Σενάριο Supernatural | 12×13 Family Feud
Written by: Eugenie Ross-Leming and Brad Buckner
Directed by: P.J. Pesce
Air Date: February 23, 2017
MONTAGE WITH THE BRITISH MEN OF LETTERS, GAVIN MACLEOD, AND A REVIEW OF EPISODE 12X12
INTERIOR OF A HOUSE IN ANDOVER MASSACHUSETTS SIX MONTHS AGO. A WOMAN ENTERS A BATHROOM TO BRUSH HER TEETH. A DARK FIGURE PASSES IN THE BACKGROUND. THE DOOR TO HER BEDROOM CLOSET CLOSES. SHE ENTERS HER BEDROOM, PICKS UP A DRESS AND HANGS IT IN HER CLOSET. SHE GETS INTO BED AND FALLS ASLEEP. ARMS COME OUT OF THE BED AND GRAB HER. THE WOMAN SCREAMS. THE CAMERA PANS TOWARD A PICTURE WHICH IS THEN SPLATTERED WITH BLOOD.
INTERIOR OF THE BUNKER, PRESENT DAY. SAM IS ON HIS LAPTOP TYPING. DEAN WALKS INTO TO THE ROOM WHILE TALKING ON HIS PHONE.
DEAN: Okay, well, stay on it. You get any leads, you let us know, and we’ll keep working it from our end. Thanks, Cass.
DEAN HANGS UP AND SITS ON THE TABLE.
DEAN: So Kelly Kline is in the wind. No trace.
DEAN: No idea when Lucifer’s kid is gonna pop, if it hasn’t already.
SAM: So basically, we got nothin’.
SAM: All right. Well, we do have this other thing.
DEAN: What other thing?
SAM: Check it out. Museum in Des Moines, Iowa. A guy’s body was found in the parking lot. A teacher. His tongue had been ripped out.
DEAN: Well, that didn’t kill him.
SAM: No, but having his internal organs crushed did. Uh, no obvious damage to the torso, no point of entry.
DEAN: You thinkin’ witch?
SAM: Maybe. I mean, he was seen alive just a couple hours earlier, leading a student tour of the museum.
DEAN: Hmm. Haven’t seen Mom in a while. Maybe she’ll wanna work with us on this.
INTERIOR OF A WAREHOUSE. MARY IS FIGHTING A RUGARU. SHE SHOOTS HIM WITH AN ODD LOOKING WEAPON.
MARY: Nice toy.
MR. KETCH APPEARS, HE STOPS THE STOPWATCH HE’S HOLDING.
MR. KETCH: Gets the job done.
MARY’S CELLPHONE RINGS, SHE LOOKS AT IT AND SIGHS BEFORE ANSWERING.
MARY: Hey, Dean. Nothin’, just, uh… I’m at a motel outside Newark. No, no special plans. You know, pay-per-view, magic fingers, the uze. Oh, it’s so sweet of you to think of me. I… Tongue ripped out. Wow. I, uh… I’m actually still sort of resting up after that whole Ramiel thing. But if you need me… You sure? Okay, rain check. Hey, I love you.
MARY HANGS UP HER PHONE.
MR. KETCH: You’re an excellent liar, Mary.
MARY: I haven’t told my sons I’m working with you.
MR. KETCH: I gathered, and I understand. Sam and Dean aren’t our… biggest fans.
MARY: Yeah, ’cause you, uh, tortured them.
MR. KETCH: We’ve been through that.
MARY: Right. It wasn’t you, it was your, uh, «rogue operative.»
MR. KETCH: Exactly. So… drink?
INTERIOR: CROWLEY’S ABODE. HE’S STANDING IN FRONT OF A MAN BOUND TO A CHAIR WITH CHAINS. HE WALKS AROUND AS HE TALKS UNTIL WE SEE THAT THE MAN IS LUCIFER.
CROWLEY: Oh, you’ll resist, at first. But the humiliation will eat at you. Until, finally, you’re worn down by your utter helplessness. And you call me… Master. [ Inhales sharply ] You brag of your superior power. Well, genius trumps brute force. I’ve had a dozen of my most loyal studying the cage where you were held at the molecular level. They managed to replicate the material. They made those chains. Getting you here…well, that was a different matter.
FLASHBACK: SCENE CHANGES TO A ROOM FROM THE EPISODE LOTUS (12×8) WITH SAM, DEAN, ROWENA AND CROWLEY.
SAM: Crowley, still not helping. Listen, we know what we’re talking about here. We have been on Lucifer’s trail for a long time.
CROWLEY TALKS WHILE THE FLASHBACK IS PLAYING
CROWLEY: Everybody in the room was obviously focused on sending you back using Mother’s spell. Everybody except yours truly.
DEAN: Rowena, now!
SPELL IS CAST TO SEND LUCIFER TO HIS CAGE.
ROWENA: Ez loh, say tah! Mah tay, ez loh, say tah! [ Groans ]
CROWLEY: I managed to pervert that spell. So your essence wasn’t sent back to the cage, but instead, we found your discarded vessel a few years ago…
SCENE SHOWS LUCIFER’S ESSENCE ENTERING NICK WHO’S CHAINED TO A CHAIR.
CROWLEY: …repaired it, improved it, making it a fitting final home for the real you. What? No snarky, devilish comments? You have nothing to say?
LUCIFER: Thanks? I mean, all that effort. So you could’ve had me back in the cage, but no, you needed your sad, little revenge. How do you think this is going to end? Nice new digs, by the way. Cozy.
INTERIOR OF THE IMPALA. NIGHT. SAM IS READING FROM A TABLET.
SAM: Get this. It looks like there was another murder. It’s just like the one we’re checking up on.
SAM: No, Andover, Massachusetts. Six months ago. A woman. Body was found in the same condition. Looks like she was a teacher, too.
SAM: Too bad Mom couldn’t make it. You said she was too tired?
DEAN: (Scoffs) Yeah.
DEAN: I don’t know, I just – I feel like something’s going on with her, and she ain’t talkin’ about it.
SAM: Mom’s hunting again. That’s a grind. You know that. She just needs a little time, Dean. That’s all.
EXTERIOR, EVENING, OUTSIDE A MUSEUM IN DES MOINES, IOWA WITH AN EXIHBIT OF SHIPWRECKS OF NORTH AMERICA. A SCOUT LEADER IS DIRECTING CHILDREN TO TRANSPORTATION.
SCOUT LEADER: Okay, you’re in Mr. Peterson’s van, guys. Come on. I’ll be back out in one minute.
HE ENTERS A BATHROOM IN THE MUSEUM. THE LIGHTS FLICKER, AND THE STALL DOORS BEGIN TO BANG. THE ROOM GETS VERY COLD. THE WATER COMING OUT OF THE SINK FREEZES. BEHIND HIM SOMETHING RUSHES FORWARD AS THE SCOUT LEADER SCREMAS.
INTERIOR OF THE MUSEUM. SAM AND DEAN ARE DRESSED AS AGENTS AND ARE WALKING WITH A WOMAN.
SAM: So thank you you again for meeting with us, Dr. Ochoa.
DR. DAISY OCHOA: Of course, Agent. I… We’ve had two murders in two days. The police have no idea what’s going on, and –
DEAN: Well, that’s why we’re here.
SAM: Now you said victim number two brought some Timber Troopers through here, right?
DR. OCHOA:16 hours ago, they were standing right where you are.
DEAN: Is there anything new to the museum?
DR. OCHOA: Well, here in the lab, three traveling exhibits have been uncrated. One’s already on display. The other two are being prepped.
MAN: Dr. Ochoa?
DR. OCHOA: Excuse me.
DEAN: Mm-hmm. Okay, so… including the Massachusetts vic, that is two teachers and one scout leader.
SAM: People who supervise kids.
DEAN TURNS ON THE EMF WHICH STARTS TO REACT.
DEAN TURNS OFF THE EMF.
DEAN: There’s a lot of action in here. Okay, well, I’m switching my vote from witch to ghost.
SAM: I don’t know. EMF isn’t that surprising at a museum. They’re always filled with ADHD spirits and their tethers, you know?
SAM: Okay, but if our killer is a chain rattler, how we gonna figure out which one it is?
INTERIOR OF A DINER. KELLY KLINE IS SITTING AT A BOOTH.
WAITRESS: Ready, honey?
KELLY: Uh, just some orange juice, please. Small.
WAITRESS: So, when you due?
KELLY: I have no idea.
WAITRESS: Well, take it from me, before kids, your life is yours. Once they show up, life as you know it is over.
KELLY: Yeah. Pretty sure that’s the way this is gonna go.
WAITRESS: But whenever it pops out, you’re totally gonna love the little devil
AS THE WAITRESS WALKS AWAY HER EYES GLOW BLUE.
INTERIOR OF THE MUSEUM. DEAN PICKS UP A CURVED KNIFE
DEAN: Hmm. Aztecs were pretty serious about their killings. Aztec ghost. Yeah, I like that.
DEAN MISSES THE STAND WHILE TRYING TO PUT DOWN THE KNIFE CAUSING IT TO THUD. HE LOOKS OVER AND THEN WALKS TOWARD SAM WHO IS LOOKING AT A FIGUREHEAD.
DEAN: What you got?
SAM: It’s from a ship, um, a brigantine called The Star. Sunk in a storm off the New England coast. Currently on loan from the Maritime Museum in – wait for it – Andover, Massachusetts.
SAM: Yeah. Sunk in a storm in 1723.
DEAN: W-wait a minute. I know something about something, about this ship.
SAM: Um, it was, uh, headed to the New World. Weighed anchor in Leith, Scotland.
DEAN: Leith. Yes. Gavin MacLeod. This was his ship.
SAM: Crowley’s kid?
INTERIOR: CROWLEY’S ABODE. LUCIFER IS LAUGHING.
LUCIFER: Ah. Ohh. Oh, sorry, it’s just that…Ah. Y-you – you actually… you seriously think this is gonna work? It’s just, uh… It’s so sad.
CROWLEY DRAGS LUCIFER OUT OF THE CHAIR AND DUMPS HIM ON THE FLOOR.
CROWLEY: Hope you like the taste of floor.
CROWLEY: There’s a spot there needs scrubbing.
LUCIFER: And worse, you’re not even gonna see it comin’ when you get taken down.
CROWLEY: By you?
LUCIFER: And my flesh and blood.
LUCIFER: Mm. (imitates British accent) You remember the lovely… Kelly Kline?
CROWLEY: She got rid of that thing.
LUCIFER: (Normal voice) Did she now?
CROWLEY: The Winchesters saw to it.
LUCIFER: Because they can always be trusted.
CROWLEY: It was in their own self-interest.
LUCIFER: Huh. Interesting. Because I can still feel it. Its heart. Its power. Sort of makes me proud. A chip off the old ball of heavenly light, if you know what I mean.
A CELLPHONE RINGS.
CROWLEY WALKS AWAY WHILE ANSWERING THE PHONE.
CROWLEY: What do you want?
DEAN: Need a favor.
CROWLEY: You…need… You? Turns out that behind that whole moron facade, you and your brother are, in fact, morons! You let Lucifer’s love child live.
DEAN: How do you even know about that?
CROWLEY: I don’t owe you an explanation.
SAM: Okay, so I’m – I’m guessing this isn’t the best time to ask you to get in touch with Gavin so we can talk to him?
CROWLEY: Are you out of your minds?
DEAN: You know what, Crowley? When you set Gavin free to live in our time and possibly screw up the rest of human history, we didn’t hunt him down, okay? So I think you owe us.
CROWLEY: You and Bullwinkle fix this mess before it hatches. Then, maybe then, we’ll talk about my son.
CROWLEY HANGS UP AND WALKS BACK TO LUCIFER.
LUCIFER: Oh, my Dad. I love that. You and I, both single fathers. I could use a little Dad advice right about now. When do you let ’em date?
EXTERIOR OUTSIDE THE MUSEUM. THERE’S A GROUP OF GIRLS GETTING ON A BUS.
ELIZABETH: No pushing, ladies. Let’s be as polite on the bus as we were in the museum.
KAREN: Class, no saving seats. No food on the bus, Sharon.
THE WIND BEGINS TO HOWL AND A LOCKET APPEARS AND DROPS INTO KAREN’S COAT POCKET.
INTERIOR OF THE MUSEUM AT NIGHT. SAM AND DEAN ARE SITTING WITH ROWENA.
ROWENA: Your little story’s fascinating, but you said there was something in this for me?
SAM: If the killer is a ghost, it may be tethered to something on the ship. So we need intel on the vessel.
ROWENA: Get a library card. You two still owe me for helping you in Arkansas.
ROWENA STANDS, SAM REACHES OUT AND GRABS HER ARM.
SAM: Sit down. We know of a guy who has firsthand knowledge of The Star.
DEAN: So, if you find him, we actually do have something that you’ll like. Like, really like.
ROWENA: Who is this eyewitness?
EXTERIOR OUTSIDE: KELLY KLINE IS WALKING DOWN A ROAD. SHE LOOKS BACK TO SEE A MAN WALKING BEHIND HER. SHE BEINGS WALKING FASTER AND THEN DUCKS BEHIND A BUILDING. SHE LOOKS AROUND THE CORNER TO SEE NOTHING BUT AS SHE SAGS IN RELIEF SHE SEES THE MAN. SHE RUNS INTO AN ALLEY ONLY TO SEE THE WAITRESS BLOCKING HER ESCAPE WITH AN ANGEL BLADE DRAWN. THE MAN ALSO DRAWS AN ANGEL BLADE.
FEMALE DEMON: Get away from her!
ANGEL: She’s ours, Demon. Orders.
FEMALE DEMON: Not my problem.
THE MALE ANGEL ATTACKS AND EXPLODES. THE FEMALE ANGEL ATTACKS THE DEMON AND ALSO EXPLODES. KELLY BACKS AGAINST THE WALL AND SAGS TO THE GROUND.
KELLY: No. No.
THE FEMALE DEMON REACHES OUT HER HAND TO KELLY.
FEMALE DEMON: Come with me if you wanna live.
EXTERIOR, NIGHT: THE ALLEY INTERIOR OF A BUILDING WHERE THE FEMALE DEMON IS TALKING TO KELLY KLEIN.
FEMALE DEMON: I get it. You’re freaked. But take a breath. Chill.
KELLY: Y-you made those people explode.
FEMALE DEMON: Again, not people. And they were attacking you.
KELLY: And you said you were a demon.
DAGON: Titles, labels. I’m a demon, you’re Rosemary, complete with baby.
FEMALE DEMON: You humans. You’ve been fed so much propaganda. What did they teach you about Lucifer at Sunday School? Let me guess. Pitchforks? Horns? But did they mention he’s an archangel? Once one of God’s most trusted?
KELLY: What are you… I don’t even know your name.
DAGON: Dagon. It’s Dagon. Look, what I’m saying is it ain’t all black and white, good versus evil. Those «people» who were tryin’ to kill you? Angels. Yeah, that’s right. Not quite the harps and halos you thought. And why’d they want you dead? Because you’re carrying an innocent child. I know you’re scared. Don’t believe what you see in the movies. No one is born good or bad. It’s all in the upbringing. This child, your child… he could save us all.
DAGON: You didn’t know.
KELLY: I… No.
DAGON: Kelly, the angels? The Winchesters? The good guys? They want you dead. But I can protect you. I can protect your son. You don’t have to run anymore.
EXTERIOR: DAY, OUTSIDE A BUS STATION. A MAN EXITS A BUS.
DEAN: There he is.
SAM: Hey, Gavin. Good to see ya. How’s life in the 21st century treatin’ ya?
GAVIN: Oh, fine. Where’s my father, then?
DEAN: Walk with us, Gav.
GAVIN: How sick is he?
SAM: About that… we might’ve exaggerated a little bit.
DEAN: Lied. We lied.
SAM: Okay, well, we knew you wouldn’t come if it was just us.
DEAN: We need your help, Gavin.
GAVIN TURNS TO LOOK AT A MAN WALKING BY.
SAM: Nah, we’re fine. Um, just hear us out, please.
GAVIN: How did you find… What are you going to do to me?
DEAN: Just wanna ask you a few questions.
DEAN SHOWS GAVIN A DRAWING OF THE STAR.
DEAN: About this.
GAVIN: Dear God, that’s The Star. That’s my ship!
SAM: Well, it should’ve been.
DEAN: Yeah, we know all about her.
SAM: We figured there’s someone you’d wanna meet.
THE REAR DOOR OF THE IMPALA OPENS AND ROWENA STEPS OUT.
ROWENA: Hello, Gavin. You look just like my father when he was young.
SAM: Gavin, meet Rowena, your grandmother.
GAVIN: My grandmother? She cannae be alive.
DEAN: Well, technically, dude, neither can you.
INTERIOR OF THE MUSEUM
GAVIN: Amazin’. Father told me she’d gone down in the storm and that was the end of her.
ROWENA: The end of you, too, if you’d been aboard.
SAM: Gavin, what can you tell us about the other passengers who were supposed to make the crossing?
GAVIN: Ordinary folk. Storekeepers, farmers, a doctor, a teacher.
SAM: A teacher?
GAVIN: Aye. Mistress Allaway. She taught most of us in the village. This everything they found aboard?
DEAN: Yes. Let us know if you recognize anything.
GAVIN STARTS FLIPPING THROUGH A CATALOG OF THE EXHIBIT.
GAVIN: Nope. Nope. Ooh, there’s Mr. MacCallum’s hook. Had no hand, you see.
GAVIN STOPS AT A PICTURE.
GAVIN: No. No. Oh, sweet Lord. It’s the locket.
SAM: The locket?
GAVIN HANDS THE BINDER TO SAM.
GAVIN: I bought it myself. It was a gift for my Fiona.
ROWENA: Darlin’, you had a wee girlfriend?
DEAN: Look at this. Added to the exhibit six months ago.
GAIVN: Fiona Duncan, the love of my life. When she found out I was going to America, nothing would do but I take her with me. I told her it was too dangerous.
SAM: How did it get here? If you didn’t board the ship, then she wouldn’t have either, right?
GAVIN: I don’t know. That terrible night…
GAVIN: I was packing, ready to leave. Fiona said she was going to come see me, beg me one more time to take her along. Obviously, I never made it to the ship.
ABBADON: What’s that, you say? Come in? Don’t mind if I do.
GAVIN: If Fiona came that night, I was gone.
And she would’ve thought that you left without her.
GAVIN: Dear God, she must’ve smuggled herself aboard.
Would she really have done something like that?
GAVIN: Iron will, that one. She’d have stayed hidden until they were at sea and there was no turnin’ back.
DEAN: And she would’ve died, pissed as hell and heartbroken.
SAM: Yeah, unfinished business. We got a ghost probably tethered to the locket.
GAVIN: A ghost? My Fiona’s a ghost?
DEAN: All right, where is this thing? Item 121.
SAM: All right.
AS THEY BEGIN SEARCHING DEAN LOOKS IN A CASE. THERE’S A STAND WITH ITEM 121 LISTED BUT THE ITEM ISN’T THERE.
DEAN: It’s gone.
EXTERIOR: DAY: OUTSIDE. IT’S SNOWED AND A CAR PULLS UP TO A BUILDING WITH ROOMS TO RENT. MARY AND MR. KETCH EXIT THE CAR.
MR. KETCH: So… about that drink…
MARY: I’m good, actually.
MR. KETCH: Your sons… I’m…sure they’re fine lads and all, but it might be best if you were to… disengage from them a bit.
MR. KETCH: This work. It’s demanding and it must come first. The Men of Letters is my family.
MARY: I’m sorry. Nothing comes before my family, not with me.
MR. KETCH: Really? Or is that just what you want to believe? You’re different when you talk to them. Softer. Weaker. Not an insult, just an observation. But when you hunt, Mary… you’re one of the best I’ve ever seen. Now you might play at being the good mummy, but when you’re in the thick of it, nothing but a blade in your hand and blood in the air, that’s the real you, the best you. And I think you know it. And I think that scares the hell out of you.
INTERIOR OF THE MUSEUM. SAM AND DEAN ENTER DR. OCHOA’S OFFICE.
SAM: Sorry to interrupt, Dr. Ochoa. We’ve been looking through the shipwreck exhibit in connection with the murders.
DEAN: There seems to be an item missing. Yeah. Uh… It’s right here. 121. It’s a locket.
DR. OCHOA: That’s not possible. It’s in a sealed case.
SAM: We know, ma’am, but – but we’ve looked everywhere. It’s definitely gone.
DEAN: Have one of those, um, student tours been through here the last couple of days, the ones led by the teachers?
DR. OCHOA: Yes, there was one yesterday.
DEAN: And where are they from?
DR. OCHOA: Uh… The Pembroke Day School for Girls.
SCENE CHANGES TO SHOW THE EXTERIOR OF THE PEMBROKE DAY SCHOOL FOR GIRLS.
INTERIOR. THE TWO TEACHERS ARE SITTING IN EASY CHAIRS IN FRONT OF A FIRE.
KAREN: Ugh. That’s it for me. How ’bout a glass of wine?
ELIZABETH: Yeah. I read one more Internet-bought paper on «Bleak House,» I’ll scream.
LIGHTS BEGIN TO FLICKER.
ELIZABETH: Again? The panel?
KAREN GETS UP TO CHECK THE PANEL. SHE ENTERS ANOTHER ROOM. THE WIND STARTS HOWLING, A WINDOW SHADE ROLLS. KAREN AND ELIZABETH CHECK THEIR ROOMS. A CHAIR BEINGS TO ROCK ON ITS OWN. THE TEMPERATURE DROPS. PICTURES FALL OFF THE WALL. A CREATURE APPEARS AND ATTACKS KAREN. ELIZABETH GASPS AND THE GHOST TURNS TOWARD HER. ELIZABETH SHUTS THE DOOR AND RUNS. THE GHOST APPEARS AND KNOCKS HER ACROSS THE ROOM. SAM AND DEAN BURST INT THE ROOM. THE GHOST TURNS AND DEAN SHOOTS IT WITH ROCK SALT. ROWENA AND GAVIN ENTER THE ROOM.
INTERIOR OF THE PEMBROKE DAY SCHOOL FOR GIRLS. SAM HELPS ELIZABETH OFF THE GROUND.
ELIZABETH: Is it dead?
SAM: Yeah. Has been for a long time.
DEAN: It was a ghost.
SAM: The rock salt only slowed it down.
DEAN: All right, we gotta figure out if this was Fiona. So, show time.
GAVIN IS SITTING ALONE AT A SMALL TABLE IN FRONT OF THE FIRE. RED CANDLES ARE LIT ON THE TABLE.
GAVIN: (reading from a piece of paper) «O restless spirit, make thy presence known to me.»
GAVIN LOOKS AROUND AND THEN PUTS THE PAPER ASIDE.
GAVIN: Fiona? It is I, Gavin. Your Gavin. I must speak with you.
WIND RATTLES THE PAPER AND THE GHOST APPEARS. IT CHANGES ITS FEATURES FROM A DEAD THING TO A LIVING WOMAN. SHE LOWERS HER HOOD AND LOOKS AT HIM.
FIONA DUNCAN: Gavin. You abandoned me. You…Where were you? I came to your room. I —
GAVIN: It wisnae my fault. I was sent somewhere else.
FIONA: I hid myself aboard The Star, and you wernnae there to protect me. The crew, they came to scorn me and mock me and worse. Use me in a way no woman should be used.
GAVIN: The other passengers… Did no one help you?
FIONA: All did nothing. And Mistress Allaway, our teacher? She said I deserved it for throwin’ myself at you. Teachers – they claim to love children, and then they betray them. I cou’dna punish her, but others will pay her debt.
FIONA VANISHES. SCENE CHANGED TO SAM, DEAN, ROWENA, AND GAVIN SITTING IN ANOTHER ROOM.
GAVIN: Her life aboard that ship was so unbearable, she felt death would be a relief. But the sweet maid I knew is now a spirit bent on revenge.
SAM: So we agree Fiona has to be stopped.
DEAN: We can’t burn her bones. They’re at the bottom of the Atlantic.
SAM: Could destroy the locket. Then again, she might also be tethered to something else on the ship.
GAVIN: Either way, nothing can bring back the poor people she killed.
SAM LOOKS AT DEAN, WHO MOVES HIS HEAD IN AGREEMENT WITH SAM, AND THEN BACK AT GAVIN.
SAM: Actually, there might be a-a way to fix pretty much everything.
DEAN: Keep Fiona from going Casper in the first place.
SAM: Yeah. There’s no reason for her to be a ghost if she’s not angry and alone… on the ship.
ROWENA: You don’t intend to tamper with the flow of time do you?
DEAN: That’s up to Gavin. Look, we’re lookin’ for a fix here, okay? This is it. We get him aboard that ship, he travels with Fiona, keeps her safe.
ROWENA: And go to his death. That’s your solution?
DEAN: I didn’t say it was the fun one, okay? Just the one, and you know it. And it would keep history intact.
GAVIN: I…was thinking the same thing. I loved her. She loved me. That’s the only reason any of this happened. I can spare her the nightmare she’s trapped in. I cannae say I ever fit here. Here, I’m alone. Fiona and me, we’ll spend eternity together.
CROWLEY: Never gonna happen.
THE CAMERA PANS TO SHOW CROWLEY STANDING BEHIND GAVIN.
CROWLEY: Just ’cause Dim and Dimmer here can’t keep their own family all in the same dimension, doesn’t mean they can mess with mine!
GAVIN: Father, I want to do this.
CROWLEY: What you want is a gym membership, happy hour at Hooters, and Cubs tickets – none of which are available anywhere else but here.
GAVIN: I’ve made up my mind.
CROWLEY: Then why did you call me?
DEAN: You called him?
GAVIN: To say goodbye.
ROWENA: Let him go, Fergus.
CROWLEY: Butt out.
ROWENA: Fergus, he’s not like us. He believes in things. Let him do what he believes is right.
GAVIN STANDS AND CROWLEY REACHES FOR HIM.
CROWLEY IS FROZEN IN PLACE.
CROWLEY: Mother… Damn you.
GAVIN: I’m sorry, Father.
THEY WALK OUT LEAVING CROWLEY BEHIND.
EXTERIOR NIGHT. ROWENA AND GAVIN ARE STANDING NEXT TO THE IMPALA. GAVIN GETS IN WITH SAM AND DEAN. THEY DRIVE OFF LEAVING ROWENA BEHIND.
INTERIOR OF THE BUNKER. A BOOK IS OPEN AND THE MAKINGS FOR A SPELL HAVE BEEN GATHERED.
DEAN: That soup yet?
SAM KEEPS MIXING THE INGREDIENTS FOR THE SPELL. HE LOOKS AT GAVIN.
SAM: You ready?
GAVIN: Do it. Ah…
SAM CUTS GAVIN’S HAND AND BLOOD RUNS INTO THE BOWL. DEAN HANDS GAVIN A BANDANNA TO WRAP AROUND HIS HAND. SAM WALKS OVER TO THE WALL AND STARTS DRAWING A SIGIL.
DEAN: Ready to do this, Gavin?
GAVIN: You’re positive this will work?
DEAN: Never done it before. But our granddad did. And Abaddon. And Rowena tweaked the spell so that you could use it.
SAM: All right. I think that’s it.
DEAN: This is a tough one.
SAM: You’re a good guy, Gavin. Thank you.
GAVIN: Hopefully… this is all for the best.
GAVIN KISSES THE LOCKET.
DEAN: Beam him up, Scotty.
SAM: Kah-nee-lah, poo-goh, kah-nee-lah.
THE SIGIL STARTS TO GLOW. FIONA APPEARS NEXT TO GAVIN. THEY HOLD HANDS AND VANISH INTO A GOLDEN LIGHT.
INTERIOR OF THE BUNKER. SAM IS LOOKING AT HIS LAPTOP. DEAN WALKS IN BEHIND HIM.
DEAN: So the teachers at the girls’ school are all back to work. It’s like nothing ever happened. That’s all the victims in Ohio.
SAM: Well, no mention of the Massachusetts murder either. Uh, no Fiona, no angry ghost. Looks like history is back on track. Thank you, Gavin.
THE DOOR TO THE BUNKER OPENS. MARY WALKS IN.
DEAN: Well, well!
DEAN: It has been a while. A long, long… long, long, long, long while.
SAM: Yeah, all right. He’s dramatic, as you know. What he meant to say was, we missed you. Glad you’re back.
MARY: Burgers. Beer.
DEAN: Mmm. Forgiven. Whatcha been up to?
MARY: Oh. Jogging, tai chi, meditation. Melting rugaru brains.
SAM: Uh, m-m-melting rugaru brains?
MARY: There’s no easy way to say it, so I’m just gonna say it. I have sort of… been working with the British Men of Letters.
SAM: M– You – you, uh… you what?
DEAN LOOKS AT SAM. AS SAM TALKS DEAN CROSSES HIS ARMS.
SAM: Mom… we, um… we have a-a history with them.
MARY: I know, Sam. And it was a hard decision. But they’re doing good work. I have helped them save people, a lot of people. We can learn from them.
MARY LOOKS FROM SAM TO DEAN.
MARY: Do not give me the face.
DEAN: What face?
MARY: You know the face.
DEAN: There’s no face.
MARY: That’s the face.
DEAN LOOKS AWAY FROM MARY.
SAM: Mom, we have our own tool kit, and it works just fine. A-and for obvious reasons, like broken ribs and burnt feet… We don’t trust the Brits.
DEAN: So where does that leave us?
MARY: Same as always. Family.
DEAN REACTS AND LOOKS AT SAM.
MARY: Just hear me out. Please.
THE WINCHESTERS LOOK AT EACH OTHER.
EXTERIOR, NIGHT: BUS STATION. ROWENA IS SITTING DRINKING TEA FROM A THERMOS. CROWLEY APPEARS BESIDE HER.
CROWLEY: What you did… A low, even for you. Wasn’t right.
ROWENA: (Laughs) And you would know what’s right?
CROWLEY: I know there’s an ugly, rancid, spiteful reason why you sent my son, your grandson, to his death. I wanna know what it is.
ROWENA: He was a lovely boy. And in your own lizard way, I know you cared for him. just as I cared for Oskar.
ROWENA: The child I loved more than you. The boy you made me kill in order to remove the Mark of Cain.
FLASHBACK TO WHEN ROWENA KILLED OSKAR.
CROWLEY: So that was all drivel you were spewing about Gavin doing the right thing.
ROWENA: It was the right thing. Maybe for Gavin, certainly for me. It allowed me to watch you suffer the loss of a child.
ROWENA: I’m your mother, dear. Who better to crush your shriveled heart?
ROWENA WALKS OVER AND GETS ON A BUS. THE ROLLING STONES’ «PLAYING WITH FIRE» BEGINS TO PLAY.
SCENE SWITCHES BETWEEN LUCIFER CHAINED TO THE CHAIR, MARY EXPLAINING WHAT SHE’S DONE TO HER UPSET SONS, CROWLEY SITTING ALONE AT THE BUS STATION AND KELLY LEAVING WITH DAGON.
Well, you’ve got your diamonds
And you’ve got your pretty clothes
And the chauffeur drives your car
You let everybody know
But don’t play with me
‘Cause you’re playing with fire
Now you’ve got some diamonds
And you will have some others
But you’d better watch your step, girl
Or start living with your mother
So don’t play with me
‘Cause you’re playing with fire
So don’t you play with me
‘Cause you’re playing with fire
THE SCENE ENDS WITH THE CAMERA LOOKING AT LUCIFER WHO HAS HIS EYES CLOSED.