5.13 The Song Remains the Same (transcript)

SUPERNATURAL

5.13 The Song Remains the Same

Written by: Sera Gamble and Nancy Weiner

Directed by: Steve Boyum

Air Date: 4 Feb 2010

THEN

From 4.10 Heaven and Hell, ANNA screams, breaking the lights in the panic room. She throws DEAN across the room.

From 4.10 Heaven and Hell, ANNA speaks.

ANNA
I remember now. I'm an angel.

From 4.16 On the Head of a Pin, ANNA kills URIEL.

ANNA (voiceover from 4.10 Heaven and Hell)
I have a death sentence on my head.

PAMELA (voiceover from 4.10 Heaven and Hell)
Why?

From 4.21 When the Levee Breaks, CASTIEL waits.

ANNA (voiceover from 4.10 Heaven and Hell)
I disobeyed.

From 4.21 When the Levee Breaks, CASTIEL turns to see ANNA.

CASTIEL
You really shouldn't have come.

Two angels take ANNA by the arms. CASTIEL watches all three vanish into white light.

From 4.03 In the Beginning, CASTIEL talks to DEAN.

CASTIEL
You have to stop it.

DEAN
Stop what?

CASTIEL presses two fingers to DEAN's forehead.

From 4.03 In the Beginning, DEAN wakes up in Lawrence, Kansas.

From 4.03 In the Beginning, DEAN reads over someone's shoulder: the Lawrence Herald's headline is "Nixon accepts resignation of top [?]". The paper is dated Monday, April 30, 1973.

DEAN (voiceover from 4.03 In the Beginning)
Nineteen seventy-three?

From 4.03 In the Beginning, young MARY.

From 4.03 In the Beginning, DEAN looks out the window of a car.

DEAN
Mom?

From 4.03 In the Beginning, young JOHN talks to DEAN.

JOHN
John Winchester.

From 4.03 In the Beginning, DEANNA goes flying across the room. DEAN's chair is shoved back into a wall.

From 4.03 In the Beginning, DEAN talks to SAMUEL.

DEAN
My parents are Mary and John Winchester, and I am your grandson.

From 4.03 In the Beginning, MARY attacks AZAZEL as Dr. Brown. He grabs her and uses her as a human shield.

DEAN (voiceover from 4.03 In the Beginning)
Mary gets killed by a yellow-eyed demon in nineteen eighty-three. Now, if we don't catch this thing now—

From 4.03 In the Beginning, AZAZEL dispossesses Dr. Brown.

DEAN (voiceover from 4.03 In the Beginning)
—and kill it, and it gets away, then Mary dies.

From 4.03 In the Beginning, DEAN drives up and sees JOHN dead and MARY kissing AZAZEL as SAMUEL. DEAN gets out of the car.

DEAN
No!

AZAZEL breaks the kiss, looks at DEAN, and as soon as DEAN raises the Colt, AZAZEL dispossesses SAMUEL, who falls dead. DEAN looks at MARY, silent. MARY looks at DEAN, crying.

DEAN (voiceover from 4.03 In the Beginning)
I couldn't stop any of it. She still made the deal.

From 4.03 In the Beginning, JOHN wakes up.

DEAN (voiceover from 4.03 In the Beginning)
She still died in the nursery, didn't she?

From 4.03 In the Beginning, CASTIEL answers DEAN.

CASTIEL
Destiny can't be changed, Dean. All roads lead to the same destination.

NOW

DEAN'S DREAM

INT. STRIP CLUB

Warrant's "Cherry Pie" plays.

MUSIC
She's my cherry pie

DEAN is seated on a couch in front of a small stage lit from below. An erotic dancer performs for him: skinny, hot, white, brunette, and dressed in a "sexy devil" outfit.

MUSIC
Cold drink of water
What a sweet surprise

DEAN
Oh, I take it all back. I love the devil.

She continues dancing.

MUSIC
Taste so good
Make a grown man cry
Sweet cherry pie
Oh yeah
She's my cherry pie
Put a smile on your face
Ten miles wide
Looks so good
Bring a tear to your eye

He shuts his eyes for a moment and opens them to see that a second dancer—blonde and dressed in a "sexy angel" outfit—has joined the first.

MUSIC
Sweet cherry pie
Sweet cherry pie

DEAN
Now, that's what I call peace on earth.

They lean over him, hovering near a kiss, then part.

MUSIC
Swing it!

The music ends abruptly: ANNA is on the stage. She stares at him. He stares back.

DEAN
Anna?

DEAN shifts uncomfortably. The dancers are gone.

DEAN
I was just, uh, working on a case.

ANNA
This is what you dream about.

DEAN looks away and ducks his head.

DEAN
This is awkward. Why are you gate-crashing my head? Why don't you just swing by the motel?

ANNA sits next to DEAN.

ANNA
I can't find you.

DEAN
Oh. Cas did this thing.

DEAN indicates his ribs. ANNA looks away.

ANNA
Cas. Right. Now, there's a friend you can count on.

DEAN
What?

ANNA
He didn't tell you?

DEAN
Tell me what?

ANNA
Where I've been. Of course not. Why would he?

DEAN
Where have you been?

ANNA
Prison. Upstairs. All the torture, twice the self-righteousness.

DEAN
Why wouldn't he have told us where you were?

ANNA
Because he's the one who turned me in. Don't look so shocked. He was always a good little soldier. Did anything under orders.

DEAN
I didn't know. Are you okay?

ANNA
No. And I don't have long. I broke out. Barely. They're looking for me. If they find me—

DEAN
Okay. What do you need?

ANNA
Meet me. Two-two-five Industrial. And, please, just—

INT. MOTEL ROOM – NIGHT

DEAN wakes abruptly.

ANNA
Hurry.

DEAN sits up, breathing heavily.

WAREHOUSE

INT. WAREHOUSE – NIGHT

ANNA enters a dark space, presumably 225 Industrial. Wind blows, sounding like voices. ANNA looks around.

ANNA
Hello? Who's there?

Light bulbs overhead burst in showers of sparks. ANNA turns slowly, and CASTIEL appears behind her.

CASTIEL
Hello, Anna.

ANNA
Well. If I didn't know any better...

ANNA turns around.

ANNA
I'd say the Winchesters don't trust me.

CASTIEL
They do. I don't. I wouldn't let them come.

CASTIEL circles ANNA. She turns to keep facing him.

ANNA
And why is that?

CASTIEL
If you're out of prison, it's because they let you out. And they sent you here to do their dirty work.

ANNA
And what makes you so sure?

CASTIEL
Because I've experienced...heaven's persuasion.

ANNA
You mean when you gave me to them.

CASTIEL
That was a mistake.

A pause.

CASTIEL
Anna, whatever they sent you here to do—

ANNA
They didn't send me. I escaped.

CASTIEL
No one escapes.

ANNA
All these centuries, and you're underestimating me now?

CASTIEL
If you're not one of them, then what do you want?

ANNA
I want to help.

CASTIEL
You want to help?

ANNA
Yes.

CASTIEL
Then what are doing with that knife?

A long pause. ANNA draws the knife.

ANNA
I'm not allowed to defend myself?

CASTIEL
Against whom? That blade doesn't work against angels. It's not like this one.

CASTIEL is holding a long knife looking very like the one with which ANNA killed URIEL.

CASTIEL
Maybe you're not working for Heaven. But there's something you're not telling me.

A pause while ANNA steels herself.

ANNA
Sam Winchester has to die.

ACT ONE

INT. WAREHOUSE – NIGHT

THE SONG REMAINS THE SAME

ANNA
I'm sorry but we have no choice. He's Lucifer's vessel.

Starring
JARED PADALECKI

CASTIEL
He's not the only one.

ANNA
What, that guy Nick?

JENSEN ACKLES

ANNA
He's burning away as we speak. No.

MISHA COLLINS

ANNA
Sam is the only vessel that matters. You know what that means? If Lucifer can't take Sam, his whole plan short-circuits. No fight with Michael, no Croatoan virus.

Guest Starring
JULIE McNIVEN

ANNA
The Horsemen go back to their day jobs.

CASTIEL
Even if you could...kill Sam, Satan would just bring him back to life.

AMY GUMENICK

ANNA
Not after I scatter his cells across the universe.

CASTIEL turns away.

ANNA
They'll never find him. Not all of him.

MATTHEW COHEN

A long pause.

CASTIEL
We'll find another way.

ANNA
How's that going?

Co-Producer
JULIE SIEGE

ANNA
How's the Colt working out? Or the search for God? Is anything working? If you want to stop the devil, this is how.

CASTIEL
The answer's still no. Because Sam is my friend.

ANNA
You've changed.

CASTIEL
Maybe too late, but I have.

CASTIEL turns back to ANNA.

Co-Producer
JEREMY CARVER

CASTIEL
Anna, we've been through much together, but you come near Sam Winchester and I'll kill you.

ANNA hears this. A moment later, she's gone.

Co-Producers
JERRY WANEK
SERGE LADOUCEUR

CASTIEL looks up.

STREET

EXT. STREET – DAY

Producer
TODD ARONAUER

A YOUNG WOMAN and a YOUNG MAN are sitting in a car smoking; painted on the hood of the car is a phoenix with fiery wings outstretched. Molly Hatchet's "The Creeper" plays.

MUSIC
Life is getting stranger baby

Co-Executive Producer
PETER JOHNSON

MUSIC
As we travel on

The YOUNG WOMAN and YOUNG MAN lean in for a kiss.

MUSIC
The creeper come along

ANNA slams down on the hood of the car, her mouth bloody.

MUSIC
Watch out for the steel blade, baby

YOUNG MAN
Oh my God!

The YOUNG MAN and YOUNG WOMAN get out of the car and rush up to ANNA.

YOUNG MAN
Hey.

MUSIC
All shiny and long

YOUNG WOMAN
Oh my God.

YOUNG MAN
Hey. Are you okay?

MUSIC
I say it's going to be a cold dark night

YOUNG WOMAN
We have to get her to a hospital.

MUSIC
Oh when the creeper come along

The YOUNG MAN and YOUNG WOMAN help her get up and into their car. On a nearby wall is a billboard advertising Grease starring John Travolta and Olivia Newton-John: the movie was released on 16 June 1978.

MOTEL

INT. MOTEL ROOM – NIGHT

CASTIEL draws a symbol in chalk on a table. SAM sits on the far bed and DEAN paces.

Executive Producer
SERA GAMBLE

DEAN
Really? Anna? I don't believe it.

CASTIEL
It's true.

DEAN
So she's gone all Glenn Close, huh? That's awesome.

CASTIEL straightens up, confused.

CASTIEL
Who's Glenn Close?

Executive Producer
BEN EDLUND

DEAN walks over nearer SAM.

DEAN
No one, just this psycho bitch who likes to boil rabbits.

SAM
So the plan to kill me, would it actually stop Satan?

DEAN
No, Sam, come on.

SAM glances at DEAN and back at CASTIEL.

SAM
Cas, what do you think? Does Anna have a point?

DEAN looks at CASTIEL. CASTIEL glances at him, then at SAM.

CASTIEL
No. She's, uh, Glenn Close.

SAM looks down. DEAN comes back over to CASTIEL.

DEAN
I don't get it. We're looking for the chick that wants to gank Sam.

Executive Producer
PHIL SGRICCIA

DEAN
Why poke the bear?

Executive Producer
McG

CASTIEL
Anna will keep trying. She won't give up until Sam is dead. So we kill her first.

CASTIEL pours an oil into a bowl sitting on the table.

CASTIEL
Zod ah ma ra la—

Produced by
JIM MICHAELS

CASTIEL
—ee est la gi ro sa.

The bowl shoots red flame. CASTIEL steps away from the table and leans on the back of a chair, eyes closed and breathing heavily. SAM and DEAN look at him, worried.

Created by
ERIC KRIPKE

CASTIEL looks up.

CASTIEL
I've found her.

DEAN
Where is she?

CASTIEL
Not where. When.

CASTIEL straightens up.

CASTIEL
It's nineteen seventy-eight.

SAM
What?

SAM stands and joins DEAN.

Written by
SERA GAMBLE
& NANCY WEINER

SAM
Why nineteen seventy-eight? I wasn't even born yet.

CASTIEL
You won't be if she kills your parents.

SAM
What?

CASTIEL walks up to DEAN and SAM.

CASTIEL
Anna can't get to you because of me. So she's going after them.

DEAN
Take us back right now.

Directed by
STEVE BOYUM

CASTIEL
And deliver you right to Anna? I should go alone.

DEAN
They're our parents. Cas, we're going.

CASTIEL
It's not that easy.

CASTIEL walks a few steps away.

SAM
Why not?

CASTIEL
Time travel was difficult even with the powers of heaven at my disposal.

SAM
Which got cut off.

DEAN
So, what, you're like a Delorean without enough plutonium?

CASTIEL
I don't understand that reference. But I'm telling you, taking this trip, with passengers no less—

CASTIEL shakes his head.

CASTIEL
—it'll weaken me.

DEAN walks up to CASTIEL.

DEAN
They're our mom and dad. If we can save them, and not just from Anna... I mean if we can set things right, we have to try.

CASTIEL shakes his head.

INT. MOTEL ROOM – NIGHT, LATER

CASTIEL packs a second ceramic jar—they both look like the holy-oil jars from 5.03 Free to Be You and Me—and his angel-killing knife in a duffel bag and turns to face SAM and DEAN.

CASTIEL
Ready?

SAM takes the bag from CASTIEL and swings it up on his shoulder.

SAM
Not really.

DEAN
Bend your knees.

SAM ducks down a little as CASTIEL touches their foreheads with his fingers.

ACT TWO

1978

EXT. STREET – DAY

SAM and DEAN are in the middle of the street. They look around and a car horn honks: the car comes to a stop inches from them.

DRIVER
Get out of the street!

SAM and DEAN head for the sidewalk and another car nearly runs them over. They get to safety between two parked cars, SAM waving awkwardly at the second moving car.

SAM
Did we make it?

DEAN points at one of the cars, then scans the area.

DEAN
Unless they're bringing Pintos back into production, I, uh, I'd say yes.

DEAN spots CASTIEL collapsed against the nearest car, his nose bleeding. SAM sees him too.

SAM
Cas?

DEAN and SAM hurry over to him.

DEAN
Hey.

SAM
Hey, hey, hey.

DEAN
Take it easy. Take it easy. Are you all right?

CASTIEL
I'm fine. I'm much better than I expected.

SAM and DEAN try to help CASTIEL up, but he spits blood and passes out.

SAM
Cas?

SAM puts his hand in front of CASTIEL's mouth.

SAM
He's breathing. Sort of. What do we do?

STREET

EXT. PRAIRIE COURT MOTEL – DAY

SAM rips a page from a phone book at a pay phone. DEAN comes out of the motel. Two people pass, one with a large mustache.

SAM
I mean, the mustaches alone...

DEAN
So I paid for Cas for five nights up in the, uh, honeymoon suite. I told the manager, 'Do not disturb no matter what.' You know what he said to me? 'Yeah. Don't sweat it. Want to buy some dope?'

SAM snorts.

DEAN
Dope. We ought to stick around here, buy some stock in Microsoft.

SAM
Yeah, we might have to if Cas doesn't recover. Is he all right?

DEAN
What do I look like—Dr. Angel, Medicine Woman? He'll wake up. He's, you know, tough for a little nerdy dude with wings.

SAM
If he landed like that, hopefully, so did Anna. Should buy us some time.

DEAN
So, did you find 'em?

SAM
Yeah. Uh, the Winchesters. Four-eight-five Robintree.

SAM holds up the torn phone-book page.

DEAN
Let's go pop in on the folks.

ROBINTREE ROAD

EXT. 485 ROBINTREE – NIGHT

A blue car pulls up across the street from the Impala. SAM and DEAN get out and cross the street to the house the Impala is parked in front of.

DEAN
Sam. Sam. Wait, wait, wait, wait.

SAM stops. DEAN catches up.

SAM
Dean, Anna could be here any second.

DEAN
What exactly are we gonna march up there and tell 'em?

SAM
Uh, the truth.

DEAN
What, that their sons are back from the future to save them from an angel? Gone Terminator? Come on. Those movies haven't even come out yet.

SAM
Well, then tell her demons are after 'em. I mean, she thinks you're a hunter, right?

DEAN
Yeah, a hunter who disappeared right when her dad died. She's gonna love me.

DEAN thinks for a moment.

DEAN
Just follow my lead.

DEAN heads past SAM to the house.

WINCHESTERS' HOUSE

INT. KITCHEN – NIGHT

MARY turns away from the silverware drawer and sets forks and knives at each place at the kitchen table while JOHN gets a beer out of the fridge.

MARY
How was work?

JOHN
It was, uh, great.

JOHN sets down the beer and reaches for one of the rolls on the table. MARY grabs his wrist.

MARY
Ah! Not until you wash up.

JOHN
I love when you get bossy.

JOHN pulls her in for a kiss, then goes off. MARY smiles after him. The doorbell rings.

PORCH – NIGHT

MARY answers the door. It's DEAN and SAM.

DEAN
Hi, Mary.

MARY
You can't be here.

DEAN
I'm sorry if this is a bad time.

MARY
You don't understand. I'm not—

MARY looks at SAM, who is staring at her.

MARY
I don't do that anymore. I have a normal life now. You have to go.

MARY moves to close the door. DEAN holds an arm out to stop her.

DEAN
I'm sorry, but this is important, okay?

JOHN clears his throat and swings the door open wider.

MARY
Sorry, sweetie, they're just...

DEAN
Mary's cousins.

MARY smiles awkwardly.

DEAN
Yeah, we couldn't stop through town without swinging by and saying 'hey', now, could we?

DEAN holds out a hand for JOHN to shake.

DEAN
Dean.

JOHN
You look familiar.

DEAN
Really? Yeah, you do, too, actually, you know? We must have met sometime. Small towns, right? Got to love 'em.

JOHN
I'm John.

JOHN holds his hand out for SAM to shake. SAM stares a moment, then takes it.

DEAN
This is Sam.

JOHN
Sam. Uh, Mary's father was a Sam.

SAM smiles and nods.

DEAN
Uh, it's a—it's a family name.

SAM hasn't let go of JOHN.

JOHN
You okay, pal? You look a little spooked.

SAM drops JOHN's hand.

SAM
Oh. Oh, yeah. Just a...long trip.

DEAN
Yeah.

MARY
Well, Sam and Dean were just on their way out.

JOHN
What? They just got here. Real happy to meet folks from Mary's side. Please come on in for a beer.

DEAN
Twist my arm.

MARY glares at him.

LIVING ROOM

INT. LIVING ROOM – NIGHT

SAM can't stop staring at MARY, who is visibly uncomfortable.

JOHN
Are you sure you're okay, Sam?

SAM
W—oh. Yeah, yeah. Um, I'm just, um—You are so beautiful.

JOHN leans forward.

DEAN
He means that in a—a non-weird, wholesome, family kind of a way.

SAM
Yeah, right.

DEAN
We haven't seen Mary in—in quite some time, and—See, she's the spitting image of our mom. I mean, it's—it's—

SAM
Eerie.

JOHN
So, how are you guys related?

DEAN
You know, uh, distantly.

JOHN
Oh. So you knew Mary's parents?

DEAN
Yeah. Yeah, yeah. Mary's dad was, uh, pretty much like a grandpa to us.

JOHN
Oh. That was tragic—that heart attack.

JOHN reaches over to take MARY's hand.

DEAN
Yes, it was.

JOHN
So, uh, what are you guys doing in town, anyway?

DEAN
Uh, business, you know.

JOHN
Oh, yeah? What line of work?

SAM and DEAN speak simultaneously.

SAM
Plumbing.

DEAN
Scrap metal.

MARY stands up.

MARY
Oh, gosh. It's almost seven. I hate to be rude, but I got to get dinner ready.

JOHN
Maybe they could stay.

MARY
I'm sure they have to leave.

The phone rings.

JOHN
Uh, look, please stay. You know, it would mean a lot to me. I haven't met much of Mary's side of the family.

JOHN gets up and goes to answer the phone.

PHONE

INT. HALLWAY – NIGHT

JOHN speaks on the phone.

JOHN
Look, Mr. Woodson, I'm begging you to reconsider.

MR. WOODSON
I'd like to, John. You're a great mechanic. But times ain't exactly rosy.

JOHN
E-even just part time. I really need this job.

EXT. STREET – NIGHT

Pan up along a phone cord; the speaker is on a payphone.

MR. WOODSON
All right, look. Come on in right now, let's talk. Maybe we can figure something out.

It's ANNA, speaking in MR. WOODSON's voice.

JOHN
You serious?

ANNA
I'll see you in ten minutes. Don't keep me waiting.

LIVING ROOM

MARY
You have to leave. Now.

DEAN
Okay, just listen—

MARY
No, you listen. Last time I saw you, a demon killed my parents. Now you waltz in here like you're family? Whatever you want—no. Leave me alone.

SAM
You and John are in danger.

MARY
What are you talking about?

DEAN
Something's coming for you.

MARY
Demon?

DEAN
Not exactly.

MARY
Well, what, then?

DEAN
It's kind of hard to explain, okay? It's—it's—

SAM
An angel.

MARY laughs.

MARY
What? There's no such thing.

DEAN
I wish. But they're twice as strong as demons. And bigger dicks.

MARY
Why would an angel want to kill us?

DEAN
It's a long story, and we'll tell you the whole thing, but right now, you've got to trust us, and we got to go. Look at my face and tell me if I'm lying to you.

MARY
Okay. Where do we go?

DEAN
Out of here. We got to move now, though.

MARY
Okay. But what do I tell John?

DEAN
Just tell him—

DEAN looks around.

DEAN
John?

DEAN leads the way into the hallway, where MARY notices a note by the phone: Back in 15 J

MARY takes down the notepad and turns to look at DEAN.

GARAGE

INT. GARAGE – NIGHT

JOHN walks through the garage, which is dark and otherwise empty of people.

JOHN
Mr. Woodson? You still here?

JOHN turns on a light and sees MR. WOODSON lying on the ground face down. JOHN turns him over and sees that his eyes have been burnt out. JOHN backs away and turns around: ANNA is right behind him. ANNA grabs him and flings him across the room into a tall shelf, which falls over.

ANNA watches JOHN get up. Her vision doubles and blurs. She blinks. JOHN hits her with a crowbar. She sprawls across the floor, then a moment later is standing, and she flings JOHN over a car. ANNA turns around: DEAN is there with an angel blade. ANNA grabs DEAN's wrist and neck. DEAN tries to pry ANNA's hand off his neck.

DEAN
I wish I could say it's good to see you, Anna.

ANNA
You too, Dean.

ANNA sends DEAN flying out a window. MARY picks up the dropped angel blade twirls it to a better grip, and advances. JOHN looks up and sees MARY fighting like an expert. MARY slashes at ANNA and cuts ANNA's hand. ANNA ducks, MARY takes another swing, and ANNA vanishes. MARY looks around; ANNA appears behind her. MARY strikes and ANNA catches her.

ANNA
I'm sorry.

ANNA flings MARY into a windshield. MARY crawls over the car, away from ANNA, as ANNA advances slowly. MARY slides off the car, stumbles to a bench, grabs a crowbar, turns around, and drives it into ANNA's chest.

Nothing happens. MARY stares as ANNA pulls out the bloody crowbar and drops it.

ANNA
Sorry. It's not that easy to kill an angel.

SAM
No.

SAM is standing with a bloody palm next to an angel-banishing sigil.

SAM
But you can distract 'em.

SAM presses his palm to the sigil, which burns as ANNA vanishes, this time more permanently. MARY catches her breath, then sees JOHN staring at her.

ACT THREE

IMPALA

EXT. STREET – NIGHT

The Impala drives.

INT. IMPALA – NIGHT

JOHN is at the wheel, SAM behind him, MARY shotgun, and DEAN in the back.

JOHN
Monsters. Monsters?

MARY
Yes.

JOHN
Monsters are real.

MARY
I'm sorry, I didn't know how—

JOHN
And you fight them? All of you?

SAM
Yeah.

JOHN
How long?

MARY
All my life. John, just try to understand—

DEAN
She didn't exactly have a choice—

JOHN
Shut up, all of you! Look, not another word, or so help me, I will turn this car around!

Silence falls.

DEAN
Wow. Awkward family road trip.

SAM
No kidding.

CAMPBELL HOUSE

EXT. CAMPBELL HOUSE – NIGHT

The Impala pulls up to a normal-looking house.

INT. CAMPBELL HOUSE – NIGHT

MARY leads the way inside, flipping on a lightswitch as she passes it. The place is very ill-maintained.

MARY
Place has been in the family for years.

MARY flips up a round carpet, revealing:

MARY
Devil's trap. Pure iron fixtures, of course.

MARY turns on another lightswitch.

MARY
Um, there should be salt and holy water in the pantry, knives, guns.

SAM
All that stuff will do is piss it off.

MARY
So, what will kill it? Or slow it down, at least?

SAM
Not much.

MARY laughs.

MARY
Great.

DEAN
He said not much, not nothing. We packed.

DEAN thumps the duffel bag down on the table and rummages in it.

DEAN
If we put this up and she comes close—

DEAN shows MARY a paper with the angel-banishing sigil.

DEAN
—we beam her right off the starship.

MARY
Mm.

SAM
This is holy oil. It's kind of like a, like a devil's trap for angels. Come on. I'll show you how it works.

SAM leaves. MARY looks at JOHN, then follows.

JOHN
Hey, what's the deal with the thing on the paper?

DEAN
It's a sigil. That means—

JOHN
I don't care what it means. Where does it go?

DEAN
On a wall or a door.

JOHN
How big should I make it?

DEAN
John—

JOHN
What? Y'all might have treated me like a fool, but I am not useless. I can draw a damn—

JOHN picks up the paper from next to a large knife.

JOHN
—whatever it is—a sigil.

DEAN
Why don't you go help Sam out? Okay? 'Cause this has got to be done in...it's got to be done in human blood.

JOHN picks up the knife, unsheathes it, and slices his left palm open.

JOHN
So, how big?

DEAN
I'll show you.

DEAN laughs a bit.

JOHN
What?

DEAN
All of a sudden, you...you really remind me of my dad.

DEAN leaves.

CAMPBELL HOUSE, LATER

EXT. CAMPBELL HOUSE – NIGHT

INT. CAMPBELL HOUSE – NIGHT

JOHN is working on an angel-banishing sigil when SAM comes up beside him.

SAM
That's really good.

JOHN
You come to check on me?

SAM
Uh...I wanted to say I—I'm sorry about all this. I—I know it's a lot.

JOHN
Look, how long have you known about this...hunting stuff?

SAM
Pretty much forever. My dad raised me in it.

JOHN
You're serious? Who the hell does that to a kid?

SAM
Well, I mean, for the record, Mary's parents did.

JOHN
I don't care. You know, what kind of irresponsible bastard lets a child anywhere near—Y-you know, you could've been killed!

SAM
I, uh...came kind of close.

SAM laughs.

JOHN
The number it must've done on your head...Your father was supposed to protect you.

SAM
He was trying. He died trying. Believe me.

SAM sits down on the bench under a window.

SAM
I used to be mad at him. I—I mean, I used to... I used to hate the guy. But now I—I... I get it. He was...just doing the best he could.

JOHN listens.

SAM
And he was trying to keep it together in—in—in this impossible situation. See... My mom, um... She was amazing, beautiful, and she was the love of his life. And she got killed. And...I think he would have gone crazy if he didn't do something. Truth is, um, my dad died before I got to tell him that I understand why he did what he did. And I forgive him for what it did to us. I do. And I just—I love him.

JOHN nods.

OUTSIDE

EXT. SOMEWHERE – NIGHT

ANNA waits. The sound of angel wings.

ANNA
Uriel.

ANNA turns around. URIEL is there, in a vessel younger than the familiar one.

ANNA
You look well.

URIEL
You shouldn't have called. We're under strict orders not to come down here, much less take a vessel.

A pause.

URIEL
You're not the Anna of now.

ANNA
No, but thirty years from now, I'm still your superior. I need you to kill some humans.

URIEL
Always happy to do some smiting. But what's going on?

ANNA
In the future, these people are going to kill you, Uriel. I'm giving you the chance to kill them first.

URIEL
Thank you.

CAMPBELL HOUSE

INT. CAMPBELL HOUSE – NIGHT

MARY pours holy oil. She looks up when DEAN enters the room.

MARY
Okay. You said you'd explain everything when we had a minute. We have a minute. Why does an angel want me dead?

DEAN
'Cause they're dicks.

MARY laughs.

MARY
Not good enough. I didn't even know they existed, and now I'm a target?

DEAN
It's complicated.

MARY
Fine.

MARY stands up.

MARY
All ears.

DEAN
You're just gonna have to trust me, okay?

MARY
I've been trusting you all day.

DEAN
It's kind of hard to believe.

MARY
All right, then. I'm walking out the door.

MARY begins to turn away.

DEAN
I'm your son.

MARY
What?

DEAN
I'm your son. Sorry. I don't know how else to say it. We're from the year two thousand and ten. An angel zapped us back here. Not the one that attacked you, friendlier.

MARY
You can't expect me to believe that.

DEAN
Our names are Dean and Sam Winchester. We're named after your parents. When I would get sick, you would make me tomato-rice soup, because that's what your mom made you. And instead of a lullaby, you would sing "Hey Jude", 'cause that's your favorite Beatles song.

MARY shakes her head, crying.

MARY
I...I don't believe it. No.

DEAN
I'm sorry, but it's true.

MARY
I raised my kids to be hunters?

DEAN
No. No, you didn't.

MARY
How could I do that to you?

DEAN
You didn't do it. Because you're dead.

MARY's eyes widen.

MARY
What? What happened?

DEAN
Yellow-eyed demon. He killed you, and—

DEAN glances toward the doorway.

DEAN
John became a hunter to get revenge. He raised us in this life. Listen to me. A demon comes into Sam's nursery exactly six months after he's born. November second, nineteen eighty-three. Remember that date. And whatever you do, do not go in there. You wake up that morning and you take Sam and you run.

SAM
That's not good enough, Dean.

DEAN and MARY look over at SAM, who's in the doorway.

SAM
Wherever she goes, the demon's gonna find her. Find me.

DEAN
Well, then what?

SAM
She can leave Dad. That's what. You got to leave John.

MARY
What?

SAM
When this is all over, walk away, and never look back.

DEAN
So we're never born.

DEAN looks at MARY.

DEAN
He's right.

MARY
I—I can't. You're saying that you're my children, and now you're saying—

DEAN
You have no other choice. There's a big difference between dying and never being born. And trust me, we're okay with it, I promise you that.

MARY
Okay, well, I'm not.

SAM
Listen, you think you can have that normal life that you want so bad, but you can't. I'm sorry. It's all gonna go rotten. You are gonna die, and your children will be cursed.

MARY
There—there has to be a way.

SAM
No, this is the way. Leave John.

MARY
I can't.

SAM
This is bigger than us. There are so many more lives at stake—

MARY
You don't understand. I can't.

MARY pauses.

MARY
It's too late. I'm...I'm pregnant.

While DEAN and SAM absorb this, JOHN comes in.

JOHN
Hey, we got a problem. Those blood things, the sigils—they're gone.

SAM
Gone as in...

JOHN
I drew one on the back of the door. I turned around. And when I looked back again, it was a smudge.

DEAN goes to look.

DEAN
He's right.

MARY bends down to check the oil circle she just poured.

MARY
There's no more holy oil.

A loud high-pitched noise: an angel's voice. SAM draws the angel blade. Everyone covers their ears. The windows and lightbulbs shatter, plunging the room into darkness.

ACT FOUR

CAMPBELL HOUSE

INT. CAMPBELL HOUSE – NIGHT

The windows keep shattering. The angel shuts up. Everyone looks up. The door flies open, the sound of angel wings, and someone enters: it's URIEL.

DEAN
Who the hell are you?

URIEL
I'm Uriel.

DEAN backs away.

DEAN
Oh, come on.

SAM
Go.

SAM sees ANNA blocking the other exit.

DEAN
Here goes nothin'.

DEAN attacks URIEL while SAM goes after ANNA. URIEL and ANNA throw the brothers aside. JOHN goes for the knife that SAM dropped, but ANNA blocks it and throws JOHN through the wall into the back yard.

MARY
John!

SAM goes for the knife, but ANNA rips a fixture from the wall and stabs him. SAM begins to bleed.

DEAN
Sammy!

Outside, something bright glows above JOHN. JOHN looks up.

SAM slumps to the floor, dead.

DEAN
Sam!

ANNA turns to MARY.

ANNA
I'm really sorry.

JOHN's voice, deeper.

JOHN
Anna.

ANNA
Michael.

MICHAEL, wearing JOHN, puts a hand on ANNA's shoulder. She bursts into flames, screaming. MARY stares. MICHAEL turns to URIEL.

URIEL
Michael. I didn't know.

MICHAEL
Goodbye, Uriel.

MICHAEL snaps his fingers and URIEL disappears.

MARY
What did you do to John?

MICHAEL
John is fine.

MARY
Who—what are you?

MICHAEL
Shh...

MICHAEL touches MARY's forehead and she falls unconscious to the ground. He then turns to DEAN.

MICHAEL
Well, I'd say this conversation is long overdue, wouldn't you?

DEAN points at SAM.

DEAN
Fix him.

MICHAEL
First...we talk. Then I fix your darling little Sammy.

DEAN
How'd you get in my dad, anyway?

MICHAEL
I told him I could save his wife, and he said yes.

DEAN
I guess they oversold me being your one and only vessel.

MICHAEL
You're my true vessel but not my only one.

DEAN
What is that supposed to mean?

MICHAEL
It's a bloodline.

DEAN
A bloodline?

MICHAEL
Stretching back to Cain and Abel. It's in your blood, your father's blood, your family's blood.

DEAN
Awesome. Six degrees of Heaven Bacon. What do you want with me?

MICHAEL
You really don't know the answer to that?

DEAN
Well, you know I ain't gonna say yes, so why are you here? What do you want with me?!

MICHAEL
I just want you to understand what you and I have to do.

DEAN
Oh, I get it. You got beef with your brother. Well, get some therapy, pal. Don't take it out on my planet!

MICHAEL
You're wrong. Lucifer defied our father, and he betrayed me. But still...I don't want this any more than you would want to kill Sam.

MICHAEL turns away.

MICHAEL
You know, my brother, I practically raised him. I took care of him in a way most people could never understand, and I still love him.

MICHAEL turns back.

MICHAEL
But I am going to kill him because it is right and I have to.

DEAN
Oh, because God says so?

MICHAEL
Yes. From the beginning, he knew this was how it was going to end.

DEAN
And you're just gonna do whatever God says.

MICHAEL
Yes, because I am a good son.

DEAN
Okay, well, trust me, pal. Take it from someone who knows—that is a dead-end street.

MICHAEL
And you think you know better than my father? One unimportant little man. What makes you think you get to choose?

DEAN
Because I got to believe that I can choose what I do with my unimportant little life.

MICHAEL
You're wrong. You know how I know?

MICHAEL turns away, then back.

MICHAEL
Think of a million random acts of chance that let John and Mary be born, to meet, to fall in love, to have the two of you. Think of the million random choices that you make, and yet how each and every one of them brings you closer to your destiny. Do you know why that is? Because it's not random. It's not chance. It's a plan that is playing itself out perfectly. Free will's an illusion, Dean. That's why you're going to say yes. Oh, buck up. It could be worse. You know, unlike my brothers, I won't leave you a drooling mess when I'm done wearing you.

DEAN
Well, what about my dad?

MICHAEL
Better than new. In fact, I'm gonna do your mom and your dad a favor.

DEAN
What?

MICHAEL
Scrub their minds. They won't remember me or you.

DEAN
You can't do that.

MICHAEL
I'm just giving your mother what she wants. She can go back to her husband, her family—

DEAN
She's gonna walk right into that nursery!

MICHAEL
Obviously.

MICHAEL turns away.

MICHAEL
And you always knew that was going to play out one way or another.

MICHAEL turns back.

MICHAEL
You can't fight City Hall.

MICHAEL goes over to SAM and presses two fingers to his forehead. SAM vanishes. The pipe clanks to the floor. MICHAEL stands up.

MICHAEL
He's home. Safe and sound. Your turn. I'll see you soon, Dean.

MICHAEL presses two fingers to DEAN's forehead.

EPILOGUE

MOTEL ROOM

EXT. MOTEL – DAY

INT. MOTEL ROOM – DAY

DEAN pulls out a bottle. SAM takes plastic wrap off a pair of cups. The room between them is empty. SAM looks up into a mirror and sees CASTIEL behind him.

SAM
Castiel.

SAM turns around and grabs hold of CASTIEL, keeping him from falling.

SAM
Hey. Hey, hey. Whoa, whoa, whoa, whoa.

DEAN
Cas!

DEAN hurries over and helps hold CASTIEL up.

SAM
We got you.

DEAN
You son of a bitch. You made it.

CASTIEL
I...I did? I'm very surprised.

CASTIEL collapses.

SAM
Whoa! You're okay.

DEAN
Whoa, whoa, whoa, whoa.

DEAN
Bed?

SAM
Yeah, yeah.

DEAN and SAM haul CASTIEL to the nearest bed and lay him on it.

DEAN
Well, I could use that drink now.

SAM
Yeah.

DEAN pours two drinks.

DEAN
Well...this is it.

SAM
This is what?

SAM takes a sip.

DEAN
Team Free Will. One ex-blood junkie, one dropout with six bucks to his name, and Mr. Comatose over there. It's awesome.

SAM
It's not funny.

DEAN takes a drink.

DEAN
I'm not laughing.

SAM sighs.

SAM
They all say we'll say yes.

DEAN
I know. It's getting annoying.

SAM
What if they're right?

DEAN takes a drink.

DEAN
They're not.

SAM
I mean, why, why would we, either of us? But...I've been weak before.

DEAN
Sam.

SAM
Michael got Dad to say yes.

DEAN
That was different. Anna was about to kill Mom.

SAM
And if you could save Mom...what would you say?

LATE 1978

INT. DEAN'S NURSERY – DAY

MARY, heavily pregnant, and JOHN look over a crib.

JOHN
Where'd you even get it?

MARY
Garage sale. Twenty-five cents.

JOHN
Well, I'm glad to hear that, anyway.

MARY
Hey.

JOHN
I mean, you really don't think it's just a...little cheesy?

MARY
Mm-mm. I think it's sweet.

'It' is a smiling angel figurine.

MARY
Can't even put my finger on why I like it. I just...like it.

JOHN
Well, then, I love it.

JOHN kisses MARY and leaves.

MARY
Ohh...quite a kick there. Troublemaker already. It's okay, baby. It's all okay. Angels are watching over you.