Stevie1710

Meteor Girl: Origins Issue One, Written By Steven Robert Pearce

Page One, Four Panel Layout.

Panel: one
EXT. SPACE

Wide Shot. Space. A small spark of light has appeared off in the distance.

Panel: two
Same shot as before but a yellow streak of fantastic light has zoomed out of the spark towards the reader.

Panel: three
EXT. EARTH

Establishing Shot. The streak of light has zoomed over the moon towards the Earth.

CAP:
Earth… Home to a race called Humans

Panel: four
EXT. EARTH – UPPER ATMOSPHERE

Medium shot. A meteor, wrapped in flames, burns upon entering the upper atmosphere.

Page Two, Splash Page layout.

Splash Page
EXT. DOCKS, SEATTLE – NIGHT

In an alleyway between two warehouses, looking out over LAKE WASHINGTON toward the cityscape of Seattle, a bum in worn and filth-ridden clothes sleeps against the wall with a bottle of bourbon in his hand.
The yellow streaking meteor is small, zooming over the city in the background. It is heading for the lake.

Page Three, Seven Panel layout.

Panel: one
Medium Shot. The meteor crashes into the lake with a mighty splash.

Panel: two
Medium Shot. The bum wakes up startled.

BUM:
Wha?! Whothere?!
Panel: three
Medium Shot. The bum looks around, wondering what had happened.

BUM:
Whothere?!

Panel: four
Medium Shot. He opens up the bottle of bourbon, looking at it is a life giving elixir.

BUM:
Myboozemybooze.

Panel: five
Close Up. The bum drinks the bourbon.

Panel: six
Over shoulder, medium shot. In the alleyway, while the bum continues to drink from the bourbon bottle, a thin, skeletal-like shadow walks the bum, dripping wet. Its eyes glowing a deadly red.

Panel: seven
Medium Shot. Ivory white legs with black piping and wires stand beside the bum who is still drinking. The bum looks at them as he drinks.

Page Four, Four Panel Layout.

Panel: one
Medium Shot. An ivory white arm and hand with black piping and wires grabs the bum by the neck. The bum is terrified.

BUM:
Urk!

Panel: two
Medium Shot. The bum is dragged into the shadows of the alleyway between the two warehouses.

Panel: three
Same Shot. Nothing is going on. Just the shadows in the alleyway between the two warehouses.

Panel: four
Same Shot. The 'bum' walks out of the shadows tall and adjusting his shabby clothing.

Page Five, Three Panel Layout.

Panel: one
Medium Shot. The 'bum' looks at a futuristic watch on his wrist.  A holographic image is displaying a topographical map of Seattle with certain areas lightened up.

Panel: two
Medium Shot. The 'bum' looks out towards the city off in the distance.

Panel: three
Full Shot. The 'bum' walks towards the reader, his eyes glowing red. There are bones in the alleyway behind him. The sun is rising.

Page Six, Three Panel Layout with Insert.

Panel: one
INT. LUCY ANNA'S ROOM – DAY

Close Up. An alarm clock that reads 6:30 with a pair of thick rimmed glasses lying next to it.

CLOCK:
Beep, Beep!

OFF PANEL:
Oh…let me…(Yawn)…sleep.

Panel: two
Same Shot. A girl's hand picks up the glasses.

OFF PANEL:
Alright…I'm up.

CLOCK:
Beep, Beep!

Insert
Close Up. The girl's hand slams down upon the alarm clock.

OFF PANEL:
Shut up already.

Panel: three
Medium Shot. Lucy Anna Dawn is sat up in bed stretching the kinks out of her system. Her hair is tied up in a ponytail. She is wearing a black 'Empire Strikes Back' T-Shirt. Her room is that of a typical nerd. Posters featuring various Sci-Fi movies. There are Superhero statuettes on a desk in the far corner which also has a computer on it. There are also books upon a shelf above the desk.

CAP:
My name is Lucy Anna.
I'm what your call a typical fifteen year
old high school girl. Meaning I think of
nothing but boys and sex.

Page Seven, Four Panel Layout with Insert.

Panel: one
Medium Shot. Lucy Anna is now sitting on the side edge of her bed, putting on her slippers.

CAP:
That and waiting for the next issue of the
'Amazing Spider-Man'. Don't know why I read it.
Joe Quesada totally ruined it.

CAP:
Surprised I like to read comic books?
Girls do read comics you know.

Panel: two
Medium Shot. Lucy Anna is now sorting through her chest-of-draws for shirts to wear.

CAP:
Anyway. Soon I'll be turning
sixteen. Yippee!

CAP:
Funny, with all the trouble I've caused Mom,
I'm surprised I've made it that far.

Panel: three
Medium Shot. Lucy Anna is trying to pull on a pair of blue jeans. She is now wearing a black frilled blouse.

CAP:
But that is two days away.
Today will be the day. The day where I will conquer
my fears. The day I overcoming the greatest obstacle in my
entire life.

Insert
Close Up. With her lips pursed, Lucy Anna is putting on purple lipstick.

Panel: four
Medium Shot. Lucy Anna is posing in front of a mirror. She is pushing her hair up, trying to look sultry.

CAP:
The day I will ask him out.
After school. Or maybe I should trap him on my birthday
so he can't say no.

CAP:
That sounds way too devious. Even for me.
I just hope I look sexy enough to
finally get his attention.

CAP:
If not sexy, sultry.
Damn girl! You're looking as hot as
Hell!

Page Eight, Five Panel Layout.

Panel: one
INT. KITCHEN – DAY

Lucy Anna is sitting at the kitchen table eating toast while her mother, Caroline Dawn, is pouring juice into a glass.

CAROLINE:
So who is the lucky guy, huh?

LUCY ANNA:
I have no idea what you're talking about.

Panel: two
Medium Shot. Caroline looks at Lucy Anna with a knowing look while Lucy Anna looks away embarrassed.

CAROLINE:
You're dressed up like you're on the prowl
and wearing my push-up bra. Who is he Lu-Anna?

LUCY ANNA:
Don't call me that, Mom. And it's no one. Geez.

Panel: three
Medium Shot. Caroline walks away from Lucy Anna smiling while Lucy Anna drinks her juice.

CAROLINE:
He must be very special for
you to get all dolled up for him.

LUCY ANNA:
I'm not even going to dignify that
with a response.

Panel: four
Medium Shot. Caroline is at the sink washing dishes while Lucy Anna spits out her juice, probably reacting to what her mother said.

CAROLINE:
I just hope you use protection when you get hold
of the poor guy. I'm too young to be a granny.

Panel: five
Medium Shot. Lucy Anna looks at her Mom with an angry expression. Caroline has her back to Lucy Anna and she is smiling.

LUCY ANNA:
I can't believe you just said that!

CAROLINE:
You're turning sixteen in a few days. You're practically
a grown up. So… do you still want that
'My Little Pony' birthday cake?
Page Nine, Four Panel Layout.

Panel: one
INT. CORRIDOR – DAY

Medium Shot. Lucy Anna walks out of the Kitchen still looking angry. In the kitchen, Caroline looks on worried.

LUCY ANNA:
I'm going to school.

CAROLINE:
Lu-Anna, I'm sorry. You know I was only
joking, right.

LUCY ANNA:
I know Mom…

Panel: two
Close Shot. Lucy Anna looks over shoulder with a weak smile.

LUCY ANNA:
…but this means a lot to me.

Panel: three
Medium Shot. Lucy Anna is putting on her backpack as Caroline stands in the doorway to the Kitchen, drying hands with a kitchen towel and beaming with delight.

CAROLINE:
You going to ask him out?

LUCY ANNA:
Yes. I am.

CAROLINE:
About time of if you asked me.

LUCY ANNA:
No one asked you Mom.

CAROLINE:
None of your lip, Lu-Anna.

Panel: four
Medium Shot. Lucy Anna kisses Caroline on the cheek.

LUCY ANNA:
I'll see you at dinner time.
Love you Mom.

CAROLINE:
I love you too, honey.

Page Ten, Four Panel Layout.

Panel: one
EXT. DAWN RESIDANCE – DAY

Medium Shot. Lucy Anna walks down the steps from her home.

CAP:
My Mom can be so annoying sometimes.
But I still love her.

CAP:
Even if she isn't my real mother.

Panel: two
EXT. STREET – DAY

Medium shot. Lucy Anna is walking down the street with a nervous look.

CAP:
I was adopted nearly
sixteen years ago.

CAP:
I don't know who my parents
were.

Panel: three
Medium Shot. Over shoulder. Lucy Anna looks at the bracelet on her wrist, with weird etchings on it.

CAP:
All I have of them, is this
stupid braclet with this weird writing
all over it.

Panel: four
Close Up. Lucy Anna's hand has dropped down by her side. The etchings are more clearer, alien like

CAP:
I don't know who I am, or what I am.
Why did they abandoned me?

Page Eleven, Three Panel Layout.

Panel: one
Medium Shot. Lucy Anna walks further down the street. There is a hooded figure behind a tree.

CAP:
Come on Lucy, you don't need to
think like that. Just get to school and
forget the whole thing.

CAP:
Unless something brings it back up.
Knowing my luck, somebody will.
Panel: two
Some Shot. Lucy Anna is going off panel. The hooded figure has stepped out from behind the tree.

Panel: three
Same Shot. Lucy Anna is now gone. The hooded figure is still there.

Page Twelve, Splash Panel.

Splash Panel:
Medium Shot. A man (CADE) in a tatty hoodie and loose worn jeans looks on. His right hand is heavily gloved.

MAN:
Please, Goddess. Keep her safe.

Page Thirteen, Two Panel Layout.

Panel: one
EXT. SPACE, ABOVE THE EARTH

A battle ravaged starship orbits the Earth. It is old and metal grey. Its engines are emitting blue coloured thrust.

CAP:
*The Saluka. She was once
the greatest cruiser in the Erakudian fleet…

Panel: two
INT. CORRIDOR, THE SALUKA

Medium Shot. Sarkon (very Adama like from the modern BSG), looking old yet strong, walks down and empty corridor that is old and falling apart. It's as if it has been through many battles.

CAP:
*Now she stands as an old keeper
maintaining an ever watchful eye on the
planet these 'locals' call Earth.

CAP:
*Ever since the war, our 'Civil' War began,
she has been running from every conquered
system in our Empire to the furthest
reaches of the known galaxy.

CAP:
*But it is what we have to do to protect what
remains of our peaceful way of life…

NOTE:
*  in alien language,
SP

Page Fourteen, Three Panel Layout.

Panel: one
INT. COMMAND DECK, THE SALUKA

Sarkon walks up small steps toward the command deck. It is a large room with several computer stations (with only a few officers to operate them) and a large glass screen displaying scans and area maps of Earth in the centre. A young commander looks at the screen.

CAP:
*And to keep my
grandchild safe.

SARKON:
*Report Davrin!
How goes the patrol.

Panel: two
Medium Shot. Davrin salutes Sarkon who stands at ease.

DAVRIN:
*We picked up an energy reading on course
for the Earth, Captain.
But our sensors went down. We
are trying to get them back up now.

Panel: three
Medium Shot. Through the screen, Sarkon looks at the display on it as Davrin explains.

SARKON:
*Great. Another malfunction.
Did you get any interceptors out there.

DAVRIN:
*Most of the squad is planet-side.
It wouldn't have mattered. With the sensors out,
we couldn't trace it.

Page Fifteen, Four Panel Layout.

Panel: one
Medium Shot. Sarkon shoots Davrin an angry look, Davrin backs off.

SARKON:
*By the goddess.
Can't we do anything right.

DAVRIN:
*With all due respect, Captain.
The Saluka is past her best now.
With the amount of battle damage
the girl has taken over the years,
she should have been putout years ago.

Panel: two
Medium Shot. Sarkon rubs his tired eyes as a young female officer hands Davrin a pad.

DAVRIN:
*Half the crew has left and formed new
lives on the Earth…

SARKON:
*And the rescued civilians want to
do the same. By Goddess.

Panel: three
Medium Shot. An officer from the side stations speaks to them. Sarkon and Davrin look toward him.

OFFICER:
*Sirs.
Sensors are back online.

SARKON:
*Good. Get the tracker up on the screen.
I want to find that thing before it causes
anymore chaos.

Panel: four
Close Up. On the screen, a map of Seattle is displayed showing three dots, two green and one red. Davrin's finger points at the red dot.

DAVRIN:
*There sir!.
That's the new signature.
I'm guessing it could be a Seeker.

OFF PANEL:
*What are the other two
nearby? Former crew members.

DAVRIN:
*No, Captain. One of them is…
The Basalin.

Page Sixteen, Five Panel Layout.

Panel: one
Medium Shot. Davrin continues to look at the screen as Sarkon, arms folded, looks intently at the screen as well.

DAVRIN:
*Why in the name of the Goddess
did you give him the mission?

SARKON:
*I had no choice. He is the only one
with the power to find her and protector her.

SARKON:
*Who's the other?

Panel: two
Close Up. Davrin's eyes are wide with surprise.

DAVRIN:
*By the Goddess.

OFF PANEL:
*What is it?

Panel: three
Medium Shot. Davrin, in background, looks toward Sarkon with a startled expression. Sarkon has his back to him yelling to someone off panel.

DAVRIN:
*It's her.

SARKON:
*Get me Cade on the Com channel!
NOW!

Panel: four
EXT. HIGH SCHOOL, SEATTLE – DAY

Establishing Shot. A typical High School during a school day. Kids are on the lawn talking or hanging by the steps.

CAP:
This is my school.

CAP:
Heaven and Hell wrapped in brick,
chalk and sweaty jock straps.

Panel: five
INT. CORRIDOR, SCHOOL – DAY

Close Up. Lucy Anna's intent emerald eyes through her thick-rimmed glasses.

CAP:
But what matters now is the gorgeous
brunette that walks the busy school corridor.

Page Seventeen, Splash Page.

Splash Page
Lucy Ann walks down a school corridor. The sun shines through the large window behind her. She has an intent look about her. Kids in the corridor look at her in shock and disgust.

(Cont'd)
CAP:
And that is me.

Page Eighteen, Six Panel Layout.

Panel: one
Medium Shot. Lucy Anna is at her locker, fiddling with the combination lock.

CAP:
Not everyone was best pleased with the way I look today.
I dress up to make myself look more attractive and people still think of me as that Tomboy freak.

Panel: two
Medium Shot. She is trying to pull at the lock of the door to her locker, straining as she does.

CAP:
Just this morning, even before first period,
that big fake-titted cheerleading slut called Rebecca Crass
poked fun at me.

Panel: three
Medium Shot. She shakes the lock with an angrily expression.

CAP:
'What are you done up for? Working a different
corner tonight?'

Panel: four
Close Up. Lucy Anna's tightly clenched fist steams up slightly.

CAP:
Her and her friend would laugh and laugh and laugh…

Panel: five
Close Up. Her eyes are sharp with anger.

CAP:
They just won't stop laughing!

Panel: six
Medium Shot. She slams her fist into the locker, denting the door.

Page Nineteen, Five Panel Layout.

Panel: one
Medium Shot. Lucy Anna looks at her hand, fearful. The underside of her hand is char-like with tiny green cracks.

LUCY ANNA:
Oh no. Oh no. Not now.
Not today.
This can't be happening.

Panel: two
Close Up. From her point of view, she looks at the underside of her hand as the char starts to disappear.

Panel: three
Same Shot. The char is smaller.

Panel: four
Same Shot. The char has disappeared.

LUCY ANNA:
Oh, thank God.
Thank you.

Panel: five
Medium Shot. From behind, Lucy Anna is looking at her hand as another hand (a young man's) reaches for her shoulder.

LUCY ANNA:
I nearly lost it there.

OFF PANEL:
Are you…

Page Twenty, Two Panel Layout.

Panel: one
Medium Shot. Lucy Anna jumps in total surprise with the hand touching her shoulder. Her hands have changed to char like with green flame around them. Behind her is Mathew 'Matt' Alice who reacts similarly.

Panel: two
Medium shot. A frightened Lucy Anna looks at her hands that are still charred and wrapped in green flame. She keeps her back to Matt is bewildered.

MATT:
Talk about over reacting.
You okay, Lu?

Page Twenty-One, Six Panel Layout.

Panel: one
Medium Shot. Lucy Anna has quickly turned around keeping her hands behind her back. She smiles awkwardly at Matt who continues to look at her bewildered.

Lucy Anna:
Oh… hi Matt. I'm okay.
You really shouldn't have snuck on me like that.

MATT:
I'll keep that in mind. You seem a bit jump today,
Lu.

Panel: two
Medium Shot. Lucy Anna presses herself up against the lockers trying to keep her hands out of Matt's sight. Matt is trying to peer behind her.

LUCY ANNA:
Um… Nothing.

MATT:
You are hiding something, girl.

LUCY ANNA:
I'm telling you I've got nothing.

Panel: three
Medium Shot. Matt looks to have an idea in his head as Lucy Anna looks nervous.

LUCY ANNA:
What?

Panel: four
Medium Shot. Matt quickly pulls off Lucy Anna's glasses. She freaks.

LUCY ANNA:
MATT!!

MATT:
Own up, Lu! What are you hiding?

Panel: five
Medium Shot. Lucy Anna is jumping for her glasses as Matt holds them high up where she can't reach. Her hands are no longer glowing. Other kids just watch, some are chuckling.

LUCY ANNA:
Give them back!!

MATT:
No way. This is too much fun.

Panel: six
Medium Shot. Lucy Anna shouts at him. Matt flinches away in frightened surprise as he hold them out.

LUCY ANNA:
GIVE THEM BACK!

MATT:
Okay.

Page Twenty-Two, Four Panel Layout.

Panel: one
Medium Shot. Lucy Anna puts her glasses back on as Matt looks sorry.

MATT:
Jeez, Lu. I'm sorry. I didn't
mean for you to Hulk-out.

LUCY ANNA:
It's okay. I've just been a little on edge is all.

Panel: two
Medium Shot. Matt looks at her with awe. Lucy Anna is oblivious as she straightens her clothes.

MATT:
Why… why are you dressed up?

LUCY ANNA:
I'm going to ask Dominic out.

Panel: three
Medium Shot. Matt is worried as he looks at Lucy Anna as she opens her dented locker door.

MATT:
You can't ask that moron out. His brains
are located in his helmet. And I'm not talking about
the thing he uses for football practice.

LUCY ANNA:
You know full well he has been our friend
since we were in kindergarten. He is the smartest person in this
except for me of course. He has never been anything but a true
true friend to us.

MATT:
Yeah, but…

Panel: Four
Medium Shot. Lucy Anna looks at Matt coyly. Matt is slightly embarrassed.

LUCY ANNA:
If I didn't know any better,
I swear you were jealous.

MATT:
Well…

Page Twenty-three to Twenty-Four, Double Page Spread.

Double Page Spread
Cade's batted and broken body explodes from the wall, knocking down Matt and Lucy Anna. Kids look back in horror as they run.

Page Twenty-Five, Three Panel Layout.

Panel: one
The 'bum' stands in the opening where the wall once was. Its eyes are glowing red.

'BUM':
Target Identified. Setting Capture Protocols.

Panel: two
Close Up. Cade is lying unconscious. His face is battered, blooded and bruised.

OFF PANEL:
No!

Panel: three
Close Up. Matt is lying unconscious. He is bleeding from an open gash.

OFF PANEL:
No! No! No!

Page Twenty Six, Splash Page Layout.

Lucy Anna is on her knees. Her clothes are ripped and torn. She is powered up (see character description) with the char-like skin and green flames around her fist.

LUCY ANNA:
WHAT!
IS!
HAPPENINNNNGGGGG???!!!





END OF ORIGINS: ISSUE ONE.

The Meteor Girl, First Draft. Written By Steven Robert Pearce

EXT. EAKURDI ORBIT

Above the planet of Eakurdi. The planet is made up of forest land, oceans and cityscapes. In the distance are two moons that are much like the planet.

CAP:
Eakurdi, Eighteen Earth Years Ago…

CAP:
Let the goddess watch over us.

Same shot as a large battleship starts to come into view.

CAP:
It is the day of our grace. The day for all things Eakurdian. A day that marks the end of another cycle around the star of Pyra, the Goddess of Light.

The large battleship is now in view. She is old and battered. There are markings on the ship in the Eakurdian writing which gives the ship's registration number and name.

CAP:
The day the Saluka returned home.

SALUKA:
Station One, this is the Saluka FG-THREE,THREE,NINE,SIX-RL.
We are requesting permission to berth and make repairs.

RADIO:
That is affirm, Saluka.
Dock Four is at the ready. Welcome home.

INT. SALUKA BRIDGE

An officer on a headset is speaking to the port authorities. He is wearing a blue uniform with black stripes that signify his rank as a reserve officer.

RESERVE OFFICER:
Thank you, Station One.
We are now downloading all personnel reports and
supply updates, Saluka out.

The whole bridge is now in view. It is laid out like a submarine bridge. Officers wearing the same uniforms are busying around the room attending to their duties. A man, apparently the captain, is at the command table looking over charts with his back to view. A young executive officer is standing next to him looking up at the combat consol above the two pilot stations.

RESERVE OFFICER:
Sir, we have been cleared to dock.

CAPT. SARKON:
Thank you, lieutenant.
XO, begin line up and docking prep.

XO B'DANA:
Um… yes, sir.

The Captain looks up at the Executive Officer with a puzzled look on his face. The Executive Office does not return the gaze but has a nervous look.

CAPT. SARKON:
Problem, B'Dana?

XO B'DANA:
Uh… no, sir. Just…

The Captain looks back at his charts with a smile on his face, while the Executive Officer continues to look else where.

CAPT. SARKON:
Come on, boy. My blood runs through your veins,
you can do this.

XO B'DANA:
Yes, sir. I know, sir. Father I…

CAPT. SARKON:
Save it for Her.

XO B'DANA:
For who?

EXT. STATION ONE

Station One drifts above the planet. Other spaceships are flying around it and there are two more battleships docked at the station.

CAP:
Station One…

KANA (VO):
I should be planet side.
Not on a simple meet and greet with
a bunch of Roocs and Parrs.

INT. PRIVATE LOUNGE, STATION ONE

Kana, garbed in a white ceremonial dress, looks out of a giant window that over looks the planet with several ships flying by. Tay-Kal, mid-teens garbed in similar clothes, is standing next to her.

TAY-CAL:
The lords of our house suggested that…


KANA:
Lords? They are just a bunch of old men who think they're protecting some greater good for all Eakurdi.

TAY-KAL:
Aren't they, mistress.

Kana looks down with a worried expression while Tay-Kal looks out the window.

KANA:
I… don't know. They've been so distant of late.
They haven't even come out of the Ancient Temple in months. and with the latest attacks by our faith, I'm…
worried.

TAY-KAL:
No fret, mistress. If there was a problem, the Council and the Lords would tell us.

KANA:
I hope you're right.

OFF PANEL:
Captain Sarkon Yoth and Executive Officer B'Dana Yoth-Ty of the battleship Saluka!

Kana's eyes are wide open with a faint smile on her lips. In the background is the faint silhouettes of Sarkon and B'Dana entering the room with the announcer. Tay-Kal goes off to greet them.

KAY-TAL:
My mistress welcomes you to Station One
officers of the realm. I am Tay-Kal. If there is anything you need on your stay here, we will offer the best we have.

Kana turns to them as they walk up to her. Her expression is emotionless.

KANA:
Thank you Tay, that will be all. Go get some rest.

TAY-KAL:
Yes, mistress.

KANA:
Welcome Captain. I have heard some interesting stories
about your exploits in the outer systems.

SARKON:
They are all true.

Tay-Kal is walking away while Sarkon and Kana are talking. B'Dana is standing up straight behind Sarkon.

KANA:
I hope I am not keeping you from anything too frivolous.
SARKON:
Oh, nothing too strenuous that can't wait.

Sarkon looks back at B'Dana with a smile on his face.

SARKON:
But… I do have to report to Military Central for the usual
Kark. So I will leave my Executive Officer here
to entertain you.

Sarkon walks away leaving B'Dana, who is continuing to stand up straight, and Kana.

SARKON:
I will speak with you as soon as it is resolved.
Goddess watch over you.

B'Dana looks at Kana with her looking at him as well. They both are expressionless. Sarkon is leaving in the background as well as the announcer.

KANA:
B'Dana.

B'DANA:
Mistress.

Same shot. There is now no one in the background. B'Dana and Kana are now kissing passionately.

CAP:
The day the Saluka came home.

Kana and B'Dana are in front of the window still in their loving embrace. Eakurdi is in the back ground.

CAP:
The day the War began.

EXT. ELCARA CITY - DAY

The city is large and idyllic with a sort of futuristic architecture meets Lord of the Rings' Minas Tirith. There is a green explosion near the wall of the city.

CAP:
The Central City Of Elcara…

FROM EXPLOSION:
C'mon you karkers!

INT. ELCARA CITY, THE SOUTH WALL - DAY

A man dressed in rags wearing a mask and is standing upon the rubble of the south wall. His arms are covered in green flame and is holding the body of an army officer with one hand. Four other bodies are on the ground broken and burnt.

MAN:
Is this the best you have?!

The Man raises his free arm and shoots out a green pulse of energy at a hover tank. The hover tank explodes with soldiers burning in flames.

MAN:
Your day of reckoning is here.
My people will rise and wipe you're
stain from this world.

Two soldiers are bunkering down behind a barricade, taking heavy green pulse fire. One of them is reloading while the other is firing over the barricade.

SOLDIER ONE:
The Goddess be damned!
I hate the karkin' Two Tones!

SOLDIER TWO:
Why don't you go tell him that?!

SOLDIER ONE:
I don't see you volunteering!

SOLDIER TWO:
That's because I don't have a death wish!

OFF PANEL:
To have a death wish, is to admit you
have a life worth losing!

The soldiers look up surprised to see a man garbed in a white uniform. He is floating above the soldiers with his hands behind his back. Pulse energy is exploding around them.

CADE:
I am Cade Yoth-Ty! And I'm not too fond
of that Two Tone remark!
What is the situation, gentlemen?!

The soldiers look over the barricade with the man known as Cade dropping from the air to the ground.

SOLDIER ONE:
One of your people has gone berserk!

CADE:
I serve the Empress! What you call my people,
I have no interest in!

SOLDIER TWO:
Yeah, whatever! What are we suppose
to do about him!

The soldiers look from the barricade surprised as Cade walks past them.
SOLDIER TWO:
Hey! Where are you going?!

CADE:
Stay back! This may not be pleasant!

The man in the mask is continuing to fire pulse bursts as Cade walks up to him. The pulse bursts just miss Cade.

MAN:
If you want to die with these
weaklings, so be it!

CADE:
You don't have the skill to defeat
me, boy!

Cade moves in a blur and hits the man with his fist that is surrounded by a green energy flame.

CADE:
This fight ended the moment you saw me!

Cade and the man fight with Cade dodging pulse blasts and fists until he punches him down to the ground.

With the man in the mask on the ground, Cade slams his foot on to the man's head.

CADE (OFF PANEL):
You're a disappointment
to your faith.

Cade is looking down at the man, who is off panel, as he slams his foot down again presumably killing him. Blood splatters on to Cade's white uniform.

CADE:
You're a disappointment to
all.

Cade walks away from the body of the man. He is walking past the two soldiers that are bewildered at what they saw. Cade has a snarl on his face.

CADE:
Clean up this mess.

EXT. COUNCIL OF NINE HALL, ELCARA CITY - DAY

The building is reminiscent of roman architecture with some futuristic designs. An army of reporters gather on the grand steps of the building. Four soldiers guard a podium where a woman is speaking.

WOMAN:
Please! Calm down!

REPORTERS:
Empress Suna! This is the eighteenth attack in this
many months!

REPORTERS:
Is it true there is an Isarni uprising?!

The woman behind the podium, known as Suna, holds up her hands. The reporters continue to keep their hands up to ask questions.

EMPRESS SUNA:
Please! Do not fret! The attack was performed by a
splinter faction of the Isarni whose sole purpose is to
cause chaos.

A reporter holds up a mike, presumably asking a question. A couple of other reporters look towards him.

REPORTER:
Do you have any evidence that this is
a faction and not the Isarni
staging a coup against the Council?!

Suna leans forward with her hands on the podium speaking in to the podium's microphone.

EMPRESS SUNA:
At this moment, we can not acknowledge at
this time! This conference is over!

Suna walks away from the podium with two of her guards following her. Reporters are clambering, trying to get more answers.

INT. COUNCIL Of NINE HALL, ELCARA CITY - DAY

The interior is made of marble with red carpeting and statures of former emperors and gods. Suna walks with purpose. A female assistant is walking with her, holding a holographic data pad.

EMPRESS SUNA:
Karkers the lot of them.

ASSISTANT:
My Empress. You have a meeting with the Council in a few minutes.

EMPRESS SUNA:
To the fires of Pyra with them.

ASSISTANT:
Should I cancel your meeting then?

Suna and her assistant have stopped. Suna looks at her with a worried expression.


EMPRESS SUNA:
No. I need to see them.
I have to see them. Nothing can move forward
without that meeting.

ASSISTANT:
Empress?

Suna walks away from her bewildered assistant.

EMPRESS SUNA:
Yes. I will meet with them.
That will be all.

ASSISTANT:
Um…yes my Empress.

INT. CHAMBERS OF THE EMPRESS - DAY

Suna closes the door to her chambers. Her chambers are plain and simple with leather chairs and a desk with a holographic computer screen.

OFF PANEL:
With my hollow heart, I hold in my hands the fate of a world
unfitting for life. What shall I do?

Suna looks towards the window where she sees Cade, who is looking out of it.

CADE:
Du Mar-Ray. The Reign Of Emperors.

EMPRESS SUNA:
I see you're well versed in the classics Yoth-Ty.

CADE:
For you my dear Empress. It is just Cade.

Suna is looking up at Cade with Cade looking down at her. They are both standing in front of the window.

EMPRESS SUNA:
Well then just Cade. What other forms of classic writings
do you know?

CADE:
Nothing that is written can compare to you, my Empress.

Suna and Cade kiss. Then, they break their kiss and stare at each other.

EMPRESS SUNA:
Did you have to kill him?




CADE:
A man like him would have talked.
If you wish for your plan to work, I must do what I can, my love.

Suna walks towards her desk. Cade remains at the window as he watches her.

EMPRESS SUNA:
I know. And everything is going as expected.
If we are to step forth into a new age, we must wipe out the
stain of the old.

CADE:
Even if it means… genocide?

Suna looks toward Cade with a saddened look. She is now behind her desk.

EMPRESS SUNA:
I know this is hard for you.
You have lived your life as if you were alone. The Isarni were
the only ones who understood you. That thought you belonged.
But, I understand you now. And I know now where you belong.

Cade stares out the window. A tear has rolled down his cheek. Suna is in the background.

EMPRESS SUNA:
You belong at my side. And if you truly love me,
you would do what ever it takes to prove it.

CADE:
As… as you command, my love. My Empress. I will find someone to do it. But if you… if we fail in exterminating just one,
there will be a war of the likes of which no one has ever seen.

EMPRESS SUNA:
Then let there be war.

INT. COUNCIL CHAMBERS, COUNCIL OF NINE HALL - DAY

Like a senate chamber, the furnishings are highly polished wood with a metal podium where Empress Suna stands. Nine delegates from the nine worlds of the Eakurdians are seated behind the wooden desks.

EMPRESS SUNA:
Bara! Elnara! Nu'varia! Islora!
O'nara! Casca! Hithion! Savo!
Eakurdi!
I bid you welcome to the Council Of Nine!

All DELEGATES:
May the Goddess watch over us.

Suna looks down at her notes on the podium.
EMPRESS SUNA:
On today's agenda, The future of our great Empire.

The delegates look at each other with puzzled expressions.

Suna steps down from the podium.

EMPRESS SUNA:
We have lost sight. Lost sight of what we are truly capable of.

Suna stands with her arms at mid level in front of the bewildered delegates.

EMPRESS SUNA:
If we are to survive what is coming, we must stretch forth with our great power and bring order to an already chaotic Society.

A delegate from Islora speaks out. All over delegates are looking towards him.

ISLORA DELEGATE:
Are you seriously suggesting we go
to war with the entire Isarni faith or hand over more territory to them? Forgive me for saying this my Empress, but this is bordering on madness.

Suna is in the face of the now surprised delegate. Her hands are on the table.

EMPRESS SUNA:
No, but Let me tell you something about madness.
Madness is watching a little boy of frail skin and broken bones starve while you sit at the top on the pristine balcony of your palace eating Gregga Fruit and Kirum Meat while gulping down Figara Red Wine.
That is true madness.

Suna and the delegates look towards the entrance way where they see two burning guards yell as they are thrown through.

GUARDS:
EGAHHHHH!

A man walks in, wearing the same rags and mask as the other before, with his body wrapped in green flame.

MAN:
Your weakness must end now!

The man shoots out a green pulse of energy, killing one of the delegates. The others are shocked.

The man has flown quick towards Suna grabbing her by the throat. The delegates are horrified.


ELCARA DELEGATE:
Empress!

The man slams Suna into the wall which cracks it.

MAN:
You have frozen out our people!
Now watch your so called government die!

From where he is standing, the man fired out an energy pulse and kills all the delegates.

The man readies a punch from his flame green fist while looking at Suna. She has a stern look on her face.

MAN:
My people, all Isarni's, will rise and put you back where you belong.

The man flies off with speed. Leaving Suna on the floor.

Same shot, but it is grainy like a recording.

OFF PANEL:
This is the proof you were all seeking!

EXT. COUNCIL OF NINE HALL, ELCARA CITY - NIGHT

Suna stands at a podium over looking a crowd of protesters and reporters screaming with tears in her eyes. The protesters are holding signs written in the Eakurdian language. Behind Suna is a holographic screen that is showing the shot from before.

EMPRESS SUNA:
As much as it pains me!
But it is true! The Isarni have rebelled against the colonies of Eakurdi! Against your government!

Suna holds up a scroll that is sealed with a wax seal, continuing to cry with anger.

EMPRESS SUNA:
I hold here the Treaty of Nine, signed by the reserve delegates, that states that I, your Sovereign ruler, hereby declare war upon the hypocrisy that is the Isarni Faith!

The protesters start chanting while the reporters shout out questions.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna leans back upon the door to her chambers out of breath.

OFF PANEL:
What have I done?
What have you made me do?


Suna, unsurprised and slightly pleased, looks toward her desk where the man in the mask, who had recently killed the Council of Nine, sitting in a chair looking as if he was distraught at what he has done.

EMPRESS SUNA:
You have done everything that is asked of you.
What I have asked of you. I am truly glad you decided to do it yourself my love.

The man begins to remove his mask.

MAN:
You don't karking understand!

The man is revealed to be Cade Yoth-Ty. He is angry with tears in his eyes, looking as if he has been crying for hours.

CADE:
I just destroyed democracy on this world!
I can kill yes, but what I just did was begin extermination of my entire race!
Don't you understand?!

Suna starts to walk toward Cade, who has his head in his hands, undoing the ties on her robe.

EMPRESS SUNA:
No. I don't understand.
Don't you believe in the future of our world?

Suna has dropped her robe to the floor while walking toward Cade naked. Cade is looking up at her still distraught.

EMPRESS SUNA:
Don't you love me?

Suna has her hands on the sides of Cade's face. He looks at her as if seeing an angel. Suna looks at him with lust in her eyes.

CADE:
Yes.

EMPRESS SUNA:
Then by the goddess I demand that you prove it.

Suna has leaned down and kissed him passionately.

Both Cade and Suna are standing now. Suna has her hands lightly touch Cade's shoulders.

INT. HOMESTEAD - NIGHT

A group of military soldiers clad in full armour, have burst into the home where a small family (A father, a mother, two boys) are sitting down to dinner.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna has removed the rags of clothing from Cade's shoulders revealing his muscular back.

EXT. HOMESTEAD - NIGHT

A woman is dragged out by her hair from the home. She is wearing chained bracelets that is lased with small dark green stones. The soldiers are holding the rest of the family back.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna has her head flung back in desire, eyes closed as Cade bites into her neck.

EXT. HOMESTEAD - NIGHT

The soldier throws the woman to the floor.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna has her legs wrapped around Cade's naked waist. He has her up against the wall.

EXT. HOMESTEAD - NIGHT

The woman is looking up horrified at the soldier who has a rifle pointed at her head.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna's nails are digging into the muscles of Cade's back indicating Suna's desire and passion for what she is doing.

EXT. HOMESTEAD - NIGHT

The rifle is fired, presumably killing the woman.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna is slammed on to her desk by Cade, but her legs are still wrapped around his waist.

EXT. STREET, BARA - NIGHT

A man, garbed in robes of an Isarni priest is tending to a home person in a dark and dank alley way. A shadowy figure is standing, unbeknownst to the priest, behind him.

INT. CAHMBERS OF THE EMPRESS - NIGHT

Suna bites her bottom lip with her eyes closed tight while gripping at Cade's shoulders, apparently enjoying the sensations she is feeling at the moment.



EXT. STREET, BARA - NIGHT

The shadowy figure has through the heart of the priest with a sword. The blood and entrails follow the path of the sword.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Cade is sucking at Suna's breast. Her head is turned away as she holds down his head to her breast.

INT. ISARNI TEMPLE, NU'VARIA - DAY

The temple is of marble that is a mix of both green and white. Tapestries of ornate design hang from the ceiling with Eakurdian glyphs on them. A bloodied hand lays upon the floor behind a pillar.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna is scratching Cade's chest, drawing blood.

EXT. ISARNI TEMPLE, NU'VARIA - DAY

A bloodied body of a priest lays on floor behind the pillar.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna and Cade look at each other, their faces just inches apart, with lust filled eyes.

INT. ISARNI TEMPLE - DAY

Around the other side of the pillar, a pile of bloodied bodies made up of men, women and children sound a small device that is presumably a bomb. The bomb has yellow lights.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna and Cade kiss.

INT. ISARNI TEMPLE - DAY

The bomb's lights turn red

INT. CHAMBERS OF THE EMPRESS - NIGHT

Suna is biting at Cade's neck. Cade has his head back in ecstasy.

EXT. ISARNI TEMPLE - DAY

The large rotunda temple, made of white and dark green marble, explodes.

INT. CHAMBERS OF THE EMPRESS - NIGHT

Cade and Suna, their backs fully arched, reach the peak of their passion's play. Their bodies are glistening with sweat.
CAP:
'By end of night's lonely embrace, shall we understand the part we play in this grand orchestra of our 'little deaths' and murderous ways.'
Ju'Nora Titha,
Scribe of Our 'Little Deaths' And Murderous Ways.


INT. KANA'S QUARTERS, STATION ONE

Kana has her eyes open, staring into space as if something was on her mind while laying in bed.

Kana, worried, looks now towards B'Dana who is sound asleep next to her.

Kana sits up keeping the bed sheet close to her chest as she brushes a tassel of hair away.

Kana, out of bed, walks toward the large view window with the sheet wrapped around her.

Now by the window, Kana, with eyes closed and her hands on her chest where her heat is, looking as if she is praying.

KANA:
Goddess watching over me, hear my call to you.
Guide my soul in my time of need.

Close as Kana now as her head bowed.

KANA:
I know that I've… strayed from the path that you laid before me. Wondered into the woods too far to return.
But, who am I to deny what is in my heart?

Kana looks back toward B'Dana, who is still in bed asleep.

KANA:
I love him, my goddess. My love for him is stronger than my love for you. I'm sorry my goddess. I truly hope that you will  understand.

Kana covers her eyes while leaving one hand on her chest. It would appear she is crying as a tear can be seen down her cheek.

KANA:
Oh, goddess. Please, help me. Give me the strength to tell him what he needs to know.

OFF PANEL:
Kana… what's wrong?

B'Dana is sitting up in bed looking toward Kana who stares back at him sadly.


KANA:
It's nothing. Go back to sleep. You ship out again tomorrow.

B'DANA:
If you're upset about me leaving, my father can pull a few strings to keep the Saluka in dry-dock for the next week.

Kana turns away from him, crying.

KANA:
I said it's… nothing.

B'Dana is now out of bed and walking towards Kana. He is wearing the bottoms of silk pyjamas.

B'DANA:
There is something wrong. Why do you not want to talk about it?

KANA:
Because…

B'Dana has his hands on Kana's shoulders. She has a hand on one of his while she continues to cry.

B'DANA:
Because…?

KANA:
I'm… I'm afraid that you will not like what I have to tell you. That you will leave me and I… I can not bare that thought.

Kana is now turned to face B'Dana. He has his hands on her arms, gripping them as if trying to reason with her.

B'DANA:
Listen to me. No matter what you have to tell me, I'll always be there for you. Now, what is wrong?

Close as Kana and B'Dana go to kiss.

KANA:
B'Dana, I'm…

OFF PANEL:
You can not go in there! My mistress wishes not to be disturbed! No!

Tay-Kal lands hard on the floor in front of a bewildered B'Dana and Kana.

KANA:
By the Goddess. Tay!

B'DANA:
What in the Vail is going on?!

Two soldiers dressed in combat gear are standing in the door way with rifles primed.

SOLDIER ONE:
This doesn't concern you. All we want is the Isarni witches.

B'Dana stands in the way of a frightened Kana and the two soldiers as if shouting angrily. Soldier Two holds his rifle pointed at B'Dana ready to shoot if necessary.

SOLDIER TWO:
Sir, I must ask you to stand aside or I will shoot you where you stand.

B'DANA:
As an officer of the Eakurdian Navy, I demand you tell me what is the meaning of all this?!

Soldier One is holding his rifle to the head of Tay-Kal behind Soldier Two who is still holding his rifle pointing at B'Dana.

SOLDIER TWO:
By order of the Empress, all Isarni People are to be exterminated.

B'DANA:
On what grounds?!

Soldier One is crouched down beside Tay-Kal with his rifle still pointed at her head.

SOLDIER ONE:
Treason.

Tay-Kal looks up at the rifle with terror in her eyes.

SOLDIER ONE:
Say goodbye, Isarni witch.

OFF PANEL:
AGHHHH!

Soldier One turns his head with a bewildered look.

SOLDIER ONE:
What?

Same Shot. Soldier One is now terrified.

SOLDIER ONE:
By the goddess…

B'Dana, his fist glowing green with flame-like energy, has his arm through Soldier Two's chest holding his heart in his bloodied hand. B'Dana has an angry look on his face. Kana is behind him terrified.


Soldier One fires his rifle toward B'Dana who moves out of the way of the shot. The shot hits Kana in the arm.

B'Dana is down by Kana's side with a horrified look. Soldier One is trying to reload his rifle.

B'DANA:
Kana! By goddess!

A shot punches through the head of Soldier One. Blood and brain matter follow the path of the shot.

B'Dana and Kana, still holding her arm, look perplexed at the body of the now dead Soldier.

OFF PANEL:
What are ya standing around here for?!

Sarkon is standing in the doorway, gun smoking in his hand with Tay-Kal down at his feet looking up at him as if glad he is there.

SARKON:
Don't you know there's a war on?!

INT. OBSERVATION CORRIDOR, STATION ONE

Sarkon is leading Kana (who is still holding her arm), Tay-Kal and B'Dana down the observation corridor. B'Dana is walking beside Sarkon putting his jacket on. Large windows follow the corridor all the way round.

B'DANA:
Has the Empress taken leave of her senses?

SARKON:
I don't karking know! Lets go ask her, shall we?
I'm just glad I talked your mother into not registering you.


Kana looks out the windows, devastated, as the others continue walking down the corridor behind her. The reflection of Eakurdi can be seen on the window.

B'DANA:
There must be a reason why she would order the execution of an entire race.

KANA:
She wants our love.

The others stop and look toward Kana bewildered.

SARKON:
What?

Kana continues to look through the window as the others look at her.
KANA:
For years I have known her. Her heart sings a song of sorrow and loneliness. What she does, she hopes it will bring everyone closer to her. To accept her.

B'Dana stands behind her with his hands on her shoulders as they both look out the window.

B'DANA:
She was a great friend of yours, wasn't she?

KANA:
My best friend. Since we suckled upon the same breast
of our wet nurse.

B'DANA:
To wipe out an entire species? She no longer wants love.
She wants what every monarch wants. To be remembered no matter what. Friends change Kana.

KANA:
Even Families change?

B'Dana looks at Kana curiously. She looks up at him worried.

B'DANA:
What?

KANA:
B'Dana I'm… Pregnant.

B'Dana has his eyes wide open in shock.

B'DANA:
You're… Pregnant?

Kana has her head upon B'Dana's chest, holding him tight, trying hard not to cry. B'Dana does not know what to do.

KANA:
I'm so sorry, my love.

B'Dana has a hand on Kana's head as she cries into his chest. B'Dana has his eyes closed trying not to cry.

KANA:
What are we going to do?

OFF PANEL:
I can tell you what we're going to do.

Tay-Kal and Sarkon our looking toward the reader. Sarkon is angry.

SARKON:
We are not going to wait around here for the karking soldiers to show up and kill the only family I have left in this universe! Now move!
INT. THRONE ROOM, CHAMBERS OF THE EMPRESS - NIGHT

It is dark in the throne room. Empress Suna sits alone on her throne which it tall and imposing. Her eyes are sad and make up running. She is holding something in her hand as she looks at it.

EMPRESS SUNA:
I have done all that you have asked of me.

Close of Suna looking intently at a red crystal in her hands.

EMPRESS SUNA:
The Council has been eliminated. The Isarni are all but destroyed. Those that have stood in your way for centuries are no more.

Close to the crystal with a small creature inside it that is hardly visible.

OFF PANEL:
Soon you will return to this world and we shall rule it together.

Empress Suna clutches the crystal to her chest

EMPRESS SUNA:
Forever, my love.

Close as Suna activates a switch on the control panel on the arm of her throne.

OFF PANEL:
Have you determined the whereabouts of Priestess Kana Ty'Roth, Commander Dao?

RADIO:
She was last seen on Station One. But we lost her during the battle ma'am.

Close as Empress Suna slams her fist down onto the control panel.

OFF PANEL:
Than find her!

Suna gets up from her throne, still carrying the crystal with her.

EMPRESS SUNA:
Yes. We will find her.
We have to find her.

Suna walks towards a cabinet at the far end of the throne room.



EMPRESS SUNA:
She is the one. The blood of Kal'Nor, your jailer, runs through her veins.

Suna has the cabinet open with her placing the crystal inside.

EMPRESS SUNA:
Only her blood and the blood of her family can release you from your prison.

The crystal starts to glow red as Suna closes the cabinet.

EMPRESS SUNA:
If we have to go to war to do this, than so we shall. May the blood of my brethren spill upon this day. For the time has come.

Suna stands over the cabinet, her eyes glowing red.

EMPRESS SUNA:
For the Destroyer to return.


EXT. THE CITY OF LORE - NIGHT

What once could have been a grand city now is a picture of war. Explosions, flying dots of green, building toppling over into heaps of stone. Small ships race across the sky with objects falling from their underbellies. At the centre of this city is a massive dome like structure that has relatively been untouched. It's dome is darkest blue with dark emerald pillars. It is the tomb of Pyra.

CAP:
The City Of Lore, Seventeen Earth Years Ago…

CAP:
The Goddess has forsaken us. Has left us for another.

CAP:
We need you O Pyra. Of this day we shall grow desperate and mad.

EXT. THE TOMB OF PYRA, THE CITY OF LORE - NIGHT

The tomb is surrounded by rubble and sandbags with soldiers and Isarni battling each other in the courtyard.

CAP:
Hear us as we speak of this oath.

CAP:
Hear our plea bathed in tears and blood.

On the ground, it is a brutal scene of battle and carnage. Soldiers are being burned alive in their armour and Isarni warriors being shot and hacked to death.

CAP:
Come back to us in this our darkest hour.

FROM TOMB:
Hold them back!

INT. THE TOMB OF PYRA - NIGHT

B'Dana is fighting alongside other Isarni Warriors and rebel soldiers against a small army of Imperial soldiers.

CAP:
Protect us from our evils and let evil be slain upon this day.

B'DANA:
We most not let them enter the crypt!

SOLDIER:
You heard the him! Fight!!!

INT. THE CRYPT, THE TOMB OF PYRA - NIGHT

Deep beneath the tomb, is a large crater that has glowing green cracks in it. Tay-Kal holds the baby Hilu in her arms trying to get her to calm down. Kana, on her knees, has her hands placed on the centre of the crater with hands wrapped in green flame.

TAY-KAL:
Hush child.

KANA:
It is nearly ready!

TAY-KAL:
I hope you know what you are doing my mistress. To lose ones child to the stars. You may never see her again.

Close to Kana with tear falling from her eye.

KANA:
I will always be with her, as she will be with me.

A large gush of green flame fires out where Kana has her hands placed and a crack has formed.

KANA:
Agghhh!

TAY-KAL:
Mistress!

KANA:
Do… nothing! It is ready!




EXT. THE TOMB OF PYRA, THE CITY OF LORE - NIGHT

From the ground, a beam of green light breaks out from the top of the dome. Soldiers and Isarni alike look up in surprise.

EXT. THE CITY OF LORE - NIGHT

Away from the city, a lone figure shrouded in darkness watches the battle and the beam of green light that is coming from the tomb. A platoon of soldiers are behind him.

FIGURE:
Move in. But leave the B'Dana to me.

INT. THE TOMB OF PYRA, THE CITY OF LORE - NIGHT

B'Dana holds up two soldiers against the wall. The force of which cracks the wall. He is angry.

Something zooms across, which takes B'Dana away from the soldiers.

Close up of B'Dana's face getting smashed into a wall.

Pulling back, Cade has B'Dana pinned against the wall.

CADE:
Hello, Brother.

INT. THE CRYPT, THE CITY OF LORE - NIGHT

Tay-Kal, still holding the baby, watches as Kana, with burnt hands, pulls a large piece of rock from the ground. The green beam of light is still firing upwards.

TAY-KAL:
Mistress! I don't think this is going to work!

KANA:
It will! Just get her ready!

INT. THE TOMB OF PYRA, THE CITY OF LORE - NIGHT

Cade is pummelling into B'Dana with his fists with the battle going on behind them.

CADE:
Face it brother! Your resistance will crumble and my Empress will spread the Empire's flag the galaxy! Now where is your wife?! Where is KANA?!

Close to B'Dana, his face being pushed into the ground, looks up at Cade angrily.

B'DANA:
I'll rip out my own heart before I tell you!


CADE:
That can be arranged!

Close of Cade's fist raised and ready to strike. It is glowing.

OFF PANEL:
Goodbye brother!

Sarkon, with a cutlass, slices off Cade's arm. Cade yells. B'Dana watches on, shocked.

SARKON:
NOOOOO!

Cade is on the ground clutching his stump with Sarkon standing over him with his cutlass in hand.

SARKON:
You had it coming, Boy! Call off your goons or I will forget you were ever my son!