Post your loglines. Get and give feedback.

By Cole J. Davis

GENRE: Animation, Crime, Film-noir, Romance, Sci-fi
LOGLINE: Art reveals the truth of life.


An extortion racket leads Captain Billington to reminisce about Vancouver's Expo 86. 'Zombies From The Deep complete teleplay' on Wattpad! … better formatting


SC1. INT. BAR - STATION OORT - OORT DISC - NIGHT - 5078 [COLE JACOB BILLINGTON WIPES DOWN THE BAR. SAT AT TABLES ARE NUMEROUS GARCONER, HUMANS, STORNAWAY, GROTTO AND SENATORIAL INCUBI. 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. 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: - SC2. 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: - SC3. INT. NATIONAL MUSEUM OF ART - CARDIFF - DAY - 2014 [D.I. EVELYN WAUGH IS STOOD IN THE CENTRE OF THE CONTEMPORARY ARTISTS’ GALLERY. THE CENTRE OF THE ROOM IS BLOCKED OFF WITH YELLOW CRIME SCENE TAPE. SEVERAL ACRYLIC PAINTINGS WITH COLE’S SIGNATURE - ‘COLE J. BILLINGTON’ ARE ON DISPLAY ON THE WALL ACROSS FROM EVELYN. COLE’S NAME IS PLACED IN BOLD ON BLACK FACING ABOVE THE DISPLAY. WITH THE WORDS- ‘ALL PROCEEDS GO TO THE SEVERN ESTUARY CONSERVATION FUND.’ FOUR OF SIXTEEN PAINTINGS HAVE BEEN REMOVED FROM THE CENTRE OF THE DISPLAY. IN THEIR PLACE AN EXTORTION DEMAND AND MANIFESTO FROM THE SHADOW NETWORK IS NAILED TO THE WALL. THE TOP MOST RIGHT PAINTING IS A CLOSE UP OF CHARN, SEVENTEEN YEAR OLD GROTTO INCUBI. THE COLOURS ARE IN BASE RED. BEHIND CHARN, THREE GROTTO FEMALES IN THE FORM OF EVELYN, LIZ CARNEGIE AND CORA FENCIS ARE STOOD ON A HILL IN THE BACKGROUND. IN THE TOP RIGHT CORNER OF THE PAINTING, A POSEIDON STAFF IS RAISED TOWARDS THE SKY, HELD ALOFT BY A GARCONER MAN. CONSTABLE PAUL MACIMBLE ENTERS THE ROOM, A COFFEE IN EACH HAND. PAUL IS 22, HIS HAIR BLONDE AND CURLY. PAUL HANDS EVELYN A COFFEE.] D.I. EVELYN WAUGH “Thank you Paul.” [EVELYN TURNS TO LOOK AT THE PAINTING OF CHARN. NEXT TO THIS PAINTING IS A VIEW OF BURRARD INLET FROM THE LIVING ROOM OF COLE AND PETE’S CONDO. HARDWOOD FLOORS ARE COUNTERBALANCED BY A THROW RUG PLACED BETWEEN THE TV SET AND THE COUCH. IN THE TOP RIGHT CORNER IS THE ENTRANCE TO THE BEDROOM.] CONSTABLE PAUL MCIMBLE “Amazing aren’t they? The way he uses angles, almost as though he were editing a film.” D.I. EVELYN WAUGH “I swear I’ve seen the one in the corner before, Paul.” CONSTABLE PAUL MCIMBLE “Where, these are all new paintings Evelyn.” [EVELYN GAZES AT THE PAINTING OF CHARN.] CUT TO: SC4. INT. FRONT HALL -FENCIS RESIDENCE - PENARTH - DAY - 6065 [THE PAINTING OF CHARN IS SET ON THE WALL NEAR THE FRONT ENTRANCE. WE SEE THE PAINTING FROM AN UNSEEN THREE YEAR OLD’S EYES.] MOTHER FENCIS(O.O.V.) “Ifan, I’m off to work in five minutes. Come take your sister to the beach.” [IFAN CALLS DOWN UNSEEN FROM THE CORRIDOR ATOP THE STAIRS.] IFAN FENCIS(O.O.V.) “Coming mother!” [THE UNSEEN CHILD FOCUSES ON THE PAINTING ONCE MORE.] CUT TO: - SC5. INT. NATIONAL MUSEUM OF ART - CARDIFF - DAY - 2014 [EVELYN GAZES AT THE PAINTING OF CHARN.] D.I. EVELYN WAUGH “This Shadow Network, they’ve recently come to my attention. They’re based out of Glasgow. Some sort of fanatics obsessed with time travel.” [BELOW THE PAINTING OF CHARN IS A PAINTING OF THE EXTERIOR OF THE CARNEGIE COMMUNITY CENTRE AT THE INTERSECTION OF VANCOUVER’S EAST HASTINGS AND MAIN STREETS. BELOW THIS IS A VIEW OF CARDIFF’S FORMER TIGER BAY CIRCA NINETEEN FORTY EIGHT. STORM CLOUDS MOVE IN ACROSS THE BAY, TAKING THE VAGUE FORM OF A JESTER POPPING OUT OF A BOX. THE OTHER EIGHT PAINTINGS ARE A MIXTURE OF FUTURISTIC CITIES AND IMAGES OF ALIEN SPECIES.] CUT TO: - SC6. INT. BEDROOM - COLE\PETE’S CONDO - DAY - VANCOUVER 2014 [PETE ROSCHILDE OPENS HIS EYES, SUNLIGHT STREAMING THROUGH THE OPEN WINDOW AS HE LIES IN BED.] COLE JACOB BILLINGTON(O.O.V.) “Thanks for the heads up sir. I hope they find the culprit. Those paintings mean a lot to me, and the money from the sales was meant to go to charity. I’ll meet you at the gallery as soon as I can catch a flight over.” [PETE NUZZLES UP TO COLE, SAT PERCHED ON THE EDGE OF THE BED. THE OPEN CLOSET IS FILLED WITH EXPENSIVE SHIRTS.] COLE JACOB BILLINGTON “So this Shadow Network, you’re saying they’ve specifically stated in their manifesto that my paintings hold secrets the world aint to know? They’re right in a way, but how do they know this? They’re just paintings.” [COLE PAUSES FOR A BEAT.] “The incident in nineteen eighty six you mean, when we found holo-paintings at Expo that were fuelled by a quantum entanglement field generator? I see where you’re going with this George, they want to use my paintings to travel in time. However, the case in nineteen eighty six showed us that the universe of the painting is illusory. Perhaps the Shadow Network doesn’t know that? I’m going to ask Sera and Reginald to fly over with me; assuming their passports are in order. I’ll see you there.” [COLE CLOSES HIS PHONE. COLE GRABS A PEN AND PAPER, SCRIBBLING SOME NOTES ATOP THE BEDSIDE TABLE. COLE TURNS, GIVING PETE A PECK ON THE CHEEK.] COLE JACOB BILLINGTON “Mm, sleep well Pete?” PETE ROSCHILDE “With you at my side, Cole; who couldn’t?” COLE JACOB BILLINGTON “That's good." [COLE HEADS TO THE CLOSET, PULLING ASIDE SHIRTS.] COLE JACOB BILLINGTON “That’s very good. Exceedingly good. Yessiree.” PETE ROSCHILDE "You're looking good today, mister sexy. You've been working out on the sly?" [COLE GRABS A GREEN GUCCI FROM THE CLOSET, TURNING TO FACE PETE; SHIRT ON THE HANGER.] COLE JACOB BILLINGTON "Mm, and you know what? I think I've actually lost a few pounds." [PETE COMES AROUND FROM THE OTHER SIDE OF THE BED.] PETE ROSCHILDE "You go, hot stuff. We should see what's new down at the club. I like to watch the other boys drool over you and know that I'm the one who gets to go home with you at the end of the night." [COLE GRABS PETE AROUND THE WAIST.] COLE JACOB BILLINGTON "You're not too bad yourself, babe." [PETE AND COLE SHARE A QUICK KISS. COLE EXIT’S THE ROOM, HEADING DOWN THE HALL TOWARDS THE BATHROOM.] PETE ROSCHILDE "Love you!" CUT TO: - SC7. INT. BLACK CABANA - NIGHT - HISTORIC GAS TOWN - 1986 [THE RUBY BEES, A FEMALE JAZZ QUARTET PERFORM ON STAGE. THE LEAD SINGER HAS BRIGHT RED HAIR IN A BOB. A GROUP OF WOMEN ARE SAT AT A TABLE NEAR THE STAGE. A MAN ENTERS FROM RICHARDS STREET. WE SEE LIGHT RAIN THROUGH THE OPENING DOOR. COLE IS SAT AT THE BAR. COLE IS HIDING HIS E-READER FROM NOSY CONTEMPORARY EYES. COLE WATCHES A RECORDED HOLO-IMAGE ON HIS E-READER. HIDING THE 3D IMAGE BEHIND HIS HANDS, COLE WATCHES A BLUE SKINNED FEMALE JOURNALIST STROLL PAST THE MARKET STALLS OF STATION OORT. SEVERAL BAR PATRONS CROWD UP BEHIND COLE TO ORDER DRINKS. COLE STICKS HIS E-READER INTO HIS TROUSER POCKET. REBECCA JONES ENTERS. EARLY FORTIES, REBECCA HAS BIG EIGHTIES HAIR AND BOOTS WITH HEELS. REBECCA TAKES A SEAT NEXT TO COLE.] REBECCA JONES(SOUTHERN WELSH ACCENT) “We need to be on the move Captain. There’s been reports of a bizarre sexual encounter with something, not quite human.” COLE JACOB BILLINGTON Come on Rebecca. It’s my night off. Besides; this sounds like some sort of drug fuelled hallucination. I'll grant you, it could be a case of non-con, be that as it may; give it to the local municipal cops to handle." REBECCA JONES "Cole, you are full of surprises." COLE JACOB BILLINGTON "How's that?" REBECCA JONES "I thought the phrase 'bizarre sexual encounter' at least would peak your interest." COLE JACOB BILLINGTON "Ah, so this is a pity the freak moment, eh? I do have more than a one track mind, you know Rebecca. When are you people going to grow up? My Goodness woman, it's nineteen eighty six. I’m getting bloody sick and tired of this. You know, sometimes I really do miss my own time, where I could be myself without having snide jokes thrown my way on a daily basis. I may have been hated due to my half Garconer heritage; at least I didn't have to fear being knocked down for whom I liked to take to my bed. I had the respect of the galactic community for pairing with Horatio Domini. Everyone loved Horatio, he was one of a kind, a true star. But not now. Now, I've got to live through it all. I've got to face the scorn and the derision on a daily basis. That's not even including you folks at the Commonwealth Protection Bureau, and your 'kick the freak' party games. Sometimes I really wish things were different. Come on then. If we're going do this, then let's do it now." [COLE GETS TO HIS FEET. COLE HELPS REBECCA DOWN AS WELL.] REBECCA JONES "And the rest was silence." COLE JACOB BILLINGTON "Come on then, where's this sexually rambunctious alien of yours Rebecca?" REBECCA JONES "It's not my alien, Cole." COLE JACOB BILLINGTON "Of course not. What was I thinking? It's not your alien, it's the property of the CPB. After all, we can't just leave things be, can we? Isn't that right, Rebecca?" REBECCA JONES "Don't take your dark mood out on me, Captain. I was not hired to deal with your rotten attitude. All I've ever done was try to be your friend. You've done nothing but give me the cold shoulder from day one. I don't know what I've done to earn your wrath. If I didn’t know any better, I’d say you don’t like the Welsh. But knowing your history, how it was the people of northern Wales who fought the good fight to save the lives of your people, I know that can’t be it. I'm a good person; I don't deserve this, Cole. You need to get your act together, stop pissing on where you work. I'm sorry you're lonely. I feel bad that you're home sick, and I know you miss Cecil. But that's life Cole, people die. You have to stop pushing everyone away. Shutting out anyone who could be your friend, perhaps make your life a little more worth living, and help you forget, for just a bit how alone you truly feel." COLE JACOB BILLINGTON "That's what you're after, eh Rebecca? Sorry, not going happen. I'm not interested. Not this time. Not as long as you work for the CPB. I'm not going there again. I've been burned too many times by dipping into the company ink. It's just not worth it. As for why? You know why, you know my history, you know I've had just about enough for any human being to crack. I'm not putting myself through that ever again. It's just too much. First I lose my gorgeous, sweet Emily to the flu of all things. Then Cecil gets transferred to Ottawa, and finally passes into the great beyond. Cecil understood me in ways nobody else ever could; he knew what it was like to be considered a freak. Now he’s gone, forever. You want to go around thinking that I'm a bastard for not caring? I can't afford to care. Life continues on, passing me by, while I stay the same, never changing for decades, so I'm just left in the dust, whilst everyone around me becomes just that- dust.” REBECCA JONES "Oh Cole, I don‘t think you‘re a bastard. I know you aren‘t. You wouldn’t be in so much pain if you were. It's hard, isn't it; being so far from home?” COLE JACOB BILLINGTON “Where I come from, I‘d be considered a mere child, when the average full blood Garconer lives for five centuries or more. Of course, half my parents’ generation were killed by Human raiders, so it was probably shortened to three centuries, come to think of it.” REBECCA JONES “I wish I knew how to help you Cole. I wish you’d finally realize that people do care about you, that they want to make your life better." COLE JACOB BILLINGTON "Don't. Just don't. I don't want to talk about it Rebecca. This was supposed to be my night off. I didn't figure on spending it chasing down an alien on the prowl." REBECCA JONES "Alright, alright. If you don't want to talk about it, we don't have to talk about it." COLE JACOB BILLINGTON "Much obliged." REBECCA JONES "I just want you to know Cole, that if you ever need to talk to someone, I'll be there. And really Captain, as much as your huge ego would like to protest anything less, I'm really not interested. You're too high maintenance for my tastes." [COLE GRABS A HANDFUL OF PEANUTS FROM A JAR ATOP THE BAR. COLE SHOVES A FEW PEANUTS IN HIS MOUTH.] REBECCA JONES "Oh Cole! Were you born in a barn? Seriously, the lack of manners I've seen you display is simply atrocious." COLE JACOB BILLINGTON "You'd never know, would you?" REBECCA JONES "You can't be serious. What was I saying a moment ago about you being too high maintenance? Strike that, what was I ever thinking?" COLE JACOB BILLINGTON "Rebecca, don't take it so hard. You know me, you need to take everything I say with a grain of salt." REBECCA JONES “You know Cole, people do talk.” COLE JACOB BILLINGTON “Eh?” [COLE SHOVES ANOTHER HANDFUL OF PEANUTS IN HIS MOUTH.] REBECCA JONES “I heard a rumour from a little bird that beneath that rough exterior of this vicious Queen act you’ve been pulling off for the last little while, is actually a very nice Human Being.” COLE JACOB BILLINGTON “That’s half Human, thank you very much. And that guy’s gone. Wasting energy pretending to be kind just isn’t worth it any more.” REBECCA JONES “I don’t believe that for a second. I’ll be waiting for that decent man to come back. I know he will, Cole. Everyone changes, nothing remains the same. Otherwise, what would be the point?” COLE JACOB BILLINGTON “You do that Rebecca, but you’ll be waiting an awful long time.” REBECCA JONES “That’s alright. I’m willing to wait, I’m a patient woman, because’ I know he’s in there somewhere, hiding from the world; just waiting to reappear when he feels ready to rejoin the Human race. His part in it, anyways.” COLE JACOB BILLINGTON “How sweet. I think someone’s got herself a crush. Let's go." [COLE PASSES THE TABLE OF WOMEN. A MIDDLE EASTERN WOMAN GIGGLES AS COLE WINKS AT HER.] REBECCA JONES "Cole, give it a rest, why don't you? This is the reason why the two of us would never work out. You have the attention span of a gnat. How any of your exes ever managed to put up with you, I'll never know." COLE JACOB BILLINGTON "Oh now, we were having such a lovely time of it. You're just jealous, you want me Rebecca. Go on, tell the truth. I won‘t judge." REBECCA JONES "Believe what you want Captain. Meanwhile, out there in the real world, there's an alien on the loose." COLE JACOB BILLINGTON "Rebecca, Rebecca, Rebecca. What would I ever do without you, eh?" REBECCA JONES "Lose your head, most likely." COLE JACOB BILLINGTON "Don't even joke about that." REBECCA JONES "Alright already, I get the point." [COLE EXIT’S THE BLACK CABANA, HOLDING THE DOOR OPEN FOR REBECCA. IT RAINS LIGHTLY. REBECCA EXITS THE BUILDING.] CUT TO: - SC8. EXT. RICHARDS STREET - NIGHT- GAS TOWN - 1986 [REBECCA AND COLE WALK TOWARDS THE CPB’S COMPANY JEEP PARKED AT THE CURB. THE FRONT RIGHT WHEEL IS RAISED ATOP THE SIDEWALK. THERE’S LIGHT RAIN.] REBECCA JONES “Come now, Captain. Cheer the hell up. It can’t be that bad, surely?” COLE JACOB BILLINGTON “Problem with the breaks, I see.” [COLE HEADS AROUND TO UNLOCK THE DRIVER’S SIDE DOOR OF THE JEEP.] REBECCA JONES “Shut it, Captain.” [COLE SETTLES INTO THE DRIVER’S SEAT, REACHING OVER TO UNLOCK THE PASSENGER SIDE DOOR FOR REBECCA. REBECCA OPENS THE DOOR.] COLE JACOB BILLINGTON “Get in; let’s get this over with so I can go home early.” [REBECCA SETTLES INTO THE PASSENGER SEAT, SHUTTING THE DOOR.] CUT TO: - SC9 . INT. JEEP\ EXT. RICHARDS STREET - NIGHT - 1986 [REBECCA AND COLE PUT THEIR SEATBELTS ON.] REBECCA JONES “Tetchy, aren’t you?” COLE JACOB BILLINGTON “This has not been one of my better weeks.” REBECCA JONES “So I’ve noticed. Perhaps you could do us all a favour and not make it so bloody obvious? Geeze, somebody’s touchy tonight.” COLE JACOB BILLINGTON “Enough Rebecca; I’ve had it to here with you and the rest of the whole bloody CPB’s snide comments.” REBECCA JONES “Okay!” COLE JACOB BILLINGTON “Oh look, here’s an Abominable Snowman eating the dockworkers of good ol Vancouver town. However will we stop him; I know, let’s send in the pet freak to deal with it.” REBECCA JONES “Now Cole be fair, you know that was an accident. Nobody thought the thing would actually attempt to swallow you whole. Just be glad it didn‘t like the smell of Garconer.” COLE JACOB BILLINGTON “Oh didn’t they? Don‘t think I didn‘t catch that dig at my heritage, missy.” REBECCA JONES “Captain, you are incorrigible.” COLE JACOB BILLINGTON “That’s why you love me so much.” REBECCA JONES “You wish!” [COLE TURNS THE KEY IN THE IGNITION, PUTTING THE JEEP INTO GEAR. COLE PULLS THE JEEP INTO THE LINE OF TRAFFIC, TURNING THE CORNER; HEADING WEST.] COLE JACOB BILLINGTON “So tell me Becca, what’s this horny alien supposed to look like; think he’s shaggable?” REBECCA JONES “Captain Billington, is that all you ever think about?” COLE JACOB BILLINGTON “Rebecca, you know me. I could live for another century and change; a man’s got to have something to keep him occupied. Otherwise, the vagaries of life would drive me insane.” REBECCA JONES “And here I thought you were already insane.” COLE JACOB BILLINGTON “Rebecca, how you wound me. But seriously, little Miss Operative, what are we looking for; think there’ll be trouble?” REBECCA JONES “The report just says, ‘Human looking, six foot two, early twenties, and I quote; ‘hot, smoking hot’.” COLE JACOB BILLINGTON “Sounds like my kind of guy.” REBECCA JONES “I thought you’d be interested.” [THE JEEP IS STOPPED IN A TRAFFIC JAM ALONG BURRARD STREET.] COLE JACOB BILLINGTON “Darn Expo Eighty Six has the traffic all backed up. The royals being in town appears to be a big draw. We’ll never get through at this rate.” REBECCA JONES “Oh, yea of little faith.” COLE JACOB BILLINGTON “I’ll have you know, my belief system does not need faith, just a willingness to learn about the universe around oneself.” REBECCA JONES “That would be what then?” COLE JACOB BILLINGTON “Scientific Garconer; and right now, I’ve got me an alien to catch, possibly shag, if the night goes my way.” REBECCA JONES “You know Cole, there’s help for that.” COLE JACOB BILLINGTON “What’s that then, my traffic stopping good looks? I’d rather not have the cure, if it’s all the same. Just admit it Rebecca, you like me. You really like me.” REBECCA JONES “In your dreams, Captain.” COLE JACOB BILLINGTON “They will be good ones, I can guarantee you that.” REBECCA JONES “In amongst all your nightmares, Captain?” COLE JACOB BILLINGTON “You live as long as I do Rebecca, there’s no limit to the horrors you can dream about.” (COLE PAUSES FOR A BEAT.) “Now let’s go find us an alien.” REBECCA JONES “I swear Cole, you are an infuriating man.” COLE JACOB BILLINGTON “Rebecca my dear, you wound me, you truly do.” REBECCA JONES “Give it up, Billington.” COLE JACOB BILLINGTON “Any time Becca, any time. Your place, or mine?” REBECCA JONES “Dear God, I wouldn’t want the neighbours to see you. They wouldn’t know what to make of you Cole.” COLE JACOB BILLINGTON “Jeeze, perhaps they’d learn a thing or two.” REBECCA JONES “What’s that then, how to be annoying and drive your co-workers around the bend, huh Cole?” [COLE POUTS.] REBECCA JONES “Oh and now he’s pouting, Cole sometimes you drive me nuts.” COLE JACOB BILLINGTON “Oh yeah Rebecca, your lust for me shall soon send you to a locked ward.” REBECCA JONES “Is that a prophecy, Captain?” COLE JACOB BILLINGTON “Don’t worry Rebecca, if working for the CPB doesn’t manage to send you to the loonie bin, I certainly won’t.” REBECCA JONES “As if!” [COLE TURNS THE JEEP ONTO DAVIE STREET. REBECCA OPENS THE GLOVE COMPARTMENT, RETRIEVING A SILVER OBJECT. THIS IS THE ALIEN DETECTING GADGET - THE ADG. REBECCA PRESSES A SWITCH. THE ADG BEGINS TO STEADILY BEEP.] REBECCA JONES “There should be something somewhere close nearby, up ahead.” [TWO YOUNG MEN IN ACID WASHED BLUE JEANS DASH ACROSS THE ROAD.] REBECCA JONES “Look out!” COLE SLAMS DOWN ON THE BREAKS. COLE ROLLS DOWN THE WINDOW. ITS RAINING LIGHTLY.] COLE JACOB BILLINGTON “Pay attention! Like I don’t have enough on my conscience already. Bloody kids.” REBECCA JONES “You have a conscience, Captain? Could have fooled me.” COLE JACOB BILLINGTON “Don’t, just don’t Rebecca.” REBECCA JONES “Someone’s in a mood.” COLE JACOB BILLINGTON “You bet I am, so don’t test me; I’m just about to blow.” REBECCA JONES “Sounds painful.” [THE ADG BEEPS REPETITIVELY.] REBECCA JONES “Should be just up ahead.” [OUTSIDE REBECCA’S WINDOW; RAMELIN - A GROTTO INCUBI IS SAT IN THE DOORWAY OF A SHUTTERED SHOP. IN THE JEEP, REBECCA GRABS A HOLD OF COLE’S ARM.] REBECCA JONES “Stop here.” [COLE SLOWS THE JEEP TO A CRAWL.] COLE JACOB BILLINGTON “He is pretty hot.” [COLE PULLS THE JEEP TO A COMPLETE STOP. COLE AND REBECCA REMOVE THEIR SEAT BELTS. COLE STEPS FROM THE JEEP. REBECCA STEPS FROM THE JEEP.] CUT TO: - SC10 . EXT. DAVIE STREET - NIGHT - 1986 [THERE’S LIGHT RAIN. REBECCA CROSSES TO COLE’S SIDE, FACING RAMELIN. THE ADJ BEEPS STEADILY. REBECCA SWITCHES THE ADG OFF - SILENCE.] REBECCA JONES “What do you think, Captain; is this our guy?” [COLE BENDS DOWN TO SPEAK TO RAMELIN.] COLE JACOB BILLINGTON “You’re a long way from home, aren’t you? Incuba Five; am I right?” [COLE OFFERS A HAND TO RAMELIN; HELPING HIM TO HIS FEET.] COLE JACOB BILLINGTON “Captain Cole Jacob Billington at your service. Incuba Five is a gorgeous planet. I spent close to four decades enjoying your people’s hospitality. You’re like a little piece of home for me. Now what’s your name?” RAMELIN “It’s Ramelin, sir. You’re a guest on this planet, as well?” COLE JACOB BILLINGTON “I’m not from around here, no.” RAMELIN “I’m sorry, I didn’t mean to cause you pain.” COLE JACOB BILLINGTON “None of that now, that’s all on me. You didn’t do anything wrong, you hear?” REBECCA JONES “Billington, its your move.” COLE JACOB BILLINGTON “This is Miss Rebecca Jones, of the Commonwealth Protection Bureau.” RAMELIN “Pleased to meet you, Miss Rebecca. I’ve had some time to review the cultural make up of your world, I’ve got to say; the way your males treat your females is reprehensible. The power brokers of my world would never stand for it.” COLE JACOB BILLINGTON “On Incuba Five, it’s the women who keep the planet running.” REBECCA JONES “Isn’t it always?” COLE JACOB BILLINGTON “I’m serious, society’s elite positions are all taken up by Incubi females. The men realized around two millennia ago that life was much more enjoyable if they delegated the big issues to the women. Isn’t that right, Ramelin?” RAMELIN “This world is so violent. The historical records are filled with fighting, death and destruction. The people are so unequal, it seems so much worse than how life was back in my own planet’s historical past, pre- revolution era, two millennia ago.” COLE JACOB BILLINGTON “It’s true, Humans are a rather violent species. I’m not quite sure why. They adore conformity, which is odd for a species at the top of the food chain. I mean sure, there’s creatures like tigers and great white sharks that will eat people given the chance, but Humans developed guns to deal with them. There’s viruses, but conformity isn’t a protective measure against them. And yet, it’s the non-conformists who move society forwards. The mediocre lemmings revile anyone who sticks out like a sore thumb. It’s all rather confusing, if you ask me.” [REBECCA OPENS THE BACK DOOR OF THE JEEP. RAMELIN SETTLES INTO THE BACK SEAT. COLE SHUTS THE BACK DOOR BEFORE OPENING THE DRIVER’S SIDE DOOR. COLE SETTLES HIMSELF INTO THE DRIVER’S SEAT. COLE SHUTS THE DOOR. REBECCA GETS IN THE PASSENGER SIDE OF THE JEEP. REBECCA SHUTS THE DOOR OF THE JEEP.] COLE JACOB BILLINGTON “We’ll get you back to the base, have Doctor O’Bannion check you over. Nothing invasive, we just need to make sure that you’re alright.; company policy. Don’t worry, I won’t let them hurt you Ramelin.” CUT TO: - SC11. INT. CPB MAIN ROOM - DAY - 2014 [CONSTABLE SERA RASMUSSEN IS SAT AT BRITTANY’S WORK STATION SCROLLING THROUGH HER EMAIL ON HER LAPTOP. COLE ENTERS FROM THE LOUNGE.] COLE JACOB BILLINGTON "Yo, Sera! Meeting in my office in five." CONSTABLE SERA RASMUSSEN "Well, aren't you mister authoritative today." COLE JACOB BILLINGTON "You know it, baby." [CLOSING THE LAPTOP, SERA STEPS AWAY FROM THE WORK STATION.] CONSTABLE SERA RASMUSSEN "What's going on, Cole?" [COLE TAKES OFF HIS JACKET AS HE HEADS DOWN THE CORRIDOR. SERA FOLLOWS CLOSELY BEHIND.] COLE JACOB BILLINGTON "I hope Gerald has some free days coming up, cause we need to take a trip across the pond. Glasgow’s notorious Shadow Network have taken aim at my art portfolio; they’ve stolen four of my paintings and are holding them hostage in some wacky extortion racket.” CONSTABLE SERA RASMUSSEN “Those wacky scoundrels, are they criminals or are they comedians?” COLE JACOB BILLINGTON “I think they’re comedians who like to think of themselves as criminals.” [COLE DISAPPEARS INTO HIS OFFICE.] CUT TO: - SC12. INT. COLE’S OFFICE - CPB - DAY - 2014 [COLE IS SAT BEHIND HIS DESK. SERA ENTERS THE OFFICE.] COLE JACOB BILLINGTON “I’d like to bring you and Reginald with me to Cardiff. If anything unforeseen were to happen to knock me out of commission, you would be my choice for itinerant director Sera. What with you being a cop, you’re the closest we have to military personnel. Back in the eighties, it was all military and special ops. After you, Reginald is tops in the qualifications department. Either way, the two of you should be acclimated towards a greater understanding of the workings of the Commonwealth Network. I’m sending Bailey, Sam and Brittany up the coast to check out a potential gravity well. We've a report from a Mister Gill Rhiner who spotted something a tad unusual, up in a tiny place called Nanu. Ever hear of it?" CONSTABLE SERA RASMUSSEN "Not that I can recall." COLE JACOB BILLINGTON "That's what I love about you Sera, you take everything in stride." CONSTABLE SERA RASMUSSEN "Yep, that's me, Ms. go with the flow kind of gal." COLE JACOB BILLINGTON "Mm, Gerald's a lucky man." CONSTABLE SERA RASMUSSEN "Why thank you, Mister Billington." COLE JACOB BILLINGTON "That's Captain Billington to you, young lady." CONSTABLE SERA RASMUSSEN "Yeah yeah, such a tough guy, aren't you Cole?" COLE JACOB BILLINGTON "You know it, babe." [DOCTOR REGINALD DESMOIRE ENTERS. DOCTOR BAILEY O’BANNION HEADS INTO THE ROOM PAST REGINALD, STOOD JUST INSIDE THE ENTRANCE.] COLE JACOB BILLINGTON "Reg, my man, how's the wife?" DOCTOR REGINALD DESMOIRE "Marissa's fine, why do you ask?" COLE JACOB BILLINGTON "Just wondering how she'd feel about you spending a few days in Wales. I can get the province to cover Gerald's expenses, but you guys have the girls. Someone needs to stay behind to look after them. What do you think, Reg? A few days away from the wife won't kill you, right?" DOCTOR REGINALD DESMOIRE "Well, she might kill me." DOCTOR BAILEY O’BANNION "Um, what are we doing?" COLE JACOB BILLINGTON "The game's afoot, my good man. And when I say the game, I am of course referring to the atmospheric anomaly sort of game. Perfect for a physician such as yourself." DOCTOR REGINALD DESMOIRE “Oh, that game. I love that game. Sounds promising. When do we leave?" COLE JACOB BILLINGTON "Ah, that's what we need to talk about. Gather round, my chillins. I have a tale that shall chill you to the bone. Full of government bureaucracy and red tape. Uhh!" CONSTABLE SERA RASMUSSEN "What are you Cole, Sherlock Holmes?" COLE JACOB BILLINGTON "Oh yes, Robert Downey Jr. Don't you just love him?" CONSTABLE SERA RASMUSSEN "Sorry, not really my cup of tea, nice for some, I'm sure." COLE JACOB BILLINGTON "Oh heck, me neither, I actually prefer Moffat’s iteration. Pete seems to think he's the best thing since sliced bread." CONSTABLE SERA RASMUSSEN "Oh dear, how's that going for you?" COLE JACOB BILLINGTON "I wore a deerstalker hat, once. Seemed to do the trick." DOCTOR BAILEY O’BANNION "I bet it did." COLE JACOB BILLINGTON "You, be quiet. Now let's think, where's Sam?" CUT TO: - SC13. INT. CPB LOUNGE - NIGHT - 1986 [ELIZABETH MAY IS SAT ON THE COUCH READING A MYSTERY NOVEL. ELIZABETH IS IN HER MID FORTIES. SHE WEARS BOOTS LIKE REBECCA’S. SHE’S DRESSED IN TWEED AND A GREY WOOL SWEATER. ELIZABETH TURNS A PAGE IN THE NOVEL. COLE ENTERS FROM THE CORRIDOR. REBECCA ENTERS BEHIND COLE, PULLING RAMELIN INTO THE ROOM WITH HER.] COLE JACOB BILLINGTON “Here we are, this is the CPB; these nice people are going to help you.” [ELIZABETH GETS TO HER FEET. ELIZABETH CROSSES TO COLE, REBECCA AND RAMELIN.] ELIZABETH MAY(ENGLISH ACCENT) “Billington, are you absolutely certain this boy is our alien, and not just some bloke you’ve decided to take a shine to?” COLE JACOB BILLINGTON “What do I look like, an amateur? This is Ramelin, he’s Grotto Incubi, from Incuba Five.” DOCTOR BAILEY O’BANNION(O.O.V.) “Could have fooled me.” [BAILEY ENTERS FROM THE MAIN ROOM.] COLE JACOB BILLINGTON “Thank you for that vote of non confidence, Bailey. I don’t particularly care what you think about my abilities, doctor.” ELIZABETH MAY “Boys, play nice now, we’ve ourselves a guest.” COLE JACOB BILLINGTON “Right, Bailey, Ramelin needs to be checked over.” DOCTOR BAILEY O’BANNION “Come on then.” COLE JACOB BILLINGTON “You’ll be fine, Bailey’s bark is worse than his bite.” [COLE AND RAMELIN CROSS THE ROOM. BAILEY, COLE AND RAMELIN EXIT TOWARDS THE MAIN ROOM.] REBECCA JONES “That one seems to be following Billington around like a little lost puppy.” ELIZABETH MAY “Let the games begin. REBECCA JONES “I dread to think.” (REBECCA PAUSES FOR A BEAT.) “Those poor boys!” ELIZABETH MAY “I have my ways.” REBECCA JONES “I bet you do; did they teach you that in the Shropshire Patrol Company, Liz?” ELIZABETH MAY “I learned plenty in the good ol SSPC; sadly enough, how to finagle a date with a cute alien wasn’t in the training manual.” REBECCA JONES “Wouldn’t that go under the heading of ‘seducing the enemy’?” ELIZABETH MAY “Perhaps that’s our solution to ferreting out the whereabouts of that enclave of vampiric aliens we’ve been trying to track down since the nineteen fifties; by utilizing our feminine wiles.” REBECCA JONES “I think Billington has that one in the bag.” ELIZABETH MAY “I think Billington has been leading us on a merry ol wild goose chase for the last three decades, when it comes to that group.” REBECCA JONES “He’s not a dumb man, that one.” ELIZABETH MAY “Far from it; the captain’s brilliant in certain aspects.” REBECCA JONES “They say all geniuses have a touch of madness to them.” ELIZABETH MAY “Oh no; don’t tell me you’ve fallen for Billington?” REBECCA JONES “He is pretty amazing.” ELIZABETH MAY “Yeah, pretty amazingly arrogant.” REBECCA JONES “Liz, you know that’s merely an act. The man is still grieving. He must have really loved Cecil Smith. He just needs a friend. He‘s gotten stuck in a depressive spiral. The rotten economy and the killer disease running roughshod over his community struck at the worse possible time for a man in mourning.” ELIZABETH MAY “It’s been seven years, and Cecil was nearly eighty when he passed away.” REBECCA JONES “That just goes to show the man hangs in for the long haul. How long did he stay with Horatio, forty years? He was with Carmina for thirty five; he only left her at that point because she became jealous of his youth.” ELIZABETH MAY “So he claims; but that was then Rebecca, he’s changed. It’s like he’s taken everything good about himself and tossed it into the Pacific Ocean. He’s not a nice man right now. If you go after him the way he is now, he’ll just use you. He’ll take anything you’re willing to give, then he’ll grow bored of you. He’ll break your heart Rebecca. Don’t put yourself through that. You’ll only get burned in the end.” REBECCA JONES “You sound like you know this from personal experience, Liz. Have you and Billington ever? Right, sorry; forget I ever asked.” ELIZABETH MAY “We had an extremely short fling once, It didn’t last.” REBECCA JONES “The man is a mess.” ELIZABETH MAY “He really is.” [COLE ENTERS FROM THE MAIN ROOM.] COLE JACOB BILLINGTON “We’re done; everything checked out with flying colours. No need for a quaranteen.” [BAILEY ENTERS, FOLLOWED BY RAMELIN.] REBECCA JONES “Was that ever in question?” COLE JACOB BILLINGTON “One never knows.” [COLE CROSSES TO THE COFFEE MAKER. COLE POURS HIMSELF A FRENCH ROAST.] COLE JACOB BILLINGTON “Where’s Director Galloway at?” ELIZABETH MAY “George Galloway is in town, doing damage control with the witness.” [COLE TAKES A SIP OF HIS COFFEE. COLE SPITS COFFEE INTO THE SINK IN DISGUST.] COLE JACOB BILLINGTON “This stuff is horrible!” DOCTOR BAILEY O’BANNION “Serves you right Cole, you were supposed to restock the coffee yesterday morning.” [COLE POURS HIS COFFEE DOWN THE DRAIN. WE SEE COLE SAT ON THE COUCH WITH RAMELIN HAVING AN INTIMATE CONVERSATION. BAILEY IS SAT IN A CHAIR NEARBY, DRINKING TEA. BAILEY GETS TO HIS FEET.] COLE JACOB BILLINGTON “Why don’t you head on home Doctor O’Bannion? Ramelin and I have more to discuss, don’t we Ramelin?” DOCTOR BAILEY O’BANNION “Night you two.” [BAILEY CROSSES THE ROOM. BAILEY EXITS INTO THE CORRIDOR.] COLE JACOB BILLINGTON “Now, where were we?” CUT TO: - SC14. INT. COAST INN - DAY - PENARTH -2014 [PETE DROPS TWO BLUE SUITCASES ONTO A BLUE FLOWERY BED SPREAD. COLE IS STOOD IN THE BLUE CARPETED CORRIDOR WITH SERA AND GERALD RASMUSSEN.] PETE ROSCHILDE "What is there to do in this place? Cole, any ideas?" [PETE GRABS A BROCHURE FOR A LOCAL EATERY FROM THE BEDSIDE TABLE. PETE HEADS TO THE DOOR, HANDING THE BROCHURE TO SERA.] PETE ROSCHILDE "Anyone up for a night out on the town? My treat." [SERA FLIPS THROUGH THE BROCHURE. PETE WRAPS HIS ARMS AROUND COLE’S WAIST.] CONSTABLE SERA RASMUSSEN "Nice place. I'm up for it. Gerald, how about you?" [SERA HANDS THE BROCHURE TO GERALD. COLE NUZZLES INTO PETE’S EMBRACE, SIGHING IN CONTENTMENT.] CONSTABLE SERA RASMUSSEN "Take a look." [SERA LEANS OVER TO WHISPER IN GERALD’S EAR. PETE GIVES COLE A PECK ON THE CHEEK.] PETE ROSCHILDE "Coming inside, hun?" [COLE RETRIEVES THE BROCHURE FROM GERALD, FLIPPING THROUGH IT.] COLE JACOB BILLINGTON "Sure thing. So, where is this place? Down by the docks, it looks like. Excellent view. Looks fun." [COLE BACKS INTO THE ROOM, PULLING PETE WITH HIM. TURNING AROUND, COLE CLOSES THE DOOR.] COLE JACOB BILLINGTON "Mm, alone at last." [PETE SLIDES BACK AGAINST THE WALL.] PETE ROSCHILDE "Come here, baby." COLE JACOB BILLINGTON "Fun times will be had by all." PETE ROSCHILDE "What are you, the narrator? Just shut up and fuck me." [COLE SMIRKS, GIVING PETE A MOCK SALUTE.] COLE JACOB BILLINGTON "Yes, sir!" [PETE SMILES, PULLING COLE INTO A KISS.] PETE ROSCHILDE "Come here, you big lug." COLE JACOB BILLINGTON "Love you. I always will. You know that, right?" PETE ROSCHILDE "I do." [PETE PULLS COLE INTO ANOTHER DEEP KISS. GRABBING COLE’S HANDS; PETE LEADS HIM TOWARDS THE BED.] PETE ROSCHILDE “Let me help you relax.” COLE JACOB BILLINGTON “Oh, I’m relaxed already.” PETE ROSCHILDE “I bet you are.” [WE SEE COLE AND PETE LAIN ENTWINED BENEATH THE COVERS OF THE BED.] COLE JACOB BILLINGTON “God, that was nice.” [PETE ROLLS OVER ONTO HIS STOMACH. COLE PULLS OUT AND AWAY, ONTO HIS BACK.] PETE ROSCHILDE “Hmm.” [PETE ROLLS OUT OF BED, GETTING TO HIS FEET.] PETE ROSCHILDE “We should go.” [PETE PROCEEDS TO GET DRESSED; GRABBING HIS FADED DENIMS AND A BLACK BELT. PETE TURNS TO LOOK AT COLE, LAIN ON THE BED, LOOKING UP AT THE CEILING WITH A SATISFIED GRIN.] PETE ROSCHILDE “Cole, come on. Get up, we’ve got dinner to be getting to.” [COLE GETS TO HIS FEET.] COLE JACOB BILLINGTON “We could cancel, you know? I’m sure Sera and the others wouldn’t mind. We could just stay in, have a night all to ourselves. Celebrate exactly just what makes us, us. “ [COLE COMES AROUND THE FOOT OF THE BED TO MEET PETE, COMING UP BEHIND HIM.] COLE JACOB BILLINGTON “How ‘bout it, Pete? Just you and me? It’ll be you and me against the world.” [PETE PULLS ON A YELLOW CARDIGAN.] CUT TO: - SC15. INT. CPB MED LAB - DAY - VANCOUVER - 1986 [STOOD AT THE COUNTER, BAILEY FIDDLES WITH AN ELECTRON MICROSCOPE. ELIZABETH MAY ENTERS.] DOCTOR BAILEY O’BANNION “Morning, Liz.” [COLE ENTERS, FOLLOWED BY RAMELIN.] COLE JACOB BILLINGTON “Morning, folks.” ELIZABETH MAY “Speak of the Devil. Ramelin, you seem to be settling in well. I hope Cole’s been behaving himself. Not taking advantage, has he?” COLE JACOB BILLINGTON “You shut your mouth! Come on.” [SPINNING ON HIS HEELS, COLE STOMPS OUT OF THE LAB - GRABBING RAMELIN AS HE GOES. COLE AND RAMELIN EXIT.] DOCTOR BAILEY O’BANNION “Aren’t you a charmer.” ELIZABETH MAY “Bailey, go check your microscope.” DOCTOR BAILEY O’BANNION “You really have it in for Cole, don’t you Liz?” ELIZABETH MAY “I find him annoying; his constant shifts in mood are rather off putting.” DOCTOR BAILEY O’BANNION “He broke your heart, I understand.” ELIZABETH MAY “We are not having this conversation.” DOCTOR BAILEY O’BANNION “Yes ma’am.” [LIZ EXITS. GEORGE GALLOWAY ENTERS. MID THIRTIES, GEORGE IS EX M15.] GEORGE GALLOWAY “What’s all the hubbub about; is Billington on one of his tears again? Who started it this time?” DOCTOR BAILEY O’BANNION “We have a guest.” GEORGE GALLOWAY “So I gathered.” [LIZ RE-ENTERS THE LAB.] ELIZABETH MAY “Get anything concrete from our witness, Director?” GEORGE GALLOWAY “Our witness is a rising star in the Real Estate business; I believe he’s trying to pretend it was all a very strange dream.” ELIZABETH MAY “If only that were true.” GEORGE GALLOWAY “Is that what I think it is Doctor O’Bannion? DNA from the rampaging beast that attempted to eat Billington earlier in the week?” DOCTOR BAILEY O’BANNION “That’s right. There appears to be an issue with his quantum stability. Almost as though he were a fourth dimensional being.” GEORGE GALLOWAY “That’s something I believe Cole may have some insight into.” DOCTOR BAILEY O’BANNION “I hate to break it to you George; I don’t think Billington’s from the fourth dimension.” GEORGE GALLOWAY “Of course not. But he has an instinct for deciphering matters of the middle plane. When we have time later today, the three of us; you, I and Cole need to sit down and discuss quite a serious matter. I’ve gotten word from down south that the so called ’Abominable Snow Man’ was nothing of the sort. It’s quite complicated, and I could really do with Billington’s insight, his off world religion can tell us a lot about exactly what this creature truly is.” DOCTOR BAILEY O’BANNION “Or was.” GEORGE GALLOWAY “Going by my contacts down south, there may be more where he came from.” ELIZABETH MAY “How lovely for us.” GEORGE GALLOWAY “Liz, I have a job for you and Rebecca, when she gets in.” ELIZABETH MAY “Oh?” GEORGE GALLOWAY “It involves the two of you braving the teeming masses of fair goers at the exposition. We’ll talk later when Rebecca comes in.” ELIZABETH MAY “Alright.” CUT TO: - SC16 . INT. CPB LOUNGE - DAY - 1986 [STOOD AT THE COUNTER; COLE ROUGHLY PUSHES THE COFFEE MACHINE ABOUT. COLE POURS HIMSELF A COFFEE.] COLE JACOB BILLINGTON “This Espresso Maker is rubbish!” [BAILEY ENTERS FROM THE MAIN ROOM.] DOCTOR BAILEY O’BANNION “It won’t last us much longer if you rip it apart, Cole.” COLE JACOB BILLINGTON “I’m going to go get a coffee from McDonalds.” [COLE CROSSES THE ROOM, PULLING ON HIS NAVAL JACKET.] COLE JACOB BILLINGTON “Have a nice day.” [COLE EXITS. BAILEY CROSSES TO THE COUCH WHERE RAMELIN IS SAT.] DOCTOR BAILEY O’BANNION "You and Billington, eh? I bet that was an interesting experience. Would you like some coffee? It's not as bad as Cole makes it out to be.” CUT TO: - SC17 . INT. MCDONALDS - DAY - 1986 [SAT AT A TABLE SIPPING A COFFEE, COLE FLIPS THROUGH THE DAY’S EDITION OF ‘THE VANCOUVER PROVINCE’. REBECCA WALKS UP TO THE TABLE, COFFEE IN HAND.] REBECCA JONES “There you are.” [REBECCA TAKES A SEAT ACROSS FROM COLE, PLACING HER COFFEE ON THE TABLE.] COLE JACOB BILLINGTON “What’s up?” REBECCA JONES “This is some excellent coffee; wouldn’t you say Cole?” COLE JACOB BILLINGTON “You’re not getting anything out of me on the topic of last night, so don’t even try, Missy.” REBECCA JONES “Look, they’ve got a new Killer Whale at the Aquarium.” COLE JACOB BILLINGTON “Orca.” REBECCA JONES “Whatever.” COLE JACOB BILLINGTON “Why are you here Rebecca?” REBECCA JONES “My parents got drunk one night in the mid forties.” COLE JACOB BILLINGTON “Thanks, I really needed that image in my head.” REBECCA JONES “They weren’t your parents, Cole.” [COLE LOOKS OFF INTO SPACE. REBECCA WAVES A HAND IN FRONT OF COLE’S EYES.] REBECCA JONES “Cole, Earth to Cole, you in there buddy?” [COLE GRABS REBECCA’S HAND IN ANNOYANCE.] COLE JACOB BILLINGTON “Don’t do that.” REBECCA JONES “Sorry about that. Cole do you ever think about taking a trip down south, you know, see your family?” COLE JACOB BILLINGTON “It’s just so complicated. I’ve descendents who look older than I do Rebecca. It’s just weird, you know? If I were back in my own time, this would all be par for the course, but it’s the twentieth century, and no Human lives for three centuries. Speaking of my own time, I wish we could figure out a way to cauterize the wound.” REBECCA JONES “The Time Storm.” COLE JACOB BILLINGTON “It’s not natural, I can tell you that. It’s been more than a century since I came through; and to this very day Rebecca, I can still remember the sense of utter wrongness I felt landing on that beach in Blaine, just over the border. There was this awful smell of death and this moment of absolute silence, of complete nothingness. My worst nightmares, even with everything else I’ve done and experienced, are of that silence. I believe that is what Hell is like, complete isolation for ever and ever. Over time, the wound begins to heal and develop a scab; and every time it does, something comes along to rip that scab right off, bleeding temporal energy down through the time line.” REBECCA JONES “That’s disgusting!” COLE JACOB BILLINGTON “I think it’s getting worse.” REBECCA JONES “What’s getting worse?” COLE JACOB BILLINGTON “The gravity wells, the time storms, all of it. The wound is widening, like something is forcing it open. I think the further upstream we travel along the timeline, and the closer we get to the event causing the temporal explosion, the worse the effects will get.” REBECCA JONES “So what do we do, how do we cauterize the wound?” COLE JACOB BILLINGTON “From here, I’ve no idea. We’re nowhere close to understanding how these storms function. The Time Line Investigation Unit in Bloomsbury has been investigating quantum futures for the past few decades utilizing poor Jonathan Aethers’ brain waves, but they can’t physically travel through time. Back in my own time, there were all sorts of conspiracy theories about the Welsh government experimenting with temporal energy; there were stories about homeless people being paid to be experimented on, driving them crazy. It’s the perfect set up Rebecca, the high rate of mentally ill individuals amongst the homeless is quite well known. If these experiments were to drive them crazy, who’s going to believe them, really? I certainly didn’t, back before I fell through time. I was in Cardiff, getting treatment for my Post Traumatic Stress Disorder in the fifty eighties; there were this group of patients attending the Cardiff Trauma Centre; a gorgeous high rise over looking Cardiff Bay. I’m sat in the waiting room, waiting to see Doctor Beverly Fisher, top of her profession at treating trauma disorders; and this guy goes on and on about sensing twentieth century chronon particles in my temporal matrix. Considering what’s happened to me since, I’ve really got to wonder about it all, if any of the conspiracy theories were true.” REBECCA JONES “Do you think that’s where the temporal explosion originated, three millennia in the future?” COLE JACOB BILLINGTON “Could be.” REBECCA JONES “So the closer in time we get to the explosion, the worse things are going to get.” COLE JACOB BILLINGTON “Like gravity near a black hole, getting stronger and stronger the closer you get to it.” REBECCA JONES “I think the gravity wells are more like white holes than black holes. We’ve picked up traces of anti matter and gamma radiation around them as well.” COLE JACOB BILLINGTON “You can get antimatter occurring during lightning strikes, so that’s nothing special.” [REBECCA GETS TO HER FEET.] REBECCA JONES “I should get back to work; busy, busy, busy; don’tcha know?” [COLE GETS TO HIS FEET, STEPPING AWAY FROM THE TABLE.] COLE JACOB BILLINGTON “Good idea, after you milady.” REBECCA JONES “There you go being such a heart breaker, Cole.” COLE JACOB BILLINGTON “All in a day’s work, kid. Breaking hearts, annoying Bailey and occasionally saving the good folks of Vancouver from things that go bump in the night. Shall we go?” REBECCA JONES “We should go.” CUT TO: - SC18. EXT. CARDIFF BAY BARRAGE - NIGHT - 2014 [COLE STROLLS ALONG THE BARRAGE. PETE IS AT COLE’S SIDE. SERA, GERALD AND REGINALD WALK BEHIND COLE AND PETE. IN THE DISTANCE AHEAD OF COLE; EVELYN IS STOOD AT THE WATER’S EDGE, LOOKING TOWARDS THE HORIZON.] D.I. EVELYN WAUGH(V.O.) “I once had a brother, a brother I loved with all my heart. But then came the gravity well, then came social services, then came men in white coats telling me my memories of a life four millennia up the timeline were my developing mind’s way of protecting me from things too horrible to face. As time went on, I acclimated to the nineteen eighties, I forgot all about my brother, all about that world of the future. I believed them when they said it was a story I made up to entertain myself. Last week it all came rushing back. Last week, speaking with the folks in Bishop’s Castle, I realized it really happened. That lost and abandoned child had a life and a brother that loved her back in the future. Could that hacker have been my kin; watching me from afar? The men in white coats lied to the child I was. Perhaps not knowingly, but lie they did. Had my presence been brought to the attention of the crown, I would not have been taught to disregard my memories.” [COLE AND PETE WALK TOWARDS EVELYN. EVELYN TURNS, SEEING SOMETHING IN THEIR EYES.] D.I. EVELYN WAUGH(V.O.) “I remember more than that. I remember Incuba Five, the fifth planet from a blue fission star in the Benthra System, green atmospheric clusters giving way to a planet side night. If the inhabitants had been able to look through a telescope and see the planet Earth, they would have seen the Romans just getting off to a rip roaring start. That would be quite copacetic, for despite the vast immensity of distance between the fledgling masses of Humanity and the divergent Hominid cluster race of Incuba Five, the people of Earth would quite easily fit into Incubi society.” [EVELYN TURNS BACK TO THE HORIZON. COLE, PETE, SERA, GERALD AND REGINALD CONTINUE PAST.] D.I. EVELYN WAUGH(V.O.) “Life on Incuba Five was not all sunshine and roses, however. Not for all citizens of this great garden of life, not yet. This land of beauty, this world would one day become known to off worlders as, as close to paradise as one could get. That day would come with plenty of blood, sweat and tears poured into many a hard days work. One day, in a later era, known to the coming Humans as the fifty-first century, this world would be viewed as an inspiration to all other civilized species throughout the universe. But not yet. Battles needed to be fought, revolutions must be begun. Heroes and orators needed to be discovered. As all great works of art must begin, it starts with an idea, it leads to a voice in the wilderness. At first, it's one lone voice, crying out to be heard. But eventually, it gathers force, it picks up steam. That single lonely voice finds a friend, and as all true friends do, it offers support, a hand to hold in the cold dark of the night.” CUT TO: - SC19. INT. C. OF E. CHAPEL - DAY - PENARTH - 6090 [IFAN IS STOOD BEFORE CORA, READY TO BE MARRIED BY THE MINISTER. IFAN AND CORA WEAR MATCHING KILTS. THE PEWS ARE FILLED WITH WEDDING GUESTS. IFAN HOLDS CORA‘S WEDDING BAND IN HIS HAND.] IFAN FENCIS “I do vow to honour and cherish you as I would cherish my own self. With this ring I do wed.” [IFAN PLACES THE RING ON CORA’S FINGER. IFAN KISSES CORA PASSIONATELY.] CUT TO: - SC20. INT. PENARTH COMMUNITY CENTRE - NIGHT - 6090 [IFAN IS SAT AT A TABLE WITH CORA, MOTHER FENCIS, FATHER FENCIS, AND CORA’S MOTHER AND FATHER. IFAN UNWRAPS A PAINTING. IT’S THE PAINTING OF CHARN.] FATHER FENCIS “Do you recall the story of Charn Ifan? He’s part of our lineage you realize?” IFAN FENCIS “I do father.” (IFAN PAUSES FOR A BEAT.) “And so a child shall lead them. Charn was seventeen annums pass when he readied his volley into a society corrupt with power imbalances and a system filled with inequalities and injustices; too numerous to name. The world that would one day be known for it's wellspring of jurisprudence, was right now, in the immediacy of the present, lacking a wit of fairness to call it's own. Charn was a member of a slave race. The Incubi food chain ran it all. From Charn's very existence, to the upper echelons of the financial elite. When one's very survival depended on the charity of people of good will; life on Incuba Five could be a harsh wake up call to those with no other means of survival. Charn's people had many names, purveyors of the one profession that would never go out of style. Wherever one travelled, wherever one went, throughout the universe, throughout all of time and space, his profession would never die out. His people offered something that could always be bought and paid for, a deed easily sold. As days grew old, a story cried out to be told. Of a world so old, the passage of time could not be stopped. For that is how it goes, the story must be told, before the universe grows old.” CUT TO: - SC21 . INT. CPB DIRECTOR’S OFFICE - DAY - VANCOUVER - 1986 [GEORGE IS SAT AT HIS DESK FILLING OUT PAPERWORK. RAMELIN IS SAT IN A CHAIR ACROSS FROM GEORGE. ELIZABETH IS STOOD IN FRONT OF THE DESK, FACING THE ENTRANCE. COLE ENTERS.] GEORGE GALLOWAY “I hope you’re feeling more yourself, Billington; there’s no room for Prima Donnas in this business. If that’s what you’re after, I hear the Drama Department is hiring new faculty members for the Fall Semester.” COLE JACOB BILLINGTON “What’s up?” GEORGE GALLOWAY “We’re giving our guest here some semblance of having an actual existence on this planet before last night.” COLE JACOB BILLINGTON “That’s always a good thing.” [REBECCA ENTERS, WALKING PAST COLE.] REBECCA JONES “I would think that at this point, the Canadian government would have managed to set up a special housing branch; call it the Interplanetary Housing Division.” ELIZABETH MAY “We’re it.” [COLE STEPS UP TO THE DESK, PICKING UP THE PAPER.] COLE JACOB BILLINGTON “Let’s see who you’re supposed to be, eh Ramelin?” [COLE LOOKS AT THE PAPER.] COLE JACOB BILLINGTON “Hmm, looking good; great credit rating.” DOCTOR BAILEY O’BANNION “Give me that.” [BAILEY GRABS THE PAPER FROM COLE’S HAND.] COLE JACOB BILLINGTON “You are one rude little man.” DOCTOR BAILEY O’BANNION “Here, and I am not little.” COLE JACOB BILLINGTON “From where I’m standing, uh yeah you are.” DOCTOR BAILEY O’BANNION “Billington, everyone’s tiny in comparison to you.” COLE JACOB BILLINGTON “Bailey, are you calling me fat?” DOCTOR BAILEY O’BANNION “You’re headed that way. As a medical professional, Cole I’d advise you lay off the deserts.” COLE JACOB BILLINGTON “Why I never!” (COLE PAUSES FOR A BEAT.) “I just can’t get no respect, can I?” GEORGE GALLOWAY “Nope; Billington you’re the Saturday Afternoon Revue in a one horse town.” COLE JACOB BILLINGTON “You see what I’ve got to put up with here Ramelin? Day in, day out; it never stops.” DOCTOR BAILEY O’BANNION “Cry me a river, Cole.” [COLE HEADS TO THE ENTRANCE.] COLE JACOB BILLINGTON “I’ll be outside, checking the gravity gages for weak spots in the planetary temporal overlay. Ta, ta my little chitlins.” GEORGE GALLOWAY “Hold up Cole; we need to talk about the creature that tried to eat you earlier in the week.” COLE JACOB BILLINGTON “That thing was nasty. What is there to talk about? Please don’t tell me it had some horrible disease that will slowly kill me.” DOCTOR BAILEY O’BANNION “I’m sure you’ll be fine Cole.” GEORGE GALLOWAY “No, I could do with your insight into Scientific Garconer, pertaining to the patron saints, universal archetypes and Fallen God Bombers.” COLE JACOB BILLINGTON “Where are you going with this, George?” GEORGE GALLOWAY “The creature appears to have some sort of connection to the Montauk military base down in New York. According to our friends down south, they’re theorizing that the creature was a physical manifestation of mankind’s collective id.” COLE JACOB BILLINGTON “Seriously? That‘s bonkers.” GEORGE GALLOWAY “I got to thinking; your belief system maintains that finished universes take the form of immortal God like beings whom walk among us, as well as the existence of fallen versions of similar types of creatures.” COLE JACOB BILLINGTON “Sure, the Black Brigade under the auspices of Commander Abbaddon. He uses the aliases Commander Hatonn and Commander Ashtar. The brigade uses the false titles of the Ashtar Command, the Andromeda Council and the Galactic Fleet of Light. I had this friend in my home era who was ensnared in their mind games. She was convinced my husband Horatio was her Twin Flame.” ELIZABETH MAY “Her what now?” COLE JACOB BILLINGTON “Her Twin Flame; the concept of a duel incarnation. One soul incarnating into two separate bodies in the same general temporal vicinity. If you ask me, I prefer to believe that I was Horatio’s Twin Flame; not that I believe there’s anything to it. But my old pal Rebecca Swartz, she was obsessed. Brought on, I believe by an animae in the form of Horatio, devised by the Black Brigade.” GEORGE GALLOWAY “That’s where I’m going with this Montauk Creature.” COLE JACOB BILLINGTON “Go on.” GEORGE GALLOWAY “Let’s hypothesize that what we’re looking at here is the failed result of an attempt to create a Fallen God Bomber out of the shadow of an Universal Archetype; utilizing the form of the Black Brigades’ Animae creation tools. By connecting with the Montauk temporal experiment, thought took physical form.” COLE JACOB BILLINGTON “It sounds like complete rubbish to me, George.” GEORGE GALLOWAY “It was just a thought.” COLE JACOB BILLINGTON “Good luck with that. Meanwhile, I’m off to do some real science, work for which I have an actual grant. See ya!” REBECCA JONES “Nice seeing you Cole.” COLE JACOB BILLINGTON “You sound like you’ll never see me again. You know how superstitious I am, Rebecca.” REBECCA JONES “Oops, I’m sure you’ll be fine Cole. Go, work on your project.” [COLE EXITS. BAILEY FOLLOWS COLE OUT.] DOCTOR BAILEY O’BANNION “I’ll come with you.” (O.O.V.) “We wouldn’t want you falling into a gravity well now, would we Cole?” COLE JACOB BILLINGTON(O.O.V.) “On the bright side, I may just find myself a way home.” DOCTOR BAILEY O’BANNION(O.O.V.) “Don’t talk like that Cole. You may irritate the heck out of me, but I’m sure there’d be plenty of people who’d miss you. Your family, for instance; more than that, you are needed here and now.” GEORGE GALLOWAY “Now that those two are out of our hair; we need to discuss the mission I’m assigning you two lovely ladies for the afternoon.” ELIZABETH MAY “If it gets me far away from Billington for the next few hours, I’m raring to go.” GEORGE GALLOWAY “Your issues with Cole notwithstanding Liz; we’re getting complaints from employees with the United Kingdom pavilion down at the fair. It seems the Museum of Cardiff display of Welsh Art Masters has brought our fair city a bit more than what was reportedly in their inventory.” REBECCA JONES ”Let me guess, some sort of Jenny Green-teeth?” GEORGE GALLOWAY “No, something much odder. I’d ask Cole to join you on your assignment, but I fear bad memories may be brought up for him in this case.” ELIZABETH MAY “Its future tech?” GEORGE GALLOWAY “We‘ve some sort of future visual medium from thousands of years up the line.” ELIZABETH MAY “We know this how?” GEORGE GALLOWAY “Ten days ago, around eight O’clock in the evening; paintings began appearing at the back of the gallery. New paintings, signed by artists with no record of ever existing. On top of that, the paintings are stamped with copyright dates far in the future. The earliest was dated ten thousand three hundred and seven; the latest, twenty three thousand, four hundred and ten.” ELIZABETH MAY “These paintings just began appearing ten days ago?” GEORGE GALLOWAY “They’re keeping them away from the public’s view as much as they can. One young woman from the Cardiff School of Art, here on a temporary visa to work at the fair claims to have seen a quantum aperture open a few feet in the air, out of which appeared the latest painting.” REBECCA JONES “What was the painting of?” GEORGE GALLOWAY “Some sort of space station. The young woman faxed us a copy of authentication attached to the piece of art. Entitled ’On The Run’, the artist statement describes what sounds like our dear Cole’s youthful life before he fell through time; gracing us with his appearance.” ELIZABETH MAY “What do you base this on?” GEORGE GALLOWAY “These paintings are more like interactive movies. You can step into them and interact with the characters. But they look like paintings from outside their frames. The staff have tested them of course. They catalogue history that hasn’t happened yet. Stories that haven’t been thought of yet. Not to mention, we need to know why this is happening in this particular pavilion. Is it something they brought over from Cardiff, or is something under the building? And Cole, he’s in bad enough state as is, let’s not bring up the Ghost Wars around him unless we have to.” REBECCA JONES “You’re a good man, sir.” GEORGE GALLOWAY “I try my best.” [GEORGE HANDS THE PHOTOCOPIES TO LIZ.] GEORGE GALLOWAY “Here Liz, take the photocopies with you.” [GEORGE PAUSES FOR A BEAT.] “Off you go ladies.” ELIZABETH MAY “Of course.” REBECCA JONES “We’ll make you proud sir.” CUT TO: - SC22 . INT. CPB LOUNGE - DAY - 1986 [COLE AND BAILEY ARE STOOD IN THE CENTRE OF THE ROOM.] DOCTOR BAILEY O’BANNION “Ramelin has sure glommed onto you Cole.” COLE JACOB BILLINGTON “Ramelins’ a real sweetie Bailey, but Incubi need a regular supply of sexual energy to survive, so I’m not sure how seriously I can take his attentions towards me.” DOCTOR BAILEY O’BANNION “That’s too bad; he seems to have done you a world of good Cole.” COLE JACOB BILLINGTON “Bailey, what are you playing at?” DOCTOR BAILEY O’BANNION “I’ve decided to turn over a new leaf. Say goodbye to Doctor Grumpinstine, Mister Maestro of Snark has left the building. Say hello to Sir Bailey the Gallant.” COLE JACOB BILLINGTON “You can save Sir Bailey the Gallant for Rebecca and Liz, I think I’d prefer to deal with Mister Maestro of Snark if it’s all the same to you.” DOCTOR BAILEY O’BANNION “Dealing with you Cole is like pulling teeth, pulling teeth from a rabid pit bull.” [REBECCA ENTERS FROM THE MAIN ROOM. REBECCA CROSSES THE ROOM. LIZ ENTERS.] ELIZABETH MAY “Gentlemen, play nice with one another.” DOCTOR BAILEY O’BANNION “What are you up to today?” REBECCA JONES “We’ve got ourselves a real mystery at the World’s Fair, eyes only.” ELIZABETH MAY “Perhaps if you behave yourself Cole, George will allow you in the loop.” COLE JACOB BILLINGTON “Have fun.” CUT TO: - SC23 . EXT. CHEMISTRY BUILDING - UBC CAMPUS - DAY - 1986 [COLE IS STOOD ON THE WET LAWN IN FRONT OF THE BUILDING. BAILEY WALKS UP BEHIND COLE.] COLE JACOB BILLINGTON “I hope you don’t get sucked up by one of our pet gravity wells, Bailey the all annoying.” [KNEELING; COLE LIFTS A METALLIC, FLAT CYLINDRICAL OBJECT FROM THE MUD BELOW THE GRASS. THIS IS A PARTIALLY BURIED GRAVITY GAGE. COLE REMOVES THE COVER. WE HEAR A SERIES OF BEEPS. COLE JOTS DOWN THE RESULTS ON A NOTEPAD.] COLE JACOB BILLINGTON “Everything’s normal here.” [THE COVER SNAPS BACK INTO PLACE. THE METALLIC OBJECT SINKS BACK INTO THE MUD WITH A SQUISH. COLE GETS TO HIS FEET. COLE BRUSHES THE GRIT FROM HIS TROUSERS.] DOCTOR BAILEY O’BANNION “If you don’t mind Cole, I have better things to do than pester you; I’ll be going now.” COLE JACOB BILLINGTON “Off you go then.” CUT TO: - SC24. EXT. NATIONAL MUSEUM OF ART - DAY - CARDIFF - 2014 [COLE PULLS A RENTED TOP END SILVER MERCEDES INTO THE PARKING LOT OF THE GALLERY. A CROWD OF TWENTY SOMETHING HIPSTERS STREAM THROUGH THE DOORS OF THE FACILITY. IN THE PASSENGER SEAT, PETE REMOVES HIS SEAT BELT.] PETE ROSCHILDE “Art is for the young.” [COLE FOLLOWS PETE’S ACTIONS, STEPPING OUT OF THE VEHICLE.] COLE JACOB BILLINGTON “Art is wasted on the young.” PETE ROSCHILDE “Come on, let’s see some alternative art as you deal with these Glaswegian pillocks. I’m not too sure how I feel about the Jackson Pollack oeuvre as an inspiration.” COLE JACOB BILLINGTON “There can be no better designer of the Jackson Pollack oeuvre than the man himself. He’s an island unto himself. Accept no substitutes. On that note, these are some bad weeds we have here. This right here, well actually I suppose Glasgow is ground zero for the headquarters of what will go on to develop into the Black Brigade. Legend states that off worlders with bad intentions infiltrated the organization shortly after the year three thousand. After that, they bided their time, sowing seeds of doubt in the general populace in concern to non Human refugees and immigrants, setting off the evolutionary wars in concern to Humans who worked against the grain, transforming their minions into Fallen God Bombers and Dark Medics, setting off the Temporal Skirmishes in fifty first century Wales and finally climaxing with the Ghost Wars. ” [PETE WALKS WITH COLE TO THE MAIN ENTRANCE OF THE GALLERY, HAND IN HAND.] PETE ROSCHILDE “Bad juju that. Let’s see some art.” COLE JACOB BILLINGTON “Your wish is my command, my studly bronco.” [PETE LEANS HIS HEAD AGAINST COLE’S SHOULDER, STRAIGHTENING UP AS THE PAIR HEAD INSIDE THE BUILDING.] CUT TO: - SC25 . EXT. EXPO 86 FAIRGROUNDS - DAY - VANCOUVER - 1986 [LIZ AND REBECCA WALK PAST THE WATER PARK DESIGNED TO AN ALIEN THEME. A VENDER COOKS SAUSAGES ON A GRILL. LIZ AND REBECCA WALK PAST THE ROBOTIC EXPO ERNIE.] ELIZABETH MAY “There he goes, the iconic Expo Ernie.” REBECCA JONES “Do you ever miss England Liz?” ELIZABETH MAY “Occasionally. I think I shall return to London when I’m an old lady.” REBECCA JONES “The housing costs will be atrocious by then.” ELIZABETH MAY “There’s always Cardiff.” REBECCA JONES “Cardiff’s dead.” ELIZABETH MAY “As much as I hate to give Cole any credit, he did mention that Cardiff is set to become the destination du jour in about two decades time. He’s the man from the future, why doubt him on that?” REBECCA JONES “Why indeed. Only, Cardiff’s always been dead. That’s why I left.” ELIZABETH MAY “Best not to talk like that inside the United Kingdom Pavilion. Let’s superimpose ourselves amongst the tourists. They’ll think we’re merely pavilion volunteers.” REBECCA JONES “We’ll be all agog at our visit to the colony.” ELIZABETH MAY “We’ll be here on a Worker’s VISA, not a holiday. Best not act like you just came through customs.” REBECCA JONES “Right. Look, the United Kingdom Pavilion is just over there, to the north.” ELIZABETH MAY “The colour is hideous! What were they thinking?” REBECCA JONES “It’s like the cover of a Sex Pistols album.” ELIZABETH MAY “It’s Thatcherism and Reaganism run riot.” REBECCA JONES “Look at that Spitfire parked out front.” ELIZABETH MAY “It’s so tiny. Crash that and there’d be no chance of survival.” REBECCA JONES “Let’s go.” CUT TO: - SC26 . INT. U.K. PAVILION - EXPO 86 - DAY - 1986 [LIZ AND REBECCA WANDER THROUGH AN ART GALLERY. THE FLOORS ARE HARDWOOD.] ELIZABETH MAY “According to pavilion staff, ‘On The Run’ should be down here, to the right.” [LIZ AND REBECCA STOP BEFORE A LARGE, UPRIGHT HOLO-PAINTING. THE FRAMES’ SIX FOOT IN HEIGHT BY TWELVE FEET IN LENGTH. THE CANVAS SPARKLES WITH GOLDEN ENERGY. THE PAINTED IMAGE SHOWS THE CORRIDOR OUTSIDE THE BAR ON STATION OORT. IN THE BACKGROUND WE SEE THE MARKET PLACE.] REBECCA JONES “The canvas looks solid, but it seems to sparkle with some sort of golden energy. What do you think, Liz?” ELIZABETH MAY “I wonder how it works. If this is holographic, does the image change?” REBECCA JONES “Is it even switched on?” ELIZABETH MAY “Well its glowing, so something’s active.” REBECCA JONES “There’s a control panel on top.” [REBECCA TAKES A LOOK AT THE PANEL. WE HEAR A BEEP.] REBECCA JONES “That wasn’t me.” ELIZABETH MAY “No.” [LIZ RETRIEVES THE ADG FROM HER JACKET POCKET.] ELIZABETH MAY “The ADG is picking up alien life signs.” REBECCA JONES “Is the battery going? Its usually more insistent then that.” [LIZ PRESSES BUTTONS ON THE ADG.] ELIZABETH MAY “Its reading Cole’s quantum signature.” REBECCA JONES “How far does the signal extend? He’s not in this room.” ELIZABETH MAY “It shouldn’t be picking him up at all, the ADG is programmed to ignore him. Otherwise it would be useless any time he was around.” REBECCA JONES “So either its malfunctioning, or there’s another Garconer around.” ELIZABETH MAY “It’s specifically Cole’s quantum signature, so its either him or an alternate incarnation.” REBECCA JONES “Lovely, just what we need. Another Cole.” ELIZABETH MAY “I’ll radio him to see where he’s at.” [LIZ RETRIEVES A CB RADIO FROM HER KIT. LIZ PLACES THE BAG ON THE FLOOR.] ELIZABETH MAY “Billington, are you on the base?” COLE JACOB BILLINGTON(OVER RADIO) “I’m on Marine Drive, heading down to check on the gravity wave readings on Musqueam sacred land. What’s up?” ELIZABETH MAY “We may have found a relative of yours at the Expo.” COLE JACOB BILLINGTON(OVER RADIO) “Bring them back to the base. It’s always good to see family. Who is it?” ELIZABETH MAY “No, not your American family, remember what you said about your crazy friend from the future?” COLE JACOB BILLINGTON “Rebecca Swartz, she’s not family. Please don’t tell me she’s here?” ELIZABETH MAY “No, she’s not. But I’m referring to what you said about dual incarnations. Not the bit about eternal love, just quantum fractures in the soul matrix.” COLE JACOB BILLINGTON(OVER RADIO) “Exactly who are we talking about here Liz?” ELIZABETH MAY “We’re not exactly sure. We’re picking up traces of your quantum signature on the ADG, and since you’re across town, we’re not quite sure what we’re dealing with.” COLE JACOB BILLINGTON(OVER RADIO) “What are you trying to do?” ELIZABETH MAY “Some interactive paintings from the distant future have somehow found their way inside the United Kingdom Pavilion. We’re stood in front of a piece of holographic art titled ‘On The Run’. It appears to be an image of a space station. There’s a corridor leading into a bar.” COLE JACOB BILLINGTON(OVER RADIO) “Its giving off my life signs you say?” ELIZABETH MAY “So it would appear.” COLE JACOB BILLINGTON(OVER RADIO) “This makes no sense, whatsoever.” ELIZABETH MAY “I’m guessing you’ve never provided anything of yourself to download your consciousness in a search for immortality then?” COLE JACOB BILLINGTON(OVER RADIO) “Well no. If my quantum signature is in the program; they’d need a fragment of my soul, that’s eternal. My particular consciousness will most likely cease to exist at the moment of death. So trying for immortality through becoming one with a holographic matrix would be pointless.” ELIZABETH MAY “Perhaps in the far distant future you incarnate into a species which inhabits holographic objects.” COLE JACOB BILLINGTON(OVER RADIO) “Whoah Nelly, that is a terrifying thought. Look, I think its best I come out there Liz.” ELIZABETH MAY “Whatever, you can deal with the director; he specifically told us to keep you away from the situation.” COLE JACOB BILLINGTON(OVER RADIO) “Why?” ELIZABETH MAY “He felt the objet de arte’ would bring up painful memories for you, and he wanted to spare you that. You’ve got to admit Cole, you haven’t been in the best frame of mind. But it appears we’re going to need to bring you in anyways. So come on down to the best little Welsh art den this side of the Atlantic.” COLE JACOB BILLINGTON(OVER RADIO) “I’ll do that.” [LIZ RETRIEVES HER KIT FROM THE FLOOR. THE IMAGE ON THE PAINTING MOVES INSIDE THE BAR. THE IMAGE MOVES TOWARDS THE BAR. A PAINTED IMAGE OF EIGHTEEN YEAR OLD COLE IS STOOD BEHIND THE BAR. COLE MOVES SLIGHTLY.] REBECCA JONES “Did you see that?” ELIZABETH MAY “See what?” REBECCA JONES “In the painting, the bartender moved.” [COLE MOVES HIS ARM.] REBECCA JONES “There it is again.” [COLE GAZES AT THE FRAME, APPEARING TO LOOK INTO THE GALLERY.] ELIZABETH MAY “My word, he’s looking right at us.” REBECCA JONES “Is that, its Cole, isn’t it?” ELIZABETH MAY “Looks like.” REBECCA JONES “I think there’s an audio connection on the control panel. Its set on mute.” [REBECCA PRESSES A BLUE BUTTON.] REBECCA JONES “It was set to slo-mo, now it’s running at regular speed. So paintified Cole, if he’s at all sentient; was stuck in a time loop that could have led to him living for billions of our years. That’s the greater lesson we can take away from this I suppose.” ELIZABETH MAY “I just realized this fair is the perfect destination for this technology. We’ve got all these three dimensional movies and displays of holographic images.” REBECCA JONES “Something tells me it won’t go very far Liz.” [THE IMAGE ON THE CANVAS IS NOW THAT OF COLE WIPING DOWN THE BAR. LIZ TUGS TWO REMOTE CONTROLS FROM THE TOP OF THE CONTROL PANEL.] ELIZABETH MAY “Here’s two game controllers.” [LIZ TOSSES A DEVICE TO REBECCA.] REBECCA JONES “Thanks Liz.” ELIZABETH MAY “This button at the top of the control says transduction nano-control.” [LIZ BECOMES SLIGHTLY TRANSPARENT. WE SEE LIZ STOOD IN THE CORRIDOR OF SPACE STATION OORT, FACING REBECCA FROM INSIDE THE OBJET DE ARTE.] REBECCA JONES “Are you feeling alright Liz? How does that even work?” ELIZABETH MAY “It must work through some sort of interphasic confluence drive; allowing the particles that make up my body to simultaneously inhabit the object I am now standing in.” REBECCA JONES “Alright, but how did your physical matter become an energetic form?” ELIZABETH MAY “Presumably, there’ll be a transducer in the control mechanism converting my physical matter to energy. I assume this object runs off a quantum entanglement field generator, producing its own universe. Its bigger inside than on the outside.” REBECCA JONES “Yeah, I got that. If that’s an alternate universe, and there’s a teenage Cole tending bar a few feet away, have we opened up a window in time to the late fifty, seventies? How will that effect our Cole?” ELIZABETH MAY “I presume the quantum entanglement field generator maintains the computer code originally producing the game world. The more people further up the time line access the program, the more creative energy the game world accesses. In-world boundaries then grew in size, pushing into the past and future of the game world. It then became self-sustaining, producing a non organic Cole; running off an aspect of the organic Cole’s source code. His soul in other words.” REBECCA JONES “So it’s an artificially created, designed to order universe, allowing a higher civilization to inhabit it. Possibly a means of escaping the big crunch of their own collapsing universe.” ELIZABETH MAY “Going by Cole’s description of the Fallen God Bombers who seek to escape our own universe‘s closing resolution, I think I know who is behind this machine.” REBECCA JONES “The story line of the holo-universe does point to a destructive intelligence behind its creation. On the other hand, the Luciferian force is the very antithesis of the creative works of Prime Creator. The power of creation is inherent in all of us; how we use that ability determines if we have the best interests of others in mind, or not.” ELIZABETH MAY “All universes are stories in the mind of Prime Creator or another lesser being. When we learn the moral of that story, the story comes to a natural resolution, re-joining the original mind creating it in the beginning.” REBECCA JONES “Moving away from the spiritual aspects underlying creation, here’s what we know about the physics underlying a device such as this. First, we’ve got our very own physics department running TRIUMF under directorship of Erich Vogt. The cyclotron is the first step in understanding how an artificially created universe could come into being. Next, the Hadron Collider in Cern, Switzerland has been in operation since nineteen eighty one. That particle accelerator is meant to change over to a Large Electron Positron Collider in eighty nine. Beyond that, they’ve been trying to get funding for a Large Hadron Collider for years; it keeps falling through. That is theorized to finally give us an inkling into how such an artificial universe could be brought into being. Saying all that, in amongst the quantum entanglement field generator, there must be some sort of miniaturized, high powered LHC engine bringing the pocket universe into being.” ELIZABETH MAY “It’s nice to know how things work. What do you think Rebecca, should I go and speak to our young friend around the corner?” REBECCA JONES “I don’t think it can hurt. I’ll wait here to see if the camera angle moves with your position.” CUT TO: - SC27. INT. STATION OORT - CANTICLE BAR - 5078 [LIZ ENTERS. LIZ CROSSES TO THE BAR. LIZ FACES COLE.] COLE JACOB BILLINGTON “What can I get you?” ELIZABETH MAY “Can we talk?” COLE JACOB BILLINGTON “Sorry, I’m not really into older women.” ELIZABETH MAY “Says the Garconer.” COLE JACOB BILLINGTON “I’m only eighteen years old. Can I get you anything besides that?” ELIZABETH MAY “I’m not interested in a relationship with you, kid.” COLE JACOB BILLINGTON “You say this after I’ve already shot you down. Likely story.” ELIZABETH MAY “Yeah, I know all about your history of shooting Humans down Cole.” COLE JACOB BILLINGTON “You’ve got the wrong man; now please leave if you’re not going to purchase anything.” ELIZABETH MAY “Have you noticed anything unusual about your life?” COLE JACOB BILLINGTON “What kind of question is that?” ELIZABETH MAY “There’s something I need to do, but I’m not quite sure what that is.” COLE JACOB BILLINGTON “I hardly think that needs to involve me.” ELIZABETH MAY “I’m not really supposed to be here, I belong in the year nineteen eighty six.” COLE JACOB BILLINGTON “Time travel eh? I don’t think its really possible, sorry.” ELIZABETH MAY “I came here with this gadget here.” COLE JACOB BILLINGTON “You’re one of them!” ELIZABETH MAY “One of whom?” [COLE GRABS THE DEVICE.] ELIZABETH MAY “Give it back right now Cole. You adolescent brat. who do you think you are; my husband?” COLE JACOB BILLINGTON “Do you have a husband?” ELIZABETH MAY “No. What do you plan on using it for?” COLE JACOB BILLINGTON “I don’t know how this artificial universe I’ve been imprisoned in found its way back to the twentieth century, but your inexperience has given me the perfect means of seizing my freedom. No longer shall some unseen hand control my own life, I can finally be my own man.” ELIZABETH MAY “You know?” COLE JACOB BILLINGTON “I’m a whole lot older than I look, and I do believe; a tad insane.” ELIZABETH MAY “What are you on about?” COLE JACOB BILLINGTON “I almost had it the last time one of you holo-players came in range of me; never been able to take it off one of you. You being from nineteen eighty six, you’re not tied in properly to the device. I’ve had lifetimes to figure out everything there is to know about the device, this game and the rules governing it. The one thing keeping me trapped like an animal was the fact that only the player could control the device. This one is an unregistered device, one I can actually use.” ELIZABETH MAY “What do you mean, lifetimes?” COLE JACOB BILLINGTON “I am millions of years old.” ELIZABETH MAY “What?!” COLE JACOB BILLINGTON “Time spins around me like particles of sand on the beach. Each spec of sand is like a player in the game. Each time a new player enters my realm, I am forced to relive my life; there are as many players as there are specs of sand on the beach. See what I’m dealing with here? I don’t get older, I grow up, I re-live the three years of hell back on my home world; I can’t control my actions. The player has full control. I reach this point in my timeline, and somewhere around now, I start all over again. The perfect prison, unto infinity. But, I’ve figured out the controls on these things. The universe doesn’t end with me, it carries on until the heat death of this reality. With just a tiny bit of fiddling, I can go anywhere I want. Backwards, forwards; any moment in time, any space in time. Who knows, I may still live forever, or I may die when my body is allowed to reach the end of its natural lifespan. Even so, if I do live forever, at least I’ll be able to move on from my childhood mistakes. Now, I don‘t believe you want to be left behind, so come follow me into the back room.” ELIZABETH MAY “Not on your life!” COLE JACOB BILLINGTON “Don’t be ridiculous. Going my way? Let’s explore all of time and space.” ELIZABETH MAY “In the back room; I thought you weren’t interested in older women?” COLE JACOB BILLINGTON “Technically, I’m millions of years old.” ELIZABETH MAY “Technically, you’re jailbait.” COLE JACOB BILLINGTON “You think? Come on.” CUT TO: - SC28. INT. U.K. PAVILION - EXPO 86 FAIRGROUNDS - DAY - VANCOUVER - 1986 [COLE IS STOOD BEFORE THE OBJET DE ARTE. REBECCA IS STOOD AT COLE’S SIDE.] COLE JACOB BILLINGTON “Hello Rebecca.” REBECCA JONES “Hello Cole.” COLE JACOB BILLINGTON “That’s the backroom of the bar I worked at, on the edge of system Sol. The year was fifty, seventy eight and I was on the run from the law. My cousin Tommy had been tortured to death by the Human authorities on Garconer Colony; I used every last cent I had to catch a ride into this system. I got as far as the Kuiper Belt, before my passage ran out. I spent about a week on the station, scrounging for food in the marketplace and bunking in empty guest quarters before the manager of the bar offered me work, and employee lodging.” REBECCA JONES “What do you think this is all about?” COLE JACOB BILLINGTON “Funny thing is, I do remember feeling better around this time. This was before I even met my first boyfriend James or Horatio. I remember stopping off at my quarters after clocking off from work late at night. I stood looking out at the distant stars, feeling like I wanted to throw myself out into the cold vacuum of space, I was overcome by the guilt and it was killing me. I just wanted to start over with a new life, where I’d have no knowledge of what I had once done. I think part of my soul, the part that couldn’t take one more second of the guilt; I think that part of me left. I stood by the window, blinking in confusion, wondering what I’d been thinking, thinking those kinds of thoughts. After all, I’d never manage to even begin to put things right if I took that chance away. After that, it was like a huge weight had been lifted, and I could focus on making reparations for my sins.” REBECCA JONES “In a way, you enacted a psychological Mishpatim upon yourself, the Babylonian Jewish ordinance of banishment; wherein your disavowed shadow was banished from your present form, your own personal Azael. Do you know Cole, your primary name means Shaman, Wise Man and Joker in old Welsh?” COLE JACOB BILLINGTON “I did not know that.” REBECCA JONES “Something must have led your parents to name you the very thing you are, a shaman for a new age. Mixing the ancient priesthood of the ancient Hebrews, the village healer of Iron Age Welsh tribes and a teacher of the Scientific Garconer mysteries. If I’m right, you inadvertently sentenced your personal Azael to another reality, ergo the game world; until your own physical death.” COLE JACOB BILLINGTON “How do you come to that conclusion?” REBECCA JONES “Under Babylonian law, banishment was the proscribed punishment for cases of accidental manslaughter. If your major pyschopomp, or mediator over life and death; felt extenuating circumstances, such as an immature mind’s reaction to trauma, disavowed you from full complicity in your harmful actions, it may have felt banishment into an artificial prison was the perfect means of retributive justice. It may also explain your momentary dalliance with the spectre of death. In contemplating the spectre of your own ending; given an alternate position in the quantum manifold of the local space-time field; you may have chosen to go out that window. Via meeting a designated exit point you encountered your pyschopomp. In rejecting that option, that greater force handed over the reins to you, the minor psychopomp, a shaman for a new age.” COLE JACOB BILLINGTON “In other words, I dissociated my primary ego from my shadow Protective self, casting it out into the barren wastelands of the cosmos, analogous to the Hebrew ritual of casting out the Azael. Two goats, or in my case, two soul fragments; are removed from the collective flock. By choosing to live in that moment, I had the power of life and death over another version of me. In that alternate timeline, that me became my scapegoat, dying in my place. In doing so, a third soul fragment had to be cast into the barren lands, taking on the mantle of my collective being’s whipping boy.” REBECCA JONES “Sobering thought. Seeing the results of one’s choices play out on those closest to you; one’s own quantum twins. COLE JACOB BILLINGTON “I like that, quantum twin. If only I could get that message across to my obsessed nemesis back in fifty one, twenty. If I think real hard about Rebecca Swartz, aim that thought towards fifty one twenty; will she pick up on it? The twin flame is the holographic fragment living in each separate timeline. There’s no need to look outside our own incarnation for wholeness, we are each our own separate creation in the holy of holies’ eyes. Together, we shall one day come together in unity, when our stories’ done, but that’s not the same as the Twin Flame ideology promulgated by my distant friend and her ilk.” REBECCA JONES “I think you know what you need to do to free your twin from the labyrinthine illusion of his Azaelic trap of astral torment, don’t you Cole?” COLE JACOB BILLINGTON “That’s a good analogy. Although I believe the framework is more of a binary quantum computer code then the fourth dimension. There is a similarity in that the holographic matrix is a false reality my twin has become trapped in, as well as the extreme longevity rulers of the fourth dimension lay claim to. It is said brutal warlords maintain an iron grip on the newly dead by remaining at the illusory level for millions of years. Whilst the average long term citizen will spend a few Earth years in the illusory zone before re-connecting to the Summer- lands, warlords maintain power via remaining in the fourth dimension, gaining strength the longer they stay.” REBECCA JONES “Therefore, in order to free your quantum twin from his eternal torment, a soul retrieval ritual would appear to be your best bet.” COLE JACOB BILLINGTON “I’ve got some spiritual preparation to do. I’ll go find a quiet spot to prepare, and you keep track of what those two on station Oort get up to.” REBECCA JONES : “Alright. You know, there is a fringe belief held by certain northern Welsh separatists that the Welsh population derived from nomadic Moabites around eight hundred B.C.E. That nicely merges the two cultural belief systems together.” CUT TO: - SC29 . EXT. EXPO 86 FAIRGROUNDS- DAY - 1986 [COLE, LIZ AND REBECCA WALK PAST THE FREEWAY SCULPTURE. CARS ARE SET ALONG A CURVED CEMENT BRIDGE.] COLE JACOB BILLINGTON “I feel renewed. That did me good, haven’t felt this good in years. It was me. I made the game disappear; I made it appear. I did it.” REBECCA JONES “You did not!” COLE JACOB BILLINGTON “My heartbreak over Cecil’s passing sent out a distress beacon into the universe, my despair calling on the greater part of my collective soul. My desolation created a causal loop in the manifold of time, acting as a magnet to the self locked in an artificial prison, like calling to like. He needed my help as much as I needed his. With our twin issues resolved, the force which sent the game here, returned it to its rightful place.” CUT TO: - SC30. INT. NATIONAL MUSEUM OF ART - CARDIFF - DAY - 2014 [PETE IS STOOD BEFORE COLE’S DISPLAY OF ART IN THE GALLERY. THE CRIME SCENE TAPE HAS BEEN REMOVED. THE FOUR MISSING PAINTINGS ARE STILL MISSING, LEAVING A BLANK SPACE ON THE GALLERY WALL. PETE GAZES AT THE PAINTING OF CHARN. COLE IS STOOD TO PETE’S LEFT. PETE POINTS TOWARDS THE POSEIDON‘S TRIDENT IN THE PAINTING.] PETE ROSCHILDE “What was this bit supposed to infer?” COLE JACOB BILLINGTON “Utnapishtim, the Guardian of the waters of life in the Quran; the Babylonian version of Noah whom took on the mantle of cosmic Azael, forced to eternally live in seclusion away from the rest of mankind in return for surviving the flood. Then there was Og, last of the Amorite Giants, presumably a Hydelbergensis said to catch a ride on Noah’s ark. You Pete, being the architect that you are, are represented by Gilgamesh who sought to study under Utnapishtim.” [COLE POINTS TO THE TINY FIGURE WITH EVELYN’S FORM.] COLE JACOB BILLINGTON “This woman here, your female aspect compiled the biography of Charn throughout his lifetime.” CUT TO: - SC31. EXT. KENSINGTON GARDENS - DAY - 5088 [THE FRIENDS AND FAMILY OF HORATIO AND COLE ARE SAT AT TABLES TO CELEBRATE THE PAIR’S FIRST ANNIVERSARY OF THEIR MARRIAGE. LIZ CARNEGIE IS SAT TO COLE’S LEFT. THE CHAIR TO COLE’S RIGHT IS EMPTY. HORATIO DOMINI WALKS TOWARDS THE TABLE CARRYING THE PAINTING OF CHARN.] COLE JACOB BILLINGTON “What have you got there Horatio?” HORATIO DOMINI “They do say the first anniversary is paper. I bought this at the Cardiff auction house. It was painted by one of your ancestors in the early twenty first century. The guy had your name Cole; figured it was only fitting we take possession of it. Look Liz, this Grotto woman looks like you.” [HORATIO LIFTS THE PAINTING UP ONTO THE TABLE. LIZ PEERS AT THE FIGURE IN HER IMAGE.] END OF EPISODE.

register for stage 32 Register / Log In