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By Cole J. Davis

GENRE: Animation, Crime, Drama, Fantasy, Horror, Sci-fi, Thriller, War
LOGLINE: Immortality has many guises.


The three worlds of matter, mind and spirit align in matters both divine and monstrous. 'Nos Galan Gaeaf- complete teleplay' on Wattpad!


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. EXT. BURRARD INLET - NIGHT - COAL HARBOUR - 1913 [BRAD AND DAVID REILLY, 19; TOSS A BALL BACK AND FORTH IN FRONT OF THE SHORE. A TINY APERTURE IN THE AIR BEHIND DAVID [OPENS. A CRACK OF BLACK SPACE DISSOLVES THE MATTER IN THE AIR. A CLOUD OF GREY VAPOUR POURS OUT OF THE APERTURE. THE VAPOUR HOVERS BEHIND DAVID, A SENSE OF INTELLIGENCE CHOOSING ITS NEXT MOVE. THE APERTURE SLITHERS SHUT. THE VAPOUR SLIDES INTO DAVID’S SHADOW.] CUT TO: - SC9. 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: - SC10. INT. DIVE BAR - DAY - HISTORIC GAS TOWN - 2014 [THE WALLS ARE PLASTERED WITH OLD POSTERS FOR CABARET ACTS. A NOTICE BOARD ANNOUNCES THE THURSDAY EVENING WEEKLY TRANSGENDER SUPPORT GROUP AT THE THREE BRIDGES MEDICAL CLINIC. JASON BOWEN ENTERS. JASON HEADS TO THE BAR. THE BARTENDER LOOKS AT JASON.] BARTENDER “What can I get you sir?” [JASON TAKES A SEAT AT THE BAR.] JASON BOWEN “Give me a light Mint Pina Colada, with a lemon wedge.” BARTENDER “You’ve got it! That’ll be one light Mint Pina Colada with a lemon wedge coming up; I’ll have that ready for you in one moment sir.” [THE BARTENDER RETURNS WITH JASON’S DRINK.] BARTENDER “Here you go sir; if there’s anything else you need, anything at all, I’ll be happy to provide it.” JASON BOWEN “Right.” [JASON GAZES AROUND THE PUB. TWO MEN KISS IN A FAR CORNER.] MIKE(O.O.V.) “Jackie baby, nice to see you, sexy girl.” [JASON TURNS. THE POV. BLURS, AS SEEN THROUGH JASON’S ALCOHOL DULLED SENSES. COMING TOWARDS JASON IS MIKE, A SLIM BUT MUSCULAR; TATTOOED MAN OF AVERAGE HEIGHT. AROUND THIRTY, MIKE’S HEAD IS SHAVEN.] JASON BOWEN “How’s it going Mike?” [MIKE TAKES A SEAT NEXT TO JASON.] MIKE “Are you working baby girl? I thought maybe the two of us could have us a bit of mid morning fun, are you up for it?” [MIKE PLACES A FRIENDLY HAND ON JASON’S LEFT BICEP. [JASON CAREFULLY REMOVES MIKE’S HAND FROM HIS SHOULDER.] JASON BOWEN “I’m going to have to take a rain check on that offer for the time being Mike. I’m moving up in the world, I’m on the fast track to a better life.” MIKE “How drunk are you Jacquelyn?” JASON BOWEN “Less than you’d think.” [LAUGHING, MIKE GETS TO HIS FEET.] MIKE “It was good seeing you Jacquelyn, perhaps another time eh?” [MIKE HEADS TOWARDS THE BACK OF THE PUB. A POOL TABLE IS SET UP. WE SEE MIKE IN THE CORNER, PLAYING POOL. MIKE’S FRIENDS CONSIST OF TWO BIKER CHICKS AND THEIR BEARDED, TOUGH GUY BOYFRIENDS. A GROUP OF INDO-CANADIAN AND SOUTH EAST ASIAN MEN AND WOMEN IN THEIR TWENTIES ENTER. THE GROUP SIT THEMSELVES DOWN IN FRONT OF THE FAR END OF THE BAR. ACROSS THE ROOM; NARISSE, A JAPANESE WAITRESS SCRUBS DOWN A TABLE. JASON TAKES A LARGE GULP FROM HIS DRINK. JASON WALKS TO NARISSE’S SIDE.] JASON BOWEN “Hey there sweet thing, I’m Jason.” [JASON GIVES NARISSE A WINK. NARISSE CONTINUES TO WASH DOWN THE TABLE.] NARISSE “I’m Narisse, and I’m working.” JASON BOWEN “Sorry.” [HEADING BACK TO THE BAR, JASON TAKES A SEAT. JASON LOOKS BACK AT NARISSE. NARISSE MOVES ON TO THE NEXT EMPTY TABLE. A SHOUT COMES FROM THE END OF THE BAR. THE GROUP AT THE END OF THE BAR CHUG SHOTS OF SCOTCH.] THE GROUP(IN UNISON) “Chug, chug, chug, yes!” [JASON TURNS TO WATCH THE GROUP.] MAN “Now you go.” [A MAN HANDS A HALF FULL SHOT GLASS TO A WOMAN. TAKING THE GLASS IN HAND, THE WOMAN DOWNS ITS CONTENTS IN ONE GO.] WOMAN “Wooo!” [STEPPING AWAY FROM THE BAR; JASON GLANCES TOWARDS NARISSE. WALKING PAST THE GROUP DOWNING SHOTS; JASON EXITS.] CUT TO: - SC11. 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: - SC12. EXT. WEST PENDER STREET - DAY - 2014 [JASON HEADS EAST, THROUGH THE HEART OF CHINA TOWN. HOOLIGAN(O.O.V.) “Faggot!” [JASON SPINS IN SHOCK, ANGER AND FEAR. JASON FINDS HIMSELF ABRUPTLY DRENCHED IN ROOT BEER. THE OPEN CAN OF ROOT BEER HITS JASON ON THE SIDE OF HIS HEAD. THE CAN BOUNCES OFF JASON’S SHOULDER. A CAR FULL OF HOOLIGANS BACKS UP ALONGSIDE JASON. THE CAN HIT’S THE PAVEMENT. THE CAN BOUNCES UPWARDS BEFORE REACHING A COMPLETE STOP NEXT TO JASON’S SHOE. ONE OF THE YOUTHS IN THE BACK SEAT OF THE VEHICLE, EIGHTEEN OR NINETEEN; WHISTLES.] HOOLIGAN TWO “That’s going to leave a bruise.” [POUTING AT THE CONTINUING CATCALLS, JASON WAITS FOR THE ASSAILANTS TO GROW BORED OF THE GAME. THE VEHICLE SPEEDS OFF A BEAT LATER.] JASON BOWEN “Little fuckers, God!” [WALKING PAST THE SODA CAN, JASON PAUSES. KICKING OUT HARD WITH ONE LEG, JASON SENDS THE EMPTY CAN ROLLING DOWN THE STREET. REBOUNDING OFF THE TIRE OF A PARKED POLICE CRUISER; THE CAN COMES TO A SUDDEN STOP. GIGGLING NERVOUSLY, JASON PLACES A HAND OVER HIS MOUTH.] JASON BOWEN “Oops!” CUT TO: - SC13. 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 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. HERE DAVID LIES, UNSEEING IN DEATH. BLOOD POURS OUT FROM BENEATH DAVID’S HEAD.] COLE JACOB BILLINGTON “No!” [VAPOUR FLOWS FROM 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. 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.] COLE JACOB BILLINGTON "This can't be good." CUT TO: - SC14. EXT. BOWEN RESIDENCE - UNION STREET - DAY - 2014 [SOPPING WET AND STICKY; SODA PLASTERED TO HIS HAIR; JASON WALKS DOWN THE STREET, HEADING TOWARDS HIS HOME. JASON SWATS A FLYING BUG AWAY FROM HIS FACE. JASON WARILY WATCHES A BEE FLY OVER HIS HEAD.] JASON BOWEN “Get out of here, nasty.” [JASON REACHES THE FRONT ENTRANCE TO HIS HOME.] CUT TO: - SC15. INT. STEAM WORKS BREWERY PUB - TWILIGHT - 2014 [JACQUELYN BOWEN IS SAT AT THE BAR. A SPOTLIGHT SHINES ON JACQUELYN. THE BACKGROUND RECEDES INTO DARKNESS. THIS IS OCCURRING INSIDE JASON’S HEAD. JASON STROLLS UP TO JACQUELYN’S SIDE. OTHER THAN THE TWO OF THEM, THE BAR IS EMPTY.] JASON BOWEN “There you are. You’re a hard woman to get a hold of these days Jacquelyn, when you want to be.” [JACQUELYN PEERS DOWN AT THE BLACK MARBLE FLOOR SURROUNDING THE BAR STOOL SHE’S SAT ON. THE FLOOR IS STREWN WITH PEANUTS. JACQUELYN TAKES OUT A CIGARETTE. JACQUELYN LIGHTS THE CIGARETTE. JACQUELYN TAKES A LONG DRAG FROM THE CIGARETTE.] JASON BOWEN “Do you have to do that, Jacquelyn? It’s right nasty.” JACQUELYN BOWEN “Don’t you worry your pretty little head over what I do on the mental plane, sweet heart. Remember this, If I keep it in here, no harm’s being done to the body, yeah?” JASON BOWEN “Jacquelyn we need to talk, man to woman.” JACQUELYN BOWEN “Go on boy, spit it out.” JASON BOWEN “Honey, why do you insist on putting yourself and us through this; when will you stop punishing yourself? Jacquelyn, it wasn’t your fault what happened to you in lockup; you’re not going to cease to exist if you stop being a plaything to horny men. This isn’t all you’re good for; we’ll find something else for you to do. You just need to be patient and work with the rest of us in here, and not act like you‘re all on your own.” JACQUELYN BOWEN “You’re right, it wasn’t my fault. It wasn’t my fault at all, it was yours Jason.” JASON BOWEN “What?” JACQUELYN BOWEN “It was your criminal acts that led to us being locked up. If it weren’t for you Jason, none of this would have happened.” JASON BOWEN “No.” JACQUELYN BOWEN “Yes! It’s all on you Jason. You were the boy who could never get enough, the boy who wanted it all, anyway he could; until he was finally stopped; until the courts had enough. Society may be willing to forgive your past misdeeds Jason, but I’m not done punishing you for what I had to go through. I won’t be done for a long while yet, a real long while.” JASON BOWEN “No.” JACQUELYN BOWEN “Yes! Why do you think I occasionally shove you out front when I’ve been in the midst of entertaining a client, eh? It’s always you Jason my boy, I never do that to anyone else in here, just you. Do you ever wonder why?” JASON BOWEN “You really hate me, don’t you Jacquelyn?” JACQUELYN BOWEN “Yep.” JASON BOWEN “Be that as it may, are you on board with the plan or not, Jacquelyn?” JACQUELYN BOWEN “Considering the amount of money we’ll be bringing in through this gig, I fully support this venture.” JASON BOWEN “Is that all you ever care about Jacquelyn, money?” JACQUELYN BOWEN “Don’t you worry yourself about my reasons, boy. All you need to know is that I’ll be a good little woman, and I’ll behave myself. I‘ve got it all in hand.” [JASON GLANCES TOWARDS THE ROWS OF WINE BOTTLES LINING THE BACK SHELF OF THE BAR.] JACQUELYN BOWEN “Sit down and take a load off, have a drink or two. Or ten.” JASON BOWEN “It’s been nice talking to you, Jacquelyn.” JACQUELYN BOWEN “Are you going to cry now Jason; do you want your mommy? Come on!” JASON BOWEN “Good bye Jacquelyn, I’ve got better things to do than stand here and listen to this.” JACQUELYN BOWEN “Sure you do Jason; you are such a waste of space.” CUT TO: - SC16. INT. KITCHEN - BOWEN RESIDENCE - DAY - 2014 [JASON IS STOOD IN THE CENTRE OF HIS LARGE, MAHOGANY FLOORED KITCHEN. BEHIND JASON, A SCREEN DOOR LEADS OUT ONTO THE FRONT PORCH. TO JASON’S LEFT, A KITCHEN ISLAND HAS ROWS OF MAHOGANY CUPBOARDS ALONG BOTH SIDES. AN IVORY COUNTERTOP IS SET ABOVE THEM. ALONG THE WALL BY THE DOOR, A SINK IS SET BELOW A WINDOW. ALONG THE FAR WALL IS SET A STOVE. IN FRONT OF JASON, ACROSS THE ROOM IS THE FRIDGE. TO JASON’S LEFT, BEYOND THE KITCHEN LIES A HALL LEADING TOWARDS HIS MASTER BEDROOM AND EN-SUITE WASHROOM. TO JASON’S RIGHT LIES THE ENTRANCE TO THE LIVING ROOM.] CUT TO: - SC17. INT. LIVING ROOM - BOWEN RESIDENCE - DAY - 2014 [ENTERING THE LIVING ROOM, JASON GRABS THE TV REMOTE FROM THE ARM OF THE COUCH. TOWARDS JASON’S RIGHT, ANOTHER FRONT ENTRANCE LEADS OUT ONTO THE YARD. A FEW LOW BOOKCASES ARE SET ALONG THE WALLS OF THE ROOM. THESE ARE STACKED WITH BOOKS ON VARIOUS SUBJECTS. A BOOKCASE IS SET BENEATH A SMALL WINDOW TO THE RIGHT SIDE OF THE DOOR. JASON SWITCHES ON THE BIG SCREEN TV. CBC RUNS THE LOCAL FIVE O’CLOCK NEWS. A FEMALE NEWS ANCHOR IS SAT BEHIND THE NEWS DESK. IN THE TOP, LEFT CORNER OF THE SCREEN, AN IMAGE OF COLE’S PAINTING OF THE CARNEGIE COMMUNITY CENTRE IS SHOWN IN A SQUARE.] FEMALE NEWS ANCHOR “Local artist Cole Billington has had four charity paintings stolen from a Cardiff gallery. Cardiff police are working with the local RCMP to recover the stolen items. If you have any information concerning the missing paintings please contact the Vancouver area RCMP. Alternately, if you are interested in purchasing one of these sixteen paintings, for which all proceeds go to the Severn Estuary Conservation Fund, the information is made available on the gallery’s website. We’ll have that address up on the screen after we return from the break.” [JASON LIES DOWN ON THE WHITE, FAUX LEATHER COUCH SET AGAINST THE LIGHT BLUE WALL. JASON PLACES A HAND ATOP HIS FOREHEAD, HEAD ACHING. SITTING UP, JASON GRABS THE REMOTE. JASON SWITCHES THE CHANNEL TO ‘SPACE‘. THE CHANNEL RUNS AN EPISODE OF ‘IRISH SKIES’.] CUT TO: - SC18. 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.] REGINALD DESMOIRE(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.] REGINALD DESMOIRE(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.] REGINALD DESMOIRE(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.] REGINALD DESMOIRE(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.] REGINALD DESMOIRE(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: - SC19. 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: - SC20. 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: SC21. 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: - SC22. 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 - SC23. 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: - SC24. 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: - SC25. 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: - SC26. 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: - SC27. 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: - SC28. INT. JASON’S BATHROOM - NIGHT - 2014 [JASON IS STOOD BENEATH THE RUNNING WATER OF THE SHOWER. WE SEE JASON FROM THE WAIST UP.] CUT TO: - SC29. INT. CAVE - DAY - GIANT’S CAUSEWAY - 2014 [WE’RE INSIDE JASON’S MIND. FROM INSIDE THE CAVE WE SEE A STRETCH OF PRIVATE BEACH ALONG GIANT‘S CAUSEWAY. JAMES, A GREEN SKINNED MORUADT IS STOOD BY THE WATER’S EDGE. JAMES STANDS SENTINEL LIKE, WARDING OFF INTRUDERS FROM JASON’S REALM. A FEW SMALL ISLANDS DOT THE HORIZON. OVER THE WATER, THREE BLACK, SPECTRES HOVERING MENACINGLY IN THE AIR. IN THE CAVE, A RIVER RUNS THROUGH THE CENTRE. ON GIANT’S CAUSEWAY, A NARROW TIDAL DITCH LEADS FROM THE SHORELINE TO THE CAVE OPENING. INSIDE THE CAVE, LUKE BOWEN WANDERS TOWARDS THE EDGE OF THE RIVER. BOE BOWEN IS SAT ON THE GROUND, BACK AGAINST THE BLACK GRANITE CAVE WALL. BOE STARES OFF INTO SPACE, CONSCIOUSNESS SOMEWHERE ELSE.] LUKE BOWEN “How are you doing, buddy?” [CHARLES BOWEN STROLLS UP TO LUKE AND BOE. CHARLES IS CLAD IN A BLACK WW2 ERA RAF JUMP SUIT.] CHARLES BOWEN “That was some interesting night we had, wasn’t it alchie?” [LUKE PEERS DOWN AT THE GRANITE GROUND, LOOKING VULNERABLE.] LUKE BOWEN “Don’t call me an alchie, Charles. CHARLES BOWEN “Why not, that’s what you are, aren’t you Luke?” [LUKE SHOVES CHARLES OUT OF HIS PERSONAL SPACE.] LUKE BOWEN “Get out of here! Why don’t you go back to playing hero of the air in war time Britain? How are you even here anyway?” CHARLES BOWEN “The time line is a mysterious thing, my hurting friend. Come on buddy, you’re smart enough to figure this one out. In the grand scheme of things, there is no such thing as time. It’s an elaborate illusion cooked up by the universe to allow us to experience each moment as an individual spark in the particle soup of our life.” [JASON WANDERS UP TO LUKE, CHARLES AND BOE.] JASON BOWEN “What are you on about now?” [CHARLES SPINS AROUND TO FACE JASON.] CHARLES BOWEN “It’s all in how you play the game of life Jason. You’ve got to know the rules before you can play with the big boys. One day you’ll understand.” JASON BOWEN “Let’s get him!” [JASON AND LUKE MOVE TO GRAB CHARLES. CHARLES FLEES DOWN THE DARK CAVERN. JASON AND LUKE CHASE AFTER CHARLES. JASON AND LUKE’S SHOES SLAM AGAINST THE HARD GRANITE WITH EACH LONG STRIDE. LUKE PANTS HARD THROUGH HIS WORDS.] LUKE BOWEN “Oh, this is fun.” [CHARLES IS WAY AHEAD OF LUKE AND JASON. CHARLES WEAVES IN AND OUT OF THE NARROW LEDGE BETWEEN THE GRANITE WALL AND THE UNDERGROUND RIVER WINDING ITS WAY THROUGH THE CAVERN. LOOKING BACK FOR A BEAT, CHARLES SLOWS DOWN A FRACTION.] CHARLES BOWEN “You guys, come on now.” LUKE BOWEN “Come on! We’re going to get you Charles!” CUT TO: - SC30. EXT. HYDE PARK - DAY - LONDON - 2014 [BIRDS CHIRP. SPECKLED MOTHS FLIT ABOUT THE TREES. SQUIRRELS RUN UP AND DOWN THESE SAME TREES. THE SUN REFLECTS OFF THE SERPENTINE LAKE. A FAMILY OF DUCKS SWIM PAST. THE SKYSCRAPERS OF MIDTOWN LONDON ARE OUTLINED ACROSS THE FAR HORIZON. CHARLES RUSHES INTO THE CLEARING. LUKE AND JASON ARE HOT ON CHARLES’ TRAIL. LUKE AND JASON TACKLE CHARLES TO THE GROUND.] LUKE BOWEN “We’ve got you!” CHARLES BOWEN “Well, you’ve got me. You two must be so proud.” [CHARLES ROLLS OUT FROM BENEATH LUKE’S GRIP. CHARLES JUMPS TO HIS FEET. CHARLES BRUSHES WET GRASS AND OTHER WOODLAND GRIT FROM HIS CLOTHING. CHARLES TURNS TO FACE THE LONDON SKYLINE. CHARLES HOLDS HIS HANDS OUT IN A CRANE- LIKE MOTION.] CHARLES BOWEN “Good ol’ London Town, Môn dieu!” CUT TO: - SC31. 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: - SC32. 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: - SC33. INT. ARCHIVE LAB - CARDIFF UNIVERSITY RESEARCH VESSEL - DAY - CARDIFF BAY HARBOUR - 2014 [CECIL SMITH IS STOOD BEFORE A TABLE OF ARTIFACTS PLACED INSIDE A SERIES OF TRANSPARENT, PLASTIC CONTAINERS. THE ARTIFACTS HAVE BEEN RETRIEVED FROM THE GERMAN SUBMARINE AT THE BOTTOM OF THE HARBOUR. COMPUTERS RUNNING TRANSLATION PROGRAMS AND OCEANOGRAPHIC SENSOR ARRAYS LINE THE WALL TO CECIL’S LEFT. CECIL EXAMINES A LEATHER ORDER BOOK FILLED WITH GERMAN WRITING. DOCTOR MAGGIE CAMPBELL ENTERS THE LAB. MAGGIE CARRIES A BOX OF WET ITEMS FROM THE SUB. MID THIRTIES, MAGGIE IS THE CHIEF MARINE ARCHAEOLOGIST IN CHARGE OF STUDYING THE SUB. MAGGIE PLACES THE BOX ON A NEARBY TABLE.] DOCTOR MAGGIE CAMPBELL “Was I right in thinking there were several high ranking S.S. Officials on board the sub when it went down Cecil?” CECIL SMITH “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.” CECIL SMITH “That would make more sense.” CUT TO: - SC34. 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: - SC35. 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: - SC36. 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: - SC37. 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: - SC38. 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: - SC39. 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: - SC40. 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: - SC41. EXT. CU FRONT DIVE DECK - RESEARCH VESSEL\ CARDIFF BAY HARBOUR - DAY - 2014 [CECIL WALKS TOWARDS THE DIVE DECK OF THE VESSEL. CECIL CARRIES THE ORDER BOOK TOWARDS THREE DIVERS SAT IN FOLD OUT DECK CHAIRS. THE MEN WEAR BLACK WET SUITS.] DIVER ONE “Have you figured out the secret war plans that book discusses, Cecil?” CECIL SMITH “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.” DIVER ONE “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.” CECIL SMITH “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. You ever read my partner’s books? Cole’s got an alien species with a lifespan of five hundred years, due to historical genetic modification to the telomeres. They don’t come back from the dead, though.” DIVER TWO “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 here?” CECIL SMITH “I’m still translating and decoding the book, so the answer may still be in here yet.” DIVER THREE “Good luck!” [CECIL WANDERS BACK TOWARDS THE LAB.] CUT TO: - SC42. 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: - SC43. 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: - SC44. 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: - SC45. INT. JONATHAN’S HOSPITAL ROOM - DAY - 1913 [JONATHAN AETHERS IS LAIN PRONE IN HIS BED, COMATOSE.] CUT TO: - SC46. 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: - SC47. 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: - SC48. 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: - SC49. 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.] CUT TO: - SC50. EXT. FENCIS RESIDENCE - NIGHT - VANCOUVER - 5080 [IFAN IS STOOD ON A DOCK. THE SEA IS CALM. BEHIND IFAN IS THE COTTAGE HE SHARES WITH CORA. THIS NEIGHBOURHOOD WAS LONG AGO KNOWN AS THE EAST END. IT IS NOW NO LONGER THE DOMAIN OF DEALERS AND PIMPS. THE AIR IN FRONT OF IFAN FORMS MUSICAL SYMBOLS. THE SYMBOLS FORM A VERTICAL ROW OF NAMES. FROM TOP TO BOTTOM THESE ARE- MELCHIZEDEK NOAH ENOCH SOLON MERLIN LLUDD LLAW ERAINT THEN THE WORDS- ‘EMERGENCY MONAD UNIFICATION PROCEDURE RECOMMENDED’ APPEAR. IFAN TAPS HIS E-READER.] CUT TO: - SC51. INT. INFINITY PRISON NIGHT - DARK NEBULA - 2600 B.C.E. [SPRING HEEL JACK IS STOOD ON A MARBLE PEDESTAL, QUANTUM LOCKED IN PLACE. MID THIRTIES, JACK IS AUSTRALIAN ABORIGINE. JACK’S FACE IS COVERED IN A METAL VISOR. CORRIDORS LEAD OUT FROM THE PEDESTAL IN A FORMATION OF A STAR OF DAVID. IN THE ENTRANCE TO EACH CORRIDOR, A BLACK BRIGADE GUARD IS STOOD, UNBLINKING. IFAN APPEARS ON THE PEDESTAL. IFAN’S VISAGE TRANSFORMS INTO COLE’S. THE IMAGE OF COLE AND IFAN SUPERIMPOSE ON TOP OF THE OTHER LIKE THE BEAT OF A METRONOME THROUGHOUT THE FOLLOWING SCENE. THE GUARDS MOVE TOWARDS IFAN\COLE. JACK TURNS TO IFAN. JACK IS NO LONGER QUANTUM LOCKED. JACK HAS COME UNSTUCK IN SPACE-TIME FOR THE FIRST TIME IN TWO THOUSAND YEARS. COLE GRABS JACK BY THE ARM. IFAN PRESSES HIS E-READER. A GUARD REACHES AN ARM TOWARDS JACK. COLE KICKS THE GUARD. JACK DISAPPEARS WITH IFAN\COLE. THE GUARD FALLS BACK ON HIS BUTT. THE GUARD GRABS AT EMPTY AIR.] CUT TO: - SC52. EXT. ROYAL TOMBS - DAY - UR - 2600 B.C.E. [SPRING HEEL JACK STEPS OUT OF THE TOMBS. WE’RE IN THE ANCIENT STREETS OF UR. A MARKET CAN BE SEEN AT THE END OF THE STREET IN THE DISTANCE. THERE ARE PALACES, GARDENS, LIBRARIES AND ZIGGARATS ALONG THE ROYAL ROAD. IFAN, STILL FLUCTUATING WITH COLE; EXIT’S THE TOMBS.] IFAN FENCIS “So the quantum prison connects to the Royal Tombs of Ur, circa twenty six hundred B.C.E.” SPRING HEEL JACK “Thank you my friend for saving me. Two millennia its been, locked in a single micro second of quantum space.” IFAN FENCIS “I just had the sudden urge, like God was prompting me to act. I suddenly knew how to merge, allowing me to have enough strength to break the quantum barriers.” SPRING HEEL JACK “Your lineage shall be protected for the rest of time. I shall see to it.” IFAN FENCIS “Thank you. I believe you were known as Melchizedek during this period.” SPRING HEEL JACK “I shall consider that. Thank you.” [IFAN DISAPPEARS. JACK WALKS PAST THE ROYAL TOMBS. JACK SLOWLY DISSOLVES. THE SCENE RESOLVES INTO THE CONTEMPORARY ARCHAEOLOGICAL SITE.] CUT TO: - SC53. INT. CPB MED LAB - DAY - VANCOUVER -1913 [COLE IS LAIN ASLEEP ON THE BED 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: - SC54. 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: - SC55. 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: - SC56. 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: - SC57. 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: - SC58. INT. LINGUISTICS LAB - UNIVERSITY OF CARDIFF - DAY - 2O14 [CECIL IS SAT AT A COMPUTER. THE BOOK FROM THE SUB IS SAT ON THE DESK TO CECIL’S RIGHT. ON THE COMPUTER MONITOR, CECIL 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 Cecil?” CECIL SMITH “Are you having a nice day Cole?” [COLE HEADS TO CECIL’S SIDE.] COLE JACOB BILLINGTON “Its better now that I’ve seen you.” CECIL SMITH “You’re sweet. I’m cross-referencing local finds with regional regenerative mythic cycles.” COLE JACOB BILLINGTON “Meaning?” CECIL SMITH “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?” CECIL SMITH “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.” [CECIL SCANS THROUGH THE CATALOGUE. A PHOTO OF THE BOX FOUND BY JOE AND THOMAS APPEARS ON THE MONITOR.] CECIL SMITH “Here we go. Discovered in nineteen thirteen by two teenagers, the box has been sitting in the basement of a local museum, gathering dust for the past century.” CUT TO: - SC59. 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.] END OF EPISODE.

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