Luna would inspire the character Morticia in the TV series The Addams Family. The soundtrack for Mark of the Vampire is notable in that it employs no orchestral music aside from accompanying the opening and closing credits. Melodic passages, when heard, are provided only by the players. The sound effects provided by recording director Douglas Shearer contribute significantly to the film's ambiance. Film historian Matthew Sweney writes: The climatic coup-de-grace occurs when the murderer's incredulity regarding the existence of vampires is reversed when Browning cinematically creates an astonishing illusion of the winged Luna in flight transforming into a human. The rationalist Baron Otto, a witness to this legerdemain, is converted into a believer in the supernatural and ultimately confesses, under hypnosis, to the murder of his brother Sir Karell. In the final five minutes of Mark of the Vampire, the theatre audience is confronted with the "theatrical trap" that Browning has laid throughout the picture: none of the supernatural elements of film are genuine—the "vampires" are merely actors engaged in a deception. This is made explicit when Bela Lugosi, no longer in character as Count Moro, declares to a fellow actor: "Did you see me? I was greater than any real vampire!" The Devil-Doll (1936) In this, the penultimate film of his career, Browning created a work reminiscent of his collaborations with actor Lon Chaney during the silent era, in the "bizarre melodrama" The Devil-Doll. Based on the novel Burn, Witch, Burn (1932) by Abraham Merritt, the script was crafted by Browning with contributions from Garrett Fort, Guy Endore and Erich von Stroheim (director of Greed (1924) and Foolish Wives (1922)), and "although it has its horrific moments, like Freaks (1932), The Devil-Doll is not a horror film." In The Devil-Doll, Browning borrows a number of the plot devices from his 1925 The Unholy Three. Paul Lavond (Lionel Barrymore) has spent 17 years incarcerated at Devil's Island, framed for murder and embezzlement committed by his financial associates. He escapes from the prison with fellow inmate, the ailing Marcel (Henry B. Walthall). The terminally ill scientist divulges to Lavond his secret formula for transforming humans into miniature, animated puppets. In alliance with Marcel's widow Malita (Rafaela Ottiano), the vengeful Lavond unleashes an army of tiny living "dolls" to exact a terrible retribution against the three "unholy" bankers. Biographer Vivian Sobchack acknowledges that "the premises on which the revenge plot rest are