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 -
A Dangerous Encounter
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, a low, ominous HUM fills the
air. The air seems to blur as the SUV passes through a
FLICKERING VEIL. The desert vanishes in an instant; they find
themselves in a DENSE FOREST.
The driver slams on the brakes, skids through some brush, and
rolls to a stop, eyes wide with disbelief.
His PARTNER grips the passenger seat, knuckles white. The
tension stretches, as the silence reverberates around them.
DRIVER
What the hell...!
They both stare ahead, mouths agape, the reality of their
surroundings not yet registering.
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 blink at one another, uncertainty etched on their
faces. The Driver grips the steering wheel, fingers 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","Sci-Fi"]
Ratings
Scene
4 -
Disturbance in the Night
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.
Taylor sleeps fitfully. His breathing quickens. He JERKS
awake, hair damp with sweat.
The entire room is bathed in MULTI-COLORED LIGHT. No apparent
source, it simply is there. A LOW HUM vibrates through the
air.
Taylor stares, disoriented. Mutters to himself:
TAYLOR
Not again...
He squeezes his eyes shut. The HUM GROWS LOUDER, morphing
into distant CHANTING. The colored light PULSES.
FADE TO
Genres:
["Thriller","Mystery","Sci-Fi"]
Ratings
Scene
5 -
The Ritual of Luur
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
Taylor looks at his own hands, glowing, shimmering.
Taylor tries to speak, but no sound comes. The orb BURSTS
with blinding light--
BACK TO SCENE
Genres:
["Fantasy","Mystery"]
Ratings
Scene
6 -
Awakening to Dreams
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.
He gets up, paces. Stops at his dresser mirror, but in the
reflection, for a split second, he sees the three moons.
He blinks. They're gone.
The dream wasn't just a dream.
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
7 -
Chaos at the Kingdom of Lurr
8 EXT. KINGDOM OF LURR - DAY 8
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:
["Action","Fantasy"]
Ratings
Scene
8 -
Frustration and Hope
9 INT. PETER’S ROOM - DAY 9
PETER, PRINCE OF LURR (20), sits alone on the large stone
windowsill of his room, ten feet from the floor. A crude,
wooden ladder leans against the sill.
He gazes out at the battle below, his face a mask of
frustration. THROUGH THE WINDOW: Carrion swarm around dead
soldiers on the drawbridge. Peter covers his nose.
A low HUM -- the same from Taylor's room -- lingers in the
air.
Peter turns from the carnage. As he descends the ladder, his
eyes catch the mosaics on the walls.
A MATCH CUT:
FROM the real battle outside TO a mosaic depicting a similar
ancient battle -- a king with flowing red hair leading the
charge.
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.
Peter paces around the room, frustration evident.
Thomas holds out the cape.
THOMAS
Your father waits in the hall. With
Duke Holsten, Lord Marsala... and
Lord Bryant.
Peter grabs Thomas by the shoulders, excited
PETER
Sarah? Is she...
THOMAS
She is here indeed, sire. You can
stop all your worrying.
Peter relaxes his grip on Thomas's shoulders. He sits on the
bed, fingers tracing a MEDALLION around his neck. The HUM
grows slightly louder...
BEGIN FLASHBACK:
Genres:
["Fantasy","Historical","Drama"]
Ratings
Scene
9 -
A Bittersweet Farewell
10 EXT. CASTLE GARDENS - EVENING (FLASHBACK) 10
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. A symbol of
strength in our family. 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.
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:
The SOUND of wind rustling through the castle gardens carries
over to...
Genres:
["Fantasy","Romance","Drama"]
Ratings
Scene
10 -
Tensions in the Great Hall
11 INT. CASTLE LURR CORRIDOR - DAY 11
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.
12 INT. GREAT HALL - DAY 12
A long wooden table dominates the center of the room, covered
with food, casks of wine. Conversation is tense, punctuated
by the FLICKERING of torchlight that casts exaggerated,
dancing shadows on the walls, covered in banners of the noble
houses.
KING SIMEON presides at the head of the table, flanked by
various nobles, 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! 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. Your passion
clouds your judgment. Your
countrymen support their King. And
these men are not exactly
unfamiliar with the strategies of
war. We hold the high ground.
As Lord Bryant's fury bubbles over, he SLAMS his chair back,
shaking a finger defiantly at the king.
LORD BRYANT
High ground? (scoffs) A tomb is
also high ground!
Lord Bryant storms out.
A moment of stunned silence envelops the hall. ALARMED
GLANCES pass among the nobles, and tension thickens in the
air.
Through the thick oak door of the hall, we see the silhouette
of PETER, having just arrived. He presses his ear to the
wood, listening. The raised voices from within are muffled
but clear. His hand goes to the medallion at his chest.
Genres:
["Fantasy","Drama"]
Ratings
Scene
11 -
Shadows of Concern
13 INT. CASTLE LURR CORRIDOR - DAY 13
Peter pulls back farther into the shadows as Lord Bryant
stomps past through the door, his boots echoing like war
drums.
As Bryant passes through the door, Peter steps out.
PETER
Lord Bryant!
Bryant stops, turns. His eyes narrow, then soften. He walks
back, embraces Peter tightly, clapping him on the back.
LORD BRYANT
Peter, look at you. A foot taller,
I’d wager.
They walk a bit.
PETER
I’ve...it’s good to see you. I’ve
missed your guidance. It’s been
almost two years. The last letter I
received from Sarah said things
were getting fearful at Poccmoor.
LORD BRYANT
Mordak’s army sealed the main road.
We traveled at night along the
Muratis River. But Sarah is here
and safe.
Peter nods, eyes darting toward the Great Hall. From within,
MUTTERED ARGUMENTS drift out—a reminder of the tension.
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.
He lowers his voice, leaning in.
But there is a grave matter to
discuss. One that concerns you.
He looks back toward the Great Hall.
PETER
What is it? Tell me.
LORD BRYANT
Not here. Finish your meal, then
find me. Also, Sarah waits in her
chamber, so do not tarry.
Peter forces a smile, gives a short bow. As he turns to
leave, a GUARD rounds the corner, nearly colliding with him.
The guard mutters an apology and scurries off.
Peter hurries back to the Great Hall, the weight of Bryant’s
words hanging in the air.
Genres:
["Fantasy","Drama"]
Ratings
Scene
12 -
Feast Amidst the Storm
14 INT. GREAT HALL - DAY 14
The Great Hall is shadowy, TORCHLIGHT flickering across
anxious faces of NOBLES from across the kingdom. The air is
thick with the smell of roasted meat, that glistens on silver
platters; goblets clink. Hearth-smoke wraps around Peter as
he enters.
The nobles' eyes follow him. The silence is thick.
King Simeon gnaws a rib
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.
PETER (CONT'D)
What 'surprises' could possibly
turn that tide?
A beat. Simeon's smile doesn't reach his eyes. He ignores the
question.
KING SIMEON
Come, sit. We have much to decide.
But first, we enjoy this feast.
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.
His eyes drift to the high window, where the distant SOUND of
BATTLE CRIES echoes faintly.
15 EXT. CASTLE LURR - DAY (INTERCUT) 15
AERIAL SHOT: From above the Castle. The battle rages. 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.
PETER (V.O.)
Father’s surprises. What are we
waiting for? Where is the
Lastlight?
BACK TO PETER - He flinches as a distant THUD shakes the
hall.
Simeon doesn't react.
Genres:
["Fantasy","Medieval","War"]
Ratings
Scene
13 -
The Weight of Leadership
16 INT. GREAT HALL - DAY 16
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
The Lastlight has never failed the
pure in spirit. Its power has
protected our kingdom even when all
seemed lost.
Duke Holsten, a noble, middle-aged, clears his throat. Around
him, other nobles exchange wary glances.
DUKE HOLSTEN
Your Majesty... the Templar Knights
are camped two days' ride north.
Their commander sent word.
Murmurs ripple through the hall. One NOBLE leans forward.
NOBLE
Holsten speaks sense..
Their numbers could reinforce the
eastern wall--
ANOTHER NOBLE
And invite their politics into our
halls? They answer to the High
Temple, not this crown.
Simeon's jaw tightens. His thumb rubs anxiously against his
goblet--a small, telling motion. He waves his hand in
dismissal.
KING SIMEON
The last thing I want is a bunch of
Templar Knights mucking about.
Their zeal blinds them. Sleep well
and safe tonight, my lords. With
the dawning of the morrow’s sun,
Mordak’s threat shall be no more.
The nobles take their leave, some nodding, others shaking
their heads in doubt. Peter looks at his father with
admiration mixed with concern.
Simeon turns to Peter.
KING SIMEON (CONT’D)
My chamber. One hour.
PETER
But Father! Lady Sarah!
A faint echo of Sarah's laughter drifts into Peter's mind --
a MEMORY CUE from their last meeting in the garden. He
blinks, reality wavering for a second.
Simeon chuckles, then becomes serious, stepping closer.
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. As Peter watches him go, the
sound of CLASHING STEEL from the battle outside seeps in,
mixing with the dream's audio.
The Great Hall's walls shimmer, distorting into the sterile
white of Taylor’s room for a split second.
Peter's face blurs slightly at the edges, the stone behind
him wavering like heat haze on pavement.
END OF TAYLOR’S DREAM
Genres:
["Fantasy","Medieval","Adventure"]
Ratings
Scene
14 -
Awakening Regrets
17 INT. TAYLOR PIERCE'S BEDROOM 17
Taylor wakes with a start, sweat glistening on his brow. The
remnants of his dream still linger, a sense of unease etched
on his face. He 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.
18 INT. TAYLOR PIERCE'S BEDROOM - LATER 18
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"]
Ratings
Scene
15 -
Betrayal in the Observation Room
19 INT. SDC OBSERVATION ROOM - MORNING 19
The observation room feels like a sterile cage - cold steel
walls, a single metal table, and unforgiving chairs. A
massive pane of ONE-WAY GLASS dominates the front wall,
turning the space into a clinical viewing chamber. Speakers
are mounted in each corner near the ceiling, silent for now.
TAYLOR sits at the table, rubbing his eyes as if chasing away
sleep's remnants. He sips coffee and examines 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 hesitates, his eyes lingering on Loge's battered face
through the glass.
TAYLOR (CONT’D)
Do we know the extent of the leak?
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.
Bose moves toward the door. Taylor remains seated for a beat,
his eyes catching his own faint reflection in the glass - for
a moment, he sees not himself, but the shadowed figure from
his dreams.
He blinks it away.
Genres:
["Thriller","Military","Drama"]
Ratings
Scene
16 -
The Haunting Demand
20 INT. TAYLOR’S OFFICE - LATE AFTERNOON 20
Taylor sits at his desk, writing in a notebook.
A clock behind him ticks loudly—5:30 PM.
On his desk: a small stack of CDs, a framed photo of ROBIN,
and a half-empty coffee mug. The air feels STILL.
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. The CLOCK’S TICKING stops.
A faint, almost subliminal HISS fills the air, like steam
escaping. Taylor's eyes snap open. He scans the room.
Nothing. He shakes his head, rubs his temples. The ticking
RESUMES.
He reaches for his coffee. As he lifts the mug, 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 that seems to come from
everywhere.
SMOKE
The heir is chosen... but the Light
is lost to time. You must find it.
Bring it to me before my shadow
consumes your world.
SMOKE (CONT’D)
TAYLOR
What?!
Smoky tendrils WRAP around his throat. He claws at them—his
hands pass through NOTHING.
TAYLOR (CONT’D)
(gasping)
The Lastlight...?
The name seems to startle the entity. The tendrils TIGHTEN.
SMOKE
(A deafening roar that shakes the
room)
BRING IT TO ME!
The smoke constricts. Taylor's face flushes red, veins
bulging.
Then, as suddenly as it came, the smoke DISSOLVES, sliding
away from his neck and vanishing into the floorboards.
Taylor lies on the floor, gasping. He touches his throat --
his fingers come away with a faint, gray ASH residue. He rubs
it, but it smears, staining his skin.
He stands, righting his chair. His hands tremble. He tries to
steady them against the desk, but they won't stop. He looks
at the photo of Robin, then grabs the CDs. His fingers
fumble, dropping one. He kneels, picks it up, forces himself
to take a slow, deliberate breath.
He finishes labeling, his handwriting shaky.
He packs his notes, throws the folder in his backpack. At the
door, he pauses, looks back at the spot on the floor. His
hand goes to his throat again.
Genres:
["Fantasy","Thriller","Mystery"]
Ratings
Scene
17 -
Evening Tensions
21 INT. TAYLOR’S QUARTERS - EARLY EVENING 21
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. Not going nuts on
me are you?
Taylor gives a half-hearted chuckle.
TAYLOR
I hope not.
Taylor rubs his neck absently.
TAYLOR (CONT’D)
By the way, smoking’s gonna kill
you.
ERIC
Yeah, if this job doesn’t kill me
first.
END OF ACT 1
ACT 2
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
18 -
Turbulence and Dreams
22 INT. PASSENGER JET - DAY 22
RISA KENTON (23), International model, 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:
23 EXT. CASTLE GARDEN - LATE AFTERNOON (DREAM) 23
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...
A soft chime echoes in the distance, almost like a bell..
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.
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.
JASON
Maybe your dream is trying to show
you something. 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.
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 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. 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
19 -
Tensions on the Coastal Drive
24 INT. CURAÇAO AIRPORT TERMINAL - DAY 24
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
20 -
A Haunting Encounter
25 INT. PRINCESS BEACH HOTEL LOBBY - DAY 25
Shaun hauls the bags into the bustling lobby, full of
colorful decor - CURAÇAO’s version of a five-star hotel.
Risa lingers at a souvenir shop window, mesmerized by her
reflection in a bright yellow sundress. A subtle shiver runs
down her spine; she glances over her shoulder.
A DARK-SKINNED MAN (beaked nose, bushy eyebrows) suddenly
LURCHES from behind a cluster of dresses, his eyes glinting
with an unsettling intensity. Risa STAGGERS back, caught off
guard.
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, Miss Kenton...he
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?
Her hands tremble, and an echo of the dream flashes in her
mind - Peter’s words ringing in her ears. She blinks,
struggling to shake off the memory, her eyes wide with fear.
JASON
Risa, look at me. It’s just a
coincidence.
But Risa shakes her head, the worry evident on her face as
she stares back into the crowd.
Genres:
["Fantasy","Thriller","Mystery"]
Ratings
Scene
21 -
Visions of Doubt and Reunion
26 INT. TAYLOR PIERCE'S BEDROOM 26
Taylor stirs restlessly in his sleep.
DREAM SEQUENCE
27 INT. CASTLE LURR CORRIDOR - AFTERNOON 27
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.
INTERCUT: As Taylor shifts in bed, his brow furrows; his body
tenses as if sensing an unseen threat.
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
22 -
The Weight of Betrayal
28 INT. KING SIMEON’S CHAMBER - AFTERNOON 28
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 and exits. Simeon paces, his boots THUMPING
on the marble floor. He stops before the portrait of King
Robert.
As he speaks, QUICK FLASHES appear - brief, visceral images:
- A hand gripping a dagger, blood dripping onto stone.
- - A man (CHARLES) falling backward, eyes wide.
- A goblet being offered, then knocked away.
Each flash lasts only a fraction of a second.
KING SIMEON (CONT’D)
I can feel your eyes, Father. You
made me strong. You made me
unwilling to compromise.
He traces the frame with a finger—lingering on the painted
crown.
KING SIMEON (CONT’D)
Unlike you, I grow stronger with
each crushing defeat. I could have
taught you.
A menacing grin forms.
KING SIMEON (CONT’D)
But tell you? You, ah, have tasted
my loyalty, have you not?
His fingers brush against the painted lips.
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? 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","Thriller"]
Ratings
Scene
23 -
Secrets in the Garden
29 EXT. CASTLE GARDEN - LATE AFTERNOON 29
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.
(MORE)
PETER (CONT’D)
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
24 -
Awakening in Shadows
30 INT. TAYLOR’S QUARTERS - EARLY MORNING 30
Taylor jolts awake, his breath catching. The remnants of the
dream cling to him - fleeting images of stone corridors and
three moons. He rubs his eyes, chasing the visions away.
LATER
He’s 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.
31 INT. SDC HALLWAY MAIN FLOOR - EARLY MORNING 31
SOUND BRIDGE: The echo of Peter's frantic footsteps from the
garden fades into the sharp CLICK of Taylor's dress shoes on
polished tile.
The hallway is cold, brushed metal. Lights cast long,
skeletal shadows. The air hums with the distant THRUM of
unseen machinery, giving the complex the air of a giant
living mausoleum.
Taylor checks his watch again. It’s quiet for now, before the
day begins in earnest.
He steps into an elevator.
Genres:
["Fantasy","Thriller","Mystery"]
Ratings
Scene
25 -
Access Granted: A Tense Negotiation
32 INT. SDC HALLWAY THIRD FLOOR - EARLY MORNING 32
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. 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
Five minutes, sir. But I doubt
you’ll get much out of him. He’s
pretty messed up.
Genres:
["Thriller","Mystery"]
Ratings
Scene
26 -
The Imposter's Confession
33 INT. SDC HOLDING CELL - EARLY MORNING 33
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 IMPOSTER
I...I’m 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 IMPOSTER
A doctor?
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 imposter.
TAYLOR (CONT’D)
Do you need a doctor?
FRANK IMPOSTER
If I don’t answer one 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’t know, 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
27 -
Descent into Darkness
34 INT. GENERAL BOSE’ OFFICE - EARLY MORNING 34
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
28 -
Chaos on the Beach
35 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
29 -
Impostor in Custody
36 INT. SDC HALLWAY - MORNING 36
Taylor steps out of the elevator on the second floor, turns
left, walks down the hall until he reaches a door marked:
DATA SERVICES.
37 INT. DATA SERVICES - MORNING 37
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 finally looks at him, a skeptical laugh escaping.
ERIC
Find her? What are you talking
about? 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.
A BEAT, thinking, then
ERIC
Well...if you’re serious, I guess I
can ask Cary to see if she can find
out. She’s pretty great at this
stuff.
TAYLOR
Your sister? I don’t know if she
should be involved in this.
ERIC
Involved in what? I’ll just see
what she can find out. 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.
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.
(MORE)
TAYLOR (CONT’D)
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 us. The simplest
explanation possible.
TAYLOR
Come on, Eric.
ERIC
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.
ERIC
What do you mean, he saw something
he couldn’t explain?
TAYLOR
You’ll have to trust me on that for
now. 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. 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 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
30 -
The Mysterious Orb
38 INT. TAYLOR'S BEDROOM - NIGHT 38
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","Supernatural"]
Ratings
Scene
31 -
The Lastlight's Heir
39 EXT. VILLAGE OF LUUR - NIGHT 39
...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.
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.
The man cowers, as if merely saying the name will summon
evil.
VILLAGER (CONT’D)
(Meekly)Mordak opened the 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.
Hamel sweeps his hands across the flames and firelight seems
to bend around his fingers, warping like heat haze.
HAMEL (CONT’D)
He points to the Lastlight. The orb pulses, and Taylor feels
a warmth spreading in his chest.
HAMEL (CONT’D)
The light has pulled you here.
Across threads of what is... and
what might be.
Taylor's eyes dart to the rift. It seems to throb, the air
around it vibrating with a low hum. He takes a step back.
TAYLOR
What is that? What's happening?
Before Hamel can reply, the ground trembles slightly. The
rift WIDENS with a roar, like a sliding door. Taylor
stumbles, mesmerized as another world becomes visible—
Dozens of TROOPERS in black armor burst through, horses
snorting, swords drawn. The villagers SCREAM, clutching each
other. Taylor staggers back, falls to the ground.
Instinctively, he reaches towards the Lastlight.
The ORB PULSES, growing brighter—BRIGHTER—
A WAVE OF ENERGY erupts from the orb, but also from Taylor's
outstretched hand. It blasts outward, disintegrating soldiers
mid-stride into ash.
The villagers fall to their knees. A CHILD clutches her
mother’s leg.
The rift closes back to a single strand. Taylor pulls himself
up, looking at his palms. Energy crackles around his fingers,
fading slowly.
HAMEL
The Lastlight has found it’s true
heir.
TAYLOR
True heir? I...I don’t understand.
Hamel gestures to the pool. The Lastlight's reflection
shimmers, and for a moment, Taylor sees a faint image - a
castle, Sarah’s face.
HAMEL
Mordak must be destroyed. The tear
must be closed. And you...you have
been chosen.
TAYLOR
Mordak. I know that name. I 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.
The Lastlight pulses above the pool, casting shimmering
reflections on the water. Taylor stares at it, his face
flickering between awe and dread.
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","Mystery"]
Ratings
Scene
32 -
The Weight of Lastlight
40 INT. TAYLOR PIERCE'S BEDROOM - NIGHT 40
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.
His breathing is shallow. Through the bathroom door, we see
him splash cold water from the sink onto his face, but when
he looks up at the mirror, his reflection seems to shimmer
for a split second--a ghost of the three-mooned sky from
Luur.
He sits at his desk
CLOSE ON - Taylor's trembling hands as he pulls out a
notebook.
The pen scratches loudly in the silent room.
INSERT ON DIAGRAM - As he draws:
In the center: LASTLIGHT. Lines spider out to: MORDAK;
CASTLE; PETER; KING SIMEON; HAMEL; SARAH.
TAYLOR (V.O.)
Mordak... the rift... Hamel said I
was chosen. Why me? What does Frank
have to do with any of this?
He writes at the bottom: SARAH = GIRL ON TV.
He stares at it. Then, with sudden, frantic energy: FIND
FRANK. FIND THE GIRL.
He leans back, the adrenaline draining. The Lastlight's glow
has completely faded.
Exhausted, he climbs into his bed, pulling the covers up.
He closes his eyes as sleep comes.
BEGIN DREAM SEQUENCE:
Genres:
["Fantasy","Sci-Fi","Mystery"]
Ratings
Scene
33 -
A Grim Revelation
41 INT. CASTLE LURR CORRIDOR - AFTERNOON 41
Peter pushes open the door to the lower keep and descends the
stairs.
42 INT. CASTLE LURR LOWER KEEP - AFTERNOON 42
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
34 -
Echoes of Blood and Heritage
43 INT. CASTLE LURR PRISON CELL - AFTERNOON 43
Lord Bryant lies crumpled against the damp stone wall.
Shirtless, his back is a canvas of bloody welts. Face
swollen, one eye sealed shut with dried blood.
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...
Bryant's eyes flutter open, unfocused. Close again.
Peter’s eyes sweep the cell. Blood stains the stone floor.
Near Bryant’s hand, a medallion, just like Sarah’s.
Bryant's eyes open again. Recognition this time.
LORD BRYANT
Peter...you should not be here. If
your father finds you...
PETER
Sarah told me about the king. That
he killed King Robert. Her words
now ring true.
Peter picks up the medallion. Rubs it between thumb and
forefinger. A memory flashes--Sarah pressing this same
medallion into his hand years ago, whispering "Keep this
safe."
LORD BRYANT
Your mother... loved you fiercely.
Protected you when she couldn't
protect herself.
Peter helps Bryant sit up against the wall. The old man's
head lolls. Peter tears a strip from his own cape, dips it in
a water bucket.
As Peter presses the cloth to Bryant's lips, the old man's
hand closes over Peter's. Weak, but deliberate.
LORD BRYANT (CONT’D)
Charles... your father... heir to
the light.
PETER
The Lastlight?
LORD BRYANT
Have you seen it?
PETER
No, never.
LORD BRYANT
That is unfortunate.
Another coughing fit. More blood. Bryant's breathing grows
shallow, erratic.
LORD BRYANT (CONT’D)
The proof... isn't in papers or
seals. It's in the blood. Your
blood.
(struggling)
When you stand before it... you
will feel the power.
Bryant's body goes slack. His head tilts back against stone.
Eyes fixed on nothing.
Peter looks up sharply.
PETER
Lord Bryant?
The old man has fallen over. His dead eyes stare back.
Peter cradles Bryant’s head. Then his fingers close around
the medallion so tightly the edges bite into his palm.
He lays his cape over Bryant's body. Stands. Looks at the
medallion one last time before slipping it into his tunic.
END DREAM SEQUENCE
44 INT. TAYLOR PIERCE’S BEDROOM - NIGHT 44
Taylor thrashes in his sleep.
TAYLOR
(Mumbling in his sleep)
The blood...the proof is in the
blood.
ON TAYLOR'S BEDSIDE TABLE: His notebook lies open. A crude
drawing of the Lastlight orb. Next to it, a photo of Risa
Kenton.
TAYLOR (CONT’D)
Risa Kenton. Where are you?
His eyes snap open. He stares at the ceiling. Breathing hard.
45 EXT. SOUTHERN MOUNTAINS OF TURKEY - PRESENT DAY 45
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