一切都由一本科幻小说引起。小说家杨匡（刘兆铭 饰）的科幻小说里描述了一种改造新人类的方法，那就是抽取人类的脑细胞，加以改造，以此甚至能控制被改造者的思想。这一切看似荒诞的想法，竟被一个阴谋控制全世界的富商看中。他出资建立了实验室，招募了一批手下，将杨匡捉了去做实验。后来，杨匡逃了出来，被人送到医院。医生原振侠（黎明 饰）武功高强，为人正义，他发现杨匡十分沉默寡言，目光呆滞，经常用水清洗双手。杨匡的反常的表现引起了原振侠的注意，他和护士彩云（朱茵 饰）决心找出杨匡背后隐藏的秘密。

一段离奇经历，四段微妙恋情。黎明、李嘉欣、王菲、朱茵为你倾情演出。 　　年轻医生原振侠（黎明）在偶然机会下，救了幻想小说家黄匡（刘兆铭），从而展开一段曲折离奇的冒险历程。 　　匡获救后半疯不癫，原寻遍其家人不获。美艳女子黄娟（李嘉欣）突来想认，并指匡为其生父，但匡见她却大惊。原觉事有蹊跷，欲替匡作进一步检查， 匡竟离奇暴毙。原女友蓝绫（洪欣）劝他收手，免遭横祸，但原却不以为然，其后绫失踪，神秘事件接踵而来…… 　　绢最具嫌疑，原着手调查，适逢女特务海棠（王菲）正追查绢，两携手合作，逐渐萌生微妙感情。此时绫再出现，却判若两人，更欲加害原。棠为救原而杀绫，原情义两给，痛苦万分。幸得红颜知已云彩（朱茵）相助，原重新振作，誓要查出真相……

All Elli wanted was a family to love. But finding one turns out to be a ghostly affair.

All Elli wanted was a family to love. But finding one turns out to be a ghostly affair.

名医原振侠在泰国北部探险，发现大巫师将已故酋长之女芭珠血祭“老祖宗”，原救了芭珠，却中了血咒。芭珠以本命护身降救回原振侠一命。但原血咒未消，到第七次冒血就无药可救。原找到卫斯理帮忙，原振侠，女记者彩虹与芭珠的男友黑龙一同出发到泰国找解药佛眼珠。卫斯理则去取降魔武器，随后赶来。大巫师派出嗜血的恶鬼头与大批手下伏击原振侠等人。原等几经辛苦，取得佛眼珠后解除血咒。 大巫师请出“老祖宗”的六神血魔，又使出女婴妖功，卫斯理与白素以降魔武器应付，展开正邪大斗法。

名医原振侠在泰国北部探险，发现大巫师将已故酋长之女芭珠血祭“老祖宗”，原救了芭珠，却中了血咒。芭珠以本命护身降救回原振侠一命。但原血咒未消，到第七次冒血就无药可救。原找到卫斯理帮忙，原振侠，女记者彩虹与芭珠的男友黑龙一同出发到泰国找解药佛眼珠。卫斯理则去取降魔武器，随后赶来。大巫师派出嗜血的恶鬼头与大批手下伏击原振侠等人。原等几经辛苦，取得佛眼珠后解除血咒。 大巫师请出“老祖宗”的六神血魔，又使出女婴妖功，卫斯理与白素以降魔武器应付，展开正邪大斗法。

由《骑劫地下铁》《麦克阿瑟传》导演约瑟夫.萨金特执导的恐怖短片集：第一个故事讲述一个有烟瘾的女人深夜开车到商店买烟的时候碰上了一个杀手；第二个故事讲述商城里的一名游戏迷儿童因为对游戏的迷恋导致致命的故事；第三个故事很像斯皮尔伯格的《决斗》讲述一名牧师对小镇失去了信心，离开小镇后被一辆神秘的黑色小卡车疯追；最后一个故事讲述一家三口抓一只巨型老鼠的故事。 大奇特 编写

台灣的文化、風俗、信仰千奇百趣！在台港妹林映暉、連同宋婭彤等好姊妹加上一位台灣型男，參觀多家特色廟宇，參與特殊節氣才會舉辦的民俗活動，體驗「過五關」、放鹽水蜂炮等極度危險的宗教儀式；勇闖多處廢墟進行「暗黑」探險，如有名的民雄鬼屋、申請文化保存的二戰軍事遺蹟……還會發掘台灣的奇人，包括享譽全球的光劍大師；探索特殊景點，如世界唯一之的士博物館、塞滿充氣娃娃的咖啡店等……來一趟古靈精怪的台灣另類深度遊！

7日7频道栏目的基本构架是以故事化的选题为主导，辅以生活服务类资讯信息。2012年停播。

Lord of the Frames: Kurt Kren 　　by Peter Tscherkassky 　　Translation: Elisabeth Frank-Großebner 　　reprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996 　　In 1964, "Wien Film" refused to print 6/64 Mama und Papa. When Kurt Kren handed in the original, the film grader said with an undertone of sympathy that, given the many cuts, one would not be able to make out anything, anyway. His worries were groundless: when Kren came to pick up the print, some people with flushed faces left the projection room, telling him to get out and never to come back again. A few months later, a similar scene took place at "Listo", where 9/64 O Tannenbaum was not accepted. Kren ultimately found a place that took his films, based on actions by Otto Muhl and Gunter Brus: a house on Peter Kaiser Gasse in Jedlersdorf, a neighborhood in the East of Vienna, on the other side of the river Danube. There, in the 21st district, on the most remote outskirts of town, films were developed and printed in self-made contraptions reminiscent of washing-machine drums. The man who ran the business single-handedly intimated that he was used to explicit images owing to customers from the blue movie scene. The facts that the credits in a few Kren works from those days are slightly out of place and that the name "Kren" next to the copyright sign goes beyond the edge of the frame can be explained in this context. On request, credits were in-house productions, but they were made with a camera that had no view finder, for which reason slipped boards were none too unusual. There were no objections to the films' content, formal and creative issues played a secondary role. 　　Be that as it may - the "© Kren" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the "Jedlersdorf period" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography. 　　(Source: http://www.hi-beam.net/mkr/kk/kk-bio.... 　　http://www.ubu.com/film/kren.html