Dean doesn't take this too well. "First you tell me you've got the shining, and you tell me I've got to go back home, especially when"¦when I swore to myself I'd never go back there?" Sam is sympathetic, but makes the solid point they need to check it out. Dean reluctantly agrees. I'm sure that'll be a tense trip.
The Impala is seen on the road to Lawrence (judging by the fake road sign) and pulls up to their old house in a quiet suburban neighborhood. Dean looks at the house like he's seeing a ghost, and Sam asks if he's gonna be alright. "Let me get back to you on that." Remember the days when these two would care about each other so much? I know, people change.
They ring the doorbell and the woman in Sam's dream opens the door. Instantly his eyeballs pop out of his head. Dean goes for the standard fake cover but Sam interrupts with honesty. They used to live there and want to see the old place. He even gives their real names. She recognizes the name, pointing out she found some old photos. Now Dean is surprised.
They go inside and meet the fam. There's a toddler in a pen named Ritchie, and of course the traumatized little girl who's name is Sari. Mom tells of the problems with the house. Shorts in the wiring because the lights flicker, the sink's backed up and there are rats. Dean asks if she's actually seen the rats, or only heard scratching in the floor. Only the scratches. Dean does his best acting job by not freaking. Then Sari tells the story of burning ghost in her room. They all try to tell her there's nothing in her closet, but Sam and Dean know there is so something in her closet.
Sam and Dean leave and now they can act freaked. Sam is freaked because everything she said is the classic sign of a malevolent spirit. Dean is freaked because Sam's visions are coming true. That kind of makes "Metamorphosis" come full circle, doesn't it? When he tells Sam, "If I didn't know you, I would want to hunt you," all that began in this episode. Fascinating, huh?
Okay, maybe not. Anyway, they fight about what's happening. They need to get the family out of that house now. Dean of sound mind points out they don't have a story that they're going to believe. So Sam asks what are they supposed to do. Why regroup at a local gas station of course! They need to chill out, pretend like it's just another job. This scene BTW ranks as one of the best Impala scenes ever.
They both lean against the back of the car and go through the history of the house. Sam asks what Dean remembers about the night of the fire. Not much. He remembers the fire, the heat, and that he carried Sam out the front door. Sam is shocked, for he didn't know that. Dean is surprised. Why does this surprise you Dean? You know how much of a secretive bastard John is. Man, these Winchesters really need to learn about sharing things.
He recaps John's story, that he found Mary on the ceiling, and whatever put her there was long gone. "And he never had a theory about what did it?" Sam asks. Of course he did, and we learn so in "In My Time Of Dying." He's just a bastard that didn't want to tell you. Sam says they need to check around, see if it's the same thing. Dean points out they need to talk to John's friends, neighbors, etc. Sam asks if this feels like just another job.
Dean doesn't respond since the answer is so freaking obvious, and instead excuses himself to go to the bathroom, but just outside of it, with the Impala in full backdrop, Dean pulls out his cell and calls his dad's number. He chokes out the following words on the brink of tears, and for the first time we see a very vulnerable side of Dean. "Dad, I know I've left you messages before, I don't even know if you get them. But, I'm with Sam and we're in Lawrence and there's something in our old house. I don't know if it's the thing that killed mom or not, but, I don't know what to do. So, whatever you're doing, if you could get here, please. I need your help dad."
No amount of recapping on my part could capture how raw the emotion is in this scene. I think this is the first episode that really nailed the setup for such heart tugging scenes to come. And the crying. Because come on, how often do you cry like that?
I'm not recapping the next scene. I've never been able to watch it with eyes open. Plumber, garbage disposal, hand, blood spurting, screaming. Nuff said.
They talk to John's old business partner at a garage, but don't tell him they're his sons. Oh come on, he'd be so pleased to know that. He talks about how much John loved Mary, but got weird after the fire. John insisted something killed her, even though the official cause was bad wiring. John started talking with a psychic in town, but didn't know which one.
Sam and Dean go through the yellow pages at a phone booth, and there's something you don't see anymore. Sam rattles off names of psychics, and the name Missouri Mosely catches Dean's ear. He pulls out John's journal and reads the passage "I went to Missouri for answers." Dean assumed it was the state. That's a fair assumption. Just wait until you see this Missouri.
Next thing they're in a waiting area in a house, and a black woman escorts a man out telling him his wife loves him. After he's gone, she tells Sam and Dean his wife is "cold banging the gardener." Sam asks why she didn't tell him the truth, and she admits people don't come there for the truth. Kind of defeats the purpose of seeing a psychic, huh? "Well come on in Sam and Dean. I don't have all day." They're floored she knows who they are. I would have called them Fred and Ethel just for grins.