A Roman Catholic priest, Father Damon, murders a man outside a castle-like estate on an island in upstate New York. The man he kills claims to be Lucifer himself, and promises to return. Decades later, in 1963, Andrew Williams is born. After his mother is paralyzed under mysterious circumstances, Andrew’s father realizes something is peculiar about his son, eventually coming to the realization that Andrew is the son of Lucifer. As a senior in high school, Andrew is withdrawn and socially awkward, and as a result is often bullied by his peers. Andrew feels drawn to the estate where Father Damon committed the murder, which is due for demolition for an impending golf course.
At school one day, one of Andrew’s tormentors, Tony, attempts to harass him in the gym shower. Overcome by strange powers, Tony kisses him in front of their peers. The event leaves Tony hysterical, and he leaves, terrified of Andrew. Later, Andrew is notified that he has received scholarships to several Ivy League colleges, including Yale and Harvard, but is insouciant to the news. Meanwhile, a local elderly woman, Margaret, visits Father Daly at his parish, and discusses Damon, whom she knew personally; Father Daly insists Damon wrongly murdered the man, though Margaret believes he was in fact Lucifer, and Father Damon, a manifestation of the archangel Raphael.
During a gym class, one of Andrew’s classmates, Mark, inexplicably suffers ruptured organs during a dodgeball game and dies. Mark’s girlfriend, Julie, is distraught, and shortly after begins having bizarre visions of Andrew raping her. She later hears voices calling her Gabrielle (a feminization of archangel Gabriel), and is directed to Margaret’s home by the disembodied voice of Father Damon. Margaret appoints Julie her protégé to battle Andrew.
On the night of a school dance, Andrew arrives at the castle estate and invokes Leviathan and Beelzebub, and summons the undead from grave sites on the property. At a local bar, Andrew’s father drunkenly raves about his son being the devil before returning home and shooting his wife in the head. Simultaneously, a group from the school is showing an outdoor play retelling the life of Jesus. During the scene of the crucifixion, the actor onstage begins exhibiting real stigmata, causing the audience to flee in horror.
On the island, a group of teenagers arrive to party after the dance, including Tony, his girlfriend Marie, Brenda, and others. After arriving at the castle, they are accosted by the undead. Marie is killed, and Tony and Brenda flee to an upstairs room, where Tony finds he has inexplicably developed breasts. Andrew enters the room and kisses him, after which Tony stabs himself to death. Andrew carries Brenda outside and lays her on an altar, where he stabs her to death.
Margaret and Julie arrive on the scene, brandishing Father Damon’s processional cross, which causes Andrew to recoil. Margaret forces Andrew to recite the Lord’s Prayer, and he transforms into Mark, tricking Julie. Margaret intervenes, and he kills her by breaking her neck. Julie watches as Andrew transforms into Lucifer, but is able to defeat him with the power of Father Damon’s crucifix. The spirits of Julie, Father Damon, and Margaret—the three archangels—coalesce, as Andrew is engulfed and destroyed in a beam of a light.
Drawn loosely from the Book of Revelations, Fear No Evil deals with the incarnation on Earth of Lucifer, and his battle for supremacy over God’s faithful, a battle which ends with a confrontation with God Himself in a spectacular scene of Devine Intervention. La Loggia, who directed the film from his original screenplay and plans to score it as well, is fully aware of the similarities between his film and Hollywood’s big-budget Anti Christ extravaganzas, THE OMEN and OMEN II but he bristles at the suggestion that BEAST is a rip-off of previously-explored conventions.
Said La Loggia, ” Fear No Evil” is unique. We’ve gone ahead and actually personified the devil as a character and as a human being who is at odds with himself about who he is. Lucifer is a young man who is reborn in a little fishing village in upstate New York. He’s 18 years old and a brilliant student. He’s very much at odds with who he is, so he’s doing battle within himself at first, denying the evil that lurks within him, but then gradually giving way to it. He’s an extremely sympathetic character, one that I think the audience will want to hug and push away at the same time.
“While THE OMEN and THE EXORCIST were extremely slick and technically commanding,” he said, “they still missed the real point of the dilemma of what it must be like to actually be the devil.”
“The local newspapers were very intrigued by the whole idea,” he said, “and we gathered a lot of publicity. We had an open casting call at the local PBS station in Rochester and more than 2,000 people showed up in two days. I cast six lesser roles and the rest of them had an opportunity to work as extras. There’s a mass panic that takes place during the staging of a passion play in this little village. We had close to 2,000 people there for seven nights.”
It’s still a little early to tell if La Loggia’s claims for the film are based on hope or hype. There are lengthy editing chores ahead and the crucial search for a distributor. But La Loggia is confident the film will be in theaters this summer. “Two of the majors have already contacted us,” he said, “and unless I’m grossly mistaken, I’m sure the picture will win major distribution.”
To stretch the budget as far as possible, La Loggia tried to The accommodate many of the necessary special effects on camera. One of the most difficult effects scenes, in which the young Lucifer (Stefan Arngrin) uses his powers for the first time, took four days to get on film. The scene takes place during a high school game of battleball, in which opposing players try to hit each other with soft rubber balls. The coach, under Lucifer’s demonic influence, releases a ball at such terrifying speed that it kills one of the players. La Loggia and cinematographer Fred Goodich used a special rigging of wires (invisible because of the lighting and fast film speed) to make the sequence work.
John Eggett, our man in charge of live action special effects (as opposed to the optical, done in post production) rigged a harness in preparation for the death scene of Mark (actor Paul Habor), which takes place in the gym. The script called for Mark to be hit by a rubber ball that is under demonic control-hit so hard that he flies ten feet before dashing his brains out on a wall. It took ten grips to yank the harness rope with sufficient force for the effect; Haber was protected from real injury by a special rubber pad insulating the harness and a piece of sponge rubber attached to a wiglet that was crocheted into his real hair.
Special effects were also important. for the film’s finale. “We have a spectacular ending,” La Loggia said. “It involves Divine Intervention. A Godly light makes its way from the heavens and decides Lucifer’s fate. We secured as many of the elements as we could on camera through lighting. Those elements will be reinforced later in an optical house.”
Originally, Rob Blalack (who handled optical work on STAR WARS) was hired to handle post production effects. But Avco has shifted the responsibility to Peter Kuran’s new company, Visual Concept’s Productions. Kuran was in charge of rotoscope and cel animation on THE EMPIRE STRIKES BACK.
The film’s ending is suggestive of Ray Bradbury’s published version of how ROSEMARY’S BABY should have ended-with Rosemary scooping up her demon child, running to St. Patrick’s Cathedral, where she begs God to at last reclaim his cast out child. “Our picture ends with a plea from Lucifer for forgiveness.” La Loggia said. “But his plea doesn’t work. It’s a very compelling moment in the picture.”
The film’s opening and closing sequences were shot at Boldt Castle, a tourist attraction located on an island in the Thousand Island area of the St. Lawrence River. Built by a fella named Boldt” between 1900 and 1904 in homage to his ailing wife, it was abandoned after her death and allowed to fall into ruins. “We’re used to seeing a castle in a horror picture that’s opulently dressed,” said La Loggia. “But this place is abandoned, you could walk around in the daytime and get shivers.”
BEHIND THE SCENES with Richard Jay Silverthorn Make Up Artist
“Here’s what I need,” La Loggia told me, his eyes sparkling with enthusiasm for his first feature production. “Can you do an army of walking dead? Design me a frightening face and body for Lucifer’s final revelation, something unique, something we’ve never seen before. Can you make a stomach wound that will pop open and squirt blood as if cut by an invisible knife? Or grow female breasts on a man?”
He showed me some paintings by Frank Frazetta that he felt conveyed the same “feel” he wanted for his presentation of Lucifer. His first draft at the time carried the title The Antichrist and concerned the Prince of Hell, incarnated as a high school student in a small town in New York state. The emphasis was to be on Lucifer as a fallen angel, who once had a place in heaven among the other archangels. To punch home his concept of the Antichrist, the lead character, Andrew, was originally conceived as a soulful young man with long hair and a beard-a Christ like countenance. This concept was changed later, when clean-shaven, boyish Stefan Arngrim made an electric impression at his audition and snared the lead role.
In turn, I showed La Loggia two of my USC graduate films which involved aging make ups, a mummy and rubber prosthetics. We shook hands, and I was told I had the job. While I waited for the end of the summer and the start of principal photograph, La Loggia firmed up the use of locations in Rochester, N.Y. interviewed others for various crew positions, and began auditions. Smaller parts were cast through “open call” auditions in Rochester, while the leads were chosen in Hollywood.
When Frank gave me a draft of the script to begin makeup budgeting, I was excited over the idea of playing the role of Bonnomo, the earlier 1961 incarnation of Lucifer, who has a spectacular death scene early in the film. I had always wanted to be a monster in a horror movie since I was a little kid, so I did a test makeup of myself as I saw the character When La Loggia saw the stills I had taken while he was in Rochester, he agreed that I should play the role. I was beside myself!
La Loggia showed me stills of the locations he had secured, including Lucifer’s unholy temple, the Boldt Castle: a real, crumbling, ruined and unoccupied castle on a little island near the town of Alexandria Bay, New York, the Thousand Islands. Alexandria Bay and Rochester were combined to make up our mythical fishing village of St. Lawrence, New York. For the next few weeks I fantasized being the Devil, and running through the shadowy clammy corridors of the Boldt Castle.
On July 19th I officially signed my contract with La Loggia Productions as actor and makeup artist, and began pre-production. Frank’s second draft changed Bonnomo’s scene, dropped other scenes and revised and tightened the whole. I had only $1,000 for makeup for the entire cast, so the effects and supplies had to be geared to necessity. Through early August my time was occupied with taking plaster casts of actors hands, chests and faces, assisted by Claire Ohlmiller, a professional hospital technician who does molds for artificial limbs. La Loggia Productions flew Stefan and me to San Francisco for fitting of the special yellow “cat’s eye” contact lenses made at a clinic there. At last, with all plaster molds wrapped in blankets and loaded on a truck bound for New York, moved out of the apartment I’d lived in for ? five years, and ended my lingering ties with the USC neighborhood.
We arrived in Rochester, New York on August 22, to be joined by our Rochester cast and crew, covered by TV cameras as celebrities. A real Hollywood horror film on location. Already the excitement was in the air. The crew was young, many between 19 and 25 years old, naive and eager to dig in. Since we all lived together in one motel (except for crew members who were Rochester natives) the atmosphere of camaraderie and mutual support happened easily. The La Loggia cousins, Frank and Charlie, held meetings with the heads of the departments regularly, to air questions, problems and insure that schedules were coordinated., Carl Zollo was head of the art department, Fred Goodich, Cinematography, (they were among our older crew members) and Dennis Carr, Sound Recording. There were various assistants in each department, as well as several assistant directors whose responsibilities were scheduling, transportation, crowd control, equipment handling and any other troubleshooting that might come up along the way. The assistant directors often stood between success and disaster in seeing that people and equipment were at the right place at the right time.
That first night in Rochester we had a crew banquet at which I met my assistants: Richie Bennett, who had done the impossible task of finding me a 5′ x 12′ walk-in oven to bake the huge plaster molds, Chip Leiberman, who followed me like a shadow on the set and had all my supplies ready for touch-ups like a nurse assisting in surgery, and Cheri Montesanto, daughter of Frank Montesanto, our hair stylist of Monty’s Unisex, a Rochester area salon. Hair styling and makeup were closely coordinated for the finished effect. Since there was an 18 year time span, this was skillfully indicated by Monty’s changing hairstyles and gray tones, (or dark rinses) as well as by my painted wrinkles.
Since a motion picture must be filmed according to the weather or availability of locations, or actor’s availability, rather than script order, we had to shoot all the high school scenes first, before the school year began. Spry High School in Webster, NY became St. Lawrence High. Because the semester hadn’t begun and the school’s boilers weren’t turned on, our actors had to take freezing cold showers for one of the first sequences put on film, where the class bully makes the mistake of picking on Lucifer in the gym shower. Professional troopers in spirit, the scene was shot without a complaint and stands out as a showcase of acting ability for Stefan Arngrim and Daniel Eden.
A Rochester family with a lovely little house on the shore of Lake Ontario consented to the use of their house as a location. According to the script, the house degenerates as the marriage of Lucifer’s terrified parents, Mr. & Mrs. Williams, degenerates. The effect was accomplished by the art crew progressively messing up the house-shingles were torn, screens twisted, weeds and vines arranged all over the sidewalk and front porch for the most extreme result of 18 years of neglect. Then the entire house was cleaned and repainted, the front lawn edged and trimmed to neat perfection for the house’s original look before the birth of the little “bundle from Heaven.” Thus we left our hosts with their house in better condition than when our crew arrived. The shots were spliced into script order later, in the editing room. Since sequences here had to be shot according to ease of lugging cameras up and down stairs, as well as in reference to daylight, it was necessary to age Mrs. Williams (Alice Sachs), make her young again, and age her again for the final shot of the day. Once characters were made up, I was free to continue sculpting prosthetics which I started bringing to the set, in order to cut down night hours and still be available for touch-ups when actors got sweaty under the lights.
The opening title shot of the film runs over a very long camera dolly shot from Lake Ontario, around the House and to the front porch. Plywood was laid down in a track over which the dolly was pushed. Actors were cued into action as the camera approached and then passed them as they enacted guests at the baby Lucifer’s baptism party. Director La Loggia walked behind the moving camera, coaching the actors verbally since the scene was shot MOS (a term meaning “Mit Out Sound” which comes from the German immigrant directors who worked in Hollywood during the earliest days of sound filming.) Sound effects were added later.
Rain or shine, the filming schedule was adhered to whenever humanly possible. Certain night scenes were actually filmed during a light rain, which did not show up on film, but gave the actors an extra challenge-not to shiver. After filming at the house was completed, the crew moved equipment to Charlotte Beach, where the “Passion Play” scene was photographed. A panicking crowd scene was a plot element here, so ads were placed in the newspapers and radio for anyone wishing to appear in a horror film to show up at the public beach. A thousand eager people stayed on the beach for three nights starting from about 7 PM to 3 or 4 AM. Megaphone in hand, Frank La Loggia instructed the crowd in actions as they portrayed an audience coming to view an annual church play on the final days of Christ, only to be involved in an unbelievable horror-the actor on the stage actually bleeds and dies on the cross, and the audience experiences stigmatism.
Screaming and bleeding, the freaked-out audience runs in every direction for their lives. Some fall into the lake as lightning bolts (added in post production) strike all around. “All Hell breaks loose” with stage lights exploding from charges (called “squibs”) pre-set by John Eggett and his crew. These were later matched with hand-drawn lightning bolts. One of my best rubber prosthetics in the picture was the tissue-thin rubber stomach appliance so that “Christ’s” stomach could seem to be pierced by an invisible lance and run blood. A rubber piece of surgical tubing was run under the actor’s loincloth and glued to his stomach. A preslit rubber “skin” was applied over the surgical tubing with a “ripcord” of transparent fishing line attached. The other end of the surgical tubing was fastened by Eggert to a massive insecticide sprayer to pump blood through the stomach, to tubing run under the wig and behind the wrists. The effect was gruesome and realistic.
With all but one scene in the Rochester area shot, the cast and crew packed up for a day of driving to our next location, the Boldt Castle. All of the crew, that is, except for me and my high school assistants, who stayed behind to bake the foam rubber prosthetics in the large kilns at the Rochester Institute of Technology Ceramics Department. Richie Bennett was by then trained enough to take over makeup for Mrs. Buchanan’s head wound, and Chip and Cheri handled other characters’ basic make ups.
Working with plaster molds which in some cases weighed over 100 pounds and carried over a gallon of foamed rubber was a new experience for me. Fortunately one of my assistants was a little guy who could climb into the kiln, holding one end of the mold, and then position it and climb over it to get out. A special problem was temperature.
The foam rubber had to be cured for at least 3 hours at a temperature not more than 250 degrees or less than 200 degrees. However, the kilns were made to fire ceramics at temperatures over 1500 degrees, so that we couldn’t leave the kilns on, for very long. The gas had to be turned on and off and the kiln door opened and closed as the only means of keeping temperature constant. The first trial prosthetics came out either under-done or overdone until the method was perfected. Varying thickness of plaster in the mold was part of the problem, but we ended up with at least two acceptable prosthetics from each mold as a backup in case the rubber tore or a scene had to be re-shot. Every trace of plaster had to be cleaned before we left, since plaster is incompatible with ceramic and could have ruined any pottery or sculptures being created by the students.
Before leaving Rochester, I brought dental casting stone casts of teeth to a dental technician who instructed me in the making of our prosthetic “fangs.” A soft pink wax was sculpted over the mouth casts with metal instruments heated in a gas flame. Then a plaster matrix was laid over the wax until it hardened. The pink wax was boiled away, and dental acrylic resin used for making false teeth was applied into the space formerly occupied by the wax. This quickly set and was then drilled and finely-polished by a high speed drill with various precision attachments. Finally the teeth were painted with acrylic to match our gum color and define cracks and spaces between the fangs. They snapped over our own teeth and required no pastes or powders to hold them.
Rejoining the cast and crew who were now split between two motels in Alexandria Bay, I “youthened” Mr. and Mrs. Williams and Father Daly for the 1963 scene of baby Lucifer’s baptism. Here John Eggett had rigged up a baptismal font which would boil as a mysterious wind blew through the church, a Divine protest against the baptism of infant Lucifer.
Starting Saturday, October 6, the most hectic on-the-set makeup work began: the Army of the Dead rising from their graves. Derek and Collin, my high school assistants took off the week from school to join us on makeup crew, as well as appearing in some background scenes as extras. For thirty ghouls, we needed every makeup hand we could muster. Corn flakes, Quaker oats and liquid rubber were applied to texture the skin for the “rotten” effect. Certain “key ghouls” wore prosthetics sculpted by Collin Pingleton one with an eyeball hanging out, another with the cheek ripped away and teeth exposed. These were combined with rubber bald caps and patchy applications of crepe hair and painted over with custom-blended rubber mask paint for the finished effect. Eggett rigged up a false wall for one ghoul to crash out of, buried another alive so that he could crawl up from a grave, and make two others break out of stone work. This army of the dead was supposed to be the construction workers who had built the castle and then been buried alive, only to be possessed by “stay-behind” spirits subservient with hot coco and coffee. It was strange to see rotten ghouls huddled up in blankets and parkas, looking out for the first snowflakes of the year and shivering together. They had to shed the protective clothing for tattered rags while before the cameras. Most of our ghouls were recruited by a production assistant from neighborhood bars, though some had auditioned in Rochester and were chosen for large, bulky bodies. One of our larger grips also doubled as a ghoul, and had to wade through near freezing water to drown two nude swimmers. Needless to say, this scene was strictly one-take. A special room in the castle was kept warm with a roaring fire as a refuge for the near-frozen.
Jack Holland, a fine old actor who portrays Father Damon, incarnation of the angel Rafael, arrived from Los Angeles for his two weeks of shooting. We hustled him off the plane and into a rowboat for the opening shot of the film, then put him into a burlap robe with a scruffy beard growth glued on and filmed his death scene in the insane asylum. The unfinished rooms in the basement of the castle doubled for the asylum. Some viewers may be quite disturbed by the many dead animals appearing in the first scene as the aftermath of a “black mass” my character of Bonnomo is supposed to have committed. May I assure the reader that the animals were purchased quite dead and frozen from a lab. It was difficult to eat our 3 AM dinner break after shooting that scene, but the convincing effect of the “suffering to all God’s creatures” that Lucifer vowed was powerfully conveyed by the arrangement of hanging bodies before the huge inverted cross. At last my scenes in the film were scheduled for shooting. On our house boat dressing room, Monty shaved my hair back into a severe widow’s peak; mortician’s wax was applied to make my ears pointed, and subtle shadings changed the lines of my face to Satanic, angular planes. With the yellow contact lenses in place, I had to be led to the set and rehearsed in my movements slowly, since I was nearly blind. Once the cameras were rolling, I thought only of the audience experiencing the presence of the Devil on the screen. I wanted to scare the hell out of them! Stretching my mouth wide open to show my fangs, I ran toward various markers which were light-colored so I could see them through the lenses. In one shot three grips had to catch me as I passed camera range and nearly knocked an expensive light over. The bright light was all that was discernible.
Since the final chase scene of the film is supposed to harken back to the beginning with the feeling of a predestined repetition, Stefan Arngrim was also in makeup and costume as the second incarnation of Lucifer. His chase scene with Julie and Mrs. Buchanan is shot for shot identical with Bonnomo’s chase by Father Damon before the opening titles. He ran through the corridor, chased by the ladies, and then I ran through chased by the priest, from the same camera angles.
Because of problems moving the generator and camera equipment around on the island, my second makeup had to be shot in sequence, although the hairline had previously been shaved back. Therefore I had to glue crepe hair in to match my own, as my character is revealed as Rossario Bonnamo, whom nobody in town suspected of being Lucifer except Father Damon and his sister Margaret (the incarnation of St. Michael). I command the golden staff of St. Michael to fly out of Damon’s hand, saying, “I will be re-born. Aiwasz!” (Aiwasz is a Satanic word calling on the powers of the Unholy Trinity). In this way, Lucifer defeats Rafael by outliving him through his next incarnation. Damon (Rafael) is accused of murdering Bonnamo and dies in the insane asylum, leaving Margaret (Michael) to hunt out Lucifer’s next incarnation (Andrew Williams) and join with the yet unborn angel Gabriel (Julie) to defeat him in the film’s final confrontation. John Egget rigged up a two-part duplicate cross which appeared to enter my heart and come out my back into the tree. We used Hershey’s syrup for my black blood. Fortunately for the cast and crew, the weather suddenly warmed up and shooting continued in a comfortable climate.
The shot of the three angels ascending into Heaven was shot during this warm snap. Here lights were hoisted high into the treetops, and in order to make the beam of light distinct to the camera lens, the smoke machine was used liberally. Cheri dusted a gold glitter into all the make ups as the actors are transformed by “The Rapture” promised in the Bible. Spectacular optical effects were added later to complete the images, shot on separate strips of film for each angel, to be composited as the three bodies become one in a whirling vortex of twinkles.
Then we were ready for the final revelation of “star student” Andrew, a pale and beautiful high school lad, into the inhuman and repulsive Lucifer, the Beast who was chased from Heaven by the Archangel Michael. The pre-made foam rubber face and ear prosthetics were only part of the full-body work that took 5 hours to apply, in Stefan’s motel room. Open sores, purple and yellow patches, and hair travelling from the inverted cross in the palm of the hand to the armpit, and from the ankles up the legs to join with the pubic hair revealed by the Black Mass robes were glued in place. All of the crepe hair had to be sprayed with Krylon acrylic to keep the wind from blowing it loose. False black fingernails were glued on, and then we were ferried over in a motor boat to the castle. It wasn’t hard for Kathleen Rowe McAllen as Julie to act repulsed by this being with three points on each ear, glowing eyes and fangs. Yet through all this makeup, the human part of Andrew still loves pretty Julie, and, hesitating to destroy her as he had destroyed Mrs. Buchanan, (portrayed by Elizabeth Hoffman) he gives her a few seconds in which to find the strength to take the golden staff and defy his power, shouting, “He is the Light!”
After a few pick-up shots left over from previous scenes, the crew packed up the equipment and left the castle in a pouring rain. We returned to Rochester for one last scene at the home of one of our investors, which was used as Julie’s house for the “seduction” scene and the scene where Julie’s boyfriend Mark (Paul Haber) proposes. Exhausted but fulfilled this crew of people from all parts of the country hugged their goodbyes and returned home to await the release of the picture. Frank La Loggia and the editors placed the newly developed film together in New York City.
After several months of negotiations, Frank and Charles La Loggia signed the distribution agreement with Avco Embassy Pictures. At this point only a “rough cut” of the picture existed, with gaps in sound effects and no music, titles or special effects. Working with executives from Avco, Frank finalized the order of the scenes and got the picture into its final number of seconds for music timing. Gifted with music as well as producing, writing and directing skills, La Loggia “scored his own film with a 33 piece orchestra under Avco’s post-production budget. The melodies are lovely and yet haunting, perfectly conveying the moods of the characters.
Fear No Evil’s soundtrack featured many punk and new wave bands from the late 1970s and early 1980s.
“Hey Joe” performed by Patti Smith
“Somebody’s Gonna Get Their Head Kicked In Tonight” performed by The Rezillos
“Blitzkrieg Bop” performed by the Ramones
“Psycho Killer” performed by Talking Heads
“Love Goes to a Building on Fire” performed by Talking Heads
“Delicious Gone Wrong” performed by Bim
“I Don’t Like Mondays” performed by The Boomtown Rats
“Lava” performed by The B-52’s
“Blank Generation” performed by Richard Hell
“Anarchy in the UK” performed by the Sex Pistols
Stefan Arngrim as Andrew Williams
Elizabeth Hoffman as Margaret Buchanan / Mikhail
Kathleen Rowe McAllen as Julie / Gabrielle
Frank Birney as Father Daly
Daniel Eden as Tony
John Holland as Father Damon / Rafael
Barry Cooper as Mr. Williams
Alice Sachs as Mrs. Williams
Paul Haber as Mark
Roslyn Gugino as Marie
Richard Jay Silverthorn as Lucifer
Mari Anne Simpson as Brenda
Joyce Bumpus as Susan
Patricia Decillis as Bette
Chris DeVincentis as Richard
Directed by Frank LaLoggia
Produced by Charles M. LaLoggia
Donald P. Borchers
Written by Frank LaLoggia
Cinematography Fred Goodich
Edited by Edna Ruth Paul
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