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. Heís 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 ďPoliceĒ and the crowd disperses. The policemen manage to separate Tony and Jimmy.

DONOVAN Whatís 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 donít 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 donít know what you got so excited about!

TONY I donít like that kind of friendship! I donít like to be hit from behind by anybody, anytime! I donít like to be touched!

JIMMY Okay! Okay! The way you jumped me, youíd think Iíd tossed a brick at you! Right off, he challenged me. I tried to kibitz him out of it.

DONOVAN Iím beginning to get the picture.

JIMMY Yeah, and I even told him I was sorry. Thatís right. I apologized. You can ask any of the guys.

DONOVAN Didnít that satisfy him?

JIMMY No, he wanted to fight. I know Iím bigger than he is.

DONOVAN But he wanted to fight.

TONY Look, what are you? The referee or in his corner?

DONOVAN No, Tony. Iím really in your corner, if I can just get you to see it. Well, I guess you can pick up your marbles. Iíll try to low key this in the report. But what your principal wants to do, well thatís 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 Iím 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 Thatís just what I wanted to talk to you about. Youíre suspicious of everybody. You act like the whole worldís your enemy, the way you flare up.

TONY Oh, people bug me.

DONOVAN Thatís right, hide behind jive talk. People bug you! Well, people bug me too! But I donít go around clouting everybody.

TONY Come on! Finish your beef will yaí?

DONOVAN All I know is youíve been in trouble a half a dozen times. You donít have any official record yet, but youíre sure working up to one.

TONY What do you got? A crystal ball, huh?

DONOVAN Iíve pulled you out of fights three times myself in the last month. Youíre just lucky there werenít any formal complaints. The time before this, in the supermarket.

TONY It was the checkerís mistake! DONOVAN Yeah, but you didnít even give him a chance to rectify it! Boom! You threw a carton of milk right at him. Look, Tony. Iím just trying to tell you you need help.

TONY What kind of help?

DONOVAN Well, thereís a prominent doctor, Doctor Brandon. Heís a consulting psychologist out at the aircraft plant. Heís been working with the police department without charge trying to help difficult kids adjust.

TONY Whatís 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 itís not necessarily their fault. Now this Doctor Brandon, well, heís modern. He uses hypnosis.

TONY Oh, no. No! No head shrinker for me, thank you. You know, thatís all I need. Thatís 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 wonít let anybody help you?

TONY Not into a straight jacket I wonít. Look, uh, you holding me on any charge?


TONY Then I can go?

DONOVAN Yeah, yeah, you can go. But this is the last warning, Tony. You get into trouble again, donít expect it to be a breeze like this. I canít 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 donít want to talk about it! Iíve had enough yakity yak to last me til the end of the term. (pauses) Look, Iím sorry, Arlene. I say things, I do things, I donít know why. I try to control them, itís too late, I..Iíve gone too far. I donít know . . . I . . .I . . . I get a certain feeling, I have to . . . I donít know. I just donít know.

ARLENE Tony, you must try.

TONY Yeah, Iíll try. But not Donovanís way.

ARLENE Whatís 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 Iím not having any, thank you.

ARLENE Oh, Tony . . . .

TONY Okay, okay, Iíll try. But my way. Come on. Iíll 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 Whatís the difference?

CHARLES Your principal called. Said it was your fault.

TONY Why does she bother you?

CHARLES ĎCause Iím your father. She said Iím supposed to discipline you. I told her at home you never needed discipline. Not even when your mother was alive.

TONY I donít 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 Ďem 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 donít like to be pushed around!

CHARLES Tony, sometimes you just have to do it the other fellowís way. Well, I gottaí be going. Sorry I canít eat with you. Night shift again. Oh, thereís a couple of lamb chops in the ice box. I seasoned Ďem the way you like. Just set Ďem in the pan.

TONY Dad, I can cook a chop.

CHARLES And be sure you cook Ďem. Donít eat Ďem raw like you did the hamburger yesterday. Tony, think over what I said, would yaí? 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 Arleneís 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 gottaí go! Bye. (hangs up) Itís Tony and heís not even late.

MARY Maybe youíre beginning to train him.

BILL Thatís 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 fatherís right, Arlene. Listen to him.

ARLENE Oh, Dad. Itís got nothing to do with respect. Thatís the way all the kids do it.

MARY But I still canít understand why you only date him. Oh, not that I have anything specific against Tony. But thereís Steve Harmon, the druggistís son and thereís Willie Blake, and thereís . . .

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 wonít bite him.

ARLENE Oh, All right. (Goes to door.) Tony? Would you come in for a minute? Tony walks in the front door.



TONY Good evening.

MARY Hello.


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 donít have any objections?

TONY No, I donít.

BILL Then why donít you call for her properly? In her home...

ARLENE Now, Dad.

BILL No, no, no. A little man to man talk wonít hurt anybody.

TONY Well, I would, only you donít 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, Iím sure thatís 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 Whereís 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 thatís missing? The guy that ran off and lost it all at the track?

BILL Now being a smart aleck wonít do it. Youíve got to bow to authority.

TONY Everybodyís on my back today.

ARLENE Oh, Daddy, itís Halloween and weíll have to go.

MARY Yes, we donít want them to miss any fun.

BILL Okay, okay. Iíve said my piece.

TONY Of one thing you can be sure of, Mr. Logan. At least Iíll 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? Itís over.

ARLENE But I heard more.

TONY More?

ARLENE Oh, Tony donít 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. Donít forget about the four years of waiting. College and all. Please, Tony?

TONY Arlene, get this straight and get it final. Iím not going to any doctor like Doctor Brandon.

ARLENE Not even if you have to?

TONY But I donít 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?


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 Ďem silly, boy.

PEARL Vic? If youíre going to play the bongos all night, who am I going to dance with?

VIC Latch on to Frank, heís 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 Doesnít make sense.

VIC Iíll 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 Whatíd I do? Whatíd 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 donít 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 donít 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 donít understand you at all.

VIC The understatement of the year.

TEENAGER Hear this! Hear this! Vicís 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 weíre gonnaíswing Up to the preacher with a wedding ring. Tell me where she is Ďcause I donít know. So Eeny Meeny Miney Mo. Iíve been looking all over town, But so far she ainít been around. Someday Iíll meet her and then Iíll say, Shoobie Doobie baby, weíre on our way. Hurry up now and follow me, But donít forget to bring your dough, re, mi. Pearl and Vic do a dance routine. Any time youíre feeling sad or blue, You just call me baby, and Iíll run to you. But if you ever leave me, youíre gonna pay, Fifty dollars alimony everyday. So Iíll be your husband this day on, But only till your moneyís gone. Rich girls sure are hard to find, But Iíll keep a lookiní till I lose my mind. Sheís bound to show up eventually, Then Iíll be rolliní in security. But where sheís hidiní I donít 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. Weíve got a nice present for Vic in that closet. You know heís 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. Youíre his girl.

PEARL Oh, Iíd 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 itís funny. But I donít! And anyway, why does everybody pick on me? VIC Youíre right, baby. And from now on, anybody picks on youís gonnaí have to fight me. Now for that, Iíll collect a kiss in advance. (Vic is wearing a scary mask.)

PEARL Screams

ARLENE Oh, Tony. Iíll bet you had a lot to do with all this.


ARLENE Yes, you.

THERESA And Iíll bet youíre not so innocent either.

JIMMY Why do they always pick on us?

TONY It isnít fair.

JIMMY Iíll say it isnít. Just when I was gonnaí give her a nice present.

TONY Thatís 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 Ďem! Can I play the big drums? Better than the bongos!

TONY Great man! Theyíre 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, letís eat. At least there are no gags in the food.

THERESA The partyís really percolating.

ARLENE Iíve never had so much fun.

Vic sneaks up on Tony and blows a horn in Tonyís 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 Brandonís office where he is taking Tonyís 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, youíre a perfectly normal human being. Thereís no reason in the world why you canít have a full, wonderful life. If, ......

TONY Yeah, if. If I adjust, huh, Doc?

DR BRANDON Itís the ďifĒ weíre going to work on, son. Weíll work on it together. Okay, Tony?

TONY Youíre the doctor. Thatís why Iím 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, wonít make me dopey or anything will it? I have to drive home.

DR BRANDON No, itís simply to relax you. Drink it down. Iíll 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 Iím 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, Iíve 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 Iíve 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. Iím going to take this out of the realm of possibilities and into the world of exact science. If Iím sucessful, then I can be certain.

WAGNER But youíre 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 heís so young and the transformation horrible.

DR BRANDON You call yourself a scientist. Thatís why youíve 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. Youíve been more than an assistant on other occasions. Accomplice would be a better word.

WAGNER What is the plan?

DR BRANDON Through hypnosis, Iím going to regress this boy back. Back into the primitive past that lurks within him. Iím going to transform him. And unleash the savage instincts that lie hidden within.

WAGNER And then?

DR BRANDON Then Iíll 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. Whatís one life compared to such a triumph?

Brandon goes back to his office where Tony is lying on a couch.

DR BRANDON Now youíll 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 donít 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, weíll find out many fascinating things about you. And in the end, you will no longer be disturbed or troubled because you will be . . . you. Youíve placed yourself in my hands. Iím the pilot, you the passenger. But instead of going forward into space, weíre going backwards in time. Begin at 100 and count backwards; weíll 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.


TONY Iím 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. Heís 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? Iíll see you day after tomorrow at the same time. Donít worry, my boy. Soon youíll be yourself, your true self.

Cut to next appointment at Dr Brandonís 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 donít know . . .

They count down to one.

DR BRANDON Now where are you, Tony? Concentrate. Where are you now?

TONY I donít know. I donít know. Itís dark. Cold.

DR BRANDON Where? Where?

TONY You, tell me? Please, tell me?

DR BRANDON Iíll help you because Iím 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 . . .


DR BRANDON Remember how wonderful it was when you sprang suddenly, dug in with your fangs, a soft throat, the gush of warm blood?


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, youíre good enough to sign up with a band.

PEARL Heís had lots of offers.

VIC Oh, get off my back will yaí?

PEARL Isnít that what you told me?

FRANK Tony, you can tell me to shut up if you want, but youíre not with it tonight.

TONY No, Iím not.

FRANK Like youíre not yourself.

TONY Guess Iím not myself. I think Iíll take Arlene home.

Tony walks over to Arlene carrying her coat with him.

TONY Come on, honey. Letís cut out.

JIMMY (walks over to Theresa) Thatís right. I promised your folks Iíd 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. Howíre you gonnaí get home?

FRANK How will I get home? I'll get home on my feet... Iíll walk. Iíll take that short cut through the woods. Brings me right out by the power works.

TONY Okay.

THERESA Why donít you two join us at Rubyís Drive-In?

TONY No, weíre going right home.

JIMMY Go on, Tony. Weíll lock up.

THERESA Oh, so youíve joined the exclusive set?

TONY No. You just talk too much, thatís all. Iím for peace and quiet.

ARLENE Oh, Come on, Tony. Letís go. Tony, Frank and Arlene go outside the hangout. Itís 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 Donít forget math first thing in the morning, early.

TONY Sure, Iíll 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) Whoís there?! Runs, falls down. Whoís 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 itís 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 werenít any gang fights in Rockdale.

BAKER Are there any bruises . . . scratches on his face? Clothing ripped off?


BAKER Well then, how was the boy killed? Got any theories?

DONOVAN Not a shiv.

CHRIS Not hands.

BAKER Teeth?


BAKER Fangs? There are no wild animals around here.

CHRIS Iíve walked these woods since I was knee high to a duck. Iíve never seen any thing wilder than a tom cat.

DONOVAN I know. Thatís 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 Letís hope so.

BAKER In the meantime, letís keep the lid clamped down on this until the official reports come through. Maybe even after that. Whatever it is, weíve got to be sure.

DONOVAN Iíve 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 . . . Theyíll have a field day all right. But here in Rockdale, weíll have a panic.

DONOVAN Yeah, I know. But Iím 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, Iíd talk to the farmers in the surrounding areas. Sometimes they keep a wild dog for protection. What ever it is, weíve got to be sure. Facts first. And donít encourage any rumors.


BAKER Well, now Iíve 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. Iím going down to the lab. Youíd 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 Youíre not to say anything about this to anyone. Understand?

PEPI Itís going on twelve years that Iím working here. Have I ever said a word?

Pepi looks at the picture.

CHRIS Whatís the matter? You see something we missed?

PEPI That poor boy. Poor boy.

CHRIS Pepi, I donít 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. Iíll tell you what werewolf is. Itís 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, youíre crazy. Youíd better not let anyone hear you talk like that, Pepi. Youíll wind up in a booby hatch. Werewolf. Come on!

PEPI Yes, thatís what I said the first time it was told to me. But later, what I saw, what I heard, convinced me.

CHRIS Iím gonnaí put these away and lock the file. You just forget I ever showed Ďem 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 Brandonís hands in his office.

DR BRANDON Well, hello Tony my boy. Come on in. Youíre a little early, but welcome.

TONY Thanks, Dr. Brandon. Well, the reason I came early is . . .

DR BRANDON You donít 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. Thatís not why Iím here. I wanted to tell you about something that...

DR BRANDON Now you donít have to tell me now. Iíll hear it all under hypnosis. Iíll 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 Thereís 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 blazerís 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 donít 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 donít know if it really happened. Itís 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. Iíve even told the principal of your school that. Yes. Iím extremely pleased at the progress youíve been making. And soon, Tony, very soon, youíll be your true self again. Come on.

Cut to syringe approaching Tonyís arm.

Cut to the police department wall map.

BAKER Now this is a map of the area. Weíll start with the abandoned house.

DONOVAN Teenagers call it the haunted house.

BAKER Youíve 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 motherís in a state of shock. His father wants to know just one thing. ďWhat are the police doing about this?Ē

BAKER Well, thatís it. Theyíll 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. Iíll be right in.

CHRIS Well, I checked the neighboring towns. There arenít 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. Theyíre mostly truck. Very little livestock. A few pigs, penned up , some horses. Thereís a mink farm about three miles north of here. But theyíre all baby minks. First thing they do is cut off their teeth.

BAKER Oh oh, thatís 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, weíre 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? Iíve got to go.

THERESA Oh, gee. Iíd like to practice about another half hour.

MRS DAUPHIN Well you donít need me. Just remember the other pointers I gave you. Iíve 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 Thatís the spirit. Good night.

Cut to principalís office. Tony is waiting outside on a bench.

MISS FERGUSON Will you come in, Tony? I hope you didnít 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 heavenís sakes, Tony, donít look so glum or so suspicious. For once we meet on a friendlier basis.

TONY Oh, Youíre not going to chew me out then?

MISS FERGUSON As you say, Iím 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. Itís a report of progress which I am happy to confirm.

TONY You mean he says Iím 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, youíre coming along just fine.

TONY Thanks. Iím glad.

MISS FERGUSON And as a reward, I want you to know that if you continue this way, youíll earn an honor certificate. Yes, Tony. Iíll 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 Iíve recommended has reflected great credit on Rockdale High. And I know you will. So keep it up till graduation. Then youíll 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, youíd be a credit to your father and to your school.

TONY Thank you.

MISS FERGUSON Youíre 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 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 Theresaís 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? Iíll call the police....Iíll call the police!

Cut to attendants carrying out Theresaís 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.


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. Theyíre going to start right away.

DOYLE But in the meantime the werewolf is at large.

BAKER But not for long.

DOYLE You hope. Youíll find this is different than tracking down the ordinary criminal. Youíre dealing with the cunning, the ruthlessness of something that is supernatural.

BAKER Oh, come, now. Letís donít add to the panic that already exists.

DOYLE The people are entitled to know everything and my paperís going to see that they get it. Maybe if you hadnít kept the first murder so secret . . .

BAKER Donít 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 canít 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, wasnít he?

BAKER You canít pry into that. Just what are you trying to do? Add to the grief of the families already involved?

DOYLE Donít make this a personal issue, Chief Baker. You have your work cut out, we have ours.

BAKER In that case, gentlemen,, youíll 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, Iím sure of that, Mr. Doyle. (The reporters leave.)

Cut to Doctor Brandonís office.

DONOVAN Doctor, whatís your opinion?

DR BRANDON Iím sorry, Sergeant. But I canít be swayed by mass hysteria.

DONOVAN But there were eyewitnesses who swear they saw him.

DR BRANDON Hallucinations. Iíd have to see this so called ...ĒbeastĒ 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 donít need to tell you thatís a matter of strict confidence between doctor and patient.

DONOVAN Yes, Iím aware of that. However, we hoped youíd cooperate, help us.

DR BRANDON Donít you think youíre 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? Everyoneís using it. Werewolf.

DR BRANDON I do not subscribe to old wivesí tales. Itís 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 Thatís 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. Youíre 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 Arleneís 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 thatís enough. Sheís been crying ever since this thing happened. She must get more rest.

DOYLE Well, uh, just one more picture. Now youíre not gonnaí let her go to school?

BILL No, schoolís closed until this thing is over. Anyway, weíll protect her right here in her own home.

Cut to Tonyís home, later. His father is talking to Doyle, the reporter.

DOYLE You donít really believe that your son is....

CHARLES No, no, I canít 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 heís growing up. Not that Tony ever complained. I even asked him. Does he miss...should I...? He said, ďNo, Dad. Weíll get along all right. Just the two of us.Ē 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 heíd do anything. Tonyís a good boy. I donít care what they say. Tonyís a good boy.

DOYLE Yet he hasnít come home or you havenít 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 wouldnít this indicate to you that perhaps Tony is ...

CHARLES Leave me alone, will yaí? 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 gonnaí be tough.

BAKER One thing in our favor, it canít go very far, it can only travel on foot. Also, itís got to stop to rest and eat. Letís go.

Cut to woods at night. The Chief, Donovan and various police and civilians gather to form a posse.

BAKER All right now. Weíll move in stagger fashion. Weíll 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, donít 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 letís go. Come on, Donovan.

The posse starts combing the woods. Tony-werewolf watches them from the bushes.

BAKER All right, men close up. Weíre 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?


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 Thereís a dog back up there he killed.

BAKER Oh? Then heís got to be in here someplace. No sense looking for him in this light, though. Look, Donovan. Post guards so he canít possibly escape. Weíve 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 Tonyís house where a policeman waits with Tonyís father. Phone rings.

POLICEMAN Go ahead, answer it. Just tell him to give himself up. Tell him itís the best way. Advise him as his father to surrender.

CHARLES Hello? Thanks. Thanks. Itís only the foreman. Iím not being docked for staying home tonight. As if that matters. As if anything can matter. If I only knew for sure heís still alive. If I only knew.

Morning comes. Tony wakes in the woods, back to ďnormalĒ. We notice his jacket is torn. From the bushes he watches one of the searchers run up to another man.

SEARCHER 2 Look what Iíve found. A piece of cloth ripped off.

SEARCHER 3 How do you know itís his?

SEARCHER 2 It fits the description. He wore a jacket like this.

SEARCHER 3 How do you know itís part of his jacket? I think weíd better call headquarters.

Tony runs off.

Cut to Dr. Brandonís lab.

WAGNER Alfred, ...

DR BRANDON Donít interrupt, Hugo.

WAGNER Alfred, arenít you wasting your time? Or do you have a second victim in view?

DR BRANDON Iím not wasting my time and I donít like to hear the subject of a world shaking experiment referred to as a victim.

WAGNER Call it what you like, but heís being hunted down like a dangerous animal. And after heís captured....

DR BRANDON Iím 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. Iím the only link he has left. Iím 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: Itís a wonder more people arenít killed.

Tony makes a call.

Cut to Arleneís 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.


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 couldnít be sure.

POLICEMAN Look, Miss. If youíre trying to protect him by holding back anything, youíre wrong. His best bet is to give himself up.

ARLENE Well, I only heard the word ďhelloĒ. How could I be sure?

Cut to police department, Donovanís 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. Letís go, Chris.

Cut to Dr. Brandonís 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 theyíre going to catch me, but donít 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. Itís 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. Youíll be the witness. Weíll 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 Brandonís office. Wagner is filming Tony on the couch. The transformation happens.


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, Iím your friend. Iím the only friend youíve got! Tony! Tony! No, Tony!! Tony, donít!!!

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 Iíll never forget it.

Tony, in death, has returned to ďnormalĒ.

DONOVAN At least theyíll see him this way now.

CHRIS What about him? (Referring to Dr Brandon.)

DONOVAN I donít know. My hunch is the score was evened.

CHRIS Boy, the newspapers will just eat this up.

DONOVAN Yeah. But after theyíve had their field day, one thing will be clear. Itís not for man to interfere in the ways of God.



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