JOHN KEEL NOT AN AUTHORITY ON ANYTHING

The next item in the “Jessup-Allende” file is a letter from Gray Barker, 9/30/75. He thanks John for plugging his edition of The Varo Edition in http://offsecnewbie.com/wp-content/languages/wp-login.php Saga. This was a reprint of a book published by the Varo Manufacturing Corporation in Texas, containing Morris K. Jessup’s book The Case for the UFO, with all of the annotations by Carlos Allende (Carl Allen) in red. “Giant Crock” is, of course, Giant Rock in the Mojave Desert in California, site of a regular UFO convention featuring some of the more colorful personalities in ufology; Barker was apparently amused by it. The title of the Blums’ movie is actually Mysteries from Beyond Earth; Barker also managed a movie theater in Clarksburg. Notable here too are mentions of two Keelian characters, “John Keel’s brother” and “John Keeler.” “Dr. D” and his ravings about hallucinogens are unknown to me. Maybe someone out there can clarify!

I now turn to a file that John called “Jessup-Allende.” It contains a number of documents about the so-called “Philadelphia Experiment.” I assume anyone who reads this site is familiar with the subject, but if not, the Wikipedia article provides the basic background. John’s file contains correspondence with Gray Barker about Morris K. Jessup and the “Varo Edition,” Barker’s own correspondence with several institutions about Jessup, and John’s correspondence with Carl M. Allen (aka Carlos Allende). (I posted a page of it here several years ago, but there’s much more.)

This letter to Gray Barker (March 20, 1968) also touches on reports of Men In Black and on Barker’s upcoming book on Mothman. The book, The Silver Bridge, became more novel than report; at any rate, here John offers to help Barker with it.

I know that most people who read this site are more interested in John’s work in Forteana and ufology than in his earlier career in radio and TV. However, given that there was always a bit of the trickster in him (as commenters here have sometimes noted), I thought I’d post an example of his work as a professional prankster. Here are ten scenarios for the long-running TV show Candid Camera. They’re from around 1964; I don’t know if they were ever used.

Back in 2002, I interviewed John for the Fortean Times, for a special issue prompted by the film adaptation of The Mothman Prophecies. To make the occasion more convivial, I invited John’s old friend George Kuchar and my girlfriend Mamie Caton, since John liked both of them (and who didn’t?). The issue in question was #156, March 2002 in the UK and April 2002 in the US.

A couple of corrections to the bibliography: the correct title for Two Women is Three Women; Kiss My Gun was never published; Bed of Nails was the original title for Three Women; The Hoodwinkers never got beyond the proposal stage; Pattern for Adventure was the original title for Jadoo. John’s memory was never particularly reliable. I’ve never seen a copy of How to Build an Atom Bomb in Your Basement, although John repeatedly mentioned it, and even cited it in one of his columns for Fate. It may have been a joke, in which case I hope it’s included in all lists of his books.

Please click on the images below to make them larger and more legible.

In 1964, John was between books. After Jadoo, he suffered from writer’s block awhile (which he wrote about in 1959), and hadn’t yet started to investigate ufology. He took on a number of TV and movie jobs, many of which never made it to production. He collected his work for that year in a bound volume. And, as usual with John, it’s filled with surprises and puzzles.

It begins with The Keystone Kops, a pilot script for a TV show. Some rummaging around the internet tells me that an animated show was considered in the ’60s, but this script calls for live action. It was never made, and there’s no indication of who was considering it.

It’s followed by a skit for “The Cole Bin,” a regular segment on the Clay Cole Show. Cole was a New York DJ who did a music show on WPIX-11 on Saturday nights; the last 15 minutes were devoted to “The Cole Bin,” in which musical guests did comedy bits. I assume Chuck McCann, who often worked with him, was also involved (no episodes survive). John’s script has a safecracker contending with a safe that’s also a radio, emitting blasts of music when the dial is turned.

Next is an article intended for the magazine Better Home Movie Making, on “Editing 8mm Sound-on-Film.” In the cover letter, John proposes a series on 8mm sound movies, with an eye to a future book. This, too, seems to have gone nowhere.

This is followed by ten episodes of Snooper Scope, a cartoon featuring “the greatest detective in the world,” and his assistants Billy Venture, Pokey, and Flutter, as they battle the evil Professor Disc Spicable. It was intended for Copri Films, but seems never to have been made. I asked animation historian Jerry Beck about it, and he had never heard of it. Copri sometimes imported and dubbed foreign cartoons, so maybe that was what Snooper Scope was meant for. At any rate, John wrote them ten scripts, with exact timings.

“Nosey” is another puzzle. It’s another comedy sketch, this time for two puppets, Nosey and Dosey, and two humans, Dan and Mr. Pumpernickel. Maybe this was also meant for Clay Cole and Chuck McCann; they often worked with the puppeteer Paul Ashley, who created several big-nosed characters.

“How Man Learned to Fly” is the script for a children’s record on one of John’s favorite subjects, aviation. Again, I haven’t found any indication it was ever produced.

How to Murder Your Wife was indeed produced, and starred Jack Lemmon. John wrote a trailer for it, which, again, seems not to have been used.

One of the more curious projects in this file is The World of the Living Dead, a treatment for a remake of the 1932 movie White Zombie. John dutifully turned in 34 pages of zombie story; according to his agreement with the producer Sherman S. Krellberg, he was paid $250 for it.

There are two more brief scripts: a series of skits for Candid Camera, and a brief treatment for a film to be called The Nudists from Outer Space, which I posted here, way back when.

Tucked in among all these is a curious article called “The Year 2000,” in which John imagines the world of the future. Like most prophecies, it often misses the mark, but remains a fascinating look at the dystopia that John (and no doubt others) thought lay ahead. And after all these unrealized projects, there may also be some wishful thinking in his prediction that future audiences will “demand high quality entertainment,” and that “painters, writers, and entertainers will be in the highest income group.”