"YOUNG FRANKENSTEIN"



					     Screenplay

						  by

					     Gene Wilder






























										FIRST DRAFT

					"YOUNG FRANKENSTEIN"

	FADE IN

1	EXT. FRANKENSTEIN CASTLE							1

	A BOLT OF LIGHTNING!

	A CRACK OF THUNDER!

	On a distant, rainy hill, the old Frankenstein castle, as
	we knew and loved it, is illuminated by ANOTHER BOLT OF
	LIGHTNING.

	MUSIC:  AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in
	the b.g.

2	ANOTHER ANGLE								2

	as we MOVE SLOWLY CLOSER to the castle.  It is completely
	dark, except for one room -- a study in the corner of the
	castle -- which is only lit by candles.

	Now we are just outside a rain-splattered window of the
	study.  We LOOK IN and SEE:

3	INT. STUDY - NIGHT								3

	An open coffin rests on a table we can not see it's contents.
	As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW...

	A CLOCK BEGINS TO CHIME:  "ONE," "TWO," "THREE," "FOUR..."

	We are ALMOST FACING the front of the coffin.  "FIVE,"
	"SIX," "SEVEN," "EIGHT..."

	The CAMERA STOPS.  Now it MOVES UP AND ABOVE the satin-lined
	coffin.  "NINE," "TEN," "ELEVEN," "T W E L V E!"

										CUT TO:

4	THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN				4

	Half of still clings to the waxen balm; the other
	half has decayed to skull.  Below his head is a skeleton,
	whose bony fingers cling to a metal box.

5	A HAND										5

	reaches in to grasp the metal box.  It lifts the box halfway
	out of the coffin -- the skeleton's fingers rising, involun-
	tarily, with the box.

										Cont.

											2

											5 Cont.

	Then, as of by force of will, the skeleton's fingers grab
	the box back and place it where it was.

	Now the "Hand" -- using its other hand -- grabs the box
	back from the skeleton's fingers.  The skeleton no longer
	resists.

6	CORNELIUS WALDMAN								6

	whose "Hands" we have just seen, now carries the box to a
	small table.  He takes a tiny key out from his vest pocket
	and begins to unlock the metal box.

	NINE PEOPLE watch him closely.  They are seated on chairs
	in the study, waiting to hear the contents of
	Beaufort Frankenstein's will.  Their dress is turn-of-the-
	century Transylvanian.

	Cornelius Waldman fumbles with the lock, emitting strange
	grunts as he tries to open it.  With each grunt, the face
	of a "potential Heir" is SEEN, squirming with frustration
	or anger.

					FIRST VILLAGER (WALTER)
			Fumbling fool!  For two kronen
			I'd rip that box fight out of his
			hands.

					ILSE (HIS WIFE)
			Shhh!

					NINETY-YEAR-OLD VILLAGER (HENRICH)
			Hurry.  Idiot, hurry!

					AGATHA (HIS WIFE)
			Quiet, Henrich!  We've waited seventy
			years...another three or four seconds
			won't hurt.

					NINETY-YEAR-OLD VILLAGER
			Another three of four more seconds?
			I could be dead by then.

					AGATHA
			Shhh!

					FIFTH VILLAGER (A MAN)
			What if he's left you out?

					HELENE (HIS GIRL FRIEND)
			Just let him try -- I'll take care
			of him.

										Cont.

											3

											6 Cont.

					ANASTASIA (A MIDDLE-AGED WOMAN)
			Oh, Mommy...I hardly remember.  Did
			the Baron really like me when I was
			a child?

					MARLENE (HER MOTHER)
			Like a father!

					NINTH VILLAGER (WOLFGANG)
				(muttering to
				himself)
			Wenn dieser Bloder kerl sich nicht
			beeilt verde ich verruckt.  Was zum
			Teufel machte?
	
					MARLENE
			Shhh!

	Cornelius Waldman finally opens the lock.  He takes out an
	old parchment, puts on his glasses, coughs and sputters a
	few times, and then begins to read.

					CORNELIUS WALDMAN
			'I, Beaufort Frankenstein, in this
			my eighty third year of life, do
			hereby make, publish and declare the
			following statements as and for my
			last will and testament, and I direct
			my executor, Cornelius Waldman, to
			inform and assemble those persons
			previously divulged to him, that
			they may hear -- in my own voice --
			the final disposition of my property.'

	At the words, "In my own voice," the nine "Potential Heirs"
	exchange curious glances.

					CORNELIUS WALDMAN
				(still reading)
			'Such disposition to commerce at
			the hour of twelve o'clock of my
			one hundredth birthday.  If all
			the conditions heretofore set forth
			have been met, now then -- hear once
			more, and for the last time...the
			authenticity of my own voice!'

	Cornelius Waldman nos to a Clerk, HERR FALKSTEIN, who
	is standing nearby.

										Cont.

											4

											6 Cont.1

	Herr Falkstein places the needle of an old victrola onto
	an already spinning record.  It SCRATCHES and then begins
	to PLAY.

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s.)
			How do you do this thing?  Where?
			In here?  Just talk right into it?
			All right. Am I close enough?  All
			right, all right -- get the hell
			out of the way.
				(he clears his throat,
				then speaks in a deep,
				majestic voice)
			The once proud name of Frankenstein
			has been dragged, by my only son,
			Victor, into an abyss of shame.
			There was a time when the name
			'Frankenstein' conjured dreams of
			virtue, of honor and devotion.  Now,
			no guilt, no malignity, no misery
			can be found to equal mine.  And
			the catalogue of sins of my once
			devoted son will not cease to
			rankle in my wounds until death
			shall close them forever -- so
			supremely frightful is the effect
			of any human endeavor to mock the
			stupendous mechanism of the Creator
			of the world.
			Did you get all that?  Are you sure
			you got 'rankle in my wounds'?  I'll
			kill you if you screw this up.  All
			right, all right. Now as to the
			disposition of my estate.

	Everyone in the room sits alert.

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s)
			To my cousins, Henrich and Agatha...

										CUT TO:

7	THE NINETY-YEAR-OLD VILLAGER AND HIS WIFE				7

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s.)
			...and to my cousin Walter and his
			wife Ilse...

										CUT TO:

											5

8	WALTER AND ILSE								8

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s)
			...and to my niece Helene...

										CUT TO:

9	HELENE										9

	sitting with her boyfriend.

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s)
			...and my dear nephew Wolfgang...

										CUT TO:

10	WOLFGANG									10

	sitting alone.

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s.)
			...and lastly, to my cherished old
			friend, Marlene, and her charming
			daughter, Anastasia...

										CUT TO:

11	ANASTASIA AND HER MOTHER							11

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s.)
			...to all of you, in equal shares,
			I hereby give, devise and bequeath,
			absolutely and without any
			restrictions whatsoever, all
			property of every sort and
			description, whether real,
			personal or mixed, to which my
			estate shall be entitled.

12	HENRICH AND AGATHA								12

	are hugging each other.

13	WALTER AND ILSE								13

	hugging each other.

14	HELENE AND ANASTASIA							14

	hugging each other.

											6

15	WOLFGANG									15

	is hugging himself.

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s.)
			Unless...!

16	GROUP SHOT									16

	They all look up suddenly from their hugging.

17	ANOTHER ANGLE								17

	SCRATCH, SCRATCH, SCRATCH...the needle has reached the
	end of the first side.

18	HERR FALKSTEIN								18

	lifts the arm off and turns the record over.

					HERR FALKSTEIN
				(apologetically)
			It's a seventy eight.

	He places the needle on the record.

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s.)
			...Unless...my only male heir, my
			great-grandson, Frederick -- whom I
			have never seen but who is, at the
			time of this recording, ten years of
			age and residing in America with my
			granddaughter, Katherine -- has, by
			his own free will, embraced Medicine
			as his career and acquitted himself
			with some measure of esteem.  Then,
			to him I leave...everything!

	The nine "Potential Heirs" are expressionless.

					VOICE OF BEAUFORT FRANKENSTEIN
				(o.s.)
			My castle, together with its
			laboratory, its public and private
			library, and all notes and journals
			contained therein, all acreage
			surrounding my estate, plus all
			income and principle thereof...in
			the fond hope that yet another
			Frankenstein shall lift our family
			name to an eminence of dignity, and
			sanity, that it once enjoyed.

										Cont.

											7

											18 Cont.

					VOICE OF BEAUFORT FRANKENSTEIN (Cont.)
				(o.s.)
			As for my dear friends and relations,
			should this latter improbability come
			to be...I know that I have your
			complete understanding.  For the road
			to salvation and repentance must be
			paved up the avenue of my soul, and
			not up yours, up yours, up yours,
			up yours, up yours...

	Herr Falkstein removes the needle from the finished record.

					CORNELIUS WALDMAN
			Herr Falkstein!  Did you inform
			Frederick Frankenstein of this
			assembly and all the particulars
			of the time and place?

					HERR FALKSTEIN
			I did, sir.

	He takes a cablegram out from his pocket.

					HERR FALKSTEIN
			But I received a cable only this
			morning, saying that he could not
			come.

					CORNELIUS WALDMAN
			Was he aware of the importance of
			this occasion?

					HERR FALKSTEIN
			Yes, sir, he was.  But he said he
			was obligated to lecture at
			Johns Hopkins University.

					CORNELIUS WALDMAN
			What lecture could be more
			important than the will of
			Baron Beaufort Frankenstein?

					HERR FALKSTEIN
				(reading the cable)
			'Functional areas of the cerebrum
			in relation to the skull.'

	The Ninety-Year-Old Villager passes out.

										Cont.

											8

											18 Cont.1

					ANASTASIA
				(very sweetly)
			Excuse me, Mr. Waldman -- excuse me
			for interrupting.  But is Frederick,
			then...a medical doctor?

					CORNELIUS WALDMAN
			Yes, my dear, he is.

					ANASTASIA
			And has he achieved...any special
			degree of eminence?

					CORNELIUS WALDMAN
			He is the fifth leading authority
			in his field.

					ANASTASIA
				(sinking her head
				into her hand)
			Oh, shit.

					CORNELIUS WALDMAN
			Herr Falkstein -- you must go at
			once and present Dr. Frankenstein
			with all the details of his
			inheritance.  The estate will
			provide for your journey.

					HELENE
			I object, Herr Waldman!  This is a
			travesty.  If the beloved great-
			grandson cared anything at all for
			the House of Frankenstein, he would
			have shown it by being here with
			those of us who still have some
			respect.  I think we should completely
			disregard the afterthoughts of a very
			old man.

					CORNELIUS WALDMAN
			Madam -- the foundation of civilization
			rests upon adherence to the law.  And
			the Law is the Law.  Das Gesetz ist
			das Gesetz!

	Wolfgang -- the man who mutters only in German -- CRASHES the
	back of his head halfway into the wall behind him.

										Cont.

											9

											18 Cont.2

					CORNELIUS WALDMAN
			Herr Falkstein! You have your
			instructions!

					HERR FALKSTEIN
			Yes, sir.

					CORNELIUS WALDMAN
			I have taken an oath that each
			letter of this testament shall
			be executed...and by God, it
			shall be done!

	The lid of Beaufort Frankenstein's coffin SLAMS SHUT
	by itself.

										DISSOLVE TO:

19	LEGEND ON THE SCREEN							19

	It reads:

		JOHNS HOPKINS HOSPITAL

		   BALTIMORE, MARYLAND

				     21205

20	INT. MEDICAL ARENA - DAY							20

	Herr Falkstein quietly enters into the balcony of an
	arena packed with young MEDICAL STUDENTS.  A lecture is
	in progress.

					LECTURER'S VOICE
				(o.s.)
			If we look at the base of a brain
			which has just been removed from
			a skull, there's very little of
			the midbrain that we can actually
			see.

										Cont.

											10

											20 Cont.

	Herr Falkstein proceeds, almost on tiptoe, along the
	aisle towards a vacant seat.  He is carrying a briefcase
	and a small metal box.

					LECTURER'S VOICE
				(o.s.)
			Yet, as I demonstrated in my
			lecture last week, if the under
			aspects of the temporal lobes
			are gently pulled apart, the
			upper portion of the stem of
			the brain can be seen.

	Herr Falkstein's footsteps ECHO ever so lightly against
	the cold stone floor, as he passes the faces of students
	intense with concentration.

					LECTURER'S VOICE
				(o.s.)
			This so called 'brain stem'
			consists of the midbrain, a
			rounded protrusion called the
			pons, and a stalk tapering
			downwards called the
			medulla oblongata which passes
			out of the skull through the
			foramen magnum and becomes,
			of course...the spinal cord.

	Herr Falkstein finds a vacant place and sits down.

					LECTURER'S VOICE
				(o.s.)
			Which brings us directly to the
			demonstration prepared for today.
			Are there any questions before
			we proceed?

					MEDICAL STUDENT
			(rising)
			I have one question,
			Dr. Frankenstein.

										CUT TO:

											11

21	ANOTHER ANGLE								21

	Our first LOOK at the famous Lecturer.

					FREDDY
			That's 'Fronkonsteen.'

					MEDICAL STUDENT
			I beg your pardon?

					FREDDY
			My name is pronounced Fron kon steen.

					MEDICAL STUDENT
			Oh!  I thought it was Dr. Frankenstein.

					FREDDY
			No, it's Dr. Fronkonsteen!

					MEDICAL STUDENT
			But aren't you the grandson of the
			famous Dr. Victor Frankenstein?...
			who performed such fascinating
			experiments in electricity and
			galvanism?

					FREDDY
			That's true!  But my grandfather,
			Victor was, after all, what we
			might politely refer to as... a
			cuckoo!

	Polite laughter.

					FREDDY
			I prefer, by far, to be remembered
			for my own small contributions to
			science.  Now if we can proceed to
			your questions.

					MEDICAL STUDENT
			Well sir... I'm not sure I
			understand the distinction between
			'Reflexive' and 'Voluntary' nerve
			impulses.

					FREDDY
			Very good!  Since our lab work today
			is a demonstration of just that
			distinction... why don't we proceed?

	Behind Freddy is a PATIENT, lying on an operating table.
	CARLSON, an assistant, stands near the Patient, next to
	a small table of instruments.

										Cont.

											12

											21 Cont.

					FREDDY
			What are we actually talking about
			when we use the term, 'Brain'?  We
			are talking about... a cauliflower!

	Freddy turns to Carlson.

					FREDDY
			May I have the cauliflower, please!

	Carlson hands Freddy a giant cauliflower.

					FREDDY
			If we make a small slit, down the
			center of this cauliflower...

	Freddy turns to Carlson, who hands him the scalpel.  Freddy
	makes a small slit down the center of the cauliflower.

					FREDDY
			...and then, ever so gently,
			gently, gently... pull it apart...

	Freddy has some difficulty pulling the cauliflower apart.
	It begins to crumble, but he goes on, professionally.

					FREDDY
			...we should find, with any luck
			at all... a stalk of... celery!

	There is no celery inside the cauliflower.  Freddy flushes
	red. 

					FREDDY
				(to Carlson)
			Where did you get this cauliflower?

					CARLSON
			From your office, sir.

					FREDDY
			Didn't you prepare it with the
			celery before my lecture?

					CARLSON
			Yes, sir.  But I must have taken
			the wrong one when we came up.

					FREDDY
				(in quiet rage)
			Are you trying to make me look
			like an idiot?

										Cont.

											13

											21 Cont.1

					CARLSON
			No, sir.  It will never happen again.

					FREDDY
				(handing him
				the cauliflower)
			Here!  This cauliflower is useless
			to me.

	Freddy turns back to his audience.

					FREDDY
			With any normal cauliflower, we
			would have found a stalk of celery,
			or... 'Brain Stem' which brings us
			to the practical application of
			our study.

	Freddy moves behind the Patient on the table.

					FREDDY
			Mr. Hilltop here -- with whom I have
			never worked of given any prior
			instructions to -- has graciously
			offered his services for this afternoon's
			demonstration.  Mr. Hilltop!

					HILLTOP
			Yes, sir?

					FREDDY
			Have we ever seen each other before
			this afternoon?

					HILLTOP
			No, sir.
					FREDDY
			Tell them!

					HILLTOP
				(turning to the
				Medical Students)
			No, sir -- we haven't.

	FREDDY
				(to his audience)
			Do I lie?
				(to Mr. Hilltop)
			Would you be so kind enough to hop
			up on your feet and stand beside
			this table.

	Mr. Hill top gets off of the table and stands erect.

										Cont.

											14

											21 Cont.2

					FREDDY
			Mr. Hilltop!  Would you raise
			your left knee, please!

	Mr. Hilltop raises his left knee.

					FREDDY
			You have just witnessed a 'Voluntary'
			nerve impulse.  It begins as a
			stimulus from the cerebral cortex,
			passes through the brain stem and
			then to the particular muscle
			involved.  Mr. Hilltop, you may
			lower your knee.

	He lowers his knee.

					FREDDY
			'Reflex movements are those which
			are made independently of the will,
			but are carried out along pathways
			which pass between the periphery and
			the central nervous system.  You
			filthy, rotten, yellow son of a BITCH!

	Freddy pokes his knee close to Mr. Hilltop's balls.
	Mr. Hilltop reacts accordingly.

					FREDDY
			We are not aware of the impulses,
			neither do we intend them to contract
			our muscles.  Yet -- as you can see --
			they work by themselves.

	By this time, Mr. Hilltop has lowered his protective thigh
	... a little nervously.

					FREDDY
			Now then!  Modern research has
			shown us that by simply applying
			local pressure of ' blocking' the
			nerve impulse... which can be done
			with any ordinary metal clamp...

	Freddy reaches out his hand.  Carlson hands him a bicycle
	clamp.  Freddy holds Mr. Hilltop's head and places the
	clamp behind Mr. Hilltop's ears.

					FREDDY
			... Just at the swelling on the
			posterior nerve root -- for, oh
			say five or six seconds...

	A short pause.  Freddy looks at his watch.

										Cont.

											15

											21 Cont.3

					FREDDY
			Why you mother-grabbing BASTARD!

	Freddy once again jerks his knee close to Mr. Hilltop's
	balls.  This time Mr. Hilltop doesn't move.  He is almost
	ready to pass out.

					FREDDY
			All communication is shut off.
			Similarly, damage to a nerve will
			mean that not all the impulses can
			get through and there will be
			weakness of a muscle...

	Mr. Hilltop collapses to the floor.  Freddy never looks down.

					FREDDY
			...or group of muscles, with some
			loss of skin sensation on the area
			supplied by that nerve.  In spite
			of our mechanical magnificence, if
			there is not this continuous stream
			of impulses... we would collapse
			like... a bunch of broccoli.

	A smattering of POLITE APPLAUSE.  Freddy reaches down and
	removes the metal clamp from Mr. Hilltop's head.

					FREDDY
				(to Carlson)
			Give him an extra dollar.

					CARLSON
			Yes, sir.

	Carlson picks up Mr. Hilltop and places him on the operating
	table.

					FREDDY
			In conclusion... it should be noted
			that more than common injury to the
			nerve roots is always serious,
			because... once a nerve fibber is
			severed... there is no way to
			regenerate life back into it.  Are
			there any more questions before we
			leave?

					MEDICAL STUDENT
			Dr. Fronkonsteen!

					FREDDY
			Yes?

										Cont.

											16

											21 Cont.4

					MEDICAL STUDENT
			Isn't it true that Darwin preserved
			a piece of vermicelli in a glass
			case until, by some extraordinary
			means, it actually began to move
			with voluntary motion?

					FREDDY
			A piece of what?

					MEDICAL STUDENT
			Vermicelli.

					FREDDY
			Are you speaking of the worm, or
			... the spaghetti.

					FREDDY
			Why the worm, Sir.

					FREDDY
			Ah!  In science you must be very
			precise -- it can spell the
			difference between life and death.
				(to Carlson)
			I don't want that fellow in class
			next semester.

					CARLSON
			Yes, sir.

					FREDDY
			He has a big mouth.
				 (to Medical Student)
			Yes!  It seems to me I did read
			something about that incident as a
			student.  But you have to remember
			that a worm -- with very few exceptions
			-- is not a human being.

					MEDICAL STUDENT
			But wasn't that the whole basis of
			your grandfathers work, sir...? the
			re-animation of component parts?

					FREDDY
			My father was a sick man.

					MEDICAL STUDENT
			But aren't you the least bit curious
			about it, Doctor?  Doesn't the secret
			of life hold any intrigue for you?

					FREDDY
			You are talking about the gibberish
			ravings of a lunatic mind.

										Cont.

											17

											21 Cont.5

					MEDICAL STUDENT
			Yes, but, sir... if it could be
			accomplished, wouldn't that
			eliminate disease from the human
			frame and render man invulnerable
			to any but a violent death?

					FREDDY
			How old are you, young man?

					MEDICAL STUDENT
			Nineteen, sir.

					FREDDY
			Nineteen!  My dear young man...
			once the human organism has ceased
			to function, nature has deemed
			that creature to be dead.

					MEDICAL STUDENT
			But look at what's been done with
			hearts and kidneys!

					FREDDY
			Hearts and kidneys are Tinker Toys!
			I'm talking about the Central
			Nervous System.

					MEDICAL STUDENT
			But, sir...

					FREDDY
			I am a scientist...!  not a
			philosopher.

	He holds up his scalpel.

					FREDDY
			You have more chance of re-animating
			this knife than you have of mending
			a broken nervous system,

					MEDICAL STUDENT
			But your grandfather's work, sir...

					FREDDY
			My grandfather's work was Doo-Doo!
			Dead is Dead!  There's only one
			thing I am interested in... and that
			is the preservation of LIFE!

										Cont.

											18

											21 Cont.6

	POLITE APPLAUSE.  However, on the word "Life," Freddy
	has plunged the scalpel into his thigh by mistake.  No one
	but Freddy and the Movie Audience is aware of this.

					FREDDY
			Class... is... dismissed!

	The students begin to leave.

					FREDDY
			Carlson!

					CARLSON
			Yes, sir?

					FREDDY
			Bring me some surgical gauze, a
			little tape and some disinfectant.

					CARLSON
			Yes, sir.  Do you want the other
			cauliflower?

					FREDDY
			... No!

	Herr Falkstein approaches with the metal box.

					HERR FALKSTEIN
			Dr. Frankenstein?

					FREDDY
				(through his teeth)
			Fron kon steen!

					HERR FALKSTEIN
			My name is Gerhart Falkstein.

										DISSOLVE TO:

22	EXT. A CITY STREET - DAY							22

	Herr Falkstein and Freddy are walking along the sidewalk.
	In the distance, a little OLD VIOLINIST, wearing a
	Tyrolean hat, plays a cheerful tune on his violin.  His
	open violin case rests on the ground beside him.

					FREDDY
			One hundred thousand dollars???

										Cont.

											19

											22 Cont.

					HERR FALKSTEIN
			Oh, at least, sir.  The land alone
			is worth a small fortune.

					FREDDY
			But I can't just drop everything and
			leave.  I have responsibilities and
			obligations.

					HERR FALKSTEIN
			Do you have a hundred thousand of
			them, sir?

	Freddy looks at Herr Falkstein.  The little Old Violinist
	has finished his cheerful tune.  He now plays the eerie
	Transylvanian Lullaby that was heard at the opening.

					FREDDY
			How long will this whole thing
			take?

					HERR FALKSTEIN
			A week.  Ten days at most.

					FREDDY
			I'll have to think it over.  It's
			not so easy just to pick up and...

	Freddy stops -- the music seeping into a dark and forgotten
	corner of his brain.

					FREDDY
			Curious melody!  Haunting, isn't
			it?

	Freddy, followed by Herr Falkstein, walks back a few steps
	and stands next to the Old Violinist as he plays.

					FREDDY
			What's that tune that you're playing

					OLD VIOLINIST
			Zis is an old Transylvanian Lullaby.

					FREDDY
			How sweet!  Such a quaint little
			tune.

	Freddy rubs his temples with his fingertips for a moment.

										Cont.

											20

											22 Cont.1

					FREDDY
			May I see your violin?

					OLD VIOLINIST
				(handing Freddy
				the violin)
			It's an honor for me, sir.  You
			play the violin?

					FREDDY
			Oh, just a little.

	Freddy examines the violin.

					FREDDY
			Nice!  Nice little balance to it.

					OLD VIOLINIST
			Ja, ja.

	Freddy, without any emotion, smashes the violin over his knee
	and then hands the two halves back to the Old Violinist.

					FREDDY
			Thank you very much.

	The Old Violinist takes the two halves, open-mouthed.

					FREDDY
				(to Herr Falkstein)
			Well... if you're sure that I could
			accomplish everything in a week...
			I suppose I could manage it.

					HERR FALKSTEIN
			Why did you do that?

					FREDDY
			What?

					HERR FALKSTEIN
			Break that old man's violin.

					FREDDY
			I didn't do that.

					HERR FALKSTEIN
			The old violinist -- you smashed
			his violin over your knee.

										Cont.

											21

											22 Cont.2

					FREDDY
			I did not do that.  Why would I
			do a thing like that...?  Are you
			insane?

23	LEGEND ON THE SCREEN							23

	It reads:

		"IS THIS THE FIRST SIGN OF A SPLIT PERSONALITY?"

24	BACK TO THE SCENE								24

	Now Freddy and Herr Falkstein are standing on a corner.

					FREDDY
			All right then, I suppose I owe
			the family that much.  You'll
			have everything ready for me when
			I arrive?

					HERR FALKSTEIN
			Yes, sir.

					FREDDY
			One week at the most!?

					HERR FALKSTEIN
			One week -- I'll see to it, sir.

					FREDDY
			Well, thank you very much for all
			your trouble.

	They shake hands.

					HERR FALKSTEIN
			Not at all -- a great privilege,
			Doctor.

					FREDDY
			Saturday night then!  I'll take
			the train to New York and fly from
			there.

					HERR FALKSTEIN
			Saturday night, yes, sir.  Have a
			pleasant journey!

	Freddy walks off.  Herr Falkstein looks back at the little
	Old Violinist, who is playing the TRANSYLVANIAN LULLABY
	on the top half of his violin.

										DISSOLVE TO:

											22

25	EXT. TRAIN STATION - NIGHT						25

	Freddy, with a large suitcase and a small briefcase, stands
	next to a lot of steam...behind which, there appears to
	be a waiting train.  With Freddy is his beautiful, flat-
	chested fiancee, ELIZABETH.

					ELIZABETH
			Darling!...you will be careful!?

					FREDDY
			Of course.

					ELIZABETH
			You have your tickets?

					FREDDY
			Yes.

					ELIZABETH
			And your passport?

					FREDDY
			Yes, don't worry.

					ELIZABETH
			Call me from New York before
			you leave??

					FREDDY
			Yes.

					ELIZABETH
			Promise??

					FREDDY
			I promise.

					ELIZABETH
			Oh, darling -- I'll count the
			hours that you're away.

					FREDDY
			Oh, darling -- so will I.

					CONDUCTOR
				(o.s.)
			Board!  All aboard!

					FREDDY
			I'd better leave.

	They look at each other;  then kiss.

										Cont.

											23

											25 Cont.

					ELIZABETH
			Will you miss me?

					FREDDY
			Very....very!

					ELIZABETH
			Mother's going to help me with
			the invitations.

					FREDDY
			Oh, nice.

					ELIZABETH
			I hope you like large weddings.

					FREDDY
			Whatever makes you happy.

					ELIZABETH
			I've trimmed the list to only
			our very closest friends...but
			it still comes to three thousand.

					FREDDY
			You're incorrigible!

					ELIZABETH
			Does that mean you love me?

					FREDDY
			You bet your boots it does.

					CONDUCTOR
				(o.s.)
			All aboard!

					ELIZABETH
			Hurry now -- before I make a
			fool of myself.

	They kiss quickly.

					FREDDY
			Goodbye, darling.

	Freddy DISAPPEARS into the steam.

					ELIZABETH
			Goodbye, Freddy!  Hurry back
			to me!

										Cont.

											24

											25 Cont.1

					FREDDY
				(o.s., from
				the steam)
			I will!  Goodbye, darling!

					ELIZABETH
			Goodbye, darling.

	A long pause, as Elizabeth gazes into the mass of steam.
	She wipes a tear from her eye.

					ELIZABETH
				(whispering
				to herself)
			Goodbye, darling.

					FREDDY
				(o.s., from
				the steam)
			Goodbye, darling!

	A TRAIN WHISTLE BLOWS.

26	ANGLE ON TRAIN								26

	The train starts up.

										DISSOLVE TO:

27	INT. TRAIN - NIGHT								27

	Freddy is sitting in a passenger car, reading a book.
	A FEW PEOPLE sit near him.

28	A CONDUCTOR									28

	walks down the aisle.

	CONDUCTOR
			New York next!  Everyone out
			for New York!

	Freddy looks out the window.

										DISSOLVE TO:

29	A TRAIN - (STOCK) - NIGHT						29

	whizzing through the night.

										CUT TO:

											25

30	INT. TRAIN - SUNSET							30

	Freddy is sitting in a passenger car, reading a book.
	A FEW EUROPEANS sit near him.

31	LEGEND OVER THE SCREEN							31

	It reads:

				"SOMEWHERE IN EUROPE"

32	A CONDUCTOR									32

	wearing a Tyrolean Conductor's hat, walks down the aisle.

					CONDUCTOR
			Transylvania nachste!  Jeder
			austeigen fur TRANSYLVANIA!

	Freddy looks out the window.  He reaches up and takes his
	suitcase and briefcase off of the rack above him.  Then
	he raises his window and looks out at:

33	A TEN YEAR-OLD GERMAN BOY						33

	dressed in lederhosen, a cap, and a shoeshine kit on his
	back.

					FREDDY
				(calling out
				to him)
			Pardon me, boy!  Is that the
			Transylvania Station?

					GERMAN BOY
			Ja, this is track twenty-nine.

	He starts OFF.

					GERMAN BOY
			Oh, can I give you a shine?

					FREDDY
			Thank you, no.

										DISSOLVE TO:

34	EXT. TRAIN STATION - NIGHT						34

	Freddy gets off the ancient train and looks for someone
	who might be there to meet him.  he sets down his suit-
	case and briefcase.

											26

35	ANOTHER ANGLE								35

	From out of the darkness, IGOR, a strange man with a
	hunched back, walks towards him.  Behind Igor is a woman,
	INGA.

					IGOR
			Frederick Frankenstein?

					FREDDY
			Fron kon steen!

					IGOR
			Are you putting me on?

					FREDDY
			No, it's pronounced Fron kon
			steen.

					IGOR
			And do you also say Fro dereck?

					FREDDY
			No, Fred ereck.

				IGOR
			Why isn't it Frodereck Fronkon steen?

				FREDDY
			It's not.  It's Fredereck
			Fronkonsteen.

					IGOR
			I see.

					FREDDY
			You must be Igor.

	Igor thinks a moment.

					IGOR
			No, it's pronounced Aye gor.

					FREDDY
			But they told me it was Ee gor.

					IGOR
			Well, they were wrong then,
			weren't they?

					FREDDY
			You were sent by Herr Falkstein,
			weren't you?

										Cont.

											27

											35 Cont.

					IGOR
			Yes, that's right.  My grandfather
			and your grandfather used to pal
			around together.  You and I should
			have a lot of laughs.

					FREDDY
			I'm sure we will.

					IGOR
				(indicating the
				large-breasted
				woman behind him)
			This is Inga.  They thought you
			might need an assistant temporarily.

					FREDDY
			How do you do?

					INGA
			Extremely well.

					FREDDY
			How nice.

					IGOR
			Are these your bags?

					FREDDY
			Yes, just the two.

	Igor takes the small briefcase and walks OFF.  Freddy
	takes the large suitcase and follows with Inga.

					INGA
			Did you have a pleasant trip?

					FREDDY
			Yes, thank you.  It wasn't bad.

	They follow Igor past two men -- Dracula and Wolfman --
	who are sitting quietly on a platform bench.  One of the
	men wears a huge black cape and has two enormous eye teeth.
	The other man's face and hands are covered with wolf's
	hair.

					IGOR
				(singing to
				himself)
			Sun -- rise... Sun -- set!
			Dee -- dum... Dee -- dum.

										Cont.

											28

											35 Cont.1

	Freddy, struggling with his suitcase, stares in polite
	horror at the two men as he and Inga walk past them.

					FREDDY
			Good evening.

					DRACULA
			Good evening.

					WOLFMAN
			Good evening.

	Freddy and Inga continue on, walking under a dangling
	sign:

			"TRANSYLVANIA STATION"

										DISSOLVE TO:

36	EXT. COUNTRY ROAD - A FEW MINUTES LATER - NIGHT			36

	A cart, drawn by two horses, travels up a lonely road.
	Igor is at the reins.  In the back, sitting in mountains
	of hay, are Freddy and Inga.

					INGA
			Did you ever have a roll in
			the hay?

					FREDDY
				(a little nervous)
			I'm not sure I...get your drift.

	Inga begins to roll herself over and over in the hay.

					INGA
			You should try it -- it's fun.

	Somewhat embarrassed, Freddy leans over to speak to Igor.

					FREDDY
			Incidentally -- I don't mean
			to embarrass you in any way,
			but I'm a rather brilliant
			surgeon.  Perhaps I can help
			you with that hump.

					IGOR
			What hump?

	Freddy tries to recover.

										Cont.

											29

											36 Cont.

					FREDDY
			Well...perhaps we can talk
			about it later.

	He turns back to Inga for relief.  Just then:  a BOLT OF
	LIGHTNING!  Inga comes close to Freddy.

					INGA
			Sometimes I'm afraid of the
			lightning.

					FREDDY
			Just an atmospheric discharge.
			Nothing to be afraid of.

	A HORRIFYING CRY OF A WOLF!

					FREDDY
				(making a joke)
			Werewolf.

					IGOR
			There.

					FREDDY
			I beg your pardon?

					IGOR
				(pointing to
				the woods)
			There wolf!
				(pointing up
				the road)
			There castle!

					FREDDY
			Why are you talking like that?

					IGOR
			I thought you wanted to.

					FREDDY
			No.

										Cont.

											30

											36 Cont.1

					IGOR
			Suit yourself...I'm easy.
				(confidentially,
				indicating Inga)
			Better watch out for the wockers.

					FREDDY
			What wockers?

					IGOR
			The wockers with the knockers.

					FREDDY
			Wockers with the knockers???

					IGOR
			Go ahead, play dumb!  You'll
			lose your sockers and then
			be fockers.

	A BOLT OF LIGHTNING.

					IGOR
				(pointing to the
				top of the hill)
			Well, there it is...

										CUT TO:

37	THE CASTLE - NIGHT								37

	illuminated by the lightning.

					IGOR
				(o.s., as we
				see the castle)
			Home!

					FREDDY
				(to himself)
			Home.

										DISSOLVE TO:

											31

38	EXT. THE CASTLE								38

	As they approach the gigantic front door, FRAU BLUCHER
	opens a smaller door, within the giant door, and stands
	on the front stairs to greet them.  She holds a lit
	candelabra.

					FRAU BLUCHER
			Welcome!  I am Frau Blucher.

	At the sound of her name, the HORSES REAR.

					IGOR
			Down!  Down!  Steady!!

	Freddy takes his suitcase and helps Inga out of the cart.
	He approaches Frau Blucher.

					FREDDY
			How do you do?  I am Dr. Fronkonsteen.
			This is my assistant.  Inga -- may
			I present Frau Blucher.

	The HORSES REAR.

					IGOR
			Down!  Get down, you beasts!

					FREDDY
			I wonder what's got into them?

					FRAU BLUCHER
			Your rooms are ready, Herr Doctor.
			If you will follow me, please.

	She indicates the small door.

					FREDDY
				(calling to Igor)
			Aye-gor!  We'll wait for you
			inside.  Hurry, please!

	He turns to the door.

					FREDDY
			After you Frau Blucher.

	The HORSES REAR.  Freddy, Inga and Frau Blucher have
	disappeared through the small door.  Igor struggles with
	the rearing horses.

					IGOR
			Easy.  Easy!  What's very sticky
			and rhymes with shoe?

	The horses calm down.

					IGOR
			That's better.

										Cont.

											32

											38 Cont.

	Igor takes Freddy's briefcase and heads for the door.

					IGOR
				(to the horses)
			I'll be back shortly.  Just
			think of model airplanes.

	Igor shuns the smaller door and pulls the handle that opens
	the giant door.  He walks into the castle.

										CUT TO:

39	INT. RECEPTION HALL							39

	Frau Blucher is waiting on a large staircase with Freddy
	and Inga.  Igor comes up to them.

					FRAU BLUCHER
			Shall we proceed?

	They all follow in the aura of Frau Blucher's candlelight.
	From outside there is a:  LOW RUMBLE OF THUNDER.  When
	they reach the top of the stairs, Frau Blucher starts
	down a corridor.  Igor walks up to a light switch and
	tries it.

40	ANOTHER ANGLE								40

	as ALL THE LIGHTS COME ON.  Igor turns the lights off again,
	gesturing to Freddy not to say anything because Frau Blucher
	might be a little bonkers.  Inga, Freddy and Igor turn
	into the corridor and disappear.

										DISSOLVE TO:

41	INT. FREDDY'S BEDROOM							41

	A fire is going in the fire place.  Candles are lit in wall
	sconces.  One wall is devoted to books.

					FRAU BLUCHER
			I hope you find this comfortable.
			This was Baron Victor's room.

					FREDDY
			It seems fine.

					FRAU BLUCHER
			You'll fine the keys to all the
			rooms in my cas... all the rooms
			in your castle on this ring.  I'll
			leave it on the table here.

					FREDDY
			Does that include the key to the
			laboratory?

										Cont.

											33

											41 Cont.

					FRAU BLUCHER
			You mean... the laboratory??

					FREDDY
			Yes!... the laboratory.

					FRAU BLUCHER
			No!  Dr. Frankenstein always kept
			that separate.

					FREDDY
			May I have it, please?

	A pregnant pause.

					FRAU BLUCHER
			Of course.

	She pulls up on a chain around her neck.  At the end of
	the chain is a key that had been resting against her bosom.
	She takes it off, kisses it quickly, and sets it on the table.

					FREDDY
				(examining the
				bookcase)
			There seem to be quite a few books.

					FRAU BLUCHER
			Yes, this was Victor's... the Baron's
			medical library.

					FREDDY
			I see.  And where is my grandfather's
			private library?

					FRAU BLUCHER
			I don't know what you mean, sir.

					FREDDY
			well, there was a public and a
			private library -- he said so in his
			will.  these books are all very
			general -- any doctor might have them
			in his study.

					FRAU BLUCHER
			This is the only library I know of.

					FREDDY
			Surely he kept his notes -- his private
			papers and records in some other place?

					FRAU BLUCHER
			I think you must be mistaken, sir.

										Cont.

											34

											41 Cont.1

					FREDDY
			Well... we'll see.

					FRAU BLUCHER
			Will there be anything else?

					FREDDY
			I don't think so.  Is my assistant
			taken care of?

					FRAU BLUCHER
			I put her in the guest room, just
			down the hall.

					FREDDY
			Good.

	She leaves.  Freddy starts back towards the bookcase and
	pulls book.

42	ANOTHER ANGLE								42

	Door opens and Inga enters.

					INGA
			Are you busy?

					FREDDY
			That's quite all right.  What is it,
			dear?

					INGA
			Could I lie down in your bed for a
			little while?  I just can't sleep.

					FREDDY
			We only arrived a few minutes ago.

					INGA
			I know, but usually I can fall
			asleep right away.  It must be the
			strange room.

					FREDDY
			Well...

					INGA
			Oh please -- just till I get sleepy.
			Then you can force me right back to
			my room.

					FREDDY
			Well.. I suppose it would be all
			right, for just a little while.

										Cont.

											35

											42.Cont

	Inga gets into Freddy's bed.

					FREDDY
			Would you like a sandwich?

					INGA
			No, thanks!  I want to get right
			to sleep.

					FREDDY
			Well... I'll just finish unpacking.

	As Freddy continues to unpack, he hears a STRANGE "BLOWING"
	SOUND coming from outside.  He goes to the window and
	looks up.

										CUT TO:

443	A TURRET AT THE TOP OF THE CASTLE					43

	Igor sits in the window, trying to blow a ram's horn.  He
	tries and tries, but can't get one good sustained not.
	Finally, he throws the ram's horns away and picks up a
	trumpet.  He blows some "SWEET" BLUES.

										CUT TO:

44	FREDDY										44

	lying in a chaise lounge near the bed, reading.  He wears
	his robe over his clothes.  Freddy looks at Inga, who is
	sound asleep.  Now he drains the last of his glass of
	fruit juice and sets it down on an end table.  he turns
	over to sleep.  The CAMERA BEGINS TO PAN SLOWLY to the
	bedroom window.  On its way, we SEE:  A FEW DROPS OF FRUIT
	JUICE dripping down the inside of the glass that Freddy
	has just put down.

45	ANGLE THROUGH THE BEDROOM WINDOW (STOCK FOOTAGE)			45

	CLOUDS PASS ACROSS A FULL MOON.

										DISSOLVE TO:

46	LATER THAT NIGHT								46

	Deadly silence!  As the CAMERA PANS from the clouds,
	SLOWLY BACK ACROSS THE ROOM, suddenly -- from the deep
	recesses or the castle -- A VIOLIN IS HEARD PLAYING:  THE
	EERIE TRANSYLVANIAN LULLABY.  As the CAMERA reaches Freddy,
	he is tossing restlessly in his sleep.

										Cont.

											36

											46 Cont.

					FREDDY
			Stop it.  Stop it, I tell you
			I don't want to be perfect.  Can't
			you understand that?  I don't want
			to be perfect!

	Freddy wakes with a start.  He sits up and listens to the
	MUSIC.  Then he stands and crosses to the bed.

					FREDDY
			Inga!

				INGA
				(in her sleep)
			Yes, you may... but don't make
			any noise.

					FREDDY
				(shaking her)
			Inga, wake up!

					INGA
			(slowly waking)
			What is it?  Is something wrong,
			Doctor?

					FREDDY
			Listen!  Don't you hear that
			strange music?

					INGA
				(listening)
			Yes!  What could it be at this hour?

					FREDDY
			I don't know.  It just woke me up.

	Freddy goes to the bookcase; Inga follows.

					FREDDY
			It seem to be coming from behind
			this bookcase.

	He puts his ear against the books and then fells for some
	hidden button or handle.

					FREDDY
			Hand me one of those candles!

	Inga takes a candle from a wall sconce and hands it to
	Freddy.  He looks closely at the books, examining some of
	the titles.  One title reads:

											37

47	INSERT - TITLE								47

	"SEX AND HAIR GROWTH:  IT'S UP TO YOU"

48	FREDDY										48

	out of amazement, pulls the book from the shelf.

49	ANOTHER ANGLE								49

	A SMALL DOOR OPENS IN THE BOOKCASE.

					INGA
			Dr. Fronkonsteen -- look!

				FREDDY
				(listening through
				the open door)
			Whatever it is, it's coming from
			down there.  I'm going down to see.

					INGA
			Let me come with you, Doctor,
			please!  I don't want to stay up
			here alone.

					FREDDY
			All right then, quietly!  Close
			your robe and stay right behind me.
			Don't make a sound!

	They enter the secret passage.

50	INT. SECRET PASSAGE							50

	Freddy, holding the candle above them, follows the MUSIC
	down a narrow, winding stairway.  The source of the MUSIC
	gets CLOSER and CLOSER, as they follow the yellow candle-
	light down, down, down... brushing against the cobwebbed
	walls.  As they pass one section of wall, an ancient sign
	can just barely be made out in the after glow of their
	light.  It reads:

			CAPACITY:  NOT MORE THAN 3 PERSONS

						By order of:

						FIRE DEPT.

	Finally, they reach a landing.  A door separates them from
	whatever lies beyond.  Freddy takes hold of the handle...
	it crumbles in his hand like dust.  He gently pushes
	against the door.  It CREAKS slowly open.  The VIOLIN
	MUSIC STOPS!

											38

51	INT. VICTOR FRANKENSTEIN'S LABORATORY					51

	Freddy and Inga walk into the now famous room.  A strange
	light comes from around a corner.  As they walk towards
	the light, they pass a shelf lined with skulls.  They
	look at each ancient head as they pass.  Inga shudder
	with horror.

	The forth head is Igor.  It looks as if his head is on
	the shelf, but actually he is standing just behind the
	shelf.  He smiles.

					FREDDY
			Aye-gor!

					IGOR
			Fro-derick!

					FREDDY
			What are you doing here?

					IGOR
			I got frightened all alone upstairs,
			so I came down here.

	He leads them around the corner, where a glass bowl filled
	with water is being heated by small flame.

					FREDDY
			But what you were doing?

					IGOR
			Just putting up some tea.

					FREDDY
			Did you hear that strange music?

					IGOR
			What?

					FREDDY
			Did you hear that strange music??

					IGOR
			What?

					FREDDY
			Did you hear that strange music?

										Cont.

											39

											51 Cont.

					IGOR
			No, not sound.

					INGA
			There must have been someone else
			down here then.

					FREDDY
			It seems that way.
				(to Igor)
			You didn't hear any music at all?

					IGOR
			What?

					FREDDY
			You didn't hear... nothing!
			Aren't there any lights in this
			place?

					IGOR
			Two switches over there, but I
			wasn't going to be the first.

	Freddy walks over and throws the first switch.  OPEN ENDED
	ELECTRICAL CURRENTS SHOOT OUT ALL OVER.

					IGOR
			Well, it's all right for
			atmosphere.

	Freddy turns off the first switch and then throws the other
	one.

52	"NORMAL" LIGHTS GO ON							52

	Now the lab can be SEEN in all its old splendor, but thick
	in dust and spiders' webs.

					INGA
			Ooh!

					FREDDY
			What a filthy mess.

					IGOR
			I don't know... a little paint,
			some flowers...

										Cont.

											40

											52 Cont.

					FREDDY
			Did you see anyone else down here?

					IGOR
			No, but when I first came in, there
			was a light coming from behind that
			steel door.

	A huge steel door is open a few inches.  Freddy goes to
	the door and listens, then opens it and they all walk in...
	hesitantly.

53	INT. PRIVATE LIBRARY							53

	By the light of Freddy's candle, they see a small, creepy
	room, filled with musty books.  There is a table in the
	center of the floor.  On the table there is a large book,
	an ashtray, and a VIOLIN AND BOW.

					INGA
				(seeing the violin)
			Look, Doctor!

					FREDDY
			Well, this explains the music.

					INGA
			But who was playing it?

	There is a smoldering cigar in the ashtray.

					FREDDY
			I don't know, but whoever it was
			barely finished putting out his
			cigar.  It's still smoldering.
				(to Igor)
			Let me smell your breath.

	Igor exhales in Freddy's face.  Freddy nearly passes out.

					FREDDY
			Well, it wasn't you.

	He looks around the room.

					FREDDY
			What is this place?

					IGOR
			Must be the music room.

					INGA
			There's nothing but books and papers.

										Cont.

											41

											53 Cont.

					FREDDY
			I wonder...

	He looks at the large book lying on the table.  He puts
	his candle over the cover.  A LOW RUMBLE OF THUNDER as
	we SEE:

54	CLOSE SHOT - BOOK								54

	"HOW I DID IT" BY VICTOR FRANKENSTEIN.  Camera pulls back.

					FREDDY
			It is!  This was my grandfather's
			private library.  Look at this!

					IGOR
				(reading the cover
				of the book)
			'How I Did It.'  Good title!

					FREDDY
			Funny it should just be lying out
			here on the table.  I wonder what
			kind of dribble this is?

	He opens to the first page.

					FREDDY
				(reading aloud)
			'Whence, I often asked myself,
			did the principles of life proceed?
			To examine the causes of life... we
			must first have recourse to death.'
			God, what a looney bin!

	ANOTHER LOW RUMBLE OF THUNDER.  Freddy's candle almost
	blows out from a draft.

					INGA
			Oh, doctor!

					FREDDY
			Perhaps we'd better leave.

					IGOR
			Taking the book along?

					FREDDY
			Yes, I think we could all use a
			good laugh.

										DISSOLVE TO:

											42

55	INT. LAB									55

	Freddy is convulsed with laughter.

					FREDDY
			This guy is too much.

	Inga and Igor stare passively.  The three of them are
	drinking tea.  More water is boiling in a test tube.

					FREDDY
				(reading)
			'...and as soon as the dazzling
			light vanished, the oak tree had
			disappeared.  I knew then that
			electricity and galvanism had
			changed my life.'

	He howls.

					FREDDY
			This guy is bonkers!  Did you
			ever hear anything like this??

	ANOTHER LOW RUMBLE OF THUNDER.

	As Freddy goes on reading, the CAMERA TRAVELS UP, UP, UP...
	THROUGH the giant laboratory... as if to seek the source
	of the THUNDER we HEAR, as the CAMERA MOVES UP:

					FREDDY'S VOICE
				(o.s.)
			'When I look back now, it seems
			to me as if this almost miraculous
			event obliterated any last effort
			by the spirit of preservation to
			avert the storm that was even then
			hanging in the stars.'

	MORE THUNDER.

					FREDDY'S VOICE
				(o.s.)
			He kills me!  This guy kills me.

	The CAMERA FINDS a large opening in the ceiling -- an
	opening through which bodies might be elevated during an
	electrical storm.  THUNDER CLOUDS CAN BE SEEN as the
	CAMERA PASSES THROUGH the opening into the night air.

	FREDDY'S LAUGHTER is still HEARD from below.  there is a
	GIANT CRACKLE OF LIGHTNING - as if in reply.

	Now the CAMERA TRAVELS DOWN.  Time has passes and Freddy's
	voice is hoarse, and more intense, and as the CAMERA TRAVELS
	DOWN:

										Cont.

											43

											55 Cont.

					FREDDY'S VOICE
				(o.s.)
			'Until, from the midst of this
			darkness, a sudden light broke
			in upon me -- a light so brilliant
			and wondrous, and yet so simple!'

	The CAMERA has reached Freddy.  His eyes are burning; he
	reads almost feverishly.  Inga and Igor are half asleep.

					FREDDY
				(reading)
			'Change the poles from plus to
			minus and from minus to plus!'

	Freddy howls insanely.

					FREDDY
				(reading)
			'I alone succeeded in discovering
			the cause of generation of life.'

	He doubles over in laughter.

					FREDDY
			'Nay, even more -- I, myself
			became capable of bestowing
			animation upon lifeless matter.'

	He laughs, he laughs, he laughs... then SMASHES his tea
	glass against a wall.

					FREDDY
			It could work!!

	A TUMULTUOUS CLAP OF THUNDER.

										CUT TO:

56	IGOR'S FACE									56

	Illuminated by a CRACK OF LIGHTNING.  He has a quizzical
	smile.

										CUT TO:

57	INGA'S FACE									57

	Illuminated by a CRACK OF LIGHTNING.  Frightened, yet
	in awe.

										CUT TO:

											44

58	FRAU BLUCHER'S FACE - IN A ROOM						58

	Illuminated by a CRACK OF LIGHTNING.  She is SMOKING A
	CIGAR.

										CUT TO:

59	BEAUFORT FRANKENSTEIN'S COFFIN						59

	Illuminated be a CRACK OF LIGHTNING.  THE LID SLAMS OPEN
	AND SHUT, OPEN AND SHUT.

										CUT TO:

60	FREDDY'S FACE								60

	Illuminated by a CRACK OF LIGHTNING.  The dark circles
	under his eyes suggest that he is IRREVERSIBLY INSANE.

61	LEGEND										61

	It reads: "IRREVERSIBLY COMMITTED TO THE DARK
			DESTINY OF ALL THOSE WHO BEAR THE
			NAME OF 'FRANKENST'
			NAME OF 'FRANKENSTEIN'

						    'FRONKONSTEEN.'"

										FADE OUT

											45

	FADE IN

62	INT. LABORATORY - MORNING						62

	A work space has been hastily prepared.  Freddy, dressed
	quite properly in riding boots and tweed jacket, is
	reading from "the great book".

	Inga, dressed in her Lab gown, is taking notes.  Igor is
	drawing on a large pad.

					FREDDY
			'As the minuteness of the parts
			formed a great hindrance to my
			speed, I resolved to make the
			Creature of a gigantic stature.'
			Of course!  That would simplify
			everything.

					INGA
				(pointing to another
				paragraph)
			And look at this, Doctor!

					FREDDY
				(reading)
			'Dilation of his sacral
			parasympathetic impulses would
			cause an increase in flow of
			blood and the erection to
			approximately nineteen inches
			of his apparatus genitals.'

					IGOR
			His what??

					INGA
			His schwanzstucker.

					IGOR
			Whew!  A nineteen-inch drill.

					FREDDY
			Now then!  What we're aiming
			for, is a being about eight
			feet in height, and all features
			proportionably large.

	Igor shows his drawing.

					IGOR
			Something like this?

	They all look at the drawing.

										Cont.

											46

											62 Cont.

	They, and we, SEE a crude but impressive sketch of THE
	MONSTER, and as we look at the drawing:

					FREDDY'S VOICE
				(o.s.)
			You've caught something there.
			Yes!  As a matter of fact --
			I think -- that this -- might -- 
			be -- our -- man!

	As our eyes travel from the top of the drawing to the feet:

									MATCH DISSOLVE TO:

63	A PAIR OF VERY LARGE, REAL FEET						63

	Now the CAMERA MOVES from the feet, BACK UP.

64	EXT. GIBBET - DAY								64

	A gigantic BODY is standing on a scaffold.  when we reach
	the head, it is somehow incongruous:  A sweet, boyish face
	-- with a rope around its neck.

	The "Body" is about to be hanged.  next to it stands an
	EXECUTIONER.

					EXECUTIONER
			Have anything to say?

					THE BODY
				(in quiet anger)
			MMmmmgrrrrrrrrr!

					EXECUTIONER
			Anything else?

	The "Body" thinks.  Then:

					THE BODY
			Go shove it up your --

	The Executioner throws the lever and THE TRAP DOOR FALLS
	OPEN.

	The "Body" hangs, lifeless.

										DISSOLVE TO:

65	EXT. GRAVEYARD - NIGHT							65

	LEAVES BLOW ACROSS A COLD CEMETERY.

	A coffin is carried by FOUR PALLBEARERS to a deep grave.
	RELATIVES are waiting by the grave site.

										Cont.

											47

											65 Cont.

	Through an iron gate surrounding the cemetery, TWO DARK
	FIGURES peek through the rails and observe the funeral.
	(One of them has a hunched back)

	SOFT MOANING is HEARD from one of the Relatives.  A MINISTER
	mumbles Latin under his breath.

	The Pallbearers set the coffin down on ropes placed over
	the gravesite.  A short distance away are a FATHER and a
	MOTHER, standing next to a weeping DAUGHTER.

					FATHER
			He was a good man.

					MOTHER
			He was an angel.

					FATHER
			He was a saint!

	A pause.

					MOTHER
			She had to marry this rotten
			pig instead.

					FATHER
			Hanging was too good -- they
			should have soaked him in lye.

	The minister nods and TWO GRAVE DIGGERS lower the coffin.
	The Daughter throws a bouquet of flowers onto the descending
	coffin.  The Minister throws a handful on dirt on top of
	the coffin -- representing "Ashes to Ashes."

										CUT TO:

66	INSIDE COFFIN								66

	We SEE the FROZEN FACE of "The Body," and HEAR the sprinkled
	dirt as it HITS the coffin lid.

	A little dirt seeps in through the lid and lands on the
	lips of the frozen face.

	Ever so subtly, the lips make a spitting motion to clear
	the dirt away.

										CUT TO:

67	EXT. GRAVEYARD								67

	The Grave Diggers are shoveling dirt into the grave.  The
	Relatives and Minister are leaving.

										Cont.

											48

											67 Cont.

					FIRST GRAVE DIGGER
			What a filthy job!

					SECOND GRAVE DIGGER
			Could be worse!

										DISSOLVE TO:

68	FREDDY AND IGOR								68

	Knee-deep in the grave, shoveling the dirt out.

					FREDDY
			What a filthy job!

					IGOR
			Could be worse!

					FREDDY
			How?

					IGOR
			Could be raining!

	A CRACK OF THUNDER.

	Freddy stares at Igor.

										DISSOLVE TO:

69	EXT. A STREET								69

	Freddy and Igor carry the coffin down a street in the
	POURING RAIN.

										DISSOLVE TO:

70	INT. LABORATORY								70

	Freddy and Igor are just setting the heavy coffin down
	on an operating table.  they take the lid off the hinges
	and set it aside.

					FREDDY
			Wait!  Let's tip the coffin
			over, then just lift it off.
			It'll be much easier.

	They tip the coffin over, upside down, like a cake pan.

					FREDDY
			Now...

										Cont.

											49

											70 Cont.

	They lift the coffin up... but the operating table remains
	empty.

					FREDDY
			Set it down!

	They set it down on the table again.  Freddy gives the
	bottom of the coffin (which is now on top), a big WHACK!
	They lift the coffin up again and there is the "Body."
	It had been struck.

					FREDDY
				(looking at the
				"Body")
			Magnificent!

	He checks its nails.

					FREDDY
			Very little decay.  With this
			magnificent specimen for a
			body, all we need now is an
			equally magnificent brain.
				(he looks
				at Igor)
			You know what to do!

					IGOR
			I have a pretty good idea.

	Igor glances at the movie audience for a moment.

					FREDDY
			Do you have the name I wrote
			down?

					IGOR
				(looking at
				his sleeve)
			Yes.  Dr. H. Delbruck.

					FREDDY
			I want that brain.

					IGOR
			Was he any good?

					FREDDY
			Was he any good???  He was the
			finest natural philosopher,
			internal medicine diagnostician
			and chemical therapist of this
			century.

										Cont.

											50

											70 Cont.1

					IGOR
			Hmm!

					FREDDY
			And he wrote seventeen cookbooks.

					IGOR
			That's not bad.

					FREDDY
			Can you imagine that brain in
			this body?

					IGOR
			I'm getting excited just thinking
			about it.  What if he's not there?
	
					FREDDY
			He only died two weeks ago --
			I'm sure they'll still have him.
			Hurry now.  I'll prepare the
			body.

					IGOR
				(starting to leave)
			Oh!  May I call you 'Master'?

					FREDDY
			Why?

					IGOR
			It's always been one of my
			favorite names.

					FREDDY
			If you like -- just hurry!

					IGOR
			Thank you, Master.

	Freddy rolls up the "Body's" right sleeve.  He gazes at
	the immensity of the hand in amazement and awe.

					FREDDY
			Look at this hand!  Look at
			these fingers!

	A sudden thought twists through his brain.  He sets the
	dead arm up on its elbow, intertwines his own right hand
	with that of the "Body's," and gets set for an "Indian
	Arm Wrestle."

	Freddy forces the dead arm down -- not without some difficulty
	-- and then gives the "Body" a triumphant sneer.

										DISSOLVE TO:

											51

71	A HOSPITAL DOOR								71

	The upper half of the door is made of glass.  On the glass
	is printed:

			B R A I N   D E P O S I T A R Y

			  AFTER 5:00 P.M. SHOVE BRAIN

			     THROUGH SLOT IN DOOR

	The SHADOW OF A MAN can be SEEN silhouetted from inside the
	Depository.  The Man has a large hump on his back.

										CUT TO:

72	INT. DEPOSITORY - NIGHT							72

	LOW THUNDER!

	A row of brains in jars, under glass domes, rests on a long,
	narrow table.

	Igor tiptoes slowly, examining the labels on each glass dome
	that he passes.

	ALBERTUS MAGNUS	  CORNELIUS AGRIPPA		LAWRENCE TALBOT
	  (Physicist)		(Natural Philosopher)	(Hematologist)

	Then he comes to:

	HANS DELBRUCK
	(Scientist & Saint)

	Igor approaches the glass dome, lifts it off, and takes the
	jar containing the brain of Hans Delbruck.

	As he turns to go, he sees himself in a Full-length mirror.
	He drops the jar in fright.

	He looks down and sees the gooks mass of brain and glass.

	He looks at the Movie Audience.

					IGOR
			Funny thing is... I tried!

	He sweeps some of the mess under the table with his foot.

					IGOR
				(muttering to himself)
			Freud would have a heyday with
			this.  Well...

										Cont.

											52

											72 Cont.

	He looks quickly at the "Brain table," grabs a jar from under
	the glass dome nearest to him, and leaves.

	On the glass dome, whose contents Igor has just taken, is
	printed:

				DO NOT USE THIS BRAIN!

					 "ABNORMAL"

										CUT TO:

73	THE SKY									73

	An ominous BOLT OF LIGHTNING!

										CUT TO:

74	THE FACE OF THE "BODY"							74

	He has a few cute stitch marks.  Electrodes stick out from
	both sides of his neck.

75	INT. LABORATORY								75

	Freddy, wearing a long, white surgeon's gown and surgical
	mask, stands over the "Body," which is strapped across the
	chest and thighs.  Freddy has a thimble on the finger of
	one hand -- a needle and thread in the other.

					FREDDY
			Finished!

	The "Body" is on an operating table, which is in the center
	of a platform directly below the opening in the ceiling.
	Inga stands nearby.

					INGA
			What a beautiful job!

	Freddy looks up to the opening in the ceiling.

					FREDDY
				(shouting)
			Ready??

										CUT TO:

											53

76	EXT. ROOF									76

	Igor stands on the roof, flying two kites in order to
	attract the lightning bolts.  He is wearing rubber boots,
	rubber gloves, and a rubber whaler's coat and hat.

					IGOR
				(shouting down)
			You're sure you know what you're
			doing?

					FREDDY
			Yes!  It's all written down in
			the notes.  Tie off the kites and
			come down!

					IGOR
			Yes, master.  Just don't turn on
			any radios.

77	INT. LABORATORY								77

	Freddy hands Inga the needle and thread.  Then he grabs
	an electrical plug, connected to a "battery indicator,"
	and plugs it into two small slits in one of the electrodes
	in the "Body's" throat... as you would plug in a lamp.  He
	reads the indicator.

					FREDDY
			Soon, all the electrical
			secrets of Heaven shall be
			mine.

					INGA
			Oh, Frederick... you're not only
			a great doctor, you're a great...
			you're almost a...

					FREDDY
			A god?

					INGA
			Yes!

					FREDDY
			I know.

	A CRACK OF THUNDER!

	Igor comes down a small, spiral staircase from the roof.

										Cont.

											54

											77 Cont.

					IGOR
			You'd better hurry -- I think it's
			going to rain.

					FREDDY
				(to Inga)
			All right... elevate me!

					INGA
			Right here?

					FREDDY
			Raise the platform, hurry!

					INGA
			Oh!  Yes, Doctor.

	She turns a giant wheel on the wall.  The platform rises
	towards the opening in the ceiling, with Freddy and the
	"Body" on ,it.

					FREDDY
				(as he is going up)
			The ancient masters promised
			impossibilities and performed
			nothing.  We shall penetrate into
			the recesses of nature.  We shall
			ascend into the Heavens.  We shall
			command the thunders of Heaven,
			mimic the earthquake and even mock
			the invisible world with its own
			shadows.

					IGOR
			Tonight?

					FREDDY
			Yes!  When I give the word -- throw
			the first switch!

					IGOR
			You've got it, master.

	The platform rises higher and higher.  RAIN starts to come
	down on Freddy.

					FREDDY
			Get ready!

	The platform nears the opening.

					FREDDY
			Get set!

	The platform rises through the opening and then stops.  Now
	Freddy is out in the open air, on the roof.

											55

78	EXT. ROOF									78

	A BOLT OF LIGHTNING and a CRACK OF THUNDER!

					FREDDY	
			Go!!

79	INT. LABORATORY								79

	Igor throws the first switch.

	SPARKS, CURRENTS, DIALS capture our eyes.

80	EXT. ROOF									80

	Freddy is getting drenched.  He tries to check the "battery
	indicator" plugged into the "Body."

					FREDDY
				(shouting down)
			Throw the second switch!

81	INT. LABORATORY								81

					IGOR
				(throwing the switch)
			This guy means business.

	Igor looks up in awe.

82	EXT. ROOF									82

	MORE THUNDER AND LIGHTNING.

					FREDDY
			It's not enough.  More!  More,
			do you hear me?

					IGOR
			What?

					FREDDY
			More, do you hear me?

					IGOR
			What?

					FREDDY
			Throw the third switch!

					IGOR
				(throwing the switch)
			Wait till he sees the bill.

											56

83	INT. LABORATORY								83

	The Laboratory is an electrical circus.

84	EXT. ROOF									84

					FREDDY
			All right -- turn everything off
			and bring me down!

85	INT. LABORATORY								85

	Inga turns the giant wheel the other way.

	Igor throws back the three switches.

	THE LIGHTS RETURN TO NORMAL.

	Inga and Igor watch Freddy and the platform descend.

	When it reaches the floor, Freddy stands soaked to the skin.
	ALL EYES ARE ON THE "BODY."

					FREDDY
			Nothing!

	They all stare at:

	THE FROZEN FACE of the "Body."

										DISSOLVE TO:

86	INT. DINING ROOM - NIGHT							86

	Freddy, Inga and Igor sit at a long dining room table, set
	with food and wine.  Freddy stares into space.

					FREDDY
			Reputation.  Reputation!

					INGA
			I thought it was wonderful.

					FREDDY
			I don't understand -- I followed
			the notes to the letter.

										Cont.

											57

											86 Cont.

					IGOR
			You can't win 'em all.

					FREDDY
			But there must be a reason.
			This is science, not art.

					INGA
			Pass the Wildschweinbraten mit
			Gewurzgurkensosse, please.

	Igor looks at Inga, then passes the meat.

										CUT TO:

87	INT. LABORATORY								87

	The FROZEN FACE is still frozen.  The chest is not breathing.
	The arm is motionless.

	The FINGERS......... MOVE!

										CUT BACK TO:

88	DINING ROOM									88

					FREDDY
			Let's look once more.  I can't
			stand just sitting here doing
			nothing.  Maybe we left to soon.

	Freddy and Igor set up.  Inga goes on eating.

										CUT TO:

89	THE LABORATORY								89

	Freddy and Igor walk into the Laboratory and stand next to
	the "Body."

					FREDDY
			Cold!  Cold and dead!

					IGOR
			You mustn't take it so hard.
			Bucharest wasn't built in a day.

										Cont.

											58

											89 Cont.

	Freddy leans his head down, in anguish, and rests it on
	the chest of the "Body."

	The "Body's" FINGER pushes against Freddy's behind.  Igor
	doesn't see it.

					FREDDY
				(to Igor)
			Don't try to cheer me up that way.

					IGOR
			Well, I don't like to see you mope.

	Igor stands next to Freddy.

					IGOR
			You'll be getting me sad next.

					FREDDY
			I'm sorry.  I don't mean to take
			out my frustration on you.  You've
			been a great help to me, and I've
			let you down.

	The "Finger" rubs against Igor's behind.

					IGOR
				(looking up suddenly)
			I'm not that sort you know.  I
			appreciate you feelings, but try
			to show them some other way.

					FREDDY
				(lifting his head)
			You're right!  Self-pity never
			got anyone anywhere.  Let's go
			back and finish our dinner.

	They leave.

	The "Finger" OPENS AND CLOSES ITS HAND.

										CUT TO:

90	DINING ROOM									90

	Inga, Igor and Freddy are eating dessert.

					IGOR
			What is this?

										Cont.

											59

											90 Cont.

					FREDDY
			Schwartzwalder Kirschtorte.

	Seeping in from the laboratory, we HEAR: "MMMMMMmmmmmm!"

					FREDDY
				(to Igor)
			Oh, do you like it?  I'm not
			partial to desserts, but this
			is excellent.

					IGOR
			Who are you talking to?

					FREDDY
			To you!  You just made a 'yummy'
			sound, so I thought you liked the
			dessert.

					IGOR
			I didn't make a 'yummy' sound --
			I just asked what it was.

					FREDDY
			But you did -- I just heard
			it.

					IGOR
			It wasn't me.

	Freddy looks at Inga.

					INGA
			It wasn't me.

					FREDDY
			Look here -  if it wasn't you,
			and it wasn't you, and it wasn't
			me...

	Their eyeballs meet in the center of the room.  then they
	all tear downstairs to the Laboratory.

										CUT TO:

											60

91	INT. LABORATORY								91

	They burst into the room.  What we may at last call THE
	MONSTER is straining, tentatively, against the straps
	across his chest and thighs.  his head is raised.

					MONSTER
			MMMMMMMMMMMMMNNNNNNmmmmmmmm?!?

					FREDDY
			It's alive!

					INGA
			Oh, Doctor!

					INGA
			I think you've done it, master.

					FREDDY
			Alive!  Look at it.  I have
			defeated death!

					IGOR
			Better not get too close, master.
			This guy could kill you.

					FREDDY
			I suppose you're right.  Inga!
			Prepare a sedative, just in
			case.

	Inga goes to a medicine case and prepares a hypodermic.
	The Monster raises its head and makes little circles with
	its hands, asking to be "free."

					FREDDY
			It's trying to talk.  it wants
			us to take off the straps.

					IGOR
			Don't fall for that one.

					FREDDY
			But don't you see...the brain
			of Hans Delbruck is inside this
			grotesque hulk -- pleading with
			us.  I've got to untie it.

					IGOR
			careful, master -- you never can
			tell with these chaps.

										Cont.

											61

											91 Cont.

					FREDDY
			All right...stand back!

	Freddy carefully walks up to the Monster and stands over
	him.  The monster is silent, feeling his way.

					FREDDY
			Hello there.

					MONSTER
			MMMMMmmmmmmm.

					FREDDY
			How's everything?

					MONSTER
				(just a suggestion
				of "not so good")
			MMMmmmmmmmm.

					FREDDY
			I'm going to untie you -- can
			you understand that?

					MONSTER
				(a soft, "crying"
				SOUND)
			MMMmmmm!  MMMmmmm!

					FREDDY
			Yes, I'm going to set you free.
				(to Inga)
			Is the sedative ready?

					INGA
			Yes, Doctor.

	Freddy takes the strap across the Monster's thighs and
	unties it.  Then he unties the strap across its chest...
	and steps back.  ALL EYES ARE ON THE MONSTER.  TINGLY
	MUSIC.  The Monster looks at them all for a moment while
	he is still lying down.  A slightly sly grin comes to his
	mouth.  He rises...slowly, carefully, to a sitting position.

					MONSTER
				(a low, suspicious
				groan)
			MMMMMMMMMMmmmmmmmmmmmm.

										Cont.

											62

											91 Cont.1

					FREDDY
			It's alive.  It's -- moving!
			It's -- breathing!  It's --
			standing!  What is your name?

					MONSTER
				(thinking for
				a moment)
			... It's.

					IGOR
			Original.

					FREDDY
				(holding out
				his hands)
			Give -- me -- your -- hand!

	The Monster slowly extends his hands to Freddy.  Freddy
	takes them and leads the Monster into his first steps.

92	PRODUCTION NUMBER - "ALIVE"						92

	... in which Freddy, the Monster and Igor do a SONG and
	DANCE that teaches the Monster how to move.  Occasionally,
	Inga and an unseen FIFTY-PIECE ORCHESTRA join in.  The
	Monster tries, in his own special way, to imitate the
	gentle, "Soft Shoe" examples of Freddy and Igor.  But
	where they "Ping" and "Clink" ... he "PONGS" and "CLONGS."

93	ANOTHER ANGLE								93

	After a big finish, the Monster beams ecstatically.  he
	bows out of instinct:  "Show Business" is in his blood.

					FREDDY
			Whew!  I'm glad that's over with.

					IGOR
			You can say that again.

					FREDDY
			Yes.

					IGOR
			You're just supposed to repeat
			what you said.

					FREDDY
			Why?

										Cont.

											63

											93 Cont.

					IGOR
			What's the point of my setup?
			It's not funny unless you repeat
			exactly what you said.

					FREDDY
			I'm not trying to be funny.

	Igor looks at the Movie Audience.

					IGOR
			Repeat it anyway -- it's a
			wonderful cue.

					FREDDY
			... I'm glad that's...

					IGOR
			No, no!  That whole thing!

					FREDDY
			... Whew!  I'm glad that's
			over with.

					MONSTER
			MMMMmmmmmmmmm!

	They all look at the Monster.

					IGOR
			See what I mean?

	Freddy gives Igor a dirty look.

					MONSTER
				(signifying "More!")
			MMMmmm!  MMMmmm!

					INGA
			I think 'It' wants to do it
			again Doctor.

					FREDDY
			It looks that way.

					INGA
			What do you think we should do?

					MONSTER
			MMMMMMMMMMMMMMMMMMMMMMMM!

										Cont.

											64

											93 Cont.1

					FREDDY
			Oh...let's do it a little more.

94	ANOTHER ANGLE								94

	They all SING and DANCE a short encore of "ALIVE."  The
	Monster gets violently carried away in his search for
	dance perfection.

95	ANOTHER ANGLE								95

	Freddy, Igor and Inga drop from exhaustion after another,
	even bigger ORCHESTRAL finish.  The Monster immediately
	asks for:

					MONSTER
			MMMmmm!

	They all stare at him in horror.

					MONSTER
				(signifying "More")
			MMMMmmmmm!  MMMMmmmmm!

	Freddy walks boldly up to the Monster.

					FREDDY
			Stop that!  Now just stop that
			this instant and listen to me!

	The Monster stares at Freddy in fascination.

					FREDDY
			I have given you one of the
			finest minds of this century.
			You are a brilliant endocrinologist.
			You are a superb scientist.  And
			you are making naughty!  Now that's
			enough.  Finished!  From now on,
			you will behave like a man, and
			not a spoiled, snot-nosed, sniveling
			brat who thinks he can get anything
			he wants by bullying people with
			sheer brute force.

	The Monster gives Freddy a W H A C K you wouldn't believe
	unless you were there.  Inga SCREAMS.

					IGOR
			This fellow's got great timing.

										Cont.

											65

											95 Cont.

	The Monster picks Freddy up in his two hands and then
	holds him high over his head.

					INGA
			Oh, Doctor -- be careful!

	The Monster is about to dash Freddy to pieces, when:
	MUSIC:  A VIOLIN is HEARD PLAYING the EERIE TRANSYLVANIAN
	LULLABY.  The monster FREEZES -- still holding Freddy over
	his head.

					MONSTER
				(soft, pathetic
				cries)
			Mmmmmm!  Mmmmmm!

					INGA
			Doctor! There's that strange
			music again.  what could it be?

					IGOR
			It seem to have stopped the
			big fellow in his tracks.

					FREDDY
				(from over the
				Monster's head)
			Ayegor!  Find out where that
			music is coming from as quietly
			and as blindingly fast as you can.

					IGOR
			Yes, Master!

					FREDDY
			Act casual!

	Igor casually takes out a box of jujubees from his pocket
	and eats one.  He walks over to the Monster, who is still
	holding Freddy over his head.

					IGOR
				(to the Monster)
		Care for a jujubee?

	The Monster lowers one hand -- holding Freddy up with the
	other -- and takes the box of jujubees.  He sniffs them.

					FREDDY
			Clever ploy!

	The Monster drains the box of jujubees in one gulp, then
	hands the empty box back to Igor.

										Cont.

											66

											95 Cont.1

					IGOR
				(looking at the
				empty box)
			NO movies together for us --
			that's for sure.

	Igor MOVES OFF in search of the MUSIC.  The Monster --
	deeply affected by the LULLABY -- slowly sets Freddy
	down.

					INGA
			It's almost as if he were
			afraid.  he loves that music.

	The Monster begins to hug Freddy and snuggle him.  he
	behaves like a frightened, loving child, as he holds his
	arms out to Freddy.

					INGA
			I think he wants you to carry
			him, Doctor.

	Freddy nods agreement.

					INGA
			What are you going to do?

					FREDDY
			I think I'll...carry him.

	Freddy prepares to lift the Monster.  Suddenly:  THE
	MUSIC STOPS!  The Monster's eyeballs float menacingly
	towards Freddy.

					MONSTER
			MMMmmmmmmmmmmmmmmmmmmmmmmmmm!

					INGA
			Doctor!  The music has stopped.

	The Monster's hands creep around Freddy's neck.

					FREDDY
			Do you think you can sing it?

					INGA
			Me?  Sing?

					FREDDY
			Yes -- quickly, dear!

										Cont.

											67

											95 Cont.2

	The Monster is really choking Freddy now.

					INGA
			I'd be so nervous.

					FREDDY
			This is not the finals -- just
			sing!

					INGA
				(singing)
			It's some-thing dar-ing,
			'The Con-ti-nen-tal,'
			A way of danc-ing
			that's real-ly ul-tra new;
			It's ver-y sub-tle,
			'The Con-ti-nen-tal.'

	The Monster is temporarily distracted.  then he gives
	Inga an angry look.  The is not the music that he wants.

					INGA
				(singing)
			Be-cause it does what
			you want it to do.

					MONSTER
			MMMMMMMMMMMMMMMMMMMMMMMMMM!

	The Monster's hands tighten around Freddy's neck.

					INGA
				(singing)
			It has a pas-sion,
			'The Con-ti nen-tal...'

					FREDDY
			Stop -- singing!!!

	Igor WALKS IN, holding a violin and bow.  He sees the
	Monster choking Freddy.

					IGOR
			How's it going?

					FREDDY
			What did you find out?

					IGOR
			Someone was playing this in
			the music room.

										Cont.

											68

											95 Cont.3

					FREDDY
			Where is he?

					IGOR
			How do you know it was a 'he'?

					FREDDY
			All right -- where is she?

					IGOR
			How do you know it was a 'she'?

					FREDDY
				(gasping his
				last breath)
			Bring -- me -- the -- violin!

					IGOR
			Can you play it?

					FREDDY
			Maybe...if you get here on time.

	Igor goes to Freddy and hands him the violin and bow.
	Freddy plays the TRANSYLVANIA LULLABY to the best of
	his ability.  The Monster's hands begin to loosen.

					INGA
			It's working!  Oh, Doctor --
			you play beautifully.

					IGOR
			Do you know the theme from
			'Doctor Zhivago'?

					FREDDY
			Get the sedative ready!

					MONSTER
				(soft and loving)
			MMmmm!  MMmmm!

	The Monster hugs Freddy's face.  Freddy, still playing
	the violin, pats the operating table for the Monster to
	"lie down."  He does -- holding onto Freddy's face.

					INGA
			I think he wants to be tucked in.

										Cont.

											69

											95 Cont.4

					FREDDY
			Get a blanket from under that
			shelf!

	Inga gets the blanket.  The Monster holds Freddy's head
	onto his chest, as Freddy continues playing.  Inga and
	Igor spread the blanket over the operating table, then
	gently tuck the Monster in "bed."  The Monster pulls
	Freddy into bed with him and snuggles against Freddy's
	shoulder.  Freddy continues playing the violin under the
	covers.

					FREDDY
				(to Inga)
			All right -- give it to him!

					INGA
			Are you serious??

					FREDDY
			Give him the sedative!

					INGA
			Oh!  Yes, Doctor.

	She prepares the hypodermic, then lifts up a small section
	of the blanket -- AWAY FROM OUR VIEW -- and pulls down the
	Monster's pants a short way.

					IGOR
			He's got quite a tush.

	She puts the needle in.

					FREDDY
			Did you do it?

					INGA
			I think so.

					FREDDY
			Good!  It shouldn't take more
			than a few seconds.

	Freddy gradually stops playing.

					MONSTER
				(quietly, angry)
			MMMMmmmmmmmm!

										Cont.

											70

											95 Cont.5

	Freddy starts playing.  The Monster kisses him.

					INGA
			I'm getting tired.

					IGOR
			Why don't we all turn in?  It's
			been a long day.

					FREDDY
			Wait -- I'm sure he's out by now.
			That shot was strong enough to stop a horse.

	Freddy gradually stops playing.  One of the Monster's
	hands sleepily closes around Freddy's throat.

					IGOR
			See you at breakfast, then!

	Freddy continues playing.

					INGA
			Good night, Doctor.

					FREDDY
				(afraid to dis-
				turb the Monster)
			Good night!

	Igor and Inga LEAVE

96	NEW ANGLE									96

	Freddy is left alone with the Monster, still playing the
	violin.

					FREDDY
				(sarcastically)
			Thanks...for all your help.

					IGOR
				(o.s., from
				behind a wall)
			That's what we're paid for.

	Freddy looks at the Monster -- whose contented face
	nestles against Freddy's chin.

										Cont.

											71

											96 Cont.

					FREDDY
				(as he plays
				the violin)
			This song.  This haunting melody.
			This ancient, quaintly atonal
			folk tune...is driving -- me --
			crackers!  I can't go on -- do
			you understand??  Can NOT go on
			playing this pathogenically rotten
			song.  If you're not asleep yet,
			then kill me if you have to, but
			at the count of three...I stop!
			One!................ Incidentally,
			I was thinking of making a big
			breakfast tomorrow -- blueberry
			waffles and crisp bacon.  Two!...
			...................... By the
			way, I'm sorry I yelled at you
			before -- I must have been over-
			tired.  Anyway, I meant to apologize
			and just forgot.  Two!...............
			Maybe tomorrow would be a good day
			just to relax -- go for a swim,
			maybe do a little water skiing.
			Well...we'll see after we finish
			a nice breakfast.  Three!

	Freddy stops playing.  the monster is sound asleep.
	Freddy puts the violin down, throws off the blanket,
	then ties the straps that bind the  Monster to the
	operating table.

					FREDDY
				(when the Monster
				is firmly tied)
			Spoiled Sissy!

	Freddy picks up the violin again and stares at it.

					FREDDY
			The song is over!

	He looks at the sleeping Monster.

					FREDDY
			Das lied ist aus!

	He breaks the violin in half.  Immediately, he feels a
	sense of relief and lightheadedness.

										Cont.

											72

											96 Cont.1

					FREDDY
			Oh!  Oh my!  What a strange
			feeling that was.  My head --
			I felt such a pressure, splitting
			my head apart.  I feel so relieved
			and lightheaded.  That horrible
			pressure...like voices...all calling
			to me, imploring me...swearing at me.
			Well, it's over now, thank goodness.
				(he turns to
				the Monster)
			Oh...my poor Doctor Delbruck.
				(he strokes the
				Monster's head)
			Doctor, Doctor...what have I done
			to you?  Was habe ich von Dir
			gamacht?  Your magnificent brain,
			locked in this...pile of... Forgive
			me, Doctor.  I thought -- for science
			only.  I couldn't stand the thought
			to mankind.  I was a fool!  How
			dangerous is the acquirement of
			knowledge, and how much happier
			is that man who believes his native
			town to be the world, than he who
			aspires to become greater than his
			nature will allow.  Con you ever
			forgive me?

	He puts his head down in silent prayer.  MUSIC:  ANOTHER
	VIOLIN PLAYS:  THE EERIE TRANSYLVANIAN LULLABY.  Freddy's
	body tenses.  We cannot see his face, but his fingers go
	to his temples.  He slowly raises his head.

					FREDDY
			That's a knockout tune!  That tune
			is a winner.  You can't call it
			'wishy-washy' ... like some people
			I know.  That song is going places.
				(he looks at
				the Monster)
			And so are we -- Blubber Boy.  With
			your body, and the brain of that
			kraut -- we'll be 'Number One' in
			no time.

	The MUSIC is PLAYING LOUDER and FASTER.

										Cont.

											73

											96 Cont.2

					FREDDY
			Right, voices??  I hear you
			skipping away in there.  'Do
			better than your father!'  You're
			telling me I will.  'Do better
			than my grandfather!?'  I'll
			make my famous grandfather look
			like a part-time nurse.

	He rises.

					FREDDY
			There's no stopping now.  Destiny
			is too potent.  I -- want --
			perfection!

	A BOLT OF LIGHTNING!

					FREDDY
			I want a lot of it...and the
			best there is.

	He grabs the Monster's head and hits it.  A CRACK OF
	THUNDER!

					FREDDY
			Because from now on...

										CUT TO:

97	INT. PRIVATE LIBRARY							97

	Frau Blucher is insanely playing the violin and watching
	Freddy through a crack in the door.

										CUT BACK TO:

98	INT. LABORATORY								98

					FREDDY
			...the only act we follow is the
			creation of fire.  I'm going to
			explore unknown powers...I'm going
			to unfold to the world the deepest
			mysteries of creation...and I'm
			going to make -- my -- mommy --
			proud!

										FADE OUT

											74

	FADE IN

	MONTAGE - INT. CONVERTED BALLET REHEARSAL ROOM - DAY

	Mirrors and a warmup bar run along three walls.

	Throughout the Montage, the Monster is dressed in leotards
	and lederhosen.

99	1st Piece - INT. CONVERTED BALLET REHEARSAL ROOM			99

	The Monster is at the warmup bar, doing ballet exercises
	to the MUSIC OF CHOPIN -- which is being PLAYED on the
	PIANO by Igor.

	Inga -- also in leotards -- is at the bar in front of the
	Monster, so that he may follow her example.

	Freddy sits on a chair in the middle of the floor,
	pounding out the "count" with a long stick.

					FREDDY
			And one and two and three and four
			and lift -- lift , three and four
			and don't look sad for sympathy;
			you know we only stop to pee.
			And lift -- lift, three and four
			and try and not to break the floor.

										DISSOLVE TO:

100	2nd Piece - INT. CONVERTED BALLET REHEARSAL ROOM			100

	Freddy and Inga are wearing different clothes -- to
	denote change of time.

	Inga only watches this time, as the Monster tries a few
	"points" and "turns" across the room on his own.

	Igor plays Chopin.

					FREDDY
			And one and two and point your toes
			and two and two and stretch you thighs
			and three and two and lift your knees
			and watch that nasty temper, please.

	The Monster is getting angry.

					FREDDY
			And one and two and point your toes...

										Cont.

											75

										 	100 Cont.

	Igor stops playing the piano, but continues speaking
	with the "count."

					IGOR
			And Oh-oh, Oh-oh...there he goes.

	The Monster's hands are around Freddy's neck.

					FREDDY
			And oopy, not so hasty, please,
			and stretch your legs
			and lift your knees.

	The monster, involuntarily, continues his footwork while
	he is trying to choke Freddy.

	Freddy picks up a violin from under his chair and plays
	the EERIE TRANSYLVANIAN LULLABY -- BUT IN THE SAME RHYTHM
	THEY HAVE BEEN USING, so that not a "count" is missed.

					FREDDY
			And even though we're nose to nose,
			Always, always point your toes!

			Don't knot your fists like monsters do,
			but light-ly, gently, pas de deux.

			A grateful bot who has a chance
			would never kill if he could dance.

			So take your fingers off my throat
			and two -- remove them from my chest

			and three and two, continue please;
			I didn't say 'It's time to rest.'

			Don't stand flat footed; point your toes!
			Don't hang your hands like some dumb clod;

			Always lift them gracefully,
			like little chil-dren praying to God.

			That's the way an angel grows
			but first he learns to POINT his TOES!

	Igor continues playing Chopin.  The Monster goes back to
	his exercises.

					FREDDY
			And one and two and stretch your thighs
			and two and two and lift your knees...

										DISSOLVE TO:

											76

101	3rd Piece - INT. CONVERTED BALLET REHEARSAL ROOM			101

	The angelic face of the Monster sits in perfect concentration,
	as he prepares to play the harp.

	He lightly ripples the strings:  his face lights up!

	He ripples the strings a second time:  he is in ecstasy.

	On the third ripple:  ALL THE STRINGS COME OUT in his
	hands, like a mass of spaghetti.

	Freddy, Igor, and Inga try not to look at each other.

										DISSOLVE TO:

102	4th Piece - INT. CONVERTED BALLET  REHEARSAL ROOM		 	102

	MUSIC:  a phonograph RECORD PLAYS TCHAIKOVSKY.

	The Monster is dancing "reasonably" well with A YOUNG
	BALLERINA.

	Freddy, Igor and Inga watch with great expectation.

	The Monster lifts the Ballerina up, and sets her down.
	He lifts her up, and sets her down.

	Now he takes her hand, prepares for the "big Twirl,"
	lifts her up, and twirls her through the air.

	The Young Ballerina sails out of the open window.

										CUT TO:

103	EXT. COUNTRY ROAD - DAY							103

	An ELDERLY COUPLE are driving their horse and wagon to town.

	A YOUNG BALLERINA SAILS PAST THEIR EYES.

										DISSOLVE TO:

104	5th and Final Piece - INT. CONVERTED BALLET				104
	REHEARSAL ROOM

	Freddy and the Monster stand over two enormous xylophones.
	Each holds his two wooden hammers.

	Freddy -- at his xylophone -- passionately laces into
	Rimsky Korsokov's "FLIGHT OF THE BUMBLE BEE."

										Cont.

											 77

											 104 Cont.

	The Monster strokes -- in perfect time -- the LAST NOTE
	of each phrase.

	The crowning glory is a slow bridge of SEVEN PERFECT
	NOTES BY THE MONSTER.

	When the piece is finished, Freddy, the Monster, Igor
	and Inga all hug each other in triumph.

	TRIUMPHAL MUSIC.

										DISSOLVE TO:

105	EXT. THEATRE - NIGHT							105

	A poster reads:

				BUCHAREST STATE THEATRE

				     Tonight Only

				  DR. F. FRONKONSTEEN

					    in

			 "THE GREATEST DISCOVERY SINCE FIRE"

			   Presented in Cooperation With

					   T N S

		     (Transylvanian Neurological Society)

	     A "SOLD OUT" sticker is pasted across the poster.

										CUT TO:

106	INT. AUDITORIUM - NIGHT							106

	The audience is filled with ELDERLY SCIENTISTS, their
	WIVES, and THE CURIOUS from the upper crust in society.

	All are elegantly dressed in cheap movie studio wardrobe.

107	INGA										107

	in a formal, and Igor -- in "something" -- wait excitedly.

108	FREDDY										108

	stands on a stage, dressed in tails.

										Cont.

											78

											108 Cont.

					FREDDY
			And now, my fellow scientists and
			neurosurgeon...I must ask you to
			...suspend belief.
			For up until now, you have seen the
			Creature perform the simple mechanics
			of motor activity.  That this Creature
			was an inanimate blob, which I endowed
			with the secret of life -- yes!...in
			all honesty -- that showed some measure
			of skill on my part.
			But for what you are about to see
			next...we must enter -- quietly --
			into the realm of genius.  I say
			this modestly, only because I am,
			myself, as in awe of the gifts I
			possess as if I were observing them
			in some other person.  I think of
			them, only, as a loan.  Grateful, of
			course...that my credit is good.
			Thus, with the accumulated knowledge
			of Chemistry, Electricity, Neuro-
			surgery...and art...I now present
			what was once an inarticulate mass
			of lifeless tissues.
			Ladies and gentlemen...
			Mesdames et Messieurs...
			Damen und Herren...The Creature!

	Freddy sits down at a beautiful grand piano.  He plays a
	short trill up the keyboard.

109	ANOTHER ANGLE								109

	as A SPOTLIGHT hits the darkness next to him.

	And there -- IN TOP HAT AND TAILS -- stands the Monster.
	he is heavily made up.

					FREDDY
				(playing the piano
				and singing)
			If you're blue and you
			don't know where to
			go to, why don't you...

	The Monster accompanies the music with short, simple
	"Soft Shoe" steps.

					FREDDY
			...go where fashion
			sits.........................

										Cont.

											79

											109 Cont.

					MONSTER
			Poo -- tmmm anngh ma Ritz!

					FREDDY
			Diff'rent types who wear
			a day coat, pants
			with stripes and cutaway
			coat, perfect
			fits.........................

					MONSTER
			Poo -- tmmm anngh ma Ritz!

					FREDDY
			Dressed up like a
			million dollar
			trouper
			Trying hard to
			look like Gary
			Cooper.

					MONSTER
			Soo -- pah doo -- per.

	The Audience's faces are absolutely blank.  Inga and
	Igor are thrilled.

					FREDDY
			Come let's mix where Rock-
			e -- fellers walk
			with sticks or 'um-ber-
			el-las' in their
			mitts.........................

					MONSTER

			Poo -- tmmm anngh ma Ritz!

	The Monster gets a tomato right in the face.  He stops cold.

					FREDDY

			Dressed up like a
			million dollar
			trouper
			Trying hard to
			look like Gary
			Coo -- per.

	An EMBARRASSING PAUSE.

					FREDDY
				(to the Monster)
			That's your cue.  Go on!

										Cont.

											80

											109 Cont.1

					MONSTER
			MMMMMMMMMMMMMMMMMMMMmmmmm.

					FREDDY
				(trying to cover)
			...Su-per du-per.
			Come let's mix where Rock-
			e-fellers walk
			with sticks or 'um-ber-
			el-las' in their
			mitts.........................

	The Monster knows it's his cue:  he just looks at Freddy.

					MONSTER
			MMMMMMMMMMMMMMMMMMmmmmmmmmmmm!

					FREDDY
			For  God's sake -- go on!  Are you
			trying to make me look like a fool.
			Sing, you amateur!  Sing!!

	The Monster gets a raw egg in his face.

					AUDIENCE
			Booooo!
			Get him off!
			Fake!
			What else can your toy do?

					FREDDY
			Fake??  You stupid idiots...you call
			my creation a fake???  What do you
			know about truth?  You're the fakes!
			All of you!  I wouldn't come to you
			with a hang-nail.

	The monster gets another tomato in his face.

					MONSTER
			MMMMMMMMMM!
			MMMMMMMMMMMM!

					FREDDY
				(running to him)
			Wait!  Stop!  Don't give them the
			satisfaction.  I know it's tough,
			but look at how far we've come!
			Are you going to throw it all
			away now??

	The Monster thinks, as the tomato drips down his face.
	He is touched by Freddy's reasoning, but still burning
	with resentment.

										Cont.

											81

											109 Cont.2

					MONSTER
			MMMmmmmmm.

					FREDDY
			Don't you think I know that?  But
			what are you judging by?  Bucharest???
			This was always a hick town.  They
			can't get a 'Bus and Truck' company
			to come in here.  Are you going to
			let these idiots get the best of you?
			...Or are you going to stand up like
			a man and show them that you've got
			more dignity in your little finger
			than they've got in all their beer-
			bloated bodies put together?

	The Monster considers this plea for a moment.  Then gives
	Freddy a colossal W H A C K and jumps into the Audience.

110	THE AUDIENCE									110

	screams and scatters for the exits.

	PANDEMONIUM.

					FREDDY
				(as he picks himself up
				off the stage floor)
			I chose the wrong song.

										CUT TO:

111	EXT. STREET - NIGHT							111

	PEOPLE run in all directions.

	The monster comes bursting down the street, with his arms
	flailing.

										DISSOLVE TO:

112	INT. CASTLE DINING ROOM - NIGHT						112

	Freddy sits dejectedly -- still dressed in his theatre
	clothes.

	Igor and Inga sit near him.  Frau Blucher stands nearby.

					FREDDY
			I'm a failure.

					IGOR
			Come on, Froderick -- none of that.

										Cont.

											82

											112 Cont.

					INGA
			Look how far we've come.

					IGOR
			You can't expect to iron out all
			the kinks in one night.

					INGA
			I think the doctor is a genius!
			Don't you, Igor?

					IGOR
			Why certainly.  Don't you,
			Frau Blucher?

					FRAU BLUCHER
			He's a failure.

	Freddy gives her a cold stare.

					FREDDY
			What are you waiting around for,
			pickle puss?

					FRAU BLUCHER
				(handling him a cable)
			This wire came while you were gone.
			Your fiancee will be arriving any
			moment.

					FREDDY
			Elizabeth!?!
				(he reads the cable)
			'Can't waits any longer.  Arrive
			in your arms at ten tonight.'
			Oh, God!  Not tonight.

					INGA
			Why, doctor...how wonderful for you.

					FREDDY
			Wonderful?  It's terrible!
			Terrible, terrible, terrible,
			terrible, terrible!

	Freddy storms out of the room.

					IGOR
			She sounds fascinating.

										CUT TO:

											83

113	EXT. COBBLESTONED ALLEY - NIGHT						113

	A SIX-YEAR-OLD GIRL walks innocently along the narrow,
	menacing alley, lit only by moonlight.

	Behind her, there slowly appears a growing, TWENTY-FOUR
	SHADOW.

	When the shadow is almost upon her, the Girl turns around
	and faces her pursuer.

	It is her BABY BROTHER, holing a long balloon in each
	hand.

					SIX-YEAR-OLD-GIRL
				(grabbing him)
			Mit kommen, mit kommen.  Du bist
			immer eine schlafmutzigem Blind-
			schleiche.

	She gives him a slap on the behind and pulls him along.

										CUT TO:

114	A GRANDFATHER CLOCK							114

	It is ten o'clock.  GONG.

115	INT. RECEPTION HALL							115

	The front door opens and Elizabeth comes in.  Frau Blucher
	and a COACHMAN can be SEEN in the b.g.

	Freddy stands in dressing gown and ascot.  Inga and Igor
	wait politely in the rear.

					ELIZABETH
			Darling!

					FREDDY
			Darling!

	They embrace.

					ELIZABETH
			Surprised?

					FREDDY
			Surprised!

					ELIZABETH
			Love me?

					FREDDY
			Love you! ...Well, why don't
			we turn in?

										Cont.

											84

											115 Cont.

					ELIZABETH
			Darling!?!

					FREDDY
			I mean, it's been a long day.
			I'm sure you must be as tired
			as I am.  Oh!  These are my
			assistants:  Inga and Ayegor.

	Freddy turns to get some luggage from the Coachman.

					ELIZABETH
				(stepping up
				to Inga)
			How do you do?

					INGA
			Very well.  So nice to meet you
			at last.

	Elizabeth steps up to Igor.

					IGOR
			Darling!

					ELIZABETH
			Hello...?

					IGOR
			Surprised?

					ELIZABETH
			Well... yes.

					IGOR
			Miss me?

					ELIZABETH
			I...

	Freddy approaches them with Elizabeth's two suitcases:
	One very large, and one very small.

					FREDDY
			Ready, darling?

					ELIZABETH
			Yes.  I am a bit tired, after all.

					FREDDY
				(to Igor)
			Give me a hand with these, will
			you, Ayegor?

										Cont.

											85

											115 Cont.1

					IGOR
			Certainly, master.

	Igor takes the small suitcase, and, with Inga, leads
	Elizabeth and Freddy up the stairs.  Freddy struggles with
	the large suitcase.  Frau Blucher follows behind.

115A	ON THE STAIRWAY								115A

					ELIZABETH
			What a strange fellow.

					FREDDY
			Yes, he's a little bit... tilted.
			Harmless, though.

					ELIZABETH
			Why does he call you 'master'?

	Freddy stares at her.

					FREDDY
			Are you suggesting I call him
			master???

					ELIZABETH
			No, of course not.  I just meant...

					FREDDY
			All right then!

										DISSOLVE TO:

116	INT. ELEGANT RESTAURANT - NIGHT						116

	The Monster walks in cautiously.  No one seems to take
	any particular notice of him.

	He walks up to the MAITRE D' and taps his back.

					MAITRE D'
			Yes, sir, name, please?

					MONSTER
			Food!

					MAITRE D'
			Do you have a reservation?

					MONSTER
			Food!!

					MAITRE D'
			I'm sorry, sir.  We only seat by
			reservation.

										Cont.

											86

											116 Cont.

					MONSTER
			Drink!

					MAITRE D'
			Oh, no sir-ee.  If yo don't have
			a reservation you can skip to
			ma-loo.

	The Monster grabs the Maitre D' by the lapels

					MONSTER
			Foooooood!

					MAITRE D'
			Now just one moment.  There's no
			need for roughhousing.  Have you
			ever tried a tip?

					MONSTER
			GRRRHMMNNNJKJMMMNN!

					MAITRE D'
			Franz!  Help!  Lunatic!

117	NEW ANGLE									117

	As the monster picks up the maitre D' and throws him into
	a crowd.

	The Monster attacks the restaurant.  LADIES, GENTLEMEN
	AND WAITERS scream.

	PANDEMONIUM.

										DISSOLVE TO:

118	INT. ELIZABETH'S BEDROOM - NIGHT					118

	Elizabeth -- in a long, satin robe -- stands over Freddy,
	who sits staring into a fire.

					FREDDY
			Poor Delbruck!  There must be
			some way to reach him -- to
			control that body.

					ELIZABETH
			Darling, you mustn't worry so.

										Cont.

											87

											118 Cont.

					FREDDY
			But there's a genius inside that
			body -- crying out for love and
			understanding and normal human
			relationships.  I just have to
			find some way to re-establish his
			communications system.

					ELIZABETH
			But you can't do that at night.
			And even if you could -- it would
			cost a fortune.  Come to bed,
			darling.

					FREDDY
			Oh, Delbruck, Delbruck.  Was will
			dien tachlas von Dir?

					ELIZABETH
			You've done everything that's
			humanly possible, Frederick.  Oh,
			darling, I'm so worried about you
			-- you need rest.

					FREDDY
			I suppose you're right.

					ELIZABETH
			Of course I am.  Now come along
			like a good boy.

	He gets up.

					FREDDY
			What would I do without you?

	They kiss.

					ELIZABETH
			Is your room just down the hall?
			... in case I get frightened
			during the night?

					FREDDY
			Yes, but... I thought, perhaps
			tonight, under the circumstances,
			I might... stay here with you.

					ELIZABETH
			Oh, darling!  Don't let's spoil
			everything.

										Cont.

											88

											118 Cont.1

					FREDDY
			I don't want to spoil anything --
			I just want to top it all off.

					ELIZABETH
			Would you want me, now, like this,
			so soon before our wedding? ...
			So near we can almost touch it?
			Or wait a little while longer,
			when I can give myself without
			hesitation?... When I can be
			totally and unashamedly yours??

					FREDDY
			That's a tough choice.

					ELIZABETH
			Is it worth taking a chance?

					FREDDY
			I suppose you're right.

					ELIZABETH
			Of course I am.  Now give me
			a kiss and say good night like
			my good boy.

	They kiss.

					FREDDY
			Good night.

					ELIZABETH
			That's my good boy.

	Freddy steps out into the:

119	INT. HALLWAY									119

	Elizabeth blows him a kiss and slowly closes her door.

	Freddy stands for a moment, then walks to the door next
	to Elizabeth's room and knocks.

120	ANGLE ON INGA								120

	She is wearing a flimsy nightgown, opens the door.

					INGA
			Why, Doctor... is anything the
			matter?

										Cont.

											89

											120 Cont.

					FREDDY
			Just passing through the night.

					INGA
			What's wrong, Doctor?  You
			seem... lonely.

					FREDDY
			Oh, a little.  But it's not just
			physical loneliness.  It's the
			pangs that come from missing
			someone intellectually... as I
			have you.

					INGA
			I've missed you intellectually,
			too, Doctor.

	He stares at her almost "see-through" nightgown.

					FREDDY
			It's terrible -- the price society
			demands in the name of fidelity...
			ultimately?

					INGA
			Not fooling around.

					FREDDY
			I know, but I mean -- not fooling
			around physically?... Or not
			fooling around intellectually?

					INGA
			I see what you mean.

					FREDDY
			There can never... ever... be
			anything physical between us.
			You know that, dear.

					INGA
			I know Frederick.

	He is staring at her breasts.

					FREDDY
			It wouldn't be fair to Elizabeth.

					INGA
			Of course not.

										Cont.

											90

											120 Cont.1

					FREDDY
			For that matter, it wouldn't
			be fair to you, or to me.

	On the word "you", he touches Inga's breast to emphasize
	his point.  On the word "me", he touches his own chest.

	Pause.

					INGA
			What?

					FREDDY
			I say, it wouldn't be fair to
			you... or to me.

					INGA
			Nor to Elizabeth.

					FREDDY
			No.  Nor to Elizabeth.

					INGA
			We all have our feelings.  I
			know that I have mine.  And...
			I wouldn't want to hurt yours.

	On the word "mine", she touches her chest for emphasis.  On
	the word "yours", she places her hand on Freddy's chest
	and rubs it a little.

					FREDDY
			Yes, I do have my feelings.  And,
			of course, you have yours.

	He rubs her chest.

					INGA
			And Elizabeth has hers.

					FREDDY
			Yes, Elizabeth has hers.

					INGA
			But, after all, you have yours.

	She unbuttons a button of his pajama top so that she can
	touch his chest better.

					FREDDY
			Yes, I have mine.

					INGA
			And I have mine.

										Cont.

											91

											120 Cont.2

					FREDDY
			Yes...yes, you have yours.

					INGA
			Why don't we talk inside?

					FREDDY
				(keeping one
				hand on her chest)
			Well...
				(he looks at
				his watch)
				... perhaps for a few minutes.

	They go into Inga's room.

										DISSOLVE TO:

121	EXT. BURGOMEISTER'S HOUSE - NIGHT						121

	VILLAGERS, with torches and DOGS, stand on the street, in
	front of the Burgomeister's steps.

					FIRST VILLAGER
			Burgomeister Krempen.

					SECOND VILLAGER
			Burgomeister Krempen!

					THIRD VILLAGER
				(pounding on the door)
			Burgomeister Krempen!

					FOURTH VILLAGER
			Mayor Krempen!

					BURGOMEISTER
				(opening the door)
			What is it?  What's going on?

					FIRST VILLAGER
			The monster, sir.  The Monster is
			loose.

					BURGOMEISTER
			Do you realize it's after eight
			o'clock???

					SECOND VILLAGER
			Yes, sir, but the monster.  He's
			escaped!

										Cont.

											92

											121 Cont.

					THIRD VILLAGER
			He's running through the countryside,
			terrorizing the villagers.  No one
			is safe.

					BURGOMEISTER
			What do you mean 'the' monster --
			as if this happened every Sunday.
			You mean 'a' monster.

					FOURTH VILLAGER
			No, sir, it's 'the' monster.  The
			Frankenstein monster.

					BURGOMEISTER
			Oh, Tommy Rot!

					ASSORTED VILLAGERS
			Yes!
			Frankenstein!
			The Frankenstein monster!

					BURGOMEISTER
			Now wait a minute!  Just wait a
			minute!

	They quiet down.

					BURGOMEISTER
			Now see here!  There'll be no more
			wild accusations bandied about
			while I'm still Burgomeister of
			this village.  If there is mischief
			afoot, the way to find out is to
			confront the man with the charges
			brought against him.  It's the
			only decent thing to do.  And as
			long as I'm Burgomeister of your
			village -- a man's name is still
			his honor.

					FIRST VILLAGER
			But it's true, sir.  Young Master
			Freddy -- he's come from America
			and read all of his grandfather's
			secret notes.  They've started the
			whole business all over again, sir.

					BURGOMEISTER
			That swine!

										Cont.

											93

											121 Cont.1

					SECOND VILLAGER
			It's in the blood, sir.  The whole
			family is insane.

					THIRD VILLAGER
			He's got to be put away.

					FOURTH VILLAGER
			And the monster destroyed!

					ASSORTED VILLAGERS
			Yes!
			The monster!
			Kill the monster!
			The monster must be destroyed!

					BURGOMEISTER
			Now see here!  Before we go running
			about, killing people, we'd better
			make damned sure of our facts.  A
			riot is an ugly thing... and once
			you get one started -- there's
			little chance of stopping it short
			of bloodshed.

	"Groans" of disappointment from assorted Villagers.

					BURGOMEISTER
			So the first thing we'll do, is
			march calmly up to the Frankenstein
			castle and have a nice little chat
			with our good doctor.  Now then!
			Who doesn't have a torch and a dog?
			All right -- follow me!

					ASSORTED VILLAGERS
			Yay!
			Down with Frankenstein!
			Kill the monster!

	They all run off ahead of the Burgomeister.

										CUT TO:

122	INT. INGA'S BEDROOM - NIGHT						122

	Freddy and Inga are under the sheets.  Only their faces
	can be SEEN.

					FREDDY
			It wouldn't be right... you know
			that.

										Cont.

											94

											122 Cont.

					INGA
			Yes, I know.

					FREDDY
			It wouldn't be fair to her.

					INGA
			Yes, I know.

					FREDDY
			You've got to help me to remain
			faithful.

					INGA
			Yes, I will.

					FREDDY
			...But an intellectual relationship,
			like this -- we could have as often
			as we wanted.  Three times a day --
			anything!

										CUT TO:

123	EXT. COUNTRY ROAD - NIGHT						123

	The angry Villagers are marching and shouting, gathering
	up steam on their way to the Frankenstein castle.

										CUT TO:

124	INT. ELIZABETH'S BEDROOM - NIGHT					124

	Elizabeth is just finished brushing her hair, humming
	quietly to herself.  She stands up and blows out the
	candles near her mirror.

	She walks to some French doors that open onto a small
	balcony.  She opens the glass doors and looks at:

125	ANGLE ON MOON								125

	Bright and full.

											95

126	BACK TO SEEN									126

	She takes a breath of fresh air, then closes the doors
	and walks to her large double bed.  She slips off her
	robe -- revealing her thin body in delicate nightgown.
	Suddenly she hears:

	"MMMMMMMMMMmmmmmmmmmmm."

	She turns towards the French doors and listens.  She
	decides that it was nothing and gets into bed.

										CUT TO:

127	EXT. THE CASTLE - NIGHT							127

	The Burgomeister and the Villagers are at the steps of
	the castle.  the Burgomeister pounds on the front door.

										CUT BACK TO:

											96

128	ELIZABETH'S BEDROOM							128

	Elizabeth lies in bed, illuminated be the flames from her
	fireplace.

	There is the soft SOUND of CURTAINS FLAPPING.

	The French doors have been opened -- the silk curtains
	flapping from a breeze outside.

										CUT BACK TO:

129	EXT. CASTLE									129

	The Burgomeister pounds louder and louder on the front door.
	Finally the door opens and Freddy appears in his robe.  he
	looks at the angry mob.

					BURGOMEISTER
			Frederick Frankenstein?

					FREDDY
			You have the wrong house.

					BURGOMEISTER
			And who might you be?

					FREDDY
			Dr. Frederick Fronkonsteen.

					BURGOMEISTER
			The grandson of Victor 'Fronkonsteen'?

					FREDDY
			No!

					BURGOMEISTER
			What was your grandfather's name?

					FREDDY
			Victor Frankenstein.

	Pause, as the Burgomeister tries to fit the pieces together.

										CUT BACK TO:

130	ELIZABETH'S BEDROOM							130

	Elizabeth has a contented smile on her face.  Her eyes are
	closed.

	A LARGE SHADOW grows against the wall behind her.

										Cont.

											97

											130 Cont.1

	The shadow crosses her face and blots out her key light
	from the fireplace.

	She opens her eyes and looks ahead.  Her face freezes in
	terror.

										CUT BACK TO:

131	EXT. THE CASTLE								131

					BURGOMEISTER
			Forgive me for intruding so late
			at night, Herr Baron.  But an ugly
			rumor has it that there are strange
			goings on in this castle.  These
			good citizens are ready to rip you
			from limb to limb unless you can
			offer some rational explanation for
			their fears.  How say you?

					FREDDY
			Ugly, vicious rumous.

	A BLOODCURDLING SCREAM!

					assorted villagers
			What was that?
			Listen!
			Did you hear that?

					BURGOMEISTER
			They say, also, that you have
			recreated the horrible monster
			who, for so many years, has haunted
			and terrorized the God-fearing
			people of this village.  What say
			you to that?

					FREDDY
			Poppycock!

	Igor comes running out from inside the castle.

					IGOR
			He's back!  He's back!  The
			monster's back!

	Everyone looks at Freddy.

										Cont.

											98

											131 Cont.

					FREDDY
			What monster?

					IGOR
			What d'ya mean "What monster?'
			You remember...the one we madein
			the basement.

	Everyone looks at Freddy

					FREDDY
			I think we all need a good night's
			sleep.  Why don't we meet next week
			and thrash this thing out?

					BURGOMEISTER
			Now wait a minute!

					IGOR
			You don't understand, Master.
			The big fellow's broken in and
			kidnapped your fiancee.

					FREDDY
			What???

					IGOR
			He's carrying her off now through
			the woods.

	Freddy, the Burgomeister and Igor run around to the side of
	the castle.  The Villagers follow.

										CUT TO:

132	EXT. SIDE OF CASTLE							132

	The Monster can just be SEEN, far below, disappearing into
	the woods (SEVEN TREES AND A BACKDROP).  Elizabeth is slung
	over his back.

					ASSORTED VILLAGERS
			There he is!  That's the monster!
			After him!
			Kill him!

	The Burgomeister and all the Villagers run off after the
	Monster, leaving Freddy an Igor alone.

					IGOR
			What now, boss?  A little something
			to eat and then join the chase?

										Cont.

											99

											132 Cont.

					FREDDY
			No!  The only hope now is to get
			him back here.  If I can just find
			a way to relieve the pressure on
			his cerebellum...

					IGOR
			That sound good, boss.

					FREDDY
			... and equalize the imbalance
			in his cerebrospinal fluid...

					IGOR
			I like your style, master.  How
			do we get him here?

					FREDDY
			There's only one way.

					IGOR
			I'll bet it's a doozy.

										DISSOLVE TO:

133	EXT. WOODS - NIGHT								133

	The Burgomeister and the Villagers are on the hunt.

	The Burgomeister is being pulled along by a GREAT DANE.

134	THE VILLAGERS								134

	climb little hills and rocks.  OTHER DOGS are BARKING
	ferociously.

					BURGOMEISTER
			There he is!

	The Burgomeister's Great Dane is making so much noise, it's
	difficult to hear.

					1ST VILLAGER
			What?

					BURGOMEISTER
			There he is!!

					1ST VILLAGER
			What?

	The Burgomeister gives his leash a yank and the Great Dane
	finally stops howling.

										Cont.

											100

											134 Cont.

					BURGOMEUSTER
				(pointing)
			I said -- there he is!

	Several Villagers look up and then start SHOOTING at a
	TALL VILLAGER, who is peeing on top of a distant rock.  He
	has his back turned to the other Villagers.

					TALL VILLAGER
				(turning around
				in terror)
			Don't shoot!  Don't shoot!  It's
			ME!

										CUT TO:

135	INT. CAVE - NIGHT								135

	The Monster enters the cave slightly out of breath and stands
	the "fainted" Elizabeth on her feet.

	He shakes her.

					MONSTER
			MMmmm.

	He shakes her again.

					MONSTER
			MMmmm!

	Elizabeth slowly opens her eyes.

	The Monster smiles sweetly.

	Elizabeth smiles sweetly in return -- forgetting for a moment
	where she is.  Then her smile turns to growing horror.  She
	starts to scream, but the Monster quickly covers her mouth.

	After a moment, the Monster tries to make a "Shhhh" sound
	with his finger, but as he releases her mouth to use his
	"Shhh" finger... her SCREAM is still going on.

	He covers her mouth again and shakes her.

					MONSTER
			MMMmmmm!

	He gradually takes his hand from her mouth.

	She is silent;  but her eyes are filled with terror.

	The Monster starts to unbutton his pants.

										Cont.

											101

											135 Cont.

					ELIZABETH
			What..........?

	The Monster holds up his hand for her to "Wait a minute."

					MONSTER
			MMMmmmm!

	He goes on unbuttoning his pants.

					ELIZABETH
			What in God's name are you doing?

					MONSTER
			Baack!

					ELIZABETH
			What?

					MONSTER
				(motioning for her 
				to move back)
			Baack!

	She moves back a foot.

					MONSTER
			Morrr!

	She moves back another foot... fascinated.

	We cannot see what she sees, but what ever it is...she is
	suddenly filled with awe.

					ELIZABETH
			Oh my goodness!  Nineteen if it's
			an inch.

	The Monster smiles.

										CUT TO:

136	EXT. WOODS - NIGHT								136

	The Burgomeister and the Villagers make their way through
	the rocks and hills, alongside a stream.

	Row boats -- with Villagers, torches and Dogs -- travel up
	the stream alongside the Villagers who are on land.

										CUT TO:

											102

137	INT. CAVE - NIGHT								137

	Elizabeth and the Monster are lying on a bed of leaves.

					ELIZABETH
			Penny for your thoughts.

	The Monster's eyes twinkle lasciviously.

					ELIZABETH
			You're incorrigible!... Aren't you?

					MONSTER
			MMMmmmm.

					ELIZABETH
			All right then... seven's always
			been my lucky number.

	They are about to kiss, when suddenly the Monster's ears
	perk up as he hears:

	MUSIC:  THE EERIE TRANSYLVANIAN LILLABY

	He doesn't know where it is coming from.

					ELIZABETH
			What, dear?  What is it?

	The Monster gives a pathetic little cry.

					MONSTER
			MMMmm!

					ELIZABETH
			Is it that music?

					MONSTER
			MMMMM!  MMMMM!

					ELIZABETH
			Probably just some nearby cottage.
			Nothing to worry about.

	The Monster gets up and starts out of the cave... pulled by
	forces he doesn't understand.

					ELIZABETH
			Where are you going?  They've
			left their F-M station on, that's
			all.

	He's gone.

										DISSOLVE TO:

											103

138	EXT. ROOF OF CASTLE - NIGHT							138

	Freddy stands in the night air, playing the violin -- a
	handkerchief under his chin.

	In front of him is a tall microphone on a stand, with two
	enormous speakers nearby, facing the woods.

	Igor sits on a chair, near Freddy, like a member of a band
	waiting for his cue.

	Now Igor gets up, put his trumpet to his lips, and blows
	just the "bridge."  When he is finished, he sits back down
	and waits.

										CUT TO:

139	EXT. WOODS - NIGHT								139

	The Monster walks passionately through the woods, fighting
	the branches in order to get to the music.

										CUT TO:

140	EXT. ANOTHER PART OF THE WOODS - NIGHT				140
	
	The Burgomeister and the Villagers make their way through
	the rocks and hills, alongside a stream.

	Rowboats, with Villagers, torches and Dogs, travel up the
	stream, alongside the Villagers who are on land.

	The rocks, hills and stream all look vaguely familiar.

										CUT TO:

141	EXT. ROOF OF CASTLE - NIGHT						141

	The Monster can be SEEN, crawling up the side of the Castle,
	trying to make it onto the roof.

	Freddy and Igor move close to the edges of the roof as Freddy
	continues playing.

					FREDDY
				(to the Monster)
			You can do it.

	The Monster inches closer.

					FREDDY
			You can do it.

										Cont.

											104

											141 Cont.

	The Monster inches closer.

					IGOR
			Come on, big fellow!

					FREDDY
				(to Igor)
			Is everything ready?

					IGOR
			Yes, master.  Are you sure you
			want to go through with it?

					FREDDY
			It's the only way.

					IGOR
			Okay, boss!  But I hope you know
			what you're doing.

										CUT TO:

142	EXT. WOODS - NIGHT								142

	The Burgomeister stands in water up to his waist -- his
	clothes all wet and torn.

	His Great Dane is swimming next to him, BARKING LOUDLY.

					1ST VILLAGER
			Wait a minute!  maybe he went back
			to the castle.

					2ND VILLAGER
			That's right!

					3RD VILLAGER
			He's probably right.

					2ND VILLAGER
			It was all a trick by that lunatic
			doctor.

					3RD VILLAGER
			Let's go back there and tear them
			both to pieces!

					4TH VILLAGER
			Now see here.  Let's not lese our
			heads.  We've always listened to
			our Burgomeister in the past.  We
			should have the decency to hear him
			now.

										Cont.

											105

											142 Cont.

					1ST VILLAGER
			Well -- what do you say, Burgomeister?

					BURGOMEISTER
			Let's go back there and tear them
			to pieces!

					ASSORTED VILLAGERS
			Yay!
			Back to the castle!
			Kill them both!

										DISSOLVE TO:

143	INT.  LABORATORY - NIGHT							143

	The Monster lies on an operating table.  His eyes are
	closed.

	From out of his head come ten thin tubes, connecting to
	one large tube.

	The large tube travels up, above the Monster's head, then
	turns across the room for five or six feet, then down again
	where it connects with ten smaller tubes that are stuck
	into:

144	FREDDY'S HEAD								144

	Freddy lies on an operating table.  His eyes are closed.

	Inga operates two "INTAKE" - "OUTPUT" gauges.

					IGOR
			It's the waiting I can't stand.

										CUT TO:

145	INT. PRIVATE LIBRARY							145

	Frau Blucher sits in a chair, bare-chested.

	She is flaggelating herself with a handful of thin branches.

	She mumbles some mysterious prayer in German -- occasionally
	looking out through a crack in the door to see what is
	happening to "her" monster and Freddy.

										CUT BACK TO:

											106

146	INT. LABORATORY								146

					IGOR
			How do you know they're done?

					INGA
			The doctor said to allow seven
			minutes:  no more and no less --
			or else they could both become
			hopelessly paralyzed.

										CUT TO:

147	A GIANT CLOCK ON THE WALL						147

	with a "sweep" second hand.  It is FOUR MINUTES AFTER TEN.

148	BACK TO SCENE								148

					IGOR
			How long is it so far?

					INGA
			Four	

					IGOR
			Three minutes to go!

					INGA
			Yes.

					IGOR
			What d'ya want to do to kill time?

					INGA
			Oh, Igor -- I'm so afraid!  I just
			hope this all ends well.

	Igor looks into the LENS of the CAMERA.

										CUT TO:

149	EXT. COUNTRY ROAD - NIGHT						149

	The Burgomeister and the Villagers are almost at the
	front door.

										CUT BACK TO:

150	INT. LABORATORY								150

	Inga and Igor watch over the two bodies.

										CUT TO:

											107

151	THE CLOCK									151

	It is FIVE MINUTES AFTER TEN.

										CUT TO:

152	EXT. CASTLE - NIGHT							152

	The Villagers are pounding on the front door.

										CUT TO:

153	INT. PRIVATE LIBRARY							153

	Frau Blucher is at the height of her self-flagellation.
	She is almost in ecstasy.

					FRAU BLUCHER
			Oh, yes!  Oh, yes, yes, yes!

										CUT TO:

154	THE CLOCK									154

	It is FIVE AND A HALF MINUTES AFTER TEN.

										CUT TO:

155	EXT. CASTLE - NIGHT							155

	The villagers are RAMONG THE FRONT DOOR DOWN with a
	giant pole.

										CUT TO:

156	INT. LABORATORY								156

					INGA
			Igor -- are you sure the monster has
			a good brain?  Are you absolutely
			certain that you took the brain of
			Hans Delbruck that night?

					IGOR
			Absolutely!  May my mother grow
			two heads if I'm not telling the
			truth.

										CUT TO:

157	A TWO-HEADED OLD LADY							157

	rocking in a chair.

										CUT TO:

											108

158	EXT. CASTLE - NIGHT							158

	The front door gives way.  The Burgomeister and the
	Villagers burst into the castle.

										CUT TO:

159	INT. RECEPTION HALL							159

	The Villagers scatter every way, in search of the doctor
	and the monster.

										CUT TO:

160	THE CLOCK									160

	It is SIX MINUTES AND TWENTY SECONDS AFTER TEN.

161	INT. LABORATORY								161

					INGA
				(looking up as she
				hears the Villagers
			What's that noise?

					IGOR
			Sounds like visitors.  It's all
			right -- Frau Blucher will show
			them in.

										CUT TO:

162	INT. PRIVATE LIBRARY							162
	
	Frau Blucher is dripping wet from the passion of her
	climax.

					FRAU BLUCHER
			Victor.  Victor!  I'm coming.
			I'm comming, Victor!

										CUT TO:

163	INT. LABORATORY								163

	Villagers come pouring down the stairs and into the
	laboratory.

					FIRST VILLAGER
			There they are!

										Cont.

											109

											163 Cont.

					ASSORTED VILLAGERS
			Kill them!
			Kill that doctor!
			Kill the monster!
			Tear them both to pieces!

					INGA
				(handling the dials)
			Igor -- what time is it?

					IGOR
			Oh, must be around ten... ten-thirty.

					INGA
			Igor -- the clock!  Hurry!

	Igor looks at it:

164	THE CLOCK									164

	It is SIX MINUTES AND FORTY-FIVE SECONDS AFTER TEN.

165	BACK TO SCENE								165

					IGOR
			Another fifteen seconds to go.

					INGA
			Do Something!  Stall them!

	Igor rushes up to the charging Villagers.

					IGOR
			Now see here!  What is the meaning
			of this?

					BURGOMEISTER
			We want the doctor!

					IGOR
			What?

					BURGOMEISTER
			We want the doctor!

					IGOR
			What??

					FIRST VILLAGER
			... Come on, men!

	They sweep right over Igor.

										CUT TO:

											110

166	THE CLOCK									166

	It is SIX MINUTES AND FIFTY SECONDS AFTER TEN.

167	BACK TO SCENE								167

					SECOND VILLAGER
				(seeing Freddy lying
				on his table)
			Here's that crackpot doctor.
			Let's get him first!

	Several Villagers grab Freddy's body and pull the tubes
	out from his head.

168	THE CLOCK									168

	ZOOM TO CLOCK.  It is only SIX MINUTES AND FIFTY-THREE
	SECONDS AFTER TEN.

169	ANOTHER ANGLE								169

					INGA
			No!  Please!

	Inga is standing further back, near the monster, unable
	to take her eyes off the clock and dials.

	The Villagers hold Freddy up, over their shoulders,
	yelling and screaming.  They start off with him.

					A GIANT VOICE
				(o.s.)
			Put that man down!

	Everyone quiets down and turns towards the Voice.

	There, on his operating table -- holding the removed
	tubes from his head -- sits the Monster.

					AN OLD WOMAN
			Why...it's the monster!

					BURGOMEISTER
			No, it couldn't be.

					THIRD VILLAGER
			Yes it is.  It must be.

					MONSTER
				(standing on his
				operating table)
			I said:  Put that man down!

										Cont.

											111

											169 Cont.

	The frightened Villagers carry Freddy back to his table
	and lay him down.

					BURGOMEISTER
			And who are you, sir, that you
			order these people about?

					MONSTER
			I am a relative of the doctor's.  I
			came to visit him a few weeks ago,
			in hopes that this distinguished
			member of my family might be able
			to help me with a problem that I've
			had since birth...and which has
			caused more sorrow in my heart than
			I wish on any man.

					ASSORTED VILLAGERS
				(whispering)
			What'd he say?
			Relative??

					MONSTER
			You see, because of my great size
			and the somewhat unusual features
			of my head -- when women look at me,
			their first impulse is to scream;
			children often cry, or vomit; and
			men are inclined to beat me over
			the head.

	The Laboratory is silent.

					MONSTER
			I lived in hopes of meeting people
			who would..overlook my outward
			appearance and respect me for
			whatever good qualities I had to
			offer.  If anyone had ever shown a
			little kindness, I would have
			returned it, I think, at least
			one hundred times over.
			And for that one person's sake...
			I would have made piece with the
			whole world.
			Do you understand what it means --
			never to see a kind or happy face?
			You could imagine then, perhaps, how
			such bitterness led me, at last, to
			the brink of another kind or life.
			I decided that if I couldn't inspire
			love...which was my deepest hope...
			I would, instead...cause fear.

										Cont.

											112

											169 Cont.1

	A quiet shudder runs through the Villagers.

					MONSTER
			But all of that happened to me a
			lifetime ago.  And I paid for my
			crimes...severely.  It was just
			then that fate, or chance, brought
			me to our famous doctor.
			I found this man to be vain; I found
			him to be driven with ambitions of
			personal glory, and consumed with an
			unquenchable thirst for power.  But
			even at the height of his quest --
			this ego-driven, brilliant and half-
			crazed scientist..always...always
			...held an image of me as something
			beautiful.
			And then, at the moment of truth,
			when it would have been easy enough
			to run and stay out of danger...he
			used himself as a guinea pig, in
			order to give me a calmer brain...
			and a slightly more eloquent way
			of speaking.
			Yes!  I am 'The Monster"...sometimes
			known as 'Him,' or occasionally,
			'The Creature.'  But they're one and
			the same.  I am that tall, peculiarly
			attractive stranger, with the winning
			smile.
			Would you all get the hell out of here!

170	THE VILLAGERS								170

	mumble and shuffle out of the laboratory.

					INGA
			Oh, 'It's'...you were wonderful.
			But I'm so worried about the doctor.

	Igor is listening to Freddy's heartbeat, as Inga and the
	Monster come to him.

	They all three put their ears to Freddy's chest and
	listen.

	They smile.

										DISSOLVE TO:

											113

171	LEGEND ON THE SCREEN							171

	It reads:  A FEW WEEKS LATER

172	INT. MODERN BEDROOM - NIGHT						172

	Elizabeth is sitting at her makeup table, dressed in a
	nightgown, getting ready for bed.

					ELIZABETH
			Darling!  I hope you didn't find
			Daddy's little party too boring.
			He did it just for you, and he
			meant well.  Tell me you
			liked it.

										CUT TO:

173	BATHROOM DOOR								173

					A VOICE
				(o.s.)
			MMmmm.

					ELIZABETH'S VOICE
				(o.s.)
			I know Mummy's just a scatterbrain
			without a serious thought in her
			head, but...you lover her just a
			little bit, don't you?

					A VOICE
				(o.s.)
			MMmmm.

					ELIZABETH'S VOICE
				(o.s.)
			I'm ready for bed, sweetheart.
			Almost done??

	The bathroom door opens and the Monster steps out.  He
	is dressed in elegant silk pajamas and a handsome robe.

					MONSTER
			MMmmm.

	Even though his electrodes still stick out from his neck,
	he appears well-groomed.  Elizabeth gets into bed and
	waits for him.

										Cont.

											114

											173 Cont.

					ELIZABETH
			Did you see?...I put a special
			hamper in the bathroom just for
			your shirts.  the other one is
			just for socks and poo-poo undies.

					MONSTER
				(as he takes off
				his robe)
			MMmmm.

	He gets into bead and turns out the table lamp.

					ELIZABETH
			Still happy you married me?

					MONSTER
			MMmmm.

					ELIZABETH
			Love me oodles and oodles?

					MONSTER
			MMmmm.

					ELIZABETH
			So this is what it's like to be
			completely happy!

					MONSTER
			MMmmm.

										WIPE TO:

174	INT. CASTLE BEDROOM - NIGHT						174

	Freddy is sitting in an easy chair near the fire, dressed
	in pajamas and reading a newspaper.  (Probably the
	Transylvania Tribune -- International Edition).

	From the bathroom comes the SOUND of Inga, HUMING a
	pleasant tune to herself.

					INGA'S VOICE
				(o.s., from the
				bathroom)
			Did you have a nice day today?

					FREDDY
			Oh, just the usual:  sore throats,
			a few colds.  Someone who thought
			he was a wearwolf, and two bladder
			transplants.

										Cont.

											115

											174 Cont.

	She goes on humming.

					INGA'S VOICE
				(o.s.)
			Did you notice the new drapes I put
			up in the bedroom?

					FREDDY
				(looking up)
			Yes!...They're very nice.

					INGA'S VOICE
				(o.s.)
			Oh, I'm glad.

	A short pause of silence, and then Inga begins humming
	the EERIE TRANSYLVANIAN LULLABY, quietly unconsciously.

	Freddy's face is hidden behind the newspaper, but he is
	suddenly completely motionless.

					INGA'S VOICE
				(o.s.)
			I was hoping you'd like them.

	She continues humming the Lullaby.

	Freddy lowly lowers the newspaper.

	He touches his fingertips to his temple.  His eyes open
	and close, as if he were trying to focus.

	Inga comes out of the bathroom, dressed in her nightgown,
	and folds back the covers of their large double bed.
	She continues humming.

					INGA
			All right if I turn out the lamp,
			sweetheart?

					FREDDY
				(answering)
			MMmmm.

	She turns out the lamp as she goes on humming.  The bedroom
	is lit only by moonlight and the glow from the fireplace.

					INGA
				(as she is arranging
				the pillows)
			Shall I set the alarm?

										Cont.

											116

											174 Cont.1

					FREDDY
			MMMmmm.

	She goes on humming, as she pulls out the stopper on the
	alarm clock.  Freddy rises.  his arms hang away from his
	body, STIFFLY.  He walks in fits and jerks.

					FREDDY
			MMMMmmmmm!

					INGA
			Yes, sweetie...I heard you.  So!
			I'm ready for you, meine Liebe.

	Freddy is standing at the edge of the bed.

					INGA
			Are you ready for me?

					FREDDY
			MMMMmmmmm!

					INGA
			Ready for Fuchsmachen???

					FREDDY
			MMMMMMmmmmmmmmm!

					INGA
			I love it when you're excited.  Come
			then, my Apfelstrudel!  Come into my
			arms and let me hold you.

	Freddy kneels onto the bed.

	A long pause.

					INGA
			Sweetheart.....Is this really you???

					FREDDY
			MMMMMMMMMMMMMMmmmmmmmmmmmmmmm!

										CUT TO:

175	TURRET AT THE TOP OF THE CASTLE						175

	Igor sits in the window, blowing his trumpet.

167	ANOTHER ANGLE								176

	PULL BACK SLOWLY, until the whole castle in SEEN.

										FADE OUT

					THE END