God's hand is in the details.

SYNOPSIS:

Ifan dreams of the martyrs and we meet the 1913 team.

NOS GALAN GAEAF

SC1. EXT. CARDIFF BAY HARBOUR - NIGHT - 2014

[BENEATH THE SURFACE OF THE WATER, A SUNK

WW2 GERMAN SUBMARINE IS SETTLED IN THE

SILT.

THE TOP IS PROPPED OPEN.

A DIVER HOVERS ABOVE THE OPENING.

THE DIVER ATTACHES AN HOURGLASS SHAPED

OBJECT CONNECTED TO VARIOUS WIRES AND

EXPLOSIVES TO THE INSIDE OF THE OPENING.

ON THE WATER‘S SURFACE, A RED MOTORBOAT

IDLES IN THE DISTANCE.]

CUT TO: -

SC2. INT. PRIVATE HOSPITAL ROOM - SAINT PAUL‘S HOSPITAL -

DAY - VANCOUVER - 2014

[JONATHAN AETHERS; 35, LIES IN A COMA IN A

HOSPITAL BED.

WEARING HOSPITAL PYJAMAS, JONATHAN’S

HOOKED UP TO VARIOUS LIFE SUPPORT

MACHINES AT THE HEAD OF THE BED.]

COLE JACOB BILLINGTON(V.O.)

“Jonathan Aethers has lain in a coma in an Isolation Ward since

nineteen twelve. His body, it’s like it’s frozen in time. He doesn’t age,

he won’t die, but he’s not really living, either.”

[DOCTOR BAILEY O’BANNION ENTERS.]

COLE JACOB BILLINGTON(V.O.)

“A bit more then a century ago, Jonathan set out to prove the

existence of dark energy. He was laughed out of all the major British

research institutions. The University College of London thought him a

lunatic; he was anything but.”

[BAILEY TAKES A LOOK AT THE VARIOUS LIFE

SUPPORT MACHINES.

BAILEY MARKS DOWN THE RESULTS IN A SMALL

NOTEBOOK.]

COLE JACOB BILLINGTON(V.O.)

“In nineteen ten, signals got crossed; Jonathan was under the

mistaken belief he’d been offered a position with the CPB; that we

were setting up a lab for him. We’d never even heard of him as far as

I knew. Jonathan spent the next two years working the docks of Bute

for passage to Canada, arriving in Vancouver in nineteen twelve. Poor

guy, there was no job for him.”

[BAILEY PERFORMS A PHYSICAL EXAM ON

JONATHAN.]

COLE JACOB BILLINGTON(V.O.)

“I thought Jonathan may have been on to something, so I did what I

could to help him out. I was able to get a granting agency to provide

funding for a private lab. I helped Jonathan set it up in a warehouse

on the corner of West Cordova and Richards Street; where the

Harbour Centre is now.”

[BAILEY EXITS, CARRYING A SET OF PHYSICAL

SAMPLES TAKEN FROM JONATHAN.]

COLE JACOB BILLINGTON(V.O.)

“The last time I spoke to Jonathan, he told me about a new machine

he’d built. His aim had been to detect the presence of ‘dark energy’.

The man was about a century ahead of his peers. The Time Line

Investigation Unit in Bloomsbury, the Shropshire Patrol Company,

the bases in Melbourne and Sydney; they all work off the foundational

work of Jonathan’s core ideas. As far as the rest of the world is

considered, the term ‘Dark Energy’ wasn’t coined until nineteen ninety

eight by Michael Turner. Nowadays it’s considered to be one more

basic component to our universe. Back then it wasn’t taken seriously

by anyone.”

[THE ERA CHANGES TO NINETEEN TWELVE.

JONATHAN’S HOSPITAL PJAMAS REVERT TO AN

EARLIER STYLE.

THE LIFE SUPPORT EQUIPTMENT REVERTS TO AN

EARLIER TECHNOLOGICAL LEVEL.]

COLE JACOB BILLINGTON(V.O.)

“Intrigued by his plans, I waited to hear back on the results. I hadn’t

heard from Jonathan in days, I was getting impatient for news of his

latest findings. Eventually, I decided to go see him. I found him lying

on the floor of the warehouse.”

[COLE JACOB BILLINGTON ENTERS.

CHARLIE DENTON ENTERS, FOLLOWED BY

DOCTOR BLAINE GIANCOMO.

DIRECTOR TO THE CPB; CHARLIE IS IN HIS MID

THIRTIES, POSH WELSH.]

CHARLIE DENTON

“Let’s set up an isolation ward, we don’t want this spreading to the

other patients. I’ll look into arranging a private lab and let’s keep this

out of the society pages fellows.”

CUT TO: -

SC3. INT. MAIN ROOM OF CPB BASE - DAY - 1912

[JONATHAN IS STOOD IN THE CENTRE OF THE

ROOM.

COLE, CHARLIE AND BLAINE ARE STOOD NEARBY.

EMILY IS SAT AT THE DESK THAT WILL ONE DAY

BECOME BRITTANY‘S.

EMILY FOCUSES ON HER BOOKKEEPING DUTIES.

TURNING, JONATHAN FACES COLE.]

JONATHAN AETHERS

“Cole, how did I get here? The last thing I remember, I was in the

warehouse.”

COLE JACOB BILLINGTON

“What warehouse?”

JONATHAN AETHERS

“The warehouse you helped me get for my laboratory. You set it up for

me.”

[CHARLIE STEPS FORWARD.]

CHARLIE DENTON

“Your lab’s where it’s always been Jonathan. Down the corridor, past

the med lab. There was never any warehouse.”

JONATHAN AETHERS

“No, but there was. I came here, thinking I had a position, and there

was nothing. No job. I worked two years at the Bute docks in Cardiff

to afford the passage, but there was nothing. Nothing until Cole

worked out an arrangement with a granting agency to help me rent

out a warehouse to do my work in. I was all on my own.”

COLE JACOB BILLINGTON

“That never happened. We’re glad to have you on our Team

Jonathan. Your mind is amazing.”

CHARLIE DENTON

“He’s right lad, I’d a been a fool to turn you away. I know brilliance

when I see it, you Jonathan are brilliant. You are just the man we

need in this new century of ours.”

[BLAINE LEADS JONATHAN TOWARDS THE MED

LAB.]

DOCTOR GIANCOMO

“Come on lad, let’s go check you over to see what’s going on in that

head of yours.”

CUT TO: -

SC4. INT. PRIVATE HOSPITAL ROOM - DAY - 1912

[JONATHAN LIES IN A COMA IN THE HOSPITAL

BED.

THE CENTURY PASSES AS THOUGH VIA TIME

LAPSE PHOTOGRAPHY.

THE SCENE AROUND JONATHAN’S BED APPEARS

TRANSPARENT.

JONATHAN’S PJAMAS CHANGE THROUGHOUT THE

DECADES.

THE BEDSPREAD CHANGES THROUGHOUT THE

DECADES.

THE LIFE SUPPORT EQUIPMENT ADVANCES IN

TECHNOLOGICAL LEVEL THROUGHOUT THE

DECADES.

DOCTORS AND NURSES, VARYING THROUGHOUT

THE PASSING CENTURY; UNIFORMS, HAIR STYLES

AND MAKE UP CHANGING AS THE DECADES

SPEED BY; ENTER, FIDDLE WITH EQUIPMENT AND

TAKE PHYSICAL SAMPLES FROM JONATHAN.

TECHNICIANS AND INTERNS, VARYING

THROUGHOUT THE PASSING CENTURY;

UNIFORMS, HAIR STYLES AND MAKE UP

CHANGING AS THE DECADES SPEED BY; ENTER

AND FIDDLE WITH EQUIPMENT.

VOLUNTEERS, VARYING THROUGHOUT THE

PASSING CENTURY; UNIFORMS, HAIR STYLES AND

MAKE UP CHANGING AS THE DECADES SPEED BY;

ENTER, OPEN THE CURTAINS, ALLOWING IN THE

SUN AND SIT WITH JONATHAN.

CLEANING TECHNICIANS, VARYING THROUGHOUT

THE PASSING CENTURY; UNIFORMS, HAIR STYLES

AND MAKE UP CHANGING AS THE DECADES

SPEED BY; ENTER AND CLEAN THE ROOM.

COLE SITS WITH JONATHAN, CLOTHING AND HAIR

STYLE CHANGING, READING VARIOUS BOOKS

THROUGHOUT THE DECADES.

EMILY VISITS WITH BLAINE.

CECIL SMITH VISITS WITH GENERAL TYSON

MONTGOMERY, ROBERT CHU, DOCTOR GILLES

FONTAINE AND DETECTIVE CALVIN EDWARDS.

REBECCA JONES VISITS WITH ELIZABETH MAY,

GEORGE GALLOWAY AND BAILEY.

COLE VISITS WITH SAMUEL PETERS, BRITTANY

LONGFELLOW AND DOCTOR REGINALD

DESMOIRE.]

CUT TO: -

SC5. INT. CARNEGIE COMMUNITY CENTRE - DAY - 2014

[BRITTANY IS SAT AT A TABLE.

ACROSS FROM BRITTANY IS SAT KARA.

MEAGHAN IS SAT IN A STROLLER.]

KARA

“I’m worried about Meaghan’s father; he’s been selling his body to

help me and Meaghan out. It feels wrong profiting off the avails of

prostitution. Not to mention, am I breaking the law, accepting the cash

he gives me? It goes to looking after Meaghan. Legally, he has to help

out, seeing as he’s the father; but not at the expense of his self

respect.”

BRITTANY LONGFELLOW

“It does pose a dilemma. Its perfectly legal for him to do that, but you

inadvertently take on the role of a madam by accepting cash. But if

you don’t accept the funds, he can be held liable for not looking after

his financial obligation to his daughter. I have a friend dealing with that

issue, selling their body due to a lack of better options. You can try to

get him to come see me for career counselling. Its good that you

realize that’s not a path you should take.”

CUT TO: -

SC6. INT. CPB PRIVATE LAB - SAINT PAUL‘S HOSPITAL - DAY -

2014

[BAILEY ENTERS FROM A HOSPITAL CORRIDOR.

WE SEE THE WORDS ‘CPB PRIVATE LAB’ WRITTEN

ACROSS THE DOOR.

SAMUEL PETERS ENTERS BEHIND BAILEY.

THE LAB IS SET UP WITH TABLES OF CHEMICAL

VIALS, DNA SAMPLES AND COMPUTER MONITORS

RUNNING QUANTUM SIMULATIONS.

BAILEY TYPES A CODE INTO THE CLOSEST

COMPUTER.

A SIMULATED QUANTUM BURROWER TAKES

SHAPE ON THE MONITOR.

THE CREATURE IS A BLACK SLUG SHAPED LIKE A

CRESCENT MOON.]

DOCTOR BAILEY O’BANNION

“We’ve finally got the technology to see what we’re dealing with here. I

give you the Quantum Burrower’ Sam.”

[SAMUEL STEPS UP TO SEE THE IMAGE ON THE

MONITOR.]

SAMUEL PETERS

“That’s in Jonathan’s brain? Yeesh!”

DOCTOR BAILEY O’BANNION

“Technically its nested in the quantum foam making up the atoms

forming his brain. This is why his telomeres are quantum locked onto

one instant in time; the quantum foam creates a shield of

timelessness.”

CUT TO: -

SC7. INT. RESTAURANT - NIGHT - VANCOUVER - 5080

[IFAN FENCIS IS SAT AT A TABLE.

A GREY METAL WATER FOUNTAIN IS SET NEARBY

IN THE CENTRE OF THE ROOM.

WE SEE THE VIEW OF IFAN’S TABLE THROUGH A

WINDOW FROM THE STREET.

ACROSS FROM IFAN IS SAT CORA FENCIS.

NEXT TO IFAN, ON HIS RIGHT IS SAT CAPTAIN

MYRA BAINBRIDGE.

IFAN, CORA AND MYRA HAVE PLATES OF

ASPARAGUS AND HONEYED NECTARINES AND

PINEAPPLE.]

CAPTAIN MYRA BAINBRIDGE

“I need to find a new research intern, since you’ve seconded Liz

Carnegie.”

IFAN FENCIS

“Sorry about that, let’s just say she’s a family friend and leave it at

that.”

CAPTAIN MYRA BAINBRIDGE

, “Are you enjoying Canada, Cora?”

CORA FENCIS

“This end of it, definitely. Must have been here before, in another life.”

CAPTAIN MYRA BAINBRIDGE

“Definitely.”

IFAN FENCIS

“I hope you don’t mind, feel free not to answer if you’d prefer not to

Myra. I know people have different views on the quantum network

uplinks. Have you had the memory grafts, connecting you consciously

to your former lives?”

CAPTAIN MYRA BAINBRIDGE

“I have. I worked here in the city with the Commonwealth Protection

Bureau twice. First as Emily during the original inception of the

organization in the early twentieth century, then as Rebecca Jones at

the end of the century.”

IFAN FENCIS

“Of course. Do you remember me?”

CAPTAIN MYRA BAINBRIDGE

“Should I?”

IFAN FENCIS

“Like Cora said, must have been here before.”

[UNDER THE TABLE, IFAN TEXTS CORA ON HIS

E-READER.

CORA’S BLACK VINYL PURSE MAKES AN S.O.S.

BEEP.

CORA RETRIEVES HER E-READER FROM HER

PURSE.

CORA CLICKS ON THE MESSAGE APP.

IFAN HAS SENT - ‘MUST BE THROWN OFF THE

SCENT DUE TO OUR TEMPORAL DISPLACEMENT.’

CORA RETURNS THE E-READER TO HER PURSE.]

IFAN FENCIS

“I’ve read the historic job performance reviews for that era. Cole

Billington really must not have noticed the connection between the two

women at all. By all accounts, he was bonkers about Emily, and yet

he despised Rebecca.”

CAPTAIN MYRA BAINBRIDGE

“I think the fact that Emily died of the flu, somehow that led to Cole

deciding on a subconscious level never to open his heart to her

essence again. He didn’t want to mourn her a second time.”

IFAN FENCIS

“That makes sense. He was miserable over Cecil’s passing, and he

adored Emily.”

[UNDER THE TABLE, WE SEE CORA’S HAND

INTERTWINED WITH IFAN’S.]

CORA FENCIS

“Have you been following the recent ideological battles over the

ethical status of the quantum memory uplinks Myra? On the one

hand, we’ve got traditionalists who say if God wanted us to remember

our former lifetimes, we’d be born with the memories. Some go as far

as to claim the quantum net memories are fictional lies created either

by the Devil or by some power elite. I’m never quite sure what these

people think this mythical power elite plan to do with these imaginary

memories.”

IFAN FENCIS

“People have been making paranoid claims about some power elite

playing mind games through the storytelling medium for thousands of

years. Before the Pacific inundation of Los Angeles hundreds of years

ago when the Hollywood infrastructure collapsed and the film industry

moved en-mass to Cardiff; kooks claimed the entertainment industry

was run by Satan. Of course, Britain didn’t fair any better in those

folks eyes; they accused the BBC of using subliminal images on

behalf of the Illuminati.”

CORA FENCIS

“I never got that either, visual story telling is all about the messages

we tell ourselves, the messages we want to communicate amongst

groups, and the messages we want others to understand. If you don’t

like the message being broadcast by a group of individuals, you

always have the option of not watching the program. Unlike plot lines

that disturb your sensibilities, due to violence or some such, silly

things like the use of a pyramid or the all seeing eye are only there to

unlock quantum memory codes in members of the artists’ soul clade.”

CAPTAIN MYRA BAINBRIDGE

“That truly shows us what the conspiracy theorists are afraid of. Art is

about transformation, changing the world. At the heart of it all, the

conspiracy theorists fear change, they want society to conform and

stagnate. They’re Divisionists to their very core. They see respected

artistes as a threat to their conformist view of life, because those with

a wide viewership have a greater chance of instigating societal

change on a micro level, individual to individual. If they’re very, very

lucky, this eventually culminates in societal change on a macro level.”

IFAN FENCIS

“Of course, this societal change is all orchestrated behind the scenes

from a source level, so when conformists enact a backlash to the

forward movement of societal unity and diversity, the one their really

rebelling against is God. I would not want to be on the man upstairs’

black list.”

CUT TO: -

SC8. INT. CPB MAIN ROOM - DAY - 1913

[THROUGH THE AJAR DOOR OF THE DIRECTOR’S

OFFICE, WE SEE CHARLIE SAT AT HIS DESK.

EMILY IS SAT AT HER DESK, DOING THE

BOOKKEEPING.

LEANING OVER EMILY’S DESK, BLAINE IS STOOD

NEXT TO HER.

COLE ENTERS FROM THE LOUNGE.

ON HIS HEAD, COLE SPORTS A FEDORA WITH A

FEATHER IN ITS BRIM.]

COLE JACOB BILLINGTON

"Hello Emily, Doctor."

CHARLIE DENTON(O.O.V.)

"Captain."

COLE JACOB BILLINGTON

"Charles."

[BLAINE STRAIGHTENS UP.

CHARLIE STEPS INTO THE CORRIDOR FROM HIS

OFFICE.]

EMILY

"You’re just the man we were speaking of."

COLE JACOB BILLINGTON

"Good things, I hope."

[CHARLIE STEPS INTO THE ROOM.]

CHARLIE DENTON

"Actually; we were debating the merits of your theatrical skills."

COLE JACOB BILLINGTON

"Excuse me?"

[EMILY GETS TO HER FEET.

STEPPING CLOSE TO COLE, EMILY PLACES A

HAND AGAINST HIS HEART.]

EMILY

"There's trouble down by the Hastings Mill. The city's vagrants have

made a lot of noise pertaining to some monster preying on them."

[COLE RUNS A HAND ALONG EMILY’S ARM.]

COLE JACOB BILLINGTON

“Oh?”

[STEPPING FORWARD, CHARLIE HANDS COLE A

STACK OF PAGES.]

CHARLIE DENTON

"We need you to go undercover amongst the hard luck cases, make

them believe you are one of them, get their trust."

EMILY

"Shouldn't be too hard, I should think."

COLE JACOB BILLINGTON

“You want to dirty me up a bit, Emily?”

EMILY

“I doubt that needs to be a two person affair, Captain.”

CUT TO: -

SC9. EXT. EAST HASTINGS STREET - NIGHT - 1913

[HASTINGS MILL IS IN THE BACKGROUND.

IN THE FOREGROUND COLE IS SAT ON THE

CEMENT STOOP OF A RAMSHACKLE BUILDING.

COLE’S HAIR IS DISHEVELLED.

COLE WEARS CLOTHING OF A LOWER QUALITY

THAN IS USUAL FOR HIM.

SAT AROUND COLE ARE THE HASTINGS STREET

BOYS.

THE HASTINGS STREET BOYS ARE A GROUP OF

FIFTEEN YOUNG MEN BETWEEN THE AGE OF

NINETEEN AND TWENTY THREE.

COLE AND THE OTHERS SHARE A MEAL OF MEAT

AND POTATOES AMONGST THEMSELVES.

COLE SCOOPS A SPOONFUL OF POTATOES FROM

A LARGE POT ONTO THE PLATE OF THE YOUNG

MAN SAT NEXT TO HIM, DAVID REILLY.]

COLE JACOB BILLINGTON

“They found Brad’s body on the railroad tracks this morning. Any idea

how to stay clear of this thing’s radar, anyone?”

DAVID REILLY

“Stop going off with strange men, would be the best bet.”

COLE JACOB BILLINGTON

“A man’s got to make a living somehow. I don’t hear you boys

complaining about the food I brought you. Money doesn’t grow on

trees, you know.”

[A HORSE AND CARRIAGE PULLS TO A STOP IN

FRONT OF THE MEN.

INSIDE THE CARRIAGE IS CHARLIE DENTON.

CHARLIE WEARS A FAKE MUSTACHE AND A PAIR

OF GLASSES.

GAZING ACROSS TOWARDS CHARLIE, COLE GETS

TO HIS FEET.

COLE WANDERS OVER TO THE CARRIAGE.]

COLE JACOB BILLINGTON

“Here’s my John of the night, ta boys!”

[THE MEN HOOT.

COLE CLIMBS INTO THE CARRIAGE NEXT TO

CHARLIE.]

COLE JACOB BILLINGTON

“We’ve still got nothing.”

CUT TO: -

SC10. EXT. EAST CORDOVA STREET - TWILIGHT - 1913

[COLE IS STOOD ON THE PAVEMENT.

DAVID REILLY FACES OFF AGAINST COLE.

DAVID IS SICKLY, FACE CALLOW WITH YELLOW

PALLOR.

DAVID OPENS HIS MOUTH, REVEALING GREY,

SERRATED TEETH.

THESE ARE THE INCISORS OF A SENATORIAL

INCUBI.

COLE DODGES DAVID’S REACH.

COLE DODGES TO THE LEFT.

COLE DODGES TO THE RIGHT.

COLE SHOVES DAVID AWAY, HARD.

DAVID HITS THE GROUND HARD, CRACKING HIS

HEAD ON THE ROAD.

HERE DAVID LIES, UNSEEING IN DEATH.

BLOOD POURS OUT FROM BENEATH DAVID’S

HEAD.

VAPOUR FLOWS FROM THE CORPSES’

NOSTRILS.

THE VAPOUR RISES FULLY FROM THE CORPSE.

THE VAPOUR SPREADS OUT, PULSATING.

THE VAPOUR RISES UP BEHIND COLE.

COLE SPINS AROUND.

COLE SEARCHES FOR THE VAPOUR WARILY.

THE VAPOUR WHOOSHES UP COLE’S ANKLES,

BILLOWING UP THE RIGHT LEG OF HIS

TROUSERS.

COLE VISIBLY SHUDDERS; THE CREATURE

ENTERING HIM FROM BEHIND.]

CUT TO: -

SC11. EXT. FIELD - COUNTY CORK - PRE-DAWN - 1941

[STOOD ON A HILL IS TOM MULLALY; A TALL,

SKINNY SPRIGGAN WITH GREEN SPINDLY LEGS

AND ARMS.

TOM’S EYES HAVE BLACK, SAUCER SHAPED

IRISES.

FARM LAND REACHES TO THE HORIZON.

ABOVE THE HORIZON, A CRESCENT MOON

SHAPED OPENING FILLS THE SKY ABOVE A

FARM HOUSE.

WHITE LIGHT UNDULATES IN THE

OPENING.

FLASHES OF GREEN GAMMA RAYS

SPARKLE SNAKE LIKE INSIDE THE LIGHT.]

AUSTEN JAMES(V.O.)

“The world is full of secrets and lies, the biggest are those we

tell ourselves. We play the game called Humanity, forgetting

who we truly are. Am I a writer, am I a physicist, or am I this

creature you see before you now, Tom; Spriggan born? I am

all these things and none of these things. When Tom was but a mere

lad born of the wild lands of Cornwall, his kin rejected him, his

brightness revealing where his true allegiance lie. To good for the likes

of the Truro Clansmen, unlike his fellow dark kin, Tom’s allegiances lie

in brighter courts. Searching for a place to call his own, Tom followed

the old roads to the waters‘ edge and beyond. Seeking freedom to be

the man he was meant to be, Tom snuck aboard a Human freighter

bound for Eire.”

[THE SKY AROUND THE ANOMALY LIGHTENS WITH

THE APPROACHING DAWN.

THE DEVELOPING DAWN SLOWLY REVEALS

NUMEROUS DARK KIN LAIN IN WAIT HIDDEN

AMONG THE GRASS.

THE CREATURES ARE VARIOUS SPECIES OF FAE.

THE CREATURES ARE TINY, BIG, BEAUTIFUL AND

HORRIFICALLY UGLY.

WEAK AND STRONG, EVERY CREATURE ONE CAN

IMAGINE; THEY ARE ALL HERE.]

AUSTEN JAMES(V.O.)

“Waiting, watching, praying, dreaming, scheming, everything and

nothing; it was all here, on this day, on this hour, this very moment. It

was a time of war in the Human realm, a time when the whole world

was in a mighty uproar. This war had been joined in common cause

by both the bright court and the dark kin of Tom’s realm. It was not

only the Germans that posed a threat to Britain’s shores, but also his

own blighted dark kin. The shadow fae fought a secret war against the

Bright Court, joined in common purpose with the Human monstrosities

calling themselves Nazis. The same war was waged amidst Faery

Courts of every other land. Where Humanity led, the Faery Realm

followed. The same could be said for the Fae, intertwined so

inexorably with Humanity, they could be said to be bound to

Humanity’s soul. Indeed, double lives were lived, amongst Humanity

and fae. The Fae were the inner darkness, as well as the shining

brilliance of the Human soul. Humans are the planet’s smartest

animal, they need the Fae, both good and bad, to remind them they

are far more than just a mere animal.”

[THE LIGHT WITHIN THE ANOMALY INCREASES IN

BRIGHTNESS.

THE GAMMA RAYS HIT THE OUTER EDGES OF THE

ANOMALY.

THE REBOUNDING CURRENT PUSHES OUT THE

OUTER BOUNDARY OF THE ANOMALY.

THE ANOMALY IS NOW DOUBLE ITS ORIGINAL

SIZE.]

AUSTEN JAMES(V.O.)

“From infant to crone, from child to Maiden, from boy to warrior; there

was a choice to be made. Light or dark, love or hate, freedom or

slave. Each and every day, the choice must be made, the decisions of

man would determine the reality of the future. Tom Mullaly would

show them the way, he’d be the torch bearer to a better way. Born to

darkness, fate seemingly sealed, Tom had chosen a better way, and

in his example he’d show Humanity a better way. If Tom was very,

very lucky, perhaps his message would get through to his own fellow

Dark Kin. He’d grant them the knowledge that their fate was not yet

sealed, they too could chose a better way.”

[WITHIN THE ANOMALY, THE CENTRE BEGINS TO

CONTORT.

THE ANOMALY GROWS EVER BRIGHTER.

THE NOSE OF A JET PLANE, CIRCA EARLY

TWENTY FIRST CENTURY SLIDES THROUGH THE

ANOMALY.

QUANTUM LOCKED, THE PLANE REMAINS WITHIN

THE ANOMALY.

WITHIN THE ANOMALY, LIGHTNING FLASHES.

THE PLANE IS BUFFETED BY A SURGE OF COSMIC

WIND.

BEYOND THE ANOMALY, ALL IS CALM; THE SUN

RISES PAST THE HORIZON.]

AUSTEN JAMES(V.O.)

“The entropic force bound up in Humanity’s ever spiralling death wish

of over-population and lack of sustainability could only be

countermanded via the species’ connection to their fae brethren. From

death, emanates new life; life everlasting, self perpetuating, never

ending, never stopping. Without death, there could be no life. It was an

unstoppable force, the snake devouring it’s own tail, infinity tossed

upon the seas of life; the Ferry Man taking the coins of the dead.”

[A CLUTCH OF FIVE JENNY GREEN TEETH RISE UP

FROM A CROUCHED POSITION IN THE GRASS.

THESE FIVE HAVE GREEN SKIN.

THEY ARE LONG AND LANKY, THEIR BLACK HAIR

REACHING THEIR ANKLES.]

AUSTEN JAMES(V.O.)

“Humanity no longer acknowledged their Fae kin, they’d forgotten that

there was life, as well as death. The force of life the Fae held onto had

been overcome by the death wish of the present leaders of the planet,

and Humanity’s fight with their own darkness had taken the faery

realm by storm. The wave of misery coming out of Germany rolled like

A tsynami, right across the Borderlands, an inadvertent attack of

shock and awe. Now both realms were in misery, neither able to

counterbalance the other, the self perpetuating life force an ever

present constant in the Faery realm smothered by Humanity’s death

wish.”

CUT TO: -

SC12. INT. CPB MAIN ROOM - NIGHT - VANCOUVER - 1913

[EMILY IS STOOD IN FRONT OF HER DESK.

COLE ENTERS FROM THE LOUNGE.

COLE HAS CLEANED HIMSELF UP.

HE’S BACK IN HIS USUAL UNIFORM.]

EMILY

“Have we had a break in the case, Captain?”

COLE JACOB BILLINGTON

“I think we can consider the case closed.”

EMILY

“That’s wonderful, I know how much you care for that group down on

Hastings, now they’ll be safe, safer, the life they lead can never truly

be considered safe, can it Cole?”

COLE JACOB BILLINGTON

“No, it can’t.”

[COLE WALKS PAST EMILY.

COLE LOOKS BACK AT HER FOR A BEAT.

TURNING AWAY, COLE BOLTS FROM THE ROOM.

TURNING, EMILY FINDS COLE NOWHERE TO BE

SEEN.]

EMILY

“Cole, what’s going on?”

CUT TO: -

SC13. INT. DINER - DAY - PENARTH - 2014

[COLE IS SAT WITH PETE ROSCHILDE AT A TABLE

AGAINST A WALL.

OUTSIDE, A STORM RAGES.

CONSTABLE SERA RASMUSSEN IS SAT AT A

NEARBY TABLE IN THE CENTRE OF THE ROOM.

GERALD RASMUSSEN AND REGINALD ARE SAT

ACROSS FROM SERA.

COLE AND PETE HAVE COFFEES AND SCONES.

SERA AND GERALD HAVE TEAS WITH FRENCH

TOAST.

REGINALD HAS COFFEE AND A BRAN MUFFIN.

COLE FLIPS THROUGH A LOCAL PAPER.

D.I. EVELYN WAUGH ENTERS, SOAKED.

EVELYN WEARS A RAIN COAT.

A GUST OF RAIN WATER COMES THROUGH THE

ENTRANCE AS EVELYN CLOSES THE DOOR.

EVELYN WANDERS OVER TO THE CASHIERS’

DESK.]

CUT TO:

SC14. EXT. PENARTH MARINA - DAY - 2014

[CARDIFF BAY LIES IN THE DISTANCE.

BLACK THUNDER CLOUDS HOVER OVER THE

SHORE.

RAIN POUNDS THE GROUND AND SEA.

A SPOUT OF SEA WATER BURSTS FROM THE

SURFACE OF THE BAY IN THE DISTANCE.

THE RED MOTOR BOAT RUSHES TOWARDS

PENARTH.

AN EXPLOSION IN THE BAY ECHOES TOWARDS

THE SHORELINE.

THE DEVICE ATTACHED TO THE SUB HAS

DETONATED.

THE WATER SPOUT SETTLES.

THE AIR SURROUNDING THE SURFACE OF THE

WATER ATOP THE SUB UNDULATES IN A

TRANSPARENT CONCUSSIVE BLAST.

BLACK SOOTY SMOKE RISES FROM THE WATER’S

SURFACE.

ALONG THE SHORELINE, PEOPLE STOP TO GAPE

AT THE SPECTACLE.]

CUT TO: -

SC15. EXT. THE DORIAN GRAY GENTLEMEN’S CLUB - NIGHT -

GAS TOWN - 1913

[YOUNG COUPLES ARE OUT ON THE TOWN.

WE’RE ON GRANVILLE STREET.

COLE HEADS SOUTH, DOWN THE STREET.

COLE IS DRESSED TO THE NINES.

COLE STROLLS UP TO THE CLUB’S ENTRANCE.

TYRONE, A FORMER ITERATION OF PETE; IS

STOOD TO COLE’S RIGHT.

TYRONE SMOKES A CIGAR.

TWO MEN STROLL PAST THE CLUB.

COLE REMAINS STOOD OUTSIDE THE CLUB.]

TYRONE

“Warm night, isn’t it?”

[COLE NODS TOWARDS THE NEARBY ALLEY TO

THE SOUTH.]

TYRONE

“Things are certainly looking up, aren’t they my friend?”

[COLE AND TYRONE HEAD TOWARDS THE ALLEY.

COLE AND TYRONE DISAPPEAR FROM SIGHT.]

CUT TO -

SC16. EXT. ALLEY - GRANVILLE STREET - NIGHT - 1913

[COLE APPROACHES TYRONE.

COLE PUSHES TYRONE BACK AGAINST THE BRICK

WALL OF THE NEXT BUILDING.

COLE KISSES TYRONE HARD ON THE MOUTH.

TYRONE PULLS AWAY, BREATHING HARD.]

TYRONE

"I’m Tyrone, what‘s your name, handsome fellow?"

[COLE PLACES HIS HANDS LOW ON TYRONE’S

THIGHS.

COLE FROTS HIS HIPS AGAINST TYRONE‘S.]

TYRONE

"You don‘t want to say, eh; I can respect that. A man has a right to his

secrets, after all."

[COLE AND TYRONE KISS.

CONTINUING TO KISS TYRONE, COLE RETRIEVES

A TUBE OF LUBE FROM HIS LEFT TROUSER

POCKET.

COLE HANDS THE TUBE OF LUBE TO TYRONE.

COLE REMOVES HIS TROUSERS.

COLE’S IN HIS UNDERWEAR, TROUSERS DOWN

AROUND HIS KNEES.

COLE OPENS A PACKAGE OF PROTECTION.

WE SEE COLE AND TYRONE FROM THE WAIST UP.

COLE’S BEHIND TYRONE NOW.

COLE AND TYRONE BEGIN ANOTHER KISS.]

COLE JACOB BILLINGTON

"I‘ll make you feel so good."

TYRONE
"Go on then."

[COLE THRUSTS AGAINST TYRONE.]

TYRONE

"You're amazing, oh, yeah! Oh, yeah!"

[WE SEE COLE AND TYRONE CONTINUE TO

THRUST AGAINST EACH OTHER FROM THE WAIST

UP.]

CUT TO: -

SC17. INT. DINER - DAY - PENARTH - 2014

[EVELYN WALKS TOWARDS COLE’S TABLE,

COFFEE IN HAND.

COLE SMILES AS EVELYN, STOOD BEFORE HIM;

EXTENDS A HAND TOWARDS HIM.]

D.I. EVELYN WAUGH

“Hello Captain Billington, I’m D. I. Waugh.”

[COLE SHAKES EVELYN’S HAND.]

COLE JACOB BILLINGTON

“Nice to meet you Evelyn. This is Pete.”

D.I. EVELYN WAUGH

“Hello Pete.”

[EVELYN’S POLICE RADIO CRACKLES.]

POLICE DISPATCHER(OVER RADIO)

“All units are advised to be on high alert. We are getting reports of an

undersea explosion involving an unknown agent in the barrage.”

COLE JACOB BILLINGTON

“Trouble in the barrage? I’m guessing that’s not a regular occurrence

Evelyn?”

D.I. EVELYN WAUGH

“Not lately. I have intel direct from the harbour master linking this

Incident to the Shadow Network. They were planning something

involving the harbour, I’m just not quite sure what.”

CUT TO: -

SC18. INT. CPB MAIN ROOM - DAY - VANCOUVER - 1913

[HOLDING A CLIPBOARD, CHARLIE IS STOOD IN

THE CORRIDOR OUTSIDE HIS OFFICE.

COLE, EMILY AND BLAINE ARE STOOD IN THE

CENTRE OF THE ROOM.]

CHARLIE DENTON

"A sodomized corpse has been found in an alley next to The Dorian

Gray Gentlemen‘s club along Granville Street. The RCMP called it in

earlier this morning."

[COLE HURRIES TO CHARLIE’S SIDE.

COLE LOOKS OVER THE CLIPBOARD REPORT.]

EMILY

“It looks like the killer is still out there, Cole.”

CUT TO: -

SC19. INT. DINER - DAY - PENARTH - 2014

[EVELYN TURNS TO GO.]

D.I. EVELYN WAUGH

“Well it was nice to meet you Captain Billington. I’ve really got to head

across to the barrage. If these are the same people who stole your

paintings, I may be able to kill two birds with one stone.”

COLE JACOB BILLINGTON

“Ew, bad choice of words there Evelyn.”

D.I. EVELYN WAUGH

“Good bye Captain.”

COLE JACOB BILLINGTON

“Good bye Evelyn.”

[EVELYN EXIT’S THE DINER.

RAIN HITS EVELYN IN THE FACE AS SHE LEAVES.]

CUT TO: -

SC20. EXT. THE DORIAN GRAY GENTLEMEN’S CLUB - DAY -

GAS TOWN - 1913

[THE CPB’S 's COMPANY HORSE AND CARRIAGE

COMES TO A STOP ACROSS FROM THE CLUB.

TWO RCMP OFFICERS ARE STOOD NEAR THE

ENTRANCE TO THE ALLEY.

COLE, EMILY, BLAINE AND CHARLIE STEP FROM

THE CARRIAGE.

COLE, EMILY, BLAINE AND CHARLIE CROSS TO

MEET THE OFFICERS.]

CHARLIE DENTON

“How many murders has this guy committed now?”

CONSTABLE SMITHERS

“Guy appears to be changing his MO. Whomever he is.”

CHARLIE DENTON

“How so?”

CONSTABLE SMITHERS

“For a start, the latest victim isn’t a young man; on top of that, there’s

plenty of cash left in his wallet.”

DOCTOR BLAINE GIANCOMO

“It wasn’t about money, then.”

CONSTABLE SMITHERS

“I suppose not.”

CHARLIE DENTON

“Can we see the body?”

[CONSTABLE SMITHERS STEPS ASIDE.

TYRONE’S CORPSE IS PROPPED UP AGAINST THE

WALL OF THE BUILDING.

CHARLIE HEADS INTO THE ALLEY.

CHARLIE TAKES A LOOK AT THE CORPSE.

BENDING DOWN, CHARLIE RETRIEVES TYRONE’S

WALLET.

CHARLIE FLIPS THROUGH TYRONE’S WALLET.

COLE BACKS AWAY TOWARDS THE STREET.]

COLE JACOB BILLINGTON

"Oh God. Oh God."

CUT TO: -

SC21. INT. COLE’S FRONT FOYER - BILLINGTON RESIDENCE -

DAY - YALE TOWN - 1913

[COLE OPENS THE FRONT DOOR.

EMILY IS STOOD ON THE FRONT PORCH.

A TRAIN PULLS INTO THE NEARBY FREIGHT

YARD.]

EMILY

“What are you doing lazing around here Cole? You just walked off

from the investigation. What gives? Cole, what’s wrong, are you sick?”

[COLE GRABS EMILY BY THE ARM.

MOVING QUICKLY, COLE PULLS EMILY INTO THE

ROOM.

A COUCH IS SAT IN THE CENTRE OF THE ROOM.

COLE KISSES EMILY GENTLY.

, EMILY RETURNS THE KISS FERVENTLY.]

EMILY

“Oh Captain, my Captain.”

COLE JACOB BILLINGTON

“Do you want this as much as I do, Emily?”

EMILY

“I’m ashamed to admit it Captain, I know it’s not proper for a lady to be

so forward, but I’ve been so attracted to you ever since the first day I

met you. Right now, it‘s like you‘re giving off some sort of aphrodisiac,

oh God I want you something fierce Cole.”

[COLE MOVES UP CLOSE TO EMILY.

COLE ALLOWS EMILY TO UNDO HIS BELT AND

PULL IT OFF HIM.

UNFASTENING HIS TROUSERS, COLE PUSHES

THEM DOWN AROUND HIS ANKLES.

COLE LEADS EMILY TO THE COUCH.

TAKING A SEAT, COLE PULLS EMILY ONTO HIS

LAP.

COLE REACHES AROUND TO UNDO THE BUTTONS

ON EMILY’S CAMISOLE.]

EMILY
"All right, slow down Cole, take it easy there big fellow."

COLE JACOB BILLINGTON

“I love the way you talk to me Emily.”

[COLE KISSES EMILY ROUGHLY.

EMILY GIVES AS GOOD AS SHE GETS.

THE FRONT DOOR BURSTS OPEN.

BLAINE AND CHARLIE RUSH INTO THE ROOM.

BLAINE AND CHARLIE HAVE THEIR REVOLVERS

OUT; AIMED IN COLE’S DIRECTION.

EMILY JUMPS OFF COLE IN FRIGHT.

COLE STANDS UP CASUALLY, COCKSURE.]

COLE JACOB BILLINGTON

“Is there a problem gentlemen?”

CHARLIE DENTON

“There’s a problem all right.”

EMILY

“What are you two playing at?”

[TWO RCMP OFFICERS RUSH THROUGH THE

OPEN DOOR.

THE OFFICERS HAVE THEIR REVOLVERS ALSO

AIMED AT COLE.]

EMILY

"Can somebody please tell me what is going on?!"

[EMILY BUTTONS HER CAMISOLE.]

DOCTOR BLAINE GIANCOMO

"Put your trousers on and come with us."

COLE JACOB BILLINGTON

“I’ll come alright.”

CHARLES DENTON

"NOW!"

[COLE SAUNTERS TOWARDS THE DOOR.

COLE HAS HIS WRISTS HELD IN FRONT OF HIM,

MIMING HANDCUFFS.]

COLE JACOB BILLINGTON

“Book me officer, we’ll have a real good time.”

EMILY

“Cole, what the hell is wrong with you?”

COLE JACOB BILLINGTON

“You really don’t want to know.”

CUT TO: -

SC22. EXT. BILLINGTON RESIDENCE - DAY - YALE TOWN - 1913

[COLE LOCKS THE DOOR.

ON THE DOORSTEP BEHIND COLE ARE STOOD

EMILY, CHARLIE, BLAINE AND THE TWO RCMP

OFFICERS.

COLE TURNS TO FACE THE ROAD.

THE CPB COMPANY HORSE AND CARRIAGE IS

PARKED BEHIND THE RCMP HORSE AND

CARRIAGE.

COLE, EMILY, CHARLIE, BLAINE AND THE TWO

RCMP OFFICERS CROSS TOWARDS THE

CARRIAGES.]

CHARLIE DENTON

“A witness saw a man fitting the captain’s exact description enter the

alley next to the Dorian Gray with the man we found dead, last

evening. She heard the entire thing, everything including the murder.”

EMILY

“Have you been the killer all along Cole, was there no monster, have

we sent you out to investigate yourself?”

[CHARLIE SHOVES COLE TOWARDS THE

COMPANY CARRIAGE.

MAKING A RUN FOR IT, COLE SHOVES PAST

EMILY.

COLE RUNS DOWN THE STREET TOWARDS THE

SOUTH.

THE TWO RCMP OFFICERS RUN AFTER COLE.

RCMP OFFICER ONE GRABS COLE’S ARM.

RCMP OFFICER ONE DRAGS COLE TOWARDS THE

COMPANY CARRIAGE.

CHARLIE SHOVES COLE INTO THE CARRIAGE.]

CHARLIE DENTON

“Thank you officers, now come on."

CUT TO: -

SC23. INT. ARCHIVE LAB - RIVERSIDE MUSEUM - GLASGOW -

DAY - 2014

[HORATIO MARCOS IS STOOD BEFORE A TABLE

OF ARTEFACTS PLACED INSIDE A SERIES OF

TRANSPARENT, PLASTIC CONTAINERS.

THE ARTEFACTS HAVE BEEN RETRIEVED FROM A

SUNKEN WWII GERMAN SUBMARINE CARRYING

MEMBERS OF THE AHNENERBE SOCIETY.

COMPUTERS RUNNING TRANSLATION PROGRAMS

AND OCEANOGRAPHIC SENSOR ARRAYS LINE THE

WALL TO HORATIO’S LEFT.

HORATIO EXAMINES A LEATHER ORDER BOOK

FILLED WITH GERMAN WRITING.

DOCTOR MAGGIE CAMPBELL, DOPPELGANGER OF

MYRA BAINBRIDGE ENTERS THE LAB.]

DOCTOR MAGGIE CAMPBELL

“Was I right in thinking there were several high ranking S.S. Officials

on board the sub when it went down Horatio?”

HORATIO MARCOS

“So far, no names have been mentioned, but it seems members of

the Ahnenerbe were on board with itinerant plans to dive in the Tiger

Bay tidal basin. This order book describes how a high ranking Nazi

had reason to believe that the former Tiger Bay tidal flat had been the

true location of the home of the Lady in the Lake. It seems completely

nonsensical.”

DOCTOR MAGGIE CAMPBELL

“Perhaps its code for war plans.”

HORATIO MARCOS

“That would make more sense.”

CUT TO: -

SC24. INT. CPB MAIN ROOM - DAY - VANCOUVER - 1913

[THE DOOR OPENS.

BLAINE AND CHARLIE ENTER THE ROOM.

EMILY ENTERS.

EMILY GRIPS COLE BY THE ARM.

EMILY DRAGS COLE ACROSS THE ROOM.]

EMILY

“Come along Cole.”

CUT TO: -

SC25. INT. CPB STORAGE ROOM - BACK CORRIDOR - DAY -

1913

[EMILY SHOVES COLE INTO THE STORAGE ROOM.

COLE GAZES AT EMILY.

EMILY IS STOOD FACING COLE IN THE

CORRIDOR.]

COLE JACOB BILLINGTON

“I didn’t kill all those other people Emily, there’s something inside me.

It tried to kill me while it had possessed one of the Hastings Street

boys and I had to defend myself. The kid cracked his skull on the road

when I pushed him away. The Incubi entered me through a personal

orifice, and he’s been tormenting me ever since. You need to get him

out of me, before he kills again.”

[COLE SCREAMS IN PAIN.

COLE FALLS TO HIS KNEES ON THE HARD

CEMENT FLOOR.]

COLE JACOB BILLINGTON

"Ah! Ah! No! Ah!"

[COLE SLOWLY GETS TO HIS FEET.

COLE SLAMS HIMSELF BACK AGAINST A FILING

CABINET.]

EMILY

“Cole, you have to stop this. You’re going to hurt yourself.”

COLE JACOB BILLINGTON

"Ah!"

[COLE COLLAPSES TO THE GROUND.

EMILY RUSHES INTO THE ROOM.]

COLE JACOB BILLINGTON

"Help me. Please Emily, get this thing out of me."

[EMILY REACHES DOWN, PULLING COLE TO HIS

FEET.

WRAPPING HIS ARMS AROUND EMILY’S WAIST,

COLE KISSES HER HARD.

COLE AND EMILY CONTINUE KISSING.

EMILY TAKES CONTROL, PUSHING COLE AGAINST

THE FILING CABINET.

COLE AND EMILY CONTINUE TO KISS.

COLE AND EMILY PULL BACK FROM EACH OTHER,

PANTING IN LUST.

COLE AND EMILY STARE AT ONE ANOTHER FOR A

BEAT.

COLE REACHES DOWN TO UNDO EMILY’S

CAMISOLE.

COLE STILLS HIS ACTIONS.

WE SEE COLE’S HANDS HOLDING ONTO THE HALF

UNDONE CAMISOLE.

WE SEE COLE’S EYES, GLANCING DOWN AT

EMILY’S BREASTS, CONFLICTED.]

COLE JACOB BILLINGTON

"I‘m sorry."

[LEANING FORWARDS, EMILY KISSES COLE.

COLE WRIGGLES FROM EMILY’S EMBRACE.

EMILY DARTS IN TOWARDS HIS FACE,

RECAPTURING COLE’S LIPS.

COLE PUSHES EMILY AWAY IN AGITATION.]

COLE JACOB BILLINGTON

"We‘ve got to stop this Emily."

[EMILY KISSES COLE ONCE MORE.

COLE PUSHES EMILY AWAY.]

COLE JACOB BILLINGTON

"This can‘t happen Emily, not like this."

[EMILY LOOKS DOWN AT HER PARTIALLY

EXPOSED CLEAVAGE.

EMILY TURNS AWAY.

EMILY BUTTONS HER CAMISOLE.]

COLE JACOB BILLINGTON
"Ah! Oh!"

[COLE BENDS OVER IN PAIN, CLUTCHING HIS

HEAD.]

COLE JACOB BILLINGTON

"Emily promise me you’ll stop me from taking another life.”

EMILY

"I‘ll do what I can love."

[COLE SLAMS HIMSELF BACK AGAINST THE FILING

CABINET.

COLE SNARLS IN EMILY’S FACE, STARTLING HER.

EMILY JUMPS BACK IN FRIGHT.

WALKING BACKWARDS OUT OF THE ROOM, EMILY

KEEPS HER EYES FOCUSSED ON COLE THE

ENTIRE TIME.

EMILY EXIT’S THE ROOM, STEPPING BACK INTO

THE CORRIDOR.

EMILY CLOSES THE DOOR.

THE LOCK CLICKS INTO PLACE.

COLE IS ALONE IN THE ROOM.]

CUT TO: -

SC26. INT. HARDWICKE’S CAFÉ - DAY - CARDIFF - 2014

[ PEOPLE CROWD AROUND THE COUNTER.

A TV ON THE WALL RUNS A BBC NEWS ALERT.

THE CROWD IS SILENT AS THEY LISTEN TO THE

BROADCAST.

IN THE TOP LEFT CORNER OF THE TV SCREEN, A

DOPPLER RADAR IMAGE OF A PLANE IS IN FLIGHT

OVER COUNTY CORK.

EGAN BYR ENTERS THE CAFÉ.

EGAN LOOKS UP AT THE TV.

EGAN IS STOOD BEHIND THE LARGE, SUBDUED

CROWD.]

BBC ANCHOR

“Once again, we’re waiting on confirmation from the transportation

Department as to the condition of the plane and its passengers. Early

reports on the ground from County Cork claimed to have seen a

strange, green bolt of light strike the plane from some unknown

position. Reports are now saying the plane appears locked in position,

unmoving in the sky.”

EGAN BYR

“My cousins’ on that flight.”

CUT TO: -

SC27. INT. CPB BACK CORRIDOR - DAY - VANCOUVER - 1913

[THE DOOR TO THE STORAGE ROOM IS AJAR.

THE DOORKNOB LIES ABANDONED ON THE

FLOOR OF THE CORRIDOR.

COLE WALKS STEALTHILY ALONG THE

CORRIDOR.]

CUT TO: -

SC28. INT. CPB SIDE CORRIDOR\ARMOURY - DAY - 1913

[COLE STEPS AROUND THE CORNER.

COLE WALKS TOWARDS THE ARMOURY.

EMILY STEPS OUT FROM THE DIRECTORS’

OFFICE.

EMILY FACES DOWN COLE.]

EMILY

“You’re not leaving, Cole.”

[MOVING FORWARDS, COLE DARTS TOWARDS

THE ARMOURY.

COLE IS STOOD IN THE ENTRANCE TO THE

ARMOURY.]

COLE JACOB BILLINGTON

“Think again.”

[A SWINGING BATON IS HUNG ON A POST ON THE

WALL NEAR THE ENTRANCE.

REACHING FOR THE BATON, COLE TUGS IT FROM

THE WALL.

COLE SWINGS THE BATON AROUND.

COLE POINTS THE BATON AT EMILY’S CROTCH.

EMILY GINGERLY STEPS OUT OF REACH OF THE

BATON.

COLE DROPS THE BATON TO THE FLOOR WITH A

CLATTER.

RUNNING PAST EMILY, COLE HEADS TOWARDS

THE MAIN ROOM.]

CUT TO: -

SC29. INT. HARDWICKE’S CAFÉ - DAY - CARDIFF - 2014

[PEOPLE CROWD AROUND THE COUNTER.

A TV ON THE WALL RUNS A BBC NEWS ALERT.

THE CROWD IS SILENT AS THEY LISTEN TO THE

BROADCAST.

A JOURNALIST IS STOOD IN FRONT OF THE

HARBOUR FRONT IN CARDIFF BAY.

A LARGE CROWD LINES THE SHORE.]

JOURNALIST

“Any moment now, we should get word on exactly what has just

transpired out there in the harbour.”

CUT TO: -

SC30. EXT. CARDIFF BAY BARRAGE - DAY - 2014

[SEVERAL COAST GUARD VESSELS ARE IN

POSITION NEAR THE LOCATION OF THE BLOWN

SUB.

A ROYAL NAVY FRIGATE HEADS TOWARDS THE

HARBOUR.

ON THE WATER’S SURFACE, ABOVE THE

LOCATION OF THE BLOWN SUB, A TRAIL OF

BLACK SMOKE BLOWS UPWARDS.

ON THE SHORE, EVELYN PARKS A POLICE

VEHICLE NEXT TO A BBC NEWS VAN.

EVELYN STEPS OUT OF THE VEHICLE.

EVELYN WANDERS TOWARDS THE CROWD BY

THE WATER.

A HEAVY SET POLICE SARGEANT IN HIS EARLY

FORTIES MOTIONS TOWARDS EVELYN.

EVELYN FOLLOWS THE POLICE SARGEANT

TOWARDS A SPOT WHERE SEVERAL OFFICERS

ARE STOOD BETWEEN THREE POLICE VEHICLES.]

D.I. EVELYN WAUGH

“Hello fellows.”

CUT TO: -

SC31. INT. LOBBY - RIVERSIDE MUSEUM - DAY - GLASGOW -

2014

[HORATIO MARCOS WALKS TOWARDS THE FRONT

ENTRANCE.

HORATIO CARRIES THE ORDER BOOK TOWARDS

SHAMASH NOSGARTEN AND AUSTEN JAMES,

STOOD BY THE ENTRANCE.]

SHAMASH NOSGARTEN

“Have you figured out the secret war plans that book discusses,

Horatio?”

HORATIO MARCOS

“Some mysterious weapon code named ‘the Merlin Complex’. It was

one of the Third Reich’s least abhorrent medical projects. It seems

they mostly used organic material taken from voluntary recruits, during

their physicals. Blood tests, that sort of thing. They were attempting to

create a super soldier that would not age, would not die and would re-

format himself in the event of injury. The ultimate superman, so sought

after by the Nazis.”

SHAMASH NOSGARTEN

“There’s one big problem with that, DNA hadn’t been fully mapped

until nineteen fifty three and telomeres weren’t known about until

nineteen seventy eight. Any attempt to develop physical immortality

would result in the creation of tumours. Which would then result in

eventual death.”

HORATIO MARCOS

“Ah, now I understand the concept of The Face of Boe. But, it does

show that the Human lifespan could conceivably continue for as long

as that process took to occur.”

AUSTEN JAMES

“So Merlin was legendarily said to be immortal and there was

something involving time travel, but why Tiger Bay? What were the

Nazis searching for there?”

HORATIO MARCOS

“I’m still translating and decoding the book, so the answer may still be

in here yet.”

AUSTEN JAMES

“Good luck!”

[HORATIO WANDERS BACK TOWARDS THE LAB.]

CUT TO: -

SC32. EXT. GRANVILLE STREET - DAY - GAS TOWN - 1913

[IT’S SUNNY OUT.

THE STREET IS FULL OF PEOPLE.

COLE WALKS TOWARDS THE SOUTH.

STOPPING; COLE DOUBLES OVER IN PAIN.]

COLE JACOB BILLINGTON

"Ah!"

[STUCK TO A SHOP FRONT WINDOW IS A WANTED

POSTER FOR COLE’S ARREST.

WE SEE A BLACK AND WHITE PHOTO OF COLE.

ABOVE COLE’S PHOTO ARE THE WORDS- ‘COLE

BILLINGTON.’

BELOW THE PHOTO ARE THE WORDS- ’WANTED

FOR SODOMY AND MURDER.

APPROACH WITH EXTREME CAUTION. SUSPECT

IS CONSIDERED ARMED AND DANGEROUS.’

A HAND RIPS THE POSTER FROM THE WINDOW.

COLE CRUSHES THE POSTER INTO A BALL.

COLE TOSSES THE BALL OF PAPER INTO A

NEARBY RUBBISH BIN.]

CUT TO: -

SC33. EXT. BUTE DOCKS - NIGHT - 1913

[TWO ADOLESCENT BOYS CLEAR GARBAGE

FROM THE BEACH BROUGHT IN BY AN EARLIER

STORM.

THOMAS MULCAIR STRIKES A METAL OBJECT

WITH HIS SHOE.]

JOE KERRY

“What was that?”

[THOMAS BENDS DOWN.

THOMAS AND JOE REMOVE A PILE OF KELP,

TOSSING IT ASIDE.

JOE RETRIEVES A STARFISH, TOSSING IT BACK

TOWARDS DEEPER WATER.

THOMAS FINDS A BLACK SAND DOLLAR AND

SEVERAL MUSSELS.

THOMAS PLACES THEM TO THE SIDE.

SILVER GLISTENS BENEATH THE SAND.

JOE AND THOMAS PUSH ASIDE SAND, REVEALING

THE EDGE OF A SILVER BOX.]

THOMAS MULCAIR

“We’ve found treasure.”

[THOMAS CONTINUES PUSHING ASIDE THE SAND.

WE SEE THE SILVER BOX SET UP ON A NEARBY

DOCK.]

JOE KERRY

“What is it?”

CUT TO: -

SC34. EXT. BURRARD INLET WATERFRONT - DAY - COAL

HARBOUR - 1913

[COLE IS SAT ON A BENCH FACING THE

SHORELINE.]

COLE JACOB BILLINGTON

“Time to think outside the box. Ah! Please, don‘t make me kill again.

God, I’m so horny. No!”

[BEHIND COLE; CHARLIE, EMILY AND BLAINE

STEALTHILY APPROACH.

CHARLIE HAS A REVOLVER AIMED AT THE BACK

OF COLE’S HEAD.

COLE TURNS TO LOOK AT THE GUN.

COLE GETS TO HIS FEET.

COLE BACKS AWAY TOWARDS THE WATER.

CHARLIE KEEPS THE GUN TRAINED ON COLE.]

CHARLIE DENTON

“Forget about swimming away, you have nowhere to run."

COLE JACOB BILLINGTON

“This process isn’t meant for me, I’m not Incubi, my body is not

genetically structured to take on a rider. Ah!"

[COLE COLLAPSES TO THE GROUND.

CHARLIE KEEPS THE GUN TRAINED ON COLE.

ROARING IN FURY, COLE REARS UP FROM THE

GROUND.

COLE KNOCKS CHARLIE TO THE GROUND.

THE GUN CAREENS INTO THE AIR.

THE GUN LANDS ON THE GRASS A FEW FEET

AWAY.]

EMILY

“It was a ruse. Our Captain‘s a wily one.”

[CHARLIE STRUGGLES WITH COLE.]

CHARLIE DENTON

“What are you the narrator Emily, its rather distracting.”

[COLE WRAPS HIS HANDS AROUND CHARLIE’S

THROAT.

OPENING HIS MOUTH, COLE REVEALS TWO ROWS

OF GREY SERRATED TEETH; DENTITION OF THE

SENATORIAL INCUBI SPECIES.

MENACING CHARLIE, COLE IS SAT ASTRIDE HIS

WAIST.]

EMILY

“Sorry!”

[EMILY DASHES OFF.

EMILY PICKS UP THE GUN.

EMILY TRAINS THE REVOLVER ON COLE.

COLE MOVES OFF CHARLIE AND ONTO THE

GRASS.

CHARLIE SITS UP.

MOVING SHAKILY TOWARDS COLE, EMILY KEEPS

THE GUN AIMED AT HIM.

COLE GETS TO HIS FEET.

CHARLIE GETS TO HIS FEET.

COLE TUGS OFF HIS SHIRT.

TWO LARGE BLACK SENATORIAL INCUBI WINGS

FLOW FROM COLE’S BACK.]

EMILY

“My God Cole, you look beautiful.”

DOCTOR BLAINE GIANCOMO

“Emily, do not compliment the murderer.”

EMILY

“He is. Those wings are stunning, I could do without those incisors,

but nobody’s perfect.”

CHARLIE DENTON

“Yes, and certainly not a murderer. Captain, let’s get you back to the

base, we’ll attempt to fix this.”

[COLE DASHES TOWARDS THE NORTHEAST.]

CHARLIE DENTON

“Blast it all to hell, that man is going to be the death of me.”

DOCTOR BLAINE GIANCOMO

“Let’s hope not.”

CHARLIE DENTON

“We’ve got a man with wings to track down.”

DOCTOR BLAINE GIANCOMO

“And a murdering psychopath.”

CUT TO: -

SC35. INT. JONATHAN’S HOSPITAL ROOM - DAY - 1913

[JONATHAN AETHERS IS LAIN PRONE IN HIS BED,

COMATOSE.]

CUT TO: -

SC36. INT. CPB SIDE CORRIDOR\JONATHAN’S PHYSICS LAB -

DAY - 1913

[COLE PEERS IN AT JONATHAN AS HE WORKS.

COLE’S WINGS ARE SPREAD MENACINGLY.

JONATHAN IS STOOD AT A TESTING TABLE IN THE

CENTRE OF THE LAB.

VARIOUS MAGNETS ARE SPREAD ACROSS THE

TABLE.

JONATHAN EXTENDS A BLACK MAGNET ON A COIL

OF ROPE INTO A BEAKER OF YELLOW LIQUID.

ON THE FAR WALL A WHITEBOARD DISPLAYS A

FLURRY OF EQUATIONS POINTING TO A

QUADRATIC SOLUTION TO THE MANY WORLDS

THEORY.

IN THE CORRIDOR WE SEE COLE CHASE

JONATHAN TOWARDS THE MAIN ROOM.

COLE OPENS HIS MOUTH, SNARLING.

DUAL ROWS OF SENATORIAL INCUBI INCISORS

ARE ON DISPLAY.

COLE DESCENDS ON JONATHAN FROM BEHIND.

COLE DRAGS JONATHAN BACKWARDS.

JONATHAN LOOKS INTO COLE’S EYES.

COLE SNAPS JONATHAN’S NECK WITH A LOUD

CRUNCH.

JONATHAN COLLAPSES TO THE FLOOR FACE

FORWARDS INTO THE MAIN ROOM.]

CUT TO: -

SC37. INT. JONATHAN’S HOSPITAL ROOM - DAY - 1913

[JONATHAN LIES IN A COMA.

COLE IS STOOD OVER JONATHAN’S BED.

COLE’S WINGS ARE SPREAD.

LOST IN A FUGUE OF CRIMINAL INSANITY, COLE’S

INCISORS DRIP SPIT ONTO THE BLUE BLANKETS.

CHARLIE AND BLAINE BURST INTO THE ROOM.

CHARLIE RUSHES TOWARDS COLE.

CHARLIE GRABS COLE BY THE ARM.

CHARLIE AND BLAINE PULL COLE OUT OF REACH

OF JONATHAN.

COLE HISSES AND SPITS AS CHARLIE AND BLAINE

GRAPPLE WITH HIM.]

DOCTOR BLAINE GIANCOMO

“Come on Captain, we know you aren’t quite yourself.”

[CHARLIE AND BLAINE DRAG COLE FROM THE

ROOM.]

CUT TO: -

SC38. INT. CPB MAIN ROOM - DAY - 1913

[JONATHAN’S CORPSE LIES ON ITS BACK AT THE

ENTRANCE TO THE MAIN ROOM.

COLE IS SAT HANDCUFFED TO A CHAIR ACROSS

THE ROOM.

.

EMILY, BLAINE AND CHARLIE ARE STOOD IN

FRONT OF THE CORPSE.]

CHARLIE DENTON

“He was the best man I ever knew. Kind and brilliant, we need him

back. Life doesn’t work that way, does it?”

[THE TISSUES IN JONATHAN’S NECK

RECONNECT.]

DOCTOR BLAINE GIANCOMO

“What the hell?”

EMILY

“He’s not dead?”

COLE JACOB BILLINGTON

“What’s going on?”

[JONATHAN STRUGGLES TO HIS FEET.

WALKING FURTHER INTO THE ROOM, JONATHAN

FACES COLE.

JONATHAN LOCKS EYES WITH COLE.]

JONATHAN AETHERS

“You killed me.”

COLE JACOB BILLINGTON

“And yet, here you are, somehow alive. Why are you alive?”

JONATHAN AETHERS

“I don’t know.”

COLE JACOB BILLINGTON

“Are you a god?”

JONATHAN AETHERS

“That’s blasphemy.”

COLE JACOB BILLINGTON

“You wouldn’t necessarily know. If you are a god, then life and time

themselves will be swirling around you like moths to a flame. You poor

man.”

CUT TO: -

SC39. INT. CPB MED LAB - DAY - 1913

[COLE IS SAT ATOP THE MEDICAL BED NEAREST

THE ENTRANCE.

BLAINE JABS A NEEDLE INTO COLE’S LEFT ARM.

WE SEE COLE LAIN ASLEEP ON THE BED.

COLE IS ALONE IN THE ROOM.

COLE’S EYES POP OPEN.

COLE ROLLS OVER ONTO HIS LEFT SIDE.

COLE WATCHES THE ENTRANCE.

BLAINE ENTERS.]

DOCTOR BLAINE GIANCOMO

“You’re awake, I see.”

COLE JACOB BILLINGTON

“You’ve got to help me, Blaine, I can’t live the rest of my life with this

thing inside me. I won’t let it win. It lives to ruin lives and corrupt souls.

I don’t know why I did what I did when I was a child, but it’s not who I

am anymore.”

DOCTOR BLAINE GIANCOMO

“I’ll do my best Cole, but you’re going to have to help me, I’m in the

dark here.”

COLE JACOB BILLINGTON

“I had a vision about the future.”

DOCTOR BLAINE GIANCOMO

“A vision, what did you see?”

COLE JACOB BILLINGTON

“My future, there was a man, a transgender man, he loved me despite

it all.”

DOCTOR BLAINE GIANCOMO

“Transgender, what is that an alien species?”

COLE JACOB BILLINGTON

“He was Human; then there was a woman. I loved her very much, but

she wouldn’t be with me because of my wings and such.”

DOCTOR BLAINE GIANCOMO

“You had a sex dream, I hardly think that qualifies as a vision,

Captain.”

COLE JACOB BILLINGTON

“No it was, it was a possible time line, if I don’t get this thing out of me.

That’s it.”

DOCTOR BLAINE GIANCOMO

“What is?”

COLE JACOB BILLINGTON

“That’s my cure, we need Jonathan Aethers.”

DOCTOR BLAINE GIANCOMO

“He’s still in a coma.”

COLE JACOB BILLINGTON

“Bad for him, good for us. We need to take a look at his results, we’ll

shunt the invasive consciousness in my head to another quantum

reality.”

DOCTOR BLAINE GIANCOMO

“How do we do that?”

COLE JACOB BILLINGTON

“Just bring me those results, I’ll figure it out.”

[BLAINE HOLDS OUT A PAIR OF HANDCUFFS.

BLAINE HANDCUFFS COLE TO THE METAL RAIL

AT THE HEAD OF THE BED.

WE SEE COLE STOOD IN FRONT OF THE MEDICAL

CABINETS, NO LONGER HANDCUFFED.

COLE HOLDS A STACK OF NOTES.

BLAINE IS STOOD NEAR THE ENTRANCE.

EMILY AND CHARLIE ARE STOOD IN THE

FOREGROUND.]

COLE JACOB BILLINGTON

“Chemical compound Argon RTZ thirty, this will open the quantum

neuronal processor in my brain and remove the entity. Doctor, if you

create a serum with chemical compound Argon RTZ thirty, that should

do the trick.”

CHARLIE DENTON

“Would that help with Jonathan, do you think?”

COLE JACOB BILLINGTON

“No, I think that would just make his coma more permanent than it

already is.”

EMILY

“What if you fall into a coma, Captain?”

COLE JACOB BILLINGTON

“They’re two separate issues Emily.”

[WE SEE COLE SAT ON THE MEDICAL BED

NEAREST THE ENTRANCE.

BLAINE IS STOOD IN FRONT OF COLE.

IN BLAINE’S HAND IS A NEEDLE.

COLE REMOVES HIS SHIRT.

BLAINE INJECTS THE NEEDLE INTO COLE‘S LEFT

BICEP.]

DOCTOR BLAINE GIANCOMO

“How are you feeling, Captain?”

COLE JACOB BILLINGTON

“He’s gone..”

CUT TO: -

SC40. INT. CPB LOUNGE - DAY -1913

[COLE IS SAT ON THE RIGHT SIDE OF THE COUCH.

COLE IS SEDATED.

JONATHAN IS SAT OPPOSITE COLE.

BLAINE ENTERS FROM THE MAIN ROOM.]

COLE JACOB BILLINGTON

“He’s gone, the bastard’s gone.”

CUT TO: -

SC41. INT. CPB MED LAB - DAY -1913

[COLE IS SAT ON THE MEDICAL BED NEAREST THE

ENTRANCE.

BLAINE IS STOOD IN THE FOREGROUND.]

COLE JACOB BILLINGTON

“I’m going to have to get them removed, going against everything I

believe. Surgery should only be performed if the patient would die

otherwise.”

DOCTOR BLAINE GIANCOMO

“First off Cole, this was done to you against your will, so you can

hardly be faulted for wanting to fix it, second of all, I don’t know if there

is anything we can do for you. You can’t allow yourself to become an

experiment. It’ll either kill you, or you’ll become a vegetable.”

[COLE HOLDS UP HIS E-READER..]

COLE JACOB BILLINGTON

“I’ve got the solution right here in my little gadget.”

DOCTOR BLAINE GIANCOMO

“How is that machine going to help us?”

COLE JACOB BILLINGTON

“This thing’s hard drive uses a quantum processing unit, utilizing the

original ideas of good ol Max Planck. By my time, everything on the

web was stored in the amino data cloud, by utilizing the process of

quantum entanglement, my society was able to store vast swathes of

information in the very building blocks of the physical universe. This

thing’s qpu works off a quantum level holographic data storage hard

drive. Meaning, the same physical space can be reused for an

unlimited number of times. Fill it up once, fill it up once more without

having to wipe the hard drive or purchase a backup. On Garconer

Colony, children were given a personal e-reader at age five or six.

These are built to last a Garconer lifetime, five hundred years.

Humans gave them to their heirs, in their wills. This has a lifetime of

study on it. To download new information; a book or a holo-series, you

download directly from a payment kiosk, or attach an attachment to

the machine. The system stores the entire archive of the adc on your

hard drive each time it is accessed. Meaning, I have the entirety of the

adc archive as of that final day in fifty one twenty. This machine is my

life line to the world that will one day be. It‘s password protected, can’t

have three millennia of galactic history falling into the wrong hands.”

CUT TO: -

SC42. INT. CPB LOUNGE - DAY -1913

[COLE IS SAT CLOSE TO EMILY ON THE COUCH.

MOVING FORWARDS, COLE KISSES EMILY

GENTLY ON THE LIPS.

CHARLIE ENTERS FROM THE MAIN ROOM.

BLAINE ENTERS BEHIND CHARLIE.]

CHARLIE DENTON

“Hey love birds, we’ve got an expert in Prosthodontics coming up

from Delaware in the next few days to take a look at Cole’s teeth.”

COLE JACOB BILLINGTON

“Oh?”

DOCTOR BLAINE GIANCOMO

“Doctor Murray Fairfax is a Maxillofacial Prostodontist, in layman’s

terms, a Bullet-Proof dentist. He’s got clearance through the Delaware

Research Team, a state funded underground organization

investigating the strange, the abnormal and the alien they happen to

come across. The area appears to be a hot bed of extra temporal

disturbance. He comes well qualified, and I’m sure he’ll be able to

restore your mouth to it’s previous glorious state.”

COLE JACOB BILLINGTON

“That’s good to hear.”

EMILY

“That’s very good news.”

CUT TO: -

SC43. INT. CPB MAIN ROOM - DAY -1914

[EMILY IS STOOD NEAR HER DESK.

COLE ENTERS FROM THE LOUNGE.

BODY BACK TO NORMAL, COLE’S STILL HEALING.

LEGS STIFF, COLE HOBBLES TOWARDS EMILY.]

COLE JACOB BILLINGTON

“I’m off to London to help with the war negotiations. Will you miss me

Emily?”

EMILY

“I’ll be praying for you Cole.”

COLE JACOB BILLINGTON

“That’s nice Emily. Pray for our boys, and you keep yourself healthy

alright?”

EMILY

“Will you be working with your son?”

COLE JACOB BILLINGTON

“Emelio’s heading to Washington; he’s got a job at the British

Embassy. Jack’s gone off to fight. I’m worried about him.”

EMILY

“I’ll miss you Cole.”

COLE JACOB BILLINGTON

“Ditto.”

CUT TO: -

SC44. INT. ARCHIVE LAB - RIVERSIDE MUSEUM - DAY -

GLASGOW - 2014

[HORATIO MARCOS IS SAT AT A COMPUTER.

THE ORDER BOOK IS SAT ON THE DESK TO

HORATIO’S RIGHT.

ON THE COMPUTER MONITOR, HORATIO SCANS

DOWN THROUGH A CATALOGUE OF WELSH

ARCHAEOLOGICAL FINDS.

COLE ENTERS THE LAB FROM ACROSS THE

ROOM.]

COLE JACOB BILLINGTON

“What are you working on Horatio?”

HORATIO MARCOS

“Are you having a nice day Cole?”

[COLE HEADS TO HORATIO’S SIDE.]

COLE JACOB BILLINGTON

“Its better now that I’ve seen you.”

HORATIO MARCOS

“You’re sweet. I’m cross-referencing local finds with regional

regenerative mythic cycles.”

COLE JACOB BILLINGTON

“Meaning?”

HORATIO MARCOS

“The Nazis were sneaking around Tiger Bay searching for some

buried treasure they believed had some connection to Melchizedek,

Merlin and Lludd Llaw Eraint during the war. They dreamt of

Immortality; a dream foiled by the vagaries of time. As in, they were

dreaming their evil schemes in the early forties, whilst the scientific

breakthroughs they needed to get them anywhere took until the fifties

through seventies. Wallace and Crick, and telomeres, respectively. I

don’t think they found what they were looking for in the bay, either.”

COLE JACOB BILLINGTON

“What were they looking for?”

HORATIO MARCOS

“A lesser known legend states, Merlin was a poultice maker whom

utilized an early form of antibiotics, mixed with particles of silver.

Merlin was said to commune with Melchizdezek, whom gave him the

knowledge of a regenerating medicinal therapy which he provided to

Lludd Llaw Eraint at his court. The poultice was deemed un-Godly by

the increasingly powerful religious authority, a tool of the beast and

thus was placed in a silver box. The Nazis were searching for the box,

which was said to be thrown into the sea near Cardiff. The legend has

allusions in the tale of Prince Caspian.”

[HORATIO SCANS THROUGH THE CATALOGUE.

A PHOTO OF THE BOX FOUND BY JOE AND

THOMAS APPEARS ON THE MONITOR.]

HORATIO MARCOS

“Here we go. Discovered in nineteen thirteen by two teenagers, the

box has been sitting in the basement of a Cardiff museum, gathering

dust for the past century.”

CUT TO: -

SC45. INT. STORE ROOM - NATIONAL MUSEUM CARDIFF -

NIGHT - 2014

[THE SILVER BOX IS SET ON THE CENTRE OF A

LONG SHELF SET AGAINST A WALL.

A FALLEN GOD BOMBER APPEARS IN THE

STORAGE ROOM.

THE BOMBER MOVES TOWARDS THE BOX.

IFAN APPEARS IN THE ROOM BEHIND THE

BOMBER.

THE BOMBER PICKS UP THE HEAVY BOX.

IFAN GRABS THE BOMBER’S SHOULDER.

THE BOMBER GRAPPLES WITH IFAN.

THE BOMBER KNOCKS IFAN ONTO THE GROUND

WITH A SNAP KICK TO IFAN’S LEGS.

IFAN LANDS ON HIS BUTT.

IFAN MOVES TO GET TO HIS FEET.

THE BOMBER HITS IFAN IN THE FOREHEAD WITH

THE BOX.

IFAN COLLAPSES TO THE FLOOR, UNCONSCIOUS.

IFAN’S E-READER SLIDES ACROSS THE FLOOR.

THE E-READER COMES TO REST BENEATH THE

SHELF.

THE BOMBER DISAPPEARS WITH THE BOX.

IFAN GROANS.]

CUT TO: -

SC46. INT. A AND E - CARDIFF GENERAL - NIGHT - 2014

[CORA FENCIS IS SAT IN A CHAIR IN THE WAITING

ROOM.

DOCTOR NIGEL BARRET WANDERS UP TO WHERE

SHE’S SAT.]

CORA FENCIS

“Ifan Fencis, is he all right? I’m his wife.”

DOCTOR NIGEL BARRET

“He’s pretty bruised up, probably be sore for a while. Its his head

we’re worried about however. He’s been slipping in and out of

consciousness and the X-rays are showing some odd features. That,

along with some unusual levels of alkaline in his blood tests.”

CORA FENCIS

“He’s got an unusual genome. Is he sleeping?”

DOCTOR NIGEL BARRET

“We need to watch him.”

CUT TO: -

SC47. EXT. NATIONAL MUSEUM OF WALES - NIGHT - CARDIFF -

2014

[THE FRONT IS BLOCKED OFF BY POLICE TAPE.

D.I. EVELYN WAUGH EXIT’S THE MUSEUM.

A DEAD MAN LIES ON THE PAVEMENT.

A TEAM OF FORENSIC INVESTIGATORS ARE

EXAMINING THE GROUND AROUND THE CORPSE.

EVELYN GOES TOWARDS THE DECEASED.

THE DEAD MAN WEARS FINE CLOTHES.

HE HAS DARK, CURLY HAIR AND GREEN EYES.

THIS IS THE LATE RUSSELL WINTERS, WELSH

ASSEMBLY REPRESENTATIVE TO SWANSEA.]

D.I. EVELYN WAUGH

“Have we located any witnesses? This is pretty well out in the open to

commit a murder.”

C.I. NATHAN TRUNDEL

“The area’s been oddly quiet the past few hours, it seems. Aside from

the murder of course.”

D.I. EVELYN WAUGH

“Someone put the word out to clear the area, you mean?”

C.I. NATHAN TRUNDEL

“Something like that. A more discrete means of achieving privacy for

that allotment of time could conceivably be achieved via the utilization

of one of those mosquito devices.”

D.I. EVELYN WAUGH

“We’re heading into the realm of conspiracy with that leap.”

C.I. NATHAN TRUNDEL

“We have a dead representative to the Welsh Assembly, clearly the

folks in Swansea take their politics to the extreme.”

D.I. EVELYN WAUGH

“That’s one theory.”

CUT TO: -

SC48. INT. A AND E - CARDIFF GENERAL - NIGHT - 2014

[CORA IS SAT IN THE WAITING ROOM FIDDLING

WITH HER E-READER HIDDEN INSIDE HER PURSE.

EVELYN WALKS PAST CORA.

EVELYN WALKS TOWARDS MORGUE ATTENDANT

CALLIE ABERNATHY.]

D.I. EVELYN WAUGH

“Hello Callie, have you determined the cause of death for late Russell

Winters?”

CALLIE ABERNATHY

“I’m working on it. Come with me to the morgue Evelyn. I’ve got some

paperwork I need to give you for the official report.”

D.I. EVELYN WAUGH

“Alright.”

[THE TWO BEGIN WALKING.]

CUT TO: -

SC49. INT. MORGUE - CARDIFF GENERAL - NIGHT - 2014

[THE DOOR OPENS, REVEALING EVELYN AND

CALLIE.

MICHEAL O’BAY IS LAIN PRONE ON THE GROUND.

AGE THIRTY, MICHEAL HAS CURLY DARK HAIR.

CALLIE RUSHES TO MICHEAL’S SIDE.

MICHEAL LIFTS HIS HEAD AND MOVES INTO A

SITTING POSITION.]

CALLIE ABERNATHY

“What happened Mike?”

MICHEAL O’BAY

“I don’t know. A guy in some sort of black uniform seemed to appear

right in front of me out of thin air. It got stifling hot, and then he was

just there. He knocked me out with gas.”

[AS MICHEAL SPEAKS, EVELYN SEARCHES THE

ROOM.

AFTER A BEAT.]

D.I. EVELYN WAUGH

“Why would they take the body of the deceased? It’s definitely not in

here.”

MICHEAL O’BAY

“So what do we classify this under; theft, kidnapping? Exactly what

category of crime encompasses theft of a dead body?”

D.I. EVELYN WAUGH

“That is a corker.”

CUT TO: -

SC50. INT. MONTROSE TAVERNA - NIGHT - GLASGOW -

2014

[PATRONS ARE SAT AT TABLES.

THE ROOM IS DECORATED WITH CREPE PAPER

CREATURES FROM CELTIC MYTH.

WAITERS MOVE BETWEEN TABLES CARRYING

TRAYS OF FOOD, FILLING GLASSES WITH WINE.

ON STAGE, SHAMASH, DRESSED AS A COURT

JESTER IS SAT ON A STOOL PLAYING A FIDDLE.

TWO ACROBATS IN THEATRICAL MASKS RUN

BACK AND FORTH BEHIND THE FIDDLER.

ONE OF THEM IS AUSTEN JAMES.

THEY GRAB HOLD OF A NET ATTACHED TO EACH

WALL, ONE ON EITHER SIDE.

BOTH ACROBATS BEGIN ASCENDING TOWARDS

THE CEILING.

ATTACHED TO THE CEILING IS ANOTHER NET.

REACHING AN ARM OUT, BOTH ACROBATS SWING

TOWARDS THE NET ON THE CEILING.

COLE IS SAT WITH HORATIO MARCOS AT A TABLE

NEAR THE STAGE.

KATHERINE CREMWELL APPROACHES COLE’S

TABLE.]

KATHERINE CREMWELL

“How are you guys?”

[COLE FLIPS THROUGH A DESIGN PORTFOLIO

FILLED WITH RENDERINGS OF MASKS, AND

PERIOD DRESS.

CLOSING THE PORTFOLIO, COLE HANDS IT TO

HORATIO.]

COLE JACOB BILLINGTON

“Evening M.P. Cremwell. You’ve got some serious talent Horatio.”

HORATIO MARCOS

“That‘s nice to hear.”

[SHAMASH GETS TO HIS FEET.

HE PLACES THE FIDDLE ON THE CHAIR.

THE ACROBATS MOVE TO EITHER SIDE OF THE

STAGE.]

COLE JACOB BILLINGTON

“Take a seat, looks like your brother’s about to sing.”

[KATHERINE TAKES A SEAT AT THE TABLE.]

SHAMASH NOSGARTEN(SUNG)

“She was chasing shadows,

In search of the divine, she found only illusion,

He sought her out, the holy spirit, ever constant.

She ran from him, thought he could be mere lie.”

CUT TO: -

SC51. EXT. CATACOMBS - NIGHT - ROME - 177 A.D.

[CECILIA CAECILIA HURRIES AWAY FROM THE

CATACOMBS.

CECILIA’S MOTHER IS AT HER SIDE.

THE TWO WOMEN ARE FLANKED ON EITHER SIDE

BY HOUSEHOLD SERVANTS.]

SHAMASH NOSGARTEN(SUNG)(V.O.)

“She chased the shadows at the bottom of the abyss,

She ran from him, God’s ever loving might,

Seeking shadows on distant shores,

Doing everything she could to escape the truth.”

CUT TO: -

SC52. EXT. VILLA - DAY - ROME - 177 A.D.

[VALERIAN STROLLS PAST THE VILLA.]

SHAMASH NOSGARTEN(SUNG)(V.O.)

“She lived a lie, believing herself a Goddess of ruin and disgrace.

She sought to drag off her prey into her dark ravine.

Devourer of men’s souls, temptress of the divine,

She was lost, seeking salvation in Fallen Gods long repent.”

CUT TO: -

SC53. INT. VILLA - NIGHT - ROME - 177 A.D.

[CECILIA HELPS HER MOTHER CARRY THE

EVENING MEAL TO THE DINNER TABLE.

CECILIA’S FATHER IS SAT AT THE TABLE.]

CECILIA ‘S FATHER

“I had a very happy and fruitful afternoon. I have made a marriage

match for our dear Cecilia.”

[CECILIA NEARLY DROPS THE PLATE OF FOOD

SHE’S IN THE PROCESS OF PLACING ON THE

TABLE TO HER FATHER’S LEFT.

CECILIA GASPS.

CECILIA’S MOTHER GRABS THE PLATE, SAFELY

SETTING IT DOWN.]

CECILIA ‘S MOTHER

“Cecilia careful!”

CECILIA ‘S FATHER

“Don’t fret child. Valerian is a fine man. Only the best for my Cecilia.

Valerian is of noble birth, he owns vast estates and is a virtuous

pagan. I like him and find him a most acceptable husband for my

lovely daughter.”

[CECILIA IS STOOD STILL.]

CECILIA ‘S FATHER

“Cecilia, you should be happy. Valerian is a good man.”

CECILIA ‘S MOTHER

“Cecilia, darling?”

[CRYING, CECILIA RUNS FROM THE ROOM.]

CECILIA ‘S FATHER

“Cecilia!”

CUT TO: -

SC54. INT. CECILIA’S ROOM - VILLA - NIGHT - ROME - 177 A.D.

[LAIN ON HER BED, CECILIA’S EYES ARE RED

FROM CRYING.

TAKING A FEW QUICK BREATHS, CECILIA SITS UP.]

CECILIA CAECILIA

"Oh dear Lord, what shall I do? I never could bare to allow any man to

enter my inner sanctum. I don’t want to ever do that, no matter how

much I adored my husband. To please you and your holy Mother, I

vow to live a virgin all my life. If I tell this to my father, he will be angry

and will become bitter against our holy faith. My vow I shall never

break. Tell me, O Lord, what am I to do? God will keep me safe, I must

have faith."

[CECILIA WALKS TO AN ENTRANCE LEADING OUT

TO THE GARDENS.

SHE GAZES OUT, PEACEFULLY.

ORANGE HYACINTHS BLOW IN THE BREEZE.]

CUT TO: -

SC55. INT. VILLA - DAY - ROME - 177 A.D.

[A TABLE IS LAID WITH A SPREAD OF WINES,

FRUITS, VEGETABLES AND MEATS.

ARABIAN DRAPERIES OF AUTUMN COLOURS

ADOURN THE WALLS.

FLOWERS FROM THE GARDENS ARE ARRANGED

IN GOLDEN VASES.]

CUT TO: -

SC56. EXT. VILLA - TWILIGHT - ROME - 177 A.D.

[TORCHBEARERS ESCORT GUESTS IN SILKS AND

SATINS FROM THE FRONT GATES.

THEY HEAD INSIDE.]

CUT TO: -

SC57. INT. VILLA - NIGHT - ROME - 177 A.D.

[GUESTS ARE SAT AT THE TABLE.

THE CHAIR TO VALERIAN’S RIGHT IS EMPTY.

SERVANTS CARRY GOLDEN DISHES WITH FOOD.

CECILIA, DRESSED IN FLOWING ROBES OF

CLOTH OF GOLD, DECKED WITH PRECIOUS

JEWELS; TAKES HER SEAT BY VALERIAN.

WINE IS POURED INTO GOBLETS.]

CECILIA CAECILIA

“Come walk with me in the gardens my husband.”

[VALERIAN KISSES CECILIA’S HAND, FOLLOWING

HER FROM THE TABLE.

VALERIAN AND CECILIA EXIT THE ROOM.]

CUT TO: -

SC58. EXT. VILLA - NIGHT - ROME - 177 A.D.

[VALERIAN FOLLOWS CECILIA THROUGH THE

GARDENS.

SHE LEADS HIM TO A BENCH, WHERE THEY BOTH

TAKE A SEAT.]

CECILIA CAECILIA

"Valerian I have a secret to tell you, and you must swear to me that

you will tell no one what I say."

VALERIAN

"I promise to tell no one.”

CECILIA CAECILIA

"I am a Christian, an adherent of our savior whom died so that you and

I may live. To him, I have promised to remain chaste all the days of

my life. If you like, you may understand it in reference to the cult of

Artemis, although its not that at all. The lord has sent an angel to

guard and protect me. These many months, I have prayed for you,

asking that God may grant you, too, to see life as I see it."

VALERIAN

"Where is this guardian angel that you speak of? Show him to me."

CECILIA CAECILIA

“Only those who do the will of the holy spirit can see his holy angels.

Rome is very dangerous in these days for followers of Christ. We

must meet in secret late at night.”

VALERIAN

"I should like to know more about this religion that you love so dearly.

Perhaps I, too, could become a Christian.”

CECILIA CAECILIA

“I should like that very much Valerian. This very evening there shall be

a meeting of Christians at the catacombs on the Appian Way. You‘ll

need the passcode.”

[CECILIA WHISPERS IN VALERIAN’S EAR.]

CECILIA CAECILIA

“Now hasten thither dear husband.”

CUT TO: -

SC59. EXT. CATACOMBS - NIGHT - ROME - 177 A.D.

[VALERIAN APPROACHES THE ENTRANCE.

A MAN IS STOOD ON LOOK OUT.

VALERIAN WHISPERS THE PASS CODE TO THE

MAN.

THE MAN ALLOWS VALERIAN TO ENTER.]

CUT TO: -

SC60. INT. CATACOMBS - NIGHT - ROME - 177 A.D.

[VALERIAN IS LED BY ANOTHER MAN TOWARDS

POPE URBAN.

THE MAN SPEAKS QUIETLY TO THE POPE.

VALERIAN SHUFFLES HIS FEET NERVOUSLY.

VALERIAN LOOKS UP.

THERE’S SILENCE.

A TRANSPARENT IMAGE OF SAINT PAUL

APPEARS BESIDE THE POPE.

SAINT PAUL IS STOOD HOLDING AN OPEN BOOK

IN HIS HAND.]

SAINT PAUL

"Read these words."

[SAINT PAUL SHOWS THE BOOK TO VALERIAN.

VALERIAN READS THE WORDS OUT LOUD.]

VALERIAN

"One Lord, one faith, one baptism, one God and father of all, who is

above all, and through all and in us all."

SAINT PAUL

"Do you believe?"

VALERIAN

"I believe."

[SAINT PAUL DISAPPEARS.

THE POPE RAISES HIS EYES HEAVENWARD,

CLASPING HIS HANDS.]

POPE URBAN

"Thanks be to God."

[LIT TAPER IN HAND, POPE URBAN LEADS

VALERIAN DOWN A LONG FLIGHT OF STAIRS

CARVED INTO THE CLAY.

WE SEE THEM WALK THROUGH LONG, NARROW

TWISTING PASSAGES.

THE SIDES OF THE WALLS ARE COVERED WITH

WHITE SLABS OF MARBLE ENCLOSING THE DEAD.

WE SEE THE CORRIDORS ARE NOW LOW AND

BLACK.

WE HEAR THE FAINT SOUND OF MUSIC.

THE MUSIC INCREASES IN VOLUME.

VALERIAN AND POPE URBAN CONTINUE

WALKING.

POPE URBAN LEADS VALERIAN INTO A LARGE

CAVERN.

SMOKE FLARES OUT OF TINY OIL LAMPS HUNG

ABOUT THE WALLS.

A PRIEST IS STOOD AT THE ALTAR PREACHING TO

A CONGREGATION.

VALERIAN LISTENS FROM THE BACK.]

PRIEST

“A new persecution has appeared in our midst. We must remain

faithful to Christ to the end. He’ll grant us an eternal happiness in

God's kingdom.”

[POPE URBAN LEADS VALERIAN INTO ANOTHER

SMALLER ROOM.

THE EARTHEN WALLS ARE COVERED IN PLASTER

PAINTINGS OF CHRIST AND VARIOUS SAINTS.

THERE IS A SINGLE CHAIR AND A PLAIN, MARBLE

BENCH NEAR AN ALTAR.

POPE URBAN TAKES A SEAT, GESTURING FOR

VALERIAN TO SIT ON THE STEP OF THE ALTAR.]

VALERIAN

"I believe, O Urban, I believe."

[POPE URBAN BOWS HIS HEAD.]

POPE URBAN

“Thanks be to God! Come, my son.”

[POPE URBAN LEADS VALERIAN TOWARDS A

BAPTISMAL FOUNT CARVED FROM A WHITE

MARBLE COLUMN.

POPE URBAN DROPS WATER OVER VALERIAN’S

FOREHEAD.

POPE URBAN EMBRACES VALERIAN WITH THE

AFFECTION OF A FATHER.]

POPE URBAN

"My son, you are now a follower of Christ, the God-Man who died on

Calvary for the souls of men. With a brave heart may you go forth

from this sacred meeting place, determined to help others receive the

priceless gift that you have received this morning. May the grace of

God be with you and encourage you in the trying days that are to

come."

[POPE URBAN LEADS VALERIAN FROM THE

ROOM.

WE’RE BACK IN THE CHAPEL.

SMOKE POURS FROM OLIVE OIL LAMPS.

TWO WAX CANDLES IN EARTHENWARE HOLDERS

BURN ON THE STONE TABLE SERVING AS ALTAR.

A BELL TINKLES.

FIFTY HEADS ARE BOWED IN ADORATION.

VALERIAN IS KNELT BEFORE THE ALTAR.]

CUT TO: -

SC61. INT. VILLA - SUNRISE - ROME - 177 A.D.

[VALERIAN ENTERS THE GREAT RECEPTION

ROOM THROUGH THE GARDENS.

A FEW OIL LAMPS BURN DIMLY.

VALERIAN WALKS QUIETLY THROUGH THE HALL

TOWARDS THE ENTRANCE OF A RICHLY

DECORATED PARLOUR.

VALERIAN DRAWS ASIDE HEAVY BLUE

DRAPERIES.

CECILIA, STILL IN HER WEDDING DRESS IS KNELT

IN PRAYER BEFORE A CRUCIFIX ON THE WALL.

VALERIAN REMAINS STOOD IN THE ENTRANCE.]

CECILIA CAECILIA

"Oh sweet Jesus, from the bottom of my heart I thank thee for the

conversion of Valerian. He is one of us now. Together, night and day,

we shall work for thy holy cause."

[VALERIAN COUGHS.

STARTLED, CECILIA JUMPS TO HER FEET.

TURNING, CECILIA THROWS HERSELF INTO

VALERIAN’S ARMS.]

CECILIA CAECILIA

"Thank God, it is you. O Valerian, you can never imagine how happy I

am to know that you are a Christian. Ever since you asked to marry

me, I have prayed night and day for your conversion. Now we can

face the whole wide world together and fight for the cause of Christ."

VALERIAN

"But Cecilia my darling, how do you know that I am a Christian? Has

someone been here before me with the good news?"

CECILIA CAECILIA

"As soon as you left, I placed that crucifix on the wall. I have knelt

before it in prayer ever since. Our dear Lord let me know how his

grace and the kind words of the bishop affected your soul. At the

moment of your baptism, my guardian angel appeared to me and told

me the joyful news."

VALERIAN

"What does your guardian angel look like? I should be glad -"

[A BRIGHT GOLD LIGHT EMANATES AROUND AN

ANGEL IN WHITE ROBES.

CECILIA PLACES A HAND ON VALERIAN’S ARM.]

CECILIA CAECILIA

“Don’t be frightened, he’s my guardian angel.”

[THE ANGEL PLACES A SPARKLING GOLD CROWN

ATOP VALERIAN’S HEAD.

THE ANGEL PLACES A SPARKLING GOLD CROWN

ATOP CECILIA’S HEAD.

THE ANGEL TURNS TO VALERIAN.]

ANGEL

"God promises to grant anything you wish for. Name your desire and it

will be granted."

VALERIAN

"God could grant me no greater favour, than to give my twin brother

the gift of faith."

CUT TO: -

SC62. INT. CATACOMBS - NIGHT - ROME - 177 A.D.

[VALERIAN IS STOOD BESIDE THE BAPTISMAL

FOUNT.

POPE URBAN POURS WATER OVER TIBERIUS,

DOPPELGANGER OF AUSTEN.]

CUT TO: -

SC63. INT. PRISON - DAY - ROME - 177 A.D.

[ROWS OF CELLS HOUSE MEN AND WOMEN,

CHRISTIANS SENTENCED TO DEATH.

A MAN IS SAT IN SILENT PRAYER.

VALERIAN WALKS WITH TIBERIUS ALONG THE

CORRIDOR OUTSIDE THE CELLS.

A WOMAN IS SAT, STARING INTO SPACE.

TEARS ROLL SILENTLY DOWN HER FACE.

VALERIAN GOES TOWARDS HER CELL.]

VALERIAN

“Hey, I get you’re scared. You’re going to your death on the basis of

nothing more than the god you worship. But look, you have one thing

to hold onto, that and your love of Christ. What the authorities are

doing is not right. But their actions reveal the truth of the reality of the

holy spirit. Some dark force, the adversary is behind this persecution.

Followers of Christ are the only ones being killed for their faith. Just

think on that, why is that, I wonder? The holy spirit is a reality, a reality

that overwhelms the illusionary nature of all other lesser spirits playing

at being gods.”

WOMAN

“Thank you.”

[VALERIAN WALKS OFF, FOLLOWED BY

TIBERIUS.

WE SEE VALERIAN KNELT IN PRAYER IN A CELL,

SAT AT TIBERIUS’ SIDE.

IN THE CORRIDOR, THREE ROMAN SOLDIERS

SMIRK AT THE BROTHERS IN THE CELL.

VALERIAN GAZES SADLY AT ONE OF THE

SOLDIERS.

THE SOLDIER TURNS TO LOOK VALERIAN

DIRECTLY IN THE EYE.

THE SOLDIERS’ ROMAN UNIFORMS TRANSFORM

MOMENTARILY INTO THOSE OF THE UNIFORMS

OF THE FALLEN GOD BOMBERS.

VALERIAN LOOKS CONFUSED.

VALERIAN RUBS HIS EYES AS THE ROMAN

UNIFORMS RETURN.]

CUT TO: -

SC64. INT. COURTHOUSE - DAY - ROME - 177 A.D.

[VALERIAN AND TIBERIUS ARE STOOD RESOLUTE

BEFORE A JUDGE, ALMACHIUS.

THE BROTHERS ARE BRUISED AND BLEEDING

FROM LASHES.

A SMIRKING AND HATEFUL CROWD OBSERVE

THE PROCEEDINGS.]

VALERIAN

"Our heads will never bow before a god of bronze or stone. Our God

is a living God and Him alone do we adore."

CROWD

"Death! Death!"

[ALMACHIUS BOWS HIS APPROVAL.

VALERIAN AND TIBERIUS ARE LED AWAY.]

CUT TO: -

SC65. INT. CECILIA’S HOME - DAY - ROME - 177 A.D.

[SAT WITH HER MOTHER, CECILIA QUIETLY

GRIEVES.

THERE’S A CRACK FROM OUTSIDE AS SOLDIERS

ATTEMPT TO STORM IN.

A BEAT LATER, THE DOOR CRASHES INWARD,

FALLING TO THE FLOOR.

SOLDIERS CLIMB OVER THE COLLAPSED DOOR,

GRABBING CECILIA BY THE ARMS.]

CECILIA’S MOTHER

“No!”

[THE SOLDIERS DRAG CECILIA OUTSIDE.]

CUT TO: -

SC66. INT. COURTHOUSE - DAY - ROME - 177 A.D.

[CECILIA IS STOOD BEFORE ALMACHIUS.]

CECILIA CAECILIA

"Cecilia will never offer sacrifice to false gods. I have pledged my soul

to the great God who, in the days of old, walked the earth with

Abraham, Isaac, and Jacob. Throughout my life I have served his

divine son who died on Calvary's cross for the love of you and me.

Shall I fall down and adore a piece of marble? Shall I burn incense

before an image of stone? Never! No, never!"

ALMACHIUS

"But remember, unless you do as I ask, I shall be forced to condemn

you to suffering and, perhaps."

CECILIA CAECILIA

"There is no punishment in your power that can make me deny the

Lord Jesus Christ. I have loved and served him till now and I shall

continue to do so till death. Let the law take its course. The Christian

asks for no mercy."

CUT TO: -

SC67. INT. STEAM BATH - CECILIA’S HOME - NIGHT - ROME - 177

A.D.

[CECILIA IS SAT IN THE LOCKED ROOM.

SCALDING STEAM POURS INTO THE ROOM.

CECILIA SITS IN PRAYER, MIRACULOUSLY COOL.

ITS DAYLIGHT.

THE DOOR IS UNLOCKED.

A SOLDIER STEPS INTO THE ROOM CARRYING A

SWORD.

THREE BLOWS OF THE SWORD FALL UPON

CECILIA’S NECK.

CECILIA REMAINS ALIVE.

SHE FALLS TO THE FLOOR.

THE SOLDIER PLACES HIS BLOODY SWORD IN ITS

SCABBARD.

HE EXIT’S THE ROOM.

CECILIA LIES DYING, DROP BY DROP.

POPE URBAN IS KNELT BY CECILIA.]

CECILIA CAECILIA

“I would wish for my home to be made into a church for the poor. How

sweet it is to die for the Lord."

[CECILIA CLOSES HER EYES IN DEATH.]

CUT TO: -

SC68. INT. SAINT CALLISTUS CATACOMB - DAY - ROME - 817

A.D.

[POPE PASCHAL OPENS CECILIA’S TOMB.

CECILIA’S BODY IS INCORRUPT, AS THOUGH SHE

HAS JUST DIED.

HER NECK STILL HAS THE SWORD MARKS.]

CUT TO: -

SC69. INT. CHURCH OF ST. CECILIA - DAY - ROME - 1599

[CECILIA’S MARBLE TOMB IS BEING OPENED.

HER BODY REMAINS INCORRUPT.

THE SWORD MARKS REMAIN.]

CUT TO: -

SC70. INT. HOSPITAL ROOM - CARDIFF GENERAL - NIGHT - 2014

[IFAN SITS UP IN BED.

IFAN HAS A BANDAGE ON HIS FOREHEAD ABOVE

HIS RIGHT EYE.

CORA IS SAT ON THE EDGE OF THE BED.]

CORA FENCIS

“I was so worried love. How do you feel?”

IFAN FENCIS

“Bit of an aching head. I had the strangest dream.”

CUT TO: -

SC71. EXT. A AND E - CARDIFF GENERAL - NIGHT - 2014

[IFAN EXIT’S THE BUILDING WITH CORA]

CORA FENCIS

“I saw your sister Ifan. A local politician was assassinated by the Black

Brigade around the same time and the same area that they hit you.”

IFAN FENCIS

“Yeah? We should vamoose, get this checked out by company

medics. Make sure the neuro-transmitters are still functioning at

optimal level.”

CORA FENCIS

“I booked us a hotel room in town. It might not be a great idea for you

to travel temporally whilst you’re still healing. We can remote

conference with the base medics, see what they say.”

IFAN FENCIS

“You’re my liege, where’s the hotel?”

CORA FENCIS

“Near the town centre.”

[CORA AND IFAN WALK OFF.]

CUT TO: -

SC72. INT. HOTEL ROOM - HOLIDAY INN- NIGHT - CARDIFF -

2014

[IFAN IS SAT ON THE EDGE OF THE BED.

CORA STEPS TOWARDS HIM, WEARING A SCOOP

NECK TEDDY.]

IFAN FENCIS

“Hello gorgeous.”

CORA FENCIS

“Lady Time has come to reset Father Time’s dimensional perimeters.

Mustn’t have creational energy just spraying every which way.”

IFAN FENCIS

“Father Time is very grateful. However, I do believe that sentence just

got a wee bit away from you.”

CORA FENCIS

“Kiss me spoil sport.”

IFAN FENCIS

“In my defence Cora, I have a bit of a conk on the head.”

[CORA STEPS CLOSE TO IFAN.

IFAN KISSES CORA.

IFAN LEANS BACK ONTO THE BED, PULLING CORA

ATOP OF HIM.]

END OF EPISODE.