SYNOPSIS:

A painting from Evelyn's future follows her into her past.

ZOMBIES FROM THE DEEP OPENING

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, A COFFEE IN EACH HAND. PAUL IS 22, 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 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.” [THE OTHER TEN PAINTINGS ARE A MIXTURE OF FUTURISTIC CITIES AND IMAGES OF ALIEN SPECIES.] CUT TO: -