films. These included the Spanish-language version of The Cat Creeps. Although Carl Laemmle Jr. is credited as the producer, the hand-on supervisor was 27-year-old Paul Kohner. The screenplay, which was adapted by Baltasar Fernández Cué from the English-language version by Garrett Fort, differs from the latter by expanding several dialogue exchanges, rearranging scenes and adding additional material with Renfield's flustered comic relief keeper, Martin. On October 10, Melford began directing the film shooting at night while Browning's crew would shoot during the day. At certain times, the crews would shoot on the same set. Filming lasted a total of 22 shooting days. Tovar discussed the Spanish-language production as to make it for "as little money as possible. They used the same sets and everything. And those [Spanish-speaking actors] were not demanding big salaries". Melford spoke no Spanish, but used an interpreter on set to direct the film. Melford studied the English-language footage filmed during the day and composed his own shots accordingly. The film differs from Tod Browning's Dracula, as it has a running time of 104 minutes, making it almost half-hour longer than Browning's version. Costumes in this film are also somewhat different, such as actress Lupita Tovar's more low-cut nightgowns. Release Dracula opened in Havana, Cuba on March 11, 1931, New York on April 24, and in Los Angeles on May 8. The film was distributed by the Universal Pictures Corp. On its screening in Los Angeles at the California Theatre, the theatre reported a box-office take of $5,600 for the film, which was less than the previous week's film, Paramount's Gente Alegre which grossed $6,600. By October 1930, The Hollywood Reporter described that foreign-language versions of films had been financial flops in every country, which led to studios dubbing pictures films to reach non-English speaking markets. Melford's Dracula was among the last of these multi-lingual types of productions. The film was described by Rhodes as "largely forgotten" with only a few horror film historians mentioning it in the 1960s and 1970s. A copy of the film was discovered in a New Jersey warehouse in the 1970s, leading to new interest towards the film began after a screening of the film in New York sponsored by the Museum of Modern Art in August 1977. The print screened was incomplete but sparked interest due to it being a largely unseen Universal horror film. A full print was found at