#for what it's worth. I do hope sam explores this instead of the whole killer aspect

[utilitycaster]

The revelation about FCG's likely origins is highly vindicating but it has shifted the question considerably:

FCG's personhood has never been in doubt by the people around him who matter, and even by most NPCs. The only people who have truly treated him like a thing have been people who treat organic humanoids like things too (Hytroga, Hexum) whereas allied NPCs (Eshteross, the Green Seekers, Imahara Joe), and even villainous but not dehumanizing characters, like Yu or Ira, haven't acted differently towards him.

So the question has never really been "are they a person?" in the first place for both narrative and metanarrative reasons, but now it's solidly "is their insistence on their lack of personhood by design, or is it an ironic manifestation of that very personhood?"

It's an interesting one and I hope it gets explored, because it's a good answer either way. It could be by design: it could be that these assassin aeormatons were built to downplay that they were capable of true independence so that they could better insinuate themselves into the lives of the people to whom they were given, and to imprint upon those owners. It could also be that FCG just lacked the context to understand who they were, that Dancer didn't think it needed to be said, and that their stubbornness is making it hard for them to undo that kind of thinking.

[amarienne]

It’s been two days. My blood still boils when I think of all the lost potential. (ramblings regarding how out of character the finale was)

Never before has an episode of any show, or a chapter of any book, or a scene of any movie has made me so upset. There is rage inside of me and the question of ‘how can a writer betray his own characters like this’.

(huge post following.)

I was not a hardcore destiel shipper. When I first started watching SPN a few years ago I knew of the ship but I thought that there was no chance in Hell a show like this would make it canon. And if we had never gotten 15x18 and some parts of 15x20 maybe I would be a tiny bit happier with how the finale went.

But the biggest mistake they did was give us the confession scene and not only that but echo it in Dean's actions in 15x19.

'That's not who I am'

This line keeps coming back to me because literally two episodes ago we saw Dean willing to sacrifice himself, Jack and even Sam so Chuck would disappear. He was red with rage and he didn't care for anything else apart winning. Let's not forget the thing that made him stop for a minute was Cas questioning Sam on why they should not go ahead with the plan. [Oh, there are plenty to be said for the only angel in all the universes that didn't just 'follow orders' after 'gripping him tight and raising him from perdition' but I won't go into that here.]

And sure, all that was Chuck's writing, but wasn't everything?

So what I am trying to say is that in three consecutive episodes we see:

-Dean full of anger and rage and ready to do anything to win -Dean giving up, losing hope after being cornered -Dean and TFW (minus Cas) finally overpower Chuck and walk away peacefully

So what changed? What made Dean walk away redifining himself as something different than the 'ultimate killer'?

Castiel. Of course, Castiel. The confession was so precious not only because Cas professed his love for Dean. No. It was vital to the plot of the next episode. And that was because before Cas utterred 'I love you' he spoke of how he sees Dean. How the way he sees himself is not the way Cas and the rest of the world sees him. How everything he has ever done, good and bad, was for love. Only for love. Not winning, not gaining power or wealth or recognition. But for love. At that moment Dean sees himself as Cas sees him, and it leaves him struck, speechless. Dean, who always had a snarky line ready is in awe trying to understand the words he is hearing.

And then, after everything is done and dusted we see Dean say 'That's not who I am' mirroring Cas' final words. The words he spent I don't know how much time sitting on the floor against the wall thinking about and crying. Noone else had gotten across to Dean like that, not even Sam. And we see that he started adopting Cas' image of him, believing it to be true. Or starting to.

Dean Winchester overpowered the ultimate villain and chose to stay true to Cas' image of him instead of taking revenge for Chuck screwing him over all his life.

This is poetic and heartbreaking, especially knowing Cas is gone. Not having Dean talk about the confession in 15x19 makes sense. We see glimpses of him numb at the loss, mourning Cas, wanting him back. We see the hope in his face when he thinks he is back. All these things make sense for 15x19, and even though we were sad we had to wait for the next episode hoping to see something tangible (aka the week we all clowned) I was content. The battle was done, the main plot was wrapped up. All was left was to see where all this last minute huge (especially for Dean) character progression and self acceptance would end up.

And then fucking 15x20 happens. It is like the writers threw in a cardboard box all the above points and details and threw it in the ocean. Nothing, absolutely nothing after the first 5 minutes makes sense in this fucking episode!

The montage at the beginning filled me with warmth and happiness. Dean (and Sam) are having a normal morning. Dean looks happy, he is eating, not depicted as overly drinking and most of all he has Miracle. He is focusing his love and affection on another living being. Sweet and warm. He plans to spend the afternoon eating pie with his brother. Goofy and light. The man deserves it for a bit.

But then we get the mention of Cas from Sam and we see how Dean reacts. How can Dean, who was sobbing on the floor and was demanding Cas to be brought back basically an episode ago keep an emotionless face and brush it off. We get the line 'If we don't keep living all that sacrifice was for nothing'. So we are meant to believe that right now Dean is not particularly bothered with Cas' death because it was a sacrifice to save the world. At this point a dread is starting to fill me.

Um, if it was the first time Cas was dying I would understand this. We have seen Dean broken over Cas' death before multiple times under more peaceful circumstances. Dean wouldn't leave Purgatory without Cas and you are trying to convince me after gaining true free will and finally writing his own story Dean would not break every cosmic rule to bring Cas back? Even if he did not reciprocate romantic feelings? This is the textbook definition of out of character in my eyes. Screw the romantic aspect because we ship it. Strip all the glances, touches and sexy lines we enjoy to gif and think back to feed the good ship Destiel, forget about it.

Keep the core of their relationship- the '3rd Winchester brother' who has stuck through thin and thick with them for the past 12 years. You mean to tell me Dean would be happy leaving Cas in the Empty and continue living his life? How is that possible? How is that Dean? How is it possible that we would not see Dean at least trying?

And then 20 minutes later comes the complete opposite of the line Dean wants to stick by. 'If we don't keep living all that sacrifice was for nothing'

But Dean does not keep living, does he? He doesn't grow happy or old. He doesn't start a family or open a bar or learn to dance. He doesn't honour Cas' sacrifice. He dies in the most unimaginitive way. And it is cruel. So cruel.

Dean went from having the strong belief that he would die young on a hunt fighting a monster, saving someone, machete and gun in his hand to starting to accept there is more to him than killing things.

And this fucking episode did a full backtrack and what did it give us?

Dean dying young on a hunt fighting a monster, saving two kids, machete and gun in his hand.

We got Dean dying in a way that gave us a 10 minute speech on how much he loves Sam. We got Dean dying in pain, scared and terrified. We got Dean getting a hunter's funeral with only Sam attending. We saw at Mary's funeral how a hunter's goodbye should look like. Room full of friends, mementos and alcohol. And Dean doesn't get any of that to honour his life.

How can he deserve that? How is it possible?

Even with Heaven 2.0 now being this trully idyllic place how can this be what Dean deserves?

And Sam... Sam gets to grow old in pain and regret. One foot on Earth with his family, one foot ready to follow Dean. Did anyone think Sam looked happy in that montage? Leaving the only home he shared with Dean? Presumably giving up his hunter friends, not even playing a 'Bobby' kind of role? Keeping the Impala in a dusty garage?

Jack... Jack who said he would be hands off, but how am I supposed to believe this would include his family? And even if he didn't heal/save Dean you mean to tell me he wouldn't be there for Sam? I am thinking of Jack appearing after Dean dies, supporting Sam's weight as he collapses, explaining why he can't bring him back. Standing next to Sam as Dean's body is burning.

And Cas... Cas who finally told Dean his truth and then sacrificed himself, content. Cas was saved from the Empty. No longer in eternal sleep sufferring. Working with Jack to rebuild Heaven. And... what? Cas who made Earth his true home, who was talking through tears how he loved the whole world through loving Dean, chose to stay in Heaven? Not stepping in Earth? Not getting in contact with the brothers? Waiting for them to die to talk to them again? And even when Dean dies he is not there to welcome him along with Jack? How is that possible?

We had gotten to know these characters so well over the past 15 seasons. How can the writers give us such a finale, so OOC for all three of them?

How can we not get a scene with Dean and Cas after the last two episodes?

Why have the confession, why have this be Cas' true moment of happines?

Why have the prayer in Purgatory a few episodes back?

Why have Dean break down in a way he has never broken down before?

What is the point of all this if there will be no climax? Even if it is the tiniest nudge, a couple words and a hug.

It makes absolutely no fucking sense. Up until now it felt like all roads, all plot points were converging to one- happiness, peace, love and family.

But no. We got a finale that would make sense 15 years ago. 15 seasons worth of character development and relationship building (not just Destiel, but Sam + Eileen, Jody, Donna and the girls, Charlie and so many others) and we got a finale that basically had Dean die so Sam could have a family.

As others have said here in tumblr Dean and Sam's lives on Earth would end up being exactly the same they ended up being if Dean did not go to get Sam that night.

How can a writer choose this fate for their characters? Why explore everything we watched on our screens, if on the last episode you decide to press delete on 15 seasons and basically deliver episode 1 if something had gone wrong and Dean died?

It makes no sense! It makes no sense regressing your characters 15 years and taking out of them all the experiences, especially those of the past few episodes.

You strip them into their season 1 selves. You strip them from all the layers of friendships, relationships, pain, experience and wisdom they went through and you strip them down to just two broken brothers, sticking together hunting things and saving people til the end. Which yes, they were.

But that was not all they were. Supernatural was a show about the family you make, not the family you get dealt with. Sam and Dean MADE the choice of sticking together. Yes they were brothers, but we know how easy it would have been to lead very different lives which would resulted in never seeing each other. They chose to stick together and they chose to build a family based on love, not blood.

And we got nothing of that legacy.

Is is unfair and it betrays not us, the fans, but the characters.

And that's what's hurting most.

[sceptilemasterr]

MW Act 2, Scene 5 - Runaway

Title: Most Wanted: The Hollywood Killer (A CIU Screenplay)

Main Pairings: Dave x Sam

Other Pairings: N/A

Genre: Full Rewrite

Rating: PG-13 for violence, blood, swearing, alcohol, and sexuality

Summary: The three investigators explore Tull’s trailer, where they find more than they expected...

Previous Scene: Knock Knock

Masterlist: Link

INT. TULL’S TRAILER - NIGHT

Sam kicks the door in, and she, Dave, and Rhea enter the trailer. It is filthy. Trash, moldy food, and dirty clothes are scattered haphazardly. There is no sign of John Tull.

SAM: Dammit! He’s not here!

DAVE (disgusted): Eugh. At least he left a garbage heap of evidence...

RHEA: Literally. Eww.

She looks away from the garbage, catching sight of a photo that has been pinned to the wall near the bed. The photo shows a younger Tull standing with a large group of people, all wearing similar clothing and haircuts. A young girl stands just in front of Tull, who is resting a hand on her shoulder.

RHEA: Huh. What’s this?

Dave pulls on a pair of evidence gloves and crosses over to look at the photo. He gingerly picks up the photo and examines it.

DAVE: A family? His file didn’t mention that... Sam?

SAM: He doesn’t have one... at least as far as I know. Though who knows, with how little we’ve found about him?

DAVE: Might be worth followin’ up on.

He places the photo in an evidence bag. Then he turns, picking up a notepad sitting on a table nearby. He flips through the notepad, frowning.

RHEA (excitedly): A notepad? Ooh! Maybe he wrote his secret plans on it, or--

DAVE: Don’t get your hopes up, Rhea. It’s completely blank.

RHEA: Aww, and here I thought we had something.

DAVE (shrugs): Real life isn’t like the movies. The bad guys don’t usually write all their plans on...

He trails off as he notices something about the notepad.

DAVE: Actually, this might still be useful. The front page was ripped off.

RHEA: And that’s helpful... how?

DAVE: To be honest, I have no idea. But I bet forensics can get something out of it.

He puts the notepad in another evidence bag, then grins at Rhea.

DAVE: We’ll make an investigator out of you yet! Hey, Sam, have you found...

Dave and Rhea turn to see Sam staring at a sawed-off shotgun hanging on the wall. Her hands are balled into fists, and she is quaking with barely-contained rage.

DAVE (hesitantly): ...Massey? You okay?

RHEA: Looks like we found Tull’s weapon, at least--

SAM (with tranquil fury): That is not Tull’s weapon.

RHEA: What? But what else could it be? I mean, it’s here, in his trailer, with--

SAM: It’s the gun Tull’s been using. But it’s not his gun.

She reaches out, running her fingers along the gun’s barrel.

SAM (quaking with rage): It belonged to my mentor, Bill. He loved this gun... called it Old Genevieve. Look at this. Tull sawed it off. Desecrated it.

Dave crosses over to her, and hesitantly places a reassuring hand on Sam’s shoulder. She holds his gaze for a moment, then relaxes.

DAVE: We’ll get this bastard. I promise you.

SAM: We’d better.

Sam takes a deep breath, calming herself before starting to look around the trailer once again. The three of them search for a few moments in silence.

SAM: Right. So, we’ve got a picture of Tull with... some group or another, a blank notepad, and the weapon he stole. That ain’t nearly enough to go on.

DAVE: That about sums it up, yeah...

SAM: There’s gotta be somethin’ else.

She surveys the surroundings carefully, until her gaze stops at a pile of clothes draped across the far end. She stomps over to the clothes and shoves them aside, revealing a closet door behind them.

DAVE (impressed): Well, what d’you know?

SAM: Jackpot.

She grasps the door handle firmly and throws it open, revealing the inside of the closet. The entire thing is filled with a “shrine” to Hayley Rose; numerous newspaper clippings, photos, and magazine covers featuring the pop star cover every inch of the closet’s walls. The collage has been surrounded in a huge red heart, and several of the newspaper clippings have passages highlighted. Sam, Dave, and Rhea stare open-mouthed at the sight.

SAM: Holy...

RHEA: Freakin’...

DAVE: ...Shit.

They spend several moments just taking in the sight.

DAVE: How many words are there for “stalker?” Mirasol’ll have a field day with this.

He raises his phone and begins taking photos of the shrine from various angles. Rhea and Sam step closer.

SAM: Look... this clipping’s from her debut album in 2011.

RHEA: And here’s one from even earlier! 2003--whoa, fifteen years ago--this says that Hayley was just an orphan when she came to Hollywood. Wow, can’t believe the media never picked up on that story!

SAM: With stuff this old, he must’ve been collecting this for years now. Just waiting for the chance to--

DAVE (with sudden realization): Wait. What did you say?

SAM: Just sayin’, with stuff this old, he must’ve been collecting it all for years...

DAVE: That’s it. That’s the missing puzzle piece. Massey, Sarkar, you realize what this means?!

Rhea and Sam exchange glances as the same realization dawns on them simultaneously.

RHEA: No one hired Tull.

SAM: The people he killed... it wasn’t for cash. Gavin Routh, Jessica Greene... they wronged Hayley when they leaked her pictures. Tull must’ve thought he was doin’ it for her. Sick bastard.

DAVE: This whole time, we were looking for the person who hired Tull... but it turns out they didn’t exist.

SAM: One thing still bugs me, though. Why Hayley Rose? Out of all the celebrities in the world... why her?

RHEA (thoughtfully): Hang on... I might know why.

DAVE AND SAM: You do?!

Rhea pulls out her phone and starts tapping through it. A moment later, a familiar song starts playing.

HAYLEY ROSE (ON PHONE) (singing): Sirens flickering in your tail lights, your long-lost love’s your only flaw... You kill, you steal, you burn the daylight... ‘Cuz you’re my broken, bad outlaw...

SAM: You’re kiddin’ me.

DAVE: It’s the song! “Outlaw!” This redneck moron actually thinks the song’s about him?!

Suddenly, the distinct sound of a shotgun being racked is heard from off-screen! Dave and Rhea whirl to see Tull, standing in the trailer, his gun pointed at the base of Sam’s skull. Rhea shrieks as Sam stands stiff, teeth clenched.

TULL: Call me ‘redneck’ again, piggie, and I’ll splatter Blondie here all over ya.

SAM (angrily): Ugh. Li must’ve set us up--

Tull jabs Sam in the back of the neck with the gun. Dave whips out his pistol in a blur and aims it at Tull, trying to get a clear shot without hitting Sam.

SAM (mouthing): Take. The. Shot.

Dave hesitates, and Tull grins.

TULL: Attaboy, piggie. Don’t do nothin’ stupid. Put the gun down on the floor. Nice an’ easy, now.

RHEA (terrified): He’s gonna kill her! Dave, do what he says!

Dave thinks for a moment, then smiles.

DAVE: I think there’s something you’re forgetting, Tull. I know your secret.

TULL: The hell you talkin’ about?

DAVE: Hayley Rose? Your sweetheart? I saw your super-creepy shrine to her. C’mon, don’t you think she’s a little young for you?

TULL: Shut yer mouth, cop!

DAVE: I mean, seriously, you think she’d go for you? She dates rock stars and heartthrobs, not hillbillies who look like they just crawled out of a swamp...

TULL (growing angrier): I said shut up!

Sirens howl in the distance. Tull adjusts his grip on the gun, jamming it into Sam’s neck once again, as Sam glares daggers at Dave.

DAVE: How about we take this outside, huh? Fight like men?

TULL: I’m gettin’ real tired of listenin’ to your whiny voice, cop! How ‘bout I get this over with, right here?

He adjusts his grip on his gun.

DAVE: You’d shoot her, huh? Just like that. Kill her in cold blood.

TULL: Damn right I will.

Rhea steps forward, clearly terrified but with a confidence in her voice.

RHEA: Gotta say, Tull, you’re a real outlaw.

TULL: What... what did ya just say?!

RHEA (mock-innocently): Oh, you know. An outlaw. (singing) Sirens flickering in your tail lights, your long-lost love’s your only flaw...

TULL: Shut yer mouth, girl!

RHEA (singing): You kill, you steal, you burn the daylight...

TULL (seething with rage): Don’t. You. Say it.

RHEA (singing): ‘Cuz you’re my broken, bad outlaw!

Tull roars with fury and shoves Sam forward! Dave lines up his shot, but then Sam elbows Tull in the face, causing Tull to stagger back with a bloody nose! He raises his shotgun right at Sam, and then...

RHEA: No! You bastard!

Rhea suddenly charges at Tull! Distracted, Tull’s shot goes wide, hitting a stack of plates and causing the lights to flicker!

DAVE: Too close!

Tull turns, kicks Rhea away, and rushes out of the trailer, slamming the door shut behind him. Immediately, Sam runs after him, only to stop short at the door, barred from the outside and now immovable.

SAM: Rrrrgh! No! Tull is not getting away again! What the hell is wrong with you, Reyes?

DAVE: Wha... me?!

SAM: Why’d you stand there blabbin’ for an hour instead of shooting?

DAVE: Because I use my words, like a goddamn adult, and--

Both he and Sam pause in their argument to sniff the air. They exchange glances, all animosity forgotten for the moment.

DAVE: Do... do you smell something burning?

RHEA: Yeah, something’s burning all right!

She staggers to her feet and points toward the far end of the trailer, where thick black smoke is seeping in. Flames begin licking the corners of the trailer.

RHEA: We gotta get out of here! NOW!

_______________________

Next: Conscience and Variables

CIU Tag List: @brightpinkpeppercorn @endlesshero1122 @bbaba-yagaa @acidsugar0

MW Tag List: @griselda1121