Newsgroup: it.sport.ciclismo
Titolo: Creatina

ciao a tutti
vorrei cominciare a fare un ciclo di creatina per un paio di settimane di 
lavoro intenso
voi la prendete la mattina? tutti i giorni? un tot di ore prima dell'uscita? 
per quanto tempo?
ciao
piotre
-- 
[Lupu ululà, castellu, ululì] 


Gobba? Quale gobba?

"Al-Gancio" <Al-ga...@SPAMlibero.it> ha scritto nel messaggio
news:_%Qde.98117$zZ1.2...@twister1.libero.it...

Doctor Frankenstin........
HHHIIiiihhhiiiiiii  (nitrito)
-- 
Marina  (45, MI, 0, 0, S)

 typed:

Potebbe andar peggio.
Ah sì, e come?
Potrebbe piovere...
Scrosh....!!!
-- 
Guido
.        _.-----.  \.-./       . .
\`-.._,-' .-. .-.`-' ``-.  _,-'.'`.
 `-.____,-. `:. `.-'-._.O-:_ .:'.,|
           `-" `-"          `-.__.' 


A questo punto non posso esimermi dal darvi questo sito (se già non lo
conoscete..)
http://www.intermed.it/shuttle/box1028/
Ciao
Alberto

In news:xARde.78939$
IN.13...@twister2.libero.it
,
Al-Gancio <Al-ga...@SPAMlibero.it> typed:

mi hai fatto un regalo!
Grazie!!!


 lavoro intenso
pigliati un panino con la mortadella..che č meglio. 

 
http://www.intermed.it/shuttle/box1028/
Ma la battuta "castello ululě", che č la piů famosa del film, esiste anche
nella versione inglese o č una trovata dei doppiatori italiani?
Ciao Rex
-- 
questo articolo e` stato inviato via web dal servizio gratuito 
http://www.newsland.it/news
 segnala gli abusi ad 
ab...@newsland.it

 Alberto
Non lo conoscevo!!
Ora non posso andare a dormire, devo ascoltarlo tutto, č uno dei miei film
preferiti. Il secondo č Space Ball, hai qualche cosa anche di quello?  Hai
presente la principessa Vespa nel deserto  quando tira fuori
l'asciugacapelli enorme e dice: questo č il mio super-super- asciugacapelli,
indispensabile per sopravvivere!!!
---


 preferiti. Il secondo è Space Ball,
Mi spiace, non ho nessun link.
Mi fa morire quando guardano il film per vedere cosa deve succedere, e si
fermano proprio nel punto in cui guardano il film....

 nella versione inglese o è una trovata dei doppiatori italiani?
Ho visto un DVD con molti extra su quel film.
Fra le varie interviste raccontano proprio come le battute cambino
praticamente in ognuna delle lingue in cui è stato doppiato il film.
Per questo motivo ha avuto alterne fortune nei vari paesi.
Ciao
Alberto

 praticamente in ognuna delle lingue in cui è stato doppiato il film.
Difatti "The wolf howles & the castle is over there!" non mi sembra
propriamente esilarante :o)
ciao Rex


 piotre
Ecco il link (recentemente postato sul NG)
http://www.wnc2.net/kb/question.php?qstId=4
J.

 ciao Rex
Nell'originale è "There castle where wolf" werewolf=lupo mannaro
GFO
-- 
#1 - CG31
Potere a Quarto Potere
I am not a football player
"Ahia casso jimmy mi fai male, coione"

 Nell'originale è "There castle where wolf" werewolf=lupo mannaro
Grazie, hai risolto uno dei dubbi della mia esistenza :o)


 HHHIIiiihhhiiiiiii  (nitrito)
Frau Bluker! :-)
ciao
piotre
-- 
[Lupu ululā, castellu, ululė] 

 pigliati un panino con la mortadella..che è meglio.
insomma... dipende da quello che vuoi fare...


 ha scritto nel messaggio 
news:6w8ee.1331423$35.49...@news4.tin.it...


 spendete solo soldi e andate + piano :)
ok
grazie del consiglio


 Ciao Rex
Scusate...nemmeno io ho saputo resistere (avevo il file ma non ricordo più 
da che sito l'ho scaricato)
byebye
robyc
Young Frankenstein - Screenplay
First Draft
Produced by Michael Gruskoff
Screenplay by Gene Wilder & Mel Brooks
Frankenstein by Mary Shelley
Directed by Mel Brooks
First Draft by Gene Wilder
    "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 Fronkonsteen?
    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.  Thought I'd say
   good 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 "my", 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 coming, 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