeah. That's right. The demon must have come out of hiding, or hibernation.
Dean: All right, so what's this trail you found?

Credit:

Starring JARED PADALECKI

John: It starts in Arizona. Then New Jersey, California. Houses burned down to the ground. It's going after families,

Credit:

JENSEN ACKLES

John: just like it went after us.
Sam: Families with infants?

Credit:

Guest Starring NICKI AYCOX (Meg)

John: Yeah. The night of the kid's six-month birthday.

Credit:

JEFFREY DEAN MORGAN (John Winchester)

Sam straightens in surprise.
Sam: I was six months old that night?
John: Exactly six months.
Sam: So basically,

Credit:

SEBASTIAN SPENCE (Tom)

Sam: this demon is going after these kids, for some reason.
Sam huffs. Dean looks over.
Sam: The same way it came for me? So Mom's death... Jessica? It's all 'cause of me?
Dean: We don't know that Sam.
Sam stands.
Sam: (upset) Oh really? 'Cause I'd say we're pretty damn sure, Dean.
Dean: (frustrated) For the last time, what happened to them is not your fault!
Sam: (shouting) Yeah, you're right! It's not my fault! But it's my problem!
Dean: No, it's not your problem! It's our problem!
John: Okay.
John stands.
John: That's enough.
Everyone takes a breath and calms down.

Credit:

Producer PETER JOHNSON

Credit:

Supervising Producer PHIL SGRICCIA

Sam: So why's it doing it? What does it want?

Credit:

Co-Executive Producer JOHN SHIBAN

John: Look I wish I had more answers, I do. I've always been one step behind it. Look, I've never gotten there in time to save...

Credit:

Co-Executive Producer KIM MANNERS

John looks away, unhappy.

Credit:

Executive Producer McG

The boys are uncomfortable, saddened. Dean's resolve firms.
Dean: Alright, so how do we find it? Before it hits again?
John: There's signs. Look, it took me a while to see the pattern

Credit:

Produced by CYRUS YAVNEH

John: but in the days before these fires, signs crop up in an area. Cattle deaths, uh, temperature fluctuations, electrical storms.

Credit:

Created by ERIC KRIPKE

John: And then I went back and checked, and...
Dean: These things happened in Lawrence.
John nods.

Credit:

Written by SERA GAMBLE & RAELLE TUCKER

John: A week before your mother died.
John turns to Sam.
John: And in Palo Alto... before Jessica.

Credit:

Directed by ROBERT SINGER

John: And these signs, they're starting again.
Sam is fighting tears, but he wants to get the demon.
Sam: Where?
John: Salvation, Iowa.

SALVATION

EXT. ROAD OUTSIDE SALVATION - DAY
John's truck speeds along a misty road, followed closely by the Impala. After both vehicles pass the camera, it slides down to show "Leaving Salvation. The Heartland of America. Are you ready for Judgement Day? JW 2:27." On top there is a "Loto Jackpot 1.7 Million" sign.

EXT. TWO LANE ROAD INSIDE SALVATION - DAY
John's truck with the Impala following comes toward the camera. After a few moments John pulls off to the side, the Impala follows and everyone springs out of their seats.
John: Damn it!
Dean: What is it?
John: Son of a bitch!
Dean: What is it?!
John: I just got a call from Caleb.
Dean: Is he okay?
John: He's fine. Jim Murphy's dead.
Sam reacts.
Sam: Pastor Jim?
John nods sadly.
Sam: How?
John: Throat was slashed. He bled out.
The boys react in shock.
John: Caleb said they found traces of sulfur at Jim's place.
Dean: A demon.
John nods.
Dean: The Demon?
John: I don't know. Could be he just got... got careless, he slipped up. Maybe the demon knows we're getting close.
Dean: What do you want to do?
John: Now we act like every second counts. There's two hospitals and a health center in this county. We split up, we cover more ground. I want records. I want a list of every infant that's going to be six months old in the next week.
Sam: Dad, that could be dozens of kids. How the hell are we gonna know which one's the right one?
John: We'll check 'em all, that's how. You got any better ideas?
Sam: (subservient) No sir.
John nods at them and they all turn back to their vehicles. John stops, leaning on his trunk. Dean turns back as he opens his door and pauses.
Dean: Dad?
John: (upset) Yeah. It's Jim. You know, I can't...
They each are hurt over Jim's death. John's face hardens.
John: This ends, now. I'm ending it. I don't care what it takes.
Dean looks at Sam, who climbs into the Impala. John and Dean get back in their respective vehicles and pull back onto the road, speeding into the distance.

EXT. SALVATION WOMEN & CHILDREN'S HOSPITAL - DAY
John pulls up in front of 'Salvation Women & Children's Hospital'. He opens the container between the seats and shuffled through the number of IDs there, selecting one and pinning it to his jacket.

INT. SALVATION MEDICAL CENTER - DAY
A nurse carries four files, handing them to Sam, who is sitting in a filing room surrounded by more files.
Nurse: Here you go, officer.
Sam: Thank you.
Nurse: You're welcome.
He continues copying birth certificate information into his notebook under two columns - babies, and parents. The camera focuses on the birth certificate of Mary Ann Liu, born May 3, 1998.

INT. HOSPITAL - DAY
A pretty receptionist hands a file to a hospital worker, then looks down at her clipboard. She looks up again as Dean walks in and pauses, looking around. She smiles as he turns to her desk. He notes her gorgeousness and raises his eyebrows.
Receptionist: Hi. Is there... anything I can do for you?
Dean smiles.
Dean: Oh God, yes.
She half chuckles. Dean holds up his ID regretfully.
Dean: Only I uh...
He clears his throat.
Dean: working right now, so...
He stares at her appreciatively.

VISION

EXT. SALVATION MEDICAL CENTER - DAY
Sam comes out of Salvation Medical Center, flipping through his notebook. A flash of white and a lamp, and Sam starts reacting to a vision. A flash of a pretty clown hanging on a mobile. Then Sam clutches his head and squints his eyes closed as the vision hits full force. A mother holds her baby in the nursery. She puts the girl down in the crib. The train sounds, as the mother glances to the window. Sam gasps as the vision stops. He blinks, looking around, trying to find himself. He thinks. The flash of the vision happens again, showing on the dresser in the nursery. The mother is in the nursery. Next the mother is opening the door to the nursery. Yellow Eyes is in the baby's nursery. The clock is seen briefly. The vision flashes to the mother looking out the window, as a train passes. Sam has his hands on his head in pain, panting. As soon as the vision finishes and he can focus again, he quickly pulls out a map. There is a siren of an emergency vehicle close by. A light misty rain has started.
Sam: (whispering) A train.
Close up of the map, where the tracks cut through the town along Grace Ave. Sam looks around, half folds up the map, and heads out.

EXT. PARK - DAY
Sam is jogging in a park, checking his map again. As he does, the vision starts with a flash of white again, with the pain in his head. He squints his eyes close, grabbing his forehead. Again it shows the dresser. the mother in the nursery. The mother looking out of the window. The mother walking into the nursery, with the demon in the nursery. The dresser in the nursery. When it's over, Sam looks around, pulling his jacket around him to keep the rain out. He rubs his head for the pain, looking around, and realizes the house from the vision is in front of him. The nursery window is on the second floor. The woman from his vision pushes a baby stroller along the sidewalk while holding an umbrella. He approaches.
Sam: Hi. Here, let me hold that. You look like you don't need that anymore.
Monica: Oh. Thanks.
She chuckles as she closes her umbrella while Sam holds her stroller. He looks inside.
Sam: She's gorgeous. Is she yours?
Monica: Yeah.
Sam: (to the baby) Oh wow, hi! (to the mom) Oh sorry, I'm rude. I'm Sam. I-I just moved in up the block.
They shake hands.
Monica: Oh hey. I'm Monica.
Sam: Monica.
Monica: This is Rosie.
Sam: Rosie? Hi Rosie.
Monica: So, welcome to the neighborhood.
Sam: Thank you. She's such a good baby!
Monica: I know. She, I mean, she never cries. She just stares at everybody. Sometimes she looks at you and I swear it's -
Monica chuckles.
Monica: It's like she's reading your mind.
Sam: What about you, Monica? Have you... lived here long?
Monica: My husband and I, we bought our place just before Rosie was born.
Sam: And how old's Rosie?
Monica: She's six months today.
Sam is in shock.
Monica: She's big right? Growing like a weed.
Sam: (distracted) Yeah.
He is debating what to tell her for a moment.
Sam: Monica...
Monica: Yeah?
Wrestling with himself, before plastering on a smile.
Sam: Just ahhh, just take care of yourself okay?
Monica: Yeah, you too, Sam. We'll see you around.
Sam: Yeah, definitely.
A car honks. Monica continues to her house.
Monica: Oh. There's Daddy!
A station wagon pulls into the drive. Monica pulls the stroller next to the car.
Sam steps away, but looks back at the family. The father, Charlie, comes around the car and greets his wife. Sam's vision returns again, bringing pain as he grabs his forehead and squints his eyes closed. The dresser, focused on dancing shadow figurines. A nursery rhyme is playing. The pretty clown on the mobile. The clock in the bedroom stops, the nursery rhyme playing stops, a wind sweeps through, jostling the mobile. A black figure approaches the crib. Monica pushes the door open from the hallway and sees the figure standing over her daughter's bed.
Monica: What are you...
The figure turns to her. She is pulled back to the wall and slides up it to the ceiling. She cries out in pain. The baby looks up, reaching out one hand.
Monica: Rosie!!
Monica hangs there, gasping. Rosie looks up. Blood starts dripping from Monica's stomach. She cries out. The room bursts into flame around her.
The screen goes black.

INT. MOTEL ROOM - DAY
Sam sits at the table, rubbing his temples. Dean and John sit on the end of each bed.
John: (flatly) A vision.
Sam: (slowly, painfully) Yes. I saw the demon burning a woman on the ceiling.
John: And you think this is going to happen to this woman you met because...
Sam: Because these things happen exactly the way I see them.
Dean rises and crosses to the counter behind Sam to get more coffee.
Dean: It started out as nightmares, and then it started happenin' while he was awake.
Sam: (wincing) Yeah. It's like - I don't know - it's like the closer I get to anything involving the demon, the stronger the visions get.
John: (to Dean) Alright. When were you going to tell me about this?
Sam and Dean stop and turn to look at John.
Dean: We didn't know what it meant.
John: Alright, something like this starts happenin' to your brother, you pick up the phone and you call me.
Dean dumps the coffee jug and cup back on the counter and strides toward John.
Dean: Call you? Are you kiddin' me? Dad, I called you from Lawrence, alright? (accusatory) Sam called you when I was dying. I mean, gettin' you on the phone? I got a better chance of winning the lottery!
John: You're right. Although I'm not too crazy about this new tone of yours, you're right. I'm sorry.
Sam: Look guys, visions or no visions, fact is, we know the demon is coming tonight. And this family's gonna go through the same hell that we went through.
Dean heads back to pick up his coffee.
John: No, they're not. No one is, ever again.

INT. MOTEL - DAY and CALEB'S PLACE - DAY, alternating
Sam's phone rings.
Sam: Hello?
Meg (voiceover): Sam?
Sam: Who is this?
Meg: Think real hard. It'll come to you.
Sam thinks, then raises his head.
Sam: Meg.
John looks over, and stands up. Sam looks back at Dean and they exchange a look.
Sam: Last time I saw you, you fell out of a window.
Meg (voiceover): Yeah, thanks to you.
Meg: That really hurt my feelings, by the way.
Sam (voiceover): Just your feelings?
Sam: That was a seven-story drop.
Meg: Lemme speak to your Dad.
Sam looks at John. John walks over next to Sam.
Sam: My Dad. I don't know where my Dad is.
Meg: It's time for the grown-ups to talk, Sam. Let me speak to him now.
Sam hesitates then hands the phone to John. He takes the phone and starts walking away from the boys. Sam is watching.
John: This is John.
Meg: Howdy John. I'm Meg.
Meg (voiceover): I'm a friend of your boys.
Meg: I'm also the one who watched Jim Murphy choke on his own blood.
John's face shows sorrow, dropping down.
Meg: Still there John-boy?
John: I'm here.
Meg: Well, that was yesterday. Today I'm in Lincoln.
Meg is walking up to Caleb tied to a chair. He's watching her.
Meg: Visiting another old friend of yours. He wants to say hi.
Meg pulls the gag off and holds the phone to his ear.
Caleb: John, whatever they do, don't give -
Meg pulls the phone away.
John: Caleb?
Dean reacts to the name instantly, looking at John.
Meg puts her finger on her lips in a shhh-ing noise and smiling.
John (voiceover): Caleb. You listen to me. He's got nothing to do with anything.
John: You let him go.
Meg: We know you have the Colt, John.
John: (low) I don't know what you're talking about.
Meg: Oh, okay.
Meg holds up her favorite small knife.
Meg: So listen to this.
Meg slits Caleb's throat and holds the phone out. John can hear him gasping and drowning in his own blood.
John: Caleb.
John (voiceover): Caleb!
Meg: You hear that? That's the sound of your friend dying.
Meg (voiceover): Now let's try this again.
Meg: We know you have the gun, John,
Meg (voiceover): word travels fast.
Meg: So as far as we're concerned, you just declared war. And this is what war looks like. It has casualties.
Caleb is dead, his sightless eyes looking at Meg.
John: I'm gonna kill you, you know that?
Meg laughs over the phone.
Meg: Oh John please. Mind your blood pressure.
Meg (voiceover): So this is the thing. We're going to keep doing what we're doing.
Meg: And your friends, anyone who has ever helped you,
Meg (voiceover): gave you shelter, anyone you ever - loved.
Meg: They'll all die unless you give us that gun.
John is quiet, thinking, head lowered. The boys are close by his side.
Meg: I'm waiting Johnny, better answer before the buzzer.
John: (low) Okay.
Meg: Sorry? I didn't quite get that.
John: I said okay. I'll bring you the Colt.
Sam and Dean reacts with surprise at Dad's declaration.
Meg: There's a warehouse in Lincoln, on the corner of Wabash and Lake.
Meg (voiceover): You're gonna meet me there.
John glances at the boys.
John: It's gonna take me about a day's drive to get there.
Meg: Meet me there at midnight tonight.
John: That's impossible. I can't get there in time and I can't just carry a gun on a plane.
Meg: Oh. Then I guess your friends die, don't they?
John closes his eyes briefly in pain.
Meg (voiceover): If you do decide to make it,
Meg: come alone.
Meg hangs up.
John hangs up in pain.
Meg turns to Caleb's body.
Meg: What the hell are you looking at?

PLAN OF ATTACK

INT. MOTEL - DAY
Sam: So you think Meg is a demon?
John: Either that, or she's possessed by one. It doesn't really matter.
Dean: What do we do?
John: I'm going to Lincoln.
Dean: What?
John: It doesn't seem like I have a choice. If I don't go, a lot of people die. Our friends die.
Sam: Dad, the demon is coming tonight. For Monica and her family. That gun is all we got, you can't just hand it over.
John: Who said anything about handing it over? Look, besides us and a coupla of vampires, no one's really seen the gun. No one knows what it looks like.
Dean: So what, you're just going to pick up a ringer at a pawn shop?
John: Antique store.
Dean looks with surprise at Dad.
Dean: You're going to hand Meg a fake gun and hope she doesn't notice?
John: Look, as long as it's close, she shouldn't be able to tell the difference.
Dean: Yeah, but for how long? What happens when she figures it out?
John: I just... I just need to buy a few hours, that's all.
Sam: You mean for Dean and me.
Sam figured it out. The plan is dawning on Dean, as he looks at Sam.
Sam: You want us to stay here...
Dean looks at John.
Sam: and kill this demon by ourselves?
John: No, Sam. I want to stop losing people we love. I want you to go to school, I want-I want Dean to have a home.
John turns away from the boys, fighting tears, voice breaking.
John: I want Mary alive. It's just -
John turns back.
John: I just want this to be over.
Sam looks over at Dean, and they exchange a long look.

EXT. MUDDY BACK ROAD - DAY
Sam and John stand at the back of his truck, weapon locker open. Light rain is falling. John is finishing putting away small bottles of holy water. The Impala comes toward them, and Sam looks back. John puts away the weapon locker. Dean climbs out of the Impala.
John: Did ya get it?
Dean walks over and pulls a brown paper bag out of his pocket and hands it to John. John pulls out an antique gun.
Dean: You know this is a trap, don't you?
John looks over the gun.
Dean: That's why Meg wants you to come alone?
John: I can handle her. I got a whole arsenal loaded. Holy water, Mandaic, amulets...
Dean: Dad...
John: What?
Dean: Promise me something.
John: What's that?
Dean: This thing goes south just... get the hell out. Don't get yourself killed, alright? You're no good to us dead.
John nods. He includes both boys.
John: Same goes for you.
There is a long pause.
John: All right listen to me. They made the bullets special for this Colt. There's only four of 'em left. Without 'em this gun is useless. You make every shot count.
Sam: Yes sir.
John: Been waitin' a long time for this fight. Now it's here. I'm not gonna be in it. It's up to you boys, now. It's your fight, you finish this. You finish what I started. You understand?
John looks at Dean, who looks back. John looks to Sam, who nods his head. John hands Dean the Colt.
Sam: We'll see you soon Dad.
John: I'll see you later.
Sam and John half nod. John grasps Sam on the shoulder as he passes. John gets in the truck, glancing back, and leaves. The boys stand watching him pull away.
Dean gives a half nod.
Dean: Later.
The screen goes black

EXT. WAREHOUSE - NIGHT
Close up of the front grill and driver's headlights as the truck's ignition is turned off, before the camera swings up to show John in the cab. He climbs out and checks the antique gun, then takes out rosary beads and a flask of holy water, before stuffing them back into jacket pockets. He strides forward, checking out the area. A hissing noise, and John looks up and sees a tank on the roof. Close up view of the tank.

INT. WAREHOUSE - NIGHT
John's moving along an accessway, stopping to check the spigot at one point. A plan is forming - he checks the pipes that run along its walls and then continues down the accessway, jogging. He pauses to look over the pipes, and continues until he finds the ladder going up to the tank, where he wants to go.

EXT. HOLT'S HOUSE - NIGHT
Monica and Charlie finish dinner, laughing as they talk.
The Colt lays on a map, between Sam and Dean in the Impala. They watch the family through the window.
Sam: Maybe we could tell 'em it was a gas leak. Might get 'em out of the house for a few hours.
Dean: Yeah, and how many times has that actually worked for us?
Sam: Yeah.
Sam thinks some more.
Sam: Could always tell 'em the truth.
Dean just looks at Sam for a long moment, one eyebrow raised.
Dean and Sam: (unison) Nah!
Sam: I know. I know, I know. I just... with what's coming for these people...
Dean: Sam, we only got one move and you know it, all right? We gotta wait for that demon to show itself and then... we get it before it gets them.
They both look back at the house for a bit.
Sam: I wonder how Dad's doing?
Dean: I'd feel a lot better if we were there backin' him up.
Sam half chuckles.
Sam: I'd feel a lot better if he were here backing us up.
They keep watching the house.

EXT. WAREHOUSE - NIGHT
John is standing on the roof next to the tank, checking the ladder. Meg appears in the foreground. She slowly looks around then up at the water tank. John is not there. She moves away. Close up of John behind the tank. He checks that the coast is clear, then climbs the ladder. He opens the access hatch lid, holds the rosary up, and blesses the water in Latin.
John: Exorcizo te, creatura aquae. In nomine dei patris omnipotentis et in virtute spiritus sancti.
John drops the rosary into the water, where it floats gently down. John watches it briefly, before closing the access hatch lid. The rosary continues to slowly sink.

EXT. HOLT'S HOUSE - NIGHT
Charlie pulls the main shades over the front window. Camera pans down to show both boys in the Impala are watching the house closely.
Sam: This is weird.
Dean looks back at Sam.
Dean: What?
Sam is awed, hopeful.
Sam: After all these years, we're finally here. It doesn't seem real.
Dean: We just gotta keep our heads and do our job, like always.
Dean refocuses on the house.
Sam: Yeah, but this isn't like always.
Dean glances back at Sam, before focusing on the house.
Dean: True.
Sam: Dean... ah...
Dean looks back at Sam.
Sam: I wanna thank ya.
Dean is confused.
Dean: For what?
Sam: For everything. You've always had my back, you know? Even when I couldn't count on anyone, I could always count on you. And ah... I don't know, I just wanted to let you know. Just in case.
Dean: Whoa whoa whoa, are you kiddin' me?
Sam: What?
Dean: Don't say just in case somethin' happens to you. I don't wanna hear that freakin' speech man. Nobody's dying tonight. Not us, not that family. Nobody. Except that demon. That evil son of a bitch inn't getting any older than tonight, you understand me?
Sam nods his head. They both refocus back on the house.

CONFRONTATION

INT. WAREHOUSE - NIGHT
Meg stands in the middle of the room. She hears a creak and turns.
Meg: John, you made it.
John takes one more step towards her. He stops a few feet away.
Meg: Too bad really. I was hoping to kill more of your friends.
John: Sorry to disappoint.
Meg: I can see where your boys get their good looks. Though I must admit, considering what they say about you, I thought you'd be... taller.
John just stares at her.
Meg: Well, aren't you the chatty one. You wanna get to business?
Meg starts walking over to John, stopping right before him.
Meg: Fine. Why don't you hand over the gun?
John: If I give you the gun, how do I get out of here?
Meg: If you're as good as they say you are, I'm sure you'll figure something out.
John: Maybe I'll just shoot you.
Meg: You wanna shoot me baby? Go ahead. It won't end anything. There's more where I came from.
Another guy demon, Tom, walks out of the shadows from behind Meg. She turns to look at him.
John: Who the hell's that?
Meg: He's not nearly as much fun as I am, I can tell you that. So I suggest you give us the gun.
Tom stops just behind and to the side of Meg. John stares at the other demon for a long moment, then back at Meg.
Meg: Now!
Meg holds her hand out with her demand. John hands over the gun to Meg, butt first. She checks it out.
Meg: This is the Colt?
John nods once. Meg hands the gun to Tom.
Meg: What do you think?
Tom looks it over, before staring at John. As he continues to stare at John, Tom points it at the ceiling, and cocks it. John tenses for Tom to shoot him. Tom swings to the side and shoots Meg in the chest. Meg cries out, staggers back, and grabs at the gunshot wound, panting heavily.
Meg: You shot me! I can't believe you just shot me!!
Tom looks at John. John realizes time is up.
Tom: It's a fake.
Tom throws the gun away, where it clatters to the ground. Meg also turns to look at John. John looks steadily back at Meg. Both Meg and Tom are getting ready to attack. John looks from one to the other, trapped.

INT. WAREHOUSE - NIGHT
Tom, Meg, and John stand in a three-way standoff.
Meg: You're dead John. Your boys are dead.
John backs slowly away.
John: I've never used the gun. How could I know it wouldn't work?
Meg advances.
Meg: I'm so not in the mood for this! I've just been shot!
John: Well then, I guess you're lucky the gun wasn't real.
Meg: That's funny, John. We're going to strip the skin from your bones, but that was funny.
A noise of steam escaping distracts Meg for a split second. John runs into the next room, locking the door and going down a hatch into the access tunnel he was in earlier, lined with pipes. Meg kicks open the door, and she and Tom follow. John hears the door crash open, glancing behind him, before he continues down the tunnel. Tom, then Meg, jump off the ladder to continue to follow. John reaches the valve on the spigot and turns it on. Water starts spraying over the floor. Tom pauses and glances back at Meg. She motions for him to continue. He turns back to face John, and walks into the running water. As he walks through the water his feet begin steaming. He glances down, starts yelling and jumps backwards, away from the water. Meg stumbles back.
Meg: Holy water, John. Real cute.
John smiles at them, and takes off, leaving the holy water running at them.

EXT. HOLT'S HOUSE - NIGHT
Camera pans up from the Impala's grill to show the boys still in the car waiting. Dean holds his phone to his ear as he's listening to it ring. He closes his phone with a snap.
Dean: Dad's not answering.
The boys look at the house. A shot of the nursery window, the curtains closed.
Sam: Maybe Meg was late. Maybe cell reception's bad.
Dean: Yeah, well.
The radio starts chattering with static.
Sam: Dean, wait. Listen.
Sam twists the dial on the radio, hearing more static come and go. The wind picks up and the lights in the house flicker. Dean turns to look at Sam.
Sam: It's coming.
They jump out of the car.

EXT. WAREHOUSE - NIGHT
John runs around the corner back to his truck, only to find all the tires slashed.
John: Dammit.
He glances around before running around the side of the building.
Close up of a chain link fence, before the camera refocuses to show John running along, looking around for some way to escape or hide.

STOPPING THE DEMON

INT. HOLT LOUNGE - NIGHT
Dean uses a card to slide the lock on the front door open and they enter silently. Dean closes the door after Sam. They approach the lounge, Sam first.
Charlie: Get out of my house!
Dean sees Charlie, and jumps back as Charlie swings a bat at Dean's head. The bat misses and smashes a lamp. Dean quickly closes in and grapples with him, grabbing the bat.
Charlie: (desperate) Get out of my house!
Dean easily takes control, swinging him against the wall and holding the bat across his throat.
Sam: Mr. Holt, please.
Dean: (sharply) Be quiet and listen to me. Be quiet and listen to me. We are trying to help you.
Monica: (from upstairs) Charlie?
Dean: Okay?
Monica: Is everything okay down there?
Charlie: Monica, get the baby!
Sam: (at the same time) Don't go in the nursery!
Charlie: You stay away from her!
Charlie struggles to get away from Dean. Dean backhands him, knocking him unconscious, and pulls him over his shoulder in a fireman's lift.

INT. NURSERY - NIGHT
Monica, in her nightgown as she was in Sam's vision, pushes the door to the nursery open. A dark figure stands over Rosie's crib.
Monica: What are you...
The figure raises his hand and Monica is flung back against the wall.

INT. HOLT'S HOUSE - NIGHT
Sam races along the corridor.

INT. NURSERY - NIGHT
Monica slides up the wall and onto the ceiling, whimpering in pain. Sam runs into the room, and hesitates, frozen and staring. The dark figure turns to him.
Monica: Rosie!
Azazel: Shhhh...
Yellow eyes from the figure shine at Sam. Sam raises the Colt and pulls the trigger. The demon disappears into smoke. Monica, screaming, falls to the floor.
Sam: Where the hell did it go?
Monica: My baby!
Sam: No - hey!
Monica stands, trying to move toward the cot, and is caught by Sam. Dean runs past them to the cot.
Dean: Get her out of here!
Monica: No - my baby!!
Monica fights Sam, as he starts to wrestle her out of the room.
Dean: I got her!
Monica: (crying) My baby!
Dean: (to baby) Come on.
Monica: My baby!
Sam forces her out of the room. She looks back.
Sam: Dean's got her.
Dean quickly wraps the blankets around the baby and pulls her up as the cot explodes into flame. He races out of the room.

EXT. WAREHOUSE - NIGHT
John runs down a dead end and stops, looking around and gasping for breath. He grabs for his phone but as he dials the first few numbers he is flung against the wall, losing his grip on the phone.
John: Ah!
He hits the wall, groaning in pain. John tries to move to escape, yelling and grunting in frustration and pain. Tom appears, walking slowly towards John. John begins to slide up the wall. John pants, stopping trying to escape, and just watching him. Tom stops and stands in front of him, smiling slightly.

EXT. HOLT'S HOUSE - NIGHT
The nursery window explodes outwards, flames shooting out. The camera pans down to a smoke filled front doorway and Monica appears, guided by Sam. Both are coughing.
Charlie: You get away from my family!
Charlie staggers up from where he was lying on the grass. Dean runs out to join them, holding the baby.
Monica: No, Charlie don't! They saved us.
Monica begins to cry.
Monica: I mean, they saved us.
Monica takes the baby from Dean and steps over to her husband. Charlie puts his arms around both of them.
Monica: (to Sam and Dean) Thank you.
Devastated, Sam and Dean turn back to the burning house. The demon is silhouetted in the burning nursery, standing completely still. Sam starts back inside.
Sam: It's still in there!
Dean grabs Sam.
Dean: Sam. Sam, no!
Sam struggles against Dean.
Sam: Dean! Let me go, it's still in there!
Dean: It's burning to the ground! It's suicide!
Sam: (yelling) I don't care!
Dean: I do!
They both look back up as the flames rise again and the demon disappears. Dean's eyes promise vengeance. Sam is upset he missed it. The screen goes black.

INT. MOTEL ROOM - NIGHT
Dean paces while holding the phone to his ear, listening to it ring. Sam sits on the bed, staring into space, giving a great bitchface.
Dean: (frustrated) Come on Dad, answer your phone, damn it.
Dean hangs up.
Dean: Somethin's wrong.
Sam doesn't answer.
Dean: You hear me? Somethin's happened.
Sam: If you had just let me go in there, I coulda ended all this.
Dean: Sam, the only thing you would have ended was your life.
Sam looks up at Dean.
Sam: You don't know that.
Dean paces back toward the bed.
Dean: So what, you're just willing to sacrifice yourself, is that it?
Sam stands up.
Sam: Yeah. Yeah, you're damn right I am.
Dean: Well, that's not going to happen, not as long as I'm around.
Sam: What the hell are you talking about, Dean? We've been searching for this demon our whole lives. It's the only thing we've ever cared about.
Dean: Sam I wanna waste it. I do. Okay? But it's not worth dying over.
Sam: What?
Dean: I mean it. If huntin' this demon means gettin' yourself killed... then I hope we never find the damn thing.
Sam: That thing killed Jess. That thing killed Mom.
Dean: You said yourself once, that no matter what we do, they're gone, and they're never comin' back.
Sam totally loses it, grabs Dean and shoves him hard against the wall.
Sam: (angry and upset) Don't you say that, not you! Not after all this - don't you say that!
Dean: (quietly) Sam look. The three of us... that's all we have... it's all I have.
Sam is starting to tear up.
Dean: Sometimes I feel like I'm barely holding it together man. Without you and Dad...
Sam pats Dean's chest, before walking away.
Sam: (upset) Dad.
Sam walks across the room. Dean stays where he is, taking deep breaths. Sam has tears in his eyes.
Sam: He should have called by now. Try him again.
Dean dials, and listens, hoping to hear Dad.

INT. UNKNOWN - NIGHT
John's phone sits on a bench, ringing. Meg walks over and picks it up. She looks at the screen, smiles to herself and answers.
Meg: You boys really screwed up this time.

INT. MOTEL ROOM - NIGHT
Realization dawns on Dean, as he looks at Sam.
Dean: (low) Where is he?
Sam looks up sharply at Dean.

INT. UNKNOWN - NIGHT
Meg: You're never going to see your father again.

INT. MOTEL ROOM - NIGHT
Dean and Sam stare at each other - Dean has a look of determination, Sam has a look of panic.
The screen goes black.

To Be Continued...