The Alligator People Page #3

Synopsis: A newlywed couple sit in a train. The husband receives a frantic telegram. He gets off at a station to make a phone call, the train pulls away without him on it, and that's the last his wife sees of him. Years later after a long search she finally tracks him down on his family's southern estate where she discovers that a failed medical treatment has turned him into an alligator mutant.
Genre: Horror, Sci-Fi
Director(s): Roy Del Ruth
Production: 20th Century Fox Film Corporation
 
IMDB:
5.5
APPROVED
Year:
1959
74 min
91 Views


She's got to leave...

on that morning train

tomorrow.

I'm Dr. Sinclair.

Uh, Mark Sinclair.

I'm sort of

the swamp doctor.

That's

my swamp buggy.

I need to get around.

I see. You must keep busy,

Doctor.

Well, why do you

say that?

I mean, in an unhealthy

environment like this.

Oh, you mean the swamp.

Well, actually, if it were as you say-

unhealthy-

None of us

would be here.

- Why?

- Well, a few million years ago...

most of the land

of the earth...

musfve looked

just about like this-

One great, vast swamp.

It was the cradle

oflife...

where we all started-

in the slime and ooze...

at the bottom

of a swamp.

- You're completely cynical,

aren't you, Doctor? -

I imagine that did sound

a bit depressing.

I didn't mean it to.

I'm sorry.

Oh, is Mrs. Hawthorne

inside?

Well, she hasn't

come down yet.

Has she been ill,

Doctor?

Well, not exactly.

Vinnie- Mrs. Hawthorne-

has a few emotional problems.

I like to look in

from time to time.

Well, maybe that

explains it.

- Explains what?

- Why she locked me in my room last night.

I don't understand.

I took you for a guest

ofVinnie's-.

I suppose I am, in a way.

I'm Mrs. Webster.

Mrs. Paul Webster.

That name doesn't mean

anything to you?

No. Should it?

I don't know.

Let me explain, Doctor.

Since my husband disappeared,

I've done nothing but search for him...

and I'm going to keep on

asking questions.

- What brings you here?

- An old address-

The Cypresses-

that I found in Paul's

college records-.

You came way down here,

traveled hundreds ofmiles...

on nothing more tangible

than that?

I'd travel much farther

on even less.

I find that difficult

to believe.

You must've found

other evidence.

Why? Unless there is

other evidence.

Is that

what you mean?

Of course not- I was

only trying to say-

You did know Paul, didn't you, Doctor?

I can tell.

What is it, Doctor?

Why won't any of you

tell me about him?

What are you all

trying to hide?

My dearyoung lady,

you're obviously overwrought.

That's understandable

in the circumstances.

I wish I could help.

Will you tell Mrs. Hawthorne

I couldn't wait...

but I will

drop back later?

Thank you.

Be extremely careful'

It generates

3,000 curie units...

ofgamma ray energy

This is the equivalent

of six million electron volts of X ray

A few seconds

of direct exposure.

would be fatal.

Stand by

for lowering position.

- Luann, come here!

- Yes, ma'am.

- Her things are still in her room.

- Yes, ma'am.

You mean

she didn't leave?

Well, Toby, he brought

the car at train time...

but Mrs. Webster,

she wouldn't go.

- Well,where is she?

- Well, I believe she in there.

What are you doing?

Looking for answers.

Answers?

You abuse my hospitality.

You were to stay in your room.

You left it.

You promised to leave

on the train.

I made no promise.

I was told.

I'm not leaving here,

Mrs. Hawthorne...

until I get the answers to the questions

that brought me here.

I told you yesterday

you were mistaken.

- I thinkyou're lying.

- You can't talk to me like that.

I can say a lot worse.

You had Dr. Sinclair come

and talk to me today, didn't you?

Why?

To find out how much I knew?

I know nothing

about that.

And another thing-

Who was playing the piano

in here last night...

in the dark?

Someone who left

wet footprints in the carpet?

- Oh,you're imagining things.

- No, I'm not-

Any more than I'm imagining

you want to get rid of me...

that you've got

something to hide.

Hide? Oh, what could I

possibly have to hide?

What have you done

with my husband?

I don't know what

you're talking about.

You did a good job,

Mrs. Hawthorne...

wiping out every trace

of Paul in his own home.

You almost

got away with it.

Got away with it?

Got away with what?

Whatever terrible thing

you've done with Paul.

Done to him? Me?

Oh, my God,

that's funny.

That really is funny.

I 'd be the last one

ever to hurt Paul.

I'm his mother.

His mother?

Mother?

Has she gone?

No, Paul, she hasn't. Paul, what is it?

What happened?

Paul!

Paul, come back!

Paul! Please!

Paul!

Paul!

Paul!

Paul'

Paul'

Paul!

Paul!

Paul!

Paul'

Paul!

Come on.

You ought to have better sense,

sweetheart.

Nobody goes out in a swamp

on a night like this-

Especial/y

a night like this.

Come on. I'll take you

back to the house-.

There, now.

Now you sit down.

You sit down.

That's it.

What you needs a drink.

Me too.

I don't understand

why you brought me here-.

I just naturally figured you'd appreciate me

saving you from that snake.

I do.

- Here- Have a drink-

- I don't think I want it-.

Go on, baby.

It'll do you good.

That's it.

Made it myself.

Hey...

you're cold.

You ought to get

them wet things off.

Go ahead.

Well, come on.

Get 'em off.

I'll be all right.

Thanks.

All right, baby.

Here.

You get up.

We'll wrap this around you...

so you won't catch cold.

Now, come on. Get up.

That's it.

Stop! Let go of me.

What's the matter, baby?

Huh? Didn't I save your life?

Don't you feel like

you owe me something?

Why, sure, you do.

You be nice to me.

Maybe I'll tell you

some things about this place.

Don't do that.

Don't ever do that!

You're dead!

I'll kill you.

alligator man!

Lust like I'd kill

any four-legged gator!

You hear me?

I'll killyou!

Oh! Paul,

what happened?

- She's not dead?

- Manon. He was drunk.

We should've

fired him before.

Toby, carry her

upstairs.

Luann, try and

take care of her.

Yes, ma'am.

We can't keep her

in the dark any longer, Paul.

- I can't do anything.

- She could've been killed tonight.

Is that what you want?

- I love her, Mother.

- Well, that's why she has to know.

- Are you going to tell her?

- I couldn't.

I'll phone Dr. Sinclair.

He'll know what to say.

Oh, why didn't he

just let me die?

It'll work out

somehow, Paul.

There has to be

an answer.

Therejust has to be.

Mark?

Paul.

I understand it came.

The cobalt 60?

Arrived yesterday.

When do we try it?

Not for months.

I explained

to your mother.

Combined with

the X-ray generator...

the bomb will approach

the power of a betatron-

A billion

electron volts.

So without extensive

experimentation-

But there's no time for that.

I want it now.

You don't think

I'd take the risk...

after the tragedy

I've caused already?

But you're causing

a worse one to my wife.

You said yourselfthe X ray

was definitely helping.

Light positive

indications, yes.

Then combining X ray

with gamma radiation...

from the cobalt

might cure me completely.

And it might kill you!

Paul...

who knows?

I just can't

do it, Paul.

It's too great a risk.

We wouldn't be alive

at all, any of us, except for you.

We'd probably be

better off dead, but-...

you can't

turn me down.

You owe me this chance...

whatever chance

there is.

For my wife's sake,

I want it now!

Not tonight!

I'll need at least a day

to test it on live alligators...

to establish some sort

Rate this script:0.0 / 0 votes

Orville H. Hampton

Orville H. Hampton (May 21, 1917 – August 8, 1997) was an American screenwriter who worked mostly in low-budget films, particularly for producers Robert E. Kent and Edward Small. A screenplay that he and Raphael Hayes wrote for One Potato, Two Potato (1964) was nominated for an Academy Award for Best Original Screenplay. more…

All Orville H. Hampton scripts | Orville H. Hampton Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "The Alligator People" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/the_alligator_people_19661>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    The Alligator People

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is a "cold open" in screenwriting?
    A A montage sequence
    B A scene set in a cold location
    C An opening scene that jumps directly into the story
    D The opening credits of a film