# Night Soldiers



## Autodidact_33 (Mar 27, 2015)

Just a long boring script I wrote which I was to lazy to edit. Basically an action film like the Dirty Dozen but with the classic Universal monsters. A werewolf, a vampire and the Frankenstein monster are enlisted by the US army to fight the Nazis.

Night Soldiers

an original screenplay by Matthew Bissonnette

and John Windsor


EXT. the white house  noon

A street in Washington D.C. in the 1930's and the end of which is the white house. The large white building behind a stone wall and iron gates sits against a gray forboding sky as period era cars drive past.

int. oval office   moments later

The large office is darkened and the president who sits behind the desk cannot be scene and the scene is off the door to the office. The room is silent for awhile until the door opens and a man, General Shepard, enters. He is a imposing, stern looking man in an army uniform with many medals on the chest, under is arm is a flat stone and he holds a file in the other hand. He stands before the desk and waits a moment.

the president

General Shepard, I thought you would still be at your post at Fort Sumter.

general Shepard

Mr. President, I'll dispense with the formalities. We both know that a war is looming in the future for our nation.

the president

True. But the American people still remember the last time our country involved itself in a foreign war and they don't want to sacrifice another generation of young men in a war in Europe.

general Shepard

But we both no that this man the German people call the Fuhrer is a madman.

THE PRESIDENT

I unlike most world leaders read that book of his, a book that only a madman could write. But my hands are tied until the war is forced on our nation.

GENERAL SHEPARD

We might not have the luxury of waiting for them to fire the first shot.

THE PRESIDENT

What do you mean General?

GENERAL SHEPARD

A month ago, a German scientist was shot as he tried to cross the border to a neutral nation. He was defecting.

THE PRESIDENT

I'm sure many German's are scared of the future of their nation.

GENERAL SHEPARD

From our intelligence, this German scientist was a fanatical Fascist.

THE PRESIDENT

So why did he defect?

GENERAL SHEPARD

We don't know, but he made it to the other side of the border before he died and this file was on him which our people finally received.

THE PRESIDENT

What was in the file?

The General opens the folder and takes out a picture and hands it to the general. It is a picture of a large man, but his arms seemed to be mechanical and metal plates cover his body; and one of his eyes is replaced with a robotic eye.

THE PRESIDENT

What am I looking at?

GENERAL SHEPARD

The handy work of one Ilsa Koch.

THE PRESIDENT

And who is Ilsa Koch?

GENERAL SHEPARD

A female German who is equal parts lunatic and equal parts genius.

THE PRESIDENT

And what does it have to do with this thing in the picture?

GENERAL SHEPARD

She gained the favor of the Fuhrer by promising him a super soldier. She turned some war hero of the German army into an abomination; which on the battle field may be able to fight harder then twenty ordinary soldiers.

THE PRESIDENT

Does America need to be worried?

GENERAL SHEPARD

Well, for the cost of one super soldier the German military could train and equip and entire battalion of men so the program was discontinued.

THE PRESIDENT

Well when America is forced into this war; our soldiers can take out one freak of science.

GENERAL SHEPARD

Well this freak was enough gain her the Fuhrers favor. But she like the current German leader has an obsession with the occult.

THE PRESIDENT

Well, sometimes the old world still believes in the same superstitions they did in the dark ages.

GENERAL SHEPARD

Well, that is why this fascist German scientist tried to defect. Mr. President, before I proceed I think I have to show you what made me realize that there is some truth to those old superstitions.

the president

General, from what I heard of your reputation; you are a serious man who really would not be concerned with such lunacy.

general Shepard

True. But as a boy, well, my grandfather was from the old world who spent his entire youth traveling throughout Europe. And he would tell me of some of the superstitions he heard people speak of.

the president

General, this meeting is starting to make me wish you would hand in your resignation.

general Shepard

I wish this was all lunacy. But that German defector had this on him.

The general takes the stone out from under his arm and places it on the desk. It is covered with ancient symbols.

THE PRESIDENT

What is this?

GENERAL SHEPARD

The reason this general defected. Our people could not identify the language. Some professor who studied in ancient language said that it seemed to be partly Babylonian; but it seemed older. What he could translate indicated that it is some kind of map; to a talisman which was called the Destroyer of Worlds. Seems this Ilsa Koch is searching Europe for two other stones like this.

THE PRESIDENT

Well, perhaps it is to our benefit that the Third Reich is wasting its time on some ancient artifact from a time of ignorance. Seems like a fools errand.

general SHEPARD

I thought so to until the professor we got to decipher the language showed me this.

The general places two fingers on the stone. Then the stone emits a flash of light and then a almost holographic projection of something that looks like a map. Then the lights fades and the image is gone.

THE PRESIDENT

What technology just did that?

GENERAL SHEPARD

Once I saw that, I had this entire situation classified top secret. I had our top scientist try and determine what technology was responsible.

THE PRESIDENT

What what did they determine this was?

GENERAL SHEPARD

They had no idea what the hell thing thing is. But I think I know. It is a relic from a time where superstition was believed by everyone as truth.

THE PRESIDENT

One of my top Generals is saying this relic is magical.

GENERAL SHEPARD

Not magic, but a relic from a time when perhaps things existed which should not be in any sane world. This German defector, when he saw this stone he realized that this Ms. Koch may be hunting for something which if the Nazis get there hands on; well he said that this Ilsa believed it could unleash a power that the text on the stone says could literally destroy worlds.

THE PRESIDENT

General, is the American government going to have to intervene with this mess in Europe to stop some lunatic from finding something that could; what did you say, could destroy worlds.

GENERAL SHEPARD

I know my demonstration convinced you to at least consider that the American government should try to intervene.

THE PRESIDENT

I doubt the American people would support the declaring war based upon some artifact which could destroy the Earth.

GENERAL SHEPARD

Well, this Ilsa Koch is trying to find something which; if true, could threaten our people. I did not want to tell you of this problem until I had a solution.

THE PRESIDENT

And what do you suggest?

GENERAL SHEPARD

That we will intervene; not with our military; but three other artifacts from a different time; at time when people where afraid of the night.

THE PRESIDENT

So we are going to hunt for some ancient treasure.

GENERAL SHEPARD

I said my grandfather spent most of his youth in the mid nineteenth century. i he heard rumors; three of which he discovered where actually based on some truth.

THE PRESIDENT

Seems the Fuhrer and this Ilsa Koch are not the only ones who seemed to be obsessed with the occult.

GENERAL SHEPARD

I really thought my grandfather was a superstitious fool. But when this mess landed on my desk, I took some time to look into what he claimed. And there is some evidence for two of the individuals he told me about.

THE PRESIDENT

I want to see where you are going with this; your presentation keeps getting more insane.

GENERAL SHEPARD

My grandfather told me of an American who for a good part of the nineteenth century was being hunted by law agencies across Europe for a series of murders.

THE PRESIDENT

There are many men who are monstrous enough to murder an innocent person.

GENERAL SHEPARD

The man existed. He was one Clyde Talbot; an two bit actor from New York who was suspected to have killed a woman on a trip to England in 1804. This Mr. Talbot was believed to have been involved with at least thirty other murders. But the authorities where unsure if he was the killer or if these people had been savagely attacked and eaten by a wild animal.

the president

Well, this man is dead by now.

general Shepard

He was sighted in countries across Europe for over seventy years; though eye witness reports claimed that he had not aged.

the president

How can that be possible?

GENERAL SHEPARD

My grandfather said that he had been cursed to have a beast inside with a insatiable blood lust; a beast which is released in any part of him is in the light of the moon.

the president

Are you saying he is a, I'm not sure what they call it, but a wolf man.

GENERAL SHEPARD

That is what my grandfather claimed; he called it a lycanthropope.

THE PRESIDENT

Though right now you are dangerously close to losing your job, I want to hear where you are going with this lunacy.

GENERAL SHEPARD

Well, this Clyde Talbot, vanished from Europe around thirty years ago; around the same time New York news paper began circulating stories about people killed by a pack of wild dogs.

THE PRESIDENT

And you is the next individual your superstitious grandfather told you of?

GENERAL SHEPARD

A woman who some people of Europe have been spreading rumors about for over five hundred years; though as the age of reason began these rumors began to become less known.

THE PRESIDENT

Another person with a savage beast inside?

GENERAL SHEPARD

No, my grandfather said that this woman was a person who died but did not stay dead. The used to call these things Nosferatu; the undead. But I checked into it; and a woman who has the same description has been sighted across Europe for the past several centuries; who has been claimed to seduce men; most criminals or worse; men who are found soon after drained of blood.

THE PRESIDENT

I saw a movie about something like that.

GENERAL SHEPARD

A woman fitting this description has been scene in Sicily; usually around organized criminals who are found dead soon afterward.

THE PRESIDENT

And who is the last member of this freak show?

GENERAL SHEPARD

My grandfather was reluctant to tell me of this thing.

THE PRESIDENT

And what supernatural entity are you going to bring to my attention first.

GENERAL SHEPARD

He told me of a small town in Germany he had spent some time in, a small town that had a secret.

THE PRESIDENT

What secret?

GENERAL SHEPARD

A secret that a woman learned of long ago and wrote a book about which got turned into a movie recently. A story of a giant created by a mad scientist; a giant who was stitched together from the corpses of the dead and brought to life by a bolt of lightning. But my grandfather said that unlike the story, this giant did not die and has been a closely guarded secret for over a hundred years in this town.

THE PRESIDENT

Why do they keep it secret?

GENERAL SHEPARD

Because the see this giant as some kind of protector; and guardian of this town. That unlike the first two individuals; this giant made from the corpses of the dead is not a killer.

THE PRESIDENT

I see where this is going; you have convinced me that this Ilsa Koch is a monster and your demonstration with the rock makes me believe we might have to be concerned about her treasure hunt. So you want to deal with this monster with three other monsters; but real monsters unlike the human one.

GENERAL SHEPARD

We need to get a team into Nazi occupied Europe and find out if this relic this mad woman is hunting for is real. But if we use our troops; well we might ignite a war before the American people are ready. And my grandfather said that these individuals where a lot tougher and harder to kill then a ordinary man. So I would ask for your permission to round up these; for a lack of a better word; monsters and get them to help us stop this Ilsa Koch, though no one outside of this office any my men at the base will ever know of what I am asking you to authorized.

THE PRESIDENT

Late say that this insane plan you told me has an ounce of truth to it. This undead woman from what you say has last been scene in Mussolini Italy and this giant from what you say dwells in some small town in Nazi controlled Germany. It would be tough to capture; and even if you did capture three monsters; why do you think they would help us stop this Ilsa Koch.

GENERAL SHEPARD

I already have a plan for those two problems. I would tell you the rest; but if you authorized this operation and think for the sake of your administration it would be best if you knew as little for my operation. I know you think I have lost my mind; but I have been looking into this for the past month and please believe me that I am telling you something which could be real.

THE PRESIDENT

Why did you decide to deal with this woman obsessed with the occult with the superstitious tales your grandfather told me.

GENERAL SHEPARD

Because this team would have to be dropped of deep into Nazi controlled Europe; a suicide mission for a ordinary platoon of soldiers.

THE PRESIDENT

But perhaps a platoon of unnatural creatures could stand a chance.

GENERAL SHEPARD

Well, if one or more is killed during the mission; well I don't think any one is going to miss these three monstrosities.

THE PRESIDENT

You got my authorization on the grounds that you are one of the most respected generals in this country and I don't think you would jeopardize you career by coming to me with this if you did not believe. And I don't want to know about your rather strange solution to this odd problem. But there is one condition.

GENERAL SHEPARD

Which is Mr. President?

THE PRESIDENT

If you round these three monsters up and they are real; I want evidence. If this true; then I approve the part of the mission where we fight a very human evil with a evil that belongs in the dark ages.

GENERAL SHEPARD

I have these three rounded up by the end of the week and evidence of their existence on your desk.

THE PRESIDENT

Well general; if you don't have a man with a savage beast in him; a undead woman and a giant made of the bodies of the dead by weeks end; well your career is over.

GENERAL SHEPARD

Honestly sir; I know this sounds like insanity; but I honestly hope I don't find them.

THE PRESIDENT

Why, your career would be ruined by your mad solution to a equally mad problem.

GENERAL SHEPARD

I just don't want to have to spend the rest of my life with the same fear people had in the dark ages.

THE PRESIDENT

And what fear is that?

GENERAL SHEPARD

The fear of evil things that lurk in the night and prey on ordinary people.

THE PRESIDENT

General, go had capture your three monsters; because the little demonstration with the stone has me considering that maybe in the past the people where afraid of the night for a reason. But if you get this evidence I asked for; well, that is about as much as I want to know. I prefer to live in the age of reason as to the time where superstition made people afraid of the dark.

GENERAL SHEPARD

Sorry to trouble you with this sir; I promise this operation will never be known by anyone accept the men under my command and the two of us.

THE PRESIDENT

You may go General Shepard, I would like to concern myself with things that don't sound like lunacy.

General Shepard says nothing and silently leaves the office.

EXT. new york city  noon

Different scenes of New York city of the 1930's during a sunny day. The city in the distance looming in the distance surrounded by the Hudson river. The Empire State Building towering over the city. Period era cars bustling in the streets of time square as people in period era clothing walking along the sidewalks. A line of men and women waiting in a breadline. All these scenes are presented to the sound of big band music.

EXT. new york city sidewalk  later

A sidewalk in a poorer region of the city. People walk past a young boy Jimmy who is dressed in ragged clothing and wears a cap, who is shining the shoes of a man sitting in a chair who is not revealed since he is reading a news paper who wears a white suit. Jimmy looks at the shoe and is silent for a moment then speaks.

jimmy

Mr. Talbot, can I ask why you don't get your shoes shined, like you have me do everyday; by that other kid down the street who only charges a nickel.

The man, Clyde Talbot, whose face is covered still by the news paper, speaks.

Clyde Talbot

I went to him once, and I'm sorry to say; he is better at shining shoes; I mean he had my shoes looking like mirrors.

JIMMY

So why do you come to me to get your shoes shined like you do everyday.

CLYDE TALBOT

Well, little Jimmy can get away with charging a quarter when everyone is broke these days cause everyone knows Jimmy is one of the few guys who you can have an intelligent conversation with in this town.

JIMMY

My other customers talk about things like their marriages or real problems; not like you who talks about the same thing everyday.

CLYDE TALBOT

As long as you get your quarter, I think you should neglect the fact that I talk about the only subject that matters.

JIMMY

You are going to complain about Hollywood and movies.

Clyde lowers the news paper; he is a man who appears to be in his mid thirties with neatly combed blond hair and seems to be in good shape.

CLYDE TALBOT

Like I tell you everyday, you little gutter snype, Hollywood is going to be the death of acting.

JIMMY

Things are tough right now in the country, movies is one of the few things that lets people forget their problems.

CLYDE TALBOT

Like I tell you everyday, a real actor back when acting took talent; well he didn't get to do a second take.

JIMMY

And this is the part when you tell me about how your portrayal Tybalt in Romeo and Juliette got a standing ovation from the crowd.

CLYDE TALBOT

Back before movies ruined the profession of acting.

JIMMY

So this is the part where I ask why did you give up acting.

CLYDE TALBOT

And this is the part where I say that one, the theater I acted at stopped doing Shakespeare.

JIMMY

And two, a critic was rather cruel in his review of your portrayal of Brutus in Julius Ceaser.

CLYDE TALBOT

Your supposed to let me say that.

JIMMY

And now you are going to tell of when times where better, before movies ruined everything.

CLYDE TALBOT

Reason why movies are the death of drama is because they always tack on a happy ending, but their are not many happy endings in Shakespeare.

JIMMY

Well, people like happy endings.

Clyde covers his face with the news paper again.

CLYDE TALBOT

I think you are old enough to know that sometimes in life, well you don't get a happy ending.

JIMMY

Mr. Talbot.

CLYDE TALBOT

Jimmy, we have been having the same conversation for the five years I've been coming to you to get my shoes shined, call me Clyde.

JIMMY

You look younger then my father, yet you sound like my grandfather who likes to complain about anything modern.

CLYDE TALBOT

Well, I am a lot older then I look; I just happen to age well. But when you have been around as long as I have, well you have the wisdom to know why everything new is ruining the way things once where.

JIMMY

There are still a lot of theaters in this town.

CLYDE TALBOT

Hollywood ruined drama cause like I said, they always have a happy ending. And a lot of us don't get that in life.

JIMMY

You must be the most depressing of all my customers. Even that guy whose wife left him for his brother is more upbeat then you.

CLYDE TALBOT

When you have been around as long as I have, well sometimes it is hard to be upbeat. I remember when I saw the my first film, I could not escape the feeling that I was looking at ghosts on the screen which might steal my soul.

JIMMY

There is no such things as ghosts Mr. Talbot.

CLYDE TALBOT

Another reason I say Hollywood is going to be the death of true thespians and drama.

JIMMY

What is a thespian.

CLYDE TALBOT

It is what a actor calls himself when he wants to sound classy. But the other day I saw this film about these guy from Transylvania who is a drinks peoples blood.

JIMMY

My dad said that it was a scary film.

CLYDE TALBOT

Well this no such things as monsters, but if there where for the sake of argument that there was a guy who was a monster; well he would probably would not last very long if he was so obvious about it.

JIMMY

And now that I've almost finished shining your shoes, you say you have some important business and I say that some of my customers say that some idiot ruined a film at the cinema down the street by telling everybody in the theater what happens next at every part.

CLYDE TALBOT

And this is when I say it must be some other brave individual who has a grudge with Hollywood.

JIMMY

And this is when I say I'm done.

Clyde folds up the newspaper and looks down at his shoes.

CLYDE TALBOT

Well, as usual, a sub par job on shining my shoes but at least you know your lines of the same conversation we've been having everyday since I've been coming to you for the past five years. Perhaps you should consider being a thespian.

JIMMY

I actually considered being a actor when I was younger.

CLYDE TALBOT

And this is when I ask why you say that you don't want to end up as some bitter guy who lives in the past and all he seems to have in life is ruining films for people at the theater down the street.

JIMMY

Guess I'll see you tomorrow so we can have the same conversation again.

Clyde gets up and walks away when Jimmy looks at him.

JIMMY

This is where I say you owe me a quarter.

Clyde reaches into a pocket and flips the quarter towards Jimmy, but the quarter bounces out of his hands and goes into a storm drain. Clyde shrugs.

CLYDE TALBOT

Well, like when you don't catch the coin this is when I say I don't think I should pay you another quarter because Jimmy has butter fingers.

JIMMY

Guess I'll see you at the same time tomorrow so when can have this exact same conversation again.

CLYDE TALBOT

Well, this is not in the usually script, but you might want to stay inside your parents apartment tonight.

JIMMY

Why Mr. Talbot?

CLYDE TALBOT

Well that pack of wild dogs has not eaten anyone almost a year, and I think that a dog once it has a taste for people, well, I just get a feeling that tonight they are going to eat somebody else.

JIMMY

A lot of things in this city that are dangerous come out a night, and most of them are men.

Clyde speaks as he walks away.

CLYDE TALBOT

You have no idea Jimmy.

Once Clyde has left the area Jimmy mutters to himself.

JIMMY

I hope I never get old, so all I have in life is complaining about anything new and living in the past. God, even my grandfather does not complain as much as Mr. Talbot.

Jimmy shrugs as another man gets into the chair. Jimmy starts to shine his shoes.

EXT. palace movie theater  later

Later in the day. A movie theater called the Palace sits among buildings and the marque over the entrance says "Double Risk". Period era cars drive past as people walk along in front of the movie theater.

INT. theater  seconds later

A crowd of people sit in their seats and look at the screen of a film which is not revealed. Clyde sits among the the audience eating from a bag of popcorn. Several people in the audience are looking at him and seem angry. Then Clyde speaks loudly.

CLYDE TALBOT

Don't worry, the guy jumps out of the car before it goes over the cliff.

More people in the audience look at Clyde in anger. Clyde speaks up again.

CLYDE TALBOT

You know the micro film the spies are looking for, it is probably in that statue the guys daughter gave him.

Then a large man in the row of seats in front of Clyde turns to him and loudly speaks.

Large man

Sir, you are ruining the movie for everyone.

Clyde looks at him then throws his bag of popcorn at the man.

CLYDE TALBOT

Could you shut up, I can't hear the film.

Everyone in the theater looks at Clyde for a moment then all look at the screen. He looks like he is about to say something when he sees a young woman in a dress, Beverly, is sitting a few seats away from him. He just looks at her in silence and seems to be now somewhat saddened. He then looks at the screen in silence.

EXT. new york sidewalk  night

It is early in the night in the city. Beverly walks down the sidewalk in front of apartment buildings and shops closed for the night. She does not notice the Clyde is following some distance behind her. He seems saddened and is staring at her. He then mutters.

CLYDE TALBOT

Guess you finally caught up to me again. I wish I could tell her sorry, but how could I explain it to her.

The streets are empty and Clyde follows her for awhile until he mutters again.

CLYDE TALBOT

I hate you. But I'll feed you so you can leave me alone till next year.

Then Beverly walks in front of an alley when two men appear and walk towards them, they are two large men in dark suits named Hank and Phil who then stop in front of her. She looks at them.

Beverly

Hello.

Hank then grabs her and Phil pulls out a knife. And they both drag her into the alley. Clyde watches as her yells bellow out from the alley. Clyde then smiles.

CLYDE TALBOT

Well, now you want someone else for your meal.

Clyde looks up into the sky. Clouds drift across the sky until they pass and reveal the nearly full moon. Clyde looks at the moon.

CLYDE TALBOT

New York, your never far from a good meal.

Clyde then looks like he is in pain and falls to his knees and begins to breath heavily. Different shots show Clyde change slightly. His hand which rests on the sidewalk begins to grow brown fur until it is covered. His fingers begin to get longer and large black claws emerge from the tips of his fingers. Then a view of one of his shoes, then the shoes breaks apart as his one of his feet begins to grow and cover with brown fur until it is large paw with large black claws at the end of each tow. Then there is a shot of the moon as the howl of something that sounds like a wolf fills the night.

EXT. alley  seconds later

A darkened alley full of garbage cans and discarded trash bags. Phil holds the knife and faces Beverly and his back is to the entrance of the alley. Hank holds onto from behind.

Phil

Miss, you should not walk alone in this town at night. It is dangerous.

They both laugh but stop when they hear the howl and seem startled.

hank

What was that, it sounded like a wolf.

Phil talks but does not notice that Hank and Beverly are looking at something at the entrance to the alley and seem to become terrified.

Phil

There are no wolfs in New York city.

Phil then notices that they seemed terrified.

PHIL

What is it Hank, you look like you've seen a ghost.

Phil then hears heavy breathing behind him. He turns and sees it. Though the darkness of night does not completely reveal it, standing at the entrance to an alley is something that stands like a man in Clyde's ripped apart clothing but looks like a cross between a man and a wolf, and it has a furry tail. It then falls forward and begins to walk towards them on all fours and stops a few feet from them. They all back away and Hank let's Beverly go and she then runs and hies behind a dumpster. Hank and Phil face the creature and are shaking.

HANK

Is that a dog?

PHIL

It is a damn big dog Hank.

Then the creature growls deeply and there is a close in image of it teeth and fangs. Then the creature leaps at Phil and knocks him to the ground. Phil yells when the creature bits his throat and tears a large chunk out. Hank tries to run past it, but then the creature lunges at him then tears and chunk out of his shoulder as he screams. Now it is on top of Hank as it begins to bite him and eat his flesh. Now both men are dead and Beverly watches as the creature eat Hank. She seems afraid and slowly gets up and walks past the wolf creature. It watches her walk past and is snarling but does not attack. It watches her then run out of the alley then returns to eating one of the men.

EXT.  new york  seconds later

New York City at night in the distance as the moon hangs over it and there is the howl of a wolf which fills the night.

EXT.  small village   morning

A small village somewhere in Germany, a town which seems to be somewhat misplaced in the modern world and more fitting for the last century. Homes and shops as people walk along cobblestone street and in the center of town is a church. The town is surrounded by fields and wilderness.

EXT.  castle  seconds later

A few miles from the town on a hill is an ancient crumbling castle and it overlooks the town in the distance, there is a tower in the castle. The sun rises behind the castle.

INT.  castle  seconds later

A large room within the decaying castle with stone walls, walls covered with very artistic paintings of things like somber fields and valleys and of the town, all the paintings seem to be somewhat melancholy. Also in the room is equipment that seems like an ancient laboratory, and there is a large machine which seems to go up to the ceiling and is covered with wires and glass tubes; at its base is a metal chair. The room is still when the scene focuses on a large door. There is silence when very heavy footsteps approach from the other side. The door opens and there is a shot of Frank from behind. His appearance is not revealed because he is in silhouette. But he is almost seven feet tall and is wearing ordinary clothing. Then there is an image of his feet as he walks through the room, gigantic feet covered by equally gigantic boots.

EXT.  castle tower   seconds later

On the top of the tower is an area which from which you can see the village in the distance. The top of the machine rises from the floor and something that looks like a large lightning rod reaches up into the sky. Frank sits on a stool though you can only see him from behind and his appearance is concealed. He holds a paintbrush and is painting on a canvas in front of him. He looks at the town and returns to painting. It is revealed that it is a somber painting of the town.

EXT.  forest  later

A forest near the castle. Tree's tower over a forest path as sunlight cascades through the canopy of the forest. A small deer is on the path and eating something on the ground. It looks up as heavy footsteps approach. Then there is an image of Frank's large feet as he walks down the path, but then stops. The deer looks at him, but Frank's gigantic form is covered in shadow. Then the deer walks up to Frank and looks at him. One of Frank's gigantic hands is held in front of the deer, the skin of his hand is deathly white and it is covered with stitches. He opens his hand which reveals some grain. Then the deer begins to eat from his hand.

EXT. a river  seconds later

Near the forest is a large river with a fast current. A little girl, Helga, in a dress looks up at a tree near the river with a branch which reaches over the river. A little boy, Hans, in old fashioned clothing walks across the branch. The little girl speaks in German as subtitles translate.

Helga

Momma said we are not aloud to play in the forest.

Hans speaks as he walks across the branch.

Hans

I know, this is where the giant lives.

HELGA

We should go home.

HANS

There is no giant. Just a story momma told us to keep us from the woods.

Helga looks like she is about to say something when the branch snaps and Hans plunges into the river. The fast current takes him down the river as Helga runs along the river bank. It seems that Hans is having trouble keeping his head above water.

HELGA

Help!

EXT.  FOREST  seconds later

Frank, whose appearance is not completely revealed, still feeds the deer when he hears Helga yell. He looks in the direction of the yell and lets out a loud grunt. He then runs swiftly through the forest towards the river.

EXT. A RIVER  SECONDS LATER

Helga still runs along the river bank and it seems that Hans is about to be pulled under. But then she sees something on the other side of the river and stops, she seems afraid.

HELGA

He's real.

There is an image of Frank running towards the river but he is not completely revealed. He then jumps into the river, a gigantic leap and he lands with a splash. Hans has vanished beneath the water. Then there is an  image of Helga watching when she begins to shake. A image of Frank walking through the river, he is not completely revealed though he holds Hans who is soaked who looks afraid. Frank walks up to Helga and drops Hans beside her and they both then look up. Frank is fully revealed. He is a towering giant, whose skin is deathly white. His face is covered with stitches and he has short dark hair. He looks down at the children for a moment then smiles. Helga and Hans seems terrified and run away. Frank watches them run and now frowns and lets out a deep grunt. He lowers his head and walks away.

INT.  home of the children  later

Somewhere in the town is the home of the children. In the kitchen which seems to be very old fashioned, the mother stands over a counter and uses a rolling pin on some flower. She, Gretta,  wears a very old dress. Then Helga and Hans run into the kitchen. They look at her and seem afraid.

Helga

Momma.

Gretta puts down the rolling pin and turns to them. Then she seems concerned when she sees that they are terrified. She walks up to them.

Gretta

What happened?

HELGA

We where playing in the forest.

Gretta seems somewhat upset.

GRETTA

You father forbid you to play in the forest.

HELGA

Hans almost drowned.

Gretta frowns.

GRETTA

And a giant saved him.

HELGA

The monster is real.

Gretta walks back to the counter and uses the rolling pin again.

GRETTA

The parents of the village wait till our children before we tell them about who that giant is.

HELGA

Who is he?

GRETTA

A very good man who was cursed to be in the body of a giant.

HELGA

Why did he save Hans?

GRETTA

Because he has watched over this town since before I was your age.

HELGA

Is he a real monster?

GRETTA

No. Just a very kind soul, who was cursed to be like he is. I will tell you what we tell all out children. Long ago, this town did that giant a very bad thing and as long as this town is here we will always feel shame. And yet he should hate us, he watches over us because he is gentle and kind.

HELGA

What did did they do?

GRETTA

Something we never speak of. but I will tell you what we tell all our children when we tell them of this town's secret, if you ever tell any outsider of that giant; I and our father will have to turn our backs on you and you will be banished. that giant is a tortured soul and this town will always keep his secret. Now go and clean up, it is almost lunch.

The children look at their mother for a second then silently leave the room.

EXT.  CASTLE  night

The castle sits on the hill overlooking the village as clouds fill the sky and their are flashes of lighting.

INT.  CASTLE  SECONDS LATER

Franks sits in the metal chair at the bottom of the machine as there is the rumbling of thunder.

EXT.  CASTLE TOWER   SECONDS LATER

The top of the machine at the top of the tower sits under the storm when a bolt of lighting then shoots down from the sky and hits the lightning rod at the top of the machine and electrical discharges begin to be thrown of the machine.

INT.  castle  seconds later

Frank sits in the chair as all the glass tubes on the machine gets very bright and the machine starts to give of electrical discharges. Then suddenly Frank begins to give of electrical discharges to and he seems to glow light an eerie light. Then he fades and the machine gets dim again. He seems still and just sits under the machine in the room filled with his paintings.

EXT.  CASTLE  seconds later

The castle sits on the hill overlooking the town as the storm fills the night with flashes of light.

EXT.  town in Sicily  morning

A small town somewhere in Sicily, which seems very quaint and old fashioned and is lost in a land of rolling hills and valleys. Shops along side dirt streets and small homes. It seems early and the town seems devoid of activity. Yet in front of a bakery, a older man in an apron, stands outside the front door and uses a broom to sweep away dirt in front of his store, he is Fredo. This continues for awhile when the voice of a woman speaks off frame in Sicilian and subtitles translate.

Anastasia

Good morning.

Fredo stops sweeping and looks up. He seems speechless and just stairs of frame for a moment then returns to sweeping.

fredo

Your accent tells me you are a foreigner, but your Sicilian is very good.

ANASTASIA

Thank you.

FREDO

Why have you come to our village miss?

ANASTASIA

Just a traveler far from home.

Anastasia is revealed. She is a stunningly beautiful woman, petite with an hourglass figure and has short, curly dark hair. She wears a black cloak and hood and she has very expressive eyes; but she seems very pale and somewhat sickly. She just looks at Fredo for a moment then speaks.

Anastasia

I was told that Don Pedro is the benefactor of this town.

Fredo looks at her for a moment then returns to sweeping.

FREDO

He is a very good man, and this town owes him much. But you should not speak of him, especially if you are an outsider.

Anastasia looks at the man for a moment. Though we can her Fredo speak, his mouth does not move.

FREDO

The good man who murdered my brother.

Anastasia looks at the man and walks slowly away. Fredo looks at her.

FREDO

Miss.

She stops.

ANASTASIA

Please call me Anastasia.

FREDO

Are you OK, you seem to be ill.

She speaks as she walks away.

ANASTASIA

I do not like the sun. Have a good day sir.

FREDO

You as well Anastasia.

He watches her walk away then returns to sweeping.

FREDO

She should be careful, the Don as his men have made this town a very dangerous place to be.

EXT.  estate of don Pedro  night

It is a clear night as stars shine vibrantly in the sky. Under the sky is the estate of Don Pedro, a mansion surrounded by a stone wall and with an iron gate in the front. A man in a suit, Vinny, stands in front of the gate flipping a coin as he whistles. He does not notice as a cloud of mist seems to appear in the distance and roll across the ground towards him. The mist vanishes and reveals Anastasia, yet now she seems to be more vibrant and healthy; and she holds a something that looks like a cane. She slowly walks towards Vinny and stops.Vinny notices her and smiles.

Vinny

Good evening beautiful.

Anastasia frowns.

ANASTASIA

I would like to see the Don.

Vinny shakes his head.

VINNY

The Don sees no one at his manor, especially a stranger.

Anastasia looks into his eyes and her eyes glow red and when she speaks her voice is very deep and inhuman.

ANASTASIA

Open the gate now.

Vinny seems frozen in place then opens the gate for her. She walks past him and towards the manor. Vinny seems frozen like a statue.

INT.  office of don Pedro  seconds later

Within the manor is a large office with paintings on the walls and a fireplace. A radio is on a table as opera music. Don Pedro sits behind a large desk and looks down at some papers, he is an obese man in a dark suit. He does not notice when the door silently opens and Anastasia enters. She stands before the desk and looks at him; dropping her cane.

ANASTASIA

Good evening Don Pedro.

He looks up at her and seems to be startled.

don Pedro

Who the hell are you?

She waits a moment then speaks.

ANASTASIA

Same as you, a killer.

Pedro leans back in his chair.

DON PEDRO

I don't know how you got in here, but a woman should not think she can intimidate a man.

ANASTASIA

You should be scared Don Pedro.

DON PEDRO

And why is that woman?

Her eyes glow red and she opens her mouth and reveals to large fangs. Then she speaks.

ANASTASIA

Because you are about to die.

INT.  hallway in manor  seconds later

At the end of a long hallway is the door to the office. The Don's screams bellow out from beyond the door. Then several of his men, all with pistols, run towards the door.

INT.  OFFICE OF DON PEDRO  SECONDS LATER

The men run into the office and aim their guns at something which is not revealed. They seem afraid. Now we see the Don whose body is slumped on the desk, Anastasia is on top of him and is biting his neck and he seems to be a pale as white chalk. The men look at her and she then stands, blood runs down the side of her mouth. Her eyes glow red and she lets out a loud hiss.

INT.  HALLWAY IN MANOR  SECONDS LATER

The door at the end of the hallway when gunfire sounds from the other side followed by the brief screams of the men. Then there is silence.

EXT.  ESTATE OF DON PEDRO  NIGHT

Vinny is still frozen in place in front of the gate as Anastasia emerges from the front doors and walks towards the gate carrying the cane. Then she pulls out a long blade concealed in the cane, as she walks past Vinny she strikes him with the blade and he falls to the ground dead. She walks away as she seems to turn into a cloud of mist and the mist rolls along the ground then rises up into the sky.

EXT. NEW YORK CITY  NOON

The skyline of New York in the distance during a sunny day.

EXT.  new york street  seconds later

A street somewhere in New York, period eras cars drive down road in a run down part of the city as men and women walk along the sidewalk. Then a green military truck appears and drives down the street slowly.

INT.  military truck  seconds later

In the cab of the truck are two young privates, Private Sullivan who drives and Private David who seems to be looking at the people on the sidewalk. Then drive in silence for awhile until they speak.

private Sullivan

I'm finding this whole thing a little weird.

private David

I know. The general has been acting odd for a month.

PRIVATE SULLIVAN

Us and seven other teams are supposed to find some guy in New York and bring him back to the base.

PRIVATE DAVID

And he sent the best sharpshooters and told us if he resists, threaten to shoot him in the heart.

PRIVATE SULLIVAN

After we tell him the bullets are silver.


Then private David looks at a paper in his hand. It is a very old drawing of Clyde.

PRIVATE DAVID

Why don't we have a picture?

PRIVATE SULLIVAN

Wish I knew.

PRIVATE DAVID

How do we find one guy in New York city?

Then they notice Clyde walking along the sidewalk towards them, in his suit and a hand in his pocket. They then look at each other and back at Clyde.

PRIVATE DAVID

Well, guess we found him.

EXT. NEW YORK CITY SIDEWALK  seconds later

Clyde walks down the sidewalk and does not notice that the two privates and some distance behind him as people walk past. They look at each other and whisper.

PRIVATE DAVID

OK, let's get him.

PRIVATE SULLIVAN

Shut up, he might hear us.

PRIVATE DAVID

No one could hear that well.

Clyde looks over his shoulder and sees the two men. He then looks forward and walks faster. The privates then walk quicker as well. Clyde looks over his shoulder again then runs down the sidewalk. The privates run after him and pull out two pistols. Clyde then turns and runs into an alley.

EXT. ALLEY  SECONDS LATER

Clyde runs towards the back of the alley and comes to a chain link fence. He stops and looks back, the two privates are now at the entrance to the alley and have their guns pointed at Clyde. He then turns to the fence and starts to climb over it.

PRIVATE DAVID

Stop or we will shoot!

Clyde stops and speaks.

CLYDE TALBOT

I'll take my chances.

PRIVATE SULLIVAN

Shoot you in the heart, with a silver bullet.

Clyde then jumps of the fence and looks at them.

CLYDE TALBOT

So you think you know something about me?

PRIVATE SULLIVAN

All we know is that we have orders to detain you and bring you to Fort Sumter.

Clyde puts his hands up.

CLYDE TALBOT

This is a misunderstanding, but a patriotic American like myself would like to clear this up.

Private Sullivan pulls out some shackles and puts them on Clyde. They take them away and he speaks.

CLYDE TALBOT

I like the uniforms, wish I had one.

Then they leave the alley.

EXT. fort Sumter  day

A US army base, Fort Sumter, sits under a gloomy sky. It is a large base with barracks and army vehicles everywhere and surrounded by a fence.

INT.  Clyde's cell  moments later

A small prison cell with no windows and a cot and a toilet. The walls are metallic and there is a large iron door. Then the door opens and Clyde is thrown into the cell and it slams shut. Clyde turns to the door and yells.

CLYDE TALBOT

I'm going to write my congressman and tell him how the US army is treating an upstanding American like myself.

EXT.  CASTLE  NIGHT

It is a clear night over the castle in Germany. But walking towards the its large door is five American soldiers dressed like civilians though armed with rifles and one of them has a flame thrower. Two of them, Private Jones and Private Wallace, speaks nervously.

private Jones

Why are we in Nazi Germany? Sure they fell for the whole entourage of a Nazi sympathizer act. But we have to capture some guy and sneak him stateside, a guy who the general says is some freakish giant.

private Wallace

He told us to not ask questions. Besides, the guy who is pretending to be the sympathizer just gave the Nazis a large donation so I think they won't ask to many questions.

PRIVATE JONES

Why do we need a flame thrower?

INT.  CASTLE  SECONDS LATER

The room in the castle with the paintings and the machine. Frank stands and looks at a painting and is frowning, it is a painting of some humanoid form being consumed by flames. He then lets out a low groan. Then the door opens and the American soldiers enter and aim their weapons at Frank. When he slowly turns to face them, all the soldiers seem shocked.

PRIVATE DAVID

He looks like that guy from that movie.

Frank lets out a loud grunt them raises his foot then slams it on the ground. The room shakes as bits of stone fall from the ceiling. Then the soldier with the flame thrower lights it and Frank then is still for a moment.

PRIVATE DAVID

Just come with us and you won't get hurt big fella.

Frank then nods. One of the soldiers takes out gigantic shackles and puts them on Frank. He waits a moment then breaks the chain of the shackles. All the soldiers are looking at him.

PRIVATE DAVID

This guy is a strong sucker.

Then the soldiers lead Frank towards the door, before they take him away, he looks at a painting of the town and frowns.

EXT.  road in Sicily  day

A road in the countryside somewhere in Sicily. Anastasia, in her dress and holding her cane, walks alongside the road. She seems weakly and walks slowly. But she does not notice a car is following her some distance behind.

INT.  car  seconds later

Two American soldiers, Private Regan who drives, and Private Peterson who sits beside him, are dressed as civilians. In the back is a military Chaplin Father Benson who holds a crucifix, he is shaking.

private Peterson

Guess the general was right. Found her where we said we would.

private Regan

Headed out of some town where some thugs where found dead.

PRIVATE PETERSON

Think she did it?

PRIVATE REGAN

She is a woman?

One of them looks back at father Benson.

PRIVATE PETERSON

Ready father Benson.

He is still shaking but nods. They stop the car and the father reluctantly gets out. The two privates look at each other.

PRIVATE PETERSON

This is weird.

PRIVATE REGAN

The general is insane.

PRIVATE PETERSON

Why do you say that?

PRIVATE REGAN

Because, he told us not to capture her at night. And the base Chaplin is the one to detain her. The general thinks she is a vampire or something.

EXT.  ROAD IN SICILY  seconds later

Anastasia walks along the road as the Chaplin walks up behind her holding up the crucifix. He then nervously speaks.

father Benson

Turn around.

Anastasia stops.

ANASTASIA

My English is not the best, but why is an American in Sicily?

She turns around but when she sees the crucifix she seems to swagger back and forth and falls to the ground and seems to be in pain. The priest looks at her.

FATHER BENSON

He told me what you are. If you don't come with us we'll kill you. And when confronted by the symbol of our lord held by one pure of faith, you are powerless.

Anastasia still seems in pain. Then she seems to pass out.


----------



## Autodidact_33 (Mar 27, 2015)

EXT. FORT SUMTER  DAY

A few days later at Fort Sumter during a gloomy day.

INT.  outside interrogation room  seconds later

A small room to one side is a two way mirror. General Shepard is looking through it and seems emotionless. Beside him is Corporal Parry, a young man in a uniform, who looks at the mirror as well.

corporal parry

When you told me what this whole operation was about, I thought you had snapped general.

GENERAL SHEPARD

I would have told the men who these three where, but they would have not believed me. But the giant was enough to convince them for me.

CORPORAL PARRY

What did the president say?

GENERAL SHEPARD

It convinced him to let me go ahead with this operation. Though he also said he never wants to see me again.

CORPORAL PARRY

Think they can pull this off?

GENERAL SHEPARD

I don't know Corporal Parry.

INT.  interrogation room  seconds later

A large interrogation room with a mirror to one side. There is a metal table in the center of the room which Clyde, still in his suit, sits at. He is looking at the wall.

CLYDE TALBOT

Well, my week has been ruined.

Clyde then hears heavy footsteps outside the door and looks at it.

CLYDE TALBOT

That sounds familiar.

Then the door opens and Frank stands there and they look at each other. Clyde grins but Frank is frowning at him.

CLYDE TALBOT

Frank.

Frank then walks to the table and sits across from Clyde, he seems to be unable to look at the mirror. Clyde is looking at him.

CLYDE TALBOT

Well, Frank. Nice to see that after forty years you still are as grotesque as ever.

Frank looks at him and frowns.

CLYDE TALBOT

You know what they say Frank about a face only a mother could love. Of course you never had a mom did you.

Frank then grunts loudly.

CLYDE TALBOT

I know, you think you are better then me. But at least I had a mom Frank, I think I mighty have eaten her. But the point still stands, i had a mom.

Frank then slams his fist down on the table and makes a large dent in it. Clyde then begins to repeatedly slam his fist down on the table.

CLYDE TALBOT

I can do that to Frank.

INT.  OUTSIDE INTERROGATION ROOM  SECONDS LATER

Corporal Perry is looking at the general.

CORPORAL PARRY

They know each other.

INT.  INTERROGATION ROOM  SECONDS LATER

Clyde leans back in his chair and smiles.

CLYDE TALBOT

Good to see you Frank. And I know you think you won that little fight we had, but it was a draw.

Then the door opens and Anastasia stands at the doorway and she looks at them. They both look at her, Clyde grins.

CLYDE TALBOT

Beautiful, what the hell are you doing here.

She walks to the table and sits beside Frank and the door closes. She frowns at Clyde.

ANASTASIA

Don't talk to me Mr. Talbot.

CLYDE TALBOT

Is that how you are going to act after that date in Venice, of course after you where going to stab me in the heart with a silver knife and I was going to drive a stake through your heart. I thought we where close.

Anastasia looks at Frank and he looks at her and grins.

ANASTASIA

It is good to see you again.

Frank nods. Clyde is looking at them.

CLYDE TALBOT

So you know each other. Frank gets some kindness and I get the whole don't talk to me.

She looks at Clyde.

ANASTASIA

Like I said Mr. Talbot, you are a fool.

CLYDE TALBOT

OK, I tried to eat you; how long are you going hold that against me.

INT.  OUTSIDE INTERROGATION ROOM  SECONDS LATER

The corporal and the general are looking at them through the mirror.

CORPORAL PARRY

They all know each other.

GENERAL SHEPARD

The woman has been wandering Europe for five centuries, that man for over ninety years. I guess it was inevitable.

CORPORAL PARRY

What is with that guy?

GENERAL SHEPARD

I really don't like him already.

INT.  INTERROGATION ROOM  SECONDS LATER

Clyde leans forward and whispers.

CLYDE TALBOT

Two men are behind that window and watching us, I can smell them. How about we have some fun.

ANASTASIA

What are you talking about?

CLYDE TALBOT

There is this new thing in acting, it is called improv. Just follow me lead.

Clyde leans back in his chair.

CLYDE TALBOT

I know you two hate me, we can settle this but we have bust out of here. Bet you i can kill at least thirty American soldiers.

Frank frowns and lets out a deep grunt. Clyde looks at him.

CLYDE TALBOT

I'll translate for Frank, he said he could kill at least fifty American soldiers.

Anastasia looks at him.

ANASTASIA

Can't you act like an adult for once Talbot.

CLYDE TALBOT

Beautiful, as always, you suck all the fun out of the room.

Clyde gets up and picks up his chair.

CLYDE TALBOT

About time we find out why we are here.

He throws the chair at the mirror and it shatters. Then the three of them look at the general.

CLYDE TALBOT

OK, we did you just round up the three of us?

GENERAL SHEPARD

The war effort needs the three of your help.

They all look blankly at the general.

CLYDE TALBOT

Do we look like the types who care about the war?

GENERAL SHEPARD

If you do a mission for us, the US army will give each of you something you want.

CLYDE TALBOT

You are going to have my face put on Mount Rushmore?

GENERAL SHEPARD

Mr. Talbot, miss, help us and we will give you something you might want.

ANASTASIA

And what is that?

GENERAL SHEPARD

A cure for your conditions.

Anastasia's expression goes blank but Clyde frowns.

CLYDE TALBOT

We can't be cured.

GENERAL SHEPARD

We can, please take me at my word.

Clyde looks at Frank.

CLYDE TALBOT

Frank, maybe that can cure ugly.

ANASTASIA

And what does he get?

GENERAL SHEPARD

We found the giant's creators journal. We can make you a companion.

Frank then seems to look at the general. Anastasia is looking at Frank.

ANASTASIA

You have to take him back, now.

Clyde looks at here.

CLYDE TALBOT

Why?

ANASTASIA

If he does not use that machine where you found him within a week or two, he'll die.

GENERAL SHEPARD

We have considered that.

Frank then nods. Then the three of them look at the general.

CLYDE TALBOT

OK, what do you need us to do?

GENERAL SHEPARD

We will give you uniforms tailor made to utilize your conditions, and equipment.

CLYDE TALBOT

Get to the point.

GENERAL SHEPARD

If you agree, you will be inserted deep into Nazi controlled Europe. En route we will give you intelligence on how to complete this mission. All you have to do is find something. In two weeks, a boat on Europe's coast will take you back to England.

ANASTASIA

What do we have to find?

GENERAL SHEPARD

Something important. You don't need to know more then that. Do you three accept?

Frank nods again. She waits for a moment then speaks.

ANASTASIA

I accept.

The general looks at Clyde.

GENERAL SHEPARD

And you Mr. Talbot?

Clyde shrugs.

CLYDE TALBOT

I just want one thing.

GENERAL SHEPARD

What is that?

CLYDE TALBOT

I uniform gets four stars like yours.

The general scowls at him and leaves the room. Clyde looks away and mutters.

CLYDE TALBOT

I told my self that I was never going back to Europe.

Both Anastasia and Frank are frowning at Clyde. He looks at them.

CLYDE TALBOT

I know, you both think you are better then me or something.

INT. base armory  later

A large room with racks of weaponry. Corporal Perry seems to be waiting when Clyde walks into the room. He has on a black uniform, there is Kevlar armor built into it, on the side of the chest of the uniform are straps holding several clips of ammunition. He has on black boots. A Thompson machine gun is slung across his back. He lifts up the collar of the uniform revealing a single silver star. He then looks at the corporal.

CLYDE TALBOT

I like the uniform.

CORPORAL PARRY

It has Kevlar armor. Plus the machine gun we gave you is loaded with hollow point ammunition.

Clyde looks down at the boots.

CLYDE TALBOT

I need more boots. I go through a lot of shoes.

CORPORAL PARRY

Stomp down your foot.

Clyde waits a moment then lifts his foot and stomps it down. The front of the boot flips open revealing his foot. Clyde stomps down his foot again and the boot closes. Clyde grins.

CLYDE TALBOT

I'll be keeping these.

Then Frank walks into the room. He has on a black uniform, covered with metallic plates. slung across his back is a bazooka, but it seems to be fed by a large clip. Several more clips for the weapon are strapped to the legs of the uniform. Clyde looks at Frank and shows him the single star.

CLYDE TALBOT

Guess I out rank you Frank.

Frank lifts his collar revealing two silver stars. Clyde looks at the corporal.

CLYDE TALBOT

Frank out ranks me?

CORPORAL PARRY

The general said that during the day, he is the only one who, well, is not basically not like everyone else. A the metal in his suit acts like a lightning rod, so if there is a storm it will attract lightning.

Clyde looks at Frank then limply salutes him. Frank waits a moment then salutes back. Then Anastasia walks into the room in a black uniform with Kevlar armor. Two silver colt pistols are in holsters tied to the leg, and more clips are hung in straps on the sides of the chest. And there is a sword in a scabbard hanging from her belt. A black cloak and hood cover the uniform. Clyde looks at her.

CLYDE TALBOT

Well, beautiful, guess we are taking orders from Frank.

She looks at Clyde and lifts her collar revealing three silver stars. Clyde looks at the corporal.

CLYDE TALBOT

We'll be taking orders from her?

CORPORAL PARRY

The corporal said she is fluent in almost every language in Europe and knows almost every corner of it; she is your leader. Miss, you have two colts with extended clips and your sword is made from a special form of titanium, it could cut through granite.

CLYDE TALBOT

The only American on this team has the lowest rank. The continental congress must be spinning in its grave.

ANASTASIA

Don't talk Mr. Talbot.

CLYDE TALBOT

Is that an order doll because it if is I guess I'll be ignoring your order.

ANASTASIA

This is going to be an rather unpleasant experience.

CLYDE TALBOT

Right on the money doll.

CORPORAL PARRY

We plane is waiting to take you to Europe.

Clyde looks at him.

CLYDE TALBOT

No one said anything about flying.

EXT.  sky over France  night

A green army plane flies over France during a overcast night.

INT.  inside plane  seconds later

A bench is along the hull of the plane, Clyde, Anastasia and Frank sit on the bench. Clyde seems to be nervously and its rapidly tapping his foot. Anastasia looks at Clyde.

ANASTASIA

Though I am not complaining, you have not said a word since we left the New World.

CLYDE TALBOT

I father told me once man would learn to fly, I said that he was a senile old koot. If you ask me anything faster then a horse and buggy is to fast.

Frank then lets out a low groan. Anastasia looks at him and places her hand on top of his.

ANASTASIA

I know you are worried about your little town. I promise, we'll make sure you are home soon.

Then there is turbulence and the plane shakes.

CLYDE TALBOT

Why is the plane shaking.

Then corporal perry exits from the cockpit and stands in front of them.

CORPORAL PARRY

Miss, you have a map. You'll be dropped of into France a hundred miles from a town called Bree. Outside it is manor where a German commander, Konig, is staying. He knows where a excavation sight is. Once you find out, go there and find something that looks like a stone with weird symbols on it.

ANASTASIA

Perhaps the uniforms will be somewhat suspicious.

The corporal looks at Frank.

CORPORAL PARRY

I think you'll standout no matter what your wearing.

CLYDE TALBOT

When do we land?

CORPORAL PARRY

You'll parachute into France.

Clyde looks at him.

CLYDE TALBOT

What the hell is a parachute?

INT.  INSIDE PLANE  later

Anastasia, Frank, and Clyde stand in a row near a open door to the side of the plane, Corporal Perry stands in front of them. Only Clyde and Frank have on parachutes. The corporal looks at them.

CORPORAL PARRY

Why did you not want a parachute miss?

She looks at him, then she changes into a cloud of mist which fills the plane and goes out the door. Corporal Parry seems somewhat scared.

CORPORAL PARRY

The Nazis are not going to be ready for you three.

CLYDE TALBOT

So we have to jump out of the plane.

CORPORAL PARRY

Don't worry, it is safe.

Frank waits a moment then jumps out the door. Both the corporal and Clyde look down out the door.

CLYDE TALBOT

These parachute things, are they made to work with a guy who weighs at least seven hundred pounds.

CORPORAL PARRY

Oh damn, his parachute deployed. But the straps just ripped apart.

CLYDE TALBOT

Great, you killed Frank.

CORPORAL PARRY

Really?

CLYDE TALBOT

No, the guy is pretty much indestructible.

CORPORAL PARRY

OK Mr. Talbot, jump.

Clyde looks at him.

CLYDE TALBOT

If this thing doesn't work, as soon as I get to America I'm going to eat you and your entire family.

Clyde waits a moment then speaks again.

CLYDE TALBOT

We better get a ticker tape parade when we get back.

He then jumps out of the plane. Corporal Perry looks out the door.

CORPORAL PARRY

The US army just enlisted a vampire, a werewolf and a giant to fight the Nazis. The service is getting a little to weird for me.

EXT.  farmers field  dawn

In a land of fields and valleys is a farmer's field. To the east, the sun has begun to rise over the horizon. A heard of cows eat lazily. A older french farmer, Nicolas, stands near the field and looks at his cows. He then watches as a cloud of mist floats quickly down from the sky towards the ground then takes the form of Anastasia. He seems a little frightened. Then Frank plummets out of the sky and hits the ground making a large crater in the dirt and is face down. Nicolas then runs away. Then Clyde slowly falls from the sky hanging from his parachute and lands on the ground. He then starts to frantically take of the parachute.

CLYDE TALBOT

Gets this contraption of me.

He gets it of and a breeze carries the parachute away. Anastasia goes to Frank and kneels beside him.

ANASTASIA

Are you OK?

His face still in the dirt, Frank lets out a low grunt. Clyde looks at them.

CLYDE TALBOT

I think that means yes.

Frank lifts his head up and looks at her. She takes his hand and helps him to his feet. They look at each other. Clyde is looking at them.

CLYDE TALBOT

Wow, you two would make a cute couple. Well half a cute couple, half a couple that could make you violently ill.

Then they look at each other.

CLYDE TALBOT

Now what commander doll?

ANASTASIA

We get to Bree.

CLYDE TALBOT

Well, I'm at the bottom of this team, but I think we need a car.

Anastasia looks at the sun which now is rising above the horizon. Her skin becomes pale and she seems to look weaker. Clyde then walks away from the field as the other to follow.

CLYDE TALBOT

Well, let's get this show started.

EXT.  french road  morning

In the French countryside is a dirt road in a land of fields and valleys. Clyde and Anastasia stand on the road and watch a car approach in the distance, Frank is behind them.

ANASTASIA

You think it is right to steal someone's car?

Clyde looks at her.

CLYDE TALBOT

Doll, stealing a car is probably one of the more commendable things we have done.

Then they look at the car.

CLYDE TALBOT

Story is we are Bulgarian soldiers who need to borrow their car to get home.

The car stops in front of them. Frank looks at the driver and waves. Then the car turns around quickly turns around and races away kicking up dirt as the three of them watch.

CLYDE TALBOT

Thanks Frank.

Then another vehicle appears in the distance and is headed towards them. It is a black jeep with a swastika on the doors and two German soldiers in uniforms in the front. Clyde looks at Anastasia.

CLYDE TALBOT

Did not take us long to run into the Third Reich.

Clyde then takes his machine gun which is slung across his back and aims it at the approaching jeep. Frank then pushes Clyde aside and starts to charge towards the jeep.

INT.  jeep  moments later

Inside the jeep, the two German soldiers look ahead, and seem in shock. One slams on the brakes and they look forward.

EXT.  FRENCH ROAD  Moments later

Frank charges towards the jeep then grabs the front bumper and tilts the vehicle sideways throwing out the two soldiers who then lay on the side of the road. Frank drops the jeep to the road. Clyde then runs towards the soldiers who are getting up, he kicks one soldier in the face knocking him out then hits the other in the head with the but of his machine gun. Now they lay unconscious on the side of the road. Clyde looks down at them. Frank and Anastasia walk up behind them.

ANASTASIA

What if they tell someone?

Clyde looks at her.

CLYDE TALBOT

What, a giant stole their jeep. Do you know how insane that sounds.

ext.  french road  later

The jeep drives down the road in the countryside as it leaves a cloud of dust.

INT.  jeep  moments later

Clyde is driving as Anastasia sits beside him as Frank sits in the back. Then drive in silence for awhile when there is a close up image of Clyde's face. He is frowning when the scene dissolves and a flashback begins.

Ext.  English countryside  morning

It is morning along a dirt road in the English countryside in the early nineteenth century. There are thick forests to either side of the road. Then a carriage pulled by two horses passes by.

INT.  inside carriage  moments later

Inside the carriage is a leather seat. Sitting to one side is Clyde, wearing period clothing. Beside him is Jenny Talbot, a blond whose hair is done up into a bun and wears a blue dress. She looks at him.

jenny Talbot

Clyde, could you tell me where we are going?

Clyde looks at her and smiles.

CLYDE TALBOT

Like I said since we left New York, I want our honeymoon to be a surprise.

JENNY TALBOT

Why are we in England?

CLYDE TALBOT

Jenny, it is a surprise.

Jenny is looking at him and seems somewhat concerned.

JENNY TALBOT

Why did you give up acting at the theater. If it is because of that critic, you can't let one bad review make you give it up.

Clyde frowns.

CLYDE TALBOT

I have a wife know, and a actor does not make very much. So I'll take that job at the bank.

JENNY TALBOT

I don't want to be the one to make you give up something you love. I know the applause of an audience makes you happy.

Clyde looks at her and takes her hand.

CLYDE TALBOT

There was only one person in that audience whose applause I cared about.

Then they kiss.

EXT.  English manor  later

Amongst the forest is a gigantic English manor. A dirt path leads towards it which Clyde and Jenny are walking towards. She looks at him.

JENNY TALBOT

Why are we here?

CLYDE TALBOT

Because we are going to be staying here.

JENNY TALBOT

This is a palace.

CLYDE TALBOT

Before we go back to our apartment in New York, well, for one month I want my queen to live in a castle.

JENNY TALBOT

Why would they let us stay here?

CLYDE TALBOT

I never told you. I mother lived here with her rich father, who disowned her when she ran of to America with an American tourist. Mom told me her father died years ago and it now belongs to a nephew who is never here. And she told me where he hides the key.

JENNY TALBOT

You don't even have permission to stay here?

CLYDE TALBOT

I'm family, so I think I'm entitled.

Then they walk towards the doors to the manor.

EXT.  English manor  night

The manor sits under a clear sky and a crescent moon hangs over it.

INT.  living room of manor  seconds later

Inside the manor is a large room with paintings on the wall and a couch in front of a roaring fireplace. Jenny sits on the couch and looks at the fire. Then Clyde walks into the room, holding a period rifle. She turns and looks at him and frowns when she sees the gun.

JENNY TALBOT

Why do you have a rifle Clyde?

He looks at her and grins.

CLYDE TALBOT

I'm going hunting for pheasant.

JENNY TALBOT

Your going to kill a poor little bird?

Clyde seems to think.

CLYDE TALBOT

Damn, I thought pheasant was some kind of pig.

He then looks at her.

CLYDE TALBOT

Dear, I need some fresh air. I'm just going for a walk.

JENNY TALBOT

So why the rifle?

Clyde says something as he walks out of the room.

CLYDE TALBOT

Mom always said that wolves where a problem.

EXT.  forest path  later

Clyde is walking down a path in the darkened forest as a wind makes the trees sway about. He holds the rifle and is looking around.

CLYDE TALBOT

Kind of nice, but I can't wait to get back to New York.

He walks for awhile when he hears something that sounds like the howl of a wolf. Clyde stops, waits a moment, then turns around and walks in the other direction. Far behind him, something that looks like a really large wolf with black fur walks out from the forest and looks at Clyde, but its complete appearance is concealed by the night. It then growls. Clyde stops and turns around.

CLYDE TALBOT

Big wolf.

Then the creature stands on two legs.

CLYDE TALBOT

That is not a wolf.

Clyde turns and runs away. Then the creature runs towards him on all fours and quickly approaches. Clyde looks over his shoulder and stops. He turns and aims the rifle. The creature lunges at him as he fires, but it knocks him to the ground. Clyde tries to hit it but the creature bites into his shoulder and he screams. But there is another gun shot which fills the night. The creature howls in pain that lays dead on top of Clyde. Clyde pushes the creature off himself so it now lays beside him. He looks at the creature and watches as it slowly changes into the body of a young man. Clyde gets to his feet, looks at the body again, then runs away. Two Englishmen in period era clothing appear, both holding rifles, they are Winston and Nelson. Winston aims the rifle at the fleeing Clyde.

nelson

Don't.

Winston looks at him.

Winston

He was bit.

NELSON

It is very rare for the curse to pass from a beast to another.

WINSTON

And you'll take that chance?

NELSON

In a few nights is the full moon. Then that man will know if he is damned.

WINSTON

And then if he is, we kill him.

NELSON

Before he kills many others.

INT.  manor bedroom  later

Within the manor is a large bedroom with a window to one side. In the center is a large bed with a canopy over it. Jenny is asleep in the bed. Then Clyde enters the bedroom wearing his shirt with the shoulder stained with blood. but when he takes of the shirt, the wound from the bite is gone. He looks at it for a second then gets into the bed beside Jenny and falls asleep.

EXT.  ENGLISH MANOR  morning

The manor in the distance at morning.

INT.  manor kitchen  seconds later

Inside the manor is a large kitchen. Clyde stands in front of an open icebox. He is eating raw meat rapidly. But when he hears Jenny call out his name in another room, he puts the meat back in the icebox and closes it.

EXT.  manor  night

The manor at night, as clouds drift across the sky. Clyde then walks out the front door and seems to be worried. He then looks at the door behind him.

CLYDE TALBOT

Tomorrow, we'll be headed home. This will be over and me and Jenny can go back to our lives.

Clyde then looks at the sky when the clouds pass and reveal the full moon. Once Clyde sees it, he falls to his knees and he yells.

INT.  MANOR BEDROOM  LATER

Jenny is sitting up in the bed and looks at the door.

JENNY TALBOT

Why is Clyde acting so strange. I'm so worried for him.

Then there is the deafening howl of something that sounds like a wolf. Jenny seems afraid when she looks at the door. Though it is not revealed, there is the sound of the door opening. Jenny seems terrified when there is a growling noise and she screams.

INT.  MANOR BEDROOM  morning

Clyde is passed out in the corner of the bedroom, the bed is not revealed. Clyde's clothes are in tatters and is mouth and clothes are covered with blood. Clyde then suddenly awakes and is breathing heavily. He looks down and realizes that his clothes are covered in blood. He then looks at the bed when he then shakes his head and tears form in his eyes.

CLYDE TALBOT

Jenny.

A brief image of the bed, the sheets are covered with blood though Jenny's body is not revealed. Then Nelson and Winston enter the bedroom, holding rifles. They see Clyde and aim there rifles at him. Clyde gets to his feet and still is in tears.

CLYDE TALBOT

What is happening?

WINSTON

You killed her.

CLYDE TALBOT

No, I would never hurt her.

WINSTON

But a ravenous, insatiable animal hiding inside you did. Please, who ever you are, just let us end it or she is only the first of many.

EXT.  MANOR  seconds later

The manor sits under a gloomy sky when there is the sound of a gunshot. After a moment Clyde crashes through a second story window and plummets to the ground. He gets to his feet and runs away towards the forest.

EXT. London  night

A street somewhere in London during a night as rain pours from the sky. Clyde is walking down the sidewalk, in fresh clothing, and seems to be in grief. He stops when he sees a discarded News Paper on the sidewalk and sees a drawing of his likeness on the front page. He picks it up and reads it aloud.

CLYDE TALBOT

American Clyde Talbot is sought by Scotland Yard for the murder of his wife Jennifer Talbot. Claims have been made that he ate his victim.

Clyde frowns then rips the News Paper apart the drops it to the sidewalk. He walks away into the rainy night. The last image of flashback is of Clyde's picture in the News Paper, which has been ripped in two.


----------



## Autodidact_33 (Mar 27, 2015)

EXT.  FRENCH ROAD  later

Clyde drives in silence as the other two members of the team look at the countryside passing by.

EXT.  German fortress  noon

Somewhere in Europe in a barren land is a gigantic stone fortress which seems ancient. It sits under a sober sky. Flags with swastikas adorn the outer wall.

EXT. courtyard of fortress  seconds later

Within the walls of the fortress is a courtyard. German soldiers carrying small automatic rifles walk along the top of the outer walls of the fortress. Overlooking the courtyard is a machine gun nest and a German soldier mans the large automatic weapon. In the courtyard, many German soldiers with rifles stand about.

INT.  hallway of fortress  seconds later

Deep within the fortress is a long hallway with stone walls with tapestries on them. Light is provided by torches on the walls. A man walks towards the camera. He, Commander Schmidt, is a tall imposing man with gray hair and has a large scar over one eye which has been replaced by a glass one. He has on a black uniform with many medals. He comes to a large door which a German soldier stands beside. The soldier sees Commander Schmidt and salutes. He speaks in German which subtitles translate.

German soldier

Commander Schmidt.

The commander stops and looks at him.

commander Schmidt

At ease.

INT.  Ilsa's office  seconds later

Within the fortress is a large office with no windows and only the soft glow of torches provide light. There are maps of different parts of Europe on the wall. Sitting behind a large desk is Ilsa Koch, a blond woman with a pale complexion who is slim and wears a black leather uniform. She looks down at some papers on the desk. Standing beside her is Clause, a man almost seven feet tall who is partly machine. His arms are completely mechanical and large gears protrude from his shoulders, he is covered with iron plates and has no hair; half his face is robotic and one eye is mechanical and glows red. Then the door opens and the commander enters and stands before the desk. She looks up and at him.

Ilsa kotch

What do you want now Commander Schmidt?

He looks at Clause.

COMMANDER SCHMIDT

Before we speak, can you ask your lap dog to leave.

Ilsa looks at Clause.

ILSA KOTCH

Please wait outside Clause.

Clause looks at her and walks towards the door, but as he moves he makes a series of mechanical sounds. The commander frowns as he watches him leave. Once Clause has left, the commander still looks at the door. Ilsa looks down at the papers on the desk again.

ILSA KOTCH

Why are you bothering commander, I am busy.

The commander looks at her and for a moment then speaks.

COMMANDER SCHMIDT

You ordered me to inform you if my command learns of anything usual.

She looks at him silently.

COMMANDER SCHMIDT

Two soldiers near Bree reported that their vehicle was stolen.

ILSA KOTCH

Why is that unusual?

COMMANDER SCHMIDT

They reported that a giant who picked up the entire vehicle was responsible. They say he was with two others, a man and a woman. All armed and in uniforms of some kind.

Ilsa looks back down at the papers.

ILSA KOTCH

Have your men guarding the excavation site increased.

COMMANDER SCHMIDT

Why?

ILSA KOTCH

Just do as I say.

The commander looks at her for a moment then turns to the door when she looks at him.

ILSA KOTCH

You don't like me do you?

He looks over his shoulder at her.

COMMANDER SCHMIDT

We are at war and the best division in the German army know is protecting your fools errand. And now I am taking orders from a woman with no military experience.

ILSA KOTCH

Our Fuhrer does not think it is a fools errand.

COMMANDER SCHMIDT

Soldiers win wars, not ancient artifacts or magic.

ILSA KOTCH

Trust me, soon I will deliver the Fuhrer something that will place this entire Earth within his palm.

COMMANDER SCHMIDT

You better hope so, you know how our Fuhrer deals with those who displease him.

ILSA KOTCH

When we find that crypt, then he will get his prize.

COMMANDER SCHMIDT

I must follow orders, but I will be forthcoming; this operation is a waste of this divisions time.

Ilsa looks down at the papers again.

ILSA KOTCH

Leave commander. Like always, you bore me with your lack of faith.

He frowns as he looks at her then walks towards the door and leaves.

EXT.  french manor  night

In the French manor is a large, extravagant manor of Gothic architecture surrounded by forests and over it the sky is obscured by clouds. Many German soldiers patrol around the manor armed with small automatic weapons. Opera music bellows from inside.

EXT.  edge of forest  seconds later

At the edge of a darkened wood is Clyde, Frank and Anastasia. They hide at the edge of the forest and look at the manor. Clyde looks at her.

CLYDE TALBOT

Well, we beat two Nazis this morning. Now I'm guessing we have to beat several dozen. So the three of us have to fight our way in there and find this Konig guy.

She looks at him.

ANASTASIA

You two wait here. I will find him.

CLYDE TALBOT

Is that an order doll cakes?

She looks at the manor.

ANASTASIA

I need to feed.

Clyde looks at the manor.

CLYDE TALBOT

I hear German food is hell on your waste line.

Then Anastasia turns into the cloud of mist which rolls along the ground towards the manor. Clyde and Frank watch.

CLYDE TALBOT

Frank, have you ever heard of this guy the elephant man? Ugliest son of a bitch who ever lived they say.

Clyde looks at Frank.

CLYDE TALBOT

Of course he might have felt better if he met you Frank.

Frank looks at Clyde and grunts.

CLYDE TALBOT

Great come back Frank.

EXT.  FRENCH MANOR  seconds later

Two German soldiers stand in front of the entrance to the manor. Then they see the cloud of mist rolling across the ground towards them. They look at each other then at the approaching mist. But once it is in front of them, it takes the form of Anastasia and she pulls her sword from its scabbard. They raise their weapons but she pirouettes and cuts the two guards in two with a single swing. She then looks at the sword.

ANASTASIA

I think I will be keeping this. An exceptional blade.

Another German soldier near by sees her and the two dismembered men. He raises his weapon and fires. Anastasia is hit but does not flinch or even seem to notice. She looks at him then turns into the cloud of mist which quickly floats towards the soldier who fires at it. The mist goes right through him then takes the form of Anastasia who stands beside him. She drives her blade through his back and it comes out his chest. She then pulls her blade free and the soldier falls to the ground dead. Then a wailing siren screeches out in the night.

EXT.  EDGE OF FOREST  SECONDS LATER

Clyde and Frank hide at the edge of the forest as the screeching siren continues.

CLYDE TALBOT

We could help, but we could get court marshaled for not following orders.

They continue to look at the manor as there is the sound of gunfire.

INT.  Konig's office  Later

Within the manor is Konig's office, a large room with with a portrait of Adolf Hitler on the wall as well as several paintings of scantily clad blond women. A radio is on a table as loud opera music fills the room. Konig, a obese man with who is balding and wears a gray uniform with many medals, is standing behind his desk and aims a Luger pistol at the door as gunfire comes from beyond the walls all around him. Then the gunfire stops. He pulls back the hammer of his pistol.

int.  hallway outside office  seconds later

A long hallway with classical paintings on the wall. Anastasia walks towards the camera, behind on the ground are several German soldiers on the ground who have been cut into pieces.

INT.  KONIG'S OFFICE  seconds later

Konig aims the pistol at the door. Then the door opens and Anastasia enters she walks towards the desk and she returns her sword to its scabbard. Konig fires at her but she does not react or even seem to notice. He empties his gun then throws it at her. He then speaks in German.

konig

What the hell are you?

Then her eyes glow intensely red and she speaks in German with a deep inhuman voice.

ANASTASIA

Where is do they search for a piece of the map?

Konig seems like he is in a trance then replies.

KONIG

A hundred miles to the east, at the foot of a mountain.

ANASTASIA

How many pieces do they have?

KONIG

We need only the last one.

Then her eyes stop glowing and Konig begins to back away from her. Then she walks towards him as two fangs appear amongst her teeth.

EXT.  EDGE OF FOREST  SECONDS LATER

Clyde and Frank still look at the manor. The night is now silent. Then the cloud of mist appears in the distance and floats across the ground towards them.

CLYDE TALBOT

I admit, our leader is pretty good at this.

Then the mist changes into Anastasia and she walks towards them. She then stops.

ANASTASIA

Let's go.

Clyde stretches out his arms and yawns.

CLYDE TALBOT

I don't know about you doll, but I need some of beauty sleep.

Clyde looks at Frank.

CLYDE TALBOT

Me and doll will find a nice inn at this Bree for the night. Frank, we drop you of so you can sleep under a bridge or something, we don't want to scare the children.

They both look at Clyde.

EXT.  barn  later

Later in the night, a large rustic barn sits in the French countryside. The jeep is parked near the front door.

INT.  inside barn  seconds later

In the loft of the barn, a kerosene lamp is on a barrel and provides light. Clyde and Frank lay in a pile of hay, on there sides and are facing away from each other. Anastasia stands at the lofts door and looks out into the night.

CLYDE TALBOT

Sleeping in a pile of hay is going to do wonders for by bad back.

ANASTASIA

Just go to sleep Talbot.

There is a moment of silence when Clyde speaks.

CLYDE TALBOT

Baby cakes, could you tell me and Frank a bedtime story. Tell the one about the ugly giant who turns into a beautiful swan.

ANASTASIA

Could you shot your mouth till morning.

CLYDE TALBOT

Is that an order doll?

Then they are all silent.

EXT.  BARN  seconds later

The barn is in the distance and there is the sound of crickets. Then Clyde's voice can be heard in the distance.

CLYDE TALBOT

Tell us the story about the boy who sold his cow for magic beans which grew into a beanstalk at the top of which was a giant. A ugly giant.

ANASTASIA

Be silent or you will regret it.

Then there is silence but for the sound of crickets.

INT.  barn  dawn

Clyde is asleep and Anastasia still looks out the lofts door. Frank is on his side still but is awake. Then the scene dissolves as a flashback begins.

EXT.  CASTLE  NIGHT

The castle on the hill which overlooks the town in the distance. A fierce storm is raging and thunder booms across the night a bolts of lightning cascade down from the sky.

INT.  CASTLE  SECONDS LATER

The large room in the castle where the machine is though it is not revealed. Two men stand at look at the unrevealed side of the room. One is a older man wearing a white lab coat, he, Doctor Orloff, has glasses and white hair. Beside him is another man in a period era suit, Doctor Wagner; who has neatly combed brown hair. Wagner looks at Orloff and speaks in German.

doctor Wagner

Orloff, when you came to Vienna for our professors funeral and ask me to come here to help me with an experiment, you should have told me what it was.

doctor orloff

Do you have a problem Doctor Wagner?

DOCTOR WAGNER

We have spent a month digging up graves and stealing parts of dead bodies.

DOCTOR ORLOFF

Doctors have been known to do such things for science.

DOCTOR WAGNER

To study anatomy. Not to cobble together a giant abomination. You think this machine bring that monster to life,

DOCTOR ORLOFF

Our professor told me once that life started with a bolt of lighting. My machine can create storms, and use the secrets of lightning to bring life to something dead.

DOCTOR WAGNER

Why is he so large?

DOCTOR ORLOFF

So he will have to fear nothing, for he will be stronger then any man on Earth and will fear nothing, and will never age.

DOCTOR WAGNER

This is a work of a madman, I prey it will not work for both our sakes. If you are right, then he will have to be feared.

DOCTOR ORLOFF

Unless my creation has the mind and brain of a gentle man who bared no ill will to anyone.

DOCTOR WAGNER

Who's brain is in that thing?

DOCTOR ORLOFF

Our late professor.

Doctor Wagner looks at him for a second then at the machine.

EXT.  CASTLE TOWER   SECONDS LATER

The tower of the castle sits under the raging storm when a bolt of lighting hits the lightning rod at the top of the machine and it surges with electricity as electrical discharges are thrown off.

INT.  CASTLE  SECONDS LATER

The machine's glass tubes get extremely bright as electrical discharges are thrown off. Now we see Frank, who is motionless, sitting in the chair at the bottom of the machine. Then he seems to get bright a glow as electricity surges through his body. Then the machine becomes dim. Frank still is motionless as the two doctors look at him.

DOCTOR WAGNER

For the sake of everyone, you experiment is a failure Doctor.

They both look at Frank for a moment. Then he opens his eyes and looks at the two men.

DOCTOR WAGNER

It's alive.

DOCTOR ORLOFF

Of course.

DOCTOR WAGNER

Does he know who we are?

DOCTOR ORLOFF

No, his memories died with our professor, but his essence, if you will, his soul is within my creation.

Frank gets up and seems to look at the two men.

DOCTOR WAGNER

I'm afraid.

DOCTOR ORLOFF

He would harm no one.

Doctor Wagner then walks towards the door.

DOCTOR WAGNER

I'm returning to Vienna. Enjoy your time with your pet monster.

Once he is gone, Orloff walks towards Frank and stands in front of him. Frank looks down at the doctor.

DOCTOR ORLOFF

Do you understand me?

Frank waits a moment then nods.

DOCTOR ORLOFF

Good. If you don't know who or what you are, consider yourself my son.

Frank still looks at the doctor.

DOCTOR ORLOFF

The first and most important thing I must tell you is that you have the strength of a hundred men; but the more you use that strength the more it will drain the power that breathed life into you. I will show you how to use my machine for after I have died. That is why you can never leave this castle.

Frank then looks to a wall that has a mirror on it. He walks towards it and looks at his reflection. He then lets out a loud groan and rams his fist into the mirror, it breaks the mirror and leaves a large hole in the stone of the wall. Orloff looks at him.

DOCTOR ORLOFF

I will remove every mirror in this castle.

Frank looks at the doctor.

DOCTOR ORLOFF

You are not a prisoner within these walls, but avoid the town to the south. They are simple peasants and will not understand that you are harmless.

Frank then nods.

EXT.  river  noon

Not far from the castle is the river within the forest. A little girl in a dress with red hair sits on the river bank. She picks up small stones and throws them into the river. Then a shadow covers her and she looks up. Frank stands and towers over her. He then smiles. The girl screams and runs away. Frank watches her and frowns. He lowers his head and walks away.

EXT.  CASTLE  NIGHT

Night as the castle sits under a star filled sky. Doctor Wagner is at the castles door and is pounding on it.

DOCTOR WAGNER

Orloff, let me in!

There is silence when the door opens a crack and Orloff looks out at him.

DOCTOR ORLOFF

Why have you returned Wagner?

DOCTOR WAGNER

The wife of our professor died last month.

DOCTOR ORLOFF

I know.

DOCTOR WAGNER

I someone stole her body.

DOCTOR ORLOFF

So you probably know why.

DOCTOR WAGNER

Why you monster?

DOCTOR ORLOFF

I will be dead one day, my creation would have been alone had I not made him a companion that will never perish either.

DOCTOR WAGNER

This madness has to stop.

Doctor Orloff slams the door shut. Doctor Wagner then walks away.

INT.  town tavern  later

Later in the night. Inside the tavern is many tables which men of the town sit at, smoke from pipes fill the room. One man, Claude, speaks to another man at a table.

Claude

Another villager claims they saw the giant again. Everyone in the village is scared.

Then doctor Wagner's voice speaks of frame.

DOCTOR WAGNER

I know where the giant is, as well as another monster and the monster responsible for all of it.

All the men in the tavern look at Wagner who stands at the entrance to the in.

DOCTOR WAGNER

Get all the men in town, as well as every weapon you have, and come with me.

EXT.  castle  night

The edge of the forest near the castle. After a moment Frank walks out, in his hand is many flowers. He stops and looks at something then lets out a deafening scream. Outside the castle is all the men of the town, holding rifles and torches. The body of Orloff hangs from a noose suspended from a window of the castle. In front of the castle is a large wooden pole, tied to it is a vague humanoid form but it is engulfed in flames. The men see Frank and begin to run towards him. Frank charges towards them as some fire their rifles. Frank charges through the mob and knocks the men out of his path. Then Frank leaps towards the form engulfed in flames, then lands on the ground. It is not revealed why he tries to put flames out on, but he moans as he does. Then he stops and looks down. The mob of men are approaching slowly towards him. Frank gets up and turns to the mob. Then he marches towards the men as they aim many rifles at him. Frank slowly marches then stands in front of them. He then falls to his knees and grabs the barrel of a rifle a man holds and presses the barrel to his forehead. The man then pulls the rifle away. Frank again takes hold of the barrel and presses it against his forehead. Then all the men of the town turn and face Doctor Wagner who stands at the back of the mob. Claude is at the front of the group and frowns.

CLAUDE

Leave our village. If you ever come back, I promise we will kill you.

DOCTOR WAGNER

Destroy that thing.

Claude

We killed one monster who created two poor souls who had no choice on what they where. This giant loved that poor woman, and he should have wanted to kill us. But he wanted us to kill him. He is not a monster, just a poor man who was damned to look like one. Go now or we will kill you.

Wagner waits a moment then walks away. Then all the men of the village look to Frank who still is on his knees. Claude walks towards Frank and stops.

CLAUDE

Giant, if in many years you can forgive our village for for grief we just caused you, we promise; as long as this village stands you are welcome to remain here. We will never tell an outsider of our secret, and so it will be for every generation the comes after us. Please, don't hate us. We did not know.

Frank looks at them while still on his knees. Then all the men of the village walk away as Frank watches, tears begin to be shed from Frank's eyes.

EXT.  CASTLE  morning

The next day as rain falls from the sky over the castle. Frank holds flowers as he looks down at two graves, two headstones are over them but there is nothing on them. Frank sheds a single tear then places the flowers on one of the graves.

INT.  BARN  seconds later

Frank still lies down when a single tear is shed from his eye.


----------



## Autodidact_33 (Mar 27, 2015)

INT.  ILSA'S OFFICE  morning

Ilsa sits at her desk and looks at a map on her desk. The robotic monstrosity stands beside her. Then the door opens and Commander Schmidt enters and slams the door. He looks at Clause.

COMMANDER SCHMIDT

Get out.

Clause does not move. The commander then yells.

COMMANDER SCHMIDT

Get out now!

Ilsa waits looks at the commander for a moment then at Clause.

ILSA KOTCH

Wait outside Clause.

Clause then walks towards the door as he makes mechanical sounds. Once he is gone the Commander slams his hands down on the desk and raises his voice.

COMMANDER SCHMIDT

My men protecting that fat useless man Konig is dead! A dozen of my best men killed. But not with a gun, with a blade of some kind! How is that possible.

Ilsa leans back in her chair and smiles. The commander then stands up and seems angered.

COMMANDER SCHMIDT

Why are you smiling?

ILSA KOTCH

Tell me, was anything else unusual found.

COMMANDER SCHMIDT

Konig was the only one not killed like the rest. All my men found was two puncture marks on his neck, they say there was not a drop of blood in his body.

ILSA KOTCH

I know who was responsible, I doubt you would believe me.

COMMANDER SCHMIDT

Like the Fuhrer, you are obsessed with ancient superstition. And I'm ready to believe what ever you say by this point.

ILSA KOTCH

The one responsible was what they used to call Nosferatu.

COMMANDER SCHMIDT

I saw the movie, your saying a walking corpse is responsible?

ILSA KOTCH

I'm not sure what the giant is, but one of these three is a survivor of a time when people feared the night. Fear those lucky to be given a gift that made them more powerful then any man.

COMMANDER SCHMIDT

A gift, if this is true, these three are monsters.

ILSA KOTCH

The one responsible will still walk this Earth a thousand, even a million years after the commander as been reduced to bones buried under the ground.

COMMANDER SCHMIDT

Tell me how I kill it.

ILSA KOTCH

Have some of your men go to the nearest town and find a priest. Bring him here with a crucifix.

COMMANDER SCHMIDT

And what if he refuses?

ILSA KOTCH

Kill him in front of the next priest so he will be more compliant.

COMMANDER SCHMIDT

Now that you have the last stone you are looking for, I'm having my men stationed at the bunker evacuate. If these three find nothing, well, they will have to search all of Europe to find this fortress.

ILSA KOTCH

Your orders are to tell them to remain where they are and warn them that an attack is coming.

COMMANDER SCHMIDT

So we can kill them?

ILSA KOTCH

Perhaps. But I want to know who the last one is and what gift he has been given.

COMMANDER SCHMIDT

You actually are envious of these things.

ILSA KOTCH

Am I that transparent Commander.

COMMANDER SCHMIDT

I will tell them to kill anyone who even goes near that bunker.

ILSA KOTCH

I hope they fare better then your last men.

The commander scowls at her.

COMMANDER SCHMIDT

You meddled in things that where forgotten for a reason, and that is why more of your ancient superstitions are responsible for my men being killed.

ILSA KOTCH

If all your men are killed, I'll just tell our Fuhrer to send another division.

COMMANDER SCHMIDT

Ilsa. I promise, after Germany loses this war like we last one and our Fuhrer is dead; I will find you. And I'll settle this.

ILSA KOTCH

And what if I tell our leader what you just said.

COMMANDER SCHMIDT

You won't because the best division of the German military is  guarding you and you insanity. And they are loyal to our commander, not the bitch running this operation.

The commander turns to the door and walks towards it. He stops and looks over his shoulder at her.

COMMANDER SCHMIDT

They might be monsters, but they are in uniforms. They are soldiers of some kind.

Ilsa smiles.

ILSA KOTCH

Interesting, soldiers of the night.

COMMANDER SCHMIDT

Damn you Ilsa.

He then walks out door and slams it. Ilsa then laughs briefly.

ILSA KOTCH

I can't wait to meet these three myself. I am one of the few that can appreciate just how wondrous of a gift they have been given.

ext.  road in Belgium  dawn

The jeep drives down a dirt road during at dawn as clouds obscure the sky. The road is in a barren land of fallow fields.

INT.  JEEP  MOMENTS LATER

Clyde is driving as Anastasia sits beside him. Frank is in the back. Clyde looks at her for a moment then back at the road.

CLYDE TALBOT

I thought we would have to either sneak or fight our way to get past that checkpoint at the Belgium border. Doll, why did you not tell me you can get men to do anything you want?

ANASTASIA

I have my reasons Talbot.

CLYDE TALBOT

Remember that day we spent together in Venice are spending a night trying to kill each other. If you only ask me to go on that gondola ride so you would get me to drop my guard so you could stab in the heart, why bother if you could control my mind?

ANASTASIA

It only works on people, not on things like us.

CLYDE TALBOT

You don't need to control my mind doll, I'll do anything you say.

ANASTASIA

I want to change the subject, so we'll talk about acting.

CLYDE TALBOT

In Venice, you told me met Shakespeare. Then you told me he probably never would have written a single play if he had known a guy like Clyde Talbot would act in anything he wrote.

ANASTASIA

Like I told you that day in Venice, I must feed every few days. You only must feed once a year.

CLYDE TALBOT

What does that have to do with acting?

ANASTASIA

If it makes you happy, why not go back to that small theater in New York.

CLYDE TALBOT

A sad story actually. I did once about thirty years ago. I played Iago in Othello.

ANASTASIA

What happened?

CLYDE TALBOT

A critic said that the guy playing Iago was the best actor in that play. Of course he said does not remember the part where Iago turned into a wolf and ate Othello, Desdemona and half the audience.

ANASTASIA

Why do you always half to be a fool Talbot.

CLYDE TALBOT

Because the smart mouthed American will get beautiful to laugh one of these days.

She then looks at him blankly as the scene dissolves and a flashback begins.

EXT.  village in Romania  dusk

In the late fourteenth century is a peasant village in a land somewhere in Romania. Homes made of wood and mud walls with straw roofs sit against a darkening sky. Simple peasants in cloth garbs are alongside a road when they see something approach and all bow their heads. Sitting on the ground near the road is a disheveled old man in ragged clothing with bandages around his eyes. Then Anastasia rides past on a white horse, in silver armor. She is followed by several knights on horses. When she sees the old man on the ground she brings her horse to a stop, her men stop as well. She looks at old man and speaks in Romanian.

Anastasia

Could you tell your baroness why you sit on the side of the road?

The old man lifts his head.

blind old man

Since I half lost my eyes baroness, I cannot find a way to pay for a home.

Anastasia looks back to her men.

ANASTASIA

Take him to my palace, clean him, give him fresh clothing. My stables need someone to guard the my steeds.

BLIND OLD MAN

Why are you kind enough to give me a task I cannot preform.

ANASTASIA

I will not half one of my subjects sit on the road when he can work. You may have lost your eyes, but not your ears.

BLIND OLD MAN

I am in your debt baroness.

She speaks as she rides away.

ANASTASIA

Repay me by keeping my steeds safe.

Her knights wait and watch her leave. One Knight, Sir Vlad, watches her ride away.

Sir VLAD

The baroness is the kindness, most compassionate monarch this land has ever had. That is why her people love her. We all pray the baron returns from the crusades safely. She has not smiled or frowned since he left her. It is like he took her way of showing her heart with him to Jerusalem.

The nights watch her ride off into the darkening night.

EXT.  Anastassia's palace  night

In land of valleys and fields is a large palace with red, stone walls and stained glass windows. It is under a star filled sky.

INT.  room within the palace  seconds later

Anastasia stands in a room, still in her silver armor. Candles fill the room and she looks at a painting on the wall. It is a portrait of a large man in robes with dark hair. She silently looks at the painting when Sir Vlad enters the room and kneels.

SIR VLAD

Baroness.

She does not look at him.

ANASTASIA

You where ordered to not disturb me when I am in this this room.

Sir Vlad waits a moment then speaks.

SIR VLAD

I regretfully must tell you that the baron was killed last month near Jerusalem by the forces of Saladin. I am sorry.

Anastasia does not seem to display any emotion but just still looks at the painting.

ANASTASIA

You may go.

SIR VLAD

Be strong, your people need you.

ANASTASIA

I told you leave.

Sir Vlad looks at her and gets to her feet and silently leaves. She just looks at the painting and seems to be emotionless.

EXT.  tower of palace  night

Anastasia stands at the edge of a tower of her palace and looks at the stars in the sky. Below is the ground a great distance beneath her. She looks at the sky for a moment then leaps over the edge of the tower.

INT.  palace chapel  night

Within the palace is a chapel. There are candles everywhere and several pews. Sir Vlad sits in the front pew, alone, and looks at the open casket in front of him. Anastasia lays within it, still in her armor. Sir Vlad looks at the casket.

SIR VLAD

All your people grieve for you baroness. Grieve and pray for your soul. The peasants still believe some who take there own lives are cursed to walk the earth for eternity and feed on the blood of the innocent. But merciful heaven would never treat a woman so kind to such a fate.

Sir Vlad looks at the casket for a while. He then gets up, turns, and walks toward the door. Then Anastasia opens her eyes sits up. She looks at Sir Vlad.

ANASTASIA

Sir Vlad.

Sir Vlad slowly turns around. When he sees her, he falls to the ground and begins to cry.

ANASTASIA

What is happening?

SIR VLAD

Baroness, if any part of who you where looks at me know, I beg of you; leave your lands and never return. I beg of you, never let your people know that their beloved ruler has been damned. Don't let them find out how cruel fate is. Have mercy on your subject who love you.

She blankly looks at him.

EXT.  forest path  night

Several nights later far away from Anastasia's land. She, still in her armor, is very pale and seems to have trouble walking. A large man with a bald head and in cloth garments, Nicoli, walks towards her. She then falls to her knees and looks at the ground. Nicoli kneels down in front of her.

Nicoli

Miss, you seem unwell. I will take you to the nearest town for and get you help.

She looks at him, she can hear him speak though his mouth does not move.

NICOLI

The next woman I will have my way with, and then kill so she will tell no one.

She just looks at him for a moment.

NICOLI

Come with me.

Then two fangs appear amongst her teeth and she hisses. She then lunges towards him and knocks him to the ground. She bites into his neck as he screams. She continues to bite is neck killing him. She then gets up and looks down at the body, blood covering the sides of her mouth. Now she is not pale and seems stronger. She looks down unemotionally at the body for a moment then walks away and vanishes into the night.

INT.  JEEP  MOMENTS LATER

Anastasia looks toward the ground when Clyde looks at her.

CLYDE TALBOT

You OK doll?

She looks at him then away.

ANASTASIA

I will be fine Mr. Talbot.

Clyde looks at the road ahead.

CLYDE TALBOT

We'll be there by tonight.


----------



## Roadrunner (Mar 27, 2015)

Autodidact_33 said:


> EXT.  FRENCH ROAD  later
> 
> Clyde drives in silence as the other two members of the team look at the countryside passing by.
> 
> ...


That is enough Spam to feed Asia for a year.


----------



## Autodidact_33 (Mar 27, 2015)

EXT.  ROAD IN BELGIUM  seconds later

The jeep with the three of them in it drives past leaving a trail of dust.

EXT.  bunker in mountain  dusk

A large mountain rises in a area of withering dying dying forests as the sun sets behind the mountain. Built into the base of the mountain is a fortified bunker. A structure made from white stone, it has a single iron door and above the door is a large window in which is a heavy machine gun behind which is a German soldiers. Two German soldiers guard the door and are armed with automatic weapons.

INT.  gunner position of bunker  seconds later

Inside the bunker is a large room, with stone walls, at the front of which is the window which overlooks the countryside, a German soldiers mans the large machine which is perched in the window. There are also two other German soldiers armed with small automatic weapons.

INT.  corridor of Bunker  seconds later

Inside the bunker is a series of hallways and corridors, swastikas adorn some of the stone walls. Many German soldiers walk about the complex armed with automatic weapons.

INT.  command center  seconds later

Deep within the bunker is a large room. Maps of Europe are on the wall, the middle of the room is a large table with papers on it. Standing at the table is Lieutenant Strom, a large man in a German army uniform with medals on the chest and glasses.

EXT.  edge of withered forest  seconds later

Near the bunker is a withered forest. All the trees are dying and it seems forboding. Clyde, Frank, and Anastasia hide at the edge of the woods and look at the bunker in the distance. They look at the bunker is silence for awhile until one of them speaks.

ANASTASIA

Wait here, I will get in there a find the stone.

Clyde looks at her.

CLYDE TALBOT

Commander baby cakes, I'll handle this.

She looks at him.

ANASTASIA

Why Talbot?

He looks at the bunker.

CLYDE TALBOT

That wolf that has been chasing me ever since I became like this, well, its hungry.

ANASTASIA

Maybe you need our help.

He looks at her and frowns.

CLYDE TALBOT

That beast inside me, you know I can't control it. It would try to kill you to.

ANASTASIA

Good luck Mr. Talbot.

Clyde looks at them and Frank salutes him. Clyde grins and salutes back. Clyde takes the Thompson machine gun slung across his back and throws it to the ground. He then stomps each of his feet with the boots on the ground and the front of the boot flips open. He then looks at them.

CLYDE TALBOT

Go back to the jeep and wait there until tomorrow morning.

Anastasia nods then she and Frank walk of it the forest. Clyde looks at her as she walks away then looks back at the bunker.

CLYDE TALBOT

These Nazis are about to have a bad night.

Clyde waits a moment and looks at the nearly full moon which is just over the horizon. He then falls to his knees and places a hand on the ground and he seems like he is in pain. Fur begins to grow out of his hand as his fingers get longer and large black claws emerge from his fingers tips. Elongated toes covered with fur emerge from his boots and claws pop out of each toe. The fur grows out of the skin on his face and his face changes. He grows an elongated snout like a wolf with a mouth full of sharp teeth and two large fangs. Then two wolf like ears appear. During the transformation, Clyde's black uniform does to tear. The wolf creature then stands and looks at the bunker in the distance.

EXT.  BUNKER IN MOUNTAIN  seconds later

The two German soldiers stand guard in front of the door bunker. Then suddenly the deafening how of a wolf fills. Both soldiers ready their weapons when they see something that looks like a man in the distance, then it starts running towards them. Both soldiers raise there weapons and fire. As it runs towards them, the soldiers stop firing when they see it is a humanoid wolf like creature in a black uniform. Then it runs towards them on all fours. One soldier opens the iron door of the bunker and goes inside, there is a sound of a click, the door being locked. Then a siren shrieks out in the night. The remaining German soldiers fires his weapon again and his the creature, but it does not stop and charges it. Then the creature leaps at him as the beast snarls. The beast knocks him to the ground, the soldier screams as the creature starts to slash him with his claws. Once the soldiers is dead, the beast looks at the door then at the machine gun window above it. the creature snarls loudly.

INT.  GUNNER POSITION OF BUNKER  SECONDS LATER

The German soldier looks out the window as he mans the heavy machine gun. Behind him are the two other soldiers. They look at each other for a moment then back out the window. Then the creature leaps through the window, knocking the machine gun and soldier manning it to the ground. The creature is on top of him and tears out his throat with his teeth. The two other soldiers who look terrified, raise there weapons to fire.

INT.  CORRIDOR OF bunker  seconds later

At the end of a long corridor is the iron door to the gunner room of the bunker. Three German soldiers with automatic weapons run towards the door but stop when they hear the screaming of two men from the other side followed by a loud snarling noise. They wait and aim there weapons at the door. After a moment the door opens and the creature charges out and runs towards the three soldiers at the end of the corridor on all fours. The soldiers fire but it seems to not hurt the creature when he is hit. Once the creature is upon them, it uses its claws to slash the face of the nearest soldier who falls to the ground dead. Then it lunges at another soldier and knocks him to the ground. It starts to tear chunks of flesh out of him with his teeth as the soldier screams. The last German soldier backs up against a wall and drops his weapon. The creature walks towards him on all fours as it snarls. The last soldier is shaking when a growing wet spot appears on one of the legs of the uniform from urinating in his pants. The beast looks at him for a moment then makes a grunting noise then walks away and down the corridor. The last soldier is shaking badly.

INT.  COMMAND CENTER  SECONDS later

Strom has a small automatic weapon aim and the door to the command center. The screams of men and automatic weapons fire comes from the other side of the door. Then the door opens and the creature lunges at Strom as he fires. The beast then knocks him to the floor and pins him down with one of his feet. The creature looks down at Strom and snarls loudly.

EXT.  BUNKER IN MOUNTAIN  SECONDS LATER

In the distance is the bunker, as the nearly full moon hangs over the mountain, when Strom's screaming echoes out from the bunker followed by the deafening howl of the creature.

EXT.  EDGE OF WITHERED FOREST  SECONDS LATER

A dirt road cuts through the dying forest. Park on the side of the road is the jeep. Anastasia sits in the passenger seat when she looks at Frank who stands in front of the jeep and looks up into the sky while making a low grunt every few moments. Anastasia gets out from the jeep and walks up behind Frank.

ANASTASIA

Giant, could we speak?

Frank turns around and looks down at her, he is frowning.

ANASTASIA

You are worried about your little village.

Frank nods. Anastasia takes one of Frank's hands and holds it as he looks down at her.

ANASTASIA

You have my word, you will see your village again no matter what it takes.

Frank then smile. They both turn and look at the moon as they hold each others hand.

EXT.  EDGE OF WITHERED FOREST  dawn

The jeep is still parked on the edge of road which cuts through the dying forest. Frank sits in the back of the jeep while Anastasia stands nearby. It is the early twilight hours and the vague hints of daylight loom to the East as the song of birds bellow out from the forest. They wait for several moments when Clyde walks out of the forest, Thompson machine gun slung across his back and holding a piece of paper. He walks up to her then stands before Anastasia.

ANASTASIA

Find anything?

Clyde hands her the piece of paper.

CLYDE TALBOT

I found that on the body of the guy commanding that bunker.

She begins to read while Clyde looks down at his uniform.

CLYDE TALBOT

Apparently my uniform is stain proof. Usually I'm covered with blood after it.

Anastasia looks at him and seems worried.

ANASTASIA

We have to go.

CLYDE TALBOT

Why?

ANASTASIA

They found the stone, it has been taken to a fortress located on the border to Germany.

Clyde looks at her.

CLYDE TALBOT

Are you crazy?

ANASTASIA

The fortress is near the area in the coast where the American army will be waiting for us to get us out of Europe.

Clyde and Anastasia then get into the jeep. It drives of towards the horizon which the sun has begun to emerge from.

EXT.  ROAD IN BELGIUM  later

Later in the day. The jeep drives down a road located in green countryside and vast fields and secluded valleys are everywhere as well as a few small homes.

INT.  JEEP  MOMENTS LATER

Clyde drives as Anastasia sits beside him. Frank is in the back looking at the sky. Clyde then looks back at Frank for a moment then back at the road again.

CLYDE TALBOT

Being very quiet back there Frank.

ANASTASIA

He is worried about is little village.

CLYDE TALBOT

Don't worry Frank, the hideous giant will be home soon enough.

She looks at Clyde.

ANASTASIA

Why are you so mean to him Talbot.

CLYDE TALBOT

Don't take it personally Frank, I mean to everybody.

ANASTASIA

Why do you call him Frank anyways?

Clyde Talbot

I gave him that name when we first met.

The scene dissolves as a flashback begins.

EXT.  SMALL VILLAGE   dusk

The small village somewhere in Germany lost amongst forests and secluded wilderness. The darkness of night looms to the east. It is sometime in the nineteenth century. Clyde, dressed in a period era suit, walks along a cobblestone street in the village. He then looks and sees the castle on the hill in the distance which overlooks the town. Then a village Ernst, a older man in cloth garments, walks towards Clyde then speaks as he walks past. He speaks in German.

ERNST

Good day sir.

Clyde looks at him and grins.

CLYDE TALBOT

Ja.

Then the villager walks past him. Clyde mutters to himself.

CLYDE TALBOT

Well, I just used all my German.

Clyde stops and sighs.

CLYDE TALBOT

It wants to feed.

He walks on but looks over his shoulder.

CLYDE TALBOT

Ever since I got near this village, I can hear really heavy footsteps coming from the forest on the edge of the village.

Clyde looks ahead.

CLYDE TALBOT

Probably nothing.

He walks on.

EXT.  farmers field near village  night

A farmer's field near the village which has crops of wheat swaying in a wind; a nearly full moon hangs over the seen. It is partially surrounded by dark woods. Clyde is walk towards the field. Standing in the field is an elderly farmer in cloth garments. Clyde is frowning when he stops and looks at the farmer.

CLYDE TALBOT

Wish I could tell you sorry pal.

Clyde looks over his shoulder at the darkened woods behind him.

CLYDE TALBOT

Those footsteps keep getting closer. Who ever is following me, well, wrong guy to follow.

Clyde looks at the moon then falls to his knees and seems in pain.

EXT.  field in the distance  seconds later

In the far distance is the field under the moon when suddenly there is a deafening howl of a wolf. But immediately following the howl is the creature making a brief noise like a dog in pain. Then it is followed by a loud grunt.

EXT.  road out of village  dawn

A road leads out of the village surrounded by wilderness. Clyde, whose suit is in tatters and his feet bare, is passed out and is being held by the scruff of the neck by Frank who carries him away from the village. Clyde then wakes up and starts looking around.

CLYDE TALBOT

What is going?

He looks around and sees Frank. Clyde does not seem afraid as just looks at Frank.

CLYDE TALBOT

Why is some ugly giant carrying me by the scruff of the neck like a dog.

Frank says nothing and Clyde struggles. Clyde stops.

CLYDE TALBOT

Strong fella aren't you.

Frank drops Clyde on the road. Clyde turns to face Frank when Frank points int the direction out of the village.

CLYDE TALBOT

You want me to leave?

Frank nods.

CLYDE TALBOT

So you understand proper English. And what happens if I don't leave?

Frank uses one foot to draw a line in the dirt of road and steps back. Clyde walks towards the line in the dirt.

CLYDE TALBOT

And what happens if I don't leave?

As soon as Clyde steps over the line, Frank punches him in the chest which sends Clyde flying through the air, he hits the dirt road and kicks up dust as he slides a twenty feet along the dirt road. He then is laying on the road looking at Frank. He then gets up and brushes the dirt off his clothes.

CLYDE TALBOT

You are the worst welcoming committee I ever met.

Again Frank points in the direction out of town.

CLYDE TALBOT

Fine Frank. I'm going.

Frank seems puzzled.

CLYDE TALBOT

Want to know why I just called you Frank? The theater where I used to act, well they did a play about some ugly giant created by a mad doctor. The title sounded kind of like Frank.

Frank seems annoyed then walks towards the village. Clyde waits a moment then turns and walks off the the other direction. As they walk away from each other, Clyde speaks loudly.

CLYDE TALBOT

Be seeing you around Frank.

The scene dissolves as a flashback ends.

INT.  JEEP  MOMENTS LATER

Clyde drives as Anastasia looks at him.

ANASTASIA

You call him Frank to mock him?

CLYDE TALBOT

At least I gave him a name, I don't think anyone else did.

ANASTASIA

Just drive.

INT.  JEEP  later

Later in the day. Clyde drives the jeep through the Belgium countryside, rolling hills and homes are to either side of the road. Anastasia sits beside Clyde while Frank sits in the back and looks at the sky. Anastasia looks over her shoulder as the scene dissolves and a flashback begins.

INT.  CASTLE  night

The large room in Frank's castle with the machine and Frank's paintings in it, sometime toward the end of the eighteenth. Frank stands and is painting something on a canvas. The ominous sound of thunder rumbles outside the castle. Frank paints for awhile when there was a knock at the door. Frank looks at the door and frowns. He goes to the door and opens it a crack. Outside a woman stands in the pouring rain, her identity is concealed by the cloak and hood she wears. She looks up at the towering Frank, it is Anastasia. She speaks in German which subtitles translate.

ANASTASIA

I am a traveler far from home. May I seek shelter from the storm within your castle?

Frank looks at her then shakes his head. He closes the door. He goes back to the canvas and continues to paint. He then looks at the door when a mist begins to bellow through the crack under the door. Frank watches as the cloud of mist approaches and takes the form of Anastasia. Frank pulls his arm back and makes a fist. Anastasia removes her hood and she looks up at him.

ANASTASIA

You have no need to fear me giant.

Frank still seems like he is getting ready to punch her. She looks into his eyes.

ANASTASIA

Nor do the people of the village need to fear me either.

Frank lowers his fist and just looks down at her.

ANASTASIA

I listened to the unsaid words in the minds of some the townspeople. I had to personally meet their protective giant. I know you have been alone in this castle for many years.

Frank lowers his head a nods.

ANASTASIA

Would you mind the company of a stranger in your home for one night?

Frank looks at her smiles.

ANASTASIA

Thank you for your hospitality giant.

INT.  frank's dinning room  later

Later that night as there still is the ominous sound of thunder from beyond the castle walls. In a large room with stone walls, walls covered with Frank's sad paintings, is a long table. Anastasia sits at one end. Frank enters the room with a tray that has a meal on it. He places on the table before her and he walks to the other end and sits. She begins to eat as he looks at her. There is silence for awhile until she speaks.

ANASTASIA

Are you the artist responsible for these paintings?

Frank nods.

ANASTASIA

You have the soul of an artist giant. Though all paintings seem to be very sad.

Frank smiles.

ANASTASIA

You must be so alone. I know what loneliness is, I have wondered alone throughout Europe for almost four centuries. It must be nice to be home, for I shall never see my home again. Is there anyway you can tell me how you came to be?

Frank gets up and walks out of the room as Anastasia watches. After awhile he enters with a large journal. He hands it to her and she begins to read it as Frank looks on.

INT.  CASTLE  later

Frank stands in the large room with the machine and many of his paintings. He stands beside Anastasia who both look at the painting of the humanoid figure being consumed by fire. Frank seems sad when she looks up at him.

ANASTASIA

You have my sympathy giant. It is not fare that the world is so cruel to one who has such kindness in him.

Frank lowers his head as she looks at him.

ANASTASIA

I must go.

Frank looks at her and seems saddened,

ANASTASIA

I must feed, and your village would be better of if I was not around.

Frank nods.

ANASTASIA

Giant, would you do me something?

Frank just looks at her.

ANASTASIA

Consider me your friend.

Frank smiles.

ANASTASIA

Your village is fortunate, to have one so strong and kind watching over it.

She walks towards the door and opens it. Though it is day outside, the sky is gloomy and rain cascades down from the sky. She looks back at Frank.

ANASTASIA

We will meet again.

Frank seems saddened.

ANASTASIA

Do not worry. No man or woman should fear you, like how they would fear me.

She then puts her hood back on. Frank watches as she walks out into the rain and closes the door. Frank just looks at the door in silence.

EXT.  ROAD IN BELGIUM  LATER

Later in the day as the three of them drive through the Belgium countryside which seems to be lush and vibrant. Frank looks up into the sky as Anastasia looks at the scenery passing by. Clyde looks at her for a moment when the scene dissolves and a flashback begins.

EXT.  Venice  dusk

Night is descending over Venice in the nineteenth century as a full moon hangs over it. The city is made of a quaint, stone buildings and cobblestone paths crisscross the city. All over the city are canals of water which gondolas traverse. On a sidewalk alongside a canal, Anastasia walks along the sidewalk in her cloak and hood, carrying a cane. She does not notice that Clyde, in a brown suit, follows her. She looks over her shoulder at him and turns into an alleyway between two buildings. Clyde turns into the alley but stops at its entrance when he sees Anastasia at the end of the alley holding her blade which she has pulled from her cane.

ANASTASIA

Why have you been following me?

Clyde frowns.

CLYDE TALBOT

Nice to run into someone who speaks English. I'm really sorry for what I'm about to do.

Then Anastasia's eyes glow red and two fangs appear amongst her teeth.

ANASTASIA

I can defend myself.

CLYDE TALBOT

I hope so.

Clyde then looks at the moon when he falls to his knees and seems to be in pain. Anastasia watches as his clothes and shoes rip apart and turns into the creature. It gets down onto all fours and snarls as it approaches her.

ANASTASIA

Do not think that I will be an easy meal.

The creature lunges at her but she transforms into a cloud of mist which the creature goes right through. The creature turns around and sees Anastasia standing in front of him.

ANASTASIA

We'll settle this tomorrow.

The creature watches as she turns into a cloud of mist which ascends into the sky as the creature watches.

EXT.  Venice  seconds later

The full moon hangs over the city as a howl fills the night.

EXT.  sidewalk in Venice  day

Clyde, in a new suit, is walking along the sidewalk beside a canal and has a hand in his pocket as he whistles as people of the city pass by. Anastasia is following some distance behind him. He stops and looks back at her.

CLYDE TALBOT

Beautiful, I'm not an easy guy to follow. I could smell your perfume a mile away.

She walks up to him and they face each other.

CLYDE TALBOT

I don't remember much of last night, but I do remember that you have a little secret to.

ANASTASIA

I would ask you to spend the day with me.

CLYDE TALBOT

Why?

ANASTASIA

I have not met someone else cursed for over two centuries.

Clyde happens to see a gondola, with a couple in it and a man in fancy clothing standing in the back using a pole to push the boat through the canal. He looks at her and grins.

CLYDE TALBOT

Care for a boat ride doll?

EXT.  canal of Venice  day

A gondola sails through a canal of Venice as the man in fancy attire stands in the back using a pole to push the craft along and sings. Clyde lays in the front of the gondola who looks at Anastasia who sits in the back to looks at him to.

CLYDE TALBOT

Guess you asked me out on a date because we found somebody we could tell our sad story of how the day ended for us a long time ago and a endless night began.

ANASTASIA

You have my sympathy Mr. Talbot.

CLYDE TALBOT

Call me Clyde beautiful.

ANASTASIA

How is it if you are so tortured, that you act so foolish? Are all Americans like that?

CLYDE TALBOT

Like what?

ANASTASIA

Foolish.

CLYDE TALBOT

Just your average smart mouth American.

ANASTASIA

You don't seem sad about to terrible fate you had thrust upon you.

CLYDE TALBOT

After this all began, I felt pretty crummy about it for almost twenty years. I just realized one day that it was never going to change so why feel bad about things.

ANASTASIA

Why don't you go home, back to the New World?

Clyde frowns.

CLYDE TALBOT

I looking for a cure.

ANASTASIA

There is no cure.

CLYDE TALBOT

I've put that together after seven decades. So, you are royalty doll?

ANASTASIA

My name is Anastasia.

Clyde grins.

CLYDE TALBOT

I'm royalty to. My great, great, great grandfather was captain of the Mayflower, who then became king of Plymouth Rock and married queen Betty Crocker.

Anastasia looks away.

ANASTASIA

There was this man from my kingdom who reminds me of you.

CLYDE TALBOT

Was he handsome, charming and possessing a sharp wit?

She looks at him.

ANASTASIA

No, he was the town fool.

CLYDE TALBOT

Ouch beautiful, that hurt.

There is silence as the singing continues as the gondola continues down the canal.

EXT.  SIDEWALK IN VENICE  night

It is night now in the city. Clyde and Anastasia walk along side by side not saying anything. She stops while Clyde walks on. She reaches into her cloak and pulls out a silver dagger. Clyde stop but his back is to her.

CLYDE TALBOT

Finally going to make your move. I smelt the dagger on you all day, by this point, I know the smell of silver.

Clyde reaches into his coat and pulls out a sharp, wooden stake and faces her. They hold their weapons and look at each other. Clyde then sighs and throws his weapon to the ground.

CLYDE TALBOT

But I can't do it for the same reason as you.

ANASTASIA

And what reason is that?

CLYDE TALBOT

We don't like each other, but you said there are none of our kind left. But we found the one other person on the planet who does not have to fear the other. If I'm wrong, then do it.

Anastasia waits a moment then returns the dagger to inside her cloak. Clyde then begins to walk away.

CLYDE TALBOT

We'll see each other again, till then, have a nice day doll.

ANASTASIA

Mr. Talbot.

He looks back at her.

CLYDE TALBOT

What?

ANASTASIA

Go back to America, go home.

CLYDE TALBOT

Why?

Anastasia turns and walks away from him.

ANASTASIA

I'll never see my home again. But you still can. Goodbye Mr. Talbot.

Clyde watches her walk away and vanish into the night. He just seems to stare of into the distance. The scene dissolves.

INT.  JEEP  MOMENTS LATER

Clyde still looks at Anastasia as he drives.


----------



## Autodidact_33 (Mar 27, 2015)

INT.  ILSA'S OFFICE  SECONDS LATER

Ilsa's office in the fortress. She sits at her desk while her robotic bodyguard Clause stands beside her. She looks down at a map on the desk when the door opens and Commander Schmidt enters, seeming angered, and marches towards his desk. She looks at him.

ILSA KOTCH

Do you want my body guard to leave?

The commander waits a moment and knocks the map of his desk and scowls at her.

COMMANDER SCHMIDT

Every single man I assigned to the excavation sight is dead! Twenty of my men, dead!

Ilsa leans back in her chair.

ILSA KOTCH

Commander, indulge me. How where you men killed?

COMMANDER SCHMIDT

They where ripped apart. One of my soldiers who survived said it was a wolf, a wolf wearing a uniform.

ILSA KOTCH

I think you are smart enough to know what is responsible.

COMMANDER SCHMIDT

How do I kill these things!

ILSA KOTCH

Simple enough. The one gifted with lycanthropy can be killed if an object of silver pierces his heart. I already requested munitions made from silver for your men.

COMMANDER SCHMIDT

How do I kill the walking corpse?

ILSA KOTCH

Holy relics such as the cross and holy water render that one powerless.

COMMANDER SCHMIDT

And to kill it?

ILSA KOTCH

An object of wood driven through its heart will kill it.

COMMANDER SCHMIDT

And the giant?

Ilsa looks at Clause.

ILSA KOTCH

I do not know what that one is, but he should prove to be a worthy opponent for my automaton.

COMMANDER SCHMIDT

There are probably on the way here. I will kill every last one of them.

ILSA KOTCH

This is my operation and I give the orders.

COMMANDER SCHMIDT

What are you saying?

Ilsa looks at him and smiles.

ILSA KOTCH

Have every single man assigned to the fortress search of our three unwelcome guests. They are on the way here. Order your men to capture them alive.

COMMANDER SCHMIDT

They are killing my men!

ILSA KOTCH

They all where human once. And that means that these three are the means of making more.

COMMANDER SCHMIDT

You are insane.

ILSA KOTCH

Imagine if the Fuhrer commanded an army such individuals.

COMMANDER SCHMIDT

Is this talisman not enough?

ILSA KOTCH

He will still need an army.

The commander frowns.

COMMANDER SCHMIDT

Soldiers stop fighting and killing when war ends and conflict ceases. But these things, the won't stop killing will they.

Ilsa looks at him a briefly laughs.

ILSA KOTCH

Commander, don't be so damn naive.

The commander turns to the door.

COMMANDER SCHMIDT

These three abominations are not the only monsters present.

He then storms out the door and slams it. Ilsa looks at Clause.

ILSA KOTCH

Well, you finally may have a worthy opponent soon.

She then looks to the door.

ILSA KOTCH

And when I keep the power of the talisman for myself and even the Fuhrer must grovel at my feet, I will have soldiers who will make the world remember why you should fear the night.

EXT.  road on the border to Germany  dawn

It is dawn in the Germany countryside in a land of flat expanses of fields which seem to stretch out towards the horizon. A winding dirt road cuts through the country side. Then the jeep with Clyde, Anastasia and Frank appears and drives down the road.

INT.  JEEP  MOMENTS LATER

Clyde drives as Anastasia sits beside him and looks at the countryside passing by. Frank is in the back looking at the sky. Clyde looks at her for a moment then back at the road.

CLYDE TALBOT

Doll.

She looks at him sternly.

ANASTASIA

If you must call me something, please use Anastasia.

CLYDE TALBOT

My gut is telling me you know more about what this whole caper we are on is about.

ANASTASIA

Can you make your point?

CLYDE TALBOT

What are the Nazis after?

She seems to wait then speaks.

ANASTASIA

About four centuries ago in Spain, while on a path I ran into a blind hermit wandering the land, you acted like a madman and babbled incoherently.

CLYDE TALBOT

Beautiful, I don't like this bedtime story. The scary ones always start with a mad hermit.

ANASTASIA

I listened to his mad rantings. He spoke of a talisman.

CLYDE TALBOT

What Talisman?

ANASTASIA

A talisman empowered by all that is evil in existence. Hidden in a vault deep beneath the Earth and guarded by an army that no mortal could defeat. Three stones where hidden, each containing a piece of a map to show its destination.

CLYDE TALBOT

I would say that sounds a little hard to believe, but when its coming from a vampire its sounds plausible. What can it do?

ANASTASIA

He did not say.

CLYDE TALBOT

Why did you believe him?

ANASTASIA

I did not at first.

CLYDE TALBOT

What change your mind?

She looks at Clyde.

ANASTASIA

I came upon that hermit six more times during the next three centuries.

CLYDE TALBOT

So what do we do?

ANASTASIA

The two stones they have are in a fortress, we must get them before they find the talisman.

CLYDE TALBOT

Fighting our way into a heavily defended Nazi fortress sounds fun.

Then the engine of the jeep begins to sputter and slowly die, the jeep comes to a stop and they all look at each other.

CLYDE TALBOT

Now what they do?

They both look at Frank who the nods.

EXT.  ROAD ON THE BORDER TO Germany  morning

Frank stands behind the jeep and pushes it swiftly down the road.

EXT.  German home  later

Later in the day, in a land of rolling hills and secluded valleys is a two story home at the end of a long dirt driveway. Frank pushes the jeep up the driveway until the vehicle is beside the house. Clyde jumps out of the jeep. Anastasia gets out. Clyde looks at Frank.

CLYDE TALBOT

I'll ask the people in this house for some tools to fix our jeep. Frank, stay out of sight; you might scare somebody.

Frank nods and hides behind the house. Clyde and Anastasia walk towards the front door to the home until they stand in front of it. They look at each other when Clyde knocks on the door. They wait yet there is only silence. They look at each other.

ANASTASIA

Are they home?

CLYDE TALBOT

I'll knock again.

Clyde kicks the door open. She looks at him.

ANASTASIA

Was that necessary?

He looks at her.

CLYDE TALBOT

War's hell doll. Let's find some tools and get out of here.

They enter the house.

EXT.  GERMAN HOME  dusk

Later in the day. Anastasia stands near the jeep and watches as Frank lifts the front off the ground. Clyde lies under the engine and works on it with a wrench. He speaks as he works.

CLYDE TALBOT

Frank, sorry about giving you a hard time. I'm like that with everybody. Kinda always have been.

Anastasia looks at Clyde.

CLYDE TALBOT

I was just some poor kid who grew up in New York. A lot of people thought I was a bastard. But I always liked the theater. There was this little theater near Time Square that just did Shakespeare. I auditioned and got the part of Tybalt in Romeo and Juliet. I asked this girl who lived next door to me as a kid, Jenny to attend. I tell everybody I got a standing ovation. Truth is she was the only one who applauded.

Clyde frowns as he loosens a bolt.

CLYDE TALBOT

She was the best thing to ever happen to me. I wish she fell for someone else. After that play, as long as she was in the audience; well, my acting got a lot better. It was because her applause was all I cared about.

Clyde gets out from under the jeep and stands beside it.

CLYDE TALBOT

Like I said, sorry about the ugly giant remarks Frank.

Frank looks at him then drops the jeep, one of the front wheels lands on Clyde's foot. Clyde grimaces in pain.

CLYDE TALBOT

I had that coming Frank.

Frank grins. Clyde looks at Anastasia.

CLYDE TALBOT

Good to go doll. But I need sleep and I'm the only one who knows how to drive. I'm sure the owners of the house won't mind if we sleep here.

Anastasia walks towards the front door to the house.

ANASTASIA

They won't be back. The Nazis took them away several days ago.

She goes into the house.

INT.  house bedroom  night

On the upper floor of the home is a small bedroom. There is wooden furniture as well as a large bed with satin sheets. Clyde stands at the window and looks out into the night. He does not notice that Anastasia enters the bedroom and stands behind him.

ANASTASIA

Clyde, may we speak?

CLYDE TALBOT

Why are you calling me Clyde?

ANASTASIA

When we met in Venice, I did not like you because for a man who carries so much torment you seemed foolish.

CLYDE TALBOT

You say that a lot.

ANASTASIA

I have always tried to figure out why. I finally know the answer.

CLYDE TALBOT

And what is the answer?

ANASTASIA

You are acting. Playing the part of a fool who does everything he can to get people to hate him.

Clyde looks over his shoulder at her.

CLYDE TALBOT

Yeah, I'm acting, playing the part of who Clyde Talbot used to be before this endless night began; who pushes people away by getting them to hate him because anybody who gets close to him ends up dead.

He looks out the window.

CLYDE TALBOT

You should not feel to bad. You lost the man you loved, at least you did not kill him; like I killed Jenny.

ANASTASIA

It was not your fault Clyde.

CLYDE TALBOT

Shakespeare once said all the world is a stage. I know who the real monster is, who ever is directing this play.

Clyde suddenly seems saddened.

CLYDE TALBOT

We weren't bad people, why where we cursed like this?

ANASTASIA

I do not have that answer Clyde.

CLYDE TALBOT

The morning I woke up the first time and saw what I did to Jenny, to men where about to kill me. I was going to let them.

Clyde lowers his head.

CLYDE TALBOT

But I was scared Jenny is waiting for me, so she could tell me how much she hates me.

ANASTASIA

Clyde, turn around please.

CLYDE TALBOT

Why?

ANASTASIA

Just do it.

Clyde turns around and they look into each others eyes. She puts a hand on his cheek.

CLYDE TALBOT

What are you doing Anastasia?

ANASTASIA

You need someone you can be close to.

He puts his hand on top of hers.

CLYDE TALBOT

If you have grown feelings for me during this mission, I already did that day in Venice. We both found the one other person on Earth that would not be afraid of us. But I could kill you Anastasia, you know that.

She gets closer to him.

ANASTASIA

Clyde. We both need someone who understands the torment the other suffers. And I don't fear you.

CLYDE TALBOT

You should.

They look into each others eyes for a moment then embrace and kiss. Then they begin to take off each others uniforms.

INT.  HOUSE BEDROOM  later

Clyde and Anastasia, both undressed, lay under the sheets of the bed asleep; in each others arms. There black uniforms are on the floor. Beyond the window is the full moon. Clyde wakes up and looks at Anastasia beside him. He smiles until he sees the full moon beyond the window. He then seems angered.

CLYDE TALBOT

No, not now. Not again.

Clyde seems like he is in pain. He slowly gets out of the bed and goes to his uniform and starts to get dressed.

EXT.  GERMAN HOME  seconds later

Clyde burst out from the front door, seeming in pain, and runs from the house. He falls to his knees.

CLYDE TALBOT

Not her, please.

He then screams.

INT.  HOUSE BEDROOM  seconds later

Anastasia is asleep in the bed but awakes when the deafening how of a wolf comes from outside the walls. She looks at the window.

ANASTASIA

Clyde.

She gets out of the bed.

EXT.  GERMAN HOME  seconds later

Anastasia, in her uniform, walks out of the house followed by Frank. They stand beside each other and look around. Then they hear the snarling of the creature. The turn and look up. The wolf like creature in the black uniform is perched on the roof of the house looking down at them. It then leaps down on top of Frank, frank stumbles about as the creature slashes at him with his claws. Frank grabs the creature then throws it. The creature flies through the air and lands on the ground. It gets onto all fours and snarls as it looks at Frank and Anastasia. Frank stands in front of Anastasia and pulls back his fist. The creature runs at Frank, Frank goes to strike; but the creature leaps over Frank and lands behind him. When Frank turns around, the creature lunges at him and tries to bite his throat. Frank grabs the creature as it struggles and snarls. Frank then slams the creature down on the ground. He raises his gigantic foot and is about to slam it down on the creature when Anastasia looks at him.

ANASTASIA

Please don't hurt him.

Then the creature gets up. Frank and Anastasia back away as the creature walks towards them on all fours as it growls. Anastasia pulls her sword from its scabbard. Frank watches as the creature and Anastasia circle each other.

ANASTASIA

Clyde, you are strong enough not to do this.

The creature leaps at her but she changes into a cloud of mist which the creature goes right threw. It lands on its four paws and turns. When the mist returns to the form of Anastasia turns to face him. It knocks her to the ground and she drops her sword. It now is on top of her and looks down as it snarls. Frank watches. Anastasia does not struggle but looks into the creatures eyes.

ANASTASIA

Fight it Clyde!

The creature seems to hesitate.

Clyde's vision

In Clyde's mind, the scene is the same but now it is Clyde in human for who is on top of Anastasia. He looks down at her.

EXT.  GERMAN HOME  SECONDS LATER

The creature is on top of Anastasia, but it seems to hesitate and just looks at her. She looks up at the beast.

ANASTASIA

Don't, this is not you.

CLYDE'S VISION

Again in Clyde's mind. But now he is on top of Jenny and she looks up at him. Clyde looks at her and seems like he is in pain. She speaks, but with Anastasia's voice.

JENNY TALBOT

Please Clyde, wake up!

EXT.  GERMAN HOME  SECONDS LATER

The creature is on top of Anastasia. It then gets of her and run off into the night. Anastasia goes to run after him, but Frank grabs her arm and stops her. They both look off into the night in the direction Clyde ran.

INT.  ILSA'S OFFICE  SECONDS LATER

Ilsa sits at her desk reviewing papers on her desk as her robotic body guard Clause stands beside Ilsa. Then the door opens and Commander Schmidt enters and stands before the desk. Ilsa looks at Clause.

ILSA KOTCH

You may leave us Clause.

Clause then walks out the door. The commander looks at Ilsa and frowns.

COMMANDER SCHMIDT

We found them possibly.

Ilsa looks at him and smiles.

ILSA KOTCH

Where?

COMMANDER SCHMIDT

I ordered my men to look out for the stolen jeep. A patrol saw it outside a German home about forty miles to the west. I and about fifty men are leaving to detain them.

ILSA KOTCH

Let us go then.

COMMANDER SCHMIDT

Why are you coming Ilsa?

ILSA KOTCH

Because, we want to greet them myself.

COMMANDER SCHMIDT

My men have already been outfitted with the weaponry you suggested.

ILSA KOTCH

I want none of them killed. Cells for them have already been prepared.

COMMANDER SCHMIDT

As you order Ilsa.

Then they both walk out of the office.

EXT.  GERMAN HOME  Dawn

The home sits against the horizon as the sun rises and pushes back the veil of night and the sky is filled with the surreal gloom of the twilight hours. Anastasia stands in front of the home as Frank leans against the jeep. She looks in the direction Clyde went off in the night before as Frank looks at her. They wait in silence when Clyde appears in the distance and walks slowly towards them. He seems upset. She walks up to him and they stand in front of each other.

ANASTASIA

Clyde, I am glad you have returned.

He looks at each then away.

CLYDE TALBOT

I'm not staying long.

ANASTASIA

What are you talking about?

CLYDE TALBOT

That thing inside me, it tried to kill you both last night didn't it.

She waits a moments then nods.

CLYDE TALBOT

I'm going home Ana, if I can get there.

ANASTASIA

You are going to abandoned us?

CLYDE TALBOT

Better that then me killing either of you.

He turns away from her.

CLYDE TALBOT

I never want to see either of you again. I know, I've always known since this all started, anyone who gets to close to Clyde Talbot ends up dead.

ANASTASIA

This team needs you Clyde.

CLYDE TALBOT

What do you think, this is good versus evil? That for the first time the fact we ended up like this might actually do some good?

He looks over his shoulder at her.

CLYDE TALBOT

This is not good versus evil, this is evil versus evil. But the difference is that after this war then your enemy here goes back to being ordinary men who get to be normal. Us, no matter how you slice it, will always be monsters people need to fear. And if you and I don't make it home Ana, no one will miss, and all things being known, people would prefer us dead.

Clyde then looks at Frank.

CLYDE TALBOT

Of course, if Frank does not make it home; somewhere there is going to be a little village very sad for their missing giant.

Clyde then begins to walk away.

CLYDE TALBOT

Good luck, hope you two don't get yourselves killed.

ANASTASIA

I need you Clyde.

He stops.

CLYDE TALBOT

I know, you need someone who does not have to fear you.

He then walks away.

CLYDE TALBOT

But I am afraid of you. The last person Clyde Talbot cared about, well, you know the rest. And from here on out, I want you two to stay the hell away from me.

ANASTASIA

Don't leave me.

CLYDE TALBOT

We both knew this had to happen.

She watches him walk off into the distance. She then seems to look at the ground. Frank walks up behind her and puts and hand on her shoulder. They both watch Clyde then run off.


----------



## Autodidact_33 (Mar 27, 2015)

EXT. road in Germany  moments later

As the sun rises in the East and pushes back the last hints of the veil of night, a convoy of vehicles drives down the road towards the camera in a land of green valleys and fields. Several jeeps with swastikas on the door are in front, behind which is several army trucks.

INT.  jeep at the front of convoy  moments later

Commander Schmidt drives as Ilsa sits beside him. Ilsa, in her black leather uniform, holds a long gleaming blade. He looks at her.

COMMANDER SCHMIDT

What is the sword for Ilsa?

She looks at him and smiles.

ILSA KOTCH

The undead member of our unwelcome guests, seems it prefers to use a blade.

She looks at her reflection in the blade.

ILSA KOTCH

There we are the same.

He looks back at the road.

COMMANDER SCHMIDT

I was not aware you knew how to fight.

ILSA KOTCH

Only the way people fought during a more sensible time.

He frowns.

INT.  army truck at the back  seconds later

In the back of the army truck are two benches which many German soldiers, all armed with automatic weapons, sit. The robotic Clause sits with them and seems as motionless as a statue. There is also a priest, Father Anton, with them; he is a older man in a priests garb and holds a crucifix. Two soldiers, Maximilien and Andre, are looking at Clause.

Andre

I feel uncomfortable with Ilsa's freak coming with us.

Maximilien

Good thing he is deaf but for her orders.

ANDRE

The commander seems to dislike him.

MAXIMILIEN

I know why. They served together on the Eastern front during the great war, they where close friends. Guess he is unhappy that know Clause is now her slave.

Andre looks at the priest.

ANDRE

Do as you are told father, and you will not be hurt.

Father Anton looks at them and frowns.

father Anton

For the sake of you and all your fellow soldiers, you better pray our heavenly father has compassion.

Anton looks away.

FATHER ANTON

More compassion then your fellow soldiers showed when you killed my fellow father and friend.

EXT. ROAD IN GERMANY  MOMENTS LATER

The convoy continues down the road.

EXT. ROAD IN GERMANY  MOMENTS LATER

Somewhere else in Germany, Clyde walks down the road quickly and seems upset. To one side of the road is a deep, dark forest. Clyde sees a car coming towards him. He looks towards the forest and sees a trail. He then runs towards the trail and vanishes into the forest.

EXT.  GERMAN HOME  later

The German home sits under a blue sky later in the day. Frank stands beside the jeep and looks at house.

INT.  HOUSE BEDROOM  SECONDS LATER

Anastasia sits on the edge of the bed and seems upset and her eyes glisten.

ANASTASIA

So much is at stake.

She then looks at the window.

ANASTASIA

And all I can think of is if I'll ever see Clyde again.

EXT.  GERMAN HOME  seconds later

Frank still stands beside the jeep, and looks at the house for a moment. He then lets out a low grunt then walks towards the house. But when he turns a corner of the home, he sees that Clause is standing in front of him. Behind him a about two dozen German soldiers aiming there weapons at him. Ilsa, who holds her sword, and the Commander stands in front of the soldiers. Clause then pulls back his arms and makes a fist with one of his metallic hands. He gear built into his shoulder turns and he punches Frank in the chest who stumbles back. Frank then seems angered and clenches both his hands into fists and the two giants look at each other. Then they charge each other, but when Clause goes to strike, Frank ducks and punches Clause in the stomach. The robotic giant stumbles back then looks at Frank. The commander looks at Ilsa.

COMMANDER SCHMIDT

Seemed to be evenly matched. I'll have my men intervene.

ILSA KOTCH

Do not interfere until I say so.

The commander looks back at the fight. Frank and Clause run at each other then Frank leaps at him. Frank knocks him to the ground and they slide across the grass with Frank on top. He starts reigning down powerful blows on Clause, as he does sparks jump of of Clause's body. Then Anastasia emerges from the house and sees the soldiers then sees Frank. She pulls her sword from her scabbard and the soldiers aim their weapons at her. Ilsa then readies her sword. She and Anastasia then slowly walk towards each other. Clause then hits Frank in the face and Frank is knocked back and is now kneeling, a small amount of blood trickles from a corner of Franks mouth. Both Frank and Clause get up, Frank wipes away the blood from his mouth and they look at each other. Ilsa and Anastasia begin to circle each other with their blades ready.

ILSA KOTCH

Do you speak German?

ANASTASIA

Yes.

ILSA KOTCH

I assume you are the one gifted to be a Nosferatu.

ANASTASIA

It is a curse, not a gift.

ILSA KOTCH

Such a small mind. Fitting that you would be a woman.

ANASTASIA

Since it is day, this will be a fair fight.

ILSA KOTCH

Not really.

Ilsa then pirouettes and swings her blade and Anastasia blocks it with her own and sparks jump of the steel of their weapons when they strike each other.

ILSA KOTCH

Seems who ever outfitted you gave you a fine blade as well.

Then they begin to fight, every time Ilsa swings Anastasia blocks. Frank and Clause charge each other then are grappling about, trying to push each other back. They struggle when Frank then pushes Clause and charges ahead with him then throws him through the air. Clause lands on his back. Frank then jumps up into the air and slams his gigantic boot covered foot onto Clause's chest and makes a dent in in. Anastasia and Ilsa continue to fight when Anastasia does a low a sweeping kick and knocks Ilsa onto her back. Anastasia stands above Ilsa and swords her sword to her neck.

ANASTASIA

Not bad, but in five hundred years I have seen better.

The commander looks at Father Anton.

COMMANDER SCHMIDT

I guess you should intervene right about know.

Father Anton then approaches her and holds up the crucifix. When she sees it, Anastasia then swaggers back and fourth for a moment then seems in pain. Ilsa gets to her feet and looks at Frank.

ILSA KOTCH

You!

Frank looks at her.

ILSA KOTCH

Come with us willingly or the woman dies.

Frank seems concerned, then lowers his head and nods. Ilsa picks up her sword and holds it to Anastasia's neck.

ILSA KOTCH

Where is the beast?

Anastasia waits a moment then replies.

ANASTASIA

He is dead.

Ilsa laughs.

ILSA KOTCH

He has survived when no other of his kind have, I do not think he would be killed so easily. We will find him.

She looks at the commander.

ILSA KOTCH

Take them, but harm them in anyway and your men will be sorry.

The commander looks at his men.

COMMANDER SCHMIDT

Do as she says. Also take any weapons they have.

His men nod. They go to Anastasia and Frank and lead them away. Clause gets up, a dent still in his chest, and looks at Frank. Clause, till now always unemotional, seems angry. The soldiers lead the two of them towards the trucks.

EXT.  FOREST PATH  night

The forest path, which cuts through a forest of towering trees in the darkness of the night now sways about in a strong wind. Clyde is walking down the trail and seems angry.

CLYDE TALBOT

Every since I got to Europe, that wolf that has been chasing me for over a century seems to be on my heels. It is getting worse.

Then Clyde stops and sees something that is not revealed.

CLYDE TALBOT

No, please no.

A German woman, Natalie, walks towards him on the trail; she wears a dress and seems to be almost Jenny's twin. She stops and looks at him and speaks in German.

Natalia

Are you a soldier? Are you lost?

Clyde then looks at the moon in the sky and back at her.

CLYDE TALBOT

Run, you have to get away.

Clyde then falls to the ground and screams. Natalie watches in horror and he transforms into the creature. It then begins to approach her on all fours and snarls. She turns to run away as the creature watches. Natalie stops when she sees a pack of four large black ordinary wolves emerge from the forest on in front of her and begin to approach. The pack of wolves stop and snarl. Natalie looks to either side, at the real wolves and the beast. The creature in the uniform seems frozen in place and looks at her and the wolves.

CLYDE'S VISION

In Clyde's mind, he stands on the forest path in his uniform in human form. Now it is Jenny who stands before him, behind her is the beast in Clyde's uniform. Clyde looks down at his hand and realizes that he is holding a silver knife. The beast the runs at Jenny on all fours.

EXT.  FOREST PATH  seconds later

Natalie watches as the pack of wolves charge towards her. She then looks back at the creature which just looks at her. Then the creature lunges at her snarling. She falls to the ground and closes her eyes. But the creature leaps over her and lands on the other side of her and growls at the pack of wolves who charge the creature. Natalie opens her eyes and seems amazed as the creature fights the pack of wolves. The creature then bites into the neck of the closest wolf and throws it into a tree and it lays motionless on the ground. Two of the wolves to the back of the pack look at each other then run back into the forest. The largest wolf of the pack and the creature snarl at each other then charge. The wolf bites the creature's leg and it lets out a moan like a dog in pain. The creature then swipes at the wolf with its claws and it groans. The creature and the wolf fight as Natalie watches. The creature then lunges at the wolf and knocks it to the ground. Then the beast begins to savagely slash the wolf with its claws. Even after the wolf is dead, the creature still slashes at it.

CLYDE'S VISION

Now it is Clyde in uniform, who is on top of the body of the creature in the uniform, and is repeatedly plunging the silver knife into its chest. He stops then screams.

EXT.  FOREST PATH  SECONDS LATER

The creature stops slashing at the carcass of the wolf then lets out a deafening howl which fills the night. It then turns and begins to slowly approach Natalie, who watches while on the ground. The creature stops and kneels in front of her and lowers its head and is breathing heavily. She just looks at the creature when it then looks at her and speaks, sounding like a ordinary dog trying to mutter a word.

creature

Sorry.

Natalie gets up. She turns to run away but then looks at the creature. She slowly approaches it then pats it on the head.

NATALIA

Thank you.

She then runs away as the creature watches. The from behind the creature it hears Anastasia speak.

ANASTASIA

Help.

The creature looks down the path behind it and sees Anastasia standing farther down the path looking at it. It then runs towards her, and the faster it runs, the farther away she seems to get. The creature charges down the path.

INT.  holding cells of fortress  night

In the basement of the fortress is a large room with drab stone walls and light provided with torches. There are three prison cells along one wall, with a front wall made from reinforced glass. Anastasia and Frank are in two of the cells. In the room is a large table with Frank's, Anastasia's and Clyde's weapons on them. Then Ilsa walks into the room and looks at Frank.

ILSA KOTCH

Well, you best my automaton and he seems to want a rematch. I could not figure out who you where, now, seems that a book and several films have been made about you.

Frank turns away from her. Ilsa then walks to Anastasia's holding cell and looks at her.

ILSA KOTCH

From your accent, I assume you are Romanian. But the weaponry suggests that you are in fact a rather unusual unit for the American army.

ANASTASIA

What will you do with us?

ILSA KOTCH

Learn you secrets so I can make myself an army of creatures such as you.

Anastasia seems scared for a moment.

ANASTASIA

I have heard much talk of this Fuhrer you serve across Europe. Everyone says he is a madman, more of a monster then will ever be.

ILSA KOTCH

It is not him the world needs to fear.

ANASTASIA

I suppose you lust for the talisman yourself. And seek to have an army of monsters.

ILSA KOTCH

Yes, most perceptive. As a little girl my mother told me many stories of the ancient beliefs. I was never so saddened when she finally told me when I was older that it was all myths. But I would not let it go. Now I finally will make the world remember why it should fear the night; and soon a eternal night comes for this world. And I will be its queen.

Ilsa goes to walk away when Anastasia speaks up and Ilsa stops.

ANASTASIA

You only forgot one thing.

Ilsa looks back at her.

ILSA KOTCH

And what is that?

ANASTASIA

There is one of us still free, and I promise you, he will tear out your throat.

Ilsa speaks as she leaves the room.

ILSA KOTCH

Let him try.

Once Anastasia and Frank are alone, she lowers he head and whispers to herself.

ANASTASIA

Clyde, please do not let us down.

EXT. ROAD IN GERMANY  night

The creature is on the road in the country side running towards the camera on all fours. It stops and sniffs the road the runs. A period era car drives past the creature and comes to a screeching halt then speeds away as the creature runs off into the night.

EXT.  hill near fortress  morning

Near the fortress is a tall grassy hill which overlooks it. Clyde is passed out on its top. He then suddenly awakes. He takes a moment then gets up and looks down at himself.

CLYDE TALBOT

Wait, I don't know why, but it is not following me. That beast is still there, but I know, it is not wanting to eat anyone.

Clyde then looks at the fortress, sniffs the air, and seems angry.

CLYDE TALBOT

And I can smell her perfume coming from that fortress, and the swastikas kind of imply it is a Nazi stronghold.

Clyde the seems calm.

CLYDE TALBOT

And since I don't hear gunfire or explosions, either they are dead in there or captured. Shit. I have no weapons so I can't fight my way in there.

Clyde then looks at the fortress and smiles.

CLYDE TALBOT

I'll just do what they do I the movies. Steal a uniform and sneak in there. Of course, since all I know how to say in German is ja this would not be easy for a ordinary soldier.

Clyde waits a moment.

CLYDE TALBOT

But for the worlds greatest actor, all I need is my skills as a true thespian and a boisterous American laugh.

Clyde walks towards the fortress in the distance.

CLYDE TALBOT

Either about to get killed or somebody better give me a damn Oscar if I pull this off.


----------



## Autodidact_33 (Mar 27, 2015)

INT.  ILSA'S OFFICE  SECONDS LATER

Ilsa is alone in her office and is laughing loudly. Commander Schmidt enters and seems taken aback by her levity.

COMMANDER SCHMIDT

Why are you laughing Ilsa?

She looks at him.

ILSA KOTCH

I have finally used the last stone to complete the map showing the location of the crypt.

COMMANDER SCHMIDT

And why is that so funny?

ILSA KOTCH

It is located in a graveyard outside a town called Brest.

COMMANDER SCHMIDT

Wait, Brest is only ten miles to the east.

She looks at him.

ILSA KOTCH

Yes.

COMMANDER SCHMIDT

Seems like a coincidence.

ILSA KOTCH

Or the people who hid this artifact intended I be the one to find it so I may claim it.

COMMANDER SCHMIDT

It is the Fuhrer who it belongs to.

ILSA KOTCH

Of course.

COMMANDER SCHMIDT

What are your orders?

ILSA KOTCH

I and thirty of your best men will proceed their immediately.

COMMANDER SCHMIDT

Why are I and your metal freak not escorting you?

ILSA KOTCH

It the last of our interlopers tries to liberate his squad, I'll will need you to stop him. And Clause, though I intended him to be my mindless slave, seems to be taking his defeat rather personally.

The commander seems angry for a second then composes himself.

COMMANDER SCHMIDT

What is in that crypt Ilsa?

ILSA KOTCH

It is protected by an army that no mortal force can defeat. But your men will at least help us discover who is between us and our prize.

COMMANDER SCHMIDT

I want to know what this talisman does Ilsa.

ILSA KOTCH

Imbues the one who releases its power with all the evil and malignancy in existence, giving them the power of a god.

COMMANDER SCHMIDT

Well, by this point I believe you may be right. Though even I do not want to see a man such as the Fuhrer with such power.

Ilsa gets out and says something as she walks past him.

ILSA KOTCH

If I told him what you said, well, you know he just as easily kills those who serve under him as well as those who he dislikes.

Once the commander is alone, he mutters something to himself.

COMMANDER SCHMIDT

I mistrust that bitch. But my training has made me into a man who follows orders.

He waits a moment then leaves the office.

EXT.  outside fortress  seconds later

Around once side of the fortress is a area that is not guarded. Then a German soldiers walks out from behind a corner and stops. He looks around then pulls out a cigarette, lights it, and begins to smoke. Then a voice speaks from behind him off frame.

CLYDE TALBOT

You might want to turn around.

The soldier turns around and sees Clyde standing behind him. Clyde punches him in the face, he falls to the ground unconscious and the cigarette flies up into the air and Clyde catches it. He then takes a puff.

CLYDE TALBOT

Need something to calm my nerves before I killed.

He looks down at the soldier.

CLYDE TALBOT

I need you uniform pal.

EXT.  OUTSIDE FORTRESS  SECONDS LATER

Clyde is now wearing the German army uniform, he still wears his uniform under it which makes him look at little overweight. Clyde then mutters to himself.

CLYDE TALBOT

Always a little edgy before a performance.

EXT.  entrance to fortress  seconds later

In the front of the fortress is a large gate which two German soldiers guard, both holding small automatic weapons. Clyde then approaches when about eight jeeps drive out the gate and away from the fortress. Clyde then walks up to one of the soldiers and stops. One of the soldiers, Victor, looks at him. Victor speaks in German.

victor

Are you new to this division? I have not seen you before.

CLYDE TALBOT

Ja.

VICTOR

Are you lost?

CLYDE TALBOT

Ja.

VICTOR

You better get back to your post, the commander will probably cut your balls off if he finds you not guarding post.

Clyde waits and moment then laughs loudly. The two soldiers look at each other then both laugh deeply. Clyde then walks past them and into the fortress.

EXT. COURTYARD OF FORTRESS  SECONDS LATER

Clyde looks around and sees soldiers with rifles everywhere in the courtyard. He looks around when he sees the machine gun nest overlooking the courtyard. He then sniffs the air and walks towards an entrance to the interior of the fortress. A German soldier, Adrien, walks towards him and stops.

Adrien

Where is your weapon? Did you lose it?

Clyde stops and looks at him.

CLYDE TALBOT

Ja.

ADRIEN

Are you stupid or something?

CLYDE TALBOT

Ja.

ADRIEN

You seem a little heavy to be a soldier, but still not as fat as my wife.

Clyde waits a moment then laughs deeply. Adrien  waits a moment then breaks out into laughter and walks away. Clyde goes into the fortress.

INT.  HALLWAY OF FORTRESS  SECONDS LATER

Clyde is walking towards the camera in a hallway of the fortress. He is looking over his shoulder.

CLYDE TALBOT

Either I'm a great actor or these guys are idiots.

He then looks ahead and jumps back. Clause is walking towards him as he makes a series of mechanical sounds. Clyde mutely speaks as Clause walks past.

CLYDE TALBOT

Ja.

Clause looks at him then walks away. Clyde continues to walk deeper into the fortress and mutters to himself.

CLYDE TALBOT

Apparently my ancestors did not come to America to escape persecution. It was to escape all the weirdness in this continent.

INT.  HOLDING CELLS OF FORTRESS  seconds later

Anastasia and Frank are in their cells. She then speaks loudly.

ANASTASIA

Giant, I do not want to ask you this, but when they return, we will have to get them to destroy us. We can't let them make more of our kind.

Frank waits a moment then nods. Then a voice speaks of frame.

CLYDE TALBOT

Are you ordering Frank to get himself killed beautiful.

They both watch in shock as Clyde walks into the room and stands before them. They are silent.

CLYDE TALBOT

OK, I tried to kill you both and abandoned you. I don't think that calls for the silent treatment guys.

ANASTASIA

You came for us.

CLYDE TALBOT

We are a team.

Clyde then starts to take off the German uniform.

CLYDE TALBOT

Now lets get you guys out off there.

Clyde is now in his uniform. When he opens Anastasia's cell and she runs into his arms and they hold each other and he strokes her hair.

ANASTASIA

I knew you would not leave me.

CLYDE TALBOT

We still have to fight our way out of here so can we save this sentimental moment for when we are back in America.

She nods. Clyde lets her go then opens Frank's cell and he walks out and they stand in front of each other.

CLYDE TALBOT

Frank, I hope this makes up for being a bastard to you this whole time.

Frank grins then salutes and Clyde salutes back. Clyde then goes to a table and picks up the Thompson machine gun and pulls back the bolt. Anastasia then retrieves her swords and returns it to her scabbard. She picks up her two silver colt pistols and holds them. Frank looks reluctantly at his clip fed bazooka. Clyde looks at him.

CLYDE TALBOT

Frank, I know you don't want to kill anybody.

Frank waits a moment then nods.

CLYDE TALBOT

Frank, you are a soldier now and this is war. And people get killed in war. But these other guys, they are soldiers to; they knew dying was part of the deal when they enlisted.

Frank still seems reluctant.

CLYDE TALBOT

But by this point, well I think you know your little town is going to need its protective giant more then ever. But a lot more then one little town is going to need a protective giant.

Frank waits then goes to his bazooka and slings it across his back. They all look at each other.

CLYDE TALBOT

I know I'm the lowly grunt here. But I'll create some commotion.

ANASTASIA

What do you mean commotion.

CLYDE TALBOT

By being a little loud. You two then find out where these stones are.

ANASTASIA

They know what we are. They will be ready for us. You will get yourself killed.

CLYDE TALBOT

Like I told Frank, comes with the job when you enlist.

ANASTASIA

I don't want to see you die.

Clyde then walks towards the door out of the room.

CLYDE TALBOT

I'm not dying anytime soon.

He looks back at her.

CLYDE TALBOT

But I need to do this.

ANASTASIA

Good luck.

CLYDE TALBOT

My luck is always been kind of bad.

But he says something as he runs out of the room.

CLYDE TALBOT

But I guess every dog as his day occasionally.

He runs out of the room. Anastasia and Frank look at each other then at the door.

INT.  HALLWAY OF FORTRESS  SECONDS LATER

Another hallway of the fortress. Several German soldiers are walking down the hallway. Then Clyde steps out from behind a corner in front of them. They all fire their weapons when Clyde dives to the ground and still fires. The soldiers still fire but then are hit several times and fall to the ground dead. Another German soldier appears from behind a corner behind Clyde and fires. Clyde rolls onto his back and returns fire and hits the soldier who falls to the ground. Clyde stands up.

CLYDE TALBOT

This armor seems to work, but damn, getting shot really hurts.

He pulls out a empty clip from his machine gun and loads it with a fresh clip. He then runs down the hallway as a screeching siren fills the fortress.

INT.  HALLWAY OF FORTRESS  SECONDS LATER

Frank and Anastasia and running towards the camera when a German soldier with a flame thrower appears ahead of them and aims the weapon a Frank. He looks to his side and sees a large wooden door in the wall. He rips the door from its hinges and holds it like a shield. Anastasia watches as Frank charges the soldiers who pulls the trigger of the flame thrower. A giant plume of flame fills the hallway which Frank runs into, but the door shields him from the flames. Then Frank charges into him with the door then crushes the soldier between the door and the wall. Frank then looks back at Anastasia. Two more soldiers appear behind her and raise their weapons and fire. She turns and falls to one knee and fires her two pistols. She hits the two soldiers who then fall to the ground. Frank and Anastasia then run down the hallway.

INT.  HALLWAY OF FORTRESS  SECONDS LATER

The commander is walking down the hallway when Clyde appears in front of him. The commander sees him then swiftly pulls out a Luger pistol and fires a single shot into Clyde's chest. He seems hurt a little, but when he goes to fire back the commander dives behind a corner then stands behind it holding his pistol. Clyde hides behind another corner. The commander speaks loudly.

COMMANDER SCHMIDT

From the weapons, I assume you are an American soldier.

CLYDE TALBOT

Well, I saw a poster with Uncle Sam saying I want you; of course there was no sideline saying unless you are a werewolf.

COMMANDER SCHMIDT

You seem to be a little weak to be a soldier.

CLYDE TALBOT

I might be an actor, but I'm no cream puff.

Clyde then runs out and charges towards the corner with his weapon raised, but when he reaches the corner Schmidt jumps out with a large silver knife. He does a round house and knocks the machine gun out of Clyde's hand. He then goes to plunge the knife into Clyde's heart, Clyde grabs the wrist of the hand that holds the knife. The commander uses his other hand to help push the knife towards Clyde chest and Clyde uses his other hand to stop him. They look hatefully at each other as they struggle.

COMMANDER SCHMIDT

Like I said, you are not cut out to be a soldier.

Clyde then grins a headbutts the commander. He stumbles back and Clyde grabs his machine gun. But when he aims it at the commander, the commander then runs towards a stain glass window down the hallway. As Clyde fires, the commander jumps through the window crashes through the glass. Clyde shrugs.

CLYDE TALBOT

Guess I won that one pal.

Clyde then runs off in the opposite direction.

INT.  HALLWAY OF FORTRESS  SECONDS LATER

Anastasia and Frank are running towards the camera. Then Clause appears before them and they both stop. Frank and Clause look hatefully at each other. Frank looks at the adjacent corridor and points down it. Anastasia nods then runs off. Frank pulls his bazooka from his back yet Clause remains still. Frank fires and a rocket streaks down the hallway and hits Clause. There is an explosion and Clause vanishes in a cloud an explosion and black smoke. But once it dissipates, Clause still stands there and seems not hurt at all. Frank grunts then slings the bazooka across his back. Frank then runs at Claude who then runs at him as well while making a series of mechanical noises. They both jump at each other and pull back their fists. But Frank strikes Clause in the head first and he then is knocked back into a wall. Frank then charges him and runs into him and they break through several stone walls. Clause then rapidly punches Frank as the gears in his shoulder turn. Frank stumbles back. They look at each other with Clause smiles. Frank them leaps into him and knocks him to the ground. Frank then raises his fists when Frank starts to give off electrical discharges. Frank then rams his fist down into Clause's head with a mighty blow breaking it apart. It splatters gears and wires all over the floor. Frank stands and looks down at Clause then slowly walks away.

INT.  ILSA'S OFFICE  SECONDS LATER

Father Anton stands beside the door to the office holding the crucifix. Anastasia enters and runs towards the desk.

FATHER ANTON

Behind you.

She turns but he throws away the crucifix.

FATHER ANTON

You are damned, but you have to stop her.

ANASTASIA

You have my word I will.

FATHER ANTON

May the lord have mercy on you my child.

ANASTASIA

He never has.

FATHER ANTON

Maybe one day he will.

ANASTASIA

You should run. Save yourself.

He nods then runs out of the room. She then runs to the desk and looks down at the two stones and papers and looks at them.

EXT. COURTYARD OF FORTRESS  SECONDS LATER

All the soldiers in the courtyard seem a little afraid and aim their rifles at all the doors leading out of the fortress. Then Clyde appears on top of the fortress's outer wall over the machine gun nest. He looks down, slings his machine gun across his back, then jumps down and lands behind the soldier manning the machine gun. Clyde grabs him and throws him over the edge and the soldier plummets to the ground. All the soldiers look up when Clyde mans the heavy machine gun and starts firing at the soldiers in the courtyard. He spews tracer fire and the soldiers fire back, but many are cut down by the heavy machine. Then Frank breaks out through a wall holding the bazooka and aims it at a pack of soldiers and fires. A rocket streaks towards them and a explosion sends them all spiraling through the air. Clyde looks at him and yells.

CLYDE TALBOT

Sorry fellas, the gentle giant isn't so gentle anymore.

Clyde continues to fire and cuts down the last of the soldiers. An army truck races through the gate into the courtyard and is headed towards Frank. Frank fires the bazooka and a rocket flies through the air and hits the truck. The truck explodes and flips over and crashes to the ground. Then there is silence accept for the wailing of the siren. Clyde sees the speaker the sound is coming from and fires the heavy machine gun and destroys the speaker and there is silence. Clyde and Frank look at each other.

CLYDE TALBOT

I don't mind saying Frank, but we make a damn good team.

Frank grins and nods.

EXT. COURTYARD OF FORTRESS  later

Clyde and Frank are standing beside them them with their weapons slung across their backs and watch as Anastasia walks up to them with her weapons holstered. Clyde grins. She then runs at him and they embrace and kiss; Frank looks away. They they both look at each other.

CLYDE TALBOT

glad they might a special exception and allowed a woman to serve in the army. Ordinarily a soldier kissing his commanding officer would seem a little odd. So now what?

She then walks towards the gate as the other two men follow.

ANASTASIA

They know where the crypt is. We will get in there and make sure no one will ever get the talisman.

CLYDE TALBOT

We just beat over a hundred soldiers. This should be a breeze.

ANASTASIA

This will be more dangerous then anything we have faced yet.

Clyde rolls his eyes.

CLYDE TALBOT

Could you lie to me and Frank and say the rest of this mission is going to be a cake walk.

Frank seems to be walking a little slower. They then walk out the gate.

EXT. graveyard outside Brest  day

Later in the day. In a land of flat grassy valleys is a gigantic, ancient cemetery; in the distance is the small village of Brest. The graveyard, which is surrounded by a iron fence; is full of tombstones and the statues of angels stand between them and look down upon the graves. In the center is a large mausoleum; a stone building with cracks in the wall and a open stone door. Ilsa waits outside patiently and looks at the open door. Several moments pass when a single German soldier, David, runs out and falls to the ground in front of Ilsa and she looks down at him. David is badly hurt and his uniform is covered with blood; it seems that something has torn chunks out of his flesh.

ILSA KOTCH

What happened?

David still is shaking. She raises her voice.

ILSA KOTCH

Tell me now!

David speaks weakly.

David

Things are down there.

ILSA KOTCH

What things?

DAVID

I don't know what they are, but there are hundreds.

Ilsa looks at him then David dies as she watches. She seems angered then walks away towards the jeeps waiting outside the cemetery.

INT.  HALLWAY OF FORTRESS  SECONDS LATER

The commander looks down at Clause's body on the floor, gears and wires scattered around the body; behind him are two German soldiers. He then sighs.

COMMANDER SCHMIDT

At least you may rest my friend.

The commander walks towards his men.

COMMANDER SCHMIDT

Radio Berlin and have them send another division immediately to Brest; and want everything they can give us. Get the rest of what is left of our men and we will go to this Crypt. I am going to kill these three; even if it is with my own hands.

He walks away with his men.

EXT. GRAVEYARD OUTSIDE BREST  later

It is dusk as night begins to descend on the land. Clyde, Frank, and Anastasia are walking through the graveyard towards the mausoleum. Clyde looks at Frank who is walking a little slower.

CLYDE TALBOT

A little slow there Frank.

Anastasia looks at Clyde.

ANASTASIA

He is dying.

Clyde looks at her concerned.

CLYDE TALBOT

What?

ANASTASIA

If lightning does not give him strength soon, he will perish.

CLYDE TALBOT

Ana, take Frank back to his village now and that machine. I will get the talisman.

Clyde and Anastasia stop but Frank walks on. They look at him.

CLYDE TALBOT

Don't do this to us Frank.

ANASTASIA

He wants to do this Clyde, it is his choice.

They follow Frank towards the mausoleum.

CLYDE TALBOT

I am guessing this Crypt is in there. Guess it won't be to hard to find, that place is not that big.

INT.  crypt  later

Deep beneath the Earth is the crypt. There is a small entrance from the mausoleum, beyond is a gargantuan room completely cloaked in darkness. Clyde, Frank and Anastasia stand at the entrance and look into the blackness.

CLYDE TALBOT

Great, did any of us bring a flashlight?

Anastasia looks at him for a moment then kneels. She looks at some symbols on the floor.

CLYDE TALBOT

Can you read that?

ANASTASIA

Five hundred years has left me with the time to learn many languages; and I find forgotten languages to be the most interesting.

She puts her hand on one of the symbols for a moment then stands. The three of them look down when the symbol and the symbols around it begin to emit an eerie bluish light. They look into the crypt when the leviathan room is illuminated by light coming from the symbols everywhere. It is a vast room whose farthest ends are still darkened, but there are stone pillars everywhere reaching up to the ceiling far above them. They look at each other and walk into the crypt. The walk forwards for awhile when Clyde stops.

CLYDE TALBOT

Guys, you might want to know something.

They look back at him when Clyde pulls his Thompson machine gun from his back and pulls the bolt.

ANASTASIA

What are you doing?

CLYDE TALBOT

Ready your weapons.

Anastasia and Frank look at each other. Anastasia pulls her sword from its scabbard and Frank readies his bazooka.

ANASTASIA

Can you tell me what is going on?

CLYDE TALBOT

Footsteps are coming from everywhere. Hundreds of them, and the smell, it smells like; sorry to be disgusting, rotting flesh.

Anastasia seems worried. Clyde notices.

CLYDE TALBOT

You seem worried.

ANASTASIA

Now what a ghoul is?

CLYDE TALBOT

No.

ANASTASIA

You are about to find out.

The three of them of look around when dozens, almost a hundred ghouls walk out from the darkness at the edges of the interior of the crypt. They look like the dead bodies of men, with greenish rotting flesh and have on ancient, tarnished armor and carry swords and axes. The army a ghouls walk towards them and stop.

CLYDE TALBOT

What are those?

ANASTASIA

Ghouls.

CLYDE TALBOT

I need a little more information then that.

ANASTASIA

Basically dead bodies cursed. They remain dead until they smell living flesh then awake.

CLYDE TALBOT

Awake and do what?

ANASTASIA

Kill and eat what they smell and go a back to sleep.

Clyde pulls back the bolt of his machine gun.

CLYDE TALBOT

Why do things just keep getting worse for me.

He fires at the approaching army of ghouls. Sparks jump of their armor and several ghouls fall down dead. Frank fires his bazooka and a rocket flies into the ghouls, and explosion sends several of them flying through the air then lay dead on the stone of the floor. Clyde continues to fire. He then ejects a clip from his weapon and loads another from the clip on the side of the chest of his uniform. Frank fires again and a explosion sends more ghouls tumbling through the air. One ghouls runs from the rest towards the three of them with its ax raised, but once it is close Anastasia spins around, ducks and cuts through its legs with her sword and it falls to the ground legless. Then the rest of the army of ghouls run at.

ANASTASIA

We should run.

CLYDE TALBOT

I'll be following that order.

They turn and run away as the ghouls give chase. They several ghouls run out from the darkness beside the three of them fleeing, Clyde turns and fires his weapon and kills the three of them who fall to the ground. About five ghouls appear ahead of them and run towards them, Frank fires his weapon and a rocket goes right into the approaching ghouls. The vanish in an explosion after which is a cloud of black smoke which Clyde, Frank and Anastasia run through and emerge out of on the other side. Still over a hundred ghouls are still chasing them. Then a single ghoul, with a sword, suddenly drops down from the ceiling and lands in front of them. Anastasia then runs at it, drops to the ground and slides across the stone of the floor and slides between its legs and jumps suddenly to her feet behind it. When the ghoul turns she swings her sword and decapitates it and it falls to the floor. The three of them continue to run as the ghouls give chase. Then Clyde, Anastasia and Frank come a gigantic stone door which is seal. They turn and face the army of ghouls which is now approaching slowly. Clyde and Frank fires there weapons, ghouls fall down dead from the gunfire and explosions send others flying through the air. Clyde and Frank reload there weapons with fresh clips then continue to fire. The continue when Clyde looks at Frank.

CLYDE TALBOT

I'm out of ammo. But I got an idea.

Clyde walks towards the approaching ghouls then stops. He then throws his machine gun at the approaching ghouls and it bounces off the chest piece of the armor of one of them and they all stop and look down at the weapon then back at Clyde. Clyde looks back at Frank and Anastasia.

CLYDE TALBOT

I'm out of ideas.

Frank slings his weapon across his back and walks past Clyde and towards the army of ghouls who now are approaching slowly. Frank kneels on the ground and raises his fist. The ghouls charge Frank when he slams his fist into the ground, when he does gigantic electrical discharges begin to cascade from his body and towards the army of ghoul. Clyde and Anastasia watch as the army of ghouls writhe in pain as discharges of electricity surge through them. Then they all fall to the ground dead. Frank gets up and slowly walks towards Clyde and Anastasia; he is staggering. He almost falls when Clyde gets under him and puts Franks arm over his shoulder and helps him walks towards the gigantic stone door which Anastasia is looking at.

CLYDE TALBOT

I got you Frank.

Anastasia looks at the symbols on the door as Clyde and Frank stand behind her.

CLYDE TALBOT

Is it in there?

ANASTASIA

Yes.

CLYDE TALBOT

How do we get in?

Anastasia looks back at them then at the door again. She touches a symbol on it and the door begins to open. Clyde looks up at Frank.

CLYDE TALBOT

Now I see why she is the leader.

They wait a moment then enter into the room slowly.

INT.  room of the talisman  seconds later

Beyond the door is a large room with stone walls as the symbols on them emit blue light. In the center of the room is the talisman; it is a large gold medallion when more symbols inscribed on it; it hovers above the floor in the air. Anastasia walks towards it and stops as she looks at it. Clyde stands behind her as he helps Frank stand.

CLYDE TALBOT

I'm no Einstein, but I think we found the buried treasure.

ANASTASIA

It has righting on it.

CLYDE TALBOT

What does it say?

Anastasia

Heart of the Dark One.

Clyde Talbot

Who is the dark one?

She looks back at him and seems worried.

ANASTASIA

The devil.

CLYDE TALBOT

A chill just went down my spine.

They all look back at the talisman for a second.

ANASTASIA

Lets get it a make sure no one will ever place there hands on it.

Anastasia then takes the talisman and holds it. Then a voice speaks off frame.

ILSA KOTCH

I'll be taking that if you don't mind.

All all turn and see Ilsa stand at the entrance to the room. She holds a Luger pistol which she is aiming at Clyde's chest.

CLYDE TALBOT

And why would we give it to you lady?

She pulls back the hammer of the pistol.

ILSA KOTCH

Because if the Nosferatu does not give it to me, I'll shoot you in the heart with a silver bullet.

CLYDE TALBOT

Think our leader is stupid or something?

Anastasia waits a moment then throws the talisman and Ilsa catches it with her free hand. Clyde sighs.

CLYDE TALBOT

Technically, that does not mean I called you stupid Anastasia.

ILSA KOTCH

I hope you enjoy spending eternity together locked in this room. Goodbye.

Ilsa steps back and the heavy stone door drops, ceiling the three of them in. Clyde looks at Anastasia.

CLYDE TALBOT

Why did you do that?

ANASTASIA

Because I love you Clyde.

Then the three of them look at the door.

CLYDE TALBOT

Well, guess this mission can be chalked up as a failure. Hope then next one goes better.

Then they look at the door in silence.


----------



## Autodidact_33 (Mar 27, 2015)

EXT. GRAVEYARD OUTSIDE BREST  dusk

The sun has begun to sink beneath the horizon as night looms to the east. Commander Schmidt and several of his men await at the entrance to the mausoleum. He holds a Luger pistol and seems ready to enter the gloomy, ancient building. Just then Ilsa walks out, talisman in one hand, and approaches the commander. He frowns at her.

COMMANDER SCHMIDT

I hope that little trinket is not what most of the men in my command died to help you and our Fuhrer obtain.

Ilsa stops and looks at him.

ILSA KOTCH

Appearances can be deceiving commander.

COMMANDER SCHMIDT

Another division is on the way here. I'll have some of the men escort our prize to Berlin.

Ilsa walks past him and towards the gates of the cemetery.

ILSA KOTCH

First I must find out if our prize was worth the effort to find.

COMMANDER SCHMIDT

What do you mean Ilsa?

ILSA KOTCH

Have your men take me to the church in Brest.

COMMANDER SCHMIDT

Why?

ILSA KOTCH

Do as I told you.

COMMANDER SCHMIDT

What about those three things the American's sent to stop us.

ILSA KOTCH

They are trapped in the crypt. Now do as I say.

The commander looks at his men.

COMMANDER SCHMIDT

Follow her and see that she comes to no harm.

His men nod then follow Ilsa out of the cemetery and get into two jeeps awaiting outside and drive towards the village of Brest in the distance as the night gets darker. The commander looks at her drive away then at the mausoleum.

INT.  ROOM OF THE TALISMAN  SECONDS LATER

Frank, Clyde and Anastasia sit on the floor of the room across from the stone door, and eerie light still coming from the the symbols on the walls. Clyde looks at Anastasia beside him.

CLYDE TALBOT

Funny, everything would have been find if we stuck with the us acting like we hate each other thing.

She looks away from him.

ANASTASIA

Even if I had to choose again, my choice would be no different.

Clyde looks to Frank beside him, it looks like Frank is having a hard time staying awake.

CLYDE TALBOT

Hang in there Frank.

Frank looks at him and nods. Then they all look at the sealed door.

CLYDE TALBOT

Well, guess night platoon's first mission can be chalked up as a failure. Good work guys, hope the next mission  goes better.

The three of them continue to look at the door.

CLYDE TALBOT

So, how should we pass the time; twenty questions.

Then the stone door sealing them in raises, Commander Schmidt stands on the other side aiming a pistol at Clyde.

COMMANDER SCHMIDT

So, I finally have you three cornered.

CLYDE TALBOT

Me and the big guy won't be much trouble, but she is the one you should be scared of now the sun is down.

COMMANDER SCHMIDT

If you don't tell me what I want to know, the beast man will die.

ANASTASIA

What do you want from us?

COMMANDER SCHMIDT

Ilsa is taking the talisman to a church, why?

ANASTASIA

Because the unholy power that slumbers within it can only be unleashed upon hallowed ground.

The commander frowns.

COMMANDER SCHMIDT

That bitch I've been taken orders from is on her way to a church in Brest. I can't stop her because I must follow her orders.

Clyde and Anastasia get up yet Frank still sits.

CLYDE TALBOT

But we can stop her for you and this stays our little secret.

COMMANDER SCHMIDT

I think abominations like you three and that relic where forgotten for a reason.

CLYDE TALBOT

You are asking for our help here, maybe you should be nicer.

Clyde and Anastasia look down at Frank. Frank points towards the exit from the room.

CLYDE TALBOT

Sorry buddy, we ain't leaving you behind.

Clyde and Anastasia help Frank stand, and each put one of his massive arms over their shoulders. The commander watches as they walk out the room slowly as they help Frank along.

INT.  CRYPT  seconds later

The commander watches as Clyde and Anastasia help Frank slowly walk along. Clyde sees his Thompson machine gun the ground near some dead ghouls. He picks it up with his free hands and slings it across his back. She looks at him.

ANASTASIA

Why retrieve your weapon, you are without ammunition?

He looks at her and grins.

CLYDE TALBOT

Like me and anything else of quality, it was made in America. I like this gun.

As they slowly help Frank walk along, the commander speaks.

COMMANDER SCHMIDT

You would go faster if you left him behind.

Clyde speaks as he helps Frank along.

CLYDE TALBOT

What if he was one of you men, would you leave him behind.

COMMANDER SCHMIDT

No, I wouldn't. Mister, I know nothing other then you are some fool who despite being a monster does not realize how much over your head you are in here.

CLYDE TALBOT

Do you have a point?

COMMANDER SCHMIDT

Maybe you are cut out to be a soldier after all.

CLYDE TALBOT

Thanks.

COMMANDER SCHMIDT

You have an hour to stop her, after that, and entire division of the German army will arrive. Then I will kill all three of you.

CLYDE TALBOT

So we stop her for you, and you kill us as a gesture of gratitude.

COMMANDER SCHMIDT

When you pick a fight with a man like me, it does not end until one side is dead.

Clyde and Anastasia help Frank slowly walk out of the crypt.

EXT.  outside Brest  later

Now it is fully night as there is a carpet of glittering stars in the sky. In the distance to one side is the gates leading into the cemetery, to the other side is the lights of the town of Brest shining out in the night. Clyde and Anastasia help Frank stagger along. Then Frank trips and falls to the ground, he seems barely able to move. Clyde looks down at Frank then looks at Anastasia.

CLYDE TALBOT

OK, you better go stop her.

ANASTASIA

I'm going to need you help.

CLYDE TALBOT

I'll be there shortly.

Clyde looks down at Frank.

CLYDE TALBOT

If Frank is about to die, then he is not going to die alone.

Anastasia nods.

ANASTASIA

Thank you Clyde.

He looks at her.

CLYDE TALBOT

Just go, I'll be along shorty.

Anastasia then turns into a cloud of mist when then flies out into the sky towards the town in the distance. Frank looks at Clyde then points to the village. Clyde sits beside him.

CLYDE TALBOT

If you ordering me to help our leader, well, I ignore you order.

Clyde looks at Frank.

CLYDE TALBOT

Besides, Anastasia knows what she is doing.

Clyde looks at the village in the distance.

CLYDE TALBOT

Hopefully.

EXT.  village of Brest  seconds later

The small, quaint village of Brest is a town made up simply homes and several shops along cobblestone streets. Light is provided from lamps along the street which provide a soft light. In the center of town is a large church. Two German soldiers with automatic weapons guard the doors.

int.  inside church  seconds later

Ilsa walks between the pews and towards a large stone alter. She is laughter as she holds up the talisman.

ILSA KOTCH

Soon, the day will end; what comes is a endless night. And I will rule this eternal darkness.

ext. village of Brest  seconds later

The two German soldiers stand outside the churches entrance. One of them looks up into the sky when he sees a billowing cloud of Myst fly swiftly through the sky towards them. The two soldiers look at each other then at the approaching mist. While the mist is several meters above it, it takes the form of Anastasia suddenly and she falls from the sky as she pulls her gleaming sword from its scabbard. As she lands in front of the closet soldier she swings her blade and he falls down dead after being hit. The other soldier fires at her but she does a pirouette and with a single swing cuts him in two. She then looks at the door to the church. Just then the entire church breaks apart, the stone of the walls and ceiling and thrown into the air yet just seem to hover silently like they are suspended from invisible strings. Anastasia is knocked back and she slides across the cobblestone street then comes to a stop. She looks forward when she sees Ilsa walking towards her; Ilsa now has the talisman buried in her chest. She stops and looks at Anastasia.

Ilsa kotch

Now, kneel before me or die.

Anastasia

I'll choose the latter.

Ilsa looks around. They several of the period era cars parked along the streets rise up into the air and float in the sky. Anastasia watches when all the cares then careen through the air towards her then fall, her form in lost under the wreckage of the cars. Ilsa laughs deeply.

EXT.  OUTSIDE BREST  LATER

Clyde still sits with Frank on the floor of the grassy field and looks at Brest in the distance.

CLYDE TALBOT

Sorry about the hard time Frank I gave you Frank.

Clyde looks into the clear night sky and sees a large, single cloud floating towards them.

CLYDE TALBOT

Truth is I was jealous, you only look like a monster; but aside from that no one should be afraid of you. Like how everyone needs to be terrified of me. You never have to wake up next to a person who you ate the night before, covered in their blood. Because Frank, you not a monster.

Frank stops breathing and closes his eyes. He then falls onto his back. Clyde gets up and looks down at Frank.

CLYDE TALBOT

I'll miss you buddy.

Clyde starts to walk towards Brest then stops. The single cloud is now above Clyde and Frank.

CLYDE TALBOT

Listen, I'll forgive you for everything. About ending up like this, about what I did to Jenny and all the others, for all of it. Just please, don't let Frank die.

Clyde waits a moment then looks back at Frank.

CLYDE TALBOT

I hate you right about now.

Just then a bolt of lighting cascades out of the cloud and shoots down from the sky and hits Frank as there is a deafening roar of thunder. Electrical discharges are thrown off the metallic plates of Frank's uniform and he glows. Then he fades and Frank awakes and sits up. He looks to his side and sees Clyde laying on the ground, smoke coming of his uniform.

CLYDE TALBOT

Your alive big fella. I would be happier but I just got hit by lighting and sort of in a little pain at the moment.

Frank gets up then goes to Clyde.

CLYDE TALBOT

Go help her, I'll be along as soon as I can.

Frank then picks up Clyde by the scruff of the neck like a dog then charges towards Brest in the with Clyde.

EXT.  VILLAGE OF BREST  SECONDS LATER

Ilsa walks away from the rubble of the church which still floats in the air and towards the pile of wrecked cars. She waves her hand and they careen through the air, then hit several homes. Anastasia is not under the wreckage. Many of the villages are coming out of their homes and look at Ilsa. She looks at them and points a finger and some of the villagers. One of them bursts into flames, the rest then start fleeing the village and run towards the road out of town. The a billowing cloud of mist rises up behind Ilsa and takes the form of Anastasia. Anastasia then thrusts her sword through Ilsa's back and the blade comes out her chest. Ilsa looks down.

ILSA KOTCH

Is that all you can do against me?

Ilsa walks forward and frees herself from the sword then turns and looks at Anastasia.

ILSA KOTCH

All that is evil in existence is now mine to control, and the world belongs to those strong enough to take it.

ANASTASIA

Now if I have anything to say about it.

ILSA KOTCH

Guess I better show you the extent of my power.

Anastasia looks around as all the homes and buildings in the village break apart and the stone rubble is carried up into the air along with all the vehicles in the village. Anastasia looks up as the debrief begins to circle around the air above the town like a whirlpool. Ilsa laughs.

ILSA KOTCH

You have lost.

Ilsa then gestures with her hand and Anastasia seems like she is being pulled towards Ilsa, Anastasia floats in the air in front of her.

ILSA KOTCH

Even the undead need to die eventually.

EXT.  OUTSIDE BREST  seconds later

Frank, still holding Clyde by the scruff of the neck, charges towards the village across a grassy field. He then sees the panicked villagers running away from the town which now is basically destroyed and the wreckage of the town swirling about in the air. A young mother and her daughter are running from the village and a near Frank. Frank then sees the wreckage of a car through from the village and is tumbling across the ground towards the mother and her daughter. Frank drops Clyde and then runs to them. Frank gets behind them when they notice. They seem scared when Frank is hit by the wreckage of the car which comes to a halt, the mother and little girl look at Frank for a moment then run away. Clyde gets up and walks towards Frank and they look at the chaos going on in the village.

CLYDE TALBOT

Why does this mission keep getting worse?

Clyde and Frank look at each other. Then they both charge towards the village, but Frank is running much faster then Clyde and is losing him. Clyde yells.

CLYDE TALBOT

Go help her!

Frank nods and runs faster.

EXT.  VILLAGE OF BREST  SECONDS LATER

Ilsa looks at Anastasia who still floats in front of her.

ILSA KOTCH

For one as old as you, I hope your last words are profound.

Anastasia looks at something behind Ilsa.

ANASTASIA

You might want to turn around.

Anastasia then swiftly changes into a cloud of mist which rolls along the ground away. Ilsa turns around when she sees a jeep tumble across a road towards her then the wreckage goes right into her. Frank then appears from the direction the jeep came and runs towards Ilsa under the wrecked jeep. Ilsa then gestures and the jeep breaks apart and she lays on the ground. Frank leaps into the air and pulls back his fist as electricity surges in his hand. He then lands and delivers a powerful blow into her face. Ilsa then gestures again and Frank is flung up into the air and is sent flying through the sky away. Ilsa stands and seems aggravated.

ILSA KOTCH

We can be allies, this world can be ours.

Then a voice speaks of frame.

CLYDE TALBOT

Or the three of us can kick your ass lady, and I think we'll be going with that plan.

Ilsa looks to her side and sees Clyde approaching.

ILSA KOTCH

Why must we fight, we are all those things that once made people remember why they should fear the night.

CLYDE TALBOT

You might want to pass the word along, now those things in the night might want to be afraid; now that us three are here.

Clyde then looks up into the sky and sees the nearly full moon. He looks back at her.

ILSA KOTCH

The the weakest of you three thinks I'll be bested tonight.

Clyde then stomps each foot which makes the boots front flip open. Then he falls to his knees and places a hand on the ground, he looks at her as he breathes heavily. Ilsa watches as he transforms into the beast which looks like a wolf crossed with a man. Then the creature walks towards her on all fours and is snarling. Ilsa smiles.

ILSA KOTCH

Careful, I might have to correct you.

The creature then runs of away from her and vanishes into the night. Ilsa walks forwards.

ILSA KOTCH

Do you three think you'll win?

Then a voice speaks out from behind her.

ANASTASIA

Yes.

Ilsa turns around and sees Anastasia standing behind her. Anastasia has her sword readied, she does and slow sweeping kick and knocks Ilsa off her feet. As Ilsa falls, Anastasia quickly impales her with her sword and drives the blade into the ground. Ilsa gestures but Anastasia turns into a cloud of mist with float along the ground away. Ilsa then puts her hand on the swords handle and pulls it from her chest. She then walks down a road as wreckage spirals around the air over her, sword in hand.

ILSA KOTCH

I hope you can do better then that.

Then she hears the snarling of the creature behind her. She turns as sees the creature when it lunges at her, she gestures and the creature halts in midair and floats above the ground. Ilsa walks towards him.

ILSA KOTCH

I never had much use for old mongrels anyways.

The creature looks behind Ilsa then back at her. She looks over her shoulder when she sees Frank, now wielding the pole of a street lamp like a club. Ilsa turns to face him and the creature falls to the ground and starts growling at her. Frank then swings the pole and hits Ilsa and she is sent flying through the air and goes into the wreckage of a building. The creature walks towards Frank and Frank seems ready to strike it. But the creature just sits on the ground and lowers its head. The Anastasia appears and walks up behind them. She and Frank look at each other.

ANASTASIA

I am glad you are alive.

Frank nods and looks at the creature seeming concerned. Anastasia watches as the creature slowly walks towards her on all fours then sits in front of her. It lowers its head. Anastasia waits a moment then pats the creature on the head. The creature looks up at her and wags his tail.

ANASTASIA

Good boy.

Frank is watching her and the creature dumbfounded. Then the three of them watch as Ilsa emerges from the rubble of a home and then begins to fly up into the sky. She hovers in the air far above them as the wreckage of the town swirls in the air around her. The creature then snarls and runs towards a wrecked house. He leaps onto its roof then looks at the field of debris circling about in the air. The creature then leaps onto a large stone flying through the air, the creature then leaps from one piece of wreckage to another. Now its is atop a piece of wreckage right behind her. The creature leaps at her as it snarls. Then she turns and the creature clings onto her and begins to snap its jaws. She falls from the sky with the creature on top her her and hits the ground with the beast on top of her. The creature looks at talisman buried in her chest and clamps onto it with its jaws. Anastasia then runs towards them and also helps the creature to try and pull the talisman from her chest. Then Frank appears and takes the talisman in hand and tries to pull it free.

EXT.  OUTSIDE BREST  seconds later

In the distance is the village of Brest, now wreckage and debrief swirl in the sky over it. Then there is a bright flash of light and the wreckage plummets from the sky.

EXT.  VILLAGE OF BREST  SECONDS LATER

Ilsa lays on a road in the wreckage of the village and looks around as debris and objects rain down from the sky around her. She looks down at her chest to see the talisman gone.

ANASTASIA

Looking for this.

Ilsa looks ahead and sees Anastasia standing, the talisman in one hand, her sword near her feet. Frank stands beside her and the creature stands on all fours in front of her. Anastasia picks up her sword and returns it to its scabbard. Then the creature walks towards Ilsa on all fours as it snarls. Ilsa crawls away yet the creature slowly walks towards her.

ANASTASIA

Clyde, don't.

The creature stops snarling and lowers its head. Anastasia then walks towards Ilsa.

ILSA KOTCH

Why did you not let that beast kill me?

ANASTASIA

Because, the master you serve will probably do far worse to you then anything we could have done, especially when he learns you tried to steal his prize.

Then the creature starts whimpering and there is a sound in the distance. Anastasia, Frank and the creature look when they see several large tanks and many jeeps full men quickly drive across a grassy flatland towards the ruined village. Anastasia looks at Frank.

ANASTASIA

Our ship waiting to take us to England is not far, good luck.

Frank nods. Then Anastasia turns into a cloud of mist and it flies up into the sky and towards the horizon. Frank and the creature look at each other then both run swiftly off into the direction she went. Ilsa gets up when she hears the hammer of a pistol being pulled. A voice speaks from behind her.

COMMANDER SCHMIDT

I told you I would settle this Ilsa.

She turns when she sees the commander standing behind her, holding a pistol aimed at her head.

COMMANDER SCHMIDT

Just consider yourself lucky, at least our Fuhrer will not have to punish you personally.

EXT.  OUTSIDE BREST  SECONDS LATER

Frank and the creature run side by side away from the village. There is then the sound of a gunshot. Then tanks and jeeps appear and chase the two of them.

EXT.  coast of Germany  later

Later in the evening. In a land of flat grassy plains is the coast, a rocky shoreline which waves crash against. A large boat with a motor floats near the shoreline. Corporal Parry sits in the back of the boat in his uniform, another American private sits in the front. The corporal shakes his head.

CORPORAL PARRY

I liked the service back when it was normal. But no, I'm in Germany alone; waiting to pick up a vampire, a werewolf and a giant who looks like the guy from that movie.

Then he sees a cloud of mist in the sky float through the air towards him. Parry stands in the boat when the mist floats down beside him and takes the form of Anastasia who stands beside him in the boat. The corporal looks at her and seems afraid.

CORPORAL PARRY

Did the other two survive?

She looks off into the distance.

ANASTASIA

They will be along shortly.

EXT.  COAST OF GERMANY  later

Anastasia stands in the back of the boat as the corporal and the private sit in the front of the craft and look at her.

CORPORAL PARRY

OK, we followed our orders, we are going.

She looks at him.

ANASTASIA

I am not leaving without them.

CORPORAL PARRY

Lady, I am your Superior officer and I say we get going while the going's good.

Then her eyes glow fiercely red and she speaks in a deep, inhuman voice.

ANASTASIA

You will wait.

The corporal speaks like he is in a trance while the private looks at him.

CORPORAL PARRY

I am going to wait.

Anastasia looks towards the horizon when suddenly she hears the sounds of machine gun fire and explosions. Then she sees Frank and the creature run over the top of a hill in the distance, when they start running down the hill several tanks and jeeps appear at the top of the hill and chase them. Frank and the creature run towards the boat. Anastasia looks at the corporal.

ANASTASIA

You may disembark now.

CORPORAL PARRY

I will disembark now.

The corporal walks to the back of the boat still in a trance and starts the motor. Anastasia watches as the creature and Frank run across the field towards the boat. As the tanks fire, their are explosions to either side of them. The boat begins to drift away from the coast. When the creature and Frank reach the shoreline, they both leap into the air. Then they both land in the boat which shakes it about. Then the tanks and the jeep reach the shoreline. The boat sales out to sea.

EXT.  ocean  dawn

The boat sales through the choppy water of the ocean as the sun begins to rise above the Eastern horizon. Corporal Parry and the American private sit in the front of the boat and look at the back of the craft which is not revealed. Then we see Anastasia, Frank and the creature sitting in the back of the craft who all look at him.

ANASTASIA

Looking at something?

The corporal mutters under his breath.

CORPORAL PARRY

Why for the love of god did I not join the Navy.

The boat sales off towards the horizon.

EXT. FORT SUMTER  DAY

The army base sits under a clear blue sky.

INT.  INTERROGATION ROOM  SECONDS LATER

Clyde, Frank and Anastasia sit at the table in the interrogation room of the base. They all remain silent for awhile and seem to not want to talk. Then the door opens and General Shepard walks in a stands before them. They all look at the General.

GENERAL SHEPARD

I admit when I put this together, I never would have suspected you could pull it off. Our contacts in Berlin are reporting there is a talk about the mess you three made.

Clyde does not look at him.

CLYDE TALBOT

We did it. Now can we get what you promised.

GENERAL SHEPARD

Before we get to that, I have a proposal.

Anastasia looks at him.

ANASTASIA

What proposal?

GENERAL SHEPARD

You all will belong to a army squadron that will be top secret, and will only be deployed if America ever faces a similar threat again.

Clyde rolls his eyes.

CLYDE TALBOT

What about what you promised the three of us?

The General looks at Anastasia and Clyde.

GENERAL SHEPARD

Sorry, there is no cure for your conditions.

Clyde looks at Anastasia.

CLYDE TALBOT

We both knew that. So how are you going to get us to sign up for the rest of our unnatural lives.

GENERAL SHEPARD

We know what you are, and no one would mind you three being dwelt with; work with the army and we will look the other way. As long as you remain as members of the U.S. army.

Anastasia looks at Frank.

ANASTASIA

What about what you promised him?

The general frowns.

GENERAL SHEPARD

I was genuine about us making you a companion. Sorry, you creator seems to have left out in his diary of how he put you together before the machine was used. There was nothing we could do.

Frank breathes heavily then slams his fist down on the table and the table collapses. Frank then loudly speaks a single word as Clyde and Anastasia look at him.

frank

No!

The General says something as he walks out the door.

GENERAL SHEPARD

I will leave you three alone to consider becoming permanents members of the U.S. army.

Frank is breathing heavily as Anastasia looks at him.

ANASTASIA

I'm so sorry.

Clyde gets up and looks at them.

CLYDE TALBOT

Guess this is where we part ways.

She looks at him.

ANASTASIA

Why?

Clyde walks towards the door.

CLYDE TALBOT

Cause I'm about to get shot.

EXT.  hallway of base  seconds later

The general is walking down a hallway of the base as soldiers and officers walk past. He does not notice as Clyde walks up behind him.

CLYDE TALBOT

General.

When the general turns around, Clyde punches him in the face and the general falls onto his back and looks up at him. All the soldiers and officers look at him.

CLYDE TALBOT

I'm not angry for you lying to beautiful and me, we both knew there was no cure for our condition. She probably agreed to help you out because she knew this was serious. Me, I was born around the same time this country was and I'm proud to be an American, and when for some ungodly reason my country needed my help, I wanted to obliged.

GENERAL SHEPARD

So why strike me?

CLYDE TALBOT

Frank might look like a hideous giant, but you just broke his giant heart. That mute just said his first word, probably cause he realized just how alone he'll always be.

The General watches as Clyde walks away.

CLYDE TALBOT

I'll sign up, but next time, play it straight with us.

Then the general watches as Anastasia and Frank walk past him and follow Clyde.

ANASTASIA

We also accept, though we prefer of Colonel Parry where the one we have to deal with.

The general watches them walk away.

EXT.  fort Sumter  later

Later in the day. In a area of the base that has been paved over, the three of them stand and look at each other among army trucks. Clyde looks at Anastasia when she runs into his arms and they embrace and kiss as Frank looks away. Then they look at each other.

CLYDE TALBOT

I have to go home, back to New York.

ANASTASIA

I can't go with you.

CLYDE TALBOT

We both knew as soon as we fell for each other that we are both to scared to love again to run into this deal quickly. I'll be waiting for you, even if it is a million years.

They kiss again. Clyde then walks up to Frank and looks up at him.

CLYDE TALBOT

Frank, you are the best of the three of us. We and Ana kind of feel bad about how you must be feeling.

Frank looks at him and speaks in broken English.

FRANK

I will. Be. Fine.

Clyde and Anastasia look at him.

CLYDE TALBOT

You could talk this whole time?

Frank shakes his head.

frank

I just. Never. Knew what. To say.

CLYDE TALBOT

Sorry pal.

Frank looks at Anastasia then back at Clyde.

FRANK

But Clyde. Got his cure. Kind of.

Clyde looks at Anastasia.

CLYDE TALBOT

What is he talking about?

ANASTASIA

That beast you have been running from, it is not acting like a wolf.

CLYDE TALBOT

What is it acting like?

ANASTASIA

More like a dog.

CLYDE TALBOT

So what, is that thing going to start urinating on fire hydrants and chasing mailmen.

Frank looks at Anastasia.

FRANK

Anastasia. Maybe is the one. Who fixed Clyde.

Clyde looks up at Frank when Frank pats him on the head.

frank

Good. Boy.

Clyde rolls his eyes.

CLYDE TALBOT

I had that coming.

Clyde then starts the walk away.

CLYDE TALBOT

Guess we better keep the uniforms handy. We'll be seeing each other again.

Clyde stops and looks back at them.

CLYDE TALBOT

Anna, escort Frank home. He needs some kindness.

She looks at him.

ANASTASIA

I will miss you Clyde.

CLYDE TALBOT

Neither of us is going anywhere. And I'll tell you what you told me once.

ANASTASIA

And what is that?

CLYDE TALBOT

Go home. If only for a day.

Clyde the walks off as she and Frank watch. She looks up at him and pulls out the talisman from a pocket of her uniform. She hands it to him.

ANASTASIA

Something so profoundly evil would be well protected with one with so much good in him.

FRANK

Please. Call me. Frank.

She then watches Clyde walk away.

ANASTASIA

Tell me I'll see him again.

FRANK

You. Need Him. As much. As he. Needs you.

The two of them stand at each other side as Clyde walks out of sight.

EXT. NEW YORK CITY SIDEWALK  noon

It is a bright day in this region of the city. Men and women in period era clothing walk past as the young boy Jimmy waits for a customer. Then a man gets into the chair in front of Jimmy, who wears a white suit though his face is covered by a newspaper. Jimmy starts to shine his shoes.

JIMMY

I thought when you did not show up for two weeks to get your shoes shined you where dead Mr. Talbot.

CLYDE TALBOT

I have a life outside getting my shoes shined and ruining movies for people at the theater down the street.

JIMMY

I we going to do the usual script.

CLYDE TALBOT

Probably not. I met a woman Jimmy.

Jimmy looks up at Clyde who lowers the newspaper and grins. Jimmy shakes his head and shines Clyde's shoes.

JIMMY

She has my sympathy.

CLYDE TALBOT

Well she is one of those high society types, and to say she is old enough to be my mother is an understatement.

JIMMY

What is she doing with you?

CLYDE TALBOT

It is one of those meant to be deals.

Clyde then looks at his watch and gets up.

CLYDE TALBOT

I'll have to cut this short, the movie at the cinema is about to start.

Clyde then folds up the newspaper and walks away when Jimmy speaks up.

JIMMY

Back to ruining movies for people.

CLYDE TALBOT

I'll actually watch this one.

Clyde stops and looks over his shoulder at Jimmy.

CLYDE TALBOT

It is about some guy who goes to England and gets turned into a wolf man.

JIMMY

My dad says it is a scary movie.

Clyde reaches into a pocket and retrieves a coin. He then flips towards Jimmy but it bounces out of his hands and goes into a storm drain. Clyde shrugs.

CLYDE TALBOT

What can I say Jimmy, you got butter fingers. Its not my fault.

Jimmy watches as Clyde walks away.

INT. THEATER  later

Clyde sits in a darkened theater amongst a audience watching a film. A young couple beside him, Julie and Roger, hold each other.

roger

This is actually pretty scary.

Clyde looks at the couple.

Julie

This is more sad then scary.

ROGER

Why?

Julie

Its not his fault.

Clyde looks blankly at them for a moment then gets up and they look at them.

roger

Why are you leaving in the middle of the film.

Clyde speaks as he walks towards the aisle.

CLYDE TALBOT

I've already seen it.

Clyde walks out of the theater.

EXT.  NEW YORK STREET  later

Clyde walks down a sidewalk in New York, cars rumble past on the street and men and women walk past him and take no notice. Clyde then stops and looks at something. He waits a moment then grins.

CLYDE TALBOT

Maybe I should go back to doing what a love.

EXT. New York theater  night

Near Time Square amongst buildings is a small theater, a ramshackle building with a sign over the entrance that reads, "Julius Ceaser."

INT. inside theater  seconds later

A audience watches as Clyde and several other actors stand on stage in costumes. Clyde faces the audience.

CLYDE TALBOT

Friends. Romans. Countrymen. Lend me your ears.

EXT. NEW YORK THEATER  later

Later in the night. Clyde walks out from the theater in his suit when a young red headed woman in a dress, Vanessa, walks up behind him and stops him. He looks back at her.

CLYDE TALBOT

Can I help you?

Vanessa

You where great Mr. Talbot.

CLYDE TALBOT

Well, I've been acting a long time. The only role I never mastered was Brutus. Wish that critic could have seen the applause I got tonight.

VANESSA

You can't let one bad review prevent you from doing something you love.

CLYDE TALBOT

He had it in for me.

VANESSA

Why?

CLYDE TALBOT

He over heard me tell a friend that he had an ugly wife. Sure, they won't print my criticism of his ugly wife in the news.

Clyde walks away as Vanessa watches.

VANESSA

Would you like to get coffee sometime?

CLYDE TALBOT

I would, but there is someone I'm trying to be faithful to.

She watches him walk away into the night.

EXT. empire state building  night

The scene raises as the camera circles around the Empire State building at night, the lights of the city spread out all around it. Then we see the wolf like creature, in the black uniform, perched on top of the buildings apex and it just looks over the city. Then we see the Empire State Building in the distance as a full moon hangs over it. A deafening howl fills the night.

EXT.  SMALL VILLAGE   MORNING

The small village somewhere in Germany as the sun begins to rise in the east. The villagers walk along the streets and occasionally look towards the castle on the cliff in the distance solemnly then walk on.

EXT.  hill near village  later

Later in the day. A hill with large stones around it can be seen. Then there is the sound of stone breaking and a large stone appears and rolls down the hill.

EXT.  CASTLE  later

The ancient castle in the distance as the sun rises behind it. Then we can see Frank's vague silhouette in the distance as he pushes a large boulder towards the castle.

EXT.  castle  dusk

Later in the day. The castle looms in the distance as there is the sound of rock being chiseled.

EXT.  SMALL VILLAGE   night

The streets of the town are empty since it is late at night. Frank's darkened silhouette walks down a street towards town square, he is holding something massive.

EXT.  small village  dawn

All the villagers stand at a small courtyard in town square and are looking at something which is not revealed. One of the villagers, an older man named Edger, looks to the rest of the villagers.

edger

He is come home.

Now it is revealed that they all are looking at a statue carved out of stone, it is a statue of Frank.

EDGER

We must welcome back.

All the villagers nod.

EXT.  CASTLE  dusk

All the villagers stand at the door to the castle, Edger is at the front of the group. He waits a moment then knocks on the door. He listens as heavy footsteps approach from the other side. Then the door opens as Frank stands behind the door looking at the villagers.

edger

We knew you left. We feared you would never return.

Frank waits a moment then speaks.

frank.

This is. My home. I will never. Be. To far. Away.

All the villagers look at him in shock.

EDGER

You speak.

Frank nods. All the men of the group take their hats off and lower their heads.

EDGER

Again we apologize for the pain we caused you.

Frank waits a moment then speaks.

FRANK

I forgave. Long time. Ago. You not. Know. What you. Where. Doing.

EDGER

You will always be welcome here. And thank you for the statue.

FRANK

I made. That. To look. After. Village. When I'm. Gone. This is. Our home. We protect. Home together.

EDGER

Where did you go?

Frank waits a moment then speaks.

FRANK

I. Joined the. Army.

EDGER

I guess your strength can protect people far beyond our village giant.

FRANK

Please. Call me. Frank.

Frank waits a moment then closes the door. The villagers wait a moment then walk away.

EXT.  CASTLE  night

The scene flies over a forest towards the castle on the cliff in the distance. A raging storm fills the sky with bolts of lightning a thunder echoes across the land. Then the scene stops and we can see Frank, in his uniform, standing on the castles tower looking at the village. Then a colossal bolt of lightning shoots down from the sky behind him.

EXT.  Romanian village  dawn

Somewhere in Romania is an old village which seems misplaced for the twentieth century. Old homes sit along dirt streets. Anastasia, concealed by her cloak and hood, walks along a street. Then a middle aged man in cloth garments, Alexi, walks past her and she stops him.

ANASTASIA

Sorry, I am a stranger to these lands. Could you point me to your cemetery.

Alexi seems to look at her in silence then speaks.

Alexi

A mile to the east. But your accent tells me you are not a stranger.

Anastasia speaks as she walks away/

ANASTASIA

Thank you.

Alexi watches her walk away then whispers to himself.

ALEXI

She has returned.

EXT. village cemetery  later

Later in the day. Outside of the town is a large cemetery behind an iron fence. Inside are many tombstones, Anastasia looks down at two large tombstones and seems upset.

ANASTASIA

I vowed never to return to my home unless I found a cure. But I had to tell you. I have fallen in love with a another man.

Then her eyes begin to glisten.

ANASTASIA

At first he reminded me of that town fool you had banished for insulting you and who I secretly brought back to his home.

Then a single tear is shed from her eye.

ANASTASIA

Now he reminds me of that old mongrel dog I found and brought home, the one you forbid me to keep and who I hid in my stables. I'm sorry, but I love him more then I loved you. Perhaps I might be remember as a very kind baroness, who was unlucky enough to love a sometimes cruel baron.

She turns from the graves.

ANASTASIA

I'm afraid that I'm cursed, that this will only end like such things always end for me, end badly.

She looks at the graves again.

ANASTASIA

I'll always miss you, but for the first time in centuries I am feeling something close to happiness.

Then she walks away from the graves and speaks.

ANASTASIA

I just know something will never let me be happy.

She then walks out of the cemetery.

EXT.  VILLAGE IN ROMANIA  noon

Anastasia walks along a road looking at the ground. She stops and waits a moment and turns around. Many of the villagers stand in front of her and are silent.

ANASTASIA

May I help you with something?

Alexi is at the front of the group.

ALEXI

We have waited for over five centuries for your return.

ANASTASIA

I don't know what you are talking about.

ALEXI

Your knight, Sir Vlad, on his death bed he told your people of how you where damned and begged them not to fear you. Ever since, your people have waited for you to return.

ANASTASIA

I can't stay. And you are no longer my people, and really don't have a people anymore.

ALEXI

You are remembered well. Please, after you find what you are looking for, return to your lands so your people and repay you for the kindness you showed our ancestors.

Anastasia looks at them then nods.

ANASTASIA

When I am freed of my curse, I will return.

She walks away as the villagers watch.

ALEXI

We will wait even if it is another five hundred years.

The villagers watch as she walks away then vanishes.

EXT.  night sky  night

It is night as the scene moves forward from the night sky, clouds pass by underneath. Then a billowing cloud of mist rises up from the clouds and rises into the sky. Then the mist takes the form of Anastasia and she falls from the sky in her. There is a close up image showing her face, her hair is tussled by the wind and her eyes are closed. Then she falls and vanishes into the clouds.

end screen

The screen is black when part of the screen is filled by the image of the creature in the uniform perched on top of the Empire State Building with a full moon behind it. Another part of the screen is filled with Frank, in his uniform, standing on the castle tower as a bolt of lightning shoots down from the sky behind him. The last part of the screen is filled with the image of Anastasia falling from the night sky. Then the scene freezes.

Fade to black. Roll the credits.


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## Autodidact_33 (Mar 27, 2015)

Well, when you are an aspiring writer with little to no talent with to much free time; I got enough spam to keep Asia fed for the next thousand years.


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