ZEUS

Pilot Episode: "Styx and Stones"

By
JD Moores

WGA Registration #1757558

 TEASER

OVER BLACK

A VERY MASCULINE VOICE - WISE, AUTHORITATIVE.

ZEUS (V.O.)
Long ago, my siblings and I visited
Earth... and were received as gods.

FADE IN:

EXT. ANCIENT GREECE - DAY

MONTAGE of SHIPS on the Mediterranean - ANCIENT GREEKS

building TEMPLES and toiling in the ARTS, SCIENCES, SPORTS
and THEATER. (Could be animated and/or illustrated where live
action is not feasible.)

ZEUS (V.O.)
We shared our knowledge and gifts
with the humans, with whom we found
much in common.

INSERT-CUT: BRUTAL ANIMAL SACRIFICES!

ZEUS (V.O.)
Then, things changed.

INSERT-CUT: CLOSE ON GREEKS AT THE WALLS OF TROY - FIGHTING

ONE ANOTHER IN DIFFERENT LANDSCAPES.

ZEUS (V.O.)
Violent sacrifices were made and
conflicts raged in our names.

INSERT-CUT: MOUNT OLYMPUS - VOLCANOES.

ZEUS (V.O.)
Though we came from far away, our
fa mi l y h is to r ie s w e re u s ed to
explain Earth’s natural world.

MONTAGE:

A SERIES OF PAINTINGS/DEPICTIONS of Ancient Greece through

the Roman Empire, its collapse and through the European Dark
Ages, etc.

ZEUS (V.O.)
We helped l ay the foun dation of
human civilization. Building upon
that foundation was now their job.
 2.

PAN ACRO SS ANCI ENT STA TUE S of He rmes , D emet er, Are s,
Poseidon, Hera and, finally, Zeus Almighty.

ZEUS (V.O.)
Since then, we have become myth to
the humans, who have evolved to a
state comparable to ours upon our
arrival on Earth long ago. However,
that evolution may also have
brought humanity closer to the same
sort of ultimate crisis which now
forces many us to leave our home -
this time, for good.

EXT. MODERN CITY - NIGHT

A modern city skyline.

ZEUS (V.O.)
Now able to choose, I’ve chosen to
return to the Earth I still love -
not as a would-be god, but as a
normal... mortal... human being.
When I left our homeworld, it
seemed we had been scattered to the
far corners of the galaxy, and I
might never see my family again.

EXT. CITY STREET - NIGHT

RAIN from a THUNDERSTORM pounds the STREETS.

ZEUS (V.O.) (CONT’D)

It was truly time for a new
journey... and a new adventure.

As it subsides, a CAR splashes water - an eighties car!

SUPER-IMPOSE: 30 Years Ago...

FOLLOW LUCY, a homeless woman pushing a GROCERY CART OF

BELONGINGS past a line of closed storefronts. In the front is
a SMALL RADIO currently playing Phil Collins’ Take Me Home.

WE PASS a CITY PARK as thunder rolls and LIGHTNING strikes a

nearby tree, startling Lucy, who tips her cart of stuff all
over the SIDEWALK. Though rattled, she quickly sets the cart
upright and is picking up her things when the sound of a
BABY’S CRY O.S. gets her attention.
 3.

EXT. CITY PARK - NIGHT

The crying gets louder as Lucy nervously follows it into the

park. Soon, she reaches a tree. Beneath it lies a MALE
INFANT, wrapped loosely in a thin, WHITE BLANKET.

With nobody near, she picks up the baby, gently rocking him
in her arms to stop his crying. She looks, noticing his eyes
sparkling as if with electricity.

ZEUS (V.O.)
Little did I know...

EXT. OFFICE BUILDING - NIGHT / ESTABLISHING

A tall office building with all but a few upper floor LIGHTS
off - lightning behind it.

ZEUS (V.O.)
I was not alone.

INT. DONALD SHADE’S OFFICE - CONTINUOUS

DONALD SHADE - well dressed, yet still old and slightly

weathered in a good suit. He stands at his MAHOGANY DESK, a
GLASS OF GIN before him as he talks by PHONE in the middle of
the night.

SHADE
Don’t worry, friend. Like money,
politics never sleeps.

POLITICIAN
(Though Phone)
Yeah, well, lately, neither do we.
Bu t, I ’ m ho p ef ul we ’l l g et
th ro u gh . .. w i th yo u r he l p, of
course.

SHADE
You have some image issues, which
can always be deal breakers, but I
think we can work through them.

Shade senses something, his smile fading as he turns to look

out the window. In the distance, he can see the hospital.

POLITICIAN
Mister Shade? Donald? ‘You still
there?

SHADE
Um... yes . Sorry about that. It’s
late, ‘ya know.
 4.

POLITICIAN
So you can help me, right? ‘Damn
vultures want to put my head on a
plate and turn it into a graphic
for the nightly news.

Sure enough, Donald’s smile returns... for the moment.

SHADE
Not to worry. My people will have
you back on top in no time. No one
will give another thought to this
rid icu lou s b it of ... wh at’ s i t
called, now?
(Mocking tone)
Indiscretion?

POLITICIAN
What indiscretion?

They both laugh.

DONALD
That’s the spirit!

POLITICIAN
Thank you, Mister Shade, and I...
we... appreciate everything.

SHADE
You have a good night now, Senator,
and get some sleep, okay? You and
your family will be fine.

POLITICIAN
Sure. You, too.

Shade hangs up, smile fading. He grabs his glass, turns back
to the window and focuses on the hospital as, again, WE HEAR
THE BABY’S CRY!

EXT. HOSPITAL EMERGENCY ROOM - NIGHT

Baby in cart, Lucy rushes up to the glass DOUBLE DOORS and

pounds, getting the attention of NURSES inside. As they
notice, Lucy rushes through.

The NURSES intercept, taking the baby and signaling the cart
be left in the doorway. They rush him into the ER as Lucy
follows.
 5.

INT. DONALD SHADE’S OFFICE - CONTINUOUS

At that instant, Donald’s expression becomes one of knowing

amusement as he shakes his head and talks briefly to himself,
alone in the relatively dark office.

DONALD
So, you’ve arrived. Welcome to my
playground...
(Sips Gin)
Little brother.

As what looks like faint FLAMES flash in Donald’s eyes, WE...

CUT TO:

INT. HOSPITAL EMERGENCY ROOM

Meanwhile, placing the baby in an INCUBATOR, the Nurses

discover him gripping something in one of his tiny hands.
When they gently loosen his grip, they find that he holds a
very simple, wooden carving... of a LIGHTNING BOLT!
 6.

ACT ONE

EXT. ZEKE’S HOME - DAY / ESTABLISHING

Super-Impose: Athens, Georgia... Today

One of several old, picturesque HOMES with a distinctly

Southern feel lining the street. ZEKE LANE is Zeus in human
form, thirty years later - his voice instantly familiar, yet
a touch higher, friendlier and more... normal.

ZEKE (V.O.)
Ai r c o n d i t i o n i n g . . . Child
support...

INT. ZEKE’S HOME - CONTINUOUS

The six foot Zeke stands at his DINING TABLE in an open

kitchen, going through MAIL - calling out each item.

ZEKE
Wate r.. . s ubs cri ptio n r ene wal .
More child support.

A woman laughs O.S.

Zeke looks to the adjoining den to see his neighbor SARA - a

year or two older, but very attractive in casual clothes -
glaring at him as she sits on an old sofa.

ZEKE (CONT’D)
What?

SARA
You ’re ju st so ... bl asé . Child
support - like it’s nothing.

ZEKE
It ’s s o me th i ng , a ll r i gh t.
Especially to a writer.
(Walking into den)
About a grand or two a month, at
least. Two kids - both great, but
both accide nts - and I ’m barely
thirty.

SARA
But you can afford to support them
by... what? Blogging?

ZEKE
(Taking seat nearby)
Investigative journalism. I got a
degree - got noticed.
(MORE)
 7.
ZEKE (CONT'D)
No w , I w r it e a b un c h o f s el f -
righteous articles and exposés from
home for Monument Monthly.

SARA
A title that says nothing, by the
way. You know that, right?

ZEKE
‘M a k es t he m s ee m mo r e
so ph i st i ca te d . If yo u d id n ’t
already kno w, could yo u tell me
what TIME Magazine was about?

SARA
Good point.

PHONE RINGS.

ZEKE
Oh! And I blog. Almost forgot.

Sara laughs a little.

ZEKE (CONT’D)
(Answering phone)
Yeah, this is Zeke.
(Beat)
Can I know why Rich dr opped the
assignment, or...?
(Beat)
I see. Well, if you’re in town, I
can meet to get the files from you,
see how far he got and see what I
can do.
(Beat)
Right. Bye.
(Hangs up)

SARA
They can’t E-mail you?

ZEKE
E-mails get hacked, stuff leaks.
So u r c e c o n f i d e nt i a l i t y , p l u s
competition. You get the picture.

SARA
‘Next thing I know, you’ll try to
con me into a subscription.
(Notices Zeke staring)
What?
 8.

ZEKE
Uh... nothi ng. It’s ju st you’re
so... familiar.

SARA
We’ ve onl y b een n eig hbo rs for ,
oh... four months now.

ZEKE
You kept up!

SARA
Our walls are three feet apart -
driveways are ten.

ZEKE
That’s a driveway? ‘Cause I just
thought someone spilled a bunch of
gravel and...

Both laugh a little. Sara stands.

SARA
Well, I thi nk I’ll lea ve you to
prepare for your new a ssignment
or... whatever.

ZEKE
Okay, um... Sasha.

SARA
Sara.

ZEKE
Sara. Sorry.

Sara smiles as they walk to a small foyer.

SARA
(Half-teasing)
No t th a t th i s is an y o f my
bus ine ss, bu t y ou kn ow the re’ s
nothing great about a father with
young kids he can’t be with. Or
won’t.

Though they’re teasing one another, there’s an inescapable

sincerity to both voices on this issue.

ZEKE
Four months, huh? And three feet
between homes? I guess I remember
now wh y w e h ave n’ t s pok en mor e
often.
 9.

SARA
I’ m s or r y. I t ’s ju s t. .. we l l,
you’re kind of familiar to me, too.

ZEKE
I was adopted and lived a while in
Atlanta, so... big city. You could
have seen me somewhere.

SARA
Uh-huh. Look, I really am sorry. I
came over to ask if you’d get my
mail for a week or so while I’m out
of town, but...

ZEKE
Okay. Starting when?

SARA
Next Tuesday? I, uh...

ZEKE
(Interrupts)
Hey, I get it. And you’re right.
My sit uat ion is n’ t g rea t - an d
maybe, as a dad, I haven’t always
been so great, either. But I have a
little boy and a little girl and no
ma tt e r w ha t, th e y a re b o th my
heroes.

Sara looks moved, but holds it back.

Zeke takes the moment to open his front door.

SARA
Well... bye.

EXIT SARA

EXT. ATHENS STREET - ESTABLISHING

Still a picturesque Southern town in the 21st century.

ZEKE (V.O.)
So... Bill.

INT. DINER - CONTINUOUS

Zeke sits across from his editor (white, middle-aged with

quasi-ex-hippy air about him) at a small diner, each with
COFFEE MUGS before them.
 10.

ZEKE
What brings the editor of Monument
Monthly all the way down to enemy
territory?

BILL
Enemy territory?

ZEKE
Come on. I worked in the New York
office long enough to hear at least
one or two rants blaming the South
for all of America’s problems - and
I do me a n AL L , a s i n a d ir e ct
quote.

BILL
First off, I never said that, and
second, if I did, I didn’t mean it.
Much.

ZEKE
Noted for future reference. Now
why are you here? I made excuses to
my neighbor, but you still could
have just mailed Rich’s stuff.

BILL
Even with Skype , it’s still good
for an editor to see his writers
fa ce - to - fa ce on c e i n a w hi l e.
You’re lucky I could hire you to
write from home at all.
(Beat - hushed tones)
‘Truth is I had no choice. Rich hit
a ro a db l oc k. ‘S o me po li t ic i an
that’s apparently been protecting
this corporate water polluter spent
months deferring all queries to his
special consultant.

ZEKE
Spec ial con sult ant ... as in
political?

BILL
Pol iti cal ... p ers ona l.. .
financial... At least according to
Rich’s notes. But that’s not the
strange part. This consultant’s
name is Dona ld S hade out of
Atlanta. ‘Has the longest history
of work I’ve ever seen, but almost
no r e a l d e t a i l s t o s p e ak o f .
(MORE)
 11.
BILL (CONT'D)
Wh oe v er he i s , h e g av e u s t he
run aro und fo r a m ont h u nti l h e
su pp o se d ly l o ok e d i nt o w ho we
really are and insisted he’d talk,
but not to Rich - not to anyone
except... you.

ZEKE
Me? I’ve never heard of him!

BILL
He’s heard of you. And something’s
motivating this guy, too, because
wh en w e a sk e d ab o ut i t , he
threatened to have us audited if we
didn’t set this up. I feel like he
wa n t s s o m e t h i n g o t h e r t h a n a
pro fes sio nal e xch ang e o f
information, but what that is? Who
knows?

ZEKE
‘You think I do?

BILL
I don’t know what to think.

ZEKE
For an editor, you don’t know much.

BILL
Ouch.

ZEKE
Sorry. I’m a little preoccupied.

BILL
Well, I suggest you occupy yourself
with this.
(P u s h es M a ni l a F ol d e r
Across Table)
Here’s Rich’s stuff, but I have a
feeling the real story will be this
Shade guy. Even the name sounds...
suspicious.

ZEKE
You mean shady.
 12.

BILL
Seriously, though, his name has
been batting around the Beltway for
some time, and his wor k has not
bee n l imi ted t o S out her n
politicians. Rumors about him go
all the way back to the sixties -
others even further - but that’s
pretty much all there is. Rumors.

ZEKE
What kind of rumors?

BILL
(Smiles wryly)
Yo u’ r e t he o n e h e’ l l ta l k t o.
Finish Rich’s story if you can, but
I d efi nit ely wa nt so met hin g o n
Donald Shade.

ZEKE
From your description, this guy is
way, way past retirement age.
(Looking Through Folder)
There is one other thing. Rich
isn’t a slouch and he’s no
pushover, either. If he hits
roadblocks, he finds other angles,
other ways - so why did he really
quit the story?

BILL
He didn’t quit the story.
(Beat)
He quit the job.

ON ZEKE - stunned.

EXT. ZEKE’S HOME - MORNING

It’s OVERCAST. An ALARM CLOCK goes off O.S.

INT. ZEKE’S BATHROOM

In UNDER SHIRT and BOXERS, Zeke shaves with an ELECTRIC

RAZOR. Memories flash as he stares into the mirror.

INSERT-CUT: LUCY IN PARK, LOOKING DOWN AT HIM AS A BABY.

INSERT-CUT: YOUNG ZEKE - AGE 12 - ON PC LOOKING AT MATERIAL

ON G REEK MY THOL OGY FOR SC HOOL WO RK V IA OLD- FAS HION ED
INTERNET. A KNOCK COMES AT THE DOOR O.S. WHEN...
 13.

Suddenly, Zeke is brought back to the present, startled by a

POWER SURGE through his razor, which instantly shuts off.
After a beat, he sees the razor is unplugged and realizes
where the surge came from: HIM! He sets the razor down -
pauses a moment, then goes on to brush his teeth as if to try
and put it out of his mind.

INT. COFFEE SHOP

Zeke sits with COFFEE, reading over Rich’s MATERIALS. He

glances a couple times at a young Hispanic cashier as she
takes a few orders before taking her break and disappearing
into the back.

EXT. COFFEE SHOP / BACK OF BUILDING - MORNING

The cashier walks out the SERVICE DOOR alone and lights up a
CIGARETTE.

ZEKE (O.S.)
Yo u k n o w t h a t ’ s a b a d h a b i t ,
Madeline.

Startled, the cashier looks to her side and sees Zeke, then
shrugs with relief.

ZEKE (CONT’D)
Even for us.
(Beat)
Sorry if I startled you.

MADELINE
(Holding up cigarette)
So may I? For nerves?

ZEKE
I can’t stop you.

MADELINE
(Lighting up)
No, not anymore.
(Beat)
By the way, I got plans tonight.
Finally. ‘Course, if anyone here
knew who I really was, they’d think
I turn people to stone or
something.

ZEKE
You always did make to o much of
those foolish stories.
 14.

MADELINE
Yeah? Speak for yourself - Zeus,
the Highest. No one ever turned
yo u i n t o n o m o ns t e r t o s c a r e
children. I get fired because my
complaints about being assaulted
looked bad for my employer, then
share the story hoping people here
would learn from it. Instead, it
ju s t s t a y s a q ui r k y p i e c e o f
fiction for, oh... three thousand
years. Even the feminist movement
didn’t change that. Stupid people.

ZEUS
I k now , M ade lin e, an d I le t m y
brother know what I thought about
it. In a way, that’s why I’m here.

MADELINE
‘You run into him?

ZEKE
No.
(Beat)
Your, uh... benefactor, so to speak
- the one ‘helped you get here. I
need to know who it is.

MADELINE
Why? You got here by yourself -
you’ve got your own human life. I
needed some help. I got it. So
what?

ZEKE
Maddy, we’ve been through this.

Madeline darts Zeke a look of frustration, but backs down.

She tosses her cigarette down and stomps it out.

MADELINE
Loo k, I g ott a g et ba ck to wor k
feed ing peo ple ’s acce pta ble
addiction to caffeine and sugar for
barely minimum wage.

ZEUS
And I have an important meeting,
but I’m coming back. I know you
think I’m arrogant and pushy, but
depending o n how many of us are
here, someone needs to keep track.
(MORE)
 15.
ZEUS (CONT'D)
I mean, did you forget why we came?
Imagine what would happen if...

MADELINE
Okay, I get it, but not tonight. I
ha v e c o m p a n y c om i n g . A guy,
believe it or not.

ZEKE
Why wouldn’t I believe it?
(Beat - Tenderly)
I’m sorry. ‘Just... frustrated, I
guess. You’re a beautiful woman,
Maddy. You always were. You don’t
turn men to stone with your gaze.
You stop them in their tracks with
your smile.

Madeline smiles, blushes, then shakes her head.

MADELINE
Bull... crap.
(Beat)
But... thank you. Meet me here when
I get off w ork tomorro w. We’ll
talk then. I promise.

EXT. OLD MOVIE THEATER - DAY

Zeke pulls up and stops before an old, rundown movie theater -

long closed.

INT. ZEKE’S CAR - CONTINUOUS

Zeke looks out at theater, curious but concerned.

INT. OLD MOVIE THEATER / LOBBY

Zeke walks into the theater’s rundown lobby, closed for

decades with OLD MOVIE POSTERS still on the walls, the most
prominent of which is for Jaws.

ZEKE
(To Self)
Okay...
(Calls out)
Hello? Mister, uh... Shade?
(To Self)
Still doesn’t sound right.

Zeke looks around - sees two small, yet dark corridors

leading to screening rooms, but doesn’t approach.
 16.

ZEKE (CONT’D)
(Mutters to Self)
This is ridiculous.
(Calls out again)
Mister Shade, if you’re here, my
name is Zeke Lane from Monument
Monthly. Remember? You told my
editor you wanted to talk to me?

SHADE (O.S.)
At last.

Zeke looks to a corridor - sees Donald Shade emerge from the

shadows, immaculately dressed, barely older than last time.

SHADE (CONT’D)
It took you long enough, but then
yo u do kn ow ho w t o ma k e an
entrance. It’s partly why I wanted
to meet her e and got p ermission
from the current owners to do it.
(Looks Around)
It ’ s a p l a c e w he r e . . . i n t h e
past... grand entrances were made
almost every hour.

ZEKE
(Nervous)
Uh-huh... Well, sir, my editor just
now told me about you and, as far
as entrances go, I’d say yours was
the most... intriguing.

Shade steps closer. Zeke senses familiarity.

SHADE
Yet I was never a baby found by a
kindly indigent, lying beneath a
tr e e . . . w i t h l ig h t n i n g i n m y
fingertips.
(Dramatic Beat)
Brother.

ZEKE
(Putting it t ogether in
his head)
Donald Shade... S-H-A-D... H-A-D...
E...
(Beat)
HADES!

END OF ACT ONE

 17.

ACT TWO

EXT. OLD MOVIE THEATER - DAY

A few DARK CLOUDS move in slowly to hover over the closed

theater as TRAFFIC passes by, unaware of who or what is
inside.

INT. OLD MOVIE THEATER / LOBBY

Donald Shade, aka, Hades, grins at his illustrious sibling in

human form.

SHADE
What? No hug for your long, lost
big bro?

ZEKE
How long have you been here?

SHADE
Long enough to get how things work.
Before, people focused on trying to
cheat me - or some mythical monster
they though t was me. Now, many
don ’t bel iev e i n any thi ng, le t
alone gods and devils , so they just
put all their energy into cheating
each other.
(Beat)
The way I was cheated. Right?

ZEKE
(Irritated)
I saved you, remember? I saved all
of you - all of us - from a very
real monster. Our father.

SHADE
Only because our mother saved you.
Imagine a woman that gives birth to
six children and lets five of them
suf fer be for e f in all y d eci din g
she’ll hide the sixth.

ZEKE
Ne it h er of u s h a s t o im a gi n e,
Hades, but that’s not why I came.

SHADE
You think I advise some crooked
politician with a polluting
chemical plant in his back pocket.
 18.

ZEKE
If it’s true and he’s covering for
the damage this company might be
causing, then he’s probably getting
kickbacks or something, too. Why
hel p s ome one li ke th is? If yo u
advise him, why haven’t you advised
him to distance himself?

SHADE
And here I thought you were a
reporter - not a cop.
(Beat)
Fine. I advise him, sure. But like
th e o t h e r s , h e ’s g o i n g t o d o
something stupid, then I’m going to
exploit it by blowing the whistle
real loud - yet anonym ously, of
course. Eventually, he’ll be out of
the wa y, as wil l the po wer an d
in fl u en c e th i s c om p an y w ie l ds
through him. It’s worked on guys
like this for over a hundred years.
Gary Condit, Oliver North... Bill
Cl in t on . A nd I s om e ho w a lw a ys
ma na g e t o ke e p m ys e lf a n d t he
extent of my involvement a mystery.
(Laughs)
My personal favorite w as Joseph
McCarthy. He pretty much brought
himself dow n. I’ll nev er forget
when Murrow quoted Cassius: The
fault, dear Brutus , is not in our
stars, but in ourselves. Whatever
els e i t a ll is, i t’s en dle ssl y
entertaining.

ZEKE
What do you want?

SHADE
You look at me as if I’m a bad guy.
Even those myths acknowledged that
I was chosen to be the odd man out -
to get the crap jobs.

ZEKE
Yo u e ar n ed y o ur re p ut at i on by
hel pin g t he ear li est hu man s i n
their last moments to die as calmly
and pain fr ee as possi ble. I’d
hardly call that a crap job or the
work of a monster - no matter how
it all got twisted in translation.
 19.

The taller Shade walks up to Zeke, standing uncomfortably

close, overshadowing the mythological god of gods turned
human journalist.

SHADE
You’re right. It’s all in the past -
hardly relevant - but we are. At
least, we could be.
(Beat)
You and I were always the most
powerful and influential. Join me,
brother, as equals. Together, we
can teach this world how to be
great again.

ZEKE
You still have your powers, don’t
you.

SHADE
Of course I do.

ZEKE
But I’m... human now. I chose this.
I came as a human child. I grew up
and I live a human life.
(Beat - Hesitant)
And, at some point, big brother...
I will willingly die a human death.

Shade is taken aback. He actually takes a few steps back.

ZEKE (CONT’D)
I never liked immortality. I don’t
think it’s natural.

SHADE
Ab su r d. If i m mo r ta l it y w as n ’t
natural, then why did we get it?

ZEKE
Na t u r a l o r n o t , I ’ v e m a d e m y
choice, and a condition of coming
here was tha t th e ch oice be
final... irreversible. I’m sorry,
but it’s done.

Shade takes a moment for this to sink in, but then perks up.

SHADE
No. You sti ll have pow er. It’s
impossible to get rid of. I know
it, and I think you do, too.
 20.

ZEKE
It doesn’t matter because I don’t
approve of all this - the way you
take advantage of humans and their
leaders. I don’t care how common
it is, it’s still wrong and I want
no part of it.

SHADE
(Disappointed)
You are so n aive . Al ways so
sheltered, weren’t you? The humans
love when their leaders fall. It’s
like vindication for the common,
the ordinar y, poor and weak and
they can’t get enough! I give the
maj ori ty wha t t he y w ant at th e
expense of a few who get what they
deserve, and if I’ve greased the
wheels in the process, then so be
it. I’m glad.

ZEKE
And I’m sorry for the way I used to
be, but that’s my final answer.

SHADE
(Chuckles)
Used to be? You ’re stil l a
finicky, arrogant, philandering ass
hol e. Or am I wr ong ab out th e
child support payments you have?

ZEKE
You know, you were always a little
bit me an, bu t n ow , y ou’ re jus t
being petty and childish.

SHADE
Ju s t s o y o u k n ow . . . A l m i g h t y
Zeus... you will come to see things
my way.

ZEKE
And if I don’t?

SHADE
You mean what will I do?
(Beat)
Let’s just say I’ll gladly live up
to human expectations.

Shade starts to walk back where he came from, but stops after
a few steps, turning back to Zeke.
 21.

SHADE (CONT’D)
I think we’re done here. For now.

Zeke watches as Shade... Hades... disappears again into the

dark recesses of the old movie theater. Again, his eye is
ironically drawn to the Jaws poster on the wall.

EXT. ATHENS STREET - AFTERNOON

Zeke’s car is stopped with others at a RED LIGHT.

INT. ZEKE’S CAR - CONTINUOUS

Zeke glances out his window - sees HOMELESS MAN. His mind
wanders.

INT. YOUNG ZEKE’S BEDROOM - FLASHBACK

PICKING UP WHERE WE LEFT OFF - the 12 year-old Zeke is

distracted from his PC by the knock at his bedroom door.

YOUNG ZEKE
Mom?

LUCY (O.S.)
(Through Door)
It’s me, Zeke. May I come in?

YOUNG ZEKE
Lucy!

Young Zeke smiles - rushes over to open the door and let her
in. Though older, Lucy looks roughly the same, but now
cleaner and better dressed. Things have clearly turned in
her favor. The two hug. They’ve kept in touch.

LUCY
Your mom said I could come up here.

YOUNG ZEKE
I was just studying for a school
paper.

Lucy glances at the monitor with Greek Mythology materials on

it.

LUCY
Is any of this... you know?

Zeke just nods, “Yes.”

LUCY (CONT’D)
You don’t have to worry. I’ve kept
it a secret - even from your folks.
 22.

YOUNG ZEKE
I don’t remember everything - just
thi s s ens e o f, li ke, ha vin g t o
escape from somewhere. Somewhere
far.

LUCY
Speaking of somewhere far...

Lucy gestures and the two sit on the edge of Young Zeke’s
bed.

LUCY (CONT’D)
You know I’ve managed to put my
life back together - even patch
things up a little with my girls.
(Beat)
They’re still a little wary of me,
but they know I’m trying. I even
went back to school. And now, I got
a job. A real good one, too.

YOUNG ZEKE
Cool! Maybe I can come visit you at
work some time..

LUCY
Well, that’s the thing. You’d have
to go quite a ways, see, because
the job is in St. Louis.

Youn g Ze ke does n’t kno w w hat to say - h it w ith mix ed

feelings.

LUCY (CONT’D)
Hey, listen, I’ll still stay in
to uc h . I pr o mi s e. I m a y n ot
understand it all, but finding you
that night, in the park after the
storm - it changed my life.
(R e a c he s i nt o p u rs e -
Pulls out carving)
Here. This is yours. Wherever it’s
from, you were clutching it in your
hand when I found you. I probably
should have given it to you sooner,
but now that I have to go away, I
really want you to have it.

Zeke takes the wooden carving of a lightning bolt - looks at

it with curiosity and some familiarity.
 23.

YOUNG ZEKE
All I know is it’s old ... older
than it looks.

LUCY
If you are who I... who we think
you are, then I don’t doubt that
for a second.

YOUNG ZEKE
It w as a g ift ... fro m s ome one .
That’s all I can remember.

Zeke looks up and meets eyes with Lucy, who smiles warmly. He
then reaches back out with the hand holding the carving.

YOUNG ZEKE (CONT’D)

Here. Keep it to remember me by.
Please.

As Lucy nods and hesitantly takes the carving back, Young

Zeke quickly stands and steps over to hug her.

YOUNG ZEKE (CONT’D)

I’ll miss you, Lucy.

LUCY
I’ll miss you, too - my precious
baby boy.

FADE OUT.

EXT. MADELINE’S APARTMENTS - NIGHT

KENNY - white, late twenties, athletic looking - holds

FLOWERS as he makes his way up a FLIGHT OF STAIRS before
knocking on one of the apartment doors.

MADELINE (O.S.)
(From Inside Apt.)
I’m coming!

Kenny taps his foot nervously for a moment before Madeline

finally answers the door, dressed for the evening and smiling
from ear to ear at the sight of Kenny and the flowers, which
he immediately hands her.

MADELINE (CONT’D)
Oh, baby, you shouldn’t have!

KENNY
Ar e yo u k id d i n g? Fir s t
impressions, you know.
 24.

Madeline chuckles as she steps aside to let Kenny in, then

shuts the door behind him.

INT. ZEKE’S HOME / DEN

It’s dark outside as Zeke sits with a SNACK and Rich’s NOTES,
most of it printed information on the chemical company that
is referenced in a news report on the TELEVISION before him.

NEWS ANCHOR
(On TV)
Res ide nts of A ugu sta an d
surrounding counties are protesting
ag a i n o v e r w h a t l o c a l h e a l t h
offi cial s ag ree are seri ous
il l n es s e s b r o u gh t o n b y
contaminated water - contamination
wh ic h t he y s ay i s f ro m t he
negligence of regional chemical
plant Strand and Company.

INSERT-CUT: THREE BURGLARS APPROACH THE TALL, YET ISOLATED

BUILDING THAT IS STRAND AND COMPANY, SITUATED IN COUNTRYSIDE.
THEY ARE LET IN THROUGH A BACK ENTRANCE BY A SECURITY GUARD,
WHOM THEY IMMEDIATELY PAY OFF.

NEWS ANCHOR (CONT’D)

(On TV)
Environmental experts say it’s bad
enough that the nearby Oconee River
is often polluted by a combination
of b acte ria, fer tili zer and
sed ime nta tio n, bu t w hen pe opl e
start getting sick, it’s time for
the EPA to ste p i n - so met hin g
lik ely to ha ppe n, so urc es say ,
alt hou gh not hin g has be en mad e
official yet.

INSERT-CUT: INSIDE THE PLANT, THE BURGLARS STEAL FILES OFF OF

COMPUTERS IN OFFICES AS WELL AS ACTUAL LABELED VIALS WITH
LIDS ON THEM OF ACTUAL CHEMICALS!

NEWS ANCHOR (CONT’D)

(On TV)
Meanwhile, rumors run rampant about
Strand producing chemicals which
cou ld all ege dly s et fir es ato p
large bodies of water, covering and
engulfing them so as to evaporate
them quickly.
 25.

INSERT-CUT: THE BURGLARS ARE LET OUT THE DOOR AGAIN BY THE
SAME GUARD, RUNNING AS FAST AS THEY CAN AS POLICE SIRENS ARE
HEARD IN THE DISTANCE.

NEWS ANCHOR (CONT’D)

(On TV)
Though they may have some use in
fields such as construction, such
che mic als co uld r epr ese nt mor e
danger than practical usefulness,
cau sin g a ny num be r o f p rob lem s
including the unintended spread of
fire to dry land.

Zeke is distracted when the phone rings next to him.

ZEKE
(Answering Phone)
Hello?

SARA
(On Phone)
Hi. I’m not calling too late, am I?

ZEKE
No, no, I was just going over some
pa pe rs an d wa t ch in g t he n e ws .
What’s up?

SARA
I, uh... still feel bad about what
I said. We ’ve been ne ighbors a
while, ‘ya know, but it’s like we
just now got off to a rocky start.

ZEKE
Honestly, I ’ve been to o busy to
think about it again.

SARA
Oh.

ZEKE
But I appreciate the thought.

SARA
It was just one of those things I
couldn’t let go. I mean, you don’t
just go telling people what kind of
parent they should be no matter
what the circumstances, right?

ZEKE
Yeah... right.
 26.

SARA
Well, anyway, if there’s anything I
can do to m ake it up t o you...?
Especially since you’re picking up
my mail.

ZEKE
I don’t know - unless you want to
mow my lawn some time.

SARA
(Laughs a little)
I think I could!

ZEKE
Of course you could! I always say -
better a John Deere than a Dear
John, right?

SARA
(Laughing)
I have no idea what that means, but
I’ll take your word for it.

ZEKE
That’s good, because I don’t know,
either. It just... popped into my
head.

SARA
Well... I w on’t keep y ou on the
phone all night. Just, if there’s
anything I can do that, like, pops
into our head, let me know.

ZEKE
I’ll do that.

SARA
Maybe we’ll see each other a time
or two outside before my trip?

ZEKE
I hope so.

SARA
Good night, Zeke.

ZEKE
‘Night, Sara.

Zeke hangs up, glancing back up at the newscast but now

smiling and distracted by the call.
 27.

Meanwhile...

INT. MADELINE’S APARTMENT

With MUSIC in the background, Madeline and Kenny make out on

her CHEAP SOFA in her apartment’s living area.

TRUCK to one corner of the room, where atop an out-of-place

END TABLE sits a TANK/TERRARIUM with a dangerous looking
SNAKE!

END OF ACT TWO

 28.

ACT THREE

EXT. COFFEE SHOP / BACK OF BUILDING - NOON

Madeline steps out for another cigarette break to find Zeke

standing directly before the door, looking anxious, yet
stern.

MADELINE
I thought I said meet me when I get
off work, not while I’m on break.

ZEKE
Donald Shade. Recognize the name?

Madeline is about to take her first puff when she hears

Zeke’s words. Instead, she pauses, unsure what to say.

ZEKE (CONT’D)
He’s helping you, isn’t he? There
are only so many of us that could.

MADELINE
Okay, so you know. Did you notice
we got something in common, too - a
little image problem?

ZEKE
That’s a load of crap, Maddy, and
you know it. None of these people
knows who or what you really are
and none of them needs to. Medusa
is a myth, Madeline - through and
through, in every sense of the word
- and it ha s nothing t o do with
you. Hades, however - aka, Donald
Shad e - seem s to rel ish his
reputation just a little too much.

MADELINE
(Defensive)
Whatever, m an. You st ill don’t
know what it’s like.

ZEKE
Don’t I? You know what my neighbor
basically called me the other day -
not even knowing who I really am?
A deadbeat dad.
(Beat)
Yeah. Because I got two children
by two different women and am not
married to either right now. You
th i n k I ’ m p r o u d o f t h a t ?
(MORE)
 29.
ZEKE (CONT'D)
God fo rbi d s he co nne cte d m e t o
Zeus, with children in every city
in Ancient Greece.

Madeline laughs a little - Zeke is perplexed.

ZEKE (CONT’D)
What are you laughing about?

MADELINE
‘Cause I just thought that kind of
rep is what every guy wants! You
think I’m full of it. Just listen
to yourself - so ready to put down
and judge your own kind because...
what? You buy into your own press?
Hades helped me, Zeke. He is not
s o m e ev i l g u a r d ia n o f t h e
underworld.
(Laughs again)
I’m sorry, but this is just too
ridiculous for words.

ZEKE
Laugh all you want, but if I were
you, I’d...

Just then, Zeke’s I-PHONE beeps. As Madeline smokes while

watching, he looks at a text message, more concern mixed with
surprise crossing his face.

MADELINE
What is it?

ZEKE
What do you care?

MADELINE
Tell me or leave.

ZEKE
I’m doing an expose on a politician
connected to a polluting chemical
plant near Augusta. My editor says
the politician is coming to meet
with him.
(Beat)
An d j u s t s o y o u k n o w , m y b i g
br ot he r i s s up po s ed ly th is
politician’s personal and political
advisor.

Suddenly, Madeline isn’t laughing anymore, but she’s still

mildly defensive.
 30.

MADELINE
‘No proof he did anything wrong.

ZEKE
(P u tt i ng I- P h on e i n
Pocket)
Not directly.

MADELINE
Wel l, enj oy you r con spi rac ies ,
Zeke. I ‘gotta get back to work.

Madeline turns to go back inside when Zeke calls out.

ZEKE
Maddy.

MADELINE
(Stops - Turns)
What?

ZEKE
Your date last night. How was it?

MADELINE
(Touched by Interest)
It was good.
(Smiles a little)
Good enough that I invited him back
tonight.

ZEKE
(Smiling)
Good for you. I hope this works
out.

MADELINE
Yeah... Thanks.

Madeline stands at the door watching as Zeke walks away.

EXT. NEW YORK CITY SKYLINE - AFTERNOON / ESTABLISHING

An AIRPLANE flies past us over the familiar city-scape in mid-

afternoon.

INT. MONUMENT MONTHLY OFFICES

Bill, Monument’s editor, rushes into the upper-floor office

full of REPORTERS and STAFF, mostly in one big room with
cubicles and side-offices for the editor and publisher. He
looks to be fresh from the airport as he lugs a SUITCASE
across the room with its AIRPORT TAG still attached.
 31.

BILL
(To Anyone)
Is he here?

REPORTER ONE
Who?

BILL
(A n no y ed - L o ok s t o
Secretary)
Emily?

EMILY
Yes, sir. Congressman Payne has
been waiting in your office for a
few minutes now. I told him you
were on your way.

INT. BILL’S OFFICE

The slightly younger, well-dressed and fairly attractive

CONGRESSMAN PAYNE watches from his chair as Bill quickly
enters, tosses his bag down and shuts the door to the side
office as if all in one movement before sitting down at his
desk.

BILL
Sorry about that, Congressman. I
landed on time, but you know New
York traffic...

PAYNE
With respect, I’d like to know just
how serious you are ab out going
after me over this chemical plant
stuff.

BILL
With respect, Congressman, I’m not
inclined to discuss a story like
that until it’s finished. I’m the
editor - I can make that choice -
and I think you already know the
answer to your question.

PAYNE
Then... there may be a way we can
help each other.

BILL
I’m listening.
 32.

PAYNE
I’ve not been able to get in touch
with my consultant since I found
out about his demand to speak with
one of your writers. These people
get pretty busy, but this guy has
always been reliable to a fault.
Until now.
(Beat)
So, I started it appears he has an
agenda of his own - and I’m part of
it. In fact, we might both be part
of it.

BILL
Do you even have a clue who Donald
Shade really is?

PAYNE
I know he’s been a successful and
popular consultant for a long time
and I t hou ght th at w as eno ugh .
Now...

BILL
Well, I can tell you right now that
none of us in this office know any
more about this guy than you do.
Before now, we didn’t even know he
existed. You claim you know him by
reputation, but I don’t buy it. I
think there’s more, and if you
don’t stop wasting my time and tell
me, then I’ll ask you to kindly
leave my office.

PAYNE
(Sighs in Resignation)
The Strand and Company chemical
plant...

BILL
Yes?

PAYNE
Th ey ' re in m y d i st r ic t - n e ar
Athens, Georgia, where your writer
is. Only since all this started,
tho ugh , d id I f in d t hat Do nal d
Shade was a major investor... one
who pulled out very recently.
 33.

BILL
This must be that homework you
mentioned.

PAYNE
Even though it was burglarized last
night with inside help, the alarm
was triggered and the cops came.
Somehow, these guys escaped before
th e p o l i c e a r r iv e d , a n d w i t h
something that may be... dangerous.
I need to know if Donald Shade is
really connected to all this, and
if my hunch is right, I think you
do , t oo , a nd no t j u st f o r t he
story.
(Leans in)
Whether we like it or not, we need
to help each other.

BILL
(Shakes Head)
I’ll play along, for now, but if I
find you’ve hidden something super-
important from me, I promise I will
find it out and have your skinned
hide plastered all over the
proverbial front page.

EXT. MADELINE’S APARTMENTS - AFTERNOON

Again, a smiling Madeline opens the door find Kenny on her

doorstep.

MADELINE
You’re early.

KENNY
I just couldn’t wait.

MADELINE
‘Suits me.

Door shuts behind them.

EXT. OFFICE BUILDING - AFTERNOON

ON SHADE - visible as he stands, looking out through his

upper-floor office window over the city below.

INT. DONALD SHADE’S OFFICE - CONTINUOUS

He stands for a moment, clearly preoccupied, clearly a little

disturbed.
 34.

After a moment, he pours himself a DRINK at his old-fashioned

MINI BAR, then sits down behind his desk.

EXT. ZEKE’S HOME - AFTERNOON

Zeke pulls into his small driveway to see Sara outside,

walking the short distance back to her house with her mail.

Zeke stops - gets out. Sara stops, too.

ZEKE
(Playful)
Well, howdy, neighbor.

SARA
Howdy to you.

Both smile - approach one another.

ZEKE
Still trying to think about what
you can do for me - you know, after
that call last night.

SARA
Yeah, well... don’t think too hard.
Please?

ZEKE
Really, though, I appreciate the
apology, but it wasn’t necessary.
I’ve thought about what you said.
You’re right, and I don’t like what
my c h i l d r e n a r e h a v i n g t o g o
through, knowing their dad isn’t
eve n a ll tha t c lo se wit h t hei r
mothers... or with them.

Sara smiles warmly at Zeke with a combo of sympathy and

growing admiration.

Meanwhile...

INT. MADELINE’S APARTMENT

Madeline is putting her pet snake back in the tank after

showing it to Kenny.

KENNY
Careful, now!
 35.

MADELINE
Oh , h us h . Li g ht w ei g ht . S na k es
actually have to be held at around
the same time everyday to get used
to their owners. The rest of the
ti m e , t h e y ’ r e pr e t t y d o c i l e ,
solitary creatures.

KENNY
Yeah, well, I’m not.

Madeline smiles - turns to Kenny - the two quickly start

kissing passionately. As they do, they inadvertently knock
into the tank, which isn’t all that big or heavy.

INT. SARA’S HOME

Zeke walks into his neighbor’s similar-looking home behind

Sara.

SARA
Yo u c an se e I ’m no t t he gr e at
housekeeper I should be.

ZEKE
Don’t worry. I am not one to judge.

SARA
Yeah, I remember.

ZEKE
So what’s this extra special coffee
blend you offered me?

SARA
Well, you said you frequent that
coffee shop near the courthouse.
They got a lot down there, but I
doubt they have this stuff.

INT. DONALD SHADE’S OFFICE

Shade sits at his desk, lost in thought... and memory.

INSERT-CUT: IN SHADE’S MEMORY - THREE DARK FIGURES, ALL MALE,

STANDING OUTSIDE IN A ROCKY LANDSCAPE - THE IMAGE BLURRED BY
THE GLARE OF THE SUN. ONE HOLDS OUT A FIST HOLDING STICKS,
WIT H EA CH MA N DR AWI NG O NE . O NE O F THE M - NO W B AR EL Y
RECOGNIZABLE AS A YOUNGER SHADE/HADES - PULLS THE SHORT ONE.
THE OTHERS ARE CLEARLY ZEUS AND POSEIDON, THEIR CONVERSATION
AUDIBLE, YET ECHOING.
 36.

HADES
I don’t wis h to cause conflict,
brothers, but is this really fair?
Am I n ot the o lde st? By
tradition...

ZEUS
We all know tradition, Hades, but
this is not the time. A new race
is forming on this wor ld and if
we’ re to sta y h er e, we nee d t o
de c i d e w h o t a k es t h e l e a d i n
representin g us and... maybe...
helping them to develop responsibly
and prosperously.

POSEIDON
And that’s you? I know you saved
us , Ze u s, b ut Ha de s i s ri g ht .
Be si d es , y ou ar e n o t un i qu e ly
qualified.

ZEUS
Am I? Which of us got our father’s
slaves to turn and help me free the
rest of you - to fight him and the
rest of our elders? I did.

HADES
We w e re ch il d re n , b ro th e r, at
fat her ’s mer cy. Y ou had mo the r
hiding you from the day you were
born.

ZEUS
En o u g h . T h i s i s h o w w e w o u l d
decide. It has been decided. I will
promise, though, to do the best I
can as fairly as I can.

Shade is brought back to the present by a call on his OFFICE

PHONE.

SHADE
(Answering phone)
It’s me. Talk.

ASSOCIATE
(Over phone)
We g o t i t - t h e c o m p o u n d a n d
everything. Just give the word.

Shade hesitates - thinks a moment.

 37.

ASSOCIATE (CONT’D)
Sir?

SHADE
I’m still here.
(Beat)
Do it.

INT. MADELINE’S APARTMENT

In their passion, Madeline and Kenny accidentally knock over

the tank with the snake before making their way the short
distance to the sofa. They don’t notice as the snake begins
crawling on the floor, straight towards them!

INT. SARA’S HOME / KITCHEN

Sara holds up a CAN OF COFFEE MIX in front of Zeke.

SARA
It’ s S out h A mer ic an, ve ry rar e
bl e n d - v e r y e xp e n s i v e . I t ’ s
exquisite. If I had the time, I’d
go ahead an d make some for you,
mys elf , b ut whe n you ge t h ome ,
you’ve just got to try it.

ZEKE
After all that, how could I resist?

Despite Zeke’s seemingly enthusiastic words and tone, Sara

notices that he’s distracted and a little... down.

SARA
Zeke, what’s wrong?

ZEKE
Nothing. Family problems, for the
mo st p a rt . Y ou w o ul dn ’ t be
interested.

INSERT-CUT: MADELINE AND KENNY, ON THE SOFA MAKING OUT WHEN

KENNY SUDDENLY JERKS UP WITH A YELP OF PAIN. MADELINE
STRAINS TO LOOK PAST HIM AND SEES THE SNAKE AT RICHARD’S
FEET... HIS BARE FEET! HER EYES GO WIDE.

SARA
Care to try me?

ZEKE
Well... actually...
 38.

INSERT-CUT: OUTSIDE MADELINE’S APARTMENT - A GUILTY-LOOKING

MADELINE WAITS ANXIOUSLY TO ENTER AN AMBULANCE WITH HER NEW
BOYFRIEND. AS HE’S WHEELED PAST AND LOADED IN, SHE TURNS HER
HAD TO SEE ANIMAL CONTROL PEOPLE BRING HER PET SNAKE OUT IN A
LARGE NET.

Just then, Zeke’s I-Phone beeps again with another message.

This time, it’s voice mail, which Zeke accesses and listens
to.

SARA
What’s going on?

ZEKE
Madeline...

SARA
Who?

ZEKE
Uh , ju st a f ri en d of m in e.
She’s... in trouble.

SARA
She?

ZEKE
It’s not what you think.

SARA
Isn’t it? I’m almost sorry to hear
that.

ZEKE
I, u h. . . I re a ll y n ee d to go .
Thanks for the coffee.

Sara watches Zeke rush out.

EXT. ATHENS HOSPITAL - LATE AFTERNOON / ESTABLISHING

INT. ATHENS HOSPITAL / EMERGENCY ROOM

Zeke rushes in to see a distraught Madeline stepping outside

Kenny's room.

ZEKE
Maddy, what happened?

MADELINE
(Mixed feelings)
I don’t know, it’s so... stupid,
but...
 39.

Zeke notices Madeline looking past him, getting angry at what

she sees. He looks over his shoulder to spot some NURSES
snickering in the distance, trying to contain their laughter
as they seemingly gossip and occasionally point or gesture
towards Madeline and her boyfriend’s room.

Just then, a DOCTOR and his NURSE ASSISTANT walk up holding

an I.V. BAG. Zeke stops them before they enter Rich’s room.

ZEKE
Excuse me, but I’m a friend of...
them. May I just ask what’s going
on?

DOCTOR
Sorry, sir, but you’re not family
and we re all y n ee d t o g et thi s
hooked up.

MADELINE
(To Doctor)
It’s okay, doctor.

DOCTOR
(Hesitant)
It’s anti-venom for a specific kind
of snake bite. We’re lucky Kenny
in there arrived in time.

As the Doctor and Nurse Assistant rush into the room behind
them, Zeke turns to Madeline.

ZEKE
Snake venom?

MADELINE
So I have a pet snake. Had... a
pet snake. Animal control took him.

ZEKE
I guess you realize that if this
were South Park, he’d be dead.

MADELINE
Oh, cute.

ZEKE
What happened?

MADELINE
We were... you know... The tank got
knocked over and before we knew
what was going on...
 40.

ZEKE
Oh, for crying out...

MADELINE
What? You don’t think I feel bad
eno ugh al rea dy? He cou ld hav e
died!

ZEKE
He s t i l l m i g h t i f t h i s s t u f f
doesn’t work in time!
(Beat)
I’m sorry. I know this isn’t
necessarily your fault.

MADELINE
(Frustrated - Facetious)
Oh, thanks a lot, Almighty Jerk.

ZEKE
Well, if that’s the way you feel,
then why did you call me?

MADELINE
Wo ul d y o u ra t he r I ca ll e d o ur
mutual friend?

ZEKE
No, but what do you want me to do?

INT. ATHENS HOSPITAL / KENNY’S ER ROOM

Zeke and Madeline enter as the Doctor and Nurse Assistant

prepare to leave. Kenny seems to be asleep.

NURSE ASSISTANT
He’s all hooked up with the anti-
venom, whic h should wo rk pretty
qu ic k ly . Th e b i te re gi o n w as
getting pai nful, so we gave him
so me D i la ud i d an d a l i tt le
sedative.

MADELINE
Thank you.

DOCTOR
You two can be in here, just try
not to ge t h im to o a git ate d o r
riled up.

ZEKE
She will.
 41.

Madeline darts a glance of annoyance at Zeke, then walks up

to the head of Kenny’s bed and runs her hand through his
hair. Zeke stays at the foot of the bed, watching.

ZEKE (CONT’D)
How long have you known him?

MADELINE
Not long. He was a customer first
that turned out to be a friend of a
friend from, like... a few years
ago. You know how it is.

ZEKE
Yeah, kind of.

Kenny starts to come to - sees Madeline smiling down at him.

KENNY
(Groggy)
Madeline?

MADELINE
Shh. You’re going to be all right.
Ju st s t ay c a lm a n d le t t he
medication do its job.

Kenny nods.

MADELINE (CONT’D)
I am so r ry , y ou kn o w, t h at . ..
well...

KENNY
Ye a h , I k n o w . Ev e r y o n e k e e p s
poisonous snakes, right?

MADELINE
Kenny, I said I was...

KENNY
Sorry? Yea h, Madeline , I heard
you.
(Beat)
Look, they gave me something that’s
made me drowsy, so... maybe, if you
want, you can come back later?
(Beat)
Who’s that?

MADELINE
Him? He’s just an old friend.
 42.

KENNY
Huh... Doesn’t look all that old.

Madeline looks surprised and upset.

ZEKE
I think I’ll go to the waiting room
- give you two a few minutes to
talk alone.

KENNY
Sorry, man... whoever you are. You
guys do wha t you want. I can’t
really talk much now, anyway.

MADELINE
Kenny, please!

Despite Kenny's words, the couple start talking again as Zeke

quietly walks out.

INT. ATHENS HOSPITAL / ER WAITING ROOM

As Zeke enters the waiting room, he notices a GROUP OF PEOPLE

watching a particular news report on a mounted BIG SCREEN
TELEVISION. He walks up behind them to watch, as well,
watching as an on-scene reporter talks outside with some kind
of FIRE raging behind him in the distance.

TV REPORTER
(On Television News)
How and why someone wo uld set a
fire literally on the North Oconee
River is baffling to everyone, but
it poses some potentially serious
problems, especially if it spreads
to the ba nks an d hit s t hat dr y
grass and foliage. Sources say this
is linked to chemicals stolen from
the Strand and Company chemical
pla nt, wh ich wa s rum ore d t o b e
making something that could do this
both for construction and weapons
purposes - evaporating large bodies
of wat er qui ckl y, th ey say , b y
se t ti n g s el f -c o n ta i ne d , s el f -
perpetuating fires. Nothing seems
to make a lot of sense just yet,
and like I said, it’s all pretty
hard to bel ieve, but a s you can
see, this f ire out her e is very
real - including the growing patch
of low-lying fog starting to build
up around me.
 43.

Just then, Zeke’s I-Phone rings.

ZEKE
(Answering)
Hello?

SHADE
(Over Phone)
You wanted a story, little brother?
Now, you have it.

END OF ACT THREE

 44.

ACT FOUR

INT. ATHENS HOSPITAL / ER WAITING ROOM

In a corner of the waiting room, Zeke talks more privately on

the phone with Shade.

ZEKE
The fire on the Oconee...

SHADE
I told you I’d live up to my
reputation. Did you really think
yo u c ou l d co m e b ac k a nd st i ll
control everything?

ZEKE
(Angry)
You’re behind all of this, aren’t
you - the break-in, this fire...

SHADE
‘Way to sta te the obvi ous. Then
again... maybe not. If you’re so
concerned, then do something abut
it. Admit who you are - admit what
you are, just like the rest of us,
and give up this rid icul ous
delusion of suddenly being like the
powerless and stupid humans - as if
that’s somehow a good thing.

ZEKE
I w oul dn’ t expect yo u to
understand.

SHADE
Un de r st a nd w h at ? T h at d r aw i ng
straws saddled me with a dirty job
and made me a pariah! Because of
that, I’ve been here longer than
you can imagine. I’ve done what I
had to and am still doing it. Now,
my own little brother arrives and
STILL I’m rejected and accused!

ZEKE
That’s a load of bull and you know
it. You do this because you want
to, so don’t try to put any of this
on me or anyone else.
 45.

SHADE
At least I’m not the one running
from who I really am. ‘You want
your cake and eat it too? ‘To play
normal human, yet still act like
Almighty among your own kind? Fine.
Here’s your chance to prove you can
ha ve it bo th wa y s a nd b e b o th
things. Or are you afraid to face
the river Styx?

As if given a cue, Zeke looks up to the television across the

room with images of the fire on the river. Styx!

ZEKE
So that’s what this is about. Are
you crazy? I told you, I have no
powers anymore, and even if I did,
they’re not the kind t hat could
reverse this.

SHADE
I hear there’s a front moving in.
Look at this as an opportunity -
one to come out of the closet, so
to speak, and embrace the role and
responsibility you chose long ago.
The ball is in your court... Zeus.
I s u g g e s t y o u no t w a s t e t i m e
figuring out what to do with it.
(Hangs up)

Hav in g jus t go tt en of f th e p ho ne w ith S ha de , a v er y

distracted Zeke sees a dejected-looking Madeline walk back
from Kenny's room - straight towards Zeke. She sits down
nearby, absorbed in her own troubles until the images on
television of the fire momentarily catches her attention.

MADELINE
What the...?

ZEKE
Maddy, I have to leave for a little
while.

Without having been told anything else, Madeline looks like

she understands.

ZEKE (CONT’D)
Did you ride here in the ambulance?

MADELINE
Yeah. I did.
 46.

ZEKE
Then just wait for me, okay? If you
want, I’ll take you home when I get
back.

MADELINE
(Nods)
Okay.

EXT. HIGHWAY - NIGHT

On a country highway as the sun goes down, Zeke’s car passes

a sign indicating the North Oconee.

INT. ZEKE’S CAR - CONTINUOUS

As he drives, he can see SMOKE rising behind a SLOW ROLLING

FOG coming towards him. He also sees SIGNS of police and
fired department activity nearby. He slows down at first,
but then decides to speed up and go past.

EXT. NORTH OCONEE RIVER BANK - NIGHT

Zeke pulls up close to the river bank and steps out, able to
see the fire raging down river, but little else in the now
thick, low-lying fog. In the sky, he can just barely make
out one or two sizeable STORM CLOUDS - just as Hades had
said!

At first, he seems to not even know what he’s doing there,

but then, he remembers - the power surge while shaving!

It’s a long-shot, but Zeke looks around for something metal.

In some nearby brush, he actually finds an OLD RADIO ANTENNA
which he picks up and dusts off. It’s a little bent, but he
decides it can work.

He then walks up closer to the river’s bank and stops,

holding the antenna upside down, bottom facing up towards the
sky. Then, he closes his eyes and concentrates. Unsure what
to do, he thinks about everything that’s happened so far:

MONTAGE:

1. SAYING GOODBYE TO LUCY AS A BOY.

2. REUNITING WITH HADES.

3. ARGUING WITH MADELINE - THE EMERGENCY ROOM.

As emotion wells up inside of Zeke, his body starts to GLOW

as if pulsing with some kind of electric energy.
 47.

Then, an ELECTRICAL ENERGY FIELD surrounds him, attracted to

the antenna he holds along which the electricity quickly runs
up and out into the sky, like lightning flashing up instead
of down!

Sure enough, the “lightning” arcs up through the air and into
the fairly low storm clouds, lighting them up and unleashing
a TORRENTIAL RAIN that can be seen in the distance first as
the cloud moves... in the distance, where the fire is!

INSERT-CUT: POLICE AND FIRE FIGHTERS STAND IN SHOCK AND

CONFUSION AS - IN ADDITION TO THE FOG - HARD RAIN FALLS ON
THEM AND ON THE NEARBY FIRE, SLOWLY BUT SURELY PUTTING IT OUT
BEFORE IT CAN SPREAD TO THE EDGES OF THE RIVER.

Afterwards a moment or two of emanating intense bursts into

the havens, Zeke collapses to the ground on all fours,
dripping in sweat and drained from the use of a power he
wasn’t even sure he still had.

Unbeknownst to Zeke, a shadowy figure has been watching from

behind some trees in the distance. As Zeke recuperates, he
quietly turns and leaves without announcing his presence.

FADE TO BLACK.

EXT. SARA’S HOME - NIGHT

LIGHTS are still on in the house late that night.

INT. SARA’S HOME / BEDROOM

Sara packs a suitcase as she watches a news report on the

Oconee fire on television.

EYEWITNESS
(On TV)
I’d been fishing off the bank when
I seen the fire from a distance.
Then there was that nasty fog. I
was about to leave when I seen this
big, like... streak of lightning or
som eth ing in th e dis tan ce. It
looked like it came from the ground
instead of the sky. I know how
that sounds, but wherever it came
from, it went straight up through
some rain clouds and, before I knew
it, it was raining! Hard!
 48.

TV REPORTER
Th er e i t i s. We ev e n ha v e t he
evidence since our original cameras
got soaked and we had to call out a
new crew. While we st ill don’t
have clear explanations of how or
why, the sto ries abo ut w hat
ha p p e n e d a n d w ha t p e o p l e s a w
tonight seem to match up. It will
be i nt e re st i ng t o w at c h as
authorities investigate everything -
who robbed the plant, who started
the fire and why... and especially
where that alleged lightning bolt
came from, which was seen and has
been talked about by more than one
ey e w it n e s s, i n cl u d i ng a
firefighter.

Sara gazes at the screen with a knowing look and a slight

smile.

INT. ATHENS HOSPITAL / ER WAITING ROOM

A weary Zeke rushes back in, looking around for Madeline, but
not seeing her. Reaching the middle, he stops and, with a
frustrated expression, scans the area as far as he can see.
Nothing.

Again, Zeke notices the television nearby, still airing news

reports about the fire. Then, from a nearby seat, behind a
newspaper... an all too familiar voice.

SHADE (O.S.)
Well, well, well... I guess we know
what’s gonna be on tomorrow’s front
page, huh?
(Lowers paper)
Li g h t n i n g c o m i ng u p f r o m t h e
ground... ‘Sounds like end times
stuff to me . And who e lse would
know better about all that?

Zeke looks down to see Shade as he stands, smiling wryly.

ZEKE
Not now. Have you seen Maddy?

SHADE
Is that what you call her?
(Beat)
Madeline is back there apologizing
again for her snake.
(Chuckles)
(MORE)
 49.
SHADE (CONT'D)
‘Guess she’s lucky it didn’t get in
her hair, right?

ZEKE
(Sarcastic)
I’ m g la d y ou ca n l a ug h a t a ll
that’s gone on tonight, because I
can’t.

SHADE
I think that happens when you’ve
had your bubble burst.

ZEKE
You might have been right about the
powers thing, but you’re still full
of c r ap . I f y ou ’ re wa it i ng on
som eon e t o f eel s orr y f or you ,
you’ll be waiting a very long time.

Shade stands there, glaring at Zeke, trying to hide how true

Zeke’s words are, but unable - even in silence.

ZEKE (CONT’D)
And just so you know, you can tell
that client of yours I’m finishing
my story. I have a feeling the cops
will get enough cooperation from
Strand to catch the burglars that
did this and whoever let them in.

SHADE
Maybe, but I’ve been around long
enough to know that the fire and
rumo rs a bout you r li ttle ...
stunt... are going to overshadow
ano the r d ry, pr ed ict abl e s tor y
ab ou t c o rp or a te po l lu ti o n a nd
political corruption.

Just then, Zeke spots an ER NURSE looking at him as she

rushes over.

ER NURSE
Excuse me, sir, but is your name
Zeke Lane?

Shade takes a step back to watch.

ZEKE
Yeah. Is this about Madeline and
her boyfriend? Because...
 50.

ER NURSE
Who?
(Beat)
No, no... Actually, this is going
to sou nd kin d o f wei rd, bu t.. .
well, we have a patient that saw
you pass by in there and she’s been
swearing up and down she knows you.
I told her I didn’t know who you
were or if you were still here, but
she demanded I bring you back in to
see her.

ZEKE
Did this patient give a name?

ER NURSE
Yes, but it’s been so busy here...
It was something short and
familiar. I think it started with
an L. Anyway, she’s in her fifties
and her kidneys are failing.

Zeke doesn’t know what to say even as a sort of realization

crosses his face.

ER NURSE (CONT’D)
She’s refusing to be treated with
anything but basic palliative care.
Her sy ste m i s a lr ead y s hut tin g
down, so I don’t think she has much
time.
(Beat)
If you think you know who this lady
is, I can take you back. It’s your
choice.

Zeke instinctively looks back at Shade as if to ask for last-

minute advice. Clearly, whatever else Shade is, he’s still a
brother.

In a rare moment of empathy, Shade just looks at Zeke and

nods once.

INT. ATHENS HOSPITAL / EMERGENCY ROOM

Back with the rest of the patients, Shade stays back as the
ER Nurse leads Zeke through some DRAWN CURTAINS, behind which
Zeke is both surprised and horrified to find... Lucy!

Now definitely older, she lies on what is now her death bed,
looking old and frail, hooked to monitors and barely able to
raise her arms, which she tries to do as Zeke nears in order
to hug him.
 51.

ZEKE
Lucy?

LUCY
Zeke?
(Tears in her eyes)
You’re a grown man now, but I’d
still know you anywhere. My
precious baby boy.

Despite mixed emotions, Zeke smiles, genuinely glad to see

her.

ZEKE
I don’t... I mean, it’s just... I
thought you had moved. A long time
ago.

LUCY
I did, and I had a wonderful time
in a wonderful job. Then I got
sick, and... well, I realized I’d
also lost touch with the very girls
I wanted to help. One won’t even
see me now. I guess they still feel
like I failed them.
(Beat)
But... enough of that. I see your
name now and then in that magazine.

ZEKE
Yeah, I’m sort of a columnist and
investigative reporter rolled into
one.
(Beat)
But... about your children - is
that why you’ve denied treatment?

LUCY
In a way, but the treatment
wouldn’t give me much time, anyway.
I barely paid in, so I don’t get
much Social Security. All I got is
a life insurance policy in my
daughters’ names. I guess, if I
can’t make up for being a bad
mother, I can at least give them
something they can use - and the
sooner, the better, I think.
(Smiles)
Seeing you again, though... God can
take me home happy now, like that
song, I guess. Remember that?
 52.

ZEKE
What song? A hymn?

LUCY
Oh, no, just some song that was
playing that night, on my little
radio, just as I was passing the
park.
(Beat)
It reminds me of you.

Zeke takes Lucy’s hand as she winces in pain. He glances over

his shoulder to see the ER Nurse stepping out, revealing
Shade just outside as the curtains part again.

LUCY (CONT’D)
Who’s that - behind the curtains? A
friend of yours?

ZEKE
(Nervous)
Uh... yeah. We’re here for a,
uh... a mutual friend who is...

When Zeke sees Lucy wince again in pain, he realizes it’s

probably pointless to go into more detail.

As if to break the tension, Lucy abruptly changes subjects.

LUCY
Oh! I almost forgot.
(Reaches into sheets)
I almost didn’t get back here with
it.

Once again, Lucy hands Zeke the wooden carving she found him
with. Once again, he takes it in his hand, this time a
reminder of what he did earlier in the night... and of who he
really is.

LUCY (CONT’D)
Don’t worry. It’s still our
secret.

ZEKE
Lucy, I don’t think I ever actually
told you who or what I...

LUCY
(Interrupts)
Shh! It’s not important now. All I
know is that you’re special, and
that maybe I had some small role in
your life. That’s enough for me.
 53.

Suddenly, Lucy flinches - groans in pain as Nurses rush in,

signaling for Zeke to leave.

As the Nurses tend to Lucy, Zeke steps outside the curtains

to see Shade, who has been waiting all this time.

ZEKE
(To Shade)
You’re still here?

SHADE
The woman in there. Who is she?

ZEKE
(Angry - Sad - Sarcastic)
Oh, nobody. ‘Just the woman that
found me when I got here, is all.

SHADE
She means a lot to you, doesn’t
she.

ZEKE
I had parents I grew up with, but
still... she’s like a mother to me.
She did find me in that park -
probably saved my life. In that
sense, she’s a lot of why I’m still
alive.

SHADE
Like Rea.
(Beat)
Like our mother. Our real mother.

Just then, something dawns on Zeke as he looks at Shade.

ZEKE
She’s dying in there, brother.
Slowly. Painfully. I know I might
not have a right to ask, but you do
have that gift. You can give her
peace... ease her pain in the final
moments.

SHADE
And speed it up, too, right?

At first, Shade looks frustrated - turns to look away.

 54.

ZEKE
(Low Tone)
You talked about man’s unfair ideas
about you and who you are - how
you’d live up to them all if you
had to - but I know you. You’re
better than that, Hades - at least,
you could be.

Shade scoffs.

ZEKE (CONT’D)
If you don’t help her, then you’re
doing exactly what you accuse me of
doing - running away from who you
really are, which I can tell is not
limited to humanity’s shallow
beliefs or opinions.

Convicted in what conscience he has left, Shade slowly turns

back towards Zeke, then lifts his head up to look through a
break in the curtains.

CUT TO:

A moment later, Lucy’s drowsy eyes flutter as Zeke and Shade

walk in together - Zeke in front, walking directly to the bed
and looking straight into Lucy’s eyes.

LUCY
You... you’re still here? What
about... your friend?

ZEKE
He’s here, too, Lucy, and I think
he can help you.

Lucy winces in pain.

ZEKE (CONT’D)
Just rest, okay?

With glassy eyes, Lucy gently nods in understanding and

agreement.

Zeke kisses Lucy on the forehead and pats her hand before
letting it go. As he does, the hand opens slightly to reveal
TWO COINS that Zeke has dropped into it.

Then, Donald Shade - Hades - steps up to the bed and looks

down at Lucy with a startlingly warm expression.

LUCY
You’re Zeke’s friend?
 55.

SHADE
Yes. Yes, I am. Now, please.
Close your eyes.

With but a moment’s reluctance, Lucy gently nods and closes

her eyes for the last time as Shade puts his hand on her
forehead.

Meanwhile, outside the curtains, Zeke stands nervously -

waiting a moment or two - before finally hearing the monitors
going off by Lucy’s bed. He knows what it means. The end.

Before he can even start to look for anyone, the ER Nurse

rushes by him and into the enclosed area, where Zeke watches
as she checks Lucy’s pulse, but gets nothing.

More Nurses come to do their work, passing Zeke as he looks

all around for Shade. To his mild surprise, his oldest
brother and would-be foe is gone.

As Zeke watches the Nurses take down the time and pull the
sheet over Lucy’s body, Madeline walks up behind Zeke, gently
putting her hand on his shoulder. It startles him a little.

MADELINE
So, Kenny's going to be okay. He’s
not happy, but I think we’ll talk
again. Anyway, they told me about
that woman in there.

Madeline watches as Zeke turns to face her and immediately

sees tears streaming down his cheeks. Gently, she gives him a
hug and whispers in his ear.

MADELINE (CONT’D)
Hey, it’ll be okay. I know that
now. We’ll all be okay.

Zeke nods.

MADELINE (CONT’D)
Come on. Let’s go home.

Zeke smiles a little, wiping tears away as they leave the ER

together.

DISSOLVE TO:
 56.

EXT. OFFICE BUILDING - MORNING

TV REPORTER (V.O.)
After a week of speculation,
authorities have now linked the
Strand and Company burglars to a
political consultant in Atlanta,
who - according to records - used
his own office phone to give the go-
ahead both for the burglary and the
mysterious Oconee fire.

INT. DONALD SHADE’S OFFICE

FBI DETECTIVES and OFFICERS burst through the door, a WARRANT

in-hand, but find the previously opulent office empty, with
only an empty desk and office chair remaining. They look
around for a moment, shrugging in frustration.

TV REPORTER (V.O.)
At the moment, however, the
consultant appears to be on the run
- his name withheld at the request
of anonymous sources.

INT. INTERROGATION ROOM

Zeke sits at a small table talking with the FBI Detectives.

TV REPORTER (V.O.)
While the consultant appears to be
one of the most crucial of players
in the scheme, officials say others
that were involved or had knowledge
are currently cooperating,
including eyewitnesses, coworkers,
and even the politician that had
allegedly taken kickbacks from
Strand.

INSERT-CUT: A COMMERCIAL JET SOARS HIGH ABOVE THE CLOUDS.

INT. COMMERCIAL JET

In first class, no less, a contented Sara puts down a

magazine on marriage and women’s issues before pulling out
from the back of the SEAT in front of her a new issue of
Monument Monthly, opening it to Zeke’s article on the
chemical company and politician. She smiles with pride as she
reads it.
 57.

EXT. ZEKE’S HOME - AFTERNOON

ZEUS (V.O.)
Coming back, I thought I knew what
to expect of a truly human life.

INT. ZEKE’S HOME - CONTINUOUS

Once again, Zeke goes through his male as a lower, more

authoritative version of his voice - the “Zeus Voice” -
narrates.

ZEUS (V.O.)(CONT’D)
In my arrogance, I thought I was
uniquely qualified and could once
again take on humanity and the
human world - not as a leader or
figurehead this time, but as a
functioning and successful member
of its society. I thought I
understood what I was in for - that
blending in was the best way to
appear more human. Instead, I
learned that most of the time, it’s
the other way around.

Zeke looks down at more child support papers, but this time,
he’s alone and looks with some hint of sadness.

EXT. COFFEE SHOP - AFTERNOON

Once again, Madeline steps out the back of the shop and
lights up a cigarette. This time, though, she gets a call on
her cell phone just as she does, which she answers with a
smile!

ZEUS (V.O.)
I don’t know how many of us are
here, but I know now that we’re not
all going through the same things.
Humans thought Medusa was one of
them - turned into a monster by one
of us. Whether as humans or as
ourselves, we live on Earth in
obscurity. Because of those
perceptions and how much time has
passed, some of us are feeling a
little lost.

INT. ZEKE’S CAR

Zeke - driving.
 58.

ZEUS (V.O.)
Maybe that’s not always such a bad
thing, though. If we think we get
everything in life right the first
time, we might miss out on the
journey.

EXT. SUBURBAN HOME - AFTERNOON

Zeke’s car pulls up in front of a small, suburban home as a

little boy (ZEKE’S SON), around eight years old, runs out
with his BACKPACK and gets into Zeke’s car as his MOTHER
watches from the door - waving.

The boy strongly resembles a slightly younger version of

Young Zeke as seen in flashbacks.

ZEUS (V.O.) (CONT’D)

And that journey is starting to
look like the most important part.

INT. ZEKE’S CAR - CONTINUOUS

Zeke starts driving again as his Son shuts the door.

ZEKE’S SON
You’re late, dad.

ZEKE
Come on, buddy, give me a break.
You’ve only known how to tell time
for, what? A year? Two, maybe?

ZEKE’S SON
More like three - and you’re still
late. Mom almost made me unpack.

ZEKE
Your mom needs to lighten up.

ZEKE’S SON
I heard my teacher tell her to
relax one time. Anyway, where are
we going first? Out-to-eat? Movies?
Home?

ZEKE
Not so fast. First, we have to pick
up your sister.

ZEKE’S SON
(Disappointed)
Oh, man! Well, maybe her mom won’t
let her go, either.
 59.

ZEKE
What’s wrong? You don’t like your
little sister?

ZEKE’S SON
I hardly know her!

Zeke thinks on that a moment.

ZEKE
Yeah, I know. And I’m sorry.

ZEKE’S SON
For what?

ZEKE
It’s... nothing.

ZEKE’S SON
Right. Mom says you talk to
yourself. Do you?

ZEKE
No. I don’t think so. Anyway,
what do you have against your
sister? Sisters are cool!

ZEKE’S SON
Since when?

ZEKE
Since forever, man! Don’t they
teach you anything at that school
of yours?

ZEKE’S SON
(Joking)
How would I know?

ZEKE
Right... public school. How would
you?

ZEKE’S SON
‘Mind if we listen to the radio?

ZEKE
Sure.

ZEKE’S SON
Cool.
 60.

Zeke’s Son turns the radio on and presses, “Scan.” After a

moment, it stops briefly on a station playing the Phil
Collins song. Zeke’s Son is about to change the station
again when Zeke stops him.

ZEKE
Hey, hold up, will you? I like
that song.

ZEKE’S SON
Dad, this station only plays old
stuff!

ZEKE
Well, I am... old stuff. Just shut-
up, boy. I want to hear the song.

Zeke’s son just shakes his head as he pulls an I-Phone out of

his backpack and starts playing a game.

After a moment, Zeke’s Son notices his dad humming the words
to the song.

ZEKE (CONT’D)
(Humming to the song)
Take that look off of me... mine’s
an ordinary life. Working when it’s
daytime... and sleeping when it’s
night.

ZEKE’S SON
Um... dad? I think you’re talking
to yourself again. Or singing.

Zeke looks at his son, smiles, winks, but keeps going.

ZEKE
(Humming)
I got no far horizons. I don’t wish
upon a star. They don’t think that
I listen - oh, but I know who they
are.

EXT. ROAD - AFTERNOON / CONTINUOUS

Zeke’s car disappears over a hill as the song continues OVER

the scene.

FADE OUT.

END OF ACT FOUR

 61.

TAG

EXT. COUNTRY ROAD - DAY

A HITCHHIKER - fifties, thick graying hair with thick beard,

and mismatched clothing - thumbs for a ride with one hand as
he holds a KNAPSACK with the other. On his COAT, he wears a
PURPLE HEART in full view.

A PICK-UP TRUCK slows down and stops as its Driver opens the
passenger door.

HICHHIKER
Many thanks, sir.

DRIVER (O.S.)
No problem.

Various PRO-MILITARY STICKERS adorn the BACK WINDOW and other

areas of the truck.

INT. PICK-UP TRUCK - CONTINUOUS

The DRIVER - same age, but better dressed - seems pleased to

pick up the Hitchhiker, staring at the man’s Purple Heart.

DRIVER
No need to thank me, soldier. You
look like y ou’ve falle n on hard
times. Nowadays, you wouldn’t be
the first.

HITCHHIKER
Indeed.

DRIVER
So, where are you headed?

HITCHHIKER
‘Depends. Where were you going?

DRIVER
Well, I was just going into Athens
here. It’s not far now.

HITCHHIKER
Really? That’s where I was going.
‘Someone I’ve been meaning to look
up. ‘Heard they were here, so...

DRIVER
Oh, yeah? Friend of yours or...?
 62.

HITCHHIKER
Friends... family... ‘Should be all
the same, right?

DRIVER
‘Got a point.

Just then, the Driver looks over and sees the Hitchhiker pull
an old, semi-automatic SERVICE PISTOL out of his knapsack.

DRIVER (CONT’D)
That’s, uh... that’s a nice looking
piece.
(Beat)
Say, I almost forgot. I don’t think
I caught your name.

HITCHHIKER
(Brandishing gun)
You can call me Aaron. And judging
from the writing on this chariot of
yours, we ought to get along real
well.

DRIVER
(Nervous - Playing along)
How’s that?

AARON
(Carefully Loading Pistol)
Le t’ s j u st s a y I ’m a bi t l i ke
General Patton. In another life, I
wen t b y a not her n ame an d h ad a
great desti ny. Now, I face that
destiny again.

DRIVER
A great destiny, huh? And just what
would that be?

Aaron cocks the pistol and points it at the Driver.

AARON
War.

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