DOCSLIB.ORG

THE ZOMBIES WALK AMONG US by Brian Kral (Excerpts May Be

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE ZOMBIES WALK AMONG US by Brian Kral (Excerpts May Be THE ZOMBIES WALK AMONG US By Brian Kral (Excerpts may be used royalty free for auditions.) AUDITION 1- for 2 w and 2 flex In this scene, Alanis comes closer to learning what happened to her sister. (AT RISE: ALANIS walks the street on her way back to her tent. In an area near the tent compound, two SPORTS FANS struggle to listen to SFX: a soccer game through the static from a beat-up boombox.) FIRST SPORTS FAN: (To no one in particular.) My father told me he was never more alive than when Manno Sanon kicked the winning goal against Italia in the ‘74 Coupe du Monde. (As ALANIS approaches, SFX: the static grows, and the radio reception goes out.) SECOND SPORTS FAN: Cheap piece of junk. (HE fiddles with the dials, without success. Both FANS stop to stare at ALANIS as she passes in front of them, their expressions suddenly vacant and lifeless. Pause. She notices and begins to walk faster. When she is past them, the arms of both Sports Fans fly up, their expressions still vacant, staring straight ahead where they first saw Alanis.) BOTH SPORTS FANS: (In dead voices.) Sco-o-ore! (SFX: Immediately the game returns, and THEY scoop up the boombox and exit, animated. Outside their tent, DAPHNE is crouched by a small barbecue grill.) ALANIS: (Surprised.) Mom. You’re here. I thought you had to go back to the clinic. DAPHNE: (Stirring something in a worn pot.) I did. But then I decided we should eat together. ALANIS: How come? DAPHNE: I was already feeling lightheaded. Then, as I began to experience an out of body episode—floating above myself and all of my patients— I knew it was indeed time for some protein and relaxation. And the company of my charming daughter, of course. (Smiles.) The food is almost ready. ALANIS: Are you okay? DAPHNE: I have absolutely no doubt that I’m as fit as a fiddle. But Dr. Plantain thought I needed a good night’s rest and sent me home early. With a mild prescription sedative. (Takes a small pill bottle from her pocket and shakes it.) We’ll see if I take it! (Putting it back, SHE reaches out her hand.) Would you hand me those plates? ALANIS: (Passes her some disposable picnic plates.) What are we having? DAPHNE: (Dishing up the food.) The height of Haitian haute cuisine. Red beans and rice, with a dash of week-old sweet pork thrown in to give it some zing. Imagine it grilled over coals in a converted steel drum. That way you get a little night music with your meal. (SHE taps her fork against the side of the grill.) ALANIS: (Taking a plate from HER.) As a physician, you ought to know better. DAPHNE: (Doing her best Groucho Marx impression.) “As a physician, I ought to know a lot of things.” Bon appétit. (Sits in a chair and begins eating.) ALANIS: (Staring.) Where is my mother and what have you done with her? DAPHNE: What do you mean? ALANIS: Daphne Ducette would never make jokes like that. DAPHNE: (Approximating an imprecise Haitian accent.) No, dat doctor—she a very serious woman. She don’t butter her bread with her machete. ALANIS: (Agreeing.) Or spread her cheese with a scalpel. DAPHNE: How did you know about the cheese? ALANIS: There’s still a dab on your upper lip. DAPHNE: (Appalled.) There is not! (Frantically wipes HER face with a paper napkin.) ALANIS: (Amused.) Don’t worry, Mom. You didn’t go through your rounds with cheese on your face. (DAPHNE stops, still wondering how Alanis knew.) The evidence is on the ground, next to the tent. DAPHNE: (Retrieving the container.) I would have cleaned that up. ALANIS: I know you would have. You’re very responsible. DAPHNE: Thank you. (Impulsively squirts some cheese into HER own mouth, then holds out the can.) Would you like a little? ALANIS: No, thank you. (DAPHNE returns to her seat, and THEY eat quietly for a moment.) ALANIS: (Cont’d.) By the way? That was about the worst accent I’ve ever heard. You sounded Jamaican. DAPHNE: (With an elevated English dialect.) Yes, well, that’s why I had to give up my studies at the Royal Academy, I suppose, and a promising career in the West End, to take up the practice of medicine. ALANIS: Any regrets? DAPHNE: (With conviction, in her natural voice.) None whatsoever. If I hadn’t become a doctor, I wouldn’t have come to Haiti. If I hadn’t have come to Haiti, I wouldn’t’ve met your father. Actually, I may have regrets about that (Tips HER head, considering this.) but nothing that won’t heal with time. And how was your father today, by the way? ALANIS: (As THEY eat.) Strange as ever! DAPHNE: I am not the least surprised. But, to resume: If I hadn’t met your father, I most certainly would not have had you. And, so. No regrets. Case closed. ALANIS: What about Camilla? (Pause. DAPHNE inhales and breathes out a deep sigh.) DAPHNE: Why is everyone asking about your poor deceased sister today? (SHE looks at ALANIS, and sets aside her plate, answering sincerely.) I have no regrets about having Camilla. She was a beautiful child. But I do suffer deeply over what happened to her. ALANIS: What did happen? You and Dad sent me away. And no one has ever said why. DAPHNE: (With a sudden, unexpected anger.) Well, for one thing, this whole damn country was falling to pieces…and that had nothing to do with your sister! ALANIS: (Patiently.) I know about that, Mom. I read Dad’s old articles. All very enlightening. But no one, not you or Dad or Grammy or Grampa, ever explained what happened to Camilla. (Pause. DAPHNE stands, struggling with how to begin.) DAPHNE: It was a very difficult time. Each day, we were inundated with fresh victims of all the political violence sweeping across Haiti. It was the closest thing to an ER I’ve ever seen. Until the earthquake, of course. I mention this because…if it hadn’t been so…chaotic, so…crazy down at the clinic…perhaps I may have noticed sooner. AUDITION 2- for 1 m, 4 w In this scene, Chantal tries to help her sister and Alanis learns about zombies. ALANIS: (Speaking loudly.) Hello? Ti Marie? I was sent to you with— (SFX: A second flash of lightning and almost immediate thunder interrupts HER, making her flinch. The drums beating below her in the hounfour also grow louder.) TI MARIE: (Voice noticeably amplified.) What problem have you brought me, child? ALANIS: (Over the storm and the drums.) I was told you can help me. I believe my sister is a zombie. TI MARIE: And what makes you think such a thing? ALANIS: (Still through the door.) I saw her in a dream, walking with the dead. And then she appeared to me, warning me. TI MARIE: (Trying to frighten her.) It is not for everyone to walk the path of darkness! The loa punish those who call on them without conviction. ALANIS: But I need your help! Won’t you talk to me? (SFX: Another flash of lightning scares HER, followed by thunder, rainfall begins and continues until noted below. Alanis leans closer to the door.) ALANIS: (Cont’d.) It’s beginning to rain. Can’t I come in? TI MARIE: Turn back, child! Return to your own people! ALANIS: I brought you the centimes! Please let me in! (SFX: The drums continue to pound out their beat. Long pause. The door swings slowly, and ALANIS steps through the doorway. Below, the HOUNGAN and other PEOPLE at the vodou ceremony huddle together under the tonnelle. The Houngan looks up at the rain, smiling.) HOUNGAN: (Trying to hold the crowd, speaking to the audience.) Brothers and sisters! Tonight we come together in a communion of faith and feeling. We bring peace and joy to our people because we throw off our worries and our problems. (HE nods to the crowd, grinning confidently.) This rain don’t hurt nothing! Houngan Bossuet know how to stop the rain. (SFX: The drumbeat stops. SINETTE and the VODOU DANCER assist the HOUNGAN in setting up the props for his theatrical ceremony to stop the rain. PRODUCTION NOTE: If practical, action in the two settings should be visible simultaneously. Above, inside the MAMBO’S HUT, a match flares to life. TI MARIE lights a single bright candle. She turns to face Alanis.) ALANIS: (Shocked.) Dr. Plantain? (MARIE nods and moves about the hut lighting other candles with the larger one.) MARIE: Are you surprised? ALANIS: A little. MARIE: Wondering why an educated woman like myself would moonlight as a conjure wife—a Mambo—in a run- down hut with a thatched roof? (ALANIS nods.) Some people, you might call them primitive people, only respond to help when they believe it’s supernatural. So if I can convince a poor family that their child should be given a few extra vitamins or inoculated against measles, just by talking vodou or saying the spirits want them to do this…then it is worth it. ALANIS: So you don’t believe in vodou. MARIE: Oh, I didn’t say that! (Smiles and sets her large candle up on a shelf.) (SFX: A low drumbeat. The HOUNGAN is handed a dark reddish colored rock and holds it up for the audience to see.) HOUNGAN: (Conjuring for the crowd.) I take this sacred stone—a pierre tonnerre—and I put it on the ground to strike it with my machete.
Load more

Recommended publications
  • Drapo Vodou: Sacred Standards of Haitian Vodou Continued from Page 1 More Historical and Sociological Approach
    FLAG RESEARCH QUARTERLY REVUE TRIMESTRIELLE DE RECHERCHE EN VEXILLOLOGIE AUGUST / AOÛT 2015 No. 7 ARTICLE A research publication of the North American Vexillological Association / Une publication de recherche de Drapo Vodou: Sacred l‘Association nord-américaine de vexillologie Standards of Haitian Vodou By ANNE M. PLATOFF* Introduction The field of vexillology is, by nature, a multidisciplinary one. It is difficult to understand the significance of an individual flag or group of flags without exam- ining the context within which those objects were created and are used. This paper will present a case study of a multidisciplinary investigation of one type of flags. Haitian Vodou flags (drapo Vodou) are little known to vexillologists, but have been studied by scholars in the fields of art, anthropology, African-American studies, and other disciplines. An investigation of prior scholarship from these areas demon- strates that this category of flags is not only significantly different than the flags usually examined by vexillologists, but they also have much to teach us about the study of flags as a multidisciplinary exercise. There are several books that are focused on Vodou flags. Patrick Arthur Polk, a prolific researcher on the topic, has produced a colorful and informative book titled Haitian Vodou Flags (1999). In his book, Polk summarizes information compiled in the preparation of his Ph.D. dissertation and during his work on exhibits related to the arts of Haiti. He explains the historical background of the flags, the role of the flags in ceremonies, the colors and symbolism, and he also includes colorful photos of a variety of drapo Vodou.
    [Show full text]
  • The House on Saint Julian by Francis Clark
    The House on Saint Julian by Francis Clark (Under the direction of Professor Reginald McKnight) Abstract: The House on Saint Julian is a gothic-horror novel set in Savannah, Geor- gia in 1874. In the opening chapter Saul Richardson is killed by a demon while in Saint Joseph’s Hospital. The death is witnessed by a nun, Sister Brigid, who was born to a family of wise women in Ireland. The church summons its magicians to deal with the demon, but the demon is too pow- erful. Brigid must rely on her few pagan connections remaining in Ireland to find a magician who can destroy the demon. In the course of the novel she recovers her pagan heritage and faith, led to her true path by another hereditary witch, Sister Angela, and the Voudon mambo, Esmerelda. At the conclusion of the novel, the two nuns leave the church and leave together for Sicily. Index Words: Graduate School of English, Francis Clark, Masters Degree (MA), The University of Georgia, Horror, Gothic, Fantasy, Novel, Strega, Witch, Pa- ganism The House on Saint Julian by Francis Clark B.A., Occidental College, 1972 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree Master of Arts Athens, Georgia 2005 © 2005, Francis Clark Registered WGAw No. 846329 All rights reserved. The House on Saint Julian by Francis Clark Major Professor: Reginald McKnight Committee: James Nagel, Terry Hummer Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2005 Dedication I would like to dedicate this manuscript to my wife, Amy, whose patience and support made its creation possible.
    [Show full text]
  • Drapo Vodou: Sacred Standards of Haitian Vodou
    UC Santa Barbara UC Santa Barbara Previously Published Works Title Drapo Vodou: Sacred Standards of Haitian Vodou Permalink https://escholarship.org/uc/item/5mc5w4g2 Journal Flag Research Quarterly, 2(3-4) Author Platoff, Anne M. Publication Date 2015-08-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California FLAG RESEARCH QUARTERLY REVUE TRIMESTRIELLE DE RECHERCHE EN VEXILLOLOGIE AUGUST / AOÛT 2015 No. 7 ARTICLE A research publication of the North American Vexillological Association / Une publication de recherche de Drapo Vodou: Sacred l‘Association nord-américaine de vexillologie Standards of Haitian Vodou By ANNE M. PLATOFF* Introduction The field of vexillology is, by nature, a multidisciplinary one. It is difficult to understand the significance of an individual flag or group of flags without exam- ining the context within which those objects were created and are used. This paper will present a case study of a multidisciplinary investigation of one type of flags. Haitian Vodou flags (drapo Vodou) are little known to vexillologists, but have been studied by scholars in the fields of art, anthropology, African-American studies, and other disciplines. An investigation of prior scholarship from these areas demon- strates that this category of flags is not only significantly different than the flags usually examined by vexillologists, but they also have much to teach us about the study of flags as a multidisciplinary exercise. There are several books that are focused on Vodou flags. Patrick Arthur Polk, a prolific researcher on the topic, has produced a colorful and informative book titled Haitian Vodou Flags (1999). In his book, Polk summarizes information compiled in the preparation of his Ph.D.
    [Show full text]
  • Language-Of-The-Blues.Pdf
    ` ` Ebook published February 1, 2012 by Guitar International Group, LLC Editors: Rick Landers and Matt Warnock Cover Design: Debra Devi Originally published January 1, 2006 by Billboard Books Executive Editor: Bob Nirkind Editor: Meryl Greenblatt Design: Cooley Design Lab Production Manager: Harold Campbell Copyright (c) 2006 by Debra Devi Cover photograph of B.B. King by Dick Waterman courtesy Dick Waterman Music Photography Author photograph by Matt Warnock Additional photographs by: Steve LaVere, courtesy Delta Haze Corporation Joseph A. Rosen, courtesy Joseph A. Rosen Photography Sandy Schoenfeld, courtesy Howling Wolf Photos Mike Shea, courtesy Tritone Photography Toni Ann Mamary, courtesy Hubert Sumlin Blues Grateful acknowledgment is made to the following for permission to reprint previously published material: 6DPXHO&KDUWHUV³7KH6RQJRI$OKDML)DEDOD.DQXWHK´H[FHUSWIURPThe Roots of the Blues by Samuel Charters, originally published: Boston: M. Boyars, 1981. Transaction Publishers: Excerpt from Deep Down in the Jungle: Negro Narrative Folklore from the Streets of Philadelphia by Roger Abrahams. Warner-7DPHUODQH3XEOLVKLQJ&RUSRUDWLRQ6NXOO0XVLF/\ULFIURP³,:DON2Q*XLOGed 6SOLQWHUV´E\0DF5HEHQQDFN Library of Congress Control Number: 2005924574 All rights reserved. No part of this publication may be reproduced or used in any form or by any means- graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage-and-retrieval systems- without the prior permission of the author. ` Guitar International Reston, Virginia ` Winner of the 2007 ASC AP Deems Taylor Award for Outstanding Book on Popular Music ³:KDWDJUHDWUHVRXUFH«DVfascinating as it is informative. Debra's passion for the blues VKLQHVWKURXJK´ ±Bonnie Raitt ³(YHU\EOXHVJXLWDULVWQHHGVWRNQRZWKHLUEOXHVKLVWRU\DQGZKHUHWKHEOXHVDUHFRPLQJ IURP'HEUD¶VERRNZLOOWHDFK\RXZKDW\RXUHDOO\QHHGWRNQRZ´± Joe Bonamassa ³7KLVLVDEHDXWLIXOERRN$IWHUKHDULQJµ+HOOKRXQGRQ0\7UDLO¶LQKLJKVFKRRO,ERXJKW every vintage blues record available at the time.
    [Show full text]
  • Wanga Packet 2019.Pdf
    Practical Magick A One World By Night Guide to Wanga Updated June 2019 Contents Introduction 2 The Yoruba Religion, Santeria, Voodoo, and Hoodoo 3 The Role of the Spirits 5 Loa / Orisha 5 Palo Mayombe’s Enkisi 7 Those Who Serve 8 The Children of Damballah 8 The Serpents of the Light 9 The Samedi 10 Others of the Faiths 11 Abilities, Backgrounds, and Merits 12 Lores: Wanga, Spirit, Wraith 12 Abilities 12 Cult 13 Code of Honor: Hoodoo / Voodoo / Santeria 13 Oracular Ability / Prophetic 14 Apostate 14 Initiate 14 The Blessings of Gods 15 Learning Wanga 16 In-Clan/Out of Clan 16 Wanga Paths 18 Wanga Rituals 22 Credits 25 1 Introduction to this Packet Firstly, let’s be clear; this packet is not the be-all, end-all resource to tell players how to practice Voodoo, Yoruba, Candomble, Santeria, Palo Mayombe or any other number of Afro-Caribbean religions in- character or out-of-character. This packet is designed to give players an initial view into what might be expected of them and what they might expect of Wanga in the org, as well as to create a sort of primer on. The material here is drawn from White Wolf’s books, particularly Blood Sacrifice, and then adjusted and edited to provide a simple primer on the same material. No intent to offend or trivialize the belief of people who practice these religions in the real world is intended. White Wolf made it clear in their source material that the World of Darkness is built on lies and deception, and a lot of the material here builds on that premise.
    [Show full text]
  • Dead Man Still Walking: a Critical Investigation Into the Rise and Fall
    Dead Man Still Walking: A Critical Investigation into the Rise and Fall . and Rise of Zombie Cinema Item Type text; Electronic Dissertation Authors Bishop, Kyle William Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 04:36:09 Link to Item http://hdl.handle.net/10150/194727 DEAD MAN STILL WALKING: A CRITICAL INVESTIGATION INTO THE RISE AND FALL . AND RISE OF ZOMBIE CINEMA by Kyle William Bishop ________________________ Copyright © Kyle William Bishop 2009 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Kyle William Bishop entitled Dead Man Still Walking: A Critical Investigation into the Rise and Fall . and Rise of Zombie Cinema and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _______________________________________________________________________ Date: 10 June 2009 Susan White _______________________________________________________________________ Date: 10 June 2009 Jerrold E. Hogle _______________________________________________________________________ Date: 10 June 2009 Carlos Gallego Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College.
    [Show full text]
  • La Verdad Sobre El Vudú Catholic.Net
    La verdad sobre el vudú Catholic.net Introducción: etimología y definición religiosa Vudú, o vodún, o vudún, (en inglés voodoo o voodou), es una palabra que significa “espíritu” en la lengua Fon y Ewe. Es el vudú una religión oriunda de la costa atlántica de África. La podemos situar en la actualidad en los países siguientes: Nigeria, Benín, Togo y Ghana. El vudú es una religión que practican distintas tribus como los Ewe, los Fon, los Mina o los Kabye, que se encuentran en estas regiones antes mencionadas, así como miembros de países centroamericanos y suramericanos principalmente, provenientes de los esclavos africanos llevados a este continente durante la época de la esclavitud. El vudú como religión animista Hemos de precisar que la religión vudú es una religión animista. Una religión es animista si cree que entidades no humanas son seres divinos o espíritus, o al menos participan o son poseedoras de principios o potencialidades divinas. El animista cree que no hay separación entre el mundo material y el trascendente, por lo que rocas, montes, plantas, animales, fenómenos atmosféricos, y demás entidades materiales tienen un alma o un espíritu, o manifiestan a dioses y espíritus de distintas categorías dentro de la jerarquía trascendente. Influencia del vudú El vudú ha sido el origen de muchas otras religiones y creencias que han surgido en las islas de América en la zona del Caribe, en regiones del sur de Norte América, o en Suramérica, como el vudú de Haití, el vudú de Puerto Rico, el vudú de República Dominicana, o el vudú de Luisiana.
    [Show full text]
  • Faith Healing in the Fiction of Kate Chopin
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2011 “'You done cheat Mose out o' de job, anyways; we all knows dat'”: Faith healing in the fiction of Kate Chopin Karen Kel Roop University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the African American Studies Commons, American Literature Commons, Literature in English, North America Commons, and the Religion Commons Repository Citation Roop, Karen Kel, "“'You done cheat Mose out o' de job, anyways; we all knows dat'”: Faith healing in the fiction of Kate Chopin" (2011). UNLV Theses, Dissertations, Professional Papers, and Capstones. 971. http://dx.doi.org/10.34917/2308513 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ―‗YOU DONE CHEAT MOSE OUT O‘ DE JOB, ANYWAYS; WE ALL KNOWS DAT‘‖: FAITH HEALING IN THE FICTION
    [Show full text]
  • Aproximación a La Metáfora Zombi En El Cine: De Halperin a Romero
    UNIVERSIDAD DE CÓRDOBA MÁSTER EN CINEMATOGRAFÍA APROXIMACIÓN A LA METÁFORA ZOMBI EN EL CINE: DE HALPERIN A ROMERO. Presentado por: D. Alberto Añón Lara Tutor: Dr. Pedro Poyato Sánchez Curso académico 2015 / 2016 D./Dña.: Pedro Poyato Sánchez, tutor del trabajo titulado Aproximación a la metáfora zombi en el cine: de Halperin a Romero, realizado por el alumno/a Alberto Añón Lara, INFORMA que dicho trabajo cumple con los requisitos exigidos por el Reglamento sobre Trabajos Fin del Máster en Cinematografía para su defensa. Córdoba, _______ de ______________________ de _____________ Fdo.:______________________________________________ ÍNDICE 1. INTRODUCCIÓN………………………………………………...……………………1 2. OBJETIVOS…………………………………………………………….………………4 3. METODOLOGÍA……………………………………………………...……………….6 4. NACIMIENTO, CONSOLIDACIÓN Y DECADENCIA DEL ZOMBI EN EL CINE…………………………………………………………………………....…………10 4.1. Origen literario del zombi, de zombis en los cañaverales…………………….………10 4.2. De la literatura al cine, instauración del zombi haitiano como modelo……...……….13 4.3. White Zombie, el primer zombi cinematográfico………………………...…………..16 4.3.1. Sistema de clases, racismo y miedo al nativo………………………………21 4.4. Consolidación y anquilosamiento del zombi haitiano: I Walked with a Zombie….…22 5. MIEDO ATÓMICO Y LA GUERRA FRÍA, EL PRIMER ZOMBI POLÍTICO……..30 6. RENACIMIENTO DEL ZOMBI EN EL CINE: GEORGE A. ROMERO……………32 6.1. American Gothic o del cine de terror postmoderno…………………………….…….32 6.2. A propósito de George A. Romero y la nueva narrativa zombi………………………36 6.3. Night of the Living Dead, la falacia del sueño americano………………………..…..39 6.3.1. Desmembramiento de la unidad familiar norteamericana…….……………42 6.3.2. El zombi como excusa de una crítica social…………………….………….49 6.4. Dawn of the Dead, consumismo y alienación………………………………………..52 6.4.1.
    [Show full text]
  • GABRIEL KNIGHT: SINS of the FATHERS a Reconstruction of the Game Script Recompiled by Bonny Ploeg
    GABRIEL KNIGHT: SINS OF THE FATHERS a reconstruction of the game script recompiled by Bonny Ploeg This script was built by yours truly since someone on the Gabriel Knight 4 Campaign forum asked for one. As I had done the Gabriel Knight 3 script as well, which was very rewarding, I decided to make this document too. It was created using the amazing SCI Viewer tool. I extracted all documents with subtitle text into Notepad files. SCI orders them in the following manner: Two interrogations per file, except for Gerde; one file for the help interface, one file for the inventory interface, one file for “use inventory item on Gabriel”, one file for the Rada Drum interface, one file for the Tape Recorder interface, two files for St Georges, and one file for each different location. In case of the larger scenes, like Cemetery, Secret Voodoo Hounfour and Jackson Square, there is also one file for the lines that are in each of the sections of the location. I largely used this division for the order in my script. The questions in the interrogation scenes, and the objects in the inventory, were ordered alphabetically by the programmers. There is not as startling much new content as in Gabriel Knight 3, but there is still enough to make a bonus section, which is at the bottom of this document. INDEX 1 Interrogations: 1A GRACE NAKIMURA 1B SERGEANT FRICK 1C MOSELY 1D GRANDMA KNIGHT 1E WILLY WALKER 1F DR JOHN 1G MALIA 1H MAGENTIA MOONBEAM 1I CRASH IJ STONEWALL KING IK TOUSSAINT GERVAIS IL MADAME CAZAUNOUX IM PROFESSOR HARTRIDGE IN WOLFGANG RITTER 1O GERDE
    [Show full text]
  • La Verdad Sobre El Vudú
    La verdad sobre el vudú Sectas, apologética y conversos / Sectas: Paganismo, esoterismo, brujería y ocultismo Por: Vicente Jara | Fuente: info-ries.blogspot.com Introducción: etimología y definición religiosa Vudú, o vodún, o vudún, (en inglés voodoo o voodou), es una palabra que significa “espíritu” en la lengua Fon y Ewe. Es el vudú una religión oriunda de la costa atlántica de África. La podemos situar en la actualidad en los países siguientes: Nigeria, Benín, Togo y Ghana. El vudú es una religión que practican distintas tribus como los Ewe, los Fon, los Mina o los Kabye, que se encuentran en estas regiones antes mencionadas, así como miembros de países centroamericanos y suramericanos principalmente, provenientes de los esclavos africanos llevados a este continente durante la época de la esclavitud. El vudú como religión animista Hemos de precisar que la religión vudú es una religión animista. Una religión es animista si cree que entidades no humanas son seres divinos o espíritus, o al menos participan o son poseedoras de principios o potencialidades divinas. El animista cree que no hay separación entre el mundo material y el trascendente, por lo que rocas, montes, plantas, animales, fenómenos atmosféricos, y demás entidades materiales tienen un alma o un espíritu, o manifiestan a dioses y espíritus de distintas categorías dentro de la jerarquía trascendente. Influencia del vudú El vudú ha sido el origen de muchas otras religiones y creencias que han surgido en las islas de América en la zona del Caribe, en regiones del sur de Norte América, o en Suramérica, como el vudú de Haití, el vudú de Puerto Rico, el vudú de República Dominicana, o el vudú de Luisiana.
    [Show full text]
  • The Beyond Heroes Roleplaying Game Book I: the Player's Guide
    1 The Beyond Heroes Roleplaying Game Book XXI: The Book of Pantheons Writing and Design: Marco Ferraro The Book of Pantheons Copyright © 2019 Marco Ferraro. All Rights Reserved This is meant as an amateur free fan production. Absolutely no money is generated from it. Wizards of the Coast, Dungeons & Dragons, and their logos are trademarks of Wizards of the Coast LLC in the United States and other countries. © 2019 Wizards. All Rights Reserved. Beyond Heroes is not affiliated with, endorsed, sponsored, or specifically approved by Wizards of the Coast LLC. Contents Foreword 4 Timeline 4 Earth Pantheons 6 Afghani 7 Afrikana 9 Arabian 16 Armenian 23 Australian Aboriginal 24 Aztec 28 Babylonian 34 Baltic 41 Basque 48 British 49 Burmese 50 Cambodian 53 Canaanite 56 Celtic 58 Chinese 68 Egyptian 76 Eskimo 80 Estonian 82 Etruscan 85 Filipino 93 Finnish 105 Gaulish 108 Greek 111 Hindu 116 Hittite 123 Hungarian 125 2 Hurrian 128 Inca 133 Indonesian 135 Irish 139 Islander 144 Japanese 155 Korean 162 Lusitanian 165 Malaysian 174 Maori 178 Mayan 179 Mesopotamian and Sumerian 186 Mongolian 192 Native American 194 Norse 201 Ossetian 207 Phoenician 208 Pop Culture 212 Primordial 215 Roman 221 Sami 233 Scottish 234 Semitic 236 Slavic 237 Syrian 240 Thai 241 Thracian 244 Tibetan 245 Voodun 256 Welsh 265 DC Comics Entities 269 Marvel Comics Entities 275 Dungeons and Dragons 279 Eternal Champion 297 Middle Earth 299 Palladium Fantasy 301 Pathfinder 302 Warhammer Fantasy 302 The Pantheon Creation Guide 304 Spheres for Gods 317 Mana and Deities 320 Creating Cosmic Beings 325 Characters who Ascend 327 Characters who Ascend II 328 List of Cosmic Powers 331 Organizations 338 3 Foreword while countless points of light flare and The Beyond Heroes Role Playing Game die in the interior.
    [Show full text]