Difference between revisions of "15.20 Carry On (transcript)"

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(Created page with "{{TranscriptHead |Episode=15.20 Carry On |Writer=Andrew Drabb |Director=Robert Singer |AirDate= November 19, 2020 }} ==TEASER== (The scene opens on an alarm clo...")
 
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{{TranscriptHead
 
{{TranscriptHead
 
|Episode=[[15.20 Carry On]]
 
|Episode=[[15.20 Carry On]]
โˆ’
|Writer=[[Andrew Drabb]]
+
|Writer=[[Andrew Dabb]]
 
|Director=[[Robert Singer]]
 
|Director=[[Robert Singer]]
 
|AirDate= November 19, 2020
 
|AirDate= November 19, 2020
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(The scene opens on an alarm clock ringing at 8:00. Dean smacks at the clock, sits up in bed and stretches)
 
(The scene opens on an alarm clock ringing at 8:00. Dean smacks at the clock, sits up in bed and stretches)
 +
  
 
DEAN
 
DEAN
  
 
Ohhhh!
 
Ohhhh!
 +
  
 
(Miracle, the dog, runs into the bedroom, jumps on the bed and Dean pulls him into a hug)
 
(Miracle, the dog, runs into the bedroom, jumps on the bed and Dean pulls him into a hug)
 +
  
 
Hey, buddy.
 
Hey, buddy.
  
 
Good morning.
 
Good morning.
 +
  
 
(Ordinary Life by Van Morrison is playing while the boys start their morning)  
 
(Ordinary Life by Van Morrison is playing while the boys start their morning)  
 +
  
 
๐ŸŽถ Sinking fast ๐ŸŽถ
 
๐ŸŽถ Sinking fast ๐ŸŽถ
  
 
๐ŸŽถ Hold tight ๐ŸŽถ
 
๐ŸŽถ Hold tight ๐ŸŽถ
 +
  
 
(Sam is running on a trail along a lake. He comes to a clearing and stops to look at the view.)
 
(Sam is running on a trail along a lake. He comes to a clearing and stops to look at the view.)
 +
  
 
๐ŸŽถ Just remember ordinary life  
 
๐ŸŽถ Just remember ordinary life  
Line 35: Line 42:
  
 
๐ŸŽถ Know it when you see the sign ๐ŸŽถ
 
๐ŸŽถ Know it when you see the sign ๐ŸŽถ
 +
  
 
(Back in the kitchen of the bunker, Sam is cooking bacon and eggs. Dean walks into the kitchen in his robe. As he passes the toaster, two pieces of toast pop out)
 
(Back in the kitchen of the bunker, Sam is cooking bacon and eggs. Dean walks into the kitchen in his robe. As he passes the toaster, two pieces of toast pop out)
 +
  
 
SAM (Looking over his shoulder at Dean.)
 
SAM (Looking over his shoulder at Dean.)
Line 47: Line 56:
  
 
Hot bread!
 
Hot bread!
 +
  
 
๐ŸŽถ Nagging wife ๐ŸŽถ
 
๐ŸŽถ Nagging wife ๐ŸŽถ
 +
  
 
(Dean is brushing his teeth in his bathroom)
 
(Dean is brushing his teeth in his bathroom)
 +
  
 
๐ŸŽถ Starts a fight ๐ŸŽถ
 
๐ŸŽถ Starts a fight ๐ŸŽถ
 +
  
 
(Sam walks into his room, shirtless, his hair in a towel. He takes the towel off, dries his hair, puts on a shirt and starts to make his bed)
 
(Sam walks into his room, shirtless, his hair in a towel. He takes the towel off, dries his hair, puts on a shirt and starts to make his bed)
 +
  
 
๐ŸŽถ Trying to make you uptight ๐ŸŽถ
 
๐ŸŽถ Trying to make you uptight ๐ŸŽถ
Line 63: Line 77:
  
 
๐ŸŽถ Take a look at it in the daylight ๐ŸŽถ
 
๐ŸŽถ Take a look at it in the daylight ๐ŸŽถ
 +
  
 
(The scene switches back and forth between Sam and Dean in their rooms, getting dressed and making their beds --In his room, Dean making his bed, although with less attention to it than Sam. He tosses the robe on a chair and leaves the room.  Sam also finishes making his bed, grabs a flannel and leaves his room)
 
(The scene switches back and forth between Sam and Dean in their rooms, getting dressed and making their beds --In his room, Dean making his bed, although with less attention to it than Sam. He tosses the robe on a chair and leaves the room.  Sam also finishes making his bed, grabs a flannel and leaves his room)
 +
  
 
๐ŸŽถ Nothing feels right, step out of line ๐ŸŽถ
 
๐ŸŽถ Nothing feels right, step out of line ๐ŸŽถ
Line 75: Line 91:
  
 
๐ŸŽถ Get me back on the earth, put my feet on the ground ๐ŸŽถ
 
๐ŸŽถ Get me back on the earth, put my feet on the ground ๐ŸŽถ
 +
  
 
(Dean is washing the dishes in the kitchen. He grabs one that has some food left on it and whistles for Miracle, who runs over and licks the plate while Dean looks to see if Sam is watching)
 
(Dean is washing the dishes in the kitchen. He grabs one that has some food left on it and whistles for Miracle, who runs over and licks the plate while Dean looks to see if Sam is watching)
 +
  
 
DEAN
 
DEAN
Line 83: Line 101:
  
 
Good boy.
 
Good boy.
 +
  
 
๐ŸŽถ Ordinary life ๐ŸŽถ
 
๐ŸŽถ Ordinary life ๐ŸŽถ
  
 
๐ŸŽถ Be my rock in times of trouble ๐ŸŽถ
 
๐ŸŽถ Be my rock in times of trouble ๐ŸŽถ
 +
  
 
(Sam is leaning on the washing machine, reading a book. The machine is shaking considerably, and so is Sam, until he gives it a kick.)
 
(Sam is leaning on the washing machine, reading a book. The machine is shaking considerably, and so is Sam, until he gives it a kick.)
 +
  
 
๐ŸŽถ Bring me down to earth ๐ŸŽถ
 
๐ŸŽถ Bring me down to earth ๐ŸŽถ
Line 96: Line 117:
 
๐ŸŽถ Keep on pushing ๐ŸŽถ
 
๐ŸŽถ Keep on pushing ๐ŸŽถ
  
โˆ’
(Dean is cleaning the weapons at the table in the library. He checks his watch, itโ€™s 10:00, and gets up. We then see him sitting at his computer, with Miracle in the chair next to him)
+
 
 +
(Dean is cleaning the weapons at the table in the library. He checks his watch, it's 10:00, and gets up. We then see him sitting at his computer, with Miracle in the chair next to him)
 +
 
  
 
๐ŸŽถ Make it useful ๐ŸŽถ
 
๐ŸŽถ Make it useful ๐ŸŽถ
Line 111: Line 134:
  
 
๐ŸŽถ Understand ordinary life ๐ŸŽถ
 
๐ŸŽถ Understand ordinary life ๐ŸŽถ
 +
  
 
(Sam joins Dean at the table and opens up his computer)
 
(Sam joins Dean at the table and opens up his computer)
 +
  
 
SAM
 
SAM
Line 133: Line 158:
  
 
(The Impala pulls up outside a restaurant. Sam and Dean get out and stand in front of the car, looking at something ahead of them, off camera)   
 
(The Impala pulls up outside a restaurant. Sam and Dean get out and stand in front of the car, looking at something ahead of them, off camera)   
 +
  
 
SAM
 
SAM
Line 143: Line 169:
  
 
This is my destiny.
 
This is my destiny.
 +
  
 
(The camera pans over to show a banner, spanning a small-town street, which reads โ€œWelcome to the 43rd Annual Akron Pie Fest!โ€)
 
(The camera pans over to show a banner, spanning a small-town street, which reads โ€œWelcome to the 43rd Annual Akron Pie Fest!โ€)
 +
  
 
DEAN (choking up)
 
DEAN (choking up)
Line 158: Line 186:
 
What? No.
 
What? No.
  
โˆ’
Youโ€™re crying.
+
You're crying.
  
 
I'm...
 
I'm...
Line 171: Line 199:
  
 
I'm gonna get some damn pie.
 
I'm gonna get some damn pie.
 +
  
 
(Sam sits on a bench as Dean walks across the street with a large box in has hands. Someone walks in front of him, almost knocking into the box as Dean veers around him)
 
(Sam sits on a bench as Dean walks across the street with a large box in has hands. Someone walks in front of him, almost knocking into the box as Dean veers around him)
 +
  
 
DEAN (Annoyed)
 
DEAN (Annoyed)
  
 
Excuse me. Hey, hey, hey, hey!
 
Excuse me. Hey, hey, hey, hey!
 +
  
 
(Dean sits down next to Sam with 6 slices of pie in the box)
 
(Dean sits down next to Sam with 6 slices of pie in the box)
 +
  
 
Hey.
 
Hey.
Line 235: Line 267:
  
 
Yeah, you're right.
 
Yeah, you're right.
 +
  
 
(Sam takes a slice of pie and smushes it into Deanโ€™s face)
 
(Sam takes a slice of pie and smushes it into Deanโ€™s face)
 +
  
 
I have wanted to do that for a very long time.
 
I have wanted to do that for a very long time.
  
โˆ’
(Sam laughs as Dean uses a fork to wipe the pie off his face and eat it))
+
 
 +
(Sam laughs as Dean uses a fork to wipe the pie off his face and eat it)
 +
 
  
 
Oh, you're right. I do feel better.
 
Oh, you're right. I do feel better.
 +
  
 
(Exterior nighttime view of a house. Inside, a dad checks the mail while his kids play checkers in the living room)
 
(Exterior nighttime view of a house. Inside, a dad checks the mail while his kids play checkers in the living room)
 +
  
 
BOY
 
BOY
Line 259: Line 297:
  
 
Bath time.
 
Bath time.
 +
  
 
(As the kids and mom go upstairs, a shadow passes outside the front door and the doorbell rings. The kids and mom stop on the stairs and watch as the dad goes to the door. He opens the door, but no one is there)
 
(As the kids and mom go upstairs, a shadow passes outside the front door and the doorbell rings. The kids and mom stop on the stairs and watch as the dad goes to the door. He opens the door, but no one is there)
 +
  
 
MOM
 
MOM
Line 271: Line 311:
  
 
It's...
 
It's...
 +
  
 
(Lyle is stabbed in the back with a large blade that protrudes out of his chest. As he falls to the ground, there are two men behind him in black suits wearing creepy, smiling skeleton masks. The man in front has the knife in his hand)
 
(Lyle is stabbed in the back with a large blade that protrudes out of his chest. As he falls to the ground, there are two men behind him in black suits wearing creepy, smiling skeleton masks. The man in front has the knife in his hand)
 +
  
 
WIFE (to kids)
 
WIFE (to kids)
  
 
Run!
 
Run!
 +
  
 
(The mom and kids run upstairs as the men follow. The kids run into a bedroom and close the door. The mom is in the hallway, leaning against the door as one of the men approaches. She screams as the man stabs her. The door opens (from the perspective of inside the room) and the killer is standing in front of the door while the mom is on the floor)
 
(The mom and kids run upstairs as the men follow. The kids run into a bedroom and close the door. The mom is in the hallway, leaning against the door as one of the men approaches. She screams as the man stabs her. The door opens (from the perspective of inside the room) and the killer is standing in front of the door while the mom is on the floor)
 +
  
 
The killer enters the bedroom and starts looking around, stopping at a bed and pulling the blanket up to look under it. There is nothing there. From the perspective of the floor, we see his shoes as he walks around the room some more and stopping next to a second bed in the room. As he turns around to walk towards the door, we see the kids hiding under this bed.  
 
The killer enters the bedroom and starts looking around, stopping at a bed and pulling the blanket up to look under it. There is nothing there. From the perspective of the floor, we see his shoes as he walks around the room some more and stopping next to a second bed in the room. As he turns around to walk towards the door, we see the kids hiding under this bed.  
  
โˆ’
As the camera zooms in on the kids terrified faces the bedroom door closes. A few seconds later the older boy is pulled from under the the bed by his feet and both kids scream.)
+
 
 +
As the camera zooms in on the kids' terrified faces the bedroom door closes. A few seconds later the older boy is pulled from under the the bed by his feet and both kids scream.)
 +
 
  
 
(The next morning, Sam and Dean arrive at the house in their FBI suits. There is yellow crime scene tape across the front door. Sam and Dean approach a police officer at the door and introduce themselves.)
 
(The next morning, Sam and Dean arrive at the house in their FBI suits. There is yellow crime scene tape across the front door. Sam and Dean approach a police officer at the door and introduce themselves.)
 +
  
  
Line 334: Line 381:
  
 
Kinda. She drew this.
 
Kinda. She drew this.
 +
  
 
(The police officer shows Sam and Dean a drawing resembling the skeleton mask that the killers were wearing)
 
(The police officer shows Sam and Dean a drawing resembling the skeleton mask that the killers were wearing)
 +
  
 
POLICE OFFICER II (OFF CAMERA)
 
POLICE OFFICER II (OFF CAMERA)
Line 357: Line 406:
 
Yeah, me too.
 
Yeah, me too.
  
โˆ’
(Sam and Dean leave the crime scene. The Impala is parked under a tree, off the road, Sam and Dean are standing on either side of the hood. Sam has a map out and Dean is looking through Johnโ€™s journal.)
+
 
 +
(Sam and Dean leave the crime scene. The Impala is parked under a tree, off the road, Sam and Dean are standing on either side of the hood. Sam has a map out and Dean is looking through John's journal.)
 +
 
  
 
DEAN
 
DEAN
Line 379: Line 430:
 
He didn't find much, but the witness did draw this.
 
He didn't find much, but the witness did draw this.
  
โˆ’
(Dean shows Sam a picture of the skeleton mask in Johnโ€™s journal)
 
  
โˆ’
Kids were taken.
+
(Dean shows Sam a picture of the skeleton mask in John's journal)
 +
 
 +
 
 +
Kids were taken.
  
 
The adults that weren't drained had their...
 
The adults that weren't drained had their...
Line 418: Line 471:
 
DEAN (referencing the journal)
 
DEAN (referencing the journal)
  
โˆ’
Okay. It says here that, uh... they target families that are living outside of town, that are isolated, kids usually between the ages
+
Okay. It says here that, uh... they target families that are living outside of town, that are isolated, kids usually between the ages of 5 and 10.
โˆ’
of 5 and 10.
 
  
 
SAM
 
SAM
Line 428: Line 480:
  
  
โˆ’
(It's nighttime as a black van pulls up and stops outside a suburban home. Two men in skeleton masks, each carrying a large blade get out of the van and walk up to the front door. They nod at each other in a โ€˜letโ€™s do thisโ€™ manner. They turn towards the door and a machete cuts off one of their heads. As the head falls of its shoulders, Dean is behind him, holding the machete.
+
(It's nighttime as a black van pulls up and stops outside a suburban home. Two men in skeleton masks, each carrying a large blade get out of the van and walk up to the front door. They nod at each other in a 'let's do this' manner. They turn towards the door and a machete cuts off one of their heads. As the head falls off its shoulders, Dean is behind him, holding the machete.
 +
 
  
 
SAM
 
SAM
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Hey!
 
Hey!
  
โˆ’
(The second vampire turns, and Sam shoots him in the leg. From the vampireโ€™s perspective, Sam approaches, gun pointed at him, and shoots again).
+
 
 +
(The second vampire turns, and Sam shoots him in the leg. From the vampire's perspective, Sam approaches, gun pointed at him, and shoots again).
 +
 
  
 
(The vampire is tied up and sitting on a large tree stump)
 
(The vampire is tied up and sitting on a large tree stump)
Line 442: Line 497:
 
Hey.
 
Hey.
  
โˆ’
(Dean pulls of the vampireโ€™s mask, revealing a bullet hole in his forehead, and slaps his cheek)
+
 
 +
(Dean pulls of the vampire's mask, revealing a bullet hole in his forehead, and slaps his cheek)
 +
 
  
 
Hey there, sleepy.
 
Hey there, sleepy.
Line 487: Line 544:
  
 
But see, if you tell us quick, you get this.
 
But see, if you tell us quick, you get this.
 +
  
 
(Dean holds up the blood-stained machete)
 
(Dean holds up the blood-stained machete)
 +
  
 
But if you take your time, you get, uh... you get that.
 
But if you take your time, you get, uh... you get that.
 +
  
 
(Sam opens up a switchblade)
 
(Sam opens up a switchblade)
 +
  
 
VAMPIRE
 
VAMPIRE
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Where are they?
 
Where are they?
  
โˆ’
(Itโ€™s nighttime as the Impala pulls up to an old barn. Sam and Dean exit the car and walk towards trunk)
+
 
 +
(It's nighttime as the Impala pulls up to an old barn. Sam and Dean exit the car and walk towards trunk)
 +
 
  
 
SAM
 
SAM
Line 560: Line 623:
 
Alright.
 
Alright.
  
โˆ’
(Dean unlocks the Impalaโ€™s trunk and opens the false bottom to reveal the weapons stash. Sam takes out a gun and Dean picks up a box and pulls out a shuriken (Chinese throwing star)
+
 
 +
(Dean unlocks the Impala's trunk and opens the false bottom to reveal the weapons stash. Sam takes out a gun and Dean picks up a box and pulls out a shuriken (throwing star))
 +
 
  
 
DEAN (pleading)
 
DEAN (pleading)
Line 581: Line 646:
  
 
But we could...
 
But we could...
 +
  
 
(Dean makes a throwing motion with the star as Sam backs out of the way)
 
(Dean makes a throwing motion with the star as Sam backs out of the way)
 +
  
 
SAM
 
SAM
  
 
Go with the machete.
 
Go with the machete.
 +
  
 
(Sam and Dean enter the barn looking for the boys. As they walk through, vampires wearing the skeleton masks can be seen hiding inside and outside of the barn. Sam and Dean hear a noise and approach a stall with a closed door. They open it and find the two boys in there.)  
 
(Sam and Dean enter the barn looking for the boys. As they walk through, vampires wearing the skeleton masks can be seen hiding inside and outside of the barn. Sam and Dean hear a noise and approach a stall with a closed door. They open it and find the two boys in there.)  
 +
  
 
DEAN
 
DEAN
Line 597: Line 666:
  
 
Come on.
 
Come on.
 +
  
 
(They all turn to leave but there are four skeleton-masked vampires blocking the door. One of them is particularly large.)
 
(They all turn to leave but there are four skeleton-masked vampires blocking the door. One of them is particularly large.)
  
 
Sam turns the kids towards the back of the barn.)
 
Sam turns the kids towards the back of the barn.)
 +
  
 
SAM
 
SAM
Line 608: Line 679:
 
Run!
 
Run!
  
โˆ’
==ACT TWO==  
+
==ACT TWO==
 +
 
  
 
(Inside the barn, facing off with the vampires. They begin fighting, trading kicks and punches with Sam and Dean each beheading one of the vampires before being overtaken. Sam is unconscious and as Dean is being held down by the two remaining vampires, a woman walks over to him.)
 
(Inside the barn, facing off with the vampires. They begin fighting, trading kicks and punches with Sam and Dean each beheading one of the vampires before being overtaken. Sam is unconscious and as Dean is being held down by the two remaining vampires, a woman walks over to him.)
 +
  
 
DEAN
 
DEAN
Line 618: Line 691:
 
Jenny.
 
Jenny.
  
โˆ’
(Flashback to episode 1.20 Dead Manโ€™s Blood where Sam and Dean, on their first vampire hunt, find Jenny, a woman who was turned into a vampire.)
+
 
 +
(Flashback to episode 1.20 Dead Man's Blood where Sam and Dean, on their first vampire hunt, find Jenny, a woman who was turned into a vampire.)
 +
 
  
 
(Chuckling) Son of a bitch.
 
(Chuckling) Son of a bitch.
 +
  
 
JENNY
 
JENNY
Line 628: Line 704:
 
DEAN
 
DEAN
  
โˆ’
(As Dean stands up, he looks over Jennyโ€™s shoulder and he sees Sam, still lying on the ground, reaching for a machete that was dropped during the fight. Dean tries to stall Jenny to give Sam time to get the machete)
+
 
 +
(As Dean stands up, he looks over Jenny's shoulder and he sees Sam, still lying on the ground, reaching for a machete that was dropped during the fight. Dean tries to stall Jenny to give Sam time to get the machete)
 +
 
  
 
Well, look at you.
 
Well, look at you.
Line 664: Line 742:
 
I just called dibs.
 
I just called dibs.
  
โˆ’
(Jenny bares her fangs and Sam chops her head off from behind. Sam, Dean and the vampires start fighting again. Sam eventually beheads the vampire is fighting, leaving Dean fighting with the very large vampire. The Vampire grabs Dean buy the jacket and pushes him against a post that has a metal bar sticking out of it. As he continues to push Dean against the post Sam comes up from behind and beheads him. The vampire falls to the ground.
 
  
โˆ’
Sam walks over to Dean and is putting his machete back in its case, not looking directly at Dean)
+
(Jenny bares her fangs and Sam chops her head off from behind. Sam, Dean and the vampires start fighting again. Sam eventually beheads the vampire is fighting, leaving Dean fighting with the very large vampire. The Vampire grabs Dean by the jacket and pushes him against a post that has a metal bar sticking out of it. As he continues to push Dean against the post Sam comes up from behind and beheads him. The vampire falls to the ground.)
 +
 
 +
 
 +
(Sam walks over to Dean and is putting his machete back in its case, not looking directly at Dean)
  
 
SAM  
 
SAM  
Line 694: Line 774:
 
It feels like it's right through me.
 
It feels like it's right through me.
  
โˆ’
(Sam stands directly in front of Dean, a few inches apart and reaches around to Deanโ€™s back. As he brings his hand back out, it is covered with blood.)
+
 
 +
(Sam stands directly in front of Dean, a few inches apart and reaches around to Dean's back. As he brings his hand back out, it is covered with blood.)
 +
 
  
 
(Dean groans)  
 
(Dean groans)  
 +
  
 
Oh, God.
 
Oh, God.
Line 727: Line 810:
  
 
I'll call for help. I'll get the first-aid kit.
 
I'll call for help. I'll get the first-aid kit.
 +
  
 
(Sam takes out his phone and moves to walk away)
 
(Sam takes out his phone and moves to walk away)
 +
  
 
DEAN
 
DEAN
Line 836: Line 921:
 
Come here.
 
Come here.
  
โˆ’
(Sam moves closer and Dean puts his hand on the side of Samโ€™s neck)
+
 
 +
(Sam moves closer and Dean puts his hand on the side of Sam's neck)
 +
 
  
 
Let me look at you.
 
Let me look at you.
Line 844: Line 931:
 
I'm so proud of you, Sam.
 
I'm so proud of you, Sam.
  
โˆ’
(Deanโ€™s hand is on Samโ€™s shoulder and Sam is holding onto Dean wrist)
+
 
 +
(Dean's hand is on Sam's shoulder and Sam is holding onto Dean wrist)
 +
 
  
 
DEAN
 
DEAN
Line 851: Line 940:
  
 
I've always looked up to you.
 
I've always looked up to you.
 +
  
 
(Sam is getting emotional, trying not to cry)
 
(Sam is getting emotional, trying not to cry)
 +
  
 
Man, when we were kids, you were so damn smar... smart.
 
Man, when we were kids, you were so damn smar... smart.
Line 880: Line 971:
 
I must have stood outside your dorm for hours... because I didn't...
 
I must have stood outside your dorm for hours... because I didn't...
 
I didn't know what... What you would say.
 
I didn't know what... What you would say.
 +
  
 
(Sam is visibly crying)
 
(Sam is visibly crying)
 +
  
 
I thought you'd tell me to... to get lost or get dead.
 
I thought you'd tell me to... to get lost or get dead.
Line 917: Line 1,010:
 
I'm gonna be with you...
 
I'm gonna be with you...
  
โˆ’
(Dean is crying as he places his fist over Samโ€™s heart)
+
 
 +
(Dean is crying as he places his fist over Sam's heart)
 +
 
  
 
Right here... every day.
 
Right here... every day.
Line 950: Line 1,045:
  
 
I need you to tell me that it's okay.
 
I need you to tell me that it's okay.
 +
  
 
(Sam looks away, shaking his head, crying)
 
(Sam looks away, shaking his head, crying)
 +
  
 
SAM
 
SAM
Line 971: Line 1,068:
 
Tell me it's okay.
 
Tell me it's okay.
  
โˆ’
(Deanโ€™s hand is on his chest and Sam reaches out and places his hand over Deanโ€™s)
+
 
 +
(Dean's hand is on his chest and Sam reaches out and places his hand over Dean's)
 +
 
  
 
SAM (through tears)
 
SAM (through tears)
  
โˆ’
Deanโ€ฆ
+
Dean...
  
 
it's okay.
 
it's okay.
Line 981: Line 1,080:
 
You can go now.
 
You can go now.
  
โˆ’
(Dean places his other hand over Samโ€™s and the boys lean their heads against each other)
 
  
โˆ’
DEAN
+
(Dean places his other hand over Sam's and the boys lean their heads against each other)
 +
 
 +
 
 +
DEAN
  
 
Goodbye, Sam.
 
Goodbye, Sam.
Line 989: Line 1,090:
 
Goodbye.
 
Goodbye.
  
โˆ’
(Dean closes his eyes. As one last tear streams down his face, his head falls forward onto Samโ€™s shoulder. Sam sobs as he holds onto Dean)
+
 
 +
(Dean closes his eyes. As one last tear streams down his face, his head falls forward onto Sam's shoulder. Sam sobs as he holds onto Dean)
  
 
==ACT THREE==
 
==ACT THREE==
  
โˆ’
(Brothers in Arms" by Dire Straits plays in the background as Sam and Miracle stand by Deanโ€™s funeral pyre (and in the bunker scenes that follow). Sam hesitates for several seconds while holding Deanโ€™s Zippo lighter in his hand. He eventually opens the lighter, lights it, takes a breath and throws it on the pyre. The pyre ignites and in a matter of seconds is fully ablaze. Sam watches it burn with tears in his eyes.)
+
("Brothers in Arms" by Dire Straits plays in the background as Sam and Miracle stand by Dean's funeral pyre (and in the bunker scenes that follow). Sam hesitates for several seconds while holding Dean's Zippo lighter in his hand. He eventually opens the lighter, lights it, takes a breath and throws it on the pyre. The pyre ignites and in a matter of seconds is fully ablaze. Sam watches it burn with tears in his eyes.)
  
  
Line 1,010: Line 1,112:
 
๐ŸŽถ And you'll no longer burn to be brothers in arms ๐ŸŽถ
 
๐ŸŽถ And you'll no longer burn to be brothers in arms ๐ŸŽถ
  
โˆ’
(In the bunker, Samโ€™s alarm clock goes off at 8:00 a.m. He reaches over to turn it off.  Sitting up in bed, he runs his hands over his face and through his hair)
+
 
 +
(In the bunker, Sam's alarm clock goes off at 8:00 a.m. He reaches over to turn it off.  Sitting up in bed, he runs his hands over his face and through his hair)
 +
 
  
 
๐ŸŽถ Through these fields of destruction ๐ŸŽถ
 
๐ŸŽถ Through these fields of destruction ๐ŸŽถ
Line 1,020: Line 1,124:
 
๐ŸŽถ As the battle raged high ๐ŸŽถ
 
๐ŸŽถ As the battle raged high ๐ŸŽถ
  
โˆ’
(Sam is going through the motions of making eggs in the kitchen. Heโ€™s staring at the eggs, half-heartedly stirring them, and is startled when the toast pops out of the toaster. He looks over, as if to see if Dean will catch the toast.  
+
 
 +
(Sam is going through the motions of making eggs in the kitchen. He's staring at the eggs, half-heartedly stirring them, and is startled when the toast pops out of the toaster. He looks over, as if to see if Dean will catch the toast.  
 +
 
  
 
๐ŸŽถ And though they did hurt me so bad ๐ŸŽถ
 
๐ŸŽถ And though they did hurt me so bad ๐ŸŽถ
Line 1,027: Line 1,133:
  
 
๐ŸŽถ You did not desert me, my brothers in arms ๐ŸŽถ
 
๐ŸŽถ You did not desert me, my brothers in arms ๐ŸŽถ
 +
  
 
(Sam continues to move sadly around the bunker, finding things that remind him of Dean, like their initials carved into the library table.)
 
(Sam continues to move sadly around the bunker, finding things that remind him of Dean, like their initials carved into the library table.)
 +
  
 
๐ŸŽถ Now the sun's gone to hell ๐ŸŽถ
 
๐ŸŽถ Now the sun's gone to hell ๐ŸŽถ
Line 1,044: Line 1,152:
 
๐ŸŽถ We are fools to make war on our brothers in arms ๐ŸŽถ
 
๐ŸŽถ We are fools to make war on our brothers in arms ๐ŸŽถ
  
โˆ’
(Sam goes into Deanโ€™s room, looking around at the guns on the wall, two beer bottles on the table. He eventually sits down on Deanโ€™s bed and Miracle comes over to him. Sam pets Miracleโ€™s head as he starts to cry.
+
 
 +
(Sam goes into Dean's room, looking around at the guns on the wall, two beer bottles on the table. He eventually sits down on Dean's bed and Miracle comes over to him. Sam pets Miracle's head as he starts to cry.
 +
 
  
 
SAM
 
SAM
Line 1,056: Line 1,166:
 
Yeah, me too.
 
Yeah, me too.
  
โˆ’
(As heโ€™s sitting in Deanโ€™s room, Sam hears a cell phone vibrating. He opens Deanโ€™s desk drawer and rifles through the various cell phones until he finds one marked โ€˜Deanโ€™s other other phoneโ€™ buzzing.)
+
 
 +
(As he's sitting in Dean's room, Sam hears a cell phone vibrating. He opens Dean's desk drawer and rifles through the various cell phones until he finds one marked 'Dean's other other phone' buzzing.)
 +
 
  
 
SAM (tentatively)
 
SAM (tentatively)
Line 1,093: Line 1,205:
 
I'm on my way.
 
I'm on my way.
  
โˆ’
(Sam and Miracle move to leave the bunker. When they get to the top of the stairs Sam turns around and looks over the bunker. He walks out the door and the lights in the bunker go off, one by one, until the bunker is in total darkness.  
+
 
 +
(Sam and Miracle move to leave the bunker. When they get to the top of the stairs Sam turns around and looks over the bunker. He walks out the door and the lights in the bunker go off, one by one, until the bunker is in total darkness.
  
 
==ACT FOUR==
 
==ACT FOUR==
  
โˆ’
(Deanโ€™s funeral pyre is burning.  
+
(Dean's funeral pyre is burning.  
 +
 
 +
Dean is standing on a country road, looking out over a beautiful mountain landscape.)
  
โˆ’
Dean is standing on a country road, looking out over a beautiful mountain landscape.
 
  
 
DEAN (smiling)
 
DEAN (smiling)
Line 1,109: Line 1,223:
 
Yep.
 
Yep.
  
โˆ’
(Dean, startled, looks towards the voice and sees Bobby, sitting on a chair in front of โ€˜Harvelleโ€™s Roadhouseโ€™
+
 
 +
(Dean, startled, looks towards the voice and sees Bobby, sitting on a chair in front of 'Harvelle's Roadhouse'
 +
 
  
 
DEAN
 
DEAN
Line 1,138: Line 1,254:
  
 
Busted my ass out. And then he...
 
Busted my ass out. And then he...
 +
  
 
(Dean sits down next to Bobby)
 
(Dean sits down next to Bobby)
 +
  
 
Well, he set some things right. Tore down all the walls up here.
 
Well, he set some things right. Tore down all the walls up here.
Line 1,160: Line 1,278:
  
 
And we've been waiting for you.
 
And we've been waiting for you.
 +
  
 
(Bobby opens a cooler between their chairs and takes out a couple of beers for him and Dean)
 
(Bobby opens a cooler between their chairs and takes out a couple of beers for him and Dean)
 +
  
 
DEAN
 
DEAN
Line 1,197: Line 1,317:
 
DEAN (a little sadly)
 
DEAN (a little sadly)
  
โˆ’
Itโ€™s almost perfect.
+
It's almost perfect.
  
 
BOBBY (looking towards Dean)
 
BOBBY (looking towards Dean)
Line 1,208: Line 1,328:
  
 
So, I guess the question is... what are you gonna do now, Dean?
 
So, I guess the question is... what are you gonna do now, Dean?
 +
  
 
(Dean looks away from Bobby and sees the Impala, with the original KAZ 2Y5 license plate, parked on the road)
 
(Dean looks away from Bobby and sees the Impala, with the original KAZ 2Y5 license plate, parked on the road)
 +
  
 
DEAN
 
DEAN
Line 1,223: Line 1,345:
 
Hey, baby.
 
Hey, baby.
  
โˆ’
(Dean starts the car and turn on the radio. โ€˜Carry on Wayward Sonโ€™ by Kansas plays from the radio)
+
 
 +
(Dean starts the car and turn on the radio. "Carry on Wayward Son" by Kansas plays from the radio)
 +
 
  
 
๐ŸŽถ Carry on my wayward son ๐ŸŽถ
 
๐ŸŽถ Carry on my wayward son ๐ŸŽถ
Line 1,235: Line 1,359:
  
 
I love this song.
 
I love this song.
 +
  
 
๐ŸŽถ Lay your weary head to rest ๐ŸŽถ
 
๐ŸŽถ Lay your weary head to rest ๐ŸŽถ
  
 
๐ŸŽถ Donโ€™t you cry no more ๐ŸŽถ
 
๐ŸŽถ Donโ€™t you cry no more ๐ŸŽถ
 +
  
 
Whoo!
 
Whoo!
  
โˆ’
(Deans speeds off down the road. The song continues to play as the scene shifts between Dean driving down the road and Samโ€™s life on earth.)
 
  
โˆ’
(A small boy wearing overalls with โ€˜Deanโ€™ embroidered on the front is walking next to Sam. Sam picks him up, laughing.)
+
(Deans speeds off down the road. The song continues to play as the scene shifts between Dean driving down the road and Sam's life on earth.)
 +
 
 +
 
 +
(A small boy wearing overalls with 'Dean' embroidered on the front is walking next to Sam. Sam picks him up, laughing.)
 +
 
  
 
(Dean driving)
 
(Dean driving)
 +
  
 
(Sam teaching a young Dean II how to catch a baseball as a woman watches from the house.)
 
(Sam teaching a young Dean II how to catch a baseball as a woman watches from the house.)
 +
  
 
(Dean driving)
 
(Dean driving)
Line 1,255: Line 1,386:
 
๐ŸŽถ Ahhhhhhhh ๐ŸŽถ
 
๐ŸŽถ Ahhhhhhhh ๐ŸŽถ
  
โˆ’
'''(Sam doing homework with a teenaged Dean II at the table in his house. A large picture of John, Mary, Sam and Dean hangs in the living room.)'''
+
 
 +
(Sam doing homework with a teenaged Dean II at the table in his house. A large picture of John, Mary, Sam and Dean hangs in the living room.)
 +
 
  
 
๐ŸŽถ Once I rose above the noise and confusion ๐ŸŽถ
 
๐ŸŽถ Once I rose above the noise and confusion ๐ŸŽถ
Line 1,265: Line 1,398:
 
๐ŸŽถ But I flew too high ๐ŸŽถ
 
๐ŸŽถ But I flew too high ๐ŸŽถ
  
โˆ’
'''(Dean driving)'''
+
 
 +
(Dean driving)
 +
 
  
 
๐ŸŽถ Though my eyes could see, I still was a blind man ๐ŸŽถ
 
๐ŸŽถ Though my eyes could see, I still was a blind man ๐ŸŽถ
Line 1,271: Line 1,406:
 
๐ŸŽถ Though my mind could think, I still was a madman ๐ŸŽถ
 
๐ŸŽถ Though my mind could think, I still was a madman ๐ŸŽถ
  
โˆ’
'''(A gray-haired Sam goes into his garage and pulls the tarp off of the Impala. He sits inside, puts his hands on the steering wheel and cries while remembering Dean.)'''
+
 
 +
(A gray-haired Sam goes into his garage and pulls the tarp off of the Impala. He sits inside, puts his hands on the steering wheel and cries while remembering Dean.)
  
  
Line 1,304: Line 1,440:
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
  
โˆ’
'''(Dean driving)
 
  
โˆ’
(An aged, sick Sam lies in a hospital bed in the living room of his house, directly under the portrait of the four Winchesters. He is hooked up to medical monitors and oxygen. Adult Dean II walks into the room and there is an anti-possession tattoo on his forearm. He comes and sits on the bed next to Sam, placing his hand on Samโ€™s)'''
+
(Dean driving)
 +
 
 +
 
 +
(An aged, sick Sam lies in a hospital bed in the living room of his house, directly under the portrait of the four Winchesters. He is hooked up to medical monitors and oxygen. Adult Dean II walks into the room and there is an anti-possession tattoo on his forearm. He comes and sits on the bed next to Sam, placing his hand on Sam's)
 +
 
  
 
DEAN II
 
DEAN II
Line 1,316: Line 1,455:
 
You can go now.
 
You can go now.
  
โˆ’
(Carry On Wayward Son" by Neoni begins to play)
+
 
 +
("Carry On Wayward Son" by Neoni begins to play)
 +
 
  
 
๐ŸŽถ Carry on, my wayward son ๐ŸŽถ
 
๐ŸŽถ Carry on, my wayward son ๐ŸŽถ
Line 1,327: Line 1,468:
  
  
โˆ’
'''(Sam nods, places his hand on Deanโ€™s. He closes his eyes as his head falls to the side a single tear streams down his face. The monitors flatline and begin to beep.)
+
(Sam nods, places his hand on Dean's. He closes his eyes as his head falls to the side a single tear streams down his face. The monitors flatline and begin to beep.)
โˆ’
'''
+
 
  
 
๐ŸŽถ On a stormy sea of moving emotion ๐ŸŽถ
 
๐ŸŽถ On a stormy sea of moving emotion ๐ŸŽถ
Line 1,345: Line 1,486:
  
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
โˆ’
'''
+
 
โˆ’
(Dean arrives at a bridge over a river and slows to a stop in the middle of it.)'''
+
 
 +
(Dean arrives at a bridge over a river and slows to a stop in the middle of it.)
 +
 
  
 
๐ŸŽถ No more ๐ŸŽถ
 
๐ŸŽถ No more ๐ŸŽถ
Line 1,354: Line 1,497:
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
  
โˆ’
'''(Dean gets out of the Impala and looks around with a satisfied expression. He walks over to the rail, looks out over the river and smiles.)'''
+
 
 +
(Dean gets out of the Impala and looks around with a satisfied expression. He walks over to the rail, looks out over the river and smiles.)
 +
 
  
 
๐ŸŽถ Now your life's no longer empty ๐ŸŽถ
 
๐ŸŽถ Now your life's no longer empty ๐ŸŽถ
Line 1,365: Line 1,510:
  
 
๐ŸŽถ Lay your weary head to rest ๐ŸŽถ
 
๐ŸŽถ Lay your weary head to rest ๐ŸŽถ
 +
  
 
(Dean gets a puzzled look on his face, pauses for a moment and smiles. He looks slightly over his shoulder)
 
(Dean gets a puzzled look on his face, pauses for a moment and smiles. He looks slightly over his shoulder)
 +
  
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
 
๐ŸŽถ Don't you cry no more ๐ŸŽถ
 +
  
 
DEAN
 
DEAN
Line 1,378: Line 1,526:
 
Dean.
 
Dean.
  
โˆ’
(The boys walk over to each other, smile and hug. They walk over to the railing, Deanโ€™s arm around Samโ€™s shoulder and smile, contentedly.)
 
  
 +
(The boys walk over to each other, smile and hug. They walk over to the railing, Dean's arm around Sam's shoulder, and smile, contentedly.)
  
 
==ACT FIVE==
 
==ACT FIVE==
 +
  
 
(Jared and Jensen are on the bridge in the final scene)
 
(Jared and Jensen are on the bridge in the final scene)
 +
  
 
JENSEN
 
JENSEN
Line 1,390: Line 1,540:
  
 
Through blood, sweat, laughter, and tears, you've kept us on for 15 years.
 
Through blood, sweat, laughter, and tears, you've kept us on for 15 years.
 +
  
 
JARED
 
JARED
Line 1,400: Line 1,551:
  
 
So thank you.
 
So thank you.
 +
  
 
(The camera pulls back to show Jared, Jensen and the cast and crew all on the bridge, waving)
 
(The camera pulls back to show Jared, Jensen and the cast and crew all on the bridge, waving)
 +
  
 
EXECUTIVE PRODUCER ROBERT SINGER
 
EXECUTIVE PRODUCER ROBERT SINGER
  
 
And cut.
 
And cut.

Latest revision as of 00:53, 29 May 2021


SUPERNATURAL

15.20 Carry On

Written by: Andrew Dabb

Directed by: Robert Singer

Air Date: November 19, 2020

TEASER

(The scene opens on an alarm clock ringing at 8:00. Dean smacks at the clock, sits up in bed and stretches)


DEAN

Ohhhh!


(Miracle, the dog, runs into the bedroom, jumps on the bed and Dean pulls him into a hug)


Hey, buddy.

Good morning.


(Ordinary Life by Van Morrison is playing while the boys start their morning)


๐ŸŽถ Sinking fast ๐ŸŽถ

๐ŸŽถ Hold tight ๐ŸŽถ


(Sam is running on a trail along a lake. He comes to a clearing and stops to look at the view.)


๐ŸŽถ Just remember ordinary life

๐ŸŽถ More trouble ๐ŸŽถ

๐ŸŽถ Than it's worth ๐ŸŽถ

๐ŸŽถ Know it when you see the sign ๐ŸŽถ


(Back in the kitchen of the bunker, Sam is cooking bacon and eggs. Dean walks into the kitchen in his robe. As he passes the toaster, two pieces of toast pop out)


SAM (Looking over his shoulder at Dean.)

It's hot.

DEAN (grabbing the toast)

AHHHH!

Hot bread!


๐ŸŽถ Nagging wife ๐ŸŽถ


(Dean is brushing his teeth in his bathroom)


๐ŸŽถ Starts a fight ๐ŸŽถ


(Sam walks into his room, shirtless, his hair in a towel. He takes the towel off, dries his hair, puts on a shirt and starts to make his bed)


๐ŸŽถ Trying to make you uptight ๐ŸŽถ

๐ŸŽถ Workaholic ๐ŸŽถ

๐ŸŽถ On your bike ๐ŸŽถ

๐ŸŽถ Take a look at it in the daylight ๐ŸŽถ


(The scene switches back and forth between Sam and Dean in their rooms, getting dressed and making their beds --In his room, Dean making his bed, although with less attention to it than Sam. He tosses the robe on a chair and leaves the room. Sam also finishes making his bed, grabs a flannel and leaves his room)


๐ŸŽถ Nothing feels right, step out of line ๐ŸŽถ

๐ŸŽถ Think ordinary mind ๐ŸŽถ

๐ŸŽถ Ordinary life ๐ŸŽถ

๐ŸŽถ Be my rock in times of trouble ๐ŸŽถ

๐ŸŽถ Get me back on the earth, put my feet on the ground ๐ŸŽถ


(Dean is washing the dishes in the kitchen. He grabs one that has some food left on it and whistles for Miracle, who runs over and licks the plate while Dean looks to see if Sam is watching)


DEAN

There you go.

Good boy.


๐ŸŽถ Ordinary life ๐ŸŽถ

๐ŸŽถ Be my rock in times of trouble ๐ŸŽถ


(Sam is leaning on the washing machine, reading a book. The machine is shaking considerably, and so is Sam, until he gives it a kick.)


๐ŸŽถ Bring me down to earth ๐ŸŽถ

๐ŸŽถ Keep my feet on the ground ๐ŸŽถ

๐ŸŽถ Keep on pushing ๐ŸŽถ


(Dean is cleaning the weapons at the table in the library. He checks his watch, it's 10:00, and gets up. We then see him sitting at his computer, with Miracle in the chair next to him)


๐ŸŽถ Make it useful ๐ŸŽถ

๐ŸŽถ Do what you have to do ๐ŸŽถ

๐ŸŽถ Keep on working ๐ŸŽถ

๐ŸŽถ Keep on doing ๐ŸŽถ

๐ŸŽถ Combat ordinary strife ๐ŸŽถ

๐ŸŽถ Need a woman, be my friend ๐ŸŽถ

๐ŸŽถ Understand ordinary life ๐ŸŽถ


(Sam joins Dean at the table and opens up his computer)


SAM

Nothing weird coming over the wire. Social media looks clean.

You got anything?

(Dean is looking intently at his computer screen)

Dean?

DEAN (nodding seriously)

I got something.


ACT ONE

(The Impala pulls up outside a restaurant. Sam and Dean get out and stand in front of the car, looking at something ahead of them, off camera)


SAM

Are you sure you're ready for this?

DEAN

Oh, I don't have a choice.

This is my destiny.


(The camera pans over to show a banner, spanning a small-town street, which reads โ€œWelcome to the 43rd Annual Akron Pie Fest!โ€)


DEAN (choking up)

It's just so beautiful.

SAM

Are you crying?

DEAN

What? No.

You're crying.

I'm...

I'm gonna go get some, uh...

SAM

Pie.

DEAN

I'm gonna get some damn pie.


(Sam sits on a bench as Dean walks across the street with a large box in has hands. Someone walks in front of him, almost knocking into the box as Dean veers around him)


DEAN (Annoyed)

Excuse me. Hey, hey, hey, hey!


(Dean sits down next to Sam with 6 slices of pie in the box)


Hey.

Ah! (satisfied sound)

(looking at Sam)

What? What's wrong?

SAM

Nothing. I'm fine.

DEAN

No, come on. I know that face.

That's, uh...

That Sad Sam face.

SAM

I'm not Sad Sam.

I'm just...

I'm thinking about Cass, you know?

Jack.

If they could be here.

DEAN

Yeah.

Yeah, no. I think about 'em, too.

You know what? That pain's not gonna go away.

Right?

But if we don't keep living, then all that sacrifice is gonna be for nothing.

So, quit being a friggin' Eeyore, huh?

Come on.

(Dean motions to the slices of pie in the box)

Get into this!

SAM

Yeah, you're right.


(Sam takes a slice of pie and smushes it into Deanโ€™s face)


I have wanted to do that for a very long time.


(Sam laughs as Dean uses a fork to wipe the pie off his face and eat it)


Oh, you're right. I do feel better.


(Exterior nighttime view of a house. Inside, a dad checks the mail while his kids play checkers in the living room)


BOY

Okay, Brady. Your move.

BRADY

Okay.

MOM

Come on, kids. Upstairs.

Bath time.


(As the kids and mom go upstairs, a shadow passes outside the front door and the doorbell rings. The kids and mom stop on the stairs and watch as the dad goes to the door. He opens the door, but no one is there)


MOM

Lyle?

LYLE (turning towards his wife, leaving the door open)

Probably just some kids.

It's...


(Lyle is stabbed in the back with a large blade that protrudes out of his chest. As he falls to the ground, there are two men behind him in black suits wearing creepy, smiling skeleton masks. The man in front has the knife in his hand)


WIFE (to kids)

Run!


(The mom and kids run upstairs as the men follow. The kids run into a bedroom and close the door. The mom is in the hallway, leaning against the door as one of the men approaches. She screams as the man stabs her. The door opens (from the perspective of inside the room) and the killer is standing in front of the door while the mom is on the floor)


The killer enters the bedroom and starts looking around, stopping at a bed and pulling the blanket up to look under it. There is nothing there. From the perspective of the floor, we see his shoes as he walks around the room some more and stopping next to a second bed in the room. As he turns around to walk towards the door, we see the kids hiding under this bed.


As the camera zooms in on the kids' terrified faces the bedroom door closes. A few seconds later the older boy is pulled from under the the bed by his feet and both kids scream.)


(The next morning, Sam and Dean arrive at the house in their FBI suits. There is yellow crime scene tape across the front door. Sam and Dean approach a police officer at the door and introduce themselves.)


SAM

Singer and Kripke. FBI.

POLICE OFFICER

Feds do home invasions now?

DEAN

Oh, yeah. We're full service.

SAM

Something weird over the wire.

One of the bodies... Its blood was drained?

POLICE OFFICER

Oh, yeah. Throat torn out, the whole nine.

Some kind of cannibal crap.

DEAN

And the kids?

POLICE OFFICER

Taken.

SAM

What about the mom?

POLICE OFFICER

They left her, but they ripped out her tongue.

DEAN

Any idea what these guys look like?

POLICE OFFICER

Kinda. She drew this.


(The police officer shows Sam and Dean a drawing resembling the skeleton mask that the killers were wearing)


POLICE OFFICER II (OFF CAMERA)

Hey, sarge? You got a second?

POLICE OFFICER

Excuse me.

SAM

Sure. Thanks for your time.

DEAN

I recognize that face.

SAM

Yeah, me too.


(Sam and Dean leave the crime scene. The Impala is parked under a tree, off the road, Sam and Dean are standing on either side of the hood. Sam has a map out and Dean is looking through John's journal.)


DEAN

Alright. Let's see.

I think it was in '86.

Dad was working a string of kidnappings along Route 77.

SAM (checking the map)

77.

DEAN

So, uh...

Akron, Canton, East Sparta.

He didn't find much, but the witness did draw this.


(Dean shows Sam a picture of the skeleton mask in John's journal)


Kids were taken.

The adults that weren't drained had their...

SAM

Had their tongues ripped out.

DEAN Yeah.

You know what this is?

Mimes.

(Sam rolls his eyes)

Evil mimes.

SAM

Yeah, or vampires.

DEAN

Vamp-mimes.

Son of a bitch.

SAM

Alright.

Well, if this is the same nest and if the pattern holds, then they'll target Canton next.

DEAN (referencing the journal)

Okay. It says here that, uh... they target families that are living outside of town, that are isolated, kids usually between the ages of 5 and 10.

SAM

Okay.

So, who in Canton fits that bill?


(It's nighttime as a black van pulls up and stops outside a suburban home. Two men in skeleton masks, each carrying a large blade get out of the van and walk up to the front door. They nod at each other in a 'let's do this' manner. They turn towards the door and a machete cuts off one of their heads. As the head falls off its shoulders, Dean is behind him, holding the machete.


SAM

Hey!


(The second vampire turns, and Sam shoots him in the leg. From the vampire's perspective, Sam approaches, gun pointed at him, and shoots again).


(The vampire is tied up and sitting on a large tree stump)

DEAN

Hey.


(Dean pulls of the vampire's mask, revealing a bullet hole in his forehead, and slaps his cheek)


Hey there, sleepy.

VAMPIRE (groggily)

What'd you hit me with?

DEAN

Oh, it speaks.

Not a mime. Still evil, though.

SAM

It was a bullet...

Soaked in dead man's blood.

DEAN

So, let's talk kids, hmm?

Those two that you grabbed a couple nights ago...

Where are they?

(Vampire laughs)

SAM (laughing also)

Yeah, you really should tell him.

VAMPIRE

And if I do, what? You let me go?

DEAN

Oh, no, no, no, no, no. No.

This isn't a you-walk-out- of-here kind of a situation.

But see, if you tell us quick, you get this.


(Dean holds up the blood-stained machete)


But if you take your time, you get, uh... you get that.


(Sam opens up a switchblade)


VAMPIRE

Yeah, I'll... I'll take that itty-bitty one.

SAM

That's a bad choice.

DEAN

You see, this... This is quick.

It's clean.

You know, no muss, no fuss.

You blink, and you're dead.

SAM

But a blade this small...

I'm gonna have to keep sawing and sawing to get your head off, and you'll feel it.

Every muscle, tendon, every inch.

It could take hours.

DEAN (leaning closer to the vampire)

Oh, and if those kids are dead, he's gonna use a spoon.

VAMPIRE

They...

They're not dead.

They're with the nest.

We...take a harvest.

Every few years, grab a couple kids, raise them up, feed them right, juice them.

We don't do fast food.

SAM

Yeah. Alright.

Where are they?


(It's nighttime as the Impala pulls up to an old barn. Sam and Dean exit the car and walk towards trunk)


SAM

This the place?

DEAN

Dark, creepy, something out of Wes Craven's erotic fantasy?

Yeah. It's 100% the place.

Alright.


(Dean unlocks the Impala's trunk and opens the false bottom to reveal the weapons stash. Sam takes out a gun and Dean picks up a box and pulls out a shuriken (throwing star))


DEAN (pleading)

Come on, one time.

SAM

No.

DEAN

Why not?

SAM

No.

DEAN

But we could...


(Dean makes a throwing motion with the star as Sam backs out of the way)


SAM

Go with the machete.


(Sam and Dean enter the barn looking for the boys. As they walk through, vampires wearing the skeleton masks can be seen hiding inside and outside of the barn. Sam and Dean hear a noise and approach a stall with a closed door. They open it and find the two boys in there.)


DEAN

Hey, boys. Okay. Come on.

Stay behind us. We're gonna keep you safe.

Come on.


(They all turn to leave but there are four skeleton-masked vampires blocking the door. One of them is particularly large.)

Sam turns the kids towards the back of the barn.)


SAM

Go. Go. Go.

Run!

ACT TWO

(Inside the barn, facing off with the vampires. They begin fighting, trading kicks and punches with Sam and Dean each beheading one of the vampires before being overtaken. Sam is unconscious and as Dean is being held down by the two remaining vampires, a woman walks over to him.)


DEAN

Well, I know you.

Jenny.


(Flashback to episode 1.20 Dead Man's Blood where Sam and Dean, on their first vampire hunt, find Jenny, a woman who was turned into a vampire.)


(Chuckling) Son of a bitch.


JENNY

Hey, Dean.

DEAN


(As Dean stands up, he looks over Jenny's shoulder and he sees Sam, still lying on the ground, reaching for a machete that was dropped during the fight. Dean tries to stall Jenny to give Sam time to get the machete)


Well, look at you.

(Dean looks at the vampire standing next to him)

You know, we tried to kill each other back in the day.

Yeah.

This is so weird.

It's like running into somebody in high school, you know?

Somebody you don't want to see.

Well, you look good.

You do.

I mean, a little dead, but, uh, good.

JENNY

Thanks.

DEAN

So, what, are you, like, the, uh... The big boss or something?

JENNY

No.

I just called dibs.


(Jenny bares her fangs and Sam chops her head off from behind. Sam, Dean and the vampires start fighting again. Sam eventually beheads the vampire is fighting, leaving Dean fighting with the very large vampire. The Vampire grabs Dean by the jacket and pushes him against a post that has a metal bar sticking out of it. As he continues to push Dean against the post Sam comes up from behind and beheads him. The vampire falls to the ground.)


(Sam walks over to Dean and is putting his machete back in its case, not looking directly at Dean)

SAM

Alright.

Let's go find those kids, get them outta here.

DEAN

Sam...

I don't... Mm.

I don't think I'm going anywhere.

SAM

What?

What are you talking about?

DEAN

There's something in my...Something in my back.

It feels like it's right through me.


(Sam stands directly in front of Dean, a few inches apart and reaches around to Dean's back. As he brings his hand back out, it is covered with blood.)


(Dean groans)


Oh, God.

SAM

Alright. Um...

Hold on. Okay. Uh, I got you.

DEAN

No, no, no, no, no.

Don't... Don't... Don't move me.

Don't move me.

It feels like this thing's holding me together right now.

Just give me...

Just give me a minute.

SAM

Yeah.

Um... alright.

I'll call for help. I'll get the first-aid kit.


(Sam takes out his phone and moves to walk away)


DEAN

Sam, Sam! Sam...

Stay wi...

Stay with me.

Can you stay with me, please?

SAM

Okay.

Yeah.

DEAN

Okay.

Okay.

Uh... right.

Alright. Listen to me.

Um...

You get those boys and you get them someplace safe, alright?

SAM

Dean...

We (motioning with his hand to himself and Dean) are gonna get them somewhere safe.

SAM

DEAN (shaking his head)

No.

You knew it was always gonna end like this for me.

It was supposed to end like this, right?

I mean, look at us.

Saving people, hunting things...

It's what we do.

SAM

No, no.

Stop, okay?

Just... Just stop.

DEAN

It's okay.

It's okay.

It's good.

It's good.

We had one hell of a ride, man.

SAM

I will find a way, okay? I-I will find another way.

DEAN

No, man. No.

No. No, no, no, no.

No bringing me back, okay?

You know... You know that always ends bad.

SAM

Dean...

DEAN

Okay.

SAM

P-Please.

DEAN

I'm fading pretty...

I'm fading pretty quick, so... there's a few things that I need you to hear.

Come here.


(Sam moves closer and Dean puts his hand on the side of Sam's neck)


Let me look at you.

Yeah, there he is.

I'm so proud of you, Sam.


(Dean's hand is on Sam's shoulder and Sam is holding onto Dean wrist)


DEAN

You know that?

I've always looked up to you.


(Sam is getting emotional, trying not to cry)


Man, when we were kids, you were so damn smar... smart.

You never...

You never took any of dad's crap.

I never knew how you did that.

And you're stronger than me.

You always have been.

Hey, did I ever tell you... Did I ever tell you that night that, uh... that I ca... That I came for you when you were at school?

You know, when dad hadn't come back from his hunting trip?

SAM

Yeah, um.. Uh, the Woman in White.

DEAN

The Woman in White. That's right.

I must have stood outside your dorm for hours... because I didn't... I didn't know what... What you would say.


(Sam is visibly crying)


I thought you'd tell me to... to get lost or get dead.

And I don't know what I would've done... if I didn't have you.

'Cause I was so scared.

I was scared, 'cause when it all came down to it, it was always you and me.

It's always been you... and me.

SAM (crying)

Then don't leave me.

Don't leave me.

I can't do this alone.

DEAN

Yes, you can.

SAM

Well, I don't want to.

DEAN

Hey.

I'm not leaving you.

I'm gonna be with you...


(Dean is crying as he places his fist over Sam's heart)


Right here... every day.

Every day you're out there and you're Li... And you're living and you're fighting, 'cause you...

You always keep fighting.

You hear me?

I'll be there every step.

I love you so much.

My baby brother.

Oh, man.

Well, I did not think this would be the day.

But it is.

It is, and that's...

Man... that's okay.

I need you to... I need you to promise me.

I need you to...

To... to tell me... that it's okay.

I need you to tell me that it's okay.


(Sam looks away, shaking his head, crying)


SAM

No.

DEAN (softly pleading)

Look at me.

Look at me.

I need... I need...

I need you to tell me that it's okay.

I need you to tell me...

Tell me it's okay.


(Dean's hand is on his chest and Sam reaches out and places his hand over Dean's)


SAM (through tears)

Dean...

it's okay.

You can go now.


(Dean places his other hand over Sam's and the boys lean their heads against each other)


DEAN

Goodbye, Sam.

Goodbye.


(Dean closes his eyes. As one last tear streams down his face, his head falls forward onto Sam's shoulder. Sam sobs as he holds onto Dean)

ACT THREE

("Brothers in Arms" by Dire Straits plays in the background as Sam and Miracle stand by Dean's funeral pyre (and in the bunker scenes that follow). Sam hesitates for several seconds while holding Dean's Zippo lighter in his hand. He eventually opens the lighter, lights it, takes a breath and throws it on the pyre. The pyre ignites and in a matter of seconds is fully ablaze. Sam watches it burn with tears in his eyes.)


๐ŸŽถ These mist covered mountains ๐ŸŽถ

๐ŸŽถ Are a home now for me ๐ŸŽถ

๐ŸŽถ But my home was the lowlands ๐ŸŽถ

๐ŸŽถ And always will be ๐ŸŽถ

๐ŸŽถ Someday, you'll return to ๐ŸŽถ

๐ŸŽถ Your valleys and your farms ๐ŸŽถ

๐ŸŽถ And you'll no longer burn to be brothers in arms ๐ŸŽถ


(In the bunker, Sam's alarm clock goes off at 8:00 a.m. He reaches over to turn it off. Sitting up in bed, he runs his hands over his face and through his hair)


๐ŸŽถ Through these fields of destruction ๐ŸŽถ

๐ŸŽถ Baptisms of fire ๐ŸŽถ

๐ŸŽถ I've witnessed your suffering ๐ŸŽถ

๐ŸŽถ As the battle raged high ๐ŸŽถ


(Sam is going through the motions of making eggs in the kitchen. He's staring at the eggs, half-heartedly stirring them, and is startled when the toast pops out of the toaster. He looks over, as if to see if Dean will catch the toast.


๐ŸŽถ And though they did hurt me so bad ๐ŸŽถ

๐ŸŽถ In the fear and alarm ๐ŸŽถ

๐ŸŽถ You did not desert me, my brothers in arms ๐ŸŽถ


(Sam continues to move sadly around the bunker, finding things that remind him of Dean, like their initials carved into the library table.)


๐ŸŽถ Now the sun's gone to hell ๐ŸŽถ

๐ŸŽถ And the moon's riding high ๐ŸŽถ

๐ŸŽถ Let me bid you farewell ๐ŸŽถ

๐ŸŽถ Every man has to die ๐ŸŽถ

๐ŸŽถ But it's written in the starlight ๐ŸŽถ

๐ŸŽถ And every line in your palm ๐ŸŽถ

๐ŸŽถ We are fools to make war on our brothers in arms ๐ŸŽถ


(Sam goes into Dean's room, looking around at the guns on the wall, two beer bottles on the table. He eventually sits down on Dean's bed and Miracle comes over to him. Sam pets Miracle's head as he starts to cry.


SAM

Yeah.

Yeah, I know.

(Miracle whines)

Yeah, me too.


(As he's sitting in Dean's room, Sam hears a cell phone vibrating. He opens Dean's desk drawer and rifles through the various cell phones until he finds one marked 'Dean's other other phone' buzzing.)


SAM (tentatively)

Hello?

VOICE ON PHONE

Um, hi. Agent Bon Jovi?

SAM

Uh, this is...

Agent Bon Jovi.

VOICE ON PHONE

Uh, okay. Well, look.

I-I know this is gonna sound nuts, but I'm down in Austin, and we've had a few bodies turn up minus their hearts.

Um, and a friend of mine, Donna Hanscum...

She said you were the guy to call.

Um, Agent... you there?

SAM

Yeah, I'm here.

(Sam pauses, emotionally)

I'm on my way.


(Sam and Miracle move to leave the bunker. When they get to the top of the stairs Sam turns around and looks over the bunker. He walks out the door and the lights in the bunker go off, one by one, until the bunker is in total darkness.

ACT FOUR

(Dean's funeral pyre is burning.

Dean is standing on a country road, looking out over a beautiful mountain landscape.)


DEAN (smiling)

Well, at least I made it to Heaven.

BOBBY

Yep.


(Dean, startled, looks towards the voice and sees Bobby, sitting on a chair in front of 'Harvelle's Roadhouse'


DEAN

What memory is this?

BOBBY (laughing)

It ain't, ya idjit.

DEAN

Yeah, it is,

'cause the last I heard, you... you were in Heaven's lock-up.

BOBBY

Was.

DEAN

Now I'm not.

BOBBY

That kid of yours, before he went... wherever, made some changes here.

Busted my ass out. And then he...


(Dean sits down next to Bobby)


Well, he set some things right. Tore down all the walls up here.

Heaven ain't just reliving your golden oldies anymore.

It's what it always should have been.

Everyone happy. Everyone together.

Rufus lives about 5 miles that way... With Aretha.

Thought she'd have better taste.

And your mom and dad... they got a place over yonder.

It ain't just Heaven, Dean.

It's the Heaven you deserve.

And we've been waiting for you.


(Bobby opens a cooler between their chairs and takes out a couple of beers for him and Dean)


DEAN

So, Jack did all that?

BOBBY

Well... Cass helped.

It's a big, new world out there.

You'll see.

DEAN (takes a sip of beer)

Oh, wow.

This tastes like the first drink I ever shared with my dad.

BOBBY

Quality stuff?

DEAN

No, it's crap.

But it was fantastic.

BOBBY

Just like this.

DEAN (a little sadly)

It's almost perfect.

BOBBY (looking towards Dean)

He'll be along.

Time up here, it's... it's different.

You got everything you could ever want... or need or... dream.

So, I guess the question is... what are you gonna do now, Dean?


(Dean looks away from Bobby and sees the Impala, with the original KAZ 2Y5 license plate, parked on the road)


DEAN

I think I'll go for a drive.

BOBBY

Have fun.

DEAN

Hey, baby.


(Dean starts the car and turn on the radio. "Carry on Wayward Son" by Kansas plays from the radio)


๐ŸŽถ Carry on my wayward son ๐ŸŽถ

๐ŸŽถ There'll be peace when you are done ๐ŸŽถ


DEAN

Ah!

I love this song.


๐ŸŽถ Lay your weary head to rest ๐ŸŽถ

๐ŸŽถ Donโ€™t you cry no more ๐ŸŽถ


Whoo!


(Deans speeds off down the road. The song continues to play as the scene shifts between Dean driving down the road and Sam's life on earth.)


(A small boy wearing overalls with 'Dean' embroidered on the front is walking next to Sam. Sam picks him up, laughing.)


(Dean driving)


(Sam teaching a young Dean II how to catch a baseball as a woman watches from the house.)


(Dean driving)


๐ŸŽถ Ahhhhhhhh ๐ŸŽถ


(Sam doing homework with a teenaged Dean II at the table in his house. A large picture of John, Mary, Sam and Dean hangs in the living room.)


๐ŸŽถ Once I rose above the noise and confusion ๐ŸŽถ

๐ŸŽถ Just to get a glimpse beyond this illusion ๐ŸŽถ

๐ŸŽถ I was soaring ever higher ๐ŸŽถ

๐ŸŽถ But I flew too high ๐ŸŽถ


(Dean driving)


๐ŸŽถ Though my eyes could see, I still was a blind man ๐ŸŽถ

๐ŸŽถ Though my mind could think, I still was a madman ๐ŸŽถ


(A gray-haired Sam goes into his garage and pulls the tarp off of the Impala. He sits inside, puts his hands on the steering wheel and cries while remembering Dean.)


๐ŸŽถ I hear the voices when I'm dreaming ๐ŸŽถ

๐ŸŽถ I can hear them say ๐ŸŽถ

๐ŸŽถ Carry on, my wayward son ๐ŸŽถ

๐ŸŽถ There'll be peace when you are done ๐ŸŽถ

๐ŸŽถ Lay your weary head to rest ๐ŸŽถ

๐ŸŽถ Don't you cry no more ๐ŸŽถ

๐ŸŽถ On a stormy sea of moving emotion ๐ŸŽถ

๐ŸŽถ Tossed about, I'm like a ship on the ocean ๐ŸŽถ

๐ŸŽถ I set a course for winds of fortune ๐ŸŽถ

๐ŸŽถ But I hear the voices say ๐ŸŽถ

๐ŸŽถ Carry on, my wayward son ๐ŸŽถ

๐ŸŽถ There'll be peace when you are done ๐ŸŽถ

๐ŸŽถ Lay your weary head to rest ๐ŸŽถ

๐ŸŽถ Don't you cry ๐ŸŽถ

๐ŸŽถ Don't you cry no more ๐ŸŽถ


(Dean driving)


(An aged, sick Sam lies in a hospital bed in the living room of his house, directly under the portrait of the four Winchesters. He is hooked up to medical monitors and oxygen. Adult Dean II walks into the room and there is an anti-possession tattoo on his forearm. He comes and sits on the bed next to Sam, placing his hand on Sam's)


DEAN II

Dad.

It's okay.

You can go now.


("Carry On Wayward Son" by Neoni begins to play)


๐ŸŽถ Carry on, my wayward son ๐ŸŽถ

๐ŸŽถ There'll be peace when you are done ๐ŸŽถ

๐ŸŽถ Lay your weary head to rest ๐ŸŽถ

๐ŸŽถ Don't you cry no more ๐ŸŽถ


(Sam nods, places his hand on Dean's. He closes his eyes as his head falls to the side a single tear streams down his face. The monitors flatline and begin to beep.)


๐ŸŽถ On a stormy sea of moving emotion ๐ŸŽถ

๐ŸŽถ Tossed about, I'm like a ship on the ocean ๐ŸŽถ

๐ŸŽถ I set a course for winds of fortune ๐ŸŽถ

๐ŸŽถ But I hear the voices say ๐ŸŽถ

๐ŸŽถ Carry on, my wayward son ๐ŸŽถ

๐ŸŽถ There'll be peace when you are done ๐ŸŽถ

๐ŸŽถ Lay your weary head to rest ๐ŸŽถ

๐ŸŽถ Don't you cry no more ๐ŸŽถ


(Dean arrives at a bridge over a river and slows to a stop in the middle of it.)


๐ŸŽถ No more ๐ŸŽถ

๐ŸŽถ No more ๐ŸŽถ

๐ŸŽถ Don't you cry no more ๐ŸŽถ


(Dean gets out of the Impala and looks around with a satisfied expression. He walks over to the rail, looks out over the river and smiles.)


๐ŸŽถ Now your life's no longer empty ๐ŸŽถ

๐ŸŽถ Surely, Heaven waits for you ๐ŸŽถ

๐ŸŽถ Carry on, my wayward son ๐ŸŽถ

๐ŸŽถ There'll be peace when you are done ๐ŸŽถ

๐ŸŽถ Lay your weary head to rest ๐ŸŽถ


(Dean gets a puzzled look on his face, pauses for a moment and smiles. He looks slightly over his shoulder)


๐ŸŽถ Don't you cry no more ๐ŸŽถ


DEAN

Hey, Sammy.

SAM (Sam is the age he was when Dean died)

Dean.


(The boys walk over to each other, smile and hug. They walk over to the railing, Dean's arm around Sam's shoulder, and smile, contentedly.)

ACT FIVE

(Jared and Jensen are on the bridge in the final scene)


JENSEN

Thank you, the fans.

Through blood, sweat, laughter, and tears, you've kept us on for 15 years.


JARED

There's no way we would have ever been here without you and your support and your love, so thank you.

We will remain forever grateful for the opportunity and the honor to play these characters for so long, and we felt you guys here with us all the time.

So thank you.


(The camera pulls back to show Jared, Jensen and the cast and crew all on the bridge, waving)


EXECUTIVE PRODUCER ROBERT SINGER

And cut.