"YOUNG FRANKENSTEIN"
Screenplay
by
Gene Wilder
FIRST DRAFT
"YOUNG FRANKENSTEIN"
FADE IN
1 EXT. FRANKENSTEIN CASTLE 1
A BOLT OF LIGHTNING!
A CRACK OF THUNDER!
On a distant, rainy hill, the old Frankenstein castle, as
we knew and loved it, is illuminated by ANOTHER BOLT OF
LIGHTNING.
MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in
the b.g.
2 ANOTHER ANGLE 2
as we MOVE SLOWLY CLOSER to the castle. It is completely
dark, except for one room -- a study in the corner of the
castle -- which is only lit by candles.
Now we are just outside a rain-splattered window of the
study. We LOOK IN and SEE:
3 INT. STUDY - NIGHT 3
An open coffin rests on a table we can not see it's contents.
As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW...
A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..."
We are ALMOST FACING the front of the coffin. "FIVE,"
"SIX," "SEVEN," "EIGHT..."
The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined
coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!"
CUT TO:
4 THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN 4
Half of still clings to the waxen balm; the other
half has decayed to skull. Below his head is a skeleton,
whose bony fingers cling to a metal box.
5 A HAND 5
reaches in to grasp the metal box. It lifts the box halfway
out of the coffin -- the skeleton's fingers rising, involun-
tarily, with the box.
Cont.
2
5 Cont.
Then, as of by force of will, the skeleton's fingers grab
the box back and place it where it was.
Now the "Hand" -- using its other hand -- grabs the box
back from the skeleton's fingers. The skeleton no longer
resists.
6 CORNELIUS WALDMAN 6
whose "Hands" we have just seen, now carries the box to a
small table. He takes a tiny key out from his vest pocket
and begins to unlock the metal box.
NINE PEOPLE watch him closely. They are seated on chairs
in the study, waiting to hear the contents of
Beaufort Frankenstein's will. Their dress is turn-of-the-
century Transylvanian.
Cornelius Waldman fumbles with the lock, emitting strange
grunts as he tries to open it. With each grunt, the face
of a "potential Heir" is SEEN, squirming with frustration
or anger.
FIRST VILLAGER (WALTER)
Fumbling fool! For two kronen
I'd rip that box fight out of his
hands.
ILSE (HIS WIFE)
Shhh!
NINETY-YEAR-OLD VILLAGER (HENRICH)
Hurry. Idiot, hurry!
AGATHA (HIS WIFE)
Quiet, Henrich! We've waited seventy
years...another three or four seconds
won't hurt.
NINETY-YEAR-OLD VILLAGER
Another three of four more seconds?
I could be dead by then.
AGATHA
Shhh!
FIFTH VILLAGER (A MAN)
What if he's left you out?
HELENE (HIS GIRL FRIEND)
Just let him try -- I'll take care
of him.
Cont.
3
6 Cont.
ANASTASIA (A MIDDLE-AGED WOMAN)
Oh, Mommy...I hardly remember. Did
the Baron really like me when I was
a child?
MARLENE (HER MOTHER)
Like a father!
NINTH VILLAGER (WOLFGANG)
(muttering to
himself)
Wenn dieser Bloder kerl sich nicht
beeilt verde ich verruckt. Was zum
Teufel machte?
MARLENE
Shhh!
Cornelius Waldman finally opens the lock. He takes out an
old parchment, puts on his glasses, coughs and sputters a
few times, and then begins to read.
CORNELIUS WALDMAN
'I, Beaufort Frankenstein, in this
my eighty third year of life, do
hereby make, publish and declare the
following statements as and for my
last will and testament, and I direct
my executor, Cornelius Waldman, to
inform and assemble those persons
previously divulged to him, that
they may hear -- in my own voice --
the final disposition of my property.'
At the words, "In my own voice," the nine "Potential Heirs"
exchange curious glances.
CORNELIUS WALDMAN
(still reading)
'Such disposition to commerce at
the hour of twelve o'clock of my
one hundredth birthday. If all
the conditions heretofore set forth
have been met, now then -- hear once
more, and for the last time...the
authenticity of my own voice!'
Cornelius Waldman nos to a Clerk, HERR FALKSTEIN, who
is standing nearby.
Cont.
4
6 Cont.1
Herr Falkstein places the needle of an old victrola onto
an already spinning record. It SCRATCHES and then begins
to PLAY.
VOICE OF BEAUFORT FRANKENSTEIN
(o.s.)
How do you do this thing? Where?
In here? Just talk right into it?
All right. Am I close enough? All
right, all right -- get the hell
out of the way.
(he clears his throat,
then speaks in a deep,
majestic voice)
The once proud name of Frankenstein
has been dragged, by my only son,
Victor, into an abyss of shame.
There was a time when the name
'Frankenstein' conjured dreams of
virtue, of honor and devotion. Now,
no guilt, no malignity, no misery
can be found to equal mine. And
the catalogue of sins of my once
devoted son will not cease to
rankle in my wounds until death
shall close them forever -- so
supremely frightful is the effect
of any human endeavor to mock the
stupendous mechanism of the Creator
of the world.
Did you get all that? Are you sure
you got 'rankle in my wounds'? I'll
kill you if you screw this up. All
right, all right. Now as to the
disposition of my estate.
Everyone in the room sits alert.
VOICE OF BEAUFORT FRANKENSTEIN
(o.s)
To my cousins, Henrich and Agatha...
CUT TO:
7 THE NINETY-YEAR-OLD VILLAGER AND HIS WIFE 7
VOICE OF BEAUFORT FRANKENSTEIN
(o.s.)
...and to my cousin Walter and his
wife Ilse...
CUT TO:
5
8 WALTER AND ILSE 8
VOICE OF BEAUFORT FRANKENSTEIN
(o.s)
...and to my niece Helene...
CUT TO:
9 HELENE 9
sitting with her boyfriend.
VOICE OF BEAUFORT FRANKENSTEIN
(o.s)
...and my dear nephew Wolfgang...
CUT TO:
10 WOLFGANG 10
sitting alone.
VOICE OF BEAUFORT FRANKENSTEIN
(o.s.)
...and lastly, to my cherished old
friend, Marlene, and her charming
daughter, Anastasia...
CUT TO:
11 ANASTASIA AND HER MOTHER 11
VOICE OF BEAUFORT FRANKENSTEIN
(o.s.)
...to all of you, in equal shares,
I hereby give, devise and bequeath,
absolutely and without any
restrictions whatsoever, all
property of every sort and
description, whether real,
personal or mixed, to which my
estate shall be entitled.
12 HENRICH AND AGATHA 12
are hugging each other.
13 WALTER AND ILSE 13
hugging each other.
14 HELENE AND ANASTASIA 14
hugging each other.
6
15 WOLFGANG 15
is hugging himself.
VOICE OF BEAUFORT FRANKENSTEIN
(o.s.)
Unless...!
16 GROUP SHOT 16
They all look up suddenly from their hugging.
17 ANOTHER ANGLE 17
SCRATCH, SCRATCH, SCRATCH...the needle has reached the
end of the first side.
18 HERR FALKSTEIN 18
lifts the arm off and turns the record over.
HERR FALKSTEIN
(apologetically)
It's a seventy eight.
He places the needle on the record.
VOICE OF BEAUFORT FRANKENSTEIN
(o.s.)
...Unless...my only male heir, my
great-grandson, Frederick -- whom I
have never seen but who is, at the
time of this recording, ten years of
age and residing in America with my
granddaughter, Katherine -- has, by
his own free will, embraced Medicine
as his career and acquitted himself
with some measure of esteem. Then,
to him I leave...everything!
The nine "Potential Heirs" are expressionless.
VOICE OF BEAUFORT FRANKENSTEIN
(o.s.)
My castle, together with its
laboratory, its public and private
library, and all notes and journals
contained therein, all acreage
surrounding my estate, plus all
income and principle thereof...in
the fond hope that yet another
Frankenstein shall lift our family
name to an eminence of dignity, and
sanity, that it once enjoyed.
Cont.
7
18 Cont.
VOICE OF BEAUFORT FRANKENSTEIN (Cont.)
(o.s.)
As for my dear friends and relations,
should this latter improbability come
to be...I know that I have your
complete understanding. For the road
to salvation and repentance must be
paved up the avenue of my soul, and
not up yours, up yours, up yours,
up yours, up yours...
Herr Falkstein removes the needle from the finished record.
CORNELIUS WALDMAN
Herr Falkstein! Did you inform
Frederick Frankenstein of this
assembly and all the particulars
of the time and place?
HERR FALKSTEIN
I did, sir.
He takes a cablegram out from his pocket.
HERR FALKSTEIN
But I received a cable only this
morning, saying that he could not
come.
CORNELIUS WALDMAN
Was he aware of the importance of
this occasion?
HERR FALKSTEIN
Yes, sir, he was. But he said he
was obligated to lecture at
Johns Hopkins University.
CORNELIUS WALDMAN
What lecture could be more
important than the will of
Baron Beaufort Frankenstein?
HERR FALKSTEIN
(reading the cable)
'Functional areas of the cerebrum
in relation to the skull.'
The Ninety-Year-Old Villager passes out.
Cont.
8
18 Cont.1
ANASTASIA
(very sweetly)
Excuse me, Mr. Waldman -- excuse me
for interrupting. But is Frederick,
then...a medical doctor?
CORNELIUS WALDMAN
Yes, my dear, he is.
ANASTASIA
And has he achieved...any special
degree of eminence?
CORNELIUS WALDMAN
He is the fifth leading authority
in his field.
ANASTASIA
(sinking her head
into her hand)
Oh, shit.
CORNELIUS WALDMAN
Herr Falkstein -- you must go at
once and present Dr. Frankenstein
with all the details of his
inheritance. The estate will
provide for your journey.
HELENE
I object, Herr Waldman! This is a
travesty. If the beloved great-
grandson cared anything at all for
the House of Frankenstein, he would
have shown it by being here with
those of us who still have some
respect. I think we should completely
disregard the afterthoughts of a very
old man.
CORNELIUS WALDMAN
Madam -- the foundation of civilization
rests upon adherence to the law. And
the Law is the Law. Das Gesetz ist
das Gesetz!
Wolfgang -- the man who mutters only in German -- CRASHES the
back of his head halfway into the wall behind him.
Cont.
9
18 Cont.2
CORNELIUS WALDMAN
Herr Falkstein! You have your
instructions!
HERR FALKSTEIN
Yes, sir.
CORNELIUS WALDMAN
I have taken an oath that each
letter of this testament shall
be executed...and by God, it
shall be done!
The lid of Beaufort Frankenstein's coffin SLAMS SHUT
by itself.
DISSOLVE TO:
19 LEGEND ON THE SCREEN 19
It reads:
JOHNS HOPKINS HOSPITAL
BALTIMORE, MARYLAND
21205
20 INT. MEDICAL ARENA - DAY 20
Herr Falkstein quietly enters into the balcony of an
arena packed with young MEDICAL STUDENTS. A lecture is
in progress.
LECTURER'S VOICE
(o.s.)
If we look at the base of a brain
which has just been removed from
a skull, there's very little of
the midbrain that we can actually
see.
Cont.
10
20 Cont.
Herr Falkstein proceeds, almost on tiptoe, along the
aisle towards a vacant seat. He is carrying a briefcase
and a small metal box.
LECTURER'S VOICE
(o.s.)
Yet, as I demonstrated in my
lecture last week, if the under
aspects of the temporal lobes
are gently pulled apart, the
upper portion of the stem of
the brain can be seen.
Herr Falkstein's footsteps ECHO ever so lightly against
the cold stone floor, as he passes the faces of students
intense with concentration.
LECTURER'S VOICE
(o.s.)
This so called 'brain stem'
consists of the midbrain, a
rounded protrusion called the
pons, and a stalk tapering
downwards called the
medulla oblongata which passes
out of the skull through the
foramen magnum and becomes,
of course...the spinal cord.
Herr Falkstein finds a vacant place and sits down.
LECTURER'S VOICE
(o.s.)
Which brings us directly to the
demonstration prepared for today.
Are there any questions before
we proceed?
MEDICAL STUDENT
(rising)
I have one question,
Dr. Frankenstein.
CUT TO:
11
21 ANOTHER ANGLE 21
Our first LOOK at the famous Lecturer.
FREDDY
That's 'Fronkonsteen.'
MEDICAL STUDENT
I beg your pardon?
FREDDY
My name is pronounced Fron kon steen.
MEDICAL STUDENT
Oh! I thought it was Dr. Frankenstein.
FREDDY
No, it's Dr. Fronkonsteen!
MEDICAL STUDENT
But aren't you the grandson of the
famous Dr. Victor Frankenstein?...
who performed such fascinating
experiments in electricity and
galvanism?
FREDDY
That's true! But my grandfather,
Victor was, after all, what we
might politely refer to as... a
cuckoo!
Polite laughter.
FREDDY
I prefer, by far, to be remembered
for my own small contributions to
science. Now if we can proceed to
your questions.
MEDICAL STUDENT
Well sir... I'm not sure I
understand the distinction between
'Reflexive' and 'Voluntary' nerve
impulses.
FREDDY
Very good! Since our lab work today
is a demonstration of just that
distinction... why don't we proceed?
Behind Freddy is a PATIENT, lying on an operating table.
CARLSON, an assistant, stands near the Patient, next to
a small table of instruments.
Cont.
12
21 Cont.
FREDDY
What are we actually talking about
when we use the term, 'Brain'? We
are talking about... a cauliflower!
Freddy turns to Carlson.
FREDDY
May I have the cauliflower, please!
Carlson hands Freddy a giant cauliflower.
FREDDY
If we make a small slit, down the
center of this cauliflower...
Freddy turns to Carlson, who hands him the scalpel. Freddy
makes a small slit down the center of the cauliflower.
FREDDY
...and then, ever so gently,
gently, gently... pull it apart...
Freddy has some difficulty pulling the cauliflower apart.
It begins to crumble, but he goes on, professionally.
FREDDY
...we should find, with any luck
at all... a stalk of... celery!
There is no celery inside the cauliflower. Freddy flushes
red.
FREDDY
(to Carlson)
Where did you get this cauliflower?
CARLSON
From your office, sir.
FREDDY
Didn't you prepare it with the
celery before my lecture?
CARLSON
Yes, sir. But I must have taken
the wrong one when we came up.
FREDDY
(in quiet rage)
Are you trying to make me look
like an idiot?
Cont.
13
21 Cont.1
CARLSON
No, sir. It will never happen again.
FREDDY
(handing him
the cauliflower)
Here! This cauliflower is useless
to me.
Freddy turns back to his audience.
FREDDY
With any normal cauliflower, we
would have found a stalk of celery,
or... 'Brain Stem' which brings us
to the practical application of
our study.
Freddy moves behind the Patient on the table.
FREDDY
Mr. Hilltop here -- with whom I have
never worked of given any prior
instructions to -- has graciously
offered his services for this afternoon's
demonstration. Mr. Hilltop!
HILLTOP
Yes, sir?
FREDDY
Have we ever seen each other before
this afternoon?
HILLTOP
No, sir.
FREDDY
Tell them!
HILLTOP
(turning to the
Medical Students)
No, sir -- we haven't.
FREDDY
(to his audience)
Do I lie?
(to Mr. Hilltop)
Would you be so kind enough to hop
up on your feet and stand beside
this table.
Mr. Hill top gets off of the table and stands erect.
Cont.
14
21 Cont.2
FREDDY
Mr. Hilltop! Would you raise
your left knee, please!
Mr. Hilltop raises his left knee.
FREDDY
You have just witnessed a 'Voluntary'
nerve impulse. It begins as a
stimulus from the cerebral cortex,
passes through the brain stem and
then to the particular muscle
involved. Mr. Hilltop, you may
lower your knee.
He lowers his knee.
FREDDY
'Reflex movements are those which
are made independently of the will,
but are carried out along pathways
which pass between the periphery and
the central nervous system. You
filthy, rotten, yellow son of a BITCH!
Freddy pokes his knee close to Mr. Hilltop's balls.
Mr. Hilltop reacts accordingly.
FREDDY
We are not aware of the impulses,
neither do we intend them to contract
our muscles. Yet -- as you can see --
they work by themselves.
By this time, Mr. Hilltop has lowered his protective thigh
... a little nervously.
FREDDY
Now then! Modern research has
shown us that by simply applying
local pressure of ' blocking' the
nerve impulse... which can be done
with any ordinary metal clamp...
Freddy reaches out his hand. Carlson hands him a bicycle
clamp. Freddy holds Mr. Hilltop's head and places the
clamp behind Mr. Hilltop's ears.
FREDDY
... Just at the swelling on the
posterior nerve root -- for, oh
say five or six seconds...
A short pause. Freddy looks at his watch.
Cont.
15
21 Cont.3
FREDDY
Why you mother-grabbing BASTARD!
Freddy once again jerks his knee close to Mr. Hilltop's
balls. This time Mr. Hilltop doesn't move. He is almost
ready to pass out.
FREDDY
All communication is shut off.
Similarly, damage to a nerve will
mean that not all the impulses can
get through and there will be
weakness of a muscle...
Mr. Hilltop collapses to the floor. Freddy never looks down.
FREDDY
...or group of muscles, with some
loss of skin sensation on the area
supplied by that nerve. In spite
of our mechanical magnificence, if
there is not this continuous stream
of impulses... we would collapse
like... a bunch of broccoli.
A smattering of POLITE APPLAUSE. Freddy reaches down and
removes the metal clamp from Mr. Hilltop's head.
FREDDY
(to Carlson)
Give him an extra dollar.
CARLSON
Yes, sir.
Carlson picks up Mr. Hilltop and places him on the operating
table.
FREDDY
In conclusion... it should be noted
that more than common injury to the
nerve roots is always serious,
because... once a nerve fibber is
severed... there is no way to
regenerate life back into it. Are
there any more questions before we
leave?
MEDICAL STUDENT
Dr. Fronkonsteen!
FREDDY
Yes?
Cont.
16
21 Cont.4
MEDICAL STUDENT
Isn't it true that Darwin preserved
a piece of vermicelli in a glass
case until, by some extraordinary
means, it actually began to move
with voluntary motion?
FREDDY
A piece of what?
MEDICAL STUDENT
Vermicelli.
FREDDY
Are you speaking of the worm, or
... the spaghetti.
FREDDY
Why the worm, Sir.
FREDDY
Ah! In science you must be very
precise -- it can spell the
difference between life and death.
(to Carlson)
I don't want that fellow in class
next semester.
CARLSON
Yes, sir.
FREDDY
He has a big mouth.
(to Medical Student)
Yes! It seems to me I did read
something about that incident as a
student. But you have to remember
that a worm -- with very few exceptions
-- is not a human being.
MEDICAL STUDENT
But wasn't that the whole basis of
your grandfathers work, sir...? the
re-animation of component parts?
FREDDY
My father was a sick man.
MEDICAL STUDENT
But aren't you the least bit curious
about it, Doctor? Doesn't the secret
of life hold any intrigue for you?
FREDDY
You are talking about the gibberish
ravings of a lunatic mind.
Cont.
17
21 Cont.5
MEDICAL STUDENT
Yes, but, sir... if it could be
accomplished, wouldn't that
eliminate disease from the human
frame and render man invulnerable
to any but a violent death?
FREDDY
How old are you, young man?
MEDICAL STUDENT
Nineteen, sir.
FREDDY
Nineteen! My dear young man...
once the human organism has ceased
to function, nature has deemed
that creature to be dead.
MEDICAL STUDENT
But look at what's been done with
hearts and kidneys!
FREDDY
Hearts and kidneys are Tinker Toys!
I'm talking about the Central
Nervous System.
MEDICAL STUDENT
But, sir...
FREDDY
I am a scientist...! not a
philosopher.
He holds up his scalpel.
FREDDY
You have more chance of re-animating
this knife than you have of mending
a broken nervous system,
MEDICAL STUDENT
But your grandfather's work, sir...
FREDDY
My grandfather's work was Doo-Doo!
Dead is Dead! There's only one
thing I am interested in... and that
is the preservation of LIFE!
Cont.
18
21 Cont.6
POLITE APPLAUSE. However, on the word "Life," Freddy
has plunged the scalpel into his thigh by mistake. No one
but Freddy and the Movie Audience is aware of this.
FREDDY
Class... is... dismissed!
The students begin to leave.
FREDDY
Carlson!
CARLSON
Yes, sir?
FREDDY
Bring me some surgical gauze, a
little tape and some disinfectant.
CARLSON
Yes, sir. Do you want the other
cauliflower?
FREDDY
... No!
Herr Falkstein approaches with the metal box.
HERR FALKSTEIN
Dr. Frankenstein?
FREDDY
(through his teeth)
Fron kon steen!
HERR FALKSTEIN
My name is Gerhart Falkstein.
DISSOLVE TO:
22 EXT. A CITY STREET - DAY 22
Herr Falkstein and Freddy are walking along the sidewalk.
In the distance, a little OLD VIOLINIST, wearing a
Tyrolean hat, plays a cheerful tune on his violin. His
open violin case rests on the ground beside him.
FREDDY
One hundred thousand dollars???
Cont.
19
22 Cont.
HERR FALKSTEIN
Oh, at least, sir. The land alone
is worth a small fortune.
FREDDY
But I can't just drop everything and
leave. I have responsibilities and
obligations.
HERR FALKSTEIN
Do you have a hundred thousand of
them, sir?
Freddy looks at Herr Falkstein. The little Old Violinist
has finished his cheerful tune. He now plays the eerie
Transylvanian Lullaby that was heard at the opening.
FREDDY
How long will this whole thing
take?
HERR FALKSTEIN
A week. Ten days at most.
FREDDY
I'll have to think it over. It's
not so easy just to pick up and...
Freddy stops -- the music seeping into a dark and forgotten
corner of his brain.
FREDDY
Curious melody! Haunting, isn't
it?
Freddy, followed by Herr Falkstein, walks back a few steps
and stands next to the Old Violinist as he plays.
FREDDY
What's that tune that you're playing
OLD VIOLINIST
Zis is an old Transylvanian Lullaby.
FREDDY
How sweet! Such a quaint little
tune.
Freddy rubs his temples with his fingertips for a moment.
Cont.
20
22 Cont.1
FREDDY
May I see your violin?
OLD VIOLINIST
(handing Freddy
the violin)
It's an honor for me, sir. You
play the violin?
FREDDY
Oh, just a little.
Freddy examines the violin.
FREDDY
Nice! Nice little balance to it.
OLD VIOLINIST
Ja, ja.
Freddy, without any emotion, smashes the violin over his knee
and then hands the two halves back to the Old Violinist.
FREDDY
Thank you very much.
The Old Violinist takes the two halves, open-mouthed.
FREDDY
(to Herr Falkstein)
Well... if you're sure that I could
accomplish everything in a week...
I suppose I could manage it.
HERR FALKSTEIN
Why did you do that?
FREDDY
What?
HERR FALKSTEIN
Break that old man's violin.
FREDDY
I didn't do that.
HERR FALKSTEIN
The old violinist -- you smashed
his violin over your knee.
Cont.
21
22 Cont.2
FREDDY
I did not do that. Why would I
do a thing like that...? Are you
insane?
23 LEGEND ON THE SCREEN 23
It reads:
"IS THIS THE FIRST SIGN OF A SPLIT PERSONALITY?"
24 BACK TO THE SCENE 24
Now Freddy and Herr Falkstein are standing on a corner.
FREDDY
All right then, I suppose I owe
the family that much. You'll
have everything ready for me when
I arrive?
HERR FALKSTEIN
Yes, sir.
FREDDY
One week at the most!?
HERR FALKSTEIN
One week -- I'll see to it, sir.
FREDDY
Well, thank you very much for all
your trouble.
They shake hands.
HERR FALKSTEIN
Not at all -- a great privilege,
Doctor.
FREDDY
Saturday night then! I'll take
the train to New York and fly from
there.
HERR FALKSTEIN
Saturday night, yes, sir. Have a
pleasant journey!
Freddy walks off. Herr Falkstein looks back at the little
Old Violinist, who is playing the TRANSYLVANIAN LULLABY
on the top half of his violin.
DISSOLVE TO:
22
25 EXT. TRAIN STATION - NIGHT 25
Freddy, with a large suitcase and a small briefcase, stands
next to a lot of steam...behind which, there appears to
be a waiting train. With Freddy is his beautiful, flat-
chested fiancee, ELIZABETH.
ELIZABETH
Darling!...you will be careful!?
FREDDY
Of course.
ELIZABETH
You have your tickets?
FREDDY
Yes.
ELIZABETH
And your passport?
FREDDY
Yes, don't worry.
ELIZABETH
Call me from New York before
you leave??
FREDDY
Yes.
ELIZABETH
Promise??
FREDDY
I promise.
ELIZABETH
Oh, darling -- I'll count the
hours that you're away.
FREDDY
Oh, darling -- so will I.
CONDUCTOR
(o.s.)
Board! All aboard!
FREDDY
I'd better leave.
They look at each other; then kiss.
Cont.
23
25 Cont.
ELIZABETH
Will you miss me?
FREDDY
Very....very!
ELIZABETH
Mother's going to help me with
the invitations.
FREDDY
Oh, nice.
ELIZABETH
I hope you like large weddings.
FREDDY
Whatever makes you happy.
ELIZABETH
I've trimmed the list to only
our very closest friends...but
it still comes to three thousand.
FREDDY
You're incorrigible!
ELIZABETH
Does that mean you love me?
FREDDY
You bet your boots it does.
CONDUCTOR
(o.s.)
All aboard!
ELIZABETH
Hurry now -- before I make a
fool of myself.
They kiss quickly.
FREDDY
Goodbye, darling.
Freddy DISAPPEARS into the steam.
ELIZABETH
Goodbye, Freddy! Hurry back
to me!
Cont.
24
25 Cont.1
FREDDY
(o.s., from
the steam)
I will! Goodbye, darling!
ELIZABETH
Goodbye, darling.
A long pause, as Elizabeth gazes into the mass of steam.
She wipes a tear from her eye.
ELIZABETH
(whispering
to herself)
Goodbye, darling.
FREDDY
(o.s., from
the steam)
Goodbye, darling!
A TRAIN WHISTLE BLOWS.
26 ANGLE ON TRAIN 26
The train starts up.
DISSOLVE TO:
27 INT. TRAIN - NIGHT 27
Freddy is sitting in a passenger car, reading a book.
A FEW PEOPLE sit near him.
28 A CONDUCTOR 28
walks down the aisle.
CONDUCTOR
New York next! Everyone out
for New York!
Freddy looks out the window.
DISSOLVE TO:
29 A TRAIN - (STOCK) - NIGHT 29
whizzing through the night.
CUT TO:
25
30 INT. TRAIN - SUNSET 30
Freddy is sitting in a passenger car, reading a book.
A FEW EUROPEANS sit near him.
31 LEGEND OVER THE SCREEN 31
It reads:
"SOMEWHERE IN EUROPE"
32 A CONDUCTOR 32
wearing a Tyrolean Conductor's hat, walks down the aisle.
CONDUCTOR
Transylvania nachste! Jeder
austeigen fur TRANSYLVANIA!
Freddy looks out the window. He reaches up and takes his
suitcase and briefcase off of the rack above him. Then
he raises his window and looks out at:
33 A TEN YEAR-OLD GERMAN BOY 33
dressed in lederhosen, a cap, and a shoeshine kit on his
back.
FREDDY
(calling out
to him)
Pardon me, boy! Is that the
Transylvania Station?
GERMAN BOY
Ja, this is track twenty-nine.
He starts OFF.
GERMAN BOY
Oh, can I give you a shine?
FREDDY
Thank you, no.
DISSOLVE TO:
34 EXT. TRAIN STATION - NIGHT 34
Freddy gets off the ancient train and looks for someone
who might be there to meet him. he sets down his suit-
case and briefcase.
26
35 ANOTHER ANGLE 35
From out of the darkness, IGOR, a strange man with a
hunched back, walks towards him. Behind Igor is a woman,
INGA.
IGOR
Frederick Frankenstein?
FREDDY
Fron kon steen!
IGOR
Are you putting me on?
FREDDY
No, it's pronounced Fron kon
steen.
IGOR
And do you also say Fro dereck?
FREDDY
No, Fred ereck.
IGOR
Why isn't it Frodereck Fronkon steen?
FREDDY
It's not. It's Fredereck
Fronkonsteen.
IGOR
I see.
FREDDY
You must be Igor.
Igor thinks a moment.
IGOR
No, it's pronounced Aye gor.
FREDDY
But they told me it was Ee gor.
IGOR
Well, they were wrong then,
weren't they?
FREDDY
You were sent by Herr Falkstein,
weren't you?
Cont.
27
35 Cont.
IGOR
Yes, that's right. My grandfather
and your grandfather used to pal
around together. You and I should
have a lot of laughs.
FREDDY
I'm sure we will.
IGOR
(indicating the
large-breasted
woman behind him)
This is Inga. They thought you
might need an assistant temporarily.
FREDDY
How do you do?
INGA
Extremely well.
FREDDY
How nice.
IGOR
Are these your bags?
FREDDY
Yes, just the two.
Igor takes the small briefcase and walks OFF. Freddy
takes the large suitcase and follows with Inga.
INGA
Did you have a pleasant trip?
FREDDY
Yes, thank you. It wasn't bad.
They follow Igor past two men -- Dracula and Wolfman --
who are sitting quietly on a platform bench. One of the
men wears a huge black cape and has two enormous eye teeth.
The other man's face and hands are covered with wolf's
hair.
IGOR
(singing to
himself)
Sun -- rise... Sun -- set!
Dee -- dum... Dee -- dum.
Cont.
28
35 Cont.1
Freddy, struggling with his suitcase, stares in polite
horror at the two men as he and Inga walk past them.
FREDDY
Good evening.
DRACULA
Good evening.
WOLFMAN
Good evening.
Freddy and Inga continue on, walking under a dangling
sign:
"TRANSYLVANIA STATION"
DISSOLVE TO:
36 EXT. COUNTRY ROAD - A FEW MINUTES LATER - NIGHT 36
A cart, drawn by two horses, travels up a lonely road.
Igor is at the reins. In the back, sitting in mountains
of hay, are Freddy and Inga.
INGA
Did you ever have a roll in
the hay?
FREDDY
(a little nervous)
I'm not sure I...get your drift.
Inga begins to roll herself over and over in the hay.
INGA
You should try it -- it's fun.
Somewhat embarrassed, Freddy leans over to speak to Igor.
FREDDY
Incidentally -- I don't mean
to embarrass you in any way,
but I'm a rather brilliant
surgeon. Perhaps I can help
you with that hump.
IGOR
What hump?
Freddy tries to recover.
Cont.
29
36 Cont.
FREDDY
Well...perhaps we can talk
about it later.
He turns back to Inga for relief. Just then: a BOLT OF
LIGHTNING! Inga comes close to Freddy.
INGA
Sometimes I'm afraid of the
lightning.
FREDDY
Just an atmospheric discharge.
Nothing to be afraid of.
A HORRIFYING CRY OF A WOLF!
FREDDY
(making a joke)
Werewolf.
IGOR
There.
FREDDY
I beg your pardon?
IGOR
(pointing to
the woods)
There wolf!
(pointing up
the road)
There castle!
FREDDY
Why are you talking like that?
IGOR
I thought you wanted to.
FREDDY
No.
Cont.
30
36 Cont.1
IGOR
Suit yourself...I'm easy.
(confidentially,
indicating Inga)
Better watch out for the wockers.
FREDDY
What wockers?
IGOR
The wockers with the knockers.
FREDDY
Wockers with the knockers???
IGOR
Go ahead, play dumb! You'll
lose your sockers and then
be fockers.
A BOLT OF LIGHTNING.
IGOR
(pointing to the
top of the hill)
Well, there it is...
CUT TO:
37 THE CASTLE - NIGHT 37
illuminated by the lightning.
IGOR
(o.s., as we
see the castle)
Home!
FREDDY
(to himself)
Home.
DISSOLVE TO:
31
38 EXT. THE CASTLE 38
As they approach the gigantic front door, FRAU BLUCHER
opens a smaller door, within the giant door, and stands
on the front stairs to greet them. She holds a lit
candelabra.
FRAU BLUCHER
Welcome! I am Frau Blucher.
At the sound of her name, the HORSES REAR.
IGOR
Down! Down! Steady!!
Freddy takes his suitcase and helps Inga out of the cart.
He approaches Frau Blucher.
FREDDY
How do you do? I am Dr. Fronkonsteen.
This is my assistant. Inga -- may
I present Frau Blucher.
The HORSES REAR.
IGOR
Down! Get down, you beasts!
FREDDY
I wonder what's got into them?
FRAU BLUCHER
Your rooms are ready, Herr Doctor.
If you will follow me, please.
She indicates the small door.
FREDDY
(calling to Igor)
Aye-gor! We'll wait for you
inside. Hurry, please!
He turns to the door.
FREDDY
After you Frau Blucher.
The HORSES REAR. Freddy, Inga and Frau Blucher have
disappeared through the small door. Igor struggles with
the rearing horses.
IGOR
Easy. Easy! What's very sticky
and rhymes with shoe?
The horses calm down.
IGOR
That's better.
Cont.
32
38 Cont.
Igor takes Freddy's briefcase and heads for the door.
IGOR
(to the horses)
I'll be back shortly. Just
think of model airplanes.
Igor shuns the smaller door and pulls the handle that opens
the giant door. He walks into the castle.
CUT TO:
39 INT. RECEPTION HALL 39
Frau Blucher is waiting on a large staircase with Freddy
and Inga. Igor comes up to them.
FRAU BLUCHER
Shall we proceed?
They all follow in the aura of Frau Blucher's candlelight.
From outside there is a: LOW RUMBLE OF THUNDER. When
they reach the top of the stairs, Frau Blucher starts
down a corridor. Igor walks up to a light switch and
tries it.
40 ANOTHER ANGLE 40
as ALL THE LIGHTS COME ON. Igor turns the lights off again,
gesturing to Freddy not to say anything because Frau Blucher
might be a little bonkers. Inga, Freddy and Igor turn
into the corridor and disappear.
DISSOLVE TO:
41 INT. FREDDY'S BEDROOM 41
A fire is going in the fire place. Candles are lit in wall
sconces. One wall is devoted to books.
FRAU BLUCHER
I hope you find this comfortable.
This was Baron Victor's room.
FREDDY
It seems fine.
FRAU BLUCHER
You'll fine the keys to all the
rooms in my cas... all the rooms
in your castle on this ring. I'll
leave it on the table here.
FREDDY
Does that include the key to the
laboratory?
Cont.
33
41 Cont.
FRAU BLUCHER
You mean... the laboratory??
FREDDY
Yes!... the laboratory.
FRAU BLUCHER
No! Dr. Frankenstein always kept
that separate.
FREDDY
May I have it, please?
A pregnant pause.
FRAU BLUCHER
Of course.
She pulls up on a chain around her neck. At the end of
the chain is a key that had been resting against her bosom.
She takes it off, kisses it quickly, and sets it on the table.
FREDDY
(examining the
bookcase)
There seem to be quite a few books.
FRAU BLUCHER
Yes, this was Victor's... the Baron's
medical library.
FREDDY
I see. And where is my grandfather's
private library?
FRAU BLUCHER
I don't know what you mean, sir.
FREDDY
well, there was a public and a
private library -- he said so in his
will. these books are all very
general -- any doctor might have them
in his study.
FRAU BLUCHER
This is the only library I know of.
FREDDY
Surely he kept his notes -- his private
papers and records in some other place?
FRAU BLUCHER
I think you must be mistaken, sir.
Cont.
34
41 Cont.1
FREDDY
Well... we'll see.
FRAU BLUCHER
Will there be anything else?
FREDDY
I don't think so. Is my assistant
taken care of?
FRAU BLUCHER
I put her in the guest room, just
down the hall.
FREDDY
Good.
She leaves. Freddy starts back towards the bookcase and
pulls book.
42 ANOTHER ANGLE 42
Door opens and Inga enters.
INGA
Are you busy?
FREDDY
That's quite all right. What is it,
dear?
INGA
Could I lie down in your bed for a
little while? I just can't sleep.
FREDDY
We only arrived a few minutes ago.
INGA
I know, but usually I can fall
asleep right away. It must be the
strange room.
FREDDY
Well...
INGA
Oh please -- just till I get sleepy.
Then you can force me right back to
my room.
FREDDY
Well.. I suppose it would be all
right, for just a little while.
Cont.
35
42.Cont
Inga gets into Freddy's bed.
FREDDY
Would you like a sandwich?
INGA
No, thanks! I want to get right
to sleep.
FREDDY
Well... I'll just finish unpacking.
As Freddy continues to unpack, he hears a STRANGE "BLOWING"
SOUND coming from outside. He goes to the window and
looks up.
CUT TO:
443 A TURRET AT THE TOP OF THE CASTLE 43
Igor sits in the window, trying to blow a ram's horn. He
tries and tries, but can't get one good sustained not.
Finally, he throws the ram's horns away and picks up a
trumpet. He blows some "SWEET" BLUES.
CUT TO:
44 FREDDY 44
lying in a chaise lounge near the bed, reading. He wears
his robe over his clothes. Freddy looks at Inga, who is
sound asleep. Now he drains the last of his glass of
fruit juice and sets it down on an end table. he turns
over to sleep. The CAMERA BEGINS TO PAN SLOWLY to the
bedroom window. On its way, we SEE: A FEW DROPS OF FRUIT
JUICE dripping down the inside of the glass that Freddy
has just put down.
45 ANGLE THROUGH THE BEDROOM WINDOW (STOCK FOOTAGE) 45
CLOUDS PASS ACROSS A FULL MOON.
DISSOLVE TO:
46 LATER THAT NIGHT 46
Deadly silence! As the CAMERA PANS from the clouds,
SLOWLY BACK ACROSS THE ROOM, suddenly -- from the deep
recesses or the castle -- A VIOLIN IS HEARD PLAYING: THE
EERIE TRANSYLVANIAN LULLABY. As the CAMERA reaches Freddy,
he is tossing restlessly in his sleep.
Cont.
36
46 Cont.
FREDDY
Stop it. Stop it, I tell you
I don't want to be perfect. Can't
you understand that? I don't want
to be perfect!
Freddy wakes with a start. He sits up and listens to the
MUSIC. Then he stands and crosses to the bed.
FREDDY
Inga!
INGA
(in her sleep)
Yes, you may... but don't make
any noise.
FREDDY
(shaking her)
Inga, wake up!
INGA
(slowly waking)
What is it? Is something wrong,
Doctor?
FREDDY
Listen! Don't you hear that
strange music?
INGA
(listening)
Yes! What could it be at this hour?
FREDDY
I don't know. It just woke me up.
Freddy goes to the bookcase; Inga follows.
FREDDY
It seem to be coming from behind
this bookcase.
He puts his ear against the books and then fells for some
hidden button or handle.
FREDDY
Hand me one of those candles!
Inga takes a candle from a wall sconce and hands it to
Freddy. He looks closely at the books, examining some of
the titles. One title reads:
37
47 INSERT - TITLE 47
"SEX AND HAIR GROWTH: IT'S UP TO YOU"
48 FREDDY 48
out of amazement, pulls the book from the shelf.
49 ANOTHER ANGLE 49
A SMALL DOOR OPENS IN THE BOOKCASE.
INGA
Dr. Fronkonsteen -- look!
FREDDY
(listening through
the open door)
Whatever it is, it's coming from
down there. I'm going down to see.
INGA
Let me come with you, Doctor,
please! I don't want to stay up
here alone.
FREDDY
All right then, quietly! Close
your robe and stay right behind me.
Don't make a sound!
They enter the secret passage.
50 INT. SECRET PASSAGE 50
Freddy, holding the candle above them, follows the MUSIC
down a narrow, winding stairway. The source of the MUSIC
gets CLOSER and CLOSER, as they follow the yellow candle-
light down, down, down... brushing against the cobwebbed
walls. As they pass one section of wall, an ancient sign
can just barely be made out in the after glow of their
light. It reads:
CAPACITY: NOT MORE THAN 3 PERSONS
By order of:
FIRE DEPT.
Finally, they reach a landing. A door separates them from
whatever lies beyond. Freddy takes hold of the handle...
it crumbles in his hand like dust. He gently pushes
against the door. It CREAKS slowly open. The VIOLIN
MUSIC STOPS!
38
51 INT. VICTOR FRANKENSTEIN'S LABORATORY 51
Freddy and Inga walk into the now famous room. A strange
light comes from around a corner. As they walk towards
the light, they pass a shelf lined with skulls. They
look at each ancient head as they pass. Inga shudder
with horror.
The forth head is Igor. It looks as if his head is on
the shelf, but actually he is standing just behind the
shelf. He smiles.
FREDDY
Aye-gor!
IGOR
Fro-derick!
FREDDY
What are you doing here?
IGOR
I got frightened all alone upstairs,
so I came down here.
He leads them around the corner, where a glass bowl filled
with water is being heated by small flame.
FREDDY
But what you were doing?
IGOR
Just putting up some tea.
FREDDY
Did you hear that strange music?
IGOR
What?
FREDDY
Did you hear that strange music??
IGOR
What?
FREDDY
Did you hear that strange music?
Cont.
39
51 Cont.
IGOR
No, not sound.
INGA
There must have been someone else
down here then.
FREDDY
It seems that way.
(to Igor)
You didn't hear any music at all?
IGOR
What?
FREDDY
You didn't hear... nothing!
Aren't there any lights in this
place?
IGOR
Two switches over there, but I
wasn't going to be the first.
Freddy walks over and throws the first switch. OPEN ENDED
ELECTRICAL CURRENTS SHOOT OUT ALL OVER.
IGOR
Well, it's all right for
atmosphere.
Freddy turns off the first switch and then throws the other
one.
52 "NORMAL" LIGHTS GO ON 52
Now the lab can be SEEN in all its old splendor, but thick
in dust and spiders' webs.
INGA
Ooh!
FREDDY
What a filthy mess.
IGOR
I don't know... a little paint,
some flowers...
Cont.
40
52 Cont.
FREDDY
Did you see anyone else down here?
IGOR
No, but when I first came in, there
was a light coming from behind that
steel door.
A huge steel door is open a few inches. Freddy goes to
the door and listens, then opens it and they all walk in...
hesitantly.
53 INT. PRIVATE LIBRARY 53
By the light of Freddy's candle, they see a small, creepy
room, filled with musty books. There is a table in the
center of the floor. On the table there is a large book,
an ashtray, and a VIOLIN AND BOW.
INGA
(seeing the violin)
Look, Doctor!
FREDDY
Well, this explains the music.
INGA
But who was playing it?
There is a smoldering cigar in the ashtray.
FREDDY
I don't know, but whoever it was
barely finished putting out his
cigar. It's still smoldering.
(to Igor)
Let me smell your breath.
Igor exhales in Freddy's face. Freddy nearly passes out.
FREDDY
Well, it wasn't you.
He looks around the room.
FREDDY
What is this place?
IGOR
Must be the music room.
INGA
There's nothing but books and papers.
Cont.
41
53 Cont.
FREDDY
I wonder...
He looks at the large book lying on the table. He puts
his candle over the cover. A LOW RUMBLE OF THUNDER as
we SEE:
54 CLOSE SHOT - BOOK 54
"HOW I DID IT" BY VICTOR FRANKENSTEIN. Camera pulls back.
FREDDY
It is! This was my grandfather's
private library. Look at this!
IGOR
(reading the cover
of the book)
'How I Did It.' Good title!
FREDDY
Funny it should just be lying out
here on the table. I wonder what
kind of dribble this is?
He opens to the first page.
FREDDY
(reading aloud)
'Whence, I often asked myself,
did the principles of life proceed?
To examine the causes of life... we
must first have recourse to death.'
God, what a looney bin!
ANOTHER LOW RUMBLE OF THUNDER. Freddy's candle almost
blows out from a draft.
INGA
Oh, doctor!
FREDDY
Perhaps we'd better leave.
IGOR
Taking the book along?
FREDDY
Yes, I think we could all use a
good laugh.
DISSOLVE TO:
42
55 INT. LAB 55
Freddy is convulsed with laughter.
FREDDY
This guy is too much.
Inga and Igor stare passively. The three of them are
drinking tea. More water is boiling in a test tube.
FREDDY
(reading)
'...and as soon as the dazzling
light vanished, the oak tree had
disappeared. I knew then that
electricity and galvanism had
changed my life.'
He howls.
FREDDY
This guy is bonkers! Did you
ever hear anything like this??
ANOTHER LOW RUMBLE OF THUNDER.
As Freddy goes on reading, the CAMERA TRAVELS UP, UP, UP...
THROUGH the giant laboratory... as if to seek the source
of the THUNDER we HEAR, as the CAMERA MOVES UP:
FREDDY'S VOICE
(o.s.)
'When I look back now, it seems
to me as if this almost miraculous
event obliterated any last effort
by the spirit of preservation to
avert the storm that was even then
hanging in the stars.'
MORE THUNDER.
FREDDY'S VOICE
(o.s.)
He kills me! This guy kills me.
The CAMERA FINDS a large opening in the ceiling -- an
opening through which bodies might be elevated during an
electrical storm. THUNDER CLOUDS CAN BE SEEN as the
CAMERA PASSES THROUGH the opening into the night air.
FREDDY'S LAUGHTER is still HEARD from below. there is a
GIANT CRACKLE OF LIGHTNING - as if in reply.
Now the CAMERA TRAVELS DOWN. Time has passes and Freddy's
voice is hoarse, and more intense, and as the CAMERA TRAVELS
DOWN:
Cont.
43
55 Cont.
FREDDY'S VOICE
(o.s.)
'Until, from the midst of this
darkness, a sudden light broke
in upon me -- a light so brilliant
and wondrous, and yet so simple!'
The CAMERA has reached Freddy. His eyes are burning; he
reads almost feverishly. Inga and Igor are half asleep.
FREDDY
(reading)
'Change the poles from plus to
minus and from minus to plus!'
Freddy howls insanely.
FREDDY
(reading)
'I alone succeeded in discovering
the cause of generation of life.'
He doubles over in laughter.
FREDDY
'Nay, even more -- I, myself
became capable of bestowing
animation upon lifeless matter.'
He laughs, he laughs, he laughs... then SMASHES his tea
glass against a wall.
FREDDY
It could work!!
A TUMULTUOUS CLAP OF THUNDER.
CUT TO:
56 IGOR'S FACE 56
Illuminated by a CRACK OF LIGHTNING. He has a quizzical
smile.
CUT TO:
57 INGA'S FACE 57
Illuminated by a CRACK OF LIGHTNING. Frightened, yet
in awe.
CUT TO:
44
58 FRAU BLUCHER'S FACE - IN A ROOM 58
Illuminated by a CRACK OF LIGHTNING. She is SMOKING A
CIGAR.
CUT TO:
59 BEAUFORT FRANKENSTEIN'S COFFIN 59
Illuminated be a CRACK OF LIGHTNING. THE LID SLAMS OPEN
AND SHUT, OPEN AND SHUT.
CUT TO:
60 FREDDY'S FACE 60
Illuminated by a CRACK OF LIGHTNING. The dark circles
under his eyes suggest that he is IRREVERSIBLY INSANE.
61 LEGEND 61
It reads: "IRREVERSIBLY COMMITTED TO THE DARK
DESTINY OF ALL THOSE WHO BEAR THE
NAME OF 'FRANKENST'
NAME OF 'FRANKENSTEIN'
'FRONKONSTEEN.'"
FADE OUT
45
FADE IN
62 INT. LABORATORY - MORNING 62
A work space has been hastily prepared. Freddy, dressed
quite properly in riding boots and tweed jacket, is
reading from "the great book".
Inga, dressed in her Lab gown, is taking notes. Igor is
drawing on a large pad.
FREDDY
'As the minuteness of the parts
formed a great hindrance to my
speed, I resolved to make the
Creature of a gigantic stature.'
Of course! That would simplify
everything.
INGA
(pointing to another
paragraph)
And look at this, Doctor!
FREDDY
(reading)
'Dilation of his sacral
parasympathetic impulses would
cause an increase in flow of
blood and the erection to
approximately nineteen inches
of his apparatus genitals.'
IGOR
His what??
INGA
His schwanzstucker.
IGOR
Whew! A nineteen-inch drill.
FREDDY
Now then! What we're aiming
for, is a being about eight
feet in height, and all features
proportionably large.
Igor shows his drawing.
IGOR
Something like this?
They all look at the drawing.
Cont.
46
62 Cont.
They, and we, SEE a crude but impressive sketch of THE
MONSTER, and as we look at the drawing:
FREDDY'S VOICE
(o.s.)
You've caught something there.
Yes! As a matter of fact --
I think -- that this -- might --
be -- our -- man!
As our eyes travel from the top of the drawing to the feet:
MATCH DISSOLVE TO:
63 A PAIR OF VERY LARGE, REAL FEET 63
Now the CAMERA MOVES from the feet, BACK UP.
64 EXT. GIBBET - DAY 64
A gigantic BODY is standing on a scaffold. when we reach
the head, it is somehow incongruous: A sweet, boyish face
-- with a rope around its neck.
The "Body" is about to be hanged. next to it stands an
EXECUTIONER.
EXECUTIONER
Have anything to say?
THE BODY
(in quiet anger)
MMmmmgrrrrrrrrr!
EXECUTIONER
Anything else?
The "Body" thinks. Then:
THE BODY
Go shove it up your --
The Executioner throws the lever and THE TRAP DOOR FALLS
OPEN.
The "Body" hangs, lifeless.
DISSOLVE TO:
65 EXT. GRAVEYARD - NIGHT 65
LEAVES BLOW ACROSS A COLD CEMETERY.
A coffin is carried by FOUR PALLBEARERS to a deep grave.
RELATIVES are waiting by the grave site.
Cont.
47
65 Cont.
Through an iron gate surrounding the cemetery, TWO DARK
FIGURES peek through the rails and observe the funeral.
(One of them has a hunched back)
SOFT MOANING is HEARD from one of the Relatives. A MINISTER
mumbles Latin under his breath.
The Pallbearers set the coffin down on ropes placed over
the gravesite. A short distance away are a FATHER and a
MOTHER, standing next to a weeping DAUGHTER.
FATHER
He was a good man.
MOTHER
He was an angel.
FATHER
He was a saint!
A pause.
MOTHER
She had to marry this rotten
pig instead.
FATHER
Hanging was too good -- they
should have soaked him in lye.
The minister nods and TWO GRAVE DIGGERS lower the coffin.
The Daughter throws a bouquet of flowers onto the descending
coffin. The Minister throws a handful on dirt on top of
the coffin -- representing "Ashes to Ashes."
CUT TO:
66 INSIDE COFFIN 66
We SEE the FROZEN FACE of "The Body," and HEAR the sprinkled
dirt as it HITS the coffin lid.
A little dirt seeps in through the lid and lands on the
lips of the frozen face.
Ever so subtly, the lips make a spitting motion to clear
the dirt away.
CUT TO:
67 EXT. GRAVEYARD 67
The Grave Diggers are shoveling dirt into the grave. The
Relatives and Minister are leaving.
Cont.
48
67 Cont.
FIRST GRAVE DIGGER
What a filthy job!
SECOND GRAVE DIGGER
Could be worse!
DISSOLVE TO:
68 FREDDY AND IGOR 68
Knee-deep in the grave, shoveling the dirt out.
FREDDY
What a filthy job!
IGOR
Could be worse!
FREDDY
How?
IGOR
Could be raining!
A CRACK OF THUNDER.
Freddy stares at Igor.
DISSOLVE TO:
69 EXT. A STREET 69
Freddy and Igor carry the coffin down a street in the
POURING RAIN.
DISSOLVE TO:
70 INT. LABORATORY 70
Freddy and Igor are just setting the heavy coffin down
on an operating table. they take the lid off the hinges
and set it aside.
FREDDY
Wait! Let's tip the coffin
over, then just lift it off.
It'll be much easier.
They tip the coffin over, upside down, like a cake pan.
FREDDY
Now...
Cont.
49
70 Cont.
They lift the coffin up... but the operating table remains
empty.
FREDDY
Set it down!
They set it down on the table again. Freddy gives the
bottom of the coffin (which is now on top), a big WHACK!
They lift the coffin up again and there is the "Body."
It had been struck.
FREDDY
(looking at the
"Body")
Magnificent!
He checks its nails.
FREDDY
Very little decay. With this
magnificent specimen for a
body, all we need now is an
equally magnificent brain.
(he looks
at Igor)
You know what to do!
IGOR
I have a pretty good idea.
Igor glances at the movie audience for a moment.
FREDDY
Do you have the name I wrote
down?
IGOR
(looking at
his sleeve)
Yes. Dr. H. Delbruck.
FREDDY
I want that brain.
IGOR
Was he any good?
FREDDY
Was he any good??? He was the
finest natural philosopher,
internal medicine diagnostician
and chemical therapist of this
century.
Cont.
50
70 Cont.1
IGOR
Hmm!
FREDDY
And he wrote seventeen cookbooks.
IGOR
That's not bad.
FREDDY
Can you imagine that brain in
this body?
IGOR
I'm getting excited just thinking
about it. What if he's not there?
FREDDY
He only died two weeks ago --
I'm sure they'll still have him.
Hurry now. I'll prepare the
body.
IGOR
(starting to leave)
Oh! May I call you 'Master'?
FREDDY
Why?
IGOR
It's always been one of my
favorite names.
FREDDY
If you like -- just hurry!
IGOR
Thank you, Master.
Freddy rolls up the "Body's" right sleeve. He gazes at
the immensity of the hand in amazement and awe.
FREDDY
Look at this hand! Look at
these fingers!
A sudden thought twists through his brain. He sets the
dead arm up on its elbow, intertwines his own right hand
with that of the "Body's," and gets set for an "Indian
Arm Wrestle."
Freddy forces the dead arm down -- not without some difficulty
-- and then gives the "Body" a triumphant sneer.
DISSOLVE TO:
51
71 A HOSPITAL DOOR 71
The upper half of the door is made of glass. On the glass
is printed:
B R A I N D E P O S I T A R Y
AFTER 5:00 P.M. SHOVE BRAIN
THROUGH SLOT IN DOOR
The SHADOW OF A MAN can be SEEN silhouetted from inside the
Depository. The Man has a large hump on his back.
CUT TO:
72 INT. DEPOSITORY - NIGHT 72
LOW THUNDER!
A row of brains in jars, under glass domes, rests on a long,
narrow table.
Igor tiptoes slowly, examining the labels on each glass dome
that he passes.
ALBERTUS MAGNUS CORNELIUS AGRIPPA LAWRENCE TALBOT
(Physicist) (Natural Philosopher) (Hematologist)
Then he comes to:
HANS DELBRUCK
(Scientist & Saint)
Igor approaches the glass dome, lifts it off, and takes the
jar containing the brain of Hans Delbruck.
As he turns to go, he sees himself in a Full-length mirror.
He drops the jar in fright.
He looks down and sees the gooks mass of brain and glass.
He looks at the Movie Audience.
IGOR
Funny thing is... I tried!
He sweeps some of the mess under the table with his foot.
IGOR
(muttering to himself)
Freud would have a heyday with
this. Well...
Cont.
52
72 Cont.
He looks quickly at the "Brain table," grabs a jar from under
the glass dome nearest to him, and leaves.
On the glass dome, whose contents Igor has just taken, is
printed:
DO NOT USE THIS BRAIN!
"ABNORMAL"
CUT TO:
73 THE SKY 73
An ominous BOLT OF LIGHTNING!
CUT TO:
74 THE FACE OF THE "BODY" 74
He has a few cute stitch marks. Electrodes stick out from
both sides of his neck.
75 INT. LABORATORY 75
Freddy, wearing a long, white surgeon's gown and surgical
mask, stands over the "Body," which is strapped across the
chest and thighs. Freddy has a thimble on the finger of
one hand -- a needle and thread in the other.
FREDDY
Finished!
The "Body" is on an operating table, which is in the center
of a platform directly below the opening in the ceiling.
Inga stands nearby.
INGA
What a beautiful job!
Freddy looks up to the opening in the ceiling.
FREDDY
(shouting)
Ready??
CUT TO:
53
76 EXT. ROOF 76
Igor stands on the roof, flying two kites in order to
attract the lightning bolts. He is wearing rubber boots,
rubber gloves, and a rubber whaler's coat and hat.
IGOR
(shouting down)
You're sure you know what you're
doing?
FREDDY
Yes! It's all written down in
the notes. Tie off the kites and
come down!
IGOR
Yes, master. Just don't turn on
any radios.
77 INT. LABORATORY 77
Freddy hands Inga the needle and thread. Then he grabs
an electrical plug, connected to a "battery indicator,"
and plugs it into two small slits in one of the electrodes
in the "Body's" throat... as you would plug in a lamp. He
reads the indicator.
FREDDY
Soon, all the electrical
secrets of Heaven shall be
mine.
INGA
Oh, Frederick... you're not only
a great doctor, you're a great...
you're almost a...
FREDDY
A god?
INGA
Yes!
FREDDY
I know.
A CRACK OF THUNDER!
Igor comes down a small, spiral staircase from the roof.
Cont.
54
77 Cont.
IGOR
You'd better hurry -- I think it's
going to rain.
FREDDY
(to Inga)
All right... elevate me!
INGA
Right here?
FREDDY
Raise the platform, hurry!
INGA
Oh! Yes, Doctor.
She turns a giant wheel on the wall. The platform rises
towards the opening in the ceiling, with Freddy and the
"Body" on ,it.
FREDDY
(as he is going up)
The ancient masters promised
impossibilities and performed
nothing. We shall penetrate into
the recesses of nature. We shall
ascend into the Heavens. We shall
command the thunders of Heaven,
mimic the earthquake and even mock
the invisible world with its own
shadows.
IGOR
Tonight?
FREDDY
Yes! When I give the word -- throw
the first switch!
IGOR
You've got it, master.
The platform rises higher and higher. RAIN starts to come
down on Freddy.
FREDDY
Get ready!
The platform nears the opening.
FREDDY
Get set!
The platform rises through the opening and then stops. Now
Freddy is out in the open air, on the roof.
55
78 EXT. ROOF 78
A BOLT OF LIGHTNING and a CRACK OF THUNDER!
FREDDY
Go!!
79 INT. LABORATORY 79
Igor throws the first switch.
SPARKS, CURRENTS, DIALS capture our eyes.
80 EXT. ROOF 80
Freddy is getting drenched. He tries to check the "battery
indicator" plugged into the "Body."
FREDDY
(shouting down)
Throw the second switch!
81 INT. LABORATORY 81
IGOR
(throwing the switch)
This guy means business.
Igor looks up in awe.
82 EXT. ROOF 82
MORE THUNDER AND LIGHTNING.
FREDDY
It's not enough. More! More,
do you hear me?
IGOR
What?
FREDDY
More, do you hear me?
IGOR
What?
FREDDY
Throw the third switch!
IGOR
(throwing the switch)
Wait till he sees the bill.
56
83 INT. LABORATORY 83
The Laboratory is an electrical circus.
84 EXT. ROOF 84
FREDDY
All right -- turn everything off
and bring me down!
85 INT. LABORATORY 85
Inga turns the giant wheel the other way.
Igor throws back the three switches.
THE LIGHTS RETURN TO NORMAL.
Inga and Igor watch Freddy and the platform descend.
When it reaches the floor, Freddy stands soaked to the skin.
ALL EYES ARE ON THE "BODY."
FREDDY
Nothing!
They all stare at:
THE FROZEN FACE of the "Body."
DISSOLVE TO:
86 INT. DINING ROOM - NIGHT 86
Freddy, Inga and Igor sit at a long dining room table, set
with food and wine. Freddy stares into space.
FREDDY
Reputation. Reputation!
INGA
I thought it was wonderful.
FREDDY
I don't understand -- I followed
the notes to the letter.
Cont.
57
86 Cont.
IGOR
You can't win 'em all.
FREDDY
But there must be a reason.
This is science, not art.
INGA
Pass the Wildschweinbraten mit
Gewurzgurkensosse, please.
Igor looks at Inga, then passes the meat.
CUT TO:
87 INT. LABORATORY 87
The FROZEN FACE is still frozen. The chest is not breathing.
The arm is motionless.
The FINGERS......... MOVE!
CUT BACK TO:
88 DINING ROOM 88
FREDDY
Let's look once more. I can't
stand just sitting here doing
nothing. Maybe we left to soon.
Freddy and Igor set up. Inga goes on eating.
CUT TO:
89 THE LABORATORY 89
Freddy and Igor walk into the Laboratory and stand next to
the "Body."
FREDDY
Cold! Cold and dead!
IGOR
You mustn't take it so hard.
Bucharest wasn't built in a day.
Cont.
58
89 Cont.
Freddy leans his head down, in anguish, and rests it on
the chest of the "Body."
The "Body's" FINGER pushes against Freddy's behind. Igor
doesn't see it.
FREDDY
(to Igor)
Don't try to cheer me up that way.
IGOR
Well, I don't like to see you mope.
Igor stands next to Freddy.
IGOR
You'll be getting me sad next.
FREDDY
I'm sorry. I don't mean to take
out my frustration on you. You've
been a great help to me, and I've
let you down.
The "Finger" rubs against Igor's behind.
IGOR
(looking up suddenly)
I'm not that sort you know. I
appreciate you feelings, but try
to show them some other way.
FREDDY
(lifting his head)
You're right! Self-pity never
got anyone anywhere. Let's go
back and finish our dinner.
They leave.
The "Finger" OPENS AND CLOSES ITS HAND.
CUT TO:
90 DINING ROOM 90
Inga, Igor and Freddy are eating dessert.
IGOR
What is this?
Cont.
59
90 Cont.
FREDDY
Schwartzwalder Kirschtorte.
Seeping in from the laboratory, we HEAR: "MMMMMMmmmmmm!"
FREDDY
(to Igor)
Oh, do you like it? I'm not
partial to desserts, but this
is excellent.
IGOR
Who are you talking to?
FREDDY
To you! You just made a 'yummy'
sound, so I thought you liked the
dessert.
IGOR
I didn't make a 'yummy' sound --
I just asked what it was.
FREDDY
But you did -- I just heard
it.
IGOR
It wasn't me.
Freddy looks at Inga.
INGA
It wasn't me.
FREDDY
Look here - if it wasn't you,
and it wasn't you, and it wasn't
me...
Their eyeballs meet in the center of the room. then they
all tear downstairs to the Laboratory.
CUT TO:
60
91 INT. LABORATORY 91
They burst into the room. What we may at last call THE
MONSTER is straining, tentatively, against the straps
across his chest and thighs. his head is raised.
MONSTER
MMMMMMMMMMMMMNNNNNNmmmmmmmm?!?
FREDDY
It's alive!
INGA
Oh, Doctor!
INGA
I think you've done it, master.
FREDDY
Alive! Look at it. I have
defeated death!
IGOR
Better not get too close, master.
This guy could kill you.
FREDDY
I suppose you're right. Inga!
Prepare a sedative, just in
case.
Inga goes to a medicine case and prepares a hypodermic.
The Monster raises its head and makes little circles with
its hands, asking to be "free."
FREDDY
It's trying to talk. it wants
us to take off the straps.
IGOR
Don't fall for that one.
FREDDY
But don't you see...the brain
of Hans Delbruck is inside this
grotesque hulk -- pleading with
us. I've got to untie it.
IGOR
careful, master -- you never can
tell with these chaps.
Cont.
61
91 Cont.
FREDDY
All right...stand back!
Freddy carefully walks up to the Monster and stands over
him. The monster is silent, feeling his way.
FREDDY
Hello there.
MONSTER
MMMMMmmmmmmm.
FREDDY
How's everything?
MONSTER
(just a suggestion
of "not so good")
MMMmmmmmmmm.
FREDDY
I'm going to untie you -- can
you understand that?
MONSTER
(a soft, "crying"
SOUND)
MMMmmmm! MMMmmmm!
FREDDY
Yes, I'm going to set you free.
(to Inga)
Is the sedative ready?
INGA
Yes, Doctor.
Freddy takes the strap across the Monster's thighs and
unties it. Then he unties the strap across its chest...
and steps back. ALL EYES ARE ON THE MONSTER. TINGLY
MUSIC. The Monster looks at them all for a moment while
he is still lying down. A slightly sly grin comes to his
mouth. He rises...slowly, carefully, to a sitting position.
MONSTER
(a low, suspicious
groan)
MMMMMMMMMMmmmmmmmmmmmm.
Cont.
62
91 Cont.1
FREDDY
It's alive. It's -- moving!
It's -- breathing! It's --
standing! What is your name?
MONSTER
(thinking for
a moment)
... It's.
IGOR
Original.
FREDDY
(holding out
his hands)
Give -- me -- your -- hand!
The Monster slowly extends his hands to Freddy. Freddy
takes them and leads the Monster into his first steps.
92 PRODUCTION NUMBER - "ALIVE" 92
... in which Freddy, the Monster and Igor do a SONG and
DANCE that teaches the Monster how to move. Occasionally,
Inga and an unseen FIFTY-PIECE ORCHESTRA join in. The
Monster tries, in his own special way, to imitate the
gentle, "Soft Shoe" examples of Freddy and Igor. But
where they "Ping" and "Clink" ... he "PONGS" and "CLONGS."
93 ANOTHER ANGLE 93
After a big finish, the Monster beams ecstatically. he
bows out of instinct: "Show Business" is in his blood.
FREDDY
Whew! I'm glad that's over with.
IGOR
You can say that again.
FREDDY
Yes.
IGOR
You're just supposed to repeat
what you said.
FREDDY
Why?
Cont.
63
93 Cont.
IGOR
What's the point of my setup?
It's not funny unless you repeat
exactly what you said.
FREDDY
I'm not trying to be funny.
Igor looks at the Movie Audience.
IGOR
Repeat it anyway -- it's a
wonderful cue.
FREDDY
... I'm glad that's...
IGOR
No, no! That whole thing!
FREDDY
... Whew! I'm glad that's
over with.
MONSTER
MMMMmmmmmmmmm!
They all look at the Monster.
IGOR
See what I mean?
Freddy gives Igor a dirty look.
MONSTER
(signifying "More!")
MMMmmm! MMMmmm!
INGA
I think 'It' wants to do it
again Doctor.
FREDDY
It looks that way.
INGA
What do you think we should do?
MONSTER
MMMMMMMMMMMMMMMMMMMMMMMM!
Cont.
64
93 Cont.1
FREDDY
Oh...let's do it a little more.
94 ANOTHER ANGLE 94
They all SING and DANCE a short encore of "ALIVE." The
Monster gets violently carried away in his search for
dance perfection.
95 ANOTHER ANGLE 95
Freddy, Igor and Inga drop from exhaustion after another,
even bigger ORCHESTRAL finish. The Monster immediately
asks for:
MONSTER
MMMmmm!
They all stare at him in horror.
MONSTER
(signifying "More")
MMMMmmmmm! MMMMmmmmm!
Freddy walks boldly up to the Monster.
FREDDY
Stop that! Now just stop that
this instant and listen to me!
The Monster stares at Freddy in fascination.
FREDDY
I have given you one of the
finest minds of this century.
You are a brilliant endocrinologist.
You are a superb scientist. And
you are making naughty! Now that's
enough. Finished! From now on,
you will behave like a man, and
not a spoiled, snot-nosed, sniveling
brat who thinks he can get anything
he wants by bullying people with
sheer brute force.
The Monster gives Freddy a W H A C K you wouldn't believe
unless you were there. Inga SCREAMS.
IGOR
This fellow's got great timing.
Cont.
65
95 Cont.
The Monster picks Freddy up in his two hands and then
holds him high over his head.
INGA
Oh, Doctor -- be careful!
The Monster is about to dash Freddy to pieces, when:
MUSIC: A VIOLIN is HEARD PLAYING the EERIE TRANSYLVANIAN
LULLABY. The monster FREEZES -- still holding Freddy over
his head.
MONSTER
(soft, pathetic
cries)
Mmmmmm! Mmmmmm!
INGA
Doctor! There's that strange
music again. what could it be?
IGOR
It seem to have stopped the
big fellow in his tracks.
FREDDY
(from over the
Monster's head)
Ayegor! Find out where that
music is coming from as quietly
and as blindingly fast as you can.
IGOR
Yes, Master!
FREDDY
Act casual!
Igor casually takes out a box of jujubees from his pocket
and eats one. He walks over to the Monster, who is still
holding Freddy over his head.
IGOR
(to the Monster)
Care for a jujubee?
The Monster lowers one hand -- holding Freddy up with the
other -- and takes the box of jujubees. He sniffs them.
FREDDY
Clever ploy!
The Monster drains the box of jujubees in one gulp, then
hands the empty box back to Igor.
Cont.
66
95 Cont.1
IGOR
(looking at the
empty box)
NO movies together for us --
that's for sure.
Igor MOVES OFF in search of the MUSIC. The Monster --
deeply affected by the LULLABY -- slowly sets Freddy
down.
INGA
It's almost as if he were
afraid. he loves that music.
The Monster begins to hug Freddy and snuggle him. he
behaves like a frightened, loving child, as he holds his
arms out to Freddy.
INGA
I think he wants you to carry
him, Doctor.
Freddy nods agreement.
INGA
What are you going to do?
FREDDY
I think I'll...carry him.
Freddy prepares to lift the Monster. Suddenly: THE
MUSIC STOPS! The Monster's eyeballs float menacingly
towards Freddy.
MONSTER
MMMmmmmmmmmmmmmmmmmmmmmmmmmm!
INGA
Doctor! The music has stopped.
The Monster's hands creep around Freddy's neck.
FREDDY
Do you think you can sing it?
INGA
Me? Sing?
FREDDY
Yes -- quickly, dear!
Cont.
67
95 Cont.2
The Monster is really choking Freddy now.
INGA
I'd be so nervous.
FREDDY
This is not the finals -- just
sing!
INGA
(singing)
It's some-thing dar-ing,
'The Con-ti-nen-tal,'
A way of danc-ing
that's real-ly ul-tra new;
It's ver-y sub-tle,
'The Con-ti-nen-tal.'
The Monster is temporarily distracted. then he gives
Inga an angry look. The is not the music that he wants.
INGA
(singing)
Be-cause it does what
you want it to do.
MONSTER
MMMMMMMMMMMMMMMMMMMMMMMMMM!
The Monster's hands tighten around Freddy's neck.
INGA
(singing)
It has a pas-sion,
'The Con-ti nen-tal...'
FREDDY
Stop -- singing!!!
Igor WALKS IN, holding a violin and bow. He sees the
Monster choking Freddy.
IGOR
How's it going?
FREDDY
What did you find out?
IGOR
Someone was playing this in
the music room.
Cont.
68
95 Cont.3
FREDDY
Where is he?
IGOR
How do you know it was a 'he'?
FREDDY
All right -- where is she?
IGOR
How do you know it was a 'she'?
FREDDY
(gasping his
last breath)
Bring -- me -- the -- violin!
IGOR
Can you play it?
FREDDY
Maybe...if you get here on time.
Igor goes to Freddy and hands him the violin and bow.
Freddy plays the TRANSYLVANIA LULLABY to the best of
his ability. The Monster's hands begin to loosen.
INGA
It's working! Oh, Doctor --
you play beautifully.
IGOR
Do you know the theme from
'Doctor Zhivago'?
FREDDY
Get the sedative ready!
MONSTER
(soft and loving)
MMmmm! MMmmm!
The Monster hugs Freddy's face. Freddy, still playing
the violin, pats the operating table for the Monster to
"lie down." He does -- holding onto Freddy's face.
INGA
I think he wants to be tucked in.
Cont.
69
95 Cont.4
FREDDY
Get a blanket from under that
shelf!
Inga gets the blanket. The Monster holds Freddy's head
onto his chest, as Freddy continues playing. Inga and
Igor spread the blanket over the operating table, then
gently tuck the Monster in "bed." The Monster pulls
Freddy into bed with him and snuggles against Freddy's
shoulder. Freddy continues playing the violin under the
covers.
FREDDY
(to Inga)
All right -- give it to him!
INGA
Are you serious??
FREDDY
Give him the sedative!
INGA
Oh! Yes, Doctor.
She prepares the hypodermic, then lifts up a small section
of the blanket -- AWAY FROM OUR VIEW -- and pulls down the
Monster's pants a short way.
IGOR
He's got quite a tush.
She puts the needle in.
FREDDY
Did you do it?
INGA
I think so.
FREDDY
Good! It shouldn't take more
than a few seconds.
Freddy gradually stops playing.
MONSTER
(quietly, angry)
MMMMmmmmmmmm!
Cont.
70
95 Cont.5
Freddy starts playing. The Monster kisses him.
INGA
I'm getting tired.
IGOR
Why don't we all turn in? It's
been a long day.
FREDDY
Wait -- I'm sure he's out by now.
That shot was strong enough to stop a horse.
Freddy gradually stops playing. One of the Monster's
hands sleepily closes around Freddy's throat.
IGOR
See you at breakfast, then!
Freddy continues playing.
INGA
Good night, Doctor.
FREDDY
(afraid to dis-
turb the Monster)
Good night!
Igor and Inga LEAVE
96 NEW ANGLE 96
Freddy is left alone with the Monster, still playing the
violin.
FREDDY
(sarcastically)
Thanks...for all your help.
IGOR
(o.s., from
behind a wall)
That's what we're paid for.
Freddy looks at the Monster -- whose contented face
nestles against Freddy's chin.
Cont.
71
96 Cont.
FREDDY
(as he plays
the violin)
This song. This haunting melody.
This ancient, quaintly atonal
folk tune...is driving -- me --
crackers! I can't go on -- do
you understand?? Can NOT go on
playing this pathogenically rotten
song. If you're not asleep yet,
then kill me if you have to, but
at the count of three...I stop!
One!................ Incidentally,
I was thinking of making a big
breakfast tomorrow -- blueberry
waffles and crisp bacon. Two!...
...................... By the
way, I'm sorry I yelled at you
before -- I must have been over-
tired. Anyway, I meant to apologize
and just forgot. Two!...............
Maybe tomorrow would be a good day
just to relax -- go for a swim,
maybe do a little water skiing.
Well...we'll see after we finish
a nice breakfast. Three!
Freddy stops playing. the monster is sound asleep.
Freddy puts the violin down, throws off the blanket,
then ties the straps that bind the Monster to the
operating table.
FREDDY
(when the Monster
is firmly tied)
Spoiled Sissy!
Freddy picks up the violin again and stares at it.
FREDDY
The song is over!
He looks at the sleeping Monster.
FREDDY
Das lied ist aus!
He breaks the violin in half. Immediately, he feels a
sense of relief and lightheadedness.
Cont.
72
96 Cont.1
FREDDY
Oh! Oh my! What a strange
feeling that was. My head --
I felt such a pressure, splitting
my head apart. I feel so relieved
and lightheaded. That horrible
pressure...like voices...all calling
to me, imploring me...swearing at me.
Well, it's over now, thank goodness.
(he turns to
the Monster)
Oh...my poor Doctor Delbruck.
(he strokes the
Monster's head)
Doctor, Doctor...what have I done
to you? Was habe ich von Dir
gamacht? Your magnificent brain,
locked in this...pile of... Forgive
me, Doctor. I thought -- for science
only. I couldn't stand the thought
to mankind. I was a fool! How
dangerous is the acquirement of
knowledge, and how much happier
is that man who believes his native
town to be the world, than he who
aspires to become greater than his
nature will allow. Con you ever
forgive me?
He puts his head down in silent prayer. MUSIC: ANOTHER
VIOLIN PLAYS: THE EERIE TRANSYLVANIAN LULLABY. Freddy's
body tenses. We cannot see his face, but his fingers go
to his temples. He slowly raises his head.
FREDDY
That's a knockout tune! That tune
is a winner. You can't call it
'wishy-washy' ... like some people
I know. That song is going places.
(he looks at
the Monster)
And so are we -- Blubber Boy. With
your body, and the brain of that
kraut -- we'll be 'Number One' in
no time.
The MUSIC is PLAYING LOUDER and FASTER.
Cont.
73
96 Cont.2
FREDDY
Right, voices?? I hear you
skipping away in there. 'Do
better than your father!' You're
telling me I will. 'Do better
than my grandfather!?' I'll
make my famous grandfather look
like a part-time nurse.
He rises.
FREDDY
There's no stopping now. Destiny
is too potent. I -- want --
perfection!
A BOLT OF LIGHTNING!
FREDDY
I want a lot of it...and the
best there is.
He grabs the Monster's head and hits it. A CRACK OF
THUNDER!
FREDDY
Because from now on...
CUT TO:
97 INT. PRIVATE LIBRARY 97
Frau Blucher is insanely playing the violin and watching
Freddy through a crack in the door.
CUT BACK TO:
98 INT. LABORATORY 98
FREDDY
...the only act we follow is the
creation of fire. I'm going to
explore unknown powers...I'm going
to unfold to the world the deepest
mysteries of creation...and I'm
going to make -- my -- mommy --
proud!
FADE OUT
74
FADE IN
MONTAGE - INT. CONVERTED BALLET REHEARSAL ROOM - DAY
Mirrors and a warmup bar run along three walls.
Throughout the Montage, the Monster is dressed in leotards
and lederhosen.
99 1st Piece - INT. CONVERTED BALLET REHEARSAL ROOM 99
The Monster is at the warmup bar, doing ballet exercises
to the MUSIC OF CHOPIN -- which is being PLAYED on the
PIANO by Igor.
Inga -- also in leotards -- is at the bar in front of the
Monster, so that he may follow her example.
Freddy sits on a chair in the middle of the floor,
pounding out the "count" with a long stick.
FREDDY
And one and two and three and four
and lift -- lift , three and four
and don't look sad for sympathy;
you know we only stop to pee.
And lift -- lift, three and four
and try and not to break the floor.
DISSOLVE TO:
100 2nd Piece - INT. CONVERTED BALLET REHEARSAL ROOM 100
Freddy and Inga are wearing different clothes -- to
denote change of time.
Inga only watches this time, as the Monster tries a few
"points" and "turns" across the room on his own.
Igor plays Chopin.
FREDDY
And one and two and point your toes
and two and two and stretch you thighs
and three and two and lift your knees
and watch that nasty temper, please.
The Monster is getting angry.
FREDDY
And one and two and point your toes...
Cont.
75
100 Cont.
Igor stops playing the piano, but continues speaking
with the "count."
IGOR
And Oh-oh, Oh-oh...there he goes.
The Monster's hands are around Freddy's neck.
FREDDY
And oopy, not so hasty, please,
and stretch your legs
and lift your knees.
The monster, involuntarily, continues his footwork while
he is trying to choke Freddy.
Freddy picks up a violin from under his chair and plays
the EERIE TRANSYLVANIAN LULLABY -- BUT IN THE SAME RHYTHM
THEY HAVE BEEN USING, so that not a "count" is missed.
FREDDY
And even though we're nose to nose,
Always, always point your toes!
Don't knot your fists like monsters do,
but light-ly, gently, pas de deux.
A grateful bot who has a chance
would never kill if he could dance.
So take your fingers off my throat
and two -- remove them from my chest
and three and two, continue please;
I didn't say 'It's time to rest.'
Don't stand flat footed; point your toes!
Don't hang your hands like some dumb clod;
Always lift them gracefully,
like little chil-dren praying to God.
That's the way an angel grows
but first he learns to POINT his TOES!
Igor continues playing Chopin. The Monster goes back to
his exercises.
FREDDY
And one and two and stretch your thighs
and two and two and lift your knees...
DISSOLVE TO:
76
101 3rd Piece - INT. CONVERTED BALLET REHEARSAL ROOM 101
The angelic face of the Monster sits in perfect concentration,
as he prepares to play the harp.
He lightly ripples the strings: his face lights up!
He ripples the strings a second time: he is in ecstasy.
On the third ripple: ALL THE STRINGS COME OUT in his
hands, like a mass of spaghetti.
Freddy, Igor, and Inga try not to look at each other.
DISSOLVE TO:
102 4th Piece - INT. CONVERTED BALLET REHEARSAL ROOM 102
MUSIC: a phonograph RECORD PLAYS TCHAIKOVSKY.
The Monster is dancing "reasonably" well with A YOUNG
BALLERINA.
Freddy, Igor and Inga watch with great expectation.
The Monster lifts the Ballerina up, and sets her down.
He lifts her up, and sets her down.
Now he takes her hand, prepares for the "big Twirl,"
lifts her up, and twirls her through the air.
The Young Ballerina sails out of the open window.
CUT TO:
103 EXT. COUNTRY ROAD - DAY 103
An ELDERLY COUPLE are driving their horse and wagon to town.
A YOUNG BALLERINA SAILS PAST THEIR EYES.
DISSOLVE TO:
104 5th and Final Piece - INT. CONVERTED BALLET 104
REHEARSAL ROOM
Freddy and the Monster stand over two enormous xylophones.
Each holds his two wooden hammers.
Freddy -- at his xylophone -- passionately laces into
Rimsky Korsokov's "FLIGHT OF THE BUMBLE BEE."
Cont.
77
104 Cont.
The Monster strokes -- in perfect time -- the LAST NOTE
of each phrase.
The crowning glory is a slow bridge of SEVEN PERFECT
NOTES BY THE MONSTER.
When the piece is finished, Freddy, the Monster, Igor
and Inga all hug each other in triumph.
TRIUMPHAL MUSIC.
DISSOLVE TO:
105 EXT. THEATRE - NIGHT 105
A poster reads:
BUCHAREST STATE THEATRE
Tonight Only
DR. F. FRONKONSTEEN
in
"THE GREATEST DISCOVERY SINCE FIRE"
Presented in Cooperation With
T N S
(Transylvanian Neurological Society)
A "SOLD OUT" sticker is pasted across the poster.
CUT TO:
106 INT. AUDITORIUM - NIGHT 106
The audience is filled with ELDERLY SCIENTISTS, their
WIVES, and THE CURIOUS from the upper crust in society.
All are elegantly dressed in cheap movie studio wardrobe.
107 INGA 107
in a formal, and Igor -- in "something" -- wait excitedly.
108 FREDDY 108
stands on a stage, dressed in tails.
Cont.
78
108 Cont.
FREDDY
And now, my fellow scientists and
neurosurgeon...I must ask you to
...suspend belief.
For up until now, you have seen the
Creature perform the simple mechanics
of motor activity. That this Creature
was an inanimate blob, which I endowed
with the secret of life -- yes!...in
all honesty -- that showed some measure
of skill on my part.
But for what you are about to see
next...we must enter -- quietly --
into the realm of genius. I say
this modestly, only because I am,
myself, as in awe of the gifts I
possess as if I were observing them
in some other person. I think of
them, only, as a loan. Grateful, of
course...that my credit is good.
Thus, with the accumulated knowledge
of Chemistry, Electricity, Neuro-
surgery...and art...I now present
what was once an inarticulate mass
of lifeless tissues.
Ladies and gentlemen...
Mesdames et Messieurs...
Damen und Herren...The Creature!
Freddy sits down at a beautiful grand piano. He plays a
short trill up the keyboard.
109 ANOTHER ANGLE 109
as A SPOTLIGHT hits the darkness next to him.
And there -- IN TOP HAT AND TAILS -- stands the Monster.
he is heavily made up.
FREDDY
(playing the piano
and singing)
If you're blue and you
don't know where to
go to, why don't you...
The Monster accompanies the music with short, simple
"Soft Shoe" steps.
FREDDY
...go where fashion
sits.........................
Cont.
79
109 Cont.
MONSTER
Poo -- tmmm anngh ma Ritz!
FREDDY
Diff'rent types who wear
a day coat, pants
with stripes and cutaway
coat, perfect
fits.........................
MONSTER
Poo -- tmmm anngh ma Ritz!
FREDDY
Dressed up like a
million dollar
trouper
Trying hard to
look like Gary
Cooper.
MONSTER
Soo -- pah doo -- per.
The Audience's faces are absolutely blank. Inga and
Igor are thrilled.
FREDDY
Come let's mix where Rock-
e -- fellers walk
with sticks or 'um-ber-
el-las' in their
mitts.........................
MONSTER
Poo -- tmmm anngh ma Ritz!
The Monster gets a tomato right in the face. He stops cold.
FREDDY
Dressed up like a
million dollar
trouper
Trying hard to
look like Gary
Coo -- per.
An EMBARRASSING PAUSE.
FREDDY
(to the Monster)
That's your cue. Go on!
Cont.
80
109 Cont.1
MONSTER
MMMMMMMMMMMMMMMMMMMMmmmmm.
FREDDY
(trying to cover)
...Su-per du-per.
Come let's mix where Rock-
e-fellers walk
with sticks or 'um-ber-
el-las' in their
mitts.........................
The Monster knows it's his cue: he just looks at Freddy.
MONSTER
MMMMMMMMMMMMMMMMMMmmmmmmmmmmm!
FREDDY
For God's sake -- go on! Are you
trying to make me look like a fool.
Sing, you amateur! Sing!!
The Monster gets a raw egg in his face.
AUDIENCE
Booooo!
Get him off!
Fake!
What else can your toy do?
FREDDY
Fake?? You stupid idiots...you call
my creation a fake??? What do you
know about truth? You're the fakes!
All of you! I wouldn't come to you
with a hang-nail.
The monster gets another tomato in his face.
MONSTER
MMMMMMMMMM!
MMMMMMMMMMMM!
FREDDY
(running to him)
Wait! Stop! Don't give them the
satisfaction. I know it's tough,
but look at how far we've come!
Are you going to throw it all
away now??
The Monster thinks, as the tomato drips down his face.
He is touched by Freddy's reasoning, but still burning
with resentment.
Cont.
81
109 Cont.2
MONSTER
MMMmmmmmm.
FREDDY
Don't you think I know that? But
what are you judging by? Bucharest???
This was always a hick town. They
can't get a 'Bus and Truck' company
to come in here. Are you going to
let these idiots get the best of you?
...Or are you going to stand up like
a man and show them that you've got
more dignity in your little finger
than they've got in all their beer-
bloated bodies put together?
The Monster considers this plea for a moment. Then gives
Freddy a colossal W H A C K and jumps into the Audience.
110 THE AUDIENCE 110
screams and scatters for the exits.
PANDEMONIUM.
FREDDY
(as he picks himself up
off the stage floor)
I chose the wrong song.
CUT TO:
111 EXT. STREET - NIGHT 111
PEOPLE run in all directions.
The monster comes bursting down the street, with his arms
flailing.
DISSOLVE TO:
112 INT. CASTLE DINING ROOM - NIGHT 112
Freddy sits dejectedly -- still dressed in his theatre
clothes.
Igor and Inga sit near him. Frau Blucher stands nearby.
FREDDY
I'm a failure.
IGOR
Come on, Froderick -- none of that.
Cont.
82
112 Cont.
INGA
Look how far we've come.
IGOR
You can't expect to iron out all
the kinks in one night.
INGA
I think the doctor is a genius!
Don't you, Igor?
IGOR
Why certainly. Don't you,
Frau Blucher?
FRAU BLUCHER
He's a failure.
Freddy gives her a cold stare.
FREDDY
What are you waiting around for,
pickle puss?
FRAU BLUCHER
(handling him a cable)
This wire came while you were gone.
Your fiancee will be arriving any
moment.
FREDDY
Elizabeth!?!
(he reads the cable)
'Can't waits any longer. Arrive
in your arms at ten tonight.'
Oh, God! Not tonight.
INGA
Why, doctor...how wonderful for you.
FREDDY
Wonderful? It's terrible!
Terrible, terrible, terrible,
terrible, terrible!
Freddy storms out of the room.
IGOR
She sounds fascinating.
CUT TO:
83
113 EXT. COBBLESTONED ALLEY - NIGHT 113
A SIX-YEAR-OLD GIRL walks innocently along the narrow,
menacing alley, lit only by moonlight.
Behind her, there slowly appears a growing, TWENTY-FOUR
SHADOW.
When the shadow is almost upon her, the Girl turns around
and faces her pursuer.
It is her BABY BROTHER, holing a long balloon in each
hand.
SIX-YEAR-OLD-GIRL
(grabbing him)
Mit kommen, mit kommen. Du bist
immer eine schlafmutzigem Blind-
schleiche.
She gives him a slap on the behind and pulls him along.
CUT TO:
114 A GRANDFATHER CLOCK 114
It is ten o'clock. GONG.
115 INT. RECEPTION HALL 115
The front door opens and Elizabeth comes in. Frau Blucher
and a COACHMAN can be SEEN in the b.g.
Freddy stands in dressing gown and ascot. Inga and Igor
wait politely in the rear.
ELIZABETH
Darling!
FREDDY
Darling!
They embrace.
ELIZABETH
Surprised?
FREDDY
Surprised!
ELIZABETH
Love me?
FREDDY
Love you! ...Well, why don't
we turn in?
Cont.
84
115 Cont.
ELIZABETH
Darling!?!
FREDDY
I mean, it's been a long day.
I'm sure you must be as tired
as I am. Oh! These are my
assistants: Inga and Ayegor.
Freddy turns to get some luggage from the Coachman.
ELIZABETH
(stepping up
to Inga)
How do you do?
INGA
Very well. So nice to meet you
at last.
Elizabeth steps up to Igor.
IGOR
Darling!
ELIZABETH
Hello...?
IGOR
Surprised?
ELIZABETH
Well... yes.
IGOR
Miss me?
ELIZABETH
I...
Freddy approaches them with Elizabeth's two suitcases:
One very large, and one very small.
FREDDY
Ready, darling?
ELIZABETH
Yes. I am a bit tired, after all.
FREDDY
(to Igor)
Give me a hand with these, will
you, Ayegor?
Cont.
85
115 Cont.1
IGOR
Certainly, master.
Igor takes the small suitcase, and, with Inga, leads
Elizabeth and Freddy up the stairs. Freddy struggles with
the large suitcase. Frau Blucher follows behind.
115A ON THE STAIRWAY 115A
ELIZABETH
What a strange fellow.
FREDDY
Yes, he's a little bit... tilted.
Harmless, though.
ELIZABETH
Why does he call you 'master'?
Freddy stares at her.
FREDDY
Are you suggesting I call him
master???
ELIZABETH
No, of course not. I just meant...
FREDDY
All right then!
DISSOLVE TO:
116 INT. ELEGANT RESTAURANT - NIGHT 116
The Monster walks in cautiously. No one seems to take
any particular notice of him.
He walks up to the MAITRE D' and taps his back.
MAITRE D'
Yes, sir, name, please?
MONSTER
Food!
MAITRE D'
Do you have a reservation?
MONSTER
Food!!
MAITRE D'
I'm sorry, sir. We only seat by
reservation.
Cont.
86
116 Cont.
MONSTER
Drink!
MAITRE D'
Oh, no sir-ee. If yo don't have
a reservation you can skip to
ma-loo.
The Monster grabs the Maitre D' by the lapels
MONSTER
Foooooood!
MAITRE D'
Now just one moment. There's no
need for roughhousing. Have you
ever tried a tip?
MONSTER
GRRRHMMNNNJKJMMMNN!
MAITRE D'
Franz! Help! Lunatic!
117 NEW ANGLE 117
As the monster picks up the maitre D' and throws him into
a crowd.
The Monster attacks the restaurant. LADIES, GENTLEMEN
AND WAITERS scream.
PANDEMONIUM.
DISSOLVE TO:
118 INT. ELIZABETH'S BEDROOM - NIGHT 118
Elizabeth -- in a long, satin robe -- stands over Freddy,
who sits staring into a fire.
FREDDY
Poor Delbruck! There must be
some way to reach him -- to
control that body.
ELIZABETH
Darling, you mustn't worry so.
Cont.
87
118 Cont.
FREDDY
But there's a genius inside that
body -- crying out for love and
understanding and normal human
relationships. I just have to
find some way to re-establish his
communications system.
ELIZABETH
But you can't do that at night.
And even if you could -- it would
cost a fortune. Come to bed,
darling.
FREDDY
Oh, Delbruck, Delbruck. Was will
dien tachlas von Dir?
ELIZABETH
You've done everything that's
humanly possible, Frederick. Oh,
darling, I'm so worried about you
-- you need rest.
FREDDY
I suppose you're right.
ELIZABETH
Of course I am. Now come along
like a good boy.
He gets up.
FREDDY
What would I do without you?
They kiss.
ELIZABETH
Is your room just down the hall?
... in case I get frightened
during the night?
FREDDY
Yes, but... I thought, perhaps
tonight, under the circumstances,
I might... stay here with you.
ELIZABETH
Oh, darling! Don't let's spoil
everything.
Cont.
88
118 Cont.1
FREDDY
I don't want to spoil anything --
I just want to top it all off.
ELIZABETH
Would you want me, now, like this,
so soon before our wedding? ...
So near we can almost touch it?
Or wait a little while longer,
when I can give myself without
hesitation?... When I can be
totally and unashamedly yours??
FREDDY
That's a tough choice.
ELIZABETH
Is it worth taking a chance?
FREDDY
I suppose you're right.
ELIZABETH
Of course I am. Now give me
a kiss and say good night like
my good boy.
They kiss.
FREDDY
Good night.
ELIZABETH
That's my good boy.
Freddy steps out into the:
119 INT. HALLWAY 119
Elizabeth blows him a kiss and slowly closes her door.
Freddy stands for a moment, then walks to the door next
to Elizabeth's room and knocks.
120 ANGLE ON INGA 120
She is wearing a flimsy nightgown, opens the door.
INGA
Why, Doctor... is anything the
matter?
Cont.
89
120 Cont.
FREDDY
Just passing through the night.
INGA
What's wrong, Doctor? You
seem... lonely.
FREDDY
Oh, a little. But it's not just
physical loneliness. It's the
pangs that come from missing
someone intellectually... as I
have you.
INGA
I've missed you intellectually,
too, Doctor.
He stares at her almost "see-through" nightgown.
FREDDY
It's terrible -- the price society
demands in the name of fidelity...
ultimately?
INGA
Not fooling around.
FREDDY
I know, but I mean -- not fooling
around physically?... Or not
fooling around intellectually?
INGA
I see what you mean.
FREDDY
There can never... ever... be
anything physical between us.
You know that, dear.
INGA
I know Frederick.
He is staring at her breasts.
FREDDY
It wouldn't be fair to Elizabeth.
INGA
Of course not.
Cont.
90
120 Cont.1
FREDDY
For that matter, it wouldn't
be fair to you, or to me.
On the word "you", he touches Inga's breast to emphasize
his point. On the word "me", he touches his own chest.
Pause.
INGA
What?
FREDDY
I say, it wouldn't be fair to
you... or to me.
INGA
Nor to Elizabeth.
FREDDY
No. Nor to Elizabeth.
INGA
We all have our feelings. I
know that I have mine. And...
I wouldn't want to hurt yours.
On the word "mine", she touches her chest for emphasis. On
the word "yours", she places her hand on Freddy's chest
and rubs it a little.
FREDDY
Yes, I do have my feelings. And,
of course, you have yours.
He rubs her chest.
INGA
And Elizabeth has hers.
FREDDY
Yes, Elizabeth has hers.
INGA
But, after all, you have yours.
She unbuttons a button of his pajama top so that she can
touch his chest better.
FREDDY
Yes, I have mine.
INGA
And I have mine.
Cont.
91
120 Cont.2
FREDDY
Yes...yes, you have yours.
INGA
Why don't we talk inside?
FREDDY
(keeping one
hand on her chest)
Well...
(he looks at
his watch)
... perhaps for a few minutes.
They go into Inga's room.
DISSOLVE TO:
121 EXT. BURGOMEISTER'S HOUSE - NIGHT 121
VILLAGERS, with torches and DOGS, stand on the street, in
front of the Burgomeister's steps.
FIRST VILLAGER
Burgomeister Krempen.
SECOND VILLAGER
Burgomeister Krempen!
THIRD VILLAGER
(pounding on the door)
Burgomeister Krempen!
FOURTH VILLAGER
Mayor Krempen!
BURGOMEISTER
(opening the door)
What is it? What's going on?
FIRST VILLAGER
The monster, sir. The Monster is
loose.
BURGOMEISTER
Do you realize it's after eight
o'clock???
SECOND VILLAGER
Yes, sir, but the monster. He's
escaped!
Cont.
92
121 Cont.
THIRD VILLAGER
He's running through the countryside,
terrorizing the villagers. No one
is safe.
BURGOMEISTER
What do you mean 'the' monster --
as if this happened every Sunday.
You mean 'a' monster.
FOURTH VILLAGER
No, sir, it's 'the' monster. The
Frankenstein monster.
BURGOMEISTER
Oh, Tommy Rot!
ASSORTED VILLAGERS
Yes!
Frankenstein!
The Frankenstein monster!
BURGOMEISTER
Now wait a minute! Just wait a
minute!
They quiet down.
BURGOMEISTER
Now see here! There'll be no more
wild accusations bandied about
while I'm still Burgomeister of
this village. If there is mischief
afoot, the way to find out is to
confront the man with the charges
brought against him. It's the
only decent thing to do. And as
long as I'm Burgomeister of your
village -- a man's name is still
his honor.
FIRST VILLAGER
But it's true, sir. Young Master
Freddy -- he's come from America
and read all of his grandfather's
secret notes. They've started the
whole business all over again, sir.
BURGOMEISTER
That swine!
Cont.
93
121 Cont.1
SECOND VILLAGER
It's in the blood, sir. The whole
family is insane.
THIRD VILLAGER
He's got to be put away.
FOURTH VILLAGER
And the monster destroyed!
ASSORTED VILLAGERS
Yes!
The monster!
Kill the monster!
The monster must be destroyed!
BURGOMEISTER
Now see here! Before we go running
about, killing people, we'd better
make damned sure of our facts. A
riot is an ugly thing... and once
you get one started -- there's
little chance of stopping it short
of bloodshed.
"Groans" of disappointment from assorted Villagers.
BURGOMEISTER
So the first thing we'll do, is
march calmly up to the Frankenstein
castle and have a nice little chat
with our good doctor. Now then!
Who doesn't have a torch and a dog?
All right -- follow me!
ASSORTED VILLAGERS
Yay!
Down with Frankenstein!
Kill the monster!
They all run off ahead of the Burgomeister.
CUT TO:
122 INT. INGA'S BEDROOM - NIGHT 122
Freddy and Inga are under the sheets. Only their faces
can be SEEN.
FREDDY
It wouldn't be right... you know
that.
Cont.
94
122 Cont.
INGA
Yes, I know.
FREDDY
It wouldn't be fair to her.
INGA
Yes, I know.
FREDDY
You've got to help me to remain
faithful.
INGA
Yes, I will.
FREDDY
...But an intellectual relationship,
like this -- we could have as often
as we wanted. Three times a day --
anything!
CUT TO:
123 EXT. COUNTRY ROAD - NIGHT 123
The angry Villagers are marching and shouting, gathering
up steam on their way to the Frankenstein castle.
CUT TO:
124 INT. ELIZABETH'S BEDROOM - NIGHT 124
Elizabeth is just finished brushing her hair, humming
quietly to herself. She stands up and blows out the
candles near her mirror.
She walks to some French doors that open onto a small
balcony. She opens the glass doors and looks at:
125 ANGLE ON MOON 125
Bright and full.
95
126 BACK TO SEEN 126
She takes a breath of fresh air, then closes the doors
and walks to her large double bed. She slips off her
robe -- revealing her thin body in delicate nightgown.
Suddenly she hears:
"MMMMMMMMMMmmmmmmmmmmm."
She turns towards the French doors and listens. She
decides that it was nothing and gets into bed.
CUT TO:
127 EXT. THE CASTLE - NIGHT 127
The Burgomeister and the Villagers are at the steps of
the castle. the Burgomeister pounds on the front door.
CUT BACK TO:
96
128 ELIZABETH'S BEDROOM 128
Elizabeth lies in bed, illuminated be the flames from her
fireplace.
There is the soft SOUND of CURTAINS FLAPPING.
The French doors have been opened -- the silk curtains
flapping from a breeze outside.
CUT BACK TO:
129 EXT. CASTLE 129
The Burgomeister pounds louder and louder on the front door.
Finally the door opens and Freddy appears in his robe. he
looks at the angry mob.
BURGOMEISTER
Frederick Frankenstein?
FREDDY
You have the wrong house.
BURGOMEISTER
And who might you be?
FREDDY
Dr. Frederick Fronkonsteen.
BURGOMEISTER
The grandson of Victor 'Fronkonsteen'?
FREDDY
No!
BURGOMEISTER
What was your grandfather's name?
FREDDY
Victor Frankenstein.
Pause, as the Burgomeister tries to fit the pieces together.
CUT BACK TO:
130 ELIZABETH'S BEDROOM 130
Elizabeth has a contented smile on her face. Her eyes are
closed.
A LARGE SHADOW grows against the wall behind her.
Cont.
97
130 Cont.1
The shadow crosses her face and blots out her key light
from the fireplace.
She opens her eyes and looks ahead. Her face freezes in
terror.
CUT BACK TO:
131 EXT. THE CASTLE 131
BURGOMEISTER
Forgive me for intruding so late
at night, Herr Baron. But an ugly
rumor has it that there are strange
goings on in this castle. These
good citizens are ready to rip you
from limb to limb unless you can
offer some rational explanation for
their fears. How say you?
FREDDY
Ugly, vicious rumous.
A BLOODCURDLING SCREAM!
assorted villagers
What was that?
Listen!
Did you hear that?
BURGOMEISTER
They say, also, that you have
recreated the horrible monster
who, for so many years, has haunted
and terrorized the God-fearing
people of this village. What say
you to that?
FREDDY
Poppycock!
Igor comes running out from inside the castle.
IGOR
He's back! He's back! The
monster's back!
Everyone looks at Freddy.
Cont.
98
131 Cont.
FREDDY
What monster?
IGOR
What d'ya mean "What monster?'
You remember...the one we madein
the basement.
Everyone looks at Freddy
FREDDY
I think we all need a good night's
sleep. Why don't we meet next week
and thrash this thing out?
BURGOMEISTER
Now wait a minute!
IGOR
You don't understand, Master.
The big fellow's broken in and
kidnapped your fiancee.
FREDDY
What???
IGOR
He's carrying her off now through
the woods.
Freddy, the Burgomeister and Igor run around to the side of
the castle. The Villagers follow.
CUT TO:
132 EXT. SIDE OF CASTLE 132
The Monster can just be SEEN, far below, disappearing into
the woods (SEVEN TREES AND A BACKDROP). Elizabeth is slung
over his back.
ASSORTED VILLAGERS
There he is! That's the monster!
After him!
Kill him!
The Burgomeister and all the Villagers run off after the
Monster, leaving Freddy an Igor alone.
IGOR
What now, boss? A little something
to eat and then join the chase?
Cont.
99
132 Cont.
FREDDY
No! The only hope now is to get
him back here. If I can just find
a way to relieve the pressure on
his cerebellum...
IGOR
That sound good, boss.
FREDDY
... and equalize the imbalance
in his cerebrospinal fluid...
IGOR
I like your style, master. How
do we get him here?
FREDDY
There's only one way.
IGOR
I'll bet it's a doozy.
DISSOLVE TO:
133 EXT. WOODS - NIGHT 133
The Burgomeister and the Villagers are on the hunt.
The Burgomeister is being pulled along by a GREAT DANE.
134 THE VILLAGERS 134
climb little hills and rocks. OTHER DOGS are BARKING
ferociously.
BURGOMEISTER
There he is!
The Burgomeister's Great Dane is making so much noise, it's
difficult to hear.
1ST VILLAGER
What?
BURGOMEISTER
There he is!!
1ST VILLAGER
What?
The Burgomeister gives his leash a yank and the Great Dane
finally stops howling.
Cont.
100
134 Cont.
BURGOMEUSTER
(pointing)
I said -- there he is!
Several Villagers look up and then start SHOOTING at a
TALL VILLAGER, who is peeing on top of a distant rock. He
has his back turned to the other Villagers.
TALL VILLAGER
(turning around
in terror)
Don't shoot! Don't shoot! It's
ME!
CUT TO:
135 INT. CAVE - NIGHT 135
The Monster enters the cave slightly out of breath and stands
the "fainted" Elizabeth on her feet.
He shakes her.
MONSTER
MMmmm.
He shakes her again.
MONSTER
MMmmm!
Elizabeth slowly opens her eyes.
The Monster smiles sweetly.
Elizabeth smiles sweetly in return -- forgetting for a moment
where she is. Then her smile turns to growing horror. She
starts to scream, but the Monster quickly covers her mouth.
After a moment, the Monster tries to make a "Shhhh" sound
with his finger, but as he releases her mouth to use his
"Shhh" finger... her SCREAM is still going on.
He covers her mouth again and shakes her.
MONSTER
MMMmmmm!
He gradually takes his hand from her mouth.
She is silent; but her eyes are filled with terror.
The Monster starts to unbutton his pants.
Cont.
101
135 Cont.
ELIZABETH
What..........?
The Monster holds up his hand for her to "Wait a minute."
MONSTER
MMMmmmm!
He goes on unbuttoning his pants.
ELIZABETH
What in God's name are you doing?
MONSTER
Baack!
ELIZABETH
What?
MONSTER
(motioning for her
to move back)
Baack!
She moves back a foot.
MONSTER
Morrr!
She moves back another foot... fascinated.
We cannot see what she sees, but what ever it is...she is
suddenly filled with awe.
ELIZABETH
Oh my goodness! Nineteen if it's
an inch.
The Monster smiles.
CUT TO:
136 EXT. WOODS - NIGHT 136
The Burgomeister and the Villagers make their way through
the rocks and hills, alongside a stream.
Row boats -- with Villagers, torches and Dogs -- travel up
the stream alongside the Villagers who are on land.
CUT TO:
102
137 INT. CAVE - NIGHT 137
Elizabeth and the Monster are lying on a bed of leaves.
ELIZABETH
Penny for your thoughts.
The Monster's eyes twinkle lasciviously.
ELIZABETH
You're incorrigible!... Aren't you?
MONSTER
MMMmmmm.
ELIZABETH
All right then... seven's always
been my lucky number.
They are about to kiss, when suddenly the Monster's ears
perk up as he hears:
MUSIC: THE EERIE TRANSYLVANIAN LILLABY
He doesn't know where it is coming from.
ELIZABETH
What, dear? What is it?
The Monster gives a pathetic little cry.
MONSTER
MMMmm!
ELIZABETH
Is it that music?
MONSTER
MMMMM! MMMMM!
ELIZABETH
Probably just some nearby cottage.
Nothing to worry about.
The Monster gets up and starts out of the cave... pulled by
forces he doesn't understand.
ELIZABETH
Where are you going? They've
left their F-M station on, that's
all.
He's gone.
DISSOLVE TO:
103
138 EXT. ROOF OF CASTLE - NIGHT 138
Freddy stands in the night air, playing the violin -- a
handkerchief under his chin.
In front of him is a tall microphone on a stand, with two
enormous speakers nearby, facing the woods.
Igor sits on a chair, near Freddy, like a member of a band
waiting for his cue.
Now Igor gets up, put his trumpet to his lips, and blows
just the "bridge." When he is finished, he sits back down
and waits.
CUT TO:
139 EXT. WOODS - NIGHT 139
The Monster walks passionately through the woods, fighting
the branches in order to get to the music.
CUT TO:
140 EXT. ANOTHER PART OF THE WOODS - NIGHT 140
The Burgomeister and the Villagers make their way through
the rocks and hills, alongside a stream.
Rowboats, with Villagers, torches and Dogs, travel up the
stream, alongside the Villagers who are on land.
The rocks, hills and stream all look vaguely familiar.
CUT TO:
141 EXT. ROOF OF CASTLE - NIGHT 141
The Monster can be SEEN, crawling up the side of the Castle,
trying to make it onto the roof.
Freddy and Igor move close to the edges of the roof as Freddy
continues playing.
FREDDY
(to the Monster)
You can do it.
The Monster inches closer.
FREDDY
You can do it.
Cont.
104
141 Cont.
The Monster inches closer.
IGOR
Come on, big fellow!
FREDDY
(to Igor)
Is everything ready?
IGOR
Yes, master. Are you sure you
want to go through with it?
FREDDY
It's the only way.
IGOR
Okay, boss! But I hope you know
what you're doing.
CUT TO:
142 EXT. WOODS - NIGHT 142
The Burgomeister stands in water up to his waist -- his
clothes all wet and torn.
His Great Dane is swimming next to him, BARKING LOUDLY.
1ST VILLAGER
Wait a minute! maybe he went back
to the castle.
2ND VILLAGER
That's right!
3RD VILLAGER
He's probably right.
2ND VILLAGER
It was all a trick by that lunatic
doctor.
3RD VILLAGER
Let's go back there and tear them
both to pieces!
4TH VILLAGER
Now see here. Let's not lese our
heads. We've always listened to
our Burgomeister in the past. We
should have the decency to hear him
now.
Cont.
105
142 Cont.
1ST VILLAGER
Well -- what do you say, Burgomeister?
BURGOMEISTER
Let's go back there and tear them
to pieces!
ASSORTED VILLAGERS
Yay!
Back to the castle!
Kill them both!
DISSOLVE TO:
143 INT. LABORATORY - NIGHT 143
The Monster lies on an operating table. His eyes are
closed.
From out of his head come ten thin tubes, connecting to
one large tube.
The large tube travels up, above the Monster's head, then
turns across the room for five or six feet, then down again
where it connects with ten smaller tubes that are stuck
into:
144 FREDDY'S HEAD 144
Freddy lies on an operating table. His eyes are closed.
Inga operates two "INTAKE" - "OUTPUT" gauges.
IGOR
It's the waiting I can't stand.
CUT TO:
145 INT. PRIVATE LIBRARY 145
Frau Blucher sits in a chair, bare-chested.
She is flaggelating herself with a handful of thin branches.
She mumbles some mysterious prayer in German -- occasionally
looking out through a crack in the door to see what is
happening to "her" monster and Freddy.
CUT BACK TO:
106
146 INT. LABORATORY 146
IGOR
How do you know they're done?
INGA
The doctor said to allow seven
minutes: no more and no less --
or else they could both become
hopelessly paralyzed.
CUT TO:
147 A GIANT CLOCK ON THE WALL 147
with a "sweep" second hand. It is FOUR MINUTES AFTER TEN.
148 BACK TO SCENE 148
IGOR
How long is it so far?
INGA
Four
IGOR
Three minutes to go!
INGA
Yes.
IGOR
What d'ya want to do to kill time?
INGA
Oh, Igor -- I'm so afraid! I just
hope this all ends well.
Igor looks into the LENS of the CAMERA.
CUT TO:
149 EXT. COUNTRY ROAD - NIGHT 149
The Burgomeister and the Villagers are almost at the
front door.
CUT BACK TO:
150 INT. LABORATORY 150
Inga and Igor watch over the two bodies.
CUT TO:
107
151 THE CLOCK 151
It is FIVE MINUTES AFTER TEN.
CUT TO:
152 EXT. CASTLE - NIGHT 152
The Villagers are pounding on the front door.
CUT TO:
153 INT. PRIVATE LIBRARY 153
Frau Blucher is at the height of her self-flagellation.
She is almost in ecstasy.
FRAU BLUCHER
Oh, yes! Oh, yes, yes, yes!
CUT TO:
154 THE CLOCK 154
It is FIVE AND A HALF MINUTES AFTER TEN.
CUT TO:
155 EXT. CASTLE - NIGHT 155
The villagers are RAMONG THE FRONT DOOR DOWN with a
giant pole.
CUT TO:
156 INT. LABORATORY 156
INGA
Igor -- are you sure the monster has
a good brain? Are you absolutely
certain that you took the brain of
Hans Delbruck that night?
IGOR
Absolutely! May my mother grow
two heads if I'm not telling the
truth.
CUT TO:
157 A TWO-HEADED OLD LADY 157
rocking in a chair.
CUT TO:
108
158 EXT. CASTLE - NIGHT 158
The front door gives way. The Burgomeister and the
Villagers burst into the castle.
CUT TO:
159 INT. RECEPTION HALL 159
The Villagers scatter every way, in search of the doctor
and the monster.
CUT TO:
160 THE CLOCK 160
It is SIX MINUTES AND TWENTY SECONDS AFTER TEN.
161 INT. LABORATORY 161
INGA
(looking up as she
hears the Villagers
What's that noise?
IGOR
Sounds like visitors. It's all
right -- Frau Blucher will show
them in.
CUT TO:
162 INT. PRIVATE LIBRARY 162
Frau Blucher is dripping wet from the passion of her
climax.
FRAU BLUCHER
Victor. Victor! I'm coming.
I'm comming, Victor!
CUT TO:
163 INT. LABORATORY 163
Villagers come pouring down the stairs and into the
laboratory.
FIRST VILLAGER
There they are!
Cont.
109
163 Cont.
ASSORTED VILLAGERS
Kill them!
Kill that doctor!
Kill the monster!
Tear them both to pieces!
INGA
(handling the dials)
Igor -- what time is it?
IGOR
Oh, must be around ten... ten-thirty.
INGA
Igor -- the clock! Hurry!
Igor looks at it:
164 THE CLOCK 164
It is SIX MINUTES AND FORTY-FIVE SECONDS AFTER TEN.
165 BACK TO SCENE 165
IGOR
Another fifteen seconds to go.
INGA
Do Something! Stall them!
Igor rushes up to the charging Villagers.
IGOR
Now see here! What is the meaning
of this?
BURGOMEISTER
We want the doctor!
IGOR
What?
BURGOMEISTER
We want the doctor!
IGOR
What??
FIRST VILLAGER
... Come on, men!
They sweep right over Igor.
CUT TO:
110
166 THE CLOCK 166
It is SIX MINUTES AND FIFTY SECONDS AFTER TEN.
167 BACK TO SCENE 167
SECOND VILLAGER
(seeing Freddy lying
on his table)
Here's that crackpot doctor.
Let's get him first!
Several Villagers grab Freddy's body and pull the tubes
out from his head.
168 THE CLOCK 168
ZOOM TO CLOCK. It is only SIX MINUTES AND FIFTY-THREE
SECONDS AFTER TEN.
169 ANOTHER ANGLE 169
INGA
No! Please!
Inga is standing further back, near the monster, unable
to take her eyes off the clock and dials.
The Villagers hold Freddy up, over their shoulders,
yelling and screaming. They start off with him.
A GIANT VOICE
(o.s.)
Put that man down!
Everyone quiets down and turns towards the Voice.
There, on his operating table -- holding the removed
tubes from his head -- sits the Monster.
AN OLD WOMAN
Why...it's the monster!
BURGOMEISTER
No, it couldn't be.
THIRD VILLAGER
Yes it is. It must be.
MONSTER
(standing on his
operating table)
I said: Put that man down!
Cont.
111
169 Cont.
The frightened Villagers carry Freddy back to his table
and lay him down.
BURGOMEISTER
And who are you, sir, that you
order these people about?
MONSTER
I am a relative of the doctor's. I
came to visit him a few weeks ago,
in hopes that this distinguished
member of my family might be able
to help me with a problem that I've
had since birth...and which has
caused more sorrow in my heart than
I wish on any man.
ASSORTED VILLAGERS
(whispering)
What'd he say?
Relative??
MONSTER
You see, because of my great size
and the somewhat unusual features
of my head -- when women look at me,
their first impulse is to scream;
children often cry, or vomit; and
men are inclined to beat me over
the head.
The Laboratory is silent.
MONSTER
I lived in hopes of meeting people
who would..overlook my outward
appearance and respect me for
whatever good qualities I had to
offer. If anyone had ever shown a
little kindness, I would have
returned it, I think, at least
one hundred times over.
And for that one person's sake...
I would have made piece with the
whole world.
Do you understand what it means --
never to see a kind or happy face?
You could imagine then, perhaps, how
such bitterness led me, at last, to
the brink of another kind or life.
I decided that if I couldn't inspire
love...which was my deepest hope...
I would, instead...cause fear.
Cont.
112
169 Cont.1
A quiet shudder runs through the Villagers.
MONSTER
But all of that happened to me a
lifetime ago. And I paid for my
crimes...severely. It was just
then that fate, or chance, brought
me to our famous doctor.
I found this man to be vain; I found
him to be driven with ambitions of
personal glory, and consumed with an
unquenchable thirst for power. But
even at the height of his quest --
this ego-driven, brilliant and half-
crazed scientist..always...always
...held an image of me as something
beautiful.
And then, at the moment of truth,
when it would have been easy enough
to run and stay out of danger...he
used himself as a guinea pig, in
order to give me a calmer brain...
and a slightly more eloquent way
of speaking.
Yes! I am 'The Monster"...sometimes
known as 'Him,' or occasionally,
'The Creature.' But they're one and
the same. I am that tall, peculiarly
attractive stranger, with the winning
smile.
Would you all get the hell out of here!
170 THE VILLAGERS 170
mumble and shuffle out of the laboratory.
INGA
Oh, 'It's'...you were wonderful.
But I'm so worried about the doctor.
Igor is listening to Freddy's heartbeat, as Inga and the
Monster come to him.
They all three put their ears to Freddy's chest and
listen.
They smile.
DISSOLVE TO:
113
171 LEGEND ON THE SCREEN 171
It reads: A FEW WEEKS LATER
172 INT. MODERN BEDROOM - NIGHT 172
Elizabeth is sitting at her makeup table, dressed in a
nightgown, getting ready for bed.
ELIZABETH
Darling! I hope you didn't find
Daddy's little party too boring.
He did it just for you, and he
meant well. Tell me you
liked it.
CUT TO:
173 BATHROOM DOOR 173
A VOICE
(o.s.)
MMmmm.
ELIZABETH'S VOICE
(o.s.)
I know Mummy's just a scatterbrain
without a serious thought in her
head, but...you lover her just a
little bit, don't you?
A VOICE
(o.s.)
MMmmm.
ELIZABETH'S VOICE
(o.s.)
I'm ready for bed, sweetheart.
Almost done??
The bathroom door opens and the Monster steps out. He
is dressed in elegant silk pajamas and a handsome robe.
MONSTER
MMmmm.
Even though his electrodes still stick out from his neck,
he appears well-groomed. Elizabeth gets into bed and
waits for him.
Cont.
114
173 Cont.
ELIZABETH
Did you see?...I put a special
hamper in the bathroom just for
your shirts. the other one is
just for socks and poo-poo undies.
MONSTER
(as he takes off
his robe)
MMmmm.
He gets into bead and turns out the table lamp.
ELIZABETH
Still happy you married me?
MONSTER
MMmmm.
ELIZABETH
Love me oodles and oodles?
MONSTER
MMmmm.
ELIZABETH
So this is what it's like to be
completely happy!
MONSTER
MMmmm.
WIPE TO:
174 INT. CASTLE BEDROOM - NIGHT 174
Freddy is sitting in an easy chair near the fire, dressed
in pajamas and reading a newspaper. (Probably the
Transylvania Tribune -- International Edition).
From the bathroom comes the SOUND of Inga, HUMING a
pleasant tune to herself.
INGA'S VOICE
(o.s., from the
bathroom)
Did you have a nice day today?
FREDDY
Oh, just the usual: sore throats,
a few colds. Someone who thought
he was a wearwolf, and two bladder
transplants.
Cont.
115
174 Cont.
She goes on humming.
INGA'S VOICE
(o.s.)
Did you notice the new drapes I put
up in the bedroom?
FREDDY
(looking up)
Yes!...They're very nice.
INGA'S VOICE
(o.s.)
Oh, I'm glad.
A short pause of silence, and then Inga begins humming
the EERIE TRANSYLVANIAN LULLABY, quietly unconsciously.
Freddy's face is hidden behind the newspaper, but he is
suddenly completely motionless.
INGA'S VOICE
(o.s.)
I was hoping you'd like them.
She continues humming the Lullaby.
Freddy lowly lowers the newspaper.
He touches his fingertips to his temple. His eyes open
and close, as if he were trying to focus.
Inga comes out of the bathroom, dressed in her nightgown,
and folds back the covers of their large double bed.
She continues humming.
INGA
All right if I turn out the lamp,
sweetheart?
FREDDY
(answering)
MMmmm.
She turns out the lamp as she goes on humming. The bedroom
is lit only by moonlight and the glow from the fireplace.
INGA
(as she is arranging
the pillows)
Shall I set the alarm?
Cont.
116
174 Cont.1
FREDDY
MMMmmm.
She goes on humming, as she pulls out the stopper on the
alarm clock. Freddy rises. his arms hang away from his
body, STIFFLY. He walks in fits and jerks.
FREDDY
MMMMmmmmm!
INGA
Yes, sweetie...I heard you. So!
I'm ready for you, meine Liebe.
Freddy is standing at the edge of the bed.
INGA
Are you ready for me?
FREDDY
MMMMmmmmm!
INGA
Ready for Fuchsmachen???
FREDDY
MMMMMMmmmmmmmmm!
INGA
I love it when you're excited. Come
then, my Apfelstrudel! Come into my
arms and let me hold you.
Freddy kneels onto the bed.
A long pause.
INGA
Sweetheart.....Is this really you???
FREDDY
MMMMMMMMMMMMMMmmmmmmmmmmmmmmm!
CUT TO:
175 TURRET AT THE TOP OF THE CASTLE 175
Igor sits in the window, blowing his trumpet.
167 ANOTHER ANGLE 176
PULL BACK SLOWLY, until the whole castle in SEEN.
FADE OUT
THE END
----------
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