Dead in the Water Back to List Episode Page Episode Transcript Bloody Mary


  1. Previously
  2. Supernatural
  3. Act One
  4. Act Two
  5. Act Three
  6. Act Four
  7. Epilogue
  8. End Credits

Transcript of the Phantom Traveler Episode Commentary with and Jensen Ackles


Dean (voiceover): Previously on...

JA: Hey, I'm Jensen Ackles, uh, this is, uh-

JA: And uh... we are going to watch "Phantom Traveler" with you guys... I love the recap before every episode.

In Sam's apartment, Dean speaks to Sam and Jess.

JA: Wow, I looked so young back then...

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.

JA: Yeah.

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.

JA: That was actually Jared pulling me back into the hotel there.

JA: Yeah


A still frame of a tropical beach scene. Hawaiian-style music plays.

JA: Oh this. Remember? Were you there?

JA: They flew us to Hawaii -

JA: Oh.

JA: That's Season 2.

A plane taking off is heard.

JA: It does.

JA: -Teaser episodes- Teasers-

JA: Yeah. Yeah.

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.

JA: Another fabulous guest star that-that we never met.

JA: (chuckles)

Above his head, a cloud of black particles exits a vent.

JA: And enter...

JA: Enter the demon.

JA: It was hard to get that- that smoke to-to go the way that we wanted it to go.

JA: Yeah.

JA: That's a lot of fans.

JA: (chuckles)

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.

JA: Mm-hm.

Phelps turns, and Amanda sees that his eyes are completely black, except for a sliver of white.

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...

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-

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...

JA: Right.

JA: He's- he's super humble.

JA: And he's- (chuckles) He's a-

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.

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.

JA: Here you go, here you go, chewing away, buddy.

JA: (chuckles)

JA: That's pretty much your daily quota anyway, isn't it?

JA: Right

The Impala drives along a road and off the edge of the screen.

Jerry: -so quick. I ought to be doing you guys a favor, not the other way around.

JA: He was great.

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)

JA: Totally added in post-

JA: Ah-it was so great-

JA: Hangar.

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.

JA: Yesss...

JA: They should play this for every new director we have.

JA: Yeah, five or six takes.

Jerry: I listened to this. And, well, it sounded like it was up your alley.

JA: Wow.

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-

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.

JA: And effectively. And efficiently. And he- it's really- it's really, uh-

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.
Woman: Hey.
Dean: Hi.
Dean politely holds the door for her, checking her out, before heading over to Sam.

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.

JA: What?

JA: Maybe the fact that we were shooting on a busy street and ..?

JA: (starting to crack up a little) We couldn't get any lines in because of sound.

JA: Yes-

JA: In between that and in between your cellphone ringing in your pocket.

JA: (chuckles)

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.

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?

JA: Was it?

JA: Umm-hmm

JA: Jared is a, uh... quite the chess player, I must say.

JA: Yeah,

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.

Sam faces Max, and takes a deep breath.
Sam: It's okay. Then just...

JA: Good cop, bad cop.

JA: Mmm-hmm.

JA: I set him up, you knock him down. (laughs)

Max: And, uh, he had these...

JA: Oh man, there's the eyes again.

JA: We probably shouldn't even break into that story-

Max: I thought I saw him...

JA: This is three.

JA: "Hookman".

JA: And then... "Phantom Traveler".

JA: No. No, no, no, no. No, we did "Dead in the Water", and then "Phantom Traveler".

JA: Mm-hm.

JA: I didn't even know your name at this point.

JA: Yeah.

JA: Right. 'Cos they brought you up to Vancouver back in July and I did most of my coverage in L.A.

JA: (cracks up)

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-

JA: She would place herself right in there-

JA: Oh, and there was- There was a rugby game.

JA: And they tried to stop 'em from playing and I was like, 'Come on, just let 'em play'-

JA: (chuckles)

JA: I know.

Sam:...strange about him, anything out of the ordinary?
Mrs. Phelps: Well...

JA: So many guest stars.

JA: So many. They just-just like, come and go.

JA: *pbbbttttt*

JA: Absolutely.

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.

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.

JA: Didn't we stand in the window and model?

JA: -and actually think we were - window decor-

"Paranoid" by Black Sabbath plays. They show their badges to the security guard, who nods

JA: Mmm-hmm...

and buzzes open the security door for them. Inside, the plane wreckage is spread out over an outline of the plane.

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.
Dean grins.
Sam: Yeah, I can see that.

JA: (chuckles)

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.

JA: That's when you cut yourself.

JA: Hm - mm -Cut it right open-

JA: This is why we're not allowed to play with nice things, Jared.

The agents and several security guards rush back to the warehouse. Sam has finished, and the boys turn to go.

JA: Obviously.

The security detail bursts in, guns drawn, and search, but they see nothing. Dean, then Sam, peer around a corner and walk out casually.

JA: This is actually on the tarmac.

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-

JA: To walk you out.

JA: Yeah. High security.

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.

JA: Yeah.

Chuck rubs at the stress headache he has, the the cloud surrounds him

and rushes into Chuck's eyes.

JA: Don't you?

JA: Most inopportune time - you know, when you're on the toilet and the next thing you know-

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?

JA: Yeah, I- I-I think I have a picture of that from 1989.

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-

JA: Yeah.

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.


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?

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-

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.

JA: A lot of locations. Probably the most location show ever, that I've ever worked on...

JA: Yeah.

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.

JA: -it's entertaining-

JA: But how much richer is your life now that you've met me?

JA: Right.

JA: I hate you.

JA: Your cup runneth over, man.

Dean and Sam run into the airport and over to check the Departure board.

JA: (starts snoring)

JA: (snorts)

JA: Yeah.

JA: Right, I don't even know how you remember that.

JA: I don't know what I did most mornings.

JA: Mm-hmm.

JA: That's right.

JA: We have a great crew, period.

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.

JA: This is, uh-

JA: Uh huh, Numerology there, ohhh...

JA: ...Sweet.

JA: We fly out of-

[Clinking sound of coins, not part of the scene on screen]

JA: That's uh, that's uh- My dumbbells.

JA: I'm curling right now.

JA: Which I gotta say, the Vancouver Airport is probably one of the most beautiful airports I've ever seen.

JA: Cook Islands.

JA: (sniggers)

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...
Sam: Flying?
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.'

Dean: You said it yourself, the plane's gonna crash.

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.


JA: Yeah, this is kind of the first chink in the armour that you see.

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.
Dean: Okay.
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: Mm-hm.
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.

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...

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: "Provenance".

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-

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-

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.

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,

JA: uh, direction, or this and that, and Bob's just like, 'Cut. Check the gate. Move it on.'

JA: -Exactly, it's-

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.'

JA: (starts snoring)

JA: (snorts)

JA: (laughs)

JA: Yeah, he's coming back to direct our next episode.

JA: Which uh, I'm looking forward to, Bob. Loving it.

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: Yeah.
Dean: How?
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.

JA: Mmm-hmm.

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-

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.

JA: Uh...

JA: But, uh, but in the same breath, it's uh, it's-it's really neat to get different people-

JA: -and different injuries- different energies coming in.

JA: Uh, for multi- And injuries.

JA: (low) We're gonna get a deal from Sketchers now.

JA: (laughs)

JA: Oh yeah, and I was wearing one too, I remember that.

JA/JP: (both laughing now)

JA: Right! Right. Well, I actually jumped in a Maserati-

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.

JA: We actually both have- We're in the same position, aren't we?

JA: I got an older brother and a younger sister.

JA: Mm-hmm.

Dean: 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-

JA: Yeah, that's right.

JA: And this one right here.

JA: ..."Home".

JA: 'What was I doing?'

The demon exits the copilot's body with a lot of whispering noises and disappears into a vent.

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.

JA: To study acting.

JA: Yeah, he was a stunt guy.

JA: (mutter) Yeah, he did a great job.

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

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-

JA: yeah, on the sets... The set was actually completely still,

JA: and the people are just shaking themselves and the camera's shaking.

JA: And I'm screaming at the top of my lungs there and-

JA: Yeah, that's right,

JA: You had a whole paragraph of Latin you had to say-

JA: Thank God they gave that to you then, it wouldn't help me.

JA: (chuckles)


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?

JA: Thank you. Thank you.

Dean: You okay?
Sam: Dean,
Sam stops and turns. He takes a breath, then plunges in.
Sam: it knew about Jessica.


JA: Previously.

JA: First.

JA: This, this, this traumatic experience-

JA: You have-And you haven't shot yet.

JA: (chuckles)

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...

JA: Right.

The boys are listening in on Dean's cell.
Voicemail: ...He can help.

JA: Right. The str- Oh, there was the jaw clench.

JA: Was that a jaw clench?

JA: No you can't.

JA: Waiting for planes.

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.

JA: I tried to floor it out of here but we got like a what? A -

JA: Not to say that we don't have one that's- We've got about four of these Impalas-

JA: one. We've got like a couple that are souped up.

JA: Right. Uh. It's uh-


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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.

JA: Thank you Eric.

JA: And uh, hope you enjoyed the sarcasm. I think we laid it on pretty thick.

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