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SC1. EXT. UCL INSTITUTE OF ARCHAEOLOGY - DAY - BLOOMSBURY - 6105 [IFAN AND CORA ASCEND THE STAIRS FROM THE STREET BELOW. IFAN’S BLUE FUSION VEHICLE IS PARKED AT THE CURB. THE VEHICLE’S BONNET ENDS IN A TRIANGULAR POINT.] CUT TO: - SC2. INT. LAVENTIS GALLERY - UCL INSTITUTE OF ARCHAEOLOGY - DAY - BLOOMSBURY - 6105 [IFAN ENTERS THE GALLERY. CORA ENTERS BEHIND IFAN. IFAN TURNS TO HIS LEFT. POV. WE SEE A SERIES OF GLASS DISPLAY CASES LINING THE WALL. SHELVES OF ETRUSCAN POTTERY FACE OPPOSITE IFAN. IFAN RETRIEVES HIS E-READER. A BLUE LIGHT GLOWS ON THE RETRIEVAL ATTACHMENT.] IFAN FENCIS “You know what this means don’t you Cora?” CORA FENCIS “The Laventis Gallery has been storing the biological remains of a temporal Agent.” IFAN FENCIS “Question is, why did the signal chose now to register on our instruments?” CORA FENCIS “We’re both here, so it can’t be either of us.” IFAN FENCIS “Watch your hubris Cora, it could still be either one of us from some unspecified point in our future. Less so you than I, considering your loss of interest in accepting new downtime missions. Let’s go see what we’re dealing with here.” [CORA MOVES FORWARDS, DEEPER INTO THE GALLERY. IFAN REMAINS IN POSITION IN FRONT OF THE GLASS CASE. IFAN GAZES THOUGHTFULLY AT AN ETRUSCAN BOWL FOR ANOTHER BEAT.] CORA FENCIS(O.O.V.) “Coming Ifan?” IFAN FENCIS (STAGE WHISPERS) “Perhaps later tonight.” (LOUDER.) “For you Cora, always.” CORA FENCIS(O.O.V.) “Ifan get over here.” IFAN FENCIS “Yes maam!” [IFAN RUNS OFF TOWARDS HIS RIGHT. WE SEE IFAN AND CORA STOOD TO THE LEFT OF A GLASS CURATION STAND IN THE CENTRE OF AN OPEN GALLERY. POV. INT. CURATION CASE: A SLAB OF HARDENED GREY ASH HAS IFAN’S FACIAL FEATURES. NEXT TO THE MASK IS SAT A TITANIUM RING WITH A RED LED LIGHT EMBEDDED ALONG THE EDGE. A PAIR OF NARROW PARALLEL GROOVES ARE SET OPPOSITE ONE ANOTHER.] IFAN FENCIS “Well, here’s the answer Cora. There must be flakes of my skin embedded in the ash. That’s no big deal. I need that ring back though. It’s tracking my sister’s locational signature in twenty first century Cardiff. I won’t leave it locked in a box that I have no control over.” CUT TO: - SC3. EXT. UCL INSTITUTE OF ARCHAEOLOGY - TWILIGHT - BLOOMSBURY - 6105 [CORA FENCIS IS STOOD BY IFAN FENCIS’ VEHICLE. IFAN DESCENDS THE STONE STEPS, RING CLUTCHED IN HIS LEFT HAND. IFAN STEPS DOWN ONE MORE STEP, STOPPING FOR A BEAT. IFAN PLACES THE RING ON HIS FINGER.] IFAN FENCIS “I can live with my sister growing up in a completely different era with a different name. I can begrudgingly accept that its not my place to contact her openly and to expect her to uproot her entire life to come home to the sixty second century. However, what I will not accept is the idea that I have the ability to keep track of her via this ring, and allow it to sit in a display case.” [IFAN CONTINUES TOWARDS THE VEHICLE.] CORA FENCIS “You know Ifan, for both your sakes; I think it’s a good thing that your sister doesn’t know that you’ve been tracking her with that thing. it’s a little overbearing.” IFAN FENCIS “Oh well. My one imperfection.” CORA FENCIS “Aren’t you modest.” [IFAN CLICKS AN APP ON HIS E-READER. THE DOORS SLIDE OPEN ON THE VEHICLE.] CUT TO: - SC4. INT. FUSION DRIVE VEHICLE - NIGHT - 6105 [THE VEHICLE IS IN FLIGHT CORA PILOTS THE VEHICLE FROM THE DRIVER’S SIDE. IFAN WORKS ON HIS E-READER, IN THE PASSENGER SEAT. THROUGH THE FRONT DASH WE SEE THE LIGHTS OF THE SEVERN BRIDGE FAR BELOW.] IFAN FENCIS “Here’s something. Our financial operatives in Canada snagged Cynthia Nysaan in their temporal web. The Ashtoreth’s Will Party has been dealt with, for now.” [IFAN SHOWS CORA A NEWS ITEM HE‘S PULLED FROM THE ARCHIVES ON HIS E-READER. WE SEE ON THE SCREEN, THE WEBSITE FOR ‘THE VANCOUVER PROVINCE’. THE HEADLINE STATES - ‘CYNTHIA NYSAAN INVESTIGATED FOR FINANCIAL FRAUD‘. IFAN LEANS OVER TOWARDS CORA, FIDDLING WITH THE RADIO.] BBC RADIO FOUR ANNOUNCER “Next up, the sweetheart of Penarth, our lovable protector of the timelines, the man with the voice of an Angel, Ifan Fencis’ debut album ‘ I Owe It All To God’ has made the top ten on this week’s best of list. Here’s track number five, ‘My Spy, Apple Of My Eye’.” CORA FENCIS “My husband the star. Shine on my beauty.” [THROUGH THE FRONT DASH, WE SEE THE HILLS OF WALES. OCCASIONAL HOUSE LIGHTS LIGHT THE WAY.] IFAN FENCIS(SUNG)(V.O.) “She was the spy who came out from the cold. That girl I once knew, she was so bold. She did everything so right, she made my life bright. But you know, not all is all right.” [THE VEHICLE APPROACHES CARDIFF AIRSPACE. CORA PRESSES A GREEN BUTTON ON THE LEFT SIDE OF THE VEHICLE’S FLIGHT PANEL. WE SEE THE WORDS - ‘SECURITY CHECK IN PROGRESS’ AN ARRAY OF THIN RED SECURITY LASERS SCAN ACROSS THE FRONT DASH.] IFAN FENCIS(SUNG)(V.O.) “We all have our shadows, our hidden rooms. She was the love of my life, and I of hers. We fought the good fight, life in a better world. Across time and across space, the battles raged. Against those serving other masters than our own. The man of perdition, the one who sows discord. He sets man against man, girl against boy. We all have our shadows, our hidden rooms.” [WE SEE THE WORDS - ‘SECURITY CHECK PASS - HAVE A NICE DAY.] CUT TO: - SC5. INT. BAR - STATION OORT - OORT DISC - NIGHT - 5078 [COLE WIPES DOWN THE BAR. SAT AT TABLES IN THE CENTRE OF THE BAR ARE NUMEROUS GARCONER, HUMANS, BETRAN, STORNAWAY, GROTTO INCUBI AND XENOBRAX.] IFAN FENCIS(SUNG)(V.O.) “In that long forgotten world, clowns danced with revellers.” The boy named Oliver, the Jester in the ring.” A family in turmoil, no money for bread.” A clown in desperation, what sorrow that led.” Through time and through space, we saw this from afar.” The man from perdition, he plotted and planned.” His move on the chest board, a million years ahead.” But God and his servants have the upper hand.” All the schemes in the cosmos won’t get the lost ahead.” [IN THE BACKGROUND, WE SEE THE EXIT INTO THE MARKET AREA OF THE STATION. ACROSS THE BAR, A WINDOW REVEALS A FEW DIM STARS SPARKLING LIKE QUASARS.] IFAN FENCIS(SUNG)(V.O.) “She was the spy who I loved.” Throughout time and throughout space.” Two hearts in tandem, not a thread of mental space out of place.” Others plot and schemed, wanting us out of place.” What God puts together, let no man displace.” [JAMES ANDERSON, A GARCONER MAN STEPS UP TO THE BAR. JAMES IS TALL, SLIM; WITH DARK GREY SKIN] JAMES ANDERSON “I know who you are.” COLE JACOB BILLINGTON “I’ve been here a while, I’m sure you’ve seen me around.” JAMES ANDERSON “How’s it going, COE2009?” COLE JACOB BILLINGTON “You’ve got the wrong man.” JAMES ANDERSON “I don’t think I do; your mother’s been looking for you.” COLE JACOB BILLINGTON “What do you know about my mother?” JAMES ANDERSON “Nothing much, just that they’ve taken her in for questioning. She’s gone on record, asking you to turn yourself in. You didn’t know?” COLE JACOB BILLINGTON “No, I didn’t. Shit! I’ve been out of the loop, staying offline and under the radar you know. Do I need to be worried about you knowing who I am; what’s your name?” JAMES ANDERSON “James; and no, I won’t say a word.” COLE JACOB BILLINGTON “Why’s that then, James?” [JAMES MOVES IN CLOSE.] JAMES ANDERSON “One, I find you incredibly sexy; two, I support your cause; and third, I donated a crate of weaponry to your crew. So I’m in this with you. In order to protect myself, I need to protect you.” COLE JACOB BILLINGTON “You think I’m sexy James?” JAMES ANDERSON “I most certainly do.” COLE JACOB BILLINGTON “Isn’t that nice. If you want, I get off in another hour, if you want to meet up?” JAMES ANDERSON “I want, I so want.” COLE JACOB BILLINGTON “Alright then, I need to get back to work. Nice to meet you James.” CUT TO: - SC6. INT. COLE’S QUARTERS - STATION OORT - NIGHT - 5078. [COLE IS SAT ON THE END OF HIS BED. JAMES IS SAT NEXT TO COLE. COLE RUNS A HAND ALONG JAMES’ RIGHT BICEP.] JAMES ANDERSON “Have you done this before?” COLE JACOB BILLINGTON “No, I haven’t.” JAMES ANDERSON “No, what about with a woman?” COLE JACOB BILLINGTON “This’ll be my first, all around.” JAMES ANDERSON “How come?” COLE JACOB BILLINGTON “There was this girl, Anna; Human, she died. A year ago, she was in a System Hopper crash. We were real tight, the best of friends, until the raiders killed my father, and stole my brother. After that, I couldn’t look at Anna, all I saw when I looked into her eyes was the face of the enemy. I always thought my first time would be with her, I don’t know if I ever thought it would be some big thing between us, or if it would just be youthful exploration, but still, that was my plan, until it all went down the tubes. After that, I was so full of rage, any desires I may have had were channelled into orchestrating Human deaths on a massive scale. I put everything into recruiting new soldiers and protecting them.” JAMES ANDERSON “But this is alright, isn’t it, me being a man?” COLE JACOB BILLINGTON “I like both, and can I say James, you are one fine Garconer man. Hmm, hmm.” JAMES ANDERSON “We’ll take it slow.” COLE JACOB BILLINGTON “I‘d like that.” [COLE PULLS JAMES CLOSE, KISSING HIM PASSIONATELY. COLE PULLS JAMES DOWN ONTO THE BED. COLE AND JAMES CONTINUE KISSING AS JAMES MASSAGES COLE’S UPPER TORSO. WE SEE COLE FROM THE WAIST UP, LYING ON HIS BACK, HEAD ON THE PILLOW ON THE LEFT SIDE OF THE BED. COLE SMILES. JAMES IS ASLEEP NEXT TO COLE, ON HIS RIGHT.] CUT TO: - SC7. EXT. VANCOUVER QMUNITY CENTRE - BUTE STREET - DAY - 2013 [LUKE MONROE IS STOOD IN THE STREET IN FRONT OF AN ALLEY BETWEEN THE PRIDE CENTRE AND A PRODUCE MARKET. LUKE IS 6’2, MID TWENTIES. LUKE LOOKS TOWARDS THE MARKET, MOVING ABOUT RESTLESSLY FROM FOOT TO FOOT. “ TYRONE PETERSON WALKS TOWARDS LUKE, PAST THE MARKET. TYRONE HOLDS A BUNDLE OF CANADIAN TWENTIES IN HIS HANDS. TYRONE IS HISPANIC, SLIGHT, NINETEEN. TYRONE WEARS VINTAGE EIGHTIES ACID WASH BLUE JEANS. “ TYRONE HANDS LUKE THE CASH. LUKE GIVES A QUARTER OF THE BUNDLE BACK TO TYRONE, STICKING THE REST IN HIS POCKET. “ LUKE MOVES IN CLOSE, KISSING TYRONE PASSIONATELY. LUKE GRIPS TYRONE BY THE WAIST, AS TYRONE PULLS AWAY. “ TYRONE HEADS TOWARDS THE ENTRANCE TO THE PRIDE CENTRE.] CUT TO: - SC8. EXT. EAST HASTINGS STREET BUS STOP - DAY - 2013 [TYRONE WALKS EASTWARD TOWARDS A BENCH, HANDS IN HIS POCKETS. YOUNG TEEN MOTHER KARA IS SAT ON A BENCH, BABY CARRIAGE AT HER SIDE. KARA’S HAIR IS BLONDE, SHOULDER LENGTH. HER FACE SPORTS SEVERAL FRECKLES. KARA IS SLIM AND PETITE FOR HER SEVENTEEN YEARS. TYRONE’S DAUGHTER, ONE YEAR OLD MEAGAN COOS AT THE APPROACH OF HER FATHER. TYRONE STOPS BY THE BENCH, TO KARA’S LEFT. KARA PUSHES THE CARRIAGE BACK AND FORTH.] KARA “Daddy’s here Meagan.” TYRONE PETERSON “Hello Kara.” [TYRONE HANDS KARA TWO TWENTIES.] TYRONE PETERSON “There’s a place near Canada Place with a great stock of organic baby food. Pretty good deal too.” [TYRONE LIGHTS A CIGARETTE WITH A RED, SKULL PATTERNED LIGHTER.] KARA “Those organic as well?” TYRONE PETERSON “Don’t start.” KARA “You quit those, you could use the cash to buy our daughter more organic baby food.” TYRONE PETERSON “Easier just to put in more hours at my place of employment.” KARA “Learn some new skills and raise your going rate.” TYRONE PETERSON “Naughty talk in front of the child.” KARA “She’d have to be a super baby with paranormal skills to get the gist of what we’re going on about.” [TYRONE TAKES A DRAG OFF HIS SMOKE, STEPPING CLOSER TO KARA TO SEE HIS DAUGHTER.] KARA "Don't need no second hand smoke blowin' in me baby's face, thank you very much." TYRONE PETERSON "Sorry." KARA "You should be." CUT TO: - SC 9. INT. CPB MAIN ROOM - VANCOUVER - DAY - 1913. [THROUGH THE AJAR DOOR OF THE DIRECTOR’S OFFICE, WE SEE CHARLIE DENTON SAT AT HIS DESK. EMILY IS SAT AT HER DESK, DOING THE BOOKKEEPING. LEANING OVER EMILY’S DESK. DOCTOR BLAINE GIANCOMO 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 STEPPING INTO THE CORRIDOR FROM HIS OFFICE.] EMILY "You’re just the man we were speaking of." COLE JACOB BILLINGTON "Good things, I hope." [CHARLIE DENTON 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?” [CHARLIE STEPS FORWARDS, HANDING A STACK OF PAGES TO COLE.] 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 “Somehow I doubt that needs to be a two person affair, Captain.” CUT TO: - SC10. 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. DISHEVELLED, COLE WEARS CLOTHING OF A LOWER QUALITY THAN HIS USUAL ATTIRE. SAT AROUND COLE ARE THE HASTINGS STREET BOYS, 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, CHARLIE DENTON IS WEARING A FAKE MUSTACHE AND A PAIR OF GLASSES. GETTING TO HIS FEET; COLE WANDERS OVER TO THE CARRIAGE.] COLE JACOB BILLINGTON “Here’s my John of the night, ta boys!” [THE MEN HOOT AS COLE CLIMBS INTO THE CARRIAGE NEXT TO CHARLIE.] COLE JACOB BILLINGTON “We’ve still got nothing.” CUT TO: - SC11. EXT. EAST CORDOVA STREET - TWILIGHT - 1913. [COLE IS STOOD ON THE PAVEMENT. DAVID REILLY FACES OFF AGAINST COLE. SICKLY, FACE CALLOW WITH YELLOW PALLOR; DAVID OPENS HIS MOUTH TO REVEAL GREY SERRATED TEETH. COLE DODGES DAVID’S REACH, FIRST TO THE LEFT, THEN TO THE RIGHT.] COLE JACOB BILLINGTON “Those look like Senatorial Incubi incisors, what are you up to?” [COLE SHOVES DAVID AWAY, HARD. DAVID HITS THE GROUND HARD, CRACKING HIS HEAD ON THE ROAD. THERE DAVID LIES, UNSEEING IN DEATH AS BLOOD POURS OUT FROM BENEATH HIS HEAD.] COLE JACOB BILLINGTON “No!” [YELLOW VAPOUR FLOWS OUT THE CORPSES’ NOSTRILS.] COLE JACOB BILLINGTON "Blast!" [THE VAPOUR RISES FULLY FROM THE CORPSE. THE VAPOUR SPREADS OUT, PULSATING. THE VAPOUR RISES UP BEHIND COLE. SPINNING AROUND, COLE SEARCHES FOR IT AS IT WHOOSHES UP HIS ANKLES, BILLOWING UP THE RIGHT LEG OF HIS TROUSERS. COLE VISIBLY SHUDDERS; THE CREATURE ENTERING HIM FROM BEHIND.] COLE JACOB BILLINGTON "This can't be good." CUT TO: - SC12. INT. CPB MAIN ROOM - NIGHT - 1913. [EMILY IS STOOD IN FRONT OF HER DESK. COLE ENTERS THE ROOM 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.” [WALKING PAST EMILY, COLE LOOKS BACK AT HER FOR A BEAT. TURNING AWAY, COLE BOLTS FROM THE ROOM. EMILY TURNS, FINDING COLE NOWHERE TO BE SEEN.] EMILY “Cole, what’s going on?” CUT TO: - SC13. EXT. THE DORIAN GRAY GENTLE MEN’S CLUB - GRANVILLE STREET - NIGHT - 1913. [YOUNG COUPLES ARE OUT ON THE TOWN. DRESSED TO THE NINES, COLE STROLLS UP TO THE CLUB’S ENTRANCE. TO COLE’S RIGHT IS STOOD TYRONE, MID FORTIES, HEAVYSET; SMOKING A CIGAR. TWO MEN STROLL PAST. COLE STOPS OUTSIDE THE CLUB.] TYRONE “Warm night, isn’t it?” [COLE NODS TOWARDS THE NEARBY ALLEY TO THE SOUTH, CATCHING TYRONE’S EYE.] TYRONE “Well, things are certainly looking up, aren’t they my friend?” [COLE AND TYRONE HEAD INTO THE ALLEY, DISAPPEARING FROM SIGHT.] CUT TO - SC 14. EXT. ALLEY OFF 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, FROTTING 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. WHILST THEY DO SO, 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 RETRIEVES A PACKAGE OF PROTECTION. WE SEE COLE AND TYRONE FROM THE WAIST UP. COLE’S BEHIND TYRONE NOW AS THEY 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: - SC15. INT. CPB MAIN ROOM - DAY - 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 “I guess the killer is still out there, Cole.” SC16. EXT. GRANVILLE STREET - DAY - 1913 [THE CPB’S 's COMPANY HORSE AND CARRIAGE COMES TO A STOP ACROSS FROM THE DORIAN GRAY. 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 by 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 TAKES A STEP TOWARDS THE RIGHT. TYRONE’S CORPSE IS PROPPED AGAINST THE WALL OF THE BUILDING. CHARLIE WALKS UP AND 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: - SC17. INT. COLE’S FRONT FOYER OF HIS HOUSE - YALE TOWN - DAY - 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. 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, ALLOWING 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. SITTING HIMSELF DOWN, 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, 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?” EMILY “What are you two playing at?” [TWO RCMP OFFICERS RUSH THROUGH THE OPEN DOOR, 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, 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: - SC18. EXT. COLE’S HOUSE - YALE TOWN - DAY - 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 COMPANY HORSE AND CARRIAGE IS PARKED BEHIND RCMP HORSE AND CARRIAGE. COLE, EMILY, CHARLIE, BLAINE AND THE TWO RCMP OFFICERS CROSS TO 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 CARRIAGE. COLE MAKES A RUN FOR IT, SHOVING PAST EMILY. COLE RUNS DOWN THE STREET IN A SOUTHERN DIRECTION. THE TWO RCMP OFFICERS RUN AFTER COLE. RCMP OFFICER ONE GRABS COLE’S ARM. RCMP OFFICER ONE DRAGS COLE TO THE COMPANY CARRIAGE. CHARLIE SHOVES COLE INTO THE CARRIAGE.] CHARLIE DENTON “Thank you officers, now come on." CUT TO: - SC19. INT. CPB MAIN ROOM - DAY - 1913 [THE DOOR OPENS. BLAINE AND CHARLIE ENTER THE ROOM. EMILY ENTERS, GRIPPING COLE BY THE ARM. EMILY DRAGS COLE ACROSS THE ROOM.] EMILY “Come along Cole.” CUT TO: - SC20. INT. CPB STORAGE ROOM - BACK CORRIDOR - DAY - 1913 [EMILY SHOVES COLE INTO THE STORAGE ROOM. COLE GAZES AT EMILY, STOOD FACING HIM 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, BUTTONING 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: - SC21. INT. CPB BACK CORRIDOR - DAY - 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: - SC22. INT. CPB CORRIDOR OUTSIDE ARMOURY - DAY - 1913 [COLE STEPS AROUND THE CORNER. COLE WALKS TOWARDS THE ARMOURY. EMILY STEPS FROM THE DIRECTORS’ OFFICE. EMILY FACES DOWN COLE.] EMILY “You’re not leaving, Cole.” [MOVING FORWARD, COLE DARTS TOWARDS THE ARMOURY. COLE IS STOOD IN THE ENTRANCE OF 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: - SC23. EXT. GRANVILLE STREET - DAY - 1913 [IT’S SUNNY OUT; THE STREET IS FULL OF PEOPLE. COLE WALKS TOWARDS THE SOUTH. COMING TO A STOP, COLE DOUBLES OVER IN PAIN.] COLE JACOB BILLINGTON "Ah!" [STUCK TO A SHOP FRONT WINDOW IS A WANTED POSTER FOR COLE’S ARREST. THE POSTER REVEALS A BLACK AND WHITE PHOTO OF COLE. ABOVE THE PHOTO OF COLE WE SEE THE WORDS ’COLE BILLINGTON.’ BELOW THE PHOTO OF COLE WE SEE THE WORDS ’WANTED FOR SODOMY AND MURDER. APPROACH WITH EXTREME CAUTION. SUSPECT IS CONSIDERED ARMED AND DANGEROUS.’ WE SEE A HAND RIP THE POSTER FROM THE WINDOW. COLE CRUSHES THE POSTER INTO A BALL. COLE TOSSES THE BALL OF PAPER INTO A NEARBY RUBBISH BASKET.] CUT TO: - SC24. EXT. BURRARD INLET WATERFRONT - DAY - 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. GETTING 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. COLE ROARS IN FURY, KNOCKING CHARLIE TO THE GROUND. THE GUN CAREENS INTO THE AIR. THE GUN LANDS ON THE GRASS A FEW FEET AWAY. CHARLIE STRUGGLES WITH COLE AS COLE WRAPS HIS HANDS AROUND CHARLIE’S THROAT. OPENING HIS MOUTH, COLE REVEALS TWO ROWS OF GREY SERRATED TEETH; THE DENTITION OF THE SENATORIAL INCUBI SPECIES. COLE MENACES CHARLIE, SAT ASTRIDE HIS WAIST. EMILY DASHES OFF, PICKING UP THE GUN. EMILY TRAINS THE REVOLVER ON COLE. COLE MOVES OFF CHARLIE ONTO THE GRASS. CHARLIE SITS UP. EMILY MOVES SHAKILY TOWARDS COLE, 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 OFF TO 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 pyschopath.” CUT TO: - SC25. INT. JONATHAN AETHER’S HOSPITAL ROOM - SAINT PAUL’S HOSPITAL - DAY - 1913 [JONATHAN AETHERS IS LAIN PRONE IN HIS BED, COMATOSE.] CUT TO: - SC26. INT. CPB - CORRIDOR OUTSIDE JONATHAN’S PHYSICS LAB - DAY - 1913 [COLE PEERS IN AT JONATHAN AS HE WORKS, WINGS 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 ON DISPLAY. COLE DESCENDS ON JONATHAN FROM BEHIND, DRAGGING HIM 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: - SC27. INT. JONATHAN’S HOSPITAL ROOM - SAINT PAUL’S HOSPITAL - DAY - 1913 [JONATHAN LIES IN A COMA. COLE IS STOOD OVER JONATHAN’S BED, WINGS SPREAD, INCISORS DRIPPING SPIT ONTO THE BLUE BLANKETS. CHARLIE AND BLAINE BURST INTO THE ROOM. CHARLIE RUSHES TOWARDS COLE, GRABBING HIM BY THE ARM. CHARLIE AND BLAINE PULL COLE OUT OF REACH OF JONATHAN. COLE HISSES AND SPITS AT CHARLIE AND BLAINE. CHARLIE AND BLAINE DRAG COLE FROM THE ROOM.] CUT TO: - SC28. 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 NEAR THE EXIT. . 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 GETS TO HIS FEET. 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: - SC29. 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’S EYES POP OPEN. COLE ROLLS OVER ONTO HIS LEFT SIDE, WATCHING THE ENTRANCE. BLAINE ENTERS THE LAB.] 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: - SC30. INT. CPB LOUNGE - DAY - 1913 [COLE IS SAT ON THE RIGHT SIDE OF THE COUCH, SEDATED. JONATHAN IS SAT OPPOSITE COLE. BLAINE ENTERS FROM THE MAIN ROOM.] COLE JACOB BILLINGTON “He’s gone, the bastard’s gone.” CUT TO - SC31. 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 - SC32. INT. CPB LOUNGE - DAY - 1913 [COLE IS SAT CLOSE TO EMILY ON THE COUCH. COLE MOVES FORWARDS, GENTLY KISSING EMILY 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: - SC33. 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: - SC34. INT. CPB LOUNGE - DAY - 1928 [ROBERT CHU, LATE TWENTIES; IS STOOD IN THE CENTRE OF THE ROOM. NEXT TO ROBERT ARE STOOD DOCTOR GILLES FONTAINE, LATE FORTIES, AND DETECTIVE CALVIN EDWARDS, LATE THIRTIES. CECIL SMITH IS STOOD TO CALVIN’S LEFT. CECIL WEARS A GREY CAP ATOP SHORT, CURLY BLONDE HAIR. CECIL WEARS AN OFF WHITE HUDSON BAY SWEATER, DRAPED WITH A PALE RED KNIT SCARF OVER ARMY REGULATION TROUSERS. STOOD IN FRONT OF THE TABLE IS MAGGIE RUTLEDGE, MID THIRTIES. COLE ENTERS FROM THE CORRIDOR. COLE’S EYES CONNECT WITH CECIL’S.] COLE JACOB BILLINGTON “Hello.” CECIL SMITH “Hello.” [COLE AND CECIL CONTINUE TO MAINTAIN EYE CONTACT. ROBERT, GILLES AND CALVIN MOVE ASIDE, ALLOWING COLE AND CECIL TO GET A BETTER LOOK AT ONE ANOTHER. GRINNING WIDELY, COLE EXTENDS A HAND.] COLE JACOB BILLINGTON “I’m Captain Cole Billington, you are?” [CECIL SHAKES COLE’S HAND.] CECIL SMITH “Cecil Smith, sir.” [GENERAL TYSON MONTGOMERY ENTERS FROM THE MAIN ROOM, LATE FORTIES. TYSON IS A TALL, BROAD MAN.] GENERAL TYSON MONTGOMERY “Don’t just stand there, you two, get to work. We don’t have time to stand around lollygagging; we have a crash site to investigate. Chop, chop, time’s a wasting.” COLE JACOB BILLINGTON “A crash site, what sort?” GENERAL TYSON MONTGOMERY “We won’t know until we get there, Billington. Get your rear in gear.” [TYRONE GESTURES TO COLE AND CECIL.] GENERAL TYSON MONTGOMERY “You two, come with me.” CUT TO: - SC35. INT. CPB ARMOURY - DAY - 1928 [COLE, CECIL AND TYSON ARE STOOD NEAR THE ENTRANCE. TYSON GOES TO THE MUNITIONS’ CABINET OPPOSITE.] COLE JACOB BILLINGTON “Are we thinking there’s liable to be trouble, General? Do we really need to go in armed?” [TYSON UNLOCKS THE CABINET.] GENERAL TYSON MONTGOMERY “Hopefully not, Captain, but you know we can never be too sure. Do you want one or not?” COLE JACOB BILLINGTON “Why not; better safe then sorry, hmm?” [TYSON HANDS COLE A REMINGTON MODEL EIGHT. COLE CHECKS THE WEAPON FOR AMMUNITION, SAFETY ON. COLE GRABS A LEATHER HIP HOLSTER FROM A WOODEN SHELF. COLE PUTS IT ON.] COLE JACOB BILLINGTON “Thanks.” [COLE PLACES THE WEAPON BY HIS SIDE.] GENERAL TYSON MONTGOMERY “How’s your aim, Cecil?” CECIL SMITH “I’m completely comfortable with the use of firearms, General. I used to play soldiers with the local boys as a child.” [TYSON HANDS CECIL ANOTHER MODEL EIGHT.] GENERAL TYSON MONTGOMERY “Off we go, boys. We’ve got little green men to contend with.” COLE JACOB BILLINGTON “I doubt they’ll actually be green.” CUT TO: - SC36. EXT. ENGLISH BAY BEACH - DAY - 1928 [A GREEN ARMY JEEP IS PARKED AT THE TOP OF THE SHORELINE. TYSON STEPS FROM THE DRIVER’S SIDE OF THE JEEP. COLE SLIDES FROM THE BACK SEAT FACING THE SHORELINE.] GENERAL TYSON MONTGOMERY “Step lightly, boys.” [TYSON STEPS CAREFULLY DOWN THE ROCK AND LOG STREWN BEACH. STOOD AT THE TOP OF THE BEACH, COLE WAITS FOR CECIL TO JOIN HIM. COLE GAZES TOWARDS THE WATER LINE. HALF SUBMERGED IN WATER, A CHARCOAL GREY SHUTTLE CRAFT IS SAT IN A SMOULDERING CRATER. HEADING TOWARDS THE WATER, COLE’S TROUSERS BECOME WATER-LOGGED WITH WET SAND.] COLE JACOB BILLINGTON “Yowsers.” GENERAL TYSON MONTGOMERY “Be a man, Billington, there’s no time for pussy footing around now.” COLE JACOB BILLINGTON “Some day Tyson, that sort of talk will be verboten; nil quate’.” [CECIL HURRIES PAST COLE AND TYSON.] GENERAL TYSON MONTGOMERY “Somehow Billington, I don’t think that time will be any time soon. Careful there lad.” [INSIDE THE CRATER, THE CRAFT IS SUNK INTO WET SAND, GLASS ROOF BLOWN OUT. A ROTAGARIAN CORPSE LIES SPLAYED IN THE PILOT SEAT. THE CORPSE IS FIVE FOOT; HIS SKIN A MIXTURE OF MUTED SHADES OF BLUE AND PINK. THE HEAD IS SMALL AND HAIRLESS, A PAIR OF SMALL, BONY HORNS JUST ABOVE THE EYES.] GENERAL TYSON MONTGOMERY “Do you recognize this guy’s species, Cole?” COLE JACOB BILLINGTON “I’m not sure.” GENERAL TYSON MONTGOMERY “Careful! It might be radioactive.” COLE JACOB BILLINGTON “I’ll be careful. I appreciate your concern, however. Sorry, don’t recognize the species, sir. It’s a big, wide universe out there. I haven’t seen everything.” GENERAL TYSON MONTGOMERY “Shoot, that’s unfortunate. We have no way of determining what this fellow may have been up to. No way to know if he’s part of an invasion plan, or just happened to be in the wrong place, at the wrong time.” COLE JACOB BILLINGTON “I can check ship records, go through the computer guidance system, that sort of thing.” [COLE GRABS AN END OF THE SINKING CRAFT. COLE GLANCES OVER HIS SHOULDER AT TYSON AND CECIL.] COLE JACOB BILLINGTON “Are you two going to give me a hand here, or am I going to have to make an impression of the Incredible Hulk?” [TYSON HELPS COLE LIFT THE CRAFT FROM THE SAND.] GENERAL TYSON MONTGOMERY “Here we go.” CUT TO: - SC37. INT. CPB TECHNICAL INVESTIGATION ARCHIVE - DAY - 1928 [THE CRAFT IS LAID ON THE FLOOR. THE CORPSE HAS BEEN REMOVED. COLE IS SAT WITH ROBERT. ROBERT PRESSES A GREEN BUTTON ON THE CONTROL PANEL. A GREEN BURST OF GAMMA RAYS BLASTS A HOLE IN A FILING CABINET.] ROBERT CHU “We’ve got weapons, yes!” [GILLES DARTS THROUGH THE ENTRANCE.] COLE JACOB BILLINGTON “It’s all right, nobodies hurt.” DOCTOR GILLES FONTAINE “Good to know.” COLE JACOB BILLINGTON “Gamma burst relay. Mostly used for protection against space debris; asteroids, meteorites, that sort of thing.” ROBERT CHU “Good to know.” CUT TO: - SC38. INT. CPB CORRIDOR OUTSIDE THE TECHNICAL INVESTIGATION ARCHIVE - NIGHT - 1928 [COLE IS SAT ON THE STEPS SEPARATING THE MED LAB FROM THE TECHNICAL INVESTIGATION ARCHIVE. PARTS OF THE QUANTUM DATABASE FORMING THE CONTROL PANEL MOTHERBOARD ARE LAID STREWN ACROSS THE STONE STEPS. CECIL HOLDS OUT TO COLE A MUG FILLED TO THE BRIM WITH HOT TODDY.] CECIL SMITH “Hot Toddy, sir?” COLE JACOB BILLINGTON “Lovely idea, Cecil my man; don’t mind if I do.” [CECIL HANDS THE MUG TO COLE.] CECIL SMITH “You sure like to make a mess, don’t you sir?” COLE JACOB BILLINGTON “You know it. Did anyone ever tell you, that you have the sweetest smile? By the way, call me Cole. None of this sir, nonsense; I would like to be on equal footing with you here.” CECIL SMITH “Sure thing, Cole; Do you actually know what you’re doing here? I can’t make heads or tails of it.” COLE JACOB BILLINGTON “I’ll tell you this Cecil. It certainly ain’t anything made anywhere on Earth at this point in history.” CECIL SMITH “And the alien?” COLE JACOB BILLINGTON “I have no idea. Doctor Fontaine hasn’t finished his full autopsy yet. We need to get the results of the chemical analysis back first. Even then, there’s not much to know, when there’s no record of the species on the books.” [CECIL KNEELS NEXT TO COLE.] CECIL SMITH “Have you ever seen anything at all similar to this guy?” COLE JACOB BILLINGTON “No.” CECIL SMITH “I suppose you’ve gotten pretty good at knowing your way around quite a large assortment of alien tools, then Cole?” COLE JACOB BILLINGTON “I can hold my own, you betcha Cecil.” CECIL SMITH “I bet you can.” COLE JACOB BILLINGTON “Unfortunately, this one seems to have me utterly stumped.” CECIL SMITH “I can see that, does that happen often, sir?” COLE JACOB BILLINGTON “You want to know what truly stumps ol Cole Billington, Cecil?” CECIL SMITH “Hit me.” COLE JACOB BILLINGTON “The fact I have grandchildren and great grand children, but still look barely thirty. Do you wanna see?” [COLE RETRIEVES HIS BLACK LEATHER WALLET. FLIPPING THE WALLET OPEN, COLE REVEALS AN ASSORTMENT OF BLACK AND WHITE PHOTOGRAGHS. IN THE TOP PHOTO, BABY SAMAEL HAS BLOND TRESSES, CURLS HAPHAZARDLY FALLING INTO HIS GREEN EYES. SAMAEL’S MOTHER ANNALISE IS NORWEGIAN; HAIR BLOND, EYES GREEN. COLE HANDS CECIL THE WALLET.] COLE JACOB BILLINGTON “That top photo is of my son Emelio’s wife, and my grandson Samael.” CECIL SMITH “What a sweetie.” COLE JACOB BILLINGTON “They both are.” [COLE FLIPS TOWARDS THE NEXT PHOTO. WE SEE A BLACK AND WHITE PHOTO OF EMELIO STOOD BESIDE SIX YEAR OLD JULIE, SMILING IN HER TAFFETA SUNDAY BEST.] CECIL SMITH “This is your son?” COLE JACOB BILLINGTON “Forty three years old; doesn’t look a day over twenty. Cecil, would you do me the honour of having dinner with me one of these fine days?” CECIL SMITH “I’d love that, Cole.” COLE JACOB BILLINGTON “Wonderful! Let’s do that.” [CECIL TAKES A SEAT NEXT TO COLE.] CUT TO: - SC39. INT. CPB LOUNGE - NIGHT - NEW YEAR’S EVE 1928 [COLE IS STOOD BY THE TABLE. ON THE TABLE, APPETIZERS ARE SPREAD OUT. COLE HOLDS UP A GLASS OF CHAMPAGNE. TYSON IS SAT ON THE COUCH, ARM AROUND HIS BLOND, FLAPPER WIFE.] COLE JACOB BILLINGTON “Here’s to the greatest boss a man could ever ask for. May he lead us towards a better future!” GENERAL TYSON MONTGOMERY “Thank you Cole, that was very nice.” [TYSON GIVES HIS WIFE A KISS. MAGGIE WHISPERS IN COLE’S EAR. CECIL IS STOOD NEARBY, EYING MAGGIE WITH DISTASTE.] COLE JACOB BILLINGTON “You’re drunk, Mags, leave me be.” [MAGGIE HUFFS, HEADING UNSTEADILY TOWARDS THE COUCH. MAGGIE PLOPS HERSELF DOWN NEXT TO THE MONTGOMERYS.] MAGGIE RUTLEDGE “Nice night, eh?” COLE JACOB BILLINGTON “Having fun, Cecil?” CECIL SMITH “I’m actually a tad bored, to tell the truth Cole.” COLE JACOB BILLINGTON “That’s too bad, is there anything I can do to liven things up a bit?” CECIL SMITH “You want to go somewhere private, somewhere the two of us can talk?” COLE JACOB BILLINGTON “What did you have in mind, Cecil?” CECIL SMITH “Your place, or mine, Cole?” COLE JACOB BILLINGTON “You tell me.” CECIL SMITH “I’d love to see your home, Cole.” COLE JACOB BILLINGTON “Alright.” CUT TO: - SC40. INT. COLE’S KITCHEN - YALE TOWN - DAY - 1929 [THE SUN SHINES THROUGH THE WINDOW. COLE AND CECIL ARE SAT AT THE TABLE IN THE CORNER. PLATES OF EGGS AND SAUSAGES ARE SET BEFORE THEM.] COLE JACOB BILLINGTON “Lovely day out there, eh Cecil?” [CECIL FIDGETS, LOOKING READY TO BOLT.] COLE JACOB BILLINGTON “What’s wrong? You’re not disappointed, are you?” CECIL SMITH “You were fine, Cole.” COLE JACOB BILLINGTON “Just fine, that’s it?” CECIL SMITH “It’s not something I really enjoy. Not in this body. I don’t know how I ever can. It’s not you Cole. You were lovely. I just can’t really get all that enthused about something I’m not that into.” COLE JACOB BILLINGTON “Oh.” [COLE PLACES A COMFORTING HAND ON CECIL’S SHOULDER. COLE MOVES AWAY, TAKING THE PLATES TO THE SINK TO SOAK.] COLE JACOB BILLINGTON “I can live with some cuddling.” CUT TO: - SC41. INT. THE AFRICAN SAFARI CABARET BAR - GRANVILLE STREET - NIGHT - VANCOUVER - 1931 [COLE IS SAT ON A ZEBRA TONED COUCH IN A CORNER. CECIL IS CURLED UP NEXT TO COLE. COLE AND CECIL KISS. DRAG QUEEN IANA FERGUSON WEARS A SILVER COCKTAIL DRESS. IANA COMES TOWARDS COLE AND CECIL, HOLDING A SMALL PIECE OF WHITE PAPER IN HER HAND. A SHOP ADDRESS IS WRITTEN ON THE PAPER.] IANA FERGUSON “Hello lovey, are you enjoying the show?” CECIL SMITH “You’re doing great work, girl. Keep it up.” IANA FERGUSON “That thing we were talking about earlier?” [IANA HANDS CECIL THE PIECE OF PAPER.] IANA FERGUSON “Here you go honey. Try these people on Pender. Should be some help, what little there is.” CECIL SMITH “Thank you Iana.” [CECIL REACHES UP, GIVING IANA A HUG.] IANA FERGUSON “Glad to help, Cecil.” [IANA PULLS AWAY.] IANA FERGUSON “I’ve a show to put on.” [IANA HEADS TOWARDS THE STAGE.] CUT TO: - SC42. INT. DINING ROOM - BILLINGTON RESIDENCE - NIGHT - 1931 [COLE PACES THE ROOM. CECIL IS STOOD BY THE TABLE.] COLE JACOB BILLINGTON “Come on, Cecil. You don’t need to spend what small amount of money you have on worthless herbal remedies that will do you a load of squat. That stuff is worthless, and you know it.” CECIL SMITH “I don’t know anything of the sort, Cole.” COLE JACOB BILLINGTON “Come on Cecil, the shopkeeper is preying on your desperation. Please don’t waste your money. Honey, you know I think you are perfect just the way you are. Don’t do this to yourself.” CECIL SMITH “Cole, this is not about you, so don’t try to make it about you, alright?” COLE JACOB BILLINGTON “No, you’re right. This isn’t about me. It’s about your mother, and your flipping brother. If you hadn’t opened your doors, allowing them to live with you, this wouldn’t bother you so much. Never have I hated anyone so much, since my youth. Your brother is a real bastard, Cecil.” CECIL SMITH “We had a proper father once Cole. He died a hero in Europe.” COLE JACOB BILLINGTON “Yes, yes. That doesn’t change the fact that you’re in this state right now because of those two jerks; slamming home the biological reality on a daily basis. Georgia Smith is a guest in your home, and you’re covering her living expenses, the least she can do is be kind.” CECIL SMITH “She doesn’t think she’s being cruel Cole. She believes she’s doing her motherly duty to help me face reality. The only thing I’ve ever wanted in this life was to be a man. That’s the one thing I can never have.” [COLE MOVES UP CLOSE, WRAPPING HIS ARMS AROUND CECIL’S WAIST, STAGE WHISPERING IN HIS EAR.] COLE JACOB BILLINGTON “You already are a man Cecil, inside where it counts. Nothing your mother will ever say, can take that away from you. I love you Cecil; it hurts seeing how you allow your mother to torture you like this. This herbal remedy, it’s pure quackery. I don’t want to see you waste your money on a scam.” CECIL SMITH “You will never understand, Cole. I would never want you ever to have to understand. It get’s under your skin, this need to make the body match the man I am inside.” COLE JACOB BILLINGTON “Come on love, I think it’s time for my favourite comedy radio show to go to air any minute now. That should cheer you up, hopefully.” [COLE KISSES CECIL ON THE FOREHEAD, MOVING AWAY TO FIDDLE WITH THE RADIO SAT ON A CABINET ACROSS THE ROOM.] CUT TO: - SC43. EXT. ‘THE YELLOW ORCHID CHINESE HERBALIST’ SHOP - WEST PENDER STREET - CHINA TOWN - SUNRISE - 1931 [A BOARDED UP ABANDONED MARKET IS TO THE LEFT OF THE SHOP. ACROSS THE STREET, OFFICER DWAYNE GOODACRE AND OFFICER JAMES MCGILL ARE SAT IN AN UNMARKED SQUAD CAR. FROM THE DRIVER’S SEAT, DWAYNE OBSERVES CECIL APPROACH THE SHOP ENTRANCE. OFFICER DWAYNE GOODACRE “We’ve got movement out front.” OFFICER JAMES MCGILL “Let’s be on the move.” CUT TO: - SC44. INT. ‘THE YELLOW ORCHID CHINESE HERBALIST’ SHOP - DAY - 1931 [CECIL ENTERS THE SHOP.] CECIL SMITH “Mister Wu? Are you back there?” JERRY WU(O.O.V.) “Just a moment lad.” [JERRY WU STEPS THROUGH THE BEADED CURTAINS COVERING THE ENTRANCE TO THE BACK ROOM, CARRYING A LONG, NARROW, WRAPPED PACKAGE.] CECIL SMITH “How much do I owe you, Jerry?” [JERRY PLACES THE PACKAGE ON THE COUNTER.] JERRY WU “I’ll tell you what, lad. Since you do good work, working for the government, I think I’ll give you a ten percent discount. How does that sound?” [DWAYNE AND JAMES BURST THROUGH THE SHOP ENTRANCE, SERVICE REVOLVERS AT THE READY.] OFFICER JAMES MCGILL “You’re coming with us sir. It’s a woman.” OFFICER DWAYNE GOODACRE “I think you’re right, James. Come on Miss, we’re bringing you into police custody on suspicion of Opium trafficking, as well as violation of the dress code laws for this province.” OFFICER JAMES MCGILL “Tsk, tsk, you must have been in such a hurry to make your purchase this morning that you forgot about the required one item of female clothing loophole that would have allowed you to slide. Come on!” [JAMES GRABS CECIL ROUGHLY BY THE SHOULDER, FROG MARCHING HIM OUT THE DOOR.] CUT TO: - SC45. INT. FRONT PROCESSING AREA - EAST END POLICE CONSTABULARY - DAY - 1931 [JAMES GRIPS CECIL FIRMLY, LEADING HIM THROUGH THE ROOM FILLED WITH TWENTY CONSTABLES AND A FEW CROOKS. A RECEPTIONIST IS SAT BEHIND A GLASS DIVIDER. JAMES LEADS CECIL PAST THE RECEPTIONIST, INTO A HALL TO THE RIGHT.] CUT TO: - SC46. INT. WOMEN’S JAIL - EAST END POLICE CONSTABULARY - DAY - 1931 [JAMES ENTERS THE CELL BLOCK, SHOVING CECIL IN FRONT OF HIM.] OFFICER JAMES MCGILL “Get in here, freak! I don’t care if you do work for the government; I think people like you are the scum of the Earth. In you go, bitch!” [JAMES SHOVES CECIL IN THROUGH THE OPEN CELL DOOR OF THE CLOSEST CELL. CECIL TRIPS OVER THE METAL GROOVE IN THE FLOOR OF THE CELL DOOR OPENING.] OFFICER JAMES MCGILL "You need a good man to put you in your place, bitch! You'll get your phone call in a while." [JAMES SLAMS THE CELL DOOR IN CECIL’S FACE, SLAMMING THE BOLT INTO POSITION. JAMES WALKS AWAY WITH A MACHO SWAGGER.] OFFICER JAMES MCGILL "Fucking dyke." CECIL SMITH "I've got a man, sir; what a man he is." CUT TO: - SC47. INT. FRONT PROCESSING AREA - EAST END POLICE CONSTABULARY - DAY - 1931 [STOOD IN FRONT OF THE RECEPTIONIST BEHIND THE GLASS, COLE HAS HIS WALLET OUT. COLE HANDS THE RECEPTIONIST A BUNDLE OF BILLS.] COLE JACOB BILLINGTON “There you go, Miss.” [JAMES HEADS INTO THE CORRIDOR.] OFFICER JAMES MCGILL “Hey freak! Mister money bags is here to give you your freedom. Not that you deserve it, or anything.” CUT TO: - SC48. EXT. EAST END CONSTABULARY - MAIN STREET - DAY - 1931 [COLE AND CECIL EXIT THE BUILDING. COLE’S ARM IS DRAPED OVER CECIL‘S.] COLE JACOB BILLINGTON "Good God, Cecil. How could they do this to you? You're just a..." CECIL SMITH "I'm just a what, Cole; a woman? Nice to know where I stand in this relationship with you, isn't it? That's all I'll ever be to you, isn’t it? You'll never be able to see me as a man, will you Cole?" COLE JACOB BILLINGTON "No! Cecil, that wasn't what I was going to say at all. I was just going to say you're a tiny little thing. They had no right to rough you up like that, darling." CECIL SMITH "That's not making me feel any better, Cole." COLE JACOB BILLINGTON "I know. I know, Cecil." [CECIL SHOVES COLE AWAY IN FRUSTRATION.] CECIL SMITH "You don't know, Cole! How can you ever know? You're a man, a man who no one ever would dare accuse of being anything less. You don't know what it's like to wake up each morning, having to look down at the body you're in, to see a woman, wishing you could see a man." COLE JACOB BILLINGTON "What exactly were you aiming for in China Town Cecil?" CECIL SMITH “You know what I was looking for Cole. We’ve talked about it often enough.” COLE JACOB BILLINGTON “You were after that Herbal remedy, as an Androgen booster?” CECIL SMITH “You know it.” COLE JACOB BILLINGTON “Cecil, it won’t work. Not like that.” CECIL SMITH “I’m just about at the end of my rope, Cole. I don’t know how much more of this I can take. If you have any suggestions I can actually use, I’m all ears, toss them my way.” COLE JACOB BILLINGTON “Honey, it hurts me to see you suffering. I promise you, I’ll do my best to take your mind off what troubles you. Let your man Cole, take your troubles away.” [COLE KISSES CECIL GENTLY ON THE LIPS. CECIL PUSHES COLE GENTLY AWAY.] CECIL SMITH “I’ve got to go, Cole. We both do. I can’t go into the bureau looking like this. There’ll be too many questions. People will make assumptions; it’ll look bad on you.” COLE JACOB BILLINGTON “On me? Why would? Do you really think people think that poorly of me; I’d beat my partner?” CECIL SMITH “It’s not you, Cole. It’s the times we’re living in. It’s the way things are. Men beat their wives with impunity. I may not be your wife, nor see myself as a woman, but life is what it is.” COLE JACOB BILLINGTON “It’s not right, Cecil. It’s sick, the way the most vulnerable citizens of a sentient species are beaten into the dirt.” CECIL SMITH “It’s all right, Cole. The world is the way it is. There’s nothing we can do about it.” COLE JACOB BILLINGTON “There is Cecil, I promise you, the world will be different in the future. I’ve got to tell you, Humanity may have tried to wipe my father’s people from existence, at least they treated their women better.” CECIL SMITH “God Cole, that’s horrible! But you‘re forgetting one thing.” COLE JACOB BILLINGTON “I know, but it is what it is. What am I forgetting?” CECIL SMITH “That I’m not a woman.” COLE JACOB BILLINGTON “Right, of course not.” CECIL SMITH “Come on tough guy; let’s get out of here before the cops think of something else they can charge us with.” COLE JACOB BILLINGTON “Let them try.” CECIL SMITH “Cole, we don’t need this. Not now. Just take me home, okay?” COLE JACOB BILLINGTON “You’ve got it.” CUT TO: - SC49. INT. CPB LOUNGE - DAY - 1931 [TYSON IS STOOD BY THE TEA SERVICE. COLE ENTERS FROM THE CORRIDOR. CECIL ENTERS BEHIND COLE.] GENERAL TYSON MONTGOMERY “Cecil, what the blue blazes happened to you?” CECIL SMITH “I got in a fight, sir, with a constable.” GENERAL TYSON MONTGOMERY “You what?” COLE JACOB BILLINGTON “Don’t ask.” [TYSON PULLS CECIL ASIDE. COLE LOOKS THROUGH A NEWSPAPER.] GENERAL TYSON MONTGOMERY “Are you still feeling up to this evening’s festivities, Smith?” CECIL SMITH “It’s Cole’s Birthday, we’ll make it a good one.” GENERAL TYSON MONTGOMERY “You’re a good man. Billington, I’ve got a mission for you two.” COLE JACOB BILLINGTON “Oh? I do love me some missions. What’s the what?” CECIL SMITH “This should be interesting. What have you got for us, General?” GENERAL TYSON MONTGOMERY “There’s been word of some strange, glowing sea creature similar in appearance to an Irish Merrow, singing to fishermen, just off shore from the university. I want you two to go out in a boat, do a bit of off shore fishing for a few hours. Do a few circuits around the bay; see if you can’t scare up a sighting or two.” COLE JACOB BILLINGTON “How come this is the first I’m hearing this odd little tale?” GENERAL TYSON MONTGOMERY “That would be why I’m the general, and you’re merely the captain, Billington.” COLE JACOB BILLINGTON “I guess so, Montgomery.” CUT TO: - SC50. INT. ‘THE CPB SPARROW’ COMPANY CANOE\EXT. OFF SHORE THE ENDOWMENT LANDS - DAY - 1931 [COLE AND CECIL DANGLE FISHING LINES OFF THE SIDE OF THE CANOE.] COLE JACOB BILLINGTON “I don’t hear anything, do you Cecil?” CECIL SMITH “I don’t see anything either, Cole.” CUT TO: - SC51. INT. CPB LOUNGE - DAY - 1931 [CALVIN HELPS ROBERT ATTACH A BANNER TO THE CEILING ABOVE THE TABLE. THE BANNER STATES- ‘HAPPY BIRTHDAY COLE. MAY YOUR 121ST YEAR BE BETTER THAN YOUR 120TH’. GILLES PREPARES FRUIT PUNCH AT THE TABLE.] DETECTIVE CALVIN EDWARDS “Does that look alright, Robert?” ROBERT CHU “Pretty much.” CUT TO: - SC52. INT. ‘THE CPB SPARROW’ COMPANY CANOE\EXT. OFF SHORE THE ENDOWMENT LANDS - DAY - 1931 [COLE PULLS UP HIS FISHING LINE. A CUCUMBER FISH STRUGGLES TO FREE ITSELF.] COLE JACOB BILLINGTON “We can’t eat you.” [COLE TOSSES THE CUCUMBER FISH INTO THE WATER.] COLE JACOB BILLINGTON “I think we might as well head back to shore, Cecil. Whatever this creature is, he’s not being friendly today.” CECIL SMITH “That sounds about right.” CUT TO: - SC53. EXT. UBC CHEMISTRY BUILDING - DAY - 1931 [COLE AND CECIL WALK ACROSS THE LAWN TOWARDS THE ENTRANCE.] COLE JACOB BILLINGTON “I still want to know why I’ve never heard about this singing sea creature until today.” CECIL SMITH “I’m sure you’ll get your answer eventually Cole.” CUT TO: - SC54. INT. CPB LOUNGE - DAY - 1931 [CECIL ENTERS FROM THE CORRIDOR, SWITCHING ON THE LIGHT SWITCH. TYSON, ROBERT, CALVIN AND GILLES JUMP FROM THEIR HIDING PLACES AS COLE ENTERS.] GENERAL TYSON MONTGOMERY\ ROBERT CHU\ DETECTIVE CALVIN EDWARDS\ DOCTOR GILLES FONTAINE (IN UNISON) "Surprise!" COLE JACOB BILLINGTON "You guys did all this for me? You remembered my birthday?" CECIL SMITH “Happy birthday Cole. There was no sea creature. It was a ruse.” GENERAL TYSON MONTGOMERY “There may be something out there after all. Most likely not an Irish Merrow however.” [COLE GOES TO THE TABLE, PICKING UP A GLASS OF FRUIT PUNCH.] COLE JACOB BILLINGTON "Where's that cake I smell?" CUT TO: - SC55. INT. SMITH RESIDENCE - GAS TOWN - DAY -1935 [MARK SMITH IS STOOD IN THE ENTRANCE TO THE SECOND FLOOR APARTMENT. COLE IS SAT, ARM WRAPPED AROUND CECIL ON A GREEN COUCH IN THE CORNER OF THE SITTING ROOM.] MARK SMITH “What are we going to do?” COLE JACOB BILLINGTON “Would you like me to arrange the funeral?” CECIL SMITH “That would be nice, love.” [COLE AND CECIL KISS. COLE GETS TO HIS FEET.] COLE JACOB BILLINGTON “I’ve got to go to work. If you could get me the list of details for the funeral that would be Jim Dandy.” CUT TO: - SC56. EXT. THE EAST VANCOUVER CEMETERY - DAY - 1935 [IFAN IS STOOD WITH CORA BEHIND A TREE. IN THE DISTANCE WE SEE REVEREND BROADBENT STOOD OVER GEORGIA SMITH’S OPEN GRAVESITE FROM IFAN’S POV.: WE SEE THE REVEREND RECITE FUNERAL RITES, BUT WE DON’T HEAR IT. COLE IS STOOD NEXT TO CECIL, GRIPPING HIS HAND FIRMLY. MARK AND MEREDITH ARE STOOD NEXT TO CECIL. WE’RE UNDER THE TREE WITH IFAN AND CORA. DROPLETS OF RAIN TRICKLE DOWN AROUND THEM. AT THE GRAVESIDE COLE WRAPS AN ARM ABOUT CECIL’S WAIST, PULLING HIM CLOSE. A FALLEN GOD BOMBER MATERIALIZES NEAR THE TREE. JOLENE BRINOVICH MATERIALIZES ON TOP OF THE BOMBER, KNOCKING THE MAN TO THE GROUND. JOLENE INJECTS A HYPODERMIC NEEDLE INTO THE BOMBER’S LEFT SHOULDER. THE BOMBER FALLS UNCONSCIOUS.] IFAN FENCIS “Good work Jolene. Take him back to the base.” [JOLENE AND THE BOMBER DEMATERIALIZE.] CORA FENCIS “If they’re going after Cecil now, should we worry about Horatio?” IFAN FENCIS “The Commonwealth Network was a precursor to our organization so I believe we should send a surveillance team to our families in Llandaff. The lifetime we were given Queen Anne’s royal charter. That’s where it all began. You’ve hit the big leagues girl, you’re a player now.” [WE’RE AT THE GRAVESIDE NOW. EARTH IS TOSSED ATOP THE COFFIN. UNDER THE TREE, IFAN AND CORA DEMATERIALIZE. COLE AND CECIL WALK PAST TYSON, STOOD WITH MARK AND MEREDITH. COLE AND CECIL REACH THE TREE. COLE KISSES CECIL ON THE FOREHEAD, PLAYING WITH HIS BANGS.] COLE JACOB BILLINGTON “Come on, I’ve got a surprise for you.” [CECIL LOOKS TOWARDS THE GRAVE SITE. THE COFFIN IS NOW NEARLY COVERED IN WET EARTH.] CECIL SMITH “Will I like it?” [COLE RUNS A FINGER DOWN CECIL’S ARM.] COLE JACOB BILLINGTON “I hope so, Cecil.” [TAKING ONE MORE LOOK BACK TOWARDS HIS MOTHER’S GRAVE; CECIL TAKES COLE’S PROFFERED HAND.] CECIL SMITH “Alright, carry on, McDuff.” [WE SEE A STUDEBAKER, PRE- 1928 SAT IN THE FAR CORNER OF THE PARKING LOT.] COLE JACOB BILLINGTON “Remember our first mission, out at English Bay?” [COLE OPENS THE FRONT PASSENGER SIDE DOOR OF THE VEHICLE FOR CECIL. CECIL GETS INTO THE VEHICLE.] CECIL SMITH “Of course, how could I forget that poor sod.” CUT TO: - SC57. INT. STUDEBAKER - DAY - 1935 [COLE PLACES THE KEY IN THE IGNITION.] COLE JACOB BILLINGTON “I’ve placed a down payment on one of the cottages out there. I’d like you to share it with me, Cecil. What do you say; will you move in with me? This place is huge, Cecil. It’s got three bedrooms upstairs. The first floor has a fully equipped stainless steel kitchen, and an old fashioned sitting room. You’ll love it. It’s amazing.” CECIL SMITH “It sounds great, Cole.” COLE JACOB BILLINGTON “It will be.” CUT TO: - SC58. EXT. COTTAGE AT ENGLISH BAY - DAY - 1935 [COLE PULLS HIS VEHICLE INTO THE DRIVE OF THE LARGE STONE AND WOOD THATCHED COTTAGE. ACROSS THE ROAD, THE TIDE IS AT ITS LOWEST MARK OF THE DAY. A PAIR OF CENTURY OLD TREES ARE SET TO THE SIDE OF THE DRIVEWAY IN FRONT OF THE COTTAGE. THE FRONT LAWN IS FRESHLY MOWN. CECIL STEPS FROM THE VEHICLE.] CECIL SMITH “Wow! You’re right, Cole. It really is beautiful.” COLE JACOB BILLINGTON “Glad you like it Cecil. Come on; wait until you see the interior.” [TAKING CECIL’S HAND, COLE LEADS HIM UP THE FRONT WALK. WE SEE THE SEASONS CHANGE BEFORE OUR EYES. CECIL IS SAT ON A LARGE ROCK AT THE TOP OF THE BEACH ACROSS FROM THE COTTAGE. THE TIDE IS LOW. CECIL IS ENGROSSED IN A MYSTERY NOVEL. COLE IS STOOD A FEW FEET AWAY, JUGGLING A PAIR OF SAND DOLLARS. RUSSELL, A JACK RUSSELL TERRIER BOUNDS PAST COLE, CAUSING HIM TO DROP A SAND DOLLAR ONTO THE SAND. WE SEE THE TREES LINING THE ROAD TURN FROM GREEN TO SHADES OF BRILLIANT ORANGE, RED AND YELLOW. THE SEA IS AT HIGH TIDE. WAVES SLAP AGAINST ALGAE STREWN ROCKS.] CUT TO: - SC59. INT. BILLINGTON\SMITH RESIDENCE - DAY - 1939 [COLE ENTERS THE COTTAGE. IN THE SITTING ROOM OFF THE FOYER, CECIL IS SAT IN A CHAIR IN THE CORNER. CECIL’S BEEN CRYING.] COLE JACOB BILLINGTON “Russell! Here Russell, Russell! Come here boy.” RUSSELL RUNS TO GREET COLE, YIPPING. COLE SCRATCHES RUSSELL BEHIND THE EARS.] COLE JACOB BILLINGTON “You’re a good boy, aren’t you, puppy? Yes you are.” [COLE STICKS HIS HEAD INTO THE SITTING ROOM.] COLE JACOB BILLINGTON “Cecil? Would you like to talk? I’m here for you, you know, love. Darling, what’s wrong? I want to help you, if you’ll let me.” [RUSSELL BREAKS THROUGH THE SPACE BETWEEN COLE’S LEGS, TRAMPLING OVER HIS BOOTS, NEARLY CAUSING COLE TO TOPPLE OVER BACKWARDS.] COLE JACOB BILLINGTON “Russell! You almost knocked me over. Like a feather.” CECIL SMITH “You’re hardly a feather, Cole.” COLE JACOB BILLINGTON “Oh, thanks. Are you going to tell me what’s wrong, or am I going to have to play twenty questions to get it out of you?” CECIL SMITH “I’ve gotten orders to take up a new post in Ottawa.” COLE JACOB BILLINGTON “What?” CECIL SMITH “They’re transferring me to the Holding Facility over there. They need someone with my skills to work with residents speaking neo planetary languages. You know, there’s individuals from fifteen thousand years up the timeline over there?” COLE JACOB BILLINGTON “Can you turn them down?” CECIL SMITH “I already tried. It’s either this, or I’m out of a job.” COLE JACOB BILLINGTON “Those bastards! I’ll come with you.” CECIL SMITH “Really Cole, you’d do that?” COLE JACOB BILLINGTON “Of course Cecil, I love you. I’m not about to lose you now after eleven years. We’ll make a go of it in Ottawa. It’ll be great. You’ll see.” CECIL SMITH “You know Cole, this could be a good thing. Once I’ve worked out of Ottawa for a few years, I could get a referral to London’s Time Line Investigation Unit. I hear they’re doing amazing things over there. They’ve mapped the planet’s languages for the next one hundred thousand years. Of course, that’s assuming the Germans don’t garner a foothold on the British Isles and the mouse scares the elephant off.” COLE JACOB BILLINGTON “Don’t worry; Hitler’s minions will scurry home with their tails between their legs eventually. I’d wait another decade before heading across the pond permanently though, if I were you.” CECIL SMITH “Thing is Cole, that’s the time line you came from. What if this is a world where the allies lose?” COLE JACOB BILLINGTON “It’ll be okay Cecil. Everything will turn out for the best.” CUT TO: - SC60. EXT. UBC CAMPUS FIELDS - DAY - 1939 [CECIL IS STOOD ON A ROADWAY, OBSERVING YOUNG MEN TRAINING FOR THE FIELD OF BATTLE. COLE APPROACHES CECIL.] COLE JACOB BILLINGTON “The Premiere’s acting completely irrational Cecil.” CECIL SMITH “No transfer to Ottawa for you then?” COLE JACOB BILLINGTON “No discharge from service either. I’m an alien from the future, I might decide to sell my off world, future knowledge to the Nazis for the cash.” CECIL SMITH “They really don’t know you at all, do they Cole?” COLE JACOB BILLINGTON “Its not about the money; its what you do with it. Those with the greatest wealth have the greatest responsibility to give back to the community. Plus, considering what happened to my own people, why would I help propagate that onto other groups?” CECIL SMITH “They don’t trust you.” COLE JACOB BILLINGTON “They’re just scared.” CUT TO: - SC61. INT. BARLEY’S PUB - NIGHT - GAS TOWN - 1939 [COLE IS SAT WITH CECIL AT A TABLE IN THE CORNER BY A WINDOW LOOKING OUT ONTO WATER STREET. COLE AND CECIL ARE BOTH DRINKING BAILEYS. COLE HOLDS HIS GLASS UP TO CECIL’S.] COLE JACOB BILLINGTON “To Geraint Smith, he goes to the Angel’s tonight.” CECIL SMITH “To Geraint Smith.” [CECIL CLINKS HIS GLASS AGAINST COLE’S. CECIL TAKES A SIP.] CUT TO: - SC62. EXT. BILLINGTON\SMITH RESIDENCE - DAY - 1939 [COLE AND CECIL ARE SAT ON A BLANKET ON THE LAWN. A PICNIC BASKET IS SET BEFORE THEM. COLE FEEDS CECIL A BLACKBERRY.] CUT TO: - SC63. EXT. CANADIAN PACIFIC TRAIN STATION - DAY - VANCOUVER - 1939 [COLE IS STOOD WATCHING CECIL’S TRAIN PULL AWAY FROM THE STATION. CECIL IS STOOD AT A WINDOW, STARING AT COLE, EYES BRIMMED WITH TEARS. COLE WATCHES CECIL GET FURTHER AND FURTHER AWAY.] END OF EPISODE.