05x13 - The Song Remains the Same

[bunniefuu]

5.13 The Song Remains the Same

Air Date: 4 Feb 2010

THEN

Anna: I remember now. I'm an angel.

I have a death sentence on my head.

Why?

I disobeyed.

Castiel: You really shouldn't have come.

Two angels take Anna by the arms. Castiel watches all three vanish into white light.

Castiel: You have to stop it.

Dean: Stop what?

Castiel presses two fingers to Dean's forehead.

Nineteen seventy-three?

Dean: Mom?

John: John Winchester.

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

Mary gets k*lled by a yellow-eyed demon in nineteen eighty-three. Now, if we don't catch this thing now-

-and k*ll it, and it gets away, then Mary dies.

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.

I couldn't stop any of it. She still made the deal.

She still d*ed in the nursery, didn't she?

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 t*rture, 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 Kn*fe?

A long pause. Anna draws the Kn*fe.

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 Kn*fe looking very like the one with which Anna k*lled 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...k*ll 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 k*ll 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 Greasestarring 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 k*ll 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 k*ll 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 sh**t 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: 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 d*ed. 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 att*ck.

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 k*lled 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 k*ll 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-k*lling sword. 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-k*lling sword, 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 k*ll 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, g*ns.

Sam: All that stuff will do is piss it off.

Mary: So, what will k*ll 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 Kn*fe.

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 Kn*fe, 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 k*lled!

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 d*ed 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 k*lled. And...I think he would have gone crazy if he didn't do something. Truth is, um, my dad d*ed 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 k*ll some humans.

URIEL

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

Anna: In the future, these people are going to k*ll you, Uriel. I'm giving you the chance to k*ll 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 att*cked 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 k*lled 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-k*lling sword. 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 att*cks URIEL while Sam goes after Anna. URIEL and Anna throw the brothers aside. John goes for the Kn*fe that Sam dropped, but Anna blocks it and throws John through the wall into the back yard.

Mary: John!

Sam goes for the Kn*fe, 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 k*ll 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 k*ll 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 k*ll 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.