Now more than ever, we need your support! Become a Supporting Subscriber today.
LAND OF THE GIANTS-Collector's Item, Six Hours To Live,
First Aired: 11-2-1969 (33)
Against Fitzhugh's recommendation, the girls call Dan and Steve, during the day, to help get a needed wire cord. Some giant discarded it into a waste disposal can. Dan and Steve lead an SID man away. The girls prompt a worried Fitzhugh---who's worried about himself---to help them pull the wire. A giant dobermin pinscher towers over them. Val tells them to stand still and not to anger it. Fitzhugh murmurs, "Dear lady, that thought is the furtherest from my mind." The dog barks at them.
Fitzhugh leads the dog away as the trio run. The girls hide in a goldsmith's shop, Val not too sure Fitzhugh can lead the dog off but Betty more confident he can. Betty tells her they'll just have to rely on their own wits to get out of this one since Steve and Dan are miles away, avoiding the SID man. A giant in the shop, Garak, is having a doll's music box made for his Uncle Tojar. The two disagree about something and a torch falls, nearly hitting the girls, and causing Garak to see them. Betty escapes back to the vent they had already left but Garak drops a hankerchief on Val and sneaks off with her, the goldsmith demanding money for the music box and services. Betty tells Fitzhugh, who calls Steve, feeling guilty that Val was in his "special care". Garak drives off. He promises to free Val once she helps him celebrate his electrically wheelchair bound, old and grouchy unce's birthday. Garak pays the rich man a visit. Tojar has a vast, stolen collection of objects which he has gained illegally--by theft and murder. A suit of armor from the State Museam, a musical fountain which an entire family was destroyed for, trumpeting soldiers at his door, and more. He gets more money from his uncle and leaves. Betty warns Fitzhugh that the only way for them to keep track of where Val is, is to keep vigil at the goldsmith shop, not run away. Fitzhugh calls Mark and Barry who are at the ship camp. He claims to want to, "..charge" to Val's rescue. Garak returns, picks a flower near Fitzhugh and Betty, and almost sees them both. Steve and Dan arrive as Garak goes into the shop. The two of them have been followed by the SID man and his dog. Betty quickly tells Steve what she knows and he sends her back to camp. To stay with Garak---who has Val in his pocket---Steve takes the rope from a bemused Dan and hooks the pin and rope onto the bumper of Garak's car! Her rides the bumper after the SID man questions Garak. Dan tells a disbeliving Mark what Steve is doing. Mark asks, "He's what?" Dan asks Mark to try to make something that can get them to track him; Mark and Barry go into the ship to find something they can use. After a wild ride into the suburbs, the car stops short--and Steve, rope, and pin fall off the yellow sportscar!
Garak takes the music box inside his small, humble home. Dan quiets a complaining Fitzhugh. Steve calls Dan, "Next time, I take the bus." He leaves his damaged radio on, so Mark, Betty, and Barry can trace it from the ship's outdoor radio set up which Mark made from Spindrift's auto radar control. Val and Steve are 3.8 miles at the east end of town--a residental section. Mark seems to know it. Mrs. Garak, who is concerned for Valerie's welfare, puts a dress on Val that she made--a ballerina dress---and the giantess teaches Val a dance routine. Steve climbs a crate, watches Garak as the giant put explosives in the bottom of the music box. Steve is nearly crushed when Garak tips a jar in front of the can Steve is hiding behind. Steve, later, accidentally spills some liquid. Mark meets up with Dan and Fitzhugh (who wants to have a sitting and think session). Mark thinks it better to think on their feet. From out of the sky, a giant raven lands on a rock just over them!
Mark scares the raven off with a stick he lights on fire. The trio enter the Garak house through an open fruit cellar door (not shown). Fitzhugh tells Val, "Nothing's impossible when Fitzhugh is around." They can't bend the wire on Val's cage so Mark goes to check the workshop out, "Garak's or not Garak's," Val thinking the couple are still in there. Garak wants to put out mousetraps after hearing a sound Steve made accidentally. He puts Val in the prettier music box---and even though it has more room than her one woman brown like cage---it is still a cage when Garak locks it with a combination lock. When the phone rings (Tojar calling), Dan and Fitzhugh grab onto the music box doors when Garak places it on the floor. The pair are taken away with Val. Garak rides off in his sportcar, which shakes the three little people. Tojar, at his mansion, shows Garak a carosel he took from a "former friend". This allows the two men from Earth to hide in an open drawer on the table top. Val is shown and she does her dance. Mark tells Steve that the plans they are looking at show the box will blow up when the door is opened. Urgently, Steve tries to warn Dan but never finishes: Mark tosses a match down and sets off the liquid Steve had spilled earlier. It causes a blast which knocks them down and brings Mrs. Garak into the work shop room. She blames them for trying to kill she and her husband---and turns the vacum in her hands on the two men, who fall, about to be drawn up into it!
When Steve and Mark try to tell her the truth: Garak is planning to murder Tojar, she vaccums them up. Tojar faces Val, face to face, "Afraid of me, are you?" "Nope," she folds her arms. Tojar and Garak reveal that Val will stay a prisoner, even though Garak promised to release her. Tojar finds her delightful and keeps Garak in his will. He begins to work on the lock, threatening Val verbally. The two giants leave for drink. Fitz and Dan (with Dan yelling at Fitzhugh to help him) free Val, who told them to leave and save themselves. Dan said, "We're not leaving without you." Val goes down the lamp cord but Fitz, returning for the walkie talkie, steps on the remote control. The giants return---catching the men. Garak grabs Val from the floor. Mrs. Garak comes in, drops Mark and Steve down onto the table. Garak tries to go get more drinks---really to escape so Tojar can open the lock!
Steve yells out the truth to Mrs. Garak and Tojar. Garak threatens to crush him but his wife stops that. Steve tries to prove it by opening the door but Garak proves he is afriad. While the giants argue, the five escape the tabletop. Mrs. Garak walked out of the mansion. Garak tries to stop Tojar from phoning the police, knocking over the music box. It---and they explode with part of the house. The five, outside, watch, silently. They look back for one short glance and move on.
REVIEW: A tense episode, well directed. Robert Harris played mad movie monster maker in HOW TO MAKE A MONSTER in the late 50s which also starred Gary Conway. Guy Stockwell made this episode work as the shiftless, scheming, would-be-murderer. He is truly convincing. Susan Howard who went on to later star in nighttime soap DALLAS was less than convincing as the wife. Not her fault, it was mainly that the character was poorly written for. One scene has her caring for Val; the next has her trap Steve and Mark, not believing them, and dropping them down onto the table in Tojar's home. She was a gullible character--refusing to believe her husband could be so callous. He certainly wasn't very nice to her at all throughout the episode. I guess it fits into the series notion of having the giants act and think backward like in the 30s, 40s and 50s--that women were secondary citizens (and this seems to be reflected briefly in THE CLONES when Val mentions that one of the scientist giants is a woman--and we saw another in THE CRASH and another in TARGET: EARTH but in TARGET: EARTH Altha was mainly there due to the great efforts of her husband and she is seen as a jealous, vindictive creature who would do anything to keep her husband's status---and in DOOMSDAY Kobick is surprised that a lady can be a doctor and doesn't seem to believe this story from Betty and Fitzhugh even though it is the truth---I guess the land of the giants didn't yet have women's lib and women's rights equal to men's). The only trouble with that is the fact that no one mentions it at all---how abused she is verbally.
Val wore the yellow sleeved top at the beginning of this episode, then the dancer's costume. Deanna has related that she couldn't dance and she was hung over from a wild cast party the night before filming the dance sequences. Here, Fitzhugh was at his most self praising, complaining, self centered, cowardly worst--Sydney Marshall and Bob and Wanda Duncan could certainly write good stories for LAND OF THE GIANTS and good plotlines but they really didn't seem to know the characters of the main group of Spindrifters. All of their episodes seem to be a bit off with characterization but not too far off. Their Fitzhugh is not as likeable as say the Fitzhugh of all the other episodes particularly as an example THE INSIDE RAIL and NIGHT OF THROMBELTINBAR. Fitzhugh was the annoying way he was in COLLECTOR'S ITEM before this episode but not as much as was here, all in one episode, and as persistently negative and cowardly. But after all, he did lead the dog off. This all-daytime episode had some interesting effects (the car ride, the dog scene at the teaser). The mansion of Tojar's was a painting shot of the Bruce Wayne mansion photo used on BATMAN. The ending theme this time was the shorter version of the new second season theme.
Scenes from this episode were used as promos when LAND OF THE GIANTS aired on UHF TV 55 on Long Island when it was added to the line up of THE INVADERS, LOST IN SPACE, and VOYAGE TO THE BOTTOM OF THE SEA. The LAND OF THE GIANTS only ad had scences from THE MECHANICAL MAN---and there were two versions of this--one was long and one was very short. A narrator said, "At noon, pebbles become boulders, twigs become trees in a land too horrible for mortal man to imagine, a land of danger, a land of terror, a land of the giants..."
Another later and shorter promo has Fitzhugh hiding Barry from the police giants in THE CREED teaser and then close up-ing on him as he calls Steve---this is then put into a small box with dark lights spotlighting it and a blue criss crossing of lines as the station ID plays and a narrator says, "They're a billion light years from home in a strange land of the giants."
As an aside, LAND OF THE GIANTS also aired on Long Island on UHF channel 65 or some number like that in the mid 70s (75 I think). When it aired here it was totally uncut with maybe 30 seconds of ads, if that, the middle GIANTS music of station ID was there, and they even aired one "here are some scenes from next week's show". The promo was to THE LOST ONES and featured some exciting scenes---one was the sequence when Nick pushes Val around, "It's not gonna work chick." She had just told him in the promo, "We're not working with the giants." Another sequence was the fight as Joey gets trapped in the box. Nick yelling he was going to kill Steve; Steve and the giant hand; and Nick and Steve fighting as the trapper looks in on them; Barry telling Steve he thinks Fitzhugh is dead; Dolph threatening the girls with the hatchet; Nick threatening the men with the girls being hostage are also among the very short scenes during this.
LAND OF THE GIANTS has also been known to air in Boston (with a line up of VOYAGE, LOST, and TIME TUNNEL) with a few promos--one of them being Val and Steve hiding from the giant professor for the first time as they are in the box in the forest. THE TIME TUNNEL promo was really quite good with lots of scenes from many episodes as the ticking is heard with the background music over it all.
When GIANTS was on USA they ran an ad that was quite silly which said something to the effect of, "...maybe they can fool some of the giants some of the time, maybe they can fool all of the giants some of the time, but can they fool all of the giants all of the time...?" With this were short clips from THE CRASH, GHOST TOWN, and THE FLIGHT PLAN. It ends with Mark and Steve in the toy truck and Mark yelling, "Watch out!"
SIX HOURS TO LIVE
First Aired: 9-8-1969 (28)
It is four o'clock PM at a farmhouse: Steve and Dan, with a complaining Fitzhugh, take oats and cornbread from sacks in a store room. Farmer Harry Cass enters and shoves a knife into the sack---aiming for Steve!
Dan and Fitz make it to a rat hole, followed by Steve. Cass throws the knife. His wife Martha stops him, not believing his story of little people. They do not seem to have heard of little people. The three Earth men overhear the pair talk about the execution of 23 year old Martin Reed who will be killed in six hours for a murder which Harry really committed. They have stolen money also. Harry puts tin over the hole. Back at Spindrift, Fitzhugh complains about ratholes, mouseholes, gopherholes, having to hide, and at their insistence on helping Reed, a man they don't know. Betty stays in the ship with the radio. Dan stops Fitzhugh's complaining with telling him that this total stranger could have been him. The other four leave (Mark, Val, Dan, and Steve) to go to the pharmacy for a tranquilizer. Fitz notices they left the pin and rope behind. He takes it to them. Reed tells Warden Sloan he is innocent. Sloan tells him the governor will call if that is true. The five Earth people climb into the pharmacy through a window they cut they screen on. Fitz smells real food, "steak and onions" and Steve pats Fitzhugh's stomach. He and Mark call Joe Simmons at the Morning Bulletin. Fitz finds a truth serum and Val jokes, "And you never tell the truth." Steve sets up a meeting with the newsreporter Joe. As Dan gets sparean, a tranquilizer, Fitz's sneeze knocks the can over. Val defends Fitzhugh to Steve, "It was an accident," when Mark tells him what happened. Steve delays the druggist, who heard the noise, until the others can escape, Dan not looking too happy that Steve would sacrifice himself to let them get away. As it turns out, Steve does also. The five meet Simmons at an old gas station on the corner of Monolith and 7th. He hears their story and moves to a phone booth, against Steve's request not to: if he warns the Casses they'll leave town for sure!
Simmons sees that the phone is out of order. He tells them the farmer couple took Reed in like a son and to all outsider eyes, treated him like a son. After more discussion, with Steve ready to give up on Simmons, Joe finally agrees to help. The giant is amazed when Steve suggests taking Dan and he into the prison by having them ride inside his camera! Steve sends Val, Mark, and Fitz to the Casses farmhouse to try to stop them from leaving if they can. Fitz doesn't like it as the two pilots are carried away by the giant---they are virtually prisoners now. The trio pass a water pump and puddle. Mark starts to drill through the tin cover over the mousehole, using the thermal gun, but a beam falls, landing across Fitzhugh's legs and knocking him out. Debre falls from the top of the wood. Val gets water and then quiets Fitz so the giants will not hear his groaning. She also stops the beam from rolling as Mark gets it off him. In the meantime, Harry listens to a radio broadcast which tells that the recluse Julian Angus (or Ankers) was the victim of the crime and at ten o'clock Martin Reed will die at the State Penitentary. It goes on to reveal spokesmen from the Hall of Justice have expressed doubt that the governor will issue a reprieve. When Joe Simmons arrives at the gate of the prison, gateman Arnold insists on taking Joe's camera! Arnold even pulls his gun out on Simmons, who uses the excuse of freedom of the press and the publicity that his death will bring on the state and the Warden. Warden Sloan is called and he tells Arnold to allow Simmons through---but when Simmons gets into the Warden's office---Sloan takes the camera and tells him it will stay with him until he leaves!
Mark climbs up to the table top to use the electro gun on the radio's back. Nag Martha stops Harry from drinking and from leaving. She hid the money they took from the old man Harry killed (if he did kill him---I'd bet Martha did the murder!). Simmons is able to pop open his camera, allowing Steve and Dan to hide in Reed's dinner tray and they make contact with the amazed young man--who also doesn't seem to know about little people. Sloan tells Joe, "It makes no difference what I belive. I have a job to do and I do it." (THIS IS A DIRECT LINE FROM THE TV SERIES THE FUGITIVE for which Dan Ullman often wrote!--not a bad influence and worthy of GIANTS to use it). Joe calls the Casses, prompting them to begin packing for a getaway. Martha acted up her motherly image for Joe, then just after hanging up says to Harry, crassly, "We're leaving!" The reprieve will not be given. Dan tranquilizes Reed's guard. Steve works on the lock as Reed holds him up to it. After getting it open, Steve orders him to put the guard's clothes on and not to be so nervous. At the farm, from behind a coat rack, Val, Mark, and Fitzhugh watch the giants prepare to leave. They decide to get the car keys to stop the Cass couple from leaving. Reed takes Simmon's car and puts Dan and Steve down outside it. Alarms ring out all over the area! The gateman stops Reed!
Steve and Dan tranquilize the gateman, Reed scoops them up, and he drives out. Sloan calls a captain and tells him maybe Reed will want to see a chaplain (once more proving LAND OF THE GIANTS world has some kind of religion on it). Just then, Sloan gets notice of Reed's escape. Martha, while packing and nagging Harry, seems too protective of her good china which she puts in their car (perhaps this box is where the stolen money is and not her china or both may be hidden in it). While the giants pack, Fitz and Mark get the car keys from the table top while Val helps from the floor. They lower the keys down. Finished, the two men climb down and hide at the coat rack. Steve and Dan arrive, calling first. The two use the razor-hatchet-matchstick to keep the Cass phone connected to Sloan's office at the jail. Reed shows up, acting like a restless, vengeful spirit. He gets them to confess. Sloan calls the police. Martha feels Reed is real when she bumps into him, pushed by Harry. When she goes to her bedroom to get the money (supposedly), she returns with a rifle--ready to kill "an escape prisoner" like a good citizen is bound by duty to do! Harry even tells her not to! She points the gun at Reed!
Sloan tells the police to check Reed's hometown with the City Attorney's office. The regular police arrive, stopping Martha and taking her rifle. The police arrest the two. Sergeant Miller suspects he will find the money in the car. Reed inadvertently thanks the little people in his own secretive way. When he goes outside, Miller finds the hatchet on the phone but wondering and looking around a bit with his eyes, he does not search the house. After Miller leaves too, Fitzhugh puffed, "That woman---she's enough to drive a man into permenant bachlorhood!" The others laugh and the five leave their hiding spot behind the back of the now broken radio.
REVIEW: A rather routine but enjoyable tale aptly acted by all involved with great guest stars. Simmons was a good character--a moral, yet stubborn reporter. He would have made a good, reoccuring ally to the Earth travelers. Anderson is a vetern of films and TV, having acted n many classics (FORBIDDEN PLANET, THE SIX MILLION DOLLAR MAN TV SHOW, THE BIONIC WOMAN and more). Martha is properly annoying. From her actions, one would wonder if she was the actual killer. If not, I am sure she prompted Harry Cass to do the murder as much as she could. He seems to drink a lot and maybe he felt guilty or worried over the murder. But he didn't want her to shoot Reed at the end. My money (pun not intended) is on her being the real killer and maybe blaming Harry--we never find out the real details of the murder--at least not specifics. We also never find out if the money they stole is in the car or not---or if the box containing Martha's so cared about china ware is really where the money is hidden and she put that in the car. Still, it doesn't spoil a rather good, tense episode. Having a deadline is a good idea to accentuate the tension. The plot, nothing new, was also once used as one of the segements in the old THE ADVENTURES OF SUPERMAN show, one of the best of that series. Sam Elliot in an early role does a very good, nervous young man. I also think Dan Ullman used one of his lines or some other writer for the line of Warden Sloan, "...It makes no difference what I believe. I have a job to do and I do it." This sounds very like several speeches made by Lt. Gerad in the excellent THE FUGITIVE TV series which Dan contributed to often. Not a bad influence to use although it has more impact coming from Gerad in THE FUGITIVE since is the one chasing Kimble. Now if Inspector Kobick said it about the little people and whether or not they are enemy aliens or not...it would have had more impact in some other episode, perhaps THE UNSUSPECTED, NIGHTMARE, or DOOMSDAY or some previous Kobick episode. The cog in soceity just doing his job, following orders and not questioning what he is doing---blindly following a system he believes is right---it is the system, not the individual and not the special circumstance that is important. There was always that feel to the SID and Kobick stories. Although some mention is made of the scare of the state and of fearing it (loyal bound duty of citizens, annoyance of the press), this episode had more democratic conventions and institutions than any other (governors, City Attorney, Hall of Justice, the free enterprize of the pharmacy business). All these could just be a ruse by the Supreme Council to make the dictatorship-oligarchy rule by a few to look as if it were democratic---or it could be this is the running of the state when it is not facing an emergency---such as the seeming invasion by little people. When the emergencies come, then the stricter government may come into play under the powers of the Supreme Council. Some giants here almost seem nice---Sloan is not the evil monster that Warden Barmak was in THE CREED. I realize these are two different jails but the warden in SIX HOURS TO LIVE seems like a nice guy, underneath really caring about Reed, allowing for him to have a meal of hash browns. Again, hash browns give us another reason to think that Earth and this giant planet are connected in some way. I doubt any of that was planned--it is just conjecture by the fans and the writers of the spinoff material--the novels and such---I doubt the writers had any guide to write for the show because it seemed they used whatever institutions the story called for. This produced, in the overall look of the entire show, a mishmash of oligarchy, democratic overtones, and police state tactics. It gave LAND OF THE GIANTS more mystery that is for sure but it was extremely inconsistent among itself. The democratic episodes don't seem to contradict themselves. Similarly, the police state episodes don't contradict themselves but when comparing the democratic government segments to the police state ones, it leaves one with a jarring feeling of---what is going on? Still, it made the LAND OF THE GIANTS more puzzling. Again, we have names of the giants that do not seem the least bit alien--Joe, Martin, Harry, Martha, Reed, Sloan, Miller, Arnold--these giant names couldn't seem more American and Earth like! Other episodes that have Earth like names include TERROR GO ROUND (Pepe, Luigi, Carlos--Italian and Spanish giants?), DOUBLE CROSS (somewhat--Hook and Lobo aren't exactly normal names or are nicknames but they sound more Earth like than alien), THE INSIDE RAIL (Rivers, Moley, Mannikin), GIANTS AND ALL THAT JAZZ (Biff, Hanley, Nell, Fred), THE CLONES (although Arno and Gault are alien sounding names, Gault's first name is Greta), COMEBACK (Max is not ver alien even if Quigg and Krull are, and this is the episode with the infamous French doors that the giants have on their land), NIGHTMARE (Andre, Berger), HOME SWEET HOME (Ranger Wilson !?!?--no relation to Mark---THAT I KNOW OF---and Ranger Jack), OUR MAN O'REILLY (with Harry the bartender, Jake and Cunningham---no relation the HAPPY DAYS family BUT the name Krenko is alien enough), PANIC (which has alien sounding names such as Marad and Kirmus but then has Evers, Rogers, and Willis!), PAY THE PIPER (with Timmy), DOOMSDAY (North and Grear don't sound alien but Kamber could be and his home town is not alien sounding--Cedarsville), THE DEADLY DART (with Earth names like Barker, Grayson but also some alien names as well), and A SMALL WAR (Alek could be alien in its spelling but it is also sounding like Alec or Alex---no relation to Fitzhugh), and finally THE MARIONETTES (we have Lisa!!!!, Goalby, Brady--no relation the BUNCH, knife thrower Carl or Carlos, and Diane--winner of the appear on LAND OF THE GIANTS contest). We also get last names in some episodes (the families in both SHELL GAME and RESCUE have first and last names (as does Alek's father in A SMALL WAR). Other giants in other episodes do not give such first and last names (SEVEN LITTLE INDIANS, THE SECRET CITY OF LIMBO). Is it Mr., Mrs., Sir, Captain, etc. or is it just Bryk, Melzac, and Gorak, etc.? Sometimes one writer would use both alien sounding names and contrivances as well as common Earth ones---in the episode!
The end theme for SIX HOURS TO LIVE, which I've wandered from slightly, was the first season music theme song. Music from this episode was lifted from SEVEN LITTLE INDIANS, THE CHASE, and others, used to good extent. And for once---HOORAY!---NO ONE BECAME CAPTURED BY GIANTS!!!! In fact, the little people operated in secret here--as if they were the team on MISSION: IMPOSSIBLE, quietly doing their cons and hidden tactics to fool the giants into thinking something that was not really happening. Although it much cruder here than on a much more cerebral show like MISSION: IMPOSSIBLE, the feeling of being spies and undercover operatives who hear things they shouldn't and manipulate events behind the scenes is here. One flaw is that the Casses and Reed don't seem familiar with the idea of little people. Is the government keeping them from some people? THE INSIDE RAIL gave us the racetrack bum Moley, who didn't know about little people. Barry asked him if he read the newspapers, implying that there have been stories of little people in the papers---but there have been stories about Bigfoot in our papers and he, it, may not be real or conceived by some folk as being real. Whatever the case, the fact that they did not know about little people is odd and could have been explained: they are living far off on a farm and Reed is from an even more backward country or area than the Casses, from a place that never knew of little people. Joe is aware of little people.
THE UNSUSPECTED ----
What's unsuspected and unexpected is to finally have one of the scenes to next week---tagged onto the back of DEADLY PAWN is this:
"This is Gary Conway, stay tuned for exciting scenes from next week's show..."
"This is Gary Conway, here are some exciting scenes from next week's show..."
MUSIC USED IS 30 SECONDS OF THE MUSIC USED IN THE CRASH AS THE PROFESSOR GIANT GRABS HIS BUTTERFLY NET AND STEVE, VAL, DAN, AND MARK DASH ACROSS HIS FIELD OF VISION FAR BELOW THE TABLE TOP AND THIS LEADS INTO A COMMERCIAL AD. THE MUSIC IS ALSO USED WHEN STEVE IS GRABBED BY ZARKEN AT THE END OF ACT THREE AS BOULGAR INSTRUCTS JUST OUTSIDE THE SECURITY BUILDING AND THIS TOO, LEADS INTO A COMMERICAL AD. WHILE THIS WASN'T USED EACH AND EVERY TIME, I BELIEVE IT WAS THE MAIN MUSIC USED FOR THE MAJORITY OF THE SCENES TO NEXT WEEK.
1---Fitzhugh, alone in the forest, walking during the day, a radio in his hand. Steve comes from behind some bushes and grabs him, putting his hand over his mouth. Fitzhugh wide eyed, is pulled back by him.
2---Forest: Steve grabs Barry, twists his arm behind the boy's back, and turns him away from him, "What're you up to?"
3---Forest: Steve pulls some kind of cord or vine. A giant knife falls just short of Mark, who is walking. He falls and remains down.
4---Betty, on her knees, extreme close-up--Betty screams loudly.
5---Valerie, a gag just off her mouth, now around her neck, extreme close up, behind her is the wall of an air duct, "Where's Betty? What've you done with her?" Steve, extreme close up, grabs her and tugs hard; Barry, extreme, close up as he squints and struggles at his ropes.
6---Long shot: giant wall with a mouse hole in it: Steve swings his razor-matchstick hatchet down---Barry is underneath him; Steve is swinging at a jacket thrown by Dan----who is not seen---and Dan is on the other side of the hole--we don't know this and it looks like Steve is hatcheting at Barry, who is bound hand and foot, gagged at the mouth. The hatchet hits the floor near Barry, who jumps back.
7---Medium shot to zoom in on close up: Steve pushes Fitzhugh, who is wide eyed in fear, against the wall of a heating vent, "Nobody fools me!"
8---LONG SHOT: Steve, Mark near giant phone; Barry is ontop and behind giant black phone---Steve lunges at Mark with the hatchet weapon.
9---CONTINUATION OF NUMBER 8---Medium shot: Steve's lunge misses Mark and hits the phone dial, Mark grabs the stick handle of the hatchet device; Barry watches from the phone as they struggle.
10---MEDIUM SHOT---Dan races out of the heating vent doors, "Steve!" He runs left and off camera.
11---CLOSE UP-Steve pulls a knife (an animal's claw) out quickly.
12---LONG SHOT-Dan, rushing at Steve from the vent in NUMBER 10, stops short in front of Steve's knife, Steve lunging at him.
NOTE: I also recall scenes for next week to THE LOST ONES (showing Nick pushing Val, the big fight when Joey gets knocked into the cage, the trapper watching Steve and Nick fight, Nick threatening the men about the girls, Dolph attacking the girls, Steve and or Nick in the giant's hand), GRAVEYARD OF FOOLS, WILD JOURNEY, HOME SWEET HOME (such as one quote about landing on Earth!), THE MARIONETTES, RETURN OF INIDU (of course, they showed the ghost and the snake and Enog menacing Val in his fist), A SMALL WAR, CHAMBER OF FEAR (with what looked like Fitzhugh falling off a table top), GHOST TOWN (with the girl towering over a city with what made me think the giants were landing on Earth), GIANTS AND ALL THAT JAZZ, NIGHTMARE, COMEBACK, DEADLY PAWN, THE CLONES (with a shot not in the finished episode of two Valeries holding onto and staring at one another in the windtunnel sequence), THE BOUNTY HUNTER, THE CRASH, and maybe a handful of others, maybe. I sure wish we could find these. They were quite interesting. PANIC, PAY THE PIPER, and DOOMSDAY seem to come to mind too but the memory is hazy as is those of THE MECHANICAL MAN.