WMV 'THE ROAD SO FAR'

MOV 'THE ROAD SO FAR'

TEASER

FADE IN:
EXT. COUNTRY ROAD - NIGHT - FLASH BACK

MUSIC: "FOR WHOM THE BELL TOLLS" Metallica

TITLE ON SCREEN: 1995

A dark forest. The CAMERA SPIRALS DOWN to find

THE IMPALA



The RADIO blares rock music.

INT. IMPALA

Inside TEENAGE DEAN (16) and YOUNG SAM (12) sit in the back. Young Sam keeps his eyes trained on the windows. Frightened.

YOUNG SAM
What do you think is taking Dad so long?

TEENAGE DEAN
He’s fine Sam.

YOUNG SAM
But, what if something happens to him? What will happen to us?

Teenage Dean looks into his brother’s eyes, supportive.

TEENAGE DEAN
I will always be here for you Sam. No matter what happens. It’s you and me to the end, alright?

YOUNG SAM
Promise?

TEENAGE DEAN
I promise.

Young Sam smiles. Teenage Dean smiles back. OFF this image...

FORM CUT TO:

DEAN Watching over Sam, eyes strained with tears. They are in the IMPALA. Sam glances over at Dean. Dean looks away and takes a deep breath.

EXT. COUNTRY ROAD - NIGHT - FLASH BACK

A tall, rugged man approaches the Impala. This is none other than the heroic JOHN WINCHESTER. He opens the trunk and places the shotgun inside.

INT. IMPALA - FLASH BACK

Teenage Dean watches as John SHUTS the trunk and enters.

TEENAGE DEAN
When is it going to be my turn?

John looks back at his son and cracks a grin.

JOHN
Soon.

Teenage Dean smiles. This peaceful moment is cut short by...

EXPLOSIONS.

INT. SUBWAY TUNNELS - LETUM’S TRAP - FLASH BACK

Dean RUNS towards his dying father. Past the debris.

DEAN
Dad... Dad... no...

Dean bends down beside his father and cradles his head in his arms.

JOHN
Dean...

DEAN
I’m here Dad. I’m here now. Everything’s gonna be okay.

John solemnly shakes his head.

JOHN
It’s my time, son. Take care of Sammy...

John closes his eyes for the last time.

DEAN
Dad... Dad, don’t die on me. Not now. I need you. I don’t know if I can do this on my own. Dad. Please... Dad!!!

Dean lowers his head onto his father’s and cries.

INT. IMPALA - NIGHT

Dean focuses on the road. Shakes his head. SLAMS his foot down on the gas. The ENGINES ROAR!



Sam glances over at Dean. Sighs.

EXT. EMPTY ROAD - NIGHT

The Impala SPEEDS PAST THE SCREEN.

BLACK OUT!

END OF TEASER

ACT ONE

EXT. DEMON’S ALLEY - NIGHT

TITLE ON SCREEN: PASSAIC COUNTY, NEW JERSEY.

A development of wooden houses. Situated in the middle of a deserted empty field. SPRAY-PAINTED NUMBERS cover the DOORS. Upon first glance every window is shut with white windowsills, but this is just an illusion. Every window is BOARDED and SPRAY-PAINTED.

A WOMAN SCREAMS IN AGONY.

The camera slowly pans over to HOUSE # 48.

INT. HOUSE 48 - BASEMENT - NIGHT

The room is lit by BLACK CANDLES. BLACK ROBED FIGURES gather around a WOMAN withering on the ground. One of the men takes off his black hood, revealing a DISFIGURED FACE. This is MALUM PAVUS (45).

Malum reaches into his robes and takes out an ORNATE DAGGER.

WOMAN
No. Please. No!!!

Malum RAISES the dagger into the air. Ceremonially.

MALUM
O atrum unos nos dedi vos is vitualamen, beatus nos!

Malum STABS the blade into the woman’s chest.

BLOOD LEAKS OUT.

The woman blinks her eyes. Dies. Malum raises the BLOODY DAGGER into the air and lets out a BLOODCURDLING WAIL. The black robed figures let out the same wail.

EXT. DEMON’S ALLEY - NIGHT

Eerily calm. Tranquil. The action hidden within the house. Black robed figures disperse.

The camera slowly pans back. Taking everything in. The final image we see is TWO UPSIDE DOWN CROSS CANDLES welcoming all daring to enter Demon’s Alley.

EXT. DINER- AFTERNOON

MUSIC: "JOURNEY" Jason Manns

A small town diner in the middle of a run down town; the Impala is parked beside the curb.

INT. DINER- AFTERNOON

Dean and Sam sit by the window. Dean picks up his cup of coffee and takes a sip out of it while he skims through the newspaper. Sam just watches him.

SAM
Dean, are you sure you’re okay?

Dean SLAMS the newspaper down on the table.

DEAN
How many times do I have to tell you? I’m fine.

SAM
It’s just, ever since Dad died, you haven’t said a word about him. You’ve been avoiding the subject entirely.

DEAN
I’m fine Sam. Now drop it.

A very hot WAITRESS (25) approaches them with their breakfast. She places the food down on the table. She gazes into Dean’s eyes and smiles; very flirtatious.



WAITRESS
Is that all?

DEAN
(Cold)
Yeah. That’s all. Thanks.

The waitress eyes Dean with disinterest. She walks away.

Sam glances back and forth between the waitress and Dean.

SAM
That’s it?

DEAN
What?

SAM
Usually you’d be hitting on her by now.

DEAN
In case you haven’t noticed, I’m working. Trying to find us our next hunt.

SAM
Don’t you think we should take a break? I mean, with everything we’ve been through lately…

DEAN
It happens. Now are you going to get out that handy dandy laptop of yours or what? Evil doesn’t stop on our account.

SAM
It’s just; I’m worried about you.

DEAN
Don’t be. I’m fine and if you ask me one more time, I swear to God I’ll kick your ass from here to kingdom come. So don’t.

Dean continues to skim through the paper. Sam sighs; he checks the mark on his arm.

DEAN
Dude, seriously I need to kill some evil son of a bitch. Get it out.

Sam rolls up his sleeve and reluctantly reaches into his back pack. He pulls out the laptop.

Dean SLAMS the newspaper back down. Sam jolts. Dean smiles.

DEAN
I found it.

Dean laughs. Sam checks Dean, off guard. Dean spins the paper and points to an article reading: MYSTERIOUS DISAPPEARANCES: TWENTY MISSING.

SAM
A missing person’s case?

DEAN
Twenty so far over the course of a week. Most are young, ranging from their early teens to late twenties. Recently it was a sixteen year old boy. Right before it happened, he claimed to have seen black robed figures stationed outside of his house.

SAM
Black robes--

DEAN
The garb Satanists often wear. For rituals -

SAM
You’re saying they kidnapped him to make him a sacrifice? Why?

DEAN
Figure the third trumpet had to lure some of these freaks out of hiding. Preparation for the end of days…
(Falls silent, regretful)
Man, I can’t believe it’s here.

SAM
(Not entirely convincing)
We can win the war, Dean.

Dean takes out a thirty and drops it on the table; he gets up and moves for the exit. He glances back at Sam, still sitting at the table.

DEAN
Come on, Sammy get your ass in gear.

Sam gets up and follows Dean out.

EXT. JACOBS HOUSE - DAY

A modest suburban home in a peaceful development. The Impala drives over to the curb and parks. Dean steps out and looks around.



FLASH CUT:
EXT. JACOBS HOUSE - NIGHT

BLACK ROBED FIGURES descend upon the house. In the upstairs window TOMMY JACOBS (16) watches on. Frightened.

EXT. JACOBS HOUSE - DAY

Dean KNOCKS on the front door. BRIDGET JACOBS (38) opens it.

BRIDGET
Hello? May I help you?

DEAN
I’m Owen. This is my partner.
(Motions to Sam)
Luke. We’re from the Sheriff’s office, we just wanted to ask you a couple of questions concerning you’re son’s disappearance.

BRIDGET
I already told the police everything I know.

SAM
We know that Ma’m, just checking up. Crossing the T’s, dotting the I’s. That sort of thing.
(Straight forward)
Listen, we just want to make sure we’ve got the facts right. It would be in the best interest of your son if you let us in. Please.

Bridget opens the door and moves aside. Dean and Sam enter.

INT. JACOBS HOUSE - FAMILY ROOM - DAY

Dean holds a photograph showing TOMMY JACOBS with his foot over a soccer ball. He turns to face Bridget entering with two cups of coffee.

DEAN
Is this him?

BRIDGET
Yes. That’s my Tommy. Soccer was his life. Never missed a game.

Bridget hands Sam, sitting on the sofa, a cup of coffee.

SAM
Thank you.

Bridget hands Dean the coffee. She takes the picture.

BRIDGET
I still can’t believe he’s gone. It all happened way too fast. I’ve gone through enough tragedies to last me a lifetime, if anything happens to him--

DEAN
I think I know how you feel. We’re going to do everything we can to bring him back.

Bridget sets the picture down and takes a seat.

DEAN
Tell me, by any chance was Tommy involved with any dark arts? Did he have any friends or enemies who were into black magic, the devil, anything?

BRIDGET
No. No. Not at all. Tommy never would have gotten himself mixed up in all of that. He’s a good, honest boy.

SAM
You said that he came to you saying he saw black robed figures outside of the house?

BRIDGET
Yes. He did. But, by the time I went out to look, they were either gone or he was just imagining it.

Dean and Sam share an off look.

BRIDGET
He’s been out of it ever since those god forsaken meteors hit. One of his friends was killed in the blast. He’s been on edge ever since. He insisted that they were out there though.

DEAN
Did Tommy have any enemies? Anyone who might want to hurt him?

BRIDGET
Not that I know of. For the most part after that tragedy on six twenty six this town’s held itself together. Grown closer than ever before. We all buried somebody that day.

Dean and Sam remain silent. Dean looks away. Sam leans in towards Bridget.



SAM
Do you mind if we take a look in his room?

BRIDGET
No. Go ahead. It’s on the second floor, first room on the right.

Sam stands up and begins to leave. He stops to face Dean.

SAM
Are you coming?

DEAN
Hmm?
(Realizing)
Oh yeah, right.

Dean follows Sam out of the room.

INT. JACOBS HOUSE - TOMMY’S BEDROOM - MOMENTS LATER

A typical teenage guys room. Posters of SUPERHEROES and SOCCER PLAYERS cover the walls. School books are tossed off to the side.

Dean and Sam rummage through. Looking for anything peculiar. Dean bends down and reaches under the bed. He finds a copy of a hardcover book: ON THE ROAD BY JACK KEROVAC.

Dean opens the book to find a different title: TEN WAYS THE WORLD WILL END. Notes are scrawled into the book.

DEAN
Sam, take a look at this.

Dean tosses Sam the book.

SAM
Ten ways the world will end?

DEAN
Looks like Tommy was more than just grieving the death of his friend.

SAM
(Reading)
Lance Davison believes we’re entering the end of days. He has this theory about the book of revelations. Need to look into that.

DEAN
Think he got too deep?

SAM
I don’t know.

Bridget enters the room. She clears her throat.

BRIDGET
Got too deep into what?

Dean looks over at Sam. Shakes his head.

DEAN
(To Bridget)
Do you know a Lance Davison?

BRIDGET
Yes. He and Tommy have been best friends since the second grade. They go to the same school together. Why?

DEAN
We’d like to ask him a couple of questions.

BRIDGET
You think he was involved in what happened?

DEAN
I don’t know what to believe yet.

Off Bridget eyeing them, taken aback--

EXT. JACOBS HOUSE - DAY

Dean and Sam approach the Impala. Bridget watches on through tear stained eyes. Dean looks back at the house.

FLASH CUT:
EXT. JACOBS HOUSE - NIGHT - FLASH BACK

TOMMY JACOBS, a teenage guy in jeans and a black shirt, leaves his house and glances around the neighborhood afraid.

TOMMY
Come out here where I can see you. You bastards!

Tommy turns to face Dean. This is Dean’s imagination.

TOMMY
Why didn’t you do anything?

Suddenly black robed figures descend upon him. Blood splatters against a tree.

TOMMY (O.S.)
Help me!!!

OFF Dean watching on in fear.

FORM CUT TO:

DEAN Watching over the tranquil neighborhood. Dean turns and enters the Impala.

EXT. HIGHLAND HIGH - DAY (SEX LINES ARE EXPENSIVE COMEDY BY DRIVE BY ARGUMENT)

Students enter the school. Most are together. One group stands apart from the rest. Dressed in black shirts and jeans. Rebellious. Angry.

Among them is LANCE DAVISON, seventeen, peering across the yard.



LANCE
How can they go on like nothing happened?

APOCO-MATE 1
They’re too afraid to see it.

LANCE
It’s here. The end of days. Those meteors were only the beginning. There’s more to come.

APOCO-MATE 2
They don’t want to see it. That’s why the cast us out.

LANCE
Screw em’. Have to get going, later?

APOCO-MATE 1
Peace bro.

Lance grabs his backpack and walks away. He passes a series of white crosses in the ground with photographs of students on them.

Lance reaches into his back pack. Grabs a white cross. He stabs it into the ground. Takes a picture of Tommy and tapes it to the cross.

DEAN (O.S.)
What are you doing?

Lance jolts. He turns around to face Dean and Sam watching on.

LANCE
Tommy deserves to be here. With the others.

DEAN
Is he dead?

LANCE
Probably.

DEAN
You kill him?

LANCE
What? No!

DEAN
Then what happened to him?

LANCE
He was taken.

SAM
Taken? By who?

LANCE
Like you care.

Lance begins to walk away.

DEAN
Lance?

LANCE
(Stops, faces Dean)
Who are you guys?

Dean takes out the hard cover book and tosses it to Lance.

DEAN
We found this. Says you have a theory about the end of days.

LANCE
Yeah, I do, those meteors were only the beginning. It’s a sign. All these terrible things that have been happening lately. Katrina. Nine-Eleven. Six-Twenty Six. It’s like they’re setting the playing field, you know?

DEAN
Yeah. I think we do.

SAM
What happened to Tommy?

LANCE
I don’t know. They got him.
(Checks his surroundings)
You heard that report his mother gave right?

SAM
Black robed figures?

LANCE
Exactly. They know me, Tommy and the rest of the guys are on to them. They’re trying to cover it up.

DEAN
You’re wearing black.

LANCE
Yeah, so? It’s a sign. We’re different than the rest of the drones around here and we’re god damned proud of it.

Dean cracks a grin and nods his head.

SAM
You said they were onto you, who?

LANCE
Satanists that’s who. Tommy wasn’t the first to see them either. There’s been others. They only come out at night.

SAM
How long was Tommy seeing them?

LANCE
Bout a week before they got him. I have a theory though. Ever hear of Demon’s Alley?

Off Dean’s look of realization --

BLACK OUT!

END OF ACT ONE

awesome start

ACT TWO

INT. HOTEL ROOM - DAY

Dean walks over to his suitcase. Opens it and takes out his father’s journal. Sam watches on.



SAM
Mind telling me what this is all about?

DEAN
Demon’s Alley. I should have seen it before. We’re in Passaic County, New Jersey. Dad wrote about it in his journal. Supposedly it’s some satanic sanctuary.

Dean hands Sam the opened journal page concerning DEMON’S ALLEY with a crude sketch.

SAM
Yeah, I think I remember that now. But, wasn’t it inactive for years?

DEAN
It was. But, we’re in the world after six-twenty six. All these sick bastards are emerging to worship the dark prince. What better place to return to than their old nesting grounds? According to legend in the early eighteen eighties some average Joe moved into one of the houses, while it was still a lively community. Assembled a meeting in his home with everyone from the town.

SAM
Right. Secretly played pranks on the residents and got them to believe it was some local teens. They were going to find a way to stop them.

DEAN
Exactly. But, once they got in, they were trapped --

FLASH CUT:
INT. HOUSE 48 - BASEMENT - NIGHT - FLASH BACK

Town residents are gathered in the basement. CLARK DEMPSEY (45), lanky, looks over the town residents.

CLARK
I’m glad you could all make it. Now lets get down to business shall we?

The basement door closes. Black robed figures emerge from the darkness. A town villager, ANTHONY, steps forward.

ANTHONY
What’s going on? What’s the meaning of this?

CLARK
You want to live in a safe world, don’t you Anthony?

ANTHONY
Yes. Yes I do.

Clark slowly approaches him.

CLARK
Do you really? I can make them stop. I can make them fear us.

ANTHONY
I don’t want them to be afraid, I just want to put an end to it.

CLARK
I’m afraid it’s the same thing, Anthony. Do you want them to stop?

ANTHONY
Certainly. Definitely.

Clark leans in close.

CLARK
Well, you won’t have anything to fear from them again.

Clark STABS Anthony. Anthony backs away. Shocked.

CLARK
Me on the other hand? Well, I guess you already know.

Clark nods to the black robed figures. All take out knives.

TOWN VILLAGER
I thought you said you’d stop them?!

CLARK
(Laughing)
Stop them? Why would I want to stop them? I am them.

Clark near the town villager, presses the blade up against his face. The villager trembles.

CLARK
In this life you have to choose a side. Heaven or hell. I chose hell from a very early age, ever since I murdered my parents in their sleep and offered them up as sacrificial lambs.

Clark moves away and approaches a wooden box.

CLARK
(Menacing glee)
Now it’s your turn. But to make it more fun, I’m going to give you all a choice. Join me by killing your neighbor or die.

Clark opens a box and throws a series of KNIVES onto the ground.

CLARK
Think of it as aggressive survival. Those who join me live. Those who don’t die. That simple. Have fun. Oh and by the way, make sure they play by the rules.

Clark walks up the stairs and leaves the basement. The villagers face each other. Sweating heavily.

FADE TO:
INT. HOTEL ROOM - DAY

Dean looks out the window. Pained.

DEAN
No one knows what happened. But, as the legend goes in a night they all disappeared.

INT. DAVISON HOUSE - LANCE’S BEDRROM - NIGHT

Gothic posters cover the walls. Lava lamps. Action figures of: BATMAN, GHOST RIDER, and CONSTANTINE.

Lance lays back on his bed blasting “DEMON INSIDE BY CELESTY” from his headphones.

JAMES DAVISON (45), tall and rugged, enters the room. Lance takes off his head phones.



JAMES
Can you please tell me what’s been going on with you lately?

LANCE
Dad, I’m fine.

JAMES
No. You’re not. You haven’t been the same since the meteors hit.

LANCE
Well, maybe unlike everyone else, I actually acknowledge that there’s something happening here.

JAMES
The world is not coming to an end. You’re just over reacting. We survived a crises with the help of President-

LANCE
I hate that guy.

JAMES
He’s done the best he can for the people.

LANCE
(Mocking)
You can trust me in your time of need.
(Angry)
He’s a bastard. Way too good to be true.

JAMES
I’m going to find Tommy, Lance. You know that, don’t you?

LANCE
They’re dead, Dad. All of them.

JAMES
How can you be so sure?

LANCE
I just am. The answer’s right under your nose, you’re just too blind to see it.

JAMES
See what?

LANCE
It all links back to Demon’s Alley.

JAMES
That place has been closed down since before I was a child. Couple of friends and I went by there for some kicks when I was young, sure it’s scary, but none of us died. I’m still here, aren’t I? It’s just a local legend son.

LANCE
Have you been there recently?

JAMES
Well, no, but--

LANCE
Then you don’t know, you shouldn’t dismiss things so easily Dad. Just like how you dismissed all the signs about Mom.

James sighs. Leans against the door and looks over at his son.

JAMES
You win.

James walks away. Lance frowns, glances around the room. He gets up in bed.

LANCE
Dad, wait--
(Too late)
I’m sorry.

Lance lays back down on his bed, puts his headphones on and closes his eyes.

EXT. DEMON’S ALLEY - WOODS - NIGHT

Three BLACK ROBED FIGURES drag six body bags through the woods. Finally they come upon six holes in the ground, they dump the bodies into the holes and begin to fill them in with dirt.

We slowly descend into a hole to see the mutilated body of Tommy Jacobs. Dirt fills the hole completely.

TIME LAPSE:

Day. The sounds of a CAR ENGINE arriving.

EXT. DEMON’S ALLEY- DAY

A POLICE CAR pulls up beside Demon’s Alley. It has very little of the same aura as it does at night.



INT. POLICE CAR - CONTINUOUS

Inside is James Davison, holding onto a dispatcher radio.

JAMES
Sally, you there?

SALLY (O.C.)
Affirmative. Read you loud and clear James. Over.

JAMES
You really like to use that thing, don’t you?

SALLY (O.C.)
Well, you know, when my sisters were playing with their barbie dolls I was out there playing army ranger with the boys.

JAMES
I’m over at Demon’s Alley. Thought I’d give it a look. See if there was anything out of the ordinary.

SALLY (O.C.)
That whole place gives me the creeps.

JAMES
Thought you didn’t believe in ghost stories.

SALLY (O.C.)
I don’t. I just believe in the lunatics who believe in them.

JAMES
You never can tell these days. Signing off.

SALLY (O.C.)
May the force be with you.

James cracks a grin. Turns off the radio dispatcher.

EXT. DEMON’S ALLEY - AFTERNOON

James steps out of the car and scans the area for anything out of the ordinary.

INT. DEMON’S ALLEY- HOUSE 51- UPSTAIRS- AFTERNOON

A figure cloaked in the dark peeks out the window seeing James wandering through the deserted development.

EXT. DEMON’S ALLEY- AFTERNOON

James approaches one of the houses and knocks on the door. No answer. He checks his pocket to make sure he brought the gun. He pushes on the door and it budges open.

INT. DEMON’S ALLEY- HOUSE 51- MAIN ENTRANCE

The place is seemingly deserted. No one in sight anywhere, despite signs that someone has been here very recently. The television is still on. Coats hang on hangers.

James scans the area; he takes out his gun and enters the kitchen.

INT. DEMON’S ALLEY- HOUSE 51- KITCHEN- AFTERNOON

The table is set with food on the plate, relatively new food. There’s still no one in sight. James notices the boarded up windows. He tries to tear one down.

The floorboards creak behind him. James slowly turns around to come face to face with… MOLLY, an eight-year-old girl in a Sunday school dress, watching him inquisitively.

MOLLY
What you doing?

JAMES
You live here?

Molly nods her head.

JAMES
Where’s your parents?

MOLLY
Out. You know. You really shouldn’t be here.

CRACK! The boarded up window shatters as TWO STRONG HANDS reach through and GRAB him. James coughs frantically and passes out. The hands stop.

Molly looks down on James, she smiles, almost on the verge of laughter.

MOLLY
Told you so.

Three adults file into the room. They grab James and drag him away.

EXT. DEMON’S ALLEY- AFTERNOON

One of the black robed figures exits House 51 dragging along a brown cloth body bag. He approaches House 65.

INT. DEMON’S ALLEY- HOUSE 65- ENTRANCE- AFTERNOON

The black robbed figure closes the door behind him, his name’s MAX.

MAX
We got us another trespasser!

An OLD CROWN’S voice calls out to him from somewhere within the house.

OLD CROWN (O.S.)
Put him with the others.

Max opens the basement door and walks down the steps, dragging the body behind him.

INT. DEMON’S ALLEY- HOUSE 65- BASEMENT- AFTERNOON

Max drags the body through the basement. They near a hidden padlock door.

MAX
You’re really going to like it here.

Max slides the padlock door open.

INT. DEMON’S ALLEY- HOUSE 65- CRYPT- AFTERNOON

Inside is an ongoing row of cages! Hostages. Bruised. Bleeding. Emaciated.



Max opens one of the cages, unties the body bag and throws it into the cage. He locks the cage door.

People reach their hands out to Max. Max ignores them. He leaves and slams the padlock door behind him.

EXT. DEMON’S ALLEY- AFTERNOON

The place is once again deserted. No signs of activity, just an empty police car with the dispatcher radio clicking on and off… we slowly dolly towards it.

SALLY (O.C.)
James come in. Over. James are you there? Over. James?

INT. POLICE CAR- AFTERNOON

A black robed figure slips into the police car. He starts up the engine and drives off into the woods.

EXT. DEMON’S ALLEY - LATER

Five police cars are stationed outside of Demon’s Alley. The Impala pulls over to the side.

INT. IMPALA - DAY

Dean watches on from inside the car. Sam eyes the cops.

DEAN
That’s strange. Cops giving in to a supernatural beat? That’s a first.

Dean stops the car. Grabs a police badge from the identification box. Passes one to Sam.

EXT. DEMON’S ALLEY - CONTINUOUS

Dean and Sam near the swarm of police cars. SALLY HINES (35) notices them. She rushes over to them.

SALLY
Excuse me this area is closed off.

DEAN
Don’t tell me you believe in Demon’s Alley.

SALLY
No. I don’t.

Dean shows Sally his badge.

DEAN
I’m Owen, that’s Luke. Mind telling us what happened?

SALLY
One of our men went missing from here a couple of hours ago. Radio dispatched in. Got nothing. Found his car over there in the woods.

SAM
Why would he come to Demon’s Alley?

SALLY
No idea. Personally I think he was looking into a missing person’s case. It’s been bothering him for days now. There was a kid, a friend of his son’s who went missing. Tommy something-

SAM
Tommy Jacobs?

SALLY
Yeah, that’s the one. Afraid his own kid might be next. He’s been acting kinda strange lately. But, you can say a lot of people have after the meteors hit.

DEAN
Search teams go through the buildings yet?

SALLY
Starting the search right now. So far we’re turning up nothing. You know the stories: looks like people live there, but no sign of anyone around. It’s like the place is completely deserted.

DEAN
Mind if we take a look?

SALLY
At the present? Yes, I do. I already have a search team and I don’t want anyone messing with the scene who shouldn’t be there. Let the professionals do their job.

Dean hands her a card.

DEAN
Alright. Let us know if your team does find anything. That’s the number we can be reached at.

Sally examines the card, she looks at Dean. Very coy.

SALLY
This is a card to a hotel with an extension number written on it. Don’t have a cell phone yet Owen?

DEAN
I like to play things safe.

SALLY
(Playfully)
You two aren’t fugitives are you?

Dean and Sam share an off look.

DEAN
Us? No way.

Dean and Sam begin to walk away.

DEAN
That was close.

They stop at the Impala and eye Demon’s Alley.

SALLY Walks back over towards the police cars. She stops at one of the cars. Lance leans against the police car.

SALLY
We’ll find your father.

LANCE
Were those guys cops?

SALLY
Yeah. But, must be from a different precinct. I don’t recognize either one of them. Why?

LANCE
Just wondering.

SALLY
Is anything on your mind?

Lance looks over at Demon’s Alley. Then back at Sally.

LANCE
No. Can you take me home now?

Sally turns. Lance quickly reaches into her pocket and yanks out the card. Sally gets into the police car. Lance’s eyes dart over to where the Impala was.

INT. HOTEL ROOM - NIGHT

Dean sits on the bed flipping through the journal. Sam searches the internet.

DEAN
Dad found out what happened to Clark. After that night.

SAM
What does it say?

DEAN
One of the villagers supposedly didn’t go along with the plan-

FLASH CUT:
EXT. DEMON’S ALLEY - NIGHT - FLASH BACK

A black robed figure nears HOUSE # 1. He holds onto an upside down cross candle. The flames dance in the reflection of his eyes. He throws the candle at the house. The house catches fire.

Inside no one screams. Instead a strong PIERCING LAUGHTER echoes through the dark. The black robed figure watches on in horror.

INT. HOTEL ROOM - NIGHT

DEAN
The legend continues that Clark is still alive to this very day, a reward for his years of sacrifice.

Dean’s interrupted by a LOUD KNOCKING on the door. Sam and Dean turn their attention to the door. Sam gets up and opens it. Lance stands in the doorway.

SAM
Lance? What are you doing here?

LANCE
My Dad, he’s been kidnapped. Missing. Just like everyone else.

DEAN
We heard.

LANCE
I want you guys to let me help you.

DEAN
Help us do what?

LANCE
Find my Dad. Stop those things that are doing this.

DEAN
I know what you must be going through, but we can’t do that.

LANCE
I figured you’d say that. But, you have no other choice.

Lance reaches into his jacket and pulls out a piece of paper. He hands it Sam. Sam’s hands tremble.

SAM
Dean, you should take a look at this.

Sam hands it to Dean. WANTED POSTERS. FBI.

LANCE
You two are famous. I thought you guys looked familiar. Ever since that prison escape, you two have been really lucky. Everyone’s minds are on the meteors and the very fact that their alive. Not me. I know something’s happening. Your names popped up on multiple searches.

SAM
So, you’re blackmailing us?

LANCE
Kinda. Yeah. But, I mean, all I really want is for you to let me help get my Dad back. That’s all.



Dean crumples up the piece of paper.

DEAN
And if we don’t?

LANCE
Well, I mean, I can tell people who you are. Where you are. I don’t figure you want that.

SAM
Dean, we have no other choice.

LANCE
You guys are heroes. What the news says, screw them right? We know what’s truly out there.

DEAN
No. You don’t. You have no idea at all.

LANCE
Look man, my dad’s gone. I have no other choice. Neither do you. So you going to let me in or what?

Off Dean’s look of hesitation--

BLACK OUT!

END OF ACT TWO

Way to get blackmailed, fellas. :D

Lovin' it!

ACT THREE

INT. BOBBY’S CABIN - DAY

TITLE ON SCREEN: 1996

TEENAGE DEAN (17) relaxes on a pull up couch watching television. BOBBY enters and sits down across from him.



BOBBY
Where’s Sam?

TEENAGE DEAN
Upstairs. Studying.

BOBBY
Maybe you should go hit the books too.

TEENAGE DEAN
I hit on girls. I hit monsters. I don’t hit books.

BOBBY
Your father has always wanted to provide the best education he could for you two.

TEENAGE DEAN
Hunting.

BOBBY
There’s a life outside of hunting. When this is all over, what are you going to do?

TEENAGE DEAN
It’s never going to be over. There’s always going to be a war. Someone to fight. Someone to kill.

BOBBY
You’re starting to sound like your old man.

TEENAGE DEAN
Do you think I’ll ever make him proud?

BOBBY
What do you mean?

TEENAGE DEAN
My Dad, do you think I’ll ever make him proud?

BOBBY
You make him proud every day of his life.

TEENAGE DEAN
But, do you think I’ll ever be as good as he is?

BOBBY
You’re going to be better than he is.

TEENAGE DEAN
No. No way. Sometimes, I often wonder what I’d do without him. And to tell you the truth, I don’t know.

BOBBY
You’re still young, you shouldn’t be worrying about things like that.

TEENAGE DEAN
I’m mature for my age.
(Hesitant)
Is it possible to lose yourself to the job?

Bobby looks at Teenage Dean caught off guard.

TEENAGE DEAN
Sometimes I have these thoughts. I don’t know how to make sense of them. Like I can snap at any second. It scares me.

BOBBY
Did you tell John about this?

TEENAGE DEAN
No. I don’t want him to know.

BOBBY
Know what?

TEENAGE DEAN
That I’m weak. Promise me, you won’t tell him Bobby.

BOBBY
What kind of thoughts are we talking about here?

Teenage Dean leans in. Unsure of how to answer.

TEENAGE DEAN
That I might go too far. That I’ll lose control. I don’t know what’s wrong with me Bobby, I just hate them you know? I hate them for what they did, to me, to my Dad, to my Mom! I want them to die. All of them. Every single one. Sometimes it’s all I can think about.

Off Bobby eyeing Teenage Dean, cautiously --

INT. HOTEL ROOM - NIGHT

Dean stares off into space. Deeply contemplative.

LANCE (O.S.)
He was in the army. My mom died when I was ten, ever since then it’s just been the two of us.

Dean looks over at Lance, sitting on the edge of the bed. Talking to him, without an audience.

LANCE
He was starting to teach me how to hunt like his father and his father did before that. I can’t stand the thought of losing him. He’s my Dad.

DEAN
(Resolved)
We’ll get him back. No matter what it takes, you’re not going to lose him.

LANCE
Where is your Dad anyway? Thought he’d be hunting with you, especially after what happened.

DEAN
He’s dead.

LANCE
Oh.

DEAN
I’ll get Dad back. I’ll get your Dad back. Don’t worry.



Dean gets up and moves over to the journal. He opens it. Lance watches on, interested.

LANCE
What’s that?

DEAN
My Dad’s journal. Everything he knew is all in this book.

LANCE
Kind of like a guide book, huh?

Dean nods his head.

LANCE
Can I ask you something?

DEAN
Shoot.

LANCE
What’s out there? Are werewolves really real? Vampires?

DEAN
I don’t think I should tell you all of this.

LANCE
I want to know.

DEAN
Then it’s true, all of those nightmares you had when you were a kid exist.

LANCE
And you and your brother keep the balance?

DEAN
Something like that.

Sam enters the room with two cups of coffee. He passes one to Dean.

SAM
You were out cold for a while there.

DEAN
Had a lot on my mind.

Off Sam’s look of hesitation --

EXT. DEMON’S ALLEY - TIME LAPSE

Open to Demon’s Alley. Night. “TRUST BY MEGADETH” begins as night turns to day. The police cars are gone. The Impala pulls over to the side. Dean, Sam and Lance get out.

INT. DEMON’S ALLEY - HOUSE 26 - ENTRANCE - DAY

Dean moves through the house. Gun drawn. Sam follows him behind. Lance in between. It looks like somebody is here, but there’s no sign of anyone.

INT. DEMON’S ALLEY - HOUSE 39 - UPSTAIRS BEDROOM - DAY

Sam moves through an upstairs bedroom, gun drawn, he approaches the window and looks down over Demon’s Alley.

TRANSITION TO:
EXT. DEMON’S ALLEY - DAY

Dean, Sam and Lance walk through Demon’s Alley below.

INT. DEMON’S ALLEY - HOUSE 15 - KITCHEN - DAY

A filled plate. A hand reaches in and grabs it. Dean observes the plate. His eyes dart around the kitchen.

INT. DEMON’S ALLEY - HOUSE 48 - BASEMENT - DAY

In a window crevice two piercing eyes look out over Demon’s Alley.

INT. DEMON’S ALLEY - HOUSE 65 - BASEMENT - DAY

Dean scans the basement. His eyes catch the rusting padlock door. He looks back over at Lance and Sam. He moves away from the door. The montage ends.

DEAN
No one’s here.

EXT. DEMON’S ALLEY - DAY

The Winchesters and Lance near the parked Impala. Lance stops.

LANCE
He’s here. We shouldn’t stop looking.

DEAN
Lance. We’ll find your Dad. He’s not here. Nobody’s here.

LANCE
No. No. I’m not going to give up on him.

DEAN
We won’t. Nothing’s going to happen to your father. I promise.

Lance watches Dean, unsure. Dean nods his head. Sam and Lance get into the Impala. Dean glances back over at Demon’s Alley.

INT. CABIN - BEDROOM - NIGHT - FLASH BACK

YOUNG DEAN (5) sits on the edge of his bed staring out the window. John enters and sits down beside him.

YOUNG DEAN
When are we going home?

JOHN
We’re not going home. We can’t.

YOUNG DEAN
Why not?

JOHN
It’s not safe there anymore.

YOUNG DEAN
Why isn’t it safe?

John sighs. He stands up and stares out the window.

JOHN
Because there are things in this world that we need to hunt and stop. Monsters. Dean, monsters.

John turns to face his son.

JOHN
I’m never going to let anything happen to you. I promise. When you’re older, you’ll understand. I had no other choice.

EXT. STREET - NIGHT - FLASH BACK (SN 1.16: SHADOW)

Dean, Sam, and John. All bloody. Stand outside on the street beside the Impala. The scene is familiar, we’ve been here before--



DEAN
Wait. Sam wait!
(Harsh realization)
Dad, you can’t come with us.

SAM
What? What are you talking about?

JOHN
Look at you boys, you’re beat to hell.

DEAN
We’ll be alright.

SAM
Dean, we should stick together! We’ll go after this demon--

DEAN
Sam, listen to me. We almost got Dad killed in there. Don’t you understand? They’re going to use us to get to him. I mean Meg was right, Dad’s vulnerable when he’s with us. He’s stronger without us around.

Sam turns to John. Rests his hand on his shoulder.

SAM
Dad. No. After everything, after all the time we spent looking for you. I have to be a part of this fight.

JOHN
This fight is just starting. And we are all going to have a part to play. So now you have to trust me son, okay?
(Finality)
You have to let me go.

Sam reluctantly takes his hand off. Dean and Sam watch on as John walks away and FADES into the distance.

EXT. DEMON’S ALLEY - DAY

Dean turns to face the Impala. Still lost in the past.

FLASH CUT:
EXT. APARTMENT COMPLEX - PARKING LOT - NIGHT - FLASH BACK

Dean and John stand beside the Impala. Alone.

DEAN
Dad, I’m going. You have things you need to take care of. Let me handle the voodoo gig down in New Orleans. You can trust me.

JOHN
I know.

John takes out the keys and tosses them to Dean. Dean eyes the keys reluctantly.

DEAN
Dad. No. She’s yours. I could never.

JOHN
She’s yours now. Take good care of her.

Dean nods his head okay. John pats his son on the shoulder.

JOHN
Go make me proud son.

EXT/INT. IMPALA - DAY

Dean steps into the Impala. Glances over at Sam, back at Lance. Puts the keys into the ignition. Revs the engine.

The Impala drives off and fades into the distance...



BLACK OUT!

END OF ACT THREE

:o OMG that's beautiful!!! and the road so far.... :cry aaaah was so sad but awesome!
Great job really! :melt

proper reference and all.. nice.

is there still another part to go?

The final part of the episode airs tonight, same time, same bat channel.

Nice update. Loved the flashbacks.

ACT FOUR

INT. DINER - NIGHT

Sam, Dean, Lance are seated beside the window.



Lance stares down at his food, he looks back up at the Winchesters.

LANCE
It’s my fault.

SAM
What do you mean, it’s your fault?

LANCE
Before he was taken we kind of got into an argument. I blamed him for what happened to my Mom. He’s always been there for me and I never, I never told him how much I cared about him, you know?

SAM
He knew you did.
(Sullen)
Listen Lance, we’ll find your father, and when we do you can tell him everything.

LANCE
He went out to Demon’s Alley, because I told him he wasn’t doing enough. That he was ignoring all of the signs. And I just let him go, maybe if I was there with him, maybe if I didn’t give him any crap the night before, he’d still be here.

Dean stands up, looks down on Sam and Lance.

DEAN
Sam, I’ll meet you back in the room. I have something I have to take care of.

Dean walks away. Lance glances back and forth between them, taken off guard.

INT. HOTEL ROOM - NIGHT

Dean paces around the hotel room. Alone. He eyes the keys to the Impala. Looks to the side to see JOHN watching him. Just as suddenly, John disappears. Dean grabs the keys and leaves the hotel room.

EXT. HOTEL - NIGHT

Sam and Lance walk through the parking lot. Lance stuffs his hands inside his jeans pockets.

LANCE
I’m sorry, about what happened to your Dad.

SAM
We’ll find him, Lance.

LANCE
I know.

SAM
When we do, promise me you won’t make the same mistake I did. Don’t wait. Tell him. Let him know.
(Beat)
It’s getting kind of late, maybe you should head back home. Do you have a ride?

Lance takes out his car keys.



LANCE
I want to stay here with you guys.

SAM
Someone will wonder where you are.

LANCE
Yeah, I guess so.

Lance begins to walk towards his car. Sam nears the hotel room. Lance stops. Turns to face Sam.

LANCE
Hey Sam.

SAM
(Turns to face Lance)
Yeah?

LANCE
Your Dad, he knew too.

Sam weakly smiles and nods his head. Lance enters his car and drives off--

INT. HOTEL ROOM - NIGHT

Sam enters the hotel room. Closes the door. Scans the area.

SAM
Dean? You here?

Sam abruptly stops. He turns to see that the KEYS ARE GONE.

SAM
(Worried)
No.

FLASH CUT:
EXT. DEMON’S ALLEY - NIGHT

VROOM! The Impala swerves to the side. Dean gets out. Moves to the trunk and opens it. He takes out a series of weapons. John appears besides him. He looks over Demon’s Alley.



JOHN
It’s time.

Dean takes out a shotgun. Loads it.

JOHN
You’re ready.

Dean approaches Demon’s Alley. John remains behind.

JOHN
Remember, what I taught you.

John disappears. Dean fires a shot into the sky. BANG!!!

INT. DEMON’S ALLEY - HOUSE 65 - CRYPT - NIGHT

The shot echoes through the cavernous crypts. The hostages glance up at the ground above. They hold onto their cell bars. All young. Wishing for a miracle.

EXT. DEMON’S ALLEY - NIGHT

Dean fires another shot into the air. BANG!

DEAN
I know you’re here. Come out you bastards! Show yourselves!!!

Black robed figures begin to emerge from the surroundings. Engulfing Dean. Malum watches on from afar. Dean aims the shotgun at one of the black robed figures.

DEAN
Don’t come any closer.

The black robed figure takes off his hood revealing -- LETUM. Dean takes a couple of steps back.

DEAN
No. It can’t be.

LETUM
He was waiting for you. You’re father. He told me how you would come to his rescue. Guess he over-estimated you. You let him die. You were too late.

DEAN
Shut up!

LETUM
You’re father’s death is your fault! You killed him!!!

DEAN
SHUT UP!!!

BANG!!! The black robed figure falls to the ground. Dead. Not Letum. Dean winces and rubs his eyes. He turns around as the black robed figures descend upon him.

JOHN (O.S.)
Help me!!!

BANG! BANG!!! BANG!!!!!

Dean shoots the Satanists down one by one. Their dead limp bodies fall to the ground.

The Satanists rush towards him. Dean knocks one into another. He round house kicks and knocks another to the ground. A YOUNG MAN.

YOUNG MAN
Please, don’t kill me.

BANG!

INT. DEMON’S ALLEY - HOUSE 65 - CRYPT - NIGHT

James stares up at the ground above. Bruised and bleeding. We hear the GUN SHOTS firing above. Screams of AGONY.

EXT. DEMON’S ALLEY - NIGHT

Dean continues to murder the Satanists. The ground is sprayed with blood and dead bodies.



TEENAGE DEAN (V.O.)
Sometimes I have these thoughts. It scares me. That I might go too far. That I’ll lose control. I hate them. I want them to die.

Dean notices Molly on the ground. Weeping. The last one standing. Dean’s face is covered in blood. He aims the gun at her head.

TEENAGE DEAN (V.O.)
All of them. Every single one. Sometimes it’s all I can think about.

Molly looks up at Dean. Afraid. BANG!!! Dean wipes the blood away from his face.

Malum applauds as he steps out from the darkness.

MALUM
Now that’s what I call cold blooded.

Dean aims the gun at Malum.

MALUM
Look at you, an animal ready to let go of it’s cage.

DEAN
Don’t act as though you know me.

MALUM
Oh but I do, I do. I see it in your eyes. Anger. Hatred. Undying rage. I know what’s inside of you because, it’s in me too.

DEAN
I’m nothing like you.

MALUM
Look around. You killed them. You killed them all. The men. The women. The children. Now even to me, that’s cold.

Dean scans the area. Breathing heavily.

MALUM
I know you want to. I can see it. I could always see these things. After all, they’re my disciples.

Malum rubs his hand against his face. Burned. Scorched.

MALUM
Show me what’s inside of you, what’s truly inside of you.

MUSIC CUE: HOW TO SAVE A LIFE BY THE FRAY

Malum’s face warps into Letum. Dean begins to nervously tick.

LETUM
You’re weak, just like you’re father.

DEAN
No!!!!

BANG!!! Dean fires. Malum falls to the ground. Dead. Dean turns around in circles taking everything in. In a night, they all disappeared.

INT. DEMON’S ALLEY - HOUSE 65 - CRYPT - NIGHT

Dean enters the crypt. Scans the cages of wailing victims.

INT. IMPALA - NIGHT

Dean drives in the Impala. Blood runs down his forehead. He turns to see James sitting in the passenger seat. For a split second we see John sitting in the passenger seat, watching over his son. Smiling. Tears flow down Dean’s face. He turns, ashamed. John disappears.

EXT. HOUSE - NIGHT

The Impala is parked on the side of the street.

Dean watches on as James approaches his son waiting outside. They embrace. For an instant Dean sees Teenage Dean and John. Together.

Lance looks over at Dean and smiles. He nods his head. Dean nods back. He starts the engine and drives off.

INT. HOTEL ROOM - NIGHT

Dean enters. Bruised and bleeding. Sam quickly gets up from the bed.



SAM
Dean, what happened? What did you do?

Dean takes out his gun.

DEAN
It’s done. Lance’s Dad is safe.

He reloads the gun and places it on the bedside table. Sam eyes the gun with disdain.

SAM
You killed them didn’t you?

Dean turns around to face Sam. He shrugs his shoulders and nods.

SAM
They were people.

Dean shakes his head.

DEAN
No. They were Satanists. They were evil. A war’s coming Sammy, whose side are you on?

SAM
That doesn’t matter! We kill evil Dean; we don’t kill people!

DEAN
Oh grow up! Those people were murdering and sacrificing hundreds for no telling how long.

SAM
How many were there? How many did you kill?!

DEAN
All of them. The men, the women, the children. They’re all gone.

SAM
The children?

DEAN
They all grow up eventually.

SAM
Do you think that this is what Dad wants for us? For you?!

Dean narrows his eyes.

DEAN
Shut up about what you don’t know!

SAM
Then tell me! Tell me! I can’t know if you won’t let me in Dean.

Dean takes a deep breath.

DEAN
Like you’re one to talk! That mark on your arm. Dad told me all about you Sammy. There’s more to it isn’t there? You could have been born evil.

Dean moves to leave the room. Sam watches him, not knowing what to do.

SAM
I just want to be there for you man. No matter what happens, to the end.

DEAN
I don’t need your help. I can take care of myself.



Dean leaves the hotel room; he slams the door shut behind him. Sam sits down on his bed, slumps his shoulders and stares at the mark on his arm… the mark of Cain.

EXT. HOTEL- NIGHT

Dean leans against the walls of the hotel. He stares up at the full moon above. Searching for a sign. Anywhere…

INT. SUBWAY TUNNELS- LETUM’S TRAP- FLASHBACK

Dean holds onto John. He begins to breath in and out heavily as his crying slowly turns into that of intense anger and hatred. Dean looks back up, eyes burning with vengeance.

DEAN
No!!!!!!!!!!!!!!!!!

We slowly dolly back leaving Dean. Alone. A man with a mission.

BLACK OUT!

END OF EPISODE

ENTER DEMON'S ALLEY!



HISTORY ON DEMON'S ALLEY VIDEO

COMMENTARY

TEASER

Now this is a scene I've had in mind since the very beginning. This is how I've always wanted to open it. In the last season we saw John die by the hands of Letum and I wanted Dean and Sam to ask the question which is really going to be fueling this whole season, which is "what are we going to do now that our Dad is dead?" We're really going to see these characters deal with this. They're going through a complete evolution.

I've said this multiple times, I'll say this again right now, this season is Empire Strikes Back Prt. II, I mean this crap is really going to hit the fan which is awesome. I hope you guys are really going to love how we see the characters evolve, mature, they really come into being this season which I'm really excited for.

Anyways, this line here that Dean says, "I'll always be here for you Sam, it's you and me to the end, alright?" To me this line is very important because by the end of the episode we do a complete reverse on that. We see how far that these characters have spread apart, that they're alone now, they're vulnerable. They're at their weakest when they aren't together and their enemies clearly take advantage of that. Now I'm not going to say whether they are or aren't going to take advantage of that, but this really sets up the season.

DEMON'S ALLEY

Now the next scene is Demon's Alley, which I found out about from Weird New Jersey. A book that Kripke also says he reads sometimes. This is an actual place in Passaic County, New Jersey. I somewhat mixed up the legend a little bit, but I'll talk about that later. I wanted to get the audience/reader into this really scary place and hopefully I pulled that off, you can tell me.

DINER

Now this next scene, yes as you can probably tell it is inspired by Supernatural season 2. Especially when Dean tells Sam he'll kick his ass if he asks again. It's a really important beat of Dean's reaction to the waitress, because as Sam says he'd usually be hitting on her by now so it kinda shows how out of it Dean is and how he's changed since we've last seen him.

Then we go to the missing person's case. This was actually added in the second draft to expand upon the episode and allow it to branch off into different areas. Originally Demon's Alley was going to be delved into here and James' Demon's Alley scene was to follow that up. But, I think the way it is now really helps bring the reader more into the world like with the characters of Bridget and Tommy and everything, you see a lot more of how the world has changed.

And that really gave me a challenge because prior we had these meteors destroying New York City and destroying everywhere! How do you get over that? How do you navigate around that? And only way I found was to have it start months later, have it so you don't have to deal with the wreckage everywhere, but have it so you can deal with the emotions of it. And to me that's really a strong point in they're really going to still be getting over it, over six-twenty six, which I've titled it six-six-six, it was the closest I could get to six-six-six to signal that something's up - the trumpet.

TEN WAYS THE WORLD WILL END

I wanted Bridget to know what was going on, but not to really know what was going on. The way I see it is, this is actually how it would go down. Teenagers and young adults would be more open to seeing that there is something happening here, that something just doesn't click right. While people older that that might be more traditional and conservative in their way of thinking and wouldn't stray too far out of the box because they've lived for their whole lives knowing one thing, they have a lot more to adapt to with the things going on. So their more blind with the supernatural elements than teenagers and young adults. Kind of like children being able to see ghosts and dead people easier than older people. That's kind of where the whole genesis of that came along.

And then they go to the room and search, where Dean comes upon "On the Road", this book is credited by Kripke for inspiring the names for the characters Dean and Sam. Thought that would be a nice throwback there rather than it just being some random book.

APOCO-MATES

We see here that things are a lot different than the way Bridget was explaining. But even though they'd be easier to believe that there's more happening here, those that do would be further outcasted and thrown to the side because of those beliefs. Because Lance Davison and his group of Apoco-Mates (friends), they're all these guys who believes these signs are leading to the apocolypse, the end of days. Which they are.

DEMON'S ALLEY HISTORY

Now we go into the whole past and history of Demon's Alley. Now as I said before, I've somewhat changed/ altered this around. What we do know is some guy did go in there, played pranks and got the whole town to meet together to stop the "teens" and from there somewhere everyone all disappeared because of this outsider coming in.

I really changed it around to make it more creepy by making them kill each other practically. I also screwed with a commandment, "join me by killing your neighbor or die," a really great pervasion on the commandment. Serving as a contrast between those two sides.

LANCE AND JAMES CONFRONTATION

The whole conflict between Lance and his father gives him qualities similar to that of Sam and Dean. He feels guilty that he hasn't been completely communicative with his father and in a way he blames himself for what happens...

JAMES AT DEMON'S ALLEY

The conversation between James and Sally was added to introduce the character of Sally earlier. This whole scene was originally in the first act, but as I said I had to expand on things, stretch upon things and move them around to expand upon the story. But this is really our only look inside of Demon's Alley.

Now none of this is actually in the legend of Demon's Alley, but I started thinking that if it somewhat looked like people lived there, but there was no one around, there may be an underground system of tunnels hidden from the naked eye. Which explains how they can and can't be there, I also added the whole "after six-twenty-six" thing to further why it has been dormant for some years.

INFERNO

Dean and Sam talk about what happened to Clark. I don't know if I made this clear enough for the reader in the end, but yes Malum is Clark. Clark was granted to continue living, but he stills bears the scars and burned face from that event - thus the reason he looks like Malum.

FOIL

Act IV brings out more of this foil between the characters. Lance brings out the whole aspect of Sam not saying enough to his father and getting into arguments, while he also brings out the whole guilt-ridden aspects of Dean. A reflection of both of the brothers.

HE KNOWS TOO

This is really Lance's final scene in which he and Sam talk about what happened. The last line I kind of came up with because I thought it was a nice line and really helped wrap things up when Lance tells Sam, "Your Dad, he knew too." And that really helps to add to the emotional beats and where the characters are.

MASSACRE

Dean gets out and starts to assemble the guns. Then John appears, similar to how he did before, and the lines he says are flash back lines of dialog from TIME - Dean's first hunt, kind of like a projection of the past playing out again.

This has always been the key scene of the episode- how he comes to Demon's Alley and kills all the Satanists. The Men, the women, the children. As said before, yeah the people who he kills are evil- they have been sacrificing humans and all of that, but the way he goes about it is kind dark and kind of reminds me of the whole Tusken Raider attack.

BREAKING A PROMISE

The whole confrontation between Sam and Dean which is actually one of the first things I wrote, because as I said I wanted to have the whole recall element play into it. Dean breaks the promise he made at the beginning, "I don't need your help. I can take of myself."

WHAT'S TO COME....

We have a couple of more kick ass episodes coming soon, the season's really going to be good. It's still going to be a nightmare type tone as it was last season, but this year is going to be much much darker. The crap is really going to hit the fan. The characters really fall apart their at their weakest points in this season. And that's really going to be something cool to delve into and explore. We're going to see Dean's back story, Sam's back story, secrets are going to be brought out. Things are really going to amp up preparing us for the end of days.

And I guess I have nothing left to say about this episode and that ends the commentary.

NEXT WEEK



TRAILER

COUNTDOWN'S BEGUN

MULTUS TEMPESTAS PREVIEW - BAT OUT OF HELL

In our second episode of season three entitled BAT OUT OF HELL we pick up right where we left off. Dean has just brutally massacred an entire group of Satanists after breaking apart under the weight of his hero complex. Sam is on guard with Dean’s behavior and tries to help, to which Dean completely rejects him and breaks his promise telling Sam that he can take care of himself. From this point on nothing will ever be the same again, they’re growing apart. Although they’re still together, they could never be so alone.

In addition to the rising tensions between Sam and Dean the episode also deals with the infamous legend of the Jersey Devil, the thirteenth child, who's returned to wreck havoc upon New Jersey. Along the way the Winchesters get tangled up with a skeptic sheriff who knows more than he's letting on, a feisty female reporter willing to do anything to get a story, and an old friend from Dean's past. Can the Winchesters stop this ancient mythological creature in time? Be sure to tune in to find out!

DIRECTOR'S CUT

EXT. POLICE STATION - ROOF - NIGHT

Dean raises his gun.

DEAN
Hey!

A figure (OUT OF FOCUS) stops right in front of us.

DEAN (CONT’D)
Turn around slowly!

REVERSE ANGLE We see the figure of a woman, hands raised, turn around to face the Winchesters. She is young and pretty, her dark hair tied back tightly.

SAM
Who are you?

WOMAN
Take it easy, I’m just a reporter.

DEAN
Great, just what we need.
(Beat)
Complications.

REPORTER
Who are you?

DEAN
We’re the police, so we get to ask the questions. Like your name?

KARLA
Karla Fox, I work for the local news agency, I.N.S?

SAM
What are you doing here Karla?

KARLA
Just after a story. I was working on a tip.

DEAN
I got one for ya. Breaking and entering is against the law.

KARLA
I didn’t think anyone came by this place anymore. You guys sure don’t look like cops.

DEAN
And you’d know?

KARLA
I Would actually. I’ve seen enough of them. You’re not cops, so what are you? Squatters or something?

DEAN
Lady do we look like god-damn squatters to you?

KARLA
You tell me.

Dean turns to Sam angrily.

DEAN
I’m gonna blow her away...

SAM
Hang on a second.
(To Karla)
My name’s Sam, his is Dean, you’re right - we’re not the cops.

DEAN
We’re not exactly pillars of the community either, so how about you give us that photograph you took, or else.

KARLA
What photograph?

SAM
(Pointing)
That one.

KARLA
This photograph is my big break, no way!

Dean cocks the trigger, emotionless.

DEAN
It’s miller time.

KARLA
You gonna keep that gun on me all night?

DEAN
No, just until I shoot you.

SAM
You don’t understand Karla, you’ve gotten into something a lot bigger then you think.

DEAN
Don’t tell her that man, she’s a reporter!

KARLA
(To Dean)
I thought you weren’t supposed to point a gun at someone unless you intent to use it?

DEAN
What makes you think I won’t?

Sam forces Dean to lower the gun. He steps closer to Karla.

SAM
(Impatiently)
Karla we need so see what’s on that photograph.

KARLA
Oh no, I’m not letting this out of my sight.

Dean raises his gun again.

DEAN
I just want you to know that if you don’t give us that photo I fully intend to use this.

Karla backs away towards the roof’s edge.

KARLA
You didn’t say the magic word.

DEAN
Bitch?

KARLA
Cute, don’t worry you’ll have plenty of time to look at it when it’s published. I’ll even send you a signed copy.

Sam turns to Dean.

SAM
(Hushed)
Dean....

He motions to the sky behind Karla, something large is flying through the air. Dean squints.

DEAN
I see it.

SAM
(Urgently)
Karla, it’s not safe here. You gotta come with us.
(Looks up)
Now.

KARLA
(Laughs)
It’s behind me, right?

DEAN
Damn it woman we gotta get outta here!

Dean raises his gun, aiming at something beyond Karla. BANG BANG!

KARLA
(Angry and surprised)
Are you crazy?! I can’t believe you shot at me!

Sam rushes up and grabs Karla by the arm, dragging her away.

SAM
He’s not shooting at you!

Dean continues firing into the sky, then turns and joins Sam and Karla in running for the stairwell.

DEAN
Thing’s too quick, I can’t get a good shot!

KARLA
What is wrong with you two, why...

Karla screams as she is lifted into the air. The size of the beast knocks Sam down the fire escape, he rolls off the edge just managing to grab hold of the broken rusted step, barely saving himself from a huge fall.

KARLA (O.S.) (CONT’D)
Help!

CUT TO: Dean raising his gun to fire, the flurry of wings make it difficult to pick a shot. BANG! He begins to open fire. Misses. The creature takes off into the night. Dean lowers his gun in frustration.

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Awesome!!!

Next week sounds cool. Can't wait. I've always been interest in the Jersey Devil legend.

Kick ass start to a season, Staff of Multus Tempestas.

Great Story.