Erik Greystone in Dungeon of Death (7_104)

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 FOUR

FADE IN:

SCENE 14
INT. TUNNEL - NIGHT (CONTINUOUS ACTION)

Greystone, Floyd and Colter rush to the edge of the chasm. Talia is hanging on the one end of the cable halfway down the pit.

GREYSTONE

Talia! Are you all right?

TALIA

I'm alive.

She begins to climb hand-over-hand up the broken cable.

GREYSTONE

You were very lucky. You could have dropped right to the bottom

FLOYD
(looking over edge)

If there is one.

She reaches the top and pulls herself over the edge. She is on the side where the plank is.

TALIA
(to Greystone)

Yes, I was lucky. Lucky to have my skills . . . my talent . . . It was wrong to choose the broken wire to try and kill me. I am an expert.

GREYSTONE

Kill you?!?

(angry)

If you hadn't been out there doing handstands, the cable would never have broken. This was an accident.

Colter has picked up the end of the cable on their side.

COLTER

This was no accident. The cable's been cut.

FLOYD

Cut?! All right . . . that's it for me. One a you is playin' for keeps. I'm leaving.

He looks around for the closest way out.

TALIA

Perhaps this 'playing for keeps' idea comes from a small mind like yours, eh, Floyd?

(then yelling)

Who pays you to kill me?

FLOYD

You been spending too much time in the air, lady. I ain't no killer. I'm a thief.

GREYSTONE

Well, somebody here is a killer. But, unfortunately, we're in this together, and the only way out is together.

(beat)

I'll be watching all of you. Come on, time's wasting.

Talia and Colter position the plank from one side of the chasm to the other.

FLOYD
(still with a cigar)

I ain't goin' on that thing. Suppose the plank's rigged.

Greystone steps on the end of the plank and begins to cross.

GREYSTONE

Think positive, Floyd. Also, remember it's our only way out of here.

TALIA
(sweetly)

Would you like me to come and give you a hand?

GREYSTONE

No, thanks. I'd rather do it myself.

He is across the plank and on the other side in no time.

GREYSTONE
(continuing)

All right, Floyd . . . Colter . . . we're wasting time.

Colter motions for Floyd to go across next. Floyd steps onto the plank tentatively.

FLOYD
(cigar between teeth)

This ain't my idea of fun. I'd rather steal snakes.

He makes it across.

GREYSTONE

Throw over the bag. We'll have to leave the rest behind.

Colter stuff his pack with more supplies and hoists it over his shoulder.

COLTER

I'll take it.

GREYSTONE

If you can carry it, you can bring it.

Colter steps out onto the plank. He starts across. As he reaches the middle, a HISSING noise begins. It's coming from his bag.

FLOYD

What's that? Are there viper rats in this place, too?

COLTER
(stands frozen)

The fuses. Somebody's touched the fuses.

He is interrupted by a huge EXPLOSION. Colter, his bag and the plank are blown away in the midst of different colored flashes of light and smoke. Greystone, Talia and Floyd are thrown against the wall by the force of the explosion and fall to the ground, unconscious.

SCENE 15
EXT. BLACKPOOL'S CASTLE - NIGHT (A FEW MINUTES LATER)

The sky is filled with light from the EXPLOSIONS of rockets and bombs. The CAMERA PULLS BACK to reveal Blackpool and Vector standing on a parapet outside the Main Room.

VECTOR

I warned you, Sire. It's Greystone. He's attacking.

BLACKPOOL

No, Vector. It's only a diversion.

VECTOR

We should have our soldiers guarding the perimeter.

BLACKPOOL

I don't need anyone guarding the perimeter, Vector. The enemy is within.

He turns and walks back into the Main Room. Vector follows.

VECTOR

How can you be sure, Sire? We should be ready.

BLACKPOOL
(whirls around to face him)

I'm always ready.

VECTOR

Are you keeping something from me? I sense there's more going on here than I have been told. Don't you trust me?

BLACKPOOL

Trust you, Vector? Don't you know by now that I wouldn't trust you to water the garden. I'm using you, Vector. Simply using you. Once you've taught me the secrets of the monocle, I'll have no further use for you.

VECTOR

Harsh words, my Lord, and directed to the person who was your father's closest personal advisor.

BLACKPOOL

My father trusted you and now he's lying up there in a mysterious coma.

(beat)

Brought on by what? Something in the air? Or perhaps, more accurately, a few drops of a wizard's potion added to his wine.

VECTOR

Your father's illness occurred when I was out of town on other business. How could I have been involved in any way?

BLACKPOOL

Yes . . . how? I plan to have the answer to that question one day, Vector. And then we shall finish this conversation. Right now, I'm more interested in the current state of affairs.

He sits down at his desk which is strewn with papers, books, etc. He picks up the paper he took from Marko's belt.

BLACKPOOL
(continuing)

This list. As soon as Greystone arrives, he will provide me with information I need to break this code.

VECTOR

Of course, Sire, and I'll help in any way I can.

BLACKPOOL

Good. Perhaps you should be in charge of the accommodations for our royal visitor.

VECTOR

Certainly . . . whatever you say, my Lord.

BLACKPOOL
(touching the monocle)

Yes, Vector, it is whatever I say.

Blackpool gets up and crosses back to the doorway. The sky is still a shower of EXPLOSIONS.

BLACKPOOL
(continuing)

He's putting on an impressive show, isn't he, Vector? We must make sure our welcome is comparable.

As Blackpool and Vector continue to gaze at the night sky, the CAMERA PULLS BACK to reveal a shadowy figure entering the room. It is Marko. He stays back in the shadows and waits.

SCENE 16
INT. TUNNEL - NIGHT

TIGHT SHOT ON Greystone's unconscious form. The CAMERA PULLS BACK to reveal Talia's body lying slumped across his feet. As the CAMERA PULLS BACK FATHER it includes Floyd, who is very much alive and busy rifling through Talia's leather satchel, tossing tools and miscellaneous objects from the bag. He smiles and pulls out a Golden-Ringed Kolna, bites on it, then pulls a chain from around his neck and out from under his tunic. It holds several other Golden-Ringed Kolnas. He fastens his new find to the chain and drops it down inside his tunic. The next object he retrieves from the satchel is a long, thin dagger. He slowly bends down over Greystone's silent form. Suddenly Greystone bolts upright and grabs the dagger in Floyd's hand.

GREYSTONE

Hi, Floyd.

FLOYD

I was just taking a souvenir before I beat it outta here.

Greystone easily takes the dagger from Floyd's hand. He gestures toward himself.

GREYSTONE

Yeah, what souvenir did you want? An ear, my eyes, or my life?

FLOYD

I was just after your gold trimmings. They'd fetch a lot of money back in Grogan.

GREYSTONE

Floyd, one of us is a killer.

FLOYD

I never killed anybody in my life. How do I know you're not the killer? Suppose you're some sort of crazy prince who likes to get a bunch of people in caves and kill them? That's not so far out.

GREYSTONE
(steely)

Well, then maybe you just better stay away from me, Floyd.

FLOYD

You can count on it.

Greystone turns to Talia and shakes her.

GREYSTONE

Talia . . .

He nudges her again as he stands.

FLOYD

She's out like a light.

GREYSTONE

I'll carry her.

FLOYD

Suppose you're bringing your hangman to your own execution?

GREYSTONE

What would you do, Floyd? Lever her here to die?

FLOYD

Well . . .

(puffing on his stoker)

I'd like to leave you both here.

Greystone hoists Talia over his shoulder fireman-style.

GREYSTONE

Carry her satchel.

Greystone, carrying the unconscious Talia, walks toward the exit. Floyd picks up the items from the satchel, throws them in and follows.

SCENE 17
INT. BLACKPOOL'S CASTLE - THE MAIN ROOM - NIGHT

Blackpool is seated alone at his desk concentrating on the papers in front of him. Out of the shadows, Marko begins to sneak up behind him. There is the sound of a HEAVY DOOR CLOSING O.S. Marko retreats back into the shadows. Vector enters.

VECTOR

The welcome mat is out, You Highness. I'm certain you will be very pleased with the arrangements.

BLACKPOOL

Thank you, Vector. I don't know what I'd do without you.

As they continue to talk, Marko creeps towards them from the shadows.

VECTOR

I'm only too happy to be of any assistance.

He catches Marko's movement in a highly-polished shield hanging on the wall.

VECTOR
(continuing)

After all, Your Highness, we both have the same goal in mind.

BLACKPOOL

And what would that be, Vector?

VECTOR

Success, my Lord. Of course.

Marko is just a few steps behind them. Vector concentrates on Marko's image in the shield. A beam of light exits Vector's eyes, hits the image on the shield and bounces back to Marko, stunning him. He is instantly paralyzed, almost directly behind them.

VECTOR
(continuing)

I think one of your guests has arrived a little early, m'Lord.

Blackpool wheels around and sees Marko's frozen form.

BLACKPOOL

You may have some redeeming qualities after all, Vector. He was going to kill me.

VECTOR

Or me.

BLACKPOOL

How did you manage that without your monocle?

VECTOR

It's not a permanent spell, m'Lord, but Wizards are not totally helpless without their monocles. I still have my natural talents.

BLACKPOOL

Of course you do, Vector. And I have the monocle.

He smiles.

SCENE 18
INT. TUNNEL - NIGHT

Greystone, Floyd and the now-conscious Talia have reached the end of a narrow corridor. It is sealed with a solid iron door, no hinges, no locks. Directly at the top of the door is a narrow transom-like opening.

TALIA

You're crazy. Do you think for one moment after he gets out he'll think about us?

GREYSTONE

To tell you the truth, I'm not thrilled about being stuck with either one of you in here. I'm open to suggestions.

Talia looks at the door and the small opening above. She is obviously frustrated.

TALIA

I will go. I can get through the opening.

FLOYD

Have you taken a good look at yourself lately? There are parts of you that are not going to fit through that hole.

TALIA

I am going to step on you and squash you like the bug you are.

GREYSTONE

Hold it, Talia. He's right. All right, Floyd . . . move.

He hoists Floyd onto his shoulders. Floyd reaches up and grabs the bottom of the opening with both hands and pulls himself up. Just before he wiggles through, he looks down to Greystone and Talia.

FLOYD

So long, suckers.

He laughs and slips through the opening.

TALIA
(approaching hysteria)

You fool! We'll never get out of here alive. I hate this place. The darkness. I must get out.

She throws herself against the steel door.

TALIA
(continuing; screaming)

Let me out.

Greystone grabs her shoulders.

GREYSTONE

Calm down. We'll get out.

There is the sound of METAL AGAINST METAL and the door begins to move. Talia leaps back behind Greystone. He draws his sword to protect them against the intruders. The door inches its way slowly open. Floyd steps in, grinning.

FLOYD

Had you goin' there for a minute, didn't I?

He stops grinning and stares past Greystone. Talia has a knife poised at the back of Greystone's neck. She slowly transforms into Bethel.

GREYSTONE
(without turning around)

How much did he promise you, Talia?

(turns to see Bethel)

Bethel!

FLOYD

A witch. Perfect.

GREYSTONE

You can't stop me. Witches and wizards can't kill.

BETHEL

No, but I could freeze you for years where you stand. Your sword, Greystone. Prince Blackpool is waiting for us.

FLOYD

You rigged your own wire back there so's it would break, didn't you, sister?

BETHEL

Amazing deduction, big boy. Now, move it.

GREYSTONE

You realize Blackpool will betray you, don't you?

BETHEL

I know how to handle the Prince.

GREYSTONE

You're not as bright as I thought.

BETHEL

Don't worry about me, Greystone. I'm not the one about to die.

Bethel guides Floyd and Greystone out through the doorway.

SCENE 19
INT. BLACKPOOL'S CASTLE - THE MAIN ROOM - NIGHT

Blackpool is seated at his desk working on the list. Marko is still under the stunning spell.

BLACKPOOL

It's a list of spies. The first name is . . . William Finnan.

VECTOR

We already got him.

BLACKPOOL

We did?

Vector mimes the execution of the Soldier with the molten lava.

BLACKPOOL
(continuing)

Finnan?

Vector nods.

BLACKPOOL
(continuing)

There are plenty more here. We can still have some fun.

Suddenly the door opens and Bethel enters the room with Greystone and Floyd.

BETHEL

Here he is, Dirk. I'll dispose of the little one once we have settled our deal.

VECTOR

What deal? What's going on here?

BLACKPOOL

Thank you, Bethel. Once again, you have provided me with excellent service.

He crosses to Greystone.

BLACKPOOL
(continuing)

Welcome to my home, Erik.

GREYSTONE

Forget the 'Mister Nice Guy' routine, Dirk. What have you done to Marko?

BLACKPOOL

Oh, don't worry. He's just resting. He will wake up shortly and we can all have a nice conversation down in the torture chamber. We'll talk . . . you'll scream.

BETHEL

What about our wedding announcement, Dirk?

VECTOR

Wedding? Have you both gone completely mad? A witch cannot marry a mortal.

BETHEL

I can do anything I choose to do.

VECTOR

My Lord, I think there are a few things about her you should know.

BETHEL

Keep your mouth shut, Vector.

Greystone begins to back out of the room.

BLACKPOOL

Don't go, Erik. You haven't met everyone.

Blackpool snaps his fingers. Black-helmeted Soldiers appear everywhere.

VECTOR
(to Blackpool)

She helped you steal my monocle. I demand what is rightfully mine.

FLOYD

How's this?

He stomps down hard on Vector's foot. Vector yells, which startles Marko out of his temporary trance. He grabs a candelabra from the desk and hurls it through the air at Blackpool. Greystone snatches the list from the desk and grabs his sword back from Bethel. He and Marko fend off Soldiers. Greystone and Marko are pinned against the wall. Blackpool crosses to them as we hear the sound of HORSES' HOOVES THUNDERING down the exterior hallway. The doors fly open and Justin comes riding through leading Southwind and Ben. Blackpool, Vector and their Soldiers are startled by this sudden turn of events. Bethel touches her monocle and vanishes.

The following action appears with lightning speed: Justin rides through the scattering Soldiers to Greystone and Marko.

JUSTIN

Plan "B" to the rescue!

GREYSTONE
(as he leaps on Southwind)

What took you so long? A card game or a woman?

JUSTIN

Both.

Marko jumps on Ben.

MARKO
(to Ben)

Hey, Ben. How ya doin'?

(pause)

You're right. We'll talk later.

Greystone, Justin and Marko twirl and rear on their horses, causing everyone to scatter. As they are THUNDERING out, we hear Floyd:

FLOYD (O.S.)

Hey, you guys, don't leave without me!

Greystone looks up to see Floyd hanging from the center chandelier. He turns Southwind around and rides under the chandelier.

GREYSTONE

Jump, Floyd. You've got one shot. Make it good.

Floyd drops down behind Greystone and they go THUNDERING out of the Main Room behind Justin and Marko.

BLACKPOOL

Do something, Vector.

VECTOR

I can't, my Lord. You have my monocle. Perhaps Bethel . . . ahh. It appears your fiancee left early.

Blackpool glares at him.

VECTOR
(continuing)

. . . Oh, I'm sure she had something more important to do.

SCENE 20
EXT. COUNTRYSIDE - NIGHT

Greystone, Marko and Justin ride off into the night with Floyd hanging on to Greystone's horse for dear life.

FADE OUT.

THE END.

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