Story Ideas Journal

Copyright 2010 by Gary L. Pullman

Like many other writers, Mark Twain kept a notebook--or a series of the, actually--I which, among other entries, he jotted down story ideas. I find that the USA Today’s “Across the USA: News From Every State” column, quite unintentionally, I’m sure, provides fruit for me (and for others), on a daily basis, for story ideas, ripe for the plucking. Notebooks and notebooks of the, in fact. By applying a bit of Gahan Wilson logic or Gary Larson perspective to the news items reported in this column, I find that I can transform at least a few of the straightforward reports into ideas for potential horror stories. For example, five of the fifty reports, or a full ten percent of the, in the September 27, 2010 issue of the newspaper show promise, which is to say, with a little revision., could become the bases of stories from the dark side of the soul. Courtesy of the great states of Louisiana, Montana, Texas, Virginia, and Washington, here they are, followed by my revisions to them and the bases of the revisions.

[Original:] Louisiana: Leesville--Work on a new veterans cemetery begins this week next to Fort Polk. Mike Sewell, project manager for Pat Williams Construction, said a survey crew should be preparing for timber clearing in about two weeks. He said the $6.1 million project should be completed late next year.

Revision: Louisiana: Leesville--Work on a new veterans cemetery begins this week next to Fort Polk. The $6.1 million project, the project manager for the contractor said, will kick off the U. S. military’s combined forces’ Operation Alpha, which is expected to ignite a theater-wide war in the Middle East, requiring at least 100,00 graves by the end of the anticipated five-year conflict. (Story Idea)

Basis of Revision: The revision is based on a reversal of cause and effect, assuming that cemeteries occasion casualty-producing wars rather than answering the need for burial sites that is caused by wars--in other words, that the cemeteries are completed prior to the wars that are fought to fill the cemeteries.

[Original:] Montana: Missoula--The art work of a former war prisoner who created drawings of atrocities he witnessed while the Japanese held him during World War II has found a home at the Montana Museum of Art and Culture. The museum announced that it has acquired 11 oil paintings and nearly 80 drawings by Ben Steele, 92. The Montana native was taken prisoner when he was 23.

Revision: Montana: Missoula--The art work of a former war prisoner who created drawings of atrocities he witnessed while the Japanese held him during World War II has found a home at the Montana Museum of Magical Realism. The museum curator announced that the 11 oil paintings and nearly 80 drawings by Ben Steele, 92, represent “performance art,” that is capable of magically recreating the actual experience that the artist underwent so that whoever views his work will actually live through the same atrocities that the artist experienced when he was taken prisoner at age 23. (Story Idea)

Basis of Revision: By transforming drawings and paintings into items of magical “performance art” that recreate the artists’ experiences as a prisoner of war so faithfully and completely that viewers actually undergo the atrocities that the art depicts, this story idea plays with the idea of art as a representation of human experience, taking the concept to fantastic extremes.

[Original:] Texas: Houston--Area residents turned over more than 3,000 pounds of expired, unused and unwanted prescription medications to federal authorities. The Saturday collection was the U. S. Drug Enforcement Administration’s first effort to round up unused prescription medications at 3,400 locations nationwide as part of its campaign.

Revision: Texas: Houston--Area residents turned over more than 3,000 unwanted infants and toddlers to federal authorities. The Saturday collection was the U. S. Department of Health and Human Services’ first effort to round up unwanted children at 3,400 locations nationwide for use in cloning and bioengineering research. (Story Idea) This story idea obviously lends itself well to satirical treatment of the federal government’s heavy-handed intrusions into citizens’ lives. (Other horrific ideas might stem from the substitution of “virgins” or “spouses” for “prescription drugs.”)

Basis of Revision: The substitution of babies for prescription drugs is an interesting revision to the original news report, to be sure, and one that calls for explanation; the explanation is as monstrous as the federal bureaucracies that involve themselves in such “health” concerns as abortion, fetal stem cell research and similar matters, replaced, in my revision with “cloning and bioengineering research.”

[Original:] Virginia: Lexington--Washington and Lee University is stepping up efforts to recruit Jewish students as part of efforts to create a more diverse campus. Jewish students currently make up 4.5% of about 1,760 undergraduate students. Recruitment efforts include attending college fairs and visiting Jewish schools, community centers, and teen groups.

Revision: Virginia: Lexington--Washington and Lee University is stepping up efforts to recruit human oddities as part of efforts to create a more diverse campus. Human oddities, or “freaks,” as they were once know currently make up 4.5% of about 1,760 undergraduate students. Recruitment efforts include attending county fairs and visiting circuses and carnival sideshows. (Story Idea) This politically incorrect storyline is certainly insensitive and bigoted, but it is one that pokes fun at political correctness and, as such, could lend itself to a satirical send-up of social and collegiate concerns for “diversity.”

Basis of Revision: Again, by simply substituting one group of people (“human oddities”) for another (“Jewish” students), an unlikely and, in this case, offensive, storyline suggests itself that could have horrific possibilities.

[Original:] Washington: Bellingham--State officials said they stopped a boat that was contaminated by zebra mussels before the invasive species could spread in the state’s waters. Officers with the Department of Fish and Wildlife and Washington State Patrol in Cle Elum inspected the boat being hauled from Michigan to British Columbia.

Revision: Washington: Bellingham--State officials said they stopped a boat that was contaminated by extraterrestrial spores that could have fertilized animal ova, resulting in a hybridized alien-animal life form such as the world has never seen. (Story Idea) The original report could also have changed by substituting an alien virus for the “zebra mussels,” causing a potential pandemic or by replacing “zebra mussels” with a reference to an extraterrestrial germ or other agent that causes a reverse-terraforming of the Earth that makes it inhabitable to humans but livable for the aliens who will soon arrive to replace the humans they’ve killed in advance of their arrival.

Basis of Revision: Substitution of terms.

Every day, USA Today provides writers with another column featuring “news from every state.” If only two items per day result in potential ideas for horror stories, a year will provide 730 entries to one’s journal of story ideas. Very likely, the column will suggest many more. If one generates as many as five each day, as I gleaned from among today’s news items, a year’s yield will provide a whopping 1,825 entries--way more than even the most prolific writer could hope to use in a lifetime!

A Plot Hole “Under the Dome”?

Copyright 2020 by Gary L. Pullman

At 1,074 pages, Stephen King’s latest work, Under the Dome, isn’t a novel; it’s an experience!

Since the riot at the Food Town supermarket, much of the story’s action has concerned repercussions of this food fight and of other previous incidents that have occurred following the mysterious descent of the dome over Chester’s Mill, Maine.

Second Selectman Big Jim Rennie has seized the opportunity presented by this sudden crisis to seize more power for himself, becoming a dictator, always, he says, for the good of the town he serves. This “good” includes the two murders he’s committed, those of the Reverend Lester Coggins of Christ the Holy Redeemer Church, and Brenda, the elderly widow of former Police Chief Howard (“Duke”) Perkins, who was an early casualty of the dome. By getting rid of the chief law enforcement officer of the community and replacing him with Pete Randolph, a fairly stupid, eager-to-please follower, Big Jim Rennie ensures that there is no law except that which he chooses to enforce for his own purposes. King thus returns Chester’s Mill to a more-or-less uncivilized state of the “noble savage” similar to that of which Jean-Jacques Rousseau waxes poetic and against which novelist William Golding, in Lord of the Flies, cautions.

Because King has a lot of ground to cover, he alternates between relatively short scenes that develop his multiple subplots and connect them to the central storyline. Perhaps for himself as much as for his reader, the author provides both a map of Chester’s Mill and a list of many of the characters who appear in the novel. This list is a handy way to keep track of the characters and their actions and of the plot in general.

By and by, this post will delve into a few implications of these actions; but, initially, it will be more concerned with summarizing the major events that have transpired since the food fight.

Colonel Dale (“Barbie”) Barbara has been jailed on the pretext that he is the killer of Angie McCain, Dorothy (“Dodee”) Sanders (First Selectman Andy Sanders’ daughter), Lester Coggins, and Brenda Perkins, whereas in fact the true killers are Big Jim and his son Junior. Andy visits Barbie in jail, raving at him for having murdered his daughter. (Andy’s wife Claudette was an early victim of the dome; the airplane in which she was taking flight instructions flew into it.)

Third Selectman Andrea Grinnell kicks her addiction to pain pills cold turkey.

Peter Randolph’s police force is bolstered by additional thuggish young recruits.

Henchmen of Big Jim burn down Julia Shumway’s newspaper and her home, which was located on the same building’s second floor. Homeless, Julia spends the night at Andrea’s house, sleeping on the couch with her dog, Horace. Although Big Jim sends his henchmen around town to collect the last edition of Julia’s newspaper, which questions Barbie’s guilt, a few of the issues are collected by townspeople, read, and passed around until the copies literally fall apart from the handling.

In the food fight, Special Deputy Georgia Roux, who assisted her colleagues Frank DeLesseps, Melvin Searles, and Carter Thibodeau, in the beating and rape of Samantha Bushey, was severely injured and is in the hospital. After abandoning her eighteen-month-old son Little Walter (as both the baby and she herself were abandoned by her husband, Phil, who, a drug-crazed addict, now goes by the nickname “The Chef,” living at Big Jim‘s methamphetamine lab behind the Holy Redeemer Church), Samantha obtains a handgun, using it to kill both Georgia and her after-hours visitor Carter, before turning the same weapon upon herself and committing suicide.

Andy is about to commit suicide when he receives a telephone call from the hospital, asking him to come to the aid of the medical staff, as there has been a double murder and a suicide there.

English professor Thurston Marshall and his student-girlfriend Carolyn Sturgis take in orphans Alice and Aidan Appleton, and Thurston assists physician’s assistant Eric (“Rusty”) Everett at the hospital. Aidan experiences seizures during which they hallucinate about Halloween and pink stars that trail lines behind them.

Other children who have these same visions include boy genius “Scarecrow” Joe McClatchey, Norrie Calvert, and Benny Drake, who, using a Geiger counter supplied by Barbie, discover, atop Black Ridge, beyond the McCoy apple orchard, what they believe is the generator that has created and sustains the dome. They report their discovery to Rusty. Later, pink stars fall over Chester’s Mill. Although it seems that these stars may have a paranormal or even a supernatural origin, they are explained as a meteor shower (“falling stars”), the pink color of which is an effect of the pollution adhering to the outer surface of the dome.

Having framed Barbie for multiple murders (and his friends for the arson that burned down the newspaper), Big Jim shuts down his methamphetamine operation, returning some of the stolen propane tanks that he’d used to fuel the works to the hospital. The men who return the tanks, chicken farmer Roger Killian, undertaker Stewart Bowie, and Stewart’s brother Fernald (“Fern”), see a “cryptic message” that “had been painted on the storage building behind the WCIK studios” near the Holy Redeemer Church. Referencing the book of Revelation’s prophecy that “the beast will be cast into a burning lake of fire,” the message calls upon its readers to “burn the wicked” and “purify the saintlie” (566), a directive which, the novel’s reader suspects, may have been painted by the mad meth addict Phil (“The Chef”) Bushey. Does The Chef himself intend to play the role of “purifier”? one wonders, believing himself to be an implement of divine wrath? The Chef has wired the storage shed that serves as the meth lab with explosives. Perhaps he also has other surprises in store for those whom he considers to be sinners.

A second attempt by the military to penetrate the dome, this time, with a pair of Cruise missiles, fails. The town remains cut off, an incubator for corruption and the empowerment of those who would benefit themselves by hurting, rather than helping, their neighbors.

Rusty, refusing to believe that Barbie murdered anyone, persuades his wife, Deputy Linda Everett, who has come around to his way of thinking after her initial suspicion of Barbie's guilt, to accompany him to the Bowie funeral home, where he examines the victims’ bodies while Deputy Stacey Moggin stands watch outside, ready to alert them over her walkie-talkie if anyone approaches the scene. Rusty discovers that Brenda died as the result of someone’s having broken her neck; however, his finding does not exonerate Barbie as the murderer.

A few things beyond the mere summary of the plot do merit mention in regard to the theory and practice of writing horror fiction, which is the purpose of this blog, after all.

One, already mentioned, is how King alternates between brief scenes to keep his reader apprised as to what is happening throughout town among his various characters, keeping the pace moving forward at a fairly rapid clip despite the scenes' heavy exposition, and dovetailing the main storyline with the novel’s many subplots. This technique also unifies the action. In fact, several times, King has his characters cross paths as they execute their own plans. For example, Rusty drives past both Joe McClatchey and, later Samantha Bushey. Another means of tying the action together is to have a character go to several other characters’ homes or places of business in succession, as Brenda Perkins does when she is seeking a safe place to keep the incriminating evidence that Howard Perkins had compiled against Big Jim and as Julia Shumway does in seeking a place to spend the night after her home and business are burned down.

Another point to consider is the characterization of Barbie as one who outmatches his adversaries. His captors fancy themselves accomplished inquisitors, as is seen in Junior Rennie's attempts to tempt Barbie with a glass of water to quench his thirst if Barbie will sign a confession, admitting he’s killed the murder victims. Barbie is aware of such tricks:

Barbie was. . . very thirsty, and it didn’t surprise him much when one of the new officers showed up with a glass of water in one hand and a sheet of paper with a pen attached to it in the other. Yes, it was how these things went; how they went in Fallujah, Takrit, Hilla, Mosul, and Baghdad. How they also now went in Chester’s Mill, it seemed (585).

He’s not only knowledgeable about such techniques; he’s presumably seen them used and has perhaps used them himself in the past, for “he had done interrogations in Iraq and knew how it worked over there” (584). However, Barbie also knows how resourceful the recipients of such torture can be, and he is able to adopt their practices to outwit his captors and survive his ordeal without succumbing to their devices:

. . . They ere amateurs at this: they had forgotten the toilet. Probably none of them had ever been in a country where even a little ditch water could look good when you were carrying ninety pounds of equipment and the temperature was forty-six Celsius. Barbie poured out the salt water [Junior had salted it, possibly by urinating in it] in the corner of the cell. Then he knelt in front of the toilet bowl like a man at his prayers and drank until he could feel his belly bulging (588).

A man who will drink water from the toilet bowl--and from a jailhouse stool, at that!--is a man who is resourceful enough, tough enough, and resolute enough to survive and, given the chance, triumph over even those as brawny, sadistic, and unscrupulous as his present enemies, Big Jim Rennie and Police Chief Randolph and his special deputies. This description of Barbie puts him in the same class as John Rambo.

It also suggests a problem, relating to the novel’s verisimilitude. Just before the description of Barbie’s drinking from the commode, the omniscient narrator shared the prisoner’s thought that “if he got out of this police station alive, it would be a miracle,” and, previously, King, several times, emphasized how easily Barbie might be shot under the pretext of his having tried to escape from custody. Even if he is a Rambo-like character, Barbie could easily enough be dispatched in this manner, and, if he’s truly violent enough to have raped two women and killed four individuals after beating three of them savagely, his attempt to escape would be credible to most of the townspeople and to the federal authorities as well. Surely, this would be the easiest and most certain way for Big Jim to dispose of the greatest threat to his continued position as selectman while, at the same time, covering up the murders that Big Jim and his son Junior have committed.

King seems aware of this potential plot hole, for, later, he has his characters discuss the situation; by the way, King adroitly sets the scene, identifying the participants in the action in its opening sentence: “There were four people in Rusty’s living room: Linda [Everett], Jackie [Wettington], Stacey Moggin, and Rusty [Everett] himself.” The topic of their conversation soon turns to Barbie’s plight:

“What if they kill him?” Rusty asked bluntly. “Shot while trying to escape?”

“I’m pretty sure that won’t happen,” Jackie said. “Big Jim wants a show-trial. That’s the talk at the station.” Stacey nodded. “They want to make people believe Barbie’s a spider spinning a vast web of conspiracy. Then they can execute him. But even moving at top speed, that’s days away. Weeks, if we’re lucky” (666).

It seems unlikely that Big Jim, a good planner in everything else, would take such a huge and unnecessary risk. By having Barbie killed as he allegedly attempts to escape from custody, Big Jim would still have framed him; in addition, he would have prevented a problematic trial, which would draw public scrutiny, both in Chester’s Mill and beyond, and could end in Barbie’s exoneration and Big Jim’s own proved culpability. No one knows how long it may be, if ever, before the dome is penetrated or destroyed, and each day that passes could create more opportunities for the discovery of the methamphetamine lab or of evidence for either Big Jim’s own or his son’s murder of their victims. The safer and more expedient measure would be to kill Barbie while the chance exists for them to do so rather than wait until a trial can be conducted on trumped-up evidence. Therefore, this situation is, if not a plot hole, a rather incredible state of affairs. The reader may well have to suspend his or her disbelief to accept it as possible. What makes the lack of verisimilitude even worse is that this situation is an important feature of the plot.

A final note on the text concerns King’s nimbleness in creating an eerie sense that something is amiss, something that is unsettlingly dark and deep. He does this masterfully in Desperation, when Sheriff Collie Entragian, possessed by the demon Tak, gives voice to strange declarations and is described as literally coming apart at the seams as the demon’s vitality consumes him from within. In Under the Dome, King’s omniscient narrator does something similar, with equally eerie effect, in describing the deterioration of Junior Rennie, who, until now, has merely been said to experience frequent tremendous, migraine-like headaches. As he attempts to goad Barbie into signing a false confession, Junior’s speech becomes more and more confused as he suffers another headache, and he is seen to have developed a limp:

The new officer was Junior Rennie.

“Well, look at you,” Junior said. “Don’t look quite so ready to beat guys up with your fancy Army tricks right now.” He raised the hand holding the sheet of paper and rubbed his left temple with the tips of his fingers. The paper rattled.

“You don’t look so good yourself.”

Junior dropped his hand. “I’m fine as rain.”

Now that was odd, Barbie thought; some people said right as rain and some said fine as paint, but none, as far as he knew, said fine as rain. It probably meant
nothing, but-- (585).

Having alerted the reader to the oddity of Junior’s speech, King supplies the reader with additional oddities of his speech, each of which is also unsettling, indicating, as they do, Junior’s loss of sanity. What is even more alarming is the fact that Junior is unaware both of his speaking nonsense at times, in passing, as it were, and of the slipping away of his reason.

Mixed in with Junior’s unintentionally absurd phrases are descriptions of his physical deterioration--his hand trembles, he has a massive headache, an “inflamed left eye” that leaks “tears at the corner,” and a pronounced limp--and Barbie’s thoughts concerning them:

Junior yodeled again. Some of the water in the glass spilled on his wrist. Were his hand shaking a little? And that inflamed left eye was leaking tears at the corner. Junior, what the hell’s wrong with you? Migraine? Something else. . . ?

It isn’t a migraine making him do that. At least not any migraine I ever heard of.


. . . “You guys come back with all sorts of problems. At least, that’s what I breed and see on TV. Right or false? True or wrong?” (586)


. . . “My theory is that you came back. . . [with] PTSS, STD, PMS, one of those. . . .”


. . . “. . . Think about getting. . . some food. Big old cheeseburger in paradise. Maybe a Coke. There’s some cold in the fridge upstairs. Wouldn’t you like a nice cone Cole?” (587)


. . . As he went upstairs, Barbie observed that Junior was limping a tiny but--or dragging. That was it, dragging to the left and pulling on the banister with his right hand to compensate. He wondered what Rusty Everett would think about such symptoms. . . (588).

Although it is difficult to overlook the rather glaring improbability that Big Jim would prefer to risk everything to conduct a “show-trial” than to kill Barbie as the prisoner allegedly seeks to escape, King’s description of Junior’s deterioration compensates for lack of believability. Characterization has long been one of King’s strong suits. Plotting usually is sound, too, although, in Big Jim’s failure to have Barbie killed when he has the chance to do so, an exception to the rule.

The Others: A Masterpiece of Situational Irony

Copyright 2010 by Gary L. Pullman

The Others is a virtually perfect exercise in horror by way of situational irony. The viewer is led to believe that any (and possibly all) of three bizarre events are taking place: one supernatural (the house in which the protagonist, Grace Stewart, and her children, Anne and Nicholas, live is haunted) and two natural (Grace may be losing her mind and/or Grace’s live-in servants Mrs. Bertha Mills, the housekeeper; Mr. Edmund Tuttle, the gardener; and a young mute woman, Lydia, are involved in a conspiracy against the family). Evidence is given, as it were, in support of each of these possibilities.

That the house may be haunted is suggested by Anne’s seeing and speaking to ghosts. She draws a picture of four of the spirits she’s seen: that of a boy about her own age, named Victor; Victor’s parents; and an “old woman.” Next to each figure, she writes the number of times she has seen each of the ghosts: she has seen each parent twice, Victor five times, and the “old lady” fourteen times. The “old lady” has harsh features and wild hair, and she scares Anne, the girl confesses. Anne also talks to Victor, once in the presence of her younger brother, with whom she shares a bedroom. When Nicholas accuses her of “teasing” him, she asks Victor to touch her brother’s face to let Nicholas know that he, Victor, is present. Later, Grace, who, at first, denies the existence of ghosts, refusing to believe that her house is haunted, hears a piano playing downstairs. When she goes to investigate, she learns that the music room is not only locked but that it is also unoccupied. However, when she leaves, an unseen force knocks her to the floor. Grace also experiences other ghostly phenomena. She hears disembodied voices talking about her when she visit’s a “junk room”--a spare bedroom used for storage--and she hears heavy thumping sounds upstairs, which she attributes to Lydia--until she sees the servant conversing with Mrs. Mills outside the house as the thumping continues upstairs. A headstone on the premises indicates that a body has been buried on the estate. Is the ghost the spirit of this person? Later, Grace finds a “book of the dead,” an album of family members’ corpses, photographed as mementoes for the surviving loved ones. Perhaps one or more of their spirits haunt Grace’s house. Not only do Anne and Grace see (and hear) ghosts, but Mrs. Mills tells Anne that she, like Anne, also sees them. Although both Anne and Nicholas have potentially fatal allergic reactions to sunlight, requiring that the curtains on the windows be closed whenever the children pass from one room to another, they have all been removed overnight, as the children’s panic-stricken screams alert Grace. None of the servants admits to having taken down any of the curtains. Perhaps the ghosts did so. When Anne and Nicholas discover the graves of the servants and Grace herself sees their likenesses in a photograph of the dead, the viewer is apt to suppose that Mrs. Mills, Mr. Tuttle, and Lydia are themselves the ghosts who haunt Grace’s house.

A case is also made for the supposition that Grace is losing her mind. She is fragile and high strung, as Nicole Kidman, who portrays her in the film, says in an interview featured on the DVD release of the movie says, and her husband has gone off to fight in World War II, leaving Grace alone to care for their children. She has poor coping skills, and caring for the two children by herself is more, perhaps, than she can handle. She takes great comfort in the Bible, as the Word of God, and in the rosary, which she says, banishes her fears. She has a simple, unquestioning faith. When her children question the credibility of the such Biblical claims as God’s creation of the universe in only six days and that two of every animal could fit on Noah’s ark, Grace is angered. She tells her children that their doubts may land them in limbo, which she distinguishes from both purgatory and hell. These concepts, like the rosary, suggest that she and her family are Roman Catholics, rather than Protestants. Her dependency upon the Bible, like her generally anxious manner, her quickness to anger, and her impatience toward her children and the servants suggest that she is tottering on the edge emotionally. It is not difficult to imagine that her seeing the “old woman” wearing the veil and dress that she made for her daughter’s confirmation, instead of Anne wearing it, as if, having possessed the girl, the “old woman” is now impersonating Grace's daughter may be the result of Grace’s hallucinating, rather than an instance of a perverse supernatural masquerade. Likewise, Grace may have only imagined that she’d heard the disembodied voices in the “junk room.” She may have had other hallucinations as well, hearing thumping when there was none, for example, and imagining that she’d heard a piano playing in the locked, unoccupied music room. She herself may have done some of the things that seem simply to “happen,” such as the taking down of the curtains in the house. Even the visit of her husband, who, until his sudden appearance, was presumed dead, a casualty of the war, could be attributed to her tendency to hallucinate, especially since, while he is home, he is eerily distant, lies motionless in bed for hours and days on end, refuses to eat anything, and is soon gone again, off, he says, to the battlefront. Indeed, after Grace attacks Anne, thinking that her daughter is the “old woman” in disguise, Anne tells Nicholas that their mother has “gone mad.” All these incidents, individually, and collectively, suggest, rather strongly, that Grace may be going mad or may already have gone insane.

On the other hand, maybe Grace’s house is not haunted, any more than she herself is insane; instead, the servants may be involved in a conspiracy against Grace and her family. They claim to have appeared at the house as the result of their "passing by," a mere coincidence, despite the fact that Grace’s house is located on an island and, for that reason, would not be a place where anyone--especially experienced servants--would be apt to seek employment. At Mrs. Mills’ direction, Mr. Tuttle dumps leaves on a headstone to prevent Grace from discovering the marker, despite Grace having given him a directive to find the headstones of all those who are allegedly buried on the estate. Mrs. Mills confides in Anne that, like the girl, the housekeeper has herself also seen the ghosts. Does Mrs. Miller do so to convince Anne that the ghosts are real in the hope that Anne will, in turn, influence Grace’s belief that her house is haunted and that it is safest to leave the mansion? Did the servants pose for the picture of the dead in which their corpses were supposedly photographed as a memento for their surviving loved ones? Mrs. Mills more than once hints at secrets that she and the other servants are keeping from Grace, and the housekeeper tells Grace that the living and the dead sometimes get “mixed up” with one another. Grace herself supplies a possible motive on the part of her servants for their conspiracy: they want to “take over” her house, she charges. Grace’s thoughts and behavior, at times, seem rational and appropriate, but, at other times, her ideas and actions are obviously groundless and even bizarre, suggesting that she is either insane or nearly so.

The Others is ambiguous on purpose, suggesting three possible explanations for the strange goings-on at the mansion in which she and her children and the servants live: the house is haunted, Grace is insane, and/or the servants want to drive Grace away so that they can lay claim to the mansion . However, the end of the movie, during which, at a séance, Grace finally learns that she has murdered Anne and Nicholas before committing suicide, upsets all three of these expectations concerning the movie’s plot, for the medium reveals that the children are dead and it is their ghosts and the ghost of their murderous mother and the loyal household servants who are the actual ghosts. Those whom Grace suspected of being ghosts are actually the members of the family who have bought the house. Grace and her family are, it appears, in purgatory, reliving Grace’s murder of her children and her murder of herself over and over again. It is only because of the careful planning of the film’s feasible, but ambiguous and bizarre incidents, that the movie succeeds in leading the audience down one path of expectations so that, at the end, it can deliver a wholly different conclusion to the story that ties up these previous storylines: the house is haunted, but by Grace and her family and servants; Grace has gone insane, killing her own children and herself, because she proved incapable of coping with and handling the stresses of everyday life without her husband’s assistance; and the servants, in fact, were conspiring, but not to steal Grace’s home but to confront her with the truth about herself and her actual situation as a soul in purgatory. Like any story that hinges upon situational irony as the means by which to effect a surprise, or twist, ending, The Others performs a bait-and-switch routine, setting up and maintaining viewers’ expectations along one line of development so that the grand finale can deliver an altogether different conclusion than the one that the previous action has painstakingly and deliberately suggested as the culmination of the whole. In doing so, The Others reveals itself to be masterful, indeed, and, therefore, a suspenseful and frightening thriller well worth watching again--and again.

Blue Mountain Detour

Synopsis

A veteran with a guilty secret plans to spend some time with his family at a plush mountain resort tucked away in the splendid beauty of the Blue Ridge Mountains. It will be great, Nathan Henderson thinks. But this is before they run into the detour that directs them into the heart of a human wilderness that’s more savage than the forest and darker than the falling night. Nathan alone stands between death and his loved ones, but, for a man like him, one chance in hell may be all he needs!

Sample

For more, visit Blue Mountain Detour



Prologue

Nathan Henderson was sweating profusely, despite the chill autumn air that drifted in through the open bedroom window, fluttering the curtains. He tossed and turned, thrashing about beside his wife, Naomi. She muttered, turning away from him.

The enemy was a young man, hardly out of his teens.

He wore the black pajamas and the flip-flop sandals of the Viet Cong.

He had ambushed them from their hiding place in the bamboo hut on stilts with the thatched roof that stood at the end of the muddy road that led through the village, wounding two of their number before fleeing.

Troops on the periphery of the area of operations had captured him, along with several of his comrades. They were to be sent to the rear for interrogation, but Nathan’s commanding officer, Captain Preston, had intervened, and now they were Captain Preston’s prisoners. He had separated this young man from the others.

The enemy soldier squatted on the ground, surrounded by a trio of guards who kept their M16’s trained on him. They had tied his hands behind his back and blindfolded him with his own shirt. Now, on Captain Preston’s orders, a rope was placed around the young man’s neck.

It was a long rope.

The airplanes that were spraying Agent Orange had not reached this location yet, and the jungle that surrounded this isolated village was impenetrably thick on every hand. A single, narrow trail meandered through the dense undergrowth. Tree limbs and heavy foliage obscured one’s vision.

They had called in air support upon encountering the enemy, but it was entirely possible that Viet Cong soldiers remained hidden along this trail, awaiting their opportunity to ambush the company as it resumed its march to its objective. It was also likely that the trail itself was mined or booby-trapped.

Some of the men in Nathan’s outfit were setting fire to the village’s huts. The heavy, dry grass of the roofs caught fire easily, and in minutes the huts on either side of the muddy road were blazing. Nathan could feel the heat on his face as the flames danced in his peripheral vision.

They had brought the bodies of the dead villagers outside, laying them in the mud along the side of the road to be collected for burial later, after the area had been captured and secured.

As usual, it was a sultry day, and Nathan sweated profusely.

“All right,” Captain Preston said, “get the bastard up on his feet.”

A guard reached below each of the enemy’s armpits and lifted him to his feet.

“Start him walking,” Captain Preston ordered.

One of the guards placed the sole of his heavy boot in the prisoner’s back and shoved his foot forward.

The Viet Cong soldier stumbled forward, tripped over his own feet, and sprawled onto the ground.

Captain Preston, the guards, and the other soldiers watching the incident laughed, some of them, like Nathan, nervously. The other Viet Cong prisoners also wore their shirts as blindfolds, but they had no doubt heard their captors’ dialogue and some, at least, understood English well enough to know what had just occurred. They were very still, very quiet.

Sweat trickled into Nathan’s eyes, stinging him. Sure, Nathan told himself, the boy had killed two American soldiers, but what Captain Preston and the rest of them were doing wasn’t right. The Geneva Conventions, as well as common human decency, censored this sort of behavior. Nathan thought, I should intervene; I should say something.

“Get him on his feet,” Captain Preston commanded. The guards bent forward, each gripping an arm, and lifted the Viet Cong soldier. Captain Preston reached up behind the prisoner’s head, and unknotted the makeshift blindfold, pulling the shirt away.

The enemy soldier blinked at the bright sunlight. Like Nathan, he was also sweating profusely.

“Let’s move out, ladies,” Captain Preston ordered.

One of the guards poked the muzzle of his rifle into the prisoner’s back, and the young man marched forward.

The others stood watching, waiting until he reached the end of the rope. Then, they followed their point man.

They all knew that, at any moment, rifle fire might erupt from the bush, and they were on their guard. They were tense, and their eyes moved continuously as they scanned the thick underbrush, eyeing the gaps between the dense thickets and close-standing trees. The only sound was their own footsteps. Like everyone else, Nathan was frightened, and his fear was a lump in his throat he couldn’t swallow. His jaw was clenched, and his finger was taut on the trigger. He was prepared, at any moment, to dive for cover and fire at any enemy, seen or unseen, that might ambush them.

Nathan had given no more thought to the Viet Cong soldier ahead of them on the trail. The morality of using him in this manner nagged at Nathan’s conscience, gnawed at it like a dog worrying a bone, but staying alive was all that mattered to him at the moment. If he got out of this jungle alive, he could occupy himself with the luxury of contemplating good and evil, right and wrong.

The explosion was a terrible shock, even though they had been expecting it--or something like it.

Their prisoner screamed and fell to the ground.

A column of dust, like smoke, wound into the sky.

Their human minesweeper had found a mine.

“You!” Captain Preston said, nodding toward Nathan and grinning, “go get that rope off him!”

Nathan swallowed.

“Now!” Captain Preston ordered.

I should refuse, Nathan thought. There’s no way I should be part of this. He glanced nervously at his fellow soldiers. Their faces were hard and inexpressive. Their eyes showed nothing.

Nathan ran toward the fallen enemy.

This is wrong! he told himself. Don’t do it!

The young man’s face was flushed. His body was awash in sweat. His lower right leg was gone, and the broken-off bone showed through the mangled flesh of the stump. His blood was a red pool in the dry, scorched soil of the narrow path. He moved from side to side, moaning and groaning through clenched teeth.

Nathan reached out, untying the rope.

He hurried back to his own men.

“Tie it around the next one,” Captain Preston commanded.

A replacement for the wounded minesweeper had already been shoved forward. He was another terrified, thin, young man. His blindfold had been removed, and the prisoner stared in horror at his fallen comrade. He struggled between the guards on either side of him.

“Hold him still, damn it!” Captain Preston barked.

Nathan slipped the noose over the prisoner’s head. Let it drop around his neck, and tightened it.

“Move out!” Captain Preston ordered the terrified youth.

The prisoner refused to budge.

One of the guards hit him between the shoulder blades with the stock of his rifle, and the enemy soldier staggered forward.

The guard hit him again.

The prisoner stumbled forward, taking one slow step after another, scanning the ground before him for tripwires, disturbed earth, or any other sign of a booby trap or a land mine.

“No,” Nathan moaned, “no, no, no! It’s not right!”

“Nathan,” his wife called, awakened by her husband’s plaintive objections to whatever nightmare was unfolding for him this time.

“It’s wrong!” Nathan wailed.

Naomi shook his shoulder, and his eyes snapped open as he reared up in bed beside her. His face was a mask of horror.

“Nate?” she cooed. “You were having a nightmare.”

His eyes darted about the room, seeing a chair against a thicket of brush, a lamp on a dresser in front of a stand of trees, a wall beside the bloody, legless man on the forest trail. One of them had shot him, Nathan remembered, as they filed past the wounded prisoner.

“It’s all right,” Naomi said. “It was just a dream.”

The nightmarish figure writhing on the ground dissolved. The jungle disappeared. Vietnam vanished again--for the moment, at least.

He breathed deeply, wiping the sweat from his brow.

“You okay?” she asked.

He nodded. “Sorry I woke you.”

“Don’t worry about it,” she answered. “Go back to sleep.”

He almost chuckled at the suggestion; it was so absurd.

“I think I’ll have a nightcap,” he said.

“A drink?”

Her tone, disappointed and concerned, touched him. It also irritated him. He had lived through hell, and sometimes, when the demons revisited him, he needed a drink. Why couldn’t she understand that? Why did she have to be so disapproving of him for wanting to drown the memory of that bloody young man whose leg had been blown off when they’d used him as a human minesweeper? For a moment, Nathan saw the enemy soldier again, writhing on the ground, wailing through clenched teeth.

“I need something,” he explained, “to relax.”

She sighed, looked at him for a long moment. “All right, then, a drink, but just one. Please.”

He tossed back the blankets and rose, making his way around their bed.

When he reached the doorway, she said, “I love you.”

He swallowed. “I love you, too,” he replied softly.

Vietnam had come to symbolize the terrible incidents that had made up his life during the war. The country’s name or even a map of the land made him remember the cruelty of human beings toward one another and how, so many years ago, a young man himself, he had participated in such cruelty. For him, Vietnam had come to mean the worst that was within humanity and the worst that was within him.

For years after he had hung up the green beret forever, he’d drunk himself into a stupor every night.

Then, one evening, he’d met her, and she’d seen what she’d called the “goodness” in him. He had smiled ruefully at that. “There’s no goodness in me,” he’d replied, and he’d told her about Vietnam.

She had saved his life.

She had allowed him, if not to forgive himself, to go on, at least, and he had stopped drinking, mostly, and enrolled in college. Five years later, he’d earned a degree in engineering. Ever since, he’d helped to rebuild civilization rather than destroy it; he’d made sweet love to her, fathering two children; and he’d almost stopped drinking.

He went down the hallway and opened the first door on the right, looking in on his fourteen-year-old son, Henry.

The boy slept the sleep of the innocent, dead weight under the blankets. His eyes moved rapidly beneath their lids, signifying that he was in dreamland, and Nathan thanked God that his son was smiling instead of thrashing about, screaming.

“Sleep tight,” he whispered to his son, closing the bedroom door.

The next room on the left was Julie’s bedroom. He opened it, and saw his sixteen-year-old daughter slumbering soundly as well, dreaming, perhaps, of dancing in a long, formal gown with a handsome suitor under a full moon.

He hoped that neither of his children knew anything of his nightmares or of his cowardly behavior in Vietnam, but he knew that kids often knew more than their parents supposed. It was possible--hell, it was likely--that they had heard his screams in the night. They might even know about the human minesweeper. They might also know about the other incidents, his other nightmares. If so, it was another of the many sins he sorely regretted.

Downstairs, Nathan filled a glass with brandy, and he took a sip of the dark, bitter liquor. It burned its way down his throat and spread its warmth through his stomach.

Tomorrow, he and his family would leave their suburban sanctuary and, for two weeks, anyway, return to nature. They’d rented a cabin deep in the Blue Ridge Mountains, and Nathan was determined that he, Naomi, Julie, and Henry were going to have a good time while strengthening the ties that bound them.

Too frequently of late, his daughter and son had argued. The family was beginning to drift apart, it seemed to Nathan. Their places at the dinner table were vacant more times than he liked, and neither Julie nor Henry ever seemed to be home much anymore. When they were home, they lived in their rooms, in front of television shows that depicted premarital sex and drug abuse as normal behavior or lay abed with headphones blaring obscenity-laden music into their heads.
Nathan hoped that getting back to nature, even if only for a couple of weeks would--

He shook his head.

Their two-week trip wouldn’t so a damned thing, he knew, except make his kids whine more than usual and his wife even more committed to the conveniences of suburban living.
Well, it would be a change of scenery, anyway. It would be a way to relax without alcohol. It would be a way to get away from it all, with just his family around him.

He lifted the glass to take another sip of the brandy, but decided against it, setting the glass aside, and crept up the stairs to the room he shared with his mate.

She was still awake.

As usual, she had waited up for him.

“You’re back sooner than I had expected,” she told him.

He climbed into bed beside her.

“Yes,” he answered, snuggling against her warmth.

She kissed him.

He smiled in the darkness, appreciative of his wife’s love and devotion, grateful for his children’s love and affection, thankful that, in Naomi, he had found a woman whose heart was bigger than Vietnam.

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