TEASER

OVER BLACK:

Slow, methodical TICK. TICK. TICK. No mercy as it gets LOUDER. Suddenly there's BREATH. Panicked BREATH.

SMASH CUT TO:

EXT. CELORAN PARK - THE WOODS - AFTERNOON

EXTREME CLOSE UP: The breath belongs to IMOGENE HEALEY, 16, thick glasses, unusually tall, pretty, dark-haired. She’s frantically running through woods, looking behind her because someone’s after her. She stumbles. Her glasses HIT THE GROUND, startling a CAT (white, one blue eye, one brown) who scats. Imogene gets down on her hands and knees to find her glasses. Can’t see without them. Then YOWL. Something bad happened to the Cat. Scared, she stands to investigate and:

Imogene DROPS OUT OF FRAME.

PULL BACK: We now see where we are. A clearing in the woods. Thick, gray, dead roots of a tree. Yet there seems to be... something pulsing through them. A beat or... a current. The roots meet in the middle of the clearing to a gaping perfectly round 4 foot HOLE.

Imogene’s faint SCREAMS are coming from inside that hole and there’s no one there to save her.

The roots COME ALIVE - blood and electricity PULSATE through them. HUMMING with energy. A loud METAL CLANKING emanates from underground...

ANIMALS scatter. SCREECH! SOUNDS like a subway car COMING TO A HALT. Then a strong force PULLS ALL THAT SURROUNDS THAT HOLE from above into it. SPARKS SHOOT UP FROM BELOW... Then?

Nothing.

CHYRON: THE NIGHT PRIOR

EST. THE HEALEY HOME - NIGHT

A weathered Colonial in disrepair in this lower middle class neighborhood. We’re on SYCAMORE STREET. CLOSE IN.

INT. THE HEALEY HOME - SELA’S BEDROOM - NIGHT

Everything about the room says overwhelmed, money’s tight. SELA, 36, Imogene’s pretty but tired mom folds laundry while fighting with Imogene, who’s wearing her coke bottle glasses, stick-on fake diamond nose stud, an ‘I Love New York’ T-shirt. ROBBIE, 12, chubby, wise-ass, is on his mother’s bed watching TV, pretending not to listen.

SELAImogene, we can’t afford it!

IMOGENEIt’s for a school trip!

SELAYou know I just wish you’d yell at your father the way you yell at me.

IMOGENEOh, so both of us wouldn’t be doormats?

SELAApologize.

Imogene’s silence is deafening.

ROBBIEThere’s an idea, Pumpkin. Just ask your hero, Deadbeat Douchebag.

Imogene flips Robbie off who in turn gives her an Italian “fungool.” Imogene storms out.

SELAGreat.

INT. IMOGENE’S BEDROOM - LATER THAT NIGHT

Posters from all over (Italy, France, London) on the walls. Meanwhile, Imogene’s at her desk, using one of her mother’s documents to forge Sela’s signature on a School Trip Permission slip. KNOCK. Imogene puts the slip in her drawer.

IMOGENEWhat?

Her mother comes in. Sits on her bed.

SELAHey.

No answer.

Jamestown 2.

SELA (CONT’D)Is that girl bothering you again?

IMOGENEWho, Vanessa? No. This has nothing to do with that.

SELAOkay. But you would tell me right? If she was bothering you? Both of us don’t have to be doormats.

Without saying Sorry, their eye contact shows Imogene regrets saying “doormat.”

IMOGENEYeah.

SELAOkay, let’s call it a night. We have Dr. Strunk’s before school tomorrow.

IMOGENEDad said he’d meet us there.

Sela sighs. There’s no way. Imogene gets into bed.

IMOGENE (CONT’D)Are all men like Dad?

SELALet’s hope you find an old-fashioned guy who pays his bills, shows up when he says he will, and is really cute.

IMOGENEI don’t ever want to like anyone.

SELAWell, you might change your mind.

Sela kisses Imogene who, even though she’s sullen, still needs her mother’s affection. Sela switches off the light and leaves. In the dark, Imogene gets up, retrieves the permission slip from her desk drawer, her fingers dancing over surfaces - she’s used to navigating the dark. She sticks the Permission Slip in her backpack.

Jamestown 3.

INT. DR. STRUNK'S OFFICE - EXAM ROOM - NEXT MORNING

The room’s DIMLY LIT. Imogene’s in the middle of her eye exam. The heavy black apparatus presses against her face like a metallic insect. DR. STRUNK, 40’s, conducts the test.

DR. STRUNKBetter?

IMOGENENot really.

DR. STRUNKHow ‘bout now?

IMOGENEI guess.

He TURNS OFF the machine, flips on the LIGHTS, swings back the apparatus. Imogene blinks. Puts on her glasses.

DR. STRUNKNo change.

SELAGood.

(Then, to Imogene)That’s good.

DR. STRUNKBut because we know what’s coming, I ordered something for you.

Dr. Strunk hands Imogene a PANIC BUTTON - the size of a quarter. Sela tenses up as Imogene accepts it, stiffly.

DR. STRUNK (CONT’D)It’s a panic button. For emergencies. You press it and 911’s alerted to your whereabouts right away. It blinks, see? That’s a Lithium battery. Lasts up to 5 years.

Imogene’s eyes well up with tears.

SELAFor later maybe.

IMOGENEThank you.

About to cry, Imogene grabs her backpack and runs out.

Jamestown 4.

SELAI wish we talked about that first.

DR. STRUNKSela, we need to give her tools so she can deal with her handicap.

SELAShe’s not blind yet. And I prefer the word “impaired.”

DR. STRUNKOkay. Now about the bill. My accountant says--

SELAMy ex didn’t send you a check, did he?

EXT. MEDICAL BUILDING - MINUTES LATER

Imogene’s trying to get into the car (Sela’s old Honda) but as a game, Robbie, inside, has locked all the doors.

IMOGENECome on!

ROBBIEYou cold?

OLD WOMAN (O.S.)Excuse me?

Imogene turns to see an OLD WOMAN with pitch black glasses and walking stick standing in front of the Medical Building.

IMOGENELet me in.

ROBBIECan’t hear you!

OLD WOMANYoung lady? Can you help me get to the bus stop?

The BUS STOP’S 10 feet from where the woman’s standing.

ROBBIEHa ha.

IMOGENE(to the Old Woman)

Sure.

Jamestown 5.

Imogene goes to the Old Woman who thrusts her elbow at her.

OLD WOMANGrab it. So you can direct me.

Imogene grabs her elbow. A feeling comes over her, familiar and sickening. Still, she leads her to the BUS STOP.

IMOGENEHere we are.

But the Old Woman turns to face her. Grabs her arm!

OLD WOMANYou have to go back.

IMOGENEWhat?

OLD WOMANYou must heed the call!

IMOGENE(lying)

There’s my mom.

But the woman won’t let go.

OLD WOMANHeed the call!

IMOGENE(struggling)

Let go of me!

Roughly Imogene disengages. Runs to the car. But Robbie still won’t let her in. Laughing. Then a HAND’s on her shoulder. Imogene turns. She’s face to face with the old scary woman:

OLD WOMANQui audet adipiscitur!

ROBBIE’S POV: Imogene screams! He sees his sister’s truly frightened but he doesn’t see the Old Woman.

SELA (O.S.)Robbie! Unlock the damn door!

Sela’s suddenly at her Driver’s Door. The Old Woman’s back at the Bus Stop. Completely innocuous. Robbie unlocks the door.

On Imogene’s shocked face, we:

END TEASER

Jamestown 6.

ACT ONE

FADE IN:

INT. SELA’S OLD HONDA - MOMENTS LATER

IMOGENE’S POV: As they drive, she looks out the window. Familiar streets go by: The drab depressing town, graffiti, homelessness, gutter kids, ripped billboards, shoes on wires. Cold. Then she sees the Old Woman again. Miles from where they were. On a corner. How? She blinks. The Old Woman: gone.

They pull up to the Drop Off Point in front of:

EXT. JAMESTOWN HIGH SCHOOL - ESTABLISHING

Industrial. Foreboding. School’s basically a low level security prison. Imogene’s in the back, as is her mother’s open purse. She slips her hand in and grabs the money from her mother’s wallet for the school trip. Startling her:

SELAHey, sorry about the school trip.

IMOGENE(a little ashamed)

Oh. It’s cool.

Hiding the cash in her jeans, Imogene hops out.

SELASee you later, alli-

But Imogene’s already out of the car.

INT. JAMESTOWN HIGH SCHOOL - MOMENTS LATER

FOLLOW Imogene through the halls, meeting up with her friend DANNY, 16, dressed like a male model. Always.

DANNYDid you get the money?

IMOGENEAnd the permission slip.

DANNYUnassuming. Stealthy. I shall call you Jane Bond.

They’re on their way to...

Jamestown 7.

EXT. JAMESTOWN HIGH SCHOOL - THE BACK - CONTINUOUS

This is a playground and back parking lot. Grim. Gray. KIDS fight, disrespect TEACHERS - controlled chaos.

Imogene and Danny join lines queuing for the BUSES to their school trip. Towards the front, Imogene’s trying not to be obvious staring at hot boy DRAGAN, 16, 1st generation Croatian, black hair, green eyes. From behind her, coming her way though, is VANESSA, 16, sexy, precocious, cocky. Trailing her is FLEA, 16, make-up covering acne. When Vanessa passes Imogene to go to the front, IN SLO-MO Vanessa looks at Imogene maliciously until boom, back to REAL-TIME where she knocks Imogene’s shoulder - a warning.

DANNY(SOTTO, to Imogene)

That’s bad touching.

Vanessa and Flea join the BOYS, including Dragan. Flirting.

IMOGENEThat’s the kid who moved here over the summer, right?

DANNYStop sounding so innocent. You know exactly when he moved here.

Danny and Imogene watch Vanessa flirt.

IMOGENEWatch, he’ll be her boyfriend by the end of the day.

LARK (O.S.)Hey guys.

Dread. Imogene and Danny turn to see LARK, 16, Asian, in-your-face with her outgoing-ness. They’re less-than-thrilled.

IMOGENE/DANNYHey. / What’s up?

LARKMind if I stand with you?

Yeah, they mind but what are they going to say?

LARK (CONT’D)We’re in History together, right? Ms. Donahoe’s class?

Jamestown 8.

IMOGENEYeah.

(SOTTO, to Danny)Why me?

LARKI hate History.

They don’t help her out with this at all.

LARK (CONT’D)I could really use a Study Buddy.

DANNYDid you just say that? Study Buddy?

LARK(to Imogene)

I sent you a text. Maybe I have a wrong number...?

IMOGENEI don’t know.

DANNYAwkward.

They wish Lark would stand ANYWHERE ELSE as they avert their eyes, once again, looking at the cool kids.

VANESSA Tell me a secret you never told anyone.

DRAGANNo.

VANESSAI’ll tell you mine.

He likes whatever she whispers into his ear. Imogene watches in envy. Why is it so easy for Vanessa?

LARKLife’s so easy for the beautiful.

Exactly what Imogene was thinking. The bus doors open but when Dragan goes to get on, MRS. BARRETT, 40, over-worked and tough as nails, turns him towards the second Bus.

MRS. BARRETTDragan Zizic? You’re on M to Z.

Jamestown 9.

Dragan smiles at Vanessa like “Oh well” and walks to the other Bus. Vanessa stares down Mrs. Barrett, disrespectfully.

MRS. BARRETT (CONT’D)Waiting for a red carpet, Vanessa?

Haughty, Vanessa moves on. The others enter The Bus after her. Finally Lark. Danny. Then Imogene.

INT. THE BUS - CONTINUOUS

One by one they eye the BUS DRIVER. So weird. Mirrored aviator glasses, a pock-marked face. He’s eating seeds by the handful - spitting the shells right onto the floor.

DANNY(after passing the driver)

Captain Skeeve alert.

Once Imogene gets on, the Driver SHUTS THE DOORS, making a loud, JARRING SOUND. When she looks at him, he smiles. Creepy. He puts it in Drive before she can sit, causing her to lose her balance. What a dick. Like he did it on purpose.

INT. THE BUS - A LITTLE LATER

In the back. Imogene’s talking to Danny. Lark’s on the other side of her, boldly eavesdropping.

DANNYSo where was this freaky old woman?

IMOGENEIn front of the medical building.

LARKMaybe there’s a good reason she was talking to you.

IMOGENEThis is... private?

As if out of nowhere, Vanessa walks up to them, iPad in hand.

VANESSAHello freaks.

Imogene stiffens up.

VANESSA (CONT’D)(re: Lark)

Oh, and New Freak.

Jamestown 10.

(MORE)

I’m doing a survey for my blog and I’m asking everyone, even you: What’s your secret? The one you’ve never told anyone? Danny?

DANNYI’m in love with you.

VANESSAYou’re gay.

DANNYTurn me, Vanessa.

She kind of appreciates Danny’s clever sense of humor.

VANESSAWhat about you...?

LARKLark.

VANESSAWhat kind of a name is Lark?

LARKFrom the Old English Lawerce. And though it is a songbird who sings at daybreak, I like to think of it as a source of, or quest for, amusement. You know, on a lark?

VANESSA(types)

Makes out with pillow every night. Imogene. What’s your secret?

IMOGENEI--don’t have a secret.

VANESSAIs a total virgin. Ooh, or... never even kissed a boy.

That hit a spot.

IMOGENEWrite whatever you want.

VANESSAAre you crying? I can’t tell because of these.

Vanessa grabs the glasses right off her face.

Jamestown 11.

VANESSA (CONT’D)

FROM IMOGENE’S POV: Everything goes blurry except right in front of her: Vanessa, stumbling around the bus’s middle aisle, pretends to be a blind person.

VANESSA (CONT’D)I can’t see! I can’t see!

In his REAR VIEW MIRROR The Bus Driver WATCHES the commotion. He THEN looks to Mrs. Barrett, who’s reading her Instagram.

EXT. THE BUS - SAME

They enter the Park. The old Beaux Arts sign they drive under reads: WELCOME TO CELORAN PARK.

INT. THE BUS - SAME

The second the bus enters the Park everything gets DARK. The kids look out the windows into the woods. Few people come here. Those who do use it to party (there are remnants - beer cans, cigarette butts, etc.). Back to Vanessa:

VANESSAMy sense of smell just got more intense!

Laughter. Imogene reaches for her glasses. The bus driver ASCENDS UPHILL causing Imogene to lose her balance. She goes to right herself when Flea holds her back. It’s hard to watch. She’s helpless. Then:

LARKGive her back her Goddamn glasses!

Mrs. Barrett finally looks up to see Lark menacingly standing in front of Vanessa who, yes... looks scared.

MRS. BARRETTSit down!

But Lark doesn’t move. Vanessa starts to go sit.

LARKI said, give ‘em back.

Vanessa takes them off her face, hands them to Imogene.

VANESSAHere.

(to Lark)Move it.

Jamestown 12.

She shoves Lark to the side but her earlier brio is slightly subdued. Imogene, with glasses on, follows Lark back.

IMOGENEYou shouldn’t have done that.

LARKSomeone had to.

They sit with Danny.

DANNYOkay. Rad.

EXT. CELORAN PARK/INT. BUS - CONTINUOUS

The bus levels off at a turnaround where they get their first glimpse of the jewel in this ugly park...

EXT. CELORAN PARK HISTORICAL MUSEUM - CONTINUOUS

The museum’s a stunning 15th Century Venetian-style 3 story house, resplendent with flowers, dotted with small bridges over babbling brooks, glistening in the morning sun. It’s lovely and yet intense. Everything’s so vivid.

EXT. THE BUS - CONTINUOUS

As they’re all getting off the bus, Lark lets Imogene go ahead of her down the stairs, past the creepy Bus Driver.

BUS DRIVERWatch your step, Imogene.

How does he know her name? But she keeps going. At the base of the stairs stand Vanessa and Flea, who eye her down but are now far more interested in the next girl: Lark. But as Lark descends the stairs, she hisses at them like a cat. They back away. Weirdo. Danny walks out now.

DANNYWell, hasn’t today taken a surprising turn of events?

INT. CELORAN PARK HISTORICAL MUSEUM - A LITTLE WHILE LATER

JOHN SINGER SARGENTS’ hang next to large black and white PHOTOS of the park, throughout the different decades.

The CLASS follows Tour Guide, XENIA ROSE, 65, older and sexy (think evil Diane von Furstenberg). She wears Chanel, leather pants, dark round glasses which hang on a diamond chain.

Jamestown 13.

XENIA ROSEThe building itself housed the founder of the park...

(with a hint of vitriol)Quintus Vickner.

Imogene looks at Vickner’s PICTURE closely - typical black and white of a dignified man in his 50’s except... is he wearing... an earring? Must be a puncture in the photo. No matter. She’s distracted when Vanessa sidles up to Dragan who, in turn, sees Imogene watching. Vanessa mouths...

VANESSA(mouths to Imogene)

Wanna join?

Imogene looks away. As Xenia Rose speaks, the kids look at pictures on the wall, depicting what she describes...

XENIA ROSEAfter the Chicago World’s Fair - a showcase for new inventions like skyscrapers and Ferris Wheels, it was clear: fairs made money. So they sprouted up all over the world. You know why the Eiffel Tower was built?

IMOGENEIt was the entrance to--

IMOGENE/DRAGAN--the 1899 World’s Fair in Paris.

Dragan and Imogene make eye contact. Chemistry. Shy, she quickly looks away. Vanessa’s like W.T.F.?

XENIA ROSEThat’s right. But Celoran Park, she was the grandest of them all. Elegant. Magical. Breathtaking.

Imogene looks at a blown up Class Picture. It reads: JAMESTOWN HIGH SCHOOL CLASS OF 1927. In it she sees a GIRL looking down. A girl who looks like her.

DANNYLooks like you much?

ANGLE ON: A TROLLEY CAR ON DISPLAY

Vanessa goes to touch it but Xenia sternly looks at her so she retreats-- the first time she’s shown respect to anyone.

Jamestown 14.

XENIA ROSEThis is a replica of The Columbia. The most popular of the trolley cars that brought people to the park. The original was destroyed.

Imogene gets very close to the display of TROLLEY TOKENS.

XENIA ROSE (CONT’D)Young woman? Young woman with the thick glasses.

Danny nudges Imogene, who looks up.

XENIA ROSE (CONT’D)No touching.

Mortified, Imogene steps back.

VANESSA(SOTTO, to Imogene)

Yes. No touching, “Young woman with the thick glasses.”

But Dragan overhears this. That’s not cool. Next: PHOTOS on the wall show FIREMEN battling fires. One is a hotel fire. THE HOTEL JAMESTOWN. SEPTEMBER 27TH, 1924.

XENIA ROSEThis is the famous Hotel Jamestown Fire, 1924. The fire burned the hotel to the ground in ten minutes. Six died that night. Including a baby. Many believe it was arson.

STUDENTWhy arson?

XENIA ROSESo the owner, Vickner, could collect on the insurance money. Now, follow me into the ballroom for music, moonshine and flappers.

VANESSAOoh, flappers.

On Danny’s way out with Imogene and Lark...

DANNY(mimics)

Ooh, flappers.

Jamestown 15.

Everyone leaves but Imogene, who goes back to the Token Display. Imogene’s alone. Seemingly...

LARK (O.S.)Take it.

Imogene’s not even startled that Lark’s behind her.

IMOGENEI shouldn’t.

LARKNo one’s here. I know you want to.

It STARTS TO GLOW. Imogene REACHES. A SPARK. She retreats. Though she’s compelled, as if it’s calling to her. In a trance, she goes for it again. Nabs it, ignoring the surrealistic sparks it’s emitting. She then stares at it. It’s in the palm of her hand. Silver. Latin writing. Warm, inviting... exhilarating.

VANESSA (O.C.)Mrs. Barrett?

Startled, Imogene looks up to see a smug Vanessa standing in the doorway, Flea by her side. Imogene sticks the token into her backpack.

VANESSA (CONT’D)(calls off)

How were people punished for stealing in the ‘20’s?

FROM IMOGENE’S POV: Instead of Mrs. Barrett, Imogene SEES the Old Woman appear from the other room.

OLD WOMAN(Mrs. Barrett’s voice)

What is it, Vanessa?

Terrified, Imogene runs out. When we return to Vanessa, she’s looking at Mrs. Barrett who’s seen none of this.

VANESSA(smiles at Flea)

Nothing.

END OF ACT ONE

Jamestown 16.

ACT TWO

FADE IN:

EXT. CELORAN PARK GROUNDS - MINUTES LATER

Imogene runs fast, oblivious to the DANGER KEEP OUT signs hanging from the trees.

AN ABANDONED AREA

This is when we first met Imogene and are now catching up. Though now we know why she’s running.

Turning to see if the Old Woman’s behind her, she trips over one of those big scary roots - her glasses go FLYING. She HEARS a Cat scurrying away. She gets on hands and knees to find her glasses when she HEARS the Cat’s yowl. Imogene rises, looking for him. She TRIPS. Herself FALLING into...

INT. THE HOLE - CONTINUOUS

SLOW MO: Imogene LANDS hard at the bottom of this dark, earthy place; her chin HITS something that makes a METALLIC CLANKING SOUND. Next to her is the Cat.

CUT TO:

INT. MR. MAJESTICO'S TIME MACHINE TENT - DAY - 1924

Matched by: CLANKING OF A BELL RING rung by...

NICOLAI

...aka MR. MAJESTICO, 21, darkly handsome, British, charming, and a born liar, surrounded by PATRONS gathered to see the spectacle.

He stands before a large painted box with a tiny door. On it is written TIME MACHINE.

NICOLAIIs it conceivable that man can travel not only to and fro over oceans but to and fro over time?

HECKLERNo!

Two THUGS stand nearby, underneath kerosene lamps, watching over the cynical crowd. This is LLOYD, thick and wall-eyed, and FRANK, smarter, thinner, with a pockmarked face, whose light eyes stay fixed on Nicolai, who winks to them: I got this.

Jamestown 17.

Nicolai holds up a tattered “Taming of The Shrew” PLAYBILL.

NICOLAI“Thus the whirligig of time brings in his revenges.” Last week, I, Nicolai Wells, tested my new Time Machine. And though I hadn’t asked for the destination, I was transported to a time and place I’ve always longed to be--

HECKLERA brothel, no doubt.

NICOLAIA theater. With ladies in glorious silks, beads, jewels. Men in velvet and brocades. And front row, center, there sat a paragon of strength, dignity, power. It was none other than the Good Queen Bess. Queen Elizabeth the First!

Gasps from the crowd.

NICOLAI (CONT’D)There to see the premiere of Sir William Shakespeare’s “The Taming of the Shrew.” The year? 1593!

They’re amazed. He’s got them. Lloyd’s even entranced. Frank, not so much.

NICOLAI (CONT’D)And for a night, a most memorable evening, I heard such poetry, witnessed such beauty...

HECKLERIt’s a lie! I want my money back!

NICOLAIAh! A skeptic! I’m happy to return your money, sir. In exchange for you being the first layman to hurl himself into the abyss of time!

The Heckler steps back smirking, but afraid.

NICOLAI (CONT’D)No? Then who wishes to be our very own Ponce de Leon? Our Sir Shackleton?

Jamestown 18.

HANDS SHOOT UP: mostly of men showing off for their girlfriends, but Nicolai scans for that special someone.

NICOLAI (CONT’D)No promises you’ll come back. I haven’t worked out all the kinks.

Some men lose their nerve. It doesn’t matter since Nicolai’s scanning for his plant, LUCY, 16, red-haired, sweetheart face, wearing dainty white gloves. Next to her is CLAY PEMBERTON, 16, handsome, Waspy.

LUCYPick me! Sir?

She pushes through.

CLAY(follows her)

Lucy, no.

PATRONBut she’s a girl!

She arrives and faces Nicolai.

NICOLAIWe were looking for a man.

LUCYPerhaps where I’ll land, girls will be considered just as vital. Like your Queen.

NICOLAII stand corrected. Our traveler, everyone!

The crowd’s titillated as Nicolai covers Lucy with a silver blanket, puts a helmet on her head, dark glasses to protect her eyes.

NICOLAI (CONT’D)Tell us your name, Lass.

LUCYLucy.

NICOLAILast words, Lucy?

LUCYJust let me kiss my fella goodbye!

Jamestown 19.

Lucy and Clay kiss... too long for propriety. Uncomfortable throat clearing. Then Nicolai opens the door to The Time Machine. She gives one last smile to the nervous crowd, bends down and goes in. Nicolai shuts the door.

NICOLAIOnce I flip this switch, she has...

(really puts on an act)... four minutes. Any more, I’ve never tried. Not even with myself.

PATRONHow’s that long enough?

NICOLAI(pouring it on)

Wherever she goes, she’ll be there for hours, maybe days.

With gravitas he lifts the heavy switch, pulls the lever down, stamps his foot at the same time which ACTIVATES the mechanism beneath the carpet, turning on LIGHTS that go ON AND OFF. The crowd’s completely swept up.

INT. BACK OF THE TIME MACHINE TENT - MOMENTS LATER

Lucy EXITS into the TENT’S BACK AREA. She starts changing into a ridiculous get-up of gold and platinum. Clay jumps from behind a tent flap and grabs her.

LUCYClay! You shouldn’t be back here.

EXT. CELORAN PARK HISTORICAL MUSEUM - LATE AFTERNOON - 2015

Kids load onto the buses. Vanessa and Flea are waiting to get on the Bus when Mrs. Barrett checks a list, scans the crowd.

MRS. BARRETTWhere’s Imogene?

Vanessa smirks as she and Flea get on. It starts raining.

INT. THE HOLE - SAME TIME

UNRELENTING RAIN enters the Hole. Imogene rifles through her backpack looking for the Panic Button. Flustered, everything spills. She feels on the soupy floor to find it when she spots something glowing. The Panic Button! (unbeknownst to her, it’s THE TOKEN). She picks it up, presses it. Prays.

IMOGENE(yelling to the surface)

Pleeeeease! Someone!

Jamestown 20.

(MORE)

(now, almost to herself or God)

I’m sorry! I’m sorry I stole the token. I’m sorry I stole the trip money. I’m sorry I let Vanessa push me around! If you get me out of here, I swear I’ll be strong. I will. I’ll be strong. I will I will I will be strong--

THE TOKEN goes RED. Becomes too hot to touch. Imogene drops it. When it HITS the ground...

THE ENTIRE HOLE LIGHTS UP. We now SEE the interior walls with broken roots sticking out, eerily resembling old fingers that are moving. A violent TREMOR throws her off balance. SOUND OF TURNING WHEELS from somewhere. The SOUNDS are getting closer.

The rain water GETS SUCKED DOWN. Then the DIRT IS PULLED DOWNWARD, revealing the thing she hit her chin on was a TURNSTILE. Its’ bars of entry CUT INTO THE EARTH’S FLOOR, NOW DISAPPEARING FROM BELOW HER FEET. She presses her back against the creepy wall SO AS NOT TO FALL THROUGH. Something is coming. An earthquake? What is this? There’s barely any floor to stand on anymore. The RUMBLING’S almost deafening now. No more FLOOR and...

Imogene and the Cat GET SUCKED DOWN.

EXT. TUNNEL - CONTINUOUS

They LAND on top of the roof of a moving TROLLEY. The letters on its roof read COLUMBIA. It halts to a final stop. Imogene’s thrown off balance - and she and the Cat TELEPORT DOWN THROUGH THE ROOF (as if the roof is made of light).

INT. THE COLUMBIA TROLLEY CAR - CONTINUOUS

Imogene and the cat LAND on the floor of this car. There’s a pole in the middle. PEOPLE are seated as if going to work or on holiday. They’re from different countries and different eras, demarcated by their dress. And none are the least bit interested in Imogene or this Cat.

DING DING DING. A FLASH OF LIGHT FLOODS THE CAR. With the force of a bullet - IT TAKES OFF. Imogene and the Cat ROLL.

TWISTS, TURNS at accelerated SPEEDS. Like a rag doll and a stuffed animal, Imogene and the Cat move with it. None of the other travelers help. They are completely self-involved.

INT. MR. MAJESTICO'S TIME MACHINE TENT - “SAME”

Nicolai’s knocking on the tiny door. No response.

Jamestown 21.

IMOGENE (CONT'D)

PATRONIt’s over four minutes!

Nicolai starts looking nervous.

INT. BACK OF THE TIME MACHINE TENT - SAME

Lucy’s still in the back, making out with Clay.

INT. MR. MAJESTICO’S TIME MACHINE TENT - SAME

The audience grows restless.

HECKLERTold you it’s a scam!

Frank observes the crowd’s anger.

NICOLAIYoung lady, if you can hear me, open the door!

(barely whispers)Lucy!

Suddenly the EARTH SHAKES violently. Everyone looks at the ground, their feet. Then FLASH! A huge BURST OF LIGHT. All the people in the tent shield their eyes. Then SOUNDS of METAL, SCREECHING TO A HALT.

INT. THE COLUMBIA TROLLEY CAR - SAME

Suddenly it all stops. The doors open.

CONDUCTOR(over a loudspeaker)

Jamestown. 24.

All the other passengers, for the first time, look at Imogene. Unsteady, she grabs the Cat, gets up, walks to the door that’s open. When she walks out she DROPS DOWN TO:

INT. THE TIME MACHINE BOX - CONTINUOUS

Imogene and the Cat LAND in the box.

INT. MR. MAJESTICO’S TIME MACHINE TENT - SAME

You could hear a pin drop. Nicolai collects himself. He’s confused but this is show business: he knocks again.

HECKLERWhat kind of game are you playing at?

Jamestown 22.

SLOWLY the KNOB TURNS. A hush falls over the crowd. The door OPENS and the Cat runs out. A WOMAN screams! Laughter erupts. But then Imogene, mud-caked, in jeans, T-shirt, nose earring stud, emerges. The crowd gasps. She squints, then looks at Nicolai. She can see him perfectly, without glasses. She reaches out to touch his face. She’s amazed. 20/20 vision!

IMOGENEI can see.

NICOLAIMiss, who are you?

IMOGENE(pulls her hand back)

Imogene.

NICOLAIWhere are you from, Imogene?

IMOGENEJamestown.

She look at all the PEOPLE, their CLOTHING... where is she?

HECKLERWhat’s the date, Imogene?

IMOGENEThe 21st.

She looks around. SOMEONE looks familiar. Whomever it is ducks behind another patron.

HECKLERThe year!

IMOGENE2015.

It’s that girl, Lark. She’s dressed in a 20’s maid uniform.

IMOGENE (CONT’D)Lar--?

NICOLAIMy dear, it’s 1924.

Overcome, she PASSES OUT. At which point, Lucy steps out from behind her, in a platinum wig and gold drape.

LUCYIt was stupendous!

Jamestown 23.

All rush to get a closer look of Imogene, while Frank and Lloyd start to pull out their guns, wanting to control this.

NICOLAIFor another ten bucks you can touch the girl!

His plan is futile. People are swarming. Lark approaches him.

LARKMr. Wells, Mr. Vickner would like to see the young lady.

NICOLAIYou try prying her from this crowd.

LARKGladly.

She grabs inside his pocket and takes a fist-full of dollars.

NICOLAIWait!

Too late. Lark throws all the money up into the air over the crowd. Frank’s pissed.

PATRONMoney!

Like a wave, the crowd runs for the money. Even Lloyd. Frank tries to stay on his goal - to get Imogene - but the crowd pushes him to the side. Lark and Nicolai scoop her up. Run.

EXT. THE BACK OF THE TENT - NIGHT

Nicolai, with a disoriented Imogene over his shoulder, comes outside. Lark is close behind.

NICOLAII expect to get my money back.

LARKIn due time. Where’s your car?

He nods to a horse and buggy that says “MR. MAJESTICO’S ENTERTAINMENT CO.” Lark’s irritated: it’s not a car but fine. Nicolai puts Imogene and Lark in the back - among the wooden crates (masks, props, etc.).

LARK (CONT’D)Hurry!

Jamestown 24.

Nicolai gets in his seat to go, hits the reins, but the horse stays still. Meanwhile, Frank emerges from the tent.

NICOLAICome now, Sheba.

LARKWhat’s the matter with her?

NICOLAICome now.

Frank, with gun visible, is making his way to them. Then FIREWORKS GO OFF overhead. POP POP POP - the horse TAKES OFF.

EXT. QUINTUS VICKNER’S HOME - A LITTLE LATER

They pull up to Quintus Vickner’s home. We first saw it as the museum. Now it suits its surroundings. It’s filled with life.

INT. NICOLAI’S HORSE & BUGGY - SAME

Lark hovers over Imogene, who is coming to. Imogene looks at the house. They pull to a stop.

IMOGENEWho are you, really?

LARKI told you. I’m Lark. You know, you really should’ve texted me back.

Nicolai unhitches the back. Lark hops out, holds her hands out to help Imogene, but Imogene stays put.

LARK (CONT’D)No time like the present.

Imogene hops out on her own. Falls when she hits the ground.

LARK (CONT’D)Jet lag.

Lark helps her up then SURPRISE! The Cat jumps off the buggy.

LARK (CONT’D)Thank you, Mr. Wells.

NICOLAII’m not leaving without my money. I have investors. Who will kill me if they don’t get their take.

Jamestown 25.

LARKRight. How much?

NICOLAI200.

LARKThere’s no way.

NICOLAIYour Mr. Vickner can afford it.

INT. QUINTUS VICKNER’S FOYER - MOMENTS LATER

Lark and Imogene enter the house. It’s Victorian in decoration. Grand. A stairwell leads to the upstairs. Lark pulls on the knob of the stair’s bannister. It works like opening a drawer. Inside is loads of cash. She takes out a wad of cash, then shoves back the drawer.

LARKDon’t touch anything.

Lark leaves. Gingerly, Imogene goes and pulls on the bannister. All that money. She doesn’t take any. She’s just amazed by it. She looks over her shoulder and sees Lark walking back to the house. Starts to push the bannister drawer but won’t close. She pushes harder. FUCK! Lark enters. Lark pushes the drawer back in with great force.

INT. QUINTUS VICKNER’S HOUSE (VARIOUS) - CONTINUOUS

They walk at a fast clip through this 20’s mansion. Pass a BLACK GIRL FROM THE 60’S, short dress, a bob, pink lipstick.

LARKHey Muriel.

She gives a black power sign. Another PERSON RIGHT OUT OF THE 80’s, walks by.

LARK (CONT’D)These are all time travelers. From the future, the 1500’s. None from The Stone Age. Well, we had one. Nightmare.

Imogene doesn’t say a word. Passing through a hallway they turn and go through a large, busy KITCHEN. A French Revolutionary, RICHARD, kneads bread. Nearby is a German FRAU from the 1500’s, cooking sausage.

LARK (CONT’D)Hey guys.

Jamestown 26.

RICHARD/FRAULark. / How’s it hanging, girl?

They leave the kitchen and go down a STAIRWELL.

IMOGENEWhat is this pla--?

LARKAuctoris, the epicenter of Time Travel. Or Quintus Vickner’s Home if you’re out in the world, where you should assume everyone is normal. Doesn’t mean they are but don’t start talking Time Travel stuff with them right off the bat.

Imogene stays mute, eyes wide open, freaked, scared, not sure this is really happening.

LARK (CONT’D)Still with me?

Barely. Lark enters a big brass door. Imogene follows her through. They enter...

INT. INDOOR POOL ROOM - CONTINUOUS

Floor to ceiling mosaic walls with Greek statues surround an Olympic-sized pool with a glittering bottom. A tall, barrel chested man, GUSTAV, stands by the side with robe and towel at the ready. Swimming freestyle - QUINTUS VICKNER, 55.

GUSTAVSir.

Quint takes in a breath. There’s that earring.

GUSTAV (CONT’D)Sir.

Quint stops, looks up, bobbing in the water. A sparkle in his eye. A boyish face though he’s not young. Tatts on his back. Vickner looks like a cool middle-aged guy from today. He sees Imogene.

QUINTImogene. We’d given up on you.

END OF ACT TWO

Jamestown 27.

ACT THREE

FADE IN:

INT. DINING ROOM - THE WEE HOURS OF THE MORNING

Quint, hair wet, fancy robe, sits at the head of a long, table built for a king. He devours a huge meal. Imogene doesn’t touch her food. She takes in the room. Gustav’s nearby, at the ready to do whatever Quint needs.

QUINTEat. I know you’re hungry. Travelling'll do it to you.

She’s nervous but finally eats. Damn, it’s good. She starts shoveling in food non-stop. Like she’s never eaten before.

QUINT (CONT’D)Good. You need your strength.

IMOGENEI’m tripping. That’s what’s happening. I’m tripping.

QUINTTell yourself what you need to but sooner or later, you’re going to have to accept, you’re in good ol’ 1924. Freaky, right?

IMOGENEOr I’ve lost my mind.

She keeps wolfing down food.

QUINTNope. This is the sanest you’ve ever been. Because Time Travel has always existed. But only a select few get to go. Except... for now.

IMOGENEI want to know what’s going on. I want to know why I’m here.

She yawns. Suddenly she’s exhausted.

IMOGENE (CONT’D)People are probably worried about me. I’m kidnapped. We don’t have money!

Jamestown 28.

QUINTWhen that old lady spoke to you this morning, she was telling you the truth. Just took you forever to heed the call. My God.

IMOGENEHow do you know about that?

Suddenly she can barely keep her eyes open.

QUINTIt’s my job. We had to give you a push. Start your training as soon as possible. We’re running out of time.

Her eyes close as she falls asleep sitting up.

QUINT (CONT’D)And she’s out. Gustav?

Gustav picks her up. She’s completely asleep.

QUINT (CONT’D)Put her in The Renaissance Room.

INT. RENAISSANCE ROOM - EARLY MORNING

Imogene’s fast asleep in this bedroom that could be right out of The Renaissance. The Cat is curled up with her. Quint and Lark look at her from the open door.

LARKWe’ll see what’s really inside her.

QUINTI saw her. She was in my vision.

LARKUh huh.

EXT. QUINTUS VICKNER’S HOUSE - BACK YARD - EARLY MORNING

Quint, Imogene and Lark (in a maid’s uniform, always) walk on the grounds of this palatial estate. They’re heading to an area with glass jars on tree stumps.

QUINTFor millions of years Time Travel has existed. But an evil entity has found our routes, and is trying to take over - both worlds.

Jamestown 29.

Quint pulls out a gun. Imogene freezes. He then shoots one of the glass jars. BLAST. She jumps. Bull's-eye. He reloads.

QUINT (CONT’D)It seems someone from our side has gone to theirs. A Seer.

LARKA Seer’s someone who can see the future. They’re like crazy powerful.

QUINTBecause this someone knows what will happen, they can direct others to be in the line of fire - to change events.

Shoots and BLAST. Hits another jar.

QUINT (CONT’D)I’m a Seer who normally just goes with the flow. I let life unfold as fate would have it...

BLAST. Another.

QUINT (CONT’D)But I’m seeing manipulation now. Evil infiltrating the natural course of things. And I’ve seen you having a role in stopping this.

He holds the gun out to her.

IMOGENEPretty anti-gun, thanks.

INT. QUINTUS VICKNER’S GYM - DAY

In an old-style gym, Imogene practices judo with Lark. Quint is on the side, sipping tea.

IMOGENE I’m really not a fighter. I think you might have seen it wrong.

Lark eyes him, as if to say: Even she thinks you could have had a skewed vision.

QUINTYou don’t know jack about who you really are.

Jamestown 30.

Lark has Imogene in a choke-hold. Imogene can’t do anything.

IMOGENEWhat do I do?

LARKUse your leg.

But Imogene, hard as she tries, fails. They switch positions. Lark swipes her leg. Imogene hits the mat. Hard.

QUINTAgain.

INT. INDOOR POOL ROOM - NIGHT

Imogene’s underwater, holding her breath. Quint’s timing her. Finally she comes up for air.

QUINT30 seconds. Not good enough.

IMOGENE The most fighting I’ve ever done is in 2nd grade, Krav Maga. And giving my little brother purple nurples.

QUINT We know what you’re capable of. We just need to bring it out of you-- give you permission.

IMOGENE Permission for what?

He is too frustrated to answer.

QUINTBreathe out, breathe out, then breathe in.

She does what he said then goes underwater.

EXT. QUINTUS VICKNER’S HOUSE - NIGHT

Imogene’s high up on the exterior of the house, grabbing vines like pulleys trying to reach a window with an X on it. She SLIPS. She then shuts her eyes, focuses and moves her foot to a bulky vine that helps her continue up. Finally she reaches the X window. She tries to open the window. Locked.

IMOGENEIt’s locked!

Jamestown 31.

She looks down to see Quint on the ground, smiling.

IMOGENE (CONT’D)What do I do?

QUINT(imitates her)

I will I will I will be strong. (THEN)

Be strong!

She looks at him, furious. Tries with futility to pull the window open and almost falls. She looks back down at him.

IMOGENEI can’t.

QUINTYou’re hopeless!

At that, angry, she elbows the X’d window pane. SMASH!

INT. RENAISSANCE ROOM - MOMENTS LATER

Imogene’s bleeding near broken glass. Lark’s bandaging her.

IMOGENELark, where does she think I am?

Lark doesn’t look up.

IMOGENE (CONT’D)Does my mother think I’m dead?

Lark doesn’t respond.

IMOGENE (CONT’D)Please. No one’ll tell me anything.

LARKShe thinks you’re home.

INT. THE HOLE - THE NIGHT SHE WENT MISSING - FLASHBACK

Over Lark telling Imogene what happened: we WATCH as Imogene presses on the token. The rain’s falling. The earth’s floor opens up. She and the Cat fall through.

LARK (V.O.)The night you disappeared, a duplicate of your body stayed in 2015.

Jamestown 32.

The earth FILLS UP WITH DIRT AGAIN. And Imogene’s body lays there as if she’d just fallen.

LARK (V.O.)A Search and Rescue took place.

EXT. THE CELORAN PARK GROUNDS - THE NIGHT SHE WENT MISSING

SEARCH AND RESCUE TEAMS comb the grounds. NEWS VANS are out. A HELICOPTER’S overhead. Sela’s crying into a news camera.

ANGLE ON:

Vanessa talking to a NEWSWOMAN.

VANESSA(TO CAMERA)

She’s practically blind. We’re all so worried about her.

LARK (V.O.)Classmates held a vigil.

Teens walk through the woods holding candles. Vanessa is taping the whole thing on her iPad. She walks near Dragan.

VANESSAHey.

He doesn’t look her way. The silent treatment.

VANESSA (CONT’D)What?

DRAGANI heard about what you did to Imogene on the bus, Vanessa.

VANESSAWe were joking around. Why’re you so up in my grill?

DRAGANYou want to know my secret? I don’t like bullies.

He walks away from her.

VANESSAYou know how many guys would kill just to have me talk to them?

(as if to the next suitor)Next?

Jamestown 33.

She walks off in another direction - her ego bruised. She pulls out her cell phone. Speed dials.

VANESSA (CONT’D)Can I get a signal?

Flea’s following her.

VANESSA (CONT’D)Ooh, look. Some self-esteem. Go pick it up. Shoo!

EXT. CELORAN PARK GROUNDS - ABANDONED AREA - LATER

Vanessa is by herself on her cell phone.

VANESSAJust TiVo the news. I don’t know which channel, all of them.

She enters the area with the tree roots and feral cats.

VANESSA (CONT’D)I told you, I was interviewed... Because a girl’s missing... Imogene Healey! Don’t you listen?

She looks down and sees the glasses. Picks them up.

VANESSA (CONT’D)Yes, she’s my friend.

Vanessa walks to The Hole. Using her phone’s FLASHLIGHT she sees Imogene’s body. She puts the iPhone back to her ear.

VANESSA (CONT’D)No, we’re still looking for her.

LARK (V.O.)They searched all night and into the wee hours of the morning.

EXT. CELORAN PARK GROUNDS - ABANDONED AREA - EARLY MORNING

The sun’s just rising. Vanessa, made up, looks super cute and alert, especially compared with sleepy Flea.

FLEAWhat are we doing here again?

VANESSASaving Imogene. How do I look?

Jamestown 34.

LARK (V.O.)Vanessa’s the one who found you.

VANESSATurn on your camera.

THROUGH FLEA’S IPHONE:

Vanessa starts walking towards the hole.

VANESSA (CONT’D)Oh my God!

FLEA (O.S.)What?

VANESSAIt’s... Imogene.

She looks into the CAM of Flea’s Phone. Her best worried slash hot girl look.

EXT. CELORAN PARK GROUNDS - ABANDONED AREA - LATER

The rescue regalia is out. Vanessa’s hands in prayer. Sela is with Robbie, holding him tight. Emerging from the hole is a FIREMAN holding onto Imogene. Her mother can’t see her face.

SELAImogene! Is she...?

Imogene opens her eyes. Her mother goes to her. Hugs her.

LARK (V.O.)Physically all is well. It’s just your essence is here. Your soul.

IMOGENE (V.O.)No one can tell the difference?

INT. SELA’S KITCHEN - NIGHT

The family’s eating. Robbie stares at Imogene suspiciously.

LARK (V.O.)Most people think you’re just acting like a typical teenager. The only real difference is... you aren’t afraid. Of anything.

INT. JAMESTOWN HIGH SCHOOL HALLWAY - DAY

Imogene walks with Danny when Vanessa, passing by, starts walking with her, trailed by Flea.

Jamestown 35.

VANESSAYou’re welcome by the way.

Imogene doesn’t look at her. Vanessa grabs her shoulder.

VANESSA (CONT’D)I said “You’re welcome.” It’s usually customary to thank someone for saving your life.

Imogene does a passable smile, then takes Vanessa’s hand, pulling her hard up against the lockers. Like she’s a pro.

IMOGENEThank you. Don’t touch me again.

Vanessa’s completely freaked. So is Flea. Imogene lets go and keeps going.

DANNYSaaaaaaaah- NAP!

INT. RENAISSANCE ROOM - MORNING - PRESENT

Imogene’s putting the final touches on a school uniform. Removes her fake nose earring. Lark puts her hair up, twisting it into a chignon with a Pearl Comb.

IMOGENEWish I was like that in real life.

The comb pierces Imogene’s scalp.

IMOGENE (CONT’D)Ow!

LARKSorry. They did not mess around in the past. It’s like they wanted you to feel pain.

INT. QUINT’S CAR - LATER

Imogene, dressed in school uniform, and Quint are in the back being driven by Gustav. The scenery outside is beautiful.

IMOGENEWill I ever see my mom again?

QUINTYes. When your service is done. And provided you succeed in your task...

Jamestown 36.

That doesn’t sound positive. She then looks out the window. They’re approaching the SCHOOL which is stunning. Quint’s fancy car parks.

Gustav opens the door for them. Quint walks with her into the school.

IMOGENEThis is school? Holy sh--

QUINTLanguage, Imogene.

INT. JAMESTOWN HIGH SCHOOL - HALLWAY - CONTINUOUS

Polished floors, immaculate halls, finely mannered students.

QUINT(to Imogene)

Who are you?

IMOGENEImogene Vickner, your niece. My parents died in India. I’m an only child. I live with you now.

QUINTAnd who is your mark?

IMOGENEThe girl in my first class. Make friends with her. Get her to trust me. Find out what she knows, what she’s up to. She’s the key.

He turns to walk out.

IMOGENE (CONT’D)Wait!

Other kids stare. She composes herself.

IMOGENE (CONT’D)You still haven’t told me her name... Uncle.

Walking away, Quint throws a jaunty two-fingered “ta-ta” over his shoulder. She is left to her own devices.

INT. MR. LIGGETT’S LATIN CLASS - MOMENTS LATER

The BELL RINGS. Imogene approaches a classroom when Clay, the boy who kissed Lucy in the Time Machine Tent, walks past her.

Jamestown 37.

CLAYExcuse me.

MR. LIGGETT, 35, the teacher, looks up from his desk.

MR. LIGGETTYou’re late, Mr. Pemberton.

CLAYSorry, sir.

Clay takes his seat.

MR. LIGGETTAnd you must be Imogene Vickner.

She smiles shyly.

MR. LIGGETT (CONT’D)Class, Imogene is a new student here at Jamestown.

STUDENTRYWelcome.

Imogene’s amazed: They’re all so well-behaved. She looks at the blackboard. In chalk: Qui audet adipiscitur. Translation: He who dares, wins. Her eyes register the memory.

MR. LIGGETTMiss Vickner, please take a seat next to Miss Healey.

Miss Healey? Imogene sees her mark. It’s her ancestor, HORTENSE HEALEY, 16. Awkward, downcast eyes, dark hair. Was that the girl in the picture?

Imogene FLASHES ON: THE PHOTO

DANNY (V.O.)Looks like you.

END OF ACT THREE

Jamestown 38.

ACT FOUR

FADE IN:

INT. THE HALLWAY - LATER

The BELL RINGS. Students flood the halls. Imogene is behind Hortense. Clay behind Imogene.

CLAYDon’t I know you?

IMOGENEI don’t think so.

(spots Hortense)Hortense? Hortense!

Imogene sees her mark halfway down the hall. Hortense half-acknowledges she’s been called, prompting her to walk faster. Imogene speeds up. Finally, she puts her hand on Hortense’s shoulder, who reluctantly turns around.

IMOGENE (CONT’D)I’m sorry to bother you but I don’t know my way around. World History?

Hortense looks put upon but...

HORTENSEFollow me.

Imogene can’t keep up with her.

IMOGENEObviously, I’m not from around here. It’s so different. Maybe you and I could... hang out sometime?

Desperate. Awkward. Yet Hortense isn’t even listening to her:

HORTENSEWorld History.

Imogene looks inside a Classroom.

IMOGENEOh. Thank you. I really--

But Hortense is already walking away. Damn.

EXT. QUINTUS VICKNER’S HOUSE - BACK YARD - DAY

Imogene, Lark and Quint are at the tree stump with the jars.

Jamestown 39.

QUINTIt’s been two days.

Imogene shoots, misses.

IMOGENEShe doesn’t like people. Sorry!

QUINTIt’s almost Friday. You know what happens Friday?

IMOGENENo.

QUINTThe fire! The Hotel Jamestown fire that kills six people? Don’t they teach you anything in the future?

IMOGENEThe lady at the museum said you paid someone to start it.

QUINTAs usual, I’m vilified in the future. I’m trying to prevent the fire. And the key is Hortense. Find out how she’s linked to this fire and we’ll save lives - alter history - so time will unfold as it was meant to.

IMOGENE“Meant to” how?

QUINTTrust me, stop this fire, 2015 will look a whole lot different in ways you can’t imagine. And you will have been responsible.

She shoots, misses.

QUINT (CONT’D)Try breathing.

She’s holding the gun. Steady. She puts the gun down.

IMOGENEI can’t! She’s just a mousy girl! She has nothing to do with this!

Quint looks to Lark like, “You deal with this”, and leaves.

Jamestown 40.

LARKJust because she’s the key doesn’t mean she starts the fire. It just means she will lead you to the plan. Trust Quint.

IMOGENEHow do I get her to trust me?

LARKPay attention. Find out what she cares about. Like I did with you.

IMOGENEYou... played me?

LARKDuh, you were so mean. But then I stood up for you. That didn’t change how you felt about me?

It did. This stings for Imogene. She aims and fires. A near miss.

LARK (CONT’D)Again.

She breathes in deeply and shoots. BLAST.

INT. MR. LIGGETT’S LATIN CLASS - NEXT DAY

Imogene walks in after Hortense.

IMOGENEHey.

Hortense half-smiles and sits. Imogene follows suit. Hortense is still paying her no mind. Imogene feels like such a failure. The BELL RINGS. Hortense opens her book and is doodling in a corner of her paper - barely visible to anyone. Mr. Liggett starts his lesson plan. Irritated, Imogene opens her book.

DISSOLVE TO:

INT. MR. LIGGETT’S LATIN CLASS - LATER

The middle of class. Hortense is secretly doodling. Clay is not being secretive at all. Could care less about class.

MR. LIGGETTAuribus teneo lupum. Anyone?

Notices Clay’s not paying attention, drawing something.

Jamestown 41.

MR. LIGGETT (CONT’D)Mr. Pemberton?

Imogene notices how interested Hortense is in Clay.

CLAYSir.

MR. LIGGETTAuribus Teneo Lupum. The meaning.

Clay pauses. Looks stumped.

MR. LIGGETT (CONT’D)Perhaps if you drew less--

Mr. Liggett holds up the paper. It’s an architectural model of a building. Beautiful details - people walking in and out, children playing, even a basement with a furnace. A clock.

CLAYI like architecture.

MR. LIGGETTWonderful. But this is Latin. Who knows what auribus--

CLAYHolding a wolf by the ears.

Hortense looks like she’s in love. Imogene catches this. Looks at her doodles - it’s a boy - it’s... Clay.

MR. LIGGETTInterpretation?

CLAYDoing nothing and doing something is equally risky.

Imogene now knows her in. THE BELL RINGS. Imogene stands up right away but all the other students remain seated. Mr. Liggett stares at her like, “So rude.” She sits. He pauses.

MR. LIGGETTExcused.

Clay and his friends crowd in front of Imogene. Hortense slips out. It’s as if the boys are intentionally keeping her from her mark, though she does not see it that way.

Jamestown 42.

EXT. JAMESTOWN HIGH SCHOOL - A LITTLE WHILE LATER

Imogene runs out to find most of the students have already gone. Damn it! Quint’s car goose-honks. She runs to it and Lark opens the door. But instead of going in:

IMOGENEWhere did Hortense go?

Lark points. Imogene starts running and suddenly Clay comes from seemingly nowhere. Just at that moment, she sees Hortense, holding books, rounding a corner.

IMOGENE (CONT’D)Clay! Oh. Excuse me.

Imogene goes in Hortense’s direction.

CLAYMind if I join?

She walks fast, following Hortense. He keeps up.

IMOGENEWell, you know I am trying to catch up to Hortense. You know Hortense, right? She’s so nice. So cute.

CLAYHortense. The wallflower?

Hortense cuts through a yard. Both of them follow.

IMOGENEI’m really a wallflower, too.

CLAYI don’t know one Time Traveler who’s a wallflower.

Ooh. Imogene slows down a bit. Who is this guy?

IMOGENESorry?

CLAYI saw you. I saw you come out of Mr. Majestico’s Time Machine Ride.

What’s his angle?

CLAY (CONT’D)It’s okay. I know the whole operation.

Jamestown 43.

(MORE)

My friend, Lucy, works for Nicolai too.

Oh, okay. He’s not a Time Traveler.

CLAY (CONT’D)But she does it for extra dough. She’s a scullery maid. Just can’t figure out why Vickner’s niece would do it.

IMOGENEOh! For kicks. For fun. That’s what “kicks” means. Fun.

She walks faster. He keeps up.

CLAYWell, the second you walked out I realized, I’d never seen anything like you before.

Shit, he likes her. Not what she wanted.

IMOGENEYou know who else could blow your mind? Hortense!

He puts his hands on her shoulder and turns her to him. He is hypnotic: blue eyes, sexy.

CLAYI think you and me could have some fun. I mean... kicks.

Whoa. That’s really forward.

IMOGENEI’m... taken.

CLAYYou just moved here. With who?

IMOGENEThat guy... Nicolai.

CLAYOh.

He lets her go.

IMOGENEBut Hortense is free as a bird. What about it then?

Jamestown 44.

CLAY (CONT’D)

(MORE)

What if I set you two up? You really should give her a chance. She’s shy but inside, she’s kind, smart, intelligent, caring...

CLAYSounds like someone’s mother.

IMOGENEShe’s fun, too. A flapper! Swear.

They walk by a sign: SYCAMORE STREET.

IMOGENE (CONT’D)Oh my God.

She then sees Hortense go into her house. Imogene’s house. She snaps out of her reverie, looks at Clay:

IMOGENE (CONT’D)You free Friday night?

He smiles. He’s in.

EXT. HEALEY HOUSE - CONTINUOUS

Imogene’s at the pristine front door. The place is simple, plain, not downtrodden like in 2015. The door opens.

MRS. HEALEYMay I help you?

Imogene studies her face. This is a part of me. MRS. HEALEY, 44, strong, conservative. Hortense rounds the corner.

HORTENSEImogene?

INT. HORTENSE’S BEDROOM - A LITTLE LATER

This is Imogene’s room, but as Hortense’s it’s quaint, clean, a Virgin Mary over the bed. Plain. Simple.

HORTENSEBut I can’t.

IMOGENEWhy not? You like him. He likes you!

HORTENSEHe said that?

Jamestown 45.

IMOGENE (CONT'D)

IMOGENEMmm hmmm.

HORTENSEEven if I wanted to, Father won’t allow it. He says, “Only bad things come of that place.” I’ve never been. Just seen the girls come back after going with their fellas, carrying their stuffed animals from the shooting galleries.

Imogene thinks.

IMOGENEWhat if we had a chaperone?

INT. MR. & MRS. HEALEY’S LIVING ROOM - EARLY EVENING

Imogene’s beside Quint who’s not with his earring and is wearing the attire of the day. Hortense is between her parents. EFFRAM HEALEY, Hortense’s dad, is buttoned up and conservative. They’re drinking tea. Mrs. Healey smiles politely. Mr. Healey remains stern and unyielding.

MRS. HEALEYMr. Vickner, Hortense is still a child. Much happens at that park which we’re reluctant to have Hortense exposed to.

QUINTMrs. Healey, you have my word, Hortense will be safe.

MR. HEALEYWe don’t expose our child to devil’s work.

This kind of deafens Quint.

MRS. HEALEY(embarrassed)

Effram!

Mrs. Healey smiles. Quint knows this is futile.

EXT. HEALEY HOUSE - MOMENTS LATER

The front door shuts. Imogene and Quint walk to Quint’s car. Quint seems pissed.

IMOGENETime’s running out, I know.

Jamestown 46.

He doesn’t say anything as Gustav lets them in the car.

INT. QUINTUS’S CAR - CONTINUOUS

They start getting in. Quint first.

QUINTMaybe...

IMOGENEWhat?

QUINTMaybe I was wrong about you.

HORTENSE (O.S.)Imogene.

Imogene turns to see Hortense at her bedroom window.

HORTENSE (CONT’D)(whisper-shouts)

Thank you for trying.

IMOGENE(dawns on her)

Wait! I have an idea!

EXT. QUINTUS’S CAR - A LITTLE LATER

They leave. Hortense shuts her window. Watching it all from the shadows is... Clay.

EXT. MR. & MRS. HEALEY’S HOUSE - FRIDAY NIGHT

CHYRON: September 27, 1924

From the second floor, the window opens. Hortense, scared but determined, climbs out the window and down to the ground. She runs to Quint’s car which is waiting. Lights off. From inside the door opens. Stealthily, she gets in. The car ROLLS IN NEUTRAL down the street.

EXT. CELORAN PARK - NIGHT

Swarms of people, dressed to the nines, laughing, eating, going on various RIDES. It’s magical, fun, lit up. In the center: Hortense, Imogene and Clay run from ride to ride. They walk by a shooting gallery. The BARKER seems to recognize Clay. Doesn’t like him much. Hortense stares at the stuffed animals. Clay notices.

CLAYWhat’s say I win you one?

Jamestown 47.

Hortense is smitten. Imogene watches how well they’re hitting it off. Clay gives money to the BARKER and takes the gun. He aims and bull’s eye.

HORTENSEThe elephant! The elephant, please!

The Barker, as if by rote, picks up the animal and hands it to Hortense who clutches it to her breast, swooning.

EXT. MR. MAJESTICO’S TIME MACHINE RIDE - A LITTLE LATER

Imogene, Clay and Hortense (with elephant) approach to see a sign: CLOSED.

CLAYWell, that’s odd. He’s always open.

HORTENSELet’s go to the Ferris Wheel!

CLAYYes, though there’s only room for two per car. Why don’t you ask your boyfriend, Imogene?

IMOGENEBut he’s not here.

HORTENSEYou have a boyfriend?

IMOGENENot serious.

CLAYI’m sure he’s in the back.

IMOGENEThe back. Right.

They walk around. There’s a light on.

CLAYWe’ll wait.

Feeling totally nervous, Imogene walks over to the BACK OF THE TENT. She pulls away some of the canvas only to see Frank, THE MAN WITH THE POCK-MARKED FACE, putting jugs of kerosene into a crate. Nicolai’s counting money. She then sees Frank spit out a shell like...

FLASH: The Bus Driver with the pock-marked face.

Jamestown 48.

Imogene puts it together.

HORTENSE (O.S.)What’s going on?

Imogene ducks her head back out. Turns to Hortense and Clay.

IMOGENE(whispering)

Nothing but I have to talk to him. You two go on the Ferris Wheel. I’ll catch up with you later.

HORTENSEBut Imogene--?

IMOGENEYou’ll be fine with Clay. Go. Have a good time.

Hortense smiles. Clay takes her hand. They look adorable.

IMOGENE (CONT’D)We’ll meet at The Ferris Wheel. Half an hour?

CLAYWe’ll be waiting for you.

Once they’re out of sight, Imogene reaches down into her boot. Terrified, she grabs a gun, nestled in her boot. Shaking but determined, Imogene goes to the back of the tent.

ANGLE ON: Clay with Hortense. She looks smitten and happy. He looks like an evil young man whose mission seems to be working.

END OF ACT FOUR

Jamestown 49.

ACT FIVE

FADE IN:

EXT. THE BACK OF THE TENT - MOMENTS LATER

Imogene breathes to gather courage and moves aside the canvas. Shaking, she points her gun at Nicolai.

NICOLAIWhoa.

IMOGENEWhere’d he go?

NICOLAIWhere’d who go?

IMOGENEThe man. The man with the pock-marked face.

NICOLAIThat’s okay, Lass. You let him be. Stay with me a while.

Not trusting him at all, she leaves. A BEAT then, unbeknownst to her, he picks up a baseball bat and follows her.

EXT. THE BACK OF THE HOTEL JAMESTOWN - MOMENTS LATER

Imogene creeps along the tall weeds behind the hotel watching Frank pour kerosene onto the dry grass.

FRANKWho’s there?

Imogene freezes. Frank draws his gun and walks closer to where she’s lying. When he gets right next to her, she kicks upwards, getting him right in the crotch. He spills over on top of her and her gun falls. Her fingers get to the gun but he’s standing now and steps on her hand. She screams in pain. He bends down, picks the gun up, throws it in the woods. Now the only gun is his.

FRANK (CONT’D)Get up.

She doesn’t move.

FRANK (CONT’D)I said get up!

Jamestown 50.

He kicks her, hard. She gets up, grimacing. He’s got the gun directed at her, menacingly.

NICOLAI (O.S.)Frank, you can put that down.

She turns to see Nicolai, bat in hand. But Frank doesn’t do it.

NICOLAI (CONT’D)Come now.

IMOGENEYou’re in on this? How can you let this happen? People will die.

NICOLAIFrank, tie her up and we’ll get out of here.

Frank still holds the gun on her.

FRANKActually, my orders changed.

Nicolai’s like “What?”

NICOLAISince when?

FRANKJust go on back now. I’ll take care of this.

Nicolai starts moving towards him. Frank turns the gun on Nicolai. Imogene takes the opportunity to pull her pearl comb out of her hair and stab Frank in the neck with it. It hurts. His gun drops. Nicolai charges at him as Frank’s scrambling for the gun. Imogene gets it as Nicolai CLUBS Frank with his baseball bat, knocking him out. They’re both standing there, freaked.

IMOGENEWhere are you from?

NICOLAIEngland.

IMOGENEWhat time?

NICOLAIWe came over in ‘08. You best scram before he wakens.

Jamestown 51.

IMOGENEYou don’t know what this is really about, do you? I have to stop that fire.

NICOLAIThere’s no way. The fire’ll start by ten, hell or high water. He’s determined.

IMOGENEWho? Frank?

He stays mute and she can tell someone else is in charge.

IMOGENE (CONT’D)That’s your kerosene. People will die in that fire. That’s blood on your hands. You don’t strike me as a murderer. Who hired you?

NICOLAIClay. Clay Pemberton.

EXT. THE FERRIS WHEEL - LATER THAT NIGHT

Imogene’s looking at the couples on the Ferris Wheel. Staring at the line. She looks at a big clock by the wheel. 9:40.

She runs to the hotel. The patrons are carrying on: drinking, laughing, tourists coming in and out.

IMOGENEHortense!

INT. HOTEL JAMESTOWN - CONTINUOUS

Imogene is looking around. Doesn’t see them. Goes up to the Front Desk to the RECEPTIONIST.

IMOGENEI’m looking for someone. Clay Pemberton. Is he staying here?

RECEPTIONISTThe owner’s son? He lives here, Miss. In the Penthouse.

IMOGENEBut this is Quintus Vickner’s hotel.

RECEPTIONISTNo. The Pembertons.

Jamestown 52.

She runs to the elevators.

RECEPTIONIST (CONT’D)(calls after)

Miss! You must be announced!

INT. HOTEL JAMESTOWN - PENTHOUSE HALLWAY

The elevator doors open. Only one room on this floor, opposite of the elevators. The door is open. She goes inside.

INT. PEMBERTON PENTHOUSE SUITE - VARIOUS - CONTINUOUS

A lush and grand apartment. In the FOYER, Near a PEMBERTON FAMILY PHOTO of Clay with his parents, lie MR. AND MRS. PEMBERTON, dead. She runs from room to room. Shouting. Looking. Scared. Carrying a gun.

IMOGENEHortense!

Nothing.

INT. PENTHOUSE HALLWAY - MOMENTS LATER

Waiting for the elevator, Imogene sees a framed architectural drawing. It clicks. That’s the drawing Clay did in class. It’s the hotel. Her eyes zero in on the basement.

EXT. HOTEL JAMESTOWN BASEMENT - MOMENTS LATER

The stuffed elephant is on the ground. She tries the door. Locked. Imogene shoots. Busts it open.

INT. HOTEL JAMESTOWN BASEMENT - SAME

Imogene runs down the stairs. There’s Hortense, clothes ripped. She’s tied up by the furnace. A modern bomb is attached to it. The digital read-out says 6 minutes (counting down). 5:59. 5:58. 5:57...

HORTENSEHe... Clay...

Imogene puts down her gun. Unties the rope. Frees her.

IMOGENEIt’s okay, it’s okay. We’re getting you out of here.

GLASS BREAKS. LIGHTS OUT. The only light is the digital read-out of the time of the bomb’s detonation. 5:02. 5:01...

Jamestown 53.

CLAY (O.S.)(in the dark)

I don’t think so.

Imogene freezes. They’re both barely visible. She grabs Hortense. Ducks behind some wine cases.

CLAY (CONT’D)You’re messing with my plan, Imogene. Though thanks for helping me nail my mark.

Imogene gets Hortense to lie flat, who’s trembling almost uncontrollably. Imogene’s hand touches the floor, landing on a long shard of broken glass. She hands it to Hortense.

IMOGENE(mouths to Hortense)

Stay here.

Standing up she grabs her gun. Clay hears this. Inches closer to them.

CLAYWhat did Quint tell you? That he only changes events for the good? Did you ever think it might be for his good? His legacy?

He shoots. PING. Hits a case of wine. Pours out.

CLAY (CONT’D)How does he know what’s good?

He turns a corner: FIRES. Nothing there. 4:22. 4:21.

CLAY (CONT’D)Too bad you’re not working for us.

Imogene is pressed against a wall. Hortense is lying flat. Imogene holds onto the gun, ready to use it.

CLAY (CONT’D)Would have been a nice addition.

He is a breath away from Imogene when he trips over a terrified Hortense. When he falls, Hortense slits his throat with the glass.

IMOGENEHortense!

Hortense drops the shard. Blood’s spurting out from Clay’s neck. Imogene comes over.

Jamestown 54.

HORTENSEI didn’t--

IMOGENEIt’s alright.

Looks at the clock. 3:46. 3:45. 3:44--

IMOGENE (CONT’D)We gotta get you out of here.

She drags her up.

HORTENSEI can’t see.

IMOGENEHold onto me. I can see in the dark.

Hortense holds on and they begin walking out. When suddenly Clay grabs Imogene’s foot. She kicks him off her. Keeps going.

INT. HOTEL JAMESTOWN HALLWAY - CONTINUOUS

As Imogene runs with Hortense, she pulls a fire alarm.

INT. BASEMENT - SAME

Clay is bleeding out. Dying. TICK. TICK. TICK. 1:59, 1:58, 1:57...

EXT. HOTEL JAMESTOWN - MOMENTS LATER

People stream out. It’s mayhem. Imogene and Hortense run far from the hotel. BABOOM! The hotel EXPLODES BEHIND THEM.

QUINT (O.S.)Imogene!

Imogene looks in front of her. Sees Quint. His car. Imogene runs with Hortense. They get into the car.

INT. QUINTUS’S CAR - MOMENTS LATER

As they drive out of the park, FIRE ENGINES DRIVE PAST. Imogene looks at Hortense. She’s in total shock.

INT. QUINTUS’S CAR - A LITTLE LATER

They pull up to The Healey House. They stop.

Jamestown 55.

IMOGENEHortense? I’m sorr-

But Hortense - bloody, tattered, torn - bolts out of the car. Imogene is devastated. Hortense runs to the side of the house, climbs up to her window. They drive off.

IMOGENE (CONT’D)I failed.

QUINTOn the contrary.

IMOGENEIt burned to the ground. People had to have died. And that baby - the baby they mentioned on the tour...

QUINTNo baby died. One was created.

IMOGENEI don’t understan--

QUINTWe all have dark ancestors, Imogene.

She looks at him confused. Then it dawns on her. When she looks back at Quint though, SHE CAN ONLY SEE HIS FACE. EVERYTHING AROUND HIM IS FUZZY. DISAPPEARING.

IMOGENEQuint? My vision!

QUINTIt’s okay. It just means it’s time you go home.

He hands her a token.

INT. MR. MAJESTICO’S TIME TRAVEL MACHINE TENT - MOMENTS LATER

She now walks alone, trepidatious since her sight’s diminished, towards the Time Machine Box.

QUINT (V.O.)Imogene, something I hope you truly understand: You did not fail. It may not make sense to you right away but when we fight evil, good emerges, in ways we can’t quite see.

Jamestown 56.

(MORE)

But know, when you see a change for the good in your present day, you will have been responsible.

INT. TROLLEY CAR - MOMENTS LATER

Imogene’s sitting like the other passengers, tired. So tired.

CONDUCTOR (O.S.)Jamestown. 2015.

They all look at her, expectantly. She gets up. The doors open. She starts to walk out when, suddenly, the white Cat follows and runs out with her.

INT. IMOGENE’S BEDROOM - THE NEXT MORNING - 2015

Imogene opens her eyes. From her P.O.V.: EVERYTHING’S BLURRY. In other words, all is back to normal. She reaches for her glasses. The moment she does, she HEARS her mom’s voice...

INT. THE HEALEY HOME - KITCHEN - MOMENTS LATER

Imogene enters, seeing her family for the first time in forever. Robbie’s wolfing down breakfast.

SELARobbie, utensils, please.

Imogene runs up to her mother and hugs her tight.

SELA (CONT’D)Well, hey.

Sela’s so happy to feel her daughter’s embrace. Robbie, meanwhile, doesn’t even look.

ROBBIEI’m ready when you are.

As he gets up, Imogene turns to him and hugs him.

ROBBIE (CONT’D)Ew. Get off.

She smiles devilishly, and gives him the finger.

ROBBIE (CONT’D)YOU’RE BACK!

END OF ACT FIVE

Jamestown 57.

QUINT (V.O.) (CONT'D)

ACT SIX

FADE IN:

EXT. JAMESTOWN HIGH SCHOOL, 2015 - ANOTHER MORNING

Imogene’s getting dropped off by her mother. The school is no longer a low-level security prison. It’s the beautiful school she went to in 1924. Imogene beams as she heads to the school entrance.

QUINT (V.O.)You will have been responsible.

INT. MRS. BARRETT’S CLASS - A LITTLE LATER

Imogene’s next to Dragan while Mrs. Barrett does roll call.

DRAGANHey.

IMOGENE(smiles at him)

Hey.

MRS. BARRETTVanessa Banks? Anyone see Vanessa?

INT. CELORAN PARK HISTORICAL MUSEUM - THE SAME

THE TROLLEY CAR (the replica) shines in the early morning LIGHT. Inside it is Vanessa, wearing a flapper dress. Watching her, smoking a cigarette, Xenia Rose.

XENIA ROSEYou like the dress?

VANESSAI would’ve loved to have been a flapper. I really should go.

She tries to exit The Trolley Car but her legs feel SO heavy.

VANESSA (CONT’D)I can’t... move.

Xenia looks completely unconcerned.

VANESSA (CONT’D)The coffee.... did you put something in my coffee?

XENIA ROSEMaybe you just want to stay.

Jamestown 58.

VANESSAListen lady--

XENIA ROSECall me Xenia.

VANESSALay one hand on me Xenia and my father’s a lawyer and my mom’s a bitch.

Xenia Rose comes towards her, Vanessa is scared.

VANESSA (CONT’D)I know Krav Maga.

XENIA ROSEWell, bully for you.

Xenia Rose picks up Vanessa easily - her age but a fallacy. She puts Vanessa onto the floor. She’s lost all ability to stand up and crumbles like a Raggedy Ann doll.

VANESSA’S POV: In the corner of the room she SEES A LARGE CRYSTAL ORB, the size of 3 beach balls put together.

XENIA ROSE (CONT’D)Now, I bet you want to know why I really summoned you here. I’ve been watching you, Vanessa.

With a wave of Xenia’s hand, IMAGES comes alive on the surface of the ball, depicting different SCENARIOS from all over the world: fighting, kissing, natural disasters...

XENIA ROSE (CONT’D)And I like what I see.

The ball SPINS and stops on the SCENE of Vanessa on the phone with her mom, looking down the hole at Imogene.

XENIA ROSE (CONT’D)I’ve seen you leave a young girl in a hole to die while you decided whether to be a hero or have her truly disappear once and for all.

VANESSAWhat is this? I’ll sue you.

XENIA ROSEI’m recruiting. Only sick puppies need apply.

Jamestown 59.

(MORE)

And I’ve just lost one of my best. You want fame? Power? You’ve come to the right place.

Vanessa is hypnotised by the elixir of Xenia Rose’s promises.

XENIA ROSE (CONT’D)I only have one question. Do you like to travel?

INT. INDOOR POOL ROOM - MORNING - 1924

Quint’s seated alone at a table with two chairs. His eyes are down. Standing nearby are Lark and Gustav.

When he looks up, HIS EYES ARE PLAYING scenarios just like the crystal ball. IN HIS EYES: the image is of himself, a knife to his neck - held by a gloved hand - no telling if it’s a male or female hand. Suddenly, the knife moves to slit his throat. QUINT’S EYES GO BACK TO NORMAL.

QUINTWe need Imogene.

EXT. JAMESTOWN STREETS - LATER THAT DAY - PRESENT

Imogene’s riding her bike home when she sees...

THE OLD WOMAN by the side of the road causing her to fall.

OLD LADYYou’re needed.

IMOGENEBut--

OLD LADYHeed the call!

INT. MR. MAJESTICO’S TIME MACHINE TENT - NIGHT - 1924

The crowd watches the Time Machine Box’s KNOB TURN. The door OPENS. All gasp at the sight of a young girl whose arm covers her face. When she lets it down, we SEE it is...

VANESSA...

...in flapper attire, disoriented, but looking at all these eyes on her. She loves it. Fame! Attention! She then sees SOMEONE in the crowd... someone she recognizes.

SMASH CUT TO BLACK.

THE END

Jamestown 60.

XENIA ROSE (CONT'D)