In the coded world of the classical Hollywood cinema, the figure of the "disabled" body is always a double body. Especially the disabled male body. Haunted by its uncanny partner, the "normal" body, it is chained forever to its own doppelganger. Indeed, it is the very spectacle of the disabled body that creates the spectral "normal body" in the first place, as negative space creates form. The latter cannot exist without the former. The disabled body (as an abelist fantasy figure) is constructed by an act of semiotic dismemberment. It is marked as an assembly of parts, each of which is vulnerable to failure or amputation--an assembly being held together by fetish magic. This marking and fetishizing creates a fictional un-marked able body which passes as a seamless whole. In this manner, the figure of the disabled body gives local habitation and a name to a site of existential bondage. My belief in the existence of such a site is necessary to my belief that I live elsewhere, that I am unbound. It enables my fantasy that there is a category of Other People--a category to which I do not belong--who are chained to dying animals, whereas I float free. It enables the fantasy that there is a posthuman escape from "the meat world," as William Gibson has phrased it. (1) In short, if there were no disabled people, Hollywood would have to invent them (as, indeed, it has).