Aired on Tuesday, September 13, 2005, on The CW
November 2, 1983 - Mary Winchester carries in four-year-old son Dean and tells him to say goodnight to his six month old brother, Sam. He clambers over the crib railing. G'night, Sam," he says, kissing his brother. "Good night, love," says Mary, kissing her baby son on the forehead. Papa Winchester greets Dean, who runs into his arms excitedly. John asks his son if he thinks Sam's ready to kick around a football yet. "No, Daddy," answers Dean, knowing he's being teased. "Sweet dreams, Sam," John...
November 2, 1983 - Mary Winchester carries in four-year-old son Dean and tells him to say goodnight to his six month old brother, Sam. He clambers over the crib railing. G'night, Sam," he says, kissing his brother. "Good night, love," says Mary, kissing her baby son on the forehead. Papa Winchester greets Dean, who runs into his arms excitedly. John asks his son if he thinks Sam's ready to kick around a football yet. "No, Daddy," answers Dean, knowing he's being teased. "Sweet dreams, Sam," John wishes his youngest, rubbing Dean's back, and Sammy coos at his father, looking up at the baseball-themed mobile above his crib. After everyone leaves, it starts to turn and play by itself. The clock in his room stops, and the nightlight flickers.
Mary, hearing Sammy crying over the two-way baby monitor in her bedroom, reminds John it's his turn, but realizing he isn't beside her, gets up. We see a photo of her with John on the bedside table. She walks sleepily to Sam's nursery, sees a man standing over the crib and asks, "John, is he hungry?" "Sshhhh!" is the response. "All right," she says. Noting the hallway light is blinking, she taps it until it stops. The sound of the TV set on downstairs makes her check and realize that John is asleep watching a war movie. A STRANGE MAN IS WITH HER BABY! She races upstairs, mother's instinct at full throttle. "Sammy! Sammy!" she cries. She stops at the bedroom door, staring in.
Downstairs, John hears his wife's screams. "Mary?" he calls, racing upstairs. In the nursery, all seems fine; Sammy is smiling at him. Then John notices something drip onto the bed next to the baby, and touches it--blood? Staring up, he sees Mary--ON THE CEILING--her eyes frozen open in horror, her nightgown red with blood over her belly, where she has been sliced open. Backing away in horror, John shouts, "No, Mary!" Suddenly, right there on the ceiling, her body bursts into flames. John shields his face from the blasting heat and reaches for Sam, grabbing him into his arms. He runs into the hallway, where Dean asks what's going on. "Take your brother outside as fast as you can," says John, thrusting Sam into his arms, "don't look back--now, Dean, GO!"
Dean, his brother in his arms, runs downstairs. John returns to the nursery, but it's too late to save Mary. The entire nursery is in flames.
Dean gazes up at the front window where the fire is out of control. "It's OK, Sammy," he assures his baby brother. John runs out of the house, scoops up both sons in his arms, and races away, just as both nursery windows explode outward in a burst of flames and glass.
Firefighters do their best to quench the blaze as John, in shock and grief over his lost wife, clings tightly to both his sons, leaning against his 1967 Chevy Impala.
A hot blond dressing in a sexy nurse's costume tells Sam, "Get a move on, we were supposed to be there 15 minutes ago." We see the same photo of Sam and Mary we had seen 22 years earlier on Mary's nightstand. He really doesn't want to go, even though she assures him it'll be fun--and where is your costume, she asks. He reminds her how he feels about Halloween, but moments later, they're at a bar, his gal toasting his awesome L-SAT victory. He scored 174, which, according to her, is "scary-good."...
A hot blond dressing in a sexy nurse's costume tells Sam, "Get a move on, we were supposed to be there 15 minutes ago." We see the same photo of Sam and Mary we had seen 22 years earlier on Mary's nightstand. He really doesn't want to go, even though she assures him it'll be fun--and where is your costume, she asks. He reminds her how he feels about Halloween, but moments later, they're at a bar, his gal toasting his awesome L-SAT victory. He scored 174, which, according to her, is "scary-good." Humble, Sam tells his friends that he has an interview right here, Stanford, Monday, and if things go well, he'll have a shot at a full ride next year. Jess, Sam's girlfriend, assures him things are going to go great. When asked how it feels to be his family's golden boy, Sam says they don't yet know. Why not? "We're not exactly the Bradys," says Sam. His black friend says his isn't the Huxtables, and over their protests, heads over for more booze. Jess tells Sam she knows he's going to knock 'em dead Monday and get that full ride. "What would I do without you?" Sam asks her. "Crash and burn," she teases, and pulls him in for a kiss, which he deepens with appreciation.
Later, as they'recasleep, Sam is awakened by what sounds like someone breaking in. He spies an open window, sees a shadowy figure and attacks. He finds himself karate kicking and punching someone who overcomes him and flings him on his back. "Easy, tiger," says the intruder. "DEAN?" asks Sam incredulously. Dean, his hand around Sam's throat, laughs. "You scared the crap out of me!" accuses Sam. "That's 'cause you're outta practice," says Dean. Sam quickly reverses them so Dean is on the bottom, now Sam's prisoner. "Or not," concedes Dean, "get off me." They help each other up. "Dean, what the hell are you doing here?" demands Sam. "I was lookin' for a beer," says Dean. "What the hell are you doin' here?" repeats Sam firmly. "All right, OK, we gotta talk," says Dean. "The phone?" asks Sam. "If I'd-a called, would you have picked up?" asks Dean. "Sam?" asks Jess, turning on the light. She's wearing tiny cut-offs and an equally small Smurfs t-shirt. Sam introduces her to "Dean." "Wait, your brother Dean?" she asks. "I love the Smurfs," says Dean, indicating her shirt, "I gotta tell you, you are way out of my brother's league." She just thought she'd put something on, but Dean wouldn't hear of it--seriously--he needs to borrow Sam to talk about some private family business. Sam puts his arm around his girlfriend and tells Dean he can discuss anything in front of Jess. "Dad hasn't been home in a few days," says Dean carefully. Sam responds that he's working overtime on the Miller time shift, he'll stumble in sooner or later. "Dad's on a HUNTING TRIP," says Dean, "and he hasn't been home in a few days." "Jess, excuse us," says Sam, "we have to go outside."
On the staircase, Sam tells Dean, "You can't just break in in the middle of the night and expect me to hit the road with you." "You're not hearing me, Dad's missing, I need you to help me find him!" "You remember the poltergeist in Amherst or the Devil's Gate in Clifton, he was missing then, too, he's always missing and he's always fine." "Not for this long," says Dean, "now are you gonna come with me or not?" "Not," answers Sam. "Why not?" demands Dean. "I swore I was done hunting for good," says Sam. "Come on, it wasn't easy, but it wasn't that bad," says Dean. "When I told Dad I was afraid of the thing in my closet, he gave me a 45," says Sam. "What was he supposed to do?" asks Dean. "I was nine years old!" says Sam--"he was supposed to say 'don't be afraid of the dark'." "Don't be afraid of the dark?--you SHOULD be afraid of the dark, you know what's out there!" Dean reminds him. "But still," says Sam, "the way we grew up after Mom was killed, Dad's obsession to find the thing that killed her--but we still haven't found the damn thing--so we kill everything we can find--" "And save a lot of people doin' it, too," says Dean proudly. "You think Mom would have wanted this for us?" demands Sam. Dean pushes open a door and climbs upstairs. Sam continues, "The weapons training, and melting the silver into bullets?--damn it, Dean, we were raised like warriors!" "So what are you gonna do?" asks Dean, "just live some normal, apple pie life?" "Not normal, safe," amends Sam. "And that's why you ran away," says Dean bitterly. "I was just going to college," says Sam, "it was Dad who said if I went I should stay gone, and that's what I'm doin'." "Dad's in real trouble right now," says Dean, if he's not dead already, I can feel it--I can't do this alone." "Yes you can," says Sam. "Yeah, well, I don't want to," says Dean. Sam considers it, huffs, then asks, "What was he hunting?"
Dean opens the trunk of the Impala to reveal a whole bunch of weapons. "When Dad left, why didn't you go with him?" asks Sam. "I was working my own gig, this voodoo thing down in New Orleans," says Dean. "Dad let you go on a hunting trip by yourself?" smiles Sam. "I'm 26, dude," says Dean, and shows Sam an article--their father was checking out a two-lane blacktopped road in Jericho, CA, where 10 young men went missing over the past 20 years. Their father disappeared while investigating the case three weeks ago, then Dean got this disturbing cell phone message. Sam recognizes EVP distorting their father's voice, and Dean says it's just like riding a bike. After cleaning it up, the message plays a woman's voice saying, "I can never go home." Dean reminds him, "In two years, I've never bothered you, never asked you for a thing." (Yet it appears that Sam's been at school for four years.) Sam agrees to go search for their father for the weekend, but he must be back by Monday morning for the interview. Assuming it's a job interview, Dean tells him to just skip it, but Sam explains it's a law school interview, and "My future on a silver plate."
Later, as Sam slides a weapon (a wicked, curved blade), into his suitcase we never see him use he assures Jessica he's going after his father, who's just deer-hunting along with "Jim, Jack and Jose," and he and Dean are just going to bring him home. She's worried--he never discusses his family, but now he's leaving in the middle of the night to go on a hunting trip with them. He promises to be back on time for the interview and kisses her on the cheek. "At least tell me where you're going," she says, but he's already gone. read less
A young man driving his car tells Amy, his girlfriend, that he can't come over because he's got work in the morning, and that if he misses his father's going to kick his ass. Spotting a pretty girl on the road, he tells his girlfriend he'll call her back. He stops and asks the dark-haired girl in a white dress if she's having car trouble. "Take me home," she asks. Weirdly, when he invites her in, it appears that no one is actually climbing into his car. Noting her exposed breasts and beat-up whi...
A young man driving his car tells Amy, his girlfriend, that he can't come over because he's got work in the morning, and that if he misses his father's going to kick his ass. Spotting a pretty girl on the road, he tells his girlfriend he'll call her back. He stops and asks the dark-haired girl in a white dress if she's having car trouble. "Take me home," she asks. Weirdly, when he invites her in, it appears that no one is actually climbing into his car. Noting her exposed breasts and beat-up white gown, he asks if she's coming from a Halloween party and where she lives. "At the end of Breckenridge Road," she answers in a curious monotone. He says a girl like her shouldn't be out alone. "I'm with you," she says, sliding her dress up to the top of her thighs. He looks away uncomfortably, but gets her invitation, especially when she takes his chin in her hand and turns him to face her. "Do you think I'm pretty?" she asks. "Uh huh," he says, nodding. "Will you come home with me?" she asks. "Hell, yeah!" he says, and takes off very quickly down the road.
They pull up in front of a ramshackle house He protests that she can't live here. "I can never go home," she says mournfully. "What are you talking about, no one even lives here," he says, but she isn't sitting beside him any longer. He exits the car, looking for her, telling her, "Joke's over," threatening to leave. We see him from inside the house, through the window; there's a photo of the woman with two children hanging on the wall. When a bat flies out at him, the terrified young man gets back into his car and drives away as fast as he came. Spotting the woman sitting in his backseat, he crashes through signs on the bridge, where the car stalls. Screaming, he's brutally attacked. Blood and gore splatter the windows inside his car. read less
"Ramblin' Man" plays as Dean offers Sam junk food for breakfast. Sam asks how he paid for the stuff--"You and Dad still running credit card schemes?" Finishing up pumping gas, Dean reminds him, "Hunting ain't exactly a pro ball career; besides, all we do is apply, it ain't our fault if they send us the cards." Sam has been going through Dean's music collection. "And what names did you write on the applications THIS time?" asks Sam. "Uh, Burt Aframian,' says Dean, "and his son Hector--scored two ...
"Ramblin' Man" plays as Dean offers Sam junk food for breakfast. Sam asks how he paid for the stuff--"You and Dad still running credit card schemes?" Finishing up pumping gas, Dean reminds him, "Hunting ain't exactly a pro ball career; besides, all we do is apply, it ain't our fault if they send us the cards." Sam has been going through Dean's music collection. "And what names did you write on the applications THIS time?" asks Sam. "Uh, Burt Aframian,' says Dean, "and his son Hector--scored two cards out of the deal." "That sounds about right," says Sam, "I swear, man, you've gotta update your cassette tape collection." "Why?" asks Dean. "Well for one, they're cassette tapes," says Sam, "And two, Black Sabbath? Motorhead? Metallica? It's the greatest hits of mullet rock." "House rules, Sammy," says Dean, "driver picks the music, shotgun shuts his cakehole." He snatches a tape from Sam and pops it in; "Back in Black" by AC/DC blasts from the speakers. "You know, Sammy is a chubby twelve-year-old. It's Sam, okay?" says his brother.
"Sorry," says Dean, turning up the volume, "I can't hear you, the music's too loud." They drive off, passing a road sign that says JERICHO 7.
Sam hangs up his cell phone; their father is not in the hospital or morgue. They come across a roadblock on the bridge, so Dean fishes in the glove compartment, grabs something out and join the sheriff who is talking to his men down by the ocean and in the empty car--no signs of struggle, fingerprints, footprints--almost too clean--and the missing guy, Troy, was dating one cop's daughter, Amy, who is putting up missing posters in town. Dean saunters over, Sam behind him, and says, "You guys had another one of these, last month, didn't you?" He claims he and Sam are Federal Marshalls, and when the sheriff says they look kind of young, Dean thanks him. The cop explains there's no connection between the three victims, but the last was a townie and in a town this small, everyone knows everyone. Their theory? Serial murderer, kidnapping ring, perhaps, which Dean calls "exactly the kind of crack police work I'd expect from you guys." Sam stomps his foot for the sarcastic remark and thanks the men for their time, walking quickly away. Dean smacks him upside the head. Sam orders him to cut it out, Dean asks him why he stepped on his foot, Sam demands to know why he had to talk that way to the cops, and Dean reminds him the law doesn't REALLY know what's going on! "We're all alone on this," says Dean, "if we're going to find Dad, we've got to do this thing ourselves." Faced with more lawmen--FBI--who ask if they can help them, Dean calls them Agents Mulder and Scully and says they were just leaving. In town, there's a sign announcing an emergency town meeting, and they find Amy hanging up signs searching for her missing boyfriend. Dean introduces them as Troy's uncles, but since her boyfriend never mentioned them, Amy is skeptical. They're from Modesto, which explains the lack of mention, says Dean. Sam says they're searching for Troy, too. Amy and her friend sit down with Sam and Dean, and Amy describes her last phone call from Troy, and that he never called her back. Sam admires Amy's pentagram necklace, a gift from Troy and protection against evil. "Thank you, Unsolved Mysteries," says Dean, and gets Amy's friend talking about a girl who got murdered out on Centennial Road--she hitchhikes, and whoever picks her up disappears forever.
Dean and Sam check the computers at the local library, specifically newspapers dealing with murders on Centennial Road. When Dean comes up empty, Sam takes over, causing his brother to call him a control freak. Sam reminds him angry spirits are born of violent death, so perhaps it isn't murder--he types in "suicide" and up pops the story of Constance Welch, a woman who at 24 jumped off Sylvania Bridge into the river. She left her two kids alone in the bathtub for a short time and when she returned, they weren't breathing and both died. Her husband, Joseph, said their babies were gone and Constance couldn't bear it. "That bridge look familiar to you?" asks Dean.
The brothers stand where, as Dean so kindly puts it, "Constance took the swan dive." Their father must have been here, too, they realize. "It might take a while to find Dad," says Dean. Sam reminds him he has to be back at school by Monday. Dean had forgotten--"You're really serious about this, aren't you?" he asks--"you think you're just going to become some lawyer, marry your girl?" "Maybe--why not?" asks Sam. "Does Jessica know the truth about you?--does she know about the things you've done?" asks Dean." "No, and she's not ever going to know," says Sam firmly. "Well, that's healthy," says Dean, "you can pretend all you want, Sammy, but sooner or later, you're going to have to face up to who you really are." Dean begins walking away. "And what is that?" demands Sam. "One of US," says Dean. "No," protests Sam, rounding in front of him, "I am NOT like you, this is NOT going to be my life!" "Well you have a responsibility," insists Dean. "To Dad?--and his crusade?--if it weren't for pictures, I wouldn't even know what Mom looks like!--what difference would it make?--even if we did find the thing that killed her, Mom's gone, and she isn't coming back." Furious, Dean grabs his brother by his jacket lapels and slams him against a bridge support. "Don't talk about her like that," he says in a dangerously quiet voice. Dean turns away and spots Constance Welch standing on the bridge. "Sam," he calls. As they watch, she topples forward, soundlessly, and falls. Where did she go? they wonder, gazing over the railing. They don't know, but the Impala powers into life behind them. "What the. . ." says Dean. "Who's driving your car?" asks Sam. Dean pulls the keys from his pocket to show that it's being ghost powered--and heading right at them! They run as fast as they can, but only diving over the bridge railing prevents them from being run down.
Sam, who managed to avoid falling into the water below, calls frantically to Dean, who wasn't as fortunate. Dean crawls from the water, sarcastically assuring Sam "I'm super." After checking over the Impala and pronouncing her sound, Dean nevertheless says, "That Constance chick, whatta bitch!" She doesn't want them digging around, that's for sure, says Sam, and asks his "genius" brother what's next. Dean throws up his hands. Sniffing the air, Sam says, "You smell like a toilet," which sends the...
Sam, who managed to avoid falling into the water below, calls frantically to Dean, who wasn't as fortunate. Dean crawls from the water, sarcastically assuring Sam "I'm super." After checking over the Impala and pronouncing her sound, Dean nevertheless says, "That Constance chick, whatta bitch!" She doesn't want them digging around, that's for sure, says Sam, and asks his "genius" brother what's next. Dean throws up his hands. Sniffing the air, Sam says, "You smell like a toilet," which sends the brothers to rent a hotel room. The hotel clerk asks of the Aframians were having a reunion; another of their family rented out a room for a month. They break into room 10 and learn what John already figured out--that Constance was a Woman in White. Aside from empty fast food wrappers, the walls are methodically covered with photos of the dead men; salt and cats' eye shells cover the floor, proving he was worried and intent on keeping something out. They're sure their father would have found Constance's resting place, but Sam suggests she had another weakness; perhaps John checked with her husband. Dean suggests Sam look for an address while he cleans up. Sam tries to apologize for what he said earlier about Mom and Dad, but Dean holds up his hand. "No chick flick moments," he admonishes. "All right," agrees Sam, "jerk." "Bitch," returns Dean," making Sam chuckle. He takes down from a mirror a photo of the two of them as kids together with their father and smiles at it, then listens to a message from Jess on his cell phone.
Exiting the room to get food, Dean spots a police car. The motel clerk points at him and, knowing he's been made, Dean quickly calls Sam and tells him "Five-oh, leave the room." When Sam asks about him, Dean says, "They've already spotted me--find Dad." When the black cop from the bridge comes over to him, asking where his partner is. Dean denies having one, so another cop goes to check for Sam, who is already gone. "Fake US Marshall, fake credit cards--you got anything that's real?" asks the cop. "My boobs," answers Dean, who is shoved down on the hood of the Impala and arrested for his smart mouth. read less
At the sheriff's office, Dean is told he's in a lot of trouble and ordered to give his real name. "Ted Nugent," he says, and wants to know if it's misdemeanor trouble or squeal like a pig kind of trouble. You've got pictures of 10 dead men taped to your wall, along with satanic mumbo jumbo, says the sheriff, boy, you're officially a suspect. Which makes sense, scoffs Dean, since when the first went missing in 1981, I was three. I know you got partners, says the sheriff, one's an older guy--maybe...
At the sheriff's office, Dean is told he's in a lot of trouble and ordered to give his real name. "Ted Nugent," he says, and wants to know if it's misdemeanor trouble or squeal like a pig kind of trouble. You've got pictures of 10 dead men taped to your wall, along with satanic mumbo jumbo, says the sheriff, boy, you're officially a suspect. Which makes sense, scoffs Dean, since when the first went missing in 1981, I was three. I know you got partners, says the sheriff, one's an older guy--maybe he started the whole thing. So tell me--Dean--he tosses John's journal on the desk in front of him--is this his? The sheriff says he leafed through it, looks like nine kinds of crazy, but he found this--and he stops at a clean white page with the name Dean and 35-111 on it. "Now--you're stayin' right here until you tell me what that means."
Sam pays Joseph Welch a visit and shows him John's picture. Came a few days ago, says Joe, said he was a reporter. Right, says Sam, we're working on the story together. Joe's puzzled about what type of story they're working on, given the questions John asked him. About your wife Constance, prods Sam. Where she was buried, says Joe--I got to go through this twice? Fact-checking, says Sam smoothly. A plot behind my old place on Breckenridge, reveals Joe, and he moved because he refused to live in the house where his children died. When Sam asks if he ever remarried, Joe says no--"Constance was the love of my life--prettiest women I ever known." "So you had a happy marriage?" asks Sam. "Definitely," answers Joe, but there's a moment's hesitation. Sam ends the interview, but as he's about to leave, asks Joe if he's ever heard of a Woman in White or Weeping Woman, a ghost story, refers to different women spotted all over the USA. Joe says, "Boy, I don't care too much for nonsense." Sam continues, speaking to Joe's retreating back, "When they were alive, their husbands were unfaithful to them, and these women, basically suffering from temporary insanity, murdered their children, then once they realized what they had done, they took their own lives, so now their spirits are cursed, walking back roads, waterways, and if they find an unfaithful man, they kill him, and that man is never seen again." Lips trembling Joe asks, "Do you think that had something to do with Constance, you smart-ass?" "You tell me," says Sam gently. "Maybe I made some mistakes," admits Joe, "but no matter what I did, Constance never woulda killed her own children. Now you get the hell outta here, and you don't come back!" He turns and walks away from Sam, crying.
"I don't know how many times I've gotta tell you," says Dean, "it's my high school locker combo." The sheriff doesn't believe Dean, but one of his deputies enters and says shots were fired at Whiteford Road, so after asking Dean if he needs the bathroom, the sheriff handcuffs him to the desk and leaves. Dean spies a paper clip in his father's journal and slips it out, grinning. He watches the station house empty out, already free of the cuff, and climbs down the fire escape of the building, the journal in hand. Calling Sam from a phone booth, he says, "Fake 911 phone call, Sammy, I dunno, that's pretty illegal." "You're welcome," says Sam, smiling proudly, and reports that the husband WAS unfaithful; they ARE dealing with a Woman in White, and she's buried behind her old house, which should have been Dad's next stop. Dean shushes Sam: "That's what I've been trying to tell you, Dad left Jericho. I've got his journal." They both know John doesn't go anywhere without that thing, but he did this time, using the same old ex-Marine thing--coordinates. Dean doesn't know where John went yet, and they have no idea what would be so important it would cause him to skip out in the middle of a job. "Dean, what the hell is going on?" asks Sam, but he suddenly looks up and sees that he's running straight through Constance Welch! Sam screeches the car to a stop, breathing hard. "SAM! SAM!" calls Dean through the phone. Seated in the back seat, behind Sam, is Constance's ghost! She makes eye contact with Sam in the rear view mirror. "Take me home," she says, a weird, echoey quality in her voice.
"TAKE ME HOME," orders Constance more forcefully. "No," replies Sam. She locks all the doors. Sam tries fruitlessly to unlock his. The car begins to drive itself, Sam helpless behind the wheel, and pulls up in front of the same house Troy did. Constance's ghost flickers in the seat. "Don't do this," pleads Sam. "I can never go home," says Constance. "You're scared to go home," realizes Sam, checking the now-empty back seat. Seated beside him, she throws herself on top of him. "Hold me, I'm so co...
"TAKE ME HOME," orders Constance more forcefully. "No," replies Sam. She locks all the doors. Sam tries fruitlessly to unlock his. The car begins to drive itself, Sam helpless behind the wheel, and pulls up in front of the same house Troy did. Constance's ghost flickers in the seat. "Don't do this," pleads Sam. "I can never go home," says Constance. "You're scared to go home," realizes Sam, checking the now-empty back seat. Seated beside him, she throws herself on top of him. "Hold me, I'm so cold," she whispers, caressing his neck and chest. "You can't kill me," says Sam, "I haven't been unfaithful, I've never been." "You will be," she promises, in a tremulous, seductive tone that chills the bone, "just hold me." She kisses him, over and over, not aroused, Sam reaches for the keys in the ignition. She draws back, angry, her face turning into that of a skeleton, then disappears with a high-pitched shriek. It's Sam's turn to scream as she digs her fingernails into him; he pulls down his hoodie zipper to reveal what look like five burn holes in his blue t-shirt. Her face, now with skeletal, grinning teeth, are staring at him as she bores her fingers inside his chest like he's a bowling ball. Outside the car, Dean shoots at the ghost, stopping her, but only for an instant; she reappears. Sam sits up behind the wheel. "I'm taking you home!" he rasps, and drives the Impala over the porch, through the house and inside it. "SAM!" screams Dean in terror. After making sure Sam is OK, Dean helps him out of the car. Constance picks up the photo of herself and her two kids, gazes at it, then tosses it away. She sends a dresser at the brothers, pinning them painfully against the wall. Lights begin to flicker in the house, water spills downstairs, and two ghostly children stand on the top step, calling, "Mama! You've come home to us, Mommy!" They appear before Constance and cling to her; Constance screams, and in a fiery explosion, mother and children disappear together, until nothing is left but a puddle of water.
Sam and Dean, stunned, watch it all, then push away the dresser and stare at the remaining puddle. "So this is where she drowned her kids," says Dean. "That's why she could never go home," realizes Sam, "she was too scared to face 'em." "We found her weak spot," says Dean, "nice work, Sammy." He smacks his brother on the spot Constance dug her fingers into his chest. Sam groans and says, "Wish I could say the same for you--what were you thinkin', shooting Casper in the face, you freak?" "Hey, saved your ass," Dean reminds him, "I'll tell you another thing, you screwed up my car, I'll kill you!"
"Highway to Hell" plays as they drive, one headlight out on the Impala. Sam tells Dean their father went to Blackwater Ridge, CO, 600 miles away. Dean's all set to go straight there, but Sam reminds him of his interview. Dean's hurt, but agrees to take him home. "Call me if you find him," says Sam at his front door. "Maybe we can meet up later." "Yeah, all right," says Dean, and calls Sam back to say, "You know, we made a hell of a team back there." "Yeah," nods Sam. Dean takes off; Sam watches him with a sigh. He enters his apartment, calling, "Jess, you home?" He finds a plate of chocolate chip cookies with a note on top: MISSED YOU! LOVE YOU! Hearing the shower running, he eats the cookie, sits on his bed, closes his eyes and lays down. Something drips on his forehead; annoyed, he shakes his head, then opens his eyes. Gasping, he stares up and sees a tableau similar to what his infant self saw exactly 22 years to the day earlier when his mother was murdered--Jess on the ceiling, her hair splayed out, her left arm and left leg bent, her white nightgown red with blood from her stomach. Her eyes and mouth are open, frozen in silent terror. "NO!" screams Sam. At that second, Jess bursts into flames. "JESS!" calls Sam, shielding himself from the fire, which has already begun to fill the room. Dean charges through the front door. "SAM!" He looks up to see Jess burning on the ceiling, grabs his brother from the bed and pulls him, protesting and calling for Jess, out of the flame-engulfed room.
Later, fire trucks and people surround the smoking apartment building. Dean leaves the crowd to join Sam, who looks at him for a long moment, sighs, tosses a gun into the Impala's trunk and says, "We got work to do." He closes the trunk.
Which officially begins the on-road adventures of the Winchesters. read less