愁云惨淡的华盛顿市，一幢普通公寓内，单身妈妈克莉丝（艾伦·鲍斯汀 Ellen Burstyn 饰）和女儿芮根生活于此。然而近一段时间，克莉丝却被女儿种种怪异的举止折磨得烦躁不堪。芮根的行为举止怪异，迥异常人。克莉丝带她求医问卜，终无所获，甚至精神科医生也束手无策。万般无 奈之下，几近绝望的母亲求助于莫林神父（马克斯·冯·西多 Max von Sydow 饰），一个有着丰富驱魔经验的老者。恐怖的夜晚，神父与藏身少女体内的恶魔展开连番较量。这是一个注定让无数人永生难忘的恶魔之夜……
本片由William Batty根据1949年一起真实的驱魔事件创作的小说改编，荣获奥斯卡金像奖最佳混音奖和最佳改编剧本奖。

Shaw characterised Saint Joan as "A Chronicle Play in 6 Scenes and an Epilogue". Joan, a simple peasant girl, hears voices which she claims to be those of Saint Margaret, Saint Catherine, and the archangel Michael, sent by God to guide her conduct.
Scene 1 begins with Robert de Baudricourt complaining about the inability of the hens on his farm to produce eggs. Joan claims that her voices are telling her to raise a siege against Orléans, and to allow her several of his men for this purpose. Joan also says that she will eventually crown the Dauphin in Rheims cathedral. de Baudricourt ridicules Joan, but his servant feels inspired by her words. de Baudricourt eventually begins to feel the same sense of inspiration, and gives his consent to Joan. The servant enters at the end of the scene to exclaim that the hens have begun to lay eggs again. de Baudricourt interprets this as a sign from God of Joan's divine inspiration.
In Scene 2 (8 March 1429), Joan talks her way into being received at the court of the weak and vain Dauphin. There, she tells him that her voices have commanded her to help him become a true king by rallying his troops to drive out the English occupiers and restore France to greatness. Joan succeeds in doing this through her excellent powers of flattery, negotiation, leadership, and skill on the battlefield.
In Scene 3 (29 April 1429), Dunois and his page are waiting for the wind to turn so that he and his forces can lay siege to Orléans. Joan and Dunois commiserate, and Dunois attempts to explain to her more pragmatic realities of an attack, without the wind at their back. Her replies eventually inspire Dunois to rally the forces, and at the scene's end, the wind turns in their favour.
Ultimately she is betrayed, and captured by the English at the siege of Compiègne. Scene 6 (30 May 1431) deals with her trial. John de Stogumber is adamant that she be executed at once. The Inquisitor, the Bishop of Beauvais, and the Church officials on both sides of the trial have a long discussion on the nature of her heresy. Joan is brought to the court, and continues to assert that her voices speak to her directly from God and that she has no need of the Church's officials. This outrages de Stogumber. She acquiesces to the pressure of torture at the hands of her oppressors, and agrees to sign a confession relinquishing the truth behind her voices, so that she can live a life in permanent confinement without hope of parole. Upon hearing this, Joan changes her mind:
Joan: "You think that life is nothing but not being dead? It is not the bread and water I fear. I can live on bread. It is no hardship to drink water if the water be clean. But to shut me from the light of the sky and the sight of the fields and flowers; to chain my feet so that I can never again climb the hills. To make me breathe foul damp darkness, without these things I cannot live. And by your wanting to take them away from me, or from any human creature, I know that your council is of the devil."
Joan accepts the ultimate punishment of death at the stake as preferable to such an imprisoned existence. de Stogumber vehemently demands that Joan then be taken to the stake for immediate execution. The Inquisitor and the Bishop of Beauvais excommunicate her and deliver her into the hands of the English. The Inquisitor asserts that Joan was fundamentally innocent, in the sense that she was sincere and had no understanding of the church and the law. de Stogumber re-enters, screaming and severely shaken emotionally after seeing Joan die in the flames, the first time that he has witnessed such a death, and realising that he has not understood what it means to burn a person at the stake until he has actually seen it happen. A soldier had given Joan two sticks tied together in a cross before the moment of her death. Bishop Martin Ladvenu also reports that when he approached with a cross to let her see the cross before she died, and he approached too close to the flames, she had warned him of the danger from the stake, which convinced him that she could not have been under the inspiration of the devil.
In the Epilogue, 25 years after Joan's execution, a new trial has cleared her of heresy. Brother Martin brings the news to the now-King Charles. Charles then has a dream in which Joan appears to him. She begins conversing cheerfully not only with Charles, but with her old enemies, who also materialise in the King's bedroom. An emissary from the present day (at the time of the play, the 1920s) brings news that the Catholic Church is to canonise her, in the year 1920. Joan says that saints can work miracles, and asks if she can be resurrected. At this, all the characters desert her one by one, asserting that the world is not prepared to receive a saint such as her. The last to leave is the English soldier, who is about to engage in a conversation with Joan before he is summoned back to hell at the end of his 24-hour respite. The play ends with Joan ultimately despairing that mankind will never accept its saints:
O God that madest this beautiful earth, when will it be ready to accept thy saints? How long, O Lord, how long?

Hedda Gabler, daughter of an aristocratic general, has just returned to her villa in Kristiania (now Oslo) from her honeymoon. Her husband is Jørgen Tesman, an aspiring, young, reliable (but not brilliant) academic who has combined research with their honeymoon. It becomes clear in the course of the play that she has never loved him but has married him for reasons pertaining to the boring nature of her life. It is also suggested that she may be pregnant.
The reappearance of Tesman's academic rival, Ejlert Løvborg, throws their lives into disarray. Løvborg, a writer, is also a recovered alcoholic who has wasted his talent until now. Thanks to a relationship with Hedda's old schoolmate Thea Elvsted (who has left her husband for him), Løvborg shows signs of rehabilitation and has just completed a bestseller in the same field as Tesman.
The critical success of his recently published work transforms Løvborg into a threat to Tesman, as Løvborg becomes a competitor for the university professorship Tesman had been counting on. Tesman and Gabler are financially overstretched, and Tesman tells Hedda that he will not be able to finance the regular entertaining or luxurious housekeeping that Gabler had been expecting. Upon meeting Løvborg, however, the couple discover that he has no intention of competing for the professorship, but rather has spent the last few years labouring with Mrs. Elvsted over what he considers to be his masterpiece, the "sequel" to his recently published work.
Apparently jealous of Mrs. Elvsted's influence over Løvborg, Gabler hopes to come between them. She provokes Løvborg to get drunk and go to a party. Tesman returns home from the party and reveals that he found the manuscript of Løvborg's great work, which the latter has lost while drunk. When Gabler next sees Løvborg, he confesses to her, despairingly, that he has lost the manuscript. Instead of telling him that the manuscript has been found, Gabler encourages him to commit suicide, giving him a pistol. She then burns the manuscript and tells Tesman she has destroyed it to secure their future.
When the news comes that Løvborg has indeed killed himself, Tesman and Mrs. Elvsted are determined to try to reconstruct his book from Løvborg's notes, which Mrs. Elvsted has kept. Gabler is shocked to discover from Judge Brack (a friend of Tesman's), that Løvborg's death, in a brothel, was messy and probably accidental (this "ridiculous and vile" death contrasts with the "beautiful and free" one that Gabler had imagined for him). Worse, Brack knows the origins of the pistol. He tells Gabler that if he reveals what he knows, a scandal will likely arise due to her role in giving Løvborg the pistol. Gabler realizes that this places Brack in a position of power over her. Leaving the others, she goes into her smaller room and shoots herself in the head. The others in the room assume that Gabler is simply firing shots, and they follow the sound to investigate. The play ends with Tesman, Brack, and Mrs. Elvsted discovering her body.

Black Like Me is the true account of John Griffin's experiences when he passed as a black man.