{"title":"Scripts","description":"\u003cp\u003eBrowse our Scripts collection. Best Price.\u003c\/p\u003e","products":[{"product_id":"kate-smith-speaks-50-selected-original-radio-scripts-1938-1951-paperback","title":"KATE SMITH SPEAKS: 50 SELECTED ORIGINAL RADIO SCRIPTS, 1938-1951 (paperback)","description":"\u003cp\u003eISBN \u003cspan id=\"print_isbn\" data-mce-fragment=\"1\"\u003e9781593932220\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"color: #000000; font-family: Calibri; font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan color=\"#000000\" id=\"role_document\" style=\"color: #000000;\"\u003e\u003cspan face=\"Arial\" style=\"font-family: Arial;\"\u003e\u003cem\u003eKate Smith Speaks\u003c\/em\u003e was the most listened-to program in daytime radio during the 1940s. The mixture of folksy vignettes, news items, and heartfelt editorials presented a slice of life on the home front.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"color: #000000; font-family: Calibri; font-size: 16px;\"\u003e \u003c\/div\u003e\n\u003cdiv style=\"color: #000000; font-family: Calibri; font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003eKate Smith was one of the three most popular female personalities of the times, both as a vocalist and as a commentator. She liked the informality of the \"Speaks\" broadcasts because it brought her closer to her listeners. Travel back to the era before, during, and after World War II through fifty actual scripts.\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"color: #000000; font-family: Calibri; font-size: 16px;\"\u003e   \u003c\/div\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997998305452,"sku":"zys1787291720257","price":21.17,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/kate-smith-speaks-50-selected-original-radio-scripts-1938-1951-paperback_1.jpg?v=1787291725"},{"product_id":"eagle-down-the-unproduced-screenplay-by-ib-melchior-paperback","title":"EAGLE DOWN: The Unproduced Screenplay by Ib Melchior (paperback)","description":"\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eA test pilot, veteran of Desert Storm, crashes while testing a top secret military device. His injuries rob him of his memory, reducing him to the level of an animal — but an animal with the intelligence and reasoning power of a man, and the fear and desperation of a hunted beast. He leads the men who would save him on a fantastic chase through the desolate and hostile country of Death Valley, pitting animal instinct against sophisticated technology.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eISBN \u003cspan data-mce-fragment=\"1\" id=\"print_isbn\"\u003e9781593937270\u003c\/span\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997998534828,"sku":"iba1787291721344","price":15.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/eagle-down-the-unproduced-screenplay-by-ib-melchior-paperback_1.jpg?v=1787291727"},{"product_id":"the-titan-the-unproduced-screenplay-by-ib-melchior-paperback","title":"THE TITAN: THE UNPRODUCED SCREENPLAY by Ib Melchior (paperback)","description":"\u003cp\u003eISBN \u003cspan id=\"print_isbn\" data-mce-fragment=\"1\"\u003e9781593933876\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eIn the 1960’s, the US Government was experimenting with something called a Cybernetic Organism — or Cyborg. A human individual, a man, who by replacing some of his organs, and substituting and adding mechanical or chemical devices or compounds, was given the capacity of existing and functioning in different atmospheres and climactic conditions. In other words, creating a man with the means to exist on other worlds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eClick here to buy directly from Amazon.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997998633132,"sku":"vqg1787291722475","price":20.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/the-titan-the-unproduced-screenplay-by-ib-melchior-paperback_1.jpg?v=1787291727"},{"product_id":"the-pit-and-the-pendulum-paperback","title":"THE PIT AND THE PENDULUM (paperback)","description":"\u003cp\u003eISBN \u003cspan data-mce-fragment=\"1\" id=\"print_isbn\"\u003e9781593933869\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eA CASTLE THAT TORTURE BUILT,\u003cbr\u003eWHOSE DUNGEON WALLS STILL SWEATED BLOOD\u003cbr\u003eA FAMILY TERRORIZED BY THE AWFUL SECRET THEY\u003cbr\u003eSHARED—AND THE THING THAT SKRIEKED IN THE NIGHT\u003cbr\u003eA BEAUTIFUL, YOUNG GIRL ENSLAVED BY UNHOLY\u003cbr\u003ePASSIONS, SNARED IN A NET OF EVIL . .\u003cbr\u003eAND THE MAN WHO CHALLENGED A NIGHTMARE\u003cbr\u003e—AND DARED TO FACE ITS HORROR, ALONE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eHere is the gripping film story of American International’s “The Pit and the Pendulum,”\u003cbr\u003eadapted from the bone-chilling tale written by America’s master of shock literature,\u003cbr\u003eEdgar Allan Poe\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eIntroduction by Richard A. Ekstedt\u003c\/span\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997998731436,"sku":"hby1787291723579","price":19.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/the-pit-and-the-pendulum-paperback_1.jpg?v=1787291729"},{"product_id":"captain-midnights-post-war-radio-years-audiobook-by-leonard-zane-read-by-the-author","title":"CAPTAIN MIDNIGHT'S POST-WAR RADIO YEARS (AUDIOBOOK) by Leonard Zane, read by the author","description":"\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eCaptain Midnight’s Post-War Radio Years contains hitherto lost stories distilled from 1940s radio scripts.  The profusely illustrated volume is for Old-Time Radio (OTR) buffs, adventure and science-fiction enthusiasts, cultural historians, and classic aviation aficionados.  Sixteen adventures, originally averaging thirteen weeks each to broadcast, show an exciting perspective on military aviation concepts and tales following WWII.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eThe original radio shows were recorded on more than 1,800 transcription disks, but almost all of the recordings have been lost. The book has recovered previously unavailable serial adventures from 1945 to 1949 that were originally heard by some twenty million listeners, about equally divided between adults and youths.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eAuthor Leonard Zane has created material in Star Trek feature films and TV, hosts three television shows, is a novelist, and has also adapted and produced Edmond Hamilton’s classic science-fiction tale, “The Inn Outside the World,” for television.  According to Zane:  “Of the Ovaltine-sponsored 1940s Captain Midnight shows, only about three dozen audio episodes exist, and the stories in this book have never been available to the general public before.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eCaptain Midnight was a skilled aviator who led a paramilitary group, the “Secret Squadron,” which combated espionage and sabotage both at home and abroad.  The post WWII radio saga extended from America to the Arctic wilderness, Africa, Asia, India, South America, and Antarctica. The adventures incorporated latest advances and speculations in aeronautics and crimefighting, plus science fiction.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cem\u003e\u003cstrong\u003e\u003cspan style=\"font-size:14px;\"\u003eThis audio book is a 608MB compressed ZIP file comprised of 17 chapters, plus additional content, in MP3 format. After you check out, we'll provide instructions on how to download the audio file.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003chr\u003e\u003cp\u003e\t\u003cimg alt=\"\" src=\"http:\/\/www.bearmanormedia.com\/image\/data\/captmid1207d26.jpg?width=700\" style=\"width: 392px; height: 148px; \"\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cimg alt=\"\" src=\"http:\/\/www.bearmanormedia.com\/image\/data\/captmid1207e01.jpg?width=700\" style=\"width: 400px; height: 369px; \"\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cimg alt=\"\" src=\"http:\/\/www.bearmanormedia.com\/image\/data\/captmid1207f78.jpg?width=700\" style=\"width: 400px; height: 340px; \"\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cimg alt=\"\" src=\"http:\/\/www.bearmanormedia.com\/image\/data\/Capt%20Midnight%20review.jpg?width=700\" style=\"width: 600px; height: 489px;\"\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e“Recommended for anyone interested in the history of popular culture.” – \u003cem\u003eLibrary Journal\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cem\u003e\u003cspan style=\"font-size:14px;\"\u003e\"Same Time Same Station\" interview of Steve Kallis and Leonard Zane, 10 March 2013\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cem\u003e\u003cspan style=\"font-size:14px;\"\u003e\"Same Time Same Station\" interview, 28 July 2013\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003e“Recommended for anyone interested in the history of popular culture.” \u003cem\u003eLibrary Journal\u003c\/em\u003e Verdict - October 1, 2013\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003e\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e Audiobook Review of November 25, 2013:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003ehttp:\/\/www.publishersweekly.com\/978-1-59393-150-6\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003e\u003cem\u003eCaptain Midnight’s Post-War Radio Years \u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eLeonard Zane, read by the author. BearManor Media, unabridged, digital download, 10.5 hrs\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003eA radio and television favorite of young boys circa the 1940s, Captain Midnight returns in this incredible collection that summarizes the events of the original series.\u003c\/strong\u003e While billed as an action adventure like the original radio production, this is a straightforward recording that relates the many adventures and episodes of the series, which followed its title character, an Army pilot, as he battled the forces of evil. There are no frills in this audio edition, which will appeal mainly to fans of the radio show. Zane’s delivery is steady—if at times slightly subdued—and clearly reflects his love of the subject matter. Overall, this audiobook will be a pleasant trip down memory lane for die-hard fans of Captain Midnight. A BearManor paperback. (Aug.)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eReviewed on: \u003cem\u003e11\/25\/2013\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003e“Anyone interested or involved in Old-Time Radio will find this an invaluable addition to his or her library.” -- Stephen A. Kallis, Jr., author of \u003cem\u003eRadio’s Captain Midnight - The Wartime Biography\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003e“Been looking for this book for 40 years…a terrific book for any fan of the Captain Midnight show!!!” -- Charles R. Sexton, Director of Civil Service (Ret), Wright-Patterson Air Force Base.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003e“Zane’s writing skill adds tremendous strength and excitement to the espionage, counter-espionage, and cutting-edge technology in every story.” -- D.M. Roth, KUHF radio host, Houston. \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003e\u003cstrong\u003eRADIO'S HIGH-TECH ADVENTURE THRILLS!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eThis eleven-hour, unabridged audiobook contains hitherto lost stories distilled from 1940s radio scripts.  The work is for Old-Time Radio (OTR) buffs, adventure and science-fiction enthusiasts, cultural historians, and classic aviation aficionados.  The volume has recovered and summarized previously unavailable serial adventures from 1945 to 1949 that were originally heard by some twenty million listeners, or thirteen percent of the U.S. population.  Thanks to accessing and summarizing the only comprehensive documentation that has since been lost, \u003cem\u003ethis book a one-of-a-kind, sole source of this radio history for all time to come\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eSixteen adventures, originally averaging thirteen weeks each to broadcast, show an exciting perspective on military aviation concepts and tales following WWII.  According to author Leonard Zane:  \"Of the Ovaltine-sponsored 1940s Captain Midnight shows, only about three dozen audio episodes exist, and this book recovers the missing stories from over 800 post-war episodes.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cspan style=\"font-size:14px;\"\u003eWriter-producer Leonard Zane created material produced in Star Trek III, IV, and The Next Generation.  He is screenwriter of CONCERTO (an epic on the life of composer Sergei Rachmaninoff), THE GREATEST GAMBLE (the last Raymond Chandler\/Philip Marlowe story), INTRAVERSE (adapted from Zane's novel), and ONLY THE SUPER-RICH CAN SAVE US! (adapted from Ralph Nader's 2009 novel).  In 2000, Zane adapted and produced Edmond Hamilton's classic, THE INN OUTSIDE THE WORLD.  He also produces and hosts television programs on social issues, and is represented by Character Talent and Associates.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\t\u003cem\u003e\u003cspan style=\"font-size:14px;\"\u003eLeonard Zane products at Blackstone Library\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/8A87p-LyE2k\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997998960812,"sku":"aiq1787291726449","price":15.36,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/captain-midnights-post-war-radio-years-audiobook-by-leonard-zane-read-by-the-aut_1.jpg?v=1787291731"},{"product_id":"masque-of-the-red-death-paperback","title":"MASQUE OF THE RED DEATH (paperback)","description":"\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eISBN 9781593934972\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eVincent Price and director Roger Corman, the masters of screen terror joined forces to make their seventh film together, and their first in England, \"The Masque of The Red Death.\" Based on one of Edgar Allan Poe’s most macabre and bizarre stories, it adds new dimensions to motion picture shock, terror and horror. An American International Pictures production, it is set in 12th century Italy, where Prince Prospero (Price), a devout worshiper of Satan, rules tyrannically in a land stricken by a mysterious plague. Prospero’s cruel whims include toying with the fear-stricken peasants under his domain, in order to satisfy his own diabolical pleasures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eDeliverance . . . or Doom? \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003e\"The day of deliverance is at hand.\" That was the prophecy of the mysterious man cloaked in red. But the villagers had little time for rejoicing. For a few scant hours later, the people were dying of that grimmest of all plagues—the Red Death! \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cem\u003eAnd within the castle that ruled this desolated land, even eerier events were happening . . . as the purity of the lovely Francesca battled the evil of Price Prospero . . . and unearthly forces gathered for a mad, grim masquerade!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997999157420,"sku":"vrd1787291727626","price":15.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/masque-of-the-red-death-paperback_1.jpg?v=1787291733"},{"product_id":"the-return-of-frankenstein-paperback","title":"THE RETURN OF FRANKENSTEIN (paperback)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:0 0 0 0 0 0 0 0 0 0;\n\tmso-font-charset:1;\n\tmso-generic-font-family:roman;\n\tmso-font-format:other;\n\tmso-font-pitch:variable;\n\tmso-font-signature:0 0 0 0 0 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n@font-face\n\t{font-family:\"MS Mincho\";\n\tpanose-1:2 2 6 9 4 2 5 8 3 4;\n\tmso-font-charset:128;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1791491579 134217746 0 131231 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eISBN \u003cspan id=\"print_isbn\" data-mce-fragment=\"1\"\u003e978-1-59393-496-5\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eWhen \u003ci\u003eDracula\u003c\/i\u003e and \u003ci\u003eFrankenstein\u003c\/i\u003e became box office hits for Universal, Carl Laemmle Jr. immediately ordered that sequels be written for both films. Scripts were prepared, but Junior's choice of director, James Whale, had enough of monster films and was doing everything he could to avoid them.\u003c\/span\u003e\u003cspan style=\"mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eFinally in 1935, after getting out of shooting \u003ci\u003eDracula's Daughter\u003c\/i\u003e, Whale agreed to direct \u003ci\u003eThe Return of Frankenstein.\u003c\/i\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-family: 'MS Mincho'; mso-bidi-font-family: 'MS Mincho';\"\u003e\u2028\u2028\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eIn this volume is the final shooting script by John L. Balderston. He added more scenes from the novel, such as the monster hiding in a peasant's hut and learning to read and speak, but Whale thought his version of the Monster's personality too brutish and evil. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eHe wrote a new script with screenwriter William Hurlbut, added new characters, such as Mini and Dr. Pretorius, keeping Balderston's script as just an outline. Most historians and fans feel that when \u003ci\u003eReturn of Frankenstein\u003c\/i\u003e was renamed \u003ci\u003eBride of Frankenstein\u003c\/i\u003e that it became the most beloved film in Universal's Classic Monster films.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eReview from Psychobabble\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997999190188,"sku":"tuz1787291728241","price":22.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/the-return-of-frankenstein-paperback_1.jpg?v=1787291733"},{"product_id":"20-million-miles-to-earth-paperback","title":"20 MILLION MILES TO EARTH (paperback)","description":"\u003cp\u003e\u003cstrong\u003eA Philip J. Riley's NightMare Series volume.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCommentary and “About the Author” Henry Slesar by Randall D. Larson - edited by Philip J. Riley\u003c\/p\u003e\n\u003cp\u003eThe clouds of yellow dust rolled and swirled and whistled in agonized motion, and their sound obscured the needle-thin cries of men in anguish. The pain had come upon them suddenly, pain that gripped their chests like the giant talons of some rapacious bird, pain that sent them scurrying, reeling, stumbling towards the silvery object that stood half-buried in the volatile sands. Some were to make the ship in time; others were to die later. One was to live to see the horror of the dust-shrouded planet transplanted to the world of his birth, twenty million miles away. The Ymir, as the creature was named by Forrest J Ackerman is one of Ray Harryhausen's best remembered stop motion creations.\u003c\/p\u003e\n\u003cp\u003eOriginally published as an Amazing Stories special edition.\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997999321260,"sku":"vgi1787291729439","price":17.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/20-million-miles-to-earth-paperback_1.jpg?v=1787291734"},{"product_id":"dead-ringer-the-unproduced-screenplay-by-ib-melchior-paperback","title":"DEAD RINGER: THE UNPRODUCED SCREENPLAY by Ib Melchior (paperback)","description":"\u003cp\u003eISBN \u003cspan data-mce-fragment=\"1\" id=\"print_isbn\"\u003e978-1-59393-390-6\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003ePerhaps you’ve encountered that strange, unsettled feeling of familiarity — haven’t you been here before? Hasn’t this experience already happened in exactly the same way?\u003cbr\u003e  \u003cbr\u003e What if that wasn’t you. What if that was your duplicate, the result of an atomic experiment that has taken an unexpected turn, creating a process that can replicate and manipulate living matter — with untold potential, but terrifying consequences.\u003c\/span\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997999452332,"sku":"zyj1787291730369","price":15.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/dead-ringer-the-unproduced-screenplay-by-ib-melchior-paperback_1.jpg?v=1787291735"},{"product_id":"gorgo-production-background-by-bill-cooke-edited-by-philip-j-riley-paperback","title":"GORGO - production background by Bill Cooke, edited by Philip J. Riley (paperback)","description":"\u003cp\u003e\u003cspan style=\"color: #b22222;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 14px;\"\u003eNominated for the 2015 Rondo Award! \u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"color: #b22222;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eSam Slade didn't believe in Gorgo until he saw the monster's hideous scaly face, its slimy green talons and the massive mouth that could swallow a killer whale. If this was not enough he was to have even bigger problems in his future.\u003cbr\u003e  \u003cbr\u003e The story mixes familiarity with a couple of neat plot twists; the special effects are ambitious and oftentimes stunning; and the use of a man in a rubber dinosaur suit, a technique usually met with derision, is undoubtedly one of the best on record. But perhaps the reason that supersedes them all is that Gorgo is the rare city-stomping monster spectacle with heart.\u003cbr\u003e \u003cbr\u003e Released by MGM in 1961, Gorgo is that oft-told cinematic fable of the giant beast that threatens humanity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eThis volume contains the shooting script and the original tie-in novel by Carson Bingham and a production background by Bill Cooke.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997999648940,"sku":"poj1787291732651","price":22.4,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/gorgo---production-background-by-bill-cooke-edited-by-philip-j-riley-paperback_1.jpg?v=1787291737"},{"product_id":"thunder-starring-lon-chaney-paperback","title":"THUNDER, STARRING LON CHANEY (paperback)","description":"\u003cp\u003eISBN \u003cspan id=\"print_isbn\" data-mce-fragment=\"1\"\u003e9781593935535\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003eThunder was the last silent film for Lon Chaney. His health was not good during the shoot and for the first time in his career he held up production while he recuperated. He plays Grumpy Anderson, a near retirement, old workhorse of a train engineer. It is said that a piece of artificial snow, used in the production, lodged in his throat causing an infection that led to his untimely death at age 47 on August 26, 1930.  Only a few fragments exist. The novel was published in 1930 in France and has been translated by Eric McNaughton.\u003cbr\u003e \u003cbr\u003e“The 1929 audiences were up on their feet and cheering Chaney\u003cbr\u003eat the exciting climax of Thunder.”\u003cbr\u003eChauncey Haines - Silent Film Organist\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46997999911084,"sku":"jiv1787291735504","price":17.76,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/thunder-starring-lon-chaney-paperback_1.jpg?v=1787291741"},{"product_id":"by-ib-melchior","title":"by Ib Melchior","description":"\u003cp\u003e\r\n\t\u003cspan style=\"font-size:14px;\"\u003eThe jungle is wild and tropical - and a deadly hush of anticipation hangs in\u003cbr\u003e\r\n\tthe humid air. A man eludes pursuit in the murky water of a swamp pool. His\u003cbr\u003e\r\n\tscant clothing ripped and torn, he is obviously exhausted - and terrorized.\u003cbr\u003e\r\n\tHis face is wild with panic, and he is near collapse. Cowering in fear, he\u003cbr\u003e\r\n\tis unaware of the threat of a deadly python, approaching silently from\u003cbr\u003e\r\n\tbehind. Closer and closer...\u003c\/span\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46998000631980,"sku":"ouo1787291739092","price":15.16,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/by-ib-melchior_1.jpg?v=1787291744"},{"product_id":"horror-of-dracula-paperback","title":"HORROR OF DRACULA (paperback)","description":"\u003cp\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003eISBN \u003cspan id=\"print_isbn\" data-mce-fragment=\"1\"\u003e9781593934934\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003eIn 1958 Hammer Films of England began their \"now classic\" \u003c\/span\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003eremakes of the Classic Universal Monster Films. \u003c\/span\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003eToday the remakes themselves are considered Classics, \u003c\/span\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003erevived in full Technicolor and wide screen. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003eWith full canine fangs and Technicolor blood Christopher \u003c\/span\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003eLee gave us a more horrific and brutal version of Count \u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Helvetica;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eDracula which delighted the audiences and continues\u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px; color: #000000; font-family: Helvetica;\"\u003eto do so today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"color: #000000; font-family: Helvetica;\"\u003eThe shooting script, Pressbook and many photographs\u003c\/span\u003e\u003cbr style=\"color: #000000; font-family: Helvetica; font-size: medium;\"\u003e\u003cspan style=\"color: #000000; font-family: Helvetica;\"\u003eProduction background by Ronald V. Borst\u003c\/span\u003e\u003cbr style=\"color: #000000; font-family: Helvetica; font-size: medium;\"\u003e\u003cbr style=\"color: #000000; font-family: Helvetica; font-size: medium;\"\u003e\u003cspan style=\"color: #000000; font-family: Helvetica;\"\u003eAlso contains:\u003c\/span\u003e\u003cbr style=\"color: #000000; font-family: Helvetica; font-size: medium;\"\u003e\u003cspan style=\"color: #000000; font-family: Helvetica;\"\u003eTHE VAMPYRE by John Polidori, 1819 \u003c\/span\u003e\u003cbr style=\"color: #000000; font-family: Helvetica; font-size: medium;\"\u003e\u003cspan style=\"color: #000000; font-family: Helvetica;\"\u003ethe complete text to the original Gothic Vampire Story\u003c\/span\u003e\u003cbr style=\"color: #000000; font-family: Helvetica; font-size: medium;\"\u003e\u003cspan style=\"color: #000000; font-family: Helvetica;\"\u003eWith an introduction by Michael Hartley\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46998034907308,"sku":"udz1787292040534","price":17.08,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/horror-of-dracula-paperback_1.jpg?v=1787292045"},{"product_id":"forgotten-gems-from-the-twilight-zone-vol-2-hardback","title":"FORGOTTEN GEMS FROM THE TWILIGHT ZONE, VOL. 2 (hardback)","description":"\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan face=\"Arial,Helvetica,sans-serif\" color=\"black\" style=\"color: black; font-family: Arial, Helvetica, sans-serif;\"\u003eThe past few years have seen the release of \"Twilight Zone\" scripts by principal writers Rod Serling, Charles Beaumont, Richard Matheson, and Earl Hamner. With this publication, all but a few of the scripts from the original series will be in print.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan face=\"Arial,Helvetica,sans-serif\" color=\"black\" style=\"color: black; font-family: Arial, Helvetica, sans-serif;\"\u003eThis distinguished pair of volumes also includes critical commentary and biographical information about the writers of these marvelous old tales.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan face=\"Arial,Helvetica,sans-serif\" color=\"black\" style=\"color: black; font-family: Arial, Helvetica, sans-serif;\"\u003eVolume 2:\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan face=\"Arial,Helvetica,sans-serif\" color=\"black\" style=\"color: black; font-family: Arial, Helvetica, sans-serif;\"\u003e\"The Incredible World of Horace Ford\" by Reginald Rose\u003cbr\u003e \"What's In the Box\" by Martin M. Goldsmith\u003cbr\u003e \"The Encounter\" by Martin M. Goldsmith\u003cbr\u003e \"Number 12 Looks Just Like You\" by John Tomerlin\u003cbr\u003e \"Dreamflight\" by William F. Nolan and George Clayton Johnson (unproduced) \"Come Wander With Me\" by Anthony Wilson\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan face=\"Arial,Helvetica,sans-serif\" color=\"black\" style=\"color: black; font-family: Arial, Helvetica, sans-serif;\"\u003eISBN 9798887713212\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eGet scripts from the 1980s TV revival of \"The Twilight Zone\" at DigitalFabulists.com!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan face=\"Arial,Helvetica,sans-serif\" color=\"black\" style=\"color: black; font-family: Arial, Helvetica, sans-serif;\"\u003eRead about the book at the Twilight Zone Museum\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c!--\"''\"--\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46998035005612,"sku":"mdl1787292041441","price":29.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/forgotten-gems-from-the-twilight-zone-vol-2-hardback_1.jpg?v=1787292046"},{"product_id":"frankenstein-a-play-hardback","title":"FRANKENSTEIN: A PLAY (hardback)","description":"\u003cp\u003eFrankenstein; or, The Modern Prometheus novel by the English author Mary Wollstonecraft Shelley tells the story of Victor Frankenstein and the grotesque creature he creates in an unorthodox scientific experiment.\u003cbr\u003e \u003cbr\u003eThe book spawned several high-profile play and film versions, including:\u003cbr\u003e \u003cbr\u003eHenry M. Milner's adaptation, The Man and The Monster; or The Fate of Frankenstein, which opened on July 3, 1826 at the Royal Coburg Theatre, London.\u003cbr\u003e \u003cbr\u003eEdison Studios’ Frankenstein 1910 film directed by J. Searle Dawley. [See our book documenting this film, Edison’s Frankenstein by Frederick C. Wiebel, Jr.]\u003cbr\u003e \u003cbr\u003eLife Without Soul, the 1915 film adaptation.\u003cbr\u003e \u003cbr\u003eThe Monster of Frankenstein, the 1920 film adaptation directed by Eugenio Testa, starring Luciano Albertini and Umberto Guarracino.\u003cbr\u003e \u003cbr\u003eIn 1930, John L. Balderston was hoping to repeat his huge success with the American version of Dracula. Before production started on the 1931 Universal film version that starred Bela Lugosi, Balderston wrote another play adaptation of Frankenstein with screenwriter Garrett Fort. Although their version was never produced, the play remains an important document in American Theater history.\u003cbr\u003e \u003cbr\u003eDiscover the thrills that were originally meant for 1930s Depression-era audiences in this faithfully reproduced version of Balderston’s and Fort’s play.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eISBN 9798887713571\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46998035103916,"sku":"xtc1787292042746","price":25.2,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/frankenstein-a-play-hardback_1.jpg?v=1787292047"},{"product_id":"robert-floreys-frankenstein-starring-bela-lugosi-hardback","title":"ROBERT FLOREY'S FRANKENSTEIN STARRING BELA LUGOSI (hardback)","description":"\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:Times;\n\tpanose-1:2 0 5 0 0 0 0 0 0 0;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:3 0 0 0 1 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:0 0 0 0 0 0 0 0 0 0;\n\tmso-font-charset:1;\n\tmso-generic-font-family:roman;\n\tmso-font-format:other;\n\tmso-font-pitch:variable;\n\tmso-font-signature:0 0 0 0 0 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n@font-face\n\t{font-family:\"MS Mincho\";\n\tpanose-1:2 2 6 9 4 2 5 8 3 4;\n\tmso-font-charset:128;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1791491579 134217746 0 131231 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eWith the success of\u003ci\u003e Dracula\u003c\/i\u003e, starring Bela Lugosi, Universal Pictures was quick to capitalize on creating a new Lon Chaney in Bela Lugosi. Chaney had been the original choice to portray a duel role as both Dracula and Professor van Helsing, Dracula's adversary. Before production could begin, Chaney died, suddenly leaving Carl Laemmle Jr. without a star.\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eLaemmle Jr. had seen\u003ci\u003e Dracul\u003c\/i\u003ea on the stage in New York City, although he could not recall if he had seen Lugosi or Raymond Huntley in the role of Count Dracula. However, Lugosi was performing in the touring company that happened to be in Los Angeles at that time. Was he the new Lon Chaney?\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eLugosi was not Carl Jr.'s first choice for the role. However, he eventually won the part, and now they needed more ideas for him. \u003ci\u003eMurders in the Rue Morgue, Cagliostro, The Invisible Man\u003c\/i\u003e, and \u003ci\u003eFrankenstein\u003c\/i\u003e were top on the list.\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eOne day in March 1931, Robert Florey, recently returned to Hollywood from Europe, was having lunch at the Musso and Frank Restaurant on Hollywood Boulevard. He was approached by an old acquaintance, Richard Schayer, head of Universal's story department. Schayer told him that his studio was looking for ideas for a new horror film to star Bela Lugosi and he knew Florey was involved with The Théâtre du Grand-Guignol de Paris, (a small theater, in an obscure alley in Paris that specialized in sadistic, shocking, explicit, violent melodramas and became known as the \"Theater of Horrors.\" It opened in 1897 and closed in 1962.)\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eThey both agreed on \u003ci\u003eFrankenstein\u003c\/i\u003e as the best choice. Schayer suggested that Florey would stand a better chance at being assigned the writer and director if he was to present the idea to Carl Laemmle Jr.\u003c\/span\u003e\u003cspan style=\"font-family: 'MS Mincho'; mso-bidi-font-family: 'MS Mincho';\"\u003e\u2028\u003c\/span\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eWe present now the script for \u003ci\u003eFrankenstein\u003c\/i\u003e as it would have been had Bela Lugosi starred and Robert Florey directed.\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eISBN 9798887713588\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Arial; color: #445158;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003eAnyone who cares about classic monster movies will find a treasure trove of information, rare photos, and meticulous detail in these books. They are obviously a labor of love.—\u003ci\u003e Leonard Maltin\u003c\/i\u003e\u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-family: Arial;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto;\"\u003e\u003cspan style=\"font-family: Times; mso-bidi-font-family: Times;\"\u003e\"Each page is filled with documented information that will change a few history books. The student of writing for the screen has an opportunity to see the development of screenplays under every possible condition.\"\u003ci\u003e— Ray Bradbury, Author\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto;\"\u003e \u003c\/p\u003e\n\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1107305727 0 0 415 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e            \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e“The centerpiece of this pleasing script book (part of a series by historian Philip J. Riley) is the May 1931 \u003ci\u003eFrankenstein\u003c\/i\u003e screenplay by Robert Florey and Garrett Fort. Although commissioned by Universal, the script was never produced—reason enough for fans of golden age Hollywood be excited—and there’s more, too, for the screenplay provides context for a legendary piece of apparently lost film footage: the test reel of Bela Lugosi as Frankenstein’s Monster, shot on re-dressed \u003ci\u003eDracula\u003c\/i\u003e sets by director Florey and cinematographer Paul Ivano.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“As recounted by Riley, Florey and Fort wrote the script assuming that Lugosi would play Henry Frankenstein. Later, Universal production chief Carl Laemmle Jr. tapped Bela for the Monster role. Hence, the test reel, with Lugosi in a role the public would not see him perform for another 12 years, in \u003ci\u003eFrankenstein Meets the Wolf Man\u003c\/i\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“The book assembles April-June 1931 clipping from \u003ci\u003eThe Hollywood Reporter, The Los Angeles Record\u003c\/i\u003e, and other trade and consumer papers; these blurbs reveal the public course of the studio’s immediate post-Dracula plans for Lugosi, from Lugosi’s commitment to both \u003ci\u003eFrankenstein\u003c\/i\u003e and \u003ci\u003eMurders in the Rue Morgue\u003c\/i\u003e, to a brief account of the Monster makeup and the Florey test—and, finally, a snipped about Bela’s worry that he lacked the strength to perform the physically demanding Monster role.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“Florey shot the Lugosi test on June 16-17, 1931. Edward Van Sloan appeared as Dr. Waldman and Dwight Frye as Fritz (both men subsequently took those roles for director James Whale). Two Universal contract players whose names have been lost played Henry Frankenstein and Henry’s friend, Victor Moritz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“Bela, in makeup designed by Jack Pierce, appears in just one portion of the test, and was given little to do: merely raise his arm and pull away a sheet to reveal his head and shoulders.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“Junior Laemmle loved the Expressionistic atmosphere created by Florey and Ivano but did not like the Pierce Monster design. That was a minor issue, and a fixable one. Why then was Bela not cast in \u003ci\u003eFrankenstein\u003c\/i\u003e? Historical accounts are all over the map: Lugosi disliked the Monster’s inarticulate nature, and didn’t care to be hidden beneath heavy makeup. Or, when Whale was handed Frankenstein and expressed his preference for Boris Karloff, Florey departed (for \u003ci\u003eRue Morgue\u003c\/i\u003e) and Lugosi—though still attached to \u003ci\u003eFrankenstein\u003c\/i\u003e—simply went with him. Or, Bela was unable to see how he might turn the brute Monster of the script into something significant. \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e            \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e“Business considerations also figure in all this. Film historian Gary Don Rhodes has noted that Lugosi was just one player in the running to succeed the late Lon Chaney as Hollywood’s preeminent horror man. (Rhodes’s research uncovered trade mentions of Wallace Beery and Edward G. Robinson as other candidates.) The important thing was that the horror cycle keep rolling, and with an exploitable actor. At least until Karloff became available, Universal may not have cared who played the Monster. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“Then there is the issue of the studio’s seeming inability to decide whether \u003ci\u003eFrankenstein\u003c\/i\u003e or \u003ci\u003eRue Morgue\u003c\/i\u003e needed to be in theaters first. But however that worked out (in the end, \u003ci\u003eFrankenstein\u003c\/i\u003e saw release first), no single actor could topline both. That, plus Lugosi’s apparent preference for \u003ci\u003eRue Morgue\u003c\/i\u003e, plausibly explains why he wasn’t cast in \u003ci\u003eFrankenstein\u003c\/i\u003e. Even without a Lugosi \u003ci\u003eFrankenstein\u003c\/i\u003e Universal could still capitalize on Lugosi’s Dracula notoriety because alternate work for Bela was available almost simultaneously.\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e            \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e“As for the Florey-Fort ‘Lugosi’ script, it establishes the structure and many specific sequences of the later scenario (credited to Fort, Francis Edward Faragoh, and others—but not Florey!), with some vital differences. In the Lugosi screenplay, the ‘reveal’ of the Monster’s face is a dramatically inert throwaway, coming when the smug Frankenstein invites Waldman to peek beneath a sheet at the still-lifeless Monster. The ‘chalky white and expressionless’ (as described in stage directions) face is revealed in a quick-cut close-up.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“As envisioned in Florey-Fort, Elizabeth (eventually played by Mae Clarke) is clearly not in love with Henry, which naturally limits her concern for him when things go bad with the Monster. Further, the Monster never physically intrudes upon Elizabeth. She’s never in danger in Florey-Fort, a situation that denies the creature an opportunity to display its essential threat in any meaningful way.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“The hunchback Fritz (described in Florey-Fort as a misshapen dwarf) is a mute—something that Whale probably insisted be rectified because Dwight Frye (like Whale, a veteran of Broadway) was a splendid actor who keyed in well on dialog. Lacking speech, the Florey-Fort Fritz exists merely to help Henry ‘attach the electrodes!’ and later torment the Monster with fire. (In an inexplicable turn, Henry, too, bullies his creation with fire!)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“Fritz’s famed bollix of the good brain, which forces him to steal a bad brain, is not part of Florey-Fort. Instead, Fritz knows that only one brain, a bad one, is available to him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“The Monster engenders almost no sympathy in the script. Two moments, the creature’s killing of Fritz and, later, of Waldman, proceed pretty much as they do in the finished film. But where Whale shaped the later lakeside sequence with little Maria into a moment of horror leavened with our pity for the pathetically ignorant Monster, Florey-Fort uses it only to establish the creature’s brutality: the sequence fades out as the Monster reaches for the child after she has shown him a flower. There are no happy tosses of petals, and no on-screen business at all with the water. The fade suggests, in fact, that the child will be raped. We surmise this because of an earlier sequence—absent altogether from Whale—in which the Monster intrudes on a young peasant couple surprised in the middle of lovemaking. Because stage directions take great care to establish squeaking bed springs and that the beautiful young wife is nude (the beauty’s ‘chemise is flung into camera, draping itself rakishly over foot of bed’), rape is strongly suggested. \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e            \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e“The burning windmill of the Florey-Fort climax is familiar to us, but Henry Frankenstein dies there-and not at the hands of the Monster.\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Times New Roman';\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e            \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e“Appendices to the book include a June 1931 studio memo with proposed script changes (studio manager Henry Henigson asked for ‘comedy relief’), and Garrett Fort’s well-resonsed , point by point response. Fort’s original one-page synopsis is also included. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“In another bonus, a chatty 1975 letter from Robert Florey to Philip Riley, the director recalls that the Jack Pierce makeup worn in the test by Lugosi was ‘identical’ to the makeup worn later by Karloff. This is at odds with some other accounts that describe the Lugosi Monster as ‘hairy.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e                  \u003c\/span\u003e“The truth is in that lost test. If you believe in miracles, the footage will turn up one day. In the meantime, we can read Florey and Fort and imagine for ourselves.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-right: -.5in; mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri; mso-bidi-font-family: Calibri;\"\u003e—Filmfax\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46998035333292,"sku":"jdo1787292046010","price":24.18,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/robert-floreys-frankenstein-starring-bela-lugosi-hardback_1.jpg?v=1787292051"},{"product_id":"the-divine-woman-by-gladys-unger-hardback","title":"THE DIVINE WOMAN by Gladys Unger (hardback)","description":"\u003cstyle\u003e\u003c!--\n\/* Font Definitions *\/\n@font-face\n\t{font-family:Arial;\n\tpanose-1:2 11 6 4 2 2 2 2 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536859905 -1073711037 9 0 511 0;}\n@font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:0 0 0 0 0 0 0 0 0 0;\n\tmso-font-charset:1;\n\tmso-generic-font-family:roman;\n\tmso-font-format:other;\n\tmso-font-pitch:variable;\n\tmso-font-signature:0 0 0 0 0 0;}\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:-536870145 1073786111 1 0 415 0;}\n \/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-unhide:no;\n\tmso-style-qformat:yes;\n\tmso-style-parent:\"\";\n\tmargin:0in;\n\tmargin-bottom:.0001pt;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n.MsoChpDefault\n\t{mso-style-type:export-only;\n\tmso-default-props:yes;\n\tfont-family:Calibri;\n\tmso-ascii-font-family:Calibri;\n\tmso-ascii-theme-font:minor-latin;\n\tmso-fareast-font-family:Calibri;\n\tmso-fareast-theme-font:minor-latin;\n\tmso-hansi-font-family:Calibri;\n\tmso-hansi-theme-font:minor-latin;\n\tmso-bidi-font-family:\"Times New Roman\";\n\tmso-bidi-theme-font:minor-bidi;}\n@page WordSection1\n\t{size:8.5in 11.0in;\n\tmargin:1.0in 1.0in 1.0in 1.0in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.WordSection1\n\t{page:WordSection1;}\n--\u003e\u003c\/style\u003e\n\u003cp style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\" class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThe Divine Woman\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e (1928), which was produced and released by MGM and starred Greta Garbo and Lars Hanson, is considered a “lost film.” Only a 9-minute sequence and a 45-second excerpt are known to exist after other footage was accidentally destroyed in a fire.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eAdapted from the 1925 play, \u003ci\u003eStarlight\u003c\/i\u003e by Gladys Unger, which starred Doris Keane in a plot that was loosely based on stories of the early life of French actress Sarah Bernhardt, \u003ci\u003eThe Divine Woman\u003c\/i\u003e follows Marianne (Greta Garbo), a poor French girl, who goes to Paris in the 1860s to seek her fortune as an actress. As she rises to success in the theatre, she must choose between the romantic attentions of two men, Lucien (Lars Hanson)—a passionate young army deserter that goes to jail after stealing a dress for her—and Henry Legrand (Lowell Sherman), a Paris producer that offers her fame and fortune.\u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"mso-pagination: none; mso-layout-grid-align: none; text-autospace: none;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: Arial;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eThis novelette version, written by Gladys Unger and based on the shooting script by Dorothy Farnum, gives us a glimpse into what Greta Garbo's lost film might have been like.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman';\"\u003eISBN \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eJoin the Facebook group!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46998035562668,"sku":"aig1787292048359","price":21.44,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/the-divine-woman-by-gladys-unger-hardback_1.jpg?v=1787292053"},{"product_id":"filet-of-sohl-the-classic-scripts-and-stories-of-jerry-sohl-hardback","title":"FILET OF SOHL: THE CLASSIC SCRIPTS AND STORIES OF JERRY SOHL (hardback)","description":"\u003cdiv\u003e\u003cspan style=\"font-size: 14px;\"\u003eTHE GREATEST SHORT WORKS OF A\u003cbr\u003e MASTER OF FANTASY\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e \u003cspan style=\"font-size: 14px;\"\u003eJERRY SOHL (1913-2002) was one of the most successful\u003cbr\u003e science fiction, fantasy, and mystery writers of his time. A prolific\u003cbr\u003e author of novels (Costigans Needle, Point Ultimate) and films\u003cbr\u003e (Die, Monster, Die! with Boris Karloff ), he is perhaps best-known\u003cbr\u003e today for his teleplays for The Twilight Zone, Star Trek, The Outer\u003cbr\u003e Limits, and Alfred Hitchcock Presents. You hold in your hands\u003cbr\u003e the first-ever collection of this masters scripts and stories!\u003cbr\u003e Included in this volume:\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e \u003cspan style=\"font-size: 14px;\"\u003e· Ten classic short tales, including two adapted for the legendary\u003cbr\u003e   Outer Limits\u003cbr\u003e · Two never-seen scripts for The Twilight Zone\u003cbr\u003e · An intriguing story treatment for Alfred Hitchcock Presents\u003cbr\u003e · A powerful foreword by William F. Nolan\u003cbr\u003e · Essay-appreciations from George Clayton Johnson, Richard\u003cbr\u003e   Matheson, and Marc Scott Zicree\u003cbr\u003e · Touching personal tributes from the authors son and daughter,\u003cbr\u003e   Allan and Jennifer Sohl\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e \u003cspan style=\"font-size: 14px;\"\u003eFor fans of classic science fiction, fantasy, and suspense this is a book to savor!\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: 14px;\"\u003eISBN 9798887713380\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003c!--\"''\"--\u003e\u003c\/p\u003e","brand":"BearManor Media","offers":[{"title":"Default Title","offer_id":46998035759276,"sku":"pye1787292050885","price":29.23,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0691\/4962\/2444\/files\/filet-of-sohl-the-classic-scripts-and-stories-of-jerry-sohl-hardback_1.jpg?v=1787292056"}],"url":"https:\/\/streetlookboutique.shop\/collections\/scripts.oembed","provider":"My Store","version":"1.0","type":"link"}