perfect christmas presents

MICHAEL ARMSTRONG’S ‘THE ENCHANTED ORCHESTRA.’ (1979) THE SCREENPLAY BOOK REVIEWED BY SANDRA HARRIS.

MICHAEL ARMSTRONG: THE SCREENPLAYS.

THE ENCHANTED ORCHESTRA. (1979)

PUBLISHED IN 2021 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

http://www.paperdragonproductions.com

I’m delighted to be able to say that, after a brief hiatus, Michael Armstrong’s gorgeous glossy-covered screenplay books are rolling off the presses again. Just in time for Christmas, and just as you were tearing your hair out by the roots over what to buy the film buff in your life to show your love this festive season, lol.

In the unlikely event of your not recognising the name, I can tell you that Michael is a writer/actor/director who’s been working in the film industry for a very long time, knows it inside-out and upside-down, warts and all, and is famous for having written the screenplays (and, in some cases, acting in and directing) to the following films:

THE DARK- 1960.

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

THE HUNT- 1965.

MARK OF THE DEVIL- 1970. A gruesome but frighteningly real depiction of eighteenth century witch-burnings.

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.

‘Every year on midsummer night at the stroke of twelve, we come alive…’

THE ENCHANTED ORCHESTRA, sadly, is one of those screenplays that didn’t, for one reason and another, make it onto the big screen (See A History of the Screenplay for more detailed information), but I thoroughly enjoyed reading it.

It will appeal in particular to anyone with a deep passion for and knowledge of classical music (two things Michael clearly has in abundance), but also to those who like a side-order of child-like whimsy and wonder with their main course.

Intended to fuse both animated and spectacular live-action sequences, it would have translated, I think, into something truly glorious and multi-coloured on the big screen, and might even have become a perennial Christmas favourite with the nippers and adults alike. Let’s set the scene…

‘In England, King George V was on the throne, Noel Coward and Gertrude Lawrence ruled the popular stage and Jazz was here to stay. Poverty and unemployment may have filled the streets outside but the theatres and picture houses were packed, dance music was all the rage and the fashionable young people of London society indulged and frolicked as they always have done and probably always will…

And, in the world of classical music, a strange and mysterious legend was about to be born…’

It all sounds terribly decadent, doesn’t it? You half expect Jay Gatsby to pop up, bearing expensive gifts and yelling ‘Daisy! Hey, Daisy!’ up at Daisy Buchanan’s bedroom window in the manner of a vest-ripping Stanley Kowalski from A STREETCAR NAMED DESIRE.

We’re catapulted early on into ‘a young person’s dance party, being held in the huge garden of the Granville’s Mayfair House.’ In a scene straight out of Bertie Wooster, the handsome young hunk of the house, Robert Granville, and his posh but ditzy socialite fiancée, Amanda Harcourt-Compton, catch Robert’s nine-year-old brother, Peter, under the table at the party scaring the female guests with his pet toad, King. Can’t you imagine the horror of the Bright Young Things?

‘Peter, you beastly beast, how could you do something so utterly, utterly beastly, you little beast, you?’

Peter is the youngest member of the rich and cultured Granville family, of whom Sir Arthur Granville is its paterfamilias and head. He’s not a nasty Pa, though, he’s a tolerant and kindly one who even considers his son Robert’s beloved dance and jazz music on a par with the classical music he himself favours. In fact, he’s a conductor of classical music himself, and a man of some international renown. He’s passed on his love of classical music to his youngest son, Peter.

Young Peter is the main protagonist. He probably has two or three main things going on in his little nine-year-old life at the moment. One, his kindly, much adored but sexy Nanny is leaving him to marry his Uncle Henry, the dirty devil. She was only a factory girl, anyone?

It certainly does call to mind the trend in Wodehouse for rich and titled older men to lose their aristocratic heads over shopgirls, parlourmaids and tearoom waitresses. Much to the disgust of their money-grubbing relatives, I might add.

Peter’s Nanny, judging from the description, reminds me of a certain bosomy District Nurse Gladys Emanuel from sitcom OPEN ALL HOURS. Peter will definitely miss laying his head comfortably on her generous knockers of a bedtime, added to which he also has to get used to the idea that his primary care-giver from now on will be the odious Miss Grisby, ‘the archetypal strict governess, a fearful sight for any small boy.’

The other thing occupying all Peter’s attention at the moment is a concert at the Royal Albert Hall at which his very own father is performing, but which he himself is not allowed to attend because of his tender years:

At a huge hoarding outside:

NEWS CHRONICLE

24TH JUNE 1932

MIDSUMMER’S NIGHT GALA CONCERT

UNDER THE PATRONAGE OF THEIR MAJESTIES THE KING AND QUEEN

IN AID OF THE MUSICIANS’ BENEVOLENT FUND-

Peter is devastated that he can’t go, but must stay home with the awful Miss Grisby instead. He is determined to attend this magical gala evening, however, and employs the well-known tearing-and-tying-your-sheets-together-to-make-an-escape-rope method of leaving the house at night before hurrying to where the concert is being held, the Royal Albert Hall.

‘A slight fog is starting to settle

As PETER hurries along the lamp-lit streets…

Passing glimpses of London’s nightlife:

People in evening dress-

Paupers around Hyde Park-

Fashionable restaurants-

Carriages and automobiles…

The blinding dazzle of Harrods shop-windows,

Resplendent with tempting luxuries and fashions…

And on PETER runs…

The writing is so evocative, and the images so easy to see in our mind’s eye, that we have no difficulty in imagining ourselves right there with Peter, in that foggy, gas-lit London of nearly a century ago. In the hours that follow, the magic happens.

I can’t tell you too much for fear of spoilers, so suffice it to say that a small boy who loves music more than anything else in the world (except, maybe, for Nanny’s magnificent knockers), is introduced to a behind-the-scenes world of musical magic where instruments come alive and historical figures of immense greatness- Beethoven, Puccini, Verdi, Handel, Tchaikovsky, Wagner (Hitler’s favourite composer, lol), Strauss and Mussorgsky are only dying to come back to life and dispense their acidic wisdom.

We end up asking ourselves questions like, are musical instruments only as good as the human beings who play them, or can they, if left to it, make music on their own? Do musical instruments have feelings?

1st Violin: We feel things when humans play us.

Bass Drum: They hit me. I feel that.

Horn: Good.

Horn is clearly a bit of a sadist, lol.

The screenplay contains haunting descriptions of Stonehenge and the obliteration of Pompeii by the volcano Vesuvius. You’ll meet adorable little riverside creatures who could have hopped straight off the pages of Beatrix Potter and Kenneth Grahame, and you’ll get to watch Michael poke satirical fun at the double-barrelled nonsense of the Bright Young Things of the ‘thirties. Amanda Harcourt-Compton-Fink-Nottle, indeed.

On the back cover of this beautiful book (which, by the way, contains seventy-odd pages of fabulous illustrations) is a quote from myself, actually, saying that:‘The film fan in your life would be eternally grateful for a gift from this luxurious, glossy-covered collection.’

Well, Christmas is just around the corner, folks. You know what to do.

Ta-ta for now and kind regards,

Sandra Harris-de Cadenet-de Havilland-Little-Glossop.

You can buy this book and all of Michael’s other books as well at the following links:

http://www.michaelarmstrong.co.uk

http://www.paperdragonproductions.com

Happy shopping!

MARK OF THE DEVIL (1970) THE SCREENPLAY BOOK BY MICHAEL ARMSTRONG REVIEWED BY SANDRA HARRIS. ©

MICHAEL ARMSTRONG: THE SCREENPLAYS.

MARK OF THE DEVIL. (1970)

PUBLISHED IN 2020 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

http://www.paperdragonproductions.com

The witch-hunting film that was made from this screenplay we’re about to discuss was one of the most controversial releases of all time. I watched it recently, but, due to the horrifically realistic torture and mutilation scenes, I was watching it with my legs tightly crossed, my hands clamped firmly over my mouth, my ankles wrapped around each other and my eyes shut, lol, that’s how frightening it is. No part of the body goes unmutilated. No wonder vomit bags were issued at the box office along with your cinema ticket back in the day. I can’t really imagine getting through the movie without one…

MARK OF THE DEVIL started life as a screenplay called THE WITCH-HUNT OF DOCTOR DRACULA, penned by Adrian Hoven, an Austrian actor, film director and producer. Both he and his son Percy actually have small roles in MARK OF THE DEVIL, which is what the screenplay became when Michael Armstrong was invited on board the project as one of Britain’s most bankable, up-and-coming young directors, having just made THE HAUNTED HOUSE OF HORROR (1969).

Michael virtually re-wrote the entire script, also changing the title to a much snappier one, and then he filmed the whole shebang under difficult circumstances in a fabulous old castle in Austria that contained genuine implements of torture from the actual age of witch-hunting, a few hundred years or so ago. Michael Armstrong turned this film into a success story that out-box-officed Michael Reeves’ WITCHFINDER GENERAL (1968), probably the Big Daddy of the witch-hunting films.

What were the difficult circumstances, I hear you ask? Well, how much time ya got, lol? There were language barriers amongst the multi-lingual cast and crew, everyone else spoke German but poor Michael, the sound equipment went AWOL and a certain Adrian Hoven, backed up by some of the crew and very obviously put out not to be making DOCTOR DRACULA, placed obstacles in Michael’s path at various stages.

Sometimes, Herr Hoven would even film things without Michael’s permission or cut some of Michael’s work without so much as a by-your-leave. In particular, a fabulous scene Michael intended to put at the end of the film was brutally chopped out, and I personally think that it would have been the perfect nightmarish ending for the movie. But don’t worry, anything that was left out of the film is in the screenplay, and you can read it at your leisure in the comfort of your own home when you buy the book.

Wikipedia politely maintains that ‘Producer Adrian Hoven and director Michael Armstrong disliked each other intensely and often argued over the slightest of things,’ but if you want the full low-down on just how hard it was for Michael to get the job done with Hoven’s constant interference, read the chapters entitled A HISTORY OF THE SCREENPLAY and THE 1970 FILM in the book. Michael personally debunks some myths about the film in a manner both painfully honest and wickedly bitchy. Not to be missed, seriously. A moment’s silence for DOCTOR DRACULA…? No? Okay, moving on…

‘In the name of our beloved master, the Prince, I hereby proclaim that an attack by the powers of darkness has been sent against us. Be warned: the Devil is everywhere and can tempt any one of you so, wherever the hand of the Prosecutor points- you must not hesitate to follow.’

‘… and that this person has confessed before God to have committed sacrilege four times in the eyes of our crucified Lord for which he is sentenced to lose four fingers of his right hand and be tarred and feathered before being set loose to be chased through the streets like an animal until he falls dead.’

‘For such blasphemies you shall first be stretched on the rack till you confess that this child is really the Devil’s. Then you shall have your tongue torn from your head by the roots! Next?’

‘She’s the one who had intercourse with the Devil on Goat’s Mountain! He took her to his den in the guise of a little donkey, and there they fornicated all night long!’

‘Having confessed practising witchcraft in the sight of God, both prisoners have been condemned to death by burning.’

‘It’s so lovely here. This is my truth!- What I can touch and feel. It’s wonderful! Don’t you feel it?’

‘Can you only see through his eyes? Can you be so blind?’

‘We must never weaken in performing God’s work.’

‘I couldn’t find the Devil’s mark, my lord.’

Picture the scene, a primitive little town in Austria in the Middle Ages. Largely illiterate, uneducated and superstitious peasants and yokels caught in the stranglehold of Mother Church. If the Church says that this woman or that man is a witch, well, then, we’d better burn them at the stake, but not before we torture them to within an inch of their lives first to get a ‘confession’ of witchcraft out of them. Never mind that, under hideous torture, a person will confess to being a fan of Showaddywaddy’s music in order to get the pain to stop.

This screenplay does an excellent job of showing us why the Church was so gung-ho for witch-burning. They could confiscate the estates and monies of any nobleman so accused, and they could rape and abuse terrified young women by threatening them with being burned at the stake if they refused to submit to unwanted sexual attentions.

Albino in the screenplay is not a churchman, but he’s as bad as one. He’s the self-appointed local witch-finder and he’s a really nasty, ugly-looking and sadistic character. He accuses a beautiful, feisty young barmaid called Vanessa Benedict of being a witch when she, not unnaturally, refuses his sexual advances. She is thrown in jail and brought before the ‘court’ of Lord Cumberland, the official state-appointed witchfinder who has just arrived in town.

Christian to Albino on Lord Cumberland: ‘He’s been sent here by your Lord and Master, the Prince, and entrusted with the difficult task of tracking down and punishing all the witches in the region.’

Lord Cumberland supplants Albino as the town’s head witch-burning guy, much to Albino’s disgust. The only difference between them, however, is that Albino is an ignorant peasant and Cumberland an educated, wealthy aristocrat with the might and riches of the Church behind him. In terms of sadism, however, they are very much equally matched.

Cumberland is attended by his apprentice, the extraordinarily handsome Count Christian Von Meru, who is secretly in love with Vanessa and she with him. The charges against Vanessa, as dreamed up by Albino, are utterly ludicrous: ‘She’s ridden in the Sabbath. She is a witch. She’s mixed frogs and toads with her own blood… to poison Lord Cumberland.’ It seems like you could make up any old gobbledy-gook about a supposed ‘witch’ and the local simpletons would lap it up. The script really emphasises this aspect of those terrible times.

Poor Christian. He loves Vanessa with all the strength and compassion of his young man’s heart. But Cumberland has been ‘like a second father to him.’ Christian is committed to helping his boss to ‘free the world from all evil.’ How can the two things be reconciled?

And won’t Christian have to realise sooner or later that Cumberland has massive feet of clay- and a limp willy to boot- and is advocating torture, cruelty and unlawful murder in the name of a diabolically corrupt Church? Absolute power has corrupted absolutely in Cumberland’s case. Can Christian find the courage to be his own man, and, just as importantly, the man Vanessa needs him to be right now…?

The torture of poor, poor condemned Deirdre von Bergenstein made me feel weak and sick to read about it. It might be quicker to tell you what wasn’t done to her, haha. All the implements of torture you’ve ever heard about, like the rack and thumbscrews and the Witch-finder’s infamous pricking needle, are in here, plus a few you probably haven’t, like myself.

What is done to Deirdre in the script just before her burning at the stake is possibly the main reason for the vomit bags that were handed out at screenings of the film in America. Just be warned, that’s all.

Poor old Baron Daumer and the nobleman who gets the water torture are equally to be pitied. Well, almost. You can practically smell the corruption oozing from the words Cumberland utters to Baron Daumer:

‘Sign everything over to the Church and I promise you your life- otherwise I must denounce you as a sorcerer and have you executed.’  

There are some gorgeous stills from the film, both in full colour and in black-and-white, in the screenplay book, which would make a fantastic gift for fans of the movie. You can buy this one and all of Michael’s other books as well at the following links:

http://www.michaelarmstrong.co.uk

http://www.paperdragonproductions.com

I’ll leave you with two of the scariest, most chilling lines from the script:

Christian: ‘But, then… where does safety lie?’

Cumberland: ‘There is no safety! Anywhere!’

You said it, Pops…

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 Vampirology. 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

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books: https://www.amazon.com/dp/1781994234

MICHAEL ARMSTRONG’S ‘DELIVER US FROM EVIL.’ (1969) REVIEW BY SANDRA HARRIS. ©

MICHAEL ARMSTRONG: THE SCREENPLAYS.

DELIVER US FROM EVIL. (1969)

PUBLISHED IN 2020 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

http://www.paperdragonproductions.com

‘… but I guess you knew I’d come back once we were both older.’

‘I’ve run things far too long to see them jeopardised by anyone- including you! The past’s the past, Nikki! What happened is over; gone! This whole neurosis about your childhood- it’s all in your head! That’s all!’

‘Blackmail? How can you accuse me of that when you know why I’m really here… that I’ve finally come back for you after all these years!’

Downstairs …

The darkness of the hall …

The empty rooms …

The stairs …

Upstairs …

The closed bedroom doors …

Silence.

I’ve been reading and reviewing Michael Armstrong’s gorgeous glossy-covered film script books for about three years now, and, next to HOUSE OF THE LONG SHADOWS, I actually think DELIVER US FROM EVIL might just be my favourite, for reasons I’ll explain in a minute.

But for those who might not yet know (what’s the weather like up there on Pluto, by the way? Not too inclement for the time of year, I hope!), HOUSE OF THE LONG SHADOWS, the screen-writer’s addition to the canon of ‘Old Dark House’ movies, is one of Michael’s most well-known films.

Not just because it’s brilliantly written and full of terrific comic turns and horror movie references that’ll make you feel very pleased with yourself for spotting them, but because it’s the only film ever made that features horror icons Christopher Lee, Peter Cushing, Vincent Price and John Carradine all under the one roof, so to speak.

Incidentally, former BROOKSIDE actress Julie Peasgood, who has penned the foreword to DELIVER US FROM EVIL (all the forewords are written by movie industry insiders, including ME; I did the one for SCREAMTIME!), was the sexy blonde love interest in HOUSE OF THE LONG SHADOWS.

Her co-star was Desi Arnaz Jr.. He played an American writer who agreed to hole up in the titular ‘House’ for a weekend, in order to speed-write a novel and thereby win a bet with his literary agent. But he didn’t, of course, reckon on the fact that four of the greatest horror actors on the planet were going to drop by and grievously interrupt him…!

Anyway, now we move onto DELIVER US FROM EVIL. Like Julie Peasgood, I devoured it in one sitting, because it’s just so easy to read (all the books are supremely reader-friendly) and a fantastically gripping storyline. It’s the story of the beautiful young Nikki Wynter, a woman who’s had rather more of a traumatic childhood than most of us can lay claim to …

Nikki: ‘If- if Mommy ever got better … if they ever let her out of that place …?’

And, later … Doctor: ‘You’re still worried it’s hereditary, aren’t you?’

Heh-heh-heh. The plot reminds me a little bit of John Carpenter’s fantastic serial killer horror film from 1978, HALLOWEEN. In this movie, a man who murdered his teenage sister when he was a little boy escapes from the mental institution in which he’s been incarcerated for years and returns to his hometown, where he immediately starts stalking a teenage babysitter and her unfortunate group of friends.

(Did I ever tell you that I met John Carpenter back in October 2016 when he played the music from his films live at Vicar Street in Dublin? Well, I say I met him, and I WAS there, but it’s probably closer to the truth to say that I glimpsed a teensy bit of his black jumper from my seat near the back while hundreds of big hairy male John Carpenter fans, every one of them wearing black movie T-shirts and holding up phones, blocked all but a tiny percentage of my view. Bastards, lol.)

Anyway, Michael’s story, which, incidentally, was penned nearly a whole decade before the release of HALLOWEEN, sees the return into Nikki’s life, not of an escaped mental patient, but of someone whom you’d imagine would have an even tougher time materialising back in someone’s life than an escaped lunatic.

All the lunatic has to do, if horror movies have taught us anything, is to slip his and his fellow inmates’ sleeping pills into the cup of tea or coffee of the orderly in charge of the ward. Wait a few minutes, then bada-bing bada-boom, Bob’s your uncle and a nod’s as good as a wink to a blind horse and so on.

But to come back from where Nikki’s unwelcome visitor has been, well, I can’t even imagine what you’d have to do. At the very least, the paperwork you’d have to fill out …!

After her horrific start in life, Nikki is now a rich privileged heiress to the fortune of her deceased adoptive parents, the Wynters. The action moves from a New York tenement in the ‘Fifties to Nikki’s swish villa in Nice in 1967.

Nikki’s adoptive parents are now dead and gone, and she has no-one to look out for her but her devoted boyfriend Ben Anderson and the family solicitor, Howard Doyle.

One fateful night, as they say, she goes for a solitary walk on her very own private beach, the lucky cow!

The twilight before dark …

A half-real, half-unreal world …

In which Nikki stands, deep in her own thoughts.

She moves further along the beach …

Enjoying the seemingly timeless solitude and the stillness …

Only the sound of the waves soothingly caressing the beach.

She glances back-

To see a figure approaching her some distance away;

Indistinct in the fading light.

Nikki turns

And tries to make out who it is in the onrushing darkness-

The figure draws nearer to her

Across the darkening and deserted beach.

Nikki struggles to make out his features-

This is the beginning of Nikki’s nightmare. And I don’t mean the nightmare of having some peasant trespassing on your personal beach, possibly just yards from where your own private yacht is moored. God knows, I’ve had terrible trouble with that type of thing myself. And don’t even talk to me about servants …! Can’t anyone starch a collar properly nowadays?

I mean the nightmare of knowing that someone who couldn’t possibly be there is nonetheless standing right in front of you on a darkened beach at night. And they don’t have any intention of going away now they’re back. And that’s all I’m going to say, even though my fingers are itching to type more. And more and more and more, lol.

DELIVER US FROM EVIL is a cracker of a story that would have played so well on the big screen had it been filmed. It would make a fantastic Christmas present for the film fan in your life, as indeed would any of Michael’s collection of gorgeous film-script books. DELIVER US FROM EVIL and all of Michael’s books are available to buy from the following links:

http://www.michaelarmstrong.co.uk

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