Santo vs. Frankensteinís Daughter (1972)

This is the second review I've done of campy Mexican wrestler/superhero movies staring Santo, pride of the Spanish-speaking world. The first was 1971's Santo and the Vengeance of the Mummy, and I think that one turned out pretty well so I hope this one is as good. Santo versus Frankenstein's Daughter (Santo Contra la Hija de Frankenstein) was released in Mexico in 1972 and I found it on DVD from Rise Above Entertainment as part of a four-disk set of Santo movies.

The film quality is very good, the soundtrack is crisp and clean and the English subtitles were easy to read and helpful, and needed as the only audio option is Spanish with subtitles. All in all an excellent presentation of this classic gem.

And now on to our show...

As I mentioned in the last review, Santo ("The Saint" in Spanish) is playing himself in all his movies, a famous masked professional wrestler. Santo was 55-years old (!) when he made this movie, and was renown throughout Mexico for his wrestling and iconic cult status. His trademark is his silver mask, which covers his entire head (with holes where needed), a feature that he apparently was never seen in public without. The mask is simple, without anything painted or stitched into it (kind of a disappointment, really, I would have preferred something more flashy). This is once again the extent of the biographical information I'm going to provide for Santo. If you want to know more about this famous man, just Google his name.


Ok, we open with Santo in a wrestling match before a packed stadium crowd, competing for a World Medium Weight Championship belt. His opponent is a thick-muscled Argentine named El Toro ("The Bull") wearing a red mask and white socks. The match is long and busy, with both men pounding on each other with equal ferocity, though clearly faking the really hard hits. Loosing badly in the first round, El Toro cheats like the Iron Sheik, bringing a pair of brass knuckles into the ring to really give Santo a dishonest whipping. But Santo regains the advantage slowly and ends up pinning his opponent to win the match. Yeah!

Now a stud like Santo has to have a girlfriend, right? Well, Norma is Santo's currently girlfriend (he has a new one each movie) and she's quite happy about it. And what girl wouldn't be? Santo is the hero of all Mexico, of most of Latin America for that matter, and cultural icon. And he's all big and buff, and fabulously wealthy!

Norma is a 20-something redhead with a fairly pretty face and an energetic acting style that goes well with the often frenetic pace of this movie. Her body is average, but she does spend 95% of the movie in a short leather skirt, which helps. She's played by an actress named Ana Elena Norena Anel, though usually appearing as just Anel.


Norma also has an older sister named Elsa who will share screen time with Santo during this movie. Elsa is a big-boned platinum blonde woman in her 30s, played by Sonia Fuentes. She's a poor actress, but is not called upon to do much more than run and scream in this movie. Cognizant of the audience demographic they are aiming for, the director put her in a series of short dresses that accentuate her nice legs and truly awe-inspiring breasts.


As we first meet them, the sisters are watching Santo's big match on Norma's television (though it's a dinky little 13-inch set, you'd think that Santo would buy his girlfriend something bigger and nicer, maybe a 25-inch console TV with stereo sound). Norma is really madly in love with Santo, though Elsa can't understand how she could love a man in a mask. Norma says that he takes the mask off when they're alone (which must have been pretty nervous for her that first time, what if he had been all ugly and stuff?).

Ok, the villain for our movie is the none other than the daughter of the famous Doctor Viktor Frankenstein! Her name is Freda and she's a mad scientist just like her father. Freda has for some reason recently left Eastern Europe and come to some two-bit dirt-poor town in the middle of nowhere Mexico. No explanation is given, and none is really expected (though it would have been nice). She came here to continue her father's work in genetic mutations and other generally illegal and immoral sciences. She has built an underground lab beneath a house and stocked it with technical gadgets and machinery.

Freda is played by 34-year old Cuban-born actress Gina Romand, a blond beauty and a solid actress in Mexican cinema. Romand plays Freda with delicious wickedness, vamping it up in a short skirt and leather go-go boots under her white lab coat. Strong-willed and firmly in control, Freda will be a formidable opponent for Santo.

Freda Frankenstein!

In addition to patchwork monsters with a hankering for peasant girls, back in the old country her father had developed a "serum" that made you young again! After his death, his daughter continued his work. Freda was the first to test the serum out and it worked wonders. Freda is thus over a hundred years old, though she still looks about 35. However, if you don't keep taking it at regular intervals, you instantly age to your "correct" age, which would cause sudden death as your body tries to cope with all that.

The serum needs some more explaining. It's never explicitly stated, but all evidence points to it making the user revert back to a state around 30 years younger. Thus, give it to an 80-year old man, and in a few moments he looks and feels 50 again. However, there is no cumulative effect, if you give him another dose, he doesn't go back to being 20, but just stays 50 longer. It seems that only the first dose give turns back the clock, and subsequent doses only hold it steady. Freda was about 65 when she got her first dose all those decades ago (a picture of her back in the old days sort of confirms this), so she has looked 35 ever since.

Every evil genius needs a partner in crime and hers is Doctor Yanco, a 50ish professor-looking man with a penchant for bush coats and hair gel. Yanco is also unnaturally old, having worked as a lab assistant to Doctor Vickor Frankenstein back in Europe. Igor-like, he has faithfully served two generations of mad scientists ever since. Oh, and he's also in love with Freda, but we never see any obvious signs of this, it might be more of a mutual attraction built on familiarity, or something ickier like Mister Smithers and Mister Burns. Yanco is played by 54-year old Roberto Canedo, a prolific Mexican actor who had starred in much worse and much better movies than ours.

Doctor Yanco.

Now, an evil mad scientist can't do everything herself, right? Who is going to build the lab, set up the electrical transformers, guard the perimeter, keep the prisoners fed, drag the dead bodies away, all that stuff? Henchmen, of course!

Well, Freda has a bunch (maybe eight or nine altogether) of local Mexican men from the nearby village of Santa Fe. To assure loyalty, Freda picks elderly men and gives them the serum. Once they become young again, they are hooked and have to serve Freda in order to receive more serum and not perish. Freda has them by the balls then and treats them harshly, demanding unflinching obedience and punishing even the slightest infraction by withholding the serum and letting the offender wither up and die. It's never stated for sure, but we can assume that Freda guards the secret of the serum's production very closely, maybe even keeping the formula in her head. Otherwise, if she has the formula lying around, it would be tempting for some put-upon henchman to think about killing her off and making the serum himself.

Oh, and Freda has gone out to the local Wal-Mart and bought a bunch of nifty bright red t-shirts for her henchmen to wear. The dress code is pretty lenient, however, as the men can wear their own pants and shoes, but have to wear the t-shirts while on the clock. I hope Freda issued several shirts per man, otherwise they'd be doing laundry every day.

"I know, I have to use Tide with bleach, too."

Ok, back to the plot of our movie. It seems that the longer you use the serum, the more the body develops a tolerance to it and the less effective it becomes. Freda has been using it longer than anyone and lately she has had to inject herself more and more frequently. It's clear to her that at this rate, in a few weeks or so she will die, as even an iv drip of the serum won't work. So, what she needs is something stronger to boost the serum's effects.

Looks like red Kool-aid to me, I think she's selling snake oil...

As it would have it, Freda is also a wrestling fan. She has determined through some dubious scientific means that Santo's blood contains "something" that causes him to age more slowly than most and to heal from his injuries faster than most (like Godzilla's G-cells). So, she went a Santo match some time ago, and when Santo got popped in the nose and bled a bit, she jumped up on stage after the match was over and wiped Santo's nose with a cloth out of supposed kindness.

She then took the blood sample back to her Lab and analyzed it. Sure enough, Santo's blood is abnormal, allowing him amazing healing abilities and strength beyond his years, though unable to get rid of that Cuervo and chicken burritos potbelly he's been sporting lately.

We take a short break now to go with Freda and Yanco to see the doctor's first experiment in mixing bloods to create an immortal human. Some time recently, she punished a disobeying guard by injecting him with the blood of a gorilla! This has turned him into a man wearing a bad rubber gorilla mask! The horror! The Gorilla/Man is actually named "Truxon" (a real life gorilla on display in Mexico in the 1950s) and is played by wrestler/actor Gerardo Zepeda. The make-up for the monster is a nearly hair-for-hair and paint smudge-for-paint smudge replica of the killer ape in 1968's Night of the Bloody Apes, which was also played by Zepeda.

Truxon, very hungery.

The Gorilla/Man growls, eats raw hunks of meat (well, unconvincingly maws a steak while making chomping noises) and doesn't wear a shirt (though he does wear a nice pair of slacks and deck shoes). We also learn that Freda is a master of hypnotism! She has hypnotized the Gorilla/Man to do her bidding, as well as not to eat her and mess up her blouse with his drool.

Freda has also been working on another monster, this one a stitched-together collection of body parts stolen from graveyards that she hopes to animate into a living thing. Sound familiar?

Got medical degree from Hollywood Upstairs Medical College...

To the Lab now where the doctor is ready to bring her monstrous creation to life. What follows is a very typical Frankenstein-monster-movie scene, copied in every one of these shows from the Hammer Films of the 1960s to the recent Van Helsing, with the creature lying on a table attached to machines with banks of flashing lights and sparking electrical thingies. A switch is thrown, some more are thrown, magnetic fields hum, electricity arcs and sparks, lights strobe rhythmically, and the creature's heart beats to life. Oh, so tediously predictable. All that's missing is Gene Wilder screaming "It's alive!".

The creature is named "Ursus", which is Latin for "bear", and is about as close to Universal Picture's Frankenstein monster as legally possible. The superhuman strength, the grunting and guttural vocalizing, the shambling gait, even the patchwork face and the metallic bolts in the head are very familiar to b-movie viewers the world over. Ursus is also played by Gerardo Zepeda, doing double monster duty in this movie.

Ursus, he's alive!

(Yes, I know, a lot of this is out of sequence, but I'm trying to make this all blend well.) We need some more proof of just how evil Freda is, in case anyone had any doubts. It seems a henchman named Escorpio (damn cool name, just rolls off the tongue) has done something stupid and incurred the wrath of Freda. The time for Escorpio's scheduled serum injection is today and Freda calls all her henchmen together to make a statement in obedience.

Freda informs Escorpio that he's screwed up for the last time and no shot for him. The man breaks down and presents an impassioned plea to Freda, which falls on deaf ears. He then starts to age rapidly, first his hands and then his whole body wrinkling rapidly until he dies of sudden old age in front of the cringing henchmen.

This scene is noticeable for the truly excellent acting job by Jorge Casanova, the otherwise unknown bit part actor playing Escorpio. In a movie full of Santo's stilted and wooden reads and flamboyant histrionics by the women, Escorpio's three minutes in the spotlight are the best work by far. Kudos.

Best actor in this miserable film...

Back in the Lab now, the doctor discusses with Yanco ways to lure Santo to her so she can get his blood. They hit upon the not-so-novel idea to kidnap Norma and get Santo to come after her. The henchmen will do the dirty work.

To Norma's house now as she comes in from somewhere and sits down to brush her hair in her bedroom. In through the open veranda doors sneaks three of the doctor's henchmen. Sneaking up on her, they grab Norma and haul her off (watch that one dude cop a feel as he does so). They leave a note for Santo to find.

Norma is wearing an unflattering yellow cotton sweater, a shiny brown leather fringed skirt and brown go-go boots. Her red hair is cut boy-short in a modish 1960s style. She will wear this outfit for the entire rest of the movie, though it stays remarkably clean throughout all the action.

The note tells Santo to come to a certain house in the jerkwater town of Santa Fe if he wants Norma back. It presumably tells him to come alone and not call the police, because he does both. Well, actually he doesn't come alone, he brings along Norma's sister Elsa, who insists on coming.

Driving Santo's slick Pontiac GTO convertible, they get to Santa Fe and find it seemingly completely deserted. They eventually find the sheriff, an old man with greased-back hair and an amusing handlebar mustache. The sheriff tries to convince them to go back home (which in light of later facts really makes no sense) but they decide to go on to the house. I guess the road to the house isn't fit for cars as they have to walk, in the dark, with spooky music cues and lighting effects.

Santo is wearing his mask (of course) and a long-sleeved white t-shirt and jeans. Elsa is smoldering in a slinky pale yellow dress and black clogs with three-inch heals. Both her and Santo will wear these outfits for the rest of the movie (I'm not complaining about the dress, mind you).

"So, if we can't find your sister, do you think you'd want to go out with me sometime?"

Alright, lets leave Santo and Elsa for a second to go back inside the underground complex. They've put Ursus (now fully alive and active) in a locked cell, from which he escapes. Wandering about the darkened halls, he stumbles up Norma's cell. As all monsters in movies are inordinately attracted to beautiful women, he begins pounding on the door to get at her. Boom, down goes the door and in lurches the creature as Norma screams her head off.

Before anything happens to her, however, One-Eyed the henchman leaps in with a flaming torch! The creature (frightened of flame, of course) is driven back into his own cell and the door is locked.

One-Eyed (the subtitles call him that) has an eye-patch over one eye and is by far the one henchman with the most dialogue and the most character development. I'll give credit to this movie for trying to flesh out some of the background characters, much more so than in most monster flicks.


Anyway, while that's going on, Norma takes the opportunity to sneak away and run off. She makes it through the nonexistent security net and out into the dark tunnels. She gets scared by fake bats on fishing line, scared again by a real rat, more scared by fake corpses in coffins along the wall, and really scared when she sees how her boobs sag in that ugly shirt. She eventually makes it to the surface unchecked and runs out into the night.

Freda is now alerted to Norma's absence, and she's pretty pissed. She calls out all her henchmen into the night to find the girl, and she herself is out there with them. Hmm...I think something got cut out of the final edit. It seems now that Freda knows that Santo is out there in the woods also, when just a second ago it seemed like she didn't know. How is that? Did the sheriff call her? Did they have a sentry out?

So three henchmen (all pretty tough-looking dudes despite their pansy red shirts) intercept Santo and Elsa, finding them near an old abandoned barn. Elsa is sent running back to town to get help (presumably from the sheriff) by Santo and he sets about thrashing the henchmen. Three on one seems unfair, but this is Santo we're talking about.

Santo then runs around a bit and bumps into Norma, who has all this time been wandering around the woods in the dark lost after escaping. Their reunion is cut short by the arrival of Freda and her henchmen! And she's got a gun pointed at Elsa (who was captured a bit ago). Whoa, what the hell! Freda is now wearing a completely different wig (I assume it's a wig, or maybe they just shot this scene much later and cut it in), before she had long curly hair and now she has straight short hair.

Check the hair, that's not right.

Anyway, Elsa knocks the gun away and runs off again. Santo tangles with the henchmen to cover her escape. Norma and Freda both go for the gun, and end up rolling around on the ground fighting for it. This must be the first catfight these two actresses have every filmed because they fight like four-year olds on a preschool yard, pathetic.

Despite being a bit bigger and much younger than Freda, Norma looses the fight and the gun. Santo, and this is priceless, looks over at Norma with an exasperated grimace on his face as if to say, "My god, woman, have you not learned anything from watching my matches? Do I have to do everything around here?".

There's a short scene here of Elsa hiding from some searching henchmen, but I really think it should have been earlier in the movie. Perhaps they thought they needed some sort of reminder of where Elsa was while Santo was being captured, so they snipped this out of the film and spliced it in here.

Regardless, Elsa avoids capture and makes it back to the town and heads to the sheriff's office. She's shocked to find that the once-middle-aged sheriff is now a wrinkled decrepit old man! She obviously doesn't know this yet, but the sheriff and his deputy are both in the employ of Freda, hooked on her youth serum. The sheriff was just about to get his injection when Elsa came in (I guess I should tell you that when the effects of the serum are beginning to wear off, before you get another shot you start to age rapidly). Elsa is tossed in a jail cell, after being roughly handled by the deputy.

Captured, Santo is taken to a cell in the basement and chained to a post with his arms up over his head (Norma ends up back in her original cell). Soon, Freda comes to visit Santo, the twinkle in her eye and a new application of blue eye shadow and red lip gloss telling us that she's got something frisky on her mind. She also has her long hair back again, and I must say I prefer the shorter look.

Santo, enchained.

As all women on Earth are in love with Santo, Freda naturally tries to put the moves on him. Santo is not interested and even insults her womanhood! Freda is not one to take insults or rejections (as evidenced by her treatment of her henchmen) and you can tell from here on out he's on her bad side.

Freda moves in close, pulls his mask off (though we only see a tiny sliver of the back of his head, only enough to confirm that he does have hair) and gives him a kiss before slapping him (I think I dated her once...). She says that Gorilla/Man will come teach him some manners soon. She then puts the key to his chain lock in his hand and tells him that he should at least have a fighting chance to protect himself. Ah, very sporting of her. One might wonder why she would risk Santo's death when she needs his blood, but the answer is just that, she only needs his blood. But then again, having him alive to make more blood if she needs it later seems prudent, so risking his death seems really pretty stupid on her part. But she is loosing her mind.

So in comes Gorilla/Man, all pissed and growling. It seems that Freda ordered him not to be fed for a while so he would come in here all good and mad. Gorilla/Man is very strong and bigger than Santo, so he really gives our hero a bad whipping to start. Santo is clearly a wrestler here as he rather stupidly keeps trying to grapple with the much stronger monster, without much success.

Finally realizing that if he keeps trying to wrestle with Gorilla/Man he's going to get killed, Santo picks up the thick chain that he was secured with before and starts whipping Gorilla/Man with it! Blood is drawn (though it disappears and reappears throughout the fight) and the beast is clearly going to loose this one. Santo beats down the monster and stumbles to the side, exhausted from this brutal battle.

Furious, Freda orders her henchmen to go in and shoot (!) Gorilla/Man for his failure. We hear three gunshots off-camera and see that Santo is chained back up. Things are not going well for the doctor.

While Freda could just shoot Santo in the head and be done with it, she'd rather come up with something more diabolical and Bond-villainish. She brings Norma to the lab and hypnotizes her (!) with a spinning light wheel and some verbal cues (is it really that easy to hypnotize an unwilling subject?). Freda tells Norma to take this here sharp knife and this here surgical basin and go in there and cut Santo's eyes out (!) and bring them back to her in the basin (!). Ouch!

So Norma, looking all glassy-eyed, goes into the cell where Santo is chained down on his back. Santo realizes what's about to happen and tries to convince Norma that their love is stronger than Freda's bad mojo (awww...). Now Freda sent along two henchmen to watch and make sure Norma did her deed, but they get squeamish and have to step out. Thus, they don't actually see what happens. Of note, One-Eyed the henchman has a fairly strong character moment here as he tells how even the thought of watching Norma take Santo's eyes reminds him of when he lost his own eye. He of all the henchmen gets the best lines in this movie.

Ok, back at the Lab, where the henchmen bring Norma to Freda, who has Ursus in there being tended to. Once the door is open, Santo bullrushes in! Ah, it seems his love is stronger than mental mojo, Norma's hypnotic spell was broken and she cut him loose and he's here now to put and end to all this silliness.

Freda, not one to give up easily, orders Ursus to rise and kill Santo! The monster breaks its straps and lunges up to do battle with Santo. Glass bottles are broken, tables are overturned, makeup is smudged, Freda gets tossed about, and in an homage to cage fights everywhere, a metal chair is used to put down Ursus!

Santo runs out with Norma, locking the door behind them as Ursus screams in rage and pain. They make it out into the darkness and run towards town to save Elsa (who've they deduced is in danger from the sheriff).

And back now to the sheriff, where the sheriff decides to send Elsa back to Freda's house, despite not having hear from her in a while. So the deputy goes in to knock her out with chloroform (who keeps this in a small town police station? and why not just lead her at gun point back to the house?).

Elsa, however, has apparently been paying attention to Santo's wrestling movies more than Norma because she's able to smack around the deputy and run off. The blocking and pacing of this "fight" scene is laughable, and the actress playing Elsa has clearly never done anything physical like this before. The deputy pretty much hits her hand with his face a few times then falls down.

Still on the run, Santo and Norma stumble to a cemetery, where Norma sits down to rest and Santo goes off to look for something. Nice, leave your scared, injured girlfriend in a cemetery, at night, with killer monsters about. Nice boyfriend. Oh, and he was getting pretty cozy with your sister a few scenes back, might want to keep an eye on that.

Sure enough, a nearby crypt slides open revealing a hidden tunnel entrance connected to the lab. By the way, who built this underground complex? Did she build it, or was it there before? Was it once some drug lord's compound? Maybe some old government CIA alien station? It just seems like a lot of work to build all this for her purposes. Couldn't she just have rented some old hacienda with a big barn?

Anyway, Ursus shambles out of the crypt and grabs Norma, who screams bloody murder. Santo comes running and he and Ursus (plus some random henchman that is disposed of quickly) engage in another brutal wrestling match. This one ends with Ursus impaled on a sharp pointy cross, seemingly mortally wounded. Santo and Norma then run off again.

"Damn you all! My shirt is dirty! Can't you see this!"

They find Elsa, recently busted out of the jail, and the three of them head for Santo's car. Sadly, someone has pulled the distributor cap off! Well that sucks, he's still making payments on it. On foot now (what not one single other car in this entire town they could steal?), they run for the highway.

As the sun comes up, Santo and the girls reach the road, where very soon a powder blue Willys jeep pulls up. The old rancher behind the wheel recognizes Santo and gushes about how he's his favorite wrestler. Star-struck, the rancher readily agrees to drive the girls to the city in exchange for a backstage visit to the next Santo wrestling match. Santo is not going with them, he's going back to kick some Frankenstein butt.

As soon as he's gone, however, it's clear that this rancher is league with Freda! A bit later he pulls over to "check on something under the hood", giving four henchman the chance to catch up to them and recapture Norma and Elsa. Of note here is a flash of Elsa's panty-covered bottom as they wrestler her out of the jeep. In these Santo movies there is rarely, if ever, any sort of the sexy scantily clad girls you see in American films of the same type. Seeing Elsa's underwear qualifies as the most surprising image of this entire movie.

ok, Santo runs back to the cemetery to find Ursus still alive. The creature has somehow managed to de-impale himself and is just sitting there in obvious pain, a big bloody wound in his chest. As he clearly means no harm to Santo now, our hero's big softy heart kicks in. Taking off his shirt (perhaps just an excuse to run around bare-chested now) he wraps it loosely around Ursus' wound (lot of good that's going to do). The creature, reacting to the first real bit of kindness he's received since being animated, is now Santo's friend! Pull the thorn from the lion's paw...

"Here, let me stick this dirty, sweaty shirt in your open wound..."

Santo works his way through the tunnels towards the Lab. Passing the open caskets, we see that the henchmen have set a trap! Knock-out gas begins spraying out of one of the corpses, causing Santo to choke and gag and drop to his knees. Three henchmen rush in now and corral Santo (that gas must have been very fast-acting and not very persistent).

Suddenly here comes Ursus! Wading into the henchmen to save his new best friend, the creature mangles the three bad guys as Santo escapes towards the lab. Hey, Santo, thanks for leaving your partner there, nice teamwork.

Back to the lab, where Freda has the two poor put-upon girls in chains. The doctor is really over the edge now, her mental state already affected by the degrading effects of the serum and now snapped by that bastard Santo meddling in her plans. To take her anger out, Freda is about to cut Norma's eyes out (!) and then pour acid in the empty sockets (!). Arg!

"I am such a nasty bitch."

Just before all that ickiness can happen, however, there is a knock at the door. Yanco (just he and Freda are here) opens the door to find One-Eyed, who collapses and dies right there in front of him (he must have survived the mangling by Ursus and struggled here before giving out).

Right behind him comes Santo! The girls squeal in delight, Freda screams in rage, and we wonder why Santo isn't more surprised to see the girls here, as when he saw them last they were driving away. He takes the sight of them being here in stride, almost like he read the shooting script.

As the only man there, Yanco steps up to the challenge of fighting Santo. Sadly, Yanco is an out-of-shape middle-aged guy and has little chance against the machine that's Santo. Yanco down and unconscious, Santo moves to take out the doctor. But before he can, the evil woman threatens to pour the acid on Norma's face! Oh, you nasty bitch.

But what's this? In through the door comes the creature! Both Santo and Freda tell the creature to kill the other, but Santo's repeated acts of kindness have overridden Freda's hypnotic control. The Doctor tosses the acid in the creature's face but that doesn't stop it from choking her to death.

So much for her.

During the fight, however, a switch on the wall was accidentally thrown. Dialogue much, much earlier established that this switch was to blow up the lab after a five-minute delay. This was a failsafe if the authorities ever discovered the lab and the doctor had to destroy the evidence before escaping. The question is, how did Santo, or the two girls, know this? They ran away like they knew, but how?

So Santo and the girls run out through the same tunnels we've seen all movie, coming out this time through the open crypt in the cemetery. They leave poor wounded Ursus down there to die (pretty crappy of Santo, seeing as how he saved his butt twice) and with him the curse of Doctor Frankenstein. Ka-Boom!

We end back where we started, in the wrestling ring. Santo and Yamaguchi, a thick burly Japanese man, are going at it with characteristic sweaty, grunting, slippery machismo. Norma and Elsa are in the crowd, cheering on lustily. Santo wins, of course, and all is well.

The End.

Written in March 2007 by Nathan Decker.

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