Supernatural s02e18 Episode Script

Hollywood Babylon

Mitch? Ashley? You out here? Come on, guys.
Where are you? Hello? Hello? - Brodie.
- Ashley and Todd, they're dead.
Wendy, they're dead.
Pull it together.
- Pull it together? We don't have a chance.
- We have to get out of here.
- No, we are not leaving.
- We have got to find my sister.
- No.
- No, I am getting out of here right now.
- Brodie! Brodie get back here! Brodie! God, you son of a bitch.
Cut.
What the hell was that? Thanks.
Here you go.
- Thanks, Walter.
McG: Don't mark that.
It's all good, Tara.
That was great.
Uh, let's do it again.
Uh, maybe we try dialing up that scream, huh? I know, I know.
I'm just-- I'm having trouble with the tennis ball.
Oh, you know what? That is for CG registration.
Now, when Ivan and the FX guys are done, it is going to look terrifying.
- Wanna look at the concept sketches again? - No, that's okay.
I'll find it, I'll find it.
I know you will, huh? Okay.
Going again, everybody.
Ten-minute reload for camera and sound.
Wow, man.
I'm telling you, working alone behind the sets or after wrap - Yeah.
- I catch this weird vibe sometimes.
Oh, like what? Like something's watching.
- Come on.
- Hey working on a movie like this, weird crap's bound to happen.
Frankie thinks the stage is haunted.
Like, for real.
All I'm saying is, they call wrap, I get done and I get out of here.
Fast.
That guy is definitely off his meds.
Whoo.
Brodie, come back.
You son of a bitch.
Brodie, come back, you son of a bitch.
Hello? Guys? Come on, it's not funny.
Okay.
Ha-ha.
Very funny.
Hello? Who's there? Now, that's what I'm talking about.
First opened in 1927 the lot has been in continuous operation for eight decades.
Hey, you know this is where they filmed Creepshow? Now, to the right here is Stars Hollow.
It's the setting for the television series Gilmore Girls.
And if we're lucky, we might even catch one of the show's stars.
Come on.
Let's finish the tour.
And then up to the right here we have New York Avenue, and that's where they shot Lois and Clark.
Sam, check it out, it's Matt Damon.
- Yeah, pretty sure that's not Matt Damon.
- No, it is.
Well, Matt Damon just picked up a broom and started sweeping.
Well, he's probably researching a role or something.
Uh, I don't think so.
Hey, this way.
Uh, I think Stage 9's over here.
- Come on, man.
Let's keep going this way.
- No, come on, we gotta work.
You wanted to come to L.
A.
Yeah, for vacation.
I mean, swimming pools and movie stars.
Not to work.
Does this seem like swimming-pool weather to you, Dean? - I mean, it's practically Canadian.
- Yeah.
I just figured that after everything that happened with Madison, you could use a little R and R.
Well, maybe I wanna work.
It keeps my mind off things.
Okay.
Okay.
All right.
So this crew guy, what did he--? He died on set? Yeah, rumor's spreading like wildfire online.
They're saying the set's haunted.
What, like Poltergeist? - Could be a poltergeist.
- No, no, no.
The movie Poltergeist.
You know nothing of your cultural heritage, do you? It was rumored that the set of Poltergeist was cursed.
That they used real human bones as, uh, props.
Like, at least three of the actors died in it.
Yeah, it might be something like that.
- So this crew guy, what's his name? - Frank Jaffy.
Frank Jaffy, you got a death certificate or a coroner's report? Well, no, but, uh, it's L.
A.
, you know? Might not even be his real name.
But the girl who found him, she said she saw something.
A vanishing figure.
- What's the girl's name? - Uh, Tara Benchley.
Whoa, whoa, whoa.
Tara Benchley? From FeardotCom and Ghost Ship, Tara Benchley? Dude, why didn't you say so? Well, so now you're suddenly onboard? I'm just-- I mean, I'm a fan of her work.
It's very good.
Look, don't get me wrong.
Everyone at the studio loves the dailies.
Myself included.
We were just wondering if it could be you know, a little brighter.
- Brighter? - Yeah, Jay.
More color.
McG, you know what I'm saying.
You're the master.
- Brad, this is a horror movie.
- And who says horror has to be dark? It's just-- It's sort of depressing.
Don't you think? Uh, excuse me, uh, green-shirt guy.
Yeah, yeah, you, come here.
Could you get me a uh, smoothie from craft? You want a what from who? You are a PA.
This is what you do.
Yeah, yeah, he, uh One smoothie coming right up.
- What's a PA? - I think they're kind of like slaves.
They'll let anybody into this business, huh? Got it? Yeah.
- Yeah, one of the grips left that.
That's good right there.
Hey, guys.
Come here.
All right, let's go, people.
Thanks, man.
So when Tara's saying her lines, can I step forward - and make this new spot my new mark? McG: Sure, sure, sure, treat yourself.
- Go ahead.
Quiet, please.
Quiet, hold the bell.
Lights.
Hold the noise, we're rolling.
Six, take six.
Mark.
Frame.
McG: Why don't we take it from "Come on, it'll be fun.
" And action.
Come on, it'll be fun.
McG: Maybe you can finish this tomorrow? - I hate you so much right now.
- Cut.
Very nice.
Ready to go again.
So? - No EMF anywhere.
Great.
So, what do you think? Well, I think being a PA sucks.
But the food these people get, are you kidding me? Look at these things.
They're like miniature Philly cheesesteak sandwiches.
Their delicious.
Maybe later.
What did you find out about the dead crew guy? Uh, Frank Jaffy was just filling in for the day.
Nobody here knew him or where he lived.
Oh, great.
So you found out as much as I did.
- Not quite I-- Hey, guys.
Hey.
Oh, hey.
They're wonderful.
Listen, I did dig up some stuff about Stage 9's history.
- Yeah? - Yeah.
Four people died messy here over 80 years.
Two suicides and two fatal accidents.
- Any of those could be a vengeful spirit.
- Yeah.
Just gotta narrow it down more.
I'll get right on that.
I won't say anything.
We've got about four changes.
Hey! Are you supposed to get one of these? I don't really know what I'm doing so-- First day? Yeah, my big break.
You know, I know it's really uncool to say this, but I'm a big fan.
I loved you in Boogeyman.
Oh, God.
What a terrible script.
- Uh, but thank you.
Yeah.
You found him, right, the dead guy? I'm sorry, you probably don't wanna talk about this.
No, actually it's-- It's okay, but nobody around here really brings it up very much.
I think they're all scared I'm gonna have some kind of breakdown.
That must have been awful.
What happened? It was horrible.
There-- There was all this blood coming from his eyes and from his mouth, and, uh I saw this, um What? I saw this shape.
To tell you the truth, I don't know actually what I saw.
I just know I saw it.
Here you go, Tara.
Thanks, Walter.
Uh, so this crew guy, Frank.
I mean, did you know him? Uh, no.
Not that well.
That's funny.
It's like no one around here actually knew the guy.
- I've got his picture.
Um - You do? Yeah, I take Polaroid's of all the crew.
It's just one of those things you do to kill time on set.
- Yeah.
Um Um, right there.
Son of a bitch.
- Gerard St.
James? - Yes.
You're still alive.
- And you're not Frank Jaffy.
Uh, no.
You were Desert Soldier #4 in Metalstorm: Destruction of Jared-Syn? - I was.
I knew I recognized you.
I am a huge fan.
Ha-ha.
Your turn as a tractor-crash victim in Critters 3? - Critters 3.
- Wow.
- Yeah.
- All right, well, please.
Come in.
Oh, cool.
Thanks.
Yeah, it was the producers.
I mean, they brought me in for the day to play Frank.
- Just to fake your death? - Well, rumors of a haunted film set.
Free publicity.
Especially when you're making a horror movie.
I mean, uh, it's already all over the Internet.
Yeah, we know.
Well, these days, it's all about new media.
Building buzz.
They say I'm the new Lonelygirl.
- Who? - And the ghost Tara saw? Projected on a screen of diffusion.
Isn't that kind of cruel? Messing with their heads like that? Hey, I just play the part.
I don't write the script.
Speaking of, I'm playing Willy in a dinner-theater production of Salesman at Costa Mesa all next month.
You get a free pepper steak with the coupon.
Ha.
Well, if you're seen in public, won't that ruin the hoax? Please.
Ha.
Frank and Willy, totally different characters.
You know what? Thanks very much, Mr.
St.
James.
It was just nagging at us, you know.
But we're very glad that, you know you're alive and well.
Yeah.
Absolutely.
Hey, uh, I wanted to ask you, what was it like working with Richard Moll? Metalstorm.
He was Hurok, king of the Cyclops people.
Gentleman's gentleman.
Yeah? Ha-ha.
All right.
Pepper steak.
When we read from that book, we must've brought them back.
Back from hell.
It doesn't matter.
We're not going anywhere until we find Wendy and her sister.
Got it? Good.
Now, let's get busy.
Cut.
Very nice work.
Mark it.
No good for sound.
I'm getting some kind of feedback.
Ugh.
Back to one.
Another costly sound delay.
- We're going again for sound, people.
- Thank you.
No, no, no, look, see, it's great scene.
Really.
Dynamite but I still got a few-- Not-- Not problems, just questions.
Like what? Well, for one thing the rules aren't really landing for me.
Like, the kids do this Latin chant and that makes the ghost show up? Yeah.
See, but if the ghosts are in hell, how do they hear the chanting? I mean, what, do they have super hearing? Well, it's a logic bump.
The rules don't track.
Marty, you're the writer.
What if I throw in an explainer? Yeah, that'd be super.
Excuse me, I gotta check some messages.
Suits.
Has McG seen this? I like the whole body-paint, black-and-white thing, but, gee I don't think those neck wounds are really gonna read on camera.
They need to be red.
You know what I'm saying? Hey, Jay? I need you to speak to Makeup right away.
Yeah? Wait up.
When we read from that book, we must've brought them back.
Back from hell.
But I don't understand.
If they were in hell, how could they hear? They must have super hearing.
McG: What the--? Whoa! Oh, jeez.
Oh-- Wendy.
- Oh, Mitch.
God, you're alive.
You couldn't get rid of me that easy.
McG: Rumble, rumble, rumble! Salt.
Okay, we need salt.
I read in that book that it keeps ghosts away.
Sandra, Logan, you guys check the back.
Jay, the poor bastard killed himself like, for real.
Shouldn't we shut it down or something? We had a moment of silence for him at breakfast.
He was just a studio guy.
Come on.
McG: Shh.
I love you.
I know.
I'm sorry.
Can we--? Can we cut or something? Uh, uh, yeah, cut.
Cut! That's a cut.
Only I can say, "cut.
" Hey, what's up? I'm sorry, I'm just a little upset.
With everything that's been going on around here, who can blame you, huh? I just can't wrap my head around the dialogue.
You know, salt? Doesn't that sound silly? I mean, why would a ghost be afraid of salt? McG: Okay, um - Marty.
Yo.
What do you think? I'm not married to salt.
What do you want? We still sticking with condiments? McG: Mm, just sounds different.
Not better.
- What else would a ghost be scared of? - Uh, you gotta be kidding me.
What would a ghost be scared of? Maybe, uh-- Maybe shotguns.
Okay, that makes even less sense than salt.
These people are idiots.
- Walter's a little testy for a PA, huh? - How's it going in here? It's going good.
Tara's stepped up her performance.
Probably from all the sense memory she's drawing on.
- Sense memory? - Yeah.
When I ask how it's going here, I'm talking about the case, right? We don't really work here.
You know, I thought you hated being a PA.
I don't know.
It's not so bad.
I kind of feel like part of the team.
It's good.
Oh, taquito? They're wonderful.
No, um, listen, I conned my way into the morgue.
And? - News reports are right.
Brad's a doornail, no question.
Copy that.
Sorry, what? - Copy that? - What'd you say? - News reports are right.
Brad's a doornail.
- They're aware.
- Who's aware? - Sorry, what were you saying? Uh, what-- The newspaper's right.
Brad's a doornail, no question about it.
It's a good thing we didn't skip town.
Oh, come here.
I want you to hear something.
Copy that.
On my way.
Hey, Dave, can you play him that thing you were playing me earlier? Sure.
Thanks.
Doesn't matter, we're not leaving till we-- E.
V.
P.
From the night of Brad's stage dive.
All of a sudden, I'm getting electromagnetic readings up the wazoo.
- It's a legit haunting now.
- Who's the ghost, Dean? What's it want? I don't know.
I think we should take a look at Brad's death scene.
Hey, where'd you get this DVD? - They're called dailies.
I got it from Cindy.
She's got this on-and-off thing with Drew.
He dubbed me an extra copy.
Here's where the guy fell through the roof.
Right.
All right, here we go.
They must have super hearing.
Cut.
Hey, wait.
Go back.
Go back.
Right after-- Right after-- Yeah, right.
Wait.
There.
It's like Three Men and a Baby all over again.
Selleck, Danson and Guttenberg.
And I don't know who played the baby.
What's your point? There's a scene where people say that the camera caught a ghost on film.
In the background of one scene there was this boy that nobody remembers from set.
Spirit photography.
I've seen her before.
- Here, check this out.
Got your ears on? Over.
- Yeah, go for Ozzy.
You have your eyes on Tara? No, I don't have a 20 on Tara.
I think she's 10-100.
Copy that.
Send her my way.
Okay, copy that.
I'm sorry, what were you saying? Elise Drummond.
Starlet back in the '30s.
Had an affair with a studio exec.
He uses her up, fires her, leaves her destitute.
So Elise hangs herself from Stage 9's rafters right into a scene they're shooting.
Like our man Brad.
- What, she's got it in for the studio brass? - Possibly.
I mean, it's a motive, and Brad's death matches hers exactly.
We're digging tonight, aren't we? That's a wrap, people.
Six a.
m.
call for crew tomorrow.
Great work, everybody.
McG, you're a genius.
- You're kicking ass and taking names.
- Night, Jay.
Yeah.
Which way? Uh, over here.
Hey.
- Yeah.
Ha.
This map is totally worth the 5 bucks.
We gotta go check out Johnny Ramone's grave when we're done here.
You wanna dig him up too? Bite your tongue, heathen.
That's cool.
Dean, what I don't get is why now? After 75 years, Elise Drummond suddenly goes homicidal, you know.
Why this movie? Maybe she's mad they're making a scary ghost flick.
- Come on, is it really that scary? - Here we go.
Yeah.
- All right.
Yahtzee.
I know.
No, I frigging hate McG's dailies.
I can't control the guy.
I'm telling you, next one, I'm directing myself.
What, you? No, Bob.
You, I love.
You're a genius, you're kicking ass and taking names.
Yeah, okay.
Yeah, talk to you later, babe.
Uh-huh.
What a dick.
Oh, great.
Hey, guys.
Producer walking here.
Hello? Hey.
Hey, pal.
Can you, uh, show me to the exit? I can't see a damn thing here.
Hey.
Hey, putz, I'm talking to you.
Somebody could get hurt here.
Aah! Ow! What the hell? Aah! Aah! No! They never forgive.
Mitch? Ashley? And this summer, they're coming back again to settle the score, again.
You out here? Ashley and Todd, they're dead.
Wendy, they're dead.
These bastards aren't taking us.
Not without a fight.
I'm getting out of here now! Brodie! From the producers Of Cornfield Massacre, Monster Truck.
And the director of Charlie’s Angels, Charlie's Angels: Full Throttle and Hell Hazers, comes a new experience in terror.
We must've brought them back.
Back from hell.
Again.
Hell Hazers II: The Reckoning.
This film is not yet rated.
Run-in with a giant fan.
Same thing happened to an electrician back in '66.
- Guy named Billy Beard.
- What the hell, dude? I don't know.
Doesn't seem like Elise this time.
It's not her m.
o.
We torched her.
Are we dealing with another ghost? - Maybe.
- Yeah, these things don't usually tag team.
Everybody, gather around, okay? Got an announcement to make.
Hold that for me.
Everyone huddle in.
In light of Jay's accident last night and in cooperation with the authorities we're shutting down production for a few days.
I know, I know.
Look, I'm not gonna lie to you, we've had a few setbacks this week.
But we all know what Jay and Brad wanted more than anything and that was to see Hell Hazers II: The Reckoning on screens all across America.
Now, we owe it to them to go on and to pull together and make this damn movie, huh? But not-- Not today.
Go home.
Someone will call you.
Okay, I'll take that.
Wendy, don't.
What, are you afraid of ghosts? Come on, it'll be fun.
Sorry, can I go again? Hey.
Okay.
Hey.
So you find out where the electrician's buried? He wasn't.
Billy Beard was cremated.
Great.
Now what? No idea.
Any more ghost cameos in the dailies? Not in the first six hours.
You know, maybe the spirits are trying to shut down the movie because they think it sucks.
Because, I mean, it kind of does.
McG "Come on, it'll be fun.
" Come on, it'll be fun.
Listen to the invocation.
Dean, that's the real deal.
A necromantic summoning ritual.
What the hell is that doing in a Hollywood movie? No, dude, we're down for a few days.
Force majeure.
Yeah.
It's cool, it gives me time to pitch that time-travel thing.
Yeah.
All right, well, look, get back to me on this, seriously.
No, I'm serious.
Dude, are you serious? Because I'm serious.
All right, cool.
Guys, we're all shut down.
What are you still doing here? Yeah, um, just Sorry, man.
We-- We-- We couldn't help ourselves.
We just had to tell you that we read the script.
And? Yeah.
- It's, uh-- It's awesome.
- Awesome.
Really awesome.
- I know, it's pretty rocking, right? - I'm glad you guys liked it.
- Yeah, I really liked, uh all the attention to detail.
Dude, right on, that's my thing.
I mean, color me guilty, but that is me.
I mean, I'm a total detail buff.
No, I can tell.
The way you worked in all those Enochian summoning rituals in all the authentic language, and What, you mean that Latin crap? No, man.
That's Walter.
Walter Dixon, the original writer.
You like that garbage? Wait, Walter the PA, Walter? He's not a PA.
He's got a clause in his contract that allows him to come on set.
But he wrote the invocations? He wrote a whack-job screenplay.
There's no pace no love interest, it's all wackadoo exposition.
I cut like 90 percent of it to make it readable.
Another 10 percent to make it good.
Ha.
Should've kept Walter's original script.
It's actually pretty good.
Yeah.
And it reads like a how-to manual of conjuration.
Like a textbook on how to summon ghosts and get them to do whatever you want.
- Yeah, like kill people.
- Yep.
Let's say somewhere down the line Walter learned some Black Magic.
Yeah, and let's say he's pissed at these people for wrecking his movie.
Motive and means.
It's worth checking out.
So you wanted to meet? Hey, I'm a little busy here, buddy.
I'm working on a script.
Oh, yeah, you guys worked on it a lot.
It needed work.
Why couldn't we have done this in my office? You know the history, the lore in my draft was completely accurate.
We could've gotten it right for the first time ever in this whorehouse of a town.
But you tore it to shreds.
You replaced it with cleavage and fart jokes.
It was real.
Who gives a rat's ass about real? We're talking about ghosts here, there's no such thing.
That's where you're wrong, Martin.
Okay, nut job.
End of meeting.
Oh, God, no.
Please, no.
You ruined it, Martin.
Everything I worked for.
Oh, God! Walter! You're gonna find out what being a ghost is like.
Walter, please! Walter, help me! You are one hell of a PA.
Yeah, I know.
What are you doing? I could ask you the same thing.
Raising these spirits from the dead making them murder for you, that's playing with fire, Walter.
You don't understand.
You know what, you're right, I don't understand.
Wait, look, you put your heart and soul into something.
Years of hard work.
Years.
And then they take it and they crap all over it! And then-- And then they want you to smile and say thank you.
Walter, listen, it's just a movie.
That's it.
Look I got nothing against you, man.
You're not part of this.
Just please, please, just leave.
But Martin's gotta stay.
Sorry, can't do that.
It's not that we like him or anything, it's just a matter of principle.
Then I'm sorry too.
Walter.
Walter, pl-- Don't.
Sam! Son of a-- Come on, come on.
Come on, come on, move.
"Come to the coast, we'll get together, have a few laughs.
" Oh, man.
- I can't believe these ghosts are real.
What makes you say that? I don't understand.
How is Walter controlling them? Probably with that talisman.
What are you doing? I mean, if film cameras pick these suckers up, then maybe, uh Dean, right there! Got him.
Hey, right there! - Here, you get the idea? - Yeah.
All right, you hold them off, I'm going after Walter.
- I cannot believe there's an afterlife.
- There's an afterlife, all right.
But mostly it's a pain in the ass.
There! It's over, Walter.
Now, give it to me.
There, okay, now no one can have it.
- I wouldn't have done that if I were you.
- Oh, yeah? Yeah.
- And why not? Because you just freed them.
We can't stop them now.
Walter, you brought them back forced them to murder.
They're not gonna be very happy with you.
Yeah, so why not? Oh, God.
Oh, God.
There! I don't understand, how can the spirits appear in the camera phone? The video must pick up their frequencies in a way that our eyes can't.
Right there.
Cut! Oh, print that one.
That's in the movie.
Oh, loved it, kids.
Loved it.
You find out there's an afterlife, and this is what you do with it? I needed a little jazz on the page.
You're one hell of a PA.
Thank you.
Hi.
God, I love this town.