SYNOPSIS:

When James Malcolm becomes the serpent to Liz, her desire to help Cole harms Ifan.

ULTRAVIOLET ACT ONE

SC1. EXT. DEEP SPACE - 2012

[A FLEET OF MECHANICAL JESTER SHIPS ARE

CONNECTED LIKE DOMINOES IN THE SHAPE OF A

SERPENT.

A WHITE HOLE DEVELOPS IN FRONT OF THE LEAD

SHIP.]

CORA FENCIS(SUNG)(V.O.)

“And there was no more pain, no sorrow.”

[THE WHITE HOLE GROWS LARGER.

THE LEAD SHIP ENTERS THE EVENT HORIZON.]

CORA FENCIS(SUNG)(V.O.)

“There was no more fear, no confusion dragging us down.”

[THE WHITE HOLE IMPLODES INWARDS.

A WHITE LIGHT EXPLODES OUTWARDS.

A TINY BALL OF METAL THE SIZE OF A TENNIS

BALL BOUNCES AWAY FROM THE EVENT

HORIZON.]

CORA FENCIS(SUNG)(V.O.)

“There was no more sadness, no longing for the world to come.”

[TWENTY METAL BALLS FLOAT IN SPACE,

DRIFTING AWAY FROM THE LIGHT BY THE FORCE

OF GRAVITY.

THE TWENTY FIRST SHIP UN-TETHERS FROM THE

FLEET IN FRONT.

THE REST OF THE FLEET UN-TETHER.

THEY HEAD FURTHER INTO SPACE.]

CORA FENCIS(SUNG)(V.O.)

“Our toil was undone; the wolf harried by the gun.”

[AN ESCAPE POD SPEEDS AWAY FROM THE

FLEET.

THE FLEET ARE MET BY A MASSIVE ARMADA OF

GARCONER BATTLE CRUISERS, A MILLION SHIPS

STRONG.

RED LASER WEAPONS SHOOT WARNING SHOTS

INTO SPACE ALONGSIDE THE JESTER‘S SHIPS.

THE GARCONER ARMADA HARRIES THE JESTER

SHIPS TOWARDS THE KUIPER DISC.

THE EVENT HORIZON REDUCES TO A SERIES OF

CRACKS IN SPACE FORMING THE SHAPE OF A

STAR OF DAVID CENTRED BY A CROSS.

CUT TO: -

SC2. EXT. WATER STREET - HISTORIC GAS TOWN - DAY - 2014

[KARA PUSHES MEAGAN IN HER STROLLER

ALONGSIDE TYRONE.

ITS SNOWING CLOSE TO SLUSH.

THE STREET IS A WINTER WONDERLAND.]

TYRONE

“I really think you have some decent talent at singing. What would it

hurt to go to a few theatrical auditions in town, the worse that can

happen is they go with someone else. Kara, you could get something

good for you and Meaghan.”

KARA

“You think, not when Meaghans’ this young, maybe when she enters

school.”

TYRONE

“Life is short Kara.”

KARA

“Yeah, and the first three years of Meaghan’s life are the most

important ones from a developmental standpoint. I need to focus on

her for the time being. I appreciate your support though, and maybe

you should take your own advice Ty. Grab the bull by the horns, check

out the casting lists.”

TYRONE

“I’m tone deaf Kara, I can’t sing.”

KARA

“Sing no, but acting; you’ve got some serious talent babe. You can do

better for yourself, for Meaghan and maybe some day for us.”

[THE PAIR STOP WALKING.

TYRONE TURNS TO FACE KARA.]

TYRONE

“You broke my heart Kara, I asked you to marry me and you turned

me down. And you had a good point, I prefer men. You’re an

aberration, the only girl I’ve ever had feelings and attraction for. Can

that really last in the long haul?”

KARA

“I know, you’ve fallen in love with your pimp. But Ty, the only men

you’ve been intimate with paid you for your attentions. And that guy

you’re so hung up on is making money off you, is any of it real? I told

you before when I was carrying Meaghan, that there was no future

for us; I was wrong. You’ve quit smoking, you care enough about

your daughter that you’re selling yourself to make sure she’s getting

the best nutrition. You’re evolving darling and the walls between us

are dissolving.”

[TYRONE MOVES CLOSE TO KARA.

THEY KISS.

A SHAPE SHIMMERS ABOVE THE STREET TAKING

THE FORM OF THE STAR OF DAVID WITH

INTERLINKED CROSS FROM EARLIER.

TYRONE GLANCES TOWARDS THE ANOMALY.

KARA’S STILL KISSING HIM.

SHE PULLS AWAY, FOLLOWING TYRONE’S GAZE.]

TYRONE

“Speaking of dissolving; what is that?”

[A FLASH OF SILVER APPEARS BEHIND THE ODD

FORMATION.

WE HEAR THE FLAP OF SERAPH WINGS

AMONGST A FLURRY OF INCREASING SNOW.

A MAN WITH SIX SILVER SERAPH WINGS APPEARS

ON THE SIDEWALK ACROSS THE ROAD.

HE HOLDS A SILVER STAFF WITH A GOLD GLOBE

ON TOP.]

UNKNOWN NARRATOR(O.O.V.)

“He does love you Micheal.”

[THE SERAPH LOOKS UP, CATCHING TYRONE’S

EYE.

THE SERAPH IS GONE.

WE HEAR THE FLAP OF WINGS AGAIN AND SEE

THE FLASH OF SILVER.

TYRONE STEPS CLOSER TO THE ANOMALY.

INSIDE THE ANOMALY ITS NOT SNOWING.

TYRONE STEPS CLOSER.

THROUGH THE ANOMALY, A SHOP IS ACROSS THE

ROAD CALLED ‘ROSE ADDER MERCANTILE’.

ON THE SIDEWALK, KARA PLAYS PEEK -A-BOO

WITH MEAGHAN.

FROM KARA’S POV. WE SEE ROSE ADDER

MERCANTILE DOES NOT EXIST- THE SPACE IS

HELD BY A CAFÉ.

TYRONE WATCHES THE FRONT OF THE SHOP.

A LARGE WHITE HIMALAYAN CAT IS SAT IN THE

ENTRANCE.

THE CAT YAWNS, REVEALING SHORT SABER

TEETH.

THE SABER TOOTH HOUSE CAT LOOKS UP AS A

SECOND KARA EXITS THE SHOP.

SHE PLACES A BOWL OF MILK BEFORE THE CAT.

BEHIND HER, A SECOND TYRONE IS STOOD IN

THE ENTRANCE.

THESE TWO ARE DRESSED MORE LIKE CORA AND

IFAN THEN THE FIRST KARA AND TYRONE.

THIS TYRONE GOES BY HIS MIDDLE NAME- IAN.

TYRONE STEPS BACK TO MEAGHANS’ STROLLER.

A CAR DRIVES PAST.

THE CAR IS GONE- SO IS THE ANOMALY AND THE

WINDOW INTO THE OTHER REALITY.]

CUT TO: -

SC3. EXT. THE DAMPORIA - GRANVILLE STREET - DAY - 2014

[THE SNOW HAS CONVERTED TO RAIN; A BARE

PATTER.

SEVERAL HIGH END VEHICLES ARE PARKED AT

THE CURB.

SAT IN THE BACK OF A GREEN CAMARO, DARLENE

BOWMAN HAS ONE EYE ON THE STREET AS SHE

SPEAKS [UNHEARD] INTO HER PHONE.

A DRIVER IS SAT IN FRONT.

BEHIND THE CAMARO, A BLACK ROLLS ROYCE

STOPS AT THE CURB.

THE DRIVER IS RUPERT GALLIANO, IN THE

EMPLOY OF THE CHU FAMILY.]

CUT TO: -

SC4. INT. ROLLS ROYCE\EXT. GRANVILLE STREET - DAY - 2014

[BECCA CHU, CHILD ACTRESS ON THE BREAK OF

ADULTHOOD IS SAT IN THE BACK.

RUPERT IS TURNED TO FACE HER.]

BECCA CHU

“Thank you kind sir. What would I ever do without you?”

[UNDOING HER SEATBELT BECCA SLIDES FROM

THE VEHICLE, STEPPING ONTO THE SIDEWALK.]

RUPERT GALLIANO

“I’m sure you’d do fine. Don’t need me to direct your life.”

[DARLENE FOLLOWS BECCA’S LEAD, GETTING

OUT OF HER CAMARO.]

DARLENE BOWMAN

“Hello Becca, I see you’re continuing your customary, ‘early bird gets

the lead role’, career policy you have going.”

BECCA CHU

“Good to see you Miss Bowman. How has the pre-production been

going so far?”

[BECCA HEADS TOWARDS THE ENTRANCE.

THE DAMPORIA IS AN ITALIAN RESTAURANT.]

DARLENE BOWMAN

“It’s going as good as one can expect. We’re having a slight issue with

the scripts. There’s been a boatload of last minute rewrites. I expect

there’ll be more changes in the pipeline to come once we finish

casting the rest of the main ensemble.”

[BECCA GRABS HOLD OF THE DOOR HANDLE.]

BECCA CHU

“So the search is still on for our Gabriella?”

[BECCA ENTERS THE BUILDING.]

CUT TO: -

SC5. INT. THE DAMPORIA - GRANVILLE STREET - DAY - 2014

[SAT AT TABLE FOUR, REGINALD DESMOIRE IS SAT

WITH HIS WIFE MARISSA AND DAUGHTERS

VICTORIA AND MABLE.

AT TABLE THREE, SERA AND GERALD

RASMUSSEN ARE SAT WITH COLE JACOB

BILLINGTON, JONATHAN AETHERS AND JENSON

ACKLES.

A PAIR OF WELL DRESSED ARMENIAN

BUSINESSMEN ARE SAT AT TABLE TWO.

DARLENE, STOOD NEXT TO BECCA, WAITING FOR

A TABLE NEAR THE ENTRANCE, CRANES HER

NECK; BOUNCING FROM FOOT TO FOOT, PEERING

TOWARDS THE KITCHEN.]

HOWARD GRINES(O.O.V.)

“That’s right. We need a girl with a sense of innocence about her.

Perhaps a local gal would do us fine.”

[CLARISSE WILLIAMS, 15, HEADS TOWARDS

TABLE TWO CARRYING TWO ZUCHINI STEWS; THE

DAY’S SPECIAL.

A REFUGEE FROM BETA DAMPORIA, CLARISSE’S

SPECIES AMBROSIAN PASSES AS KOREAN.

BECCA TURNS, FACING CASTING DIRECTOR

HOWARD GRINES, STOOD DIRECTLY BEHIND HER

AND DARLENE.]

BECCA CHU

“Hello Mr. Grines, having a nice day?”

HOWARD GRINES

“I’m having an excellent day Miss Chu. I hope the same can be said

about you?”

BECCA CHU

“You’d be right.”

[PASSING TABLE THREE, CLARISSE WAVES AT

JENSON.]

CLARISSE WILLIAMS

“Enjoy your meal Mister Ackles.”

JENSON ACKLES

“Our costume department’s intern, right?”

[CLARISSE CONTINUES TOWARDS TABLE TWO,

BIG GRIN ON HER FACE.

OUTSIDE ON THE STREET, A HIGH END LUXURY

VEHICLE SCREECHES TO A STOP NEAR THE CURB.

CLARISSE IS STOOD AT TABLE TWO.

A PAIR OF ZUCHINI STEWS HAVE BEEN PLACED

ON THE TABLE.

BUSINESSMAN ONE HAS ALREADY BEGUN EATING

HIS MEAL.]

CLARISSE WILLIAMS

“There you go, sir. Enjoy your meal.”

[BECCA TURNS TO FACE THE ENTRANCE.

LEAD DIRECTOR BERTRAM GILLINGHALL ENTERS

THROUGH THE DOORS BEHIND HER.

BERTRAM WAVES A STACK OF DIRECTOR’S

SCRIPTS ABOVE HOWARD’S HEAD.]

BERTRAM GILLINGHALL

“Hello all! Got this round of rewrites set and done. Is everyone having

a good day? Becca, what about you? Ain’t life grand?”

BECCA CHU

“It is at that.”

[CLARISSE IS STOOD IN FRONT OF TABLE FOUR.]

CLARISSE WILLIAMS

“Hey guys, what can I get you? I bet I can cut a deal to give it to you

on the house. What with, the CPB doing so much to help us out, and

all.”

DOCTOR REGINALD DESMOIRE

“Clarisse, don’t do that. I can afford to splurge on my family, your

family needs as much business as they can get.”

CLARISSE WILLIAMS

“Alright; anything strike your fancy?”

[CLARISSE GAZES TOWARDS TABLE THREE,

SHAKING OUT HER PIXIE CUT HAIR, SPARING A

GLANCE AT JENSON.]

MABLE DESMOIRE

“Clarisse love, I’ll have the breaded Shrimp, and the Gorchiti Clam

Salad. I’m sure I’ll love it.”

[SHE HANDS CLARISSE HER MENU.

THE BLUE FRONT COVER IS EMBOSSED IN GOLD

TRIM; THE BACK COVER REPLACES THE BLUE

WITH TURQUOISE AND THE INTERIOR IS IVORY

WHITE.]

MABLE DESMOIRE

“Beautiful design for the menu, by the way.”

CLARISSE WILLIAMS

“Thanks; it was all my idea.”

[CLARISSE TAKES THE MENU FROM MABLE.

SHE HEADS TOWARDS THE KITCHEN.

THE FOLKS AT TABLE THREE HAVE BEEN SERVED

THEIR MEALS.]

COLE JACOB BILLINGTON

“So Hollywood, what do you need the C.P.B.’s help with? Or is Kripke

running out of ideas?”

JENSON ACKLES

“I do have a name you know, Sir alien.”

COLE JACOB BILLINGTON

“I know, but Hollywood’s funnier. Exactly where are you getting your

information from Ackles; Rasmussen didn’t spill the beans, did he?

Aiming for a promotion Gerald?”

JENSON ACKLES

“He’s clean. However, this clears one thing up; Marsha Bradshaw’s

on to something. I suppose the guy falling from the sky in twenty ten

and that crazy winged serpent escaping from a firey crevasse on

Main Street in November should have clued me in; but aliens?”

COLE JACOB BILLINGTON

“Her, yeah we’ve met.”

[A WAITER REFILLS JENSON’S DRINK.]

CUT TO: -

SC6. EXT. CHEMISTRY BUILDING - POINT GREY CAMPUS - DAY -

2014

[COLE EXIT’S THE BUILDING.

MARSHA BRADSHAW, CBC INVESTIGATIVE

JOURNALIST, 40, GINGER HAIR IS STOOD OFF TO

THE SIDE.

SHE WATCHES COLE HOLD THE DOOR OPEN FOR

SERA.

BEHIND SERA STEPS JONATHAN, REGINALD AND

DOCTOR BAILEY O’BANNION.]

COLE JACOB BILLINGTON

“I really appreciate you guys backing me up to move my stuff out of

the condo. My greatest fear is that Pete’s vindictive enough to

damage my paintings. He can cut up all my clothes if he wants,

convert them into insulation for his latest environmentally sustainable

building project, turn them into shadow puppets for all I care; but my

paintings are my babies. No touching my masterpieces.”

CONSTABLE SERA RASMUSSEN

“They are very beautiful works of art Cole. I don’t think you need to

worry though. Didn’t you say you were stepping back, moving your

relationship with Pete back to the friendship stage with the possibility

of renewal in the future? That being the case; Pete may be

heartbroken for the moment, but would he really be that cruel knowing

you still obviously love him?”

[THE GROUP BEGIN WALKING AWAY FROM THE

BUILDING.]

COLE JACOB BILLINGTON

“I hope you’re right. Anyways I’ve been granted a housing subsidy for

taking a room adjoining Jonathan’s at the Apartment Hotel on Beach

Avenue. Two bedroom suite; I’m supposed to be monitoring his

health to make sure there isn’t any permanent mental deteriation

resulting from his century long coma. That and working out plans for

an entirely new direction to take my gravity wave detector that I could

not have done without Jonathan’s insights. By the way Reg, if all goes

to plan, I’d like you to seriously consider putting in a request to

transfer to U.C.L. to work with me and Jonathan on this eyes only

project. Think about it; talk it over with your wife, daughters.”

[MARSHA STEPS IN FRONT OF COLE.]

MARSHA BRADSHAW

“Captain Billington, I’m Marsha Bradshaw with the C.B.C. May I make

a business proposal for a bit of free publicity?”

COLE JACOB BILLINGTON

“For whom?”

MARSHA BRADSHAW

“Well for your philanthropical organization. Its always good to put the

word out about groups helping the community; gets people out there

giving back to those in need.”

COLE JACOB BILLINGTON

“You’ll need to run your questions by the payroll signatories I’m

beholden to in Victoria. You know the government policies on

academic research and the press.”

MARSHA BRADSHAW

“Don’t tell me Harper’s got his fingers in this pie as well?”

COLE JACOB BILLINGTON

“Harper confiscated all the pies, even the ones with raisons in them.

What’s that about?”

MARSHA BRADSHAW

“Notwithstanding the inventory of the Prime Minister’s scientific pantry;

I’m not exactly looking for a documentary here Mister Billington. More

of a creative biography in dramatic form. With literary license thrown in

to add a bit of seasoning, if you get my drift?”

COLE JACOB BILLINGTON

“No, no, no! What do you think this is, Torchwood? Sure and Pete’s

the teaboy who let a psychotic Mechanical Jester into the armoury

and it took Jonathan hostage cause it just wanted to find a way home.

Nyet!”

MARSHA BRADSHAW

“Ah, Nazis arrive with their temporal bell. I like it.”

COLE JACOB BILLINGTON

“I don’t, now if you don’t mind, I’m moving house so I don’t have time

to play silly buggers no more.”

[COLE WALKS OFF.

MARSHA SCRIBBLES INTO A NOTEPAD.

THE OTHERS WALK PAST.]

CUT TO: -

SC7. INT. THE DAMPORIA - GRANVILLE STREET - DAY - 2014

[CLARISSE STEPS UP TO BECCA’S GROUP.]

CLARISSE WILLIAMS

“Hello, I’m Clarisse. I’ll be your server for the duration of your meal.

Would you like to have a seat over here?”

DARLENE BOWMAN

“That would be lovely.”

[SHE TAKES A SEAT AT THE PROFFERED TABLE.

BECCA FOLLOWS IN HER STEAD.

HOWARD GRINES STARES THOUGHTFULLY AT

CLARISSE.

BERTRAM PULLS HOWARD TOWARDS THE TABLE.]

BERTRAM GILLINGHALL

“Come along Howard. We’ve a ratings winner to discuss.”

HOWARD GRINES

“How would you like to be a star, lovely girl?”

CLARISSE WILLIAMS

“You in the biz, sir?”

[TAKING A SEAT, HOWARD REACHES INTO THE

POCKET OF HIS BLUE WINDBREAKER; HANDING

CLARISSE HIS BUSINESS CARD.

CLARISSE PEERS AT THE CARD CLOSELY.]

HOWARD GRINES

“The group of us here are meeting about a new television production

we’ve got in the pipeline. It’s based on the Lives Lived Lively young

adult book series. Have you read them?”

CLARISSE WILLIAMS

“I’m sorry, I’ve never had the time to pick them up. I have heard

they’re rather good, but I’m not really into youth fiction. I’m more of an

intellectual girl to be quite honest.”

HOWARD GRINES

“I can tell. You sound a bit beyond your years. Nothing wrong with that,

in fact, I now believe all the more strongly that you need to be our

Gabriella. She’d fit you to a T.”

CLARISSE WILLIAMS

“I’d love to give it a try, but I’m not too sure my parents would

approve.”

HOWARD GRINES

“Well, you give it a try. You have my card.”

[COLE SIPS HIS DRINK.]

JENSON ACKLES(O.O.V.)

“How were your paintings?”

COLE JACOB BILLINGTON

“My paintings were unharmed. Pete’s behaving himself, he wants me

back. I’m not so sure though; there’s been too much water under the

bridge, breaching the causeway, flooding onto the roadside, shorting

out the power lines.”

JENSON ACKLES

“Damaging the lines of communication eh?”

COLE JACOB BILLINGTON

“You could say that. How about you, you have a girlfriend, wife,

Mischa?”

JENSON ACKLES

“Mischa I like that. Yeah those tin foil hats are really something.”

COLE JACOB BILLINGTON

“Tin foil fans.”

JENSON ACKLES

“Them too.”

[THEY SHARE A LOOK.

COLE’S HAND, HOLDING THE BASE OF HIS CUP,

EDGES NEAR JENSON’S SIMILARLY PLACED HAND.

CLARISSE SCOOPS A PILE OF MENUS FROM

BECCA’S TABLE.

SHE HEADS ACROSS THE GOLD CARPET PAST

TABLE FOUR.

JENSON CLEARS HIS THROAT.

COLE PULLS HIS HAND BACK.

CLARISSE CONTINUES TOWARDS THE OFF WHITE

DOUBLE DOORS LEADING INTO THE KITCHEN.

MABLE DESMOIRE MOUTHS THE WORDS; “WE’LL

TALK”.

SHE MIMES SPEAKING INTO A TELEPHONE WITH

HER HANDS AS SHE DOES SO.

CLARISSE NODS AS SHE EXITS TOWARDS THE

KITCHEN.]

JENSON ACKLES

“So, was that the last you heard from the ginger menace?”

COLE JACOB BILLINGTON

“Marsha, not exactly.”

CUT TO: -

SC8. INT. MAIN ROOM - C.P.B. - DAY - 2014

[COLE IS STOOD BEHIND REGINALD, GESTURING

TO A TELEMETRY GRID DISPLAYED ON

REGINALD’S COMPUTER.

A SERIES OF GRIDS ARE OVERLAID A TOP ONE

ANOTHER, WITH THE SAME TIME AND LOCATION,

DIFFERENT DATES FOR TWENTY ONE DAYS.]

COLE JACOB BILLINGTON

“Show me the corresponding security footage.”

[THE GRIDS ARE REPLACED BY AN EQUIVALENT

SERIES OF IMAGES OF THE OBSERVATION DECK

OUTSIDE CANADA PLACE.

IN THE FOREGROUND OF EACH IMAGE IS LIZ

CARNEGIE STOOD NEAR THE EXTERIOR OF THE

CAFÉ.]

COLE JACOB BILLINGTON

“Show me a close up of the woman’s face.”

[REGINALD DRAGS THE OUTERMOST IMAGE OUT

BEHIND THE OTHER TWENTY SO WE SEE THE

ENTIRE PICTURE.]

CUT TO: -

SC9. INT. LONG SHORE MAN PUB - DAY - 2014

[COLE IS SAT IN THE CORNER BOOTH.

.

JONATHAN IS SAT ACROSS FROM COLE.]

JONATHAN AETHERS

“Time has echoes; it has a structure, a beat, a pattern, it creates

resonances, it casts shadows. These shadows cast a pall across the

overlapping worlds, recreating events set into motion in other places

and times. Like cycles of a metranome, the cords repeat.”

CUT TO: -

SC10. INT. MAIN ROOM - C.P.B. - DAY - 2014

[COLE STARES AT THE IMAGE OF LIZ ON THE

MONITOR.

BAILEY WALKS UP BEHIND HIM AND REGINALD.]

DOCTOR BAILEY O’BANNION

“Isn’t that the girl who played Faith?”

COLE JACOB BILLINGTON

“Why would Eliza; wait Liz. That’s Liz Carnegie, Horatio’s best friend

and mine back in the fifty first century. Liz was interning here in the

city at what I now realize was a future version of us. She was a

research assistant for a project studying the building blocks of matter.

The space between the quantum foam that should make

transubstantiation of the mortal body into the ether possible. It would

explain why she’s been appearing at the same location and time of

day for the past three weeks; some sort of pattern study.”

DOCTOR BAILEY O’BANNION

“So we’re saying Eliza Dushku is a time traveller?”

COLE JACOB BILLINGTON

“Forget about Eliza Dushku. No, wait. That‘s not the point; the point is

why does Liz Carnegie, a woman who may in fact be Eliza‘s distant

descendent thirty one hundred years from now look exactly like her?

Times and lives have patterns, they have echoes in the future; they

cast shadows on the past.”

CUT TO: -

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

[WE SEE JONATHAN FROM COLE’S POV.]

JONATHAN AETHERS

“Time has echoes; it has a structure, a beat, a pattern, it creates

resonances, it casts shadows.”

CUT TO: -

SC12. INT. MAIN ROOM - C.P.B. - DAY - 2014

[COLE STARES AT THE IMAGE OF LIZ ON THE

MONITOR.]

COLE JACOB BILLINGTON

“Dushku’s not the answer to the question here, the answer to the

question we have before us is what pattern is revealed to us by her

body of work? Her character on Dollhouse; Echo, Faith; Buffy’s

shadow.”

CUT TO: -

SC13. INT. LONG SHORE MAN PUB - DAY - 2014

[WE SEE JONATHAN FROM COLE’S POV.]

JONATHAN AETHERS

“These shadows cast a pall across the overlapping worlds, recreating

events set into motion in other places and times. Like cycles of a

metranome, the cords repeat.”

CUT TO: -

SC14. INT. MAIN ROOM - C.P.B. - DAY - 2014

[COLE STARES AT THE IMAGE OF LIZ ON THE

MONITOR.]

COLE JACOB BILLINGTON

“Time metaphorically stands still throughout her stint in the

animated webisode produced for Miracle Day. Time repeats , granting

second chances in Tru Calling. Redemption, amends, God’s saving

Grace.”

CUT TO: -

SC15. EXT. EAST OF MAIN CAFE - DAY - VANCOUVER - 5085

[LIZ IS SAT ON THE PATIO ACROSS FROM COLE.

ITS SNOWING.

COLE’S BEEN CRYING.]

COLE JACOB BILLINGTON

“So I hunt down my brother where’s he’s been working as a research

assistant for a big, corrupt pharmaceutical company in London.”

[COLE RUBS TEARS FROM HIS EYES.

LIZ REACHES OVER, PLACING A HAND ON COLE’S

LEFT ARM.]

COLE JACOB BILLINGTON

“Kyle doesn’t want anything to do with me or the rest of his Garconer

family. He may have kept his physical life, but the Earth Firsters and

the Human Men’s rights bullies whom gave rise to a genocidal war

still succeeded in taking my brother’s way of life, that part of him that

made him Garconer in the core of his soul, of his heart and mind. All

that remains is self-hate.”

LIZ CARNEGIE

“I wish there was something I could do to fix this Cole. There’s just this

one thought I think is all I can say that may help you in your hour of

need. ‘We build our lives moment by moment, each mistake, each

success building on the one before it.'“

HORATIO DOMINI(O.O.V.)

“Cole honey, come get in the car.”

[COLE MOVES AWAY FROM THE TABLE.

HORATIO IS SAT IN A FUSION VEHICLE AT THE

CURB.

COLE HEADS TOWARDS THE VEHICLE.]

CUT TO: -

SC16. INT. MAIN ROOM - C.P.B. - DAY - 2014

[COLE STARES AT THE IMAGE OF LIZ ON THE

MONITOR.]

COLE JACOB BILLINGTON

“‘We build our lives moment by moment, each mistake, each

success building on the one before it.' Why and how is Liz arriving on

that observation deck at the same time every day for the last three

weeks? Is she trying to find someone; is she expecting someone;

perhaps Spring Heel Jack, Jenson Star, Mark Iblis; or is she stuck in

a repeating loop? Maybe these twenty one appearances represent

twenty one separate timelines. Perhaps only one incidence occurred

and that’s cast shadows and created echoes up and down the line.”

CUT TO: -

SC17. EXT. EAST OF MAIN CAFE - DAY - VANCOUVER - 5085

[LIZ’S POV. HORATIO’S VEHICLE HEADS AWAY.

ITS SNOWING.

JAMES MALCOLM PETERS APPROACHES BEHIND

LIZ IN A BLACK WOOL COAT.]

LIZ CARNEGIE

“Hello Ifan.”

JAMES MALCOLM PETERS

“I don’t know who Ifan is, but I believe I may be able to help your friend.”

[JAMES HOLDS OUT HIS HAND.]

JAMES MALCOLM PETERS

“Hello, the name’s James Malcolm. Time can be rewritten, if you have

the courage to bring your dreams into manifest reality.”

[LIZ SHAKES HIS HAND.

JAMES TAKES A SEAT.]

CUT TO: -

SC18. INT. MAIN ROOM - C.P.B. - DAY - 2014

[COLE STARES AT THE IMAGE OF LIZ ON THE

MONITOR.]

COLE JACOB BILLINGTON

“Bailey, the next incidence is set to occur two hours from now, how

about you head into town to lend our friend from the future a hand?”

DOCTOR BAILEY O’BANNION

“Sure thing, what are you going to do?”

COLE JACOB BILLINGTON

“I’m going to take a Kit Kat break, just not with the Kit Kat.”

CUT TO: -

SC19. INT. STUDENT LOUNGE - CHEMISTRY BUILDING - DAY

[COLE GRABS A CAN OF ORANGE JUICE FROM

THE VENDING MACHINE AS IT DROPS.

MARSHA BRADSHAW APPROACHES FROM BEHIND

HIM.

COLE SWINGS AROUND TO FACE HER.]

COLE JACOB BILLINGTON

“Marsha Bradshaw, her of the big ideas and grand illusions. What

brings you here?”

MARSHA BRADSHAW

“I was wondering if you might have changed your mind. Thought I

might have caught you on a bad day, with you dealing with the fallout

over your partner’s maladaptiveness. What do you say, want to push

those creative buttons in the name of art and philanthropy, eh?”

COLE JACOB BILLINGTON

“How about, no; nein mon frere madam. We will not be making film

today.”

MARSHA BRADSHAW

“Oh please.”

COLE JACOB BILLINGTON

“Nope.”

MARSHA BRADSHAW

“Please.”

COLE JACOB BILLINGTON

“Non, non mein frere.”

MARSHA BRADSHAW

“Oh please!”

COLE JACOB BILLINGTON

“No film for you. Good day.”

[COLE EXIT’S THE LOUNGE, HEADING INTO THE

CORRIDOR.

HE’S GRINNING, TRYING NOT TO LAUGH.]

CUT TO: -

SC20. INT. THE DAMPORIA - GRANVILLE STREET - DAY - 2014

[JENSON LOOKS AT COLE.]

JENSON ACKLES

“You should take that act on the road you know.”

COLE JACOB BILLINGTON(SUNG)

“We’re on the road again.”

JENSON ACKLES

“Funny, yeah I get it. Two brothers travelling the roads, ordering room

service, fighting monsters of their own minds.”

COLE JACOB BILLINGTON

“I’m a funny guy.”

JENSON ACKLES

“No, you don’t say.”

COLE JACOB BILLINGTON

“Turns out, Marsha the pest was just the inspirational catalyst I needed

to point me in the direction of my next creative endeavour. My

paintings, my story and my project they all follow breadcrumbs left in

this moment. It just won’t include Marsha in the renderings.”

CUT TO: -

SC21. EXT. EAST OF MAIN CAFE - DAY - VANCOUVER - 5085

[JAMES MALCOLM IS SAT ACROSS FROM LIZ.

SNOW FLAKES FALL ABOUT THEM AND ON THEM.]

JAMES MALCOLM PETERS

“If you want to get to the heart of the problem, make sure Cole’s

cousin Tommy stays away from the conflict. Without his involvement,

Cole will be forced to come to his senses, Kyle will have no reason to

ostracize him.”

LIZ CARNEGIE

“Alright.”

CUT TO: -

SC22. EXT. BARRAGE - DAY - CARDIFF - 2014

[A STORM SURGES ACROSS THE BARRAGE,

COVERING THE WALKWAY WITH WATER.

BOATS SURGE AGAINST THE WAVES IN THE

MARINA.

A BOLT OF GREEN ANTIMATTER STRIKES THE

WALKWAY WITH A LOUD CRUNCH.

THE WALKWAY COLLAPSES DOWNWARD INTO A

SIX FOOT DEEP; NINE FOOT LONG SINKHOLE.

OCEAN RUSHES IN, FILLING THE SINK HOLE,

STOPPING A FOOT BELOW THE WALKWAY’S

SURFACE.

ONLOOKERS GASP IN SHOCK.

A NARROW CRACK CURVES ALONG THE

PAVEMENT TOWARDS THE ROADWAY.

SIRENS APPROACH AS THE CRACK CONTINUES

TOWARDS ROAHL DAHL PLAS AND MERMAID

QUAY.]

CUT TO: -

SC23. EXT. CARDIFF CASTLE - DAY - 6105

[THE SKIES ABOVE ARE GREY.

A TIDAL WAVE OF TEMPORAL ENERGY FORCES ITS

WAY PAST THE PLANETARY ATMOSPHERE.

THE GROUND SHAKES.

IFAN FENCIS STEPS OUT FROM THIN AIR, ONE

FOOT IN FRONT OF THE OTHER, AS THOUGH

STEPPING ONTO A STAGE FROM BEHIND A

CURTAIN.

HE COLLAPSES FACE FIRST ONTO THE GROUND.

CORA FENCIS APPEARS IN A MORE USUAL

FASHION.]

CORA FENCIS

“Ifan!”

[SHE RUSHES TO HIS SIDE.

LIZ RUNS UP FROM THE STREET.

CORA ROLLS IFAN ONTO HIS BACK.

HIS FACE CONTORTS AS THOUGH MELTING AND

REFORMING AT THE SAME TIME.

TREES COLLAPSE, UPROOTING FROM THE

GROUND.

THE SOUND OF A HUNDRED TORNADOES RUSHES

FORWARDS FROM BEHIND THE CASTLE.

BEHIND THE CASTLE ARE SKYSCRAPERS.]

CUT TO: -

SC24. EXT. LLANDOW RAF BASE - DAY - 2014

[THE CRACK STOPS JUST OUTSIDE THE GATES OF

THE BASE.

THE CRACK GLOWS WITH GOLDEN ENERGY.

INSIDE THE GROUNDS, GHOST LIKE IMAGES OF

SOLDIERS IN UNIFORMS FROM THE LAST

HUNDRED YEARS SHIMMER.

OTHERS ARE DRESSED IN UNIFORMS FROM

IFAN’S ERA.

THE SOLDIERS ARE GONE.

GROUPS OF SCIENTISTS LEAD GARCONER

PRISONERS INTO VARIOUS BUILDINGS.

THIS IMAGE DISAPPEARS.

THE BASE IS SILENT.

WE HEAR THE CRACKLE OF THE ENERGY

RUNNING THROUGH THE CRACK.

BIRDS CHIRP.

A JEEP COMES TO A STOP NEAR THE CRACK.

MEMBERS OF THE CONTEMPORARY RAF JUMP

OUT TO INVESTIGATE.]