*He wants you to know that HIS 'zine was titled "Beat Up the Poor," a title taken from a Baudelaire poem and so confirming once and for all that I am actually married to that goober I described above, sitting in a dark bar, reading French poetry, and glaring.
Commercials. The next day Dean stalks through the motel room declaring that he can't find his wallet and that he thinks he might have dropped it in the warehouse last night. Sam can't believe it. Dean, our own little Emmy-oriented Eva Longoria in this scene, spits out his lines: "I mean, it's got my prints, my ID, well, my fake ID anyway, we gotta get it before somebody else finds it. Come on." Wacky Transition Percussion takes us back to the warehouse, where the boys sort of sneak around peeking under stuff. Sarah walks by and sees them. She's dressed in the Art Professional's Uniform -- black turtleneck -- and she seems pleased to see them. Sam starts stuttering to her that they're leaving town and came to say goodbye. Sarah's face falls, but Dean interrupts just in time, asking Sam what he's talking about since they're staying for a few more days. Dean continues, taking his wallet out of his pocket and pointedly saying that he wants to give Sam the twenty bucks he owes him. Smooth! Sam's mouth hangs open, catching a crowd of flies, which then proceed to enjoy partying inside the prime, empty real estate. Dean says he has to "go do something...somewhere" and leaves Sarah and Sam alone. Well, along with all the flies in Sam's mouth. Sarah suggests that maybe they go out again sometime, but Sam is numb from the waist down and tells her that they really are leaving today. Just then, a worker walks by carrying the haunted portrait and Sam shouts, "OH MY GOD!" and then tries to cover when Sarah asks him what he's yelling about, "The...that painting...looks soooo good." Hee.
But something about the awkward outburst sends both Jared Padelecki and Taylor Cole into oddly drama-club elocution, as they both start E-NUN-CEE-A-TING their lines and blocking out exaggerated motions to indicate mutual confusion. I can't tell if this is sophisticated acting (both actors nailing the awkwardness of the situation) or just really hilarious viral drama (both actors feeding off one another's over-the-topness). Sam gets an assurance from Sarah that she won't sell the painting (she thinks it would be in bad taste, since it was so recently bought by the murdered couple) and then backs away from Sarah, who continues to advance on him. Sam tells her he'll call her, and Sarah furrows her brow so deeply that it telegraphs all the way to the back row (somebody get Eve Ensler on the horn!), wondering out loud if he really isn't leaving that night. Sam practically runs out of the room, leaving Sarah to mutter a well-deserved, "Oookay..."