12.21 There's Something About Mary (transcript)
Directed by: P.J. PesceAir Date: May 11. 2017
MONTAGE CONSISTS OF THE RECENT ESCAPADES OF THE BRITISH MEN OF LETTERS. AND THE WHAT HAPPENED IN EPISODE 12X20.
NIGHT: EILEEN LEAHY IS RUNNING THROUGH THE WOODS. A HELLHOUND CAN BE HEARD BARKING AS IT'S CHASING HER. EILEEN SHOOTS AND THE HELLHOUND ATTACKS. MR. KETCH BLOWS A DOG WHISTLE STOPPING THE ATTTACH BUT EILEEN IS DEAD. MR. KETCH CONGRATULATES THE HELLHOUND AND FEEDS HIM A TREAT.
INTERIOR OF A MOTEL ROOM. SAM AND DEAN ENTER.
DEAN: Mom? Mom.
DEAN CHECKS AROUND THE ROOM.
DEAN: Well, looks like she hasn't been here for a while.
SAM: Yeah. All her stuff is gone. Did she say she was moving on or –
DEAN: No, I told you what she said. She said, Dean, call me. We have a problem. And then that was it. She didn't sound happy.
SAM: Okay, well, when she's not here, she's been bunking with the Brits. So maybe –
DEAN: Well, dude, I've called Mick, like, six times. He's been radio silent since they sent him to London.
DEAN MAKES A CALL
DEAN: Ketch, calling to see if my Mom's with you. It's Dean. Winchester. Because I'd like to speak to her, that's why. No, I'm not being terse. Look, if you haven't seen her, do you know where she is? No, I'm not being curt either. Look, I don't have time for Manners 101 from you, okay? If she's with you, I wanna know about it. Fine.
MR. KETCH HANGS UP.
DEAN: Such a dick.
DEAN: He says he hasn't seen Mom in over a week.
SAM: But Mom called two days ago, said she was working a case with him.
DEAN: Which means he's lying.
SAM: But why would he –
CELLPHONE RINGS. SAM PULLS THE PHONE OUT OF HIS POCKET AND LOOKS AT IT.
SAM ANSWERS THE PHONE.
SAM: Jody, hey. No, what? No. Uh No, we hadn't heard.
SAM SHAKES HIS HEAD.
SAM: Um, when? What the hell happened? Oh, no. No, I-I Yeah, thanks for letting me know. Bye.
SAM HANGS UP THE PHONE.
SAM: She was, uh, mauled by a wild animal in a wooded area that doesn't have animals that do that, in South Carolina.
DEAN: But I thought she was in Ireland. Sam…
SAM: Dean, that's the second Hunter death we've heard about in two weeks.
DEAN: I know. But two doesn't mean a pattern.
SAM: Three would.
SAM: Mom's a Hunter, and no one knows where she is.
SCENE CHANGES TO EXTERIOR DAY WITH THE BROTHERS IN THE IMPALA, DRIVING DOWN THE ROAD.
SCENE CHANGES TO INTERIOR OF A MORGUE. SAM AND DEAN ARE THERE WITH EILEEN'S BODY.
SAM: People who do what we do, you know there are gonna be deaths, but... This
DEAN: These wounds – I mean, we've only seen something this bad a few times.
DEAN Yeah. But it doesn't make any sense. Why would a – why would a demon sic a hellhound on her? Why did she leave Ireland?
SAM: I don't know, Dean.
DEAN: All right, well, counting Eileen, that makes seven Hunters in three weeks.
SAM: Yeah, and those are the ones we know about.
DEAN: Seven monster-related deaths. I mean, what, did all the things out there suddenly start working together?
SAM: Dean, monsters and demons don't team up. Seven Hunters are gone. We can't grab a signal from Mom's phone. Cass has Kelly Kline who knows where. Mick has slipped off the grid. Ketch is lying to us. I-I... I wanna punch something in the face.
DEAN: Good. Hold on to that, 'cause it looks like we got a hellhound to deal with. Which means…
INTERIOR OF CROWLEY'S LAIR. CROWLEY IS TALKING ANGRILY TO A DEMON.
CROWLEY: How many times do I have to repeat myself? Find me Kelly Kline! As a concept, it's ridiculously simple, as are you!
DEMON: Please don't yell. I'm trying.
CROWLEY: I'm trying. Well, try harder! As if your almost-life depended on it.
DEMON: Yes, my King.
CROWLEY: Bear down. What do you know?
DEMON: We know Dagon is dead and can't protect Kelly.
CROWLEY: Which makes your task even easier.
DEMON: We know Lucifer's son is almost due.
CROWLEY: Which makes your task more crucial.
CROWLEY: We know we don't know how powerful he'll be when born.
CROWLEY: Which makes you an idiot.
DEMON: I know that, too.
CROWLEY: Apparently, you and the legion of demons that I've assigned to this task haven't been motivated properly. Follow me.
DEMON: You going to skin me alive, Sire?
CROWLEY: Would it be that simple.
I have to remind you and your team of screwups of the pride of superior work, the thrill of pleasing me, and the gratification of living one more day.
CROWLEY AND THE DEMON WALK OUT OF THE THRONE ROOM.
INTERIOR OF AN APARTMENT. A MAN ENTERS THE ROOM. HE'S WEARING HUNTER GARB. HE PUTS HIS BLOODY MACHETE IN WITH THE UMBRELLA.
MARY WINCHESTER: Hello, Rick.
RICK TURNS TO SEE MARY SITTING IN AN EASY CHAIR.
RICK DROPS HIS MAIL.
RICK: No, please come in. Have a seat.
RICK: So you have my address, but not my phone number?
MARY: Spur of the moment. Someone dropped a dime on a vamp nest near here.
You got anything?
RICK: No, news to me.
MARY: You want in?
RICK: Yeah. Yeah, sure.
MARY GETS UP AND WALKS TOWARD RICK.
MARY: Great. How ya been?
RICK: Well, uh... taking plenty of heat from the Brit Dicks to join the tea and crumpet squad.
RICK: Yeah, they do not want to take "no" for an answer.
RICK: Yeah. Want a beer?
RICK TURNS AND OPENS THE REFRIGERATOR.
RICK: I mean, screw them, right? What do they think, after all these years...
MARY OPENS A KNIFE, RICK SEES THE REFLECTION, BREAKS A BOTTLE AND TURNS AROUND TO ATTACK. MARY DEFENDS, COUNTER ATTACKS AND IS CUT BY THE BOTTLE. THE BOTTLE FALLS, RICK STEPS FORWARD AND TRIPS OVER THE BOTTLE. MARY SLITS HIS THROAT.
INTERIOR, MARY WAKES UP AND SITS UP. SHE'S IN A SEALED OCTAGONAL ROOM IN THE BRITISH MEN OF LETTERS COMPOUND.
INTERIOR, ROOM WHERE MARY IS BEING HELD. THE DOOR OPENS AND LADY TONI BEVELL ENTERS.
TONI: How are we doing today? Oh, Mary.
TONI CLOSES THE DOOR WHICH LOCKS AUTOMATICALLY.
TONI: Those eye bags again.
MARY: Did something happen last night?
TONI: Could you be more specific?
MARY: Was I out of this building?
TONI: Well, you would know that better than I. Unless you're having trouble distinguishing fact from fiction. So what's going on, Mary?
MARY: I'm fine.
TONI WALKS TOWARD MARY AND PEERS DOWN AT HER.
TONI: Are you?
MARY HAS FLASHBACKS OF TONI WITH A BIG NEEDLE WHICH SHE STICKS INTO MARY. THEN MARY IS IN A CHAIR RECEIVING SOME KIND OF SHOCK TREATMENT. MARY LOOKS AT TONI.
MARY: You're brainwashing me?
TONI: You're being realigned. Soon, you won't differentiate between your thinking and ours.
All of your thoughts and actions will come from us.
MARY: What are you talking about?
TONI: Well, not about this illusion of you that you hold on to. The perfect life. Loving husband and kids. But it never really was perfect, was it? All those secrets you kept from your beloved John – that you were a Hunter. That you invited Azazel to visit when he spared John's life.
MARY: How do you –
TONI: I have sources, Mary. Everywhere. After you died, your beloved John was a man slowly going mad, searching for revenge. What? Your boys didn't tell you? The drunken rages? The weeks of abandonment? Child abuse, really. It's no wonder they're damaged. So enough with the fairy tale. We are returning you to a more pure version of yourself – Mary Campbell, natural born killer.
TONI: The American Hunters haven't fallen into line as we'd hoped, so they're being eliminated, repealed and replaced by our people, and you, Mary, you play a key role in that.
MARY: I won't.
TONI: Or maybe you already have.
MARY WALKS FORWARD AS IF TO ATTACK AND IS PUNCHED BY TONI.
TONI: Interesting choice. Soon you won't be making any.
TONI LEAVES THE ROOM. MARY PUTS PRESSURE ON HER LEFT HAND AND WINCES, NOTICING A LONG CUT ON THE PALM THAT HAS BEEN SUTURED. SHE REMEMBERS THE FIGHT WITH RICK.
SCENE CHANGES TO ANOTHER ROOM IN THE BRITISH MEN OF LETTER'S COMPOUND. DOCTOR HESS PICKS UP A FILE.
CROWLEY: Good afternoon. Dr. Hess. Stunningly beautiful as ever.
DR. HESS: Crowley. Revoltingly unctuous as always.
CROWLEY: Let's cut to it. You have your people slaughtering the American Hunters, which, naturally, I applaud.
DR. HESS: You know about that?
CROWLEY: I provided Arthur Ketch with a hellhound. I didn't think he was looking for a pet.
Obviously, your organization is looking to put down roots. I just want to make doubly sure that you and I have the same arrangement in the States that we do in the U.K.
DR. HESS: I don't see why not. No point being at war. No sides lose. If your demons limit their involvement to humans idiotic enough to sell their souls
DR. HESS: And share information?
CROWLEY: As needed? I assume finding that infernal nephilim is a top priority.
DR. HESS: Since it could kill you, me, and the entire universe, probably.
CROWLEY: I am a team player. My demons are scouring the country as I speak.
DR. HESS: Did you notice my sigh of relief? Oh, right. There wasn't one. Crowley, one more thing.
DR. HESS: Your relationship with the Winchesters. It's a bit cozy for my taste. I hope you don't expect me to spare your friends.
INTERIOR OF CROWLEY'S LAIR. DREXEL ENTERS THE ROOM LUCIFER IS IN AND DOES AN EXAMINATION:
DREXEL: That completes my examination.
LUCIFER: Okay, Drexel, as much as I enjoy playing doctor with you day after day, I need to blow this joint now.
DREXEL: I beg you to be patient. Until I get the security device shut off, you completely belong to Crowley.
LUCIFER: Okay, if it's at minimum power, and I'm at maximum power, I'll roll the dice, man.
DREXEL AND LUCIFER HEAR CROWLEY'S VOICE IN THE DISTANCE. SCENE SWITCHES TO CROWLEY TALKING ON THE PHONE.
CROWLEY: I'm telling you, I don't know anything about it. The name Eileen Leahy means nothing to me.
SAM: Crowley, only a demon can control a hellhound, which means that one of your people was involved.
CROWLEY: If that were the case, I would know about it. There are no missing hellhounds.
I was cuddling with them just last night.
SAM: Right. And you know nothing else of the other Hunters who are dying?
CROWLEY: Not only don't I know, I don't care.
CROWLEY HANGS UP AND WE SEE SAM AND DEAN IN THE BUNKER.
SCEENE TRANSITIONS BACK TO CROWLEY WALKING INTO LUCIFER'S ROOM. DREXEL HIDES.
LUCIFER: Never thought of you as a cuddler, Crowley. Tell me more.
CROWLEY: More? I've been giving thought to your future. As my slave, you could be useful as a weapon, laying waste to my enemies, starting with a certain British bitch who's far too comfortable giving me ultimatums.
LUCIFER: Are you done?
CROWLEY: No. If you do have any information as to the whereabouts of Kelly Kline and the spawn of your loins...
CROWLEY: ...you may want to give that information to me.
LUCIFER: And why, oh, why would I do a thing like that?
CROWLEY: Because turns out that Kelly's been chumming it with an old friend of yours.
CROWLEY: So... Dagon dead. Kelly's now in the clutches of the Winchesters' love slave, Castiel, who's no doubt dragging her to a gruesome death.
LUCIFER: Mm. As opposed to the fun-packed death you have planned.
CROWLEY: My plan may just be to save your son's life, raise him as my own, give him the chance to use his power in my service. I may be the only hope you have of seeing him alive.
LUCIFER: Hmm. Interesting. Pass.
CROWLEY: Mm. Think about it. Tick-tock.
CROWLEY EXITS THE ROOM AND CLOSES THE DOOR. DREXEL WAS HIDING BEHIND THE DOOR.
LUCIFER: I need to get out of here now.
INTERIOR, MARY'S ROOM, BRITISH MEN OF LETTERS COMPOUND. THE DOOR OPENS AND TWO PEOPLE IN WHITE COATS DRAG MARY INTO THE ROOM. THEY PLACE HER DOWN O THE COT AND LEAVE THE ROOM CLOSING THE DOOR. MARY HAS FLASHBACKS ABOUT RICK AND THE BRAINWASHING. TONI WALKS DOWN THE HALL AND ENTERS THE OPERATION CENTER WHERE DR. HESS AND MR. KETCH WATCHING MARY ON A MONITOR.
TONI: We just completed another session. She's coming along nicely. I know you wanted me to accelerate her progress, Dr. Hess. I believe I've achieved that. That is why you brought me in.
MR. KETCH: I'm sorry, were you expecting a pat on the head, Your Highness?
TONI: Oh, no. I would never expect civility from you. Psychopath.
TONI TURNS AND LEAVES THE ROOM.
DR. HESS: You two are such fun together. Of course, she may be reporting to you.
MR. KETCH: I'm not really an administrator.
DR. HESS: You kill without mercy. You'll be fine. I mean, here you are, watching this woman suffer. And only days ago, you were sleeping with her.
MR. KETCH LOOKS OVER AT DR. HESS AS IF HE'S ABOUT TO SAY SOMETHING BUT CHANGES HIS MIND.
DR. HESS: Of course I knew. Once the U.S. Hunters are gone, I'm seriously considering putting you in charge.
MR. KETCH: You're too kind.
DR. HESS: Of course, Lady Bevell is also desperate for the job. Oh, that's right. You slept with her as well.
OUTSIDE A U.S. POST OFFICE IN LEBANON, KANSAS. DEAN IS PICKING UP MAIL WHILE SAM IS TALKING ON HIS PHONE.
SAM: Yeah. Yeah, no, I appreciate it. Thanks.
SAM HANGS UP.
SAM: So I've been calling around about all of the Hunters that died. Um, every one of them had years of experience.
DEAN: We got a letter from Eileen.
DEAN: She sent it four days ago. It went snail mail 'cause she thought that her phone and her computer were both hacked. She left Ireland because she was scared.
SAM: Scared of what?
DEAN: Well, after she accidentally killed that – that Brit douche Renny, she thought that the British Men of Letters were on her.
SAM: (READING THE LETTER) "I know they're following me, watching me. They tapped my phone. I found a microphone in my room. I hate to be all girly, but I could bunk with you guys for a days until I sort this out?"
DEAN: You think the Brits were watching her?
SAM: If Eileen says they were –
DEAN: Then maybe they're the ones that killed her.
INTERIOR OF THE BUNKER. SAM AND DEAN BEGIN SEARCHING FOR BUGS. DEAN CHECKS INSIDE THE REFRIGERATOR AND SNIFFS AN OLD BURGER.
DEAN FINDS A MICROPHONE UNDER THE MAP TABLE. DEAN POINTS IT OUT TO SAM.
INTERIOR OF THE BUNKER. SAM AND DEAN ARE STILL KNEELING NEXT TO THE MAP TABLE.
DEAN: Those Hunters you were talking to, is one of them Terry Marsh?
DEAN MOTIONS TO SAM TO KEEP THE CONVERSATION GOING.
SAM: Yeah, Terry Marsh in Missouri. I talked to him. He, uh, he's also thinking it's not monsters doing the real killing.
DEAN: Okay, well, I got a text from him.
THE SCENE SWITCHES TO THE BRITISH MEN OF LETTERS OPERATION ROOM WHERE MR. TWO OPERATIVES ARE LISTENING TO THE CONVERSATION.
DEAN: He's been nosing around, says he's got a fair idea of what's going on.
DEAN: He doesn't feel safe talking about it on the phone. He wants to meet.
SCENE SWITCHES BACK TO THE BUNKER.
DEAN: The old iron works off the interstate. Tomorrow night at 9:00. He says park off the road by the warehouse.
SAM: All right.
THE BROTHERS LOOK AT EACH OTHER. SAM IS CLEARLY ANGRY.
INTERIOR CROWLEY'S LAIR INSIDE LUCIFER'S ROOM.
DREXEL: The timing of your escape is crucial, my Lord. If the device isn't sufficiently impaired, the King's hold on you will only increase. And, of course, I'll be –
LUCIFER DRAGS DREXEL CLOSE.
LUCIFER: Let me perfectly clear, okay? My only son is in jeopardy, and I'm running out of patience. Check it again.
DREXEL: This...this can't be.
LUCIFER: Do not tell me it's powering up.
DREXEL: It's powering up –
LUCIFER: I asked you not to tell me that.
DREXEL: But in the opposite direction. This is amazing.
DREXEL: The device, it's cemented directly into your DNA and that of the King's. As it's powering down in you, the polarity is somehow reversing.
LUCIFER: English, Drexel.
DREXEL: The ability to control is transferring from Crowley to you.
LUCIFER: So you're saying that Crowley's gonna be my puppet.
INTERIOR BRITISH MEN OF LETTERS COMPOUND. MR. KETCH IS FEEDING THE DOG AFTER IT SAT FOR TONI.
MR. KETCH: Good dog. You sat for Lady Bevell.
THE HELLHOUND GROWLS AND TAKES THE MEAT.
TONI: How can you even tell?
MR. KETCH: Am I gonna say "bad dog"? He can be unpleasant. Dr. Hess says that you have designs on Mick Davies' job.
TONI: Did she?
MR. KETCH: She assured me it was mine to turn down.
TONI: Fascinating. She told me the same thing.
MR. KETCH: Well... Pitted against each other, like our days at Kendricks.
TONI: I always did rather well in those situations.
MR. KETCH: You slaughtered the competition. Sometimes literally.
TONI: And yet, I never slaughtered you, Ketch.
MR. KETCH: Well, we were having a lot of sex at the time.
TONI: Hmm. I've been studying the American Situation and how to fix it for years. So this? Is mine. Trust me. The cream always rises to the top.
MR. KETCH: Oh, I agree.
WOMAN OVER P.A.: Mr. Ketch? The prisoner is asking for you.
MR. KETCH: Hmm.
TONI: Arrogant bastard.
TONI LOOKS DOWN AT THE HELLHOUND. A WOMAN COMES UP BEHIND HER.
PAIGE: Lady Bevell, I have news.
INTERIOR OF MARY'S ROOM. THE DOOR UNLOCKS AND MR. KETCH ENTERS. CLOSING THE DOOR HE SEES MARY LAYING ON THE COT. SHE SITS UP AS HE WALKS TOWARDS HER.
MARY: I didn't think you'd come.
MARY SLOWLY RISES AND WALKS TOWARD HER.
MARY: I'm losing my mind, Ketch. I actually don't know if this... is real. What do they want me to do?
MR. KETCH: Exactly what you're doing, Mary, and you're doing it splendidly.
MARY: I killed somebody. He was a-a friend.
MR. KETCH: I do it all the time.
MARY: I believed in what you people were doing. I fought with you so that my boys could maybe live in a world without monsters. How can you just –
MR. KETCH: I'm not sure what you're expecting. That I'll intervene? We made it clear to each other, we don't have a relationship.
MARY: We worked together. We... We know each other.
MR. KETCH: I don't know you, Mary. Not really. You certainly don't know me. You... wouldn't want to.
MARY BEGINS TO CRY.
MARY: I need your help. Please.
MARY LEANS UP AGAINST MR. KETCH, GRABS HIS GUN AND BACKS AWAY.
MR. KETCH: Mary
MARY COCKS THE GUN AND PUTS BELOW HER CHIN.
MR. KETCH: No.
MR. KETCH GRABS FOR THE GUN AND MANAGES TO KNOCK IT AWAY AS IT GOES OFF.
MR. KETCH: Ow! Ah!
MARY: Then you do it! Kill me. All my life, all I ever had, other than my family, was my will.
MARY BEGINS TO CRY.
MARY: And it's going away. I'm – I'm putting people in danger. I'm putting my sons in danger. You have to –
MARY DROPS TO HER KNEES.
MARY: Please. For God's sake, kill me.
MR. KETCH: Mary.
MARY: Just do it!
MR. KETCH: Mary, listen to me. It won't be long now. This will all be over. I promise.
MR. KETCH: I promise.
KETCH WALKS OUT OF THE ROOM AND LEAVES MARY IN DESPAIR.
EXTERIOR, NIGHT, OUTSIDE A WAREHOUSE. THE BROTHERS DRIVE UP IN THE IMPALA AND GO INSIDE. ANOTHER CAR IS WAITING ON THE OUTSIDE. BRITISH MEN OF LETTERS GET OUT OF THE CAR AND FOLLOW SAM AND DEAN. LADY BEVELL WAITS IN THE CAR. AFTER THE TWO MEN ENTER, DEAN LOCKS THEM INSIDE. TONI, REALIZING SOMETHING IS WRONG, COCKS HER GUN. DEAN SMASHES IN THE DRIVER SIDE WINDOW. TONI STARTS SHOOTING OUT THE PASSENGER SIDE. DEAN AND TONI STRUGGLE UNTIL SHE KNEES HIM. SHE REACHES FOR HER GUN WHICH HAS FALL A FOOT SLAMS DOWN ON THE GUN. TONI LOOKS UP TO SEE SAM POINTING A GUN AT HER. TONI STANDS UP.
DEAN: You keep that up, we're gonna have to start dating.
INTERIOR OF CROWLEY'S LAIR. CROWLEY ENTERS LUCIFER'S ROOM.
CROWLEY: Before long, of course, I will get rid of you. But I will miss our little chats.
LUCIFER: Hmm, you mean the ones where you prattle on about your imagined power, and I prepare to care? Those chats?
CROWLEY: How is Lucifer Jr.? Dead yet?
LUCIFER PUTS HIS HAND TO HIS EAR AS IF LISTENING.
LUCIFER: Hmm no.
Still alive and kickin'. Strong. Kid's a bruiser. Sort of proud.
CROWLEY: Well, before you book a Daddy and Me class, I must assure you there is no heir to your throne. The Winchesters wouldn't mess up a second time.
LUCIFER: I don't know about that. Seems to be sort of their thing. I mean, they thought they would stuff me back in the Cage again.
CROWLEY: And yet, due to my cunning, here you sit, a virtual slave to my will.
LUCIFER STARTS TO DO DIFFERENT MOVEMENTS THAT CROWLEY MIMICS.
CROWLEY: And the hubris – you and your pseudo son? I mean, it's delusional. Despite your epic collapse, you persist in the fantasy that you will best me. Your bluster is no match for my masterful strategies. And in the end, you have to concede that I have–
CROWLEY BEGINS TO FLAP HIS ARMS AND REALIZES SOMETHING'S NOT RIGHT.
CROWLEY: What's going on?
LUCIFER LAUGHS AND STANDS.
LUCIFER: "Master strategist".
LUCIFER HOPS ON ONE FOOT AND CROWLEY FOLLOWS.
LUCIFER: More like Kermit the Frog. Oh, my little Muppet! Crowley, what will I do without you?
EXTERIOR, NIGHT, INTERIOR OF THE IMPALA. SAM IS POINTING A GUN AT TONI BEVELL WHO'S SITTING IN THE BACK SEAT.
SAM: Why you spying on us? Oh, and what do you know about Eileen Leahy?
DEAN:: Did you – did – did your people, did they kill her?
TONI: Probably. Rule of thumb – if you think we killed someone, then we probably did.
Speaking of, you do realize that by attacking me, you invite the retribution of the entire British Men of Letters? Investigation, no trial. Just punishment and ruin. Possibly at the hands of Mary Winchester.
DEAN: The hell is that supposed to mean?
TONI: Your mother – she's our permanent guest.
SAM: She's your prisoner? Why?
TONI: Prisoner? Who said anything about prisoner? No, Mary's joined the team. Even has her own super secret decoder ring.
SAM: You're lying.
TONI: You're right. There is no ring. Oh, boys and their mums. See, you see her as Mummy.
We see her as one of our best killers.
DEAN: You know, just 'cause she works with Ketch doesn't mean she likes him. Or you.
TONI: Oh, that Oedipal myopia again. And did you really think she was just "working" with Ketch? All of those days and nights?
SAM: That's enough.
TONI: He said it was some of the best sex he'd ever had.
DEAN SLAMS ON THE BREAKS.
DEAN: You wanna rethink that?
TONI: Fine. He said it was the best sex he'd ever had.
DEAN REACHES FOR TONI.
SAM: Dean, Dean.
SAM: All right.
DEAN: Keep it up.
SAM: What about Mick? Where is he in all of this?
SAM: Yes, Mick.
TONI: Oh, Mick's dead.
SAM: He's dead?
TONI: Quite. It was determined he was too sentimental for the job. Turns out, he was too much like you two and all the other U.S. Hunters. Ergo, soon each and every Hunter in this country will join him. Jody Mills, Claire Novak, all of your other flannel-wearing, whiskey-swilling friends. They're dead.
INTERIOR OF CROWLEY'S LAIR. LUCIFER DROPS THE CHAINS AS STRETCHES AS HE'S NO LONGER BOUND.
LUCIFER: Ooh! Yeah, that feels awesome. Oh! Muscle cramps. You know a good Pilates class?
CROWLEY: So, to be clear, I accept that you are now in charge. I-I like this new arrangement better. You're more the big picture guy. I'm the day-to-day minutiae guy.
CROWLEY TURNS TO RUN. LUCIFER USES HIS POWER TO HURL CROWLEY INTO THE DOOR.
LUCIFER: 8 ball, corner pocket.
LUCIFER THROWS CROWLEY ACROSS THE ROOM.
LUCIFER: Well, I could do this all day, but since I'm King, et cetera, et cetera. I'll wrap it up.
LUCIFER PICKS UP AN ANGEL BLADE AND LEVITATES CROWLEY TO THE UPRIGHT POSITION. LUCIFER POWERS UP AND UNFURLS HIS WINGS. HE FORCES CROWLEY TO WALK TOWARD HIM.
LUCIFER: Oh, you had to know this was inevitable.
LUCIFER BEGINS TO CUT CROWLEY WITH THE BLADE.
LUCIFER: This is gonna hurt.
LUCIFER THROWS CROWLEY TO THE GROUND. CROWLEY LOOKS OVER TO SEE A RAT. LUCIFER STABS CROWLEY WITH THE ANGEL BLADE.
LUCIFER: Hmm. Clean up on aisle 7.
LUCIFER TOSSES THE ANGEL BLADE TO THE GROUND AND WALKS AWAY.
INTERIOR OF THE BUNKER. SAM, DEAN, AND TONI WALK DOWN THE STAIRS.
DEAN: So we're clear? You call Ketch, tell him if he wants to see you alive, he gets his prissy ass over here.
AS THEY REACH THE BOTTOM THEY SEE SEVERAL OF THE BRITISH MEN OF LETTERS AND MR. KETCH. THEY'RE HOLDING GUNS AND THE THREESOME WHILE SAM POINTS HIS GUN AT MR. KETCH.
MR. KETCH: Interestingly, his prissy ass is already here.
MR. KETCH: Lady Bevell, would you mind disarming them?
AS TONI STARTS TO DISARM SAM HE GRABS HER ARM AND BEGINS SHOOTING WITH DEADLY ACCURACY. DEAN PULLS HIS GUN AND ALSO BEGINS SHOOTING. SAM BACKS AWAY USING TONI AS A SHIELD. MR. KETCH POINTS ONE OF HIS CRONIES IN ANOTHER DIRECTION TO GET BEHIND THE BROTHERS. DEAN MOTIONS SAM TO GET BEHIND MR. KETCH. DEAN KILLS THE MEMBER OF THE BRITISH MEN OF LETTERS WHO TRIED TO CIRCLE AROUND TO GET BEHIND HIM. DEAN SLIDES UP BEHIND MR. KETCH, GRABS HIS GUN AND POINTS A GUN AT MR. KETCH'S HEAD.
DEAN: Get up.
SAM: All right, Ketch, how many more guys are in here?
DEAN: Our mom – Where is she?!
MARY COMES INTO VIEW POINTING A GUN.
MARY: Don't move.
MR. KETCH: Ah, speak of the devil.
SAM: Perfect timing, Mom.
MARY: Just stay where you are.
DEAN: Hey! You heard her.
MARY: I was talkin' to you.
MARY TAKES A SHOT IN DEAN'S DIRECTION. KETCH GRABS BOTH GUNS FROM DEAN.
SAM: Ketch, stop.
MR. KETCH: I really wouldn't move. She will shoot you.
INTERIOR OF THE BUNKER.
MARY WALKS UP TO SAM AND TAKES HIS GUN.
TONI: Mummy always was a talented Hunter. Just somewhat confused about obeying orders.
SAM: What did you do to her?
MR. KETCH: Lady Bevell cleared up that confusion. And I suspect she told you that the American Hunters are a dying breed. Hmm.
TONI STARTS TO FOLLOW MR. KETCH.
MR. KETCH: Oh. For heaven's sake, where do you think you're going?
MR. KETCH: Remember at Kendricks, how they taught us that we were all expendable? That wasn't idle chat.
DEAN: Mom? Look at me.
MARY COMES TO THE UPSTAIRS RAILING AND POINTS HER GUN AT THE BOYS.
DEAN: It's us. Please. What's wrong with you? Mom!
MR. KETCH: Your bunker is an excellent fortress. An even better tomb. So we've rejiggered the locks, we've shut off the water, and once we leave, the pumps that bring in the air shall reverse. Your oxygen should be gone in two days, maybe three. You dying in here, it's almost poetic, hmm? Come along, Mary.
KETCH AND MARY LEAVE THE BUNKER AND BOLT THE DOOR. DEAN RUNS UP THE STAIRS AND POUNDS ON THE DOOR.
THE BUNKER BEGINS POWERING DOWN.
INTERIOR OF CROWLEY'S LAIR. DREXEL IS PICKING UP THE DOOR THAT CROWLEY WAS THROWN THROUGH.
DREXEL: He wants this done before he returns.
DEMON: What are we supposed to do with that?
DREXEL: Toss it.
DEMONS BEGIN DRAGGING CROWLEY'S BODY. THE RAT FOLLOWS IT OUT THE DOOR.
EXTERIOR NIGHT, MR. KETCH AND MARY ARE DRIVING.
MR. KETCH: I do have to hand it to Lady Bevell. Your treatment's been most successful so far. And so you know, this will become easier.
MARY: Easier to hurt people I love?
MR. KETCH: Easier to hurt people you don't remember loving. How do you feel?
MARY: Fine. I'm fine.
EXTERIOR DAY, LUCIFER'S STANDING ON A MOUNTAIN TOP LOOKING OUT AT THE VIEW.
LUCIFER: My son.