- Act One
- Act Two
- Act Three
- Act Four
- End Credits
Transcript of the Phantom Traveler Episode Commentary with Jared Padalecki and Jensen Ackles
Dean (voiceover): Previously on...
JA: Hey, I'm Jensen Ackles, uh, this is, uh-
JP: Jared Padalecki-
JA: And uh... we are going to watch "Phantom Traveler" with you guys... I love the recap before every episode.
JP: Right, and I love that it goes back to the very first scene of the very first "Pilot" episode.
In Sam's apartment, Dean speaks to Sam and Jess.
JA: Wow, I looked so young back then...
JP: (snorts) A year ago.
JA: (laughs) These 18 episodes have aged me about 18 years-
Blood drips on Sam's forehead and he flinches, opens his eyes, and gasps in horror. Jess is pinned to the ceiling, bleeding.
JP: (laughs) Well that, particular shot right there aged me about 18 years-
JP: -because I had to do about 45 takes of, 'Okay, now you're normal, and you're happy, now break into tears'.
Dean (From 1.02 Wendigo): I think he wants us to pick up where he left...
Sam grabs Dean from behind, jerking him into the motel room.
JA: I love that shot of you pulling me back into the hotel there.
JP: Oh yeah.
JA: That was actually Jared pulling me back into the hotel there.
JP: They told me to really, like, give it to him,
JP: and they were like opened the door and they whispered in my ear, 'Really like yank him back, so it catches him off guard.'
A still frame of a tropical beach scene. Hawaiian-style music plays.
JA: Oh this. Remember? Were you there?
JP: Oh remember- Hawaii- we shot this- Oh that's right
JA: They flew us to Hawaii -
JP: - Oh-
JP: Wait a second.
JA: That's Season 2.
A plane taking off is heard.
JP: That looks a lot like- uh- Cameron Thor.
JA: It does.
JP: He was an, uh, he was an, uh, acting coach that was with us up on "Wendigo". Wasn't here on this day, so I don't know exactly what was going on. They usually film us 8 days and then they... bring the guys in for these-
JA: -Teaser episodes- Teasers-
JP: -Teasers. And shoot for about 2 days, what 2, 3 days?
JA: Yeah. Yeah.
JP: Second Unit?
JA: 2 or 3 days.
Man: Nervous flyer?
Phelps: It's that obvious, huh?
Man: You know, what are the odds of dying in a plane crash? I mean, what? Twenty thousand to one?
Phelps watches him go.
JP: Nice shot Bob Singer, going from the mirror to the man and now back to the- the...
JA: Another fabulous guest star that-that we never met.
JP: Right. (snorts)
Above his head, a cloud of black particles exits a vent.
JA: And enter...
JP: Enter the demon.
JA: Enter the demon.
JP: And a whole, other department of uh, Supernatural, that once again takes about.
JA: It was hard to get that- that smoke to-to go the way that we wanted it to go.
JP: I remember they had what? 30 fans?
JP: 35 fans?
JA: That's a lot of fans.
The pilot, Chuck, turns and addresses a flight attendant, Amanda.
Amanda: I'm doing just fine, Chuck.
Amanda addresses a passenger, while the pilot and co-pilot continue talking, indistinctly.
JP: And there's our featured, guest star of the episode. Who gets to survive the teaser-
Phelps turns, and Amanda sees that his eyes are completely black, except for a sliver of white.
JP: -and come back and spend time with Jensen and myself.
JA: Oh. Black eyes. That's not normal.
Amanda: Um...uh, 11F, that's the, uh.
Passenger: I know.
Amanda: middle of the plane, on...
JP: I know when we very first got these roles, and when I read the "Pilot" in the first place and- then ending up booking the show with Jensen... Um, I remember sort of getting a sense of, it was going to be a lot of responsibility, especially with only two series regulars, which I'd never even heard of before. It was going to be mostly he and I, and um, most of the scenes are - both he and I, so it's not like 'He's working, I get a day off' or 'I'm working, he gets a day off'. Um, I- I- had no idea what was in store for me. I had (laughs) no idea. The hours and ah, the sort of the time and responsibility and I-and I enjoy the responsibility but it certainly is, it's-it's a big load.
JA: I think that uh, you know, I think that-that Jared and I both were-were so excited about this project when David Nutter, uh, approached us with it and talked to us about it and we read the script and just realised what a- what a- an awesome storyline and- and what great characters had been written and just the promise of what could be, that we were at - probably a bit blinded by the uh- by what could-
JP: (laugh) Excitement.
JA: By the excitement of it that-that we didn't realise, that this was going to be quite a-a daunting task and um. Not to say that, uh, that we regret it, but it's been an awesome ride and it's just uh, I would say the workload, um, is a-is a good problem to have.
JA: I mean, I-I-I definitely have enjoyed, uh, working, getting to know Jared and it's been awesome like on-and-off camera relationship and- and it's...
JP: And I know that Jensen has enjoyed gettin' to know me-
JP: -and to work with me. (chuckles) Just kidding. (chuckles)
JA: He's- he's super humble.
JP: I've enjoyed- I'm-(laughs)
JA: And he's- (chuckles) He's a-
JP: I'm better at humbleness than anybody.
JA: (chuckles) Um, and I-I-I think that ah, that all parties involved um- In the beginning it was such a... um, a...a neat project that everybody really wanted to do their best in, and I-I-I think, that, uh, it's still carried on today. And um, even though we're, you know, strung out and we're working long hours, and I know the guys down south are working their-their butts off as well, it's um, you know, we-we feel like we're doing something really great and uh, that's gratifying.
JP: Yeah. And uh, you know, like, like he was saying- he touched on- the show is just... just brimming with potential and um... and ah... we are both just stoked and excited about what could be and what was going to be and what now is, and I think we're-we're finally at the end of first season one, catching our stride and really gettin' ahold of things and we've been working our butts off the past 7 - 8 months as of yet, and I look forward to lots more years of that.
JA: And just honing it in and-and-and you know, kinda smoothing it out and oiling up the machine and I think we're, uh, I think we're really finding our stride. And uh- I think uh, I think Season 2 could be uh, could be ten times better than Season 1.
Sam: This job. Man, it gets to you.
Dean: You can't let it. You can't bring it home like that.
Sam: So, what? All this it...never keeps you up at night?
Dean shakes his head.
Sam: Never? You're never afraid?
Dean: No, not really.
Sam scoffs and reaches under Dean's pillow to pull out a large hunting knife and holds it up as evidence.
Dean: That's not fear. That is precaution.
Sam: All right, whatever. I'm too tired to argue.
Dean's phone rings.
JP: Now this scene, I believe we filmed at the end of the day, at the end of the episode, and um, I'm chewing right now and you can't see because they cut it out but I had to eat a donut and uh, they really made me-
JA: Here you go, here you go, chewing away, buddy.
JP: -bite into a donut and I'm chewing away, and they're like, 'We need to see you bite into the donut,' and I don't think it's ever going to show me bite into the donut. So I ate about fifteen donuts.
JP: And they never even showed it. Actually, I look like a cow, chewing on it's cud.
JA: That's pretty much your daily quota anyway, isn't it?
JP: (chuckles) Thirty is my daily quota.
JP: That was a light day.
The Impala drives along a road and off the edge of the screen.
JP: There she is, good old Impala.
Jerry: -so quick. I ought to be doing you guys a favor, not the other way around.
JA: He was great.
JP: He really was.
Jerry: Dean and your Dad really helped me out.
Sam: Yeah, he told me. It was a poltergeist?
Man: Poltergeist? Man, I loved that movie.
JA/JP: (cracks up)
JP: 'Poltergeist? Man, I love that movie!'
JA: Totally added in post-
JP: Totally added afterwards. No one said anything-
JA: Ah-it was so great-
JP: as we were walking down that hallway. We were shooting this at, uh, Vancouver International Airport, YVR, at the- sort of- private, uh...
Jerry: Well, he was real proud of you. I could tell. He talked about you all the time.
Sam: He did?
Jerry: Yeah, you bet he did. Oh, hey, you know I tried to get a hold of him, but I couldn't. How's he doing, anyway?
Dean: He's, um, wrapped up in a job right now.
Jerry: Well, we're missing the old man, but we get Sam.
JP: Oners! Well done, Bob Singer.
JP: This shot all played in one-
JA: They should play this for every new director we have.
JP: Righ- (laughs) Nice use of oners. The more steady-cam shots we have, the less time we have to film, because they just do about- you know, maybe five- what do you think - maybe five or six?
JA: Yeah, five or six takes.
JP: Five or six of the whole scene.
Jerry: I listened to this. And, well, it sounded like it was up your alley.
JP: As opposed to covering this person, covering that person as we're doing in this scene. Think. Think Sam, think.
The boys listen attentively.
JA: Look at that. Searching... Searching...
There is a loud roaring whooshing sound that repeats twice, before going silent.
Jerry: Took off from here, crashed about two hundred miles south. Now, they're saying mechanical failure. Cabin depressurized somehow. Nobody knows why. Over a hundred people on board. Only seven got out alive. Pilot was one. His name is Chuck Lambert. He's a good friend of mine. Chuck is, uh...
JA: I'd love to point out the lighting in this scene, is- is-
JP: Oh right.
JA: Serge Ladouceur, our-our amazing DP uh, who- who definitely... should-should get a lot of credit for the look of this show. I mean, he does an amazing job lightings.
JP: And he does it so... quickly too.
JA: And effectively. And efficiently. And he- it's really- it's really, uh-
JP: For the amount of work that we have to do everyday, and come in... uh, without getting too much overtime, he really does an amazing job.
JA: He's a pleasure to work with. He's great.
Sam is waiting by the car outside a Copy Jack. As Dean exits, an attractive woman enters.
Dean politely holds the door for her, checking her out, before heading over to Sam.
JP: And there was Jensen's little... addition, checking out the girl. (chuckles)
JA: Always checking out the girls, man.
Sam: That's pretty illegal, even for us.
Dean: Yeah, well, it's something new. You know? People haven't seen it a thousand times.
They get in the car.
JP: (fighting to keep from laughing) Something happened that day, and I don't remember what. I was trying to figure out what - (snorts)
JP: When we filmed at that- uh- that Copy Jack. I forget, there was something interesting that happened. But, I'm searching my mind for it.
JA: Maybe the fact that we were shooting on a busy street and ..?
JP: Oh, right.
JA: (starting to crack up a little) We couldn't get any lines in because of sound.
JP: Oh! That's what it was, it was, like construction next door!
JP: Yeah- -yeah we were shooting this shot, we had to keep on cutting... and uh, there was construction next door, then there were big trucks flying by and then there were people yelling and talking so, we had to keep on holding a little bit because it's really important for us to uh, be able to record the lines the first time. When we were actually saying them.
JA: In between that and in between your cellphone ringing in your pocket.
JP: Right. (laughs)
Dean: All right, so, survivors, which one do you want to talk to first?
Sam: Third on the list: Max Jaffe.
Dean: Why him?
Sam: Well, for one, he's from around here. And two, if anyone saw anything weird, he did.
Dean: What makes you say that?
Sam: Well, I spoke to his mother.
The Impala is parked in front of the gate to a building with a sign out front reading RIVERFRONT PSYCHIATRIC HOSPITAL Private Care Facility.
Sam (voiceover): And she told me where to find him.
JA: I teed it up, 'What makes you say that?'
JA: Knock it down.
JP: I knock it down. Brrrgg!
Max is walking with a cane between Sam and Dean.
Dean: Right. Some new information has come up. So...
JA: Is that a character choice on the cane, or was that-was that written?
JP: I think- I think it was written.
JA: Was it?
JP: I remember liking this guy. I sat down and uh, played some chess with him because this was set-up at a Psychiatric Ward. So I played chess with him a little bit, and then I played chess, I believe with Cyrus Yavneh, our producer,
JP: so I had to make sure to beat him, just to scare him a little bit.
JA: Jared is a, uh... quite the chess player, I must say.
JP: 'Chess? What chess? You have any money? Maybe we could play for-? Well, I've never played before, uh...'
JP: (laughs) Yeah. Shark. (laughs louder)
Max: I...I don't want to talk about this anymore.
Dean: See, I think maybe you did see something up there. We need to know what.
JA: Dean's tactful interrogation here.
JP: Yeah, Dean... isn't much on uh, the soft and sensitive side.
Sam faces Max, and takes a deep breath.
Sam: It's okay. Then just...
JA: Good cop, bad cop.
JP: Good cop, bad cop. It's always necessary to have one guy prod him who -
JP: and the other person play the other angle, feel-it-out sort of guy-
JA: I set him up, you knock him down. (laughs)
JP: There you go. Team work.
Max: And, uh, he had these...
JA: Oh man, there's the eyes again.
JP: There's the eyes. There's a- It's sort of a-
JA: We probably shouldn't even break into that story-
JP: -A running gag. A lot of, uh, eyes in every episode.
Max: I thought I saw him...
JP: This was, what episode number was this? We'd done the "Pilot",
JA: This is three.
JP: Then we did-
JP: "Wendigo", "Hookman".
JA: And then... "Phantom Traveler".
JP: "Phantom Traveler". So this is ri-
JA: No. No, no, no, no. No, we did "Dead in the Water", and then "Phantom Traveler".
JP: Right, right, ok, so- I guess, episode number four?
JP: So we filmed this in, uh, September, 2005. So this was pretty early and uh, it was still gorgeous here in Vancouver. You know, it was, pretty uh, pretty sunny, not very much rain and pretty warm and we were all still getting to know each other all and the crew...
JA: I didn't even know your name at this point.
JP: I- right. I'd actually inten- never seen you before-
JP: Um, I think actually this scene right here was the first time I ever actually saw you.
JA: Right. 'Cos they brought you up to Vancouver back in July and I did most of my coverage in L.A.
JP: Right. Right, right. And I did- And they brought me here to Vancouver just so that I could connect... to um, to Tahiti.
JA: (cracks up)
JP: (sniggers) So I could do my coverage. (quietly laughing) 'This is a connection flight.'
JA: I don't even know what that means.
JP/JA: (cracks up)
Dean and Sam get out of the car and look up at the home of George Phelps' widow.
Sam: But maybe this guy-
JP: In the background there, that, uh, (snorts) I seem to remember that it was somebody who saw that we were filming, so she took her dog, and wherever the camera's facing, she would run right back there and play-
JA: She would place herself right in there-
JP: Right. (laughs) She was a star in the making. She- you know, we shot in one direction and she decided to play with her dog in that direction-
JA: Oh, and there was- There was a rugby game.
JP: There was a rugby game going on-
JA: And they tried to stop 'em from playing and I was like, 'Come on, just let 'em play'-
JP: That's right. There was a rugby team with about- you know just a pick-up game of rugby, with about, you know, 15 pretty big guys, 180 to 220 pounds, probably every-every person and they send out a Production Assistant, little PA, probably about 150 pound guy (chuckles) to go out. They tell him, 'Hey, can you uh- get those guys to stop playing rugby, it's kind of messing with our shots'. So here's this little guy who's running out, tryin' to go, 'Excuse me, sir. Um, Can you- Can you not play rugby?'
JP: I felt bad for the guy. I thought we were gonna watch him get his butt kicked, right?
JA: I know.
Sam:...strange about him, anything out of the ordinary?
Mrs. Phelps: Well...
JA: So many guest stars.
JP: So many.
JA: So many. They just-just like, come and go.
JP: Can you name them all?
JP: Know her name?
JP: (cracks up)
JA: I have a list in my trailer.
JA: Never heard back.
JA: Yeah... Whoa. (laughs)
Sam and Dean come down the stairs out front and onto the sidewalk.
Dean: You know what we need to do is get inside that NTSB warehouse, check out the wreckage.
JA: Another oner. Lovin' it Bob.
JP: Bob Singer. Can't wait to get ya back next episode.
JA: Alright, here we go.
JA: A little homage
Dean and Sam exit a store, "MORT's for style", wearing crisp black suits with white shirts. Sam adjusts his collar.
JA: to the Blues Brothers.
JP: Now for that shot, they rented out just a little boutique... that was sort of an uh- either a maternity boutique?... or maybe an elderly boutique. I remember, there were two people in there. One was, I guess, the store owner, and the other was maybe a customer or uh-
JA: Didn't we stand in the window and model?
JP: We stood in the window and we modelled (trying to hold back chuckling) and people would walk by- (chuckles)
JA: -and actually think we were - window decor-
JP: Right, right. And then the people inside were looking at us like- I think they-they recognised you from either Dark Angel or Days of Our Lives.
"Paranoid" by Black Sabbath plays. They show their badges to the security guard, who nods
JP: Good old Ozzy Osborne.
and buzzes open the security door for them. Inside, the plane wreckage is spread out over an outline of the plane.
JP: Now this is, uh- this is Jerry Wanek who made this look so fantastic.
JA: Yeah, another- another amazing set by-by Jerry Wanek. He's amazing.
They walk among the wreckage; Dean pulls out a device and puts earbuds in his ears.
Sam: What is that?
Dean: It's an EMF meter. Reads electromagnetic frequencies.
Sam: Yeah, I know what an EMF meter is, but why does that one look like a busted-up walkman?
Dean: 'Cause that's what I made it out of. It's homemade.
Sam: Yeah, I can see that.
JP: (laughs) That was always one of my favourite moments.
JP: I seem to remember laughing in all my coverage.
JA: A little Dean- a little Dean comedy thrown in there.
He turns and slowly walks among the pieces once more. Sam is following, looking around.
JP: Coming up here - the way things work out, usually with, uh- with sharp knives and with guns and with this and with that - is, well, especially with knives in particular - because I'm about to pull out a knife - there's usually a sharp one, that the actors kind of aren't allowed to touch, and then there's a dull one that they give you for on-film-
JA: That's when you cut yourself.
JP: This is when I cut myself. They've given me a pretty sharp knife, and so I open it up, and my job is to, basically, cut off this supernatural residue, sulphuric residue, if I remember?
JA: Hm - mm -Cut it right open-
JP: And, um, sure enough, when I was cutting it off, I ended up wiping it off the blade and slicing my thumb right open.
JA: This is why we're not allowed to play with nice things, Jared.
JP: This is- Exactly. And I've sort of ruined it, because from then on, I, uh, was not allowed to touch sharp things.
The agents and several security guards rush back to the warehouse. Sam has finished, and the boys turn to go.
JP: Sam and Dean have very good hearing. (chuckles)
The security detail bursts in, guns drawn, and search, but they see nothing. Dean, then Sam, peer around a corner and walk out casually.
JP: This was pretty fun.
JA: This is actually on the tarmac.
JP: We were
They run to the gated exit. Pulling off his suit jacket, Dean throws it over the barbed wire at the top of the fence
JA: So hard to take this jacket off- and then it was so useless-
JP: Right. And at YVR, you know, they, they uh, knew that, uh, we were filming a show and they knew what it was called and what-not, that we were the two actors, but still every time we had to walk out on the tarmac, there had to be a specific person from the, uh, from the airport-
JA: To walk you out.
JP: To-to walk you out, just to make sure.
JA: Yeah. High security.
JP: There's not just a big, but super-super high security, you know. There's someone watching and there's security sitting there parked on the side of the building, um, keeping a really sharp eye on you so, uh... security, pretty sharp.
Chuck:...the waiting is worse.
Copilot: Okay, they're filling up the tank. Then we go.
The copilot gets up and leaves. Chuck takes a drink of coffee.
JA: Aaand.... There we are.
Behind him, a cloud of black particles exits a vent.
JP: There it is. Remember, that was really hard to control that smoke.
JP: That guy took a big ol' inhale of a cigarette, huh?
Chuck rubs at the stress headache he has, the the cloud surrounds him
JP: I hate it when I'm rubbing my forehead and a demon goes in through my nostrils.
and rushes into Chuck's eyes.
JA: Don't you?
JP: It's really one of my least favorite parts.
JA: Most inopportune time - you know, when you're on the toilet and the next thing you know-
JP: It's just like -you know, man? I'm rubbing my forehead, I'm on the toilet. What? Why? Why now?
Jerry:...stuff is covered in sulfur.
Sam: You're sure?
Jerry: Take a look for yourself.
Banging sounds from outside the office.
Man: You effin' piece of crap...
Jerry: If you fellows will excuse me, I have an idiot to fire.
As Jerry leaves, Dean goes over and looks into the microscope.
Jerry: Hey. Einstein. Yeah, you. What the heck you doing? Put the wrench down-
Dean: Hmm. You know, there's not too many things that leave behind a sulfuric residue.
Sam: Demonic possession?
Dean: It would explain how a mortal man would have the strength to open up an emergency hatch.
Sam: If the guy was possessed, it's possible.
Dean: This goes way beyond floating over a bed or barfing pea soup. I mean it's one thing to possess a person, but to use them to take down an entire airplane?
JP: Now, I'm not sure exactly what I'm doing there with the collar outside of the jacket. I seem to remember asking if I could just - go relaxed and maybe put it outside.
JA: Yeah, I- I-I think I have a picture of that from 1989.
JP: Yeah, I think it was actually 1979. (muttering) Not exactly sure what I was thinking... there.
Copilot: How you feeling?
Chuck: I feel great.
Copilot: You'll be back flying jumbos before you know it.
JA: Well, this is a nice, uh, this is a nice effect here, when this sucker goes down. It goes through the power lines-
JP: Right. Once again, all this stuff is done. By the time they're shooting these, uh, these scenes right here, we're doing a whole new episode, I think. Whatever filmed after "Phantom Traveler", was that "Bloody Mary"?
JP: With, yeah, that was-
JA: Look at this, right here. This is nice, this is a really nice shot.
A tractor is trundling by as the plane suddenly appears, crashing into a telephone pole and then the ground.
JP: Really talented, talented visual effects department.
JA: Yeah, yeah. I remember being pretty impressed with that one, when I saw it.
Dean and Sam are in a motel room. The camera pans across open books on the side table,
JA: We, uh- We get a script in about, what? About a week in advance?
JP: It used to be like a week in advance. It seems like now it's gettin' more-
JA: A few days before we start filming and, um... And then we'll shoot 8 days Main Unit. And then we have a full-on Second Unit that shoots, uh... Maybe a day or two?
JA: And, uh, usually everything that-that's not... involving, uh- Jared and I directly - is-is uh... is pushed to Second Unit, uh... simply because they've got to shoot-
JP: So much.
JA: -all of us to get us out and move us on to the next episode, so a lot of the teaser stuff and a lot of the stuff outside of, uh, of us, uh, gets shot in second unit, which uh, is just the way it has to go.. to move the show along.
JP: Another really interesting thing about our show in particular is, I know, when, uh, I was filming Gilmore Girls for instance - and I don't know how it was on Smallville for Jensen - but on Gilmore Girls pretty much every episode was 8 days on the studio lot - in a stage or there on set - and here on our show, we usually suit-shoot about 6 days out of 8. We shoot an 8-day shooting schedule, so if we start episode on Monday, we shoot Monday, Tuesday, Wednesday, Thursday, Friday, we have off Saturday and Sunday, and then we shoot next Monday, Tuesday, Wednesday. And we shoot 6 of those 8 days per episode on location, and generally the only two days we shoot on stage are the days in the motel.
JA: A lot of locations. Probably the most location show ever, that I've ever worked on...
JP: Um, Really, the most I've ever heard of,
JP: other than, like, maybe Route 66 of, uh, of the past.
JA: Yeah... Um, you know, this-this goes back to the gratification of it-it all, watching the-the final product and-and seeing all the elements coming together 'cause you know there's so many - so many parties involved, I mean, You know, we're sitting here in-in Don's truck and-and you know, you've got the sound, you've got the crew, you've got the lighting, you've got the cameras, you've got the post production, you've got the visuals, you've got- You know, it's such a long chain to the end product and-and everybody's very, very important link and, uh, to see it all come together, and to see it all fall in place and to see something that's entertaining is, uh, you know, it puts a smile on my face.
JP: I think I sort of realised watching this show, that one of the reasons I don't like watching myself is 'cos I can remember so well what's going on? That every time I'm watching something that I've... worked in, I'm just thinking like, 'Oh yeah, I remember what I ate before this take,' or I remember what I- (chortles) -when-when I slept the night before, I remember this and my mind kind of wanders. But this, having been filmed se-several months ago, I- and sort of being able to watch it, uh, a little more detached, a little more as an audience member as opposed to as someone who was involved in the project, I enjoyed it quite a bit and I'm really proud of this episode and it was only episode four and I-
JA: -it's entertaining-
JP: uh- I Yeah, it was entertaining, at the risk of sounding... you know, Proud. Um, I enjoy the work and I enjoy some of the moments and um, It seemed like a really enjoyable show. Good job, Bob.
JP: I remember reading the "Pilot" and thinking- Before I read the "Pilot", I was sort of... wary to do... I don't want to say a TV show, but sort of wary to do any work at all. (starts laughing) I was sort of - living a great life, uh- in my house, and my dogs, my girl and my friends. And I like, 'uhhhhh...' you know...
JA: But how much richer is your life now that you've met me?
JP: I mean, uh- Millions of dollars.
JP: Oh wait, what? Say it- Oh richer like - that quality?
JA: I hate you.
JP: (laughs) No, my life has definitely changed since I met Jensen. I'm so happy as a person just knowing that I'm- basically, that I'm not him.
JA: Your cup runneth over, man.
JP: My cup runneth over. No, so I remember really, really enjoying this character and really enjoying Sam Winchester and - the relationship he has with his brother, Dean,
Dean and Sam run into the airport and over to check the Departure board.
JP: and uh... uh, I feel awkward talking about this with Jensen sitting right next to me but I remember meeting Jensen and just being very relieved because I met a lot of people out of Los Angeles that I just -
JA: (starts snoring)
JP: (laughs) He's sleeping, so good, I can talk about him. Anyways,
JP: I hate Jensen's guts- Oh, Jensen, he's awake-
JP: he's awake - I love Jensen, and um ... No, I remember getting along with him pretty well, we're both Texas boys and uh, and actually, to interrupt myself- This is at YVR Airport once again, and this is a fun scene because we- I think this day we started with Second Unit where we had to shoot pick-up shots of "Wendigo"-
JP: -Which was our first episode after the "Pilot" episode-
JA: Right, I don't even know how you remember that.
JA: I don't know what I did most mornings.
JP: And then - Well, this is why I remember - because we-we did a Second Unit show and I think we got picked up at about 12? At about 12 Noon, and did some work for "Wendigo", which was the... second episode, like I said, the first one after the "Pilot", and then we went to YVR Airport and shot from about 5pm 'til about 5am.
JP: I remember that because I was on a flight that next morning. I remember getting to the flight and saying - to myself, 'I was filming here three hours ago,' and so here we are, this was probably, you know, 11 at night. I remember that, uh, that day for lunch on the first unit we had had Mexican food, we had had churros, and remember we were watching Italian Job? In my trailer, the original Italian Job-
JA: That's right.
JP: -And um, Yeah that was a good time. We had a bunch of, uh, churros. We have a great, uh, catering crew as well on our set -
JA: We have a great crew, period.
JP: We have a great crew up here. The people are really enthusiastic about the show and they enjoy working on it, and we enjoy working for them, and we got a bunch of hard workers out here.
Dean is caught, and tries for flippancy.
JA: This was a fun scene to do, where, where Dean uh-
JA: Welcome back, Jared,
JA: How ya doin'? We're actually doing the commentating now. On the show.
JP: Well geez- Oh hey! Gate 13!-
JA: This is, uh-
JP: -Gate 13! That must be unlucky! I guess that- You know, them...
JA: Uh huh, Numerology there, ohhh...
JP: oh, Numerology ...
JP: Well, that's actually the terminal that,
JA: We fly out of-
JP: uh, We fly out of! Jensen and I, every week. This is the Alaskan Airlines terminal at-at Vancouver Airport and that's where he and I usually show up at 5:30 in the morning to catch our flights
[Clinking sound of coins, not part of the scene on screen]
JP: to Los Angeles. Ooh, that's um-
JA: That's uh, that's uh- My dumbbells.
JP: Coins fell out of- My dumbbells. My dumbbells.
JA: I'm curling right now.
JP: We work out in this trailer as well.
JA: Which I gotta say, the Vancouver Airport is probably one of the most beautiful airports I've ever seen.
JP: Second only to maybe, Tahiti? Fiji? (sniggers)
JA: Cook Islands.
Sam starts to head out, but Dean just looks at him anxiously. Sam turns back.
Sam: Are you okay?
Dean: No, not really.
Sam: What? What's wrong?
Dean: Well, I kind of have this problem with, uh...
Dean: It's never really been an issue until now.
Sam: You're joking, right?
Dean: Do I look like I'm joking? Why...
JA: The whole Dean-afraid-to-fly-thing was, uh- I remember reading that and I was like, 'Oooh man. This is gonna be a field day.'
JP: (chuckles quietly)
Dean: You said it yourself, the plane's gonna crash.
JP: I remember reading that and going, 'Dean, you pussy.' (laughs)
Dean: Really? Man...
Intercom: Flight attendants, please cross-check [something] before departure.
Dean, in the aisle seat, is anxiously reading the safety card.
Sam: Just try to relax.
Dean: Just try to shut up.
The plane takes off, with Dean bracing himself at every rumble.
JP: This was a really fun, sort of... series of scenes to shoot because, up until this point, Dean's been the heroic, you know, 'nothing phases me'... both guns blazing-
JA: Yeah, this is kind of the first chink in the armour that you see.
JP: Yeah, this is the first bit that we get to see Dean's character. Uh, at least that Sam gets to see his older brother in the light of, 'Aaaah, so you do have a little Achilles' Heel.'
JA: Aw... Where's the cut to the white knuckles, Bob? Come on!
JA: I was gripping that seat so tight, I think I might have chipped a tooth.
JA: (mutters) Yeah. I know.
Sam: Look, man, I get you're nervous, all right? But you got to stay focused.
Sam: I mean, we got thirty-two minutes and counting to track this thing down, or whoever it's possessing, anyway, and perform a full-on exorcism.
Dean: Yeah, on a crowded plane. That's gonna be easy.
Sam: Just take it one step at a time, all right? Now, who is it possessing?
Dean: Well, it's usually gonna be somebody with some sort of weakness, you know, a chink in the armor that the demon can worm through. Somebody with an addiction or some sort of emotional distress.
Sam: Well, this is Amanda's first flight after the crash. If I were her, I'd be pretty messed up.
Dean turns to a flight attendant, who is not Amanda.
Dean: Excuse me. Are you...
JA: Bob is, uh, Bob Singer or-or Robert Singer as he's credited.
JP: Robert, Sir Robert.
JA: Sir Robert Singer. Uh, Bob is, uh, one of our uh, Los Angeles producers. He's an executive producer on the show and he, uh, he came up and directed this episode and um, I mean, I've got to say it's-it's, we've had a few of our producers come up and direct. We've had Phil Sgriccia, uh, we've had...
JP: -David Nutter obviously-
JA: David Nutter, came and well, he directed the Pilot and uh, the first episode after that.
JP: Phil Sgriccia did "Nightmares" [sic] and then our next episode he did, uh, what was it called? We just...?
JA: And uh, and then Bob's done one, and we've also had Kim Manners who, uh, who's done- Who's kind of our resident director and executive- Co-executive producer-
JP: He's up here with us.
JA: It's um, but having Bob on, it's-it's always nice to have somebody who is, uh, who is attached to the show-
JP: Right, because he cares about the show beyond just wanting to do a good job-
JA: He's cares - he cares about it beyond making their day. And not to say-to say that the guest directors we've had aren't-aren't, uh, stellar, because they are. We've had some really great directors come on the show and shoot. But uh, but to have someone who-who is really invested in the show and-and when they're not directing, they're still, uh, an enormous part of it. It, uh, just raises a lot of confidence in-in-in the crew and the cast and uh. Uh, Bob is uh, Bob is a man of few words.
JP: He is.
JA: Uh, And um, some people - some people are cool with that, and some people are- you know - I remember some of the actors and actresses on this episode were kind of fishing for, you know, maybe compliments or- or maybe, uh,
JP: (mutters) Yeah.
JA: uh, direction, or this and that, and Bob's just like, 'Cut. Check the gate. Move it on.'
JP: Right. You learn that what he doesn't say means that you're doing a good job.
JA: -Exactly, it's-
JP: He'll tell you if you're doing something wrong, basically, otherwise, you're- You're that-
JA: I had a coach in-in High School that was like that- My baseball coach. He said, uh, you know, I-I was always like, 'Do I need to do anything?' And he's like, 'If I'm not yelling at you, you're doing what I want you to do.'
JA: 'If I'm yelling at you, then it's only because I want you to be better.'
JP: I love Bob. Bob's a-Bob is a great dude and he's a real pleasant guy, and he's laid back and- and it's great to see him on set. He, um, I remember when we were filming scenes- actually inside the airplane and we were back in a little private hangar, just kind of hanging out with him- um, he'd come and he'd sit down on cast chairs. He could just sit down and talk about golfing. I'd just kinda gone golfing for the first time in my life, and just um, talking about past shows he'd worked on, talking about this and that, and uh, it's good to-it's good to have somebody who's not- A lot of times we'll get directors and they'll sort of be so nervous, uh, about making the day or about getting the specific shot, about pleasing the producers-
JA: (starts snoring)
JP: -that it's good to get a- Jensen.
JP: Jensen, wake up. Okay, uh, we're doing a commentary for the show.
JP: A lot of times it's hard to-it's hard to get someone who's just really confident with what they're doing and know they're doing a great job. So, he makes it enjoyable and you sort of get to, uh, enjoy your time while making the movie and he made it very clear what he wanted, and once we learned that if he didn't say anything it meant you were doing something right, it was - it was just smooth sailing. And now we're going to have him back in a week.
JA: Yeah, he's coming back to direct our next episode.
JP: Comin' back to direct the next episode.
JA: Which uh, I'm looking forward to, Bob. Loving it.
JP: Loving it, Bob.
Sam: ...expels the demon from the victim's body. It makes it manifest, which actually makes it more powerful.
Dean's eyes open in fear again.
Dean: More powerful?
Sam: Well, it doesn't need to possess someone anymore. It can just wreak havoc on its own.
Dean nods his head as if he agrees, but his eyebrows raise in question.
Dean: Oh. And why is that a good thing?
Sam: Well, because the second part sends the bastard back to hell once and for all.
Dean: First things first, we got to find it.
Dean walks slowly up the aisle with his EMF meter, getting odd looks but no readings.
JP: I think, uh, with this show in particular, just the nature of this show with Jensen and I being the only two series regulars and every episode's supposed to take place in a in a new city, in a new state, with a new demon. Every-every episode we're getting, new guest stars, new co-stars - and basically, other than Jensen and myself, and a few times, Jeffery Dean Morgan, who's a fantastic actor who we both love, who plays our father, and now Nikki Aycox, who plays Meg - um, it's pretty much all new faces every time and it's and it's really great experience because you meet some really talented people and you get to start some fun relationships with some new people and hear about their lives and I think it can only help actors to sort of meet new people and hear about new experiences. And, you know, it's-it's constantly challenging and it helps the- helps the characterizations as well because, you know, it's- it's- it gives - If anything, it gives Jensen and I the feeling of, 'Wow, we're doing a whole new show' each episode as opposed to, just falling into a specific pattern, 'Oh yeah, now we're doing another scene with, Blah, blah, blah' or 'Now we're doing another scene with that person or this person.' We're actually... talking to someone we don't know and-
JP: It kinda helps our acting by default, (chuckles) not knowing these people that we're actually not supposed to know.
JA: The only thing I wish, I mean, the only thing that-that you lack from that, from having new people come in every episode, is-is that you don't necessarily get to build a character relationship with them.
JA: Uh, you know, Jared and I-er, You know, our-our characters have obviously built a very strong relationship, uh, over the past, you know, seven, eight months and, uh, he and I, you know, personally, like have-have gotten to know each other very well because we work together every single day, every hour of the day, practically - and it's, uh, it's something that-that we don't get-necessarily, get to - get the luxury of-of having with our guest stars-
JP: Oh, it's boring a lot, right.
JA: You know, it's nice to have, uh, Jeff on because, you know, we've gotten to know him and-and we've get some off time with him and we get some screen time with him and it's-it's a relationship that can build, and you can find nuances within the characters, to play opposite each other. Um,
JA: but uh- Yeah, I think I almost put myself to sleep.
JP: (laughs) Okay, what, what?
JP: Where am I?
JA: But, uh, but in the same breath, it's uh, it's-it's really neat to get different people-
JP: That was all in one breath?-
JA: -and different injuries- different energies coming in.
JP: And injuries-
JA: Uh, for multi- And injuries.
JP: (chuckles) I remember when we shot "Wendigo", which was, eh, the first episode after the "Pilot". We were running through the woods and, um, you know, take after take after take, uh, David Nutter would say, 'Okay, now, you're running for your life. Now, run!' And I remember I was wearing these flat, you know, like wooden soled, Sketcher shoes and um,
JA: (low) We're gonna get a deal from Sketchers now.
JP: I sure hope so. And, then I was wearing these Rolex watches that were-
JP: -really heavy- And I had to keep on jumping into my Ferrari-
JA: Oh yeah, and I was wearing one too, I remember that.
JA/JP: (both laughing now)
JP: And then we had to jump in our Ferraris and it was really weird and uh-
JA: Right! Right. Well, I actually jumped in a Maserati-
JP: Right, right. But several of them.
Amanda leaves, giving Dean a look as she does so, and heads towards the cockpit. Dean and Sam pull the curtain slightly open to watch her.
JP: Basically, this show is-is-is really rooted in the relationship between Sam and Dean and, um... and the characters themselves, Sam and Dean. And I remember being told that from the beginning and thinking, 'That's fantastic, you know, you get to sort of focus on this one relationship and really explore it.' And, uh, I myself have a brother and, uh, you know I love him to death, and a sister too, love her to death.
JA: We actually both have- We're in the same position, aren't we?
JP: We're- Right.
JA: I got an older brother and a younger sister.
JP: Right, we- we're both middle children with an older brother and a younger sister. I know, um, it's sort of fun to explore that... brother-brother relationship-
JP: -which I enjoy myself and um... sort of the uh... all the fun that comes along with it.
Dean: ...talk to him.
Sam splashes Holy Water on his uniform, soaking through to his skin, which bubbles and sizzles. He is trying to scream in agony, and roll and twist away. Dean is holding him down, sitting on his abdomen and pinning his arms down to the floor.
JA: This was a... this was a great-great, uh, guest star here. He was actually a-a stunt- uh, a stunt-
JP: This right here? We filmed about two months after we filmed the rest of the show.
JA: Yeah, that's right.
JP: That specific shot, right there, where it shows Jensen and I,
JA: And this one right here.
JP: and this one right here, we filmed because we didn't have time to shoot it, in the main shooting schedule, so we came back and shot it when we were doing "Bugs", maybe? Or when we were doing- What was after "Bugs"?
JP: Okay, either when we were doing "Bugs" or "Home", we came back to do pick-up shots and, um. So, these scenes we're filming right now, uh, even though they're in the middle of this episode, were actually shot ... a month or two, after the rest of the episode. And that's where it comes in- uh, that's another part where the talent of a director comes in, remember, Bob was there on-set, and you know, you come from shooting another show. And so, when you get to shoot this show, you basically put on other clothes and show up on set and go, 'Okay, now, uh,
JA: 'What was I doing?'
JP: what am I-'What was I doing?' And that's where Bob approached us and said, 'Okay, this is what happened. You know, your brother and you have figured out there's this demon onboard and y'all'-
The demon exits the copilot's body with a lot of whispering noises and disappears into a vent.
JP: -Oh yeah, this is great- 'Put yourselves at risk to go... save these characters.' And-
JA: I love how he pulled you in and like...
JA: Man, I beat the hell out of that guy in that scene too. He took it like a trooper.
JP: Yeah, I really like this guy. I remember he was just about to move to New York to...
JA: To study acting.
JP: To go to Neighborhood Playhouse or something like that?
JA: Yeah, he was a stunt guy.
JP: Yeah. And um...
JA: (mutter) Yeah, he did a great job.
JP: I remember being really pissed off because they had to put this, um, chest cast on him so he had to take off his shirt. And he took off his shirt and he had like a six pack and, you know, bulging biceps, and I was like, 'Who's this guy?'
JA: Dude. Because we had ' em at the beginning of this episode-the beginning of this series -and-and they were long gone after uh, three months of- doughnuts and coffee
JP: (laughs) I remember thinking, 'Shouldn't y'all have him take his shirt off in his trailer or something? Does he have to do it in front of all these other... people, that see that - we don't look like that and he does?'
The plane suddenly dips and heaves violently. Papers are strewn everywhere, and people are screaming uncontrollably. Dean is plastered against the door, screaming. Sam grabs the book and sits up to read the rest of the exorcism.
JA: This was all the, uh, brilliance of our-our camera operators here. This was all hand-held stuff-
JA: -just shaking of the camera, and-
JP: And Serge as well, and all the flashing of the lights-
JA: yeah, on the sets... The set was actually completely still,
JA: and the people are just shaking themselves and the camera's shaking.
JP: And I'm -
JA: And I'm screaming at the top of my lungs there and-
JP: And I'm screaming Latin at the top of my lungs-
JA: Yeah, that's right,
JP: So count your blessings.
JA: You had a whole paragraph of Latin you had to say-
JP: And I took Latin in High School, but this was apparently a different type of Latin-Roman Latin.
JA: Thank God they gave that to you then, it wouldn't help me.
JP: Well, it didn't help me too, too much, but-
JP: -we had a great, uh, a great man who is actually a Professor of Latin Studies at a, at a university out here, who came in and helped me remember the pronunciation. He gave me his number and I called him to check up on things. And I remember just thinking, basically, 'Don't look like an idiot, who's just... speaking some... language and not knowing what you're talking about-' So I remember just trying really commit to it. And Bob, I remember after every take basically, I could be like, 'Bob, I don't look like.. I'm a weirdo dork, do I?' And he was saying, 'No, no, no, you're not a- (mutter) No.'
The camera pans down to show the passengers from the flight are disembarking to an area milling with uniformed agents (police, paramedic, FBI, FAA, NTSB, etc). The copilot is seated in a wheelchair with a blanket wrapped around him, being questioned by an FAA Agent. There are a lot of conversations milling about.
FAA Agent: Sir, can you tell me what happened?
Copilot: I don't know. I was walking through the airport, then it all goes blank. I don't even remember getting on the plane.
Amanda is being questioned by another agent. she is rubbing her head distractedly, until she sees Dean and Sam.
FBI Agent: Anything else?
Amanda: No, that's all.
She sees Sam and Dean standing across the way and mouths "Thank you". They nod.
JA: I don't even know what that look was. Why-why was I shaking my head?
JP: I'm not real sure. But you did it really well.
JA: Thank you. Thank you.
Dean: You okay?
Sam stops and turns. He takes a breath, then plunges in.
Sam: it knew about Jessica.
JP: Here we are, back at, uh...
JP: YVR. Which we had done... some... two months before the scene that aired right before this scene.
JP: It's always weird because sometimes we'll do an episode, and we'll literally do the last scene of the episode-
JP: First. Where you're saying goodbye to this person, that you've just saved their life and you've almost died together, and you've gone through, just so much-
JA: This, this, this traumatic experience-
JP: This traumatic experience that-
JA: You have-And you haven't shot yet.
JP: That changes you- And basically, the day-the day before, you've worked 'til two in the morning shooting a totally different episode. The next day, you show up at noon and they say, 'Okay, well here's the person, you just saved their life and you've gone through a crazy, traumatic experience, and you're saying goodbye. So really, make it heart wrenching.'
JP: 'Now who am I saying goodbye to? There're fifteen people in front of me-
JA: 'Who's this person? Oh, hi. Hi, I'm Jensen, how are you?'
JA: 'Good to meet you.'
Jerry walks away. Sam whips his head around to stare at Dean. The boys exchange a look - they have a lead on Dad! The scene fades out.
The scene fades in. A plane with a red maple leaf on the tail flies overhead, taking off. The boys are sitting on the trunk lid of the Impala, side by side. Dean has his cell phone out, dialing.
Sam: This doesn't make any sense...
JP: Now I remember this was a big... uh... milestone for the series at the beginning because this was the first time we heard our confirmation that our father was-
JP: -not only still around, but had made communication, with someone. And so this is a big... important scene as far as the series itself goes.
The boys are listening in on Dean's cell.
Voicemail: ...He can help.
JP: And that's why I have that look on my face. (starts to laugh)
JA: Right. The str- Oh, there was the jaw clench.
JP: There was. There was. There was.
JA: Was that a jaw clench?
JP: You can't teach that, Jensen.
JA: No you can't.
JP: I remember getting this shot, we were sitting outside the airport and um-
JA: Waiting for planes.
JP: Waiting for planes. And if it didn't work, if they didn't come down right on us or if the sound got messed up, or... if whatever happened, they'd be like, 'A'right, we're waiting for the next plane.'
Dean sits back up, snapping the cell phone closed. Sam fights tears, before fuming. He stands up, walks around and climbs in the car. Dean follows, and they drive off. Rock music starts to play.
JP: And -
JA: I tried to floor it out of here but we got like a what? A -
JP: We've basically the smallest eight cylinder engine that you could find, with only about
JA: Not to say that we don't have one that's- We've got about four of these Impalas-
JP: five of the cylinders firing- Right. Aaa...
JA: one. We've got like a couple that are souped up.
JP: Now we've got a couple that are candied out.
JA: Right. Uh. It's uh-
JP: They've put in a good 350- I think it was even pulled out to demonstra-
The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional.
JA: And there it is - Eric Kripke. Thank you.
JP: Robert Singer, Executive Producer.
JA: Thank you Eric.
JP: Thank you, Eric. What's up man? Alright guys, that's it. Thanks for uh, thanks for watching the episode with us and we hope you learned something new that you, uh, that you didn't know before.
JA: And uh, hope you enjoyed the sarcasm. I think we laid it on pretty thick.
JP: Just grab your knife.
Director of Photography
SERGE LADOUCEUR, C.S.C.
GEORGE A. GRIEVE
First Assistant Director
Second Assistant Director
ROBERT J. ULRICH, C.S.A.
ERIC DAWSON, C.S.A.
CAROL KRITZER, C.S.A.
Canadian Casting by
COREEN MAYRS, C.S.A.
and HEIKE BRANDSTATTER, C.S.A.
Key Make-Up Artist
Key Hair Stylist
Special Effects Supervisor
Special Effects Make Up
GARY D. ROGERS
Supervising Sound Editor
MICHAEL E. LAWSHÉ
Music Editorial by
FINAL NOTE PRODUCTIONS
Visual Effects Producer
Visual Effects Supervisor
Cameras Provided by
The characters and events depicted in this motion picture are fictional. Any similarity to any actual person, living or dead, or to any actual events, firms, and institutions or other entities, is coincidental and unintentional.
This motion picture is protected under the laws of the United States and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution.
Copyright 2005 Warner Bros.
All rights reserved
Country of first publication
United States of America
NS Pictures, Inc. is the author of this film/motion picture for the purpose of Article 15 (2) of the Berne Convention and all national laws giving effect thereto.
Sound and Vision
WARNER BROS. TELEVISION
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