TEASER

EXT. HIGHWAY. DAY.

Tight on the exterior of a car, older model, rolling slowly to a stop. We pan up to see that there is no one behind the wheel. The sound of the ENGINE slowly dies.

The camera continues to rise, showing a whole highway of empty cars, some still drifting, others already off the road. Where two of the cars collided, smoke is rising. Mournful music plays...

SERIES OF SHOTS: THE EMPTY EARTH

EXT. BUNKER - ENTRANCE. DAY

The Impala pulls up and stops. Jack and Sam get out. Mournful music ends.

INT. BUNKER – LIBRARY. DAY.

Sam and Jack hurry down the stairs.

SAM

(yelling)

Dean? Dean?

Dean appears in the doorway of the library. He looks shell-shocked.

SAM

Oh, thank God.

Sam crosses the room and hugs Dean. Jack hovers behind, looking at Dean.

SAM

I thought Chuck poofed you, Dean. What the hell happened? We’ve been trying to call you. Why weren’t you answering your phone?

DEAN

(disoriented)

What?

SAM

They’re gone, Dean. Everyone’s gone. Chuck poofed them.

JACK

Where’s Castiel?

Both brothers look at him. Sam looks back at Dean.

SAM

Dean, where’s Cass? Did something happen?

Dean shakes his head.

DEAN

He’s uh--he’s gone. The Empty came for Billie and it--it took him too.

SAM

It took him too? Why?

Dean isn’t looking at Sam.

DEAN

I don’t know.

Jack watches, frowning, upset.

DEAN

I’m sorry, kid.

Dean pats Jack’s shoulder and walks past him, towards the stairs. Sam turns to watch him go. Upset, Jack looks at the floor.

TRANSITION TO:

INT. CHUCK LAIR. DAY.

Chuck stands in front of a wall of TVs, hands behind his back.

He smiles.

Tight on one of the TV screens. It flashes the--

 

SEASON 15 TITLE CARD

ACT ONE

EXT. INTERSTATE. DAY.

The Impala drives down the sunny interstate, weaving between the stopped cars.

EXT. GAS STATION. DAY.

The Impala stops at a gas station. An auto repair shop is attached to a convenience store, with gas pumps out front. One abandoned car is still hooked up to a gas pump.

The Impala pulls up next to the pump. The car doors open.

CUT TO:

INT. BODY SHOP. DAY

A high SHRIEKING sound is coming from inside. Dean rounds a corner warily, reaching for his gun, before he sees the source of the noise--the angle grinder is still on, shrieking against a piece of metal and sending up sparks.

Dean approaches cautiously and turns it off. The shriek cuts off and echoes to relative silence.

Wide shot as he looks around the deserted shop.

Beat. A GENERATOR HUMS quietly.

INT. CONVENIENCE STORE. DAY.

JINGLE doorbell as Sam enters. The slushie machines are turning. He looks up at the TV behind the counter. An old sitcom episode is playing. Muffled LAUGH TRACK.

EXT. GAS STATION. DAY.

There’s a birdhouse in the shrubs outside the gas station. Jack stares at it, frowning deeply. He closes his eyes.

JACK

(quietly)

Cass? Are you there?

Nothing.

JACK

Castiel?

Jack sighs, eyes still closed, looking crushed. With an almost-crying twitch of the mouth, he goes into the store. As he walks past it, the shrub he was staring at withers and dies.

INT. CONVENIENCE STORE. DAY.

Sam is staring around the empty store. A muffled SHOUT comes from the back door of the store.

DEAN (O.S.)

Sam!

Sam and Jack hurry to the back door.

INT. BODY SHOP. DAY.

Dean is kneeling on the floor.

DEAN

Look what I found!

SAM

(relieved)

...A dog?

A dog. She’s panting while Dean scratches her ears and beams at her. Sam smiles.

SAM

I thought Chuck killed everything. Everything but us.

DEAN

Apparently not. Looks like he missed a spot. Who’s a good girl?

Jack smiles, but still looks like he wants to cry.

DEAN

Come on. Let’s get her home.

He scoops the dog up in his arms, and carries her out of the garage.

EXT. GAS STATION. DAY.

Jack opens the back door of the Impala and slides in. Sam sits in the passenger seat. Dean lowers the dog into the back seat and pets her again.

DEAN

You’re the first good thing to happen to us in days, you know that?

(to Sam)

I’m gonna see if there’s any dog food in the store.

Dean straightens up and SHUTS the door. As the door slams shut, the dog fades and DISAPPEARS. Chuck-snapped.

Dean rapidly cycles through the stages of grief and stops at “anger.” As he looks up over the roof of the Impala, he sees--Chuck, standing on the median strip.

Chuck waves “hello” and grins, then vanishes.

Furious, Dean STRIKES the top of the Impala with the heel of his hand.

DEAN

Dammit!

SAM

Dean--

DEAN

(shouting)

God DAMMIT.

Dean wheels away and with a strangled CRY strikes out at the pyramid of antifreeze bottles next to the gas pump. They cascade to the pavement.

INT. IMPALA. DAY.

Jack and Sam watch in silence as Dean, cursing and yelling, punches the paper towel dispenser, kicks the trash can next to the gas pump, and generally freaks out. Sam closes his eyes.

Jack, sitting in the back seat, leans forward, eyes still on Dean.

JACK

Sam?

SAM

(hoarsely)

Yeah, Jack?

JACK

If the Empty came to take Cass... It could be because of the deal he made.

SAM

The deal? What deal?

JACK

Last year, he made a deal with the Empty, to save me.

SAM

...In exchange for what?

JACK

Nothing. The Empty let him live too. Temporarily. But it said that... when he experienced a moment of true happiness, that’s when it would come to claim him.

Sam frowns, thinking.

SAM

A moment of happiness?

JACK

Castiel told me not to tell you or Dean.

SAM

Why not?

JACK

He didn’t want you to worry.

Sam sighs and turns away, looking back out the front windshield at Dean. Dean is leaning against the wall, his back to the Impala, one arm against the wall and the other covering his face.

“IT’S ALL OVER NOW, BABY BLUE” by Them begins to play.

TRANSITION TO:

MONTAGE: BUNKER DEPRESSION

INT. BUNKER – LIBRARY.

Days pass. Sam and Jack do research in the library. Dean, wearing his bathrobe and holding a beer, walks past. Sam watches him go.

INT. BUNKER - DEAN’S ROOM.

On shelves and the bedside table, empty beer bottles multiply as weeks pass by.

INT. BUNKER – KITCHEN.

Dean cooks. Sam and Jack pore over books at the table, stacks of books around them. Dean sets food down in front of them both, then leaves the kitchen without eating. Sam and Jack look at each other.

INT. CASTIEL’S CAR. DAY.

Jack sits quietly in the passenger seat of Cass’s car, parked in the Bunker driveway.

EXT. CASTIEL’S CAR. DAY.

Through the window, we see Jack lean on the dashboard and rest his head in his arms. Outside the car, green plants growing on the edge of the driveway shrivel and turn brown.

INT. BUNKER – LIBRARY.

Tight on Jack’s belt loop, where he’s clipped a ring of car keys--Castiel’s. He’s standing at the top of a library ladder, handing books down to Sam, who is holding a comically tall stack. (SONG fades down but does not end.)

SAM

(strained)

Jack, I, I think this is enough for now.

JACK

We have to learn more about the trapping spell.

SAM

We already tried that on Chuck. Remember?

JACK

No. I was dead.

SAM

Oh. Right. Uh, fair enough.

Dean enters, still in his bathrobe.

JACK

You said that Michael and Adam gave us the recipe. Do we still have it?

SAM

I think so. It’s in a file in 7B.

(to Dean, in passing)

Dean--could you grab it out of the saferoom for us?

DEAN

What? Get it your damn self.

Sam makes a “what the hell” face, and Dean keeps walking, towards the door.

SAM

(to Jack)

But anyway, Chuck can always hear us. Remember the dog? We don’t have any way of taking him by surprise.

Jack watches Dean leave, looking disappointed.

INT. BUNKER - HALLWAY. NIGHT.

Music fades back up, montage continues. We follow Dean down the hall. He passes Cass’s door. Hold briefly on Cass’s door. Dean reaches his room, goes inside, and shuts the door on us.

INT. BUNKER – JACK’S ROOM. NIGHT.

Jack goes on reading late into the night, Cass’s keys on his desk.

INT. BUNKER – SAM’S ROOM. NIGHT.

Sam lies down to sleep. Before turning out the lamp on his bedside table, he adjusts a small unframed photo of Eileen that rests against his clock. He turns out the light.

SONG ends.

INT. CHUCK LAIR. NIGHT

Chuck sits in a white armchair, watching his favorite show on a wall of 12 TV screens. Some screens are black, most are paused. On those are frozen frames of other storylines--one white-suited Sam, one black-eyed demon!Dean, one nighttime barn interior with people wearing skull masks, one of Lucifer (or possibly Nick).

Only one screen has any movement. In the Bunker library, Sam and Jack turn pages.

Chuck is holding a glass of whiskey in one hand, and his phone in the other. He refreshes Twitter, bored. But there are, of course, no new tweets.

CHUCK

(sighing)

Nothing.

Chuck sets down his phone and picks up the TV remote. He turns up the volume on the TV showing the Bunker. Jack TURNS a page. Otherwise it’s quiet.

CHUCK

Nothing, nothing, nothing. So you want to sit around doing nothing, huh? Fine. That’s fine. I’ll do something.

Chuck snaps his fingers, and someone materializes in the room with him.

She turns around, looking frightened.

It’s BECKY.

COMMERCIAL BREAK

ACT TWO

INT. CHUCK LAIR. NIGHT.

Chuck sits in his armchair, in front of his wall of TVs, looking relaxed. Becky faces him down.

BECKY

Where am I? What did you do to me?

CHUCK

Relax, Becky. All in good time.

Becky looks around at her surroundings, orienting herself.

CHUCK

I’m watching our favorite show. You missed some interesting developments. But it’s in kind of a slump right now, to be honest. Do you want me to catch you up?

BECKY

Are my kids here?

CHUCK

(surprised)

Huh? Your kids?

BECKY

What did you do to them? Where the hell are they, you son of a bitch?

CHUCK

“Where”? Well... that’s the wrong question, I guess. They don’t exist.

BECKY

YOU--

Becky starts towards him aggressively. Chuck holds up a hand, freezing her in her tracks.

CHUCK

Whoa, whoa, whoa. They don’t exist for now. I can bring them back. Same way I brought you back. Easy, okay?

BECKY

(tearful)

I don’t believe you.

Chuck sighs.

CHUCK

Here.

He snaps his fingers. On the wall of TV screens, one of the black ones lights up. Her son (ROD, 12) and daughter (ROSIE, 9) float on innertubes in a lake. They look around, surprised, as if they don’t know how they got there. Otherwise, they are unharmed.

Becky walks to the screen, looking relieved.

BECKY

Rod? Rosie?

CHUCK

They can’t hear you. But they’re safe, all right?

BECKY

(turning on him)

They’re not safe. Rosie isn’t a strong swimmer. If she falls in--

CHUCK

Her big brother will pull her out, okay? Or he won’t. I really couldn’t care less. This is what I’m offering, okay? Take it or leave it.

Becky takes another look at her kids on the screen, who start kick-splashing each other.

BECKY

Give her a lifejacket.

Chuck rolls his eyes.

CHUCK

Fine.

Chuck SNAPS his fingers. Onscreen, a lifejacket appears on Rosie.

CHUCK

Happy? Now, can we please focus?

Becky turns back to him and folds her arms.

BECKY

What do you want from me?

CHUCK

Take a look for yourself. Tell me what’s wrong with this picture.

He changes the channel on her kids, switching it to the Bunker. Becky frowns, watching. Onscreen, Jack is reading at the main table.

TRANSITION TO:

INT. BUNKER – LIBRARY. NIGHT.

Jack is camped out among books at one table in the library. The other table is littered with beer bottles, which Sam is picking up and putting into a cardboard box.

Tight on Jack, who is reading a huge tome. His fist is closed behind the cover as he supports the book in his lap.

Sam walks over with his box of bottles.

SAM

Whatcha got?

JACK

Nothing new.

Jack lifts the book onto the table as Sam approaches. Jack sets down the object in his hand--Cass’s keyring--in order to close the book and show it to Sam.

JACK

Ancient Primordial Entity Trapping Spells Volume IV.

Sam jerks his chin towards Jack’s hand.

SAM

I meant whatcha got there?

JACK

Oh.

Jack picks up the keys again.

JACK

Just Castiel’s keys. I’ve been carrying them around.

SAM

I noticed.

Jack avoids Sam’s eyes, looking abashed.

SAM

You miss him, huh?

Jack nods.

SAM

Yeah. So do I. You wanna talk about it?

JACK

I thought we weren’t supposed to talk about it.

SAM

(frowning)

What makes you say that?

By way of an answer, Jack looks at the box of empties in Sam’s arms.

SAM

Ah.

(exhales)

Right. Dean.

Sam sets down the box and sits down on the edge of the table.

He reaches into his breast pocket, and pulls out the little photo of Eileen. He looks at it for a second before setting it on the table in front of Jack.

JACK

Eileen.

Jack looks up at Sam.

JACK

You’ve been carrying her picture around, because you miss her.

Sam nods.

JACK

And you want to... talk about it?

Sam gives a small laugh.

SAM

Yeah. I miss her a lot. Every day. And it’s good to talk about it. No matter what Dean might say. He’s not right about everything. It’s important to talk about what’s bothering you, Jack. It’s good for you. And...

(Sam sighs)

It’s good to talk about the people you love. Even if they’re gone.

BACK TO:

INT. CHUCK LAIR. NIGHT.

Chuck sits in his chair, remote in one hand, whiskey in the other.

CHUCK

(exaggerated sigh)

Uuuuugh. Boring!

Chuck mutes the TV.

Becky is still standing near the TV, her back to him. Her eyes are full of tears. She blinks them away before turning to him.

BECKY

I don’t think so.

CHUCK

Seriously?

(making a face)

Come on.

BECKY

Okay.

(getting ahold of herself)

If that’s what you think, I’ll tell you what your problem is.

CHUCK

Perfect. Thank you. Wait--you mean my problem with the story, right? Not my--

(air quotes)

“Problem” problem. Because, no offense, but I’m not looking for life coaching from you.

BECKY

You put your characters through all that, you take away everyone and everything they love, and you expect them not to need any time to process it? If conversations like that--character stuff--aren’t interesting to you, the problem is you.

CHUCK

Watch your tone with me, missy.

Becky folds her arms, scared and angry.

BECKY

You’re the one who did this to them.

CHUCK

What do you mean “did this”? I took them back to the good old days, the classic setup. Just the two brothers. Sam and Dean Winchester vs. the world. I purified them.

BECKY

Sam, and Dean, and Jack.

CHUCK

...And Jack.

Becky narrows her eyes.

BECKY

You can’t get rid of Jack, can you?

CHUCK

Believe me, if I could, I would. The kid’s a nuisance. Dean thinks so too.

Becky SCOFFS and turns away, folding her arms. Onscreen, Dean has entered the Bunker library, and is talking to Sam. Jack is offscreen. The brothers are muted, but appear to be arguing.

CHUCK

You’re wrong about me, Becky. I do like the character stuff. The conversations. Like this one.

Chuck lifts the remote and unmutes the TV.

DEAN

(onscreen)

...Well why don’t you mind your own damn business, huh, Sam?

SAM

(onscreen)

Dean, I just think Jack would feel better if you talked to him--

Chuck shakes his head. Becky watches, looking upset as the brothers argue.

CHUCK

(to Becky)

Poor Sam. He’s your favorite, right? He really puts up with a lot, doesn’t he?

(Chuck sighs)

All he ever wanted was a normal life...

Chuck speaks over Dean, as Dean continues to YELL at Sam.

DEAN

(onscreen)

Get off my back with that touchy-feely bullcrap. I’m not interested, all right? If he needs to talk to someone, he can talk to you. Until then, why don’t you two just keep reading, and tell me when you find something that will take Chuck down. Think you can handle that?

Onscreen, Sam opens his mouth, hurt, but doesn’t retort.

BECKY

And you won’t let him have one.

CHUCK

Me? I’m not the one stopping him.

Dean turns and storms out of frame. Sam stays in the library alone.

Chuck MUTES the TV.

TRANSITION TO:

INT. BUNKER – DEAN’S ROOM. NIGHT.

Dean lies in bed, sleeping restlessly. His dreams flash by:

BEGIN FLASHBACK: PURGATORY (8x02)

BENNY LAFITTE stands beside him, holding his Purgatory weapon. He flashes Dean a grin.

INT. BUNKER – DEAN’S ROOM. NIGHT.

In bed, Dean tosses and turns.

FLASHBACK: PRENTISS ISLAND (8x05)

Benny and Dean prepare to enter the vampire’s nest.

INT. BUNKER – DEAN’S ROOM. NIGHT.

With a gasp, Dean wakes up.

He sits up at the end of his bed and faces the wall, away from the camera.

Hold on Dean, hunched over in semidarkness.

INT. BUNKER – KITCHEN. DAY.

Sam sits at the table eating breakfast: Yogurt and granola. Dean enters. Sam looks up and does a double take, surprised.

SAM

Uh. Morning.

DEAN

Morning. You make enough coffee for two?

SAM

(still surprised)

Yeah. It’s in the pot.

Dean pours himself a cup of coffee.

SAM

You’re uh, up early.

DEAN

Yeah.

Dean takes milk out of the fridge to put in his coffee, then sets both the milk and the coffee down, frowning. Sam watches his back, waiting for a more substantial answer.

DEAN

Yeah. What do you say we go for a drive, Sammy?

SAM

Uh. Sure. Where to?

DEAN

Anywhere.

Dean dumps the coffee out in the sink and puts the milk away quickly.

SAM

Okay.

Dean leaves the kitchen. Sam frowns.

“RUNNING ON EMPTY” by Jackson Browne begins to play.

EXT. STATE HIGHWAY. DAY.

The Impala drives down a sunny, deserted two-lane highway. They pass one or two stopped cars going the other direction, but their side of the road is clear.

INT. IMPALA. DAY.

Dean drives. Sam looks at him sideways from the passenger seat. Music transitions from soundtrack to the car stereo, and continues quietly in the background.

SAM

You know what I miss about civilization?

DEAN

Your flourishing social life?

Sam shoots him a look.

SAM

Someone to tell me what the weather’s going to be like.

DEAN

Does it matter?

SAM

It matters if you go outside.

Dean glances over at him.

DEAN

This is the part where you tell me you’re worried about me.

SAM

I’m worried about Jack. He’s not doing great.

Dean looks back at the road.

DEAN

I bet.

SAM

Have you talked to him?

DEAN

Not really.

SAM

It might help him if you do.

(cautious)

It might help you both.

DEAN

I’m fine, Sam.

SAM

Yeah?

(beat)

It’s been two months, and you still never really explained what happened back there, Dean.

DEAN

I told you. The Empty came and took Cass.

SAM

(testing)

Just came and took him?

DEAN

Yeah.

SAM

And you don’t know why?

DEAN

No.

(glance at Sam)

Why?

SAM

Well, Jack told me something that might explain what happened. He said Cass made a deal with the Empty, to save him. Last year.

He looks at Dean to see his reaction. Dean raises his eyebrows.

SAM

Cass ever mention this to you?

DEAN

No.

Dean shakes his head. Then he takes his hand off the wheel and runs it through his hair.

DEAN

No. He didn’t. But it sounds like just the kind of half-baked, bonehead move he’d pull.

(quieter)

Dumb son of a bitch.

CLACK--Dean jabs the stereo angrily. “Running on Empty" CUTS OFF.

DEAN

I hate that song.

Alarmed look from Sam.

SAM

Well, it wouldn’t be the first time. Cass has come back from the Empty before.

DEAN

There’s no coming back from this. Not this time.

SAM

What makes you say that?

DEAN

It’s the Empty, Sam. Not even Chuck has power there.

SAM

(starting to argue)

Yeah, but Dean...

Then Sam breaks off. He makes his thinking face.

SAM

Wait a second.

Dean glances at him, then does a double take.

DEAN

What?

SAM

I just thought of something.

INT. CHUCK LAIR. DAY.

Chuck sits in the armchair watching his wall of TVs. Becky sits in a straight-backed side chair, watching too. Chuck eats some popcorn from a bowl on the table.

CHUCK

You want some?

Becky gives him a look.

CHUCK

Sure. Pretend you’re above it.

Chuck taps the remote thoughtfully against his chin.

CHUCK

I have an idea. What if we…

Becky follows his gaze to one of the other TV screens. We don’t see what’s on it.

BECKY

No.

Chuck smiles.

BACK TO:

INT. IMPALA. DAY.

DEAN

(prompting)

You just thought of something? What?

SAM

It’s--it’s nothing. Never mind. I’ll tell you later. We still need to talk about Jack.

DEAN

(annoyed)

What about him?

SAM

I think he needs closure. I mean we, we never even had a funeral for Cass. It might help Jack--

Dean does not look enthusiastic.

DEAN

No. No. There’s no point, Sam. We don’t have time for this crap.

SAM

Time? We’ve got nothing but time, Dean. You know the reason we aren’t getting anywhere with our plan? It’s because you’re not helping us. We’re supposed to be a team. But it feels like you’ve just given up!

When Dean doesn’t answer:

SAM

Cass would want us to keep fighting. And he would want Jack to have closure. If we had a funeral...

DEAN

(snapping)

No, Sam! We’re not having a funeral! I’m not doing it! Not again. We don’t even have a body to burn!

SAM

It sounds like you’re angry with him.

DEAN

Well maybe I am!

SAM

For what?

Sam waits for an answer. Dean just stares at the road.

Dean takes the car around a bend in the road. Outside, fields pass by.

We hear WIND, but no birds.

SAM

Dean...

Suddenly, a SCREAM.

EXT. HIGHWAY – FIELD. DAY.

With a SCREECH the Impala slows down next a wide open field bordered by dark woods. From inside the car, Sam and Dean look on in shock as a WOMAN (30s) sprints away from the woods, towards the road, being chased by a huge MAN dressed in black.

It snarls--it’s a VAMPIRE. CHASE MUSIC plays.

WOMAN

(screaming)

STOP! PLEASE! HELP ME!

The car is still rolling to a stop as Sam opens the passenger door.

SAM

(shouting)

Dean, the keys!

Dean KILLS the engine, pulls the keys out of the ignition, and throws them through the passenger side window to Sam. Sam grabs them out of the air and then rushes back towards the trunk.

Dean flings himself out the open passenger door. He sprints across the road, jumps the ditch, and hops the low fence.

Sam hastily opens the trunk and the trapdoor. He searches around desperately for the right weapon.

EXT. FIELD. DAY.

Meanwhile, Dean sprints towards the running woman. He passes her and barrels straight into the vampire, tackling its midsection.

BACK TO:

EXT. IMPALA. DAY.

Back at the car, Sam finally finds the right blade.

SAM

Got it!

BACK TO:

EXT. FIELD. DAY.

Dean is grappling with the SNARLING vampire on the ground.

DEAN

(over his shoulder)

Sam!

Dean pins it by the throat. The vampire SNARLS and sputters at him.

DEAN

SAM! ANYTIME NOW!

EXT. IMPALA. DAY.

Back at the car, blade in hand, Sam ushers the weeping woman into the backseat.

EXT. FIELD. DAY.

In the field, the vampire knocks Dean’s grip and grabs him by the wrists. It flips them over and starts choking Dean.

DEAN

(strangled)

Get the hell off me, you son of a bitch--

EXT. IMPALA. DAY.

SAM

(to the woman)

It’s all right. It’s okay.

Sam quickly closes the door, then starts running towards Dean and the vampire.

EXT. FIELD. DAY.

The vampire LAUGHS as it gains the upper hand. Dean struggles, face twisted. He thrashes his legs and manages to kick the vampire in the knees, unbalancing it enough for him to twist away. Dean elbows the vampire in the face. The vampire CRIES OUT and falls sideways. Dean is up on his knees. He gets to his feet and grabs the vampire by the collar, dragging it up so he can knee it in the chin. It CRIES OUT again and falls back. Just then --

SAM

DEAN!

Sam throws the blade from a few yards away. Dean catches it by the handle, raises it skyward, and brings it down, swiping the vampire’s head neatly off.

With a last SNARL it dies.

Dean straightens up, spattered with blood, panting, blade in hand.

SKREE!

CUT TO BLACK.

COMMERCIAL BREAK

ACT THREE

EXT. FIELD. DAY.

Dean and Sam stand over the body of the decapitated vampire. Sam drops to a crouch to examine the body. Dean is panting, blade still in hand. He wipes some blood off his face.

SAM

How is this even possible? This thing shouldn’t have been alive at all.

Dean, still out of breath, shakes his head.

Sam looks up at Dean.

SAM

You might have just killed one fifth of the life left on Earth.

Dean gives him a disgusted look and walks off towards the car.

EXT. IMPALA. DAY.

Dean reaches the car. The woman is sitting in the back seat, looking out the window.

WOMAN

Thank God you found me. I can’t thank you enough for saving me--

Dean just raises a hand at her and keeps walking, around back to the trunk.

Sam arrives.

SAM

Hey. Are you all right? It didn’t scratch you or anything?

She shakes her head.

WOMAN

It didn’t touch me.

SAM

That’s good. What’s your name?

AMELIA

Amelia.

Sam, recalling his ex-girlfriend, reacts subtly.

SAM

Hey. It’s good to meet you. I’m Sam. This is my brother, Dean.

The trunk SLAMS shut.

TRANSITION TO:

EXT. STATE HIGHWAY. DAY.

The Impala drives back on the highway, avoiding broken down cars where they appear.

AMELIA (V.O.)

I was in an accident. I don’t know how long ago. All I know is I woke up in the hospital. Completely alone.

INT. IMPALA. DAY.

Dean and Sam sit up front as they drive back to the Bunker, with Amelia sitting in the back seat.

AMELIA

It was just... empty.

SAM

What about your injuries?

AMELIA

I don’t have any. I don’t know how long I was asleep. It must have been a long time.

Sam turns back to Dean.

SAM

Angels?

Dean frowns.

SAM

I can’t think of anything else with that kind of healing power. It might also explain why she’s... here.

DEAN

How?

SAM

She could have some sort of protection spell or sigil on her.

DEAN

Strong enough to protect against Chuck? We’ve never seen anything strong enough for that.

Sam looks back at Amelia. She has her arms wrapped around herself, and is looking out the window at all the dead cars.

SAM

Well maybe we’ve finally found something.

Sam turns around front again.

SAM

Maybe Jack will be able to detect what’s up with her.

AMELIA

What’s “up” with me?

Sam looks guiltily back at her.

DEAN

Well listen, no offense, lady, but you aren’t really supposed to exist right now.

SAM

Dean.

AMELIA

(realization)

You guys know what happened to everyone, don’t you?

SAM

Yes. But it’s... it’s hard to explain.

DEAN

You a religious person at all, Amelia?

AMELIA

Why?

DEAN

Let me give you the short version--God is real, and he’s a dick. He disappeared every living thing on Earth, except for us.

AMELIA

...What?

SAM

Except for us and--and you.

AMELIA

(to herself)

I’m still dreaming. I knew it. I’m in a permanent coma.

DEAN

(to Sam)

She’s taking it well.

Sam EXHALES and gives him an annoyed look.

SAM

Amelia, I’m sorry. I know it’s a lot to take in.

AMELIA

Yeah. A little bit.

Looking out the window, Amelia wipes her eyes. Sam turns around and sees she’s crying.

SAM

I’m sorry. Everyone you know... your family, they...

AMELIA

(quietly)

I can’t remember them.

SAM

What?

AMELIA

I don’t remember anything. When I woke up, I... There was nothing. My friends, my family, where I was born... It’s all gone. I have nothing.

(choked up)

I got my name off the hospital bracelet.

Amelia leans her head on the window again.

AMELIA

All I remember is the crash.

Sam looks stricken. He looks at Dean, catching his eye. He mouths to Dean:

SAM

(near-silent whisper)

Fallen angel?

Dean gives him a “maybe” look. Then he looks back at the road, his expression dark.

Amelia, in the backseat, shifts her gaze to Sam.

INT. BUNKER – KITCHEN. DAY.

The kettle WHISTLES. Sam picks it up and takes it to the counter, where three mugs sit, each containing a tea bag. He fills them up with boiling water.

Amelia sits at the island. Dean leans against a distant counter, arms folded.

SAM

Here. Let it steep for a couple minutes.

Sam sets the mug of steaming tea down in front of Amelia.

AMELIA

(in a low voice)

Thanks.

Sam sets the other two mugs down on the counter next to her. Amelia stares at her tea disconsolately.

SAM

How do you take your tea? Milk, cream, sugar?

AMELIA

...I don’t know.

Sam frowny face twitch. He looks at Dean.

Dean looks at Amelia, unmoved.

DEAN

So tell us, how long has it been since you woke up?

AMELIA

A few weeks, I think.

DEAN

And in all that time, you didn’t see anyone else?

Behind her, Sam gives Dean a warning look.

AMELIA

No. Nobody.

DEAN

So how’d you come across the vampire?

Amelia looks up at him, wide-eyed. Sam clears his throat.

SAM

Dean.

DEAN

What? We need to know what happened.

SAM

Do we need to know right now?

Beat as Dean holds Sam’s gaze.

DEAN

Maybe I’ll go see what Jack’s up to.

SAM

(raising his eyebrows)

And tell him to come and--drink this tea I made him?

Dean taps the counter with his knuckles, giving Sam a look of acknowledgement. He leaves.

Sam SIGHS.

He goes to the fridge.

SAM

We’ve got soy milk and regular milk. Well, it’s actually powdered milk, but--

Sam straightens up, closing the refrigerator door with the soy milk in hand. When he does, Amelia is standing right behind the door. Sam looks startled.

AMELIA

It seems like your brother doesn’t trust me very much.

SAM

Dean’s not the most... Naturally trusting person. And in the last two months, I think his people skills have gotten a little rusty.

Sam holds up the soy milk.

SAM

Want to try it out? Just a little.

Amelia holds up her mug. Sam pours in a small amount of soy milk.

SAM

So, while you were wandering. What did you do for food?

AMELIA

Whatever I could find. Grocery stores were all still stocked, so it seemed like...

She trails off, looking down at the mug in her hands.

SAM

(gently)

What?

AMELIA

Well, if the stores were all fully stocked, then whatever happened, I knew it must have taken everyone by surprise. Which means it happened fast. So, I figured, it was one of two things. A: it was something efficient and lethal. Maybe some pathogen that decomposed the bodies fast. Or maybe, it was something that made people do it to themselves. All at once. Maybe to drown themselves in the ocean. Maybe throw themselves off a cliff like lemmings.

As Amelia speaks, she steps a little closer to Sam, her head still bowed. Sam frowns down at her, his sad expression tinged with a growing concern.

AMELIA

Or... option B.

SAM

(nervous laugh)

That wasn’t option B?

Amelia finally looks up at him.

AMELIA

Option B was that I died, and went to Hell. And this was Hell.

Okay, definitely freaked out now. Sam shakes his head.

AMELIA

That would be Hell for me. Abandoned. Trapped. Alone.

Sam puts his hand on her shoulder.

SAM

You’re not alone anymore.

Amelia smiles up at him, then down at her tea.

AMELIA

Yeah. Not alone. Not anymore.

Sam smiles, tension broken, and drops his hand. They’re still standing close together.

SAM

Listen, if you want to change into clothes that are a little less...

Jack enters the kitchen, holding huge book open in his arms. He’s looking at the book, not at them.

JACK

Sam.

Sam starts guiltily, turning towards Jack. Amelia stays still, looking up at Sam.

JACK

Dean said you were in here. While you were gone, I found...

Jack finally looks up at them, and breaks off.

Amelia turns her head.

Jack and Amelia make eye contact.

JACK

Oh, no.

SAM

Jack?

Amelia looks back up at Sam.

AMELIA

No, go on. Tell me.

(in a mockingly vulnerable tone)

I’m so cold and in shock, Sam. Do you have some of Eileen’s old clothes you could lend me?

SAM

(horrified)

What?

Amelia smiles, showing all her teeth. She lets go of the mug of tea, sending it CRASHING to the floor, splashing all over their feet. Sam looks down in shock, then back up, to see that her face has transformed--into JESSICA.

“JESS”

Hey, Sam. I needed to get you to let me in. But honestly, your savior kink just makes it too easy.

Sam looks horrified as realization dawns. “Jess” begins to light up white-blue from her eyes and mouth. Sam backs away, but his back hits the kitchen island.

Light whites out the intruder’s features, and then fades away, revealing the true face--LUCIFER (NICK). His eyes flash red.

LUCIFER

Heya, Sammy.

SAM

(breathlessly)

You.

LUCIFER

Always, baby.

Lucifer raises his hand towards Sam to do some sort of fantasy violence, but Jack puts his hand out too.

JACK

No! STOP!

Lucifer pins Sam to the counter with a psychic blow, and Sam claws at his throat, CHOKING. Then a shockwave from Jack catches Lucifer from behind, making his hand waver. Sam GASPS for air.

EXT. BUNKER – DRIVEWAY - SIMULTANEOUS

Overhead shot of the bunker driveway. We hear a RUMBLING from below. The trees bordering the driveway shake, and then--the trees closest to the Bunker turn completely brown. One or two CRACK and fall.

BACK TO:

INT. BUNKER – KITCHEN.

Dean runs into the kitchen, gun in hand, stopping behind Jack. Jack has his hand up, and his eyes are lighting up gold.

DEAN

Hey! HEY!

Jack grits his teeth and, with difficulty, holds his psychic beam on Lucifer. Sam, pinned to the island, chokes and struggles.

JACK

Let... him... go!

LUCIFER

(patronizing)

Son, do you mind? The grown-ups are talking.

JACK

You are not my dad.

Lucifer does a fake pout.

LUCIFER

Oh that’s right. Your daddy’s dead, isn’t he? My condolences--

Lucifer’s last word is cut off by a BANG as Dean pulls the trigger and shoots. Lucifer swivels around to halt the bullet with his hand, just in time. He laughs breathlessly. Sam, released from the chokehold, GASPS for breath.

LUCIFER

Ah, Dean. The grieving widow. I’m so sorry to intrude on the family during this difficult time.

SAM

(still breathless)

Why are you here? Just to torture us?

LUCIFER

Oh, Sam, that does sound fun. But no.

Lucifer flicks his wrist, and the floating bullet falls to the ground. He turns back to Sam.

LUCIFER

That’s not why I’m here.

CUT TO:

INT. CHUCK LAIR – SIMULTANEOUS

Same shot of Lucifer on the TV screen.

Chuck, watching the TV, speaks the next line along with Lucifer. Next to him, Becky has the bowl of popcorn in her lap.

LUCIFER (onscreen) & CHUCK

...I’m here to kill you.

Chuck smiles, enjoying himself. Becky rolls her eyes.

BACK TO:

INT. BUNKER – KITCHEN.

Lucifer waves a hand and knives fly out of the butcher block on the counter, sailing towards Sam, who drops to the floor just in time. Lucifer LAUGHS. BANG, Dean shoots again, and it hits him in the back, but he doesn’t seem to mind. Dean SHOOTS again, eyes darkly focused and lip curled with malice. This time he hits Lucifer in the back of the head. Lucifer turns around. The exit wound is bloody and red, right above his eye. He winks at Dean, and the wound heals itself. Then he closes his hand in the air in front of him, and CRUNCH, Dean's gun is crushed as if by an invisible hand.

Jack rallies and with a SHOUT, blasts a shockwave of energy at Lucifer, who stumbles back a step. Sam comes up behind him, holding a large kitchen knife, and slashes at his upraised hand. He cuts two of Lucifer’s fingers off.

LUCIFER

(offended)

Ow!

Lucifer turns on Sam, holding up his stump.

LUCIFER

Oh, Sam. You’re hurting my feelings!

From behind him, Jack lifts the metal kitchen island with his mind. It SCREECHES across the tile and ploughs into Lucifer, sweeping him into the far wall and pinning him there with a CRASH.

DEAN

Sam, come on!

Sam drops the bloody knife and sprints across the room, to the doorway where Dean waits. Dean pushes him out, then beckons to Jack, still holding the island on Lucifer.

DEAN

Jack! Let’s go!

Jack turns and runs out the door, Dean following after.

INT. BUNKER – HALLWAY. DAY.

Jack and Dean flee down the hallway behind Sam. Sam turns right, down the lower hallway.

From behind Jack and Dean, around the corner, there is a flash of light and a CRACKLE of electricity.

LUCIFER (O.S.)

(shouting)

Come out, come out, wherever you are!

SAM

(shouting over his shoulder)

COME ON!

Dean pushes Jack around a corner.

DEAN

Go, go.

Light flashes in the corridor they just left.

INT. CHUCK LAIR – SIMULTANEOUS.

Chuck and Becky watch on the TV screen. Becky eats some popcorn from the bowl in her lap.

BECKY

Didn’t you just do one like this?

Chuck waves her off.

CHUCK

Shh. Bunker chase sequence. It’s a classic.

BACK TO:

INT. BUNKER – HALLWAY. DAY.

Sam unbolts 7B, the saferoom. Another CRACKLE--Lucifer getting closer. Dean and Jack appear around the corner just as Sam gets the door open.

Sam, holding the door open, beckons to Jack.

SAM

Come on, come on!

Sam steps aside for Jack, who jumps into the saferoom. Sam goes in after him, and holds the door open, looking back for Dean.

Another CRACKLE. Lucifer LAUGHS in the distance.

Dean reaches the doorway to the saferoom.

He stops dead.

SAM

Dean? Dean! What the hell are you doing? Get in! We have to close the door!

Dean looks into the saferoom, eyes wide.

FLASHBACK (15x18): On the far wall of the saferoom, we see a flash of the Empty, a dark portal on the far wall, closing up.

In a flash, it’s gone. Back to reality.

SAM

DEAN!

Dean opens his mouth to say something, then starts towards the door.

Too late--a hand grabs his arm.

LUCIFER

Hey there, Dean.

SAM

NO!

Dean takes one look at Lucifer, then lunges. He grabs the saferoom door handle--and yanks it closed on Sam and Jack.

It SLAMS shut.

CUT TO BLACK.

ACT FOUR

INT. BUNKER – LIBRARY. DAY.

THWACK. Dean is getting punched in the face.

Pull back to show Dean, tied down on top of a library table by his wrists and ankles.

Dean bleeds from his nose and mouth, blinking. Lucifer walks around the table to stand next to Dean, looking at the empty doorway. He sighs.

LUCIFER

It is really so annoying and inconsiderate of Sam to lock himself away in that warded saferoom, when my instructions were specifically to kill you both.

DEAN

(hoarse)

Instructions from who? Chuck?

LUCIFER

Nothing gets past you, huh?

DEAN

Then how about you get it over with.

LUCIFER

No objections? Little Mr. Eager-to-Die over here?

Lucifer reaches down and pats Dean’s cheek patronizingly.

LUCIFER

Relax, Deany Boy. It’s a two-for-one deal, okay? Now, what’s next...

He strokes his chin, then snaps his fingers.

LUCIFER

Aha. I remember what I do next.

Lucifer reaches for Dean’s midriff. Dean grimaces and tries to twist out of reach, but he’s restrained by the ropes.

DEAN

What the hell are you doing?

LUCIFER

Going through your pockets. Your brother can’t hear us. So we’re going to have to get creative...

Lucifer extracts Dean’s pocket knife…

LUCIFER

...with the sound design.

...and then Dean’s cell phone.

Tight on Lucifer’s hands, holding up the phone and pocket knife. With a SNICK he flicks the knife open.

CUT TO:

INT. BUNKER – SAFEROOM. DAY.

Jack and Sam are desperately searching through filing boxes in storage area of 7B. Jack rummages through a shoebox full of papers, while Sam flips files open from a box balanced on his knee.

Jack throws his box onto the floor and attacks another one.

JACK

You said it’s on a slip of white paper?

SAM

(frustrated)

Yes. Dean said the trapping spell Michael wrote out for us was written on a slip of white paper. But he didn’t file it correctly--because he’s an idiot--

Sam upends the entire file box onto the floor in frustration.

JACK

Is this it?

Sam looks up. Jack holds out the piece of paper, and Sam grabs it. He reads it.

SAM

Yes. Yes! This is it.

JACK

What do we need?

SAM

(reading)

Myrrh, cassia, rock rose… and a Leviathan blossom.

JACK

We have most of that in here, don’t we?

Sam looks up.

SAM

(breathless)

Yeah. We do.

(pointing)

Up there. Glass jar. Rock rose.

Jack turns and reaches for the jar. Sam looks back at the paper.

SAM

Leviathan blossom... I know we had some left over... It would be...

Sam looks over the shelves, crowded with boxes, jars, and odds and ends. He spots what he’s looking for.

SAM

Aha! ... Right here.

Sam seizes another jar and pulls it off the shelf.

SAM

(breathless)

This might actually work.

He looks around, holding up the paper for guidance. Jack searches on another shelf.

SAM

Myrrh... myrrh...

JACK

Sam...

Sam turns around. Jack’s holding up a jar labeled “Myrrh,” but it’s empty.

Sam takes the empty jar from him.

JACK

There’s none left.

SAM

(getting worked up)

No--no, we gotta. We must have some around here somewhere. We have to, we can’t--

JACK

But Sam--

BZZ. The chorus of "JUICE" by Lizzo RINGS OUT suddenly.

It’s coming from Jack’s pocket. Hurriedly, Jack pulls out his vibrating phone.

CALL FROM DEAN.

Jack and Sam stare at each other for a moment as the RINGTONE PLAYS.

SAM

(hoarsely)

Answer it.

Jack picks up.

Beat.

JACK

Hello. This is Jack.

LUCIFER (O.S.)

(on speakerphone)

Hi kiddo, it’s your dad. Can you put Stepdad Sam on the phone, please?

Jack looks at Sam.

JACK

Why?

Instead of a reply, they hear a THUMP and a GASP.

CUT TO:

INT. BUNKER – LIBRARY. SIMULTANEOUS.

Lucifer PUNCHES Dean across the face again. Dean pants with his head turned sideways, letting the blood drip out of his mouth onto the table. His eyes are closed.

LUCIFER

Should I keep going, Sam? Your brother here is up for it, I can tell.

INT. BUNKER – SAFEROOM. SIMULTANEOUS.

Sam takes the phone from Jack and looks at him.

LUCIFER (O.S.)

(on speakerphone)

And I can go on for hours. You know I can. I can go on forever.

INT. BUNKER – LIBRARY. SIMULTANEOUS.

Lucifer looks down at his other hand, holding Dean’s pocket knife. He holds it up and angles it side to side.

LUCIFER

You can’t see what’s going on out here, so I guess I’ll have to narrate. Unless you want to open that door and let me in?

Pause as he waits for an answer. Hearing nothing, he continues:

LUCIFER

All right, your choice...

BACK TO:

INT. BUNKER – SAFEROOM. SIMULTANEOUS.

Sam hands Jack the paper and gives him a silent “keep going” gesture.

Jack resumes searching as Lucifer monologues. Sam stands in the center of the room, giving Jack silent cues while holding the phone up to his ear.

LUCIFER (O.S.)

(on speakerphone)

Sam, I’ve got your brother’s pocket knife here. Now, psychic torment, well sure, that’s fun. But really, there’s nothing I can do that’s worse than what he does to himself...

Jack finds the Cassia.

LUCIFER (O.S.)

(on speakerphone)

And punching your brother in the face--yes, it’s satisfying. Yes, I could do it all day. But I’ve also got this knife, and I’m thinking... what’s the best way to put it to use?

Jack piles all the ingredients in the center of the floor. Sam stands in the middle, holding up the phone.

LUCIFER (O.S.)

(on speakerphone)

Sam? Nothing? Okay, well, I didn’t want to have to do this, but, if you insist....

Sam points silently to a shelf, and Jack pulls down a bowl.

CUT TO:

INT. LIBRARY - SIMULTANEOUS

Dean YELLS IN AGONY as Lucifer plunges the pocket knife into his upturned palm.

INT. CHUCK LAIR – SIMULTANEOUS

Dean’s YELL echoes from the TV. Chuck and Becky both wince.

INT. SAFEROOM - SIMULTANEOUS

Dean’s YELL echoes from the phone, tinny--cut off as Jack SHOVES a shelf back to make space on the floor.

INT. LIBRARY - SIMULTANEOUS

The knife is handle-deep in Dean’s bleeding palm. He tips his head back, GASPING for breath.

LUCIFER

Should I pull it out, or leave it in, Sam? Or is it time to try something different?

Lucifer FLICKS the handle of the knife, with a CLACK that transitions to--

INT. SAFEROOM - SIMULTANEOUS

SHHK-SHHK--Jack shakes up the spraypaint, and sprays a red sigil on the floor in front of Sam. He sets the bowl down on top of it.

Sam hits “mute” on the phone.

SAM

(to Jack)

Is that everything?

Jack shakes his head.

JACK

We’re missing myrrh. It’s upstairs.

SAM

Do you know where?

JACK

Yes. It’s in the armory.

SAM

Go.

Lucifer is trying to get Sam’s attention again:

LUCIFER (O.S.)

(on speakerphone)

Hey Sam, you hear that? Something’s cooking…

INT. LIBRARY - SIMULTANEOUS

A thick book lies open on the table. It’s on fire.

Lucifer, smiling, holds the phone up to the flame. It CRACKLES lightly.

LUCIFER

Since torturing your brother didn’t seem to interest you, I got another idea.

(singing)

“We didn’t start the fire…”

INT. SAFEROOM - SIMULTANEOUS

Horror dawns on Sam’s face. He unmutes and yells into the phone:

SAM

No! Stop!

INT. CHUCK LAIR – SIMULTANEOUS.

Becky’s mouth opens.

BECKY

No!

INT. SAFEROOM.

Sam runs a hand angrily through his hair, then points at Jack. Jack is standing at the door.

LUCIFER (O.S.)

(on speakerphone)

“...It was always burnin’, since the world’s been turnin’...”

Jack puts his ear against the door to listen.

INT. LIBRARY.

Lucifer grins, waiting for an answer. Nothing from the phone.

LUCIFER

Nothing? Okay. Your call.

He picks up the burning book and flings it against the bookshelf. FWOOM. The whole bookshelf bursts into flames.

INT. SAFEROOM.

Sam yells into the phone, trying to keep Lucifer’s attention.

SAM

God dammit! That was centuries of research!

Jack, hearing no one outside 7B, opens the door and slips out. Sam follows Jack to the door to shut it behind him.

SAM

You son of a bitch! That was my life’s work!

Sam reaches for the handle. Suddenly, the door is yanked open from the other side.

Lucifer stands outside, holding the handle.

LUCIFER

Oh, was it? My bad.

COMMERCIAL BREAK

ACT FIVE

INT. BUNKER - SAFEROOM. DAY.

Lucifer walks slowly into the saferoom. Sam steps backwards.

LUCIFER

You think you’re full of surprises, don’t you Sam? Well, I have to tell you, Dad had all this written down in the script.

INT. BUNKER – ARMORY - SIMULTANEOUS

Lucifer’s speech continues, transitioning to voiceover. Jack rummages around the armory, searching for myrrh.

LUCIFER (V.O.)

Amelia, sure. Easy money. Even you reacting to the books--more concerned about your precious books than your brother, huh?...

INT. LIBRARY - SIMULTANEOUS

Dean lies tied on the table, bloodied, eyes closed in defeat.

INT. SAFEROOM - SIMULTANEOUS

LUCIFER (V.O.)

...That’s pretty cold, Sam. But that was in there too.

(shaking his head)

Now, my father may put the “cuck” in “Chuck,” but he knows how to...

SAM

(interrupting)

The what?

Lucifer breaks off his speech and looks up at Sam.

LUCIFER

Cuck?

Sam makes a “what?” face.

LUCIFER

It’s something people say online, to, to--you know what, never mind.

CLANG - he kicks the spell bowl over, scattering the ingredients.

LUCIFER

(sarcastic)

A spell! Wow, smart move, Sam. I never saw that coming.

He points at Sam, and the sliding door behind him SLAMS shut, trapping him.

Tight on Sam, panting fearfully.

TRANSITION TO:

INT. CHUCK LAIR. DAY.

Becky is standing again. She turns on Chuck with her hands raised in the universal “what is wrong with you?” gesture.

BECKY

Why are you doing this?

CHUCK

What? Isn’t it obvious? I’m tying up loose ends.

BECKY

No. You’re giving yourself some flashy action and torture entertainment.

CHUCK

Don’t act like you’re not enjoying the show.

Becky sighs and folds her arms.

CHUCK

What about finally giving Sam the chance for revenge?

BECKY

That’s not what he wants. And what about Lucifer? He’s your son. And you’re just sending him there, to die? For your own entertainment?

CHUCK

(shrugs)

Technically, you’re all my children. ... Which means it was kind of weird when I dated you. Sorry about that.

BECKY

Gross. If they’re your children, why don’t you want things to be better for them?

CHUCK

What?

BECKY

We should want a better world for our kids. It’s kind of our responsibility? So they have a space to grow? Don’t you think?

CHUCK

(incredulous)

For my son Lucifer?

BECKY

I was talking about Sam and Dean.

CHUCK

...Sam and Dean.

Chuck stands up from his chair. He steps towards her.

CHUCK

I know Sam and Dean Winchester better than anybody else--better than they know themselves. And that means I know the essential nature of Sam and Dean Winchester. And I know how to bring it out--how to let them shine.

BECKY

“Essential nature”? What are you talking about? They’re your kids! Don’t you want them to grow into something new?

At Becky’s words, something happens. Chuck’s eyes turn dark and, for a second, where he’s standing, another image flashes--

AMARA.

She’s gone within a second. Chuck is back, looking the same.

Becky steps back, confused.

BECKY

What was that?

CHUCK

What? What was what?

BACK TO:

INT. BUNKER – LIBRARY. DAY.

The bookshelf is burning, and the fire is spreading to the other shelves. Lucifer’s MONOLOGUE from the previous scene is audible from the TINNY SPEAKERPHONE, abandoned on the table near Dean. Dean struggles against the bonds, and then stops, panting.

Low angle profile view of Dean from just beyond his outstretched hand, his face bisected by the knife still stuck in his palm, his profile backlit by the flames. He turns to focus on the blade.

Dean grits his teeth. He closes his fingers up, agonizingly, around the handle, barely getting purchase. GRUNTING with the effort, he gets his fingertips around the handle and then with a GASP he yanks the knife and his hand free of the table.

PANTING with the exertion and the pain, he angles his hand until the blade meets the rope tying him down. He starts sawing.

INT. BUNKER - ARMORY - SIMULTANEOUS

Jack finishes searching through a cardboard box and throws it down, among several others. The shelf in front of him is empty. He hasn’t found the myrrh.

Distressed, Jack whirls around, and the camera swings with him. He stops--something catches his eye.

The Archangel Blade, sitting in its case.

INT. LIBRARY – SIMULTANEOUS

Dean staggers away from the table, freed, clutching his bleeding hand. He stumbles to the wall and hits the fire alarm. A HIGH-PITCHED ALARM starts blaring, and the sprinklers deploy.

INT. SAFEROOM - SIMULTANEOUS

Both Sam and Lucifer look up at the sound of the FIRE ALARM from outside the door.

SAM

That in your script?

LUCIFER

Honestly, I don’t remember. I skimmed some parts.

Sam laughs breathlessly.

SAM

You think you have any surprises left for me? You’re just here on an errand for daddy. You know he’s using you, and you don’t care. Anything that might finally get you his approval. Well it’s never gonna work.

Lucifer’s upper lip twitches and he raises his hand. With a force blast he SLAMS Sam back into the closed sliding doors behind him. Sam GRUNTS in pain.

INT. HALLWAY OUTSIDE 7B - SIMULTANEOUS

DEAN

SAM! SAM!

Dean HAMMERS his fist on the saferoom door. The FIRE ALARM is much louder out here, and the sprinklers are going. Dean is covered in blood and ash and now water, nose broken and face bloodied, cradling his injured hand, which still has rope around the wrist.

DEAN

SAM! OPEN THE DOOR!

JACK

Dean!

Dean stops and turns to see Jack, standing next to him with the archangel blade.

Jack wipes the sprinkler water out of his eyes, then without another word, hands Dean the blade. Dean takes it and steps back.

Jack puts his hand on the saferoom door, and BLASTS it inward.

INT. SAFEROOM.

Jack and Dean bust in. The door CRASHES to the floor. Lucifer’s back is to them, his arm raised as he force-chokes Sam against the opposite door.

LUCIFER

Welcome to the party, fellas.

Lucifer pushes his other hand back and force-blasts backwards. The shelves domino-fall, SMASH, SMASH, SMASH, sending their contents CRASHING to the floor. Dean hits the wall, the blade flying out of his hand and CLATTERING to the floor out of reach.

Jack sways but stays standing, feet fixed in place. Lucifer stares him down from the center of the room.

LUCIFER

What’cha got there, son? Ah... the archangel blade?

JACK

(strained)

That’s right.

Jack takes a step towards it.

Lucifer raises his hand, trying to force-stop him--but Jack, with effort, takes another step towards the sword.

Lucifer grits his teeth and closes his fist, sending another wave at Jack. Jack drops to his knees.

LUCIFER

Give it up, kiddo.

Jack does not. He reaches forward across the floor, and with a final push of effort, grabs the blade by the handle.

LUCIFER

(mildly impressed)

Huh.

Jack, teeth gritted with the effort, climbs to his feet. Now just a few steps from Lucifer, he raises the blade.

LUCIFER

Hey, that’s pretty good. You gonna do it, kid? You gonna kill your own dad?

(whisper)

You’ve got it in you. I know you do.

Jack takes a step closer, holding the blade out.

LUCIFER

Come on. You think you’re a good guy, just because you hang out with the Winchesters? No, Jack... You’re my son, and you always will be. And that means you want to destroy. You want to kill.

JACK

(with effort)

You’re wrong. I make my own choices.

Jack takes another step. It’s taking all of Lucifer’s effort to hold Jack at bay. Sam, a few yards behind Lucifer, speaks up.

SAM

You know why you really came here?

LUCIFER

(maintaining eye contact with Jack)

Because it sounded like fun.

SAM

(voice closer)

No. That’s not why.

Jack is panting, trying to raise the sword up. Lucifer finally turns to look at Sam. Whoa--he’s unexpectedly close. He's standing right behind Lucifer, within striking distance. Holding off Jack has distracted him.

SAM

You rebelled and fell for “free will.” But you don’t have the first idea of what free will really means. You think you’ve been playing by God’s script today? You’ve been playing by God’s script your whole life. Well, we’re not bound by that. That’s the difference between us and you.

Lucifer gives him one last patronizing smirk.

LUCIFER

Sure, Sam.

Lucifer turns back to Jack and makes a grab at the blade. His hand passes right through it. He only has a second to look confused as Jack shouts--

JACK

NOW!

The blade in Jack’s hand flickers again and then vanishes and reappears in Sam’s hand. Lucifer turns back to Sam just in time to see it PLUNGE INTO HIS CHEST.

He looks down in shock. The wound is glowing bright white, getting brighter, brighter. Then he looks up at Sam, who is still gripping the handle, his teeth bared.

SAM

We’re free.

With that, Sam shoves him back and lets go.

INT. CHUCK LAIR – SIMULTANEOUS

Chuck, watching the screen, turns to Becky.

CHUCK

Great twist, right? My idea.

BECKY

(scoffs)

I doubt that.

CHUCK

Oh yeah? Why do you think the archangel blade worked for Sam?

Becky shakes her head, eyes on the screen.

BECKY

They’ve outgrown you.

INT. BUNKER – SAFEROOM

Lucifer staggers backwards to the center of the room, which is filling with light, pulsing out from his wound. Wind begins to blow around the room.

Dean, covered in blood, watches with wide eyes from the floor. Sam is still standing.

Lucifer looks around to Jack, who meets his gaze. The look in Jack’s eyes isn’t triumph--it’s grim sorrow.

JACK

Goodbye, Lucifer.

With that, Lucifer falls to his knees, tips his head back, and EXPLODES into a tornado of white smoke.

A HIGH-PITCHED WHINE fills the air. WIND whips around the room, blowing papers and their hair and clothes. Sam and Dean both shield their eyes, but Jack is looking directly at it. His eyes light up gold...

Dean, shielding his eyes with his bloody hand, stumbles around the perimeter of the blast zone to Sam and grabs him.

DEAN

(shouting over the noise)

Sam!

SAM

(shouting)

Dean--that blade shouldn’t have worked for me! I’m not an archangel!

INT. CHUCK LAIR - SIMULTANEOUS

Chuck is still smiling as he watches.

BECKY

One day, they’re going to surprise you. And that’s going to be your downfall.

“CAN’T YOU HEAR ME KNOCKING” by THE ROLLING STONES begins to play. Chuck chuckles, not looking at her.

CHUCK

No. I don’t think so.

INT. SAFEROOM - SIMULTANEOUS

Sam and Dean turn to face the center of the room, their faces bathed in light.

DEAN

Sam, look--look at Jack.

INT. CHUCK LAIR – SIMULTANEOUS

CHUCK

Wait. What’s he doing?

INT. SAFEROOM - SIMULTANEOUS

Lucifer and the sword have dissolved--but the vortex of white smoke is swirling even faster. Jack stands in the torrent, arms outstretched. His eyes are glowing white. The power from the explosion is rushing out--and into Jack.

He closes his eyes, absorbing it.

INT. CHUCK LAIR – SIMULTANEOUS

Chuck and Becky watch with identical expressions of surprise.

INT. SAFEROOM – SIMULTANEOUS.

The last of the light rushes into Jack and silence falls. Dean and Sam clutch each other (“Lucifer Rising”-style), as they stare at Jack amid the wrecked room.

Jack opens his eyes. They glow white-gold.

CHORUS SWELLS. “HELP ME BABY... I AIN’T NO STRANGER...”

INT. CHUCK LAIR – SIMULTANEOUS

Chuck shakes his head.

CHUCK

No, no, no.

BECKY

What--

Chuck SNAPS his fingers without turning around, and she vanishes.

INT. SAFEROOM - SIMULTANEOUS

Jack raises his hands and power flows out, blasting towards Sam and Dean. They dive to the ground. BOOM, CRASH. The sliding door behind them explodes.

Sam and Dean get to their feet, watching the smoke clear. The metal sliding door has a hole punched clear through it. On the other side, in the same room where the Empty came for Cass last episode, in the same wall, there’s a gaping black hole bordered by gold light.

Sam and Dean step through the broken door and approach the portal warily. Jack follows at a distance.

Sam looks back at Jack in shock. Dean’s eyes stay fixed on the portal.

SAM

Jack, is that--?

JACK

(nodding)

The Empty.

SAM

(indicating himself and Dean)

Can we go in there?

JACK

I don’t know. Let’s find out.

Jack holds out his hands. Sam takes his right hand and Dean, after a tiny hesitation, takes his left. As soon as he touches Jack, his wounds heal. He blinks, relieved. But he’s still a blood-and-dirt covered mess.

They step through the Empty portal. SONG ENDS ABRUPTLY.

CUT TO BLACK.

EXT. THE EMPTY. NIGHT.

Blackness and silence.

Sam, Dean, and Jack appear from nowhere. Disoriented, they look around. We zoom in close on their faces, and all three register disbelief and shock as they spot--something.

Tight on Dean.

DEAN

(hoarse, quiet)

...Cass?

We swing around to see what they see--a familiar trenchcoat-clad figure in the distance.

Dean steps forward. Sam grabs his arm.

DEAN

(louder)

Cass?

He turns around to face them, an unnatural grin on his face.

EMPTY!CASTIEL

Guess again.

CUT TO BLACK.

CREDITS ROLL