Circumstantial Evidence

“Megan’s a what, now?”

“She’s a straight up, dyed in the wool, city witch.”

“Oh, come on. You’re kidding me, right?”

“Nope.”

“Okay, then how do you reckon she’s a witch?”

“Are you blind? She routinely walks a mutated hellhound after midnight, Ubers dragons to get her witchy ass around town, that penthouse suite of hers is made entirely of gingerbread, and all the children in her apartment complex have mysteriously gone missing since she moved in.”

“Sounds more like wild speculation and coincidence than actual proof. You wouldn’t happen to be jealous, would you?”

“Jealous of what? Her unhealthy appetite for our future generation?”

“That perhaps people find her a little more interesting than you?”

“Just because she bathes in the blood of innocents and bakes her bread with human bones, does not make her more interesting than me! Wait, please tell me you’re not thinking about hooking up with her.”

“Would it really be all that bad?”

“Um, did you miss the bit about the missing kids?”

“Well, were they good kids, or, you know…like…the other kind?”

“That shouldn’t matter! Children are sacrosanct!”

“More like sacrificed, if your suspicions are correct.”

“I give up. Do what you want. On your head be it.”

“Only if I’m lucky.”

“You are so incredibly disgusting.”

Text and Audio ©2021 Rhyan Scorpio-Rhys

The Timeless Rail

It had been a long and uneventful life, and when the daily drudgery of existence reached a level that threatened to drown her, Amber spent all the bitcoin she had amassed to book a ticket well in advance in order to give her family, friends, and employer ample notice of her departure.

Impatiently, she waited at a forest rail station, which was hidden from all transit maps and only locatable via the dark web, for the train that traveled the timeless roads from the birth of imagination to the apex of dreams.

She knew in her heart of hearts that she would not ever return to this reality in her lifetime.

Text and Audio ©2017 & 2021 Rhyan Scorpio-Rhys

The Face of Change

I watched him discreetly to see how he adjusted and was surprised at just how easily he accepted change. Don’t get me wrong, things were awkward at first.

Normally a surefooted man, he began stumbling into things and tripping constantly. Somehow, the growth of the additional eye must have thrown off his depth perception. This only lasted a few days, though. In no time at all, he returned to his usual graceful self, more so in fact. In recent times, I couldn’t recall him having a single episode of clumsiness.

His innate ability to adapt was a huge advantage and the more comfortable he became with his condition, perhaps the more likely he would finally feel comfortable to confide in me. I knew this wouldn’t happen any time soon because he was preoccupied with the advantages and shortcomings of his newly altered state.

Besides the obviously improved eyesight, his reading skill and speed increased one hundredfold. Magazines that he initially glanced through, the ones instantly bundled for the recycled trash day, he started tearing through, reading them cover to cover no matter what they were–Omni, Scientific American, Good Housekeeping, Cosmopolitan.

Once he conquered magazines, he moved on to books. At first, my little trashy paperbacks and dime novels, but then he moved onto more serious fiction. One time he even polished off Moby Dick and War and Peace in the same night. Many was the night that I tossed and turned to the sound of him in the den flipping through the pages of some book or other at a breakneck pace.

As fate would have it, just when I was beginning to adjust to his third eye, I discovered that his nose had changed. Nothing drastic, just a slight flaring of the nostrils. With this minute alteration came a sensitive sense of smell. Now I thought he’d have no choice but to talk with me about it, but he didn’t, he just became reclusive. It was obvious to me that this was just the beginning—of what? I had no idea. Concerned at this point, I began dropping hints. Asking how he was feeling. If he had an allergy or a head cold. When was the last time he had his eyes checked, surely reading for long periods under that dim reading lamp couldn’t be easy on the eyes.

He began to become irritated with my prying, so I stopped, convincing myself if he could live with the changes then so could I and maybe that would have been true if it stopped at his nose.

His ears were next. First the right and then a week later, the left. Sprouting upward to a point. The result was enhanced hearing. Accompanied by migraine headaches from sounds that even our dog couldn’t pick up.

Then his mouth. Bleeding gums that resulted from a second row of teeth that pushed their way to the surface over his original set. Tongue followed a short time later. Elongating. Forking.

After that, I couldn’t tell you what was next. I never saw him again. Not that he moved or I left him. He just kept himself forever on the other side of a locked door. Part of me was thankful. I was spared the sight of the monster he was becoming. And he was spared the look of revulsion that I could no longer hide. That didn’t curb my curiosity, however. I still peeked through keyholes and drilled tiny holes in the wall. Why? He was changing into a wholly new person and I had to see what the end result was. After all, he was the man I married.

On the few occasions when he caught me spying, he flew into a rage, demanding to know what my problem was. My problem? Like I was the one who looked like an inhabitant from the Island of Dr. Moreau.

And that’s all I know. Whatever loyalty I felt towards him, whatever love I had for him, was gone. Gone the moment I got a clear look at what he’d become and witnessed his potential for violence. I was probably an idiot for remaining as long as I did, but then, love blinds sometimes. All that was gone now. The very next morning I packed a change of clothes in a rucksack, emptied the bank account, gassed up the car and left. Without a backward glance.

And I avoided mirrors, afraid that I had contracted whatever disease afflicted my husband, for it was a known fact that the thing that affected a loved one, affected everyone surrounding it, and I was terrified of looking into the face of my very own transformation.

Text and Audio ©2011 & 2021 Rhyan Scorpio-Rhys

My Name Be Entropy

I was never what anyone would have called creative by any stretch of the imagination but my parents, my loving mother and father taught me how to appreciate creativity when I encountered it especially when we gazed up at the night sky.

They schooled me on using my imagination, on connecting the dots to form pictures and manipulating those images in my mind to construct the most beautiful art imaginable. I was alive with a raw energy that I could not brush onto canvas or mold in clay. Nor was I able to express in song, speech or written word the joy I felt standing with those whom I loved most dearly beneath a canopy of loveliness brought to life by divine hands.

But that was then.

Now I serenaded the twilight every night, luring stars close enough to be plucked from the sky, one by one, and I saved their beauty in my clutch bag for the day my mother and father, who grew bored with me and succumbed to wanderlust, decided to finally return home.

“Why do you continue doing this thing, Enny?” my neighbor, the Spinster Wainwright, once asked in a tone that was more condemnation than curiosity.

“Because my mother once told me that stars used to inspire wishes,” I replied. “And I will continue to do this thing until my wish has been granted.”

To this, the old woman had no response. She simply stood at my side, watching the night sky grow darker as one by one the stars were plucked from the heavens and placed into my purse, causing galaxies to shudder.

Eventually, our star, our sun would join the others and this lonely existence would be eaten by the dark motes that share my name.

Text and Audio ©2019 & 2021 Rhyan Scorpio-Rhys

We Call It Love

They darken our doorstep, these weak men of authority do, issuing proclamations and threats in hopes of frightening us into submission. How poorly they know myself or my wife.

Were they more observant, able to peer beneath the surface of our supposed marital hatred, if one of these men, made strong only because of their sheer number, were truly bold enough to gaze into my betrothed’s eyes or even mine, they would perchance see into our souls and spot a chemistry that is more than mere butterflies churning in our bellies for our butterflies are bloodthirsty ravens forcing us into an entanglement, a battle for conquest, a contest of champions in which there can only be one victor but when the coupling is concluded, both emerge victorious.

But no, instead they bring their rules and laws, trying to persuade us into accepting that our way of thinking is not right, telling us our mating ritual will eventually end in disaster and in order to safeguard both my wife and myself, we must not only separate from one another but be sent into exile and walk the earth until we see the errors of our ways and are prepared to repent for our sins.

They think our ways foolish and perhaps I am the fool for thinking we could live among these strangers and benefit from sharing our respective cultures, acknowledging our common traits and if not embracing them at least accepting the rituals which divide us.

I state that no one will ever dictate how we live our lives for we are happy and even if their armed horde by some miracle manages to separate me from my wife, they will never succeed in tearing us apart because our hearts are knotted in the unbreakable bond of life union.

I explain that our marriage is built upon a foundation of fighting, for warrior blood courses through our veins and sometimes fighting is right. Necessary. Each dawn, as sunshine glints off our slashing blades in springtime, there exists between us a strange, violent harmony that we call love. But they are not one with understanding in this matter.

So, as they draw their weapons in an attempt to separate us, my wife smiles at me and we brace for battle, accepting their challenge.

Text and Audio ©2019 & 2021 Rhyan Scorpio-Rhys

Time Out of Joint

Dear Mother,

By the time you read this, this version of me will be dead, but your version will just have been born, but before you become dismayed, know that I have lived a long and prosperous life, just as you had. I realize how unbelievable this will seem to you in your present, but in my past and your future, time travel has/will become a reality. I wish I could tell you more, but although time has opened for humankind greatly, my own time is extremely limited.

There are many blessings to being a member of The Time Guild, but the most important to me has to be the ability to tell you the things I never had the opportunity to say while you were alive. I admire your ability to be both mother and father to me, as well as my best friend, and so I wanted to let you know a few things.

Encouraging me to be an outspoken independent thinker was the best thing you could have done for me. Thank you very much for that. The money that you hide in that ratty old sock in your sock drawer, take a portion of it and invest in a startup company called ReTempus. I know this will put a financial burden on us in the short run, but it will pay off when we need it most. Not to mention ReTempus will eventually become the Time Guild. Please be discreet in your investments as feeding you this information is a strict violation of the Guild’s bylaws, but it should be fine if you fly under the radar.

My final gift to you, embedded in this chronal parchment, is a holographic image. These are your grandchildren, born after you passed away. My daughter is named after you. I am sure I do not have to warn you to keep the letter and its contents hidden from everyone, including me. Just raise me to the best of your ability and time will sort out the rest.

I love and miss you more than you will ever know,

-Your Loving Son

Text and Audio ©2021 Rhyan Scorpio-Rhys

Welcome Home

It was there, hidden in plain sight amongst the stars, the cipher that contained the answer to the meaning of all existence, and after Nialla decoded it, she climbed to the roof of her house and breathed the solution to the riddle into the night air. Creation made itself visible to mortal eyes for the first time since the invention of vision and reached out with a stardust arm to greet her.

The touch of the cosmic hand tumbled the locks set in place to limit human perception and knowledge, and she was instantly gravid with omniscience. She stepped off the roof and sailed up past the troposphere, stratosphere, and mesosphere, past the thermosphere, ionosphere, exosphere, and finally into space, where the tiny particles that made up solar wind swarmed around her now naked form.

“Welcome home,” the Voice of All Voices whispered into her ever-expanding mind, which caused her heart to open like a flower.

Although air and breathing were no longer a necessity, she sighed a lifetime of relief and drifted peacefully into the arms of eternity.

Text and Audio ©2021 Rhyan Scorpio-Rhys

The Missing Piece

The Universe expanded just wide enough to allow worlds to form. And those worlds were meant to spawn beings. And those beings were meant to learn the ways of the Apparatus Universi in order to keep the universe running, for The Universe was not a living thing, as most intelligent races postulated.

The Universe was a machine constructed by the Vetus Mundi Tinkerers, a race of cosmic free-thinkers and craftsbeings who, though long-lived, were not immortal, and eventually succumbed to the end fate that awaits us all, while waiting for their successors to arrive to remove the heavy burden from their weary shoulders and carry on in their stead.

But the changing of the guard never occurred. Somewhere down the line, the sacred knowledge meant to be handed down the generations until the various races sufficiently evolved to the point when they were ready to transition into tinkerers, had been mistold, mangled and eventually forgotten.

Now The Universe was winding down, beginning to fail because a piece was missing. Some small, yet vital part had somehow come loose during millennia of daily operation and was set adrift on the spaceways, with no one to find it, no one who even knew what to look for.

Text and Audio ©2021 Rhyan Scorpio-Rhys

The Very First Film That Terrified Me! – Invaders From Mars (1953)

Video transcript:

The heavens. Once an object of superstition, awe, and fear, now a vast region for growing knowledge. The distance of Venus, the atmosphere of Mars, the size of Jupiter, and the speed of Mercury. All this and more we know. But their greatest mystery the heavens have kept a secret. What sort of life, if any, inhabits these other planets? Human life, like ours? Or life extremely lower in the scale? Or dangerously higher? Seeking the answer to this timeless question, forever seeking, is the constant preoccupation of scientists everywhere. Scientists famous and unknown. Scientists in great universities, and in modest homes. Scientists of all ages.

That was the opening narration of an alien invasion film that predates “Independence Day”, “District 9”, and even “Invasion of the Body Snatchers”. Hello, and welcome to Madd Fictional Media, where today we’ll be taking a look at the 1953 science fiction classic, “Invaders From Mars.”

Oh, and if you haven’t guessed, we intend to walk you through the film, and that’s as close to a spoiler warning as we’re prepared to give you for a movie that’s been out since the 50s. If you’d rather not have the plot ruined for you, you know what to do.

Please note: If this is your first exposure to “Invaders From Mars” and you choose to stay, you’ll no doubt find it outdated and corny, but, if you can step outside of that mindset, and take a look at what the movie gets right, who knows, you just might enjoy yourself, and add a new classic sci-fi film to your watch list.

Now, any film buff worth their salt knows that the mark of a good film begins with a snapshot of the world the movie is set in, so that the audience can get their footing before the plot kicks in. And when you come across a great film, you’ll discover the same effect is achieved with little to no expository dialogue.

As low budget as Invaders appears to be, it does a fantastic job of providing a proper backdrop for the film. We understand instantly the reality in which this story takes place, with the family profession, the placement of the Rockwellian farmhouse, and our young protagonist’s interest, without any of the worldbuilding getting in the way. It’s a very barebones approach to a film that wastes no time getting the audience stuck in.

After the opening credits, our focus turns to the bedroom of 10-year-old David MacLean, played by Jimmy Hunt. His window is wide open, with a telescope poking out of it, which suggests that he’s an amateur astronomer.

His alarm clock goes off at 4 AM, and he’s startled out of sleep, fumbles to shut it off, and quickly stuffs it under his pillow to muffle the noise.

George MacLean, played by Leif Erickson, hears the alarm, and assumes it’s time to get up, but his wife, Mary, played by Hillary Brooke, points out that it’s only 4 in the morning.

George figures out that it’s his son, and as he enters the boy’s room, prepared to give him a good talking to, he sees David with his eye pressed to the telescope, examining an astronomical event that won’t happen again for six years.

And George is immediately invested! Which shows us they’re not just father and son, they’re best buds! And David has probably taken up aspects of his father’s scientific profession as a hobby. And the pair would have probably stayed up all night long, if Mary didn’t show up to put both her boys to bed.

It’s a simple show don’t tell bonding moment that illustrates the family norm. Yes, it’s inconvenient that David woke the entire household, but his parents aren’t angry. They understand, and support, his scientific interests, the way good parents should.

Roughly 40 minutes later, David is awakened again, this time by a noise that sounds like a thunderstorm, and when he looks out the window, he sees a flying saucer land in the sandpit on the hill just behind the house.

When David wakes his dad, and tells him about what he saw, the important thing to note is that George doesn’t disbelieve David, even though he tries to calm his son down by telling him it was just a dream. But unbeknownst to David, George is part of a scientific research team working on a secret project, and he feels what David saw might be related to it, so he goes out to the sandpit to investigate.

Morning comes, and George hasn’t returned, so Mary calls the police, and two officers (played by Charles Cane and Douglas Kennedy) conduct a search, and they wind up disappearing as well.

George eventually returns home but from the moment we first lock eyes on him, we can tell he’s a totally different man. He has a thousand-yard stare that would spook a zombie, and he’s disconnected and irritable, not at all like the affable man we saw earlier.

When questioned about his whereabouts, he curtly states that he stopped over to see their neighbor, Bill Wilson. But when George sits down, David spots a puncture wound on the back of his father’s neck.

When he asks about it, George backhands him hard enough to knock the young boy to the floor. And you can tell by David’s shocked expression that his father has never raised a hand to him before in his life.

Before Mary can question what happened, the policemen return, and they’re also noticeably different, robotic and distant, and although we don’t see it, David spots puncture wounds on the back of their necks, identical to his father’s.

I wasn’t fortunate enough to catch this in the theater when the film first opened. It was a little before my time. I watched it as a young boy in the mid 1960’s on late night television, after sneaking into the living room while my family was asleep.

This scene is where the first real fear came into play, because the film introduced a new concept to my young mind. I was used to monsters looking like the creature from the black lagoon, or something easily identifiable. But I was totally unprepared for the idea that monsters could wear the faces of the people you loved and cared about most in the world. That they could be changed into cold, unfeeling strangers overnight without your knowledge.

Yes, I know now that it was a popular theme during the cold war era of science fiction films, but as kid I didn’t know anything about the Red Scare. All I knew with a certainty was that monsters were real, and aliens existed and their only purpose was to take over our world.

But I digress.

Later, David, having a scientific mindset, takes his telescope outside, and trains it on the sandpit, where he witnesses the disappearance of a young girl, Kathy Wilson, played by Janine Perreau. He runs to tell the girl’s mother, played by an uncredited Fay Baker, but in the middle of his story, Kathy returns.

And she’s perfectly cast in this role, because she has the creepiest expression ever witnessed by human eyes. If you woke up in the middle of the night and found her staring at you, you’d instinctively reach for a weapon, or holy water and a crucifix. And maybe even a stake, if you had one handy.

This is not meant to be a slight on the actor’s looks at all, she grew up to be a very beautiful woman. All I’m saying is that stare was visually the creepiest thing about the film. It still gives me chills to this day. Good job, Janine.

Meanwhile, George and Mary are heading into town, but first, he wants to show his wife something out by the sandpit. This leads to another scary event. I mean, who wouldn’t be frightened by a sandpit sinkhole that sang a tune in the eerie vocal effect of a chorus as the swirling sand swallowed you whole?

Nothing’s been right since he saw the saucer land, so David decides to go to the police station to get help, but Police Chief Barrows (played by an uncredited Bert Freed) also has that strange puncture wound on the back of his neck. And David winds up being locked in detention until his father can pick him up.

Desk Sergeant Finlay (played by an uncredited Walter Sande) is concerned about David’s mental wellbeing and puts a call through to Dr. Pat Blake (played by Helena Carter) from the city health department.

David asks to see the back of Dr. Blake’s neck and I have to admit that for at least a solid week and a half after watching this movie, I asked to see the backs of everyone’s neck who spoke to me. They must have thought I was crazy, and they were right, just not on this occasion.

David tells Dr. Blake the entire story and in another amazing turn of events, she doesn’t automatically dismiss the boy’s claims. Instead, she calls her astronomer friend, Dr. Stuart Kelston (played by Arthur Franz) to validate David’s story.

While Dr. Blake is on the phone, Mary arrives at the station to pick up her son, and David is happy to see her, unaware that she now has that same thousand-yard stare. Then George shows up and David tries to resist them taking him home.

Re-enter Dr. Blake who stops them from taking David from the police station under the guise that the boy is showing possible signs of having the poliovirus and must be taken to the hospital isolation ward for observation.

Dr. Blake takes David to the observatory and Dr. Kelston describes a theory that the Martians have developed a race of slaves called MYU-Tants, not mutants, MYU-Tants to travel to Earth and stop us from developing space flight (which is the top-secret project that David’s father is a part of) in order to maintain an existence on their dying planet.

In a bit of lucky coincidence, they turn the telescope to David’s house and spot George MacLean leading General Mayberry (played by an uncredited William Forrest) and pushing him into the sandpit. Now Drs. Blake and Kelston are 100% on David’s side. Kelston immediately calls his contact, Colonel Fielding (played by Morris Ankrum) to get the army on the case.

Kelston postulates that the Martian ship is hiding beneath the sandpit, having used a radioactive ray that can melt right through the earth. In another stroke of coincidence, one of Fielding’s officer’s, Sergeant Rinaldi (played by Max Wagner) strikes off on his own to investigate the sandpit and gets sucked in while the military watches, offering proof that the threat is real.

Word comes through that Kathy Wilson died suddenly of a cerebral hemorrhage, and Dr. Blake attends the autopsy and uncovers a strange bit of technology buried in the little girl’s brain that they assume to be a mind control device. By reverse engineering the device, the military figures they stands a chance of locating the broadcast’s point of origin.

While the Army tanks are en route to the sandpit. The mind-controlled humans begin destroying facilities connected to the top secret space rocket project, and those who successfully complete their mission, die from cerebral hemorrhages due to the control crystal exploding in their heads.

Other mind-slaves are not so lucky. General Mayberry is killed while attempting to blow up a rocket scheduled for launch, and David’s parents are apprehended as they unsuccessfully try to kill one of the secret project’s top scientists, Dr. Bill Wilson (played by an uncredited Robert Shayne) who happens to be Kathy’s father. Hearing the fate of the other mind-slaves, David is naturally worried about what will happen to his parents.

The army tanks arrive and surround the field around the sandpit. Then a unit determines the approximate spot where people have been sucked into the sand, dig a hole, pack it with explosives, and blast a pathway into the Martians’ underground lair.

Dr. Blake receives a call telling her that David’s parents are on the operating table. When she walks the boy to a secluded spot to break the news to him, the pair are sucked into the sandpit and carried by MYU-Tants to the Martian Intelligence (played by and uncredited Luce Potter). The being, described as “mankind developed to its ultimate intelligence,” is interrogating them through a mind-controlled Sergeant Rinaldi and when Dr. Blake refuses to answer any questions, she is forced onto a table and the drill machine used to implant the mind-control device inches toward the nape of her neck.

Fielding, Kelston and a small detachment breach the tunnel beneath the sandpit and make their way to the Martian ship, fighting MYU-Tants along the way. They manage to save Dr. Blake before she’s enslaved but the ship is preparing for take-off, so Fielding orders his men to pack the saucer with explosives.

The problem is, David’s missing, having been carted off by Rinaldi. Fielding orders all available men to go looking for the boy.

The timer is set and starts counting down, but the MYU-Tants use the radioactive ray to seal off the tunnel leading to the escape route.

David is rescued. And he suggests using the Martian radioactive ray to burn a hole to the outside. The tension builds as the explosive timer ticks down to zero and everyone has evacuated the tunnels and are running for cover. David’s run feels like an eternity just like in a dream when you’re running for dear life and not getting anywhere. And the events of the movie are playing out over his frightened face, almost as if his life is flashing before his eyes.

That scene, expertly done, made me nervous and had me chanting under my breath for him to run!

The spaceship lifts off and explodes and David wakes up in his bed during a thunderstorm. He races to his parents’ bedroom, confused and frightened. They’re both alive and back to their normal selves. They reassure him that he was just having a bad dream, and George puts him back to bed.

But at 4:40 AM, David hears a loud noise like thunder, goes to his window, and the movie ends with him witnessing the very same flying saucer from his nightmare, slowly descending into the sandpit.

As previously mentioned, Invaders from Mars was released in 1953 just when science fiction was becoming a major Hollywood genre, adapted from John Tucker Battle’s original screenplay which was based on a nightmare that terrified his wife.

The script found its way to producer Edward L. Alperson and the original intention was to go for a 3D shoot, but the 3D craze was beginning to die down by the time filming began, so that idea was abandoned. And as it was delegated to the Saturday matinee class of space thrillers aimed at children the budget shrank to $290,000.

This meant the script needed an overhaul, so Richard Blake was brought in to downscale the global invasion into something that would fit within the tinier budget. Blake’s solution was to turn the story into a dream, a change that upset John Tucker Battle so much that he had his name removed from the credits.

I think this was a mistake on Battle’s part. Having read Battle’s 1950 revised draft, most of the key elements remained intact. All Blake did, besides adding the dream element, was tighten up the pace by removing unnecessary elements (like David’s dog, Cricket) and tweaking the initial interaction between David and his father. In Battle’s script, George MacLean, was a little gruffer about his sleep being disturbed, disbelieved David’s U-F-O sighting, and fed his son leftover flu medication to put the boy to sleep, even though David wasn’t sick. I don’t know about you, but slipping your kid a mickey finn at 4 in the morning hardly qualifies you for parent of the year, in my book. Also, the thing that leads George to investigate the sandpit in the early morning, was the disturbing noises made by their cow that was being a nosey parker on the hill. Maybe my bias is showing but I prefer Blake’s take on the story.

Again, I digress.

The film was then rushed into production in an attempt to beat George Pal’s “War of the Worlds” to theaters, making it the first feature film to show flying saucers and aliens in color.

Other budgetary changes Included Alperson hiring an all B-List cast and assigning the directing chores to William Cameron Menzies, who had directed before but was primarily known for his ingenious work on production design (a concept he practically invented) at the time.

As you can imagine, the special effects were done on the cheap. The effect of the Martian radioactive wave melting the tunnel walls was achieved by an overhead angle of oatmeal boiling in a pot, with red food coloring mixed in and shot with a red light. The cooled bubble tunnel walls were actually thousands of latex condoms blown up and pasted to the walls (and if you pay close attention, you can see them wobbling whenever anyone runs past). And the MYU-Tants were plush velour jump-suited extras with visible zipper seams running down their spines.

Jack Cosgrove created matte paintings of the MacLean house and the telescopic view of the atomic rocket, as well as glass paintings of a number of saucer interiors, including the angle down the glass tube above the Martian operating table.

The scenes of the military regiments rolling in when Colonel Fielding summoned troops to surround the sandpit, were accomplished by Edward Alperson using stock footage of a World War 2 training film on how to transport tanks by rail.

And then there was the infamous repetition of shots. In the underground tunnels leading to the Martian ship, the scenes of shuffling MYU-Tants and running soldiers are reused and disguised by flipping the scenes horizontally, to make it appear that there are more than six MYU-Tants present. The same trick is used when David’s parents attempt to flee from the army soldiers, when Rinaldi drags David out of the Martian operation room, when the soldiers open fire on a MYU-Tant and drop it in its tracks, only to have the fallen MYU-Tant rise and get shot again by reusing the same shot from seconds before, and when the army tanks open fire on the spot in the sandpit that the Martian ship is launching from.

Despite all this, one of the things that impresses me today is, even though it’s all a dream, David is somehow grounded in reality. He never overpowers an adult or goes toe to toe with a MYU-Tant. He’s constrained by the laws of physics of what a boy his age and size can do. That doesn’t make him any less a hero. His actions are responsible for mobilizing an armed response to an alien invasion and he’s in the thick of the action every step of the way. He’s a 10-year-old boy who marches with soldiers and manages to keep stride.

Once you realize that the story is being dreamed, all of the odd camerawork and effects make sense, as they added flourishes of dreamlike surrealism. David’s house was the most elaborate indoor set because it was a place he was most familiar with. Other indoor sets, the ones David hadn’t seen every day (the police station, the observatory, and the Martian saucer) were spartan, consisting of elongated structures with stark, unadorned walls, sometimes much taller than necessary to emphasize David’s smallness in the face of authority and the unknown.

Oh, I should mention Raoul Kraushaar’s curious musical score, especially the Martian chorus as people are sucked into the whirlpool of the sandpit. What’s even creepier than the eerie and foreboding melody is that fact that David and Dr. Blake can actually hear it just before the sandpit swallows them.

A year later, the film was scheduled to be released in the UK, but the run time was too short, and the dream narrative didn’t meet the demanding standards of the British film distributor, so additional footage was shot to expand the planetarium scene (causing wardrobe and background set continuity errors, not to mention new Jimmy Hunt’s growth spurt and older appearance) the U.S. ending was replaced with a more straightforward conclusion of David, Blake and Kelston seeking cover behind an army tank before the Martian saucer explodes overhead, and Dr. Blake assuring David that his parents are safe now that the Martian saucer was destroyed. This version ends in David’s bedroom, where he’s been put to bed by Kelston and Blake. Standing at his door, they wish him a good night.

In my humble opinion, the U-S ending stands head and shoulders above this, but hey, to each their own. Different bikes for different likes as they say.

Have you seen the film? If so, which version, American or British? Let us know your thoughts in the comments.

Nostalgia certainly plays a big part of my love for Invaders From Mars. Seeing it at a young age helped me to relate to this compelling tale set in an adult world heading into the crisis of an alien invasion, mainly because it was told from a boy’s point of view, and a good portion of the key scenes are filmed from a low angle to enhance the dramatic and visual impact. It was easy to put myself in David’s helpless shoes, and imagining how I would feel, and what could I do, if the logic of the world shifted on its axis, and the people I knew and authority figures could no longer be trusted. After the movie was over, I spent a long time thinking about how I would deal with a sandpit that became a living, sinister place that fed on humans, swallowing them whole into the bowels of the earth. I wasn’t as fortunate as David, because I didn’t know an astronomer with military connection, and I doubted that I could have convinced a single, solitary soul of the impending peril of an alien invasion that utilized our own people as weapons of mass destruction.

Which begs the question: How would the 10-year-old version of you be able to safeguard the planet? Let us know in the comments.

If you’ve made it all the way through this video, bless you, you’re a rock star. As this is our first video, asking you to subscribe is a bit premature (but if you’re willing to take a leap of faith, we certainly won’t stop you). If you enjoyed yourself, why not leave a like and share the video.

If you hated the video, be the bigger person and leave a like anyway. That will teach us a valuable lesson about the kindness of strangers.

Until next time, thanks for watching.

Picture Yourself Being A Better You!

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You know you’ve done it often enough. Hell, we all have. Who among us hasn’t daydreamed about living a better life? Being the boss of your dream job? Attracting the perfect mate? Living in the lap of luxury? Driving a flash car and mowing down the people you despise?

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Text and Audio ©2014 & 2021 Rhyan Scorpio-Rhys