SYNOPSIS:

Cole meets his future self Simon.

INTO THE LABYRINTH EP. 6

SC1. INT. GLASGOW CATHEDRAL - DAY - GLASGOW - 2014

[THE CHURCH OF SCOTLAND SUNDAY SERVICE IS

CONCLUDING.

COLE JACOB BILLINGTON IS STOOD IN THE

CORRIDOR WITH HORATIO MARCOS.

THROUGH THE PROPPED OPEN DOUBLE DOORS

OF THE NAVE, WE SEE THE CONGREGATION

FOCUSSED ON PASTOR CARMICHEAL.

IN THE CORRIDOR, AN EXHIBIT HAS BEEN SET UP

SHOWCASING THE ART OF SAINT CATHERINE OF

BOLOGNE.

THE DISPLAY IS ARRANGED IN A STEP PYRAMID

STYLE.

AN ILLUMINATED MANUSCRIPT LIES ATOP THE

FORMATION.

PAINTING MINIATURES ARE SET UPRIGHT ALONG

THREE SIDES OF THE SECOND TIER.

COLE MOVES TOWARDS THE DOORS.

HE PEERS IN AT THE CONGREGATION.

SHAMASH NOSGARTEN IS SAT IN A MIDDLE PEW.

HIS SISTER KATHERINE IS SAT NEXT TO HIM.

KATHERINE’S LONG, GREEN DRESS REACHES

HER ANKLES.

ON HER HEAD IS A BLACK SILK HAT.

HORATIO COMES TO STAND BY COLE’S SIDE.]

PASTOR CARMICHEAL

“Let us pray.”

[SHAMASH AND KATHERINE BOW THEIR HEADS.]

PASTOR CARMICHEAL

“Lord, we ask that you grant us wisdom as we go about our week in all

we do. Lord, may you grant us clarity and discernment in each choice

we make.”

CUT TO: -

SC2. EXT. GLASGOW CATHEDRAL - DAY - GLASGOW - 2014

[COLE GAZES UP AT THE CATHEDRAL.

BEHIND HIM, CONSTABLE SERA RASMUSSEN AND

DOCTOR REGINALD DESMOIRE WALK TOWARDS

HIM.]

PASTOR CARMICHEAL(V.O.)

“Lord, watch over this city and its’ environs, guide our actions, lead us

to right action and your will be done. As Earth as in Heaven, forgive

us our trespasses as we’d have others forgive ours. Your will be

done, in Jesus’ name; amen.”

[MOLLY JOHNSON, HEAD OF THE TEMPORAL

ANOMALY RESEARCH DEPARTMENT OF THE

GLASGOW PROTECTION BUREAU EXIT’S THE

CATHEDRAL.

SERA AND REGINALD JOIN COLE.

MOLLY GOES TOWARDS THE TRIO.]

COLE JACOB BILLINGTON

“Molly Johnson, how are things here in Glasgow?”

MOLLY JOHNSON

“Things are heating up. I’m glad you could spare the time in the city

before you have to fly back to Vancouver. We’ve a man here who I

believe the three of you have met.”

COLE JACOB BILLINGTON

“Oh, who could that be? Sera, Reg; Molly runs the temporal anomaly

department of the Glasgow branch of the C.P.B.; based out of the

cathedral.”

MOLLY JOHNSON

“A few weeks back, a John Doe was recuperating in Glasgow General

from a severe beating and a fall from quite a fair height. He came to

our notice when the gravity wave readings for the city’s business

district for a specific time and location coincided with the man’s fall.

Witnesses described the incident as if he’d fallen from a glider.”

CONSTABLE SERA RASMUSSEN

“Like Icarus.”

MOLLY JOHNSON

“That’s exactly it, he flew so high; he’d no choice but to fall to the

ground. I say this because I’ve seen the network reports from

Vancouver. Doctor Mark Iblis who you’ve all met before, and Cole put

a full write up on what he knew of the doctor’s life in the fifty,

seventies. I’m referring of course to the information that his shuttlecraft

malfunctioned and crashed into the Thames.”

COLE JACOB BILLINGTON

“He’s spent who knows how long now, crashing through time, all for the

sake of being a good man. He was saving children’s lives, and the

fascist authorities tried to kill him for that.”

CONSTABLE SERA RASMUSSEN

“When a good man goes to war, shadows thrive and years divide.

When a good man goes to war, time shatters in dread and fear. When

a good man goes to war, lies live and die. When a good man goes to

war, children thrive and live again. Sorry, that came bursting out like a

hot spring.”

MOLLY JOHNSON

“Remember what I said about things heating up? Seems the

ecosystem isn’t the only thing being damaged by climate change.

There’s been a massive build up of creative energy in this area

around the cathedral. People burst into rhymed verse and hymnals.”

COLE JACOB BILLINGTON

“Hasn’t been a corresponding occurrence of spontaneous combustion

in the region, has there?”

MOLLY JOHNSON

“No worries, not a singing, tap dancing demon from Tinsel Town in

sight.”

COLE JACOB BILLINGTON

“Love that series. I have a friend who looks like Spike.” [SINGS.]

“Cause I will walk through the fire!” [STOPS SINGING.] “In all

seriousness though, sounds like we’ve arrived at the point in Mark’s

personal timeline where he’s fallen back for the first time.”

MOLLY JOHNSON

“Before we were able to ascertain that that was in fact the case by

speaking to him, we wondered if perhaps he’d met his unfortunate

fate in some other temporal location. Patterns repeating and all that.

But you’re right, this is the beginning for him. Come, I’ll show the three

of you the base. We’re set up in the cellar. The parishioners don’t

suspect a thing.”

[THE FOUR HEAD INSIDE.]

CUT TO: -

SC3. EXT. RESTAURANT PATIO - DAY - NEW DELHI - 1936

[CECIL SMITH IS SAT AT A TABLE.

COLE JACOB BILLINGTON IS SAT ACROSS FROM

HIM.

A THIRD MAN, RUPESH DISWAMI IS SAT BETWEEN

THEM.

AGE 42, RUPESH IS THE HEAD OF SECURITY FOR

THE NEW DELHI VORTEX EXPLORATION GROUP.

TWO MEN EXIT THE RESTAURANT CARRYING

CUPS OF TEA.

THE FIRST IS SIR ALFRED WALLACE WITH THE

SHROPSHIRE PATROL.

THE SECOND MAN IS ROBERT EDWARDS WITH

THE MELBOURNE BRANCH OF THE CPB.

RUPESH INDICATES COLE AND CECIL.]

RUPESH DISWAMI

“Gentlemen, we appear to be ready to begin. Cole, meet Sir Alfred

Wallace and Robert Edwards. Gentlemen, meet Captain Billington

and Cecil Smith out of Vancouver. Robert hails from Melbourne and

Alfred is the empire’s man.”

COLE JACOB BILLINGTON

“Good to meet you. Nice place we’ve got here.”

SIR ALFRED WALLACE

“We’ve caught the tail of a dragon, this mysterious outpost in the

Burmese jungle.”

CECIL SMITH

“How did you spot the facility? The file describes the outpost as

‘appearing to create an atomic sink in the material landscape, as

though the facility has ceased to exist, looping its borders into a

pocket realm.”

SIR ALFRED WALLACE

“And that’s what brought the facility to our notice. Its very non-

existence only served to clarify its existence all the more.”

COLE JACOB BILLINGTON

“Ah, life’s eternal conundrum. Should we go?”

CECIL SMITH

“We should go.”

[THE FIVE HEAD TOWARDS A JEEP PARKED

NEARBY.]

CUT TO: -

SC4. EXT. RADA - GOWER STREET - DAY - BLOOMSBURY - 2014

[IFAN IS STOOD NEAR THE FRONT ENTRANCE.

IFAN WEARS THE UNIFORM OF A NINETEEN

THIRTIES LONDON CITY WORKER.

CORA FENCIS IS STOOD NEXT TO IFAN, DRESSED

IN MID NINETEEN THIRTIES HIGH SOCIETY PERIOD

DRESS.

LIZ CARNEGIE HEADS TOWARDS THE PAIR.

SHE‘S ALSO DRESSED AS A CITY WORKER, BUT

IN CONTEMPORANEOUS DRESS.]

LIZ CARNEGIE

“You didn‘t tell me we were heading to the twentieth century Ifan.

When you said we were meeting in twenty fourteen, I found the

corresponding uniform for the mission.”

IFAN FENCIS

“We’re going to be traversing between the two centuries, so we need

you to wear what you’re wearing Liz. Cora won’t be heading into the

Underground. She’s posing as the crème de la crème of the ton.

Cecilia Smith of Vancouver, in lieu of Cecil who’ll be in New Delhi in

that time frame. This will allow her access to the manpower beholden

to the Commonwealth Network, allowing her the ability to monitor the

fluctuations in the timeline as it approaches the temporal divergence

point surrounding the abdication crisis.”

LIZ CARNEGIE

“Isn’t that dangerous?”

CORA FENCIS

“The divergence point has become unstable. I know what you’re

thinking Liz and no its not because of the Black Brigade. See,

Jonathan Aethers should never have developed the gadget that led to

him collapsing into a coma. In the alternate reality, he was kept busy

with other projects and in our world, he was meant to remain in

England. The Jonathan in that other world only became immortal due

to the bridge created by the quantum burrower. Alternately, our

Jonathan somehow managed to see his duplicate’s invite letter for a

position with the C.P.B. in his mind’s eye due presumably to the reality

bridge. Without a connecting link to the two universes, there’d be no

danger of the two collapsing in on one another. The Black Brigade

would have no means of holding that reality’s existence over us as a

weapon and Jonathan’s very existence would not be used as a

weapon.”

IFAN FENCIS

“There’s been a great deal of debate within the Commonwealth

Network concerning the cause of the ruptures in time and space and

the reason they’re on the increase. A situation occurs in the next little

while in the alternate reality that will create the very first fracture.

Without that first fracture, Cole never would have fallen through time.

Our Cole never would have gotten Jonathan a grant to set up a lab, and

there’d be no quantum burrower induced reality bridge.”

LIZ CARNEGIE

“Is the Black Brigade behind the existence of the quantum burrower?”

IFAN FENCIS

“Probably. Now; the quantum burrower created the reality bridge in

nineteen twelve, but the actual diversion point rests on a decision

made by King Edward the eight. Nineteen thirty six, this universe

dodged a bullet thanks to the abdication crisis. His decision to

abdicate the throne created an oppositional reality in which he refused

to step down, whereupon he went on to sign the appeasement treaty

with Hitler because he was a Nazi sympathiser. That, plus his greater

loyalty to his German lineage than his countrymen. Siding with the

Fuhrer, in the end, got him nowhere. There’s an ancient precept that

those who oppose God’s chosen people will be forsaken by him.

Those chosen people were Hitler’s favourite target, along with the

mentally ill, the Romany, sexual minorities and so on. In that world,

despite the treaty, Hitler sent ground troops into the heart of England,

occupying London as they did Paris in our own world. Churchill was

summarily shot that first night when the SS stormed number ten

Downing Street. Edward realized his ultimately fatal error in

judgement when the Germans came for him next.”

CORA FENCIS

“It was the Archbishop of the time who took a near pathological enmity

towards Edward, blackmailing him with libellous statements in concern

to his mental health.”

IFAN FENCIS

“There was a guiding force, call it God, call it a natural evolutionary

stage in the life cycle of the quantum eco system, call it some vast, all

encompassing creative endeavour performed by some cosmic

theatre troupe; call it what it is; that whispered in the Archbishop’s

ears. Perhaps we could call them ‘the Whisper Men’; so far beyond

our own comprehension of what sentient life is that we can only know

that it is our superior. We can conjecture that the Black Brigade

needed Cole in the early twentieth century so that their sentient virus

could gain access to his quantum blueprint and change his past

actions back on Garconer Colony. However, all bad experiences are

allowed to occur only so that God can create something better from

the result. Such as Cole’s descendents and the comfort he gave to

Cecil. Lets go.”

[IFAN HEADS AWAY FROM THE BUILDING.

LIZ AND CORA FOLLOW IFAN.

THE TRIO HEAD TOWARDS EUSTON SQUARE

UNDERGROUND STATION.]

LIZ CARNEGIE

“So Cora’s going to be monitoring the situation on the ground, so to

speak. Where does the Underground come in to this? Are the Black

Brigade hiding out in it like a bunch of Morlocks?”

IFAN FENCIS

“No, although one never knows. Remember that Liz, it could be

important.”

LIZ CARNEGIE

“Or it could be a red herring.”

IFAN FENCIS

“Or we need a snow blower.”

CORA FENCIS

“In the London Underground?”

IFAN FENCIS

“Morlocks, giant id creatures made out of snow.”

LIZ CARNEGIE

“There could be Nazis.”

IFAN FENCIS

“Much more likely, but probably not.”

LIZ CARNEGIE

“Nazis doing regenerative research, turning themselves into

Morlocks.”

[THE THREE WALK SILENTLY FOR A BEAT.]

CUT TO: -

SC5. EXT. CHEMISTRY BUILDING - POINT GREY CAMPUS - DAY -

VANCOUVER - 1937

[LIGHT SHIMMERS FROM A COLLAPSING GRAVITY

WELL SIX FEET ABOVE THE GROUND CLOSE TO

THE WALL OF THE WEST SIDE OF THE BUILDING.]

COLE JACOB BILLINGTON(O.O.V.)

“Give me my damn e-reader you freaky creature.”

[A SIX FOOT LONG WINGED SERPENT HAS BITTEN

DOWN ON COLE’S E-READER.

WE SEE THE CREATURE HELD ALOFT VIA ITS

FLUTTERING MOTH-LIKE WINGS.

ITS FORKED TONGUE SLIDES IN AND OUT OF ITS

MOUTH AROUND THE E-READER.

COLE PULLS ON THE E-READER, ATTEMPTING TO

DISLODGE IT FROM THE SERPENT’S MOUTH.

CECIL IS STOOD BEHIND COLE.]

CECIL SMITH

“Just let the silly thing have it Cole; you’re likely to lose an arm at this

rate.”

COLE JACOB BILLINGTON

“This is the only thing I have left from my home era Cecil, our little

buddy here is not going to take that away from me.”

CECIL SMITH

“I just hope I’m not going to have to watch you walk around with only

one arm in the days to come.”

COLE JACOB BILLINGTON

“Don’t distract me Cecil. This snake is going to give me back what he

has stolen from me, come hell or high water.”

CECIL SMITH

“Doesn’t this thing remind you of something Cole? A winged serpent is

trying to destroy your most precious possession, a stand in for your

memories. I wonder where the origin point of that gravity well really

began. The Garden of Eden perhaps?”

COLE JACOB BILLINGTON

“My God you’re right. But I am victorious, for I know even if this thing

swallows my e-reader, he can not swallow my soul.”

[A RED LED LIGHT LIGHTS UP ALONG ONE SIDE

OF THE E-READER.

THE E-READER BEGINS BEEPING.]

COMPUTERIZED VOICE

“You have mail.”

[THE SERPENT DROPS THE E-READER ONTO THE

GRASS.

COLE RETRIEVES IT, WIPING OFF THE SERPENT’S

SALIVA.]

COLE JACOB BILLINGTON

“I have mail, how can I have mail? I haven‘t got mail in more than sixty

years.”

CECIL SMITH

“Yes nobody loves you Cole, who‘s it from?”

COLE JACOB BILLINGTON

“How can I have one new message, these things haven’t even been

made yet.”

[COLE ACCESSES HIS MESSAGE CENTRE.

A RECENT MESSAGE INDICATES IT WAS SENT

ONE MINUTE AGO.

COLE CLICKS ON THE TEXT TO VOICE ICON.]

DOCTOR MARK IBLIS(V.O.)

“Captain Billington, I need your help. I’ve met you further along in your

personal timeline. I’ve been bouncing through time like a billiard ball. I

believe you’ve heard of me from back where you came from; I’ve

heard I am historically recorded as disappearing without a trace; which

most consider code for ‘governmentally disappeared’. The name’s

Mark Iblis and you’ll find me in Gas Town at the train station.”

COLE JACOB BILLINGTON

“I guess we’ve a time traveller to rescue.”

[THE GRAVITY WELL IS NOW NO MORE THAN A

NARROW GLIMMER OF LIGHT.

THE SERPENT HOVERS.]

CECIL SMITH

“What about this thing?”

COLE JACOB BILLINGTON

“If that’s what I think it is, best leave it be.”

[COLE AND CECIL BEGIN WALKING IN THE

DIRECTION OF THE PARKING LOT.]

CUT TO: -

SC6. INT. G.C.P.B. - GLASGOW CATHEDRAL - DAY - GLASGOW -

2014

[WE’RE IN A STONE CAVERN CARVED BELOW THE

GROUNDS OF GLASGOW CATHEDRAL.

MOLLY IS STOOD IN THE ENTRANCE, A ROLLING

STONE DOOR REMINISCENT OF A JUDEAN TOMB.

BEHIND MOLLY, COLE, SERA AND REGINALD ARE

STOOD BEYOND THE ENTRANCE IN THE CELLAR

OF THE CATHEDRAL.

ON EITHER SIDE OF THE ENTRANCE, SHELVES OF

CONCORDANCES AND BIBLICAL STUDY GUIDES

ARE ATTACHED TO A TURNING MECHANISM.

SIMON DREMAGE, A DOPPELGANGER OF

SHAMASH IS SAT AT A DESK WORKING ON A

FUTURISTIC LOOKING COMPUTER.

COLE ENTERS THE CAVERN.]

COLE JACOB BILLINGTON

Is that a twenty sixth century artistic studio command module; how’d

you get that?”

MOLLY JOHNSON

Meet Simon Dremage, who incidentally has interacted with Mark Iblis

previously as well.”

COLE JACOB BILLINGTON

“Hello Simon, what happened?”

[SIMON COMES TO GREET COLE.

COLE MOVES ASIDE TO ALLOW SERA AND THEN

REGINALD TO ENTER BEHIND HIM.]

SIMON DREMAGE

“I worked out of Bloomsbury on Project Bright Light five centuries from

now. Right now their main focus seems to be mapping the linguistic

and cultural changes moving forward in the timeline. By my time,

we’d moved on to things that would help us achieve greater balance.

We put our heart and soul into the return to nature movement.”

COLE JACOB BILLINGTON

“And it was so easy to achieve. It breaks my heart living in this

materialistic, destructive culture where I know, no matter what I do to

improve society, it’s a drop in the bucket when so much pollution is

going up into the air and so much money is going down the drain

paying for junk like expensive cars, mansions and geek ephemera.

Nobody on this planet needs a hundred thousand dollar car. Get one

for a quarter of that and give seventy five thousand to charity. Best

case scenario, buy no car at all, but that’s pushing it.”

SIMON DREMAGE

“Like you said, it takes peer pressure. When that person wasting a

hundred thousand on a personal vehicle is reviled as the monster

they are, then and only then will it finally stop. It takes dedication to

the planet, the down trodden, when we finally view those in need as

equal to our own family. So, where I came from, we had high tech

gadgets, but we also made a concerted effort to return to the horse

and carriage as well as building a network of gondola conveyor lines

for cargo transport. The resources allocated to the petroleum industry

were then diverted to the development of fusion powered vehicles.”

COLE JACOB BILLINGTON

“That worked great until the near catastrophic disaster with the first

long range interstellar flight five centuries later. It was a very near

miss with the fusion core reactor going critical en route to Humanity’s

first exo-solar colony world. After that, we funnelled immense financial

resources into interstellar mining operations on extra-territorial

asteroids, moons and dwarf planetoids. On the one hand, this worked

in our favour in the development of our position in the Galactic

Alliance. Less stellar was the economic consequence of becoming

beholden to the territorial whims of the Betran Andronicus Empire,

from whence our mining stakes were based. At the same time,

Garconer began settling in England in vast numbers and our kids were

outpacing Humans in scoring the top grades, the best university

placements, the biggest grants, the top jobs, etcetera. We were well

liked, and our men were very popular with humans as romantic

partners. This didn’t sit well with Human men’s rights advocates and

Other xenophobic types. Which eventually led to all that trouble during

the fifty first century.”

CONSTABLE SERA RASMUSSEN

“When did you come across Mark Iblis before, Simon?”

SIMON DREMAGE

“I was in Bloomsbury, back in my home era.”

CUT TO: -

SC7. EXT. EUSTON SQUARE UNDERGROUND STATION - DAY -

2500

[SIMON IS STOOD IN THE PLAZA NEAR THE STEPS

TO THE UNDERGROUND.

A LARGE BLACK RUCKSACK IS SLUNG ACROSS

HIS SHOULDERS.

ACROSS THE PLAZA, AUTOMATED CARGO

GONDOLAS ROLL PAST HIGH IN THE AIR.

A LONG CARAVAN LORRY IS PULLED BY A TEAM

OF TWELVE HORSES.

A DRIVER IS SAT IN THE FRONT DIRECTING THE

HORSES PAST THE CORNER OF THE PLAZA.]

SIMON DREMAGE(V.O.)

“I was running, I know that. Not literally mind, not at the time at least.

But heck if I knew what I was running from.”

[SIMON STEPS TOWARDS THE DESCENDING

STAIRS INTO THE UNDERGROUND.

A CONCUSSIVE BLAST OF AIR RUSHES TOWARDS

SIMON’S FACE, KNOCKING HIM TO THE

PAVEMENT.

OUT OF A WHITE LIGHT SURROUNDING THE

BLAST RADIUS, MARK IBLIS APPEARS IN FRONT

OF SIMON.

THE LIGHT FORMS AN OVAL SPHERE AROUND

HIM.

MARK HELPS SIMON TO HIS FEET.]

SIMON DREMAGE

“What just happened?”

DOCTOR MARK IBLIS

“Simon, I don’t know how much time I have this time, so I need you to

listen carefully.”

SIMON DREMAGE

“What?”

[MARK HOLDS UP A HAND FOR SILENCE.]

DOCTOR MARK IBLIS

“When it happens, when the moment arrives, the pass code is

Emelio.”

[MARK RETRIEVES HIS E-READER.

HE TAPS THE SEND BUTTON ON A PRE-DRAFTED

EMAIL.]

DOCTOR MARK IBLIS

“I sent you the financial account number of a trust run out of the

Commonwealth Network financial services department. You’re

running aren’t you Simon? But you don’t remember what you’ve been

running from. Am I right?”

[SIMON NODS HIS HEAD IN AGREEMENT.]

DOCTOR MARK IBLIS

“We’ve met before, but you don’t remember that either.”

SIMON DREMAGE

“Have we?”

DOCTOR MARK IBLIS

“Its okay, I know you’re confused Simon, and scared. It does get better

though. You think you’re running from Project Bright light and you think

you were at U.C.L. this morning.”

SIMON DREMAGE

“Wasn’t I?”

DOCTOR MARK IBLIS

“Your memories of the past few hours, actually occurred two years

ago. Its twenty five hundred Simon; not twenty four, ninety eight. And

no, you haven’t skipped through time; its memory loss. And just so

you know, nobody took those memories from you. You’ve done it

yourself. I don’t know if you’ve done it unconsciously as a

psychological mechanism, or if you used a medicinal inhibitor

knowingly or unknowingly.”

SIMON DREMAGE

“What am I running from?”

DOCTOR MARK IBLIS

“I’m not sure. Two years ago, what you remember as this morning,

you found something whilst using the Montauk chair that scared you

out of your gourd. You ran, you spoke to me; whereupon I gave you

the same information about the trust account that I have now relayed

to you again. For the last two years, you’ve been working on project

Bright Light under the radar via your personal link up.”

[MARK NODS TOWARDS SIMON’S RUCKSACK.

SIMON LOOKS AT THE BAG, NODS IN

UNDERSTANDING.]

DOCTOR MARK IBLIS

“At a guess, I’d say two years ago you saw something in the neural

net you probably shouldn’t have seen. Something physical life forms

aren’t capable of understanding whilst remaining sane. There are

certain aspects of reality that we agree to block from our awareness

in order to maintain cohesion with the outer world. People who refuse

to maintain the block end up driving themselves insane because they

refuse to play the game by the agreed upon rules. They demand

everyone else drop the block and believe they’re superior for refusing

to play the agreed upon game. When really, everyone else just wants

to play the game as is and live out their life. For two years you’ve

been piecing together the puzzle and when you had the entire picture,

you couldn’t or wouldn’t live with the answer and remain sane, so you

did what had to be done.”

SIMON DREMAGE

“Okay, I get you.”

[THE AIR CRACKLES AROUND MARK.

THE SPACE AROUND BOTH MARK AND SIMON

BEGIN TO FORM CRACKS.

A COLUMN OF BLACK RUSHES DOWN FROM THE

SKY, SWOOPING SIMON INTO ITS VORTEX.

SIMON IS GONE.

THE BLACK MERGES WITH THE WHITE LIGHT

CRACKLING AROUND MARK.

MORE FRACTURES FORM.

MARK DISAPPEARS.

THE YEAR CHANGES TO TWENTY FOURTEEN.

IFAN CROSSES THE PLAZA, HEADING TOWARDS

THE UNDERGROUND.

LIZ AND CORA FOLLOW BEHIND.

IFAN STOPS AT THE ENTRANCE, PIVOTING

AROUND TO FACE CORA.]

IFAN FENCIS

“Have fun in nineteen thirty six my love.”

[CORA MOVES TO GIVE IFAN A QUICK PECK ON

THE CHEEK.]

CORA FENCIS

“Goodbye my love. I’ll see you in, how many days would you say?”

IFAN FENCIS

“Should be three or four at least. On our end, give a week per day on

your end. If you feel you need longer than a month to observe the

situation come back at that point and we’ll discuss it. Alright?”

CORA FENCIS

“Of course Ifan, don’t think I could last longer than three weeks

without seeing you anyways.”

[CORA KISSES IFAN ON THE LIPS.

IFAN RUNS HIS HANDS THROUGH CORA’S HAIR,

RETURNING THE KISS FERVENTLY.

CORA PULLS AWAY AND STEPS BACK, LOOKING

ACROSS THE PLAZA.]

CORA FENCIS

“See you Liz.”

[CORA DASHES BEHIND A CONSERVATIVE PARTY

VOTING PLACARD.

A POSTER FOR THE LABOUR PARTY HAS BEEN

PLACED OVER THE CONSERVATIVE CANDIDATE’S

FACE.

IN BLACK SPRAY PAINT, THE WORDS- ‘STOP THE

AUSTERITY’ HAVE BEEN WRITTEN OVER THE

CONSERVATIVE PARTY’S WEBSITE ADDRESS.

BELOW THAT IN GOLD MAGIC MARKER ARE

WRITTEN THE WORDS- ‘GIVE TO THE POOR,

FEED THE NEEDY, COMFORT THE ILL- BE A SAINT

TO ALL AND A SINNER TO NONE. (VOTE LABOUR.)

IFAN AND LIZ TURN TO LOOK AT THE PLACARD

FOR A BEAT.

CORA DISAPPEARS.

IFAN LEADS LIZ DOWN TO THE UNDERGROUND.]

CUT TO: -

SC8. EXT. BURMESE MOUNTAIN PASS - DAY - KACHIN STATE -

1936

[A JEEP PULLS TO A STOP NEAR THE OPENING TO

A CREVASSE.

THE DRIVER’S SIDE DOOR OPENS.

COLE STEPS OUT, TURNING TO GAZE TOWARDS

THE HORIZON AND THE VALLEY BELOW.

CECIL STEPS OUT FROM THE PASSENGER SIDE,

FACING THE CREVASSE.

RUPESH DISWAMI, SIR ALFRED WALLACE AND

ROBERT EDWARDS GET OUT FROM THE BACK

SEAT; THE FIRST TWO OUT THE LEFT DOOR,

ROBERT FROM THE RIGHT.]

RUPESH DISWAMI

“Kachin state. There’s evidence of prehistoric man being existent in

the region from seven hundred and seventy five thousand years ago.

Modern man lifts his head at the eleven thousand B.C. cut off point.

Most of the remains from that point are found in the dry zone. The

agricultural revolution arrived with the Bronze Age around fifteen

hundred B.C. The cave ritual system is believed to have come into

use sometime before four thousand years B.C. Before that, early

man had been living in the Padah- Lin cave system in Shan State.

We‘ll head down the crevasse and see what we come across.”

CUT TO: -

SC9. EXT. MOUNTAIN CREVASSE - DAY - KACHIN STATE - 1936

[CECIL DESCENDS A ROCKY RAVINE ON A LINE.]

CORA FENCIS(V.O.)(SUNG)

“It's a long way down,

It’s a long way down,

to the sacred ground.”

[BELOW CECIL; COLE, RUPESH, ALFRED AND

ROBERT DESCEND DOWN THE LINE.]

CORA FENCIS(V.O.)(SUNG)

“Aren't you praying,

aren't you begging,

that you're anyone else?”

CUT TO: -

SC10. EXT. ALBERT ENBANKMENT - DAY - LAMBETH - 1936

[CORA STROLLS DOWN THE STREET.]

CORA FENCIS(V.O.)(SUNG)

“You prayed to have your name,

scattered on the lips of the young.”

[SHE TURNS A CORNER, HEADING TOWARDS AN

INN.]

CORA FENCIS(V.O.)(SUNG)

“You claim it's you on the tips of their tongue.

It’s a long way down.”

[CORA HEADS INSIDE.]

CUT TO: -

SC11. INT. EUSTON SQUARE UNDERGROUND - DAY -

2014

[IFAN HOLDS A TORCH OUT IN FRONT OF HIM AS

HE WALKS DOWN A SIDE MAINTENANCE TUNNEL.]

CORA FENCIS(V.O.)(SUNG)

“It’s a long way down,

to the sacred ground.”

[LIZ WALKS BESIDE HIM.]

CORA FENCIS(V.O.)(SUNG)

“The hollow sound is ringing,

where your heart used to be.”

[IFAN PEERS AT HIS E-READER.

A SQUIGGLY LINE JUTS UP AND DOWN ON THE

READER, INDICATING A TRACKING SIGNAL.]

IFAN FENCIS

“We’re on its tail right now. The signal’s getting stronger.”

[THE WINGED SERPENT FROM EARLIER POPS

OUT OF THE WALL, HOVERING IN FRONT OF LIZ.]

LIZ CARNEGIE

“Ah! What the flying freak is that?”

IFAN FENCIS

“Liz, back away slowly. We’re aborting this mission.”

CUT TO: -

SC12. INT. EUSTON SQUARE UNDERGROUND STATION - DAY -

2014

[IFAN ENTERS THE STATION FROM THE SIDE

MAINTENANCE TUNNEL

A TRAIN’S PULLING IN TO THE STATION.

LIZ TRAILS BEHIND IFAN.]

IFAN FENCIS

“We’ll try this some other time. There’s a signal coming through from

the Human Resistance team from the other reality. They’re trying to

contact Cole so they can let him know how to reverse the process of

Quantum entanglement Jonathan’s undergone and bring him out of

his century long coma. I’ll find a way to make him aware of the info.

But not right now.”

[IFAN LEADS LIZ ACROSS THE STATION AND UP

THE STAIRS TO THE EXIT.]

CUT TO: -

SC13. INT. SACRED CHAMBER - DAY - KACHIN STATE - 1936

[A CIRCULAR MEMORY CONSOLE IS SET IN THE

CENTRE OF AN IMMENSE CAVERN.

HOLOGRAPHIC IMAGES MATERIALIZE AND

DEMATERIALIZE IN THE AIR ABOVE THE CONSOLE

AS COLE PRESSES VARIOUS BUTTONS ON THE

CONSOLE.

STOOD AROUND THE CONSOLE ARE CECIL,

RUPESH, ALFRED AND ROBERT.

THE HOLOGRAPHIC PROJECTOR STARTS UP,

TRANSFORMING THE CHAMBER INTO A CITY

STREET.]

CUT TO: -

SC14. EXT. CAPITAL CITY - DAY - EPSILON VEGA - 200 MILLION

YEARS FROM PRESENT

[COLE IS STOOD IN A CITY SQUARE.

CECIL, RUPESH, ALFRED AND ROBERT ARE

STOOD AROUND HIM, IN THE SAME POSITION AS

BEFORE.

THE FIVE ARE TRANSLUCENT, SET OFF AGAINST

THE MORE SOLID SURROUNDINGS.

MOUNTAINS RISE UP TO THE NORTH EAST, PAST

PARK LAND BEYOND THE SQUARE.

COLE TURNS AROUND, FACING THE FRONT

ENTRANCE OF ARCHIVE FIVE DELTA QUATRO.]

ROBERT EDWARDS

“What is this?”

COLE JACOB BILLINGTON

“This isn’t a holographic projection, we’re the hologram.”

CECIL SMITH

“What are you on about Cole?”

COLE JACOB BILLINGTON

“Our images have been projected into this location. We’re standing

inside the chamber, but our fractal image has been converted from a

particle to a wave. That wave has been funnelled into this unknown

location.”

CECIL SMITH

“That’s future boy speak, I’ll have to take your word for it.”

COLE JACOB BILLINGTON

“There‘s something about that concept niggling at my brain;

some memory, dream like or déjà vu. What is it?”

CUT TO: -

SC15. EXT. CITY HALL - DAY - GLASGOW - 2014

[SIMON IS KNELT AT THE BASE OF A FLAG POLE

TAKING GRAVITIC READINGS WITH A GRAVITY

WAVE DETECTOR.

COLE, SERA AND REGINALD ARE STOOD BEHIND

HIM.]

SIMON DREMAGE

“There’s definitely been a disruption in the temporal flow in the vicinity.

Sometime in the last three hours or so? Question is, who and where

and perhaps why.”

COLE JACOB BILLINGTON

“Can’t imagine you’ll get an answer to the last one.”

[SIMON GETS TO HIS FEET.

AS HE TURNS TOWARDS THE BUILDING, A

DOPPELGANGER OF LIZ, SPORTING SHORT

CURLY HAIR DASHES AROUND A CORNER.

THIS IS SISTER EUGRAINE CARMODY OF THE

ORDER OF BENEVOLENT TIME.]

SIMON DREMAGE

“Gotcha sister. Signal’s trailing off that curly haired cutie pie.”

CUT TO: -

SC16. INT. ARCHIVE FIVE DELTA QUATRO - DAY - CAPITAL CITY

- EPSILON VEGA - 200 MILLION YEARS FROM PRESENT

[GAMELIN PHYFER LOOKS UP FROM THE WALL

KIOSK HE’S ACCESSING; UPLOADING DATA ONTO

A DATA STICK.

SUSANNA CHO ENTERS BEHIND HIM THROUGH A

SIDE DOOR.

ON THE SCREEN OF THE KIOSK WE SEE THE

WORDS- ‘BODY JUMPER- EXTREMELY VOLATILE.’

SUSANNA HEADS TO THE HYDRO-PUMP ON THE

FAR WALL, POURING HERSELF A CUP OF GREEN

TEA.]

SUSANNA CHO

“You get those body jumpers squared away, Gamelin?”

GAMELIN PHYFER

Storage room eleven. The havoc those things caused, people

switching bodies every which way.”

CUT TO: -

SC17. EXT. CAPITAL CITY - DAY - EPSILON VEGA - 200 MILLION

YEARS FROM PRESENT

[COLE LOOKS UP AS AN IMMENSE GRAVITY WELL

OPENS UP ABOVE THE ARCHIVE, RIPPING A

SECTION OF THE ROOF OFF.

HUNDREDS OF OBJECTS FLOW UP FROM INSIDE

THE BUILDING, BECOMING SUCKED INTO THE

GRAVITY WELL.

WE SEE TWO BODY JUMPERS, SUCH AS THE

GADGET THAT PREVIOUSLY SWITCHED COLE’S

BODY WITH SERA’S.

SUSANNA RUNS OUT OF THE BUILDING.

GAMELIN EXIT’S A BEAT LATER.]

CUT TO: -

SC18. INT. 1998 FORD DODGE EXPLORER\EXT. W. HASTINGS -

DAY - VANCOUVER - 2014

[BRITTANY LONGFELLOW DRIVES EASTWARDS

DOWN WEST HASTINGS STREET.

SHE FLIPS THROUGH THE RADIO DIAL.

WE HEAR PUNJABI RAP,

- CONTEMPORARY JAZZ AND.]

THE BEATLES(V.O.)(SUNG)

“We all live in a yellow submarine, a yellow submarine.”

[BRITTANY SETTLES ON CBC ONE VANCOUVER.]

CBC BROADCASTER

“So, what do you think folks; should the government reallocate funds

for a new East Side park, or should taxes be reduced over all? Call us

here at the station. I want to know what you people think.”

[STOPPED AT THE INTERSECTION OF WEST

HASTINGS AND RICHARDS STREET; BRITTANY

OBSERVES A MAN STUMBLING DRUNKENLY

ACROSS THE STREET IN A POLKA DOT CLOWN

SUIT, A BIG RED NOSE, LARGE BROWN FLOPPY

SHOES AND A CURLY BLUE WIG.]

CLOWN

“Don’t let the Jesters wipe your emotions. I have seen them man,

they’re right there in the other world, beside our world. They’re alien

and they’re evil. They are coming. They’re already here.”

[BRITTANY EDGES HER VEHICLE FORWARD,

SHIVERING FROM HIS WORDS.

STOOD ON THE SIDEWALK, THE CLOWN

WATCHES HER VEHICLE HEAD AWAY.]

CLOWN(SUNG)

“I have seen them, the metal trickster men;

They fly over the skies of death and destruction.

They came to a world of devastation around the corner,

It wasn’t our world, thank the Lord in heaven.

Another world, a sad forlorn world around the bend.

They’re trying to get through; both the good and the bad.

The humans that fight on in London England.

Heroes to the end, let’s cheer them on.

They’re trying to get a message through,

but the devil is a wily old goat, he blocks the signal getting through.

Don’t you worry little ones, the good will win in the end.

Lets cheer them on, both good and bad, we’ll have a ball.

In the land of never, never; where Grizelda blows her north wind.

Lets clap as the wolf blows the three pigs’ house down.”

CUT TO: -

SC19. EXT. EAST CORDOVA INTERSECTION - DAY - 2014

[THE FILTHY STREET IS SPREAD WITH PROPS OF

DISLOCATED BODY PARTS.]

CLOWN(V.O.)(SUNG)

“It’ll all come right in the end, when good triumphs again.”

[MISHA COLLINS IS STOOD IN THE CENTRE OF

THE INTERSECTION, BREATHING OUT A DEEP

BREATH.]

CLOWN(V.O.)(SUNG)

“We of happy heart, the tale will have a happy end.”

[JENSON ACKLES IS STOOD IN THE CENTRE OF

CORDOVA TO THE WEST, BEHIND MISCHA.

GERALD RASMUSSEN, COFFEE IN HAND, IS STOOD

ON THE SIDEWALK TO JENSON’S LEFT. ]

JOE RITTER(O.O.V.)

“That’s a wrap.”

[JOE RITTER; DIRECTOR, GOES TO STAND NEXT

TO MISCHA ON EAST CORDOVA.]

JOE RITTER

“Love the feeling you put into that final speech Mischa. The fans will

eat it up.”

MISCHA COLLINS

“I’ve got to put that on Twitter, my minions will lap it up.”

JOE RITTER

“Go for it buddy.”

[JOE GAZES DOWN THE STREET PAST STEPHEN

THE GOFER; MOVING FROM PROP TO PROP,

PLACING THEM IN A BLACK GARBAGE BAG.

GERALD GESTURES FOR JENSON TO FOLLOW

HIM.

THE PAIR HEAD TOWARDS MAIN STREET.

A CROWD IS GATHERED IN FRONT OF THE

WOMEN’S CENTRE.]

JOE RITTER

“Leave those plastic limbs where they lie for the moment Stephen and

come with me.”

[ABANDONING THE GARBAGE BAG ON THE EDGE

OF THE CURB, STEPHEN FOLLOWS JOE DOWN

THE STREET TOWARDS THE CROWD.]

STEPHEN

“I’m hoping some drunk doesn’t stumble across the props and have a

freak out.”

JOE RITTER

“Drunks will do as they’re wont to do Stephen, not our problem.”

CUT TO: -

SC20. EXT. EAST SIDE WOMEN’S RESOURCE CENTRE - DAY -

2014

[MISCHA AND JENSON ARE STOOD ON THE

CORNER AT THE BACK OF THE CROWD.

DETECTIVE TOM WILLOUGHBY HOLDS A GEIGER

COUNTER OVER A LARGE, NARROW CRACK

DOWN THE MIDDLE OF MAIN STREET, KEEPING

HIS FEET AWAY FROM THE FIREY CREVASSE.]

TOM WILLOUGHBY

“Gerald, tell your wife, her team needs to hire a few more people, so

the city isn’t left in the lurch at times like these.”

GERALD RASMUSSEN

She’ll back in a few days. Be grateful your unit has a few essentials.”

[TOM GLANCES AT THE DEVICE IN HIS HANDS.

THE WINGED SERPENT FROM EARLIER FLIES UP

FROM THE CRACK IN THE GROUND, HOVERING

OVER THE STREET.

A GROUP OF JUNKIES STOOD IN FRONT OF THE

CONVENIENCE STORE ACROSS THE ROAD

WHISTLE, CLAP AND CHEER.]

JENSON ACKLES

“Weird town man; weird town.”

CUT TO: -

SC21. EXT. BLENDZ CAFÉ - W. HASTINGS\RICHARDS ST. - DAY -

2010

[JENSON IS SAT AT A SIDEWALK TABLE STUDYING

A SCRIPT.

ACROSS FROM HIM IS SAT MISCHA, FIDDLING

WITH A SMARTPHONE.

NEARBY, SERA IS SAT WITH REGINALD, SERA IN

FULL UNIFORM.

SEVERAL KEY GRIPS AND ELECTRICIANS

ARRANGE LIGHTING AND SOUND GEAR NEARBY.

STEPHEN EXIT’S THE SHOP, FOLLOWED BY

GERALD, BOTH CARRYING SEVERAL DRINKS.

STEPHEN PLACES THE DRINKS ON JENSON AND

MISHA‘S TABLE.]

JENSON ACKLES

“Thanks man.”

[STEPHEN MOVES OFF.

GERALD HANDS A DRINK TO SERA, GIVING HER A

KISS.

MISCHA CAPTURES THE IMAGE WITH HIS PHONE.]

MISCHA COLLINS

“It’s the kissing cop.”

GERALD RASMUSSEN

“She’s my wife, no putting that on twitter Mischa. Funny that you folks

show up on a case when we’re setting up to shoot on location. What if

the cameras catch something awkward?”

COLE JACOB BILLINGTON(O.O.V.)

“Then it was meant to be.”

[COLE JOINS SERA AND REGINALD AT THEIR

TABLE, CARRYING A PAIR OF DRINKS.]

COLE JACOB BILLINGTON

“Besides, the series those two are attached to, the public will just think

it was C.G. I. unless there’s corroborating evidence from an outside

source. The C.B.C. for instance.”

[COLE PLACES ONE DRINK ON THE TABLE,

HANDING THE SECOND TO REGINALD.]

COLE JACOB BILLINGTON

“Here you go.”

DOCTOR REGINALD DESMOIRE

“Thanks Captain.”

GERALD RASMUSSEN

“What exactly are you doing here?”

[RETRIEVING A PORTABLE GRAVITY WAVE

DETECTOR FROM HIS KIT, COLE READS THE

ATMOSPHERIC MEASUREMENTS FOR THE

INTERSECTION; PLACING THE MACHINE ON THE

TABLE IN FRONT OF HIM.]

COLE JACOB BILLINGTON

“We’re getting readings of an imminent quantum fracture forming at

this intersection.”

GERALD RASMUSSEN

“How did you know it’d be right here at this location?”

[COLE POINTS TO A SERIES OF SMALL NUMERALS

ON DISPLAY IN THE BOTTOM RIGHT HAND

CORNER OF THE SCREEN.]

COLE JACOB BILLINGTON

“See here? That right there is the GPS location of the developing

fracture in the space time grid.”

[A BEAT LATER, WE HEAR A CRACKLE AND A POP.

COLE HAS THE GADGET POINTED AT HASTINGS.]

COLE JACOB BILLINGTON

“Here we go; get ready for some action.”

[SHARDS OF GOLD AND SILVER RIBBONS OF

ENERGY POP OUT OF A SMALL AREA ABOVE

HASTINGS, APPROXIMATELY SIX FEET UP.

MARK IBLIS MATERIALIZES ON THE SIDEWALK,

LAIN ON HIS BACK.

SERA AND REGINALD HURRY TO MARK’S SIDE.

COLE KNEELS DOWN, TRYING TO SUPPORT

MARK’S HEAD.

A CROWD OF ONLOOKERS HAS GATHERED

AROUND.]

COLE JACOB BILLINGTON

“Support his head, will you?”

CONSTABLE SERA RASMUSSEN

“Sure thing,”

[AS SHE DOES SO, COLE GETS TO HIS FEET,

BACKING AWAY.

COLE ADDRESSES THE CROWD.]

COLE JACOB BILLINGTON

“Go about your business folks, this is official business.”

[A FEW LOOK UNCONVINCED, BUT MOST OF THE

CROWD DECIDE TO DISPERSE.

MARK ATTEMPTS A SITTING POSITION; SERA

SUPPORTING HIS UPPER BACK.]

COLE JACOB BILLINGTON

“help me load him into the car you two.”

[COLE LEADS MARK TOWARDS HIS ORANGE 1967

ROADSTER PARKED NEARBY.]

JENSON ACKLES

“Be honest with me Mischa, have you spiked my drink? This place is

turning into an insane asylum.”

[SERA AND REGINALD HELP MARK INTO THE BACK

SEAT.

TURNING AROUND, COLE SIZES JENSON UP.]

COLE JACOB BILLINGTON

“Hey Hollywood, no insulting my city, even if it is true.”

JENSON ACKLES

“You’re that Billington fellow aren’t you, way I hear it, you’re just as

American as I am.”

COLE JACOB BILLINGTON

“I have Canadian citizenship though, trump that mister entertainer.”

JENSON ACKLES

“I’ll have you know sir, I make more than a million dollars per

episode.”

COLE JACOB BILLINGTON

“Yeah? Well that’s chump change compared to what my ex; never

mind, your right that’s impressive.”

JENSON ACKLES

“So was that little magic trick. What is this, ’Punked’, I get it, we’ve

been punked. So where’s Ashton? I’m going to give him a high five.”

COLE JACOB BILLINGTON

“Ashton’s working the production angle.”

JENSON ACKLES

“Yeah, your full of it, what is this really?”

COLE JACOB BILLINGTON

“See ya Hollywood.”

[COLE WANDERS BACK TO HIS VEHICLE.]

JENSON ACKLES

“Hey, this conversation aint finished man.”

COLE JACOB BILLINGTON

“The hell it aint. Actors eh, don’t you just love ‘em? You can do your

cop thing, the doctor can do his physicist thing. The boys from

Hollywood can go back to doing their acting thing.”

CONSTABLE SERA RASMUSSEN

“Cole you realize Mischa’s going to have this trending on twitter within

the hour.”

COLE JACOB BILLINGTON

“I know, what to do; what to do?”

CUT TO: -

SC22. INT. GAS TOWN DINER - MAIN\ALEXANDRIA ST. - DAY -

2014

[BRITTANY ENTERS THE DINER.

JACLYN BOWEN, SAT AT A TABLE; CATCHES

BRITTANY’S EYE.

AS BRITTANY HEADS TOWARDS HER, JACLYN

GETS TO HER FEET.]

JACLYN BOWEN

“Nice to see you again miss Longfellow.”

BRITTANY LONGFELLOW

“It’s good to check in with you Jacquelyn. I must say, you do clean up

nicely.”

JACLYN BOWEN

“Mucho Gracious, my fine lady. You ain’t too bad yourself, darling.”

[JACLYN TAKES A SEAT.

THEY HAVE A VIEW OF THE STREET OUTSIDE.

ACROSS THE ROAD, LEANING AGAINST A RED

BRICK BUILDING, AN EXHAUSTED LOOKING

CHINESE UNDER-AGED PROSTITUTE; CHARCOAL

BLACK HAIR SPRINKLED WITH RED HIGHLIGHTS IS

SHOVED ABOUT ROUGHLY BY HER MID TWENTIES

VIETNAMESE PIMP.

BRITTANY EYES THE PAIR IN CONCERN.]

JACLYN BOWEN

“Look away, believe me, you don’t want to get involved.”

BRITTANY LONGFELLOW

“Jacquelyn, that’s my job, I get involved.”

JACLYN BOWEN

“Not in that, believe me; you do not want to get involved in that.”

BRITTANY LONGFELLOW

“Tell me, if that was you Jacquelyn, wouldn’t you want someone to get

involved?”

JACLYN BOWEN

“I don’t know; I’m not her, so I don’t know.”

BRITTANY LONGFELLOW

“Fair enough, now let’s get back to the reason we’re here. What would

you like to talk to me about?”

JACLYN BOWEN

“Right down to business, eh? I like that in a woman.”

BRITTANY LONGFELLOW

“So you are into women?”

JACLYN BOWEN

“Surprised? Nah, that’s alright, I get that a lot; especially with the

business I’m in. Men are alright, I guess. There ain’t too much call for

women looking for escorts. So I do what pays the bills. You know what

I’ve been craving like a bitch?”

BRITTANY LONGFELLOW

“What’s that?”

JACLYN BOWEN

“I haven’t had a real cosy date, like to dinner and a movie with a

woman in ages. It’s driving me crazy.”

BRITTANY LONGFELLOW

“That’s not why you called me, was it?”

JACLYN BOWEN

“Nah! Although, if you are in any way interested, I might just take you

up on the offer.”

BRITTANY LONGFELLOW

“I’m sort of seeing someone. If not for that, though.”

JACLYN BOWEN

“Are you now, is it serious?”

BRITTANY LONGFELLOW

“He’s a doctor. We work together. We’re not all that serious or

anything; it’s something, at least.”

JACLYN BOWEN

“I know how that goes, believe me I do. Is he hot?”

BRITTANY LONGFELLOW

“He’s not ugly, but he certainly isn’t going to win any beauty pageants

if that’s what you’re asking. And he’s older than I am; I’m not too sure

how I feel about that. Hands down, you’d win the crown for pretty any

day of the week.”

JACLYN BOWEN

“Really, do you think? Aww shucks, you are so kind to say that.”

BRITTANY LONGFELLOW

“Tell me Jacquelyn, what’s up?”

JACLYN BOWEN

“Alright here goes, I need an advocate to help me get treatment with

the mental health department fully funded by the MSP. Therapy is

expensive, you know.”

BRITTANY LONGFELLOW

“Alright, I’ll see what I can do.”

JACLYN BOWEN

“It was nice meeting with you, Miss Longfellow.”

BRITTANY LONGFELLOW

“You too, Miss Bowen.”

JACLYN BOWEN

“Are you going to see that doctor of yours tonight?”

BRITTANY LONGFELLOW

“That’s the plan.”

JACLYN BOWEN

“Well good luck, Miss Longfellow.”

[BRITTANY GLANCES OUT THE WINDOW.

THE GIRL AND HER PIMP ARE GONE; IN THEIR

PLACE ARE A PAIR OF INTRAVENOUS DRUG

USERS.

BRITTANY SIGHS.]

BRITTANY LONGFELLOW

“Stay safe, alright Jacquelyn?”

JACLYN BOWEN

“Will do.”

[BRITTANY LEAVES THE DINER.]

JACLYN BOWEN

“I know who I’ll be dreaming of tonight, honey.”

[JACLYN FINISHES HER COFFEE.

COLLECTING HER THINGS, SHE WALKS TO THE

DOOR.]

CUT TO: -

SC23. INT. PETE’S OFFICE - STEWART DESIGN - SUNSET -

BURRARD STREET - 2014

[THE SUN DESCENDS PAST THE FAR HORIZON OF

THE DISTANT MOUNTAINS.

PETE ROSCHILDE MOVES HIS GAZE FROM A SET

OF ARCHITECTURAL BLUEPRINTS ATOP HIS DESK

TO THE LARGE WINDOW IN FRONT OF HIM.

WE SEE BURRARD STREET FAR BELOW.]

PETE ROSCHILDE

“Come home soon, Cole to my lonesome self.”

CUT TO: -

SC24. INT. CPB MAIN ROOM - NIGHT - 2014

[PETE IS STOOD IN FRONT OF A FRESHWATER

AQUARIUM SET UP IN THE FAR CORNER.

A CLOCK ON THE WALL ABOVE REGINALD AND

BRITTANY’S DESKS REVEALS THAT IT IS TEN

O’CLOCK.

THROUGH THE OPEN DOOR OF COLE’S OFFICE,

WE SEE SERA’S FORM[PRESENTLY PORTRAYING

COLE] FLIP THROUGH AN EXPENSE ACCOUNT FOR

THE PROVINCIAL GOVERNMENT.

PETE GLANCES BACK AT THE FISH IN THE

AQUARIUM.

SERA IS STOOD IN THE CORRIDOR, GAZING

LONGINGLY AT A PHOTO OF CECIL

PETE TURNS TO WATCH AS SERA MOVES

TOWARDS PHOTOS OF FIRST EMILY AND THEN

REBECCA JONES AND ELIZABETH MAY.

SERA STEPS INTO THE MAIN ROOM.]

CONSTABLE SERA RASMUSSEN

"Oh, if these walls could talk, the tales they'd reveal."

PETE ROSCHILDE
"Taken up talking to yourself, I see."

[SERA APPROACHES PETE.]

CONSTABLE SERA RASMUSSEN

"You’re back! I thought I told you to go home. We wouldn't want to do

something stupid whilst I'm wearing Sera's body."

[PETE WINCES, SERA CATCHING HIS EYE.

SERA LOOKS AWAY.]

CUT TO: -

SC25. INT. BILLINGTON DINING ROOM - NIGHT - GARCONER

COLONY - 5076

[COLE IS SAT ACROSS THE TABLE FROM MOTHER

BILLINGTON.

COLE EATS A BOWL OF GARCONER STEW.

COLE ALTERNATES BETWEEN GLARING AT HIS

MOTHER AND LOOKING AWAY IN SHAME.

MOTHER BILLINGTON SIGHS.]

MOTHER BILLINGTON

“Cole can we please talk, about anything at all really. How you feel

about your brother being on Earth, your fathers’ passing, your

girlfriend Anna, what you and Tommy have been doing to innocent

people? Anything at all, really. What you’ve been doing is no solution

Cole. It won’t bring the dead back. It won‘t stop what‘s happening in

London.”

COLE JACOB BILLINGTON

“Yeah well it might bring Kyle back here, and Anna is not my

girlfriend.”

MOTHER BILLINGTON

“They’re not going to bring Kyle back here if they know what his older

brother’s been getting up to dear.”

[COLE PUSHES THE CHAIR AWAY FROM THE

TABLE, ABRUPTLY GETTING TO HIS FEET.]

COLE JACOB BILLINGTON

“I’m out for the night.”

[COLE EXIT’S THE ROOM.]

MOTHER BILLINGTON

“Cole!”

CUT TO: -

SC26. INT. COLE’S BEDROOM - NIGHT - GARCONER COLONY -

5076

[COLE CLIMBS IN THROUGH THE OPEN WINDOW,

PLACING AN EMPTY RUCKSACK ONTO THE

BASEBOARD BEFORE HIM.

A WHITE SIAMESE CAT BOUNDS ONTO THE SILL.

THE CAT DARTS INTO THE OPEN BAG.

COLE REMOVES THE CAT FROM THE BAG.]

COLE JACOB BILLINGTON

“No darling, you can’t come with me. Shh! We‘ve got to be quiet. Just

need to pack a few things and I‘ll be off for good.”

[THE CAT JUMPS DOWN TO THE FLOOR.

COLE CLIMBS INTO THE ROOM.

COLE HEADS TO THE CLOSET.

THE CAT WATCHES COLE FROM ATOP HIS BED.

COLE GRABS SHIRTS AND TROUSERS FROM

THEIR HANGERS; STUFFING THEM INTO THE

RUCKSACK.

CROSSING THE ROOM, COLE RUMMAGES

THROUGH A DRAWER.

COLE TOSSES SOME SOCKS AND A FEW PAIRS

OF BOXERS INTO THE RUCKSACK.

COLE CLOSES THE PACK, HEADING TO THE

WINDOW.]

CUT TO: -

SC27. INT. WAREHOUSE - DAY - GARCONER COLONY - 5077

[TWO BLACK GUARD PATRIOTS, ADOLESCENT

GARCONER BOYS ARE STOOD BY THE WALL NEAR

THE SOUTHEAST ENTRANCE.

DRESSED IN BLACK UNIFORMS, THE PAIR EACH

SPORT A GOLD INSIGNIA IN THE FORM OF A

TRIQUETTA STITCHED TO THE LEFT SIDE BREAST

POCKET OF THEIR BLACK SHIRTS.

THEY SORT THROUGH AND DO INVENTORY ON A

CARDBOARD BOX FILLED WITH ASSAULT RIFLES

AND MAGAZINE CASINGS.

BLACK GUARD PATRIOT ONE TAPS SOME SERIAL

NUMBERS INTO AN INVENTORY SPREADSHEET ON

HIS E-READER.

POV. PAST BLACK GUARD PATRIOT ONE’S LEFT

SHOULDER: THE NORTH END OF THE WAREHOUSE

IS ARRANGED INTO A SUITE.

COLE IS SAT ATOP A MAKESHIFT BED CREATED

FROM A PILE OF CRATES AND A LUXURY BED SET.

WE SEE COLE SAT WITH HIS EYES CLOSED IN

MEDITATION.

BESIDE THE BED SEVERAL STACKS OF OPEN

CRATES FORM THE SHAPE OF BUREAUS FILLED

WITH COLE’S POSSESSIONS.

OPENING HIS EYES, COLE TWIRLS AN

ORNAMENTAL GOLD PYRAMID IN HIS HANDS.

COLE PLACES THE OBJECT ONTO THE

BEDSPREAD BEFORE HIM.

COLE RETRIEVES HIS E-READER, SWITCHING ON

THE DEVICE’S HOLO-VID APPLICATION.

A LIST OF RECENT BROADCASTS POPS UP.

COLE BRINGS UP A STILL HOLO-IMAGE OF THE

FRONT OF THE MACKENZIE HOME.

HOLO-NEWS REPORTER DARLENE STAMP IS

STOOD ON THE STREET IN FRONT OF THE HOME.

HUMAN, DARLENE REVEALS TRACES OF A

PARALLEL ZENOBRAT LINEAGE EVIDENCED BY

TRACES OF GRAY IN HER SKIN.

COLE PRESSES ‘PLAY’.]

DARLENE STAMP

“At the top of the hour, we have breaking news concerning one more

brutal massacre of an entire Human family. The Mackenzie family

were found dead in their beds; every single one of them, this morning

by the housekeeper, Maggie Renard. It is thought to be yet another

attack by the group calling themselves ‘The Black Guard Patriots’.

Their leader; a man known only by the Holo-net forum handle

‘COE2009’, is still unknown to the authorities. Attempts to trace the

device associated with COE2009 have so far been unsuccessful. He

has been able to find a way to constantly shift provider satellites on a

minute by minute basis.”

[SWITCHING OFF THE NEWSCAST, COLE LOOKS

TOWARDS THE NORTHWEST ENTRANCE.

TOMMY HAS JUST ENTERED THE BUILDING.

TOMMY CARRIES A PLATE OF WILD MUSHROOM

SANDWICHES TO COLE’S SIDE.]

COLE JACOB BILLINGTON

“Tommy you brought my favourite! You’re the best cousin a boy could

ever have.”

[TOMMY PLACES THE PLATE ATOP A MAKESHIFT

BUREAU POSITIONED AT THE HEAD OF THE BED.]

TOMMY

“Gerstmyers’s having a deal on these things. Apparently it’s been a

very good year for Colony Mushrooms.”

[TOMMY FINDS A NEARBY UPENDED CRATE TO

SIT ON.

GRABBING A SANDWICH, COLE GETS TO HIS

FEET.]

COLE JACOB BILLINGTON

“They look great Tommy, I’m glad you’re alright. Are you still having

issues with your father? Because you know, if you ever need a place to

crash, there’s plenty of space here.”

TOMMY

“Things are rough; he’s really disappointed in you, cousin.”

COLE JACOB BILLINGTON

“I am such a rebel.”

TOMMY

“I think we both know you’ve gone long past a mere rebel, Cole.”

COLE JACOB BILLINGTON

“I know. But what can you do, eh? Someone’s got to do it, it‘s sick the

way the ideologues back on Earth have dragged our entire civilization

through the mud. You can‘t trust a Garconer, right? We‘re just thugs,

or so they‘d like us to believe; I‘ll show them a thug, they‘ve never

seen the likes of me before. They never will; I‘ll get them to change

their ways, or I‘ll die trying.”

TOMMY

“Stay safe, cousin. Your family loves you, I love you. I’d do anything for

you; you know that, don’t you Cole?”

COLE JACOB BILLINGTON

“I know that Tommy. That’s what scares me so much. I brought you

into this mess, and I don’t know how much deeper into the muck it’ll

get. I can’t keep you safe, and if something were to happen to you, I

truly believe uncle Moriarty would murder me with his bare hands. Your

father adores you. You’re such a sweet and gentle soul, and here I’ve

gone and turned you into a murderer. I bet there’s got to be some

serious hell awaiting me when I die, eh Tommy?”

[TOMMY TURNS HIS FACE AWAY.]

CUT TO: -

SC28. INT. MARKET - DAY - SPACE STATION OORT - 5078

[JOEL NEWBERRY, DOPPELGANGER OF EGAN

BYR WANDERS THROUGH THE CENTRE OF THE

STATION’S MARKET.

VARIOUS STALLS SELL FRESH FOOD, CLOTHING,

ELECTRONICS AND PAINTINGS.

JOEL STOPS BY A STAND OF POMEGRANATES.

COLE DARTS OUT FROM BEHIND A NEARBY

CRATE OF GOLDEN DELICIOUS APPLES.

COLE GRABS AN APPLE AND DARTS PAST THE

POMEGRANATES.

COLE BACKS INTO A CRATE OF ORANGES AS HIS

WRISTS ARE HELD BACK BY JOEL.]

JOEL NEWBERRY

“I’d like to help you out.”

COLE JACOB BILLINGTON

“Why?”

JOEL NEWBERRY

“You look lost, that’s never a good situation to be in.”

[JOEL RELEASES COLE’S WRISTS.]

CUT TO: -

SC29. INT. CANOLFAN MILENIWM CYMRU - NIGHT - CARDIFF -

5078

[ON STAGE, A SPOTLIGHT ILLUMINATES HORATIO

DOMINI DONE UP AS MARILYN MONROE.]

HORATIO DOMINI(SUNG)

“Who am I you say, who can I be?

Answer me that and I’ll forever love you.

I’m just a girl, a girl so lost and lonely,

does anybody really hear me at all?

Norma Jean they used to call me, now Marilyn is all they know.

The girl in the corner by the player piano,

that lonesome girl, she hides in the shadows.

And you want her to come out and play, ready to entertain you.

Well I say, no!”

CUT TO: -

SC30. EXT. COAL HARBOUR MARINA - DAY - 5080

[IFAN IS SAT AT THE END OF A DOCK, DANGLING A

FISHING LINE INTO THE WATER.

CORA IS SAT NEXT TO IFAN, HEAD ON HIS

SHOULDER.]

IFAN FENCIS(SUNG)(V.O.)

“Our God is an awesome God, he reigns from Heaven above.”

[SIX STORNAWAY MALES PREPARE TO BOARD A

BOAT DOCKED NEARBY.]

IFAN FENCIS(SUNG)(V.O.)

“With wisdom, power and love.”

[THREE BETRAN ANDRONICUS CHILDREN PLAY IN

THE WET SAND NEAR BY.]

IFAN FENCIS(SUNG)(V.O.)

“Our God is an awesome God.”

[‘THE SPRINGHEEL JACK’ SAILBOAT SAILS PAST

THE HARBOUR.

COLE, HORATIO DOMINI AND LIZ CARNEGIE ARE

ON ’THE SPRINGHEEL JACK’.]

IFAN FENCIS(SUNG)(V.O.)

“God is an awesome God.”

CUT TO: -

SC31. INT. ‘THE SPRING HEEL JACK’\EXT. BURRARD INLET -

DAY - 5080

[HORATIO IS SAT ON A WHITE PLEATHER BENCH

ALONG THE SIDE OF THE BOAT.

COLE AND LIZ ARE SAT ON THE BENCH OPPOSITE

HORATIO.

A TRANSPARENT HOLOGRAPHIC SCREEN IS

PROJECTED IN FRONT OF HORATIO.

HORATIO IS LOOKING AT A SELECTION OF HOLO

PROGRAMS FOR SALE IN THE HOLO-TUNES

STORE.

WE SEE A HOLOGRAPHIC ICON FEATURING A

PANORAMIC VIEW OF VANCOUVER.]

HORATIO DOMINI

“This I must have. We can pretend we’re travelling through time, into

the city’s ancient past.”

[LIZ LOOKS TOWARDS THE MARINA.

IFAN CATCHES LIZ WATCHING HIM.]

LIZ CARNEGIE

“I’ve been studying twenty first century culture, technology and

political movements at work.”

HORATIO DOMINI

“Okay. We can use this game to see the city back then.”

[THE IMAGE ON THE HOLO SCREEN NOW SHOWS

THE SHORELINE CIRCA TWENTY FOURTEEN.

PAST THE SCREEN, THE VIEW OF FIFTY EIGHTY IS

SET IN RELIEF IN CONTRAST.

THE SCREEN COLLAPSES, TURNING TO THREE

O’CLOCK.

THE IMAGE OF TWENTY FOURTEEN VANCOUVER

ENVELOPES THE BOAT.

A PASSING GARCONER CRUISER REFLECTS OFF

THE DEEPER WATERS BEHIND HORATIO.]

CUT TO: -

SC32. EXT. EAST OF MAIN CAFE - DAY - VANCOUVER - 5080

[IT’S A BEAUTIFUL SUNNY DAY.

LIZ CARNEGIE IS SAT AT A TABLE ON THE PATIO.

ACROSS THE STREET, GROUPS OF GARCONER,

SENATORIALS AND HUMANS STROLL PAST.

THE SHADOW OF A GARCONER COLLEGIATE

FREIGHTER, A TRIANGULAR SHAPED CRAFT WITH

A TRIQUETTA LOGO ENGRAVED ON ITS WHITE

FACING PASSES OVER THE BLOCK.

COLE STROLLS DOWN THE STREET, HAND IN

HAND WITH HORATIO DOMINI.

COLE AND HORATIO WALK OVER TO LIZ’S TABLE.]

HORATIO DOMINI

“How’s it going Liz?”

[HORATIO TAKES A SEAT NEXT TO LIZ.]

LIZ CARNEGIE

“It’s going great Horatio. Hey there Cole.”

[COLE TAKES A SEAT ACROSS FROM LIZ,

DROPPING THE FALSE SMILE MOMENTARILY.]

COLE JACOB BILLINGTON

“Hey.”

[COLE PLASTERS A SMILE BACK ON.

AFTER A BEAT, GIVING UP THE ACT; COLE LOOKS

DOWN AT THE TABLE GLOOMILY.]

LIZ CARNEGIE

“What’s the matter?”

[HORATIO REACHES OVER TO RUB COLE’S

SHOULDER.]

HORATIO DOMINI

“It’s the second anniversary of his cousin Tommy’s death.”

LIZ CARNEGIE

“Oh.”

COLE JACOB BILLINGTON

“Of his murder.”

HORATIO DOMINI

“Yeah well, um nothing.”

COLE JACOB BILLINGTON

“Oh I know exactly what you were going to say Horatio. My cousin was

a murderer, he got his just desserts.”

HORATIO DOMINI

“No I would never.”

COLE JACOB BILLINGTON

“Of course you’d never Horatio. You’re too classy to be that blunt. But

the facts are there all the same. Facts are, Tommy only did what I

asked him to.”

HORATIO DOMINI

“He could have chosen to walk away from your plan Cole. Heck,

perhaps if he had, you’d have found a more productive means of

dealing with your grief.”

COLE JACOB BILLINGTON

“I don’t think so. He’d still be alive and not completely ruined, that’s all

that really matters.”

[OFF LIZ’S LEFT SIDE PROFILE.

SEVERAL FLYING CARS PASS OVER THE

INTERSECTION AT THE END OF THE BLOCK.

COLE GETS TO HIS FEET.]

COLE JACOB BILLINGTON

“Coming Horatio, we should go in, get some hummous and oysters.

Want some Liz?”

[HORATIO MOVES TO PROP OPEN THE DOOR.]

LIZ CARNEGIE

“I’ve actually got a meeting with the boss. He’s meeting me here.”

COLE JACOB BILLINGTON

“We’ll take our meal to the park.”

[COLE STEPS THROUGH THE ENTRANCE.

HORATIO FOLLOWS COLE IN, RELEASING THE

DOOR BEHIND HIM.]

CUT TO: -

SC33. INT. SITTING ROOM - BILLINGTON RESIDENCE - DAY -

GARCONER COLONY - 5085

[COLE IS STOOD IN THE ENTRANCE TO THE

ROOM.

MOTHER BILLINGTON WATCHES A HOLO-

DOCUMENTARY ABOUT COLE’S FALL FROM

GRACE.

AFTER A BEAT, MOTHER BILLINGTON TURNS TO

FACE COLE.]

MOTHER BILLINGTON

“Cole honey, why’d you do it; why did you decide to turn yourself into

such a monster?”

[FLINCHING, COLE TURNS TO LEAVE.]

MOTHER BILLINGTON

“No, don’t just ignore me Cole, I need to understand. What went

through that bright head of yours; what would lead you to become the

person you did? What happened to my beautiful young boy who’d

never dream of hurting a single living thing, let alone organize a long

string of massacres?”

COLE JACOB BILLINGTON

“You know why I did it ma, it was just something I had to do. I didn’t

want to become the villain of the piece, but someone had to do it.”

[TURNING AWAY FROM HIM, MOTHER BILLINGTON

STARES AT COLE’S HOLO-IMAGE IN THE

DOCUMENTARY.]

MOTHER BILLINGTON

“That’s crazy, and you know it.”

COLE JACOB BILLINGTON

“If you say so ma.”

CUT TO: -

SC34. EXT. CEMETERY - DAY - GARCONER COLONY - 5085

[COLE IS STOOD BY TOMMY’S GRAVE STONE,

HEAD BOWED.

TO HIS RIGHT WE SEE A BLACK MARBLE WALL.

COLE TURNS TO WATCH A CROW, WHITE ROSE

CLUTCHED IN ITS BEAK; LAND ATOP THE MARBLE

SURFACE.]

CUT TO: -

SC35. EXT. RESTAURANT BALCONY - NIGHT - ORION CITY -

ASTEROID COLONY - BETRAN ANDRONICUS - 5085

[STOOD ON THE BALCONY, COLE GAZES DOWN

AT THE CITY BELOW.

THE BUILDING HOVERS SEVERAL FEET ABOVE

THE SWAMPY GROUND, SUSPENDED IN MIDAIR

BY WAY OF AN ANTI-GRAV GENERATOR.

TURNING TO FACE THE ENTRANCE, COLE SMILES

AS HORATIO STEPS ONTO THE BALCONY.

HELD IN HORATIO’S HAND IS A WHITE ROSE.

COMING FORWARD, COLE PLACES A HAND ON

HORATIO’S SHOULDER.]

COLE JACOB BILLINGTON

“Hello handsome.”

[COLE MOVES IN FOR A LONG, PASSIONATE KISS.]

CUT TO: -

SC36. INT. CPB MAIN ROOM - NIGHT - 2014

[PETE WAVES A HAND IN FRONT OF SERA’S

FACE.]

PETE ROSCHILDE

"Cole?"

CONSTABLE SERA RASMUSSEN
"Yeah Pete?"

PETE ROSCHILDE

"Cole, where do you go when you get like that?"

CONSTABLE SERA RASMUSSEN

"I have no clue what you're trying to ask me, Pete."

PETE ROSCHILDE

"Damn it Cole! Don't shut me out, I think I have a right to know what

goes through your mind when you get like this. But you never like to

talk about the things that bother you. You can't keep it all bottled up.

One day, you'll just explode in a rage, and I don't ever want to see you

like that. We‘ve already seen what holding it all in results in, we can‘t

keep going forward if we don‘t make some changes."

CONSTABLE SERA RASMUSSEN

"You think you have a right to know every little bit about me, Pete? You

think I owe you every last shred of information concerning my life? You

have no right whatsoever to demand anything from me. Everything I've

told you about myself, that's all I'm willing to give, all you'll ever get. I

don't owe you a thing, not a damn thing! Especially now, you owe me

the right to keep any amount of space I feel that I need. So don‘t you

go issuing demands of me, Mister I‘ve got you by the tail feathers,

Roschilde."

PETE ROSCHILDE

“Talk to me Cole, please.”

CONSTABLE SERA RASMUSSEN

“What I wouldn’t give for a system jumper; take a wander through the

galaxy and be back here after a few years time.”

[PETE AGGRESSIVELY GETS IN SERA’S FACE,

SNEERING CONTEMPTUOUSLY.]

PETE ROSCHILDE

"Is that right, Captain? Is that all you have to say? You’d leave the

planet for years at a time that easily? Is that really how you see us?

Us, you and me, Cole. Is all I am to you a sex buddy, an easy lay just

cause I'm there, available?"

CONSTABLE SERA RASMUSSEN

"No! You know that, Pete. You have to know that you mean something

to me, Pete. You have to! Tell me that you realize that, please! You

mean everything to me. Why do you think this is so hard for me, why I

can‘t to bear to even think of what I‘ll do if I‘m stuck like this, and

you can‘t see past the female form?"

PETE ROSCHILDE
"I don't know a darn thing, 'Captain-You-Know-I'm-Not-Really-A-

Captain-bloody-Billington', Cole! You don't tell me a thing. What do

you expect me to think? And we both know you haven't been faithful. I

seem to recall a threesome in a bar, a few months back? Remember

that, my good Captain?"

CONSTABLE SERA RASMUSSEN
"Come on Pete! I thought we had an understanding. And, you know

darn well that I am a captain. Been serving this nation for just over a

century. I did ask you to join us, but you weren't interested."

PETE ROSCHILDE

"They were girls. You know I don't do girls."

CONSTABLE SERA RASMUSSEN

"Right. Well, that's your loss then. Besides, they felt rather womanly to

me."

PETE ROSCHILDE

"I really don't want to know."

CONSTABLE SERA RASMUSSEN

"You don't know what you're missing."

PETE ROSCHILDE
"Thanks, but I think I'll give that particular experience a pass, if you

don't mind."

CONSTABLE SERA RASMUSSEN

"To each his own."

PETE ROSCHILDE

"Enough already! Forget about the girls."

[SERA SMILES; EDGING CLOSER TO PETE,

WRAPPING AN ARM AROUND HIS WAIST.]

CONSTABLE SERA RASMUSSEN

“Gladly. My people, the Garconer, they were really smart. I mean, the

average pure blood Garconer could give Einstein a run for his money.”

PETE ROSCHILDE

“Let me get this straight Cole, you’re from the planet of the geeks.”

CONSTABLE SERA RASMUSSEN

“Pretty much. Here’s my point-there’s a moral to this story Pete. Traits

that fit well amongst a singular culture don’t always stand up against

the weight of a warrior based competing species. The intellectual

giants of the galaxy were no match for the battle hardened bullies of

Humanity. Brilliant minds were no match for the fists and knives of a

hate fuelled propaganda machine run by leaders working from their

basest instincts, those driven by survival; of a species, a culture and a

very way of life. It was a fear driven by evolution’s arrow, a goal for a

species’ survival, the will to carry on; the basest drive overtaking

Humanity’s better qualities, a weak populace highly motivated to find a

scapegoat for the source of their many ills. In the Garconer they

thought they found the solution to the source of their society’s failure to

thrive.”

PETE ROSCHILDE

“Sounds like history repeating itself.”

CONSTABLE SERA RASMUSSEN

“People never learn, do they Pete? You know how people are when

the economy has gone to crap? In a tale as old as time, Humanity’s

descendents sought to search outwards for a source much easier

found within. The Garconer came to represent everything wrong with

the universe, an easy target, one thought never to put up much

of a fight; easy to take down, the bullies overtaking the weak. Innocent

of everything but the pure and unvarnished truth of this one thing. They

were better than Humanity. In everything they set out to do, they were

truly better than their Human cousins.”

PETE ROSCHILDE

“You my friend should be ashamed of yourself.”

CONSTABLE SERA RASMUSSEN

“I am.”

PETE ROSCHILDE

“That’s good.”

CONSTABLE SERA RASMUSSEN

“Released from their long dead animal natures sloughed off through

eons of evolution and gene augmentation, the intellectual giants of the

galaxy managed to throw off the shackles of their species’ former

lower natures. Like all higher species, they weren’t all that different

from mankind.”

PETE ROSCHILDE

“Go on. Regale me with some military history.”

CONSTABLE SERA RASMUSSEN

“Humanity’s enmity towards such a benign force derived from a

childish instinct, a sense of fairness and even handedness in the cards

they’d been dealt by the universe; seeing in the Garconer a species far

in advance of Humanity, both in intellectual prowess as well as in the

care of the soul. Coming together as a community in common cause,

the Garconer worked for the betterment of the entire species.”

PETE ROSCHILDE

“How so?”

CONSTABLE SERA RASMUSSEN

“Millennia before Humanity built the first city states; the Home World

of my ancestors was already thriving in its scientific endeavours. Each

and every one of its major population centres was home to its own

centre of scientific research.”

PETE ROSCHILDE

“It sounds promising.”

CONSTABLE SERA RASMUSSEN

“It was. Er, so I’ve been told.”

PETE ROSCHILDE

“How’s that then?”

CONSTABLE SERA RASMUSSEN

“I never got to see the Home World for myself. I just know the stories

my father told me as a boy and the written records I studied in school.

We lost our way back; I suppose my ancestors never had a Garconer

version of leaving out bread crumbs.”

PETE ROSCHILDE

“They couldn’t figure out how to find their way home; how did that

happen?”

CONSTABLE SERA RASMUSSEN

“They just kept travelling, they never stopped. They wanted to

experience it all, all the universe had to offer. All the sights and

sounds, all the wonder and the beauty, they wanted to know it all. At

some point, they went too far, got thrown off course, who knows what

went wrong. They were too far out; their universal coordinate guiding

system no longer making sense. They say different areas of the

universe may be running on different rates of time; I suppose it’s

possible this part of the universe is slightly out of phase with the

Garconer Home World, or something.”

PETE ROSCHILDE

“Another dimension.”

CONSTABLE SERA RASMUSSEN

“Perhaps. Back on the planet in question, things were hopping.”

PETE ROSCHILDE

“Let’s hear it then, oh Môn Orator.”

CONSTABLE SERA RASMUSSEN

“Each major centre had its own focus on a different scientific field. The

coastal ports of call focused on the marine sciences, the interior

settlements held the fresh water sciences as their claim to fame, other

learning centres had any number of disciplines at their fingertips.

Around the time of the Akkadian Empire here on Earth, the Garconer

Home World reached the stage of development this planet is at now.

Around the time the Roman Empire arose here on Earth, my people

reached the edges of the Home System, ready to begin their

interstellar exploration voyages. Back on the Home World, the race

was on for the greatest scientific discovery Garconer scientists would

ever make- the voyage to eternity.”

PETE ROSCHILDE

“This was what now?”

CONSTABLE SERA RASMUSSEN

“Longevity.”

PETE ROSCHILDE

“Ah!”

CONSTABLE SERA RASMUSSEN

“It’s the reason I just may live for another century, and why my father

was two and a half centuries old when he was killed, yet he only

looked forty.”

PETE ROSCHILDE

"I'm so sorry, Cole. I'm sorry you had to go through that, I'm sorry

people have taken you for granted, and I'm so utterly sorry that the

universe has mucked you over so royally. I'm not, however, sorry that

I've been granted a chance to meet you, to get to know you. To love

you."

CONSTABLE SERA RASMUSSEN

"So, we're alright, do you say, Pete?"

PETE ROSCHILDE
"Oh yeah, we're alright, Cole. We're better than alright."

CONSTABLE SERA RASMUSSEN

“They called it the ‘Eternity Project’. They wanted to develop a

guarantee our species would never go extinct. You see; researchers

realized that through the process of evolution, after billions of years, a

species would no longer be the same originating species. They wanted

some means of slowing the process down, so they could control it, as

well as have the means of recording the changes. They wanted a

straight line through time, from whence they were, to the big crunch,

hundreds of thousands of trillions of years down the line, when the

universe will go into its final singularity. Or so it‘s believed. Of course,

that all fell by wayside, once we got lost.”

PETE ROSCHILDE

“I guess the universe didn’t want your people to live forever Cole.”

CONSTABLE SERA RASMUSSEN

“No, I suppose not. My people teach in the Scientific Garconer belief

system, when this universe reaches its final singularity, going into its

big crunch, hundreds of trillions of years down the line, it will all

combine into one immortal being made up of the molecules of the

entire universe. Each universe will eventually become its own sentient

being known as an Archetype; giving birth to new universes. The first

mover begat a three fold universe. The three in one divided into the

many. The many begat duality; the concept of conflict. This gave rise

to separation, judgement, cruelty, misery. But behind that is the oldest

force in creation, giving form to creation itself, as well as the first and

last lesson we must learn as we travel through the chain of life; love.

Through love, the universe begat physical creation; through love

artists bring forth paintings, architectural wonders, literature, theatrical

performances, love brings us divine meals, fashion, perfumes, music,

medical advances and the province of ideas. Love is the Alpha and

Omega, the oldest idea, the last idea. The first and last question, the

question that must be asked, but must never be answered, for with

that answer comes an end to all things; what is love?”

PETE ROSCHILDE

“I love that, You know, that last bit brings to mind something from the

Zohar. And I quote, 'The Ancient of Days has three heads. He reveals

himself in three archetypes, all three forming but one. He is thus

symbolized by the number Three. They are revealed in one another.

These are: first, secret, hidden 'Wisdom'; above that the Holy Ancient

One; and above Him the Unknowable One. None knows what He

contains; He is above all conception. He is therefore called for man

'Non-Existing' Ayin.’”

CONSTABLE SERA RASMUSSEN

“The Zohar would designate Spring Heel Jack as the wisdom keeper.

His ability to go anywhere in space and time with merely a thought,

reveals Jack’s identity as an emanation of the Logos, Divine Wisdom,

primordial archetype of the universe; mediating between the divine

idea and the material world. Jenson’s said to have been tricked into

accidentally releasing an air borne plague into an alien world. They

managed to get it contained, but there was a child, a sort of patient

zero, hosting a new and deadlier strain of the virus. The only way to

save the population of the planet was to sacrifice the child. From that

day onwards, Jenson made it his sole mission in life to protect the

children of the cosmos. So as a young boy, I was taught to put my

faith in him. He’d be the Ancient one. In both cases, it was the work of

the dark medics aboard the fleets of the Black Brigade. They are said

to overlay those on Earth with dark designs involving Human research

subjects; individuals such as Mengele, or the Japanese medical

researchers perpetrating horrific experiments on POWs during World

War Two.”

PETE ROSCHILDE

“When we stop trying to become better Human beings, we stagnate,

the soul begins to decay; physical death can’t be too far behind.”

CONSTABLE SERA RASMUSSEN

"Pete seriously, go home. It's late, and having you here with me is just

serving as temptation. Go home before we both do something we

know Sera will regret."

PETE ROSCHILDE

"Goodnight, love."

JOHN MAPLETHORPE(V.O.)

“Looking good Pete.”

CUT TO: -

SC37. INT. PETE’S OFFICE - STEWART DESIGN - DUSK -

BURRARD STREET - 2014

[STEWART DESIGN’S V.P. OF PUBLIC RELATIONS

JOHN MAPLETHORPE, MID FIFTIES IS STOOD

BEHIND PETE.

HIS MIDDLE AGE SPREAD IS NOT QUITE HIDDEN

BY HIS GUCCI DESIGNER SUIT.]

PETE ROSCHILDE

“Thanks for the vote of confidence John. I’m almost done here. I’ve

just got to finish up, and then I’m headed home for the night.”

JOHN MAPLETHORPE

“Listen, Pete, I’m nominating your team for this year’s architectural

award.”

PETE ROSCHILDE

“Really? That’s an incredible honour, sir.”

JOHN MAPLETHORPE

“Well, you folks deserve it. That plan you came up with for the new

harbour front centre was a true joy to behold. Keep on thinking on

your feet, and you’ll be looking at a major promotion in a couple

months time.”

PETE ROSCHILDE

“Yeah? Well what do you know, I’ve got some celebrating to do.

Thanks for the heads up John.”

JOHN MAPLETHORPE

“Don’t hit the bars too hard Pete. We’ve got an early day ahead of us

first thing tomorrow morning.”

PETE ROSCHILDE

“Right. We’ve got that meeting with the Frobisher Group to discuss

their new office building in Tsawwassen. Don’t worry sir, I’ll be here

bright eyed and bushy tailed, with bells on, even.”

JOHN MAPLETHORPE

“Let’s forgo the bells, perhaps. Other than that, you’re good to go.”

[JOHN HEADS OUT OF THE OFFICE, SPEAKING

INTO HIS BLUETOOTH DEVICE TO HIS SECRETARY

RUTH.]

JOHN MAPLETHORPE

“Ruth, please inform my wife that I’ll be working another late night.”

[PETE ROLLS HIS EYES HEAVENWARD AT JOHN’S

RETREATING BACK.]

CUT TO: -

SC38. INT. COLE’S HOTEL ROOM - GLASGOW - NIGHT- 2014

[SERA IS SAT IN A CHAIR BY THE BUREAU.

REGINALD WALKS THROUGH THE ADJOINING

DOOR CARRYING HIS LAPTOP ON STANDBY.]

DOCTOR REGINALD DESMOIRE

“I’m waiting on a skype call with Merissa. I’ll just leave this here.”

[HE PLACES THE OPEN LAPTOP ATOP THE

BEDSIDE TABLE.]

COLE JACOB BILLINGTON

“Next time I saw Mark Iblis, it was nineteen fifty four.”

[COLE RETRIEVES HIS BLACKBERRY FROM HIS

CARRY ON BAG.

HE INPUTS A PASSWORD INTO THE

COMMONWEALTH NETWORK ARCHIVE.]

COLE JACOB BILLINGTON

“The secure archive was able to requisition the police report from the

East End RCMP Detachment concerning an incident I was involved in

shortly after I came across Mark for the second time.”

[COLE PULLS UP FILE ‘ALIEN MANATEE’

HE CLICKS ON A BLACK AND WHITE THUMBNAIL

IMAGE SHOWING THE FRONT OF THE

WATERFRONT STATION CIRCA NINETEEN FIFTY

FOUR.]

COLE JACOB BILLINGTON

“Reg, I’m going to email you a photo attachment so we have a

decent sized screen to view it on.”

[REGINALD GOES TO CHECK HIS EMAIL ON HIS

LAPTOP.

HE INPUTS A PASSWORD, BRINGING UP HIS

COMMONWEALTH NETWORK ACCESS ACCOUNT.

COLE’S MESSAGE POPS UP WITH THE HEADER

‘FILE ALIEN MANATEE‘.

REGINALD CLICKS OPEN THE THUMBNAIL IMAGE.

ON THE LAPTOP’S SCREEN WE SEE A FULL SIZED

BLACK AND WHITE PHOTO OF A DEAD CREATURE

LAIN AT COLE‘S FEET.

BEHIND COLE IN THE BACKGROUND WE SEE THE

WATER FRONT STATION.

IN THE FOREGROUND SEVERAL EARLY NINETEEN

FIFTIES, LATE FORTIES VEHICLES ARE PARKED

ALONG THE CURVE OF WEST CORDOVA.

THE DEAD CREATURE LOOKS LIKE A BIPEDAL

MANATEE WEARING A LEATHER TUNIC.

. A BULLET WOUND IS SEEN THROUGH THE AREA

ANALOGOUS TO A MAN’S FOREHEAD.

A POOL OF BLOOD CONGEALS ON THE PAVEMENT

SURROUNDING THE CREATURE’S HEAD.

COLE LOOKS DEVASTATED.

IN THE ROOM, COLE TURNS TO FACE THE PHOTO.

SERA MOVES ACROSS THE ROOM TO TAKE A

LOOK AT IT.

COLE READS FROM THE POLICE REPORT OFF HIS

BLACKBERRY.]

COLE JACOB BILLINGTON

“According to Constable Norfred Fry of the East End RCMP

Detachment, on a bright, sunny day at two o’clock in the afternoon on

a Tuesday, a strange, inhuman creature; described as ‘a bipedal

manatee’ chose to take a stroll down the middle of West Cordova

Street. A little while after that, a group of government officials ordered

the area to be cordoned off. Then Officer Fry goes off on a tangent

about medieval charlatans who’d done bizarre things with animals,

making them appear to be Unicorns or Mermaids. Pointing out that

the esteemed Manatee was supposed to be one explanation for

ancient mariner’s tales of Mermaid sightings.”

[COLE LOOKS UP FROM HIS BLACKBERRY AND

PACES THE ROOM.]

COLE JACOB BILLINGTON

“Of course, the animals didn’t have feet like Humans, nor would they

be able to survive for long on land. In the days following the sad

events at the station the bureau was consumed with the question of

the exact nature of how certain non humanoid sentient species

evolved. When this incident occurred, society was still heavily

invested in a biblical worldview. Meeting offworlders whom could pass

for Human or were at least Human-like fit into the average C.P.B.

Operative’s mindset of what God’s children look like due to the

accepted concept of man being made in God’s image. This creature,

although clearly intelligent enough to have some sort of culture, had

obviously evolved from a marine mammal somewhere out there in the

universe; or knowing what the folks in Bloomsbury are starting to

realize, and what Cecil and I learned in Burma in thirty six; a universe.

Either way, the creature’s lack of literal humanity became its own

death sentence.”

[COLE TAKES A SEAT ON THE BED.

HE READS FROM THE POLICE REPORT.]

COLE JACOB BILLINGTON

“Officer Fry reports that the group proceeded to get into an argument

over the fate of the creature. I had the brilliant idea of attempting to

communicate via sign language; others had other ideas. Commander

Bertram Russell demanded I shoot it right away. Refusing to execute it,

Bertram forced my hand by holding a rifle to my temple. Forced to do

the unthinkable, seething at the inhumanity of my commanding officer, I

quickly shot five consecutive bullets point blank, directly into the

creature’s brain.”

CONSTABLE SERA RASMUSSEN

“Poor guy.”

COLE JACOB BILLINGTON

“Poor dead creature; the officer goes on to describe how he stood back

and observed our group as the dead creature was lifted into the vehicle,

saying ‘The executioner was like a dead man, the light had gone out of

his eyes, and there appeared to be no one home. The others had to do

all the heavy lifting themselves, as their underling stood there in the

middle of the street, off in his own little world. They’d pulled him over to

the vehicle, basically shoving him into the back seat once they were

done; so torn up was the fellow.”

CONSTABLE SERA RASMUSSEN

“You do have a heart.”

COLE JACOB BILLINGTON

“Battered and beaten, worn threadbare from heavy use. But let’s roll

back the reel a few frames to about a quarter of an hour before ‘this

moment‘.”

[COLE GESTURES AT THE IMAGE ON REGINALD’S

LAPTOP.]

CUT TO: -

SC39. INT. VEHICLE\EXT. UNIVERSITY WAY - DAY - VANCOUVER

- 1954

[COMMANDER BERTRAM RUSSELL DRIVES

THROUGH THE GROUNDS OF THE UNIVERSITY.

COLE IS IN THE BACK SEAT AND BASE MEDIC

DOCTOR STEVEN GREER SITS IN THE

PASSENGER SEAT.

THE VEHICLE LURCHES TO A STOP.

STOOD ON THE FRONT OF THE VEHICLE, MARK

IBLIS HANGS FROM A BRANCH, ATOP THE CAR.]

MARK IBLIS

“Oh hello there.”

[COLE STEPS OUT OF THE VEHICLE.]

COLE JACOB BILLINGTON

“Mark Iblis; I’ve been doing research on you, you’re like a God of

time.”

MARK IBLIS

“I’m not a God of time, it doesn’t exist.”

COLE JACOB BILLINGTON

“What, God or time?”

MARK IBLIS

“Touche’.

[COLE HELPS MARK DOWN FROM THE VEHICLE.]

CUT TO: -

SC40. INT. COLE’S HOTEL ROOM - GLASGOW - NIGHT- 2014

[SERA’S ATTENTION IS ON COLE.]

COLE JACOB BILLINGTON

“It’s all a bit blurry after that. It’s been six decades and I was rather

traumatized by the events that occurred immediately after in town. I Did

my best to block it out. I know Mark gave me a reminder to set up the

anonymous account that we now know was going to be used by

Simon. He disappeared in a flash of light, and we sped off to Gas

Town.”

[REGINALD IS SETTING UP HIS SKYPE SESSION

ON THE LAPTOP.

THE MACHINE BEEPS.

ON THE LAPTOP’S SCREEN, MARISSA DESMOIRE

IS SAT AT THE DINING TABLE IN VANCOUVER.]

DOCTOR REGINALD DESMOIRE

“Boy, am I beat.”

MARISSA DESMOIRE

“Rough day, hon?”

[VICTORIA DESMOIRE, 15, A SPLASH OF RED

HIGHLIGHTS IN HER SHOULDER LENGTH BROWN

HAIR IS SAT NEXT TO 16 YEAR OLD MABLE.

THE TABLE IS SET FOR DINNER.]

VICTORIA DESMOIRE

“Get a room.”

[MABLE RESPONDS WITH A LIGHT KICK TO HER

SISTER’S FOOT, BENEATH THE TABLE.

VICTORIA GIVES HER SISTER A DARK LOOK.]

DOCTOR REGINALD DESMOIRE

“What’s got into you? You’re usually a bundle of joy. Did something

happen at school?”

MABLE DESMOIRE

“She got a C minus on her last quiz in her Social Justice course.”

MARISSA DESMOIRE

“It’s all right Victoria, just try better next time. You’ll get there.”

VICTORIA DESMOIRE

“It’s just, I should know this. I need to know this. All I’ve ever wanted,

ever since I was six year old was to be a Social Worker. You know

this, you’ve known it all along. Ever since I realized that not every one

has a home to go home to. I need to do this. I need to make the world

a happier place. I want to help people. And you know I don’t have the

skills to become a Doctor or a nurse, and I don’t have a lick of creative

talent in my bones. So I can’t be an entertainer. What I can do

however, is make those on the margins of society feel a bit better

about themselves. That’s what I’m here for, you know that it is. But I

won’t achieve any of that, if I can’t even frickin Ace my Social Justice

exam.”

[MABLE BEGINS TO CLAP IN FEIGNED APPLAUSE.]

MABLE DESMOIRE

“Oh bravo! Ten out of ten for histrionics. I will however have to deduct

points for the use of bad language.”

VICTORIA DESMOIRE

“Oh, shut up, sis.”

DOCTOR REGINALD DESMOIRE

“Play nice, girls.”

MABLE DESMOIRE

“It was just one stinkin’ quiz. Get over it.”

[VICTORIA GETS UP FROM THE DINNER TABLE;

STOMPING OFF TOWARDS HER BEDROOM.

REGINALD POINTS A FINGER AT THE SCREEN IN

MABLE’S DIRECTION.]

DOCTOR REGINALD DESMOIRE

“You, go to your room. You should know better than to rile your sister

up when she’s in a mood.”

MABLE DESMOIRE

“Fine. I’ve got a chemistry test I need to study for, anyways. I don’t

need this shite.”

MARISSA DESMOIRE

“Language, young lady. Watch your tone.”

MABLE DESMOIRE

“Yeah, sorry.”

[MABLE HEADS OFF TOWARDS HER ROOM.]

COLE JACOB BILLINGTON

“Trouble in paradise Reg?”

CUT TO: -

SC41. INT. JACLYN’S BEDROOM - UNION STREET - NIGHT -

VANCOUVER - 2014

[ORANGE AND PINK CURTAINS COVER THE

WINDOW.

JOHN MAPLETHORPE IS PERCHED ATOP JACLYN,

GASPING HARD AND HEAVY.]

JOHN MAPLETHORPE

“Such a pretty lady you are, young Jack.”

[JACLYN DARTS IN TO GIVE HIM A KISS, PULLING

AWAY, GIVING HIS CHEEK A GENTLE CARESS.]

JACLYN BOWEN

“Call me Jacklyn honey. I don’t need to be reminded of my old life.

Jack was miserable. Nothing lay before him but another day as an

angry man, just waiting for his life to come to a final end. Jacklyn rose

from out the ashes, like Aphrodite of old. Each day now is a pleasure,

something poor ol Jackie boy could never know.”

[JOHN MOVES UP JACLYN’S BODY, SOFTLY,

CAREFULLY MOVING INTO POSITION, MOUTH

CLOSE ENOUGH TO LAP HIS TONGUE ALONG HER

PECTORAL MUSCLES.

JACLYN HITCHES HER BREATH.]

JOHN MAPLETHORPE

“Did young Jack always know he was a woman in disguise, or was he

unable to put his finger on the source of the pain?”

JACLYN BOWEN

“I’m not quite sure when I knew, really. I knew something felt off, when

all the young girls at my middle school began developing, and I

wished I could become like them. But before that, well I really prefer

women, so it wasn’t all that clear. I thought perhaps I had just taken

my admiration for the female figure a tad too far. Not that men aren’t

swell as well. I really don’t mind.”

[JOHN QUICKLY MOVES OFF HER, POSITIONING

HIMSELF IN A SEATED POSITION AT THE END OF

THE BED, FEET ON THE FLOOR.

JACLYN SITS UP BEHIND HIM, CRAWLING UP

BEHIND HIM.]

JACLYN BOWEN

“What’s wrong? I don’t want to leave you unsatisfied, you are a valued

customer, sir.”

[JACLYN BEGINS TO MASSAGE THE BACK OF

JOHN’S NECK.]

JOHN MAPLETHORPE

“I’m afraid I’ve fallen for you, Jaclyn.”

[JACLYN STILLS HER MOVEMENTS..]

JACLYN BOWEN

“Oh.”

JOHN MAPLETHORPE

“I know, I know, silly of me, isn’t it? I can’t stop thinking about you, my

mind really isn’t on my work. You are so bloody gorgeous, and sweet,

and kind. And sure, I know some of that is part of the job, but if it is all

an act, then you deserve a Tony for your outstanding performance.”

JACLYN BOWEN

“I like to think it’s not completely an act.”

[JACLYN BENDS TO KISS HIM ON THE CHEEK.]

JOHN MAPLETHORPE

“I find myself worrying about you, wondering if you’re alright,

wondering who you’re with. I had some silly idea of helping you get

out of this line of work, finding a way to set you up with a decent wage,

perhaps somewhere in my own company. I was thinking of leaving my

wife, it’s not right, stepping out on her like this. But, turns out, you’re

not really interested in men, are you? God, I’m so stupid!”

JACLYN BOWEN

“No, no sir you aren’t. You just weren’t prepared for how this really

works. You see, I’m a professional at what I do. It’s all about giving the

customer what he wants. You wanted romance and sweet words of

tender love. So that’s what I gave you. It wasn’t all a lie though, I do

this thing where I just kind of fall into the act. I can get swept away with

the emotions that go along with it. I’m like a method actress in a sort of

way. It’s not your fault, really, it isn’t. And, you know, if I really were into

men, I think I might’ve taken you up on the offer.”

JOHN MAPLETHORPE

“But, you’re not.”

JACLYN BOWEN

“I’m really not. I’m sorry.”

JOHN MAPLETHORPE

“No, don’t be.”

CUT TO: -

SC42. INT. NATIVE HEALTH SOCIETY CLINIC - 4409 E. HASTINGS

ST. - NIGHT - 2014

[DOCTOR BAILEY O’BANNION CHECKS A

BANDAGED LEG WOUND OF THE ELDERLY

MISTER TAYLOR.]

DOCTOR BAILEY O’BANNION

“There we go, should be alright, Mister Taylor. You’ll have a bit of a

bruise there for a while, I suspect. But it seems to be healing up

nicely.”

[BAILEY MOTIONS FOR NURSE PETERSON, 30,

RED HAIRED TO COME PREPARE A NEW

BANDAGE FOR MISTER TAYLOR.]

MISTER TAYLOR

“That’s good to hear, Doctor. It’s hard to admit that I’m getting up in my

years. I’m no spring chicken, you know.”

DOCTOR BAILEY O’BANNION

“You know, Mister Taylor, if there’s one thing I’ve learned from the

people I work with, you’re only so old as you feel. You can be barely

out of your teens, and feel eighty, or you can be older than dirt, and act

like a teenager. It’s really in the way you think of it.”

MISTER TAYLOR

“You’re right about that, Doc.”

[NURSE PETERSON WRAPS THE WOUND WITH

MEDICAL GAUZE.]

MISTER TAYLOR

“Well, I should probably be getting out of your hair. Plenty more

patients for you to see, I’m sure.”

DOCTOR BAILEY O’BANNION

“I think you’re right.”

NURSE PETERSON

“All done, love. You’ll be right as rain in no time.”

MISTER TAYLOR

“Excellent job, darling. You’re a joy to behold. Place like this, it must

not pay much, does it? You deserve better than this.”

NURSE PETERSON

“Actually, the pay is no less than it would be anywhere else. Besides, I

don’t do this for the money. It’s about helping people. Don’t worry

about me Mister Taylor. I love my job. Wouldn’t trade it for anything.”

MISTER TAYLOR

“Really? Well that’s good to hear. Good to know they’re not taking

advantage of you here.”

DOCTOR BAILEY O’BANNION

“We wouldn’t do that, Mister Taylor. We respect all our employees.”

MISTER TAYLOR

“Oh, I didn’t mean you, Doc. I would never accuse you of such a

dastardly deed. I meant, the government.”

DOCTOR BAILEY O’BANNION

“Good save. But you be careful around those stairs now, you hear?

Your injuries could have been a hell of a lot worse than they were.

There go by the grace of God. Sorry about that, got to be careful

where religion is concerned.”

MISTER TAYLOR

“Don’t mind me, Doc. I’m just a weary old man whom has given up on

the idea of there being any sort of deity guiding our lives.”

DOCTOR BAILEY O’BANNION

“Well, you have a good evening now, you hear?”

CUT TO: -

SC43. INT. GARDEN CAFÉ - SINCLAIR ST. - NIGHT - 2014

2014

[BAILEY PAYS FOR A PAIR OF HERBAL TEAS.]

DOCTOR BAILEY O’BANNION

“Nice seeing you again, Steve.”

[WAVING TO STEVE ROSETTI, MID FIFTIES; BAILEY

CARRIES THE DRINKS TO BRITTANY’S TABLE.]

STEVE ROSETTI

“You to, O’Bannion,”

[STEVE HEADS INTO THE STOREROOM BEHIND

THE COUNTER, HUMMING ALONG TO A POP DITTY

PLAYING QUIETLY ON THE RADIO.

BAILEY HANDS BRITTANY HER TEA.

OUTSIDE, IT’S RAINING. ]

DOCTOR BAILEY O’BANNION

“There you go, beautiful. That’ll keep you warm tonight.”

BRITTANY LONGFELLOW

“I think you’re right,”

[BRITTANY TAKES A SIP OF HER TEA.]

BRITTANY LONGFELLOW

“It’s getting late, don’t you think?”

DOCTOR BAILEY O’BANNION

“You’re right about that, I should be getting home.”

BRITTANY LONGFELLOW

“Drive safely, and have sweet dreams.”

DOCTOR BAILEY O’BANNION

“They’ll definitely be sweet, my sweet. They’ll be all about you.”

BRITTANY LONGFELLOW

“What a sweetheart you are, Doctor O’Bannion. Well, good night.

Come on, let’s go.”

[GETTING TO HER FEET, BRITTANY GRABS HER

PURSE, GESTURING TOWARDS THE DOOR.]

DOCTOR BAILEY O’BANNION

“You’ve got it.”

[FOLLOWING BRITTANY OUT, BAILEY HOLDS OPEN

THE DOOR AS SHE EXITS.

BRITTANY STEPS ONTO THE PAVEMENT.]

CUT TO: -

SC44. EXT. GARDEN CAFÉ - SINCLAIR ST. - NIGHT - 2014

[BRITTANY’S 1998 DODGE FORD EXPLORER IS

PARKED AT THE CURB.]

BRITTANY LONGFELLOW

“Good night Doctor O’Bannion.”

[BAILEY WATCHES BRITTANY GET INTO HER

VEHICLE AND DRIVE AWAY.

BAILEY WANDERS OVER TO HIS OWN VEHICLE

NEARBY.

THE LIGHT RAIN BECOMES A TORRENT.

AN OWL HOOTS OFF IN THE DISTANCE.]

DOCTOR BAILEY O’BANNION

“Hmm, it must really be getting late.”

[GETTING INTO HIS VEHICLE, BAILEY DRIVES OFF.]

CUT TO: -

SC45. EXT. BURTON CAFÉ - GLASGOW. - DAY - 2014

[COLE STROLLS UP WITH HORATIO MARCOS.]

COLE JACOB BILLINGTON

“So a schism develops in the temporal force a few hundred years

beyond Ifan’s time between the scholars and the soldiers.”

HORATIO MARCOS

“Like a future equivalence of the Reformation. Transformation

through equivalent means and method.”

COLE JACOB BILLINGTON

“The scholars are fed up of having all their research funds tied up in

fighting a war that’ll never end- the enemy being foot soldiers of old

Scratch himself. Becoming fodder for battle serves only to feed the

forces of anti-life, apathy, dissolute powers and strife. A power

struggle develops between the Jesuits who run the force and an

increasing number of new recruits affiliated with the Franciscan

orders.”

[KATHERINE AND SHAMASH NOSGARTEN ARE SAT

ON THE PATIO.]

HORATIO MARCOS

“They hold a Synod.”

COLE JACOB BILLINGTON

“Sans the Council of Nicaea.”

HORATIO MARCOS

“Exactly. Eventually a benevolent order run by the Franciscans sets

up shop in the Glasgow Cathedral, where Eugraine Carmody ergo Liz

Carnegie makes a living via humanitarian work in battle weary

societies.”

[HORATIO TAKES A SEAT NEAR KATHERINE.

KATHERINE’S GOT A BREAKFAST OF BANGERS

AND MASH, A COFFEE ON THE SIDE.

COLE TAKES A SEAT NEAR SHAMASH; EGG’S

FLORENTINE BEFORE HIM.]

KATHERINE

“So what really happened to Simon, what did he figure out?”

SHAMASH NOSGARTEN

“Remember what we discussed a few weeks back when I told you

about the project? The idea that at some point in the development of

human consciousness, we didn’t have free will or the independent

ego, so our immature souls inflicted horrific attrocities on our physical

forms due to a lack of sensory awareness. That to prevent this from

ever happening again, we had to gain independence from our greater

self whilst in physical form.”

KATHERINE

“I remember.”

SHAMASH NOSGARTEN

“Simon gained self awareness of the virtual world he was placed in,

much like Moriarty on Star Trek. Unlike Moriarty, Simon has no free

will outside of what I chose to do whilst I’m playing him.”

COLE JACOB BILLINGTON

“Its like the version of Cole who was trapped in the holo-painting. He

had no free will as long as the players had locked in their remotes.

Elizabeth’s arrival with an open device was the freedom key he

needed to become the captain of his own ship.”

KATHERINE

“What exactly happened in that narrative resolution there Cole? I didn’t

quite follow how the issue was resolved.”

COLE JACOB BILLINGTON

“Collapsing time loop, his life flashed before his eyes type of thing. At

which point the painting disappeared; because by integrating his

dissociated parts with his present self, he uncreated the illusionary

container created to hold his annihilation complex through basically

annihilating it. Ironic eh?”

SHAMASH NOSGARTEN

“As to Simon, the system would have crashed if he’d gained machine

sentience so I fiddled with his code. I bumped him up two years in his

personal timeline, a coded glitch.”

END OF EPISODE.