7.19 Of Grave Importance (Transcript)

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SUPERNATURAL

7.19 Of Grave Importance

Written by: Brad Buckner and Eugenie Ross-Leming

Directed by: Tim Andrew

Air Date: 20 April 2012


Contents

NOW

EXT. DESERTED STREET – NIGHT


SAM is leaning against the hood of a car. DEAN carries a tray of take-out food.


DEAN
All right, here we go.


DEAN sits down next to SAM and puts the tray down on the hood between them.


DEAN
You know... even though the world is going to crap, there's one thing that I can always count on – these things tasting the same in every drive-through in every state in our great nation.


DEAN takes a bite of a taco.


DEAN
Mmm.


A phone rings. SAM pats his pockets and DEAN takes out his cell.


DEAN
Annie.


ANNIE (V-O)
Hey, Dean.


DEAN
A nice surprise. How you been?


CAR – NIGHT


ANNIE, who appears to be in her late 30s, is driving. The scene alternates between DEAN on the hood of his car and ANNIE driving.


ANNIE
Oh, I'm still kicking. So, good, I guess. Heard about Bobby. I'm sorry.


DEAN
Yeah. Us too. What's up?


ANNIE
Well, I got some of his old books. I thought maybe you'd want ’em.


DEAN
Yeah. Sure. Where you at?


ANNIE
Bodega Bay. Crow's Nest Inn.


DEAN
You working?


ANNIE
Always. You guys anywhere nearby?


DEAN
Near enough.


ANNIE
Cool. Why don't we meet at the Pier Front Restaurant – lunch?


DEAN
1 o’clock?


ANNIE
Yeah. Bye.


EXT. HOUSE – NIGHT


INT. HOUSE – NIGHT


Two TEENAGERS are kissing on a sofa. The room is lit by candles.


GIRL
We shouldn't be here.


BOY
Yeah. I know.


CAR – NIGHT


ANNIE is driving. She pulls up to the house.


INT. HOUSE – NIGHT


The GIRL sits up at the sound of ANNIE’s vehicle.


GIRL
Cops?


ANNIE’s car door slams. The TEENAGERS grab flashlights and get up from the sofa.


EXT. HOUSE – NIGHT


ANNIE walks towards the front door, shining a flashlight.


INT. HOUSE – NIGHT


The TEENAGERS hurry through the house. Their flashlights flicker and go out. A large MAN is standing in the doorway.


MAN
You shouldn't have come here.


The MAN runs towards the TEENAGERS.


CUT TO: ANNIE enters the house, shining a flashlight. She discovers the teenagers’ bodies on the floor. There is blood on their faces and blood pooled underneath them. ANNIE’s flashlight flickers and goes out. The front door slams.


SUPERNATURAL (Title Card)


ACT ONE

INT. PIER FRONT RESTAURANT – DAY


SAM and DEAN are sitting at a table overlooking the pier. SAM is looking at the menu and DEAN is reading a newspaper.


DEAN
Hey, get this. Dick Roman is funding another archaeological dig. Guy moves more dirt than "The Drudge Report."


SAM
Well, any – anything on what he's digging for?


DEAN
Don't you think I would have led with that?


SAM sighs and looks at his watch.


SAM
Annie's not usually this late, is she?


DEAN
No, never. She's totally compulsive. I'll try her cell.


SAM
You know, uh, you know she and Bobby had a thing, right?


DEAN
Yeah. Yeah, I knew that. Really?


SAM
Yeah. Kind of a foxhole thing – very Hemingway.


DEAN
Huh. She and I kind of went Hemingway this one time, too.


SAM
All right, well... that happens.


SAM makes a face.


DEAN
What, you too?


SAM
Look, it was a while back. We ended up on the same case. She was stressed. I-I-I... I didn't... have a soul.


DEAN
That's a lot of foxholes. She's not answering. Well, here's to ghosts that aren't there.


DEAN pours some whiskey from his flask into his coffee mug.


SAM
You sound kind of disappointed.


DEAN
Ah, it's better this way. I mean, even though I wish we could see him again doesn't mean that we should.


They clink their coffee mugs together and drink.


DEAN
Ahh. Are we being stood up?


SAM
Yeah, let's hope that's all this is.


The flask rocks slightly on the table. Neither DEAN nor SAM notice.


EXT. PIER FRONT RESTAURANT – DAY


SAM and DEAN are walking towards their car. DEAN is holding his phone to his ear.


SAM
Nothing?


DEAN
Straight to voicemail. Something's not right.


SAM
What's she doing on Bodega Bay?


DEAN
She's working some kind of job. She didn't really say.


DEAN takes out his flask, unscrews the lid and tips it upside down – it’s empty.


DEAN
I got to get a refill.


SAM
You know what, man? Why don't you, uh, just pack it away for a while? All it does is remind us of him, you know?


DEAN
Yeah, I thought about that, but, uh... not yet.


DEAN walks around the car to the driver’s side. BOBBY is sitting in the back seat of the car, but SAM and DEAN don’t appear to see him.


DEAN
Let's go check out Annie's hotel room.


INT. MOTEL – DAY


DEAN is sitting on the bed looking at some of Annie’s research.


SAM
These go back years – disappearances never solved.


SAM is at the table looking at more papers.


SAM
They stop a few decades back, then pick up again just recently. All teenagers.


DEAN
Looks like Annie found a spot a lot of them liked to poke around just before they went missing.


SAM
Yeah?


DEAN
Yeah. Old Van Ness house.


DEAN gets up to show the information about the house to SAM. BOBBY is now sitting at the table across from SAM, but SAM and DEAN don’t appear to see him.


DEAN
It's, uh, cheery.


SAM
Well, the police combed the place. They always come up dry.


The curtain next to SAM moves, but SAM and DEAN are both looking in the other direction.


DEAN
Yeah, local law. Always on the ball.


BOBBY
Guys...


SAM and DEAN don’t hear him.


SAM
So, built in 1862 by the Van Ness family...


BOBBY
I just made that curtain shimmy.


SAM
...who lost it in the early 1900s.


BOBBY
Could you look in the right place at the right time?


SAM
Put up for sale a few years back. No takers.


DEAN
Probably 'cause it creeps their queso.


BOBBY
Balls, this is exhausting.


SAM
It's just been sitting there, boarded up, for ages. Oh. Get this. I guess a couple months back, someone put it on one of those, uh, "most haunted houses in America" lists.


DEAN
Let me guess – that's when the, uh, teenagers started to go missing.


SAM
Yep.


BOBBY
Okay. Now let's get rolling.


DEAN
Ah, I say we get rolling.


SAM and DEAN leave the room. BOBBY stands up and looks at the closed door.


BOBBY
Idjits.


DEAN’s jacket, with the flask in the pocket, is hanging over a chair. The door opens and DEAN reaches in to get his jacket.


BOBBY
Thank you.


BOBBY flickers and disappears.


INT. DESERTED HOUSE – DAY


DEAN and SAM enter the house, shining flashlights. BOBBY is behind them.


DEAN
Honey, I'm home.


BOBBY
Geez. My people.


BOBBY can see other ghosts in the room, which are not visible to DEAN and SAM.


DEAN
All right, let's go.


DEAN and SAM go upstairs.


BOBBY
Hi. I'm Bobby, and I'm a ghost. Hoping for a little ghost orientation here. Je m'appelle Bobby.


None of the ghosts respond.


BOBBY
Chilly.


CUT TO: DEAN and SAM entering an upstairs room.


DEAN
Annie?


DEAN dials a number and holds his phone to his ear. SAM is holding an EMF reader, which is flashing and making noise.


SAM
There's a whole lot of something going on.


A phone rings somewhere nearby. DEAN and SAM walk in the direction of the sound and find a phone on the floor.


CUT TO: BOBBY watching the TEENAGERS walk slowly past him. On the stairs, a MAN IN A SUIT is admonishing the LARGE MAN who ran towards the TEENAGERS.


MAN IN A SUIT
I know what you did last night, and you know it was forbidden! I don't brook that sort of thing in my home. Don't do it again, Dexter, or there will be consequences.


CUT TO: DEAN and SAM walking through the house. They go up the stairs as BOBBY watches.


DEAN
The call to me was the last one she made. So where the hell is she?


ANNIE
Bobby?


BOBBY
Annie! We've been looking for you.


ANNIE
I can't believe you're here.


BOBBY
Yeah. I'm a doornail. Bad news here. If you can see me, you are, too.


ACT TWO

INT. DESERTED HOUSE – NIGHT


ANNIE and BOBBY are sitting on a sofa.


ANNIE
Wow. Dead. Ghost. Me. Three words you never want to use in a sentence. I feel like I was drugged.


BOBBY
I get it. I figure it was a month before I even knew I was still here. You're doing well.


ANNIE
Terrific.


BOBBY
So, uh... So, you duck your reaper, too?


ANNIE
What? No. I never even saw one. You – Bobby. You ran away from your reaper? On purpose? That's why you're still here? You stupid, crazy old –


BOBBY
Hey. I remember a time when you liked how crazy I was.


ANNIE
Oh, shut up! I can't believe you. You know what? As a regular ghost with no choice in the matter, screw you.


BOBBY
Hey. I got unfinished business here, same as you.


ANNIE
Uh-huh. And there's my unfinished business right now.


The TEENAGERS are walking slowly through the room.


ANNIE
Kids! Hello? You're dead.


BOBBY
Well, they're not the brightest bulbs on the string.


ANNIE
I came in, they were roadkill. Then this big guy charges me. And now I'm... Crap. Is there a fun aspect to this?


BOBBY
Not really. And so far, I can't crack the code on any of it. I mean, I've seen poltergeists bench a piano as a warm-up. I tried to help the boys out once by knocking a book off the table and blacked out for two weeks.


ANNIE
So, Sam and Dean don't even know you're here? Wow. That is messed up.


CUT TO: DEAN and SAM walking through the house. DEAN is listening to ANNIE’S phone messages. SAM’s EMF reader is flashing and making noises.


WOMAN’S VOICE ON ANNIE’S VOICE MAIL
Hey, Annie, I'm e-mailing you those news clippings that you asked for. I…


SAM
We're redlining all over the place. Assume the worst?


DEAN
Yeah, I always do.


SAM
Okay. Vengeful spirit, maybe lots of them. Killing kids. Look around. No blood. No anything. Certainly no bodies.


DEAN
Well, if evil is partying here, it's got a hell of a cleanup crew. Wait, wait, wait.


SAM
What?


DEAN
Here's something.


DEAN pushes buttons on ANNIE’s phone.


DEAN
From earlier this week.


SAM
Okay.


WOMAN’S VOICE ON ANNIE’S VOICE MAIL
Free me. Free me.


SAM
Where'd that come from?


The display on the phone reads “(…)…-….”


DEAN
You ever seen a phone number look like that?


CUT TO: ANNIE and BOBBY sitting on the sofa. A ghost, HASKEL CRANE, materializes through a wall in front of them and moves a chair closer to a bar.


ANNIE
All right, that's cool.


BOBBY
Excuse me. Hey! Boss!


HASKEL CRANE ignores them. He sits down and opens a book.


ANNIE
Dick.


BOBBY
Yeah, well... Ghosts ain't the most sociable type to come down the pike. But if he can do it...


BOBBY tries to move the table in front of him, but falls through it onto the floor. HASKEL CRANE laughs.


BOBBY
Balls.


ANNIE
Graceful.


HASKEL CRANE
Novices. You all make the same mistakes.


BOBBY and ANNIE walk over to HASKEL CRANE.


BOBBY
I suppose you know all about it.


HASKEL CRANE
Well, I've been at it 80 years.


ANNIE
Yo, uh, fresh meat here. Not even sure what happened.


HASKEL CRANE
Really?


BOBBY
I got shot right in the melon, never felt a thing. You?


HASKEL CRANE
I was stabbed, brutally, right here at this bar, April 17, 1932.


BOBBY
Who done ya?


HASKEL CRANE
I'm really very busy.


BOBBY
How come there's so many dead folk in this place, anyway? You know anything about that?


ANNIE
I guess we're not supposed to talk about that.


HASKEL CRANE starts to stand up.


ANNIE
I'm sorry. I'm sorry. [HASKEL CRANE sits back in his chair.] Uh, my friend is a little nosy, mister...?


HASKEL CRANE
Crane – Haskel Crane.


ANNIE
Haskel... you're right. We are novices, so, could you do me a solid and show me how to move that chair? It's one stupid chair.


HASKEL CRANE
Baby steps, gorgeous. Try this first.


HASKEL CRANE pushes a candle across the bar towards ANNIE. She tries to grab it, but her hand passes straight through. BOBBY tries and the same thing happens.


HASKEL CRANE
You're angsting at it. You know what getting frustrated will get you? [Chuckles] Nothing. You've got two ways to move things. What I did – which you obviously must – is calm yourself.


BOBBY
You're saying we should move crap with the power of Zen.


HASKEL CRANE
I'm telling you to let go of all that. Calmly tell the thing what to do.


BOBBY reaches a hand towards the candle.


HASKEL CRANE
You're getting tense.


BOBBY
You're not helpful.


BOBBY tries to grab the candle, but his hand passes through it again.


BOBBY
What's option two? You said there were two ways.


HASKEL CRANE
Oh, you could use explosive anger and pure, red-hot rage, but that's impossible to manufacture. Sorry.


ANNIE
Makes sense. Like poltergeists – vengeful spirits.


BOBBY
I am vengeful. You think I don't have red-hot rage?


HASKEL CRANE
I think you're a sad excuse for one of us, and I'm unsurprised that you're failing. Take my help or don't, but if you want to move a flea, surrender.


BOBBY
For the record, I hated that Swayze flick – romantic bullcrap.


BOBBY reaches a hand towards the candle again. A woman screams. BOBBY and ANNIE turn and see that the screaming is coming from one of the ghosts in the room. The ghost then rushes towards them, before turning into dust and vanishing.


BOBBY
What in cold hell was that?


HASKEL CRANE
That's you one day. That's all of us. We deteriorate at different rates – some sooner, some later. And eventually all... like that.


HASKEL CRANE looks towards a female ghost with gray hair and a partly decomposing face.


HASKEL CRANE
Nothing left at all.


BOBBY
Ghost Alzheimer's.


ANNIE
I'm liking this less.


DEAN and SAM walk into the room.


DEAN
Well, that is every square inch of this place. No bodies, no pieces of bodies – no Annie. A whole lot of sizzle and no steak.


SAM
Well, maybe no news is good news.


DEAN
Meaning?


SAM
Meaning maybe she's just not here. Maybe she's still okay.


DEAN
Yeah, and what does your gut say?


SAM
Let's just see if there's anything else in her research.


ANNIE
Sam! Dean!


BOBBY
Honey, don't you think I've tried that? I shouted myself hoarse.


ANNIE
But I'm right here!


BOBBY
Well, now you know how all the ghosts who have ever tried to talk to us feel. You just have to wait until they find you.


ANNIE
But I don't even know where I'm at. And I've searched every room five times. No wonder they're walking away.


BOBBY
Is it me, or am I being checked out?


A female GHOST in a red dress is looking at BOBBY and ANNIE.


ANNIE
No, stud. I'm being checked out.


ANNIE and BOBBY walk over to the GHOST.


ANNIE
Can I help you?


GHOST
I'm Victoria.


ANNIE
Annie.


VICTORIA
I saw you here the other day. I know the kind of work you do. Did.


ANNIE
Hey, I'm still doing it. I mean, other-dimensionally speaking.


BOBBY
Atta girl.


ANNIE
Wait. Your voice. You're the one on my phone.


VICTORIA
When you were here, I was able to call out to you that way.


ANNIE
Ah, spectral voice transference.


BOBBY
Right. Ghost juju.


ANNIE
Sure. So... W-what exactly did you mean when you said, "free me"? Victoria, free you from what?


BOBBY vanishes and VICTORIA gasps.


ANNIE
Bobby!


CAR – NIGHT


DEAN and SAM are sitting in the car outside the deserted house.


DEAN
Where'd Annie get her intel? Do we know?


DEAN drinks from the flask. BOBBY is in the back seat.


BOBBY
Stupid flask.


SAM
Bodega Bay Heritage Society.


SAM holds up a Bodega Bay Heritage Society booklet.


BOBBY
Boys, come on. All the action's back in the pool. Let's go!


DEAN starts the engine.


BOBBY
Damn it.


INT. BODEGA BAY HERITAGE SOCIETY – NIGHT


We see a large black-and-white photograph of the Van Ness house and information about early residents of Bodega Bay.


HISTORIAN
The house dates back to the mid-19th century. Miles Van Ness made his fortune in the gold rush, eventually settling his family in Bodega Bay.


SAM
Anything...unusual ever happen in the house?


HISTORIAN
Oh, over the course of a century, things are going to happen in a house.


BOBBY is looking at a hanging lamp.


BOBBY
"Tell it what to do."


HISTORIAN
Some locals swear it's haunted.


BOBBY takes a deep breath and tries to touch the lamp with a finger.


BOBBY
Move.


BOBBY’s finger passes right through the lamp.


HISTORIAN
Every village has its idiots.


DEAN
We only want the real scoop, of course.


BOBBY
Balls!


HISTORIAN
Whitman Van Ness. Son and heir. Handsome, charming, dogged by tragedy all his life. He lost the family fortune, then the house. It became a bordello. He lived in isolation till his death at age 40.


BOBBY
He's still there.


DEAN
Who's the, uh, the bruiser there?


The HISTORIAN points to a photograph of DEXTER standing next to VAN NESS.


HISTORIAN
Dexter O'Connell. A convict. An extremely violent man.


BOBBY
He's there, too.


HISTORIAN
Mr. Van Ness was socially progressive and took pity on him. He worked as grounds keeper. Dexter was convicted for murdering Whitman's fiancée on the eve of their wedding. Another calamitous event in the poor man's life.


SAM
Hmm.


DEAN
Well, thank you.


HISTORIAN
The house is popular this week.


SAM
What do you mean?


HISTORIAN
A lady came by the other day asking all sorts of questions.


DEAN
Uh, 30s, red hair, good-looking?


HISTORIAN
Mm. I gave her the same advice I'll give to you. Stay away from the place. It's extremely unsafe.


SAM and DEAN nod and leave.


CUT TO: BOBBY trying unsuccessfully to move coins on a table.


INT. MOTEL – NIGHT


BOBBY looks exasperated.


SAM
So, besides Whitman's fiancée…


SAM is reading a photocopy of a newspaper near the open bathroom door. The shower is running.


SAM
…Dexter O'Connell was also convicted of killing a bunch of hookers who worked at the brothel.


The newspaper headline reads “Woman slain on eve of wedding was fiancée of Whitman Van Ness.”


SAM
He escaped before they could hang him. But then he returned to the house, where he was found shot to death. Why would he escape and then go right back to the house where he got arrested?


BOBBY tries again to move a coin.


DEAN
[from the shower] I don't know. Add that to a list of things don't know.


SAM
So what's the next move?


BOBBY
You know, if I could, I'd be getting old waiting on you two to figure this out.


DEAN partly opens the shower curtain and grabs a towel, then closes the curtain again. BOBBY is looking at the steamed-up bathroom mirror.


BOBBY
All right, now. I can kill werewolves, fix a Pinto, and bake cornbread. I will be damned if I can't get Zen.


EXT. VAN NESS HOUSE – NIGHT


Two TEENAGE BOYS are standing outside the house. One holds a video camera and is recording himself.


TEENAGE BOY 1
We're posting this video as a warning about...


TEENAGE BOY 2
Or possibly a memorial to...


TEENAGE BOY 1
Our friends Debbie Tellen and Dudley Scott, last known whereabouts...


TEENAGE BOY 2
The Van Ness house...


TEENAGE BOY 1
Since the cops haven't done crap...


TEENAGE BOY 2
In what may be the final moments of their love story.


TEENAGE BOY 1
They've been together since like eighth grade.


TEENAGE BOY 2
Yeah. They entered this house and texted us.


TEENAGE BOY 1
We're going in.


TEENAGE BOY 2
Ooh-ooh-ooh.


INT. MOTEL – NIGHT


DEAN runs his hands through his wet hair. He looks at the mirror.


DEAN
Sam?


SAM
What?


DEAN
Tell me you wrote that.


“Annie trapped in house” is written in the condensation on the mirror.


SAM
Uh... No. No, I didn't.


INT. VAN NESS HOUSE – NIGHT


The TEENAGE BOYS enter the house.


TEENAGE BOY
They came into the house...


ANNIE watches them.


DEAN (V-O)
Well, then, who's there?


INT. MOTEL – NIGHT


DEAN
I said, who's there?!


The hot water faucet on the sink turns and steam rises. An invisible BOBBY writes “B” and then “o” on the mirror.


DEAN
Bobby?


INT. VAN NESS HOUSE – NIGHT


TEENAGE BOY 1
They walked through... these halls...


TEENAGE BOY 2
Seeking a grotto of love.


TEENAGE BOY 1
Seriously?


TEENAGE BOY 2
What?


The front door slams and the TEENAGE BOYS jump.


INT. MOTEL – NIGHT


DEAN
Bobby?


“Bobby” is now written in full on the mirror. BOBBY is standing next to the mirror.


BOBBY
Yes.


DEAN and SAM can’t hear him.


DEAN
This whole time, we've been trying to talk ourselves out of it, he's been – what's he doing here?


SAM picks up the flask and holds it out to DEAN.


SAM
Dude.


BOBBY
We don't have time for this! Get your asses back to that house!


DEAN
We got to get back to that house, stat.


INT. VAN NESS HOUSE – NIGHT


TEENAGE BOY 2
What happened?


DEXTER is standing in the next room.


TEENAGE BOY 1
Hello?


DEXTER walks purposefully towards the TEENAGE BOYS.


DEXTER
You shouldn't have come here!


The TEENAGE BOYS start to run from DEXTER, but stop as VAN NESS is now in front of them.


VAN NESS
Dexter. I expressly forbid you! Enough!


TEENAGE BOY 1
Thank you.


VAN NESS plunges a hand into each of the TEENAGE BOYS’ chests. They gurgle blood as ANNIE watches. VAN NESS withdraws his hands and the TEENAGE BOYS fall to the floor.


VAN NESS
Dexter, you tried to warn them away.


DEXTER
You have enough of us. They're just children, Whitman. I can't watch this happen all over again.


DEXTER turns to leave, but VAN NESS appears in front of him and plunges a hand into his chest. White light flares as ANNIE watches.


VAN NESS
Shut up.


DEXTER appears to burn up in white light, which also appears in VAN NESS’s eyes. DEXTER disappears and the light is absorbed into VAN NESS’s hand. ANNIE presses her back against the wall.


ACT THREE

INT. VAN NESS HOUSE – NIGHT


ANNIE walks over to the TEENAGE BOYS’ bodies and tries to take the camera from TEENAGE BOY 1, but ANNIE’s hand passes right through it. She stands up and gasps: VICTORIA is standing right next to her.


ANNIE
Ah, Victoria. Grab the camera.


VICTORIA
No. I can't. We don't meddle in Whitman's affairs.


ANNIE
Hold it. Let's get real. You sent me the S.O.S., and now I'm here. So, give me a hand.


VICTORIA
But now he can get you, too.


ANNIE
Get me how? I'm already dead. Okay, you want to help me understand? Exactly what did he do to Dexter?


VICTORIA
Punished him. He was trying to warn them. He tried to warn you, too. He drained him.


ANNIE
Drained? What does that mean?


VICTORIA
That's why he's so strong and why you should stay out of sight. We're merely food to him – food and perverse entertainment.


ANNIE
So, when he does that, what happens? Just... poof?


VICTORIA
Forever.


ANNIE
See, I thought that Whitman was some poor guy, and Dexter killed his fiancée.


VICTORIA
No. Whitman framed him. Whitman killed all of us. When this house was a brothel, I worked here as a fancy lady. He slit my throat.


ANNIE
"Fancy lady"? A hooker?


VICTORIA
Please. And now, even in death, every soul he traps here makes him stronger.


ANNIE
Okay, so, where does he keep the bodies?


VICTORIA
I don't know.


ANNIE
Victoria, you've been here forever.


VICTORIA
You don't follow him around.


ANNIE
Listen, we are going to pull the plug on this bastard. Now grab the damn camera.


VICTORIA
Oh, dear.


VICTORIA takes the camera from TEENAGE BOY 1’s hand.


VICTORIA
[Gasps] It's him!


VICTORIA and ANNIE hide as VAN NESS drags the TEENAGE BOYS’ bodies away. VAN NESS pulls a lever and a bookcase opens, revealing a hidden door. VAN NESS drags the bodies into the concealed room.


EXT. VAN NESS HOUSE – NIGHT


DEAN and SAM are taking guns out of the trunk.


DEAN
We combed the crap out of this place. If Annie's in there and we didn't find her...


SAM
It's 'cause something didn't want us to.


DEAN
Awesome. Well, let's walk right into that.


They go inside the house.


INT. VAN NESS HOUSE – NIGHT


DEAN and SAM look around using flashlights. BOBBY is behind them.


SAM
All right, I'll check upstairs.


DEAN
Yeah.


BOBBY takes the flask out of DEAN’s jacket pocket.


DEAN
Annie?


BOBBY
Sorry, boys. I'm leaving the pack.


DEAN
Annie! It's Dean! And Sam.


SAM
[in the distance] Annie?


The camera falls to the ground at DEAN’s feet.


DEAN
That's not odd.


DEAN picks up the camera. BOBBY puts the flask in a drawer.


DEAN
Sam, get back down here! Annie?


SAM comes down the stairs. ANNIE and VICTORIA are standing behind DEAN.


DEAN
Slimer?


SAM
What?


DEAN
Check it out.


DEAN plays the recording on the video camera.


TEENAGE BOY 2
The final moments of their love story.


TEENAGE BOY 1
They've been together since like eighth grade.


TEENAGE BOY 2
Yeah. They entered this house and texted us.


DEAN
Oh, I hate these indie films. Nothing ever happens.


TEENAGE BOY 1
They came into the house. They walked through these halls.


SAM
Wait, wait. Pause it. Frame back a little bit. Stop.


ANNIE is visible on the recording.


DEAN
She's here, and not in a good way.


BOBBY is now standing next to ANNIE and VICTORIA.


BOBBY
Give them a moment. They've got a little slower since I left.


DEAN
Annie?


ANNIE
Got to let them know that I'm here.


SAM
Anything?


ANNIE
[to VICTORIA] You have to do it.


SAM
Annie!


ANNIE
We can't.


DEAN
Annie!


VICTORIA
It's too dangerous.


ANNIE
These guys can help. They just need to know that we're here.


SAM
Annie!


VICTORIA appears behind SAM and DEAN. They turn, see her and raise their guns.


SAM
Whoa!


VICTORIA
Please. I'm Victoria – Victoria Dodd.


SAM
Where'd you come from?


VICTORIA
Here. I was a fancy lady.


DEAN
A hooker?


SAM
Uh, is Annie here?


VICTORIA
Yes. You can't see her. No, you're not standing on her.


ANNIE
You want to just tell them?


VICTORIA
I will. In my day, we believed in polite conversation. Annie's in terrible danger. We all are.


SAM
From?


VICTORIA
Whitman Van Ness.


VAN NESS is watching from upstairs.


DEAN
But he's dead.


VICTORIA
I thought you said they were good.


DEAN
Hey, I'm just processing, okay, lady? He's dead. You're dead.


VAN NESS flickers and disappears.


DEAN
Define "terrible danger."


VICTORIA
Whitman has great power over all of us in the house. He killed Annie. She says you can free us. Please, you must –


VICTORIA screams and burns up in flames.


SAM
Victoria?


DEAN
I'm gonna say she was telling the truth, considering that she just... got ghost-killed.


SAM
So, what? Whitman Van Ness?


DEAN
Now we know whose bones to salt and burn. Let's go.


DEAN walks away. SAM adjusts his gun. VAN NESS slips a key into SAM’s pocket. SAM then follows DEAN and VAN NESS disappears.


EXT. VAN NESS HOUSE – NIGHT


DEAN and SAM get into their car. BOBBY and ANNIE watch from the window. VAN NESS is in the back seat.


BOBBY
Aw, hell no.


DEAN, SAM and VAN NESS drive away.


ACT FOUR

EXT. VAN NESS HOUSE – NIGHT


INT. VAN NESS HOUSE – NIGHT


BOBBY and ANNIE are walking up the stairs.


BOBBY
If I hadn't stashed that flask here, I'd still be glued to Sam and Dean. Real clever.


ANNIE
Actually was.


BOBBY
Son of a bitch. I figured our one ace was that bastard Whitman couldn't leave the house either.


ANNIE
Must have pulled a number like you and the flask. Probably planted something on the boys.


BOBBY
Terrific.


ANNIE
Hey, listen, sweetie – you could beat yourself up all day about this, or we could take advantage of the fact that Whitman's gone, do what we're supposed to do. Let's go figure this out. Coming, Robert?


ANNIE and BOBBY walk down a hallway and stand in front of a door.


BOBBY
Well, we searched everywhere else.


ANNIE
I'm telling you, Whitman guards his room like Fort Knox.


ANNIE and BOBBY walk through the door into a sitting room. There is a fire burning in the fireplace.


BOBBY
Last time I checked, ghosts didn't get cold.


A skeleton and the remains of a red dress are in the fire.


ANNIE
Yeah. That's Victoria. That is how he took her out. But where did he get her corpse?


BOBBY
Well, you said he dragged those two dead kids away. Where'd he take them?


ANNIE
Yeah, I don't know. I couldn't risk following him.


BOBBY
What else did you say this place was, other than a whorehouse?


ANNIE
It was a lot of things. It was a boarding house, a school... a speakeasy.


BOBBY
Yeah, well, thing about speakeasies – hell of a lot to hide.


BOBBY and ANNIE search the room. BOBBY pulls the lever that VAN NESS used to open the bookcase, and it swings open.


BOBBY
I still got it.


BOBBY and ANNIE enter the room behind the bookcase. It contains skeletons and corpses in various stages of decomposition, ANNIE’s body and the TEENAGE BOYS’ bodies. ANNIE looks stricken upon seeing her body.


BOBBY
Well, this pretty much tells the story, don't it? You know, you and me – we burned our fair share of bones, sent a lot of ghosts packing.


ANNIE
It's a little different when you're on the receiving end. So, uh... what do you think happens to 'em – Heaven, Hell, or... none of the above?


BOBBY
I don't know. Just... gone, most likely.


ANNIE
Yeah, that's what I think, too. That's what I want. I want a hunter's funeral. Oh, come on. It's better than this – stuck to this house, somewhere between existing and not. No, I'm... ready for some peace. Wasn't much of a life. It was lonely, what we do.


BOBBY
Yeah, well, the life I had is the one I picked.


ANNIE
Yeah, but you had the boys. All I had was work. It's gone now.


BOBBY
Yeah, well, I ain't done.


ANNIE
Okay, fine, but I am. You're stronger than I am now, Bobby, so, uh, you got to do this for me.


CAR – NIGHT


DEAN is driving while SAM is online.


SAM
All right. Here we go – cemetery, edge of town. The Van Ness family has its own mausoleum.


DEAN
All right, we light up the bastard and finish him off.


The car accelerates from about 50 miles an hour to about 80.


SAM
Take it easy. We'll get there.


DEAN
Uh, that's not me.


DEAN struggles to hold onto the steering wheel as it moves. VAN NESS appears next to DEAN and tries to turn the wheel, causing the car to swerve. DEAN manages to bring the car to a stop and he and SAM get out.


EXT. STREET – NIGHT


SAM
Why's he with us?!


DEAN
I don't know. There's got to be something on us!


DEAN and SAM pat down their clothing.


SAM
Hey, hey.


SAM takes out the key that VAN NESS put in his jacket pocket. VAN NESS appears behind SAM and plunges a hand into his back.


SAM
Ugh!


DEAN
Sam!


DEAN grabs the key from SAM, tosses it onto the ground and shoots it. VAN NESS vanishes in a cloud of dust. SAM gasps and DEAN puts out a hand to steady him.


SAM
Did that do it? Did that get rid of him?


DEAN
I don't know. I got a bad idea we just snapped him back to his favorite house.


SAM
Where Annie's a sitting duck.


DEAN
We got to find those bones. Come on.


INT. VAN NESS HOUSE – NIGHT


BOBBY
Let's build up the fire. We can put some of these poor bastards to rest, at least.


EXT. CEMETERY – NIGHT


DEAN and SAM are walking through the cemetery with flashlights. They find the Van Ness mausoleum.


INT. VAN NESS HOUSE – NIGHT


VAN NESS runs up the stairs. BOBBY and ANNIE are standing in front of the fireplace in VAN NESS’ room.


BOBBY
Well, let's get to cremating. We ain't got all day.


VAN NESS strides down the hallway and walks through the door to his room. BOBBY and ANNIE are hiding around a corner. When VAN NESS looks around the corner, they are gone.


INT. VAN NESS MAUSOLEUM – NIGHT


DEAN uses a hammer and chisel on a plaque that reads “Whitman Van Ness – October 16th 1895 - November 14th 1935”.


INT. VAN NESS HOUSE – NIGHT


BOBBY and ANNIE hurry down the stairs to the ground floor. VAN NESS appears in front of them.


VAN NESS
Enjoy the view from my room? Planning to thin out the population? Is this how you repay my hospitality?!


VAN NESS plunges a hand into BOBBY’s chest. BOBBY starts to burn up in white light, which also appears in VAN NESS’ eyes.


INT. VAN NESS MAUSOLEUM – NIGHT


DEAN lights a match and throws it into VAN NESS’ coffin.


INT. VAN NESS HOUSE – NIGHT


VAN NESS jumps and the white light retreats from BOBBY. Flames start to appear on VAN NESS’ clothing.


VAN NESS
No! I will not be taken!


Flames engulf VAN NESS and he vanishes. BOBBY falls to the ground with a thud.


INT. VAN NESS MAUSOLEUM – NIGHT


SAM and DEAN watch VAN NESS’ skeleton burn.


INT. VAN NESS HOUSE – NIGHT


ANNIE is kneeling next to BOBBY, who is unconscious on the floor in the entryway of the house.


BOBBY
How long was I out?


ANNIE
A while. Are you okay?


BOBBY
Sure. [He sits up.] I mean... I'm dead, I'm a ghost... but, basically, swell.


DEAN and SAM enter the house. ANNIE is no longer visible next to BOBBY.


BOBBY
Hi, boys.


DEAN and SAM stare at BOBBY.


DEAN
Bobby?


BOBBY
Wait. You can see me?


ACT FIVE

INT. VAN NESS HOUSE – NIGHT


DEAN and SAM continue to stare at BOBBY, who is now standing.


BOBBY
You're staring, you know. Annie's here, too, by the way.


DEAN
Hi, Annie.


SAM
H-hi, Annie.


ANNIE is now visible again, standing behind BOBBY.


ANNIE
Hi, guys.


BOBBY points a thumb in ANNIE’s direction. SAM and DEAN look around, but can’t see her.


BOBBY
She says you both look uglier than she remembered.


ANNIE hits BOBBY lightly on the back. The camera shifts to SAM and DEAN, and when it returns to BOBBY, ANNIE is no longer visible beside him.


SAM
Bobby, h-how'd you stay here?


BOBBY
Yeah, well, uh...


BOBBY walks to the drawer and takes out the flask. He tosses it to DEAN.


BOBBY
Suck on that, Swayze.


SAM
That's why you never answered me. I tried calling you – the, uh, talking board, the works – but I was always alone. Dean always had that thing in his pocket. That's why the EMF only went off half the time. We thought we were going crazy.


DEAN
S-so, what happened? Did you get stuck or – or what?


BOBBY
I wanted to stay.


DEAN
Bobby.


BOBBY
I need to help.


SAM
Not if it means you have to... be this.


BOBBY
Well, life wasn't comfy. Why should death be? Now, come on.


ANNIE is visible behind BOBBY again.


BOBBY
Annie and I found all the bodies. Let's put 'em to rest. And keep my damn flask away from the fire... obviously.


BOBBY heads for the stairs. ANNIE is no longer visible.


BOBBY
Well, you coming?


EXT. VAN NESS HOUSE – NIGHT


DEAN and SAM are putting their things in the trunk of the car. BOBBY looks at the front door of the house and then walks over to them.


BOBBY
I'll miss her.


DEAN
Me too.


SAM
Yeah.


BOBBY
Well, you didn't know her like I did.


DEAN laughs briefly and SAM clears his throat.


DEAN
Well, uh… [He takes out the flask.] Here's to Annie. She got the hunter's funeral she wanted. [He takes a drink.] Kind of like the one we thought we gave you.


SAM
Dean.


DEAN
What were you thinking, Bobby? You could be in Heaven right now, drinking beer at Harvelle's, not – not stuck…


BOBBY
Stuck here with you? We still have work to do. I just thought that was kind of important, Dean.


DEAN
It's not right, and you know that.


BOBBY
Sorry. You're right. What was I thinking?


BOBBY vanishes. DEAN and SAM look at each other and DEAN tosses the flask into the trunk.


CAR – NIGHT


SAM
So, what do you think we should do?


DEAN
We did what we should do. Now I don't know.


SAM
I mean, do you think it's possible we could – I don't know – make it all work somehow?


DEAN
I have no idea. Maybe. I've never heard of it. But you know what I do know? It ain't the natural order of things. Everything is supposed to end. You know, he was supposed… And now... What are the odds this ends well?


BOBBY is in the back seat.


DEAN
What are the odds?


END

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