MICHAEL ARMSTRONG: THE SCREENPLAYS: THE LAMIA. (1972) REVIEW BY SANDRA HARRIS. ©

michael armstrong 2

MICHAEL ARMSTRONG: THE SCREENPLAYS.

THE LAMIA. (1972)

PUBLISHED IN NOVEMBER 2019 BY PAPER DRAGON PRODUCTIONS.

REVIEW BY SANDRA HARRIS. ©

‘Michael Armstrong is creating history by being the first film-maker to publish his entire screenwriting output. With the original uncut screenplays in print for the first time ever and peppered with a mixture of wildly entertaining anecdotes, astounding behind-the-scenes revelations, creative and educational insights and brutal ‘no holds barred’ honesty, these books are guaranteed to provide a completely new kind of reading experience while offering a unique insight into the movie industry. Starting from his first professional screenplay written in 1960 when he was only fifteen and which he subsequently directed in 1968, the books will ultimately encompass a career that has spanned over fifty years. The books will include not only those screenplays which made it onto a cinema screen but, for the first time ever, all those that didn’t- and the reasons why…’

http://www.michaelarmstrong.co.uk/publications

http://www.paperdragonproductions.com

… her hands slowly slide upwards…

To her breasts…

And rest there for a moment…

Feeling the flesh of her perfectly formed bosoms beneath her dress…

Then her hands begin to slide upwards once more…

To rest upon the smooth incline of her throat…

Before continuing to slide upwards even further…

To her face…

Sliding, caressingly, over her cheeks…

As, with her thumbs,

She presses her eyes out from their sockets…

And lays them carefully on the bedside table…

I adored the story about how a sixteen-year-old Michael tried to sell his screenplay of The Lamia to the then thriving Hammer Studios, thinking that his Snake-Woman hybrid might be a nice addition to their stable of Draculas, Frankensteins, Wolfmen, Abominable Snowmen and other screen monsters. Thank you for your interest but it’s not for us at this time, came back the disappointing reply. Ah well. Them’s the breaks, sadly.

Of course, a few years later, Hammer made the hugely successful horror flick The Reptile, in which, if I’m not much mistaken, the monster is… you guessed it… a Snake-Woman hybrid. Sigh. Showbiz is indeed a hideous bitch-goddesssssss… Yes, the extra ssssssibilance is totally intentional, lol. Hisssssssss…

This story, by the by, can be found in the chapter entitled A History of the Screenplay in Michael’s latest luxurious film script book, The Lamia. Before we discuss the screenplay itself, I think you might get a kick out of Michael’s rather witty commentary on industry critics contained in the History chapter:

‘Most critics, in reality, are about as useful as wasps at a picnic and are best ignored. There’s no point in trying to swat them or they’ll only get angry. Put a critic on the defensive and they’ll sting you. All you can do is leave them to their own devices and hope they won’t crawl around on the food too much.’

Miaow…! Now where did I put the Raid…?

The Lamia is set in England in 1831, in and around the mansion home of the aristocratic Spencer family, the leading family in the otherwise poor district. We open on a homecoming, as the youngest son of the Spencer family, Jack, returns from a trip to Europe with his posh chum, Tristram Ryder.

As Jack’s father, local magistrate Sir Richard, his older brother Giles and his sister Ann are greeting the pair rapturously, however, they discover that their beloved Jack has brought more home from the Continent than a sun-tan and a few sticks of rock.

The main thing he’s brought back is a stunningly beautiful young Grecian woman called Helena Paxinou, a self-possessed creature he intends to marry who has Jack wrapped round her little finger. Although that’s nothing compared to the things that she could wrap around him, if she had a mind to… Ooops. I’ve said too much, lol.

Things in the village start to go awry pretty much from the time Helena Paxinou arrives in town.

There was a gypsy lad killed last night in the woods not far from here. They say it were done by someone in the village. The village says it were done by one of the gypsies’ own. Though the Constable says it were more likely to have been some wild animal.

Judging by the shocking state of the corpse, my money’s on the wild animal.

So far, from my initial examination of the body, I can only confirm that it was badly torn by enormous claws of some kind.

Jack’s sister Ann and his close friend Tristram each agree that there is something a trifle odd and unnerving about Jack’s new fiancée, Helena. And what kind of woman would order all the mirrors in her bedroom to be removed? I can imagine that a certain Dr. Van Helsing from a certain rather popular gothic novel would have plenty to say about people who don’t care to gaze upon their likenesses in the looking-glass…

Jack Spencer and Helena Paxinou are both keeping secrets from each other. On reflection, Helena’s is a million times worse. This is possibly the most graphically violent, graphically sexual of all of Michael’s screenplays that I’ve read and reviewed thus far.

If the film had been made, I’m not sure how far the film-makers would have been prepared to go with the scenes of physical and sexual torture. I definitely can’t imagine a certain tall, dark Prince of Darkness volunteering his nether regions for such indignities and appalling manhandling…!

Mindful of spoilers, I can only share a small amount of such graphic content here. This is one of the scenes involving Gammer (Grandma) Pilkington, an ancient and infirm crone from the village whose beloved grandson, Thomas, one of the Spencers’ groundsmen, has just fallen afoul of the terrible supernatural monster currently plaguing the area:

Gammer stumbles out of her room with a cry

And starts to crawl down the landing towards Thomas’s bedroom…

Crying out his name with a terrible desperation…

O.S. The unpleasant sound of what resembles suction…

It grows in strength as she nears the open door…

A gruelling, squelchy, sucking sound…

Well, bleurgh, lol.

It’s not all squelching and sucking, however. The wives of the Spencer family doctor, minister and solicitor provide plenty of light relief with their comic asides, their insatiable nosiness and their loudly-expressed opinions born out of pure ignorance. Here’s a snippet of a conversation I love:

Mrs. Ridgeway and the other wives are still gossiping, cheerfully.

Mrs. Armand, the doctor’s wife: Apparently, there were large bite marks on their necks.

Mrs. Cox, the minister’s wife: That is what carnal desire makes you do, so I hear.

Mrs. Ridgeway, the solicitor’s wife: Oh, I shudder at the very thought of such a gross act! Mr. Ridgeway would never dream of biting me in the neck! He would not dare!

Mrs. Cox: Men are such animals, Mrs. Ridgeway!

Mrs. Ridgeway: They are indeed, Mrs. Cox!

Mrs. Cox: It is why I thank the good Lord to have blessed me with a man of the cloth as a husband. It gives me such peace of mind, knowing Cyril’s holy work protects him from such impure thoughts.

Mrs. Ridgeway: As indeed with my own husband- being a solicitor…!

The ending is thrilling. Will Jack and the Spencer family discover the awful truth about Helena Paxinou before it’s too late? In a text filled with references to Greek mythology, who are ‘the filthy women,’ and are they the kind of broads you’d want at your stag or hen do? Will readers be able to ‘stomach’ the scene with The Rat in it? I’d advise an empty stomach before reading it, certainly!

I love the Hammer feel to this particular screenplay. There’s one tavern scene which absolutely calls for a jovial Michael Ripper to be behind the bar, dispensing the frothy, suds-topped pints along with the genial ripostes. And, of course, the feeling of impending horror and the atmosphere of encroaching dread is always in the background:

Above, in the night sky,

The dark silent shape of the screech owl circles…

Before disappearing into the blackness beyond…

Watch out for low-flying birds…

I will leave you with some words of wisdom of Mrs. Ridgeway’s for the women of today…

It is not fashionable for a young lady to have thoughts- especially of her own. She may be permitted to muse upon a subject from time to time but it would be most unbecoming were she to think about it. Who knows where that might lead?

And also with some invaluable words of Michael’s own from the History chapter:

Trust your soul. It is your voice. It is uniquely yours for the brief duration of your life. It will never be heard again for as long as Man survives. It is as sacred as your identity and who and what you are. Let it be heard in your work and let its truth echo out across countless generations. But let it be your voice and yours alone, because even the greatest ‘expert’ will never have sufficient expertise to be better than you at being you.

I couldn’t have put it better myself, if I’d tried for a thousand years.

FALCONFELL, MY SCARE LADY and THE LAMIA are all available to buy now. You can purchase them at either of these websites:

http://www.michaelarmstrong.co.uk/publications

http://www.paperdragonproductions.com

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

MICHAEL ARMSTRONG: THE SCREENPLAYS. MY SCARE LADY (1989). REVIEW BY SANDRA HARRIS.

my scare lady

MICHAEL ARMSTRONG: THE SCREENPLAYS.

MY SCARE LADY. (1989)

PUBLISHED IN SEPTEMBER 2019 BY PAPER DRAGON PRODUCTIONS.

REVIEW BY SANDRA HARRIS. ©

‘Michael Armstrong is creating history by being the first film-maker to publish his entire screenwriting output. With the original uncut screenplays in print for the first time ever and peppered with a mixture of wildly entertaining anecdotes, astounding behind-the-scenes revelations, creative and educational insights and brutal ‘no holds barred’ honesty, these books are guaranteed to provide a completely new kind of reading experience while offering a unique insight into the movie industry. Starting from his first professional screenplay written in 1960 when he was only fifteen and which he subsequently directed in 1968, the books will ultimately encompass a career that has spanned over fifty years. The books will include not only those screenplays which made it onto a cinema screen but, for the first time ever, all those that didn’t- and the reasons why…’

http://www.michaelarmstrong.co.uk/publications

http://www.paperdragonproductions.com

I was thrilled to have a new consignment of Michael Armstrong screenplay books to read over Christmas: FALCONFELL (1983), THE LAMIA (1972) and the one I’ve just finished reading, MY SCARE LADY (1989). Readers of my blog will be well familiar with Michael Armstrong and his oeuvres by now, but just to refresh our memories, here’s a list of the screenplays he’s penned that were turned into films:

THE DARK- 1960.

THE IMAGE- 1964. Starring David Bowie in his first screen appearance.

THE HUNT- 1965.

MARK OF THE DEVIL- 1970.

THE SEX THIEF- 1973.

ESKIMO NELL- 1974. A riotous sex comedy starring beloved English actor Roy Kinnear and a young and handsome Michael Armstrong himself.

IT COULD HAPPEN TO YOU- 1975.

THREE FOR ALL- 1975.

ADVENTURES OF A TAXI DRIVER #2- 1975.

ADVENTURES OF A PRIVATE EYE- 1976.

THE BLACK PANTHER- 1976. The story of Donald Neilson, the British armed robber, kidnapper and murderer who abducted wealthy British teenager Lesley Whittle in 1975.

HOME BEFORE MIDNIGHT- 1979.

SCREAMTIME- 1981.

HOUSE OF THE LONG SHADOWS- 1982. The only film in the history of cinema to star horror legends Christopher Lee, Peter Cushing, Vincent Price and John Carradine all together.

LIFEFORCE- 1983.

He’s written plenty more screenplays that never made it on to the big screen for whatever reason; lack of funds or people going back on things they’d said or promised and what-have-you. There are all kinds of showbizzy reasons why a screenplay might not find its way to the big screen, reasons that would have nothing to do with the merits of the work itself.

We, the readers, are getting all the benefits of Michael’s works now, as they roll hot and steaming off the presses at Paper Dragon Productions, and MY SCARE LADY is one of the most enjoyable and entertaining film books of his I’ve read so far. Here’s how it starts. How’s this for an opener?

Through a huge field of corn waving in the night breeze…

Runs a terrified GIRL…

She is being pursued by BOBO;

A ferocious giant of a man of Neanderthal appearance.

The GIRL stumbles and falls…

Crawls, helplessly, through the corn…

In a futile attempt to escape-

Then BOBO is on her-

Okay, well, I don’t know about you guys, but I really want to read a book that starts with lines like that, lol, and can you only just imagine what a killer opening to a horror movie it would have made? I know I’m teasing you now, but let me just transport you to a few lines further on:

Gleaming white walls…

Intricate scientific apparatus…

Complementing an area set aside as an operating theatre.

BOBO drags the terrified GIRL across…

And, flinging her down onto an operating-table-

Proceeds to strap her down, firmly.

Heh-heh-heh. The story then moves on and introduces us to Ben Hyatt and Kirk Dillon, the two male sort-of-heroes, although Kirk is a very unlikely hero at first. He’s a famous male model to Ben’s photographer, and to call him a sexist male chauvinist pig would be to paint him in a good light. He’s used to women throwing themselves at him, and he treats them like dirt. Here’s a few examples of the charming speeches he makes about women:

Once your dick’s inside ’em, who cares what name they answer to?

Oh, man! See the tits on that one? Imagine sinking your teeth into those juicy water melons!… Shit! Now, that’s what I call a body! Get those legs wrapped around you? Jesus! Could I do disgusting things to her! Oh, man! Did you see?

We’ve gotta go find out where there’s some action. Watching all this meat go by’s making me horny. I gotta score, bro. I can’t believe I’m sitting here in London, England, with no pussy lined up for tonight. I gotta have pussy! Gotta have pussy!

What a nice guy, right? We’re not altogether sorry when the truly obnoxious Kirk is lured away from his jet-set lifestyle to an isolated farmhouse somewhere in rural England by a beautiful and mysterious woman called Selina.

Selina, who implies she wants to have sex with him, has no trouble at all getting Kirk to the farmhouse, where some very strange and macabre things have been going on. It’s a bit like when the dopey teens in THE TEXAS CHAINSAW MASSACRE meet Leatherface & Co. for the first time in the backwoods home filled with unimaginable horrors.

Selina’s Fine Art-loving plastic surgeon father, Algernon, has a laboratory filled with body parts, the family bodyguard Bobo is as unlike his cuddly teddy bear name as you can picture, and Selina’s sister Galatea, who rather oddly wears a mask over most of her face for most of the book, is desperate to make the-beast-with-two-backs with Kirk, her long-time obsession after seeing him star in numerous television commercials. But Kirk is terrified by the very sight of Galatea, and that’s before she takes off her mask and reveals the art-inspired monstrosities that lie beneath…

Here are some snippets of an hilarious conversation between Algernon and Selina:

Algernon: Look how shocked they all were when I turned to Surrealism in rhinoplasty! What’s wrong with having two noses? What’s so aesthetically terrible about having one bigger than the other? And with only one nostril?… Sideways?

Selina: Father, you’re having one of your megalomania attacks again!

Algernon: I’ll admit my Francis Bacon period may have been a little disturbing. Maybe the world wasn’t quite ready to accept a woman with her face completely melted down into a single enormous mouth- but what artist hasn’t suffered for trying to break with convention?

Lol. Here’s something illuminating Galatea said to Algernon earlier on: I don’t want you to think I’m being ungrateful asking for outside help. [A choreographer called Meredith and his pianist, Endymion.] I appreciate how you’ve fought and struggled and sacrificed and cut up lots of people into little pieces just to give me a better chance than most girls get in life…

What a lovely family. Kirk is now at the mercy of Algernon, the plastic surgeon from the very depths of hell, and his dotty household. It’ll be up to Ben, Kirk’s photographer mate, to try to spring Kirk from captivity, but he can’t do it alone.

He’ll need help from Meryl, a woman of large build whom Ben really likes, despite the fact that she’s not an anorexic supermodel, and also from Nathalie, a chick who likes Kirk but who quite rightly wasn’t prepared to put up with his sexist bullshit.

Will any lessons be learned? Will the horrible Kirk learn that there’s more to women than tits and a pussy (Kirk’s language, not mine!)? Will Ben pack in photographing stick-thin models and take the pictures of real women and other artistic subjects that he really wants to take instead? Will Galatea find that she’s come all this way in search of something that was right under her nose the whole time? Will Kirk ever get his beloved pussy again, and will he treat it any better if he does…?

I’ll leave the last words to Algernon, aka Dr. Frankenstein, my favourite character in the screenplay, whom Michael Armstrong envisioned being played by either Vincent Price, Peter Cushing or Christopher Lee if the screenplay ever made it onto the big screen:

Splendid! Well, I think after all that fresh air, I’m going to take a little nap for half an hour or so, then settle down to a quiet evening of dismemberment and bottling…

My sentiments exactly!

FALCONFELL, MY SCARE LADY and THE LAMIA are all available to buy now. You can purchase them at either of these websites:

http://www.michaelarmstrong.co.uk/publications

http://www.paperdragonproductions.com

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

https://twitter.com/SandraAuthor

 

MICHAEL ARMSTRONG’S ‘FALCONFELL.’ (1983) THE SCRIPT-BOOK REVIEWED BY SANDRA HARRIS. ©

michael armstrong younger

MICHAEL ARMSTRONG: THE SCREENPLAYS.

FALCONFELL. (1983)

PUBLISHED IN SEPTEMBER 2019 BY PAPER DRAGON PRODUCTIONS.

REVIEW BY SANDRA HARRIS. ©

‘Michael Armstrong is creating history by being the first film-maker to publish his entire screenwriting output. With the original uncut screenplays in print for the first time ever and peppered with a mixture of wildly entertaining anecdotes, astounding behind-the-scenes revelations, creative and educational insights and brutal ‘no holds barred’ honesty, these books are guaranteed to provide a completely new kind of reading experience while offering a unique insight into the movie industry. Starting from his first professional screenplay written in 1960 when he was only fifteen and which he subsequently directed in 1968, the books will ultimately encompass a career that has spanned over fifty years. The books will include not only those screenplays which made it onto a cinema screen but, for the first time ever, all those that didn’t- and the reasons why…’

http://www.michaelarmstrong.co.uk/publications

http://www.paperdragonproductions.com

I’m delighted to have a new little stack of Michael Armstrong books to read and review, including this little gem from 1983, FALCONFELL. Michael Armstrong, of course, is the screenwriter responsible for such cinematic treats as HOUSE OF THE LONG SHADOWS (1982), ESKIMO NELL (1974) and MARK OF THE DEVIL (1970). Don’t just take my word for it, however. Check out the list of films for which he’s penned the screenplays:

THE DARK- 1960.

THE IMAGE- 1964. Starring David Bowie in his first screen appearance.

THE HUNT- 1965.

MARK OF THE DEVIL- 1970.

THE SEX THIEF- 1973.

ESKIMO NELL- 1974. A riotous sex comedy starring beloved English actor Roy Kinnear and a young and handsome Michael Armstrong himself.

IT COULD HAPPEN TO YOU- 1975.

THREE FOR ALL- 1975.

ADVENTURES OF A TAXI DRIVER #2- 1975.

ADVENTURES OF A PRIVATE EYE- 1976.

THE BLACK PANTHER- 1976. The story of Donald Neilson, the British armed robber, kidnapper and murderer who abducted wealthy British teenager Lesley Whittle in 1975.

HOME BEFORE MIDNIGHT- 1979.

SCREAMTIME- 1981.

HOUSE OF THE LONG SHADOWS- 1982. The only film in the history of cinema to star horror legends Christopher Lee, Peter Cushing, Vincent Price and John Carradine all together.

LIFEFORCE- 1983.

FALCONFELL is a horror story, something that Michael Armstrong does exceedingly well. You might even call it his forte, as the French say. FALCONFELL was written in four weeks; happily it flowed well. Also, it was modelled after the style of Alfred Hitchcock’s Oscar-winning screen version of Daphne Du Maurier’s REBECCA.

REBECCA, of course, is the story of a couple who meet and marry extremely quickly, then the relationship between the two of them begins to unravel as the man’s deceased wife Rebecca casts a very long shadow over the couple and the imposing old mansion in which they live, Manderley.

In FALCONFELL, an attractive single secretary called Joanna Merrick meets and marries a handsome writer of historical books called Adam Holt after a very short courtship. You know how it is. She’s freewheeling towards thirty, drinking alone in the Last Chance Saloon, her biological clock is ticking loud enough to wake the dead and Adam’s offer of marriage is clearly just too good to be passed up. Rich writers don’t come along every day. Speaking for myself, I’ve never met even one, lol.

Joanna’s friend Sally’s words to her on her wedding day mirror those of rich old dragon Edythe Van Hopper to the shy, mousy little companion in REBECCA who’s just done the impossible and snagged Catch of the Century, Maxim de Winter, in holy matrimony.

Sally: ‘Well, I’ve got to hand it to you: still waters really do run deep. For three years? Nothing. Then in three weeks- you do the works!’

She might just as well have added: ‘Tennis lessons, my foot…!’

Anyway, no sooner does Joanna marry Adam than he legs it over to England from New York to bury himself in a country mansion called Falconfell, the Manderley of the script. Here he intends doing some historical research and incorporating it into a new book. A few days later, a worried Joanna follows him over to see exactly what he thinks he’s up to, doing his best impersonation of the Invisible Man just a day or two into their bleedin’ honeymoon.

The house is Manderley-esque, certainly, but it also reminds me fondly of Baldpate Manor, the ‘Old Dark House’ of Michael’s creation that featured in the highly successful horror film, HOUSE OF THE LONG SHADOWS. This was the only film to… you guys know this…!… feature iconic horror movie stars Christopher Lee, Peter Cushing, Vincent Price and John Carradine all together.

Baldpate Manor is a terrifically spooky old house, and Falconfell is very much cast in its eerie mode. Incidentally, HOUSE OF THE LONG SHADOWS also features a writer, one who holes himself up in the countryside for one weekend to speed-write a novel in order to win a bet with his agent.

I love the way writers are always writing about writers, lol. They just can’t help it, because it’s what they know. Stephen King (who gets a mention in FALCONFELL, by the way) does it, and Michael Armstrong does it too.

It’s the kind of thing that other writers, such as myself, love to read, because we all want a sneak peek into someone else’s ‘process,’ if you get me. Just in case another writer has the secret to fame and fortune that doesn’t involve years and years of hard, unrelenting thankless grind…!

Falconfell, a big tourist draw in the summer months, is nonetheless a creepy old place. Here are some of the evocative descriptive passages that I most enjoyed:

Joanna explores the ornate and stately rooms…

Long, richly panelled corridors…

And staircases…

Bedrooms…

A music room…

Library…

Numerous salons…

A wealth of art treasures and antiques everywhere;

Mostly cordoned off from the public by ropes…

Occasional glass display cases…

And stands containing art curios or old documents and books…

And a frequency of signs:

‘PLEASE DO NOT TOUCH’ and ‘NO SMOKING’…

Along with a splattering of staff cleaning this vast museum.

It paints a lovely picture, doesn’t it? But wait, there’s more;

Joanna is exploring the areas not open to the public.

Here, there is a different atmosphere;

These are what were the servants’ quarters:

Enclosed and claustrophobic…

Dark, brooding memories of a candlelit past…

Lingering ghosts in the shadowed recesses and stairways;

Hiding from the occasional shafts of sunlight as if in guilt.

A catacomb-like maze…

Of corridors, alcoves…

And narrow stairways…

Still protecting their gloomy secrets…

I just love the pictures these words paint so skilfully, like actual paint on canvas. Anyway, this gorgeous mausoleum seems to be having an ill effect on both Adam and Joanna, making them behave out of character in ways which are worrying to each other. Joanna struggles daily with an almost overwhelming desire to ride the arse off Reg, the attractive stable boy, and Adam finds himself increasingly drawn to a nightly bit of the old rape. I know, I know, but it’s not a kiddy’s book, is it?

It turns out that Falconfell, like most stately homes worth their salt, has a colourful and bloody history and maybe even a ghost or two. Well, there is a disused gibbet (gallows) just down the road a piece, and in the 1750s, when the house was in its heyday, the lady of the manor cheated on her husband, the dastardly Sir Hugo Glaston, with disastrous consequences.

When Joanna discovers that the house seems to be hell-bent on a bit of, shall we say, historical re-enactment, her biggest problem seems to be convincing Adam of how much trouble the pair of them are in.

The flapping wings of imminent danger are, well, flapping ever nearer. Now, they could belong to the real-live falcon Adam seems suddenly to have acquired out of nowhere, or they could be a metaphor for the shadow of a brutal past, reaching out its slimy tentacles to drag Adam and Joanna down into the mire with it… (The Grimpen Mire, perhaps? That rake Sir Hugo is practically twins with his namesake from Sir Arthur Conan Doyle’s THE HOUND OF THE BASKERVILLES…!)

What a smashing script. It would have made a terrific movie. This or any other of Michael’s luxurious, glossy script books would make fantastic Christmas presents for the film buff in your life. I’ll leave you with a couple of my favourite quotes:

‘Birds make me nervous.’

‘You’ve heard Megaera in the night… searching for something to sink her claws into… something to tear into with that razor-sharp beak of hers.’

FALCONFELL is available to buy now. You can purchase it at either of these websites:

http://www.michaelarmstrong.co.uk/publications

http://www.paperdragonproductions.com

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com