Autodidact_33
Senior Member
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.
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.
