Mark Golden Addresses Canon and Comics

Sep 14, 2009 by

Editor’s Note: For over 10 years and 20,000+ messages, the Flearun group has discussed all that is Doc Savage. From plots, themes, authors, illustrators, to what is, and is not, canon. Recently, news of Doc Savage at a central part of a new DC comic series sparked discussion about comics changing the beloved character. Member Mark J. Golden had a well-written take that he agreed to republish here…

This, of course is not unique to Doc Savage.

Think of some of the other immortal, even iconic figures in popular fiction. Then go back to their original sources.

Frankenstein is the most obvious example. Say the name, people think immediately of Boris Karloff’s brilliant portrayal on film in Jack Pearce make up (or some derivation thereof) … even though Frankenstein is the scientist, not his creation. Who is referred to as “the creature” and not a monster. And far from the inarticulate being with a damaged brain so characteristic of most people’s imaginations, this creature actually taught himself to read, write and speak, and is the narrator of a good part of the original book.

Likewise Tarzan. Self taught. literate and articulate in the Burrough’s original. How often has THAT been carried forward into comics or film?.

Sherlock Holmes … until the very literal productions with Jeremy Brett on PBS, there were many, many truly excellent on screen presentations and comics that had little or no resemblance to the characters or settings in the book. Even the “classic” Rathbone/Bruce duo is NOTHING like anything Conan Doyle ever penned.

And I could go on on and on . . .

The problem (IMHO) with Doc Savage is that he has never really caught on in any form OTHER than the original novels … and even there, limited to an intensely loyal but relatively small readership. So anything different from that conception is provocatively obvious. Really fine writers like Will Murray who truly understand and love and breath the essence of the original can write new adventures in the original media (novels) that rise above mere imitation. But give Doc to a truly gifted writer who feels less constrained with the original vision (for example, Philip Jose Farmer) and you get “Escape from Loki.” It is arguably a better written novel than anything Dent and team ever wrote. But it is a brilliant PJF novel, with little or no resemblance to the original in tone, nature, character or any other attribute. I suspect that even further straying from the source will inevitably occur with ANY foray into a new media for Doc Savage.

I truly wish that someone, somewhere would create a film or comic that tells the story of Frankenstein, or the Phantom of the Opera, or Tarzan, the way their creators told their stories. And I wait in vein. In most cases, thriving careers in other media have supplanted and replaced the original, literary creation altogether. IF Doc ever makes the leap into mass market awareness in some media other than novels, I suspect it is inevitable that it will be a different Doc. Maybe better. Maybe worse. Certainly different.

(Even the Street and Smith Doc Savage comics of the 30s/40s, produced contemporaneously with the original novels, with the involvement if not approval of the same folks producing the pulps … you can truly say of thej that “Any resemblance of the persons and characters in this book to other literary characters of the same name is purely coincidence. “)

Mark J. Golden, CAE

Python Isle by Lester Dent

Aug 5, 2009 by

On June 11, 1996 Bob Bookman posted the original outline to a novel proposed for the Doc Savage series. The outline was first published in Pulp Vault magazine #10 May 1992. According to Bob, it was discovered by Will Murray on a visit to Mrs. Lester (Norma) Dent’s home, and was to be the 21st Doc story but was never written by Dent.

It’s left up to fans of Doc Savage to compare this outline to Will Murray’s Python Isle.

WHAT IS BACK OF YARN:
Centuries ago, King Solomon maintained a colony in the land of Ophir, source of his treasure. But the colony was put to flight by savage tribes, and set out to sea in boats. Their navigators had been killed by the savages, and the boats could only keep together as they were driven southward into the Indian Ocean by storms. Eventually they reached an island in a locality where storms are almost continuous. These monsoons prevented them again leaving the isle. They kept the Ophir treasure in their boats intact.

The colonists still live there, with Queen Lha on the throne. Opposed to Lha is Taxus, sorcerer and unscrupulous villain who is hungry for power. Taxus has a knowledge of hypnotism and the arts of magic, handed down by generations of sorcerer ancestors, and he uses these to cast spells over those who oppose him. He can hypnotize an enemy, aided by a drug made from native herbs, putting that person in sort of a trance known as Taxus’ invisible wrath.

Tom Franklin, flier trying a non-stop from Australia to Cape Town, was blown off his course in the storms and landed on the isle, which is known as Python Isle because of the number of snakes of that species.

Franklin, to maneuver his own escape, told Queen Lha of Doc Savage, who could smash Taxus, and with the girl, got away in his plane. Franklin’s idea is not to get Doc, but to enlist aid of unscrupulous men and come back for the Solomon wealth. Franklin takes with him from the Isle a papyrus script history of the Ophir colony by way of proof that the isle does exist.

CHAPTER I

Tom Franklin and Queen Lha, both in the costumes of Solomon days, are flying over the Pacific near South Africa. Their gasoline supply is low. They sight a small tramp steamer on the sea below, circle it, and to their surprise, are fired upon.

The ship is skippered by Blackbird Hinton, diamond smuggler and crook, who thinks the plane holds officers of the law after him. He shoots the plane down, and sends a small boat out to pick up the occupants. Prince Albert , Blackbird’s henchman, has charge of the boat.

Franklin stages a fake fight and manages to hide his papyrus roll under a thwart. This is to keep from Blackbird the secret of Python Isle and its treasure. The papyrus is in a bamboo tube.

Blackbird, questioning Franklin, finds him ignorant of all worldly events since 1927. The girl does not speak English, except to speak in some language in which one name, Doc Savage, is recognizable.

Mention of Doc worries Blackbird. Prince Albert is infatuated with the girl.

That night, Franklin creeps to the radio room with the girl and attempts to send a radio message to Doc Savage asking for help. They are discovered by Blackbird, who sets upon them, and they retreat to the boat where Franklin hid his papyrus roll.
Franklin gets his roll and escapes in a launch, but the girl is left behind, a prisoner of Blackbird.

CHAPTER II

Franklin, pursued by Blackbird and his crew, reaches the South African coast. He has the idea he can enlist Doc Savage’s aid and double-cross Doc when the Solomon treasure is taken from the Python Isle, so he inquires around about how to get a message to Doc Savage. He is directed to Renny, who is supervising a hydro-electric construction project nearby.

Before Renny can talk to Franklin, they are set upon by Blackbird’s men. Renny has the papyrus roll in his possession for awhile, but it is taken from him by Blackbird’s men. Blackbird’s crew also makes off with both Franklin and the bamboo tube which contained the parchment.

Blackbird is worries for fear the message sent earlier, before Franklin escaped the boat, was received, and he goes to the Cape Town radio station, which would logically have picked it up, and forces the operator to show his files. Sure enough, the message did get through and was relayed on to Doc Savage in New York.

CHAPTER III
Renny, however, had pulled a trick on Blackbird, having emptied the bamboo tube of its parchment contents and substituted blank wrapping paper. He is examining the meaningless (to him) symbols on the parchment when he is set upon by Prince Albert, who, more canny than Blackbird, has been watching over the affair. There is a fight in which Prince Albert is bested temporarily. But Prince Albert manages to lead Renny into a trap at the radio station, in which Renny is seized by Blackbird and his gang.

Blackbird then gets in touch with a crook he knows in New York, Bull Pizano by name, and directs Bull to keep the radio message from Doc if possible.

CHAPTER IV
Bull Pizano, in NY, moves to stop the message from reaching Doc. This is possible, because Doc is at the moment away at his Fortress of Solitude. Monk is at the NY headquarters of Doc Savage, and has the message. Bull Pizano has him decoyed outside and seized. But Monk has cannily not taken the message with him. Bull Pizano cannot find it.

CHAPTER V
Thinking Ham, another of Doc’s men, may have the message, Bull Pizano forces Monk to call Ham and make an appointment, the idea being that Ham is to be seized as he goes to the appointment. But Monk, who is using a French type phone, cannily wedges a match under the receiver hook so that the words he yells after hanging up reach Ham. The words are a warning, although Bull Pizano does not recognize them as such. Ham rushed out, intent on aiding Monk, but was trapped as he left Doc’s skyscraper headquarters-his car being forced into a big van before he can do anything about it.

CHAPTER VI
Doc comes back from his Fortress of Solitude and finds his safe has been blown-Bull Pizano’s work hunting for the radiogram. The thieves are still at work, and Doc trails them to their hideout. There is a fight, the Pizano gang escaping, but not before Doc has gotten sight of a large van which holds one of his cars-the one Ham used. This informs Doc that something must have happened to Monk and Ham.

CHAPTER VII
Doc’s cars are fitted with a cylinder which, at the touch of a concealed lever, releases a thin stream of vapor which is heavier than air, settles to the ground and remains there for some hours. Doc uses a fluoroscopic hood which renders this vapor visible as a sparking cloud, and trails the van-the vapor is being released by the car in the van, Ham having had a chance to get to the lever.

Thus, Doc trails the gang, and manages to rescue Monk and Ham.

They get the radiogram-there is only blank paper inside. But both Monk and Ham know its contents. It does not make much sense, being merely an appeal for help from a man named Franklin on a ship off the South African coast.

A radiogram comes from South Africa, from Renny’s associates on the hydroelectric project, advising that Renny had been seized at the radio station there.

CHAPTER VIII
Doc does some sleuthing and learns that Bull Pizano and his gang have disappeared, apparently scared out by Doc’s presence in N.Y.

Doc determines on the quickest route to South Africa to aid Renny-taking passage with Monk and Ham on a Zeppelin which is making one of its periodic Atlantic passages.

Pizano is on the Zeppelin, it develops, with a number of his men, and fighting follows. Doc and his party, outnumbered, are forced-apparently-into a motor gondola, which is cut loose into the sea. Doc, Monk and Ham have apparently died.

CHAPTER IX
Pizano commandeers the Zeppelin, forces it to sail well down the African coast, quits the craft and joins Blackbird, his old associate. Blackbird is enraged because the radio message was not apprehended, but news of Doc’s death pacifies him and he agrees to cut Pizano in on the treasure. Blackbird has the golden ornaments worn by Queen Lha and Franklin, as well as certain parts of Franklin’s plane, which are repaired with gold plate, as proof that there is a treasure. They haven’t found the papyrus; Renny won t tell where it is. They decide to kill Renny. But Doc, Monk and Ham-they were not dead, Doc having deceived Pizano into thinking that they were in the gondola which plunged into the sea-appear and rescue Renny. Renny gets the papyrus from where he hid it.

CHAPTER X
Doc is working on the cabalistic writing of the papyrus when Franklin staggers in, with a story of having escaped from Blackbird. He says he knows where the girl is held Not taking time to hear Franklin’s full story-Franklin faints from exhaustion a moment after he reaches Doc-the bronze man hurries to get the girl. But he encounters a trap, thwarts it, and does rescue the girl. Back at his hotel, he finds Renny, Monk, Ham and Franklin have been taken by Blackbird’s men during his absence. There is a note saying they will be released if Doc will turn over the papyrus roll and the girl.

CHAPTER XI
From the papyrus and the girl’s story-Doc with his fabulous learning knows a little of the lost language-the story of the Python Isle, the villainous Taxus and the treasure comes out. Doc accepts the offer of Blackbird to trade the girl and the papyrus for his men. But the bronze man has equipped the girl with weapons, and trailed her, so that when Blackbird attempts to kill Doc’s men instead of releasing them as he had promised, Doc is on hand to thwart the murders and free the prisoners. Blackbird, Prince Albert and Pizano, with some of their men, strike out in a large plane for the Python Isle, the location of which they have, Franklin admits, forced him to divulge.

CHAPTER XII
Doc, in another plane with Renny, Monk, Ham, Franklin and Queen Lha, nears Python Isle. They have trouble with the monsoon storms which makes ships steer clear of the vicinity, but get through and land. Doc sets the plane down on a valley before a city that looks as if it might have existed in Solomon’s day. The people are strangely garbed. There is no sign of Blackbird’s party or their plane, which has had time to arrive ahead of Doc. Taxus, the sorcerer, has taken over power during Queen Lha’s absence, claiming she was dead, and his followers now seize Doc’s party. Queen Lha, having come back from the dead, is now an evil person, Taxus claims, and Doc and his men are her servants.

CHAPTER XIII

The populace seems on the side of Taxus, and it is agreed to give Doc and his men the trial by the python pit which consists of a gladiatorial affair of making them fight enormous snakes. It is equivalent to a sentence of grisly death. As they are led into the city, Doc observes some who are under the strange spell of Taxus’ hypnotic and drug art, and the bronze man treats one of these, an old woman. Hagai by name, working what seems a miraculous cure. This is by way of refuting Taxus yarn that he is evil spirit, a devil from the outer regions.

But Doc is tossed, with Monk, Renny and Ham, in an ingenious torture pit into which sand filters steadily so that they cannot sleep, or even breathe in comfort. Here, they are to await death by the python pit. Queen Lha and Franklin are incarcerated elsewhere in the palace, as befitting individuals of more standing than Doc and his party.

Someone opens the sand grill and the fine particles threaten to suffocate them at once. They sight Blackbird’s features-he is on Python Isle and it was he who opened the grill. Not satisfied with waiting for the python pit, Blackbird wants Doc out of the way at once.

CHAPTER XIV
That night, Franklin gets in touch with Queen Lha, and they try to escape, only to be seized outside the palace by Blackbird and his men. Blackbird, against Prince Albert’s objections, orders one of his men to take the girl out to sea in the plane and drop her. Prince Albert balks at this so forcibly that they are forced to seize him and hold him. With Taxus, in whose cause he has enlisted himself, Blackbird cooks up a scheme whereby the people will be told that Doc caused the Queen to vanish.

CHAPTER XV
Doc has darts fastened to the bottom of a foot with adhesive tape, and he uses these to make one of the pit guards nauseated; then he tells the fellow he will be made well if he releases them. The terrified guard does so.

Doc overheard Prince Albert objecting strenuously to the girl’s fate, and that tipped him so that he was able to head off the flier who was to drop her into the sea. He rescues the girl.

Then Doc takes off in the Blackbird plane and deliberately drops it into the sea, escaping by a long swim and shark battle under water so that Blackbird will now think the girl and the pilot dead and know his plane is gone.

CHAPTER XVI
Doc and his party drain the gasoline from their own plane and conceal it. The girl is placed in a hiding place, with Renny left behind to watch over her. Doc, Monk and Ham now go in search of Franklin the girl having told them where he is held. But Franklin is not at the spot. Doc’s party is discovered by Taxus’ warriors; there is a fight, and near its climax, Franklin puts in an appearance, saying he has escaped on his own hook, and leads them out through secret doors.

CHAPTER XVII

Doc finds and talks to the old woman Hagai, who has been spreading the story of the miraculous cure Doc worked on her. This has given the populace something to think about; Doc may be stronger magic than Taxus. Friends of Queen Lha are with Hagai and they listen to Doc explain that Taxus is a fakir. Taxus and his men, with Blackbird and Prince Albert, appear and break up the meeting. Doc, retreating, learns that Renny and the girl vanished from the hiding place, taken away by Blackbird s crowd, it appears. A ship appears.

CHAPTER XVIII
The ship is Blackbird’s vessel, which has come under forced draft. It is to be used to remove the Solomon gold.

Doc and his party attempt to remove the treasure first, but are surprised and seized.

CHAPTER XIX
Doc and his men receive trial in the python pit, Blackbird s gang using the cover of the ceremonies to make away with the gold. By using a chemical vapor, Doc stupefies the pythons. His seeming power over the serpents arouses those of the populace who are on the side of Queen Lha, and they rout the followers of Taxus.

CHAPTER XX
Blackbird, Taxus, Prince Albert, Pizano and gang have seized Queen Lha and boarded the ship and are putting out of the harbor. Doc boards his plane in an attempt to head them off, but the craft is not a fighting ship and his tanks are punctured. He is forced down on a reef. In attempting to get close enough to him to kill him, Blackbird’s ship goes on the rocks, is broken up and sinks. Prince Albert, a debonair fellow after his way, is the last to drown. The plane is safe. Doc reaches shore. Queen Lha is safe, it develops, because Prince Albert had turned her loose prior to the sailing of the ship.

Lester Dent

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Lester Dent’s Secret Master Plot

Aug 1, 2009 by

Lester Dent’s Secret Master Plot

This is a formula, a master plot, for any 6000 word pulp story. It has worked on adventure, detective, western and war-air. It tells exactly where to put everything. It shows definitely just what must happen in each successive thousand words. No yarn of mine written to the formula has yet failed to sell. The business of building stories seems not much different from the business of building anything else.

Lester DentHere’s how it starts:

1. A DIFFERENT MURDER METHOD FOR VILLAIN TO USE
2. A DIFFERENT THING FOR VILLAIN TO BE SEEKING
3. A DIFFERENT LOCALE
4. A MENACE WHICH IS TO HANG LIKE A CLOUD OVER HERO

One of these DIFFERENT things would be nice, two better, three swell. It may help if they are fully in mind before tackling the rest.

A different murder method could be–different. Thinking of shooting, knifing, hydrocyanic, garroting, poison needles, scorpions, a few others, and writing them on paper gets them where they may suggest something. Scorpions and their poison bite? Maybe mosquitos or flies treated with deadly germs?

If the victims are killed by ordinary methods, but found under strange and identical circumstances each time, it might serve, the reader of course not knowing until the end, that the method of murder is ordinary. Scribes who have their villain’s victims found with butterflies, spiders or bats stamped on them could conceivably be flirting with this gag. Probably it won’t do a lot of good to be too odd, fanciful or grotesque with murder methods.

The different thing for the villain to be after might be something other than jewels, the stolen bank loot, the pearls, or some other old ones. Here, again one might get too bizarre.

Unique locale? Easy. Selecting one that fits in with the murder method and the treasure–thing that villain wants–makes it simpler, and it’s also nice to use a familiar one, a place where you’ve lived or worked. So many pulpateers don’t. It sometimes saves embarrassment to know nearly as much about the locale as the editor, or enough to fool him.

Here’s a nifty much used in faking local color. For a story laid in Egypt, say, author finds a book titled “Conversational Egyptian Easily Learned,” or something like that. He wants a character to ask in Egyptian, “What’s the matter?” He looks in the book and finds, “El khabar, eyh?” To keep the reader from getting dizzy, it’s perhaps wise to make it clear in some fashion, just what that means. Occasionally the text will tell this, or someone can repeat it in English. But it’s a doubtful move to stop and tell the reader in so many words the English translation.

The writer learns they have palm trees in Egypt. He looks in the book, finds the Egyptian for palm trees, and uses that. This kids editors and readers into thinking he knows something about Egypt.

Lester DentHere’s the second installment of the master plot.

Divide the 6000 word yarn into four 1500 word parts. In each 1500 word part, put the following:

FIRST 1500 WORDS

1–First line, or as near thereto as possible, introduce the hero and swat him with a fistful of trouble. Hint at a mystery, a menace or a problem to be solved–something the hero has to cope with.
2–The hero pitches in to cope with his fistful of trouble. (He tries to fathom the mystery, defeat the menace, or solve the problem.)
3–Introduce ALL the other characters as soon as possible. Bring them on in action.
4–Hero’s endevours land him in an actual physical conflict near the end of the first 1500 words.
5–Near the end of first 1500 words, there is a complete surprise twist in the plot development.

SO FAR: Does it have SUSPENSE? Is there a MENACE to the hero? Does everything happen logically?

At this point, it might help to recall that action should do something besides advance the hero over the scenery. Suppose the hero has learned the dastards of villains have seized somebody named Eloise, who can explain the secret of what is behind all these sinister events. The hero corners villains, they fight, and villains get away. Not so hot.

Hero should accomplish something with his tearing around, if only to rescue Eloise, and surprise! Eloise is a ring-tailed monkey. The hero counts the rings on Eloise’s tail, if nothing better comes to mind. They’re not real. The rings are painted there. Why?

Lester DentSECOND 1500 WORDS

1–Shovel more grief onto the hero.
2–Hero, being heroic, struggles, and his struggles lead up to:
3–Another physical conflict.
4–A surprising plot twist to end the 1500 words.

NOW: Does second part have SUSPENSE? Does the MENACE grow like a black cloud? Is the hero getting it in the neck? Is the second part logical?

DON’T TELL ABOUT IT***

Show how the thing looked. This is one of the secrets of writing; never tell the reader–show him. (He trembles, roving eyes, slackened jaw, and such.) MAKE THE READER SEE HIM.

When writing, it helps to get at least one minor surprise to the printed page. It is reasonable to to expect these minor surprises to sort of inveigle the reader into keeping on. They need not be such profound efforts.

One method of accomplishing one now and then is to be gently misleading. Hero is examining the murder room. The door behind him begins slowly to open. He does not see it. He conducts his examination blissfully. Door eases open, wider and wider, until–surprise! The glass pane falls out of the big window across the room. It must have fallen slowly, and air blowing into the room caused the door to open. Then what the heck made the pane fall so slowly? More mystery. Characterizing a story actor consists of giving him some things which make him stick in the reader’s mind.

TAG HIM. BUILD YOUR PLOTS SO THAT ACTION CAN BE CONTINUOUS.

Lester DentTHIRD 1500 WORDS

1–Shovel the grief onto the hero.
2–Hero makes some headway, and corners the villain or somebody in:
3–A physical conflict.
4–A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.

DOES: It still have SUSPENSE? The MENACE getting blacker? The hero finds himself in a hell of a fix? It all happens logically?

These outlines or master formulas are only something to make you certain of inserting some physical conflict, and some genuine plot twists, with a little suspense and menace thrown in. Without them, there is no pulp story.

These physical conflicts in each part might be DIFFERENT, too. If one fight is with fists, that can take care of the pugilism until next the next yarn. Same for poison gas and swords. There may, naturally, be exceptions. A hero with a peculiar punch, or a quick draw, might use it more than once. The idea is to avoid monotony.

ACTION: Vivid, swift, no words wasted. Create suspense, make the reader see and feel the action.
ATMOSPHERE: Hear, smell, see, feel and taste.
DESCRIPTION: Trees, wind, scenery and water.

THE SECRET OF ALL WRITING IS TO MAKE EVERY WORD COUNT.

Lester DentFOURTH 1500 WORDS

1–Shovel the difficulties more thickly upon the hero.
2–Get the hero almost buried in his troubles. (Figuratively, the villain has him prisoner and has him framed for a murder rap; the girl is presumably dead, everything is lost, and the DIFFERENT murder method is about to dispose of the suffering protagonist.)
3–The hero extricates himself using HIS OWN SKILL, training or brawn.
4–The mysteries remaining–one big one held over to this point will help grip interest–are cleared up in course of final conflict as hero takes the situation in hand.
5–Final twist, a big surprise, (This can be the villain turning out to be the unexpected person, having the “Treasure” be a dud, etc.)
6–The snapper, the punch line to end it.

HAS: The SUSPENSE held out to the last line? The MENACE held out to the last? Everything been explained? It all happen logically? Is the Punch Line enough to leave the reader with that WARM FEELING? Did God kill the villain? Or the hero?

The End

Lester DentFrom: Jason A. Wolcott Newsgroups: alt.fan.doc-savage,alt.pulp Subject: Lester Dent’s Master Plot Date: Fri, 13 Oct 1995 09:20:29 -0500 Uploaded by Jason A. Wolcott, from Marilyn Cannaday’s biography of Lester Dent, “Bigger Than Life: the Creator of Doc Savage.” (c) 1990 Bowling Green State University Popular Press. Original publication circa 1950s

Published on the Original Hidalgo Trading Company in this format sometime in the late 90s.

Seriously, who remembers the exact date these days?

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Doc Savage on the Radio

Jul 31, 2009 by

Doc Savage made it to the radio three times: 1934-35, 1943, and 1985. Below is a list of the episodes culled from numerous sources.

1934-35 episodes were 15 minutes each and were written by Lester Dent.

Episode Date Title
1 02/10/1934 The Red Death
2 02/17/1934 The Golden Legacy
3 02/24/1934 The Red Lake Quest
4 03/03/1934 The Sniper in The Sky
5 03/10/1934 The Evil Extortionists
6 03/17/1934 Black-Light Magic
7 03/24/1934 Radium Scramble
8 03/31/1934 Death Had Blue Hands
9 04/07/1934 The Sinister Sleep
10 04/14/1934 The Southern Star Mystery
11 04/21/1934 The Impossible Bullet
12 04/28/1934 The Too-talkative Parrot
13 05/05/1934 The Blue Angel
14 05/12/1934 The Green Ghost
15 05/19/1934 The Box of Fear
16 05/26/1934 The Phantom Terror
17 06/02/1934 Mantrap Mesa
18 06/09/1934 Fast Workers
19 06/16/1934 Needle in a Chinese Haystack
20 06/23/1934 Monk Called it Justice
21 06/30/1934 The White Haired Devil
22 07/07/1934 The Oilfield Ogres
23 07/14/1934 The Fainting Lady
24 07/21/1934 Poison Cargo
25 07/28/1934 Find Curley Morgan
26 08/04/1934 The Growing Wizard

Episodes 27-52 were repeats of the 1934 episodes.

The 1943 episodes were 30 minutes long.

Episode Date Title
53 01/06/1943 Doc Savage
54 01/13/1943 Return From Death
55 01/20/1943 Note of Death
56 01/27/1943 Murder Charm
57 02/03/1943 Death Stalks The Morgue
58 02/10/1943 I’ll Dance On Your Grave
59 02/17/1943 Murder Is a Business
60 02/24/1943 Living Evil
61 03/03/1943 Journey Into Oblivion
62 03/10/1943 Hour of Murder
63 03/17/1943 Pharaoh’s Wisdom
64 03/24/1943 Society Amazonia
65 03/31/1943 Insect Menace
66 04/07/1943 Subway to Hell
67 04/14/1943 Monster of The Sea
68 04/21/1943 The Voice That Cried ‘Kill!’
69 04/28/1943 Cult of Satan
70 05/05/1943 When Dead Men Walk
71 05/12/1943 The Screeching Ghost
72 05/19/1943 Ransom or Death
73 05/26/1943 Murder Man
74 06/02/1943 Miracle Maniac
75 06/09/1943 Skull Man

Episodes 76-78 were repeats of selected 1943 episodes.

The 1985 National Public Radio episodes were 30 minutes each. They were two series, Fear Cay (Episodes 79-85) and The Thousand-Headed Man (Episodes 86-91)

Fear Cay
79 09/30/1985 Kidnapped
80 10/07/1985 The Hanging Man
81 10/14/1985 The Disappointing Parcel
82 10/21/1985 The Island of Death
83 10/28/1985 Terror Underground
84 11/04/1985 The Mysterious Weeds
85 11/11/1985 The Crawling Terror

The Thousand-Headed Man
86 11/18/1985 The Black Stick
87 11/25/1985 Three Black Sticks
88 12/02/1985 Flight Into Fear
89 12/09/1985 Pagoda of The Hands
90 12/16/1985 The Accursed City
91 12/23/1985 The Deadly Treasure

Originally published on the Hidalgo Trading Company
Last published October 1, 2006 on DocSavage.Info

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022 11/33 The Czar of Fear

Nov 30, 1993 by

3311.jpg | 022.jpg

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