#4.07 script

[henrysglock]

In Short: I Was Right About The Released Script and The Filmed Monologue.

In this post here about the discrepancies in the released 4.07 script as compared to the version of One's monologue that we see on screen, I mentioned a sneaking suspicion that they might be two halves of a whole monologue.

So, I spliced the 4.07 transcript and 4.07 script together:

For clarity's sake, I color-coded it. Red-colored lines are ones that only appear in the filmed monologue. Blue-colored lines are ones that only appear in the released script. Words in parentheses indicate a swap in wording/phrasing. Words not in parentheses are additional words. Everything is left in order of appearance, i.e. none of the lines have been shifted for clarity. The texts are one-to-one merged.

As we can see, they splice together very nicely...especially in places where we were missing subjects, conclusions, topic introductions, and/or topic re-introductions in the individual texts.

For example:

In the script, the conculsion/Victor's fate is not mentioned. In the transcript, Victor is never re-introduced to El as the subject of his own arrest.

In the merged version, it becomes:

Victor is re-introduced to El, and his fate is told.

Or here:

Brenner's goals with One is introduced in the script, but the part about "fixing" comes out of nowhere, since Virginia's goal of fixing Henry is never brought up. "A doctor not interested in fixing" implies that someone had been interested in fixing him. No such case is mentioned. Meanwhile, Virginia's goal of fixing Henry is mentioned in the transcript, but Brenner's "studying" part comes out of nowhere. "He did not just want to study me" implies that being studied was mentioned previously. It was not.

In the merged version, it becomes:

Fixing? Mentioned by discussion of Virginia. Studying? Mentioned via Brenner's introduction.

And even within that section:

The transcript initially mentions why Henward wants to escape/break free, but it veers away from it with Victor's arrest...only to revisit it out of nowhere directly after. The script never introduces breaking free/why Henward wanted to escape, but it does go from Victor's knowledge (or lack thereof) directly into a clear reintroduction of his need to escape.

In the merged version, it becomes:

Reason for escaping? Given. Escaping? Clear reintroduction to the topic.

The two texts fill in each other's gaps, just as I suspected.

Now I won't say that there aren't some wonky bits, particularly in the "My naive father...for their sins" and "The more I practiced...take the next step" sections.

These exist entirely separately, and they overlay the same memory: Victor's cradle vision and Henward in the red sweater sitting in the attic.

This becomes interesting when we consider that this ^ isn't Nancy's POV. Nancy is downstairs watching Victor...

...and this view is peeking over some boxes in the attic, supposedly seeing Henward while he's enacting said vision:

It, like this scene:

Is from a bizarre outsider POV, one that's about Henward-height.

So my thoughts on that wonky-ness amount to this:

I would speculate that the two lines don't feed into each other, but may instead be meant to occur simultaneously from different people (whether that be via a time loop or via timelines...I can't say for certain).

Either way, the texts do line up as two halves of a whole.

[alwaysthequietones]

[shivroythinker]

his famous lobster rolls >:)

[wondereads]

Sapphic Book Recs for Pride 2024

The Priory of the Orange Tree by Samantha Shannon

Adult, high fantasy, 4.28 star average (my rating: 5 stars)

Gideon the Ninth by Tamsyn Muir

Adult, sci-fantasy, 4.29 star average (my rating: 5 stars)

The Winter Duke by Claire Eliza Bartlett

Young Adult, high fantasy, 3.55 star average (my rating: 5 stars)

Ace of Spades by Faridah Abike-Iyimide

Young Adult, thriller, 4.27 star average (my rating: 5 stars)

Crier's War by Nina Varela

Young Adult, high fantasy, 4.11 star average (my rating: 4.5 stars)

Down Among the Sticks and Bones by Seanan McGuire

New Adult, low fantasy, 4.18 star average (my rating: 4.5 stars)

Seven Devils by L. R. Lam and Elizabeth May

Adult, space opera, 4.03 star average (my rating: 4.5 stars)

Malice by Heather Walter

Adult, fantasy romance, 3.97 star average (my rating: 4.5 stars)

Beguiled by Cyla Panin

Young Adult, high fantasy, 3.48 star average (my rating: 4 stars)

The Jasmine Throne by Tasha Suri

Adult, high fantasy, 4.21 star average (my rating: 3.5 stars)

Ash by Malinda Lo

Young Adult, fantasy romance, 3.57 star average (my rating: 3.5 stars)

We Ate the Dark by Mallory Pearson

New Adult, horror fantasy, 3.04 star average (my rating: 3 stars)

The Chosen and the Beautiful by Nghi Vo

Adult, historical fantasy, 3.66 star average

The Once and Future Witches by Alix E. Harrow

Adult, historical fantasy, 4.13 star average

Flip the Script by Lyla Lee

Young Adult, contemporary romance, 3.64 star average

The Bone Shard Daughter by Andrea Stewart

Adult, high fantasy, 4.07 star average

She Who Became the Sun by Shelley Parker-Chan

Adult, historical fantasy, 4 star average

This Poison Heart by Kalynn Bayron

Young Adult, contemporary fantasy, 4.17 star average

Tink and Wendy by Kelly Ann Jacobson

Young Adult, low fantasy, 3.4 star average

The Tiger's Daughter by K. Arsenault Rivera

Adult, high fantasy, 3.84 star average

Sorrowland by Rivers Solomon

Adult, horror sci-fi, 4.04 star average

Cinderella Is Dead by Kalynn Bayron

Young Adult, high fantasy, 3.65 star average

The Goddess of Nothing at All by Cat Rector

Adult, high fantasy, 4.23 star average

Last Night at the Telegraph Club by Malinda Lo

Young Adult, historical romance, 4.28 star average

Gearbreakers by Zoe Hana Mikuta

Young Adult, dystopian sci-fi, 3.92 star average

The City of Dusk by Tara Sim

Adult, high fantasy, 3.72 star average

Foolish Hearts by Emma Mills

Young Adult, contemporary fiction, 4.25 star average

The Last Tale of the Flower Bride by Roshani Chokshi

Adult, gothic fantasy, 3.83 star average

A Dowry of Blood by S. T. Gibson

Adult, gothic fantasy, 4.12 star average

Seven Faceless Saints by M. K. Lobb

Young Adult, high fantasy, 3.5 star average

Darker by Four by June CL Tan

Young Adult, contemporary fantasy, 4.11 star average

The Coldest Touch by Isabel Sterling

Young Adult, paranormal romance, 3.64 star average

Portrait of a Thief by Grace D. Lin

Adult, mystery thriller, 3.63 star average

Once & Future by Cory McCarthy and A. R. Capetta

Young Adult, sci-fantasy, 3.57 star average

The Traitor Baru Cormorant by Seth Dickinson

Adult, high fantasy, 4.1 star average

Wilder Girls by Rory Power

Young Adult, sci-fi horror, 3.48 star average

Afterworlds by Scott Westerfled

Young Adult, contemporary fiction/low fantasy, 3.69 star average

[mostlyinthemorning]

Around Schitt's Creek in 80 Days 4.07

4.07 The Barbeque

The Rose family throws a barbecue to celebrate David and Patrick's four-month anniversary, but an unexpected visitor threatens to destroy their relationship. Also, Alexis struggles to find meaning when she gets a random text from Ted.

IMDB Rating: 8.3

Best line: Honestly I could ust post the entire script here (4 whole months! birthday clown! spin instructor! keep things titillating!) but I have to go with this:

I've spent most of my life not knowing what "right" was supposed to feel like. And then I met you and everything changed. You make me feel right, David.

Celebrity name drops: Zac Ephron

Alexis's scary adventures: “I used to text Zac Efron just like, for a booty call. Poor thing would be pressing the buzzer before I even hit send.”

Behind the scenes:

Props:

David's clothes: (Les Hommes) and Moira's wig:

Video:

Bonus: Behind the Episode: The Barbeque

Fic rec: After the Barbecue by railmedaddy

Or, what Patrick did, after the barbecue.

See you tomorrow!

[spnscripthunt-inactive]

4.07 It's the Great Pumpkin, Sam Winchester!

- Script (Production Draft) 🚨NEW🚨

- Casting sides for Tracy Davis, Don Harding, Uriel

Read Now ⤵️

Our collection ⤵️

Our signed script for World Central Kitchen ($10/entry, raffle closes Sat. Aug 26 @ 11:59pm Eastern) ⤵️

[stellernorth]

reading the snazzy 4.07 script and. sam just knows so much stuff. he can recognize an herb that's been extinct for 200 years by sight; he knows the celtic calender; he knows that the little lump in the hex bag is the metacarpal bone of a newborn and that it's at least 100 years old; he knows how much heat is needed to char bones different amounts. (he cannot pronounce samhain)

this could be a stanford thing, like he took classes on the celtic religion and archelogy and like really niche botony.

or this comes from a lifetime of being the library guy

[jessicareaper]

been watching just the cas scenes of s4 and 4.07 is just....a revelation.

the eye contact in the hotel room, an entire unspoken conversation going on as sam and uriel argue over dean and cas' head. cas was praying for dean to save the town here, even as he stared him down

cas' first scene sans winchesters and our first chance to see how cas interacts with his peers--and the way that this highlights the regard cas holds for dean. uriel's 'he needs to get off his high horse' vs cas' 'i'm not a hammer' --uriel scoffing at the judgement of someone unworthy vs cas considering and responding to a criticism from someone cas already, against all odds, trusts.

the scene on the bench--dean's calmness here upon cas' surprise entrance echoes the dreamlike state of 4.02's scene, the way that even though they're in a public place, this conversation, like all of their others, feels private and removed from their surroundings.

cas' first laugh! his first smile! a revelation i tell you.

and once again i'm left wondering how much of this scene is heaven's orders and how much is cas going off-script. was he supposed to tell dean their true orders? (upon this rewatch, i'm of the opinion that heaven gave cas the order to follow dean's lead, so that dean could fail here, and in doing so could plant the seed that scorched earth and following heaven's plan was the only way to save the world in the end--which only makes his assertion that he did the right thing even more powerful, as well as the fact that cas was praying for him to save the town) was he supposed to gain his confidence, or reprimand him? was he supposed to laugh at his dumb joke and then confide in him?

'i'm not a hammer' 'i have doubts' 'can you promise not to tell another soul' this is the eighth time cas has talked to this man. counting hell. he literally left a mark on dean but even here, you can see how much of a mark dean left on him. these things have always been a part of cas, i have no doubt, but choosing to confide in dean these things that are cardinal sins for angels? after a blip of knowing him? i just. he held this man's soul. and now he's giving dean the keys to his own destruction.

this is his fourth episode, and i've seen it so many times, and still, every time i come back to it i'm just. floored.

[jackson-falahee]

Pete Nowalk: I hate TV proposals, but these performances from @RestingPlatypus and @conradricamora thawed my cold, dead heart #HTGAWM

[emilykinncy]

Steve and Nancy in the 4.07 script

[henrysglock]

So Which Is It? Day, or Night?

I was going through the released 4.07 script again for shits and giggles and I noticed this:

INT. HAWKINS LABS - HALLWAY - DAY. INT. LAB ROOM - NIGHT - MOMENTS LATER

So how the hell is it day here:

But night here?

While also being "moments later"?

AND THEN! BACK TO "DAY"!

You're telling me there's not some kind of temporal perspective distortion? Well. I ain't buyin' it.

[alwaysthequietones]

[drjohnweston]

Being Human Q&A 17th December 2022

Everything I can remember from the Q&A, under the read more because it's pretty long!!

Unfortunately, due to Covid, Kate Bracken was unable to attend the event.

Toby Whithouse on being asked why he had selected Making History 4.07 as the episode to be shown: "It was the most ambitious series where we changed the genre slightly, having two timelines running alongside each other with one happening 25 years in the future. This was the episode where those timelines converged."

They then aired the episode before Toby was joined onstage by Jason Watkins and Damien Molony.

Question to Toby: “Where did it all start?"

Toby had been asked to write a TV series about 3 university friends buying a house together, which after struggling to come up with ideas, eventually evolved into a person with anger management issues, a person with agoraphobia, and a person with addiction issues sharing a house, with one of the characters being named George.

At the same time TW had also written a short film romcom about a werewolf named George. The two ideas merged together to give the characters a story and the connections were made between agoraphobia and being a ghost and addiction and being a vampire.

The very first draft of the script was written purely as a sitcom and the second draft of the script was written as if it was an independent American short film.

At first people could not understand that it was a combination of horror, comedy, and drama, but Toby Whithouse thought that this was much more representative of real life, where we are never confined to one genre.

TW also spoke about how the stories he connected with the most were the ones that took place in our world. He said that “The best escapism was into stories that could take place around us.” And that “I was writing for 14-year-old me.”

On the subject of Being Human spanning genres, Jason Watkins added that in reality, at their most horrific moments, people make jokes. He also said that there was “Something colloquial, speakable, domestic, and modern” About the Being Human script.

Q: Were there any references to favourite vampires when creating the show?

TW spoke a little about the mythology and the limitations they were under. “If you can have the vampires only appear at night that is a production nightmare, a scheduling nightmare.”

He also spoke about two new pieces of mythology added in series 4 and how one they thought was perfectly logical and that they would get away with, and another that they thought there was no way the fans would forgive them for and would accuse them of “making shit up.” However, when the series aired those two pieces of new mythology, toxic werewolf blood and Rent-A-Ghosting vampires were received completely the opposite way around and TW was shocked that people hated toxic werewolf blood as a concept so much.

Q: What was it like for Damien Molony joining the series and how did he prepare?

When he went for his audition, he had been acting in the play Tis a Pity She’s a Whore and was spending every night being covered in fake blood from head to toe “like in Carrie”. He said that when he travelled down to the audition, he’d been unable to clean off all of the fake blood and thought that might have helped him to get the part, that the casting agents probably went “wow that guy’s really method.”

After getting the role, Damien watched all the previous series of Being Human and was sent 10 DVDs of vampire films to watch as a crash course 5 days before filming started. He was also given a playlist of music that Hal would listen to and talked about OCD and dominoes.

Later in the QA, an audience member asked specifically how he prepared to show Hal’s OCD, to which Damien replied that he watched lots of documentaries on channel 4 on demand (as the service was called back then) and that he used to spell out the name of the old American actor Hal Holbrook on his fingers on set.

He also added that the domino spiral was set up on set 2 weeks in advance of filming and that everyone on set had to resist the temptation not to touch it and had to tip toe around so as not to accidentally knock it, causing hours of work to put it back.

Another anecdote from Damien Molony came after being reminded about how much beetroot juice he had to drink when they were filming Making History, with 10 litres of beetroot juice having effects that caused him to phone his doctor dad with some worried questions.

The Q&A moved back to Jason Watkins, airing a clip of Herrick in the isolation chamber with Mitchell, George, and Annie in Bad Moon Rising 1.06.  Jason was asked “How did you approach a character with such a black heart”

Jason spoke about Herrick’s complete enjoyment of all the things that he does, his psychopathic nature. “As a villain, he has a pure appetite for it. He ticks all those awful boxes.”

Toby Whithouse added that Herrick “has one mode, summed up by the line “You’re a shark, be a shark.” He never has a single moment of doubt.

Jason Watkins also talked of Herrick as a “paternal figure, he has these sort of sons.” And how he needed to have people like Mitchell in that position, because he needed to be in control, describing it as “having control over somebody and needing that control to know where you are in the world.”

This prompted Ruby, the interviewer to ask about the relationships between vampires and their makers, pointing out that we had just witnessed a twisted version of that relationship in 4.07 between Hal and Cutler.

Damien Molony described Hal as a “straight-jacketed, terrified loner being suddenly confronted with the victim turned master” in Cutler. There was much praise from the panel for Andrew Gower’s performance as Cutler.

Another question to Damien: “As we as fans often see good Hal and Bad Hal and separate people, like Angel in Buffy”, do you see them as different” Damien described good Hal as closed off, straight-jacketed (again), and very controlled. Whereas he said that bad Hal is at ease and open.

Back to Jason Watkins who was asked “Could Herrick be redeemed if he shared a house with Annie Sawyer?” Jason started to go into a longer explanation, but Toby Whithouse replied with a simple no.

Back to the question about relationships between vampires and their makers, Jason Watkins brought up the existence of a script for a scene that was never filmed about Herrick’s recruitment (this is still accessible via the old official Being Human Blog archives and there is a link on my blog).

Jason also recalled the time they were filming Herrick’s resurrection for the end of series 2. Which was not filmed in an empty snowy field, but in a park in the middle of Bristol with a group of elderly people from a local care home watching from the side-lines.

Lastly from Jason Watkins, replying to an audience question about what he took from the role of Herrick, he spoke about how “it was a bit of a break for him” (career wise) and how Herrick’s confidence “was him on a really good day,” and that by playing Herrick it increased his own confidence in his work and performance.

As both members of the cast on the panel had played vampires, the questions had been more focussed on them.

Speaking about the werewolves, Toby said “Werewolves become boring after they’ve transformed, they just become a thing. … It’s all about the tension, the lead up and the aftermath.” That’s the interesting part.

An audience member asked if Toby could discuss the ghosts, saying “they are the glue of the show, how did you come up with them?”

Toby responded that actually, the ghost episodes had always been the hardest ones to write and that he tended to lean more into the comedy aspect with them, because both Lenora and Kate were good at comedy. He said that he always paired their characters up with more experienced ghosts, because both Annie and Alex were new to that world. But he also said that he had to start to break his own rules and bring Annie out of the house as “Ding Dong, it’s a ghost” turning up at the door as a plotline would have gotten old very quickly.

He shared that he and Gilbert had the same musical taste, and that it meant he could “write jokes about people like Marc Almond that only he (toby) would find funny.”

And finally, one audience member asked, “Did you ever see things online and think I wish we would have done that?”

Toby Whithouse replied “the online community I absolutely loved. It added another layer of joy. During series 2 airing someone came up with the idea that Professor Jaggat was a werewolf and that was why she wasn’t there at during the (first) transformation, and I thought oh that’s a really good idea.” He went on to add “You can’t pay too much attention to audience feedback.” And spoke about writing what audiences need rather than what they might necessarily want to see. But that he would read the (official) blog because it was fun and so many lovely things were said.

[pynkhues]

Want to know/would love to know your thoughts on CH acting in season 4.

I absolutely understood the closed off/detached vibe she had in season 3 after season 2 disaster ending, but in season 4, as Rio started to evidently warm up to her and arguably screwed her over significantly less than she him (aware he still pulled some stuff on her but in comparison to a live hit and arrest etc) I understood it less.

CH regularly played beth as stone cold to Rio. At times when he wasn’t doing all that much bad to her. Colder than I ever remember seeing in s1/2, & all things considered I still think Rio had much reason to do so than her? & as Rio got warmer as season went on, Beth got even colder somehow??? I think. I’m surprised they didn’t script, or rather that CH didn’t decide to play, one of the Later scenes with Rio as softer, to hint at ending??? It’s a bit jarring for me as it stands, & I can rationalize it narratively but it’s CH very conscious faces and expression that I can never get past. Even that last bench scene she is almost going above and beyond to give zero emotion. I never once thought same thing about MM. I always got such a depth of emotions from him.

Mmm, I agree that Christina played Beth as wearing a mask, but that mask is also pivotal to her character in a way that’s unnecessary for Rio, so to compare Rio wearing his heart on his sleeve to Beth concealing hers feels pretty fundamentally at odds with who these characters are. I also feel like we saw underneath that mask numerous times throughout the season, but that those moments were few and far between because, as you said in your ask, there was a narrative purpose to her wearing that mask.

Even though they were on better terms and Rio ‘wasn’t doing that much bad stuff to her’ (and actually, I contest that statement a bit, haha), none of their interactions were happening in a vacuum. This season alone, he’d kidnapped her sister, threatened her family, strongarmed back into her new business, sent her on a job only to punish her for his own miscommunication (the Canada job), blackmailed her so that he could use her bank account as a Smurf account, refused to help her with her husband’s arrest and set her up as the face of a part of his business so that he could handcuff her to his operation and make her an identifiable face for people who might one day testify against them.

Sure, Rio was ‘softer’ at various points, but he was also aggressively manipulative, threatening and sometimes outright cruel. That’s not to say that Beth didn’t give it back, she did, but Beth’s also a guarded character who canonically disassociates in a way that Rio’s not and does not.

I thought Christina captured that really well – her expressions while setting up Rio to take out Fitzpatrick in 4.04 and during Rio’s arrest in 4.08, I feel, are some of the most powerful moments of acting in the series. The way Christina is able to make the light in her eyes go out is really affecting to me, and I think showed the disassociation Beth felt in those moments as she tried to process what she’d just done, and the way what she’d done had impacted her. It really got me.

It wasn’t just in moments of disassociation though that I think she revealed Beth’s feelings for and about Rio – her warmth and excitement with him before he shut her down at the bar in 4.01 felt real to me, as was her wide-eyed nervous crush energy at the bar with him in 4.07, as was her hurt at him kidnapping Annie in 4.12 (fascinatingly to me with that, Beth was upset, not angry), as was her absolute exhaustion, both physical and emotional with him in the two scenes in her kitchen in 4.14 and 4.15.

Rio is exhausting, but Beth’s never tired of him, and I think that’s something Christina captures really beautifully, especially as it’s such a different type of exhaustion to the one Beth feels and experiences with Dean. Compare for instance Beth and Rio’s interaction in 4.15 with her scene with Dean in 4.16. Her exhaustion with Dean always comes down to Beth’s surrender, whereas her exhaustion with Rio is always something that circles back to building her up and making her want to fight again (the end of 2.02 being a great example, but again, 4.14 and 4.15 both ended on that note too).

On top of all of that, Beth was under an unconscionable amount of pressure the entire season while Rio was shown drinking, playing pool, basketball and getting boba tea with his brousin. He got his quiet moments to process his emotions while Beth had no time to really figure out hers at all. She was constantly having to react to new pressures, strains, information, jobs, conflicts, and in many cases, Rio only added to that (if he wasn’t the root cause). Even when they hit their stride again at the end of s4, Rio still wasn’t showing up for meetings, and his boy shot her in her kitchen.

My point is, Beth knows what being emotionally vulnerable with Rio gets her – it gets her fired / dumped (1.09, 2.11) her husband shot (1.10), a gun in her hand (2.02), shut down (3.06, 3.11, 4.01), or abandoned (1.08, 2.07, 2.09, 2.12, 4.03, 4.12). Keeping her mask on in front of him is her way of not only maintaining control, but protecting herself, and it’s why we get scenes of the impact and vulnerability away from him, like her breakdown over Lucy in 3.06 or her tragic daydreams about letting Rio down in 4.06. It’s a hard line to walk as an actor, but I think Christina does it well, especially because she always feels present in these scenes with Rio even if she does seem hard or cold, which is a stark difference to the way she is in scenes with Dean or Fitzpatrick where Beth as a character has a different emotional investment. Yes, there’s an edge to her performance in her scenes with Rio, but it’s an edge that’s been built because of the nature of Beth and Rio’s relationship, and honestly, I think Manny’s a good performer, and he’s certainly emotive, but I think there’s a lot more nuance and complexity in what Christina’s doing than what he is.

[juliesiege]

now's the time i guess. I'll probably RB this with more thoughts later but rn I'm trying to fall asleep and i think this will fix me. basically.

In 4.07 It's the Great Pumpkin Sam Winchester, Dean acts in some way that could be interpreted as interest toward a high schooler (at oldest 18, while Dean is probably 29 which. Oof) (it's been a while since I watched the exact scene but I remember thinking that it could potentially be interpreted otherwise, though that might be my Dean apologist/understander brain speaking. He's performing half-hearted interest. Maybe. Idk. I don't make the decisions, I just come up with the possible answers. Take this entire parenthetical with a grain of salt lol). Anyway here's the superwiki transcript.

(Now without watching it, my parenthetical still stands. From this I can't discern shit about Dean's intentions. Dean licks his lips constantly. He licks his lips before having a thought. Sam also has a history of taking a lot of what Dean does in the context of women in bad faith. Note also that Sam himself is the first person to vocalize it and the framing of a potentially underage girl as jailbait is in itself a potential yikes. But that's not what I'm here to discuss.)

I'm here to discuss. Is Julie Siege responsible for this. Idk, man (gn, I'm Californian). I don't know her. If there's any metanarrative lore associated with this episode, it hasn't come my way yet so. Without further ado. Possible explanations.

Julie Siege wrote this because she thought it was interesting and non-offensive.

Julie Siege wrote this because she thought it was in character for them and no other reason.

Julie Siege wrote this because she was writing to the style of the boys club she was working in. Remember that the Supernatural writers room was a very macho environment, especially S4-5.

Julie Siege wrote this as a way of trying to gain acceptance in that space. See above.

Julie Siege didn't write this. Kripke era scripts were highly collaborative and a single writer would rarely be responsible for the entire script [my source is the 4.03 commentary track. See the superwiki page for a link to a transcript for that]

Modifiers on the above: She didn't write it, 1) but she liked it, 2) but she didn't care, 3) and she didn't like it but kept quiet bc boys club, or 4) and she didn't like it and argued against it but was shot down. Oh and 5) It was added in after the script was out of her hands entirely.

Julie Siege didn't write this. It was ad libbed in or it came into creation on the day of filming some other way (directorial choice? idk how these things work)

All of this specifically to say. At the end of the day you really just don't know if a writer is responsible for small moments or certain lines, particularly in the Kripke era. I have other thoughts about the probability of such things in the other eras but that's a post for another time.

So like. Yeah. It's hard to attribute certain specific items or "crimes" to certain writers unless you definitely know for sure and with confirmation (or unless there are observable patterns that heavily suggest it) that it was something that they wrote or endorsed. In the Kripke era.

There's a S1 or S2 extra (i think it was for 1.03 dead in the water) where i think it was Sera Gamble who says. People will come up to you about an episode you wrote and be like, oh i really liked this line! But most of the time it was a line that someone else wrote. Which is basically the tl;dr for this post.

So yeah tl;dr: the inner workings of television writing are more complex than one might initially assume, so don't assume anything. (Insert my prior disclaimers here.)

[spnscripthunt-inactive]

For every $10 you donate to RIP Medical Debt, you will 1) be erasing about $1,000 in medical debt and 2) be entered in a raffle to win one of the items listed below. The more total donations we receive, the more scripts will be made available as prizes.

DONATE HERE

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If donations reach $2000 total, we'll add:

3.07 'Fresh Blood' - Production Draft signed by Jared Padalecki at Jus in Bello 13 (Rome). Set includes Blue and Pink Revisions.

4.07 'It's the Great Pumpkin, Sam Winchester!' - Production Draft signed by Jensen Ackles, Jared Padalecki, and Misha Collins at Creation Tour: Minneapolis 2023.

12.01 'Keep Calm and Carry On' - Blue Draft signed by Mark Sheppard at Salute to Supernatural: Vancouver 2023; Samantha Smith at Salute to Supernatural: Nashville 2023.

12.17 'The British Invasion' - Production Draft. Proxy cover signed by Adam Fergus and David Haydn-Jones at Salute to Supernatural: Chicago 2022 (original cover page is missing); Jake Abel at Creation Tour: Charlotte 2023. Includes 3.11 (aired as 3.12) Jus in Bello' Day 5 call sheet.

13.10 'Wayward Sisters' - Writer's 2nd Draft signed by Kim Rhodes and Briana Buckmaster at Creation Tour: Atlanta 2023; to be signed by Kathryn Newton at New York Comic Con 2023. Includes the 8.18 'Freaks and Geeks' shooting schedule and 13.08 'The Scorpion and the Frog' - Story Arena (both extras are unsigned).

15.14 'Last Holiday' - Studio & Network Draft signed by Alexander Calvert at Salute to Supernatural: Vancouver 2023.

Raffle closes November 5, 2023 at 11:59pm (EST).

To see the complete list of prizes, click here.