Wednesday, March 1, 2017

Ed Wood Wednesdays, week 65: The 'Glen or Glenda' Transcript

Ed Wood and Dolores Fuller share a tender moment in Glen Or Glenda.

Here's what made this project possible.
Greg Dziawer, that tireless chronicler of all things Ed Wood, is taking a much-deserved week off. So no new "Orbit" or "Odyssey" from him today. He will return next week with more fascinating findings. In the meanwhile, as a poor but ready substitute, I offer a vintage document from my own archives, one that dates back nearly 20 years. Apparently, back in June 1997, I was whiling away the summer days by painstakingly transcribing my VHS copy of Glen Or Glenda from Rhino Home Video. Ah, youth! On the road to ruin! May it ever be so adventurous! 

If I really concentrate, I can even remember exactly how the transcription process went. I recorded the audio from my TV directly onto a boombox with a dual cassette deck. Back then, I had a cassette adapter that could plug directly into the headphone jack on my TV. I took the resulting recording and played it back on my trusty Aiwa Super Bass stereo radio cassette player. (Essentially a Walkman.) The Aiwa did not have a pause button, so I'd play a few seconds, STOP, type what I'd heard, REWIND, play a few more seconds, STOP, etc. Even with a relatively brief movie like Glen or Glenda, this was a slow, arduous task. I was inspired in this madness by a similar transcript of Monty Python and the Holy Grail that had been floating around cyberspace in the early to mid-1990s.

You have to remember, this was in the very primitive days of the internet. Facebook, YouTube, Twitter, Wikipedia, and even Google were still in the future when I started. The Internet Movie Database, Amazon, and Ebay existed but were relatively primitive. Instead, my online life revolved around text-based Usenet newsgroups. There was even one called alt.fan.ed-wood. Like most Usenet groups, it's all spam and garbage now. Twenty years ago, however, it was actually home to a small but fervent community of Ed Wood fans, trading what little information was available to us in that benighted era. And it was there that I first posted the transcript you are now (hopefully) about to read.

I vouch for the accuracy of none of this. The formatting is atrocious and inconsistent. I'm sure this document is riddled with errors of all kinds. But maybe, just maybe, you will find it an interesting keepsake from a bygone epoch of Ed Wood fandom. Since it's based on the Rhino edition of the film, it contains a few scraps of dialogue that do not appear in the current DVD version.

Enjoy with my compliments.




" G L E N    O R   G L E N D A "

Based on the Screenplay by

EDWARD D. WOOD, JR.

Lovingly Transcribed by JOE BLEVINS

Begun in earnest on June 29, 1997
Last revised January 15, 1998





1. CREDIT SEQUENCE.

FADE IN.

Credits are superimposed over a painted backdrop featuring portraits of several characters in the film, including the Devil. During these credits, we hear the theme music that will be reprised throughout the film.

GEORGE WEISS
Presents

Bela Lugosi

in

GLEN or GLENDA



Copryright MCMLIII Screen Classics Productions

  A 25th Anniversary Special

With
LYLE TALBOT
TIMOTHY FARRELL
DELORES FULLER
"TOMMY" HAYNES


          Camera Operator.........BERT SHIPMAN
          Unit Director...........SCOTT McCLOUD
          Sound Tecnhician........BEN WINKLER
          Music Consultant........SANDFORD H. DICKINSON
          Film Editor............."BUD" SCHELLING
          Make-up.................HARRY THOMAS
          Medical Advisor.........DR. NATHAN BAILEY
          Settings................JACK MILES




Director of Photography
WILLIAM C. THOMPSON


Produced under
Personal Supervision of
GEORGE WEISS


Original Story
Written and Directed by
EDWARD D. WOOD, JR.



CAPTION:
In the making of this film, which deals with a
strange and curious subject, no punches have been
pulled -- no easy way out has been taken. Many of
the smaller parts are portrayed by persons who 
actually are, in real life, the character they portray
on the screen. This is a picture of stark realism---
taking no sides --- but giving you the facts --- All
the facts -- as they are today....

You are society --- JUDGE YE NOT.....


FADE TO BLACK.

FADE UP ON:

2. LABORATORY. INTERIOR. NIGHT.

The Spirit, an elderly man in a black suit, sits in an armchair reading from a thick book. As the camera pulls back, the Spirit closes the book, and behind him we see a bookshelf filled not only with books but with skulls and other odd items. The lab is decorated with skeletons and various weapons. We hear the sound of wind howling as the Spirit addresses the audience.


THE SPIRIT:
Man's constant groping of things unknown, drawing 
from the endless reaches of time brings to light many 
startling things. (laughs) Startling?  Because they 
seem new... sudden!  But most are not new... to the 
signs of the ages.

CUT TO:

3. STOCK FOOTAGE OF LIGHTNING. 

A blast of thunder is heard. The cloudy sky is aglow with bolts of lightning.

DISSOLVE TO:

4. LABORATORY. INTERIOR. NIGHT.

We are in a different part of the laboratory now. The Spirit is standing behind a table covered with test tubes and beakers. There are also books stacked on the table, as well as a skull resting on an hourlgass. Behind him is another table with more books and a globe.

The Spirit pours a liquid from a large test tube to a smaller one. He sets the first tube down, and examines the second closely. He then picks up a third test tube and pours more liquid into the second tube. He sets the third test tube down and empties the contents of the second into a beaker. He sets the second test tube down, and picks up a fourth. When he uncaps this fourth test tube, smoke rises up from it. He pours liquid from the fourth test tube into the beaker. The beaker immediately fills with smoke. The Spirit examines the beaker with great excitement.


THE SPIRIT:
A life has begun! 


He sets the fourth test tube back down. He holds the beaker up in the air and laughs.

DISSOLVE TO:

5. STOCK FOOTAGE OF DOWNTOWN AREA OF CITY. DAY.


In the foreground, we see many pedestrians making their way down a busy sidewalk. In the background is the street, with cars and buses. We hear traffic noises.

After a few seconds, the image of The Spirit sitting in his armchair is superimposed over this scene. The screen is split horizontally. At the top half, only the head and shoulders of The Spirit are visible. At the bottom half, The Spirit's hands are visible through the image of the traffic. The Spirit appears to be looking down on the mere mortals and speaks with a measure of contempt.


THE SPIRIT:
People... all going somewhere!  All with their own 
thoughts, their own ideas... All with their own 
personalities. One is wrong because he does right. 
One is right because he does wrong. Pull the string!  

The Spirit angrily pulls his right forearm back.


THE SPIRIT:
Dance to that which one is created for! 


The Spirit puts his hands on the armrests of his chair. He laughs. The Spirit's image disappears, and once again the image of the pedestrians fills the screen. THe Spirit can be heard sighing.

DISSOLVE TO:

6. LABORATORY. INTERIOR. NIGHT.

The Spirit is still sitting in his armchair. He turns his head upwards and to the right, as if he can see something above him. He half-smiles.


THE SPIRIT:
A new day is begun.


The sound of a baby crying is heard on the soundtrack. The Spirit turns his head to the left.


THE SPIRIT:
(excitedly)
A new life is begun!

DISSOLVE TO:

7. STOCK FOOTAGE OF AMBULANCE. DAY.

Its siren wails as it turns a corner.

DISSOLVE TO:

8. PATRICK'S APARTMENT. INTERIOR. DAY.


Patrick, a transvestite wearing a wig, make-up, and a dress, lies serenely on his bed.  After a few seconds, the image of The Spirit's face is superposed over this.


THE SPIRIT:
(solemnly)
A life is ended.


THe Spirit raises his eyebrows as if to say, "Oh, well. Those are the breaks."  His image disappears.  

The camera pulls back, and we see more of Patrick's apartment. A nervous maintenance man in a jumpsuit is standing beside Patrick's bed, not knowing what to do. He is relieved to hear a knock at the door, and quickly opens it to let in a crowd of people, including plainclothes  and uniformed police officers, plus a medical examiner, a photographer, and several other men in suits and ties. Inspector Warren, a very serious-looking, middle-aged man, walks up to Patrick's bed and examines him. The medical examiner runs to the other side of the bed to check Patrick's heartbeat and pulse. He uses a stethoscope. 

A journalist shows his credentials to a uniformed officer and enters the room. A photographer follows him. Several other men try to enter.

The medical examiner looks at Inspector Warren and shakes his head "no."  Inspector Warren points toward a piece of paper on an end table near the medical examiner



INSPECTOR:
Let me see that note.


The medical examiner hands the suicide note to Inspector Warren. The journalist jots something down in his notebook, and the photographer snaps a picture. THe uniformed officers shuffle everyone except the medical examiner  and Inspector Warren out of the small apartment. The journalist is the last to go. Inspector Warren reads the note to himself.

The camera moves in closer on Patrick, who appears to be in a peaceful sleep. His voice is heard on the soundtrack, reading the suicide note.  Inspector Warren is no longer visible next to him.


PATRICK (voice over):
The records will tell the story. I was put 
  in jail recently. Why?  Because I, a man, was 
     caught on the street wearing women's clothing. 


We return to the earlier shot of the entire apartment. Inspector Warren is again at Patrick's side. The medical examiner is still examining Patrick with the stethoscope. One of the uniformed officers picks up a piece of Patrick's clothing from a chair and examines it. It is a pair of men's slacks. He sets them down after a few seconds.


PATRICK (voice over):
This was my fourth arrest for the same act.  In life, 
I must continue wearing them.


We see a shot of Inspector Warren reading the note with disbelief.


PATRICK (voice over):
Therefore, it would only be a matter 
of time until my next arrest. 


We see a mysterious close-up of the radiator in the corner of Patrick's room.


PATRICK (voice over):
This is the only way. 


Return to the close-up of Patrick, lying motionless


PATRICK (voice over):
Let my body rest in death forever... 

Back to the shot of the entire apartment.


PATRICK (voice over):
...in the things I cannot wear in life.


DISSOLVE TO:

9. DOCTOR'S OFFICE. INTERIOR. DAY.

Dr. Alton, a respectable-looking, conservatively-dressed  man with a mustache and wavy hair, is sitting behind his desk and staring intently at a pencil. Behind him is a large bookshelf. There is a chair next to his desk, making the office look a bit like a talk show set.

Miss Stevens, a young woman in a white nurse's outfit enters the office, holding a clipboard.


MISS STEVENS:
Inspector Warren is here to see you, Doctor Alton.


DR. ALTON:
Oh, yes, uh, show him in, Miss Stevens.


She exits. Dr. Alton turns his chair towards the door, as Inspector Warren enters. The inspector holds his hat in his left hand. Dr. Alton stands up. The two men shake hands.

DR. ALTON:
Inspector.


INSPECTOR:
Doctor.


DR. ALTON:
Sit down.


INSPECTOR:
Thank you. 


The two men sit down. Inspector Warren places his hat on the desk.



INSPECTOR:
You're a very busy man, Dr. Alton, I know. I 
appreciate this time you're giving me.


DR. ALTON:
(taking a cigarette from his ashtray)
Business or pleasure, Inspector?


INSPECTOR:
In a way, uh... business. From policeman to inspector,
twenty years of it. (laughs)  I guess I've seen everything 
there is for a policeman to see. Yet I wonder if we ever 
stop learning, learning about which we see, trying to 
learn more about, uh... an ounce of prevention. 



We see a reaction shot from Dr. Alton, then return to a two-shot. During the following speech, the INSPECTOR lights a match.



INSPECTOR: 
I'm a man who thrives on learning. We only have one 
life to live. We throw that one away, what is there left?


The Inspector lights a cigarette. Dr. Alton puts the ashtray nearer to him. During the next few lines, we constantly switch back and forth between shots of Inspector Warren and DR. ALTON with occasional two-shots.



INSPECTOR:
Doctor, I'm hoping to, uh, learn something from you. And 
with that knowledge, maybe save some human from a 
fate which I just witnessed a few days ago... a four-time 
loser. This type of case comes to me as well as 
yourself many times during the course of one month.


DR. ALTON:
The suicide?


INSPECTOR:
The suicide.


DR. ALTON:
Most of us have our idiosyncrasies.


INSPECTOR:
This fellow's was quite pronounced.


DR. ALTON:

Yes, but I wonder if it rated the death warrant
it received. I don't think so.


INSPECTOR:
Well, that's why I'm here today, Doctor. What do we do
about it?


DR. ALTON:
I've always heard you to be a hard-hearted policeman, 
Inspector.


INSPECTOR:
(laughs)  Isn't that what's thought of most policemen?
The laws are written. The policeman is hired to see that 
those laws are enforced. We have a job to do. As in 
most jobs, there's always somebody who doesn't want 
that job to be done. In most factories today, the 
employer has put up suggestion boxes. Even the 
employer needs advice once in a while. I think in the 
case that we're referring to, I need advice. Maybe it 
shouldn't have happened as it did. But it did. Perhaps 
the next time, we can prevent it.

Inspector Warren flicks his ashes into the ASHTRAY.


DR. ALTON:
Let's get our stories straight. You're referring to the 
suicide of the transvestite?


INSPECTOR:
If that's the word you men of medical science use for a 
man who wears woman's clothing, yes.


DR. ALTON:
Yes, in cold, technical language, that's the word, as 
unfriendly and as vicious as it may sound. However, in 
actuality, it's not an unfriendly word, nor is it vicious 
when you know the people to whom it pertains.


INSPECTOR:
Would the sex operation do these people any good?  I 
understand you were quite prominent in a case that hit 
the headlines a few weeks ago. 


DR. ALTON:
In some cases, yes. Others, no.


INSPECTOR:
Well, the papers certainly had a field day with that one.


DR. ALTON:
Strange as it may seem, even though it was a "field 
day" as you so aptly put it, it's not a new story. Sex 
change has been performed many times. Those whose 
sex can be changed, they're the easy ones. But what of 
those who so desperately want to be of the opposite sex 
yet can't change their sex, such as was the case with 
Patrick / Patricia, the suicide?


INSPECTOR:
I'd like to understand this, Doctor, as best you can tell 
me.


DR. ALTON:
You can only fully understand the sex change by taking 
two entirely different cases: two men with exactly the 
same background, from childhood to manhood and on 
to their own decisions and destinations.


INSPECTOR:
I'd like to hear the story to the fullest.


Dramatic close-up on Dr. Alton.



DR. ALTON:
Only the infinity of the depths of a man's mind can really 
tell the story.


The image of Dr. Alton becomes blurry. 

CUT TO:

10. STOCK FOOTAGE OF LIGHTNING.

More thunder, lightning, and clouds.

DISSOLVE TO:

11. LABORATORY. INTERIOR. NIGHT.

The Spirit is in his armchair, looking up at us. Throughout this scene, the sound of thunder continues.


THE SPIRIT:
Doctor Alton, a young man though he is, speaks the 
words of the all-wise. No one can really tell the story. 
Mistakes are made. But there is no mistaking the 
thoughts in a man's mind. The story... is... begun!


CUT TO:

12. STOCK FOOTAGE OF LIGHTNING.


DISSOLVE TO:

13. CITY STREET. EXTERIOR. DAY.

Glen, a young man dressed as a woman with a blonde wig, makeup, a white blouse, a skirt, and high heel shoos walks down a sidewalk. He holds a ladies' hat and sweater in his hands.

He approaches a store window full of female mannequins and looks inside longingly. There's a closeup of a mannequin in a bra, girdle, and nightgown. The mannequin has its "hands" on its "hips."  Glen imitates the pose, then turns away sadly.



DR. ALTON (voice over):
One might say, "There but for the grace of God go I." 


Glen walks out of the shot.

CUT TO:

14. NEWSPAPER HEADLINE.

Against a black backdrop, we see hands holding a folded-up copy of The Daily Chronicle. The sensational headline is in large bold type:



WORLD SHOCKED BY SEX CHANGE


The subheading reads: 



New Wonders of
Medical Science


DR. ALTON (voice over):
Why is the modern world shocked by 
this headline?  Why?


CUT TO:

15. NEWSPAPER STORY:

We see a close-up of an article with the following headline (which appears pasted in):


Man Nabbed
Dressed as Girl 


DR. ALTON (voice over):
Once, not so very long ago, the people of the world 
were saying...


CUT TO:

16. STOCK FOOTAGE OF AIRPLANE.

The airplane flies over a stand of trees and drops some packages.


VERY ODD FEMALE VOICE:
Airplanes... hunh!  Why, it's against the Creator's will. If 
the Creator wanted us to fly, he'd a-given us wings.


DR. ALTON (voice over):
But we fly. 


CUT TO:

17. BUMPKIN LEANING AGAINST A SHOVEL.

He chews on a piece of straw and wears a straw hat. A painted backdrop of trees is visible behind him.


DR. ALTON (voice over):
Maybe some of you may still remember an even sillier 
remark.

The bumpkin does not move his mouth, but his voice is heard on the soundtrack.


BUMPKIN VOICE:
Otty-mobiles?  Bah!  They scare the hosses. If the 
Creator had a-meant for us to roll around the 
countryside, we'd a-been born with wheels..


CUT TO:

18. STOCK FOOTAGE OF HIGHWAY TRAFFIC. DAY.



DR. ALTON (voice over):
Silly?  Certainly. 


CUT TO:

19. MORE STOCK FOOTAGE OF HIGHWAY TRAFFIC. DAY.

During the following speech, the theme music begins to play and continues through scene 27.



DR. ALTON (voice over):
We were not born with wings. We were not born with 
wheels, but in the modern world of today it's an 
accepted fact that we must have them. 


CUT TO:

20. STOCK FOOTAGE OF CITY SKYLINE.

As the camera pans right, we see a series of tall buildings along a shoreline.


DR. ALTON (voice over):
So we have corrected that which nature has not given 
us. Strangely enough...


CUT TO:

21. SKYSCRAPER. STOCK.


DR. ALTON (voice over):
...Nature has given us all these things. 


CUT TO:

22. ANOTHER STOCK SHOT OF TALL BUILDINGS.


DR. ALTON (voice over):
We just had to learn how to put nature's elements 
together for our use, that's all. 


CUT TO:

23. HEADLINE. "WORLD SHOCKED BY SEX CHANGE"

Identical to scene 14.


DR. ALTON (voice over):
Yet the world is shocked by a sex change.


CUT TO:

24. CLOSE-UP OF WOMAN'S EYES AND NOSE.


VERY ODD FEMALE VOICE:
If the Creator had wanted us to fly, he'd a-given us 
wings.


CUT TO:

25. CLOSE-UP OF MAN'S EYES AND NOSE.


BUMPKIN VOICE:
If the Creator had a-meant us to roll around the 
countryside, we'd a been born with wheels.

CUT TO:

26. CLOSE-UP OF WOMAN'S LEFT EAR.



FEMALE VOICE:
If the Creator had meant us to be boys, we certainly 
would have been born boys.


CUT TO:

27. CLOSE-UP OF MAN'S LEFT EAR.


MALE VOICE:
If the Creator had meant us to be born girls, we certainly
would have been born girls.


DISSOLVE TO:

28. CLOSE-UP OF WOMAN'S EYES AND NOSE.


Identical to SCENE 24.


DR. ALTON (voice over):
Are we sure?  


CUT TO:

29. CITY STREET. EXTERIOR. DAY.


Glen, still in drag, walks down the street in front of a women's clothing store. He stops to look into the window display.


DR. ALTON (voice over):
Nature makes mistakes. It's proven every day. This 
person is a transvestite, a man who is more comfortable
wearing girls' clothes. 


We see this from the reverse angle.


DR. ALTON (voice over):
The term "transvestite" is the  name given by medical 
science to those persons who  wear the clothing of the
opposite sex. Many a  transvestite actually wishes to 
be the opposite sex. 


CUT TO:

30. GLEN'S APARTMENT. INTERIOR.

Glen lounges on a couch, wearing a blonde wig, angora sweater, and lame' pants. He is casually reading a magazine.



DR. ALTON (voice over):
The title of this can only be labeled "Behind Locked 
Doors."  Give this man satin undies, a dress, a sweater 
and a skirt, or even the lounging outfit he has on, and 
he's the happiest individual in the world. He can work 
better, think better. He can play better, and he can be 
more of a credit to his community and his government 
because he is happy. These things are his comfort. 
But why the wig and make-up?  



CUT TO:

31. EXTERIOR. CITY STREET. DAY.

Identical to the first shot from scene 29.


DR. ALTON (voice over):
He dares to enter the street dressed in the clothes he so 
much desires to wear, but only if he really appears 
female: the long hair, the make-up, the clothing, the 
actual contours of a girl. 


CUT TO:

32. BARBARA'S KITCHEN. INTERIOR. NIGHT.

Glen is now dressed in a conservative men's suit. He no longer wears the wig and makeup and looks very normal. He sits at a kitchen table, across from his blond girlfriend, Barbara. Barbara is holding Glen's hand and examining it.



DR. ALTON (voice over):
Most transvestites do not want to change their life, their 
bodies. Many of them simply want to change the 
clothing they wear to that as worn by the opposite sex.
Glen is engaged to be married to Barbara, a lovely, 
intelligent girl. 


BARBARA:
Those fingernails have got to go.


GLEN:
You know, I didn't realize they were as long as they are.


BARBARA:
My goodness, they're almost as long as mine... maybe 
even prettier. We'll have to paint them sometime just 
for the fun of it.


GLEN:
We'll trim them.


BARBARA:
(laughing) That's for sure!


GLEN:
(changing the subject)
You know, honey, you've invited me to dinner so many 
times in the last couple of months. It's almost like we 
were married already.


BARBARA:
I wish we were, darling. It's been a long year.


GLEN:
For both of us.


BARBARA:
But now... my studies are through, college is concluded,
and I'm free at last!


GLEN:
Free? For the time being...


BARBARA:
Huh?!?  (gets it)  Oh!  (laughs)  How 'bout joining me for 
an after-dinner drink?


GLEN:
The living room?


BARBARA:
Mm-hmm.


Glen and Barbara join hands as they get up from the table and walk toward the camera.

CUT TO:

33. STOCK FOOTAGE OF MAN LUGGING HEAVY CRATE. DAY.


Only the man's legs are visible, as he carries the crate down a flight of stairs.



DR. ALTON (voice over):
Modern man is a hard working human. Throughout the 
day, his mind and his muscles are busy at building the 
modern world and its business administration. His 
clothing is rough, coarse, starched, according to the 
specifications of his accepted job. 


The man disappears into a shadowy doorway.

CUT TO:

34. SUBURBAN HOME. INTERIOR. NIGHT:

A balding man wearing a gray suit and black shirt sits on a couch. (This man was visible in the background at the scene of Patrick's suicide.)  He looks very uncomfortable now as he tugs at his shirt collar and removes his right shoe.  He grabs the Daily Chronicle from a coffee table in front of him. It's the one with the "Sex Change" headline.



DR. ALTON (voice over):
At home, what does modern man have to look forward 
to for his body comfort?  The things provided for his 
home: a wool or flannel robe, his feet encased in the 
same, thick, tight-fitting leather that his shoes are made 
of. These are the things provided for his home comfort.
It doesn't look so comfortable, does it?  


CUT TO:

35. STREET CORNER.

The sense of a street corner is created by having a bus stop sign in front of a black background. The balding man is standing next to the sign. He wipes sweat from his forehead, removes the hat, and wipes the inside of it, too.



DR. ALTON (voice over):
And get the hat!  Better still, get the receding hairline. 
Men's hats are so tight they cut off the blood flow to the 
head, thus cutting off the growth of hair. 


The balding man puts his hat back on. He gets his keys out of his pocket and begins tossing them into the air and catching them.



DR. ALTON (voice over):
Seven out of ten men wear a hat, so the advertisements say. 
Seven out of ten men are bald. But what about the ladies?  



CUT TO:

36. OFFICE. INTERIOR. DAY. 

Two women are talking in an office. One is sitting at a desk with a typewriter. The other is standing.



DR. ALTON (voice over):
Yes, modern woman is a hard-working individual also, 
but...


CUT TO:

37. SUBURBAN HOME. INTERIOR. NIGHT.

This is the same living room where we saw the balding man. Now, a woman enters and lies down on the couch. She, however, is wearing silk pajamas and looks supremely comfortable.



DR. ALTON (voice over):
When modern woman's day of work is done, that which 
is designed for her home comfort is comfort. 


CUT TO:

38. STOCK FOOTAGE OF WOMEN.

We see a gaggle of women talking in front of a clothing store. They are all wearing hats, laughing, and looking extremely happy. One smokes a cigarette. 


DR. ALTON (voice over):
Hats that give no obstruction to the blood flow, hats that
do not crush the hair. Interesting thought, isn't it?  


CUT TO: 

39. JUNGLE. EXTERIOR. DAY.

Two African men dance in front of a tree. They wear colorful tribal masks and loincloths. The first holds a spear, while the second pounds on a drum. Behind them is a bamboo rack decorated with skulls. There are skulls on the tree, too.


DR. ALTON (voice over):
Just for comparison, let's go native, back to the animal
instinct. 

We move in closer on the first dancer with the spear. His mask has long, pointy horns. He begins to dance with a scantily-clad African woman.


DR. ALTON (voice over):
There, in the lesser-civilized part of the world, 
it's the male who adorns himself with the fancy objects, 
such as paints, frills, and masks...


Return to the wider shot. The two men are  now dancing with four women.  The first male no longer has the spear, and the second male no longer has the drum. The second male is now holding a different spear.


DR. ALTON (voice over):
The true instinct!  The  animal instinct!  Bird and animal life.
Is it not so that it's  the male who's the fancy one?  
Could it be that the male was meant to attract 
the attention of the female? 


The first male picks up one of the women, slings her over his shoulder, and carries her offscreeen.




DR. ALTON (voice over):
What's so wrong about that?  


CUT TO:

40. SUBURBAN HOME. INTERIOR. NIGHT.

The balding man and the woman with the silk pajamas are together in the living room now. He's sitting on the couch, still removing his right shoe and looking miserable. She sits down serenely, picks up a drinking glass from the coffee table, takes a sip, and sets the glass back down. She looks comfortable.


DR. ALTON (voice over):
Where is the animal instinct in modern civilization?
Female has the fluff and the finery, as specified by
those who design and sell. 


The balding man chucks his shoe down on the floor.

CUT TO:

41. STOCK FOOTAGE OF DOWNTOWN. DAY.


A crowd of well-dressed men and women make their way down a crowded sidewalk in a busy urban area. They cross an intersection.


DR. ALTON (voice over):
Little Miss Female, you should feel quite proud of the
situation. You, of course, realize that it's predominantly
men who design your clothes, your jewelry, your make-
up, your hair styling, your perfume. But life, even though 
its changes are slow, moves on. 

CUT TO:

42. LIVING ROOM. INTERIOR. NIGHT.

Someone in a dress is sitting in an armchair and reading the same Daily Chronicle with the "Sex Change" headline. The paper covers the person's face.



DR. ALTON (voice over):
There's no law against wearing such apparel on the 
street, as long as it can be distinguished that man is 
man and woman is woman. But... 


The someone folds up the paper. We can now see that the reader is a bearded man in drag, with earrings and makeup.


DR. ALTON  (voice over):
What is it that would happen were this individual to 
appear this way on the street?  

The bearded transvestite sets the paper down on an end table next to a lamp and yawns contentedly. 


DR. ALTON (voice over):
You're doing it now -- laughing. Yet it's not a situation
to be laughed at. 


CUT TO:

43. CITY STREET. EXTERIOR. DAY.


Glen, dressed as a man in a gray jacket, tie, and black pants, walks down the same street with the women's clothing store. He looks very nervous and anxious. He stops to look in the window at the mannequins and feminine apparel therein.


DR. ALTON (voice over):
Thus, the strange case of Glen who is Glenda, one and 
the same person. Not half-man, half-woman, but 
nevertheless man and woman in the same body, 
even though by all outward appearances, Glen is fully and 
completely a man.


We alternate between shots of Glen looking nervous and shots of the merchandise.

CUT TO:

44. GLEN'S BOYHOOD HOME. INTERIOR. NIGHT.


A long white dress is hanging on a clothing rack.  We hear voices of a young Glen and his parents.



GLEN (voice over):
Sister let me borrow her dress.


GLEN'S FATHER (voice over):
You want to borrow your sister's dress?  What for?


GLEN (voice over):
I want to wear it to the Halloween party.


GLEN'S FATHER (voice over):
There are names for boys who go around wearing girls'
clothes.


GLEN'S MOTHER (voice over):
Oh, don't be silly, darling. You go ahead and wear your 
sister's dress, Glen. You always did look much better
as a girl than you do as a man.

CUT TO:

45. SAME ROOM. LATER THAT NIGHT.


Glen is now dressed in drag, with a blonde wig, high heels, and an angora sweater over the white dress. He adjusts his "costume" a bit and exits through the front door.


DR. ALTON (voice over):
Glen did wear the dress to the Halloween party. He
even took first prize. 


CUT TO:

46. LIVING ROOM. INTERIOR. NIGHT.


We are apparently in another room of Glen's boyhood home. Glen is still in drag, but now wearing a white blouse and black skirt. He is sitting in a chair, reading a magazine.



DR. ALTON (voice over):
Then one day it wasn't Halloween any longer.


Glen's sister, Sheila, opens a door and enters the room. She is wearing a coat over her dress. Glen looks up in horrible surprise. He's been caught!  Sheila removes her coat, temporarily oblivious to Glen's presence, and sets the coat down carefully. She turns around, shocked at what she sees. She puts her hand to the side of her face. Glen drops the magazine and looks stunned. Sheila, her hand plastered to the side of her face, backs up towards the door. She is mortified.

DISSOLVE TO:

47. OFFICE. INTERIOR. DAY.


A water cooler stands guard in a corner of an office. Sheila and a blond co-worker enter and get some cups from the top of the cooler. The co-worker fills her cup with water.


CO-WORKER:
I wish I had the sight into such things to be able to 
advise you, Sheila. Maybe... maybe if you took the 
problem to a doctor.


SHEILA:
It's Glen that needs the doctor.

Sheila fills her cup with water as the co-worker drinks.


SHEILA:
But... but when things like this... go wrong with 
someone so close and... and in your own family, 
it's so hard to believe.

Sheila takes a hearty drink of water. She looks like she needs it.


CO-WORKER:
It's not really hard to believe. It's just hard for you to 
accept.


The co-worker takes a drink of water.


SHEILA:
Of course it's hard for me to accept!  Suppose I... I were
to come home with Roy or one of my other boyfriends
some night... and find Glen like I did last night?


CO-WORKER:
Yeah!  That would be hard to explain.


SHEILA:
That's the understatement of the year. Just how does 
one go about introducing your friends to your brother, 
when Brother's wearing your... best sweater and... your 
skirt... and make-up to boot?!?


Sheila angrily tosses away her cup and exits. The co-worker lingers a few seconds, shrugs, then throws her cup away and exits as well.

WIPE TO:

48. GLEN'S APARTMENT. INTERIOR. NIGHT.

We see a dresser with a vase of flowers on top. Glen enters, dressed in a tie, white shirt, and black dress pants.



DR. ALTON (voice over):
Glen is not a homosexual. Glen is a transvestite, but he
is not a homosexual. Transvestism is the term given 
by medical science to those persons who desperately 
wish to wear the clothing of the opposite sex yet whose 
sex life in all instances remains quite normal. 


CUT TO:

49. STOCK FOOTAGE OF WORKER ASCENDING LADDER. 



DR. ALTON (voice over):
Would you be surprised to know that this rough, tough 
individual was wearing pink satin undies under his
rough exterior clothing?  He is. 


CUT TO:

50. SIDEWALK. EXTERIOR. DAY.



DR. ALTON (voice over):
Then there's your friend the milkman, who... 


CUT TO:

51. MILKMAN'S HOME. INTERIOR. NIGHT.




DR. ALTON (voice over):
...who knows how to find comfort at home.


CUT TO:

52. COURTROOM DOOR.

CUT TO:

53. COURT. INTERIOR. DAY.


VOICE OF WIFE #1: 
(with heavy "Noo Yawk" accent)
I can't stand it any longer!  He wears all my clothes.
Nothing is sacred to him. Even my briefs!


VOICE OF WIFE #2:
He has every one of my sweaters stretched out of
shape. Of course, he has always replaced them, but
then... they didn't last long, either!


VOICE OF WIFE #3:
(sultry, flirtatious)
But, Your Honor, ruffles on his shirts and shorts -- really!

CUT TO:

54. STOCK FOOTAGE OF DOWNTOWN.




DR. ALTON (voice over):
Glen and all the hundreds of thousands of other Glens 
across the nation face quite a problem. 


CUT TO: 

55. SHOT OF BARBARA.


DR. ALTON (voice over):
Glen is engaged to be married to Barbara, a lovely, 
intelligent girl. The problem?  

CUT TO:

56. GLENDA SITTING IN CHAIR.


DR. ALTON (voice over):
Glenda, Glen's other self... the girl that he himself is... 
his other, individual personality.

DISSOLVE TO:

57. BARBARA'S LIVING ROOM.  INTERIOR. NIGHT.


BARBARA:
You look tired tonight, Glen.


GLEN:
Yeah, I guess I am. It's been a long day.


BARBARA:
Have you seen the paper yet?


GLEN:
No, why?


BARBARA:
This headline -- a man had his sex changed to a woman.
Isn't that a strange case?  I wonder how some people's
mind works.


GLEN:
Well, some people aren't... happy the way they are.


BARBARA:
I suppose so, but to change one's sex!  That's a pretty
drastic step to take!


GLEN: 
If it's the only way, I'm for it.


BARBARA:
I wonder what I would do in a case like that, if I were in
the mental turmoil that that person went through, or if I
suddenly realized that something was mentally wrong 
with you. Oh, it's hard to visualize. Here we are, two
perfectly normal people, about to be married and... lead
a normal life together. And there's this poor fellow who
never could've been happy if it wasn't for modern medical
science. Our fourth term in psychology explains a lot of
the facts, but I'm afraid the end of study is only the
beginning of reality.

CUT TO:

58. CITY STREET. EXTERIOR. DAY.



DR. ALTON (voice over):
Glen's problem is a deep one, but he must tell her... 
soon!  She's begun to notice things: his nails, his eyes
when he looks into a ladies' store window... so many of 
the little things that are hard to hide. Soon, she will realize. 


FADE TO BLACK.

FADE UP ON:

59. BARBARA'S LIVING ROOM. INTERIOR. NIGHT.


DR. ALTON (voice over):
Then, there was the time Barbara was wearing the
sweater Glen had always wanted to feel on his own body.
It was becoming an obsession to him. He must have it.


BARBARA:
What's the matter, Glen darling?


GLEN:
Oh. Heh. I guess I was daydreaming.


BARBARA:
Something seems to be troubling you. Why don't you
tell me?


GLEN:
It's nothing.


BARBARA:
Once, long ago, just after we started going steady together,
we promised we'd never lie to each other. Are we gonna 
start now, just because we're engaged to be married?


GLEN:
It's just that... Oh, Barbara, it's nothing that a little sleep
won't cure. It's been an awful long day.


BARBARA:
It's more than that. Come on. Tell me, darling. Who knows?
Maybe I can help.


GLEN:
That's just it. You could.


BARBARA:
Then something is troubling you.


GLEN:
Yes.


BARBARA:
Do I have a right to know?


GLEN:
You have a right to know. But let's just say for the moment
that... I'm afraid to tell you. I'm afraid I'd lose you.


BARBARA:
Nothing could be as bad as all that. I love you, and you love
me, and nothing in the world can change that.


GLEN:
I hope not. I really hope not.


BARBARA:
Glen... is it another woman?


SMASH CUT TO:

60. STOCK FOOTAGE OF BUFFALO STAMPEDE.


THE SPIRIT:
Pull the string!  Pull the string!!  A mistake is made. 


DISSOLVE TO:

61. LABORATORY. INTERIOR. NIGHT.


THE SPIRIT:
The story must be told.


DISSOLVE TO:

62. GLEN'S APARTMENT.


DR. ALTON (voice over):
Always the same... he's not had the nerve to tell her, but
he must soon come to some conclusion or forget the marriage.
Should he tell Barbara of his Glenda now, before the wedding,
or hit her between the eyes with it after, when it might be too 
late for either of them?  


DISSOLVE TO:

63. STOCK FOOTAGE OF HIGHWAY.


DR. ALTON (voice over):
The world is a strange place to live in. All those cars, all
going someplace, all carrying humans which are carrying out
their lives. 


FADE TO BLACK. 

FADE UP ON:

64. GLEN CROSSING THE STREET.


DR. ALTON (voice over):
The world is shocked by a person who changed his sex. 
Glenda is shocked also, but by another reason. Someone like
her had the nerve to do something factual about 
their situation. There are so many problems for Glen and 
all the other Glens: perhaps the fear of discovery of 
the underthings  they wear beneath
their regular outer clothing or that which 
they wear during their
nightly visit to Morpheus, god of sleep.


DISSOLVE TO:

65. INTERIOR OF STORE.


SALESLADY:
Thank you very much, and I'm sure she's going to enjoy it very 
much. If you want to return it, be sure that you bring the sales   
slip. Thank you. Can I help you, sir?

GLEN:
Yeah. Lemme see a nightie.


SALESLADY:
Well, what size?


GLEN:
Twelve. 


SALESLADY:
Uh... the color and the material?


GLEN:
Black.. and very shear.


SALESLADY:
Just a minute. Well, we have this here. Would you like that?  
Something like this?  Has lace...


GLEN:
Yeah.


DR. ALTON (voice over):
Perhaps he admires the material too long.


SALESLADY:
You can see how shear the material really is.


GLEN:
Yes.


SALESLADY:
You see, it's all pure nylon, and only $21.95!  And of course it
will never snag.


DISSOLVE TO:


66. STOCK FOOTAGE OF LIGHTNING CRASH.



DR. ALTON (voice over):
But, Glen and Glenda, and all the Glens and Glendas have
an even bigger problem. 


FADE TO BLACK. 

FADE UP ON:

67. STREET CORNER.


CUT TO:


68. BLACK BACKGROUND.



DR. ALTON (voice over):
The homosexual, it is true, at times does adopt the clothing
or the makeup of a woman to lure members of his own sex, 
but this is not so for the transvestite. 


CUT TO: 

69. STREET CORNER.



DR. ALTON (voice over):
The transvestite is not interested in those of their own sex. 
The clothing is not worn to attract the attention of their own sex
but to eliminate themselves from being a member of that sex.


FADE TO BLACK.

FADE UP ON:

70. HIGHWAY FOOTAGE.




JACK (voice over):
Hi Joe.


CUT TO:

71. MORE HIGHWAY FOOTAGE.


JOE (voice over):
Hiya, Jack.


JACK (voice over):
Monday again.


JOE (voice over):
You know, I think Monday is about the worst day of the week:
a perfectly wonderful weekend...



CUT TO:

72. PARKING LOT OUTSIDE FOUNDRY. 


JOE (voice over):
Then... back to the sweatshops.


JACK (voice over):
Too bad we was born to work. Say...

CUT TO:

73A. INSIDE FOUNDRY.
 
JACK (voice over):
Did you read about the guy that had his sex changed to a girl?
Says he was perfectly normal, too.

73B. INSIDE FOUNDRY.


JOE (voice over):
How can a guy be normal and go and do a thing like that to
hisself?


73C. INSIDE FOUNDRY.


JACK (voice over):
All the same, it must take a lot of
guts to pull a stunt like that.


73D. INSIDE FOUNDRY.


JOE (voice over):
That's a problem I don't ever intend to face.

73E. INSIDE FOUNDRY.



JACK (voice over):
Maybe it's a problem we should all face.


73F. INSIDE FOUNDRY.


JOE (voice over):
I don't get ya.



73G. INSIDE FOUNDRY.


JACK (voice over):
Just think of the unhappy life, the miserable time this world
of our must've given that poor guy.


73H. INSIDE FOUNDRY.



JOE (voice over):
I still don't get ya.

73I. INSIDE FOUNDRY.


JACK (voice over):
Now, here is a guy who wanted to be a girl. Supposin' there
had been no way no way to change his sex?



73J. INSIDE FOUNDRY.


JOE (voice over):
You sound as if you're really head up on this thing.


73K. INSIDE FOUNDRY.


JACK (voice over):
I guess I am.



73L. INSIDE FOUNDRY.




JOE (voice over):
Do you realize what would happen if every man in the
country that wanted to wear women's clothes or felt like a
woman went to their doctors and wanted a sex change?


73M. INSIDE FOUNDRY.




JACK (voice over):
Of course. That's why I say perhaps society should be a little
bit more lenient with 'em. Maybe society should try to understand
them as human beings.


CUT TO:

74. STOCK FOOTAGE OF HIGHWAY TRAFFIC. NIGHT.


JOE (voice over):
Another day done... thank goodness. 
See you tomorrow, Jack.

CUT TO:

75. STOCK FOOTAGE OF LIGHTNING CRASH.




SEXY FEMALE VOICE: 
Yeah. So long, Joe. Until tomorrow.


FADE TO BLACK.

FADE UP ON:

76. JOHNNY'S PLACE.



JOHNNY:
Hi, Glen!


GLEN:
Hi, Johnny!


JOHNNY:
Come on in!  I'm headed right for the kitchen. I can't let
that dinner burn. You know, I thought I was going to have
to eat alone tonight.

(NOTE: For reasons unknown, JOHNNY pronounces the word "kitchen" as "kickin.")


GLEN:
Well, you prob'ly will, because I've already eaten.


CUT TO:

77. INTERIOR OF KITCHEN.


JOHNNY:
What's up?


GLEN:
Nothing much.


JOHNNY:
Say, you really look down in the dumps!


GLEN:
I guess I got a problem.


JOHNNY:
Haven't we all?


GLEN:
I mean a real problem, one like 
I've never had to face before.


JOHNNY:
Our whole existence is one big problem after another.


GLEN:
I want to get married.


JOHNNY:
You have a problem. When did this all come about?


GLEN:
For nearly a year, I've been engaged to a very wonderful girl. 
Now, the time is getting very close to the man with the book.
I'm scared to death.


JOHNNY:
Do you love her?


GLEN:
Very much.


JOHNNY:
Does she love you?


GLEN:
Yes.


JOHNNY:
There's no problem. Marry the girl!


GLEN:
Are you forgetting about my other self?


JOHNNY: 
You'll have to tell her, of course.


GLEN:
Yeah. I have to tell her. But when?  Before... or after?


JOHNNY:
I think you know the answer to that one yourself.


GLEN:
My mind's in a muddle, like in a thick fog. I can't make
sense to myself sometimes. I thought I could stop wearing
these things. I tried, honestly I tried. I haven't had a stitch 
of them on for nearly two weeks until tonight. Then I couldn't
stand it anymore. I had to put them on or go out of my mind.
I'm afraid I'll lose her. I don't want that to happen because... 
I really love her.


JOHNNY:
Okay. Here's a story from fact.



DISSOLVE TO:

78. JOHNNY'S LIVING ROOM. THE PAST.



DR. ALTON (voice over):
Johnny tells his story. He'd not too long ago been married 
himself. He'd kept quiet about his transvestite desires in the
hopes that the new wife would never discover it. However... one
day... the little woman came home unexpectedly an hour early.

CUT TO:

79. COURTROOM DOOR.


JOHNNY:
That marriage ended here. 


CUT TO:

80. KITCHEN.


JOHNNY:
Will your problem be like mine?  Most prob'ly it will. Because a
love hasn't been built up for such a thing. She, your wife, she 
will not have been taught enough about the... problems to...
cope with it.

DISSOLVE TO:


81. STREET SCENE. NIGHT.




DR. ALTON (voice over):
Glen / Glenda, must now make her decision or forever forget the 
marriage to Barbara. 


CUT TO:

82. ALTON'S OFFICE.


DR. ALTON:
Glen / Glenda should consult a competent psychologist, but then,
very few transvestites wish to change their strange desires. This
is their life. To take it away from them might do as great a harm 
as taking away an arm or a leg or life itself. 


CUT TO:

83. PATRICK'S APARTMENT.



DR. ALTON (voice over):
Many even carry their transvestite desires to the grave with them. 


CUT TO:

84. STREET SCENE. NIGHT.


DR. ALTON (voice over):
Yes, it is a problem. But, Glenda, remember back almost a year ago when Glen and Barbara accepted each other?

DISSOLVE TO:

85. BARBARA'S HOME. NIGHT.


GLEN:
G'night.


BARBARA:
That's the sixth time you've said "good night."


GLEN:
I guess it is. Look, come on over here a minute.


BARBARA:
What is it?


GLEN: 
Never mind. Just sit down.


BARBARA:
Oh, I was beginning to think you'd never get around to it.


GLEN:
Then you mean you will?


BARBARA:
What do you think?


GLEN:
When?


BARBARA:
I must finish college first. It's only seven months to go.


GLEN:
Well, then there's hardly long enough for you to get a trousseau together.


BARBARA:
How would you know about such things?


GLEN:
(laughs)


BARBARA:
Glen... what's the matter?


GLEN:
Huh?


BARBARA:
All of a sudden, you seem a thousand miles off.


GLEN:
Yes, I... I guess I was, I... That's a mighty pretty dress you're wearing tonight.


BARBARA:
I wear my best to please you.


GLEN:
You know, when... when you look at me, you just tie me in knots.


BARBARA:
I love to tie you in knots!  Oh, I'll be so happy when these next few months are over.


GLEN:
Some special reason?


BARBARA:
Of course!  So you can stop kissing me goodbye at the door every night.


GLEN:
Yes...?


SLOW DISSOLVE TO:

86. STREET SCENE. NIGHT.


BARBARA (V.O.):
So you can hold me close to you always.


GLEN (V.O.):
Yes.


BARBARA (V.O.):
Then all you'll have to do is call and close your eyes to feel my lips on yours.


CUT TO:

87. GLEN'S APARTMENT. INTERIOR. NIGHT.


SLOW DISSOLVE TO:

88. LABORATORY. INTERIOR. NIGHT.


THE SPIRIT:
Beware... Beware!  Beware of the big green dragon that sits on your doorstep. He eats little boys... puppy dog tails... and big, fat snails!  Beware!  Take care!  Beware!  


FADE TO BLACK.

FADE UP ON:

89. PANTOMIME SEQUENCE AGAINST BLACK BACKGROUND.

SPIRAL EFFECT TRANSPORTS US TO:

90. THE NIGHTMARE ROOM. INTERIOR.

DISSOLVE TO:

91. PANTOMIME SEQUENCE AGAINST BLACK BACKGROUND.

DISSOLVE TO:

92. LABORATORY. INTERIOR. NIGHT.


THE SPIRIT:
Tell me!  Tell me, dragon!  Do you eat little boys, puppy dog tails, and big, fat snails?!?

DISSOLVE TO:

93. CLOSE-UP OF GLEN.


LITTLE GIRL (VOICE):
(taunting, teasing)
Puppy dogs' tails, puppy dogs' tails. Puppy dogs' tails. Everything nice. Everything nice. Ha, ha, ha. Puppy dogs' tails.

CUT TO:

94. INTERIOR. LABORATORY. NIGHT.

CUT TO:

95. COUCH AGAINST BLACK BACKGROUND.


CUT TO:

96. INTERIOR. LABORATORY. NIGHT.


CUT TO:

97. COUCH AGAINST BLACK BACKGROUND.

CUT TO:

98. INTERIOR. LABORATORY. NIGHT.

CUT TO:

99. COUCH AGAINST BLACK BACKGROUND.

CUT TO:

100. INTERIOR. LABORATORY. NIGHT.

CUT TO:

101. COUCH AGAINST BLACK BACKGROUND.


CUT TO:

102. INTERIOR. LABORATORY. NIGHT.

CUT TO:

103. COUCH AGAINST BLACK BACKGROUND.

CUT TO:

104. INTERIOR. LABORATORY. NIGHT.

CUT TO:

105. DOOR FRAME AGAINST BLACK BACKGROUND.


CUT TO:

106. INTERIOR. LABORATORY. NIGHT.


CUT TO:

107. DOOR FRAME AGAINST BLACK BACKGROUND.


CUT TO:

108. INTERIOR. LABORATORY. NIGHT.


CUT TO:

109. DOOR FRAME AGAINST BLACK BACKGROUND.

CUT TO:

110. INTERIOR. LABORATORY. NIGHT.

CUT TO:

112. PANTOMIME AGAINST BLACK BACKGROUND.

CUT TO:

113. THE NIGHTMARE ROOM.

REACTION SHOT from GLEN.

CUT TO:

114. PANTOMIME AGAINST BLACK BACKGROUND.


CUT TO:

115. THE NIGHTMARE ROOM.


CUT TO:

116. PANTOMIME AGAINST BLACK BACKGROUND

CUT TO:

117. INTERIOR. LABORATORY. NIGHT.

CUT TO:

118. PANTOMIME AGAINST BLACK BACKGROUND.

CUT TO:

119. THE NIGHTMARE ROOM.


CUT TO:

120: PANTOMIME AGAINST BLACK BACKGROUND


Woman tied to post.

CUT TO:

121. THE NIGHTMARE ROOM.

CUT TO:

122. COUCH.

CUT TO:

123. LAB.

CUT TO:

124. VANITY.

CUT TO:

125. LAB.

CUT TO:

126. COUCH.

CUT TO:

127. LAB.

CUT TO:

128. COUCH

CUT TO:

129. LAB.

THE SPIRIT does the eyebrow thing.

CUT TO:

130. THE NIGHTMARE ROOM.


This is a really long sequence.


THE DEVIL:
The big green dragon. The big fat snails. Beware. Take care


LITTLE GIRL:
I'm a girl. I'm nice. You're a boy. A puppy dog's tail. Ha, ha, ha. Everything nice. Puppy dogs' tails. Puppy dogs' tails. Puppy dogs' tails. I'm a girl. I'm nice. Everything nice, everything nice. Ha, ha, ha. Puppy dogs' tails.


DISSOLVE TO:

131. CLOSEUP OF THE DEVIL



THE DEVIL (voice)
Beware. Beware. Beware of the big green dragon that sits on your doorstep. He eats little boys... puppy dog tails and big, fat, snails. Beware. Take care. Beware.


DISSOLVE TO:

132. THE NIGHTMARE ROOM

DISSOLVE TO:

133. GLEN'S APARTMENT

Glen removes his wig.


DR. ALTON (V/O):
Glen / Glenda has made the decision. 

DISSOLVE TO:

134. BARBARA'S PLACE



DR. ALTON (V/O):
Glen has decided to tell Barbara of his dual personality, to tell her of the nighties and negligees, the sweaters and skirts, the robes and dresses, the stockings and the high-heel shoes, the wig and the make-up... all that goes to make Glen into Glenda. He tells Barbara he cannot cheat her of the knowledge that she, as his fiancee, should posses, all the facts. He tells her softly, hurriedly at first.. then slowly, as he becomes more technical. His hands move to caress the smooth material of her angora sweater., which he has so longed, so desperately wanted to put on his own body. He tells of this to her, and she looks to the sweater and to his hand. Then, when it is all over and that much of the story he knows is told, Barbara is not sure of her own thoughts.


GLEN:
That's about it, darling. I've wanted to tell you for a long, long time but just couldn't bring myself to do it. I've been too much afraid of losing you.


DISSOLVE TO:

135. THE SPIRIT'S LABORATORY


Scene with Glen and the Spirit... together at last!

DISSOLVE TO:

136. BACK TO BARBARA'S PLACE


BARBARA:

Glen... I don't fully understand this, but maybe together we can work it out.

FADE TO BLACK.

FADE UP ON:

137. DR. ALTON'S OFFICE



INSPECTOR:
Is that the end of the story?


DR. ALTON:
Not quite. I'll get back to it in a minute. Glen's case is really the lesser-advanced-type cases. The second case is an extremely advanced one. However, I'll get to that in a moment. First you must realize that each transvestite the world over has his own particular problem. Each case must be handled individually according to the person, his past life, and his problem.


INSPECTOR:
Did this Glen have any homosexual tendencies?


DR. ALTON:
Absolutely not. It's very seldom that a true transvestite does.


INSPECTOR:
And he isn't a hermaphrodite?


DR. ALTON:
No more than he's a pseudohermaphrodite. Glen's case was entirely of his mind, brought on by the environment of his early youth.


INSPECTOR:
What about their children, Doctor?  Er, will their children, uh... become the same way their father is?


DR. ALTON:
No. Transvestism is not hereditary.


INSPECTOR:
Well, what makes these men want to wear girls' clothes?


DR. ALTON:
Many things. But as I said before, it usually starts in early childhood from one cause or another. Technically, each case has the same beginning, just a different set of circumstances.


INSPECTOR:
Are any of them actually cured?


DR. ALTON:
Oh, yes. Many, many of them. Once the source of supply is found, it can be stopped, unless the patient refuses to cut off that source of supply.


INSPECTOR:
Then the way I get it, this Glen and the character he created, much as an author creates a character in a book, was invented as a love object to take the place of the love he never received in his early youth through lack of it from his parents. The character was created and dressed and lives the life the author designs for him to live and dies only when the author wants him to die.


DR. ALTON:
Correct. Except that for the character Glenda to die, the elements must be right. But to enlighten you a little further, there's the second story, that of an extremely advanced case. Let's call this person Alan...


CUT TO:

138. ALAN/ANN's PLACE


Ann is sitting in a chair reading.


DR. ALTON (V/O):
...Ann. Alan had a mother who wanted a little girl. Father didn't care much one way or the other. 


CUT TO:

139. STOCK FOOTAGE OF SCHOOL CHILDREN


DR. ALTON (V/O):

Alan did not enter the competitive sports that the other boys of the school did. However, he was an extremely studious boy and always had above-average marks in his subjects. Yet sports, girls' sports, he always was interested in, but he was rejected by the girls and also rejected by the boys. It seems he belonged to neither of them. 
CUT TO:

140. DR. ALTON'S OFFICE:



DR. ALTON:
After school, Alan would go home to find the mother who had always wanted a girl and the father who didn't care one way or the other. 


CUT TO:

141. ALAN-ANN DOING HOUSEWORK


DR. ALTON (V/O):
He enjoyed doing the woman's work around the house. Alan was becoming a woman and didn't realize it. A woman in mind only, but the mind rules. 

CUT TO:

142. AIR FORCE POSTER


going up - go air force

DR. ALTON (V/O):
Then, came the fateful year of 1941. Alan was drafted. He was accepted. 


CUT TO:

143. SOLDIERS EXERCISING


DR. ALTON (V/O):
In the Army, he successfully passed his vigorous training. 



CUT TO: 

144. SOLDIERS ON THE MARCH


DR. ALTON (V/O):
He did not like it, but then there were the weekends for his particular diversions. 

CUT TO:

145. PUBLIC LOCKER ROOM


DR. ALTON (V/O):
On his weekend passes, he would go to the nearest town, where he had a suitcase checked in a public locker. 

CUT TO:

146. SUITCASE


DR. ALTON (V/O):
In the suitcase he had the things he loved to wear, that which made his body appear to be what his mind believed it was. 


CUT TO:

147. SOLDIERS GETTING ON A BIG BOAT:


DR. ALTON (V/O):
Then, the day of embarkation came. 


CUT TO:

148. ARMY BARRACKS???


DR. ALTON:
But, wherever Alan went, the suitcase was sure to go.


CUT TO:

149. LOADING MISSILE LAUNCHER

CUT TO:

150. MISSILE LAUNCHER FIRING

CUT TO:

151. SOLDIERS ON RAFT THINGY

The soldiers storm the beach.

CUT TO:

152. MORE FOOTAGE OF THAT KIND OF STUFF


CUT TO:

153. MISSLE LAUNCHER AGAIN

It hits something, and there's white smoke.

CUT TO:

154. SOLDIERS KINDA STANDING AROUND

CUT TO:

155. SOLDIERS AND TANK


CUT TO:

156. ONE OF THOSE GUNS THAT HAS A WHOLE LOT OF BULLETS IN A ROW

CUT TO: 

157. PLANE FLYING OVERHEAD


CUT TO:

158. EXPLOSION - A SERIES OF THEM

CUT TO:

159. MILITARY PARADE


DR. ALTON (V/O):
Then, as quickly as it had begun, the war was over.
Alan came home. 

CUT TO:

161. DR. ALTON'S OFFICE:


DR. ALTON:
Alan had learned all the terms directed
at men like himself, but no one had 
found out his aversion. He was honorably 
discharged from the service at the end 
of the war. He'd received the Silver Star 
and the Bronze Star for gallantry in action. 
While he was in the Army hospital recuperating 
from a wound he'd received in New Guinea, 
he learned a very interesting fact. He learned 
that foreign doctors were doing marvelous
work with a sex change: man to woman, 
woman to man. Shortly after his separation 
from service, Alan came to me for advice. 
There followed many long sessions with my
clinical reports and the reports of 
eminent doctors. 

Dr. Alton walks over to chart


DR. ALTON:
It had been found that Alan was really a pseudohermaphrodite. A hermaphrodite is one who has the organs of both the male and female in plain sight. A pseudohermaphrodite is one who has one perfectly formed organ of either sex and one imperfectly formed one that's difficult to detect. Alan was of the latter. 


Dr. Alton walks back to the desk and sits down.


DR. ALTON:
Alan was then given his choice. That which nature
had given him was a mistake. It was up to us to correct
that mistake one way or the other. Alan had to decide
whether he wanted to become a man or she wanted to
become a woman. Both were completely possible.

(becoming lost in thought)

Small-boned, fair of complexion, his hair thin like 
a woman's, his body slim, hips slightly girlish...

(regains his composure) 

It was easy to see his decision, along with the fact 
that he had been brought up from early childhood 
to believe that a woman was the thing to be. Alan decided 
to become a woman. This, after all the help I 
could give him, was only the beginning. 


DISSOLVE TO:

162. BANDAGED PSEUDOHERMAPHRODITE ON COUCH.


DR. ALTON (V/O):

During the following two years, he was to go through the tortures of the damned, but never was there a whimper from him because he knew that at the end of it all, he would at last be that which he had always dreamed. Hundreds of hormone shots were injected into various parts of his body. 



CUT TO:

163. HOSPITAL ROOM?



DR. ALTON (V/O):
Alan's face was worked on with plastic surgery to smooth out the female elements... long, tedious hours of work. 


DISSOLVE TO:

164. CLOSE-UP OF OLD-FASHIONED RESPIRATOR


THE BAG attached to the TANK slowly inflates and deflates over and over.


DR. ALTON (V/O):
The big day... or the starting of many big days, for it was to take many. The series of operations are performed...

CUT TO:

165. DOCTOR'S HANDS


DR. ALTON (V/O):
...slowly and at intervals, to prevent any unnecessary shock to the nervous system. Still, the hormone shots continue... day after day, week after week, month after month, and even then, when the operation is over, the sex is changed, the shots must continue as long as Alan lives. 

DISSOLVE TO:

166. RESPRIATOR THING AGAIN


DISSOLVE TO:

167. OPERATION SCENE:



DR. ALTON (V/O):
First the breasts are brought out. The body of the woman within begins to appear now.

168. CUT TO RESPIRATOR AND BACK AGAIN TO...


169. OPERATION SCENE:


DR. ALTON (V/O):
Then comes the major surgery... the removal of the man and the formation of the woman.


DISSOLVE TO:

170. SPIRIT'S LAB.

Alan becomes Ann

DISSOLVE TO:

171. OPERATION SCENE:

DISSOLVE TO:

172. ANN ON COUCH.


DR. ALTON (V/O):
But in time, Alan is Ann, a very happy, lovely young lady that modern medicine and science has created almost as a Frankenstein monster. The newspapers heard of it and hit the story with their usual fullness.

CUT TO:

173. DR. ALTON'S OFFICE


DR. ALTON:
If the papers had not gotten hold of this story, it would have gone untold, unnoticed as so many others in medical history. The sex change has been performed hundreds of times. However, right here, in this particular sex switch, it's not the end. 


CUT TO:

174. ALAN/ANN'S PLACE.


DR. ALTON (V/O):
Acting the woman and being the woman are two entirely different things. Alan had all his life acted the part of the woman. Now, he is that woman and must learn how it's done. 


CUT TO:

175. ANN COMBING HER HAIR



DR. ALTON (V/O):
Ann must learn how to do her own hair, how to make the correct styling for her facial contours. 


CUT TO:

176. COMPLETELY EMPTY ROOM:


DR. ALTON (V/O):
The proper walk must be adopted. A lady is a lady, 
whatever the case may be.


CUT TO:

177. DR. ALTON'S OFFICE:


DR. ALTON:
Continuing my own psychiatric treatment, it was my duty now to explain to Ann the duty of a woman in her sex life. Alan, of course, had known the man's, but he was soon to realize he knew very little about a woman's. 


CUT TO:

178. ANN LOOKING IN STORE WINDOW:


DR. ALTON (V/O):
Yet, through it all, Ann loved every minute of it. Ann was indeed meant to be a woman, and now that the sex change had been completed, Ann was a very happy woman and a woman who was eager to learn and now was accepted by society. A woman born at the age of twenty-four, in a world that for twenty-four years she had seen as a man but a woman who now would and was properly instructed in how to accept a woman's world.


CUT TO:

179. DR. ALTON'S OFFICE:



DR. ALTON:
Thus, this case, which has a happy ending, is due entirely to the corrections made by medical science. I've had several such cases. In fact, in my twenty years of practice, I've been prominent in seven. However, my colleagues have had hundreds.


INSPECTOR:
Then you believe that the Glen of the first story should have the sex change?


DR. ALTON:
In Glen's case, no. No indeed. Glen would never be happy with a sex change.


INSPECTOR:
The Alan of your story ended happy?


DR. ALTON:

I'll tell it to you exactly as I told it to them. Shortly after Glen told Barbara of his love for girls' clothing, he started treatments with me. On the last treatment, both he and Barbara came to me. 


DISSOLVE TO:

180. DR. ALTON'S OFFICE. THE PAST.



DR. ALTON (voice over):
I told them the same story of Alan / Ann as I've told it to you, Inspector.


DR. ALTON:
Ann was a pseudohermaphrodite. Even though one of the sexes was imperfect, she had the the organs and the characteristics of both the male and female. Glen's case is an entirely different type of case. Remember I said, no matter what the case, it's a different thing, a new problem to be looked into, then solved, a new challenge to the psychoanalysis. Glen's body holds only one sex, that of the male. In all our talks, I've learned these pertinent facts: 


CUT TO:

181. GLEN"S FATHER. CORNER SALOON


DR. ALTON (V/O):
Glen's father had no love for his son. 

CUT TO:

182. SCHOOLCHILDREN PLAYING


DR. ALTON (V/O):
His father wanted Glen to be a football
hero or a baseball player...


CUT TO:

183. CORNER SALOON.


DR. ALTON (V/O):
...so that he could brag to his cronies down at the corner saloon as his cronies bragged to him about their own sons. 




CUT TO:

184. DR. ALTON'S OFFICE. THE PAST.



DR. ALTON:
Thus, the ruse of Glen's fictitious character  He invented it when he could find no love from his mother and no love from his father. His mother had hated her own father. Glen reminded her of her father. Therefore, she gave all her affection, love, and attention to her daughter. Glen then decided also to become a daughter. Glen, you can kill this fictitious character of yours any time you wish. For your happy ending, it's the only way.


GLEN:
Then you think I can kill this second character by transferring her qualities to Barbara?


DR. ALTON:
Exactly, but as the author and as character, the elements must be right.  It's up to you, Barbara. You must take the place, give the love and accept the facts that Glenda has always accepted. If you love each other as you now believe you do... well, it'll be a hard job, but you'll enjoy doing the job.


BARBARA:
Should I let him continue to wear girls' clothing, or should I put my foot down?


DR. ALTON:
Put your foot down, he'd only go behind closed doors. Love is the only answer. Glenda must be transferred to you.


BARBARA:
Supposing Glen never gets over wearing girls' clothing?


DR. ALTON:
Would it matter to you very much?


BARBARA:
(after a pause)
I love Glen. I'll do everything I can to make him happy.


CUT TO:

185. CHURCH. EXTERIOR. DAY.

Glen and Barbara exit, deliriously happy.


DR. ALTON:
The end is only the beginning. 


DISSOLVE TO

186. GLEN'S APARTMENT



DR. ALTON (V/O):
Time passes. Soon, due to a happily married life, the remembrance of the psychiatric treatments, and Barbara's love and understanding, Glenda begins to disappear forever. from Glen. Glen has found his mother, his little sister, his wife, and his Glenda, all in one lovely package. Thus, Glen's case has a happy conclusion.


CUT TO:

187. DR. ALTON'S OFFICE


DR. ALTON:
Therefore, two entirely different cases, handled in two entirely different ways, have a happy ending.


INSPECTOR:
Yeah, those two, but what of the hundreds of other, less fortunate Glens the world over?



DISSOLVE TO:

188. NEWSPAPER HEADLINE. THE DAILY CHRONICLE


DISSOLVE TO:

189. THE SPIRIT'S LABORATORY. INTERIOR. NIGHT.



THE SPIRIT:
Yes. But what of the other... less fortunate 
Glens the world over? 

(sighs wearily) 

Oh, snips and snails, and puppy dog tails.


DISSOLVE TO:

190. HIGHWAY TRAFFIC. NIGHT. 


T H E     E N D



25th ANNIVERSARY SPECIAL



A Screen Classics Production




FADE TO BLACK.

FADE UP ON:

191. CLOSING CREDITS SEQUENCE

Done in the same style as the opening credits.

Cast

Scientist.......................................BELA LUGOSI
Inspector.......................................LYLE TALBOT
Psychiatrist....................................TIMOTHY FARRELL
Barbara.........................................DELORES FULLER
Glen-Glenda.....................................DANIEL DAVIS
Alan-Ann........................................"TOMMY" HAYNES
Johnny..........................................CHARLES CRAFTS
Banker..........................................CONNIE BROOKS

ROLL CREDITS.

FADE TO BLACK.




NOTES:

  • Although Bela's character is listed as "Scientist" in the closing credits, the character is usually referred to as "The Spirit" in Nightmare of Ecstasy, the book about Ed Wood.
  • Daniel Davis is really Edward D. Wood, Jr. You knew that, though.
  • Connie Brooks is also known as Conrad Brooks. He plays a reporter, a pickup artist, and a bearded man in drag.
  • Additional cast credits are as follows:


The Devil / Glen's Father..............CAPTAIN DeZITA
Sheila (Glen's sister).................EVELYN WOOD
Miss Stevens (the receptionist)........SHIRLEY SPERIL
Balding man with hat...................HENRY BEDERSKI
Judge..................................WILLIAM C. THOMPSON
Patrick-Patricia (the suicide).........MISTER WALTER
Man at scene of suicide................GEORGE WEISS

4 comments:

  1. Replies
    1. Thanks, Greg! My 1990s self thanks you!

      Delete
  2. I'd be great to learn something more about "TOMMY" HAYNES.
    IMDB page gives zero information.

    Glen Or Glenda publicity article refers to (s)he as "musician Tommy Haines" (not the spelling of last name)
    http://d2rights.blogspot.fi/2016/10/ed-wood-wednesdays-glen-or-glenda.html

    I found a 1942 newspaper with an article which mentions an alto saxophone player named Tommie Haines
    https://www.newspapers.com/newspage/156375845/
    but this is a really long shot.

    Various Billboard magazine articles from the 1940s mention Tommy Haynes (or variations of that name) connected with Ringling circus, but I doubt it's the same person.

    ReplyDelete
  3. that's great, anon!...an unknown and fascinating facet of the story.

    ReplyDelete