11.06 Our Little World (transcript)

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11.06 Our Little World

Written by: Robert Berens

Directed by: John F. Showalter

Air Date: November 11, 2015


It’s nighttime, two young girls are sitting on benches under a gazebo. A girl is laughing.

Girl one is sitting on the back of a bench holding a bag of potato chips. Girl two is sitting on a bench across from her eating a chocolate bar.


So, she says dating's gonna break my focus for academics, but that I'm allowed to date over summer break.

How does that work?

Like, "Hi, I'm Goldie. I'm only romantically available from June to August, but want to go steady?"

(Girl Two laughs)

I hate her. Like, look at me. I have to hang out by the tracks just to get my snack on.


She won't let you eat chips?


Well, she'll let me, but just so she can make this face the whole time.

(Cellphone rings. Girl Two laughs as she checks her phone)

It's like, "Sorry, mom. I can't survive on menthol and diet soda like you can."

(Girl Two stand up and pulls her purse over her shoulder as she continues to look at her cellphone)

GOLDIE (upset that Girl Two stands up, as if to leave)

What? No.


Look, I hate my parents, too, Goldie. They suck.

But I got a curfew. Bye.

(Girl Two walks away a Goldie watches)


Fine. Bye.

(Goldie turns around and a young girl is standing directly in front of her)



Hey. (looks around)

Where are your parents?


I don't have any parents.


Sorry. Um...

Are you okay? Do you want something?


(Steps closer to Goldie, places both hands on either side of her face and smiles)

I want to be like you.

(Amara tilts hers and Goldie’s heads back as a whispery light comes out of Goldie’s mouth and into Amara’s.

The camera pans up towards the sky and as it’s rising the scene changes to a girls bare feet walking down a concrete hallway. The girl continues to walk and the view changes to her chest area and we see red markings peeking out from her dress line and that she is wearing Goldie’s jacket. The girl walks further down the hall and we see that she is a few years older than the girl with Goldie. She looks down as she walks into a room and doesn’t see Crowley sitting in a chair next to a small table to her right. As she passes Crowley turns on a lamp that is on the table. Amara startles and turns around.)


Midnight snack?

Don't think I don't know what you've been up to.

You can try to deny it, but the evidence is...



You told me to stop feeding on your demons.

Well... I stopped feeding on demons.


I thought I was clear.

Going out there, where they can see you -- it's too risky.


I'm a growing girl. I need to eat.

(Crowley stands up and walks towards the girl)


Actions have consequences around here, Amara.

You've had the run of the court.

We've seen what you've made of it.

Believe me, this is going to hurt me way more than it hurts you.

I'm sorry, my dear.

You're grounded.

(Amara goes to walk out of the room. Crowley waves his hand and Amara is flung backwards into a sofa.)


You're strong.

But you need to remember -- I'm stronger.


For now.



(Crowley turns and walks out of the room, closing the doors behind him, leaving Amara on the couch.

Scene changes to Sam and Dean, in FBI suits, walking away from a home in a wooded area. It’s daytime and there is a man standing on the porch, watching them walk towards concrete stairs. There is a caption the reads ‘Fall River, Massachusetts’. )


Said you had a good feeling about that one.


Yeah, well, it seemed like a solid lead, Dean.

Only a soulless psycho would kill the family cat.


Yeah, unless the family cat decides to take a nap in the dryer.

(The stairs lead to the street and Sam and Dean walk towards the Impala, parked by the curb)


You know, we've been here since Monday and still haven't found another legit victim.

Maybe Amara moved on or stopped feeding altogether.


Well... finding her victims is still the best shot we got at finding her.


Not actually true.

(Sam and Dean look at each other across the hood of the Impala. Sam raises his eyebrows and looks at Dean expectantly)


Oh, what? You think he's ready?

He's had a pretty rough go of it lately.


Which one of us hasn't?

Seems insane to leave our one and only angel friend on the bench.

DEAN (Resigned)

I'll call him.


Thank you.

(Dean dials his cellphone.

Scene changes to Castiel sitting in a chair next to a bed in the bunker. )

MAN’S VOICE ...It literally doesn't matter.


Well, we're gonna get to all the results in just a second. We're gonna start with, uh...

(A phone is ringing)

Let's go back to our first story.

Uh, Louis, Silla, and Edwin.

(Castiel answers the phone)



(Switch to Dean talking on the phone)


Cas. How you doing, buddy?

(Switch to view of a TV screen with a female talk show host holding a microphone. The caption on the screen is of the “Jenny Jones’ talk show titled ‘DNA Tests Prove Fatherhood’)


We did a DNA test on Louis.

CASTIEL (looking tired)

Oh, I'm fine.

Find anything on Metatron?

(The scene switches back and forth between Castiel sitting in the bunker and Dean pacing back and forth in front of the Impala as they talk. Sam is waiting in the background)


Um, nothing on angel radio.

How long's it been since you left the bunker?


Oh, why would I leave?

I've got everything I need right here.

Wait. Is that -- are you watching "Jenny Jones"?


It's a rerun.

(Dean rolls his eyes and looks exasperated)


She's just about to announce the paternity results.


You are the father.

CASTIEL (rolls his eyes and looks exasperated)

Jenny, he is not ready to be a father.


Okay. I-I-I thought you were going with socially acceptable binge watching.

Uh, you know, "The Wire," "Game of Thrones."


Yeah, well, a man can't live on caviar alone, Dean.


Well, you sound weird, okay?

(Cellphone rings)

Bad weird.

Now, I've been down this road before.

(View switches to Sam in the foreground and Dean in the background)


What's up, Detective?


I have heard the siren's song from the idiot box, and I'm telling you, whatever you're looking for, you won't find it in there.

So do me a favor.




Turn off the TV. Go outside and get some air.

We're in the dark here, pal.

I need you back in the game, okay?

(Castiel sighs as Dean hangs up. Dean looks at his phone, shakes his head and walks towards Sam who is on his phone)


I get it.

Yeah, well, thanks for letting me know.

We'll -- we'll head out there right now.

You got it.

DEAN (to Sam)

What's up?


That was Detective Madsen.

Remember our friend Len?


Uh, weird as hell, soulless, took-the-rap-for-all-the-murders Len?



He's dead.

(The Impala starts up pulls away from the curb and heads down the street.

Scene changes to Castiel walking into the ‘War Room’ of the bunker. He is dressed in a suit and is putting on his trench coat. He walks up the stairs and starts to look nervous. He stops in front of a door and sees flashes of himself punching Dean repeatedly in the face)


Cas! Cas!

Don't do this.

Okay, this isn't you. It's the spell.

(Castiel’s hand reaches towards the doorknob as he continues to see himself punching Dean)


You can beat this.

(Castiel is still in the hallway, the perception is distorted, as if to show that he is disoriented and/or hallucinating)


I will end you!

(Castiel sees a man stabbing another man through the back of the neck with an Angel blade. White light emanates from the wound. Castiel, eyes red-rimmed and in a white shirt covered with blood, lunges forward)




(Switch to Castiel punching Crowley repeatedly in the face. Crowley falls to the ground and Castiel stabs him in the back.

Castiel continues to stand in the hallway looking very confused.)

CASTIEL (voice heard over the images that are flashing by)

I won't let you walk out of this room.

(Switch to Demon Dean beating Castiel in the War Room and then Castiel holding onto the railing in the hallway, breathing heavily.

Scene switches to Crowley and a demon walking down a hallway in Hell)


Marco got one of them last night -- a Len Fletcher?


Tell Marco to keep looking.

The last thing I need is one of Amara's candy wrappers blabbing to angels or hunters about what, who happened to them.

(They stop walking and Crowley looks around)


Where is everyone?


Oh, our ranks have been a bit thin since Amara ate everybody.

I've got some fresh numbers for you to go over before court.

Soul projections -- they're not good.

We're down for the quarter, which means that...

(As the demon is talking, Crowley looks past him and points over his shoulder)


That door was supposed to be locked and guarded 24/7.


Of course, sir.


I don't see a guard.

DEMON (nervously)

Uh, right. Must be a mix-up.

We're short-staffed and all, so...

CROWLEY (smiling)


You've been demoted.

No one goes in or out of that room.

(Crowley turns and walks away)

Scene changes to a hallway. There is a sign that states

CELL AREA Authorize Personnel Only

A man in a suit walks through a cell-type door. Behind him another man is pushing a gurney with a body bag on it. Sam and Dean are following)


Thought maybe a relative of one of Len's victims, but it doesn't feel like a revenge killing.

(The man pushing the gurney passes in front and they all continue to walk down the hallway and then turn a corner)

Too clean, like an assassination.




Excuse me.

(Detective Marsden turns and walks the other way, into an office area. Sam and Dean remain in the hall)


You smell that?




Yeah, either the detective needs to change his diet or, uh --


Sulfur. Len was killed by a demon.


Yeah, but why would a demon order a hit on a guy with no soul?

It's like a Cracker Jack but not a prize.

WOMAN (in the office)

Hands off, Deputy Doody!

(Sam and Dean turn around to look into the office. A police officer grabs the girl, who is in handcuffs, by the arm and pulls her past Sam and Dean. As they pass we see that the girl is Goldie)

SAM (to Detective Marsden)

Who's the girl?


Goldie Schmidtlapp.

Was a normal kid, snapped this morning -- tried to kill her mom with a frying pan.

(Dean rolls his eyes as he looks towards Sam.)


First the ax murders, then Len, now this?

DEAN (to Detective Marsden)

We're gonna need to talk to the kid.

(Scene changes to a black dog rolling down the street on a skateboard)


That's four legs on four wheels.

(Cut to Cas lying in bed, in his suit, watching TV and then back to the TV screen. We see a newswoman sitting in front of a city skyline backdrop with “OWW 2 News” in the lower right hand corner)

NEWSWOMAN (smiling)

Ah, that dog thinks it's people.

(the Newswoman turns to the camera and puts on a serious face)

Up next, a very upsetting story out of Omaha.

(Cut back to Cas lying in bed, smiling)

A downtown bar fight escalated tragically last night.

And "OWW2 news" brings you an exclusive video of the event.

The footage you're about to view is extremely graphic.

(Cut to the TV screen showing a video of two men fighting in an alley. People are yelling and then one man takes out a gun and shoots the other. The news camera pulls back and a white van comes into view. An image of a person is seen the reflection of the van’s side view mirror. At this, Cas’s expressions turns serious.)

Efforts were made to resuscitate the victim, but unfor—

(Cas stands up with the TV remote in his hand and pauses the show and walks towards the TV. As he gets closer, he rewinds the program and freezes the screen on the image in the mirror. The camera alternately zooms in on Cas’s face and the image. Cas’s expression goes from puzzled to surprised as the image is revealed to be Metatron holding a video camera.)

Scene changes to prison cell door slamming closed. Our view is of someone walking down the hall, a set of keys swinging in their hand.)


Hey, officer. I still haven't gotten my phone call.

(Cut to Goldie in a prison cell)


Do you think I could get a pizza delivered in here?

(Cut to Goldie’s view looking out of her cell. She sees a young man standing there who is not dressed as a prison guard)


You're not the deputy.



(The man opens the cell door and enters the cell. Goldie looks scared and backs up up further into the cell.)


Boss' daughter's been making a mess in town, (The man pulls out a knife) and it's my job to clean it up.

Nothing personal.

(The man’s eye turn black as he lunges towards Goldie with the knife in his hand. Goldie backs up to get away but the man stops suddenly. His eyes clear as he looks up and sees a Devil’s trap on the ceiling.

The man closes his eyes in frustration as Sam and Dean, in FBI suits, walk up to the cell.)


Nice work, Goldie.


So, Crowley and Amara?



(Scene opens to a brown hood being pulled off of the man/demon’s head.)


Rise and shine, buttercup.

(The man is tied to a chair in a hotel room. Dean is standing in front of him and Sam is across the room leaning against the window))


Now...about what you were saying.


What's Crowley doing with Amara?


Don't know, don't care.

Wouldn't tell you if I did.




Well, we already know she's growing up fast.


Yeah, well, demon souls -- they do a body good.

Little Muppet tore through half my buds before Crowley put her on a diet.

She didn't like that.

Started sneaking out to get her fill.

You know how kids are.

But daddy put his foot down.

(Dean lunges forward and puts a knife to the Demon’s throat)


Where's he hiding her?

DEMON (laughing)

I'm happy to keep gossiping with you boys, but you want actionable intelligence?

Torture me if you want.

I know you'll just kill me anyway.


Hmm. Well, it looks like a stalemate to me.

I guess we go ahead and kill him right now.

SAM (walking across the room towards Dean)

No, no, no. Dean, wait.

We can exorcise him.



Save his meat suit.


My two cents?

You exorcise me, let me smoke on out of here, I give you my word not to tell Crowley.

(Dean scoffs)


Hey, you heard me.

(Sam looks at the demon quizzically)

He's hardly my favorite guy at the moment. I --


Wait a second. Shut up.

(Sam walks over to the demon and pulls the top of the demons shirt to the side to reveal a bullet wound)

DEAN (smugly)

Well, would you look at that.


There's no way his suit survived that wound.


Mnh-mnh. All right.

(Sam shakes his head and walks away, running his fingers through his hair at the back of his head)



(Dean leans forward and stabs the demon in the chest with the demon blade)



(Scene changes to a cell phone lying on a table. The screen shows ‘Downloading GPS Data’. The camera pans across the desk to a laptop keyboard and the the laptop screen which shows a map with the following markers: ‘Bar-Sydney’, ‘Goldie/Amara’, ‘Lizzie Borden’s House’. There is a green triangle connect the three places. As the camera pans further we see Sam sitting in front of the laptop. He looks up as Dean walks into the hotel room.)






Where'd you ditch the body?


School playground.


Come on.

DEAN (walking further into the room and taking off his jacket)

Hospital parking lot. What do you got?


Well, uh, good news. I was able to hack his phone.

Got the coordinates of his call history.

(Sam stands up and walks towards Dean on the other side of the room where maps and pictures and notes are tacked up on the wall.)


I guess Crowley must've had him tailing Amara or something, 'cause he was at all three spots.

He was at the Lizzie Borden house, where Len got his soul taken, he was at the bar where Sydney got her soul taken, and he was here, where Goldie said Amara approached her.

DEAN (pointing towards the map)

Hmm. So, somewhere in there.


Yeah, maybe. But what I don't get is, why would Crowley have Amara on earth in the first place?

Wouldn't it be smarter to -- to keep her in Hell?


Yeah, but then he'd have to spend more time there, and he hates that place.


Oh, right. (scoffs)

I keep forgetting about you and Crowley's summer of love.

DEAN (I'm not seeing much inside this radius that he'd like better.

I mean, you got farms, you got swamps.




This P.O.I., what's that?


Uh...Point of interest.


I know what it -- what is it?


Oh. Let's find out.

(Sam walks back over to the laptop)

DEAN (sarcastically)



The Needham Asylum. Decommissioned in '63.

Sound like Crowley's kind of place to you?

(Dean shrugs and looks back at the map. The camera zooms in on the map as the scene morphs to a run down, abandoned looking house/building.

The scene changes to inside the house as Crowley walks through a set of doors. On the other side we see Amara, sitting on a bed looking at animal memes on a laptop)


What are you looking at?

Still learning all you can about the world?


If nonsensical slogans attached to idiotic pictures of domestic animals counts as the world.


Excuse me?





Look, I know to you my rules seem...

(Amara looks away, disinterested)

Unfair, arbitrary, as though I'm doing all this just to hurt you.


I don't care why you do anything.


I just want you to know that I'm not a monster.


(The door swings open and two man in suits drag in another man in a US Mail uniform, bound and gagged, and push him to the floor)

I can't have you eating whatever, whenever, however much you want.

I thought you might appreciate a little snack.

(Amara stands up)


I'm not hungry.

(Crowley sighs and waves off the men. They pick up the postal worker and drag him out of the room)


I'll leave you to your memes.

(Crowley goes to walk out of the room while Amara sits on the bed with her back to him, looking at her laptop.

Crowley gets to the doors, breathes out a heavy sigh and slowly closes the doors as he turns back towards Amara.)


I have no idea what I'm doing here -- not a bleeding clue.

Moment to moment, what makes you happy?

(Amara rolls her eyes)


What will set you off?

How do I even begin to forge a connection with you?

But what I do know is you're growing so fast, and it terrifies me.


I bet.

You only want me for the power I'll wield, and you know, soon enough, I won't need you anymore.

(Scene changes to Sam and Dean talking in the hotel room)


So, we're really gonna do this...



Hell, yeah.

I've been looking for a chance to get back at Crowley ever since that crap he pulled in Cedar Rapids, especially now that I know he tricked me and made off with the Darkness.


No, that's not what I meant.

We're going in to kill Amara.

Are you ready for that?


Why wouldn't I be?


Because we don't know the first thing about her, Dean.

We don't know her powers.

We don't know how to take her down.

(Dean looks down, frustrated)


Hell, you know what?

We don't even know if she can be killed.


I know.

But she's too big of a threat to wait.

I say we go in there and we hit her with everything we got.

(Sam sighs, resigned and walks away. Dean hesitates and then looks back at Sam seeming worried and unsure)

(Scene changes back to Crowley and Amara in her room. Amara sits with her back to Crowley as he speaks.)


You have tremendous power and soon you'll have even more.

But I have something you lack...

(Amara snaps her head around to face Crowley)

Wisdom, experience.

I helped put Lucifer back in his cage.

(Crowley walks closer to Amara)

I rose through the ranks of Hell, defeated all comers, to claim the throne.

And, a few minor setbacks aside, I'm still here.

I don't know how to impart what I've learned to you, how to teach you.

And at the rate that you're growing,

I'll probably never get the chance to figure it out.

Perhaps you don't need my tutelage.

But I believe, deep down in my gut, I have something to offer you if you'd just give me the chance.

(Amara stands up and faces Crowley)


What are you asking for?



Slow down.

Play by my rules for just a little bit longer.

You give me your patience,

I'll give you my protection...until you decide you don't need it anymore.

(Amara cocks an eyebrow and smiles)



(Scene change-It’s nightime and we are looking through the viewfinder of a video camera. The camera is panning the ground at the scene of the earlier shooting. We see the gun lying on the ground and then the body of the man who was shot. Our viewpoint switched and we see Metatron holding the video camera.)


Oh, this is good.

A night-leader if ever I saw one.

(Metatron continues walking around the body an filming it on the ground)

And this is gonna fetch me $500, minimum.

(Metatron leans over the body, reached into the man’s shirt and takes out his wallet)

I, uh -- I know that $500 sounds like plenty, but with my overhead...daddy's got to eat.

(The ma on the ground starts coughing)


Oh, come on!


Help. Please.


I'm sorry, buddy. Y-you live, there's no story.

(Man continues to cough and ‘gurgle’ as blood comes out of his mouth)


You know, there was a time I could have brought you back from the brink with a snap of my fingers...

(more gurgling sounds)

Not that I would have. (Metatron takes money out of the wallet)

But I'm not that guy anymore. I can't save you.

(Metatron drops the wallet on the dying man’ chest)

CASTIEL (off screen)

I can.

(Metatron turns around and sees Castiel standing in the alley)



How did you find me?


Same way you found him.

Scoured the police scanners, got ahead of the authorities.

(Castiel walks towards Metatron and leans over the dying man. As he lays his hand over the man’s chest Metatron raises the video camera. A white light glows over the man’s chest)


What was that?

(Castiel stands up and looks angrily at Metatron.)

METATRON (annoyed)


Look, a real-life angel caught on tape?

That is way better than some random homicide.

(Castiel swipes the camera out of Metatron’s hands and it crashes to the ground)

METATRON (yelling)


Do you have any idea how much stuff I had to steal and then pawn to pay for that?!

(Police cars pull up to at the end of the alley. Castiel and Metatron run off as the man who was shot sits up)

(Scene change -It’s nighttime, Sam and Dean are at the gated entrance to a property. The push on the gate and it swings open. They walk through)


No guards at the perimeter?

(They walk across the yard and up to the step that lead to the front door. It is the house we saw earlier where Crowley and Amara are)


Looks like there are no guards at the door, either.

You think this is the right place still?

(Sam and Dean continue walking up the steps and arrive at the door)


Well...warding sigils.

And for the humans -- look at this.

A padlock you'd find on a middle-school locker.

Cocky son of a bitch.


Dean, external security may be lax, but we still don't know how many demons we're gonna face inside.


Well, let's find out.

(Dean leans over and starts to pick the lock on the door. The viewpoint changes to the dark inside of the house as Sam and Dean walk through the doorway.

Scene changes to Crowley on his ‘throne’. He looks bored as he looks at a book on his lap)


Turn to the graph at the bottom of 27, and you'll see a nearly 40% decrease in soul collections in the Pacific Northwest over the past three years.

An unexpected consequence of legalized marijuana?

Some analysts think so.

(The camera pans to the book on Crowley’s lap. Inside of the presentation on ‘Domestic Soul Projection” is another book with the page open to ‘Why She Fights. Understanding Your Rebellious Teen’)


Others are not quite so sure.

(Scene change to Castiel and Metatron. Castiel pushes Metatron off the edge of what looks like a loading dock onto the floor of a machine shop.)

METATRON (grabbing his shoulder)





(Castiel looks at the name on Metatron’s hat before throwing it at him)

CASTIEL (exasperated)


You're picking pockets, leaving a man to die.

I-I -- I don't know what I expected, but this is disappointing.

METATRON (rubbing hi shoulder and upper arm)

One to talk.

You chose the life of a wage slave, slinging slurpees for, what, a month?

(Metatron stands up and faces Castiel)


I am in it to win it.

I was at zero when you took my Grace, hiding from angels, not a cent to my name.

But I found my calling, and I pulled myself up by my bootstraps and started a business. And, you know, my story has only just begun.


What story is that?

You're preying like a vulture on human tragedy.

METATRON (incredulously)



What century are you in?

Religion is dead!

The novel? Deader.

(The camera switches between Castiel and Metatron as Metatron talks)


You think I'm ashamed for dealing in fleeting visual sensation, in gift-length glimpses of horror, waste, and degradation?!

No! (yelling)

I just caught up with the times.

Reality is the great literature of our era, and I am out there, on the streets, every single night, capturing it!

I am reality's author.


Oh, save your story.

It is not what I came for.



So... Straight to business.

You want the Demon Tablet?

Well, you're not gonna get it. I have hidden it very carefully in a place where you and your friends --

CASTIEL (rolling his eyes)

You hid it (Castiel reaches into his coat and pulls out the Demon Tablet) -

-under your mattress.

The TV station gave me your address, and I-I checked the place out.

You realize you have bedbugs?

METATRON (offended)

You broke into my apartment?

CASTIEL (walking closer towards Metatron)

What do you know about the Darkness?


The band?

(Castiel steps closer)



Uh...Sometimes during late-night writing sessions, when God was deep in his cups, he may have let slip a few choice words.


I don't have to tell you anything.


Are you forgetting?

(Castiel grabs Metatron by the collar and slams him against a cabinet)

CASTIEL (menacingly)

You are human now, and I could crush you like a bug.


Could, but you won't.

You think I didn't notice? You are broken, Castiel.

You were always a bit of a Nancy, but this?

(Castiel drops his hands from Metatron’s collar)


You have gone full wuss.

I don't know what it was that happened, but whatever it was, you are scarred...deep, paralyzed by trauma, by fear.

(Castiel looks unsure)

METATRON (scoffing)

I mean, look at you. You can't even hit me!

(Castiel punches Metatron in the face)



CASTIEL (grabbing Metatron by the collar again)

It's not fear.

(Castiel punches Metatron in the face again and throws him through/against a glass cabinet)




Scene change to a Demon walking in a hallway )

CROWLEY (off-screen)

Hey, idiot, andale -- Spanish for "get your ass over here."

(The Demon hears Crowley and walks towards his voice)

You think I've been paying your astronomical bar tabs...



...for the past five weeks so you can sleep past noon with last night's skank?

(The Demon sees Dean standing at the end of the hallway holding his cellphone which is playing a message from Crowley. The Demon runs towards him.)

Well, Dean?

(As he gets to Dean he is blindsided by Sam who knocks him and cuffs him)



SAM (taking keys off the Demon and handing them to Dean)

You know what? Go.

Take her out.

I got them.

(Dean walks away from Sam and down a hall into Amara’s room. Amara is sitting at a desk filing her nails. As Dean enters the room she smiles and raises her head)


I knew you'd come.

(Amara stands up from the desk and stands in front of Dean)


I'm sorry, Amara.


For what?

DEAN (looking tentative)

What I have to do.

(We see the Demon knife in Dean’s hand)

CROWLEY (off-screen)

Hello, Dean.

(Dean whips around and faces Crowley, who flicks his hand ad send Dean flying across the room into a standing mirror. The mirror shatters and glass falls all around Dean)


My girl's growing up.

Should have known it wouldn't be long before the boys came sniffing around.

(Dean struggles to get up and attempts to get at Crowley who then pins him to the wall)



What do you want with her, Crowley?

What, you think you can use her, control her?

You're an idiot.


I'm not trying to control her.

I'm helping her to realize her fullest potential.

(Crowley picks up the Demon blade and ‘hefts’ it in his hand)


Do you know how disturbing it was to realize that I couldn't bring myself to kill you?

I've had tons of chances over the years, some you don't even know about, but, still...

I made my peace with it, embraced my softer side, learned to accept that there was just too much going on between you and I –bromance.

(Dean's eyes widen in surprise)


But you know what?

I think I am gonna kill you today.

(Crowley points with the knife for emphasis)


I feel different somehow, ready.

What can I say?

Fatherhood changes a man.

(Amara steps behind Crowley and hits him in the back of the head with a blunt object)



(Crowley stumbles and then turns around to face Amara. Amara holds out her hand towards the Demon knife. Crowley’s hand shakes and he drops the knife. Amara flicks her hand and Crowley’s wrist bends backward, snapping. She then flings him into the wall, pinning him there.)


(Castiel is punching Metatron and he falls to the ground)




The Darkness -- what do you know?



So I misjudged.

(Castiel walks towards Metatron who is still on the ground)


You're not scared. You're mad.

And I get it.

I mean, it must suck being everyone's tool, manipulated and used by the angels, by your enemies-

(Metatron crawls away from Castiel as hi tries to stand up. When he’s half-way up Castiel kicks him in the stomach)

-by your friends.



(Scene change to two Demons running into a hallway. Sam is at the other end with an Angel blade. He puts into the back of his waistband and runs directly towards the two Demons.

Switch back to Metatron and Castiel. Metatron’s face is bloody and he’s standing)


You thought if you could get your Grace back, it would help fix you, but it hasn't!

(Castiel punches him in the face)


Oh! Aah!

(Castiel grabs him by the collar with one hand)


The Darkness.

(Switch to Dean, Amara and Crowley. Amara is facing Crowley as he’s pinned against the wall)


Why, Amara?

I thought we had an understanding.

(Crowley grimaces as in pain)


Yeah. Your promise to protect me. And, then, hours later, I'm assaulted in my own room.


Well, you don't seem terribly upset by it.

That's not the point.


I've decided I don't need your protection, and I certainly don't need your captivity.

(Amara raises her hand)




I'm done.

(Switch to Sam in the hallway fighting the two Demons. Sam knocks out one and then fights with another, trying to get him into handcuffs. The fight back and forth until Sam finally knocks him out. As he takes out the handcuffs, a third Demon approaches him)


You trying out some kind of no-kill policy?

(The Demon rushes Sam and pushes him against the wall with his hands around Sam’s neck)

(Switch to Castiel and Metatron)


Who do you have to thank for how angry you are, how lost?

(Castiel punches Metatron in the face. Metatron falls into a workbench)



(Castiel walks towards Metatron, grabs him again and punches him viciously)

METATRON (smiling)

You're welcome.

(Switch to Sam and the Demon fighting. The Demon grabs Sam by the collar and pushes up against the wall again, with his hands around Sam’s neck. Sam repeatedly tries to punch the Demons hands away)

DEMON (squeezing tighter around Sam’s neck)

Oh, a hunter.

You of all people should know pacifism doesn't pay.

(Sam’s eyes begin to roll up into his head. One of the Demons who was previously unconscious begins to get up. Sam seems to be on the verge of passing out as he raises the Angel blade and stabs the Demon in the stomach. The Demon head starts to glow and he falls to the ground.

The scene switches back and forth a few times between to Castiel repeatedly punching Metatron and Sam fighting with the Demon. It pauses as Sam is leaning over the Demon on the ground, Angel blade raised as if to stab the Demon and the switches back to Castiel with his hand raised over Metatron as if to punch him again)



Go on, Castiel. End me.

(Switch back to Sam. Sam looks at the Angel blade and drops it to the ground. He kicks the Demon onto his stomach and cuffs his hands behind his back.

Switch back to Castiel. He drops his hand, lets go of Metatron and looks at his bloodied fist.)



(Switch back to Sam. Sam stands up and looks around the hallway. There is one dead demons and two in cuffs.


All right. Two out of three.

(Sam walks out of the hallway wiping the blood off of the Angel blade.

Switch to Crowley, Amara and Dean. Crowley is still pinned to the wall)


- Aah!

SAM (off screen)

- Dean?!

(Dean starts to move away from the wall but Amara pins him back to it.)



(Switch to Sam knocking on the door to Amara’s room)



(Sam starts banging into the door with his shoulder. After a few tries he stumbles, looks confused, falls to the ground and starts to have a vision. We see close-ups of Sam’s face, looking scared/terrified and flashes of black, concrete walls and chains)



(Sam comes out of the vision and sits on the floor outside Amara’s door, breathing heavily.

Switch to inside Amara’s room)


It's time -- time for you to blink your tired ass-

(Amara squeezes her fist and Crowley, bleeding from the mouth, grimaces in pain)

- back to your throne and lick your wounds.

I'll spare your life on one condition.

Safe passage for Dean out of here after I've gone.

(Dean shakes his head in confusion. Amara squeezes her fist harder)

CROWLEY (strained)



(Amara release Dean and Crowley from her hold)



Now... Get. Out. of my room.

(Crowley glares at Amara.

Switch to Castiel and Metatron. We see Castiel’s bloody fist in the forefront and Metatron in the background.)

METATRON (begging)

Oh, please, Castiel.

(Metatron’s face comes into focus)


Help me.


You said you were happy, your "bootstraps."


I was faking it.

I mean, I thought, "how -- how hard could it be?"

(Switch to Dean and Amara. Dean is still by the wall with Amara’s back to him. Dean bends over and picks up the demon knife. The camera pulls back so that Amara is in view also. She looks slightly over her shoulder)


You won't.

(Amara turns to face Dean)


You can't.

(Switch to Castiel and Metatron)

METATRON (crying)

Can't take any more -- not a single human day.

I mean...

The indignities -- they just don't stop -- make-- making my rent and keeping my phone charged...


CASTIEL (crouching down to Metatron’s level)

You were right, Metatron.

I am sick of having my strings pulled, which is why I won't let you manipulate me into letting you off easy.

Tell me about the Darkness.

(Switch to Dean and Amara. Amara walks towards Dean)

AMARA (softly and sweetly)

Tell me, what is happening here between us?

You save me, I save you.

(Amara reaches out and runs her hand along Dean’s jaw. Dean just continues to look at her, as if unsure about what to do)



You were the first thing I saw when I was freed, and it had been so long.

Maybe that's it -- my first experience of his creation.

You can't help but represent that for me - the sweet triumph and the even sweeter folly of what he's wrought.

There's no fighting it.

I'm fascinated.

(Switch to Castiel and Metatron)


The truth -- ha -- it'd make the Bible thumper heads explode.

I mean, they want their God to be a-a f-finger-snapping, all-powerful creator, you know...

And they want magic... Mary Poppins.

(Castiel looks at Metatron, as if trying to understand)


But what he did -- creation... that took work.

Took sacrifice.

In order to create the world, God had to give up the only thing he'd ever known.

He had to betray and sacrifice his only kin.

The Darkness...

His sister.

(Switch to Dean and Amara)


It's been great seeing you again, Dean, but it's time for me to go. There's a whole world out there for me to explore, and I can practically taste it.

Soon, I'll be strong enough to do what I came here to do.

DEAN (whispers)

What's that?


Settle an old score -- the oldest score.

(Amara looks down at the demon knife in Dean’s hand and Dean’s gaze follows. As Dean raises his the blade towards her chest, Amara tilts her head back slightly, as if inviting Dean to use the knife on her)

AMARA (shaking her head)

Told you.

(Dean blinks and looks at Amara, as if he’s can’t comprehend what’s happening.

Sam crashes through the door and stumbles into the room.



(Amara throws out her arm and Sam flies out of the room and into the wall across the hall. Dean looks at Amara and then down at the knife and lunges towards Amara. Amara throws him back against the wall and he falls to the ground. Amara looks at him and starts to walk out of the room. We see her, through Dean’s blurry viewpoint on the floor, continue walking out the door.)


(Sam, Dean and Castiel standing in the ‘War Room’ in the bunker)


Look, guys, I'm as glad as anyone that Stella got her groove back, okay?

But you let Metatron go?

CASTIEL (annoyed)

Dean, how many times are you gonna repeat that question?

DEAN (annoyed)

I'm gonna say it again.


You let Metatron go!


He's not going anywhere.

If he makes a move, if he draws the slightest attention, the full force of angelkind will snuff him out.

Look, you -- neither of you saw him.

He is a human, and a pitiable one at that.

He's not a threat to us.

I-I mean, I put him in traction.


Guys, bigger fish to fry here.

Amara is in the wind.


Yeah, God's freaking sister.


You said you were close.

Dean, how'd she get away?


'm sorry, what part of "God's freaking sister" did you not understand?

She overpowered me -- end of story.

(Castiel and Sam look at Dean warily)


What's our plan here, fellas?

You said you got everything you could out of Metatron, right?

So, where on earth are we gonna find an answer on how to stop her?

(Dean looks at Sam)

DEAN (sarcastically)

I don't suppose God's decided to share any wisdom on the matter.


I'll look into the lore.

(Sam walks away into the library area of the bunker. He looks over his shoulder back at Dean and Castiel and then stops and leans against a low bookcase. He looks nervous, or scared. He closes his eyes and flashes back to the black concrete wall in his vision. There are hands coming through cracks in the wall. The image goes dark and then through several flashes of lightning we see a large, an ornate black metal box, suspended in mid-air by chains that don’t appear to be attached to anything. The scene switches back to Sam and he breathing heavily and looking terrified. He turns his head, as if to look back to Dean and Castiel and the scene switches to a busy, city sidewalk. The song starts to play over a montage of scenes:

Amara walking, in slow motion, down the street.

Crowley sitting on his throne, looking despondent.

Amara, still walking, leans her head back and closes her eyes, as if in ecstasy.

Dean sitting in the bunker, finishing a drink.

Amara walking down the street.

♪ Girl ♪ you'll be a woman soon ♪

♪ I love you so much, can't count all the ways ♪
♪ I've died for you, girl, and all they can say is ♪ 

♪ "he's not your kind" ♪ ♪ they never get tired of putting me down ♪

♪ and I never know when I come around ♪ 

♪ what I'm gonna find ♪ ♪ don't let them make up your mind ♪

♪ don't you know, girl ♪ 

♪ you'll be a woman soon ♪ ♪ please ♪

♪ come take my hand ♪
♪ girl ♪
♪ you'll be a woman soon ♪
♪ soon ♪
♪ you'll need a man ♪



'Scene 11


A woman walks towards her car, CASTIEL approaches her.

E-Excuse me. Rene Watkins?

This lot's private, you better have a good reason to be here.

Yes. I'm--I'm looking for the man who gave you the shooting video. He's... He's an old friend.

Not getting involved. Not interested. Scram.

RENE turns to open her car door.

I was hoping you could help, but I-- I'm a big fan of yours, by the way.

Big fan? Yeah. Right.

No. No, really. I am. I don't know how you do what you do. You're tough one second, and then you're compassionate and tender the next. And you move so seamlessly from one to the other, and then... To do that, in front of millions...

Honey, these days? Try hundreds.

Well, I just think you're an artist. And you put yourself out there each and every night. These days, I can barely even...

CASTIEL looks upwards, emotional.

Sorry I took your time.

CASTIEL turns to leave, but RENE visibly softens.

Wait. The guy who gave us the video, he's one of our freelance stringers. Showed up out of the blue a few weeks back, looking like a hobo, with a bumfight video he'd shot on his cell phone. Image quality was crap, but it was a slow night. We bought it. Ever since then, he keeps showing up with better and better stuff. Don't know how he gets what he gets. But wherever there's something going down, he's there.

Thank you.

RENE walks away and gets into her car. CASTIEL looks away, worried.