Dead of the Nite
Amateur Horror Magazine remembering the days where horror and Sci-FI began.
Amateur Horror Magazine remembering the days where horror and Sci-FI began.
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
Shameless promotion <strong>of</strong> our favorite movie icon who unbelievably has not yet won an academy award
In This Issue<br />
articole lunare<br />
Grave Diggings Page 9<br />
Curious Chirography Page 14<br />
<strong>Dead</strong> Letter Office Page 27
The Merrye Family is cursed with a degenerative age regression<br />
brain disease caused by generations <strong>of</strong> in-breeding resulting in a<br />
slow downward spiral into madness and cannibalism. The family<br />
chauffeur Bruno (Lon Chaney jr), has promised to look after <strong>the</strong><br />
three Merrye children; Virginia, Elizabeth, and Ralph.<br />
When greedy relatives <strong>of</strong> <strong>the</strong> Merrye family, accompanied by a conniving<br />
lawyer and his assistant, come to visit and subvert <strong>the</strong> family fortune, <strong>the</strong>y<br />
are entagled in <strong>the</strong> Merrye's twisted web <strong>of</strong> madness.<br />
One <strong>of</strong> <strong>the</strong> most underrated films <strong>of</strong> <strong>the</strong> sixties, Jack Hill's "Spider Baby" is<br />
phenonmenal piece <strong>of</strong> dark comedy, a touch <strong>of</strong> Arsenic and Old Lace, a<br />
pinch <strong>of</strong> <strong>the</strong> Old Dark House mixed with a liberal amount <strong>of</strong> Cormanesque<br />
humor. Spider Baby is <strong>the</strong> precursor <strong>of</strong> Texas Chainsaw Massacre, The<br />
HIlls Have Eyes and House <strong>of</strong> a 1000 corpses.<br />
Spider Baby is one <strong>of</strong> Lon Chaney Jr last and best performances. Jill Banner<br />
also gives a truly stellar performance in her debut role as <strong>the</strong> Spider<br />
Baby.<br />
Director Jack Hill was famous for making audiences emote<br />
with antiheroes, leaving audiences (and you) to cheer when <strong>the</strong> victims get<br />
<strong>the</strong>ir just desserts. One <strong>of</strong> our favorite movies <strong>of</strong> all time, you don't want<br />
to miss this Classic Film if not only to hear Chaney sing <strong>the</strong> title song!<br />
The Cast includes Sid Haig, a favorite <strong>of</strong> Jack Hill, as<br />
Ralph, a sexually aware but child like simpleton who<br />
gets to eat what we catches. Jill banner plays Spider<br />
Baby, <strong>the</strong> girl fascinated with spiders. Don’t let her<br />
catch you in her web! Carol Ohmart is well cast not<br />
only as <strong>the</strong> money hungry aunt but also <strong>the</strong> eye candy<br />
for <strong>the</strong> film. Lon Chaney Jr., plays Bruno, <strong>the</strong> caring<br />
Chauffeur who promised Titus Merrye to look<br />
after <strong>the</strong> children and <strong>the</strong> rest <strong>of</strong> <strong>the</strong> Merrye family.<br />
Chaney plays <strong>the</strong> part perfectly, devoted, caring but<br />
mad himself by <strong>the</strong> years <strong>of</strong> service.<br />
One <strong>of</strong> our top films to watch!<br />
For more information on Spider Baby, Posters, and Pictures go to our website at<br />
<strong>Dead</strong><strong>of</strong><strong>the</strong><strong>Nite</strong>.com
In 1765, an entire village <strong>of</strong> Arkham is cursed after warlock necromancer<br />
Joseph Curwen (Vincent Price) is burned at <strong>the</strong> stake for trying to mate<br />
human women with elder gods. Curwen promises to rise from <strong>the</strong> grave<br />
and seek revenge on <strong>the</strong> descendants <strong>of</strong> <strong>the</strong> men who killed<br />
him. Curwen's curse is powerful, causing <strong>the</strong> townspeople to suffer severe<br />
deformatities and mutations. 110 years later, Curwen's descendant,<br />
Charles Dexter Ward (Price) and his wife, Anne (Debra Paget), inherit<br />
<strong>the</strong> strange manse that looms above <strong>the</strong> town. Charles and Anne<br />
quickly realize <strong>the</strong>y are unwelcome by <strong>the</strong> townspeople and shocked by<br />
<strong>the</strong> deformities that run rampant in <strong>the</strong> townspeoples families. Their<br />
only friend, Dr Willet advises <strong>the</strong>m to leave <strong>the</strong> town and abandon<br />
<strong>the</strong>ir inheritance but <strong>the</strong> spirit Curwen is causing Charles to stay,<br />
Possessed by Curwen and assisted by descendants <strong>of</strong> Curwen's associates<br />
(Lon Chaney Jr and Milton Parsons), Charles begins to complete Curwen's work first by resurrecting Curwen's<br />
mistress Hester and <strong>the</strong>n to create super-humans by mating local woman with <strong>the</strong> elder gods, Cthulhu<br />
and Yog-Sothoth using a book called <strong>the</strong> Necronomicon.<br />
OK, at this point you are probably asking yourself... Cthulhu...<br />
Necronomicon... Poe? Wait a minute those are H.P. Lovecraft!<br />
And you are right. The only thing about this story that is<br />
Poe related is <strong>the</strong> title and <strong>the</strong> last line <strong>of</strong> <strong>the</strong> movie, "...While,<br />
like a ghastly rapid river, through <strong>the</strong> pale door, a hideous<br />
throng rush out forever and laugh - But smile no more." Roger<br />
Corman had done many Poe movies for American International<br />
Pictures (AIP) but wanted to do something different by a <strong>the</strong>n<br />
little known author, H.P. Lovecraft. The screenplay, written by<br />
Charles Beaumont is based on Lovecraft's, "The Case <strong>of</strong> Charles Dexter Ward. AIP wanting to cash in on <strong>the</strong><br />
continuing success <strong>of</strong> <strong>the</strong>ir Poe series insisted against, Corman's wishes, that this film be released as a Poe<br />
film. In <strong>the</strong> press kit, <strong>the</strong>re is no mention <strong>of</strong> H.P. Lovecraft at all. Even stranger, and one has to wonder<br />
about Corman's intent, <strong>the</strong> title sequences in <strong>the</strong> film misspell Poe's name as Edgar Allen Poe. This had never<br />
happened in any <strong>of</strong> <strong>the</strong> preceding Corman "Poe" films. So, this "Poe" film is <strong>the</strong> seminal moment for H.P<br />
Lovecraft fans as <strong>the</strong> first film to mention <strong>the</strong> elder gods, Cthulhu and Yog-Sothoth and also shed light on <strong>the</strong><br />
black magic book used in so many films to come, <strong>the</strong> Necronomicon.
That being said, this is one <strong>of</strong> Corman's best movies. Vincent<br />
Price gives one <strong>of</strong> his best performances, as both Curwen<br />
and Ward, as does Chaney and Paget (in her final film). The<br />
cinematography is starker and more malevolent than<br />
Corman's o<strong>the</strong>r films reflecting <strong>the</strong> contrast between Poe<br />
and Lovecraft. The dialog is polished reflecting <strong>the</strong> work <strong>of</strong><br />
Corman's apprentice, Francis Ford Coppola. The press billed<br />
this as <strong>the</strong> blockbuster reteaming <strong>of</strong> Price and Chaney, but<br />
actually <strong>the</strong> two hadn't worked toge<strong>the</strong>r though both were<br />
billed on <strong>the</strong> 1948 "Abbott and Costello meet Frankenstein"<br />
where Price just did <strong>the</strong> ending voiceover as <strong>the</strong> Invisible<br />
Man. Unfortunately <strong>the</strong>y never worked toge<strong>the</strong>r on ano<strong>the</strong>r<br />
film although <strong>the</strong> chemistry bewteen <strong>the</strong> two was remarkable. In actuality, Chaney's role was meant for<br />
Boris Karl<strong>of</strong>f but Karl<strong>of</strong>f became ill on <strong>the</strong> set <strong>of</strong> Black Sabbath and couldn't do <strong>the</strong> picture.<br />
For those with keen eyes, you'll notice that <strong>the</strong> scene <strong>of</strong><br />
many castle interior shots and those from outside <strong>of</strong> <strong>the</strong><br />
castle under thunder and lightning, as well as <strong>the</strong> waves<br />
breaking <strong>of</strong> rocks appear are eerily similar to <strong>the</strong> scenes<br />
in The Raven and The Terror. Ano<strong>the</strong>r example <strong>of</strong> Roger<br />
Corman's low budget reuse <strong>of</strong> scenes from previous<br />
movies to save money.<br />
All in all, this is one <strong>of</strong> Corman's best and is not to be<br />
missed! Enjoy!<br />
Typical for 60s Films, <strong>the</strong><br />
Obligatory Cleavage Shot
The photo on <strong>the</strong> right is <strong>the</strong> old Strand<br />
Theatre where I was introduced to my first<br />
horror movie, Masque <strong>of</strong> <strong>the</strong> Red Death<br />
over 50 years ago. For me this led to more<br />
and more horror movies (<strong>the</strong> Strand<br />
showed Horror Matinees every Saturday as<br />
most <strong>the</strong>aaters did back <strong>the</strong>n). A trip to<br />
Newark, NJ to meet <strong>the</strong> Cool Ghoul, John<br />
Zacherle and voraciously buying comics and <strong>of</strong><br />
course Famous Monsters <strong>of</strong> Filmland, as well<br />
as every Aurora Horror model kit including<br />
those later banned. Years later, I would recreate<br />
those models in life scale for various<br />
Haunted Amusements. For me, Horror films<br />
and Music has been a lifelong passion and I<br />
find myself in <strong>the</strong> same position as Forrest J.<br />
Ackerman where today's film audiences (as it<br />
was in Forry's day) were never exposed to<br />
classic horror or find it old and irrelevant. It's<br />
a shame because all genre and sub-genre films<br />
had to begin somewhere, as did today's Academy<br />
award winning actors and directors. At<br />
<strong>Dead</strong> <strong>of</strong> <strong>the</strong> <strong>Nite</strong> we want to reintroduce <strong>the</strong><br />
cult and forerunner films that make today's<br />
horror films possible. Each month we will present<br />
some unique films, personalities and musicians, <strong>the</strong>ir background stories, trivia and<br />
reasons for uniqueness. We'll also have a lot <strong>of</strong> photos, posters and lobby cards as well as<br />
some <strong>of</strong>f <strong>the</strong> wall fun. So stayed tuned and let us know what you think. You can write at<br />
our <strong>Dead</strong> Letter Office or on facebook at dead<strong>of</strong><strong>the</strong>nite!
He was known as <strong>the</strong> King <strong>of</strong> <strong>the</strong> Grand Guignol, <strong>the</strong> Merchant <strong>of</strong> Menace or<br />
simply as Bink. A master <strong>of</strong> many talents; gourmet chef, art collector, writer,<br />
painter and actor <strong>of</strong> stage, screen and television, his film career alone spanned<br />
more than 100 films. This tall (6' 4") eccentric, polished gentleman with <strong>the</strong> singularly<br />
distinctive voice and sometimes over <strong>the</strong> top <strong>the</strong>atrics is best remembered<br />
for his performances in classic camp and horror films <strong>of</strong> <strong>the</strong> 50s, 60s and<br />
early 70s. He <strong>of</strong>ten played <strong>the</strong> anti-hero who wants revenge on those who<br />
wronged him. These atmospheric thrillers were always filled with a sense <strong>of</strong> black<br />
humour with Vincent frequently playing <strong>the</strong> villain who died screaming.<br />
Vincent Leonard Price, Jr. (May 27, 1911 - October 25, 1993), born in St. Louis,<br />
Missouri to Vincent Leonard Price and Marguerite Willcox Price. His family<br />
started <strong>the</strong> National Candy Company. Vincent attended <strong>the</strong> St. Louis, Missouri<br />
private high-school, Christian Bro<strong>the</strong>r's College continued his education at Yale<br />
University where he received degrees in Art History and English <strong>the</strong>n taught<br />
school for a year. Price returned to college to take his Masters in Fine Arts at<br />
<strong>the</strong> Courtauld Institute in London, he also studied briefly in Vienna.An avid art<br />
collector, Price and his second wife Mary donated hundreds <strong>of</strong> works <strong>of</strong> art and<br />
a large monetary gift to East Los Angeles College in <strong>the</strong> early 1960s in order to<br />
endow <strong>the</strong> Vincent and Mary Price Gallery <strong>the</strong>re, which stands to this day. He<br />
wrote a syndicated art column in <strong>the</strong> 1960s always encouraging o<strong>the</strong>rs to develop<br />
a passion for art.<br />
He became interested in <strong>the</strong>ater in <strong>the</strong> 1930s, appearing<br />
pr<strong>of</strong>essionally on stage from 1935. He made his film debut in<br />
1938 with Service de Luxe and established himself as a competent<br />
actor, notably in Laura (1944), directed by Otto Preminger.<br />
He acted as Joseph Smith, Jr. in <strong>the</strong> movie Brigham<br />
Young (1940). In <strong>the</strong> 1950s he moved into horror films, enjoying<br />
<strong>the</strong> role in <strong>the</strong> successful curiosity House <strong>of</strong> Wax<br />
(1953), <strong>the</strong> first 3-D film to land in <strong>the</strong> year's top ten at <strong>the</strong><br />
North American box <strong>of</strong>fice. He also starred in <strong>the</strong> original<br />
House on Haunted Hill (1959) as eccentric millionaire<br />
Fredrick Loren. (The actor playing <strong>the</strong> same character in <strong>the</strong><br />
1999 remake was made to not only resemble, but was renamed<br />
after Price.) In <strong>the</strong> 1960s, Price and Peter Lorre starred as crimefighting antique dealers in <strong>the</strong> unsold<br />
pilot, "Collector's Item." According to Price, when he and Peter Lorre went to view Bela Lugosi's body<br />
at Lugosi's funeral, Lorre, upon seeing Lugosi dressed in his famous Dracula cape, quipped, "Do you think<br />
we should drive a stake through his heart just in case?"
Also in <strong>the</strong> 1960s, he had a number <strong>of</strong> low-budget<br />
successes with Roger Corman and AIP including<br />
<strong>the</strong> Edgar Allan Poe adaptations House <strong>of</strong> Usher<br />
(1960), The Pit and <strong>the</strong> Pendulum (1961), The Raven<br />
(1963), The Masque <strong>of</strong> <strong>the</strong> Red Death (1964);<br />
he also appeared in The Abominable Dr. Phibes<br />
(1971) and Theatre <strong>of</strong> Blood (1973). He <strong>of</strong>ten expressed<br />
an interest in doing Shakespeare, which is<br />
why Theatre <strong>of</strong> Blood was one <strong>of</strong> his favorite<br />
roles. He <strong>of</strong>ten spoke <strong>of</strong> his joy at playing<br />
"Egghead" on <strong>the</strong> popular Batman television series.<br />
He actually started an egg throwing fight<br />
while rehearsing on <strong>the</strong> show.Ano<strong>the</strong>r <strong>of</strong> his costars,<br />
Yvonne Craig (Batgirl), <strong>of</strong>ten said Price was<br />
her favorite co-star.<br />
In 1964 at <strong>the</strong> request <strong>of</strong> a personal friend, he<br />
narrated a brief history <strong>of</strong> Tombstone, Arizona<br />
(titled, "Tombstone, The Town Too Tough To<br />
Die") for use in <strong>the</strong> diorama at <strong>the</strong> site <strong>of</strong> <strong>the</strong><br />
O.K. Corral gunfight site. He reportedly recorded<br />
<strong>the</strong> 20-minute piece in a single take at a recording<br />
studio in Hollywood, and when asked about<br />
his fee, asked for his pal, <strong>the</strong> owner <strong>of</strong> <strong>the</strong> exhibit<br />
at <strong>the</strong> time, to buy him lunch. Price never visited<br />
Tombstone but his narration is still used in<br />
<strong>the</strong> diorama.<br />
He had his own mail-order book club in <strong>the</strong> 1970s, "Vincent Price<br />
Books", specializing in mystery and detective novels. He greatly<br />
reduced his film work from around 1975, as horror itself suffered a<br />
slump, and increased his narrative and voice work. For example,<br />
Price's voiceover is heard on Alice Cooper's first solo album Welcome<br />
to My Nightmare also playing "<strong>the</strong> spirit <strong>of</strong> <strong>the</strong> nightmare"<br />
in Alice Cooper's 1975 television special. “Vincent’s Rap” in Michael<br />
Jackson's mini-movie music video, Thriller, is by far his best<br />
remembered voiceover. Ano<strong>the</strong>r <strong>of</strong> <strong>the</strong>se fantastic renditions was<br />
one <strong>of</strong> his last major and one <strong>of</strong> his favourite feature film roles, as<br />
<strong>the</strong> voice <strong>of</strong> Pr<strong>of</strong>essor Ratigan in Walt Disney Pictures' The Great<br />
Mouse Detective, in which two original songs had been written for<br />
especially for him.
Price was also a noted gourmet cook and art collector. From 1962 to 1971, Sears, Roebuck <strong>of</strong>fered <strong>the</strong> Vincent<br />
Price Collection <strong>of</strong> Fine Art, selling about 50,000 pieces <strong>of</strong> fine art to <strong>the</strong> general public. Price selected<br />
and commissioned works for <strong>the</strong> collection, including works by Rembrandt, Pablo Picasso, and Salvador Dali.<br />
He also starred in "How to Make a Movie," a short film that was included in <strong>the</strong> "Vincent Price: Moviemaking<br />
<strong>the</strong> Hollywood Way," a home movie outfit sold by Sears, Roebuck and Co.<br />
Vincent price in <strong>the</strong> “Raven”<br />
He was <strong>the</strong> Wednesday night host for CBS Radio's "Sears Mystery Theater" (1979). He was still Wednesday's<br />
host when it became "The Mutual Radio Theater" on Mutual Radio (1980). Host <strong>of</strong> BBC Radio's "The Price <strong>of</strong><br />
Fear" (1973-1975, 1983). Vincent portrayed Simon Templar on "The Saint" for CBS Radio (1947-1948), Mutual<br />
Radio (1948-1950) and NBC Radio (1950-1951). He abandoned films in <strong>the</strong> mid 1970s, in favor <strong>of</strong> cooking programs<br />
for television - he wrote "A Treasury <strong>of</strong> Great Recipes" (1965) with his second wife, Mary Grant - He<br />
also recorded many Gothic horror short stories for <strong>the</strong> spoken-word label Caedmon Records. In 1990 Price<br />
was hired by Walt Disney Imagineering to voice <strong>the</strong> role <strong>of</strong> <strong>the</strong> Phantom for Phantom Manor, a new ride for<br />
<strong>the</strong> upcoming Euro Disneyland, scheduled to open in 1992.
He was given a French script but <strong>the</strong> takes were so<br />
bad, <strong>the</strong> entire performance was deemed unusable.<br />
After working on <strong>the</strong> French script for over<br />
three hours, sessions, gave him an English version<br />
<strong>of</strong> <strong>the</strong> script. Craig Fleming, who adapted <strong>the</strong> script<br />
and directed <strong>the</strong> recording Price recorded <strong>the</strong> entire<br />
piece in two takes. The English recordings were<br />
placed in <strong>the</strong> attraction, but after a few months <strong>of</strong><br />
operation, Euro Disney felt <strong>the</strong>re was not enough<br />
French in Euro Disneyland. So by 1993, in an<br />
attempt to add more French to <strong>the</strong> park, Price's<br />
narration was removed from <strong>the</strong> attraction and<br />
replaced by <strong>the</strong> French spiel recorded by Gerard<br />
Chevalier. Price's narration can be found on a Disney<br />
Haunted Mansion CD. The CD, which contains a full ride-through <strong>of</strong> <strong>the</strong> attraction, claims Price's narration<br />
was "never used at Disneyland Paris", but that's because <strong>the</strong> park was still called Euro Disneyland when<br />
it was used. Today <strong>the</strong> park is now known as Parc Disneyland (as <strong>of</strong> 2002) and although his narration is long<br />
gone, one part <strong>of</strong> his performance remains in Phantom Manor: his laugh. Although <strong>the</strong> spoken dialogue <strong>of</strong><br />
<strong>the</strong> Phantom character was changed, Price's original recordings <strong>of</strong> <strong>the</strong> Phantom's evil laughter still remain<br />
intact, inside <strong>the</strong> attraction.<br />
He would <strong>of</strong>ten attend showings <strong>of</strong> his films in costumes; <strong>of</strong>ten to play pranks on movie-goers. In his later<br />
years, Price spoke out against modern horror films that glorified violence, pointing out that his films were<br />
harmless spo<strong>of</strong>s by comparison. In <strong>the</strong> summer <strong>of</strong> 1977 he began performing, as Oscar Wilde, in <strong>the</strong> one<br />
man stage play Diversions and Delights. Written by John Gay and directed by Joe Hardy, <strong>the</strong> play is set in a<br />
Parisian <strong>the</strong>ater, on a night about one year before Wilde's death. In an attempt to earn some much-needed<br />
money, he is speaking to <strong>the</strong> audience about his life, his works and, in <strong>the</strong> second act, about his love for Lord<br />
Alfred Douglas, which led to his downfall.<br />
The original tour <strong>of</strong> <strong>the</strong> play was a success<br />
in every city that it played, except for New<br />
York City. In <strong>the</strong> summer <strong>of</strong> 1979 he performed<br />
it at <strong>the</strong> Tabor Opera House in<br />
Leadville, Colorado on <strong>the</strong> same stage that<br />
Wilde had spoken to <strong>the</strong> miners about art<br />
some 96 years before. Price would, eventually,<br />
perform <strong>the</strong> play worldwide and to<br />
many, including his daughter Victoria, it<br />
was <strong>the</strong> best acting that he ever did. From<br />
1981 to 1989, he hosted <strong>the</strong> PBS television<br />
series Mystery!. His last significant<br />
film work was as <strong>the</strong> inventor in Tim Burton's Edward Scissorhands (1990).
Price was married three times. Coral Browne (24<br />
October 1974 - 29 May 1991) (her death), Mary<br />
Grant (25 August 1949 - 1973) (divorced) 1 child,<br />
Edith Barrett (23 April 1938 - 4 June 1948)<br />
(divorced) 1 child. Price fa<strong>the</strong>red a son named Vincent,<br />
Jr. with his first wife, a former actress named<br />
Edith Barrett . Daughter Victoria was born in 1962<br />
to Vincent and his second wife, Mary Grant. Price's<br />
last marriage was to <strong>the</strong> actress Coral Browne who<br />
appeared with him in Theatre Of Blood (1973). People<br />
have said <strong>the</strong>irs was one <strong>of</strong> Hollywood's great<br />
love stories; he converted to Catholicism for her,<br />
and she became a U.S. citizen for him. Friends said<br />
Price never recovered from her death in 1991 from<br />
breast cancer. Coral was buried at St. Victor's with a<br />
Mozart Requiem Mass accompanied by a full orchestra.<br />
Vincent Price died <strong>of</strong> lung cancer on October 25,<br />
1993, at 82 years <strong>of</strong> age, just six days before Halloween<br />
and, eerily, just three days before his biography<br />
was aired on <strong>the</strong> Arts and Entertainment Network.<br />
He had also long suffered from emphysema<br />
and Parkinson's disease, which had forced his role in Edward<br />
Scissorhands to be much smaller than intended. His ashes<br />
were scattered <strong>of</strong>f <strong>the</strong> Californian coast <strong>of</strong> Malibu toge<strong>the</strong>r<br />
with his favorite gardening hat. Vincent Twice Vincent Twice<br />
was a Price lookalike character on Sesame Street. In 1999 a<br />
frank and detailed biography <strong>of</strong> Vincent Price, written by his<br />
daughter Victoria Price, was published by St Martin's Griffin<br />
Press. At <strong>the</strong> August 2004 Monster Mania convention in<br />
Cherry Hill, NJ, a standing-room-only crowd attended <strong>the</strong><br />
"Vincent Price Tribute," which consisted <strong>of</strong> reminiscences <strong>of</strong><br />
Price from director Roger Corman, actresses Hazel Court and<br />
Caroline Munro, artist Cortlandt Hull and moderator Tom<br />
Weaver.
"Brilliant but immature," Surely <strong>the</strong>re were better words to describe <strong>the</strong> years <strong>of</strong> training, teaching and experimenting<br />
that she had accomplished at <strong>the</strong> University." There would be no chair, no pr<strong>of</strong>essorship, no<br />
funding for her research, all because <strong>of</strong> her. Maybe she should not have spurned <strong>the</strong> advances <strong>of</strong> her pr<strong>of</strong>essor<br />
but <strong>the</strong> only passion he ever truly felt was that <strong>of</strong> science. Only three months left, three months to finish<br />
her work, <strong>the</strong> total accumulation <strong>of</strong> her short life's ambition. I was not sure what happened <strong>the</strong> night she<br />
read <strong>the</strong> recommendation submitted to <strong>the</strong> University President, I only know that she changed. There was a<br />
clear and sinister purpose in her every movement, thought and action. "Brilliant but immature," <strong>the</strong> words<br />
<strong>the</strong>mselves denoted <strong>the</strong> fine line between reason and fantasy, between purpose and insanity. I only know<br />
that God may forgive me one day for my part is this macabre sequence <strong>of</strong> events. Then again, <strong>the</strong>re may be<br />
no hope or need for my salvation.<br />
It all began two years ago when I started my graduate work in genetics. My cause was noble; to find cures<br />
for <strong>the</strong> more complicated frailties <strong>of</strong> human existence. The Human Genome project seemed <strong>the</strong> answer to a<br />
dream. It was <strong>the</strong>re that I met Simone Nomege, a doctoral candidate two years my senior. Simone was likable<br />
from <strong>the</strong> start, brilliant mind, perfection in form, charming and yet distant with a clouded past that introduced<br />
a vague hint <strong>of</strong> scandal and intrigue. A Parisian transfer student, she grew up in Alsace-Lorraine to, I<br />
believe, a notable aristocratic family whom had fallen in disfavor by some past disgrace. Her knowledge <strong>of</strong><br />
anatomy, chemistry and biology were absolute but her true passion was genetics. Her passion was not purposed<br />
towards medicine, and it was not humane in nature but an arcane passion <strong>of</strong> genetics that perceived<br />
life in a pure form devoid <strong>of</strong> mental, physical and spiritual sickness. I still believe to this day that her intentions<br />
were good but known only to her; I may never know <strong>the</strong> whole truth.<br />
We were both assigned to Doctor Leah Colsen as assistants that year. The good doctor was an arrogant selfindulged<br />
lesbian whose capabilities <strong>of</strong>ten rode on <strong>the</strong> backs <strong>of</strong> students far her superior. It is <strong>of</strong>ten said,<br />
"those who can't do, teach" and she was <strong>the</strong> epitome <strong>of</strong> that concept. At first we were <strong>of</strong>ten left alone to<br />
complete redundant tasks <strong>of</strong> checking DNA sequences but <strong>the</strong>n Doctor Colsen began taking an interest in<br />
Simone, giving her more complicated tasks to study, correlate and report. I was along for <strong>the</strong> ride. The interest<br />
in Simone began taking a more overt tone, <strong>the</strong> hand on <strong>the</strong> shoulder, <strong>the</strong> s<strong>of</strong>t caresses, <strong>the</strong> late nights in<br />
<strong>the</strong> lab. I saw it plainly, so Simone must have understood <strong>the</strong> intentions also but she seemed self-absorbed<br />
in her increasing standing and free access to research materials. It became apparent that <strong>the</strong>re were very<br />
different agendas between <strong>the</strong> two women.<br />
Our research was to identify strands <strong>of</strong> human DNA that were both cause and effect <strong>of</strong> human illness, birth<br />
defects and <strong>the</strong> counter-effects <strong>of</strong> aging. We both devoured our work as a beggar to a royal feast. Simone,<br />
however, was always looking fur<strong>the</strong>r. I became increasingly aware <strong>of</strong> her irregular pattern <strong>of</strong> preoccupation<br />
with evolutionary <strong>the</strong>ory, genetic splicing, Freudian thought, and <strong>the</strong> scientific aspects <strong>of</strong> creationism. I <strong>of</strong>ten<br />
wanted to ask to what purpose her studies were designed, but was too cowardly and intent to keep my<br />
place within <strong>the</strong> research project.
Nine months into <strong>the</strong> study project, Simone gave me an independent task, a secretive task that would forever<br />
bind us. The task seemed simple enough at first, a new DNA sample that required decoding and classification.<br />
Since this was our bread and butter for <strong>the</strong> previous nine months, I thought nothing <strong>of</strong> it at <strong>the</strong> time. I<br />
proceeded with my task as just ano<strong>the</strong>r redundant exercise. As <strong>the</strong> results began to pour in, I realized that<br />
this was not human DNA, not even mammalian and yet it had features I had seen in cases <strong>of</strong> study dealing<br />
with respiratory birth defects. I asked Simone, but she just smiled and dismissed it as just ano<strong>the</strong>r sample. I<br />
wanted to ask Doctor Colsen but shied away, she was always ra<strong>the</strong>r abrupt with me anyway. The sample<br />
piqued my interest. I began a classification analysis. True it was not mammalian, but more <strong>of</strong> an Ichthyoidal<br />
representation and yet <strong>the</strong>re were respiratory indications that were indicative <strong>of</strong> air breathing lungs. That<br />
night I indulged myself in library study looking for a fish that could breath air. I knew <strong>of</strong> <strong>the</strong> walking catfish<br />
but could <strong>the</strong>re be o<strong>the</strong>rs more remote, one with a distinctive biomedical interest, one that could be <strong>of</strong> interest<br />
to Simone. For weeks, I spent every spare waking moment in <strong>the</strong> library. I am sure that most people on<br />
campus including <strong>the</strong> librarian thought I had changed my major to ichthyology. Through <strong>the</strong> long nights one<br />
name kept appearing, Channa gigantus <strong>of</strong> <strong>the</strong> family Ophiocephalus or simply <strong>the</strong> Burma Snakehead. The fish<br />
itself was a ra<strong>the</strong>r ugly carnivore, slender with a long dorsal fin. The fish was prized as an exotic delicacy but I<br />
think more importantly to Simone was its o<strong>the</strong>r distinguishing feature. It could survive out <strong>of</strong> water for days<br />
on end, writhing its way through <strong>the</strong> terrain until it located a new source <strong>of</strong> water and food. Its rudimentary<br />
lungs provided <strong>the</strong> air for survival. Evolution, creationism, and Freud, it was obvious to me that Simone's hidden<br />
agenda must be based in religious belief. It had to be a chance to prove or disprove creationism, but<br />
which it was I had no idea.<br />
Months passed quickly but with tedium <strong>of</strong> work that seemed incessantly redundant. The results <strong>of</strong> <strong>the</strong> Channa<br />
sequencing were finished sufficiently for Simone's purpose. It seemed she had what she needed, but I was<br />
no closer to deciphering her intent. Pr<strong>of</strong>essor Colsen's displays <strong>of</strong> furtive gestures grew with age. There were<br />
conferences, dinners and o<strong>the</strong>r faculty functions that she always seemed to find a way to get Simone to accompany<br />
her. I began to wonder if <strong>the</strong>re was a relationship until that night I found Simone alone in <strong>the</strong> lab<br />
with papers strewn everywhere. She was exhausted, her eyes sagging from lack <strong>of</strong> sleep, her skin a dull pale<br />
white. She kept murmuring quietly, shaking her head while scanning some printouts. She startled when I put<br />
my hand on her shoulder. It was obvious from <strong>the</strong> frightened look she gave me as she hurriedly covered <strong>the</strong><br />
printout with o<strong>the</strong>r papers that she thought I was Pr<strong>of</strong>essor Colsen. I could see <strong>the</strong> relief when her eyes focused<br />
enough to recognize me. She began crying and put her arms around me without speaking. She<br />
muttered s<strong>of</strong>tly under her breath just two words, "Help me." It was <strong>the</strong>n that Pr<strong>of</strong>essor Colsen entered <strong>the</strong><br />
room, saw Simone with her arms around me, scowled, and left <strong>the</strong> room. Her quickening step resounded <strong>of</strong>f<br />
<strong>the</strong> tile hallway. Simone was nearing collapse, my dorm room was closer so I ga<strong>the</strong>red her research and<br />
headed to my room almost carrying Simone most <strong>of</strong> <strong>the</strong> way. I put her down on my bed where she fell into a<br />
hard, fitful sleep. I watched her until almost dawn when I started drifting <strong>of</strong>f. I had made up my mind. I would<br />
ask her point blank just what was going on.<br />
Morning came and went without ei<strong>the</strong>r <strong>of</strong> us stirring. It was late afternoon before I awoke, Simone a little<br />
later. I poured her a hot cup <strong>of</strong> c<strong>of</strong>fee and just stared at her. Maybe it was <strong>the</strong> look, maybe she didn't know if<br />
I had read her papers. The effect was <strong>the</strong> same, answers to <strong>the</strong> questions I had sought for so long.
She sipped her c<strong>of</strong>fee slowly before she started her oratory. "My fa<strong>the</strong>r was a famed geneticist, a pioneer in<br />
cloning. If I told you his name, you would instantly recognize it for it is infamous within <strong>the</strong> medical and scientific<br />
community. I assumed my mo<strong>the</strong>r's maiden name after schoolmates began calling me Frankenstein's<br />
daughter. My fa<strong>the</strong>r despondent by ridicule took his own life leaving my mo<strong>the</strong>r and I to our own devices.<br />
Mo<strong>the</strong>r had her own ancestral estate on an island near Majorca as well as land in <strong>the</strong> Alps within Alsace Lorraine.<br />
Within <strong>the</strong>se remote estates, we found peace for a while. I was provided with <strong>the</strong> finest schooling<br />
money could buy and excelled scholastically. When I turned 16 a package was delivered to me. My mo<strong>the</strong>r<br />
was livid when she saw <strong>the</strong> seal on <strong>the</strong> package. My fa<strong>the</strong>r's crest was embedded in <strong>the</strong> red wax. My mo<strong>the</strong>r<br />
begged me to burn it without opening it but it was my fa<strong>the</strong>r's, a fa<strong>the</strong>r I dearly loved and I could not part<br />
with it. The package contained my fa<strong>the</strong>r's journals, his life work. Frankenstein was trying to perfect <strong>the</strong> reanimation<br />
<strong>of</strong> life, but my fa<strong>the</strong>r was trying to perfect <strong>the</strong> creation <strong>of</strong> life. Within <strong>the</strong> journals were <strong>the</strong> key to<br />
eliminating <strong>the</strong> need <strong>of</strong> evolution, a way to recreate <strong>the</strong> human form in a variety <strong>of</strong> adaptive jumps allowing<br />
survival in an infinite numbers <strong>of</strong> hostile environments. Imagine divers that need no SCUBA, Eskimos that no<br />
longer require clothing to survive <strong>the</strong> elements, desert dwellers that can survive on <strong>the</strong> same water ration a<br />
camel would. Through selective genetic splicing, anything was possible provided <strong>the</strong> host DNA strands were<br />
correctly correlated. Some <strong>of</strong> <strong>the</strong> <strong>the</strong>ories were recognized and widely lauded for <strong>the</strong>ir <strong>the</strong>oretical possibilities.<br />
It wasn't until my fa<strong>the</strong>r crossed from <strong>the</strong>ory to experimentation that <strong>the</strong> ridicule began. The church was<br />
<strong>the</strong> first to criticize <strong>the</strong> <strong>the</strong>ory, but science criticized <strong>the</strong> experimentation. They compared my fa<strong>the</strong>r to Hitler.<br />
They labeled him "The new Fa<strong>the</strong>r <strong>of</strong> <strong>the</strong> Master Race." As I read on, I became enamored with <strong>the</strong> concepts.<br />
I wanted to prove my fa<strong>the</strong>r's <strong>the</strong>ories. It became my life's ambition to restore my fa<strong>the</strong>r's reputation and<br />
help mankind at <strong>the</strong> same time. I also knew that under my real name, <strong>the</strong> cloud <strong>of</strong> my fa<strong>the</strong>r's reputation<br />
would forever stall <strong>the</strong> pursuit <strong>of</strong> my ambition. So, I obliterated every association with him allowing me freedom<br />
to achieve my goals. No one else besides my mo<strong>the</strong>r knows anything about this, no one but you. Will<br />
you help me?" She was so beautiful, so noble, so vulnerable, God help me, I couldn't refuse. She stayed in<br />
my room <strong>the</strong> rest <strong>of</strong> that night. In <strong>the</strong> morning, we went to <strong>the</strong> lab after an early breakfast. Pr<strong>of</strong>essor Colsen<br />
was already <strong>the</strong>re. She stared at me with contempt and a fury that I had rarely seen in my short life, <strong>the</strong>n she<br />
smiled. The smile was cold, dark and decidedly evil. I was glad when she left <strong>the</strong> lab. For <strong>the</strong> first time, Simone<br />
showed me <strong>the</strong> depth <strong>of</strong> her work, every intricate detail. It was unbelievable. Her <strong>the</strong>ories were light years<br />
beyond what I thought was <strong>the</strong> cutting edge <strong>of</strong> genetics. She was taking genetic manipulation and cloning to<br />
a new frontier. She had found a way to mix traits found in varying families, classifications and subspecies <strong>of</strong><br />
life and splice <strong>the</strong>m into human DNA. If correct in her assumptions, minor sequencing changes in a single cell<br />
introduced in <strong>the</strong> forming ova would breed a new race in a single step. Evolution would be passé. Immense<br />
jumps in <strong>the</strong> evolutionary process would be available in a single step providing new adaptive races where<br />
needed and to suit every environment. Fur<strong>the</strong>rmore, <strong>the</strong> DNA was dominant, self-replicating and bioresistant<br />
producing exact images <strong>of</strong> <strong>the</strong> original in every generation. No birth defects, no medical conditions,<br />
immune systems that could be modified pre-birth to fight any virus or bacteria that evolution could produce.<br />
The concept was staggering. I would have thought it a great storyline for comic books if I wasn't looking at<br />
<strong>the</strong> <strong>the</strong>oretical pro<strong>of</strong> now before my eyes. Then a chill went down my spine. It occurred to me, people would<br />
kill for this information, not just any one particular faction <strong>of</strong> people but anyone. People would kill to have it,<br />
kill to stop it, or kill because <strong>of</strong> <strong>the</strong> possibilities <strong>of</strong> what it could do. I calmed myself.
No one in <strong>the</strong> scientific community would remotely allow experimentation to prove <strong>the</strong>se <strong>the</strong>ories. There would be<br />
no doctoral dissertation, no presentation to <strong>the</strong> scientific community, just ridicule. Simone would face <strong>the</strong> same<br />
ridicule her fa<strong>the</strong>r faced. I would be tied to that ridicule. There in <strong>the</strong> darkest reaches <strong>of</strong> my soul was a war raging<br />
suddenly out <strong>of</strong> control. It was a war <strong>of</strong> selfishness, <strong>of</strong> fear, <strong>of</strong> self-doubt and yet a war <strong>of</strong> love. In <strong>the</strong> end, love won<br />
out when I glanced at Simone. I saw it in her eyes, her pleading eyes. A cry for help, a cry for understanding, a cry<br />
that comes at a point beyond intimacy and passion. It was <strong>the</strong> cry that goes beyond friendship and love, a cry that<br />
captures and bonds <strong>the</strong> souls <strong>of</strong> kindred spirits. I knew <strong>the</strong>n that no matter <strong>the</strong> cost, I would help her see this<br />
through to <strong>the</strong> end. Besides, I could always teach at a community college.<br />
After that day, Simone and I became inseparable, day night, weekends, holidays we were always toge<strong>the</strong>r. It was<br />
all work. Every moment possible, one <strong>of</strong> us would be working on <strong>the</strong> parameters <strong>of</strong> proving <strong>the</strong> <strong>the</strong>ory. Pr<strong>of</strong>essor<br />
Colsen became more resigned and somewhat hateful towards me. To Simone, she was simply indifferent.<br />
Our work continued, sometimes around <strong>the</strong> clock, sleeping whenever possible but always on guard even within<br />
our dreams. Then <strong>the</strong> day came when it all changed. Simone wasn't at <strong>the</strong> lab when I arrived. I waited becoming<br />
more anxious. I called her but <strong>the</strong> phone just rang endlessly. Fearful, I left <strong>the</strong> lab and went to check on her. She<br />
was in her apartment, crying. As I sat down beside her, she handed me a letter, which I read.<br />
"Brilliant but immature" With just three words, I knew her concern. The clock was ticking; Pr<strong>of</strong>essor Colsen had<br />
removed her fellowship grant. Thirty days and we would both be on <strong>the</strong> street. I cradled her in my arms for what<br />
seemed an eternity.<br />
Dawn came with a menacing storm. Simone was already awake fixing breakfast. I watched her for a moment.<br />
Something was different. The fluidity <strong>of</strong> movement was gone. There was a determination in her face that tightened<br />
every muscle in her body and yet <strong>the</strong>re was a defiant almost maniacal radiance within her eyes. We ate without<br />
speaking and readied ourselves for <strong>the</strong> awkward day at work. We where about ready to leave when she stopped at<br />
<strong>the</strong> door, turned and kissed me with such passion that I thought my heart would burst.<br />
Our work in isolation and manipulation <strong>of</strong> specific genetic coding was nearing completion. Seven days <strong>of</strong> sequencing<br />
would produce <strong>the</strong> <strong>the</strong>oretical model <strong>of</strong> what we hoped to achieve. While I attended to <strong>the</strong> sequencing, Simone<br />
readied <strong>the</strong> model <strong>of</strong> cellular introduction needed to implement <strong>the</strong> mutation. We barely saw each o<strong>the</strong>r for <strong>the</strong><br />
first two weeks. The last two weeks we spent in correlating <strong>the</strong> splice. We ran model after model through <strong>the</strong> computer<br />
with undeniable success. Each model produced a stabile, dominant and self-replicating genetic strand. It was<br />
<strong>the</strong> pro<strong>of</strong> needed that her fa<strong>the</strong>r's life work was not only viable, but also attainable. I downloaded <strong>the</strong> data to CD<br />
and destroyed every trace <strong>of</strong> our project within <strong>the</strong> University system. I was going to make damn sure that no one<br />
besides Simone would be able to get credit for <strong>the</strong> work. I had already resigned myself to removing my name from<br />
any notes within <strong>the</strong> downloads. Simone and her fa<strong>the</strong>r were <strong>the</strong> only authors <strong>of</strong> this work.<br />
The morning dawned on our last day at <strong>the</strong> lab. I was up early and went to <strong>the</strong> lab to remove my personal belongings.<br />
I was anxious. Simone had made plans to meet at her apartment for dinner. I arrived not quite knowing what<br />
to expect. She was dressed ra<strong>the</strong>r casually in shorts and a t-shirt. The meal was extravagant however, Lobster Thermidor,<br />
a pasta and artichoke salad, various seafood appetizers and a magnum <strong>of</strong> champagne. It was more like a celebration<br />
than what I thought to be a farewell dinner. Throughout dinner, her eyes never left mine. She was radiant.<br />
We talked about <strong>the</strong> project, pr<strong>of</strong>essor, and school in general laughing about some <strong>of</strong> <strong>the</strong> absurdities. She took my<br />
hand and led me to <strong>the</strong> couch where she poured us each a glass <strong>of</strong> brandy.
I casually remarked how much I would miss her. She leaned closer to me and whispered, "We are kindred<br />
spirits, you wouldn't leave me now that we are so close." She kissed me as passion consumed us. When I<br />
awoke, Simone was in <strong>the</strong> shower, on her dresser were two airline tickets to Majorca, one in her name, one<br />
in mine. I was looking at <strong>the</strong> tickets when she came out <strong>of</strong> <strong>the</strong> bathroom. "I hoped you would come with me<br />
and continue our work." Looking at her, draped in a towel, how could I refuse and yet <strong>the</strong>re were warning<br />
bells ringing.<br />
After arriving in Majorca, we boarded a boat for her island estate. Fortress would be a better description.<br />
The house was built in <strong>the</strong> living rock <strong>of</strong> <strong>the</strong> island perching high on <strong>the</strong> cliffs overlooking <strong>the</strong> Mediterranean<br />
Sea. The rooms were large with walls <strong>of</strong> polished stone and oak wainscoting. The floors were marble. Every<br />
room had a view <strong>of</strong> <strong>the</strong> ocean. Dreams are made in a villa such as this. Within <strong>the</strong> back <strong>of</strong> <strong>the</strong> house was a<br />
winding cavernous stairway that led to a grotto complete with boat docks. Beside <strong>the</strong> grotto were rooms<br />
filled with scientific, laboratory and medical equipment. As I toured <strong>the</strong> villa with Simone, I realized that our<br />
project was not over but just beginning <strong>the</strong> second stage. Only two o<strong>the</strong>r occupants where housed in <strong>the</strong><br />
villa, <strong>the</strong> housekeeper, Maria and her daughter who saw to Simone's every whim.<br />
The first week we talked little <strong>of</strong> <strong>the</strong> project, instead we relaxed on <strong>the</strong> beach below <strong>the</strong> villa, indulged ourselves<br />
in food, wine, and o<strong>the</strong>r pleasures as we saw fit. The second week Simone appeared under <strong>the</strong> wea<strong>the</strong>r.<br />
Some <strong>of</strong> <strong>the</strong> food didn't agree with her and she stayed in her room most <strong>of</strong> <strong>the</strong> days, <strong>the</strong> housekeeper<br />
and daughter staying always by her side. He third week I began to notice a change in her. She was eating<br />
more and more seafood and her waistline began to show it. Though from Indiana, I too acquired an insatiable<br />
appetite for fish and a special dish called peau bourrée that Maria made for Simone.<br />
At <strong>the</strong> end <strong>of</strong> <strong>the</strong> first month, I began to long for work and found myself in <strong>the</strong> grotto laboratory, cleaning,<br />
testing and familiarizing myself with <strong>the</strong> equipment and controls. I know some hospitals that were less<br />
stocked than this lab. The center room must have been a <strong>the</strong>rapy room. There were long tables and a small<br />
pool like a sauna but without <strong>the</strong> steam controls. Even without <strong>the</strong> steam, <strong>the</strong> water remained warm. I was<br />
longing to get started on phase two <strong>of</strong> <strong>the</strong> project that dealt with experimentation and convinced myself<br />
that it was time to talk to Simone.<br />
I found her in her bedroom; Maria's daughter was gently brushing her hair. I sat down beside <strong>the</strong>m and just<br />
began talking <strong>of</strong> wanting to start work. Maria's daughter giggled <strong>the</strong>n left <strong>the</strong> room after a glance from Simone.<br />
She turned to face me <strong>the</strong>n kissed me. "Darling, didn't you know, we started experimentation <strong>the</strong> night<br />
before we left <strong>the</strong> University. When you made love to me, you contributed <strong>the</strong> greatest gift to our research.<br />
You gave it life!"<br />
The prolonged morning sickness, <strong>the</strong> change in appetite, <strong>the</strong> weight all made sense. To my embarrassment,<br />
I realized <strong>the</strong> sauna was actually a birthing pool. Maria wasn't just a maid but a nurse and I was a bigger fool<br />
that I had ever hoped to become. I stormed out <strong>of</strong> <strong>the</strong> room and found myself sitting on <strong>the</strong> beach cursing<br />
myself. I soon realized that Simone was standing behind me, tears flowed readily from her eyes. "I thought<br />
you <strong>of</strong> all people would understand. No one would have believed us without pro<strong>of</strong>. It was <strong>the</strong> only way.
Please believe me, believe in me, I need you now more than ever. I may have made an error in <strong>the</strong> correlation."<br />
I saw <strong>the</strong> fear in her eyes. I put my arm around her and we walked silently back to <strong>the</strong> villa. Once <strong>the</strong>re, I headed<br />
to <strong>the</strong> computer room located in <strong>the</strong> lab. I uploaded <strong>the</strong> data and began checking and rechecking <strong>the</strong> <strong>the</strong>oretical<br />
calculations. I noticed subtle changes in <strong>the</strong> data that Simone had made and decided to run a test model programming<br />
new variations. Even with <strong>the</strong> fastest computer a model like this could take hours, this computer<br />
would take somewhat longer. I found Simone in her bedroom asleep. Her back was exposed. Moving closer, I<br />
could plainly see lines <strong>of</strong> purplish striation running laterally down her back. She began to brea<strong>the</strong> heavy and<br />
moan as in distress. I ran to get Maria. When we returned, Simone began screaming and clutching her stomach.<br />
We took Simone to <strong>the</strong> lab where we could monitor her more closely. A quick examination revealed <strong>the</strong> cause,<br />
though only twenty-eight days pregnant, Simone was going to give birth. Maria helped her into <strong>the</strong> birthing<br />
pool. I waited outside. The screams grew louder and louder and <strong>the</strong>n <strong>the</strong>re was silence. Endless silence. Finally,<br />
Maria came out <strong>of</strong> <strong>the</strong> room. "You have a baby girl, you may see <strong>the</strong>m now but only for a moment, Simone is<br />
weak from her ordeal." I entered <strong>the</strong> room hesitantly. Simone was still in <strong>the</strong> berthing pool, <strong>the</strong> baby sucking at<br />
her breast. I should have felt embarrassed but I was too in awe <strong>of</strong> <strong>the</strong> child. She had long blonde hair, well, long<br />
for a baby, a beautiful face, rosy pink skin and cute little hands. She was no ordinary child though; fine scales<br />
covered <strong>the</strong> lower part <strong>of</strong> <strong>the</strong> body and a dorsal fin ran down her back that continued to <strong>the</strong> tip <strong>of</strong> her tail. I was<br />
looking at something out <strong>of</strong> mythology, a merchild, a mermaid. Maria pushed me out <strong>the</strong> door. She put <strong>the</strong> baby<br />
in a warmer <strong>the</strong>n helped Simone onto a bed on <strong>the</strong> far side <strong>of</strong> <strong>the</strong> room. I returned to <strong>the</strong> computer to check<br />
<strong>the</strong> results only half complete. The initial reports seemed positive and undeniably mammalian in its genetic<br />
composition. By all accounts so far, Simone had proven her fa<strong>the</strong>r's <strong>the</strong>ory. It had been a tiring day and I laid my<br />
head down and fell fast asleep. I must have slept for hours for <strong>the</strong> buzzer on <strong>the</strong> computer awakened me. The<br />
model was finished I rubbed my eyes, snatched <strong>the</strong> report from <strong>the</strong> printer and began to study. It was obvious<br />
from <strong>the</strong> model that Simone had fused Channa, Dolphin and human DNA strands. The model showed that <strong>the</strong><br />
creature produced would be able to take diluted oxygen from <strong>the</strong> water through rudimentary gills but also be<br />
equipped with lungs able to live on air outside <strong>the</strong> water, exactly what she had hoped for. I wanted to go and<br />
tell her <strong>the</strong> good news but she needed to sleep so I continued reading. It wasn't until page 7 that I began to get<br />
a chill. The DNA was dominant and self-replicating but unknown to us in previous models, <strong>the</strong> DNA was invasive.<br />
The warning was right <strong>the</strong>re in <strong>the</strong> report in bold letters. Contact with host subjects on <strong>the</strong> intracellular level will<br />
mutate non-dominant DNA into dominant DNA patterns. I had never seen this warning before in any experiments<br />
but <strong>the</strong> implications were obvious. I felt sick to my stomach. The striations in Simone's skin, our changes<br />
in appetite were just <strong>the</strong> beginning. In order to prove her fa<strong>the</strong>r's work, we had in fact proved his distracters<br />
taunts. We had indeed created a master race. The child is <strong>the</strong> purest form, <strong>the</strong> parents being genetically remade<br />
in <strong>the</strong> child's image slowly but with definite result. I went to Simone, sat down beside her and kissed her. She<br />
could tell from my expression that her fears were well founded. Life as we knew it would be limited to <strong>the</strong><br />
shores <strong>of</strong> <strong>the</strong> villa. God help those foolish enough to invade our privacy. I cradled her in my arms for what would<br />
be an eternity.<br />
Endnotes<br />
This will be <strong>the</strong> last entry in this journal. As <strong>the</strong> changes begin to manifest <strong>the</strong>mselves, I find that I no longer<br />
have an interest nei<strong>the</strong>r in science nor with any <strong>of</strong> <strong>the</strong> exploitive knowledge that men seek to master.
The data <strong>of</strong> our project is kept in <strong>the</strong> computer memory banks. Some future generation may still witness our<br />
success. For now, <strong>the</strong>re is no need or desire to make it public. I merely enjoy life now with Simone and our<br />
daughter, Channa. The invasive properties <strong>of</strong> <strong>the</strong> DNA effected us slightly differently than Channa, we both still<br />
have use <strong>of</strong> our legs though are feet are webbed and scaled. The elongated dorsal fin along our spine enables<br />
us to slice through currents with amazing speed. We can both survive in and out <strong>of</strong> water for any length <strong>of</strong> time<br />
we seem fit. I began modifications <strong>of</strong> <strong>the</strong> grotto including a small canal enabling Channa to enter <strong>the</strong> grotto<br />
rooms with ease.<br />
She is amazing in her intellect and in her growth. We find that we are linked telepathically. We promote <strong>the</strong><br />
use <strong>of</strong> audible language but really do not need it. I am truly sorry for <strong>the</strong> deaths attributed to shark attack within<br />
our waters. In time, Channa will learn acceptable behavior and dining habits but it does keep <strong>the</strong> tourists<br />
away and ensure our privacy. The bodies that tend to wash up on <strong>the</strong> shore are quickly disposed <strong>of</strong> by Maria.<br />
Maria and her daughter inhabit <strong>the</strong> villa. The daughter is <strong>the</strong> image <strong>of</strong> her mo<strong>the</strong>r as it should be. She was after<br />
all, <strong>the</strong> true success <strong>of</strong> my fa<strong>the</strong>r-in-law's lifework. Sometimes I wonder what gift she was endowed with. Time<br />
for dinner, Maria is making peau bourrée, I can't seem to get enough <strong>of</strong> it.<br />
End Journal.<br />
Written by M.J. Heckel @ 2015<br />
.<br />
,<br />
.<br />
.<br />
,<br />
. .<br />
.
When it comes to Scream Queens, <strong>the</strong>re is only one place to<br />
begin, Fay Wray. The petite, auburn haired beauty with hazel<br />
eyes not only has <strong>the</strong> <strong>the</strong> honor <strong>of</strong> being <strong>the</strong> original Scream<br />
Queen, but also has <strong>the</strong> distinction <strong>of</strong> having played in more<br />
films in which she was <strong>the</strong> only girl than any o<strong>the</strong>r actress in<br />
Hollywood. Vina Fay Wray was born on September 15, 1907, on<br />
a ranch near Cardston, Alberta, Canada, to Mormon parents,<br />
Elvina Marguerite Jones and Joseph Heber Wray. Her family left<br />
<strong>the</strong>ir ranch in 1910 and moved to <strong>the</strong> United States, where Fay<br />
began to participate in school plays. She soon became fascinated<br />
by <strong>the</strong> world <strong>of</strong> motion pictures. After moving to Los Angeles,<br />
young Fay would soon after make her movie debut by being<br />
cast as an extra, in Hal Roach comedy shorts and B westerns. In<br />
1926, <strong>the</strong> Western Association <strong>of</strong> Motion Picture Advertisers<br />
selected Wray as one <strong>of</strong> <strong>the</strong> "WAMPAS Baby Stars" alongside<br />
Joan Crawford, Dolores del Rio and Mary Astor, young women<br />
whom <strong>the</strong>y believed to be on <strong>the</strong> threshold <strong>of</strong> movie stardom<br />
In 1927, Fay was contracted to Paramount Pictures. In<br />
1928, director Erich von Stroheim cast her as <strong>the</strong> main female<br />
lead in his film The Wedding March. While <strong>the</strong> film<br />
was noted for its high budget and production values, it was<br />
a financial failure, but gave Wray her first lead role. Soon<br />
after, she began working with many <strong>of</strong> Hollywood’s main<br />
male stars, such as Gary Cooper, William Powell and Ronald<br />
Colman. Wray stayed with Paramount to make more than a<br />
dozen films and to make <strong>the</strong> transition from silent films to<br />
"talkie" films. Leaving Paramount, Fay was cast in various<br />
horror films. However, her greatest known films were produced<br />
under her deal with RKO Radio Pictures, Inc.<br />
It was in 1932 that <strong>the</strong> Scream Queen seed began to grow,<br />
as Fay became involved in her first horror film, Doctor X,<br />
with Lionel Atwill. For <strong>the</strong> first time for such a project, <strong>the</strong><br />
Fay Wray scream would be heard in a <strong>the</strong>atre! The Most<br />
Dangerous Game (1932), her first film under RKO, costarred<br />
Joel McCrea was shot at night on <strong>the</strong> same jungle<br />
sets that were being used for King Kong during <strong>the</strong> day. Running around in wet clo<strong>the</strong>s was to be Fay’s major<br />
physical activity for many days.
Enter King Kong. According to Wray, Jean Harlow<br />
had been RKO's original choice, but Harlow became<br />
unavailable, Wray was chosen by director Merian C.<br />
Cooper to play <strong>the</strong> role <strong>of</strong> Ann Darrow, <strong>the</strong> blonde<br />
captive <strong>of</strong> King Kong. Wray was paid $10,000 to<br />
play <strong>the</strong> role. The film was an immediate commercial<br />
success and reportly saved RKO from bankrupcy,<br />
something that Fay was proud <strong>of</strong>. Wray's<br />
role would not only become <strong>the</strong> one with which<br />
she would be most associated but would make her<br />
a horror icon, forever etched in history as <strong>the</strong> original<br />
Scream Queen. The tremendous success <strong>of</strong><br />
King Kong would immortalize this project as a movie<br />
classic and one <strong>of</strong> <strong>the</strong> 100 best American movies. The naive charm <strong>of</strong> its special effects remain potent even<br />
today. And Fay Wray’s timeless beauty is still unforgettable. The movie actually grossed $90,000 on its opening<br />
weekend, a record for <strong>the</strong> time!<br />
In an interview years later Fay recalled, "Merian C. Cooper<br />
alled me into his <strong>of</strong>fice and showed me sketches <strong>of</strong> jungle<br />
scenes and told me I was going to have <strong>the</strong> tallest, darkest<br />
leading man in Hollywood, naturally, I thought <strong>of</strong> Clark Gable<br />
but <strong>the</strong>n he showed me this sketch <strong>of</strong> a giant ape up <strong>the</strong><br />
side <strong>of</strong> <strong>the</strong> Empire State Building, and he said, "There's your<br />
leading man." Ms. Wray's co-star was actually an 18-inch<br />
rubber model covered in dyed rabbit fur, augmented by a<br />
full-scale mechanical arm and a bear skin hide that covered<br />
head and shoulders. To make <strong>the</strong> miniature appear to be 20<br />
times <strong>the</strong> size <strong>of</strong> <strong>the</strong> actress, stop-motion artist Willis O'Brien<br />
devised a unique method <strong>of</strong> trick photography. He shot<br />
<strong>the</strong> actress first, <strong>the</strong>n projected this footage onto a small<br />
rear screen. In front <strong>of</strong> this was placed Kong, who now<br />
seemed as large as he was supposed to be. Next, each frame<br />
<strong>of</strong> <strong>the</strong> live action was stopped as animators brought <strong>the</strong> giant<br />
ape's movements in line with Ms. Wray's and photographed<br />
<strong>the</strong> two toge<strong>the</strong>r. "When I shot my scenes, Kong<br />
wasn't <strong>the</strong>re at all. I had to use my imagination, which was<br />
exciting and terrifying at <strong>the</strong> same time. Acting is about <strong>the</strong><br />
imagination, that's <strong>the</strong> great joy <strong>of</strong> it. But nothing quite like it had been done before, so I was a little nervous<br />
about how it would all come toge<strong>the</strong>r." It obviously came toge<strong>the</strong>r well as King Kong is listed #43 on AFI's<br />
100 GREATEST AMERICAN MOVIES OF ALL TIME.
In keeping with her sense <strong>of</strong> humor, Fay Wray <strong>of</strong>ten<br />
quipped "Every time I'm in New York, I say a little prayer<br />
when passing <strong>the</strong> Empire State Building. A good friend <strong>of</strong><br />
mine died up <strong>the</strong>re. Later in 1933, Fay Wray was still being<br />
threatened on movie screens as she continued playing<br />
helpless heroines, first in The Vampire Bat and <strong>the</strong>n in ano<strong>the</strong>r<br />
important horror movie milestone, Mystery <strong>of</strong> <strong>the</strong><br />
Wax Museum that would years later be remade as Vincent<br />
Price's iconic film House <strong>of</strong> Wax. 1933 was to be Fay’s busiest,<br />
as eleven different movies took <strong>the</strong> screen with her<br />
name in <strong>the</strong> cast. 1934 was equally busy, with a couple <strong>of</strong><br />
fantasy projects, namely The Clairvoyant and Black Moon.<br />
Many films and TV appearences followed over <strong>the</strong> following<br />
decades including Queen Bee with her fellow WAMPAS<br />
selectee, Joan Crawford. Fay made a final acting appearance<br />
for <strong>the</strong> television movie Gideon’s Trumpet, alongside<br />
Henry Fonda, in 1980. She was approached by James Cameron<br />
to play <strong>the</strong> part <strong>of</strong> Rose Dawson Calvert for his 1997<br />
blockbuster Titanic with Kate Winslet to play her younger<br />
self, but she turned down <strong>the</strong> role and <strong>the</strong> part <strong>of</strong> Rose<br />
was given to Gloria Stuart. She was a special guest at <strong>the</strong><br />
70th Academy Awards, <strong>the</strong> only 1920s Hollywood actress in attendance that evening. Billy Crystal introduced<br />
a clip <strong>of</strong> her in King Kong (1933) and <strong>the</strong>n came <strong>of</strong>fstage and stood next to Miss Wray in <strong>the</strong> audience,<br />
and introduced her as <strong>the</strong> "Beauty who charmed <strong>the</strong> Beast, <strong>the</strong> Legendary Fay Wray". Miss Wray was completely<br />
caught <strong>of</strong>f guard, appearing to have not even noticed that Crystal had moved near her when <strong>the</strong><br />
lights were turned down for <strong>the</strong> clip from "King Kong", <strong>the</strong>n rose from<br />
her seat to rapturous applause and waved.<br />
In 2004, Wray was approached by director Peter Jackson to appear in a<br />
small cameo for <strong>the</strong> 2005 remake <strong>of</strong> King Kong. She met with Naomi<br />
Watts, who was to play <strong>the</strong> role <strong>of</strong> Ann Darrow. She politely declined <strong>the</strong><br />
cameo, and claimed <strong>the</strong> original "Kong" to be <strong>the</strong> true "King". Wray died<br />
in her sleep <strong>of</strong> natural causes on August 8, 2004, in her Manhattan apartment,<br />
before filming <strong>of</strong> <strong>the</strong> remake commenced. Her friend Rick McKay<br />
said that "she just kind <strong>of</strong> drifted <strong>of</strong>f quietly as if she was going to<br />
sleep...She was 96 years old. Fay Wray is interred at <strong>the</strong> Hollywood Forever<br />
Cemetery in Hollywood, California. On August 10, 2004, two days<br />
after her death, <strong>the</strong> lights on <strong>the</strong> Empire State Building in New York City<br />
were dimmed for 15 minutes in her memory. Fay Wray is Pictured on<br />
one <strong>of</strong> four 51¢ Canadian commemorative postage stamps honoring<br />
"Canadians in Hollywood" issued 22 May 2006.
If POP Music is <strong>the</strong> Main Street sound <strong>the</strong>n Creepshow is <strong>the</strong><br />
road outside <strong>of</strong> town that leads to <strong>the</strong> abandoned Asylum. A<br />
mix <strong>of</strong> Garage Rock, Punk, Country and Pychobilly, Creepshow's<br />
music draws you in <strong>the</strong>n sucker punchs you square in <strong>the</strong><br />
face. Known for its pulse pounding rythms, smart lyrics and over<br />
<strong>the</strong> top vocals, Creepshow is known as one <strong>of</strong> Canada's best Live<br />
Show Bands. The energy you feel at one <strong>of</strong> <strong>the</strong>ir shows is loud,<br />
intense and overwhelming, just <strong>the</strong> way music should be! Their<br />
music videos are also over <strong>the</strong> top, with a surreal playfullness<br />
that draws you fur<strong>the</strong>r and fur<strong>the</strong>r into <strong>the</strong> music!<br />
Formed in 2005, <strong>the</strong> band hails from Burlington, Ontario Canada.<br />
While <strong>the</strong> lineup has changed over <strong>the</strong> years, <strong>the</strong> music hasn't. Whe<strong>the</strong>r it was Jen "Hellcat" Blackwood<br />
or Sarah "Sin" Blackwood or now Kenda "Twisted" Legaspi on lead vocals, <strong>the</strong> Creepshow sound remains as<br />
solid as it was in <strong>the</strong> beginning.<br />
Sell Your Soul, Creepshow’s first album<br />
featured Jen “Hellcat” Blackwood providing<br />
lead vocals on Hits “Zombie Ate Her<br />
Brain” and “The Garden”.<br />
Run for Your Life, <strong>the</strong>ir second album, featured<br />
Jen’s sister Sarah Blackwood on<br />
lead vocals belting out hits “Run for Your<br />
Life” and “Take My Hand”<br />
They All Fall Down, Creepshow’s third album<br />
featured Sarah “Sin” Blackwood<br />
providing lead vocals on Hits “Road to<br />
Nowhere” and “Someday”.<br />
Life After Death, <strong>the</strong>ir fourth album, featured<br />
Kenda “Twisted Legaspi on lead vocals<br />
for “Devil’s Son” and “Sinners and<br />
Saints”<br />
Need a song for your Halloween Party? Creepshow’s cover <strong>of</strong> <strong>the</strong> Misfits’ “Halloween” is what you’re looking<br />
for! Find it on YouTube. Creepshow’s music is available on Amazon and Itunes.
As this is our first issue and<br />
no one has ever read it before,<br />
we kind <strong>of</strong> knew that<br />
<strong>the</strong>re wouldn’t be any letters<br />
so we’re just gonna ramble on<br />
a bit and tell you what to do<br />
if you ever feel that you<br />
would like to comment on anything<br />
you’ve read, or maybe<br />
what your thoughts are on<br />
future articles or maybe<br />
what you would like to see in<br />
<strong>the</strong>se pages. Maybe you<br />
have a favorite old movie that<br />
you would like tto see featured or know <strong>of</strong> a garage band that needs<br />
some publicity. Maybe you’re an aspiring writer that would like to<br />
publish your story. Whatevver, contact us on Facebook at<br />
dead<strong>of</strong><strong>the</strong>nite, or at our email, deadleters@dead<strong>of</strong><strong>the</strong>nite. com. We<br />
can’t promise to publish your letters or stories or ideas but you can<br />
be sure we’ll look at <strong>the</strong>m. I f submitting something please include<br />
a return email so we can contact you as well. Remember, our<br />
postman rings twice. Hope to hear from you!
The 60s were a magical time for kids becoming budding Horror Enthusiasts.<br />
New horror films were coming out weekly, magazines like Famous Monsters<br />
<strong>of</strong> Filmland were reacquainting a younger generation<br />
with <strong>the</strong> horror icons <strong>of</strong> <strong>the</strong> past and Aurora Models<br />
was in overdrive with model kits <strong>of</strong> every iconic Hollywood<br />
movie monster as well as some unique additions<br />
that would later be banned. Frankenstein, Dracula,<br />
The Mummy, The Wolfman were just some <strong>of</strong> <strong>the</strong><br />
kits but <strong>the</strong>n <strong>the</strong>re were <strong>the</strong> Monster Scene kits; The<br />
victim, <strong>the</strong> guillotine, The Pendulum, <strong>the</strong> Hanging<br />
Tree, <strong>the</strong> mad scientist’s lab, Vampirella and <strong>the</strong> Pain Parlor. This is where<br />
Aurora got in trouble as parents began protesting,<br />
eventually causing most <strong>of</strong> <strong>the</strong> monster scene kits<br />
to be banned. In retrospect, building <strong>the</strong>se kits,<br />
(yes I had all <strong>of</strong> <strong>the</strong>m) led me to a lifelong fascination<br />
<strong>of</strong> building haunted house props and displays.<br />
Which leads us to <strong>the</strong> Forgotten Prisoner <strong>of</strong> Castel-<br />
Mare.<br />
One year when deciding what to do for that year’s haunted house, I decided to go back to my childhood<br />
days and build a life size version <strong>of</strong> <strong>the</strong> Forgotten Prisoner <strong>of</strong> Castel-Mare.<br />
The first thing was to build <strong>the</strong> backdrop. I built this one 6.5 feet high and 3<br />
feet wide. The back is braced with 1/3 furring strips around <strong>the</strong> perimeter. The<br />
top was cut freehand with a jigsaw.<br />
The base is 1.5 by 3 ft. OSB screwed to a 1x2 base. The back wall is bolted to<br />
<strong>the</strong> base on each end with 1/2 “ bolts. For added strength, I cut a 1 ft by 1 ft<br />
section <strong>of</strong> OSB <strong>the</strong>n cut it diagonally. I screwed <strong>the</strong>se to <strong>the</strong> sides <strong>of</strong> <strong>the</strong> base<br />
and back using drywall screws. I like using polystyrene for faux stones because<br />
it cheap and easy to use. Many Haunters have differing method for created<br />
faux stone. I use a sheetrock saw to cut <strong>the</strong> foam and Stanley sure form plane<br />
to bevel and distress <strong>the</strong> foam to make it look more realistic.
For attaching <strong>the</strong> stones I use Liquid Nails. This is great for foam as it<br />
doesn’t melt <strong>the</strong> foam. I marked out <strong>the</strong> OSB and began cutting <strong>the</strong><br />
stones. After getting <strong>the</strong> shape you want bevel <strong>the</strong> edges with <strong>the</strong> Sure<br />
Form <strong>the</strong>n distress <strong>the</strong> front by shaving down differing areas. This creates<br />
a real mess so keep a vacuum cleaner near by and don’t forget to<br />
wear a dust mask while cutting and shaving <strong>the</strong> foam. Apply a bead <strong>of</strong><br />
Liquid Nails on <strong>the</strong> back <strong>of</strong> <strong>the</strong> stone around <strong>the</strong> perimeter and some in<br />
<strong>the</strong> middle. When applying <strong>the</strong> stone to <strong>the</strong> board press firmer and<br />
move <strong>the</strong> ’stone’ around to ensure total adhesion. Keep working til all<br />
your stones are attached. It took about 4 hours to complete <strong>the</strong> background.<br />
Time to start mixing up <strong>the</strong> Monster Mud. Monster Mud is<br />
nothing more than Joint (Drywall) Compound and Latex Paint mixed in<br />
a 5:1 ratio. Once it dries it can be painted and sealed. Besides <strong>the</strong><br />
stone, we'll be using Monster Mud on <strong>the</strong> clo<strong>the</strong>s to make <strong>the</strong>m set<br />
rigid in place.<br />
So once we had <strong>the</strong> basic background, we could start building <strong>the</strong> prisoner. I had<br />
a couple <strong>of</strong> bones and a skull that I purchased a couple <strong>of</strong> years ago. You can get<br />
a bag <strong>of</strong> bones on ebay for about 30 bucks. It will have everythings you need and<br />
you can make <strong>the</strong> missing ones like I did from styr<strong>of</strong>oam. Simply draw out <strong>the</strong><br />
shape you want, cut it out and shave it with <strong>the</strong> Sure Form tool until you get <strong>the</strong><br />
form you want. Then wrap <strong>the</strong> bones in gauze and cover with Monster Mud. I<br />
had to make <strong>the</strong> leg bones this way. It would be easier to buy <strong>the</strong>m. The bones<br />
are pinned in place with 8" lengths <strong>of</strong> coat hanger, <strong>the</strong>n glued with liquid nails.<br />
The chest is made from a piece <strong>of</strong> plywood cut to look like ribs <strong>the</strong>n shape <strong>the</strong><br />
wood around <strong>the</strong> ribs to make it rounder. I used a moto-tool with a coarse drum<br />
sander for that. The rib cage is <strong>the</strong>n screwed to ano<strong>the</strong>r piece <strong>of</strong> wood to form a<br />
T shape. This is screwed to <strong>the</strong> backwall See picture right. The waist is just a<br />
round piece <strong>of</strong> plywood attached to <strong>the</strong> chest brace. The shoulders, arms and<br />
neck are PVC pipe connected with a 4 way connector and 2 90 degree connectors<br />
for <strong>the</strong> arms. A piece <strong>of</strong> Spinal bone was glued to <strong>the</strong> front <strong>of</strong> <strong>the</strong> PVC neck.<br />
The chain is an old Halloween Styr<strong>of</strong>oam chain. The neck cuff is a piece <strong>of</strong> lumber<br />
strapping form in a circle with two ends that have holes frilled in <strong>the</strong>m to put a bolt through. This holds<br />
<strong>the</strong> chain. The wall mount for <strong>the</strong> chain is a scrap piece <strong>of</strong> 1/2" x 4" x 4" with truck tie down screwed to<br />
it. A piece <strong>of</strong> copper grounding wire was used to form <strong>the</strong> ring, but a towel ring can be used. The bones<br />
are glued to <strong>the</strong> base and attached at <strong>the</strong> waist with piano wire. The arm is also attached with piano wire<br />
to <strong>the</strong> PVC pipe. The rebar for <strong>the</strong> prison bars was made from tomato stakes found at Lowe's. These are<br />
plastic coated metal pipe found in <strong>the</strong> garden department. Lastly, <strong>the</strong> clo<strong>the</strong>s were bought at <strong>the</strong> Goodwill,<br />
ripped up and stapled to <strong>the</strong> wooden waist and rib cage. Total cost was about $35.00 and took a couple<br />
<strong>of</strong> days to build.
Like any holiday, music makes it better! Whe<strong>the</strong>r it's for a party, an event, a haunted house or o<strong>the</strong>r Halloween<br />
attraction, music is a vital element. However, you can only play Monster Mash or Thriller so many<br />
times before it gets old and most big box stores feature only rip-<strong>of</strong>f music by some karaoke group you've<br />
never heard <strong>of</strong>. So with that in mind, we've seached our archives for some <strong>of</strong> <strong>the</strong> best Halloween compilation<br />
albums that cross different styles and some truly weird one <strong>of</strong> a kind singles you probably didn't know<br />
existed.<br />
The ultimate Halloween compilation album, "100 Hits <strong>of</strong> Halloween" is a 4<br />
CD (and 1 Karaoke DVD) set <strong>of</strong> some <strong>the</strong> best Halloween music including<br />
Monster Mash, Ghostbusters, and Don't Fear <strong>the</strong> Reaper. But this compilation<br />
goes fur<strong>the</strong>r including Frank Sinatra, Tony Martin, Johnny Cash, Roy<br />
Orbison, Laverne Baker alongside <strong>of</strong> Alice Cooper, Poison, Run-DMC, Will<br />
Smith. This set spans <strong>the</strong> years from <strong>the</strong> 30s to <strong>the</strong> 80s. It also includes a<br />
bonus DVD <strong>of</strong> Karaoke covers including Thriller and Sympathy for <strong>the</strong> Devil<br />
to make any party different and fun.<br />
Want something different this year? Consider a throwback party Using<br />
Halloween Nuggets: Monster Sixties A Go-Go. This 99 track set is comprised<br />
solely <strong>of</strong> Sixties Halloween tunes by Garage Rock groups you've<br />
probably never heard but will enjoy all <strong>the</strong> more, mixed with movie trailers<br />
to change <strong>the</strong> tempo. There are some true surprises on this set like Bobby<br />
Bare singing Vampira, or Billy& <strong>the</strong> Dukes singing "Roland", a tribute song<br />
to Zacherley <strong>of</strong> Disco Teen and Chiller Theatre. Lord Lu<strong>the</strong>r is on here with<br />
Teenage Creature and <strong>the</strong> Abstracts doing "Nightmare". A must for collector's<br />
<strong>of</strong> 60s Halloween Music.
A compilation album brought to you by Little Steven's Underground Garage, but<br />
you may know him better as Steven Van Zandt <strong>of</strong> Bruce Springsteen's "E Street<br />
Band". No question to <strong>the</strong> songs on this one that include: Bruce Springsteen's<br />
Restless Nights, The Stems doing She's a Monster", I'm <strong>the</strong> Wolfman by <strong>the</strong><br />
Fuzztones, The Chesterfield Kings rendition <strong>of</strong> Running Through My Nightmares,<br />
John Zacherley's Dinner with Drac, Carl Perkins "Put your Cat Clo<strong>the</strong>s<br />
On" and Donovan's "Season <strong>of</strong> <strong>the</strong> Witch". 15 tracks in all <strong>of</strong> some <strong>of</strong> <strong>the</strong> most<br />
ecletic Halloween Songs put on CD. Little Steven delivers a true Halloween A<br />
Go GO.<br />
Who better than Elvira to bring you a<br />
true Mainstream Halloween CDs and<br />
Haunted Hits is one <strong>of</strong> <strong>the</strong><br />
best. Monster Mash, Alice Cooper's<br />
"Welcome to My Nightmare", Jumpin'<br />
Gene Simmons "Haunted House", Dave<br />
Edmunds "Creature from The Black Lagoon",<br />
Ghostbusters, OingoBoingo's "<strong>Dead</strong> Man's Party just to name a few. Several o<strong>the</strong>r compilations by<br />
Elvira are just as good Elvira's Monster Hits featured Elvira's "Monsta Rap"and Revenge <strong>of</strong> <strong>the</strong> Monster Hits<br />
featuring Elvira doing "Haunted House.<br />
<strong>Dead</strong> <strong>of</strong> <strong>the</strong> <strong>Nite</strong>'s TOP PICK! If you have only enough money to buy 1<br />
CD, THIS IS THE ONE! Compiled by none o<strong>the</strong>r than Rob Zombie himself,<br />
<strong>the</strong> tracks on Halloween Hootnany are diverse, hard rocking' and fun.<br />
With an intro by John Zacherle follwed by Rob Zombie and <strong>the</strong> Ghastly<br />
Ones doing Halloween( She gets so Mean) your party will be rocking.<br />
Los Straightjackets turns in a spectacular rendition <strong>of</strong> <strong>the</strong> "Munster's<br />
Theme". From The Ghastly Ones "Banshee Beach, Creature Stole my<br />
Surfboard by <strong>the</strong> <strong>Dead</strong> Elvi and Ribcage Mambo by Frenchy this CD<br />
jumps from driving Rock to Hep to Surf to Rockbilly withn a macabre<br />
mambo thrown in for good measure. This is <strong>the</strong> roots <strong>of</strong> Psychobilly.
Zacherley<br />
The<br />
Cool Ghoul
Growing up atop <strong>the</strong> Watchung Mountains in NJ <strong>of</strong>fered one<br />
big advantage, <strong>the</strong> television reception was awesome in <strong>the</strong><br />
60s. As a budding horror fan, <strong>the</strong>re was only one name you<br />
needed to know, John Zacherle. Also known in various TV<br />
incarnations as Roland (accent on <strong>the</strong> Land) and Zacherly,<br />
<strong>the</strong> Cool Ghoul, Zacherle was THE original East Coast horror<br />
host. At 98, John is now just retired but his fans remain as<br />
dedicated as ever. For <strong>the</strong> last 50 years His signature ghoulish<br />
makeup and undertaker costume are still unmistakable.<br />
I got to meet John Zacherle when I was only 9, it cemented<br />
my love <strong>of</strong> not only horror films but <strong>of</strong> his creativity in presenting<br />
<strong>the</strong>se films in a comedic way. While <strong>the</strong> West Coast<br />
may have had Vampira and in later years Elvira, on <strong>the</strong> East<br />
Coast, it will forever be Zacherley.<br />
John Zacherle was born in Philadelphia, PA on September<br />
26, 1918. The son <strong>of</strong> Bank Clerk, John attendee high school<br />
in <strong>the</strong> Germantown section <strong>of</strong> Philly. He graduated from<br />
<strong>the</strong> University <strong>of</strong> Pennsylvania with a degree in English Literature<br />
just as WWII began. He enlisted in <strong>the</strong> Army and<br />
?<br />
served in <strong>the</strong> African and European <strong>the</strong>aters, rising to rank <strong>of</strong> major.<br />
Returning to Philadelphia, John took his time finding just <strong>the</strong> right job.<br />
He joined Stagecrafters, <strong>the</strong> local repertoire company. With <strong>the</strong> Entertainment<br />
industry booming, he soon took a job as a radio announcer.<br />
This led to a part in <strong>the</strong> western serial, Action in <strong>the</strong> afternoon. He got<br />
a pat as <strong>the</strong>e undertaker so <strong>the</strong> costume department dressed him in a<br />
long black frock coat typical <strong>of</strong> undertakers in <strong>the</strong> old west. Little did<br />
<strong>the</strong>y know that <strong>the</strong>y were fitting Zacherley in what would become his<br />
signature look. With Universal releasing <strong>the</strong>ir horde <strong>of</strong> horror films to<br />
television, stations went all out providing sets and costumes to horror<br />
hosts showing this films on local television stations. Someone remembered<br />
Zacherley as <strong>the</strong> undertaker from Action in <strong>the</strong> Afternoon and<br />
called Zacherley to host SHOCK Theater on <strong>the</strong> local Philly station<br />
WCAU. Equipped with his coat, parting his hair in <strong>the</strong> middle and some ghoulish makeup, Enter Roland.<br />
"Someone remembered me from <strong>the</strong> western. I never even tried out. I whipped out<br />
<strong>the</strong> old black coat I wore as <strong>the</strong> undertaker on <strong>the</strong> cowboy show."
WCAU's Shock Theater debuted on October 7, 1957 with<br />
Roland as <strong>the</strong> horror host. Channel 10 went all out with<br />
full set and props. Roland lived in a crypt with his wife<br />
"My Dear" (who remained unseen, lying in her c<strong>of</strong>fin),<br />
his lab assistant, Igor and son Gasport who hung from a<br />
burlap bag. These two characters would remain with him<br />
over <strong>the</strong> next 50 years.<br />
In <strong>the</strong> opening sequence, Zacherle as Roland would descend<br />
a long round staircase to <strong>the</strong> crypt. The producers<br />
erred on <strong>the</strong> side <strong>of</strong> goriness, showing fake severed<br />
heads with Hershey's chocolate syrup used for blood<br />
(red blood was not allowed by censors until years later).<br />
Roland would cut-in during <strong>the</strong> movie to do a gag, like<br />
riding a tombstone, singing a song or just making fun <strong>of</strong><br />
<strong>the</strong> film, while <strong>the</strong> movie soundtrack kept playing. This<br />
was something completely new and thrilled <strong>the</strong> television<br />
audiences. Unlike later horror hosts showing “B”<br />
movies, most <strong>of</strong> <strong>the</strong> films shown on Shock <strong>the</strong>ater were<br />
Universals best horror films including Dracula, Frankenstein and <strong>the</strong> Wolfman For a lot <strong>of</strong> kids, this was <strong>the</strong>ir<br />
first time being exposed to Universal Horror masterpieces. The show ran for 92 broadcasts through 1958<br />
and made Roland a household name. So much so that when <strong>the</strong> station ran a meet and greet with Roland,<br />
<strong>the</strong>y expected maybe 1400 to show, instead 14,000 showed up tying up traffic and causing damage to <strong>the</strong><br />
station. They never did ano<strong>the</strong>r meet and greet for Roland again.<br />
John‘s role as Roland was not <strong>the</strong> only avenue <strong>of</strong> success. As a Philly Disc<br />
Jockey, John became good friends with Dick Clark and appeared many time<br />
on American Bandstand <strong>of</strong>ten filling in for Dick Clark on tours <strong>of</strong> differnet<br />
cities. It was Dick Clark who dubbed Zacherle with <strong>the</strong> “Cool Ghoul” nickname.<br />
In 1958, Dave Appell <strong>of</strong> Cameo records watched his daughter laughing<br />
at Roland on TV. Thus was born a collaboration between Zacherley,<br />
Dick Clark and Dave Appell that resulted in “Dinner With Drac” John Zacherle’s<br />
hit single. Clark first thought <strong>the</strong> song too gory for American Bandstand<br />
and asked for a toned down version. Eventually both versions would be released<br />
on <strong>the</strong> 45rpm record as part 1 and part 2.<br />
A dinner was served for three, At Dracula's house by <strong>the</strong> sea<br />
The hors d'oeuvres were fine, But I choked on my wine<br />
When I learned that <strong>the</strong> main course was me!
With his contract running out at WCAU and<br />
through <strong>the</strong> contacts he made after doing Dinner<br />
with Drac, John took a job with WABC in New<br />
York. The show featured <strong>the</strong> same format as<br />
WCAU but <strong>the</strong> set was smaller but more detailed.<br />
It was at WABC That Roland was changed to<br />
Zacherley (with <strong>the</strong> Y). My Dear was changed to<br />
Isobel and many <strong>of</strong> <strong>the</strong> gags centered around<br />
Zacherley trying to cure Gasport and Isobel <strong>of</strong><br />
<strong>the</strong>ir ailments. New York brought many more<br />
opportunities including guest appearences on<br />
<strong>the</strong> Dave Garraway Show, <strong>the</strong> Steve Allen Show,<br />
<strong>the</strong> Jack Paar Show, and <strong>the</strong> Pat Boone Show .<br />
Zacherley wa still showing up on American Bandstand<br />
especially around Halloween. Zacherley moved from<br />
WABC to WOR Channel 9 <strong>the</strong>n to WPIX that started<br />
an association with Chiller Theater. In 1965 Zacherley<br />
moved to Channel 47 in Newark, NJ to Host Disco-<br />
Teen, <strong>the</strong> format was like American bandstand except<br />
Zacherley remained in his costume and makeup<br />
<strong>of</strong>ten performing funny experiments on <strong>the</strong> teens in<br />
<strong>the</strong> audience. The show lasted until 1967.<br />
Merchandising<br />
By <strong>the</strong> time <strong>the</strong> mid 60s rolled<br />
around Zacherley was no longer a<br />
phenomena, he was a legend.<br />
Merchandised talked about on<br />
his shows like <strong>the</strong> Zacherley Map<br />
<strong>of</strong> Transylvania sold out in<br />
minutes. His Transylvanian Passport<br />
(acquired by sending in labels<br />
from Strawberry Cocao<br />
Marsh Syrup are still rare collectibles<br />
today. There were Zacherley<br />
life size Posters, masks, trading<br />
cards and even his own Aurora<br />
Model. The Zach craze was in<br />
high gear. I can say that I had<br />
Zacherley’s Map <strong>of</strong> Transylvania
Most <strong>of</strong> <strong>the</strong> items at one timeor ano<strong>the</strong>r. How <strong>of</strong>ten do we look back and say, If only I<br />
saved that. These collectibles are highly sought after but impossibly rare to find and<br />
when <strong>the</strong>y can be had, go for big bucks. Two o<strong>the</strong>r collectibles were Zacherley’s Midnight<br />
Snacks and Vulture Stew Horror Stories with introductions by Zacherley.<br />
Perhaps, some <strong>of</strong> <strong>the</strong> best collectibles still available are <strong>the</strong> albums and compilations featuring Zacherley.<br />
Throughout <strong>the</strong> years, Zacherley remained in <strong>the</strong> spotlight<br />
constantly, Personal Appearances, Telethons,<br />
Halloween Host, Radio Shows, Movies wherever Zacherley<br />
went he drew a crowd, sometimes so big that it<br />
shut down stores and small towns. One appearance at<br />
Macy’s filled <strong>the</strong> store to overflow. It was <strong>the</strong> largest<br />
crowd Macy’s had even seen, much larger than <strong>the</strong>re<br />
legendary Christmas sales.<br />
Zacherley was no longer a regional celebrity, He graced<br />
<strong>the</strong> covers and pages <strong>of</strong> Famous Monsters <strong>of</strong> Filmland,<br />
Creepy, Eerie, Fangoria, comic books and o<strong>the</strong>r various<br />
magazines. In 1986, Zacherley’s Horrible Horror was<br />
released featuring Zacherley doing what he did best,<br />
on a dungeon set making fun <strong>of</strong> films, this time just<br />
short clips from all <strong>the</strong> worst public domain, horror<br />
and sci-fi movies . Later released on DVD, this remains<br />
<strong>the</strong> ultimate example <strong>of</strong> why Zacherley is still so popular<br />
today.
The 1990s found Zacherley back in Filmland doing 2 movies for<br />
Frank Hennenlotter, Brain Damage and My favorite, Frankenhooker,<br />
a darkc omedy about a New Jersey mad doctor (James Lorinz)<br />
rebuilds his girlfriend (Patty Mullen) with body parts from exploded<br />
hookers. Zacherley plays a wea<strong>the</strong>rman.<br />
During this time Zacherley signed with Chiller Theater Productions<br />
to host <strong>the</strong>ir twice yearly conventions held in New Jersey. The<br />
conventions have proved overwhelming successful reuniting Zacherley<br />
with legions <strong>of</strong> fans from yesteryear but more importantly a<br />
new generation <strong>of</strong> fans.<br />
Zacherley would be <strong>the</strong>re entertaining fans, singing with <strong>the</strong> <strong>Dead</strong><br />
Elvi, <strong>the</strong> Chiller house band and hosting many <strong>of</strong> his own Shock<br />
Theater films. For 25 years, (50 shows) Zacherley never missed a<br />
show. He performed on stage with <strong>the</strong> <strong>Dead</strong> Elvi more than 50<br />
times. In 2015, Zacherley retired at <strong>the</strong> age <strong>of</strong> 97. For more than<br />
50 years Zacherley has entertained us, made us laugh and really<br />
made horror and sci-fi films mainstream.<br />
In 2006, indepennt filmmakers John E. Hudgens and Sandy Clark. Brought us American<br />
Scary, A Tribute to <strong>the</strong> Golden Age <strong>of</strong> Horror Hosts. The documentary features<br />
60 Horror Hosts from all over <strong>the</strong> country. Of course Zacherley figures prominently<br />
into <strong>the</strong> story receiving first billing. From this we learned that <strong>the</strong> greatest horror<br />
host ever, never saw a horror film before he started at Shock Theater. I think<br />
most <strong>of</strong> all, like Vincent Price, Zacherley had an unmistakable voice but most <strong>of</strong> all<br />
he had a laugh that made us laugh. So with that, we’ll leave you with Zacherley’s<br />
famous sign-<strong>of</strong>f...<br />
Goodnight . . .<br />
Whatever You Are!!
Lon Chaney<br />
Man <strong>of</strong> 1000<br />
Faces