Vector in Night of Terror (4_72)

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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 FOUR

FADE IN:

SCENE 40
INT. CASTLE KARNAJ BEDROOM - NIGHT (CONTINUOUS ACTION)

Ariel, still screaming, runs to the other side of the room as the Evil Greystone stalks her.

ARIEL

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

The Evil Greystone laughs and keeps coming. Ariel remembers her hat pin and holds it out menacingly. He laughs at the absurdity of this sight. There is a bolt of lightning and clap of THUNDER. Ariel looks down at the hat pin and there is a large spider on it, crawling towards her hand. She flings the hat pin to the floor and dashes across the room and out the door, slamming it behind her

 

SCENE 41
EXT. HALL - NIGHT

She stand [sic] momentarily outside the door trying to decide which way to go. Suddenly, Greystone comes crashing through the door. Ariel screams for help and runs off down the hall with him in hot persuit [sic].

 

SCENE 42
ANOTHER ANGLE

She comes to another door, opens it and runs through.

 

SCENE 43
INT. ROOM - NIGHT

She enters and slams the door behind her. She then, frantically begins pushing furniture up against the door to block it. First a dresser, then a chair, a chest, another chair. Just when it looks as though she might have enough pieces against the door to stop him, she looks to one side of the door where she sees his hand come slashing right through the heavy concrete wall.

ARIEL

Now you're getting nuts.

She spots another door across the room and runs to and out of it.

 

SCENE 44
EXT. HALLWAY - NIGHT

Ariel running down the hall.

 

SCENE 45
INT. CASTLE KARNAJ - LIVING ROOM - NIGHT

Marko is in the living room, trying to figure out which way to go when he hears Ariel's SCREAM. He draws his sword.

MARKO

Ariel . . . in here!

He turns to see Ariel come running down the stairs.

ARIEL

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

MARKO

Where's Greystone! [sic]

ARIEL

He's . . . wait a minute. Are you sure you're Marko. [sic]

MARKO

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

Ariel slowly backs towards the fireplace.

ARIEL

I have to be sure.

MARKO

What are you talking about?

ARIEL

You know what I'm talking about, weirdo.

MARKO

Weirdo . . . me?

ARIEL

You're going to attack me.

MARKO

Princess Ariel, I would sooner be damned through eternity.

ARIEL

See! See!

Ariel has backed into a position where the fireplace tools are close in back of her.

MARKO

I can't believe you would even suggest such a thing.

ARIEL

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

MARKO

We'll talk about it later. I must find Greystone.

ARIEL

You're not going to like him. He's changed, like you've probably changed.

MARKO

I haven't changed. Now, come on.

ARIEL

Okay, if you're really Marko, and I can trust you, put your sword away.

MARKO

Right.

He sheaths his sword.

ARIEL

Now, what did I have for lunch today?

MARKO

I have no idea.

ARIEL

Carpacca salad, weirdo!!!

With that she pulls the fireplace poker from behind her back and hits Marko in the head. He falls in a heap.

ARIEL
(continuing; to his unconscious form)

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

She waits for a beat . . . nothing happens.

ARIEL
(continuing)

Oh, oh. You are Marko, aren't you?

She kneels down to comfort him.

ARIEL
(continuing)

I'm real sorry about this.

She hears FOOTSTEPS approaching.

ARIEL
(continuing)

I'll get back to you.

She gets up and runs for the stairs.

CUT TO:

 

SCENE 46
INT. CASTLE BLACKPOOL GAME ROOM - NIGHT

Vector and Blackpool are still drinking, and while Blackpool seems quite in command of himself, Vector is having trouble concentrating on the game.

BLACKPOOL

It's beginning to get light outside, Vector. Surely our friends are dead by now.

VECTOR

Mmmmm.

BLACKPOOL

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

VECTOR

Call off the game, Sire? We're playing for a million kolnas and my monocle.

BLACKPOOL

. . . and your hat.

VECTOR

Of course.

BLACKPOOL

But, Vector, you've become so serious and boring.

VECTOR

The game takes all my concentration.

BLACKPOOL

You're right. Here, have some more wine. It will sharpen your senses.

He starts to pour wine in Vector's glass.

VECTOR

No more for me, thanks.

BLACKPOOL

Oh, come now, Vector, I can't stand to drink alone. It makes me nasty.

He continues to pour, missing the glass and then overflowing it onto the table.

BLACKPOOL
(continuing)

Sorry.

He wipes the wine off with his hand into Vector's lap.

BLACKPOOL
(continuing)

A toast!

Vector reluctantly raises his glass, still trying desperately to keep his concentration on the game.

VECTOR

A toast.

BLACKPOOL

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

VECTOR
(staring at the monocle)

Yes, a victorious one.

BLACKPOOL

I want to plan some kind of an attack on the South while they are recovering from the news of Greystone and Ariel's death.

VECTOR
(wishing he would shut up)

Good idea.

BLACKPOOL

Perhaps I should hit them on the day of the state funeral. What a delightful touch, right?

VECTOR

Delightful.

BLACKPOOL

Perhaps you can teach me some devastating spectacle to hurl at them with my monocle.

VECTOR

Your monocle?

BLACKPOOL

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

VECTOR
(a sinister gleam in his eye)

I would enjoy that.

BLACKPOOL

I hope you won't use it against me, though, Vector. Surely you wouldn't do something like that.

VECTOR

Never. Your Highness.

BLACKPOOL

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

VECTOR
(trying to hide his anxiety)

I believe it's your move.

BLACKPOOL

Oh, right.

Blackpool nonchalantly moves one of his pieces. Vector smiles triumphantly and again moves his piece up the pyramid, knocking others out of the way until his is on top.

VECTOR
(quietly)

Barkin.

Blackpool smiles at him and pours himself another drink.

BLACKPOOL

Good night, Vector.

He downs the drink.

VECTOR

Uhhh, the monocle, Sire.

BLACKPOOL

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. The game and all the pieces disappear, leaving only the table and wine glasses.

BLACKPOOL

What game?

Vector just stands frozen and stares with eyes full of hatred at the smiling Blackpool. Blackpool picks up a glass.

BLACKPOOL
(continuing)

One for the road?

Vector shakes his head "no" and begins to stagger out of the room, knocking over chairs and tables on the way.

VECTOR

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

He turns and exits. We HOLD ON Blackpool for a beat.

BLACKPOOL

Now, that was fun.

He downs his drink, then passes out on the floor.

 

SCENE 47
INT. CASTLE KARNAJ HALLWAY - NIGHT

Ariel is climbing stairs to this hallway and we see OVER HER SHOULDER the Evil Greystone coming after her. At the the [sic] top of the stairs she trips and falls and comes face to face with a snake on the floor. Unable to turn back, she spies a large bookcase on the landing and pulls it over on top of the snake. She runs on down the hall.

 

SCENE 48
ANOTHER ANGLE

She comes to a door and hears a voice from behind it.

BAALDORF (O.S.)

Ariel . . . Ariel.

ARIEL

Daddy.

She flings open the door.

 

SCENE 49
ANGLE ON CLOSET

Baaldorf is standing there, holding his head under his arm.

BAALDORF
(the head talking)

Hello.

There is THUNDER and lightning. She slams the door shut and runs on down the hall. She sees something and screams again. More THUNDER and lightning.

 

SCENE 50
HER POV

Blackpool is coming at her with a dagger.

 

SCENE 51
BACK TO SCENE

She turns and screams again.

 

SCENE 52
HER POV

A door opens and Lattinia comes out and towards her.

 

SCENE 53
BACK TO SCENE

She turns around.

 

SCENE 54
HER POV

Marko opens another door and comes at her.

 

SCENE 55
BACK TO SCENE

She starts running back down the hallway and stops short when she sees . . .

 

SCENE 56
HER POV

Greystone and Baaldorf.

 

SCENE 57
BACK TO SCENE

She goes through another door.

CUT TO:

 

SCENE 58
STAIRWAY

This is a rickety stairway covered with cobwebs. Ariel starts climbing as some of the rotting steps break under her feet. She tries to catch her balance on the bannister, which falls off. She barely is able to keep from falling with it. She starts up and a hand reaches in from below and grabs her ankle.

 

SCENE 59
HER POV

It is Evil Greystone.

 

SCENE 60
BACK TO SCENE

She kicks at him, getting loose. She continues to climb as his hands keep grabbing at her feet. Finally, she comes to a trapdoor at the top of the stairs and bangs at it wildly to get it to open. The Evil Greystone grabs her ankle. The trapdoor then opens and a hand comes down and grabs her arms, pulling her up and out of the grasp of Evil Greystone.

CUT TO:

 

SCENE 61
INT. TOWER ROOM - NIGHT

The real Greystone is pulling Ariel up into the room.

ARIEL

Is that you?

GREYSTONE

Yes, it's me.

He embraces her.

ARIEL

I hope so, 'cause I'm finished.

The trapdoor is pushed up and the Evil Greystone forces his way up into the room.

GREYSTONE

I'm not finished. Stand aside.

Ariel moves over to the wall as the Evil Greystone comes on up all the way and the two men duel. CUTTING BACK AND FORTH BETWEEN Ariel and the two men we see what surely must be a fight to the death. In time, Ariel becomes confused as to which one is which. First one has the upper hand, then the other. Finally, one of them makes a mighty thrust and knocks the other out the window. There is a moment of silence as Greystone and Ariel face each other.

ARIEL
(almost pleading)

Erik?

GREYSTONE

Yes.

ARIEL

What happened?

GREYSTONE

The Demon is dead. You are safe.

ARIEL

Oh, Erik.

She runs into his arms and they embrace warmly.

 

SCENE 62
ANOTHER ANGLE

We see Greystone slowly draw his dagger and prepare to plunge it into her back.

 

SCENE 63
ANOTHER ANGLE

His head spins around and it is now the face of Karnaj. Ariel screams. THUNDER and lightning. Suddenly, he screams and disappears in a 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.

GREYSTONE

Come here.

She crosses to him as he climbs the rest of the way in the window. They kiss and embrace.

 

SCENE 64
ANGLE ON TRAPDOOR

It CREAKS open slowly.

 

SCENE 65
BACK TO SCENE

They prepare for the worst.

 

SCENE 66
ANGLE ON TRAPDOOR

It opens all the way and Marko comes up. Nobody is sure.

MARKO

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

 

SCENE 67
BACK TO SCENE

They all breathe a sigh of relief and embrace, as we:

FADE OUT.

 

THE END

 


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