Episode Report Card
Demian: C+ | 5 USERS: A-
The Hardy Boys Realize Hope Floats

Outdoors, as Dean and Sam start shoveling dirt into Marion Greeley's impromptu grave, Molly again peppers them with questions for which long-time viewers have already received the answers. Sort of. Well, okay, long-time viewers don't have answers for these questions, because they're all about where the unquiet dead go after the brothers have salted and burned their bones, and this show has wisely chosen never to deal with the afterlife at all, especially in this scene, but again: Whatever. DRAGGING! At some point, Sam posits that because no one truly knows what comes after, an additional motivating factor lashing the unquiet dead to this world of ours is fear of the unknown. This prompts Molly to gaze dejectedly at Marion Greeley's rapidly disappearing corpse and admit, "The only thing I'm scared of is losing [my bastard husband] David -- I have to see him again." Our Intrepid Heroes pause in their shoveling for an awkward moment, so I'm guessing things aren't looking so good for David right about now, but none of that matters because they've chosen to send us all into the next commercial break most woefully CHOMP!-less. Worthless sons of bitches.

Grisly Greeley Manse. As Molly wanders through the kitchen examining that old photo album, Sam approaches Dean out in what remains of the living room for a hushed and urgent tête-à-tête regarding what Molly should and shouldn't know about her beloved bastard of a husband. Sam's advocating full disclosure, here, but Dean insists Molly remain in the dark until this long night is over. "I know you feel guilty, all right?" Dean hisses. "But let's just stick to the plan -- let's get her out of here, and then we'll tell her." "Tell me what?" the suddenly appearing Molly demands, having overheard this last bit as she unexpectedly exited the kitchen to join them. "What aren't you telling me?"

The conversation quickly descends into a screaming bitchfest regarding the current whereabouts of Bastard Dave that would have gotten very loud, indeed, had the Manse radio not chosen this juncture at which to sputter to life, squealing up and down the dial until it lands on a station that just happens to be playing "The House Of The Rising Sun." "He's coming!" Molly immediately frets. "Good God, I hope so, you silly woman!" Raoul interjects. "If something of interest doesn't happen soon, I might just have to get violent myself!" Not in my living room, missy. In any event, Dean orders Sam to remain with their unexpected guest while he himself bow-leggedly clomps off to investigate. In a corner of the kitchen, Dean lifts a cobwebby dropcloth off one of those ancient radio consoles that feature AM, FM, and various shortwave tuning capabilities. As the song continues tweedling eerily in the background, Dean crouches to the floor to find the console's frayed and useless power cord abandoned on the dusty kitchen tiles. DUN! The wind outside suddenly kicks up, and Dean warily approaches the kitchen door, where an unearthly frost races across the still-intact glass to reveal the finger-drawn words, "SHE'S MINE." Dean tenses his jaw and darts his eyes around, while out in the living room Sam mimics those actions as Molly stands very still by the window, her apparent calm betrayed both by the expression of utter dread on her face and by her fingers nervously twisting themselves into knots. Sam edges towards the kitchen himself, and that's a very bad move, indeed, for it's at that moment Grisly Greeley chooses to strike, smashing through the remaining panes of glass in the window behind Molly to wrap his arms around her waist from behind and haul her out through the now-shattered windowframe into the dark woods beyond. Our Intrepid Heroes give chase and give chase and give chase and give chase and give chase and give chase and give chase and give chase and give chase some more, but Grisly Greeley and his fetching victim are nowhere to be found. We do, however, get a lovely shot of the boys standing side-by-side in the misty woods, an expression of unalloyed panic on each of their faces, and The Ginormotron is positively towering above Li'l Stumpy in the shot. Hee.

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