Vector in Dungeon of Death (7_84)

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 Seven
The Dungeon of Death

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

The Dungeon of Death

Written by Judith D. Allison

Second draft - September 9, 1982
Correction 11/22/82
© 1982 WARNER BROS. INC
All Rights Reserved

We have altered the original format for ease of reading.

ACT THREE

FADE IN:

SCENE 10
INT. BLACKPOOL'S CASTLE - THE TORTURE CHAMBER - NIGHT (CONTINUOUS ACTION)

Just as the purple lava is about to hit Marko, it changes into water. Marko is drenched. Vector is laughing. Blackpool hides his shock by displaying irritation.

BLACKPOOL

Your sense of humor leaves something to be desired.

VECTOR

Not to worry, Sire. There was never any real danger to either one of you.

MARKO

What's the matter, Blackpool? Having trouble keepin' your moldy Wizard in line?

Blackpool whips out his sword and touches the tip of it to Marko's throat.

BLACKPOOL

Enough of your moronic babbling, vassal. This is your last chance. What does the list say?

MARKO

I forget.

BLACKPOOL

You forget . . . Yes, well, that's perfectly understandable when one is working with such a limited amount of brain matter.

MARKO

Are you talking to me or Vector?

VECTOR

Shall I get out some of my other devices, You Highness? The three-pronged headgear always works nicely.

BLACKPOOL

No, Vector. I'm spent enough time with this dimwit. I can decipher this list myself.

He lowers his sword as if he is going to put it back in the scabbard. He hesitates.

BLACKPOOL
(continuing)

How about a little nap?

He flips his sword around and hits Marko across the face with the handle. Marko clumps forward, unconscious.

VECTOR

Oh, well done, Sire. I must say that certainly took me by surprise.

BLACKPOOL

You are wise to watch me at all times, Vector.

(beat)

As I watch you.

VECTOR

Yes, m'Lord. You are definitely a man to be watched.

Blackpool smiles, sheathes his sword, and turns to exit. Vector turns to Beetle, points and Beetle promptly falls over.

SCENE A11
EXT. BLACKPOOL CASTLE - ESTABLISHING SHOT - NIGHT

SCENE 11
EXT. BLACKPOOL'S CASTLE - ENTRANCE TO CASTLE TUNNEL - NIGHT

Greystone, Justin, Rutger, Talia and Floyd the Feather are gathered in a dense grove of trees. Their horses are tied to the branches. Directly through a clearing past the trees is the tunnel entrance to Blackpool's Castle. There is a drawbridge closed against the entryway. A chasm of indeterminate depth is hindering passage across the entrance except by way of the drawbridge. The usual "Odyssey mist and fog" fills the area.

GREYSTONE

Are you sure this is the one, Justin?

JUSTIN

Sure am. See that small grove of trees over there? That spot brings back some mighty fond memories.

(beat)

I wonder whatever happened to her . . . She could take her right arm and bend it . . .

GREYSTONE

Justin, spare me your trip down memory lane. Marko's in trouble. Let's see if your pal, Rutger, can get that bridge down.

JUSTIN

Piece a' cake. He won't even have to warm up.

From the background, we hear the voices of Talia and Floyd increasing in volume and intensity.

FLOYD
(chewing on unlit cigar)

Listen, bimbo, lay off. I didn't steal your fancy little tools. I don't need 'em. I got my hands.

TALIA
(with a German accent)

Your hands will be useless if I separate them from your body. Now, where are my tools?

FLOYD

I haven't seen your lousy tools and I'm sick of hearing about them.

Greystone and Justin intervene.

GREYSTONE

Drop it, you two. We're close to the patrolled area. If we're discovered here, they won't stop to ask questions.

TALIA

My equipment is missing. I will be unable to perform adequately without my tools.

JUSTIN

Yeah, I know what you mean.

GREYSTONE

Floyd?

FLOYD

No, sir . . . she ain't got nothin' I want.

(beat)

I do have your knife, though.

He pulls the pearl-handled knife out of the sleeve of his tunic.

FLOYD
(continuing)

Sorry, I can't stop myself.

GREYSTONE

Why don't you hang on to it so you don't have to steal it again.

Rutger crosses to Talia with leather satchel.

RUTGER

This yours?

She snatches it from him.

TALIA

Where did you get this?

RUTGER

Your horse was standing on it. You must've dropped it when you got off.

TALIA

I never drop anything.

JUSTIN

I think I'm in love.

TALIA

I will tell all of you once. No one is to touch my equipment.

Colter enters the clearing on his horse. He dismounts.

COLTER

It's all set. All the charges are in position.

GREYSTONE

When the explosions go off, are you sure it will look like an attack?

COLTER

No. It'll look like an entire war.

GREYSTONE
(beat)

All right, everybody, I'll run it down one more time. After Rutger gets the bridge down, I want to get in fast and quiet. Once we're all inside, everybody stay together. I've got no time to locate strays. I want to get in, get Marko, and get out. Understood?

Everyone nods in their own fashion.

JUSTIN

Great. Looks like things are movin' right along here, so I guess I'll be heading down the road, Erik.

He starts to exit.

GREYSTONE

What are you talking about? You can't leave.

JUSTIN

Wrong. I should've left ten minutes ago. You realize what kind of trouble a guy can get into around here? I mean, you've got all these capable helpers. I'll just get in your way.

GREYSTONE

Did it ever occur to you that I might be counting on your help as well?

JUSTIN

No.

GREYSTONE

You're a real piece of work, Justin.

JUSTIN
(smiling)

Yeah, ain't that the truth?

He mounts his horse, leaning down to adjust his stirrup, he whispers to Greystone.

JUSTIN
(continuing)

Step One, Plan B.

He sits back up and addresses him in a louder voice.

JUSTIN
(continuing)

Catch you later.

He rides off.

FLOYD

Your brother's a real Prince.

GREYSTONE

Shut up, Floyd.

(beat)

If anybody else is thinking about leaving, do it now. I have no room for dead wood.

They all remain silent.

GREYSTONE
(continuing)

All right, Rutger, get the drawbridge down.

Rutger picks up Floyd and lumbers out across the clearing.

FLOYD

What are you doing? Put me down.

Rutger ties a rope around Floyd's waist.

FLOYD
(continuing)

Get this gorilla away from me. You're gonna pay for this, Rutger.

Rutger picks Floyd up, flings him across the chasm. Floyd lands on the drawbridge on the other side, holding on by his hands. Rutger begins to pull on the rope, and:

RUTGER

Hold on, Floyd.

Rutger pulls Floyd and the drawbridge down.

RUTGER
(continuing)

That was good, Floyd.

FLOYD

Yeah, it was, wasn't it?

Greystone, Talia and Colter cross from the trees. Colter is pulling a small wooden supply cart.

FLOYD
(continuing; approaching Greystone)

You see me out there? I was great, wasn't I?

GREYSTONE

Just terrific.

FLOYD

How d'you like my stoker, huh?

(indicates the cigar firmly clenched between his teeth)

I never even dropped it.

GREYSTONE

Yeah, the stoker was a nice touch.

Rutger ties the rope around the tree trunk. Greystone, Colter, Talia and Floyd cross the bridge and enter the tunnel. Rutger follows. The mouth of the tunnel is very dark. There is one burnt out torch by the opening. Colter takes a "fire stick" out of his belt, breaks it; a blue flame shoots up and ignites the torch.

GREYSTONE
(continuing)

We've got to close this entrance so no one gets nosy. Everybody get back away from the opening. Rutger, crank it shut.

Rutger cranks the drawbridge closed with a mighty SLAM and a gust of wind, blowing out the torch and sealing them all in the totally dark tunnel.

TALIA (V.O.)

Someone light the torch. I hate the dark.

GREYSTONE (V.O.)

Colter, break a fire stick. Let's get moving.

The darkness is suddenly illuminated as Colter breaks one of his "fire sticks." He re-lights the torch and the cavern is flooded with the glowing firelight. Suddenly, Talia starts screaming. Slumped against the bottom of the drawbridge is the lifeless form of Rutger. Greystone bends down next to him and comes up holding his pearl-handled knife.

GREYSTONE

He's been stabbed.

SCENE 12
INT. BLACKPOOL'S CASTLE - DUNGEON CELL - NIGHT

Marko is in a community cell with three other Prisoners. Two of the Prisoners are asleep or dead. The other PRISONER is huddled against the wall not far from Marko. Marko is scrutinizing the cell door and its hinges.

PRISONER

I know what you're thinking, pal.

MARKO

You hungry, too?

PRISONER

You're thinking maybe there's a way out of this place. I used to think so, too.

MARKO
(starting to finger the hinges)

Yeah? So, what made you stop?

PRISONER

Vector convinced me otherwise.

MARKO

Yeah, he's a cute guy.

Marko turns back to the hinges.

MARKO
(continuing)

He needs somebody to teach him a few manners.

One of the hinges begins to loosen.

PRISONER
(realizing Marko means business)

Listen, mister, if you can get past this door, let me go with you.

Marko is working on the other hinge.

MARKO

I'm not leaving right away. I've got some business to take care of before I go.

He grasps the door and pulls it firmly and effortlessly off its hinges.

PRISONER

Whatever it is, I'm with you. I'll do anything to get out of this place.

Marko peers out through the door, carefully checking for guards.

MARKO

Okay, I want you to help me kill Blackpool.

PRISONER

I'm kind of tired. I'll think I'll stay here.

Marko stands in the doorway.

MARKO

Last chance.

PRISONER

Nah, I'll pass. Good luck to you.

Marko steps out into the hall.

PRISONER
(continuing)

Hey, pal . . . do me a favor . . . put the door back on, will you?

Marko shrugs and lifts the door back into position.

PRISONER (O.S.)
(continuing; from behind the door)

Drop me a line.

Marko makes his way quietly through the dimly-lit chamber. As he passes the various contraptions, some of the semi-conscious victims MOAN and GROAN. He reaches the stairs just as two Guards enter the chamber. His presence there catches them by surprise. He bolts forward, grabs them around the neck and slams their helmeted heads together with a resounding CLANK. They fall to the ground unconscious.

MARKO

Sorry I'm gonna miss lunch fellas, but I have an important appointment.

He steps over their bodies and starts up the stairs.

SCENE 13
INT. TUNNEL - NIGHT

Greystone is placing the last few rocks on Rutger's grave. Floyd, Talia and Colter are eyeing him hardly.

FLOYD

Listen up, Greystone. I didn't take this job to get no knife stuck in my back. If you don't like how somebody's doing his work, it ain't right to just stick 'em.

GREYSTONE

I didn't kill Rutger, and I don't plan to kill any of you either.

(beat)

Unless, of course, it becomes necessary.

TALIA

It was your knife.

GREYSTONE

Yes, my knife, but the last person who had it was Floyd.

FLOYD

No you don't, pal. You ain't pinning this on me. Somebody stole that knife from me. One of you is a thief.

GREYSTONE

Floyd, you're a thief. And one of us is a murderer.

COLTER

He's dead. None of this matters. Let's do what we're getting paid to do and get out of here.

GREYSTONE

We have no other choice. The faster we get through to Marko, the sooner we're gonna get rid of each other. Now, Colter, blow that pile of rocks out of our path and let's get going.

Colter finishes placing some "sticks of dynamite" in among a pile of rocks blocking a doorway. He breaks one of his "fire sticks" and lights the "fuses". Greystone, Talia, Colter and Floyd retreat to the far wall by the drawbridge. In a shower of sparks, smoke, and rocks, the pathway is cleared. The foursome gather up their gear and proceed through the passageway. They don't get very far. Almost immediately on the other side of the once-blocked doorway is a wide chasm with green smoke and steam rising from its depths.

FLOYD

This is gonna take some doin'.

(to Talia)

You got any tricks in that bag of yours, sweetheart?

TALIA

I am not a trickster, little man. I am an artist. A skilled artist.

FLOYD

So what are you going to do? Paint us a picture?

GREYSTONE

Shut up, Floyd. Talia, see that plank over there?

He refers to a plank across the chasm obviously used for people on their way out.

GREYSTONE
(continuing)

It's our only way across.

TALIA

Perhaps it is your way. I have another.

She removes an object from her leather satchel, a coiled steel cable. On one end is a pointed steel arrowhead. She places it in a small crossbow-type device, aims for the other side of the chasm, and fires the cable across. It pierces the stone wall on the other side and as she tugs on the cable, we realize it is imbedded securely.

GREYSTONE

That's a great weapon.

TALIA

So is my body.

GREYSTONE

I bet.

Talia fastens the other end of the cable around a large rock near the edge of the chasm. She springs catlike onto the steel cable with one foot balanced behind the other. The wire sways and trembles.

TALIA

Anyone care to follow? Just come ahead.

She tosses her head and laughs as she starts across the chasm. She gets out about a third of the way and stops.

TALIA
(continuing)

This is too easy. I'm getting so bored . . . perhaps . . .

She springs from her feet to a handstand.

GREYSTONE

Talia! This is no time for games. I want to get through to Marko.

TALIA
(still in a handstand)

Oh-h-h, but don't spoil my fun. This is . . .

Suddenly the cable snaps in half and Talia goes hurtling down into the chasm and out of sight.

FADE OUT.

END OF ACT THREE

Script Act 4

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