Σενάριο Supernatural | 10×11 There’s No Place Like Home
Written by: Robbie Thompson
Directed by: Phil Sgriccia
Air Date: January 27, 2014
Ext. of a very surburban looking house. View from the front, driveway. Screams emanate from inside.
MALE VOICE: Aah!
Int. of the house. Camera attached to a man running down the stairs while crashes follow him. He runs outside to the back of the house.
MAN: (to Charlie) Please . . . I-I don’t know anything else.
CHARLIE: I know. I’m gonna torture you anyway. ‘Cause who doesn’t love a little torture?
Int. of the bunker. Sam sits at the table in the library talking on the phone.
SAM: All right, well, just — just keep me posted, okay? Yeah, you got it. Wait, Cas. You there? Hey, thanks. Yeah. (Sam hangs up the phone as Dean throws down an omelet in front of Sam) You made egg-white omelettes?
DEAN: Yeah. Breakfast of Champions — you know, if you’re a dork like you.
SAM: And you slept past 7:00.
DEAN: Yeah, well, until we get answers on this Mark of Cain, I am on a 12-step program not to backslide.
SAM: 12 steps?
DEAN: Yeah. Hey, if Cain found a way to live with it after going dark side, then I just got to find a way to keep it in check, so haven’t had a drink in a week, eight hours of rack time every night, and . . . now this masterpiece.
SAM: That’s three steps.
DEAN: Shut up and eat.
SAM: Wow. That’s — that’s awesome. (referring to the omelette)
DEAN: It’s crap. Ugh. God. Soon as we get rid of this demonic tramp stamp, I am back on the booze, burgers, and . . . more booze. Tell me you got something.
Time passing scene of the the brothers doing research as the camera pans past the library. Scene resumes in the library. Dean gives Sam a green smoothie, takes one sip of his, and then pushes it away. Sam is watching something on the laptop.
SAM:What the hell?
DEAN: Cain or Crowley?
DEAN: Is she back from Oz? She didn’t call?
SAM: Yeah, uh . . . She’s been busy.
DEAN: What the hell am I looking at?
SAM: So, you know, I was looking into the news, checking for anything weird, right? I found this story about a torture vic. Apparently, some kid videotaped this at his next-door neighbor’s house.
DEAN: What are you saying, Charlie tortured someone?
SAM: Uh . . .
DEAN: Our Charlie? Yea high, wouldn’t hurt a Hobbit, practically sparkles?
DEAN: (pulls out his phone and dials a number) Come on, Charlie, pick up.
SAM: The guy she went all Jack Bauer on — uh, Peter Harper.
DEAN: (hanging up) She’s not answering.
SAM: District attorney in Topeka. According to this article, he wasn’t the only person in town that was hit. Uh, a court stenographer was assaulted the night before.
DEAN: Well, you know, Charlie wouldn’t go off on someone without a reason.
SAM: Yeah, I wouldn’t think so either, but look at the video.
DEAN: Oh, I’m looking at it. But you know what we do, taken out of context, it doesn’t look that much different. She could be hunting. (Sam sighs) Why don’t we go talk to this asshat and see what’s going on?
Int. Bunker – Dean’s bedroom. He has a moment of tension and shaky hands with a knife that Sam interrupts.
SAM: (poking his head into Dean’s bedroom) Hey, ready?
DEAN: Yeah. Yeah, let’s do this.
SAM: Let’s go.
Ext. of the suburban house from the beginning fades to the interior of the house, dining room. Sam and Dean are questioning the district attorney Charlie assaulted.
SAM: Now, did you notice anything odd before the attack — any, uh, strange smells, weird noises?
PETER HARPER: No, no, nothing. I was just at home here, getting ready for bed, and that crazy bitch jumped me. All she wanted was to know was about some case that I worked on
years ago — drunk driver T-boned another car, killing the driver, and the passenger was declared
brain-dead on the scene.
DEAN: The Middletons. They had a daughter, 12 years old. They were on their way
to pick her up.
PETER HARPER: Yeah, that’s right. How did you know that?
DEAN: Well, we do our homework at the FBI.
PETER HARPER: Okay, well, then you know the case never went to trial. Before I could even see the evidence, it was off the books. All the files were sealed.
SAM: Now, how is that even possible?
PETER HARPER: I don’t know. But I looked into it this morning. There’s no record of that case
anywhere, and the arresting officer has since passed away. There’s nothing, except for this — (slides a file across the table) the social service file on the Middletons’ kid. It’s not very helpful,
to be honest with you. The kid has disappeared, until now.
SAM: Now, is there anything else you can remember about the case — any names you can think of?
PETER HARPER: No. Like I told the police, it was so long ago. Look, I’m sorry.
SAM: All right. Here’s the thing. We talked to the other victim on the way here — the stenographer. Now, she said the attacker didn’t let her go until she gave up a name — your name.
PETER HARPER: Okay. But w-what does that have to do with m-me being attacked
in my own home, here?
DEAN: What name did you give up?
PETER HARPER: Look, I told you everything I told the police. This woman comes in here, beats the tar out of me, but — but there’s no name to give up, so I-I don’t know what else to —
(Dean shoves Harper’s chair back and gets in his face) Hey, w-what are you doing?!
DEAN: Talk, you son of a bitch!
PETER HARPER: Hey, look, I’m the victim, here! (As Dean makes to drop his chair backwards) Aah!
PETER HARPER: Okay. Okay. All right. All right. (Dean rights his chair) Aah. (rubs his shoulder) After the files were sealed . . . I pushed. And, uh . . . They offered me money — a lot of money.
DEAN: Give me a name.
PETER HARPER: The money kept on coming in from overseas accounts.
DEAN: Give me a name!
PETER HARPER: I will be disbarred!
DEAN: (quiet and ominous) That’ll be the least of your worries, I promise you that.
PETER HARPER: Councilwoman Barbara Cordry.
Ext. In the Impala driving. Sam reads Charlie’s social work file by flashlight.
SAM: Celeste Middleton. Celeste — that’s Charlie’s real name. Guess she’s looking for the person who, uh, destroyed her family.
DEAN: Can you blame her? You know, we just got to find her before she does something nobody can walk away from.
Ext. another large house. Camera flicks to inside the house where a woman looks through mail. There are suitcases packed on the floor in the entryway. There’s a knock at the door; Sam and Dean are on the other side.
SAM: Barbara Cordry?
BARBARA CORDRY: Can I help you?
SAM: Yes. I’m Special Agent Gabriel. This is my partner, Special Agent Collins. May we come in?
BARBARA CORDRY: What’s this about?
SAM: We have some questions about a drunk-driving case from a while back involving the Middleton family.
BARBARA CORDRY: I have no idea what you’re talking about.
DEAN: Ma’am, if we could just —
BARBARA CORDRY: Sorry. I’m still on vacation. Feel free to schedule an appointment with my assistant. She’ll pencil you both in. (shuts the door in their faces.)
DEAN: Guilty much?
(Later, staking out Barbara Cordry’s house in the Impala)
DEAN: (Bites into a sandwich) What the hell is kale?
SAM: (reading from the Charlie’s file) «Anti-authority disorder, clinical depression, violent outbursts.» Charlie was, uh . . .
DEAN: Dude. If a shrink interviewed us at that age, you think the report would be all kittens and rainbows? Come on. She’s a good kid. There’s got to be an explanation for this, man. There’s just got to be.
(There’s a crash and a scream from inside the house. Sam and Dean leap from the car and bust in the house with guns drawn. They find Charlie and Barbara Cordry in the living room)
Int. Barbara Cordry’s House
CHARLIE: Should have known Rocket and Groot would track me down.
SAM: Let her go.
CHARLIE: Who? Oh, her?
SAM: Don’t do this.
CHARLIE: I just want answers.
DEAN: Yeah? Since when do you start pounding on people for those? What the hell happened to you in Oz?
CHARLIE: Everything I wanted. An adventure. Even got my own little sword.
SAM: Charlie —
SAM: Oh, Sam, you’re adorable. You’re not gonna hurt me. In fact, that’s your problem — all good-guy code, no bite. What a waste. And you . . . (turning to Dean) Always letting this albatross hold you back.
DEAN: Okay, all right, you know what? I don’t know what’s going on here, okay? But this — this is not you.
CHARLIE: Oh, it’s me, all right.
DEAN: Charlie, put the knife down. Let her go. We don’t want to hurt you, kiddo, but we’re not gonna let you do this.
DEAN: (fighting with Charlie in the entryway after chasing her through the house) Stop! Crap! (muttered with Charlie’s legs around his neck) Sam!
(back with Sam and Barbara Cordry)
SAM: You all right?
BARBARA CORDRY: Yeah.
SAM: What did she say to you?
BARBARA CORDRY: She — she just — she wanted the bank statements.
DEAN: (running outside while Charlie drives away in a large SUV) Charlie! Hey!
(Dean goes over to the Impala to chase after her and sees that one of the tires is slashed.)
DEAN: Oh, you son of a bitch.
CHARLIE: (Charlie pulls up in her yellow VW) What’s up, bitches? Right. Um we should probably catch up.
Int. of a bar named Berto’s Ale House. Sam, Dean, and Charlie sit at a table catching up.
SAM: There two of you — one good, one . . . bad?
DEAN: Yeah, what, dick you is some sort of a ninja?
CHARLIE: She is a badass, yeah.
SAM: O-okay. Hold on. Back up. We were there for Dorothy, Oz, yellow brick road. B-but then . . .
CHARLIE: War. The war for Emerald City. It was awesome. Until not so much. We were gonna lose, so I made a deal with the wizard . . . of Oz. Wears a hood and a creepy mask, kind of a jerk — good times. He said for us to win, I had to unleash my true darkness, which he meant literally. He used the inner key of Oz. It opens a door to your soul and lets the darkness out. Uh, we’re still connected physically. If you hurt her, you hurt me. But bottom line, she’s bad, and I’m good. And let me just tell you, being good is really annoying. Normally in a place like this, I’d be pounding Harvey Wallbangers and checking out the bartender’s ass. Now all I want to do is sip club soda and send her to college.
DEAN: Okay, uh . . . good Charlie. So, why is dark Charlie gunning for revenge?
GOOD CHARLIE: She’s trying to win me back. Dark Charlie won the war single-handedly. But… She did some truly awful things. But I told her I didn’t want any part of her near me again, ever. Going after the person who mur– mur– uh…Who took my parents away is her messed-up way of showing me how close we are, or — or could be. I keep calling her «she,» but she’s me. I’m the one doing this.
DEAN: Charlie, that — that’s not who you are, okay? It’s — it’s a twisted version of —
GOOD CHARLIE: Me. I’ve been following her so I can catch her before she does something stupid a-and just lock her away forever.
SAM: Uh, Charlie? . . . That’s not an answer.
DEAN: Sam’s right. We’ll go back to Oz, and we’ll — we’ll get the key from the wizard of douche, and we’ll put you back together.
GOOD CHARLIE: Even if I did want her back . . . Look dark me broke the key. There’s no way to get back to the wizard.
SAM: Okay, okay, first thing’s first. We need to find dark Charlie before she finds the drunk driver. So, we know Barbara gave up her old bank statements, right? That means dark Charlie will probably follow the money back to whoever made the payoffs.
GOOD CHARLIE: That’s what I would do.
SAM: All right.
DEAN: I’ll get some refills. (goes to the bar with the glasses)
SAM: We need you . . . to hack into Barbara’s bank accounts. (pulls out his computer)
GOOD CHARLIE: I can’t. (pushes the computer back to Sam)
GOOD CHARLIE: It’s bad. I told you — being good is annoying.
SAM: How about this — how about you guide me through the process, and then I’m the bad one?
SAM: Okay, so, Barbara’s payments all came from offshore accounts, which were routed through dummy corporations, which have all gone belly-up.
DEAN: All right, skip to the end, dragon tattoo. They all lead back to this guy?
SAM: Russell Wellington. And according to his personal records, he had a-a car that was reported stolen the — the week of the accident, a-a car that was never recovered. And after the supposed «theft,» he went on a sabbatical from work for two weeks and returned to work with bruises and a broken ankle.
GOOD CHARLIE: So this is him. This is the man who, uh . . .
DEAN: (closes the computer) And you’re done. Sam. (pulls Sam to the side to consult with him)
GOOD CHARLIE: Hey, dudes. Dudes. Secrets are bad.
DEAN: Charlie, I don’t think you should be anywhere around this piece-of-crap salesman.
SAM: And — and I don’t think that finding dark Charlie and locking her up is gonna work. I mean, she may be . . . dark, but she’s still a part of you.
GOOD CHARLIE: You’re right. I hate it, but you’re right. Okay. Let’s go to the bunker. Baum used the key to Oz. Maybe there’s something in the Men of Letters’ files about the key. If we fix it, we can get back to Oz.
DEAN: All right, you guys dig into that. I’m gonna keep an eye on Russell and, uh . . . wait for dark Charlie to show up. Are you sure?
SAM: Dean, maybe — maybe I should be the one . . .
DEAN: No, no, no, no, no. I got . It’s, uh — I just can’t believe I have to . . . protect this piece of crap.
SAM: No, you got to protect them both. I mean, if dark Charlie gets hurt, then…
GOOD CHARLIE: So do I, so . . . be careful.
DEAN: Got it. (exit Dean)
GOOD CHARLIE: Is he okay?
SAM: Uh . . . I’ll tell you on the way. Come on.
This scene switches between Dean staking out Russell Wellington at his business, and Charlie and Sam in the bunker doing research. Dean starts in the Impala, listening to meditation tapes and eating almonds. He follows Russell Wellington into his company. Sam and Charlie are in the library of the bunker.
(Dean, ext. in the Impala)
TAPE DECK: “The key to quieting your mind, is minding your quiet. Know and understand the lack of an answer is –”
Dean pulls the tape out, throws it on the seat, and then sees Russell Wellington pull in and get out of the car. He walks into the waiting room, signs his name on the list, and then takes a seat among a group of people.
(Int. Bunker in the library)
SAM: Okay, here we go. Clive Dillon. He is the Man of Letters that first discovered the key to Oz. So, according to this incident report, Clive went to Oz, but he left the key on earth, and then L. Frank Baum found the key and went to rescue Clive in Oz.
GOOD CHARLIE: That’s when Dorothy snuck along for the ride and got stuck there.
SAM: Right. And then after Baum rescued Clive, Clive came back and retired.
GOOD CHARLIE: You can retire from the Men of Letters?
SAM: Well, apparently, they put him in some sort of, like, uh, witness-relocation program.
GOOD CHARLIE: Where did he end up?
SAM:Let’s find out.
(Dean, in the waiting room reading a magazine)
OFFICE ASSISTANT: Mr. Presley? Mr. Presley?
DEAN: Yes. Yeah. Hi. Uh, actually, I’m, uh, you know, really into this article on, uh . . . mammograms. Riveting stuff. If somebody else wants to go . . . (looks around the room and sees that he’s the last person left) Right. Yes. Okay. Well . . . let’s do this.
OFFICE ASSISTANT: (shows Dean into Wellington’s office) Mr. Presley for you, sir.
RUSSELL WELLINGTON: Is that it for the day?
OFFICE ASSISTANT: Yes, sir.
RUSSELL WELLINGTON: Okay. You can head out. Uh, I need my, uh, dry cleaning taken to the lake house, and, uh, pick up Pepper and take her to the dog groomers, okay?
OFFICE ASSISTANT: Yes, sir. (office assistant leaves)
RUSSELL WELLINGTON: Thank you. Mr. Presley, Russell Wellington. Please have a seat. So . . . What can you tell me about what you’re looking for today?
DEAN: Uh, right. Well, um . . . Let me describe my dream home.
(Sam and Charlie in the bunker)
GOOD CHARLIE: The Men of Letters gave Clive a new name, a new house, both of which are still listed. I think Clive might be still alive.
SAM: Y– well, he’d be, like, 100-something.
GOOD CHARLIE: Time passes differently in Oz. It’s close by. Let’s go look. If he’s still kicking, he is the only person who might be able to fix the key to Oz.
SAM: All right, let’s go.
GOOD CHARLIE: Okay.
(Dean in Wellington’s office)
DEAN: I’m not saying that I have to have a jacuzzi. I’m just saying that I really like bubbles.
RUSSELL WELLINGTON: Uh, Mr. Presley, look, I’m just gonna stop you right there. Judging from your cheap shoes and your faded jeans, I’m guessing the only house you’re in the market for comes with wheels. Now, look, I’m a busy man. My time is extremely valuable. I prefer not to have it wasted by some hayseed.
DEAN: I’m willing to buy if you’re willing to sell. So why don’t you show me what you got?
RUSSELL WELLINGTON: Well, I can show you the door. (picks up the phone to call security, Dean breaks off the call) Who the hell do you think you are?
DEAN: I’m the guy who’s gonna save your life.
RUSSELL WELLINGTON: Excuse me?
DEAN: Hill and Oak Street. Station wagon with a man and a woman in it, on their way to pick up their little daughter from a slumber party. That ring a bell?
RUSSELL WELINGTON: I-I-I-I don’t know what you’re talking about.
DEAN: Oh, no, you wouldn’t, ’cause you were too drunk to remember anything that night.
RUSSELL WELLINGTON: I think you have me confused with somebody else. Or somebody that cares. Or maybe somebody who wouldn’t pay people off to cover up manslaughter.
RUSSELL WELLINGTON: You’re insane.
(the lights go out)
RUSSELL WELLINGTON: What the hell is going on?
DEAN: Stay here. Do not leave this room.
(Dean goes out to investigate. He finds Dark Charlie in the waiting room.)
DEAN: Charlie? Let’s talk about this.
DARK CHARLIE: You Winchester boys and your talk. Blah, blah, blah, repressed feelings. Blah, blah, blah, passive aggression.
DEAN: Come on, kiddo. You don’t want to do this.
DARK CHARLIE: I don’t want to hurt him. I just want to talk.
DEAN: Yeah, like you talked to all the others?
DARK CHARLIE: You’re right. I got out of hand. But this was never about revenge.
DARK CHARLIE: I want him to see my face. I want him to see what he did to me . . . to us. That’s all. Please, Dean. I deserve that. And then we hand him over to the cops. (hands Dean her knife)
DEAN: Okay. (takes Dark Charlie’s knife)
RUSSELL WELLINGTON: Mr. — (upon seeing Dark Charlie) Celeste.
DARK CHARLIE: No one’s called me that in a long, long time.
RUSSELL WELLINGTON: Uh . . . I am so sorry. What I did — it . . . I was young. I was stupid. What I took, I . . . I can never give back to you. But what I did after the accident, that never should have happened. And I wasn’t drunk for that. I was stone-cold sober. It was selfish . . . and wrong. And I should pay for it. And I will pay for it.
DARK CHARLIE: You took everything from me.
RUSSELL WELLINGTON: Please . . . Celeste, I am so sorry.
DARK CHARLIE: Russell? I forgive you. (she turns, slams and locks the door)
RUSSELL WELLINGTON: Wh–
(Charlie grabs Wellington’s letter opener and stabs him with it. Then she leaps through the window and is gone)
DEAN: (from behind the door) Charlie! Charlie! Don’t do this, Charlie!
(camera cuts to Dean behind the door. He hears the window smash and breaks the door in to find Wellington dead and Charlie gone)
Ext. Sam and Good Charlie are in her VW on the way to see if Clive Dillon is still alive.
SAM: Dean. Hey, hold on. I’m putting you on speaker. What happened?
DEAN: (on the speaker phone) It’s over.
SAM: What do you mean, «it’s over»?
DEAN: She got to Russell. She killed him.
GOOD CHARLIE: Oh, my God.
DEAN: Charlie, if you can hear me, I’m so sorry.
GOOD CHARLIE: It’s not your fault. It’s mine.
DEAN: No, no, no. don’t — don’t say that. This is not on you.
SAM: All right, let’s, uh — let’s try and stick to the plan, guys.
DEAN: Did you guys find a way back to Oz?
SAM: Maybe. Uh, look, t-the Man of Letters who originally found the key — he’s still alive. He lives in Junction City under the name Michael Carter. I’ll text you the address. Just come meet us.
DEAN: All right. I’m on my way.
Int. of the bar. Dean’s at the bar staring at a shot.
HOT BARTENDER: Are you gonna stare at that all night?
DEAN: I’m pacing myself.
DARK CHARLIE: She’s cute.
DEAN: You lied to me.
DARK CHARLIE: You lied to yourself. That’s kind of your move. Something’s off about you, though, isn’t it? It’s always something with you boys.
DEAN: I’ve made mistakes. But I’ll pay for mine. And you’ll pay for yours.
DARK CHARLIE: Come on, Dean. I’m not the monster here. He was. He got what he deserved. You know I’m right. You know what I learned about being dark? It sets you free. And part of you knows that’s right, too.
Ext. Clive Dillon’s house
CLIVE DILLON: Hello?
GOOD CHARLIE: Clive Dillon?
CLIVE DILLON: No. My name is —
SAM: Michael Carter, right. But it was Clive Dillon, wasn’t it? Back in the Men of Letters? Back in Oz?
CLIVE DILLON: You seem to be confused. There’s no Clive Dillon here. And Oz? That’s just a fairy tale. It’s best left on the bookshelves where it belongs.
GOOD CHARLIE: So you’ve never seen this before? (holds out half of the Key to Oz)
Int. bar with Dark Charlie and Dean.
HOT BARTENDER: Enjoy.
DARK CHARLIE: Delicious.
DEAN: All right, listen, Dark Charlie.
DARK CHARLIE: Oh, grow up. There’s no right. There’s no wrong. There’s just us . . . And them.
DEAN: Yeah, well, there’s not gonna be a you for very much longer.
DARK CHARLIE: Uh-oh. Did princess me find a way back to Oz?
DEAN: That’s right. Yeah, a former Man of Letters, retired, in Grantville, two towns over. They’re gonna fix the key to Oz, find the wizard, and put you back to where you belong.
DARK CHARLIE: Back into Charlie? Is that where I belong? Well . . . Hm. We’ll just see, won’t we? In the meantime . . . if you’re not gonna ask her (indicating the hot bartender) to dance, then I will.
(Dark Charlie follows the bartender to the back)
(Dean contemplates his shot and almost takes it until he sees the hot bartender come out from the back to restock the bar.)
DEAN: What happened, did my friend strike out?
HOT BARTENDER: Your friend? She just left out the back door.
(suddenly Dean hears the rumble of Baby’s engine being revved. He runs outside just in time to see Dark Charlie drive off in the Impala.)
DEAN: No, no, no, no! Oh, you son of a bitch! Damn it. (pulls out his phone) Sam?
SAM: (on the phone) Hey. Where the hell are you?
DEAN: Dick Charlie just hot-wired Baby. She thinks she’s on her way to you.
DEAN: I told her the wrong town, so I probably bought you a little time, but, uh, just be on the lookout. I’ll be there as soon as I can jack a ride.
SAM: Thanks. Hurry.
DEAN: Ah. (in satisfaction when he finds an open car door)
Int. of Clive Dillon’s house. Dillon and Good Charlie are talking about the keys. Sam stands, looking around.
CLIVE DILLON: The six keys of Oz were forged from Oz steel. They can only be repaired in that magical realm.
GOOD CHARLIE: So there’s no going back? I can’t put my darkness away?
CLIVE DILLON: I’m sorry.
SAM: What happened to you in Oz?
CLIVE DILLON: It’s in my report.
SAM: Your report just said you were kidnapped. By whom?
CLIVE DILLON: Bad people.
GOOD CHARLIE: I know that look. You’re lying. And lying is —
CLIVE DILLON: –bad. Yes, I know. What happened to you, my dear, happened to me.
GOOD CHARLIE: What?
CLIVE DILLON: A coven of witches grabbed me. They used the inner key on me, unleashed my ID. He was awful. He killed all the witches and went into a tantrum. Was power-hungry, crazy. He became the wizard of Oz.
GOOD CHARLIE: Frank’s daughter, Dorothy, runs Emerald City now. The wizard, dark you,
he is right by her side. If — if — if she’s in trouble —
CLIVE DILLON: Well, without the key to Oz, there’s no way we can get back to the wizard. But . . . There may well be a way . . . to summon him here. (Dillon pulls a gun out from a drawer) If I am mortally wounded, he’ll have to come back here to save us both.
GOOD CHARLIE: Wait, wait, wait. There has to be another way.
CLIVE DILLON: What he has done is my fault. After all, he is me, and I am him, so . . . Maybe it’s time that both of us answered for our sins. It’s the good thing to do, right? Right?
Ext. Dillon’s house. Dean pulls up in the minivan he stole, with Dark Charlie right behind him in Baby.
DARK CHARLIE: I figured you’d lie about where to go to next. That’s what I would do.
DEAN: What the hell do you want?
DARK CHARLIE: I just want to talk to her.
DEAN: Oh, you’re not going anywhere near her. I’m not gonna let you corrupt her.
DARK CHARLIE: Corrupt her?
DEAN: You take one more step, I’m gonna put you down.
DARK CHARLIE: There’s the Dean I love.
This scene alternates between Dean and Dark Charlie in the ext. of Dillon’s house fighting, and Sam and Good Charlie int. of Clive’s house with Clive Dillon and Dark Clive/Wizard of Oz. Dialogue for each character is shot in their respective scenes.
CLIVE DILLAN: Aah!
(A green glow starts emanating from a mirror in the room. The mirror shatters outward and the Wizard of Oz steps into the room. He looks down on Good Clive with disgust.)
WIZARD OF OZ: What have you done, you fool? (Sam points his gun at the Wizard, who takes it away and ties him up with Ozian magic ropes) You had but one task — stay alive. And you couldn’t even manage that.
GOOD CHARLIE: Aah! (her mouth is suddenly bleeding, and she looks at Sam, panicked.)
(Outside, Dark Charlie and Dean are fighting)
DARK CHARLIE: You hit like a girl who never learned how to hit.
GOOD CHARLIE: Aah!
DARK CHARLIE: That’s it, big boy. Let it all out.
GOOD CHARLIE: Ow! Ow!
SAM: Stop this, please! Let me help my friend.
WIZARD OF OZ: Your friend wanted to be a hero. And you know what happens to heroes? They die. (The Wizard starts Force-choking Sam).
DEAN: You hurt my friend.
DARK CHARLIE: I learned it by watching you. (Dean gets Dark Charlie and breaks her arm)
GOOD CHARLIE: Aah! Ow! (pointing the gun at Good Clive) I’m sorry.
GOOD CLIVE: I forgive you. We both do. (Charlie shoots Good Clive, killing him and the Wizard)
SAM: Charlie, hang on. Hey, you okay? (carrying Charlie outside) Dean! Dean!
DARK CHARLIE: (to Good Charlie, whom Sam has lain next to her) You did it, didn’t you? You killed the wizard. I knew it. The magic was in you all the time. Celeste.
(Sam gives Charlie the Key, and she opens her soul. Dark Charlie gets sucked back in, clothes and all.)
SAM: (cradling Charlie) Charlie. Charlie. Hey. I got you. It’s okay. It’s okay.
Int. Bunker in the library. Sam’s on the phone, Dean sits at the table behind him.
SAM: Yeah, he’s, uh, he’s better. I mean, he’s calmed down now. Cas, we got to — we got to find Cain, or . . . We got to find something, you know? Right. Yeah, I know. I hear you. Okay. You got it. All right. Thanks. (Sam hangs up the phone. Charlie enters the library.) Hey. Uh, shouldn’t you be resting up?
CHARLIE: I think sleeping for two days in a row is probably enough.
SAM: So . . . are you . . .
CHARLIE: Good? Bad? I think I’ll just settle for balanced. (Dean watches from the table and then goes back to his research) Anything about the Mark?
SAM: Yeah, maybe. I found this book. It’s a lore book — «The Book of the Damned.»
CHARLIE: Sounds legit.
SAM: It’s in a library somewhere in Tuscany. It might be a dead end, but I figured…
CHARLIE: I’ll go check it out.
CHARLIE: Look, there’s no going back to Oz. And with the wizard gone, Dorothy will be fine.
SAM: So, does this mean no more adventure?
CHARLIE: I think we have all the adventure we can handle right here.
SAM: What about —
CHARLIE: Dark Charlie? She’s, uh . . . Quiet. I just got to keep moving forward. We all do.
(Charlie goes to Dean at the table.)
DEAN: Charlie, I . . .
CHARLIE: We are going to fix this. I’m not letting what happened to me happen to you.
DEAN: But it’s already happened.
SAM: Cain found a way to live with it.
DEAN: Right. Yeah, after centuries of murder.
CHARLIE: Yeah, well, there’s one thing that you have that he didn’t. You’re a Winchester. I forgive you, Dean.
DEAN: Yeah, well, I don’t.
CHARLIE: I know. Kind of your move. How’s that working out for you, huh?
DEAN: I’m so sorry, kiddo.
CHARLIE: Then prove it.
(Hugs all around!)
SAM: Be careful out there.
CHARLIE: Does that sound like either of me? If I find something, I’ll call. If not . . . I’ll just keep digging.
SAM: Charlie, thank you.
CHARLIE: Arrivederci, bitches. (Charlie leaves up the stairs)
SAM: You good?
SAM: She’s right, Dean. You can do this. We can do this.
DEAN: Then let’s get to work. (Dean look at his hand, which is no longer shaking)
Fade to credits