Ariel and Erik in Night of Terror (4_18)

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Transcripts

1. The Unicorn of Death
2. The Kidnap
3. The Rescue
4. Night of Terror
5. Skies of Death
6. Caverns of Chaos
7. The Dungeon of Death
8. Vulkar's Revenge
Unfilmed - The Games

Episode Four
Night of Terror

Act 1
Act 2
Act 3
Act 4
Script Act 1
Script Act 2
Script Act 3
Script Act 4

Night of Terror

Written by Bill Richmond


 

ACT TWO

FADE IN:

SCENE 18
EXT. SHOT OF BLACKPOOL CASTLE - DARK

As camera closes in on the forbidding castle exterior, we hear a knock.

BLACKPOOL
(O.S.)

Come!

 

SCENE 19
INT. BLACKPOOL CASTLE GAME ROOM

Vector enters, closes the door, and stands in front of it with a look of satisfaction.

VECTOR

Your Highness.

DIRK BLACKPOOL is standing behind a writing desk, scratching away with a quill at a sizable ledger.

BLACKPOOL
(impatient)

Yes, Vector?

Vector crosses over to Blackpool as he answers.

VECTOR

I hope Iím not interrupting.

BLACKPOOL

I was just adding a name to my list of enemies.

VECTOR

I trust my name is not in that book.

Blackpool shuts the book firmly.

Dirk Blackpool (4_21)

BLACKPOOL
(in a shocked, hurt tone)

Your name? In this book? Of course not.

VECTOR

Iím relieved.

BLACKPOOL

This book only covers A through E.

Vector's smile fades as the threat sinks in.

BLACKPOOL
(continuing)

Now, was there something you wanted, or did you just come here to interrupt my relaxation?

VECTOR

I thought a small celebration might be in order. Greystone and Ariel are dead.

BLACKPOOL
(voice breathier than usual with excitement)

What are you saying?

VECTOR
(with malevolent glee)

They are sealed inside the Castle Karnaj.

Blackpool walks around from behind the writing desk to face Vector.

BLACKPOOL

Then one of them must have killed something.

VECTOR

Yes, the brazen lamebrain with the blonde hair.

BLACKPOOL

Well, that could be either one!

VECTOR

I'm speaking of Ariel. She killed a small gitch, and I hasten to add, no one has ever come out of that castle alive!

BLACKPOOL

Are you absolutely sure there's no way out?

VECTOR

Positive! They will die the death of the damned.

BLACKPOOL
(voice trembling with joy)

Meaning?

VECTOR

They will be killed by friend and enemy alike, coming at them from all directions. It will be a night of terror which will follow them through all eternity! The wrath of Karnaj is that of a murderous beast.

BLACKPOOL

Oh, I like him. I like him, Vector! Letís have some wine. Come on!

Smirking and gloating to beat the band, Blackpool turns and grabs a bottle of wine and two goblets from the sideboard, handing one to Vector. He fills both goblets.

BLACKPOOL
(continuing; toasting)

To you, Vector. To you, and to Greystone, and to Ariel . . .

Blackpool sets the bottle down and raises his glass. He is panting with exhilaration.

BLACKPOOL
(continuing)

. . . may they never rest in peace!

He downs his glass. Vector sniffs the bouquet of the wine, then sips.

BLACKPOOL
(continuing; noticing)

Oh, come now, Vector, if we're going to celebrate, let's celebrate!

He tops off Vectorís glass and refills his own.

BLACKPOOL
(continuing)

We'll drink 'til dawn.

He holds up his glass in another toast. It is obviously a challenge, and Vector, nodding slightly, raises his own glass in acceptance. As their glasses chink together, we . . .

CUT TO:

 

SCENE 20
EXT. SHOT of CASTLE KARNAJ, DAY; INT. OF CASTLE KARNAJ

Greystone, grunting and panting, is frantically trying to knock down the steel sheet covering the front door, but to no avail. Hands on hips, Ariel is waiting in a state of petulant terror.

ARIEL

If you don't get us out of here at once, you're gonna be in big trouble with my Daddy!

GREYSTONE
(turning to Ariel, exasperated)

Ariel, forget that. We are in big trouble right here.

There is a maniacal LAUGH from somewhere.

GREYSTONE
(continuing)

I mean, big trouble.

ARIEL
(near tears)

There must be another way out of here.

GREYSTONE

Nobodyís found it yet.

He grasps her by the shoulders and looks intensely into her eyes.

GREYSTONE
(continuing)

But if there is a way, I'll find it. Come on!

Holding her hand, he starts running to the other side of the room. As they near the chest that they uncovered before, they hear FAINT, SCRATCHY ANIMAL-LIKE SOUNDS.

ARIEL

What's that?

GREYSTONE

It's coming from the chest.

He readies himself to draw his sword.

ARIEL

The chest is empty, remember?

She opens the chest. Greystone has no time to stop her.

GREYSTONE

No!

The chest is oozing with spiders. There is a loud, ROARING LAUGH. She screams repeatedly.

 

SCENE 21
ANGLE ON PICTURE OF KARNAJ

The camera zooms in for a close-up on the face of the painting as the EVIL LAUGHTER intensifies.

 

SCENE 22
BACK TO SCENE

Ariel is still screaming and jumping up and down as Greystone slams the lid closed on the chest.

GREYSTONE

Get the chair, Iíll put it on top! The chair!

She goes to grab one of the covered chairs and pulls the sheet off of it, revealing a skeleton sitting there. She resumes screaming and hopping up and down uselessly, pointing at the skeleton. Grunting with effort, Greystone grabs another chair and puts it on the chest as she follows close behind, clutching at his arm for protection.

GREYSTONE

Come on!

They race across the room towards a door. Greystone stops short, yanking Ariel behind him, when they hear THUMPING and a DEEP, MUFFLED, DISTANT VOICE behind the door, calling out the name "Erik Greystone." As Ariel clutches his arm, Greystone draws his sword.

GREYSTONE

Stay here.

Keeping Ariel in back of him for protection, Greystone cautiously advances on the door, then abruptly jerks it open, prepared for anything. Ariel gasps. In back of the door is a wall of bricks with the VOICE and THUMPING still going on behind it.

ARIEL

Whose voice is that?

GREYSTONE

I can't tell yet. Maybe it's a friend! Maybe itís a way out!

ARIEL

Maybe it's a trick! Erik, I'm getting scared!

GREYSTONE

Now, take it easy. I'll get us out of here. But first, I've got to get through those bricks.

She nods. He jerks his elbow back to take a stab at the bricks, but finds his swing impeded by Ariel, who is still firmly velcroed to his sword arm. Clearly losing patience, he turns toward her once more.

GREYSTONE

Ariel, I like having you close to me Ė

ARIEL
(dreamily)

You have the prettiest eyelashes.

GREYSTONE

Thanks. But donít you think you should give me a little more room to work?

ARIEL
(gasping in realization as she releases his arm)

Sorry.

GREYSTONE
(waving her away; talking to her as if she is a very small child)

A little bit more. Go on! Go on, go on, go on, go on! Take giant steps! Come on!

She backs away, hands twisting anxiously, swaying cutely from foot to foot like an abashed little girl. She finally stops in front of the closet door.

GREYSTONE
(continuing)

Still scared?

ARIEL

I guess not.

GREYSTONE

Good.

With a sudden scream of effort, he explodes into action, stabbing and hacking at the bricks with his sword. Ariel stands watching his manly display admiringly. In back of her, the camera closes in on the closet doorknob, which slowly turns. The door opens with a creak. A skeleton, wearing the tattered coat from the previous scene, glides out and places its bony arms around Arielís shoulders. Completely oblivious, Greystone continues grunting and hacking away at the bricks. With a look of mute horror, she passes out.

Ariel Baaldorf (4_25)

CUT TO:

 

SCENE 23
EXT. BAALDORF CASTLE; INT. BAALDORF CASTLE - DINING ROOM - NIGHT

LATTINIA
(O.S.)

I'm getting worried. It's almost dark.

The camera angles in from outside the window. The dishes have been cleared, and the servant is leaving the room. Baaldorf is sitting at the table, looking at Lattinia, who is nervously looking out the window. As he speaks, he rises from his seat and crosses over to stand beside her at the window.

BAALDORF

Oh, Lattinia, now what are you worried about?

LATTINIA

I'm worried about something happening to Ariel.

BAALDORF
(sighing heavily and peering out the window)

She's out after dark on a picnic with a guy who happens to be about the greatest looking prince in history. Now, you oughtta worry if nothingís happening to Ariel.

LATTINIA

Edwin, Iím serious! It's not like either one of them to stay out this long.

He reaches out and puts his arms around her romantically.

BAALDORF

Well, you and I used to stay out late sometimes too, remember?

LATTINIA
(warmly)

I sure do.

They move to kiss. There is a KNOCK at the door. They break off the almost-kiss and turn to face the door, Lattinia smoothing out her gown, as the camera cuts from outside the window to inside the room.

BAALDORF
(annoyed)

Enter!

 

SCENE 24
ANGLE ON DOOR

MARKO comes in looking worried.

MARKO
(bowing on one knee)

Your Highness! A thousand pardons for interrupting, sire.

BAALDORF
(in a long-suffering tone)

Oh, thatís all right, Marko. Get up.

Marko rises and approaches a few steps towards them.

BAALDORF
(continuing)

Whatís the problem?

MARKO

It's Prince Greystone. I don't know where he is.

BAALDORF

Oh, he's on a picnic with Ariel. Probably doesn't need you.

He places one arm around Lattinia.

MARKO

Well, sire, he was supposed to make a presentation of the Medal of Valor for Bowman Treacher.

BAALDORF

Well, Treacheríll just have to get his medal some other time.

He casts an amorous glance at Lattinia.

BAALDORF
(continuing)

Itís love makes the world go 'round, not bravery.

MARKO

It was a posthumous medal, sire, to be given to his widow. Iím sure Erik wouldn't be late for something like that.

LATTINIA

He's right, Edwin.

Baaldorf sighs at her paranoia.

LATTINIA
(continuing)

Well, I say something's happened to those two.

Suddenly, a barking Woje runs into the room and does a whining little dance on his hind legs in front of Marko.

LATTINIA
(continuing)

Woje!

She hurries over to Marko and the dog anxiously, Baaldorf close behind.

MARKO

Here, I'll find out what's wrong.

He picks up the dog and cuddles it close to his cheek.

MARKO
(continuing)

All right, Woje, whereís Ariel?

(beat; Marko tilts his head as if listening to the dog)

What?

(beat; gasp)

Mommy is wost?

Lattinia moans in panic, clutching at Baaldorf.

MARKO
(continuing; beat)

In a scarwy cassow?

(beat)

Karnaj???

BAALDORF

Castle Karnaj!!

Edwin Baaldorf (4_30)

LATTINIA

Wha- wha- What is it, Edwin? What does that mean?

BAALDORF

I'll tell you in a minute. Marko!

MARKO

I'm on my way, sir.

He sets down the dog, turns, and rushes out the door.

BAALDORF

May the gods go with you.

He and Lattinia embrace, looking at one another in open alarm.

CUT TO:

 

SCENE 25
INT. BLACKPOOL CASTLE GAME ROOM - NIGHT

Blackpool, facing the camera, is retrieving a wine bottle and his goblet from a sideboard upon which various decanters are aligned. Vector is sitting behind him at a game table upon which is a purple pyramid-type of a game with steps all around it. There are several chess piece-type sticks of different neon colors lined up beside the board. The top of the board is squared off so that it should be fairly obvious that the object of the game is to work the pieces in moves up to the top, the first one doing so being the winner. There is a wine bottle next to Vector already.

BLACKPOOL

Barkin, heh. You want to play *me* for Barkin? You know, Iíve never been beaten.

As he speaks, he crosses over to the table.

VECTOR

Well, in that case, perhaps you donít mind playing for a little something. Or would you rather play for fun?

Blackpool sits down heavily, setting the bottle on the table with an audible clunk.

BLACKPOOL

Fun? I don't do anything for fun.

He says "fun" like he's spitting out chicken bones.

VECTOR

What about when you were a little boy?

BLACKPOOL
(smiling cutely and waxing happily nostalgic)

Do you know, I -- I used to tie my brother Geoffreyís feet up, and hang him upside down from the North Tower until he passed out.

Vectorís eyes widen and his cheek twitches a bit in a forced smile.

BLACKPOOL
(continuing)

That was fun.

Blackpool moves to sip from his goblet, then pauses, struck by a sudden thought.

BLACKPOOL
(continuing)

What about you, Vector? What do you do for . . . fun?

VECTOR
(pausing in the act of drinking from his own goblet)

Well, I get a certain amount of pleasure thinking about Greystone and Ariel dying in that castle, but for sheer fun . . . . Why, I like to . . .

Blackpool waits expectantly, a small, encouraging smile on his lips.

VECTOR
(continuing)

Sometimes I . . .

Vector trails off, at a loss. Blackpoolís expression falters into one of tired disgust, and the moment of bonding is abruptly over.

BLACKPOOL

Never mind. Let's just play.

VECTOR
(setting down his goblet)

Mmm. Shall I go first?

BLACKPOOL
(setting down his own goblet)

Mmm. Be my guest.

Vector picks up a game piece to make a move, then smirks evilly, fondling the stick and watching Blackpool out of the corner of his eye. With a small flourish and an audible thump, he sets it in place on the steps of the game board. Blackpool sighs loudly and takes a long draught of wine. As his attention is distracted, Vectorís face assumes an eager, shifty look, his hand darts out, and he relocates his game piece to the summit of the board. Blackpool gulps down the remainder of his wine, sets the goblet down, and stares, nonplussed, at the new configuration of the board.

VECTOR
(smirking wickedly and raising his eyebrows in triumph)

Barkin.

BLACKPOOL
(in a tone of weary contempt)

Are you going to play Barkin, or are you going to fool around?

VECTOR
(his face falling)

I was just having some . . . fun.

Sullenly, Vector returns his game piece to the proper level as we . . .

CUT TO:

 

SCENE 26
INT. CASTLE KARNAJ - NIGHT

Carrying the skeleton with one arm and Ariel with the other, Greystone staggers over to the closet, dumps the skeleton inside, and slams the door shut. He carries Ariel over to a chair, where he makes her comfortable. She's out cold. Kneeling in front of her, he begins to rub her hands.

GREYSTONE

Ariel! Ariel! Címon, wake up, now! Ariel! Wake up!

She opens her eyes, stares at him blankly for a moment, and then starts to shriek bloody murder.

GREYSTONE
(continuing; he jumps, startled, at the outcry)

Ariel -- Itís okay, itís okay . . . it's all right, itís all right. It's okay.

ARIEL
(in a tearful squeak)

Oh, Erik, I don't think I can take much more of this.

GREYSTONE
(with intense sincerity)

I wonít let anything happen to you, believe me.

ARIEL

You mean, besides spiders and falling dead people?

GREYSTONE
(with a trace of amusement)

I'll be more alert from now on.

ARIEL

I'd appreciate it. Maybe I should hold your dagger for protection.

GREYSTONE
(in a tone of patronizing encouragement)

Good idea!

He hands her the dagger.

GREYSTONE
(continuing)

Now, Iíve gotta get back to those bricks. Don't move.

He shakes his finger at her to emphasize his words.

ARIEL

Don't worry.

She shakes the dagger back at him in imitation of his gesture, narrowly missing stabbing him in the face. He jerks his head back, grabs the dagger, and holds it still.

GREYSTONE

All right.

He grins and gets back up, returning to the door. The bricks have been completely cleared away from the top three-quarters. He presses one ear against the door.

GREYSTONE
(continuing)

I still hear somebody scratching on the other side of the door!

ARIEL

Maybe itís somebody trying to rescue us.

GREYSTONE

I hope you're right.

Greystone draws his sword again, using it to pry away the remaining bricks. Ariel occupies herself by toying with the dagger. Soon, she starts cleaning her nails with it. Suddenly, the suit of armor just around the corner from her chair stirs, raising its axe and approaching her with stiff, mechanical steps. The armor stops to the left of the chair, raising its axe high for the death-blow. As the oblivious Ariel continues playing with the knife, she accidentally drops it.

ARIEL

Oh, blast.

She leans forward out of the chair to pick it up, just as the suit of armor swings an axe down and through the chair where she's been sitting, shattering it to smithereens. She screams, hopping up and down and pointing at it with her knife. Greystone immediately turns and leaps across the room. With one mighty blow, he knocks the head off the suit of armor. It is empty, and the suit collapses to the floor with a clatter. There is another lightning bolt and clap of THUNDER, followed by EVIL LAUGHTER from somewhere, as the camera zooms in for a close-up on the portrait of Karnaj. Ariel flings herself at Greystone, clutching his arm tightly, the dagger still held --wrong side up -- in her hand. Then Greystone hears the name ďErik GreystoneĒ BEING CALLED from behind the bricks. The sepulchral voice is much louder now. He takes the dagger from Arielís hand and returns it to the hilt of his sword.

ARIEL
(in a tearful squeak)

I'm afraid!

GREYSTONE

I have to open it. It may be the only way out.

He grasps her hand comfortingly.

ARIEL

All right, but I'm gonna close my eyes.

GREYSTONE

You do that.

He moves to return to the door, but is immediately brought short, since Ariel left his arm looped through hers when she pressed her hands over her eyes. Clenching his teeth, he yanks his arm free with considerable effort, then gives it a quick shake to restore circulation. Guiding Ariel by the elbow, sword at the ready, he brings her with him over to the door as she whimpers softly.

GREYSTONE
(continuing, with a deep breath)

Okay. Here goes.

He pulls open the door as Ariel peeks out from between two of her fingers. Marko stands there in the dark doorway, smiling broadly.

Marko (4_39)

GREYSTONE
(continuing; joyfully)

Marko!! Thank the gods.

ARIEL

Oh, Marko . . . we thought we were finished!

Marko smiles a little more, then raises his sword and leaps out at Greystone and Ariel with the most fiendish look ever seen on the face of a man. Thunder and lightning flash as we:

FADE OUT.

 

END OF ACT TWO

 

Act 3

 


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