Vintage Scripts (a collection of original amateur screenplays).

[Low_Roads]

I gained my majority in the early '70s... at that time, filmmaking seemed like a really cool career choice, so in preparation I got myself a super-8 camera and began to crank out epic after amateur epic (sad reality: I completed only 2 feature-length movies, feature-length in super-8 terms being approximately 20 minutes running time). I was F-IV Films (every would-be Orson Welles of that era had himself some sort of bogus studio identity)... my bosom pal GM (see Spectacles of Doom for more background) ran Royal Studios. We merged to form Swell Pictures", and the rest is history... unreported history. Here's where I plan to change that.

My ambitions far outran any feasible production schedule... scores of scripts for possible film projects piled up (small wonder; I was knocking out a new one every week). In this thread, I plan to present some of the choicest examples (however choice that may be)... a few from GM, too. He was better writer than I was and influenced my developing style a great deal. Also, some of the best stuff in this collection will come as the result of our collaborative effort.

This first offering is one that never came close to production. Too bad, as it would have proved simple to shoot (I had all the actors I needed and locations were easily available) and likely made a handsome finished film.

Note: "Foster Glenn Oakes" was my favorite '70s-era nom de plume (something else most aspiring filmmakers had to have), one which will appear on each of my proffered screenplays. So please don't be confused:

Swell Pictures presents

a film written and directed by Foster Glenn Oakes:

Mala Khan
Part 1.​

Characters:
Dr. Erick Caldwell
Dr. Julius Briggs
Prof. Horace Van Gerrick
Elvira Briggs
Sgnt. Kalwari
Dr. Kraus


INTERIOR shot. The scene opens in total darkness. As wild African rhythms well up, the camera draws back to reveal the black void as being the pupil of a human eye. The man is DR. ERICK CALDWELL, and he lies on a hospital bed. He appears paralyzed, even dead. The camera pans up, as SGNT. KALWARI and DR. KRAUS enter through a door behind him.

Dr. Kraus: There is nothing I can do for this man. He has lost the will to live.

Sgnt. Kalwari crosses to a point in front of Dr. Caldwell, who does not move.

Sgnt. Kalwari: Dr. Caldwell. Can you hear me?

Dr. Caldwell: (slowly) Tell the other man to leave, Kalwari. There are things I must tell you which no one else must hear.

Sgnt. Kalwari: Dr. Kraus, would you please leave us? No longer than half an hour, I promise you.

Dr. Kraus: As you like, but do not tire him.

Dr. Kraus leaves and Sgnt. Kalwari returns to Dr. Caldwell.

Dr. Caldwell: You are the only one who must know, Sergeant. Only because you know so much of it already. Think back—it was only one month ago—

As Dr. Caldwell speaks these last lines, the camera pans to an open window. There is a dissolve. EXTERIOR shot of four people seated at a small table. Dr. Caldwell is one, Sgnt. Kalwari is another. The other tow are DR. JULIUS BRIGGS and his wife, ELVIRA BRIGGS. All four hold glasses of wine.

Dr. Caldwell: This is quite a reception, Julius.

Dr. Briggs: You deserve it, Erick. Your progressive measures have revolutionized chemical science. I’m glad you decided to help us with the project. Sgnt. Kalwari, I thank you for seeing Dr. Caldwell here through the jungle safely.

Sgnt. Kalwari: I am always glad to see you again, Dr. Briggs, as well as your charming wife, Elvira.

Elvira: (playfully) I think what you really come here for is our wine. (Everyone laughs.)

Sgnt. Kalwari: Yes, I must confess it.

Elvira: Jules, it’s so nice out here! Let’s lunch here rather than inside. Come, help me with the things.

All rise, as Elvira and Dr. Briggs leave. Dr. Caldwell and Sgnt. Kalwari again sit. Kalwari’s attitude is now one of apprehension.

Sgnt. Kalwari: A handsome couple. But dangerous too, perhaps.

Dr. Caldwell: What do you mean by that?

Sgnt. Kalwari: You must forgive me if I seem to insult a friend of yours, but more goes on in this region than you would think possible. Dr. Caldwell, what do you know of the Mala Khan?

Dr. Caldwell: Only that it is a legend that the natives believe.

Sgnt. Kalwari: It is no legend. I have seen it. It is a demon of fantastic strength, and I believe that the Briggs are somehow connected with it.

Dr. Caldwell: Jules, holding communion with a devil?! Come now, sir—

Sgnt. Kalwari: I was afraid you might not take me seriously. I admit that Dr. Briggs is normal enough. But wait until you’ve met Prof. Van Gerrik—

There is a dissolve. INTERIOR shot of a laboratory. In the midst of chemicals and experimental equipment, sits PROF. HORACE VAN GERRIK. The camera pans up from him as a door opens behind him and Briggs and Caldwell enter.

Dr. Briggs: This is our chemical laboratory, Erick. And this is the man responsible for the project: Professor Horace Van Gerrik.

Prof. Van Gerrik: So, you’re Dr. Caldwell. Sit down and I’ll try to explain to you the nature of our work.

Caldwell sits, and Van Gerrik produces a wicker cage containing a small lizard.

Prof. Van Gerrik: We have long known that the lizard is more compatable to survival than man. Its strength, speed and viciousness are without equal. We have been trying to chemically combine the saurian and human characteristics into a superbeing...a Homosaurus.

Dr. Briggs: But our formula is wrong. We’ve met with nothing but failure.

Prof. Van Gerrik: Here. Have a look.

Van Gerrik hands Caldwell the sheet with the formula written on it. Caldwell examines it intensely.

Dr. Caldwell: This formula is foreign to me, but I see several places where you have erred.

Prof. Van Gerrik: Then let’s get to work!

A montage of the various stages of the experimental work ensues, via dissolves. Finally, the three men stand over the finished mixture.

Dr. Caldwell: According to theory, this mixture should work. But we need a practical experiment.

Caldwell fills a syringe with the liquid, then picks up the cage holding the lizard, intent of injecting it with the serum.

Prof. Van Gerrik: Please allow me, Dr. Caldwell. I want the glory of the success to be mine.

Caldwell is somewhat surprised at this, but hands over the loaded syringe. Van Gerrik quickly plunges it into Caldwell’s neck, then retreats with Briggs through the door, shutting it behind him. Caldwell reels with pain. On the other side of the door, Briggs is upset and Van Gerrik beams in triumph.

Dr. Briggs: How could you do that! If the serum is wrong, you’ve killed him. And if it’s right...

Suddenly realizing what might have happened to his friend, Briggs wheels about and opens the door. Both men recoil in horror as they confront Caldwell, who is now hideously covered with gray scales. Briggs slams the door shut again, but Caldwell starts pounding against it with tremendous strength. Both Briggs and Van Gerrik throw themselves against it.

Prof. Van Gerrik: He’s too powerful. Perhaps a tranquilizer—

But Van Gerrik’s statement goes unfinished, for Caldwell breaks through the door and runs down the hallway to a door leading to the outside. The bewildered scientists follow in hot pursuit. EXTERIOR shot of Kalwari and Elvira, beside Kalwari’s jeep. He has arrived just in time to glance up and see the transformed Caldwell heading straight for him.

Sgnt. Kalwari: Mala Khan ! ! !

Kalwari takes out his revolver and fires at Caldwell, hitting him in the chest. Caldwell turns and runs down a path into the jungle. All three pursuers have guns now. Van Gerrik, because of his bad leg, soon lags behind and comes face-to-face with Caldwell, who has doubled back. Van Gerrik fires into Caldwell three times. The lizard-man passes out just as Kalwari and Briggs return.

Prof. Van Gerrik: Sgnt. Kalwari, go back to Kinshasa for assistance. I have the facilities to contain him until then.


Next week: "Mala Khan", concluded.

 

[Journia]

This is quite interesting. I love the characters of Kalwari and Von Gerrik.

 

[Low_Roads]

Thanks J! I didn't write very many black roles, even though I had a black college chum to play the parts (he did portray a character in Masters of the Cosmos, one of the films I did complete, upcoming later), so this was a real missed opportunity. I also had actors in mind for Briggs (the part GM would have played), Caldwell (the part I would have played) and Elvira. Van Gerrik and Kraus were uncast in my mind, but with a whole class of eager Drama majors at hand, finding someone wouldn't have been a problem.

 

[Low_Roads]

Mala Khan
Part 2.​

From Caldwell’s point-of-view, we see Kalwari leave. The scene fades into darkness. The wild Congo music heard at the beginning is slowly reinstated. As it fades, and the scene fades in again, we see Van Gerrik, Briggs and Elvira from Caldwell’s point-of-view, staring at him through the bars of an electrified fence.

Prof. Van Gerrik: The trouble with lizards was they were too small, Caldwell. So we gave them up and started on humans. You’re the first complete success we’ve had, however!

Elvira: And what a success! Four bullets in him, yet he has already regained his strength. The experiment is a triumph!

Dr. Briggs: Good God! Enough! Can’t you see he’s suffering?

Elvira: You spineless thing! Can’t you stand up to responsibility even now?

Dr. Briggs: Responsibility!? To let Erick be taken away and destroyed? I’ll set him free first. He had no part in this.

Briggs begins to shut off the electrical current, when Van Gerrik raises his cane and brings it down on the younger man’s head. Briggs falls, lifeless.

Elvira: You’ve killed him!

Prof. Van Gerrik: And so our secret is safe. Besides, you wanted to be rid of him anyhow. We can blame his death on Caldwell.

At this, Caldwell throws himself against the fence. A shower of sparks erupts and he is hurled back.

Prof. Van Gerrik: Miserable failure! I could improve his body, but do nothing for his intelligence.

Van Gerrik and Elvira leave the enclosure and enter the house. Meanwhile, Caldwell lies crumpled over, his head in his hands, as the Congo drums beat into his brain. Dissolve. INTERIOR shot of the library of the Briggs’ house. Elvira and Van Gerrik sit in an aura of mild nervousness. A storm has begun to develop outside, and periodic flashes of lightning illuminate the windows. Suddenly, the lights flicker wildly.

Elvira: What was that?

Prof. Van Gerrik: Perhaps lightning struck the wires. At any rate, I’ll check the fuse-box.

Van Gerrik leaves, and Elvira is alone. Cut to EXTERIOR shot. Lightning flashes reveal the enclosure. The gate is open and Caldwell is nowhere about. Cut back to INTERIOR, the library. The window behind Elvira is suddenly set alight by a bolt of electricity, and Caldwell is revealed, lurking in the shadows. Slowly, the door to the outside begins to open. Cut to Elvira, as a pair of claws quickly grasp her. Her scream is stifled and she faints. Cut to the laboratory, where the claws pick up a closed wicker basket marked “King Cobra”. Cut back to Elvira, who awakes from her swoon. She is surprised to find that she is bound to the chair. Then, she notices Caldwell sitting in front of her with a reed flute.

Elvira: What-what are you going to do to me?

Then she notices the basket beside her bare feet. As she reads the marking, she again looks toward Caldwell.

Elvira: Oh, no! No ! ! !

Cut to Van Gerrik, who is on his way back to the library. He stops as he hears strange flute music. Suddenly there is the horrifying wail of a female voice. Cut to the laboratory again, where the claws replace the basket and take up a syringe. Return to Van Gerrik, who approaches a door in the hallway. Before he can reach it, it slowly opens, and Caldwell stands before him with the fully loaded syringe. Van Gerrik backs off, but stumbles onto the floor.

Prof. Van Gerrik: Caldwell! Dr. Caldwell! Use your reason. Together, we can work on an antidote. For God’s sake, Caldwell, reason ! ! !

Words are to no avail. Caldwell proceeds until there is a horrible scream from Van Gerrik. Immediate cut to EXTERIOR shot of Caldwell running through the jungle, with the jungle drums hitting an insane crescendo.

Dr. Caldwell: (voice-over) Then I ran. And inside me, I grappled with the lizard-thing that welled up to steal my existence.

Caldwell falls, grasping first his stomach, then his head, battling an enemy from within.

Dr. Caldwell: (voice-over) I was rent...split in half, trying to free myself. I don’t know how long I suffered with that agony, but at last...

Cut to INTERIOR shot of Caldwell in the hospital bed, with Sgnt. Kalwari at his side. The policeman has his head in his hands.


Dr. Caldwell: ...at last, I thrust out that evil influence and became whole again. When the battle was over, there was nothing left of me. My mind and body were shattered...unusable. (long pause) Kalwari, did you bring it? The thing I asked for?

Sgnt. Kalwari: Yes. I found it when we investigated the murders.

Kalwari produces the small wicker cage which held the lizard. Only now, there are two lizards in it. Caldwell stares at it and smiles. We see the reptiles through Caldwell’s eyes.

Sgnt. Kalwari: (off) Dr. Caldwell, one of those lizards isn’t right. His leg isn’t right. He limps.

For the final time, the drums sound, rising then drifting away forever.

Sgnt. Kalwari: Dr. Caldwell?

Kalwari leans over Caldwell and examines him. Then, making the discovery, he walks to the door.

Sgnt. Kalwari: Dr. Kraus... your patient is dead.

Kalwari looks back at Caldwell, whose smiling face stares, even in death, at the wicker cage. The lizards scamper about, trying to escape. Fade out.

Fin​

Next: "Ape on the Loose".

 

[His Divine Shadow]

Interesting how one is a Professor and others "Doctors." A tiny bit I noticed, perhaps from being amused when college professors alternatively want to be called doctor or professor. A fine little tale this is! Something worthy of an Outer Limits or Tales from the Crypt piece. Strange, though, that the natives had legend of such a creature before it became possible to create one. But, that's another story.

 

[Low_Roads]

Interesting how one is a Professor and others "Doctors." A tiny bit I noticed, perhaps from being amused when college professors alternatively want to be called doctor or professor.

:laughing: That's a holdover from the bad ol' days when all I knew about Professors was that they seemed to outrank Doctors, an impression bolstered by cheezy sci-fi (my favorite type!)... the Professor always stayed onboard the rockeship and gave orders, while the Doctors ran around outside and got ate up by dinosaurs and amebas! Ashamed to say it, but this won't be the last time in this series the canard will crop up!

A fine little tale this is! Something worthy of an Outer Limits of Tales from the Crypt piece.

Thank you for the comparisons, HDS! More EC than Outer Limits in "Mala Khan", I suspect, but either one is a welcome compliment!

Strange, though, that the natives had legend of such a creature before it became possible to create one. But, that's another story.

I know, I know... my early writing swims through a sea of contradictions! The idea here was supposed to be that the legend existed prior to Briggs' and Van Gerrik's experiments, and that they'd use it as cover when saurified humans (mutated, but dying) would be spotted. Workable enough... but, of course, there isn't a hint of this in the finished screenplay! (it wouldn't have been tough to fix, either... a couple of sentences would have sufficed.)

I was a lot less eager to correct errors in the '70s than I am now... part of this hinged on youthful hubris; but mainly, rewriting proved to be an unholy pain in the butt! In the days before word processing, altering text required retyping an entire page (often more than one) and fiddling with White-out to fix spelling errors (I won't even describe the horrors of carbon paper... it'll give the younger members fits!) I can't rely on that alibi, though... my early writing was pretty raw, and no amount of typing convenience would have made the style more elegant. I present these stories mainly for historical context... also because, despite the flaws (often due to them!), they can offer unpolished entertainment value.

 

[Cbarton]

Excellent, well conceived plot line! One can see from this the early stages of the finely cut gems we get now. this should be a fun trek down memory lane for you and us.

I agree with HDS, it truley has a Outer Limits or Tales from the Dark Side feel to it.

 

[Low_Roads]

Excellent, well conceived plot line! One can see from this the early stages of the finely cut gems we get now. this should be a fun trek down memory lane for you and us.

Thank you for saying so, Hawk! I hope it will be fun! Though my themes are primarily spooky, there'll be plenty of variety within that genre. And many of the scripts will come with illustrations. "Ape on the Loose" (one of GM's), up next in a few weeks when we cycle through this thread again, will offer a quartet of accompanying pictures.

I agree with HDS, it truley has a Outer Limits or Tales from the Dark Side feel to it.

Once again, I appreciate the nice comparisons! Horror and fantasy series from the early-to-mid '60s ("The Outer Limits", "The Twilight Zone", "One Step Beyond", "Thriller", "Voyage to the Bottom of the Sea", etc.) were the most potent of early inspirations, along with '50s science-fiction films (favorite TV schedule-fillers at the time!) It's a legacy that shaped a generation... Lucas, Spielberg, Raimi and Jackson might have picked entirely different paths without such homey, comfortable terrors to spur them on!

 

[Journia]

From beginning to end, this was a hit! I can not wait, for the next vintage script of the great Littlebighead. The ending is a killer. The two villains are now lizards, reptiles! It reminds me of a twilight episode I saw once. But only vaguely. The evils of Van GFerrik have taken him and his doomed trade between logic and reason, can not save him from the rage of...Mala Khan!

 

[Low_Roads]

From beginning to end, this was a hit! I can not wait, for the next vintage script of the great Littlebighead. The ending is a killer. The two villains are now lizards, reptiles! It reminds me of a twilight episode I saw once. But only vaguely. The evils of Van GFerrik have taken him and his doomed trade between logic and reason, can not save him from the rage of...Mala Khan!

Thanks J! I love the sound of that! It would make perfect advertising copy for the movie... I'm more sorry than ever that it never got filmed! GM completed a lot more projects than I did (I have the screenplays for almost all of them, and will present them in their turn). Unfortunately, these films are mighty difficult to view anymore... the heyday of super-8 is long past; projectors aren't easy to obtain (my old one hasn't worked in years), nor are the components (projector bulbs had a rather short running life). I'd like to convert all the existing ones to DVD some day, but that's an expensive proposition. Happily, I do have the majority of the scripts... the only practical reminder that they were ever made to begin with.

 

[Low_Roads]

Ape on the Loose

My second Vintage Script submission isn't my work but something from longtime pal GM (see Spectacles of Doom in the Non-tk Art Section and the first post in this thread for more background). His completed film Ape on the Loose was one of the first things he ran for me when we became friends... it was bloody impressive, filled with fine arch performances and inspired camerawork. It was a silent; all the dialogue was delivered via title cards, and appropriate old-timey piano music added to the antique aura. This draft of the script is taken from an early manuscript (all I was ever able to find for this work); hence the unused title, "Mystery of the Man-Ape". I suppose he thought better of it finally... Ape on the Loose does have more zing.

Also, check the bottom of the post: four drawings (my work) illustrate some of the action. Final revising placed Marais' demise in an open-air cantina, rather than in the street:

Mystery of the Man-Ape

(AKA: "Ape on the Loose")

a screenplay by GM​

Dramatis Personae

Dr. Anton Cabal
Louise Cabal, Anton's wife
The Inspector
Felix Devereaux, Anton's friend
Dr. Maurice Marais
Claude Leroux, the 1st victim

The Time: 1910

The Place: French Morocco

The film should be preceded by a visual presentation of the cast, in order to better establish the relationships of the characters.

Act I - Scene One​

TITLE: French Morocco, 1910

TITLE: AFTER A DINNER PARTY AT THE CABAL HOUSEHOLD--

Anton/ ... and so, good friends, it is my conclusion that between the thin evolutionary line separating man and ape lies a catabolic enzyme that alters the basic genetic code. Inject a man with this enzyme and he will become ape-like in body and mind.

Marais/ Nonsense!

A general raising of eye-brows.

Anton/ What?

Marais/ You've been working too hard. You need rest.

Anton/ Be so kind as to remove yourself from this house!

Marais exits premises. Cabal storms into his laboratory.

Inspector/ It is better I should go now. (exits)

Louise/ Sometimes Anton frightens me so. Oh, hold me, Felix.

They fall into each others' arms.

Scene Two (Lab)​

Cabal/ So Marais mistakes my genius for overwork, does he? Then I shall prove my theories to the world.

He pours himself into his work. A clock is used to illustrate the passing of several hours.

Cabal/ And now for the final test!

He downs fluid, triggering the metamorphosis. Before his eyes, his hand becomes that of an ape. He is overcome and slips below the table. Cut to main room, as a dimly seen figure stalks out into the darkness...

Exterior. A drunken workman in the act of making his way home is cornered and attacked by the thing Cabal has become.

Cabal awakes in laboratory. There is blood on his hands and fingers. He cleans up hastily, still not truly comprehending what has transpired...

Act Two - Scene One​

Another room. Cabal sits, Louise brings him the paper.

Cabal/ (reading) "Brutal Slayings. Workman Torn Apart by Wild Beast." (pause) It worked! It worked! Beware Dr. Marais... there's an ape on the loose!

Scene Two (Lab)​

Cabal carefully sets up a picture of Marais. He drinks potion, changes... this time a full view of his face is shown in close-up. The ape catches sight of the photo, seizes it, and rips it apart. He exits.

Exterior. Marais is out for a stroll. Cabal corners him.

Marais/ Those clothes... you're Cabal!

Cabal sinks his claws into Marias' face. Fade.

Scene Three​

Cabal exits lab, drying hands on towel, in high spirits.

Louise/ Did you hear the horrible news? Dr. Marais was murdered last night!

Cabal/ How dreadful! How utterly, utterly dreadful!

As he turns, he breaks into an uncontrollable smile, unwitnessed by Louise.

Act III - Scene One​

Louise admits the Inspector. The Inspector places his fez on the table. He removes a packet from his coat.

Inspector/ Dr. Marais was found clutching the fur contained in this packet. (pause) I bring it here for Dr. Cabal to identify.

Louise/ I'll see to it he gets it, Inspector.

Inspector exits. Zoom in on forgotten fez. As Inspector exits, Felix enters. He embraces Louise, who has rushed to him.

Louise/ I've missed you so much.

Anton opens lab door, observes, and falls back to listen.

Felix/ But Louise, what if Anton--

Louise/ Don't be foolish. My husband is married to his test tubes. He's spending the night with them, and I shall spend it with you.

They smile and return to their endeavors. Cabal falls back into lab.

Cabal/ My wife and my best friend. What am I going to--

He spots chemicals.

The Inspector, on his way home, discovers the missing fez and starts back.

Cabal downs solution.

Louise and Felix break and start for one of the doors, their eyes beaming lovingly at each other. The lab door inches open and the ape stalks forth. He pounces on Felix, choking him. Louise attempts to pull him off, and he turns his attention toward Louise. The Inspector enters as Cabal corners his wife. The Inspector draws his pistol and fires. Cabal catches it in shoulder. He rushes past the Inspector and attempts to ascend ladder. The Inspector fires again and again. His eyes fall as Cabal tumbles from his ladder. Louise rushes to Felix, who is coming around. As the Inspector watches in utter amazement, the ape becomes Cabal.

Inspector/ My report will read only that Cabal died while trying to protect his wife.

The actors freeze in position as the camera draws back to reveal the entire scene.

The End​

Next: "Masters of the Cosmos".

 

[Low_Roads]

Masters of the Cosmos

Here's the script for my first super-8 movie that was longer than one reel (the first for which I needed an actual script, rather than just making things up as I shot). In an era when 400 feet of finished film constituted feature length (approx. 20 minutes), Masters of the Cosmos was an epic of Peter Jackson proportions: a whopping 1,000 feet (around 45 minutes). If only it had been Peter Jackson quality...

The glory of '50s science fiction cinema has always been my personal gold standard for popular entertainment. This film was to be my stab at the ultimate Golden Age recreation, with flying saucers, tank battles, ravening alien monsters... everything I figured such an effort demanded. And my talents were far from adequate to the challenge: my script was pedestrian... a limited budget led to cheap production values... a last-minute, cobbled-together soundtrack (which featured kazoo music and three guys clumsily dubbing in all the dialogue, including the female voices) sunk any hopes that this project could ever be taken seriously. Audiences loved it, but only for its foolishness (the same way that Ed Wood's cinematic delusions are appreciated). I now extend an invitation to enjoy this screenplay in the same spirit of derisive fun...

Master of the Cosmos​

a screenplay by Foster Glenn Oakes​

Cast
Dr. Phillip Marshal
Dr. Janice Whitman
Capt. George Henderson
Harry Carson
Kelustra
First Lieutenant
Second Lieutenant
Third Lieutenant
Blastrix
Loudspeaker Voice
Ship Captain
Sailor
Korton
First Bystander
Second Bystander
Crowd
Soldiers
Narrator

Scenes of stars and planets.

Narrator: The universe: vast... some say endless. In this orderly collection of planets, stars, raging suns and plummeting asteroids, one question fascinates Man above all others: is there life on planets other than Earth, and if so what form would it take? As with may things, answers often seek Man before he can seek them...

The scene lowers to reveal the streets of Fairfield, California. It then changes abruptly to the Space Research Laboratory. Inside, Dr. Phillip Marshal and Dr. Janice Whitman work at some equipment. Suddenly, a signal appears on a screen.

Janice: Dr. Marshal, there’s a strange signal coming in.

Marshal: Let me see.

Janice: Here. In this corner.

Marshal: Good Lord! I’ve never seen interference of this intensity before! From this, it’s over the east corner of the city...and descending! (He gets up from the equipment and goes toward his office.) The military can’t ignore this! I’m calling Capt. Henderson!

Dr. Marshal goes to his office and makes a phone call. In another office at an army base, Captain George Henderson is working at his desk. Beside him is test pilot Harry Carson. Suddenly, the phone rings.

Henderson: Capt. Henderson speaking.

Marshal: This is Dr. Marshal.

Henderson: Hello, Dr. Marshal.

Carson: That nut again?

Henderson: (motioning for Carson to shut up) There’s what coming down where? I have to do what?

Marshal: You heard me, Captain. You must send some sort of equipment to the east end. I have a feeling this is crucial!

Henderson: Doctor, you don’t run this base, I do. I’ll decide when to send—

Marshal: Captain Henderson, may I remind you that your superiors find my work very valuable? If I was to stop now because you refused to cooperate with me...

Henderson: Blast it, Marshal, all right! (to Carson) Harry, see what you can get in the way of some heavy armor.

Carson: Right.

Marshal: Thank you, Captain. I thought you’d see things my way. Good day.

Dr. Marshal hangs up the phone and rejoins Janice.

Janice: Well?

Marshal: They’re sending out something. Let’s be there to meet them.

Dr. Marshal and Janice got to Marshal’s car.

Janice: What do you think it is, Doctor?

Marshal: I’m not sure, Jan. But I think it’s something I’ve expected for a long time.

They drive off toward the scene. Meanwhile, at the site of the disturbance, a crowd has gathered to see what is causing a strange noise in the sky. Suddenly a large space ship comes down. The crowd runs away as the ship lands. Just then, Dr. Marshal drives up. He and Janice get out.

Marshal: Good Lord!

Janice: What is it?


Marshal: What I dared hope for!

Down a side street, a tank comes rolling up. Captain Henderson gets out and walks up to Dr. Marshal.

Henderson: Here’s your tank, Dr. Marshal. What’s that silver colored thing?

Marshal: I believe it’s a living example of my space-flight theory, Captain—

Carson: (speaking from behind them) Listen, Marshal. This screwy space-flight theory of yours gets screwier by the minute! I’m not sure you didn’t rig this whole thing!

Marshal: Carson, for a test pilot you sure have a lot to say about science!

Carson: Don’t go pulling rank on me! Who do you think you are, the President?

Henderson: Quiet, both of you! Something’s happening over there...

They turn to see a gang-plank lower from the saucer.

Henderson: This is incredible!

Carson: Holy Smoke! What is that?

From out of the space ship, a huge monster appears before them.

Henderson: This is alien life, Doctor?

Marshal: Yes, it’s got to be! What else could be that — Good Lord!

Following the great beast comes a smaller, more intelligent life form. It looks like a small blob with an eye in its middle.

Carson: Okay, Marshal. This is your show. You better—

Henderson: Quiet, Harry. (to Marshal) What do we do?

Marshal: I don’t know, Captain. Let’s see what it does.

The small alien, Kelustra, approaches the big one.

Kelustra: Zorgo! Assume an attentive position! (The big alien puts its arms at its side. To the group standing before it... ) Creatures! Listen to me. You are to prepare for domestication! Within five of your months, this planet will be converted for our use. Prepare your transportation systems—

Henderson: Alien! Listen to me! This is the planet Earth. We are peaceful. If you would like to confer with our leaders, I—

Kelustra: Silence! Obstinace won’t serve you. We have encountered obstinace before, and always we have dealt with it firmly.

Kelustra signals the space ship. A ray-gun comes out from the side and blows up the tank.

Henderson: The man in that tank didn’t have a chance!

Marshal: I’ll teach them a few things about Earth men! (He rushes out toward the aliens.)

Henderson: Wait! Don’t go out there!

Kelustra: (to himself) Their social structure is obviously more complex than I realized. One of them comes to attack us individually. (to Zorgo) Zorgo! Prepare to defend me!

Zorgo reaches out and grabs a telephone pole.

Marshal: I looked forward to a meeting like this! I never thought you would be so hostile! You’re a threat to my world! (He pulls out his gun and fires. Zorgo hits him with the telephone pole. Capt. Henderson starts to go to help him. Carson stops him.)

Carson: Hey! What’s wrong with you? They’ll do the same to you!

Henderson: Let go of me, Carson!

Henderson runs out to aid Dr. Marshal.

Henderson: Are you all right, Doctor?

Marshal: I think my arm is broken.

Kelustra: Take him away! I need bother with you no further. Go, and prepare for domestication.

Fade out.


Next week... part 2.

 

[Low_Roads]

Part 2:


Fade in. Marshal, Janice and Henderson are in the Space Research Laboratory.

Henderson: Our forces are ready to attack. I’ve called in the heavy armor. They’re standing by, now. (He points to a map) We’ll attack at this point and move in. A few shots should cripple that ray machine.

Marshal: I’d like to be there when the action starts. Will you take me?

Henderson: If you feel up to it.

At the battle ground stand two lieutenants.

First Lieut.: I wish something would happen. This quiet’s getting on my—

Second Lieut.: Hey, look!

From out of the sky comes a second space ship.

Second Lieut.: You better report this!

The space ship lands. Kelustra goes out of his ship to meet it. A second small alien, Blastrix, leaves the new saucer.

Kelustra: Greetings, Blastrix.

Blastrix: What of the campaign, Kalustra?

Kelustra: There is some resistance, as you said there would be.

Blastrix: I am prepared for that.

He turns to indicate a large red monster with tentacles standing by his ship. Meanwhile, Marshal and Henderson work at the lab. The phone rings.

Marshal: (to phone) Yes. What’s that? Another one?! We’ll be down immediately!

Henderson: Another ship?!

Marshal: It just landed! Janice, scan for more readings while we’re gone!

Janice: Yes, Doctor!

At the battle-ground, tanks close in on the space ships.

Blastrix: What mean these machines, Kelustra?

Kelustra: Violence. I suggest we return to our ships.

First Lieut.: (over walkie-talkie while he watches the aliens with binoculars) Captain, I think they’re getting ready.

Henderson: Prepare to attack.

Second Lieut.: All units prepare to fire! Ready! Aim!

Suddenly, Kelustra’s death-ray blasts a tank.

Second Lieut.: All units advance! Fire at will!

The tanks swarm down on the space ships. The death-rays blast men and machines. Gravitational beams suck tanks under the earth. Disintegration rays dissolve flesh from bones.

First Lieut.: We’re being slaughtered! Not one tank has gotten through! We’ll have to—

All at once, a disintegration ray hits him. He turns into a skeleton.

Henderson: Lieutenant! (to Marshal) He must have been hit! We need greater fire power!

At military landing-fields and ship-yards is assembled a vast armada of ships and planes.

Loudspeaker Voice: Now hear this! Now hear this! All sectors are to be ready for action!

Henderson: (at the battle-field) If this force can’t stop them, nothing can!

Kelustra: (watching the scene from inside his ship) These creatures grow more intriguing hourly. They have minimal mastery over their water and atmosphere. Intriguing... petty, but intriguing.

A blast from a death-ray blows a hole in a large dam. The water floods over the land, drowning soldiers and civilians. A patrol boat is sucked through the opening and smashed to pieces. On board a battleship, the ship captain prepares for a fight.

Ship Captain: Ready guns for firing!

Sailor: Aye, sire!

A sudden burst from the death-ray destroys the ship. Overhead, bombers make some close hits on the alien saucers.

Kelustra: The air ships have potential danger. It might be wise to discourage their use.

Death-beams send the planes hurling to the ground in flames.

Henderson: Call off the attack! All remaining units return to bases! (looking up) What in--!

A third alien ship descends from the heavens. It lands next to the other two and its occupant slides down the gang-plank.

Henderson: A third alien!

Marshal: Probably an interplanetary alliance. They’ll be dividing us up shortly.

Kelustra and Blastrix rush out to greet their ally, Korton.

Kelustra: Greetings, Korton! This planet is perfect for domestication!

Korton: I disagree, Kelustra. I have studied this planet’s development. Its potential is too great.

Blastrix: We know only of its potential for violence. We were attacked!

Korton: Because you came as invaders. This is not the way of the alliance! As ambassador of Tremis, I protest your action!

Kelustra: As ambassador of Tremis, you hold great power. Let us retire to our ships and ponder this problem awhile.

The aliens turn and go back to their ships.

Marshal: What happened?

Henderson: I don’t know. We’d better get back to your lab and do some planning. This is one war we can’t afford to lose!

Fade out.


Next week... the thrilling conclusion.

 

[Low_Roads]

Part 3:


Fade in. The streets of Fairfield are deserted. In the backyard of a rich home, are two innocent bystanders. They sit reading a newspaper that tells about the massacre that took place on the battle-field. Suddenly there is a roar. The two run off as Zorgo wreaks havoc. In another part of town, the red monster from Blastrix’s ship maims and destroys. Korton watches from his ship with his monster, Xeon.

Korton: They’ve started a terror campaign, Xeon. I feared this would happen. They want these creatures for fuel and will not abide by my word. These creatures have a destiny greater than domestication, to be raised as fuel for our ships. Xeon, you must stop them. Attack Blastrix’s Trolisk first.

Xeon turns and leaves. Back at the Space Research Laboratory, Dr. Marshal is in a bad mood.

Marshal: (slamming his fist on the desk) Throughout this whole thing, the military has been useless! Now you demand answers from me?! You want answers about the aliens, their ships, their death-ray...and before yesterday you didn’t even believe in them!

Henderson: If we could just get close enough to the ships, you could do what analysis you had to!

Marshal: And we’d be killed trying! I won’t hear anymore! (he exits.)

Janice: Capt. Henderson... I’d be willing to try.

At the battle-site, Capt. Henderson’s car pulls up in front of the space ships. Henderson and Janice get out.

Janice: All right. What now?

Henderson: Let’s take a look at that new ship.

They walk up the gang-plank and into Korton’s ship.

Janice: (looking around her) It’s like nothing I’ve ever seen before!

Korton: (from behind them) Only because it is several centuries in advancement of your technology. Do not be alarmed. The people of Tremis are friends to the galaxy. Only Blastrix of Metrimor and Kelustra of Epizealium want conquest.

Henderson: What are they doing now?

Korton: Our kind has reached a level of biological advancement in which we are almost totally telepathic. We cannot break the will of your people with that. That is why we have our warriors. I have used mine for peace. Kelustra has Zorgo, a flesh-eating monster, and Blastrix uses a giant Trolisk.

At that moment, the Trolisk is destroying property in a remote part of town. Xeon comes upon him and a battle ensues. Finally, Xeon breaks the Trolisk’s back.

Kelustra: (who has seen the whole thing from his ship) This is foolish of Korton, trying to save worthless creatures. Epizealium will be against it!

Blastrix: (from his ship) My Trolisk has been killed, leaving me defenseless except for my telepathy! I must attack Korton while I can!

Korton: (from his ship) Now that Blastrix has no more warrior, he may rely on his second most powerful weapon, the death-ray—(suddenly the ship jolts) What’s this?! He is attacking me!

Capt. Henderson, Janice and Korton leave the ship and run for cover.

Blastrix: (who has joined Kelustra in his ship) They’re in the open. Use the paralyzing beam.

The beam strikes its three targets. When Captain Henderson starts to reawake, he and the other two are on Kelustra’s ship.

Henderson: (waking) Good Lord! Where are we?

Kelustra: (Slowly coming into focus) You are in my ship, safe at present. Do not attempt to escape. You are my prisoners.

Back at the Space Research Laboratory, Dr. Marshal and Harry Carson are at Marshal’s desk.

Marshal: Are you sure you want to try it?

Carson: If we have a chance to get rid of those aliens, of course I want to try it!

Marshal: But it’s an unsure chance... untested... extremely dangerous...

Carson: Dangerous for a doctor of space research, maybe, but not for an ace test pilot!

Marshal: All right. Come with me. (They go outside to see a squat-looking airplane.) That’s it. The ultimate flying bomb!

Meanwhile, Korton confronts his former allies.

Kelustra: You ought never to have challenged the worlds of Epizealium and Metrimor.

Korton: I do not challenge them... only their ambassadors.

Blastrix: To face us is to face the power of our worlds!

Korton: And what power have you, Blastrix? You can’t rule a planet with your death-ray. Your Trolisk is dead.

Kelustra: True, but Zorgo still remains.

Korton: I’ll instruct Xeon to kill him, too.

Kelustra: Then let us call them back here for a final battle.

The two monsters are drawn back to the space ships. They fight one another. Zorgo picks up a sharp piece of wreckage and stabs Xeon with it. At the space laboratory, Carson gets into the flying bomb and takes off. Meanwhile, at the battle-ground, tanks begin to role up. The second lieutenant and a third lieutenant are in charge.

Second Lieut.: Dr. Marshal wants this diversion to be good.

Third Lieut.: Don’t worry! It will be!

The army group starts shelling the ships.

Kelustra: How inopportune! These creatures have no sense of timing! I’ll manipulate this battle. (to Blastrix) You concentrate on the one between the warriors.

Death-rays strike the attacking tanks.

Second Lieut.: All units advance! Fire at will!

Third Lieut.: What the hell kind of a war is this?!

The two lieutenants rush off into the action while the death-rays do their damage. Kelustra and Blastrix watch both battles from the ship’s viewing system.

Kelustra: Our forces are winning! Soon, organic fuel will replace the dangerous radiation material we’ve been forced to use.

Henderson: (to Janice) I’ve got to try to make a break. (He tries to slip away, but is spotted by Blastrix.)

Blastrix: The creature’s trying to escape. At short range, a mental burst will kill him.

Kelustra: No! The radiation tanks are behind him!

Blastrix’s mental burst misses Capt. Henderson and strikes the wall. It cracks and loose radiation spreads through the whole ship. Blastrix is melted by the radiation, but Kelustra sets up a mental barrier.

Korton: While your mental effort is averted, I can act! (He forces down the gang-plank of the ship.) Earth creatures! Escape while you have your opportunity! (Janice helps Henderson up and they leave the ship.)

Kelustra: Useless, Korton! They escape directly into the arms of the victorious Zorgo outside!

As the two humans run across the battle-field, Zorgo leaves Xeon, who is exhausted, and catches them. As the huge monster attempts to eat them, Xeon sees this and comes to their aid. Zorgo drops his captives as his enemy attacks.

Henderson: (to Janice) Are you all right? Come on, let’s go!

Meanwhile, Harry Carson flies the flying bomb over the target area. He picks up a microphone and talks to Dr. Marshal, who is at the space lab.

Carson: Everything okay so far. I can see the space ships ahead.

Marshal: Don’t waste too much time. Bail out and get clear of the blast.

Carson: I’ve been thinking about that. You said the blast would be powerful but contained. That means I have to make a direct hit. I don’t think I can to it and bail out.

Marshal: What do you mean? Bail out now! There’s no sense in being a martyr! We’ll find another way to kill them! Bail out!

Carson: Sorry. This may be the last chance humanity has left.

Marshal: Blast it, bail--(Carson turns off the radio.)

Carson: Over and out, Dr. Marshal.

Carson dives the plane toward the alien ships. On the ground, Xeon has gotten the better of Zorgo.

Korton: (observing what is coming) Observe, Kelustra. The Earthlings have found the method of your death.

Kelustra: No! No! Not with all this loose radiation!

Xeon is pounding Zorgo into the ground.

Korton: Farewell, Kelustra. Our responsibility has overcome us.

The bomb strikes. Xeon and the dead Zorgo disappear in the glare. Kelustra’s ship is torn to pieces and Kelustra melts as the radiation reaches him. Finally, the whole ship dissolves from sight. The two lieutenants stare down at the destruction. Capt. Henderson and Janice turn to see the fading glare of the blast. Dr. Marshal stands solemn and alone in his lab. The scene changes to that of the whole planet Earth.

Narrator: Once more, catastrophe has touched the Earth, and once more it has departed. And with the suffering and death there also comes learning. It is ever so in our universe... let us hope that the next lesson is not more than we can bear.

Fade out.

-The End-​

Next... "Theseus and the Minotaur".

 

[Master Chief]

The Mystery of the Man Ape

This is quite a tale you have weaved.

The Plot Reminds me of One of the Bela Lugosi movies where Bela is the mad scientist character. But anyhow, I love how this interweaves science and action into your repertoire of tales, as does seem your forte Littlebighead. It makes me wonder actually, what goes on in that big head of yours! I will read the Cosmos one soon.

 

[Low_Roads]

The Mystery of the Man Ape

This is quite a tale you have weaved.

The Plot Reminds me of One of the Bela Lugosi movies where Bela is the mad scientist character. But anyhow, I love how this interweaves science and action into your repertoire of tales, as does seem your forte Littlebighead. It makes me wonder actually, what goes on in that big head of yours! I will read the Cosmos one soon.

Thank you Master Chief! Wish I could take credit for Ape on the Loose, but that's the work of my very good friend GM (alas, no longer with us). Your observation about it resembling a Bela Lugosi vehicle is canny and entirely apropos... GM doted on the horror movies of the '30s and '40s (as opposed to my love for '50s sci-fi), and used them as the basis for much of his work, with special appreciation for Lugosi. I'll be presenting a few of our joint projects as part of this series, including a very lengthy (almost feature length) effort with an obscene title... more on that later! :laughing:

 

[His Divine Shadow]

*Catching up on things*

I can hear the old-style musical crescendo playing at the end of Ape on the Loose, that rising cadence that sees the screen fade to black at the end of a short piece of horror. Jekyll & Hyde with some of Moreau mixed in.

Those aliens remind me of a short story I read some time ago. It featured mankind eons in the future, evolved to the point where they had massive brains (And with that telepathic and mental powers) but had lost all physical prowess. Searching for a new world to live on, man comes across a world with a primitive culture upon it. Before they can destroy the inhabitants and claim the world as their own, the "base" thoughts of the primitive culture attack the minds of man as a poison, rendering all dead. No giant monsters or conflicting aliens, but such is what I thought of. HDS thoroughly enjoyed! :happy:

One last thought, though: I wonder what the doctoral thesis would look like for a "doctor of space research", pompous a title as it is.

 

[Low_Roads]

*Catching up on things*

I can hear the old-style musical crescendo playing at the end of Ape on the Loose, that rising cadence that sees the screen fade to black at the end of a short piece of horror. Jekyll & Hyde with some of Moreau mixed in.

Hi HDS! Long time, no hear-from (I was very much afraid you were taking another extended vacation from the forum! Incessant attendance does take its toll. I certainly feel it, and I don't carry any of the responsibility that you do!) You're describing Ape on the Loose as though you'd actually seen it yourself! It did indeed climax with a melodramatic crescendo... it was an arch production in all the very best ways, with florid silent-movie performances, dynamic lighting, detailed sets (borrowed from a stage production of "We're no Angels") and sweeping camera movement. I inherited all of GM's cinematic oeuvre, and fully intend to transfer it onto DVD one of these days. Just in time for the next format change, probably. XD

Those aliens remind me of a short story I read some time ago. It featured mankind eons in the future, evolved to the point where they had massive brains (And with that telepathic and mental powers) but had lost all physical prowess. Searching for a new world to live on, man comes across a world with a primitive culture upon it. Before they can destroy the inhabitants and claim the world as their own, the "base" thoughts of the primitive culture attack the minds of man as a poison, rendering all dead. No giant monsters or conflicting aliens, but such is what I thought of. HDS thoroughly enjoyed! :happy:

Thanks HDS! I'm flattered by the comparison! The short story sounds riveting... the idea of making the human race (especially a freakishly evolved one) the putative villains is novel! And it likely benefits from the absence of giant monsters and tank battles... such elements are better explored by slap-dash cinema! Just look at "Transformers"!

One last thought, though: I wonder what the doctoral thesis would look like for a "doctor of space research", pompous a title as it is.

To judge from the finished film, a Doctor of Space Research gains his bona fides by staring into teeny little TV monitors all day long, then concocting wild, bombastic speculation based on the the eyestrain! That's virtually all Dr. Marshal seems to be good for... that, and building Ultimate Flying Bombs on the weekends!

 

[Low_Roads]

Theseus and the Minotaur

This is the screenplay for the only other super-8 film (besides Masters of the Cosmos) that I ever completed. Like the earlier effort, it show-cased stop-motion model photography, though I'd managed to graduate from clay figures to wired plastic puppets. Sets, cinematography and special effects had all become more sophisticated; sound, however, still proved a great problem (I'd evidently learned nothing from the MotC dubbing debacle).

The movie's influences were numerous, although primarily it was an attempt to ape the success of Ray Harryhausen's fantasy ouput: the demon/minotaur strode with the same goat-legged gait as The 7th Voyage of Sinbad's cyclops, and the Theseus statue was so close a cousin to Talos from Jason and the Argonauts that they might as well have been cast from the same mold. The present-day component of this otherwise archaic tale found its inspiration in a quasi-amateur horror feature called Equinox, a film which it rather resembles structurally. All of Argus's ritual language was cribbed from Anton LaVey's Satanic Bible, at that time freshly published and quite popular amongst the counter-culture:

Theseus and the Minotaur
a screenplay by Foster Glenn Oakes​

Cast:
Argus
Steve
Linda
Hagar

The scene is a forest area. From a small cave, on top of a lofty cliff, comes Argus the sorcerer. He kneels on the ledge and bends down in prayer.

Argus: In the name of Satan, Ruler of the Earth, King of the World, I command the Forces of Darkness to bestow their Infernal Power upon me! Open wide the gates of Hell and come forth from the Abyss and greet your brother and friend! I have taken thy name as a part of myself! I live as the beasts of the field! I favor the just and curse the rotten! By the Gods of the Pit, I command you, come forth, answer to your names by manifesting my desires! Shemhamforash! Hail Satan!

At the entrance of the park, a car carrying Steve and Linda pulls in and goes up a mountain road. After driving awhile, they look for a place to park.

Linda: There’s a nice place.

Steve: Okay.

Steve parks the car under a tree.

Steve: (relaxing) Ahhh! This is great!

Linda: Now aren’t you glad we came?

Steve: I sure am!

Suddenly, Steve becomes aware that Argus is standing next to the car. He turns to look into the wizard’s cruel face.

Linda: (to Argus) Is -- is something wrong?

Steve: Can we help you?

Argus: Leave this ground. It belongs to me.

Linda: We didn’t see any signs—

Argus: I need no approval from mortal authorities. The Lord of Nature, my Master, the mighty Satan, has said it is mine!

Steve: Satan?! Hey now, look mister—

Argus: If you do not depart of your own, there are powers to move you.

Steve: This has been a public park as long as I can remember. Aww, who has to listen to you!

Steve starts the car again and drives farther into the park. Argus gives the two a contemptuous look, then walks away. The car travels along.

Linda: Who was he, Steve?

Steve: Oh, some crack-pot. I wouldn’t worry. I hear the nuts are falling early this year. (they both laugh) I just can’t get over that: “This is my land! Go away! Go away!”

Linda: (suddenly seeing something) Steve! Stop!

Steve: What?!

Linda: Stop!!!

Steve: All right! I’m stopped! What is it?

Linda: Wh-what is that?

She points to a rise. On top of the rise is a huge statue of a Greek warrior.

Steve: I don’t know. I come here all the time and I’ve never seen anything like that before.

Meanwhile, Argus has made his way back to his cave. He stares evilly in the direction he came from, then enters into the darkness. By this time, Steve and Linda have arrived at the base of the statue and are staring up at it in wonder.

Steve: Jesus!

Linda: Who could have built something that huge?

Hagar: (from behind them) Me! (they turn to look at her, bewildered) Do not be afraid, my children. I am only humble Hagar. You will come to no harm here.

Linda: Oh great! First that nutty devil-worshipper, now her.

Hagar: What?! You speak of... Argus! You have met him? Beware him. He is danger! He is ambition! Not like me. I am but a simple sorceress.

Steve: (lightly) So, you’re a sorceress. What can you do? Can you read the future?

Hagar: I can find indications of what will come to pass. Come, sit down. I will show you my skills. (She takes some pieces of bone from out of her cloak.) These bits of tooth and bone are of little worth to you. But Hagar can see things in their placement. (She lets the bones fall, then recoils at what she sees.) Oh, Mighty Mephistopheles! Tell me it is not so! I see intense evil and malevolence. I see destruction... and somewhere... death! Perhaps for me... or you! (Steve and Linda start to go. Hagar stops them and tries to give them the bones.) Take these. They may save you.

Steve: Look, lady, that’s all right—

Hagar: (thrusting them into his hands) Take them. If you fall into trouble, throw them upon the pedestal of Theseus. (She points to the statue.) The bones indicate great, malignant power. But there is power here, too.

Steve: C’mon, Linda. Let’s go.

Hagar: Keep the bones. They will help you. Escape now!

Steve and Linda run back to the car. At that moment, Argus stands in front of an alter at the base of a deep pit inside his cave. He goes through the demoniac rites.

Argus: Oh Mighty Satan! Hear the names!
Andrameleck!
Asmodeus!
Beelzubub!
Behemoth!
Diabolus!
Fenriz!
Gorgo!

While Argus does this, Steve and Linda drive down the road.

Steve: Well, what now?

Linda: I don’t know. Whatever you think we should do.

Steve: We came here for a picnic, right?


Linda: Right.

As they pull off the road to set up for the picnic, Argus reaches the end of the Satanic names.

Argus: Moloch!
Pluto!
Sedit!
Thoth!
Typhon!
Satan!
Lucifer!
Belial!
Leviathan!
Behold! I call upon the Messenger of Doom t slash with grim delight these victims I have chosen.

Steve and Linda have just set up their picnic. Steve starts looking for something under the blanket, inside the canteen, etc.

Linda: What are you doing?

Steve: Looking for more weirdoes. (They both laugh.) There don’t seem to be any more around.

Linda: Good! Let’s keep it that way.

Steve: (taking out the bones and examining them) If we’re in trouble, just throw them at the statue of... what’s his name?

Linda: Theseus. You know, mythology.

Steve: Yeah? What did he do that someone should build a forty foot statue of him?

Linda: He went into this maze and killed the Minotaur.

Steve: Sounds like a real fun guy.

Back at the alter, Argus has just finished the ceremony.

Argus: Oh Princes of Darkness, send to me, your servant, one to show my enemies the power they have so brazenly defied. I command you, send me a Demon from Hell itself!!!

There is a great burst of flame out of the pit. A huge demon rises up in front of the cringing sorcerer. At the picnic site, Steve and Linda grow quiet, as the sound of hooves nears them. Suddenly, the great bull-headed demon breaks through the trees in front of them. It chases them through the woods. At the site of the statue, Hagar listens to the monster’s great roaring. Argus appears behind her.

Argus: Bronze cannot defeat brimstone, old woman. (She turns to face him.) I have patiently tolerated your presence here for many weeks. I do so no longer.

Hagar: Argus, you are most malignant. You shall be halted.

Argus: (taking out his sword and advancing) You haven’t the power. No one does.

Hagar: You would not dare!

Argus: I would!

Hagar: O Satan, I, your servant, command—

Argus: Call not upon Satan. Not even he has the power to stop me.

Argus cuts through Hagar’s neck. Steve and Linda come upon the statue site with the demon following them. They rush up to the slumped form of Hagar and to their horror discover her dead, with her head mystically transformed into a pumpkin. Steve picks up a stick to use in defense, but the demon kicks him away.

Linda: Steve!

The demon picks up Linda and carries her away. Steve tries to follow, but is too weak.

Steve: Linda!

In frustration, he takes out the bones and in a gesture of contempt, hurls them at the statue. They strike against the base. Meanwhile, the demon has carried Linda to Argus.

Argus: So! You have brought the girl alive to me. Well done. But where is the corpse of the other? In your haste you did not make certain that he was dead. Return and crush him beyond all hope of existence.

The demon makes its way back to the statue site, sets down Linda and picks up a boulder to kill Steve with. Suddenly, the giant statue of Theseus starts to move. It climbs down from its stone pedestal and begins to fight with the demon. As Steve and Linda start to leave, Argus steps from behind a tree.

Argus: You will stay until the end.

The two monsters fight on. Soon, the demon takes the bronze statue’s sword arm.

Argus: The bronze giant’s major power is his sword arm. But it may also prove to be his Achilles’ heel. (to Linda) Mythology, you know.

Steve: Up to now, I’ve been scared to move a muscle. But now I know. This is our fight too! (He runs out toward the battle.)

Argus: Halt! No mortal can interfere with demoniac combat!

Steve comes to the two combatants. The demon has Theseus in a bad situation. Steve picks up a stick and throws it at the demon. It hits its target. The demon turns to kill Steve, and Theseus stabs it in the back.

Argus: If there is to be mortal interference, let it come from a powerful mortal! (He knocks Steve aside.)
By Behemoth!
By Gorgo!
By Leviathan!
Satan, grant my Demon the power to triumph!

From out of the earth, mystic power flows into the demon. It attacks Theseus with new force. Soon, however, the power fades.

Argus: By Beelzabub!
By Fenriz!
By Mephistopheles!
By Moloch!
By Pluto—

All at once, Theseus swings his sword at Argus. The sorcerer backs away. The two warriors fight to the edge of a lake. Theseus hurls the demon into the water. The lake boils as the demon dissolves into nothingness.

Steve: We’ve won! We’ve won, Linda!

Argus: No! Not until I am brought down can you think yourselves safe!

Steve: And that’s going to be right now!

Steve hits Argus in the stomach and face with no effect. He then picks up a rock, but Argus knocks him aside with a gesture. He then takes out his sword.

Argus: Now the end shall come.

As Argus is about to do-in the couple, he suddenly screams and falls forward. There is a staff stabbed into his back. Steve and Linda then see Hagar, her pumpkin head under her arm.

Hagar: Shemhamforash! Hail Satan!

Argus’s sword, which was shoved into the ground as he fell, stands upright, in the image of a cross.

-END-​

Next, the sequel... "The Return of the Sorcerer".

 

[His Divine Shadow]

Now HDS is confused. Was Satan good or bad in this little number? Both called upon him ... Regardless of confusion, a lovely tale. One more suited for Tales From the Crypt in some senses, aye.

 

[Low_Roads]

Now HDS is confused. Was Satan good or bad in this little number? Both called upon him ...

Your confusion is entirely justified! For such a linear story, Theseus and the Minotaur is a tangle in terms of faith... most likely a reflection of my own philosophical ambivalence at the time. Except for the final Christian image (the cross), God is pretty much absent from the equation. Both Argus and Hagar were meant to be Satanists; Hagar, a more beneficent adherent (Satan was intended more as a source of power than evil; the attitudes of his supplicants, rather than simple affiliation, determined their hero/villain status). This relationship is rendered rather vague by the all-pervading Greek elements... Hagar would have been better cast as a Pagan (thus introducing an intriguing element of plot complexity, as well).

My primary regret is that I didn't set the story entirely in mythological Greek times. It wouldn't have been that tough to do... costumes were available (my college drama class had recently put on a production of Lysistrata). But I had the notion of Equinox far too firmly fixed in my mind... a caution against inflexibility!

Regardless of confusion, a lovely tale. One more suited for Tales From the Crypt in some senses, aye.

Thank you, HDS!:super_hap This story would have fit rather comfortably into a half-hour time slot. Most amateur super-8 projects of the era were roughly this length... it wouldn't surprise me at all if many TV writers and directors got their first taste of production in this way!

 

[Cbarton]

Interesting...almost no one to root for except the couple, since both call upon darkness for power...interesting twist

 

[Low_Roads]

Interesting...almost no one to root for except the couple, since both call upon darkness for power...interesting twist

Thank you, Hawk! It's true... being satanists definitely marked Argus and Hagar for disposition (though Argus will be back in the sequel. Written by my pal GM, he does gain a bit of depth). It's a tactic I happen to like, setting ruthless strength against ruthless strength... one that works all right as long as there's also a sympathetic neutral to stand behind.

 

[Low_Roads]

The Return of the Sorcerer.

Tonight's Vintage Script is a sequel to the last, Theseus and the Minotaur, though not a direct one. It wasn't written by me but by my pal GM, utilizing my character of Argus (a part which GM played in TatM) as the only repeating feature.

While GM was solely responsible for the finished screenplay, he and I spent many hours working out the plot details. This was fully intended to be a joint effort: he would have reprised his role as Argus and I would have played Mord; he would have directed the film while I handled the stop-motion special effects. But production never got past the planning stages... only this script, a few scene sketches and one finished animation model resulted... another in a long line of sidelined projects.

A number of accompanying illustrations are offered (below). The color pictures were added long after the fact, but the black-and-white sketches (in parts 2 & 3) were done to guide production and date back to the mid '70s:

The Return of the Sorcerer

part 1

a screenplay by GM​

Dramatis Personae

Hillary Allgoode
Rollo Farnsworth
Xenobiah
Professor Argus
Mord
Gorky


A college classroom. The instructor addresses his students.

Argus/ ...and so it was that Matthew Hopkins became England's Witch Finder General. On Monday we will discuss the great witch hunts of England and their influence on the subsequent American witch hunts. Please read Chapter Seven in your texts before then. Have a nice weekend.

The students prepare to leave.

Argus/ Oh, Miss Allgoode...

She comes to the podium.

Hillary/ Yes, professor?

Argus/ I have to talk with you in regard to your last paper. Would tomorrow afternoon be satisfactory?

She nods.

Argus/ Good. Here is my address. Four o'clock?

Another nod.

Argus/ I will be expecting you. Mord!

Mord appears from the back of the room where he has been drawing pictures on the board, and assists Argus with his overcoat as Hillary exits.

Mord and Argus stroll down a shop-lined street. As they pass a curio shop, Mord impulsively stops Argus. He indicates a small teakwood elephant and looks pleadingly at Argus. Argus raises his eyebrows and looks from Mord to the elephant then back to Mord again. He smiles impishly, then makes a mystic pass. The elephant rears up on its hind legs. Mord claps his hands softly. Argus smiles indulgently and signals for Mord to come along.

We are at the foot of a long flight of steps leading from one street to another. An automobile pulls up. A young man climbs out and opens the passenger door. Hillary exits.

Rollo/ Your destination, Miss Algoode.

Hillary/Thank you, Mr. Farnsworth.

Rollo/ And at what time will milady's business be completed?

Hillary/ Mmmm... five o'clock.

Rollo/ And then dinner?

Hillary/ And then dinner!

They kiss.

Rollo/ See you soon.

Hillary walks up the stairs as Rollo gets back in the car. When she is halfway up the steps, she turns and waves. The camera switches to the top, as Rollo drives away. Hillary turns back. The camera becomes subjective. Just before the rise is gained, the camera cuts to face our heroine. She passes the castle-like tower of an old house. She crosses to the abode of Argus. It is dark and foreboding, with a high tower. Hillary raps on the door; Mord answers. He admits the her.

Mord seats the girl. Argus enters briskly. He is looking at his pocket-watch.

Argus/ Miss Allgoode--how punctual you are! Exactly four o'clock.

Hillary/ Hello, Professor Argus.

Argus sits next to her, taking her hand.

Argus/ Mord. Bring us some cognac.

Hillary/ Professor... about my paper--

Argus/ Of course. I will go and get it.

As Argus passes Mord at the sideboard they exchange meaningful glances. Mord removes a hollow thumb, emptying a white powder into a goblet. He replaces the thumb. He returns with the paper, personally serving the drinks.

Argus/ Mord. Perhaps a little music.

Mord sits at a harpsichord and begins to play a brisk tune. Argus looks around disapprovingly; the tempo slows markedly. Hillary raises her drink.

Hillary/ Well, here's to the future.

Argus/ ...and here's to the past.

The drink.

Argus/ Now, on page six, you refer to--

Hillary holds her forehead.

Argus/ Are you all right, Miss Allgoode?

Hillary/ ... I... I...

She rises, then falls unconscious. The music abruptly ceases. Argus catches her and lowers her back onto the couch.

Argus/ Come, Mord. We must prepare ourselves.

Fade to the foot of the steps as Rollo's car pulls up. Rollo climbs out, looks around, then starts up the stairs.

Argus and Mord have donned medieval costumes. Mord helps Argus on with his cloak. Argus' hand suddenly flies to his temple. He extends his hand. A crystal globe appears therein.

Argus/ Hillary's fiance... there is no time to waste!

The globe vanishes.

Rollo raps on the door. Mord holds Hillary in his arms. Argus draws his sword and begins to create a magical doorway.

Argus/ A portal to the past.

Rollo tries the door. It opens to his touch. As Rollo enters, Mord and his human cargo disappear into the gateway. Rollo is incredulous, but he quickly recovers and rushes Argus. Argus effortlessly brushes him aside. Argus enters the portal. It closes behind him.


Next week: part 2.

 

[Journia]

TatM
Hagar and Argus...where have I heard that before? Now this is quite an intriguing tale I expected the statue to move, but in the fashion that it did so, not at all. However, the story, like numerous others of yours, is fast paced and delightful. I love it, love it, and love ti some more.

RotS
More moving Statues!!! I like where this is going. however, I have one question, about Argus, did you mean to make him look like Doctor Phillip Zimbardo? or was that just coincidence just like the character of Littlebighead resembles Simon Bar Sinister?