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Vintage Scripts (a collection of original amateur screenplays).

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.
Thank you, thank you and thanks some more, J! 😉 Hagar and Argus may indeed seem familiar, as they aren't names original with me; "Hagar" having Biblical roots, while the "Argus" pedigree is encompassed by Greek mythology, one incarnation of which places him aboard Jason's ship, the Argo. Metal-man connections abound in this last, in the form of Talos, the bronze guardian of Europa (and, of course, Ray Harryhausen's Talos inspired the Theseus statue to begin with... these references get scrambled up so badly, Alexander's knott-technique is recommended!)

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?
Statues indeed, and for the very same Harryhausen-esque reason (just wait till part 2... you ain't read nothin' yet!) I had to look up Philip Zimbardo, which answers your question; I presume the Stanford staff member/psychological researcher is the man you had in mind... no picture I found featured him in a goatee, so I can't judge the looks. My illustration is a fairly faithful likeness of my friend GM, the guy who wrote the screenplay and would have played the part of Argus. As for Little Big Head looking like Simon Bar Sinister... yeah, that's true, actually! And I was quite familiar with the character, he having appeared in a show I watched regularly during my formative years! A few folks say LBH looks something like "The Head", too, though I've never seen that show.

Below: The Triplets of Bellevue...
 

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Yep. that's the chap.
Also, here is a picture of him.
http://www.apa.org/apf/zim.jpg
He reminds me of Argus quite a bit. Hey, can anyone tell me who Zimbardo is when you take his goatee off? twenty Journia Points to whoever can tell me.
 
Dammit! Now that I need one, I can't find of photo of him without his blasted facial hair! Those puffy eyes make him look a bit like Anthony Hopkins, but I suspect that's not the answer you're after (nuts! 20 more points down the drain!)

Anyways, thank you for the close-up, J! You satisfied my curiosity!
 
Dammit! Now that I need one, I can't find of photo of him without his blasted facial hair! Those puffy eyes make him look a bit like Anthony Hopkins, but I suspect that's not the answer you're after (nuts! 20 more points down the drain!)

Anyways, thank you for the close-up, J! You satisfied my curiosity!

You got it Littlebighead! It is Anthony Hopkins. Twenty Journia Points to you!
*Bestows A pot of Gold Journia Points to Littlebighead*
 
Yay, I won!!! Cookies from Relent and now a Pot-O-Golden Points from Journia! I truly am the richest man in the TTC!
 
A suspense builder! One gets the impression that the good Professor seeks to show something important to the lass but, as of yet, for good or for ill cannot be discerned. One thing is certain; time travel is always ... messy.
 
Well observed, HDS! This game of Century-Roulette will certainly become messier before the big finish tidies it up! Argus does indeed have something special he'd like Hillary to see (the exact nature of this "surprise" will be revealed in the second installment)! He's no less venal than in Theseus and the Minotaur, but much better motivated! Rollo too will have few items of the unexpected to offer, not all of his own making! Thanks, as always, for keeping pace with these stories, even when they're not solely my own! Establishing GM's bona fides will become more relevant once I begin to present our co-written efforts.
 
-part 2-​


CU of a clock. It is an hour later (that is, about six). Rollo stirs to consciousness. He explores the house for a clue. He finds a photograph album containing pictures of Argus and Mord in Nazi and WWI uniforms. In desperate frenzy, Rollo pitches various objects about the room. He raises an ornate bottle.

CU of the bottle. It is marked: "Xenobiah", and it is closed.

Rollo pitches the bottle into a far corner. The cork is knocked free. Rollo sinks into a chair, his head in his hands. A mist begins to pour from the bottle.

Xenobiah/ Free... free... free!

Roll notices the fumes, falls back. The figure of Xenobiah forms in the mist. He looms over Rollo.

Xenobiah/ Arise, Rollo Farnsworth! Arise and take hope... for I am Xenobiah!

Xenobiah pulls Rollo to his feet.

Fade to Xenobiah and Rollo at a table.

Xenobiah/ Argus is my arch-enemy. He outwitted me... sealed me in that bottle. All these countless centuries before Christ was born! And I have been aware of every horrible, crawling moment! There is much I owe this Argus.

Rollo/ Do you know where he has taken Hillary?

Xenobiah/ Aye. The way is far, and fraught with peril. We must travel to a time when the Earth was not yet fully formed. An era of jagged landscapes, heavy mists, and iron-gray skies. A time when gods and monsters walked with men.

Rollo: No kiddin'!

Xenobiah rises.

Xenobiah/ Come, friend Rollo. It is best we start.

As Rollo rises, Xenobiah draws his scimitar and begins to create another magic portal.

Argus' castle can be seen in the distance. The camera pulls back to reveal Xenobiah and Rollo in the extreme foreground. They exchange looks.

Cut to the main chamber of the castle. The wedding feast is underway. Mord waits on the table. Hillary is dressed in a gown appropriate to the century. A jester performs while Argus eats. Nothing the jester does brings laughter to Argus, who continues to sit in stony silence. Suddenly, in the midst of a handspring, the jester slips, bloodying his lip. Argus roars with laughter. He applauds.

Argus/ Bravo, Sir Fool!

Argus produces a pouch of coins.

Argus/ Mord, pay the clown and send him on his way.

Argus tosses a bone behind him. A bony hand snakes from the floor grill to claim the tidbit. Hillary begins to weep.

Argus/ Quite right, my dear. Go ahead and weep your tears of happiness. Out of all the maidens, of all the centuries, Argus has chosen you to become his bride!

Argus' hand flies to his temple. He plucks an orange from a bowl of fruit.

Argus/ An orange from Cathay.

Argus passes his hand over the orange and it becomes a crystal ball. He looks into its depths.

Argus/ Two figures are approaching the castle... Farnsworth...

Hillary looks surprised and hopeful.

Argus/ ... and... and...

Argus' eyebrows shoot up. He drops the ball. An orange strikes the floor.

CU of Argus' face.

Argus/ (a whisper) Xenobiah!

Argus strides out of the chamber. Mord returns in time to restrain Hillary from following. Argus makes his way to an outside tower, where the huge, majestic stone eagle overlooks the surrounding country. He imbues life into the statue. At a gesture from Argus, it flaps its great stone wings and soars into the air.

The approaching Xenobiah and Rollo spot the eagle.

Rollo/ Jesus! Look at that!

Xenobiah/ Ah, yes. The winged sentinel of Eagle's Rook.

Rollo/ What are we going to do?

Xenobiah/ There is no need to concern yourself. As Argus is the rock, so is Xenobiah the wind.

Xenobiah vanishes.

Rollo/ Hey! What in--

Xenobiah/ (voice-over) For the time being, I can do no more. When you have played your role in this drama, I shall return.

Rollo/ But--

Xenobiah/ (the voice-over trailing away) I shall return.

The eagle scoops up Rollo and conveys him to the castle. Argus, Mord and Hillary await his arrival.

CU of Argus.

Argus/ So, Xenobiah has deserted him. I might have known he would not dare to face me.

The eagle drops Rollo at their feet and returns to its roost.

Argus/ Welcome to Eagle's Rook, young Goodman Farnsworth.

Hillary starts to kneel beside Rollo, but Argus grasps her arm and twists it cruelly.

Argus/ Mord. Make our guest feel at home.

Mord/ (gleefully) Yes, master!


Next week: the conclusion.
 

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-part 3-​


Rollo awakens to find himself in a cell. Mord sits on guard, heating iron rods in a brazier. Rollo thinks a moment, then extracts Xenobiah's old bottle from his pocket. He hiccups loudly. Mord perks up, looks around. Rollo pretends to drink from the bottle. Mord approaches the cell door.

Mord/ That wine... where did you get it?

Rollo/ (acting inebriated) Huh? Oh, there's a whole case of the stuff in the corner, under the straw. Your boss must've stashed it here and forgotten about it.

Mord wets his lips. He unlocks the cell and enters.

Mord/ Now... where is this wine?

Rollo points to a dark corner.

Rollo/ There.

Mord bends over, searches the straw.

Mord/ Where, where? I can find nothing!

Rollo/ Here it is, you big baboon!

Rollo smashes the bottle over Mord's cranium. He takes Mord's keys and locks the servant into the cell. Rollo exits.

The main chamber. Hillary lies fettered upon a great alter. Argus officiates.

Argus/ And now, my dear, I shall commence the ceremony which will bind you to me for all eternity.

Hillary/ (desperate) Wait! Ah... shouldn't Mord be here for this?

Argus/ I promised him he could attend the reception.

Argus raises his arms aloft.

Argus/ I summon thee
O Prince of Darkness,
O Spirit of the Pit.

Lightning and thunder.

Argus/ I command thee
To make thy
Most evil appearance.

More donner and blitzen.

Argus/ I conjure thee
In the name of Moloch.
I adjure thee
In the name of--

Rollo/ (off-screen voice) Hold it right there, mister!

CU of Rollo.

Rollo/ The wedding is off!

Argus/ You may have spoken now, but prepare to forever hold your peace!

Argus again elevates his arms.

Argus/ Spirit of the dead
With soul of dread,
Come to me!

Spirit of the dead
With heart of lead,
Come to me!

There is a moment of awesome silence, before a mummified warrior makes his appearance.

Argus/ A nobel ancestor. There are many such as he in the vaults below. But this one was the fiercest warrior of them all!

Argus produces a staff. He throws it to Rollo.

Argus/ Defend yourself, hero... if you can.

Rollo and his undead opponent battle. Argus watches the clash from his throne. After much thrilling combat, the corpse uses its battle axe to split the staff in twain. Rollo appears doomed, but employs the shattered pieces to form a cross. The mummy perishes in a sheet of flame.

Xenobiah reappears.

Xenobiah/ (to Rollo) You have performed your part admirably, my friend. The outcome of the playlet now rests with me.

Argus rises, his eyes agleam with fury. His wedding suit vanishes as his sorcerer's robes reappear. He steps to a great gong, striking it thrice. A huge demon appears in an archway.

Argus/ Behold! The spawn of Hell itself!

Xenobiah waves his scimitar. A great dragon materializes.

Xenobiah/ Observe... a simple guardian from my distant temple.

The creatures clash. Argus' champion (a fearsome, sinuous lamia) wields a flashing sword, while the dragon hefts a great spiked ball. At last, the dragon beats down its enemy. Both monsters vanish.

Argus makes a sudden pass. Xenobiah becomes wrapped in golden chains. Argus laughs.

Argus/ There is one left... one you cannot triumph over... one who is made of stone!

Argus races for the tower. Rollo pursues him.

Meanwhile back at the prison cells, Mord awakens. He uses his tremendous strength to force the cell door.

When Rollo reaches the summit, it is too late. The eagle already stirs to life.

Mord rushes in.

Mord/ Master! The prisoner has escaped!

Argus' concentration is broken. The eagle freezes. There is a rasping sound. Argus looks up in horror as the eagle falls from its pedestal directly on top of him. Xenobiah's chains break and fall. Mord falls to his knees.

Mord/ Master... master...

He buries his face in his hands. Rollo slowly turns and exits. Mord does not even notice him.

Rollo unfetters Hillary as Xenobiah creates a new mystic portal. This done, he steps away and gestures the couple through.

Rollo/ Aren't you coming too?

Xenobiah shakes his head no.

Xenobiah/ As Argus was the rock, Xenobiah is the wind.

Xenobiah vanishes. The duo enter the portal. They exit it beside Rollo's car. The portal vanishes, as Rollo and Hillary launch into the final clinch.

Eagle's Rook in long shot.

Mord's voice/ (sobbing) Oh master! Master! I am sorry, master.

Argus' voice/ If your were truly sorry, you would stop blubbering like an idiot and get this thing off of me!

Mord's voice/ (a note of unbounded joy) Master!

Fin​


Next: "Dr. Malvado's Tower of Terror"
 

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Dr. Malvado's Tower of Terror.

Just as The Return of the Sorcerer was a GM sequel featuring one of my characters, Dr. Malvado's Tower of Terror was a sequel to GM's own Dr. Malvado's Chamber of Evil, a very early 2-reeler (approximately 100 feet of film, 7 or so minutes in length). Like it's predecessor, my film would have been a silent, with dialogue presented on title cards (a measure to cut down on production complexity by eliminating voice dubbing... yeah, I'd finally learned that lesson). Much footage was shot (the courier's death and climactic demon duel), but a shortage of actors finally led to a cancelled production.

I've never been able to find any trace of a Chamber of Evil screenplay, and it's possible that none ever existed. Presented instead is a rough draft fragment for GM's never-filmed follow-up, Dr. Malvado's Parlor of Death. It will offer some flavor of the original and reveal the origin of my own opening scene. Illustrations are provided below (the first two apply to Parlor of Death):



Dr. Malvado's Parlor of Death


a screenplay by GM​


CAST OF CHARACTERS
John Dawson
Esmeralda Keen
Inspector Remington
Octavius
Dr. Carlos Malvado
Carlyle

First Scene - Kidnap of Miss Keene

Second Scene - Kidnap of Dawson

Third Scene - Malvado's Dungeon/Arrival of Inspector/Climax

Malvado's Motive: to create a race of obedient zombies with superior abilities.


1st Scene​

(Miss Keene is asleep in bed. Enter Octavius. He slips a cord about her neck and tightens it as she comes to. Malvado appears in doorway.)

Malvado/ Be careful, Octavius. We don't want you to crush her windpipe. We just want to cut off her air for a few moments.

(Octavius removes her limp form and they exit.)


2nd Scene​

(Dawson is smoking his pipe and reading a volume. Octavius bursts into the chamber. Dawson secures a revolver and blasts away--to no effect. Octavius strikes him down. Malvado appears in the threshold.)

Malvado/ How unfortunate. I do hope you have not injured his cranium. A concussion would be detrimental to my experiment.

(They exit with Dawson. Malvado pauses to leave his trademark--a stuffed glove.)


3rd Scene​

(Carlyle mutely hands the glove to the Inspector.)

Carlyle/ This gun has been fired three times, Inspector.

(Remington nods.)

Remington/ Malvado!


4th Scene​

(Flashback. Remington at home. Enter Octavius and Malvado. Octavius retrains Remington.)

Malvado/ My dear Inspector Remington, you have become quite a thorn in my side. The only reason I don't have Octavius crush you like an insect is because you amuse me. Also, I would like you to tell me everything the police here know about me.

Remington/ I'll tell you nothing.

Malvado/ I see.

(Malvado produces a case and removes a cobra from it. He holds it to Remington's throat.)

Malvado/ Talk!

(Remington refuses.)

Malvado/ Well, you've called my bluff, Inspector. I'm not going to kill you. (He puts the reptile away and goes to the door.) Oh, yes. Octavius--be a good fellow and rip the Inspector's arm from its socket, will you?

(A close-up of Malvado's face as the Inspector screams.)






Dr. Malvado's Tower of Terror

screenplay by Foster Glenn Oakes​

Dr. Malvado
Gargola
Girl
Inspector Blunt
Dawson
1st Demon
Government Courier
Special Agent Crawford
2nd Demon
3rd Demon

EXTERIOR. An official-looking building. One the wall is a sign "BIOLOGICAL RESEARCH INSTITUTE". Cut to INTERIOR shot of GIRL in white medical coat mixing fluids in a beaker. Behind her, the door opens slowly. DR. MALVADO and his degenerate servant GARGOLA enter. Gargola take her from behind and ties her to her chair, while Malvado watches. The evil Doctor then strides directly in front of his captive.

Malvado: Now, my helpless pretty, tell me where the Dvorak Paper are kept.

When the girl refuses to give any information, Malvado becomes enraged. He goes to the attache case he has brought with him, opens it, and after some weaving, brings his hook hand down on some obviously living thing inside. With his good hand, he pulls a king cobra out and walks back to the now terrified young woman. He holds it directly in front of her face and poses his questions again and again. Finally, she gestures toward a filing cabinet. Malvado hands the snake to Gargola, who fumbles with it, and crosses to the cabinet. He finds a report entitled "Dr. Andrea Dvorak's Thesis on the Creation of Synthetic Flesh". Taking the document, he walks back to the girl and addresses Gargola.

Malvado: Take the girl as a hostage.

Malvado, Gargola and the girl exit. Cut to EXTERIOR shot of the Tower of Terror. INTERIOR. Malvado and the girl work feverishly over a shrouded figure, while Gargola watches in dumb fascination. Malvado administers an injection form a large syringe, and the cloaked behemoth rises with artificially induced life. Cut to EXTERIOR shot of a lonely country road. Malvado, Gargola, and the DEMON wait in ambush. Malvado's face is masked and he has two whole hands. Soon, the car of the governmental courier appears in the distance. Malvado gestures to the Demon, who lumbers onto the road, in the path of the on-coming auto. When the GOVERNMENTAL COURIER sees the Demon in his way, he steps on the gas. The Demon simply outstretches its hand. The car, at full speed, meets the Demon's palm and is stopped instantaneously. The courier stumbles from his shattered vehicle, draws his revolver, and fires into his hideous adversary. The Demon advances on the frail human and crushes him. It then takes a satchel marked "Top Secret" from the front seat of the halted automobile, and carries it to its master. The three cohorts depart.


Next... the conclusion.
 

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A hidden Genie in the bottle to perform some deus ex machinations! But do crosses work on zombies? I thought that was vampires. Then again, black sorcery raised the creature, so perhaps that gives it vulnerability. And Argus yet lives! Perhaps that is part of Xenobiah's mysterious parting words. WHy I missed these in my catching up earlier this month I know not. Oh, and does Xenobiah's shadow in this one look familiar? Perhaps a certain muppet ...

And by muppet I mean Beaker, on the right, if my obtuse reference falls flat.

And demonic summons in this next, with snakes afoot! Alas that the scenes are so short; we learn little of what has or is to happen!
 
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A hidden Genie in the bottle to perform some deus ex machinations! But do crosses work on zombies? I thought that was vampires. Then again, black sorcery raised the creature, so perhaps that gives it vulnerability.
Heh heh! I think that cross thing was one of my contributions to the story! You and GM were on the same wavelength; I remember he was never comfortable with the idea (primarily because these events were taking place in some Hyperborean age before the time of Christ. Anachronistic details like that always bothered him). He may have altered events in a later draft of the script; I know he'd always intended to.

Since I was going to be handling the FX, my priority was to push for a great looking visual! I was a lot easier to satisfy back then!

And Argus yet lives! Perhaps that is part of Xenobiah's mysterious parting words. WHy I missed these in my catching up earlier this month I know not. Oh, and does Xenobiah's shadow in this one look familiar? Perhaps a certain muppet ...
Ouch! I was hoping no one would notice that awful shadow! I mean, the damn thing doesn't even match Xenobia... you're right, it does look a lot more like Beaker! Oh well... I was doing these illustrations quickly, trying to meet a mailing schedule. That's the reason I hate working to a deadline! 😛

I'm not sure anymore why we decided to spare Argus from death by stone bird... GM liked to include O Henry-style kickers in his screenplays, and this was the most obvious way to get one. Argus appears in two more of my solo scripts, but neither of them is particularly strong and I don't intend to present them unless I become desperate for material.

And demonic summons in this next, with snakes afoot! Alas that the scenes are so short; we learn little of what has or is to happen!
Yeah... in retrospect, it might not have been clever to have presented so much redundant material. Parlor of Death could just as easily have come after the fact as before... There also wasn't any convenient cliffhanger to use as a break. But we will get to see some cute illustrations next week! That'll be when most of the action takes place!

Gods... did you notice? The poor female character doesn't even get to have a name in this screenplay! I couldn't write for beans back then!
 
-part 2-​

Transition to Dawson's private estate. INSPECTOR BLUNT stands at the front door, tapping the knocker. The SERVANT appears and conducts the inspector to the lawns, where DAWSON practices his marksmanship with pistol and blade. When he finishes his daily practice, Dawson crosses to the policeman.

Blunt: Bravo! Capital show, Mr. Dawson. I am Inspector Blunt, on special assignment from Scotland Yard.

Blunt and Dawson shake hands. Dawson shows his guest to a patio table and the two men sit.

Blunt: Someone... something, has been intercepting government couriers, butchering them, and purloining government documents.

Dawson inspects the reports that Blunt has brought.

Dawson: These crimes interest me. Of course my talents are at your complete disposal.

Transition to the same stretch of lonely road on which the government courier was killed. Malvado and company are hidden, awaiting their next victim. Hiding elsewhere are Blunt and Dawson. Dawson scans the surroundings with binoculars.

Blunt: Our special agent Crawford is at the wheel of the car.

Soon, the car comes into view. The Demon steps into its path, but before there is any contact, the car pulls to a stop and SPECIAL AGENT CRAWFORD leaps from the vehicle, pistol drawn.

Crawford: Halt, in the name of justice!

The Demon advances on Crawford, who fires into the grotesque hulk ineffectively. Dawson bounds to the rescue, hurling his throwing knife into the monster's back. Malvado, masked, starts back.

Malvado: The accursed Dawson! At last!

The Demon works the knife free from its back and glares at Dawson defiantly. Malvado signals for a retreat, and he, Gargola, and the Demon head across the ragged territory toward the Tower. Blunt, Dawson and Crawford give pursuit. After they have gone a considerable distance, Malvado motions to the Demon. It falls back and faces the three offices of justice. Blunt gets too close to the beast and is wounded in the arm by a terrific blow. Dawson bounds to a position above it, where several large rocks are gathered. As the Demon advances on Blunt, Crawford steps in between. The Demon snaps his neck instantly and throws him aside. Meanwhile, Dawson has worked a large stone free, and causes an avalanche of granite to descend upon his foe. The Demon's body is mangled to pieces, and Dawson, assisting Blunt, continues the chase.

Cut to the Tower of Terror. INTERIOR. Inside the tower, the girl sits alone, staring in silent horror at two more covered figures on the laboratory bench. Suddenly, Malvado and Gargola break into the room. Malvado thrusts a spear into Gargola's hands and points toward the tower entrance.

Gargola: But surely, Master, the scarlet giant will kill them all.

Malvado strikes Gargola across the face.

Malvado: Fool! I know Dawson as no other man does. He is the fiend of vengeance!

Malvado flexes his hand.

Malvado: So many years ago... my hand... so many years...

There is a transition to flashback. Everything is in black-and-white. Malvado stands next to a corpse hanging by the wrists from the ceiling, a syringe in his hand. Suddenly, Dawson breaks through the door. Malvado picks up a beaker of acid and prepares to throw it. Dawson reaches him before he can, and the two struggle. The acid spills, eating through Malvado's hand.

Transition, back to present. Malvado lapses out of memory and orders his deformed slave out of the room. He then goes to his work bench, bares the arm of one of the covered figures, and readies a hypodermic needle.

EXTERIOR. Blunt and Dawson make their way up the treacherous mountain path leading to the Tower's entrance. Gargola appears in the door, spear in hand. As he runs the shaft through Blunt's leg, the inspector fires. A kick from Dawson sends the crumpled Gargola to his death. Blunt tends to his leg, and Dawson rushes through the door.

INTERIOR. Malvado has just finished the second injection when Dawson bursts into the room. Malvado steps so that the table is between him and his enemy. They stand glaring at each other for several minutes. Without warning, Malvado undoes his left hand and drops it onto a table.

Dawson: Malvado! How...?

Malvado takes away his mask. He takes the Dvorak Papers from his workbench and tosses them on the table. Dawson examines them. Malvado removes the sheet from the bench to reveal his latest creations. Slowly, the Demons stir to life. They leave the table, one heading for Dawson, the other heading for the girl.

Malvado: March on, my behemoths of vengeance!

Just before the Demon can kill the girl, Blunt appears in the doorway. He fires into the monstrosity, diverting its destructive course. The beast instead attacks Blunt himself, threatening to strangle him. Meanwhile, Dawson, by deftly maneuvering his knife, positions his opponent so that it is directly in front of the power box. He lunges, and the Demon backs into the electrical circuitry, setting off a storm of sparks and smoke. Dawson backs off, and the dazed creation staggers about blindly, slashing in all directions. It comes upon its own brother Demon, and the two battle fiercely, destroying each other.

Dawson then advances on Malvado. The master of evil grasps his synthetic limb from the table and hurls it at Dawson. The disembodied hand has a life of its own, and starts to choke its victim. Malvado makes his escape onto the roof, while Dawson and Blunt pry off the horrid claw and dissolve it in a beaker of carbolic acid. Dawson follows Malvado onto the roof of the tower. Both draw their blades, and a duel ensues. Their battle takes them onto an overhanging framework of iron. As they fight, hundreds of feet above the floor of the chasm, the rusted bolts connecting the framework to the tower start to give way. Blunt and the girl make their way to the roof in time to see the frame start to fall. Dawson leaps to the tower roof just in time to avoid plummeting over the side. The three watch, as Malvado falls to his doom amidst the metal framework.

-END-​


Next... "The Call of Cthulhu".
 

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That must've been some concentrated carbolic acid to dissolve a hand; the stuff isn't that good at being an acid it isn't. XD We see some background, at last! Again, though, the damsel in distress isn't seeing much action or activity. No fiery heroines, I suppose. 😛 That last image sums up the final battle quite nicely: as the brother demons annihilate each other the old enemies do battle! Quite the demonic foe, that Malvado, and yet he didn't seem to have any magics beyond twisting the dead into demonic form (And whatever his hand was). Fortunate for Dawson, aye!
 
That must've been some concentrated carbolic acid to dissolve a hand; the stuff isn't that good at being an acid it isn't. XD
Hey, I'm a writer, not a chemist! Well...... I'm not really either (professionally, I spend my time digging post holes XD); and, back when these stories were written, my credentials were even shakier! Today, it's fairly easy to check facts; a web-search can deliver useable answers in scant minutes. In the '70s, finding accurate data could be a real pain (obtaining ephemeral information in libraries or encyclopedias can take hours, if it's ever forthcoming). It was far simpler to accept the assumptions repeated by one's peers... a lot of misinformation got spread that way!

We see some background, at last! Again, though, the damsel in distress isn't seeing much action or activity. No fiery heroines, I suppose. 😛
Damsel is right! She might as well be tied to a tree outside a dragon cave! At the time, I didn't write female characters very convincingly or comfortably (I flatter myself that I do better now). Access to role models was limited, the cost of a life spent in rural solitude. And my favorite literature was no help at all! Women generally only find themselves in Jules Verne or H.P. Lovecraft stories when they're adapted into cinema!

That last image sums up the final battle quite nicely: as the brother demons annihilate each other the old enemies do battle! Quite the demonic foe, that Malvado, and yet he didn't seem to have any magics beyond twisting the dead into demonic form (And whatever his hand was). Fortunate for Dawson, aye!
Thank you! I'm happy I was able to find further employment for these illustrations! Malvado was a traditionally imagined serial-style villain; GM was well versed in Saturday morning serial lore, far more so than I was. Such baddies invariably prove impossible to best until the final reel, where time constraints force them to be dispatched in pretty short order. The story's ending is pretty abrupt; a denouement wouldn't have been unwelcome (if GM had written this, there probably would have been one)... then again, considering the thin characters, I doubt it would have proved very satisfying.
 
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The Call of Cthulhu.

There are great movies to be made from the fiction of H.P. Lovecraft, and thus far few filmmakers are interested in making them. The handful who have been (Stuart "Reanimator" Gordon being a prominent name) haven't had access to the blockbuster budgets which would allow the scope of Lovecraft's Cthulhu Mythos to be properly explored.

In the '60s and '70s, Mythos adaptations were particularly pallid: films like "The Dunwich Horror", "Die, Monster, Die!" and "The Shuttered Room" (the last of these didn't bother with fantasy/SF trappings of any sort). Many of us amateurs believed we could do better. Here's my attempt... and I'm afraid it sucks balls just as badly as any of the lame professional attempts. Despite the title, it's actually an ungainly welding-together of elements from "The Dunwich Horror" and "The Shadow Out of Time", though the bits are so schematically adapted they may not even be recognizable. Those familiar with the originals will be particularly appalled to see how badly I de-mystified Wilbur Whately... an indelible, iconic horror, stripped here of any outre status.

No filming ever resulted from this screenplay; I wouldn't bother presenting it at all except that (1) there are accompanying illustrations (bottom), which I'd prefer not be wasted, and (2) it presents an ideal opportunity to alert fans to a truly fine film version of the same material. The H.P.Lovecraft Historical Society has recently completed a proper cinematic rendition of "The Call of Cthulhu": it's low budget and not feature-length (stretching the material to 90 minutes would have badly compromised it), but quite faithful to the source and wildly entertaining. I can't recommend it highly enough to the Lovecraft enthusiast! Here's an address, for those who'd care to check it out for themselves:

http://www.cthulhulives.org/toc.html

Meanwhile, here's my junky version:

The Call of Cthulhu

a screenplay by
Foster Glenn Oakes.
based on the Cthulhu mythos
of H. P. Lovecraft​

CAST
Prof. Armitage Harper
Richard Whately
Wilbur Whately
David

INTERIOR. The inside of the Miskatonic University Library. At a table, the partially crippled PROF. ARMITAGE HARPER sits, staring into an ancient book. From a door at the back of the room, DAVID enters.

David: Prof. Harper, a Mr. Richard Whately to see you, sir.

Harper: Ah, so he's arrived. Show him in, David.

David exits. In a moment, RICHARD WHATELY enters.

Richard: I expected to find you here, in the library. There's nowhere else in the university that you ever go.

Harper: The Miskatonic University Library is a place of ancient learning, Richard. you would have done well to spend more time here. (He rises, with the aid of a cane.) How are you, my boy?

Richard: Well enough, and quite ready to see the old manor house.

Harper: (slowly) Yes, the old Whately Manor. Richard, I have some things to tell you about that place. At all costs, I want to prevent you from moving in.

Richard: But why? My family still owns it. I have every legal right--

Harper: Richard, there are forces at work in this part of the country that you would not believe in, even if you could comprehend them. Your ancestors moved from Dunwich years ago to escape the curse of your family, the curse that mark them as sorcerers.

Richard: Come now, Professor--

Harper: The degenerates of Dunwich have awaited the return of an untainted Whately. There is danger for you in that town. Please stay here in Arkham for a day or so, then return home.

Richard: I have no intention of doing so, sir. The Innsmouth folk-tales don't frighten me, nor do the people of Dunwich.

Harper: Then you intend to ignore the ancient warnings?

Richard: Certainly I do. And as it grows late, I should be out to the place. Good day, sir. I'll see you tomorrow.

Harper: Of course. Tomorrow, Dick. (They shake hands. When Richard has left, Harper calls out.) David! (David enters.) Bring me the books. You know the ones I mean. There is certain knowledge we must have, if we are to combat the evil that will be created this night.

EXTERIOR. The Whately Manor. It is near dusk. Richard's car pulls into the drive. He gets out and walks toward the front door.

Wilbur: (off) Howdy, Cousin.

Richard turns to confront WILBUR WHATELY, who has just stepped from behind the hedge.

Wilbur: Your a mite early, but that don't matter. We're ready for ya all the same.

Richard: Who are you?

Wilbur: I'm your cousin! Wilbur Whately! In Arkham, they calls us the Tainted Whatelys. But come on in.

Richard unlocks the door, and the two men walk into the house. INTERIOR. A hallway in Whately Manor. In comes Wilbur, followed by Richard.

Wilbur: Right down here. This is the place.

They enter through a door into a long, high chamber, with dusty books sitting on a termite-worn shelves. At the top of the rear wall, is a circular glass window of many panes.

Wilbur: Here it is. Here's where you'll wake him.

Richard: Wake whom? What are you talking about?

Wilbur: "The Dead One Who Lies Dreaming."

Cut to the Miskatonic Library. Prof. Harper and David have just finished the necessary preparations.

David: I'm finished memorizing the counter-phrases, Prof. Harper.

Harper: Good. Now if this one is destroyed, the other my still drive the thing back. (He looks at his watch.) We must hurry. They will start soon.

At Whately Manor, Wilbur has set several books in front of Richard.

Wilbur: This is the one. The words you have to say are in here.

Wilbur selects an ugly-looking tome from the collection and hands it to Richard.

Richard: I've seen this book before, in Prof. Harper's collection. This is an evil book...the Necronomicon!

Wilbur: Did you say Prof. Harper?

Richard: Yes. Prof. Armitage Harper. Do you know him?

Wilbur: He'll try to ruin everything. Quick, read these lines. You're the only one who can!

Richard: These aren't words...

Wilbur: Read!!!

Richard, a bit frightened by Wilbur's fanaticism, attempts to read from the book.

Richard: "Nyl nen-nyl sen Yog-Sothoth re nl nylth rn-rln Cthulhu noth--"

Wilbur: That's enough. He'll come now.

Slowly, the sound of discordant piping arises over the scene, ultimately blotting out all other sound. Richard, in horror watches the panes in the window take on the unearthly visage of Cthulhu.

EXTERIOR. Outside the house, Harper and David have just pulled into the drive. They bound from the car, Harper doing the best he can with his cane. Suddenly, there is the sound of thunder. The old man turns around to see the spot where David stood littered with his ashes. Undaunted, he hobbles into the house.

INTERIOR. Harper bursts in on Richard and Wilbur, just in time to witness an awesome spectacle: in front of the blazing window, the mighty Cthulhu materializes. He breathes heavily, his huge tentacles curling in and out. Richard only stares, transfixed with terror, while Wilbur's eyes shine with insane glee. The degenerate runs toward his god and prostrates himself. The fetid giant glances down on the man and raises his great, talon-like foot. Wilbur looks up and screams a soundless scream, as the massive weight descends upon him.

Cthulhu then turns his attention to the two other men. With ponderous, heavy strides prompted by that first hideous step, he looms toward them. Richard remains in his motionless state, eyes wide. Harper at once leaps, as best he can, into action. He throws himself in front of his young friend and begins the counter-chants. His words are not heard because of the ghastly piping sound, but they ultimately have their effect. The Great Old One falters, then slowly vanishes from sight.

The discordant piping stops. All is dead silent. Harper bends over for a moment, exhausted, then turns to Richard. To his horror, he discovers the young man to be lying on the floor, his eyes staring uselessly at the ceiling. He is dead.

-END-​


Next: "Behind the Barred Doors".
 

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Such a powerful force and yet the muffles words of a cripple are enough to send it back to whatever dark depths it inhabits. Three out of four, dead! That may be a new record. Why would the lightning strike the assistant, and not the professor? I suppose having read little to know Lovecraft I am not familiar with his methods and modes.

And I am reminded of a comic by this story. I shall upload it for your amusement (If it can cause such a thing).
 

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Such a powerful force and yet the muffles words of a cripple are enough to send it back to whatever dark depths it inhabits. Three out of four, dead! That may be a new record. Why would the lightning strike the assistant, and not the professor? I suppose having read little to know Lovecraft I am not familiar with his methods and modes.
Actually, I don't recall that any of the Great Old Ones used lightning attacks. They tended to employ human and half-human agents to do murder... the electricity was my own idea (and, as you intimate, kind of a clumsy one). Poor ol' David! He was screwed from the very start, what with no last name! A fictitious character has to know he's not long for this world when he's only got a partial name; like all those landing party casualties on Star Trek... it's always "Ensign" something-or-other. The defeating incantation is nicked fairly accurately from the end of "The Dunwich Horror". I don't mind spilling that, as it's not the big concluding revelation. If you aren't familiar with this short story (or novella, maybe; it's like 40 pages long), I gotta recommend it! It's quintessential Lovecraft: moody, disquieting both in vague and concrete terms... a real grabber!

And I am reminded of a comic by this story. I shall upload it for your amusement (If it can cause such a thing).
Marshal Dillon worked on this comic?! I didn't even know he'd left Dodge! Anyways, thanks so much for uploading all these pages, HDS! A hefty amount of effort, and very much appreciated! It was nothing I'd ever seen before, and these guys definitely have the right vividly nasty Lovecraftean approach! It's a bit of an omnibus itself... I see inspiration from lots of different Lovecraft sources. Another Cthulhu for the collection! Artists just can't resist him as a subject (well, he's a lot easier to visualize than the more centrally important Yog-Sothoth)!
 
interesting. A nice take on Lovecraftian stories. Sadly, I never read anything by H.P. lOVECRAFT.
 
interesting. A nice take on Lovecraftian stories. Sadly, I never read anything by H.P. lOVECRAFT.
Thank you J! If you like your literature on the disturbing side (and I know you do!), Lovecraft may be the man for you! I graduated to Lovecraft directly from Poe... the transition seemed so natural I barely knew I'd made it. He exploits many of the same themes and techniques (epistolary plot structure; a terror of corrupting disease; a vague sense of unease concerning hidden, hostile worlds). And I suspect stories like "The Dunwich Horror", "A Color Out of Space", "A Shadow Over Innsmoth", et. al. would not seem all that foreign, since Lovecraftean imagery has been so seminal and influential. You can't really judge by my clumsy attempt... it barely scratches the surface.
 
Behind the Barred Doors

This radio-playlet was written for a college dramatics course as an exercise in sound mixing (narration, sound-effects and music. I went with a reading of Poe's "City in the Sea" instead, which was just as well); please enjoy it now, to the extent that's possible, along with accompanying illustrations (bottom). Note: the third picture is a reconfiguration by one of my internet buddies, having a lot more fun with the material than it really warranted:


Behind the Barred Doors

a radio-play by Foster Glenn Oakes​


Theme music.

Announcer: Royal Sound Theatre presents "Behind the Barred Doors", a holiday offering.

Music dies out.

Storm and thunder. A low slurping sound.

Narrator: None of us dared to look at the barred doors of the asylum room. A deep, colored, fetid ooze had seeped in from the chamber, along the door stop, and now spread thickly over the tile floor. The hideous screams of Dr. London had stopped a score of minutes prior, and soon after their departure had come the strange feeding sounds we tried vainly not to hear.

It was the room of that particular madman, Randolph Mason, whom as he was committed, had raved of the eldrich demons that threatened to destroy his soul and mutate his body. It was on this night, during one of his unusually violent fits, that Dr. London had entered with a syringe loaded with morphine and had signaled that the heavy metal doors be bolted behind him. It was only now that our stunned minds began to recover form the shock and horror resulting from our colleague's wretched, agonized cries and the following noises which now aroused long-suppressed, primal fear.

Pause.

Narrator: It was said that Mason had read from forbidden tomes, and had stimulated dark forces which man was better off not knowing of.

Pause.

Narrator: It was with trembling hands and quaking conviction that we pulled back the bolts a second time.

Door opening. Eerie music.

Narrator: For a moment, we stood peering into darkness, the slime puddle growing broader and the fetid stench strengthening.

Seething, wet sound. Confused retreat by spectators. Gasping.

Narrator: Then, IT rolled through the open doorway... a formless mass of writhing gelatinous matter, sickly, pinkish tentacles flailing from its sides. Trailing from one of these hellish appendages was the partially dissolved torso of Dr. London. We stood transfixed with terror at the sight of this travesty which had once been Randolph Mason.

Sound of fast, wet movement. Breaking of glass.

Narrator: With unnatural speed, the amorphous form burst through the window and disappeared into the grounds outside.

Pause.

Music and storm die out.

Narrator: Randolph Mason... the thing that he became... has never been located since.



Next: "The Very First Voyage of Sinbad".
 

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Really, why would you open the door? Slurping sounds, agonized screams and goo oozing from beneath the door aren't enough? They could have at least brought weapons to kill what came out. I wouldn't care but for the fact that this is exactly what people would do. Curiosity and cats and all that. Maybe Randolph, or what's left of him, headed for the Low Roads to find some relatives (Like that hulking monstrosity of a few issues back of the TK-oriented Low Roads ... Sid I believe?).

Thought of the door that held the Nightmare King entombed in Little Nemo: Adventures in Slumberland with the first picture. The horror resembes a Horror card from Magic: The Gathering but I can't for the life of me remember the name. A vile wretch, 'tis for sure, although the third picture does indeed diminish that somewhat. 😛
 
Really, why would you open the door? Slurping sounds, agonized screams and goo oozing from beneath the door aren't enough? They could have at least brought weapons to kill what came out. I wouldn't care but for the fact that this is exactly what people would do. Curiosity and cats and all that.
Well, I know I certainly have been on occasion... joining crowds around crash sites (where errant ash might send spectators streaking away in blazing agony!) Thank goodness for a certain measure of dumb-headedness... it makes it simpler to move characters around the landscape! Weapons wouldn't have been a bad idea, though. Wish I'd thought of that!

Maybe Randolph, or what's left of him, headed for the Low Roads to find some relatives (Like that hulking monstrosity of a few issues back of the TK-oriented Low Roads ... Sid I believe?).
Accurate as ever, HDS! The Low Roads baddy is called Sid: Sid the Skarfer, another multi-armed menace! All my favorite horrors are blessed with scads of appendages, with boneless tentacles amongst the front-runners (they're so damned easy to draw!) Sending Randolph Mason to Tabor County is an inspired idea, actually... I'll have pressing need for fresh monstrosities soon enough...

Thought of the door that held the Nightmare King entombed in Little Nemo: Adventures in Slumberland with the first picture. The horror resembes a Horror card from Magic: The Gathering but I can't for the life of me remember the name. A vile wretch, 'tis for sure, although the third picture does indeed diminish that somewhat. 😛
A quick check for sources yielded negligible results. I've never seen the Little Nemo movie; I'm not terribly familiar with McCay's comic strip, either, though I'm guessing that the "Nightmare King" was invented strictly for the cinema. Likewise, I've got no first-hand experience with "Magic: The Gathering" and my brief tour didn't lead me to the image you refer to. I was able to find this one, though (below) from a separate game. Rather telling... every Lovecraft nasty tends to look like an octopus in some way!

The joke picture is likely the most enjoyable element of this exercise! I'm not terribly proud of a lot of my early effort, back when I was young, callow and overly impressed with my ability (so much so that I barely ever rewrote anything)... playing it for laughs offers good perspective... also the sole excuse for much of this material!
 

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