Episode Thirteen: Sanctuary

By Dean5339 & LazyCalm

Part One

 



FADE IN:
EXT. STREET-NIGHT


SOUTH PORTLAND. MAINE.
FIFTEEN YEARS AGO...


Music cue – “Rock and Roll” by Led Zeppelin

We angle down on a neon bar sign, an image of Neptune: King of the Sea, holding a beer in one hand and a Trident in the other, his tail flashes between two static positions. This is the sign for Neptune's Bar, a local blue-collar watering hole.

INT. NEPTUNE'S BAR

We PAN ACROSS the long wooden drinks bar, passing close up on the hands of a few patrons holding their drinks. We stop at one pair of hands cupped around an untouched drink, but these hands are sheathed in a pair of black gloves!

A Barmaid named BETH (late twenties, pretty) moves over to the man with the gloves and smiles.

BETH
Want me to frame that for you Father, or do you plan on drinking it before closing?

We see the man look up at Beth looking slightly confused. His name is MELVIN CHANDLER, a tired-looking man in his late-twenties. Looks like he's carrying the weight of the world on his shoulders. Around his neck a white collar hangs loose and torn.

MELVIN
Huh?

BETH
Your drink. You've been staring at it like it was the Mona Lisa or something.
(beat)
Everything okay Father?

MELVIN
It's not “Father”, not any more.
(beat)
I'm no longer a man of God
(beat)
I'm just a man

Beth looks at him, concerned. It pains her to see someone lose their faith in God and the world. Just then a man walks into the bar, wearing a long brown mac covering a well-worn $60 suite that's seen better days. He looks around the bar then locks his eyes on Melvin. Melvin sees him too. The man looks jumpy and slightly unhinged. It's CALEB! He is a young man, his head still shaven but his tired eyes betray his youthful looks.

MELVIN
(sigh)
Not again, please, not again.

BETH
If you need anything Fa-...Melvin, just let me know, okay?

Melvin nods

Caleb pulls up a stool next to him and lights a cigarette

CALEB
Thought I'd find you here.

MELVIN
Thought I'd told you to leave me alone?

CALEB
Maybe you did
(to Beth)
Two whiskies

Beth nods

CALEB
But I guess my memory must be going.

MELVIN
I could always write it down for you, if that'd help?

Caleb gives a hollow laugh

CALEB
You're a funny guy Melvin.
(beat)
Look, I know you don't want to see me and I understand why-

MELVIN
(annoyed)
No Caleb! I don't think you could ever understand could you?

Caleb rubs his temple as Beth brings over their drinks; she gives Caleb a cold defensive glare

CALEB
(glances at Beth)
Talk about service with a smile.
(to Melvin)
The maids here are colder than the beers

Melvin gulps down his drink and looks away

CALEB
Melvin I'm sorry okay, I really am sorry, but we need your help, I wish to God that we didn't but...

Caleb stares intently at his drink

CALEB
It's a young girl, seventeen years old, abducted while on her way home from school two nights ago

MELVIN
(shakes his head)
I can't Caleb. I can't help you

CALEB
Melvin! We don't think she's the first one and if we don't catch him she's not gonna be the last either. We're up against the clock here.

Close up on Caleb's hand as he pulls a brown package from his pocket. He offers it to Melvin

CALEB
It arrived at the station this morning.

Melvin looks at the package then quickly turns away again

CALEB
Melvin please; I'm asking you as a friend, for this girl's sake at least. Please try

Close up on Beth watching from behind the bar. She's overhead everything, she's concerned and at the same time curious.

Melvin picks up the whisky Caleb bought him and downs it in one gulp

Melvin raises his hands and begins to slowly remove his gloves

POV. MELVIN

Staring at his bare hands for a beat

MELVIN
Give it to me!

Caleb hands over the package and watches as Melvin reaches inside and pulls out an empty used syringe

POV. MELVIN

Staring the syringe in his hands. He closes his fingers around it

Close up on Melvin's eyes as he pulls them shut

FLASH CUT:
INT. FACTORY

POV. KIDNAPPER

We see a YOUNG GIRL, seventeen years old, hands tied, blindfolded and cowering in the corner of a dark metallic room. The same syringe comes into view, this time filled with a clear liquid

YOUNG GIRL
(sobbing)
Please...let me go...

MAN (O.S.)
(calm yet threatening)
Don't be afraid. You're never going to grow old, never going to be corrupted by a cruel and vicious world.

The girl sobs

MAN
Sshh, don't cry. You're going to stay as you are; perfect in every way, a picture of innocence.
(beat)
Doesn't that sound wonderful?

YOUNG GIRL
I don't...want to die!

MAN
Of course you don't. But I'm afraid you have to
(beat)
It's for the best

He moves towards her with the syringe and-

FLASH CUT:
INT. FACTORY


POV. KIDNAPPER

The girl is now slumped in the corner. With her blindfold removed we see her eyes are closed, she looks “peaceful”. The man moves over to a table and puts the syringe into the brown envelope; he picks up a large, clear plastic sheet and turns back to face the girl.

FLASH CUT:
NEPTUNE'S BAR


Close up on Melvin's closed eyes, straining at having to see something he doesn't want to

FLASH CUT:
EXT. FACTORY


POV. KIDNAPPER

We're now outside in the dark, surrounded by nothing but desert and dust. We look down to see a shovel discarded on the floor, then turning around to look up at a building behind us, a name across it reads “Shuck's Metalworks”

FLASH CUT:
NEPTUNE'S BAR


a vacuum of silence surrounds

Close up on Melvin's eyes straining to the point where he can no longer hold onto the syringe and he lets go

We TRACK the syringe as it falls from Melvin's hands in slow motion and hits the floor with a slow, loud echo

Close up on Melvin's eyes as they quickly snap open, looking frightened

The noise of the bar suddenly fills the scene again

CALEB
Mel? Melvin? What did you see?
MELVIN
(disorientated)
I...need a drink

CALEB
(to Beth)
One Whisky please

Beth looks stunned but nods

MELVIN
Better...make it a...double

CALEB
Melvin what did you see?

Beth pours the Whisky and hands it to Melvin, watching as he gulps it down, again, in one go

MELVIN
Outside of town....the old Shuck's Metalworks building...she's there.

Caleb quickly gets to his feet

CALEB
I'll get a squad car and an ambulance sent right away
(beat)
Thanks Melvin

MELVIN
For what?
(beat)
All I've told you is where to find her body

Both Caleb and Beth look stunned

CALEB
(beat)
Oh Jesus...

MELVIN
It's too late Caleb, this guy, he doesn't waste time. Probably sent you the syringe just to taunt you. But you're right, she's not the first and she won't be the last.
(beat)
He'll kill again, just like he did this time.

Caleb shakes his head, refusing to give up hope

CALEB
(defiant)
No...no there could still be time. She might still be alive.
(flustered)
I gotta go...I gotta...you're wrong about this Melvin.
(beat)
Dear God I hope you're wrong

Caleb throws a few bills onto the bar, pats Melvin on the back and quickly leaves

Beth watches him rush through the door then turns to look at Melvin nervously

BETH
Maybe he's right Melvin
(unsure)
Maybe there's still time.

Close up on Melvin staring back down at his empty glass, doubtful

CUT TO:
EXT. CHANDLER RESIDENCE-NIGHT


VOICE (O.S.)

Tonight's breaking story-

INT. LIVING ROOM

Melvin is sitting on his sofa watching the news on the TV

FEMALE ANNOUNCER (O.C.) (CON'T)
a man believed to be behind the disappearance and killings of at least three young woman was shot and killed this evening after trying to flee from the South Portland P.D.

POV. MELVIN
Watching the drama unfold on the TV as the announcer makes her report. We see cop cars parked outside the metal works factory and streams of “Crime Scene: Do not Cross” tape being positioned around the area

FEAMLE ANNOUCNER (O.C.) (CON'T)
During the drama, the body of a fourth girl was found buried in a shallow grave by the officers acting on a tip-off from an unnamed source.

Melvin just sits, slumped on his sofa watching the whole tragedy unfold.

MELVIN
I really hate being right

POV. MELVIN

A school photo of the girl flashes up on the screen

ANNOUNCER
The body is believed to be that of seventeen year old MEGAN HARRIS who was abducted while walking home from school two nights ago

MELVIN
(shaking his head)
She had her whole life ahead of her.
(beat)
Why are there so many monsters in the world?

Melvin picks up the remote and switches off the TV. He gets up and leaves the room

INT. HALLWAY

The phone rings

Melvin answers it

MELVIN
Hello

CALEB (O.C.)
You were right

MELVIN
(beat)
I know

CALEB (O.C.)
I'm just calling to say goodbye Mel. I'm leaving town, starting afresh. I think being a cop might be too constricting to deal with what we know is really out there.

MELVIN
Are you sure about this?

CALEB (O.C.)
...Yeah, definitely
(beat)
After this you won't hear from me again Mel. I promise

MELVIN
Promise me something else

CALEB (O.C.)
What?

MELVIN
Promise me you'll be careful

CALEB (O.C.)
(laughs)
Oh that. Yeah I promise.
(beat)
Goodbye Melvin

MELVIN
Goodbye Caleb

Melvin hangs up the phone and heads towards the stairs. He stops in front of the mirror to look at his reflection. Just then he winces and feels a pain in his hands. He looks down and removes his gloves

MELVIN
No!

POV. MELVIN

Staring at his bare hands and seeing a small pool of blood developing in each of his palms

MELVIN
This isn't me!

POV. MELVIN

Melvin looks up at his reflection in the mirror and sees the round exit wounds on the outside of his hands.

The signs of Stigmata!

SANCTUARY

EXT. DESERT


SIPPAR. BABYLON.

ANGLE DOWN to see Pueblos and homes made out of mud bricks. We see beautiful, young, women tending to the house. The men are away on a hunt.

DEAN (V.O.)
In the days, when the children of man had multiplied, it happened that there were born unto them handsome and beautiful daughters.

One of the women looks up towards the sky, a storm is coming.

DEAN (V.O.)
And the angels, the children of heaven, saw them and desired them; and they said to one another, 'Come, let us choose wives for ourselves from among the daughters of man and beget us children.'

Close up on the image of a naked woman embracing a dark red angel. Stay with the image as it transitions into an illustration.

PULL BACK TO REVEAL DEAN WINCHESTER, leaning back against the trunk of the Impala. Reading the pages that Bobby had given him, from The Book of Enoch.

The setting is dark, lit only by the light of the moon and the flickering flame of Dean's lighter.

DEAN (V.O.)
(reading from the book of Enoch)
And the women became pregnant and gave birth to great giants...

Close up on an illustration of a human-like giant, ravaging the land.

DEAN (V.O.)
Whose heights were three hundred cubits. These giants consumed the produce of all the people until the people detested feeding them. So the giants turned against the people, in order to eat them.

Dean stops reading, stunned.

FLASH CUT:
Close up on MARY WINCHESTER, smiling, surrounded by a blinding light

FLASH CUT:
EXT. ROAD


DEAN

Oh God!....Mom!

We see tears start to form from Dean's eyes, he puts his hands to his mouth, trying not to break down.

POV. DEAN

Looking through the rear windscreen at Sam who is asleep in the passenger seat

BACK TO SCENE

DEAN
You're still my brother
(beat)
And nothing can change that. Ever.

Dean turns back to the pages, curious- what the hell are we up against here?

From off-screen we hear the CLUNK of the car door opening. Dean “jumps” and quickly begins stuffing the pages into his jacket

SAM
Dean?

DEAN
Uh...yeah. Back here dude.

Sam walks over to Dean, who is still leaning on the trunk

SAM
Dean, what are you doing out here?
(looks around)
And where are we?

DEAN
(looking at the sky)
Just needed to stretch my legs, you know

Sam nods

SAM
You okay?

DEAN
(eyes still to the sky)
yeah.
(beat)
Man, what a beautiful sight!

POV. DEAN

Looking up at the bright stars in the darkness of the sky

SAM
(wary)
Yeah...I guess so

DEAN
You think Mom's up there, somewhere, watching us?

SAM
Dean, maybe I should drive the rest of the way, you seem a bit...disconnected

DEAN
(laughs)
Sammy, I've never felt more connected.
(beat)
It sounds childish but...Whenever I was alone, I mean, whenever I “felt” alone, I'd always look up at the stars and imagine that Mom was up there, watching over me, a little light piercing through the dark
(beat)
Protecting me.

Sam doesn't know what to say

DEAN
(turns to Sam)
I love you Sammy.

SAM
(laughing, demanding)
Alright Dean where is it?

Sam begins looking around the car and the ground

SAM (CON'T)
(laughing)
You are drunk, man. You've got a flask of Bobby's whisky around here somewhere...

DEAN
(looks to the ground, smiling)
Sorry Sammy, but I'm stone, cold sober.

Sam looks at Dean for a beat

SAM
I love you too Dean

Dean stares at Sam, looking all sappy then-

DEAN
(Beat)
Pansy

Dean pushes himself off the trunk and gets back in the car

Sam stands there, smiles then-

SAM
Jackass

DEAN
come on “Emo boy”. We got us a demon to kill

Sam gets in the car

SAM
I hate you Dean

SLAM as the door shuts

DEAN (O.S.)
I hate you too, Tinkerbell

Suddenly “Rock You Like a Hurricane” by the Scorpions starts blasting from the stereo, as the Impala takes off down the road.

CUT TO:
EXT. MATHESON STREET-MORNING


The Impala pulls up to the curb right outside a row of houses

DEAN (O.S.)
There it is.

INT. IMPALA

POV. DEAN

Looking through the windscreen at one of the houses. The number 214 is visibly nailed to the front door.

SAM
So how do you want to play this?

Dean turns to Sam and smiles

EXT. CHANDLER RESIDENCE, PORCH

KNOCK!

KNOCK!

Dean and Sam are stood right outside the front door.

SAM
Can't believe we're going to pull this stunt again.

DEAN
Quit whining. It worked last time and it'll-

The front door opens to reveal Melvin looking old and disheveled standing, staring at Dean and Sam who are dressed as Priests!

DEAN
(smiling)
Hi there. We're-

Melvin hurriedly SLAMS the door in the boy's faces.

Dean and Sam stand there in stunned silence

DEAN
Well...that was unexpected.

JUMP CUT:

KNOCK!

KNOCK!

INT. MELVIN'S HALLWAY

Melvin opens the front door, this time to see Dean and Sam dressed in their normal clothes

MELVIN
(confused)
Weren't you two priests a minute ago?

POV. DEAN

Looking at Melvin's hands, covered in gloves

BACK TO SCENE

SAM
Melvin Chandler?

MELVIN
(nods)
Last time I looked in the mirror. But I don't do that too often so I'll just take your word for it.

Sam and Dean exchange a glance. Both thinking “This guy is a bit 'tweaked'”

MELVIN
(puzzled)
Who the hell are you anyway?

SAM
I'm Sam this is my brother Dean

MELVIN
(smiles)
Well that's nice. I'm going to close the door now, so...

Melvin begins to slowly close the door

DEAN
(quickly)
We were friends with Caleb!

The door stops moving. Melvin opens it, the look on his face has changed completely.

MELVIN
You'd better come inside then.

SAM
Thank you

EXT. CHANDLER RESIDENCE, PORCH

From a LONG SHOT we see Dean and Sam enter the house as Melvin nervously takes a last look around the neighborhood before shutting the door.

INT. MELVIN'S LIVING ROOM

Melvin slumps into an old armchair in the corner of the room, Dean and Sam sit on the couch opposite.

MELVIN
(picks up a whisky bottle)
Caleb. Man, now there's a name I hadn't heard in a long time.

Dean and Sam watch as Melvin takes a swig from the bottle

POV. DEAN

Looking around the living room. It's messy and unkempt, and there are empty bottles of whisky and liqueur scattered about the place

DEAN
(to Melvin)
When was the last time you spoke to him?

MELVIN
(thinking)
Must've been about fifteen years ago now.

SAM
Then you don't know that he's-

MELVIN
Dead?

Sam nods, surprised

MELVIN
Sure I knew

DEAN
How?

MELVIN
Before, you mentioned him in the past tense, remember?
(beat)
But I knew he was going to die before he did.

Sam and Dean are shocked

SAM
Excuse me?

Melvin holds up the bottle and stares at the pool of whisky remaining

MELVIN
I knew. Don't know how or why but I just...knew
(looks at the boys)
Isn't that a strange thing to know?

DEAN
Did you try and warn him?

MELVIN
Sure did! Told him a few times, some sweet little blonde thing would slit his throat.
(to himself)
Guess that's why he always dated brunettes...

SAM
(getting back on topic)
Mr. Chandler-

MELVIN
Please. Call me Melvin. Mr. Chandler makes me sound like a bad sitcom character.

SAM
Okay, Melvin. Now this may sound strange but...we think you can help us with a problem. Basically-

DEAN
We're hunting a big baddass demon and we'd like your help in killing it.

Sam rolls his eyes. So much for subtlety.

MELVIN
(raises his bottle and laughs)
I'll drink to that!

Sam and Dean watch as Melvin downs the last of the whisky

SAM
So...you'll help us?

Melvin eyes the now empty bottle and slumps back in his chair, with a “defeated” posture. MELVIN
How can I help you?
(beat)
I can't help anyone

DEAN
But, you have the...power, don't you?

MELVIN
You mean to “divine” information from objects? Yes I do
(beat)
I don't do that any more.

SAM
Why?

MELVIN
Because it's a curse. A sick beacon of false hope that helps no one and gives me nothing but nightmares every time I close my eyes
(beat)
Do you have any idea what that's like?

SAM
As a matter of fact, I do

Melvin looks a little taken aback

MELVIN
Then you know why I'm refusing to help you

DEAN
But...we came all this way!

MELVIN
I'm sorry it was all for nothing
(walks over to the drinks cabinet)
you can let yourselves out.

Dean shakes his head, disappointed, gets up.

DEAN
Come on, Sam. Guess we're on our own on this one.

Sam gets up and walks over to Melvin

DEAN
Sam!

Sam ignores him. Stands besides Melvin who refuses to meet his gaze.

SAM
This demon we're after, it had a hand in Caleb's death
(looks at Dean)
It killed our mother

POV. SAM

Looking at Dean

SAM
Almost tore our family apart. And we're just one in a long line of families it's done this to. If you can help us, then please, help.

Melvin's hand tightens around the whisky bottle

Dean walks over to Melvin

DEAN
You know I ain't one for philosophizing but there is a saying that rings true for people like us
(looks at Sam)
and I know it applies to you too Melvin
(quotes)
“The only thing necessary for evil to triumph is for good men to do nothing”

Melvin looks at Dean, unsure

DEAN
You're a good guy Melvin. I believe that, Caleb did too, even if you no longer believe in yourself

Sam smiles at Dean and moves to stand besides him

SAM
What we're up against here, it's bigger than all of us, it's evil and we cannot just stand back and let it win
(beat)
Can you?

Silence for a beat

Melvin glances at a crucifix on the wall

MELVIN
I'll help you.







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