12×02 Mamma Mia
Written by: Brad Buckner & Eugenie Ross-Leming
Directed by: Thomas J. Wright
Air Date: October 20, 2016
INTERIOR: SAM’S IN BED BREATHING HEAVILY. CAMERA PANS TO TONI NEXT TO HIM, CANDLES LIT IN THE BACKGROUND.
TONI: Isn’t this much more pleasant, Sam?
SAM (STILL BREATHING HEAVILY): I got to say, I did not see that happening.
TONI (CHUCKLES): Well, you know what they say. Opposites attract.
SAM MOVES OVER TONI
TONI: Oh, we’ll get there, Sam. Just another couple of questions.
SAM MOVES HIS HEAD WHILE LOOKING DOWN AT TONI
INTERIOR: SAM AND TONI ARE IN BED RELAXING AND HOLDING GLASSES OF WINE.
TON: Fascinating. But surely you exaggerate. American Hunters can’t be as bad as you say.
SAM: Yeah. Uh, yeah, they can. What, they’re not in the U.K.?
TOMI: No. No, they work for us. Tools. They kill. They don’t think.
TONI: Who recruited you and your brother? To whom do you report?
SAM SCOFFS AND SIGHS THEN TAKES THE GLASSES AWAY TO PLACE THEM ON THE NIGHTSTAND.
SAM: We, uh… We’re not just gonna talk all night, right? AS SAM OVES OVER PULLING THE SHEET UP, DEAN’S VOICE IS HEARD.
INTERIOR: THE BUNKER. DEAN’S SITTING DOWN TALKING ON HIS PHONE.
DEAN: I haven’t found anything on these surveillance cameras. I mean, it’s like they just disappeared. How about you? Any of the local beat cops see anybody that shouldn’t be there?
EXTERIUOR: NIGHT, CASTIEL IS OUTSIDE ALDRICH, MISSOURI STANDING LEANING AGAINST THE TRUCK.
CASTIEL: It’s pretty rural. Not a lot of beat cops. I’ve checked all the motels, abandoned buildings. No sign of Sam.
THE SCENE SWITCHES BACK AND FORTH BETWEEN DEAN AND CASTIEL DURING THE CONVERSATION.
DEAN: All right. I don’t know. You know, check… real-estate offices. See if anybody bought a place or rented a place. I mean, these people had a freakin’ plane. Maybe they do things legit.
CASTIEL: Okay, I understand. I’ll call you in the morning.
WHILE TALKING, DEAN RISES AND STARTS PACING.
DEAN: Cass, hey. So, here’s the thing. It’s been kind of weird here with, you know, Mom being back. It’s like we don’t know how to act around each other, so we just kind of make this small talk and act normal, but it’s — it’s so not normal.
CASTIEL: Um, I’m — I’m not sure. What — what has she said to you?
DEAN: Well, nothing. That — that — that’s the whole point.
CASTIEL: Okay, what have you said to her?
DEAN: Well, nothing. I’m — I don’t know what to say to her, you know? It — it’s — it’s like it’s all just too much, and…I don’t want to overwhelm her.
CASTIEL: Don’t make things needlessly complicated, as you humans tend to do. I’ll call you.
CASTIEL HANGS UP.
DEAN: Yeah. Great. That’s helpful. Thanks.
WEARING ONE OF THE ROBES, MARY WALKS IN.
MARY: Any news on Sam?
DEAN: Um, so somewhere outsi– here. Somewhere outside of Aldrich, Missouri. Cass is going through it with a fine-toothed comb, and I’ve cracked every database I could.
DEAN SITS DOWN IN FRONT OF HIS LAPTAP TO SHOW MARY WHAT HE’S DOING.
MARY: Every what?
DEAN: Right. No Internet your first time around.
MARY: Our house didn’t have an electric typewriter. So…are you really afraid of overwhelming me?
DEAN LOOKS AT MARY AND SHAKES HIS HEAD SLOWLY.
DEAN: Mom, look, I am… thrilled that you’re back. I mean, I’m so damn happy, I-I-I can’t even stand it.
MARY: I just… it’s just gonna take me a second to catch up, you know?
DEAN: Yeah, no, no. Look, take — take all the time you need, all right? It’s — it is what it is.
MARY: And when we do find Sam… how am I gonna face him?
DEAN: What do you mean?
MARY: That yellow-eyed thing would never have come for him that night if I… I started all of this.
INTERIOR: SAM IS LAYING ON HIS STOMACH WITH TONI BEHIND HIM STROKING HIS BACK.
TONI: It’s just surprising that for all your efforts, yours and all the Hunters, monsters remain rampant in this country.
SAM: Yeah, we just, uh — just keep plugging away, I guess.
TONI: Do you ever think — and don’t take this the wrong way — that some of your soldiers may have been compromised? Or bought.
SAM TURNS ON HIS SIDE WITH A CONTEMPLATIVE LOOK ON HIS FACE.
SAM: I mean… No, I-I don’t, um…
TONI: Is everything all right?
SAM SEES THE DOOR OPEN IN THE CELLAR AND THEN TONI’S FACE CLOSE TO HIS.
TONI’S VOICE ECHOING: Is everything all right?
SAM SEES THE WATER COMING DOWN FROM THE HOSE AND HIS ATTEMPT TO ESCAPE THE CELLAR.
SAM SEES THE BLOWTORCH, HE’S LOOKING TOWARD THE STAIRS AT A TONI.
TONI: Is everything all right?
SAM SEES MORE OF WHAT HAPPENED IN THE CELLAR.
TONI’S VOICE ECHOCHING: Is everything all right?
THE BLOWTORCH HITS SAM’S FOOT AND HE SCREAMS.
SAM: No! I shouldn’t — I shouldn’t be talking to you. THE SCENE SWITCHES BETWEEN THE CELLAR AND THE BEDROOM AND END IN THE CELLAR WHEN SAM RAISES HIS HEAD. SAM IS CHAINED AND IN THE CHAIR. TONI IS SITTING IN HER USUAL SPOT.
TONI: You’ll have to admit, it was fun while it lasted.
SAM: What did you do to me?
TONI: An hallucination created by potion and powerful spell work. So…was it good for you? Hm. Sadly, I can’t do the spell again. Your brain would liquefy, which we don’t want. Yet. So… I’ll have to resort to less… pleasant methods.
TONI PICKS UP A KNIFE AND PLIERS.
TONI: Enhanced interrogation was never part of my job description.
TONI SCRAPES THE KNIFE ALONG SAM’S NECK.
TONI: But as it turns out… …I’m a quick study.
TONI PLUNGES THE KNIFE INTO SAM.
INTERIOR: BUNKER, DEAN IS SITTING IN KITCHEN IN FRONT OF THE LAPTOP WHEN MARY WALKS IN.
DEAN: Hey, how’d you sleep?
MARY: I had dreams all night.
DEAN: Good dreams?
MARY: Stuff I’d forgotten about. Funny stuff your dad did. He was a great father.
DEAN NODS SLOWLY AND LOOKS DOWN. HIS CELLPHONE RINGS.
DEAN: Hey, Cass, what do you got?
EXTERIOR: DAY, CASTIEL IS STANDING SLIGHTLY BEHIND A VERY LEAFY TREE.
CASTIEL: I think I may have found Sam’s location. It’s a farm. It appears empty, but it was rented two weeks ago to a woman with an English accent.
DURING THE CONVERSATION THE SCENE SWITCHES BETWEEN THE BUNKER AND THE EXTERIOR OF THE FARMHOUSE.
DEAN: Did you have a look inside?
CASTIEL: No No, it’s — it’s powerfully warded.
DEAN: Powerfully warded? Okay, see, buddy, that — that was your headline right there.
CASTIEL SHAKES HIS HEAD AND LOOKS DOWN.
CASTIEL: Are we still discussing the same thing?
DEAN: Where are you?
CASTIEL: I’ll text you the address.
DEAN: Okay, got it. I’m on my way.
DEAN HANGS UP AND MARY RISES.
MARY: I’ll get my coat.
DEAN: Wait. Uh Okay. Why don’t I take this one solo, okay? We just — we don’t know what we’re walking into here.
MARY: We never know. We’re Hunters.
DEAN: Right. Um… Okay, I-I can’t do my job if I’m worried about you.
MARY: Dean. You won’t have to be. I can handle myself. Okay? All right, good talk.
DEAN: Oh, boy.
INTERIOR: WATER IS THROWN INTO SAM’S FACE.
TONI: Good morning, Sam. Let’s start again, shall we? Take our time. I’ve cleared my calendar. I would like names and locations of every Hunter… the passcodes to each and every Men of Letters database held in the bunker, and then — oh, yes — let’s do discuss your relationship with the demon Ruby.
WHILE TONI IS TALKING THE CAMERA PANS OVER THE TORTURE DEVICES. TONI’S PHONE RINGS.
EXTERIOR: DAY, MICK IS WALKING AROUND MS. WATT’S CAR. SHE’S LAYING INSIDE.
MICK: You’ve been a bad girl, Toni. And I’ve come to fetch you.
TONI: I have Sam Winchester. He’s close to breaking. Just leave me be.
MICK: No can do. You disobeyed orders. Oh, and you should know, your Ms. Watt — quite dead. Courtesy of Dean Winchester and friends.
INTERIOR: INSIDE A RESTURANT. ROWENA IS SITTING AT A TABLE WITH A MAN.
ROWENA: Sent me to the grandest boarding schools, but I was a wee imp and ran away for a life in the arts. Mother didn’t speak to me until I became a star.
BEN: A star? Of?
ROWENA: Uh, do you follow the Royal Ballet?
BEN SHAKES HIS HEAD.
BEN: Not a bit.
ROWENA: The Royal Ballet.
BEN: You know, it reminds me a lot of my story. I left school to work in a steel mill. I rose up through the ranks, and now I own half a dozen.
ROWENA: You’re not serious?
FOOTSTEP’S APPROACH AND A WAITER COMES UP WITH A BOTTLE OF WINE.
CROWLEY: More wine, madam?
CROWLY LOOKS AT ROWENA AS HE POURS. SCENE SWITCHES TO A STAIR WAY IN THE RESTURANT WHERE ROWENA AND CROWLEY ARE TALKING.
ROWENA: You’re like a boil that keeps coming back no matter how many times I have it lanced.
CROWLEY: Let me guess. Your dinner date is loaded, single, and possibly in delicate health.
ROWENA: What of it?
CROWLEY: Well, just a stab, but you probably don’t want me to reveal that his snookums is 300 years old and a witch.
ROWENA: Fergus, the man treats me like a queen. It’s my chance to leave behind monsters and demons and moldy hideouts. So help me, if you muck this up.
CROWLEY: Oh, I wouldn’t dream of it, Mummy… if you do me one tiny favor. Help me with Lucifer.
CROWLEY: I have a score to settle.
INTERIOR: THERE’S THE SOUND OF CHEERS AND APPLAUSE. HARD ROCK MUSIC IS PLAYING. THE CAMRA PULLS BACK AND WE SEE A LOGO FOR VINCE VINCENTE’S WORLD TOUR.THE BAND BECOMES VISIBLE AS THE SONG ENDS AND THE CROWD CHEERS.
ANNOUNCER: Let’s hear it for Vince Vincente and the rest of the band! See you the next time around. Good night, Cleveland!
THE BAND BOWS AND THE CAMERA TIGHTENS ON VINCE.
WOMAN #1: Whoo! I love you guys!
ANNOUNCER: Good night, Cleveland! We love you!
VINCE OPENS AND CLOSES THE DOOR TO HIS DRESSING ROOM. SCENE CHANGES TO WHERE VINCE IS SITTING IN FRONT OF THE VANITY OPENING A BOTTLE. TOMMY COMES INTO THE ROOM WITH A GROUPIE.
TOMMY: Hey, Vinny, we’re hitting the town tonight. Come with us. Check out the wonders of Cleveland.
VINCE: Yeah, um… I’m good, thanks.
BAND MEMBER: Tommy, Tommy, come on!
TOMMY: Yeah. Hey, I’ll catch up with you guys later.
THE GROUPIE LEAVES AND TOMMY WALKS PARTIALY INTO THE ROOM.
TOMMY: Dude, you — You got to start living your life, man. You perform, you drink, you sleep, perform, drink.
VINCE: I-I get it. I get it.
VINCE LOOKS OVER AT A PICTURE OF A WOMAN AS HE DRINKS.
TOMMY: Look. Vince, it’s been years since Jen died. All I mean, brother, is, don’t you think she’d want more for you than just –
VINCE: Get out of here, Tommy. Go see Cleveland.
TOMMY LEAVES AND CLOSES THE DOOR. VINCE WIPES HIS EYES. THERE’S A SIGH AND THE LIGHTS START FLICKERING. VINCE TAPS ON THE VANITY LIGHTS AND THEY STOP FLICKERING. THE PICTURE OF JEN FALLS OVER AND VINCE GASPS.
EXTERIOR: NIGHT, THE IMPALA IS DRIVING AWAY FROM THE CAMERA. THE SCENE CHANGES TO THE INSIDE OF THE IMPALA.
DEAN; I can’t believe I let you talk me into this.
MARY: I’m your mother. You have to do what I say. Look. They targeted the bunker. They obviously know a lot about you and Sam. They’ll be expecting you. I’m the last person they’d expect.
DEAN: You were good at this, weren’t you?
MARY: Very. The thing is, Hunters… no matter how good they are, they all end up the same way.
DEAN: You know when you died, it changed Dad. I mean, he was Hell-bent on finding out what happened. The Hunter life, it just took him over. I guess I was the same. But Sammy — Sammy, he was different. He wanted out. He went to school. He went to Stanford.
MARY: Sam had a chance to get out? And he came back?
DEAN: When Dad disappeared, Sam and I looked around, and something became very clear. That the only thing we had in this world — the only thing, aside from this car — was each other.
THERE’S THE SOUND OF THUNDER AS THE SCENE SWITCHES TO A HOTEL.
INTERIOR: VINCE OPENS THE DOOR TO HIS ROOM AND ENTERS. THERE ARE SEVERAL PICUTRES OF JEN. VINCE GOES INTO THE BATHROOM AND TURNS ON THE WATER. THE WATER RUNS OVER VINCES HANDS AS HE LOOKS INTO THE MIRROR. THE WATER CHANGES TO BLOOD. NOT LOOKING, VINCE BRINGS HIS HANDS TO HIS FACE AND WIPES. HE OPENS HIS EYES TO SEE THE BLOOD ON HIS FACE AND SCREAMS.
INTERIOR: VINCES HOTEL ROOM. VINCE LOOKS AROUND THE CORNER INTO THE BATHROOM. THE WATER IS STILL RUNNING BUT IT’S JUST HOT WATER. VINCE CHECKES HIS FACE TO FIND NO BLOOD. THE ELECTRICITY CRACKLES AND LIGHTS BEGIN TO FLICKER. VINCE MOVES TOWARDS THE LIVING ROOM AND TURNS THE LIGHTS ON AND OFF. THEY’VE STOPPED FLICKERING. THUNDER CRASHES IN LOUDLY. THE TV TURNS ON BUT JUST SHOWS STATIC.
FEMALE VOICE: Vince. Vince.
VINCE PICKS UP THE PHONE AND BEGINS DIALING.
VINCE: Hello, front desk? Hello?
THE PHONE IS DEAD AND VINCE THROWS IT AT THE WALL.
FEMALE VOICE: Vince. Vince.
THERE ARE VOICES IN THE ROOM. THUNDER CONTINUES AS THE PICTURES OF JEN BEGIN TO FLY AROUND AND THEN HURTLE TOWARDS VINCE WHO DODGES THEM. HE STEPS BACK INTO THE NEXT ROOM AND LOCKS THE DOOR.
FEMALE VOICE: Vince. Vince.
VINCE TURNS AROUND TO SEE A WOMAN STANDING THERE.
VINCE: No. Jen.
JEN: Yes, Vince.
VINCE: How? Why?
JEN WALKS FORWARD AND STANDS IN FRONT OF VINCE.
JEN: I needed to say I’m sorry. Swallowing those pills was selfish.
VINCE: I’ve had to live all these years knowing how I treated you.
JEN: At the time, leaving you seemed fair since you left me so many times.
VINCE: All I want is you.
JEN: That can happen, Vince.
VINCE: What can happen?
JEN: You and me together.
VINCE: Are you a ghost?
JEN: No. I’m an angel.
VINCE: Those are real?
JEN: Real and very powerful, Vince. I can take away your pain. Bring you peace. You only have to do one easy thing.
JEN: Will you invite me in?
JEN’S EYES GLOW RED AS SHE KISSES VINCE. THE SCENE DISOVES IN VERY BRIGHT LIGHT.
INTERIOR: SCENE CHANGES TO ROWENA IN A ROOM LIGHT BY CANDLES. SHE’S STANDING IN FRONT OF A TABLE WITH HER HANDS HOVERING ON THE SIDES OF A CRYSTAL BALL.
ROWENA: Ostende illum mihi quen quaero.
CROWLEY WALKS TOWARDS HER.
CROWLEY: What’s the bloody hold-up? He’s the one and only Satan in the phonebook.
ROWENA: It’s witchcraft, not Google Maps. And normally I’d have a piece of hair or a belonging to lock on to. You don’t even know what he looks like!
CROWLEY: He has an aura. Supreme evil. Lo on to that. Do I have to do everything?
ROWENA: I can’t believe I’m once again down some dank hole seeking the devil! When does it end? It’s exactly why I’m retiring to Boca Raton. With Ben.
CROWLEY: Ben? Who makes oatmeal look fascinating.
ROWENA: He’s successful, stable, and I’ll outlive him.
A CRACKLING STARTS INSIDE THE CRYSTAL BALL.
ROWENA: I think so. Yes. I’ll give you the location.
CROWLEY: No, no, no. Not now. I just want to know who we’re dealing with before we attack.
ROWENA: By «we,» I presume you mean the Winchesters and their pet angel?
CROWLEY: I don’t need them. Just you.
CROWLEY: Look, it’s obvious. We got to put Lucifer back in the cage. You’re the only one that can do it.
ROWENA GRABS THE CRYSTAL BALL AND SIGHS.
ROWENA: Should’ve known. No, Fergus! I’ll not be involved in that nonsense again!
CROWLEY: Maybe I should tell Ben about you. Maybe just kill him. Either way, it’s bye-bye, Boca.
ROWENA: You are a hateful snake. In any case, Lucifer can’t be sent back to the cage while he’s in a vessel.
CROWLEY: He won’t be. Not by the time we’re ready.
INTERIOR: IN THE CELLAR SAM HAS BEEN BLOODIED BY TONI’S KNIFE. THE CAMERA PULLS BACK TO SHOW HIM ALONE IN THE CELLAR.
EXTERIOR: DAY, OUTSIDE THE FARMHOUSE. THE IMPALA PULLS UP. CASTIEL IS LEANING AGAINST THE TRUCK. DEAN AND MARY EXIT THE IMPALA AND WALK UP TO CASTIEL.
DEAN: Where’s all this warding you mentioned?
CASTIEL: It’s cloaked. It’s very powerful. You brought your mother?
MARY: Hello, Castiel. Yes, he did.
DEAN: You sure there’s anyone inside?
CASTIEL: No. The agent said the lease was handled long distance, but someone warded the house.
DEAN: I’m gonna go have a closer look.
MARY STARTS TO FOLLOW DEAN.
DEAN: Mom, I got this.
MARY: You can keep me from driving, Dean. Not from hunting.
DEAN SHAKES HIS HEAD IN ACKNOWLEDGEMENT THEN LOOKS TO CASTIEL FOR HELP.
CASTIEL: I’m locked out by the warding. I could use the company.
DEAN LOOKS AT CASTIEL GRATEFULLY AND WALKS AWAY.
INTERIOR: HALLWAY OF VINCE’S HOTEL. TOMMY KNOCKS ON THE DOOR.
TOMMY: Dude, it’s noon. Let me in. Whoa. Look at you.
VINCE OPENS THE DOOR AND LETS TOMMY IN.
TOMMY: Pretty dressed up for rehearsal, don’t you think?
TOMMY: Brother, are you okay?
LUCIFER: Yeah, I just can’t make it to rehearsal.
TOMMY: Yeah, you got better plans?
LUCIFER: I do.
TOMMY: Vince, I’m serious.
VINCE: So am I.
TOMMY: All right. Look, stop screwing around.
VINCE TURNS TO LOOK AT TOMMY AS HIS EYES GLOW RED. HE PUSHES TOMMY IN THE CHEST. TOMMY GOES FLYING THROUGH THE DOOR AND INTO THE HALLWAY WHERE HE LANDS AND DOESN’T MOVE.
VINCE: I said I had plans.
EXTERIOR: THE FARMHOUSE. DEAN IS WALKING OUTSIDE AND HEARS A THUD IN THE DISTANCE. HE GOES TO INVESTIGATE AND ENDS UP OUTSIDE THE CELLAR. HE TRIES TO OPEN IT, LOOKS UP, AND STEPS ONTO A SYMBOL THAT BEGINS TO GLOW.
DEAN: Son of a bitch.
THERE’S A WHOOSHING SOUND AND A VERY BRIGHT LIGHT.
INTERIOR: TONI OPENS THE DOOR TO THE CELLAR. BREATHING HEAVILY SAM LOOKS UP AT HER.
SAM: Screw yourself.
TONI REACHES OVER AND DRAGS A BOUND DEAN INTO SAM’S VIEW.
TONI: I’m as happy to see him as you are, ’cause while you may be able to withstand my snapping apart your body joint by joint, can you watch it happen to Dean?
TONI BRINGS DEAN DOWN THE STAIRS AND PUSHES HIM IN FRONT OF SAM.
INTERIOR: SCREAMS ARE HEARDIN THE DISTANCE AS LUCIFER WALKS DOWN THE HALL. HE ENTERS HELL’S THRONE ROOM TO SEE CROWLY SITTING ON THE THRONE READING A COMIC BOOK.
LUCIFER: They told me you’d be here.
LUCIFER GRABS THE ARMS OF THE THRONE AND LEANS DOWN.
LUCIFER: Get off my furniture, squatter.
CROWLEY: Lucifer. Wearing Vince Vincente, second-tier star. I would’ve thought Bieber was more your style.
LUCIFER: You’re either mad or dim.
LUCKER STANDS UP AND BEGINS TO WALK AWAY.
CROWLEY: I have a proposal. I mean, why in Hell would you want to rule over a motley, witless crew of demons? God’s on sabbatical again. You could reclaim Heaven. Now, that’s real estate that’s worth ruling. I can handle the branch office.
LUCIFER STANDS LOOKING AT CROWLY WITH HIS ARMS CROSSED.
LUCIFER: Hmm. Or…I could raise my hand, smite you into oblivion.
ROWENA: Manete. Manete. Manete. Manete. Manete. Manete. Manete.
ROWENA COMES FROM OFF SCREEN CHANTING. IT APPEARS TO BE AFFECTING LUCIFER.
ROWENA: Manete. Manete. Manete. Manete.
CROWLEY: Mummy’s little paralyzing spell. Trust me, it works.
LUCIFER: Trust me.
LUCIFER’S EYES GLOW RED.
LUCIFER: Not for long.
CROWLEY SHOWS LUCIFER A CONTAINER OF CLEAR LIQUID.
LUCIFER (SCOFFS) Holy water? Yeah? Ooh, ouch. Don’t bore me.
CROWLEY: Well, actually, it’s top-shelf sulfuric acid. Harmless to you, I know, but to your vessel, not so much.
CROWLEY THROWS THE ACIDE ON LUCIFER WHO SCREAMS.
INTERIOR: THE CELLAR, TONI LOOKS OVER HER TORTURE TOOLS AND PICKS UP BRASS KNUCKLES. SHE WALKS OVER AND SLUGS DEAN.
TONI: Passcodes, Sam. Not yet?
TONI LOOKS OVER AT DEAN WHO’S CHAINED WITH HIS HANDS OVER HIS HEAD.
TONI: Anything to add?
DEAN: No. No, I just came by for some tea and a beating.
TONI: PUTS DOWN THE BRASS KNUCKLES AND PICKS UP A CUP OF TEA.
TONI: Really? See, I thought you might be on for a little chat about your mate, Benjamin Lafitte. I’m sorry. You called him Benny. You know, the vampire whom you released from Purgatory and befriended. I see. Well… the English are nothing if not patient.
TONI PUTS DOWN THE TEA AND PICKS UP THE BRASS KNUCKLES. TONI WALKS TOWARDS DEAN.
INTERIOR: HELL, LUCIFER SCREAMS AS THE ACID DISOVES HIS FACE.
CROWLEY: Now. His essence, send it back to the cage.
ROWENA: Wah tay, fay roh lah!
ROWENA ENDS THE SPELL BUT IT DOESN’T WORK.
ROWENA: Manete! Manete! Manete!
CROWLEY: It’s not working.
ROWENA: Manete! Manete!
LUCIFER STANDS AND SIGHS. HE STRAIGHTENS, LIGHT BEGINS TO GLOW AND IN THE BACKGROUND HIS WINGS BEGIN TO UNFURL. LUCIFER HEALS HIS FACE.
LUCIFER: Bad, bad Crowley.
LUCIFER STEPS TOWARDS CROWLY WHO VANISHES.
LUCIFER LOOKS AT ROWENA, REACHES OUT AND SHE’S UNWILLING DRAGGED FORWARD TO WHERE LUCIFER GRABS HER NECK.
LUCIFER: You spoil that boy.
INTERIOR: THE CELLAR.
SAM:I thought you were dead.
DEAN: I’m not sure that I’m not.
DEAN: I’ll tell you. I’ll tell you everything, okay? First off, who’s Angry Spice?
SAM: She, uh — she’s — she’s Men of Letters. Uh, British Men of Letters.
DEAN: Is that a thing? What the hell? Aren’t we supposed to be on the same team?
THE DOOR OPENS AND TONI STARTS DOWN THE STAIRS.
DEAN: Oh, God.
TONI: Gentlemen. So, to recap — you live in the Men of Letters bunker, awash in the world’s greatest collection of occult knowledge, and yet you know «nothing.»
DEAN: Right. What a waste.
DEAN CHUCKLES AND THEN COUGHS.
TONI: It seems you apes have never read a single book. The Men of Letters has a long tradition of intellectual excellence. In London, we’ve undertaken exhaustive studies of even the most arcane topics.
TONI REACHES DOWN TO GRAB AN ICE PICK LIKE DEVICE. DEAN LOOKS AT SAM.
TONI: For example, parts of the body most sensitive to intense pain.
TONI GRABS DEAN’S FACE.
TONI: The ear drum. Decaying tooth. Below the belt, of course. And my favorite — under the eyelid.
DEAN GRUNTS AS SAM WATCHES AND TRIES TO GET OUT OF THE CHAIR.
TONI: Did you know it’s possible to die from pain?
DEAN STARES STRAIGHT AHEAD. SAM STRUGGLES TO GET OUT OF THE CHAIR.
THERE’S THE SOUND OF A GUN COCKING. TONI TURNS TO LOOK AND SEES MARY.
MARY: Get away from my boys.
MARY WALKS INTO THE ROOM AND GRABS A SET OF KEYS FROM THE TABLE. SHE WALKS TOWARDS TONI AND DEAN.
MARY: Drop it. Ground.
TONI DOESN’T MOVE. MARY SMACKS HER IN THE FACE. MARY HANDS THE KEYS TO DEAN WHO BEGINS TO WORK ON HIS SHACKLES.
MARY: That’s the ground.
TONI REACHES UP AND KNOCKS THE GUN AWAY AS IT FIRES. TONI SMAKS BOTH SAM AND DEAN. TONI PUNCHES MARY IN THE THROAT AND STOMACH BEFORE THROWING HER INTO A WALL. DEAN UNLOCKS HIS SHACKLES AS THE FIGHTING CONTINUES.
DEAN: Holy crap.
MARY COMES BACK FIGHTING. DEAN FIRES A SHOT INTO THE AIR. TONI PICKS UP A PIECE OF GLASS AND CUTS HER HAND. DEAN TURNS THE GUN ON TONI AS SHE TURNS WITH HER BLOODY HAND OUT.
MARY BEGINS TO GASP AS SHE HOLDS HER THROAT. DEAN WALKS TOWARD TONI AS HE POINTS THE GUN.
DEAN: Kill the spell now. I’m not kidding.
TONI: Shoot me, and your mother has no chance.
DEAN LOOKS OVER AT MARY WHO’S GASPING.
TONI: The gun.
SAM LOOKS OVER AT DEAN WHO UNCOCKS THE GUN AND GIVES IT TO TONI. DEAN THEN PUNCHES TONI IN THE FACE.
MARY BEGINS TO BREATHE.
DEAN: It’s okay. She was using a Chinese mind-control technique. Hard to do when you’re unconscious. Turns out this ape did read a book or two.
AFTER CHECKING ON MARY, DEAN GOES OVER TO UNLOCK SAM.
MICK: Well played.
SAM, DEAN, AND MARY LOOK UP TO SEE MICK STANDING AT THE BOTTOM OF THE STAIRS WITH CASTIEL BEHIND HIM A FEW STEPS HIGHER UP.
THE SCENE CONTIUES WITH THE THREE WINCHESTERS STANDING TOGETHER NEAR SAM’S CHAIR AND CASTIEL STANDING NEAR MICK BUT WATCHING HIM.
MICK: What you were told is basically true. We were keen on knowing about the two of you, seeing as you seem to be partially carrying on the Men of Letters’ work here now that the American chapter is defunct.
TONI GETS UP OFF THE FLOOR.
DEAN: So you sic your attack dog on us to what, say hi?
MICK: Well, part of our group suspect some kind of malfeasance amongst you American Hunters. No argument — Lady Bevell went too far. I deeply apologize.
SAM SHAKES HIS HEAD INCREDIOUSLY.
MICK: She’ll face consequences in London.
DEAN: I’ll tell you what, why don’t you take a walk, and she can face those consequences right here and now?
MICK SHAKES HIS HEAD.
MICK: She’s ours. We’ll take care of her. Now, I’m here to extend an olive branch. We want to work with you.
SAM: Let me ask you a question, uh, Mick is it? Why would we believe any of this?
MICK: Lads…if I wasn’t sincere, if I meant you harm, there’s a dozen ways I could’ve come in here and taken you all prisoner instead of being unarmed. Not to mention I powered down all the wardings in this shack so your attack dog could come in. I reckon you could finish me off without breaking a sweat. Am I right?
CASTIEL: I don’t sweat under any circumstances.
MICK: My number.
MICK HANDS HIS CARD TO CASTIEL.
Take your time, cool down, and just think it over. And what have you got to lose, except your worst nightmares?
INTERIOR: BUNKER AT THE MAP TABLE. THERE’S A BUCKET OF SANDY’S CHICKER TO GO ON THE TABLE AND IT’S CLEAR THE WINCHESTERS JUST FINISHED A MEAL.
DEAN: Oh, that was fantastic. Thank you, Mom.
MARY WALKS IN CARRYING A PIE AND CHUCKLES.
MARY: All I did was point at some stuff on a take-out menu. I would’ve cooked, but I, uh…don’t.
DEAN: Well, now, wait. Your meat loaf was amazing.
MARY: Came from the Piggly Wiggly. Sorry to burst your bubble.
MARY TAPS DEAN ON THE ARM.
MARY: But do you still like pie?
DEAN (CHUCKLES): I mean…
DEAN SMILES AND GRABS THE PIE.
MARY: Sam. You keep looking at me like I’m going to explode.
SAM (CHUCKLES): I’m sorry.
DEAN IS HAPPY AS HE DSHES OUT A PIECE OF PIE.
MARY: But what do we think? Are we buying that Brit’s whole «Let’s be friends» routine?
SAM: No. No way.
DEAN: No. Mmm.
DEAN STARTS TO EAT THE PIE.
MARY: Could you eat that any faster?
DEAN (MUFFLED, MOUTH FULL): No. No, I cannot.
MARY SMILES, SAM GIVES A “WHAT CAN YOU SAY” MOVE WITH HIS HAND.
MARY: Well, we should call the Internet and find out as much as we can about these people. Did I say that right?
DEAN: So close.
SAM: Yeah, it was close.
DEAN: You want any?
DEAN ASKS SAM ABOUT THE PIE.
SAM: No. Uh, not now.
DEAN SHAKES HIS HEAD AND CONTNUES.
INTERIOR: HELL, LUCIFER IS SITTING ON THE THRONE. WITH A FLICK OF HIS HAND, HE TURNS ROWENA TOWARD HIM.
LUCIFER: You know, I got to say, Rowena, I took one look at you, and all I wanted was to snap your miserable neck again. And keep it snapped this time. But I think I’ve decided against it.
ROWENA: You won’t regret it, sir. I’m done with all this. I’ll stay far, far away, sipping martinis with republicans at my tennis club.
LUCIFER: (CHUCKLES): You’re missing my point. A witch as gifted as yourself, with access to the Book of the Damned to boot, would be much more valuable as a prisoner.
LUCIFER: How’s that saying go? Mm, friends close… …enemies closer.
LUCIFER GRAPS ROWENA.
ROWENA: No. No!
BOTH LUCIFER AND ROWENA VANISH.
INTERIOR: BUNKER, MARY TURNS WHEN SHE HEARS A KNOCK ON THE DOOR.
SAM OPENS THE DOOR AND ENTERS HOLDING A CUP.
SAM: Hey. Hi. Sorry. I hope I didn’t wake you up. I-I, uh…wanted to bring you this.
SAM PLACES THE CUP DOWN ON THE DESK.
MARY: Thank you.
SAM: You’re welcome. I don’t know if you drink tea, but…
MARY: I do.
SAM: Good. Uh, and I wanted to say… if you ever want to talk, I know what it’s like to come back and not feel like you really fit.
MARY: I just have so much about you boys to catch up on. Mother stuff. You know, first tooth, first crush.
SAM LOOKS AROUND.
Mary: I just have a lot of blanks to fill in.
SAM: Right, uh…
SAM PULLS JOHN’S JOURNEL FROM UNDER HIS ARM AND HANDS IT TO MARY.
SAM: Dad’s journal. His writing, his words. Helped me fill in some blanks, answer some questions I didn’t know I had. And, you know, it — it — it keeps him with us, sort of.
MARY: Thank you.
SAM: Good night.
MARY: Dean said you got out of hunting.
SAM PUTS HIS HANDS INTO HIS POCKETS.
MARY: And yet here you are.
SAM: Well, this is my family. My family hunts, you know? It’s what we do.
MARY SHAKES HER HEAD AND LOOKS AWAY AT THE JOURNEL.
SAM: Mom. For me… just, um… having you here… fills in the biggest blank.
SAM’S EYES FILL AS MARY STEPS TOWARDS SAME. THEY HUG TIGHTLY.
SCENE CHANGES TO DEAN IN THE KITCHEN, SITTING ON THE FLOOR. HE’S SLIGHTLY DRUNK AND LOOKING OVER HIS COLLECTION OF PICTURES.
MARY LOOKS THROUGH JOHN’S JOURNEL AND SHAKES HER HEAD.
SAM IS IN HIS ROOM, LAYING ON HIS BED LOOKING UP AT THE FAN.
HEART’S «LOST ANGEL» plays OVER THE SCENES: ♪ As it was before, Shall it ever, ever be. Hear it on the crying wind. Hear it weeping on the sea. Lost angel, find us now, From the clouds above, Right down to the ground, Lost angel ♪
EXTERIOR: NIGHT, DRIVING IN A CAR.
TONI: I will not get on that plane.
MICK: Yes, you will. Your mission was to identify American Hunters and gain their trust. That’s what the home office wants. Honey, not vinegar.
TONI: I have a dossier, and I am just getting started.
MICK: They’ve also had their fair share of successes.
TONI: If our goal is to end the supernatural threat here, we need to destroy every obstacle. The Winchesters, these American Hunters, they’re no better than the monsters they fail to control. They need to be eliminated. Mick.
MICK: If push comes to shove, your ladyship, I’m prepared for that.
TONI: You’ll get your hands dirty?
MICK: Well, we have Mr. Ketch for that.
TONI: You’ll send for him?
MICK: I already have.
INTERIOR: A ROOM IN LONDON. A MAN (MR. KETCH) IS PACKING UP HIS KIT (LOTS OF GUNS). FINAL SHOT IS LOOKING OUT THE WINDOW AT THE TOWER BRIDGE.