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
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 ENDHome