|AirDate= February 7, 2019
}}
TEASER<br>
<br>
EXTERIOR – OCEAN BED – NIGHT<br>
<br>
[The Ma’lak box sits at the bottom of the ocean floor. There is a banging sound from the inside.]<br>
<br>
INTERIOR – MA’LAK BOX – NIGHT<br>
<br>
[DEAN is banging his hands against the box. Water leaks in from the top of the box, as he pushes his bloody hands against it. The box creaks.]<br>
<br>
DEAN<br>
<br>
No. No!<br>
<br>
[DEAN continues to bang his hands against the box several times.]<br>
<br>
DEAN<br>
<br>
Sam! Sam!<br>
<br>
[DEAN looks at his phone. It loses its charge.]<br>
<br>
DEAN<br>
<br>
No, no, no, no! What? Sam? Sammy? Sammy!<br>
<br>
TITLE CARD<br>
<br>
ACT ONE<br>
<br>
INTERIOR – MOTEL ROOM – NIGHT<br>
<br>
[DEAN wakes up from his nightmare. SAM comes out from the bathroom.]<br>
<br>
SAM<br>
<br>
Oh, hey. Didn’t mean to wake you. Sorry.<br>
<br>
DEAN<br>
<br>
No, it’s just a… bad dream. It’s fine.<br>
<br>
SAM<br>
<br>
You want to talk about it?<br>
<br>
DEAN<br>
<br>
No, I’m – No, I’m okay.<br>
<br>
[SAM nods his head.]<br>
<br>
DEAN<br>
<br>
What’re you doing? Why don’t you get some sleep?<br>
<br>
[SAM sits down on the bed opposite from DEAN.]<br>
<br>
SAM<br>
<br>
You know, Dean, you don’t have to act like what you’re planning to do is just business as usual. I-I know you’re scared.<br>
<br>
DEAN<br>
<br>
Never said I wasn’t scared. But it t doesn’t matter.<br>
<br>
SAM<br>
<br>
Doesn’t matter? We know we could die, uh, doing what we do. It’s always a possibility. But what you’re talking about is far worse than death. Michael’s an archangel. He could literally keep you buried in a coffin, alive, forever.<br>
<br>
DEAN<br>
<br>
Okay. I get it. But what’s the other option, huh? Michael gets outta my head and ends the world? ‘Cause it’s all right there in Billie’s book.<br>
<br>
[DEAN walks towards the bathroom.]<br>
<br>
SAM<br>
<br>
Yeah, but that’s only if we don’t find another way to take Michael off the board, and there has to be another way.<br>
<br>
DEAN<br>
<br>
And what is that other way?<br>
<br>
[SAM says nothing.]<br>
<br>
DEAN<br>
<br>
Exactly.<br>
<br>
INTERIOR – WAREHOUSE – NIGHT<br>
<br>
[A woman is tied and gagged to a table. She whimpers in fright. A man, TONY picks up a bag of salt and pours it into a vat of water, picking up a large stick and mixing the salt. He picks her up from the table and carries her towards the vat.]<br>
<br>
[TONY submerges her in the water. She struggles against her restraints as she sinks in. He takes out a box and opens it, picking up the knife from inside. The woman rises out of the water, and the man grabs her hands.]<br>
<br>
WOMAN<br>
<br>
Help, please! Please! No! Please! No!<br>
<br>
[TONY picks up the knife and carves a symbol in her right arm. He grabs her by her hand and dunks her head into the water. The man holds her down as she struggles in the water, bleeding from her arm. She starts to sink into the water. She dies.]<br>
<br>
[TONY man hears voices as he raises his arms and head up.]<br>
<br>
INTERIOR – HOSPITAL ROOM – DAY<br>
<br>
[NICK wakes up in a hospital bed. A police officer walks into the room, carrying a tray.]<br>
<br>
OFFICER
<br>
Okay, sunshine. Soup’s on. And bad as the food is here? Gourmet compared to what you’ll be getting’ in jail, so… enjoy.<br>
<br>
[The OFFICER puts the tray down on the table in front of NICK. He starts to leave.]<br>
<br>
NICK<br>
<br>
When am I getting out of here?<br>
<br>
OFFICER<br>
<br>
I’m not sure. At least four jurisdictions want to prosecute. You were a busy bee.<br>
<br>
NICK<br>
<br>
Yeah, what went down… none of that was my fault.<br>
<br>
OFFICER<br>
<br>
Right. ‘Cause you were possessed by Satan.<br>
<br>
NICK<br>
<br>
That’s real. That’s a real thing, okay? He left me but… it changed me.<br>
<br>
[The OFFICER walks closer to NICK. NICK grips the side of the bed with his cuffed hand.]<br>
<br>
OFFICER<br>
<br>
Listen, you piece of crap. You wanna say the devil made you do it, well, you stick with that. ‘Cause either way, you’re gonna be locked up for the rest of your life. You’re done. You’re buried.<br>
<br>
[The OFFICER leaves the room.]<br>
<br>
EXTERIOR – REST STOP – DAY<br>
<br>
[The Impala pulls into a parking lot. DEAN opens the door to get out.]<br>
<br>
DEAN<br>
<br>
Hey. Man, I-I just want to make sure that you’re still with me on this thing. You’re gonna see it through to the end.<br>
<br>
SAM<br>
<br>
Well, I gave you my word, didn’t I?<br>
<br>
DEAN<br>
<br>
Okay, alright. Just, you know, after what you said last night, I-I-I don’t need you and mom coming up with some way to stop me.<br>
<br>
SAM<br>
<br>
You know, mom hates this. I hate this.<br>
<br>
DEAN<br>
<br>
I know.<br>
<br>
SAM<br>
<br>
And Cas and Jack, you haven’t even told them.<br>
<br>
DEAN<br>
<br>
Okay, well, yeah, that’s because I’m not good with the whole big goodbyes, alright? I-I-I don’t need to get shaky on this thing.<br>
<br>
SAM<br>
<br>
Wouldn’t be the worst thing.<br>
<br>
DEAN<br>
<br>
You know what Michael wants to do, you know that this will stop it, and you know that there’s no other way. So, just put the end of this trip outta your head, okay?<br>
<br>
[DEAN leaves the Impala. SAM watches him walk to the restroom. He takes out his phone and dials.]<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
[CAS picks up his phone and sits down at the table, books in front of him.]<br>
<br>
CAS<br>
<br>
Sam.<br>
<br>
SAM<br>
<br>
Cas.<br>
<br>
CAS
<br>
Were you able to talk him out of it?<br>
<br>
INTERIOR – IMPALA – DAY<br>
<br>
SAM<br>
<br>
No. So I’m counting on you. Uh, any luck?<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
I-I did as you asked. I’ve-I’ve looked for any possible way to forcibly extract Michael and destroy him. But so far, nothing.<br>
<br>
INTERIOR – IMPALA – DAY<br>
<br>
SAM<br>
<br>
And what about Rowena?<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
She went through the entire Book of the Damned and found nothing. And I told her to do it again, see if she missed something, and uh… well, the woman has a remarkable command of profanity.<br>
<br>
INTERIOR – IMPALA – DAY<br>
<br>
SAM<br>
<br>
Alright, thanks. Uh, keep going.<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
Sam. Maybe if I spoke with Dean…<br>
<br>
INTERIOR – IMPALA – DAY<br>
<br>
SAM<br>
<br>
It wouldn’t matter. Believe me, I-I I’ve never seen him like this. He won’t listen to me. H-He just – No. If we don’t find some way… Dean’s gone.<br>
<br>
EXTERIOR – WAREHOUSE – NIGHT<br>
<br>
[A car is parked outside in the rain. TONY watches another man, ALAN leave the building. He gets out of the car and follows ALAN.]<br>
<br>
INTERIOR – WAREHOUSE – NIGHT<br>
<br>
[TONY drags ALAN into the room, gagged and tied up. He lays ALAN on a plastic tarp, as he puts on latex gloves.]<br>
<br>
TONY<br>
<br>
“For I will strike down the firstborn in the land of Egypt...”<br>
<br>
ALAN<br>
<br>
[through his gag] What are you doing?<br>
<br>
[TONY takes out the knife from the box, and kicks ALAN, to lie on his back. He sits on top of ALAN with the knife in his hand.]<br>
<br>
TONY<br>
<br>
“And against all the Gods of Egypt, I will execute judgement.”<br>
<br>
ALAN<br>
<br>
You don’t have to do this. No, please, no!<br>
<br>
[TONY slits ALAN’s throat. He dies. TONY opens ALAN’s shirt and carves something into his chest. Thunder cracks outside, as TONY hears voices.]<br>
<br>
MAN<br>
<br>
“I am the Lord.”<br>
<br>
ACT TWO<br>
<br>
EXTERIOR – HIGHWAY – NIGHT<br>
<br>
[The Impala drives down the highway, a trailer attached with the Ma’lak box on it.]<br>
<br>
INTERIOR – IMPALA – NIGHT<br>
<br>
[DEAN sees visions of the door in his head shaking, Michael screaming. DEAN shakes his head. He sees SAM looking at his iPad.]<br>
<br>
DEAN<br>
<br>
You ever think about when we were kids?<br>
<br>
SAM<br>
<br>
Maybe. Yeah, sure. Sometimes. W-Why?<br>
<br>
DEAN<br>
<br>
I know I wasn’t always the greatest brother to you.<br>
<br>
SAM<br>
<br>
Dean, you were the one who was always there for me. The only one. I mean, you practically raised me.<br>
<br>
DEAN<br>
<br>
I know things got dicey… you know, with dad… the way he was. And I just… I didn’t always look out for you the way that I should’ve. I mean, I had my own stuff, you know. In order to keep the peace, it probably looked like I took his side quite a bit. Sometimes when I was… when I was away, you know it wasn’t ‘cause I just ran out, right? Dad would… he would send me away when I really pissed him off. I think you knew that.<br>
<br>
SAM<br>
<br>
Man, I left that behind a long time ago. I had to. And if we’re gonna get through this, I-I have to do like you said and… try and keep my mind off of where we’re going. So, if we could not have conversations that sound like… deathbed apologies, I would really appreciate it.<br>
<br>
DEAN<br>
<br>
Right. Yeah.<br>
<br>
INTERIOR – HOSPITAL ROOM – NIGHT<br>
<br>
[The OFFICER watches NICK from a crack in the door. NICK is looking up at the ceiling.]<br>
<br>
NICK<br>
<br>
Answer me. Answer me. You owe me that.<br>
<br>
[The OFFICER walks in.]<br>
<br>
OFFICER<br>
<br>
I think God’s pretty done with you. Why would you even bother praying to him?<br>
<br>
NICK<br>
<br>
I wouldn’t.<br>
<br>
[NICK lifts up his cuffed hand.]<br>
<br>
NICK<br>
<br>
Could you do me a solid? I have to use the can.<br>
<br>
[The OFFICER picks up a bed-pan and puts it on the bed.]<br>
<br>
NICK<br>
<br>
Oh, come on. Seriously? Come on, man, give me a little bit of… a little dignity. I got, uh - I got, uh, cuffs. I got a bum leg. What the heck am I gonna do?<br>
<br>
[The OFFICER walks over to NICK.]<br>
<br>
NICK<br>
<br>
Thank you.<br>
<br>
OFFICER<br>
<br>
You know the drill. Hands behind your back.<br>
<br>
NICK<br>
<br>
Yeah.<br>
<br>
[NICK gets up from the bed, as the OFFICER steps behind him. He opens the cuffs. NICK headbutts him in the face. He picks up the bed-pan and strikes the OFFICER in the face, knocking him out. NICK stands above him and kicks him repeatedly in the face.]<br>
<br>
[NICK picks up the keys to cuffs and unlocks them. He takes out his bag of clothes, drops the cuffs on the OFFICER’s body, and limps out of the room.]<br>
<br>
EXTERIOR – HIGHWAY – NIGHT<br>
<br>
[The Impala drives down the highway.]<br>
<br>
INTERIOR – IMPALA – NIGHT<br>
<br>
[SAM has a police report open on his iPad.]<br>
<br>
SAM<br>
<br>
Listen, I, uh – I’m pretty sure I found a case.<br>
<br>
DEAN<br>
<br>
A case?<br>
<br>
SAM<br>
<br>
Yeah.<br>
<br>
DEAN<br>
<br>
You know this trip isn’t about finding a case.<br>
<br>
SAM<br>
<br>
I know, I know, but – but it’s on the way – uh, Fort Dodge, Iowa. And if we can help, then shouldn’t we?<br>
<br>
DEAN<br>
<br>
It’s on the way. Maybe. Yeah. One last case for the Winchester boys.<br>
<br>
SAM<br>
<br>
Don’t – you have to go there. Okay, j-just… there have been at least two murders. Uh, one was just tonight, and the police reports say, a couple days ago, a woman drowned in uh, bloody, red salt water.<br>
<br>
DEAN<br>
<br>
Like seawater?<br>
<br>
SAM<br>
<br>
Yeah, except there’s no sea around here. And then, tonight, a guy had his throat slit. Both bodies were dumped in alleys. The murders happened somewhere else. And both vics had graffiti carved in them.<br>
<br>
DEAN<br>
<br>
Graffiti?<br>
<br>
SAM<br>
<br>
That’s what the cops said. But, uh… it wasn’t graffiti.<br>
<br>
[SAM turns the iPad to DEAN. There is an image of someone’s chest, with bloody carvings on it.]<br>
<br>
DEAN<br>
<br>
Enochian.<br>
<br>
SAM<br>
<br>
Yeah.<br>
<br>
INTERIOR – HOUSE – DAY<br>
<br>
[A man, EDDIE cracks open the door. SAM and DEAN are outside, dressed in their FBI suits.]<br>
<br>
EDDIE<br>
<br>
Yeah?<br>
<br>
SAM<br>
<br>
Uh, sir, FBI. We’re here to talk to you about your brother, Alan.<br>
<br>
[They show him their badges.]<br>
<br>
[EDDIE opens the door wider.]<br>
<br>
DEAN<br>
<br>
Oh. Well, definitely brothers.<br>
<br>
EDDIE<br>
<br>
Uh, Alan was my twin. I’m Eddie.<br>
<br>
INTERIOR – LIVING ROOM – DAY<br>
<br>
[EDDIE sits on the couch. SAM and DEAN sit on chairs across from him.]<br>
<br>
EDDIE<br>
<br>
I can’t believe he’s gone. We were close. Best friends. Alan always said he was my big brother, ‘cause he was born first. By, like, four minutes. Losing him is like losing a part of myself. I never knew it could be this bad.<br>
<br>
DEAN<br>
<br>
Cops said your brother was connected to, uh, another victim.<br>
<br>
EDDIE<br>
<br>
Yeah, I-I know. Uh… They both had that graffiti carved in them. What kind of monster does that?<br>
<br>
SAM<br>
<br>
Actually, it wasn’t, um… it wasn’t graffiti. It was, uh… it was an ancient language. It meant, um, “I am the Word.”<br>
<br>
[SAM shows EDDIE the Enochian script.]<br>
<br>
EDDIE<br>
<br>
What?<br>
<br>
DEAN<br>
<br>
Was your brother a very religious man?<br>
<br>
EDDIE<br>
<br>
No. Not really.<br>
<br>
SAM<br>
<br>
Did he know anyone who was?<br>
<br>
EDDIE<br>
<br>
Well, I mean, most of the people we know, uh, they’re church on Easter types… except –<br>
<br>
DEAN<br>
<br>
Except what?<br>
<br>
EDDIE<br>
<br>
There’s this guy, Tony Alvarez. Him and Alan were friends. He was always quoting stuff that sounded like it came from the Bible. Can I see that paper again?<br>
<br>
SAM<br>
<br>
Of course.<br>
<br>
[SAM gives EDDIE the paper. EDDIE looks down at it before he stands up. He looks at a picture of his brother and Tony.]<br>
<br>
EDDIE<br>
<br>
This is Tony… before he got too weird. There, on his arm.<br>
<br>
[EDDIE hands SAM the frame. The inscription is written on Tony’s arm in the photo.]<br>
<br>
SAM<br>
<br>
It’s Enochian. It means “the Word.”<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
[SAM and DEAN leave the house.]<br>
<br>
DEAN<br>
<br>
A killer who reads and writes Enochian?<br>
<br>
SAM<br>
<br>
M-Maybe some kind of screwed up angel? I suppose Tony could’ve said yes and gotten possessed, but there aren’t that many angels around anymore.<br>
<br>
DEAN<br>
<br>
Well, no, angels aren’t the only ones who know Enochian.<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
[CAS’s phone rings.]<br>
<br>
CAS
<br>
Dean! It’s so good to hear from you.<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
[DEAN is leaning against the Impala. SAM is sitting in the passenger seat, the door opened.]<br>
<br>
DEAN<br>
<br>
Oh. Well. good. Uh, listen Cas. Uh, Sam and I are working this case.<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
You’re working a case? That is so good to hear. So, I assume that means you’re not going through with it, because I have to say, Dean, this plan of yours, it was born of – of desperation, not reason.<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
DEAN<br>
<br>
My plan?<br>
<br>
[DEAN looks down at SAM.]<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
I-I know that I’m not suppose to know what I know, but…<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
DEAN<br>
<br>
Look, I’m fine with my plan, okay? We can talk about my plan later.<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS
<br>
Dean. You are making a terrible mistake.<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
DEAN<br>
<br>
Does the name “Tony Alvarez” mean anything to you?<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
Y-Yes.<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
DEAN<br>
<br>
Say more.<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
Antonio Alvarez is – is next in line to be prophet when Donatello dies.<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
DEAN<br>
<br>
Okay. Thanks Cas.<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
Wait, Dean, Dean. We need to have a conversation.<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
DEAN<br>
<br>
Look, I really got to handle this right now, okay? So, thank you, and uh… it’s good to hear your voice.<br>
<br>
INTERIOR – BUNKER LIBRARY – DAY<br>
<br>
CAS<br>
<br>
Dean?<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
[DEAN ends the call. He looks at SAM.]<br>
<br>
DEAN<br>
<br>
Really?<br>
<br>
SAM<br>
<br>
Dean, it’s Cas. I had to tell him.<br>
<br>
DEAN<br>
<br>
Well, it turns out that Alan’s friend Tony, is a killer prophet. How’s that even possible?<br>
<br>
SAM<br>
<br>
I guess anyone can be a prophet, right?<br>
<br>
INTERIOR – HOSPITAL ROOM – DAY<br>
<br>
[Machines are beeping. DONATELLO is lying in bed, a tube across his mouth.]<br>
<br>
SAM<br>
<br>
Not like there’s a-a background check or anything.<br>
<br>
DEAN<br>
<br>
Yeah, but before one reveals itself, the previous one has to die. So does that mean Donatello’s dead?<br>
<br>
ACT THREE<br>
<br>
EXTERIOR – HOUSE – DAY<br>
<br>
[DEAN is on phone.]<br>
<br>
Dr. Rashad? Hi. It’s Dean Winchester. Yes, yeah. We – W-We’ve spoken before. Uh, I’m Donatello Redfield’s nephew. Yeah, how is – how is Donatello? He’s um… he’s still alive, right? [waits.] Uh-huh. Well, uncle Donny’s a fighter. You keep me posted, okay?<br>
<br>
[DEAN ends the call.]<br>
<br>
DEAN<br>
<br>
He’s still with us.<br>
<br>
SAM<br>
<br>
So, wait a second. I-If Donatello is still technically online, then – then why is Tony Alvarez off the bench?<br>
<br>
DEAN<br>
<br>
Let’s ask him.<br>
<br>
INTERIOR – TONY’S HOUSE – NIGHT<br>
<br>
[SAM walks into the dark house, a flashlight in hand. DEAN follows him in.]<br>
<br>
SAM<br>
<br>
Tony Alvarez?<br>
<br>
[SAM and DEAN search the house. No one is home. DEAN turns the corner to see writing on the walls of the house. SAM walks in and sees the walls, flashing his light over the writing.]<br>
<br>
DEAN<br>
<br>
Enochian 101. Looks like a whole semester of Prophet-speak.<br>
<br>
[DEAN takes out his phone and takes photos of the walls. SAM looks through papers and photos on the table.]<br>
<br>
SAM<br>
<br>
Wow.<br>
<br>
[DEAN walks to the walls and see photos stuck to them.]<br>
<br>
DEAN<br>
<br>
Hey, check this out. Are these future vics?<br>
<br>
[SAM looks up to see photos of women on the walls.]<br>
<br>
SAM<br>
<br>
I don’t know. But these look familiar.<br>
<br>
[SAM hands DEAN photos from the table.]<br>
<br>
DEAN<br>
<br>
Hm. Well, he likes souvenirs. Explains how our lady vic drowned.<br>
<br>
[SAM looks back at the walls.]<br>
<br>
SAM
<br>
Look at this. It’s all “Word of God” and “divine retribution.” I-I mean, slaughter of firstborn sons, the – the drowning of Egyptians in the Red Sea…<br>
<br>
DEAN<br>
<br>
Wait, wait, wait. So, Alan was the oldest of the twins, right?<br>
<br>
SAM<br>
<br>
Yeah.<br>
<br>
DEAN<br>
<br>
So firstborn.<br>
<br>
SAM<br>
<br>
Of course.<br>
<br>
DEAN<br>
<br>
And then, she died in salty, bloody water. The “Red Sea.” So then, what’s next up?<br>
<br>
[SAM looks around the walls. He shines his light on a line.]<br>
<br>
SAM<br>
<br>
Hey, Dean.<br>
<br>
[DEAN looks at the line.]<br>
<br>
SAM<br>
<br>
“And there went out fire from the Lord and devoured them.”<br>
<br>
[DEAN picks up the photos.]<br>
<br>
DEAN<br>
<br>
Hey, Sam. Check this out.<br>
<br>
[They see the victims in boxes labelled ‘SPHINX MACHINE SHOP’.]<br>
<br>
INTERIOR – SPHINX MACHINE SHOP – NIGHT<br>
<br>
[A man is strung up by his arms, his feet dangling above the ground and blood running down his face. TONY is standing next to him.]<br>
<br>
MAN<br>
<br>
Y-You d-don’t have to do this. You don’t have to do it.<br>
<br>
[TONY has a can of oil in his hand, as he stands in front of the man.]<br>
<br>
MAN<br>
<br>
Whatever you want, I’ll give you anything!<br>
<br>
[TONY pours the oil at the bottom of the man’s feet.]<br>
<br>
MAN<br>
<br>
No! Let me go, please!<br>
<br>
TONY<br>
<br>
“And the son of Aaron offered strange fire to the Lord… which he commanded them not. There went out fire from the Lord and devoured him, and he died before the Lord.”<br>
<br>
[TONY pours the oil back towards the end of the room.]<br>
<br>
MAN<br>
<br>
What’re you doing? Come back! Please, come on! Whatever you want, I-I’ll give you anything! Please!<br>
<br>
TONY<br>
<br>
The pain becomes salvation.<br>
<br>
MAN<br>
<br>
What are you doing? No, no, no!<br>
<br>
[TONY lights a match and drops it. The fire starts moving towards the man. SAM and DEAN rush in. SAM tackles TONY to the ground. DEAN picks up a blanket and puts the fire out. He cuts the ties on the man and helps him.]<br>
<br>
DEAN<br>
<br>
Go on. Get out of here. Go. Now.<br>
<br>
[The man runs away. SAM has a hold on TONY.]<br>
<br>
DEAN<br>
<br>
Sam? Sam!<br>
<br>
[SAM lets go of TONY, dropping him to the ground. He stands up next to DEAN.]<br>
<br>
DEAN<br>
<br>
Tony Alvarez, right?<br>
<br>
[TONY stands up.]<br>
<br>
TONY<br>
<br>
And who are you?<br>
<br>
[DEAN punches TONY, knocking him back to the ground.]<br>
<br>
TONY<br>
<br>
You can’t – you can’t do this. I’m doing God’s work. I’m carrying out his orders.<br>
<br>
SAM<br>
<br>
You think God spoke to you?<br>
<br>
TONY<br>
<br>
I-I’ve been chosen. I hear his voice in my head.<br>
<br>
DEAN<br>
<br>
Yeah? What’s he saying now?<br>
<br>
[TONY tries to listen.]<br>
<br>
TONY<br>
<br>
Nothing.<br>
<br>
SAM<br>
<br>
Yeah. ‘Cause whatever you heard, it wasn’t God.<br>
<br>
DEAN<br>
<br>
Those people you killed were innocent.<br>
<br>
[DEAN crouches down in front of TONY. TONY sees flashes of the victims. The woman in the water. Alan’s eyes as his throat is slit.]<br>
<br>
DEAN<br>
<br>
You’re not chosen, pal. You’re just a psycho.<br>
<br>
[DEAN punches TONY again, then stands up.]<br>
<br>
TONY<br>
<br>
No.<br>
<br>
SAM<br>
<br>
So, what if he is hearing something, right? I mean, what if uh – what if he’s picking up some sort of vibe from Donatello, you know?<br>
<br>
TONY<br>
<br>
No. No.<br>
<br>
DEAN<br>
<br>
Donatello’s out cold.<br>
<br>
SAM<br>
<br>
Yeah, so we think he’s out cold.<br>
<br>
[TONY gets up from the floor and throws DEAN down on the ground.]<br>
<br>
SAM<br>
<br>
No! No, no, no.<br>
<br>
[SAM grabs TONY and throws him back towards the wall. TONY picks up a gun.]<br>
<br>
DEAN<br>
<br>
He’s got my gun!<br>
<br>
[TONY stands up from the floor, the gun in his hand. SAM holds his hands up.]<br>
<br>
SAM<br>
<br>
Hey, hey, hey, hey. Hey, hey. No, no, no. Wait.<br>
<br>
[TONY points the gun to his head.]<br>
<br>
SAM<br>
<br>
Stop. Hey, stop. Stop, stop, stop.<br>
<br>
DEAN<br>
<br>
No, no, no!<br>
<br>
SAM<br>
<br>
Wait –<br>
<br>
[TONY pulls the trigger. He falls to the ground, dead.]<br>
<br>
INTERIOR – IMPALA – NIGHT<br>
<br>
[SAM is on speaker phone with CAS.]<br>
<br>
SAM<br>
<br>
So, then, this might not end with Tony Alvarez. Beause the next prophet’s gonna show up somewhere, a-and – and the crazy could start all over again. By the way, Cas… I thought there could only be one prophet at a time.<br>
<br>
CAS<br>
<br>
And there should, but Donatello is between life and death. I mean, you know, perhaps the next prophet was activated before his time?<br>
<br>
DEAN<br>
<br>
And went all Hannibal?<br>
<br>
CAS<br>
<br>
The natural order’s been upset. Perhaps Donatello’s state has created a prophet who’s, who’s not only premature… malformed.<br>
<br>
SAM<br>
<br>
Okay. But if Tony was wired wrong because of Donatello, then the other prophet will be wired wrong, as well, and the next and the next and the – the next and… how do we end this?<br>
<br>
[CAS says nothing.]<br>
<br>
DEAN<br>
<br>
You know how.<br>
<br>
INTERIOR – HOUSE – NIGHT<br>
<br>
[NICK punches through the glass of the front door window. He unlocks the door and walks in. He closes the door and walks into an empty living room with a lamp in the corner. He turns the lamp on. His sees flashes of his child’s things, the crib, the rocking chair, the baby monitor. The blood dripping down the crib. This is NICK’s old home.]<br>
<br>
[NICK starts to feel a chill and wraps his arms around himself. He walks to the mirror in the room as it frosts over. He moves his hand over the mirror, making lines in the frost. Doors start to bang loudly and rapidly behind him. The light starts to flicker. A ghost of a woman appears and walks over to him.]<br>
<br>
GHOST<br>
<br>
Nick?<br>
<br>
NICK<br>
<br>
Is that you?<br>
<br>
WOMAN<br>
<br>
Yes, Nick.<br>
<br>
NICK<br>
<br>
Lucifer?<br>
<br>
GHOST<br>
<br>
Sarah. Your wife.<br>
<br>
ACT FOUR<br>
<br>
INTERIOR – HOUSE – NIGHT<br>
<br>
NICK<br>
<br>
Sarah? As in, the ghost of Sarah?<br>
<br>
SARAH<br>
<br>
Yes.<br>
<br>
NICK<br>
<br>
I don’t understand. What – What’re you doing here?<br>
<br>
SARAH<br>
<br>
I never left. I’m held here by unfinished business.<br>
<br>
NICK<br>
<br>
Oh, my God.<br>
<br>
SARAH<br>
<br>
My unsolved murder, and Teddy’s.<br>
<br>
NICK<br>
<br>
Sarah, I… I’ve missed you. I never thought I’d see you again. I’m so sorry.<br>
<br>
SARAH<br>
<br>
No, Nick. You’re not.<br>
<br>
NICK<br>
<br>
But I found who killed you, Sarah. A cop – Frank Kellogg. I mean, not a cop – a demon. It’s not Frank – it’s, uh, Abraxas. Uh, it’s confusing, but I found him. I killed him. It. Whatever. I got you justice, Sarah. You’re free. You could leave.<br>
<br>
SARAH<br>
<br>
And what about Lucifer?<br>
<br>
NICK<br>
<br>
What about him? He’s dead.<br>
<br>
SARAH<br>
<br>
My unfinished business isn’t just about how I died, Nick. It’s you. I was here that night. I saw what he did to you. I… You chose Lucifer. You wanted him. You… you still do.<br>
<br>
NICK<br>
<br>
He chose me, okay?<br>
<br>
SARAH<br>
<br>
You didn’t come here to find peace. You came here to find him, in the place where you became one with him.<br>
<br>
NICK<br>
<br>
No.<br>
<br>
SARAH<br>
<br>
Then show me I’m wrong. Reject Lucifer. Right now. If you do, I can leave. I can find peace.<br>
<br>
[NICK wipes his face but does nothing.]<br>
<br>
SARAH<br>
<br>
Reject him, Nick. Please. Please!<br>
<br>
NICK<br>
<br>
I-I can’t. I’m sorry.<br>
<br>
SARAH<br>
<br>
You can’t. Because you are him. You doomed me to stay in this place forever. You’ve doomed yourself.<br>
<br>
NICK<br>
<br>
I know. I’m sorry.<br>
<br>
[NICK starts to leave.]<br>
<br>
SARAH<br>
<br>
Where are you going?<br>
<br>
NICK<br>
<br>
Wherever it’s darkest. Wherever he is.<br>
<br>
[NICK leaves the house.]<br>
<br>
SARAH<br>
<br>
Nick!<br>
<br>
EXTERIOR – HAPPY DAZE NURSING HOME – NIGHT<br>
<br>
DR RASHAD<br>
<br>
You’re making the right choice.<br>
<br>
INTERIOR – HAPPY DAZE NURSING HOME – NIGHT<br>
<br>
[SAM and DEAN standing in a hallway with DR RASHAD.]<br>
<br>
DR RASHAD<br>
<br>
Your uncle’s in a persistent vegetative state, being kept alive by machinery and nothing else. Sometimes letting go is the right choice.<br>
<br>
DEAN<br>
<br>
Tell me about it.<br>
<br>
[SAM and DEAN follow the doctor down the hallway.]<br>
<br>
DR RASHAD<br>
<br>
Just coincidentally, you all being here at the same time. Dr Novak, meet, uh…<br>
<br>
[CAS walked out of Donatello’s room dressed as a doctor.]<br>
<br>
CAS<br>
<br>
Yes, I know. I know these gentlemen. Mr. Winchester and the other Mr. Winchester.<br>
<br>
SAM<br>
<br>
Doctor.<br>
<br>
DEAN<br>
<br>
Doctor.<br>
<br>
SAM<br>
<br>
So, Dr. Rashad, you were saying there’s been no improvement with our uncle?<br>
<br>
DR RASHAD<br>
<br>
That’s right. There’s no real brain activity to speak of. Um, nothing beyond the occasional muscle spasm or uh, babble of words. Strictly reflexive.<br>
<br>
SAM<br>
<br>
W-What kind of babbled word?<br>
<br>
DR RASHAD<br>
<br>
Follow me.<br>
<br>
[SAM follows DR RASHAD into Donatello’s room. CAS stops DEAN from following them.]<br>
<br>
DEAN<br>
<br>
So, “doctor,” checking in on old uncle Donny, huh?<br>
<br>
CAS<br>
<br>
Hey, Dean. What happened to him – that was my fault. It was necessary. But it doesn’t mean that I don’t regret it. It doesn’t mean that I don’t wish that there could’ve been another way.<br>
<br>
DEAN<br>
<br>
I know the feeling.<br>
<br>
CAS<br>
<br>
Oh, no. No, please don’t compare this with your suicidal plan. Just stop.<br>
<br>
DEAN<br>
<br>
Okay, alright. Why don’t we talk about that later?<br>
<br>
CAS<br>
<br>
Because, according to your plan, there won’t be a later.<br>
<br>
DEAN<br>
<br>
Cas… if you are a friend of mine, then you will understand that I have to do this and you won’t try to stop me. You think this is easy on me? It has to be done.<br>
<br>
CAS<br>
<br>
So, then, this is goodbye?<br>
<br>
[SAM walks out of Donatello’s room.]<br>
<br>
SAM<br>
<br>
Guys. Check this out. Okay, so, a couple days ago, Donatello started making some uh, random noises. Uh, Dr. Rashad thought he might be coming out of it, so he shot this video.<br>
<br>
[DEAN and CAS look down at the video. Donatello’s eyes are open, as he speaks another language. His eyes roll back.]<br>
<br>
CAS
<br>
That’s Enochian. He’s saying, “I will strike down the first born in the land of Egypt. I will execute judgement.”<br>
<br>
DEAN<br>
<br>
Well, that’s the same thing that that screwed up new prophet was spouting.<br>
<br>
CAS
<br>
Donatello’s mind is fighting to rebuild. It’s – it’s like he’s trying to organise his… memories, the words of God.<br>
<br>
DEAN<br>
<br>
So that’s what Tony was picking up on.<br>
<br>
CAS<br>
<br>
Well, then, I-I can fix him.<br>
<br>
DEAN<br>
<br>
Wait. How? I thought he was too far gone.<br>
<br>
CAS<br>
<br>
Dean, if there is a spark – a hope – then I have to try. You taught me that.<br>
<br>
[CAS walks into Donatello’s room, as SAM and DEAN follow him in. DR RASHAD is looking over DONATELLO.]<br>
<br>
CAS
<br>
Get out.<br>
<br>
DR RASHAD<br>
<br>
What?<br>
<br>
DEAN<br>
<br>
You heard him.<br>
<br>
DR RASHAD
<br>
You said you wanted to discontinue treatments.<br>
<br>
DEAN<br>
<br>
And we’ve changed our minds. Look, if there’s a chance that Donatello could fight through this, then we’re gonna take it. He ain’t leaving the party if the music’s still playing. Clear?<br>
<br>
INTERIOR – NURSING HOME – NIGHT<br>
<br>
[SAM and DEAN sit in the waiting room.]<br>
<br>
DEAN<br>
<br>
You alright?<br>
<br>
SAM<br>
<br>
If Cas isn’t right about Donatello, then where does that leave him? Trapped. Trapped in his own body, somewhere between life and death. It’s just tough to think about somebody going through that.<br>
<br>
DEAN<br>
<br>
Then don’t. Thinking – highly overrated.<br>
<br>
SAM<br>
<br>
Easy for you to say.<br>
<br>
DEAN<br>
<br>
No, it’s not, actually. Whatever’s gonna happen with Donatello, we’ll know soon.<br>
<br>
SAM
<br>
Right. And then what?<br>
<br>
DEAN<br>
<br>
Nothing’s changed, Sam.<br>
<br>
INTERIOR – DONATELLO’S ROOM – NIGHT<br>
<br>
[DEAN and SAM walk back into the room. CAS is standing, his hand glowing over DONATELLO’s head.]<br>
<br>
SAM<br>
<br>
Hey. Anything?<br>
<br>
CAS<br>
<br>
Something. Something uncertain.<br>
<br>
[CAS closes his eyes.]<br>
<br>
SAM<br>
<br>
Well, what exactly are you looking for?<br>
<br>
[CAS’s eyes open, and shine blue. He moves his hand away.]<br>
<br>
CAS<br>
<br>
That.<br>
<br>
[DONATELLO wakes up.]<br>
<br>
DEAN<br>
<br>
Donatello?<br>
<br>
[DONATELLO looks around the room.]<br>
<br>
DEAN<br>
<br>
We should turn off these machines.<br>
<br>
SAM<br>
<br>
Whoa. Wait, wait. He could die.<br>
<br>
DEAN<br>
<br>
There’s only one way to find out.<br>
<br>
[DEAN turns off the life support machines. The charts lower. DONATELLO closes his eyes. He suddenly wakes up again. DR RASHAD walks into the room. DONATELLO looks up at DEAN.]<br>
<br>
DEAN<br>
<br>
Hey. Welcome back, champ.<br>
<br>
DONATELLO<br>
<br>
[mumbled behind the tube] Dean?<br>
<br>
DEAN<br>
<br>
Get him his glasses.<br>
<br>
[CAS puts DONATELLO’s glasses on him.]<br>
<br>
DEAN<br>
<br>
Now, look at that. It’s a miracle.<br>
<br>
ACT FIVE
<br>
INTERIOR – DONATELLO’S ROOM – NIGHT<br>
<br>
[DONATELLO tries to feed himself jello. DEAN and CAS watch him.]<br>
<br>
CAS
<br>
Um… would you like more grape Jell-O?<br>
<br>
DONATELLO<br>
<br>
Well, a-actually, I’d prefer a bucket of extra-crispy Buffalo Wings with a side of Tex-Mex sauce.<br>
<br>
DEAN
Okay. Take it easy, cowboy. You just got back.<br>
<br>
[DEAN turns to CAS.]<br>
<br>
DEAN<br>
<br>
He is back, isn’t he? I mean, this isn’t some kind of evil, weird version?<br>
<br>
CAS<br>
<br>
No, no, this is – the regular him. But um… he – he – he doesn’t have a soul.<br>
<br>
DEAN<br>
<br>
Hm. Well, nobody’s perfect.<br>
<br>
DONATELLO<br>
<br>
Guys, w-what happened? Did I work too much? Overload on Enochian?<br>
<br>
DEAN<br>
<br>
Hm. Cas will catch you up.<br>
<br>
[DEAN leaves the room. DONATELLO looks at CAS.]<br>
<br>
DONATELLO<br>
<br>
Jell-O?<br>
<br>
EXTERIOR – NURSING HOME – NIGHT<br>
<br>
[SAM is leaning against the Impala, a case of beers next him. DEAN walks over to him.]<br>
<br>
DEAN<br>
<br>
Where’s the party?<br>
<br>
SAM<br>
<br>
It’s right here.<br>
<br>
[SAM tosses DEAN a beer.]<br>
<br>
SAM<br>
<br>
I mean, we’re celebrating, right?<br>
<br>
DEAN<br>
<br>
Okay.<br>
<br>
SAM<br>
<br>
Yeah, but not too much. Tomorrow morning, we’re, uh, back on track. No rest for the self-destructive.<br>
<br>
DEAN<br>
<br>
Well, I will call this a win. Kinda nice. Going out on a high.<br>
<br>
SAM<br>
<br>
“Going out” being the operative phrase.<br>
<br>
DEAN<br>
<br>
Sorry.<br>
<br>
SAM<br>
<br>
“Sorry.” How sorry are you? Sorry that you fight to keep Donatello alive, but when it comes to you, you just throw in the towel? Or are you sorry that, after all these years, our entire lives, a-after I’ve looked up to you, after I’ve learned from you, I-I-I’ve copied you, I followed you to Hell and back… are you sorry that all of that it – it – it means nothing now?<br>
<br>
DEAN<br>
<br>
Who’s saying that?<br>
<br>
SAM<br>
<br>
You are, when you tell me I have to kill you. When you’re telling me that I have to just throw away everything we stand for, throw away faith, throw away family. We’re the guys who saved the world. We don’t just check out of it!<br>
<br>
[SAM pushes DEAN.]<br>
<br>
DEAN<br>
<br>
Sam, I have tried everything. Everything! I got one card left to play and I have to play it.<br>
<br>
SAM<br>
<br>
You have one card today! But we’ll find another tomorrow. But if you quit on us today, there will be no tomorrow! You tell me, uh, you don’t know what else to do. I don’t either, Dean. Not yet. But what you’re doing now, i-it’s – it’s wrong! It’s quitting! I mean, l-look what just happened. Donatello never quit fighting. So we could help him because he never gave up.<br>
<br>
[SAM moves closer to DEAN.]<br>
<br>
SAM<br>
<br>
I believe in us, Dean.<br>
<br>
[DEAN doesn’t say anything. SAM gets angry and punches DEAN in the face.]<br>
<br>
SAM<br>
<br>
I believe in us.<br>
<br>
[SAM tries to punch DEAN again, but he stops him.]<br>
<br>
DEAN<br>
<br>
Hey, hey, hey, hey!<br>
<br>
[SAM hugs DEAN.]<br>
<br>
SAM<br>
<br>
Why don’t you believe in us, too?<br>
<br>
DEAN<br>
<br>
Okay, Sam. Let’s go home.<br>
<br>
SAM<br>
<br>
What?<br>
<br>
[SAM pulls away from the hug.]<br>
<br>
DEAN<br>
<br>
Let’s go home. Maybe Billie’s wrong. Maybe. But I do believe in us.<br>
<br>
[CAS walks out to join them.]<br>
<br>
DEAN<br>
<br>
I believe in all of us. And I’ll keep believing until I can’t. Until there’s absolutely no other way. But when that day comes – if that day comes… Sam, you have to take it for what it is – the end. And you have to promise me that you’ll do then what you can’t do now, and that’s let me go. And put me in that box.<br>
<br>
[DEAN looks at CAS.]<br>
<br>
DEAN<br>
<br>
You too.<br>
<br>
SAM<br>
<br>
Yeah, alright. Alright. Alright.<br>
<br>
DEAN<br>
<br>
Now, you heard me. Let’s go home.<br>
<br>
[DEAN taps SAM’s cheek with his hand.]<br>
<br>
DEAN<br>
<br>
Don’t hit me again, okay?<br>
<br>
[DEAN gets into the drivers’ seat of the Impala. CAS opened the backdoor and sits inside. SAM walks around to the passenger side, and gets in. DEAN turns the engine on.]<br>
<br>
