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- Автор сценария:
- Джон Лэндис
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- Режиссер:
- Джон Лэндис
Есть в старушке Англии лихие, жуткие места, путешествовать по которым чрезвычайно опасно... И наших героев, двух беззаботных американских туристов, об этом предупредили. Но веселые заокеанские парни не вняли предостережениям местных жителей и в глухой ночи, освещаемой мертвым светом луны, сошли с дороги... Здесь, во мраке, их ждал неописуемый кошмар, после которого одному из американцев было суждено стать ужасным призраком, а другому - кровожадным оборотнем!
СКАЧАТЬ
ZIP,
FADE IN
1 MAN'S FOOTPRINT
on the moon.
EXT. MOON
Camera begins to pull back slowly, straight up - the
song "Moon Shadow" by Cat Stevens begins. Once we are
high enough to see the entire moon, the main title is
superimposed.
An American Werewolf in London
We continue to retreat from the moon, looking on as it
grows farther from us, continuing credits until the
full moon is the size it appears to us from earth.
2 EXT. CROSSROADS ON THE MOORS - NIGHT
Tree branches enter into the frame, the camera pans
down and we see a truck approaching. We are at a
crossroads in the moors, looking sinister enough to
have earned their literary reputation.
The truck stops at the crossroads, the DRIVER,
mustached and wearing tweeds, boots, and a muffler,
climbs down.
"Moon Shadow" ends.
CUT TO:
Loud bang of the back grating on the truck as it slams
down. Revealed among the sheep are two rudely-awakened
young American boys. They look exhausted. They both
carry backpacks, two American kids on a jaunt in
Europe. They are both in their late twenties.
It is very cold and they clamber out of the truck none
too happily. Pushing sheep aside they step out and
stretch.
JACK GOODMAN AND DAVID KESSLER
They've been cramped for hours.
TRUCK DRIVER
Here, lads, East Proctor and
all about are the moors. I go
east here.
JACK
Yes, well thank you very much
for the ride, sir. You have
lovely sheep.
TRUCK DRIVER
(as he clambers back
up on his truck)
Boys, keep off the moors.
Stay on the road. Good luck
to you.
DAVID
Thanks again!
He drives off. LONG SHOT of the two boys as the lorry
pulls away. Surrounding them are the moors. They put
on their packs, David points to the signpost pointing
towards East Proctor.
EXT. ROAD ON THE MOORS - NIGHT
As they walk, their breath visible:
JACK
Are you cold?
DAVID
Yes.
JACK
Good.
They walk on, finally:
DAVID
Jack.
JACK
David.
DAVID
You're not having a good time
are you?
JACK
Oh, I don't know. I mean look
around. Isn't this a fun
place?
The camera shows us the moors - desolate, cold,
foreboding.
DAVID
Well, I like it here.
JACK
I'm sorry. Northern England
first, Italy later.
DAVID
Right.
They walk on.
JACK
Do you think she'll meet me in
Rome?
DAVID
I think Debbie Klein is a
mediocre person with a good
body.
JACK
Debbie is not mediocre and she
has one of the great bodies of
all time.
DAVID
She's a jerk.
JACK
You're talking about the woman
I love.
DAVID
I'm talking about a girl you
want to fuck, so give me a
break.
JACK
Well, anyway, do you think
she'll be there?
DAVID
I don't know.
JACK
(like an announcer)
Rendezvous in Rome starring
Jack Goodman and Debbie Klein.
The love affair that shocked
Europe! See torrid lovemaking
at its most explicit! See
Jack and Debbie expose their
lust in the sacred halls of
the Vatican! Never has the
screen dared....
DAVID
If you don't stop, I'm going
to kill you.
JACK
I have to make love to her.
It's very simple. She has no
choice really.
DAVID
It just fascinates me that you
can spend so much energy on
someone so dull.
JACK
It is impossible for a body
like that to be dull.
DAVID
We've known Debbie what, since
the eighth grade? How many
years of foreplay is that?
JACK
She says she `likes me too
much'.
David just laughs and laughs and laughs.
DISSOLVE
TO:
3 EXT. EAST PROCTOR MAIN STREET - NIGHT
David and Jack entering East Proctor. It is brightly
moonlit. East Proctor consists of a few shops, all
closed, a petrol pump and a pub. East Proctor has a
very small population and the place looks empty. David
and Jack enter the middle of town and look about. The
camera sees what they see. A few shops, dark and
shuttered. Light and laughter come from the pub.
4 EXT. THE SLAUGHTERED LAMB - NIGHT
Its traditional shingle shows a ferocious wolf's bloody
head on a pike, and tells us the pub's name, "The
Slaughtered Lamb".
JACK
The Slaughtered Lamb?
DAVID
Of course, The Slaughtered
Lamb. Why else would they
have a severed fox head on a
spear as their symbol?
JACK
That's a wolf's head.
DAVID
Of course, The Slaughtered
Lamb. Why else would they
have a severed wolf's head on
a spear as their symbol?
JACK
That's not a spear. It's a
pike.
DAVID
A severed wolf's head on a
pike as their symbol.
JACK
David, before we go in there I
want you to know that - no
matter what happens to us -
it's your fault.
DAVID
I assume full responsibility.
JACK
Okay.
DAVID
Shall we?
5 INT. THE SLAUGHTERED LAMB - NIGHT
The pub was apparently "modernized" sometime in the mid-
fifties. Its traditional Englishness combines with
greasy stainless steel and glass. It is populated by
mostly pale young men with longish hair. Several older
men are ruddy complexioned and sport large mustaches.
Four or five are watching a chess game. Two men are
playing darts. The conversation is loud and there is
often laughter. But there is something unsavory about
these people. A look of leanness and poverty. They
seem inbred and somehow sullen. We establish the types
and the general level of noise in the room.
The door opens revealing David and Jack. There is dead
silence and all are staring in a not friendly way at
the two boys who are made uncomfortable by all the
strange attention. They give each other a "what?"
look, then turn to the assembled populace.
DAVID
Hello.
JACK
Nice to see you.
FACES
Silent and staring.
CUT TO:
DAVID AND JACK
DAVID
(smiles)
It's very cold outside. May
we come in?
The WOMAN BARKEEP nods. The boys walk carefully over
to a table and very self-consciously remove their
packs, place them on the floor, and sit down at the
table. There is a long, awkward wait. The Woman
finally comes over to them.
JACK
Do you have any hot soup?
WOMAN
No.
DAVID
Well, do you have any coffee?
WOMAN
No.
JACK
Hot chocolate?
WOMAN
We've got spirits and beer.
If it's something hot you
want, you can have tea.
JACK
Then you have some hot tea?
WOMAN
No.
JACK
Oh.
WOMAN
But I can heat some up for you
if you'd like.
DAVID & JACK
Yes, please.
As the Woman turns to prepare the tea, everyone resumes
what they were doing; talking, drinking, playing chess
and darts, and the boys breathe easier.
JACK
Nice looking group.
DAVID
Listen, at least it's warm in
here.
JACK
Look at that.
CUT TO:
JACK'S P.O.V.
On the wall is painted a red pentangle (a five-pointed
star) and on either side burns a yellow candle.
DAVID
What about it?
JACK
It's a five-pointed star.
DAVID
Maybe the owners are from
Texas.
The Woman brings them their tea.
JACK
(to Woman)
Remember the Alamo?
WOMAN
I beg your pardon?
DAVID
He was joking. Thank you.
WOMAN
Joking? I remember The Alamo.
I saw it once in London, in
Leicester Square.
Jack and David look startled. One of the CHESS PLAYERS
explains:
CHESS PLAYER
She means in the cinema, that
film with John Wayne.
(turns to board)
Checkmate.
DAVID
Oh, yes, of course.
JACK
Right, with Laurence Harvey
and everybody died in it. It
was very bloody.
CHESS PLAYER
Bloody awful if you ask me!
This sends everyone into gales of laughter. Jack and
David smile politely.
CHESS PLAYER
Here, Gladys, Tom. Did you
hear the one about the
crashing plane?
WOMAN
No, but we're about to.
Laughter.
CHESS PLAYER
You be quiet, woman, and let
me speak.
WOMAN
(heavy sarcasm)
Quiet, everyone! Hush! Shhh!
Uproarious laughter.
CHESS PLAYER
All right, laugh then. I
shan't tell it.
WOMAN
Oh, come on, tell us.
CHESS PLAYER
No. You've had your chance.
The men all coax him to tell the joke.
JACK
(to David)
Ask them what the candles are
for.
DAVID
(to Jack)
You ask them.
JACK
(to David)
Listen, that's a pentangle, a
five-pointed star. It's used
in witchcraft. Lon Chaney,
Jr. and Universal Studios
maintain it's the mark of the
wolf man.
DAVID
(to Jack)
I see. You want me to ask
these people if they're
burning candles to ward off
monsters.
JACK
(to David)
Right.
DAVID
(to Jack)
Wrong.
The drinkers have gotten the Chess Player to tell the
joke as everyone knew he would.
CHESS PLAYER
Oh, all right. There was this
airplane over the Atlantic on
its way to New York. It was
full of men from the United
Nations.
WOMAN
That's very funny, that is.
Uproarious laughter.
JACK
(to David)
Go on, ask them.
DAVID
(to Jack)
You ask them.
CHESS PLAYER
Here now, let me finish! So
halfway over the ocean the
engines run low on petrol so
they have to lighten the
plane. So they heave out all
the baggage, but it's still
too heavy. So they chuck out
the seats, but it's still too
heavy! Finally this Froggy
steps up and shouts "Viva la
France" and leaps out. Then
an Englishman....
DART PLAYERS
Hear! Hear!
CHESS PLAYER
(undaunted)
...steps up and shouts `God
save the Queen!' and leaps
out. But the plane is still
too heavy. So the Yank
delegate from Texas steps up,
shouts, `Remember the Alamo!'
and chucks out the Mexican.
This is apparently the funniest joke the inhabitants of
East Proctor have ever heard. The laughter is
uproarious, choking, knee-slapping, incredible. As the
Chess Player goes to take a drink of beer, the Dart
Player gasps out...
DART PLAYER
Remember the Alamo!
...causing the Chess Player to spit out his beer
causing even harder laughter. Complete hilarity.
JACK
Excuse me, but what's that
star on the wall for?
Dead silence. A dart lands in the wall. David and
Jack are understandably bewildered. The villagers look
hard indeed.
DART PLAYER
(angry)
You've made me miss.
JACK
I'm sorry.
DART PLAYER
I've never missed the board
before.
DAVID
Jack, we'd better go.
JACK
What do you mean? I'm
starving.
DART PLAYER
There's no food here.
The villagers look threatening and David's voice is a
bit urgent.
DAVID
Come on, Jack, shall we go?!!
JACK
Apparently so.
The boys pick up their backpacks and move uncertainly
for the door.
WOMAN
(to men)
You can't let them go.
DAVID
(worried)
How much do we owe you?
CHESS PLAYER
Nothing, lads. Go, God be
with you.
DAVID
Uh, thank you.
WOMAN
Wait! You just can't let them
go!
DART PLAYER
Go! And stay on the road.
Keep clear of the moors.
DAVID
Yes, well, thanks again.
CHESS PLAYER
Beware the moon, lads!
David pushes Jack out.
6 EXT. THE SLAUGHTERED LAMB - NIGHT
It is very cold.
JACK
What the hell was that all
about?
DAVID
I don't know. Let's see if
there's an inn or something up
the road.
JACK
Beware the moon?
DAVID
Come on, I'm freezing.
They start up the road into the night.
7 INT. THE SLAUGHTERED LAMB - NIGHT
It is quiet.
WOMAN
You can't let them go.
DART PLAYER
(angry)
Should the world know our
business?!
CHESS PLAYER
It's murder then.
DART PLAYER
Then murder it is! It's in
God's hands now.
The wax drips from the Pentangle's candles onto the
floor.
DISSOLVE
TO:
8 EXT. A ROAD ON THE MOORS - NIGHT - DAVID AND JACK
walking on the road surrounded by darkness.
DAVID
That was weird. I guess
leaving was the best idea.
JACK
I don't know. Now that we're
out here and it's three
degrees, I'm not so sure I
wouldn't rather face a blood-
thirsty mob.
DAVID
Well, not quite a blood-
thirsty mob.
They keep walking.
JACK
What do you think was wrong?
DAVID
I have no idea.
JACK
Maybe that pentangle was for
something supernatural.
DAVID
I see and they were too
embarrassed to talk about it,
because they felt so silly.
There is a flash of lightning that sends a ghostly
illuminating sheet of light over the boys' faces. The
clap of thunder follows loud and rumbling.
DAVID
Please don't rain.
Downpour. The boys are walking in a deluge.
DAVID
Of course.
They walk getting soaked.
JACK
Say, David....
DAVID
I'm well aware of how pleasant
the weather is in Rome at the
present time thank you.
Jack spreads his arms and sings.
JACK
Santa Lucia...Santa Lucia.
9 INT. THE SLAUGHTERED LAMB - NIGHT
The rain is loud on the roof and beating on the
windows. The gathered continue to drink, play chess
and darts, but all are silent and contemplative.
WOMAN
Perhaps they'll be safe in the
rain.
The Chess Player slams his hand on the table. Shouts:
CHESS PLAYER
No one brought them here! No
one wanted them here!
WOMAN
You could have told them!
DART PLAYER
Are you daft? What do you
think they'd say? They'd
think us mad.
WOMAN
Listen!
The rain is subsiding. There is a very faint howl.
WOMAN
Did you hear it? We must go
to them.
DART PLAYER
I heard nothing.
CHESS PLAYER
Nor I.
The camera lingers as the Chess Player's hard face
shows the man's struggle. Another howl. The Chess
Player turns suddenly.
10 EXT. ROADSIDE ON THE MOORS - NIGHT
David and Jack are now completely out of sight from
East Proctor surrounded by darkness and wet. There is
a light drizzle. They are standing, listening. The
drizzle stops.
JACK
Did you hear that?
DAVID
I heard that.
JACK
What was it?
David begins to walk, Jack with him.
DAVID
Could be a lot of things.
JACK
Yeah?
DAVID
A coyote.
JACK
There aren't any coyotes in
England.
DAVID
The Hound of the Baskervilles.
JACK
Pecos Bill.
DAVID
Heathcliffe.
JACK
Heathcliffe didn't howl.
DAVID
No, but he was on the moors.
JACK
It's a full moon, `beware the
moon'.
Another howl, this one long and loud. It is a very
inhuman noise, terrifying, and closer this time.
JACK
I vote we go back to The
Slaughtered Lamb.
DAVID
Yeah.
They are both visibly worried and walk briskly back
from where they just came. Although after a bit of
fast walking they are getting nowhere. They stop out
of breath.
DAVID
We're lost.
Another bloodcurdling howl.
JACK
Shit! David, what is that?
DAVID
I don't know. Come on.
JACK
Come on, where?
DAVID
Anywhere! I think we should
just keep moving.
A growl. A low guttural growl comes from out of the
darkness. We stay on the boys, but we hear something
out there. It starts to walk.
DAVID
It's moving.
JACK
It's circling us.
And indeed it is. The boys strain to hear its four
footfalls and they turn slowly, following it. A snarl.
JACK
Fuck.
We hear the wolf-monster stop (for that's what it is -
we know it's there even though we've not seen it). It
sits breathing heavily.
DAVID
What's the plan?
JACK
(nervously)
Plan?
DAVID
(not too relaxed
himself)
Let's just keep walking.
They do and David keeps talking as they walk.
DAVID
That's right, a lovely stroll
in the moors. Tra-la-la,
isn't this fun?
The thing stalking them seems to speed up. The boys
hesitate as they sense it run past them. It stops.
DAVID
It's in front of us.
JACK
Do you think it's a dog?
Jack and David strain to see what waits ahead of them.
BOYS' P.O.V.
Something is waiting in the darkness. Its hulking
shape is barely discernible, but its eyes glow eerily
and its breath is visible.
JACK
Oh shit. What is that?
DAVID
A sheep dog or something.
Turn slowly and let's walk
away.
The boys keep talking as they move faster and faster.
JACK
Nice doggie. Good boy.
DAVID
Walk away, Jack.
JACK
Walking away, yes, sir. Here
we are walking away.
They are in a full-out run by now. After a few minutes
flight they stop, panting.
DAVID
See anything?
JACK
No.
A moment of quiet, then a howl.
DAVID
It sounds far away.
JACK
Not far enough. Come on.
They walk briskly.
DAVID
Jack?
JACK
Yeah.
DAVID
Where are we going?
JACK
I'll tell you when we get
there.
DAVID
Well. I'm glad we...WHOAA!!
David shouts as he slips suddenly in the mud, scaring
Jack, and us, and himself a great deal. He lays
startled on the wet ground for a moment, then he and
Jack laugh.
JACK
You really scared me, you
shithead.
DAVID
Are you going to help me up?
Jack takes David's extended hand to help him up when
THE WOLF MONSTER SPRINGS!
EXT. MOORS - NIGHT
The lunging beast brings Jack down in one fell swoop.
David falls back on his ass. Jack is screaming and
struggling as he is torn to shreds. David scrambles to
his feet and runs in complete panic. Jack's screams
and the wolf's roars combine.
JACK
Jesus fuck! David! Please
help me! Please! David!
Shit! Help me! Oh God!
EXT. ROADSIDE ON THE MOORS - NIGHT
David runs and runs. Finally he falls, out of breath.
DAVID
Jack? Oh my God, Jack!
He gets up and runs back to find Jack a torn and bloody
mess on the ground. He stares in horror.
DAVID
Jack....
EXT. NIGHT - VARIOUS FLASH CUTS
THE WOLF SPRINGS! The camera adopts David's P.O.V. as
he fights the dark savage shape on top of him. Fangs
clamp down on his shoulder when shots ring out and the
hulking form rolls off of him.
EXT. ROADSIDE ON THE MOORS - NIGHT
David, dazed and bloody, looks and sees the men from
The Slaughtered Lamb armed with shotguns and torches
running towards him. Looking over at his attacker,
instead of a wolf he sees a very old, naked man laying
in the mud riddled with bullet holes. As the villagers
crowd around, David falls back and faints.
FADE OUT
FADE IN
11 INT. HOSPITAL ROOM - DAY
David is in a small, clean and very white hospital
room. He lays on his back in bed, his shoulder
bandaged and his arm plugged into a bottle of plasma.
There are several cuts and abrasions on his arms and
face, but he really doesn't look too bad. He opens his
eyes slowly, blinks, and tries to sit up and look
around, but is unable to because of the pain. He calls
out....
DAVID
Jack?!
...and passes out. However his shout has fetched a
nurse. She is ALEX PRICE, very English, very
beautiful. She goes to the bed.
ALEX
Mr. Kessler?
She looks into his eyes, lifting the lids with her
thumb, and then checks his chart at the end of the bed.
ALEX
Mr. Kessler?
David remains unconscious. Another young nurse, MISS
GALLAGHER, comes in.
MISS GALLAGHER
He all right?
ALEX
Yes, I should think. He
called out just now.
MISS GALLAGHER
He's an American, you know.
Dr. Hirsch is going to fetch
round one of those Embassy
fellows to see him.
ALEX
Chart says he's from New York.
MISS GALLAGHER
I think he's a Jew.
ALEX
Why on earth do you say that?
MISS GALLAGHER
I looked.
ALEX
(smiles)
Really, Susan, I don't think
that was very proper, and
besides, it's common practice
now.
A voice startles the girls.
DR. HIRSCH
Yes, Miss Gallagher, Miss
Price is quite right.
DR. HIRSCH enters. He is an older man wearing the
customary lab coat. A very commanding and reassuring
presence. The girls are embarrassed.
ALEX
Dr. Hirsch, Mr. Kessler cried
out a minute ago.
DR. HIRSCH
Miss Gallagher, surely you
must perform some function
here at the hospital.
MISS GALLAGHER
Yes, Doctor.
DR. HIRSCH
Then get on with it.
MISS GALLAGHER
Yes, Doctor.
She exits. Dr. Hirsch begins to examine David. Alex
watches. Dr. Hirsch turns to Alex.
DR. HIRSCH
Can I be of service, Miss
Price?
ALEX
Dr. Hirsch?
DR. HIRSCH
Go about your duties.
ALEX
Yes, Doctor.
She starts to exit.
DR. HIRSCH
Oh, Miss Price?
ALEX
Yes, Doctor?
DR. HIRSCH
What exactly did he call out?
ALEX
He said `Jack'.
DR. HIRSCH
That would be Jack Goodman,
the boy who was killed.
ALEX
What happened to them?
DR. HIRSCH
The police report said an
escaped lunatic attacked them.
He must have been a very
powerful man. Although I
really don't see that it is
any of your concern, Miss
Price.
ALEX
No, sir. Of course, sir.
Good day, Doctor.
She exits as Dr. Hirsch continues his examination,
looking into David's eyes.
12 EXT. DENSE FOREST - DAY
The camera is handheld, running furiously through the
almost dense greenery. On the soundtrack are the
footfalls and heavy breathing of the runner. The
camera abruptly stops and turns, sharply looking about,
the panting continuing. The breathing gets louder and
harder, then too loud when we:
CUT TO:
13 INT. HOSPITAL ROOM - DAY
David opens his eyes quickly, the silence and whiteness
contrast sharply with the preceding fantasy. Standing
beside the bed are Dr. Hirsch and MR. COLLINS. Mr.
Collins wears a bow tie and is holding a briefcase.
DR. HIRSCH
Hello, David. I am Dr. Hirsch
and this is a countryman of
yours, Mr. Collins.
DAVID
Where am I?
DR. HIRSCH
You're in a hospital in
London.
DAVID
London? Where's Jack? I had
a strange dream.
DR. HIRSCH
I should think so after your
recent traumatic experiences.
DAVID
The guy I was with. Is he all
right? How did I get to
London?
DR. HIRSCH
(quietly)
Now, David, I want you to
prepare yourself; your friend
is dead.
David jolts up in bed and shouts.
DAVID
What?
The sudden exertion and strain hurt.
DAVID
Ow, shit!
He sinks back down.
DAVID
Jack's dead?
MR. COLLINS
Mr. Kessler, I am Mr. Collins
of the American Embassy here
in Grosvenor Square. Both Mr.
Goodman's parents and your
parents have been notified of
your injuries and everything's
in order.
DAVID
Everything's in order? What
are you talking about?
MR. COLLINS
Mr. Goodman's body has been
air-freighted back to New York
for burial and your parents
have wired funds for your stay
in the hospital until you are
well enough to fly home.
DAVID
(controlled tears)
You don't crate and ship Jack
like some side of beef.
(approaching hysteria)
Who the hell are you people?
What's going on here? Where
is Jack? I demand to see him!
DR. HIRSCH
(holds David down,
calls out)
Miss Price! Miss Price,
please!
DAVID
(shouting)
Get your fucking hands off me!
What the hell is going on
here?
Alex enters amidst David's shouting and confusion.
MR. COLLINS
(distraught, clutching
his briefcase)
I realize how upsetting this
must be for you, Mr. Kessler,
but please try to refrain from
hysterics.
David continues shouting and struggling.
DR. HIRSCH
Prepare a hypodermic, please,
Miss Price.
The shot is administered and David is held down by Dr.
Hirsch and Alex until his breathing becomes more
normal.
MR. COLLINS
Now, Mr. Kessler, try not to
excite yourself. Everything
has been arranged. I shall
come back to check on your
progress and send a report to
your parents. The police have
requested to interview you and
I have given them permission
to do so.
Dr. Hirsch walks Mr. Collins to the door.
DR. HIRSCH
Thank you very much, Mr.
Collins. He'll rest now and
I'm sure everything will be
fine once he's adjusted. He's
had quite a shock.
MR. COLLINS
These dumb-ass kids never
appreciate anything you do for
them.
Mr. Collins exits. Dr. Hirsch crosses back to the bed.
DAVID
How long have I been here?
DR. HIRSCH
You've been unconscious since
you were brought in two weeks
ago.
DAVID
Two weeks?
DR. HIRSCH
You've suffered some rather
severe cuts and bruises, lost
a bit of blood, but nothing
too serious; black and blue
for a while. You'll have some
dueling scars to boast of.
That lunatic must have been a
very fierce fellow. They say
a mad man has the strength of
ten.
DAVID
(softly, as the drugs
take hold)
Lunatic?
DR. HIRSCH
Now we've just given you a
pretty strong sedative, so try
to get some rest now. Miss
Price will see to your needs.
Rest now.
Dr. Hirsch watches as Alex straightens David's covers.
DAVID
(softly)
It wasn't a lunatic.
ALEX
(puzzled)
I beg your pardon?
DAVID
It was a wolf.
ALEX
(bends down close
to hear)
What?
DAVID
A wolf.
David passes out. Alex looks to Dr. Hirsch.
DR. HIRSCH
Did he say a wolf?
ALEX
Yes, I believe he did.
Dr. Hirsch regards David thoughtfully.
14 INT. DR. HIRSCH'S OFFICE - DAY
Dr. Hirsch is on the phone, he is referring to a desk
calendar.
DR. HIRSCH
But Roger is so terribly
boring. Yes, dear, but
couldn't we...I see.
(he makes a note)
Thursday at eight, dinner with
boring Roger. Yes, I'm sure I
will; if I survived Rommel, I
suppose I'll survive another
excruciating evening with
Roger Mathison. Be a good
girl. Bye.
He hangs up very disgruntled. The intercom buzzes.
DR. HIRSCH
Yes?
SECRETARY (V.O.)
Lt. Villiers and Sgt. McManus
are here to see you, Doctor.
DR. HIRSCH
Send them in.
He rises to greet the two police officers, one tall,
the other rather pudgy.
LT. VILLIERS
Dr. Hirsch?
DR. HIRSCH
Come in, come in. Please sit.
Some tea?
The cops sit down, Lt. Villiers immediately produces a
small notebook.
LT. VILLIERS
No, thank you.
SGT. McMANUS
I'd like some tea, please.
Lt. Villiers shoots the sergeant a withering look.
SGT. McMANUS
Maybe not. No thanks. Maybe
later.
DR. HIRSCH
It's no problem.
LT. VILLIERS
No, thank you, Doctor.
DR. HIRSCH
Well, then, what can I do for
Scotland Yard?
SGT. McMANUS
We understand the Kessler boy
has regained consciousness.
Lt. Villiers glares at McManus.
SGT. McMANUS
Sorry.
LT. VILLIERS
Has Mr. Kessler said anything
regarding the attack on the
moors?
The intercom buzzes.
DR. HIRSCH
Excuse me. Yes?
SECRETARY (V.O.)
Roger Mathison, Doctor.
DR. HIRSCH
What here?
SECRETARY (V.O.)
He's on the telephone.
DR. HIRSCH
Tell him I'm out. No, tell
him I've passed away. An old
war wound or something. Tell
him I'm dead. And no more
calls!
He turns from the intercom back to the cops.
DR. HIRSCH
You were saying?
LT. VILLIERS
Has David Kessler anything to
say concerning the attack on
the moors?
DR. HIRSCH
Why don't we ask him?
15 INT. HOSPITAL ROOM - DAY
David sits up in bed. Lt. Villiers and Sgt. McManus
stand by his side. Dr. Hirsch sits observing.
DAVID
I'm sorry if I conflict with
your report, but Jack and I
were not attacked by a man.
LT. VILLIERS
So you've said.
SGT. McMANUS
He may have a point,
Lieutenant. Two strong boys
would be able to defend
themselves against one man.
LT. VILLIERS
Sgt. McManus, are you
suggesting that David and Jack
were, in fact, attacked by
some animal and that the
officialdom of East Proctor
has conspired to keep it a
secret? We have an autopsy
report on the murderer who was
shot in the act by the local
police. We have two witnesses
to the crime. You'll forgive
me, Mr. Kessler, if I consider
your testimony as coming from
someone who has gone through a
terrible shock.
SGT. McMANUS
Lieutenant, the boy seems
pretty lucid to me and....
LT. VILLIERS
And what, Sergeant?
SGT. McMANUS
(defeated)
I don't rightly know, sir.
LT. VILLIERS
That is precisely my point.
David, as far as we are
concerned, the matter is
closed. We won't trouble you
any further. Good day.
The lieutenant goes for the door. The sergeant smiles
at David and follows.
LT. VILLIERS
Doctor.
The cops exit. Dr. Hirsch crosses to David's bed.
DAVID
There were witnesses?
DR. HIRSCH
So they said.
DAVID
How could there have been
witnesses? It was so dark.
We were running and I fell and
Jack went to help me up and
this thing came from
nowhere...I don't understand
what they're talking about.
DR. HIRSCH
In time I'm sure it will all
come back to you.
DAVID
Doctor, my memory is fine.
It's my sanity I'm beginning
to worry about.
CUT TO:
16 EXT. DENSE FOREST - DAY
Again the handheld camera is running furiously through
the woods. Heavy breathing and the sounds of the
runner crashing through the foliage. The camera runs
for a while then suddenly stops short near a tree.
David abruptly enters frame, animal-like, the tenseness
of a startled cat. His head makes sudden movements,
looking about.
CLOSEUP
of his flared nostrils and perked up ears accenting his
animalness.
DAVID
takes off and now we run with him. He runs fast and
gracefully, taking long strides and leaps. We run with
him faster and faster sharing in his exhilaration. We
see him completely as the animal, study his movement
and grace as if watching a gazelle. Suddenly he stops
again, alert, listening. He moves with stealth, slowly
he pushes some leaves aside.
CLOSEUP
of his eyes.
DAVID'S P.O.V.
Several deer in the forest; they sense something and
freeze, the camera noting a fawn next to a doe. The
buck turns his head, feeling the danger.
CUT TO:
DAVID
Shots showing the muscles in his legs and shoulders
tensing.
CLOSEUP
of David's eyes.
CLOSEUP
of the frightened deer.
CUT BACK
TO:
CLOSEUP
of David's eyes.
CUT BACK
TO:
THE FAWN
as it is leapt upon, its terrified face leaving frame
as David forces it down. David's head reenters frame,
his mouth full of flesh, his face and hands covered
with blood. He howls in triumph.
17 INT. HOSPITAL ROOM - NIGHT
The lights are subdued and David's asleep. The door
opens, a shaft of light penetrates the room. Miss
Gallagher enters with a small tray. She crosses to
David, turns on the bed light and touches him.
MISS GALLAGHER
Mr. Kessler? Wake up, please.
DAVID
(awakened)
I was having a nightmare.
Miss Gallagher is very efficient in administering the
pills and pouring a glass of water.
MISS GALLAGHER
Yes, well these should help
that. That's right, drink up.
David takes the pills.
MISS GALLAGHER
Now go back to sleep so you'll
be fresh for Dr. Hirsch in the
morning.
DAVID
What time is it?
MISS GALLAGHER
It's nearly eight. I'm off
duty shortly, then I'm off to
the films with Alex.
DAVID
Alex?
MISS GALLAGHER
Miss Price, the other nurse
that attended you.
DAVID
What are you going to see?
MISS GALLAGHER
An American film about the
Mafia called `See You Next
Wednesday', and I want to see
it badly, so you give me no
problems and go to sleep.
DAVID
(dropping off)
Do you have bad dreams, too?
MISS GALLAGHER
Some, everyone does.
DAVID
Yes, but does everyone kill
Bambi?
MISS GALLAGHER
Bambi?
David has fallen asleep. Miss Gallagher turns off the
light, picks up her tray and pauses in the doorway.
MISS GALLAGHER
Kill Bambi?
She exits, closing the door plunging the room into
darkness.
18 INT. HOSPITAL NURSES' STATION - DAY
The corridor is busy with orderlies pushing gurneys
about, doctors, visitors, and patients all performing
appropriate background actions. Behind the Nurses'
Counter, Alex is typing some forms and an older,
obviously senior nurse is filling some paper cups with
different sizes and colors of pills she is taking from
the drug cabinet. She is MRS. HOBBS, the chief nurse.
MRS. HOBBS
Miss Price.
ALEX
Yes, Mrs. Hobbs.
MRS. HOBBS
Take these round now, will you
please? The American boy in
twenty-one is only to have
these after he's eaten. Will
you be sure of that?
ALEX
Has he been refusing food?
MRS. HOBBS
Nothing quite as dramatic as
that, Miss Price. He just
doesn't eat enough of what is
put before him. He suffers
from nightmares. I'd think he
just needs a hand to hold.
ALEX
Yes, Mrs. Hobbs.
Alex takes the cups handed to her and makes her way
down the hallway, pausing a moment to straighten her
appearance. She enters.
19 INT. CHILDREN'S WARD - DAY
A ward with seven or eight beds in it, all occupied.
She goes to a little Pakistani boy named BENJAMIN.
ALEX
Hello, Benjamin.
BENJAMIN
No.
ALEX
No what?
BENJAMIN
No.
ALEX
Well, all right then, be that
way. Here, swallow this.
BENJAMIN
No.
Alex pours a glass of water, gives the pill to Benjamin
who promptly takes it and then drinks the water,
handing Alex back the glass.
ALEX
Feeling better?
BENJAMIN
No.
ALEX
The doctor will be round
later. Would you like a
picture book to look at? We
have some lovely funny Beanos.
BENJAMIN
No.
ALEX
Right.
She exits, pausing in the hall to speak to a black
Jamaican ORDERLY pushing a cart of lunch trays into
Benjamin's ward.
20 INT. HOSPITAL CORRIDOR - DAY
ALEX
Has the patient in twenty-one
gotten his tray yet?
ORDERLY
The American? Yes, duck.
ALEX
How did he look?
ORDERLY
What do you mean, `how did he
look'?
ALEX
You know, did he seem
depressed? Do you think he'll
eat the food?
ORDERLY
(annoyed)
I'm an orderly, not a bleeding
psychiatrist! I push things
about, but I've little say
what happens to them.
ALEX
Thank you.
Alex holds up her head and proceeds to David's room.
She hesitates, then peeks in.
21 INT. HOSPITAL ROOM - DAY
The curtains are drawn and David's lunch waits
patiently on its tray alongside of the bed. David is
apparently asleep. Alex enters softly.
ALEX
(softly)
Mr. Kessler?
DAVID
(lifeless)
Yes?
ALEX
You haven't eaten your lunch.
DAVID
I'm not very hungry, thank
you.
ALEX
I'm afraid you have to eat
something.
DAVID
Please, really. I'm not
hungry.
ALEX
You put me in an awkward
position, Mr. Kessler.
DAVID
How is that?
ALEX
(she shakes the paper cup)
Well, you're to take these
after you've eaten. Now what
kind of nurse would I be if I
failed in so simple a task as
giving out some pills?
DAVID
Leave the pills. I'll take
them later.
ALEX
Sorry.
She opens the curtains, daylight fills the room.
DAVID
Aw come on, Miss Price!
ALEX
Call me Alex.
DAVID
Aw come on, Alex!
ALEX
Shall I be forced to feed you,
Mr. Kessler?
David is getting interested.
DAVID
Call me David.
ALEX
Shall I be forced to feed you,
David?
DAVID
This is absurd. I'm not
hungry. I don't want any
food.
ALEX
Right.
Alex efficiently removes the covers from the dishes and
sits on the edge of the bed. Taking knife and fork in
hand, she neatly cuts David's food into pieces. David
watches all this amused. She places a napkin under
David's chin and holds up his first bite on his fork.
David folds his arms and refuses to open his mouth.
ALEX
Let's try a little harder,
shall we?
DAVID
Will you give me a break?
Alex grabs David's nose forcing his mouth open quickly,
shoving the fork in it. David is startled, but amused
and chews his food slowly and swallows it. Alex holds
up another bite.
ALEX
Will I have to take such
drastic action again, David?
David opens his mouth obediently. Alex almost smiles.
She feeds him for a while; they are both sizing each
other up. Finally:
DAVID
May I have a glass of milk?
Alex smiles.
FADE OUT
FADE IN
22 EXT. DENSE FOREST - DAY
Again we are running fast and faster. David again
running naked, flying through the green forest. He
stops suddenly, ears perked, he looks about and then we
hear Jack's o.s. screams. The voice of Jack screams:
JACK (O.S.)
David! David! Please help
me! Oh God! David! Oh my
God!
David turns in blind panic, he runs (and we run with
him) desperately trying to find the source of Jack's
screams.
He comes to a clearing in the woods, light streaming
through the tall trees. Jack's screams halt in mid-
word. David looks in disbelief at the clearing. There
is a hospital bed with someone in it. It is the same
as David's.
David walks toward it slowly. The figure in the bed
lays still. It grows dark, very dark, and David looks
up at the full moon. There is a howl identical to the
one heard earlier back on the moors. David approaches
the bed slowly, fearfully. We hear ocean noises on the
soundtrack, the sound of crashing surf. David reaches
out to pull back the covers, lightning and thunder
cause him to hesitate for a second. Silence. The
camera remains on David as he pulls off the covers.
His face registers total disbelief and increasing
horror.
We cut to the bed to find - DAVID. He lies there, pale
white with purple lips and death pallor.
The camera begins to move in on the corpse of David.
Cut back to the standing David's terrified face; then
continue until David's death mask fills the screen.
The face remains still for several beats, then suddenly
opens its bright yellow eyes and red mouth revealing
fangs in a bloodcurdling wail which carries over in
the....
CUT TO:
23 INT. HOSPITAL NURSES' STATION - NIGHT
Mrs. Hobbs hears David's screams and efficiently calls
out....
MRS. HOBBS
Orderly! Miss Gallagher!
Miss Gallagher and an ORDERLY appear at once.
MRS. HOBBS
Orderly, go at once to twenty-
one and restrain the patient.
The orderly exits.
MRS. HOBBS
Miss Gallagher, remain here at
the desk. I'll be in twenty-
one.
She exits.
24 INT. HOSPITAL ROOM - DAY
It is bright, daylight, and Dr. Hirsch gazes
thoughtfully out the window.
DR. HIRSCH
You've never had bad dreams
before?
DAVID
(upset)
Sure, as a kid. But never so
real. Never so bizarre.
Dr. Hirsch crosses over and sits on a chair by the bed.
DR. HIRSCH
Did you get a good look at the
man who attacked you?
DAVID
I've told you, it wasn't a
man. It was an animal. A big
wolf or something. A rabid
dog.
DR. HIRSCH
(chewing on his glasses)
Yes.
DAVID
Look, Dr. Hirsch, I know I've
been traumatized, but Jack was
torn apart. I saw him. A man
can't do that to someone with
his bare hands.
DR. HIRSCH
You'd be surprised what
horrors a man is capable of.
DAVID
Did you see Jack?
DR. HIRSCH
No. In fact, your wounds were
cleaned and dressed before you
arrived here.
DAVID
Did you talk to the police in
East Proctor? Did the cops go
to The Slaughtered Lamb?
DR. HIRSCH
I really don't know.
DAVID
Then why the hell are you so
quick to disbelieve me? You
yourself said it must have
taken incredible strength to
tear apart a person like that.
DR. HIRSCH
(rubs his forehead)
David, please. The police are
satisfied. I'm certain that
if a monster were out roaming
northern England we'd have
seen it on the telly.
DAVID
You really think I'm crazy,
don't you?
DR. HIRSCH
Believe me. The Hound of the
Baskervilles was an invention
of Sir Arthur Conan Doyle's.
And if you'd read the bloody
book, you'd find that Holmes
discovered your house of hell
a fraud, a fake.
There is an awkward silence as David sits and Dr.
Hirsch is embarrassed at raising his voice.
DR. HIRSCH
Now really, David. You're far
too intelligent to go on this
way. When you return to
America I want you to seek out
a competent psychiatrist or
psychologist or something and
stop this nonsense. You'll be
leaving this hospital in three
or four days, please remain
sane. At least until you are
no longer our responsibility.
Dr. Hirsch goes to the door.
DAVID
Dr. Hirsch?
(pause)
I'd rather not be by myself.
DR. HIRSCH
Of course not, David. I'll
fetch in young Miss Price.
DISSOLVE
TO:
25 INT. HOSPITAL ROOM - NIGHT
Alex sits next to David's bed. Her shoes are off and
she has her feet tucked up under her legs on the chair.
The room is dark except for the lamp by which she
reads. She is reading A Connecticut Yankee in King
Arthur's Court by Mark Twain. David is asleep. Alex
reads for a bit, then puts down the book and yawns.
She gets up and stretches, a big spreading arms and
feet, fingers and toes stretch.
DAVID
(quietly)
You're a very beautiful girl.
ALEX
(embarrassed)
I thought you were asleep.
DAVID
I was. What are you reading?
ALEX
`A Connecticut Yankee in King
Arthur's Court' by Mark Twain.
DAVID
Do you like it?
ALEX
I've just started it. My
friend gave it to me.
They look at each other.
ALEX
What do you dream about?
DAVID
I dream of death mostly.
ALEX
I'm sorry. I shouldn't have
asked you.
DAVID
It's okay. I want to talk to
you.
They sit and look at each other for a while longer.
DAVID
How old are you?
ALEX
That's not really a very
proper question.
DAVID
How old are you?
ALEX
Twenty-eight.
DAVID
I'm twenty-seven.
ALEX
I know.
DAVID
Now what do you want to talk
about?
ALEX
Was Jack Goodman your good
friend?
DAVID
(seriously)
My best friend. My very best
friend.
ALEX
(embarrassed)
Shall I read to you?
DAVID
What? Oh, yes, please.
ALEX
(opens book)
A Connecticut Yankee in King
Arthur's Court by Samuel L.
Clemens. This is after the
preface but before chapter
one: A Word of Explanation.
You all right?
DAVID
(settles back)
Yes, go on.
ALEX
(clears her throat)
Ahem, A Word of Explanation.
It was in Warwick Castle that
I came across the curious
stranger whom I am going to
talk about. He attracted me
by three things: his candid
simplicity, his marvelous
familiarity with ancient
armor, and the restfulness of
his company - for he did all
the talking. We fell together
as modest people will in the
tail of the herd....
DISSOLVE
TO:
26 INT. KESSLER HOME - NEW YORK - NIGHT
We are at David's parents' house in New York. His
FATHER sits reading the paper in the living room as his
younger BROTHER and SISTER watch "The Muppet Show" on
television. We can see past the small dining nook
where David sits doing homework and into the kitchen
where his MOTHER is washing the dishes. A peaceful
lower, middle class setting. All is tranquil and
secure. There is a loud pounding on the front door.
FATHER
I'll get it.
The pounding continues.
FATHER
All right, all right! Hold
your horses.
(The following happens with shocking speed.) When he
opens the door, four beings open fire with machine
guns, blowing him away. The sudden burst of violence
is terrifying and unrelenting. The four rush into the
room and the family looks at them in fearsome surprise
for these men are not human at all, but loathsome,
bestial demons dressed as Storm Troopers. One kicks in
the television and fires into the kitchen, blasting
David's mother. David rises but is forced back into
his chair by one of the things and held there.
DAVID
Stop!
He watches in horror as his little brother and sister
scream in terror before they are brutally murdered.
The monstrous Storm Troopers then set fire to the
rooms. The one holding David pulls a knife and quickly
slits David's throat.
CUT TO:
27 INT. HOSPITAL ROOM - NIGHT
David bolts upright in bed and looks around, trying
desperately to gain his bearings. He sees that Alex is
asleep in the chair by his bed, Connecticut Yankee
folded on her lap. He makes a deliberate effort to
calm himself. He considers waking her, then decides
against it. He turns on the lamp by his bed and
reaches over to take the book from Alex's lap. David
takes the book as gently as possible, but Alex wakes up
anyway.
ALEX
(yawns, smiles)
Hello. You all right?
DAVID
I'm sorry I woke you up.
ALEX
Don't be silly. Can I get you
something?
DAVID
No, thank you. Just keep me
company for a while.
ALEX
That's easy enough.
DAVID
I keep having these really
terrible dreams. They are
getting worse and I can't seem
to stop them.
ALEX
David, your dreams will stop.
You'll leave England and your
bad memories; and then this
will all fade away.
DAVID
Will you come with me?
ALEX
(taken aback)
What?
DAVID
(smiling)
I'm serious. You don't know
me and I know nothing about
you. We have a perfect
relationship.
ALEX
Now, David, I said I would
keep you company, but I meant
right here and now.
DAVID
Will you think about it?
ALEX
How did we get from your bad
dreams to my taking a holiday
with a patient?
DAVID
(big grin)
Not just a patient -- me.
ALEX
You're being awfully forward,
aren't you?
DAVID
Forgive me, I'm trying to
cheer myself up and an affair
with a beautiful nurse seemed
like just the thing to do it.
ALEX
(smiles)
All I am to you is a sex
fantasy then?
DAVID
Now I'm embarrassed.
ALEX
Good. I thought for a moment
I was the only embarrassed one
in the room.
There is an awkward pause.
DAVID
Where were we in the book?
Alex is relieved for something to break the tension.
ALEX
(looking through
the book)
Let me see here.
FADE OUT
FADE IN
28 INT. HOSPITAL ROOM - MORNING
The black Orderly hustles in with David's breakfast
tray, busily setting up the tray on the table over the
bed. He awakens the sleeping David with his activity.
ORDERLY
Ah you're up. Good morning
and a good day to you. We've
quite a meal for you here this
morning. Bacon, oatmeal,
orange juice, and toast with
jam. Good stuff there. Now
eat it up and I'll be back for
the dishes when you've
finished.
The Orderly exits. The drowsy David, who has been
trying to fully wake up during the Orderly's speech,
notices his exit.
DAVID
Good morning.
He looks at his food none too happily. He sticks a
spoon into the bowl of oatmeal and tastes is gingerly.
DAVID
(in mock English accent)
Please, sir, I want some more.
He settles down to eating, reaches over to butter his
toast and drink his juice. While he eats, we hear
Jack's o.s. voice.
JACK (O.S.)
Can I have a piece of toast?
David looks over to the o.s. Jack. Jack, behaving
relaxed and normal, sits in the chair last occupied by
Alex. However, Jack's appearance makes his casual
manner all the more surreal. He is as we left him
butchered on the moors. He is covered with dried mud
and open wounds. Huge glistening gashes abound on his
body. His face is scratched, his throat is badly torn,
and his hair is matted with blood. In several spots he
has already begun to rot. He is a remarkably gruesome
sight, but his physical state seems not to affect him
at all.
JACK
(pleasantly)
Nice to see you.
DAVID
(unbelieving)
Get the fuck out of here,
Jack.
JACK
Thanks a lot.
DAVID
(horrified)
This is too much. I can't
handle this.
JACK
I'm aware that I don't look so
great, but I thought you'd be
glad to see me.
Jack gets up and takes a piece of toast from David's
tray as David watches amazed. Jack returns to his seat
and takes a bite out of his toast. David stares at
Jack horrified.
JACK
David! You're hurting my
feelings.
DAVID
(astounded)
Hurting your feelings? Has it
occurred to you that it may be
unsettling to have you rise
from your grave to visit me?
Listen to me, I'm talking to a
hamburger!
JACK
I'm sorry to be upsetting you,
David, but I had to come.
DAVID
(aghast)
Aren't you supposed to be
buried in New York someplace?
JACK
Yeah. Your parents came to my
funeral. I was surprised at
how many people came.
DAVID
(resigned)
Why should you be surprised?
You were a very well-liked
person.
JACK
Debbie Klein cried a lot.
DAVID
I can't stand it.
JACK
So you know what she does?
She's so grief stricken she
runs to find solace in Rudy
Levine's bed.
DAVID
Rudy Levine the shmuck?
JACK
Life mocks me even in death.
Jack takes another bite of toast.
DAVID
(to himself)
I'm going completely crazy.
JACK
(loud)
David!
DAVID
(louder)
What?!
JACK
David, now I know this may be
hard for you, but I have to
warn you.
DAVID
(shouting)
Warn me? Will you get out of
here, you meat loaf?
JACK
I'm a grisly sight, it's true;
but I love you and that's why
I'm here. You've got to know.
DAVID
If you love me so much, Jack,
you'll realize how
disconcerting it is to share
one's breakfast with the
living dead!
JACK
We were attacked by a
werewolf.
DAVID
(covers his ears)
I'm not listening!
JACK
On the moors, we were attacked
by a lycanthrope, a werewolf.
DAVID
Shut up, you zombie!
JACK
I was murdered, an unnatural
death, and now I walk the
earth in limbo until the
werewolf's curse is lifted.
DAVID
(incredulous, furious)
What's wrong with you? Shut
up!
JACK
The wolf's bloodline must be
severed. The last remaining
werewolf must be destroyed.
DAVID
Will you be quiet?!
Jack rises and comes closer to David.
JACK
It's you, David.
DAVID
What?!
JACK
You survived and now you shall
continue the curse.
DAVID
What are you talking about? I
won't accept this! Get out!
God damit!
JACK
Remember what that guy at The
Slaughtered Lamb said?
`Beware the moon.'
DAVID
(quietly)
Stop it, Jack.
JACK
Beware the moon. The full
moon, David. You've got two
days.
DAVID
(quietly)
Jack, please go away. Please
go away.
JACK
You'll stalk the streets of
London a creature of the
night.
DAVID
(flares up)
You're talking like Boris
Karloff! It's movie dialogue!
JACK
David, please believe me. You
will kill people, David.
You've got to stop the
bloodshed before it begins.
DAVID
(yells)
Nurse!
JACK
Listen to me! Take your own
life, David. It's our only
chance.
DAVID
Nurse!
JACK
The supernatural! The powers
of darkness! It's all true.
Take your own life! Suicide,
David. Join me.
DAVID
(losing it)
Nurse! Oh God! Alex!
JACK
It's cold, David, and I'm so
alone. The undead surround
me. Have you ever talked to a
corpse? It's boring! I'm
lonely! Kill yourself, David,
before you kill others.
29 INT. HOSPITAL - NURSES' STATION - DAY
Alex rushing down the hospital corridor.
30 INT. HOSPITAL ROOM - DAY
David rocking back and forth weeping.
JACK
Don't cry, David.
31 INT. HOSPITAL CORRIDOR - DAY
Alex rushing down hospital corridor.
32 INT. HOSPITAL ROOM - DAY
JACK
Please don't cry.
33 INT. HOSPITAL CORRIDOR - DAY
Alex rushing to the door.
34 INT. HOSPITAL ROOM - DAY - CLOSEUP
JACK
(softly in looming
closeup)
Beware the moon, David.
CUT TO:
ALEX
as she bursts into the room.
CUT TO:
DAVID
laying in bed rocking from side to side, crying softly.
He is alone. Alex rushes over, removes the tray, sits
on the bed and hugs David.
ALEX
David? David!
David pulls away sharply, his head jerking about wildly
until he focuses on Alex's face and begins to breathe
easier.
ALEX
David, what's wrong?
David smiles and kisses her, a real kiss.
DAVID
(quietly)
I'm a werewolf.
ALEX
A werewolf?
Alex holds David a moment then realizes where she is
and backs off a little. David composes himself.
ALEX
Are you better now?
DAVID
I'll let you know the next
full moon.
ALEX
You're to be discharged
tomorrow. Will you be all
right?
David takes Alex's hand.
DAVID
My friend Jack was just here.
ALEX
Your dead friend Jack?
DAVID
Yeah. He says that I will
become a monster in two days.
What do you think?
ALEX
What do I think? You mean
about the possibility of your
becoming a monster in two days
or about visits from dead
friends?
DAVID
I was dreaming again?
ALEX
I would think so.
DAVID
(resigned)
Yeah, I would think so, too.
Alex considers for a while, finally....
ALEX
Do you have a place to stay in
London?
CUT TO:
35 EXT. APARTMENT BUILDING - DAY
David and Alex walking down the street. Alex points
out her flat and leads David up the front steps. She
gives him a conspiratorial look and unlocks the door.
36 INT. ALEX'S FLAT - DAY
Alex enters and David follows. A small, utilitarian
apartment, she flicks on the kitchen light. David puts
his backpack on the floor.
ALEX
The kitchen.
DAVID
Very nice.
She proceeds to give the tour.
ALEX
Closet.
DAVID
Charming.
ALEX
Bathroom.
DAVID
Lovely.
ALEX
The bedroom.
DAVID
There is only one bed.
ALEX
(makes a face)
David, perhaps you'd like to
watch the telly while I take a
shower.
Alex enters the room and David whistles softly, rocking
on his heels.
37 INT. BATHROOM - DAY
David and Alex stand facing each other under the stream
of water in the shower.
DAVID
It's nice to see you.
ALEX
It's nice to see you.
MONTAGE IN SHOWER - DAY
A sequence of soap and flesh. Van Morrison's
"Moondance" plays. A montage of soapy hands on
slippery skin. Thighs rubbing thighs, arms and
shoulders. David and Alex kiss again and again and....
38 INT. ALEX'S BEDROOM - DAY
David and Alex in a passionate, orgasmic kiss in Alex's
bed. David pulls out and they lay holding each other.
After a moment....
DAVID
Alex?
ALEX
Yes?
DAVID
Will you be here in about
fifteen minutes?
ALEX
Of course.
DAVID
(leers)
Good.
Alex props herself up on one elbow.
ALEX
David, you don't honestly
believe that in reality your
friend Jack rose from the
grave to breakfast with you?
Do you really?
DAVID
I was awake and he was in my
room.
ALEX
But, David.
DAVID
(firm)
I wasn't hallucinating.
Pause.
ALEX
(smiles)
Tomorrow is the full moon.
DAVID
That's good, Alex. Reassure
me.
Alex begins kissing David's neck.
DAVID
It's all right, I know I'm
being insane.
She kisses his shoulders, then his chest.
DAVID
Okay, okay. I'm properly
reassured!
Alex is now kissing his stomach, her head gradually
lowers from frame. David reaches back over his head to
hold onto the headboard of the bed.
DAVID
(closing his eyes)
This is very reassuring. I'm
feeling very reassured.
DISSOLVE
TO:
INT. ALEX'S BEDROOM - NIGHT
Alex is asleep holding David. David carefully lifts
her arm and gets out of bed. He is naked. He tiptoes
out of the room and goes to the bathroom.
39 INT. ALEX'S BATHROOM - NIGHT
David lifts the toilet seat and pees. He winces,
hoping the steady stream doesn't awaken Alex. When
he's finished peeing he goes to the sink. The medicine
cabinet door over the sink is open. When David closes
it he (and the audience) is terrified to see Jack
reflected standing behind him. (Note: This is a big
scare.) Bloodied and horrible, Jack has continued to
rot and looks even worse than when we last saw him.
David chokes out a strangled cry, closes his eyes
tightly and then reopens them. Jack is still there in
the mirror. When David turns around Jack is standing
in the doorway.
DAVID
(points a trembling
finger)
You're not real.
JACK
Don't be an asshole, David.
Come here.
David, clearly troubled, follows Jack into the living
room.
40 INT. ALEX'S LIVING ROOM
Jack sits down and motions for David to sit also. He
does. David's conversation is in whispers, so as not
to wake up Alex.
DAVID
What are you doing here?
JACK
I wanted to see you.
DAVID
Okay, you've seen me. Now go
away.
JACK
David, I'm sorry I upset you
yesterday, but you must
understand what is going on.
DAVID
I understand all right.
You're one of the undead and
I'm a werewolf.
JACK
Yes.
DAVID
Get out of here, Jack!
JACK
David, tomorrow night is the
full moon. You'll change,
you'll become....
DAVID
(interrupting)
A monster. I know, I know.
JACK
You must take your own life
now, David, before it's too
late.
DAVID
Jack, are you really dead?
JACK
What do you think?
DAVID
I think I've lost my mind. I
think you're not real. I
think I'm asleep and you're a
part of another bad dream.
JACK
You must believe me.
DAVID
What, Jack? That tomorrow
night beneath the full moon
I'll sprout hair and fangs and
eat people? Bullshit!
JACK
The canines will be real.
You'll taste real blood! God
damit, David, please believe
me! You'll kill and make
others like me! I'm not
having a nice time, David!
Don't allow this to happen
again! You must take your own
life!
DAVID
(shouts)
I will not accept this! Now
go away!
41 INT. ALEX'S BEDROOM - NIGHT
Alex wakes up from the shouting.
ALEX
David?
42 INT. LIVING ROOM - NIGHT
JACK
(quietly)
This is not pretend, David.
DAVID
(righteous)
I will not be threatened by a
walking meat loaf!
Alex enters the room.
ALEX
David, what's wrong? I heard
voices.
David turns and sees that Jack is gone.
DAVID
(triumphant)
It was just me, Alex. It was
just me.
43 EXT. EAST PROCTOR - DAY
Dr. Hirsch is driving down the main street in his red
M.G. He parks in front of The Slaughtered Lamb.
44 INT. THE SLAUGHTERED LAMB - DAY
The pub is less crowded than when we were here last.
The Dart Player is behind the bar cleaning glasses, the
Chess Player is still at the chessboard. Dr. Hirsch
enters and crosses to the bar. As he removes his
gloves:
DR. HIRSCH
A drink for a very cold man?
The Woman comes in from the back.
WOMAN
Hello, there. What can I get
you?
DR. HIRSCH
Campari and soda would do
nicely.
WOMAN
Sorry, love.
DR. HIRSCH
I suppose Guinness will
suffice.
She serves him his beer. As he lays down his money...
DR. HIRSCH
A thousand thanks.
After a few sips.
DR. HIRSCH
Nasty bit of business with
those two young American boys.
The Dart Player stops his wiping.
DART PLAYER
I'm afraid I don't know what
you mean, sir.
DR. HIRSCH
Yes, I'm sure that's right. A
few weeks ago, the last full
moon wasn't it?
The Chess Player turns in his chair to get a good look
at Dr. Hirsch.
DR. HIRSCH
I mean that escaped lunatic.
The one that killed the boy.
Wasn't that near here?
CHESS PLAYER
(concerned)
And where are you from, sir?
Dr. Hirsch crosses and joins the Chess Player at his
table.
DR. HIRSCH
London. Knight takes pawn.
CHESS PLAYER
What?
Sees that Dr. Hirsch was talking about his game....
CHESS PLAYER
Oh, yes, yes.
Dr. Hirsch points to the pentangle on the wall.
DR. HIRSCH
What's that?
WOMAN
(nervously)
Oh, that's been there for two
hundred years. We were going
to paint it out, but it's
traditional, so we left it.
DR. HIRSCH
I see. You've heard nothing
about the incident?
DART PLAYER
Incident?
DR. HIRSCH
The murder?
CHESS PLAYER
Are you a police officer?
DR. HIRSCH
(smiles)
No, no, hardly. I work in the
hospital where the Kessler boy
was brought.
The Dart Player and Chess Player exchange a look.
DR. HIRSCH
He was talking about
werewolves and monsters and as
I was near here I thought....
DART PLAYER
You thought what?
DR. HIRSCH
I thought I'd look into the
boy's story.
CHESS PLAYER
(scoffs)
A story about werewolves - now
really, sir.
Dr. Hirsch eyes the Chess Player.
DR. HIRSCH
Would you like a game of
chess?
45 INT. ALEX'S FLAT - DAY
We find Alex and David in an embrace by the front door.
Alex is dressed in her nurse's uniform and David has
jeans and a T-shirt on. He is shoeless and obviously
not going out. Alex pulls away.
ALEX
Let me go now, you'll make me
late.
DAVID
Do me an enormous favor?
ALEX
Anything.
DAVID
Tell me that it's silly of me
to be apprehensive.
ALEX
It's silly of you to be
apprehensive.
DAVID
Werewolves simply do not
exist.
ALEX
(serious)
David, do you want me to stay
here tonight?
DAVID
Yeah, I do, but go to work.
He opens the door and they both go outside.
46 EXT. APARTMENT BUILDING - LATE AFTERNOON - ALEX AND
DAVID
walk to the sidewalk. It is rather chilly.
ALEX
Listen, if you get too
anxious, call me at the
hospital, okay?
DAVID
Okay.
ALEX
I've left those pills for you.
DAVID
A doper werewolf.
They kiss again.
ALEX
I'm off. There's food in the
fridge.
DAVID
See you later.
Alex goes off, turning for a last wave. David stands
looking after her when a LITTLE GIRL walking a dog
passes by. The dog, on seeing David, begins to growl
and snarl.
DAVID
(to dog)
What did I do?
The dog begins barking ferociously, the little girl
tugging on his leash.
DAVID
Thanks a lot, dog.
He realizes just how cold he is outside and runs back
up the steps to find the door locked.
DAVID
Wonderful.
Cut to shot of David's bare feet on the cold stone. He
mutters to himself, imitating a newscaster.
DAVID
An American werewolf was found
frozen to death today in the
heart of London, England.
He looks around and sees that there is a small window
ajar on the side of the flat about eleven feet off the
ground, which can be reached by climbing a brick wall,
which he does but not without damage to his bare toes.
At the top of the wall is a cat that begins to hiss on
seeing David. The hair stands up on its arched back
and it glares at David, hissing and spitting. David is
disturbed by the cat's hostile behavior.
DAVID
What did I do, cat?
The cat is really acting fierce. When David goes to
pat it cautiously, it screeches and runs away. David
is, by this time, not amused. David manages to pull
himself into the window.
47 INT. ALEX'S BATHROOM - DUSK
David awkwardly enters the bathroom through the tiny
window. Finally getting both feet on the ground, he
steps to the sink and regards himself in the mirror.
DAVID
(weakly)
Snarl. Growl. Grrrr.
He examines his mouth, touching his canines carefully.
After a while he sighs and goes into the kitchen.
48 INT. ALEX'S KITCHEN - DUSK
David goes straight to the fridge and opens it. He
closes the fridge and walks into the bedroom.
49 INT. ALEX'S BEDROOM - DUSK
He lays down on the bed. After a few beats of staring
at the ceiling, he rises and goes back into the
kitchen.
50 INT. ALEX'S KITCHEN - DUSK
He reopens the fridge.
DAVID
I'm not hungry.
He closes the fridge and walks into the living room.
51 INT. ALEX'S LIVING ROOM - DUSK
David turns on the television. On Thames is a soccer
match. On BBC 1 is some truly insipid children's
program, and on BBC 2 is a soccer match. David
switches off the television.
He sits on the chair nervously, drumming his fingers
and humming.
DAVID
(singing)
`Moon River, wider than a mile
I'm crossing you in style,
Someday....'
David gets up, goes to the front door, and flings it
open. It is getting dark. David views this fearfully,
but still not completely convinced. He goes back
inside and we note that the front door is not
completely closed. He goes back into the bathroom and
looks into the mirror.
DAVID
Fee fi fo fum, I smell the
blood of an Englishman.
He goes back into the living room and paces round and
round the room like a caged animal.
52 INT. CHILDREN'S WARD - NIGHT
Alex is back with Benjamin, the little Pakistani.
ALEX
How are we feeling tonight?
BENJAMIN
No.
ALEX
No what?
BENJAMIN
No!
ALEX
(smiling)
Benjamin, have you ever been
severely beaten about the face
and neck?
BENJAMIN
No.
ALEX
I thought not.
She tucks him in.
ALEX
You sleep now and have sweet
dreams.
BENJAMIN & ALEX
No!
For the first time, Benjamin smiles. As Alex tucks him
in, we can clearly see the full moon outside through
the window.
53 INT. ALEX'S FLAT - NIGHT
David sits reading Connecticut Yankee when he suddenly
clutches his head in pain.
DAVID
Jesus Christ!
He stands in agony, the book falls to the floor.
DAVID
(screams)
What? Christ! What?
He begins sweating profusely, clinging to the sides of
his head. He trembles violently.
DAVID
I'm burning up! Jesus!
He rips at his shirt, tearing it off. His body is
dripping wet.
DAVID
(shouts out in
pain and fear)
Jack!? Where are you now, you
fucker!?!
As a new spasm of pain wracks his body, he cries out in
anguish.
DAVID
Help me! Somebody help me,
please! Jack!!
David's hair is wringing wet. He screams and grabs at
his legs.
DAVID
(pleading, whimpering)
I'm sorry I called you a meat
loaf, Jack.
New bolts of agonizing pain wrack through David's body.
He grabs at his pants, pulling them off as if they are
burning him.
Standing naked in the center of the room, David gasps
for air.
He falls to his knees and then forward on his hands.
He remains on his hands and knees, trying to master his
torment; but it's no use. On all fours he gives
himself over to the excruciating hurt and slowly begins
to change.
The metamorphosis from man into beast is not an easy
one. As bone and muscle bend and reform themselves,
the body suffers lacerating pain. We can actually see
David's flesh move, the rearranging tissue. His mouth
bleeds as fangs emerge. His whole face distorts as his
jaw extends, his skull literally changing shape before
our eyes. His hands gnarl and his fingers curl back as
claws burst forward.
The camera pans up to show the full moon outside
through the window. David's moans change slowly into
low guttural growls. We hear the four footfalls as the
WOLF begins to walk. As the camera pans back over the
room, we see the front door pushed open and hear the
Wolf padding off into the darkness.
54 EXT. RESIDENTIAL STREET - NIGHT
A taxi pulls up in front of a block of flats. An
attractive couple gets out. The Man pays the driver
and the cab drives off.
WOMAN
Which one, Harry?
MAN
Number thirty-nine, but let's
go `round the back.
WOMAN
Why?
MAN
Come on, we'll give Sean a
scare.
WOMAN
You're crazy, Harry.
HARRY
Come on.
Harry takes her hand and leads her around the side of
the flats. The apartments back up to a park and the
two walk around to the rear. The park is dark and
quiet.
55 EXT. PARK - NIGHT
WOMAN
Did you hear something?
HARRY
Just now?
WOMAN
Yes.
HARRY
No. Here we are, Sean's is
the one....
THE WOLF SPRINGS! Before the Woman can scream, the
Wolf whirls around and goes for her throat. We can't
see clearly, but we see enough to realize how large the
Wolf is and that its wolfen features are twisted and
demonic. The Wolf savagely devours its two victims.
56 INT. SEAN'S FLAT - NIGHT
Sean's wife is looking through their French windows out
onto the park - a middle-aged couple.
WIFE
Sean, those hooligans are in
the park again.
SEAN
Aren't you ready yet? They'll
be here any minute.
WIFE
Something's going on out
there.
57 INT. HOSPITAL - NURSES' STATION - NIGHT
Miss Gallagher is helping Mrs. Hobbs dispense
medication into paper cups when Dr. Hirsch approaches.
He is still wearing his overcoat.
DR. HIRSCH
Is Miss Price on duty this
evening?
MRS. HOBBS
Yes, Doctor.
DR. HIRSCH
Miss Gallagher, do you know if
Miss Price has seen the
Kessler boy since his release?
Miss Gallagher is not sure how to answer.
MISS GALLAGHER
Uh, I don't know if....
Alex has walked up and overheard the last.
ALEX
It's all right, Susan. Yes,
Doctor, I have.
DR. HIRSCH
Come to my office, Miss Price.
Alex and Susan exchange glances as she obediently
follows Dr. Hirsch down the hallway.
58 EXT. PARK - NIGHT
Sean has exited the back of his flat to investigate his
wife's complaints. She hangs by the door. He walks
deeper into the park.
SEAN
(calls out)
Is anyone there?
59 INT. DR. HIRSCH'S OFFICE - NIGHT
Dr. Hirsch hangs up his overcoat.
DR. HIRSCH
Sit down, Alex.
Alex sits and Dr. Hirsch leans against his desk.
DR. HIRSCH
I was in East Proctor today.
Alex looks confused. Dr. Hirsch realizes the cause of
her concern.
DR. HIRSCH
Oh dear girl, your
extracurricular activities are
of no consequence to me. I
don't give a damn who you
sleep with. I'm concerned
about David.
ALEX
Yes, sir.
DR. HIRSCH
It's a full moon. Where is
he?
ALEX
At my flat. I'm off at
midnight and....
Dr. Hirsch picks up the phone.
DR. HIRSCH
The number, Alex. Your
number!
60 EXT. PARK - NIGHT
Sean carefully approaches something near the trees. He
steps on something and looks down to see what it is.
It is an arm.
61 INT. ALEX'S FLAT - NIGHT - EXTREME CLOSEUP - THE
TELEPHONE
rings loudly. (This is a scare.) It continues to ring
unanswered.
62 INT. DR. HIRSCH'S OFFICE - NIGHT
Dr. Hirsch waits on the phone, finally hanging up.
DR. HIRSCH
He's not there.
Alex grows worried.
ALEX
He's not?
DR. HIRSCH
Alex, has David persisted in
his werewolf fantasies?
ALEX
Well, yes, but he seems to be
more upset by the death of his
friend.
DR. HIRSCH
Has his friend appeared to him
again?
ALEX
Yes.
DR. HIRSCH
What did he say?
ALEX
David says Jack comes to warn
him.
DR. HIRSCH
Warn him?
ALEX
Dr. Hirsch, what's wrong? Is
this more serious than I know?
DR. HIRSCH
I tried to investigate the
attack. There are no records.
The case was closed and now
they've `misplaced' the file.
David's lacerations were
cleaned and dressed when he
arrived here and yet
supposedly no doctor examined
him before I did. The Goodman
boy is already in the ground
so he's no good to us. So I
went to the pub in East
Proctor where I was convinced
of two things.
ALEX
Yes.
DR. HIRSCH
They were lying. There were
no witnesses, no escaped
lunatic. The whole community
is hiding the truth of what
actually happened up there.
ALEX
And what else?
DR. HIRSCH
I think the village of East
Proctor is hiding some dark
and terrible secret. I'm
convinced that, like David,
they believe in this werewolf.
Alex is flabbergasted.
DR. HIRSCH
You've absolutely no idea
where David might be?
ALEX
No. He knows no one in
London, besides me. I
shouldn't have left him alone.
Suddenly.
ALEX
Surely you're not
suggesting....
DR. HIRSCH
David has suffered a severe
trauma. I myself witnessed
some form of mass neurosis in
East Proctor. If all the
villagers believe that Jack
Goodman was killed by a
werewolf, why shouldn't David?
And then it follows that if he
survived an attack by a
werewolf, wouldn't he himself
become a werewolf the next
full moon?
ALEX
(bewildered)
Dr. Hirsch?
DR. HIRSCH
Oh, I don't mean running about
on all fours and howling at
the moon. But in such a
deranged state he could harm
himself, or perhaps others.
ALEX
What shall we do?
DR. HIRSCH
Let's call the police and see
if they can help us find our
wandering boy.
63 EXT. BRICK LANE - NIGHT
The bombed-out ruins of this unsavory part of London
are stark and uninviting in the moonlight. Three old
DERELICTS are huddled around a trash can fire trying to
keep warm. A skinny dog is tied up beside them. Its
ears perk up and he growls in warning.
DERELICT #1
Old Winston smells something.
DERELICT #2
(calls out)
Who's there?
The dog begins to whine.
DERELICT #2
Let `im go.
Derelict #1 unties Winston who takes off running in
terror.
DERELICT #3
Brave dog that.
DERELICT #1
(worried)
Here - who's there?
An unearthly howl shatters the night. We've heard this
sound on the moors.
DERELICT #2
That's not Winston.
DERELICT #3
Look there.
He points out into the night. They strain their eyes -
something is approaching them. They can just make out
its size.
DERELICT #1
Mother Mary of God.
64 INT. SUBWAY STATION - NIGHT
A train SCREECHES to a halt. (A scare.) We are in the
tubes of London. Only one passenger disembarks and the
train goes off, leaving him alone in the cavernous
hallways. The PASSENGER is a young man, rather well-
dressed. He looks about the platform, then at his
watch. He walks up to a vending machine to buy a
Cadbury Chocolate Bar.
CUT TO:
INT. SUBWAY STATION - LONG SHOT
as the Passenger puts his coin in the vending machine.
The camera is on ground level and as we watch the
Passenger, the Wolf's legs flash by us.
CUT TO:
CLOSEUP
of the Passenger eating his chocolate bar. He turns
thoughtfully, wondering if he had heard something.
Satisfied that he is alone, he begins his walk down one
of the long serpentine tunnels that make up London's
tubes. He feels he's being followed and turns slowly
to look. There is no one and he continues, concerned
about his imagination.
CUT TO:
CLOSEUP - WOLF'S EYES
watching in the darkness.
BACK TO SCENE
Our Passenger approaches the first escalator, pauses,
then gets on going swiftly and silently up the moving
stairway.
CUT TO:
CLOSEUP - WOLF'S SNOUT
In profile we can see its ragged, razor-sharp fangs and
black tongue. It waits, panting, drool falls from its
mouth.
BACK TO SCENE
The Passenger reaches the landing and walks briskly
down the long tunnel marked "Escalator to Street
Level". He is being followed. He hears it and we hear
it. He stops, frightened.
PASSENGER
Hello?
CUT TO:
TUNNEL
Long and empty.
THE PASSENGER
PASSENGER
Is there someone there?
We hear the Wolf's heavy breathing. The Passenger is
beginning to panic.
PASSENGER
I can assure you that this is
not in the least bit amusing!
He looks around wildly.
PASSENGER
I shall report this!
PASSENGER'S P.O.V.
We see the Wolf at a great distance trotting down the
tunnel towards us.
PASSENGER
Good Lord.
THE PASSENGER
turns to flee, his jog becoming a run. He is
terrified.
WOLF - CLOSEUP
of the Wolf's running steps.
THE PASSENGER
frantically running, falls to the ground hard bloodying
his nose. He scrambles to his feet crying out in fear.
Reaching the escalator, he begins to run up the moving
stairs, falling several times. He sits, panting and
defeated, the blood trickling from his nose.
CUT TO:
WOLF'S P.O.V.
as it begins to climb the stairs. The camera tracks
slowly in on the increasingly horrified Passenger until
we are in an extreme closeup of his eyes, when we:
CUT TO:
65 CLOSEUP - A TIGER ROARING
(A scare.) The tiger paces in its cage and roars
again. We are at:
EXT. LONDON ZOO - DAY
It is early morning and all the animals are aroused.
We cut around to roaring cats, screeching monkeys, and
panicky birds, etc., until we come to the Wolves' cage
where we find David, naked and curled up on the ground
by the cage, asleep. David wakes up slowly. He is
completely naked, his body dirty, with several
scratches on his torso and legs. He yawns and
stretches, makes a face, and with his finger picks
something distasteful from his teeth. He also notices
something under his fingernails and as he goes to clean
them, he suddenly does a complete Stan Laurel
discovering where he is. He puts his hands over his
eyes.
DAVID
Wake me up, Alex.
He slowly peaks through his fingers; he's still there.
He stands up and looks around.
The zoo opens and women with prams and children hustle
about. David sees them coming towards him, notes his
lack of clothes, and decides it would be better for all
concerned if they did not meet. He looks around for a
suitable hiding place and dashes behind some bushes.
He crouches down so that he can't be seen, scratching
himself on a thorn.
DAVID
Ouch!
66 INT. ALEX'S FLAT - DAY
Alex sits holding David's torn T-shirt. She is trying
to read her book, but is just too distracted. The
phone rings and she runs for it.
ALEX
(excited, then
disappointed)
Hello? No, Dr. Hirsch, he
hasn't come back yet. Yes, I
will, doctor, but I just feel
so helpless sitting here doing
nothing. Thank you, yes,
goodbye.
She hangs up and looks around the empty flat. She is
now more worried than ever.
67 EXT. LONDON ZOO - DAY
David is still behind the bushes. He looks to see if
the coast is clear, then stands up and parts the
bushes. He steps out to confront a DOWAGER LADY.
DAVID
Hello.
CUT TO:
DOWAGER'S FACE
Dumbfounded.
DAVID
Excuse me, won't you?
He returns to the bushes.
CUT TO:
CLOSEUP - A GORILLA EATING
A LITTLE BOY with four helium balloons on a string is
staring intently at the gorilla. The Little Boy leaves
the monkey house and we travel with him as he looks at
several other animals. Eventually he comes to the Wolf
cage.
DAVID (O.S.)
Pssst!
The Little Boy looks around.
DAVID (O.S.)
Hey, kid! Pssst. Little boy
with the balloons.
The Little Boy pantomimes, "who me?"
CUT TO:
THE BUSHES
David cannot be seen.
DAVID (O.S.)
Come over here.
The Little Boy shakes his head. The bush replies:
DAVID (O.S.)
If you come over here, I'll
give you a pound.
The Little Boy shakes his head. The bush pleads.
DAVID (O.S.)
Two pounds?
The Little Boy shakes his head. The bush reasons:
DAVID (O.S.)
Listen, two pounds is a lot of
money. It's almost five
dollars.
LITTLE BOY
(very English)
I don't know who you are.
DAVID (O.S.)
I'm the famous balloon thief.
LITTLE BOY
Why would a thief want to give
me two pounds?
DAVID (O.S.)
(losing patience)
Come here and I'll show you.
The Little Boy starts cautiously towards the shrubbery,
but stops a few feet away.
DAVID (O.S.)
(pleading)
Come on!
The Little Boy edges forward.
DAVID (O.S.)
A little closer.
When the Little Boy gets within reach, David grabs his
balloons and uses them to cover his crotch.
DAVID
Thank you.
David runs off through the zoo, naked but for his
balloons, startling several animal lovers.
68 EXT. PARK - DAY
An ELDERLY COUPLE sits feeding birds, their coats
folded nearly over the park bench. A naked blur darts
by, grabbing the top coat as it passes, scaring off the
birds.
69 EXT. LONDON ZOO - DAY
The Little Boy tugs at his MOTHER'S coat.
MOTHER
Yes, love?
LITTLE BOY
A naked, American man stole my
balloons.
MOTHER
What?
LITTLE BOY
A naked, American man -- the
famous balloon thief.
70 EXT. NEWSSTAND - DAY
The signs they always have on London newsstands
proclaim "Man or Monster?" Dr. Hirsch picks up a
newspaper with its headline, "London Murder Victims
Found Partially Devoured".
DR. HIRSCH
I'll have one of those, too.
He pays for the papers. The second one's headline,
"Death Toll Up To Six - New Jack The Ripper?"
71 EXT. LONDON STREET - DAY - BUS STOP
in another part of town. The camera is on the crowd of
fifteen or twenty people waiting for the bus. When the
bus pulls up, they all crowd in. The camera goes to
floor level and slowly examines the footwear of the
crowded bus. Passengers are standing in the aisle and
the camera slowly pans on their galoshes, boots, high
heels, rubbers, etc., until it comes to rest on a
conspicuous pair of bare feet. We pan up to find David
clad only in a woman's rain coat with a fur collar
trying to look as nonchalant as possible. A man looks
at him oddly.
DAVID
(cheerfully)
A lot of weather we've been
having lately.
The man studies David carefully.
72 INT. ALEX'S FLAT - DAY
Alex sits in the kitchen drinking tea and reading.
There is loud knocking on the door. Alex rushes to
open it and David enters quickly, closing the door
behind him. He is still wearing the woman's coat.
ALEX
David! Where on earth have
you been!?!
DAVID
I'm freezing.
He goes into the bedroom and takes off the coat and
gets dressed as Alex watches in amazement. David is
excited, even euphoric.
DAVID
Alex, I've lost my mind. I
woke up at the zoo! But you
know what? I feel terrific!
ALEX
The zoo?
DAVID
Waking up at the zoo, that's
not so insane. Having no
clothes on? That's insane.
What did I do last night,
Alex?
ALEX
Don't you remember?
DAVID
I said goodbye to you. I was
locked out of the flat. I
climbed the wall and came in
through the bathroom window.
I started to read and then I
was naked at the zoo!
(big smile)
I guess I am out of my fucking
mind.
Alex sits next to him and puts her arm around his
shoulders.
ALEX
I worried about you. We
didn't know where you were.
David kisses her, a desperate kiss, and she kisses back
with equal passion.
ALEX
Where did you get that coat?
David laughs.
73 INT. DR. HIRSCH'S OFFICE
Dr. Hirsch is dialing the phone.
74 INT. ALEX'S FLAT
The phone rings.
ALEX
I'll get it.
Alex goes to the phone.
ALEX
Hello?
The telephone conversation is intercut between Alex and
Dr. Hirsch.
DR. HIRSCH
Alex, have you heard anything?
Alex speaks softly so that David won't hear her.
ALEX
He's here.
DR. HIRSCH
(excited)
Is he all right? Why didn't
you call me? Where was he?
ALEX
He doesn't remember. He woke
up at the zoo.
DR. HIRSCH
The zoo? Is he rational?
ALEX
Yes, he is. He's very excited
and confused, but he's not
crazy, if that's what you
mean.
DR. HIRSCH
Have you read the papers
today? Have you listened to
the radio or television?
ALEX
No, why?
DR. HIRSCH
Is David acting strangely?
ALEX
No, not really.
Dr. Hirsch considers.
DR. HIRSCH
Could you get here without any
trouble?
ALEX
Yes, I should think so.
DR. HIRSCH
Right. Now listen carefully.
I want you to bring David
here. I want him in my care.
I'll notify the police that
we've found him. It is
imperative that you bring him
straight to the hospital. Do
you understand?
ALEX
Yes, Doctor.
DR. HIRSCH
You're certain he's lucid?
You won't need any help?
ALEX
He's fine. We'll come right
over.
DR. HIRSCH
Shall I send a car?
ALEX
No, a cab will be faster.
DR. HIRSCH
I expect you shortly.
Dr. Hirsch hangs up, checks a piece of paper, and then
dials again.
DR. HIRSCH
Yes, Scotland Yard?
75 EXT. LONDON STREET - DAY
Alex and David are walking.
ALEX
The next corner we can get a
cab.
DAVID
(grins)
I should be committed.
ALEX
Dr. Hirsch will know what to
do.
DAVID
(stretches)
I don't know why I feel so
good. I haven't felt this
good in a long time.
Alex is signaling for a taxi.
DAVID
My body feels alive, alert. I
feel like an athlete.
A taxi pulls up; Alex opens the door.
ALEX
Get in.
76 INT. TAXI - DAY
ALEX
Saint Martin's Hospital.
DRIVER
Right.
As they drive.
DRIVER
It's like the days of the Mad
Barber of Fleet Street, isn't
it?
ALEX
I beg your pardon?
DRIVER
The murders.
DAVID
(concerned)
What murders?
DRIVER
Last night. Haven't you
heard? Six people in
different parts of the city
mutilated. A real maniac this
one.
DAVID
Pull over.
ALEX
But....
DAVID
(adamant)
Pull over.
77 EXT. LONDON STREET - DAY
The cab pulls to the sidewalk.
DAVID
Pay the man.
David gets out of the cab.
ALEX
David, wait!
She hurriedly hands the Driver some money and takes off
after David.
ALEX
David, what are you doing?
DAVID
Six people mutilated? It had
to be me, Alex.
ALEX
David, stop!
He turns and faces her.
DAVID
I am going to the cops.
There's a full moon tonight.
Jack was right. I....
ALEX
(angry)
Jack is dead!
DAVID
Jack is dead. Look, six
people have been killed. I'm
going to the police.
David takes off walking briskly down the street. Alex
has to jog to keep up with him.
ALEX
David, please be rational.
Let's go to Dr. Hirsch.
DAVID
Rational!?! I'm a fucking
werewolf, for Christ's sake!
He strides up to a Bobbie on the corner.
DAVID
Officer, I killed those people
last night.
BOBBIE
(interested)
You did, did you?
Alex runs up.
ALEX
He's playing a stupid joke,
sir.
DAVID
(dumbfounded)
What?
ALEX
We had an argument. He's
being silly.
DAVID
(desperate)
I swear, I don't know this
girl.
BOBBIE
All right, you two, move
along.
DAVID
Hey, you asshole! I want you
to arrest me!
BOBBIE
There's no call for that kind
of language.
DAVID
(shouts)
Queen Elizabeth is a man!
Prince Charles is a faggot!
Winston Churchill was full of
shit!
BOBBIE
(losing patience)
Now see here young man.
DAVID
Shakespeare was French! The
Queen Mother sucks cocks in
hell! Shit! Fuck! Piss!
The Bobbie takes David's arm roughly as pedestrians
start to gather.
BOBBIE
That's quite enough!
ALEX
(pleading)
David, please!
DAVID
Who is this girl?
BOBBIE
You're going to have to stop
this disturbance or I shall
arrest you.
DAVID
(frustrated, yelling)
That's what I want you to do,
you moron!
ALEX
(to Bobbie)
Sir, he's very upset. His
friend was killed and....
DAVID
Will you shut up!?!!
BOBBIE
(losing his temper)
That's enough! Now go about
your business.
ALEX
Yes, David, let's go.
DAVID
(disbelief)
You're not going to arrest me?
David approaches one of the ONLOOKERS.
DAVID
Don't you think he should
arrest me?
ONLOOKER
Well, I'm not sure. How does
he know this isn't a prank?
DAVID
(despair)
A prank?
ALEX
(urgently)
David....
The Bobbie has lost all patience.
BOBBIE
I've no time for this
foolishness.
(to onlookers)
Nothing to look at. Move
along.
The Bobbie walks away. David is beside himself.
DAVID
Hopeless. It's hopeless.
ALEX
(softly)
David, let's go now.
David turns in a rage.
DAVID
Leave me alone, dammit! You
people are crazy! I've got to
get away from here! I've got
to do something!
ALEX
(worried)
David, don't lose control.
DAVID
(approaching, hysteria)
Control!?! What control!?!
Get away from me!
He begins to cry.
DAVID
Leave me alone!
He runs out into the street. Cars slam on their
brakes, just missing him.
ALEX
David, wait!
It's too late. He's lost in traffic. Alex stands for
a moment not knowing which way to turn.
78 EXT. ALLEY - DAY
David is running in panic. He finally comes to rest in
an alley. He sits down and sobs uncontrollably.
79 INT. DR. HIRSCH'S OFFICE - DAY
Alex sits distraught in the chair opposite the desk.
Dr. Hirsch is talking to Lt. Villiers and Sgt. McManus.
LT. VILLIERS
The forensic lads seem to feel
that some sort of animal was
involved, that's true, but I
hardly think....
DR. HIRSCH
(interrupts)
Regardless of what you think,
Lieutenant, the fact remains
that David is missing and that
we must find him.
SGT. McMANUS
Before nightfall.
DR. HIRSCH
Precisely.
LT. VILLIERS
(harried)
Gentlemen, please. We shall
find Mr. Kessler as quickly as
we're able.
ALEX
He tried to have himself
arrested. He....
LT. VILLIERS
(interrupts)
Getting arrested isn't all
that difficult, Miss Price.
ALEX
He wants help. He....
DR. HIRSCH
(interrupts)
What can we do to assist you?
LT. VILLIERS
(rising)
Stay here. If we need you,
we'll know where to reach you.
He and Sgt. McManus pause by the door.
LT. VILLIERS
I cannot accept a connection
between David Kessler and last
night's murders. We will find
him, however. I can assure
you of that.
SGT. McMANUS
We'll find him, not to worry.
The two policemen exit. Dr. Hirsch looks at Alex.
ALEX
(distraught)
What shall we do?
DR. HIRSCH
(comforting)
Tea would be nice.
80 EXT. LEICESTER SQUARE - DAY
David is in a telephone booth.
DAVID
Yes, operator. I'd like to
call the United States and
reverse the charges. David
Kessler for anyone. Yes, I'll
wait. Hello? Yes, area code
315/472-3402. Thank you.
(pause)
Hello? Rachel? Just say yes,
you'll accept the charges.
Just say yes, Rachel. Is Mom
or Dad home? Where are they?
Where's Max? You're all
alone? Mom and Dad wouldn't
leave me alone when I was ten.
No, not ten and a half either.
I'm still in London. I'm all
better. Look, would you tell
Mom and Dad that I love them?
I don't care, Rachel, just do
it for me. Okay? Good. And,
Rachel, don't fight with Max.
Well, try. Look, kid, please
don't forget to tell Mom and
Dad I love them. I love Max
and you, too. Well, I do.
No, I'm not being weird, you
little creep. You promise?
Okay. Be a good girl. I love
you. Bye.
He hangs up in profound depression. Leaving the booth
he sees an outdoor clock. It is 4:15. He sighs, then
catches sight of something.
81 EXT. CINEMA - DAY - DAVID'S P.O.V.
There stands Jack, now truly rotted and ghastly. He's
pretty much dried out, a third of his face gone
revealing the grinning skull. He waves to David. Jack
points inside the theater and goes in. David smiles,
walks across the intersection, and up to the box
office.
TICKET LADY
Two and a half quid, please.
David reaches in his pocket. All he has are traveler's
checks.
DAVID
Will you take a traveler's
check?
TICKET LADY
No, sorry.
David signs a $100 check and hands it to her.
DAVID
Keep the change.
TICKET LADY
Well, thank you, sir!
She gives him a ticket. David goes in.
82 INT. CINEMA - DAY
A film (to be determined) plays on screen. The small
theater is mostly empty. A few snoring BUMS and wide-
eyed CHILDREN are scattered about. Jack sits in the
last row in the shadows. He waves to David. David
goes and sits next to him.
DAVID
Hi, Jack.
JACK
Hi, David.
They sit for a while watching the screen.
DAVID
What can I say, Jack?
JACK
You don't have to say
anything.
DAVID
Aren't you going to say, `I
told you so'?
JACK
If I was still alive, I
probably would.
DAVID
You look awful.
JACK
Thank you.
DAVID
(apologizes quickly)
I didn't mean it. I don't
know what I'm saying. I'm not
even sure it was me who killed
those people. I don't
remember doing it.
JACK
What about the zoo?
DAVID
Well, even if I'm not the
wolfman, I am crazy enough to
do something like that. I
mean, here I sit in Leicester
Square talking to a corpse.
I'm glad to see you, Jack.
JACK
I want you to meet some
people.
Sitting down the row from Jack is a man, GERALD
BRINGSLY, completely in the shadow.
JACK
David Kessler, this is Gerald
Bringsly.
DAVID
Hello.
JACK
Gerald is the man you murdered
in the subway. We thought it
best you didn't see him as
he's a fresh kill and still
pretty messy.
BRINGSLY
(in shadow; very English)
Yes, I do look most
unpleasant.
The camera pans down to show the blood dripping from
the seat to a puddle on the floor.
DAVID
(horrified)
Why are you doing this to me,
Jack?
BRINGSLY
This isn't Mr. Goodman's idea.
He is your good friend,
whereas I am a victim of your
carnivorous lunar activities.
DAVID
(appalled)
Mr. Bringsly, I'm sorry. I
have absolutely no idea what
to say to you.
BRINGSLY
You've left my wife a widow
and my children fatherless.
And I understand that I am to
walk the earth one of the
living dead until the wolf's
bloodline is severed and the
curse lifted.
Bringlsy leans forward almost into the light, he
glistens.
BRINGSLY
You must die, David Kessler.
JACK
David, this is Harry Berman
and his fiancee Judith Browns.
The two victims lean forward from their seats next to
Mr. Bringsly. We can just make out that Harry has one
arm missing.
JACK
And these gentlemen are Alf,
Ted, and Joseph.
The Three Derelicts sit next to Harry and Judith. All
are slick in the darkness, the light from the screen
illuminating their gore.
DERELICT #2
Can't say we're pleased to
meet you, Mr. Kessler.
DAVID
(defeated)
What shall I do?
JACK
Suicide.
HARRY
(adamantly)
You must take your own life!
DAVID
That's easy for you to say -
you're already dead.
BRINGSLY
No, David. Harry and I and
everyone you murder are not
dead. The undead.
DAVID
(to Jack)
Why are you doing this to me?
JACK
Because this must be stopped.
DAVID
How shall I do it?
JUDITH
Sleeping pills?
DERELICT #1
Not sure enough.
DAVID
I could hang myself.
JACK
If you did it wrong, it would
be painful. You'd choke to
death.
DERELICT #3
So what? Let `im choke.
JACK
Do you mind? The man's a
friend of mine.
DERELICT #3
Well he ain't no friend of
mine.
BRINGSLY
Gentlemen, please.
HARRY
A gun.
DERELICT #1
I know where he can get a gun.
DAVID
Don't I need a silver bullet
or something?
JACK
Be serious, would you?
David puts his head in his hands.
DAVID
Madness. I've gone totally
mad.
HARRY
A gun is good.
JUDITH
You just put the gun to your
forehead and pull the trigger.
BRINGSLY
If you put it in your mouth,
then you'd be sure not to
miss.
DAVID
Thank you, you're all so
thoughtful.
As the conversation continues, the camera pulls back
from the grisly tableau. David grabs his head
suddenly.
CUT TO:
83 EXT. BIG BEN - NIGHT
The clock strikes eleven. The full moon is up.
84 INT. CINEMA - NIGHT
David is dripping wet and shaking violently. Three
small children, the oldest nine, stand in the aisle
staring at him.
DAVID
(gasps out in anguish)
Go away! Please! Go away!
The children watch, fascinated as David's seizures grow
more severe.
DAVID
(his face contorting)
Run! Please...run.
His hands clutch the arms of his chair. Coarse thick
hair splits his skin. The children's eyes widen in
fascination.
85 EXT. CINEMA - NIGHT
Roars and screams come from inside the theater. The
TICKET TAKER at the door says to the Ticket Lady:
TICKET TAKER
I'll check on the house.
He goes inside the theater.
86 INT. CINEMA - NIGHT
The Ticket Taker enters the theater. The movie
continues on screen, but all else is quiet. He
cautiously continues down the aisle. He sees something
and makes his way towards it. He looks down in horror.
THE WOLF SPRINGS!
CUT TO:
87 EXT. LEICESTER SQUARE - NIGHT
From way up high we look down on the sidewalks and
single out TWO BOBBIES running furiously to the cinema
through the busy traffic.
88 EXT. CINEMA - NIGHT
The two cops run up, the Ticket Lady is hysterical.
TICKET LADY
It's horrible, horrible!
There's a beast! A mad dog!
It's killing people in there!
One cop stays with the lady, the other rushes inside.
89 INT. CINEMA - NIGHT
The cop enters a side door to find several bloodied
corpses. He hears something, looks over to see the
Wolf hunched over a victim. The Wolf turns, eyes
blazing, mouth dripping with blood. We see it clearly
for the first time. It is truly a hound from hell, its
wolfen features a hideous sight. Its eyes fierce,
burning green. The Wolf roars and starts for the cop.
The cop rushes out and slams the door behind him.
90 EXT. CINEMA
As the cop bolts the door shut.
COP #1
For God's sake, Tom, there's a
monster in there!
The doors shudder as the Wolf begins to batter them
down. The cops strain to keep them shut.
COP #1
Call for assistance and tell
them to bring guns.
Pedestrians start milling around. The door is bulging.
The Wolf's roars continue.
COP #2
Keep moving! Will you people
get out of the way!
91 INT. DR. HIRSCH'S OFFICE - NIGHT
Alex is asleep. Dr. Hirsch wakes her.
DR. HIRSCH
Nurse Hobbs said there's a
disturbance in Leicester
Square involving some sort of
mad dog.
ALEX
David?
DR. HIRSCH
I doubt it. But it's
something to do.
92 INT. POLICE STATION - NIGHT
An officer unlocks a rack of rifles which are
distributed to uniformed men.
93 INT. CINEMA - NIGHT
Police cars arrive, sirens blaring. Officers are
pushing the crowd back as other men help hold the door
closed against the Wolf's battering.
Another police car pulls up and out steps Lt. Villiers
and Sgt. McManus.
LT. VILLIERS
What the hell is going on
here?
COP
It's some kind of animal, sir.
We....
Suddenly the doors splinter apart and there stands the
Wolf, eyes blazing. It leaps on Lt. Villiers, savaging
him. The crowd falls back in panic.
The Wolf runs into traffic, a cab swerves to avoid
hitting it and plows into fleeing pedestrians hurling
one through a shop window. Mass confusion as orders
are shouted and the police pursue the Wolf.
It runs down an alleyway into a cul de sac. It stops
in the darkness, blocked by a brick wall. The Wolf
whirls around, defiant, roaring. The cops quickly
barricade the entrance to the alley.
94 INT. TAXI - NIGHT
The taxi is halted by the traffic jam in Leicester
Square. Police vehicles roar past.
ALEX
David! It's David!
She jumps from the car before Dr. Hirsch can stop her.
95 EXT. CUL DE SAC - NIGHT
The police arrive with weapons and efficiently ring the
alley. Alex runs to them.
ALEX
Let me through!
COP
Stand clear, miss!
ALEX
I must get through!
Alex dodges the cop and runs into the alley. The
officers shout after her. Dr. Hirsch reaches the
police line.
DR. HIRSCH
Alex!
Alex walks towards the dark end of the alley.
ALEX
David? Is it you? Is it
true, David?
She's almost to the end. The Wolf lays in wait in the
shadows. The police raise their weapons.
ALEX
David?
THE WOLF REARS UP. In that brief instant, Alex
realizes it will kill her.
OFFICER
Fire!
The guns blaze. The Wolf falls dead. Alex leans on
the wall, numb. The cops, Dr. Hirsch, and Sgt. McManus
run to the dead Wolf only to find David, naked and
riddled with bullets. Alex begins to weep.
FADE TO:
BLACK
END CREDITS OVER BLACK
SONG: The fifties rock version of "Blue Moon".
THE END