By Howard Schroeder, Ian Thorne, Curt Siodmak
Adapted from the Screenplay "Frankenstein Meets the Wolfman" through Curt Siodman.
A werewolf who needs to be published from his curse and die visits Frankenstein's ruined fortress to benefit the secrets and techniques of lifestyles and demise.
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Extra info for Frankenstein Meets Wolfman (Monsters Series)
The notion of feminine agency underlies the culture of Tehuantepec (Part II) as much as the unfinished section on the role of the female soldier in the Revolution (Part V). Other visual twinnings are more subtle. The Christological resonance of the final scene of the ‘Maguey Cactus’ sequence – in which the three men are trampled to death – is enhanced via the visual similarity of this scene with the depiction of the re-enactment of Christ’s passion in Part III (as in the later scene, there are three Christ figures, and the ropes used in each sequence mutually reinforce their interconnectiveness).
Eurydice arrives at Serafina’s house and tells her that she has run away because a man is after her to kill her. Meanwhile Orfeu is asked by the two young boys, Benedito and Zeca, if it is true that his songs make the sun rise; he sings for them and Eurydice, who is next door, hears his song and is charmed. Orfeu introduces himself to Eurydice and tells her the story of the Greek myth of Orpheus’s love for Eurydice. Serafina takes Mira off, thereby allowing Orfeu to dance with Eurydice; a dionysianerotic frenzy ensues.
Pedro does not respond. Jorge returns to his friend’s table and agrees to buy the ranch. We cut to the father-in-law asking Jorge why he didn’t marry his daughter, Rosario. In flashback we witness what happened that night. Rosario, Jorge’s ‘novia’ at the time, becomes jealous that Jorge is sitting with a girl called Victoria. She asks him to leave, he refuses, and she breaks off their engagement. Seeing his chance, Pedro befriends Rosario, and they elope to Mexico City where they get married. Back to the present.