Terror of the Wolfman

In Junior High there were several boys who shared an appreciation of both monster movies and the Marx Bros.

When one guy said he could use his parents' 8mm camera, we took the idea and went to town with it.  We would make a monster movie, with Groucho Marx as the mad scientist character, who came up with a serum that he gave to an unsuspecting nitwit.

When this poor fool heard the phrase "peanut butter and banana sandwich," he would undergo a Jekyll-and-Hyde transformation into "the Wolfman."

I wrote this script/treatment, then, in the summer of 1973, when I was almost seventeen..

 The "Fat City Production" thing was probably a phrase stolen from Mazeppa Pompazoidi.

 Note the Gainax Ending -- the last refuge of the guy who's written himself into a narrative corner.

Here's a somewhat revised version that was commenced but never completed...

It is perhaps best for the sanity of the world that this magnum opus of demented genius remains uncompleted.

On the bright side, I would hope that this mid-teen gets marks for his script-formatting skills.

See you Monday!

 

1970s Paper Ephemera, 2

Here are a couple of more semi-spooks.

 These guys came from the same set, as you can perceive.  The pumpkins originally had slight fuzzy flocking, which is mostly rubbed smooth now.

You can also tell that Mr Wolfman has spent more time taped up in a window -- compared to the nonthreatening Bat-Guy, he's a little faded.

See you tomorrow for more hirsute hooliganism, with my script for a teenage horror movie called Terror of the Wolfman.

 

A Tortured Soul

Herman's going through typical problems as he tries to stick to his diet.

 Grandpa keeps eating RIGHT IN FRONT OF HIM.

And TV commercials keep luring him to think about FOOD, FOOD, FOOD!

More of this agony next Wednesday.  Tomorrow, some more 1970s decorations.

Herman Munster's on a Diet

 Herman can't wait to chow down on the bounty provided for him by his meal ration.

 Of course, the smaller the portion, the more it's presented with a flourish ... on a big platter and covered with a keep-warm lid.

Maybe he ate too much!
 

Color Herman Munster

 We're back with more pages from the 1964 Whitman Munsters Coloring Book.

Today's image is a cleaned-up page to print out and color.

Herman's at a costume party.  (The joke is, he already took off his costume!)

See you tomorrow. with some unretouched pages.
  

Professor Eisingel's Tomb, 1

Professor  Eisengel’s  Tomb

An introductory note …

It was blessed enough to be friends with Mark Barragar, whom I’ve mentioned in previous posts here, and here.

At one point Mark hoped to have his own horror-host show, and I was going to write him some scripts.  Mark wanted his character to be a Cyclopean type -- that is, only one eye (don’t ask me why).  So after a little banter we came up with the name Professor  Eisengel -- get it?  “Single eye”?

These are the opening and scripts I came up with.  Mark liked them, but was never able to convince his bosses at Channel 25 to give him a late-night movie gig. 

Here is my proposed opening sequence for each show, ending with the title card shown above:

PROFESSOR

EISENGEL'S

TOMB

Created by

Mark Barragar

&

Mark Alfred

Format

developed  &

written by

Mark Alfred

"PROFESSOR EISENGEL'S TOMB"

[OPENING TITLES SEQUENCE, THE SAME FOR EACH SHOW]

          [We FADE IN to a night sky.  There's a full moon.  We PAN DOWN to wind-tossed treetops; on the soundtrack we hear wind howling, leaves rustling, chains clanking, wolf howls, and creepy public-domain music.

            [We continue to PAN DOWN and, if necessary to blend the two shots, FADE INTO a cemetery at night.  We see old tombstones, rotting trees, leaning fences, whatever can suggest abandonment and delicious creepiness.

            [We TRACK DOWN a path, past crypts and mausoleums.  We come up to one that has an open door and center onto that empty blackness, ZOOM IN and FADE TO BLACK.

            [We FADE IN as the camera is traveling down some dim corridors.  Dragging footsteps and heavy breathing are heard on the soundtrack.  We finally reach a door that is ajar, with light coming out from behind it.  There's a light switch on the wall next to the door.  A handlike claw -- or is it a clawlike hand? -- reaches from off-camera to switch the light on.

            [Now illuminated on the side of the door facing us is our show logo:

PROFESSOR

EISENGEL'S

TOMB

            [The door knob is grasped by the same hand and yanked open.  Spilled light and white fog wash out the screen to fill it with white as we take this opportunity to FADE TO WHITE, concluding the opening title sequence.]