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DAY OF THE DEAD (The original script) by George A. Romero
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DAY OF THE DEAD (The original script) by George A. Romero
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Topic: DAY OF THE DEAD (The original script) by George A. Romero (Read 664 times)
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #75
on:
November 02, 2009, 04:59:11 am »
TOBY
(more insistent) MARY!
She gives up. She looks into TOBY'S eyes.
TOBY
I'll be alright. Just remember the
things I said. Take care of yourself.
THE SOLDIERS escort TOBY down the hall without force. MARY
watches their backs for a time, then she flings her BOOKS AND
PAPERS angrily into the open apartment. She begins to cry.
88 EXT. ENTRANCE NUMBER SIX - NIGHT
HATCHWAY NUMBER SIX is surrounded by PROTECTIVE FENCING and,
from it, A FENCED ALLEYWAY runs off through the brush
toward...we don't know what yet.
THE HATCH OPENS and TOBY, along with TWO OTHER PRISONERS,
also disarmed troopers, is led down that alleyway by THREE
GUARDS.
JOHN, SARAH AND BILL McDERMOTT peer out from nearby foliage.
They watch the procession. John whispers.
JOHN
The fences make a safe pathway to
Stalag Seventeen. That's where we
live. That's where you gonna live,
too. Hell's half acre. It's not a nice
place. Them boys there is prisoners.
What's their punishment? They sent out
to the Stalag for a few weeks. That's
punishment enough.
SPIDER seems to appear from nowhere. She motions and the
others follow her through the thick jungle.
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #76
on:
November 02, 2009, 04:59:23 am »
89 EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT
THE RUNNING FENCE LEADS TO A GATE IN A BIGGER FENCE. This one
is ELECTRIFIED. We know this because we see A COLLECTION OF
ZOMBIES, mostly "civilians" with no vests, clambering there,
HANDS AND FACES SPARKING WHEN THEY TOUCH THE CHAIN LINKS.
THE ZOMBIES send up wild MOANS AND GURGLES when TOBY AND THE
OTHER PRISONERS are led through the gate.
Inside the compound is A SCATTERING OF OPEN-SIDED MILITARY
TENT-BUILDINGS, resembling those on M*A*S*H. There's A DIN
coming off the place, a mixture of MUSIC AND VOICES that
forms a disturbed blanket of noise. The place seems to seethe
like a hornets' next.
THE SOLDIERS head back for The Cave as POSTED GUARDS shut the
gate behind THE PRISONERS. TOBY and the other captives move
toward the "village".
90 EXT. STALAG SEVENTEEN MAIN STREET - NIGHT
PEOPLE wallow in the mud. ONE MAN has just taken a **** and
is wiping his ass. Nearby A DRUNK lies unconscious. SEVERAL
MEN are fighting. It's a brutal fight with BOTTLES AND PIPES
AND LENGTHS OF CHAIN. The men are really hurting each other.
PEOPLE SMOKE AND SNORT AND SHOOT UP in wide open disarray.
A HUGE PREGNANT WOMAN plants herself right in TOBY'S path.
(CONTINUES)
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #77
on:
November 02, 2009, 04:59:41 am »
90 CONTINUED:
PREGNANT WOMAN
How 'bout it, baby. I'm big but I'm
beautiful.
TOBY pushes past her and bumps into A SURLY DRUNK.
DRUNK
HEY, YOU ****! YOU ****!
He grabs TOBY and flings him violently against an upright on
one of the long huts. THE OTHER TWO PRISONERS move on,
abandoning TOBY, disappearing into the crowd. THE DRUNK pulls
A RUSTED, HOME-MADE KNIFE.
DRUNK
I OUGHTA SLICE YOU UP, YOU ****! YOU
CAN'T PUSH ME AROUND LIKE... PUSH ME
AROUND...LIKE...
Suddenly VOMIT rises in the man's throat and he doubles over.
TOBY is aware of SOUNDS behind him. At his back, in the hut,
A HAIRY FAT MAN, still wearing his boxer shorts and his muddy
boots, is wham-bam-bamming A ****, who is wearing everything
but underwear and boots. There are needle tracks on the
woman's arms and her face looks as though she's been beaten
brutally. She purses her deep red, damaged lips and blows
TOBY a kiss that's meant to be seductive.
TOBY moves on down the street. The place is a cesspool full
of human dregs, stinking with refuse, filled with the fury
and desperation of man in his last days.
91 EXT. ENTRANCE TO STALAG SEVENTEEN - NIGHT
JOHN leads his followers to within sight of the Stalag gates.
ZOMBIES still claw at the ELECTRIFIED FENCE. BLUE-WHITE
SPARKS fill the air like flashbulbs.
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #78
on:
November 02, 2009, 04:59:59 am »
JOHN
This is home, darlin'. Home for us
that don't make the grade. Us that
ain't...good enough to live inside The
Cave. We grow a little food, do a
little light manufacturin'...like
these here vests, we make these for
the massers. We live in our own filth,
with bugs and snakes and disease and
jungle fever...all the time waitin' to
become breakfast for the Bees.
JOHN is doing a sales job on SARAH but everything he says is
truth. She hears it all, softening to JOHN'S cause.
SPIDER has silently lifted A LARGE WOODEN ROUND out of the
weeds. It's a camouflaged tunnel entrance.
JOHN
It's a tunnel. It's a couple hundred
yards. Just keep goin' 'til you reach
the end. I'll be right behind you.
SARAH starts down into the hole. JOHN and the others prepare
to follow. JUNGLE SOUNDS cover the noises they make.
92 INT. THE HOSPITAL IN STALAG SEVENTEEN - NIGHT
We see ROWS OF HOME-MADE COTS, each with A BODY lying on top.
What faces we see are gaunt, showing the boils and lesions of
consumptive diseases and tropical fever. INSECTS BUZZ and
there is THUNDER in the air.
An Oriental orderly, LUKEY, moves through the maze of bodies.
He lifts the wrist of A WOMAN WHO LOOKS DEAD and he discovers
that she is dead indeed. He hurries off.
93 INT. HOSPITAL OPERATING ROOM - NIGHT
This is a room with walls, an operating room with JURY-RIGGED
APPOINTMENTS. On A TABLE, under A HALF-DOZEN LIGHT BULBS,
lies A CORPSE. Another orderly, a Nordic type names DIESEL,
an enormous man, assists while DOCTOR LOGAN methodically SAWS
OFF THE CORPSE'S HEAD.
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #79
on:
November 02, 2009, 05:00:18 am »
LUKEY rushes in out of breath.
LUKEY
Doc Logan! Doc Logan! Dere's a lady
dead out dere! Gotta hurry! Gotta
hurry! Dunno how long she been dat
way! Maybe she gettin' ready to come
back.
THE CORPSE'S HEAD ROLLS AWAY FROM ITS BODY. DOC LOGAN picks
up AN ELECTRIC DRILL WITH A LONG BIT. WHZZZZZZZZZ! HE DRIVES
THE SPINNING BIT INTO THE DISEMBODIED HEAD, DEEP INTO ITS
BRAIN. When he pulls it out, MATTER FLIES as the motor winds
down.
(CONTINUES)
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #80
on:
November 02, 2009, 05:00:41 am »
93 CONTINUED:
LOGAN is a middle aged man. He looks exhausted, demoralised,
a bit mad. And he looks as ill as some of his patients. There
are OPEN SORES on his face and he hasn't shaved for days.
He's covered with two week worth of BLOOD STAINS. He starts
around the table leaving DIESEL to dispose of the "DE-CAP".
LOGAN
Bury the head. Call the guard for the
rest. Get it off the table for now.
We'll bring this new one in.
DIESEL doesn't respond right away. He's heard something.
LOGAN
What is it?
DIESEL
The tunnel.
LOGAN hears it now, A SCRATCHING, SCUFFLING SOUND. He looks
at his watch.
LOGAN
God. It's almost sun-up.
LOGAN AND LUKEY move to a spot at the back of the room. They
remove SEVERAL OF THE PLANKS in the floor. SARAH'S head pops
out, gasping for air. Logan recoils, his eyes wide and
frightened.
LOGAN
Who are you? Who are you?
He stands up too quickly. Dizziness makes him reel. He
smashes into AN INSTRUMENT CART, comes up with A LONG-BLADED
SCALPEL and holds the thing threateningly aimed at the
stranger.
JOHN
It's OK. It's OK, Doc. She's with us.
In the next moment, SARAH and the others climb out of the
tunnel.
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #81
on:
November 02, 2009, 05:01:04 am »
JOHN
This here's the hospital. That's
Diesel over there, the big guy. This
here's Lukey and that's Doc Logan
who's about to cut your tonsils out.
SPIDER, the last one to climb into the room, quickly begins
collecting WEAPONS, what few the rebels have.
JOHN
This here's all the weapons we got.
That's why your fancy automatic looks
so good to us. We gotta stick it over
here with the others for now. They
catch us with any kind o' weapon and
its death without even askin' your
name.
SARAH lets SPIDER take her GUN. The deaf mute signs something
which SARAH can't decipher.
JOHN
Ammunition. You got ammunition in your
pack there? I hope you do or the gun
ain't worth much.
SARAH roots through her SUPPLY PACK and produces THREE LOADED
CLIPS AND SEVERAL BOXES OF LOOSE SHELLS. JOHN notices SOME
TINS OF FOOD, MEDICINES, A KNIFE, A COMPASS...
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #82
on:
November 02, 2009, 05:01:41 am »
JOHN
We better just hide the whole pack,
darlin'. That stuff is just shoutin'
out that it come from the mainland.
The **** we get is all C.D. rations.
Aspirins and crackers from 1958.
SPIDER snatches THE PACK away rather roughly. SARAH is a
little disturbed by the action. THE MATERIAL is stashed under
FLOOR BOARDS beside the tunnel entrance.
JOHN
Let's go. You look like you could use
some shut eye. Me too. We can all get
acquainted tomorrow.
LUKEY escorts JOHN AND SARAH out of the operating room into
the main hospital area. BILL McDERMOTT pulls out his empty
flask.
McDERMOTT
Doc, I need a fill up. I'll help
m'self if it's alright with you.
LOGAN nods distractedly and BILL moves to A SUPPLY CABINET
which contains, among other essentials, SEVERAL BOTTLES OF
BRANDY. He fills his flask eagerly.
(CONTINUES)
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #83
on:
November 02, 2009, 05:01:58 am »
93 CONTINUED:
LOGAN
How do we know she's alright? How do
we know?
McDERMOTT
She's alright. Christ, Rhodes and his
cossacks wiped out her whole party.
Dan near got her.
McDERMOTT pockets the refilled flask, takes a long slug from
the cabinet bottle before putting it back, and moves out of
the room. LOGAN is left alone with DIESEL AND SPIDER.
LOGAN
How do we know she's alright? How do
we know?
LOGAN repeats his question, intoned identically as it was
before. He's twitching slightly and sweat is pouring down his
face. THE THUNDER suddenly seems LOUDER.
DIESEL
Are you alright, Doc? You look... you
look real bad.
LOGAN
I have looked bad for four years.
Everyone in the world has looked bad
for four years. Thank God looks don't
matter as much as they once did.
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #84
on:
November 02, 2009, 05:02:14 am »
LOGAN, a wild gleam in his eye, moves out of the room,
following where the others went, that LONG-BLADED SCALPEL
still clutched in his hand. The others follow.
94 INT. THE HOSPITAL - NIGHT
JOHN, SARAH AND LUKEY are facing out across the compound. A
TEEMING TROPICAL RAIN has started to fall.
JOHN
This just ain't your day, is it,
darlin' Sarah.
SARAH can't help but snicker. Suddenly her head spins
exhaustion is conquering her body as last. JOHN puts a big
arm around her.
JOHN
Three more minutes. Then you can
sleep. You gotta stay with it for
three more minutes.
McDERMOTT joins them and the group moves out into the rain.
LUKEY waddles back through the maze of cots.
LOGAN, SPIDER AND DIESEL have moved to about the center of
the big room. The patients around them, their eyes bulging,
look like lemurs.
LOGAN
How do we know she's alright? How do
we know?
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #85
on:
November 02, 2009, 05:02:29 am »
The same intonation again. This guy's wrapping is definitely
coming loose.
THE ZOMBIE rises up behind LOGAN'S back. It's the woman whose
wrist Lukey checked earlier. Its teeth are dripping with
drool, its hands reaching out wantingly.
LOGAN turns around. Calmly, but with the swiftness of a
rattlesnake, he shoots out the hand that's holding THE
SCALPEL. THE BLADE SINKS DEEPLY INTO THE ZOMBIE'S FOREHEAD.
LOGAN pulls it out and strikes again, and again, and again,
like a swordsman thrusting, thrusting, thrusting. Finally the
creature collapses. LOGAN wipes the scalpel on his already
blood-covered apron. RAIN WATER drops onto him from holes in
the roof above. He doesn't seem to notice.
95 EXT. STALAG SEVENTEEN MAIN STREET (RAIN) - NIGHT
THE STREET SCENE is toned down due to the late hour and the
rain, but just as vile, just as vicious. JOHN AND McDERMOTT
escort SARAH. JOHN speaks softly, and only when others on the
street are far enough away.
JOHN
They supply us with disinfectant and
dope. Sex, drugs and rock-and-roll.
What more could anyone ask for? Most
around here ain't interested in
changin' their lives. The folks you
met...me and them and a couple others
is the whole rebel army. Nobody else
gives a ****...and they're afraid o'
Rhodes.
They pass A STRUCTURE WITH AN OVERHEAD SIGN that reads: JOE'S
CORNER TAVERN. If there were walls they'd be pushed out by
the MASS OF HUMANITY inside. MUSIC BLARES and VOICES form a
wall of noise louder than the THUNDER. A FIGHT spills out
onto the muddy street, PUSHERS selling all sort of delights
accost JOHN and his group.
(CONTINUES)
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #86
on:
November 02, 2009, 05:02:47 am »
95 CONTINUED:
SARAH
They seem to be havin' a good time.
Some punishment.
JOHN
You disappear in here, darlin'. Youh
get a knife in yer belly or too mucho
**** in yer veins. You get lost outt
here and nobody's gonna notice.d
Rhodes, he counts on that. It all
makes for food in the freezers.
They come to A LONG HUT WITH A SIGN that reads: THE RITZ.
JOHN
This is your hotel. I'm not gonna stay
here with you but I'll always be
close. You gonna hafta take care o'
yourself like you said you was able to
do.
SARAH nods. JOHN smiles at her. His warm, trustworthy eyes
seem to glow in the dark.
JOHN
Some may notice that you're new. Just
deny it. You'll get away with it.
Nobody really looks at each other
around here. Go on in. Get some sleep.
He squeezes her hand tightly, then he turns away and moves
off with McDERMOTT. SARAH moves into THE RITZ.
96 INT. THE RITZ (RAIN) - NIGHT
It resembles the hospital. There are ROWS AND ROWS OF COTS.
SOME PEOPLE SLEEP, alonehand in pairs. OTHERS are awake,
drinking, screwing, shootingoup. SARAH finds an empty cot and
flops down. Beyond the opentwalls she can see THE BLUE-WHITE
FLASHES coming from thedelectrified fence. RAIN LEAKS in on
her but it doesn't keep her from falling asleep.
97 INT. THE CONDITIONING ROOM IN THE CAVE - MORNING
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #87
on:
November 02, 2009, 05:03:02 am »
TECHNICIANS are working with ZOMBIES while ARMED GUARDS stand
ready. We FOCUS ON A BLUE COAT. Under supervision, the thing
is fumbling to tie a shoelace. It's failing miserably but
trying hard. ANOTHER BLUE is busy placing LITTLE WOODEN
SHAPES into their proper HOLES IN A BOARD.
TWO RED COATS sit at a table attended by HUMAN TECHNICIANS.
We've seen these zombies before, in the dormitory. TONTO,
is...or was...a native American, probably Seminole. In front
of him is A PLATE containing SEVERAL BITS OF MEAT. He has A
FORK in his hand and he is idly stabbing at the meat.
The other RED COAT, BLUTO, looks just like Bluto from Popeye,
bulky with a thick, black beard. Tired of THE JIG SAW PUZZLE
he's working on, he snarls and suddenly lunges for the meat
on TONTO'S plate. He snatches a handful and stuffs it in his
mouth. As soon as he tastes it, however, he pulls it back
out, dribbling and spitting disgustedly.
FISHER (a technician)
They won't accept a substitute. They
want their Alpo.
TONTO has succeeded in forking a piece of meat. He moves it
to his mouth and pops it in.
FISHER
Alright! Way ta go, Kemosabe!
MARY HENRIED has entered the room. She pulls up and watches
TONTO with a kind of dubious interest. TONTO stops chewing.
He looks up with exaggerated sadness on his face. Slowly his
mouth opens and the chewed piece of meat slides out between
his lips. He throws his fork down angrily.
MARY
They won't learn to use forks if they
don't like the breakfast you're
serving, Ted.
FISHER
The fork is like a game to them. If
they get into the game maybe they'll
learn to like the food.
MARY
It won't work.
Suddenly BLUTO jumps up from the table. He flings his chair
aside and tromps right over to MARY. His arms are
outstretched and he is making a pleading, Karloff-like SOUND.
GUARDS come after him but MARY waves them off.
MARY
It's alright! Leave him alone!
(CONTINUES)
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #88
on:
November 02, 2009, 05:03:17 am »
97 CONTINUED:
MARY extends her right hand to meet BLUTO'S right and they
shake vigorously. Then the dumb creature drops his arms and
looks around. His brain sends no signal as to what he should
do next. THE GUARDS lead him away.
98 INT. THE FIRING RANGE IN THE CAVE - MORNING
BLAM!!! A RED COAT is FIRING A PISTOL right AT THE LENS.
CLOSE ON: A TARGET, a flat, cut out silhouette of a man,
BLACK TRIANGLES painted on the instant-kill-zones, brain,
heart. BULLETS STRIKE the neck, the to torso, SOME RICOCHET
off the wall behind. None hit the kill-zones.
MARY HENRIED enters. The place resembles a Police Department
target range. RED COATS stand in stalls and FIRE down LONG
ALLEYS at TARGETS which pop up against the opposite wall. THE
NOISE is deafening. TWO TECHNICIANS are watching the shooters
and keeping score. MARY walks up to one of them.
MARY
Have you seen Julie Grant this
morning?
TECHNICIAN
She should be in the behaviour rooms.
MARY
She's not. Hasn't shown up yet.
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the Unholy
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Posts: 189
Re: DAY OF THE DEAD (The original script) by George A. Romero
«
Reply #89
on:
November 02, 2009, 05:03:36 am »
There's AN OFF-SCREEN GROAN, the sound of a zombie trying to
communicate. MARY turns and sees the tall RED COAT names BUB
standing in the closest stall trying to attract MARY'S
attention. (He was the one Rhodes referred to last night as
"Mary's pride and joy".) He is wearing WESTERN-STYLE GUN
BELTS, SIX-SHOOTER hang in HOLSTERS on both his hips. MARY
faces BUB full with her body and delivers a military salute.
MARY
Good morning, Bub.
BUB replies with one of those pathetic sounds that obviously
mean something to him. Then he, too, salutes. MARY pulls
away, heading for AN EXIT, but BUB calls after her. He makes
inarticulate sounds but we catch his drift.
TECHNICIAN
I think he wants you to watch.
MARY
OK, Bub. Do your stuff.
BUB turns towards the target wall looking like a gunfighter
on a western street. There's A HUMMING MECHANICAL SOUND.
KATCHUNG! A SILHOUETTE pops up. BUB slaps leather...fast...
lighting fast. BOTH GUN come up. BLAM-KA-BLAM-KA-BLAM-BLAM-
BLAM-BLAM!!!
HOLES APPEARS IN THE TARGET...WOP-WOPPETY-WHUMP!!! All in the
kill-zones, or damn close.
BUB slaps ONE PISTOL back into its HOLSTER. He clicks open
the shell-chamber on THE OTHER, dumps the SPENT CARTRIDGES
and begins to reload from his belt.
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=> Sacred Symbols
=> The Ancient Arts: Astrology, Alchemy, the Tarot, Arcane Recondite Practices & the I Ching
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Search for the Sacred
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Space
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the Occult
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=> Ghosts & Apparitions
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=> the Enchanted World
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=> the Occult
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the Unexplained
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=> Cryptozoology
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=> Vanishings & Unsolved Murders
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Science Fiction & Fantasy
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=> Lord of the Rings
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===> Comic Book Creators
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Halloween & Seasonal
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Media & Film
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Modern Historical Mysteries
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September 11th, 2001
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=> September 11th: Conspiracies, Cover-ups & Remembrance
=> The World Trade Center Remembered
===> Life of the Twin Towers
=> Modern Warfare
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Suppressed Knowledge
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=> New World Order
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=> Case for Bush Impeachment/War Crimes
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