8.12 As Time Goes By (transcript)
Written by: Adam Glass
Directed by: Serge Ladouceur
Air Date: January 30, 2013
NOW
Normal, Illinois
1958
INT. HOUSE – NIGHT
It’s raining outside. A toy plane hangs in a window and other toys, including a gun, a yo-yo and another plane, line the dresser. A BOY is asleep in bed. The camera pans out and we see that a MAN wearing a hat and coat stands watching him. The MAN sits down on the bed and pulls the covers up around the BOY, who wakes.
MAN
Hey, sport. Sorry about that.
BOY
Where are you going?
MAN
Work. I just wanted to check on you before I left.
BOY
What's that, pops?
The camera focuses on a pin bearing a unicursal hexagram symbol that the MAN is wearing on his tie.
MAN
One day, I'll tell you all about it. Now get some shut-eye. See you first thing in the morning.
The MAN lifts a music box from a small bedside table and winds it. It plays “As Time Goes By.” The MAN turns off the light and walks to the door.
MAN
Good night, son.
The MAN closes the door behind him.
EXT. STREET – NIGHT
The MAN walks down the street past a jeweler’s and a supper club. He stops at a door and knocks twice, then once, then three times. The door opens and he enters.
MALE VOICE
Good evening, sir.
Lightning flashes and we see that the symbol from the MAN’s pin is carved into the door.
INT. BUILDING – NIGHT
The MAN walks down a hallway. A WOMAN in evening dress is sitting on a bench by a stained-glass window. She stands and he takes off his hat.
MAN
[smiling] Josie. No one told me this initiation was a formal affair.
JOSIE
Well, someone had to class up the joint, right, Henry? [She adjusts the pin on his tie.]
HENRY
Ain't that the truth?
JOSIE
The hard part's over, right? We made it.
A MAN WEARING A HOODED CAPE opens a door. The symbol from HENRY’s tie pin and the front door is on his cape.
MAN WEARING HOODED CAPE
Ms. Sands?
HENRY smiles at JOSIE and nods slightly towards the door. JOSIE walks to the door and pauses to look back at HENRY, who smiles again. She walks into the room and the door closes behind her. HENRY takes off his hat and coat and sits down in front of the stained-glass window. Suddenly screaming, loud banging and a voice speaking in Latin can be heard from behind the closed door. HENRY hurries into the room, where he finds two men wearing capes dead on the floor in pools of blood. A SECOND MAN WEARING A HOODED CAPE is standing in front of JOSIE, speaking loudly in Latin.
SECOND MAN WEARING HOODED CAPE
Secura tibi facias libertate. Servire, te rogamus, audi nos!
A THIRD MAN WEARING THE HOODED CAPE speaks to HENRY from the floor. His eyes are bleeding.
THIRD MAN WEARING HOODED CAPE
Henry. Do not let Abaddon get it.
The THIRD MAN WEARING A HOODED CAPE hands HENRY a small wooden box upon which is carved the symbol. ABADDON (possessing JOSIE) grabs the SECOND MAN WEARING A HOODED CAPE, who is still attempting to exorcise her, by the throat.
SECOND MAN WEARING HOODED CAPE
That's impossible! How?
ABADDON, her eyes black, screams and snaps the SECOND MAN’s neck. Her eyes return to normal. HENRY runs from the room and ABADDON, her dress bloodstained, walks after him. HENRY enters a room in which there are ingredients in glass beakers, and locks the door behind him. ABADDON walks down the hallway. HENRY takes ingredients from a shelf. ABADDON flings out a hand and telekinetically opens a door. HENRY adds ingredients to a bowl. ABADDON opens another door. HENRY grabs a knife. ABADDON walks down the hallway. HENRY cuts his palm and lets his blood drip into the bowl. ABADDON walks down the hallway. HENRY draws a symbol on the door with the liquid in the bowl. ABADDON opens another door.
HENRY
Kah-nee-lah... Poo-goh.
ABADDON tries to open a door, but meets resistance. The symbol HENRY is drawing glows gold.
HENRY
Kah-nee-lah... Poo-goh. Kah-nee-lah... Poo-goh.
The door shakes. HENRY has completed the symbol.
HENRY
Kah-nee-lah... Poo-goh.
HENRY falls through the door in a burst of light.
INT. MOTEL ROOM – DAY
DEAN is tying his boot laces and SAM stands at the mirror. HENRY falls out of the closet.
HENRY
Which of you is John Winchester?
SUPERNATURAL (Title Card)
ACT ONE
INT. MOTEL ROOM – DAY
HENRY
Please, time is of the essence! Which of you is John Winchester?
SAM
Uh, neither.
HENRY
That's impossible. That's absolutely... What did I do wrong?
DEAN
Who the hell are you, mister?
HENRY
Not now. I'm thinking.
DEAN grabs HENRY, pushes him against the wall and holds him there with an arm across his chest.
HENRY
Please. I can assure you there's no need for violence. One of you must know John Winchester.
SAM
I'll tell you what – when one of us falls out of your closet, then you can ask the questions.
HENRY
Yes, my apologies. Is it absolutely essential, sir, that you keep your hands on me?
DEAN steps back.
HENRY
Thank you. Gentlemen, in the absence of any and all other explanations, I'm afraid this has been a marvelous, tragic misunderstanding. I'll be on my way.
SAM
That's not happening.
HENRY
There are things of grave importance. I do not have time to deal with the likes of you.
DEAN picks up handcuffs from a bag on the table and SAM grabs HENRY. DEAN takes hold of HENRY’s wrist.
DEAN
You're not going anywhere, 007, till we get some answers.
DEAN tries to handcuff HENRY to a chair, but in one motion HENRY breaks away and handcuffs DEAN and SAM to the chair.
DEAN
How did he do that? You got to be kidding me!
DEAN and SAM struggle with the handcuffs.
EXT. MOTEL – DAY
HENRY looks at the cars in the car park and a man pushing a modern baby stroller. He sees the IMPALA, walks behind it and looks at the registration sticker on the license plate, which reads “9-2013.”
HENRY
2013. My God. Guess the Mayans were wrong.
He walks to the driver’s side, waits until a maid goes inside a room, then breaks the window of the IMPALA with his elbow. He unlocks the door and gets in. DEAN cocks his gun and points it at HENRY through the open window.
DEAN
Nice taste in wheels.
SAM opens the passenger side door.
HENRY
Yours, I presume?
INT. MOTEL ROOM – DAY
HENRY sits in a chair. Water splashes his face and he laughs.
HENRY
And there with the holy water.
SAM
He's clean.
HENRY
I could have told you that.
HENRY pulls down his sleeve over a cut on his left arm.
DEAN
Yeah, well, you can start by telling us everything before I beat it out of you.
HENRY
I'm quite certain this is all beyond your understanding, my alpha-male-monkey friend. And violence will not help you comprehend this any easier.
DEAN points his gun at HENRY and grabs the front of his jacket.
DEAN
Let me tell you what I understand! Some asshat pops out of my closet asking about my dad, smashes up my ride. So why am I not getting violent, again?
HENRY
John Winchester is your father?
There is a loud rattling noise.
HENRY
What is that? [He gets to his feet.] Oh, my God.
DEAN
What?
HENRY
Run!
The closet door bursts opens in a flash of bright light and ABADDON (possessing JOSIE) steps out.
ABADDON
Henry. [She laughs.] Silly man, you forgot to lock the door. But then spells never were your best subject, were they? Why don't you be a doll and give me what I want? And I promise to kill you and your friends here quickly.
HENRY
You know I can't do that.
ABADDON
You're not a fighter, Henry.
DEAN raises his gun. ABADDON lifts her arms and sends DEAN and SAM flying into the walls. HENRY tries to move but ABADDON holds up a hand to stop him.
HENRY
Josie. I know you're still in there. You must fight this.
ABADDON
I'm afraid Josie's indisposed, pet. It looks like it's just you and me.
DEAN stabs ABADDON in the back with his demon-killing knife. She screams and falls to her knees with gold light flashing inside her body.
ABADDON
Ohh! Aah!
The light flashing in ABADDON’s body ceases.
ABADDON
Well, that is no way to treat a lady.
SAM, DEAN and HENRY run from the room.
EXT. MOTEL – DAY
DEAN and HENRY are in the front seats of the IMPALA. SAM jumps into the back seat behind HENRY.
SAM
Go, go, go, go, go, go!
DEAN backs out of the parking spot while SAM is still closing his door and drives away towards an oncoming car, tires squealing. A MAN in the motel office watches them and runs outside to shout after them.
MAN
Hey! Hey! Hey!
The MAN turns around to find ABADDON standing right in front of him. He notices her bloodstained dress.
MAN
You okay, lady?
ABADDON grabs the MAN’s jacket and pulls him towards her.
MAN
What the hell are you doing?
ABADDON breathes black smoke into the MAN’s mouth.
ABADDON
Show me what you've seen.
The MAN’s eyes turn cloudy and dark. We see flashbacks of DEAN signing the receipt for the motel room as SAM stands outside the office, DEAN, HENRY and SAM running for the IMPALA, the IMPALA driving away, and the IMPALA’s license plates. The gray then fades from the MAN’s eyes as black smoke flows from his mouth back to ABADDON’s.
ABADDON
Thank you. By the way, I'm checking out.
ABADDON slaps the MAN hard, breaking his neck, and he drops to his knees.
EXT. – DAY
The IMPALA drives along a narrow road and passes under a large bridge. DEAN pulls over to the side of the road and HENRY gets out of the passenger seat. He hurries a short distance away and vomits. SAM and DEAN also get out of the car.
SAM
Are you okay?
HENRY
Yes, I will be. [He vomits again, then wipes his mouth with a handkerchief.] It's just all the adventures I enjoy are usually of the literary nature.
DEAN
Yeah, well, now that you're done blowing chunks, you want to tell us who Betty Crocker was?
HENRY
Abaddon. She's a demon.
SAM
No kidding. Where'd she come from?
DEAN
Where'd you come from?
HENRY
She's from Hell. I'm from Normal, Illinois – 1958.
DEAN
Yeah, right. Seriously? Dudes time-travelling through motel-room closets? That's what we've come to?
HENRY
If you could just take me to John, we could clear all this up, I'm sure.
DEAN
I've told you that's not gonna happen.
HENRY
Why not?
DEAN
Because he's dead!
HENRY
No. [He turns away.]
SAM
What's it to you?
HENRY
Everything. I'm his father.
ACT TWO
We see a close-up of a black-and-white photograph of HENRY holding a baseball with his arm around a young boy holding a bat.
INT. DINER – DAY
HENRY is sitting at a table holding the photograph. DEAN and SAM are standing at the counter.
SAM
Driver's license says he's Henry Winchester from Normal, Illinois. He knows Dad's birthday, the exact place where he was born. Dude, that's our grandfather.
DEAN
I'm just saying before we break out the warm and toasties, let's not forget that, uh, H.G. Wells over there left Dad high and dry when he was a kid.
SAM
But maybe he didn't run out on Dad – I mean, not on purpose. Maybe he time-traveled here and, I don't know, got stuck.
DEAN
Yeah, well, either way, Dad hated the son of a bitch.
SAM
And Dad made up for that how? By being father of the year?
A WAITRESS sets trays of food down in front of DEAN and SAM.
WAITRESS
Here you go.
DEAN
Thanks.
DEAN
Look, Dad had his issues, okay, but he was always there for us. I freaking hate time-travel, man.
DEAN and SAM carry the trays of food to the table where HENRY is sitting and sit down across the table from him.
SAM
How you doing?
HENRY
I'll be fine. After all, despite everything, I've just met my grandsons, haven't I? [He holds out a hand to SAM.] Henry Winchester. It's a pleasure.
SAM shakes HENRY's hand.
SAM
Sam.
HENRY
Hello, Sam.
HENRY holds out his hand to DEAN. DEAN picks up a basket of food from the tray in front of SAM and sets it down in front of HENRY.
DEAN
Dinner.
SAM
This is Dean.
HENRY
Right.
DEAN
Well, this has been touching. How about we figure out how to clean up your mess, huh?
HENRY
Abaddon. Yes. She must be stopped.
DEAN
How come she didn't die when I stabbed her?
HENRY
Because demons can't be killed by run-of-the-mill cutlery. At the very least, you'd need an ancient demon-killing knife of the Kurds.
DEAN takes his knife partway out of his jacket.
DEAN
That's what this is.
HENRY
Where'd you get that?
DEAN shoves the knife back into his jacket.
DEAN
Demon gave it to me. We've been around this block so many times.
SAM
Now, that portal or whatever it was you came through – is it still open?
HENRY
I highly doubt it. Why?
SAM
I'm just thinking if we can't kill this Abaddon –
DEAN
– maybe we can shove her back where she came from. How did you do it?
HENRY
It's a blood sigil. Blood leads to blood. Or their next of kin.
SAM
But Abaddon came through it, also, right? So can you create this blood sigil again?
HENRY
My blood, an angel feather, tears of a dragon, a pinch of the sands of time – I – I would need those and... at least a week for my soul to recharge, but, yes, it's possible.
SAM
You tapped the power of your soul to get here? I thought only angels could do that.
HENRY
You should know this. What level are you two?
DEAN
What level?
HENRY
Level of knowledge. You're Men of Letters, correct?
SAM and DEAN look at each other.
DEAN
I'm a little rusty on my boy bands. Men of what?
HENRY
Men of Letters, like your father, who taught you our ways.
SAM
Our father taught us how to be hunters.
HENRY
[laughs] You're not. Are you? Hunters? Well, hunters are... Hunters are apes. You're supposed to – you're legacies.
DEAN
Legacies of what?
EXT. STREET – DAY
The IMPALA is parked on the same street we saw in 1958. The businesses now include an antiques store and a shop called “nu” offering salads and pita bread. HENRY gets out of the back seat, SAM and DEAN get out of the front seats and they walk down the street. HENRY stops outside number 242.
HENRY
What's going on here?
The sign above the door reads “Astro Comics.” The symbol is still visible carved into the door, but it is partly worn away. HENRY touches it.
HENRY
No.
DEAN
All right, well, this was enlightening. [He claps his hands once.] Let's hit the road, huh?
SAM
Give him a minute, Dean.
DEAN
We just spent four hours driving, okay? All he did was stare out the window and request Pat Boone on the radio. He had his time.
HENRY
It's just a facade, a way to rook our enemies into believing we are housed elsewhere.
DEAN
Okay, enough with the decoder talk. How about you tell us what this whole “Men of Letters” business is, or you're on your own.
HENRY
It's none of your concern.
DEAN
Why, because we're hunters? What do you have against us?
HENRY
Aside from the unthinking, unwashed, shoot-first-and-don't-bother-to-ask-questions-later part, not much, really.
SAM
You know what? Wait a second. We're also John's children.
HENRY
You're more than that, actually. My father and his father before him were both Men of Letters, as John and you two should have been. We're preceptors, beholders, chroniclers of all that which man does not understand. We share our findings with a few trusted hunters – the very elite. They do the rest.
DEAN
So you're like Yodas to our Jedis. [HENRY looks uncomprehending.] Never mind. You'll get there.
SAM
Okay, but if you guys were such a big deal, then why haven't we – or anyone we know – ever heard of you?
HENRY
Abaddon.
HENRY opens the door and walks inside. DEAN and SAM follow.
INT. ASTRO COMICS – DAY
SAM
Henry. Why? Why'd she do it?
HENRY holds up the small wooden box carved with the symbol.
HENRY
I think for this.
SAM
Okay, what's that?
HENRY
I wish I knew. [He puts the box back into his pocket.] Abaddon attacked us the night of my final initiation. All secrets were to be revealed then.
DEAN
Let me get this straight. You traveled through time to protect something that does you don't know what from a demon that you know nothing about? [HENRY looks at DEAN, then walks down the hallway further into the store. DEAN spreads his hands.] Good.
HENRY enters a room and stops some distance from the store counter, behind which is a YOUNG WOMAN in black who is wearing a studded leather collar. DEAN and SAM come up behind him.
HENRY
Hand me your... walkie-talkie.
SAM
You mean my phone?
HENRY
Even better. [He holds SAM’s phone up to his mouth.] Operator, I need Delta 457.
DEAN
Who are you not calling?
HENRY
Our emergency number.
DEAN
Yeah. Not anymore.
DEAN hands the phone back to SAM.
HENRY
They can't all be gone. There must be another elder out there who can help us figure out how to stop Abaddon and what to do with the box.
DEAN
[to the YOUNG WOMAN behind the counter] Hey, uh, hi. Can we hijack your computer for a hot second?
HENRY
[laughs] Like you could fit a computer in this room.
YOUNG WOMAN
Sure.
DEAN
Thanks. [He turns the laptop on the counter around.] Sam.
SAM
Yep. All right, um... give me a name – anybody who, uh, might have been there that night – one of those elders.
HENRY
Um... Ackers, David. Larry Ganem. [SAM enters the names into a search engine.] Um, Ted –
SAM
Okay, here it is. Um, August 12, 1958. [DEAN and the YOUNG WOMAN check each other out.] A tragic fire at a gentlemen's club. Uh, 242 Gaines Street.
HENRY
This is 242 Gaines Street. But that was no fire.
The laptop shows a newspaper article from August 12, 1958 titled “Tragic Fire at Gentlemen’s Club, 4 Dead.”
SAM
Larry Ganem, David Ackers, Ted Bowen, and Albert Magnus – all deceased.
HENRY
Albert Magnus.
DEAN
He a friend of yours?
HENRY
Even better.
EXT. ROAD – NIGHT
The IMPALA drives along a road past a cemetery.
EXT. CEMETERY – NIGHT
HENRY, SAM and DEAN walk in the cemetery. SAM and DEAN hold flashlights.
HENRY
These were my friends, my mentors, our last defense against the Abaddons of the world.
DEAN shines his flashlight on a headstone.
DEAN
Here's your buddy Albert Magnus.
HENRY
Albertus Magnus. He was hardly a buddy. He was the greatest alchemist of the middle ages.
SAM
Okay, so why is he buried here?
HENRY
He's not. His was the alias we'd use when going incognito. I believe someone planted his name in that article... so that if a Man of Letters came looking for answers, he'd know something was amiss.
SAM
So someone wanted you to come to this grave.
HENRY
The question is why.
DEAN shines his flashlight on the unicursal hexagramsymbol, which is carved into the headstone.
DEAN
What is this?
HENRY
Our crest. The Aquarian Star, representing great magic and power. They say it stood at the gates of Atlantis itself.
SAM
Hmm. It's on all the tombstones except for this one – uh, Larry Ganem.
SAM shines his flashlight on a headstone that reads:
LARRY GANEM
March 23rd 1926
August 12th 1958
HENRY crouches down in front of the headstone, which has a different symbol carved into it.
HENRY
The Haitian symbol for speaking to the dead. This is the message. You boys ever exhume a body?
DEAN and SAM look at each other.
INT. ASTRO COMICS – NIGHT
The YOUNG WOMAN is leaning over the customer side of the counter. ABADDON walks up behind her, still wearing the bloodstained evening dress.
ABADDON
Love what you've done with the place.
YOUNG WOMAN
Uh, wrong night. Carrie screening's on Sunday. I dig your costume, though.
ABADDON puts a hand on the YOUNG WOMAN’s neck.
YOUNG WOMAN
What are you doing?
ABADDON breathes black smoke into the YOUNG WOMAN’s mouth.
ABADDON
Show me what you've seen.
The YOUNG WOMAN’s eyes turn cloudy gray and we see flashbacks of SAM, HENRY and DEAN in the store.
DEAN (in flashback)
Can we hijack your computer?
SAM (in flashback)
Give me a name.
HENRY (in flashback)
Ackers, David. Larry Ganem.
SAM (in flashback)
Tragic fire.
HENRY (in flashback)
That was no fire.
SAM (in flashback)
Albert Magnus.
DEAN (in flashback)
Thanks.
Still in the flashback, we see the laptop being turned around. One of the open windows is the McLean County obituary search results for Larry Ganem. The black smoke then flows from the YOUNG WOMAN’s mouth back into ABADDON’s.
YOUNG WOMAN
Please don't hurt me!
ABADDON smiles. The YOUNG WOMAN is wearing a black T-shirt with a pink picture of a high-heeled woman with a tail and the slogan “The Devil made me do it.”
ABADDON
I like your top.
ACT THREE
EXT. CEMETERY – NIGHT
SAM and DEAN are shoveling in a grave, the coffin fully exposed. HENRY crouches nearby.
DEAN
Tell me how we got stuck doing this?
SAM and DEAN lift the coffin out of the grave.
CUT TO:
A skeleton wearing a suit lies in the coffin.
DEAN
Hey, was, uh, Larry a World War I vet?
HENRY
No.
DEAN
Well, then, who's the stiff?
HENRY
No idea.
SAM looks at a metal tag on the skeleton’s clothes.
SAM
Captain Thomas J. Carey III. That mean anything to you?
HENRY shakes his head.
DEAN
Well, somebody wanted you to see this, so maybe that somebody is Larry.
SAM
So, what, maybe he, uh, survives the attack and hides out with this guy's identity?
HENRY
Okay. What are we waiting for, then? [He walks off.] Cover this up. Let's be on our way.
EXT. MOTEL – NIGHT
The IMPALA is parked outside a motel.
INT. MOTEL ROOM – NIGHT
SAM sits at a table reading John’s journal. HENRY is on the couch, whistling “As Time Goes By.” DEAN is using the laptop at the table next to SAM.
DEAN
What is that? I know that tune.
HENRY
“As Time Goes By.” I hope so. It's from "Casablanca."
SAM
Right. Dad used to whistle it from time to time.
HENRY
Your father saw "Abbott and Costello Meet the Mummy" at the drive-in one night. It scared the beeswax out of him. So I got him this little music box that played that song to help him sleep at night. It worked like a charm.
SAM
Wow, it's hard to believe Dad was ever scared of anything.
DEAN
Hey, uh, according to county records, Tom Carey lives in Lebanon, Kansas, and is a very happy 127-year-old. [He closes the laptop.] I say we get some shut-eye, head over first thing in the morning.
SAM
Wait, wait, wait. Listen to this. According to Dad's journal, he once tortured a demon that said he made his bones working for Abaddon, who, it turns out, is a Knight of Hell.
DEAN
What does that even mean?
HENRY
Knights of Hell are hand-picked by Lucifer himself. They are of the first-fallen, first-born demons.
SAM
So very pure, very strong.
HENRY
[standing] Legend has it that Archangels had killed all of them, which, as we have witnessed, is not the case.
DEAN
Unless she's the last of her kind.
HENRY
[gesturing to the journal] You say that belonged to your father?
SAM
Yeah.
HENRY
May I?
SAM slides the journal across the table towards HENRY.
SAM
It's a hunter's journal. I assume Men of Letters – you use journals, too?
HENRY
I intended to. I sent away for one the day before my initiation. [He lifts a photograph tucked into the inside cover of the journal to reveal the initials “HW” stamped in the leather.] As a matter of fact, judging by my initials here, this one, I believe.
DEAN
That was yours?
HENRY
It must have arrived after... I'm beginning to gather I don't make it back from this time, do I?
SAM
We don't know for sure. All we do know is that Dad never saw you again.
HENRY
What did he think happened to me?
DEAN
He thought you ran out on him.
HENRY
John was a legacy. I was supposed to teach him the ways of the Letters.
DEAN
Well, he learned things a little differently.
HENRY
How?
DEAN
The hard way. Surviving a lonely childhood, a stinking war... only to get married and have his wife taken by a demon... and later killed by one himself. That man got a bum rap around every turn. But you know what? He kept going. And in the end, he did a hell of a lot more good than he did bad.
HENRY
I'm sorry. I wish I had been there for him.
DEAN
Yeah, it's a little late for that now, don't you think?
DEAN gets up and walks towards the door.
HENRY
It's the price we pay for upholding great responsibility. We know that.
DEAN
Your responsibility was to your family, not some glorified book club!
HENRY
I was a legacy. I had no choice.
DEAN
Yeah, you keep telling yourself that.
DEAN walks out the door and closes it behind him. SAM and HENRY sit at the table for a few moments, then SAM gets up and we hear the door open. HENRY looks through John’s journal. When he finally closes it, we see DEAN and SAM, wearing jeans and T-shirts, asleep on top of the covers of the beds.
EXT. MOTEL – DAY
The IMPALA is still parked outside a motel.
INT. MOTEL ROOM – DAY
DEAN is asleep. SAM hits him on the shoulder with a notepad.
SAM
Hey. Wake up!
DEAN
What? What?!
SAM
Henry – he's gone.
DEAN
Where is he?
SAM
Well, no idea. He just left a note saying he was gonna fix everything.
DEAN
Yeah, or screw it all up. All right.
DEAN gets up.
INT. SHOP – DAY
HENRY stands outside the shop, looking at a symbol in the window. He enters.
SHOPKEEPER
Satnam. Welcome, traveler. What can I help you with?
HENRY
I can use a tear of a dragon and a pinch of the sands of time, but don't bother wrapping it up. I'll be using it right away.
SHOPKEEPER
We don't carry those things here. But can I interest you in some kava root? It's great for anxiety.
HENRY
In your window – hunters' signs. I know who you are and what you are. Now give me what I need so I can be on my way.
SHOPKEEPER
[cocking a shotgun behind the counter] I agree. You should be going, stranger.
HENRY
I understand. You don't know me, so you're reluctant to sell to me. Fine. But please let me purchase some chamomile [he lifts a spoonful of yellow powder from a dish on the counter] for my restless nights before I go. Bah-rah-gah-doh.
HENRY blows the yellow powder onto the SHOPKEEPER, who falls to the ground with a cry.
HENRY
Sleep well.
INT. MOTEL ROOM – DAY
DEAN enters the room.
DEAN
Now we know what he meant by "fix everything."
SAM
What?
DEAN
He broke in to the trunk, stole an angel feather. I'm guessing he's gonna whip up another one of those blood spells and Marty McFly himself back to the 1950s.
SAM
To do what? Stop Abaddon before she strikes?
DEAN
Or grab Dad and haul ass. Look, point is he's doing it.
SAM
How? He still needs two ingredients for the spell. Unless... unless there's some place nearby that sells real hoodoo.
SAM opens the laptop.
DEAN
I'll call Garth.
DEAN takes out his phone. SAM clicks on an item on a police scanner application on the laptop.
VOICE ON POLICE RADIO
All units, possible homicide at Astro Comics. Location...
SAM
Hey.
DEAN
Hmm?
SAM
It just hit the wires – one dead at Astro Comics.
DEAN
[looking over SAM’s shoulder] Abaddon?
SAM
Yeah, has to be.
DEAN
Okay, so she's close. I'll go find Henry. You find Larry. Figure out how to kill this chick.
DEAN leaves the room.
EXT. HOUSE – DAY
SAM stops in front of the house, looking at a notepad.
INT. HOUSE – DAY
A WOMAN pours tea. LARRY sits in an armchair and SAM on a couch.
LARRY
So, Henry is dead. I was so sure that – that he had survived.
SAM
Yes, well, um, like I said – I found his journal and was hoping you could fill in the gaps and explain to me what happened that night in 1958.
LARRY
It doesn't matter. They're gone. We're gone.
SAM
But Abaddon is not.
LARRY
Abaddon was a hired gun. She killed us all that one night.
SAM
Everyone but you.
LARRY
She blinded me. It's a miracle I survived.
WOMAN
It's okay, dear.
The WOMAN walks over to LARRY’s chair and puts a hand on his shoulder. LARRY leans over and kisses her other hand.
LARRY
But she did not get what she came for.
SAM
The box. Listen, Abaddon is here, and she wants this thing. So I need to know everything there is to know about it.
LARRY
In the box is the key to every object, scroll, spell ever collected for thousands of years under one roof. It is the supernatural mother lode.
INT. SHOP – DAY
DEAN enters.
HENRY
Poo-goh. Kah-nee-lah....
HENRY is speaking the words of the spell in front of a door on which is drawn the same symbol he used in 1958. The symbol is glowing bright gold.
DEAN
Henry, wait!
HENRY
This is a risk I have to take.
DEAN
And what if you die, huh? Who said you'll even survive a jump?
HENRY turns to face DEAN. The symbol stops glowing.
HENRY
You cannot begin to understand how I felt after reading John's journal.
DEAN
Oh, I think I can. See, I've read that thing more times than you can imagine, and it hurts every time.
HENRY
Maybe so, but you didn't let him down! I did! Just like you said!
DEAN
Well, I was wrong.
HENRY
No! No, you were right. And I'm going to go back and give him the life he deserves, not the one he was forced to live.
DEAN
And what if it's not meant to be?
HENRY
Then it will be!
DEAN
How can you be so sure?
HENRY
Because it's the right thing to do! I can save him and stop Abaddon!
DEAN
How?
HENRY
By going back an hour before she attacks and making preparations.
DEAN
If you do that and you change the past, me and Sam might cease to exist!
HENRY
I'm aware that time is a delicate mistress, but I'm willing to bet on this being for the best.
DEAN
Listen, I understand that this is not your idea of a happy ending, okay, and that – that you're disappointed that me and Sam are mouth-breathing hunters. But you know what? We stopped the Apocalypse.
HENRY
If this works the way I planned, there will never be an Apocalypse to stop.
INT. LARRY’S HOUSE – DAY
SAM
So... Abaddon wants the key so she can get her hands on it.
LARRY
[chuckles] Can you imagine what she would do with that?
SAM
So, how do we stop her? How do we stop Abaddon?
LARRY
You don't. [He takes a pen out of his pocket and writes on a notepad.] If you know where the key is, then take it to these coordinates. [He hands the notepad to SAM.] Throw it in. Shut the door forever. And walk away.
SAM
Wait, w-why would I do that?
LARRY
Because it is the safest place on earth, warded against any evil ever created. It is impervious to any entry, except the key.
SAM
Right, but then all that knowledge would be – would be lost and gone forever.
LARRY
And that is the price we have to pay for keeping it away from Abaddon. You do... have the key, don't you?
SAM
I don't, um... but, uh… [he stands] my brother... [the WOMAN stands also] my brother does.
WOMAN
How rude. You haven't finished your tea, Sam.
The WOMAN’s eyes turn black and she hits SAM. He falls to the ground.
LARRY
Abaddon.
ABADDON
The years have not been kind, Larry.
The WOMAN holds a knife, which she swings at LARRY. Blood splatters an old photograph of LARRY and the WOMAN on the mantelpiece.
INT. SHOP – DAY
DEAN’s phone rings.
DEAN (on phone)
Sammy?
INT. LARRY’S HOUSE – DAY
ABADDON, back in JOSIE’s body and wearing the clothes of the YOUNG WOMAN from Astro Comics, sits with her feet on the kitchen table. LARRY and the WOMAN are dead in the next room. The scene alternates between ABADDON at LARRY’s house and DEAN in the shop.
ABADDON (on phone)
No. Much sexier. Try again.
DEAN (on phone)
Abaddon.
ABADDON (on phone)
Good boy. Now listen up – I want to make a good, old-fashioned horse trade. Henry and the key for your brother. Or he dies. [DEAN closes his eyes.] Am I clear?
DEAN (on phone)
Crystal.
ABADDON (on phone)
On the road to Larry's, there's a processing plant. Don't keep me waiting.
INT. SHOP – DAY
DEAN hangs up.
HENRY
Abaddon has Sam?
DEAN
She wants to trade you and the key for Sam's life.
HENRY
If I could just go back, stop this all from happening.
DEAN
And what if you can't? I can't take that risk – not with Sammy on the hook now.
HENRY
I can't abandon my son, Dean! Not again! I need to do this. I'm sorry. [He turns back to the sigil on the door.] Kah-nee-lah... Poo-goh. [The sigil glows gold again.] Kah-nee-lah... Poo-goh.
DEAN
Well, I'm sorry, too.
DEAN wraps his arms around HENRY from behind.
ACT FOUR
EXT. ROAD – NIGHT
The IMPALA drives down the road.
INT. IMPALA – NIGHT
DEAN is driving. HENRY, in the passenger seat, wakes.
DEAN
Sorry about that.
HENRY
No, you're not. You've wanted to do that since we met.
DEAN
Henry, you need to understand something. When my dad died, I couldn't save him... no matter how bad I wanted to. I never want that to happen to Sam... ever. If there's a chance that I can save him, I'm gonna do it. He's my brother. He's the only family I got.
EXT. PROCESSING PLANT – NIGHT
The IMPALA is parked outside the plant.
INT. PROCESSING PLANT – NIGHT
DEAN and HENRY walk through the plant. HENRY’s hands are behind his back and DEAN holds his arm. They enter a large room.
HENRY
Don't do it, Dean.
DEAN
Too late for that now.
ABADDON and SAM are waiting in the room.
HENRY
That's the problem with you hunters. You're all short-sighted.
DEAN
Yeah, at least we're not extinct. Abaddon! I'll send Henry here over with the box. You do the same with Sam. No tricks.
DEAN puts the box into HENRY’s jacket pocket.
ABADDON
My only interest is Henry and the key. You two are free to go.
DEAN gives HENRY a shove. HENRY doesn’t move and DEAN takes out his gun.
DEAN
You can do this standing, or you can do it crawling. Your call.
SAM, whose hands are bound in front of him, starts walking towards DEAN. HENRY starts walking towards ABADDON. SAM pauses when he and HENRY meet in the middle.
SAM
Henry, I'm sorry.
HENRY
Save it.
SAM keeps walking. DEAN takes out a knife to cut the rope binding SAM’s hands.
SAM
Don't do this, Dean. This is a bad idea.
DEAN
Shut your mouth. Let's go. [He cuts the rope. HENRY reaches ABADDON.] Come on.
DEAN and SAM try to leave the room, but at a motion from ABADDON, the door closes.
DEAN
We had a deal!
ABADDON
[laughs] Surprise. I lied.
ABADDON plunges a hand into HENRY’s abdomen.
SAM
Henry!
SAM starts to run towards HENRY, but DEAN puts out a hand to stop him.
DEAN
Wait. Wait.
ABADDON withdraws her hand and HENRY gasps. His mouth is full of blood. We see that he is holding a gun behind his back and that his handcuffs weren’t fastened.
HENRY
You're not the only one.
HENRY shoots ABADDON under the chin. Her skull glows with bright light.
FLASHBACK: INT. IMPALA – NIGHT
DEAN (V-O)
I'm gonna do it. He's my brother. He's the only family I got.
HENRY
So, what are you thinking?
DEAN
Can you slow Abaddon down? Because if you can, I'll do the rest.
INT. PROCESSING PLANT – NIGHT
ABADDON
Whoo! What a blast. Now, give me the box.
ABADDON reaches into HENRY’s jacket pocket and takes out a pack of cards. She throws it to the ground.
ABADDON
[screaming] Where is it?!
We hear loud crashing noises and the lights go off and on with flying sparks.
ABADDON
Okay. We can do this the hard way.
ABADDON grabs HENRY’s chin and attempts to breathe black smoke into his mouth, but it seems to meet with an invisible shield. She shoves HENRY and he falls to the ground. SAM runs to HENRY and supports him. ABADDON tries to move, but seems to be held in place. She screams again and sparks fly from the lights.
ABADDON
Why am I stuck?!
FLASHBACK: INT. IMPALA – NIGHT
HENRY carves a devil’s trap into the head of a bullet. He hands it to DEAN.
DEAN
A devil's trap carved into the bullet.
DEAN puts the bullet into a gun and hands the gun to HENRY.
DEAN
You're gonna have to get close. And "close" means it could get ugly.
HENRY
I know. But you do that for blood.
INT. PROCESSING PLANT – NIGHT
HENRY shakes slightly as he leans against SAM and looks up at ABADDON.
ABADDON
You still didn't kill me.
DEAN
No, but you'll wish we did. [He cuts off her head with a machete.] The demon trap in your noggin is gonna keep you from smoking out. We're gonna cut you into little steaks and bury each strip under cement. You might not be dead, but you'll wish you were.
HENRY
We did it.
DEAN crouches down in front of HENRY.
DEAN
No, you did it. For a bookworm, that wasn't bad, Henry.
HENRY
[smiles] I'm sorry I judged you two so harshly for being hunters. I should have known better.
SAM
About?
HENRY
You're also Winchesters. As long as we're alive, there's always hope. [DEAN and SAM look at each other.] I didn't know my son as a man, but having met you two... [HENRY takes DEAN’s hand with his right hand and holds out his left hand to SAM] …I know I would have been proud of him.
HENRY dies. SAM and DEAN look at each other, then SAM looks down at the box, which HENRY put into his hand. SAM looks back up at DEAN, who looks down.
ACT FIVE
EXT. CEMETERY – NIGHT
SAM hammers a cross grave marker into the ground, then stands next to DEAN in front of the grave. “H. Winchester” is carved into the cross.
SAM
I get it now.
DEAN
Hmm?
SAM
What Cupid said about heaven busting ass to get Mom and Dad together. The Winchesters and the Campbells – the brains and the brawn.
DEAN
Well, I'm glad you see it. All I see in our family tree is a whole lot of dead. [He takes a photograph out of his pocket.] Hey, I, uh... found this in Henry's wallet.
DEAN hands the photo to SAM. It is the picture of HENRY holding a baseball and John holding a bat that HENRY was looking at in the diner.
SAM
Dad looks happy. [He hands the photo back to DEAN.]
DEAN
Kind of makes you wish he knew the truth, huh? I mean, all those years thinking his old man ditched when the poor son of a bitch really came here and saved our bacon. Freaking time-travel, man.
SAM
You think it would have made a difference?
DEAN
What?
SAM
Dad. If he'd had his own father around.
DEAN
What, in how he raised us? Sammy, he did the best he could.
SAM
I know that. I – I do. They all did.
SAM takes the box out of his pocket.
DEAN
What are the chances that place is still standing?
SAM
A chance we've got to take, I guess. I mean, we are legacies, right?
A music box plays “As Time Goes By” as the camera pans out behind and above SAM and DEAN.
END
DELETED SCENE
INT. MOTEL ROOM – NIGHT
SAM and DEAN are sat at the table, SAM reading JOHN'S journal, and DEAN on a laptop.
SAM
Right. Dad used to whistle it from time to time.
HENRY is lounging on the couch.
HENRY
Your father saw Abbott and Costello Meet the Mummy at the drive-in one night. Scared the beeswax out of him. So, I got him this little music box that played that song to help him sleep at night. It worked like a charm.
SAM
(chuckles) Wow. It's hard to believe Dad was ever scared of anything.
DEAN
Hey, uh, according to county records, Tom Carey lives in Lebanon, Kansas. And is a very happy one-hundred-and-twenty-seven-year-old.
DEAN closes his laptop.
DEAN
I say we get some shut-eye, head over first thing in the morning.
SAM
Wait, wait, wait, listen to this: According to Dad's journal, he once tortured a demon that said he made his bones working for Abaddon who, turns out, is a knight of Hell.
DEAN
What does that even mean?
HENRY
Knights of Hell are handpicked by Lucifer himself. They are of the first-fallen, first-born demons.
SAM
So, very pure, very strong.
HENRY gets to his feet.
HENRY
Legend has it that archangels had killed all of them. Which, as we have witnessed, is not the case.
DEAN
Unless she's the last of her kind.
HENRY points at JOHN'S journal.
HENRY
You say that belonged to your father?
SAM
Yeah.
HENRY
May I?
SAM pushes the journal towards HENRY.
SAM
It's a hunter's journal. It-- I, uh, assume Men of Letters, you use journals too?
HENRY
I intended to. I sent away for one the day before my initiation.
HENRY peels back a picture of JOHN in the journal to reveal the initials "HW".
HENRY
As a matter of fact, judging by my initials here... this one, I believe.
DEAN
That was yours?
HENRY
It must have arrived after...
SILENCE as they all realise.
HENRY
I'm beginning to gather I don't make it back from this time, do I?
SAM
We don't know for sure. All we do know is that Dad never saw you again.
HENRY
And what did he think happened to me?
DEAN
He thought you ran out on him.
HENRY sits down at the table with SAM and DEAN.
HENRY
John was a legacy. I was supposed to teach him the ways of the Letters.
DEAN
Well, he learned things a little differently.
HENRY
How?
DEAN
The hard way. Surviving a lonely childhood, a stinkin' war... only to get married and to have his wife taken by a demon. And later killed by one himself.
DEAN
That man got a bum rap around every turn. But you know what? He kept going. And, in the end, he did a hell of a lot more good than he did bad.
HENRY
I'm sorry. I wish I had been there for him.
DEAN
(scoffs) Yeah. It's a little late for that now, don't you think?
DEAN gets up from the table, upset. He grabs his jacket.
HENRY
That's the price we pay for upholding great responsibility. We know that.
DEAN
Your responsibility was to your family. Not some glorified book club.
HENRY
I was a legacy, I had no choice!
DEAN
Yeah, you keep telling yourself that.
DEAN leaves the motel room.
HENRY
He was close to John?
SAM
(nods) Yeah, uh, very.
HENRY
You?
SAM
Our relationship was... Well, it was complicated at best (scoffs).
HENRY
And, yet, you two are so much alike.
SAM
No, tha--that would be Dean.
HENRY
(shakes his head) That's not what I see.
SAM
Look, if you want to, uh, get to know your son... read that (gestures to John's journal). It's all in there.
SAM leaves, HENRY begins to read JOHN'S journal.
