SYNOPSIS:

Ifan sets into motion the masterwork of lifetimes.

SEVEN OF CUPS: FURTHER EXCERPTS

SC8. INT. CPB MAIN ROOM - DAY - 1960

[COMMANDER BERTRAM RUSSELL FLIPS

THROUGH A FILE FOLDER ON THE CENTRE

TABLE.

DOCTOR STEVEN GREER ENTERS FROM THE FAR

CORRIDOR.

COLE ENTERS FROM THE LOUNGE.]

COLE JACOB BILLINGTON

“Good morning gentlemen.”

COMMANDER BERTRAM RUSSELL

“Ottawa sent us this case file by courier. The office of covert non

terrestrial affairs believe your knowledge of the wider galactic

ecosystem makes you the perfect man for this mission Cole.”

COLE JACOB BILLINGTON

“What’s the assignment?”

COMMANDER BERTRAM RUSSELL

“There’s been rumblings of an underground alien culture hiding in

plain sight in the Gas Town district. A local muckraker was tipped off

to the existence of the subculture when reports of blood drinking

alliances were noted by a group of grad students working in the

addiction treatment field. You know the score Billington, figure this

mystery out.”

COLE JACOB BILLINGTON

“Before the mystery figures us out; I’m on it.”

DOCTOR STEVEN GREER

“Do you have any thoughts on who these vampiric creatures are

Captain?”

COLE JACOB BILLINGTON

“They’re not any of the major galactic powers. If they’re making

nutrient exchange alliances, they’re benign.”

DOCTOR STEVEN GREER

“I’m worried about diseases.”

COLE JACOB BILLINGTON

“It is rather ick. There’s hard years around the corner for any creature

who feeds off blood, among others. I’ll say no more about that. The

timeline could have changed.”

COMMANDER BERTRAM RUSSELL

“Darn time traveller, one of these days I’d like to figure out how that

machine of yours works, and I’ll read the news files til the end of the

millennium.”

COLE JACOB BILLINGTON

“Good luck with that. You wouldn’t know what you’re looking for. Well,

good day gentlemen.”

[BERTRAM HANDS COLE THE FILE FOLDER.]

CUT TO: -

SC9. EXT. CELEBRITIES CLUB - DAY - VANCOUVER - 2014

[COLE WALKS SOUTHWARD AWAY FROM THE

CLUB.

SERA’S AT HIS SIDE.

COLE HOLDS A CELL PHONE TO HIS EAR.]

COLE JACOB BILLINGTON(INTO PHONE)

“What have you got for me Brittany?”

BRITTANY LONGFELLOW(V.O.)

“The cops called in a report of a targeted attack on the Heomative

family who own a bar on Richards Street. A group of men broke into

the wine cellar leading to the basement apartment and beat the fifteen

year old twin brothers. Their sixteen year old sister Mary ran them off.

The cops caught up to one of the assailants. They interrogated him at

the station; whereupon they were told of a local campaign of anti-

Ultraterrestrial propaganda being propagated by a fringe group.”

COLE JACOB BILLINGTON(INTO PHONE)

“What, how does the fringe group even know Ultraterrestrials even

exist? Question is, have they targeted the Heomatives for their

vampiric qualities, styling themselves some sort of watchers; or their

non-terrestrial appearance? Fact of the matter is, that species isn’t

technically non-terrestrial. More like temporally displaced. They’re

From Earth’s distant past from before the dinosaurs evolved, and from

another reality.”

[COLE PUTS AWAY HIS PHONE.]

CONSTABLE SERA RASMUSSEN

“What was that last bit?”

[WE SEE COLE’S 1967 ROADSTER A FEW FEET

AWAY.]

COLE JACOB BILLINGTON

“You know about comatose Jonathan, and how the parasite created a

quantum bridge connecting him to our sister universe. Now if our

analog selves can be likened to siblings, then universes with a

different energetic structure can be considered our cousins. The

Heomatives are native to a concurrent reality in which the

Ultraterrestrials coexist with terrestrials; they sort of slid through a

crack in the fabric of reality.”

[COLE AND SERA STOP BEFORE COLE’S PARKED

VEHICLE.

THE ROOF IS UNCOVERED.]

CONSTABLE SERA RASMUSSEN

“And the bit about the dinosaurs, what was that about?”

COLE JACOB BILLINGTON

“Its when they evolved. Pre-Cambrian era, sentient life had to find an

alternate route to gathering nutrients in lieu of our fatty acids and

protein rich developed brains. Heomatives evolved along a

thermophilic line, in a time when the Earth was volcanically volatile

and not habitable to mesophiles. They’re perfectly happy to thrive in

the region, but their digestion system still follows their ancient genetic

code. Brittany’s been studying the clan due in part to the connection

they have to the local Squamish people. They came through in the

sixteen hundreds, crash landed an immense saucer into the west end,

which was all swampy ground at the time. Apparently they originated

out of a future which was vastly different from my own history.”

CONSTABLE SERA RASMUSSEN

“How so?”

COLE JACOB BILLINGTON

“As a result of the energetic differential in creative output between this

world and that world, the timeline is vastly compressed. Individuals

who will exist a few millennia from now in this timeline were born into

this society instead. Events that began last month, that should have

spanned a day or two, would still be occurring over there. This is the

consequence of a world native to millions of species of

Ultraterrestrials; the creative energy is balanced out through temporal

compression.”

[COLE OPENS THE PASSENGER SIDE DOOR FOR

SERA.

SHE SLIDES IN AS COLE GOES AROUND TO THE

DRIVER’S SIDE OF THE VEHICLE.

SLIPPING IN, COLE STRAPS ON HIS SEAT BELT.]

COLE JACOB BILLINGTON

“There’s the Betran Andronicus whom are acidophiles, which is why

the one we found starved to death. The creature Cecil and I found in

twenty eight was an radioresistant creature which in my time came to

be known as a Mechanical Jester. I hadn’t recognized it at the time

because nobody from my time had ever seen it out of its’ shell. It was

a tiny little thing, like the rendering in Gnostic scribbles of those foetus

like Archons. Normally the organic form would be placed in a metallic

suit, a sort of guided evolution in response to radiation of various

forms. Garconer had longevity and immunity as societal endeavour;

the Jesters, protective covering for gamma radiation bombarding their

planet.”

[COLE PUTS THE VEHICLE INTO DRIVE AND

HEADS OFF.]

CUT TO: -

SC10. INT. COLE’S VEHICLE\EXT. RICHARDS ST. - DAY - 2014

[COLE’S AT THE WHEEL.

SERA’S IN THE PASSENGER SEAT.

THE VEHICLE IS IDLING AT THE CORNER OF WEST

HASTINGS STREET.]

COLE JACOB BILLINGTON

“After I did a bunch of investigation, I found the Heomatives living

below the bar they’d owned and ran since the early thirties. I first

became aware of the colony’s existence when I purchased my old

cottage from them. At the time, I’d assumed it was merely a sun

allergy. Sir Francis Burton the Victorian explorer had a brother Edward

whom suffered such severe a case of sun stroke, it drove him

psychotic.”

CONSTABLE SERA RASMUSSEN

“That makes no sense at all. Maybe it was something they gave him to

treat the sunstroke and disagreed with him. I know the Malaria

medication Francis Burton took in Africa was purported to be laced

with Cocaine, so who knows?”

[COLE CONTINUES TOWARDS WEST CORDOVA

STREET.]

COLE JACOB BILLINGTON

“Well anyways, I never trusted Bertram Russell after he threatened to

kill me if I didn’t shoot that poor alien in fifty four so I covered it up. I

told Bailey about the colony when I became director, and Brittany

knew about them from family legends. Reginald may too, but we’ve

never spoken of it.”

[COLE PULLS THE VEHICLE TO A STOP IN FRONT

OF THE LONG SHORE MAN PUB.]

CUT TO: -

SC11. INT. LONG SHORE MAN PUB - RICHARDS ST. - DAY - 2014

[COLE ENTERS THE PUB, HOLDING THE DOOR

OPEN FOR SERA.

SERA ENTERS.

AN OLD FASHIONED VINYL RECORD PLAYER SITS

IN THE FAR CORNER NEAR THE WASHROOMS.

SEVERAL BOOTHS LINE THE SOUTH WALL.

THE WALLS ARE BLACK; A TINGE OF GOLD

CREATING THE ILLUSION OF A GOLD MINE.

ON THE WALL, ABOVE THE CORNER BOOTH

CLOSEST TO THE RECORD PLAYER IS THE

HOLOGRAGHIC PAINTING THAT ONCE HELD IFAN.

THE PAINTING HAS SHRUNK FROM ITS FORMER

SIZE.

THE SPACE FORMERLY TAKEN UP BY IFAN’S

IMAGE NOW APPEARS AS WHITE LIGHT ON THE

CANVAS.

THE GLASS AROUND THE HUMAN FORM IS GONE,

AS THOUGH CARVED AWAY.

GEORGE THE BARTENDER, STOOD BEHIND THE

BAR; WAVES A GREETING AT COLE.

COLE, DISTRACTED BY THE PAINTING, HEADS

OVER TO TAKE A CLOSER LOOK.]

COLE JACOB BILLINGTON

“George, when did you get this painting?”

GEORGE THE BARTENDER

“Fellow calling himself Francis was here early this morning, said it was

a gift from God’s people to outsiders. You think it has anything to do

with the attack?”

COLE JACOB BILLINGTON

“We both know this painting should not be here. Not in this time.”

GEORGE THE BARTENDER

“They’re doing amazing things with art these days.”

COLE JACOB BILLINGTON

“Not this advanced, not nearly.”

GEORGE THE BARTENDER

“Constable, how about a hot apple cider? Its on me.”

CONSTABLE SERA RASMUSSEN

“Sure.”

[SERA AND COLE SLIDE INTO THE BOOTH NEXT

TO THE PAINTING.

POV. THE WHITE LIGHT GLOWS AGAINST THE

RHEIC TIDAL FLAT.]

CUT TO: -

SC12. EXT. RHEIC TIDAL FLAT - AVALONIA - DAY - CAMBRIAN

ERA

[WATER LAPS ALONG THE SHORE.

BLACK TRILOBITE FLOAT ABOVE GREY GRAVEL.

THE WHITE LIGHT HOVERS AT KNEE LEVEL,

CORRUSCATING OUTWARDS LIKE SUN SPOTS.

WE’RE INSIDE THE WHITE LIGHT NOW.

SPECKS OF BLACK DART ABOUT, FRACTURED

SHADOWS IN HUMANOID FORM.

WE HEAR WATER LAPPING AGAINST GRAVEL,

AS BUBBLES POP FROM TRILOBITE RESPIRATION.

WE MOVE INTO THE WHITE LIGHT, OUT OF VIEW

OF THE GROUND.

WE HEAR RADIO STATIC AS WE CONTINUE

MOVING INTO THE LIGHT.

THE BLACK SPECKS EXPAND, BECOMING MORE

DEFINED.

WE HEAR THE ELECTRONIC BEEPS AND BUZZ OF

A GARCONER SHIP BRIDGE.]

CUT TO: -

SC13. INT. GARCONER SHIP BRIDGE - DEEP SPACE- 2013

[WE SEE THE CENTRE OF THE BRIDGE THROUGH

THE END OF THE WHITE LIGHT, TUNNEL LIKE.

THREE GARCONER, DOPPELGANGERS OF IFAN,

CORA AND LIZ ARE BENT OVER A

COMMUNICATIONS PANEL.

THIS IS WHERE THE RADIO STATIC IS COMING

FROM.

WE SEE THE REST OF THE BRIDGE.

ITS CIRCULAR WITH WINDOWS EVERY FEW FEET.

THIS IS THE LEAD BATTLE CRUISER IN THE

GARCONER-STORNAWAY NEAR EARTH TASK

FORCE.

IN FRONT OF THE COMMUNICATIONS PANEL, A

HATCH LEADS DOWN TO A LOWER LEVEL VIA A

LADDER.

THIS IS LIT WITH RED AND BLUE LIGHTS.

BEHIND THE COMMUNICATIONS PANEL THE

FLOOR IS BLACK.

VARIOUS INSTRUMENT PANELS NEAR THE

WINDOWS ARE MANIPULATED BY GARCONER

CREW.

TWO OF THE CREW ARE DOPPELGANGERS OF

EVELYN AND EMILY.

WE SEE THE VIEW OUTSIDE THE SHIP.

SEVERAL GARCONER BATTLE CRUISERS SIMULAR

TO THE ONE WE’RE IN IDLE BEHIND THE LEAD

SHIP.

ACROSS FROM THE ROW OF BATTLE CRUISERS

ARE AN EQUIVALENT NUMBER OF STORNAWAY

MEDICAL TRANSPORTS, WHITE IN COLOUR.

BETWEEN THE TWO ROWS OF SHIPS A DOCKING

FACILITY IS SET IN PLACE WITH TWO GRAVITY

THRUSTERS BELOW.

EACH SHIP IS ATTACHED TO A DOCKING CLAMP.

A LARGE RE-FUELLING FACILITY AND PUB RISES

SEVERAL STORIES ABOVE THE DOCKS.

IN THE DISTANCE, THE SUN IS SURROUNDED BY

THE OVAL SHAPE OF THE EARTH’S SOLAR

SYSTEM.]

CUT TO: -

SC14. INT. COLE’S COTTAGE - DAY - 1942

[COLE ENTERS THE COTTAGE.

BEHIND COLE, GENERAL TYSON MONTGOMERY IS

STOOD IN THE FRONT STOOP.

RUSSELL RUNS TO GREET COLE, YIPPING.

SCOOPING THE DOG INTO HIS ARMS; COLE

SCRATCHES RUSSELL BEHIND THE EARS.]

COLE JACOB BILLINGTON

“You’re a good boy, aren’t you, puppy? Yes you are.”

[COLE TURNS TO FACE TYSON.]

COLE JACOB BILLINGTON

“This is Russell. Step on in to my parlour said the spider to the fly.”

[COLE MOVES ASIDE, PLACING RUSSELL BACK ON

THE CARPET.]

GENERAL TYSON MONTGOMERY

“Are you the spider or the fly Billington?”

COLE JACOB BILLINGTON

“Never mind that. There are secrets travelling through the air, which

unless I have the ability to usurp my known history as its to be written

in the coming millennia; and change my destiny, secrets won’t be the

only thing travelling through the air.”

[STEPPING ACROSS THE THRESH HOLD, TYSON

PLACES A HAND ATOP COLE’S SHOULDER.]

GENERAL TYSON MONTGOMERY

“Cole, whatever happens, we always have choices; even if the only

choice we are granted is our attitude to any given situation.”

[TYSON MOVES FURTHER INTO THE ROOM.

RUSSELL DARTS PAST TYSON, JUMPING ONTO

THE FIRST STEP OF THE STAIRCASE.

COLE MOVES TOWARDS THE ALCOVE BENEATH

THE STAIRCASE WHERE RUSSELL HAS HIS

DOGGY BED AND A BASKET OF CHEW TOYS.]

COLE JACOB BILLINGTON

“Before I bought this cottage, it was owned by a tribe of Vampires

whom lucky for us, dug out a secret chamber beneath the cottage.

The entrance is right here.”

[WE SEE THE WALL BEHIND THE DOG’S SLEEPING

AREA.

SET INTO THE WALL IS A FAINT OUTLINE OF A

SMALL DOOR.]

GENERAL TYSON MONTGOMERY

“Vampires?”

COLE JACOB BILLINGTON

“Probably just a sun allergy. I’ve renovated it to use as an alternate

base when everything starts happening here.”

GENERAL TYSON MONTGOMERY

“It may not happen Cole. The timeline you came from may have been

slightly different from the one you’ve found yourself in now. Someone

may choose to do something which will shift the balance of power just

enough, that the Nazis can’t over run the city.”

COLE JACOB BILLINGTON

“Maybe you’re right, but I was named after an ancestor who’s held as

a great hero, a man who fell through time and died sacrificing himself

for someone else. The irony is, I was named after my self. How can I

possibly not experience what has brought me to this place?

GENERAL TYSON MONTGOMERY

“There’s always hope Cole, the hope that enough minute changes

have and will be made to the timeline that things will be different from

how its been recorded in your gadget’s archives. If not, know that

through the ashes of the near future, a far better world will rise;

ushering in the near utopia you mourn so much. In a world where

Garconer head a humanitarian task force made up of numerous

species and are revered as peacemakers, they will always be loved.

Every temporal refugee from the twenty second century onward our

network has had contact with tells the same story. And yet, each choice

these temporal nomads make, increases the chance of a wild card

coming up in the row of the dice, increasing the probability of

divergence.”

[COLE MOVES ASIDE THE DOG’S BED, PUSHING

OPEN THE DOOR.

RUSSELL JUMPS DOWN FROM THE STEP HE WAS

CURLED UP ON, HEADING TO THE BED.

TYSON CHUCKLES AS RUSSELL STAKES OUT THE

BED.]

CUT TO: -

SC15. EXT. HISTORIC GAS TOWN - NIGHT - 1942

[COLE DRIVES A COMPANY JEEP WESTWARD UP

CORDOVA STREET.

GERMAN BOMBERS APPROACH THE CITY,

APPEARING OVER THE HORIZON NEAR STANLEY

PARK.]

COLE JACOB BILLINGTON

“And so it begins.”

[AN AIR RAID SIREN STARTS UP ALONG THE

STREET OUTSIDE THE JEEP.]

CUT TO: -

SC16. EXT. COLE’S COTTAGE - ENGLISH BAY - NIGHT - 1942

[A CONVOY OF COMPANY JEEPS AND PERSONAL

VEHICLES ARE PARKED IN THE DRIVEWAY, THE

OPEN GARAGE AND THE LANE IN FRONT OF THE

COTTAGE.

COLE HOLDS THE FRONT ENTRANCE OPEN FOR

JONATHAN AETHERS.

TYSON AND HIS WIFE DART ACROSS THE LAWN

FROM THE LANE.

SHE CARRIES A TEN MONTH OLD SON- CHARLES

MONTGOMERY.

TYSON CARRIES SEVERAL BAGS TO THE OPEN

ENTRANCE.

THE MONTGOMERY FAMILY SCURRY INSIDE.]

COLE JACOB BILLINGTON

“Welcome, head directly down to the shelter. Tyson’ll show you where

it is.”

[COLE CLOSES THE DOOR AS A V1 ROCKET

WHISTLES PAST AN IMMENSE TREE IN THE

DISTANCE BEHIND THE COTTAGE.

A GERMAN BOMBER FLIES HIGH ABOVE SAID

TREE.]

CUT TO: -

SC17. EXT. GRANVILLE STREET - DAY - VANCOUVER - 1953

[AN IMMENSE SAUCER APPEARS IN THE SKIES,

CASTING A SHADOW ACROSS THE STREET.

COLE IS STOOD WITH JONATHAN AETHERS AND

DOCTOR STEVEN GREER IN AN ALLEY NEAR AN

OPEN MANHOLE COVER.

OUTSIDE THE SHOPS, THIRD REICH OFFICIALS

STAND WITH GUNS HOLSTERED, STANDING IN

FOR MUNICIPAL COPS.]

COLE JACOB BILLINGTON(O.O.V.)

“Now they’re really in for it.”

[COLE BENDS DOWN TO CLIMB THROUGH THE

MANHOLE.

COLE DISAPPEARS BENEATH THE STREET.]

CUT TO: -

SC18. EXT. NATIONAL GALLERY- NIGHT - LONDON- 1953

[VISITORS EXIT THE GALLERY.

SAUCERS APPEAR IN THE SKY ABOVE THE

THAMES.

SEEN FROM A DISTANCE, THE SAUCERS ARE LIT

ALONG THEIR EDGES WITH LIGHTS OF

TURQUOISE, BLUE AND PINK.]

CUT TO: -

SC19. EXT. LABOUR CAMP- NIGHT - LONDON- 1953

[S.S. GUARDS STAND GUARD IN FRONT OF A

PRISON CAMP.

THEY FACE THE THAMES.

WE’RE ON THE OPPOSITE BANK FROM THE

NATIONAL GALLERY.

A SAUCER FLIES OVER THE CAMP.

THE GUARDS ARE VAPOURIZED, THEIR DUST

FALLING TO THE GROUND.

INSIDE THE GROUNDS, VARIOUS GUARDS MEET

THE SAME FATE.

THE PRISONERS, MOSTLY NON CAUCASIAN,

SOME DISABLED, GLBT, CATHOLICS, ROMANY,

POLITICIANS AND RESISTANCE FIGHTERS ARE

ALL SPARED.

S.S. GUARDS CONTINUE TO BE NEUTRALIZED.

THE RAZOR WIRE MAKING UP THE FENCE AND

THE GATES ARE VAPOURIZED IN THE SAME

MANNER AS THE GUARDS.

THE PRISONERS GATHER INTO A MOB, EYING

THE OPEN CAMP, AND UP AT THE SAUCER; NOT

QUITE SURE WHAT TO DO.

A FEW MORE SAUCERS HOVE INTO VIEW IN THE

DISTANCE.

LIGHTS FLASH IN THE GATEWAY.

THE LIGHTS TRANSFORM INTO THREE

MECHANICAL JESTERS.

THE TRIO ARE POSITIONED IN A TRIANGULAR

FORMATION, FACING THE MOB.

IN THE CENTRE IS MECHANICAL JESTER DAVID

CAMERON, SQUADRON LEADER OF COMPANY

LONDON SHIP TRINITY 99559.]

DAVID CAMERON

“We give you your freedom. Go, tell others the Jesters are knocking

out the chess masters on their dark horses. We’re giving you back

the world.”

[THE THREE DISAPPEAR IN A SHOWER OF LIGHT.]

CUT TO: -

SC20. EXT. GRANVILLE STREET - DAY - VANCOUVER - 2013

[OVER THE CITY, CONTINENT JUMPERS,

COLOURFUL ANTI-GRAV VEHICLES BUILT FOR

FIVE TO TEN INDIVIDUALS SPEED PAST.

BELOW, WE SEE THE GRANVILLE STREET

BRIDGE.]

CONSTABLE SERA RASMUSSEN(V.O.)

“We thought the Jesters were our salvation, generations ago when

they first came. They put a stop to the horrors being perpetrated by the

Nazis, they saved us all. Jews, people with disabilities, sexual

minorities; we thought they were our salvation.”

[CLOSER IN, WE SEE HOTEL VANCOUVER.]

CONSTABLE SERA RASMUSSEN(V.O.)

“And life is good for those once ostracized. We have good lives, it’s

peaceful. But for those in position of power, the Jesters were like

Roman slave owners. They may have treated their slaves well, but a

slave is still a slave.”

[SERA WALKS ALONG THE STREET WITH

DETECTIVE TOM WILLOUGHBY.]

DETECTIVE TOM WILLOUGHBY

“Well, that’s some thing eh?”

CONSTABLE SERA RASMUSSEN

“She sounded pretty scared.”

DETECTIVE TOM WILLOUGHBY

“We’re all scared Sera. The Jesters have the planet in a constant

state of agitation. I’d be surprised if we weren’t all suffering from some

sort of Post Traumatic Stress Disorder.”

CONSTABLE SERA RASMUSSEN

“I’ll need to get this information to Cole. He’s over in Great Britain at

the moment helping the London resistance set up the signal relay to

his ancestors.”

DETECTIVE TOM WILLOUGHBY

“He’s sending the signal through time?”

CONSTABLE SERA RASMUSSEN

“No, they’re out past the solar system. He was born in fifty, sixty; so

the Garconer alive today are his patrilineal ancestors.”

DETECTIVE TOM WILLOUGHBY

“So now we know.”

CONSTABLE SERA RASMUSSEN

“Now we know. I wonder, do you think the Jesters planned this all

along, to capture Jonathan Aethers and what his replenishing life

force represents?”

DETECTIVE TOM WILLOUGHBY

“Why wait six decades? No, I think they’ve had a change of leadership

over the generational shift. Perhaps our saviours had nothing but a

humanitarian mission on their minds back in fifty three. They identified

with the disabled and oppressed, seeing the parallel with their entire

species suffering catastrophic gene damage from their planetary

gamma ray bombardment. What caused their downfall, is they made

the same mistake we made with Germany. Hitler rose to power on a

platform of scapegoating the Jewish people based on the foundation

built of the economic reparations for the first world war. Likewise, the

Jesters didn’t stop at destroying the Nazis, they made an object lesson

of those in positions of privilege. Once headed down that road, there

was nowhere to go but down.”

CONSTABLE SERA RASMUSSEN

“That made us all prisoners, the downtrodden and blessed alike. When

one man’s made a slave, we’re all made slaves.”

[THEY CONTINUE WALKING IN THE DIRECTION OF

THE BRIDGE.

UNNOTICED BY THE CONSTABLES, A CONTINENT

JUMPER FOLLOWS SERA‘S PATH.]

CUT TO: -

SC21. EXT. ROYAL OBSERVATORY - GREENWICH - DAY - 2013

[CONTINENT JUMPERS PASS OVER HEAD.

CALVIN PRITCHARD EXIT’S THE OBSERVATORY.

COLE WALKS UP THE PATH TOWARDS HIM.

PETE’S AT COLE’S SIDE.]

COLE JACOB BILLINGTON(V.O.)

“It was London where it all happened. For ten years, the Germans

attempted to rule the planet from there. When the slavers arrived, it

was London where they chose to set up shop. America had

descended into chaos, falling back to the level of a series of colonies.

Much of the fighting took place in Los Angeles and New York. Canada

pretty much surrendered right away, transferring allegiance from the

King of England to the German Kaiser whom had been installed in

White Hall. We were used to having a head of state not our own.

America was different, having built their nation through the tools of

revolution. They were more willing to fight for their freedom. Back then,

Canada’s involvement in the war had been more about standing up for

the British Empire; with the fall of London, there was really nothing

more to stand up for. It was a dark day when news of the royal family’s

executions were broadcast across the news wires. We suffered a

communal defeat, even those whom hadn’t cared so much for

maintaining ties to the empire.”

[MECHANICAL JESTERS OBSERVE THE

OBSERVATORY FROM A DISTANCE.

COLE PASSES CALVIN, PATTING HIM ON THE

BACK.

CALVIN WAVES A GREETING, CONTINUING ON.

COLE DESCENDS TO THE OBSERVATORY

ENTRANCE.

HE ENTERS THE BUILDING.

PETE TURNS AND LOOKS AT THE MECHANICAL

JESTERS.

AFTER A BEAT, PETE ENTERS AS WELL.]

CUT TO: -

SC22. INT. ROYAL OBSERVATORY - GREENWICH - DAY - 2013

[COLE IS KNELT AT THE BASE OF A VICTORIAN

ERA TELESCOPE RETROFITTED WITH A

CONTEMPORARY RADIO-TELESCOPE.

COLE CONNECTS THE BASE WITH A HOLO-

CAMERA.]

CUT TO: -

SC23. EXT. ROYAL OBSERVATORY - GREENWICH - DAY - 2013

[COLE IS STOOD ATOP THE OBSERVATORY ON A

LEDGE, OVERLOOKING THE GROUNDS.

CONTINENT JUMPERS PASS OVERHEAD NEAR

THE HORIZON.

MECHANICAL JESTERS WATCH COLE FROM AN

OBSERVATION LEDGE.

CALVIN IS STOOD BEHIND COLE FILMING HIM WITH

THE HOLO-CAMERA.

PETE IS STOOD TO COLE AND CALVIN’S RIGHT,

BEHIND COLE, IN FRONT OF CALVIN.

COLE HOLDS A MICROPHONE ATTACHED TO THE

AUDIO INPUT OF THE HOLO-CAMERA.]

COLE JACOB BILLINGTON

“Now I’m asking for help, from one young son born of another sun; to

those who’ve come before him, please help. The temporal cohesion of

the cosmos is in danger of catastrophic collapse; the Mechanical

Jesters plan to rip apart the foundations of time and space itself and

tunnel through the bridge between the worlds. I call upon the

Garconer, Stornaway Humanitarian Alliance as guardians of the

galaxy. Help us please; from your brother in Heaven’s arms, R.C.N.

Captain Cole Jacob Billington. Over and out.”

[COLE SALUTES IN THE DIRECTION OF THE HOLO-

CAMERA.]

CUT TO: -

SC24. EXT. GRANVILLE STREET - DAY - VANCOUVER - 2013

[SERA FOLLOWS TOM BELOW THE BRIDGE.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[CONTINENT JUMPERS SWOOP BY NEARBY.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[SERA IS GRABBED FROM BEHIND.

SHE IS PULLED UPWARD, SCREAMING.

TOM TURNS AROUND.

SERA IS HELD IN THE AIR BY TWO MECHANICAL

JESTERS ATTACHED TO A GRAPPLING LINE AND

HARNESSES SLUNG FROM THE OPEN DOOR OF A

CONTINENT JUMPER.

SERA KICKS HER LEGS FRANTICALLY, TRYING TO

GET FREE.]

CONSTABLE SERA RASMUSSEN

“Tom!”

[THE JESTERS PULL ON THE GRAPPLING LINE,

RAISING SERA HIGHER.

THE VEHICLE HEADS HIGHER TOWARDS THE

SOUTH.]

DETECTIVE TOM WILLOUGHBY

“Sera stop struggling, you’ll kill yourself on impact if you fall. You’re

too high up. Just ride this out.”

[THE VEHICLE MOVES FURTHER SOUTH.

THE JESTERS PULL THEMSELVES AND SERA UP

INTO THE VEHICLE.]

DETECTIVE TOM WILLOUGHBY

[SHOUTS.] “What are you doing with her, you metallic trolls. I’m

bringing in the big guns. Just you wait.”

[THE DOOR ON THE VEHICLE CLICKS SHUT.

TOM RUNS UP THE PATH TOWARDS THE BRIDGE.

WE SEE TOM STOOD ON THE BIKE PATH

APPROACHING THE BRIDGE.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[THE VEHICLE IS HEADED TOWARDS STANLEY

PARK.]

CUT TO: -

SC25. EXT. NEAR EARTH REFUELLING STATION - DEEP SPACE-

2013

[WE’RE DIRECTLY BETWEEN THE LEAD

GARCONER SHIP AND THE DOCKING FACILITY.

IN THE DISTANCE, THE SUN IS SURROUNDED BY

THE OVAL SHAPE OF THE EARTH’S SOLAR

SYSTEM.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[WE HEAR RADIO STATIC.]

CUT TO: -

SC26. INT. GARCONER SHIP BRIDGE - DEEP SPACE- 2013

[THREE GARCONER, DOPPELGANGERS OF IFAN,

CORA AND LIZ ARE BENT OVER THE

COMMUNICATIONS PANEL.

THIS IS WHERE THE RADIO STATIC IS COMING

FROM.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[POV. HOLO-STREAM VISUAL UPLOAD ON THE

COMMUNICATIONS PANEL.

COLE’S STOOD ATOP THE OBSERVATORY ON A

LEDGE, OVERLOOKING THE GROUNDS.]

COLE JACOB BILLINGTON

“Over and out; over and out.”

[WE SEE THE CENTRE OF THE BRIDGE THROUGH

THE OPENING OF THE WHITE LIGHT, TUNNEL LIKE.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[WE MOVE FURTHER INTO THE WHITE LIGHT, OUT

OF VIEW OF THE SHIP‘S BRIDGE.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[WE HEAR WATER LAPPING AGAINST GRAVEL AS

BUBBLES POP FROM TRILOBITE RESPIRATION.]

CUT TO: -

SC27. EXT. RHEIC TIDAL FLAT - AVALONIA - DAY - CAMBRIAN

ERA

[WATER LAPS ALONG THE SHORE.

BLACK TRILOBITE FLOAT ABOVE GREY GRAVEL.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[THE WHITE LIGHT HOVERS AT KNEE LEVEL,

CORRUSCATING OUTWARDS LIKE SUN SPOTS.]

CUT TO: -

SC28. INT. LONG SHORE MAN PUB - RICHARDS ST. - DAY - 2014

[COLE IS SAT NEXT TO SERA IN THE BOOTH.

GEORGE IS SAT ACROSS FROM THEM.

THEY HAVE A ROUND OF APPLE CIDER IN GLASS

MUGS.

WE SEE THE PAINTING; THE WHITE LIGHT GLOWS

AGAINST THE RHEIC TIDAL FLAT.]

COLE JACOB BILLINGTON(V.O.)

“Over and out; over and out.”

[WE SEE COLE LIFT HIS MUG TO HIS LIPS, TAKING

A GULP.

THE MUG HAS THE NAME OF THE PUB

EMBLAZONED IN AN OVAL CIRCLE.]

GEORGE THE BARTENDER

“One of the fellows who attacked the boys said they were directed

here through guidance from a Commander Ashtar of the Ashtar

Command. Know anything about that?”

COLE JACOB BILLINGTON

“Ah, of course. Not quite sure how exactly to explain him. Whatever

he is, he’s got a mixture of immortality and time travel going on.

Public record states that he first appeared to George Van Tassel in

nineteen fifty three whereupon he woke him up, took him aboard a

space ship and claimed to be from the planet Venus. Clearly he’s not,

whatever he is. Now we’ve got Canada’s former minister of defence

who shall remain unnamed for now; proclaiming the praises of this

group who now claim to be from a nonexistent moon of Saturn. You

can check Youtube for interviews he’s done with Russian news

media. Don’t ask me what he’s up to, nothing good I‘m sure.”

GEORGE THE BARTENDER

“Could be post traumatic stress disorder.”

COLE JACOB BILLINGTON

“Whatever. George Van Tassel built this shed under direction of

Commander Ashtar which was supposed to have something to do

with physical rejuvenation, time travel and antigravity. The thing is

useless, its apparently used as a sweat lodge. The so called

commanders’ nefarious group clearly has that knowledge, but they

didn’t pass it on to Van Tassel. We’ll look into this group that

attacked the twins, find out anything we can.”

[COLE TAKES ANOTHER SIP OF HIS APPLE CIDER.]

GEORGE THE BARTENDER

“Thank you.”

[SLIDING FROM THE BOOTH; GEORGE CROSSES

THE ROOM, TAKING HIS EMPTY GLASS TO THE

BAR.]

CUT TO: -

SC29. EXT. EAST OF MAIN CAFE - DAY - 5080

[LIZ IS SAT WITH COLE AND HORATIO AT A PATIO

TABLE.

COLE AND HORATIO SHARE A MEAL OF OYSTERS

DIPPED IN HUMOUS.

LIZ NIBBLES AT A RICE FALAFEL.

HER MOBILE BUZZES.

LIZ GLANCES AT A TEXT MESSAGE.

IT’S FROM IFAN.

LIZ GETS TO HER FEET.]

LIZ CARNEGIE

“I’m off to work.”

HORATIO DOMINI

“See ya Lizzy.”

[LIZ HEADS WEST ALONG GEORGIA STREET.]

CUT TO: -

SC30. INT. IFAN’S OFFICE - DAY - VANCOUVER - 5080

[THE PAINTING, NOW ITS FORMER SIZE IS

PROPPED UP ON AN EASEL IN THE CENTRE OF

THE ROOM.

CORA FENCIS, IFAN AND LIZ APPRAISE THE

PAINTING.

IFAN IS STOOD NEAR THE FAR WALL.

CORA IS STOOD IN FRONT OF THE COUCH.

LIZ IS STOOD NEAR THE ENTRANCE.

CORA ACTIVATES THE ENVIRONMENTAL

TEMPORAL SCAN ON HER E-READER.]

CORA FENCIS

“This painting is rife with quantum fissures.”

[IFAN HEADS OVER WITH A NEUTRINO DIGITAL

SCANNER, HOLDING IT UP TO THE PAINTING.]

IFAN FENCIS

“This thing is one big photon colony. I’m running a production

procedure timeline, it’ll tell us exactly how the designer created it. One

thing is clear, this form of art would require knowledge of particle

physics as a baseline. We’ve got a genetic sample from an Universal

Archetype placed somewhere in the QEF Generator. There’s a built in

particle accelerator that set into motion a simulated inflationary period

which created a colony of quarks. The quarks were then able to bind

together, forming hadrons. One second into the procedure, the

hadrons transmogrified into leptons; nine seconds later, they became

photons. It seems it remains at that state, balanced in a triquetta

between matter and antimatter. Its basically an Universal Archetype in

its universal state instead of its independent sentient state. But its

been contained in a containment field instead of being allowed to roam

free. Somehow I get the sense the designer doesn’t see it that way, just

as a means to create.”

LIZ CARNEGIE

“it’s a sentient universe?”

IFAN FENCIS

“Or a bit of free floating raw consciousness, formerly free floating.”

LIZ CARNEGIE

“Now I’ve seen everything.”

CORA FENCIS

“Doubt it. What are we doing with this thing Ifan?”

IFAN FENCIS

“It’ll be amazing.”

CORA FENCIS

“You said that last night.”

IFAN FENCIS

“Just you shush.”

[LIZ DOUBLES OVER IN LAUGHTER.

IFAN DISAPPEARS FROM THE OFFICE.

IFAN REAPPEARS A BEAT LATER.

HE’S LEANING ON THE HOLO-PAINTING WHICH

ONCE HELD COLE- ‘ON THE RUN’.]

LIZ CARNEGIE

“Now what are you doing?”

IFAN FENCIS

“You may be wondering, why does Ifan recall both versions of Cole’s

life; the one where Jonathan was in a coma, and the one where he

was alive all that time. After all, I’m only myself. There’s another Ifan in

Jonathan’s reality; we’re not the same man.”

LIZ CARNEGIE

“Well I assume its because you can only remember your past, not

your future nor your alternate present until you arrive there.”

IFAN FENCIS

“Wrong, correct me if I’m wrong dear, but you don’t actually recall

being the Cecil that existed in Jonathan’s reality at all, do you Cora?”

CORA FENCIS

“I don’t have the emotional resonance to that timeline as I do to this

one, no.”

IFAN FENCIS

“You don’t feel like you actually experienced being that person.”

CORA FENCIS

“No, I just know of their existence through our research.”

IFAN FENCIS

“And others like Kara, Cecelia or Clare; do you recall any of their

alternate essences?”

CORA FENCIS

“Maybe with Kara, there’s the compressed timeline reality.”

IFAN FENCIS

“Yeah, that seems to be a compression of you and Kara alongside

Tyrone and I. But its universal, unlike the dual Cole‘s. There‘s a

reason for that, which I shall now explain.”

LIZ CARNEGIE

“Go on.”

IFAN FENCIS

“When Cole dealt with this painting back in nineteen eighty six, the

essence contained in that holographic containment field merged into

him, remaining part of him throughout the quantum continuence

leading to me. Imagine if the holographic Moriarty from Star Trek

whom was contained in a self sustaining holographic cube and found

a means of escape via the narrative in a novel circa twenty fourteen;

imagine the entity merging with the actor who originally played him.

Same sort of thing, except the holographic Cole is an actual sentient

being, not a binary code that believes it exists. I know this because I

created the paintings that held my essence.”

LIZ CARNEGIE

“You mean your future incarnation created the paintings.”

IFAN FENCIS

“That too, but I commissioned them. it’s a paradox, because I came up

with the idea after I found myself in the Cambrian era, but also its set

down in the historical record. it’s the same sort of thing as the

dimensional bridge that led to the breakdown in space-time that

brought Cole to the past, ad infinite-nitum. Actually, it may be all part

of the same scenario. It goes like this.”

CUT TO: -

SC31. INT. STORE ROOM - NATIONAL MUSEUM CARDIFF -

NIGHT - 2014

[A FALLEN GOD BOMBER HOLDS THE SILVER BOX.

AS IFAN GRIPS THE BOMBER’S SHOULDER, THE

PAIR GRAPPLE.

THE BOMBER KNOCKS IFAN ONTO THE GROUND

WITH A SNAP KICK TO IFAN’S LEGS.

IFAN LANDS ON HIS BUTT.

IFAN MOVES TO GET TO HIS FEET.

THE BOMBER HITS IFAN IN THE FOREHEAD WITH

THE BOX.

IFAN COLLAPSES TO THE FLOOR, UNCONSCIOUS.]

IFAN FENCIS(V.O.)

“After getting knocked out in the basement of the museum in Cardiff.”

[THE BOMBER DISAPPEARS WITH THE BOX.

IFAN GROANS.]

CUT TO: -

SC32. EXT. VILLA - DAY - ROME - 177 A.D.

[VALERIAN STROLLS PAST THE VILLA.]

IFAN FENCIS(V.O.)

“I recalled my lifetime as Valerian when I was a martyr to the faith. It

made me realize the solution was mine to deliver.”

CUT TO: -

SC33. EXT. GREYSTONE GALLERY - DAY - GLASGOW - 12510

[IFAN PEERS THROUGH A NARROW WINDOW

GAZING IN ON THE GALLERY.

A LONG RAY OF SUNLIGHT SHINES IN THROUGH

THE WINDOW, REACHING THE CENTRE OF THE

GALLERY IN THE FORM OF AN ARROW HEAD.

IT ENDS PARALLEL TO THE STILL INTACT PAINTING

OF THE CAMBRIAN ERA.]

IFAN FENCIS(V.O.)

“I put a tracer on my quantum signature, backtracking to the point I

escaped from the Cambrian painting. I was a tad busy at the time to

see where I’d found myself or who’s gallery the painting had hung in.

However, there’d been a man and a woman in the room; the splitting

image of Cole and Evelyn. I surmised that I was the artist; I just didn’t

know when. Catching spoilers in your own quantum branching is

always tricky business due to the uncertain nature of the bifurcation

principle.”

[JACOB AND LYN HARRIS ENTER THE ROOM.

THE GLASS IN THE CENTRE OF THE PAINTING

BURSTS OUTWARDS, FALLING TO THE FLOOR.

IFAN BURSTS INTO THE ROOM FROM OUT OF THE

PAINTING.

OUTSIDE, IFAN TURNS AWAY FROM THE WINDOW,

FACING THE STREET.

IFAN CHECKS THE TEMPORAL READING FOR THE

LOCATION AND DATE ON HIS E-READER.

HE PRESSES ‘SAVE TEMPORAL LOCATION’.

IFAN TURNS BACK TO THE WINDOW.

HIS EARLIER SELF IS GONE.

JACOB IS SWEEPING GLASS INTO A CONTAINER

HELD BY LYN.

IFAN SCANS THE TWO WITH HIS E-READER.]

IFAN FENCIS(V.O.)

“The man, Jacob Harris was my future iteration, married to Lyn Harris

a future iteration of Evelyn. Then I scanned the painting.”

[IFAN CONTINUES SCANNING THE GALLERY.

AFTER A BEAT HE LOOKS AT THE READINGS IN

CONFUSION.]

IFAN FENCIS(V.O.)

“The readings were impossible, the painting was a real life

schrodinger’s cat in the material flesh, sans flesh or fur. This painting

should not exist on a quantum level, and yet here it was. The form

existed without that first fundamental moment of creation, the idea.

without the idea, no action could be taken to bring form into function.

Behind the most basic quantum foundation in the atomic structure of

this piece of art, there was a black void. That’s when I knew, it was

down to me; I needed to set the whole thing into motion.”

[IFAN HEADS TOWARDS THE ENTRANCE OF THE

LOBBY.]

CUT TO: -

SC34. INT. GREYSTONE GALLERY - DAY - GLASGOW - 12510

[IFAN PEERS INTO THE GALLERY FROM THE

LOBBY.

JACOB LOOKS UP FROM SWEEPING THE GLASS

FROM THE FLOOR.

LYN’S AT HIS SIDE.

JACOB CATCHES IFAN’S EYE.

BEHIND IFAN WE SEE THE ENTRANCE TO AN

EMPTY DINNER THEATRE CALLED ‘LYN’S HEART’.

JACOB’S AT IFAN’S SIDE.]

JACOB HARRIS

“What were you doing in your painting?”

IFAN FENCIS

“It’s all part of the plan, I’m sure. Hello, the name’s Francis.”

JACOB HARRIS

“You said your name was Ifan Fencis. It‘s on your commission

invoice.”

IFAN FENCIS

“Did I? Of course I did. Could you get me a copy of that invoice?”

JACOB HARRIS

“Of course, but do realize I’m still working on ‘On the run’. That won’t

be ready for a while.”

IFAN FENCIS

“On the run?”

JACOB HARRIS

“Yeah, creating a self sustaining game is far more intricate and time

consuming then a basic holo-environment created for the first

painting.”

CUT TO: -

SC35. EXT. GLASGOW CATHEDRAL - DAY - GLASGOW - 12509

[ITS SNOWING.

IFAN STROLLS ACROSS THE SNOW COVERED

LAWN.

THREE MEMBERS OF THE ORDER OF

BENEVOLENT TIME ARE STOOD IN CONVERSATION

NEAR THE ENTRANCE.

THESE ARE SISTERS EUGRAINE CARMODY,

CLARISSE SIMPSON; DOPPELGANGER OF CORA

AND JEMMA WALLACE; DOPPELGANGER OF

EMILY.

THE THREE TURN TO IFAN, WATCHING HIM

APPROACH.]

IFAN FENCIS(V.O.)

“Clarisse, the splitting image of my lovely wife, was Lyn’s half sister

and the Harrises were major donors to the reliquary requisition

program; to which Clarisse was utterly devoted to.”

[IFAN WAVES AT THE WOMEN.]

IFAN FENCIS

“Olla Sisters.”

CORA FENCIS(V.O.)

“Hold up, should you really be telling me my future?”

CUT TO: -

SC36. INT. IFAN’S OFFICE - DAY - VANCOUVER - 5080

[IFAN’S STOOD EYE TO EYE WITH CORA, NEAR HIS

DESK.

LIZ WATCHES THE PAIR NEAR THE PAINTING OF

THE CAMBRIAN ERA.]

IFAN FENCIS

“To make a long story short, I had the two paintings commissioned,

both powered foundationally via a sample of my DNA; acting as a

beacon calling in disparate fragments of my soul, purifying and

reconnecting the greater whole to the holy spirit. This is how Cole

found himself inside the eighty six painting, and why the Cambrian era

painting is registering a universal archetype reading in an

undeveloped state.”

CORA FENCIS

“Are you saying what I think you’re saying Ifan?”

IFAN FENCIS

“I’m saying, I think some day at the end of a very long sojourn I just

may turn out to be Spring Heel Jack.”

CORA FENCIS

“Never mind that right now, Ifan what’s the next step?”

CUT TO: -