1.19 Provenance (transcript)
Written by: David Ehrman
Directed by: Phil Sgriccia
Air Date: 13 Apr 2006| This page is a Stub Basic information has been added as a placeholder. If you're able, please help us by contributing to this page |
| Under Construction This page is currently being developed by a single author. Editing by others may cause a conflict of information. If you'd still like to contribute, see the discussion page. |
TEASER
The camera pans over an old fashioned painting of a family hanging on a wall and back to reveal a young couple in formal attire hovering over it.
MAN
Okay, right about there.
He gives the frame one final adjustment against the wall, then stands back.
WOMAN
(Giggling) I can't believe we actually bought this thing.
MAN
There's a reason charity auctions have an open bar.
They stare at it for a moment.
WOMAN
Don't you think...I don't know, it's kinda creepy?
MAN
Its okay, I'll keep you safe.
WOMAN
MayBe you're the one I oughta be scared of?
They Kiss.
WOMAN
Let's go upstairs.
MAN
Give me two minutes to lock up.
She kisses him lingeringly.
MAN
Give me one minute.
He pinches her behind, she squeals and runs upstairs. The eyes of the father in the painting follow her, then his head turns to watch the man lock up. The man checks locks, looks around as if he hears a noise, then continues on to key in the security code.
Camera show Point of View of someone moving slowly up the stairs.
WOMAN
(calling from upstairs) If you don't hurry up I'm gonna start without you!.
A shadow appears in the bedroom doorway, she smiles. A gust of wind blows out her bedside candle.
He moves up the stairs, undoing his trousers. He enters the dark room.
MAN
Babe, get the lights. I can't see a thing.
He throws his short aside and kneels on the bed, there is a squishing noise and he leans back.
MAN
You spill something?
He leans to turn on the bedside lamp and sees his hand is covered in blood.
MAN
Ann?
She is lying on the bed covered in blood, eyes open and staring.
MAN
Ann? ANN!!
He falls backwards, freaking out. A shadow appears over him and he turns and begins screaming.
END TEASER
ACT ONE
INTERIOR. BAR.
DEAN and a young woman lean close together at the bar.
WOMAN
Seven, Four, Two Zero.
DEAN
Seven, Four, Two, Zero. (he is putting her number into his phone). All right, you're in there. Perfect. So is that Brandy with a 'y' or an 'i'?
SAM sits across the bar at a table with papers and a clipboard. He gestures to DEAN, who gives him a 'wait' gesture as he laughs at something the woman whispers. SAM gestures again and DEAN's smile drops.
DEAN
All right, listen, I gotta go.Hold that thought, I'll be right back, okay?
He approaches SAM, holding two beers.
SAM
All right, I think we got something.
DEAN
Oh yeah, me too. I thinkwe need to take a little shore leave, just a little bit. what do you think, huh? I'm so in the door with this one.
SAM
So what are we today Dean? I mean, are we rock stars, are we army rangers?
DEAN
Reality TV scouts, looking for people with special skills. I mean hey, it's not that far off right? By the way, she's got a friend over there. Possibly hook you up. what do you think?
SAM
Dean, no thanks, I can get my own dates.
DEAN
Yeah you can but you don't.
SAM
What is that supposed to mean?
DEAN
Nothing. What you got?
SAM
Mark and Ann Telesca of New Paltz, New York were both found dead in their own home, a few days ago. Throats were slit. There were no prints, no murder weapons, all...Dean.
DEAN is continuing to check out women in the bar.
SAM
(Continuing) No prints, no murder weapons, all doors and window locked from the inside.
DEAN
(drinking his beer) Could just be a garden variety murder you know, not our department.
SAM
No. Dad says different.
DEAN
What do you mean?
SAM
(pointing at map) Dad noted three murders in the same area of upstate New York. First one here in 1912, second one right here in 1945, and the third in 1970, the same MO as the Telescas. Their throats were slit, doors were locked for the inside. Now so much time had passed between murders that nobody checked the pattern, except Dad. He kept his eyes peeled for another one.
DEAN
And now we got one.
SAM
All right, I'm with ya. It's worth checking out. We can't pick this up til first thing though right?
SAM
Yeah.
Dean
(Immediately heading back to the bar) Good.
SAM
Dean...
DEAN
Ladies...did you miss me?
WOMAN
Well Yeah.
DEAN
I'm just kidding. Listen, I talked to my producer, and it is looking good.
WOMEN
(together) Great. Cool.
SAM, watching, sniggers.
.........................
EXTERIOR. STREET. EARLY MORNING.
DEAN sleeps slouched in the passenger seat of the Impala, sunglasses on. SAM walks around the car, leans in and honks the horn. DEAN jumps a foot. SAM sits in the drivers seat, laughing.
DEAN
(adjusting his glasses and sliding back down) Man, that is so not cool.
SAM
I just swept the Telesca's with EMF. It's clean. And last night, while you were....well...out...
DEAN
(smirking) Good times.
SAM
I checked the history of the house. Nothing strange about the Telescas.
DEAN
All right, so if it's not the people and it's not the house, then maybe it's the contents. Cursed object or something.
SAM
The house is clean.
DEAN
Yeah I know, you said that.
SAM
No, I mean it's empty. No furniture, nothing.
DEAN
Where's all their stuff?
...............................
EXTERIOR.
The camera pans across a line of expensive cars, Including one with the number plate "The Krip" and ending on a dust covered Impala then pans up to show upper class people mingling. Classical violin music plays.
INTERIOR. AUCTION HOUSE.
SAM and DEAN wander around, gathering stares from the gentile crowd in their rough clothing. DEAN takes finger food from a tray. One man especially watches them pass then excuses himself from his companion and moves toward them.
DEAN
Consignment auctions, estate sales. Looks like a garage sale for Wasps if you ask me.
DEAN takes more food from a tray on a table as the man moves up behind them.
MAN
Can I help you gentlemen?
DEAN looks him up and down and then puts more food in his mouth.
DEAN
(Putting on a posh voice) I'd like some champagne please.
SAM
(To Dean) He's not a waiter.
SAM holds out his hand to the man.
SAM
I'm Sam Connors.
The Man just looks at him, not moving. SAM moves the hand to point at DEAN.
SAM
That's my brother Dean. We're art dealers, with Connors Limited.
MAN
YOu're art dealer.
SAM
That's right.
MAN
I'm Daniel Blake, this is my auction house. Now gentlemen this is a private showing, and I don't remember seeing you on the guest list.
DEAN
We're there chuckles, you just need to take another look.
A waiter goes past with drinks on a tray.
DEAN
(Swiping a glass) Oh. Finally.
DEAN turns back to BLAKE, sniffs the glass, raises his eyebrows then turns and walks away. SAM hastily follows, shooting him dirty looks.
SAM
(To Blake) Cheers.
SAM and DEAN ceck out the items for auction and are drawn to the painting of the family.
WOMAN
I fine example of American Primitive wouldn't you say?
SAM and DEAN turn to see a sleek, classy, extremely good looking young woman in a black dress coming down a spiral staircase. They both stare at her as she turns her back while taking the final part of the stairs. Sam turns back to look at the painting again and DEAN slaps his back while he continues staring at the woman with his mouth open.
SAM
Well I'd say it's more Grant Wood than Grandma Moses. But you knew that, you just wanted to see if I did.
WOMAN
Guilty. And clumsy. I apologize. I'm Sarah Blake.
SAM
I'm Sam. This is my....brother, Dean.
DEAN continues to stuff his face from passing trays.
SARAH
Dean. Can we get you some more mini-quiche?
DEAN
(Chewing) I'm good, thanks.
SARAH
(To Sam) So, can I help you with something?
SAM
Yeah, actually. What can you tell us about the Telesca estate?
SARAH
The whole thing's pretty grisly if you ask me, selling your things this soon. But Dad's right about one thing, sensationalism brings out the crowds. Even the rich ones.
SAM
Is it possible to see the provenances?
BLAKE
(Coming up behind) I'm afraid there isn't any chance of that.
SAM
Why not?
BLAKE
You're not on the guest list. And I think it's time to leave.
DEAN
(putting on his posh voice again) Well we don't have to be told twice.
BLAKE
Apparently you do.
SAM
Okay. It's all right. We don't want any trouble. We'll go.
DEAN raises his eyebrows and walks off. SAM and SARAH exchange a long look before he follows.
SARAH
Dad that was just rude.
..................................
EXTERIOR. MOTEL.
SAM and DEAN approach a room.
DEAN
Grant Wood, Grandma Moses?
SAM
Art history course. It's good for meeting girls.
DEAN
(unlocking the door) It's like I don't even know you.
They enter the room, the camera stays on the back of the door as it closes. The do not disturb door hanger is a silver outline of John Travolta from Saturday Night Fever. Disco music accompanies the camera as it pans across a totally over the top retro 70s retro disco fantasy room. The boys look from one side of the room to the other and pause.
SAM and DEAN
(Together) Huh.
They move into the room, dumping their bags.
DEAN
What was...providence?
SAM
Prov-e-nance. It's a certificate of origin, like a biography. You know we can use them to check the history of the pieces, see if any of them have a freaky past.
DEAN
Huh. Well, we're not getting anything out of chuckles, but Sarah...
DEAN snaps his fingers at SAM, smirking.
SAM
Yeah, maybe you can get her to write it all down on a cocktail napkin.
DEAN
(Laughing) Not me.
SAM
No no no, pick ups are your thing Dean.
DEAN
It wasn't my butt she was checking out.
They exchange a look.
SAM
In other words, you want me to use her to get information.
DEAN
Sometimes you gotta take one for the team. Call her.
..................................
INTERIOR. UPMARKET RESTAURANT.
SAM and SARAH sit at a table.
SAM
Nice place.
SARAH
Yeah.
There is a long awkward pause.
SARAH
Glad you called. Surprised, but glad.
SAM
Yeah?
SARAH
Althought you seemed to have a hard time getting out the words "Would you like to have dinner".
SAM
Ahh...yeah. I haven't really been on a date in a while.
SARAH
Welcome to the club.
SAM
You're kidding me.
WAITER
Here we are. The wine list.
SAM looks totally uncomfortable looking at the list, flipping pages.
SARAH
(To the waiter) I don't know about Romeo here but I'll have a beer.
WAITER
(to SAM) And you?
SAM
(Smiling) Make that two.
.................................
LATER.
SAM
So you studied art in school huh?
SARAH
It's true. I was an artist. A terrible terrible artist. And that's why i'm in the auction business. And you were pre-law?
SAM
Yeah.
SARAH
But you didn't go to law school. How come?
SAM
Ahh, thats a really really long story for another time.
SARAH
You're not like any art dealer I've ever met.
They exchange another long look.
SAM
So, what did you mean when you said you haven't been on a date in a while. Trying to make me feel like I'm not such a loser?
SARAH
I'm sure you're many things Sam. I'm also sure loser isn't one of them.
More long looks exchanged.
SARAH
It was my Mom. She died bout a year ago. Totally unexpected. It really threw me. I went into this shell. A nice warm safe shell. ut lately I've been thinking. It's not what she would have wanted for me. So....
More long looks.
SARAH
So what about you? You're a reasonably attractive guy.
SAM
(laughing, embarrased) Reasonably.
SARAH
Why haven't you been out and about.
SAM thinks, looks at her, loses his smile, thinks some more.
SARAH
(Watching him) Another long story for another time.
SAM nods slowly.
................................
INTERIOR. MOTEL ROOM.
DEAN is sharpening his blade on a whetstone, SAM is looking through some papers.
DEAN
So she just handed the providences over to you.
SAM
Provenances.
DEAN
Povenances?
SAM
Yes. We went back to her place, I got a copy of the papers...
DEAN
And?
SAM
And nothing. That's it, I left.
DEAN
You didn't have to con her or do any...special favors or anything like that?
SAM
Dean would you get your mind out of the gutter please?
DEAN
(Laughing) You know when this whole thing's done we could stick around for a little bit.
SAM
Why.
DEAN
So you could take her out again. Obviously you're into her, even I can see that.
SAM
Hey, I think I've got something here.
DEAN comes over, SAM hands him the papers.
DEAN
(Reading) "Portrait of Isaiah Merchant's family, painted 1910."
SAM
Now compare the names of the owners with Dad's journal.
DEAN
First purchased in 1912 by Peter Simms. Peter Simms murdered 1912. Same thing in 1945. Oh, same in 1970.
SAM
Then stored, until it was donated to a charity aucton last month. Where the Telescas bought it. What do you think it's haunted? Cursed?
DEAN
(Getting up) Either way, it's toast.
.............................
EXTERIOR. AUCTION HOUSE. NIGHT.
Heavy rock music plays as first DEAN scales the high metal gates of the auction house and runs into the mist.
DEAN
Come on!
SAM follows.
SAM, wearing gloves, disarms the security alarm.
SAM
Go ahead.
DEAN, also with gloves, picks the lock.
They shine their flashlights around inside, quickly searching for the paintng. DEAN spies it upstairs and they sprint up the spiral staircase. Holding his flashlight in his mouth, DEAN flicks his switchblade and cuts the painting from it's frame and they're off again. They're in and out within a couple of minutes.
.............................
EXTERIOR. DIRT ROAD.
The painting lays on the dirt, SAM holding the flashlight on it as DEAN readies the matches.
DEAN
Ugly ass thing. If you ask me we're doing the art world a favor.
He drops the match and the painting ignites. As the painting burns up, the camera switches back to the auction house and we see the painting reforming in the frame.
END ACT ONE
ACT TWO
INTERIOR. MOTEL ROOM.
DEAN
(Rushing from bathroom) We got a problem, I can't find my wallet.
SAM
(packing his duffel) How is that my problem.
DEAN
Cause I think I dropped it in the warehouse last night.
SAM
(Horrified)You're kidding right?
DEAN
No. It's got my prints, my ID, well my fake ID anyway. We gotta get it before someone else find it. Come on.
.................................
INTERIOR. AUCTION HOUSE.
SAM and DEAN hurry around, looking everywhere.
SAM
(Frstrated) How do you lose your wallet Dean!
DEAN throws his hands in the air and keeps looking.
SARAH walks into the room and sees them.
SARAH
(Smiling) Hey guys!
They both spin around, then quickly try and act cool.
SAM
Sarah! Hey.
SARAH
What are you doing here?
SAM
Ahh, we....we are leaving town and we came to say goodbye.
DEAN
(Strolling over) What are you talking about Sam, we're here for another day or two.
SAM looks at DEAN, confused.
DEAN
(Getting his wallet out of his pocket) Oh, Sam. By the way. I'm gonna go ahead and give you that $20 I owe you. (to Sarah) I always forget, you know.
SAM looks at him, disbelieving.
DEAN
(Holding out the cash, smiling) There you go.
SAM snatches the cash from DEAN, glaring at him.
DEAN
(To Sarah) Well I'll leave you two crazy kids alone, I gotta go do something...somewhere.
DEAN leaves quickly.
SAM
(Awkwardly) So...
SARAH
I had a good time last night.
SAM
Yeah yeah I did too.
SARAH
Maybe we should do it again sometime.
SAM
You know. I'd love to, I really would, but Dean, he was just screwing around. We really are taking off today.
SARAH
Oh. Oh well that's too bad.
SAM
(Seeing the painting being carried past) OH MY GOD!
SARAH
(Jumping and turning to look) What?
SAM
The....that painting....looks so good!
SARAH
If you can call that monstrocity good then...yeah.
SAM
Sarah...what do you know about that painting?
SARAH
Not much. we sold it to the Telescasat a charity auction the night they were murdered.
SAM
Yeah, and now you're just going to sell it again?
SARAH
As much as my Dad wants to, no, I won't let him. I think it would be in bad taste.
SAM
Good. You know what? Don't. Make sure you don't, okay?
SARAH
Why? Don't tell me you're interested in that?
SAM
(flustered and backing up) No. No God, no. Not in buying it no. You know what, I gotta go, I gotta take care of something. But umm, I will call you back...I will call you, I'll see you later.
SARAH
Wait, so you're...not leaving tonight?
SAM
I guess now. I'll see ya.
SARAH
(looking after him, confused). O...kay.
....................
INTERIOR. IMPALA.
SAM
I don't understand Dean, we burned the damn thing.
DEAN
Yeah, thank you Captain Obvious. All right, we just need to figure out another way to get rid of it. Any ideas?
SAM
Okay, All right. Well, in almost all the lore about haunted paintings it's always the paintings subject that haunts them.
DEAN
Yeah. So we just need to fugure out everything there is to know about that creepy-ass family and that creepy-ass painting. What were their names again?
.......................
INTERIOR. SECOND HAND BOOK SHOP.
PROPRIETOR
You said the Isaiah Merchant family right?
SAM
Yeah that's right.
DEAN approaches, smiling and flicking through an old book with pictures of guns.
PROPRIETOR
(Laying a huge book of newspaper clippings the table) I dug up every scrap of local history I could find. So are you boys crime buffs?
DEAN
Kinda. Yeah. Why do you ask?
PROPRIETOR
Well...
He holds up a newspaper article.
The lead story on the front page is "New Titanic Sinks, 1304 People Go To Watery Graves: Only 866 saved from 2,170 Aboard Liner Which Collides With Iceberg. Disaster Proves To Be the greatest in marine history of the world."
He points at a side article. It reads 'Father Slaughters Family, Kills Himself'.
DEAN
Yes. Yeah, that sounds about right.
SAM
The whole family was killed?
PROPRIETOR
It seems this Isaiah, he slits his kids throats, then his wife, them himself. Now he was a barber by trade. Used a straight razor.
SAM
Why'd he do it?
PROPRIETOR
Let's look. Ahh...(begins reading) "People who knew him describe Isaiah as having a stern an harsh temperament. Controlled his family with an iron fist. Wife, two sons, adopted daughter...."
He skims on...
PROPRIETOR
Yeah yeah yeah..."There were whispers that the wife was gonna take the kids and leave.." Which of course you know in that day and age....so instead, old man Isaiah...well he gave them all a shave.
He draws his hand across his throat with appropriate noises, laughing. DEAN joins in but stops when SAM gives him bitchface.
DEAN
Does it say what happened to the bodies?
PROPRIETOR
It says they were all cremated.
SAM
Anything else?
PROPRIETOR
Yeah. Actually I found a picture of the family. It's right here...somewhere. Right, here it is
It's the picture of the painting.
SAM
Hey, can we get a copy of this please?
PROPRIETOR
Sure.
...........................
INTERIOR. AUCTION HOUSE.
BLAKE watches as the painting is packed into a moving crate.
SARAH
(approaching) Dad! You promised you wouldn't sell that painting.
BLAKE
I know sweetie, but Evelyn's offered a persuasive amount of money.
SARAH
You're shameless, you know that?
BLAKE
(Smiling at her) For that sort of money I can afford to be.
..............................
INTERIOR MOTEL ROOM.
SAM and DEAN sit at the table.
SAM
I'm telling you man, I'm sure of it. The painting at the auction house, Dad is looking down. Painting here, Dad's looking out. The painting has changed Dean.
DEAN
All right so you think that addy dearest is trapped in the painting and is handing out Columbian neckties like with his family?
SAM
Well yeah, it seems like it. But if his bones are alreaday dustedhow are we gonna stop him?
DEAN
All right, well. If Isaiah's position changed then maybe other things in the painting did too. It could give us some clues.
SAM
What, like a Da Vinci Code deal?
DEAN
(Giving SAM a totally blank look) I don't....know. I'm still waiting for the movie on that one. Anyway, we gotta get back in and see that painting.
DEAN rises and moves across to the bed, throwing himself onto his back and crossing his arms.
DEAN
Which is a good thing cause you can get some more time to crush on your girlfriend.
SAM
Dude. Enough already.
DEAN
What?
SAM
What? Ever since we got here you been trying to pimp me out to Sarah. Just back off, all right?
DEAN
Well you like her don't you?
SAM raises his arms and eyes to the ceiling.
DEAN
All right, you like her, she likes you, you're consenting adults...
SAM
(getting louder) What's the point Dean, We'll just leave, we always leave.
DEAN
Well I'm not talking about marriage Sam.
SAM
(Aggitated) I don't get it, why do you care if I hook up?
DEAN
(Calmly) Cause then maybe you wouldn't be so cranky all the time.
SAM stares at him, then huffs out a breath and looks away.
DEAN
(Sitting up on the bed) You know, seriously Sam, this isn't just about hooking up, okay? I mean I think that this Sara girl could be good for you.
SAM sighs in frustration and scratches his head. DEAN watches closely.
DEAN
And...I don't mean any disrespect but I'm sure this is about Jessica right? Now I don't know what it's like to lose somebody like that....but...I would think that she would want you to be happy.
SAM is quiet and listening now, tears in his eyes.
DEAN
God forbid have fun once in a while. Wouldn't she?
SAM
(softly) Yeah I know she would.
SAM gives a half smile, then sighs heavily.
SAM
Yeah you're right. Part of this is about Jessica. But not the main part.
DEAN
What's it about?
SAM refuses to answer.
DEAN
(lying back again and crossing his arms) Yeah all right. Well we still gotta see that painting, which means you still gotta call Sarah...so...
SAM picks up the phone, clearing his throat. DEAN shakes his head and closes his eyes, settling in.
SAM
Hey, Sarah, it's Sam. Good. Good, yeah. What about you?
DEAN opens one eye slightly, watching his brother.
SAM
(repeating himself) Yeah good, really good.
DEAN
(whispers across the room) Smooth...
SAM
So...so ah listen. Me and my brother, we were...uh...thinking that maybe we'd like to come back in and look at the painting again.
DEAN once more shakes his head and closes his eyes.
SAM
I think maybe we are interested in buying it. What?
At SAM'S tone DEAN snaps to attention.
SAM
(sharply)Who'd you sell it to?
DEAN rises up, listening closely.
SAM
(Sharply) Sarah I need an address right now.
..................................
INTERIOR. MANSION.
Evelyn, fro the auction house at the start of the episode, sits reading next to the fireplace. The painting is on the wall above it. Isaiah turns his head, watching her. Evelyn puts down her book and places her glasses on top of it before picking up her cup of tea. In her glasses we see a reflection of a barbers razor go past. Evelyn hears a shiffling noise and looks up, gasping in horror.
END ACT TWO
ACT THREE
EXTERIOR. EVELYN'S HOUSE.
The Impala roars up and the boys jump out. Sarah appears from the car waiting in the driveway.
SARAH
Sam what's happening.
SAM
(running past her to the door) I told you, you shouldn't have come.
DEAN joins SAM as they run up the stairs to the front porch and bangs on the door.
DEAN
Hello, anyone home?
SARAH
You said Evelyn might be in danger, what sort of danger?
DEAN
I can't knock this sucker down. I gotta pick it.
DEAN starts to pick the lock as SAM bangs on the windows, which are covered with metal security bars.
SARAH
What are you guys, burglars?
SAM
I wish it was that simple. Look you really should wait in the car. It's for your own good.
DEAN gets the door open and SAM quickly follows him inside.
SARAH
The hell I will. Evelyn's a friend.
SARAH runs in after them.
SARAH
Evelyn?
DEAN
Evelyn.
The enter the lounge, Evelyn sits half turned awaay from them. The painting has changed, Isaiah now looks at his daughter rather than straight ahead.
SARAH
Evelyn? It's Sarah Blake....Are you all right?
SARAH reaches to touch Evelyn's shoulder.
SAM
(Urgently) Sarah don't. Sarah!
Evelyns's head tips back, exposing that her throat has been slashed. SARAH screams.
SARAH
Oh my God. Oh My God.
SAM puts his arm around her and shepherds her out of the room.
................................
INTERIOR. MOTEL ROOM.
DEAN sits at the bar with the laptop, SAM paces. There is a knock on the door.
SAM opens the door and SARAH storms past him into the room.
SAM
Hey. You all right?
SARAH
No actually, I just lied to the cops and told them I went to Evelyns, alone, and found her like that.
DEAN smirks while SAM looks relieved.
SAM
Thank you.
SARAH
Don't thank me, I'm about to call them right back and tell them what the hell's going on. Who's killing these people!
SAM looks at DEAN, who raises his eyebrows.
SAM
(To Sarah) What.
SARAH
What?
SAM
It's not 'who'. It's 'what' is killing those people.
SARAH looks at SAM like he's insane. SAM sighs.
SAM
Sarah, you saw that painting move.
SARAH
No...no I was...I was seeing things. It's impossible.
DEAN
Yeah well, welcome to our world.
SAM
Sarah I know this sounds crazy...but we think that that painting is haunted.
SARAH
(Sniggering but with tears in her eyes) You're joking.
She looks from one to the other of them. They both just stare at her.
SARAH
You're not joking. God, the guys I choose to go out with.
SAM
Sarah, think about it. Evelyn, the Telesca's, they both had the painting. And there have been others before that. Wherever this thing goes people die. And we're just trying to stop it. And that's the truth.
SARAH
(Taking a deep breath) Then I guess you'd better how me. I'm coming with you.
SAM
What? No. Sarah no, you should just go home. This stuff can get dangerous and...and I don't want you to get hurt.
SARAH
Look, you guys are probably crazy, but if you're right about this? Then me and my Dad sold this painting that got these people killed. Look I'm not saying I'm not scared because I am scared as hell but...I'm not going to run and hide either.
SARAH strides to the door.
SARAH
(Turning back) So are we going or what?
She walks out.
DEAN
Sam?
SAM looks across to where DEAN is sitting. DEAN points out the door after SARAH.
DEAN
Marry that girl.
......................
EXTERIOR. EVELYN'S HOUSE. DAY
SAM is picking the lock.
SARAH
Ahhh...isn't this a crime scene?
DEAN
You've already lied to the cops, what's another infraction.
Once inside SAM lifts the painting down from the wall and they examine it.
SARAH
Aren't you worried that it...gonna kill us?
SAM
Nah, it seems to do it's thing at night. I think we're all right in the daylight.
DEAN
(Comparing the picture in the book with the painting) Sam, check it out. The razor, it's closed in this one but it's open in that one.
SARAH
What are you guys looking for?
DEAN
Well if the spirits changing aspects of the painting maybe it's doing so for a reason.
SAM
Hey hey look at this. The painting in the painting.
DEAN
Looks like a crypt, or a mausoleum or something.
DEAN looks around, grabs a thick glass ashtray and uses it as a magnifying glass on the painting.
DEAN
(Reading the Mausoleum) Merchant.
.........................
EXTERIOR. GRAVEYARD.
SAM, DEAN and SARAH walk through the graves.
DEAN
This is the third boneyard we've checked. I think this ghost is jerking us around.
SARAH
So this is what you guys do for a living?
SAM
Not exactly. We don't get paid.
SARAH
Well, Mazal tov
DEAN
(Spying the Mausoleum from the painting) Over there.
DEAN breaks in and they enter, pushing aside the cowbwebs. There is a number of name plates as well as four urns in front of little glass fronted boxes. SARAH looks into one of the cases.
SARAH
Okay, that right there is one of the creepiest things I've ever seen.
SAM
It was a...sort of tradition at the time. Whenever a child died sometimes they'd preserve the kids favorite toy in a glass case, put it next to the headstone or crypt.
DEAN
Notice anything strange here?
SARAH
Where do I start?
SAM sniggers, looking at her.
DEAN
No, look at the urns.
SAM
There are only four.
DEAN
Yeah Mom and the three kids. Daddy dearest isn't here.
SAM
So where is he?
...............................
EXTERIOR. DAY. OUTSIDE OFFICE BUILDINGS.
SAM and SARAH sit on a small wall, waiting.
SARAH
So what exactly is your brother doing in there?
SAM
Searching county death certificates trying to find out what happened to Isaiah's body.
SARAH
How'd he even get in the door?
SAM
Lying and subterfuge mostly.
SARAH
You have a...uh....an eyelash on your right...no...uh...
SARAH reaches, but has no idea where it is.
SAM
(laughing) Do you mind if I get it?
SARAH
No.
SAM reaches for it and holds it on his finger.
SAM
Okay, I got it. Make a wish.
Laughing, SARAH does so, and blows it away.
SARAH
Sam could I ask you something?
SAM
Yeah, sure.
SARAH
I don't mean to be forward, but a girl could wait forever. Is there something here, between us? Or am I delusional?
SAM
You're not delusional.
SARAH
But there's a but coming.
SAM
But...I don't think this would be a good idea.
SARAH
Can I ask why?
SAM
Cause I like you.
SARAH
Wait. You lost me.
They both laugh.
SAM
Look, it's hard to explain. It's just when people are around me. I don't know, they get hurt.
SARAH
What do you mean?
SAM
I mean physically hurt. With what me and my brother do, it's....Sarah, I had a girlfriend. She died. And my Mom, she died too. I don't know, it's like, like I'm cursed or something. Like death just follows me around. Look, I'm not scared of much, but I'm scared if I let myself have feelings for anybody...
SARAH
You're scared they'd get hurt too. That's very sweet. And very archaic.
SAM
Sorry?
SARAH
Look I'm a big girl Sam, it's not your job to make decisions for me. There's always a chance of getting hurt.
SAM
I'm not talking about a broken heart and a tub of Haagen Das. I'm talking about life and death.
SARAH
And tomorrow I could get hit by a bus, that's what life is. Look, I know losing somebody you love is terrible. Believe me, I know. But when you shut out pain, you shut out everything else too.
SAM
Sarah you don't understand, The pain that I went through...I can't go through it again. I can't.
DEAN
(Suddenly appearing) Am I interrupting something?
SAM
No.
SARAH
No, not at all.
DEAN
(Looking between them) Huh. Apparently.
SAM
So what'd you get?
DEAN
Paydirt. Apparently the surviving relatives of the Merchant family were so ashamed of Isaiah that they didn't want him interred with the rest of the family. So, they gave him over to the county, the county gave him a paupers funeral. Economy style. Turns out he wasn't cremated, he was buried in a pine box.
SAM
So there are bones to burn.
DEAN
There are bones to burn.
SAM
Tell me you know where.
...........................
GRAVEYARD. NIGHT.
DEAN and SAM dig, SARAH holds a flashlight.
SARAH
You guys seem to be uncomfortably comfortable with this.
SAM
Well, this isn't exactly the first grave we've dug. Still think I'm a catch?
DEAN
Think I've got something.
DEAN cracks open the coffin lid to reveal a body.
...................................
DEAN pours the salt, SAM the kerosene.
DEAN
(Striking a match) You've been a real pain in the ass Isaiah. Good riddance.
They all stand and watch it burn.
......................
EXTERIOR. EVELYN'S HOUSE.
The Impala pulls up, Sam opens the passenger door.
SAM
Keep the motor running.
SARAH
I thought the painting was harmless now?
SAM
Better to be safe than sorry.
SARAH
I'm coming with you.
SAM
You sure?
DEAN
(Calling SAM back) Hey! hey hey. I'll stay here, you go make your move.
SAM sniggers and gets out of the car.
DEAN
Sam. Sam!
As SARAH and SAM move up the stairs DEAN turns on the radio. A love ballad is heard. Grimacing, SAM turns around and gives DEAN bitchface. DEAN makes a 'what?' gesture, SAM motions him to cut off the music. Sighing, DEAN turns it off.
SAM and SARAH move inside and the stop in front of the painting, looking surprised.
SARAH
Ahhh, Sam? You're the expert on all this ghost stuff. Is the painting supposed to look like that? Where's the little girl?
SAM
And the razor.
They hear noises and laughter and look around in time to see the front door shutting on them.
END ACT THREE
ACT FOUR
DEAN runs up the stairs and starts shoving at the door. Inside SAM also runs to the door
and pulls at it.
SAM
Dean! That you?
DEAN
Sammy, you all right?
SAM grabs out his phone and calls DEAN.
DEAN
Tell me you slammed the front door.
SAM
No it wasn't me. I think it was the little girl.
DEAN
Girl? What girl?
SAM
I think she's out of the painting, I think it's been her all along.
DEAN
Wasn't the Dad looking down at her? Maybe he was trying to warn us
SAM
Hey hey hey, let's recap later all right? Get us out of here.
DEAN
Well I'm trying to pick the lock, the door won't budge.
SAM
Well, knock it down.
DEAN
Okay genius, let me just grab my battering ram.
SAM
Dean the damn thing is coming.
DEAN
Well you're just gonna have to hold it off until I figure something out. Get some salt or iron.
SAM
(Grabbing SARAH'S hand) Come on.
SAM rummages through the kitchen drawers, SARAH the lounge cupboards.
SAM
What kind of house doesn't have salt? Low-sodium freaks. (To Sarah) Hey, did you find any iron?
SARAH
No. What's it for?
SAM
Iron repels evil spirits but it's gotta be pure. Hurry. (into the phone) Dean give me a sec, don't go anywhere.
Outside DEAN leaves the front door and starts walking the front porch looking for entrances.
SAM
(To Sarah) Look in the chair. Sometimes the seats.
The lounge doors slam shut, wind blows papers everywhere. The girl appears, dragging her doll along the floor by one foot, a razor in her other hand.
SARAH
Sam?
SAM backs up, keeping SARAH behind him.
The ghost come closer, moving in an inhuman manner.
SARAH
That is just so wrong.
SAM backs into the fireside implements, grabs the poker and swings at the ghost. She disappears.
SARAH
Iron?
SAM
Yeah.
DEAN
(Still on phone) Sammy, you okay?
SAM
Yeah, for now.
DEAN
How we gonna waste her?
SAM
I don't know, she was already cremated. There's nothing left to burn.
DEAN
Then how's she still around?
SAM
There must be something else.
SARAH
Sam wait. We used to handle antique dolls at the auction.
SAM
Well that's fascinating Sarah but is it important right now?
SARAH
Well back then they use to make the dolls in the kids image, I mean everything, They would use the kids real hair.
SAM
Dean, Sarah said the doll might have the kids real hair. Human remains, the same as bones.
SAM and DEAN
The Mausoleum!
DEAN races the Impala toward the graveyard, driving through the locked gates.
Back at the house the wind rises again. SAM raises the poker.A heavy cupboard comes across the room, knocking him over and pinning him on the ground. SARAH runs to help, calling his name. She hears a noise and spins, coming face to face with the ghost
DEAN skids to a halt and leaps out of the car, running into the mausoleum. He pounds at the glass container, then gets his gun out and smashes at the glass but still no luck. He turns to run back to the car, gun in hand, then stops and looks down at it.
DEAN
(Grimacing) Come on Dean!
DEAN turns back to the container, raising the Gun and lifting his other arm to protect his face as he shoots a hole in the glass. He uses the gun to knock out the rest until he can grab the doll.
Back at the house SARAH is thrown through the air by the ghost.
DEAN grabs the doll, reaches for his lighter, it refuses to light.
DEAN
Come on come on!
SARAH pulls herself along the floor and pushes herself up against the wall, watching the ghost approach while raising the razor. SAM uses all his strength to push the cupboard slowly away from him.
DEAN's lighter finally catches and he holds it under the dolls hair. It begins to smokem and then to burn.
The Ghost raises the razor, preparing to strike.
SAM
No!
SAM dives for SARAH pulling her out of the way just as it is about to bring the razor down. At the same moment the ghost rears back, burning up. As she burns her figure reappears back in the painting.
SAM and SARAH lay on the floor together, looking around, then at each other.
DEAN looks at the burnt doll on the floor of the mausoleum, then pulls out his phone. Sam answers.
DEAN
Sam you good?
SAM
Not bad.
He leans back against the wall next to SARAH, both looking exhausted.
END ACT FOUR
