DAS LASZLO & LASZLO PROJEKT

Bei einer Liste wie der untenstehenden wäre Ihnen verziehen, wenn Sie denken würden: "Die meisten oder zumindest die besten Titel sind wahrscheinlich bereits vergeben." Das stimmt jedoch nicht; ich habe es geschafft (hauptsächlich indirekt) während der letzten paar Jahrzehnte von meinem Buch Svenskt Konstglas zu leben und erst jetzt (Frühling 2018) fange ich damit an, Das Laszlo & Laszlo Projekt kommerziell zu entwickeln.    VIDEO

Es sind bereits 40 Titel auf Amazon veröffentlicht (6 auf Deutsch), allerdings wurde noch keiner davon beworben/verkauft - also wenn man es praktisch sieht, ist noch gar nichts veröffentlicht. Es gibt drei Filmrechte, ein fertiges Drehbuch, vier Bücher, die nur darauf warten verfilmt zu werden, etwa ein Dutzend "Abhandlungen" und ein Theaterstück, jedoch wurde noch nichts unternommen, hierfür Produzenten zu finden. Ich bin Mitglied in den jeweiligen Organisationen für Autoren/Drehbuchautoren, doch hatte ich bis jetzt noch kein Bestreben danach, Tantiemen einzuholen. Alles wurde bereits vorbereitet und kann "in die Wege geleitet" werden, allerdings sind die untenstehenden Texte und Projekte (sowie die Texte in anderen Sprachen) allesamt mehr oder weniger unberührt. Wenn kein deutscher Artikel verfügbar ist, werden Sie zu einem englischen weitergeleitet. Falls Ihnen jedoch Spanisch, Französisch, Italienisch oder Schwedisch lieber ist, wählen Sie bitte die entsprechenden Flaggen aus. Willkommen zum Projekt Laszlo & Laszlo. Hier sind auch die Links zu den Einführungsvideos auf Englisch, Italienisch, Französisch, Spanisch und Schwedisch (tut mir leid, aber Deutsch spreche ich leider nicht).

BÜCHER

  1. Mein Onkel Jacinto/Mi Tio Jacinto. Es gibt eine alte (und ziemlich gute) deutsche Übersetzung, die dem "Paul Zsolnay Verlag" gehört (vielleicht aber auch dem Übersetzer), die ich nicht erwerben konnte. Also beauftragte ich einen neuen deutschen Übersetzer, eine deutsche Version des spanischen Originaltitels anzufertigen. Das Buch ist für "Kinder aller Altersklassen" geschrieben und ein spanischer Bestseller, der zudem in Japan sehr beliebt ist und sogar zu einem Blockbuster-Film mit Pablito Calvo verflimt und auf der ganzen Welt gezeigt wurde. Eine berühmte Pariser Zeitung schrieb; "Seit Der Kleine Prinz wurde nichts in dieser Art geschrieben." Falls Sie irgendeinen "legitimen" Grund haben, sich den Film ansehen zu wollen, können Sie mich gerne kontaktieren. Hier der Artikel.
  2. Paco, der Zuverlässige (6 Sprachen) ist die erste deutsche Übersetzung von Paco el Seguro. In diesem Buch geht es um einen ehrlichen und einfachen Mann im Madrid der 1940er Jahre, der sich seinen Lebensunterhalt verdient, indem er die Muttermilch von Säugammen am Fließen hält (ich überlasse das jetzt allein Ihrer Vorstellungskraft, wie er das anstellt); Das Buch wurde mit Alfredo Landa in der Hauptrolle verfilmt. Falls Sie irgendeinen "legitimen" Grund haben, sich den Film ansehen zu wollen, können Sie mich gerne kontaktieren. Hier der Artikel. 
  3. Mutter Unbekannt (5 Sprachen) ist die deutsche Übersetzung von Donde los Viento Duermen. Ein kleiner Junge wird vor der Haustür von Kurt, unserem Protagonisten, abgeliefert, zusammen mit einem unsignierten Brief: "Lieber Kurt, Du wolltest schon immer einen Sohn. Hier ist er. Versuch nicht mich zu finden. X" Dass Kurt der Vater ist, steht außer Frage, doch wer ist die Mutter? Kurt macht sich in einem vom Krieg erschütterten Europa auf die Suche nach einem lange verschollenen Fragment seiner Erinnerung: dabei streift er durch Neapel, Paris und Avila. Der Grundgedanke/der Inhalt ist oberste Klasse und die Geschichtslogik wurde gravierend verbessert. Ich glaube, dass Mutter Unbekannt schon bald verfilmt wird. Es gibt eine alte deutsche Übersetzung (vom Paul Zsolnay Verlag: Die Mutter meines Sohnes). Der englische Text wurde adaptiert, um für besseres Kino zu sorgen, und sucht gerade nach einem deutschen Übersetzer. Hier der Artikel.
  4. Doña Juana (5 Sprachen) ist ein Theaterdrehbuch, das sich als Novelle verkleidet, und war bisher nicht auf Deutsch erhältlich. Seinem Inhalt wohnt ein feministischer Geist inne - Don Juan reist durch die Zeit, um Juanita (die schließlich Doña Juana werden wird) im Umgang mit Männern zu helfen, allerdings verliebt er sich alsbald selbst in das Mädchen. Der Einfluss von einer Freundin Seniors, Simone de Beauvoir, ist klar zu erkennen.  Hier der Artikel.
  5. Laszlo & Laszlo Familienchroniken I. Solo el Paisaje Cambia. Obwohl dieses Buch alleinstehend veröffentlicht wird, wird es ebenfalls als erster Teil der Laszlo & Laszlo Familienchroniken publiziert, die unten vorgestellt werden (9). Hier der Artikel.
  6. Das Schloss der Seehunde (3 Sprachen) ist die deutsche Übersetzung von El Castello de las Focas. Bevor Laszlo Senior sein Heimatland, Österreich-Ungarn, verließ, musste er ein wenig an der Miete sparen und nannte eine Zeit lang die Bäder von Budapest (aDs Schloss der Seehunde) sein Zuhause. Dieses Buch enthält also seine Erinnerungen an jene Zeit und wenngleich es auf die gleiche Weise geschrieben wurde wie Die Rhapsodie Einer Krabbe, unterscheiden sich diese beiden Bücher vom Stil her doch deutlich von seinen späteren Werken. Hier der Artikel.
  7. Die Rhapsodie Einer Krabbe/La Rapsodia de Cangrejo. Nachdem Laszlo Senior sein Heimatland, Österreich-Ungarn, verließ, verbrachte ein wenig Zeit in Paris, bevor er aufgrund der deutschen Besatzung nach Spanien fliehen musste. Dieses Buch enthält also seine Erinnerungen an jene Zeit und wenngleich es auf die gleiche Weise geschrieben wurde wie Das Schloss der Seehunde, unterscheiden sich diese beiden Bücher vom Stil her doch deutlich von seinen späteren Werken. Hier der Aritkel.
  8. Die Vollständigen Werke von Andres Laszlo Sr. Hier der englische Artikel. 
  9. Laszlo & Laszlo Familienchroniken (Sr.&Jr.) (5 Sprachen) sind eine biografische Sammlung von 45 Kurzgeschichten, die insgesamt 100 Jahre abdecken und die vielen Abenteuer von Andres Laszlo Sr. und Andres Laszlo Junior erzählen; und es waren wirklich ein paar interessante dabei. Wenn Sie also eine neue Form der Biografie suchen, haben Sie sie hier gefunden. Hier der Artikel.
  10. Laszlo & Laszlo Familienchroniken II. Obwohl dieses Buch alleinstehend auf Deutsch veröffentlicht wird, wird es ebenfalls - zusammen mit einem Absatz mit biografischen Kommentaren, um jede Geschichte einzuleiten - als erster Teil der Laszlo & Laszlo Familienchroniken publiziert, die unter Punkt (9) bereits vorgestellt wurden. Hier der Artikel.
  11. Die Herausforderung/Mein Onkel Jacinto. In diesem Buch wird Madrid zu Kapstadt; der Stierkampf zu Boxen; weiß zu schwarz/farbig; die 1940er zu den 2010ern & 20.000 Seiten 70.000. Es enthält 70 großartige Illustrationen (die im selben Stil gehalten sind wie das Cover) und würde sich im gebundenen A4-Format als schönes Kinderbuch machen. Das Buch ist ebenfalls als englisches Drehbuch erhältlich. Hier der Artikel.
  12. The Drug Problem (2 Sprachen) ist ein Anti-Illegalitätsbuch über die Drogenpolitik. Es deckt mehr oder weniger alle Aspekte des Drogenproblems ab, wobei die Leidensaspekte nicht ausdrücklich betont werden. Das Buch kommt zu dem Schluss, dass es von keinem großen Interesse ist, ob Drogen nun gut oder schlecht sind. Was stattdessen interessant ist - beziehungsweise interessant sein sollte - ist, dass die Folgen des Verbots von Drogen weitaus schlimer sind als eine etwas liberalere Herangehensweise der Wahrscheinlichkeit nach gewesen wäre. Die Frage, ob mehr Rauschgift konsumiert werden würden / ob mehr Menschen Drogen nehmen würden, falls sie legalisiert/liberalisiert würden, rutscht in die Bedeutungslosigkeit ab.  Hier der englische Artikel. 
  13. Dysfunctional Discourses II (0 Sprachen) ist ein Buch, das mich im Erfolgsfall zweifellos zur persona non grata auf diesem Planeten machen würde. Als ich The Drug Problem schrieb, wurde mir klar, dass das Verbot von Rauschgiften eine erstaunlich dysfunktionale Weise darstellt, auf die wir uns organisieren. Ich dachte mir dann: "Vielleicht sind die Drogenverbote ja nur eine von mehreren Weisen, auf die wir uns dysfunktional organisieren." Dysfunctional Discourses ist bis jetzt nicht mehr als ein Projekt in den Kinderschuhen: ein Projekt darüber, wie und warum wir uns auf schlechte Arten und Weisen organisieren. Hier der englische Artikel. 
  14. The Caspian Connection (2 Sprachen) sind die ersten beiden Bücher (einer geplanten Reihe), in denen wir den Abenteuern von Odins Sohn folgen (der sich der Identität seines Vaters nicht bewusst ist), während er auf der Erde der Gegenwart lebt. Diese beiden Bücher sind nur zu 95% fertiggestellt, nichtsdestotrotz aber ganz vorzeigbar. Ich habe nicht die Kompetenz, den vollständigen Wert aus diesem Projekt herauszuholen (sowie seine ausgezeichnete versteckte Hintergrundgeschichte), was einer der Gründe ist, warum das Buch aktuell auf dem Abstellgleis steht. Dieses Projekt ruft also nach einer Kooperation: Autoren über Themen, bei denen ich Schwächen habe, ein Drehbuchautor (einer, der das Drehbuch für The Millennium Trilogy hätte schreiben können, wäre außerordentlich gut geeignet) und ein Produzent. Hier der englische Artikel. Hier ist auch ein separater Artikel über Buch 2.
  15. Swedish Art Glass (2 Sprachen)handelt tatsächlich von mehreren Büchern über Swedish Art Glasss, die alle entweder auf meinem eigenen (recht erfolgreichen) Svenskt Konstglas von 1989 basieren oder auf meiner späteren Untersuchung der Flygsfors Glassworks und "Coquille." Diese Bücher haben alle eine Sache gemeinsam: wenn Swedish Art Glass in Zukunft nicht viel mehr geschätzt wird, werden sie ohne finanzielle Unterstützung nicht publiziert. Hier der englische Artikel/Artikel auf Schwedisch.

FILME, DREHBÜCHER & PROJEKTE

16. Mein Onkel Jacinto - Filmtantiemen. Siehe der englische Artikel unter (16).

17. Mein Onkel Jacinto - neuer animierter Film. Mein Onkel Jacinto muss zu den weltweit beliebtesten Kinderbüchern/Kinderfilmen gehören, die niemals animiert wurden. Auf spanischen Filmfesten wird der Film oft als einer der Top 5 der spanischen/hispanischen Filme aller Zeiten genannt und heute - da wir dem Stierkampf wahrscheinlich ein für alle Mal Lebwohl sagen müssen und Jacinto ein torero ist - ist das eine Geschichte, die animiert werden "muss".  Siehe der englische Artikel unter (17). 

18. Paco, der Zuverlässige - Filmtantiemen.  Siehe der englische Artikel unter (18).

19.  Paco, der Zuverlässige - neuer Film. Siehe der englische Artikel unter (19). 

20. Sin Uniforme/Der Drennende Radfahrer - Filmtantiemen. Der Drennende Radfahrer bei den Franzosen registriert zu sein: ist das Deutsch?). Den Film hat Warner Brothers produziert und Ladislao Vajda führte Regie: vielleicht sind hier auch Tantiemen einzutreiben; vielleicht hat Der Drennende Radfahrer aber auch gar nichts mit Sin Uniforme zu tun. Siehe der englische Artikel unter (20).

21. Mutter Unbekannt - Film. Siehe der englische Artikel unter (21). 

22. Doña Juana - Theater/Musical/Operette. Als ein junges Mädchen gerade ihren Verlobten verliert, reist Don Juan durch die Zeit, um der Armen zur Hand zu gehen. Es stellt sich jedoch heraus, dass das Mädchen eine viel bessere Schülerin ist als von Don Juan erwartet, weshalb er sich alsbald in es verliebt. Es gibt bereits ein Theaterdrehbuch (gewissermaßen) - und in Paris bot Marcel Marceau Doña Juana  bereits als Pantomimeninterpretation dar - und das Buch würde sich tatsächlich sehr gut als Operette/Oper/Musical machen. Siehe der englische Artikel unter (22). 

23. Die Herausforderung: Drehbuch - Film. Mein Onkel Jacinto Adaption zu verwenden, um einen Film in Kapstadt mit Tim Spring (Karate Kid) als Regisseur zu drehen - wurde von RFF abgelehnt, da es ein "zu hollywoodhaftes Ende hätte" (was hoffentlich nicht der wahre Grund war, denn wenn es so gewesen wäre, hätten sie sich das Skript nicht genau durchgelesen). Das Buch würde einen exzellenten Familienfilm abgeben. Siehe der englische Artikel unter (23). 

24. Short Stories - Filme. Siehe der englische Artikel unter (24). 

25. The Caspian Connection - Filme. Siehe der englische Artikel unter (25). 

26.  Revive Dad - Projekt. Siehe dieser englische Artikel. 

27. Talks by Junior - Projekt. Ich hege große Leidenschaften für 1. Das Drogenverbot (das ich für schlecht halte) und 2. Swedish Art Glass (das ich für gut halte) und Sie werden sehen, dass ich jederzeit gut darauf vorbereitet bin, über diese Dinge zu diskutieren. Hoffentlich wird irgendwann auch einmal der Tag kommen, an dem ich gut darauf vorbereitet sein werde, das gleiche bei Dysfunctional Discourses zu tun. Siehe dieser englische Artikel. 

MORE ON MOVIES, SCRIPTS & THEATRE

"Movies" are about the three movies that have been made from Andres Laszlo Senior's texts and scripts in general, and in particular: 1. The lack of payment from the corporations that have broadcasted these movies, 2. The lack of payments from the individuals/organizations that have sold the broadcasting rights to these corporations, "forgetting" about my father’s rights to royalties as a writer/co-writer of original texts and/or film-scripts & 3. The script-writers organizations (like for example SGAE/Spain & SACD/France) that might have either forgotten to collect royalties on my behalf (esp. in other countries than Spain & France) or lost track of old payments (all the way back to 1984). "Scripts" – apart from The Challenge, that already exists as a script - are about the possibility of making new movies/scripts/treatments out of my or my father’s texts: a new adaptation of Paco Never Fails, a script for Mother Unknown, an animated adaptation of My Uncle Jacinto or finding new script-ideas in The Laszlo & Laszlo Chronicles that contains 45 short stories. “Theatre” is about the possibility of staging Doña Juana as a theatre play from a virtually finished script, or turning it into an opera/operetta/musical.

16. MY UNCLE JACINTO - ROYALTIES (Sr.)

Senior wrote the children’s book Mi Tio Jacinto/My Uncle Jacinto, and later also the script for the movie (together with the director Ladislao Vajda). As the movie became a blockbuster and remains popular - often shown as part of Spain’s 5 or 10 "best movies ever" - there ought to be some considerable outstanding royalties to be collected from the broadcasting of the movie, especially in the Hispanic world. Spanish "SGAE" seems willing to pay me only for the last few years, and the Italians (My Uncle Jacinto/Pepote was a Spanish/Italian coproduction) have as far as I know never paid me anything, and apart from SGAE´s royalty payments of 2 x €2500 (all in 2017) I have received nothing since my father's demise in 1984. I am now a resident of Spain, where the movie is still popular, and I am told that it is aired not only by Spanish and Mexican television but also by various South and Central American countries, as well as Italy, France, and other European countries. So, there should be plenty of royalties to be collected/recovered by whoever knows how to go about it. SACD (the French) say that though Senior was a member, My Uncle Jacinto/le Muchacho is not registered with them. 

17. MY UNCLE JACINTO/ANIMATION - NEW MOVIE (Sr.)

Honestly, how many children’s novels - that: (i) Have been translated into ten languages & (ii) Have been made into a blockbuster movie - have you heard of? Now, how many of these have not been turned into animated films? Personally, I know of only one, and unfortunately, the rights to that belong to me. My Uncle Jacinto has absolutely outstanding potential as an animated film. My Uncle Jacinto is a book for children of all ages and depicts a special day in the lives of down-and-nearly-out ex-bullfighter Jacinto and his streetwise nephew Pepote. Honour is one antagonist, crime is another, alcohol a third and separation a fourth, and sort of the common denominator. Jacinto accepts an invitation to play the lead role in a comic bullfight, but declines the promotor's offer of assistance, proudly declaring that he has the required outfit. Thus the middle part of the story is spent chasing the money necessary to rent the gear, all against the backdrop of Madrid criminality of the 40s: everything from recycling cigarette butts to a Goya art-scam. For a long time, things look bleak: Jacinto is down and out, he is broke, he has been ridiculed in front of what we feel is the better part of Madrid, and he has lost his main reason to exist, his honor. And, even worse, he has lost this honor in front of the boy, who is the only important person in his life, and who is about to be taken from him. Don’t be silly; of course My Uncle Jacinto has a happy ending, sort of, maybe, if you choose to read it that way. 

18. PACO NEVER FAILS - ROYALTIES (Sr.)

Andres Laszlo Sr. wrote the novel Paco el Seguro/Paco Never Fails, and he also co-wrote the movie script with Didier Haudepin (who directed). However, it seems that Senior is not credited for his contributions to the script – and, possibly not even for writing the book on which the script is based - with SACD (now possibly fixed). The book/script was turned into a movie, but because of contractual complications it (allegedly) never got shown outside Spain. Together with Dedier Haudepin and (my then-agent) George Hoffman, I tried to acquire the outside-Spain rights, but without success. However, Allain Katz (now deceased)/AWA Films, succeeded where we failed, and I have a contract with AWA Films, negotiated by George Hoffman that gives me the broadcasting rights for the Scandinavian countries, plus a promise of a commercial copy of the movie and €7.500, once the movie is commercialized outside Spain. However, now the rights have been bought by Dynamics Films Library S.A, and CEO Dominique Vignet explains that: (i) the debts were not included in the purchase, (ii) there is no copy for me as he has none to give/to copy, and (iii) as the movie has not been exploited (or because debts were not included in the purchase(?)) there are no €7.500 either, so I have received neither the commercial copy that the contract stipulates that I shall receive, nor the money that I am owed. It should be noted that there could be royalties from Paco not only from Spain but possibly (though, if so, probably illegal) also from France and maybe from elsewhere. Spanish SGAE has Paco el Seguro registered, but SACD (the French script-writers' organization) says that though Senior was a member, Paco l’infaillible is not registered with them. 

19. PACO NEVER FAILS - NEW MOVIE (Sr.)

Gallimard (Prune Berge/TV5), between 1999 and 2002, called me to Paris at least twice (actually, I think it was three times, but I am not certain) in order to sign contracts (around €250,000) allowing for new adaptations of the original text (into new movies), but on each occasion it came to nothing, mainly because I was stupid and behaved unprofessional. Yet, this suggests that Paco Never Fails could be the stuff of which new adaptations for the screen can be made. Also, now a new and much improved English text is available for script-adaptation, something that hopefully can stimulate some English-language interests. If you have read the book, it might interest you that in the new adaptation: 1. More suspicion has been thrown on Ricardo as the manipulator of Paco, leading to his death (thus adding the dimension of "murder mystery", that could easily be enhanced) and 2. The importance of "the blue circle" has been emphasized. As the phenomena around which the story centers – the “impregnator” occupation – must have existed in more or less every major city, it is likely that a new adaptation could be attractive not only for French filmmakers… Actually, I have never understood why the French have been much more interested in a new movie than the Spanish. As the text now exists in five languages - Spanish, English, French, German, Catalan (and DV soon in Italian) – there are many possibilities. The book was turned into a movie by Didier Haudepin, with Alfredo Landa starring as Paco. The story is set in Madrid in the early 1940s (i.e., during World War II and just after the end of the Spanish Civil War). Here we meet Paco Garcia (a real person) who makes his living by causing pregnancy in young girls from the countryside: girls who have come to Madrid with the purpose of making a better life for themselves as wet-nurses. These girls, once the milk from their previous pregnancies stops, need to get it flowing again: i.e. they need to become pregnant. This was at the time a real profession - I am told that in some parts of the world it still is, or at least was until quite recently - and the “impregnator” most likely to succeed (i.e. "who never failed") became the one highest in demand. Paco sees himself as a serious and professional man, and he is determined to justify the income he is earning from his trade in this 100% decent period drama on a subject matter that would have allowed for a wide variety of alternative approaches. However, "never fails" isn't 100% true because Paco has failed once – he has failed to grant his own wife her greatest wish, which is to become a mother – and this is a main concern. Therefore, when Maria unexpectedly becomes pregnant, Paco’s world descends into chaos. “Am I really the father?” asks the father of thousands. Though I/Andres Laszlo Jr. do not remember, I have been told that I have met the actual/real Paco, and whether it is really so or not, to him and his offspring I will dedicate this new film adaptation.

20. SIN UNIFORME - ROYALTIES (Sr.)

Senior wrote the script (the story part) to this movie, together with his friend Eugenio Montes (who wrote the dialogue part). Sin Uniforme/Without Uniform is from 1948, but some source(s) suggests it wasn't released until 1950, and I have no idea as to the situation regarding rights and royalties. However, this movie probably is registered with (French) SACD as Der Drennende Radfahrer. On Spanish “Filmaffinity” there’s plenty information about the film, which was produced by Warner Brothers and directed by Ladislao Vajda. The producer was “Peninsular Films,” and amongst the cast one notices Rafael Durán and Blanca de Silos.

21. MOTHER UNKNOWN - NEW MOVIE (Sr.)

This, Senior's first major novel, he was turning into a (French) script at the time of his demise, but though I still have the correspondence, I have lost the script itself. However, whether or not it is recoverable - it should be somewhere, with someone - this is a text out of which excellent cine can be made. In the new translations of Paco el Seguro, and My Uncle Jacinto (although Random House' English translation of Paco wasn't the best), very little could be done to improve the original texts. However, Mother Unknown - also published as Donde los Vientos DuermesMadre DesconocidaMere InconnueDie Mutter Meinen Shones and hopefully soon in Italian - was a totally different kettle of fish. Here, Senior was still "unfinished" as a writer and remarkably "improvable," quite possibly so also because no professional content-editing had been provided. In 2017 the Spanish text was translated into English while adapted, and it is now a great basis for a script. Considering that the text was about to become at worst a "near miss" as a movie in the 1980s (at my father’s demise), I feel that there ought to be a good chance that the into-English adaptation shall do well, especially as up until now no English translation has existed.

The story starts in Tangier, during World War Two, less than five minutes from Gibraltar as the rocket flies: a large town or maybe a small city. Whatever it was, it remained outside the war and the world order that so much of Europe had been forced to subject itself to, yet not outside the whirlwind of plots that surrounded it. This is the scene on which the curtain rises for the first act of Senior’s first important novel. Tangier, however, is only the setting that Andres Laszlo Sr.’s has chosen to get this drama started. Late at night, a young boy is left at the door of our protagonist, holding an unsigned letter: "Kurt, You always wanted a son. Here he is. Don’t try to find me." That Kurt is the father is beyond doubt, but who is the mother? Kurt goes in search across war-torn Europe: Naples, Paris & Avilla. The theme is top class, and I believe that this story soon will become a film.

22. DOÑA JUANA - THEATRE/MUSICAL/OPERETTA (Sr.)

As I finished translating this "theatre-script dressed us so as to read like a novella," I was amazed. This is world class - probably to be explained at least in part by the fact that Senior was a theatre director back in Austro-Hungary - not only as theatre but even more so in its potential to be turned into an operetta/opera/musical. With some rewriting, this theatre script could be performed by only three men and a woman (though 4+1 would make things easier) and only 2 scenes/sets are required. Marcel Marceau starred in a mime-version in Paris (http://www.ina.fr/video/CAF97065359/marcel-marceau-dom-juan-video.html). The story is set in Malaga: in the 1930s, on the coast, always within reach of the lighthouse’s beam. It is late. An old manner house. Let us enter: a band is playing, we find our way to the library, where myopic Juanita tries to locate Don Juan Tenorio in the hope of finding a way out of her terrible predicament. Juanita - who, when we come to the end of the story, will have metamorphosed into Doña Juana - is the devastated daughter of the house, who has just found out that her fiancé is about to elope, and to make things even worse, she gets to overhear the enamored couple plan their escape. Tears fall into her lap - and into the book, she had come to read in the hope of finding a solution - as she realizes that all is lost; "Oh Don Juan, if you only were here..."    "But I am here."    "Who are you!"   "I am Don Juan."    "Don Juan who?"     "Just Don Juan."     Yes, "that" Don Juan, has traveled through space and time, in order to give the poor girl some assistance: to show her how to get out of her dilemma by means of manipulating men, much as he manipulated women. However, the girl turns out to be better at "this thing called love" than expected, and Don Juan soon finds himself enamored with the girl, who turns out to be a great puppet-master and ruler of the destinies of men. The emotional foundation for a great musical is in place: Mr. Lloyd Webber, if you are reading this... And, for anyone wanting to throw a bit of modern psychology into the piece - or maybe some Lacan or Kristeva… (Simone de Beauvoir is already there, as she doubtlessly influenced Senior in writing the piece) - it would constitute a great vehicle for doing so. Beware males of the species: Doña Juana has arrived!

23. THE CHALLENGE: SCRIPT - MOVIE (Jr.)

The Challenge: Script is my adaptation of my own book The Challenge, which in turn is an adaptation of My Uncle Jacinto. Here the 1950s, Madrid, and bullfighting become 2010s, Cape Town, and boxing. I sought a production grant from RFF (with producer Tim Spring), and I was informally told that it had been a near miss, caused by what they (quite incorrectly) interpreted as a "Hollywood ending.” 

The story is about Baba and his nephew Tiger; it covers a decisive day in their lives. The hero is the bond between the two and the heavy is separation. Baba - a prematurely old, rheumatic, not too bright, drunken, used-to-be prodigy boxer, with only a bit of imagined honour, a fantastic speed, and the upbringing of his nephew left to justify his existence - erroneously gets selected for the champ-part in a ‘Challenge-the-Champ boxing extravaganza’, where old used-to-be champions can be challenged by anyone in the public. Baba, confronted by paradox as he's sworn never to box again - mainly to prove to his nephew, whom he believes he is looking after, that he is not the down-and-out drunkard that he very well knows everybody tells the boy that he is - accepts. Tiger; a cuddly, bright, fast and fun-loving eight-year-old - who has so far successfully dodged school and who by far is the more street-wise of the two - knows that it’s he who is looking after his uncle.

The beginning. In the township, it rains, and Tiger builds a waterwheel, nearly drowning his sleeping uncle. The letter from the boxing promoter arrives but is not taken seriously. Tiger and Baba travel to the town center for their usual scavenging. Collecting cigarette butts, they spot a poster proclaiming Baba to be the champ to be challenged. The issue can no longer be disregarded, and an upset Baba calls the promoter to protest but ends up accepting the champ-part. Baba, too proud to accept assistance, pretends that he has got the required boxing-gear.

The middle is about the sundry tricks and petty crimes by which they try to gain the money required to rent the boxing-gear, all while the danger of separation - in the guise of a fake-watch salesman, a musician, the police, a children’s court, a real criminal, a professional hit-man, etc. - gets ever more real. Their day is seen against a background of the whole spectra of Cape Town criminality: from reusing stamps to a multimillion-dollar diamond scam. As a last resort Baba, dishonoring himself, attempts to sell a fake watch with Tiger’s assistance: they are caught. Baba seemingly is about to go to jail and Tiger to be sent to a children’s court. Dishonour and separation seem a fact, the boxing-gear shop is about to close, and Baba - amicably and logically enough to convince most of us - is told that he should ‘give the poor kid a chance’: that he’s no good for Tiger.

The end starts as Baba, devastated, is sent off with a warning. Next Tiger wangles out of trouble, soft-talks the gear-renter into giving Baba credit, locates his uncle, and gets him to the clothes shop. Now we follow them, Baba dressed to fight, on the bus to the stadium where Baba nicely deals with the first opponent: he’s still fast. But eventually he gets carried away by his overdeveloped desire for honor, and he makes the mistake of accepting the challenge of an athlete twice his size that is sent to kill him, and it is in this challenger that the danger of separation takes its final shape. Baba puts up a great fight but is, eventually, down, out and made a fool. Baba has lost what justified his existence - his honor – and Tiger has witnessed his ultimate humiliation; Baba hesitantly walks up to take farewell of his crying nephew. Don’t be silly; of course, it has a happy (Abrahamic, actually) ending, maybe, if you chose to read it that way. Read more.

24. SHORT STORIES - MOVIES (Sr. & Jr.)

I have put together my own short stories with my father’s, so as to produce The Laszlo & Laszlo Chronicles. Among them, there are several short stories that could be of interest to a producer, as especially Senior's short stories often read like treatments.

Senior had an adventurous life, and his collection of (22) short stories – first published in Spanish as Solo el Paisaje Cambia, and now as the second part of The Laszlo & Laszlo Chronicles - illustrates this. Senior has written his short stories quite expressionistically, and as I’ve translated them into English, I have made an effort to make several of them read as close as possible to (movie) treatments: 1. The Little Circus Horse is a full-sized philosophical and slightly melancholic children’s story. 2. Murder by Default is a dark tale seen from a murderer’s point of view, 3. My Friend in the Photo is a great vampire tale that could do with a better ending, 4. A Beautiful Girl is a romantic tragicomedy, 5. The Man in the Blue Tuxedo could form an excellent piece/centerpiece for a movie where we need to be told how a gambler made a lot of money in an entertaining way, 6. The Spy could have interested Hitchcock & 7. The Olga Case, Bergman. 

Junior/I have had a pretty adventurous and interesting life too, and my collection of (22) short stories illustrate this (esp. if you find a charming man-eating tiger interesting). My own short stories - that are taken mainly from The Caspian Connection and The Drug Problem - form the second part of The Laszlo & Laszlo Chronicles: 8. Man-eating Tiger. There’s the tale of a tiger (several, actually, all pretty short), told from the tiger(s)’s point of view, and though I am not an ethologist, I did put some work into the research, so if you are a tiger-fancying producer, this might be something for you. 9. Panama/Conduction is about my adventures in Panama, dealing with (deposed) General Noriega’s narco-police, and constitutes a virtually 100% true, and totally 100% Kafkaesque drama, that at the same time illustrates how the fact that drugs are illegal corrupts the very fabric of society (by one of two unrecognized mechanisms). 10. A Drug-lord’s Tale/Convection. This is a story about how the drug trade can appear from a drug-lords point-of-view, and at the same time illustrates how the fact that drugs are illegal corrupts the very fabric of society (by one of two unrecognized mechanisms).

25. THE CASPIAN CONNECTION - MOVIES (Jr.)

This is simply too big a project to present; especially as a script, as I haven’t even started thinking about this yet. Actually, I haven’t even finished the books, even if they are 955 presentable. Therefore, let me just try to impress you with a wee bit of backstory on the bad guys:

Let's go to Baghdad and 832; there’s a heated argument between those calling themselves “The Kharijites,” and the religious leaders of The Abbasids. Virtually 200 years have gone since the Prophet’s death and maybe 100 years since the original "Addendum" was destroyed. In this argument, The Kharijites argue for the use of unprovoked violence to promote the continued spread of Islam. When the prophet's (and God's) purpose with the original Addendum - which was: no unprovoked war - is used to counter the Kharijites’ argument, these argue that if there ever had been such a thing as an Addendum – which, probably, there hasn't – it most certainly must have been a forgery, produced by A’isha or Uthman, trying to pervert the true spirit of the Koran; "Had the writings been here now, that could easily have been proven." Now a loose-mouthed member of the Abbasids drops a bombshell by spilling the beans: a big silver plate together with six smaller copies, by order of the Prophet, were engraved with the text of (the now destroyed original Addendum), just to make sure that violence never got used in the name of Islam. Also, the loose-mouthed blurts out that these plates are to be revealed to the world on the 200th anniversary of the prophet’s death, i.e., in a matter of days. The Kharijites have to back down, and there is panic in their organization. The leadership of the Abbasids has purposely kept this information from the Kharijites, in order to keep them from stealing/destroying the plates, and the man who has prematurely revealed the information has acted rashly, especially as he has made it possible for the Kharijites to deduce the location of the first and nearest shrine. There could still be time enough for The Kharijites to stop at least the first shrine from opening. The loose-mouthed is admonished, and the Kharijites are warned not to try to prevent the opening of the shrines.

Now, in a Kharijite emergency meeting regarding the upcoming opening of the shrines, no agreement is reached. One group argued that it’s too risky to pursue the “Six and The One”; "They are watching us, and if anything happened to the plates, they would know that it was we who had done it, and we would all be destroyed." However, the radicals argue that the plates must be found and destroyed at any cost. "With them exposed to the world, our cause would be forever lost." There is no agreement but in secret the radical branch of the Kharijites – there’re seventy-seven of them – set off to trace The One and the Six in order to destroy them all, and to kill anyone with knowledge of them. They reach the first location where the shrine’s keepers greet them as brothers in faith. However, after having gotten all the information sought, they slaughter the entire order. As they have found out the next destination (of "Muhammad’s Travellers": those that opened the shrines 200 years ago) they set out for it, and as they reach the second shrine (just about to be opened) the keepers greet them in much the same way as they were greeted at the first, but again they behave as before, and they find out that the next destination of Muhammad's Travellers was Djardjan; they set out for it. In June 832, as they reach Djardjan, it is only to find that the shrine – which had contained four of the five missing plates – has been looted a few days earlier by Karli, a Viking from the Swede’s country (Odin’s son, though Karli doesn’t know this: our protagonist). Some of The Kharijites say it’s time to give up, some even that it must be God’s will; others say it’s their duty to follow the Vikings and destroy the plates, whatever the cost. Anyhow, it seems unlikely that they’ll manage to catch up with the Vikings before they return to their home country: the country of the Swedes. And, following them back to their home would require them to recover the plates from Karli on his own home turf; not an easy task.

There's mayhem and confusion, and it’s decided that a council shall be held. This council reaches no conclusion, and in order to settle the question, it is decided that a poetry challenge shall be held to settle the matter; Handsome Jacob from Spain – who represents those set on pursuing Karl - wins for the radicals. It is decided that Karli indeed must be pursued and that the plates must be destroyed at whatever cost; because, failing, The Kharijites’ very reason for existing would cease to exist. However, as it is unlikely – at least if they all pursue them as a group – that they’ll catch up with the Vikings before they reach the Swede’s country, this idea is discarded. Then the alternative of sending a single man with horses and enough gold and silver to purchase the plates is discussed. However, this is a project – at least if failing to catch up with Karli before he arrives the Swede’s country – that is likely to require more than a man’s power, silver, gold and (quite possibly) lifetime. Alternative solutions are sought and discussed, but no feasible new solution is found. Thus, furnishing their best rider with two horses plus gold and silver enough to buy back the plates is seen as their optimal option. Handsome Jacob - a Spaniard, a convert, the best rider, and the winner of the poetry competition - accepts the job: “Your task is to retrieve/destroy the silver plates at whatever cost.”

At this moment an expert in pre-Islamic magic, the leader of those seven (mainly pre-Islamic) magicians that forms part of The Kharijites 77-strong radical core, suggests: “Here in Djardjan dwells a renowned and powerful jinni by the name of ”Djardja.” If we could make her accept the same challenge as Jacob has just accepted, it would have two thousand years to complete the task rather than half a man-age.” However, it is then argued that a jinni is too awkward and unreliable a creature to deal with, and in addition would be unlikely to be accepted by the Norse. Then the magic experts suggest they offer the renowned jinni food and sex in order to make her accept entering a human’s (i.e., Jacob’s) body, thus to be given a human appearance and a persona that will appear less awkward. The pre-Islamic expert knows the required spells and rituals for keeping the jinni from breaking such a promise and though Jacob protests vehemently, the suggestion is accepted. Now men are sent out to find suitable men as sex-partners for the she-jinni and attractive jinn-food. Once this is done the renowned jinni is conjured up, offered to, admired and given the proposal: “If you “marry into” a human shape (until your task is done) and pursue the Viking-captain called Karli and destroy the five silver plates he has robbed, we’ll give you all the best food money can buy, and all the best humans-for-sex Djardjan can offer. The jinni/Djardja answers shrewdly: “But then, when I have exhausted myself in intercourse and consumed all food and drink my body can manage, what will I do then? If I cannot continue this way of life in the Viking’s country, looking for the silver plates, how then will I be profited?” A new council is held, and eventually, it is deemed acceptable that the jinni becomes a long-time/permanent drain on the Kharijites´ resources.