By Paula R. Stiles

[lots o' spoilers ahoy]

Tagline: A phone call from their father and a fight over what to do next splits up the brothers temporarily – and nearly does them both in. Sam goes after John and runs into a young girl named Meg who is a lot more than she seems. Meanwhile, Dean investigates the mysterious disappearances of young couples in Indiana and stumbles across an extremely dangerous hunt as a result.

Recap: No Then recap on this one at all (which is very unusual for Supernatural). It also follows on a cliffhanger from the previous episode, “Asylum”. However, before we get to the resolution of said cliffhanger, we jump back a year for the teaser to Burkitsville, Indiana. A young couple is leaving a diner after dark. The family who run the diner see them out, even giving them an apple pie. The daughter notes the man’s tattoo before her parents give them directions. The couple get in their car and drive away, but a little ways down the road, their car breaks down. The man, Vince, wants to take a shortcut through the orchard to a nearby house to get help because their cell phone won’t work. The woman, Holly, is nervous about going through the orchard, but relents (because they have no choice but to wait until morning) and goes in with him. They pass an extremely solid and scary-looking scarecrow on their way.

Vince makes a joke and they walk on. Holly gasps when she looks back and sees the scarecrow’s head turn (from her POV, we can now easily a wickedly curved scythe we didn’t see before), but she doesn’t say anything and Vince doesn’t see it. As they go through the woods, they both hear rustling and a moan, so they both run. Holly turns around at one point and realises she’s alone. She starts to really freak out, gets turned around and runs the wrong way, back toward the car. Then she trips and falls over something – it’s Vince. And he’s missing his face. She starts to scream and her screams go truly hysterical when she sees the scarecrow standing over her. Cut to a view of the scarecrow pole which is now empty, from where you can faintly but clearly hear her shrieking, and that no one is about to come help.

Cue title cards.

A year later, Sam is answering Dean’s cell phone in the motel because Dean is sound asleep (at this time in the show, Sam suffers greatly from insomnia). It’s John, their father. Sam wakes right up. Dean starts to wake up during the conversation and sits up (which is very nice for female viewers because this is one of the few times he sleeps topless, maybe because of the saltgunning he took in “Asylum”). John explains to Sam that he’s found what killed their mother (it’s a demon) and that he knows about Jessica (Sam’s girlfriend who died). Dean keeps trying to grab for the phone while Sam gets into a huge argument with John. John wants the boys to go investigate the disappearances of couples on cross-country trips in Indiana in the second week of April. Sam wants to know where John is so that he and Dean can meet up with John. John keeps insisting that it’s too dangerous. Dean finally breaks it up by grabbing the phone. When John speaks to him, Dean snaps into soldier mode and takes down the names.

Cut to the boys at night in the car. Sam is driving (Sam drove more early on in season one. Now, Dean does most of the driving). Dean fanboys John’s ability to put together such a pattern (this is still when Dean – and the audience – thinks John is a paragon of a hunter). Sam stops the car and starts another fight, this time with Dean, about John. Sam wants to go find John and says he thinks John is in California. Dean insists they need to take care of the hunt the way John told them to, to save lives. Sam really doesn’t care about that. He believes they need to find John and that they can take a week out to do it. He then throws it into Dean’s face that Dean doesn’t understand how he feels since their mother died when Dean was four and Sam’s girlfriend Jessica only died six months ago (really low blow, there, Sam).

The fight gets heated, to the point where Sam grabs his duffel bag and gets out of the car. Dean threatens to leave if he won’t get back in and Sam assures him that’s what he wants – he’s off to find Dad in California. Angrily (but also with some reluctance), Dean gets back in the Impala and drives away and Sam calmly starts to hitch a ride.

Later, Dean considers calling Sam or deleting Sam’s number from his cell phone (yes, he is that angry), but can’t quite bring himself to do it. Instead, he drives to Burkitsville and starts asking questions about the missing couple, including from the family in the teaser, who run a general store. The parents act dodgy, but the girl, Emily, seems sweetly willing to help. She does remember the guy from the teaser’s tattoo, though. Dean now has confirmation that the couple was there.

Dean also finds the scarecrow from the teaser in the orchard after his EMF goes nuts while he’s driving past. It looks menacing in daylight, but does not move when Dean gets up on a ladder to examine it closely. He notices a strange bit of leather that has the same marking as a tattoo from the man from the teaser. Uh oh. He goes back into town and asks more questions, posing as a friend of the dead couple. Needless to say, this endears him to no one there, including the latest couple being fattened up.

Dean finds out from Emily that their car mysteriously developed trouble and won’t be fixed until nightfall. She also tells him that she wasn’t born in the town – she’s an orphan who came to live with her aunt and uncle when she was 13. She says the towns around Burkitsville are all falling apart, but it’s as if Burkitsville is “blessed”. Dean has an idea why. He goes looking for the latest couple, who are in the diner. When Dean finds out the problem with their car (a brake line), he offers to fix it faster for them so they can get out before dark, but they refuse. They’re put off by him and his strange interest in their car (the shots in this scene are interesting as Dean, from the POV of the couple, looks really dodgy and untrustworthy). At that moment, the diner owner comes in with the Sheriff, who loudly accuses Dean of being a troublemaker in front of the couple and runs him out of town.

That night, the couple runs into car trouble right outside the same orchard from the teaser and heads toward the same brightly-lit house. Just as the scarecrow makes his appearance, though, Dean pops up out of nowhere with a shotgun and they really start to freak out. Dean warns them to get to their car and shoots the scarecrow, which doesn’t respond to shotgun shells (crap). At this point, the man and woman finally figure out that Dean is the good guy and run as instructed, with Dean on their heels, shooting back at the scarecrow. The thing only gives up the chase once they reach the edge of the orchard. When they ask what it was, Dean, who has his gun aimed back at the woods, retorts, “Don’t ask.”

Meanwhile, Sam encounters a girl named Meg in her travels. He offers to travel with her, but she goes off with a skanky trucker, instead, who will only take the girl hitchhiker. Later, he’s surprised to see her at a bus station, hale and hearty and going to California just like him. Oddly, his spidey sense does not start tingling at this strange coincidence (since there are rarely those kinds of coincidences in his line of work and John warned him that “they” were everywhere at the beginning of the episode). Despite her earlier hostility and generally prickly nature, they have dinner together. Meg talks about how her parents don’t understand her, that families are a ball and chain. Sam admits that he had a fight with his brother and is traveling cross-country. He seems to have found a soul mate.

Dean calls Sam and apologises for being a jerk. Sam says likewise. Dean explains that there is a real hunt and that he thinks it’s a pagan god, connected to some springtime fertility rite. He’s going to the local community college to talk to an expert. Sam asks if he should come back, but Dean says no. Sam was right; he always knew what he wanted to do. There’s an irony here, as what Sam wants to do is find their father and work with him (lean on him?), whereas Dean ostensibly is following orders when he takes on the hunt in this episode alone. But he’s not following orders later in “Shadow” when he sends their father away. For all of his talk about following orders and “being a good son”, Dean seems to lose interest in actually being with John after his desperate phone call to their father goes unanswered in “Home”.

After Dean hangs up, Meg asks Sam whom he was talking to and Sam says it was his brother, calling to say, “Goodbye.”

Dean goes to the local college and talks to the expert (whom you all should recognise as William B. Davis – Cigarette Smoking Man from The X-Files). The way the show couches Dean’s interview is a little annoying, making it sound as though Dean couldn’t do any research on his own, even after easily sussing out that it’s a fertility god from the pattern of couples disappearing (something even John, for all his vaunted skills, didn’t notice). It might have been better to have Dean asking about local ethnic groups and any deities in the regions they came from, instead (though he does get to that after the As You Know, Bob exposition about what type of fertility god it could be). Dean figures out from the professor’s information that it’s a Norse god called a “Vanir”. The Vanir were the more unruly side of the Norse pantheon, including such figures as Loki the Trickster (who was sometimes half-giant). The Aesir were the “light” side of the pantheon, folks like Odin and Thor. According to the lore Dean finds, some villagers put up field effigies to the Vanir while others made human sacrifices of couples. And Burkitsville was settled by Scandinavian immigrants. Unfortunately, what Dean doesn’t anticipate is getting cold-cocked by the Sheriff’s rifle as he leaves the professor’s office (Jensen Ackles does a very good stunt-fall). Seems the professor is in on it.

In the bus station, Sam is supposed to get on his bus, but he’s been calling Dean and Dean hasn’t answered for three hours or even turned on his phone. It’s not like him. Meg accuses Sam of backsliding on his new independence, but Sam doesn’t get on the bus. Instead, he steals a car and heads for Burkitsville.

In Burkitsville, it’s raining and the townspeople are arguing about what to do. They only have one chance left to get it right, but Emily’s uncle is reluctant. He’s the one who always has to send the couples down to the orchard and it’s been weighing on him. He reluctantly agrees that Dean has to die, but Emily is an innocent. Why her? The others insist it has to be this way. It’s never stated outright that the couple have to be outsiders (and the Vanir itself doesn’t seem picky in that respect), but the only candidates for those who weren’t born in the town, and are a young man and woman, are Dean and Emily. So, it has to be them. Cut to Dean in a root cellar watching as they shove Emily in with him. Emily is crying and pleading, but her aunt insists it’s “for the common good”. Dean explains what’s happening to Emily, though she has trouble believing it. He does find out from her that there is an old tree, “the First Tree”, that the first settlers brought over from Scandinavia. He figures that they need to torch the tree to kill the Vanir, or at least cut it off from its worshipers. He reassures her that he will come up with a plan. However, when the townspeople come back and take them out to be tied to trees in the orchard, they have guns on Dean. As darkness falls, he’s still working on his plan.

Fortunately, Sam shows up. Dean is ecstatic to see him, but when he tells Sam to “keep an eye on that scarecrow”, Sam doesn’t see any, which ratchets the anxiety right back up. The brothers and Emily make a run for it, but the townspeople show up again with guns. However, just as Emily’s aunt and uncle are pontificating about how “the good of the many outweighs the good of the few”, the scarecrow stabs the uncle from behind, killing him. The aunt starts to shriek. The scarecrow grabs her by the throat and drags off her husband’s body for good measure. This is too much for the other townspeople. Faced with what their god is really like, they break and run. Sam, Dean and Emily also run, but they come back the next morning and burn the tree. Emily insists on torching it herself after Sam pours kerosene all over it. The boys see her off on a bus and reconcile.

In the epilogue, Meg is riding with another shady character to the tune of “Bad Company”. She pulls out a strange, metal cup and asks the guy to pull over as she needs to make a call. Then she slashes the driver’s throat and fills the cup with his blood. Chanting and stirring the blood, she demands to know why she was pulled back from stopping “Sam Winchester”, but as a demonic voice whispers back, she says, cowed, “Yes, Father.” Meg is a demon. And now we know what happened to the first poor bastard she went off with.

Review: Wow, Sam is a big old jerk in this one, isn’t he? Selfish, whiny, totally willing to make extremely nasty comments about Dean, to Dean (not that Dean exactly holds back in his retorts, which are pretty cutting). And this is just season one! Though maybe the writers wanted to balance out all the overboard Sam-worship of “Home”, though you’d think his trying to kill Dean while under the influence of Doctor Nutty in “Asylum” would have taken care of that. There’s a really funny Supernatural icon somebody made up on LJ a while back that takes a Jayne comment about Simon and River Tam from Firefly, and applies it to Sam and Dean, instead: “Dear Diary: Today I was pompous and my brother was crazy.” That pretty much sums it up for them in “Scarecrow”.

It makes me wonder sometimes if Sam ever looks back beyond all the crap that happened in season four, or even season three, and feels guilty about it. As worried about Dean as he was in season two, I never got the impression that he understood what a humongous brat he was in season one. Not that I think it’s useful to beat yourself up for things you did to someone years ago when you’re already trying to make amends to that person now. But the changes Sam has been going through in season five (and please, Kripke, make them permanent this time), where he truly and finally seems to be growing up, go deeper than regretting screwing Ruby and drinking demon blood. It’s as if Sam is finally realising his human faults on top of whatever demonic ones YED tried to program into him as a psykid, which would include remembering fights like the one in “Scarecrow” and regretting them. I mean, running off half-cocked by himself put Sam in the company of a demonic bitch who is still hounding the brothers (as of 5.10) and put his brother in terrible danger. Yes, Sam saved the day (sort of), and yes the boys reconciled, but Dean and Emily might not have ended up in their predicament in the first place if Sam had kept ranks.

Then again, why pile on Sam when John has so very much to answer for? Yes, by all means, call your kids up after ignoring them for months and then tell them they can’t come see you because it’s “too dangerous” (Then why’d you call, John? Isn’t that dangerous, too?). Then send them off on a hunt that is incredibly dangerous, after a pagan god, no less. Nice going, there, John. One could almost think that John deliberately goaded the brothers into breaking up (he was pretty jealous of their bond), except that “In My Time of Dying” later amply showed that John really wasn’t that bright. He could see all sorts of external patterns, but he didn’t have the first clue (consciously) about how to alleviate the malign effect he had on his sons. And whenever he did figure out something about it, he just used that insight to make things worse.

Watching “Scarecrow”, I can’t help remembering that Kim Manners’ last episode, season four’s “Metamorphosis”, didn’t make Sam look very good, either. I also can’t help remembering that Manners directed season two’s “Houses of the Holy”, which first mentioned angels and the Archangel Michael, not to mention that Sam was a devout Christian. In point of fact, Michael is the very first angel we “meet” when the priest discusses him in that episode and Dean seems fascinated by Michael. And now we know why. Could it be that Manners was the original author of that angel storyline and seasons four and five are the writers’ homage to him? If you look at “Scarecrow”, especially the scenes where Dean faces off against the Vanir or the moment when the townspeople open the trapdoor to shove the girl in and the light falls on Dean as if from Heaven, you have to wonder. Manners never did anything in his direction without purpose and he makes it very clear that the Vanir is just doing what it does – that it’s the townspeople who are the true MOTWs of “Scarecrow”.

It’s interesting that we have all this show mythos introduced (like Meg, most importantly, but also John’s calling after six months missing and admitting he’s found YED). Yet the real focus on the episode is always on the MOTW and Dean’s taking on an entire corrupt town by himself. Manners seems a lot more interested in Dean’s struggling in a situation that requires social finesse (to some extent) than in the uberplot elements about YED and John and Sam and Meg. Maybe this is why I picked this episode for the hiatus. Unlike most of the others, it doesn’t have a winter theme. It’s actually set in spring (second week of April), though you couldn’t tell from how dark it is, which makes it feel more like late October or November. But also, this seems like an early indication of why the writers eventually switched to a more Dean-centric uberplot when they introduced the angels. There is something inherently intriguing about Dean’s occasional forays outside of the supernatural world into the human world, which never start or end well, that is missing from the YED plot. Not that YED or Sam’s demon blood or the whole thing building up to Lucifer and the Apocalypse was dull, but it had been done before (albeit perhaps not so sympathetically over so many seasons, since such shows tend to burn out quickly). This other thing with a human who was more a denizen of the supernatural world than the human world…not so frequently done. At least, not where the human was a protagonist and didn’t get killed off.

So, it’s curious that Dean does fine when it comes to facing off with the Vanir (the supernatural MOTW); it’s his conflict with the town (the human MOTW) where he falters. His crippling lack of social skills is especially prominent in the uncomfortable diner scene where he attempts to convince the current chosen sacrificial couple that he has their best interests at heart. He rather forlornly admits that his brother Sam is much better at convincing people, just before the Sheriff shows up to run him out of town. The town is quite successful at isolating Dean and portraying him as a loner and dangerous character (which he is, but not necessarily the way they mean). It doesn’t stop him from saving the couple (who initially see him as terrifying as the scarecrow when he suddenly pops up to save them in the orchard), but it does put him in terrible danger, as well as the week’s Damsel in Distress, Emily.

Meg is an interesting character in that she was first paired off opposite Sam when she was introduced in “Scarecrow”, but became Dean’s nemesis later on. This makes sense considering her relationship with YED (and later, Lucifer). In “Scarecrow”, she plays on Sam’s anger toward his family and encourages his rebellion by claiming that she has also rebelled against her parents by hitchhiking across country. The irony at the end of the episode isn’t just that she is a demon who has been trying to isolate him from his family (specifically, his brother), but that she is, herself, intensely loyal to her own father, Azazel, and blindly serving him as much as Dean serves John at this point. Similarly, Sam is drawn to (and manipulated by) Ruby due to her shtick about being the Little Rebel Demon That Could. But in the end, she is loyally serving out Lilith’s plan (though, granted, there’s just a little bit of self-aggrandisement under Ruby’s fanatical, boasting speech in “Lucifer Rising”).

It’s as if Sam is drawn in by these false shows of rebellion (enough that he doesn’t see them for what they really are), as well as probably loneliness and a desire to replace Jessica in his heart. Yet, it’s not likely a coincidence that both demonic women are secretly like Dean in that they are extremely loyal to another party (just not Sam). It’s as if Sam subconsciously senses this betrayal and it only makes him drawn to them more. In the end, he even chooses Ruby (who is only pretending to be loyal to him) over Dean, who is “weak” (to Sam’s mind) yet also wavering in his single-minded loyalty to Sam due to this new “mission” from the angels – which Sam promptly tries to coopt. Man, Dean’s not the only Winchester brother who’s a little screwed up in the head, is he?

Another reason to choose “Scarecrow” for the Christmas season is that it’s one of the scariest illustrations of why commercialising religion is bad, ever. Yes, “A Very Supernatural Christmas” features gods as the MOTW, too, but they aren’t particularly divine gods. They’re more like Grendel monsters. The Vanir in “Scarecrow” is more on the level of the Trickster from “Tall Tales” (who later turns out to be very powerful, indeed). What the brothers “do” to it is pretty indirect – when they burn its tree, do they really kill it, or do they merely sever its tie to that community, sending it back to wherever divinity in the pagan part of the Supernaturalverse goes? There are also hints that maybe the Vanir wants to leave, anyway. The townspeople have been appeasing it with sacrifices of strangers, but of course, this is cheating.

“Scarecrow” is a clear homage to Shirley Jackson’s chilling short story, “The Lottery”. “The Lottery” is meant to be a brutal satire and warning about the perils of blindly following tradition long after you’ve forgotten its origins. But it also shows something about human sacrifice: it’s supposed to be voluntary. Oh, yes, there are examples of involuntary human sacrifice all over the place, but in cultures that are healthy and thriving, these examples are clearly set in context (prisoners of war sacrificed to the war god, for example) and also within a milieu where the members of the culture regularly and voluntarily make smaller blood sacrifices to the gods (such as cutting oneself or piercing oneself in Mesoamerican cultures) to nourish said gods. It’s not a case where you just offer up someone in your place every time, all the time. Even the more bloodthirsty pagan gods (who were, contrary to modern western opinion, fairly unusual in pagan cultures) demanded sacrifices from their worshipers and not just any old stranger. By “farming out” their blood obligation, the townspeople are playing with fire.

Also, many of these cultures (the Bronze Age Greek culture described from a distance in Homer’s epics, for example, or the later Iron Age Germanic cultures) had strong taboos against harming guests. So, fattening up total strangers and then feeding them to the gods as the townspeople do in “Scarecrow”? Bad. Very, very bad. In fact, the A and B storylines are about the perils that travelers face on the road, whether it’s Meg and her “shady” rides or the good people of Burkitsville, Indiana. All of them are perilous to the unwary.

So, it’s not really a surprise that, when the townspeople finally corner the brothers and Emily, the Vanir takes two of the townspeople, instead. Yes, Sam showing up puts the lie to Dean and the girl being a couple and her aunt and uncle are the only clear-cut couple in the group. But also, the Vanir expects to take its sacrifices from the community to whom it gives back (otherwise, from a religious standpoint, those sacrifices are meaningless). Even in “The Lottery”, the human sacrifice is all wrong because, not only is it not really voluntary, but it is being used to get rid of people that the leaders of the community consider a threat to their continued power (and no one even remembers why, or for whom, they’re doing their killing). This is a sign of a community that is losing its faith. In thriving communities where the people really believe in that religion, the leaders are usually first up in line. Granted, this ritual has been going on in Burkitsville for a while, but the townspeople have been able to avert the Vanir’s wrath until now by sending the paltry sacrifices that only satisfied the letter of the ritual in alone and not venturing in there after dark on the second week of April. But the reason why the Vanir’s wrath came down so quickly and heavily (the rainfall) after Dean helped the latest couple escape is probably more because it was already unhappy with the townspeople. The ceasing of any sacrifices only tipped things over the edge.

Thus, you can see the Vanir taking the older couple as a way of redressing the balance, and making no move against the brothers when they burned the tree during the daytime because it was disgusted with the townspeople and wanted out of the bargain, anyway. Or you could see it as the Vanir representing a true divine principle (unlike the Grendel couple or the Leshi of “Fallen Idols”) recognising that Dean (and Sam) was protected by an extremely powerful force and taking another couple – a true sacrificial couple – instead.

Fun lines:

Vince [on spotting the scarecrow]: Check it out: “If I only had a brain…”
Holly: …we wouldn’t be lost.
Vince [sarcastically]: Thanks! That has got to be the freakiest damned scarecrow I have ever seen.

Sam [about John]: I don’t understand the blind faith you have in the man. It’s like – you don’t even question him.
Dean: Yeah, it’s called being a good son! You’re a selfish bastard, you know that? You just do whatever you want. You don’t care what anybody thinks.

Dean [to guy sitting outside "Scotty's Store"]: Lemme guess – Scotty.
Guy: Yep.
Dean: Hi, my name’s John Bonham.
Guy: Isn’t that the drummer from Led Zeppelin?
Dean [taken aback at being made]: Wow…good. Classic rock fan. [chuckles nervously]

Sam [quietly to Meg]: You trust the shady van guy but not me?
Meg: Definitely.

Dean [to the scarecrow]: Dude, you fugly. [checks out the tattooed bit of leather on the scarecrow's jacket] Nice tat.

Sam [to Meg in the bus station]: What happened to your ride?
Meg: You were right. The guy was shady. All hands. I cut him loose.

Dean [to couple]: Get back to your car. Go! Go! [fires off shotgun blasts at the scarecrow, which continues to advance]
Guy [after they reach safety]: What the hell was that?
Dean: Don’t ask.

Sam: The scarecrow climbed off its cross?
Dean: Yeah, Burkitsville, Indiana. Fun town.
Sam [about the scarecrow]: Something must be animating it. A spirit.
Dean: No, it’s more than a spirit. It’s a god – a pagan god, anyway.
Sam: What makes you say that?
Dean: The annual cycle of its killings. The fact that the victims are always a man and a woman, like some kind of fertility rite. You should’ve seen the locals, the way they treated this couple, fattened them up like the Christmas turkey.
Sam: The last meal. Given to sacrificial victims.
Dean: Yeah, I’m thinking a ritual sacrifice to appease some pagan god.
Sam: So, a god possesses the scarecrow…
Dean: …scarecrow takes its sacrifice. And for another year, the crops won’t wilt and disease won’t spread.

Dean: I’m actually on my way to a local community college. I got an appointment with a professor. You know, since I don’t have my trusty sidekick geek boy to do all the research.

Local expert: It’s not every day I get a question on pagan idolatry.
Dean: Yeah, well, call it a hobby.

Scotty: You have to understand, Harley. It’s for the good of the town.
Uncle Harley: I understand, better than all of you. I’m the one who gives them directions. I’m the one who sends them down to the orchard. We all close our doors, look the other way, pretend we can’t hear the screams. But this is different. This is murder!
Aunt Stacey: It’s angry with us. Already, the trees are beginning to die. Tonight’s the seventh night of the cycle, our last chance.
Uncle Harley: If the boy has to die, the boy has to die. But why does it have to be [Emily]?

Emily: Why are you doing this?
Aunt Stacey: For the common good.

Emily: I don’t understand. They’re going to kill us?
Dean: Sacrifice us. Which is…I dunno. Classier, I guess?

Aunt Stacey [to Emily]: That’s what sacrifice means – giving up something you love for the greater good. The town needs to be saved. The good of the many outweighs the good of the one.

Dean [to the townspeople]: I hope your apple pie is freakin’ worth it!

Emily: So, what’s the plan?
Dean: I’m working on it.
Emily [after darkness falls]: You don’t have a plan, do you?
Dean [unconvincingly]: I’m working on it.

Dean [sees Sam]: Oh! I take everything back I said! I’m so happy to see you!

Sam: I still wanna find Dad. And you’re still a pain in the ass. But Jess and Mom, they’re both gone. And Dad is God knows where. You and me, we’re all that’s left. So, if we’re gonna see this through, we’re gonna do it together.
Dean [sarcastically]: Hold me, Sam. That was beautiful.

Driver: So, where to, pretty lady?
Meg: How about you pull over?
Driver [wolfishly]: Okay. That works.
Meg [pulling a large metal cup out of her bag]: I’ve gotta make a call.
Driver: I got a cell you can use.
Meg: It’s not that kind of a call. [kills and drains him then shoves him over] Thanks for the ride.

Next Week: Faith: A hunt-gone-very-bad leaves Dean with a damaged heart and only weeks to live. Sam finds a solution…that leads to a hunt that quickly goes even worse.

Next New Episode: Sam, Interrupted – on January 21.

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