Wyllis Cooper and The Son of Frankenstein

The "Quiet, Please!" episode "Rain on New Year's Eve" seems to have been inspired by Wyllis Cooper's experience as the screenwriter for the 1939 Universal horror film SON OF FRANKENSTEIN.

Philip J. Riley's book, SON OF FRANKENSTEIN (MagicImage Books, 1990), contains a production history of the film by Gregory Wm. Mank. The bulk of the book reproduces a 196 page draft of the script credited to Willis Cooper (Cooper changed the spelling of his first name to "Wyllis" around the time he left Hollywood) but has very little to say about the screenwriter himself.


Author Willis Cooper

Excerpts from the text:

Writer Willis Cooper turned in his original 195 page shooting script for THE SON OF FRANKENSTEIN on October 28, 1938. The final shooting script ... was toned down to 138 pages. But the stylistic, spontaneous and expressionistic technique of Producer/Director Rowland V. Lee gives us yet another view of the unique art of writing for the screen, for Lee used the script as a starting point and then went on to improvise the actual film as we know it today. ...

The original script ... bears little resemblance to the final classic movie. Willis Cooper, creator of radio's Lights Out!, created scenes containing memorabilia from THE BRIDE OF FRANKENSTEIN, including Wolf - the son of Frankenstein - discovering the remains of the Bride, Dr. Pretorius and Pretorius' homunculi in the ruined laboratory. It also lacks a wonderful ingredient of the final film - the entire role of Ygor! ...

Third-billed [behind Basil Rathbone and Boris Karloff] was Bela Lugosi, as the broken-necked Ygor - a character conceived by Lee and Cooper as the shooting date neared. ... Bela's widow, Lillian Lugosi Donlevy said: "... they cut Bela's salary from $1,000 per week to $500. Then they planned to shoot all his scenes in the picture in one week! When Rowland V. Lee heard about this, he said, and I quote, Those God-damned sons of bitches! I'll show them. I'm going to keep Bela on this picture from the first day of shooting right up to the last! And he did." Lee defiantly kept his word, and built up Bela's role throughout the shooting. ...

[Shooting began on] Wednesday, November 9, 1938. There was just one problem. Lee had discarded the shooting script ...

"Due to the necessity of meeting release date and in order to get value of cast already on salary, this picture started in production Wednesday, November 9. Operating under conditions like we are, without script, it is extremely difficult for all departments concerned in physical production and, more important, most expensive. We have no way of determining just how long this picture will take in production and nothing concrete upon which to substantiate any detailed figures we might attempt to compile as an estimated budget..." Report from Martin F. Murphy, Studio Production Manager, Saturday, November 12, 1938.

Originally, Universal hoped for Rowland V. Lee to complete SON OF FRANKENSTEIN on December 10, 1938, a 27 day shooting period, and a budget in the neighborhood of $300,000. ...

"... Although Mr. Lee is firm in his belief of being able to complete this production by Christmas Eve, we cannot help feeling a little dubious on the possibility of accomplishing this, considering we have two weeks left from today. Of course, we still have no script upon which to base this contention and unquestionably Lee should be in a better position than we are to know just how much he has left to do because the story appears to be altogether in his mind ..." Report from Martin F. Murphy, Studio Production Manager, December 1938.

However ... Lee caught a cold, rainfall canceled plans for exterior shooting, and Lee slowed shooting even more by forcing upon his actors an odd method, as remembered by [actress] Josephine Hutchinson:

"I do remember that the director had a theory that dialogue learned at a moment's notice would be delivered more naturally. ... Mr. Lee did some rewriting on the set. We spent a lot of time in separate corners pounding new lines into our heads ... "

After many calculations, M. F. Murphy reported that Lee would complete all scenes of Rathbone ("and some other principals") by Christmas Eve night, and that the production would be completed December 28th. ... Saturday, December 24, 1938 arrived. On Christmas Eve, all work at Universal traditionally stopped at noon. Lee worked the SON OF FRANKENSTEIN company until 6:15 p.m. He did not complete Rathbone's scenes.

"... all our plans and calculations of last week were entirely shattered by Lee not living up to promises ..." Report from Martin F. Murphy, Studio Production Manager, New Year's Eve, 1938.

Aside from Karloff, Lugosi and [child actor] Donnie Dunagan, the whole cast was "closed out" as of December 29th. Wednesday, January 4, 1939, became the new target date for the film's completion. At 1:15 a.m. on Thursday, January 5, 1939, Rowland V. Lee completed SON OF FRANKENSTEIN.

SON OF FRANKENSTEIN had taken 46 days to shoot; the final cost would tally approximately $420,000.

Excerpts from Cooper's screenplay:

18
INT. LIVING-ROOM - WOLF - CLOSE SHOT

at the bookcase. He fingers the books on the shelves.

			WOLF
		(over his shoulder)
	Even my father's books haven't 
	been disturbed.
		(he blows at them; a small
		cloud of dust arises)
	Definitely.
		(he touches the books 
		as he names them)
	Agricola's De Re Metallica... the 
	Necronomicon ... Roger Bacon ... 
		(he shuts his eyes as he
		touches one book after
		another, naming them)
	Euclid ... Paracelsus... 
	FitzJames O'Brien ... Avicenna! 
		(as he speaks the last
		name, he pulls the book
		from the shelf, opens his
		eyes)
	See -- I haven't forgotten!

He is jubilant at having proved to himself that he remembers
such details after all these years. He puts the Avicenna
back, takes out the next book, which is a musty, tattered
leather-bound book of the journal type.

19
CLOSEUP - WOLF

He examines the book in some surprise, turning it over in
his hands.

			WOLF
	What's this one -
		(he turns it right-
		side up and sees the 
		title)
	A Diary ...
		(he opens the book and 
		riffles through the 
		pages)
	My father's diary!

__________________________________________________________

21
CLOSEUP - WOLF

He gulps at his coffee as he eagerly flips through the pages
of the diary. He stops at a page, takes a quick drink from
his cup, and addresses Else, offscene.

			WOLF
	Listen - here's the part about the 
	Bride they created for the Monster ...
		(he reads)
	"Pretorius and I have each created 
	life.
		(he mumbles, looking for
		a better starting-place;
		then:)
	"I was content to bring the dead back
	to life, but Pretorius has taken the
	other path. He has created it."

His voice continues over a series of flashes from "The
Bride of Frankenstein," which are keyed to what he is reading.

			WOLF
		(continues reading)
	"And so we are about to apply both
	our theories in an experiment that
	will transcend even the creation of
	my Monster.

	"We are both certain that much of the
	Monster's evildoing is the result of 
	loneliness; it must be a terrible thing 
	to be the only one of one's kind in the 
	world.

	"We are therefore determined to create
	a synthetic being of the other sex: a
	Bride for the Monster.

	"September 12th. The Monster, learn-
	ing of our plans, is beside himself 
	with joy. He is extremely anxious to
	help us; and our only difficulty is in 
	restraining his eagerness. The work
	progresses.

	"September 15th. All is in readiness.
	The Bride of the Monster sleeps - soon
	she will awaken to a new life, to the
	love this dreadful creature already
	displays for her. Today it was necessary
	for Pretorius to stupefy the Monster with
	a sleeping-draught to prevent his inter-
	ference with our work.

	"September 16th. The deed is done.
	Today, at the height of the most severe 
	electrical storm in a year, Pretorius 
	and I brought her to life."

		(there is a pause.
		Wolf repeats)
	Brought her to life.
		(he reads again)
	"She was a beautiful thing, this woman
	we created out of a handful of chemicals
	and a dead woman's bones.

	"But a terrible thing has happened. As
	we lifted her to her feet, as we unbound 
	her body, the Monster burst into the 
	laboratory. He attempted to embrace her,
	but the Bride, terrified at the horrible
	apparition, screamed and fled from him.
	The Monster's fury was terrible to behold.
	With one blow, he dashed poor Pretorius
	senseless to the floor. I was certain
	that my own last hour had come; but the
	Monster, actuated by the first vestige of
	a kindly emotion toward the one who had 
	created him, warned me to flee - even as
	his hand grasped the lever that was to
	send him to certain destruction. I had
	barely time to escape when a terrible 
	explosion - "

As he reaches the last words, a blinding flash of lightning
blots out the picture. Simultaneously there is a peal of 
thunder louder than all the others. There is a stifled 
scream from Else.

22
INT. LIVING-ROOM - FULL SHOT

The lights have been extinguished by the lightning bolt,
and the only illumination is that from the flashes outside.
The storm howls and beats against the castle walls. In
the darkness we can see Wolf and Else rise to go to the 
window.

23
INT. LIVING-ROOM - CLOSE SHOT AT WINDOW

There is a glow in the sky as from a distant fire. Wolf
and Else peer through the rain-splashed window pane.

			WOLF
		(trying hard to see)
	It must have struck close by ...
		(he rubs the mist 
		from the glass)
	Something's on fire.
		(he stares out the window 
		a moment, then turns to 
		Else)
	I wonder if it could possibly have
	struck the ruins of old Pretorius'
	workshop ... it's the only thing
	out in that direction ...

Else clings to his arm, frightened.

			WOLF
		(musing)
	An odd coincidence -

				WIPE TO:

24
EXT. PRETORIUS' WORKSHOP RUINS - NIGHT - FULL SHOT

In the flickering light from a blazing dead pine, we dis-
cover a pile of rubble, the ruins of the old laboratory.
Rusted twisted pieces of the lightning-attraction apparatus
used in "The Bride of Frankenstein" protrude from the mass
of broken rock. It is a desolate spot, surrounded by jagged
rocks and twisted dead trees, and the uncertain light from
the blazing tree serves only to heighten the eeriness of 
the place. Here the storm rages with unabated fury, the
wind howling and the rain whipping the rocks viciously. THE
CAMERA BEGINS TO MOVE IN toward a half-buried iron door,
vaguely seen under an overhanging rock. As the door,
illuminated only by the light from the burning tree, fills
the frame, THE CAMERA STOPS and holds on the door. Over the
sound of the storm we hear the measured sound of repeated
blows, as of a massive fist hammering on the other side of
the door. There is a vivid flash of lightning; the door
shudders and slowly starts to open. The lightning flashes
again, and we catch a fleeting glimpse of a great scarred
hand pushing the door open. A dog howls somewhere in the 
distance as we

				WIPE TO:
__________________________________________________________

26
EXT. FOREST PATH - NIGHT - FULL SHOT

This is a bridle- and foot-path that winds through the
dense forest surrounding the castle. The path is a quagmire
now, the forest full of the sounds of the storm. The trees
overhanging the path bend low with the force of the wind;
the rain here, due to the overhanging branches, is a steady
drizzle. Along the path rides a belated gendarme, muffled
in his greatcoat, soaked to the skin. He is slumped in his
saddle wearily, but he raises his head and peers uneasily
about as the howls of the dog come to his ears. In the
forest beyond the path there is a vague suggestion of move-
ment, felt rather than seen by the rider; and he urges his
tired horse into a jog-trot, riding out of the scene. As
he disappears, there is a flurry of hoofs OFFSCENE, a revol-
ver-shot, and the high-pitched scream of a man in mortal 
terror. The horse reappears, galloping madly back along the
path, riderless, the reins flying. THE CAMERA PANS OVER,
STOPPING on the huddled, broken form of the gendarme sprawled
on the wet earth. Again there is a sinister suggestion of
movement among the trees in the background. The dismal howl 
of the dog is the only sound as we

				WIPE TO:
__________________________________________________________

51
WIDER ANGLE

Wolf lifts Else's chin, looks into her eyes.

			WOLF
		(very seriously)
	Darling, that's being morbid. It
	isn't like you.
		(Else drops her eyes)
	Now, look. All that Monster business
	is finished. There isn't any Monster.
	There isn't going to be any. Even if
	I wanted to make one myself -
		(Else looks up again,
		fearfully)
	- which I don't, of course - it would
	be impossible. It couldn't be done
	without using my father's formulas and
	notes ... and they're buried with him -
		(there is a sound off-
		scene, and Else's eyes
		dart toward the window.
		Wolf pays no attention,
		but goes on.)
	- in our family tomb -

52
EXT. CASTLE - NIGHT - WIDE ANGLE

The castle wall outside Wolf's room. Through the lighted
window we can catch a glimpse of Wolf and Else in the
positions in which we left them. But a huge shadowy figure
is lowering itself from a position from which it must have
heard and seen all that has taken place in the room. The
shadow, still vague and indistinguishable, moves away,
pausing momentarily to pluck a lantern from the wall of the
courtyard.

53
EXT. TOMB - NIGHT - WIDE ANGLE

The set is similar to the tomb set used in "The Bride" - a
long corridor leading to a wider open space near THE CAMERA.
The walls are blotchy with mold and dampness; the only
light comes from a few high-set windows through which the 
flickering light of the torches outside cast an uncertain 
light. There is no sound for a few seconds; then the
unmistakable sound of protesting hinges is heard as a heavy
iron door at the far end of the corridor is forced open.
The light from a lantern shines through the opened door, and
as the door closes, the light starts to advance toward the
CAMERA. It is impossible to see the bearer of the lantern;
the light is always held so that it casts nothing but a
shadow behind it. The light comes closer and close, and
its approach is accompanied by heavy dragging footsteps:
footsteps that we identify with the Monster. As the lantern
approaches, its beams flash on a series of metal plates
fastened onto the walls: when the light is almost upon us,
THE CAMERA PANS OVER to the closest of these metal plates.
In the unsteady light from the lantern the incised lettering 
is disclosed:

		  HIER RUHT IN GOTT
		HENRY, BARON FRANKENSTEIN
		    1874-1919
			R.I.P.

THE CAMERA HOLDS on the brass plate a few seconds; then, as
the sound of another metal door being opened is heard, THE 
CAMERA DOLLIES over to follow the great uncertain shadow
into the tomb. Always the dark figure remains between the 
light and THE CAMERA, so that it is impossible to identify
it. In the center of the tomb stands the coffin of Baron
Frankenstein on a sort of dais, the dim light from a high
barred window falling across it. THE CAMERA FOLLOWS the
menacing figure as it stops alongside the coffin and bends
over it. The sound of the coffin lid being wrenched off is
heard; then the sullen thud as the lid is dropped to the
floor. The figure fumbles with the interior of the coffin
a moment, then turns. In the light from the lantern we can
dimly make out a small metal box in its hands. The box is 
opened as THE CAMERA MOVES IN CLOSE. We can see that it
contains papers. The box is lifted up AND THE CAMERA FOLLOWS 
IT. Apparently the intruder is examining the contents of the
box at close range. There is the sudden sound of a rat
scurrying across the floor, and the figure turns its head
sharply into a CLOSEUP that fills the screen, sharply lighted
by the lantern on top of the coffin. It is the Monster,
leering ferociously at us.

54
INT. TOMB - MEDIUM SHOT

shooting toward the entrance of Baron Frankenstein's tomb.
The Monster, clutching the papers, comes out of the tomb,
closes the door. He looks about uncertainly, then moves
away toward a flight of stairs that leads upward from the
tombs. THE CAMERA PULLS BACK as he starts slowly up the
stairs with the lantern. He continues on up as we

				FADE OUT.
__________________________________________________________

Dialogue from scenes 64 and 65:

ELSE
It seems so odd to own a castle. A real castle.

WOLF
It's always been ours. Arnold, the first Baron Frankenstein 
built it in 1194.

ELSE
And which are you?

WOLF
Twenty-seventh. You're the thirty-third Baroness 
Frankenstein, though. Hugo and the first Wolf each had two 
wives, and Lothar had five.

ELSE
He did?

WOLF
Hedwig, Theresa, Elsie, Hertha and Beatrix. He died in 1401.

ELSE
I should think he would.

WOLF
Erwin's the first of the direct line of the Frankensteins 
that wasn't born in the castle here.

ELSE
Really?

WOLF
All the Frankensteins have been born here and - and strangely 
enough, they've all died here. Baldwin came home from the 
Crusades to die here; Adalbert was wounded at Solferino in 
1859, and they brought him across the Alps in a litter slung 
from mules so he could die here. My father - oh, but let's 
not get involved again ... that really was quite a storm 
last night.
__________________________________________________________

85 
INT. LABORATORY - WIDE ANGLE

The light from the opening above weirdly illuminates the
place. Here is all that is left of the laboratory where
the Bride was brought to life. Along one wall are banks 
of electrical instruments, meters, and switchboards. A
huge timber lies across the twisted operating table.
Broken glass litters the floor, and a gigantic cable twists
across the floor to a huge pair of electrodes. Heaps of
dust and rubble are everywhere. Wolf walks into the scene,
a tiny figure in the tremendous cavern.

86
MEDIUM SHOT

Wolf walks across the floor, THE CAMERA DOLLYING WITH HIM,
curiously examining the contents of the cavern. He is
intensely interested in what he sees. He pauses before a
sagging table, laden with beakers and flasks, some of which
are unbroken. He picks up a beaker, studies the crystallized
contents, puts it down, and walks on. The electrical in-
stallation interests him, and he stops before a bank of dials
of ammeters, voltmeters, and other electrical devices.
Curiously he twists a vernier knob, and the needle of an
ammeter in front of him quivers. He bends over for a closer
look, repeats his action, and the needle moves. He murmurs
his surprise.

			WOLF
	Hmm ... must have been the lightning ...

He moves on. On another table an array of broken glass
stops him. He pokes the broken pieces aside, revealing
four or five small human skeletons, each about eight inches 
in height.

87
CLOSE SHOT

of the pile of broken glass, with the tiny skeletons lying
among the pieces. Around the skeletons are shreds of rags
and bits of costumes: a part of a kingly robe; a smashed
archbishop's mitre; a mouse-gnawed ermine robe, and so
forth. Wolf puts forth a hand to touch one of the skeletons.
It crumbles into dust.

88
MEDIUM SHOT

With a shudder, Wolf moves on across the room. From be-
neath a pile of debris, a grinning skull stares up at him.
A smashed pair of horn-rimmed spectacles lies beside the
skull. Wolf looks down at it.

			WOLF
		(murmurs)
	Pretorius ...

He turns away in distaste. Alongside the pile of debris
is another skull. He bends down to examine it.

89
INSERT - SKULL

The skull has been neatly trephined. A few strands of long 
black hair still adhere to the thing.

			WOLF'S VOICE
	The Bride ...

90
MEDIUM SHOT

Wolf straightens with a shudder. He walks again to the
bank of electrical instruments, twirls the same vernier
knob. The voltmeter needle responds, and there is a faint
crackle and a spark from a pair of electrodes set in the
panel above it. Wolf thoughtfully turns away. His head
is bent as he crosses the floor toward the opening through 
which he entered. His footprints are clearly visible as he
plods through the dust. Suddenly, he stops, bends down to
examine something.

91 
FLOOR - CLOSE SHOT

We see his footprint in the dust. Wolf's foot comes into
the picture, impresses another footprint alongside the first.
His foot is withdrawn, and we see that the prints coincide.
THE CAMERA PANS OVER TO THE RIGHT. A gigantic footprint is
clear in the dust alongside Wolf's. THE CAMERA STAYS ON IT
FOR A MOMENT, THEN PANS UPWARD to show that the gigantic
footprints lead to the same hole in the wall through which
Wolf entered the place.

92
CLOSEUP - WOLF

His face wears a thoughtful, apprehensive expression.

				DISSOLVE TO:

__________________________________________________________

96
CLOSEUP - FRITZ

He is deadly serious as he goes on.

			FRITZ
	You may laugh if you want to; but 
	there's something wrong with this 
	place. There's something - unholy 
	about it.

			AMELIE'S VOICE
	You mean it's haunted.

			FRITZ
		(with a faraway look)
	That's it. It's haunted. It's 
	got a curse on it, this castle has, 
	Amelie - just like the curse that 
	they say is on the Frankensteins 
	themselves ... and I'm -

97
CLOSEUP - AMELIE

She is just as serious as she speaks.

			AMELIE
	D'you know what I think, Fritz?

			FRITZ'S VOICE
	What?

			AMELIE
	I think you've been seeing too 
	many movies.

She laughs gleefully.

98
TWO-SHOT - AMELIE AND FRITZ

Fritz is properly indignant at Amelie's mirth.

			FRITZ
		(stiffly) 
	I assure you the cinema is not one 
	of my failings, young woman.

			AMELIE
	'Tis, too! Why that line's right 
	out of a picture! You looked exactly 
	like Arthur Treacher!

And that rather pleases Fritz.

			FRITZ
		(pompously) 
	Well - ahum! Hmph! Do you really 
	think so, my dear? Well, I - 

...
__________________________________________________________

110
INT. PASSAGEWAY - FULL SHOT

This is a narrow hall, leading toward the kitchen. Several
closed doors lead off the passageway at one side. Amelie
hurries down the hall, AWAY FROM THE CAMERA. As she moves
away, she calls:

			AMELIE
	Fritz!

111
INT. KITCHEN - CLOSE SHOT

A woman, obviously a villager, is at work over a huge stove
of the vintage of the 'nineties. She looks up as a door
near her opens and Amelie looks in.

			AMELIE
		(at the door)
	Louisa, is Fritz here?

			COOK
	No, miss, he went up a minute 
	ago with a luncheon tray.

			AMELIE
	Oh. Thank you.

The door closes behind her.

112
INT. PASSAGEWAY - REVERSE ANGLE

Amelie hurries back along the passageway.

113
INT. PASSAGEWAY - MOVING SHOT - AMELIE

THE CAMERA DOLLIES ALONG WITH HER, passing two of the doors
we saw previously along the side of the passage. As she
reaches the third door, THE CAMERA STOPS, AND BEGINS TO 
MOVE IN ON THE DOOR.

				DISSOLVE TO:

114
INT. SECRET PASSAGE - STAIRWAY - CLOSE SHOT

The effect is of dissolving through the door to a stairway
which begins immediately on the other side of the door. A
few steps up sits the Monster, with the luncheon tray on his
lap, eagerly sampling the food that was to have gone upstairs.
He wolfs down a mouthful, then picks up a plate containing a
salad. He sniffs the salad suspiciously, then disgustedly
hurls it away from him, down toward the bottom of the stairs.
THE CAMERA PANS DOWN TO THE BOTTOM OF THE STAIRWAY AND STOPS
on the twisted, lifeless body of Fritz, the butler.

				DISSOLVE TO:

__________________________________________________________

139
TWO-SHOT FAVORING NEUMULLER

Neumuller pauses.

			NEUMULLER
	You realize my position in this 
	matter.
		(Wolf nods)
	I fully sympathize with your feel-
	ings, but I, too, have a duty to 
	perform.
		(Wolf nods again)
	Do you know anything that I do
	not - anything that will help
	bring the - murderer - to justice?

140
CLOSE TWO-SHOT 

Neumuller and Wolf face each other. Wolf's eyes are the 
first to drop.

			WOLF
	I do not.

Neumuller gives him a long look.

			NEUMULLER
	There are no papers of your father's -
	nothing that would help us find him?

Wolf hesitates. Then, making up his mind:

			WOLF
	No.

141
CLOSEUP - PAPERS IN MONSTER'S HAND

A sheaf of dog-eared papers, bearing the handwritten name
"Henry Frankenstein" in the upper right corner. Below is
a drawing representing the Monster himself, surrounded by
cryptic symbols. We read, below the drawing, also in the
late Baron's handwriting:

	"Notes and Formulae on the Creation 
	of a Synthetic Being"

THE CAMERA PULLS BACK SLIGHTLY to show the Monster, his
face contorted with effort, studying the papers. The
murmur of distant voices comes over the scene, and the
Monster rises, THE CAMERA MOVING WITH HIM, to peer down -
ward through a hidden opening in the wall. Beyond the
Monster's head and shoulder we see Neumuller, in the living-
room below, taking his leave of Wolf.

				WIPE TO:
__________________________________________________________

146 
TWO-SHOT - ERWIN AND AMELIE

Erwin is very serious.

			ERWIN
	A giant came in here while you 
	were gone.

			AMELIE
		(playing along with him)
	Is that so?

			ERWIN
	He came right through the wall!

			AMELIE
	And what did you do - chase him away?

			ERWIN
	Oh, no. He went away when you came
	in. He went right through the wall 
	again.

He smiles up at Amelie, who smiles back at him.

			AMELIE
	Well, that's fine. Now, shall we
	go on with your lesson? What did
	the sparrow have?

147
CLOSEUP - ERWIN

Erwin fidgets a little.

			ERWIN
	I don't know.

			AMELIE'S VOICE
		(offscene)
	Why, what did you do with your book?

Erwin glances down in mock surprise. Then he looks up
and smiles confidently.

			ERWIN
	I gave it to the giant.

				DISSOLVE TO:

148
CLOSE SHOT - MONSTER

He is crouched in the secret passage, comparing the words
in the picture-book with the words on the other papers.
He mumbles and frowns in deep concentration, doing his best
to make out what is on the papers.

				DISSOLVE TO:
__________________________________________________________

161
EXT. CASTLE ENTRANCE - NIGHT - MEDIUM SHOT 

Amelie, wrapped in a coat, and with a scarf tied around
her hair, waits impatiently.

162
EXT. FOREST PATH - NIGHT - MED. SHOT

Hammerschmidt has taken the front wheel off his bicycle
and is working with all speed to repair the blowout. He
looks up curiously at the sound of a crackling twig in the
deep forest that surrounds him; but satisfied that it is
only some nocturnal creature, continues with his work.
After a moment, there is a movement at the edge of the
circle of light cast by his lantern, and the Monster peers
cautiously out of the shadows. Satisfied that Hammerschmidt
does not see him, he comes forward. Hammerschmidt's occupa-
tion fascinates him, and he comes closer, standing behind
the gendarme and peering curiously over the latter's shoulder
at each phase of the work. Hammerschmidt continues,
oblivious of the Monster's presence. This continues for a
few moments; then suddenly Hammerschmidt, warned by some
sixth sense, glances over his shoulder. Discovering the
Monster, he leaps to his feet in alarm. The Monster makes
placating gestures, but Hammerschmidt in an ecstasy of fear,
draws his bayonet. The Monster emits a warning growl;
Hammerschmidt lunges with the bayonet, and the Monster 
grapples with him.

				CUT TO:

163
EXT. CASTLE ENTRANCE - NIGHT - FLASH

Amelie is still waiting impatiently. She glances at her
watch, looks anxiously down the road.

				CUT TO:

164
EXT. FOREST PATH - NIGHT - CLOSE SHOT

The same scene as 162; but now the enraged Monster is
trampling the remains of the unfortunate Hammerschmidt
into the ground. He picks up the mangled body and hurls
it into the underbrush, following it with the twisted
bicycle. The light remains burning, but the Monster
crushes it out with one stamp of his foot. In the ensuing
darkness we dimly see him start away down the path.

				CUT TO:
__________________________________________________________

207
CLOSE SHOT

Wolf stoops to pick up his electric torch. Its light
illuminates the hole-in-the-wall through which he entered 
the place. He starts through, and the Monster grasps his 
arm.

			MONSTER
	You - make - friend - for - me -
	Frankenstein?

208
CLOSE TWO-SHOT

			MONSTER
	You - got - friend - Frankenstein -
	many - friend. Me - no - friend.
	Never - no - friend.
		(the thing almost pleads)
	We - make - friend - for - me - 
	friend - like - me?

He gazes appealingly, grotesquely, into Wolf's face. Wolf
shudders as he nods his head. The Monster pats his shoulder
gratefully, as docile now as some great dog. He releases 
his hold on Wolf.

			MONSTER
	Come - back - tomorrow - friend.

Wolf starts through the opening.

				DISSOLVE TO:
__________________________________________________________

309 
INT. LABORATORY - MED. SHOT

Wolf comes into the scene and starts to remove his coat
and get into his laboratory apron. He ties the strings
of the apron, reaches up and turns on a light. In the
rays of the light, the Monster is seen, glaring at him
across the table. Wolf recoils momentarily.

			MONSTER
	I - wait - long - time - Frankenstein.

310
CLOSER ANGLE

Wolf recovers from his instant terror at the sight of the 
Monster. He tries to explain.

			WOLF
	The police - they were guarding 
	the -

The Monster interrupts him.

			MONSTER
		(with an impatient
		gesture)
	Work!

Wolf darts a glance at him. The Monster throws down several
sheets of the formula, and Wolf seizes them eagerly.

__________________________________________________________

319
INT. LABORATORY - CLOSE SHOT

Wolf is hard at work preparing the necessary chemicals.
He decants a solution from a 1000 cc cylinder graduate
into an Erlenmeyer flask. The solution effervesces as
he pours it. He shakes the flask and the effervescense
stops. (Sodium acetate solution into Sodium carbonate
solution). He sets down the flask, picks up a 1000 cc
beaker, pours its contents into a larger beaker. The
first solution turns cloudy white as he pours. (Potassium
alum solution into hypo solution). He sets the beaker on
an electric stove and stirs it. He picks up another flask
of a dark solution (potassium permanganate) and pours a
solution into it from a wash-bottle (strong hypo). As the
second solution drips into the first, the dark color
changes to translucent. He adds a few drops of the solu-
tion to the beaker on the electric stove and stirs it. He
turns to a laboratory balance on the table, sets scale-
papers on the pans, and shakes a small quantity of a 
chemical out of a bottle, weighing it carefully with a
quick glance at the formula sheets spread out before him.
Deftly he drops the weighed-out chemical (metallic sodium)
into a beaker of water. The sodium sputters and darts
erratically across the surface of the water. As it dis-
solves, he pours the solution into a large bottle. Then,
he turns to an elaborate set-up of condenser, retort, etc.
and carefully examines the reaction taking place within
the set-up, making hurried notes on a pad of paper as he 
does so. The Monster moves into the b.g. alongside the
set-up, watching it as closely as Wolf does. Wolf looks
up; the Monster hands him another sheet of the formula,
grinning at him as he does so. Wolf's face breaks into 
an answering grin.

				DISSOLVE TO:
__________________________________________________________

373 
INT. LABORATORY - NIGHT - MED. SHOT

The droplight over the laboratory table that Wolf left on
is still burning. The gigantic silhouette of the Monster
blocks out the background as he makes his way to the table.
THE CAMERA MOVES IN TO FOLLOW HIM TO A CLOSE SHOT. The
Monster fumbles with the contents of the table, finally
picks up the sheaf of formula notes that Wolf left lying
there. He peers at them myopically, trying to discover
what is written on them. He shakes his head in annoyance,
then rises and moves back into the shadow. When he returns
he is carrying the picture-book he took from Erwin. He
places the picture-book on the table alongside the notes.

374
CLOSE SHOT - PICTURE-BOOK AND FORMULA NOTES

seen over the Monster's shoulder. He shuffles the papers
about, and we get a clear view of what he is trying to read.
On the last sheet of the formula is written clearly, at the
bottom of the page:

	"The newly-dead body is placed on the -"

The Monster's great finger runs along the words. Then he
opens the picture-book and fumbles through the pages. He
comes to a page with a picture of "Cock Robin" lying dead,
with the sparrow's arrow through his plump body. Beneath 
it is the legend:

	"Cock Robin is dead."

The finger moves to the word "dead" on the formula-sheet,
then back to the book to the corresponding word. The
Monster's voice comes over the scene.

			MONSTER
		(muttering)
	Bird - dead.
		(the finger moves back
		and forth again)
	Dead ... dead.
		(then he gets it)
	Hah ...

He rises suddenly, turning as he does so, AND THE CAMERA
MOVES WITH HIM TO A BIG CLOSEUP of his face, grinning 
with horrible joy.

			MONSTER
	Haaaah! Frankenstein - want - dead -
	body!

				FADE OUT
__________________________________________________________

394 
INT. LABORATORY - CLOSE SHOT AT ENTRANCE

Nothing shows in the yawning blackness of the hole-in-the-
wall. The sound of approaching footsteps grows louder.
Suddenly in the blackness, weirdly illuminated by the
single light in the laboratory, appears the face of Ott,
the young lieutenant. The eyes are lackluster; the face
is drawn in a terrible grimace of fear. The body of the
boy slumps forward, and the grinning countenance of the 
Monster appears behind it.

395
WIDER ANGLE

The Monster lowers the body of the boy to Wolf's eager 
hands.

			MONSTER
	Dead - body - Frankenstein!

Wolf and the Monster start to carry it to the operating
table. A louder roll of thunder is heard, and the electrodes
crackle.

				CUT TO:
__________________________________________________________

402 
INT. LABORATORY - CLOSE SHOT - LOW ANGLE

The body of the unfortunate Ott is placed on the operating-
table in the center of the room. His clothing is piled in
a heap near the foot of the table. Wolf and the Monster
bend over the body, adjusting the "diffuser-bands" and
making other adjustments. Wolf's face is the rapt face of 
the scientist; the Monster can hardly contain himself for 
joy. The thunder growls and rattles outside, and the
electrodes spark and hiss in reply.

403
CLOSE SHOT - WOLF

as he works feverishly at the head of the body. He places
a weird apparatus on the head of the dead man, adjusts two
cables that lead to a complicated electrical arrangement
alongside. On his own head he adjusts a sort of radio
head-set, which he plugs into the electrical device. He
turns to the Monster who is watching him eagerly.

			WOLF
	Throw the small switch there.

He points.

404
WIDER ANGLE

The Monster clumsily throws a switch. Immediately an
AC hum is heard, and several tubes glow.

			WOLF
		(points)
	Now that one!

The Monster throws another. The hum is intensified, and
certain other tubes glow. Wolf listens with suppressed
eagerness. The Monster creeps closer, peers into Wolf's
set face.

405
CLOSEUP - WOLF

with the apparatus on his head, intently listening. He
moves a vernier, and a needle trembles on a dial close at
hand. He frowns, lifts his head, pushes back the headset.

			WOLF
	Throw the other switch. No, there.

He points. A tube springs into light alongside the meter;
Wolf adjusts the headset again, and listens intently. The
Monster murmurs something, and Wolf impatiently waves him 
to silence. A frown grows on Wolf's face, and finally he
removes the headset and straightens up.

406
TWO-SHOT - WOLF AND MONSTER

A loud peal of thunder causes the electrodes to crackle
and spark menacingly. Wolf turns to the Monster, who 
watches him in dumb concern.

			WOLF
	Something is wrong.

The Monster mumbles in his throat. Wolf bends forward,
looks the Monster straight in the eye.

			WOLF
	What did you do to him?

The Monster looks puzzled.

			WOLF
	What did you do to him?

The Monster pantomimes twisting the man's neck. Wolf's 
look becomes a furious glare. The Monster, alarmed at this
new Wolf, backs away. Wolf follows him step by step. The
Monster whimpers in his throat. Wolf suddenly springs 
at him savagely.

			WOLF
	You fool!

He throws the headset full in the astonished creature's face.

			WOLF
		(screaming in rage)
	He's useless! Useless! The brain
	is ruined! You stupid, useless
 	fool!

In his rage he strikes at the Monster, who retreats from 
this unexpected onslaught.

			WOLF
	You've ruined his brain! You've 
	ruined everything!

__________________________________________________________

454 
INT. LABORATORY - CLOSE SHOT

The Monster tosses the squalling child onto an operating-
table and quickly fastens the clamps. He bends over the
boy.

455
CLOSEUP - ERWIN

clamped to the table. He is bawling in deadly fear. The
Monster's evil face pushes in close.

			MONSTER
	Good - brain -
		(he chuckles)

			ERWIN
	Go 'way - go 'way -

456
CLOSE SHOT

The Monster, paying no attention to the child's yells,
takes a case of surgical instruments from a drawer.

			ERWIN
	Daddy ... daddy ... Mamma ...

The Monster makes a gesture at the child as he fumbles
with the instruments.

457
EXT. FOREST - NIGHT - CLOSE SHOT - PROCESS FLASH

Wolf is running at top speed.

458
CLOSEUP - MONSTER

The boy's voice, hoarse with yelling, comes over the
scene. The Monster fumbles with the instruments,
selects a shining, wicked-looking scalpel.

459
EXT. LABORATORY - NIGHT - FULL SHOT

Wolf comes racing across the scene to the entrance.
A huge spark of electricity crackles down from the 
apparatus above. He plunges into the doorway. In the
distance the approaching torches of the others can be 
seen.

460
INT. LABORATORY - CLOSE SHOT - LOW ANGLE

The boy's yells have become agonized moans now. The
Monster bends over him with the scalpel.

461
CLOSEUP - ERWIN - FLASH

His eyes widen in terror as the blade approaches.

462
INT. LABORATORY - CLOSE SHOT - LOW ANGLE

Same as 461. The Monster brushes the child's hair aside,
poises the scalpel. There is a sound offscene and the 
Monster raises his head in annoyance. He leers.

463
CLOSE SHOT AT ENTRANCE

Wolf, soaked, stands in the entrance. There is horror in
his eyes as he takes in the scene, and his hand moves to 
his pocket. Then he realizes that his revolver is gone,
and he smiles slowly, mustering up every ounce of self-
control to smile winningly at the Monster. He starts to
move forward, still smiling, holding himself back from
leaping across the floor in one bound.

464
CLOSE TWO-SHOT - MONSTER AND ERWIN

Erwin cannot see who the newcomer is, but his terrified eyes
follow every move of the Monster. The Monster glares off-
scene at Wolf, and in a moment a smile comes over the dread-
ful face. 

465
CLOSE SHOT - WOLF - MOVING

THE CAMERA DOLLIES BEFORE HIM as he moves straight into
THE CAMERA, still maintaining his smile.

			WOLF
	Friend ...

He puts everything into that one word. He continues to
advance, directly INTO THE CAMERA.

466
CLOSEUP - MONSTER

He grins delightedly.

			MONSTER
	Friend!

He gestures to the child on the table.

			MONSTER
	God - good - brain!

467
CLOSEUP - ERWIN - FLASH

His face still expresses horror.

468
CLOSE SHOT

Wolf moves into the scene, still smiling. The Monster grins
at him affectionately. When Wolf gets close, the Monster
pats him on the shoulder.

			MONSTER
		(happy)
	Friend - good - brain!

Wolf reaches for the scalpel, still smiling confidently at
the creature. The Monster draws his hand away with a 
frown.

			MONSTER
	No - me!

			WOLF
		(gently, confidently)
	We mustn't spoil it. Let me.

			ERWIN
	Daddy ... giant got me.

There is a momentary flicker in Wolf's eyes, but the smile
never alters. He continues to hold out his hand.

469
CLOSE SHOT AT ENTRANCE

Neumuller and one or two of the soldiers have entered
silently. One of the soldiers raises his rifle, but
Neumuller shoves it down, his eyes glued on the picture 
before him. They stand like statues.

470
CLOSE TWO-SHOT - WOLF AND MONSTER

with the child's head just showing at the bottom of the 
frame. Wolf continues to reach for the knife.

			WOLF
		(winningly)
	Have to do it right ... make
	friend for you ...

The Monster wavers.

			MONSTER
		(suddenly)
	No - I - do -

He lunges with the knife. Wolf catches his wrist, not
viciously, but very gently - enough to deflect the knife
into the table, where the blade snaps.

			WOLF
		(smiling)
	You see? Better let me.

He picks up another, a larger one, from the open
case of instruments, and still smiling at the Monster,
leans over the child.

			WOLF
	Like this.

As the Monster, completely off guard, leans over to see
better, Wolf stabs him with the scalpel. The smile of
satisfaction is frozen on the Thing's face as Wolf stabs
again and again, furiously, madly. The Monster, strangely,
offers little resistance, until finally its great hands
shoot out and grasp Wolf by the throat. But even then, even
as Wolf continues to slash at it with the knife, it does not
flex those great hands. Instead, a look of sadness comes
into its eyes, and it mutters.

			MONSTER
	Friend ...

A volley of shots rings out, and the Monster staggers,
dropping Wolf.

471
INT. LABORATORY - FULL SHOT FROM ENTRANCE

The soldiers, silhouetted against the bright lights of the 
laboratory, are firing again and again. The great creature
crumples a little, then staggers away. It fights its way 
to the shadows at the back of the laboratory; as another
volley is fired, it falls into the darkness. The soldiers 
rush forward, led by Neumuller.

472
INT. LABORATORY - MED. SHOT 

The soldiers rush forward, but Neumuller, in sudden
apprehension, bars their way. They shrink back from the 
edge of a dark pit, gabbling in excitement.

			NEUMULLER
	Silence!

The men fall silent. Neumuller leans cautiously over the
edge. Far below is heard the splash of water, and a
groan of agony from the Monster.

473 
CLOSE SHOT

Neumuller takes the n.c.o. by the arm. Wondering, the
soldier allows Neumuller to remove a hand-grenade from
his belt. Neumuller pulls the pin, tosses the grenade
over the edge of the pit. The soldiers move back from
the edge. In a moment there is an echoing explosion.
Music picks it up and we

				FADE OUT.


			THE END


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