13 O’Clock Episode 9 – Serial Poisoners and Jack the Ripper Suspects

The name of Jack the Ripper is known the world over, but what is less well known is that Victorian-era London was a general cesspit of crime and degeneracy, and that Jack the Ripper wasn’t even the only serial killer prowling the cobblestoned and gaslighted streets. On this episode, Tom and Jenny discuss two of the cruelest and most insidious: George Chapman and Dr. Thomas Neill Cream, both avid poisoners of women, and both, incidentally, suspects in the Jack the Ripper case.

Download the audio file from iProject Radio here, or watch the YouTube version here. Also, don’t forget to follow the 13 O’Clock Podcast blog, subscribe to our YouTube channel, like us on Facebook, and follow us on Twitter.

13 O’Clock Episode 8 – The Original Night Stalker

Most people have heard of Richard Ramirez, the infamous serial killer known as the Night Stalker. But what many people don’t know is that a decade before Ramirez commenced his reign of terror, a much more brutal and prolific serial killer and rapist stalked the upper-middle-class neighborhoods of California, from Sacramento to Irvine. This man, known alternately as the East Area Rapist, the Golden State Killer, the Diamond Knot Killer, or The Original Night Stalker, has never been apprehended, and may still be on the loose. On this episode, Tom and Jenny discuss his horrific crimes and speculate as to why he was never caught. 2016, in fact, marks the 40th anniversary of the Original Night Stalker’s first known crime, and the FBI have redoubled their efforts to track the guy down, offering a $50,000 reward for information leading to his capture and conviction.

Download the audio file from iProject Radio here, or watch the YouTube version here. Also, don’t forget to follow the 13 O’Clock Podcast blog, subscribe to our YouTube channel, like us on Facebook, and follow us on Twitter.

13 O’Clock Podcast Episode Two: Satanic Panic!

In the 1980s, the moral scolds of America were suddenly whipped into a frenzy, convinced that everything from Dungeons and Dragons to heavy metal music to Saturday morning cartoons were irrefutable proof that an organized cabal of Satanists was roaming the land, kidnapping and molesting children, sacrificing puppies, and eating juicy babies with a side of devilled eggs. On the second episode of the 13 O’Clock Podcast, Tom and Jenny break down (and make fun of) the tragicomic period of recent history known as the Satanic Panic.

Download the audio file from iProject Radio here, or watch the YouTube version here. Also, don’t forget to follow the 13 O’Clock Podcast blog, subscribe to our YouTube channel, like us on Facebook, and follow us on Twitter.

The Goddess’s Top Ten Horror Movies Based on True Stories

Time for more list-based goodness from The Goddess, and I promise I’m not really gonna make this an ongoing thing; these are just easier for me to do when I’m pressed for time, you dig? I thought you could. When things calm down around here I swear I’ll get back to my more in-depth content.

Similar to my last post, where I picked my favorite horror films adapted from novels, this time around I’m picking my ten favorite horror films based on true events. Now, here’s where it gets a tad sticky, so I had to make a few loose rules for myself. What constitutes “true,” after all? There are a shit-ton of movies based on supposed “real-life” haunted house cases, alien abductions, poltergeist infestations, and demon possession, for example; any self-respecting list would include The Amityville Horror, A Haunting In Connecticut, Fire in the Sky, The Mothman Prophecies, The Exorcism of Emily Rose, and many, many others. I’m disqualifying those because I don’t think most of them are “true” in the sense that they really happened; in other words, I don’t believe in ghosts or demons, so for me, these movies are not based on reality at all. I’m also avoiding films that were based on novels that were in turn based on true stories (for instance, 2007’s The Girl Next Door, which was based on Jack Ketchum’s fictionalized novel of a true event, doesn’t qualify, and I wrote about it last time anyway). Rule of thumb, the movie can be based on a book, as long as the book is non-fiction. I’m also discounting films that so drastically veered away from the stories that inspired them that they are no longer recognizable as the original event, and ones that were sorta loosely based on a particular person, but didn’t have much else to do with a true account of said person (the villains in both Psycho and The Texas Chainsaw Massacre, for example, were inspired by serial killer Ed Gein, but both took so many liberties with the guy’s real biography that it no longer counts as anything but fiction; plus Psycho was based on Robert Bloch’s novel, so). I realize that by their very nature, movies are fictional entities, so there’s a lot of gray area here, and I’m sure I might break a few of my own rules with the movies I picked, but those are my standards and I’ll try to stick to them. I also realize that a few of these aren’t strictly horror films per se, so don’t bust my balls. They’re horror friendly, bitches. So here we go.

Dahmer

10. Dahmer (2002)

I wasn’t expecting much from this one, to be honest, since it came out right around the same time as a bunch of other direct-to-video serial killer flicks that weren’t much shakes, but I have to admit it really surprised me. Jeremy Renner is great in his complex, nuanced portrayal of rapist, murderer and cannibal Jeffrey Dahmer; he’s pitiful and vomit-inducing by turns.

FromHell

9. From Hell (2001)

Kind of a cheat, since it’s loosely adapted from Alan Moore and Eddie Campbell’s graphic novel, but it’s also based on real theories surrounding the Jack the Ripper case, and I really liked it, so I’m gonna give it a pass. The thing looks great, drenched in gothic atmosphere, and Johnny Depp is his usual rad self as real-life Ripper investigator Frederick Abberline.

Ravenous

8. Ravenous (1999)

This blackly comic horror film, a sadly underrated one, takes aspects of the Donner Party and the case of cannibalistic gold prospector Alfred Packer and mashes them together into a grimly hilarious tale of man-eat-man during the Mexican-American War of the 1840s. Directed by Antonia Bird and featuring great performances from Guy Pearce and Robert Carlyle, this one’s not for all tastes (sorry), but it has a large cult following for a reason, and I thought it was terrific.

SerpentAndTheRainbow

7. The Serpent and the Rainbow (1988)

This one obviously takes some liberties with the source material to ramp up the horror factor, but it’s rooted enough in non-fiction to qualify for the list. Based on anthropologist Wade Davis’s 1985 book of the same name, in which he described the practices of Haitian Vodou and specifically the case of real-life “zombie” Clairvius Narcisse, the film veers into the supernatural, but retains the scientific trappings of the real events.

InColdBlood

6. In Cold Blood (1967)

Nominated for four Oscars and starring the suspected real-life wife-killer Robert Blake, this one stays pretty faithful to Truman Capote’s classic non-fiction work about the 1959 murders of the Clutter family in Kansas. It’s another film that uses a stark, documentary-style feel to make the horrific crime as chilling as possible, and Blake and Scott Wilson (who portray the killers) are eerily believable.

ShadowOfTheVampire

5. Shadow of the Vampire (2000)

A sort-of realistic retelling of the making of the 1921 silent classic Nosferatu, this stylish film (directed by E. Elias Merhige, also responsible for the disturbing 1991 silent film Begotten, which I covered here) uses many techniques from the silent film era to great effectiveness. John Malkovich is fantastic as driven director F.W. Murnau, who will stop at nothing to get his vision on celluloid, and Willem Dafoe turns in a skin-crawling performance as Max Schreck, who may just be a REALLY hardcore method actor or may be an actual vampire. Totally meta and wonderful.

Henry

4. Henry: Portrait of a Serial Killer (1986)

Probably one of the most uncomfortable films I’ve ever watched, simply because the crimes are so unflinchingly presented. Michael Rooker is skeezy perfection as real-life drifter and serial killer Henry Lee Lucas, and the scenes of him unemotionally watching videos of his killings with scumbag partner in crime Otis (based on Henry’s real-life sidekick Ottis Toole and played by Tom Towles) are intensely disturbing. One of the ickiest films ever made, but also one of the best.

Zodiac

3. Zodiac (2007)

David Fincher’s chilling thriller is based on the famous series of random murders that took place in the San Francisco area in the 60s and 70s. He chose to focus on the police investigation of the case rather than the killer (which I guess he had to, since Zodiac was never caught, heh heh), but that only serves to make the film even creepier, since the identity and motivations of the murderer remain unknown. The scenes of the actual killings are matter-of-fact and completely horrifying, striking from out of the blue and giving the viewer the visceral feeling that no one is safe, ever. Brrrrr.

DeadRingers

2. Dead Ringers (1988)

I’ve written about this film before, as it’s my favorite of all of Cronenberg’s body-horror epics. As disturbing as this movie is, it’s made even more so by the fact that the creepy Mantle twins were based on real dudes, specifically twin gynecologists Stewart and Cyril Marcus, who practiced together in their New York City clinic and were both found dead in the apartment they shared, presumably from barbiturate withdrawal.

Monster

1. Monster (2003)

A brutal, gritty take on the crimes and trial of female serial killer Aileen Wuornos, this one is a twisted masterpiece, elevated to classic status by Charlize Theron’s unbelievable turn as Aileen. I saw this in the theater, and had to keep reminding myself that Aileen Wuornos was actually dead and not appearing in this movie; Theron embodied the character in a way I don’t think I’ve ever seen in another film (except maybe for Martin Landau portraying Bela Lugosi in Tim Burton’s Ed Wood). A complex film that dares you to sympathize with its protagonist even as you revile her. Astonishing.

And ten more, just for the hell of it:

The Hills Have Eyes (1977)
Based on a real family of cannibals in 15th-century Scotland, headed by Alexander “Sawney” Bean.

The Elephant Man (1980)
David Lynch’s fictionalized biography of deformed Englishman Joseph Carey Merrick.

Rope (1948)
Based on a 1929 play that was in turn based on the famous 1924 Leopold and Loeb murders.

The Lodger (1944)
Somewhat fictionalized retelling of the Jack the Ripper case, based on a novel by Marie Belloc Lowndes.

Jaws (1975)
Adapted from Peter Benchley’s novel, but inspired by a real 1964 story about fisherman Frank Mundus catching a monster great white shark off the coast of Long Island.

Helter Skelter (1976)
Based on Vincent Bugliosi’s 1974 account of the Charles Manson murders.

The Black Dahlia (2006)
Brian de Palma’s histrionic film was based on the real-life, grisly murder of actress Elizabeth Short in 1947.

Hollywoodland (2006)
More a detective thriller than a horror film, this is a speculative adaptation of the mysteries surrounding the death of Superman actor George Reeves in 1959.

Ed Wood (1994)
Definitely not a horror film, but one of my favorites, this loving film sort-of-accurately eulogizes famed terrible horror and sci-fi film director Edward D. Wood, Jr.

Heavenly Creatures (1994)
Also not a horror film, but a great account of the real 1954 Parker-Holme murder case in New Zealand.

A Valentine’s Day Horror: “Here Comes the Bride”

It is the eve of the day of looooove, my dears, and to get you in the proper mood for the big red-drenched event, here is a properly horrific love story I wrote called “Here Comes the Bride.” It’s as fitting as a wedding dress on a rotting corpse; I think you’ll agree. It is also available in my short story collection Hopeful Monsters, which you may purchase if you so desire. Also remember that I still have that Patreon campaign going, so if you’ve any love left over after your V-Day load is spent, spare a drop or two for the Goddess, and you will be amply rewarded. And now, on with the dripping red love…

 

GoddessValentine

“You’re not bringing that girl here.”

Troy’s father was yelling, and even though Troy curled his body down as small as it would go, burrowing under the covers and clapping his hands over his ears, the man’s voice still resonated through his head like the toll of a great bell.

“Your father’s right, Troy.” Mother had gotten into the act too, and even though Troy couldn’t see her from his position, he could imagine her glossy pursed lips, her deeply furrowed brow. “We don’t even know this girl. And you know what happened those other times.”

Troy had a feeling his older sister would chime in next, and he was not disappointed. “How could you even get a girl anyway?” Sue sneered as Troy pressed his palms harder against the side of his head, trying to block out the sounds. “You sure you didn’t pay this one?”

Troy felt a single tear trickle down his cheek, and in its wake came a hatred made stronger by the knowledge of his fierce love for them—his family, his eternal tormentors. Their voices were all mixed together now, raining down on him from above, hemming him in with their ridicule until he was closed into an atom-sized box that he could see no escape from. He might have screamed, but because of the din of mingled shouts he couldn’t be sure. He pushed at his temples as hard as he dared, making flashbulbs of white light explode into the darkness behind his eyes. He knew they would stop berating him eventually, knew there would be blessed silence after they’d exhausted their vocabularies of disgust for him; but in the meantime there was only noise and pain, infinite in its intensity.

He wasn’t sure how much time had passed when the voices finally started to dwindle—perhaps only minutes had gone by, perhaps lifetimes. Slowly, Troy removed his hands from his ears; the fingers were numb and sluggish, feeling as though they belonged to someone else. He pulled the covers away from his face and opened one eye a crack, peering into the gloomy dusk of his bedroom. Everyone was gone, and quiet reigned at last; the only sounds he could hear now were the reassuring hum of the central air conditioning and the distant buzz of a plane passing overhead. He sighed and fell back against the pillows, letting the cool air from the vents dry the layer of sweat on his skin. His family was upset, he knew, but he also knew that they would soon get over it. They would have to; Sonja was coming tomorrow. And when they met her, all their negative feelings would evaporate. They would love her, just as Troy loved her, and perhaps in her glow they would come to see Troy himself in a different light.

“She’s already on her way,” he whispered to his empty room, hugging himself with his long, pale arms. “Wait until you all see her.”

****

Candy Rattner, otherwise known as Sonja Andropova, threaded her way through the airport, a large duffel bag slung over one shoulder. She’d just flown in from Cleveland, but she had to hustle over to the international terminal, where the sap was picking her up. She’d told him she was arriving from Moscow, and of course he’d bought it. Why shouldn’t he?

As she walked, she practiced some Russian phrases under her breath, paying special attention to her accent. In her experience, Americans were generally not very observant about languages as long as she sounded suitably exotic—hell, most of them wouldn’t know a Russian word if it bit them on the ass. But each new scam was different, and one could never be too careful.

Candy hopped on the tram that ran between terminals, holding on to the silver bar with both hands and ignoring the appreciative glances of the rumpled businessmen leaning against the back of the car. She knew she was beautiful—her body tall and lithe, her olive skin flawless, her abundant black hair swept dramatically back from her sculptured face. She supposed she enjoyed the attention to a point, but deep down she understood that her appearance was simply a tool of her trade, a means to an end. She stretched, catlike, giving the businessmen a show, then switched her bag to her other shoulder.

The tram shuddered to a halt and Candy disembarked, moving smoothly through the crowd on her long legs. Her dark eyes scanned the signs, and when she saw one pointing toward the main terminal, she headed down a carpeted gangway, her jeweled sandals—shabby and a few years out of style—slapping against her heels. She glanced at her watch and frowned. Her flight from Cleveland had been delayed, but she still thought she could make it to the meeting point before Troy did.

Sighing, she thought of her latest mark. She had never met him before, of course—their most in-depth conversations had occurred over the Internet. She’d never even heard his voice. He had emailed her pictures of himself, though. He was a handsome young man, a little intense; not that it particularly mattered to her what any of them looked like. He had also sent her pictures of his house, and these she had scrutinized with great interest. The guy was clearly loaded, or at least his parents were. She remembered sitting in front of the computer in her two-room Cleveland apartment, grinning from ear to ear as she stared at that marvelous spread. If she could pull off this one gig, she had thought to herself, then maybe she’d be able to retire from the racket for good.

There was a large fountain in the middle of the terminal, its blue waters spewing foam high above the heads of the passing travelers, its rushing roar muffling all sound within a hundred-yard radius. Candy scanned the fountain’s marble lip, searching for a lanky, sandy-haired figure whose facial expression would suggest expectation, desperation, and perhaps just the faintest touch of shame. She saw no one, and her tense muscles relaxed a little. She felt around in her pants pocket, coming up with a crumpled five-dollar bill, then ducked into a nearby Starbucks for a latte to drink while she waited.

****

Troy spotted his beautiful bride at once. She was even more radiant than he had hoped, her taut figure perched gracefully on the edge of the fountain, her demure profile seeming to shimmer against the dull gray backdrop of the passersby. She was drinking coffee and peering down at an open book in her lap; a closer inspection revealed it to be an English phrase book.

For a moment Troy was loath to approach her, afraid she would twinkle out of existence like the crystalline falls of water that framed her angelic form. So much was riding on this meeting—what would Mother and Father say? They hadn’t come with him, but he could still hear their scornful voices echoing in his head. He clenched his fists by his sides and straightened his back, quickening his pace. He would make his family accept Sonja as his wife, that was all there was to it. She was right there in front of him, like a dream become flesh. She was perfect.

****

Candy felt his presence before she saw him.

When she looked up, he was standing no more than two feet from her, leaning slightly forward, his expression a little dazed. She was taken aback at his sudden nearness, but managed a quick smile. “You are…Troy?” she said in her practiced, broken accent.

There was a longer pause than was warranted, and Candy’s inner alarm seemed poised to jingle, warning her to abort the mission, which was how she always thought of these deals. But finally, after what seemed like an eternity in which the pounding water of the fountain served as the only distraction, Troy answered, “Yes.”

She smiled again, more broadly, hoping to conceal the uneasiness that had sprouted in her stomach. She couldn’t give up on this one, she thought; it might be her ticket out. She felt like she should say something more to him, but she couldn’t think of a single thing. “We go?” she asked at last, not wanting to sound too eager but wanting to fill the pounding silence up with words, however meaningless.

“Yes.” Troy seemed to snap out of whatever trance had held him, and he began looking around at her feet. “Do you have any other bags?”

Candy scowled prettily, as if trying to parse the sentence he’d just uttered, then brightened as pretended understanding dawned. She patted the duffel bag by her side. “This is only bag.”

Troy’s face seemed to sag a little at that, but he quickly recovered, holding out his hand. “Here, I’ll carry it for you.”

She let him take it, then got to her feet. She was nearly the same height as he was. As he headed for the signs marked Parking Garage, she kept a few steps behind him, smiling brilliantly whenever he glanced over his shoulder at her, which was unsettlingly often.

Candy studied him as they made their way out of the terminal. He was a little thinner than his pictures had suggested, but clearly in good physical shape. He was clean and well-groomed, his slacks and white dress shirt freshly pressed. He’d given his age as twenty-five, but to Candy he seemed a little younger than that, earnest and eager to please.

They reached the parking garage, neither having spoken. Candy gazed admiringly at the pearl gray Infiniti as Troy loaded her bag in the trunk. He came around and opened the door for her, which she thought was very sweet; as she got into the passenger seat, she rewarded him by lifting her skirt with a subtle hand motion, exposing a few inches of smooth upper thigh.

They exchanged few words on the drive; Candy was afraid of giving too much away, of slipping up in her finely crafted persona, and Troy, for his part, simply seemed nervous. He adhered strictly to the speed limit, she noticed, and his knuckles were white on the steering wheel.

After about forty minutes of silence, with not even a radio playing softly to fill the gap, the uneasy feeling began creeping into Candy’s stomach again. She opened her mouth to say something, anything, when suddenly Troy flipped on his blinker and turned off the road onto a narrow paved track surrounded by thick, overhanging trees. He turned toward her in the ensuing dimness. “Almost there,” he said.

She smiled and nodded, forgetting about making small talk in her eagerness to see her new surroundings. She leaned forward a little in her seat, peering intently through the windshield.

The house, when it emerged from the dense foliage, was far more fantastic than she had imagined. It was a palace, plain and simple, comparable to those sprawling English country estates she’d always lusted after in those old Merchant-Ivory movies. There was an enormous pond in front, grown over with algae but still dazzling, with a stone statue of a cherubic boy in its center, frolicking under a fountain of water that no longer flowed. The gardens were extensive, if a little overgrown; the flowerbeds needed weeding and some of the hedges were due for a prune, but otherwise the expanse was magnificent.

And then there was the house itself. Candy couldn’t help gaping at it as Troy guided the car around the circular gravel driveway. The main structure was made of a softly glowing stone of a speckled caramel color that blended organically with the surroundings. There appeared to be a massive center hub flanked by two wings, each with an octagonal tower topped with distressed castellations. There were numerous small square windows, many of them bearing intricate stained glass designs. The entire spread bore the unmistakable aura of vast wealth and power.

After a few moments, Candy became aware that Troy had stopped the car and turned in his seat to look at her with his rather unnervingly open expression. She could see that he wanted very much to please her. That was good, very good. “Do you like it?” he asked.

Candy was so overwhelmed by her unbelievable luck that she almost forgot to speak with a Russian accent. Catching herself just in time, she said, “It is so…beautiful. I did not know America looked like this.”

Troy laughed, and there was a hard edge to it that Candy didn’t like. “Most of it doesn’t. But this is your home now. Your life.” He smiled widely, and his teeth were very white in the shadows of the car’s interior.

****

If the outside of the house was beyond imagination, then the inside was almost surreal. As she entered through the carved wooden doors, she felt like an ant who had just stumbled over the threshold of Notre Dame—the ceilings soared high above her, inlaid with complicated tile patterns and alternating colors of polished stone. She held her breath, afraid that even the sound of a sigh would bounce back to deafen her.

“I’ll take your bag upstairs,” Troy said, his voice coming from all directions at once. “You can look around some if you want to. Don’t get lost, though.” That predatory smile again.

“I will just sit in here,” she said, gesturing to a sitting room on her left. She didn’t want to admit it, but the sheer vastness of the house frightened her. She had targeted quite a few rich guys in her time, but none of them had been this rich. She felt as though she might pass out at any moment. “Is okay?”

Troy shrugged. “Sure. When I come back down I’ll make us some tea and we can talk. Later on I’ll give you a tour, and then you can meet the family.”

Candy nodded and watched as he disappeared up the curving staircase with its iron banisters. When he’d gone, she wandered into the sitting room, which was filled to brimming with fussy claw-footed furniture that looked as though it had never been sat on. She poked into a couple of the drawers and highboys, but found nothing of interest. A few of the vases in the corners looked terribly expensive; perhaps they were Ming or something like that. There was even gold flocked wallpaper, of all things; Candy stepped toward the wall for a closer look, and noticed that there were lighter gold rectangles at even intervals along the walls, as though pictures had once hung there. She wondered what they had been, and why they had been removed.

A few moments later she heard raised voices, and ducked her shoulders guiltily before realizing they were coming from upstairs. She crept back out into the hallway to listen, removing her shoes on the way so their heels wouldn’t flap and echo. She couldn’t really tell what was being said, but she heard Troy, a reedy, defensive whine, and then another male voice, deeper, authoritative. There were women’s voices too—one or two of them, Candy wasn’t sure. She assumed the family was not too pleased about her arrival, and her uneasiness ramped up another few notches. Surely Troy had worked this all out before arranging for her to come here? She hoped this whole gig was going to run smoothly; she hadn’t really bargained on uncooperative relatives sticking their noses in.

The voices died down, and then she heard footsteps reverberating over her head. She darted back into the sitting room and installed herself on the edge of one of the settees, snatching an architectural magazine from an end table and pretending to leaf through it. When Troy appeared on the threshold, she looked up expectantly, as if she’d been waiting for him all along. “Okay?” she said. She didn’t want him to know what she had heard; it might complicate matters.

His jaw seemed tight, but otherwise he gave no outward sign of distress. “Your things are in one of the guest rooms for now,” he said, and then his face reddened as he realized the implications of his statement. “I mean, there are lots of empty rooms. You can stay in whichever one you want.” He grinned awkwardly, then made a stiff gesture for her to follow him. “We’ll have tea out on the sundeck.”

After flashing him a look of pleasant blankness, as though she hadn’t the foggiest idea what he was talking about, she began trailing along behind him, soon losing all sense of direction in the maze of twisting corridors. At last they entered a kitchen big enough to park a 747 in, and Troy set to work, pulling cups and saucers from one of a long phalanx of cabinets. Candy wondered why there were no servants, but she thought it better not to ask just yet.

While he worked, Candy made her way down the small hallway he’d indicated, which terminated in a pair of blue glass doors. She opened these and proceeded out onto a huge wooden deck that overlooked part of the gardens. Candy sat at one of the umbrella-covered tables, staring out at the early fall blossoms and wondering what in the hell she’d gotten herself into.

****

After tea and an awkward conversation in which the main thing Candy learned about her future “husband” was that he was the most socially inept person she had ever met, Troy cleaned up the dishes and led Candy on a rather perfunctory tour of the house. The doors of most of the rooms were closed, and stayed closed, usually with Troy explaining that the rooms were empty or only used for storage.

The house was vast and beautiful, and Candy tried to work up the requisite enthusiasm as she followed him around, but the flight and the stress of beginning a new con had finally caught up with her. “I am sorry, Troy,” she said haltingly. “I am very tired. Maybe finish another time?”

A deep, thunderous frown crossed his face so quickly that Candy wasn’t even sure if she had seen it. “That’s all right,” he said, taking her arm gently and leading her back down the hallway they’d just traversed. “You can rest in your room for a while, if you want. Then later we’ll have some dinner, and meet the family if they’re around.”

Candy’s stomach lurched at the prospect, but she only nodded and let herself be led through the already unfamiliar corridors.

At last Troy stopped before a door, opened it, and guided her inside. For one uncomfortable moment, it seemed as though he was going to follow Candy into the room, but with a jolt he stopped just a few paces over the threshold. He stood there, fists opening and closing by his sides.

“Thank you,” said Candy, hoping he’d take the hint, too tired to even look around at her new digs.

After a moment, Troy bowed his head at her once, formally, like a butler, then turned and left the room, closing the door behind him. Candy let out a sigh of relief, immediately making for the massive bed that dominated one corner of the room, slipping off her shoes and setting them next to the duffel bag that Troy had brought up earlier. She wondered if he had looked through it, then decided she didn’t much care if he had. Let the sad bastard get a few jollies sifting through her unmentionables, she thought with a wry grin.

She stretched out on the bed, which was almost criminally comfortable, if a tad musty-smelling. She thought she’d fall asleep right away, but she just lay there, aching muscles slowly unfurling but her exhausted brain refusing to settle.

She assessed her situation. First of all, this was the biggest con by far that she’d ever attempted, and she had to fight the vaguely queasy feeling that she was in way over her head. The con would work the same, she told herself—how rich the guys were didn’t matter. And one look at handsome, sheltered Troy convinced her that he’d be a piece of cake to manipulate. He was clearly desperate for a woman; she speculated that he might be a virgin, which would make her job even easier.

She was worried about his family, though. From the sound of their shrieking this afternoon, she deduced that they were none too pleased with this whole situation, with her presence here. If they were able to get to him, to poison him against her…

But no, she couldn’t let that happen. She’d just have to play it cool—be nice as pie to the family when she met them, but then try to subtly undermine their influence whenever she was alone with Troy. Make it seem like it was him and her against his meddling relations. Yes, that was the smartest way to play it. She’d have to be careful that she didn’t get the idiot disowned, but hopefully she’d have made the haul and taken off before things got to that point.

Candy slowly realized that the same shouting she’d heard earlier had started again; she’d been so lost in thought that she hadn’t noticed it, so for all she knew it could have been going on for a while. Still tired, but galvanized by curiosity, she slid off the bed and crept toward the door, pressing her ear against the wood, listening.

It was the deep male voice speaking, which she assumed belonged to Troy’s father. Candy could only make out random phrases and stray words, but the man’s tone was one of obvious rage, but also, she thought, a hint of resignation.

“How is it…different?” the man bellowed, and Candy could almost imagine Troy cowering under the authority of that booming voice.

She heard Troy uttering something unintelligible that ended with “marry me,” then he said, “She’ll…I ask.”

Candy cursed under her breath. What had he meant by all that? She’ll do whatever I ask? Her frown deepened. Man, if he thought that, he was dealing with the wrong Russian mail-order bride.

The father was speaking again, louder. “We can’t…for you,” he said, and Candy clenched her fists in frustration. What the hell were they saying?

There was another exchange that she caught none of, and then there was the definite sound of a door slamming and heavy footsteps coming closer through the hallways. Quickly, Candy climbed back onto the bed and feigned sleep. A moment later, there was a firm knock on the bedroom door. She thought if she ignored it then Troy would go away, but the knocking persisted. Angry and strangely fearful, she got up again and slipped back into her shoes—because it seemed vulgar to converse in one’s bare feet in a house as grand as this one—and opened the door.

It was not Troy who stood there. This man seemed taller and broader, with a strong resemblance to Troy but with something harder behind the eyes. The blonde hair was shot through with gray, the skin around the eyes and mouth darkened by fine wrinkles. “You’re Sonja,” he said. It wasn’t a question.

Candy thought it odd that he had addressed her by her first name, but she let it go. “Yes.”

“And you are here to marry my son.” The flinty eyes narrowed, taking in her face, her body, her entire being.

Candy hesitated, her mind racing, but then said, “If your son will…accept me.” She lowered her gaze and then raised it again, like a deferential bow.

This seemed to be the correct answer, because the man’s features visibly softened. His eyes still glinted like steel, though. “You may have noticed that my son is a little…shy.” He was seemingly embarrassed to be discussing something as feminine as emotions. “He’s had his problems, I’ll admit that. But I hope that this time he’s found someone who can relate to him. Someone who will…stick around.”

Candy remembered to look pained, to pause as though struggling to understand the language. “Yes,” she said, thinking that the man’s use of the phrase ‘this time’ pointed to her not being the first, wondering how much harder that was going to make matters. “I think…I will like Troy.”

The man brightened, and suddenly he seemed much younger, more like a man than an obdurate brick wall. He even reached toward her, briefly, before catching himself, glancing in horror at the hand that had seemingly betrayed him. Then he backed up a few steps before turning and lumbering down the hall, not saying another word.

Candy closed the bedroom door, disturbed and relieved in equal measure. She was glad to see that Troy’s father wasn’t the ogre she’d been expecting, but that strange gesture just now, when he’d wanted to touch her… She shook her head. She’d have to watch herself around him, that was certain.

The exhaustion hit her again, more insistent this time, so, not even bothering to take off her shoes, she flopped across the bed and was asleep in an instant.

****

Troy was rooting around in the attic, sneezing uncontrollably at the clouds of dust he was kicking up, sending squealing rodents from corners with his clumsy maneuvering. He wasn’t worried about the noise he was making; Sonja’s room was two floors below in the opposite wing, and besides, when he’d peeked in on her earlier she had been sound asleep.

Troy tried to put the image of the beautiful Sonja stretched across the bedclothes out of his mind so that he could concentrate on the task at hand. He knew the key to the special room was around here somewhere; he had kept it well hidden for years, saving it for the momentous occasion of his marriage. He poked his fingers into the drawer of an antique jewelry box, but came up with nothing except dust and the desiccated carcass of a dead silverfish. Scowling, he wiped his hands on his trousers and opened the next drawer. Nothing there either. He was beginning to worry that someone had moved the key, but who could have possibly done that? Nobody knew about it but him, nobody came up to the attic but him. He had just forgotten where he put it, that was all. He was always misplacing things, and anyway, it was a long time ago.

At last he came across the key in the bottom of an empty violin case, tucked under a flap of decaying velvet. He didn’t remember putting it there, but that didn’t matter now. Curling the rusty metal into his fist, he made his way to the narrow staircase, leaving the attic in disarray behind him.

Once back in the hallway, he found himself so excited that he couldn’t keep from running down the carpeted corridors, taking the servants’ stairs down from the third floor to the second. His special room was in the very farthest corner of the east wing, a large oval chamber that looked out into the closed-in back garden. He tried to picture it now, as he hurried toward it, tried to set it in his mind before he saw it, to test himself. Over the years he had lovingly assembled every piece of furniture, every tiny detail in the room, in preparation for his wedding night. He could hardly believe the day was almost here; his heart felt as big as a bass drum in his chest.

At last, breathing hard, he reached the door to the room that he would share with his wife. He had always kept it locked; even when the maids had been here, they had been under strict orders never to enter it. Troy was the only one allowed inside; once he had arranged it to his satisfaction, he had sealed it up tight, only checking it every three months or so, cleaning and airing out.

He thought a ceremonial pause would be in order, but his excitement was too great. He thrust the key into the lock and turned it, simultaneously pushing the door inward and breathing in the scent of the place, the enchanting combined fragrance of rosewood and iron, old incense and fresh industrial rubber.

****

When Candy awoke she had no idea where she was for the first few minutes. Night must have fallen; the stained glass windows were black behind their colors. She sat up in bed, wincing at the pain in her stiff neck, and groped for the lamp on the end table. In its glow she could see the secretive contours of the room, strange but slowly becoming familiar. She caught a tang of perfume and wondered if someone had looked in on her.

After she had washed up in the adjoining bathroom and changed into a clean dress from her duffel bag, she decided she’d better track down her host. The house around her seemed deathly silent, but she supposed that wasn’t surprising given its great size. Perhaps the family had gone out.

As soon as she was in the hallway, she caught the unmistakable aroma of meat cooking, and she quickened her pace, suddenly ravenous. It took her a few false turns and dead ends, but she finally found the marble staircase leading to the ground floor, and from there she followed her nose to the kitchen.

A woman stood at the stove, her back facing Candy. This was Troy’s mother, she presumed, as the woman was also blonde, slim like Troy was, with long spindly arms and legs. She apparently hadn’t heard Candy come in, for she didn’t turn. Candy cleared her throat, loudly, and the woman jumped.

“Oh. Sonja.” The woman smiled and wiped her hands on a tea towel, approaching Candy with an open, friendly expression. Candy found it hard to square this woman’s demeanor with the shrill harridan she’d heard berating Troy earlier, but maybe she was just very good at hiding her true feelings. “You startled me, dear. I’m Alice, Troy’s mother.”

“Sonja Andropova.” Candy shook the woman’s hand. “Very nice to meet.”

“So, you’re from Russia.” Alice glided back to the stove, stirring something in a large silver saucepan. “What part?”

“Moscow.” Candy had considered telling the marks she was from some remote part of Russia, some village with an unpronounceable name, but she found that people were far more accommodating if they’d heard of the place she mentioned. Besides, she’d been to Moscow once, as a student, so she figured she knew enough about the place to bluff a little if she had to.

“Ah. Lovely place.” Alice didn’t say any more about Russia, and Candy was glad. “Have you met Leonard?”

“Leonard is…Troy’s father?”

“Yes.” Candy hesitated, thinking of how the man had come to her room. “Yes,” she said. “In…hallway.” She twisted her hands. “Where is Troy?” she asked, not really because she cared, but just trying to make conversation.

Alice continued stirring. “Oh, I’m sure he’s around. You’ll see him at dinner. Why don’t you go ahead and have a seat in the dining room?”

It felt like a dismissal, though the woman’s friendly tone never altered. Candy left the kitchen, not knowing exactly where the dining room was, but wandering around until she found it.

There was a large table in the center, draped with white linen and impeccably set for two people. Candy, confused, slid into a chair before one of the place settings. Wasn’t the whole family going to eat together?

Twenty minutes passed on the mantel clock as she waited, every now and then leaving her seat to study the crystal bowls in the china cabinet, or to stare out one of the long narrow windows at the overgrown gardens, lit at this hour by spotlights mounted on the side of the house.

Finally she heard a noise behind her, and turned to see not Alice, but Troy, his hot-padded hands bearing a huge ceramic bowl that appeared to be filled with a thick stew. He smiled at her as he set the bowl in the middle of the table, then he reached into his pocket and produced a Bic, which he used to light the two red candles in the table’s centerpiece. “I’ll just go get the bread,” he told her, and then disappeared before Candy could ask what was going on. When he returned, he carried a big basket filled with sliced bread that smelled as though it had just come out of the oven. Candy felt her mouth watering; she hadn’t had a decent meal in days.

“Please sit down,” Troy said, and as she did he answered her unasked question. “I thought it would be nice for just the two of us to have dinner together. The others will eat later.”

Candy thought this odd, since she and Troy had already had tea alone together and found not a single thing to talk about, and since she hadn’t been formally introduced to the family at large. But of course she kept her mouth shut. The rich were eccentric, she knew, and this family’s quirks were really no weirder than those of some of her other marks.

They passed the meal in relative silence, Troy seemingly wanting to talk but unable to think of anything to say, Candy concentrating on the food and on not giving herself away by saying something stupid or out of character. At one point, Troy attempted to start a conversation about his childhood, but it sputtered out fairly quickly.

Once Candy had finished two bowls of stew and four slices of the thick bread, she began to feel sleepy again and ready to go back upstairs to bed. To this end, she pushed her chair away from the table and made to excuse herself, but then Troy very suddenly announced, “We’ll be married tomorrow.”

She froze, trying not to let the shock of the statement show on her face. “So soon?” she asked, keeping her voice neutral.

Troy’s expression clouded over. “Don’t you want to?”

“Of course! Is okay.” Candy smiled, placating, hoping he didn’t notice the sweat that beaded upon her brow.

Troy seemed mollified. “It’s all arranged,” he said, and his gaze grew distant, as though looking through reality to what lay beyond.
“I’ve even got a dress for you. And a special room for us. Wait until you see. It will be perfect.”

Candy nodded encouragingly, then chugged half a glass of water in one go, trying to quell the panic. This was not in the plan at all— she’d never had any intention of actually marrying this guy. What was she going to do? Marriage would make everything legal, make her (and the money) easier to track down. On the other hand, if she skipped out tonight, she left with nothing; she’d be abandoning what promised to be the most lucrative score of her life, perhaps the one she could retire on. Her head began to pound.

Troy was saying something else, but she wasn’t really listening. She was so tired, and she had to think. She held up her hand to silence him. “Please. I am sorry. I must go back to bed now. We will talk more in the morning.” He looked to be getting angry again, so she hastily added, “I am very excited to see the dress.”

He was clearly still wary, but he smiled. “Sure, of course you need your rest. Big day tomorrow.” His smile stretched to disturbing proportions.

“Yes.” Candy got up from the table. “Good night, Troy.”

“Good night, darling.”

Candy’s skin crawled as she made her way out of the dining room and back through the profusion of corridors and staircases that eventually led back to her room. Once there, she tried to lock the door, but found she had no key. Instead she wedged a heavy upholstered chair against the door and then sat down on the bed, thinking. She was so exhausted that she could hardly keep her eyes open, but she forced herself to stay awake. She had to figure out a plan.

It was obvious she had to get the hell out of here as quickly as possible. She hated having to abort a mission as potentially enriching as this one, but Troy was seriously weird, if not completely unhinged, and things were progressing to escape velocity too quickly for her. She wasn’t sticking around in order to get embroiled in a legal—not to mention probably sexual—bond with the freak downstairs and his elusive family.

She yawned expansively, then stood up and began moving around. Why the hell was she so damn tired?

Sluggishly, she set about gathering the few items she’d taken out of her duffel bag and repacking them. She thought it best to make her escape right away, while Troy was otherwise occupied in the kitchen. She didn’t think he’d be able to hear her leave. She didn’t have a car, but she remembered it wasn’t far to the main road—once there, she could call a taxi and pay for it with the last of her cash. She’d have to charge a hotel room and figure out what to do from there.

Then an idea managed to filter its way into her muddled brain. It occurred to her that even though she was cutting the con short before it had really begun, she still needn’t leave with nothing. This house, after all, was chock full of valuable knick knacks that could be spirited away without anyone in the family being the wiser. A quick glance around her own room showed nothing promising, but Candy figured she could poke her head into a few rooms on her way out.

Slinging the duffel bag across her shoulder and wincing at the creeping numbness in her limbs, Candy pushed the chair aside and listened at the door for the sound of footsteps. She heard nothing, but became alarmed when her head drooped against the door, her eyes closing of their own accord. She snapped awake, not knowing if she’d been out for a second or an hour. What the hell was the matter with her? The horrible possibility dawned that Troy might have put something in her food, but why would he do that? As far as he was concerned, “Sonja” was here willingly and raring to get hitched. No, she had just eaten too much on top of the jet lag and fatigue, that was all.

She eased the bedroom door open and looked both ways down the hall, which was lit only by a few dim wall sconces. The coast seemed clear, so she forced herself out of the room, closing the door gently behind her.

There were several doors on either side of the hall, all closed, and to Candy the whole thing resembled nothing so much as a fancy hotel corridor. The first two doors she tried were locked; the third opened onto a room containing nothing but an old sofa covered with a plastic dropcloth. Candy’s feet dragged along the carpet as she struggled to stay upright. Her vision was even starting to blur a little. Well, she could have a nap in the cab when she had gotten out of this madhouse.

The next room was empty except for a stack of framed photos and paintings, leaning so the images faced the wall. Candy remembered the blank squares on the wallpaper in the sitting room downstairs and wondered if these were the pictures that had been removed. She considered going in to look, but she was so tired, and besides, it seemed like a waste of time; paintings weren’t the most practical objects to steal. She closed the door again.

The next two rooms were also locked, and Candy was considering simply leaving the house empty-handed, as depressing a proposition as that was. But the next door, the one adjacent to the main staircase, opened easily, and a lamp had been left burning within.

She swayed on the threshold, finally managing to focus her vision. This had to be Troy’s room; there were his dress trousers, folded neatly over the back of a chair, and there was the only picture of herself that Candy had ever sent him, blown up to poster size and pinned to the wall above the headboard. She shuddered.

Candy stepped farther into the room, thinking maybe Troy had left some cash or a fancy wristwatch lying around. As she approached the nightstand, something on the bed caught her eye.

It was about the size of a cat, and furry. At first she thought it was a dead animal of some sort, and her heart skipped a beat, but as she peered closer she saw that it was only a wig, long and blonde and startlingly realistic. Despite her muzzy state, Candy had to smile. So that was one of Troy’s dirty little secrets, was it? Funny, she’d never have pegged him as the transvestite type…

Her smile faded as she realized what lay beside the wig. There, in a rumpled tangle, was a red and white striped women’s blouse and a black denim skirt.

It was the same outfit Troy’s mother had been wearing when Candy had seen her in the kitchen earlier that evening.

Her fogged brain reeled. What the hell kind of sick Norman Bates shit was going on here? Her terrified gaze slid away from the clothes and settled on the dresser, whose surface was littered with cosmetics, men’s and women’s jewelry, and a few bottles of gray hair coloring. Hanging from a peg above the dresser was another wig, this one a darker blonde, and styled in a pert bob. Troy had told her he had a sister, hadn’t he? Jesus Christ.

Forgetting the valuables, she turned to run, but her legs had gone to jelly, wobbling threateningly beneath her. Troy stood in the doorway, beaming at her as though she was the Virgin Mary. Candy heard the duffel bag hit the floor as it fell from her nerveless grasp. Then she heard Troy say, “I see you’re making the family’s acquaintance,” and then she heard and saw no more.

****

Candy was aware of sounds and voices, and for a moment she thought she was back in her apartment in Cleveland, and that she was dreaming. And then suddenly reality came flooding back.

“I told you this one was no different from the others!” hissed a deep voice, very close by. “They’re all the same, didn’t I tell you that? She had her bag, Troy, she was running away!”

Candy didn’t want to open her eyes; the images her mind was conjuring up were horrible enough. The feeling in her limbs had returned enough for her to discern that she was lying flat on her back, and that her wrists and ankles were restrained.

“But I got her to stay, Father!” That was Troy’s voice, plaintive and childlike. “I got Mother to put some medicine in her soup, just to make sure. It isn’t going to be like those other times, I swear it!”

“Technically speaking, none of those other girls ever left either,” said a young female voice, chuckling sardonically.

“Stop teasing him, Sue,” Alice admonished, though of course Candy knew who was really speaking, even without opening her eyes. Troy’s “mother” went on, “All we want is for this girl to work out. We can’t keep covering up for you when they don’t.”

“I know, Mother, I know!” exclaimed Troy, switching back to his regular voice without a pause. “And I appreciate all you’ve done for me. But this is different.”

Candy felt a hand on her arm, and her eyes flew open like a shot. Troy was standing over her, looking down at her with a rather frightening expression of plainly psychotic devotion. Candy raised her head as much as she was able, struggling against her bonds. She was clad in a stiff antique wedding dress, and shackled to what looked like a hospital bed. When she looked beyond herself, beyond the staring face of the doting Troy, and focused on her surroundings, she nearly screamed.

The walls around her were black and shiny, like thick rubber or vinyl-covered pads. Worse than this, though, were the metal instruments she could see suspended from pegs around the room’s oval perimeter. The objects all had long probing rods and sharp points sticking out at odd angles, and Candy didn’t even want to imagine where one would insert them.

She opened her mouth to speak, but no sound came out. She struggled mightily, thinking if she could just get through to Troy maybe she could talk him out of whatever he was planning to do.

Before she could get a word out, Troy put a finger gently to her lips. “I know what you’re going to say, and I’m very sorry about the slight change of plans. But I thought you weren’t quite as enthusiastic about the marriage as I would have liked, so I just gave you a little encouragement.” He reached into his pocket, and now Candy noticed that he was dressed in an old-fashioned tuxedo that smelled vaguely of mothballs. He opened his hand to show her the object her had retrieved: A thin gold band with three square diamonds mounted side by side.

“It was my wedding ring, and my mother’s before that,” Troy said, Alice’s voice emerging from his lips, as though he was possessed by a honey-throated demon.

Candy cried out as Troy slipped the ring onto her finger. “You killed them!” she said, not bothering with the Russian accent anymore. “You killed your whole family!”

Troy’s eyebrows went up almost to his hairline. “I’ll have you know that I, my wife, and my daughter Sue are very much alive,” he said in his Leonard voice. Then he switched to the Alice voice, with a simultaneous change in demeanor. “We did leave Troy alone for a while, we admit that,” Alice said with something that sounded like regret. “But when we saw how much he needed us, well…how could we stay away?” Troy smiled, a feminine, motherly smile.

Candy couldn’t stop the sobs from coming now. “You’re crazy,” she said, pushing and pulling against her bonds, all to no avail.

Troy slapped her, savagely, across the face. “Don’t ever say that,” he whispered, speaking as himself again. He pointed to the ring on her finger. “Do you see that? You’re my wife now, Sonja. And wives do as their husbands ask.”

“I’m not your wife!” Candy screamed, tears backing up in her eyes, blinding her. “My name’s not even Sonja, and I’m not even Russian, I’m from fucking Ohio…” Her chest hitched and she found it hard to catch her breath. This could not be happening, there was just no way…

“Listen to her, poor dear,” said the Alice-voice.

“Yeah, you sure she wanted to marry you, bro?” added the Sue-voice.

Troy’s own personality returned. “Sonja and I would like to be alone now,” he said tightly. There was a long pause, then he regarded his captive with something like real affection. “They’re gone now, darling.” He brushed her cheek where he had slapped it, as though trying to heal the wound with his touch. Then his fingers skipped lightly over her chin and her neck, finally coming to rest just at the swell of her breasts. He looked to be in ecstasy. Candy wanted to close her eyes, to make it all go away, but she didn’t dare.

“It’s going to be wonderful, my love,” he said, backing up a few steps and shrugging out of his tuxedo jacket. “Those other girls before, they would do some of what I wanted, go part of the way with me. But there was always a point where they would want to stop.” He was unbuttoning his shirt now, and the removing it to reveal his pale torso. “They were never as devoted to me as a wife would be,” he went on. “And I never brought them here, to this room.” He had stepped out of his pants and underwear, and stood before her, his naked form dimly reflected in the shiny black walls. “You’re the first one I ever brought in here,” he said reverently, gesturing around the room at all the instruments glimmering on their pegs. “I’ve been waiting for this for so long.”

Troy grabbed a handful of Candy’s skirt and began shoving the lace and tulle bundle up toward her thighs. Candy did close her eyes then, knowing it wouldn’t help but no longer wanting to see what her fate would be. In the darkness behind the lids she pictured that first day sitting by her computer, answering that stupid personal ad and looking forward to another conquest, another cash-in. Tears leaked from the corners of her eyes. She wished she were back there, safe in her single-girl squalor. She wished she was anywhere. She wished she was dead.

Candy heard a metallic clang as Troy removed one of the instruments from the wall, and then heard his quickening breath as he approached her, preparing himself to test the bonds of matrimony. Candy clenched her teeth, and hoped to Christ her agony would be brief.

 

 

The Goddess Revisits Season Two of “Masters of Horror”

Just as a quick reminder, I’ve put up a Patreon campaign to raise some much-needed funds for my writing endeavors, so take a look if you missed my previous post, and give something if you can, would you? Thank you.

Now, since I went into the specifics of “Masters of Horror” in my previous post about season one, I’m just going to jump right in and begin discussing season two, the rewatch of which I just completed. The quality of the second season of Mick Garris’s generally excellent series was a lot more consistent than the first, in the sense that there were no particularly terrible episodes, but there weren’t really any jaw-dropping, “Imprint”-quality ones either, though many of them were quite good, and all were at least decently watchable.

The season two revisit has been a little more fun for me and has provided a slightly different perspective on the show, since the God of Hellfire became interested in this fucked-up series I was obsessively watching and decided he wanted to watch some of it too. So I’ll be providing a little of his insight on the episodes, when he provided it. And now, onward.

MastersOfHorror2

THE DAMN GOOD

There were two episodes that, for me, stood out as being the best examples of what season two had to offer. The first was “Family,” directed by John Landis and featuring the lovable George Wendt (of “Cheers” fame) playing brilliantly against type as a suburban serial killer and corpse collector. I’m not entirely sure if the concept for this story was at least partly inspired by Miriam Allen deFord’s 1961 short story “A Death in the Family,” which it strongly reminded me of and which was made into an episode of “Night Gallery” back in 1971. John Landis’s “Family” ends up going off in a different direction entirely, though, and has a great twist ending. George Wendt imbues his schlubby, lonely bachelor psychopath with such pathos that it’s hard not to feel bad for him, even while he’s killing little girls and old ladies to deflesh and add to his happy skeletal family. Twisted, tragicomic, and great.

Norm realizes the folly of storing the hydrochloric acid on the shelf right next to the lavender bath oil.

Norm realizes the folly of storing the hydrochloric acid on the shelf right next to the lavender bath oil.

The second standout of season two, the Rob Schmidt-directed “Right To Die,” recalled the furor over the Terri Schiavo case and starred the terrific Martin Donovan, who I’ve been a fan of since his numerous appearances in Hal Hartley’s films in the eighties and nineties. Donovan plays a dentist who has been cheating on his wife with his buxom assistant; shortly after the wife finds out, she and her wayward husband are involved in a terrible car accident in which all of the wife’s skin is burned off. Initially engaging in a legal battle with his mother-in-law for the right to turn off his wife’s life support, Dr. Adulterer soon changes his tune when it comes to light that his wife is now able to open up an enormous can of supernatural scorned-woman whoop-ass whenever she flatlines. Since I’m always down to see a cheater (and worse, as it turns out) get his just desserts, this episode was a satisfying, gory, and somewhat surprising ride.

In an attempt to be edgy, Smokey Bones new barbecue menu took things just a bit too far.

In an attempt to be edgy, Smokey Bones new barbecue menu took things just a bit too far.

THE PRETTY DAMN GOOD

Several of the other episodes, while not quite to the caliber of the aforementioned, were still reliably entertaining. “Sounds Like,” directed by Brad Anderson from a short story by Mike O’Driscoll, was in the words of the GoH “like a really, really good ‘Twilight Zone’ episode,” and recounted the sad tale of a suburban middle-manager type guy who loses his son to a rare heart condition and subsequently develops hypersensitive hearing that eventually drives him insane. Very low-key in the gross-out department, but a nice slow burn of suspense and escalating tension.

“Pro-Life,” John Carpenter’s taut tale of a determined, fifteen-year-old pregnant girl and a demonic battle in a besieged abortion clinic, was also pretty fantastic, with Ron Perlman giving a chilling performance as the girl’s fundie nutbag father. Intense, violent, and genuinely frightening, even if the whole “devil-baby” angle is a touch cheesy.

Dario Argento’s “Pelts” was the Italian maestro’s second contribution to the series, adapted from a short story by F. Paul Wilson. The somewhat ridiculous premise sees a fur trader (played by Meat Loaf!) getting his hands on some beautiful raccoon pelts that magically make everyone who works with them do unbelievably gory things to themselves that mirror what was done to the dead animals. Squicky, over the top (it IS Argento, after all), and lots of fun.

He would do anything for love, including giving you the shirt off his back, or the skin off his torso, or something.

He would do anything for love, including giving you the shirt off his back, or the skin off his torso, or something.

The Joe Dante-directed “Screwfly Solution,” while not nearly as stupidly overblown as his first-season “Homecoming,” still tackled hot-button sociopolitical issues (feminism and male aggression, in this case), but in a far less obnoxious way than his first foray in the series. I thought it was still a bit too glib and a tad on the overly obvious side for my taste, but overall I quite enjoyed it, and the GoH chose it as his favorite episode of season two, so in deference to him I decided to place it in the “pretty damn good” category. The GoH is a big fan of apocalyptic-type scenarios in horror that are just barely plausible, so this tale of an unknown biological agent that ramps up male hostility to the point where the men are killing off all the women on earth, was right up his alley and scared him more than any of the other episodes. Also, SPOILER ALERT, it was aliens all along, and aliens are pretty much the GoH’s favorite thing in the whole wide galaxy, you guys; you don’t even know. I forgot to add that this episode featured both Jason “90210” Priestley AND Elliott “M.A.S.H.” Gould as high-echelon environmental scientists, which is probably something you can’t say about any other movie in history. So there’s that.

Also decent was “We All Scream for Ice Cream,” directed by Tom Holland from a short story by John Farris (with a teleplay by the great David J. Schow). Bearing shades of Stephen King’s It, this straightforward tale of supernatural revenge sees a mentally-slow but well-liked (and clown-clad) ice cream man “accidentally” killed by some miscreant children. Years later, a sinister ice cream van prowls the small town’s streets at night, seeking to revisit the sins of the fathers upon the sons, as it were. Well-executed and fairly creepy.

Rounding out the “pretty damn good” category, Stuart Gordon’s adaptation of “The Black Cat” featured Jeffrey Combs as a tormented Edgar Allan Poe living out (or is he?) a couple of his more famous short stories. I thought the ending was something of a cop-out, but I’ll forgive it (this time) because the performances and gore were solid (BAD KITTY!) and the episode as a whole was pretty great, with some brilliant comic touches. Likewise with “The Washingtonians,” directed by Peter Medak from a short story by Bentley Little. The premise was so utterly bizarre, and the execution so overdone and absurd, that it circled all the way around to being awesome again. Intensely gory, and one of the funniest—and easily the wackiest—episodes of the series.

American History Blechs.

American History Blechs.

Also quite good was the final episode, Norio Tsuruta’s “Dream Cruise.” Glacially paced, and pretty standard J-horror all around (complete with long-haired female wraith), but with a story that held a few surprises, lovely cinematography, and a nice creep factor. A worthy end to the series.

THE JUST OKAY AND THE DISAPPOINTING

A few of the episodes, while not bad per se, were just not as good as I was expecting, given the talent involved. As much as I adore the stories of Ambrose Bierce, for example, the Tobe Hooper-directed adaptation of “The Damned Thing” (with a teleplay by Richard Christian Matheson, no less) was not particularly engaging or memorable, making me question the decision to make it the inaugural episode of the second season.

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You cursed brat! Look what you’ve done! I’m melting! Melting!

Also a disappointment, and for similar reasons, was “Valerie on the Stairs,” directed by series creator Mick Garris from a terrific short story by Clive Barker. I’m a huge fan of Barker’s stories and novels, but his fantastical creations are somewhat hit or miss when adapted to screen, and this one seemed more miss than hit. Tony “Candy Man” Todd played a fetching demon, and Christopher Lloyd was his pleasingly manic self, but the episode seemed flimsy, slightly repetitive, and a tad silly, with an anticlimactic ending let down by cheesy special effects.

The Mick Garris-directed “The V Word” (and I hate to say it, but Garris was kind of 0 for 3 on his own episodes of the series he created, in my opinion) was not a total waste of time, but not an experience I’d care to revisit, either. The V could have stood for literally anything else—vagina, perhaps, or velveteen, or vivisection, or even Vivian Vance, for fuck’s sake—and I would have enjoyed it more, but since the V stood for “vampire” (oh…those), I was less than enthused, especially when whiny teenage boys were added into the mix. Watchable, but overall, meh.

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Soooooooooooo high.

And thus completes my revisited rundown of “Masters of Horror!” Agree? Disagree? Care to start a virtual fistfight over which were the best episodes? Let me know. Until then, as ever, Goddess out.

Another excerpt from “Red Menace”

Hey kids, it’s me again, reminding you that my book Red Menace is available for your reading pleasure, both in ebook and print formats from Amazon, and ebook format directly from Damnation Books. Read the excerpt below! Buy the book! Read it, love it, write a review. Thank you, my lovelies.

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Paige’s eyes snapped open in the darkness. She didn’t know what time it was, only that there was no faint sign of dawn yet showing through the windows—and that Daniel was sleeping deeply beside her, his body heavily still.

Just before she had awakened, she was having a horrible dream where she was sitting in the balcony of a dimmed concert hall, looking expectantly at the stage below, which was bathed in the glow from the red footlights. An orchestra was arrayed on the stage, though Paige couldn’t see any of their faces because they all wore red hoods. The effect of the crimson light on the similarly colored hoods was unsettling, making the movement of the fabric seem turgid, liquid, like slowly draining blood.

At last, the orchestra raised their instruments as one body. The music stilled Paige’s heart for several beats. It was an infernal music, and in the dream, Paige thought of a story she had once read about a violinist who had sold his soul to the devil to be able to play like a virtuoso, only to send everyone who heard him spiraling into madness. Surely this orchestra was just as miraculous in their command of tone and timbre, in their deft manipulation of the snaking harmonies, but the miracle, if it was one, was of a satanic nature, just like in the violinist story, welling up from the darkest recesses of the soul. Paige wanted to scream but could not, wanted to cover her ears but could not move her arms. She was rendered motionless by the music, a stone carving from which a trapped consciousness peered out helplessly.

At the crescendo of the piece, just when Paige felt that she could not listen anymore, all the musicians upon the stage turned toward her in unison, the movement causing their hoods to fall back with soft and somehow obscene whispers that could still be clearly heard, though the din of the music carried on uninterrupted. Their faces were all white, grinning skulls, the black of their multitudinous eye sockets made even blacker by the wavering scarlet light, their expressions seeming to mock her.

She suddenly did scream then, feeling the stretch of her lips, the vibration of the sound in her dream-throat just as she would in waking life, though nothing emerged but silence. She just had time to glance down at the audience and see that they had all turned toward her too, accusing her with their skeleton eyes, and then she woke, her breath catching in her throat, making her cough. Daniel stirred a little but then turned onto his side and resumed snoring. Paige’s eyes struggled to identify familiar shapes in the darkness, a curtain rod or light fixture she could focus on so that she wasn’t seeing the endless parade of red-tinted skull faces peering at her with their empty yet somehow malevolent gazes.

As her heart rate calmed, she reflected on the sound that had surely wakened her. Even in the bare, few seconds after launching out of sleep, she heard a telltale echo throughout the house, the remnants of a solid sound that had not issued from her mind, however rattled. The sound could not have been very loud, or it would have woken Daniel also. Paige lay very still, feeling sweat pooling in the hollow of her stomach, straining her ears for the slightest noise.

An interminable stretch of time passed, and Paige began to think the sound had been a product of her fervid imagination after all. She closed her eyes, reluctantly settling back into sleep mode, but then she heard it—a tiny, slight wheeze, like the breath of a mouse behind the walls. Paige wondered what it could be, and as she frowned out at the surrounding darkness, the other sound came—the devilish music of the skeleton orchestra. She leaped out of bed and was halfway to the door of the bedroom before her brain even registered the movement of her body. Daniel was awake now too, his voice thick with sleep, calling her name, but Paige was already out the door and climbing the stairs to the attic room, two at a time. Some part of her must have instinctively known that the horrible sound was coming from the clock in the black room, but it was only now, as she reached the landing, that she became consciously aware of it. Just as she did, the chime came again—a deafening and doom-laden gong seemingly accompanied by the combined screams of all the tormented souls in hell.

The thought of that coffin-tall clock singing its malevolent song to the gleeful audience of that one red-windowed eye in the otherwise abandoned black room filled Paige with a horror that compelled her quickly down the hall and through the door of Helena’s attic aerie, not caring if the old woman thought she’d gone right off her rocker. She just wanted that fucking clock to stop.

Paige tore into the attic room, intending to march straight into the Red Death suite and smash the clock’s smug face with her bare hands; however, she stopped dead in her tracks at the strange sight of Helena, sitting upright and cross-legged on her narrow bed in a small circle of lamp light, her eyes closed, her ogre face bearing the serene expression of a stone Buddha. She was dimly aware of Daniel’s presence behind her, and she felt his breath upon her neck. As she stared at Helena, the echoes of the horrible chimes danced all around them, like whispering little caper-demons scurrying for the corners and concealing their evil laughter behind tiny, clawed red hands. Then, the chime came once again, full and resonant, seeming to shake the house to its foundations. Paige clapped her hands over her ears the way she had been unable to do in her dream, even though this had the awful effect of making the sound closer, more intimate, as if it was coming from inside her own head.

When the last of the chimes had finally died away, Paige cautiously drew her hands away from her ears, listening to the silence that now seemed like the world’s sweetest music. After a moment, she realized her cheeks were wet; the tears had spilled without her knowledge. She stared at Helena’s blissful figure, feeling exhausted, empty, and suddenly afraid.

The old woman’s eyes opened, and the fishy, white one twirled in its socket while the normal eye fixed on Paige, a shimmering jade-green jewel in the lamp light. Helena smiled her sunken smile. “I was afraid it wouldn’t work anymore,” she said.

Here are the Witches, Bitches!

IT’S OFFICIAL! My novel Red Menace is out today! And best of all, there is a SALE! If you buy the ebook version today (PDF, ePub, MS Reader, Mobi Pocket, or Palm formats) directly from Damnation Books, it is absolutely FREE!!! You heard me, FREE. Can’t get any cheaper than that, can ya? If you need the Kindle version, it’s available from Amazon right here, for the low, low price of $5.95. If you’re an old fashioned girl like me, the print version will be available shortly.

If you have a horror mag/blog and would like a review copy or to set up an interview with the Goddess herself, please contact me at hecate80@hotmail.com. And if you read the book and enjoy it, would you please be so kind as to write a glowing review on the website of your choice? Thanks ever so much. If you need further incentive, there is a short excerpt from the novel below the pic. As always, thank you for your support! Goddess out.

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Excerpt from Red Menace
©2014 Jenny Ashford and Damnation Books

As Paige pulled the lid up to close it, she noticed a slight shift in weight that she hadn’t noticed before. There was a large elastic-topped pocket on the inside of the lid, and there was something inside it.

By this point, Paige’s earlier trepidation had nearly vanished. She didn’t know what she had expected to find when she came barging into the attic, but a suitcase of moldy old jars was certainly anticlimactic and had largely put her at ease, even though she remained dimly aware of the clock and the window holding her in the beams of their disapproving glances. She hardly hesitated in pulling aside the worn elastic and sticking her hand into the lid pocket, drawing out what her questing fingers found there.

It was a canvas bag, about the size of a pillowcase, and very dirty, with a thin rope drawstring. It emitted an earthy smell from between its fibers, and in a flash of insight from somewhere seemingly outside herself, Paige knew what was in the bag, knew it as surely as she knew her own name. Once this realization had dawned, Paige pictured herself placing the unopened bag gently back into its pouch, then closing the suitcase, fleeing the suite and locking its door behind her. In reality, she watched in helpless horror as her hands, acting on orders other than her own, parted the mouth of the canvas bag wide, exposing its contents to the shadowy, crimson light of the Black Room.

Bones. A whole skeleton, it looked like, jumbled in the bottom of the bag like grisly puzzle pieces, marred with clumps of soil that released a pungent odor into Paige’s nostrils, putting her reluctantly in mind of burials, of the smell of freshly turned earth at Daniel’s mother’s funeral.

The skull was staring up at her with a half-jawed grin. It was a small skull, surely that of a child. It looked yellow and brittle with age, though a sudden shift in sunlight outside the scarlet window made it blaze momentarily with life, as though the red light had animated the face, furnished it with muscle and flesh.

 

The Goddess’s Favorite Creepy Movie Scenes, or Little Red Smiting Hood

If you’ve done even a cursory reading of my other blog posts in this series, you’ll know that the films and scenes I tend to write about are not focused so much on shock or gore as they are on conveying a sense of deep, lingering unease. I feel that movies and scenes that can accomplish this feat successfully are much rarer, for instilling a lasting dread in a viewer is always going to be far more difficult than simply making them jump in their seats or showing them something that turns their stomach. As I mentioned before, I’m not going to belittle horror films that take the easy way out; I’ve enjoyed a great many of them, after all. But my favorite horror is always going to be predicated upon that tightening noose of apprehension, that eerie, nightmarish imagery that sticks with you for sometimes years afterward, that subtly creeping menace that makes you almost regret ever even watching the thing in the first place.

As a case study, I now present a discussion of what I feel is one of the finest horror films of the 1970s. It’s a critically adored piece of filmmaking, but I definitely feel that it sometimes gets short shrift in the “popular” culture of horror films. Part of this may be due to the fact that it’s British, and perhaps more restrained and adult-oriented than the usual horror fare; in fact, it could almost be classified as an “art film.” Part of it may be due to its fractured, confusing narrative and its obsessive repetition of themes. Whatever the reason, though, I hope that those of you who have never seen it will sit down in a darkened room and give it a chance, because I guarantee that you will be in for a truly unsettling experience. One caveat, though: if you’re going to watch it, you might want to wait to read my recap until afterward, because I’m going to spoil the hell out of it. With that warning, let’s continue, shall we?

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Donald Sutherland is well-known for having the best epic eyeroll in the business.

1973’s Don’t Look Now was based on a short story by Daphne du Maurier (who also wrote Rebecca and The Birds, both of which, of course, were adapted to film by Alfred Hitchcock) and was directed by Nicholas Roeg, an idiosyncratic filmmaker known for such works as Performance, The Man Who Fell To Earth, and the Roald Dahl adaptation The Witches. Roeg’s signature directorial style (and also his visual style, as he started out in the biz as a cinematographer) is all over Don’t Look Now, from the disjointed plot construction to the recurring instances of symbolism. It’s definitely a film that rewards multiple viewings and reveals hidden layers with each rewatch.

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Ah, an innocent little girl skipping along right next to an ominous body of water. What could possibly go wrong?

In brief, Don’t Look Now is the story of a married couple, John and Laura Baxter (Donald Sutherland and Julie Christie) who are grief-stricken after the accidental drowning death of their daughter Christine (Sharon Williams). To help deal with their loss, John accepts a job restoring an old cathedral in Venice, and the couple move from England to Italy in order to get away from their painful memories.

But naturally, things never work out that simply in a horror film. They have only been in Venice for a short time before Laura is approached by two sisters, one of whom is a blind psychic, in a restaurant bathroom. The psychic tells Laura that her daughter is with her and is happy, even describing the distinctive red raincoat Christine was wearing when she drowned. Laura is overjoyed at the news and believes unreservedly, but John is far more skeptical, and gently tries to discourage Laura’s “fancies.”

However, it soon becomes clear that something untoward is going on, no matter how skeptical John may be. Not only is there a murderer running loose around Venice, but John begins seeing fleeting glimpses of what appears to be a child in a red raincoat around the city. Laura, still heartened by the psychic’s pronouncement, agrees to go to a seance held by the two sisters, at which they tell her that her dead daughter has informed them that John is in danger. John gets angry at all of this psychic nonsense, and he and his wife have a blistering argument where much of their resentments about their daughter’s death come to the fore.

The next morning, they receive a phone call. It turns out that the couple’s son, who is at a boarding school back in England, has been injured in a fall. Laura immediately leaves Italy to tend to him, while John stays behind. Strangely, though, John sees his just-departed wife later that very same day. She is dressed in mourning and standing on a funeral boat in the canal, along with the two weird sisters. He passes her in another boat, and calls to her, though she doesn’t seem to hear him. Confused by her presence when she is supposed to be in England, and concerned about the murders happening around the city, he calls the police and reports her missing. Suspicious police decide to have John tailed instead, as he combs the city for any sign of his wife or the sisters he saw her with. Then, in a moment of clarity, he calls his son’s boarding school and is informed that Laura is there, and had arrived precisely when she should have, judging from the time she left Italy. Severely confused now, John informs the police that his wife is fine and not missing after all. Then later, in the street, he sees the red-clad figure again and chases after it. It should go without saying in a movie like this, but it doesn’t end well.

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Taking a slight detour on the way to grandma’s house.

Director Roeg is a master at fostering a bizarre sense of dislocation in the viewer, but also at wrenching a cloying sense of menace out of every frame in this film. He does this through means both obvious and insidious. First of all, whenever Italian is spoken in the film, Roeg chose not to subtitle it, so that a non-speaker watching the film would feel just as adrift and confused as the characters. Secondly, he plays heavily on the theme of precognition, refusing to make clear whether what we are seeing on screen is happening in the present, the past, or the future, and deliberately chops up the narrative so that it is presented to us in a largely non-linear way. Thirdly, he uses several recurring motifs as portents of disaster: water, glass breaking, the color red, falling objects and people, the sense that “nothing is as it seems.” There is a constant sense of being stared at by hostile-seeming bystanders, there are subtle references to the murders which are never explicitly shown, and just an overall sense of displacement that contributes to the feelings of loss and relationship breakdown that the characters are experiencing. Roeg also makes great use of the dark, gothic back alleys of Venice to ramp up the creepy factor.

Several scenes stick out, but there are really only two that I’d like to briefly discuss. And before you get your hopes up, no, one of them isn’t the VERY explicit sex scene that caused so much controversy when this film came out in 1973. I may discuss it one of these days if I ever do a series on oddly hot moments that inexplicably turned up in horror films, but for now, let’s keep to the scary. Sorry, horndogs. 🙂

The opening scene is fantastic in establishing many of the themes explored in the film. The family is still in England at this point, and the daughter is not yet dead. Christine, in fact, is playing out in the yard in her red raincoat, while her brother idly rides his bicycle not far away. Inside the house, John and Laura are sitting before the fire. Laura is poring through a book looking for the answer to a question Christine asked her about frozen bodies of water (there’s one of those motifs), while John is looking through slides of the cathedral he is going to be restoring. In one of the shots, he notices a red-hooded figure seated in a pew before a stained glass window. He looks at the slide through a magnifying glass, and suddenly we see what looks like a red arm extending from the figure, though closer examination reveals that it is a tendril of blood, eerily working its way across the slide. The sight of the blood gives John a moment of precognitive dread, and he bolts from the house and out into the yard. Unfortunately, he is too late to save Christine, and is reduced to dragging her lifeless body from the pond and howling in agonized grief.

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The second scene I’d like to focus on is the final one, in which all of the director’s leitmotifs culminate in one of the most unsettling sequences in horror cinema. John has seen that elusive red-hooded figure again as he is walking in the street, and begins to chase after it. The blind psychic, of course, has had a vision that John is in mortal danger, and Laura, who has returned from England, begins to run after him. He follows the figure up a spiral staircase to the tower of a cathedral. Laura cannot get in, and is reduced to reaching through the locked gates and yelling for him. John opens a door, and sees the little red-hooded figure standing against the wall, with its back to him. He thinks he hears it crying, and he tells it that he’s a friend, that he won’t hurt it. “Come on,” he says, encouragingly. There is another shot of Laura reaching through the wrought iron gate and calling for him, and then a flashback of the photographic slide with the red-hooded figure sitting in the pew. And then, the red-hooded figure turns around, y’all.

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Aww, look, it’s my sweet little dead daughter!

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OH HELL NO.

Not a pretty little blonde-haired girl at all, is it? No, it is a disturbingly wizened little woman. She approaches John, shaking her head, and then there are intercut shots of the blind psychic screaming, of the Baxters’ son running across their yard in England, of John embracing a stone gargoyle. “Wait,” says John, and then the tiny, terrifying woman, who in case you hadn’t figured it out is actually the serial killer running loose around Venice, pulls a cleaver from her pocket and thunks John right in the neck. There is a confusing array of images encompassing the past and present: John falling backward, Laura screaming, John holding his dead daughter in the pond, Christine’s red ball, John holding his wife’s hand in a restaurant, a mermaid brooch one of the sisters had been wearing. It’s all set to the discordant sound of church bells clanging. John’s life essentially flashes before his eyes as he lies there and bleeds out upon the floor.

And thus John, who spent the entire film discounting the existence of precognition (even though he experienced it himself just before Christine’s death), has had his second vision fulfilled, even though at the time he wasn’t aware that it was a vision: when he inexplicably saw Laura and the two sisters on the funeral boat, he was seeing the future, and seeing his wife mourning HIS death, not their daughter’s. A fantastically crafted film all around, and one the Goddess enthusiastically recommends.

Until next time, Goddess out.

The Goddess’s Favorite Creepy Movie Scenes, or Don’t Fear the Ripper

I thank the universe pretty much every day that I was born at the time I was. My formative years corresponded almost exactly with the explosion of punk and post-punk, the birth of MTV, the home video boom, and the expansion of cable television into more and more homes. Yes, despite my dewy youthfulness, I am, as the kids say, “an old.” And this almost goes without saying, but get off my lawn.

Cable TV, for all you whippersnappers out there, wasn’t really a thing until about the late 70s. I spent most of my very young childhood planted in front of one of those giant faux-wooden-cabinet televisions with a dial that you turned to change the channels, of which there were three (four if you count PBS). Later on we got another channel, Fox (which was channel 35 on the dial in my area), which back in the day showed pretty much nothing but “Sanford and Sons” reruns and Hanna Barbera cartoons.

But then, when I was about nine years old, my dad began working for our local cable company, and one of the perks of his job was that he got all the cable channels for free, including the new pay movie channels, like HBO and Cinemax. Gone was the dial; now there was a large beige box that sat on top of the TV and lit up (oooooooh!). It had a slider that you used to change the channel, and I remember being so excited that there were SO MANY NUMBERS on the slider. SO MANY.

OH GOD, IT’S LIKE AN ALIEN TECHNOLOGY.

OH GOD, IT’S LIKE AN ALIEN TECHNOLOGY.

I really only went into this brief history lesson to say that a great deal of the memorable movie experiences of my youth came about because of those magical, commercial-free movie channels we were lucky enough to have. Since HBO and Cinemax were fairly new and untested at that point, they tended to show older, B-grade, or forgotten films, often in rotation several times a day (which explains how I managed to see the wincingly terrible Kristy McNichol musical The Pirate Movie roughly four-hundred times before I hit puberty).

But they showed a heap of great movies too, and one of those is our discussion film for today. It’s not technically a horror film, though I’m not sure what you’d classify it as. A science-fiction thriller, perhaps? Regardless, it was and is a perennial favorite of mine, and true to the spirit of this blog series, it did have a few creepy scenes that stuck with me over the years. Onward.

VICTORIAN PIMPIN'.

VICTORIAN PIMPIN’.

1979’s Time After Time, directed by Nicholas Meyer, had an absolutely genius premise: writer H.G. Wells (Malcolm McDowell), not content with simply scribbling about time machines, has actually built one that works, though of course he is pooh-poohed by the stuffy upper-class twits he has invited over to demonstrate it to. In the middle of the little snark party, a police constable shows up and tells them that Jack the Ripper has killed again, and clues have led right back to Wells’s home. After a search of the premises, it turns out that one of Wells’s guests and close friends, John Leslie Stevenson (David Warner) has left behind a medical bag containing bloody gloves. Police search for him everywhere in the house, but if you know anything about movies, you know where that slippery serial killer has gone. That’s right, he’s hopped right into Wells’s time machine and boogied right into the future to escape justice. The only mistake he made was failing to snag Wells’s “non-return” key, so that after Jack the Ripper ends up in 1979, the machine automatically travels back to 1893, allowing Wells to follow the killer into the future to try to bring him back.

Much to his confusion, Wells ends up in San Francisco in 1979, not in London as he was expecting. Turns out that in 1979, the machine is part of a San Francisco museum installation about his life. After climbing out of the roped-off machine with as much poise as he can muster, clad in full late-19th-century regalia, he sets off in pursuit of Jack the Ripper. There are some amusing scenes as Wells tries to figure out what the hell is the deal with the mind-bogglingly disco-saturated twentieth century, but these are thankfully not as zany as they could have been, as McDowell brings such grace and dignity to the role that you mostly just kind of sympathize with him, even as you chuckle at his cluelessness.

He eventually finds Jack, all right, but along the way he also finds love. Wells, being no slouch, realizes that the Ripper will need to exchange his (very old) money for modern American currency, so he starts asking at the currency desks of all the nearby banks to see if another old-fashioned lookin’ dude with Victorian-lookin’ money has been in the joint. As luck would have it, the woman managing the desk where Jack changed his coinage is the gorgeous and delightfully forthright Amy Robbins (played by Mary Steenburgen, who actually married Malcolm McDowell the year after this movie came out, though they sadly divorced in 1989). Amy is allllll about Wells’s kick-ass vintage duds, his foxy upper-crust accent, and his gentlemanly manners, and so, being a liberated woman, straight-up asks him out. Wells, taken aback but pleasantly so (he had been an early advocate of women’s rights, after all), handles the situation with remarkable aplomb, and the two become entangled.

Wells tells Amy that the man he’s looking for is a murderer, but obviously does not tell her that they have both come from the past. However, as the story goes on, Amy becomes a target of the Ripper, and Wells is forced to spill the truth in order to save her life. Though she doesn’t believe him at first (who would?), a quick trip three days into the future and a newspaper with Amy’s murder on the front page is enough to convince her. There are a lot of tense moments, many women fall under the Ripper’s knife, but in the end Wells sends the Ripper into oblivion by essentially dissolving his atoms in the machine, and the thoroughly modern Amy has decided that she loves Wells so much that she wants to go back to 1893 with him.

HOW COULD SHE RESIST THAT SCOWL?

HOW COULD SHE RESIST THAT FABULOUS SCOWL?

All that aside, let’s get to the scene. I’m going to have to recap it entirely from memory, as I can’t find it on YouTube and don’t have the full movie available to me at the moment, so forgive me if some of the details are incorrect.* As I mentioned earlier, Wells and Amy know the day and approximate time of Amy’s impending murder, since they traveled a few days into the future and saw it in the newspaper. They plan for Amy to simply be absent from her apartment when the Ripper turns up to kill her, but several things conspire to prevent this from happening. For example, the clock in Amy’s apartment has stopped (I think I’m remembering that right), so it is actually much later than she thinks it is. Also, she has been waiting for Wells to arrive so that they can leave together, but he has mysteriously failed to show. Finally, when she realizes that her clock isn’t working and that the time of her demise is nigh, she throws some clothes in a bag and readies herself to get the fuck out of Dodge on her own. As she’s heading for her front door, she sees the doorknob turning. Panicked, she drops her shit on the floor and hides in a closet just as Jack busts into her apartment, big as life and knives a-gleaming.

Unbeknownst to Amy (no cell phones in 1979, yo), Wells has been picked up by the police and is in the process of being interrogated for the killings. See, turns out police find it a little suspicious when you appear out of nowhere – wearing strange clothes, bearing no ID, and calling yourself Sherlock Holmes thinking no one in the future will get the reference – and claim to know where the killer that’s suddenly plaguing the city is going to strike next. Wells tries pretty much everything he can think of to get the police to listen to him, growing sweatier and more desperate with every glance at the clock that shows that Amy’s murder is growing ever nearer. If I remember correctly, Wells first tries to convince the police that he is simply psychic, but after a while he gives them the whole story about traveling from the past to track down the Ripper. The investigator doesn’t buy this for a second, naturally, and keeps hammering poor Wells to admit that he’s the killer. Wells sticks to his guns, repeating over and over that he is from the past, and that Jack the Ripper is in San Francisco, and that a woman is going to be murdered at Amy’s address and WOULD THEY PLEASE JUST SEND A CAR OVER THERE TO CHECK, FOR THE LOVE OF GOD?!? At one point he even confesses to the murders (“I killed them! I KILLED THEM ALL!”) to try to get them off his back. He begs, he pleads, he freaks out, but nothing he does seems to convince them. At last, he looks at the clock and sees that the time of Amy’s murder has passed. He slumps down in his chair, his eyes full of tears. “Please just send a car,” he weeps, defeated, and tells them her address again. “Send a car and I’ll sign anything you like.”

The interrogating officer, apparently moved by Wells’s sincerity and perhaps hoping to get a confession, finally agrees to send two officers over to Amy’s place to see what’s what. The officers arrive and find her door ajar. They peer inside, then one of them turns his head to vomit. For the inside of the apartment is completely painted with splattered blood; it’s just covering everything. And there, lying on the carpet amid the signs of an epic struggle, is a woman’s severed hand.

In the next shot, a somber (and slightly sheepish) police inspector is informing Wells that the murder has indeed gone down as predicted. “Please believe me, I am truly, truly sorry,” says the inspector, while Wells just stares blankly ahead. “You’re free to go.”

Wells, completely grief-stricken, begins wandering the dark, empty back streets of San Francisco. He walks through a park, an absolutely heartbreaking expression on his face. The only sound is the echo of his footsteps.

Then, another sound: the eerie chime of the Ripper’s pocket watch. And then, Amy’s ghostly voice, calling Wells’s name. Wells spins around and sees Amy standing by a wall, looking every inch a spirit or a figment of his tortured imagination.

But no, Amy is somehow alive. “He killed Carol, my friend from work,” she says. “I forgot I invited her over for dinner to meet you.” And then the viewer remembers that indeed, she had asked her co-worker over on Friday night, much earlier the film. We had forgotten all about that, but the screenwriter hadn’t.

Then, there’s a closeup of Amy’s white, terrified face. “The newspaper was wrong,” she intones, in a flat, echoey voice that always creeped me the fuck out. Jack appears from behind the wall, holds a knife to Amy’s throat, and threatens to kill her unless Wells gives him the non-return key. And from there the story builds to its final climax.

"SHALL I CUT HER THROAT NOW, THEN?" HE'S THE POLITE SERIAL KILLER.

“SHALL I CUT HER THROAT RIGHT NOW, THEN?” HE’S THE POLITE SERIAL KILLER.

I can’t tell you how much I adore this film. It played approximately five times a day on one or another of the movie channels, and every time I happened to stumble across it, I would watch it again. I have to mention that the chemistry between McDowell and Steenburgen is absolutely electric, and it was no surprise to me that they married shortly after the film’s release, as it almost seemed as though the actors were falling in love for real as their characters were falling in love on screen. In addition to that, I just loved the overall story, the gore, the fish-out-of-water element of prissy Wells harrumphing around 1979. David Warner also made a great Ripper: cold, calculating and ruthless, yet still somehow alluring. “Ninety years ago I was a freak,” he says to Wells at one point, as he’s flipping through TV channels showing various violent crimes and war atrocities. “Now, I’m an amateur.”

I wonder if the real Jack the Ripper, were he somehow transported to the modern day, would say the same. Goddess out.

*ETA: A few hours after I wrote this recap, the God of Hellfire was obligingly able to find the entire movie online, and we watched the whole thing through. My memory of the described scene was fairly accurate, but there were a couple of things I got wrong. For example, the actual reason that Amy was still in her apartment when the Ripper came calling didn’t have anything to do with her clock stopping. Rather, she and Wells had been up the entire night before, trying (and failing) to prevent the murder that took place before Amy’s. The following morning, Friday, it is 10:30am when Wells announces that he needs to leave the apartment briefly (he is going against his pacifist principles and going to a pawn shop to buy a gun to defend Amy, though he doesn’t tell her this), but tells her that if he isn’t back in an hour, she should register at the Huntington Hotel and he will meet her there. The freaked-out Amy (who saw the Ripper’s fourth victim being dredged from a canal the night before) unwisely takes a sedative and a few sips from Wells’s flask, thinking Wells will be back in plenty of time to wake her up. But as he is returning to the apartment, he is picked up by the cops, who find the gun he just purchased in his pocket. They haul him away as he is screaming up at Amy’s window. The zonked-out Amy doesn’t hear him, and doesn’t awaken until an hour before her murder was predicted.

I also misremembered Wells trying to tell the police he was psychic. I remembered it that way because earlier in the film, when Wells goes to the police to give them the Ripper’s description, the police ask him if he’s a psychic and he says no. When Wells himself is dragged into the interrogation room and accused of the murders, he tells them the truth right away, and keeps telling it to them until it’s clear that they won’t send a car to Amy’s place unless he agrees to confess. He doesn’t call Amy to check on her, because he has used his one phone call to contact the Huntington Hotel to make sure she checked in (which she didn’t, hence his panic).

Another thing I had mostly forgotten was the splendid chess-like pitting of the overly idealistic and morally upright Wells against the brutally realistic Ripper, who understands all too well that the utopia Wells thought he would find in the future was never going to be anything but a pipe dream. This gave the film a bit of added depth and edge; even though Wells “won” in the end by defeating the Ripper and saving his love, he also had his illusions of human progress shattered, as he realized that the Ripper had been damnably right about humankind all along. “Every age is the same,” Wells tells Amy at the end. “It’s only love that makes any of them bearable.” Truer words, Wells. Truer words. Goddess out, again.