7.12 Time After Time (Transcript)

SUPERNATURAL

7.12 Time After Time

Written by: Robbie Thompson

Directed by: Philip Sgriccia

Air Date: 13 January 2012

NOW

EXT. STREET – NIGHT

A MAN wearing a fedora hat and long coat walks along a sidewalk in front of a house, and then turns down an alley along the side of the house. DEAN and SAM are in a parked car on the opposite side of the street.

DEAN:
All right, let's do this. Move fast.

DEAN cocks his gun.

SAM:
Wait, wait, wait. What's the plan exactly?

DEAN:
Don't die.

DEAN and SAM get out of the car and hurry after the FEDORA MAN.

DEAN:
He's heading downtown. All right, you take the street. I'll take the alley. I'll meet you in the middle.

DEAN turns an alleyway corner and sees the FEDORA MAN kneeling over and holding the head of another man, who is on his back on the ground. There is a red light above the prone man’s face which seems to be being absorbed by the FEDORA MAN.

DEAN:
Son of a...

DEAN runs towards the men. As the red light from the prone man is completely absorbed by the FEDORA MAN, the FEDORA MAN lets the prone man’s head fall to the ground and stands up. SAM comes around the corner and sees DEAN tackle the FEDORA MAN. DEAN and the FEDORA MAN disappear in an explosion of red and white light.

SAM:
Dean?

SAM holds his arms out in front of his face as the force of the explosion reaches him at the other end of the alley. The light then disappears and everything is still. DEAN and the FEDORA MAN are gone.

SAM:
Dean?!

SUPERNATURAL (Title Card)

ACT ONE

Two Days Earlier

INT. HOUSE – NIGHT

DEAN is sitting at a table with a bottle of whiskey and laptop, looking at websites related to DICK ROMAN: Global Economic Report: RRE, a search engine page, Financial Market Watch: Richard Roman Enterprises stock soars. A cell phone rings. SAM, who was asleep on a bed in the same room, sits up and groans.

DEAN:
Don't give me that dirty-diaper look. I ain't calling you.

SAM answers the phone.

SAM (on phone):
Hello?

CAR – NIGHT

JODIE MILLS is driving.

JODIE MILLS (on phone):
Sam, it's Jodie Mills. I wake you?

SAM (on phone, V-O):
The sheriff? Uh...

INT. HOUSE – NIGHT

SAM turns on a lamp.

SAM (on phone):
Yeah. Uh, I mean, uh –

JODIE MILLS (on phone, V-O):
Listen, I got something that smells like you boys.

CAR – NIGHT

JODIE MILLS (on phone):
A body turned up in Canton, Ohio. Local P.D.'s trying to bury the story and the body.

(The scene continues to switch between the HOUSE and CAR.)

SAM (on phone):
Okay, um, so, uh, what's up with the body?

JODIE MILLS (on phone):
Well, when it went missing, it was a perfectly normal grad student named Charles Durbin. When it turned up, the thing was mummified minus the wrapping. This is actually the second body found like this in the last couple weeks. Sound like a song you boys tap to?

SAM (on phone):
Yeah, yeah, that's, that's um... that's our kind of number. Hey, question – how does a sheriff in Sioux Falls get wind of a case in Ohio?

JODIE MILLS (on phone):
I'm just that nosy. Look, after everything I've been through with you boys and... with Bobby, you know, something like this pops up on the wire, it catches my ear. What can I say?

SAM (on phone):
Well, we'll look into it. Thanks, Sheriff.

JODIE MILLS (on phone):
Call me after, okay?

SAM (on phone):
Yeah.

INT. HOUSE – NIGHT

SAM hangs up.

SAM:
That was Sheriff Mills. She caught us one.

DEAN:
Oh, I feel bad. We didn't get her anything.

SAM:
I can't believe I'm about to say this but I hope you're watching cartoon smut, 'cause reading Dick Roman crap over and over again is just self-punishment.

After a pause, DEAN closes the laptop.

DEAN:
It's called anime, and it's an art form.

Canton, Ohio

EXT. ABANDONED HOUSE – DAY

Signs saying “For Auction” and “No Trespassing” are hung on a security fence around the house. DEAN and SAM, dressed in suits, pull up in a car outside the house.

DEAN:
Well, this looks nice. Check around back?

They drive off.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – DAY

DEAN carries a table into an empty downstairs room. SAM comes down the stairs carrying a chair.

SAM:
Well, there’s a... semi-functioning bathroom and one un-rancid bedroom.

DEAN:
Define semi-functioning, and do not use the words "hole in the floor."

SAM holds out his right fist on his left palm and nods meaningfully to DEAN. DEAN takes up the same position with a bit of a flourish. We see them hit their palms with their fists twice.

INT. ABANDONED HOUSE, UPSTAIRS BEDROOM – DAY

SAM rolls out a bedroll in an empty bedroom. DEAN enters the room and stands near the door.

DEAN:
How does paper beat a rock? It's stupid.

SAM doesn’t respond and DEAN leaves the room.

We see a close-up of a police file containing a picture of Charles Darbis and an autopsy report.

EXT. RESIDENTIAL STREET – DAY

DEAN and SAM are dressed in suits. DEAN is holding the police file.

SAM:
Kids playing hide-and-seek found the body.

DEAN:
Wow. Very King Tut.

SAM:
Yeah, so, uh, this is where the eyewitness to the assault lives, but the cops are calling him an unreliable witness.

DEAN:
Because?

SAM:
Let's find out.

DEAN and SAM knock at the door of a house and hold out their I.D. A MAN opens the door.

DEAN:
Special Agent Smith. This is, uh, Special Agent Smith. No relation.

MAN:
Whoa. Do you mind if we, uh... My mom's sleeping in there.

The MAN steps outside and closes the door.

MAN:
S-so, how can I...?

SAM:
Oh, we, uh – we had a few questions about the incident you witnessed in the alley.

MAN:
You just gonna laugh at my story like the rest of the suits?

DEAN:
We're not gonna laugh at you.

MAN:
All right, well, I'm on the steps... medicating... when I hear fighting. So I look. There's my neighbor Durbin, and some dude dressed like my grandpa's got him by the neck, right?

DEAN:
What do you mean he looks like your grandpa?

MAN:
Uh... Snappy shoes, suit, one of those, um, Justin Timberlake hats.

SAM:
Y-you mean a – a fedora?

MAN:
Aha!

SAM:
Did you see anything else?

MAN:
This red, like, energy passed through Durbin to hat guy. Even my watch stopped. Durbs... he aged before my eyes. He looked like a raisin.

SAM:
Well, we believe you.

The MAN nods appreciatively.

MAN:
Oh!

DEAN:
Thanks for your help.

MAN:
Thank you, officer – officers.

DEAN and SAM turn to leave.

DEAN:
Wow.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – DAY

DEAN and SAM, still in their white shirts, ties and suit pants, are working at the table. SAM is using the laptop. DEAN leafs through John's journal, then closes it and puts it down.

DEAN:
Yep. Nothing that turns a dude into a crypt keeper. You?

DEAN checks to see that a beer can next to him on the table is empty and takes two fresh beers out of a cooler.

SAM:
Uh, well, greater Canton turns out kind of a hot spot for weird dead bodies.

DEAN:
Hmm. You don't say.

SAM:
Yeah. News archives.

SAM turns the laptop towards DEAN.

SAM:
They're not exactly reporting, uh, mummifies. But still, uh – 1928...

The laptop screen shows articles titled “Another Shriveled Body Found” and “Spontaneous Combustion Claims Life of Young Man” and a page of search engine results for “Canton Ohio mysterious deaths”.

SAM:
...three deaths cited as spontaneous combustion. Bodies, quote, "shriveled despite no signs of fire."

DEAN:
Little stretch, but okay.

SAM:
'74...

SAM hits a button on the keyboard.

SAM:
...three bodies found with leathery decay. Uh, '57...

SAM hits a button on the keyboard.

SAM:
...three more –

The laptop screen shows articles titled “Strange Body Found”, “Mummy Found By Boys” and “Bartender Falls Victim to Dehydration”.

SAM:
Severe dehydration. This time one made the front page.

SAM hits a button and an old newspaper photograph appears on the screen. In it, a young girl standing next to a policeman points at a corpse. In the background are a woman talking to another policeman and two men, one of whom is wearing a fedora and long coat.

SAM:
Girl named Terry Cervantes found a corpse near her church.

DEAN:
Any pattern here other than the location?

SAM:
Random vics, random years. But they seem to drop in threes.

DEAN:
That's two down, one to go. All right, let me drive for a sec.

SAM:
What, are you gonna look up more anime, or are you strictly into Dick now?

DEAN types “Canton web cams” into a search engine and brings up “Securi-Net Webcams,” which shows ten images from security cameras.

DEAN:
Hmm.

SAM:
Are those local feeds?

DEAN:
Yeah.

SAM:
How did you do that so fast?

DEAN:
A little tutorial from Frank. Don't worry. We'll pretend this never happened. Now, mummy numero dos was, uh, found at the Gas n' Sip near Main Street, correct?

SAM:
Yeah.

DEAN enters “gas+main+st” into a search box on the Securi-Net Webcams site and brings up four security camera feeds.

DEAN:
All right, well, here's all the cameras around that store.

SAM:
You need to teach me that trick.

A MAN wearing a fedora and long coat appears in one of the feeds.

DEAN:
Hey, check it out – Timberlake.

SAM:
Wait a sec.

SAM takes back the laptop.

DEAN:
You can't let me bask in the glory for one second, can you?

SAM:
Shut up. Look.

The laptop screen now shows a close-up of the man from the security camera feed, and a close-up of the man in the fedora and coat in the old newspaper photograph.

DEAN:
He hasn't aged a day, has he? All right, well, if he's been popping up for decades now, then somebody's bound to know who he is, right? Is there any chance that, uh, Terry's still local?

Close-up of the old newspaper photograph under the headline “Strange Body Found” from a copy of the front page of the Canton Post, Friday Morning, May 10, 1957. As the camera pans out, we see that a woman in a white coat is holding the article.

INT. HOSPITAL – DAY

TERRY:
You know it's so pretty in the spring. Everything's blooming. That's why I walked home that way – to see the flowers. Instead, I found that body. I still have no idea what could have done that to a person.

DEAN:
Do you recognize that man?

TERRY:
Yeah. I mean, he lived on my parents' street. Mr. Snider.

DEAN:
Where'd you say your parents live?

EXT. STREET – NIGHT

DEAN and SAM are eating take-out in the car, which is parked where it was at the beginning of the episode, across the street from a house.

DEAN:
So, what exactly is this thing? Some sort of vampire who got too sucky?

SAM:
Nope. Coroner's reports said there was blood in both bodies. 300-year-old blood, but blood.

The FEDORA MAN comes out of the house.

DEAN:
Dude, dude. Uh, fedora dude.

The FEDORA MAN walks along the sidewalk and turns down the alley.

DEAN:
All right, let's do this. Let's move fast.

DEAN cocks his gun.

SAM:
Whoa, whoa, whoa. What's the plan here, exactly?

DEAN:
Don't die.

DEAN and SAM get out of the car and hurry after the FEDORA MAN.

DEAN:
He's heading downtown. All right, you take the street. I'll take the alley. I'll meet you in the middle.

DEAN turns an alleyway corner and sees the FEDORA MAN kneeling over and holding the head of another man, who is on his back on the ground. There is a red light above the prone man’s face which seems to be being absorbed by the FEDORA MAN.

DEAN:
Son of a...

DEAN runs towards the men. As the red light from the prone man is completely absorbed by the FEDORA MAN, the FEDORA MAN lets the prone man’s head fall to the ground and stands up. SAM comes around the corner and sees DEAN tackle the FEDORA MAN. DEAN and the FEDORA MAN disappear in an explosion of red and white light.

DEAN and the FEDORA MAN are tussling on the ground. DEAN grabs the FEDORA MAN’s hand and sees that he is wearing a ring with an hourglass symbol. The FEDORA MAN breaks away and runs off.

DEAN:
Hey!

DEAN gets to his feet and hurries after the FEDORA MAN. He is in an alley.

DEAN:
Hey!

DEAN draws his gun.

DEAN:
Hey!

DEAN reaches the street, stops and looks around. Judging by the cars and clothes, he is in the 1940s. Two policemen get out of a police car and point guns at DEAN.

POLICEMAN:
Hey, you! Drop the gun! Put it down! Drop the gun!

DEAN:
All right.

DEAN drops his gun to the ground. The policemen advance on him.

ACT TWO

INT. POLICE STATION INTERVIEW ROOM – DAY

A POLICEMAN is examining DEAN’s possessions. DEAN is sitting at the table in handcuffs.

DEAN:
Okay, can I just –

POLICEMAN:
Don't. Listen to me. Hey, if you tell me you're from the Bureau one more time, I'm gonna air you out myself. Got it?

The POLICEMAN turns on DEAN’s cell phone.

POLICEMAN:
"No signal." Are you some kind of Jerry spy?

DEAN:
Jerry who?

POLICEMAN:
And a terrible one at that.

The POLICEMAN picks up DEAN’s FBI ID.

POLICEMAN:
This badge was issued 68 years from now. Ace work, kraut-muncher.

DEAN calculates the date.

DEAN:
'44? I'm stuck in 1944?!

POLICEMAN:
We're all stuck in 1944, ya bunny.

A MAN enters the room. The POLICEMAN gets up from the table and walks over to him.

MAN:
Take a powder.

POLICEMAN:
Yes, sir.

The POLICEMAN leaves the room.

DEAN:
Look I don't even like frigging sauerkraut, okay, so you can just skip the –

MAN:
What happened in the alley? And paint me a real picture.

DEAN:
All right, well, I'm "twelve monkeyed" no matter what I say, so here goes. I was chasing this dude. Uh, I'd just seen him mummify a guy. Yeah. So, I jumped him. He lights up red. Poof, we're in 1944.

The MAN tosses a folder onto the table and sits down across from DEAN.

MAN:
Tell me more about the red light.

DEAN:
Are you seriously asking –

MAN:
You want out of this jail, you're gonna tell me everything you can about that man and the so-called light.

DEAN:
Okay. I saw it, and then we were here.

MAN:
Would you say that, uh... it was all around you or that more that it came from inside this fella?

DEAN:
You believe me. Are you...? You're a hunter.

MAN:
I don't know what you're talking about.

DEAN:
Demons, ghosts, shifters. Hey, I've killed 'em all. And you're the same. Just 68 years before me, huh?

The MAN exhales sharply and holds out a hand.

MAN:
And your name is...?

DEAN, who is still in handcuffs, shakes his hand.

DEAN:
Dean...Winchester.

MAN:
Ness. Eliot Ness.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

SAM is adding to research that is taped to a wall. His phone rings.

SAM (on phone):
Dean?

CAR – NIGHT

JODIE MILLS (on phone):
No. Why? Where's Dean?

(The scene switches between the HOUSE and CAR.)

SAM (on phone):
The thing that's been mummifying people took him in a frigging ball of light and disappeared.

JODIE MILLS (on phone):
You guys get that a lot?

SAM (on phone):
Yeah, more than most people.

JODIE MILLS (on phone):
Well, I got you into this, so –

SAM (on phone):
No, no, no, you didn't. A-all you did was just –

JODIE MILLS (on phone):
Shut up, Sam. How I can help?

SAM (on phone):
Well, um... How do you feel about driving and lifting boxes?

INT. POLICE STATION INTERVIEW ROOM – DAY

DEAN is standing, no longer in handcuffs. ELIOT NESS enters the room.

DEAN:
I-I got to tell you, I mean, "Untouchables" is, like, one of my most favorite movies ever.

ELIOT NESS:
What?

DEAN:
I must have seen that thing, like, 50 times.

ELIOT NESS:
"Seen it?" What, like, I'm in the –

DEAN:
Oh, yeah, yeah! You don't even know! Oh, you are – pbht!

ELIOT NESS:
Look, hey, wait, wait, wait. Let's just... slow it down. Okay? Now, time travel. Is that something you find up a lot of sleeves in the future or...?

DEAN:
No, no, no. It's, uh, not normally on the menu. Trust me. I'm as surprised as you are that I'm here.

ELIOT NESS:
So we're hunting the same thing, just in different centuries.

ELIOT NESS pushes a folder towards DEAN and opens a second one.

ELIOT NESS:
Two bodies. A few days apart just a little over a month ago. One witness said that she saw an assailant light up red after sucking the life out of a man.

DEAN:
Awesome.

ELIOT NESS:
How does that fill you with awe? Look, Dean, this thing, it kills –

DEAN:
In threes.

ELIOT NESS:
In threes.

DEAN:
But you already know that.

ELIOT NESS:
He's two down. You're coming with me. We've got to get this thing before it grabs the last one.

DEAN:
Okay, so, so, wait, uh... Does... does this mean that I'm an Untouchable now?

ELIOT NESS:
It means we got to get you into some new clothes. You look like some kind of bindlestiff.

DEAN:
Stiff your br – bin – what?

INT. TAILOR’S SHOP – DAY

A WOMAN is measuring and pinning trousers at a table. ELIOT NESS and DEAN pull up in a car outside. DEAN gets out of the car and smiles after a passing serviceman. ELIOT NESS grabs DEAN’s arm and pulls him into the shop.

WOMAN:
What's the rumpus, Eliot?

ELIOT NESS:
Ezra Moore. Dean Winchester.

DEAN:
Hey.

EZRA:
Who's he? Some farmer clown?

ELIOT NESS:
He's, uh, from the future.

DEAN:
Yeah. Gas costs four bucks. You can get cheese out of a spray can. And... the President, he's a black guy. I could go on.

EZRA:
Paint me impressed. I assume you need some clothes. Come on.

INT. ABANDONED HOUSE – DAY

SAM opens the door and JODIE MILLS enters, carrying boxes.

SAM:
Hey, let me, uh – let me help you with those.

JODIE MILLS:
No, I got these. You go get the other 20 in my truck.

SAM:
Seriously?

JODIE MILLS:
Yeah. I think Bobby may have had a slight hoarding issue. I could barely get the door open on that storage locker. And, um, I'm pretty sure something's alive in at least three of those boxes.

SAM leaves.

INT. TAILOR’S SHOP – DAY

DEAN is dressing in brown clothes, then comes out of a fitting room wearing a dark suit. His hair is parted on the side. ELIOT NESS smiles and whistles. DEAN looks at himself in the mirror as EZRA smooths the suit jacket from behind.

DEAN:
Awesome.

EZRA:
"Awesome"? You some religious kook?

ELIOT NESS:
No, he just likes saying that.

EZRA:
So, spill already. What bucket of syrup did you two idjits step into?

DEAN chuckles.

EZRA:
Something funny, sweetheart?

DEAN:
No, you, uh... You just kind of remind me of someone.

ELIOT NESS:
Okay, Ezra... we need your help. It seems we're hunting a time traveler.

EZRA:
Delightful.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – DAY

SAM is studying the research hanging on the wall. JODIE MILLS is using a laptop to search the Federal Criminal Database Secure Server for “Fedora, Man, Suit”.

JODIE MILLS:
Got it.

JODIE MILLS brings up an old photograph that includes the FEDORA MAN.

SAM:
Is that a – is that a ring on his finger?

JODIE MILLS:
Um...

JODIE MILLS zooms in on the FEDORA MAN’s hand.

JODIE MILLS:
Yeah.

SAM frowns, then gets up to get a binder, which he brings back to the table.

SAM:
I know that symbol.

INT. TAILOR’S SHOP – DAY

Close-up of a book with the hourglass symbol.

EZRA:
It's the infinite hourglass.

DEAN:
That's the symbol I saw on his ring.

EZRA:
Yeah, that's the mark of Chronos.

DEAN:
Who?

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – DAY

SAM:
The God of time.

JODIE MILLS:
That's crazy.

SAM:
The thing is, with the Old Gods, once upon a time they were – they were just short of invincible. But they got a lot of their mojo from worshippers, from people feeding them.

JODIE MILLS:
These days, not so much.

SAM:
Right, they're not what they used to be. But they make up for lack of power with being twice as pissed and a lot more hands-on.

JODIE MILLS:
Okay. So why's this God killing people?

INT. TAILOR’S SHOP – DAY

EZRA:
Could be he's killing folks for his time juice.

EZRA puts a gun into a holster. DEAN puts a flask into his jacket pocket.

DEAN:
All right, well, how the hell am I gonna ride him back to 2012?

EZRA:
Well, you could let him grab you, if you don't mind him using you for gasoline.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – DAY

JODIE MILLS:
So, how do we get Dean back? How do we even find this Chronos?

SAM:
Best stab? We find a way to summon a God.

INT. TAILOR’S SHOP – DAY

ELIOT NESS:
Look, let's just stick with what we know. Ezra, see if you can find something in all this junk that will kill a God.

EZRA:
No trouble at all. Come in a few hours, see what I can scrounge up.

ELIOT NESS:
You said you fellas found his house? Well, let's go see if it's been built yet. And then let's kill that bastard, because that –

DEAN puts on a fedora.

DEAN:
Is the Chicago way.

EZRA:
"Chicago way?"

ELIOT NESS:
Who talks like that?

DEAN:
Sean Connery.

EZRA:
Come on.

EZRA helps DEAN into a coat.

DEAN:
Never watch that movie again.

DEAN picks up the gun EZRA put in a holster and leaves.

INT. HOUSE – DAY

DEAN and ELIOT NESS are outside the front door.

DEAN:
It looks empty. You got a lock pick?

ELIOT NESS:
Sure.

ELIOT NESS kicks in the door and enters with his gun drawn. DEAN follows.

ELIOT NESS:
Take a look around. Where's he getting all the lettuce to support this?

DEAN picks up a large journal and opens it. It contains horse racing results.

DEAN:
He's using the "Biff strategy."

ELIOT NESS:
Using what?

DEAN:
He's – Chronos is betting on races he already knows the outcome of.

DEAN:
Look at this.

ELIOT NESS:
He's spent a lot of time in '44.

DEAN:
Yeah.

DEAN points to initials in the journal.

DEAN:
What's L.Y.?

ELIOT NESS:
It's not a what. It's a who. Lester Young. He lays bets for a lot of the flunkies in town. Let's say we go pay him a visit.

INT. POLICE STATION INTERVIEW ROOM – DAY

DEAN pushes LESTER down the stairs and into a chair.

LESTER:
Hey! W-whoa! Hey! Hey! Easy with the jacket! Yeah, I ain't talking. I'm no stoolie.

DEAN punches LESTER, who falls backwards in the chair. ELIOT NESS looks at DEAN.

DEAN:
I learned it from watching you.

DEAN pushes the chair and LESTER upright.

ELIOT NESS:
Look, you seem like a swell guy, Lester.

DEAN takes off his jacket.

ELIOT NESS:
And I want to help you out. I do, but my partner here? He just back from the war. And he's spent the last two years kicking in Nazi skulls. If he doesn't kick in a skull every couple days, he gets real touchy.

DEAN:
Lester. That a German name?

LESTER:
Hey, okay, okay. There's no need to snap your cap. W-who you looking for?

ELIOT NESS:
Fella by the name of Snider.

LESTER:
What, that guy? I mean, bum never missed a bet, but he gave me the heebie-jeebies, so I cut him off.

ELIOT NESS:
Where would you meet him for the payoff?

LESTER hesitates. DEAN raises an arm and steps closer.

LESTER:
T-the Early Bird! It's a dive on Haggerty. Practically lives in the joint.

INT. ABANDONED HOUSE, DOWNSTAIRS ROOM – NIGHT

SAM and JODIE MILLS are researching, SAM at the table and JODIE MILLS near a pile of boxes. They speak almost simultaneously.

SAM:
Damn it.

JODIE MILLS:
That's it!

SAM:
Okay, yours sounds better. You first.

JODIE MILLS:
It says here that people could summon Chronos "to compel him to tell them their futures."

SAM:
And I've got the spell to do it right here.

JODIE MILLS:
So why the "damn it"?

SAM:
'Cause calling Chronos isn't the problem. It's making sure we summon him when Dean is right there... Literally with his hands on the guy, so he can surf him back.

JODIE MILLS:
That's not automatic?

SAM:
No, it's more like we need to get the time on their end right to the exact second.

JODIE MILLS:
Or we get an angry God but no big brother?

SAM:
And he's trapped there forever.

JODIE MILLS picks up a bottle with a handwritten note attached.

JODIE MILLS:
"Fine, you ass. You win for once. Enjoy. R." Who's "R"?

SAM:
Rufus, a family friend.

JODIE MILLS:
Ah, right.

SAM:
Wonder what they were betting over?

JODIE MILLS:
Well, whatever it was, Rufus sure was a sore loser.

SAM smiles.

SAM:
Yeah.

JODIE MILLS:
It's weird, huh? It's like their life's a big puzzle. You just keep finding pieces of it scattered all over the place. We should drink this. He'd want us to. Am I wrong?

SAM:
It'd be rude not to.

EXT. STREET – NIGHT

ELIOT NESS and DEAN are in a parked car on the street near the alley where DEAN and CHRONOS appeared in 1944. CHRONOS is sitting in a diner with a cup of coffee.

DEAN:
That's him.

ELIOT NESS:
Kind of puny for a God.

ELIOT NESS drinks from a flask. He then holds the flask out to DEAN, who doesn’t take it.

DEAN:
Thought you were, uh – thought you were Mr. Boy Scout.

ELIOT NESS:
Why do you think I went after Capone in the first place? The guy had the best hooch in Chicago.

ELIOT NESS puts the flask back in his jacket pocket, but immediately takes it out again.

DEAN:
So, now, w-who died in your life and made you a hunter?

ELIOT NESS:
Who died? Nobody died, you morbid son of a bitch. I started doing this 'cause vampires were turning folks in Cleveland.

DEAN:
And you got the bug.

ELIOT NESS:
That's when I got the bug.

ELIOT NESS drinks from his flask again.

ELIOT NESS:
Sometimes you just want to punch through the red tape with a silver bullet. Yeah, hunting sets me free. Isn't that why you hunt?

DEAN:
I used to do it 'cause that's what my family did.

ELIOT NESS:
Hmm.

DEAN:
But they just seem to keep dying. To tell you the truth, I don't know why I'm doing much of anything anymore.

ELIOT NESS:
Boo-hoo. Cry me a river, ya nancy. Tell me, are all hunters as soft as you in the future? Everybody loses everybody. And then one day, boom. Your number's up, but at least you're making a difference. So enjoy it while it lasts, kid, 'cause hunting's the only clarity you're gonna find in this life. And that makes you luckier than most.

A YOUNG WOMAN with long blonde hair leaves the diner and walks past ELIOT NESS’s car.

ELIOT NESS:
Hello, nurse.

The YOUNG WOMAN walks down an alley.

DEAN:
Hey.

CHRONOS leaves the diner and follows the YOUNG WOMAN. ELIOT NESS and DEAN get out the car. ELIOT NESS opens the trunk, which contains many weapons.

DEAN:
Sweet merciful awesome.

ELIOT NESS hands DEAN a shotgun. CHRONOS is gaining on the YOUNG WOMAN. ELIOT NESS and DEAN run after them and raise their guns. CHRONOS grabs the YOUNG WOMAN’s arm and turns her to face him. They kiss. DEAN and ELIOT NESS look at each other in confusion.

EXT. – NIGHT

Clouds move across a full moon. ELIOT NESS is talking to someone in a small truck loaded with hay bales, as DEAN looks on from the car. They appear to be in a rural area. ELIOT NESS walks back to the car. A house is visible across a field. ELIOT NESS talks to DEAN through the open car window.

ELIOT NESS:
Well, everything's coming up us, kid.

DEAN:
Talk to me.

ELIOT NESS:
I am. The owner of the house, Miss Lila Taylor, age 20, lives alone. Take the car, head back to Ezra, see what she's got. I'm gonna stay here and keep my peepers on the Sheik and the Sheba.

DEAN hands ELIOT NESS his rifle, then drives away. ELIOT NESS walks towards the house.

INT. TAILOR’S SHOP – DAY

A stake fashioned from a branch is lying on the table. The pointed end is red.

DEAN:
That's it?

EZRA:
That is a 1,000-year-old olive carved by vestal virgins and dipped in the blood of – you don't want to know. Pulling this together wasn't easy. You and Ness both owe me, smoothie.

DEAN:
You can have whatever you want...

DEAN picks up the stake.

DEAN:
...soon as we gank this thing.

EZRA:
Yeah, yeah. Take your twig, wise guy.

DEAN:
Well, now, how's it work?

EZRA walks over to DEAN and indicates the pointed end of the stake.

EZRA:
You stick this end in his heart. Miss, he has you for supper. Make sense?

DEAN:
Wait, if I – if I kill Chronos... I'm stuck here.

EZRA:
You just now realized? Oh, come on. 1944 ain't so bad.

DEAN:
Yeah, I could head over to Europe, punch Hitler in the neck.

EZRA:
Oh, there's lots of ways to pass the time, sugar.

EZRA puts her hands on DEAN’s lapels and draws him in for a kiss.

EZRA:
That's for luck.

EZRA smooths her thumb over DEAN’s lips.

EZRA:
'Cause I'm lucky.

DEAN:
Thanks.

DEAN turns away and wipes his lips. He sees three addressed envelopes, picks them up and smiles.

DEAN:
"Back to the Future III."

DEAN turns back to EZRA.

DEAN:
I need to borrow some paper.

EXT. LILA’S HOUSE – NIGHT

ELIOT NESS is behind a car parked in front of LILA’s house.

CHRONOS:
Mr. Ness, I presume?

CHRONOS grabs onto the rifle ELIOT NESS is holding and shoves it in his face.

CHRONOS:
You know, I stopped by the police station to take care of that hunter who rode me here. I heard you took him out of jail. I thought I might see you again.

ELIOT NESS headbutts CHRONOS. They struggle and CHRONOS takes the rifle. ELIOT NESS punches CHRONOS in the face twice. CHRONOS punches ELIOT NESS twice. The second punch sends ELIOT NESS crashing through the door of a shed, where he lies unmoving.

LILA:
Ethan?

LILA comes out of the house and stands on the porch. She is holding a bag.

LILA:
There you are. Can't take the trash out without the trash, silly.

CHRONOS:
Sorry, honey. I don't know where I left my head. Be right there.

LILA sets the trash down on the porch and goes back inside. CHRONOS turns back to the shed. ELIOT NESS is no longer there.