THEN: Mrs. Butters identifies the huge telescope in the bunker as an interdimensional geoscope and says it isn't good when Dean says he can't see anything through it. Dean angrily says he's nothing but a hamster in a wheel and it's all Chuck's fault. Jack says that he's supposed to kill God; Sam tells him he's the only one who can. Jack tells Cas that he WILL kill Chuck and Amara, but he will die too. Cas tells Dean there's something he needs to know.
NOW: The gentle sounds of an old song from the forties, "If I Didn't Care," plays as artificial lights reflect dimly off wet pavement. In the night, a car pulls up outside the Rooster Sunrise Motel, it's facade also advertising "Lounge," and a mid-thirties man exits the car. He is bearded and balding, wearing a white henley under his jacket and some kind of pendant on a necklace. He approaches the desk where a reluctant clerk greets him as Travis Johnson and scolds him for being late to check in. He's been here before and he's getting the same room as before - Room 214 - on doctor's orders. "Welcome back," says the clerk.
Travis walks by two old vending machines and turns down a hallway lined with doors. He hesitates outside Door 214, his hands shaking, and sighs. "You can do this," he says aloud. He slowly turns the key and turns on the light. The room is a little wider than an average hotel room. It has two double bed, both covered with an orange spread. The walls and floor are both covered in differing geometric patterns of various shades of orange and white. As he approaches the bed and puts his duffle bag on it, ominous music begins to play. Sitting at the edge of one bed, he pulls out a bottle of whiskey and drinks. His phone buzzes with a message: "Travis, I'm worried." "Just one night!' Travis says. "Then it's over. It wasn't real." He clutches at his pendant; it appears to be a ring. "It was never real!" Behind him, the closet door opens and a figure approaches him from behind. He spins to see a kid, a teenage boy with brown hair and intense eyes. "Do you remember me?" Travis falls back. The bottles drops and breaks. "I remember you!" he says. The boy steps forward, foot crunching on the glass, and picks up the broken whiskey bottle with its jagged edge. He smiles and leans forward. "Boo." The camera goes black as we hear a scream.
You know, I have been a huge advocate for a while now for Castiel getting his own stories. I always love it when they put him into Highway to Heaven/Touched by an Angel mode and show what he can do to help people out on his own. This time he even got the A plot. I’ve pitched the “Warrior Angel” spinoff before, where he somberly travels from town to town a la David Banner, looking for answers, helping a lot of people along the way. Please tell me this was a put pilot for that concept. Otherwise, I’m not sure what the purpose of this episode was, and it was certainly ill timed.
If it were any other season, in any other early season slot, I would have gladly enjoyed this episode. But we are down to the wire and expectations are high. This episode was tame, slow as hell, predictable and did very little to advance a plot that at this point in the series needs some serious action. More than one layer in the plotting would be wonderful. Case in point, episode 5.15, “Dead Men Don’t Wear Plaid.” The raising of the dead by Death himself. That was a pretty significant twist to a multi-threaded apocalyptic storyline. Here, there’s no more time for slow character studies and wrapping up personal grievances by the writers. That should have happened much earlier this season!
I thoroughly enjoyed Supernatural’s 15.15 episode “Gimme Shelter”. It intrigued me. There were layers upon layers of meaning in both plot and dialog, all skillfully delivered by excellent writing, acting and directing. I found myself listening intently, trying to decipher the underlying messages about the characters’ relationships and their current quest.
I enjoyed seeing Dr. Sexy again, this time as Pastor Joe. He was a charismatic guest star (obviously, given his prior role/name!) who made the soup kitchen scenes convincingly interesting. Welcome Back Steve Bacic!
I loved Castiel and Jack’s escapades. Castiel’s reactions spanned the full range of emotions, starting with humor, pausing momentarily in sincerity, and ending on horror and grief. At the beginning of the episode, Castiel was hilarious when, within moments of walking in the door, he scrambled to get up to speed on Mrs. Butters (“Mrs. What’s?”) and why he was being assigned to babysit Jack, perplexed at how “a murder investigation” would distract Jack in a good way!
THEN: Amara tells Dean she's giving him a gift. Mary appears in the dark woods. Dean asks how Jack will destroy: will he go "full smite?" They discuss how if the world is out of balance, it will end so Jack needs to kill both Chuck and Amara.
A bland collection of brightly colored peas, carrots, and beans plop down onto a white ceramic plate, followed by the splat of a spoonful of mashed potato. Young women are serving the needy in a shelter. A small older woman, face ravaged by her experiences, wanders around the room. Wearing a wool hat and voluminous blanket-like coat, she looks dirty and smelly. One helper quietly mentions to her friend how she is "one of God's weird, creepy-ass creatures." She tells a young man in a pink sweater that he needs to do something about it. After all, they have a rule about being clean in order to eat there. The young man reluctantly walks around the serving table to approach the bag lady when he is stopped by a 40-something, black haired man with a beard and tattoos. The young man is clearly a bit intimidated; the older man tells him that we have rules but we also have spirit too. "Be compassionate with this one," he adds. "Yes, Pastor," replies the young man. He brings some food to the old woman who eyes him a little suspiciously, but the pastor watches with a smile.
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