Out by the lake, the brothers try to ask Carlton some questions, but he refuses to answer any. They tell him they think his kids' deaths are connected, and he responds by tearing up and telling them, "My children are gone. It's worse than dying." As they walk back to the Metallicar, Dean says that Carlton has been through hell, but he thinks the old man isn't telling them something. He pulls up short as they get to the car and, seemingly for the first time, notices that the Carlton Cabin of Soggy Death looks just like the house Lucas drew for him. Sam and Dean exchange glances set to the tune of plinky suspicion.
Andrea Barr tells the brothers that she doesn't want them talking to her son. Close-up shots of the boys as they each, bathed in creepy light, insist that "something else" is going on here, they can tell she senses it too, and so she has to let them talk to Lucas. Dudes are some intense Fish and Wildlife guys. I wouldn't want to be caught smoking a joint around the campfire by these two.
Upstairs, Lucas continues to draw. Silently. His room is wallpapered in some really bad toile. Like, ship-vignette toile. Dean leans in and shows Lucas, who doesn't even look up from his coloring, the drawing the boy gave him. Dean asks him how he knew how to draw the house, whether he knew something bad would happen. Lucas continues to not look at Dean. Dean goes back into his "I understand, I saw something bad too, I was scared" blah blah blah same exact conversation from like three scenes before. This time, though, Dean continues, telling Lucas that his dad wants him to be brave, a comment that gives the boy pause. Andrea looks on in awe that her walking-dead son seems to have registered something somebody said to him. Lucas hands Dean another drawing, this time featuring a church and a yellow house. Damn! How could I have missed it? It's the Presbyterians, of course!
In the Metallicar, scenery rushes by the clearly stationary-on-the-sound-stage car. We seem to have been plopped down in the middle of another non-starter fight between the brothers, where Dean is arguing that they need to go find the house Lucas drew because maybe he's psychic and Sam is also arguing that there have been cases where a trauma causes someone to become a little bit psychic and so they should go find the house the kid drew, and it is abundantly clear they are in agreement so what's with the jaw-clenching and staccato line-deliveries of argument? Why insinuate an argument where there is none? Oh, that's right, because the middle "investigation" section of the show is always about as catatonia-inducing as the Tonys. (Cram it, Chita Rivera, you know it's true.)