Hotel room? Quite an odd one, if it is, though I guess it could be a room at a boarding house. In any case, the brothers put on the suits they tried on and bought without mugging for the camera and thus forever disappointing me. Obviously going to the funeral for the man killed a mere three to four days ago, right? They discuss Cassie's "fearlessness," and I am not fooled by someone telling me how someone is supposed to be instead of seeing that quality for myself. ["WB shows have a habit of getting 'bold' and 'obnoxious' mixed up, Kevin Williamson." -- Sars] Sam observes, "What's interesting is you two never look at each at the same time," and then babbles on while Dean gives him the Look of Shut Up, "It's just interesting, you know, in an observationally interesting way." Hee. Dean finally tells him to cram it and think about the "more pressing issues" instead.
Cut to the Metallicar driving down a lonely stretch of highway with strange filler guitar riffing in the background. Why did we need this shot?
Cut to the brothers walking down a pier, where there are large traps that appear to be meant to catch shellfish. All the shellfish in the Mississippi. Let's think of all the places they could have set this scene where Sam and Dean talk to a coupla working-class Joes: a factory, a factory, a factory, a factory, maybe even on a farm. Right next to a shrimp boat in Missouri? Not so much. Anyway, Sam and Dean present themselves to two men sitting at a table heavy with what looks to be, yes, shrimp lunches. They claim they are from Dead Guy Jimmie's insurance agency. White Working Man is suspicious when Sam asks if Dead Guy Jimmie had mentioned any unusual experiences. Dean presses on, "Did he ever mention seeing a big black truck?" Meanwhile, we've gotten a couple of shots of Black Working Man thinking White Working Man is a crazy-ass cracker. BWM pipes up, "This truck? A big scary monster-lookin' thing?," then continues to say that he's heard of a truck like that, but that was back in the '60s. He says the legend is that black men were disappearing in a "nasty black truck," but nobody was ever found responsible. Then we get our civics lesson of the day: "See, there was a time this town wasn't too friendly to all its citizens." Meaningful looks all around. Also, isn't that "time" like "now"? Guitar picking of We All Get Along Now (Stop Whining New Orleans) plays in the background and the brothers leave the men to their shrimp and lemon.The brothers walk back to their car, discussing the preponderance of truck mythology in this damn town. Dean asks Sam if he's "heard of the Flying Dutchman." My mind explodes with the possibilities. Sam shuts my imagination down by wanking, "Yeah, a ghost ship infused with the captain's evil spirit." ["…Not exactly." -- Sars] Dean observes that it seems like the truck is the "spirit of some evil bastard" who is somehow connected to Cassie and her family. Sam sends Dean to go talk to Cassie, and then makes an incredibly awkward transition by suggesting Dean also talk to Cassie about "the serious, unfinished business." Dude, stay out of it! Dean takes this opportunity to try and pull this episode out of the shitter it's getting flushed down by weaving a story of love and betrayal. He tells Sam that "maybe we were a little more involved than I said" and Sam gets all smirky and weird. Dean expresses regret over "opening up" to her, but Sam keeps staring at his brother with the ol' Textbook Closeted Stare of a Man Triangulating His Gay Desire Through an Unworthy Woman. Dean tells him to stop looking at him, requesting that he "blink or somethin'." Hee. Sam finally says the words that none of us believe: "You loved her." We get one final surprise as Sam realizes from Dean's exasperated look that it was Cassie that dumped Dean and not the other way around. The pigs, they are a-flyin'.