12.20 Twigs & Twine & Tasha Banes (transcript)
Written by: Steve Yockey
Directed by: Richard SpeightAir Date: may 4, 2017
Scene starts with camera panning up through the rain on a large house. Cuts to sign revealing the building is a boarding house. Camera pans right to the boarding house parking area as a green smart car pulls in. Cut to a woman entering the front door of the boarding house setting down her suitcase and looking around.
The camera pans right to reveal an elderly woman in a side room knitting.
ELDERLY WOMAN: You have to ring the bell.
The younger woman is startled and gasps slightly as she turns to look at who spoke.
WOMAN: You startled me.
ELDERLY WOMAN: What a delicate constitution you must have.
The younder woman is somewhat off-put by the comment and as the elderly woman starts to wrap up her yarn, notices that the elderly woman has a large ring on her finger.
WOMAN: Uh, that is a lovely ring.
The elderly woman glances and her ring and smiles while continuing to wrap her yarn.
ELDERLY WOMAN: Ah. Yes. And if it goes missing, I'll know who to blame.
The younger woman is insulted by the comment.
WOMAN: I could cleanse your aura if you like.
The younger woman smiles and tilts her head.
WOMAN: Looks a little...muddy.
The elderly woman looks unimpressed by the comment and gives a strained smile.
ELDERLY WOMAN: Mm.
Camera cuts to the woman ringing the bell at the check-in counter. She turns as she hears someone coming down the stairs behind her. She sees a man carrying a load of towels hurrying to the counter.
MAN: Oh. Coming! Sorry. Hi.
He turns behind the counter and puts the towels down.
MAN: Hi. Sorry for the wait.
He picks up a pen to mark down information.
MAN: Are you Tasha?
TASHA: Tasha Banes, yes. I called and...
MAN: Yes, right. I'm Andy. We've got you set up at the top of the stairs.
Andy reaches down and grabs the key's for Tasha.
ANDY: So what brings you to Rock River? Business or pleasure?
He places the keys in Tasha's hand.
TASHA: Little bit of both.
Tasha reaches down to get her suitcase and heads towards the stairs. Andy looks after her as she walks away.
Scene opens at night in Tasha's room. She is performing a spell. We see her receive a message on her phone from Alicia but the phone is on the desk and Tasha does not see it.
Tasha is swinging a crystal pendant over symbols on the floor.
TASHA: Reveal. Now. Reveal. Now. Reveal.
Tasha's eyes flash purple and the crystal pendant lights up purple as well and moves out on its chain to show where Tasha needs to go. She gets up and follow the crystal downstairs, then outside to the cellar entrance. She puts the crystal away and opens the cellar entrance. She cautiously goes downstairs. There are plants growing everywhere and an unpleasant smell.
TASHA: Ugh. Oh God.
She turns to look at something and is suddenly stabbed from behind. The weapon is removed and Tasha collapses to the ground.
Scene opens on Deans hands, camera pans up to his face. The boys are sitting in the bunker, talking about what happened the night before.
DEAN: Okay, so last night...that Super Mario power-up crap? That wasn't Cas. That freaking baby isn't even born yet and it sock puppeted him. Think about it.
Dean gets up and starts walking over to where Sam is sitting.
DEAN: Cas said that he had faith in Lucifer Jr.? What the hell is that supposed to mean?
Sam looks just as frustrated and confused as Dean. He shakes his head and turns to Dean.
SAM: I don't know. I mean, look, this doesn't make any sense to me either, Dean. But if we wanna have some shot at finding Cas, the we have to...I don’t know. Uh, try and think like him.
DEAN: How? Seriously I mean up until now if Cas messed up, if he did something wrong, but he thought it was for the right reasons, I got it. Right? But last night, when I looked at him, I did not recognize the guy staring back at me.
Sam has no reply. He turns away and reaches for a bundle of brown leather, which he opens to reveal the Colt inside. It is melted and broken from Dagon. Dean puts his hands down on the table and leans forward.
DEAN: Can you fix it?
Sam picks up part of the Colt.
SAM: I hope so.
There is a buzzing noise, the sound of a cell phone vibrating. Sam checks his pocket.
SAM: It's not me.
DEAN: It's not me.
The boys look around to find the source of the noise.
Cut to Sam lifting up an open book and finding the phone tucked underneath. He picks it up confusedly and turns to Dean.
SAM: Must be one of Mom's.
Sam answers the phone and walks back over to Dean.
Cut to a young woman and a young man outside. The woman is on the phone, the man is leaning disinterestedly on a silver Jeep.
WOMAN: Oh..uh..Sam? Uh, I didn't know y—Uh, it's Alicia. Banes.
Cut to Sam looking surprised to hear from Alicia.
SAM: Alicia? Hey, what's going on?
Sam puts the call on speaker.
DEAN: Like Max and Alicia?
ALICIA: Yeah, sorry to um...Uh, Mary gave me a couple different numbers to reach her, and we thought –
Max loudly interrupts Alicia to make a point that this is not his idea.
MAX: No. No. Mnh-mnh.
Alicia looks exasperated.
ALICIA: I thought Mary would be down to help. Uh, be our backup on this, um...
MAX: You sound crazy.
DEAN: Hey, guys. It's Dean. Uh, you okay?
ALICIA: Yeah, depends who you ask. Um, Mom was hunting this witch who's killed people all over Wyoming. Uh, anyway, Mom usually checks in with us, but she's sort of disappeared.
MAX: Oh, my god. She did not disappear. She's busy.
DEAN: Wait, so – so your mom is missing?
SAM: Where are you guys?
ALICIA: We're on our way to Rock River, Wyoming. But Max thinks I'm overreacting, but I –
MAX: Because you're being dramatic. Mom's fine. Stop bothering them.
ALICIA: Fine. Okay. Hey, we'll be ok. Uh, never mind.
SAM: No, wait, wait, wait, wait, wait. Um...
Sam looks quickly up at Dean.
SAM: Hey, why don't you text us your address? We'll meet you.
Dean looks less than happy about this plan.
ALICIA: You will?
MAX: They will what?
SAM: We'll see you soon.
Sam hangs up the phone and turns around to face Dean.
DEAN: What the hell man? What about Cas?
SAM: Dude, Cas ditched his cell phone. Look, Jody put an APB out for Cas and Kelly across three states.
Dean still looks unhappy about how things are going.
SAM: Until that shakes something loose or we get some other break, all we're doing is – is sitting here, banging our heads against a brick wall. Let's get out there. Let's...
SAM: Their mom's on a hunting trip and hasn't been home in a week.
Dean tilts his head and stares at Sam. He nods and looks away.
DEAN: All right. Let's go.
Sam turns and walks away. Dean pulls out his phone and tries to call Mary.
Cut to a scene of what looks like Mary passed out, strapped to a chair in the British Men of Letter's temp facility with screws coming out of her chest. Ketch throws a bucket of water on her as we hear the sound of a phone vibrating.
KETCH: Please be a dear and shut that bloody thing off.
The real Mary walks into the room holding her phone out in front of her.
MARY: It's Dean.
Ketch turns angrily to Mary.
Mary looks down at her still ringing phone.
Cut to Dean who is still calling Mary, he gets her voicemail.
This is Mary. Leave a message.
DEAN: Mom. Hey, uh, just wanted to let you know that, uh, me and Sam, were uh, we're heading out on a case with those witch twins, uh, Max and Alicia. Um, I'll text you the info, but, uh...I know the Brits have got you running nonstop. So if you can help out, that'd be great. Um... and even if you can't swing by, can you call me back? Just some stuff going down that's... kind of got me spun out. Be good to talk to you.
Dean hangs up.
Cut to Mary and Ketch at the British Men of Letters facility. A shifter that has been caught has assumed Mary's form. Ketch is torturing it for information.
KETCH: I suppose it amuses you to take Mary's form, or perhaps you believe it will inspire a bit of hesitation on my part.
Ketch takes another screw from a tray. The shifter starts struggling against its bonds.
KETCH: It will not.
Ketch pushes the screw into the shifter, which screams
SHIFTER: Aah! Aah!
MARY: He's not gonna talk.
Ketch turns angrily to Mary.
KETCH: The shifter has killed people, Mary. This is the very beginning of what it deserves.
He turns back to the shifter.
KETCH: And if it tells us where its family is, well, then this will all stop. Promise.
The shifter laughs at him.
SHIFTER: That eye of yours twitches when you lie.
KETCH: My eye twitches all the time.
Ketch punches the shifter suddenly. The shifter immediately takes Ketch's form.
SHIFTER: Well then,
Ketch looks unhappy that the shifter now has his form. Mary looks surprised.
SHIFTER: I guess I know all about you.
Ketch gives a half smile and reaches for another screw.
Cut to the Impala driving down the highway. Cut to Alicia and Max standing by a lake looking out on the water. Sam and Dean park the Impala next to the Jeep and walk over to Max and Alicia.
SAM: Hey guys.
Alicia and Max walk over to meet up with the boys.
DEAN: all right, well, we're here. What do you got?
ALICIA: Our mom was after a borrower witch.
SAM: So witch that gets their power from a demon deal.
DEAN: Okay, so you tracked your mom here?
ALICIA: And now we tracked her to the only vegan restaurant in town. They told us where she was staying.
SAM: Anything else?
MAX: I got the bartender's phone number.
Alicia looks fed up with her brother. He looks quite pleased with himself.
ALICIA: Ignore him.
Max grins and then looks over to the parking lot and sees the Impala.
Dean turns to follow Max's gaze.
MAX: that car is still major.
Dean turns back to Max.
DEAN: You want the tour?
DEAN: Come on.
Max and Dean both walk over to the car. Sam and Alicia stay and talk. They turn to face the lake again.
ALICIA: Yeah. Max isn't really feelin' this.
SAM: Yeah, I hadn't noticed.
ALICIA: He always thinks he knows Mom better, but it's 'cause they're both natural witches. It's who they are.
Cut to Max and Dean at the Impala. Dean is opening the trunk to show Max the weapons inside.
MAX: Is that a grenade launcher?
Camera close up of the grenade launcher.
DEAN: Yes, she is.
Dean reaches in past the grenade launcher and pulls out a box. He opens it to show rows of bullets inside.
DEAN: Yeah, but, uh, this is what we need right now. Witch killing bullets.
Cut to Sam and Alicia.
SAM: And what about you? Uh, with magic.
ALICIA: Nah, I don't have it. It's just kind of a lot of noise to me. Magic is definitely their thing, you know?
SAM: Yeah. When I was growing up, Dean and my dad had the same thing with hunting, that bond.
ALICIA: What about with Mary?
Sam fumbles slightly on how to answer the question.
SAM: I mean, she, uh, she gets into a case and just sort of vanishes.
ALICIA: Yeah. No, Mary's a great hunter.
ALICIA: Uh, she doesn't seem like much of a hugger.
Sam smiles and nods his head.
Dean yells out to Sam and Alicia from the Impala.
Sam turns to Alicia.
SAM: Let's go find your mom.
Sam and Alicia head towards the Impala.
Cut to the Impala pulling up to the boarding house. They all get out and look around.
ALICIA: Well, her car's here.
DEAN: Well, no one's trying to hide it. That's good news.
They hear a noise and turn to see a man that appears to have just exited the cellar and closed the doors. They stare at the man who stares back at them for a few moments.
MAX: No weird. At all.
Sam waves to the man. He continues staring and then turns and walks away. Sam puts his hand down somewhat awkwardly.
DEAN: All right, look, anything happens, you guys stay behind us.
Alicia pulls out a knife with runes on it.
ALICIA: Yeah. Sure.
She turns and heads towards the front door.
Cut to inside shot of front door opening. Andy turns with some flowers in his hands to look at the group coming in.
ANDY: Uh, hi.
ANDY: Can I help you?
SAM: Yes, please. We're, uh, we're looking for, uh–
A voice from behind the speaks and they all turn quickly.
TASHA: Max? Alicia? What are you two doing here?
Dean looks at Sam. Max and Alicia are happy to see their mom. Alicia runs to hug her.
MAX: Sam and Dean Winchester, meet the great Tasha Banes.
Tasha smiles at the boys.
TASHA: The kids have told me very nice things.
MAX: Alicia basically made them come just in case you were in peril.
TASHA: Well, that was unnecessary, but very nice of you all the same. Andy, can we get a couple rooms for my children and their friends?
Andy, who had come out from behind the counter, walks back there with flowers still in hand.
ANDY: Sure. It'll just be a minute.
TASHA: Great. You can wait in my room.
Tasha half turns to Alicia.
TASHA: I have wine.
Alicia laughs and they start heading towards Tasha's room.
Sam and Dean follow. Dean not so happy about the wine.
Cut to Tasha's room. She is opening a bottle of wine for them all to drink.
TASHA: So Rock River's a dead end. No witches here, unfortunately.
Alicia walks over to Tasha with glasses.
TASHA: Thought this was the place–
ALICIA: Well, then why didn't you call us? I mean we–
Sam and Dean look slightly uncomfortable.
ALICIA: I called and texted a lot.
TASHA: I'm sorry, baby. My phone hasn't been charging all day.
Alicia rolls her eyes and walks over to a chair and sits down.
TASHA: Oh, but I did find a fantastic acupuncturist.
MAX AND ALICIA: Of course you did.
Tasha appears to be having trouble opening the bottle of wine.
SAM: You want me to help with that?
TASHA: Oh, I've got it.
ALICIA: No, but you always call on the fourth day of a hunt, no matter what.
TASHA: Honestly, babe, it just slipped my–
There is a cracking noise as the cork finally comes free from the wine bottle. Tasha hastily puts her hand behind her back.
MAX: Mom? You okay?
TASHA: I'm fine.
She hands the bottle of wine to Sam.
TASHA: Sam, you do the honours.
SAM: Of course.
Sam gets up to pour the wine.
TASHA: Alicia, put some music on.
Alicia gets up and turns the radio on. Tasha turns from the group and holds out her hand, where we see her index finger is clearly broken. She grabs hold of it and straightens it out with a few cracking sounds. Finger repaired she turns back to the group.
TASHA: Oh. I ordered food from that vegan place, but no deliveries.
ALICIA: Oh, I can get it.
SAM: Oh, I'll grab it. Uh, you guys stay, hang out, catch up. Dean...drink.
Sam pats Dean on the knee and gets up to leave.
Dean pours the wine from Sam's glass into his.
Scene opens with outside view of British Men of Letters facility. Cut to inside view of Ketch and Mary leaving the room where the shifter was being held. The shifter now clearly dead.
KETCH: I must say, I am pumping with adrenaline. Perhaps we could find some privacy and tire ourselves out. It's not illicit motel sex, but–
MARY: I remember us agreeing that was a onetime thing.
KETCH: Did we? Ah, well.
MARY: Ketch, it was a waste of time, that little torture session.
KETCH: Oh, you mean the information gathering session?
Mary throws her arms out in exasperation.
MARY: Yeah, but we didn't get any intel.
They stop walking and face each other.
MARY: That shifter was never gonna betray his family, and still you–
KETCH: Sometimes pain works. Sometimes it doesn't. But anyone who tells you that torture is never the answer, they haven't been under the knife.
MARY: But you enjoyed it, because that...I have never seen that side of you.
Ketch looks as though he is beginning to get annoyed with Mary.
KETCH: Yes, well, Mary, I'm sad to say that you won't become the Jiminy Cricket of the British Men of Letters.
Mary looks angry and crosses her arms.
KETCH: We don't need a conscience. Such a trite idea, but we firmly believe the ends do justify the means.
MARY: They didn't this time.
KETCH: Ah, but look, you're still with us.
Ketch looks smug. He shakes his head and starts to turn away from Mary.
KETCH: Feel free to call Mick Davies. Have him write me up.
MARY: Well, Mick's not answering his phone. And his e-mails have stopped.
Ketch stops and turns back to face Mary.
KETCH: I'm sure he's busy. When you get called to London by the old men, it's not all pints of stout and trips to Savile Row.
Mary glares at him and turns to walk away.
KETCH: Oh, and you should probably return Dean's call. Wouldn't want him to think mummy doesn't love him.
Scene opens with Dean checking his phone for any messages or missed calls. There are none. Tasha walks up to Dean and sits down next to him on the couch. Max and Alicia are arguing in the background.
TASHA: Expecting a call?
DEAN: Guess not.
MAX: ...let's say later, I... hypothetically might need your Jeep to take it out for maybe a little cruise.
ALICIA: Mm, let's not.
DEAN: You know, I gotta say, you did a bang up job with those two.
TASHA: You must be drunk.
DEAN: Off of wine?
MAX: Not fair.
TASHA: Yeah. I did the best I could for Max and Alicia.
TASHA: I got lucky.
DEAN: I see how you are with them, all right? It's good. You know, they're—They're happy.
TASHA: Alicia said you grew up in the life.
DEAN: Yeah. Yeah, my dad raised me and Sam to hunt.
TASHA: And your mother?
Dean looks away.
DEAN: That's complicated.
Tasha laughs and turns to face forward.
TASHA: Yeah. Family's always complicated. Parents always seem smart and strong and perfect. It's only when you grow up that you realize that they're just people.
Tasha pats Dean on the arm and gets up from the couch.
MAX: ...love your brother?
Scene opens with Mary walking back through the Men of Letters facility. She is listening to her voice message from Dean.
And even if you can't swing by, can you call me back? Just some stuff going down that's...kind of got me spun out. Be good to talk to you.
She hangs up the phone and continues walking when she hears Ketch on the phone in Micks office. She waits, hidden behind the wall, listening.
KETCH: Well, I can't just send him to you economy comfort now can I? The package is in the armory now. We gave it a lot number 1-2-2-5-7. Mm-hmm. We'll speak when you get in. Tra.
Mary's phone vibrates with a call from Dean. Ketch looks up suspiciously. Mary quickly sends the call to voicemail and casually walks into Micks office.
She walks up to the desk where Ketch is sitting.
MARY: You've made yourself at home.
Ketch quickly sits up straight.
KETCH: Uh...Can I help you with something?
MARY: I use Mick's computer for e-mail.
Ketch looks over at Micks computer and hastily gets up and gestures for Mary to sit down. He looks suspiciously at Mary as she walks by and sits down.
KETCH: Uh, uh, yeah, well, have at it.
Mary looks up at Ketch standing right behind her as she opens up her email to check it.
MARY: There's a message from Mick. It says he's gonna be stuck in London a few more weeks.
KETCH: Hmm. Well..there you are.
He turns and walks out of the office. Mary seems unsure of what to do.
Scene opens with everyone laughing when Sam returns with the food.
TASHA: Oh! Who's hungry?
The Banes all group together to get food.
TASHA: Oh, my goodness. Thank you.
MAX: All right.
Sam gives Dean a look and he grabs his coat and gets up, leaving his phone behind.
ALICIA: Ooh, it smells so good.
TASHA: All right, let's see what we've got.
ALICIA: Here, I can set up over here.
DEAN: We'll be right back ya'll.
TASHA: Ah, you two. Get it – get it down. Grab some napkins.
Sam and Dean leave the room to talk in the hallway.
DEAN: I know that look. What's up?
Sam pulls out a missing persons flyer and shows it to him.
SAM: This was posted outside the restaurant. That guy we saw earlier coming out of the cellar? He's been missing for a month.
DEAN: Okay, that's weird. Well, maybe Tasha's wrong. Maybe there is something going on here.
SAM: Yeah. I'll let 'em know.
DEAN: No, no, no. Let's... We can handle it. Come on.
Sam and Dean head out of the building. The camera moves down the hall further and up the stairs into another room where we see many implements of witchcraft spread out. The elderly woman that was knitting appears to be conjuring something. There is a large statue/doll make of twigs and branches standing in the room.
Scene opens with Mary calling Dean.
This is Dean's other other cell, so you must know what to do.
MARY: Hey it's me. Sorry I couldn't pick up before. I've been on a hunt with Ketch. And Dean... I'm sorry I haven't been there for you and Sam. But I wanna be. I will be. I just... I need to finish this. I miss you boys. I love you.
Cut to boarding house room. Camera close up on Dean's forgotten phone, showing the missed call from Mary. The Banes are in a group chatting.
MAX: ...she made me get out of the car...to make a phone call in the rain.
TASHA: Oh my god. Alicia.
ALICIA: He just got out to yell at me.
Cut to the boys outside at the cellar doors. Sam picks the lock on the doors and they open them, and stand at the threshold looking down with a flashlight.
SAM: Oh. Ugh.
DEAN: Smells like death.
DEAN: Go ahead.
SAM: What? You.
DEAN: All right.
Sam turns on his flashlight too and they start to head down the stairs.
Cut back to the Banes in the room.
MAX: Alicia... was it that serious?
ALICIA: Oh, man.
They all laugh again. Max gets up off the couch.
MAX: Ladies, I'm gonna leave you alone now to have some girl time.
He walks around behind the couch and grabs his coat.
ALICIA: Since when are you not a part of girl time?
Max is putting his coat on and backing towards the door.
MAX: Since I've got a date with that hot bartender from that vegan restaurant. We're gonna go have some... guy time.
TASHA: Hey, don't do anything I wouldn't do.
Max looks playfully confused.
MAX: Right. Right. And what exactly was that?
He grabs the keys to Alicia's Jeep off the desk and quickly runs out the door.
Alicia looks at her mom, who just shakes her head at Max.
Cut back to Sam and Dean looking around in the cellar. Dean sees two bodies covered in plastic.
Sam comes over to look, and turns on the light hanging from above. Dean pulls the plastic off of the bodies. It's the man they saw when they arrived as well as Andy from the front desk.
Sam sees another covered body on a table.
Dean turns to look. Sam pulls back the cover to reveal Tasha. Dean moves closer to look.
DEAN: Son of a bitch.
SAM: Her heart's been ripped out.
DEAN: So have theirs.
Dean gestures to the other two bodies. Sam also turns to look at them. Sam turns to look at Dean.
SAM: Wait, this is everybody that's in the house.
DEAN: Okay, well, if this is the real Tasha, they who the hell was I talking to up there?
Sam looks just as confused and looks back down at Tasha. Suddenly they hear footsteps approaching. They both pull out their guns.
The boys put their guns down as Max comes down the stairs into the cellar.
SAM: Hey, Max. Uh...
MAX: I saw the light. You guys find some trouble to get into?
Sam tries to prevent Max from walking further into the cellar.
SAM: Nah. No, no. We – We—we just, uh..
Sam stops talking as Max comes close enough to see Tasha behind Sam. Max stops and stares confusedly.
MAX: I just...
He walks closer to the table still staring. As he gets closer he realizes the truth of what he's seeing and breaks down.
MAX: I just...
Scene opens with Mary walking into the armory and turning on the lights. She looks around for the right ID number. Upon finding it, she opens the case. She finds Mick inside.
MARY: Ohh. Mick.
She leaves the armory and heads down the hallway. She sees Ketch coming and turns around to get away from him. She tries to scan her hand into several rooms to no avail.
MARY: Come on, come on, come on, come on, come on.
She sees a man leaving a room and sneaks in before the door closes. Once inside she is briefly relieved. She looks up and around the room, seeing several screens with photos and information on various hunters, including Sam, Dean, Garth, Clair and Eileen, displayed.
MARY: What the...
Confused, she presses a recording on Dean's file.
So now we're reporting to low-rent Christian Bale? Seriously? I don't like that guy. He creeps me out.
Mary immediately calls Dean's phone again. Again it goes straight to voicemail.
This is Dean's other other cell so you must know what to do.
MARY: Dean, call me. We've got a problem.
She turns to leave the room. She opens the door and finds Ketch standing on the other side.
KETCH: Hello Mary. Your handprint doesn't open this room because it's not for you.
Ketch enters the room and closes the door behind him.
MARY: What are you doing here?
She gestures to the screens.
MARY: Why is Mick's body in a box?
KETCH: An unfortunate werewolf mishap.
Mary looks at him disbelievingly.
MARY: A werewolf shot him in the head?
Ketch seems unconcerned.
KETCH: It's not impossible.
MARY: You're a psychopath.
She tries to walk past him, but he grabs a hold of her and pushes her back.
She looks down at Ketch's hands, which are still holding tightly to her arms.
MARY: Did you kill him?
Ketch is unrepentant.
KETCH: Mick was weak. He wasn't one of us.
Mary punches him in the face. He turns and grabs her and throws her into the wall, where she falls to the floor. He stops and unbuttons his blazer. He slowly advances on Mary.
KETCH: When will you realize that we will do whatever it takes to rid this world of the things that go bump in the night?
He grabs her and lifts her off the floor and slams her into the wall again, holding her by her neck.
KETCH: Something that people like Mick and your sons are incapable of.
Mary breaks free and pull his arm back behind him.
Mary breaks Ketch's arm and punches him in the face again. He falls to the floor.
MARY: Don't talk about my boys.
She tries again to leave.
KETCH: Why not?
He grabs her leg as she walks by, tripping her and throws her across the table and onto the floor. He groans in pain and grabs his arm.
KETCH: I've been cleaning up after them for months.
Mary slowly gets up off the floor from behind the table. Ketch is slowly moving closer to her as he talks.
KETCH: I took care of those federal agents they stupidly allowed to live. I killed a psychic girl they thought was... human. Honestly they're damn sloppy.
Mary is now back on her feet.
MARY: I think you mean... decent.
Ketch just shakes his head at her.
KETCH: It's the end for the American Hunters. Their time has passed.
He is standing in front of Mary, slowly leaning in on her.
KETCH: But I can keep you safe. If you just play your part, if you play nice...
Mary just stares at him.
MARY: I don't play nice.
She head-butts him in the face.
He punches her again, with his injured arm. He backs away for a moment.
KETCH: Are we done?
He looks up and laughs weakly as he sees Mary pull brass knuckles from her coat pocket.
KETCH: Those Enochian brass knuckles only work on angels. And sadly I'm not an–
Mary kicks him in the groin.
He drops to his knees on the floor.
MARY: Brass knuckles are brass knuckles.
She punches him with the brass knuckles.
KETCH: Uhh! Oh!
Mary again walks around him on the floor and opens the door to leave.
KETCH: Oh, you bitch!
He shoots her in the back with a taser, and she is knocked out.
Scene opens to Max bursting into the room where his sister is talking with what we now know is not their mom.
ALICIA: No, I think he's really–
Max blocks his sister from the mom creature.
MAX: Who are you?
Max pushes the mom creature against the wall roughly.
MAX: What did you do to my mom?
Alicia tries to run to them, but Sam and Dean hold her back
ALICIA: Max! What are you–
SAM: Wait, wait, wait.
MAX: Tell me!
TASHA CREATURE: What are you doing?
ALICIA: Let her go!
SAM: That's not your mom.
ALICIA: What are you talking – Mom!
SAM: Wait, wait, wait, wait, wait. It's okay.
TASHA CREATURE: Max, what is wrong, sweetie?
MAX: Don't! Don't. You are not my mom.
TASHA CREATURE: Max–
MAX: I don't know what kind of thing you are, but you are not my mom.
Max is still holding the creature up against the wall.
TASHA CREATURE: Ow!
ALICIA: Max! Stop!
Max's eyes glow purple as he performs magic on the creature.
MAX: Reveal. Now! Reveal!
The creature's face goes blank and she starts to shake and make cracking noises.
TASHA CREATURE: The... the room, end of the hall. Top of the stairs.
The camera goes into the room described and pans over to the elderly woman reading a book. She suddenly turns her head angrily about the magic she can sense.
ELDERLY WOMAN: Magic.
She snaps her fingers. Camera cuts to Andy downstairs. His eyes glow white briefly and he starts to move.
Cut back to the room with Sam and Dean and the Banes. Max runs to follow the directions given by the creature. Dean follows him.
DEAN: Got him.
Out in the hallway, Dean and Max see the man from the cellar. Max uses magic on him and the man goes flying out the window, where he lays twitching and cracking. Max runs past the window as Dean is looking out at the man. Dean runs after him.
Back in the room the Tasha creature collapses. Alicia rushes over to her.
Dean and Max kick the door at the end of the hall in. The elderly woman is not impressed.
ELDERLY WOMAN: Really? People are trying to sleep.
Dean points his gun at the woman.
DEAN: All right, lady, craft time's over.
She turns around and with a smile, waves her hand at Dean, who goes flying into a chair across the room. Max looks at Dean and the back at the woman.
Alicia if frantically trying to get her mom to wake up. Sam is trying to help her.
ALICIA: Mom! Mom!
The Tasha creature keeps twitching and cracking. Alicia pull back from it scared.
ALICIA: Sam, this magic, what is this?
SAM: I don't know. I don't know.
Sam turns and looks up to see Andy standing right behind him, staring at him
The elderly woman gets up out of her chair with a smile on her face staring at Max.
WOMAN: Oh. How lucky am I? Such an impressive witch. Maybe you'll take the deal the last bitch wouldn't.
Max stares at her angrily.
Sam and Andy are fighting, but Sam is discovering that Andy is not an easy opponent, as he can recover quickly from any damages. Alicia is kneeling next to the Tasha creature. Sam seems to realize that they are in trouble.
Max is still angrily glaring at the woman.
MAX: My mother... you killed her.
WOMAN: Did I?
She doesn't seem all that concerned.
DEAN: What did you do to those people?
WOMAN: Oh. Let me show you.
She snaps her fingers and both Dean and Max bend over in pain, while a vision of Tasha on the table in pain in the cellar and of her standing with her eyes closed flashes.
WOMAN: I'm reaching the end of my very long life, and it's a problem.
Max and Dean are also in pain. Another image of Tasha in the cellar bleeding profusely from her stomach area flashes.
WOMAN: 'cause I sold my soul for power. So when I pass, my soul goes to Hell. Unless I can find someone to take the burden, to take my magic.
Sam is still trying to fight Andy. It is not going will for him as Andy smashes him onto the coffee table
She is still trying to get the Tasha creature to wake up.
ALICIA: Mom! Mom!
WOMAN: When your mother found me, and when I realized what she was, I offered to teach her.
Flashes of the woman coming into the cellar and talking to Tasha as she lays on the table.
WOMAN: I offered her my power.
Flash of the woman talking into Tasha's ear. Of the woman carrying a heart. Of Tasha spitting in the woman's face as she rejected the woman's offer. Of the woman wiping her face and turning and leaving.
WOMAN: But even dying, she was rude. So... I made her into one of my creatures.
Flash of the woman cutting out Tasha's heart while she screamed. Of the woman holding her heart.
WOMAN: That doll has all of your mother's memories.
Image of her placing Tasha's heart into one of her dolls, and reciting a spell. The ring on her finger glows and the doll transforms into Tasha.
WOMAN: It's her. Mostly.
She releases Dean and Max from the vision.
WOMAN: Just like the others. Rick, Andy – They do what I want, when I want. I'm old. I like things a certain way.
She seems quite pleased with the way she has arranged things for herself. She smiles at Max and Dean.
MAX: No. No!
He casts a spell at the woman, but it does nothing more that blow her hair back.
Sam is getting seriously beaten by the Andy creature. It finally gets a hold of Sam and starts to choke him.
Max is puzzled that the woman is still just standing there.
WOMAN: Nice try. If you kill me, well, then all of them just fall apart.
She starts to edge closer to Max as she speaks.
WOMAN: So here's the offer. You take my power. You take my burden, and my doll – your mother – will stay with you and your sister forever. Just one big happy family.
Max seems to be considering her offer.
DEAN: Max, no. Listen to me. Your mother is gone, okay?
The woman is not happy that Dean is talking.
DEAN: It's awful and it sucks... but that's – Aah!
The woman snaps her fingers and Dean is in sudden pain. Max looks quickly at Dean and then back at the woman. She takes her ring off her finger.
WOMAN: So... do we have a deal?
The Andy creature is trying to choke Sam to death. He punches it to no effect. Alicia looks at him and gets up and throws Andy off of Sam. While doing so, the Tasha creature's eyes glow white.
ALICIA: You okay?
They both look over at Andy who is having trouble getting up. Alicia turns around and sees the Tasha creature standing. Thinking it's her mom, she is happy she's standing.
The Tasha creature pulls out a knife and stabs Alicia through the stomach with it. She collapses with the knife still in her. Sam is horrified.
He tries to get up and go to Alicia, however the Tasha creature is still standing over her.
The elderly woman is standing with the ring in her outstretched hand, staring at Max.
WOMAN: Take it... and the deal is done.
Max seems unable to make a decision. Dean tries to grab his gun.
WOMAN: Take it.
Max reaches out to take the ring. The woman looks gleeful at how things are going. Suddenly a shot rings out and the woman bleeding and stunned. Dean has managed to reach his gun and shot her with a witch killing bullet.
Both the Andy and Tasha creatures are now eyeing Sam up.
The elderly woman collapses.
The Andy creature takes one step towards Sam and suddenly disintegrates into ash, as does the Tasha creature. Alicia is still on the floor with the knife in her stomach. Sam kneels down next to her.
SAM: Alicia. Hey. Hey. Hey, hold on. Just – Just take it easy. Take it easy. We're gonna get you some help.
Max seems stunned that Dean shot the woman.
MAX: Why did you...
Max turns to Dean quickly as he manages to stand, before looking back at the woman on the floor.
DEAN: Max, listen to me. Hey, hey. I had to, okay? That deal wasn't with her. It was with a demon. You even touch that magic and you lose your soul.
Sam yells from the other room.
Dean pats Max on the shoulder.
DEAN: Come on.
Dean leaves the room and heads back to Sam. Max stands there confused as Dean leaves.
Alicia is writhing in pain. Sam doesn't know what do to for her, but is trying to calm her down.
SAM: Don't fight. Don't – Shh, shh. Just take it easy okay? Take a breath. Shh.
Alicia takes a quick breath and then is still.
Dean walks into the room. Sam looks up at him and stands up.
SAM: She, uh..
Max enters the room and sees his sister. He pauses before going to where she lays on the floor.
MAX: Alicia? What? Please. No, no, no. Hey. Hey. Hey! Please, no. No, no, no!
Scene opens outside the boarding house. Max is standing by himself, as Sam and Dean approach him.
SAM: Hey, Max, um, this is, uh... Look, you – you're probably in shock right now, but it's gonna pass.
DEAN: And then it's gonna hurt.
MAX: I could've saved them... my mom. If I had just... taken Alicia seriously.
DEAN: Come on, man, you can't think like that.
MAX: Just stop talking. Please
They all look down awkwardly.
SAM: We'll, uh, go get some supplies. We have to, uh --
DEAN: We gotta burn the bodies, Max.
MAX: Like my dad.
Sam and Dean shuffle around a bit uncomfortably.
MAX: I can do it. I... I should do it. You two get out of here.
SAM: Max, we would–
MAX: Please. Please just...
He looks at Sam and Dean a bit angrily. The boys nod slightly and turn and walk away.
Cut to the Impala cruising down the highway. Camera moves inside the car.
SAM: You did the right thing. You saved him.
DEAN: Yeah. Yeah, he seemed super saved. You know, I was watching them, this loving family. The kind we should've had. And now just like that, it's gone.
SAM: Dean, you couldn't let Max make some deal for his soul.
DEAN: Sam, we do terrible things all the time to save each other. I mean, that's what you do for family. Who am I to stop him?
SAM: Well, he's strong. He'll be all right.
DEAN: Yeah, I'm not so sure.
Sam and Dean talk, as we see Max go back into the boarding house and pick up the ring. He brings Alicia into the elderly woman's room and lays her on the bed. He looks over at the doll standing there and then back at his sister.
Oh, them old hollows
Hide the dark secrets
As the music plays we see Max cut out his sister's heart, a purple glow from the windows, Max reading from a spell book, and an Alicia doll open her eyes.
Cut to Max tying Alicia's shoe laces as she sits on the bed looking groggy.
ALICIA: What happened? I feel... ugh, I feel like I drank too much tequila.
She looks up at Max. He offers his hand to help her up and she sees the blood on his hands. She grabs his arm.
ALICIA: What.. W-what did you do? What... are you hurt?
MAX: No, no, no, no. I-I... I'll explain everything. But we gotta go now. Okay?
Oh, them old hollows
Hide the dark secrets
Tell what they've seen
You'd never sleep again
In peaceful dreams
As the music plays, they get up and walk out of the room. The camera pauses on Alicia's body on the bed. Max grabs the spell book on the night stand, takes one last look around the room and at Alicia's body. With a hand gesture he lights her body on fire and watches it burn for a moment before turning and walking away, fire burning in the windows.
Dean is driving the Impala. Sam is sleeping. Dean sees 2 messages from Mary. He listens to them as he drives. He plays the first one.
Hey, it's me. Sorry I couldn't pick up before. I've been on a hunt with Ketch. I'm sorry I haven't been there for you and Sam, but I wanna be. I will be. I just... I need to finish this. I miss you boys. I love you.
He smiles as the message ends. He plays the second message.
Dean, call me. We've got a problem.
He looks concerned after listening. He tries to wake Sam up.
DEAN: Sam? Hey, it's Mom. Something's wrong.
Sam is still sleeping.
Cut to the British Men of Letters facility. Mary is strapped to a chair and has water thrown in her face. She wakes up and looks around at her situation. Ketch is standing smugly before her.
KETCH: Good of you to rejoin me.
She looks up at him disgusted.
MARY: A taser? Not really a fair fight.
Ketch doesn't seem bothered by it.
KETCH: If only you'd been as ruthless as I hoped, this could have worked out. Remember, Mary, I gave you a chance.
MARY: So now what? You kill me?
Mary's phone buzzes and we see it's Dean calling. Ketch walks over and declines the call. Mary looks up at him. A woman responds to Mary's question.
TONI: Don't be silly. You're an asset. We have other plans for you.
Mary turns and watches as a familiar blonde woman sits down in front of her, uncapping her pen and opening her notebook.
TONI: Now, Mary... let's begin.