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                                      "GANG RELATED"                                        Written by                                         JimKouf                                      SHOOTING DRAFT                                           1997                               FADE IN:               NEON SIGN - THE PRINCE MOTEL -NIGHT               The N and the E are not working. So it reads the PR IC motel.                ROOMS TO RENT BY DAY, WEEK, MONTH. KITCHENETTES. The Prince                Motel has passed its prime. A few beat upcars are parked                outside rooms. We CRANE DOWN to ROOM SEVEN. Curtains closed,                but someone is holding it open a crack, looking out. We PUSH                in CLOSE TO THE WINDOW and the EYElooking over the parking                lot. Then the curtain closes.               INT. ROOM SEVEN - PRINCE MOTEL - NIGHT               Peeling flowered wallpaper, ultra-cheap furniture. The man                movingaway from the window is RODRIGUEZ. He is slender,                sports a thin mustache, hair slicked straight back. He's in                his late thirties. Slightly nervous.               Another man sits on the couch, looking ata magazine. He is                forty, solidly built. His name is FRANK DIVINCI.                                     DIVINCI                         Says here they got slips in Honolulu.                          325 a month. Utilitiesincluded.                          That's not bad.               Rodriguez sits down.                                     DIVINCI                         But I gotta get at least a forty                          footer. It'll handle roughwater                          better and I'll need the room if I'm                          gonna live on it.               Rodriguez stands up, moves back to the window. Divincilooks                up.                                     RODRIGUEZ                         I don't know how you doit.                                     DIVINCI                         What?                                     RODRIGUEZ                         How you can think about Hawaiinow?                                     DIVINCI                         My heart's in Hawaii.                                     RODRIGUEZ                         You never been there. How can your                          heart bethere.                                     DIVINCI                         You're tellin' me there's no place                          you'd rather be other thanhere?                                     RODRIGUEZ                         No, I'm saying I just don't know how                          you can think about Hawaiiright                          now.                                     DIVINCI                         If I was in Hawaii right now, I                          wouldn't be thinking about here. See                          thedifference?                                     RODRIGUEZ                         No.                                     DIVINCI                         Look, I'm not in Hawaii, I'm here.                          But I don't want to behere, I want                          to be in Hawaii. I can't be in Hawaii,                          therefore I think about it so as to                          not get depressed about beinghere.                                     RODRIGUEZ                         But I'm here, I know I'm here, I                          don't like being here, but I can't                          be anyplace else because I lookaround                          and I see all this shit. How do you                          get around that?! That's whatI'm                          asking.                                     DIVINCI                         Focus.                                     RODRIGUEZ                         Focus.               Divinci nods. Rodriguez looks at hiswatch.                                     RODRIGUEZ                         It's time. No more Hawaii, okay?                          Focus onthis.                                     DIVINCI                              (smiles)                         Aloha.               Rodriguez shakes his head, exasperated, andexits.                                     RODRIGUEZ                              (to himself)                         Aloha my ass.                                                                    CUT TO:               EXT. DARK STREET- NIGHT               Poor side of town. A few old cars parked on the street. Some                buildings vacant. A LATE MODEL WHITE CADILLAC cruises past.                We HEAR LOUD RAP MUSIC.               INT.CADILLAC - NIGHT               LIONEL HUDD drives. Hudd is thirty. African American. The                MUSIC is loud. His clothes lean to African roots. A WOMAN                sits next to the passenger window. Hername is CYNTHIA WEBB.                Cynthia is thirty-five, dressed in short provocative skirt,                tight top. A little too much make-up. She's lead a hard life.               She glances at Hudd. Hudd glances at her,looks down at her                skirt hiked up on her leg.                                     CYNTHIA                         Left at the corner.               Hudd's eyes linger on her thighs for a moment, then heturns                his attention back to driving, tapping along with the heavy                bass.               EXT. PRINCE MOTEL - NIGHT               The Cadillac pulls into the parking lot. Parks in frontof                room SEVEN. Hudd gets out, looks around. Cynthia gets out,                leads him to SEVEN. Knocks.               The curtains pull back. Divinci looks at Hudd and Cynthia.                She nods to him. Thedoor unlocks and opens.               Cynthia enters. Hudd looks around again. Then follows.               INT. MOTEL ROOM SEVEN - NIGHT               Divinci waits at the door. He and Hudd eye each otheras                Hudd enters the room. Divinci looks out, making sure no one                has followed, then shuts the door.                                     DIVINCI                         Hope you don't mind me checkin'you                          for weapons.                                     HUDD                         Hell yes I mind.               Divinci hesitates. This could break thedeal.                                     HUDD                         I just don't want no man handlin'                          me.               Hudd looks at Cynthia. The suggestion istaken.                                     DIVINCI                         Okay. Check him.               Hudd spreads his legs, lifts his arms. Cynthia would rather                not have the job, but there's nochoice.                                     HUDD                         Lotta good hidin' places on this                          body. Check good.               Cynthia runs her hands over Hudd, checking pockets,pants,                sleeves. Finally coming to his crotch. Hudd smiles.                                     HUDD                         Careful. It's loaded.               Cynthia has heard it all before. She's not squeamish inthe                least and she gives him a good going over.                                     CYNTHIA                         He's got nothin'.               She smiles back at Hudd. Then moves away, sits on thecouch                and seductively crosses her legs.               Divinci, satisfied, pulls a PLASTIC BAG packed tight with                COCAINE out of his pocket, tosses it to Hudd.               Hudd sits on the couch, opens thebag, sticks his finger in                and tastes the contents. But never takes his eyes off Divinci.                                     HUDD                         Not bad, not bad. Any more where                          this camefrom?                                     DIVINCI                         Maybe.                                     HUDD                         Then maybe we talkagain.                                     DIVINCI                         Maybe.               Hudd stands, unzips his pants. Reaches in to grab his cock,                but instead, pulls out a stack of MONEY. Inchthick.                                     HUDD                         Told you there was a lotta good hidin'                          places on this body.               Hudd hands the money to Divinci and pockets the plasticbag.                Then crosses to the door. Glances back at Cynthia.                                     HUDD                         Bet you gotta lotta nice hidin'                          places, too.               Then Hudd smiles andexits.               EXT. PRINCE MOTEL - NIGHT               Hudd gets into his Cadillac, pulls out of the motel parking                lot.               EXT. STREET - NIGHT               Deserted. No one on thestreet this late. Several of the                buildings are boarded up.               INT. CADILLAC - NIGHT               Hudd drives. No music this time. His attitude has changed.                More serious. LIGHTS in theREAR VIEW MIRROR. Coming up fast.                Hudd watches as the car pulls around to pass.               He glances at the CAR as it pulls past him, but all we SEE                is the FLASH OF A BLAST FROM A GUN. FrontWINDOW EXPLODING.               THE CADILLAC               swerves into a parked car. The OTHER CAR -- a BUICK REGAL --                screeches to a stop next to it. ONE MAN gets out. Moving                quicklyto the Cadillac. It's dark, difficult to see. He                carries a SMITH AND WESSON .44. Opens the door. He's wearing                PLASTIC GLOVES.               Hudd is dead, slumped against the passengerdoor. The man                reaches in, turns off the engine, grabs the plastic bag of                cocaine. And now we see it's Divinci.               INT. BUICK REGAL - NIGHT               Rodriguez is the driver.Anxious. Engine running.                                     RODRIGUEZ                         Come on! Hurry up!               Divinci dashes back to the Buick, hops in. Rodriguez floors                it.               THEBUICK               tears off down the dark street.                                                                    CUT TO:               EXT. APARTMENT BUILDING - NIGHT               Not a great part of the city.Apartment buildings line both                sides of the street. An alley runs between two of the                buildings. A TAXI pulls up in front. HEADLIGHTS SHINING on a                MAN passed out in thestreet.               Cynthia exits the taxi. The taxi pulls away. She glances at                the man passed out in the street.               His clothes are ragged. He's filthy. His face covered in                beard and greasy dirtyhair. Hard to tell how old he is.                Maybe forty. Maybe eighty. Who knows? His hand clutches a                bottle in a bag.                                     CYNTHIA                         Hey, Joe, wake up. Getouta the street                          before you get run over. Joe, wake                          up!               She nudges him with her foot. The man groans, rolls back.                Dead


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<title>DOG DAYAFTERNOON</title>
                                   "DOG DAY AFTERNOON"                                            by                                      Frank Pierson                                       FinalDraft                               FADE IN:               EXT. ELECTRIC SIGN               It FILLS THE SCREEN (designed to exactly FILL THE FRAME size                of whatever ratio we're shootingin).  It says:                                           2:51               This message will be a little cryptic to the movie audience                on an essentially BLACK SCREEN.  HOLD for a beat, then it                changes:the lights flash this sign, which should explain it                to everyone:                                           94°               And a slow distant ROLL OF THUNDER in the far distance; now                the SOUND ofmedia begin to come up loud, under:               EXT. FLATBUSH AVENUE - DAY               LONG SHOT down the Avenue, 400 mm lens, heat waves shimmering,                thousands of old people, and peoplewith children in strollers                moving restlessly about in the heat on those endless miles                of benches.               The SHOT is ON SCREEN only for a beat or two, then gone...               SOUND TRACKCOMES FROM A THOUSAND TRANSISTOR RADIOS, TV SETS,                AUTO RADIOS, BLENDED IN THE OPEN AIR...                                     RADIO ANNOUNCER 1(V.O.)                         ...the situation continued tense in                          the Middle East today, as...               EXT. SHEA STADIUM (TV CLIP) - DAY               An unnamed player swings and hits a highpop up...                                     ANNOUNCER 2 (V.O.)                         ...hits a high inside pitch foul                          into the upper stands...               ANGLE ON CROWD               as the ballcomes down they scramble and fight for it...               A touch of viciousness...                                     ANNOUNCER 3 (V.O.)                         ...B-52's meanwhile, unleashed the                          heaviestbombing of the war...               EXT. MOVIE HOUSE TO MACDONALD'S - DAY               We are SEEING HEIDI, though we don't know it yet - she's                just another pretty 175-pound Italian girl with twokids,                KIMMY, JIMMY, about four and five years old.  Right now she                is a lump of browning flesh, shining with oil among rows of                similar ladies (mostly thinner, but all with acertain                unhealthy softness about them) laid out in rows and groups                across the sand.  SHOOT LOW AND LONG, so heat shimmers rise,                as though the heat were baking the oil out of thismob,                visible suntan oil pollution...  Heidi's transistor blasts                ROCK MUSIC into the air.                                     LYRICS (OVER)                              (RobertaFlack)                         REVEREND LEE, SHE SAID, LORD KNOWS I                          LOVE YOU, REVEREND LEE - DO IT TO ME                              (etc.,etc.)                                     ANNOUNCER 3 (V.O.)                         ...the American High Command announced                          the famed 25th Cavalry Division would                          be cominghome!  The 25th Cavalry,                          long since afoot, hardened in battle                          in the jungles of World War II...               FAR DISTANT THUNDER ROLLS...               INT/EXT. SONNY'SCAR - STREET - DAY               It is parked in a drab Brooklyn street.  Beside the car stands                SAL, medium height, also good-looking in an intense boyish                way.  His eyes dart about suspiciously,the ever-watchful                Sal.               There is a watchful reserve in Sal that contrasts to Sonny's                outgoing bounciness: first impression is Sonny is all bark;                Sal is the bite.  Sal is dressed inimpressive blue suit                style, he looks like a kid trying to impress the Godfather.                 He even wears a hat.  Now, matching Sal's preparations inside                the car, he checks his tie's alignment, shootshis cuffs and                is ready...               Meanwhile, on their car radio:                                     ELTON JOHN                              (Amoreena)                         AND SHE DREAMS OF CRYSTALSTREAMS OF                          DAYS GONE BY WHEN WE COULD LEAN                          LAUGHING FIT TO BURST UPON EACH                          OTHER...               ANOTHERANGLE BY CAR               As he turns, from the back of the car, JACKIE appears with a                huge florist box, tied with ribbon.  Jackie is an eighteen                year old with bad complexion and in contrast toSonny and                Sal is dressed in teenage sloppiness.  Adidas, T-shirt,                bowling jacket, jeans.  He is uncertain: waits for directions                from Sonny.  Sonny takes the florist box fromhim.               We see a water truck drive down the street, followed by                Sonny's car, which drives up near bank.  It stops, Jackie                gets out, crosses to bank window, peers through,then               ANGLE INSIDE CAR               returns to car.  Leans in, has fake conversation with Sonny.               They are waiting.  Sonny checks his watch, turns to Sal in                backseat:                                     SONNY                         30 seconds, Sal...               They wait.  At appropriate moment, Sal exits car, walks toward                bank.  Slowly Sonny gets out.               INT.BANK - DAY               A slightly seedy little branch bank, old yellow brick, blond                varnished wood, a rubber plant, an American flag.  Through                the windows we SEE HOWARD, the aged blackbank guard, in                uniform, taking down the American flag from outside.  Past                him comes Sal carrying an attache case.  He passes Howard                coming toward us through the door into thebank.  As he passes                CAMERA:               INSERT: BANK CLOCK               as it CLICKS from 2:57 to 2:58 PM.               MOVING SHOT WITH SAL               as he moves toward theleft-hand deposit-slips desks.               He picks out a car-loan application slip, then walks toward                the manager's desk (as the sign on the desk proclaims) of                PATRICK MULVANEY.  Sal sits down, hisback to Mulvaney, facing                the front door of the bank.  Mulvaney is on the phone.               ON DOOR               as Sonny bustles through in his bouncy dancer's walk.  He                carries the largeflorist box.  He moves toward the left-                hand deposit-slips desks, takes one out and begins to fill                one out.               ON HOWARD               as he pulls out the keys, attached to the belt ofhis uniform.                 Jackie approaches the door of the bank and stops, neither in                nor out, as though he can't make up his mind.  Howard watches                him, waiting patiently, keys in hand, folded flagunder his                arm.               CLOSE - SAL               still sitting, back to Mulvaney, watching Jackie's approach                and entrance, ready to move on cue.               ON DOOR               onHoward as he looks at Jackie, still half in, half out.                 Howard speaks to him:                                     HOWARD                         Closing time; you want in or out?               Jackie steps in and asHoward locks the door to prevent more                customers from entering, Jackie walks toward Sonny, filling                out a slip at the left-hand area.  CAMERA FOLLOWS Jackie.               He stops at deposit-slipsdesk, next to Sonny.               CLOSE - SAL               as if by pre-arranged signal, Sal now stands up, moves to                the side of Mulvaney'sdesk.                                     SAL                         You the manager?               ON MULVANEY               who is still on the phone.  He gestures at the sign on his                desk that says so, andgestures for Sal to sit down.               ON SAL               as he sits, producing as he does a machine pistol, which he                holds on Mulvaney's chest, out of sight from others inthe                bank.               MULVANEY               His mouth simply stops, and he stares at the gun.  Mulvaney                is a comic opera Irishman in his early fifties, florid...                cheerful, bushyeyebrows; he acts out everything he says...                                     SAL                         Just go on talking, like nothing was                          happening,okay?                                     MULVANEY                              (into phone)                         Listen, lemme call you back.               He hangs up, and looks from the gun up to Sal's blankhard                face.  To his own amazement, he grins: a hopeful grin that                says: "Like me - don't hurt me."  And he's embarrassed by                it.  As we watch, his smile turns sour.               HIS POV -FLASH               Sal's absolutely unmoved face.               TWO SHOT - SONNY AND JACKIE               Jackie moves over to Sonny.                                     JACKIE                         Sonny, I'mgettin' real bad vibes.                                     SONNY                         Jackie - what are you talking about?                                     JACKIE                         Maybe we can take somethingsmaller...                          like a Spanish grocery.                                     SONNY                              (indicating what's                               happening with Sal                               andMulvaney)                         It's too late - just get away from                          me - don't talk to me now - go over                          to your place...               Jackie moves to another deposit-slips desk - takes oneout                and begins to fill it out.               ON TELLER'S CAGE AREA               as a LADY with a BABY in a stroller moves away from the Teller                and starts to walk toward the frontdoor.  DEBORAH is marking                figures on a piece of paper at 1st Teller's cage.               SYLVIA and MIRIAM stand behind her - their backs to Sonny.               Howard, who has put the folded flag in a plasticbag in a                front desk, follows Lady toward the door.  He unlocks the                door and hands the Baby a lollipop, courtesy of the bank,                and she exits the bank.               CLOSE - NEW ANGLE -SONNY               glancing at clock, taking a sharp deep breath...               SAL               staring at Mulvaney.               MULVANEY               the ruins of his smile still on hisface.               HOWARD               straightens up from locking the door; the figure of the Lady                and the Baby can be seen receding outside...               SONNY               seeing that thebank is closed, locked in, with no customers,                crosses toward the front teller's cage area, carrying the                florist box.  As he reaches the other side, he rips open the                box and takes the rifle out


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<title>BLADE - by David S.Goyer</title>
                                BLADE                                -----                                  by                             David S. Goyer Darkness, BLOOD-CURDLING SCREAMS.Presentation credits roll as we FADE UP ON: INT. HOSPITAL, INNER-CITY TRAUMA WARD - NIGHT It's 1967, the Summer of Love and -- BOOM! Entry doors swing open as PARAMEDICS wheel in aFEMALE BLEEDER, VANESSA (20s, black, nine months pregnant). She's deathly pale, spewing founts of blood from a savagely slashed throat -- A SHOCK-TRAUMA TEAM swarms over her, inserting a vacutainer into anartery to draw blood, wrapping a blood pressure cuff around her arm -- NURSE #1 (with stethoscope) She's not breathing! SENIOR RESIDENT Intubate her! The RESPIRATORY THERAPIST feeds anendotracheal tube down the woman's ruined throat, attaches that to an Amblu bag -- RESIDENT Blood-pressure's forty and falling -- The woman starts spasming violently. It takes three staff members just tohold her down. SENIOR RESIDENT Jesus, her water's broken -- (calling for help) She's going into uterine contractions -- CAMERA PUSHES IN on the woman as she bolts upright, SCREAMING to wake the dead.We PLUNGE INTO the darkness of her mouth and find ourselves -- INSIDE HER BLOODSTREAM The sound of a HEART BEATING, pounding as we whip-snake through -- CORPUSCLES  floating inamber plasma. Erythrocytes, leukocytes, neutrophils and eosinophils. The rhythmic expansion of the artery walls, pulsing with each successive surge of blood as the HEART BEATS FASTER AND FASTER, taking us --IN UTERO, A CHILD, alive but unborn, shifting in a sea of amniotic fluid, surrounded by the white, protective substance known as vernix caseosa. The HEARTBEAT races like a locomotive now. The unborn childshifts, turns its head towards us -- -- and opens its eyes. CUT TO: A SWORDBLADE cleaving the darkness, radiant light slicing across gleaming Damascus steel. Words acid-etched in the weapon'sfine-tempered surface: BLADE Main credits end. EXT. INNER CITY, INDUSTRIAL GHETTO - NIGHT A decaying no man's land populated by condemned buildings and HUNGRY HOMELESS. Steam risesfrom manhole covers, drifting across the litter- lined streets. Suddenly -- A black Mercedes 850 appears over the crest of a hill, ROARING past us, stereo system belting out FILTER. INT. MERCEDES - NIGHTRaquel, a wasp-wasted woman, sits behind the wheel. 20s, rich, sickeningly attractive. Hungry eyes. Squirming around in the passenger seat is DENNIS, a model/actor boy- toy with a sub-zero IQ and a "fuck mesideways" grin.  DENNIS So where we going? RAQUEL It's a surprise.  DENNIS I likes surprises. Raquel eyeballs Dennis -- "if looks could devour".  RAQUEL What do you havedown there, little man? DENNIS Heat-seeker. RAQUEL I'll bet. Raquel slides a manicured hand up his thigh, squeezes his groin. Dennis MOANS. She pulls her hand away, downshifts. EXT.VACANT LOT - NIGHT The 850 threads a narrow alley into a vacant lot, BRAKES hard. Raquel and Dennis climb out. She leads him into -- EXT. MEAT PACKING PLANT - NIGHT Industry never sleeps, andcertainly not this grisly facility. Raquel leads Dennis around the back of the plant, where a host of WORKERS are loading refrigerated trucks with product. DENNIS What the fuck are we doing here? Raquel justsmiles, heads on into the plant via a loading door. The workers ignore her. INT. MEAT PACKING PLANT - NIGHT Dennis follows Raquel through the bowels of the plant, catching glimpses here and there ofcarcasses being rendered or hacked apart. Through one partially open door we see what might be a line of BODYBAGS being trundled into the back of a truck via a hook and chain pulley-system. But Dennis doesn't haveenough time to be disturbed by the vision, because he's being pulled away by Raquel, led down -- A STAIRWELL We are in the basement now. At the end of the hall is a steel door, with perhaps, just thefaintest HINT OF MUSIC heard coming from beyond. Raquel knocks. A "peep-hole" slat opens and a BLACK LIGHT shines into Raquel's eyes. A VOICE behind the door offers a verbal challenge, speaking a language we'venever heard, laced with a devilish cadence. Raquel responds in kind. The door opens. Raquel gives Dennis a knowing wink, enters. Dennis follows.  INT. CLUB - NIGHT Raquel and Dennis move past a hulkingDOORMAN, making their way down a narrow stairway. Dennis is suitably impressed. THE CLUB  is elite, underground -- an "abattoir-chic" version of an old-time juke joint with a greasy, dangerous vibe.White-tiled walls and floors for easy hosing, chromed fittings, run-off gutters, drains. No bar. BODIES  writhe on the strobe-lit dance floor. A heavy S&M scene. Leather. Latex. Tattoos. Body-piercings. A D.J.wearing head-mounted spotlights orchestrates the tunes on twin- decks. MUSIC assaults us -- a beat so heavy it could jar the fillings from your teeth. Brutal "DARKCORE" along the lines of Prodigy or Underground.Raquel pulls Dennis out onto the dance floor. They sway. A lupine-featured GAULTIER GIRL with a streak of white running through her raven hair moves in behind Dennis, pressing up against him. Rachel Williams as theAngel of Death -- we'll call her MERCURY. Mercury flicks her tongue against Dennis' ear -- it's been pierced with a silver post which clicks against her teeth. Tattooed across her back in black is a swirling, tribal vortex.Dennis is now sandwiched between Raquel and Mercury, the three of them dry-humping their way to every man's glory. The beat gets LOUDER. The action heavier. The atmosphere more narcotic. People are strippingoff their clothes, sweating like fiends. It's a virtual orgy. Dennis laughs, reveling in the hedonism. Everything rises to a fever pitch -- DENNIS (over the music) Fuck, I need a drink!!! Raquel just smiles -- thenDennis notices a DROP OF SOMETHING spatter his hand. It looks like blood. Dennis looks up, concerned -- -- MORE BLOOD DROPLETS are falling. Raquel's face is sprinkled with them now. Dennis stops dancing. What isthis? Some kind of fucked up performance art? Raquel turns her face toward the ceiling, as if washing herself in a summer shower, now the other club goers are looking up too -- BLOOD SHOWERS DOWN fromsprinkler heads in the ceiling, drenching the dancers. The club goers love it, thrusting their heads back, mouths open wide to receive the crimson offering. Horrified, Dennis recoils, turning towards -- RAQUEL,whose face morphs into a preternatural snarl. Her canines extend, tapering to razor-sharp points. Her tongue flicks, lizard-like as fingernails sharpen into claws. All this while the whites of her eyes BLEED RED, pupilsoscillating hypnotically.  RAQUEL What's wrong, baby? Dennis SCREAMS, pushes away from Raquel, only -- -- Mercury has fangs now too. In fact, everyone in the club does, with the exception of poor Dennis.That's because they're all vampires. Dennis tries to run, but the burly Doorman blocks his exit, brutally smashing his fist into Dennis' face. Dennis falls, dazed. The club-goers close in around him. They make a game ofit, shoving him from one person to another, their pale faces leering like twisted jack-o-lanterns. The strobe lights quicken to a seizure-inducing intensity. Dennis spins, tumbling into Raquel's arms. She shoves himforward -- Dennis lands on the floor, falling at someone's boot-clad feet. He looks up. A DARK FIGURE sits in the shadows, unnoticed until this moment. The figure stands, moves into the light as time screeches to a halt--  A BLACK MAN,  towers above Dennis, wearing dark glasses and a leather longcoat -- a sneer of cruel contempt etched upon a face tempered by a lifetime of horror. His name is BLADE. Blade whips open hislong coat, shrugging it off, revealing an arsenal of high-tech weapons strapped to his body: 6-point adjustable body armor, a modified CAR-15 assault rifle with an ultra-violet entry light, two Casull .454 revolvers, a"Demon" automatic cross-bow, a bandoleer of mahogany stakes, an Indian-style katar punching dagger -- and last, but certainly not least, his namesake -- a silver sword which is secured in a back-scabbard.CLOSE ON BLADE A gaze as cold and pitiless as a midnight sun. The vampire club-goers stare back. Nuclear silence. And then -- All hell breaks loose. With a SNARL, Raquel charges at Blade, moving atsuperhuman speed, practically a blur -- Blade draws his Casulls, FIRES in multiple directions -- MACRO BULLET SHOT  as a round roars through the air towards Raquel. A silver-tipped dum- dum bullet whichexplodes on contact. WHAM! The round punches a fist-sized hole through Raquel's chest, continuing on into the vamp behind her! Vampire blood fountains. Both creatures tumble forward, their bodies liquefying intopuddles of black oil which go gurgling down the run-off drains. Blade continues FIRING, then -CLICK!- magazines empty. Next. He holsters the Casulls, swings up his assault rifle, calmly flicks on the UV entry lightmounted above -- MERCURY  leaps twenty feet straight up into the air. We've never seen anything move so fast. She CRASHES through a glass skylight, disappearing into the night just as -- -- a shaft ofblinding UV "sunlight" cuts across the vampires. They rear back, skin smoking from the light's corrosive effects. Blade opens FIRE, pumping round after round of wooden fragmentation bullets into the crowd -- vampiregenocide. The strobe lights flicker as the mayhem mounts. Some of the vampires try to flee, scurrying up the stairs, but the exit quickly becomes clogged with liquefying bodies -- -- then Blade's CAR-15 jams. Theremaining club-goers see their opening, surge forward en masse -- Blade drops the rifle, reaches over his shoulder and -SCHINGGG!- unsheathes his sword with a double-handed grip.  THE SWORD Fouracid-etched feet of blood-soaked Damascus steel. An edge so sharp it could cleave a shadow in two. Blade moves like lightning, hacking his way into TWO CHARGING VAMPIRES. Blade spins again, cuts ANOTHERVAMPIRE clean in half -- ON THE FAR END OF THE CLUB, a LATEX-CLAD VAMP makes a break for it. Blade flings his sword, sending it spinning end over end -- THUNK! The sword punches into the vampire'sheart. The hellish creature convulses, dies. Beat. Blade retrieves his sword, then senses -- SOMETHING BIG rising up behind him. In a flash, Blade swings his sword downward, cutting off the vampire's righthand at the elbow. The severed limb falls to the floor -- -- but it doesn't slow the hulking creature down. It SLAMS into Blade. Blade flies backwards thirty feet, tumbling over tables, slamming into the rear wall so hardthat plaster rains down from the ceiling. Blade suddenly finds himself wrestling with a feral-faced six-foot- something nightmare named QUINN. The vampire rears back its head, jaws stretching wide. Every inch of hisface is covered with ritual scarification patterns and Maori-like tribal tattoos. Blade forces an elbow against Quinn's throat, trying to keep him at bay. With his other hand he reaches to his bandoleer, pulls out a stake --


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                                    SERENITY                                       Written by                                  JossWhedon                                                      April 18, 2004                    EXT. CLASSROOM - DAY          It's a group of twelve-year-olds, serious and well dressed.          They sit on their heels undera sparsely elegant tent, small          wooden desks with embedded screens in front of them. The          tent is on a lawn surrounded by lush foliage. People walk          about and vehicles glide quietly overhead. Autopian vista.          GIRL          Now that the war's over, our          soldiers get to come home, yes?          TEACHER          Some of them. Some will be          stationed on the rim planetsas          Peace Enforcers.          BOY          I don't understand. Why were the          Independents even fighting us?          Why wouldn't they look to bemore          civilized?          TEACHER          That's a good question. Does          anybody want to open on that?          GIRL          I hear they're cannibals.          ANOTHER BOY          That'sonly Reavers.          ANOTHER GIRL          Reavers aren't real.          ANOTHER BOY          Full well they are. They attack          settlers from space, they kill          them and wear their skins andrape          them for hours and hours --          TEACHER          (in Chinese)                    (CALMER)          It's true that there are...          dangers on the outer planets. So          let's followup on Borodin's          question. With all the social and          medical advancements we can bring          to the Independents, why would          they fight so hard againstus?          4                                                  3.          RIVER          We meddle.          TEACHER          River?           RIVER is a dark,intense little girl, writing with one hand          and "typing" with the other. (Typing consists of holding a          long wooden stylus and tapping either end down different          columns of chinese characters on herdesktop screen.) She is          a good two years younger than the other kids.          RIVER          People don't like to be meddled          with. We tell them what to do,          what to think, don't rundon't          walk we're in their homes and in          their heads and we haven't the          right. We're meddlesome.          TEACHER          (gently taking her          STYLUS)          River, we're nottelling people          what to think. We're just trying          to show them how.          She violently PLUNGES the stylus into the girl's forehead          INT. LAB - NIGHT           And we FLASH CUT to the actualpresent: a 16 year old RIVER          sitting in a metal chair, needles stuck in her skull (one          right where the teacher had stuck her) being adjusted by a          technician. A second monitors her brainpatterns.          The lab is cold, blue, steel. Insidiously clean.          2ND TECHNICIAN          She's dreaming.          FIRST TECHNICIAN          Nightmare?          2ND TECHNICIAN          Offthe charts. Scary monsters.          DOCTOR MATHIAS          Let's amp it up. Delcium, eight-          drop.          DOCTOR MATHIAS is not instantly likable -- nor gradually, for          that matter. A cold man, andmore than a little satisfied          with himself.                                                  4.          Behind him stands a GOVERNMENT INSPECTOR, observing. And          makinghim a little nervous.          The Inspector is in shadow, but his uniform indicates          -- no          substantial rank, as does the eagle-crested baton          longer than a ruler -- that he clutches in one glovedhand.          DOCTOR MATHIAS          (CONTINUING)          See, most of our best work is done          when they're asleep. We can          monitor and direct their          subconscious,implant          suggestions...          River starts convulsing, mewing in misery. The Inspector          starts forward, slowly.          DOCTOR MATHIAS          (CONTINUING)          It's a little startling tosee,          but the results are spectacular.          Especially in this case. River          Tam is our star pupil.          The Inspector steps into the light. He is rigid, cold,          staring at the girl with no emotion at all. Hisname, as we          will very soon learn, is SIMON.          SIMON          I've heard that.          DOCTOR MATHIAS          She's a genius. Her mental          capacity is extraordinary, even          with theside-effects.          SIMON          Tell me about them.          DOCTOR MATHIAS          Well, obviously, she's unstable...          the neural stripping gives them          heightened cognitivereception,          but it also destabilizes their own          reality matrix. It manifests as          borderline schizophrenia... which          at this point is the price for          being trulypsychic.          SIMON          (moves toward her)          What use do we have for a psychic          if she'sinsane?          J                                                  5.          DOCTOR MATHIAS          I don't have to tell you the          security potential of someonewho          can read minds. And she has lucid          periods -- we hope to improve upon          the... I'm sorry, Sir, I have to          ask if there's some reason for          thisinspection.          SIMON          (TURNING)          Am I making you nervous?          DOCTOR MATHIAS          Key members of Parliament have          personally observed thissubject.          I was told their support for the          project was unanimous. The          demonstration of her power --          SIMON          (turns back to her)          How is she physically?          DOCTORMATHIAS           Like nothing we've seen. All our          subjects are conditioned for          combat, but River... she's a          creature of extraordinary grace.          400          SIMON          Yes.She always did love to dance.          He drops to one knee, slamming his baton to the floor.          ANGLE: THE BATON          As the top pops off like a bouncing betty (the grenade),          flying up over Simonand River's heads and then bursting          forth in a flat circle of blue energy that bisects the room,          flowing through the staff's heads and knocking them out.          Simon rushes to River, gently removes theprobes from her          head and swabs her, whispering:          SIMON          (CONTINUING)          River. Wake up. Please, it's          Simon. River. It's your brother.          Wake up...          Shebegins to stir as a noise moves him to the door, looking          out and removing his uniform to reveal an orderly'stunic          beneath.          IWO                                                  6.          River is suddenly next to him. He jumps alittle.          RIVER          Simon.          A beat, as they face each other, Simon fighting emotion.          RIVER          (CONTINUING)          They know you've come.          INT. GUARDSTATION - CONTINUING          As a guard looks at a monitor. He mostly resembles a secret          service man -- more bureaucrat than thug. A second man rolls          into frame on a chair behind him, alsowatching the screen.          INT. RESEARCH CENTER CORRIDOR - CONTINUING          Simon walks River through the corridor. They approach a pair          of double doors.          SIMON          Wecan't make it to the surface          from inside.          Simon turns suddenly as he hears footsteps, people heading at          them from the other side of the doors.          4woSIMON          (CONTINUING)          Find a --          But River has, impossibly, scampered up over some lab          equipment to the dark top of the corridor, where she holds          herself in a perfect split, feetagainst the walls and          outstretched hand holding the sprinkler for support.          The doors burst open and two doctors pass by, hardly noticing          the lone orderly. Passing right under River.           EXT.VENTILATION SHAFT - MOMENTS LATER          It's small, 15 feet by 15 feet. Goes a long way up and a          long way down. One wide hinged window looks in on the hall          inside. Simon and River approachwith quiet haste.          They slip through the window. Simon shuts it, wedges his          baton into the handle as the SECURITY AGENTS APPROACH. They          fire at the glass, but their lasers have noeffect.          Wind whips River's hair about as she looks up to see a small          patch of daylight visible ten stories up. Sees the sky          blotted out by a small ship that hovers abovethem.          V0                                                  7.          ANGLE: THE SHIP is floating over the grass of rolling hills,          the city gleaming far beyond. Thisfacility is well hidden.          A gurney-sized section of the ship's belly detaches and drops          down ten stories, cables spooling it out of the ship. It          comes to Simon and River and stopssuddenly.          SIMON          Get on!          He is standing by the window -- and the Security Agent is          right behind him, PUNCHING the window with all his might.          Simon helps River onto thegurney, then jumps on himself as          the Security Agent cracks the glass. The two are whisked up          in the gurney, River on her knees, Simon standing beside her          holding one of the cables--           THE OPERATIVE (O.S.)          Stop.          The action freezes.           THE OPERATIVE (0.S.)           (CONTINUING)          Lovely. Lovely. Backtrack.          The action REVERSES,taking us back to the moment of Simon          and River on the gurney just before it rises.          f t o          THE OPERATIVE (O.S.)          (CONTINUING)          Stop.          There is a motionlessbeat, River frozen in that crouch, and          he steps through what we now see is a hologram of the event.          The Government's man. We'll just call him THE OPERATIVE.          He is thoughtful, a little removed.Wire-rimmed glasses, a          suit too nondescript to be a uniform, too neat to be casual          wear. He is in:          INT. INSTITUTE RECORDS ROOM - DAY          -- which is long and bare but for drawers ofholographic          records, a set-up for watching recordings (where the image of          Simon and River floats), and a table with computer and chair.          The Operative crosses to the table, looks over somepapers.          THE OPERATIVE          Biograph. Simon Tam.          CLOSE ON: THE OPERATIVE'S


ï»¿The Project Gutenberg EBook of A Voyage to Arcturus, by David LindsayThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: A Voyage to ArcturusAuthor: David LindsayPosting Date: September 17, 2008 [EBook #1329]ReleaseDate: May, 1998[Last updated: June 28, 2012]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK A VOYAGE TO ARCTURUS ***Produced by An Anonymous VolunteerA VOYAGE TO ARCTURUS.ByDavid LindsayContents:     1   The Seance     2   In the Street     3   Starkness     4   The Voice     5   The Night of Departure     6   Joiwind     7   Panawe     8   The Lusion Plain     9   Oceaxe     10  Tydomin     11  OnDisscourn     12  Spadevil     13  The Wombflash Forest     14  Polecrab     15  Swaylone's Island     16  Leehallfae     17  Corpang     18  Haunte     19  Sullenbode     20  Barey     21  MuspelChapter 1. THE SEANCEOn amarch evening, at eight o'clock, Backhouse, the medium--afast-rising star in the psychic world--was ushered into the studyat Prolands, the Hampstead residence of Montague Faull. The room wasilluminated only by thelight of a blazing fire. The host, eying himwith indolent curiosity, got up, and the usual conventional greetingswere exchanged. Having indicated an easy chair before the fire to hisguest, the South American merchantsank back again into his own. Theelectric light was switched on. Faull's prominent, clear-cut features,metallic-looking skin, and general air of bored impassiveness, did notseem greatly to impress the medium, who wasaccustomed to regard menfrom a special angle. Backhouse, on the contrary, was a novelty to themerchant. As he tranquilly studied him through half closed lids and thesmoke of a cigar, he wondered how this little,thickset person with thepointed beard contrived to remain so fresh and sane in appearance, inview of the morbid nature of his occupation."Do you smoke?" drawled Faull, by way of starting the Conversation. "No?Thenwill you take a drink?""Not at present, I thank you."A pause."Everything is satisfactory? The materialisation will take place?""I see no reason to doubt it.""That's good, for I would not like my guests to be disappointed. Ihaveyour check written out in my pocket.""Afterward will do quite well.""Nine o'clock was the time specified, I believe?""I fancy so."The conversation continued to flag. Faull sprawled in his chair, andremainedapathetic."Would you care to hear what arrangements I have made?""I am unaware that any are necessary, beyond chairs for your guests.""I mean the decoration of the seance room, the music, and soforth."Backhouse stared at his host. "But this is not a theatricalperformance.""That's correct. Perhaps I ought to explain.... There will be ladiespresent, and ladies, you know, are aesthetically inclined.""In that case Ihave no objection. I only hope they will enjoy theperformance to the end."He spoke rather dryly."Well, that's all right, then," said Faull. Flicking his cigar into thefire, he got up and helped himself to whisky."Will youcome and see the room?""Thank you, no. I prefer to have nothing to do with it till the timearrives.""Then let's go to see my sister, Mrs. Jameson, who is in the drawingroom. She sometimes does me the kindness to actas my hostess, as I amunmarried.""I will be delighted," said Backhouse coldly.They found the lady alone, sitting by the open pianoforte in a pensiveattitude. She had been playing Scriabin and was overcome. Themediumtook in her small, tight, patrician features and porcelain-like hands,and wondered how Faull came by such a sister. She received him bravely,with just a shade of quiet emotion. He was used to such receptionsatthe hands of the sex, and knew well how to respond to them."What amazes me," she half whispered, after ten minutes of graceful,hollow conversation, "is, if you must know it, not so much themanifestationitself--though that will surely be wonderful--asyour assurance that it will take place. Tell me the grounds of yourconfidence.""I dream with open eyes," he answered, looking around at the door, "andothers see mydreams. That is all.""But that's beautiful," responded Mrs. Jameson. She smiled ratherabsently, for the first guest had just entered.It was Kent-Smith, the ex-magistrate, celebrated for his shrewd judicialhumour, which,however, he had the good sense not to attempt to carryinto private life. Although well on the wrong side of seventy, his eyeswere still disconcertingly bright. With the selective skill of an oldman, he immediately settledhimself in the most comfortable of manycomfortable chairs."So we are to see wonders tonight?""Fresh material for your autobiography," remarked Faull."Ah, you should not have mentioned my unfortunate book. An oldpublicservant is merely amusing himself in his retirement, Mr. Backhouse. Youhave no cause for alarm--I have studied in the school of discretion.""I am not alarmed. There can be no possible objection to yourpublishingwhatever you please.""You are most kind," said the old man, with a cunning smile."Trent is not coming tonight," remarked Mrs. Jameson, throwing a curiouslittle glance at her brother."I never thought hewould. It's not in his line.""Mrs. Trent, you must understand," she went on, addressing theex-magistrate, "has placed us all under a debt of gratitude. She hasdecorated the old lounge hall upstairs most beautifully, andhas securedthe services of the sweetest little orchestra.""But this is Roman magnificence.""Backhouse thinks the spirits should be treated with more deference,"laughed Faull."Surely, Mr. Backhouse--a poeticenvironment...""Pardon me. I am a simple man, and always prefer to reduce things toelemental simplicity. I raise no opposition, but I express my opinion.Nature is one thing, and art is another.""And I am not sure thatI don't agree with you," said the ex-magistrate."An occasion like this ought to be simple, to guard against thepossibility of deception--if you will forgive my bluntness, Mr.Backhouse.""We shall sit in full light," repliedBackhouse, "and every opportunitywill be given to all to inspect the room. I shall also ask you to submitme to a personal examination."A rather embarrassed silence followed. It was broken by the arrival oftwo moreguests, who entered together. These were Prior, the prosperousCity coffee importer, and Lang, the stockjobber, well known in his owncircle as an amateur prestidigitator. Backhouse was slightly acquaintedwith thelatter. Prior, perfuming the room with the faint odour of wineand tobacco smoke, tried to introduce an atmosphere of joviality intothe proceedings. Finding that no one seconded his efforts, however, heshortly subsidedand fell to examining the water colours on the walls.Lang, tall, thin, and growing bald, said little, but stared at Backhousea good deal.Coffee, liqueurs, and cigarettes were now brought in. Everyone partook,except Langand the medium. At the same moment, Professor Halbert wasannounced. He was the eminent psychologist, the author and lectureron crime, insanity, genius, and so forth, considered in their mentalaspects. Hispresence at such a gathering somewhat mystified the otherguests, but all felt as if the object of their meeting had immediatelyacquired additional solemnity. He was small, meagre-looking, and mildin manner, but wasprobably the most stubborn-brained of all that mixedcompany. Completely ignoring the medium, he at once sat down besideKent-Smith, with whom he began to exchange remarks.At a few minutes past the appointedhour Mrs. Trent entered,unannounced. She was a woman of about twenty-eight. She had a white,demure, saintlike face, smooth black hair, and lips so crimson and fullthat they seemed to be bursting with blood. Hertall, graceful body wasmost expensively attired. Kisses were exchanged between her and Mrs.Jameson. She bowed to the rest of the assembly, and stole a half glanceand a smile at Faull. The latter gave her a queerlook, and Backhouse,who lost nothing, saw the concealed barbarian in the complacent gleamof his eye. She refused the refreshment that was offered her, and Faullproposed that, as everyone had now arrived, theyshould adjourn to thelounge hall.Mrs. Trent held up a slender palm. "Did you, or did you not, give mecarte blanche, Montague?""Of course I did," said Faull, laughing. "But what's the matter?""Perhaps I have beenrather presumptuous. I don't know. I have inviteda couple of friends to join us. No, no one knows them.... The two mostextraordinary individuals you ever saw. And mediums, I am sure.""It sounds very mysterious.Who are these conspirators?""At least tell us their names, you provoking girl," put in Mrs. Jameson."One rejoices in the name of Maskull, and the other in that ofNightspore. That's nearly all that I know about them, sodon't overwhelmme with, any more questions.""But where did you pick them up? You must have picked them upsomewhere.""But this is a cross-examination. Have I sinned again convention? Iswear I will tell you notanother word about them. They will be heredirectly, and then I will deliver them to your tender mercy.""I don't know them," said Faull, "and nobody else seems to, but, ofcourse, we will all be very pleased to havethem.... Shall we wait, orwhat?""I said nine, and it's past that now. It's quite possible they may notturn up after all.... Anyway, don't wait.""I would prefer to start at once," said Backhouse.The lounge, a lofty room,forty feet long by twenty wide, had beendivided for the occasion into two equal parts by a heavy brocade curtaindrawn across the middle. The far end was thus concealed. The nearer halfhad been converted into anauditorium by a crescent of armchairs. Therewas no other furniture. A large fire was burning halfway along the wall,between the chairbacks and the door. The room was brilliantly lighted byelectric bracket lamps. Asumptuous carpet covered the floor.Having settled his guests in their seats, Faull stepped up to thecurtain and flung it aside. A replica, or nearly so, of the Drury Lanepresentation of the temple scene in The Magic Flutewas then exposed toview: the gloomy, massive architecture of the interior, the glowing skyabove it in the background, and, silhouetted against the latter, thegigantic seated statue of the Pharaoh. A fantastically carvedwoodencouch lay before the pedestal of the statue. Near the curtain, obliquelyplaced to the auditorium, was a plain oak armchair, for the use of themedium.Many of those present felt privately that the setting wasquiteinappropriate to the occasion and savoured rather unpleasantlyof ostentation. Backhouse in particular seemed put out. The usualcompliments, however, were showered on Mrs. Trent as the deviser ofso remarkablea theatre. Faull invited his friends to step forward andexamine the apartment as minutely as they might desire. Prior andLang were the only ones to accept. The former wandered about among thepasteboard scenery,whistling to himself and occasionally tapping a partof it with his knuckles. Lang, who was in his element, ignored the restof his party and commenced a patient, systematic search, on his ownaccount, for secretapparatus. Faull and Mrs. Trent stood in a cornerof the temple, talking together in low tones; while Mrs. Jameson,pretending to hold Backhouse in conversation, watched them as only adeeply interested woman knowshow to watch.Lang, to his own disgust, having failed to find anything of a suspiciousnature, the medium now requested that his own clothing should besearched."All these precautions are quite needless and beside thematter inhand, as you will immediately see for yourselves. My reputation demands,however, that other people who are not present would not be able to sayafterward that trickery has been resorted to."To Lang againfell the ungrateful task of investigating pockets andsleeves. Within a few minutes he expressed himself satisfied thatnothing mechanical was in Backhouse's possession. The guests reseatedthemselves. Faull ordered twomore chairs to be brought for Mrs. Trent'sfriends, who, however, had not yet arrived. He then pressed an electricbell, and took his own seat.The signal was for the hidden orchestra to begin playing. A murmur ofsurprisepassed through the audience as, without previous warning, thebeautiful and solemn strains of Mozart's "temple" music pulsated throughthe air. The expectation of everyone was raised, while, beneath herpallor andcomposure, it could be seen that Mrs. Trent was deeply moved.It was evident that aesthetically she was by far the most importantperson present. Faull watched her, with his face sunk on his chest,sprawling asusual.Backhouse stood up, with one hand on the back of his chair, and beganspeaking. The music instantly sank to pianissimo, and remained so for aslong as he was on his legs."Ladies and gentlemen, you are about towitness a materialisation. Thatmeans you will see something appear in space that was not previouslythere. At first it will appear as a vaporous form, but finally it willbe a solid body, which anyone present may feel andhandle--and, forexample, shake hands with. For this body will be in the human shape.It will be a real man or woman--which, I can't say--but a man orwoman without known antecedents. If, however, you demand fromme anexplanation of the origin of this materialised form--where it comesfrom, whence the atoms and molecules composing its tissues arederived--I am unable to satisfy you. I am about to produce thephenomenon; ifanyone can explain it to me afterward, I shall be verygrateful.... That is all I have to say."He resumed his seat, half turning his back on the assembly, and pausedfor a moment before beginning his task.It was preciselyat this minute that the manservant opened the doorand announced in a subdued but distinct voice: "Mr. Maskull, Mr.Nightspore."Everyone turned round. Faull rose to welcome the late arrivals.Backhouse also stood up,and stared hard at them.The two strangers remained standing by the door, which was closedquietly behind them. They seemed to be waiting for the mild sensationcaused by their appearance to subside beforeadvancing into the room.Maskull was a kind of giant, but of broader and more robust physiquethan most giants. He wore a full beard. His features were thick andheavy, coarsely modelled, like those of a woodencarving; but his eyes,small and black, sparkled with the fires of intelligence and audacity.His hair was short, black, and bristling. Nightspore was of middleheight, but so tough-looking that he appeared to be trained outof allhuman frailties and susceptibilities. His hairless face seemed consumedby an intense spiritual hunger, and his eyes were wild and distant. Bothmen were dressed in tweeds.Before any words were spoken, a loudand terrible crash of fallingmasonry caused the assembled party to start up from their chairs inconsternation. It sounded as if the entire upper part of the buildinghad collapsed. Faull sprang to the door, and called to theservant tosay what was happening. The man had to be questioned twice before hegathered what was required of him. He said he had heard nothing. Inobedience to his master's order, he went upstairs. Nothing,however, wasamiss there, neither had the maids heard anything.In the meantime Backhouse, who almost alone of those assembled hadpreserved his sangfroid, went straight up to Nightspore, who stoodgnawing hisnails."Perhaps you can explain it, sir?""It was supernatural," said Nightspore, in a harsh, muffled voice,turning away from his questioner."I guessed so. It is a familiar phenomenon, but I have never heard it soloud."Hethen went among the guests, reassuring them. By degrees they settleddown, but it was observable that their former easy and good-humouredinterest in the proceedings was now changed to strainedwatchfulness.Maskull and Nightspore took the places allotted to them. Mrs. Trentkept stealing uneasy glances at them. Throughout the entire incident,Mozart's hymn continued to be played. The orchestra also hadheardnothing.Backhouse now entered on his task. It was one that began to be familiarto him, and he had no anxiety about the result. It was not possibleto effect the materialisation by mere concentration of will, ortheexercise of any faculty; otherwise many people could have done what hehad engaged himself to do. His nature was phenomenal--the dividingwall between himself and the spiritual world was broken in manyplaces.Through the gaps in his mind the inhabitants of the invisible, when hesummoned them, passed for a moment timidly and awfully into the solid,coloured universe.... He could not say how it was brought about....Theexperience was a rough one for the body, and many such struggles wouldlead to insanity and early death. That is why Backhouse was sternand abrupt in his manner. The coarse, clumsy suspicion of some ofthewitnesses, the frivolous aestheticism of others, were equally obnoxiousto his grim, bursting heart; but he was obliged to live, and, to pay hisway, must put up with these impertinences.He sat down facing the woodencouch. His eyes remained open but seemedto look inward. His cheeks paled, and he became noticeably thinner. Thespectators almost forgot to breathe. The more sensitive among them beganto feel, or imagine, strangepresences all around them. Maskull'seyes glittered with anticipation, and his brows went up and down, butNightspore appeared bored.After a long ten minutes the pedestal of the statue was seen to becomeslightlyblurred, as though an intervening mist were rising from theground. This slowly developed into a visible cloud, coiling hither andthither, and constantly changing shape. The professor half rose, andheld his glasses withone hand further forward on the bridge of hisnose.By slow stages the cloud acquired the dimensions and approximate outlineof an adult human body, although all was still vague and blurred. Ithovered lightly in the air,a foot or so above the couch. Backhouselooked haggard and ghastly. Mrs. Jameson quietly fainted in her chair,but she was unnoticed, and presently revived. The apparition now settleddown upon the couch, and at themoment of doing so seemed suddenly togrow dark, solid, and manlike. Many of the guests were as pale as themedium himself, but Faull preserved his stoical apathy, and glanced onceor twice at Mrs. Trent. She wasstaring straight at the couch, and wastwisting a little lace handkerchief through the different fingers of herhand. The music went on playing.The figure was by this time unmistakably that of a man lying down. Thefacefocused itself into distinctness. The body was draped in a sort ofshroud, but the features were those of a young man. One smooth handfell over, nearly touching the floor, white and motionless. The weakerspirits of thecompany stared at the vision in sick horror; the restwere grave and perplexed. The seeming man was dead, but somehow it didnot appear like a death succeeding life, but like a death preliminary tolife. All felt that hemight sit up at any minute."Stop that music!" muttered Backhouse, tottering from his chair andfacing the party. Faull touched the bell. A few more bars sounded, andthen total silence ensued."Anyone who wants to mayapproach the couch," said Backhouse withdifficulty.Lang at once advanced, and stared awestruck at the supernatural youth."You are at liberty to touch," said the medium.But Lang did not venture to, nor did any of theothers, who one by onestole up to the couch--until it came to Faull's turn. He looked straightat Mrs. Trent, who seemed frightened and disgusted at the spectaclebefore her, and then not only touched the apparition butsuddenlygrasped the drooping hand in his own and gave it a powerful squeeze.Mrs. Trent gave a low scream. The ghostly visitor opened his eyes,looked at Faull strangely, and sat up on the couch. A cryptic smilestartedplaying over his mouth. Faull looked at his hand; a feeling ofintense pleasure passed through his body.Maskull caught Mrs. Jameson in his arms; she was attacked by anotherspell of faintness. Mrs. Trent ran forward,and led her out of the room.Neither of them returned.The phantom body now stood upright, looking about him, still with hispeculiar smile. Prior suddenly felt sick, and went out. The othermen more or less hungtogether, for the sake of human society, butNightspore paced up and down, like a man weary and impatient, whileMaskull attempted to interrogate the youth. The apparition watched himwith a baffling expression, butdid not answer. Backhouse was sittingapart, his face buried in his hands.It was at this moment that the door was burst open violently, and astranger, unannounced, half leaped, half strode a few yards into theroom, andthen stopped. None of Faull's friends had ever seen himbefore. He was a thick, shortish man, with surprising musculardevelopment and a head far too large in proportion to his body. Hisbeardless yellow face indicated,


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                               SISTER ACT                               Written by                              PaulRudnick                                                 July 19, 1991      Page 1.     SISTER ACT     FADE IN:     INT. ST. ANNE'S ACADEMY - AKRON, OHIO - CLASSROOM     We are in a parochial schoolclassroom, in the late      Sixties.  The children all wear uniforms and sit at little      desks.  SISTER IMMACULATA stands at the front of the room;      she is a middle-aged nun, very severe.  The children are      allterrified of her.                               SISTER IMMACULATA               Who can name all the Apostles?  Yes?     ANGLE ON CHRISTINE CARTER     A thirteen-year-old girl sitting at a desk.  Sheraises      her hand.                               SISTER IMMACULATA               Christine?                               CHRISTINE               Sister, may I be excused?                               SISTERIMMACULATA               Christine...                               CHRISTINE               It's an emergency.  Real bad.     Sister Immaculata nods, pursing her lips.  Christine      stands and heads for thedoor.                                                               CUT TO:     INT. GIRLS ROOM     Christine is now in the deserted St. Anne's girls room.      She is standing on tiptoes, looking in themirror.  She has      taken her hair out of its neat barrettes; she is combing it      out.  She applies lipstick.     Christine reaches into her schoolbag; she pulls out a      stack of glittery bracelets and slips themon.  She      unbuttons the top few buttons of her stiff white blouse.       She sprays herself with dime store cologne.                                                          CUT TO:     EXT. HALLWAY     Christineopens the girls' room door; she looks both ways.       No one is around; she saunters down the hall.     Page 2.     ANGLE ON A DOOR MARKED BROOM CLOSET     Christine opens this door.  She looks into thecloset.      There is a very nervous thirteen-year-old BOY waiting for      her inside.                               CHRISTINE               Hi, Jimmy.     Christine slips inside the closet and closes the door      behindher.     ANGLE ON SISTER IMMACULATA     Striding down the hall, with a bloodthirsty look in her      eye, and a nasty-looking wooden ruler in her hand.  She      flings open the broom closetdoor,     ANGLE ON CHRISTINE AND JIMMY     in the broom closet.  Jimmy's face is covered with      lipstick.  Christine's hair is awry.  The couple has      clearly been makingout.                               SISTER IMMACULATA                             (outraged)               Miss Christine Carter!  Again!  Don't                you know what happens to girls like you?                 Don't you knowwhat they become?     INT. CHRISTY'S APARTMENT - ANGLE ON A LARGE, TATTERED      POSTER-NIGHT (TODAY)     Taped over a crack on a wall.  The poster shows a      glittering CHRISTY VANCARTIER:  singing star of a fifth-     rate Vegas lounge.  Christy wears tight spangles and a      major wig on the poster.  She has clearly lived up, or      down, to all of Sister Immaculata's expectations.     The CAMERAPANS through the dark bedroom in which the      poster hangs; a neon sign flashes outside the window,      casting a red and blue haze over the premises.  A dressing      room table is cluttered with dozens of bottles ofnail      polish and makeup, and garish clothing and flashy jewelry      are scattered everywhere.     We hear the movement of BED SPRINGS as someone sits up in      the dark.                               CHRISTY'SVOICE               Come on, Vince -- hold me a minute.                               VINCE'S VOICE               I'd love to. babe -- but I've got to go.                 It was great.  Likeusual.                               CHRISTY'S VOICE               It was twenty minutes.  Like usual.     Page 3.                               VINCE'S VOICE               The best.     VINCE LAROCCA stands at themirror, adjusting his clothing      and checking his hair.  Vince is a powerful, charismatic      man who rules an organized crime empire with personal      magnetism and threat.  Vince's hold over Christy is      obvious, ifunfortunate; he can seem expansive and generous      one minute, ruthless and dangerous the next.                               VINCE                             (half to Christy, half                              to themirror)               You are something else.     Christy turns on a lamp and lights a cigarette.                               CHRISTY               Come on -- stay.  Just a little.  We can                talk, I'll get a pizza.  Pizzain bed,                we'll have fun.  And you still haven't                told me what happened.  What did she say?                               VINCE               What did whosay?                               CHRISTY               Who?  The other woman.  Your wife.     Vince turns to face Christy, turning on the charm.                               VINCE               You are so damnsexy.                               CHRISTY               Vince...                               VINCE               How did I get so lucky?  What is it now,                five years we've been together?  Who doI                thank?                               CHRISTY                             (not buying it)               Today was the deadline, Vince.     Vince sits on the bed.  He takes Christy's hand, and      kissesit.                               VINCE               I want us to be together.  Like people.                 Honest, decent people.  In the eyes of                God.  Babe, today... I wentto                confession.                               CHRISTY               You did what?     Page 4.                               VINCE               For the first time in I don't know how                long.  I wantedeverything done right.                Open and above board.  I told Father                Antonelli I was in love.  I told him it                was a special love, for all theages.                               CHRISTY                             (starting to fall for                              it)               You said that?  And what did he say?                 Did he say you could leave her?  Didhe                say we'd be happy?                               VINCE                             (looking deep into her                              eyes)               He said that if I got a divorce I'd burn                in Hell.  For alleternity.     Vince kisses Christy's hands again and drops turns away      and starts putting on hisshoes.                               CHRISTY               What?                             (outraged)                               VINCE               You want me to go against a priest?  Get                excommunicated?  Youthink I'm nuts?                               CHRISTY               You bastard!                               VINCE                             (trying to calm her)               We can still see each other.  Justlike                always.  It's a different kind of sin.                Smaller.                               CHRISTY               You pig!     Vince backs off, and starts searching for hisjacket.                               VINCE               Babe, it's not me!  I love you!  It's                God!                               CHRISTY               You lying sleazeball!  The best years of                mylife!  What am I, garbage?  Am I lint?     Vince ducks as Christy throws an ashtray at him, and it      smashes against the wall.                               VINCE               You're upset.  I understand.  Ishould                go.  I hate to.     Page 5.     A CLOCK-RADIO hits the wall beside Vince's head.                               CHRISTY               Get out of here!  And never come back!     A LAMP hits the wall, asVince dodges it.  He makes a      phone gesture with his hand.                               VINCE               I'll call.     Vince kisses two fingers, and blows the kiss to Christy.      He leaves.     Christy is left standingon the bed, holding a      particularly garish stuffed animal she was about to hurl.       With Vince gone she slumps to the bed, cradling the stuffed      animal. She is caught between tears andrage.                                                          CUT TO:     EXT. LAS VEGAS - NIGHT     ANGLE on various neon Vegas landmarks -- the Golden      Nugget, Caesar's Palace, Bally's, etc.  Scrunchedin      between two larger hotels and casinos is the MOONLIGHT      HOTEL AND CASINO.  The Moonlight isn't all that small, it's      just seen better days.     INT. LOUNGE - NIGHT     A spotlight hits a solitaryfigure on a small stage.  The      man is caped and dramatic, but not especially talented; an      Elvis impersonator who's just a shade off in voice, looks      and style.                               ELVIS               Goodevening, ladies and gentlemen.  Are                you lonesome tonight?  Welcome to the                Moonlight Hotel and Casino's incredible                Platinum Oldies Spectacular.     Backstage, there's still a look ofresolve in Christy's      eye as she waits to go on with MICHELLE and TINA, her back-     up singers.                               MICHELLE               But you can't quit.  What'll happento                us?                             (to Tina)               Tell her she can't quit.                               TINA               I told her.  She stuck pantyhose in my                mouth.     Onstage, Elvis glances into thewings to be sure the      Ronelles are ready.     Page 6.                               ELVIS               Please welcome our own girl group                extraordinaire, our beehives of beauty --               the fabulousRonelles!     Elvis disappears.  The spotlight hits Christy, who wears a      high beehive wig and a sequinned, early Supremes-style      gown.  Michelle and Tina wear matching gowns and wigs.  The      band begins adoo-wop vamp.                               CHRISTY               Oh, girls.                               RONELLES               Yes, Betty?                               CHRISTY               This prom is a realdrag.                               RONELLES               Oh-huh.                               CHRISTY               Oh my!                             (gasping)                               RONELLES               What is it,Betty?                               CHRISTY               Look at that.  Get a gander.                               RONELLES               Ohmy!                             (sighing)                               CHRISTY               He's so dreamy.  He's like... a Greek                god.  He's the cutest guy here.    He's                boss.  He'sfab.  He's...                               RONELLES               Yes, Betty?                               CHRISTY                             (singing)               HE'S SOFINE.                               RONELLES               D00-LANG, DOO-LANG, D00-LANG.                               CHRISTY               WISH HE WAS MINE.  THAT HANDSOME BOY