OPEN TO:
INT. UNKNOWN - NIGHT

A hard covered book with the title 'TURN THE PAGE' lays on a hard wood desk. Two wax candles are stationed on either side of the book. The wind rustles up against the book blowing the cover open...

CLOSE ON: A pure white page with the word 'Prologue' and the hint of text below it...

PROLOGUE

EXT. BAY - NIGHT

TEXT: TEXAS



RACHAEL CONNERY and her fiancée, RICK HOLLIS, stroll hand in hand along a long dock by the bay, the lights from a small town twinkling in the background. They are laughing and talking softly.

WOMAN (V.O.)
It was a beautiful night. The moon was just beginning to rise over the bay and the stars were coming out in all their glory. It was ironic, really. It shouldn’t have been that way. It should have been the dark and stormy night that everyone imagines when your best friend dies. Especially when they die as tragically as this.

CLOSE UP on Rachael and Rick.

RICK
You’re so beautiful.

RACHAEL
(blushing)
And you are so romantic! That was a wonderful dinner … and now a moonlit walk on the beach?

RICK
Got to have the best for my girl.

Rick holds up her hand and we see an engagement ring. He KISSES it.

RICK
The girl who is soon to be my wife.

RACHAEL
12 days left!

Rick smiles, tucks her hand under his arm and strolls on.

EXT. STREET - NIGHT

Rick and Rachael pull up to a house in Rick’s car. Rachael steps out and heads to the door. Rick follows her. At the doorstep, he hugs and kisses her.

RICK
Good night, dear.

RACHAEL
Good night, Rick.

RICK
Sweet dreams.

RACHAEL
And you!

She ENTERS the house and Rick turns towards his car.

EXT. ALLEY - NIGHT

WOMAN (V.O.)
They thought it was one of the best and most romantic nights of their lives.

Rick parks his car outside of his apartment in a dark alley and exits, standing at his doorstep looking for his keys.

WOMAN (V.O.)
But life has a way of handing you bullets –

A SILENT gunshot WHINES through the night. Rick jerks.

WOMAN (V.O.)
When it should be handing you kittens and chocolate and sunbeams.

Rick slowly topples, blood streaming from his mouth, eyes wide in shock. He is DEAD before he hits the ground. PAN UP to reveal a dark shadowy character behind him that disappears into the night.

INT. HOTEL - NIGHT

Sam Winchester bolts upright in bed, breathing hard. A dream. Or a premonition?

END OF PROLOGUE

CHAPTER ONE

EXT. DINER - MORNING

We see the Impala parked outside the diner in the middle of a small, quaint seaside town.

WOMAN (V.O.)
Nobody knew who they were. Nobody knew where they had come from. They were normal men. Brothers.

INT. DINER - CONTINUOUS

Dean and Sam Winchester share a small table. Both have newspapers in their hands. Dean has a stack of pancakes that he is attacking while reading the newspaper. Sam’s pancakes sit untouched.



SAM
Dean, did you read this article about the guy killed over by the docks?

DEAN
What about it?

SAM
Don’t know. Just have a feeling about it.

DEAN
Want to go check it out?

SAM
Seems like a normal murder.
(beat)
The only thing is, this town hasn’t seen a single murder or crime since the early 1900’s.

DEAN
I’m just reading an article about a double murder over on the Westside. Where was yours?

SAM
East. By the docks.
(beat)
You don’t think they’re related, do you?

Off Dean’s look of intrigue--

EXT. SHERIFF’S OFFICE - DAY

The Impala is parked outside the small town sheriff’s office next to two other police cars.

INT. SHERIFF’S OFFICE - DAY

Dean and Sam (in suits), stand at the receptionist’s desk. Dean has an FBI badge in his hand. A pretty receptionist sits at the desk, looking a bit nervous.

RECEPTIONIST
I wouldn’t think that we would need help from the FBI. We’re just a small town. It isn’t anything our deputies can’t handle.

DEAN
That’s the thing, ma’am. We were sent in because there hasn’t been a major crime in this town in about a hundred years. Are you really sure your … deputies … can handle something like this?

SAM
With all due respect … We’ll be carrying out our own investigation. We won’t be in anyone’s way. We just want access to any files that might be of help to us.

RECEPTIONIST
I’ll have to talk to my manager.

DEAN
(grins)
Great.

The receptionist exits, and Dean and Sam turn to each other.



SAM
Are you sure this is a good idea? Impersonating FBI agents when you know very well that there could be some on our tail right now? We haven’t been that careful lately, Dean.

DEAN
Stop worrying about it, Sam. We’ll be out of here in no time. Probably just some serial killer passing by.

The receptionist returns. The Winchester’s turn on the charm and smile at her.

RECEPTIONIST
He’ll have to come and talk to you and get you to sign some papers.

SAM
That’s great. Thank you.

INT. SHERIFF’S OFFICE - TREMAIN’S OFFICE - MOMENTS LATER

Dean and Sam sit in chairs across from TREMAIN BARON, an imposing black man in his mid forties wearing a sheriff’s uniform. Certificates from military exploits and various medals of honor hang on the wall behind him.

TREMAIN
I don’t have any problem with you conducting your own investigation. Just stay out of my men’s hair or I’ll be calling Washington direct.

DEAN
You won’t even know we’re here.

TREMAIN
If you find anything, you let me know first thing. Here’s my number.

Tremain writes down his number on a card and slides it over to the Winchester’s. Sam takes the card and tucks it into one of his pockets.

DEAN
It seems kind of bizarre that this is happening after all those years of nothing. Do you have any leads?

TREMAIN
We thought maybe it was a serial killer passing through at first. The first murder was last week. Then we had three more. All men. All about the same age.

SAM
That’s the only link you’ve got?

TREMAIN
No. There’s a woman who knows them all. Sharon Harris. She’s our prime suspect at the moment but we don’t have any evidence against her.

SAM
Why is she a suspect?

TREMAIN
She was born here. Left to go to college and pretty much disappeared. The night she came back into town was the night of the first murder. Toby Roberts. Found him tied to his bed, naked. Shot in the heart. No DNA evidence of who he was with.

DEAN
Whoa, sounds like the way to go... man!

Sam gives him an irritated look.

SAM
What about the other murders?

TREMAIN
There was Fergusson and Nate. They shared an apartment. Both were shot in the heart. Same gun as the one that killed Toby. Yesterday was Rick. That was the real shocker. He was going to marry Rachael in less than two weeks. He was shot outside his apartment.

DEAN
Sounds like an assassin.

TREMAIN
Could be. If you want to talk to someone, talk to Sharon. I’m sure she’ll have a different story to tell you, but my bet is that it’s her.



SAM
What makes you think it’s her?

TREMAIN
She’s … different. She’s a writer. Murder mysteries. She seems normal, but … there’s something going on in that pretty head of hers. Be careful around her.

EXT. SHERIFF’S OFFICE - DAY

Aerial view of the parking lot. We see Dean and Sam exit the building.

WOMAN (V.O.)
And so the brother’s investigation began. Neither knew what they would be in for next.

INT. IMPALA - DAY

Dean and Sam both enter the Impala. Dean takes out his sunglasses and puts them on, lifting an eyebrow at Sam.

DEAN
Do I look like an FBI agent or what?

SAM
You look ridiculous. Let’s go.

DEAN
Is this even necessary? Looks like these guys can handle themselves. It’s good to have a murder every now and then to stir up these little towns. By the looks of our man Tremain, he’s probably dying to get his hands on that killer. A boring little town like this is no place for a guy like him. I say we hit the road.

SAM
I think we should check out this Sharon.

DEAN
Why? Sam, there’s no point.

SAM
There is a point.

DEAN
Is there something you aren’t telling me?

SAM
It’s nothing.

DEAN
Dude, you’re my brother. I know you. What is it?

Sam shifts, looking uncomfortable.

SAM
I … I had a dream about one of the murders.

DEAN
When?

SAM
The night it happened. I didn’t know if it was a dream or if it was real until we came here and I read about it in the newspaper. I think this is one of our gigs. Why else would I dream about it?

DEAN
Uh … ‘cause you’re a freak?
(beat)
Sammy, I don’t see anything about this that is telling me this is our kind of thing. I say we leave it to the cops. Find another town with a big baddie to kill.

SAM
You go. I’ll stay here.

DEAN
Sam –

SAM
I’m serious, Dean. I need to stick around. Figure this out.

DEAN
(frustrated)
Okay, fine. What do you want to do?

EXT. STREET - DAY

The Impala cruises through a nice little neighbourhood with huge houses and small lawns out front. Dean sticks his head out the window to check a mailbox number.

DEAN
This is it.

The Impala parks. Dean and Sam exit. Both walk up to the front door of a large house with a spacious porch. Sam RINGS the doorbell. After a moment, a beautiful blonde opens the door, the epitome of sexiness. This is SHARON HARRIS. Dean and Sam stare, mouths all but agape.

SHARON
Can I help you?

As soon as she speaks, we realize this is the woman who has been narrating the story thus far. Sam reacts.

DEAN
Hi, my name is Dean, this is Sam. We’re conducting an investigation on the murders that have happened recently in town and were told you might be able to help us out.

SHARON
Come on in.

INT. SHARON’S HOUSE - LIVING ROOM - DAY

Sharon ushers the boys into the living room, a gigantic room with plush, leather furniture and walls stuffed full of books. Books are everywhere, on the shelves, the coffee table, stacked in neat rows along the floor and a few on some of the furniture.

SAM
Wow, that’s a lot of books you have here.



SHARON
I’m a writer. I can’t survive without books.

DEAN
What kind of books do you write?

SHARON
They’re mostly about murder. Lies. Deceit. Sex. Violence. The stuff that sells.

The trio settle into chairs.

SAM
So, did you know the men that were murdered?

SHARON
You think it was me, don’t you?

DEAN
We’re not thinking anything at the moment, ma’am.

SHARON
Please, Dean. Call me Sharon.

SAM
We’re not here to make accusations. We’re just here to gather information.

SHARON
Well, it wasn’t me.
(beat)
I knew them. I knew all of them.
(beat)
It’s a pity, really.

SAM
Why’s that?

SHARON
Well, let’s just say that I’ve had a … history with all of them.

DEAN
What would that history involve?

SHARON
Sex. Lies.
(beat)
Violence.

Dean and Sam’s eyebrows raise.

SHARON
(grins)
But only the good kind of violence.
(beat)
That’s all in the past now. And they’re gone. What’s the use reminiscing now?

SAM
Did you have any contact with them since you’ve been back?

SHARON
If I said I did, what would it matter?

DEAN
Establishing some trust with us would matter.

SHARON
Well, I don’t trust you. Now if you don’t mind, I have guests coming over and need to get ready. Come back some other time, gentlemen.

Dean and Sam stand to leave. Dean catches a glimpse of a book on the coffee table. He picks it up. The cover reads DARK MATTER with SHARON HARRIS written in bold letters over the title.



DEAN
Is this your book?

SHARON
One of many. Take it if you want. I have dozens of copies.

She smiles seductively at him, takes the book and scrawls her number on the inside cover.

SHARON
Let me know if you like it.

EXT. SHARON’S HOUSE - DAY

Aerial view as the Impala pulls away from the house and down the street.

SHARON (V.O.)
Little did the brothers know that things were only going to get much … much worse.



END OF CHAPTER ONE

Uh oh!! That don't sound good and I don't trust Sharon.

yep

CHAPTER TWO

INT. MOTEL - NIGHT

Dean sits on his bed, engrossed in the “Dark Matter” novel. Sam sits at the small table on his laptop, back turned to Dean.

DEAN
(frowning)
Hey Sam.

SAM
(disinterested)
Yeah.

DEAN
This book is kind of fishy.

SAM
Why?

DEAN
These murders sound really similar to the ones that happened here.



SAM
A murder is a murder.

DEAN
But here’s the thing. The murderer is a murder-ess.

SAM
So?

DEAN
And she sounds a lot like our lady friend, Sharon. She’s a psychiatrist who writes novels on the side. Seems as though she has an infatuation with these men and when they don’t love her back, she kills them.

SAM
Still doesn’t sound like what happened here.

DEAN
(annoyed)
I haven’t finished, Sam.
(beat)
The first guy in this novel is found naked, tied to his bed, smile on his face and a bullet in his chest.
(beat)
The second murder is a double murder. Two guys that were friends and lived together.

Sam perks up.

SAM
Isn’t that a little close to home?

DEAN
Maybe that’s why Tremain said she was a suspect.
(beat)
Here’s the thing, though. The novel is to be continued in her next book … Vantage Point. I’ll have to go find it.

SAM
What’s the copyright on that one?

Dean checks the cover.

DEAN
It was published a month ago.

SAM
So she’s working on the next one right now.

DEAN
How much you want to bet that our guy Rick is the first murder in that book?

SAM
(beat)
I don’t know, Dean. This seems a little too … convenient.

DEAN
We have a sexy murdering woman on our hands who writes down her whole story in a book for the world to read. Easy case. Sounds like it’s solved.

SAM
Don’t you think it’s too easy, though? Why would a murderer write about her murders for the whole world to read? Maybe it’s a copycat? Someone who likes her murder mysteries and is trying to copy them?

DEAN
Yeah … wasn’t there a Denzel Washington movie about that? “Bone Collector” or something like that.

SAM
So we tell Tremain what we found and leave. There’s no point in staying.

DEAN
(beat)
Why are you backing out so soon?

SAM
I’m not … I’m not backing out. I just … something doesn’t feel right.



DEAN
The dream you had?

SAM
No. Not that.
(beat)
I just … I just feel like we could do better, you know?

DEAN
No. I don’t know, Sam. What’s this all about? I thought you were really into this. I’m only here because of you, man. I wanted to leave ages ago and now … We’re staying.

SAM
Fine.

Dean gets up, angry, and throws the book on the bed.

DEAN
Fine? That’s it? Fine?

SAM
Look. I agree with you. We stay.

Beat.

DEAN
I’m going out for a beer.

Dean grabs his coat and EXITS. PAN OFF from Sam, looking distant.

INT. BAR - NIGHT

Dean sits at the counter, staring into space. A full beer sits next to him. SHARON ENTERS and sidles up next to the hunter. He turns to see her wearing a sexy black top and tight jeans.



SHARON
Hello Dean.

DEAN
Didn’t think a lady like you hung out in places like this.

SHARON
Well, I do. Gives me ideas for my stories.

DEAN
Yeah, about that …
(beat)
Where did you get your idea for your last story, the one that I was reading?

SHARON
(smiles)
It’s a page turner, huh?

DEAN
You could say that.

SHARON
They just come to me.

DEAN
They come to you kind of conveniently.

SHARON
(knowingly)
What do you mean?

DEAN
Stop messing with me!

Sharon moves closer, seductress all the way.

SHARON
Okay.
(beat)
You’re probably wondering why the murders happening around here sound so similar to my book. And you know I didn’t write about them after they happened because my book was published well before the first murder.
(beat)
I can’t explain it.

DEAN
Has anything suspicious ever happened in this town?

SHARON
What do you mean?

DEAN
Radios turning on and off when they aren’t supposed to. The smell of sulfur in places you never smelled it before. Mysterious illnesses –

SHARON
What are you talking about? This town is the most normal town in the state.
(beat)
But keep talking, sugar. I like these ideas you’re putting in my head.

DEAN
So nothing – NOTHING before this has ever happened that you would say is unusual.

SHARON
Nothing. This is the first excitement we’ve had in a long time.

Dean stares at her for a long moment then takes a drink.



DEAN
So what’s your next story about?

As Sharon speaks, she moves in closer and closer to Dean until their lips are almost touching.

SHARON
Same stuff. Sex. Murder--

DEAN
Violence. Who dies in this story?

SHARON
Now Dean, I wouldn’t give away my story now, would I?

DEAN
I’m going to need it as … evidence.

SHARON
I think this is all the evidence you need at the moment.

Sharon KISSES Dean. He is taken aback, but we can see that he likes this. She slowly pulls back, looking at him with a small, secretive smile, then stands to go.

SHARON
I’ll let you be the first to read my story.

She EXITS. Dean turns back to his beer, a grin on his face. He downs the beer then EXITS after Sharon. PAN OVER to a corner behind Dean. Tremain sits at a table alone, a beer in front of him. A suspicious look on his face.

INT. MOTEL - NIGHT

Sam sits alone at the table. He is staring at his computer screen, chin in hand, thinking.

SHARON (V.O.)
The hunter sat alone, wondering at his next move. This was a hard case. Not your normal one, he knew. What made it even more difficult was the fact that he felt so alone.
(beat)
Alone … and afraid. Afraid for the life that he and his brother had both chosen to lead. Afraid of the future, of the destiny that had been pushed upon him.
(beat)
But mostly … he was afraid for his brother.

Sam looks up, then stands, slowly going over to the window and pushing the curtain aside.

EXT. MOTEL - CONTINUOUS

The parking lot is empty. No Impala. No Dean.

INT. MOTEL - CONTINUOUS

Sam turns away from the window and starts to walk across the room when –

FLASH CUT TO:
INT. HOUSE

We see fuzzy images, flitting from room to room in a gigantic house before settling shakily on a living room filled with books. Sharon’s house. We shift to the sound of scuffling, flying out of the living room to the dining room.

Dean is fighting for his life. We cannot see his attacker, but blood is everywhere and a look of panic is in the hunter’s eyes. He brandishes a kitchen knife but it is knocked out of his hand with such force that he is thrown to the ground. He coughs up blood and holds his side where it appears he has been stabbed. He tries to pull himself up but collapses, a knife protruding from his back.

CLOSE ON Dean’s face, eyes wide open and clouding over in death.

FLASH CUT TO:
INT. MOTEL ROOM - NIGHT

Sam is on his knees next to one of the beds, clutching at the bed covers. Sweating and gasping for breath.



Fly in, off Sam nervous --

END OF CHAPTER TWO

Ok, srlsy. I don't like this Sharon chick. She better stay away from my boys before I put the smackdown on her.

CHAPTER THREE

INT. MOTEL ROOM - NIGHT

Picking up where we left off, Sam staggers to his feet, his eyes wild. He grabs his CELLPHONE from the table and speed dials.

DEAN (V.O.)
You’ve reached Dean Winchester. Leave a message.

SAM
Dammit, Dean!

SHARON (V.O.)
The hunter feared for his brother’s life.
(beat)
He would never have admitted it to his face, but the hunter loved his brother, and … he was afraid for him.
(beat)
It wasn’t just this one occasion. He had had dreams before. Dreams of death … destruction … mayhem. End of the world type of stuff. The dreams of his brother dying were the ones that set him off, however. He knew that one day … the time would come when he wouldn’t be able to stop what happened next.

Sam shoves the phone in his pocket and dashes around the room, gathering guns and knives from various locations and stashing them on his person. Two revolvers go in his back pocket, a Bowie knife in his belt, and two small knives in his jacket.

Sam EXITS – the door slamming behind him.

EXT. SHARON’S HOUSE - EVENING

INT. HOUSE - CONTINUOUS

CLOSE UP on the door. Suddenly, it is KICKED OPEN and Sam stands in the doorway, murder in his eyes.



SHARON (V.O.)
The hunter didn’t know exactly what he was going to find that night. Sometimes his dreams were set to happen far in the future. He hadn’t told his brother, though, that he had a gut feeling about this town for a long time. A feeling he hadn’t been able to push away. Something attracted him here, but at the same time, he felt danger.

Sam runs through the house, silent and gun ready. He enters the LIVING ROOM to find Dean and Sharon. Dean has his gun cocked and aimed at Sam. Sharon is behind him. Surprised at the intruder’s identity, Dean lowers his gun.

DEAN
What are you doing here, Sam?

SAM
(angry)
What are YOU doing here?

DEAN
Sharon invited me over for a drink.

SHARON
I was going to show him the first draft of my new book. Care to join us?

SAM
(beat)
Yeah. Yeah, I think I will.

DEAN
What’s up with kicking the door in?

SAM
I thought … I thought –

DEAN
(fuming)
Sharon, could you excuse us for a minute?

SHARON
Sure thing, sugar.

Sharon EXITS. Sam grabs Dean’s arm and pulls him towards the front door.

CUT TO ANGLE on the coffee table. Sam sees a disk on the table labeled “Vantage Point: First Draft.”

CUT TO WIDE ANGLE on the brothers.



DEAN
What the HELL are you thinking, Sam?

SAM
I … I had a dream.

DEAN
And?

SAM
(beat)
I saw you die, Dean. You died right here, in this house. Someone killed you.

DEAN
(flustered)
Well … did you see his face?

SAM
No.
(beat)
I think it’s Sharon.

DEAN
Can’t be.

SAM
It makes sense!

DEAN
What makes you so sure, Sam?

SAM
I’m just … it’s just a feeling.

DEAN
We can’t go on FEELINGS, Sam. Give me the evidence and I take her down. Give me your silly emotional stuff and no cigar.

SAM
(beat)
What happened to you?

DEAN
What?

SAM
You’re … never mind.

DEAN
I’m sick of this, Sam. Why aren’t you being straight with me?

SAM
(beat)
Because you don’t listen.

Beat. Both brothers stare at each other.

DEAN
Whatever, Sam.

Sam glares at Dean, then EXITS the house. The door closes behind him and Dean stares, thoughtful. Sharon’s hands touch his shoulders, kneading them.

SHARON
I think you guys are closer than you’ve let on.

Dean turns to her, his expression flat.

DEAN
No. We really aren’t.

Sharon turns and walks to the STUDY. Dean watches from the living room as she picks up a sheaf of papers. She turns back to him.

SHARON
I’ve finished the first draft of my new book. Care for a peek?

Dean takes the papers from her.



DEAN
You’re a fast writer. Wasn’t your last book published a month ago?

SHARON
Writing is a long and careful process. I go through so many drafts … Sometimes the story published isn’t the story that I set out to write.

DEAN
Must be annoying.

SHARON
Sometimes, yes.

She drapes her arms around him, her lips close to his cheek.

SHARON
Sometimes that makes it all the more interesting …

Dean pushes her away, angry, and turns to the door.

DEAN
I have to go find Sam.

SHARON
He’s jealous of you, isn’t he?

Dean stops, midstride.

DEAN
(accusing)
What do you know?

Sharon slowly steps towards him.

SHARON
Instinct.

DEAN
I really don’t care for any of that “instinct” stuff. Give me a straight up answer and I’m happy with that.

SHARON
Alright. I know what you want.

She KISSES him passionately. Dean kisses her back, frustrated. The sheaf of papers drops to the coffee table from Dean’s hand. PAN IN on one of the paragraphs on one of the stray pieces of paper.

SHARON (V.O.)
The hunter grabbed her by the hair, kissing her passionately. It was a kiss of anger, she knew, but she enjoyed it all the same. This was a man of power, a man who hungered for what she could give him.

PAN UP to reveal Dean and Sharon in the background behind the papers, kissing. Mimicking the story that is being narrated.

EXT. HOUSE - STREET - MOMENTS LATER

Sam is walking down the street, his hands shoved in his pockets, a look of anger on his face. A POLICE CAR pulls up beside him. Tremain sticks his head out and Sam stops when he sees him.

TREMAIN
Hey Sam!

SAM
Hey.

TREMAIN
Were you just at Sharon’s?

SAM
Yeah.

TREMAIN
She answer any of your questions?

SAM
No … Not really.

TREMAIN
Doesn’t surprise me. She has a way of getting around things.
(laughs)
These writers have a way of playing with words.

SAM
They sure do.

TREMAIN
Where’s Dean?

SAM
He’s still there.

TREMAIN
(suspicious)
Really?
(beat)
Don’t let him get mixed up with her.

SAM
Why not?

TREMAIN
Gut feeling.
(beat)
Bad things seem to happen around her. Never TO her. Just to the people she knows. Kind of why we have her on our suspect list for all those murders.

SAM
I’ll let him know.

TREMAIN
See you around, then.

SAM
See you.

Tremain drives off. Sam continues walking. In the background behind Sam we see the police car pull up to Sharon’s house. Sam turns back to see Tremain EXIT the car and go up to Sharon’s front door. He turns back around and keeps walking, reaching a hand inside his jacket and pulling out the disk we saw earlier on the coffee table. “Vantage Point: First Draft.”

EXT. SHARON’S HOUSE - MOMENTS LATER

Tremain KNOCKS on the door. After several seconds of silence, he pulls out his gun and walks around the house.

INT. SHARON’S HOUSE - LIVING ROOM - CONTINUOUS

Sharon and Dean are lying on the couch, breathing heavily and kissing. Dean’s shirt is missing. Neither hear the knock on the door.

EXT. SHARON'S HOUSE - CONTINUOUS

Tremain walks around to the back and looks through the living room window. He sees Dean and Sharon and his eyes narrow suspiciously.

INT. MOTEL ROOM - NIGHT

Sam ENTERS the motel room and pulls the disk out of his pocket.

SHARON (V.O.)
The confrontation with his brother had left the hunter feeling angry. Angry at his brother for siding with the one that he thought was going to be his murderer and angry at the fact that there didn’t seem to be anything he could do to stop it.
(beat)
The hunter was dangerously distant from his brother, his only family … and he knew it. He knew he was blocking his brother out of his life but he felt there was nothing he could do about it. Darkness was slowly tightening its grip on his soul and there was nothing he could do to stop it. No power on earth could stop what he felt was happening to him. No power on earth could stop what he was sure was going to happen next.
(beat)
And the worst part of it all … was that he KNEW what was going to happen, and he wasn’t going to put a stop to it.

Sam sits down at the table and opens his laptop. He puts the disk in and begins to read.

EXT. SHARON’S HOUSE - NIGHT

Dean EXITS the house, gets in the Impala and drives away. A few seconds later, Sharon EXITS the house as well, dressed to the nines in a black evening gown. She goes to the garage, and a moment later, pulls out in a brand new Chevy Mustang. As the car disappears down the street, PAN DOWN to reveal Tremain in a police car, watching. After a few seconds, he revs his engines and follows.

INT. MOTEL ROOM - NIGHT

Sam is sitting over the computer, absorbed in the story he is reading.



INT. CLUB - NIGHT

SHARON (V.O.)
The hunter read late into the night.

PAN OVER the club to reveal many well dressed young people dancing and drinking. Sharon is dancing in the middle of the fray, attracting the eye of most young men near her.

SHARON (V.O.)
She danced as though it didn’t matter what the world thought of her.

INT. IMPALA - NIGHT

Dean is driving, thoughtful. Metallica blasting in the stereo.

SHARON (V.O.)
He wasn’t on a hunt. He kept repeating it over and over again. He wasn’t on a hunt. She didn’t mean anything to him. His brother was making a big deal out of nothing. There was no hunt here.

INT. CLUB - NIGHT

Sharon is dancing provocatively with a group of men. PAN OVER the club to reveal Tremain in a corner, dressed like the club people, watching Sharon.

INT. MOTEL ROOM - NIGHT

Sam is still reading.

SHARON (V.O.)
She had slept with many men. Most she didn’t remember the next day.
(beat)
It was really all a game.

INT. UNKNOWN BEDROOM - NIGHT

Sharon and a man are kissing in the darkness. The man’s hands are roaming her body lustfully, pulling the straps of her dress off her shoulders. She is desperate, tearing his shirt off.

INT. UNKNOWN ROOM - NIGHT

CLOSE UP on the keyboard of a computer where a woman’s hands are typing.

SHARON (V.O.)
Love is a strange thing.
(beat)
It has the power to bring the strongest man to his knees.

INT. UNKNOWN BEDROOM - NIGHT

The man and Sharon are in the throes of passion on the bed.

INT. UNKNOWN ROOM - NIGHT

CLOSE ON keyboard.

SHARON (V.O.)
It has the power to reconcile brothers.

INT. IMPALA - NIGHT

Dean is driving, Metallica still playing. He flips open his cellphone and dials Sam.

INT. UNKNOWN ROOM - NIGHT

CLOSE ON keyboard.

SHARON (V.O.)
And sometimes … love has the power to kill.

PAN UP to see Sharon typing at the keyboard as she enters the last word.



CUT TO:
INT. UNKNOWN ROOM - NIGHT

The man lies naked on the bed. Blood pools on his chest and soaks into the pristine white sheets...

END OF CHAPTER THREE

What's it gonna take for Dean to see what's going on?
Sam has got to find a way to make him see.

Great chap.

CHAPTER FOUR

EXT. HOUSE - EARLY MORNING

A normal neighborhood … normal except for the police cars surrounding the house in the screen. An ambulance sits to the side, lights flashing.

INT. HOUSE - EARLY MORNING

Tremain stands in the bedroom of the man who was murdered, looking at the body. Several police officers stand behind him. A woman is updating him on the crime scene.



WOMAN
Looks like it happened last night. Bullet to the heart. No signs of a struggle.

TREMAIN
Alright. We have all our pictures?

MAN
Yes sir.

Tremain watches as the men begin to arrange for the body to go on a stretcher.

INT. MOTEL ROOM - EARLY MORNING

Sam is sleeping and jerks awake when the door opens. Dean ENTERS. Sam leaps to his feet and confronts his brother.

SAM
Where have you been?

DEAN
Why do you care?

SAM
You could have been dead in some alley somewhere.

DEAN
Yeah? Well, I'm not.

Dean and Sam lock eyes for a beat. Separated.

Suddenly, Dean’s phone RINGS. He looks at Sam and answers it.

DEAN
Hello?
(beat)
We’ll be over in twenty minutes.

He flips the phone shut.

SAM
Who was that?

DEAN
Tremain.
(beat)
There’s been another murder.

FADE TO:
INT. POLICE STATION - TREMAIN’S OFFICE - DAY

Dean and Sam sit at the desk across from Tremain.

TREMAIN
Victim was male. Young. Bullet in the heart.

SAM
And you found him naked?

TREMAIN
In his home in bed. Looked pretty happy. We suspect a woman was involved because of the state of the body.

DEAN
(smirks)
That’s the way to go!

Sam kicks him.

SAM
Any fingerprints?

TREMAIN
None. We haven’t found the weapon yet, either, and we know all these murders were done with the same weapon.
(beat)
You were with Sharon last night, weren’t you, Dean?

Dean shifts, looking uncomfortable.



DEAN
I left around nine. I wasn’t there all night.

TREMAIN
(to Sam)
Can you vouch for him?

Sam looks at Dean, uncertain.

SAM
Yes. I can.

TREMAIN
(to Dean)
Where did you go after you went to Sharon’s?

DEAN
Went to a bar. Had a couple of beers. Went back to the motel.

SAM
I was with him.

Dean looks at Sam, surprised.

TREMAIN
I see.
(beat)
You boys didn’t see anything last night? Sharon didn’t say anything?

SAM
Nothing suspicious.

DEAN
Just the usual chitchat.

TREMAIN
How far have you gone with your investigation?

SAM
Truth be told … not far. This one has us stumped. We’re still working on it.

DEAN
You can be assured that we’d let you know if we found anything.

TREMAIN
Of course.

EXT. POLICE STATION - DAY

Dean and Sam are walking to the Impala.

DEAN
Some FBI agents we’re turning out to be.

SAM
We need to leave.

DEAN
What?

SAM
We need to leave now.

DEAN
Why?

SAM
I just …

DEAN
I know. Something doesn’t FEEL right. Well, your little vision thing didn’t come true. I wasn’t the guy that died.

SAM
It doesn’t work like that. It could be something that happens days from now … even months. I can’t control it. I don’t know how it works!



DEAN
Easy there, Sammy!
(beat)
You’re right, though. Something doesn’t add up, here. I need to go read her next book. See if that other guy is in it.

SAM
He is.

DEAN
What?

SAM
I found a disk with “Vantage Point” on it. I’ve read half the book so far.
(beat)
I guess that’s how I knew you weren’t the guy that dies last night.

Dean looks at Sam suspiciously.

DEAN
You do realize that it’s a book? These things aren’t supposed to happen! You can’t let your life be ruled by what some person is writing! Just imagine what would happen if our life was one big Steven King novel!

SAM
I don’t know. It’s just … a hunch, I guess.

DEAN
A hunch. First it’s a dream and now it’s a hunch. What’s next, Sam? You start writing your own book?

FLASH CUT TO:
INT. UNKNOWN BEDROOM

Sharon stands above the man that had recently been murdered. Staring as his blood soaks into the sheets and his lifeless eyes glaze over.

FLASH CUT TO:
EXT. MOTEL ROOM - NIGHT

Sam gasps and staggers, grabbing at the chair near him.

DEAN
Sam? What is it?

SAM
(gasping)
I … I don’t know. That guy that was murdered … Sharon was there.

FLASH CUT TO:
INT. SHARON’S HOUSE - NIGHT

Sharon stands in her living room, eyes cold.

TREMAN (O.S.)
Sharon …

Sharon whirls around to see Tremain behind her.

FLASH CUT TO:
INT. MOTEL ROOM- NIGHT

SAM
Oh my God.

He rushes to the computer and scans through the book on the screen.

DEAN
What?

SAM
I think she’s going to kill Tremain. Here. The last chapter. It ends with the psychiatrist killing a policeman.

DEAN
Where is she?

INT. SHARON’S HOUSE - NIGHT

Sharon stands in her living room facing Tremain.



TREMAIN
You’ve killed so many people.

SHARON
Did I?
(beat)
Do you have any proof?

TREMAIN
(angry)
I have all the proof I need! You’re a murderer, Sharon.

SHARON
I’m a writer.

TREMAIN
Oh you’re more than that!

Tremain raises the gun in his hand to point it at Sharon.

TREMAIN
You’re a whore. You betrayed me. Lied to me. You tore my heart out, Sharon!

Suddenly, the door bursts open and Dean and Sam run into the room, guns raised. Neither know who to point their guns at.

TREMAIN
I have proof now!

SAM
Alright … everyone just calm down and we’ll sort this out.

TREMAIN
She betrayed me!

DEAN
(confused)
Wait … what do you mean?

TREMAIN
(to Dean)
It was all too perfect from the start. Then YOU came.
(snarls)
Time for you to go, Dean.

He aims his gun at Dean and shoots. Dean dives for the floor, narrowly missing the shot. Sharon jumps at Tremain, wrestling him for the gun as Sam comes up, knocking Tremain on his stomach to the floor. Sam sits on his back, holding him in an arm lock.

SAM
You okay Dean?

DEAN
Yeah.

The door bursts OPEN again and several policemen come in, guns raised.

POLICEMAN
Tremain?

TREMAIN
(raving)
You have to kill her! She’s a monster! And him! She wrote him into her story! He has to die! Kill him!

Dean and Sam look at each other, confused. Sharon just stands there watching, nerved.



CUT TO:
INT. POLICE STATION - DAY

Dean and Sam sit in the main office at what used to be Tremain’s desk. A new police officer, DECLAN ROBERTS, sits across from them.

DEAN
We never saw that one coming.

DECLAN
I always knew this town wasn’t right for Tremain. He was a soldier. Always looking for action. Didn’t think he would snap on the job.

DEAN
And boy did he ever snap.

DECLAN
Tried to kill you. Tried to kill Sharon. Looks like he was the one that killed all those men. Jealousy. Nobody knew he and Sharon were involved. He had an obsession with her. I think your work here is done, gentlemen. No need for the FBI to stay. We can clean everything up.

EXT. POLICE STATION - DAY

Dean and Sam stand in the parking lot next to the Impala.

SAM
So I guess we’ll never really know what happened.

DEAN
And it looks like it wasn’t our kind of job after all.

SAM
(far off look in his eye)
Maybe …

FADE TO:
INT. SHARON’S HOUSE - DAY

MUSIC CUE: "ANGELS OR DEVILS" Dishwalla

There are boxes everywhere. The books have been packed up, the furniture is covered. PAN OVER to the OFFICE. Sharon is standing at the desk, looking at her computer. She shuts it down and picks up a sheaf of papers. The cover reads “Vantage Point – Third Draft.”

INT. BAR - NIGHT

Dean and Sam sit at the counter sipping beers. Sam is staring into space.

INT. PRISON CELL - NIGHT

Tremain sits alone in a cell wearing a white prison uniform and a straightjacket. A guard enters.

GUARD
You have a visitor, Tremain.

The guard EXITS and Sharon ENTERS.

SHARON
Hello Tremain.

Tremain doesn’t respond. As we PAN IN on him, we realize there is a lifeless look in his eyes.

SHARON
We had a good time, you and me.
(beat)
I guess that’s over now.

She walks along the outside of the cell, trailing her fingers across the bars.

SHARON
The psych ward, huh? They think you did it, you know.
(beat)
The town hero … locked up for murder. And all for a woman.

She stops and looks at him.

SHARON
I think you’ve been reading too many of my stories. I gave you my second draft. Things can change a lot. Someone always has to die, you know. First draft, the psychiatrist kills the policeman. Second draft … the policeman kills the hunter … you’ve given me a great idea for my third draft, Tremain. You killed all those men, didn’t you? Out of jealousy. You saw me with them and you just couldn’t stand the fact that I was with other men. We aren’t together anymore, you know. You can’t control my life … but I can certainly control yours.
(beat)
I control all men’s lives. No one will ever know who really killed those men. You’re here, locked up. Insane. No one will believe a word you say … but they’ll certainly believe mine.

Sharon starts to leave but turns back at the last second.

SHARON
And you do know that the pen is mightier than the sword.

As she EXITS, we get a glimpse of the inside of her purse. The handle of a an old fashioned revolver is sticking out.

INT. BAR - NIGHT

Sam shakes his head sharply. A vision?

SAM
Dean … do you really think Tremain killed all those guys?

DEAN
I don’t know.
(beat)
Sharon’s books were pretty similar to real life.

SAM
Not just similar. EXACT.

DEAN
Yeah … makes you wonder. The way he went nuts at the end though … he probably did kill them.
(beat)
And THAT wasn’t like the end of her book.

SAM
But she said she would go through numerous drafts before she would come up with something she liked.

DEAN
It’s weird. Almost like she was writing this whole thing down.

SAM
And the hunters that were brothers? Sometimes, I swear Dean, she had us down word for word.

DEAN
(beats)
You know, what if that’s how reality works? It’s just a story that someone’s narrating. Writing down. A crazy guy with a type writer, or crazy girl. Point is, who’s to say we’re not characters written down and forced to do things on a page?

SAM
(beat)
Dean …

DEAN
Yeah, Sammy?

SAM
I think you had too much to drink.

DEAN
Yep, you’re probably right.
(not entirely convinced)
That’s absurd.

For a split second, Dean glances over at the screen, smirks and shakes his head.



PAN UP and away from the brothers.

THE PAGE TURNS and we see Sharon sitting at a keyboard, a sly grin on her face as she types the final words... 'THE END.'

INT. UNKNOWN ROOM - NIGHT

The wind rushes against the book and the pages close. Candle light flickers and dies off...

BLACK OUT!

END OF EPISODE

NEXT WEEK



TRAILER

TRAILER

MULTUS TEMPESTAS PREVIEW - MASTER OF PUPPETS

In our sixth episode, ‘Master of Puppets,’ we start to delve back into Sam’s mythology and his fears. After he came back, the Mark of Cain emerged which was later found out to mean that he was either killed by something evil or born evil. And if he was born that way, can he fight it or is he just a puppet that the devil has on strings? This episode really goes straight after that question and how it affects him.

In addition to that fans will get a chance to be scared by Slappy the Dummy again. Okay, different series, same general idea though. A truly spine-tingling tale that is bound to keep you up during late hours of the night.

DIRECTOR'S CUT

INT. DR AIKEN’S OFFICE

Dr. Aiken sits opposite Sam, stroking his grey beard as if it was a cat

DR AIKEN
So, what can I do for you?

SAM
I’d like to know if you ever treated a man called Jerry Craig

DR AIKEN
He was a patient of mine, yes

SAM
I’m sure you can’t reveal much due to patient confidentiality but -

DR AIKEN
I heard he passed away

SAM
That’s right. That’s why I’m here

DR AIKEN
You found his death
(beat)
Suspicious?

SAM
Very suspicious

DR AIKEN
In what way?
(laughs)
I apologise Mr Gruber, here I am blathering away while you can’t get a word in edgeways

SAM
That’s quite alright Dr. Aiken, it’s just -

DR AIKEN
You see the thing is I like to see myself as a bit of an amateur detective

SAM
Really? That’s great, so -

DR AIKEN
And of course, anything I can do to assist the local law enforcement!

SAM
(slightly annoyed)
Appreciated. Really

DR AIKEN
Jerry sought me out because he feared for his sanity. He began to believe his dummy was really alive

SAM
Interesting

DR AIKEN
Oh yes, fascinating case. You see he owned a puppet called Gabby which he used in his act. As far as I know he had only the one

SAM
Act?

DR AIKEN
Puppet

SAM
Sorry

DR AIKEN
He exhibited several signs of schizophrenia, only instead of the extraneous personality manifesting within himself, he exhibited it through the dummy. In other words he began to believe that when he spoke through the dummy, that it was the dummy itself. That’s it’s personality was independent of his own

Sam's face begins to cloud with worry, his voice becoming more concerned.

SAM
Did you ever see his act?

DR AIKEN
Not “live” if that’s what you mean, but yes, he and Gabby both spoke to me here during our sessions

SAM
And what was your opinion of that?

DR AIKEN
The guy was nuts, to coin a phrase. He needed a lot of therapy. The dummy was clearly a repressed part of his own psyche which could slowly have taken him over. Changing him if you will

Sam swallows hard.

SAM
Did you recommend any treatment? Was he on any drugs?

DR AIKEN
Oh no drugs. I’m not a lover of complicated treatments. I believed Jerry should quit his act. This was something he agreed with me on. It almost seemed as if he was becoming scared of Gabby.

SAM
Why?

DR AIKEN
He once told me he couldn’t quit. That Gabby wouldn’t let him

SAM
And what did you think of this “Gabby”?

DR AIKEN
Honestly? I think he was a waste of a good coat-stand

Sam smiles nervously at the doctor's joke, but behind the forced smile hides genuine fear.

Great Story As Always............