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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 FOUR

FADE IN:

SCENE 41
INT. CASTLE KARNAJ BEDROOM - NIGHT (CONTINUOUS ACTION)

Greystone laughs manically and makes horrible faces as he prepares to draw his sword. Ariel points and screams, near hysterics.

ARIEL

You lied to me! You weren't at my picnic!

The Evil Greystone cackles, draws his sword, and points it at her. Ariel runs for her life.

SCENE 42
EXT. CASTLE KARNAJ -- NIGHT

Marko runs in from offscreen. Trying to gain entrance to the castle, he repeatedly charges the door, grunting and slamming first his left shoulder, then his right shoulder into it, to no avail.

SCENE 43
EXT. HALL - NIGHT

Evil laughter follows Ariel as she races through the hall and down some stairs, whimpering in terror.

SCENE 44
EXT. CASTLE KARNAJ -- NIGHT

Exhausted, Marko collapses back against the door and slowly slides to a sitting position. Suddenly, the castle door swings open, dumping him inside.

SCENE 45
INT. CASTLE KARNAJ -- LIVING ROOM

He scrambles to his feet as the door slams shut. Before he can reach the door again, the steel sheet slides back down, resealing the door from the inside. He turns around to face the castle interior.

MARKO

Erik? Princess Ariel?

He begins to walk further into the room. Through some small arched windows, we see Ariel running through a hallway down the stairs toward the living room.

ARIEL

Help me!

Marko, sword drawn, yelps in surprise and turns around at the sound of her screaming.

ARIEL
(continuing)

Somebody!

Marko watches as she runs full tilt into the far end of the doorway and clutches it, panting.

MARKO

Ariel! Over here!

ARIEL

Marko! Oh, thank the gods you're here!

She begins to stagger weakly down the stairs toward him.

MARKO

Where's Erik?

ARIEL

He's . . .

Still sobbing, Ariel gestures back toward the direction she came, then stiffens as a horrible suspicion overtakes her.

ARIEL
(continuing)

Wait a minute. Are you sure you're Marko?

MARKO
(grinning and chuckling)

Well, if I'm not, some stranger used my toothbrush this morning.

Ariel slowly edges toward the fireplace.

ARIEL

I have to be sure you’re not gonna go up in smoke!

MARKO

What are you talking about?

ARIEL

You know what I'm talking about . . . weirdo!

She makes a run for the fireplace. Marko moves to intercept her there, stunned and angry at her accusation.

MARKO

Weirdo . . . me?!

ARIEL

You're going to attack me.

MARKO

Princess Ariel, I’d sooner be damned for all of eternity.

ARIEL
(jumping up and down and pointing frantically)

See! See! You’re a demon!

Ariel has backed into a position where the fireplace tools are close behind her.

MARKO

Oh, I don’t believe you’d even suggest such a thing!

ARIEL

You don't know what's gone on in here!

MARKO

All right, all right. Explain it all to me later. But right now we’ve gotta find Erik.

ARIEL
(haughtily)

You won’t like him. He's changed. Like you've probably changed.

MARKO
(exasperated)

I haven't changed at all. Come on!

He moves to go, gesturing at Ariel with his sword to indicate that she should follow him. She starts slightly at the movement of the blade.

ARIEL

All right. If you're really Marko, and I can trust you, put your sword down over there.

She points to a spot offscreen.

MARKO

All right.

Shaking his head grudgingly and rolling his eyes, he moves to comply. While his back is turned, Ariel grabs a fireplace poker and holds it behind her back. With a disgusted look, Marko tosses his sword away in the spot she has indicated, then returns to face her again.

MARKO
(at the end of his rope)

Now what?

Ariel saunters forward, keeping the poker hidden.

ARIEL
(with the air of one springing a trap)

Now, what did I have for lunch?

MARKO

I have no idea.

Ariel immediately kicks him viciously in the shin, causing him to grunt and double over in pain.

ARIEL
(screaming)

Carpacca salad, weirdo!!!

With that she pulls the fireplace poker from behind her back and hits Marko in the head, almost knocking her hat off in the process. With a second grunt of pain, he collapses face-down on the floor.

ARIEL
(continuing; to his unconscious form)

Well, come on . . . go up in smoke like the rest of ‘em.

She waits for a beat . . . nothing happens.

ARIEL
(continuing)

Oh.

She squats down beside him.

ARIEL
(continuing; in a newly heartbroken tone)

You really are Marko, aren't you?

She hears FOOTSTEPS approaching and gasps in fear.

ARIEL
(continuing)

I'll get back to you.

She gets up and runs for the stairs as the Evil Greystone’s scream echoes through the hall. She promptly turns right instead of left and runs straight into the wall.

ARIEL
(beating on the wall in frustration)

It’s the wrong way!

Sobbing, she runs the other way.

CUT TO:

SCENE 46
EXT. CASTLE BLACKPOOL - PRE-DAWN; INT. CASTLE BLACKPOOL GAME ROOM

BLACKPOOL
O.S.

Dawn is coming, Vector.

Bottle in hand, Blackpool is gazing out the window. He begins to pace. Vector is still seated at the table, his chin in his hands, staring at the game.

BLACKPOOL
continuing

They’ve gotta be dead by now.

VECTOR

Mmmmm.

BLACKPOOL

Why don't we call off this stupid game and turn in.

VECTOR

Call off the game?

Blackpool throws his head back and downs more wine directly from the bottle.

VECTOR
(continuing)

We're playing for four million kolnas and my monocle.

BLACKPOOL
(pointing at the wizard’s head)

. . . and your hat.

VECTOR
(with a nasty smile)

Of course.

BLACKPOOL
(nose wrinkling with revulsion)

You've become so serious and boring.

VECTOR

The game takes all my concentration.

BLACKPOOL
(pointing)

You're right. Have another drink. It'll sharpen your senses.

He grabs another still-corked bottle and moves to pour wine in Vector's glass. Vector places his hand over his goblet.

VECTOR

No more for me, thanks.

BLACKPOOL

Oh, come now, Vector! You know I hate to drink alone, it makes me very nasty!

He smashes the bottle open against the wall and pours, missing the glass and then overflowing it onto the table and Vector’s hand. Vector attempts to shake the liquid off his hand.

BLACKPOOL
(continuing)

Oh, I’m terribly sorry.

He sets both bottles down and proceeds to wipe the wine off the table with his hand into Vector's lap. Vector holds his hands up in a feeble protest against the drenching.

BLACKPOOL
(continuing)

A toast!

Blackpool grabs his bottle and raises it in toast. Vector reluctantly raises his goblet, still trying desperately to keep his concentration on the game.

VECTOR
(his words very slurred)

A toast!

BLACKPOOL

To a new day and a victorious one in the kingdom of Blackpool!

VECTOR
(downing the contents of his goblet)

Yes, a victorious one.

Blackpool takes another huge swig from his bottle, then breaks off, pointing eagerly at Vector, clearly hit by a wonderfully evil idea.

BLACKPOOL

Mmmm! I wanna plan some kind of an attack on the South, while they’re recovering from the death of Greystone and Ariel!

VECTOR
(staring at the game; wishing Blackpool would shut up)

Good idea.

BLACKPOOL

What if I hit them on the day of the state funeral? Delightful touch, don’t you think?

VECTOR
(his voice dripping with sarcasm)

Delightful.

BLACKPOOL

Perhaps you could . . . teach me some . . . devastating spectacle I could hurl at them with my monocle!

VECTOR

Your monocle?

BLACKPOOL
(visibly deflated)

Well, unless, of course, you . . . win it back. Then you can . . . conjure up your own spectacle.

He sits back down and pouts, drinking deeply from the bottle again.

VECTOR
(a sinister gleam in his eye as he stares at Blackpool)

Yes. I’d enjoy that.

BLACKPOOL
(plaintively, with innocent puppy dog eyes)

I hope you won't use it against me, though, Vector. You wouldn’t do a thing like that, would you?

VECTOR
(attempting to make his own innocent puppy-dog eyes)

Never, my lord!

BLACKPOOL
(sighing heavily)

Good. Well, let's finish this stupid game.

VECTOR
(trying to hide his anxiety)

It’s your move.

Blackpool sighs. As he lethargically moves one of his pieces, Vector becomes tense and wide-eyed. When Blackpool sits back, waiting for Vector’s move, Vector smiles triumphantly, leans forward, and again moves his piece up the pyramid, cackling evilly and knocking others out of the way until he sets his firmly on top.

VECTOR
(with a quiet menace)

Barkin.

Blackpool smiles faintly, blinks rapidly, and then gets unsteadily to his feet, sniffing with wounded pride.

BLACKPOOL

Good night, Vector.

Bottle in hand, he sweeps past Vector, his nose in the air. Vector reaches out toward him, smiling inanely.

VECTOR

My lord, the monocle!

BLACKPOOL
(turning back toward him)

The what?

VECTOR

The monocle! I just won the game!

Blackpool stands and stares at him for what seems like an eternity. He then slowly fingers the monocle and aims it at the table. In a humming beam of blue light, the game and all the pieces disappear, leaving only the table and wine bottles.

BLACKPOOL

What game?

Vector turns and sees what Blackpool has done. Hunched over, he stares with eyes full of hatred at the smirking Blackpool. Blackpool swirls the remaining liquid around in his wine bottle.

BLACKPOOL
(continuing)

One for the road?

Vector shakes his head "no.” As Blackpool downs the remainder of the bottle’s contents himself, Vector begins to stagger out of the room. Fumbling at the door, he pauses, glaring malevolently at the smug Blackpool.

VECTOR

I might as well tell you . . . I don't wear a hat.

He turns and exits. We HOLD ON Blackpool’s owlishly puzzled expression for a beat as he thinks about the implications of this confession.

SCENE 47
EXT CASTLE KARNAJ - MORNING; INT. CASTLE KARNAJ HALLWAY

Ariel running upstairs. At the top of the stairs she trips and falls and comes face to face with a hissing cobra on the floor. Obviously terrified, she very slowly gets up and backs away against the far wall, reaching up to grab a torch from a wall cornice. When she brings it down hard on the snake, it disappears in an explosion of smoke and thunder. Karnaj’s familiar laugh echoes around her as she runs up the stairs and into the hall.

SCENE 48
ANOTHER ANGLE

She pauses, looking around, uncertain which way to go. As she finally begins to run towards her left, she hears a voice that stops her in her tracks.

BAALDORF
(O.S.)

Ariel!

ARIEL

Daddy?

BAALDORF
(O.S.)

Yes, Ariel. In here!

She approaches the door from which the voice is echoing, and throws it open.

SCENE 49
ANGLE ON CLOSET

A decapitated Baaldorf is standing there, holding his head in one hand.

BAALDORF
(the head talking)

Hello, Ariel!

Close-up on Ariel jumping up and down and screaming as Baaldorf’s head laughs. Turning to her left, she sees something that makes her scream even more.

SCENE 50
CAMERA ANGLE FROM BEHIND ARIEL

The Evil Blackpool (isn’t that a bit redundant?) is coming at her with both sword and dagger drawn, a menacing expression on his face. Backing away, she screams hysterically, her hands pressed to her face. Suddenly the Evil Marko, laughing maniacally, sword drawn, steps out from an alcove to join Blackpool. As she continues to retreat and scream, the Evil Lattinia springs shrieking from a third alcove, dagger upraised to strike. As Ariel frantically turns around and runs in the other direction, she sees the Evil Greystone and the Evil Baaldorf approaching. Baaldorf has a knife and Greystone has a sword and a dagger. Both are giggling like homicidal maniacs. Ariel stops short, screams, and dives into a facing room, slamming the door shut.

CUT TO:

SCENE 51
STAIRWAY

Inside, there is a rickety stairway covered with cobwebs behind her. Ariel leans back against the door, trying to catch her breath.

SCENE 52
HALLWAY OUTSIDE

Greystone and Baaldorf keep coming.

The mad demons’ laughter still clearly audible, Ariel looks up at the ladder as a means of escape. She climbs it cautiously. Suddenly, unseen by her, the Evil Greystone enters the room. As she pushes against the trapdoor at the summit, Evil Greystone, still grinning and laughing, grabs her ankle through the steps. She looks down and screams, trying to tug her leg free, as the trapdoor opens above her. The real Greystone’s face appears in the opening, and he extends his hand towards her.

GREYSTONE

Here, gimme your hand.

Ariel looks up at him and gasps in astonishment, clearly not sure whether to believe he is the real Greystone, then back down at the demon Greystone tugging at her ankle.

GREYSTONE
(shouting)

Hey! Give me your hand!

She finally gives him her hand and he pulls her free from the Evil Greystone’s grip. The Evil Greystone wails in disappointment as Greystone pulls Ariel up into the tower room.

CUT TO:

SCENE 53
INT. TOWER ROOM - NIGHT

Ariel plasters herself against the wall as Greystone slams the trapdoor shut and jumps on top of it, panting.

ARIEL

Is that you?

GREYSTONE

Yes, it's me.

ARIEL

I hope so, 'cause I'm finished.

Suddenly, Greystone begins to ascend upwards as the trapdoor is pushed by the Evil Greystone.

GREYSTONE

I'm not! Stand by!

He pushes the screaming Ariel to run away and then slides off the trapdoor. The Evil Greystone slowly peers over the edge of the trapdoor, cackling insanely and making horrible faces.

The real Greystone, standing by an open window, looks at him in disgust. The camera switches to an overhead view as both men draw their swords, and Ariel huddles against the wall. As they circle each other, they whip their swords through the air in mirror-image movements. They begin to duel, their swords flashing blue sparks, grunting out battle cries. Ariel watches, obviously becoming confused as to which one is which. The two grapple in a close clench for a moment, then pull apart, with one Greystone nearly falling out the window. Their swords clash a few more times. Finally, one of them makes a mighty thrust which the other Greystone dodges. Using his attacker’s momentum, the dodging Greystone whacks his opponent the rest of the way out of the window by belting him with the flat of his sword. There is a moment of silence as Greystone leans against the window, panting. He and Ariel look at each other.

ARIEL
(almost pleading)

Erik?

GREYSTONE

Yes.

ARIEL

What happened?

GREYSTONE

You’re safe now. The demon is dead.

ARIEL

Oh, Erik!

She crosses over to him, arms extended. As she embraces him, they kiss passionately.

SCENE 54
ANOTHER ANGLE

We see Greystone slowly draw his dagger and prepare to plunge it into her back. He pulls away from her kiss and twists his face into an evil expression. With a puff of smoke and a crash of thunder and lightning, Evil Greystone turns into a leering, laughing Karnaj.

ARIEL
(screaming)

Karnaj!

Suddenly, his face contorts in pain and he disappears in another puff of smoke. As the smoke clears we see the real Greystone, half in the window, holding his knife where it has plunged into Karnaj's back.

ARIEL

Oh, Erik!

After he climbs the rest of the way in the window, grunting with effort, they kiss and embrace passionately. Ariel's hat falls off again. Greystone finally breaks off the kiss, cradling her in his arms.

GREYSTONE

Ariel, I hate to spoil this moment, but . . . there’s something I have to tell you.

ARIEL
(looking apprehensive)

What?

GREYSTONE
(clearly in pain)

You’re standing on my foot!

Ariel frowns, thrown by this non sequitur.

SCENE 55
ANGLE ON TRAPDOOR

It CREAKS open slowly.

SCENE 56
BACK TO SCENE

They prepare for the worst.

SCENE 57
ANGLE ON TRAPDOOR

It opens all the way and a panting Marko comes up and rests his elbows on the trapdoor. For a second, nobody is sure. Then Marko flashes one of his patented weary looks, and Greystone and Ariel visibly relax, exhaling in relief.

MARKO

Listen, I just killed Blackpool, the King, the Queen . . . and myself. Did I do the right thing?

SCENE 58
BACK TO SCENE

Greystone and Ariel giggle and embrace, as we:

FADE OUT.

THE END

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