There's a piercing scream, but it isn't coming from me. I know! It's coming from poor, poor Ruby. Or should I say poor, poor Genevieve Cortese, who is being treated like the stunt double in bondage porn, by our valiant show-runner. Shame on you, Kripke. She's bound to some table in what looks to be a filthy, abandoned rest room, which probably would have been a suitable destination for this script. At least you could try to flush it, there. Her hands are outstretched and bound. Her mouth is bound by a wide leather band, so it's not really clear how she was able to scream quite so loudly, but if you're looking for sense, you're watching the wrong part of this two-parter. Her bare breasts are bound by a similar band, as are her ankles. She's bleeding all over the place, and not just from listening to poor man's Brando who is trying to morph into a cut rate Hannibal Lector, although that probably is what has turned Ruby's eyes black. He blathers on about the lack of patience and craftsmanship manifest in Ruby's generation, but praises her Knife That Hasn't Even Killed Her While Carving Her UP (See How Far It Has Fallen), as an exquisite piece. I'm not going to transcribe his taunting, but that's all it is -- taunting and horn-tooting. I'm also not going to transcribe his actions, because although I'm sure Raoul, bless him, is gobbling up the gore with a spoon in an early Dragon Thanksgiving, I'm pissed at Kripke for objectifying and fetishizing Cortese to this extreme. Suffice it to say he's doing some more cutting, just out of view, and Ruby is crying all the time. He finally removes the mouth band, but only on the condition that she won't "smoke out" of her current meatsuit. He demands to know where the angel is, but Ruby won't tell him, because she knows if she does, he'll kill her. Instead, she agrees to take him to Anna. Alastair laughs and the D.P. makes sure we get one final shot of poor Cortese's heaving, bound bosom. I take a long long shower, but I can't quite feel clean, so let's move on. We cut to...

Daylight at the barn or Casa Ramshackle, which could be one in the same, but at this point who cares: Anna looks through the gaps in the barn boards. Dean sits and drinks. Sam paces, wondering aloud where Ruby could be. Dean says, "Hey, she's your Hell buddy," and takes another swig from his flask. Anna chastises that it's a little early for that, but Dean brushes off her comment and her concern. A wild wind blows open the barn door and Castiel and Uriel walk in.