Erik Greystone in Night of Terror (4_33)

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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 TWO

FADE IN:

SCENE 14
INT. BLACKPOOL CASTLE GAME ROOM - NIGHT

We are CLOSE ON DIRK BLACKPOOL as he sits at a table, holding his hand over the flame of a candle. Beads of sweat pour from his forehead. He is obviously in pain, but manages a sinister smile throughout the ordeal. There is a KNOCK at the door. Without changing his expression, he responds:

BLACKPOOL

Come in.

 

SCENE 15
WIDER ANGLE

Vector enters and crosses to Blackpool.

VECTOR

Your Highness.

BLACKPOOL

Yes, Vector?

VECTOR

Are you alright?

BLACKPOOL

Of course. Why do you ask?

VECTOR

Your hand . . . you are holding it over a flame.

BLACKPOOL

Your powers of observation astound me.

VECTOR

But the pain must be unbearable.

BLACKPOOL

Almost unbearable. When it becomes unbearable, I will do something about it.

VECTOR

Pull your hand away?

BLACKPOOL

No, kill myself. Weakness is intolerable to me.

He crushes out the flame with his hand.

BLACKPOOL
(continuing)

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

VECTOR

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

BLACKPOOL

What are you saying?

VECTOR

They are sealed inside the Castle Karnaj.

BLACKPOOL

Then one of them must have killed something.

VECTOR

Yes, the brazen lamebrain with the blonde hair.

BLACKPOOL

That could be either one.

VECTOR

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

BLACKPOOL

Are you absolutely sure there's no way out?

VECTOR

Positive, Your Highness, and I might add, they will die the death of the damned.

BLACKPOOL

Meaning?

VECTOR

They will be killed by friends and enemies alike, coming at them from all directions. It will be a night of terror that will stay with them through eternity. The wrath of Karnaj is the work of a murderous savage.

BLACKPOOL

I like him. Open the wine!

Vector gets a bottle of wine and struggles with the cork. Blackpool watches him, amused, then takes the bottle gracefully and extracts the cork with the skill of a wine steward. He pours it into two goblets.

BLACKPOOL
(continuing; toasting)

To you, Vector, and to the end of Greystone and Ariel . . . may they never rest in peace.

He downs his glass. Vector sips.

BLACKPOOL
(continuing; noticing)

Oh, come now, Vector, if we're going to celebrate, let's celebrate. We'll drink 'til dawn.

It is obviously a challenge, and Vector, smiling, accepts it and downs his drink. As Blackpool pours another, we . . .

CUT TO:

 

SCENE 16
INT. CASTLE KARNAJ - NIGHT

Greystone is frantically trying to knock down the steel sheet in the front door, but to no avail.

ARIEL

If you don't get us out of here at once, you're going to be in big trouble with my father.

GREYSTONE

Ariel, forget that. We're in giant trouble right here.

There is a deafening SCREAM from somewhere.

GREYSTONE
(continuing)

I mean, giant, giant trouble.

ARIEL

There must be another way out of here.

GREYSTONE

Nobody found it yet. But if there is a way out, I'll find it. Come on.

He starts crossing to the other side of the room. As they near the chest that they uncovered before, they hear FAINT, SQUEAKY ANIMAL-LIKE SOUNDS.

ARIEL

What's that?

GREYSTONE

It's coming from the chest.

He draws his sword.

ARIEL

The chest is empty, remember?

She opens the chest. It is oozing with spiders. There is a loud, ROARING LAUGH. She screams.

 

SCENE 17
ANGLE ON PICTURE OF KARNAJ

It glows, and two shafts of flame shoot out from the eyes.

 

SCENE 18
BACK TO SCENE

Greystone slams the lid closed on the chest.

GREYSTONE

Hand me that chair to put on top of it.

She goes to grab one of the covered chairs and pulls the sheet off of it. There is a skeleton sitting there. She screams and runs to Greystone. He grabs another chair and puts it on the chest. They continue across the room, where they hear SCRATCHING from behind a door. Greystone places Ariel in back of him for protection and then cautiously opens the door, prepared for anything. In back of the door is a wall of bricks with the SCRATCHING still going on behind it. We hear a MUFFLED, DISTANT VOICE calling out the name "Greystone."

GREYSTONE
(continuing)

I've got to get through these bricks.

ARIEL

Whose voice is that?

GREYSTONE

I can't tell. Maybe it's a friend. Maybe this is 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.

He starts digging at the bricks with his sword.

 

SCENE 19
ANOTHER ANGLE

Ariel is watching him while, in back of her, we see the doorknob of the closet which she opened in the previous scene slowly turning.

ARIEL

How're you doing?

GREYSTONE

Gaining on it.

Ariel has gotten as close to him as she can.

GREYSTONE
(continuing)

I like having you close to me, but maybe you'd better give me a little more room to work.

ARIEL

Sorry.

She backs away so that the closet door is now between her and Greystone.

GREYSTONE

Still scared?

ARIEL

I guess not.

GREYSTONE

Good.

At the moment, the closet door opens and a skeleton, wearing the tattered coat from the previous scene, falls out right on top of Ariel. Her scream almost takes the plaster off the walls.

CUT TO:

 

SCENE 20
INT. BAALDORF CASTLE - DINING ROOM - NIGHT

The dishes have been cleared. Baaldorf and Lattinia are sipping brandies. Lattinia is nervously looking out the window.

LATTINIA

Edwin, I'm getting worried. It's getting dark.

BAALDORF

Lattinia, what are you worried about?

LATTINIA

I'm worried about something happening to Ariel.

BAALDORF

She's out after dark on a picnic with her fiance, who happens to be about the greatest looking prince in history. You'd better worry that nothing is happening to Ariel.

LATTINIA

I'm serious, Edwin. It's not like either one of them to stay out like this.

He gets up and crosses to her and puts his arm around her shoulder.

BAALDORF

They'll be alright. You and I used to stay out once in awhile, too, remember?

LATTINIA
(warmly)

I sure do.

There is a KNOCK at the door.

BAALDORF

Come in.

 

SCENE 21
ANGLE ON DOOR

MARKO comes in looking worried.

MARKO
(bowing)

Your Highness. A thousand pardons for interrupting.

BAALDORF

It's all right, Marko. What's the problem?

MARKO

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

BAALDORF

He's on a picnic with Ariel, and he probably doesn't need you.

MARKO

I know, but he was supposed to make a presentation of the Medal of Valor for Bowman Treacher, Sir.

BAALDORF

Well, Treacher can get his medal some other time. Love makes the world go around, not bravery.

MARKO

It was a posthumous medal, Sir, to be given to his wife. Prince Greystone wouldn't be late for something like that.

LATTINIA

He's right, Edwin. I say something's happened to those two.

At the moment, Woje runs into the room and up to Marko.

LATTINIA
(continuing)

It's Woje.

MARKO

I'll find out what's wrong.

He kneels down next to the dog.

MARKO
(continuing)

Woje, where is Ariel?

(pause)

What?

(pause)

Mommy is wost?

(pause)

In big, scarwy cassow?

(pause)

Karnaj???

Marko pets the dog.

BAALDORF

Castle Karnaj!!

LATTINIA

What is it, Edwin? What does that mean?

BAALDORF

I'll tell you in a minute. Marko!

MARKO

I'm on my way.

He turns and leaves.

BAALDORF

May the gods be with you.

CUT TO:

 

SCENE 22
INT. BLACKPOOL CASTLE GAME ROOM - NIGHT

Blackpool and Vector are sitting at opposite sides of a game table, in the center of which is a pyramid-type of a game setup with steps all around it. There are several chess piece-type men of different colors on the steps. The top 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 are several empty wine bottles on the table.

VECTOR

I presume we're going to play for a little something. Or would you rather just play for fun?

BLACKPOOL

Fun? I don't do anything for fun.

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

VECTOR

How about when you were a little boy?

BLACKPOOL

You know what I did for fun when I was a little boy. I used to tie ropes around my brother, Geoffrey's, feet and hang him upside down at the North Tower until he passed out. That was fun.

Vector takes money from his pocket and puts it on the table.

VECTOR

Shall we get started?

BLACKPOOL

Another drink first.

Blackpool grabs another bottle and pulls the cork with considerably less grace than the first one.

BLACKPOOL
(continuing)

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

VECTOR

Fun . . . why, I like to . . . uh . . . sometimes I . . .

He trails off.

BLACKPOOL

Never mind. Let's play.

VECTOR

Shall I go first?

BLACKPOOL

Be my guest.

Vector picks up a game piece to make a move, then smiles to himself and put it back down. He then just stares at the board.

 

SCENE 23
ANGLE ON TABLE

The piece moves by itself up the steps of the pyramid to the top while all the others fall off.

BLACKPOOL

Okay, are you gonna play Barkin or are you gonna horse around?

VECTOR

Just having a little fun, Your Highness.

They start putting the pieces back in place as we . . .

CUT TO:

 

SCENE 24
INT. CASTLE KARNAJ - NIGHT

Greystone has disposed of the skeleton and is carrying Ariel to a chair in front of a suit of armor, where he makes her comfortable. She's out cold.

GREYSTONE

Ariel, wake up!

She opens her eyes and starts to scream again.

GREYSTONE
(continuing)

Okay, okay . . . it's all right.

ARIEL

Oh, Erik, I don't think I can take a whole lot more of this.

GREYSTONE

I'm not going to let anything happen to you, believe me.

ARIEL

You mean, besides spiders and falling dead people.

GREYSTONE

All right . . . a couple of little things. I'll be more alert from now on.

ARIEL

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

GREYSTONE

Good idea. Here.

He hands her the dagger.

GREYSTONE
(continuing)

Now, don't move. I've got to get through that wall.

ARIEL

Don't worry.

Greystone crosses back to the bricks as Ariel watches anxiously.

GREYSTONE

I still hear somebody scratching on the other side.

ARIEL

It must be somebody trying to rescue us.

As she toys with the dagger, she soon starts cleaning her nails with it.

GREYSTONE

I hope you're right.

As Ariel continues with the knife, she accidentally drops it.

ARIEL

Oh, darn.

She gets out of the chair to pick it up, and the suit of armor in back of her swings an axe down and through the chair where she's been sitting. She screams, and the axe comes back up, poised to strike again. Greystone turns and leaps across the room. With one mighty blow, he knocks the head off the suit of armor. It is empty. He lashes at it some more, knocking it all apart. There's nobody in it anywhere. There is another lightning bolt and clap of THUNDER, followed by SCREAMS from somewhere. Then Greystone hears his NAME BEING CALLED from behind the bricks. He takes Ariel with him back across the room and begins digging frantically at the bricks until he has gotten them all away. There is another door behind them.

GREYSTONE

Another door.

ARIEL

I'm afraid.

GREYSTONE

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

ARIEL

Alright, but I'm going to close my eyes.

GREYSTONE

Good idea.

She closes her eyes, then peeks out of one.

GREYSTONE
(continuing)

Here goes.

He pulls open the door. There is a bolt of lightning and a bloodcurdling SCREAM as Marko stands there in the doorway.

GREYSTONE
(continuing)

Marko!! Thank the gods.

ARIEL

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

Marko smiles, then draws his sword and leaps out at Greystone and Ariel with the most fiendish look ever seen on the face of a man. There's more lightning as we:

FADE OUT.

 

END OF ACT TWO

 

Script Act 3

 


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