TRANSCRIPT: I Was A Teenage Werewolf by Aben
Kandel (as Ralph Thornton)
Late afternoon; closeup of Rockdale High School
sign overhead; At the rear of the school, near the athletic field,
a fight between two teenagers breaks out. Crowd of onlookers shouting.
They circle the two teens fighting.
FRANK Come
on Tony! Cut it out! Tony!
THERESA Come
on Jimmy, hit him again. He’s been begging for it!
ARLENE
Please, Tony.
JIMMY
You got enough?
TONY
How do you spell it?
ARLENE
Oh, Tony ....
Tony grabs a spade and swings it wildly.
He and Jimmy fight on after the spade is knocked out of Tony's hands.
Tony throws dirt into Jimmy's eyes. Jimmy manages to trip Tony to
the ground. Police arrive. Someone in crowd yells “Police” and the
crowd disperses. The policemen manage to separate Tony and Jimmy.
DONOVAN
What’s going on here?
TONY
Do I have to draw you a diagram?
DONOVAN
Tony, I know you can get fresh. Come on over here. (They
walk over by the fence)
Donovan turns to the policeman who accompanied
him.
DONOVAN
Wait for me in the car Joe. All right, Jimmy. Go ahead, you tell
me.
JIMMY
Well, Sergeant Donovan, I don’t like to blow the whistle on a pal
. . . .
TONY
A pal yet.
JIMMY
Well, you started it!
TONY
Look, you started it! You slapped me on the shoulder!
JIMMY
It was a friendly tap. I don’t know what you got so excited about!
TONY
I don’t like that kind of friendship! I don’t like to be hit from
behind by anybody, anytime! I don’t like to be touched!
JIMMY
Okay! Okay! The way you jumped me, you’d think I’d tossed a brick
at you! Right off, he challenged me. I tried to kibitz him out of
it.
DONOVAN
I’m beginning to get the picture.
JIMMY
Yeah, and I even told him I was sorry. That’s right. I apologized.
You can ask any of the guys.
DONOVAN
Didn’t that satisfy him?
JIMMY
No, he wanted to fight. I know I’m bigger than he is.
DONOVAN
But he wanted to fight.
TONY
Look, what are you? The referee or in his corner?
DONOVAN
No, Tony. I’m really in your corner, if I can just get you to see
it. Well, I guess you can pick up your marbles. I’ll try to low
key this in the report. But what your principal wants to do, well
that’s her business. (pauses) Now
wait a minute. Before you go, I want to see you two fellows shake
hands. Come on! Come on! It will look better in the report!
TONY
Sure, a happy ending, huh?
JIMMY
I’m sorry, Tony.
TONY
Aww, I guess I lost my head. I burn easy.
Tony and Jimmy shake hands. Jimmy walks
away. Tony straightens out his clothes and puts on his school jacket.
DONOVAN
You know Tony, you really ought to smile more often.
TONY
Sure, win friends and charm snakes, huh?
DONOVAN
That’s just what I wanted to talk to you about. You’re suspicious
of everybody. You act like the whole world’s your enemy, the way
you flare up.
TONY
Oh, people bug me.
DONOVAN
That’s right, hide behind jive talk. People bug you! Well, people
bug me too! But I don’t go around clouting everybody.
TONY
Come on! Finish your beef will ya’?
DONOVAN
All I know is you’ve been in trouble a half a dozen times. You don’t
have any official record yet, but you’re sure working up to one.
TONY
What do you got? A crystal ball, huh?
DONOVAN
I’ve pulled you out of fights three times myself in the last month.
You’re just lucky there weren’t any formal complaints. The time
before this, in the supermarket.
TONY
It was the checker’s mistake! DONOVAN Yeah, but you didn’t even
give him a chance to rectify it! Boom! You threw a carton of milk
right at him. Look, Tony. I’m just trying to tell you you need help.
TONY
What kind of help?
DONOVAN
Well, there’s a prominent doctor, Doctor Brandon. He’s a consulting
psychologist out at the aircraft plant. He’s been working with the
police department without charge trying to help difficult kids adjust.
TONY
What’s this adjust kick?
DONOVAN
Polish off the rough edges. Adjust.
TONY
Adjust to what?
DONOVAN
To everything! Teachers, parents, other students. You know, some
kids have a tougher time than others and it’s not necessarily their
fault. Now this Doctor Brandon, well, he’s modern. He uses hypnosis.
TONY
Oh, no. No! No head shrinker for me, thank you. You know, that’s
all I need. That’s all I need! Tony, the flip. No sir, thank you.
You keep the man in the white coat for the goofs. I can take care
of myself.
DONOVAN
The way you have up to now?
TONY
The way I have.
DONOVAN
Then you won’t let anybody help you?
TONY
Not into a straight jacket I won’t. Look, uh, you holding me on
any charge?
DONOVAN
No.
TONY
Then I can go?
DONOVAN
Yeah, yeah, you can go. But this is the last warning, Tony. You
get into trouble again, don’t expect it to be a breeze like this.
I can’t let you off.
TONY
Okay. I heard you.
Donovan leaves and Tony Rivers walks
over to the bleachers, where his girlfriend Arlene Logan is waiting.
ARLENE
Everything all right, Tony?
TONY
Sure it is! (Tony says irritated)
ARLENE
What did Officer Donovan say?
TONY
I don’t want to talk about it! I’ve had enough yakity yak to last
me til the end of the term. (pauses)
Look, I’m sorry, Arlene. I say things, I do things, I don’t know
why. I try to control them, it’s too late, I..I’ve gone too far.
I don’t know . . . I . . .I . . . I get a certain feeling, I have
to . . . I don’t know. I just don’t know.
ARLENE
Tony, you must try.
TONY
Yeah, I’ll try. But not Donovan’s way.
ARLENE
What’s his way?
TONY
He wants me to go to this ...this head shrinker, Doctor Brandon.
Like I was a flip or something.
ARLENE
Is that the way he said it?
TONY
No, he sprinkled a little sugar on it. But I’m not having any, thank
you.
ARLENE
Oh, Tony . . . .
TONY
Okay, okay, I’ll try. But my way. Come on. I’ll take you home.
Tony drives Arlene home in his car and
then proceeds home. Tony's father, Charles Rivers, is gathering
food for his lunchbox when his son enters.
TONY
Hi, Dad.
CHARLES
Hi. (looks at Tony's face) Who
was it today?
TONY
What’s the difference?
CHARLES
Your principal called. Said it was your fault.
TONY
Why does she bother you?
CHARLES
‘Cause I’m your father. She said I’m supposed to discipline you.
I told her at home you never needed discipline. Not even when your
mother was alive.
TONY
I don’t know why she has to drag you into it.
CHARLES
Look, boy, you miss the point.
TONY
Well if you know, tell me.
CHARLES
Sometimes you just have to do things the way people want ‘em done.
That makes them happy and they leave you alone. I used to have a
foreman like that. Everytime I assembled a motor my way, he beefed.
But when I assembled it his way . . . .
TONY
Dad, I don’t like to be pushed around!
CHARLES
Tony, sometimes you just have to do it the other fellow’s way. Well,
I gotta’ be going. Sorry I can’t eat with you. Night shift again.
Oh, there’s a couple of lamb chops in the ice box. I seasoned ‘em
the way you like. Just set ‘em in the pan.
TONY
Dad, I can cook a chop.
CHARLES
And be sure you cook ‘em. Don’t eat ‘em raw like you did the hamburger
yesterday. Tony, think over what I said, would ya’? I mean about
not being so stubborn? Just might make things a lot easier all around.
TONY
Okay, Dad.
Tony's father leaves. Tony takes milk
and chops out of refrigerator, kicks the door closed gently, pauses,
throws milk bottle in anger. Cut to Arlene’s house at night. Tony
honks horn outside. Arlene is on the phone. (Her folks, Bill and
Mary Logan are also in the living room)
ARLENE
(On the phone) I gotta’ go! Bye.
(hangs up) It’s Tony and he’s not
even late.
MARY
Maybe you’re beginning to train him.
BILL
That’s no way to call for a date. When I courted your mother . .
.
ARLENE
Things were different then.
BILL
I still want my daughter treated with respect.
MARY
Your father’s right, Arlene. Listen to him.
ARLENE
Oh, Dad. It’s got nothing to do with respect. That’s the way all
the kids do it.
MARY
But I still can’t understand why you only date him. Oh, not that
I have anything specific against Tony. But there’s Steve Harmon,
the druggist’s son and there’s Willie Blake, and there’s . . .
ARLENE
Oh look Mother, I date Tony because I like him. In fact, I like
him a lot.
BILL
Then you just ask him to come in, Arlene.
MARY
Go ahead. We won’t bite him.
ARLENE
Oh, All right. (Goes to door.)
Tony? Would you come in for a minute? Tony walks in the front door.
TONY
Hi.
ARLENE
Hi.
TONY
Good evening.
MARY
Hello.
TONY
Hi.
BILL
Tony. I like things formal once in a while. We just wanted to look
at you before you take our daughter out to a party. You don’t have
any objections?
TONY
No, I don’t.
BILL
Then why don’t you call for her properly? In her home...
ARLENE
Now, Dad.
BILL
No, no, no. A little man to man talk won’t hurt anybody.
TONY
Well, I would, only you don’t look to pleased. No, really. You know,
sometimes when I walk in that door, I think you are going to swat
me with a baseball bat or something.
MARY
Oh, I’m sure that’s just your imagination.
BILL
It must be. Unless you feel guilty about something.
ARLENE
Now, Dad. You promised.
BILL
Just the same. The parents of a young girl and especially a pretty
one like Arlene like to feel proud of the young man that takes her
out. A young man who keeps busy with the right kind of things.
TONY
Like sprinkle a lawn, take out a paper route, haul boxes in the
market?
BILL
Where’s the opener, Mary?
MARY
On the sink, dear. Any job. That keeps a teenager out of mischief
and builds a good reputation.
TONY
Yeah, like our bank cashier, you know, the one that’s missing? The
guy that ran off and lost it all at the track?
BILL
Now being a smart aleck won’t do it. You’ve got to bow to authority.
TONY
Everybody’s on my back today.
ARLENE
Oh, Daddy, it’s Halloween and we’ll have to go.
MARY
Yes, we don’t want them to miss any fun.
BILL
Okay, okay. I’ve said my piece.
TONY
Of one thing you can be sure of, Mr. Logan. At least I’ll protect
your daughter.
BILL
All right, kids. Have a good time. Remember now, I want you home
by twelve. No excuses, now. Twelve.
MARY
You heard what Dad said. Not after midnight.
Tony and Arlene go to his car.
TONY
Hey, what got into your Dad?
ARLENE
He heard about the fight.
TONY
So? It’s over.
ARLENE
But I heard more.
TONY
More?
ARLENE
Oh, Tony don’t flare up. And please, let me say it through once.
I...I asked about this Doctor Brandon. Now if he could really help
you it would be wonderful for both of us. And it would make things
easier, both at school and here at home. Don’t forget about the
four years of waiting. College and all. Please, Tony?
TONY
Arlene, get this straight and get it final. I’m not going to any
doctor like Doctor Brandon.
ARLENE
Not even if you have to?
TONY
But I don’t have to! Now come on, forget it.
Cut to party
at the old abandoned "haunted house." Tony
and Arlene arrive. Teenagers are dancing to music and Vic is playing
the bongos. A few teenagers are making out. Tony takes Arlene's
coat off.
TONY
Frank, how are you?
FRANK
Hey, what do you say, Tony?
PEARL
Hi.
VIC
Tony, hey, Tony hear this? Hear this.
PEARL
I thought this was going to be a costume party.
TONY
Hey, man, you really got those things trained.
VIC
I slap ‘em silly, boy.
PEARL
Vic? If you’re going to play the bongos all night, who am I going
to dance with?
VIC
Latch on to Frank, he’s got no date.
PEARL
But I came with you.
VIC
Look, how square can you get? You came with me so you dance with
him.
PEARL
Doesn’t make sense.
VIC
I’ll clarify it for you. Hey, Frank!
FRANK
You want me? VIC Be my guest. (Nudges
Pearl toward Frank.)
JIMMY
Boy, this sure beats the youth center.
THERESA
Supervised entertainment, 8 to 10.
JIMMY
Square dances and waltzes and a cigarette is a crime.
THERESA
Oh,.....
JIMMY
Scooby doo!
TEENAGE GIRL
Well! (Slaps her date's face.)
TEENAGER
What’d I do? What’d I do?
VIC
Either too much or too little.
PEARL
You know, I thought this was going to be a costume party.
JIMMY
Boy this pad sure is crazy.
FRANK
And don’t forget it was Tony who found it. And got permission to
use it.
PEARL
But is it really haunted?
VIC
Boo!
PEARL
Oh! Stop scaring me!
VIC
Is this a haunted house? Do I have to call all the signals for you?
PEARL
Well you don’t have to scare me to death. Sometimes I wonder why
I date you.
VIC
Because you dig me and I dig you.
PEARL
You know, Vic, sometimes I don’t understand you at all.
VIC
The understatement of the year.
TEENAGER
Hear this! Hear this! Vic’s going to sing this new crazy record
for us, right now.
Vic jumps up on platform to sing his
song. "Eeny Meeny Miney Mo, I want a gal with a lot of dough. When
I find her we’re gonna’swing Up to the preacher with a wedding ring.
Tell me where she is ‘cause I don’t know. So Eeny Meeny Miney Mo.
I’ve been looking all over town, But so far she ain’t been around.
Someday I’ll meet her and then I’ll say, Shoobie Doobie baby, we’re
on our way. Hurry up now and follow me, But don’t forget to bring
your dough, re, mi. Pearl and Vic do a dance routine. Any time you’re
feeling sad or blue, You just call me baby, and I’ll run to you.
But if you ever leave me, you’re gonna pay, Fifty dollars alimony
everyday. So I’ll be your husband this day on, But only till your
money’s gone. Rich girls sure are hard to find, But I’ll keep a
lookin’ till I lose my mind. She’s bound to show up eventually,
Then I’ll be rollin’ in security. But where she’s hidin’ I don’t
know. So Eeny, Meeny, Miney, Mo. Crowd sings along : Eeny, Meeny,
Miney, Mo... Eeny, Meey, Miney...MO!" Clapping and congratulations
to Vic. Tony whispers something in Jimmy's ear.
JIMMY
Hey, Pearl. We’ve got a nice present for Vic in that closet. You
know he’s always the life of the party. Knocks himself out to entertain
us. Well, the kids got together to get him this present. Go on,
you give it to him. You’re his girl.
PEARL
Oh, I’d be glad to! Pearl opens door. Boy with knife in his back
falls to the floor. Pearl and the other girls scream.
PEARL
Some joke. Maybe you think it’s funny. But I don’t! And anyway,
why does everybody pick on me? VIC You’re right, baby. And from
now on, anybody picks on you’s gonna’ have to fight me. Now for
that, I’ll collect a kiss in advance. (Vic
is wearing a scary mask.)
PEARL
Screams
ARLENE
Oh, Tony. I’ll bet you had a lot to do with all this.
TONY
Me?
ARLENE
Yes, you.
THERESA
And I’ll bet you’re not so innocent either.
JIMMY
Why do they always pick on us?
TONY
It isn’t fair.
JIMMY
I’ll say it isn’t. Just when I was gonna’ give her a nice present.
TONY
That’s women for you. No appreciation.
THERESA
What present?
JIMMY
This one.
THERESA
Oh, ......oh, candy!
ARLENE
I wonder what it is.
THERESA
How sweet.
Theresa opens box and fake snakes spring
out, girls scream and there is laughter.
TONY
Hey, Arlene, hold it. I want to see Vic a minute. Hey, Vic! Can
you play the big drums like you do the bongos?
VIC
Just lead me to ‘em! Can I play the big drums? Better than the bongos!
TONY
Great man! They’re in there. And give me a real long blast will
you?
VIC
Sure, sure.
Vic opens door and water falls from a
pail above and drenches him. There is more laughter and screams.
VIC
Thanks. I believe in sharing.
JIMMY
All right now, okay, lets have some food. Okay? Come on gang, let’s
eat. At least there are no gags in the food.
THERESA
The party’s really percolating.
ARLENE
I’ve never had so much fun.
Vic sneaks up on Tony and blows a horn
in Tony’s ear. Tony instinctively punches Vic, who ends up on a
nearby couch; Tony punches Vic twice more and when Arlene gets in
the way, knocks her down. Tony stops when he realizes what he has
done. Everyone stares at him.
Cut to Doctor Brandon’s office where
he is taking Tony’s blood pressure.
DR BRANDON
Everything normal, my boy. Physical examination is a formality,
but a necessary one. Before we enter the mind, we must know the
condition of the body. Tony, you’re a perfectly normal human being.
There’s no reason in the world why you can’t have a full, wonderful
life. If, ......
TONY
Yeah, if. If I adjust, huh, Doc?
DR BRANDON
It’s the “if” we’re going to work on, son. We’ll work on it together.
Okay, Tony?
TONY
You’re the doctor. That’s why I’m here.
DR BRANDON
All right, Doctor Wagner. Tony, will you just sit down over here?
Thank you.
TONY
What is it?
DR BRANDON
Just a mild seditive.
TONY
It, uh, won’t make me dopey or anything will it? I have to drive
home.
DR BRANDON
No, it’s simply to relax you. Drink it down. I’ll be back in a minute.
Goes to lab in the back room where Dr.
Wagner is working.
DR BRANDON
Hugo, prepare the scapolomine.
Dr. Brandon goes over to a small, locked
refrigerator and removes a small container. He opens it and takes
out the serum and mixes it with the scapolomine.
WAGNER
What are you doing?
DR BRANDON
I’m going to mix the serum with the scapolomine.
WAGNER
Alfred, do you realize the possible consequences?
DR BRANDON
I realize one thing. That at last after years of searching, I’ve
found a suitable person for my experiment. His record at school,
what the school principal told me, and what I learned from Detective
Sergeant Donovan, gives him the proper disturbed emotional background
I need. And with what I’ve found out from the physical examination,
this boy is my perfect subject. There were certain tell tale marks
on his body only I would recognize.
WAGNER
But you know what might happen.
DR BRANDON
Might? In science, one must be sure. I’m going to take this out
of the realm of possibilities and into the world of exact science.
If I’m sucessful, then I can be certain.
WAGNER
But you’re sacificing a human life.
DR BRANDON
Do you cry over a guinea pig? This boy is a free police case. We
are probably saving him from the gas chamber.
WAGNER
But he’s so young and the transformation horrible.
DR BRANDON
You call yourself a scientist. That’s why you’ve never been more
than an assistant. But if you interfere, if you say one word . .
.
WAGNER
No, no, no, Alfred. You can trust me.
DR BRANDON
Yes, I know that. You’ve been more than an assistant on other occasions.
Accomplice would be a better word.
WAGNER
What is the plan?
DR BRANDON
Through hypnosis, I’m going to regress this boy back. Back into
the primitive past that lurks within him. I’m going to transform
him. And unleash the savage instincts that lie hidden within.
WAGNER
And then?
DR BRANDON
Then I’ll be judged a benefactor. Mankind is on the verge of destroying
itself. The only hope for the human race is to hurl it back into
its primitive dawn, to start all over again. What’s one life compared
to such a triumph?
Brandon goes back to his office where
Tony is lying on a couch.
DR BRANDON
Now you’ll only feel a scratch, believe me. (injects
a needle into Tony's arm). This makes the hypnosis more comfortable
and prepares the way for analysis. (turns
to Dr. Wagner) Now remember, I don’t want to be disturbed.
(Wagner leaves the room).
DR BRANDON
Tony, you must think of this as a trip, a sort of voyage of discovery.
On the way, we’ll find out many fascinating things about you. And
in the end, you will no longer be disturbed or troubled because
you will be . . . you. You’ve placed yourself in my hands. I’m the
pilot, you the passenger. But instead of going forward into space,
we’re going backwards in time. Begin at 100 and count backwards;
we’ll start together. (Brandon says the
number and Tony repeats it) "100, 99, 98,"....(camera
fade)... "73, 72."
DR BRANDON
Quickly, tell me, where are you?
TONY
On a beach.
DR BRANDON
How old are you?
TONY
Twelve, I think.
DR BRANDON
Go on.
TONY
I’m playing with some kids. One of the older boys tries to take
one of our toys. He grabs it and runs away.
DR BRANDON
And what do you do?
TONY
I run after him. I jump him. I scratch him, choke him. He’s older
than I am, but he begins to cry. Some people gather around us, uh....
DR BRANDON
That will be all for today. You may wake up. Wake up! You okay,
Tony? I’ll see you day after tomorrow at the same time. Don’t worry,
my boy. Soon you’ll be yourself, your true self.
Cut to next appointment at Dr Brandon’s
office. The count resumes with "15, 14, 13, 12, 11"...
DR BRANDON
Where are you now, Tony? Where are you?
TONY
Very small.
DR BRANDON
Tell me what you are doing.
TONY
I don’t know . . .
They count down to one.
DR BRANDON
Now where are you, Tony? Concentrate. Where are you now?
TONY
I don’t know. I don’t know. It’s dark. Cold.
DR BRANDON
Where? Where?
TONY
You, tell me? Please, tell me?
DR BRANDON
I’ll help you because I’m your friend. It will all become clear
to you.
TONY
Tell me, tell me, tell me....
DR BRANDON
Remember how it felt to run over the hills in the moonlight? To
hide by the stream, to wait in silence until . . .
TONY
No...no...
DR BRANDON
Remember how wonderful it was when you sprang suddenly, dug in with
your fangs, a soft throat, the gush of warm blood?
TONY
No! NO!
DR BRANDON
Yes, I want you to remember. You must remember!
Tony stares, frightened, into the distance.
Cut to the teenage hangout, Vic is playing
the bongos.
JIMMY
You know Vic, you’re good enough to sign up with a band.
PEARL
He’s had lots of offers.
VIC
Oh, get off my back will ya’?
PEARL
Isn’t that what you told me?
FRANK
Tony, you can tell me to shut up if you want, but you’re not with
it tonight.
TONY
No, I’m not.
FRANK
Like you’re not yourself.
TONY
Guess I’m not myself. I think I’ll take Arlene home.
Tony walks over to Arlene carrying her
coat with him.
TONY
Come on, honey. Let’s cut out.
JIMMY
(walks over to Theresa) That’s
right. I promised your folks I’d have you home by midnight.
TONY
Give you a lift, Frank?
FRANK
And interfere with you love birds? No, thanks.
TONY
Everybody else is pairing up. How’re you gonna’ get home?
FRANK
How will I get home? I'll get home on my feet... I’ll walk. I’ll
take that short cut through the woods. Brings me right out by the
power works.
TONY
Okay.
THERESA
Why don’t you two join us at Ruby’s Drive-In?
TONY
No, we’re going right home.
JIMMY
Go on, Tony. We’ll lock up.
THERESA
Oh, so you’ve joined the exclusive set?
TONY
No. You just talk too much, that’s all. I’m for peace and quiet.
ARLENE
Oh, Come on, Tony. Let’s go. Tony, Frank and Arlene go outside the
hangout. It’s dark.
FRANK
Good night, Arlene. See you tomorrow, Tony. Frank starts walking.
Cut to Tony and Arlene pulling up in front of her house in the car.
ARLENE
Don’t forget math first thing in the morning, early.
TONY
Sure, I’ll sack in right away.
Arlene gets out of Tony's car and Tony
drives away. Arlene looks toward Tony as he drives off.
Cut to Frank walking in dark woods, whistling.
Hears someone or something following him.
FRANK
Hello? (bird noises) Who’s there?!
Runs, falls down. Who’s there?!!
Runs scared through woods, looking right
and left. Is cornered, and screams "No! No! Get away, GET AWAY!!!"
as scene cuts away to police station the next day.
MAN IN SUIT
Here are the photos, Chris.
CHRIS
Thanks.
Carries prints to the chief.
BAKER
These the official pictures?
CHRIS
Yes, Chief.
BAKER
Strange. Who found the body?
DONOVAN
Art Logan, the auditor out at the power works. Takes that short
cut through the woods every morning. Says it’s the only exercise
he gets.
BAKER
Um humm. Any idea how long the boy has been dead?
DONOVAN
No. Maybe the PM will show. The coroner has the body.
BAKER
Strange. A slash on each side of his throat. Got any ideas?
DONOVAN
No. The boy had no enemies.
CHRIS
There weren’t any gang fights in Rockdale.
BAKER
Are there any bruises . . . scratches on his face? Clothing ripped
off?
DONOVAN
No.
BAKER
Well then, how was the boy killed? Got any theories?
DONOVAN
Not a shiv.
CHRIS
Not hands.
BAKER
Teeth?
DONOVAN
Fangs.
BAKER
Fangs? There are no wild animals around here.
CHRIS
I’ve walked these woods since I was knee high to a duck. I’ve never
seen any thing wilder than a tom cat.
DONOVAN
I know. That’s what makes it so hard to believe. But I still say
fangs.
BAKER
Maybe if the boy had a chance to fight, his fingernails will show
something.
DONOVAN
Let’s hope so.
BAKER
In the meantime, let’s keep the lid clamped down on this until the
official reports come through. Maybe even after that. Whatever it
is, we’ve got to be sure.
DONOVAN
I’ve told Art Logan not to say a word.
BAKER
Good. Keep these locked in our files.
CHRIS
Yes, Chief.
BAKER
Just one rumor about fangs and the newspapers will have a field
day. Not just the local papers, but reporters from all over the
country will have on the spot coverage, photographers . . . They’ll
have a field day all right. But here in Rockdale, we’ll have a panic.
DONOVAN
Yeah, I know. But I’m more worried about the teenagers at the school.
BAKER
And check the surrounding towns. See if a carnival, circus or county
fair has been setting up their tents. Also, see if anybody has a
private menagerie. Maybe a big cat got loose some way. If I were
you, I’d talk to the farmers in the surrounding areas. Sometimes
they keep a wild dog for protection. What ever it is, we’ve got
to be sure. Facts first. And don’t encourage any rumors.
DONOVAN
Right.
BAKER
Well, now I’ve got to go and see the mayor.
Cut to shot showing Chris at a desk
and a hallway. Pepi, the janitor, is in the hall.
DONOVAN
Hi, Pepi. I’m going down to the lab. You’d better get those pictures
locked up in the file. (hands the official
photos to Chris and leaves.)
CHRIS
Pepi, how are you?
PEPI
Oh, Chris. Do you mind if I take a look at that picture?
CHRIS
You knew the boy?
PEPI
Once in a while I played pinochle with his father. Very small stakes.
Yes, I knew the boy. But perhaps I have a better reason. Let me
see the picture.
CHRIS
You’re not to say anything about this to anyone. Understand?
PEPI
It’s going on twelve years that I’m working here. Have I ever said
a word?
Pepi looks at the picture.
CHRIS
What’s the matter? You see something we missed?
PEPI
That poor boy. Poor boy.
CHRIS
Pepi, I don’t blame you for being upset. Imagine how his family
feels.
PEPI
I know what killed him.
CHRIS
You do?
PEPI
He was killed by a .... by a werewolf.
CHRIS
A what!?
PEPI
In the old country, in my little village, in the Carpathian mountains,
there was a story passed down from generation to generation. Some
say it was a legend, but I know it was the truth. I’ll tell you
what werewolf is. It’s a human being possessed by a wolf. When the
evil eye is on you, the savage beast somehow gets inside and controls
you. Makes you look and act like a wolf. Makes you hunt down your
victim and kill it like a wolf. Yes, kill you with fangs, like a
wolf.
CHRIS
Why, you’re crazy. You’d better not let anyone hear you talk like
that, Pepi. You’ll wind up in a booby hatch. Werewolf. Come on!
PEPI
Yes, that’s what I said the first time it was told to me. But later,
what I saw, what I heard, convinced me.
CHRIS
I’m gonna’ put these away and lock the file. You just forget I ever
showed ‘em to you.
PEPI
Yes, I will be glad to forget this. If I can.
Cut to teenage group looking at a newspaper.
ARLENE
Oh, how awful.
THERESA
Poor Frank.
Cut to paper in Dr Brandon’s hands in
his office.
DR BRANDON
Well, hello Tony my boy. Come on in. You’re a little early, but
welcome.
TONY
Thanks, Dr. Brandon. Well, the reason I came early is . . .
DR BRANDON
You don’t have to tell me why. Let me be the one to interpret the
symptoms. After all, you have placed yourself in my hands, so to
speak. Tony, punctuality is a phase of adjustment. Sometimes a patient
leans backward to be prompt, comes in even before his appointment.
Is that clear?
TONY
No, Doctor. That’s not why I’m here. I wanted to tell you about
something that...
DR BRANDON
Now you don’t have to tell me now. I’ll hear it all under hypnosis.
I’ll get the injection ready.
Dr
Brandon goes to the back
room.
DR BRANDON
Is the scapolomine ready?
WAGNER
Yes. Alfred, you read the paper. You know what happened.
DR BRANDON
There’s a difference between a newspaper story and a scientific
report. I have to be sure. Even in a minor experiment, you know
how many guinea pigs are used up before the trail blazer’s ready
to announce a new discovery to the scientific world? Surely you
know how skeptical scientists are. Indeed, have to be.
WAGNER
But you realize the consequences?
DR BRANDON
I realize that I have an old woman for an assistant.
WAGNER
If you mean I have a heart, I don’t consider that an insult.
DR BRANDON
I mean that you are standing in the way of progress.
WAGNER
Progress? You call it progress to hurl back the human race to its
savage beginnings?
DR BRANDON
It may prove to be the only road to progress.
Brandon goes back to the room where
Tony is waiting
DR BRANDON
Go ahead, my boy.
TONY
Dr. Brandon, there's something I have to tell you. I . . . I don’t
know if it really happened. It’s more like a nightmare. I ....I..
DR BRANDON
Now, Tony. Very often in psychotherapy, strange things seem to happen.
Sometimes when we light up the dark corners of the human mind .
. .
TONY
Doctor! Doctor, please help me!
DR BRANDON
Then do exactly as I say. All I can tell you is your progress is
excellent. I’ve even told the principal of your school that. Yes.
I’m extremely pleased at the progress you’ve been making. And soon,
Tony, very soon, you’ll be your true self again. Come on.
Cut to syringe approaching Tony’s arm.
Cut to the police department wall map.
BAKER
Now this is a map of the area. We’ll start with the abandoned house.
DONOVAN
Teenagers call it the haunted house.
BAKER
You’ve questioned them?
DONOVAN
Yeah, just informally. They had a party after the football game
and went home. They all drove, except Frank who walked through the
woods.
BAKER
How about his parents?
DONOVAN
His mother’s in a state of shock. His father wants to know just
one thing. “What are the police doing about this?”
BAKER
Well, that’s it. They’ll all be down on us unless we find the killer.
Phone rings.
BAKER
Chief Baker. Oh....... (Hands the phone
to Detective Donovan)
DONOVAN
Donovan. Yeah. Okay, thanks. Picked up a couple of vagrants out
at the freight yard.
BAKER
Well, go ahead. I’ll be right in.
CHRIS
Well, I checked the neighboring towns. There aren’t any circuses,
carnivals, or county fairs. If they come at all, they come in the
spring.
BAKER
How about farms?
CHRIS
I checked those too. They’re mostly truck. Very little livestock.
A few pigs, penned up , some horses. There’s a mink farm about three
miles north of here. But they’re all baby minks. First thing they
do is cut off their teeth.
BAKER
Oh oh, that’s no good. Everything seems to lead to a dead end.
Cut to school gym. Theresa is working
on the parallel bars with her teacher looking on.
MRS DAUPHIN
Very good, Theresa. Your form is improving.
THERESA
Thank you, Mrs. Dauphin.
MRS DAUPHIN
But I must repeat, we’re judged on points and Linwood High has won
the gymnastic events three years in a row.
THERESA
Oh, I certainly hope we win this time.
MRS DAUPHIN
So do I. Have you had enough for today? I’ve got to go.
THERESA
Oh, gee. I’d like to practice about another half hour.
MRS DAUPHIN
Well you don’t need me. Just remember the other pointers I gave
you. I’ve got some shopping to do.
THERESA
You go right ahead. Anyway, you make me very self conscious breathing
down my neck all the time and picking on all my mistakes. I just
want to try it a few more times.
MRS DAUPHIN
That’s the spirit. Good night.
Cut to principal’s office. Tony is waiting
outside on a bench.
MISS FERGUSON
Will you come in, Tony? I hope you didn’t mind waiting? I had some
reports to finish.
TONY
Well, uh, you wanted to see me?
MISS FERGUSON
Yes, I wanted to have a little chat with you. And for heaven’s sakes,
Tony, don’t look so glum or so suspicious. For once we meet on a
friendlier basis.
TONY
Oh, You’re not going to chew me out then?
MISS FERGUSON
As you say, I’m not going to chew you out. Sit down, Tony.
TONY
Thank you.
MISS FERGUSON
I have a report here from Dr. Brandon. Naturally, all this is kept
strictly confidential. It’s a report of progress which I am happy
to confirm.
TONY
You mean he says I’m adjusting.
MISS FERGUSON
Very much so. Your grades are about the same, but then your grades
were always high. However, your conduct is very much improved. Tony,
you’re coming along just fine.
TONY
Thanks. I’m glad.
MISS FERGUSON
And as a reward, I want you to know that if you continue this way,
you’ll earn an honor certificate. Yes, Tony. I’ll recommend you
to the state college. Your grades will be high and your deportment
will match.
TONY
This means so much to me, Miss Ferguson.
MISS FERGUSON
So far, every pupil I’ve recommended has reflected great credit
on Rockdale High. And I know you will. So keep it up till graduation.
Then you’ll be off to your real career.
TONY
Thanks a lot.
MISS FERGUSON
I always knew that if somehow we could just break through to you,
I mean, really get inside of you, you’d be a credit to your father
and to your school.
TONY
Thank you.
MISS FERGUSON
You’re welcome.
Dismissed. Tony leaves, walks down the
school hallway with lockers on both side, banging his hand on one
or two of them and stops at the gym door. Looks in. Theresa is still
working out. Tony wanders into the gym and stops between the school
bell and a fire extinguisher, where he watches Theresa work out.
School bell goes off right beside him. Tony is startled. Transforms.
Theresa sees him upside down from the parallel bars and screams.
Tony-Werewolf chases her around the gym, trips over some folded
chairs, rises. Theresa runs to the back door...it is locked...she
trips trying to get away from him near the piano; she is unable
to escape. Tony-werewolf hits the piano keys and then knocks over
the wooden dividers as he corners her. Miss Ferguson comes in. Many
screams. Other kids come running. Tony-Werewolf rises from Theresa’s
body, growls, runs past the incoming teenagers and Miss Ferguson,
knocking a few kids aside and flees through the school yard, climbs
the fence and runs into the woods nearby.
MISS FERGUSON
Did you see him?
JIMMY
Yes, I saw.
MISS FERGUSON
Did you recognize him? I’ll call the police....I’ll call the police!
Cut to attendants carrying out Theresa’s
shrouded body.
DONOVAN
Miss Ferguson, I...I know this is difficult, but anything you can
do to help us . . . .
MISS FERGUSON
He, . . . it came running out of the gymnasium. I recognized the
jacket, the trousers.
DONOVAN
They were the same?
MISS FERGUSON
The same. But the face, the eyes, the hands like claws . . .
Cut to interview with Jimmy.
JIMMY
I never saw anything like it before.
DONOVAN
But you recognized him?
JIMMY
It was Tony all right. It was his jacket.
DONOVAN
Anybody chase him?
JIMMY
No, it all happened too fast. Besides, we were paralyzed, man, just
too paralyzed.
DONOVAN
And then he disappeared?
JIMMY
Yeah, like an animal. He jumped the fence and ran for the fields.
Cut to Tony-Werewolf running through
the woods.
Cut to police department. Baker is meeting
with reporters.
BAKER
The whole area has been blocked off. An all points bulletin has
gone out. There is no way he can possibly escape.
DOYLE
He?
BAKER
Well, he, it, call it what you will.
DOYLE
Seems to me werewolf would be more appropriate.
BAKER
Very well then. I realize it makes a better story. Werewolf.
DOYLE
In the meantime, what protection are you giving the people, especially
the teenagers?
BAKER
The very best we possibly can. The parents have been warned to keep
their children at home. Theaters, recreation halls, bowling alleys
have all been shut down.
DOYLE
What about the werewolf?
BAKER
A posse has been formed. They’re going to start right away.
DOYLE
But in the meantime the werewolf is at large.
BAKER
But not for long.
DOYLE
You hope. You’ll find this is different than tracking down the ordinary
criminal. You’re dealing with the cunning, the ruthlessness of something
that is supernatural.
BAKER
Oh, come, now. Let’s don’t add to the panic that already exists.
DOYLE
The people are entitled to know everything and my paper’s going
to see that they get it. Maybe if you hadn’t kept the first murder
so secret . . .
BAKER
Don’t try to place the blame for this! We did everything that was
reasonable in the interest of public protection and safety.
DOYLE
All right. May we see the official pictures?
BAKER
No, they are locked in our files.
DOYLE
You can’t keep this a secret, Chief! The second murder has blown
the lid off. A TV truck is on its way out right now. Teenagers are
going to be interviewed. Parents. Teachers. A psychologist was involved
too, wasn’t he?
BAKER
You can’t pry into that. Just what are you trying to do? Add to
the grief of the families already involved?
DOYLE
Don’t make this a personal issue, Chief Baker. You have your work
cut out, we have ours.
BAKER
In that case, gentlemen,, you’ll understand that we are ....very
busy.
DOYLE
Well, there is one thing you can be sure of, we will be with you
every step of the hunt from now on.
BAKER
Oh, I’m sure of that, Mr. Doyle. (The
reporters leave.)
Cut to Doctor Brandon’s office.
DONOVAN
Doctor, what’s your opinion?
DR BRANDON
I’m sorry, Sergeant. But I can’t be swayed by mass hysteria.
DONOVAN
But there were eyewitnesses who swear they saw him.
DR BRANDON
Hallucinations. I’d have to see this so called ...”beast” with my
own eyes. After all, a scientist needs a platform of concrete facts
before venturing an opinion. And overwhelming proof before stating
a conclusion.
DONOVAN
Doctor, this is hardly the time for a lecture. You had Tony under
your professional care. You were with him time and again. You were
supposed to help him.
DR BRANDON
As far as I know, I did. His behavior after I took the case proves
that.
DONOVAN
Did you come across any hint, a clue? Did he reveal anything?
DR BRANDON
I keep careful case histories of all my patients, but I don’t need
to tell you that’s a matter of strict confidence between doctor
and patient.
DONOVAN
Yes, I’m aware of that. However, we hoped you’d cooperate, help
us.
DR BRANDON
Don’t you think you’re wasting a lot of valuable time interrogating
me? After all, your duty is to try and find this, uh, ....this young
man.
DONOVAN
Why do you shy away from the word? Everyone’s using it. Werewolf.
DR BRANDON
I do not subscribe to old wives’ tales. It’s my belief that these
legends or myths passed out with the invention of electricity. After
all, this is America, modern America, not a hamlet in the Carpathian
mountains.
DONOVAN
What do the Carpathian mountains have to do with us?
DR BRANDON
That’s where the legend was born. The people there believe in werewolves.
When the shadows of night creep over their gloomy hills and the
hungry dogs howl in the moonlight, the peasants cross themselves
and hide in their huts. Any canine they see with sharp, white teeth
and glittering eyes, they call a werewolf.
DONOVAN
Doctor, you seem to know a great deal about these myths.
DR BRANDON
I amuse myself with fantasy. I live by facts.
Cut to darkened
police department. Chris is typing.
CHRIS
Hi, Pepi. You’re in late tonight.
PEPI
Oh, Chris, uh, was this teenage girl killed the same way?
CHRIS
Yeah. Same way.
PEPI
I told you. I knew. A werewolf.
CHRIS
Tell me something, Pepi. In the old country did they ever..uh..catch
a werewolf?
PEPI
Never! Never!
Cut to Tony-werewolf running through
the woods.
Cut to Arlene’s house.
DOYLE
Did your boyfriend ever give you any indications....
ARLENE
Never! Never!
DOYLE
Do you realize that if this thing had come over him when he was
with you...
BILL
Now, there is no use upsetting our girl any more than she is now.
Sorry I let you talk to her in the first place.
MARY
Yes, I think that’s enough. She’s been crying ever since this thing
happened. She must get more rest.
DOYLE
Well, uh, just one more picture. Now you’re not gonna’ let her go
to school?
BILL
No, school’s closed until this thing is over. Anyway, we’ll protect
her right here in her own home.
Cut to Tony’s home, later. His father
is talking to Doyle, the reporter.
DOYLE
You don’t really believe that your son is....
CHARLES
No, no, I can’t believe.
DOYLE
What kind of a boy was Tony, . . . .is Tony?
CHARLES
He was always on the quiet side. Kept pretty much to himself. Maybe
I should have remarried. A good woman around the house. The affection
of a mother. A boy needs that. Especially when he’s growing up.
Not that Tony ever complained. I even asked him. Does he miss...should
I...? He said, “No, Dad. We’ll get along all right. Just the two
of us.” As if he knew no woman could ever replace his mother in
my heart or in his.
DOYLE
What I mean is, uh, ....did he always obey you?
CHARLES
Yes. Only you had to know how to ask him. Ask him the right way
and he’d do anything. Tony’s a good boy. I don’t care what they
say. Tony’s a good boy.
DOYLE
Yet he hasn’t come home or you haven’t heard from him since he left
for school early this morning. Now certainly he must know how worried
you are? Of course, you know what the principal and his teenage
friends are saying about the terror? How it looked? Now wouldn’t
this indicate to you that perhaps Tony is ...
CHARLES
Leave me alone, will ya’? Leave me alone.
Cut to Tony-werewolf in the woods.
Cut to the police department. Chief Baker
is resting on the couch.
DONOVAN
Pat, the men are all ready.
BAKER
Oh, thanks. It may seem like a long shot, Donovan, but if we can
capture it before morning it will save the community a lot of trouble
and panic.
DONOVAN
We can try. But at night in the woods is gonna’ be tough.
BAKER
One thing in our favor, it can’t go very far, it can only travel
on foot. Also, it’s got to stop to rest and eat. Let’s go.
Cut to woods at night. The Chief, Donovan
and various police and civilians gather to form a posse.
BAKER
All right now. We’ll move in stagger fashion. We’ll circle the outer
edges first, then keep going round and round until we meet in the
center. If you run across it or even if you see any suspicious tracks,
notify me immediately on the walkie talkie. Now, don’t fire unless
you are attacked. I want to try to bring this thing in alive if
possible. Now, another thing. When we get further into the woods,
I want you to light the torches. Animals are afraid of fire, maybe
werewolves are too. Now let’s go. Come on, Donovan.
The posse starts combing the woods. Tony-werewolf
watches them from the bushes.
BAKER
All right, men close up. We’re going to light the torches. Now,
Ed, Charlie, take a couple of torches and go on up the hill there.
Donovan, will you take a man and beat up this ravine?
DONOVAN
Right.
BAKER
All right, you go ahead.
The group disperses. Two men walk toward
Tony-werewolf, hiding in the bushes. One of them with a torch in
his hand gets very close to Tony-werewolf when...
SEARCHER
Hey, Mike. Come over here.
The men move away and Tony-werewolf leaves
in the opposite direction. Suddenly Tony-werewolf stops, senses
something behind him and turns. A german shepherd dog growls at
him and then attacks; there is a brief struggle and then he kills
the dog; Tony-werewolf hears the posse approaching and runs off.
Donovan discovers the dead animal. A minute later he meets up with
Chief Baker and the posse.
BAKER
Hold it. Well, Donovan, did you see anything?
DONOVAN
There’s a dog back up there he killed.
BAKER
Oh? Then he’s got to be in here someplace. No sense looking for
him in this light, though. Look, Donovan. Post guards so he can’t
possibly escape. We’ve got to get him.
Tony-werewolf hides and watches the men
walking through the woods. He hides in some bushes so the posse
doesn't find him.
Cut back to Tony’s house where a policeman
waits with Tony’s father. Phone rings.
POLICEMAN
Go ahead, answer it. Just tell him to give himself up. Tell him
it’s the best way. Advise him as his father to surrender.
CHARLES
Hello? Thanks. Thanks. It’s only the foreman. I’m not being docked
for staying home tonight. As if that matters. As if anything can
matter. If I only knew for sure he’s still alive. If I only knew.
Morning comes. Tony wakes in the woods,
back to “normal”. We notice his jacket is torn. From the bushes
he watches one of the searchers run up to another man.
SEARCHER
2 Look what I’ve found. A piece of cloth ripped off.
SEARCHER
3 How do you know it’s his?
SEARCHER
2 It fits the description. He wore a jacket like this.
SEARCHER
3 How do you know it’s part of his jacket? I think we’d better
call headquarters.
Tony runs off.
Cut to Dr. Brandon’s lab.
WAGNER
Alfred, ...
DR BRANDON
Don’t interrupt, Hugo.
WAGNER
Alfred, aren’t you wasting your time? Or do you have a second victim
in view?
DR BRANDON
I’m not wasting my time and I don’t like to hear the subject of
a world shaking experiment referred to as a victim.
WAGNER
Call it what you like, but he’s being hunted down like a dangerous
animal. And after he’s captured....
DR BRANDON
I’m no so sure he will be captured. Transformation into a werewolf
is all not on the minus side. It also gives the subject the cunning
of an animal.
WAGNER
Then you think somehow he will come here?
DR BRANDON
All I have to do is wait. He must come here. I’m the only link he
has left. I’m his last hope.
Tony is walking down a street in town.
He looks in a store window and touches the cuts on his face; a man
looks at Tony, who then moves on. He tries to hide when he hears
a siren. A cop pulls a car over. Tony tries to walk unobserved across
the street to use a phone booth on the other side.
MOTORCYCLE
COP ' Hey you! Next time use the cross walk. To car driver:
It’s a wonder more people aren’t killed.
Tony makes a call.
Cut to Arlene’s living room. Phone rings.
Arlene's father starts to rise from the couch to answer, but the
policeman sitting near the phone has him stop.
POLICEMAN
Let her answer it. All right, Miss. You answer it. Remember now,
hold him long enough so we can trace the call.
ARLENE
Hello?
TONY
(on phone) Hello?
A bystander walks up to the phone booth
and stares at Tony talking on the phone. Tony gets nervous and hangs
up. He leaves the phone booth; the bystander walks on.
ARLENE
Hello? Hangs up. Whoever he was,
he...he hung up.
POLICEMAN
Did you recognize his voice?
ARLENE
I....I couldn’t be sure.
POLICEMAN
Look, Miss. If you’re trying to protect him by holding back anything,
you’re wrong. His best bet is to give himself up.
ARLENE
Well, I only heard the word “hello”. How could I be sure?
Cut to police department, Donovan’s
desk. Phone rings.
DONOVAN
Sergeant Donovan. Where? Tenth and Hudson. (Donovan
writes down the address) Thank you. Tenth and Hudson.
CHRIS
What came in?
DONOVAN
Somebody just caught sight of him.
CHRIS
Downtown?
DONOVAN
Makes sense. No trace of him in the woods and all the roads are
blocked. Let’s go, Chris.
Cut to Dr. Brandon’s office. He is dictating.
Tony walks up toward the front door.
DR BRANDON
The results of the case of Mrs. Banks indicate that... I was expecting
you. Come on in, Tony.
TONY
Doctor Brandon, I know what I am! What I become. Help me, Doctor,
please! I know they’re going to catch me, but don’t let anyone see
me like that! Please, Doctor, help me! Please, help me!!!
DR BRANDON
Of course, Tony. Of course. Come on over here.
Puts Tony on the couch.
Cut to lab.
WAGNER
Alfred, I beg you. It’s too late to bring the dead back to life.
But at least you can help him. Help correct a terrible mistake.
DR BRANDON
Mistake? You dare call a scientific triumph a mistake?
WAGNER
What are you going to do now?
DR BRANDON
He must make the voyage back once more. I must see with my own eyes
and record with my own camera. Here. You’ll be the witness. We’ll
have it all on film. From the time I first give him the injection
through the transformation. And then no one will doubt my word.
Even the most exacting, the most skeptical of scientists will be
convinced that I have penetrated the deepest secrets of creation.
That I have achieved the first perfect case of regression.
Cut to Dr Brandon’s office. Wagner is
filming Tony on the couch. The transformation happens.
DR BRANDON
Good.
Phone rings. Tony-werewolf snaps out of the
hypnotic trance, growls in anger.
WAGNER
Alfred, stop him!
Tony-werewolf attacks Wagner, killing
the assistant. Tony-werewolf also knocks the camera over onto the
floor; the camera opens and exposes the film. Dr Brandon runs for
the lab. Brandon unlocks the refrigerator and takes out a needle.
Tony-Werewolf stalks Dr Brandon now. He enters the lab; he is rabid;
Tony-Werewolf trashing everything within his reach as he approaches
Dr Brandon. The flasks and ingredients of the serum are destroyed
forever.
DR BRANDON
Tony! Tony, I’m your friend. I’m the only friend you’ve got! Tony!
Tony! No, Tony!! Tony, don’t!!!
Tony-werewolf attacks and kills Dr Brandon.
Donovan and Chris arrive in time to witness. They both shoot Tony-Werewolf
repeatedly.
DONOVAN
There was no other way out. Nothing else we could do.
CHRIS
We had to.
DONOVAN
Yeah. Did you see his face? I mean, before?
CHRIS
I’ll never forget it.
Tony, in death, has returned to “normal”.
DONOVAN
At least they’ll see him this way now.
CHRIS
What about him? (Referring to Dr Brandon.)
DONOVAN
I don’t know. My hunch is the score was evened.
CHRIS
Boy, the newspapers will just eat this up.
DONOVAN
Yeah. But after they’ve had their field day, one thing will be clear.
It’s not for man to interfere in the ways of God.
THE END.
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