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

We cut all the way back to Sam and Dean hitting Nevada City, California, for the first time and watch as they zip through the initial conversation they always conduct regarding the true nature of this week's dark demonic beastie, and then we follow them into the local library, where they unearth an old newspaper article regarding the initial incident on Route 41 that killed Jonah and Molly. By the way, I should probably note that said article goes to great lengths to assure us that Molly was innocent of any wrongdoing, and it also establishes something of a neat little parallel in that David staggered away from the wreck to stumble across Marion in her Manse on the night of the accident, much as Molly's been staggering away from the wreck to stumble across Jonah in his cabin during every nightmarish anniversary since. In any event, the boys learn from David that Molly had been cremated, and so puzzle over what, exactly, is holding her to that particular place if she no longer has any remains lingering beneath the local cemetery. In an answer that isn't, really, we get a couple of reminders of the crash itself before Sam hops in to repeat his line from earlier this evening about "some spirits only see[ing] what they want," and everything barrels forward from the moment of this night's replay of the crash to the point where Dean slams on the brakes and halts the Impala inches away from Molly's legs. This time around, though, we get to hear their reaction inside the car. "Dean, I don't think she knows she's dead!" Sam gasps. Duh. And finally, after repeating a few key lines about spirits holding on too tightly, or whatever, we at long last arrive back at the present, where Molly realizes that everything they've just told her must be true. She gapes something about Greeley's role in all of this, and Sam's forced to explain that because Molly never allowed herself to "see the truth" about what actually happened, Greeley's undead spirit thus gained an opening through which he was able to chain her to that particular stretch of highway so he might hunt her down and torture her for what she'd done to him. Or something like that. Is this episode over yet? We've got another commercial break first? Crap.

As we fade back up for the denouement, the storm that had been raging the entire evening is now breaking up just in time for the sunrise. And I wish I had the strength to do justice to the following scene for one reason and one reason only: Tricia Helfer acts the hell out of it. Unfortunately, any strength I had has long since been drained away by the deadening pace at which this episode's been running, so long story short, Sam and Dean convince Carol Anne here to go into the light, despite the fact that none of them have any idea might be waiting for her on the other side. Even though she wants so desperately to speak with her husband one last time, Molly eventually agrees and steps forward towards the sunrise. And after, um, saying goodbye to all of her cares and worries, or something, her form bursts open with a white light that envelops her completely before merges with the rays of the rising sun and vanishes. "I guess she wasn't so bad for a ghost," Dean muses after she's gone. "You think she's really going to a better place?" Captain Empathy, looking particularly pained, mutters, "I hope so." "I guess we'll never know," Dean shrugs, "not until we take the plunge ourselves, huh?" "Doesn't really matter, Dean," Sam quietly replies. "Hope's kind of the whole point." Dean and I are thinking the same thing about that, and our thoughts are far from pleasant. Choosing not to vocalize what's leaping around in his head, Dean instead affably thumps Sam on the arm and smirks, "Well, all right, Haley Joel. Let's hit the road." As a light rain patters against the street, Sam and Dean cross back to the Impala, and while an aggravatingly mournful woodwind tootles on the soundtrack, Dean collapses into the driver's seat. His final slam of Metallicar's door takes us to black.

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