Vector in Night of Terror (4_54)

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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

Copies of this draft script can be purchased at Script City for $9.99/each.

 

GREYSTONE'S ODYSSEY

Night of Terror

Written by Bill Richmond

 

Second draft - September 9, 1982
1982 WARNER BROS.  INC
All Rights Reserved


We have altered the original format for ease of reading.

ACT ONE

FADE IN:

SCENE 1
EXT. FOREST - DAY

In a beautiful unspoiled clearing, GREYSTONE and ARIEL are preparing for a picnic. Greystone, looking thoroughly ill at ease, is carrying a picnic basket in one hand and Ariel's tiny beribboned poodle in the other.

ARIEL

This is perfect, right here. Only over in the shade. I hate the sun. It makes your skin old and wrinkled. Squinting makes wrinkles, too. That's why you never see me squint. If somebody says something I don't understand, I never say . . .

(squinting)

. . . what do you mean? I always say . . .

(forcing her eyes wide open)

. . . what do you mean?

GREYSTONE

I don't like it here, Ariel.

ARIEL

Why? It's beautiful, and no crowds. I hate crowds. There are always people with colds and germs.

GREYSTONE

It's creepy around here.

ARIEL

Now, you aren't going to start that baloney about the legend again, are you?

(to dog; baby talk)

Big, stwong Gweystone is afwaid of ghosts and gobwins, isn't he, Woje?

Greystone gives the dog a disdainful look as she chucks it under the chin.

GREYSTONE

We are on the grounds of Castle Karnaj. In fact, it's just through those woods there.

ARIEL

So?

GREYSTONE

Things have happened in there you don't want to know about.

She takes tablecloth from the basket and begins spreading it out on the ground.

ARIEL
(maybe it's something juicy)

Like what?

GREYSTONE

Like people turning into wild beasts.

ARIEL

Oh, my. Why don't you open the wine and tell me more.

Greystone puts the dog down and takes the wine from the picnic basket as Ariel continues to lay out the rest of the food.

GREYSTONE

Let's talk about the food. It looks terrific. Did you fix it?

ARIEL

Of course not, silly. I don't even know where the kitchen is.

GREYSTONE

You told them what to make.

ARIEL

Yeah, I said make us a picnic.

GREYSTONE

Well, you set a nice table.

ARIEL

You're going to clean up the mess, aren't you?

GREYSTONE

Sure.

ARIEL

Hey, you're not disappointed, are you? I mean, you're not one of those clowns who thinks his wife should cook and clean and all that junk, are you?

GREYSTONE

Just a fleeting thought.

He pours the wine and holds his glass up.

GREYSTONE
(continuing)

To us.

ARIEL

To us.

She toasts and continues on.

ARIEL
(continuing)

That's what servants are for. I figure my job is to look pretty and desirable for my husband. If you wanted your wife to do all that other stuff, why not marry one of those blowsy barmaids from Dunfirm Tavern . . . The ones your brother is always chasing after.

Greystone looks off silently . . . thinking about that.

ARIEL
(continuing)

Right?

GREYSTONE
(coming back)

Right. Pass the carpacca salad.

ARIEL

Not yet. I wanna hear about the wild parties in that house.

GREYSTONE

They weren't wild parties. They were terrible things.

ARIEL

I'll be the judge.

CUT TO:

 

SCENE 2
INT. BAALDORF CASTLE DINING ROOM - DAY

KING BAALDORF and LATTINIA are dining alone.

BAALDORF

Pass the mashed carpaccas.

LATTINIA

Why don't you finish what's in your beard?

BAALDORF
(wiping his mouth with his napkin)

Very funny.

LATTINIA

Well, you should be more concerned with your appearance.

BAALDORF

Vanity is not one of my vices. Besides, what's wrong with the way I look?

LATTINIA

Well, you could lose a little weight. It would make you look so much younger.

BAALDORF

Look at it this way. The older I look, the younger you look.

LATTINIA

You do have a point.

BAALDORF

Besides, my sweet, there's still a lot of fire in the furnace.

LATTINIA

Yes, I've seen that fire in your eyes when you look at the upstairs maid.

BAALDORF

Only thinking of you, my love.

LATTINIA

Sure, sure.

BAALDORF

Why isn't Ariel eating with us?

LATTINIA

She's on a picnic with Greystone.

BAALDORF

Ariel? Out in the daylight?

LATTINIA

She'll stay in the shade. She hates wrinkles as much as I do.

BAALDORF

I don't mind them. The ones around your eyes give you character.

LATTINIA
(forcing her eyes wide open)

What do you mean?

BAALDORF

Ah, dear Lattinia, you shouldn't be so concerned with age. After all, you could be a grandmother soon.

LATTINIA

Not too soon, I hope. Besides, I don't mind getting older, I just mind looking older.

Baaldorf gets up and crosses to the back of her chair and kisses her on the cheek.

BAALDORF

You will always look young and beautiful to me.

LATTINIA

Edwin, please . . . my hair.

BAALDORF

So much for the fire in the furnace.

LATTINIA

There's a time and a place for everything. Finish your food.

BAALDORF

It doesn't taste too terrific. Did you cook it?

LATTINIA

Really, Edwin . . . me, in the kitchen?

BAALDORF

Sorry, I lost my head there for a moment.

He sits back down at the table.

BAALDORF
(continuing)

So Ariel and Greystone are out in the woods fooling around.

LATTINIA

I didn't say that. They are on a picnic.

BAALDORF

When you and I used to go on picnics . . .

LATTINIA
(cutting him off)

Alright, alright. They're such a lovely couple. They'll live here in the castle with us, you know. I've already discussed it with Ariel. We'll remodel the east wing. I figure we can make that monstrous old banquet hall into two master bedrooms . . . one for him and one for her.

BAALDORF

Like ours.

LATTINIA

Right. It's quiet there, too, so she can have her naps in the afternoon. You know how I feel about being disturbed during my afternoon nap.

BAALDORF

Do I.

LATTINIA

And with her here all the time, we can still shop together every day. Oh, it's all so exciting, I can hardly wait.

Baaldorf lifts his wineglass in a toast.

BAALDORF

To the happy couple . . . you and Ariel.

CUT TO:

 

SCENE 3
EXT. FOREST - DAY

Greystone is holding a mirror for Ariel, who is fixing her hair, as they continue their discussion of the legend of Karnaj.

ARIEL

And no one has ever come out of Castle Karnaj alive?

GREYSTONE

Not if they killed anything in there.

ARIEL

Boy, Old Karnaj must have like that pet spider of his a lot.

GREYSTONE

He supposedly loved all living things, but when somebody killed that spider, he went bananas.

ARIEL

And he put a curse on the castle.

GREYSTONE

Right. That's why you never see anybody in these woods. Nobody wants to be near the place . . . especially after dark.

Ariel turns to see Woje eating out of the picnic basket. She grabs him and pulls him over in front of the mirror that Greystone is still holding.

ARIEL
(baby talk to dog)

Now wook what you've done, you bad wittow boy.

She makes Woje look in the mirror.

ARIEL
(continuing)

You got carpacca salwed on your wittow nose-nose.

She takes a napkin and wipes Woje's nose. The dog doesn't like it and takes off into the woods.

ARIEL
(continuing)

Woje!! Come back here!

(to Greystone)

He's running away. Get him.

Greystone runs off into the woods.

GREYSTONE

Woje!

 

SCENE 4
ANOTHER ANGLE

Greystone chases the dog through the woods. In contrast to his usual dashing expert style, he looks totally out of place as he slips and slides around trees, tripping over fallen branches, and making diving lunges at the running animal. Even his faithful sword gets in his way in this mad chase.

GREYSTONE

Come here . . .

(looking around for Ariel)

. . . you little mutt.

ARIEL (O.S.)

Woje . . . here, Woje . . . come to Mommy!

 

SCENE 5
ANOTHER ANGLE

The dog has come to a clearing and stopped. Greystone sneaks slowly up to him, and after a beat, makes one grand, diving grab. The dog runs TOWARD CAMERA as Greystone misses and then looks up. We see his horrified expression as we:

CUT TO:

 

SCENE 6
HIS POV

There is the Castle Karnaj, forbidding and ghostly. Woje is running toward it.

 

SCENE 7
ANGLE ON BUSHES

Well hidden nearby, we see only the face of VECTOR, smiling and silently guiding the dog along by pointing his finger at him.

 

SCENE 8
ANOTHER ANGLE

Ariel, who has seen the dog heading for the castle, comes running out of the woods chasing him.

 

SCENE 9
ANGLE ON GREYSTONE

GREYSTONE

Ariel! Don't! I'll get him.

 

SCENE 10
ANGLE ON CASTLE - DAY

The front door CREEKS [sic] open and the dog runs in, followed by Ariel and then Greystone.

 

SCENE 11
INT. CASTLE KARNAJ - DAY

They are in a great hall . . . obviously abandoned for centuries, where imminent horror and death seem to literally permeate the foul, dank air, and ooze from the walls. There are cobwebs everywhere and furniture covered with rotting gray cloth. Several suits of armor stand at attention around the room. Stairs lead up to some unimaginable place. Over the huge fireplace is a dusty painting of a man, bearded and menacing, with eyes that pierce one's soul. Karnaj. Greystone and Ariel stop short in the middle of the room and take it all in. The dog is nowhere to be seen, and is momentarily forgotten by his two stunned pursuers.

ARIEL

Oh, my!

GREYSTONE

Ariel, I'm not the smartest guy in the world, but I know this is not a good place to be.

ARIEL

It is kinda spooky. But I bet it would be nice all fixed up.

GREYSTONE

Please, don't even suggest it.

ARIEL
(indicating painting)

That must be old what's-his-name.

GREYSTONE

Karnaj.

ARIEL

Right. He sure was a funny looking old creep.

GREYSTONE
(to painting)

Only kidding. She didn't mean it, friend.

ARIEL

Oh, Erik, don't be so silly.

GREYSTONE

Okay, but let's go. I've . . . ah . . . got to get a haircut.

ARIEL

I'll bet there's some fabulous antiques under some of these covers.

She pulls one off to reveal a lovely old carved table.

ARIEL
(continuing)

See. Isn't that beautiful?

GREYSTONE

Ariel, will you leave things alone?

She crosses to a door and opens it.

ARIEL

A closet. There are even some old clothes in it.

She reaches in and pulls out an old, tattered, jeweled coat and holds it up for Greystone.

ARIEL
(continuing)

The guy dressed pretty fancy.

GREYSTONE

Yeah, well, they say he was a musician.

She puts it back and closes the door.

ARIEL

Well, he must have been weird. What kind of a guy plays with spiders?

GREYSTONE
(to painting)

She likes spiders. So do I.

She crosses to another area and pulls the cover off an old chest.

ARIEL

Look at this.

GREYSTONE

Don't open it.

ARIEL

Why not? It may be filled with jewels.

She lifts the lid. It is empty.

GREYSTONE

I guess he took 'em with him.

ARIEL

Look at that.

She points to what appears to be a covered high back chair.

GREYSTONE

A chair.

ARIEL

But look at the size of it. I'll bet it was the old guy's throne.

She crosses to it and pulls off the cover. There is nothing under it. They are both startled. Greystone quickly draws his sword.

ARIEL
(continuing)

Did you say he was a musician or a magician?

GREYSTONE

We're getting out of here . . . now.

ARIEL

Okay, okay, but I think you can put your sword away, unless you plan on killing one of the other chairs.

Greystone puts his sword away.

GREYSTONE

Where's the dog?

ARIEL

Don't call Woje a dog. She's my wittow baby darwing.

GREYSTONE

Well, get your wittow baby darwing and let's get our wittow behinds out of here.

Ariel shoots him a look and calls the dog.

ARIEL

Woje, come here, baby.

The dog comes from somewhere.

ARIEL
(continuing)

You bad wittow girwl.

(to painting)

So long, gramps. You got a weird place here.

GREYSTONE
(to painting)

What a joker, huh?

(to Ariel)

Come on, and be careful. Don't step on anything.

ARIEL

Like what?

GREYSTONE

Like bugs or spiders . . . don't kill anything.

ARIEL

Oh, don't start with that stuff again.

GREYSTONE

Okay, okay.

ARIEL

Come on Woje.

(to Greystone; mockingly)

Bugs or spiders . . . ouch!!

Something bites her on the back of the neck and she hits it with her hand. There is a blinding flash of lightning and a deafening CRACK of thunder.

 

SCENE 12
ANGLE ON PAINTING

We are CLOSE ON the face of Karnaj lit by the lightning.

 

SCENE 13
BACK TO SCENE

The dog bolts and runs out the front door. Greystone takes Ariel's hand and pulls her quickly toward the door. They almost make it, but at the very last second there is another flash of lightning and the door SLAMS shut. Greystone pulls it open and there is a gleaming steel sheet covering the door. Then in quick succession, we see similar steel sheets SLAM down over the windows. Greystone runs frantically to each one but in each case is too late. As Greystone and Ariel look at each other, we hear a cacophony of terrifying SCREAMS and LAUGHTER from every corner of the castle.

 

SCENE 14
OUTSIDE CASTLE KARNAJ - DAY

Vector, outside the castle watching, as it seals itself. He laughs and vanishes.

FADE OUT.

 

 

END OF ACT ONE

 

Script Act 2

 


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