Frankenstein 1931              
               
Home Boris Karloff Mary Shelley The Novel The Films
               
TRANSCRIPT: I Was A Teenage Werewolf
by Aben Kandel (as Ralph Thornton)
               
Michael Landon Tony Rivers Hot-headed teenager
Yvonne Lime Arlene Logan His girlfriend
Whit Bissell Dr. Alfred Brandon Psycologist and mad scientist
Tony Marshall Jimmy Tony's friend and combatant
Dawn Richard Theresa Jimmy's girlfriend
Barney Phillips Detective Donovan Friendly cop
Ken Miller Vic Teenage friend and bongo player
Cindy Robbins Pearl Vic's girlfriend
Michael Rougas Frank Tony's friend and first victim
Robert Griffin Police Chief Baker Chief of police
Joseph Mell Dr. Hugo Wagner Dr. Brandon's assistant
Malcolm Atterbury Charles Rivers Tony's father
Eddie Marr Doyle Nosey newspaper reporter
Vladimir Sokoloff Pepi Police janitor
Louise Lewis Miss Ferguson Rockdale High principal
John Launer Bill Logan Arlene's father
Guy Williams Chris Stanley Policeman
Dorothy Crehan Mary Logan Arlene's mother

Late afternoon; closeup of Rockdale High School sign overhead; At the rear of the school, near the athletic field, a fight between two teenagers breaks out. Crowd of onlookers shouting. They circle the two teens fighting.

FRANK Come on Tony! Cut it out! Tony!
THERESA Come on Jimmy, hit him again. He’s been begging for it!
ARLENE Please, Tony.
JIMMY You got enough?
TONY How do you spell it?
ARLENE Oh, Tony ....

Tony grabs a spade and swings it wildly. He and Jimmy fight on after the spade is knocked out of Tony's hands. Tony throws dirt into Jimmy's eyes. Jimmy manages to trip Tony to the ground. Police arrive. Someone in crowd yells “Police” and the crowd disperses. The policemen manage to separate Tony and Jimmy.

DONOVAN What’s going on here?
TONY Do I have to draw you a diagram?
DONOVAN Tony, I know you can get fresh. Come on over here. (They walk over by the fence)

Donovan turns to the policeman who accompanied him.

DONOVAN Wait for me in the car Joe. All right, Jimmy. Go ahead, you tell me.
JIMMY Well, Sergeant Donovan, I don’t like to blow the whistle on a pal . . . .
TONY A pal yet.
JIMMY Well, you started it!
TONY Look, you started it! You slapped me on the shoulder!
JIMMY It was a friendly tap. I don’t know what you got so excited about!
TONY I don’t like that kind of friendship! I don’t like to be hit from behind by anybody, anytime! I don’t like to be touched!
JIMMY Okay! Okay! The way you jumped me, you’d think I’d tossed a brick at you! Right off, he challenged me. I tried to kibitz him out of it.
DONOVAN I’m beginning to get the picture.
JIMMY Yeah, and I even told him I was sorry. That’s right. I apologized. You can ask any of the guys.
DONOVAN Didn’t that satisfy him?
JIMMY No, he wanted to fight. I know I’m bigger than he is.
DONOVAN But he wanted to fight.
TONY Look, what are you? The referee or in his corner?
DONOVAN No, Tony. I’m really in your corner, if I can just get you to see it. Well, I guess you can pick up your marbles. I’ll try to low key this in the report. But what your principal wants to do, well that’s her business. (pauses) Now wait a minute. Before you go, I want to see you two fellows shake hands. Come on! Come on! It will look better in the report!
TONY Sure, a happy ending, huh?
JIMMY I’m sorry, Tony.
TONY Aww, I guess I lost my head. I burn easy.

Tony and Jimmy shake hands. Jimmy walks away. Tony straightens out his clothes and puts on his school jacket.

DONOVAN You know Tony, you really ought to smile more often.
TONY Sure, win friends and charm snakes, huh?
DONOVAN That’s just what I wanted to talk to you about. You’re suspicious of everybody. You act like the whole world’s your enemy, the way you flare up.
TONY Oh, people bug me.
DONOVAN That’s right, hide behind jive talk. People bug you! Well, people bug me too! But I don’t go around clouting everybody.
TONY Come on! Finish your beef will ya’?
DONOVAN All I know is you’ve been in trouble a half a dozen times. You don’t have any official record yet, but you’re sure working up to one.
TONY What do you got? A crystal ball, huh?
DONOVAN I’ve pulled you out of fights three times myself in the last month. You’re just lucky there weren’t any formal complaints. The time before this, in the supermarket.
TONY It was the checker’s mistake!
DONOVAN Yeah, but you didn’t even give him a chance to rectify it! Boom! You threw a carton of milk right at him. Look, Tony. I’m just trying to tell you you need help.
TONY What kind of help?
DONOVAN Well, there’s a prominent doctor, Doctor Brandon. He’s a consulting psychologist out at the aircraft plant. He’s been working with the police department without charge trying to help difficult kids adjust.
TONY What’s this adjust kick?
DONOVAN Polish off the rough edges. Adjust.
TONY Adjust to what?
DONOVAN To everything! Teachers, parents, other students. You know, some kids have a tougher time than others and it’s not necessarily their fault. Now this Doctor Brandon, well, he’s modern. He uses hypnosis.
TONY Oh, no. No! No head shrinker for me, thank you. You know, that’s all I need. That’s all I need! Tony, the flip. No sir, thank you. You keep the man in the white coat for the goofs. I can take care of myself.
DONOVAN The way you have up to now?
TONY The way I have.
DONOVAN Then you won’t let anybody help you?
TONY Not into a straight jacket I won’t. Look, uh, you holding me on any charge?
DONOVAN No.
TONY Then I can go?
DONOVAN Yeah, yeah, you can go. But this is the last warning, Tony. You get into trouble again, don’t expect it to be a breeze like this. I can’t let you off.
TONY Okay. I heard you.

Donovan leaves and Tony Rivers walks over to the bleachers, where his girlfriend Arlene Logan is waiting.

ARLENE Everything all right, Tony?
TONY Sure it is! (Tony says irritated)
ARLENE What did Officer Donovan say?
TONY I don’t want to talk about it! I’ve had enough yakity yak to last me til the end of the term. (pauses) Look, I’m sorry, Arlene. I say things, I do things, I don’t know why. I try to control them, it’s too late, I..I’ve gone too far. I don’t know . . . I . . .I . . . I get a certain feeling, I have to . . . I don’t know. I just don’t know.
ARLENE Tony, you must try.
TONY Yeah, I’ll try. But not Donovan’s way.
ARLENE What’s his way?
TONY He wants me to go to this ...this head shrinker, Doctor Brandon. Like I was a flip or something.
ARLENE Is that the way he said it?
TONY No, he sprinkled a little sugar on it. But I’m not having any, thank you.
ARLENE Oh, Tony . . . .
TONY Okay, okay, I’ll try. But my way. Come on. I’ll take you home.

Tony drives Arlene home in his car and then proceeds home. Tony's father, Charles Rivers, is gathering food for his lunchbox when his son enters.

TONY Hi, Dad.
CHARLES Hi. (looks at Tony's face) Who was it today?
TONY What’s the difference?
CHARLES Your principal called. Said it was your fault.
TONY Why does she bother you?
CHARLES ‘Cause I’m your father. She said I’m supposed to discipline you. I told her at home you never needed discipline. Not even when your mother was alive.
TONY I don’t know why she has to drag you into it.
CHARLES Look, boy, you miss the point.
TONY Well if you know, tell me.
CHARLES Sometimes you just have to do things the way people want ‘em done. That makes them happy and they leave you alone. I used to have a foreman like that. Everytime I assembled a motor my way, he beefed. But when I assembled it his way . . . .
TONY Dad, I don’t like to be pushed around!
CHARLES Tony, sometimes you just have to do it the other fellow’s way. Well, I gotta’ be going. Sorry I can’t eat with you. Night shift again. Oh, there’s a couple of lamb chops in the ice box. I seasoned ‘em the way you like. Just set ‘em in the pan.
TONY Dad, I can cook a chop.
CHARLES And be sure you cook ‘em. Don’t eat ‘em raw like you did the hamburger yesterday. Tony, think over what I said, would ya’? I mean about not being so stubborn? Just might make things a lot easier all around.
TONY Okay, Dad.

Tony's father leaves. Tony takes milk and chops out of refrigerator, kicks the door closed gently, pauses, throws milk bottle in anger. Cut to Arlene’s house at night. Tony honks horn outside. Arlene is on the phone. (Her folks, Bill and Mary Logan are also in the living room)

ARLENE (On the phone) I gotta’ go! Bye. (hangs up) It’s Tony and he’s not even late.
MARY Maybe you’re beginning to train him.
BILL That’s no way to call for a date. When I courted your mother . . .
ARLENE Things were different then.
BILL I still want my daughter treated with respect.
MARY Your father’s right, Arlene. Listen to him.
ARLENE Oh, Dad. It’s got nothing to do with respect. That’s the way all the kids do it.
MARY But I still can’t understand why you only date him. Oh, not that I have anything specific against Tony. But there’s Steve Harmon, the druggist’s son and there’s Willie Blake, and there’s . . .
ARLENE Oh look Mother, I date Tony because I like him. In fact, I like him a lot.
BILL Then you just ask him to come in, Arlene.
MARY Go ahead. We won’t bite him.
ARLENE Oh, All right. (Goes to door.) Tony? Would you come in for a minute?

Tony walks in the front door.

TONY Hi.
ARLENE Hi.
TONY Good evening.
MARY Hello.
TONY Hi.
BILL Tony. I like things formal once in a while. We just wanted to look at you before you take our daughter out to a party. You don’t have any objections?
TONY No, I don’t.
BILL Then why don’t you call for her properly? In her home...
ARLENE Now, Dad.
BILL No, no, no. A little man to man talk won’t hurt anybody.
TONY Well, I would, only you don’t look to pleased. No, really. You know, sometimes when I walk in that door, I think you are going to swat me with a baseball bat or something.
MARY Oh, I’m sure that’s just your imagination.
BILL It must be. Unless you feel guilty about something.
ARLENE Now, Dad. You promised.
BILL Just the same. The parents of a young girl and especially a pretty one like Arlene like to feel proud of the young man that takes her out. A young man who keeps busy with the right kind of things.
TONY Like sprinkle a lawn, take out a paper route, haul boxes in the market?
BILL Where’s the opener, Mary?
MARY On the sink, dear. Any job. That keeps a teenager out of mischief and builds a good reputation.
TONY Yeah, like our bank cashier, you know, the one that’s missing? The guy that ran off and lost it all at the track?
BILL Now being a smart aleck won’t do it. You’ve got to bow to authority.
TONY Everybody’s on my back today.
ARLENE Oh, Daddy, it’s Halloween and we’ll have to go.
MARY Yes, we don’t want them to miss any fun.
BILL Okay, okay. I’ve said my piece.
TONY Of one thing you can be sure of, Mr. Logan. At least I’ll protect your daughter.
BILL All right, kids. Have a good time. Remember now, I want you home by twelve. No excuses, now. Twelve.
MARY You heard what Dad said. Not after midnight.

Tony and Arlene go to his car.

TONY Hey, what got into your Dad?
ARLENE He heard about the fight.
TONY So? It’s over.
ARLENE But I heard more.
TONY More?
ARLENE Oh, Tony don’t flare up. And please, let me say it through once. I...I asked about this Doctor Brandon. Now if he could really help you it would be wonderful for both of us. And it would make things easier, both at school and here at home. Don’t forget about the four years of waiting. College and all. Please, Tony?
TONY Arlene, get this straight and get it final. I’m not going to any doctor like Doctor Brandon.
ARLENE Not even if you have to?
TONY But I don’t have to! Now come on, forget it.


Cut to party at the old abandoned "haunted house." Tony and Arlene arrive. Teenagers are dancing to music and Vic is playing the bongos. A few teenagers are making out. Tony takes Arlene's coat off.

TONY Frank, how are you?
FRANK Hey, what do you say, Tony?
PEARL Hi.
VIC Tony, hey, Tony hear this? Hear this.
PEARL I thought this was going to be a costume party.
TONY Hey, man, you really got those things trained.
VIC I slap ‘em silly, boy.
PEARL Vic? If you’re going to play the bongos all night, who am I going to dance with?
VIC Latch on to Frank, he’s got no date.
PEARL But I came with you.
VIC Look, how square can you get? You came with me so you dance with him.
PEARL Doesn’t make sense.
VIC I’ll clarify it for you. Hey, Frank!
FRANK You want me?
VIC Be my guest. (Nudges Pearl toward Frank.)
JIMMY Boy, this sure beats the youth center.
THERESA Supervised entertainment, 8 to 10.
JIMMY Square dances and waltzes and a cigarette is a crime.
THERESA Oh,.....
JIMMY Scooby doo!
TEENAGE GIRL Well! (Slaps her date's face.)
TEENAGER What’d I do? What’d I do?
VIC Either too much or too little.
PEARL You know, I thought this was going to be a costume party.
JIMMY Boy this pad sure is crazy.
FRANK And don’t forget it was Tony who found it. And got permission to use it.
PEARL But is it really haunted?
VIC Boo!
PEARL Oh! Stop scaring me!
VIC Is this a haunted house? Do I have to call all the signals for you?
PEARL Well you don’t have to scare me to death. Sometimes I wonder why I date you.
VIC Because you dig me and I dig you.
PEARL You know, Vic, sometimes I don’t understand you at all.
VIC The understatement of the year.
TEENAGER Hear this! Hear this! Vic’s going to sing this new crazy record for us, right now.

Vic jumps up on platform to sing his song.

"Eeny Meeny Miney Mo,
I want a gal with a lot of dough.
When I find her we’re gonna’swing
Up to the preacher with a wedding ring.
Tell me where she is ‘cause I don’t know.
So Eeny Meeny Miney Mo.

I’ve been looking all over town,
But so far she ain’t been around.
Someday I’ll meet her and then I’ll say,
Shoobie Doobie baby, we’re on our way.
Hurry up now and follow me,
But don’t forget to bring your dough, re, mi.

Pearl and Vic do a dance routine.

Any time you’re feeling sad or blue,
You just call me baby, and I’ll run to you.
But if you ever leave me, you’re gonna pay,
Fifty dollars alimony everyday.
So I’ll be your husband this day on,
But only till your money’s gone.

Rich girls sure are hard to find,
But I’ll keep a lookin’ till I lose my mind.
She’s bound to show up eventually,
Then I’ll be rollin’ in security.
But where she’s hidin’ I don’t know.
So Eeny, Meeny, Miney, Mo.
Crowd sings along : Eeny, Meeny, Miney, Mo... Eeny, Meey, Miney...MO!"


Clapping and congratulations to Vic. Tony whispers something in Jimmy's ear.

JIMMY Hey, Pearl. We’ve got a nice present for Vic in that closet. You know he’s always the life of the party. Knocks himself out to entertain us. Well, the kids got together to get him this present. Go on, you give it to him. You’re his girl.
PEARL Oh, I’d be glad to!
Pearl opens door. Boy with knife in his back falls to the floor. Pearl and the other girls scream.
PEARL Some joke. Maybe you think it’s funny. But I don’t! And anyway, why does everybody pick on me?
VIC You’re right, baby. And from now on, anybody picks on you’s gonna’ have to fight me. Now for that, I’ll collect a kiss in advance.
(Vic is wearing a scary mask.)
PEARL Screams
ARLENE Oh, Tony. I’ll bet you had a lot to do with all this.
TONY Me?
ARLENE Yes, you.
THERESA And I’ll bet you’re not so innocent either.
JIMMY Why do they always pick on us?
TONY It isn’t fair.
JIMMY I’ll say it isn’t. Just when I was gonna’ give her a nice present.
TONY That’s women for you. No appreciation.
THERESA What present?
JIMMY This one.
THERESA Oh, ......oh, candy!
ARLENE I wonder what it is.
THERESA How sweet.

Theresa opens box and fake snakes spring out, girls scream and there is laughter.

TONY Hey, Arlene, hold it. I want to see Vic a minute. Hey, Vic! Can you play the big drums like you do the bongos?
VIC Just lead me to ‘em! Can I play the big drums? Better than the bongos!
TONY Great man! They’re in there. And give me a real long blast will you?
VIC Sure, sure.

Vic opens door and water falls from a pail above and drenches him. There is more laughter and screams.

VIC Thanks. I believe in sharing.
JIMMY All right now, okay, lets have some food. Okay? Come on gang, let’s eat. At least there are no gags in the food.
THERESA The party’s really percolating.
ARLENE I’ve never had so much fun.


Vic sneaks up on Tony and blows a horn in Tony’s ear. Tony instinctively punches Vic, who ends up on a nearby couch; Tony punches Vic twice more and when Arlene gets in the way, knocks her down. Tony stops when he realizes what he has done. Everyone stares at him.

Cut to Doctor Brandon’s office where he is taking Tony’s blood pressure.

DR BRANDON Everything normal, my boy. Physical examination is a formality, but a necessary one. Before we enter the mind, we must know the condition of the body. Tony, you’re a perfectly normal human being. There’s no reason in the world why you can’t have a full, wonderful life.
If, ......
TONY Yeah, if. If I adjust, huh, Doc?
DR BRANDON It’s the “if” we’re going to work on, son. We’ll work on it together. Okay, Tony?
TONY You’re the doctor. That’s why I’m here.
DR BRANDON All right, Doctor Wagner. Tony, will you just sit down over here? Thank you.
TONY What is it?
DR BRANDON Just a mild seditive.
TONY It, uh, won’t make me dopey or anything will it? I have to drive home.
DR BRANDON No, it’s simply to relax you. Drink it down. I’ll be back in a minute.

Goes to lab in the back room where Dr. Wagner is working.

DR BRANDON Hugo, prepare the scapolomine.

Dr. Brandon goes over to a small, locked refrigerator and removes a small container. He opens it and takes out the serum and mixes it with the scapolomine.

WAGNER What are you doing?
DR BRANDON I’m going to mix the serum with the scapolomine.
WAGNER Alfred, do you realize the possible consequences?
DR BRANDON I realize one thing. That at last after years of searching, I’ve found a suitable person for my experiment. His record at school, what the school principal told me, and what I learned from Detective Sergeant Donovan, gives him the proper disturbed emotional background I need. And with what I’ve found out from the physical examination, this boy is my perfect subject. There were certain tell tale marks on his body only I would recognize.
WAGNER But you know what might happen.
DR BRANDON Might? In science, one must be sure. I’m going to take this out of the realm of possibilities and into the world of exact science. If I’m sucessful, then I can be certain.
WAGNER But you’re sacificing a human life.
DR BRANDON Do you cry over a guinea pig? This boy is a free police case. We are probably saving him from the gas chamber.
WAGNER But he’s so young and the transformation horrible.
DR BRANDON You call yourself a scientist. That’s why you’ve never been more than an assistant. But if you interfere,
if you say one word . . .
WAGNER No, no, no, Alfred. You can trust me.
DR BRANDON Yes, I know that. You’ve been more than an assistant on other occasions. Accomplice would be a better word.
WAGNER What is the plan?
DR BRANDON Through hypnosis, I’m going to regress this boy back. Back into the primitive past that lurks within him. I’m going to transform him. And unleash the savage instincts that lie hidden within.
WAGNER And then?
DR BRANDON Then I’ll be judged a benefactor. Mankind is on the verge of destroying itself. The only hope for the human race is to hurl it back into its primitive dawn, to start all over again. What’s one life compared to such a triumph?

Brandon goes back to his office where Tony is lying on a couch.

DR BRANDON Now you’ll only feel a scratch, believe me.
(injects a needle into Tony's arm). This makes the hypnosis more comfortable and prepares the way for analysis. (turns to Dr. Wagner) Now remember, I don’t want to be disturbed. (Wagner leaves the room).
DR BRANDON Tony, you must think of this as a trip, a sort of voyage of discovery. On the way, we’ll find out many fascinating things about you. And in the end, you will no longer be disturbed or troubled because you will be . . . you. You’ve placed yourself in my hands. I’m the pilot, you the passenger. But instead of going forward into space, we’re going backwards in time. Begin at 100 and count backwards; we’ll start together.
(Brandon says the number and Tony repeats it)
"100, 99, 98,"....(camera fade)... "73, 72."
DR BRANDON Quickly, tell me, where are you?
TONY On a beach.
DR BRANDON How old are you?
TONY Twelve, I think.
DR BRANDON Go on.
TONY I’m playing with some kids. One of the older boys tries to take one of our toys. He grabs it and runs away.
DR BRANDON And what do you do?
TONY I run after him. I jump him. I scratch him, choke him. He’s older than I am, but he begins to cry. Some people gather around us, uh....
DR BRANDON That will be all for today. You may wake up. Wake up!
You okay, Tony? I’ll see you day after tomorrow at the same time. Don’t worry, my boy. Soon you’ll be yourself, your true self.

Cut to next appointment at Dr Brandon’s office. The count resumes with "15, 14, 13, 12, 11"...)

DR BRANDON Where are you now, Tony? Where are you?
TONY Very small.
DR BRANDON Tell me what you are doing.
TONY I don’t know . . .
They count down to one.
DR BRANDON Now where are you, Tony? Concentrate. Where are you now?
TONY I don’t know. I don’t know. It’s dark. Cold.
DR BRANDON Where? Where?
TONY You, tell me? Please, tell me?
DR BRANDON I’ll help you because I’m your friend. It will all become clear to you.
TONY Tell me, tell me, tell me....
DR BRANDON Remember how it felt to run over the hills in the moonlight? To hide by the stream, to wait in silence until . . .
TONY No...no...
DR BRANDON Remember how wonderful it was when you sprang suddenly, dug in with your fangs, a soft throat, the gush of warm blood?
TONY No! NO!
DR BRANDON Yes, I want you to remember. You must remember!
Tony stares, frightened, into the distance.


Cut to the teenage hangout, Vic is playing the bongos.

JIMMY You know Vic, you’re good enough to sign up with a band.
PEARL He’s had lots of offers.
VIC Oh, get off my back will ya’?
PEARL Isn’t that what you told me?
FRANK Tony, you can tell me to shut up if you want, but you’re not with it tonight.
TONY No, I’m not.
FRANK Like you’re not yourself.
TONY Guess I’m not myself. I think I’ll take Arlene home.

Tony walks over to Arlene carrying her coat with him.

TONY Come on, honey. Let’s cut out.
JIMMY (walks over to Theresa) That’s right. I promised your folks I’d have you home by midnight.
TONY Give you a lift, Frank?
FRANK And interfere with you love birds? No, thanks.
TONY Everybody else is pairing up. How’re you gonna’ get home?
FRANK How will I get home? I'll get home on my feet... I’ll walk. I’ll take that short cut through the woods. Brings me right out by the power works.
TONY Okay.
THERESA Why don’t you two join us at Ruby’s Drive-In?
TONY No, we’re going right home.
JIMMY Go on, Tony. We’ll lock up.
THERESA Oh, so you’ve joined the exclusive set?
TONY No. You just talk too much, that’s all. I’m for peace and quiet.
ARLENE Oh, Come on, Tony. Let’s go.

Tony, Frank and Arlene go outside the hangout. It’s dark.

FRANK Good night, Arlene. See you tomorrow, Tony.
Frank starts walking. Cut to Tony and Arlene pulling up in front of her house in the car.
ARLENE Don’t forget math first thing in the morning, early.
TONY Sure, I’ll sack in right away.


Arlene gets out of Tony's car and Tony drives away. Arlene looks toward Tony as he drives off.
Cut to Frank walking in dark woods, whistling. Hears someone or something following him.

FRANK Hello? (bird noises) Who’s there?!
Runs, falls down. Who’s there?!! Runs scared through woods, looking right and left. Is cornered, and screams "No! No! Get away, GET AWAY!!!" as scene cuts away to police station the next day.

MAN IN SUIT Here are the photos, Chris.
CHRIS Thanks. Carries prints to the chief.
BAKER These the official pictures?
CHRIS Yes, Chief.
BAKER Strange. Who found the body?
DONOVAN Art Logan, the auditor out at the power works. Takes that short cut through the woods every morning. Says it’s the only exercise he gets.
BAKER Um humm. Any idea how long the boy has been dead?
DONOVAN No. Maybe the PM will show. The coroner has the body.
BAKER Strange. A slash on each side of his throat. Got any ideas?
DONOVAN No. The boy had no enemies.
CHRIS There weren’t any gang fights in Rockdale.
BAKER Are there any bruises . . . scratches on his face? Clothing ripped off?
DONOVAN No.
BAKER Well then, how was the boy killed? Got any theories?
DONOVAN Not a shiv.
CHRIS Not hands.
BAKER Teeth?
DONOVAN Fangs.
BAKER Fangs? There are no wild animals around here.
CHRIS I’ve walked these woods since I was knee high to a duck. I’ve never seen any thing wilder than a tom cat.
DONOVAN I know. That’s what makes it so hard to believe. But I still say fangs.
BAKER Maybe if the boy had a chance to fight, his fingernails will show something.
DONOVAN Let’s hope so.
BAKER In the meantime, let’s keep the lid clamped down on this until the official reports come through. Maybe even after that. Whatever it is, we’ve got to be sure.
DONOVAN I’ve told Art Logan not to say a word.
BAKER Good. Keep these locked in our files.
CHRIS Yes, Chief.
BAKER Just one rumor about fangs and the newspapers will have a field day. Not just the local papers, but reporters from all over the
country will have on the spot coverage, photographers . . . They’ll have a field day all right. But here in Rockdale, we’ll have a panic.
DONOVAN Yeah, I know. But I’m more worried about the teenagers at the school.
BAKER And check the surrounding towns. See if a carnival, circus or county fair has been setting up their tents. Also, see if anybody has a private menagerie. Maybe a big cat got loose some way. If I were you, I’d talk to the farmers in the surrounding areas. Sometimes they keep a wild dog for protection. What ever it is, we’ve got to be sure. Facts first. And don’t encourage any rumors.
DONOVAN Right.
BAKER Well, now I’ve got to go and see the mayor.


Cut to shot showing Chris at a desk and a hallway. Pepi, the janitor, is in the hall.

DONOVAN Hi, Pepi. I’m going down to the lab. You’d better get those pictures locked up in the file. (hands the official photos to Chris and leaves.)
CHRIS Pepi, how are you?
PEPI Oh, Chris. Do you mind if I take a look at that picture?
CHRIS You knew the boy?
PEPI Once in a while I played pinochle with his father. Very small stakes. Yes, I knew the boy. But perhaps I have a better reason. Let me see the picture.
CHRIS You’re not to say anything about this to anyone. Understand?
PEPI It’s going on twelve years that I’m working here. Have I ever said a word?

Pepi looks at the picture.

CHRIS What’s the matter? You see something we missed?
PEPI That poor boy. Poor boy.
CHRIS Pepi, I don’t blame you for being upset. Imagine how his family feels.
PEPI I know what killed him.
CHRIS You do?
PEPI He was killed by a .... by a werewolf.
CHRIS A what!?
PEPI In the old country, in my little village, in the Carpathian mountains, there was a story passed down from generation to generation. Some say it was a legend, but I know it was the truth. I’ll tell you what werewolf is. It’s a human being possessed by a wolf. When the evil eye is on you, the savage beast somehow gets inside and controls you.
Makes you look and act like a wolf. Makes you hunt down your victim and kill it like a wolf. Yes, kill you with fangs, like a wolf.
CHRIS Why, you’re crazy. You’d better not let anyone hear you talk like that, Pepi. You’ll wind up in a booby hatch. Werewolf. Come on!
PEPI Yes, that’s what I said the first time it was told to me. But later, what I saw, what I heard, convinced me.
CHRIS I’m gonna’ put these away and lock the file. You just forget I ever showed ‘em to you.
PEPI Yes, I will be glad to forget this. If I can.


Cut to teenage group looking at a newspaper.

ARLENE Oh, how awful.
THERESA Poor Frank.


Cut to paper in Dr Brandon’s hands in his office.

DR BRANDON Well, hello Tony my boy. Come on in. You’re a little early, but welcome.
TONY Thanks, Dr. Brandon. Well, the reason I came early is . . .
DR BRANDON You don’t have to tell me why. Let me be the one to interpret the symptoms. After all, you have placed yourself in my hands, so to speak. Tony, punctuality is a phase of adjustment. Sometimes a patient leans backward to be prompt, comes in even before his appointment. Is that clear?
TONY No, Doctor. That’s not why I’m here. I wanted to tell you about something that...
DR BRANDON Now you don’t have to tell me now. I’ll hear it all under hypnosis. I’ll get the injection ready.

Dr Brandon goes to the back room.

DR BRANDON Is the scapolomine ready?
WAGNER Yes. Alfred, you read the paper. You know what happened.
DR BRANDON There’s a difference between a newspaper story and a scientific report. I have to be sure. Even in a minor experiment, you know how many guinea pigs are used up before the trail blazer’s ready to announce a new discovery to the scientific world? Surely you know how skeptical scientists are. Indeed, have to be.
WAGNER But you realize the consequences?
DR BRANDON I realize that I have an old woman for an assistant.
WAGNER If you mean I have a heart, I don’t consider that an insult.
DR BRANDON I mean that you are standing in the way of progress.
WAGNER Progress? You call it progress to hurl back the human race to its savage beginnings?
DR BRANDON It may prove to be the only road to progress.

Brandon goes back to the room where Tony is waiting

DR BRANDON Go ahead, my boy.
TONY Dr. Brandon, there's something I have to tell you. I . . . I don’t know if it really happened. It’s more like a nightmare. I ....I..
DR BRANDON Now, Tony. Very often in psychotherapy, strange things seem to happen. Sometimes when we light up the dark corners of the human mind . . .
TONY Doctor! Doctor, please help me!
DR BRANDON Then do exactly as I say. All I can tell you is your progress is excellent. I’ve even told the principal of your school that. Yes. I’m extremely pleased at the progress you’ve been making. And soon, Tony, very soon, you’ll be your true self again. Come on.

Cut to syringe approaching Tony’s arm. Cut to the police department wall map.

BAKER Now this is a map of the area. We’ll start with the abandoned house.
DONOVAN Teenagers call it the haunted house.
BAKER You’ve questioned them?
DONOVAN Yeah, just informally. They had a party after the football game and went home. They all drove, except Frank who walked through the woods.
BAKER How about his parents?
DONOVAN His mother’s in a state of shock. His father wants to know just one thing. “What are the police doing about this?”
BAKER Well, that’s it. They’ll all be down on us unless we find the killer.

Phone rings.

BAKER Chief Baker. Oh....... (Hands the phone to Detective Donovan)
DONOVAN Donovan. Yeah. Okay, thanks. Picked up a couple of vagrants out at the freight yard.
BAKER Well, go ahead. I’ll be right in.
CHRIS Well, I checked the neighboring towns. There aren’t any circuses, carnivals, or county fairs. If they come at all, they come in the spring.
BAKER How about farms?
CHRIS I checked those too. They’re mostly truck. Very little livestock. A few pigs, penned up , some horses. There’s a mink farm about three miles north of here. But they’re all baby minks. First thing they do is cut off their teeth.
BAKER Oh oh, that’s no good. Everything seems to lead to a dead end.


Cut to school gym. Theresa is working on the parallel bars with her teacher looking on.

MRS DAUPHIN Very good, Theresa. Your form is improving.
THERESA Thank you, Mrs. Dauphin.
MRS DAUPHIN But I must repeat, we’re judged on points and Linwood High has won the gymnastic events three years in a row.
THERESA Oh, I certainly hope we win this time.
MRS DAUPHIN So do I. Have you had enough for today? I’ve got to go.
THERESA Oh, gee. I’d like to practice about another half hour.
MRS DAUPHIN Well you don’t need me. Just remember the other pointers I gave you. I’ve got some shopping to do.
THERESA You go right ahead. Anyway, you make me very self conscious breathing down my neck all the time and picking on all my mistakes. I just want to try it a few more times.
MRS DAUPHIN That’s the spirit. Good night.


Cut to principal’s office. Tony is waiting outside on a bench.

MISS FERGUSON Will you come in, Tony? I hope you didn’t mind waiting? I had some reports to finish.
TONY Well, uh, you wanted to see me?
MISS FERGUSON Yes, I wanted to have a little chat with you. And for heaven’s sakes, Tony, don’t look so glum or so suspicious. For once we meet on a friendlier basis.
TONY Oh, You’re not going to chew me out then?
MISS FERGUSON As you say, I’m not going to chew you out. Sit down, Tony.
TONY Thank you.
MISS FERGUSON I have a report here from Dr. Brandon. Naturally, all this is kept strictly confidential. It’s a report of progress which I am happy to confirm.
TONY You mean he says I’m adjusting.
MISS FERGUSON Very much so. Your grades are about the same, but then your grades were always high. However, your conduct is very much improved. Tony, you’re coming along just fine.
TONY Thanks. I’m glad.
MISS FERGUSON And as a reward, I want you to know that if you continue this way, you’ll earn an honor certificate. Yes, Tony. I’ll recommend you to the state college. Your grades will be high and your deportment will match.
TONY This means so much to me, Miss Ferguson.
MISS FERGUSON So far, every pupil I’ve recommended has reflected great credit on Rockdale High. And I know you will. So keep it up till graduation. Then you’ll be off to your real career.
TONY Thanks a lot.
MISS FERGUSON I always knew that if somehow we could just break through to you, I mean, really get inside of you, you’d be a credit to your father and to your school.
TONY Thank you.
MISS FERGUSON You’re welcome. Dismissed.

Tony leaves, walks down the school hallway with lockers on both side, banging his hand on one or two of them and stops at the gym door. Looks in. Theresa is still working out. Tony wanders into the gym and stops between the school bell and a fire extinguisher, where he watches Theresa work out. School bell goes off right beside him. Tony is startled. Transforms. Theresa sees him upside down from the parallel bars and screams. Tony-Werewolf chases her around the gym, trips over some folded chairs, rises. Theresa runs to the back door...it is locked...she trips trying to get away from him near the piano; she is unable to escape. Tony-werewolf hits the piano keys and then knocks over the wooden dividers as he corners her. Miss Ferguson comes in. Many screams. Other kids come running. Tony-Werewolf rises from Theresa’s body, growls, runs past the incoming teenagers and Miss Ferguson, knocking a few kids aside and flees through the school yard, climbs the fence and runs into the woods nearby.

MISS FERGUSON Did you see him?
JIMMY Yes, I saw.
MISS FERGUSON Did you recognize him? I’ll call the police....I’ll call the police!

Cut to attendants carrying out Theresa’s shrouded body.

DONOVAN Miss Ferguson, I...I know this is difficult, but anything you can do to help us . . . .
MISS FERGUSON He, . . . it came running out of the gymnasium. I recognized the jacket, the trousers.
DONOVAN They were the same?
MISS FERGUSON The same. But the face, the eyes, the hands like claws . . .


Cut to interview with Jimmy.

JIMMY I never saw anything like it before.
DONOVAN But you recognized him?
JIMMY It was Tony all right. It was his jacket.
DONOVAN Anybody chase him?
JIMMY No, it all happened too fast. Besides, we were paralyzed, man, just too paralyzed.
DONOVAN And then he disappeared?
JIMMY Yeah, like an animal. He jumped the fence and ran for the fields.


Cut to Tony-Werewolf running through the woods.

Cut to police department. Baker is meeting with reporters.


BAKER The whole area has been blocked off. An all points bulletin has gone out. There is no way he can possibly escape.
DOYLE He?
BAKER Well, he, it, call it what you will.
DOYLE Seems to me werewolf would be more appropriate.
BAKER Very well then. I realize it makes a better story. Werewolf.
DOYLE In the meantime, what protection are you giving the people, especially the teenagers?
BAKER The very best we possibly can. The parents have been warned to keep their children at home. Theaters, recreation halls, bowling alleys have all been shut down.
DOYLE What about the werewolf?
BAKER A posse has been formed. They’re going to start right away.
DOYLE But in the meantime the werewolf is at large.
BAKER But not for long.
DOYLE You hope. You’ll find this is different than tracking down the ordinary criminal. You’re dealing with the cunning, the ruthlessness of something that is supernatural.
BAKER Oh, come, now. Let’s don’t add to the panic that already exists.
DOYLE The people are entitled to know everything and my paper’s going to see that they get it. Maybe if you hadn’t kept the first murder so secret . . .
BAKER Don’t try to place the blame for this! We did everything that was reasonable in the interest of public protection and safety.
DOYLE All right. May we see the official pictures?
BAKER No, they are locked in our files.
DOYLE You can’t keep this a secret, Chief! The second murder has blown the lid off. A TV truck is on its way out right now. Teenagers are going to be interviewed. Parents. Teachers. A psychologist was involved too, wasn’t he?
BAKER You can’t pry into that. Just what are you trying to do? Add to the grief of the families already involved?
DOYLE Don’t make this a personal issue, Chief Baker. You have your work cut out, we have ours.
BAKER In that case, gentlemen,, you’ll understand that we are ....very busy.
DOYLE Well, there is one thing you can be sure of, we will be with you every step of the hunt from now on.
BAKER Oh, I’m sure of that, Mr. Doyle.
(The reporters leave.)

Cut to Doctor Brandon’s office.

DONOVAN Doctor, what’s your opinion?
DR BRANDON I’m sorry, Sergeant. But I can’t be swayed by mass hysteria.
DONOVAN But there were eyewitnesses who swear they saw him.
DR BRANDON Hallucinations. I’d have to see this so called ...”beast” with my own eyes. After all, a scientist needs a platform of concrete facts before venturing an opinion. And overwhelming proof before stating a conclusion.
DONOVAN Doctor, this is hardly the time for a lecture. You had Tony under your professional care. You were with him time and again. You were supposed to help him.
DR BRANDON As far as I know, I did. His behavior after I took the case proves that.
DONOVAN Did you come across any hint, a clue? Did he reveal anything?
DR BRANDON I keep careful case histories of all my patients, but I don’t need to tell you that’s a matter of strict confidence between doctor and patient.
DONOVAN Yes, I’m aware of that. However, we hoped you’d cooperate, help us.
DR BRANDON Don’t you think you’re wasting a lot of valuable time interrogating me? After all, your duty is to try and find this, uh, ....this young man.
DONOVAN Why do you shy away from the word? Everyone’s using it. Werewolf.
DR BRANDON I do not subscribe to old wives’ tales. It’s my belief that these legends or myths passed out with the invention of electricity. After all, this is America, modern America, not a hamlet in the Carpathian mountains.
DONOVAN What do the Carpathian mountains have to do with us?
DR BRANDON That’s where the legend was born. The people there believe in werewolves. When the shadows of night creep over their gloomy hills and the hungry dogs howl in the moonlight, the peasants cross themselves and hide in their huts. Any canine they see with sharp, white teeth and glittering eyes, they call a werewolf.
DONOVAN Doctor, you seem to know a great deal about these myths.
DR BRANDON I amuse myself with fantasy. I live by facts.


Cut to darkened police department. Chris is typing.

CHRIS Hi, Pepi. You’re in late tonight.
PEPI Oh, Chris, uh, was this teenage girl killed the same way?
CHRIS Yeah. Same way.
PEPI I told you. I knew. A werewolf.
CHRIS Tell me something, Pepi. In the old country did they ever..uh..catch a werewolf?
PEPI Never! Never!

Cut to Tony-werewolf running through the woods. Cut to Arlene’s house.

DOYLE Did your boyfriend ever give you any indications....
ARLENE Never! Never!
DOYLE Do you realize that if this thing had come over him when he was with you...
BILL : Now, there is no use upsetting our girl any more than she is now. Sorry I let you talk to her in the first place.
MARY Yes, I think that’s enough. She’s been crying ever since this thing happened. She must get more rest.
DOYLE Well, uh, just one more picture. Now you’re not gonna’ let her go to school?
BILL : No, school’s closed until this thing is over. Anyway, we’ll protect her right here in her own home.

Cut to Tony’s home, later. His father is talking to Doyle, the reporter.

DOYLE You don’t really believe that your son is....
CHARLES No, no, I can’t believe.
DOYLE What kind of a boy was Tony, . . . .is Tony?
CHARLES He was always on the quiet side. Kept pretty much to himself. Maybe I should have remarried. A good woman around the house. The affection of a mother. A boy needs that. Especially when he’s growing up. Not that Tony ever complained. I even asked him. Does he miss...should I...? He said, “No, Dad. We’ll get along all right. Just the two of us.” As if he knew no woman could ever replace his mother in my heart or in his.
DOYLE What I mean is, uh, ....did he always obey you?
CHARLES Yes. Only you had to know how to ask him. Ask him the right way and he’d do anything. Tony’s a good boy. I don’t care what they say. Tony’s a good boy.
DOYLE Yet he hasn’t come home or you haven’t heard from him since he left for school early this morning. Now certainly he must know how worried you are? Of course, you know what the principal and his teenage friends are saying about the terror? How it looked? Now wouldn’t this indicate to you that perhaps Tony is ...
CHARLES Leave me alone, will ya’? Leave me alone.

Cut to Tony-werewolf in the woods. Cut to the police department. Chief Baker is resting on the couch.

DONOVAN Pat, the men are all ready.
BAKER Oh, thanks. It may seem like a long shot, Donovan, but if we can capture it before morning it will save the community a lot of trouble and panic.
DONOVAN We can try. But at night in the woods is gonna’ be tough.
BAKER One thing in our favor, it can’t go very far, it can only travel on foot. Also, it’s got to stop to rest and eat. Let’s go.

Cut to woods at night. The Chief, Donovan and various police and civilians gather to form a posse.

BAKER All right now. We’ll move in stagger fashion. We’ll circle the outer edges first, then keep going round and round until we meet in the center. If you run across it or even if you see any suspicious tracks, notify me immediately on the walkie talkie. Now, don’t fire unless you are attacked. I want to try to bring this thing in alive if possible. Now, another thing. When we get further into the woods, I want you to light the torches. Animals are afraid of fire, maybe werewolves are too. Now let’s go. Come on, Donovan.

The posse starts combing the woods.
Tony-werewolf watches them from the bushes.

BAKER All right, men close up. We’re going to light the torches. Now, Ed, Charlie, take a couple of torches and go on up the hill there. Donovan, will you take a man and beat up this ravine?
DONOVAN Right.
BAKER All right, you go ahead.

The group disperses. Two men walk toward Tony-werewolf, hiding in the bushes. One of them with a torch in his hand gets very close to Tony-werewolf when...

SEARCHER Hey, Mike. Come over here.

The men move away and Tony-werewolf leaves in the opposite direction. Suddenly Tony-werewolf stops, senses something behind him and turns. A german shepherd dog growls at him and then attacks; there is a brief struggle and then he kills the dog; Tony-werewolf hears the posse approaching and runs off. Donovan discovers the dead animal. A minute later he meets up with Chief Baker and the posse.

BAKER Hold it. Well, Donovan, did you see anything?
DONOVAN There’s a dog back up there he killed.
BAKER Oh? Then he’s got to be in here someplace. No sense looking for him in this light, though. Look, Donovan. Post guards so he can’t possibly escape. We’ve got to get him.

Tony-werewolf hides and watches the men walking through the woods. He hides in some bushes so the posse doesn't find him.
Cut back to Tony’s house where a policeman waits with Tony’s father. Phone rings.

POLICEMAN Go ahead, answer it. Just tell him to give himself up. Tell him it’s the best way. Advise him as his father to surrender.
CHARLES Hello? Thanks. Thanks. It’s only the foreman. I’m not being docked for staying home tonight. As if that matters. As if anything can matter. If I only knew for sure he’s still alive. If I only knew.

Morning comes. Tony wakes in the woods, back to “normal”. We notice his jacket is torn. From the bushes he watches one of the searchers run up to another man.

SEARCHER 2 Look what I’ve found. A piece of cloth ripped off.
SEARCHER 3 How do you know it’s his?
SEARCHER 2 It fits the description. He wore a jacket like this.
SEARCHER 3 How do you know it’s part of his jacket? I think we’d better call headquarters.

Tony runs off. Cut to Dr. Brandon’s lab.

WAGNER Alfred, ...
DR BRANDON Don’t interrupt, Hugo.
WAGNER Alfred, aren’t you wasting your time? Or do you have a second victim in view?
DR BRANDON I’m not wasting my time and I don’t like to hear the subject of a world shaking experiment referred to as a victim.
WAGNER Call it what you like, but he’s being hunted down like a dangerous animal. And after he’s captured....
DR BRANDON I’m no so sure he will be captured. Transformation into a werewolf is all not on the minus side. It also gives the subject the cunning of an animal.
WAGNER Then you think somehow he will come here?
DR BRANDON All I have to do is wait. He must come here. I’m the only link he has left. I’m his last hope.

Tony is walking down a street in town. He looks in a store window and touches the cuts on his face; a man looks at Tony, who then moves on. He tries to hide when he hears a siren. A cop pulls a car over. Tony tries to walk unobserved across the street to use a phone booth on the other side.

MOTORCYCLE COP ' Hey you! Next time use the cross walk. To car driver: It’s a wonder more people aren’t killed.

Tony makes a call. Cut to Arlene’s living room. Phone rings. Arlene's father starts to rise from the couch to answer, but the policeman sitting near the phone has him stop.

POLICEMAN Let her answer it. All right, Miss. You answer it. Remember now, hold him long enough so we can trace the call.
ARLENE Hello?
TONY (on phone) Hello?

A bystander walks up to the phone booth and stares at Tony talking on the phone. Tony gets nervous and hangs up. He leaves the phone booth; the bystander walks on.

ARLENE Hello? Hangs up. Whoever he was, he...he hung up.
POLICEMAN Did you recognize his voice?
ARLENE I....I couldn’t be sure.
POLICEMAN Look, Miss. If you’re trying to protect him by holding back anything, you’re wrong. His best bet is to give himself up.
ARLENE Well, I only heard the word “hello”. How could I be sure?

Cut to police department, Donovan’s desk. Phone rings.

DONOVAN Sergeant Donovan. Where? Tenth and Hudson. (Donovan writes down the address) Thank you. Tenth and Hudson.
CHRIS What came in?
DONOVAN Somebody just caught sight of him.
CHRIS Downtown?
DONOVAN Makes sense. No trace of him in the woods and all the roads are blocked. Let’s go, Chris.

Cut to Dr. Brandon’s office. He is dictating. Tony walks up toward the front door.

DR BRANDON The results of the case of Mrs. Banks indicate that... I was expecting you. Come on in, Tony.
TONY Doctor Brandon, I know what I am! What I become. Help me, Doctor, please! I know they’re going to catch me, but don’t let anyone see me like that! Please, Doctor, help me! Please, help me!!!
DR BRANDON Of course, Tony. Of course. Come on over here.

Puts Tony on the couch. Cut to lab.

WAGNER Alfred, I beg you. It’s too late to bring the dead back to life. But at least you can help him. Help correct a terrible mistake.
DR BRANDON Mistake? You dare call a scientific triumph a mistake?
WAGNER What are you going to do now?
DR BRANDON He must make the voyage back once more. I must see with my own eyes and record with my own camera. Here. You’ll be the witness. We’ll have it all on film. From the time I first give him the injection through the transformation. And then no one will doubt my word. Even the most exacting, the most skeptical of scientists will be convinced that I have penetrated the deepest secrets of creation. That I have achieved the first perfect case of regression.

Cut to Dr Brandon’s office. Wagner is filming Tony on the couch. The transformation happens.

DR BRANDON Good.

Phone rings. Tony-werewolf snaps out of the hypnotic trance, growls in anger.

WAGNER Alfred, stop him!

Tony-werewolf attacks Wagner, killing the assistant. Tony-werewolf also knocks the camera over onto the floor; the camera opens and exposes the film. Dr Brandon runs for the lab. Brandon unlocks the refrigerator and takes out a needle.
Tony-Werewolf stalks Dr Brandon now. He enters the lab; he is rabid; Tony-Werewolf trashing everything within his reach as he approaches Dr Brandon. The flasks and ingredients of the serum are destroyed forever.

DR BRANDON Tony! Tony, I’m your friend. I’m the only friend you’ve got! Tony! Tony! No, Tony!! Tony, don’t!!!

Tony-werewolf attacks and kills Dr Brandon. Donovan and Chris arrive in time to witness.
They both shoot Tony-Werewolf repeatedly.

DONOVAN There was no other way out. Nothing else we could do.
CHRIS We had to.
DONOVAN Yeah. Did you see his face? I mean, before?
CHRIS I’ll never forget it.
Tony, in death, has returned to “normal”.
DONOVAN At least they’ll see him this way now.
CHRIS What about him? (Referring to Dr Brandon.)
DONOVAN I don’t know. My hunch is the score was evened.
CHRIS Boy, the newspapers will just eat this up.
DONOVAN Yeah. But after they’ve had their field day, one thing will be clear.
It’s not for man to interfere in the ways of God.
THE END.