14.12 Prophet and Loss (transcript)
Written by: Brad Buckner and Eugenie Ross-Leming
Directed by: Thomas J. Wright
Air Date: January 31, 2019TEASER
EXTERIOR – OCEAN BED – NIGHT
[The Ma’lak box sits at the bottom of the ocean floor. There is a banging sound from the inside.]
INTERIOR – MA’LAK BOX – NIGHT
[DEAN is banging his hands against the box. Water leaks in from the top of the box, as he pushes his bloody hands against it. The box creaks.]
DEAN
No. No!
[DEAN continues to bang his hands against the box several times.]
DEAN
Sam! Sam!
[DEAN looks at his phone. It loses its charge.]
DEAN
No, no, no, no! What? Sam? Sammy? Sammy!
TITLE CARD
ACT ONE
INTERIOR – MOTEL ROOM – NIGHT
[DEAN wakes up from his nightmare. SAM comes out from the bathroom.]
SAM
Oh, hey. Didn’t mean to wake you. Sorry.
DEAN
No, it’s just a… bad dream. It’s fine.
SAM
You want to talk about it?
DEAN
No, I’m – No, I’m okay.
[SAM nods his head.]
DEAN
What’re you doing? Why don’t you get some sleep?
[SAM sits down on the bed opposite from DEAN.]
SAM
You know, Dean, you don’t have to act like what you’re planning to do is just business as usual. I-I know you’re scared.
DEAN
Never said I wasn’t scared. But it t doesn’t matter.
SAM
Doesn’t matter? We know we could die, uh, doing what we do. It’s always a possibility. But what you’re talking about is far worse than death. Michael’s an archangel. He could literally keep you buried in a coffin, alive, forever.
DEAN
Okay. I get it. But what’s the other option, huh? Michael gets outta my head and ends the world? ‘Cause it’s all right there in Billie’s book.
[DEAN walks towards the bathroom.]
SAM
Yeah, but that’s only if we don’t find another way to take Michael off the board, and there has to be another way.
DEAN
And what is that other way?
[SAM says nothing.]
DEAN
Exactly.
INTERIOR – WAREHOUSE – NIGHT
[A woman is tied and gagged to a table. She whimpers in fright. A man, TONY picks up a bag of salt and pours it into a vat of water, picking up a large stick and mixing the salt. He picks her up from the table and carries her towards the vat.]
[TONY submerges her in the water. She struggles against her restraints as she sinks in. He takes out a box and opens it, picking up the knife from inside. The woman rises out of the water, and the man grabs her hands.]
WOMAN
Help, please! Please! No! Please! No!
[TONY picks up the knife and carves a symbol in her right arm. He grabs her by her hand and dunks her head into the water. The man holds her down as she struggles in the water, bleeding from her arm. She starts to sink into the water. She dies.]
[TONY man hears voices as he raises his arms and head up.]
INTERIOR – HOSPITAL ROOM – DAY
[NICK wakes up in a hospital bed. A police officer walks into the room, carrying a tray.]
OFFICER
Okay, sunshine. Soup’s on. And bad as the food is here? Gourmet compared to what you’ll be getting’ in jail, so… enjoy.
[The OFFICER puts the tray down on the table in front of NICK. He starts to leave.]
NICK
When am I getting out of here?
OFFICER
I’m not sure. At least four jurisdictions want to prosecute. You were a busy bee.
NICK
Yeah, what went down… none of that was my fault.
OFFICER
Right. ‘Cause you were possessed by Satan.
NICK
That’s real. That’s a real thing, okay? He left me but… it changed me.
[The OFFICER walks closer to NICK. NICK grips the side of the bed with his cuffed hand.]
OFFICER
Listen, you piece of crap. You wanna say the devil made you do it, well, you stick with that. ‘Cause either way, you’re gonna be locked up for the rest of your life. You’re done. You’re buried.
[The OFFICER leaves the room.]
EXTERIOR – REST STOP – DAY
[The Impala pulls into a parking lot. DEAN opens the door to get out.]
DEAN
Hey. Man, I-I just want to make sure that you’re still with me on this thing. You’re gonna see it through to the end.
SAM
Well, I gave you my word, didn’t I?
DEAN
Okay, alright. Just, you know, after what you said last night, I-I-I don’t need you and mom coming up with some way to stop me.
SAM
You know, mom hates this. I hate this.
DEAN
I know.
SAM
And Cas and Jack, you haven’t even told them.
DEAN
Okay, well, yeah, that’s because I’m not good with the whole big goodbyes, alright? I-I-I don’t need to get shaky on this thing.
SAM
Wouldn’t be the worst thing.
DEAN
You know what Michael wants to do, you know that this will stop it, and you know that there’s no other way. So, just put the end of this trip outta your head, okay?
[DEAN leaves the Impala. SAM watches him walk to the restroom. He takes out his phone and dials.]
INTERIOR – BUNKER LIBRARY – DAY
[CAS picks up his phone and sits down at the table, books in front of him.]
CAS
Sam.
SAM
Cas.
CAS
Were you able to talk him out of it?
INTERIOR – IMPALA – DAY
SAM
No. So I’m counting on you. Uh, any luck?
INTERIOR – BUNKER LIBRARY – DAY
CAS
I-I did as you asked. I’ve-I’ve looked for any possible way to forcibly extract Michael and destroy him. But so far, nothing.
INTERIOR – IMPALA – DAY
SAM
And what about Rowena?
INTERIOR – BUNKER LIBRARY – DAY
CAS
She went through the entire Book of the Damned and found nothing. And I told her to do it again, see if she missed something, and uh… well, the woman has a remarkable command of profanity.
INTERIOR – IMPALA – DAY
SAM
Alright, thanks. Uh, keep going.
INTERIOR – BUNKER LIBRARY – DAY
CAS
Sam. Maybe if I spoke with Dean…
INTERIOR – IMPALA – DAY
SAM
It wouldn’t matter. Believe me, I-I I’ve never seen him like this. He won’t listen to me. H-He just – No. If we don’t find some way… Dean’s gone.
EXTERIOR – WAREHOUSE – NIGHT
[A car is parked outside in the rain. TONY watches another man, ALAN leave the building. He gets out of the car and follows ALAN.]
INTERIOR – WAREHOUSE – NIGHT
[TONY drags ALAN into the room, gagged and tied up. He lays ALAN on a plastic tarp, as he puts on latex gloves.]
TONY
“For I will strike down the firstborn in the land of Egypt...”
ALAN
[through his gag] What are you doing?
[TONY takes out the knife from the box, and kicks ALAN, to lie on his back. He sits on top of ALAN with the knife in his hand.]
TONY
“And against all the Gods of Egypt, I will execute judgement.”
ALAN
You don’t have to do this. No, please, no!
[TONY slits ALAN’s throat. He dies. TONY opens ALAN’s shirt and carves something into his chest. Thunder cracks outside, as TONY hears voices.]
MAN
“I am the Lord.”
ACT TWO
EXTERIOR – HIGHWAY – NIGHT
[The Impala drives down the highway, a trailer attached with the Ma’lak box on it.]
INTERIOR – IMPALA – NIGHT
[DEAN sees visions of the door in his head shaking, Michael screaming. DEAN shakes his head. He sees SAM looking at his iPad.]
DEAN
You ever think about when we were kids?
SAM
Maybe. Yeah, sure. Sometimes. W-Why?
DEAN
I know I wasn’t always the greatest brother to you.
SAM
Dean, you were the one who was always there for me. The only one. I mean, you practically raised me.
DEAN
I know things got dicey… you know, with dad… the way he was. And I just… I didn’t always look out for you the way that I should’ve. I mean, I had my own stuff, you know. In order to keep the peace, it probably looked like I took his side quite a bit. Sometimes when I was… when I was away, you know it wasn’t ‘cause I just ran out, right? Dad would… he would send me away when I really pissed him off. I think you knew that.
SAM
Man, I left that behind a long time ago. I had to. And if we’re gonna get through this, I-I have to do like you said and… try and keep my mind off of where we’re going. So, if we could not have conversations that sound like… deathbed apologies, I would really appreciate it.
DEAN
Right. Yeah.
INTERIOR – HOSPITAL ROOM – NIGHT
[The OFFICER watches NICK from a crack in the door. NICK is looking up at the ceiling.]
NICK
Answer me. Answer me. You owe me that.
[The OFFICER walks in.]
OFFICER
I think God’s pretty done with you. Why would you even bother praying to him?
NICK
I wouldn’t.
[NICK lifts up his cuffed hand.]
NICK
Could you do me a solid? I have to use the can.
[The OFFICER picks up a bed-pan and puts it on the bed.]
NICK
Oh, come on. Seriously? Come on, man, give me a little bit of… a little dignity. I got, uh - I got, uh, cuffs. I got a bum leg. What the heck am I gonna do?
[The OFFICER walks over to NICK.]
NICK
Thank you.
OFFICER
You know the drill. Hands behind your back.
NICK
Yeah.
[NICK gets up from the bed, as the OFFICER steps behind him. He opens the cuffs. NICK headbutts him in the face. He picks up the bed-pan and strikes the OFFICER in the face, knocking him out. NICK stands above him and kicks him repeatedly in the face.]
[NICK picks up the keys to cuffs and unlocks them. He takes out his bag of clothes, drops the cuffs on the OFFICER’s body, and limps out of the room.]
EXTERIOR – HIGHWAY – NIGHT
[The Impala drives down the highway.]
INTERIOR – IMPALA – NIGHT
[SAM has a police report open on his iPad.]
SAM
Listen, I, uh – I’m pretty sure I found a case.
DEAN
A case?
SAM
Yeah.
DEAN
You know this trip isn’t about finding a case.
SAM
I know, I know, but – but it’s on the way – uh, Fort Dodge, Iowa. And if we can help, then shouldn’t we?
DEAN
It’s on the way. Maybe. Yeah. One last case for the Winchester boys.
SAM
Don’t – you have to go there. Okay, j-just… there have been at least two murders. Uh, one was just tonight, and the police reports say, a couple days ago, a woman drowned in uh, bloody, red salt water.
DEAN
Like seawater?
SAM
Yeah, except there’s no sea around here. And then, tonight, a guy had his throat slit. Both bodies were dumped in alleys. The murders happened somewhere else. And both vics had graffiti carved in them.
DEAN
Graffiti?
SAM
That’s what the cops said. But, uh… it wasn’t graffiti.
[SAM turns the iPad to DEAN. There is an image of someone’s chest, with bloody carvings on it.]
DEAN
Enochian.
SAM
Yeah.
INTERIOR – HOUSE – DAY
[A man, EDDIE cracks open the door. SAM and DEAN are outside, dressed in their FBI suits.]
EDDIE
Yeah?
SAM
Uh, sir, FBI. We’re here to talk to you about your brother, Alan.
[They show him their badges.]
[EDDIE opens the door wider.]
DEAN
Oh. Well, definitely brothers.
EDDIE
Uh, Alan was my twin. I’m Eddie.
INTERIOR – LIVING ROOM – DAY
[EDDIE sits on the couch. SAM and DEAN sit on chairs across from him.]
EDDIE
I can’t believe he’s gone. We were close. Best friends. Alan always said he was my big brother, ‘cause he was born first. By, like, four minutes. Losing him is like losing a part of myself. I never knew it could be this bad.
DEAN
Cops said your brother was connected to, uh, another victim.
EDDIE
Yeah, I-I know. Uh… They both had that graffiti carved in them. What kind of monster does that?
SAM
Actually, it wasn’t, um… it wasn’t graffiti. It was, uh… it was an ancient language. It meant, um, “I am the Word.”
[SAM shows EDDIE the Enochian script.]
EDDIE
What?
DEAN
Was your brother a very religious man?
EDDIE
No. Not really.
SAM
Did he know anyone who was?
EDDIE
Well, I mean, most of the people we know, uh, they’re church on Easter types… except –
DEAN
Except what?
EDDIE
There’s this guy, Tony Alvarez. Him and Alan were friends. He was always quoting stuff that sounded like it came from the Bible. Can I see that paper again?
SAM
Of course.
[SAM gives EDDIE the paper. EDDIE looks down at it before he stands up. He looks at a picture of his brother and Tony.]
EDDIE
This is Tony… before he got too weird. There, on his arm.
[EDDIE hands SAM the frame. The inscription is written on Tony’s arm in the photo.]
SAM
It’s Enochian. It means “the Word.”
EXTERIOR – HOUSE – DAY
[SAM and DEAN leave the house.]
DEAN
A killer who reads and writes Enochian?
SAM
M-Maybe some kind of screwed up angel? I suppose Tony could’ve said yes and gotten possessed, but there aren’t that many angels around anymore.
DEAN
Well, no, angels aren’t the only ones who know Enochian.
INTERIOR – BUNKER LIBRARY – DAY
[CAS’s phone rings.]
CAS
Dean! It’s so good to hear from you.
EXTERIOR – HOUSE – DAY
[DEAN is leaning against the Impala. SAM is sitting in the passenger seat, the door opened.]
DEAN
Oh. Well. good. Uh, listen Cas. Uh, Sam and I are working this case.
INTERIOR – BUNKER LIBRARY – DAY
CAS
You’re working a case? That is so good to hear. So, I assume that means you’re not going through with it, because I have to say, Dean, this plan of yours, it was born of – of desperation, not reason.
EXTERIOR – HOUSE – DAY
DEAN
My plan?
[DEAN looks down at SAM.]
INTERIOR – BUNKER LIBRARY – DAY
CAS
I-I know that I’m not suppose to know what I know, but…
EXTERIOR – HOUSE – DAY
DEAN
Look, I’m fine with my plan, okay? We can talk about my plan later.
INTERIOR – BUNKER LIBRARY – DAY
CAS
Dean. You are making a terrible mistake.
EXTERIOR – HOUSE – DAY
DEAN
Does the name “Tony Alvarez” mean anything to you?
INTERIOR – BUNKER LIBRARY – DAY
CAS
Y-Yes.
EXTERIOR – HOUSE – DAY
DEAN
Say more.
INTERIOR – BUNKER LIBRARY – DAY
CAS
Antonio Alvarez is – is next in line to be prophet when Donatello dies.
EXTERIOR – HOUSE – DAY
DEAN
Okay. Thanks Cas.
INTERIOR – BUNKER LIBRARY – DAY
CAS
Wait, Dean, Dean. We need to have a conversation.
EXTERIOR – HOUSE – DAY
DEAN
Look, I really got to handle this right now, okay? So, thank you, and uh… it’s good to hear your voice.
INTERIOR – BUNKER LIBRARY – DAY
CAS
Dean?
EXTERIOR – HOUSE – DAY
[DEAN ends the call. He looks at SAM.]
DEAN
Really?
SAM
Dean, it’s Cas. I had to tell him.
DEAN
Well, it turns out that Alan’s friend Tony, is a killer prophet. How’s that even possible?
SAM
I guess anyone can be a prophet, right?
INTERIOR – HOSPITAL ROOM – DAY
[Machines are beeping. DONATELLO is lying in bed, a tube across his mouth.]
SAM
Not like there’s a-a background check or anything.
DEAN
Yeah, but before one reveals itself, the previous one has to die. So does that mean Donatello’s dead?
ACT THREE
EXTERIOR – HOUSE – DAY
[DEAN is on phone.]
Dr. Rashad? Hi. It’s Dean Winchester. Yes, yeah. We – W-We’ve spoken before. Uh, I’m Donatello Redfield’s nephew. Yeah, how is – how is Donatello? He’s um… he’s still alive, right? [waits.] Uh-huh. Well, uncle Donny’s a fighter. You keep me posted, okay?
[DEAN ends the call.]
DEAN
He’s still with us.
SAM
So, wait a second. I-If Donatello is still technically online, then – then why is Tony Alvarez off the bench?
DEAN
Let’s ask him.
INTERIOR – TONY’S HOUSE – NIGHT
[SAM walks into the dark house, a flashlight in hand. DEAN follows him in.]
SAM
Tony Alvarez?
[SAM and DEAN search the house. No one is home. DEAN turns the corner to see writing on the walls of the house. SAM walks in and sees the walls, flashing his light over the writing.]
DEAN
Enochian 101. Looks like a whole semester of Prophet-speak.
[DEAN takes out his phone and takes photos of the walls. SAM looks through papers and photos on the table.]
SAM
Wow.
[DEAN walks to the walls and see photos stuck to them.]
DEAN
Hey, check this out. Are these future vics?
[SAM looks up to see photos of women on the walls.]
SAM
I don’t know. But these look familiar.
[SAM hands DEAN photos from the table.]
DEAN
Hm. Well, he likes souvenirs. Explains how our lady vic drowned.
[SAM looks back at the walls.]
SAM
Look at this. It’s all “Word of God” and “divine retribution.” I-I mean, slaughter of firstborn sons, the – the drowning of Egyptians in the Red Sea…
DEAN
Wait, wait, wait. So, Alan was the oldest of the twins, right?
SAM
Yeah.
DEAN
So firstborn.
SAM
Of course.
DEAN
And then, she died in salty, bloody water. The “Red Sea.” So then, what’s next up?
[SAM looks around the walls. He shines his light on a line.]
SAM
Hey, Dean.
[DEAN looks at the line.]
SAM
“And there went out fire from the Lord and devoured them.”
[DEAN picks up the photos.]
DEAN
Hey, Sam. Check this out.
[They see the victims in boxes labelled ‘SPHINX MACHINE SHOP’.]
INTERIOR – SPHINX MACHINE SHOP – NIGHT
[A man is strung up by his arms, his feet dangling above the ground and blood running down his face. TONY is standing next to him.]
MAN
Y-You d-don’t have to do this. You don’t have to do it.
[TONY has a can of oil in his hand, as he stands in front of the man.]
MAN
Whatever you want, I’ll give you anything!
[TONY pours the oil at the bottom of the man’s feet.]
MAN
No! Let me go, please!
TONY
“And the son of Aaron offered strange fire to the Lord… which he commanded them not. There went out fire from the Lord and devoured him, and he died before the Lord.”
[TONY pours the oil back towards the end of the room.]
MAN
What’re you doing? Come back! Please, come on! Whatever you want, I-I’ll give you anything! Please!
TONY
The pain becomes salvation.
MAN
What are you doing? No, no, no!
[TONY lights a match and drops it. The fire starts moving towards the man. SAM and DEAN rush in. SAM tackles TONY to the ground. DEAN picks up a blanket and puts the fire out. He cuts the ties on the man and helps him.]
DEAN
Go on. Get out of here. Go. Now.
[The man runs away. SAM has a hold on TONY.]
DEAN
Sam? Sam!
[SAM lets go of TONY, dropping him to the ground. He stands up next to DEAN.]
DEAN
Tony Alvarez, right?
[TONY stands up.]
TONY
And who are you?
[DEAN punches TONY, knocking him back to the ground.]
TONY
You can’t – you can’t do this. I’m doing God’s work. I’m carrying out his orders.
SAM
You think God spoke to you?
TONY
I-I’ve been chosen. I hear his voice in my head.
DEAN
Yeah? What’s he saying now?
[TONY tries to listen.]
TONY
Nothing.
SAM
Yeah. ‘Cause whatever you heard, it wasn’t God.
DEAN
Those people you killed were innocent.
[DEAN crouches down in front of TONY. TONY sees flashes of the victims. The woman in the water. Alan’s eyes as his throat is slit.]
DEAN
You’re not chosen, pal. You’re just a psycho.
[DEAN punches TONY again, then stands up.]
TONY
No.
SAM
So, what if he is hearing something, right? I mean, what if uh – what if he’s picking up some sort of vibe from Donatello, you know?
TONY
No. No.
DEAN
Donatello’s out cold.
SAM
Yeah, so we think he’s out cold.
[TONY gets up from the floor and throws DEAN down on the ground.]
SAM
No! No, no, no.
[SAM grabs TONY and throws him back towards the wall. TONY picks up a gun.]
DEAN
He’s got my gun!
[TONY stands up from the floor, the gun in his hand. SAM holds his hands up.]
SAM
Hey, hey, hey, hey. Hey, hey. No, no, no. Wait.
[TONY points the gun to his head.]
SAM
Stop. Hey, stop. Stop, stop, stop.
DEAN
No, no, no!
SAM
Wait –
[TONY pulls the trigger. He falls to the ground, dead.]
INTERIOR – IMPALA – NIGHT
[SAM is on speaker phone with CAS.]
SAM
So, then, this might not end with Tony Alvarez. Beause the next prophet’s gonna show up somewhere, a-and – and the crazy could start all over again. By the way, Cas… I thought there could only be one prophet at a time.
CAS
And there should, but Donatello is between life and death. I mean, you know, perhaps the next prophet was activated before his time?
DEAN
And went all Hannibal?
CAS
The natural order’s been upset. Perhaps Donatello’s state has created a prophet who’s, who’s not only premature… malformed.
SAM
Okay. But if Tony was wired wrong because of Donatello, then the other prophet will be wired wrong, as well, and the next and the next and the – the next and… how do we end this?
[CAS says nothing.]
DEAN
You know how.
INTERIOR – HOUSE – NIGHT
[NICK punches through the glass of the front door window. He unlocks the door and walks in. He closes the door and walks into an empty living room with a lamp in the corner. He turns the lamp on. His sees flashes of his child’s things, the crib, the rocking chair, the baby monitor. The blood dripping down the crib. This is NICK’s old home.]
[NICK starts to feel a chill and wraps his arms around himself. He walks to the mirror in the room as it frosts over. He moves his hand over the mirror, making lines in the frost. Doors start to bang loudly and rapidly behind him. The light starts to flicker. A ghost of a woman appears and walks over to him.]
GHOST
Nick?
NICK
Is that you?
WOMAN
Yes, Nick.
NICK
Lucifer?
GHOST
Sarah. Your wife.
ACT FOUR
INTERIOR – HOUSE – NIGHT
NICK
Sarah? As in, the ghost of Sarah?
SARAH
Yes.
NICK
I don’t understand. What – What’re you doing here?
SARAH
I never left. I’m held here by unfinished business.
NICK
Oh, my God.
SARAH
My unsolved murder, and Teddy’s.
NICK
Sarah, I… I’ve missed you. I never thought I’d see you again. I’m so sorry.
SARAH
No, Nick. You’re not.
NICK
But I found who killed you, Sarah. A cop – Frank Kellogg. I mean, not a cop – a demon. It’s not Frank – it’s, uh, Abraxas. Uh, it’s confusing, but I found him. I killed him. It. Whatever. I got you justice, Sarah. You’re free. You could leave.
SARAH
And what about Lucifer?
NICK
What about him? He’s dead.
SARAH
My unfinished business isn’t just about how I died, Nick. It’s you. I was here that night. I saw what he did to you. I… You chose Lucifer. You wanted him. You… you still do.
NICK
He chose me, okay?
SARAH
You didn’t come here to find peace. You came here to find him, in the place where you became one with him.
NICK
No.
SARAH
Then show me I’m wrong. Reject Lucifer. Right now. If you do, I can leave. I can find peace.
[NICK wipes his face but does nothing.]
SARAH
Reject him, Nick. Please. Please!
NICK
I-I can’t. I’m sorry.
SARAH
You can’t. Because you are him. You doomed me to stay in this place forever. You’ve doomed yourself.
NICK
I know. I’m sorry.
[NICK starts to leave.]
SARAH
Where are you going?
NICK
Wherever it’s darkest. Wherever he is.
[NICK leaves the house.]
SARAH
Nick!
EXTERIOR – HAPPY DAZE NURSING HOME – NIGHT
DR RASHAD
You’re making the right choice.
INTERIOR – HAPPY DAZE NURSING HOME – NIGHT
[SAM and DEAN standing in a hallway with DR RASHAD.]
DR RASHAD
Your uncle’s in a persistent vegetative state, being kept alive by machinery and nothing else. Sometimes letting go is the right choice.
DEAN
Tell me about it.
[SAM and DEAN follow the doctor down the hallway.]
DR RASHAD
Just coincidentally, you all being here at the same time. Dr Novak, meet, uh…
[CAS walked out of Donatello’s room dressed as a doctor.]
CAS
Yes, I know. I know these gentlemen. Mr. Winchester and the other Mr. Winchester.
SAM
Doctor.
DEAN
Doctor.
SAM
So, Dr. Rashad, you were saying there’s been no improvement with our uncle?
DR RASHAD
That’s right. There’s no real brain activity to speak of. Um, nothing beyond the occasional muscle spasm or uh, babble of words. Strictly reflexive.
SAM
W-What kind of babbled word?
DR RASHAD
Follow me.
[SAM follows DR RASHAD into Donatello’s room. CAS stops DEAN from following them.]
DEAN
So, “doctor,” checking in on old uncle Donny, huh?
CAS
Hey, Dean. What happened to him – that was my fault. It was necessary. But it doesn’t mean that I don’t regret it. It doesn’t mean that I don’t wish that there could’ve been another way.
DEAN
I know the feeling.
CAS
Oh, no. No, please don’t compare this with your suicidal plan. Just stop.
DEAN
Okay, alright. Why don’t we talk about that later?
CAS
Because, according to your plan, there won’t be a later.
DEAN
Cas… if you are a friend of mine, then you will understand that I have to do this and you won’t try to stop me. You think this is easy on me? It has to be done.
CAS
So, then, this is goodbye?
[SAM walks out of Donatello’s room.]
SAM
Guys. Check this out. Okay, so, a couple days ago, Donatello started making some uh, random noises. Uh, Dr. Rashad thought he might be coming out of it, so he shot this video.
[DEAN and CAS look down at the video. Donatello’s eyes are open, as he speaks another language. His eyes roll back.]
CAS
That’s Enochian. He’s saying, “I will strike down the first born in the land of Egypt. I will execute judgement.”
DEAN
Well, that’s the same thing that that screwed up new prophet was spouting.
CAS
Donatello’s mind is fighting to rebuild. It’s – it’s like he’s trying to organise his… memories, the words of God.
DEAN
So that’s what Tony was picking up on.
CAS
Well, then, I-I can fix him.
DEAN
Wait. How? I thought he was too far gone.
CAS
Dean, if there is a spark – a hope – then I have to try. You taught me that.
[CAS walks into Donatello’s room, as SAM and DEAN follow him in. DR RASHAD is looking over DONATELLO.]
CAS
Get out.
DR RASHAD
What?
DEAN
You heard him.
DR RASHAD
You said you wanted to discontinue treatments.
DEAN
And we’ve changed our minds. Look, if there’s a chance that Donatello could fight through this, then we’re gonna take it. He ain’t leaving the party if the music’s still playing. Clear?
INTERIOR – NURSING HOME – NIGHT
[SAM and DEAN sit in the waiting room.]
DEAN
You alright?
SAM
If Cas isn’t right about Donatello, then where does that leave him? Trapped. Trapped in his own body, somewhere between life and death. It’s just tough to think about somebody going through that.
DEAN
Then don’t. Thinking – highly overrated.
SAM
Easy for you to say.
DEAN
No, it’s not, actually. Whatever’s gonna happen with Donatello, we’ll know soon.
SAM
Right. And then what?
DEAN
Nothing’s changed, Sam.
INTERIOR – DONATELLO’S ROOM – NIGHT
[DEAN and SAM walk back into the room. CAS is standing, his hand glowing over DONATELLO’s head.]
SAM
Hey. Anything?
CAS
Something. Something uncertain.
[CAS closes his eyes.]
SAM
Well, what exactly are you looking for?
[CAS’s eyes open, and shine blue. He moves his hand away.]
CAS
That.
[DONATELLO wakes up.]
DEAN
Donatello?
[DONATELLO looks around the room.]
DEAN
We should turn off these machines.
SAM
Whoa. Wait, wait. He could die.
DEAN
There’s only one way to find out.
[DEAN turns off the life support machines. The charts lower. DONATELLO closes his eyes. He suddenly wakes up again. DR RASHAD walks into the room. DONATELLO looks up at DEAN.]
DEAN
Hey. Welcome back, champ.
DONATELLO
[mumbled behind the tube] Dean?
DEAN
Get him his glasses.
[CAS puts DONATELLO’s glasses on him.]
DEAN
Now, look at that. It’s a miracle.
ACT FIVE
INTERIOR – DONATELLO’S ROOM – NIGHT
[DONATELLO tries to feed himself jello. DEAN and CAS watch him.]
CAS
Um… would you like more grape Jell-O?
DONATELLO
Well, a-actually, I’d prefer a bucket of extra-crispy Buffalo Wings with a side of Tex-Mex sauce.
DEAN
Okay. Take it easy, cowboy. You just got back.
[DEAN turns to CAS.]
DEAN
He is back, isn’t he? I mean, this isn’t some kind of evil, weird version?
CAS
No, no, this is – the regular him. But um… he – he – he doesn’t have a soul.
DEAN
Hm. Well, nobody’s perfect.
DONATELLO
Guys, w-what happened? Did I work too much? Overload on Enochian?
DEAN
Hm. Cas will catch you up.
[DEAN leaves the room. DONATELLO looks at CAS.]
DONATELLO
Jell-O?
EXTERIOR – NURSING HOME – NIGHT
[SAM is leaning against the Impala, a case of beers next him. DEAN walks over to him.]
DEAN
Where’s the party?
SAM
It’s right here.
[SAM tosses DEAN a beer.]
SAM
I mean, we’re celebrating, right?
DEAN
Okay.
SAM
Yeah, but not too much. Tomorrow morning, we’re, uh, back on track. No rest for the self-destructive.
DEAN
Well, I will call this a win. Kinda nice. Going out on a high.
SAM
“Going out” being the operative phrase.
DEAN
Sorry.
SAM
“Sorry.” How sorry are you? Sorry that you fight to keep Donatello alive, but when it comes to you, you just throw in the towel? Or are you sorry that, after all these years, our entire lives, a-after I’ve looked up to you, after I’ve learned from you, I-I-I’ve copied you, I followed you to Hell and back… are you sorry that all of that it – it – it means nothing now?
DEAN
Who’s saying that?
SAM
You are, when you tell me I have to kill you. When you’re telling me that I have to just throw away everything we stand for, throw away faith, throw away family. We’re the guys who saved the world. We don’t just check out of it!
[SAM pushes DEAN.]
DEAN
Sam, I have tried everything. Everything! I got one card left to play and I have to play it.
SAM
You have one card today! But we’ll find another tomorrow. But if you quit on us today, there will be no tomorrow! You tell me, uh, you don’t know what else to do. I don’t either, Dean. Not yet. But what you’re doing now, i-it’s – it’s wrong! It’s quitting! I mean, l-look what just happened. Donatello never quit fighting. So we could help him because he never gave up.
[SAM moves closer to DEAN.]
SAM
I believe in us, Dean.
[DEAN doesn’t say anything. SAM gets angry and punches DEAN in the face.]
SAM
I believe in us.
[SAM tries to punch DEAN again, but he stops him.]
DEAN
Hey, hey, hey, hey!
[SAM hugs DEAN.]
SAM
Why don’t you believe in us, too?
DEAN
Okay, Sam. Let’s go home.
SAM
What?
[SAM pulls away from the hug.]
DEAN
Let’s go home. Maybe Billie’s wrong. Maybe. But I do believe in us.
[CAS walks out to join them.]
DEAN
I believe in all of us. And I’ll keep believing until I can’t. Until there’s absolutely no other way. But when that day comes – if that day comes… Sam, you have to take it for what it is – the end. And you have to promise me that you’ll do then what you can’t do now, and that’s let me go. And put me in that box.
[DEAN looks at CAS.]
DEAN
You too.
SAM
Yeah, alright. Alright. Alright.
DEAN
Now, you heard me. Let’s go home.
[DEAN taps SAM’s cheek with his hand.]
DEAN
Don’t hit me again, okay?
[DEAN gets into the drivers’ seat of the Impala. CAS opened the backdoor and sits inside. SAM walks around to the passenger side, and gets in. DEAN turns the engine on.]
