1 EXT. MARKETPLACE - DAY 1
SUPER: Kovali, Turkey - May 2000
Mid-day. A bustling, vibrant marketplace. Stalls overflow
with handwoven rugs, gleaming copper pots, and pyramids of
spices—cinnamon, cumin, saffron. Vendors bark prices in
Turkish, haggling with customers over piles of ripe figs and
olives.
The crowd is a tapestry of color: elderly men in faded
keffiyehs, women in bright hijabs bartering for jewelry,
teenagers in denim and sneakers.
AIR FORCE LIEUTENANT TAYLOR PIERCE (25), six-feet tall,
handsome, dressed in jeans and a t-shirt, sunglasses, scans
the crowd. Beads of sweat trickle down his neck.
LOOKING AT TAYLOR FROM BEHIND, a dark haired woman, dressed
in jeans and casual top, walks up and presses a small knife
to his back. We can’t see the woman’s face.
Taylor tenses, but doesn’t pull away.
WOMAN (TURKISH ACCENT)
Do not turn around. Walk slowly to
the end of the block.
Taylor forces himself forward. The knife stays glued to his
back as they weave past a cart stacked with pomegranates,
stalls with brass and rugs.
He tries to turn around, but the knife presses harder.
She directs him to a space between two buildings.
WOMAN (CONT’D)
In here. And do not turn around
again.
Genres:
["Thriller","Drama"]
Ratings
Scene
2 -
Alley Confrontation
2 EXT. ALLEY - DAY 2
A narrow, grimy alley squeezed between two concrete block
buildings.
Distant MARKET CHATTER and the occasional HONK of a scooter.
Still viewing them both from behind.
The knife glints as it suddenly moves from Taylor’s back and
presses against his neck.
WOMAN
I will give you five seconds to
answer my questions. Do you
understand?
Taylor nods.
WOMAN (CONT’D)
Who are you and why are you asking
for me?
TAYLOR
My name is Taylor Pierce. I’m a
friend of Frank Loge. We’re in the
Air Force together. I’m trying to
find him.
WOMAN
How did you know to look for me?
And what makes you think I know
this Frank Loge?
TAYLOR
He told me about you, how he met
you here. He told me about your —
your gunshot...
The pressure from the blade lessens, then leaves his neck.
Taylor turns around. Standing in front of him is a stunningly
beautiful Turkish woman. Long, raven hair, eyes like saucers.
But there is pain. A faint scar runs from the corner of her
left eye partially down her cheek.
TAYLOR (CONT’D)
Frank told me your name is Yildiz
Yuziglu.
She glances around nervously.
YILDIZ
(hissing)
You are very stupid coming here.
Even more stupid asking for my
name.
TAYLOR
I’m not as stupid as you think — I
just don’t have much time. I need
to find Frank. Please tell me if
you know where he is. It’s urgent.
She eyes him suspiciously.
YILDIZ
How do I know you are who you claim
to be?
Taylor reaches for his wallet. Quick as lightning, the knife
is back at his neck.
YILDIZ (CONT’D)
Identification can be altered!
Taylor exhales sharply. Yildiz doesn’t know what he’s been
through the past week. Tired of the games, his military
training takes over. In one fluid motion, he GRABS her wrist,
TWISTS her arm, and spins her around-now the knife is at HER
throat. Her breath hitches.
She tries to pull away.
TAYLOR
Please. Frank said you were
sympathetic to America. That he
wanted to recruit you.
(beat)
I need to find him. Now. Both our
lives could be in danger.
Yildiz’s eyes dart around.
A long beat. Then, a barely perceptible slump in her
shoulders.
YILDIZ
He...he mentioned you.
Taylor releases her, flips the knife, and offers it back. She
SNATCHES it, but doesn’t strike.
YILDIZ (CONT’D)
I believe you. Come, this way.
TAYLOR
(Under his breath) Finally.
Yildiz walks quickly out of the alley. Taylor cautiously
follows, watching the crowds.
FADE TO BLACK.
END OF TEASER
ACT ONE
FADE IN:
Genres:
["Thriller","Drama"]
Ratings
Scene
3 -
Mirage in the Desert
3 EXT. AERIAL SHOT: DESERT - MORNING 3
SUPER: Karapinar Desert, Southern Turkey
One Week Earlier
Barren desert, surrounded by mountains. Only scrub brush here
and there. There are no roads.
A white SUV skids and bumps along the desert floor. Clouds of
dust, finer than talcum, swirl like mist behind the speeding
car.
4 INT. SUV - MORNING 4
Inside the vehicle are three men: THE DRIVER, a burly man
with a squared jaw and mirrored sunglasses, dressed in khakis
and a crisp white shirt; THE DRIVER’S PARTNER, tall and lean,
in the same attire; and in the back seat, THE PASSENGER,
wild, shaggy hair partially obscuring his swollen face, clad
in traditional ARAB pants and a grimy tee-shirt. His wrists
are cuffed behind him, and without a seatbelt, he bounces
with every jolt. The Passenger’s face is bloody and battered.
The DRIVER pulls a mic from the dash.
DRIVER
Prime to Base. Captain Frank Loge
in custody.
BASE (OVER RADIO)
This is Base. We have you on
screen. Two miles out. Opening
Portal One.
THROUGH THE SUV FRONT WINDOW: The vehicle approaches a small
craggy mountain. A camouflaged panel opens slowly, revealing
a dark tunnel.
As the SUV nears the mountain, the air seems to blur and the
SUV passes through a FLICKERING VEIL. The desert is gone and
we’re suddenly in a DENSE FOREST.
The driver slams on the brakes, skids through some brush, and
comes to a stop. He and his partner are stunned, their mouths
open.
DRIVER
What...!
Then just as quickly, the air shimmers again; the forest
disappears and we are back in the desert, the mountain tunnel
a half mile away.
The two men stare wildly ahead. The driver grips the steering
wheel so hard his fingers are turning white.
DRIVER (CONT’D)
Tell me you saw that. What the hell
was that?
PARTNER
Yeah, I saw it. Did we almost hit a
tree?
BASE (OVER RADIO)
Prime, respond. You blinked off my
radar for a minute there.
Driver looks at his partner and shakes his head.
DRIVER (WHISPERING)
It was just a mirage or something.
We don’t say a word.
The Partner nods. The SUV turns and enters the tunnel, then
the panel closes.
DISSOLVE TO:
Genres:
["Action","Thriller","Mystery"]
Ratings
Scene
4 -
Awakening in the Light
5 INT. TAYLOR PIERCE’S BEDROOM - LATE NIGHT 5
SUPER: Southeast Defense Complex (SDC), Tarsus Mountains,
Turkey
Typical military bedroom. Twin bed, dresser, desk, chair. The
desk is covered with stacks of papers and a single FRAMED
PHOTO of a young woman, blonde hair, attractive, smiling.
The entire room is bathed in MULTI-COLORED LIGHT. No apparent
source, it simply is there.
Taylor is asleep, then suddenly jerks awake and sits up,
breathing hard, his hair damp with sweat.
He stares at the light and colors filling the room. He
squeezes his eyes shut...
DREAM/FLASHBACK
6 EXT. VILLAGE OF LUUR - NIGHT (DREAM/FLASHBACK) 6
SUPER: ANCIENT VILLAGE OF LUUR
Tree branches stretch to the sky, silhouetted against THREE
BRIGHT MOONS. A small fire glows a short distance away beside
a POOL OF WATER. Peculiar folk, dressed in hides and furs,
are praying in an unknown language, huddled around the pool.
This is a small village with huts of various sizes.
Like a specter, Taylor appears in their midst, beside the
pool, where an OLD MAN stands. The ELDER of the village? His
hands are raised to the sky and he is chanting in an unknown
language.
Suddenly, an ORB OF PURE LIGHT, flickering like a star
appears above the pool. The villagers fall to their knees and
Taylor...
Genres:
["Thriller","Mystery","Fantasy"]
Ratings
Scene
5 -
Awakening to the Dream
7 INT. TAYLOR PIERCE’S BEDROOM - MORNING 7
...Opens his eyes, and the light is still there.
Not just light. A living glow, like looking through a prism.
Like a rainbow. Blues and purples ripple like water, reds
pulse like a heartbeat, greens and yellows swirl like smoke.
The air hums faintly.
TAYLOR
(whispering)
I’ve brought the dream back with
me.
The colors begin to dim, fading like dying embers. His room
is slowly back to normal.
Taylor exhales, running a hand over his face.
INSERT ON CLOCK: It reads 1:05
He lies back down, pulls the covers up, stares at the
ceiling, then slowly closes his eyes.
DISSOLVE TO:
DREAM SEQUENCE
SUPER: The Kingdom of Lurr
Genres:
["Thriller","Mystery","Fantasy"]
Ratings
Scene
6 -
Siege of the Kingdom of Lurr
18 EXT. KINGDOM OF LURR - DAY 18
FROM ABOVE: We FLY IN over the KINGDOM OF LURR, heading South
over thick forests, following a long road that leads to a
large CASTLE. The distant sounds of CLASHING SWORDS and the
CRIES of soldiers fill the air.
The castle is built into the side of a mountain. To the East,
the MURATIS RIVER winds and flows, its gentle current
contrasting the chaos unfolding on its banks. To the West, we
see a Village engulfed in FLAMES that casts an eerie glow
over the battlefield.
SERIES OF SHOTS: Bodies litter the fields around the
castle...armies dressed in black and red battle hand-to-hand
with swords, the RINGING of steel echoing through the valley.
Catapults fling BURNING PITCH at the castle, the projectiles
illuminating the sky with a CRACKLING blaze.
We FLY IN to the castle and up to a window where
Genres:
["Fantasy","Action","War"]
Ratings
Scene
7 -
A Prince's Turmoil
19 INT. PETER’S ROOM - DAY 19
PETER, PRINCE OF LURR (20), son of KING SIMEON, is sitting
alone on the large stone windowsill of his room, ten feet
from the floor, his brow furrowed as he gazes out at the
battle below. A crude, wooden ladder leans against the sill.
He could be Taylor’s twin. Dark hair, piercing eyes.
THROUGH THE WINDOW: He looks down on the drawbridge that
crosses the castle’s moat. Carrion swarm around the dead
soldiers and Peter covers his nose from the stench of death.
A bell inside the castle rings several times. He turns away
from the carnage outside and descends the ladder.
The walls are filled with mosaics, some depicting the
building of Castle Lurr. Others depict great battles of a
king with flowing red hair, leading the way. Peter pauses to
run his fingers along the intricate tiles, that tell the
story of his kingdom's past.
He sits on his bed and pulls on his boots.
A knock and the door opens. In walks THOMAS (18), his aide,
carrying a WHITE CAPE.
THOMAS
Your cape, sire.
PETER
I have no appetite for food
tonight, Thomas. Only for an end to
this madness.
Peter paces around the room, frustration evident.
PETER (CONT’D)
The village folk fight for their
lives while half of our brave
knights remain safe behind the
castle walls. And what of the
Lastlight, Thomas? Where is the
great power now that it is needed?
Mordak is close.
Thomas holds out the cape.
THOMAS
It escapes my reasoning as well,
sire. Mordak’s folly will bring him
defeat once more. Please come now.
Your father waits in the hall.
PETER
Father is in the hall? Now? He
never enters the hall until all are
seated.
THOMAS
He has been there some time, along
with Duke Holsten, Lord Marsala and
— Lord Bryant too.
Peter grabs Thomas by the shoulders, excited, smiling
PETER
Sarah? Has Sarah come? Tell me,
Thomas, or you shall never ride my
horse again!
Thomas laughs.
THOMAS
She is here indeed, sire. You can
stop all your worrying. She is
safe.
Peter relaxes his grip on Thomas's shoulders, a weight lifted
from his heart. He sits on the bed, closing his eyes as he
recalls a cherished memory.
BEGIN FLASHBACK:
Genres:
["Fantasy","Drama"]
Ratings
Scene
8 -
A Farewell Under Three Moons
20 EXT. CASTLE GARDENS - EVENING (FLASHBACK) 20
A stone path winds though gardens with flowering trees,
roses, honeysuckles.
Peter and SARAH (20), daughter of CEDRITH BRYANT, Lord of the
castle at POCCMOOR, sit on a stone bench, their eyes fixed on
the THREE FULL MOONS high in the sky. Sarah's cheeks glisten
with tears, her flowing red hair framing her hauntingly
beautiful face.
Peter struggles to maintain his composure as he stares at the
ground.
Sarah reaches out and presses something cold and round into
his hand.
SARAH
This is the most important thing I
have, Peter.
Beat.
It is an ancient medallion my
grandmother left to me. I want you
to keep it safe until I return from
Poccmoor.
Peter hesitates, his fingers tracing the intricate design of
the medallion before closing his hand around it
PETER
I still don’t understand why you
have to go. A battle is no place
for a young woman.
Sarah's emerald eyes shine with determination.
SARAH
Father needs me, Peter. I am safe
in the castle at Poccmoor. There
are many things to be done. Will
you write to me?
PETER
Of course, I will. I will fill my
days with nothing else. And, if I
must, I will deliver the letters
myself.
Sarah moves to embrace him, her arms wrapping around his body
as she buries her face in the crook of his neck. Peter's hand
trembles as he runs his fingers through her soft hair.
BACK TO PRESENT
22 INT. CASTLE LURR CORRIDOR - DAY 22
Peter walks down a long, dimly lit corridor adorned with
imposing portraits of kings, their stern gazes following him.
He pauses at the door to the GREAT HALL, listening.
Genres:
["Fantasy","Drama"]
Ratings
Scene
9 -
Tension in the Great Hall
23 INT. GREAT HALL - DAY 23
A long wooden table dominates the center of the room, covered
with food, casks of wine. Conversation is tense.
KING SIMEON presides at the head of the table, flanked by
various noble faces, including the heated LORD BRYANT,
Sarah’s father. The chair beside the king is empty.
Lord Bryant, animated and fervent, addresses the table, his
voice rising above the din.
LORD BRYANT
I have never retreated from a
battle in my life!
KING SIMEON
Cedrith, no one spoke of retreat.
LORD BRYANT
Burning the bridge; securing the
battlements; hiding inside like
caged rats! In the articles of
battle, that is called retreat!
What hope would there be? I beg you
to reconsider this ill-fated plan,
my King.
CLOSE-IN on King Simeon’s face. His eyes burn with anger.
KING SIMEON
(voice low, seething)
Sit down, Cedrith, and stop your
foolish ranting. Your countrymen
support their King. And these men
are not exactly unfamiliar with the
strategies of war.
As Lord Bryant's fury bubbles over, he SLAMS his chair back,
shaking a finger defiantly at the king.
A moment of stunned silence envelops the hall. ALARMED
GLANCES pass among the nobles, and tension thickens in the
air.
Genres:
["Drama","Fantasy"]
Ratings
Scene
10 -
A Reunion in the Shadows
24 INT. CASTLE LURR CORRIDOR - DAY 24
Peter pulls back farther into the shadows as Lord Bryant
stomps past through the door, his boots echoing like war
drums. Peter follows quickly.
PETER
Lord Bryant!
Lord Bryant stops, turns. Walks back to Peter, embraces him.
LORD BRYANT
Peter, my boy. Look at you. A foot
taller, I would wager.
They walk a bit.
PETER
I’ve missed your guidance. Sarah
said she would only be gone for six
months, yet it’s been almost two
years. I wanted to visit, but
father said it was not safe to
travel to Poccmoor.
LORD BRYANT
The king was correct, Peter.
Mordak’s army sealed the main road.
We traveled only at night along the
Muratis River. But Sarah is here
and safe.
PETER
Father sounded angry. Do you not
agree with his plan?
Lord Bryant puts a hand on Peter’s shoulder.
LORD BRYANT
(Sighs)
The king and I are often at odds.
Think nothing of it. But there is a
grave matter we must discuss.
He looks back toward the Great Hall.
LORD BRYANT (CONT’D)
Your father waits for you. Finish
your meal, then find me. Also,
Sarah waits in her chamber, so do
not tarry.
Peter smiles, gives a short bow and hurries back to the Great
Hall.
Genres:
["Fantasy","Drama"]
Ratings
Scene
11 -
Feast Amidst War
25 INT. GREAT HALL - DAY 25
Roast pheasant glistens on silver platters; goblets clink.
Hearth-smoke wraps around Peter as he enters.
KING SIMEON
Where is that confounded boy of
mine?
Peter meets his father’s gaze, steady.
PETER
I am here, Father. You must forgive
my tardiness. I got caught up
watching Mordak’s army approach.
Peter goes to the end of the table and stands at the open
seat beside his father.
KING SIMEON
Ah, Peter. Do not trouble yourself
with Mordak. I have a few surprises
for his minions.
Come, sit beside me tonight. There
are many things to decide. But ere
we search our souls, we must first
feed our bellies.
Peter slides into the seat. The wine poured into his goblet
is dark as blood.
Peter grabs a piece of chicken from a platter in front of him
and takes a bite.
26 EXT. CASTLE LURR - DAY (INTERCUT) 26
AERIAL SHOT: From above the Castle. The battle rages in the
fields. The LURRIAN TROOPERS, dressed in suits of armor with
red tunics, fight desperately against the advancing tide of
MORDAK’S SOLDIERS, their black armor gleaming like a swarm of
beetles.
CATAPULTS and TREBUCHETS creak forward, their massive wheels
groaning under the weight of death. The earth trembles as .
A HAIL OF ARROWS streaks from the castle’s battlements—one
SLAMS into a Mordak soldier’s helmet, sending him crumpling.
But the black tide doesn’t stop.
CUT BACK TO:
Genres:
["Fantasy","Action","Drama"]
Ratings
Scene
12 -
A Father's Duty
27 INT. GREAT HALL - DAY 27
With the meal finished and the table cleared, Simeon stands
and raises his goblet once more. His eyes carry a heaviness,
a weight of past failures that he now must confront.
KING SIMEON
You have all seen the outline of my
plan. The Lastlight has never
failed the pure in spirit. Its
power has protected our kingdom for
generations against the evil of
Mordak, even when all seemed lost.
Duke Holsten, a noble, middle-aged, clears his throat.
DUKE HOLSTEN
I have heard the Templar Knights
are nearby. Perhaps we could enlist
their aid.
Simeon shakes his head, waves his hand in the air, dismissing
the idea.
KING SIMEON
The last thing I want is a bunch of
Templar Knights mucking about.
Sleep well and safe tonight, my
lords. With the dawning of the
morrow’s sun, Mordak’s threat shall
be no more. It is a simple plan,
really.
Peter looks at his father with admiration as the others take
their leave.
Simeon turns to Peter
KING SIMEON (CONT’D)
Come to my chamber in one hour,
Peter. We have pressing matters to
discuss, you and I.
PETER
But Father! I was to see Lady
Sarah! I cannot think of anything
else!
Simeon chuckles, then becomes serious.
KING SIMEON
Do you not wish to see the
Lastlight? Or is Cedrith’s daughter
more important?
Peter is taken aback, his desire to see the Lastlight warring
with his longing for Sarah
PETER
The Light? Will it not destroy me
if I look upon it before it is
passed to me?
Simeon clasps his son's shoulder, a reassuring gesture.
KING SIMEON
The Lastlight knows its heirs,
Peter. It will not destroy you - it
will embrace you. Come to my room.
And do not be late this time.
The King strides from the room, leaving Peter there, a mix of
emotions playing across his face.
END OF TAYLOR’S DREAM
Genres:
["Fantasy","Medieval","Drama"]
Ratings
Scene
13 -
Morning Regrets
INT. TAYLOR PIERCE'S BEDROOM
Taylor wakes, shaking the dream away. Glances at the clock
CLOSE-IN ON CLOCK: It reads 6:10
He jumps up.
TAYLOR
Dammit, Eric! You were supposed to
wake me up!
He races to the bathroom. A moment later the shower.
8 INT. TAYLOR PIERCE'S BEDROOM - LATER 8
Taylor is now dressed in his AIR FORCE UNIFORM, light blue
shirt, with a silver bar on each shoulder; dark blue pants.
He picks up a framed photograph on his desk. Runs his fingers
across her face.
TAYLOR
You couldn’t wait a year, Robin?
He sets it back down and heads out of the room.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
14 -
The Interrogation Begins
9 INT. SDC OBSERVATION ROOM - MORNING 9
The room is small, gray, with a single gray metal table in
the middle and three hard-back gray metal chairs. A large
pane of ONE-WAY GLASS fills the front wall. Speakers are
mounted in each corner near the ceiling.
Taylor sits at the table, sipping coffee and carefully
examining a brief marked TOP SECRET.
Standing beside the glass is FOUR-STAR GENERAL HANK BOSE,
Commander of the SDC. He is a seasoned veteran, his face
weathered by years of hard-fought battles. Chewing on an
unlit cigar.
THROUGH THE GLASS, we see the INTERROGATION ROOM - a
similarly sparse space, with a table and chairs.
Two men enter the Interrogation Room - an ARMY MAJOR and
CAPTAIN FRANK LOGE, the prisoner from the SUV. Loge's face is
swollen and disfigured, his nose appears broken, and his eyes
are nearly swollen shut. A five-day beard covers his gaunt
features.
As the men sit down, Taylor flips through the brief.
TAYLOR
Looks like Captain Loge put up
quite a fight when he was captured.
Two men in the hospital?
QUICK FLASH of Taylor and Frank in the gym, sparing. Taylor
holding his own, but Frank throws a high kick and Taylor hits
the canvas.
END QUICK FLASH
TAYLOR (CONT’D)
Do we know the extent of the
damage?
General Bose turns and gives Taylor a steely glare.
GENERAL BOSE
You’re in charge of Intel now. It’s
all in the brief, Lieutenant.
He passed secrets to Iranian
Intelligence, the magnitude of
which I can only estimate.
The Major in the interrogation room motions through the
glass.
TAYLOR
They’re ready, General.
GENERAL BOSE
Good. Let’s see what this
traitorous shit has to say.
Genres:
["Military","Thriller"]
Ratings
Scene
15 -
The Chosen Confrontation
10 INT. TAYLOR’S OFFICE - LATE AFTERNOON 10
Taylor sits at his desk, writing in a notebook.
A clock behind him ticks loudly—5:30 PM. On the desk, a small
stack of CDs.
Taylor sets down his pen, closes his eyes, and leans back in
his chair. A long exhale. He rolls his neck — crack — then
freezes.
A faint hiss fills the air.
His eyes snap open.
A TENDRIL of gray and black smoke curls up from the floor
beside his desk. It slithers, alive.
He watches, transfixed—then recoils, slamming his chair away
from his desk.
The smoke THICKENS, twisting into a towering column. The
temperature DROPS. Cold mist from Taylor’s nose/mouth.
Taylor scrambles back, but the wall traps him. His chair
TIPS. He crashes to the floor, eyes locked on the smoke as it
reaches for him — fingers of shadow grazing his skin. Ice-
cold.
A FACE forms in the haze: burning red eyes, a gaping maw. Its
voice is a guttural RUMBLE.
SMOKE
You have been chosen through time.
Find the Light and bring it to me.
TAYLOR
What?!
Smoky tendrils WRAP around his throat. He claws at them—his
hands pass through NOTHING.
TAYLOR (CONT’D)
(gasping)
No!
SMOKE
(Roaring)
BRING ME THE LIGHT!
TAYLOR
You...you’re not real!
The tendrils tighten again. Taylor’s face turns red.The smoke
slides away from his neck, and disappears.
Taylor rubs his neck. He slides over and traces his hands
across the floor where the smoke appeared. Just a floor now.
He stands and picks his chair back up and sits. Cradles his
head. Sweat on his forehead.
TAYLOR (CONT’D)
Holy shit, the dream, and now this.
Taylor collapses into his chair. Stares at the discs. His
hands fumble — labels crooked, fingers slipping.
TAYLOR (V.O.)
Focus. Just focus.
He shakes his head, finishes labeling the discs, grabs his
notes into a folder, throws the folder in a backpack and
heads out of the office, looking back once before closing the
door.
TAYLOR (V.O.)
Find the Light. Whatever the hell
that means.
Genres:
["Fantasy","Supernatural","Thriller"]
Ratings
Scene
16 -
Fractured Reflections
15 INT. TAYLOR’S QUARTERS - EARLY EVENING 15
Taylor steps into his quarters. His roommate, LIEUTENANT ERIC
SCOTT, is sprawled on the living room floor, wearing
sweatpants, a white tee, and a backwards Dodger’s cap. He’s
watching TV, a cigarette smoldering in a half-full ashtray
beside him. He glances up, noticing Taylor’s unease.
ERIC
Rough day, huh?
Taylor looks around at the clutter in the room.
TAYLOR
Where the hell were you? You were
supposed to wake me up at five! I
almost overslept.
ERIC
(Defensive)
Hey, don’t blame me. Your friend
Loge turned this place into a
circus. Twelve hours of
reprogramming — thanks to him, my
leave’s been cancelled.
Taylor tosses his backpack on the couch, strides to the
kitchen and grabs a beer. He pops it, takes a long swig.
TAYLOR
Weirdest day of my life.
ERIC
Yeah, for everybody. Come on,
relax. Got some new TV shows from
the library. Thought you might want
to watch a little.
TAYLOR
My roommate the couch potato.
Eric chuckles and Taylor downs the beer.
TAYLOR (CONT’D)
I’ll pass tonight. I want to get
some sleep. Tomorrow’s gonna be
more of the same. Haven’t been
sleeping lately.
ERIC
Well, I’d be upset if my best
friend turned out to be a traitor.
How did the questioning go today?
Taylor walks into the kitchen and pulls another beer from the
fridge, then leans on the kitchen bar.
TAYLOR
Bad. And it makes no sense to me. I
just can’t believe Frank would do
something like this.
ERIC
So, what do you think is gonna
happen to him?
TAYLOR
I don’t know. If General Bose had
his way...PAUSE THAT!
Taylor is staring at the TV. Eric grabs the remote. He hits
the PAUSE BUTTON.
TAYLOR (CONT’D)
Back it up!
Eric REWINDS. The screen stops on a cosmetics commercial—a
flawless woman with auburn hair.
Taylor steps closer, touches the screen. A whisper:
TAYLOR (CONT’D)
I know you.
QUICK FLASH:
- Sarah on a garden bench. A kiss.
BACK TO PRESENT
ERIC
You mean you’d like to know her.
TAYLOR
No...I mean...this is crazy, but
I’d swear I’ve met her before.
ERIC
Seriously? She’s a famous model.
You’ve probably just seen her on
TV, that’s all.
Taylor finally looks away, rubbing his arms like he’s cold.
TAYLOR
Maybe. But... something about
her...
A heavy silence. Eric exhales smoke. Taylor stares at the
screen.
TAYLOR (CONT’D)
Can you find her picture on the
internet and print it out? And find
out her name?
Eric raises an eyebrow but grabs his laptop.
ERIC
Uh, yeah, sure.
TAYLOR
Did you notice anything different
this morning?
ERIC
Different how?
Taylor rubs his neck absently.
TAYLOR
Never mind. Just been a long day.
By the way, smoking’s gonna kill
you.
ERIC
Yeah, if this job doesn’t kill me
first.
Taylor goes into his bedroom and closes the door.
END OF ACT 1
ACT 2
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
17 -
Dreams of Unfinished Business
38 INT. PASSENGER JET - DAY 38
RISA KENTON (23), International model, with long auburn hair,
drifts in and out of sleep in the First-Class section of the
small jet.
The turbulence over the south Caribbean bounces the plane
like a Yo-Yo, and with each jolt, hair flops in her face.
Even asleep, she is clearly beautiful, and looks just like
SARAH from Taylor's dreams.
DREAM SEQUENCE:
39 EXT. CASTLE GARDEN - LATE AFTERNOON (DREAM) 39
SARAH
Save him, Peter, I beg of you. He
has done nothing wrong except to
recognize the truth.
PETER
No harm shall come to your father.
I will go now and find out what is
happening with Lord Bryant. Thomas,
take Lady Sarah to her room and
remain outside her door until I
return.
Peter lifts her chin and kisses her. Then, he smooths back
his hair and races out of the garden.
SARAH
Hurry, my love. Simeon’s wrath can
be swift!
BACK TO PRESENT
The loudspeaker clicks with static and brings Risa out of her
sleep.
PILOT (V.O.)
Welcome to Curaçao! Local time is
3:17 PM. Off to the right, you can
see the island of Aruba.
Risa blinks and gazes through the window. Aruba floats on the
blue and green water like an oasis. A desert oasis.
RISA
Peter. If only you were real.
A man sitting next to her looks over. He is late 40’s, nice-
looking, beginnings of salt & pepper hair. This is JASON
MACINTYRE, her close friend and photographer.
JASON
Bad dream?
Risa forces a smile.
RISA
Just… déjà vu. Like I left
something unfinished.
JASON
Last year, after my divorce, I kept
dreaming I was back in my old
house. Searching for this damn
coffee mug my ex hated. Woke up
exhausted.
(beat)
Point is—sometimes the dream’s not
the thing. It’s what it’s trying to
show you.
Risa exhales, watching Aruba vanish beneath the clouds.
RISA
What if it’s showing me a door… and
I’m too scared to open it?
The plane BUMPs onto the runway. Jason squeezes her hand.
Sitting behind them are SHAUN (30’s), big, bald, muscular,
Risa’s bodyguard, and AMBER, (40’s) Risa’s assistant and
makeup artist.
JASON
You need a few days off. Maybe we
can wrap the photoshoot up early
and take an extra day, just lying
around on the beach. You seem down.
RISA
Is it that obvious?
JASON
Well, let me say that once, when I
was a kid, I went to the state fair
and spent every cent on the coin
toss game. I tried to win this big
stuffed tiger.
(MORE)
JASON (CONT’D)
When I used my last dime, I stared
at that tiger and sulked away,
feeling nothing but tons of
disappointment. That’s kind of the
way you look now.
Risa punches his arm.
RISA
I appreciate the sentiment, but I
hardly think we can compare my lack
of a vacation for a year and a half
to you failing to win a stuffed
animal. You kill me sometimes.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
18 -
Tensions on the Coastal Drive
40 INT. CURAÇAO AIRPORT TERMINAL - DAY 40
Risa and her entourage stride through the terminal, the hum
of chatter and rolling suitcases fading as they exit into the
Caribbean heat. A sleek town car idles at the curb.
JASON
(rubbing his temples)
Look, I know the schedule’s been
brutal. You’re the most in-demand
face on the planet and time off
isn’t in the contract. But you’re
running on espresso and adrenaline.
When’s the last time you slept
through the night?
Risa ignores him, sliding on oversized sunglasses.
RISA
Just get me to the hotel. And if
there’s no rum punch waiting, I’m
firing someone.
They pile into the car. The AC blasts as the driver merges
onto a coastal road. Rolling hills blur past, dotted with
swaying palms. The ocean glints in the distance.
They cross a large expansion bridge that forks in one
direction to WILEMSTADD and the other down to an oil
refinery.
DRIVER
All oil is owned by Venezuela now.
They bring oil here for refining.
Risa’s gaze drifts to a STARK WHITE MANSION perched on a
cliff
RISA
Who lives up there?
DRIVER
Oh, that governor’s house. It call
POCCMOOR.
Risa’s mouth flies open.
RISA
What...what did you say?
DRIVER
I say it called Posibarda.
Governor’s house.
Risa grips the back of the driver’s seat.
RISA
That’s not what you said! You said
Poccmoor!
DRIVER
Beg pardon?
RISA
You called it Poccmoor!
JASON
Jesus, Risa. What difference does
it make what he called it? I think
you need that drink worse than I
thought.
She stares at him. Truly angry.
RISA
Don’t patronize me, Jason. I know
what I heard and it wasn’t Posi-
whatever.
Her voice cracks. The car falls silent but for the tires
humming on asphalt.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
19 -
A Mysterious Encounter
42 INT. PRINCESS BEACH HOTEL LOBBY - DAY 42
Shaun hauls the bags into the lobby. Risa strolls over,
pausing at a souvenir shop window—her reflection lingers on a
yellow sundress.
A DARK-SKINNED MAN (beaked nose, bushy eyebrows) LURCHES from
behind the dress. Risa STAGGERS back.
The man steps out of the shop to stand beside her, voice a
raspy whisper.
MAN
You are Miss Kenton.
Before Risa can answer, Shaun SHOVES between them. Jason
steps in, eyes narrowed.
JASON
Who are you? What do you want?
The man’s gaze locks onto Risa, ignoring Jason.
MAN
Your prince cannot save you!
Shaun GRABS the man, SHOVING him to the floor. He ushers Risa
toward the ELEVATOR.
SHAUN
Let’s go. Now.
Risa’s breath is ragged. She glances back—the man is gone.
The lobby hums with normalcy.
Jason scans the empty space, uneasy.
JASON
Just some crazy person. What was he
talking about a prince?
Risa clutches Jason’s arm.
RISA
My dream, Jason. How can he know
about my dream?
Genres:
["Thriller","Mystery","Fantasy"]
Ratings
Scene
20 -
Visions of Danger
INT. TAYLOR PIERCE'S BEDROOM
Taylor stirs restlessly in his sleep.
DREAM SEQUENCE
28 INT. CASTLE LURR CORRIDOR - AFTERNOON 28
PETER walks quickly out of the Great Hall. The corridor
stretches before him, its walls adorned with tapestries of
forgotten battles and mosaics of Mount Lurr—frozen in time.
He pauses before the portrait of ROBERT THE GREAT, his
grandfather’s stern gaze weighing on him.
PETER
(whispers, fingers brushing the
frame)
Grandfather, I miss your wisdom.
Would you have hesitated like him?
Or would you have fought?"
The mosaics beside him shimmer—just for a second. He blinks.
Then—
A jolt of pain lances through his skull. He GRASPS the wall,
tiles shifting under his fingertips like living skin. He
drops to his knees. The castle melts away, replaced by—
—A desert mountain, jagged and lifeless. A SILVER CONTRAPTION
with spinning blades whirls like a maple seed, before
vanishing behind the peak.
The vision morphs again—
—A MAN, shirtless, sitting on a bed. His face... Peter’s
face. Haunted.
PETER (CONT’D)
(gasping)
What?
The mosaics ERUPT in light—a thousand suns blazing—then
DARKEN. The tiles twist, forming a GAPING MAW, a tunnel into
nothingness.
Peter SCREAMS, recoiling...
...And the wall is just a wall again.
He sits there, trembling, his breath ragged. The corridor is
silent.
FOOTSTEPS. A SENTRY rushes in.
SENTRY
M’Lord!
Peter waves him away and stands.
PETER
I am fine. I slipped. I am on my
way to the king’s chamber.
The Sentry hesitates, then bows and retreats. Peter exhales,
pressing a hand to his chest - where Sarah’s medallion rests.
Then—
As he rounds a corner,
SARAH (O.S.)
Peter, is it you?
He turns.
ORANGE TORCHLIGHT flickers across SARAH’s face as she steps
from the shadows. Her hair spills like red silk, but her
eyes—her eyes are tight with worry, perhaps?
PETER
(voice cracking)
Sarah.
SARAH
I see you still wear the medallion.
He pulls her into him, crushing her against his chest. She
stiffens—just for a heartbeat—before melting into him.
He removes the medallion from around his neck and places it
in her hand.
PETER
I’ve kept it safe, as promised.
SARAH
Oh Peter. Precious Peter. It has
been so long.
Her hair cascades around her shoulders, down her back. Her
features are perfect, her skin like porcelain. But
something’s wrong. He pulls back.
PETER
You’re shaking.
SARAH
Mordak is close, Peter. I fear the
Lastlight will not protect us.
PETER
What? What do you mean?
SARAH
Not here. The walls have ears.
They move quickly, her hand locked in his. The torchlight
casts their shadows long and jagged against the stone.
Genres:
["Fantasy","Drama"]
Ratings
Scene
21 -
The Weight of Betrayal
29 INT. KING SIMEON’S CHAMBER - AFTERNOON 29
Simeon BURSTS into his chamber, SLAMMING the door behind him.
Masonry dust flies from the hinges.
His crown — heavy with jewels — lands on a gold pedestal with
a THUD. He doesn’t look at it.
The room is opulent but cold: a crimson-draped bed, a
polished mahogany table, and a door without a knob. A
portrait of KING ROBERT watches from the wall.
Simeon pours wine, gulps half, then stares into the glass.
His reflection warps in the red liquid.
A beat. Then -
He YANKS a royal blue tasseled rope. A DEEP GONG echoes.
The servant enters, bowing.
SERVANT
You called, sire?
KING SIMEON
Bring Lord Bryant and two castle
guards.
The servant bows slightly and leaves the room
Simeon speaks aloud to the emptiness. Walks to a portrait of
KING ROBERT. TRACES the frame.
KING SIMEON (CONT’D)
I can feel your eyes, Father. You
made me strong. You made me
unwilling to compromise, to — to
accept defeat.
He stands and walks to a portrait of KING ROBERT. TRACES the
frame with a finger—lingering on the painted crown
KING SIMEON (CONT’D)
Unlike you, however, I grow
stronger with age, and wiser with
each crushing defeat. I could have
taught you.
A menacing grin forms.
KING SIMEON (CONT’D)
But why am I telling you this? You,
ah, have tasted my loyalty, have
you not?
(MORE)
KING SIMEON (CONT’D)
Did it taste a little like blood,
father? I think it did. Yes, I
think it did.
LORD BRYANT (O.C.)
And one day it will be your own
blood you taste.
Flinching a little, Simeon turns around and smiles. Lord
Bryant enters.
KING SIMEON
Of course it will, Cedrith. We all
taste our own blood, eventually.
Some sooner than others.
Simeon motions to a chair.
KING SIMEON (CONT’D)
Some wine for you?
LORD BRYANT
A token last drink? Spare me. What
do you want?
KING SIMEON
Loyalty. The kind you once swore to
me.
Lord Bryant BARKS a laugh.
LORD BRYANT
The kind of loyalty you had to King
Robert?I should have stopped you
years ago, before you destroyed
everything good in Lurr.
KING SIMEON
Careful Cedrith.
LORD BRYANT
Or what? You’ll add me to your
list? Your brother, Charles. King
Robert. Who’s next? Peter?
Simeon’s hand TWITCHES toward his dagger.
KING SIMEON
(softly)
You always were too clever for your
own good.
LORD BRYANT
And you were never clever enough.
Charles was meant to inherit the
Light. Now, it rejects you. Mordak
knows it. Soon, so will everyone.
KING SIMEON
Charles was stupid and weak! I
control the Light!
LORD BRYANT
Control, Simeon? Oh, the Lastlight
has indeed protected Lurr from
Mordak, despite your treachery. But
have you ever invoked its power? I
think not.
KING SIMEON
STOP! The Light is mine! It was
always mine!
Simeon SIGNALS the guards. They seize Bryant.
KING SIMEON (CONT’D)
Place him in the prison. Let him
reflect on his treachery.
Bryant struggles, but his voice is steady.
LORD BRYANT
Peter will learn the truth. I made
sure of it.
Simeon’s smile falters. The door SLAMS shut behind Bryant.
Alone, Simeon squeezes the wine glass in his fist, almost
shattering it.
Genres:
["Fantasy","Drama"]
Ratings
Scene
22 -
Secrets in the Garden
30 EXT. CASTLE GARDEN - LATE AFTERNOON 30
Sarah and Peter walk arm in arm out into the small garden
alongside the inner bailey. Flowers are in full bloom.
It is almost dusk. She looks to the sky at the moons.
SARAH
The three sisters are full tonight.
She slips from Peter’s arm, plucks a rose, and inhales its
fragrance. Peter watches her, his smile fading as she
hesitates.
SARAH (CONT’D)
I do so love it here.
Peter creeps up behind her and puts his arms around her
waist. She leans back into him.
PETER
And so fitting to be in the garden.
We said goodbye on this very spot.
Peter turns her around. They look longingly at each other,
then Peter pulls her face to his and kisses her passionately.
Later, they repose on the stone bench, Peter stroking her
hair.
SARAH
At Poccmoor, I found solace only in
my room. Yet here in the gardens, I
am in another world where — where
our souls can spend their days in
quiet and happiness.
PETER
Sarah, my lovely poet. It is
another place. This is Lurr, and
you are safe. Father is not so old
to have spent all his tricks. And
the Lastlight will protect us!
Sarah lifts his hands from around her, pushes them away, and
stands, crumpling the rose in her hand.
SARAH
You have truly grown in stature,
Peter, but your eyes have remained
closed.
Peter stammers, groping for a defense of something he doesn’t
understand.
PETER
Sarah, what are you saying?
SARAH
I am saying — I am saying you have
been tricked cruelly.
Peter jumps to his feet, takes one of her hands
PETER
Tricked? In what manner? And by
whom?
SARAH
King Simeon.
Peter stiffens.
PETER
Sarah. You are quivering. Tell me
plain what weighs so heavy on your
heart..
Sarah looks away
SARAH
Simeon is not your father, Peter.
Charles, was your father, and
rightful heir to the throne.
Peter stumbles back as if struck. He stares at her for a long
moment, unable to speak.
PETER
That’s madness. Charles was a vile
man. He killed my grandfather and
was banished from the kingdom long
ago.
SARAH
No, Peter. Simeon was responsible.
He found a way to blame Charles for
King Robert’s death and forced him
from the kingdom, and leaving you
behind.
Peter is in shock.
SARAH (CONT’D)
I wrestled with this, Peter. But my
father—
PETER
(cutting her off)
Your father’s bitter. The King sent
him to Poccmoor for reason.
SARAH
(fervent)
No. You are like a son to him. He
has always watched over you.
A shout from the castle. They freeze. Footsteps pound
closer—THOMAS bursts in, gasping.
THOMAS
My lord — M’lady, I am sorry to
breach your meeting, but I must
speak with the prince at once.
PETER
What is it, Thomas?
Thomas glances at Sarah. It is clear he desires a private
moment.
PETER (CONT’D)
You may speak in her presence,
Thomas. Tell me what is wrong.
THOMAS
I returned from the stable and I
saw the King’s guards under arms,
taking Lord Bryant to the lower
keep. To the dungeon, I fear.
Sarah tries to tear away from Peter. He holds her tightly.
SARAH
(Screaming)
Peter, no! It is happening again.
Father!
She buries her face in Peter’s chest, sobbing. Then she
raises her red, swollen eyes to him.
SARAH (CONT’D)
Save him, Peter, I beg of you. He
has done nothing wrong except to
recognize the truth.
PETER
No harm shall come to your father.
I want, more than anything, to
believe you to be wrong. Thomas,
take Lady Sarah to her room and
remain outside her door until I
return.
Peter lifts her chin and kisses her. Then, he smooths back
his hair and races out of the garden.
SARAH
Hurry, my love. Simeon’s wrath can
be swift!
END OF ACT 2
ACT 3
Genres:
["Fantasy","Romance","Drama"]
Ratings
Scene
23 -
Access Granted
INT. TAYLOR’S QUARTERS - EARLY MORNING
Taylor is showered and dressed. The clock on his nightstand
reads: 6:00.
He hears Eric snoring as he slips through the living area and
out the door.
INT. SDC HALLWAY MAIN FLOOR - EARLY MORNING
The quiet hallway gives the complex the air of a giant
mausoleum of hardened steel.
Taylor checks his watch again. It’s quiet for now, before the
day begins in earnest.
He steps into an elevator.
INT. SDC HALLWAY THIRD FLOOR - EARLY MORNING
Taylor exits the elevator on the third floor, and is
immediately confronted by an AIR FORCE SECURITY POLICEMAN.
He’s dressed in a camouflaged uniform and carries a sidearm
in a holster.
SECURITY POLICEMAN
ID and clearance code.
Taylor pulls out his SCI ACCESS BADGE.
TAYLOR
General Bose asked me to get a few
clarifications from the prisoner.
SECURITY POLICEMAN
I’m sorry, sir, but we have orders
from General Bose as well. No one
is to see Captain Loge. He said
there were no exceptions.
TAYLOR
I know sergeant. I was there when
he gave the order. But the General
requested a briefing in less than
an hour and there are certain
inconsistencies in the prisoner’s
story.
(MORE)
TAYLOR (CONT’D)
Call the General if you need
approval. It’s only going to take a
couple of minutes.
No way the Security Policeman is going to call the General.
SECURITY POLICEMAN
Well, I guess it’d be ok. But I
doubt you’ll get much out of him.
He’s pretty messed up.
Genres:
["Thriller","Mystery"]
Ratings
Scene
24 -
The Deceptive Encounter
INT. SDC HOLDING CELL - EARLY MORNING
The guard leads Taylor to the end of the hall and unlocks a
door.
The holding cell has a single bunk bed at one end and a sink
and toilet at the other.
Loge lies on the bed, his face to the wall. He doesn’t stir
when the guard closes and locks the door.
Taylor leans over the bed and shakes Frank.
TAYLOR
Frank. Wake up. It’s me, Taylor.
Loge turns over and looks through swollen eyes. Fresh
purplish bruises are visible on top of the older, yellow
ones. Dried blood streaks from his nose.
FRANK
Who da hellb are you?
His speech is garbled.
Taylor stares.
CLOSE on tattoo of a tiger on Frank’s upper arm. Taylor’s
eyes go wide.
TAYLOR
You’re not Frank. Where’s Frank?
The man jerks, instantly alert, and backs up on the bed like
an animal, pushing himself into a corner. His hands are
trembling.
FRANK
I—Ib not supposed to talk to
anybwone.
Taylor looks back at the door, totally confused, but the
ramifications of this bizarre development swim clearly in his
eyes.
TAYLOR
Listen. General Bose sent me here
to make sure you were ok. Do you
need to see a doctor?
FRANK
A doctorb?
The man seems barely in control of his eye movements. He
starts sobbing.
The guard bangs on the door.
GUARD (O.S.)
Everything ok in there?
TAYLOR
Yeah, we’re fine. Be done in a few
minutes.
Taylor turns back to the FRANK IMPOSTER.
TAYLOR (CONT’D)
Do you need a doctor?
FRANK IMPOSTER
If I don’t answer oneb ofb their
questions right, theyb beat me
more. I’m trying, but I can’t
remember it all.
The man curls into a fetal position.
TAYLOR
What’s going on? Where is Frank?
FRANK IMPOSTER
I don’tb knowb, I told you. And I
don’tb know no Frankb Loge!
TAYLOR
This is crazy. I watched you in the
interview for six hours yesterday.
Did they tell you everything to
say?
The man remains silent. Taylor grabs him by the shoulders and
jerks him up from the bed.
TAYLOR (CONT’D)
Who put you up to this? General
Bose?”
Still the man remains silent, but the fear in his eyes grows
more plain. It seems Taylor hit a nerve.
TAYLOR (CONT’D)
Was it General Bose? Dammit, tell
me!
The man nods, then lies back down and turns away to the wall.
GUARD (O.S.)
Ok, sir! That’s enough time.
Taylor pats the man’s leg.
TAYLOR
Listen. I’ll see if I can get you
out. Somehow. What’s your name?
The man stares at Taylor, his eyes still wild and darting all
over the room.
FRANK IMPOSTER
My nameb’s Frank Loge.
Then, more confidently...
My nameb’s Frank Loge.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
25 -
Descent into Darkness
INT. GENERAL BOSE’ OFFICE - EARLY MORNING
General Bose sits in the solitude of his office with the
lights off, his eyes glassy, staring at the impenetrable
dark. He sips a glass of scotch. Rubs his temple.
GENERAL BOSE
Dear God! What have I done? Why
can’t you leave me alone!
He hurls the glass, shattering it against the wall.
A purplish fog appears across the room.
GENERAL BOSE (CONT’D)
I’ve done what you asked.
A menacing voice emanates from the fog
MORDAK
Frank Loge escaped.
The General whimpers
GENERAL BOSE
I...I tried to kill him, but he was
already gone! What could I do?
MORDAK
You must now control Pierce. He is
key to the Light.
The fog dissipates. Bose lays his head on the desk.
Genres:
["Fantasy","Thriller"]
Ratings
Scene
26 -
Chaos on the Beach
16 EXT. CURACAO BEACH BEHIND THE PRINCESS BEACH HOTEL - MORNING
The blue and green water shimmers in the early morning sun.
The beach is not too crowded yet.
Jason has his photography equipment set up on one end of the
beach. The area has been cordoned off with yellow tape.
Shaun sits on a beach chair just outside the tape. Three
hotel SECURITY GUARDS in blue uniforms, are also spaced apart
around the outside of the tape.
Inside the cordon, A large beach umbrella, and Risa sits
under it with Amber, who is applying makeup.
When Amber finishes, Risa stands, drops her beach towel,
revealing a very skimpy bikini.
JASON
Ok, Risa. Over here. We’ll start
with you sitting on the sand.
Risa comes over and sits.
MONTAGE OF RISA POSING:
She dips her head to one side letting her hair flow to the
ground. Jason snaps away.
She lays back on the sand, slowly raising one leg into the
air. Jason moves in closer, snapping pictures.
She is now standing, turning around. Sand clings to her legs.
She turns so the sun is hitting her face. Jason continues to
snap pictures as fast as lightning.
The sun is higher in the sky. Risa continues posing.
Finally, she stops and drops her hands to her sides
RISA
I’m getting hungry.
A sizable crowd has formed outside the cordon.
JASON
A few more minutes, and I’ll buy
you a juicy steak.
Before Risa can answer, a loud CRACK sounds behind her, and
there is a high-pitched scream from the direction of the
hotel.
Jason lowers his camera. Shaun jumps up, scanning the crowd.
One of the security guards starts to draw his gun, when there
is another loud CRACK, and the guard is hit by a bullet,
knocked to the ground.
Shaun breaks through the tape and throws himself on Risa,
pulling her to the ground, covering her.
Jason grabs Amber and pulls her to the ground, looking around
frantically.
Three more shots ring out, spitting up sand all around them.
Risa screams.
SHAUN’S POV: A low wall around the pool.
SHAUN
We need to move! Now!
He pulls Risa up and they run for the wall. Jason pulls Amber
and they follow, running as fast as they can.
Bullets continue to hit around them as they run.
They all reach a walkway and Shaun pushes Risa behind the
wall.
She looks back, and Shaun is lying in the sand a few feet
away, a large, bloody hole in his chest. She screams again.
Amber is hit and falls. Jason dives behind the wall, then
slides over to Risa and shields her with his body.
Bullets burst across the top of the wall, sending sprays of
concrete flying.
The shooting stops. Jason peers over the wall.
RISA
Is it over?
JASON’S POV: Shaun lies dead, along with Amber and two of the
security guards. The third guard is running toward them.
Another shot and the guard pitches forward, a hole the size
of a golf ball blown out of his chest.
Jason then sees the GUNMAN, short, brown hair, in a colorful
island shirt, walking casually toward the wall, carrying a
menacing automatic rifle.
The gunman fires as he walks, and the wall shatters beside
Jason’s face, knocking him back.
Jason pulls Risa to him and points. The wall continues around
the pool. Where it ends, a thick row of shrubs line an open
courtyard and sidewalk that leads to one wing of the hotel.
JASON
We need to run. Try to make it to
the hotel.
Risa nods, and Jason shields her with his body, as they
crouch and run around the wall. The gunman fires more shots,
barely missing, then the firing stops again.
Jason stands, pulls Risa into a full run - one last mad dash
for the shrubs. They reach the bushes before another shot is
fired, and Jason propels Risa through them
Risa sprints to the side door of the hotel and jerks it open,
then turns to wait for Jason.
Another burst from the gun blasts into the courtyard, echoing
off the walls.
Jason sprints to the door when a bullet hits home, and Jason
spins around, blood spewing from his shoulder. He falls to
the ground, his eyes searching for her.
RISA
Jason!
She lets the door go and runs to him. She is halfway there
when she sees movement in the bushes.
The gunman will step through any second and kill them both.
She stops and her face seems to boil with rage.
QUICK FLASHES:
- The castle. Troopers storming the hall
- Thomas pulling her; pushing her into a room
- Sitting in the garden, Peter stroking her hair.
Risa shakes her head. Tears falling.
RISA (CONT’D)
No! That’s not it!
MORE QUICK FLASHES:
- Peter saying ‘One day I will be king and you will be my
queen.
RISA (CONT’D)
No! Something else.
She falls to her knees beside Jason
RISA (CONT’D)
I’m sorry, Jason. I’m so sorry.
She looks around.
RISA (CONT’D)
HELP ME!
The gunman steps into view
GUNMAN
You fool. No one can help you. You
will die today, and your prince
will know he cannot win.
Risa looks up at him, tears blurring her eyes.
RISA
I know who you are.
GUNMAN
You know nothing! You know nothing,
and you are nothing. I have lived
countless nights and days,
wandering, living in darkness — so
cold. No one knows my pain, the
hatred I nurture. But I will have
the Light!
RISA
You...you’re not real!
GUNMAN
Oh, I’m very real, my dear. I am
more real than anything you see
around you. For I will be here
after everything has turned to
dust. Your friend knows I am real,
does he not?
He turns the gun to Jason, who is barely conscious, lying in
a pool of blood.
GUNMAN (CONT’D)
I shall give you the pleasure of
watching your friend die before I
take you with me to eternity.
RISA
No!
MORE QUICK FLASHES:
- Back in the castle gardens with Peter.
- (Peter) One day I will be king and you will be my queen
RISA (CONT’D)
No! That’s not it!
GUNMAN
Why do you fight it so?
MORE QUICK FLASHES:
- (Peter) One day I will be king and you will be my queen
- (Peter) Together with the Lastlight, we will build our
kingdom and Mordak will be no more.
END QUICK FLASH
Risa’s eyes grow large. She pushes herself off the ground.
The gunman turns to her and his expression changes...suddenly
one of confusion.
Risa stands to her full height. Fire in her eyes.
RISA
In the name of the Lastlight, I
command you to be gone!
The gunman’s mouth opens to scream, then white - blinding
white, blocking out everything else, like standing in a
cloud.
Then the light fades, and the courtyard is back into focus.
The gunman lies beside Jason, unconscious. He is no longer
handsome. He is rough and haggard, his skin leathery.
Risa goes to Jason, kissing his cheek.
RISA (CONT’D)
Jason. Jason, please don’t die on
me!
Jason smiles weakly.
JASON
You won’t be that lucky.
RISA
Can you stand?
JASON
I think so.
Risa helps him up and they both stagger into the hotel.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
27 -
Conspiracy and Urgency
INT. SDC HALLWAY - MORNING
Taylor steps out of the elevator on the second floor, turns
left, walks down the hall until he reaches a door marked:
DATA SERVICES.
INT. DATA SERVICES - MORNING
Taylor steps up to Eric’s cubicle. Eric is typing away on his
computer. He looks up.
ERIC
Hey, got something for you.
He reaches in a drawer, pulls out a printed picture of the
model on TV.
ERIC (CONT’D)
Her name’s Risa Kenton. One of the
top models in the world.
Taylor takes the picture, stares at it.
TAYLOR
I need to find her.
Eric laughs.
ERIC
Find her? What are you talking
about? You know, you’re starting to
worry me.
TAYLOR
I’m serious. I can’t explain it
right now, but it’s important.
Eric glares at Taylor for a minute, then shakes his head.
ERIC
Well...if you’re serious, I guess I
can ask Cary to see if she can find
out. She’s pretty amazing.
TAYLOR
Your sister? I don’t know if she
should be involved in this.
ERIC
Involved in what? She’s not getting
involved. I’ll just see if she can
find out how to contact Risa
Kenton. And Don’t worry. If anybody
can find her, Cary can.
Taylor folds the picture and puts it in his pocket, then
looks around nervously.
TAYLOR
(whispering)
We need to talk. Somewhere quiet.
ERIC
What’s up? Did you see Frank?
TAYLOR
Not here.
Eric looks around. Nods to an empty office.
Once inside, Taylor collapses in a chair and stares at Eric.
A bead of sweat drips into his eye, and he absently wipes it
away.
ERIC
Why are you staring at me?
Eric’s face morphs momentarily into the face of Peter’s aide,
Thomas.
TAYLOR
You — you just suddenly remind me
of someone.
ERIC
Like the girl on TV?
TAYLOR
Yeah, something like that. Anyway,
I don’t understand it yet, but
we’ve got a serious problem.
ERIC
What do you mean?
Eric lights a cigarette and sits on the edge of the desk.
TAYLOR
It’s not Frank in the cell. It
wasn’t Frank in the interview. It’s
an impostor. He said General Bose
put him up to it.
The cigarette almost falls out of Eric’s mouth, his eyes bug
out.
ERIC
Bullshit! Who is it then? Why would
they use an impostor?
Eric goes back to the door, cracks it, looks out then walks
back.
ERIC (CONT’D)
And if it’s true, then where is
Frank? Do you think he’s dead?
TAYLOR
I don’t know. But it’s the only
thing I can come up with. I think
Bose had him killed.
Eric points his cigarette.
ERIC
That’s crazy. I mean...why the
impostor?
TAYLOR
I don’t know. Maybe Frank saw or
overheard something that could
damage Bose’s career? Bose had no
choice but to get rid of him.
Eric puts out his cigarette and lights another. Taylor glares
at him.
ERIC
I’m thinking, ok?
TAYLOR
Professionals worked the guy over
in the cell. He’s so far gone; he
doesn’t know if he’s Frank Loge or
the Easter Bunny. You’ve got the
computer brain. What are we
missing?
Eric starts pacing. Then stops, turns around and smiles.
ERIC
We’re not missing anything. It’s
right in front of you. The simplest
explanation possible.
TAYLOR
Come on, Eric. I don’t have time
for games.
ERIC
That’s a joke. Your entire career
is one big game. Recruiting people,
spying, trading secrets... You’re
involved in a big game now. General
Bose’s game. You said it yourself.
Frank uncovered or discovered
something. For now, it doesn’t
matter what. The question is, what
did Frank do about it?
TAYLOR
He didn’t have time to do anything.
Bose must have killed him right
away. Then he concocted this whole
story so it would seem the
situation was under control.
ERIC
Maybe we’re not giving Frank enough
credit.
Taylor looks up.
TAYLOR
You think he got away?
ERIC
Maybe. But that doesn’t explain the
imposter. Why would General Bose
take the chance that Frank could
just show up tomorrow, and blow
this whole thing wide open?
Taylor’s eyes dart, as the realization hits him.
TAYLOR
Because Frank saw something he
couldn’t explain so he fled. They
haven’t found him. And whatever he
saw, Bose believes he’ll never come
back.
Now Taylor starts pacing.
TAYLOR (CONT’D)
They must still be searching for
Frank and when they find him, they
will kill him.
ERIC
What do you mean, he saw something
he couldn’t explain?
TAYLOR
You’ll have to trust me on that for
now. You know — The security team
spotted Frank twice in Kovali. And
if he went to Kovali, then he had a
good reason. I think Frank may
still be there. I remember there’s
a Turkish girl he was trying to
recruit. In the process, I think he
developed feelings for her.
Eric throws up his hands.
TAYLOR (CONT’D)
I need to go to Kovali.
Eric shakes his head.
ERIC
All leaves are cancelled. Place is
locked down tighter than Fort Knox.
TAYLOR
That’s where you come in. You and
your computer.
ERIC
In case you haven’t noticed, ole’
Betsy isn’t working too well these
days. We’re working night and day
to get everything back up and
running.
TAYLOR
Exactly. But the problem is, you
can’t repair the damage without the
original DX programs, which are
currently sealed in a vault at
Bolling Air Force Base in Virginia.
Eric shakes his head again.
ERIC
Don’t need ‘em. We’ll be up and
running in a few days.
Taylor arches his eyebrow
TAYLOR
You’re not listening. The way to
get us back online and fully
operational is to reinstall using
the original programs. And only
someone with a Top-Secret SCI
clearance can go get them.
Eric stares at him.
ERIC
That’ll never work. Bose will see
right through it.
TAYLOR
That’s the beauty of it. Bose
doesn’t know a computer from a
toilet. All you do is give him a
five-minute briefing on the problem
and throw in a lot of technical
terms about bits and bytes and
matrices and tell him you need the
original programs. I’ll take care
of the rest.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
28 -
The Luminous Intrusion
33 INT. TAYLOR'S BEDROOM - NIGHT 33
Taylor crawls into bed and pulls the covers up. He glances
over at the desk, where the photo of Robin sits.
TAYLOR
Gotta throw that out tomorrow. Or
the next day.
Taylor’s eyes are getting heavy when he suddenly opens them
wide. He throws the covers off, and stares at a pinprick of
light that has formed across the room.
TAYLOR (CONT’D)
(groaning)
Not again!
The light slowly grows larger and brighter, filling the room
with a warm, pulsing glow. It becomes an orb, as big as a
beach ball, radiating a mesmerizing energy. Rays of
brilliance project out from the center, like the biblical
star of Bethlehem.
It hovers three or four feet off the floor, casting a soft,
ethereal illumination throughout the space.
Taylor slowly gets out of bed and absently grabs his
trousers, pulling them on as he approaches the orb. He is
drawn to its alluring, otherworldly presence, his curiosity
piqued.
He stands in front of the orb, captivated by its power. He
reaches out, his fingertips barely grazing the surface of the
orb and steps through a shimmering curtain...
Genres:
["Fantasy","Mystery","Adventure"]
Ratings
Scene
29 -
The Awakening of the Chosen Heir
34 EXT. VILLAGE OF LUUR - NIGHT 34
...and staggers into the village, his breath catching. A
breeze whispers through thatched huts, stirring dust motes
that glow like stars under THREE MOONS. One moon bleeds
silver, another cobalt, the third—encircled by a faint ring —
pulses amber. Taylor’s eyes lock onto it, his hand drifting
to his chest.
TAYLOR
(mumbling)
The three sisters... I’m in Lurr.
This is like my first dream.
A few villagers emerge from their huts. He realizes they can
see him! They murmur and point.
He steps forward, boots crunching on iridescent gravel. A
fire burns near the central pool of water which glows, its
surface fractured by the LASTLIGHT — a crystalline orb
hovering above the water.
He circles the pool, shadows from the crackling fire dancing
across his face. The villagers follow his moves, cautiously
inching closer.
The orb grows brighter in Taylor’s presence.
Beyond the pool, another light - a single strand, reaching
from the ground to the heavens. It shimmers, distorting the
air around it. Taylor is drawn to it, when one of the village
men steps forward.
VILLAGER
No! That is where the evil comes!
Startled, Taylor turns away from the rift.
TAYLOR
What do you mean?
VILLAGER
Mordak!
The man cowers, as if merely saying the name will summon
evil.
VILLAGER (CONT’D)
(Meekly)Mordak opened the magic
gate.
TAYLOR
A magic gate?
The largest hut looms ahead, its animal-skin door etched with
faded runes. The door opens and the ELDER HAMEL steps out and
approaches Taylor, a woolen shawl draped loosely over his
hunched shoulders.
Recognition flickers in Taylor’s eyes.
Hamel’s voice is a dry whisper, yet carries an undercurrent
of power.
HAMEL
A tear in the fabric of time and
space, joining our worlds.
TAYLOR
You’re Hamel.
Beat.
Is this another dream?
HAMEL
Not a dream. A displacement. The
Lastlight has pulled your essence
here across the threads of what
is...and what might be.
Hamel sweeps his hands across the flames and firelight seems
to bend around his fingers, warping like heat haze.
Suddenly, the rift WIDENS with a roar, like a sliding door.
Taylor is mesmerized as the rift opens wider still, another
world visible...when
Hundreds of TROOPERS in black armor burst through, horses
snorting, swords drawn. The villagers SCREAM, clutching each
other. Taylor staggers back, falls to the ground.
HAMEL (CONT’D)
Do not be afraid!
The ORB PULSES, growing brighter—BRIGHTER—
A WAVE OF ENERGY erupts, blasts outward in all directions,
disintegrating soldiers mid-stride—their bodies dissolving
into ash.
The villagers fall to their knees. A CHILD clutches her
mother’s leg.
The rift closes back to a single strand of light.
Taylor pulls himself from the ground. Looks at his palms as
energy from the Lastlight appears to flow into his hands.
HAMEL (CONT’D)
The Lastlight has found it’s true
heir.
TAYLOR
True heir? I...I don’t understand.
HAMEL
Mordak must be destroyed. The tear
must be closed. And you...you have
been chosen.
TAYLOR
Mordak. I know that name. I have
felt his presence.
Hamel studies him, then reaches into the flames. The blue
light coils around his fingers harmlessly.
HAMEL
A malevolent force that has existed
for eons. And now you have glimpsed
his armies and the danger
this...this tear creates. Not only
in this world but in yours as well.
The Lastlight was a gift from the
creator and has but one purpose —
to protect Luur and its descendants
from Mordak.
The Lastlight pulses above the pool, casting shimmering
reflections on the water. Taylor stares at it, his face
flickering between awe and dread.
HAMEL (CONT’D)
The light burns within you and the
brighter it burns, the more Mordak
longs for it, claws for it.
Beat.
This rift in the world? It’s
spreading. And Mordak is not just
in it — he’s prying it open.
Taylor runs his hands through his hair.
TAYLOR
I can’t fight this. I wouldn’t know
where to start.
HAMEL
Fear not, my child. You will find
your way. When called upon, the
Lastlight will show you it’s power
and the path to take and protect
you, I am sure of it.
Taylor’s hands start to fade. He closes his eyes a moment...
Genres:
["Fantasy","Adventure"]
Ratings
Scene
30 -
Disoriented Reflections
37 INT. TAYLOR PIERCE'S BEDROOM - NIGHT 37
He’s back in his room, a faint glow lingering around him from
the Lastlight's energy. He stands in front of his desk,
disoriented.
TAYLOR
That wasn’t a dream. I’m losing my
mind.
He sits at his desk, turns on the desk light. Pulls out a
notebook and starts drawing a diagram.
INSERT ON DIAGRAM: In the middle the words LASTLIGHT. Lines
extend out in several directions connecting to other words:
MORDAK; CASTLE; PETER; KING SIMEON; HAMEL; SARAH.
Near the bottom of the page he writes: SARAH = GIRL ON TV.
He leans back and looks at the page. Then writes at the very
bottom: FIND FRANK. FIND THE GIRL.
He climbs into his bed, pulling the covers up with a
trembling hand.
TAYLOR (CONT’D)
(Whispering)
Risa Kenton. How do I find you?
He closes his eyes as sleep comes.
BEGIN DREAM SEQUENCE:
Genres:
["Fantasy","Mystery","Sci-Fi"]
Ratings
Scene
31 -
Confrontation in the Keep
44 INT. CASTLE LURR CORRIDOR - AFTERNOON 44
Peter pushes open the door to the lower keep and descends the
stairs.
45 INT. CASTLE LURR LOWER KEEP - AFTERNOON 45
When he reaches the last step, we see a GUARD, dressed in
light armor, leaning against the wall, eyes closed.
Peter clears his throat and the guard almost falls over
GUARD
M’lord! Tis indeed an honor!
PETER
You are fortunate I am not my
father. He would have you strapped
to the post for sleeping on duty.
The guard’s eyes fall.
PETER (CONT’D)
I wish to speak with Lord Bryant.
The guard inserts a key into a large brass lock and opens a
prison cell door.
GUARD
I am uncertain he is well enough to
talk, sire.
PETER
What have they done to him?
GUARD
Beaten for crimes against the king,
sire. King Simeon ordered him to be
put to the headsman’s block at
sunrise.
Peter’s neck tenses. He ducks and steps through the small
doorway to the prison cell.
Genres:
["Fantasy","Drama"]
Ratings
Scene
32 -
The Last Revelation
46 INT. CASTLE LURR PRISON CELL - AFTERNOON 46
Lord Bryant lies in a heap against the wall. He is shirtless,
with large bloody strap marks across his back. His face is
also bloody, swollen.
Peter kneels and gently lifts Lord Bryant’s head, which
appears as ghastly as death.
Lord Bryant opens his eyes, then closes them again.
PETER
My lord, what have they done to
you? Are you able to speak?
Lord Bryant opens his eyes once more. His breathing is
ragged.
LORD BRYANT
Peter...you should not be here. If
your father finds you...
PETER
My lord, Sarah told me of horrible
deeds by the King. Her words now
ring true. I will find a way to
free you, but I must know the
truth. All of it, if you are able.
LORD BRYANT
(weakly)
Yes, yes, I understand, son.
There’s nothing you can do. I —
will no doubt — be put to the sword
tonight.
PETER
No...no! You have been like a
father to me. I will not allow it.
Peter helps Lord Bryant into a sitting position, leaning
against the wall. His head lolls to one side.
Peter jumps up, opens the door.
PETER (CONT’D)
Fetch a bucket of water. Now!
Peter tears a piece of cloth from his cape.
The guard returns almost immediately, with a full wooden
bucket of water.
Peter takes the bucket to where Lord Bryant sits. He dips the
cloth into the water and presses it to Lord Bryant’s lips.
Lord Bryant opens his eyes, and smiles feebly. Then he coughs
and blood comes out.
LORD BRYANT
What has Sarah told you?
PETER
That Simeon killed King Robert. And
that Charles was my father.
LORD BRYANT
Sarah spoke the truth, son. She
loves you very much, you know.
Lord Bryant coughs again and more blood spews out. His speech
is slurred.
LORD BRYANT (CONT’D)
Have you seen the Lastlight?
PETER
No, never.
LORD BRYANT
That is unfortunate. But no matter.
I am certain you are the rightful
master.
PETER
Me? Sarah said Simeon is not even
my father. How can I be heir to the
light?
LORD BRYANT
Because Charles was your father,
firstborn and heir to the light and
you are his son!
Peter sits stunned, looking down.
Lord Bryant’s breathing becomes more labored.
LORD BRYANT (CONT’D)
I have no proof to offer — yet, if
you can see and touch the light,
you will feel its power grow strong
— then you will know.
Lord Bryant falls into a stupor once more. Blood drips from
his mouth and his head wounds.
Peter looks up sharply.
PETER
Lord Bryant?
The old man has fallen over. His dead eyes stare back.
Peter cradles Lord Bryant’s head, crying. He removes his cape
and drapes it over Lord Bryant.
PETER (CONT’D)
It cannot be true...yet it must be.
END DREAM SEQUENCE
47 INT. TAYLOR PIERCE’S BEDROOM - NIGHT 47
Taylor continues in restless sleep. Mumbling.
TAYLOR
(Softly)
I’m sorry Sarah...
48 EXT. SOUTHERN MOUNTAINS OF TURKEY - PRESENT DAY 48
FROM ABOVE: Near a River, hidden in a forest with trees so
high they seem to reach the clouds, a small pool of water
sits in the middle of what was once the ancient village of
Luur.
Next to the pool, the air SHIMMERS—the dimensional rift
WIDENS, pulsing like a heartbeat.
END OF EPISODE