View source for 7.19 Of Grave Importance (Transcript)

{{TranscriptHead
|Episode=[[7.19 Of Grave Importance]]
|Writer=[[Brad Buckner]] and [[Eugenie Ross-Leming]]
|Director=[[Tim Andrew]]
|AirDate=  20 April 2012
}}


== NOW ==


''EXT. DESERTED STREET – NIGHT''


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


DEAN<br />
All right, here we go. 


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


DEAN<br />
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<br />
Mmm.


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


DEAN<br />
Annie.


ANNIE (V-O)<br />
Hey, Dean.


DEAN<br />
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<br />
Oh, I'm still kicking. So, good, I guess. Heard about Bobby. I'm sorry.


DEAN<br />
Yeah. Us too. What's up?


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


DEAN<br />
Yeah. Sure. Where you at?


ANNIE<br />
Bodega Bay. Crow's Nest Inn.


DEAN<br />
You working?


ANNIE<br />
Always. You guys anywhere nearby?


DEAN<br />
Near enough.


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


DEAN<br />
1 o’clock? 


ANNIE<br />
Yeah. Bye.



''EXT. HOUSE – NIGHT''


''INT. HOUSE – NIGHT''


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


GIRL<br />
We shouldn't be here.


BOY<br />
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<br />
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<br />
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<br />
Hey, get this. Dick Roman is funding another archaeological dig. Guy moves more dirt than "The Drudge Report."


SAM<br />
Well, any – anything on what he's digging for?


DEAN<br />
Don't you think I would have led with that?


SAM sighs and looks at his watch.


SAM<br />
Annie's not usually this late, is she?


DEAN<br />
No, never. She's totally compulsive. I'll try her cell.


SAM<br />
You know, uh, you know she and Bobby had a thing, right?


DEAN<br />
Yeah. Yeah, I knew that. Really?


SAM<br />
Yeah. Kind of a foxhole thing – very Hemingway.


DEAN<br />
Huh. She and I kind of went Hemingway this one time, too.


SAM<br />
All right, well... that happens.


SAM makes a face.


DEAN<br />
What, you too?


SAM<br />
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<br />
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<br />
You sound kind of disappointed.


DEAN<br />
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<br />
Ahh. Are we being stood up?


SAM<br />
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<br />
Nothing?


DEAN<br />
Straight to voicemail. Something's not right.


SAM<br />
What's she doing on Bodega Bay?


DEAN<br />
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<br />
I got to get a refill.


SAM<br />
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<br />
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<br />
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<br />
These go back years – disappearances never solved. 


SAM is at the table looking at more papers.


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


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


SAM<br />
Yeah?


DEAN<br />
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<br />
It's, uh, cheery.


SAM<br />
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<br />
Yeah, local law. Always on the ball.


BOBBY<br />
Guys... 


SAM and DEAN don’t hear him.


SAM<br />
So, built in 1862 by the Van Ness family...


BOBBY<br />
I just made that curtain shimmy.


SAM<br />
...who lost it in the early 1900s.


BOBBY<br />
Could you look in the right place at the right time?


SAM<br />
Put up for sale a few years back. No takers.


DEAN<br />
Probably 'cause it creeps their queso.


BOBBY<br />
Balls, this is exhausting.


SAM<br />
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<br />
Let me guess – that's when the, uh, teenagers started to go missing.


SAM<br />
Yep.


BOBBY<br />
Okay. Now let's get rolling.


DEAN<br />
Ah, I say we get rolling.


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


BOBBY<br />
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<br />
Thank you.


BOBBY flickers and disappears.



''INT. DESERTED HOUSE – DAY''


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


DEAN<br />
Honey, I'm home.


BOBBY<br />
Geez. My people.


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


DEAN<br />
All right, let's go.


DEAN and SAM go upstairs.


BOBBY<br />
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<br />
Chilly.


CUT TO: DEAN and SAM entering an upstairs room.


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


ANNIE<br />
Bobby?


BOBBY<br />
Annie! We've been looking for you.


ANNIE<br />
I can't believe you're here.


BOBBY<br />
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<br />
Wow. Dead. Ghost. Me. Three words you never want to use in a sentence. I feel like I was drugged.


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


ANNIE<br />
Terrific.


BOBBY<br />
So, uh... So, you duck your reaper, too?


ANNIE<br />
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<br />
Hey. I remember a time when you liked how crazy I was.


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


BOBBY<br />
Hey. I got unfinished business here, same as you.


ANNIE<br />
Uh-huh. And there's my unfinished business right now.


The TEENAGERS are walking slowly through the room.


ANNIE<br />
Kids! Hello? You're dead.


BOBBY<br />
Well, they're not the brightest bulbs on the string.


ANNIE<br />
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<br />
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<br />
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<br />
<i>Hey, Annie, I'm e-mailing you those news clippings that you asked for. I…</i>


SAM<br />
We're redlining all over the place. Assume the worst?


DEAN<br />
Yeah, I always do.


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


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


SAM<br />
What?


DEAN<br />
Here's something.


DEAN pushes buttons on ANNIE’s phone.


DEAN<br />
From earlier this week.


SAM<br />
Okay.


WOMAN’S VOICE ON ANNIE’S VOICE MAIL<br />
<i>Free me. Free me.</i>


SAM<br />
Where'd that come from?


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


DEAN<br />
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<br />
All right, that's cool.


BOBBY<br />
Excuse me. Hey! Boss!


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


ANNIE<br />
Dick.


BOBBY<br />
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<br />
Balls.


ANNIE<br />
Graceful.


HASKEL CRANE <br />
Novices. You all make the same mistakes.


BOBBY and ANNIE walk over to HASKEL CRANE.


BOBBY<br />
I suppose you know all about it.


HASKEL CRANE <br />
Well, I've been at it 80 years.


ANNIE<br />
Yo, uh, fresh meat here. Not even sure what happened.


HASKEL CRANE <br />
Really?


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


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


BOBBY<br />
Who done ya?


HASKEL CRANE <br />
I'm really very busy.


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


ANNIE<br />
I guess we're not supposed to talk about that.


HASKEL CRANE starts to stand up.


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


HASKEL CRANE <br />
Crane – Haskel Crane.


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


HASKEL CRANE<br />
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<br />
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<br />
You're saying we should move crap with the power of Zen.


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


BOBBY reaches a hand towards the candle.


HASKEL CRANE<br />
You're getting tense.


BOBBY<br />
You're not helpful.


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


BOBBY<br />
What's option two? You said there were two ways.


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


ANNIE<br />
Makes sense. Like poltergeists – vengeful spirits.


BOBBY<br />
I <i>am</i> vengeful. You think I don't have red-hot rage?


HASKEL CRANE<br />
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<br />
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<br />
What in cold hell was <i>that?</i>


HASKEL CRANE<br />
That's <i>you</i> 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<br />
Nothing left at all.


BOBBY<br />
Ghost Alzheimer's.


ANNIE<br />
I'm liking this less.


DEAN and SAM walk into the room.


DEAN<br />
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<br />
Well, maybe no news is good news.


DEAN<br />
Meaning?


SAM<br />
Meaning maybe she's just not here. Maybe she's still okay.


DEAN<br />
Yeah, and what does your gut say?


SAM<br />
Let's just see if there's anything else in her research.


ANNIE<br />
Sam! Dean!


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


ANNIE<br />
But I'm right here!


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


ANNIE<br />
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<br />
Is it me, or am I being checked out?


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


ANNIE<br />
No, stud. I'm being checked out.


ANNIE and BOBBY walk over to the GHOST.


ANNIE<br />
Can I help you?


GHOST<br />
I'm Victoria.


ANNIE<br />
Annie.


VICTORIA<br />
I saw you here the other day. I know the kind of work you do. Did.


ANNIE<br />
Hey, I'm still doing it. I mean, other-dimensionally speaking.


BOBBY<br />
Atta girl.


ANNIE<br />
Wait. Your voice. You're the one on my phone.


VICTORIA<br />
When you were here, I was able to call out to you that way.


ANNIE<br />
Ah, spectral voice transference.


BOBBY<br />
Right. Ghost juju.


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


BOBBY vanishes and VICTORIA gasps.


ANNIE<br />
Bobby!



''CAR – NIGHT''


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


DEAN<br />
Where'd Annie get her intel? Do we know?


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


BOBBY<br />
Stupid flask.


SAM<br />
Bodega Bay Heritage Society.


SAM holds up a Bodega Bay Heritage Society booklet.


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


DEAN starts the engine.


BOBBY<br />
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<br />
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<br />
Anything...unusual ever happen in the house?


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


BOBBY is looking at a hanging lamp.


BOBBY<br />
"Tell it what to do."


HISTORIAN<br />
Some locals swear it's haunted.


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


BOBBY<br />
Move.


BOBBY’s finger passes right through the lamp.


HISTORIAN<br />
Every village has its idiots.


DEAN<br />
We only want the real scoop, of course.


BOBBY<br />
Balls!


HISTORIAN<br />
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<br />
He's still there.


DEAN<br />
Who's the, uh, the bruiser there?


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


HISTORIAN<br />
Dexter O'Connell. A convict. An extremely violent man. 


BOBBY<br />
He's there, too.


HISTORIAN<br />
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<br />
Hmm.


DEAN<br />
Well, thank you.


HISTORIAN<br />
The house <i>is</i> popular this week.


SAM<br />
What do you mean?


HISTORIAN<br />
A lady came by the other day asking all sorts of questions.


DEAN<br />
Uh, 30s, red hair, good-looking?


HISTORIAN<br />
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<br />
So, besides Whitman's fiancée…


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


SAM<br />
…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<br />
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<br />
[from the shower] I don't know. Add that to a list of things don't know.


SAM<br />
So what's the next move?


BOBBY<br />
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<br />
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<br />
We're posting this video as a warning about... 


TEENAGE BOY 2<br />
Or possibly a memorial to...


TEENAGE BOY 1<br />
Our friends Debbie Tellen and Dudley Scott, last known whereabouts...


TEENAGE BOY 2<br />
The Van Ness house...


TEENAGE BOY 1<br />
Since the cops haven't done crap...


TEENAGE BOY 2<br />
In what may be the final moments of their love story.


TEENAGE BOY 1<br />
They've been together since like eighth grade.


TEENAGE BOY 2<br />
Yeah. They entered this house and texted us.


TEENAGE BOY 1<br />
We're going in.
 

TEENAGE BOY 2<br />
Ooh-ooh-ooh.



''INT. MOTEL – NIGHT''


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


DEAN<br />
Sam?


SAM<br />
What?


DEAN<br />
Tell me you wrote that.


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


SAM<br />
Uh... No. No, I didn't.



''INT. VAN NESS HOUSE – NIGHT''


The TEENAGE BOYS enter the house.


TEENAGE BOY<br />
They came into the house...


ANNIE watches them.


DEAN (V-O)<br />
Well, then, who's there?



''INT. MOTEL – NIGHT''


DEAN<br />
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<br />
Bobby?



''INT. VAN NESS HOUSE – NIGHT''


TEENAGE BOY 1<br />
They walked through... these halls...


TEENAGE BOY 2<br />
Seeking a grotto of love.


TEENAGE BOY 1<br />
Seriously?


TEENAGE BOY 2<br />
What?


The front door slams and the TEENAGE BOYS jump.



''INT. MOTEL – NIGHT''


DEAN<br />
Bobby?


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


BOBBY<br />
Yes.


DEAN and SAM can’t hear him.


DEAN<br />
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<br />
Dude.


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


DEAN<br />
We got to get back to that house, stat.



''INT. VAN NESS HOUSE – NIGHT''


TEENAGE BOY 2<br />
What happened?


DEXTER is standing in the next room. 


TEENAGE BOY 1<br />
Hello?


DEXTER walks purposefully towards the TEENAGE BOYS.


DEXTER<br />
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<br />
Dexter. I expressly forbid you! Enough!


TEENAGE BOY 1<br />
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<br />
Dexter, you tried to warn them away.


DEXTER<br />
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<br />
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<br />
Ah, Victoria. Grab the camera.


VICTORIA<br />
No. I can't. We don't meddle in Whitman's affairs.


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


VICTORIA<br />
But now he can get you, too.


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


VICTORIA<br />
Punished him. He was trying to warn them. He tried to warn you, too. He drained him.


ANNIE<br />
Drained? What does that mean?


VICTORIA<br />
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<br />
So, when he does that, what happens? Just... poof?


VICTORIA<br />
Forever.


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


VICTORIA<br />
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<br />
"Fancy lady"? A hooker?


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


ANNIE<br />
Okay, so, where does he keep the bodies?


VICTORIA<br />
I don't know.


ANNIE<br />
Victoria, you've been here forever.


VICTORIA<br />
You don't follow him around.


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


VICTORIA<br />
Oh, dear.


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


VICTORIA<br />
[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<br />
We combed the crap out of this place. If Annie's in there and we didn't find her...


SAM<br />
It's 'cause something didn't want us to.


DEAN<br />
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<br />
All right, I'll check upstairs.


DEAN<br />
Yeah.


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


DEAN<br />
Annie?


BOBBY<br />
Sorry, boys. I'm leaving the pack.


DEAN<br />
Annie! It's Dean! And Sam. 


SAM<br />
[in the distance] Annie?


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


DEAN<br />
That's not odd.


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


DEAN<br />
Sam, get back down here! Annie?


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


DEAN<br />
Slimer?


SAM<br />
What?


DEAN<br />
Check it out.


DEAN plays the recording on the video camera.


TEENAGE BOY 2<br />
<i>The final moments of their love story.</i>


TEENAGE BOY 1<br />
<i>They've been together since like eighth grade.</i>


TEENAGE BOY 2<br />
<i>Yeah. They entered this house and texted us.</i>


DEAN<br />
Oh, I hate these indie films. Nothing ever happens.


TEENAGE BOY 1<br />
<i>They came into the house. They walked through these halls.</i>


SAM<br />
Wait, wait. Pause it. Frame back a little bit. Stop.


ANNIE is visible on the recording.


DEAN<br />
She's here, and not in a good way.


BOBBY is now standing next to ANNIE and VICTORIA.


BOBBY<br />
Give them a moment. They've got a little slower since I left.


DEAN<br />
Annie?


ANNIE<br />
Got to let them know that I'm here. 


SAM<br />
Anything?


ANNIE<br />
[to VICTORIA] You have to do it.


SAM<br />
Annie!


ANNIE<br />
We can't.


DEAN<br />
Annie!


VICTORIA<br />
It's too dangerous.


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


SAM<br />
Annie!


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


SAM<br />
Whoa!


VICTORIA<br />
Please. I'm Victoria – Victoria Dodd.


SAM<br />
Where'd you come from?


VICTORIA<br />
Here. I was a fancy lady.


DEAN<br />
A hooker?


SAM<br />
Uh, is Annie here?


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


ANNIE<br />
You want to just tell them?


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


SAM<br />
From?


VICTORIA<br />
Whitman Van Ness.


VAN NESS is watching from upstairs.


DEAN<br />
But he's dead.


VICTORIA<br />
I thought you said they were <i>good.</i>


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


VAN NESS flickers and disappears.


DEAN<br />
Define "terrible danger."


VICTORIA<br />
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<br />
Victoria?


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


SAM<br />
So, what? Whitman Van Ness?


DEAN<br />
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<br />
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<br />
If I hadn't stashed that flask here, I'd still be glued to Sam and Dean. Real clever.


ANNIE<br />
Actually was.


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


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


BOBBY<br />
Terrific.


ANNIE<br />
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<br />
Well, we searched everywhere else.


ANNIE<br />
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<br />
Last time I checked, ghosts didn't get cold.


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


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


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


ANNIE<br />
Yeah, I don't know. I couldn't risk following him.


BOBBY<br />
What else did you say this place was, other than a whorehouse?


ANNIE<br />
It was a lot of things. It was a boarding house, a school... a speakeasy.


BOBBY<br />
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<br />
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<br />
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<br />
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<br />
I don't know. Just... gone, most likely.


ANNIE<br />
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<br />
Yeah, well, the life I had is the one I picked.


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


BOBBY<br />
Yeah, well, I <i>ain't</i> done.


ANNIE<br />
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<br />
All right. Here we go – cemetery, edge of town. The Van Ness family has its own mausoleum.


DEAN<br />
All right, we light up the bastard and finish him off.


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


SAM<br />
Take it easy. We'll get there.


DEAN<br />
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<br />
Why's he with us?!


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


DEAN and SAM pat down their clothing.


SAM<br />
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<br />
Ugh!


DEAN<br />
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<br />
Did that do it? Did that get rid of him?


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


SAM<br />
Where Annie's a sitting duck.


DEAN<br />
We got to find those bones. Come on.



''INT. VAN NESS HOUSE – NIGHT''


BOBBY<br />
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<br />
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<br />
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<br />
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<br />
How long was I out?


ANNIE<br />
A while. Are you okay?


BOBBY<br />
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<br />
Hi, boys.


DEAN and SAM stare at BOBBY.


DEAN<br />
Bobby?


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


DEAN<br />
Hi, Annie.


SAM<br />
H-hi, Annie.


ANNIE is now visible again, standing behind BOBBY.


ANNIE<br />
Hi, guys.


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


BOBBY<br />
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<br />
Bobby, h-how'd you stay here?


BOBBY<br />
Yeah, well, uh... 


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


BOBBY<br />
Suck on that, Swayze.


SAM<br />
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<br />
S-so, what happened? Did you get stuck or – or what?


BOBBY<br />
I <i>wanted</i> to stay.


DEAN<br />
Bobby.


BOBBY<br />
I need to help.


SAM<br />
Not if it means you have to... be this.


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


ANNIE is visible behind BOBBY again.


BOBBY<br />
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<br />
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<br />
I'll miss her.


DEAN<br />
Me too.


SAM<br />
Yeah.


BOBBY<br />
Well, you didn't know her like I did.


DEAN laughs briefly and SAM clears his throat.


DEAN<br />
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<br />
Dean.


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


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


DEAN<br />
It's not right, and you know that.


BOBBY<br />
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<br />
So, what do you think we should do?


DEAN<br />
We <i>did</i> what we should do. Now I don't know.


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


DEAN<br />
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<br />
What are the odds?



END

== DELETED SCENE == 

EXT. THE VAN NESS HOUSE - DAY<br><br>

SAM is holding an old photograph of THE VAN NESS HOUSE as we pan to see the house as it stands today.<br><br>

DEAN<br>
Well, very extreme makeover. It's got Annie written all over it.<br><br>

SAM<br>
So, have you ever actually talked to her?<br><br>

DEAN<br>
Oh, we have very healthy, non-verbal understanding. Of course, I draw the line at banging Bobby.<br><br>

SAM<br>
Heh, didn't know you have a line.<br><br>

BOBBY<br>
Hey, can we just get the hell on with it?<br><br>

DEAN and SAM walk up the steps and into the house through the front door, BOBBY tagging along.