Timekeeper By Kaitlyn Boudah

45 Quincy Mail Center Cambridge, MA 02138 (802) 922 6070

INT. TIMEKEEPER HEADQUARTERS - DAY - CONTINUOUS A futuristic silver-and-white elevator rises. In it stands officer RODGER RAYMOND (24), a slim, young-looking, dark-haired man, and his blond transporter, TOM (20). They stand in silence, both wearing strangely turn-of-the-twentieth-century suits, except Tom wears a navy blue sash over his. Rodger has a look on his face like hes in pain. RODGER Where is she? TOM 1894, sir. New York. Rodger flinches very slightly, gaze holding straight ahead. Silence. RODGER They certainly could have picked someone else for this. The elevator reaches its floor and the doors open. The two men advance down a hallway toward a RECORDS ROOM filled with computers and what appear to be filing cabinets. Outside the window, we are looking into SPACE. Rodger approaches a WOMAN at a desk. She looks up, continuing do do work on a tablet with her hands. WOMAN Officer. RODGER Requesting pursuit card for Katrina Constantine. The woman stops what shes doing and stares at him for a moment. She stands. She types some things into a small touch screen on a filing cabinet behind her, opens it, and retrieves an ID-sized CARD. She doesnt look him in the eye as she hands it to him. WOMAN Im sorry, Rodger. Good luck. Rodger nods in acknowledgment and continues through the room, Tom trailing behind him. They enter a light-paneled

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CHAMBER where Rodger scans the ID card on the wall and Tom places his palm on another scanner. An automated female VOICE sounds as the chamber door closes. VOICE Rodger Raymond and Thomas Bonds. Target: Katrina Minerva Constantine. Location: New York City, 19th century. Tom is closing his eyes tightly, concentrating. Rodger turns to him. RODGER Got it? TOM Yeah. Get ready to grab on. (beat) Now. Rodger puts both hands on Toms shoulders. They VANISH. CUT TO: EXT. NEW YORK, 1894 - DAY The bustling streets of New York City just before the turn of the century. Rodger and Tom materialize behind a tree in CENTRAL PARK and Rodger releases Tom, who lets loose a held breath of air. RODGER Before she knows were here. Come on. The two men RUN toward the city. CUT TO:

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INT. APARTMENT - DAY Hazy white light streams in through the dark apartments small windows. Facing the window with her back to us, her hand on a chair, is a thin, brassy-haired young woman wearing a long black skirt and a white blouse. This is KAT CONSTANTINE (21). An egg-shaped electronic DEVICE in the rooms corner, with a small, softly blinking red light, indicates that shes not from this century. She stares blankly into the abyss, unmoving. RETURN TO: EXT. NEW YORK STREETS - CONTINUOUS Rodger and Tom hustle down the busy street, past disgruntled Victorian-era men and women. A tall brick apartment building looms up ahead. Rodger looks up at it as theyre slowed by the crowd. RODGER This is so fucked. TOM Itll be over soon, sir. They approach the building. Rodger lets Tom enter first. APARTMENT BUILDING RODGER No, it wont. Not with her. They continue up the stairs. Rodger removes a refined, futuristic handgun from a holster at his waist. Tom copies once they STOP in front of a door, ROOM 37. Without hesitation they BASH through the door. they enter with their guns raised, pointing at Constantine, who hasnt even flinched since we last saw her. Theres a pause, but she speaks up before they can. CONSTANTINE So they did end up assigning you to me, then? I figured.

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RODGER How fucked of you to pick this century. CONSTANTINE I know how much you missed home. She turns to face them, relaxed. TOM D-dont try to timetravel out of this, miss Constantine. Weve rigged our weapons with-CONSTANTINE -- sonic blocks, I know. So heavy on the protocol -- this is the guy they replaced me with? Im offended. Tom raises his gun a little, clearly terrified of her. RODGER Constantine, youre under arrest. You know the game. Dont make this hard for me. CONSTANTINE Damn, Rodger, so boring. Not even going to ask me why? Oh -- by the way. Constantine turns and reaches behind a Victorian armchair, obscuring most of her body for a moment. She opens and roots through an old suitcase, barely visible. The mens guns follow her. She comes back up holding a navy blue SASH identical to Toms. CONSTANTINE (CONT.) Theyll be wanting this back. She tosses it in their direction. Rodger picks it up. She goes back behind the chair and SHUTS the suitcase. In the corner of the room, E.C.U. as the red light on the little egg-shaped device starts BLINKING at a high speed. Kat re-emerges from behind the chair and takes a chillingly calm step toward them. CONSTANTINE (CONT.) Theyre saying they ejected me now, am I right?

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RODGER "Mentally unstable." CONSTANTINE Psh. RODGER I cant imagine whats wrong with you, Kat. CONSTANTINE Here it goes. RODGER I know you were sick of protocol. But youre not this-- I know you. I knew you. CONSTANTINE To answer your upcoming question, yes, I really did kill all of them. Systematically, of course, to get to the top, where its easiest to pull the strings. But yes, all five. All necessary. Rodgers eyes are glazed over, but he hasnt moved. Kat steps a little closer. RODGER I didnt ask. Kat frowns, offended. RODGER (CONT.) I want you to know, its not that I didnt expect this. I just know you have so much good in you, mixed in with... whatever this is. CONSTANTINE That model doesnt apply to me. RODGER ... Why? CONSTANTINE Why indeed. A curtain moves. Rodger suddenly becomes aware that the window is wide open. He looks at Kat, shocked.

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RODGER No, you-He SHOOTS at Kat. The bullets go right through her and crack into the opposite wall. A HOLOGRAM. RODGER (CONT.) Shit. He looks into the corner and SHOOTS the little egg-device, damaging it, and Kats image disappears. He SPRINTS toward the window and looks out as we lose sight of Kat RUNNING down the street. As he looks out a group of men BURSTS into the room. The large one in the front, BRONCO, draws a gun. Tom turns around and the man with the gun SHOOTS him in the head. Tom falls dead. RODGER (CONT.) TOM! He aims his handgun at the men, but Bronco steps in front of him with his huge frame, gun raised. He has a thick New York accent. BRONCO She said youd come. He gestures to Rodgers gun. BRONCO (CONT.) Dont bother. After a moment of hesitation Rodger, defeated, lowers the gun. The men SWARM him and grab his arms. Rodgers head hangs. They tie handkerchiefs tightly over his eyes and mouth. CUT TO: INT. WAREHOUSE - DAY Rodger is seated on the floor, tied to a pillar with his arms behind his back. The room theyre in is old but riddled with samples of futuristic technology, tablets and discs and unidentifiable devices. Rodger is still blindfolded. In front of him, cross-legged, sits Kat. Bronco and the rest of that gang stand behind him. Rodger is unconscious. Kat looks up at Bronco. September 19, 2011

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Bronco KICKS Rodger in the stomach and Rodger comes to. RODGER Ugh... god... CONSTANTINE I was going to blow up part of the station. Rodger is still upon hearing her voice. RODGER Kat? CONSTANTINE Just part of it, but in a clever way. Before I ran off. RODGER You were... what? Bronco HITS him across the face. CONSTANTINE Youre working against an unstoppable force, you know that, right? With the Timekeepers. Youre fighting entropy. Chaos is what makes life worth living, you guys just try to put a lid on it. Thats why Im here. RODGER I didnt ask. CONSTANTINE Stop that! Why do you keep saying that?! Bronco HITS him again, twice, this time in the gut. Rodger coughs. CONSTANTINE (CONT.) Rodger. Kat inches closer to him on the floor. She lifts off his blindfold. Tears are streaked along his face. CONSTANTINE (CONT.) Im burning us down.

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8. RODGER What? CONSTANTINE There are about a dozen Gen 300 Firebombs set around the perimeter of this building. Theyre set on this trigger. She holds up a shiny black rectangular DEVICE. Rodger is petrified. CONSTANTINE (CONT.) Its just for you and me. My guys will leave before I set it off. Its like being a god, I think. Living past the limits the Force set for me. (beat) Bronco. Kat stands. Bronco and another MAN untie Rodger, but then the men promptly start BEATING the shit out of him. The rest of the group joins in, kicking and jeering. Kat is surprised. CONSTANTINE (CONT.) Hey! Stop! What the hell are you doing? BRONCO Teaching this bastard a lesson. CONSTANTINE Yeah, well, lay off! Didnt you hear me? Were burning this building. MAN Hes gonna die anyway! CONSTANTINE This is my past were dealing with, not yours. Leave. This. To. Me. Bronco gets in her face. BRONCO Youre dead soon too, so why should we listen to you? He PUSHES her. Rodger continues to be beaten.

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CONSTANTINE Youre just like everyone else. Bronco PUNCHES Kat in the face and she falls to the ground, shocked. She struggles to stand and RUNS out of the room. WAREHOUSE - A FEW MINUTES LATER Rodger is still conscious, and the mobsters deliver blows much less frequently, laughing. BLAM! Theres an explosion on the other side of the wall, and some of the men lose their balance. One of the Firebombs has gone off. MAN Holy shit, that crazy bitch! The men all cover their heads and SPRINT out of the room, pushing each other, leaving Rodger on the ground. Theres a soft rumbling noise in the background, in the bombs aftermath. Rodgers vision is hazy. Then something is pulling on his arm. Then hands grab under his arms and he is being DRAGGED out of the room. Its Kat. She reaches an exit but passes it, as its sealed shut, warped in the explosion. The mobsters voices can be heard in the background, echoing. Theyre still in the building. HALL Bronco and the men reach another exit and frantically try to force it open. They shoot at it. Nothing. BRONCO How the fuck do you get out of this place? OTHER HALL Kat has dragged Rodger to a dark, dusty corner of the old building and sets him down. He groans. She kicks open a small HIDDEN DOOR in the wall about half her size and crouches down to exit. She PULLS Rodger through and into the daylight of an alley.

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HALL The men are trying to smash through a window, having run out of exits, but its too small for anyone to fit through. They are growing frantic. EXT. WAREHOUSE - DAY Kat stands outside the old brick building, still, She clutches the little black rectangle between her fingers. Rodger is panting on the ground. Miraculously, he struggles to stand. One of his legs rests awkwardly on the ground, broken. He looks up at the building. Kat HITS the detonator. The gangs screams echo from inside as parts of the building explode and burst into flames. Kat watches in silence, completely deadpan. Rodger stands beside and slightly behind her, swaying a little. One good arm feels slowly around his coat pockets. C.U. on Kats wrists as Rodger weakly HANDCUFFS them with one hand. She doesnt resist. He manages to speak, quietly. RODGER You were brilliant, Kat. (beat) And youve always known that. She shuts her eyes tightly, and for a moment it looks like she might cry. Rodger places a hand on her shoulder. Just like with Tom at the beginning, Rodger and Kat vanish. CUT TO BLACK.