8.16 Remember the Titans (transcript)
Written by: Dan Loflin
Directed by: Steve Boyum
Air Date: February 27, 2013NOW
EXT. COUNTRY ROAD – NIGHT
Vehicle coming down country road. The driver is rough looking, curly, scraggy hair, bearded and has a mustache. He's drinking beer while driving.
EXT. COUNTRY ROAD – NIGHT
SIGN: ENTERING GREAT FALLS.
A man is walking along the side of the road, away from the sign. He's young, handsome, looks fit, light brown shaggy hair, bearded with a mustache. He's wearing a plaid jacket and a henley. We can see his breath in the cold air.
CUT TO:
The driver is tired, his eyes keep closing, his head nods. Scene shifts back to the man walking. We see headlights approaching in the background. The man turns around at the sound of the truck. Scene shifts to the man in the vehicle. He jerks awake and drinks more beer. Back to the man walking, the vehicle is getting closer. The driver nods off again, the vehicle swerves towards the walker. The walker turns around, headlights shine right into his startled eyes. The driver jerks awake just as the truck hits the walker who crashes into the windscreen with a thud. Then he's thrown onto the snow-covered ground and rolls a few times. The driver stops his vehicle.
DRIVER
Oh God. [He exits the truck and walks over to where the man he hit is lying.] Oh, God. [The headlights shine on the walker's bloody forehead. The driver looks around. He stares at the body for a moment, gets back into his truck, and drives away. Now we see the route sign, County Road 89 with the sign ENTERING GREAT FALLS in the background.]
Close-up of the man's bloody face. The light brightens into day while we're watching, the man's face is now covered with ice.
EXT. COUNTY ROAD 89 – DAY
The man is lying on the ground, there's a huge bloody hole on his left side. An eagle is eating, pulling bits out of the hole. A car approaches, patrol lights start flashing. The police car stops a good 15 feet away from the body, the eagle continues to feast pulling bits of bloody flesh out of the hole. We are treated to a close-up of the eagle standing on the dead man. The police officer exits his car. The bird flies away when the officer slams the car door shut. We hear bird caws.
POLICE OFFICER
Dang it. [He walks towards the body. We get a close-up of the right side of the dead man's frozen face, the officer checks the body's pulse. Hear police-band chatter in the background. The officer walks away, clicks on his radio.] Dispatch, Seven-Mary-Four – you got your ears on? [Static.]
DISPATCH (V O)
Go ahead, Seven-Mary-Four.
POLICE OFFICER
I got a hit and run on 89. He's dead. [Close-up of dead man's frozen, bloody face. We hear the police chatter in the background when the dead guy suddenly inhales and his eyes open. The bloody bruising on his forehead fades away quickly.]
DISPATCH (V O)
What's the condition of the body?
POLICE OFFICER
Looks like he's frozen solid. Please advise. [The man lying on the ground sits up while in the background we see the police officer walking back to the vehicle, still talking. The officer faces the road sign, then looks down as if he's looking at tire tracks, when he gaze goes back to the body. He looks stunned.]
DISPATCH (V O)
Seven-Mary-Four, please hold your position. We'll send an ambulance to your location.
POLICE OFFICER
What the hell... [The officer's face shows disbelief, walks back to where the body was, he's looking around, walks further off the road, follows foot prints in the snow that lead into some woods.]
SUPERNATURAL (Title Card)
ACT ONE
EXT. BUNKER – DAY
The IMPALA is parked outside the bunker.
INT. BUNKER – DAY
SAM turns away from a sink, drinking a glass of water. We see several gas masks and a pouch on a hook by the sink. SAM slurps the water, then swishes it around in his mouth. He spits bloody water back into the glass. He holds the glass up to the light, it's definitely bloody. He looks around horrified, goes back to the sink and spits out blood. His tired visage is reflected in the mirror. He dumps the water into the sink and turns on the tap to flush it down the drain. DEAN enters. He is holding a cup of coffee and is wearing the grey Man of Letter's bathrobe over a t-shirt and boxers. He walks forward watching SAM while in the background we hear SAM scrubbing the sink, water still flowing.
DEAN
What's up with you? [SAM, flushing his mouth out with water, is startled and turns around quickly.]
SAM
Nothing. Why? [He shuts off the water.]
DEAN
Heard from Kevin? [He walks away, disbelief showing.]
SAM
Uh, no. Nothing yet. [We see they're in the bunker's control room. The table is covered with books, several compasses, markers.]
DEAN
What's it been, like, three weeks? What's taking that little brainiac so long? It's a book. [He sits down, throws his hands in the air, frustrated.] Read it.
SAM
Just a guess, but translating an ancient language with zero help might be more difficult than we think.
DEAN
So, no word from Cas, Kevin's taking his sweet little time, and you're acting cagey. We need a lead before I start climbing these walls. [Drinks his coffee.]
SAM
Well, um... [Picks a paper up from the desk. POV from the ceiling so we now see the table top is covered with a map that appears to be laminated into the top.] In that case, I can give you zombies. [Tosses paper to DEAN who picks it up to read.] Guy gets hit by a car [we can read the article's headline: HUMAN ROAD-KILL TURNS ZOMBIE]; left for dead overnight, guts spilled out all over the road, then gets up and walks away from it.
DEAN
Nothing about brain munching?
SAM
Remember Bobby's wife? She didn't... munch on any brains.
DEAN
Well, who's the witness?
SAM
Montana state trooper, 20-year vet. Checked his pulse, saw his insides spilled out all over the place, pronounced him dead with a capital "D."
EXT. IMPALA'S LEFT FRONT TIRE – DAY
The IMPALA rolls to a stop. DEAN and SAM are wearing their suits. POV on DEAN as he exits and walks around the front of the car. The sign on the red-brick building reads "Great Falls Sheriff, Montana State Patrol.
POLICE OFFICER (V O)
Since when have the Feds started tracking zombie activity?
DEAN
We don't track zombie activity because there's no such thing as zombies. [The brothers are standing in front of the same patrol officer who had called in the dead body earlier.]
POLICE OFFICER
Uh-huh.
DEAN
Why don't you just tell us what you saw?
POLICE OFFICER
Article said it all – dead as dog poop, guts pecked out, face frozen. People don't walk away from that. Zombies do.
DEAN
And you don't think something could have dragged him away?
POLICE OFFICER
One set of footprints, no drag marks.
DEAN
You didn't go after him?
POLICE OFFICER
That's grizzly country. You couldn't pay me enough to hike those woods, not without a bazooka.
POLICE OFFICE ASSISTANT
Uh, Jack? I got something here. [The office assistant calls over to police officer JACK, SAM, and DEAN.] Came across the wire from Livingston. [She has a coroner's report on her screen showing the mauled face and upper torso of the dead walker.]
POLICE OFFICER JACK
John Doe – presumably mauled by a grizzly. [He reads out loud over office assistant's shoulder.] Holy crap, that's him.
DEAN
That's the dead guy?
POLICE OFFICER JACK
Dead my ass. That's a zombie, boys. [He goes to the coat rack, fastens on his gun belt.]
SAM
Uh, you know what, trooper? Why don't you stay here? We'll take care of this one. We need someone to hold down the fort.
POLICE OFFICER JACK
You sure?
DEAN
Yeah, and if things go all "Dawn of the Dead" on us, you'll be our first call.
POLICE OFFICER JACK
Boys... Aim for the head.
INT. CORONER'S OFFICE – DAY
Close-up of the dead body, now with mauled face and torso from the assistant's photo. Camera pans up to SAM.
SAM
No I.D. on this guy?
CORONER
Fingerprints came up blank, too. [SAM, DEAN, and the CORONER are standing around the corpse on the metal table. DEAN opens the body's mouth exposing teeth and the somewhat bloody gum line. He looks at SAM and shakes his head no. SAM pulls down the sheet exposing the right side where there's a large bloody gash.]
SAM
What's going on down here?
CORONER
Liver was eaten. Best guess is a bird got at it.
DEAN
Hmm.
INT. CORONER'S HALLWAY – DAY
DEAN
I got to say, I am a little disappointed. [They're walking down the hallway, stop by the window that looks into the coroner's office.]
SAM
Yeah, 'cause you wanted to shoot zombies.
DEAN
Damn straight I wanted to shoot some zombies.
Look, man, this is about as open-and-shut as it gets, all right? [We see the dead body in the foreground, DEAN and SAM in the background.] Guy gets Mack-trucked, goes down for a nap, wakes up, takes a detour into mama bear's den – end of story.
SAM
Then why would he run? He was injured. That trooper could have helped him.
DEAN
I don't know. Shady past?
INT. CORONER'S METAL TABLE – DAY
The corpse suddenly inhales, his eyes open. The damage to his face rapidly disappears while we hear SAM and DEAN's conversation in the background.
SAM (V O)
Dean, don't guys with a shady past usually have a fingerprint on file?
DEAN (V O)
Whatever it was, the guy's dead now, all right?
The newly revived man sits up as the rest of the marks fade away from his body.
INT. CORONER'S HALLWAY – DAY
SAM and DEAN are now in the foreground, the body in the background. We see the revived man sitting up.
DEAN
Remember what Bobby said, hmm? [Revived man slides off the coroner's table.] "Wood chipper beats everything"? Yeah, well, so does grizzly bear. [The brothers turn toward the window and look into the coroner's office. Shot of the now empty metal table. POV shifts again with the brothers in the background and the empty metal table in the foreground. We see DEAN and SAM take off running.]
INT. CORONER'S OFFICE – DAY
The door is wrenched open, the revived man, draped in a sheet, is shoved through the doorway by DEAN, SAM on his heels. DEAN is holding his gun to the man's neck.
DEAN
You better start talking. What are you? [DEAN slams the man face first onto a metal table, gun pressed to his neck.] If you say, "zombie," I swear –
MAN
What?! No, I'm not anything.
DEAN
Look, two minutes ago, you were room temperature. You're something.
MAN
Look, I don't know what I am, okay? I don't know who I am. All I know is all I do is die, so if you want to shoot me, shoot me. Just promise me you finish the job, 'cause I can't take this anymore.
DEAN
All right. Get up, get up, get up. Stand up! [DEAN reengages the safety on his gun and hauls the man up.]
SAM
All you do is die? What's that supposed to mean?
MAN
Once a day, for as long as I can remember. After a few hours, I'm back.
DEAN
What are you, like a real-life Kenny?
MAN
Who? No, my name is Shane.
DEAN
All right, well, listen, Shane. We're not gonna find out what the hell you are in here, so you're gonna come with us, okay? We're gonna run a few tests, make sure everything's kosher.
SHANE
Tests?
INT. MOTEL ROOM – DAY
We see DEAN cutting SHANE's arm as he sits on the bed. SHANE, now dressed, grimaces with pain.
SHANE
Seriously? This is FBI-sanctioned? [DEAN puts a bandana over the wound, SHANE holds it in place.]
SAM
Drink. [SAM gives SHANE a flask. SHANE gives the opening a sniff, then takes a drink and hands the flask back to SAM.]
DEAN
All right, so, uh, how long has this dying thing been going on?
SHAN
As long as I can remember, but my memory only goes back a few years.
DEAN
Wait, so now you have amnesia? How do you know your name?
SHANE
My real name isn't Shane. It was given to me because... I don't know, people had to call me something.
SAM
Okay. So, then, what happened to you?
SHANE
Got pulled off a mountain in Europe. They said that I got caught in an avalanche. I don't remember anything from before the rescue. When I realized my condition, I knew I couldn't be around other people, so I built a little cabin, learned to hunt, kept to myself. Seemed easiest that way. Then a couple pot growers grew nervous with me being so near their crop. Shot me – twice. I figured it was time to move on.
DEAN
Right into the grille of that pickup.
SHANE
You think maybe I could clean up?
DEAN
Yeah, man. Knock yourself out. [SHANE gets up and walks into the bathroom.] Well, he's definitely something.
SAM
Yeah, but maybe he's not the monster. [SAM puts the flask into the inner pocket of his suit coat.] Maybe he's the victim.
DEAN
You thinking curse?
SAM
Could be looking for a witch, yeah. You know what? He's parked here. He's safe. Maybe we should just get another room until we can figure this out.
DEAN
All right, but you're the one going full-cavity for the hex bag.
INT. – MOTEL ROOM – NIGHT
SHANE is lying down sleeping. We see a shadowy figure close by the bed. It's a woman, pretty, medium-length dark hair, dressed in leather. She moves closer, sits down on the bed, runs her fingers through SHANE's hair. SHANE jerks awake and grabs her wrist. She looks lovingly at him, he stares back at her.
SHANE
Who are you?
WOMAN
You don't remember. [She frowns.] Never mind. [She raises a blade ready to stab him. A fight ensues. She's thrown onto a sink, we hear glass breaking. She hops off the sink and attacks SHANE again, slashing her blade which SHANE easily evades. The door opens and DEAN walks into the room. DEAN raises his knife and attacks the woman. She dodges DEAN, whip kicks his legs out from under him, DEAN is down, but she loses her weapon. SAM is in the doorway. Her hand comes up, palm towards SAM, and SAM is flung back outside and rolls down the stairs to land in front of the IMPALA. Back inside SHANE flings the woman into the wall. She stands there for a moment, looks at her blade on the floor. She steps forward, grabs the blade and attacks SHANE. SHANE grabs her arm, flips her, effectively removing the weapon from her hand and now he is in control.]
WOMAN
Aah! [SHANE shoves her against the wall and presses the shiny silver blade into her cheek.]
SHANE
Who are you? [We see DEAN getting up, knife in hand. SAM comes back into the room.]
WOMAN
Now I'm your worst enemy. [She grabs the blade above the hilt, she and the weapon disappear with a bit of wind that ruffles SHANE's hair.]
DEAN
Who the hell was that?
SHANE
She – she said that she knew me.
SAM
Yeah, how? [He slams the door shut.]
SHANE
I don't know, but, uh, I could have sworn that she was upset I didn't know her back.
DEAN
This is, uh – this is a lot more than a curse, man. You've got, like, some tiger blood. Where did you learn that kung fu? [SHANE, holding his arm, falls to his knees, gasping.]
SAM
Hey, buddy, you okay?
SHAN
Yeah. [Panting.] Yeah, I just need a minute. I've never been in a fight in my whole life. [He jerks, like he can't breathe.]
DEAN
Whoa, hey, hey, pal. [SHANE jerks again, as if he's having a heart attack, he falls over.] Hey. Are you – Hey, whoa. Is he having a heart attack?
SAM
Do we call 911?
DEAN
And tell them what? That the dead guy we stole from the morgue is alive and having a coronary? [SHANE is on the floor, mouth open.]
ACT TWO
INT. MOTEL ROOM – DAY
SAM and DEAN are sitting next to each other on one bed. SHANE, dead, is laid out on the second bed.
DEAN
I feel like I'm sitting Shiva.
SAM
Well, that's not – never mind. Um...We need to think. Dean, what do we know of that has Jason Bourne fighting skills, dies a lot, and has a history with violent women?
DEAN
I don't know – you?
We hear a knock on the door. They get up, DEAN peaks out the window, sees a woman with medium-length, light brown hair standing on the stoop. We hear the safety on his gun clicked and see the gun placed on the door as he opens it.
DEAN
May I help you? [The pretty, young woman stands there with an arm wrapped around a child with blonde hair.]
WOMAN
Agent Bonham?
DEAN
And you are?
WOMAN
This is gonna sound really strange, but I'm looking for a corpse that went missing today. [She has a newspaper in her hand. We read the headline: HUMAN ROAD-KILL TURNS ZOMBIE. It's the same article SAM had shown DEAN back in the bunker.] The coroner said that you were the last one to see it. I'm Hayley.
DEAN
Uh, this is Agent Jones. [Nods his head towards SAM who is now standing behind him.]
SAM
Why are you looking for our John Doe?
HAYLEY
Well, his name is Shane. At least, that's what I called him. [She looks down at the child.] I'm the mother of his son.
DEAN
Hey. [He bends down a little towards the child.] Why don't you, uh, slap me some skin, huh?
HAYLEY
He's shy. [The child turns into his mother's side.] It's okay, Oliver. [She can see the corpse laid out on the bed over DEAN's shoulder.]
DEAN
Oh, you weren't supposed to see –
HAYLEY
It's okay. [She pushes past DEAN into the room] Stay with the nice FBI agents, Oliver. [She sits on the bed by SHANE's side.]
DEAN
Hey. [Walks outside to stand by OLIVER. We see HAYLEY sitting by SHANE's corpse.]
EXT. SWINGSET – DAY
Oliver is slowly swinging. We see HAYLEY, SAM, and DEAN sitting at a picnic table in the background.
HAYLEY
When I was younger, I had friends that wanted to climb this mountain in Europe, and I thought it sounded exciting, so... I joined them.
SAM
The avalanche?
HAYLEY
He – he told you? What else did he say?
SAM
Just that he doesn't remember how he got there.
HAYLEY
My friends were gone, and when I found him, his clothes were torn off, his eyes were frozen solid, but he was still alive. I just knew there was something off about him, the way that...he would –
DEAN
Die every day?
HAYLEY
Yeah. I thought it was from exposure or shock. Maybe he was unconscious. We were both in bad shape. And I know I couldn't have made it down the mountain if it weren't for him. And when we got to the bottom, we, um...realized that it had become something else, and we spent the night together, and while we were, you know... He had a heart attack.
DEAN
Awkward.
HAYLEY
So, I called 911, and they couldn't save him. And I had to go down to I.D. the body...
SAM
He popped up again. Alive.
HAYLEY
I freaked out. And I ran. And nine months later, I had Oliver. [The three look over at OLIVER swinging with his head down, looking sad.] I hired a private investigator. I really tried to find him, but when they gave up, I gave up. Until a couple of months ago.
SAM
Now, what made you look again?
HAYLEY
The worst thing.
EXT. MOTEL DOOR – DAY
The motel room door opens and SHANE walks out. HAYLEY, SAM, and DEAN turn to see SHANE standing outside the door.
SHANE
Hayley?
HAYLEY
Hello, Shane. [She stands, walks towards SHANE while gesturing to OLIVER.] Oliver, come here, honey. [OLIVER gets off the swing and runs to HAYLEY.] I thought it was time you two meet. [SHANE stares.] This is Oliver.
EXT. MOTEL PORCH RAILING – DAY
DEAN is leaning against the porch rail, holding a mug. He's watching SHANE push OLIVER on the swings with HAYLEY standing very close to OLIVER's other side. DEAN drinks from the mug, we hear a door open and SAM walks out and down the stairs.
DEAN
Did you find anything?
SAM
Well, uh... Looks like we were right about that curse thing. From what I can tell, we're looking at a Titan.
DEAN
A Titan? What is that – like, a God?
SAM
More like a proto-God, like the Gods before the Gods. They ruled over Greece before Zeus and the rest of the Olympian Gods overthrew them.
DEAN
Okay, so who is this guy?
SAM
Best I can tell? Prometheus.
DEAN
Seriously?
SAM
Yeah.
DEAN
Well, didn't he – he steal fire or something?
SAM
Yep. He, uh, "Ocean's Eleven'd" Mount Olympus and stole the flames of Olympia.
DEAN
For what, kicks?
SAM
For us, actually. Zeus decided to revoke humanity's ability to make fire so we couldn't cook, couldn't stay warm, couldn't see in the dark.
DEAN
Sounds like a monster's paradise. And this guy made it right for us?
SAM
Yeah. And in return, Zeus decided to strap him to that mountain and make him relive death every day.
DEAN
Damn. Every day for how long? No wonder the guy's hard drive is fried. [We keep getting shots of SHANE, OLIVER, and HAYLEY during the conversation.] Did you figure out who, uh, Xena-wannabe was?
SAM
I'm guessing Artemis, Zeus' daughter. She's been known to carry around weapons like that dagger. They're nasty. They'll kill Immortals dead.
DEAN
All right. Well, we've never battled a God curse before. Hope we can break it.
INT. MOTEL ROOM – DAY
We see the laptop open to a web page with the headline: PROMETHEUS THE TITAN. SHANE, DEAN, and SAM are seated at the table.
DEAN
This is an eagle chowing down on your intestines. [Turns the laptop around to show SHANE the article.] You don't remember that?
SHANE
No.
SAM
Okay, look, I hate to break it to you, but you ARE Prometheus.
SHANE
Well, then, the best thing for me is to get as far away from them as I can.
DEAN
Wait. I'm sorry. You just discovered that you have a seven-year-old son, and you want to walk away?
SHANE
And I'm a God. And this God and his daughter are hunting me. What chance do I have?
SAM
Okay. [Slams the laptop shut.] We're gonna help you, but we need a plan first, and we can't come up with one here.
SHANE
Where are we going?
DEAN
Someplace safe.
We hear the door opening, heavy breathing. HAYLEY enters carrying OLIVER who has a bloody gash on his forehead.
DEAN
What's wrong?
HAYLEY
He fell. [She lays him down on the bed.]
DEAN
Do I need to call an ambulance?
HAYLEY
No. Don't.
SHANE
He's dying, isn't he?
HAYLEY
I was going to tell you, I just wanted you to have a chance to adjust.
SAM
Wait a second – he has your curse?
HAYLEY
What curse? [We see OLIVER's gash close-up with blood running down the side of his face.]
ACT THREE
EXT. BUNKER – DAY
The IMPALA and a minivan are parked outside.
Lebanon, Kansas
INT. BUNKER – BEDROOM – DAY
DEAN bursts through the doorway, SHANE following carrying OLIVER. HAYLEY and SAM right behind.
DEAN
Just put him right here. [He pats the bed. We see another bedroom in the bunker. This room has a short couch, table, and chairs one side; a desk and desk chair on the other side, with a sink against the far wall. SHANE puts OLIVER down on the bed.] This curse was put on you. Why the kid?
SHANE
I don't know.
HAYLEY
You keep saying "curse." What curse?
SAM
How long has this been happening?
HAYLEY
Oh, well, I – since he turned seven a few months ago. It started with the dying, and then he stopped talking.
SAM
Wait, seven? Age seven marks one of the first Greek rites of manhood.
DEAN
So, what? Are you saying the curse is hardwired into his programming? How do you know that?
HAYLEY
Look at me. [She turns to SHANE, speaks earnestly.] I'm sorry that I ran out on you all those years ago. I was scared. I didn't understand what was going on.
But we have a child, and whatever you have, he has. I need to know how to stop it. What curse?
INT. BUNKER LIBRARY – DAY
SHANE, HAYLEY, and SAM are seated at the tables, DEAN is leaning against the table with the telescope in the background.
HAYLEY
Okay, so Ollie's dad is a Greek God who has been cursed to die every day by Zeus. And you guys are...Ghostbusters. Am I getting this right?
DEAN
Well, you know, due to the fact that your son is currently, albeit temporarily, dead, I'm gonna let that one slide.
HAYLEY
You have to realize this sounds crazy.
SHANE
It's true. I didn't believe it myself at first, but it's the only thing that makes sense.
DEAN
Look, the faster you wrap your brain around this, the faster we can solve the problem.
HAYLEY
Solve the problem? I-I'm just not even sure I understand the problem.
DEAN
All right. So, the way we usually handle this is we summon the bastard and we work him over until he undoes whatever it is he did.
HAYLEY
Summon Zeus.
DEAN
Yes.
HAYLEY
And if he doesn't want to undo it?
SAM
Then we take him out.
DEAN
And hopefully, the curse dies along with him.
HAYLEY
This can't be happening. [We hear OLIVER coughing in the background.] This I can handle. [She turns and leaves.]
DEAN
Listen, you can run and hide and die for all eternity. It's your choice. But Sam and I are gonna go after Zeus... with or without you.
SHANE
I'm in.
INT. BUNKER LIBRARY – NIGHT
DEAN opens a book, SAM grabs books from the shelves, DEAN sips scotch, SHANE pulls a book off the shelf and sits down to read. The three are doing serious research.
DEAN
Here we go.
SAM
What you got?
DEAN
Dragon penis.
SAM
What?
DEAN
Ancient Greek hunter by the name of Drakopoolos. Near as I can tell, he was a badass whose name, incidentally, is Greek—
SAM
No, no, no. I got that. [DEAN gives SAM the book.] Thanks, Ace.
DEAN
Hey. [HAYLEY comes into the library.] How's the, uh... Is the kid?
HAYLEY
He's fine. [She looks at the three researchers.] Oh, please, keep going.
DEAN
Right, so, uh, Drakopoolos tangled with Zeus back in the day, and the Men of Letters translated his journal.
SHANE
The Men of Letters?
DEAN
It's a secret society. This is actually their lair. We're legacies. [No one looks impressed.] No big deal.
SAM
Okay. So, it says here he summoned Zeus into a trap and found out how to kill him.
SHANE
What's that?
DEAN
Wood from a tree struck by lightning.
SAM
Right. So, it says we need two things for the summon – frozen energy from the hand of Zeus, and the bone of a worshipper.
DEAN
Frozen energy – you thinking fulgurite?
SAM
Well, it makes sense.
DEAN
All right. You get on the web, see if there's any Greeks nearby that are still worshipping the Old Gods.
SAM
On it.
SHANE
W-what about the wood? Is that easy to find?
DEAN
With a little bit of luck.
HAYLEY
Oh. Wait – t-this journal just ends. [She has been reading the journal.]
DEAN
What do you mean?
HAYLEY
I mean, how do we know if Drako-whatever survived? How do we know Zeus didn't get to him?
SAM
We don't know.
HAYLEY
How do we know this is going to work?
DEAN
We never know for sure, but these books – they're, uh, they're pretty good.
HAYLEY
So, we're hanging our lives on the writings of a dead man who...is named after genitalia.
DEAN
It's a loose translation.
HAYLEY
Experts.
SAM
All right. Listen to this. Greek pagans two towns over. Best part? [We see Obituaries webpage on the laptop.] They have an obit page with cemeteries.
DEAN
All right. You two are on grave duty. We'll handle the B&E.
SAM
We'll be in touch. [SAM and SHANE get up to leave.]
DEAN
Hey. [DEAN tosses the IMPALA keys to SAM who snatches it out of the air. They exit.]
HAYLEY
B&E? You mean, breaking and entering? What for?
DEAN
Well, the book calls for fulgurite. It's a little hard to come by. [He's seated, ready to use the laptop.] The last time we needed it, we, uh, stole it from a one-percenter.
HAYLEY
You do know that fulgurite is available in crystal shops all over, right?
DEAN
Really?
HAYLEY
Yeah. The new age people, they use it to make cheap jewelry.
DEAN
Hmm. [Closes laptop.]
EXT. GREEK CEMETERY – NIGHT
We see the IMPALA parked right outside the open gates of a cemetery. SAM and SHANE are digging up the grave.
SHANE
Why are you doing this, Sam?
SAM
We need a bone, so I dig.
SHANE
No, I mean for us. This isn't your problem. You're risking your life.
SAM
Why'd you risk yours to steal that fire?
SHANE
Good question. Wish I could remember.
SAM
Trust me on this – it was worth it. You pretty much, uh, saved the whole world.
SHANE
Yeah, I guess. But none of that – none of that means anything unless I can save my son.
EXT. COUNTRY ROAD – NIGHT
The minivan comes around a corner, OLIVER is strapped in place in the back, DEAN is driving. HAYLEY sits in the passenger seat looking worried, chewing on a finger nail.
DEAN
Listen, I know this all seems a little haphazard, all right? But trust me when I say that me and Sammy have gone in with a lot less and come out on top.
HAYLEY
I believe you. It's just all this. And I'm about to ask Zeus, the Greek God, to help cure my son.
DEAN
The thing you got to remember is this is not about asking for his help, okay? He's not your friend. It's about getting him to do what's right.
INT. WAREHOUSE – NIGHT
We see DEAN placing a copper bowl on the floor, then strike a match. He stands, tossing the match into the bowl. The camera pulls back, flames shoot up from the bowl and die quickly. SHANE stands to the side and behind DEAN, he's holding a short stake; HAYLEY and OLIVER are further to the side. We see the bowl is placed just outside a huge devil's trap that has been drawn on the floor.
DEAN
Stay calm.
Everyone looks around, the lights flicker, thunder rolls, a lightning bolt strikes the bowl, thunder crashes, another larger lightning bolt flashes and transforms into a man. Electricity flashes up his arm. He's an older gentleman, gray beard, light brown mustache and hair streaked with gray, very well dressed in a suit and tie. He looks at the people gathered.
ZEUS
Oh, come now. Can't we do this civilized?
DEAN
Well, it depends on you. All we need is to break a curse you put on a little kid. [ZEUS looks at OLIVER.] So, how about you say, "yes," and we all go home?
ZEUS
Nice to see you again, Prometheus. All cleaned up. I've been looking for you.
SHANE
It's gone too far, Zeus. Break the curse.
ZEUS
It's your child who has the affliction. Interesting.
DEAN
So, what's it gonna be? The easy way or we could do this the hard way.
ZEUS
Break the trap, dear man, and I'll break the curse.
DEAN
No dice. Fix the kid.
ZEUS
Going once...
DEAN
Don't be that guy.
ZEUS
Going twice...
DEAN
Hey, you can rot here for all I care.
ZEUS
Yes, and the child will continue to suffer. [They all stare at each other.]
DEAN
Let's roll. [He turns and walks away, SAM and SHANE follow. HAYLEY stands there with her arms wrapped around OLIVER. ZEUS looks at HAYLEY.]
ZEUS
He needs me, and you know it.
HAYLEY keeps looking at ZEUS, then looks at SHANE, DEAN, and SAM walking away.
HAYLEY
No! [She runs to the devil's trap and breaks the line with her boot.]
DEAN
Hayley, no!
HAYLEY
Now save my son.
ZEUS
What do you say? [He steps out of the devil's trap. Lightning bolts shoot out at SHANE, DEAN, and SAM knocking all three back, hard.] Shall we try this the hard way? [He laughs maliciously.]
ACT FOUR
INT. WAREHOUSE – NIGHT
ZEUS looks over his handiwork with SHANE, DEAN, and SAM writhing on the floor. He turns to HAYLEY.
ZEUS
Bring forth the child. Please.
DEAN gets up, he has the stake, SAM gives him a nod, DEAN, SAM, and SHANE stalk up behind ZEUS. But suddenly SAM and DEAN are tossed back into a cement wall. We see the leather-clad woman, ARTEMIS, her hand up, palm out, holding them in place.
DEAN
Balls.
ZEUS
I trust you've met my daughter.
DEAN
Hayley, don't do it.
ZEUS
This is the son of Prometheus. [ARTEMIS and SHANE share a look.] And he's cursed to suffer death every day. I must admit, I could never have conceived such a horrible fate for such a beautiful child. Just goes to show, we must all leave room for happy accidents.
HAYLEY
What does that mean? I don't understand.
ZEUS
Tell me, has Prometheus experienced the child's death yet? [HAYLEY gives a nod.] How did he take it? Did he hurt? [HAYLEY nods again.] Good. [ZEUS points his fingers at SHANE/PROMETHEUS who falls to his knees attempting to breathe.] Imagine a thousand children all dying in unison. [ZEUS holds him there with his fingers still extended.] Only then would you understand my pain. But we can't always have what we want, so... [He looks at OLIVER.] ... one will have to do.
HAYLEY
No. [HAYLEY shakes her head no. ZEUS clenches a fist and HAYLEY grabs her throat, she's choking. ARTEMIS looks marginally upset.]
ZEUS
I have a special job for you, my little friend. [ZEUS kneels down in front of OLIVER; he strokes the side of OLIVER's face. HAYLEY can now breath.] Artemis. [ARTEMIS walks to where DEAN and SAM are still held against the cement wall.]
ARTEMIS
Move. [DEAN and SAM are freed.]
INT. WAREHOUSE HALLWAY – NIGHT
ARTEMIS is escorting SAM and DEAN down the corridor.
SAM
So, you know who this is, Dean, walking us to our deaths?
DEAN
Don't know. Don't care.
SAM
It's our God, Artemis – the Goddess of Hunters.
DEAN
Oh, that's fascinating.
SAM
See, she's who we'd pray to for courage when hunting the Gorgon or the Minotaur. [DEAN gives SAM the stink-eye for the before-death-by-goddess history lesson; ARTEMIS gives SAM the stink-eye just for his impertinence.] Of course, she's not really worship worthy anymore, uh, having lost a step and all.
ARTEMIS waves her hand and DEAN and SAM are slammed face first into the wall and held there.
ARTEMIS
The hell I have.
DEAN
Really, Sam? [His face is mashed against the wall.] Trash-talking a God? Seriously?
INT. WAREHOUSE – NIGHT
We see SHANE still kneeling on the floor, still having trouble breathing, ZEUS still taunting him.
ZEUS
So, let's see if we can make up for seven years of lost time. [ZEUS clenches a fist, lightning encases his hand. ZEUS slams the ball of lightning right into SHANE's stomach. HAYLEY hides OLIVER's face from the torture. SHANE, screaming, is standing, the lightning still burning into his abdomen. ZEUS is enjoying dishing out the abuse.]
INT. WAREHOUSE HALLWAY – NIGHT
SAM
Still at full power? [He's taunting ARTEMIS, still pressed against the wall.] Really? Then why did it take you seven years to track down Prometheus?
ARTEMIS
He was hiding.
SAM
Hiding from you? So the God of Hunters couldn't find a shack in Montana? [He's mocking her.] Maybe it's that you didn't want to find him. [She slams SAM again.]
DEAN
Good, Sam, you're doing great.
SAM
Your dad's gonna kill that kid, you know?
ARTEMIS
Don't worry. He'll come back. [She strokes SAM's cheek with her blade.] Unlike you.
SAM
He was in love with you, you know. He told us. [She removes her blade, looks uncertain.]
ARTEMIS
You lie.
SAM
Okay, sure, yeah. Believe whatever you want. [ARTEMIS still looks uncertain.]
INT. WAREHOUSE – NIGHT
ZEUS
No, no, no, no. [ZEUS backhands SHANE, keeps slugging him.] Don't pass out on me just yet. I'm only just getting started.
INT. WAREHOUSE HALLWAY – NIGHT
We hear SHANE's screams in the distance. ARTEMIS looks sceptical.
ARTEMIS
What did he say to you?
SAM
This wasn't the first time he escaped that mountain, and that you let him go free as long as you could hide your little tryst from the old man.
ARTEMIS
The hell he said. His brain is mush.
SAM
Oh, yeah? Then how did I know? What, have you spilled it to anyone? Homer? Hesiod? Herodotus? Of course not. You were afraid big daddy would find out that you fell for the person he hates most in this world. Of course, when he saw the zombie article, it kind of forced your hand, and you had to come hunt him down no matter how much it hurt. You know what? Go ahead. Kill us. And let your father slaughter that boy. Over and over again. That won't leave a mark.
INT. WAREHOUSE – NIGHT
ZEUS
You like being an immortal, don't you? [He's kneeling in front of OLIVER again.] Oh, sure, you die every day, but nothing can keep you dead. [ZEUS looks over at SHANE who is lying on the ground.] It's almost like taking a little nap. All of your cares and worries disappear for a little while. Well, it's sleepy time, my dear boy. [His tone is like a loving grandfather, he stands, both hands crackling with lightning.]
ARTEMIS (V O)
This has to stop, father. [We see ARTEMIS with her bow, arrow notched, pointed at ZEUS; DEAN and SAM behind her.]
ZEUS
Stop? I'm only just getting started.
ARTEMIS
You've done enough.
ZEUS
I am doing this for us – for our kind. He is the reason we're here and not ruling the world. [Gestures towards SHANE lying on the ground.] He's the reason they have forgotten all about us.
ARTEMIS
Let them go. All of them.
ZEUS
I am your father, and you will obey me.
ARTEMIS
You were once my father. Now you're someone else. [She fires the arrow, ZEUS grabs SHANE as a shield. The arrow hits SHANE right in the middle of his torso.]
ZEUS
I never get tired of watching you die. [ZEUS, holding SHANE up, says it right into his ear.] Your boy is going on the mountain. [SHANE looks at OLIVER and HAYLEY. ZEUS laughs. SHANE grabs hold of the arrow's shaft, forces it out through the back of his body so that ZEUS, who is standing so close, is impaled, too. Lightning flashes surrounding both ZEUS and SHANE. They both fall to the ground, dead. ARTEMIS puts her bow down on the floor. She walks, then runs over to the bodies, kneeling down by SHANE who is lying on top of ZEUS. She pulls the arrow out, it's covered in blue light that changes to plain blood as she tosses it aside. She takes one of her father's hands, then one of SHANE's hands, and looks at HAYLEY. She releases SHANE's hand. We hear a whoosh sound and ARTEMIS and ZEUS are gone. SHANE is left lying on the floor.]
ACT FIVE
EXT. WOODS – NIGHT
DEAN flicks his lighter open, places the flame against wood. Fire encases the body wrapped in a sheet and laid out on the wooden pyre. He walks back to HAYLEY. They both stand there watching the body burn.
HAYLEY
I'm sorry. [DEAN puts his arm around her.]
CUT TO SAM standing a distance away, we can see the flames in the background. OLIVER is sitting at the back of the minivan, the door is open. SAM walks over and sits down beside OLIVER.
SAM
You know what? How about we go get some ice-cream sundaes?
OLIVER
No. [It's the first he has spoken.] I'd like to stay. [They share a look.]
EXT. COUNTRY ROAD – NIGHT
The IMPALA is cruising down the road.
DEAN
Well, here's to that crazy little wild card called love. [He hands a burger to SAM.] How did you know Artemis had the hots for Prometheus, anyway?
SAM
Intuition. Uh... luck.
DEAN
Yeah, well, whatever it was, it worked... pretty much. At least the kid's all right.
SAM
You know... I'm starting to think maybe I was being naive.
DEAN
What are you talking about?
SAM
When I said that I could just will myself into coming out of these trials unscathed.
DEAN
No, no, no. Stop with the sullen emo crap, all right? That's – you're not gonna die like Prometheus.
SAM
How do you know, Dean? Bobby, Rufus, now Prometheus – you think any of them chose death? No. The life chose for them.
DEAN
Yeah, well, you promised, okay? You promised to live a long, Clark Griswold life full of prostate exams and colonoscopies, all right? You're not welshing on that deal, not on my watch. If you die, it's gonna be because of something normal.
SAM
Like a heart attack? [Looks down at his burger.]
DEAN
Exactly. Yeah, eat your burger.
INT. BUNKER – NIGHT
DEAN slams his bedroom door shut, tosses his jacket to the side, sits down on his bed, and looks upwards.
DEAN
Cas, you got your ears on? Listen, you know I am not one for praying, 'cause in my book it's... it's the same as begging. But this is about Sam, so I need you to hear me. We are going into this deal blind... and I don't know what's ahead or what it's gonna bring for Sam. Now, he's covering pretty good, but I know that he is hurting, and this one was supposed to be on me. So, for all that we've been through, I'm asking you... [he's very earnestly praying] ...you keep a lookout for my little brother, okay? [He looks around beseechingly, shaking his head.] Where the hell are you, man?
END.
