Episode Info
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Episode number: 1x19 Production Number: 2T6918 Airdate: Thursday April 13th, 2006 Alternate Airdates:
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DK (
PT (AXN)
FR (
BE (
NL (
Co-Guest Stars
Recap
The Telescas have bought a portrait of a turn-of-the-century family at a charity ball and hang it up in their living room. Mrs. Telesca admits that she finds it finds it kind of creepy. As she goes upstairs, Mr. Telesca goes to lock up. In the portrait, the picture of the family patriarch starts to move. As Mr. Telesca passes the portrait, he fails to notice that a straight razor is now missing from the portrait. He goes into the bedroom and gets into bed, and discovers blood on his hand. His wife’s throat has been cut. He backs away in horror, as a figure looms over him...Read the full recap
Episode Notes
The song "Night Time" by Steve Carlson is featured in this episode. In real life, Jensen Ackles provides background vocals for some of Steve's other songs and the two are close friends.
One of the cars parked in the auction house lot as the brothers arrive has a license plate with "The Krip" printed on it. This is a reference to series creator, executive producer, and writer Eric Kripke.
Music
| Artist | Song Title | Played When |
| Black Toast Music | One More Once | Sam and Sarah have dinner |
| Extreme | Romantic Pieces, No.1 | Sam and Dean break into auction house |
| Grand Funk Railroad | Bad Time | Dean plays romantic music on the radio |
| Steve Carlson Band | Night Time | bar at the beginning |
Episode Quotes
Ann Telesca: I can't believe we actually bought this thing.
Mark Telesca: There's a reason charity auctions have an open bar.
Mark Telesca: There's a reason charity auctions have an open bar.
Sam: All right, so I think I got something.
Dean: Oh yeah, me too. I think we need to take a little shore leave, just a little. What do you think, huh? I'm so in the door with this one.
Sam: So what are we today, Dean? Are we rock stars. Are we Army Rangers?
Dean: We're LA TV scouts looking for people with special skills. Hey, it's not that far off, right?
Dean: Oh yeah, me too. I think we need to take a little shore leave, just a little. What do you think, huh? I'm so in the door with this one.
Sam: So what are we today, Dean? Are we rock stars. Are we Army Rangers?
Dean: We're LA TV scouts looking for people with special skills. Hey, it's not that far off, right?
Dean: Consignment auctions, estate sales... it's like a garage sale for WASPs if you ask me.
Dean: Grant Wood, Grandma Moses... what?
Sam: Art History course. It's good for meeting girls.
Dean: It's like I don't even know you.
Sam: Art History course. It's good for meeting girls.
Dean: It's like I don't even know you.
Sam: Maybe you can get her to write it all down on a cocktail napkin.
Dean: Not me.
Sam: No, no, no, no. Pickups are your thing, Dean.
Dean: It wasn't my butt she was checking out.
Sam: In other words, you want me to use her to get information.
Dean: Sometimes ya gotta take one for the team. Call her.
Dean: Not me.
Sam: No, no, no, no. Pickups are your thing, Dean.
Dean: It wasn't my butt she was checking out.
Sam: In other words, you want me to use her to get information.
Dean: Sometimes ya gotta take one for the team. Call her.
(about the painting)
Sam: So what do you think? It's haunted or cursed?
Dean: Either way, it's toast.
Sam: So what do you think? It's haunted or cursed?
Dean: Either way, it's toast.
Sam: I don't understand, Dean. We burned the damn thing!
Dean: Yeah, thank you, Captain Obvious.
Dean: Yeah, thank you, Captain Obvious.
Sam: (sees the painting) Oh, my God!
Sarah Blake: What?
Sam: Thaaa... that painting... looks so good!
Sarah Blake: If you can call that monstrosity good, then yeah, I guess.
Sarah Blake: What?
Sam: Thaaa... that painting... looks so good!
Sarah Blake: If you can call that monstrosity good, then yeah, I guess.
Sam: You know what? I gotta go, I gotta take care of something but um, I will call you back, I will call you, I'll-I'll see you later...
Sarah Blake: Wait, so you're not leaving tonight?
Sam: No, I guess not! See ya. (walks off)
Sarah Blake: O-kay!
Sarah Blake: Wait, so you're not leaving tonight?
Sam: No, I guess not! See ya. (walks off)
Sarah Blake: O-kay!
Sarah Blake: You’re shameless, you know that?
Daniel Blake: For that kind of money, I can afford to be.
Daniel Blake: For that kind of money, I can afford to be.
Dean: All right, well, if Isaiah's position changed then maybe some other things in the painting changed as well, you know, could give us some clues.
Sam: What, like a Da Vinci Code deal?
Dean: I don't... know. I'm still waiting for the movie on that one.
Sam: What, like a Da Vinci Code deal?
Dean: I don't... know. I'm still waiting for the movie on that one.
Sam: You know, I don't get it. What do you care if I hook up?
Dean: Because then maybe you wouldn't be so cranky all the time.
Dean: Because then maybe you wouldn't be so cranky all the time.
Dean: And I don't mean any disrespect but I'm... I'm sure that this is about Jessica, right? Now, I don't know what it's like to lose somebody like that... but... I would think that she would want you to be happy. God forbid have fun once in a while. Wouldn't she?
Sam: Yeah, I know she would.
Sam: Yeah, I know she would.
Sarah Blake: Look, you guys are probably crazy, but if you're right about this, well, me and my dad sold that painting. We might have got those people killed. Look, I'm not saying I'm not scared, because I'm scared as hell, but I'm not going to run and hide, either. So, we going or what?
Dean: Sam, marry that girl.
Dean: Sam, marry that girl.
Sarah Blake: Uh, isn’t this a crime scene?
Dean: Well, you’ve already lied to the cops. What’s another infraction?
Dean: Well, you’ve already lied to the cops. What’s another infraction?
Sarah Blake: So this is what you guys do for a living?
Sam: Not exactly. We don't get paid.
Sam: Not exactly. We don't get paid.
Sarah Blake: So what exactly is your brother doing in there?
Sam: Searching county death certificates. Trying to find out what happened to Isaiah's body.
Sarah Blake: How do you even get in the door?
Sam: Lying and subterfuge, mostly.
Sam: Searching county death certificates. Trying to find out what happened to Isaiah's body.
Sarah Blake: How do you even get in the door?
Sam: Lying and subterfuge, mostly.
Sam: Look, I'm not scared of much, but if I let myself have feelings for anybody...
Sarah Blake: You're scared they'd get hurt, too. That's very sweet... and very archaic.
Sam: Sorry?
Sarah Blake: Look, I'm a big girl, Sam. It's not your job to make decisions for me. There's always a chance of getting hurt.
Sam: I'm not talking about a broken heart and a tub o' Häagen-Dazs. I'm talking about life and death.
Sarah Blake: And tomorrow, I can get hit by a bus, that's what life is.
Sarah Blake: You're scared they'd get hurt, too. That's very sweet... and very archaic.
Sam: Sorry?
Sarah Blake: Look, I'm a big girl, Sam. It's not your job to make decisions for me. There's always a chance of getting hurt.
Sam: I'm not talking about a broken heart and a tub o' Häagen-Dazs. I'm talking about life and death.
Sarah Blake: And tomorrow, I can get hit by a bus, that's what life is.
(while Dean and Sam are digging up a grave)
Sarah Blake: You guys seem to be uncomfortably comfortable with this.
Sam: Well, this isn't exactly the first grave we've dug. Still think I'm a catch?
Sarah Blake: You guys seem to be uncomfortably comfortable with this.
Sam: Well, this isn't exactly the first grave we've dug. Still think I'm a catch?
Dean: Well, I'm trying to pick the lock but the door won't budge.
Sam: Well, break it down!
Dean: Okay, genius, let me grab my battering ram!
Sam: Well, break it down!
Dean: Okay, genius, let me grab my battering ram!
Sam: What kind of house doesn't have salt? Low sodium freaks!
Dean: I'm the one who burned the doll and destroyed the spirit, but don't thank me or anything.
Sarah Blake: There are a million things that I want to say to you, but for the life of me, I can't think of one.
Sam: Yeah, I'll miss you, too.
Sam: Yeah, I'll miss you, too.
Episode Goofs
When Sam, Dean, and Sarah enter Evelyn's house, Sarah reaches for Evelyn's body. Sam says not to touch it, but his lips don't move.
When Evelyn is drinking tea, she sets her glasses down facing away from her. However, when the camera cuts to a shot above her head, the glasses are facing toward her.
When Dean hits the glass case in the mausoleum with the butt of his gun, the glass flexes, indicating that it's Plexiglas. Which didn't exist in 1910 when Melanie was buried. The crew probably used Plexiglas for safety reasons, so that Jensen wouldn't accidentally break real glass.
When Dean shoots the glass, there is no indication that the bullet hit the back of the case after passing through the glass. This would mean that the bullet somehow stopped between the glass and the case, though it clearly appears to have passed through the glass.
Cultural References
Dean: Daddy dearest isn't here.
This is a reference to the 1981 movie Mommie Dearest, based of the 1978 book by Christina Crawford. The movie and the book told the story of actress Joan Crawford and the abuse she gave her family.
This is a reference to the 1981 movie Mommie Dearest, based of the 1978 book by Christina Crawford. The movie and the book told the story of actress Joan Crawford and the abuse she gave her family.
Other Episode Crew
| • Creator | Eric Kripke |
| • Executive Producer | McG | Eric Kripke | Robert Singer (1) |
| • Co-Executive Producer | Kim Manners | John Shiban |
| • Supervising Producer | Philip Sgriccia |
| • Producer | Cyrus I. Yavneh | Peter Johnson |
| • Associate Producer | Todd Philip Aronauer |
| • Production Designer | Jerry Wanek |
| • Editor | Anthony Pinker |
| • Casting | Carol Kritzer | Robert J. Ulrich | Eric Dawson | Heike Brandstatter | Coreen Mayrs |
| • First Assistant Director | John MacCarthy |
| • Second Assistant Director | Victor Landrie |
| • Music | Christopher Lennertz |
| • Music Supervisor | Alexandra Patsavas |
| • Costume Designer | Diane Widas |
| • Key Grip | Harvey Fedor |
| • Set Decorator | George Neuman |
| • Location Manager | Russ Hamilton (2) |
| • Property Master | Christopher Cooper |
| • Supervising Sound Editor | Michael E. Lawshe |
| • Re-Recording Mixer | Gary D. Rogers | Dan Hiland |
| • Director of Photography | Serge LaDouceur |
| • Story Editor | Raelle Tucker | Sera Gamble |
| • Stunt Coordinator | Lou Bollo |
| • Production Management | George A. Grieve |
| • Sound Mixer | Donald Painchaud |
| • Key Makeup Artist | Shannon Coppin |
| • Visual Effects Supervisor | Ivan Hayden |
| • Visual Effects Producer | Scott Ramsey |
| • Key Hairstylist | Jeannie Chow |
| • Special Effects Supervisor | Randy Shymkiw |
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