At some point in the 70s, movies about people having an unusual affinity for animals, despite being unable to connect with other people, were big. There’s Willard and Stanley, for example. Or The Killer Snakes, a movie that — because it’s made in Hong Kong — goes harder on the idea.

Gwan Fu-Cheng (Chow Gat) has one of those restaurants that could never exist in the U.S., a place where snakes are kept and used for their different body parts to benefit people, like Hu Bao-Chun (Richard Chen Chun), who wants the gall bladder of a cobra in a drink to make his date swoon. She does not seem very impressed.

The snake is kept alive until another customer has a use for another body part, as many snakes are clinging to life. But the cobra escapes through his prison inside a wall to find Chen Chih-Hung (Kam Kwok-Leung), a young man who has been disturbed by a childhood filled with abuse by both of his parents. Chen Chih-Hung has no fear of this snake with a giant hole in its body and its innards exposed, as he picks it up bare-handed and stitches it up, naming it Lu Pao and giving it a home.

Chen Chih-Hung gets some good fortune, as he gets a new job and starts romancing Xiao Chuan (Maggie Li Lin-Lin). And oh yeah — he and Lu Pao help the rest of the snakes in Gwan Fu-Cheng’s business escape through the wall.

If all seems good, it can’t last. Our protagonist is mugged and ruins one of his delivery jobs, then Xiao Chuan’s father gets sick. She misses their standing date and he responds by trashing her booth in the shopping area. Again, all he has is Lu Pao.

Giving up on true love, he visits sex worker Zhang Jin-Yang (Helen Ko Ti-Han) and she decides to get more money out of him by sending the same men who beat him up before — they end up being her security — and they’re all surprised by the fact that Chen Chih-Hung walks around with a cobra. And that’s when our protagonist goes to an antagonist, as he kidnaps Zhang Jin-Yang. Now tied up in his snake lair, he plans on using her for the pleasure of himself and several of his snake friends. At the same time, Gwan Fu-Cheng figures out where his snakes have gone — to Chen Chih-Hung’s secret room — and he has to be killed as well. Chen Chih-Hung leaves the body of the sex worker and shopkeeper together and it seems like that’ll keep the cops off him.

As if things can’t get any worse, Xiao Chuan’s father dies and she can’t pay for anywhere to live. Her friend Fang Fang (Terry Lau Wei-Yue) works at a hostess bar where she turns tricks, so she gets her a job, but poor Xiao Chuan is a virginal innocent, which is what the man who drank Lu Pao’s gall bladder, Hu Bao-Chun, is ready to pay to destroy. You can only imagine how our snake loving murdering rapist feels about his one true love working in the sex industry.

“First he taught one snake, then hundreds more…then he trained them all the kill!” While major labels like Arrow Video and Shout! Factory release Shaw Brothers box sets, there are several of the movies that the studio put out that may never see the legitimate light of those big budget releases. This would be one of them.

Directed by Chih-Hung Kuei (Corpse Mania, Curse of Evil, The Boxer’s Omen) and written by Kuang Ni, this is a sleazy, filth-infested and often disgusting affair. Would you be surprised that I liked it?

At once a Shaw Brothers film, a Eurospy action movie and kind of like the Hong Kong Danger Diabolik, Temptress of a Thousand Faces is why I watch movies.

Officer Chi-ying (Tina Chin-Fei) is trying to hunt down the Temptress, who she publically dares to come after her. The Temptress agrees to this by stealing her identity, flirting with an entire club full of men and cleaning out a jewelry store while wearing Chi-ying’s face. Our heroine’s name gets cleared by her photographer boyfriend Inspector Yu (Liang Chen), who ends up being the one in peril when dealing with the titular villainess and her army of henchwomen.

Yes, the Temptress really does have a thousand masks, maybe even more, as well as an unlimited supplies of knockout gas and scantily clad women ready to answer her every command. This is a movie that at once has a strong female heroine and antagonist, but also one that has fan service aplenty, like the Temptress appearing being bathed by her handmaidens and Chi-ying fighting barefoot in a near see-through gown, but the men around them are such morons that they can’t help but shine, no matter how much of the male gaze gets thrown their way.

There’s a bomb that gets deactivated with seven seconds left — just like Goldfinger — as well as a volcano base — just like You Only Live Twice — and even the Bond theme playing just because, well, this movie is a riot and unafraid where it’s taking stuff from. That’s how good it is.

It all ends with Chi-ying battling the Temptress after she wears the face of our heroine and makes love to her man while she’s forced to watch. A twin adversary kung fu spectacle, topped only with our heroine and her reclaimed man shooting near thousands of bullets and wiping out an entire base full of dedicated domina female supertroopers.

I may not have any power over Arrow, but I know another Shawscope box set has to be coming. I dream that this and Infra-Man end up on it, movies that show that the Shaw Brothers made more than just their typically amazing kung fu movies.

You can watch this on YouTube.

Moira Cole (Shawnee Smith) lost nearly her entire family when her cousin Lee Morris went insane and killed them all, including her husband Dillon, donning the mask that has led to the media calling him the Skulleton. She tries to live her life afterward, but every October, another sequel to the slasher franchise made about her life story is released and reminds her of the horror that she barely endured.

Directed by Ante Novakovic and written by Anthony and James Gaudioso (who also appear in the film), this film shows how Skulleton survived, as he was rescued after being shot by Moria by his sister Sam (Taryn Manning) and has spent the last decade or more chained up in her basement, drugged out of his mind.

Moria’s sons Michael (Drew Moerlein) and Connor (James Gaudioso) have grown up alternately afraid and angry of the history of their family being known by everyone in the world. Their mother is still withdrawn but working through her emotions with therapist Dr. Lucien (Bruce Dern).

Meanwhile, as a new series of murders starts to happen, their family will have to deal with it all over again, as Detective Cyphers (Tyrese Gibson), Detective Fink (Kresh Novakovic) and James (Anthony Gaudioso) are asking questions.

This is an uneven film that starts with so much promise, feeling like Halloween, which is obvious, as well as Scream. The open is so good and the idea of processing the trauma of this family remains a great idea. However, this starts to crawl just when you want it to fly. I really wanted to love this and ended up barely enjoying it, which is a shame, because Smith is really good — even if she looks younger than her sons — and the killer looks intimidating if a bit too much Spirit Store.

You can watch this on Tubi.

Trinity (Stakiah Lynn Washington) goes by the name of Lady Bars and has dreamed of being a rapper since she was young. Working with her best friend Dante (Melvin Gray Jr.) as her producer, hype man and cheerleader, she finally gets to play her songs for her hero, Young Reckless (Terayle Hill). Sadly, she gets to perform on stage with him on the night that he dies.

Young Reckless’ label, Gold Volt Records, sees her video and watches it, as well as a video of her rapping the song “Sassy”, go viral and decide to add her to their artists, seemingly only to upset Ms. Halo (B. Simone), the label’s star rapper.

Trinity is living her dream, but it all seems like it could be a nightmare once she starts getting stalked and people around her start dying. Who is the giallo-style killer in the midst of the rap game? And is Trinity all good? Did she steal her songs? Or is she using Young Reckless’ lyrics that she found which were also stolen lyrics?

Directed and written by Michael A. Pinckney, this has every stereotype that you might expect, like a record label owner who is making millions but still likes to sell guns, a producer who falls in love with his latest star, an aging star who is mean at first but warms to the heroine and an ending that seemingly sets up a sequel.

That said, “Sassy” is a pretty good song, but I don’t know if I’d kill anyone if they stole it from me.

You can watch this on Tubi.

EDITOR’S NOTE: He’s My Girl was on the CBS Late Movie on March 9, 1990.

David Hallyday was born in France as the son of singers Sylvie Vartan and Johnny Hallyday and became a star in Europe before he was signed to Scotti Brothers. The Scotti Brothers movie division decided to put him in one of their movies. After all, they had already named another of their films, Lady Beware, after one of his songs. Or maybe he wrote a song with that name. But hey — he has a song in that Pittsburgh-made American giallo. This would be the third Scotti Brothers movie I’ve seen — along with Eye of the Tiger — named for a song by one of their music artists.

There is no song for In the Shadow of Kilimanjaro.

There is a David Halladay song, “He’s My Girl.”

“Thought it was love for the first time
Did not know what I had in store
Big arms, big legs, big feet
But I could not see
Just what she hid behind her door

And my heart stopped
And my blood pressure dropped
Oh what a shock
You know he’s my girl
I’m a good man
So when she held my hand
That’s when I knew
That he’s my girl”

Hallyday plays a singer named Bryan, who wins a contest to go to Los Angeles. He wants to bring his best friend and manager Reggie (T. K. Carter, Nauls from The Thing), but has to bring a girl with him. Seeing as how it’s 1987 and no one would be upset by this or too smart to not make a movie about it, Reggie becomes Regina and shocks everyone in L.A. that people in Missouri can date across the color line.

Reggie falls for music assistant Tasha (Misha McK), who is trying to keep metal dude Simon Sledge (Warwick Sims) in line. As for Bryan, he falls for sculptor Lisa (Jennifer Tilly) who shows up on a motorcycle and kept me from fast forwarding through this movie.

Reggie/Regina is at once Flip Wilson’s Geraldine, the Three Stooges and Jerry Lewis, down to doing dialogue from them. As for Bryan, he’s a French singer trying to play an American innocent.

Everything you think will happen happens. Will evil music manager Mason Morgan (David Clennon) fall for Regina, despite being super racist? Will 80s hot tub girl Becky LeBeau show up? Will everyone end up happy after some confusion?

This was directed by Gabrielle Beaumont, one of the first women to break through and direct American prime time TV. She worked on everything from Baywatch and Melrose Place to Miami Vice, Dynasty, Hart to Hart and Beastmaster III: The Eye of Braxus. She also directed Death of a Centerfold: The Dorothy Stratten Story and The Godsend.

He’s My Girl was written by Charles F. Bohl (Swimfan), Taylor Ames, Myrica Taylor, Terence H. Winkless (who wrote The Howling and directed The Nesting) and Fireside Theater founder Peter Bergman.

As you can imagine, this is the kind of movie that if people saw it today, they’d be enraged. Then again, this is also kind of fan fiction of The Thing, as you get numerous scenes of Palmer sexually harassing Nauls.

Somehow, Scotti Brothers Records were able to get “Mississippi Queen” by Mountain, “Wild Thing” by The Troggs, “(I Can’t Get No) Satisfaction” by The Rolling Stones, “Neutron Dance” by The Pointer Sisters and “New Attitude” by Patti LaBelle in this. What was the music budget like?

Of all those songs, “Copper Colored Gal” by Joe Pizzulo — who sang on the Sérgio Mendes songs “Never Gonna Let You Go” and “Alibis” — seems out of place. Yes, I know it’s a Cab Calloway standard, but hearing “Copper, copper, copper, copper colored gal of mine!” as a black man dresses like a woman is a bit disconcerting. 

You can watch this on YouTube.

Golden Oldies Week (July 27 – August 3) Something Weird Video have released such a wide range of movies over the last 30 years that trying to categorize them can be tricky. They started out as a gray market mail order distributor (aka a bootlegger) not unlike the Cape Copy Center or Sinister Cinema and eventually moved into the niche se ploit titles that would set them apart. The movies on this list are the kind of cult genre titles that were the bread and butter of many of the bootleg companies of the 90s and most were not exclusive to SWV. If you look in the catalogs or on the website these would be under categories like “Nightmare Theatre’s Late Night Chill-O-Rama Horror Show,” “Jaws of the Jungle,” “Sci-fi Late Night Creature Feature Show,” or “Spies, Thighs & Private Eyes.” Many of these are currently available as downloads from the SWV site (until the end of 2024)!

Faith One is marooned in space and its commander (Bob Legionaire) requests its immediate destruction, as it has been filled with an infectious gas. Several years later, Hope One — its crew is Colonel Hank Stevens (James Brown), Dr. John Andros (Baynes Barron), Dr. Paul Martin (Russ Bender) and Dr. Lisa Wayne (Francine York) — get a distress call and find a strange ship.

On this ship, humans make first contact and, being humans, immediately kill the alien and blow the ship up.

They meet some more aliens, like a sea monsters and crabs, as Dr. Andros dies and Colonel Stevens is all sexist to Dr. Wayne and they go from arguing to making out. You know, if you’re the only woman on a space ship with four men, maybe don’t start a relationship. It seems like things could get strange.

An American-International Pictures film, this was also known as Space Monster. It was directed and written by Leonard Katzman, whose series Dangerous Curves was on the CBS late night Crimetime After Prime Time. He was also the showrunner for Dallas.

If the monsters look familiar, that’s the alien from Wizard of Mars and the sea monster from City In the Sea.

You can watch this on YouTube.

My Drive-In Asylum co-host Bill Van Ryn shared an ad for a movie that I’d never heard of on his Groovy Doom Facebook page and it has fascinated me. What could Death Is Not the End be? Dr. Kent Dallt, Professor of Psychology at UCLA, said “I can’t explain the film you are about to see. I doubt anyone can.”

While G-rated, this movie was not recommended for younger children.

So what is it?

That took some detective work.

First off, it was directed by Richard Michaels. He started his career as a summer assistant to legendary New York sportscaster Marty Glickman before becoming a script supervisor. He worked in this role on several films and TV series before directing episodes of Mr. Deeds Goes to Town and The Odd Couple, as well as producing Bewitched, a show he would direct 55 episodes of.

That show would change his life, as he and star Elizabeth Montgomery fell in love during the eighth year of the show, breaking up her marriage to William Asher and his to Kristina Hansen. They were together for two and a half years.

The rest of his career was spent in TV, mostly directing TV movies such as The Plutonium Incident, Scared Straight! Another Story, Heart of a Champion: The Ray Mancini Story, Leona Helmsley: The Queen of Mean and many more. He retired in 1994 and currently lives in Hawaii. His daughter, Meredith Michaels-Beerbaum, was the first woman to be ranked #1 in the world in equestrian show jumping.

In the midst of his career, in 1975, is Death Is Not the End, which was written by another TV veteran, Elroy Schwartz. The brother of Sherwood Schwartz, he and Austin Kalish wrote the original pilot for Gilligan’s Island, which went unaired until TBS showed it in 1992. He would continue to be a writer on the show along with his brother Al. In 2000, the Los Angeles Times reported that Schwartz and Kalish were suing Sherwood, saying “They charge that the older sibling has been cheating them out of “Gilligan’s Island” credits and royalties for decades. The dispute apparently began in 1963, when Elroy and Kalish say they wrote most of the pilot show. Sherwood was the producer and, as a favor, they honored his request and put his name on the script as a co-writer, the suit says. Ever since, they charge, Sherwood has tricked them out of their share of royalties and has controlled the rights to the show, which has made him as rich as, say, Thurston Howell III.”

Kalish was no neophyte to writing. He and his wife Irma wrote hundreds of television episodes, including memorable installments of Good Times, Maude and All in the Family. It is believed that he conceived the show’s characters, including giving each of them (and the boat, the S.S. Minnow) his or her name. In his obituary in The Hollywood Reporter, it was said that “Years after the show ended, Kalish said documents were uncovered that indicated he should have been entitled to one-quarter ownership of the series, worth about $10 million, but he received nothing.”

But back to Elroy Schwartz.

Before working in TV, he wrote for some of the best known comedians of the 40s and 50s, including Lucille Ball, Groucho Marx and Bob Hope.  Outside of his writing work, Schwartz was a licensed hypnotherapist who specialized in past life regressions, which brings us closer to the truth of what exactly this movie is.

The AFI Catalog says, “Writer-producer Elroy Schwartz, president of Writer First Productions, signed a distribution deal for 75 IT with Libert Films International, the 7 Apr 1975 Box Office announced. The 25 Jul 1974 HR stated that 75 IT would premiere at the Atlanta International Film Festival in GA on 16 Aug 1976, but the 15 Dec 1975 Box Office claimed that the film’s premiere occurred a year later, on 8 Dec 1975, in Phoenix, Arizona. When a new releasing company, Dona Productions, took over distribution in 1976, the film’s title was changed to Death Is Not the End, according to production materials dated 6 Aug 1976 in the AMPAS library files. Schwartz, a Palm Springs, CA, hypnotherapist and television screenwriter, wrote in the document, “There wasn’t any established script. The movie is a “happening” — a spontaneous filming of a hypnotic regression into reincarnation, and “procarnation” — a look into the subject’s next life.” He described the film to the 15 Dec 1975 Box Office as a “filmed psychic experience.”

While Writer’s First only has this movie and episodes of the show Dusty’s Trail as released and Dona Productions seems made just to distribute this film, there’s plenty more info on Libert Films International, which seemingly was a tax shelter used to distribute films like Rum Runners, Angela, Encounter with the Unknown, The Great Masquerade, My Brother Has Bad Dreams, Mario Bava’s Roy Colt & Winchester Jack, The Devil With Seven Faces, Never Too Young to Rock, Willy & Scratch, Charlie Rich: The Silver Fox in Concert, Beyond Belief and Stevie, Samson and Delilah.

It was then picked up in 1977 by Cougar Pictures, who also distributed The Flesh of the Orchid, Starbird and Sweet William, Scream, Evelyn, Scream! and Beyond Belief.

The IMDB listing for this film is sadly absent of much info beyond this quick description — “The mystery of life eternal is discussed by a number of purported experts in various fields of metaphysical research, as well as individuals who assert that they’ve lived before.” — and the cast and crew. Let’s get into those.

Listed actors include Ken Dallet, Wanda Sue Parrot as a reporter and Jarrett X as a laborer, as well as Schwartz playing himself. So much for more information on the actors. As for the crew, IMDB lists Hal and Charles Lever as executive producers. And…another dead end.

What about the music? It came from Mort Garson, who wrote the song “Our Day Will Come,” which is on the soundtrack of Grease 2, More American Graffiti, Under the Boardwalk, Shag, Buster, She’s Out of Control, Love Field, The Story of Marie and Julien, You Should Have Left and Role Play. He was an electronic musician who released music based on the zodiac, so this makes sense.

The Zodiac’s Cosmic Sounds was a 1967 concept album released by Elektra Records that had early use of the Moog synthesizer by Paul Beaver (“a Scientologist, a right-wing Republican, unmarried, and a bisexual proponent of sexual liberation” who helped build Keith Emerson’s custom polyphonic Moog modular synthesizer, did the sound effects for The Magnetic Monster and composed the score for The Final Programme) with music written by Garson, words by Jacques Wilson and narration by folk musician and Fireside Theater producer Cyrus Faryar, all with instruments played by members of the Wrecking Crew studio collective, such as Emil Richards, Carol Kaye, Hal Blaine, Bud Shank and Mike Melvoin.

He was an early adopted of Moog and even though he wrote the theme song for Dondi, we won’t hold it against him. After all, he wrote the song “Beware! The Blob!” for the Larry Hagman directed sequel. His song as The Zodiac, “Taurus – The Voluptuary,” also shows up in several gay adult films of the early 70s, including the Satanic-themed Born to Raise Hell, which also uses his songs “Black Mass,” “The Ride of Aida (Voodoo),” “Incubus” and “Solomon’s Rising.”

That’s because Garson was also Lucifer, the electronic artist that released Black Mass — also called Black Mass Lucifer — that AllMusic reviewer Paul Simpson says is “a soundtrack-like set of haunting Moog-based pieces which interpret various supernatural and demonic themes.”

Even wilder, he also scored René Cardona Jr.’s Treasure of the Amazon, Paul Leder’s Vultures and Juan López Moctezuma’s To Kill a Stranger. And oh yeah — ten episodes of an Alex Trebek hosted game show, The New Battle Stars, had him compose the theme. On this show, celebrities seated in triangles answered game questions for the contestants. The object of the game was to capture three celebrities by putting out lights around them and the stars included Rip Taylor, Linda Blair, Jim J. Bullock, Fannie Flagg, Richard Simmons, Charles Nelson Reilly and more.

Alan Stensvold was the cinematographer for Death Is Not the End. He shot everything from Bigfoot and Wildboy to The Astral Factor, Dimension 5, Cyborg 2087, Thunder Road and the TV show Dusty’s Trail, which is where he had to have met Elroy Schwartz, who was the co-creator with his brother Sherwood.

This movie was edited by Joan and Larry Heath. While Joan has no other credits, Larry has a large portfolio of work on TV, including 106 episodes of Rhoda, 46 of Simon & Simon, the film Billy Jack and along with episodes of Gilligan’s Island, also worked on Dusty’s Trail.

All of these many facts don’t get me any closer to finding this movie or knowing more.

Luckily, there was an article in The Tampa Times from April 4, 1977 that gets me closer.

Hypnotist explores uncharted areas of the mind by Noni Brill

Elroy Schwartz, stocky, cordial, gregarious, doesn’t look like a Svengali, but, he says, he’s “a hell of a hypnotist.” Schwartz is in town from Los Angeles, where he’s a full-time writer and producer (he’s written for such TV shows as I Love Lucy, Gilligan’s Island and Movie of the Week and a sometime hypnotist who’s delved into unchartered areas of the mind. From these explorations have come both a book, The Silent Sin, and a movie, Death Is Not The End, scheduled for showing Monday night at the Tampa Theatre. His book, written six years ago, deals with a hypnosis subject whom he “regressed,” or took backward in time, over a period of several months, eliciting from her unconscious several past lives she felt she had lived in various reincarnations. In one reincarnation, the subject went through a reenactment of labor pains. For Schwartz, “It triggered something in my mind.” He thought, “If we can go backward in time, why can’t we go forward?” He tucked the thought away for a while, but some time later met Wanda Sue Parrot, a newswoman with the Los Angeles Herald Examiner, and “got good vibes from her.” They started work on regressing, and when he felt she was really in touch with her subconscious, Schwartz asked her to go forward in time to her next life.

He was in for a shock. Wanda was “reborn” as a mutant inhabitant of a world recovering from the near-annihilation of an accidental atomic detonation from China. What had been the United States was now “America’s Islands,” fragmented, with whole sections gone from the map. She lived in “Utah County” in the year 75 I.T., which, the hypnotist found, meant International Time, a time system set up by the “World Tribunal,” which governed what was left of Earth.

From the concept of this horror story evolved the movie, which was filmed live as Schwartz put his subject repeatedly into a trance state under the supervision of a medical doctor.

“It’s not edited except for time,” Schwartz said. “Producers have told me it’s not technically a movie, but it has a tremendous impact. Wherever it’s shown, people thank me. They want to see it again.” For himself, Schwartz “knows what we have is real. Maybe this is a warning; maybe we can stop history if we stop and think what we’re doing.” For now, he’s trying to find practical and creative ways to utilize his gift.

He worked for some time at a halfway house for girls in California, treating young drug addicts. He thought, “What if I could get them on imaginary heroin, then break them of an imaginary habit?”

“They reacted totally to the imaginary fix,” he recalled. “They got the sniffles, got very down in demeanor,” He found that the ritual of “shooting up” was as important as the actual drug, and “I learned a lot about the ghetto, about heroin, about addiction. Mainly it was low self-image that kept them on the drug; I tried to improve that image.” ‘ He says he’d like to do further work with a drug control program, but “I’d need a sponsor.” Schwartz has never charged for his work. ”

Hypnotist Elroy Schwartz says he can take his subjects back and forth in time. “I find it totally fascinating. The mind is an incredible machine, a computer. It stores up all visual, audio, input, the senses you’ve had since the day you were born.” He thinks anyone can hypnotize Tm a catalyst. If you taped what I say, you could do it, too.

On a one-on-one basis, I’ll use my eyes, but it’s not necessary. You hypnotize yourself; it’s all there on your computer tapes. I only bring it out.” He believes that many people still see hypnosis as “voodoo, black magic. But it’s a good tool medically, in criminology, dentistry.” He feels that people can be taught to hypnotize themselves out of headaches, or into a quick refreshing nap, can lessen physiological pain. He has this capacity himself, he said, and last fall, while waiting in the emergency room of a California hospital where he had been rushed because of pain, Schwartz said he successfully psyched himself out of his symptoms to such an extent that he “fooled the doctors.” When they operated, they were startled to find that he needed three major surgical procedures.

‘They told me later I was six to 12 hours away from death,” he . said,”But I’d kept all my vital signs normal, and they couldn’t believe it was an emergency.” One thing haunts him. After his sessions with the woman reborn into the future, Schwartz realized there was one question he had “forgotten” to ask. In this strange new world with its lands destroyed by a holocaust and its population mutated, who was he, where did he fit into the future? His eyes grew thoughtful. “I’ve always wondered who she was talking to…”

Schwartz is listed as the co-author — along with Dr. John Woodbury — of The Silent Sin: A Case History of Incest. He conducted the hypnosis that allowed the patients to recall their blocked memories of incest.

The Seventh Sense is another Schwartz book — “A web of murder. A mystery for forty years! Linda Packard was murdered in June, 1952. In April, 2000, Jenny Matthews is hypnotized and, although she does not believe in reincarnation, is regressed to a prior life – Linda Packard. Research proves the reincarnation to be true! With information from Jenny’s subconscious, as Linda, they identify her killer!” — that seems to be self-published on Amazon. He also wrote Enron to the 5th Power, VANISHED (The Snowbird Jones Mysteries), The Iron Christmas Tree, Hyena, The President’s Contract — “When the President of the United States joins forces with the Mafia, the bizarre result is the President’s Contract. Beautiful girls, Black Power advocates and the hilarious misadventures of the V-P complicate their scheme.” — and Tulsa Gold.

Amazon even has a bio: “Writing principally for television and film entertainment, the comedies and dramas of Elroy Schwartz have been enjoyed by millions of viewers over several generations. You may have seen his work in episodes of The Six Million Dollar Man, It Takes a Thief, The Lucy Show, Gilligan’s Island, Baywatch, The Brady Bunch, Policewoman, McHale’s Navy and General Hospital as well as the original or reruns of his movies for television, The Alpha Caper and Money To Burn, among others. Elroy has also worked as an executive story editor, consultant and producer. Today he writes mystery and adventure stories for print and e-book publication. Elroy and his lovely wife Beryl are longtime residents of Palm Springs, California, which is also home of the historic Agua Caliente Indian Reservation. The largest collective landowner in the area, this sovereign tribe stewards more than 31,500 acres of ancestral lands, including the protected Bighorn sheep habitat. The Agua Caliente Band of Cahuilla Indians owns two major casinos and hotels, the Spa Resort Casino in downtown Palm Springs, and the Agua Caliente Casino in Rancho Mirage, California. One of the Indigenous Peoples of North America, the tribe strives to maintain its cultural heritage and past, while supporting and helping to develop the communities of Palm Springs, Cathedral City, Rancho Mirage, and other areas of Riverside County.”

Sadly, Elroy died in 2013 and if this movie is to be believed, he’s moved on to his next life.

The problem is, that’s all I can find about this film.

So this is where I’m asking for help.

If you know anything else about Death Is Not the End, if you have a print, if you’ve seen it — email me at bandsaboutmovies@gmail.com

I’m obsessed!