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THE LASTLIGHT
PILOT EPISODE
TEASER
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
2 -
A Knife in the Market
1 EXT. MARKETPLACE - DAY 1
SUPER: Kovali, Turkey - May 2000
Crowded, traditional outdoor market of colorful stalls and
tents. Turkish music in the background.
Hundreds of people, young and old move constantly through the
market, stopping to buy rugs, copper. Many of the people are
dressed in ARAB garb, robes of different colors. Some of the
women have their heads covered with scarves. But many of the
people also dress in western wear, jeans, tee-shirts, the
women in pants suits.
AIR FORCE LIEUTENANT TAYLOR PIERCE, (25), dressed in jeans
and a button up short-sleeve shirt, stands in the middle of
the market, looking around as if searching for someone. He is
well-built, six-foot, dark short-cropped hair, handsome.
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 are still looking at them from behind. 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. You will die
if you do not do as I say.
Taylor walks through the market, past stalls, and parked
motorcycles with the woman behind him, still pressing the
knife into his back.
He tries to turn around, but the knife presses harder.
The stalls thin out and they reach an alley on the left.
WOMAN (CONT’D)
In here. And do not turn around
again.
Genres:
["Drama","Thriller"]
Ratings
Scene
3 -
Trust Forged in Tension
2 EXT. ALLEY - DAY CONTINUOUS 2
A dirty alley between two concrete block buildings.
Still viewing them both from behind.
The knife suddenly goes up to Taylor’s neck.
WOMAN
I will give you five seconds to
answer my questions. Do you
understand?
Taylor nods. He doesn’t look frightened.
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 here 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.
Her face is marred by a faint scar that runs across her left
cheek.
TAYLOR (CONT’D)
Frank told me your name is Yildiz
Yuziglu.
She glances around nervously.
YILDIZ
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 must
find Frank. Please tell me if you
know where he is. I need to talk to
him urgently.
She eyes him suspiciously.
YILDIZ
How do I know you are who you claim
to be?
Taylor reaches into his back pocket to retrieve his wallet.
TAYLOR
I have my identification
Quick as lightning, the knife is back at his neck.
YILDIZ
Identification can be altered!
Taylor squeezes his eyes shut. He needs to find Frank and he
can’t take this any longer.
He shoots his hand up and rips the knife away, at the same
time turning her around in one swift motion and putting the
knife up to her neck.
She tries to pull away.
TAYLOR
I’m sorry, but I don’t have time
for this. I may have been followed
— I’m not sure. Frank told me once
you were sympathetic to America —
he even asked me to recruit you to
work for American intelligence. I
don’t know what else to tell you. I
have to talk to Frank. Both our
lives could be in danger.
Yildiz says nothing, tries to turn her neck away from the
knife.
TAYLOR (CONT’D)
I just want to find Frank.
He removes the knife from her throat and releases her. She
staggers back, staring at him.
He flips the knife around, holding it blade first, and hands
it back to her.
She snatches the knife, then looks at him long and hard.
Finally, she nods her head.
YILDIZ
I believe you. Come, this way.
TAYLOR
(Under his breath) Maybe I can
finally figure out what the hell is
going on.
Yildiz walks quickly out of the alley, with Taylor following.
END OF TEASER
ACT ONE
FADE IN:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
4 -
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 CONTINUOUS 4
Inside the vehicle are three men: The DRIVER, a burly fellow
wearing mirrored sunglasses dressed in kakis and a white
shirt; the DRIVER’S PARTNER, lean, tough looking, dressed the
same; the PASSENGER in the back seat, dirty shaggy hair that
partially covers his face. He’s dressed in traditional ARAB
baggy pants and a tee-shirt. Both are filthy. His hands are
handcuffed behand his back. He’s not wearing a seatbelt, so
he bounces with every bump the SUV hits.
His face is bloody and badly swollen.
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 mountain, the air seems to shimmer. The
desert fades away and we’re suddenly in a dense forest.
The driver slams on the brakes, skids through some brush,
nearly hitting a tree and comes to a stop. He and his partner
are stunned, their mouths agape.
Then just as quickly as it appeared, 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
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
5 -
Awakening in Color
5 INT. TAYLOR PIERCE’S BEDROOM - EARLY MORNING 5
SUPER: Southeast Defense Complex (SDC)
Typical military bedroom. Stark. Twin bed, dresser, desk,
chair. The desk is covered with stacks of papers and a single
framed photo of a young woman, dark hair, attractive,
smiling.
The entire room is bathed in multi-colored light. No apparent
source, it simply is there.
Taylor is asleep. He suddenly jerks awake and sits up,
breathing hard, his hair damp with sweat.
He stares in awe at the light and colors filling the room.
DREAM/FLASHBACK
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
6 -
The Lastlight's Protection
6 EXT. VILLAGE OF LUUR - NIGHT (DREAM/FLASHBACK) 6
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.
Hovering above the pool is an ORB OF PURE LIGHT, flickering
like a star. Beside it, an OLD MAN stands.
Like a specter, Taylor appears in their midst, beside the
fire. The old man is talking to the crowd gesturing with his
hands.
OLD MAN
The Lastlight will protect us from
the evil of Mordak. You must
believe!
Not far from the pool, the air distorts in a thin, shimmering
LINE OF LIGHT that stretches to the heavens splits the air,
creating a thin portal. Suddenly, the line widens like a
sliding door, enough for hundreds of TROOPERS to burst
through, some on horses, some on foot. They are dressed all
in black.
OLD MAN (CONT’D)
Mordak’s soldiers! Do not fear!
The orb of light grows brighter, larger. The orb emits a wave
of energy, its light expanding outward. The soldiers caught
in the wave are disintegrated in an instant, their forms
dissolving into nothingness.
AERIAL SHOT: We see the village from above, surrounded by
forest in all directions. A DOME OF ENERGY rises up and out
from the light, creating a PROTECTIVE BARRIER around the
village.
BACK TO PRESENT
Genres:
["Sci-Fi","Fantasy"]
Ratings
Scene
7 -
Awakening Frustration
7 INT. TAYLOR PIERCE’S BEDROOM - MORNING - CONTINUOUS 7
Taylor closes his eyes as if to chase the cobwebs away. When
he opens them again, the light is still there, blues,
purples, reds, greens, yellows...like being inside a rainbow
or a prism.
TAYLOR
(whispering)
I’ve brought the dream back with
me.
As he continues to look around the room, with his mouth open,
the light starts to dim, and slowly disappears. His room is
back to normal.
He shakes his head and looks at the clock on his nightstand.
INSERT ON CLOCK: It reads 6:05
He jumps out of bed.
TAYLOR (CONT’D)
Dammit, Eric! You were supposed to
wake me up!
He races to the bathroom. We hear the shower running.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
8 -
A Moment of Reflection
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 the framed photograph of the dark-haired woman.
Runs his fingers across her face.
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 on coffee and reading a
brief marked TOP SECRET.
Standing beside the glass is FOUR-STAR GENERAL HANK BOSE,
Commander of the SDC. He looks like the stereotypical
General. Tall, fit, graying hair, middle 60’s. He is chewing
on an unlit cigar.
THROUGH THE GLASS we see another, small room, also with a
table in the middle, a chair on each side of the table. This
is the INTERROGATION ROOM.
Two men walk into the Interrogation Room. One is an ARMY
MAJOR, the other is CAPTAIN FRANK LOGE, the prisoner from the
SUV. Still dressed in his baggy pants, but with a clean tee-
shirt.
Loge’s face is swollen to the point of disfigurement. His
nose appears broken, his eyes nearly swollen shut. He has a
five-day beard.
Both men sit at the table.
Taylor flips through the brief.
TAYLOR
Looks like Captain Loge put up
quite a fight when he was captured.
Two men in the hospital? Not hard
to believe, given that Frank was a
golden-gloves kickboxer in college.
QUICK FLASH
Taylor and Frank in the gym, sparing. Taylor holding his own,
but Frank throws a high kick and Taylor hits the canvas.
BACK TO SCENE
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. But
there is enough in that young man’s
head to set us back years.
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.
CUT TO:
Genres:
["Military","Thriller"]
Ratings
Scene
10 -
Confronting the Darkness
10 INT. TAYLOR’S OFFICE - LATE AFTERNOON - CONTINUOUS 10
Taylor sits at his desk, writing in a notebook.
CLOSE-IN ON NOTEBOOK. He has written: LASTLIGHT? MORDAK?
Clock behind him shows 5:30. On one side of the desk is a
small stack of CD’s.
He puts down his pen, closes his eyes and leans back in the
chair. He rotates his head to get out the kinks.
Suddenly, he grabs his head with both hands.
TAYLOR
Ahhh!
Beside his desk, a tendril of gray and black smoke rises from
the floor.
Taylor slams his chair back against the wall.
The smoke becomes thicker, larger, nearly touching the
ceiling.
Taylor tries to back away farther, but the wall causes his
chair to topple over. He is now sprawled on the floor as the
smoke-like fingers move toward him, almost reaching out to
touch him.
He flinches and turns away.
Then a hideous face coalesces in the smoke. Burning red eyes,
an open maw. When it speaks, its voice is deep, ominous.
SMOKE
You have been chosen through time,
but the Lastlight is no use to you.
Find the Light and give it to me.
TAYLOR
What?!
Smokey tendrils slip around his neck and begin choking him.
He tries to pull them away, but his hand passes right through
the smoke.
TAYLOR (CONT’D)
No!
VOICE
Bring me the Light!
TAYLOR
You...you’re not real!
The tendrils tighten again. Taylor’s face turns red.
VOICE
Bring me the Light!
The smoke slides away from his neck, and retreats back into
the floor and disappears.
Taylor stares at the floor, rubs his neck. He slides over and
rubs his hands across the floor where the smoke came out.
It’s just a floor now. He stands and picks his chair back up
and sits. Cradles his head. Sweat on his forehead.
TAYLOR
Holy shit, I’ve been drugged.
Somehow, I’ve been drugged. The
dream, and now this.
Taylor feels his neck, then runs out of the office.
Genres:
["Fantasy","Horror","Mystery"]
Ratings
Scene
11 -
Awakening Doubt
11 INT. SDC HALLWAY - CONTINUOUS 11
Taylor races down the hallway to a bathroom.
We follow him in.
12 INT. SDC BATHROOM - CONTINUOUS 12
Taylor goes to the mirror and looks at his neck. There are
slight RED MARKS. He stares in disbelief. He goes back into
the hall.
13 INT. SDC HALLWAY - CONTINUOUS 13
He walks slowly back to his office. Peeks through the door,
then goes in.
He sits back in his chair, pulls it up to the desk, picks up
his pen, takes a deep breath and just sits for several
minutes staring at nothing.
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 shutting
off the light.
Genres:
["Thriller","Mystery"]
Ratings
Scene
12 -
Haunted Hallway
14 INT. SDC HALLWAY EVENING CONTINUOUS 14
Taylor walks down the hallway.
QUICK FLASHES:
- A bright light appearing over the pool of water, troopers
turned to dust.
- Smoke rising from the floor of his office.
- Smokey fingers around his neck.
END QUICK FLASHES
Genres:
["Sci-Fi","Thriller","Mystery"]
Ratings
Scene
13 -
Late Night Frustrations
15 INT. TAYLOR’S QUARTERS - EVENING CONTINUOUS 15
Taylor steps into his quarters. His roommate, LIEUTENANT ERIC
SCOTT, is sprawled on the living room floor, wearing sweat
pants, white tee-shirt, and a Dodger’s baseball cap turned
backwards.
He is watching TV. A cigarette smolders in a half-full
ashtray sitting on the floor beside him. He looks up.
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
Don’t get mad at me. Your friend
Loge had everybody jumping through
hoops. I left by five this morning.
Do you have any idea how much work
is involved in reprogramming the
computers? I was supposed to start
my leave in three days, but General
Bose canceled all leave until the
system is back up running.
Taylor throws his backpack on the couch and walks into the
adjoining kitchen, opens the fridge, pulls out a beer and
pops the top. He takes a long swallow.
TAYLOR
Weirdest day of my life.
ERIC
Got some new TV shows from the
library. Thought you might want to
relax and watch a little.
TAYLOR
My roommate the couch potato.
Eric chuckles and Taylor takes another swig of beer.
TAYLOR (CONT’D)
I’ll pass tonight. I want to get
some sleep. Tomorrow’s gonna be
more of the same.
Taylor starts for his bedroom, then stops and turns around.
TAYLOR (CONT’D)
Did you notice anything different
this morning?
ERIC
Different how?
TAYLOR
I don’t know. Just been a long day.
By the way, smoking’s gonna kill
you.
- Smoke rises all around him, a horrible face appears
- The voice - Bring Me the Light
BACK TO PRESENT
Genres:
["Sci-Fi","Thriller","Mystery"]
Ratings
Scene
15 -
A Moment of Vulnerability
17 INT. TAYLOR’S BEDROOM CONTINUOUS 17
Taylor walks out of the bathroom wearing underwear. He stops
and picks up the picture of ROBIN again.
TAYLOR
God, I miss you.
He crawls into bed, pulls the covers up.
DISSOLVE TO:
DREAM SEQUENCE
SUPER: The Kingdom of Lurr 1192
Genres:
["Drama","Mystery","Fantasy"]
Ratings
Scene
16 -
The Weight of War
18 EXT. KINGDOM OF LURR - DAY 18
FROM ABOVE: We FLY IN over the KINGDOM OF LURR, heading South
following a long road that leads to a large CASTLE.
The castle is built into the side of a mountain. To the East
the MURATIS RIVER winds and flows and to the West, we see the
Village of Lurr. The village is burning.
SERIES OF SHOTS: Bodies litter the fields around the
castle...armies dressed in black and red battle hand-to-hand
with swords...catapults fling burning pitch at the castle.
We FLY IN to the castle and up to a window where a young man
is sitting, staring out at the battle below. This is PETER,
PRINCE OF LURR (20) and son of KING SIMEON. He looks like he
could be Taylor’s twin.
Genres:
["Fantasy","Action","Drama"]
Ratings
Scene
17 -
A Moment of Hope Amidst Despair
19 INT. PETER’S ROOM - DAY CONTINUOUS 19
Peter sits alone on the large stone windowsill of his room
ten feet from the floor. He is tall, fit, with dark hair and
piercing eyes. A crude, wooden ladder leans against the sill.
PETER’S POV: 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 of his room 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 sits on his bed and pulls on his boots.
There is a knock on the door, and it opens. In walks THOMAS
(18), his aid, carrying a BLACK CAPE. Thomas looks just like
Taylor’s roommate, Eric.
THOMAS
Your cape, sire.
PETER
I have no appetite for food
tonight, Thomas. Only for an end to
this madness.
Peter’s voice rises with impatience
PETER (CONT’D)
Mordak’s armies have almost reached
the moat. I have watched them all
day, and they have lost naught in
their quest.
THOMAS
I’m certain the king has a plan.
Peter paces around the room, frustration evident.
PETER
Why does my father do nothing? What
have we done to deserve this
trouble? The village folk fight for
their lives while half of our brave
knights remain safe behind the
castle walls. What does father
plan? The finest knights in the
kingdom trained me; however, this
strategy eludes me. And what of the
Lastlight, Thomas? Where is the
great power now that it is needed
so desperately? 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. I am sure of it.
(MORE)
THOMAS (CONT’D)
Please come now. Your father waits
in the hall. I have heard he will
make an announcement.
PETER
Father is in the hall? Now? He
never enters the hall until all are
seated.
THOMAS
He has been there some time now,
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, sits on the bed again and closes his
eyes.
BEGIN FLASHBACK:
Genres:
["Fantasy","Drama"]
Ratings
Scene
18 -
A Promise 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 in the gardens,
THREE FULL MOONS high in the sky. Their light glistens off
the tears that caress her cheeks. She is hauntingly beautiful
with flowing red hair and green eyes.
Peter stares lamely at his feet, knowing if he looks at her,
he will cry.
Sarah reaches out and presses something cold and round into
his hand.
SARAH
This is the most important thing I
have, Peter.
(MORE)
SARAH (CONT’D)
It is an ancient medallion my
grandmother left to me. I want you
to keep it safe until I return from
Poccmoor.
He gradually raises his head until their eyes met.
PETER’S POV: So exquisite. Her hair, soft, long and colored
as red as the leaves of autumn. Her cheekbones high and firm,
with a strength shining in her eyes - emerald and penetrating
like her father’s. She is unusually tall–barely an inch
shorter than Peter’s six feet.
PETER
I still don’t understand why you
have to go. A battle is no place
for a young woman.
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.
PETER (CONT’D)
One day we will rule Lurr together.
I love you more than life, Sarah.
SARAH
And I love you, Peter. The time
will pass quickly. It is only six
months.
END FLASHBACK
Genres:
["Fantasy","Romance"]
Ratings
Scene
19 -
A Cape of Hope
21 INT. PETER'S ROOM - DAY CONTINUOUS 21
Peter opens his eyes and stands.
PETER
She was only supposed to be gone
six months, Thomas. It has been two
years.
(MORE)
PETER (CONT’D)
If anything had happened, I — I
don’t know what I would have done.
THOMAS
Then I suggest you hurry and keep
her waiting no longer.
PETER
Yes. My appetite has returned.
They both laugh.
PETER (CONT’D)
However, I shall wear the blue cape
this evening. Fetch it now.
THOMAS
(stammering)
But sire, black is the chosen
color. The king will be furious.
PETER
And a black day it has been,
Thomas. Sarah is here now and
tonight I shall wear her favorite
color. Now do as I say and let us
hear no more of this evening’s
color, appropriate as it may be.
Thomas looks down.
THOMAS
Yes, Sire.
Thomas exits the room.
Peter shifts his gaze to the largest MOSAIC in the room.
Dominated by the image of his father, SIMEON THE GREAT, an
enormous man his flowing red hair and beard glinting from the
day’s last beam of light. In one hand, Simeon holds his sword
high, pointing to the heavens. In his other hand, he holds a
STAR.
A crystal star, brighter than the sun. Brighter than anything
the artists could depict. They have simply made it white and
sprinkled the drying enamel with bits of mica and galena to
make it sparkle.
PETER
The Lastlight. Power beyond
imagining.
Peter runs his hands across the mosaic.
PETER (CONT’D)
Will I ever see it, father?
Thomas knocks and walks back in with a BLUE CAPE. Peter turns
and Thomas drapes it over his shoulders.
Peter turns and leaves the room
CUT TO:
Genres:
["Fantasy","Drama"]
Ratings
Scene
20 -
Tensions in the Grand Hall
22 INT. CASTLE LURR CORRIDOR - DAY CONTINUOUS 22
Peter walks down a long corridor lined with portraits of his
father and grandfather. He reaches the end and stops in front
of the entrance to the GRAND HALL.
He stands off to the side, in the shadows and listens.
23 INT. GREAT HALL - CONTINUOUS 23
A long wooden table dominates the center of the room, covered
with food, casks of wine. Conversation is lively.
Around the table sit KING SIMEON at the head of the table,
LORD BRYANT, across from the King, DUKE HOLSTEN, next to Lord
Bryant, LORD MARSALLA, next to him, CAPTAIN SAGUUN, Captain
of the Guard, on one side of the King and various other
members of the royal household and military commanders.
The chair on the other side of the King is empty.
Lord Bryant is standing, practically shouting.
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
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.
Lord Bryant slams his chair back, shakes a finger at the king
and storms out of the hall.
Genres:
["Fantasy","Drama"]
Ratings
Scene
21 -
A Toast Before Battle
24 INT. CASTLE LURR CORRIDOR - CONTINUOUS 24
Peter pulls back farther into the shadows as Lord Bryant
stomps past.
The talk within becomes muffled, so Peter steps out of the
shadows and walks into the Great Hall.
25 INT. GREAT HALL - CONTINUOUS 25
As Peter enters the Hall
KING SIMEON
Where is that confounded boy of
mine?
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 the open seat beside
his father.
KING SIMEON
Ah, Peter. Do not trouble yourself
with Mordak. I have a few surprises
for his minions. Besides, this
wonderful meal is getting …
The King stops and stiffens.
KING SIMEON (CONT’D)
That is not the proper cape! Do you
mock me in front of my guests?
The room becomes silent, as all eyes are on the King. Peter
continues forward, pulls his chair out and takes his seat.
PETER
Were you not the first to enter the
hall, Father?
Simeon flushes for a moment, then softens and beams with a
broad smile.
KING SIMEON
So, I did, son. Spoken like a true
King! Come, sit beside me tonight.
Protocols must be broken in times
of battle. There are many things to
decide. But ere we search our
souls, we must first feed our
bellies.
Simeon raises his goblet of wine and everyone follows suit.
Peter, relieved, picks up his goblet and holds it out as a
servant fills it with wine. He enjoys a long sip, then grabs
a piece of chicken from a platter in front of him and takes a
bite.
DISSOLVE TO:
Genres:
["Fantasy","Drama"]
Ratings
Scene
22 -
Siege of Castle Lurr
26 EXT. CASTLE LURR - CONTINUOUS 26
AERIAL SHOT: From above the Castle. The battle rages in the
fields. The LURRIAN TROOPERS, dressed suits of armor with red
tunics, are fighting mightily, but are being pushed back to
the castle by MORDAK’S SOLDIERS, all in black armor.
CATAPULTS and TREBUCHETS roll forward down the road, almost
to the moat.
Arrows fly from the castle’s battlements, but seem to do
little to stop Mordak’s advance.
CUT BACK TO:
Genres:
["Action","War","Fantasy"]
Ratings
Scene
23 -
The Lastlight's Promise
27 INT. GREAT HALL - DAY CONTINUOUS 27
With the meal finished, and the table cleared, Simeon stands
and raises his goblet once more.
KING SIMEON
You have all seen the outline of my
plan. Had Lord Bryant’s army held
Mordak at Poccmoor...but no matter.
Simeon takes a drink of wine.
KING SIMEON (CONT’D)
History is for learning, not for
grieving. We must deal with the
problem at hand.
(MORE)
KING SIMEON (CONT’D)
Mordak sends his minions once
again, and his methods are insanely
predictable. They will no doubt
attack at dawn; the entire army
directed at the bridge and
gatehouse.
Simeon turns to the Captain of the Guard.
KING SIMEON (CONT’D)
Ah, Captain Saguun, would you care
to continue?
The tall, slender captain stands. Peter leans forward, eager
to hear what the captain says.
CAPTAIN SAGUUN
With pleasure, sire. As the King
has said, Mordak’s troopers will no
doubt attempt to cross the bridge.
My men have secured a rope to the
primary bridge supports and
connected the rope to a hoisting
device in the lower dungeon. When
Mordak’s men have crossed, the
hoist will bring the bridge down,
blocking their escape. With our
troopers and archers we shall crush
Mordak’s assault.
The captain nods to the King then sits.
Peter smiles at what sounds like a wonderful plan.
KING SIMEON
The Lastlight has never failed the
pure in spirit.
Simeon’s mention of the Lastlight perks Peter’s ears.
KING SIMEON (CONT’D)
Put away your thoughts of retreat.
The Lastlight will never allow Lurr
to be taken. The Creator ordained
the Kingdom of Lurr, and placed the
Lastlight in our keep, as a
protection against the evil of
Mordak.
Duke Holsten clears his throat.
DUKE HOLSTEN
I have heard the Templar Knights
are nearby. Perhaps we could enlist
their aid.
KING SIMEON
Templar Knights? From whom did you
hear this news?
LORD MARSALLA
Lord Bryant told of meeting a
legion of the Templars on the road
from Poccmoor.
KING SIMEON
Then they were heading away from
Lurr.
DUKE HOLSTEN
That’s true; however, I am sure a
rider could catch them in a day.
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. They
are a strange lot indeed, what with
their rules of chastity and ritual.
No, the Lastlight will protect
Lurr. 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. He’s wanted to see the Lastlight all
his life.
PETER
The Light? You want to show it to
me now? Will it not destroy me if I
look upon it before it is passed to
me?
Simeon clasps his son’s shoulder
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 Kings strides from the room, leaving Peter there, a bit
stunned at the prospect of seeing the Lastlight.
Peter strolls out of the Great Hall, and ambles down the
corridor, stopping to look at the portrait of his
grandfather, ROBERT THE GREAT.
Tapestries and mosaics fill these walls as well. Mount Lurr
and the castle. More battles.
PETER
Grandfather, I miss your wisdom. I
am to see the Lastlight soon. Is it
so powerful as to destroy the
bridge? Perhaps now the King will
allow me to join the battle. I have
been of age for some time, but he
refuses. Perhaps today...
He continues to walk down the deserted corridor. As he traces
his fingers along the mosaic of the castle, he suddenly
grimaces and puts a hand to his head.
Pieces of the tiled pictures begin to move, becoming blurry.
Peter stares in confusion.
He grabs at the wall for support but falls on his ass. The
mosaics turn dark, and the castle disappears. In its place, a
MOUNTAIN in a desert, and a STRANGE CONTRAPTION, with
spinning blades, flies like a silver maple seed, and then
disappears behind the mountain.
The mosaics shift again, and he is gazing into a room with a
man sitting on a bed. He has no shirt and looks like...just
like Peter.
The mosaics flash brightly, as if lit from within by a
thousand suns. Then the light dims, and the mosaics become
dark and cloudy, creating an ominous visage.
The semblance of a face forms with a huge open mouth that
looks like a TUNNEL TO HELL. The entity then speaks, causing
Peter to lurch away in pain.
MORDAK
You shall never possess the Light.
Peter turns away from the hideous form, away from the wall.
After a moment, he looks again, but the wall is back to
normal.
He remains on the floor for several minutes, lost in
confusion and fear. He hears footsteps and looks up to see a
SENTRY rushing toward him.
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.
He continues down the corridor. As he rounds a corner,
SARAH (O.S.)
Peter, is it you?
He looks up to see the love of his life step from the
shadows.
Orange and yellow from the flames of the reed-torch on the
wall play across her face, reflecting her beauty.
Peter’s eyes go wide, as she walks to him.
SARAH (CONT’D)
I see you still wear the medallion.
Peter grabs her at the waist and swings her around in
circles.
PETER
Sarah! Oh Sarah!
SARAH
You’re making me dizzy, Peter.
PETER
Just the sight of you makes me
dizzy.
He removes the medallion from around his neck and places it
in her hand.
PETER (CONT’D)
I’ve kept it safe, as promised.
SARAH
Oh Peter. Precious Peter. It has
been so long. And my how you have
grown.
Her hair cascades around her shoulders, down her back. Her
features are perfect, her skin like porcelain.
PETER
I did not know if I would see you
again. Things have gotten so
fearful.
She takes his arm and leads him down the corridor.
SARAH
Yes. Mordak was clever. Father
discovered much too late that
Poccmoor was naught but a sinister
diversion. All the while, Mordak
gathered an even larger horde and
moved south, intent on capturing
Lurr itself. And from what I have
seen, and the sounds I hear outside
the castle walls, he is getting
very close.
PETER
But Sarah, there is no need to
worry. My father has said so. He
says the Lastlight will protect us
as it always has. All that matters
is you are here.
SARAH
I hope you are right, my love. As
you have said, things are fearful.
And there is a grave issue we must
discuss. May we go to the garden
where it is quiet?
CUT TO:
Genres:
["Fantasy","Romance"]
Ratings
Scene
25 -
The Tyrant's Reckoning
29 INT. KING SIMEON’S CHAMBER - AFTERNOON CONTINUOUS 29
Simeon throws open his chamber door, then slams it so hard,
bits of masonry dust fly from the iron hinges.
A large oak bed covered by a royal crimson spread dominates
the chamber. A round table made from the finest mahogany,
with a finish like glass, sits in the corner.
Simeon pulls off his jewel-encrusted crown and places it on a
gold pedestal that sits on the center of the table.
A large wooden door is built into the opposite wall,
conspicuously missing a knob.
He crosses the room and pulls the wine cabinet doors apart,
retrieving his favorite bottle, and after pouring a hefty
amount, sits on the edge of his bed, gently rolling the
sweet, red liquid around in the glass.
His face betrays the weight of his age, the weight of
authority, and the weight of remorse.
Tasseled ropes hang from recesses in the ceiling, on each
side of the bed. One is purple, the other royal blue.
Simeon walks over and pulls the blue rope. A deep gong can be
heard.
Within a minute, a servant opens the door.
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
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.
KING SIMEON (CONT’D)
Unlike you, however, I grow
stronger with age, and wiser with
each crushing defeat. I could have
taught you. Your loyalty was to the
creator, and to your weak, devoted
followers. Then again, I also need
followers to carry out my bidding.
But here is the secret, which you
must keep to yourself — I am loyal
only to me.
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 last token drink, Simeon? Why
not?
Simeon pours a glass of wine and hands it to Lord Bryant.
KING SIMEON
Now Cedrith, we have known each
other since we were boys. Is that
any way to talk? I shan’t be your
murderer - I shall be your
redeemer, as I am to all of those
who dishonor themselves.
Lord Bryant slings the glass against the wall. The glass
shatters and red liquid flows down to the floor.
LORD BRYANT
DISHONOR THEMSELVES! You are an
evil, self-righteous child who
never grew up. Why — why, you still
play a game, Simeon - a sick and
ugly game - and the good people of
this kingdom have suffered for it.
Yes, you may be my redeemer, for I
have dishonored myself. I should
have killed you years ago, before
you destroyed everything good in
Lurr. I should have killed you,
just as you killed your own father.
KING SIMEON
Oh, Cedrith, your fate truly has
been determined now.
LORD BRYANT
Good then. Let it be, for Mordak
will have our heads soon enough!
KING SIMEON
Ha! That is where you are so wrong.
His confidence will defeat him as
surely as yours defeated you.
LORD BRYANT
Perhaps, Simeon. Nevertheless,
there is a subtle, yet important
point in that statement; one you
have known as well as I, yet never
admitted. Mordak’s confidence may
defeat him if you act quickly. But
the Lastlight will not help you,
for your brother was meant to wield
it, not you.
KING SIMEON
Charles was stupid and weak! You
know he could never have led the
great battles. Mordak would have
destroyed us long ago. And I alone
had the foresight to see.
LORD BRYANT
And is that why you sent him away?
Or did you kill him as well?
KING SIMEON
What does it matter? 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!
A loud knock at the door and two guards stride in.
KING SIMEON (CONT’D)
You are such a fool, Cedrith. You
may have lived, had your tongue not
been so loose. You always thought
you were the smart one.
Simeon waves to the guards
KING SIMEON (CONT’D)
Place him in the prison. I have
learned my most faithful servant
has plotted to overthrow me.
The guards take Lord Bryant by both arms and lead him toward
the door.
LORD BRYANT
Your time will come soon, Simeon. I
have no doubt. And Peter will know
the truth about his father. I have
seen to that.
Simeon sits back on his bed. Another obstacle dealt with.
DISSOLVE TO:
Genres:
["Fantasy","Drama"]
Ratings
Scene
26 -
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 and the moons are low in the sky.
SARAH
The three sisters are full tonight.
She slides her arm from Peter’s and goes to the nearest rose
bush and pulls a blossom to her face, inhaling deeply.
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.
SARAH
We were children then. I feel very
much a woman now.
PETER
Indeed you are, my love. Yet I wish
we could have grown together these
past two years.
Peter turns her around. The look longingly at each other,
then Peter pulls her face to his and kisses her long and
passionately.
Later, they repose on the stone bench, Peter stroking her
hair.
SARAH
I am sorry that I have been away so
long. The battles were fierce and
after father quelled the attacks,
there was much to do. I could not
abandon him.
PETER
I missed you terribly, but I do
understand. Lord Bryant is one of
the most honorable men I know.
SARAH
Do you know why I love this spot so
well?
Peter chuckles
PETER
No, tell me.
SARAH
Because you can barely hear the
battle beyond the walls. When the
fighting became fierce at Poccmoor,
I needed a place — a place of
peace, with none of the terrible
sounds of death. But there, I found
solace only in my room. And
sometimes I would press a pillow to
my ears, and still the sound bled
through. 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. I beg you to forget
those things.
(MORE)
PETER (CONT’D)
This thrust by Mordak will end in
defeat, as it always does. Father
is not so old to have spent all his
tricks. Why, I have been training
with our knights. If need arises, I
shall push him back myself!
SARAH
Stop it, Peter! Stop it! Now you
sound like all the others.
Sarah lifts his hands from around her, pushes them away, and
stands.
SARAH (CONT’D)
You have truly grown in stature,
Peter, Prince of Lurr, 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 gazes at him earnestly, a pained expression on her
face. A tear falls from one eye.
PETER (CONT’D)
Sarah, tell me, please. I must know
if there is a traitor among us.
SARAH
You know my father well. During
this past year, he grew more and
more bitter. He spoke to me in
secret, Peter, early in the spring.
I refused to believe him at first.
Peter pulls her to him. He wipes away the tear.
PETER
Sarah. You are quivering. Sit down
and tell me plain what weighs so
heavy on your heart. You forget I
will be King one day. I must surely
learn to accept a bit of bad news.
Sarah looks away
SARAH
It is King Simeon, my love. You
have been deceived by the King.
Peter’s hands drop away
PETER
What are you saying? Deceived by my
father?
SARAH
He is not your father. Charles was
your father.
She turns her face away again.
Peter stares at her for a long moment, unable to speak. If
true, his whole life just became a lie.
PETER
I fear it is you who has been
tricked. As you said, Lord Bryant
grew bitter. And rightly so, that
the King sent him so far from Lurr.
SARAH
No, Peter. Listen to me. I have
wrenched my soul in grief over this
matter. My father spoke to me with
concern, not bitterness. And true,
father is indeed at odds with the
King, but his quarrel has naught to
do with Poccmoor. It is with
wrongful, heinous deeds begun long
ago.
Perspiration forms on Peter’s forehead. He is stunned, but
refuses to believe what she says. Then he speaks to her
coolly.
PETER
I will give you pardon to tell me
all you know. I love you dearly.
But I beg of you, tell me the
truth.
SARAH
Very well, m’lord. But you would do
well to speak to my father when we
are finished, for he did not tell
me all. Simeon’s brother, Charles,
was the elder, as you know, and
rightful heir to the throne of
Lurr.
PETER
But Charles was a vile man. He
killed my grandfather and was
banished from the kingdom long ago.
SARAH
Charles did not kill King Robert,
Peter. Simeon was responsible. I do
not know all the details, but
Simeon found a way to blame Charles
for King Robert’s death and forced
him to leave the kingdom.
Peter is in shock. Everything he has ever believed about his
father is being shattered.
SARAH (CONT’D)
From their childhood, Simeon
dominated Charles in every way, for
Charles was frail, and devout in
his faith; not given to fights.
She reaches and squeezes his hand.
SARAH (CONT’D)
Just as you long for the Lastlight,
so did Simeon. It became an
obsession, no matter the cost. When
Simeon’s wife, Peruit, could have
no children, Simeon became furious.
CLOSE-IN on Peter’s face. His face is red.
PETER
I don’t understand.
SARAH
Simeon ordered his wife to be
placed in the tower, declaring
demons prevented her from bearing
him a son. One week later, a guard
found her dead in her chamber.
Peter continues to stare blankly.
SARAH (CONT’D)
My father believes Simeon poisoned
King Robert and blamed Charles.
Simeon forced Charles to give up
his child, which was you my love,
then sent Charles far away across
the sea — or worse.
Suddenly, sounds of footsteps running. They turn and see
Thomas run past them, stop and run back to where they are
sitting. He is out of breath.
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, and cries
uncontrollably.
PETER
Sarah, I’m certain it is not what
it seems. Please, let me think for
a moment. Thomas, what exactly did
you see?
THOMAS
Only that, m’lord. There were two
guards with swords drawn, and Lord
Bryant.
(MORE)
THOMAS (CONT’D)
I followed them to the lower keep
entrance, and then I ran to find
you.
Sarah raises her red, swollen eyes to him.
SARAH
Save him, Peter, I beg of you. He
has done nothing wrong except to
recognize the truth. Go to him.
Before it is too late. Make him
tell you everything. You must know
the truth.
PETER
No harm shall come to your father.
I will go now and find out what is
happening with Lord Bryant. 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!
BACK TO PRESENT
Taylor continues to stir restlessly in his sleep
END OF ACT TWO
ACT THREE
Genres:
["Fantasy","Romance","Drama"]
Ratings
Scene
27 -
Waiting in Silence
31 INT. SDC OBSERVATION ROOM - NEXT DAY 31
Taylor sits alone in the observation room. The interrogation
of Captain Frank Loge continues on the other side of the
glass.
He is barely listening, tapping his pen. He keeps glancing at
the clock on the wall.
QUICK FLASHES:
- INSERT ON CLOCK: 9:00
- On Taylor, sipping coffee
- INSERT ON CLOCK: 12:00
- On Taylor, stretching, walking around the room
- INSERT ON CLOCK: 4:00
END QUICK FLASHES
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
Reflections of Abandonment
32 INT. TAYLOR'S QUARTERS - AFTERNOON 32
Back in his quarters, Taylor has changed out of his work
clothes and sits on the couch sipping a beer. Eric is
sprawled out on the floor watching TV as usual, drinking a
beer and smoking a cigarette.
ERIC
Have you heard from Robin?
TAYLOR
That’s a joke. With a new rich
boyfriend and me stuck here for
another 18 months? I mean, I gave
her three years of my life.
ERIC
Sorry, I thought maybe you got a
call or a letter or something.
TAYLOR
Nope, not a word. It’s just one of
those things.
He takes another sip of beer.
TAYLOR (CONT’D)
I know I need to put it out of my
mind. I haven’t been sleeping very
well 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 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 hits REWIND.
TAYLOR (CONT’D)
OK STOP!
Taylor gets up and walks over to the TV.
TAYLOR’S POV: The screen is paused on a cosmetics commercial.
A beautiful woman’s face fills the screen. She is flawless,
with long auburn hair. She looks exactly like Sarah from his
dream.
Taylor touches the screen.
ERIC
She’s a beauty, all right.
TAYLOR
I know you.
QUICK FLASH:
- A garden bench. Sarah. A kiss.
BACK TO PRESENT
ERIC
You mean you’d like to know her.
TAYLOR
No...I mean...this is crazy, but
she’s been in my dreams.
ERIC
Seriously? She’s a famous model.
You’ve probably just seen her on
TV, that’s all. Uh, can we get back
to our discussion now? What do you
think will happen to Frank?
TAYLOR
What?
Taylor continues to stare at the screen. Then, he breaks away
and walks back and sits on the couch.
TAYLOR (CONT’D)
Oh, I was saying if Bose had his
way, Frank would be shot at
daybreak.
ERIC
Watch what you say. When have you
ever known Bose not to have his
way?
TAYLOR
Yeah, well, he’s tough, no doubt
about that. Didn’t say one word
during the interview.
ERIC
How did Frank look?
TAYLOR
Different. I don’t know. It just
didn’t — didn’t feel right. But his
nose was broken; so swollen it made
his entire face black and blue. I
think I’ll try to see him in the
morning. Don’t let me oversleep
again, ok?
ERIC
No problem. You think they’ll let
you see him?
TAYLOR
Don’t see why not. I am the Intel
Officer.
Taylor makes his way to his bedroom, then walks back out.
TAYLOR (CONT’D)
You know — one other weird thing.
The security team spotted Frank
twice in Kovali, but that’s four
hundred miles northeast of here.
How did he get all the way up
there, then down to Gaziantep where
he was captured?
ERIC
Is this a trick question? He
probably caught a ride. Four
hundred miles isn’t that far. Frank
always plotted everything out to
the last detail.
Taylor points his finger.
TAYLOR
Precisely. Frank had a plan for
everything. If he went to Kovali,
then he had a good reason, and it’s
bugging me. Something about
Kovali...can’t quite put my finger
on it.
Eric throws up his hands.
ERIC
Whoa. Slow down. You’ve been
working in Intel way too long.
TAYLOR
Maybe. Say, do me a favor. Think
you can find a picture on the
internet of that girl and print it
out? And find out her name?
Eric looks at him crossways.
ERIC
You ok? You’re not going nuts on
me, are you?
TAYLOR
It’s strange, but I’d swear I’ve
met her before.
Genres:
["Drama","Mystery"]
Ratings
Scene
29 -
Through the Veil of Memories
33 INT. TAYLOR'S BEDROOM LATE NIGHT (CONTINUOUS) 33
Taylor crawls into bed and pulls the covers up.
TAYLOR’S POV: He looks over at the desk with the photo of
Robin.
TAYLOR
Gotta throw that out tomorrow. Or
the next day.
QUICK FLASHES:
- He touches the face of the girl on the TV screen
- He is standing in the castle garden with Sarah
END QUICK FLASHES
Taylor’s eyes are getting heavy when he opens them wide. He
throws the covers off, and stares at a pinprick of light that
has formed across the room.
TAYLOR (CONT’D)
Not again!
The light slowly grows larger and brighter. It becomes an
orb, as big as a beach ball. Rays of brilliance project out
from the center, like the biblical star of Bethlehem. It
hovers three or four feet off the floor, so bright the room
all but disappears.
Taylor slowly gets out of bed and absently grabs his trousers
and puts them on.
He pads across the room and stands in front of the orb. It is
immensely bright, but he doesn’t seem bothered by it.
He reaches out to touch it and steps through a veil...
DISSOLVE TO:
Genres:
["Fantasy","Sci-Fi"]
Ratings
Scene
30 -
A Night in Luur
34 EXT. VILLAGE OF LUUR - NIGHT 34
...and into the middle of a small village. The air is warm, a
slight breeze blowing. He gazes into the sky and sees three
moons shining brightly, one with a slight ring around it.
TAYLOR
(mumbling)
The three sisters...
A pool of water fills the center of the village. Hovering
over the pool is the LASTLIGHT.
Thatched huts surround the village square in a half circle,
and a small fire burns brightly near the pool. One hut,
slightly larger than the rest, stands at the end of the
village.
Taylor wanders over and pulls back the animal skin door, and
steps inside.
Genres:
["Fantasy","Adventure"]
Ratings
Scene
31 -
The Lastlight's Revelation
35 INT. HAMEL'S HUT - NIGHT CONTINUOUS 35
The elder Hamel sits on the dirt floor, a woolen shawl around
his shoulders, his eyes closed, his hands extended out and
palms facing up. Taylor recognizes him immediately.
TAYLOR
You’re Hamel. The elder. Is this
another dream?
Hamel looks up at Taylor.
HAMEL
Not a dream. A displacement,
perhaps. The Lastlight has reached
through time and space to pull your
essence here.
TAYLOR
My essence?
HAMEL
You are not from this world. Not
from this time. Strange clothing.
TAYLOR
From the future, I think. From a
planet called Earth. How can this
be happening?
Hamel chuckles, then stands
HAMEL
This is Earth, my friend. But not
your Earth. And the future…there is
no past or present, you know. There
is only the future.
He motions Taylor to sit on his straw bed.
HAMEL (CONT’D)
It is good you are here. The
Lastlight is truly powerful. But I
do not know how long it will grant
your presence, and we have much to
discuss.
TAYLOR
This is not my Earth? What does
that mean? Another universe? Is
that even possible?
HAMEL
Universe, dimension. They are
infinite. But for some reason, our
worlds have become
intertwined…bound to one another.
TAYLOR
You mentioned the Lastlight. I have
heard that name in my dreams.
HAMEL
Yes. It has many names, but
Lastlight will suffice.
TAYLOR
I have so many questions. How did I
get here? Why am I here? How can I
be in another universe? What is
this Lastlight? What does it do?
And why has it chosen me? And what
is Mordak?
Hamel smiles.
HAMEL
The Lastlight has but one purpose —
to protect Luur and its descendants
from Mordak. A crack has opened
between our worlds, and it must be
closed. But first, there are things
you should know.
Hamel tries to stand, but it is difficult. Taylor helps him
up.
HAMEL (CONT’D)
This body is not long for the
world, I’m afraid.
Hamel walks to the door, pulls back the flap and steps
outside, with Taylor following.
Genres:
["Fantasy","Sci-Fi"]
Ratings
Scene
32 -
The Awakening of Destiny
36 EXT. VILLAGE OF LUUR - NIGHT CONTINUOUS 36
HAMEL
How do I explain Mordak, an evil
that spans the planes of the
universe? Mordak’s power lies in
the ability to taint and possess
weak minds. And in the ability to
manipulate certain aspects of
nature.
TAYLOR
I…I experienced his presence. And
he spoke to me. He told me to bring
him the Light.
HAMEL
Much remains cloudy, but I shall
tell you what I know.
There must always be a balance in
the universe. Right and wrong; good
and evil. Mordak is the evil,
spawned at the time of creation.
TAYLOR
We have a similar concept in my
time.
HAMEL
Mordak is not a concept. He is
real, invading the minds of men to
horrible ends.
TAYLOR
Yes, my experience also felt as
real as sitting here with you
Hamel lays a hand on Taylor’s shoulder
HAMEL
You must resist at all costs.
TAYLOR
But what is the Lastlight? And why
does Mordak want it so badly?
They walk to the pool and sit on one of the logs
HAMEL
This village - the Village of Luur,
is a magical place. Our people are
the origins of creation in our
world.
(MORE)
HAMEL (CONT’D)
Placed in this sacred village and
hidden from Mordak. Until one day
the veil was lifted and he sent his
army to destroy us.
TAYLOR
What happened?
HAMEL
The Lastlight appeared before us,
just as you see it now. The very
heart of the Creator, able to
shield Luur from the eyes of evil.
And now it seems, also able to bend
time and space. And perhaps repair
what has been broken.
Taylor reaches down and taps the log with his knuckle
TAYLOR
Why me?
HAMEL
I suspect some treachery long
before your time, caused the
Lastlight to seek you out, as
rightful heir to lead the kingdom
and repair the crack in our worlds.
As for Mordak…well, he desires the
Lastlight above all else, because
it is a kernel of the divine.
Mordak believes if he can possess
it, he will have unlimited power.
Taylor is bewildered, staring at the Lastlight.
TAYLOR
Tell me more about this rift in
space and time.
HAMEL
Yes, yes. Most important. When
Mordak awoke, the fiercest battle
yet ensued between Mordak and the
Lastlight. I saw in my visions,
energy so powerful emanating from
this battle, it tore through time
and space and tethered our worlds
to each other. But it also allowed
Mordak to enter your world. Since
then, the breach has become larger.
Eventually, it may destroy our two
worlds.
TAYLOR
I still don’t understand what I am
supposed to do.
HAMEL
The Lastlight now exists in both
worlds, and so does Mordak. You
must find it and use its power to
destroy the evil once and for all
and close the tear in our universe.
Taylor stands, runs his hands through his hair.
TAYLOR
How can I do that? I wouldn’t know
where to start. I felt the evil
that flowed from Mordak when he
touched me. I felt the temptation
he planted in my mind. It felt very
real. I still feel it. I…I can’t
fight him.
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 POV: He looks at his hands and they start to fade.
He closes his eyes a moment...
DISSOLVE TO:
Genres:
["Fantasy","Adventure","Mystery"]
Ratings
Scene
33 -
Awakening Confusion
37 INT. TAYLOR PIERCE'S BEDROOM - NIGHT CONTINUOUS 37
Taylor opens his eyes and he is back in his bedroom, standing
in front of his desk.
TAYLOR
That wasn’t a dream. What’s
happening to me?
He climbs into his bed, pulls the covers up.
DISSOLVE TO:
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, auburn hair flops in her
face. Even asleep, she is clearly beautiful, and looks just
like SARAH from Taylor’s dreams.
DREAM SEQUENCE:
Genres:
["Fantasy","Sci-Fi","Drama"]
Ratings
Scene
34 -
A Plea for Protection
39 EXT. CASTLE GARDEN - LATE AFTERNOON 39
SARAH
Save him, Peter, I beg of you. He
has done nothing wrong except to
recognize the truth. Go to him.
Before it is too late. Make him
tell you everything. You must know
the truth.
PETER
No harm shall come to your father.
I will go now and find out what is
happening with Lord Bryant. 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!
BACK TO PRESENT
The loudspeaker clicks with static and brings Risa out of her
sleep.
PILOT (V.O.)
Thank you for flying Antillean
Airlines. We are starting our
descent to Curaçao and should be on
the ground in another ten minutes.
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
What did you say?
RISA
Oh, just something in my dream.
JASON
Thinking about that vacation again?
Maybe we can wrap the photoshoot up
early and take an extra day, just
lying around on the beach.
RISA
You’re such a sweetheart.
Jason blushes.
Sitting behind them are SHAUN (30’s), big, bald, muscular,
Risa’s bodyguard, and AMBER, (40’s) Risa’s assistant and
makeup artist.
RISA (CONT’D)
And yes, I am thinking about a
vacation. Is it that obvious?
JASON
Well, first of all, I am a
sweetheart. Second, 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.
The plane touches down.
Genres:
["Drama","Romance"]
Ratings
Scene
35 -
Tensions on the Road
40 INT. CURAÇAO AIRPORT TERMINAL - DAY (CONTINUOUS) 40
Risa and her entourage walk through the terminal and out to a
waiting town car.
JASON
Look, the schedule has been hectic.
You’re the most famous model in the
world. Hard to take time off. But
you aren’t eating well and I don’t
think you’re sleeping well either.
Your eyes look tired.
RISA
Just get me to the hotel and get me
a rum punch.
They all pile into the car. It starts off. There are rolling
hills in the distance, but it’s mostly flat. Palm trees dot
the scenery.
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 points to a large house.
RISA
What’s the mansion on the hill?
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
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.
Sarah reaches out and presses something cold and round into
Peter’s hand.
SARAH
This is the most important thing I
have, Peter. It is an ancient
medallion my grandmother left to
me. I want you to keep it safe
until I return from Poccmoor.
BACK TO PRESENT
RISA
(under her breath)
He said Poccmoor.
Genres:
["Fantasy","Romance"]
Ratings
Scene
37 -
A Warning in the Lobby
42 INT. PRINCESS BEACH HOTEL LOBBY - DAY CONTINUOUS 42
Shaun hauls the bags into the lobby. Risa strolls over and
looks in the window of a souvenir shop. She’s looking at a
yellow sundress when suddenly a hideous-looking man, dark-
skinned with a horrible beaked nose, bushy eyebrows, and a
long mustache, lurches out from behind the dress causing Risa
to stagger back.
The man slowly comes out of the shop and approaches her.
MAN
You are Miss Kenton.
Before Risa can answer, Shaun steps in front of her. Jason
takes over.
JASON
Who are you? What do you want?
The man glares at Jason, then looks back at Risa
MAN
Your prince is coming. You must
help him find the Lastlight. But
Mordak also searches, and he must
never possess the Light. I have
been sent...
Shaun shoves the man to the floor and wraps his arms around
Risa and leads her away to the elevator.
SHAUN
Very sorry, ma’am. I didn’t see
him.
Risa is shaking, staring back at the man who is now gone.
RISA
How is that possible, Jason?
JASON
Just some crazy person. Probably
wanting an autograph. What was he
talking about a prince and some
light?
Risa clutches Jason’s arm.
RISA
My dream, Jason. How can he know
about my dream?
DISSOLVE TO:
43 EXT. SOUTHERN MOUNTAINS OF TURKEY - DAY 43
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, and the dimensional rift grows wider.