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#13.11 : Breakdown

IL EST TEMPS DE RENDRE LA PAREILLE - Donna appelle Sam et Dean à l'aide après que sa nièce Wendy ait disparu. Les trois chasseurs découvrent que Wendy a été capturée par un homme qui vend des organes humains à des monstres via de grotesques enchères en ligne et courent la sauver avant qu'il ne soit trop tard.

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Titre VO
Breakdown

Titre VF
Breakdown

Première diffusion
25.01.2018

Première diffusion en France
26.01.2018

Vidéos

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Promo

  

Inside 13.11 "Breakdown"

Inside 13.11 "Breakdown"

  

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Logo de la chaîne Série club

France (inédit)
Vendredi 26.01.2018 à 23:10

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Etats-Unis (inédit)
Jeudi 25.01.2018 à 20:00
1.93m / 0.6% (18-49)

Plus de détails

Scénariste : Davy Perez
Réalisateur : Amyn Kaderali

 

Casting :

Briana Buckmaster... Donna Hanscum

Brendan Taylor... Officier Doug Stover

Chris William Martin... Agent Clegg

Steven Yaffee... Marlon

Troy Skog... Pasteur Don Hankey

Sarah Dugdale... Wendy Hanscum

Camille Atebe... Client Bar Routier

Jason Vaisvila... Nettoyeur vitres

Emilio Merritt... Luis Fernando

 

TEASER

[INTERIOR – HARVEST ROOM – NIGHT]

[The camera pans across several parts of the room: jars of human blood and body parts, hooks, a board with Missing Persons reports, ropes, knives and axes, an operating table. THE HARVESTER prepares equipment for the next victim. A man screams in the background. An arm with a large cut sits on the table. “Look In My Eyes” by the Chantels plays over the scene.]

[EXTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

OSHKOSH, NEBRASKA

[A car pulls into the gas station. A young girl, WENDY HANSCUM, gets out of the car. She tries to fill up her car, but the machine reads “CARD DECLINED”. She tries it again, but the machine reads “CARD DECLINED. PLEASE SEE CASHIER”.]

WENDY

Of course.

[INTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

[People in the café are eating. A pastor recites Bible scripture.]

PASTOR

“If I regard wickedness in my heart, the Lord will not hear me.” Psalms—it’s not just poetry.

[WENDY enters the café. The people turn to stare at her as she stands in the doorway. She turns to the cashier, MARLON, who is reading a magazine.]

WENDY

Hey. Um, excuse me. Your card thing is broken. Tried it a couple times, but it’s not working.

MARLON

Here. I.D. too.

[WENDY hands him both of the cards. He holds the I.D. to her face.]

MARLON

Hanscum. That’s kinda funny.

WENDY

Old English.

MARLON

Kind of reminds me of soap scum or—

WENDY

Can I just get $30 on 2?

MARLON

Why don’t you smile some? You can get whatever you want, darlin’.

[He swipes her card, and hands back them back along with her receipt. WENDY leaves.]

[EXTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

[WENDY is filling up her car. She is about to leave, but she gasps when she finds a man standing behind her.]

WINDOW WASHER

Wash your windows?

WENDY

No, I – No. No, thanks.

[WENDY drives away.]

[EXTERIOR – HIGHWAY – NIGHT]

[WENDY pulls off to the side of the road. She gets out of her car.]

WENDY

Come on.

[A truck is approaching, she tries to get the attention of the driver, but they drive past.]

Hey. Hey! You suck!

[WENDY bends down to inspect her flat tire, which has a spike in it. A man with a covered face grabs her from behind. She screams as he lifts her and then throws her on the ground. She struggles to get up, but he kicks her to the ground. He grabs her legs and drags her away.]

No. No, no. NO!

[TITLE CARD]

ACT ONE

LEBANON, KANSAS

[INTERIOR – THE BUNKER, SAM’S ROOM – DAY]

[The clock reads 6.00am. SAM is awake in his bed. The clock then reads 8.22am. SAM is still awake in his bed. DEAN knocks loudly on the door.]

DEAN

Yo, makin’ pancakes. How many do you want?

[SAM doesn’t reply and continues to lie in his bed. The clock reads 10.00am. SAM’s phone is vibrating on the nightstand. He picks it up to see DONNA calling.]

[INTERIOR – THE BUNKER, KITCHEN – DAY]

SAM

Yeah. All right. Yeah.

DEAN

Ho, ho, ho. There he is. Saved you a short stack.

SAM

Hey, Donna, I’m here with Dean. I’m gonna put you on speaker. Uh, why don’t you tell him what you told me?

[Cut to: DONNA is calling from her car.]

DONNA

Oh. It’s my niece. She’s gone missing. And the local cops don’t – (her voice breaks). I know it’s not your normal thing, but-

DEAN

Text us the address. We’re on our way.

DONNA

Thank you.

[SAM ends the call. The scene cuts to Donna crying in her truck. She is parked in the same place WENDY was the previous night.]

[EXTERIOR – OSHKOSH, NEBRASKA, WAREHOUSE – DAY]

[DONNA is leaning against her truck. The Impala approaches, and SAM and DEAN get out.]

SAM

Hey, Donna.

DONNA

Hey.

[DONNA hugs them both.]

DEAN

How are you holding up?

DONNA

Oh, you know… not great.

DEAN

Yeah.

DONNA

I’m sorry for calling you guys, but Jody’s got her hands full with the girls.

DEAN

Hey, never apologize for calling us.

SAM
So, what do we know?

DONNA

Uh, staties found her car side of the road. Signs of a struggle.

SAM
And what was she doing out here?

DONNA

She was taking a gap year. It’s like, this thing where-

DEAN

Take a year off, run wild before you go to college?

DONNA

Mm-hmm. Yeah. I used to tell her about how much fun I had when I did it. Well, she thought that sounded like an adventure. She thought… (her voice breaks)

DEAN

Donna, hey. Whatever happened, it’s not your fault.

DONNA

That’s what Doug keeps telling me, but… I can’t help but think-

SAM

Just focus on the case.

[DONNA nods.]

DEAN
Doug here?

DONNA

Yeah, he’s in there. Talking to the locals.

DEAN

I’ll go check in.

[INTERIOR – WAREHOUSE – DAY]

[DEAN inspects WENDY’s car, which is kept there for the local police and FBI. DOUG is talking to the police. DEAN sees the flat tire with the spike in it. AGENT CLEGG approaches.]

AGENT CLEGG

Excuse me! Hey! What are you doing?

DEAN

Oh, I um…

AGENT CLEGG

I asked you a question, son.

DEAN

First off, I’m not your son. Second-

[DOUG approaches.]

DOUG

Whoa, whoa, easy. Agent Clegg, this is Agent Savage, FBI.

AGENT CLEGG

Oh. Company man. Wow, you should’ve told me.

DEAN

Well, I didn’t get a chance.

AGENT CLEGG

Uh-huh. And what field office are you out of? I’m just curious who I should call about you walking through my crime scene.

DEAN

Hm. I think we got off on the wrong foot. Uh, I’m not here on official business. The victim she’s family. She’s my cousin, so I’m just here to get some answers.

AGENT CLEGG

Oh. I can respect that. All right, come on. I’ll fill you in.

DEAN

Yeah.

[They are about to leave, but DOUG stops DEAN.]

DOUG

Sorry. You and Donna are related?

DEAN

Yeah.

DOUG

So you were in Sioux Falls a couple of weeks ago, at the family reunion.

DEAN

I was there. Yeah.

DOUG

Donna said it was a pretty wild time.

DEAN

It was wild. Absolutely.

[DEAN leaves, and DOUG follows.]

[INTERIOR – WAREHOUSE, OFFICE – DAY]

[AGENT CLEGG, DEAN and DOUG are standing around a table, a map on the surface. SAM and DONNA are now in the office.]

AGENT CLEGG

This is where we found him. This is an older stretch of highway, mostly used by long-haul truckers. There’s no patrols to stop the speeders.

SAM

So who found the car?

AGENT CLEGG

Troopers got an anonymous tip.

DEAN

Well, that’s convenient.

AGENT CLEGG

Yeah, fits with the pattern, though.

SAM

Pattern?

DOUG

They think it’s part of something bigger. And Wendy’s not the only one.

AGENT CLEGG

We found evidence that suggests she was targeted by a serial abductor. Now that spike we found on the tire, that’s classic Butterfly.

DEAN

Sorry. Butterfly?

AGENT CLEGG

That’s what we call him, what I call him.

[AGENT CLEGG turns to a board of Missing Persons and another map, connecting where each person is missing from.]

He’s got kind of a migrating pattern. Now, in the winter, he makes his way southward, targeting people that are traveling alone, people who won’t be missed. Then in the summer, he turns around and he heads back up north.

SAM
Now what about the victims?

[AGENT CLEGG looks nervously at DONNA.]

DONNA

Go on.

AGENT CLEGG

They disappear. We’ve never even found a body.

DOUG

So maybe they aren’t, you know, gone gone.

AGENT CLEGG

Maybe. Look, having you all here is not standard operating procedure, but if you wanna help… Now, I’ve been chasing this psycho for the last 12 years. I could use all the help I can get.

[DEAN looks to SAM, who shakes his head. DEAN ignores him.]

DEAN

We’re in.

[SAM looks annoyed.]

[INTERIOR – MOTEL – NIGHT]

[DEAN is sitting at the table and fiddling with the settings on a CB radio.]

SAM

No one uses CB radios anymore.

[Voice of a male trucker on the radio says “All that smokey saw was my rubbers”.]

DEAN

No one except truckers.

[DEAN picks up the receiver.]

Breaker, breaker 1-9. This is 67, the Midnight Rider. Looking for the 4-1-1 on my Alice in Wonderland.

[Radio cracks]

TRUCKER

Whoa, Midnight Rider. Sounds like that piece ran out on you.

DEAN

She’s redhead, brown sedan. She’s family.

[DEAN waits for a response.]

Breaker, breaker. Anyone?

TRUCKER

Hot diggity, I’ll find your Alice. She’ll be my family, too.

ANOTHER TRUCKER

Not if I get there first.

SAM

You see? Told you. This is stupid.

DEAN

It’ll work. Dad used it all the time.

SAM

This isn’t even our kind of case. And you know, with the real Feds here, we should back down.

DONNA

You’re joking, right?

SAM

We’re still fugitives.

DEAN

They think we’re dead.

SAM

Do you really wanna get on the FBI’s radar again?

DEAN

Okay, so what do you wanna do? Hmm? You wanna call up Donna and say “Hey, sorry about your niece. These kinds of things happen. Later.” And head back to the bunker so you can mope some more?

SAM

I’m not moping.

DEAN

You got up at 10.00 am this morning. 10.00 am. You, Mr. Rise and Freakin’ Shine. And then you turned down pancakes.

[DEAN gets up from the table, and takes out a beer from the mini-fridge. SAM sits on the bed.]

SAM

I wasn’t hungry.

DEAN

They’re pancakes. Look, I know you’re in a dark place right now, okay? I mean, we lost Jack. Mom is… I think about ‘em too. All the time. But you can’t let it eat you up. Now look, when I was—when I was broken up, you were there for me. Well, I’m here for you now. And I’m telling you, the only way out of this is through. Now when everything goes to hell, what do we do? We put our heads down and we do the work. We’ll find Jack. We’ll save Mom, we will. But right now, Donna needs our help. Okay?

[A voice on the radio breaks.]

FEMALE TRUCKER

Breaker, breaker, Midnight Rider. Felix the Cat here. Breaker, breaker, Midnight Rider. Felix the Cat here. I, uh, think I got somethin’ for ya.

[DEAN picks up the receiver.]

DEAN

10-4. Felix. What do you got?

FEMALE TRUCKER

Better we talk live and in color. You mind meeting up? There’s, uh, there’s a place off Gold Rush Byway, just past mile marker 980. I’ll roll through around noon.

DEAN

It’s a date. Over.

[DEAN turns back to SAM.]

Alright. I’ll go check that out tomorrow. Why don’t you hang back in case something else breaks?

SAM

Okay. Look… obviously, I’m here for Donna, all right? I wanna help.

DEAN

I know you do. So let’s find this son of a bitch.

[INTERIOR – HARVEST ROOM – NIGHT]

[WENDY is strapped to the death table, blindfolded. A hand turns up the volume on the radio. “Too Good To Be True” by Lon Rogers and the Soul Blenders plays in the background. THE HARVESTER approaches her. He takes her blindfold off. She cries and screams. He screams back, mocking her.]

WENDY

Let me go! Let me go! Let me… Please. Please. Please let me go.

[THE HARVESTER makes crying gestures to mock her.]

Please. Please let me go. Please. Why? Why are you doing this?

[THE HARVESTER turns and starts setting up a video camera in front of WENDY.]

Please, help me.

[THE HARVESTER turns on the camera, and gestures for her to smile. The camera begins to record WENDY]

Help me. Help me, someone! Help me, please! Please help me!

ACT TWO

[INTERIOR – POLICE STATION – DAY]

AGENT CLEGG

Now we subpoenaed your niece’s credit cards so we can retrace her steps.

[AGENT CLEGG hands DONNA the document. SAM enters.]

SAM

Hey. Sorry I’m late.

[AGENT CLEGG hands SAM a folder.]

What’s this?

AGENT CLEGG

That is the last 12 years if my life. Right there is every person we think got taken by the Butterfly.

SAM

Really?

AGENT CLEGG

Like I was telling Donna, the last place that we can put Wendy is at a gas station in Oshkosh, Nebraska. Now based on the Butterfly’s pattern, I have a short list of suspects that I like, but there’s one guy in particular I’ve always liked more than the others.

SAM

You ever bring him in?

AGENT CLEGG

No. Could never get anything concrete to link up. Until now. You see, that night… he was there too.

[A man in handcuffs walks, a Bible in his hand. A smirk on his face. It is the pastor from the Truck Stop. He, along with others are brought into a room to line-up.]

SAM

That’s your guy?

AGENT CLEGG

Pastor “Diamond” Don Hankey. Road preacher. Ministers to truckers, mostly. Don’t let his squeaky clean act fool you, though. He’s got a jacket. Arrests for lewd behaviour, couple drunk and disorderlies.

[PASTOR HANKEY is brought into the interrogation room by a police officer.]

PASTOR HANKEY

Thank you for your service, son.

AGENT CLEGG

And we picked him up… we found this.

[AGENT CLEGG shows SAM and DONNA an evidence bag with a bloody, white shirt inside.]

DONNA

That’s Wendy’s.

[SAM looks into the interrogation room to see PASTOR HANKEY flipping through the Bible.]

[INTERIOR – DINER – DAY]

FEMALE TRUCKER

So this girl of yours…

DEAN

You saw her that night?

FEMALE TRUCKER

Yeah. Twice. Usually, I-I try to stay out of this sort of stuff. I just run my route and keep out of trouble. But… that night, that girl… like I said, I saw her twice-

[Cut to: FEMALE TRUCKER at the Truck Stop sees Wendy come in.]

Uh, once at a station off Highway 26…

[Cut to: FEMALE TRUCKER driving down the highway, passing WENDY.]

And then later, I was driving off Road 88 and… I shouldn’t have left her there. But, um, I was running behind schedule and I just… Well, it’s the only reason I even gassed up there. That place gives me the creeps.

DEAN

And what’s this place called?

[INTERIOR – INTERROGATION ROOM – NIGHT]

[SAM and AGENT CLEGG are interrogating PASTOR HANKEY. DONNA is watching from the other side of room.]

SAM

Manny’s Truck Stop Café. The other night – we can put you there.

PASTOR HANKEY

I go where my ministry takes me.

[AGENT CLEGG shows PASTOR HANKEY a photo of WENDY.]

AGENT CLEGG

You know her? Her name is Wendy Hanscum. Recent high school grad. Popular. She had her whole life ahead of her. No? [shows the pastor another photo] What about him? Luis Fernando. He had a family. They’re both missing.

PASTOR HANKEY

The girl looks vaguely familiar. I’ve never laid eyes on the immigrant.

SAM

[annoyed] Wow. Nice.

AGENT CLEGG

Okay, let’s focus on the girl, then.

PASTOR HANKEY

Lawyer.

AGENT CLEGG

Excuse me?

PASTOR HANKEY

I know my rights.

AGENT CLEGG

Do you think I give a tinker’s damn about your rights?

PASTOR HANKEY

I don’t care what you or your goon think. I know my rights, so get me a lawyer. Now. Then you ask me anything you like about your illegal and your whore.

[AGENT CLEGG grabs PASTOR HANKEY by the lapels of jacket

AGENT GLEGG

Tough guy, huh?!

SAM

Whoa, whoa. Whoa. Hey, hey, hey! Agent, Agent, Agent, Agent. Agent, please. Take it easy.

[DONNA enters the room.]

DONNA

Mind if I talk to him?

[EXTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

[The Impala is standing outside the café. DOUG gets in.]

DEAN

Thanks for coming.

DOUG

Got that report you asked for. Everything that’s gone down at Manny’s Truck Stop Café lately.

DEAN

And?

DOUG

Couple of D&D’s, four counts of public urination but-

DEAN

Nothing that screams secret hunting ground for a kidnapper.

DOUG

Not exactly.

[DEAN looks through the file.]

Can I ask you a question? About Donna?

DEAN

Okay.

DOUG

Is she gonna be okay? I mean, I love Donna, but I’ve only known her for a couple years, and this… I’ve never seen her like this.

DEAN

I’m not sure I know what you mean.

DOUG

I mean, she’s barely talkin’ to me, and we always talk. About the Vikes, about the Real Housewives, about everything. This is a tough time, I know, but… I think she’s hiding something from me. Anyhoo, forget it. It’s probably nothing. I’m probably just spinning. It’s nothing.

DEAN

Doug, you’re a good guy. And you’re gonna be there for Donna.

DOUG

You betcha.

DEAN

So, you know, just… trust her. Okay?

[INTERIOR – INTERROGATION ROOM – NIGHT]

PASTOR HANKEY

I said I want my lawyer.

DONNA

You sure? I mean, the Bible doesn’t have much good to say about them. “But the Pharisees and the lawyers rejected God’s purpose for themselves, not having been baptized by John.”

PASTOR HANKEY

You know your scripture.

DONNA

Even the good book’s got lawyer jokes.

PASTOR HANKEY

I know what you’re doin’. And I want-

DONNA

Lawyer. Yeah, yeah.

[DONNA sits down across from PASTOR HANKEY.]

Okay, but here’s the thing. This is a small town. And it’s Friday night. You know? So if you’re lucky, they might be able to get you a public defender by Monday. Maybe. Which means you get to spend at least two nights in the big cell. Just you and a bunch of guys who… well, look at you and all they’re gonna see is Sunday dinner. So… if you wanna deal with that? Super. Or… you can answer a few questions, and I can get you outta here. Your call.

[AGENT CLEGG and SAM are watching from the other room.]

AGENT CLEGG

She’s good.

SAM

Yeah, she is.

[EXTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

[DEAN and DOUG approach the café. The window washer approaches.]

WINDOW WASHER

Windows? Oil?

DEAN

[takes out his phone] How about a girl?

DOUG

Have you seen her?

WINDOW WASHER

May have.

DEAN

Mm-hmm. [hands over some money.] Keep talking.

WINDOW WASHER

She was in a couple of nights ago. Marlon liked her.

DOUG

Marlon?

WINDOW WASHER

He’s the cashier. After she left, he closed up early and drove off after her. Didn’t come back till dawn.

DEAN

Uh-huh.

[INTERIOR – INTRROGATION ROOM – NIGHT]

DONNA

How long you been on the road?

PASTOR HANKEY

Oh, a long time.

DONNA

Maybe 12 years, you’d say?

PASTOR HANKEY

Yeah, could be.

DONNA

You just travel all over, huh?

PASTOR HANKEY

Across God’s green Earth.

DONNA

You a family man, Pastor?

PASTOR HANKEY

Married, two kids.

DONNA

They know about that girl you flashed outside Cheyenne? How ‘bout that teenage boy says you picked him up hitchhiking?

PASTOR HANKEY

I’m weak. I am made of flesh.

DONNA

Oh. That’s your excuse?

PASTOR HANKEY

God knows I’m a sinner. And my wife, she knows, too. We’re working through it.

DONNA

Yeah?

[DONNA takes out the evidence bag with the bloody, white shirt.]

She know about this? Belongs to my niece. What did you do with her?

PASTOR HANKEY

I don’t… That’s not…

DONNA

We found it in your van. You hurt her, right?

PASTOR HANKEY

No. No, no, no, no.

DONNA

You made her bleed.

PASTOR HANKEY

No.

DONNA

Don’t lie to me.

PASTOR HANKEY

No, I’m not.

[DONNA slams the table as she stands.]

DONNA

Don’t lie to God!

PASTOR HANKEY

I’m not. I’ve done wrong, but I’ve never hurt anybody. Never. Please, you have to believe me. Please. Please. [cries.]

[INTERIOR – POLICE STATION – NIGHT]

DONNA

I believe him.

SAM

Yeah, so do I.

AGENT CLEGG

But the shirt…

SAM

Yeah, the shirt doesn’t make any sense. I mean, what? I’m – I’m a criminal mastermind that avoids capture for 12 years and when I’m finally arrested, there’s a bloody shirt in my van that links me to one of the victims? It’s too easy.

DONNA

So someone planted it.

SAM

Definitely possible. I mean, maybe back at the truck stop?

DONNA

But if it’s not the Pastor, who is it?

[INTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

[MARLON is sitting behind the counter. DEAN and DOUG walk in.]

DEAN

Where is she? [shows him the picture of WENDY.]

MARLON

Mmm. I don’t know.

[DEAN slams him down on the surface.]

DOUG

Dean, what are you-

DEAN

It’s how we do things in the FBI.

DOUG

It is?

[DEAN lifts MARLON up.]

DEAN

Try again.

MARLON

I said I don’t-

[DEAN slams him down again.]

DEAN

Look, I know you saw her and I know you went after her. So where is she?

MARLON

You won’t believe it.

DEAN

Try me.

[INTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

[DOUG turns the ‘closed’ sign on. MARLON types on the laptop. A window appears showing video footage of a man on an operating table, whimpering. Usernames and prices appear on the screen.]

DOUG

What? What’s that?

MARLON

It’s like eBay. Kinda.

[The man, Luis Fernando, starts to yell as THE HARVESTER approaches him with a drill saw.]

DEAN

They’re selling him off. Piece by piece.

LUIS

[on the video] Somebody! Somebody help me! Oh, God, please! Help me!

[DEAN and DOUG are disgusted as they stand and watch behind MARLON. MARLON smiles.]

ACT THREE

[INTERIOR – MANNY’S TRUCK STOP CAFÉ – NIGHT]

[DONNA and SAM are now standing with DEAN and DOUG behind MARLON.]

DEAN

So it ended about 30 minutes ago. Show ‘em how it started.

[MARLON shows them the video again. LUIS is screaming in pain.]

SAM
Hey, come on.

[SAM turns off the video.]

MARLON

Aw. What’s the matter? You vegan?

[DOUG slaps MARLON over the head.]

DOUG

How they do it in the FBI.

[DONNA looks at DEAN knowingly.]

DONNA

Who’d do this, buy pieces of people? For what? Trophies?

SAM

No. It’s for food.

DEAN

Look at the comments. “Yum.” “Tasty.” “Can’t wait to get my delivery.” It’s takeout for-

DONNA

Monsters.

DOUG

What?

DONNA

We’ll talk about it later.

DOUG

What’s there to talk about?

[DEAN looks around nervously.]

SAM

Where does this broadcast from?

MARLON

I don’t know. Got me. I mean, I don’t run the thing. I just… Look, I see someone I think nobody’s gonna miss, I send a message, I get paid.

DEAN

And you feel good about that?

MARLON

No, but, you know, like you don’t got bills?

SAM

Guys, guys, look at this.

[Another video starts for live auction. WENDY is tied and strung up.]

WENDY

[on the video.] Please. If anybody’s watching this… please. Please help me.

DONNA

Oh, God.

[DONNA walks away. DOUG follows her.]

DEAN

Okay, can you—can you hack into it and find out where she is?

SAM

I don’t know, Dean. This feed’s on an encrypted TOR server. I mean, this is dark web stuff. Even if I could crack it, it would take days.

DEAN

Okay, well, you got 58 minutes.

SAM

I can’t do it.

DEAN

Then who can?

SAM

The FBI.

[INTERIOR – MANNY’S TRUCK STOP CAFÉ, BACK ROOM – NIGHT]

DOUG

So you’re saying… monsters are real?

DONNA

Pretty much.

DOUG

Those guys, they’re not related to you, are they?

DONNA

They’re hunters. They kill monsters. And so do I. Sometimes.

[DEAN walks in.]

DEAN

Hey, we gotta roll. Clegg’s got a 20 on that video feed, and we got 42 minutes.

[EXTERIOR – BUILDING – NIGHT]

[The Impala pulls up outside a building. SAM and DEAN get out.]

SAM

This is it.

DEAN

You head around back. We’ll take the front.

[INTERIOR – BUILDING – NIGHT]

[DEAN and DONNA walk the hallways with guns and flash lights. DOUG and MARLON follow behind them. They enter a room.]

DEAN

All clear.

DONNA

[turns to DOUG.] You okay hanging back?

DOUG

Someone’s gotta watch him.

DONNA

Dougie, we’ll figure this out when we get back to Stillwater, okay?

DEAN

[hands over a gun to DOUG.] Here. [gestures to his watch.] 20 minutes. Let’s go.

[DEAN and DONNA continue through the building.]

[EXTERIOR – BUILDING – NIGHT]

[SAM tries to open a door, but hears someone approaching. Turns with his gun in hand to see AGENT CLEGG behind him.]

SAM

What are you doing here?

AGENT CLEGG

You called me.

SAM

I called you for an address, not for backup.

AGENT CLEGG

So you send me a link to a website that sells people, you don’t expect me to show up? Look, I don’t know what the hell’s going on here, but I’ve been hunting the Butterfly a long time. Now I need to see this through.

SAM

All right, follow me.

[INTERIOR – BUILDING – NIGHT]

[MARLON is handcuffed to a gate. DOUG keeps watch from where DEAN and DONNA left.]

MARLON

Lady sheriff’s pretty hot. You two a thing? ‘Cause man, she is way out of your league.

DOUG

Shut up.

[INTERIOR – HARVEST ROOM – NIGHT]

[Video camera is set up in front of WENDY. THE HARVESTER walks in and starts preparing equipment. He holds up a knife. “Big Flame (Is Gonna Break My Heart In Two)” by Doris Wilson plays in the background.]

WENDY

No. No.

[THE HARVESTER starts to sharpen the knife.]

Please, please, just let me go. Please, you don’t have to do this. Please! Please, just let me go.

[THE HARVESTER turns towards WENDY.]

No!

[INTERIOR – BUILDING – NIGHT]

[DEAN and DONNA walk the halls of the building, checking each room. The same song continues to play loudly from a room.]

[Dean gestures to DONNA and they stand against one side of the hall. They rush into a room where the music is coming from, but it is empty. A radio sits on the floor playing the song.]

[INTERIOR – BUILDING – NIGHT]

MARLON

Hey. Remember what they said about monsters? Fun fact – I am one.

[DOUG turns to look at him.]

Vampire, actually.

[MARLON lowers his fangs, and breaks out of the handcuffs. He crosses the room, knocks the gun out of DOUG’s hands, and starts punching him while holding him up against the wall.]

[Cut to: INTERIOR – BUILDING – NIGHT]

[SAM and AGENT CLEGG are searching the building. They can hear fighting.]

[Cut to: INTERIOR – BUILDING – NIGHT]

[MARLON throws DOUG on the floor.]

MARLON

Let’s have some fun.

[He grabs DOUG by the shoulder and lifts him up. MARLON bites his own arm, dropping blood into DOUG’s mouth.]

[Cut to: INTERIOR – BUILDING – NIGHT]

[SAM gestures to the door, as AGENT CLEGG holds up his gun.]

SAM

[whispers] One…

[AGENT CLEGG knocks SAM out.]

[INTERIOR – BUIDLING – NIGHT]

[DONNA walks in and sees DOUG on the foor. DEAN enters behind her.]

DONNA

Doug!

DEAN

What happened? Where’s Marlon?

DONNA

[to DOUG.] Hold on. Just hold on. You’re gonna be okay. Where are you hurt?

DOUG

I’m not hurt, but… [A set of fangs lower over his teeth.] I don’t think I’m okay.

ACT FOUR

[INTERIOR – BUILDING – NIGHT]

[DONNA is sitting on the floor in front of DOUG.]

DONNA

Oh, Doug. Oh, God.

DOUG

I’m hungry.

DONNA

Okay.

DOUG

I’m so hungry.

[DOUG tackles DONNA to the ground and tries to bite her. DEAN grabs him and injects him with a syringe. DOUG passes out.]

DONNA

Is he…?

DEAN

A vamp? Yeah.

DONNA

Oh, God.

DEAN

Yeah. The change – sometimes it’s fast, sometimes it’s slow, just depends on the person. I just shot him up with some Dead Man’s Blood. He should be knocked for a while.

DONNA

Oh, jeez.

DEAN

He’ll be okay.

DONNA

[gets up] you call this okay?!

DEAN

Look, he just got turned, okay? Which means that he hasn’t fed, which means that there is a cure.

DONNA

Huh?

DEAN

We just need to mix up some sage, a little bit of garlic-

[MARLON enters.]

MARLON

And you need the bloodsucker who turned him.

DEAN

Well, thanks for making it easy for me.

MARLON

You never even saw it comin’. He got you.

DEAN

He who?

MARLON

Clegg, man. [laughs] he’s got your brother.

DEAN

Where?

MARLON

Oh. Wouldn’t you like to know. Shouldn’t have been so rough with me. I hold a grudge.

DEAN

Well… [takes out a machete] bring it, Twilight.

[A gunshot hits MARLON in the leg, and he falls to the floor. DONNA has a shotgun in her hands.]

DONNA

[to DEAN] You, get his blood and mix that cure. And you… [walks to MARLON] Where’s Clegg?

MARLON

I tell you, you’ll kill me.

DONNA

Oh, I’m killing ya either way. You just gotta decide if you want it fast or slow. [cocks the shotgun.]

[INTERIOR – AUCTION ROOM – NIGHT]

[SAM is lying unconscious on the table. He wakes up as CLEGG tightens the restraints.]

CLEGG

No, no, no. Get further back with that. He’s a big boy. We need him on a wide lens.

[THE HARVESTER moves the camera back. SAM looks to CLEGG.]

SAM

You… You’re the Butterfly.

CLEGG/THE BUTTERFLY

And you’re Sam Winchester. You and your brother are famous. Hell, soon as I saw that fancy car, I knew who you were. And I knew you’d be trouble. Tried to give you that preacher, but you saw right through that. So now it’s on to Plan B.

SAM

Why are you doing this?

CLEGG/THE BUTTERFLY

Well, ‘cause somebody has to. How many monsters do you think are out there, Sam? You know, if you – you had to guess.

SAM

Hundreds. Thousands.

CLEGG/THE BUTTERFLY

Add a zero. Actually, add two. See, those freaks that you and your brother chase, those are just the ones that can’t pass. Either because they’re too mean or they’re too stupid, or both. But most monsters… hell, they could be your next-door neighbor. They work a regular job, mow the lawns on a Saturday. And they need to eat, which is where I come in.

SAM

So you sell them people.

CLEGG/THE BUTTERFLY

I sell them people other people won’t miss. And because I do that, I save lives. If my customers didn’t have me… then all those hungry, hungry hippos would be out there huntin’ and killin’. And you couldn’t stop ‘em. No one could. You should be thanking me.

SAM

Huh. Yeah. Alright. Go to Hell.

[CLEGG/THE BUTTERFLY smirks and smacks SAM on the arm.]

CLEGG/THE BUTTERFLY

I’ll see you there. Now I know you’ve been stalling because you think Dean’s gonna show up, but… Sorry, kid. It’s showtime.

[THE HARVESTER starts the live auction on the laptop. CLEGG/THE BUTTERFLY puts a mask over his face. THE HARVESTER turns the camera on.]

CLEGG/THE BUTTERFLY

Ladies and gentlemen, we interrupt your regularly scheduled program to bring you something truly special. A new auction. Introducing… Mr. Sam Winchester!

[Several monsters are watching the live auction as CLEGG/THE BUTTERFLY introduces SAM.]

[EXTERIOR – HIGHWAY – NIGHT]

[The Impala is driving down the highway towards SAM’s location.]

[INTERIOR – THE IMPALA – NIGHT]

[DEAN is driving, DONNA is in the backseat with DOUG still passed out.]

DONNA

This… it’s gonna work, right?

DEAN

It worked on me.

[DONNA holds DOUG’s head up as she gives him the vampire cure.]

DONNA

Okay. There you go. There you go.

[INTERIOR – AUCTION ROOM – NIGHT]

[The live auction on SAM continues, the monsters are bidding as they watch.]

CLEGG/THE BUTTERFLY

$5,000 for the liver. Going once… going twice… Sold! And now, ladies and gentlemen, let’s begin the auction, for Sam Winchester’s heart!

[EXTERIOR – BUILDING – NIGHT]

[The Impala pulls up to the location where SAM is. DEAN and DONNA get out, while DOUG is in the backseat of the Impala, resting.]

[INTERIOR – BUILDING – NIGHT]

[DEAN and DONNA walk into a large room, with guns and flash lights. DEAN gestures to DONNA to go in one direction, while he goes in another direction.]

[INTERIOR – HARVEST ROOM – NIGHT]

[DONNA walks into the room and sees WENDY.]

DONNA

Wendy!

WENDY

Aunt Donna?

[THE HARVESTER pushes DONNA to the ground, as WENDY screams. He pulls out a knife and starts swinging it at DONNA. She pushes herself back and grabs a crowbar, hitting him with it, once across the body and the second across the face. He jerks back, DONNA grabs the knife off the floor and stabs him as he approaches her again. She drops him to the floor. DONNA goes over to WENDY.]

[INTERIOR – AUCTION ROOM – NIGHT]

[The monsters watching continue to bid. SAM struggles against the restraints.]

CLEGG/THE BUTTERFLY

$50,000. Do I have $60, 000? $60,000? $60,000. Yes! Do I have $65,000? Look at that jump! $100,000! Folks, there are many pieces to Sam Winchester… but only one heart. Look at that! $500,000! $500,000 going once… going twice… Sold!

[CLEGG/THE BUTTERFLY turns to SAM.]

Usually, we do this next part kind slow, so you can feel it, but since Dean’s out there… quick and dirty.

[CLEGG/THE BUTTERFLY picks up a handgun and points it at SAM’s head.]

Say goodbye, Sam.

[A gunshot is heard, as the video camera comes into view. A bloodstain appears on a white shirt. CLEGG/THE BUTTERFLY falls to the ground, to reveal DEAN has shot him.]

DEAN

Show’s over.

ACT FIVE

[INTERIOR – MOTEL – NIGHT]

[DONNA sits next to DOUG, who is sleeping. He wakes up.]

DONNA

Oh, jeez. Dougie-Bear? Are you okay?

DOUG

I… [he looks at SAM and DEAN.]

DEAN

You feel like you wanna bite any of us?

DOUG

Not really.

SAM

Alright. Then I guess it worked.

[DONNA unlocks the handcuffs on DOUG.]

DOUG

W-Wendy?

DONNA

She’s safe. She’s at a hospital. She’s gonna be fine, just like you.

DOUG

Fine?

DONNA

Yeah.

DOUG

I was a vampire.

DONNA

For a couple hours.

[DOUG stands up from the couch, as DEAN stands up from the bed.]

DEAN

Listen, Doug… I know it’s been a day. But now you know what’s out there. Be nice to have another good guy on our side.

DOUG

I… No. Maybe you all can live this life, but I can’t. I just wanna go home.

[DONNA holds DOUG’s hand.]

DONNA

So we’ll go home.

DOUG

And what? I’m a cop ‘cause I like helpin’ folks, but… Vampires? That’s… [he removes his hand from DONNA’s.] I’m not…

[DOUG moves past SAM and DEAN towards the door.]

DONNA

Doug. I’m sorry I lied to you… but I can’t give this up.

DOUG

I know. Donna, you kill monsters. You’re a damn hero. But that’s… it’s not me. I’m sorry. I love you. I’m sorry.

[DOUG leaves.]

DONNA

Doug, wait!

SAM

Let him go. Donna, when you choose this life, anyone who gets too close, eventually they get hurt. Or worse. So let him go. He’ll be safer that way.

[SAM leaves the room.]

[DEAN looks at DONNA and places his hand on her shoulder. DONNA cries.]

[EXTERIOR – HIGHWAY – NIGHT]

[The Impala drives down the road.]

[INTERIOR – THE IMPALA – NIGHT]

[DEAN is driving, SAM sits beside him.]

DEAN

You were a little tough on Donna back there.

SAM

What?

DEAN

Just sayin’.

SAM
Was I wrong? I mean, when has knowing us ever worked out for anyone?

DEAN

I mean, we save people, Sam.

SAM

Yeah, we also get people killed, Dean. Kaia, for instance. She helped us and she died for it.

DEAN

Hey, look, I know you’re in some sort of a-

SAM

No, no, no, no, no, no, no, don’t – don’t… You keep saying I’m in a dark place, but I’m not, Dean. Everything I’m saying is the truth. It’s our lives. And I tried to pretend it didn’t have to be. I tried to pretend we could have Mom back and Cas and – and help Jack. But we can’t. This ends one way for us, Dean. It ends bloody.

[SAM looks out the window of the Impala.]

It ends bad.

 

 

Source : Supernaturalwiki.com

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HypnoRooms

mnoandco, Hier à 20:25

Hello, le quartier Cold Case propose un sondage concernant la diffusion de Reverie, série dans laquelle a joué Kathryn Morris

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