Episode Report Card
Demian: C | 2 USERS: B-
The Hardy Boys Have A Suisse Mocha Moment

Smash to Dean pounding on the door of a house that is not zombie-fucker Neal's, with Sam anxiously whispering, "Take it easy, okay?" beside him. There will be none of that touchy-feely taking-it-easy crap for old Deano today, unfortunately, as he barks, "We need to talk!" the second Professor Mason answers the door. For whatever foolish reason, Professor Mason invites the obnoxiously rude strangers on his front porch into his home, only to have Dean light into him almost immediately after the door's shut behind them. The symbols they found on the casket's lid, you see, are from an ancient Greek necromancy ritual, and Dean's convinced himself that Professor Mason dug up his own daughter to turn her into a monster. Puffing himself up with self-righteous indignation, Dean rages, "Look, I get it -- there are people I'd give anything to see again, but what gives you the right? What's dead should stay dead! What you brought back isn't even your daughter anymore -- these things are vicious, they're violent, they're so nasty they rot the ground around them, I mean, come on! Haven't you seen Pet Sematary?" Meanwhile, Sam's been eyeing Professor Mason's increasingly incredulous response to this increasingly unhinged attack and, thus convinced of the good professor's innocence, screams for his brother to shut up. Dean ignores him completely until at long last Professor Mason seethes, "You're insane!" and charges over to his phone to call the police. Dean bats the receiver out of the good professor's hand to shout, "Where is she? I know you're hiding her somewhere -- where is she?!" Sam all but slaps Dean in the teeth to capture his attention and redirect it towards the cluster of vibrant orchids the good professor's growing in a sunny corner of his living room. As even Batshit Dean understands that live plants equal no zombies, Sam's finally able to drag his felonious aggravation of a brother out of the house, all the while spouting profuse apologies to Professor Mason.

Out on the sidewalk, Darling Sammy erupts into a fury of his own, pederaging alongside Dean, who determinedly makes his stompy and bow-legged way up the street away from Professor Mason's house while doing his best to ignore what his brother's howling at him. "I don't scare easy," Sam claims, "but, man, you're scaring the crap out of me!" Blowing past Dean's dismissive and condescending retort, Sam continues, "You're lucky this turned out to be a real case, 'cause if it wasn't, you just would have found something else to kill!" As Dean tries and fails to bluster his way through all of this, Sam enumerates, "You're on edge, you're erratic -- except when you're hunting, 'cause then you're downright scary -- you're tailspinning, and you refuse to talk about it, and you won't let me help you!" Dean does that same nodding and smiling thing he pulled back in Montana, but it's not really working, either because he's sober this week or because Sam's hitting at truths a bit more fundamental this time around. "I can take care of myself, thanks," Dean bluffs. "No, you can't!" Sam explodes. "And you know what? You're the only one who thinks you should have to!" "Dean, it's killing you!" he adds, over Dean's warnings against going in that direction again. "We've already lost Dad, we've lost Mom, I've lost Jessica, and now I'm gonna lose you, too?" Dean, out of snappy replies, just buhs around a bit before pulling it together and managing to change the subject by stating correctly, "Look, we better get out of here before the cops come." Sam, out of steam, rolls his eyes in frustration. "I hear you," Dean hastens to assure him, "I'm being an ass, and I'm sorry, but right now we got a friggin' zombie running around, and we need to figure out how to kill it." Sam stares at him for a moment before shaking his head around and wheezing out an I-can't-believe-this "Our lives are so weird, man." Dean's all, "Yeah, dude, whatever, vámonos!" and bolts from the frame. Sammy shakes his head around some more as the camera cuts over to...

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