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-	Instructions for the rites required to acquire the aid of Fotamecus:	+	This is a musical I am writing; it is the text of the script so far.  Please do not use any part of this in anything else. Thank you.
-	Fotamecus Empowerment Rite	+	j  o h n n y
-	By: Fenwick Rysen	+	Dramatic Personae:
-	25 October 1997	+	[In order of appearance]
-	Introduction:	+	St. Jimmy – A mobster with a conscience and an obsession with disco.  He takes his own hits on his enemies instead of hiring hitmen.  He enjoys killing, but begins to feel guilty about it.  He loves disco dancing, disco clothing, disco music, and his Luger, which he has named Betty.  He wears a white disco suit, with a black disco shirt, a heavy gold cross medallion, and a white hat.  Sometimes a fedora, sometimes a (bucket hat?).  He has a bulletproof umbrella.  He helps out homeless people and people who want his help and don’t get on his nerves.  He asks a price, however.
-	Fotamecus is a historically recent addition to the pantheon of deities associated with time, the other major one of note being Chronos. But whereas Chronos is associated with the concept of time as fixed and immutable, Fotamecus depends on the concept that time is fluid and malleable. It is because of Chronos' restrictions of freedom through the concepts of fixed time that Fotamecus has decided to wage war on him; the following ritual is aimed at aiding Fotamecus in the war against Chronos, and in gaining his favor through helping him. Because modern societies are completely dependent upon clock and currency (time is money), aiding Fotamecus in destroying current conceptions of time can be considered one further step in the immanentization of the eschaton.	+	Johnny – A young man (around 19 or so) out for vengeance.  He was going to the local community college, but dropped out when his family was killed by the mob. He wore a lot of black even before his family died. His favorite color is red. He likes mushrooms and beef stew.
-	Materials Required:	+	Ferguson – An old friend and business partner of Johnny’s father.  He likes to drink and he’s a bit absentminded.  He’s a relatively cautious guy, likes to mind his own business.
-	* A drum	+	Jenny – A nice girl, about Johnny’s age. She likes knives. She also likes Johnny.  She doesn’t like St. Jimmy.
-	* A small digital clock (a dot clock for a car dashboard or a small child's watch is cheap and effective)	+
-	* A roll of toy caps (or other material that explodes when hit). DO NOT use blasting caps, or caps for rifles/shotguns/etc--- The idea is to create a small "BANG", not to take your hand off!	+
-	* A rock, heavy enough to smash a small digital clock and roll of toy caps.	+
-	* Three people: Drummer, Chronomancer, and Warrior.	+
-	* Observers (optional), as many as want to watch this rite.	+
-	Ritual:	+	[play Dead Man’s Party, roll credits, opening name-image]
-	-15. The participants enter a dark place clad however they see fit. No one should be wearing a timepiece, nor should one be present in the working space. The Drummer should be carrying the drum, the Chronomancer the small digital clock, and the Warrior the roll of caps and rock.	+	FAMILY DEATH SCENE
-	-14. The Drummer, Chronomancer, and Warrior face each other in a triangle, and plant their feet firmly at shoulder width. Any other participants form a circle around them, observing this ritual.	+	[Cut to shot of white jacket, with wide lapels, open to show a black wide-lapel shirt and a big gold cross medallion on a chain. The shirt is also open a bit.  A hand with a white sleeve enters from the left side of the screen and pulls a pistol (an old Luger) from the jacket.]
-	-13. The Chronomancer looks to the Warrior, a question on his face, mentally asking if the Warrior is resolved to perform this rite. The Warrior nods, and presents the rock and roll of caps in his weapon hand.	+	St. Jimmy: [singing along with the music]
-	-12. Resolution affirmed, the Chronomancer presents the clock to the Drummer, who does not touch it but examines it by sight, and nods when he/she is convinced that it is a suitable sacrifice for the rite. The Chronomancer then presents the clock to the Warrior, who does not touch it but examines it by sight, and nods when he/she is convinced that it is a suitable sacrifice for the rite.	+	[Shot of horrified family: mother, father, daughter, infant.  They are standing in front of a wall in what looks to be a living room. The walls are a pale green.  There is a blue couch behind them, and what looks to be a family portrait.]
-	-11. The Chronomancer raises the clock to the sky, presenting it to Fotamecus. All participants look up, summoning Fotamecus with their thoughts, asking him to come and see the sacrifice that is being made to further his was against Chronos. Observers should now visualize the Fotamecus sigil, and keep it somewhere in their minds for the duration of the rite.	+	[Show St. Jimmy (side camera).  He busts a move, moonwalks, shoots, spins, shoots, does the “Running Man,” shoots, does the “Rocket Man,” and shoots. Does a final move, then (front camera, straight-on) stands erect and poses, hands on his hips.]
-	-10. Whether Fotamecus presents himself or not, the Chronomancer then cups the clock between both hands, and the Drummer begins to beat the drum slowly and steadily (60-80 beats per minute). Here is symbolized a return to natural rhythms--- the beat of the drum reveals itself once the clock has been hidden from sight. All participants should contemplate this for a few moments.	+	St. Jimmy: My work here is done!
-	-09. Clock still hidden between cupped hands, the Chronomancer lowers his head and closes his eyes. The Chronomancer then focuses on his conceptions of time. The beat of the drum, he notices, is the same rhythm as that of his heart, that of the turning of days, that of the wheel of the seasons... a steady measurable beat, yet a beat that can change at any time. This is opposed to the machine trapped within his hands, a cold, calculating piece of machinery that measures off time as if it were a commodity with fixed value, a value determined, in fact, by the "dollars for hours" mentality of those trapped by this conception of time. The Chronomancer is overcome with disgust for this conception of time, this linear, immutable, mind-numbing procession of numbers that only mean something ecause everyone agrees to the same hallucination of time as a fixed phenomenon. How can this be? The drumbeat may alter its speed, and is measured only by beat-pause, beat-pause... There are no numbers to the beating of your heart or the turning of the days or the wheel of the years--- they are infinite, and forever differing, the space between them a matter of perception.	+	[Shot of a boombox, still playing. St. Jimmy’s hand reaches down and presses “Stop.”  Music stops. Side view of St. Jimmy; he picks up the boom box and walks out the door, closing it behind him.]
-	-08. All other participants are encouraged to be thinking similar thoughts, focusing their disgust for a concept of fixed time upon the clock in the Chronomancer's hands. The Warrior, in addition to contemplating his disgust for fixed time, also feels this disgust rising as the desire to destroy fixed time. Yet as the perfect Warrior, he realizes that he must wait--- the time, he realizes, is not right... And he will not know how long he must wait; it cannot be measured in seconds or minutes or hours, only in patience. And once this clock is destroyed, there will be others--- events are not bound by time, time is bound by events both done and yet to be done. He will wait for the right moment to destroy this clock, knowing that even after this act is done, there will be other clocks to destroy. This Warrior's task is never completed.	+	[Black screen, text: THREE HOURS LATER:]
-	-07. The Drummer, after a suitable amount of time has passed (up to the Drummer's judgement), slowly begins to raise the pace of the drum. This helps to emphasize that time is mutable, and to encourage others to act--- time never runs out, but it does pass you by.	+	JOHNNY FINDS HIS FAMILY
-	-06. The Chronomancer, filled with his disgust for the object in his hands and hearing the increasing drumbeat, realizes that something must be done. He could cast the disgusting clock away, but that would solve nothing beyond a temporary relief. He could destroy the clock himself, but he has no weapon and is not trained in their use. Instead, surveying those around him, his eyes meet those of the Warrior, and both of them realize that the time has come--- The Chronomancer is in need of a means of destruction, and the Warrior is ready and willing to destroy.	+	[knocking]
-	05. The Chronomancer opens his fist and reveals the clock to the Warrior--- The Drummer raises the pace of the drum quickly (140-210bpm, depending on taste/preference/situation), reflecting his inner state. The Drummer's heart races at the sight of the clock. This device is the death of him--- long ago the way of the drum was abandoned for the way of the clock. The people left the ways of Fotamecus and adopted the delusions Chronos offered them. As long as this clock exists, the safety of the way of the drum cannot be ensured. Still, the Drummer stands and beats his drum, for the ways of Fotamecus are needed now more than ever.	+	Disembodied voice: Hello? Mom? Dad? Jessie? Anybody home?
-	-04. There is a request in the Chronomancer's eyes, one that the Warrior understands. The Warrior presents his rock, and the Chronomancer smiles, holding the clock out to him. The Warrior takes t he clock, and the Chronomancer returns to a steady posture, proud, knowing that the right thing has been done.	+	[sound of keys, show doorknob turning. Door opens, to reveal…]
-	-03. The Warrior does not smile--- celebration now would be premature. His patience has been rewarded, and he has been given the opportunity for action, but the action has not yet been taken. He prepares for action by thoroughly examining his enemy. He takes in the clock in its every detail, coming to know it better than it knows itself. He begins to see its weaknesses, and contemplates them--- This machine requires such precision that the slightest impact will destroy it. Its grip on reality is a tenuous one at best. But though it may appear weak, the Warrior realizes that it is the power of the thinking behind this device that must be destroyed. Let the destruction of this clock act as inspiration to others to destroy their timepieces. And let the power of its destruction feed Fotamecus in his war against Chronos. Let the act of this destruction show the world that Fotamecus has his allies among the living, amongst those who refuse to become ensnared in the trap Chronos has laid for them.	+	[Enter Johnny, looks inside; gets a shocked look]
-	-02. The Warrior drops to one knee, and prepares his victim. All participants realize the imminent destruction of the clock, and with eyes closed visualize the sigil of Fotamecus with all their intent, thinking--- Let this sacrifice empower him.	+	[shot of family portrait on the pale green wall, with blood spattered across it.  It shows the family we saw earlier, plus Johnny.]
-	-01. The Warrior sets the roll of caps upon the ground, and the clock upon that. He places the rock firmly in his hand, and with the sigil of Fotamecus in his mind, raises the rock up and---	+	Johnny: HOLY-
-	00. ---SMASHES THE CLOCK---	+	THE FUNERAL I
-	01. ---With a loud bang and flash of light as the caps explode beneath it. At this moment, the Drummer returns to his earliest drumbeat (60-80 bpm).	+	[cut scene abruptly. Go to black. Fade in to funeral.  Johnny is there, watching as the three normal coffins and one tiny coffin are buried next to each other.  St. Jimmy is there too, standing a distance away from the gathering.  Johnny stares at him.  St. Jimmy doffs his hat, bows, replaces his hat, and walks away with a spring in his step. Johnny stares after him, hatred in his eyes. He leaves, storming off in the direction that St. Jimmy went, forcing his way through the crowd.  He breaks free of the crowd- and St. Jimmy is nowhere to be seen. Johnny, feeling impotent and powerless, hangs his head and turns back to the funeral. An older gentleman, also attending the funeral, sees Johnny, and misinterpreting his mood:]
-	02. The Warrior rises, presenting the dead pieces of the clock (or what he's able to salvage) to the Chronomancer, who takes them from him. Examining them for a brief moment to ensure that the death is complete, the Chronomancer then presents them to the Drummer. Waiting for the right moment, the Drummer ceases to beat his drum, and accepts the destroyed clock from the Chronomancer as a symbol of triumph. Silence permeates the room.	+	Ferguson: You know, funerals aren’t exactly my kind of thing either, Johnny.
-	03. All participants exit the working area silently: Observers first (the crowd disperses), then by the Warrior (who knows his task is done), then by the Chronomancer (who realizes that nothing more is to be done). The Drummer looks at the broken clock in his hands, smiles, and then follows a few moments behind, triumphant.	+	[Johnny looks at him quizzically.]
-	The Sigil of Fotamecus:	+	Ferguson: My name’s Michael Ferguson. I’m an old friend of your father’s.  I know you from the pictures he carried with him.  He always used to talk about his family, before… well, you know.  Come on, I’ll buy you a drink and we can talk about it.
-	[supplied at http://www.spiralnature.com/magick/rituals/fotempower.html ]	+	[cut to bar scene.  They’re both at the bar with a bottle of beer.]
-	Notes:	+	JOHNNY GETS A CLUE
-	1. While this ritual is designed for a group, others are welcome to adapt it for solo use. It is primarily the emotions and symbolism that compose this rite; details are unimportant. Change it to suit your circumstances.	+	Johnny: I just wish I knew who did it. Then at least I could do something about it.
-	2. We performed our rite during a time change when Daylight Savings Time becomes Standard Time, in the "hour that does not exist" between midnight and midnight. You should try to time your ritual to coincide with a significant moment in a cycle of time, be it a time change, sunset, sunrise, midday, midnight, solstice, equinox, or otherwise.	+	Ferguson: Do what? Go charging off to avenge your family? You’d probably get shot up just like them. Or worse, you wouldn’t be able to find the courage to face whoever did it, once you find out, and have to live with the shame of that. [shakes his head] Don’t bother with that.  It’s a waste of time. I doubt your father would want you risking your life for some crazy idea of ‘honor.’
-	3. This ritual was designed without words. There ain't none. If you need 'em, make 'em up yerself. We were quite happy performing the ritual in complete and total silence, with a loud "BANG" at the end.	+	Johnny: Then what should I do?
-	4. Don't worry about thinking exactly the same things that are written down here; the words in this rite are designed to show you the emotions that you should be feeling during each part of the rite. You don't need to have an internal dialogue going; you shouldn't be "reciting the lines in your head". Let the emotions carry you through the ritual; spontaneous thoughts may arise out of these emotions and acts, giving insight into actions taken. It is the emotive force raised by each individual that powers this rite.	+	Ferguson: Move on with your life. Get yourself a job, find yourself a girl, settle down somewhere, have a few kids.
-	5. The caps work even better if you have observers who don't know that they're being used--- They'll jump in surprise/terror/bewilderment when the clock "explodes"--- Gnosis is achieved when everyone wets their pants. Have the Warrior keep them hidden until everyone closes their eyes and he kneels to prepare the clock for sacrifice.	+	[Johnny muses over this for a while.]
-	6. Any participants (or anyone at all) may petition Fotamecus for help at any time after the rite. He seems to show special favor for people who have dedicated themselves to his war. He can compress and expand time quite efficiently, speeding a trip to a destination, or stretching out those peaceful moments you want to enjoy. Time is malleable; otherwise why do this ritual at all? Details about Fotamecus himself are available elsewhere.	+	Johnny: There was this weird guy hanging around at the funeral. He looked like some kind of disco dancer. When he saw me looking at him, he bowed and left. Any idea who he was?
-	7. After performing the entire ritual in silence, it is often hard to start speaking again--- there is a palpable feel that clings to the people who performed the ritual. The traditional way to solve this problem is by performing a banishing ritual. Instead, we prefer to have the Drummer exit last, and to come out beating his drum loudly and screaming at the top of his lungs, breaking the spell that has been cast over the participants. Then banish with food, drink, and merriment!	+	Ferguson: Hmm… He sounds like St. Jimmy. Odd character.  Dangerous to people who aren’t on his good side. I’d stay away from him if I were you.
-	Afterward	+	Johnny: Did he know my father?
-	This ritual was recorded to paper (electron, actually) in a Fotamecus-expanded lunchbreak at a nine-to-five job. Just one more strike against Chronos in the war for time. Praise unto Fotamecus! Smash your clocks! Chronos, your time has come!	+	Ferguson: Yeah… we both did.  Did a little business with him. It went bad; we got out. Sent someone over with a gift and our apologies, haven’t heard from him since.
-	This document Copywronged (x) 1997 by Fenwick Rysen All rights reversed. Feel free to copy, hack, splice, mangle, mutilate, spindle, twist, tear, or re-print, as long as this copywrong notice remains intact. Questions to fenwick @ chaosmatrix . com or to Chaos Matrix: http://www.chaosmatrix.com	+	Johnny: Do you think maybe he’s the one who killed my family?
-	[Note: Slightly altered to fit the format of the site. All original information is intact. --Psyche]	+	Ferguson: Well, may- [stiffens, looks at Johnny sideways.] Say, you aren’t planning on rushing off and trying to snuff him, are you?  Didn’t I tell you not to try to avenge your family, that it’d be foolish, et cetera?
		+	Johnny: [does his best to look innocent] Of course not! I just want to know more about my father’s life, that’s all.  I never really knew him too well; he wasn’t home often.  Was always off on ‘business.’ I want to know what kind of business he was doing that got him involved with a guy like this St. Jimmy character.
		+	Ferguson: [gives some kind of back story involving something illegal but with good intentions that I’ll make up later]
-	This is a musical I am writing; it is the text of the script so far.  Please do not use any part of this in anything else. Thank you.	+	JOHNNY GETS A JOB
		+	[He tries to move on, and gets himself a job working at a bookstore.  He’s still depressed, understandably.]
-	j  o h n n y	+	JOHNNY MEETS JENNY
		+	[Johnny meets Jenny at the bookstore.  They start talking, and end up going out on a date.]
		+
		+
		+	TALKING ‘BOUT ST. JIMMY
		+	[Johnny tells Jenny about his family while they are on a cliff overlooking the bay at night.  Jenny has heard of St. Jimmy, but mostly about the good that he has done.  She never did trust him.  Says so.  Et cetera.]
		+
		+
		+	JENNY’S ENCOUNTER WI/ THE SAINT
		+	[Jenny meets St. Jimmy at the knife and gun shop.  St. Jimmy is getting his Luger cleaned, fixed, etc.  Something wrong with the trigger, it jams sometimes.  Jenny is getting some knives.  They start talking.  Jenny brings up Johnny’s family, St. Jimmy doesn’t like her.  He talks about business.  Jenny storms out, St. Jimmy buys some ammo.]
		+
		+
		+	JENNY’S DEATH
		+	[Jenny dies for saying what she said to St. Jimmy.  Johnny finds her dead body, much like ha found his family.  Also finds a note on a table, that Jenny had written, saying that she might be in danger, had talked to St. Jimmy, etc.]
		+
		+
		+	JOHNNY MOURNS; DECIDES
		+	[Cops come, question Johnny.  He mourns for Jenny.  He walks away, and makes up his mind to find St. Jimmy and kill him.]
		+
		+
		+	JOHNNY JOINS THE MOB
		+	[Johnny asks around and finds out where the mob can be found; where St. Jimmy helps out the homeless who want help.  He goes there, finds the Saint, and offers to join him.  Says he wants to help, and has a keen eye for business matters.  St. Jimmy doesn’t trust him, but allows him to join.  Johnny doesn’t let St. Jimmy know who he is or who his family is, gives a false identity.]
		+
		+
		+	JOHNNY GETS ON THE SAINT’S GOOD SIDE
		+	[Johnny saves St. Jimmy’s life; he wants to kill him himself.  St. Jimmy sees this as Johnny risking his own life to save his, and decides he can trust Johnny.]
		+
		+
		+	THE FIRST JOB
		+	[Johnny goes on his first job in the employ of St. Jimmy.  Does well to impress St. Jimmy and convince him that Johnny has nothing but good intentions.]
		+
		+
		+	TALKING WITH SAINT JIMMY
		+	[Johnny talks with St. Jimmy.  St. Jimmy likes him more and more.  Johnny still hates him, but pretends to like him.  The power of the mob tempts him, but he refuses.  He sees the mob as small, and his family’s death and vengeance as huge.  He has begun to go insane already, and begins to have delusions.]
		+
		+
		+	ST. JIMMY TALKS WITH GOD
		+	[St. Jimmy is starting to feel remorse, has for a while. Talks with his God, tries to atone. Et cetera.]
		+
		+
		+	JOHNNY PLANS
		+	[Johnny, in the midst of his madness, becomes more and more manipulative, and schemes and plots St. Jimmy’s demise.  Finds evidence that his father was a murderer, thief, etc., and that St. Jimmy is more moral than his father, but is set on avenging his family anyways.  He hears voices.  They tell him to kill St. Jimmy, and how to do it.
		+
		+
		+	ST. JIMMY DIES
		+	[In this scene, Johnny’s plan is about to come to fruition.  He and St. Jimmy are at the edge of the bay, and St. Jimmy is talking, facing the bay. Johnny has a garrote hidden in his coat.  He is not listening to St. Jimmy, he is listening to the voices in his head.  As he is about to pull out the garrote and kill St. Jimmy, St. Jimmy turns, and says to Johnny: “Goodbye, Jonathan.  You’ve been a good friend.” He pulls out his Luger, puts it under his jaw, and shoots himself.  His brains fly out into the bay.  The voices in Johnny’s head fall silent and he stands there, shocked and stunned, agape.  St. Jimmy’s bodyguards rush past him to grab St. Jimmy’s dead body, a commotion ensues.  Johnny leaves without saying a word.
		+
		+
		+	JOHNNY WALKS AWAY
		+	[In this scene, Johnny walks through the alleyways of the city, and hears the homeless talking about St. Jimmy in glowing terms.  He announces what has just happened, and keeps walking. He walks to an abandoned warehouse and hangs himself, having no purpose left.]
		+
		+
		+	THE FUNERAL II
		+	[Johnny’s funeral.  His friends are there.  They weep for him. Denouement-type stuff.  This scene not necessary, could be deleted.  Could instead end with the instant of Johnny’s hanging.]
		+
		+
		+	END CREDITS
		+
		+	Katie's Demon
		+	A screenplay by Brian Pait
		+
		+	Dramatic Personae:
		+
		+	Katie: A weird green-haired girl with no friends.  She has odd interests and is lonely. Other people make fun of her or avoid her.  She tries to summon a demon to be her friend.
		+
		+	Kent: A nyx, summoned by Katie, who takes a very long time to arrive
		+
		+	Rolf: An art student who Katie meets at art school.
		+
		+	Popular girls: Popular girls.  They dress alike and make fun of Katie.
		+
		+	Katie’s dad: Katie’s dad. Duh.
		+
		+	Teacher 1: Katie’s Ancient World History teacher.
		+	ACT I
		+
		+	Scene 1
		+
		+	School.  Katie, walking.  She is wearing a black shapeless hat and a faux army jacket wi/zippered pockets.  The jacket is closed.  She has black cargo pants on.  She has hair that is naturally a rather dark brown, but it is dyed green from just above the bottom of the hat downwards.  She has brown eyes and glasses with black rectangular frames.  Her hair is just a bit shorter than shoulder-length and untied.
		+
		+	She walks into class, sits down.  Nobody talks to her, or even looks at her.  She looks at other students, says nothing.  Gets out her supplies.  Class starts.
		+
		+	Teacher 1: Alright class, let’s begin.  Today we are continuing learning about the Sumerians.  Can anybody tell me what kind of religion they had?
		+
		+	Katie: (hand shoots up) They had ziggurats for temples, each of which was controlled by an Ensi associated with each divinity.  The various deities were part of a pantheon known as the Anunaki, which translates to “Heaven and Earth.” The main gods were An, Enlil, Enki, Ninhursag, Ashur, Ninlil, Ninurta, Marduk-
		+
		+	Teacher 1: (interrupting Katie) That’s enough Katie.  I wasn’t looking for a lesson on theology.  All I wanted was to see if you all remembered that the Sumerian religion was polytheistic.
		+
		+	Several students snicker; a group of like-dressed girls laugh at Katie.  She slumps in her chair as the class continues, lowering her eyes to her desk.  [Show desk, with paper sticking out of binder with the title Demonology: A Complete Practical Guide to (the rest is covered)].
		+
		+	Cut to scene in hall, students exiting class.  Katie is shoved aside by the “popular girls,” and she drops her books.  The printout on demonology falls out.  A blonde girl sees it.
		+
		+	Blonde girl: (sarcastically/patronizing) Are you going to summon a demon to bite me, um… whatever your name is?
		+
		+	Other girls laugh as Katie snatches up the printout, and they continue walking as she glares at them.  Nobody helps her pick up her books. Cut to Katie walking out of school, then to her on the bus, then entering her home.
		+
		+	Katie’s dad: Hi, Katie! How was school?
		+
		+	Katie: (irritated) Fine, Dad.  I’m gonna go study in my room, okay?
		+
		+	Katie’s dad: Okay.  Just holler if you need anything.
		+
		+	Katie walks into her room, tosses her bookbag onto a bed (really just a mattress, some blankets and some pillows on the floor). Shot of the demonology thing sticking out, then shot of the room.  There is a poster of Anton Szandor LeVay on the wall, one of Einstein sticking his tongue out, etc.  The room is messy.  There is a filing cabinet, a desk with a computer, a cheir by a window, random other things. Shot of Katie from the door as she sits down at the computer and starts clicking and typing.  Shot of computer screen: Shows an article on Satanic Spellcasting: Hurling Curses and Hexes For Beginners.  Shot of Katie’s face from the side.  She mutters to herself.
		+
		+	Katie: Stupid girls.  They wouldn’t even know an Allu from Asag.  I bet the worst thing they have to worry about is how to decide which boy to say ‘yes’ to first.
		+	Types furiously for a few more seconds, glances at bed, looks back at computer screen and looks at bed again.  Shot of the demonology printout sticking out of her bookbag.  Shot of Katie’s face, looking thoughtful.
		+
		+	Cut to scene of same room, but cleaned up and darkened.  It is lit by a bunch of black candles and one white candle.  Katie is dressed in black and holding a piece of paper with writing on it.
		+
		+	Katie: (in a confident, commanding voice) Ilasa micalazoda olapireta ialpereji beliore: das odo Busadire Oiad ouoaresa caosago: casaremeji Laiada eranu berinutasa cafafame das ivemeda aqoso adoho Moz, od maoffasa. Bolape como belioreta pamebeta. Zodacare od Zodameranu! Odo cicale Qaa. Zodoreje, lape zodiredo Noco Mada, hoathahe Saitan!  Come forth spirit, and guide me! Aid me in my plight! Be to me as I would to you!  Hail Satan! Shemhamforash!
		+
		+	She lights the paper with one of the black candles and drops it in a dish, then watches it burn.  She waits.  Nothing happens for a while.  She looks around.  Nothing happens.
		+
		+	Katie: Hello? (Pause.) Hello? Any… spirits around here? (Waits for an answer. None comes. She sighs.) Oh, well.  I guess it didn’t work.
-	Roll credits, play “Welcome to Paradise,” show title.  Fade out, cut to Paradise Street.	+	Katie blows out a candle, and scene ends abruptly.
-	NARRATOR walks onscreen, and looks at the camera.	+
-	NARRATOR: This is Paradise Street, one street among many in the city of Olshe. There are many stories of people who have lived on this street.  People who gave their blood to this street.  Many stories start here- and many more end here.  The story you will see and hear today begins in a house at 411 Paradise Street.  It is a story of depression, madness, vengeance, and fear.  It begins how most stories here end: with a murder.
-	[One More Murder]	+	More to come.

---

Revision as of 03:40, 11 January 2007

This is a musical I am writing; it is the text of the script so far. Please do not use any part of this in anything else. Thank you.

j o h n n y

Dramatic Personae: [In order of appearance]

St. Jimmy – A mobster with a conscience and an obsession with disco. He takes his own hits on his enemies instead of hiring hitmen. He enjoys killing, but begins to feel guilty about it. He loves disco dancing, disco clothing, disco music, and his Luger, which he has named Betty. He wears a white disco suit, with a black disco shirt, a heavy gold cross medallion, and a white hat. Sometimes a fedora, sometimes a (bucket hat?). He has a bulletproof umbrella. He helps out homeless people and people who want his help and don’t get on his nerves. He asks a price, however.

Johnny – A young man (around 19 or so) out for vengeance. He was going to the local community college, but dropped out when his family was killed by the mob. He wore a lot of black even before his family died. His favorite color is red. He likes mushrooms and beef stew.

Ferguson – An old friend and business partner of Johnny’s father. He likes to drink and he’s a bit absentminded. He’s a relatively cautious guy, likes to mind his own business.

Jenny – A nice girl, about Johnny’s age. She likes knives. She also likes Johnny. She doesn’t like St. Jimmy.

[play Dead Man’s Party, roll credits, opening name-image]

FAMILY DEATH SCENE

[Cut to shot of white jacket, with wide lapels, open to show a black wide-lapel shirt and a big gold cross medallion on a chain. The shirt is also open a bit. A hand with a white sleeve enters from the left side of the screen and pulls a pistol (an old Luger) from the jacket.]

St. Jimmy: [singing along with the music]

[Shot of horrified family: mother, father, daughter, infant. They are standing in front of a wall in what looks to be a living room. The walls are a pale green. There is a blue couch behind them, and what looks to be a family portrait.]

[Show St. Jimmy (side camera). He busts a move, moonwalks, shoots, spins, shoots, does the “Running Man,” shoots, does the “Rocket Man,” and shoots. Does a final move, then (front camera, straight-on) stands erect and poses, hands on his hips.]

St. Jimmy: My work here is done!

[Shot of a boombox, still playing. St. Jimmy’s hand reaches down and presses “Stop.” Music stops. Side view of St. Jimmy; he picks up the boom box and walks out the door, closing it behind him.]

[Black screen, text: THREE HOURS LATER:]

JOHNNY FINDS HIS FAMILY

[knocking]

Disembodied voice: Hello? Mom? Dad? Jessie? Anybody home?

[sound of keys, show doorknob turning. Door opens, to reveal…]

[Enter Johnny, looks inside; gets a shocked look]

[shot of family portrait on the pale green wall, with blood spattered across it. It shows the family we saw earlier, plus Johnny.]

Johnny: HOLY-

THE FUNERAL I

[cut scene abruptly. Go to black. Fade in to funeral. Johnny is there, watching as the three normal coffins and one tiny coffin are buried next to each other. St. Jimmy is there too, standing a distance away from the gathering. Johnny stares at him. St. Jimmy doffs his hat, bows, replaces his hat, and walks away with a spring in his step. Johnny stares after him, hatred in his eyes. He leaves, storming off in the direction that St. Jimmy went, forcing his way through the crowd. He breaks free of the crowd- and St. Jimmy is nowhere to be seen. Johnny, feeling impotent and powerless, hangs his head and turns back to the funeral. An older gentleman, also attending the funeral, sees Johnny, and misinterpreting his mood:]

Ferguson: You know, funerals aren’t exactly my kind of thing either, Johnny.

[Johnny looks at him quizzically.]

Ferguson: My name’s Michael Ferguson. I’m an old friend of your father’s. I know you from the pictures he carried with him. He always used to talk about his family, before… well, you know. Come on, I’ll buy you a drink and we can talk about it.

[cut to bar scene. They’re both at the bar with a bottle of beer.]

JOHNNY GETS A CLUE

Johnny: I just wish I knew who did it. Then at least I could do something about it.

Ferguson: Do what? Go charging off to avenge your family? You’d probably get shot up just like them. Or worse, you wouldn’t be able to find the courage to face whoever did it, once you find out, and have to live with the shame of that. [shakes his head] Don’t bother with that. It’s a waste of time. I doubt your father would want you risking your life for some crazy idea of ‘honor.’

Johnny: Then what should I do?

Ferguson: Move on with your life. Get yourself a job, find yourself a girl, settle down somewhere, have a few kids.

[Johnny muses over this for a while.]

Johnny: There was this weird guy hanging around at the funeral. He looked like some kind of disco dancer. When he saw me looking at him, he bowed and left. Any idea who he was?

Ferguson: Hmm… He sounds like St. Jimmy. Odd character. Dangerous to people who aren’t on his good side. I’d stay away from him if I were you.

Johnny: Did he know my father?

Ferguson: Yeah… we both did. Did a little business with him. It went bad; we got out. Sent someone over with a gift and our apologies, haven’t heard from him since.

Johnny: Do you think maybe he’s the one who killed my family?

Ferguson: Well, may- [stiffens, looks at Johnny sideways.] Say, you aren’t planning on rushing off and trying to snuff him, are you? Didn’t I tell you not to try to avenge your family, that it’d be foolish, et cetera?

Johnny: [does his best to look innocent] Of course not! I just want to know more about my father’s life, that’s all. I never really knew him too well; he wasn’t home often. Was always off on ‘business.’ I want to know what kind of business he was doing that got him involved with a guy like this St. Jimmy character. Ferguson: [gives some kind of back story involving something illegal but with good intentions that I’ll make up later]

JOHNNY GETS A JOB [He tries to move on, and gets himself a job working at a bookstore. He’s still depressed, understandably.]

JOHNNY MEETS JENNY [Johnny meets Jenny at the bookstore. They start talking, and end up going out on a date.]

TALKING ‘BOUT ST. JIMMY [Johnny tells Jenny about his family while they are on a cliff overlooking the bay at night. Jenny has heard of St. Jimmy, but mostly about the good that he has done. She never did trust him. Says so. Et cetera.]

JENNY’S ENCOUNTER WI/ THE SAINT [Jenny meets St. Jimmy at the knife and gun shop. St. Jimmy is getting his Luger cleaned, fixed, etc. Something wrong with the trigger, it jams sometimes. Jenny is getting some knives. They start talking. Jenny brings up Johnny’s family, St. Jimmy doesn’t like her. He talks about business. Jenny storms out, St. Jimmy buys some ammo.]

JENNY’S DEATH [Jenny dies for saying what she said to St. Jimmy. Johnny finds her dead body, much like ha found his family. Also finds a note on a table, that Jenny had written, saying that she might be in danger, had talked to St. Jimmy, etc.]

JOHNNY MOURNS; DECIDES [Cops come, question Johnny. He mourns for Jenny. He walks away, and makes up his mind to find St. Jimmy and kill him.]

JOHNNY JOINS THE MOB [Johnny asks around and finds out where the mob can be found; where St. Jimmy helps out the homeless who want help. He goes there, finds the Saint, and offers to join him. Says he wants to help, and has a keen eye for business matters. St. Jimmy doesn’t trust him, but allows him to join. Johnny doesn’t let St. Jimmy know who he is or who his family is, gives a false identity.]

JOHNNY GETS ON THE SAINT’S GOOD SIDE [Johnny saves St. Jimmy’s life; he wants to kill him himself. St. Jimmy sees this as Johnny risking his own life to save his, and decides he can trust Johnny.]

THE FIRST JOB [Johnny goes on his first job in the employ of St. Jimmy. Does well to impress St. Jimmy and convince him that Johnny has nothing but good intentions.]

TALKING WITH SAINT JIMMY [Johnny talks with St. Jimmy. St. Jimmy likes him more and more. Johnny still hates him, but pretends to like him. The power of the mob tempts him, but he refuses. He sees the mob as small, and his family’s death and vengeance as huge. He has begun to go insane already, and begins to have delusions.]

ST. JIMMY TALKS WITH GOD [St. Jimmy is starting to feel remorse, has for a while. Talks with his God, tries to atone. Et cetera.]

JOHNNY PLANS [Johnny, in the midst of his madness, becomes more and more manipulative, and schemes and plots St. Jimmy’s demise. Finds evidence that his father was a murderer, thief, etc., and that St. Jimmy is more moral than his father, but is set on avenging his family anyways. He hears voices. They tell him to kill St. Jimmy, and how to do it.

ST. JIMMY DIES [In this scene, Johnny’s plan is about to come to fruition. He and St. Jimmy are at the edge of the bay, and St. Jimmy is talking, facing the bay. Johnny has a garrote hidden in his coat. He is not listening to St. Jimmy, he is listening to the voices in his head. As he is about to pull out the garrote and kill St. Jimmy, St. Jimmy turns, and says to Johnny: “Goodbye, Jonathan. You’ve been a good friend.” He pulls out his Luger, puts it under his jaw, and shoots himself. His brains fly out into the bay. The voices in Johnny’s head fall silent and he stands there, shocked and stunned, agape. St. Jimmy’s bodyguards rush past him to grab St. Jimmy’s dead body, a commotion ensues. Johnny leaves without saying a word.

JOHNNY WALKS AWAY [In this scene, Johnny walks through the alleyways of the city, and hears the homeless talking about St. Jimmy in glowing terms. He announces what has just happened, and keeps walking. He walks to an abandoned warehouse and hangs himself, having no purpose left.]

THE FUNERAL II [Johnny’s funeral. His friends are there. They weep for him. Denouement-type stuff. This scene not necessary, could be deleted. Could instead end with the instant of Johnny’s hanging.]

END CREDITS

Katie's Demon A screenplay by Brian Pait

Dramatic Personae:

Katie: A weird green-haired girl with no friends. She has odd interests and is lonely. Other people make fun of her or avoid her. She tries to summon a demon to be her friend.

Kent: A nyx, summoned by Katie, who takes a very long time to arrive

Rolf: An art student who Katie meets at art school.

Popular girls: Popular girls. They dress alike and make fun of Katie.

Katie’s dad: Katie’s dad. Duh.

Teacher 1: Katie’s Ancient World History teacher.

ACT I

Scene 1

School. Katie, walking. She is wearing a black shapeless hat and a faux army jacket wi/zippered pockets. The jacket is closed. She has black cargo pants on. She has hair that is naturally a rather dark brown, but it is dyed green from just above the bottom of the hat downwards. She has brown eyes and glasses with black rectangular frames. Her hair is just a bit shorter than shoulder-length and untied.

She walks into class, sits down. Nobody talks to her, or even looks at her. She looks at other students, says nothing. Gets out her supplies. Class starts.

Teacher 1: Alright class, let’s begin. Today we are continuing learning about the Sumerians. Can anybody tell me what kind of religion they had?

Katie: (hand shoots up) They had ziggurats for temples, each of which was controlled by an Ensi associated with each divinity. The various deities were part of a pantheon known as the Anunaki, which translates to “Heaven and Earth.” The main gods were An, Enlil, Enki, Ninhursag, Ashur, Ninlil, Ninurta, Marduk-

Teacher 1: (interrupting Katie) That’s enough Katie. I wasn’t looking for a lesson on theology. All I wanted was to see if you all remembered that the Sumerian religion was polytheistic.

Several students snicker; a group of like-dressed girls laugh at Katie. She slumps in her chair as the class continues, lowering her eyes to her desk. [Show desk, with paper sticking out of binder with the title Demonology: A Complete Practical Guide to (the rest is covered)].

Cut to scene in hall, students exiting class. Katie is shoved aside by the “popular girls,” and she drops her books. The printout on demonology falls out. A blonde girl sees it.

Blonde girl: (sarcastically/patronizing) Are you going to summon a demon to bite me, um… whatever your name is?

Other girls laugh as Katie snatches up the printout, and they continue walking as she glares at them. Nobody helps her pick up her books. Cut to Katie walking out of school, then to her on the bus, then entering her home.

Katie’s dad: Hi, Katie! How was school?

Katie: (irritated) Fine, Dad. I’m gonna go study in my room, okay?

Katie’s dad: Okay. Just holler if you need anything.

Katie walks into her room, tosses her bookbag onto a bed (really just a mattress, some blankets and some pillows on the floor). Shot of the demonology thing sticking out, then shot of the room. There is a poster of Anton Szandor LeVay on the wall, one of Einstein sticking his tongue out, etc. The room is messy. There is a filing cabinet, a desk with a computer, a cheir by a window, random other things. Shot of Katie from the door as she sits down at the computer and starts clicking and typing. Shot of computer screen: Shows an article on Satanic Spellcasting: Hurling Curses and Hexes For Beginners. Shot of Katie’s face from the side. She mutters to herself.

Katie: Stupid girls. They wouldn’t even know an Allu from Asag. I bet the worst thing they have to worry about is how to decide which boy to say ‘yes’ to first. Types furiously for a few more seconds, glances at bed, looks back at computer screen and looks at bed again. Shot of the demonology printout sticking out of her bookbag. Shot of Katie’s face, looking thoughtful.

Cut to scene of same room, but cleaned up and darkened. It is lit by a bunch of black candles and one white candle. Katie is dressed in black and holding a piece of paper with writing on it.

Katie: (in a confident, commanding voice) Ilasa micalazoda olapireta ialpereji beliore: das odo Busadire Oiad ouoaresa caosago: casaremeji Laiada eranu berinutasa cafafame das ivemeda aqoso adoho Moz, od maoffasa. Bolape como belioreta pamebeta. Zodacare od Zodameranu! Odo cicale Qaa. Zodoreje, lape zodiredo Noco Mada, hoathahe Saitan! Come forth spirit, and guide me! Aid me in my plight! Be to me as I would to you! Hail Satan! Shemhamforash!

She lights the paper with one of the black candles and drops it in a dish, then watches it burn. She waits. Nothing happens for a while. She looks around. Nothing happens.

Katie: Hello? (Pause.) Hello? Any… spirits around here? (Waits for an answer. None comes. She sighs.) Oh, well. I guess it didn’t work.

Katie blows out a candle, and scene ends abruptly.

More to come.