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EXT. GUIDRY'S CAJUN CAFE – NIGHT
Carencro, Louisiana
Creedence Clearwater Revival's "Born on the Bayou" plays.
♪ Now, when I was just a little boy ♪
♪ standing to my daddy's knee ♪
♪ my papa said, "Son, don't let the man get you ♪
♪ do what he done to me" ♪
A man and a woman leave the café. The camera zooms in through the open front door.
♪ 'Cause he'll get you ♪
INT. GUIDRY'S CAJUN CAFE – NIGHT
A MAN is drying dishes with his back to the counter.
YOUNG WOMAN
I sent Anthony home, so the kitchen's all yours. And be sure to lock up the door and, uh, set the alarm... [she takes her coat off a hook] ...turn off the A/C, check the burners, check the griddle...
The MAN turns around and we see that he is BENNY.
BENNY
And clear off the cold table. I got it. Go on, now.
YOUNG WOMAN
Thank you, Roy. [She turns to leave and a CUSTOMER at the counter watches her go.] Oh, and, uh... [she turns back around] ...don't forget to "Z" out the register...
BENNY
And batch out the credit-card machines. I know. Darlin', it's not my first rodeo, all right? [He smiles.]
YOUNG WOMAN
[smiling] I'll see you tomorrow. [She leaves.]
CUSTOMER
Hell of a girl, that Elizabeth.
BENNY
Yeah. Yeah, she really is. Refill?
CUSTOMER
Sure. You got designs?
BENNY
Nah. [He refills the CUSTOMER's coffee cup.] She's more like a little sister to me, you know?
CUSTOMER
So you don't mind if I take a shot?
BENNY
[pause] She's all yours, chief.
We see a close-up of a coffee cup being slid across a table.
SECOND CUSTOMER
Hey. [He taps the coffee cup on the table.] Please?
BENNY refills the SECOND CUSTOMER's coffee cup. The SECOND CUSTOMER raises his head and we see that he is MARTIN CREASER from 5.11 Sam, Interrupted.
MARTIN
Thanks.
MARTIN watches as BENNY walks back to the counter.
EXT. GUIDRY'S CAJUN CAFE – NIGHT
BENNY switches off the lights and leaves the café. He looks around and walks away. MARTIN emerges from around the side of the café and follows BENNY. BENNY walks through a wooded area, hears a noise in the bushes and goes to investigate. MARTIN follows BENNY into the woods and hears a scream. He takes out a long knife and hurries through the woods. He trips and falls next to the FIRST CUSTOMER from the café, who is lying dead on the ground with a wound on his neck. MARTIN looks at the FIRST CUSTOMER's wound, then stands up. He has blood on his mostly bald head from his fall.
SUPERNATURAL (Title Card)
ACT ONE
EXT. "LOST IN THE 50'S" DRIVE-IN – DAY
DEAN carries a tray of food from the drive-in window to the IMPALA. SAM is in the IMPALA talking on his cell phone.
SAM (on phone)
Yeah. And you're certain? You sure? Okay. Great. Just, uh, just hang tight till you hear from me, okay?
DEAN gets into the IMPALA.
DEAN
[in a loud whisper] Who is it?
SAM (on phone)
[holding up a finger to DEAN] No, listen to me. I said hang tight.
SAM hangs up and sighs.
SAM
We got to get.
DEAN
Can I at least finish my burger?
SAM
We got a vamp kill, Dean – Carencro, Louisiana.
DEAN
Huh. It's been a while since I've had some étouffée. Who's the source?
SAM
Martin Creaser.
There is a pause in which they look at each other.
DEAN
Sorry – for a minute there, I thought you said Martin Creaser. [SAM continues to look at DEAN without speaking.] Crazy Martin from the loony bin?
SAM
Glendale Springs discharged him last month.
DEAN
And? Shouldn't he be assembling toys in a padded room? What's he doing back on the job?
SAM
I asked him.
DEAN
You what?
SAM
Look, he called me when he got out, okay, asked if I had anything for him that might help him ease back into the game. He seemed okay – mostly – so I said yes. I've had him tracking Benny for the past week.
DEAN
[pause] You put "mostly okay" Martin on Benny? What is "mostly okay" doing hunting at all?
SAM
Not hunting, Dean – tracking. Observe and report only. I was crystal clear about that.
DEAN
Wow. I can't believe that.
SAM
Really, Dean? You don't believe that? Because Benny's a vampire. And any hunter worth his salt isn't gonna let one just walk around freely. So I had Martin keep tabs on him. And right now, it's looking like I made the right call.
DEAN
So Martin's saying Benny did this?
SAM
Yeah.
DEAN
[pause] Okay.
SAM
Okay?
DEAN
If Benny's in Louisiana draining folks... we should look into it.
SAM raises his eyebrows and DEAN starts the engine.
EXT. ROAD – DAY
The IMPALA drives past a sign that reads "Welcome to Louisiana / Bienvenue en Louisiane."
CUT TO:
We see an overhead shot of what is presumably the IMPALA driving across a bridge over a river.
EXT. TOWN – DAY
The IMPALA takes a corner and pulls up outside a building offering rooms for rent. SAM and DEAN get out and go inside.
INT. BEAUDELAIRE ROOMS – DAY
SAM and DEAN walk down a hallway. As SAM raises his hand to knock on door number 2, MARTIN opens it.
MARTIN
You said look for an eruption. How's Mount Vesuvius?
SAM and DEAN enter MARTIN's room and MARTIN closes the door behind them.
MARTIN
I got into town about a week ago. Up until last night, nothing. He's been clean.
DEAN
Doing what?
MARTIN
Just minding his own business. Working at the gumbo shack.
DEAN
Benny's working at the gumbo shack?
MARTIN
Yeah. Slinging hash, pouring coffee – the whole bit. And he may be Benny to you. Folks around here call him Roy.
DEAN
Martin, you sure you're running on a full charge?
MARTIN
Y-yeah. L-l-little s-shock therapy in the morning, and I-I'm [snaps fingers] good to go.
SAM
Tell us what happened last night.
MARTIN
So, I followed him home, just like every night. He turned up a path. I hear a scream. I catch up. Then, boom – there he is. The old coot that Roy was eyeballing at the joint – vamped.
DEAN
Wait – did you actually see Benny kill the guy or not?
MARTIN
I saw enough.
DEAN
Well, then, how can you be sure it was Benny if you didn't actually see him do it?
MARTIN
B-b-because I saw Benny turn up the path, and then two seconds later, I trip over a body with its throat ripped. Look, man, you – you ever hear of Occam's Razor? "Keep it simple, stupid"? It's not that complicated.
DEAN
There's a lot of holes, Martin.
MARTIN
Holes? The only holes we should be looking at are in the vic's neck.
DEAN
[to SAM] This sound like the Benny you know?
SAM
I don't know Benny.
MARTIN
The Benny you know? Say what? Why am I getting the distinct impression that your brother is vouching for a vampire?
SAM
Guys, let's not argue.
DEAN
Nobody's arguing, but if this is Benny – and that's a big "if" –
MARTIN
Oh, it's him.
DEAN
I got history with the guy, okay? I'm not signing up for a witch hunt. [to SAM] I owe him more than that.
MARTIN
What in God's great creation could a Winchester possibly owe a vampire? Am I hearing this right?
DEAN
Look, until we get the facts, we stow the bloodlust and we work this case right, or we work it separately.
MARTIN
Doing it right would be separating his head from his shoulders.
DEAN
I just need some time, Sammy.
MARTIN
Oh, yeah. Let the fang take another life? I don't think so.
SAM
How much time do you need?
MARTIN
[to SAM] You're not actually considering this?
DEAN
Couple hours, tops.
SAM
And what if it turns out to be Benny?
DEAN
Then it's Benny, and I'll deal with it!
SAM
Couple hours, Dean. No more.
DEAN
I'll be in touch.
DEAN heads for the door. MARTIN follows him.
MARTIN
H-hey. Oh, look. Hey, uh –
DEAN walks out the door and closes it behind him.
MARTIN
You're joking, right? We're doing this as soon as he pulls away.
SAM
No, we're not, Martin. We're gonna give him a little bit of time.
MARTIN
Hey, it's your brother. It's your call. How long are you gonna let him go on like this? It's staring him right in the face.
SAM
[exhales sharply] Well, sometimes it's not easy to see things for what they are.
FLASHBACK
EXT. SAM AND AMELIA'S HOUSE – DAY
SAM is sitting on the porch steps throwing a ball for RIOT.
Kermit, Texas
AMELIA comes outside.
SAM
Get the ball. Come here! [He claps his hands.] Come here! Come here. [RIOT drops the ball in front of SAM.] Good job.
AMELIA sits next to SAM on the steps.
SAM
Thought about what you're gonna say to him?
AMELIA
[shakes her head] I've thought about it and thought about it, and I still don't know.
SAM
Look, I'm sure you have a lot of people telling you what the right thing to do is here.
AMELIA
Sam...
SAM
He's your husband, Amelia. But I-I don't... I don't want to do the right thing. I mean, this is the right thing, you and me. And maybe I'm going to hell for saying this, but I'm not ready to give this up.
AMELIA
Neither am I. [They hold hands.] Would it bother you if I just took a few days to clear my head?
SAM
Um... of course. Uh, take whatever time you need.
INT. GUIDRY'S CAJUN CAFE –DAY
DEAN enters and sits down at the counter. ELIZABETH puts a menu in front of him.
DEAN
Actually, I already know what I want.
ELIZABETH
Let me guess – gumbo?
DEAN
[chuckles] Was gonna be the gumbo till I saw… [he points and clicks his tongue] …pie.
ELIZABETH
Well, the special's pecan.
DEAN
'Course it is. Let's do that.
ELIZABETH nods and walks away. DEAN looks at photographs pinned up behind the counter, including one of BENNY with ELIZABETH. ELIZABETH returns.
ELIZABETH
[sighs] Bad news.
DEAN
You're out of pecan. Story of my life. Uh, that's all right. Maybe you can make it up to me. I'm actually looking for an old friend of mine. I heard he's kicking around these parts. His name's Roy.
ELIZABETH
Well, Roy works the night shift here. I mean, if we're talking about the same Roy.
DEAN
Uh, yeah, he, uh, putts around in a – a beat-up camper. Thing looks like a rolling death trap.
ELIZABETH
[laughs] Yeah, I thought I was the only one who gave him trouble over that piece of junk.
DEAN
[laughs] You wouldn't happen to know where he's parking that thing these days, would you?
ELIZABETH
Well, he, uh, was parking it out back, but just called to tell me he's gone up the road to Mill Creek for a few days.
DEAN
Okay. Uh, did he say why?
ELIZABETH
Oh... fishing, I think. He really deserves a break. He's been working doubles for the last two weeks straight.
DEAN
Um, listen, I, uh, I tell you what. [He writes on a piece of paper.] If he pops up before I can find him, you do me a favor and just have him give me a buzz. Or... [he slides the piece of paper over to ELIZABETH] ...could just drop a dime yourself. [He smiles.]
ELIZABETH
Sure thing... [she picks up the piece of paper] ...Dean.
DEAN
[standing] And, uh, you are...?
ELIZABETH
Elizabeth.
DEAN
Elizabeth. All right. Take a rain check on that pie.
ELIZABETH
Definitely.
DEAN raps his knuckles on the counter and leaves. ELIZABETH watches him go and looks at the piece of paper.
EXT. GUIDRY'S CAJUN CAFE –DAY
DEAN makes a call on his cell phone.
BENNY'S VOICE MESSAGE
Leave a message at the beep.
DEAN (on phone)
Benny. I got a body here in Carencro with two holes in it, and I just found out you went fishing. Do I need to tell you what this looks like?
DEAN hangs up.
EXT. NIGHT
We see a close-up of a cell phone display that says "1 New Voice Message." Someone flips the phone closed. The camera pans out and we see that the person holding the phone is BENNY. A woman's bloodstained body lies on the ground in front of him. We see a close-up of the wound on her neck.
ACT TWO
EXT. WOODS – DAY
BENNY is digging a grave.
CUT TO:
BENNY washes his bloody hands in a well. Someone walks up behind him.
BENNY
It's not me, Dean.
DEAN
Now, which "me" are we talking about – Benny, or Roy?
BENNY turns to face DEAN. DEAN is holding a machete behind his back.
BENNY
I'm just trying to blend in.
DEAN
Blend in? Who'd you plant, Benny?
BENNY
Victim number two. If you're concerned about the missed calls, I didn't want to get you involved. Now... Want to safety that thing... [he puts his hand on his own machete] ...talk a little bit or what?
DEAN takes his machete out from behind his back.
DEAN
I'm all ears.
BENNY
Rogue vamp. Came into the café a couple nights ago. Youngster goes by the name of Desmond. He, uh, he remembers me from the good old days.
DEAN
The good old days?
BENNY
I know it's hard to believe, but I haven't always been this cute and cuddly. He's chasing a memory, Dean. That's all. He's crewing up a new nest. He's hoping I can give him some cred. I told him no.
DEAN
All right. So far, so good. Let's get to the part about the blood.
BENNY
Didn't want to take no for an answer. He's trying to roust me out, leaving dead bodies in my wake till I sign up. Two bodies in two days. No amateur is gonna kick me out of my hometown, Dean. Not this time.
DEAN
Hometown? You grew up here?
BENNY
[nods] Born and bred. With Andrea gone and you hunting again, seemed like the right time for a homecoming – you two being the only ones who keep all my ducks in a row. Went back to my old job at the café. I even found someone to hold myself accountable to. Best kind of someone, Dean. Family.
DEAN
Elizabeth.
DEAN takes a few steps past BENNY and sheathes his machete.
BENNY
My great-granddaughter.
DEAN
Really? [He makes a face, still facing away from BENNY.]
BENNY
Now, hold it, now. You didn't –
DEAN
Uh, no. [He chuckles as he turns around.] No. Does she know?
BENNY
No. No, as far as she's concerned, I was just another drifter. I'd like to keep it that way. It's been tough walking the line here after all those years in Purgatory not having to deal with the hunger. But Elizabeth... She keeps me honest. I finally feel like I got a handle on this thing.
DEAN
Handle on things? Benny, you've got two stiffs on your hands and two hunters on your ass.
BENNY
Oh, please. The half-wit who found me at the café? I'll take my chances with him.
DEAN
That half-wit was sent by my brother, and trust me – my brother's not someone you want to mess with.
BENNY
I don't have time to worry about them, Dean. I didn't think Desmond had an ounce of steel in his spine, but I was wrong about that. So now I'm gonna do what I should have done two days ago, which is put him back where he belongs.
DEAN
You know there's only one way to do that, right? And that is for you to sit on the sideline while I convince Sam and Martin to go after Desmond. They see you out there, they don't care if you're gonna be collecting for the March of Dimes. They are gonna slice first and ask questions later. You know that.
BENNY
You really think they'll go for that?
DEAN sighs.
EXT. BEAUDELAIRE ROOMS – DAY
MARTIN (V-O)
Let me get this straight.
INT. MARTIN'S ROOM – DAY
MARTIN is leaning against the refrigerator with a glass in his hand. SAM is sitting down and DEAN is standing.
MARTIN
I follow your boy... down a freaking path and trip over fresh vamp kill, and then you practically catch him in the act... [he takes an ice cube tray out of the freezer compartment] ...of burying a second body, and you're still taking his side?
DEAN
Vampires pick people off from the outskirts of town, okay?
MARTIN
Pfffft! [He stabs the ice cube tray with a fork to loosen the ice cubes.]
DEAN
Not in the cafés that they work in with their great-grandkids. In fact, killing any human – it's not his style.
MARTIN
Not his style? Not his style?
SAM
Listen, Dean, we came here on a dead body. You asked for some time, and now there's another dead body. Are we just going on trust here?
MARTIN takes a sip of his drink and looks at DEAN.
DEAN
Yes.
SAM
Okay. Because we've killed for a lot less, and you know how these things turn out for us.
DEAN
Yes, I do – too well. In fact, every relationship I have ever had has gone to crap at some point. But the one thing I can say about Benny – he has never let me down.
SAM
Huh. Well, good on you, Dean. Must feel great finally finding someone you can trust after all these years.
DEAN
[looks down, then back up at SAM] All I'm saying is that Benny is innocent.
SAM
[stands up] No. You're too close to this.
DEAN
You're not gonna find him. And if you do, I'm gonna tell you this. You'll be lucky to get out alive. And you – [he points to MARTIN] you go with him, you're a dead man – period.
MARTIN drains his drink and picks up a knife.
SAM
These are innocent lives we're talking about, Dean. And you're willing to risk that on Benny's word alone?
MARTIN moves to stand behind DEAN.
DEAN
Damn right I am.
MARTIN hits DEAN hard in the back of the head with the hilt of the knife. DEAN falls to the ground, unconscious.
SAM
What... was that?
MARTIN
Dean made his choice. Let's go do our job.
INT. BEAUDELAIRE ROOMS – DAY
SAM and MARTIN leave MARTIN's room and walk down the hallway. MARTIN is carrying a bag.
MARTIN
Glad your dad wasn't around to hear that. He'd have a mind to take you both out the woodshed and show you what's what. Half inclined to do it myself.
SAM pushes MARTIN against a wall.
SAM
You listen to me. I brought you into this. I can bring you out just as easy. So the only thing you're gonna be inclined to do is shut up and follow my lead.
SAM grabs keys from MARTIN's hand.
MARTIN
Okay. You say so.
EXT. BEAUDELAIRE ROOMS – DAY
SAM and MARTIN leave the building and walk past the IMPALA, which is parked outside.
MARTIN
Just saying – brother chooses a vampire over a brother? I know how I'd feel.
We see a close-up of SAM's face, which fades into a flashback.
FLASHBACK
INT. BAR – NIGHT
SAM is drinking a beer at the bar. A MAN joins him.
MAN
You are Sam, right? Relax. I ain't here to fight. [He sits down and beckons to the bartender.]
SAM
I heard about what happened to you. Rough deal.
DON
Hmm. Yeah, well, I appreciate that. We got ourselves a situation here now, though, don't we?
SAM
Guess we do.
DON
Truth is, I can't blame either of you for what happened. Hell, there were days there I thought I was a dead man. But when I do come back and what I come back to is this, well, it ain't no great mystery if part of me is thinking, "What's wrong with this picture?"
SAM
Don –
DON
[holds up a hand] Sam, let me finish. I know part of her loves me. And now... part of her loves you. But the only one that knows what's best for Amelia is Amelia. So when all of this is said and done and she's made her decision, I'll respect it. And if you truly love her, you'll do the same.
SAM nods. DON puts some money down on the bar and gets up to leave.
DON
[to the bartender] He could use another.
SAM exhales.
INT. MARTIN'S ROOM – DAY
DEAN is attempting to free himself from the handcuffs. There is blood on his face.
DEAN
Come on.
The handcuffs come free and he takes his cell phone out of his jacket, which he was wearing when MARTIN hit him, but is now on the bed.
EXT. WOODS – DAY
BENNY is looking at a photograph of himself and ELIZABETH. His phone rings and he answers it.
BENNY (on phone)
What'd they say?
The scene alternates between BENNY in the woods and DEAN in MARTIN's room.
DEAN (on phone)
[using a cloth to clean his neck and chest] They didn't go for it. They're on their way to you. I'd get scarce.
BENNY (on phone)
No offense, Dean, but your little brother doesn't exactly put chills up my spine.
DEAN (on phone)
Benny, listen to me. Do not underestimate my little brother, okay? He can and will kill you given the chance. [He wipes the blood off his face with a towel.]
BENNY (on phone)
All right. So, what now?
DEAN (on phone)
I go find Desmond.
BENNY (on phone)
You take me with.
DEAN (on phone)
[in the hallway of MARTIN's building] Hey, I just told you – best thing you can do is lay low.
BENNY (on phone)
That ain't gonna work this time, bub. You take me with, or I don't tell you where he is.
DEAN (on phone)
You know where he is?
BENNY (on phone)
[picking up his machete] He said he's not gonna stop the killing till I join his little nest. Two bodies is enough. I told him I'm in.
DEAN (on phone)
[leaving MARTIN's building] Benny.
BENNY (on phone)
Dean, this is my fight. Are you in or are you out?
EXT. BEAUDELAIRE ROOMS – DAY
DEAN stands next to the IMPALA with his phone to his ear and sighs.
EXT. WOODS – NIGHT
A vehicle is parked on a road next to the woods.
CUT TO:
SAM and MARTIN are in the woods. SAM is looking at clothing hanging on a line. MARTIN is holding a machete.
MARTIN
Something spooked him.
MARTIN sees something on the ground as SAM's cell phone buzzes. SAM looks at the message:
FROM: AMELIA RICHARDSON
Sam, I need your help
Come quick
MARTIN picks up the photograph of BENNY and ELIZABETH from the ground. He hears an engine start.
MARTIN
Sam. Sam!
SAM drives away in MARTIN's vehicle. MARTIN runs after it.
MARTIN
Sam! Sam!
MARTIN stands in the road watching SAM leave.
MARTIN
Winchesters. Mad!
ACT THREE
EXT. SHIPYARD – NIGHT
DEAN pulls up in the IMPALA and parks. BENNY is waiting for him, holding a machete. DEAN gets out of the IMPALA and takes out his own machete.
DEAN
This the place, huh? [He opens the trunk.] So, what's the plan? I hang back while you guys do some trust falls and binge-drinking? [He puts a syringe of dead man's blood in his jacket pocket.]
BENNY
Man, if I didn't know you better, I'd say you have an extremely low opinion of us vamps.
DEAN
Pssh. Call it healthy skepticism.
INT. SHIPYARD BUILDING – NIGHT
DEAN and BENNY enter. DEAN looks around with a flashlight. Someone crosses the room behind him and he turns, but sees no one. DEAN goes to investigate and DESMOND drops lightly to the ground behind him. DESMOND advances on DEAN, who turns and swings with his machete. DESMOND sends DEAN flying to the ground, then straddles him.
DESMOND
[with his fangs descended] Benny never told me he was bringing a friend.
DEAN
You're not gonna talk a lot, are you? [He reaches for his syringe of dead man's blood.] I've been dealing with crazy... all day.
DEAN tries to jab DESMOND with the syringe, but DESMOND catches his hand and squeezes it, breaking the syringe. DEAN groans. DESMOND forces DEAN's hand down and slashes at his neck with a fingernail, cutting him. DESMOND licks DEAN's blood from his fingers, then snarls and lunges at DEAN's neck. BENNY pulls DESMOND upright and decapitates him. DESMOND's head falls from his body and lands next to DEAN's head.
DEAN
Son of a... It took you long enough.
BENNY
You've lost a step, friend. [He gives DEAN his hand to pull him to his feet.] You need to lay off the junk food.
DEAN touches the cut on his neck and winces.
DEAN
Aah!
We hear DEAN's heartbeat as BENNY looks at the cut. BENNY's eyes narrow and his lips twitch.
DEAN
You okay?
BENNY raises his eyes to DEAN's.
BENNY
I'm fine.
BENNY turns and slowly walks away.
EXT. SHIPYARD – NIGHT
DEAN, who is holding a cloth to his neck, walks over to BENNY.
BENNY
My life here is over, isn't it?
DEAN
Afraid so. Once word gets out... The machete swingers that'll come for you... You can't take them all. It's impossible. And even if you could...
BENNY
We'd have a problem.
DEAN
Guys like us, we don't get a home. We don't get family.
BENNY
You got Sam.
DEAN
[pause] Yeah. Benny, you got to go deep underground, where nobody knows who you are.
BENNY
Yeah. I got one last thing I got to do.
BENNY walks away.
INT. MARTIN'S VEHICLE – NIGHT
SAM is driving. He makes a call to AMELIA on his cell phone.
AUTOMATED FEMALE VOICE
The person you are trying to reach is unavailable.
SAM scowls, hangs up and tosses the phone down.
FLASHBACK
INT. SAM AND AMELIA'S HOUSE – DAY
SAM is packing a bag in the bedroom. AMELIA appears in the doorway.
AMELIA
What are you doing?
SAM
I'm, uh... [clears throat] …I'm leaving.
AMELIA
What? [SAM sighs.] Don found you at the bar.
SAM
Amelia –
AMELIA
He threatened you.
SAM
Amelia, no. He didn't threaten me. I – Look, I'm just trying to do the right thing here.
AMELIA
The right thing? This morning, you and I were the right thing, remember?
SAM
[sighs] I know that you and Don deserve a chance, okay? And... I think you know that, too. Just give him a chance – like you gave me. [He sighs.] I mean... Amelia, you saved me.
INT. MARTIN'S VEHICLE – NIGHT
SAM is driving.
EXT. ROAD – NIGHT
SAM passes a sign that reads "Kermit – 26."
EXT. GUIDRY'S CAJUN CAFE – NIGHT
BENNY smiles as he watches ELIZABETH, who is working inside. DEAN stands next to him.
DEAN
Time to go, buddy.
BENNY holds out his hand and DEAN takes it.
BENNY
Thanks for not giving up on me, brother.
DEAN
Don't give me a reason to.
BENNY claps DEAN on the back and gets into his vehicle. DEAN raises a hand in farewell as BENNY drives away.
EXT. ROAD – NIGHT
The IMPALA drives down the road.
EXT. ANOTHER ROAD – NIGHT
MARTIN walks down the road. His phone rings and he answers it.
MARTIN (on phone)
Hey, Dean.
The scene alternates between MARTIN walking down the road and DEAN in the IMPALA.
DEAN (on phone)
Look, I'm just calling to let you know that the situation is resolved. Benny was not lying. There was another vamp, and we ganked him – together.
MARTIN (on phone)
Oh. That's good, Dean.
DEAN (on phone)
Yeah, shut up and listen to me. Benny's long gone, and he won't be coming back, ever. So for your own sake, do not follow him. Are we clear?
MARTIN (on phone)
You don't have to worry about me, Dean. I'm long gone, too.
DEAN (on phone)
Oh, and, Martin?
MARTIN (on phone)
Yeah?
DEAN (on phone)
Find a new line of work.
DEAN and MARTIN hang up.
EXT. YET ANOTHER ROAD – NIGHT
BENNY's vehicle drives down the road. A phone rings. BENNY flips the phone open and the display reads "Elizabeth calling..." He answers.
BENNY (on phone)
Hey, Liz.
INT. GUIDRY'S CAJUN CAFE – NIGHT
ELIZABETH sets some plates down on a shelf. MARTIN is in a booth, eating with a phone to his ear.
BENNY (on phone, V-O)
How's your shift going?
MARTIN turns to look at ELIZABETH. The scene alternates between MARTIN in the café and BENNY on the road.
MARTIN (on phone)
Mm. I'd say she's covering for you just fine... Benny. But us regulars – we miss you.
BENNY (on phone)
Who is this?
We see a close-up of the last bites of the pie MARTIN is eating.
MARTIN (on phone)
I think you know who this is.
BENNY (on phone)
How the hell you get her phone?
ELIZABETH walks over to MARTIN's booth.
ELIZABETH
You enjoy the cherry?
ELIZABETH puts a hand out to take MARTIN's plate. He drops his fork and grabs her wrist to stop her.
MARTIN
No! Sorry. Not quite done yet.
ELIZABETH
Oh. Did you, uh, reach your friend okay?
MARTIN
I did. Thanks. [BENNY can hear MARTIN and ELIZABETH's conversation. He brakes.] I can't believe I left my cell on the bus. Wife says I'd lose my own head if it wasn't screwed on. I'll just be another minute.
ELIZABETH
Well, you take your time.
MARTIN
Thank you.
MARTIN (on phone)
She's a nice girl. Takes kindly to strangers. [He eats another bite of pie.]
BENNY (on phone)
You leave her alone – now.
MARTIN (on phone)
How far away are you? [He licks his fork.]
BENNY (on phone)
[inhales deeply] An hour.
MARTIN (on phone)
You got 45 minutes.
BENNY hangs up and MARTIN follows suit.
MARTIN
Miss? Your cellphone.
ACT FOUR
EXT. GUIDRY'S CAJUN CAFE – NIGHT
BENNY drives up, parks and walks to the café, which is unlit.
INT. GUIDRY'S CAJUN CAFE – NIGHT
BENNY enters. ELIZABETH is tied to a chair.
MARTIN
[revealing himself from behind ELIZABETH's chair and gripping her shoulder] Lay down your arms, you unholy thing!
MARTIN stands up and puts a large knife to ELIZABETH's throat.
BENNY
[spreading his arms] You got me here, now. Why don't you just let her go and walk away?
MARTIN
I don't think so.
BENNY
[slowly approaching] You realize I'm not asking.
MARTIN
I realize that completely.
ELIZABETH
[frightened] Roy, what's going on?
BENNY
It's okay, Lizzie. He ain't gonna hurt you. Ain't that right? Come on, now. I got no beef with you. You got no beef with me.
MARTIN
I got plenty of beef with your kind.
BENNY
All right. That may be so, but not for anything that happened here. I did not kill those people.
MARTIN
I heard. You and Dean had a little Purgatory reunion. Touching.
ELIZABETH
Roy... please just tell me what's going on here.
BENNY
Please. I'm asking you – do not do this. The bad guy is gone, okay?
MARTIN
She doesn't know... Benny.
ELIZABETH
Roy? Who's Benny?
MARTIN
Who's Benny? Let's find out, shall we?
MARTIN crouches down behind ELIZABETH again as BENNY comes closer. ELIZABETH makes frightened noises.
MARTIN
Stay back!
MARTIN cuts ELIZABETH's neck with his knife. She whimpers and starts to cry.
MARTIN
Look. See that?! [ELIZABETH looks at BENNY, who is breathing heavily with his mouth open.] Dilated pupils! Hair standing! Signs of hunger!
BENNY turns away and his fangs descend.
MARTIN
Don't worry. He won't feed off his own flesh and blood.
ELIZABETH
Flesh and blood?
MARTIN
[standing up] Tell her, Benny. Tell her how you're her long-lost grandpappy. Tell her about all the dead you left behind. Tell her about the monster that you are!
BENNY's fangs retract and he turns sadly back to ELIZABETH and MARTIN.
BENNY
What do you want?
MARTIN
Isn't it obvious? I want your head... [he pulls out a machete with the hand not holding the knife] ...on a stake.
BENNY nods, slowly approaches and lays his head down on the counter.
ELIZABETH
[voice breaking] Ohh... Roy, no. [She cries.]
BENNY
[with tears in his eyes] I'm sorry.
MARTIN
Well, hope they're saving a special place for you... wherever it is you come from.
MARTIN lunges at BENNY with the machete.
ELIZABETH
No!
EXT. AMELIA'S HOUSE – NIGHT
SAM pulls up in MARTIN's vehicle and parks. He cocks his gun.
CUT TO:
SAM walks around the back of the house. He holds his gun in front of him as he comes around a corner. Through a window he sees DON watching television. AMELIA brings DON a beer and joins him on the couch, sitting very close to him with a hand on his leg. DON puts his arm around her. They are both smiling. SAM uncocks his gun as AMELIA takes a drink from the beer she gave DON. SAM takes deep breaths as he watches.
CUT TO:
SAM gets back into MARTIN's vehicle and sits for a few moments. He half-smiles as he appears to realize something, then exhales and starts the engine.
EXT. ROAD – NIGHT
The IMPALA drives down a road. "Feel Alright" by Steve Earle plays.
♪ ...just go away ♪
IMPALA – NIGHT
DEAN is driving. DEAN taps the steering wheel in time with the music.
♪ I feel all right ♪
DEAN sings along with the music.
♪ I feel all right tonight ♪
DEAN's phone rings.
♪ Feel all right ♪
DEAN (on phone)
Yeah?
♪ I feel all right tonight ♪
ELIZABETH (on phone, V-O)
Dean?
DEAN (on phone)
H-hang on. [He turns off the music.] Elizabeth?
EXT. GUIDRY'S CAJUN CAFE – NIGHT
The hand with which ELIZABETH is holding the phone is covered in blood and there are drops of blood on her face.
ELIZABETH (on phone)
Y-you told me to call you if I saw... him.
The scene alternates between DEAN in the IMPALA and ELIZABETH outside the café.
DEAN (on phone)
What do you mean? Roy? Is – is he there right now? Elizabeth, what's going on?
ELIZABETH (on phone)
[voice breaking] Just come.
EXT. ROAD – NIGHT
The tires screech as DEAN does a 180 degree turn at a crossroads and accelerates.
EXT. GUIDRY'S CAJUN CAFE – NIGHT
ELIZABETH is sitting on the steps outside the café as DEAN pulls up in the IMPALA. Her hands are shaking. DEAN walks over to her and she points to the inside of the café. DEAN takes a towel out of a pocket and holds it to the cut on ELIZABETH's neck. He puts a hand on her shoulder as he walks past her into the café.
INT. GUIDRY'S CAJUN CAFE – NIGHT
DEAN enters and sees blood on the floor. He walks across the cafe and finds MARTIN dead on the floor in a large pool of blood. MARTIN's bloody knife lies next to him and his neck is badly mauled.
ACT FIVE
INT. BAR – NIGHT
SAM is sitting at the bar. "That Old Familiar Pain" by Jim Wolfe plays.
♪ Tears keep falling down like rain ♪
♪ here it comes, that old familiar pain ♪
SAM takes out his phone and looks at the message from AMELIA:
Sam, I need your help
Come quick
He makes a call to her number.
♪ it's not like I'm trying to account for every love... ♪
IMPALA – NIGHT
A phone rings. DEAN looks around, then leans over and takes a phone out of the glove compartment. The display reads "Sam calling." He answers. The scene alternates between DEAN in the IMPALA and SAM in the bar.
DEAN (on phone)
Sammy?
SAM (on phone)
"Sam, I need your help. Come quick." Nice one. Swapping Amelia's phone out with a burner, sending a distress signal... You got me good. When did you do that?
DEAN (on phone)
While back, in case I needed it. Looks like I made the right call. So, did you see her?
SAM (on phone)
Yeah. Yeah, I saw her. And she's doing just fine. But, of course, you know that.
DEAN (on phone)
Actually, I didn't. I did know it was the only way to get you to lay off.
SAM (on phone)
So? Is it done?
DEAN (on phone)
Yeah, it's done.
SAM (on phone)
Any casualties?
DEAN (on phone)
Martin.
SAM (on phone)
Was it Benny?
DEAN (on phone)
He had it coming, Sam. I'll tell you what happened.
SAM (on phone)
I-I know what happened, Dean.
DEAN (on phone)
Okay, you want to listen to me or not?
SAM hangs up.
DEAN
Damn it.
INT. BAR – NIGHT
♪ ...in my brain ♪
SAM drains his drink and takes money out of his pocket.
♪ tears keep falling down like rain ♪
♪ here it comes... ♪
SAM stands up and turns to leave the bar. He gasps. AMELIA is walking toward him.
♪ Here it comes, that old familiar pain ♪
AMELIA
I knew that was you.
♪ Here it comes, that old familiar pain ♪
SAM trembles as he looks at AMELIA.
END
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