It was a tough month for B-movie lovers and science fiction
fans. We lost some heavyweights whose contributions, both
before and behind the camera, are inestimable. Our usual
preaching and opining will follow the ensuing sad notices:
Genre-film icon John Agar died of emphysema at Providence
Saint Joseph Medical Center in Burbank, Calif. He was 81.
Agar was born in Chicago, the eldest son of a meatpacker.
Following his father's death, the family moved to Los Angeles.
In 1945, following service in the second world war, 24-year-old
Army Air Corps sergeant Agar married 17-year-old actress
Shirley Temple. Temple was a classmate of Agar's sister,
and they met at a party at her Beverly Hills home. Producer
David O. Selznick, who had Temple under contract, offered
her handsome husband a deal -- $150 per week plus acting
Agar made an auspicious film debut in the 1948 western
"Fort Apache," part of director John Ford's classic cavalry
trilogy, which starred John Wayne, Henry Fonda and Temple.
The following year, he co-starred with Temple in "Adventure
in Baltimore." He was also featured that year with Wayne
in two more films, "Sands of Iwo Jima" and Ford's "She Wore
a Yellow Ribbon." Agar's marriage to Temple ended in divorce
in 1949. Agar continued his acting career, appearing in
virtually every type of film, from Arabian Nights costumers,
such as "The Magic Carpet," opposite Lucille Ball, to low-budget
westerns such as "Star in the Dust," with Mamie Van Doren.
As his career gradually declined, Agar accepted more of
the types of roles in grade-B pictures for which his fans
ultimately came to love him best. He once told film historian
Tom Weaver that, fearing unemployment, "I never turned anything
down." His credits from the 1950s and '60s reveal the stamina
and resiliency of a B-movie actor who became one of sci-fi
cinema's best-known heroes: "Revenge of the Creature," "Tarantula,"
"The Mole People," "The Brain From Planet Arous," "Daughter
of Dr. Jekyll," "Attack of the Puppet People," "Invisible
Invaders," "Journey to the Seventh Planet," "Hand of Death,"
"Women of the Prehistoric Planet," "Zontar the Thing from
Venus." Western fans likewise hail him for such pictures
as "The Lonesome Trail," "Frontier Gun" and "Cavalry Command."
Tiring of typecasting, Agar left his home studio, Universal,
in 1956. Still, the only roles he found were in low-budget
shockers. In the late 1960s and early 1970s, Agar's old
friend, John Wayne, found small parts for him in his pictures,
including "Big Jake," "Chisum" and "The Undefeated." Agar
eventually turned to selling insurance and, for a time,
helped promote Brunswick's senior bowling program. All the
while, he continued to accept parts in myriad B-pictures
and television programs. Beginning with a cameo in the 1976
remake of "King Kong," nostalgic directors began casting
Agar in bit parts in such films as "Nightbreed" and "Miracle
Mile." Agar, who never expressed regret at having appeared
in so many low-budget genre films, became a staple at autograph
shows and classic film conventions, tirelessly chatting
with fans who remembered his films fondly. "My whole feeling
about working as an actor is, if I give anybody any enjoyment,
I'm doing my job, and that's what counts." He passed away
just one week before a scheduled convention appearance.
Louis M. "Deke" Heyward
Prolific writer and producer, Louis M. "Deke" Heyward, died
of complications from pneumonia at Cedars-Sinai Medical
Center in Los Angeles. He was 81. The New York City native
was leaning toward a career as a lawyer when he began moonlighting
as a radio scriptwriter. His plans were put on hold when
he enlisted in the Army Air Corps in 1941. He piloted numerous
bombing runs over North Africa and Europe. After the war,
Heyward began work at The Associated Press but continued
to write scripts as a sideline. Before long, he got a job
as a writer on television's "Garry Moore Show" and went
on to supply material for the innovative and influential
"Ernie Kovacs Show," which was nominated for an Emmy in
1956. Heyward won the Sylvania Award as its top writer the
same year. Decades before the Internet, Heyward created
the first interactive television program, "Winky Dink,"
which supplied viewers with "magic screens" -- plastic sheets
that covered the TV screen on which children could draw.
For Barry & Enright Productions, he developed the game
shows "Twenty-One" and "Tic Tac Dough." He also developed
"The Dick Clark Show."
Moving to Hollywood, Heyward landed executive positions
at MCA, Four Star Films, Hanna-Barbera and 20th Century-Fox.
He may be best known to genre-film fans for his long association
with American International Pictures. He began as a writer,
became their director of motion picture and TV development,
and eventually headed the company's London office. During
this time, Heyward produced "The Oblong Box," "Murders in
the Rue Morgue," "Horror House," "The Conqueror Worm," "Scream
and Scream Again" and the "Dr. Phibes" films. He also wrote
"Ghost in the invisible Bikini," "Pajama Party," "War Gods
of the Deep" and others. In all, he wrote over 3,000 radio
programs, TV shows and feature films and several novels.
In recent years, he volunteered at a camp teaching writing
to underprivileged children. On a personal note, I'm proud
to say that Deke responded to every B Monster newsletter
with gratitude, suggestions and encouragement. R.I.P., Deke.
Legendary science fiction writer Damon Knight has died.
We asked our friend, film historian David J. Skal, to offer
his thoughts on the author's passing:
"In addition to being one of the most significant writer/editors
in the history of science fiction, Damon Knight was the
single best creative writing teacher of any stripe I have
ever had the privilege of knowing or studying under. He
transformed my life, literally, and launched my writing
career. I'm not the only person who will offer a similar
appraisal. Although I only occasionally write science fiction
these days, Damon's influence on my nonfiction work was
extraordinary. A prodigiously gifted editor (hell, he was
absolutely the best, a genius; there was nobody like him
anywhere, even in the rarified strata of the New York literary
publishing establishment), he also, with extraordinary generosity,
taught writers the essential, self-survival skills of self-editing.)
It is quite impossible to separate Damon's contributions
from those of his wife, Kate Wilhelm, an equally gifted
writer and editor. The two of them, especially through their
indefatigable work with the Milford and Clarion writing
workshops, in which I was an ongoing participant, became
archetypal mother and father figures to a generation of
diverse creative talents. Few writers have ever given so
much to others. Damon's passing marks the end of an age,
but he persists, vitally, as an inspiration for the writer's
self-direction and self empowerment."
Award-winning author/screenwriter Henry Slesar has died
of natural causes at 74. Slesar began his career as an advertising
copywriter. He was credited with originating the phrase
"coffee break," which quickly became a part of the language.
As a television writer, he won an Emmy and six Writer's
Guild Awards as head writer of the soap opera, "The Edge
of Night," a position he held for 15 years. Slesar wrote
more than 500 short stories, radio scripts and books, winning
two Edgar Awards, bestowed by The Mystery Writers of America.
Many of his suspense stories were adapted for episodic television,
most notably for "Alfred Hitchcock Presents" and "Tales
of the Unexpected." He also wrote episodes of "The Twilight
Zone" and "The Man From U.N.C.L.E." His feature film credits
include "Two on a Guillotine" and the 1971 version of "Murders
in the Rue Morgue." The low-budget sci-fi film, "Terror
From the Year 5,000," was based on one of Slesar's stories.
THE B MOVIE MONTH IN REVIEW
BRADBURY, IN A WALK
Legendary author Ray Bradbury now has his own star on Hollywood's
illustrious Walk of Fame. The writer was joined in an unveiling
ceremony by Los Angeles Mayor James Hahn, and actors Charlton
Heston and Rod Steiger. Hahn seized the occasion to announce
a month-long reading initiative called "One Book, One City,
L.A." First on the list of recommended reading for local
students was Bradbury's futuristic anti-censorship, classic,
"Fahrenheit 451." Six other cities around the U.S. will
initiate similar reading campaigns using Bradbury's groundbreaking
tome as a springboard. At 81, Bradbury's star is shining
bright as ever. "I'm busy doing things for the future,"
he said. His classic short story, "A Sound of Thunder,"
has recently gone into film development, and a new, feature-film
version of "The Martian Chronicles" is in the works. The
author has also just wrapped up a new screenplay for "The
Illustrated Man," to be jointly produced by Columbia Tri-Star
and the Sci Fi Channel, while Mel Gibson is considering
a remake of "Fahrenheit 451," filmed previously by director
Francois Truffaut. A longtime advocate of space exploration,
Bradbury pointed out in timely fashion, "Our future is in
space, you see. It's a wonderful substitute for war. Space
travel is our endeavor to do something peaceful and wonderful
for the whole world."
PLAGUE TO DIFFER
They've been talking about remaking Richard Matheson's "I
Am Legend" for almost a decade. Arnold Schwarzenegger was
likely to star as the plague-surviving, vampire-fighting
last man on earth. Well, after years of being "shopped,"
in "development," "turnaround," or whatever they call it
when producers don't want to make a movie, Variety reports
that Arnold will now produce instead of star. Will Smith
may assume the leading role with Michael "Pearl Harbor"
Bay in the director's chair. For the uninformed, Matheson's
story, about the lone survivor of a devastating plague that's
turned the earth's populace into vampires, has been filmed
twice before as "The Last Man on Earth," starring Vincent
Price, and "The Omega Man," starring Charlton Heston.
And, in other Arnold news, Schwarzenegger will produce AND
star in a remake of the 1973 film "Westworld." Far be it
from us to call it typecasting, but he'll portray a haywire
robot. The murderous, android-cowboy-gunfighter was played
by Yul Brynner in the original. But wait, there's more.
The big guy has also recently agreed to star in another
Conan the Barbarian film. John Millius, writer and director
of the previous Conan films, is currently at work on a screenplay.
(And please note, "The Astounding B Monster" is STILL the
ONLY publication, print or digital, not to refer to the
actor as "Ah-nuld.")
PEDAL TO THE MENTAL
You can't make this stuff up. They're making a feature film
based on the television series "Knight Rider." If you don't
recall the program, it was the show about a talking automobile
that did NOT star Jerry Van Dyke. Original series star,
David Hasselhoff, who will have a role in the film, is the
executive producer. (And who knows? Hollywood being the
way it is, the film just might involve a kinky tryst with
"My Mother, the Car.") German fans are already queuing up.
DUNE IT TO DEATH
Sequel, the remake's ugly cousin. The Hollywood Reporter
says that Susan Sarandon will star in a sequel to "Dune."
"Children of Dune" will be a six-hour mini-series produced
by The Sci Fi Channel. Sarandon will play Princess Wensicia,
ruthless heir to the powerful family that seeks to regain
control of the universe. (Is her last name Gates?) Look
for a 2003 premier.
ALLEN A DAY'S WORK
Okay, let's wrap this up in one fell swoop. In their stubborn
resolve not to exert ANY creative energy whatsoever, Fox
is remaking FOUR Irwin Allen properties at once: "Voyage
to the Bottom of the Sea," "Lost in Space," "The Time Tunnel"
and "Land of the Giants." "Time Tunnel" will air on Fox's
own network while "Lost in Space" is being planned as a
two-hour pilot film for NBC. The series will pick up where
the 1998 feature-film treatment of the old series left off.
No further details at this time. Can you imagine the board
meeting that gave rise to this idea? "Heck, one Irwin Allen
remake already bombed ("Lost In Space"), but if we make
four at once, it increases the odds that one will turn out
L.W. Currey and RB Publishing are set to release "Science
Fiction and Fantasy Authors: A Bibliography of First Printings
of Their Fiction and Non-Fiction." This is a revised edition
of Currey's book that was originally published in 1979.
According to publicity that describes the volume as the
"primary resource for collectors and book dealers in determining
first edition and state of Science Fiction and Fantasy Books,"
the original edition has long been out of print with rare
copies going for up to $200. You can order the revised volume
now and get a limited-time, "significant pre-publishing
discount." For more information, check out: http://www.cd-bookshop.com
According to Frank Thompson's "Texas Hollywood: Filmmaking
in San Antonio since 1910," some 250 films have been shot
in the Alamo's hometown, and this slim volume provides an
informative overview of Texas film making over the past
century. From "Wild Bill" Wellman's "Wings" to The Duke's
epic "Alamo," right on through to the Sandra Bullock comedy,
"Miss Congeniality." One particular highlight is a chapter
on the late, great, Pat Boyette, whose one-of-a-kind "Dungeon
of Harrow" made him something of a local genre-film legend.
Thompson is a writer and filmmaker who co-authored Clayton
Moore's autobiography, "I Was That Masked Man." For more
info, contact Maverick Publishing, PO Box 6355, San Antonio,
NEW ON DVD
ATOMIC WAR BRIDE/THIS IS NOT A TEST
A note to our readers who think of "Teenage Monster" and
"Hot Rod Gang" as "obscurities": You don't know curio-cinema
until you've broached these offerings. Only the title-heavy
tag-team of Image Entertainment and Something Weird Video
could unearth these jagged gems. Billed as "2 Super Science
Thrillers From the World of Tomorrow," this revealing double-bill
kicks off with the 1960 Yugoslavian oddity, "Atomic War
Bride," starring, produced and directed by people with lots
of consonants in their names. It opens with a wedding, but
in lieu of bells, the ceremony is buzzed by enemy planes.
The ominous call to nuclear war curtails the honeymoon as
the bridegroom is mobilized by the military before an "I
do" can even pass his lips. The would-be hubby opposes the
conflict, and comes within a whisker of being executed for
his pacifism. It's a strange, harsh little flick, bearing
hardly a trace of Hollywood influence. Perhaps the best
way to describe it is as "Yugoslavian," and leave it at
that. It really is something you need to see for yourself.
Far more interesting is the 1961 American cheapie, "This
Is Not A Test." There's no budget to speak of, and that's
the interesting part. A bunch of unknowns and amateurs (I'll
confess I know virtually nothing about anyone involved)
pooled their resources and dared to tackle a then-controversial
topic -- nuclear holocaust -- with the most meager finances.
In fact, the austerity ensures a bleakness that works in
the film's favor. They could have made a nudie, a gore flick
or a surf documentary, but chose instead to address the
degeneration of man's nature in the face of imminent, inescapable
death. It ain't high art, by any means, but the effort shows.
Interestingly, the movie is decidedly apolitical, and it's
giving nothing away to reveal that the film is a total downer
(it's about nuclear attack, for Pete's sake!). These are
decidedly non-Hollywood, uncommercial choices. Seamon Glass
plays a highway cop who gets the red alert over his patrol
car radio. He sets up a roadblock on a mountain road and
the folks he forces to the curb constitute a cross-section
of humanity (a cuckold husband, a hep cat, an old-timer
and his granddaughter, even an escaped looney) who gradually
reveal their baser proclivities and virtues as the end approaches.
One or two of the cast appear to possess fundamental acting
abilities, but Glass, whose role is central, seems never
even to have watched a movie, much less acted in one. (In
fact, he appeared in bit parts in numerous high-profile
films including "Spartacus" and "Deliverance.") This unaffectedness
actually helps in some scenes, lending just a bit of documentary-like
grit. For the most part, the performances are amateurish,
the continuity is tenuous (one character mysteriously disappears
in longshot and reappears in closeup in the cab of a truck)
and the dialogue is priceless ("If the world really is ending,
and me and my chick want to end it standing in front of
a bar, it's nobody's business!").
Also a part of this Atom-age nostalgia package are six
similarly themed short subjects, including "You Can Beat
The A Bomb," and the infamous "Duck and Cover" starring
everyone's favorite nuclear survivor, Bert the Turtle.
CARNIVAL OF BLOOD/CURSE OF THE HEADLESS HORSEMAN
Here are two indefensibly bad early-seventies shockers that
devotees of splatter-film history are sure to love. In glaring
contrast to "This Is Not A Test," here are examples from
filmmakers with limited resources who produced absolutely
nothing meritorious. Both films are directed by Leonard
Kirtman, who worked under several aliases and turned out
titles invested with such shameless sexual innuendo that
we're frankly embarrassed to duplicate them here. These
were among his first features, and they are amateurish in
every aspect. "Carnival of Blood" hasn't an original notion
in it, (the killer has a "mother complex") portions are
crudely dubbed, and it looks to have been edited with a
band saw. The soundtrack (we're scraping here, but it may
be the film's most interesting feature) is a grab bag of
period pop music; a whining folky with a nails-on-chalkboard
voice sings over the titles, and "suspense" builds to a
fuzz guitar and funk accompaniment. One hilarious scene
is a back-and-forth between our hero and a clairvoyant gypsy
woman ("You did!" "I didn't!" "Yes!" "No!") that goes on
for 10 minutes or so against the backdrop of a Walter Salman
painting of Jesus. We get to see a head split in half, a
teddy bear stuffed with undercooked chuck roast that supposed
to look like human entrails and, oh yeah, "Rocky's" Burt
Young plays Gimpy.
"Curse of the Headless Horseman" (the title alone should
tell you how much originality is to be found here) is just
as bad in different ways. To begin with, there are lots
and lots of narration, a vain attempt to cover exposition
(which might have cost money to actually show on film) and
plug continuity holes. It doesn't help, but it sure is funny.
It seems that Kirtland is going for a kind of Sergio Leone
feel this time (flamenco guitar and a whistlin' cowboy fill
the soundtrack) as a mysterious rider, sans cabeza, stalks
a Spahn Ranch-like compound, splattering hippies with blood
from a decapitated head. Some viewers might find it interesting
that Andy Warhol protege, Ultra Violet, makes a cameo. I
didn't. The film closes with the same belicose narrator:
"It will begin again! It will begin again! It will begin
again!" -- no kiddin', he says it about 30 or 40 times --
perhaps to warn theater patrons that the film would be repeated,
and this was their last chance to clear out. Gore-film completists
will definitely want this disc on their shelves. All others,
EDGAR G. ULMER: KING OF THE Bs
The publicity sums this set up as "All Day Entertainment's
ongoing DVD celebration of the films of legendary indie
pioneer Edgar G. Ulmer." Thus far, two volumes showcasing
the director's films have been issued. This edition compiles
both. Disc one features "Strange Woman," a weird period
piece starring Hedy Lamarr as a Scarlett O'Hara-like schemer
who manipulates and destroys the men in her orbit. The story
is run-of-the-mill, and the film's chief virtues are Ulmer's
canny exploitation of shadow and atmosphere. Also included
is a strange, noirish, semi-musical called "Moon Over Harlem,"
which Ulmer himself once likened to "Porgy and Bess." (And
if Edgar G. Ulmer's take on "Porgy and Bess" doesn't intrigue
you ... )
Disc two is the conspicuous standout, as it features one
of Ulmer's -- in fact, one of B-moviedom's -- true masterpieces,
"Bluebeard." Rarely has so much been accomplished with so
little. (And never has a film been heralded so much for
being unheralded. Let the unheralding cease. Consider the
film hereby heralded!) Ulmer actually turns the film's absurdly
obvious artificiality to its advantage, creating an unsettling,
otherworldly, decidedly non-Hollywood work, tilting the
camera, letting deep shadows do the work of 20 set designers.
And John Carradine, who was born to play this homicidal
puppetmaster, employs every decibel of his bravado to maximum
effect. (Is it ever NOT fun to watch John Carradine?) The
package includes never-before-seen color footage of the
"puppet opera" sequence and a terrific reproduction of the
original "Bluebeard" pressbook. This is a must-have.
THE BEACH GIRLS AND THE MONSTER
Kitsch-lovers alert! This one's got it all. Surfing, singing,
surfing, a shaggy rubber monster, surfing, go-going teeny-boppers,
surfing, Jon Hall and, did we mention surfing? Not just
interspersed with the action, but a 10-minute chunk of uninterrupted
surfing footage accompanied by twanging, Dick Dalesque guitar
riffs. Producer, director, star Jon Hal was a pretty big
deal in the 1940s, very often paired with curvaceous bombshell,
Maria Montez in exotic, Technicolor B-features. In the 1950s,
he was TV's "Ramar of the Jungle." (He was also the son
of Felix Locher, whom you may recall from "Frankenstein's
Daughter.") Hall hopped on the beach-movie bandwagon in
1965 with this fairly shoddy, immensely enjoyable pastiche
featuring music by Frank Sinatra, Jr. (One noteworthy tune,
"Monster in the Surf," is crooned by a puppet.) Hall committed
suicide in 1979, but, contrary to rumor, it had nothing
to do with his failings as a filmmaker (he was dying of
cancer). As a kid, you may have caught this one on the late
show under its TV title, "Monster From the Surf." As an
adult living in the miraculous era of DVD, it belongs in
Bruce Willis is sent back in time to prevent the onset of
a devastating plague that is ravaging the earth's populace.
Unfortunately, he's sent TOO far back in time. No one's
heard of the plague he's raving about, so they lock him
away. Not a bad premise. And it's certainly a good-looking
film. But (you knew there was a "but" coming) I'd be fibbing
if I told you that "12 Monkeys," based on the French film,
"Le Jetee," was a satisfying piece of work. It suffers from
the same malady that plagues most of director Terry Gilliam's
films -- it meanders. There is suspense, action, intrigue,
all occurring in a well-realized, gritty mise en scene.
But the whole is rather fragmented, unwieldy and way too
long, robbing the story's revelations of any real impact.
EARTH VS. THE SPIDER
Another of those cable-made, "Creature Features" bearing
the imprimatur of makeup ace, Stan Winston. They claim to
have drawn inspiration from the title of the original AIP
film, but it actually "borrows" from both "The Fly," and
Marvel Comic's "Spider-Man." It's two rip-offs in one ...
and it ain't very good. It's about a meek security guard
with a comic-hero fixation who injects himself with an experimental
drug that blah, blah, blah. The producers don't seem to
be sure when the film is taking place; some cars date from
the 1950s, others are contemporary. The TV sets are vintage,
photographers use those old-time cameras with the gigantic
flash reflectors, but there are references to the Gulf War
and Lara Croft. What a mess. Academy Award nominee, Dan
Aykroyd (think about that for a minute), and Theresa Russell
lead the cast. (In dubious tribute, the protagonist's name
is Kemmer, as in Ed Kemmer, star of the original film, and
the final credit is a dedication to AIP co-founder, Jim
This movie is pretty darn good. Yes, you read correctly,
this is a contemporary horror film that we genuinely liked.
It's intensely atmospheric, artfully photographed, well-acted,
generates real suspense, and much about it is stubbornly
old-fashioned in the very best sense, meaning, the clichÈs
employed work beautifully, and nothing occurs gratuitously.
Everything that happens serves the story. Nicole Kidman
is quite good as the paranoid, protective mother of two
waifish children who have a mysterious, life-threatening
sensitivity to light. Thus, their creepy manse is perpetually
curtained and gloomy. Upon hiring a new staff of servants
to tend the house and grounds, Kidman's grasp of sanity
begins to slacken. We won't give away too much more. The
denouement isn't completely satisfying, but the film's virtues
far outweigh any shortcomings. It also made a ton of money,
which nobody expected.
STEPHEN KING'S ROSE RED
No, the author himself isn't flushed a lovely, floral shade
of crimson. Rose Red is the name of a sprawling, haunted
estate. Many have ventured into its endless hallways and
labyrinthine grounds never to return. University scholar
Nancy Travis assembles a team of psychic investigators with
varying mental and supernatural powers -- a clairvoyant,
a telekinetic, autistic child, etc. -- to explore the massive
mansion. It's fairly engrossing and painfully derivative
and we'll try to explain how it can be both: It's interesting
if you enjoy the time-honored clichÈs served up a
silver platter (it depends on who's doing the serving and
how well they serve it). It's painful if those same clichÈs
prove just too tiresome for you, having seen "The Haunting,"
"The Innocents," "The Legend of Hell House," et al. "Rose
Red" was a TV miniseries and, at 254 Minutes, it sure feels
like it. Too bad, because it might have made a nifty 90-minute
IT CAME FROM OUTER SPACE
Back off! This is a B Monster favorite and one of legendary
producer William Alland's (not to mention director Jack
Arnold's) best. It's ambitious, suspenseful and atmospheric.
Shot in 3-D, desert locales and a sense of isolation are
employed to great effect. The "xenomorph" alien, leaving
a slimy "snail trail" in its wake, was a nifty departure
from the usual green men and robots then prevalent (often,
we view the action through the alien's eyes -- er -- eye).
The intriguing twist that the aliens have no evil agenda
-- they just want to get home - likewise differentiates
it from contemporary invasion epics. The strange, "Buckysphere"
spacecraft is striking, and robust Richard Carlson, the
king of 3-D ("Creature From the Black Lagoon," "The Maze")
was never better. Barbara Rush, Charles Drake, Russell Johnson,
Kathleen Hughes and Joe Sawyer are also quite terrific.
SPECIAL THANKS TO:
Michael F. Blake, whose books are available through Vestal
Press or at http://www.amazon.com
Harris Lentz III, whose books are available at http://www.mcfarlandpub.com
Bob Madison, whose books are available at http://www.amazon.com
Bryan Senn, whose books are available at http://www.mcfarlandpub.com
and at http://www.midmar.com/books.html
Tom Weaver, whose books are available at http://www.mcfarlandpub.com
and at http://www.midmar.com/books.html
And the good folks at Image Entertainment, http://www.image-entertainment.com
PARTING BLURB "One man's lust made men into beasts!" --
Circus of Horrors