‘The Ancestors,’ a Horror Story, Chapter Two

“Oh, there goes Al again!” his older brother, Freddie, called from the top of the basement stairs. “In the basement, talking to himself.”

“Shut up, Freddie!” Al shouted. “Go away and mind your own business! I’m busy!”

“Yeah, busy talking to yourself,” Freddie said. “Freak!”

“I’m not talking to myself. I’m praying to the ancestors. You know that, you faithless scum!”

“I know you still believe in that stupid old religion, which never did the family any good, and which we all left behind in Asia, ’cause we aren’t backward-thinking, the way you are!”

“My praying to the ancestors is the only thing keeping the family’s bad luck from getting any worse.”

“You’re the only one giving the family any bad luck,” Freddie said. “You’re a stupid, spastic loser!”

“Go to hell!” Al shouted. “Leave me alone!”

“Leave me alone!” Freddie said in a mocking, whiny voice.

“Will both of you be quiet?” their father shouted from the living room. “Freddie, get out of the basement and help me move this desk. Leave Al to his silly praying, if he must do it. Cut out the noise, and give the rest of us some peace!”

“Freak!” Freddie shouted at Al, then slammed the basement door.

“Asshole,” Al whispered, then he sighed and looked back at the altar. He closed his eyes and started to concentrate on the spirits.

He breathed in and out, slowly and deeply.

He listened in the silence of the dark room, waiting for a sign of the spirits’ presence.

Finally, after about half a minute, he heard a hoarse, feminine voice, speaking in Chinese.

What do you want, boy?

“Po?” Al said, his voice wavering.

Well, what is it?

“I have a girlfriend,” he stammered in Chinese.

How sweet, the old woman’s voice rasped with sarcasm.

“She w-wants to m-meet the family,” he went on. “Please d-don’t cause any trouble w-while we have dinner together here. I love her v-very much.”

How touching. Why should we care about your personal problems, boy? Your family abandoned us years ago. We became demons because of your neglect. Your weak attempts to placate us are far from enough to compensate. Why should we do anything kind for a worm like you?

“What can I do t-to ease your wrath? What do you want me to do t-to ensure that she and my family can have a pleasant dinner here together, with no bad luck, no disasters of any kind?”

There was a long silence.

“Please, Po. What do you want from me?”

Po paused thoughtfully in silence a little longer.

He opened his eyes, then said, “Po?”

A glow of light appeared weakly at first, then it grew larger and brighter. Finally, he saw an apparition of an old woman in traditional Chinese clothing, a red Qing Dynasty dress with an ornate, light-blue headdress. She looked like a bride at an old wedding.

As pretty as her clothes were, though, the look on her face was anything but pleasant. It wore a scowl and piercing, malignant black eyes that looked at him as though she wanted to kill him, slowly and painfully.

He was afraid to ask again, but he knew he had to.

“What do you want me to do for you, Po?”

Have the girl’s whole family come here for dinner.

“Her whole family?”

Yes. Her mother, father, brothers, and sisters, if any.

“Why h-have all of them come, Po?”

Why not? If you want to marry this girl one day, don’t you think it’s right if all of both families meet and get to know each other?

“W-well, yes, but…”

But what? What could be the problem? Now, Po was grinning. What could possibly be wrong with that? Families should be close, shouldn’t they? Her words implied his family’s neglect.

“O-of course, but…what do you want to do with her family?”

What we spirits will do with her family is none of your concern, boy. Just make sure they’re all here, and don’t interfere with us while they’re here. If you want to live a long and happy life with this girl, with us never troubling you again, then you’ll do exactly as we wish without question. Give us her family, and you’ll be free of us forever. I give you my word.

“But, Po,” he said as he saw her image slowly fading away, “at least give me some idea of what you plan…”

Give us her family… Her voice dissolved in a reverberating echo, as did her apparition.

He just stood there alone in the darkness, shuddering.

‘The Ancestors,’ a Horror Story, Chapter One

Al Dan, 25, and Hannah Sandy, 24, were taking a walk in the park at around 9 pm. They’d been seeing each other for almost a year. Smiling, she had her head on his shoulder. With an ear-to-ear grin, he was enjoying resting the side of his head against the top of hers, feeling the soft cushioning of her long, blonde hair.

He looked up at the night sky. “The stars are really beautiful, aren’t they, Hannah?” he said.

“Yeah,” she said after taking a quick look. “I love coming out here in this park with you.”

“It’s such a nice place for us to take a walk after having dinner,” he said. “The trees, the grass, the smell of the flowers, the soft breeze on our faces, and best of all, you.”

“Aww, you’re so sweet,” she said, then they gave each other a peck on the lips. “You know, Al, we’ve been going out for about a year now, and I’m so happy with you, I don’t see myself being with anyone else.”

“I feel the same way. You’re pretty, you’re nice,…”

“You’re cute, you’re sweet, you’re funny, you’re considerate to me in ways that no other guy I’ve dated ever has been,…”

“You drive me wild in bed,…”

She giggled and hugged him tight. “You’re great in bed,…”

They both hugged each other even tighter and kissed again.

“There’s just one thing, though, Al.” They stopped walking and looked at each other.

“What’s that?” His smile faded.

“I introduced you to my mom, dad, and brother months ago, but I still haven’t met your family. Not even once.”

He was frowning and visibly shaking.

“What is it, Al? I’ve asked to meet your family for the third time now. The first two times, you made excuses to get out of it, and now, you’re still uncomfortable about me meeting them. What’s wrong?”

He was stammering, groping for the right words.

“Your family doesn’t like the idea of you dating a white woman, is that it?” she said with growing anger. “They’d never accept you with anyone other than an Asian, someone of Chinese descent only, is that it?”

“No, no,” he said, holding her hands and looking into her eyes so she’d see his sincerity. “It isn’t like that at all. My family’s not racist at all. They’re completely tolerant. It’s…just…that…”

“What?!”

“Well, it’s hard to put into words. If I told you, you wouldn’t believe me. You’d think I’m crazy.”

“Well, what is it?” She was calming down, and sensing genuine anxiety about his family mixed in with that love for her that she’d always known was sincere. She looked in his eyes with empathy. “Come on, Al. What’s bothering you about your family?”

“Well,…my mom and dad…and my brother and sister…are always putting me down, insulting me, bullying me, and blaming me for everything that goes wrong in the family. They’ll make me look stupid, and I’m afraid that after a night of listening to them belittle me, you’ll think I’m a loser and want to dump me.”

“Oh, sweetie,” she said, then hugged him. “If I see your family treating you badly, I’ll see that as a blot on them, not on you. I know the real you, and if they can’t see your goodness, then that’s their problem, not yours. I’ll always love you, no matter what. But let me meet them so I can at least see for myself what kind of people they are, OK?”

He put on his most convincing fake smile, hiding all of his undying worries. “OK.” They kissed.

*************

After walking her home and kissing her good night, Al walked back to his house as slowly as possible, for he needed as much time as he could give himself to think of a way out of this predicament.

What the hell am I going to do? he wondered. I can’t tell Hannah about my family’s secret curse! She’d never believe me; she’d think I’m crazy, and I probably am. I’ve certainly been driven crazy by this problem my family started ever since we moved here in Toronto from China, and they gave up on the old family traditions.

I’m the only one who still believes in them, and the family laughs at me for doing so. The ghosts of the ancestors, mad at the family for neglecting them, directly trouble only me. Only I ever pray to them, keeping them from doing their worst. The only problems we have are constant cases of bad luck, which the family blames on me, instead of realizing it’s the ghosts that are doing it. If I were to stop praying to them, they’d be far more malevolent, even violent. Not only could a lot of bad luck happen during our big dinner together; the ghosts may do something awful to Hannah, to hurt her. I can’t let that happen!

Oh, what am I going to do? I can’t keep making excuses to stop Hannah from seeing my family. She isn’t going to accept verbal abuse from them as a sufficient reason to avoid meeting them. She wants to take our relationship to the next level, and I do, too. I want to marry this girl! No one’s ever loved me or valued me the way she does, and marrying her will require my family’s involvement, one way or the other. I’ll have to take this risk if I’m to keep her.

Al was now within a block of his house. He thought, Maybe I can pray extra hard to the ancestors. The family’s neglect of praying to them is what has made them so angry with us, so if I pray all the more earnestly to them, maybe I can appease their wrath, at least to an extent. Maybe I can ask them to tell me what they want me to do in exchange for not troubling us anymore. Trying to get the family to pray to them again is useless: they don’t believe in the spirits, and as I’ve always known, the moments of bad luck that the ghosts cause are always made to look like they’re my fault, rather than being supernatural. I’m the pious one who prays to the ghosts, but I suffer the worst: no good deed goes unpunished!

He went in the front door of his house, then into the basement where the altar was. He sighed, then lit a stick of incense and put it between his hands. He bowed before the altar. Oh, well, he thought. It’s worth a try.

Analysis of ‘Child’s Play’

Child’s Play is a 1988 horror film directed by Tom Holland, written by him, Don Mancini (whose story the film is based on), and John Lafia. It stars Catherine Hicks, Chris Sarandon, and Brad Dourif, with Alex Vincent, Dinah Manoff, and Jack Colvin.

Child’s Play gained a cult following, and its commercial success spawned a media franchise including seven sequels (with a TV series), comic books, and a 2019 reboot. It won a Saturn Award for Best Actress (Hicks), and was nominated for three–Best Horror Film, Best Performance by a Younger Actor (Vincent), and Best Writing (Holland, Lafia, and Mancini).

Here is a link to quotes from the film.

There is a subtle critique of capitalism in Child’s Play. We see a stark contrast between the haves and the have-nots, that is, people like Karen Barclay (Hicks) and her son, six-year-old Andy (Vincent), on the one hand, living in their nice apartment, and the homeless, one of whom (played by Juan Ramirez) has sold her a Good Guy doll.

The doll itself is a commodity sold to “bring…a lot of joy” to the child who plays with it. The Good Guy doll, especially when the soul of Charles Lee Ray, or “Chucky” (Dourif), is in the doll, is a literally fetishized commodity. One buys the commodity as a complete, finished product, without any sense of the workers who made it, just as one might worship an idol, believing in the god inhabiting the carved wood or sculpted statue, without any thought as to who made the idol. Chucky is thus like a pagan idol, with a spirit animating it, adored by Andy the idolater, because the lonely, alienated boy has no real, living friend to play with. In commodity fetishism, there’s a preoccupation between things (money and merchandise), not between people, hence its relationship with alienation.

As far as the opposition of those with shelter and the homeless is concerned, that opposition is in potential danger of being erased, in Karen’s case, as a consequence of her walking out on the job during her shift to buy the doll from the homeless peddler. Her manager, Walter Criswell (played by Alan Wilder), pesters her about walking off on the job, and implies a threat of firing her if she won’t agree to covering a sick worker’s shift…on Andy’s birthday. In this conflict, we see an example of worker alienation, which is adding to the Barclay family’s alienation as already discussed in lonely little Andy (whose father died).

Another thing should be mentioned about the homeless, as seen in the peddler in particular: they aren’t portrayed sympathetically. The peddler tries to suck as much money as he can out of Karen (but isn’t that what capitalists do?), on two occasions: his selling her the doll, and his exploiting her need to get information about where he found the doll, even to the point of wanting a sexual favour from the pretty woman in exchange for that information.

This associating of the homeless with criminals can be interpreted in two ways: either it’s a 1980s Reaganite lack of sympathy for the poor, or it links the peddler’s desperation with that of Charles Lee Ray. The frustrations of being poor often have a way of making people mean; they either try to get as much money out of better-off people, like Karen, as they can, or sexual frustration can make them act like creeps, as the peddler does to her; or the detrimental effect of capitalism on one’s mental health can drive one to commit violent crimes, as it drives Charles Lee Ray to become a sociopathic serial killer.

His passing of his soul into a doll represents a classic case of projective identification, a Kleinian concept that goes beyond the ordinary projection of imagining one’s own traits in others, but instead one succeeds in putting those traits into someone else (or in the case of the doll, something else). What’s more, the bad guy puts himself into a Good Guy, in the form of a voodoo incantation.

There is a lot of duality in this film. In particular, there are many pairings: Charles Lee Ray and Chucky, Andy and Chucky, Karen and her friend, Maggie Peterson (Manoff), Charles Lee Ray and his double-crossing partner-in-crime, Eddie Caputo (played by Neil Giuntoli), Detective Mick Norris (Sarandon) and his partner, Detective Jack Santos (played by Tommy Swerdlow), and Chucky with the voodoo doll of John “Dr. Death” Bishop (played by Raymond Oliver).

These pairings are generally parallels and/or opposites of each other, in some way: a bad guy in a Good Guy doll, a sweet little boy who physically resembles (sometimes even dresses like) his doll with the killer’s soul in it, his nice mother and his cranky baby-sitting substitute mom, two criminals, two cops, and a victimizer doll vs a victim’s doll. These parallels/opposites remind us of dialectical realities.

Because Karen has to cover the sick worker’s shift on her son’s birthday, her friend Maggie will babysit the boy that night. She’s rather cranky about Andy getting to bed without letting Chucky watch the news to know the latest about the police’s manhunt for Eddie Caputo, the partner of the presumed-dead Charles Lee Ray, and someone he wants to kill for having driven away and abandoned him when Norris was chasing them at the beginning of the film.

Maggie’s perceived crankiness as Karen’s substitute puts her in the role of what Melanie Klein called the bad mother, as opposed to Karen as the good mother. Maggie not letting the ‘boys’ stay up is frustrating to them, whereas Karen going all out to buy the doll for Andy makes her the good mother, who strives never to fail in pleasing her son. These women are thus like the “bad breast” that won’t give the baby milk, versus the “good breast” that will feed the baby.

This splitting of the women into two moms is a defence mechanism that Andy also does, in a symbolic way, on himself, with his understanding that Chucky is alive. Just as there is a good mom and a bad one, so is there a good boy and a bad ‘boy.’ Splitting as a defence mechanism is thus aided by another defence mechanism, projection. Andy is projecting his bad, hateful side into Chucky (in a symbolic sense), just as Charles Lee Ray has literally done.

It’s interesting that much of the doll’s violence and terrorizing happen in the apartment, with Maggie or Karen as the victims. We’re reminded of the last, and best, episode of Trilogy of Terror, “Amelia,” in which the Zuni doll terrorizes Amelia (played by Karen Black) in her apartment. In my analysis of Trilogy of Terror, I explored the projection and splitting-away of the bad character traits of the characters Black plays in all three episodes, leaving the remaining ‘good’ characters as timid and sexually repressed. Andy’s sweetness, as opposed to Chucky’s viciousness, can also be seen in this light. Maggie‘s falling out of the window and crashing through a car roof, incidentally, reminds me of the fate of Katherine Thorn (played by Lee Remick) in The Omen, another film about an evil boy.

When the police investigate Maggie’s death, Norris notices that the soles of Andy’s Good Guy shoes match the footprints leading up to the attack on her, so he deems Andy to be a suspect. Of course, Karen is too upset even to consider such suspicions.

Later that night, she’s talking to her son, who says that Chucky told him that he was sent to Andy by his dead father in heaven. I’m curious to know how Chucky learned of Andy’s father’s death in so short a time to be able to make up such a story. One wonders how much of the boy’s conversation with Chucky is real, and how much of it is just the boy’s imagination.

Andy also tells his mother that “Aunt Maggie was a real bitch and got what she deserved.” He insists that Chucky is the one who said it, which is of course perfectly plausible, given the killer’s personality…but technically, we never hear those words come out of the doll’s mouth. For all we know, Andy said and thought it himself, however unlikely that may be, given the context.

Even if all of this did come out of Chucky’s mouth, though, which is of course more than probably true, it’s true only on the literal level. On a symbolic level, we can still see the living doll as a case of projection and splitting-away of Andy’s bad side onto the doll.

His father’s death would have caused emotional trauma for the boy, who would have imagined the death as a kind of abandonment of him, thus making Andy’s father the bad father, in the Kleinian sense. The good father in heaven may have given him the doll as a gift; but the bad father gave Andy a Bad Guy in a Good Guy doll.

The police see Andy as a suspect, even though it’s hardly much more plausible that a little six-year-old boy could have had the strength to make a woman fly out of a window than a ‘living doll’ could have. Andy’s insistence that the doll is alive sounds like a manifestation of mental illness in him, even though Chucky really has the killer’s soul animating it, so it’s not surprising that he’s taken to a psychiatric hospital to be treated by Dr. Ardmore (Colvin).

As I said above, on both literal and symbolic levels, little Andy really does have issues. His father died, the death of Maggie is a shock to him even if he isn’t the perpetrator of the killing, and he’s so lonely, he needs a talking doll for a friend. His physical similarity to the doll, including their clothes, sometimes suggests a potential merging of identities, in spite of the splitting and projection.

Andy’s experience of what Klein called the paranoid-schizoid position–a schizoid splitting of his mom into absolute good (Karen) and bad (Maggie, the mom substitute), as well as a paranoid fear that the bad projection will come back to get him (i.e., Chucky coming to the mental hospital to get him–actually, not to kill him, but to put the killer’s soul into the boy’s body…still, Andy doesn’t know that)–is a projection of the splitting of the good and bad sides of Andy himself. His splitting of his dead father into good and bad versions is also such a projection, as is his projection of his bad side into Chucky.

This splitting of people into good and bad, as well as the projection of this splitting onto people in the outside world, is symptomatic of the alienation we all feel in a society ruled by the profit motive, which splits people into rich and poor, then idolizes the rich while looking down on the poor. The capitalist class exploits this splitting and projection by selling us the commodities representing idealized people (Good Guy dolls, films and TV shows glorifying our objects of hero worship), and the war on the poor that results from chasing profits in turn results in desperate people we denigrate, the lumpenproletariat (criminals and the homeless).

Note how the story takes place in winter, with the homeless huddling together around outdoor fires to keep warm. One homeless man, the peddler of the doll, turns nasty and tries to get as much out of Karen as he can, even her body, in exchange for information about where he got the doll (never mind all the greedy capitalists who try to squeeze out as much profit as they can through the extraction of surplus value, some of whom exploit the bodies of females far younger than Karen!); but when Norris rescues her from the peddler and his meat-hook hands, he also points his gun at all the other homeless in the area, as if they were just as bad as the peddler, making them run away from their one source of heat, their outdoor fire, on that cold, bitter night.

Norris may be a good guy in his helping of Karen, but as a cop pointing his gun at freezing cold homeless people who never laid a hand on her, he is working to protect the class interests of the wealthy. By speaking of an area where the homeless hang out as a rough part of town that she shouldn’t be in alone at night, Norris is lumping the homeless together with criminals. This lack of sympathy for the poor and desperate makes Chucky’s revenge attack on him in his car not exactly surprising.

Now, Chucky learns from John “Dr. Death” Bishop, his former voodoo instructor, that in order for his soul to escape the doll (which is becoming increasingly human), he must put it in Andy’s body (he being the first person to know that Chucky’s alive). This putting of Charles Lee Ray’s soul into the boy’s body, a merging of bad Chucky with good Andy, should be understood, symbolically speaking, in terms of the paranoid-schizoid position, which is a splitting into absolute good vs bad, and the depressive position, an integrating of the split-off good and bad.

Though a child perceives the split-off good vs bad as being in his good vs bad parents, we must remember that the splitting is happening in the child’s mind, and it is thus a projection of a splitting that isn’t really in his parents, but rather in himself. Chucky, back in Karen’s apartment with Andy and having knocked the boy out, begins the incantation to put his soul in Andy’s body, a merging that represents the integration of the good and bad sides. He doesn’t complete the ritual, though, because Karen and Norris arrive just in time to stop him.

Just as the merging of Andy and Chucky isn’t complete, so is the integration of the good and bad mother, or the good and bad father, a child’s reparation with them, never complete. Throughout one’s life, one tends to shift back and forth between the paranoid-schizoid position (PS) and the depressive position (D), an oscillation Wilfred Bion expressed in this shorthand form: PS <-> D (e.g., in Bion, page 67).

Accordingly, Chucky as the bad Andy fights with Karen and Norris (who could be seen as a substitute father). When Karen, having put Chucky in the fireplace, screams to Andy to get the matches so she can burn the doll, the boy sits in hesitation at first–partly out of fear, no doubt, but also partly out of an unconscious wish to remove Karen the bad mother by letting Chucky kill her. Nonetheless, the good Andy wins out in his conflict, and gets the matches.

Chucky attacking Karen with, for example, him stabbing the knife through the door with her holding it closed on the other side, can be seen to symbolize how Andy, in unconscious phantasy, is attacking his mother through a projection of his bad self. He unconsciously wants to attack her because he feels she’s frustrated him in certain ways (not buying the doll at the beginning of the movie, not being with him at night for his birthday, but having cranky “Aunt Maggie,” Karen’s substitute and therefore split-off bad mother, instead to babysit him, etc.).

Later, when he sees Karen and Norris trying to protect him from Chucky, he can see the good mother in her, and he can understand that both the good and the bad mother are the same person. Now, instead of wanting to attack her in unconscious phantasy, Andy wants to keep her. In fact, even Chucky, wanting to merge with Andy, says he’ll let Karen live if she gives him the boy (a pretty weak promise coming from a serial killer, but still symbolic of an unconscious train of thought). So the bad side in Andy, Chucky, is still vicious, but thanks to his help in getting the matches, as well as his recognition that his bad side is really bad (“This is the end, friend.”), Andy can weaken his bad side and integrate it with his good side, a switch from PS to D.

With the final destruction of Chucky, through not only gunshots breaking off his limbs and head, but also that bullet in his now fully-formed heart, Andy no longer needs to project his bad side. He can now switch from paranoid anxiety to depressive anxiety, from the fear of being persecuted by the projected bad mother to the urge to hang on to his mom with all of her faults, her mixture of good and bad.

The film ends with a frozen shot of Andy leaving the room and looking at burned, mutilated, and dead Chucky. The boy’s frown isn’t only from his trauma: it’s also from his enduring sense of connection to his other, bad, projected self. The movement between splitting and integration doesn’t end in infancy or childhood: PS <-> D is a lifelong oscillation.

Analysis of ‘Halloween’

Halloween is a 1978 horror film directed by John Carpenter and written by him and producer Debra Hill (he also composed the film’s music). It stars Donald Pleasance and Jamie Lee Curtis in her film debut, with PJ Soles and Nancy Loomis.

Grossing $70 million, Halloween became one of the most profitable independent films of all time. Carpenter’s direction and score were particularly praised. The film, along with Psycho and Black Christmas, helped establish the slasher film genre; it’s considered one of the best horror movies ever made.

The franchise that resulted from the 1978 film is made up of thirteen films whose extensive backstory for antagonist Michael Myers sometimes diverges from previous installments. There are also a novelization, a video game, and comics based on Halloween.

Here is a link to quotes from the film.

Carpenter’s score is indeed an achievement in its own right. Apart from the eerie, atmospheric main theme in 5/4 time, subdivided into eighth notes of 3+3+2+2 and played mainly on the piano, we often hear tense minor seconds and parallelism in the harmonic progressions. Not bad for a filmmaker who dabbles in music and, by his own admission, can’t read music.

We hear the main theme as the credits are shown with a jack-o’-lantern. What must be remembered about the origins of Halloween is that there was a belief that during Samhain, on which Halloween was based, evil spirits walked the Earth, and such things as jack-o’-lanterns, bonfires, and the wearing of scary costumes were meant to ward off ghosts. Today, these things are done only for fun and so we can see in the film that the people in the fictional town of Haddonfield, Illinois are not protected from evil spirits.

Yes, an evil spirit is how we should conceive of The Shape (played by Nick Castle), that is, the shape that the evil spirit takes in the body of Michael Myers. Carpenter himself has described the killer as “almost a supernatural force…an evil force” that is “unkillable.” For me, that’s close enough to Myers being possessed by an evil spirit.

Halloween was strongly influenced by Bob Clark‘s Black Christmas, by the idea of a serial killer acting without any apparent motive. In fact, Carpenter’s film is almost a sequel to Clark’s film, since Carpenter asked Clark what he would do if he were to make a sequel to Black Christmas. Clark had no intention whatsoever of continuing that story, but he said that if he did, Billy would have escaped from the mental institution he’d inevitably have been locked up in, he’d have returned to the neighbourhood that he’d originally terrorized, and he’d have resumed the killing…but on Halloween instead of Christmas.

We should keep the relationship between these two films in mind when we watch the opening shot of Halloween, with the camera approaching the white Myers’s house on Halloween night in 1963. Similar shots are seen at the beginning of Black Christmas, with the POV of Billy coming to the house of the sorority where he’ll enter through the attic window and begin killing the girls living there.

The shot of Billy’s POV is somewhat shaky, suggesting his body movements; but the camera approaching the Myers’s house, being as I imagine it to represent the POV of a disembodied spirit, moves more or less smoothly for that very reason. The evil spirit enters the house, reminiscent of Billy’s bodily entrance, and once inside, a light is turned on in a dark room, presumably little Michael’s doing, and we see his hand go into a kitchen drawer and pull out a knife. At this point, I’d say the evil spirit has just entered his body.

For this reason, I’d insist that possessed Michael is otherwise an innocent six-year-old boy. Seriously, there’s no reason for him to pick up a knife and stab his naked older sister, Judith, to death. Why would a boy so young have already developed such extreme, violent, psychopathic traits? Though Michael is generally expressionless, when we see his father remove the mask on the boy’s face, he seems remorsefully sad over the murder he’s been forced to commit.

To get back to his expressionlessness, though, we learn from Dr. Samuel Loomis (Pleasance) that Myers hasn’t spoken a word since that night. His face is devoid of any human feeling. Of course: what emotions would an evil spirit have?

Now, this lack of the use of language, combined with his relentless killing and the trauma that it causes the survivors, makes Myers the very personification of Lacan‘s notion of the Real. It’s a traumatic, undifferentiated world that cannot be verbalized; recall that Myers generally kills only at night, when the differentiation between things is obscured under the cover of darkness.

Some imagine that, because Myers’s victims tend to indulge in such naughty pleasures as marijuana and premarital sex, that Halloween, like the Friday the 13th movies, is a kind of puritanical morality play (one might recall that scene in Scream when Randy Meeks [played by Jamie Kennedy] insists that one mustn’t sin if one is to survive a slasher movie). Carpenter has strenuously denied any attempt to moralize against the partying of teens, and I agree.

Myers is “purely and simply…evil,” according to Dr. Loomis. If so, why would he kill sinning kids in a ‘morality play’? Laurie Strode (Curtis) smokes pot in one scene: shouldn’t she deserve to be killed, too, by Meeks’s analysis? And what sin does the German Shepherd commit (apart from some barking that annoys Annie Brackett [Nancy Loomis]) that it deserves to be killed no less than the teenagers? Myers kills because he is evil, not his victims.

The one murder we know of Myers committing in the daytime is of a mechanic, and he takes the man’s coveralls and wears them, along with a white, expressionless mask. Thus, he has his iconic look, his ‘Halloween costume,’ as it were.

Just as Black Christmas subverts and does evil parodies of Christmas traditions (see my analysis, link above), so does Halloween parody traditions of its holiday. As I mentioned above, the wearing of costumes was originally meant to ward off evil spirits; whereas Myers’s ‘costume’ seems to make him more complete as an evil spirit incarnate, and a killer. Recall six-year-old Myers’s clown costume when he killed his sister.

His mask is of particular interest. The one used for the film has the contours of the face of William Shatner, an actor known…and loved…for his, well, emotive performances, a quite ironic fact given that the mask renders Myers with a coldly emotionless face, one without any expression.

Though it’s just a mask, like the clown mask he wears as a little kid, one that by no means gives him any anonymity, it seems to give him a special power as a killer, a special evil, if only in a symbolic sense. When the mask comes off, as just before the six-year-old is to be sent to the sanitarium, and when Laurie takes it off his face, he seems to have lost his ability to kill. When it’s back on his face, though, and Loomis shoots him and he falls out the window and onto the lawn, he soon gets up, ready to kill again in the first sequel.

As when the mask is taken off the face of six-year-old Michael, when Laurie takes it off his face at the end of the movie, we see a sad expression on him, suggesting the real, remorseful Michael who is being forced to kill by the evil spirit possessing him. The power of the mask seems to come from how it hides feeling through its expressionlessness.

This understanding leads us to a discussion of where the evil in Halloween comes from. The mask’s lack of expression is linked to a general lack of social connection in Haddonfield. Myers always kills; he never talks, and we generally never see his face. As a personification of the inexpressible Real, Myers won’t enter the social and cultural world of the Symbolic, Lacan’s world of language, customs, and traditions…including those of Halloween.

Not to defend the superstitious beliefs surrounding Samhain and Halloween, but one virtue of tradition is that it has a way of binding communities together. The idea of warding off evil spirits, in the context of this film, can be seen to symbolize the more general idea of communities protecting each other. Older societies, though believing in a lot of religious nonsense, as well as bigoted, chauvinistic nonsense, at least had a basic sense of togetherness, motivating them to be more protective and loving towards each other.

In contrast, modern society, though better educated in scientific matters and thus more open-minded and freer–all undeniably good and indispensable advances–is nonetheless plagued by alienation and self-centeredness. As a result, we see in Haddonfield a number of examples of parental neglect–with babysitters looking after kids…and often enough, the babysitters themselves are neglectful of the kids.

Annie Brackett–with her wandering off to wash her clothes, and her plans to hook up with her boyfriend, Paul, leaving Lindsey Wallace (played by Kyle Richards), the little girl she’s supposed to be babysitting, alone to watch The Thing from Another World (a film Carpenter would do a remake of several years after Halloween) on TV–isn’t the only one neglectful babysitter of the movie. So was Judith, who instead of watching over her little brother was making love with her boyfriend just before she was murdered.

Laurie can be said to be the surviving babysitter for moral reasons in that she is the one babysitter who is properly doing her job–watching over little Tommy Doyle (played by Brian Andrews) as well as Lindsey. Note that Tommy correctly identifies Myers as “the bogeyman.” It’s fitting that one of the three boys who bully Tommy at school, mocking him for his fear of the bogeyman, runs into Myers immediately after. The bogeyman is believed to punish children for bad behaviour; those teen babysitters who neglect their work are also ‘punished’ by Myers.

The bullies, supposedly too old to have childish fears of things like the bogeyman, nonetheless go to the Myers’s house on Halloween night, one of them being dared to go inside. The notion that a house where a murder has been committed has become haunted with the ghosts of the victims is a popular belief in small towns like Haddonfield, hence its inclusion in the film. The three ‘tough’ little boys are easily scared away by Loomis’s imitation of an angry spook hiding behind a bush near the house.

Even with these three boys, though, why aren’t they at home? Why aren’t their parents watching out for them? It’s this kind of neglect that leads to so much family dysfunction, which in turn results in the traumatic basis for so many mental disorders, which in turn, often enough, results in criminally insane behaviour, such as what we see in Michael Myers. Hence the evil in Halloween is the result of societal neglect and alienation.

Further proof that Myers must be possessed of a demon is in his unexplained ability to drive a car. All that Loomis can jokingly say is that, maybe, someone in the mental hospital gave Myers driving lessons. Only an evil spirit, with its supernatural abilities, could steer a car in the body of someone locked away since he was six.

While it’s still light out, Myers is driving around the neighbourhood of his boyhood, surveying his prey in Annie, Lynda Van Der Klok (Soles), and especially Laurie, who is the most disturbed of them by the presence of the man in the white mask. She’ll see him briefly for one moment, look away in worry, then look back to see he’s gone. We see, in how this stalking leads to the murders, that it’s the alienation between Myers and the girls that is the basis of the evil.

Mute Myers can’t communicate with them, neither verbally nor in gestures, and that mask ensures no facial expression of feeling. He just stands and stares, with neither the ability nor the willingness to connect with others. Exiled from the social realm of the Symbolic, Myers can only wait for the night to obscure the distinction between things so he can embody the traumatizing, inexpressible Real, and kill people.

His one, concrete (pardon the pun) act of communication is to steal the headstone from Judith’s grave and to place it at the head of the bed on which he’s laid Annie’s corpse, to give Laurie an especially bad scare before he attacks her. In Halloween II, Carpenter ret-conned her character to be Judith’s and Michael’s younger sister, adopted into another family, hence her new surname, Strode. Carpenter would regret this change; Quentin Tarantino rejects it altogether.

The idea that Myers is obsessed with killing his sisters is rather absurd. He kills more or less indiscriminately, though there’s an emphasis on babysitters as victims (Judith, Annie, and Laurie; bear in mind that I have little interest in the contradictory sequels, and therefore their wider variety of victims) because, as I’ve argued above, Myers has found them to be negligent in caring for kids.

The evil spirit entering the body of little Michael can be seen to symbolize the violent effect of the childhood trauma of feeling neglected and abandoned, felt to be a kind of betrayal from not only his parents leaving him at home to have dinner (or whatever it was that they were doing instead of watching over him), but also from his older sister, who was more interested in making love with her boyfriend than in taking care of him.

This isn’t to say that parents are never to be allowed occasionally to leave their kids with a babysitter to enjoy an evening together as a couple; nor is it to say that babysitters can’t occasionally relax and do a few enjoyable things while minding the kids. And of course, I’m not saying that these people deserve to be murdered for negligence! I’m saying that the laxity we see in Myers’s parents and in his sister on that fateful Halloween night in 1963 is symbolic of the kind of neglect that can lead to trauma in children, which in turn can lead to mental illness and violence.

Laurie, as I said above, is the only babysitter showing a proper concern for others’ well-being, so she manages to survive. Myers, in the traumatic state he’s in, symbolized by the evil spirit possessing him, can’t distinguish between good and bad babysitters (or good and bad people in general), so he tries to kill her anyway.

The other one seriously concerned about human life, Dr. Loomis, tried for years to connect with expressionless Myers, but couldn’t get through, because the damage had already been done, symbolized by the demonic possession. Loomis saw “the devil’s eyes” in little Michael. This disturbing look on the boy’s face was inspired by Carpenter’s having visited a mental institution in Kentucky, where he saw, among the most extreme cases, an adolescent boy with a blank, “schizophrenic stare.” Hence, the evil in Myers represents extreme mental illness.

Note that not only were Myers’s parents and sister neglectful, nor was only Annie neglectful of little Lindsey, but also Annie’s father, Sheriff Leigh Brackett (played by Charles Cyphers), isn’t all that motivated to find and stop Myers. He doesn’t even seem to notice the marijuana smoke in his daughter’s car when she and Laurie have been smoking up in it. His lack of sufficient vigilance leads up to his daughter’s murder.

Myers’s being possessed by an evil spirit, as well as his ‘Halloween costume,’ can be seen to symbolize something else–his alienation from himself. Trauma changes us, it causes a distortion of what we originally, really were. Whether the demon entered little Michael’s body outside the house, with the boy standing there and looking through the windows before entering, or if it entered the house, found and entered his body in a dark room before he turned on the light and got the knife, ultimately doesn’t matter. A little boy was left alone in the dark, left uncared for, and in his sensitive state, he found it emotionally overwhelming. The resulting trauma made him take on a false persona, that of a costumed, possessed killer, and the real Michael has hidden behind that false self ever since.

Of the many things that Friday the 13th ripped off from Halloween was making explicit what is implied in the latter and vastly superior film: negligent childcare leads to madness and murder. Unlike the Friday the 13th films, which are orgies of gore, Halloween shows next to no blood at all; the filmmakers wisely knew that the key to making a horror film genuinely scary is to maximize suspense and use lots of darkness and an eerie atmosphere (i.e., Carpenter’s music). [As a side note, I find it amusing that, though I originally intended to finish and publish this analysis just before Halloween, I ended up publishing it on Friday the 13th!]

Note how the two houses where the babysitting is going on, and where Myers is lurking, are facing each other across the street. The houses are like a head looking at itself in the mirror, and someone looking at himself in a mirror is in itself a Lacanian metaphor for the narcissist admiring himself and using others (metaphorical mirror reflections) as a means of furthering his self-interest, as Annie does when taking Lindsey Wallace across the road and having Laurie watch her while Annie drives off to get her boyfriend, Paul. Myers kills her in her car.

Similarly, Lynda and her boyfriend, Bob, arrive at the Wallace house expecting Annie and Paul to be there so all four of them can party there together. Finding themselves alone and not knowing that Annie’s just been murdered, Lynda and Bob make love and drink beer, them being no less self-centered than Annie.

Lynda is especially self-centered and narcissistic, wanting Bob to get her a beer from the fridge, then, after Myers has killed Bob and disguises himself as his victim with his glasses and a white sheet for a cheesy ghost costume, she flashes her breasts for ‘Bob.’ She expects him to mirror her narcissism back to her with a compliment on her beautiful body, and of course, Myers stays mute, because he personifies the non-verbal Real, while Lynda exemplifies the narcissistic, mirroring Imaginary.

There is a dangerous proximity between the trauma of the Real and the narcissism of the Imaginary, since the one dialectically phases into the other, as I see it. Narcissism is often a protective façade against the fragmentation that leads to psychotic breaks with reality. I suspect that six-year-old Michael was so neglected, so ignored by his family, that he traumatically found verbal communication to be pointless, and so he replaced it with ‘communicating’ through stabs of the knife, symbolically a kind of projective identification, in Bion‘s sense of primitive, pre-verbal communication, the stab wound being the yonic container (a receiving of Myers’s pain), and the knife being the phallic contained (the non-verbal expression and projection of his pain).

Since the Wallace house is where the narcissistic, self-centered behaviour occurs, this is also where the murders occur, for as I said above, traumatizing fragmentation (the Real) is dangerously close to narcissism (the Imaginary); it is only in the social, verbally-expressive realm of the Symbolic that mental health resides, hence Laurie is in the house across the street, the Doyle house, where responsible babysitting is going on. Unlike Annie and Lynda, Laurie is concerned for Others–not just one other person as a mirrored, narcissistic extension of herself. So when she hears Lynda dying on the phone, Laurie naturally wants to cross the street to find out what’s going on in the Wallace house.

She finds Annie’s corpse on the bed Lynda and Bob were making love in, with Judith’s headstone there, Myers’s way of telling Laurie that his sister is, if you will, the archetypal negligent caregiver. Jamie Lee Curtis demonstrates her scream-queen credentials here, and Laurie takes on the role of the final girl. Myers’s knife slash on her arm is, again, his non-verbal communication as projective identification, negative containment (Bion, pages 97-99), a kind of containment that does the opposite of soothing, resulting in a nameless dread. Six-year-old Myers, not having received the proper soothing of his anxieties because of negligent parenting, felt this nameless dread, an inexpressible fear of annihilation, and he has been trying to project that fear onto others in his murders.

All of Laurie’s and Dr. Loomis’s attempts to kill Myers fail because, apart from my interpretation that an evil spirit is animating his body regardless of how many bullet holes and stab wounds it has, evil never dies. Since Halloween is derived from Samhain, a festival when the souls of the dead come back to walk the Earth, it marks the beginning of winter, the darker half of the year, with the dying of the sun god, who will be reborn in midwinter.

Just as pagan myths of dying and resurrecting gods reflect such cycles as the changes of the seasons of the year, so does trauma have a way of being repressed and forgotten about temporarily, then returning, often in an unrecognized form. Myers killing his sister, being put away in the sanitarium, and “the night he came home” wearing a mask, can be seen to represent the original trauma, its repression, and its disguised return, just like the coming of fall, then winter, spring, summer,…and the return of the fall.

His obsessive, relentless killing can be seen as representative of Freud‘s notion of the death drive and the compulsion to repeat a traumatic experience. Hence, he personifies evil, which never dies.

…and an undying evil, as demonstrated in the inexplicable disappearance of Myers’s body on the lawn after having been shot point blank by Dr. Loomis, is what makes Halloween such a scary movie, even sans sang.

Analysis of ‘Trilogy of Terror’

Trilogy of Terror is a 1975 made-for-TV horror anthology film directed by Dan Curtis. It features three segments based on unrelated short stories by Richard Matheson; the first two segments were adapted by William F. Nolan, while the third–and by far, the best–was adapted by Matheson himself, based on his 1969 short story, “Prey.”

All three segments star Karen Black in the roles of “Julie,” “Millicent and Therese,” and “Amelia,” which are also the names of the segments, since each story, as I’ll argue below, is really about the inner mental life of each character Black plays here. “Julie” costars Robert Burton, Black’s husband at the time. “Millicent and Therese” costars George Gaynes. “Amelia” is essentially a one-woman-play, with only Black and Walker Edmiston doing the voice of the Zuni doll.

Here is a link to a few quotes from the film.

The essential reason to watch, or own a DVD of, Trilogy of Terror is to watch “Amelia,” the excellent third segment, as the first two are rather mediocre stories. It’s never properly explained how Julie lures Chad Foster (Burton) into a brief sexual relationship before poisoning him: is she a witch, or some kind of succubus? And how come her sister (played by Kathryn Reynolds) never even suspects Julie of any kind of wrongdoing? That Millicent and Therese are two personalities in one woman’s body is pretty easy to predict–we never see the two together in the same scene.

It is, however, worthwhile to examine all three stories in terms of their common themes and elements, in order to grasp a deeper meaning in the superb and genuinely scary “Amelia.” All three stories are psychological studies of their titular characters, emotionally repressed women who are rigid, prudish, or otherwise neurotic on the outside, but who each have a hidden, inner dark side that is finally revealed at the end of each story.

These dark sides, or what Jung called the Shadow, are kept from the titular characters’ conscious minds (until the end of each story) through the use of a number of ego defence mechanisms: repression, projection (including projective identification), splitting, denial, and reaction formation. A merging with this repressed, projected, or split-off Shadow occurs at the conclusion of each story.

The sexual predator in Julie is projected (through projective identification) onto her young and handsome American literature student, Chad; the stereotypically male sexual predator becomes the victim of the erstwhile stereotypically female victim of sexual predation, thus reversing the stereotypes. He as a predator parallels the aggression of the Zuni fetish doll against Amelia.

Therese’s seduction of her father (or was it his seduction of her, as repressed by prudish Millicent?), of Thomas Anmar (played by John Karlen), and attempted seduction of Dr. Chester Ramsey (Gaynes) are all instances of Therese as a sexual predator. The Zuni fetish doll, with its phallic spear, and later, the phallic little knife, is symbolically predatory in a sexual sense.

Julie splits off her Shadow side onto Chad. Millicent splits off her Shadow side onto her “sister,” Therese. Amelia splits off hers onto the Zuni fetish doll, making it into what Wilfred R. Bion would have called a bizarre object, a hallucinatory projection of Amelia’s unconscious matricidal instincts.

All three stories involve some kind of strained family relations, the all-too-typical causes of mental disturbances. Julie’s sister, perpetually kept in the dark about Julie’s private life, just wants to help her, but doesn’t even know the half of the problem.

Was Therese’s incest with her father an expression of the Electra complex, including her killing of her mother; or was it (as I see as a possibility) that her father raped her, causing her to split into two personalities, and did her mother, knowing of the rape, kill herself in heartbreak?

Amelia’s mother places great restrictions on her social life, driving her to move out for the sake of at least some independence. The man she’s dating is named Arthur, which sounds like a pun on father and thus symbolically suggests, through transference, more of the Electra complex (which is further intensified by her plan to kill her mother at the end of the story), thus thematically linking this story to that of “Millicent and Therese.”

Along with this literal expression of the Electra complex in “Millicent and Therese,” and the metaphorical one (as I see it) in “Amelia,” there’s also–in how possibly forty-something Julie could be old enough to be the mother of her handsome young male students–a possible mother/son transference in her relationship with them, suggesting a Jocasta complex in her. We thus can see a thematic link among all three stories.

Amelia attempts to kill the Shadow in herself by stabbing the Zuni fetish doll; Millicent kills Therese (and herself, of course) by pricking a voodoo doll with a pin. Chad drugs Julie’s drink at the drive-in; Julie later poisons his drink.

Julie, in behaving so frigidly and unsociably, is engaging in reaction formation to hide her predatory interest in her handsome young male students. Millicent’s prudery is a similar reaction formation hiding how she, being in the same body as Therese, has the same sexual desires. In being so intimidated by her domineering, clingy mother, Amelia is using reaction formation to hide her wish to kill her mother and thus free herself from her.

Each of Black’s characters, in a symbolic or literal sense, merges with her Shadow at the end of each segment. Julie, in drugging Chad’s drink as he’d drugged hers, has merged with him (through their sexual relationship), her projected Shadow. Millicent pricks the voodoo doll representing Therese (since it’s she who wants to kill Therese, not vice versa), but has done so in Therese’s blonde wig, makeup, and clothes; in other words, both personalities had to have been present at the time of the killing, both of them sharing consciousness, or both “on the spot,” to borrow an expression from Billy Milligan, a merging of them in suicide. Amelia opens the oven in which the Zuni doll is burning, and its spirit enters her body, the resulting demonic possession being a symbolic merging of her with her Shadow.

Let’s now turn the discussion towards sharp teeth. There are the fangs in the vampire movie that Chad takes Julie to see. After he drugs her drink and she falls asleep in his car, he takes her to a motel, where he checks himself and her in as Mr. and Mrs., get this…Jonathan Harker, an allusion to the character in Bram Stoker‘s Dracula; Harker at one point is terrorized by Dracula’s vampiress brides, suggesting already that Chad is being used by Julie, not vice versa.

Then there are the sharp teeth on Amelia’s Zuni fetish doll, teeth that end up in her mouth at the end of the story. As with the drug or poison put in, respectively, Julie’s and Chad’s drinks, the biting teeth are symbols of projective and introjective identification, understood especially in the context of Bion’s notion of container and contained…that is, not the kind that mothers use to soothe their agitated babies, but rather negative containment, which leads to a nameless dread (see Bion, Chapter 28; for more on Bion and other psychoanalytic concepts, go here).

Bion used masculine and feminine symbols to represent, respectively, the contained and the container, suggesting phallic and yonic symbolism. In turn, the sharp teeth, like the spear and little knife the Zuni doll uses, are phallic (also like the vampire’s fangs), and the bite and stab wounds are yonic. In this negative containment, trauma (as opposed to the processing of pain that a mother does for her baby) is projected from the attacker and introjected into the victim.

The pricking of the pin into the voodoo doll representing Therese, as well as Amelia’s stabbing in the Zuni doll’s face as it tries to get out of the suitcase she’s trapped it in, are also symbolic examples of this projection and introjection.

With all these points of thematic comparison and contrast made, we can now focus on the deeper psychoanalytic meaning of the best segment, “Amelia.” As I said above, it’s fitting that these stories are all named after the women Black plays in each of them, because the real theatre of these stories dramatize what’s going on in the heads of these three mentally ill characters. That “Amelia” is more or less a solo performance emphasizes that we’re dealing with a drama happening entirely inside her mind.

I believe the Zuni fetish doll coming to life and attacking her is a hallucination, a projection of her repressed wish to kill her mother, who oppresses her with guilt trips to keep her from living a free life.

She buys the doll knowing about the warning not to remove the chain from it, that its removal will bring it to life. She doesn’t believe such a thing will really happen, of course, but the idea exists in unconscious phantasy for her. She looks at it, saying it’s so ugly that even its mother wouldn’t love it; saying this is a reflection of how the doll is a projection of her own unconscious matricidal urges–no mother, Amelia imagines, would ever love her daughter for having such feelings.

After arguing with her mother on the phone in the living room over whether they can cancel one night together (a regular Friday night get-together she and her mother always have) so Amelia can spend it with her boyfriend on his birthday, she–oppressed with guilt from her mother’s manipulations–brings up the doll, telling her mom of how it will supposedly come to life with the removal of the chain. Her bringing up of this is a wish-fulfillment and an implied warning to her mother, who, significantly, hangs up at just that moment.

Amelia then holds the doll, and she seems to have touched the chain at least a little. She sets it on the table and walks away. As we know, the chain falls off the doll’s waist. Now, consciously, she shouldn’t be concerned about this, since she doesn’t believe there really is a spirit inside the doll; but unconsciously, she has a wish that this spirit will come out, with the possibility of it one day attacking and killing her controlling mother. Therefore, Amelia’s fondling of the doll, leading to the chain falling off, is a parapraxis indicating her unconscious matricidal urges.

After being in the kitchen to slice up some meat (with that little knife) and put it in the oven, she returns to the living room to find the doll no longer standing on her coffee table. She looks around, including under the sofa (the obscurity below being symbolic of the unconscious), but can find only the Zuni doll’s spear, the tip of which pricks her finger. Her inability, at this point, to find the doll is representative of her repression of “He Who Kills.”

The living room lamp suddenly switching off represents further repression. Right when she goes to turn it back on is when the doll attacks her, at her foot. This attack represents the return of the repressed, in which the forbidden, repressed feelings return to consciousness, but in a totally unrecognizable form. In Amelia’s case, her matricidal desires have returned to consciousness in the form of a hallucination: the doll trying to kill her, rather than kill her mother.

So on the surface, conscious level, Amelia is terrified of the doll killing her, of course; on the unconscious level, though, she is afraid of what the doll represents–her matricidal Shadow merging with her, a merging caused by all those projective/introjective cuts and bites, the container wounds and the stabbing and biting of the contained.

Her real fear is her wish to kill her mother.

This fear/desire is what makes this third segment so scary.

So her attempts to stop the doll–wrapping it in a towel and drowning it in the bath water, stabbing it in the face, smashing it against a lamp, shutting doors to keep it out, locking it up in a suitcase, and burning it in the oven–are really attempts to prevent it from merging with her.

Now, there’s her wish to prevent the merging, but there’s also the wish for the merging to happen, hence, as I said above, her ‘accidental’ causing of the chain to come off, then her slipping and falling when running away from the doll–which allows it to get to her again–and, when she tries calling the cops, she oddly can’t remember the address of her apartment and thus can’t help the cops find her. This ‘forgetting’ is another parapraxis serving her unconscious wish to merge with her murderous Shadow as personified in the Zuni fetish doll.

Its unintelligible babbling, combined with her screams, is an expression of Lacan‘s notion of the Real, a realm of non-differentiation, of unverbalized trauma.The doll’s possibly killing her is far less horrifying that its merging with her to commit matricide, which–as the psychiatrist said at the end of Psycho–is the most unbearable crime of all. Amelia’s conflict is of the classic id vs. superego kind, or of gratification vs. morality.

As the doll is using the little knife to cut a hole in the suitcase she’s trapped it in, she tries to grab it by the blade with her fingers, a foolish, futile move that only gives her a bloody cut. Again, though, this act reflects her conflict between wanting to disarm the doll and stop its attacks on the one hand, and her unconscious wish to merge with it (i.e., the cut on her finger, the container, from the knife blade, the contained, as an act of projective and introjective identification).

Similarly, after she’s thrown the doll in the oven to burn it (as Julie burned down Chad’s apartment and him in it after poisoning him), she has to open the oven door…consciously, because she needs to make sure it’s ‘dead,’ but unconsciously because she wants to be merged with its spirit, which of course she does.

Now, just as I believe the doll’s coming to life is a hallucination that we, the viewers, share with her, so do I believe her merging with the doll’s spirit at the end, including her razor-toothed grin, is a hallucination, a delusion we viewers share with her. Her unconscious desire to kill her mother was there from the beginning; her belief that the demon in the doll has possessed her has given her a convenient excuse to kill her mother with a clear conscience. After all, it isn’t Amelia who wants to slice her mother up with that large knife she’s poking on the floor…it’s the ‘Zuni demon’ who wants to.

Similarly, Julie entertains the illusion in her mind that Chad is the sexual aggressor while she pretends to be innocent and frigid (her ‘witchcraft’ on him being a metaphorical projection onto him), and Millicent imagines Therese is a sister rather than a split-off personality bearing what’s actually Millicent’s middle name, another act of projection.

In therapy, one sometimes speaks of doing Shadow work, a confronting of and merging with one’s Shadow. Such a merging is not what’s happening here, with these three women Black is playing. Julie, Millicent/Therese, and Amelia split off, project, and repress their respective Shadows with such vehemence that the inevitable merging comes with a violent force that has tragic consequences.

One must assimilate the Shadow, but it must be the conscious personality that integrates the Shadow, not vice versa. Jekyll integrates Hyde, not the other way around. Julie projects Chad (remember that what we see on the screen is a dramatization of her inner thought processes; it’s not to be taken as literally happening), Millicent splits Therese off from her, and Amelia hallucinates the living spirit in the doll. These acts of projection result in Hyde taking over Jekyll.

‘Furies,’ a Horror Novel, Part Five, Chapter 4

George just sat there at his mother’s side, watching her sleep. Another tear ran down his cheek.

He watched the rising and falling of her chest, each rise and fall reassuring him, if only for the moment, that she was still alive.

He checked her vital signs as they were displayed on the medical equipment by her bed. All was fine.

Still, he had that fear of something going wrong. The paradox was that he felt compelled to be there with her at all times, to watch over her and make sure she was OK, but also, there was that haunting voice that had kept telling him the only danger to her life was him.

She just lay there, sleeping peacefully. Her chest kept rising and falling, as it should have. The vital signs display still showed no problems.

He let out a huge sigh of relief.

She’s fine, he reassured himself in his thoughts. Don’t worry. You’re thinking too much. That voice in my head is probably just my unconscious expressing my resentment over never having been freed from her to live my own life. Such resentment is natural, it’s understandable; but it doesn’t mean I’m really, literally planning on murdering her. It’s just my mind acting out, in all probability. We all have dark thoughts: even the saints do.

He looked at her again–sleeping like a baby. Her chest kept rising and falling…good. He checked her vital signs one more time; no problems.

He let out another sigh.

Then he heard that voice again…this time, though, it was a little differently worded.

You’re going to murder her…today.

He jumped up from his chair with a yelp that woke up his mother. His heart was pounding. Now, a drop of sweat was running down his cheek.

He looked around the room frantically to find the source of that voice. Every time he’d heard it before, the whispered voice of what seemed a teenage girl, no one was there to be seen. This time, however, he saw her: Tiffany, the goth-girl ghost, with those malevolent red eyes.

“Tiffany?” he gasped with agape eyes.

Suddenly, the ghost flew into his chest with the speed of a racing arrow. His body shook as the spirit took possession of his body.

“George?” his mother asked in the weakest of voices. “What’s wrong? You woke me. Are you okay?”

His back had been to her, but now he turned around to face her with an icy expression.

“George? Please don’t look at me like that. You’re scaring me. Are you alright? You seem…a little…”

He ignored her words…that is, bodily, he ignored her. The George in his mind, however, desperately wanted to tell her he was not alright, that he was sorry for scaring her with that cold look on his face, that he was sorry for having woken her. He wanted to scream out to the hospital staff to come in the room and stop him from doing what he knew Tiffany’s ghost was making him do.

But he couldn’t say or do any of those things.

He felt himself compelled to get up and walk over to where his bag of medical instruments was, by his bed. He picked it up and unzipped it.

Tiffany, he thought. What are you doing?

He was made to take out a syringe. He walked back with it to his mother’s bed. He was eyeing her IV external tubing, through which blood was going into her body. He put two and two together.

Oh, my God! he thought. She wants to give my mother an air embolism. No, Tiffany, no!

Her ghost made him stick the syringe into the tubing and introduce an air bubble into it.

He had absolutely no control over his body. He couldn’t fidget or jerk his arms in the slightest. Tiffany’s ghost even made him look into his mother’s eyes to see the terror emanating from them.

“George,” she gasped. “What did you do that for? You’re killing me. Why?

He couldn’t weep. He couldn’t say sorry to her.

She looked at the long air bubble moving in the tube, getting closer and closer to her body. She began yelping, but the ghost made him cup his hand over her mouth to muffle out the sound.

As she fidgeted and struggled, she whined audibly enough that, if one of the hospital staff should have been close enough to their room, he or she just might have heard his mother’s muffled cries for help. Since he still had no control over his body, he could only hope a staff member was close enough to be in earshot, rush into the room, and stop him in time.

No such luck.

That air bubble, long enough to have been a three-to-five millilitres per kilogram dose, was inching closer and closer to entry in her body. She kept struggling and whining; he kept one hand on her mouth, the other on her chest to minimize the noise of the shaking of her bed.

Tiffany’s ghost forced him to look straight in his mother’s horrified eyes. He would not be spared a thorough observation of her pain, her terror, and her heartbreak over his oh, so unfilial act.

…and he had no way of telling her that it wasn’t himself who was doing this to her.

Why? her eyes kept asking him. Why, George?

I can’t tell you, he thought. I’m so sorry, and you’ll never even know I’m sorry. Tiffany, I may have bullied you in school, but punish me, not her.

Now, the ghost made him watch the air bubble reach her body and enter her. He looked back at her face. She was shaking all over for several seconds, then she moved no more.

The ghost left his body and, visible, faced him.

Finally, a waterfall of tears was soaking his face.

“I wish that block of ice we hit you with had killed you,” he hissed at the apparition.

Don’t be mad, George, she said. I did you a favour. I freed you from her. Now you can live your own life. She giggled at his teary face.

“Free to do what?” he asked in sobs. “Go to jail for murder? You fucking bitch.”

Only one thing left to do, George, Tiffany’s ghost said with a grin.

“Yes, I know,” he said. “I’ll see you in Hell…and when I get there, I’ll get you.

She laughed. There’s nothing to get. We’re in Hell. We’re already suffering beyond hope. How are you going to add to that?

“I’ll figure out a way.”

He walked back over to his bag, found a scalpel in it, slashed his wrists, and lay on the floor, soaking it with his blood until a nurse walked in and screamed.

Only by then, of course, it was too late.

‘Furies,’ a Horror Novel, Part Four, Chapter 3

Lynne sighed softly at first, her eyes closed and her mouth wide open, as she felt Herman entering her in his usual slow, gentle manner. Then, suddenly, she felt a sharp, painful stabbing as he jerked the rest of the way in.

Her eyes came wide open. “Oww!” she yelped.

The look of pain and malice that she saw in his eyes was inexplicable. Herman was never this way in bed.

Well, that’s because he normally never felt the sensation of a strap-on dildo rammed up his ass.

Though invisible and ghostly, that dildo tore Herman’s anus apart as thoroughly as a physical one would when shoved in as aggressively as Megan the ghost had shoved it. And with a grunt of pain, he was forced, by that thrust, to thrust just as abruptly into Lynne as he’d received it.

The thrusting continued, though…for both him and Lynne. Indeed, in raping Herman, ghost-Megan was, as it were, raping Lynne by proxy.

Herman looked behind him to see what the hell was going on. He saw the Megan of those dreams he used to have. “Megan!” he gasped as he felt another ramming.

Her dishevelled hair, her pale, flaking skin, and her glowing red eyes, circled in black rings, were disturbing enough to see in themselves, but the malicious grin he saw was far worse.

That face being far too unbearable to look at, he looked back down at Lynne, meaning to apologize for hurting her; but instead of seeing his wife wincing in pain, he saw her laughing at him.

“That’s it, Megan!” he heard Lynne say. “Jam that strap-on deep in his ass! Ha! Ha!

“Lynne?” he grunted in disbelief. “Unh! What are you…Uh!…saying?”

Only Lynne wasn’t laughing or saying any of that.

She was yelping in pain from the ramming she was getting from him, as well as seeing a malevolent grin on his face that was no more real than the malice he saw on her face. She said, “Honey, stop! Uhh! You’re hurting me! Oh!

But he didn’t hear or see any of that, due to Megan’s manipulations. Both husband and wife were experiencing variations on the dreams they’d had for so long.

As the sodomizing of Herman continued, and as he continued hallucinating Lynne’s laughing at him, he was filling up with a feeling for her he’d never imagined he’d ever feel–hatred. Part of this hate came from the laughing Megan was making him see and hear from Lynne; part of that hate came from Megan entering his body and consciousness.

Yes, the ghost was shifting from sexual possession of him to outright demonic possession. Though he still saw Lynne laughing at him, she was really looking up in incredulous horror at the transformation of the man she loved into…some kind of…monster.

“Herman?” she sobbed, the tears in her vaginal walls getting excruciating, “What…are you…doing? Ah!

Now he no longer felt the dildo stabbing his ass. With Megan fully controlling him now, he was laughing at Lynne as he continued raping her.

He no longer saw Lynne laughing at him. He saw her real face, her tears, her fear, and the pain in her eyes. He was so inundated with Megan’s hate, though, that he felt no pity for his wife. He just continued raping and laughing.

She struggled, trying to push him off, but he was too big and strong. She could only hope he’d climax and get off of her soon…but he didn’t.

“Herman!” she sobbed with pleading eyes he wouldn’t acknowledge. “Why? Ah!

She gave him one strong shove, and though it didn’t get him off of her, it did reveal someone behind him, the one who would answer her question.

“Megan?” she gasped, now remembering her own dreams.

Indeed, now she saw the ghost laughing at her with Herman, just like in her dreams.

Megan’s a ghost? she wondered, still yelping in pain from Herman’s continued phallic stabbing. I don’t even believe in ghosts.

Suddenly, Herman pulled out. Before Lynne could even have time to feel a sense of relief, though, he flipped her over on all fours, then he aimed for her ass.

“Oh, God!” she screamed. “Please, Herman, no more!

Then, the sight of Megan’s grinning ghost just a few centimetres away from her face explained it all: this wasn’t her husband doing this to her; Megan was possessing him, getting her revenge on Lynne for having Herman do this to Megan back in the girls’ changing room in the high school gym.

Lynne screamed as he penetrated her the same way Megan’s ghost-strap-on had penetrated him.

Did Lynne deserve this?

Wasn’t the shared guilt between her and Herman, and their committed love as atonement, sufficient redemption? Didn’t their commitment to their Catholic faith, all their attending Mass, redeem them for that one sin?

Not in Megan’s opinion.

Mercifully, he came after about a minute of sodomizing Lynne, then he pulled out and lay on the bed in exhaustion. He no longer had that malevolent grin; instead, his face showed unmistakeable shame and remorse…yet he knew there were no words that he could say to ease the pain he’d caused her.

For a second, she acknowledged his guilt and didn’t hate him for what he’d done, knowing Megan’s ghost had made him do it. But that second of forgiveness was only for that second.

For Megan’s ghost had left his body and entered Lynne’s.

Herman now looked into the hateful eyes of his wife, not sure if that hate was all hers or all Megan’s. If it was shared by both, how much of it was Lynne’s? If it was ninety-nine percent Lynne’s hate, he knew he deserved it, regardless of Megan’s possession of him. He simply couldn’t bear the thought that his own body had hurt the woman he loved.

She walked out of the bedroom like a naked automaton.

He lay on the bed waiting, panting, his heart pounding.

In two minutes, she returned with a large knife in her hand.

She grinned at him as she approached the bed. He smiled back.

He lay on his back, arms stretched out, ready and willing to receive the knife in his chest.

He did.

Megan’s ghost left Lynne.

She let out an ear-piercing wail as she looked at the blood coming out of Herman’s chest.

Then she stuck the knife into her own chest.

‘Furies,’ a Horror Novel, Part Three, Chapter 4

Denise put the Pepsi and Fanta bottles on the kitchen counter, then she opened a drawer to get some straws. As she put her hand in to get them, she heard a whisper from behind.

Hello, Denise.

Startled, she spun around to find the speaker. Though the girl she saw looked ghost-like, the face was familiar enough. Denise gawked at that face in disbelief for several seconds, her jaw dropping.

“Alexa?” she whispered.

The ghost smirked.

Then it flew inside Denise’s body.

She gasped, then froze.

Her brain was now thinking thoughts that weren’t her own.

Terrifying thoughts.

Thoughts that couldn’t be expelled from her mind.

The baseball bat in the hall closet. Get it. Get a knife out of the drawer, too.

After getting a steak knife out of another kitchen drawer and putting it in her back jeans pocket, then putting her shirt over the handle to hide it, Denise walked out of the kitchen and into the hall like an automaton, with absolutely no ability to stop herself. She approached that closet with helpless dread.

All the while, she could hear her son noisily playing with his Star Wars toys.

You hate that noise, don’t you? Alexa’s voice rasped in Denise’s ears. You know you want to stop it, and there’s only one way to do it.

Denise couldn’t say no. She couldn’t even think it, as hard as she tried to.

She opened the closet door and picked up the bat.

She closed the door and took the bat with her down the hall to the living room. She couldn’t believe she had no ability to stop, drop the bat, and just return to the kitchen to get the drinks.

But she knew exactly what she was meant to do with the bat.

She couldn’t stop herself. She couldn’t say no to Alexa’s ghost. She couldn’t think any thoughts of objection to the ghost’s plan.

Alexa had total control over her mind and body.

Denise remembered how she’d bullied Alexa back in high school, but she couldn’t muster an apology, as sincere as it would have been. She couldn’t even let a tear roll down her cheek, over what she was being forced to do to her boy.

As she approached little Jameson with the bat, his voice, still imitating light sabre sounds, grew louder and more obnoxious. Her possessed brain was making her hate her son’s noises.

Violence is the only way to deal with anything you don’t like, Alexa’s voice told her. You know that. You’ve known it your whole life. Oh, sure, you’ve tried to suppress your rage against the world, you’ve pretended to be a good, loving mother, but you know, deep down, that that’s not the real you, Denise. Swing that bat. Beat him to death with it. You know you want to.

She was standing right behind him now. He just kept on playing and making those noises. He didn’t know she was there with that bat. He’d even forgotten about the Pepsi.

She raised the bat high over her head.

That noise is really annoying, isn’t it? Alexa asked. Little dorks like him deserve to be beaten, don’t they?

Denise kept that bat over her head, but knew she wouldn’t be able to stop it from coming crashing down on his head. She also knew why the bat stayed up above her head for the moment, why it wouldn’t come down just yet.

She was being made to wait for him to see her.

The waiting was also cruel suspense.

There was nothing she could do to stop it. The alien intelligence controlling her mind wouldn’t let her scream out a warning; it wouldn’t let her weep; it wouldn’t let her feel any affection for little Jameson.

It forced her to feel only murderous rage.

Still making the loud light sabre noises, he finally looked behind, saw her legs, then looked up at her.

He barely had time to frown at the sight of the baseball bat in her hands.

CRACK!!!

After that first blow bashed the boy’s skull to bloody pieces, she brought the bat down again and again, with many more a clubbing of his bones and back to finish him off.

He just lay there on his front, a motionless, bloody mess.

…and finally, she regained control of her mind and body.

She fell to her knees and dropped the bat.

She screamed a deafening wail of grief that went unbroken for the next ten seconds. Then she took in a hoarse breath and screamed again, louder and longer.

“I didn’t do this!” she yelled. “Something else…made me do this! Who?!

Alexa’s ghost reappeared before her, smiling.

“You!” Denise hissed. “You fucking bitch! You made me kill my son! What I did to you back in school was nowhere near as bad as this! I didn’t deserve this! He didn’t deserve this! I went to prison for my crimes! I reformed myself! I paid my dues!”

She picked up the bat and rose to her feet. She swung it at the gloomy apparition, hitting only her furniture as it swept through Alexa’s transparent spectral image. The ghost laughed at Denise’s futile attempt at revenge.

How does it feel to be the weak one, Denise? Alexa whispered. But as you can see, you still have your violent nature. All I did was reawaken it in you.

“I would never have been violent to Jameson!” Denise screamed, no longer swinging the bat in exhaustion. “You made me do that. I should have killed you back in high school.”

You did, Alexa said. You and that prick, Boyd, drove me to commit suicide. But I’m not finished with you yet.

Outside, Denise heard the door of their car shut. Her husband was about to walk through the front door.

One of the first things he’d see was little Jameson’s body in a pond of blood on the living room floor.

Before Denise could say or do anything, she felt Alexa fly back into her body. A cruel look on her face replaced the grief-stricken despair that had been on it just a few seconds before.

She picked up Jameson’s body and took it out of the living room.

Jack opened the front door and stepped in.

“Honey?” he called out as he walked down the hall to the living room. “I’m home. I’m really hungry. Could you please make me a…what the fuck?”

He saw that pool of red staining the living room carpet. He saw some broken things and dents in some of the furniture.

Was there a break-in? he wondered, trembling all over and stepping slowly and quietly into the living room. I thought I heard screaming as I drove in. Is the intruder…are the intruders…still here?

He walked over to the bloody baseball bat and picked it up.

He crept out of the living room and reached the entrance to the kitchen, listening for any sounds that might indicate an intruder. Any time his feet made the slightest creak, or if his breath was at all audible, he got mad at himself.

I must not give away my position, he thought.

No one was in the kitchen. He didn’t want to go in there for fear of his squeaking shoes telling the intruder…or intruders…where his was.

He went back across the living room and to the stairs leading up to the bedrooms. He noticed a few drops of blood here and there, suggesting where the intruder/intruders had gone.

He went up the stairs with painstaking slowness, careful not to make any noise, but slow also out of terrified reluctance to find out whose blood he’d seen on the living room carpet.

He reached the top of the stairs and looked around the hall leading to the bedrooms. No one was there, but a few drops of blood led the way to the bedrooms.

He crept over to his and Denise’s bedroom. He listened at the door. He heard the sound of something knocked over. He took a deep breath in and put his hand on the doorknob. He turned it ever so slowly and quietly.

He pushed the door open with the same slow, silent care. He saw mostly darkness and shadow, for the curtains were closed over the window. He heard a shuffling movement.

As soon as he flicked on the light switch, he felt something knock against his left leg, something that had leapt from the dresser drawer, knocking over a bottle of Denise’s skin moisturizer. It ran out of the room, scaring the shit out of him.

It was their cat.

“Jesus Christ, Snowball,” he whispered as their white cat continued running down the hall to the stairs. Then, remembering he had to be quiet, he put his finger to his lips. He looked down at the hall carpet. The drops of blood hadn’t stopped at their bedroom.

He continued his slow, quiet steps over to Jameson’s bedroom. He saw blood on the doorknob.

Oh, please, God, no! he thought as he opened the door, the bat in his other hand ready to swing.

This room was similarly dark and shadowy, the curtains also closed; but he could make out a short, small silhouette of a human being lying on the bed.

Please, let him be OK, he thought as he reached for the light switch. He turned it on.

Jameson’s body lay there, grotesque and disfigured from the beating he’d received, blood staining the bedsheets.

Jack’s eyes and mouth agape, he could produce no sound other than a hoarse gasp. He just stood there, frozen and stupefied.

Denise flew out from behind the opened door with that knife. She dug it deep in his gut.

The pain of the stab was nothing compared to the shock he felt from seeing the inexplicable malevolence in his wife’s eyes. He dropped the bat and fell to his knees.

“Denise…why?” he grunted as he looked up at her and her hateful expression.

He fell to her feet, surrounded in his blood.

She regained control of herself, then screamed at the top of her lungs again. “What am I supposed to do now, Alexa?”

You have the knife, the grinning ghost said. Use it on yourself.

She did.

***************

A few days later, the local newspaper reported the double murder/suicide, Denise’s naked body found in the bathtub filled with bloody water, her wrists slashed.

How such a family, known all over their community to have been so happy and loving, could have ended so tragically seemed a mystery to all…until a little research dug up her criminal past. It was assumed that her old violent ways had never been fully extinguished.

‘Ghost Town,’ a Western Horror Short Story

Duane Parkhurst rode on his horse into his small hometown of Arlington only to find it completely deserted.

“What the hell?” he whispered to himself as he looked around and saw not even one person on the main street.

Far off in the distance along the main road, he could see the local saloon, which looked burned down to its foundations. It was an eerie sight, seeing it all turned from a healthy brown to a black of death. It reminded him of some nasty business he’d been involved in just a few days ago.

Don’t mind that for now, he thought; I’ll check on it later. I wanna go home ‘n’ see the Missus, see if she’s alright.

He rode off the main road and found the neighbourhood of houses where his family’s was. He got there in a few minutes. He got off his horse, took off his hat, and went in through the front door.

“Emily?” he called out for his wife, then for his kids: “Billy? Sue?”

He looked around the parlour, then the kitchen, and finally, in his and Emily’s bedroom.

“Where the hell is everyb–” he said as he entered the bedroom, then he saw Emily.

She was hanging by the neck under a wood beam from the ceiling. A kicked-over stool was lying by her feet.

“Oh, my God! No!” he yelled, then ran over to her body.

He untied the rope and took her down. He laid her on the bed, then removed the rope from her broken neck. The red marks were deeply cut into her neck. He checked for breath and movement, only to find none. The top of her dress was torn open, revealing her breasts. He looked over at the floor, by the stool: her torn-off drawers were lying there. He wouldn’t allow himself to imagine what had happened.

“No, baby, no,” he wept. “Why? Why’d ya do it?” He held his head in his hands and continued weeping for several more minutes. Then he got up and left the room, fearing for his kids. “What the hell happened here?”

He kept looking around the house for little Billy and Sue, but they were nowhere to be found. It was getting harder and harder for him to contain himself. He returned to the parlour and sat on his chair. He needed a moment to think things over, to reflect on what had happened over the past several days…not that they had had anything to do with what was going on now, surely.

It had been three days, since September 23rd, 1883, to be exact, when he and his gang robbed the bank in Chesterton, Nebraska, and burned down two buildings there to distract the locals from chasing the gang. Actually, two of the boys in the gang, brothers George and Ronald Wilson, also burned the buildings down for the sheer fun of it.

All of them had safely ridden out of town on their horses after a shootout with the sheriff and his men, and Duane and his partner in the robbery, Clifford Keane, hid out by some trees. (George and Ronald were slowed down by the shootout, which injured both of their horses.) Then Duane pointed his sawed-off shotgun at Clifford.

“What the hell d’you think you’re doin’, there, boy?” Clifford said as he stared at the barrel of Duane’s gun.

“Drop yer share of the loot,” Duane said.

“You’re gonna regret this, Duane,” Clifford said, then untied his bags from his horse and dropped them to the ground.

“I’m sure I will,” Duane said with a grin, then shot him.

George and Ronald were approaching on foot, their horses too badly hurt to be ridden on anymore, when they saw Clifford fall off of his horse and hit the ground, a river of blood flowing from his gut. Their jaws dropped.

“What the hell you doin’, Duane?” George said.

“Drop yer bags, boys,” he told them.

They did. Then he shot them. He got off his horse and picked up Clifford’s bags of loot.

As he went over to get George’s and Ronald’s bags, he heard the gasps of barely-alive Clifford: “You will pay dearly for your sins, Duane…You…will…pay…dear…ly…”

Duane tied the other bags to his horse, got on, and rode on towards Arlington. Any posse coming for me would first find the bodies of my gang, he thought. They’ll be too distracted with the bodies to continue searching for me. In fact, who knows? Maybe the posse will think the whole gang was killed and they’ll stop the search completely.

If this last possibility came true, he would be totally free. Then he would ride into Arlington with all that extra loot and enrich the entire village, not just his family with his original cut. So were his hopes at the time.

But now that he’d reached Arlington, he saw nobody, not a soul, to share all that money with.

His triple murder and grand theft had all been for nothing.

Unless his kids were still alive. He hung on to that fragile hope.

He went back outside, put his hat back on, and got on his horse.

I’m going back to the main street, he thought as he began riding. That saloon down the way, burnt to a crisp, looks ominous, but I’ve got to find the truth to whatever happened here.

As he was riding along, he heard, Duane, whispered from a familiar voice.

Emily’s.

He spun his horse around in a panic.

There she was, a glowing, ghostly apparition that was floating before his face. The rope marks were still on her neck, she was in the frilly dress she’d had on–still torn and showing off most of her breasts–when she killed herself, and on her pretty face was a permanent frown.

“Hey, baby,” he sobbed. “Why’d ya kill yerself?”

I couldn’t live with myself after what…they done to me, she said in a reverberating whisper.

“What…who done to ya? Done what to ya, darlin’?” He still refused to contemplate the meaning behind her torn dress.

Three men…yesterday…they…knew me…in a way…only you’re supposed to know me. The ghost began sobbing.

No longer able to deny it, Duane blew up. “Where are they?! I’ll kill ’em, the lousy sumbitches!” He was ready to ride off.

You can’t.

“What’dye mean, I can’t? I’m quick on the draw! You think yer husband ain’t man enough to–“

It ain’t that, honey. You can’t kill ’em ’cause they’re already dead, like me.

His eyes widened so much, you could have seen almost half his eyeballs, it seemed. His jaw dropped so low, it was almost touching his chest. Naw, he thought; it couldn’t have been them.

“How can dead men…v-violate you, honey?”

I don’t know, but three ghosts came at me and…they did things to me…that are so filthy…I can’t describe ’em to you. She began weeping again. They were like…ghosts with bodies, ’cause I could….feel them…inside me. She was weeping louder now.

“Who were they?” Duane asked, afraid to hear the answer.

They told me their names, ’cause they wanted me to tell you: Clifford Keane, and George and Ronald Wilson.

Duane fell off his horse. His hat fell off, and the wind took it away.

He just sat there on the dirt road, stunned, for several minutes.

That can’t be! he thought. Emily never met the members of my gang, not even once in her life. There’s no way she could have known their names. Still, can ghosts come back from the dead like that? Naw, they can’t!

He snapped out of it and looked around. Emily was gone.

“Uh, baby? Where’d ya go?”

No answer.

He got back up and got on his horse. He continued riding over to that saloon, full of emotional exhaustion and dread.

He reached the front of the saloon, that is, its charred and blackened remains, and he got off his horse. He walked in so slowly, it was almost as if he were standing still.

As he walked around the remains of the ground floor, with its coal-black stools, tables that once had been, and a bar totally devoured by fire, he heard faint voices from below.

We’re down here, a group of voices whispered.

“In the basement?” he asked.

Yes, they said in those eerie, ethereal voices. Come down and meet us.

He gulped, then looked around for the stairs down there…hoping he wouldn’t find them, but sadly, he did find them.

Duane went down those stairs with shaking legs as the whispering voices grew louder.

Come and meet your destiny, one voice said.

Come and meet your doom, said another.

Daddy, two children’s voices whispered…familiar voices.

“Billy?” Duane yelped, then rushed down the rest of the stairs, almost tripping at one point. “Sue?”

He stopped dead in his tracks just a few steps from the bottom. For in the basement, he saw a hill of charred corpses. It seemed to be pretty much the entire population of his village here in this large basement. The stench was unbearable. He put his hand over his mouth and nose, then continued inside.

Daddy, Billy’s and Sue’s voices said again.

“Where are you?” Duane asked in sobs, his eyes darting all over the place to find their ghosts.

Over here, Daddy, they whispered. He followed their voices over to the hill of bodies.

He stopped before a slope of the hill of corpses when he saw two tiny, blackened arms sticking out, each with a distinctive bracelet on its wrist. Though they were damaged by the fire, he could still recognize them by the names carved into them: Billy and Sue.

He’d given them the bracelets as gifts a year ago.

He broke down and wailed, “Oh, my babies!”

Why’d you do it, Daddy? Billy’s voice asked from over his right ear.

His head spun around behind him, and he looked up to see floating apparitions of his eight-year-old boy and six-year-old girl. They looked down at him with a kind of despairing frown that should never be seen on children.

“Why’d I do what, boy?” Duane asked in sobs.

Kill those three men you were workin’ with, Sue asked. Weren’t they yer friends? You’re never supposed to do that to yer friends, ain’t that right, Daddy?

Duane’s heart was pounding with terror to know that they knew something they couldn’t have known. The words of his sweet, innocent daughter gave him a pang of conscience.

It’s enough of a sin that you robbed that bank and had your men burn those buildings and kill all the people in ’em, but killin’ yer own buddies, Daddy? Billy asked in that haunting, echoing voice. That’s just too much.

An’ yer buddies done killed all o’ us to get back at you, Daddy, Sue said in that same, chilling whisper. If you hadn’t done killed ’em, they wouldn’t ‘a’ killed us.

“How could this’ve happened?” Duane sobbed. “I just wanted to use all the loot to help our poor town to invest it and prosper. Those three men were just thieves. No one woulda missed ’em.”

You got greedy, Duane, the familiar voice of a man, Clifford’s, rang in Duane’s ears. I told you you’d pay dearly for your sins.

Duane turned his head slowly, away from the ghosts of his kids, the other way to find the source of Clifford’s voice. Sure enough, now he saw apparitions of not only his ghost, but also the ghosts of George and Ronald.

It’s payback time, Duane, George said.

Remember what it says in Galatians 6:7, Ronald said. Be not deceived; God is not mocked: for whatsoever a man soweth, that shall he also reap.

“Since when are you a preacher all of a sudden, Ronald?” Duane said. “You’re as much an unrepentant sinner as I am. I never committed arson, as you ‘n’ yer brother done!”

True, but we’re paying for our sins now, Ronald said. As you will be doin’ soon…with us, in Hell!

All three ghosts were glowing and hovering over Duane’s head, looking down at him with malevolent smiles.

But before you’re sent to Hell, where we’ll really torment you, Clifford said, we want you to see how all your efforts to help your town done the opposite.

“How’d you kill everyone here, you sumbitches?” Duane asked.

Well, after we raped yer wife… Ronald said.

…and did things to her that are illegal in every state in the Union, George added with a lewd grin. What exactly are the laws against sodomy, fellas?

“You shut yer goddam mouth, George! That’s my wife you stained!”

Oh, yeah? George said. Whatcha goin’ do about it? Shoot a ghost?

We played the incubus on yer wife as part of yer payback for betrayin’ us, Clifford said.

Yeah, Ronald said. You ain’t got no right to complain.

Anyway, after we had her, we took possession of all the people in this town, Clifford said.

We led ’em all down into this here saloon, down into this here basement, and locked ’em in, George said.

Then George ‘n’ me set fire to the building, Ronald said. It was fun listenin’ to all o’ them screamin’.

Especially the cryin’ o’ yer two li’l brats, George said.

“You bastards!” Duane shouted.

Shouldn’t ‘a’ killed us, Duane, Clifford said. And now it’s your turn to die.

And when we have you with us in Hell, that’s when the real torture begins, George said with a malicious grin.

“Whatcha gonna be able to do to me if I’m already dead?”

You’ll see, Clifford said. In Hell, there’s sufferin’ you’d never dream of up here on Earth.

Just so you know, it ain’t just yer wife ‘n’ kids that are ghosts, Ronald said. Yo mama, papa, ‘n’ kid sister were in that fire, too. Look aroun’ in that pile o’ bodies. You’ll find ’em in there, too.

You’ll have a whole eternity to see unspeakable things done to yer family, George said. And you’ll hafta watch, ‘n’ won’t be able to do nothin’ ’bout it. He giggled at the thought of it.

“I won’t letcha kill me, you bastards!” Duane said. “I’ll–“

You’d never be able to stop us from killin’ you, Clifford said. But even if ya could, we won’t need to kill ya.

Posse’s on its way, Ronald said.

We guided ’em here, George said.

Duane ran back up the stairs with the laughter of his three former friends echoing in the background. As soon as his head was over the ground floor, he saw a group of men on horses, out on the street, staring at the burnt saloon.

“The remainder of the gang must’ve burned down this saloon the same way they did those buildings in Chesterton,” the leader of the posse said.

“Hey, look!” another member of the posse shouted. “Look down at the stairs to the basement. That man hidin’ down there–he’s one o’ the gang, ain’t he? Betcha he’s hidin’ down there, thinkin’ we won’t look for ‘im down there.”

“I saw his face,” a third posse member said. “I reco’nize ‘im. He’s one o’ the bank robbers.”

“Get ‘im!” the leader said. All of them got off their horses and ran for the basement stairs.

I’m dead, Duane thought, running back down as he heard the laughter of the three ghosts get louder. But I’ll be damned if I’m gonna hang by the neck in shame back in Chesterton. Maybe the ghosts of my family and friends in Arlington can help me ‘gainst them three sumbitches.

He took a pistol out of his right holster and put it to his head. He saw the posse coming down the stairs and pointing their fingers at him.

He blew his brains out.

He woke up in Hell.

No burnin’ fire, he thought as he looked around. No Satan. Where am I?

He was in the outskirts of Chesterton again. He saw himself, as if looking in a mirror, pointing his sawed-off shotgun at him.

“Drop yer share of the loot,” Duane said to…himself?

He untied his bags of money from the horse he was on–not his own–and dropped them to the ground, then saw himself in…Clifford’s clothes?

He felt a bullet pierce his gut. He fell off his horse. His half-closed eyes saw, in blurry vision, his blood flowing out in a river. He blacked out.

Now he found himself on his feet, walking with bags of loot in his hands and approaching fallen Clifford and…himself? He looked over at Ronald, then at himself: he was in George’s clothes!

He and Ronald were again told to drop their share of the loot on the ground. He felt a bullet pierce his heart, and just as he began to fall to the ground, he felt his consciousness go over to Ronald’s body…just in time to feel a bullet pierce his heart again.

Everything went black.

He found himself in his bedroom. He looked down at himself…or was it herself?…and saw that frilly dress Emily had worn. His arms were skinny and hairless…his wife’s arms!

He…or rather, she…felt three incubi hit her like three huge balls, knocking her onto their bed. Duane was experiencing it all in his wife’s body. The dress was torn away to reveal her breasts. Then her undergarments were torn off.

Yes, what these three incubi…Clifford, George, and Ronald…were doing to her was unspeakable. Duane felt three female orifices, not two male ones, being invaded. The physical pain was nothing compared with the shame he felt.

So this is how it feels for a lady to be transformed into a whore, he thought as the three-way penetration continued. I’m so sorry, baby. I wasn’t here to protect you.

When they finished, they shot out of the house as quickly as they’d shot in. He could hear himself crying his wife’s tears as the trembling body his soul was trapped in was searching for some rope.

He felt her step up on the stool, tie the rope to the wood beam on the ceiling, put it around her neck, kick the stool, and felt the rope fibres cutting into her neck, cutting off her air supply, breaking her neck, and making her lose consciousness.

Next, he felt himself being compelled to walk out of the house and towards the saloon. He looked down at himself, and realized his soul was inside Billy’s little body. He looked to his right and saw Sue there. She was looking straight ahead, with what looked like no independent will. He could sense the presence of Clifford, George, and Ronald controlling both his boy and girl.

No, he thought. No. Don’t make me experience their deaths. No!

Yes, the voice of Clifford buzzed in his ears. You’re not only gonna experience yer little boy’s and girl’s deaths, not only yer mama’s, papa’s, ‘n’ sister’s deaths, but you’re gonna re-experience them all, over and over again, for all eternity.

What? he thought.

That’s right, George said. Why’d ya think they call Hell ‘eternal death’?

The Devil’s makin’ us three experience the same thing, Ronald said. Experiencin’ and re-experiencin’ the deaths of all the people we done killed. But the Devil done made a deal with us three. Since you double-crossed us, we can enjoy makin’ you suffer far worse than we have to. You see, you’re in what’s called the Ninth Circle o’ Hell, which is reserved for traitors. You’re a traitor, havin’ double-crossed us, so you’ll suffer far worse than us.

This can’t be happenin’, Duane thought as he saw himself and Sue nearing the saloon. This is a nightmare, ain’t it? Please pinch me an’ wake me up!

This is no dream, Clifford said. And you ain’t ever wakin’ up.

No! Duane thought, trying to take control over his son’s body, but he couldn’t move any part of it an inch.

You ain’t got no control, George said. Whatcha think you’re doin’? There ain’t nothin’ you can do ’bout it.

He and Sue walked into the saloon, over to the stairs, and down them. In the basement was almost everybody else.

He saw his mother, father, and kid sister, all of them standing there without any ability to retake control of their bodies and get out of the building. He and Sue were now also standing there, helpless and immobile.

A few more people from the village were made to enter the basement.

Everybody’s here, Clifford said. Alright, boys, go burn the saloon down.

Still trapped in little Billy’s body, the soul of Duane watched, in all helplessness, as the ghosts of George and Ronald flew out of the basement. After several minutes, he could smell smoke.

A while later, he and all the others felt the heat growing, then the flames appeared all around them.

Here are the fires of Hell, Duane, Ronald said. You were wonderin’ about them. Here they are.

The worst feeling of all wasn’t so much the physical pain of the burning; it was feeling the terror of his helpless son and daughter, feeling his boy’s heart pounding, his little pulse racing, his shaking body, and knowing he couldn’t do a thing about it. Looking over and seeing the mounting terror in little Sue’s eyes was all the more unbearable for him.

The flames got closer and closer, already burning his neighbours. The boy wept as he heard their screams. Duane could say nothing to comfort poor little Billy. He had no control over the boy’s body, which was fixed in its spot, practically paralyzed, as all the other victims were, being possessed by Clifford, George, and Ronald.

Then the flames came for him.

As the flames crawled along his skin and devoured everything in their path, the boy screamed and wailed. His father wanted to say, “Sorry, Billy. I’m so sorry!” but he couldn’t even do that.

When Billy passed out from the excruciating pain, his consciousness went over to little Sue.

Oh, God, no! he thought. Don’t make me feel my little princess sufferin’! Please, God, no!

But he would feel it, and hear her shrill screams of pain and bawling until she lost consciousness.

Then he went into his father’s body, and he felt his father’s body burning. Sorry, Daddy, he wanted to say…but couldn’t.

Then, after his father passed out and died, Duane’s soul went into his kid sister’s body, which immediately after began to burn. It broke his heart to know her pretty face and hair were being destroyed by the flames. Sorry, Sis, he wanted to say…but he couldn’t.

Finally, his soul went into his mother’s body. The sacred body of the angel who gave him life…burning in Hell like a devil.

And he could tell her no words of apology or comfort. He could only hear her screams, and watch her body destroyed.

After she passed out, Duane felt himself back in the outskirts of Chesterton again, in Clifford’s body, and looking at himself pointing that shotgun again.

And let’s do it all over again, he heard Clifford’s voice say to him. And again and again and again…forever.

NOOOOO!!!! he wanted to scream, with all of his might, and all of his soul.

But he couldn’t.

Analysis of ‘The Babadook’

The Babadook is a 2014 Australian psychological horror film written and directed by Jennifer Kent, her directorial debut. It developed from her short film, Monster. The Babadook stars Essie Davis and Noah Wiseman, with Daniel HenshallHayley McElhinney, Barbara West, and Ben Winspear.

The film received recognition and acclaim in the US and Europe. It wasn’t initially a commercial success in Australia, but it’s now on a number of lists of the scariest movies of all time.

Here are some quotes:

“Ba-ba-ba… dook! Dook! DOOOOOKH!” –the Babadook

“I have moved on. I don’t mention him. I don’t talk about him.” –Amelia, to Claire, about Oskar

“It wasn’t me, Mum! The Babadook did it!” –Samuel

Amelia: [about the Babadook] Well, I’m not scared.
Samuel: You will be when it eats your insides!

Amelia: [after Sam has snooped around in his father’s crawlspace] All your father’s things are down there!
Samuel: He’s my FATHER! You don’t own him!

“DON’T LET IT IN!” –Samuel

“Why don’t you go eat shit?” –Amelia, to hungry Samuel

Amelia: [Samuel comes out from hiding and Amelia shrieks like a banshee. Amelia starts approaching Samuel, but he starts wetting himself.] You little pig. Six years old and you’re still wetting yourself. You don’t know how many times I wished it was you, not him, that died.
Samuel: I just wanted you to be happy.
Amelia: [mocking Samuel] I just want you to be happy. Sometimes I just want to smash your head against the brick wall until your fucking brains pop out.
Samuel: [softly] You’re not my mother.
Amelia: What did you say?
Samuel: I said you’re not my mother!
Amelia: I AM YOUR MOTHER!

Amelia: I’m sick, Sam. I need help. I just spoke with Mrs. Roach. We’re gonna stay there tonight. You want that? I wanna make it up for you, Sam. I want you to meet your dad. It’s beautiful there. You’ll be happy.
Samuel: [Sam stabs her] Sorry, Mommy!

“You can bring me the boy.” –the Babadook, pretending to be Oskar

“You can’t get rid of the Babadook.” –Samuel, to Amelia

“You are nothing. You’re nothing! This is my house! You are trespassing in my house! If you touch my son again, I’ll fucking kill you!” –Amelia, to the Babadook

“Happy Birthday, sweetheart.” –Amelia, to Samuel (last line)

Amelia Vanek (Davis) is a widow and mother of her almost seven-year-old son, Samuel (Wiseman); his father, Oskar (Winspear), was killed in a car accident taking her, in labour, to the hospital. The story, therefore, deals with her having to come to terms with her grief, and with Samuel dealing with the trauma of being fatherless.

The boy has constant fears and nightmares of some kind of monster attacking him. She tries to soothe his anxieties as best she can: checking under his bed and in his closet for the bogeyman, reading him stories, letting him sleep with her instead of alone in his bedroom, etc.

Though Wilfred Bion‘s notions of containment (helping others–especially babies–cope with painful experiences), detoxifying of beta elements (raw sensory impressions, typically irritating ones, received from the outside world), and maternal reverie are normally reserved for a mother’s soothing of her baby, in this film they apply fittingly to six-going-on-seven Samuel, because the trauma of not having a father has overwhelmed him so much that, without his mother’s help, he can’t use alpha function (which transforms beta elements into tolerable alpha elements) to ease his anxieties about the agitating outside world. His mother must still be the container of his tension. (See here for more on Bion and other psychoanalytic concepts.)

Though Oskar, of course, didn’t mean to abandon Amelia and Sam in his untimely death, his absence in the boy’s life can feel like an abandonment in his only-developing mind. Thus, the absent father becomes what Melanie Klein would have called the bad father, the same way she called the breast that isn’t available to feed the baby the bad breast.

Sam’s anger and frustration at the absent, bad father is projected outward, to be contained and detoxified–as he’d hope–by his mother; but since his father–in both his good and bad aspects–exists in his mind as an internal object (like a demon possessing him), the boy’s use of projection can never get rid of the bad father permanently. Repressed, bad Oskar will always return…in the demonic form of Mister Babadook.

Though Kent, when deciding on the name of her story, surely wasn’t thinking about the Mandarin Chinese version of papa, I can’t help noting the interesting coincidence between bàba and the first two syllables of Babadook, the last syllable of which seems like an onomatopoeic imitation of the knocking on a door (“Ba-ba-ba-dook-dook-dook“). So Babadook seems to mean “Papa’s knocking (on the door),” the agitating beta elements of the bad father, which both Sam and his mother would rather leave outside.

Indeed, she doesn’t want to face up to her grief any more than Sam wants to confront his trauma. She hardly sleeps at night, and during her day working as a nurse and going about elsewhere, she does so with half-closed eyes. Apart from being constantly woken up by Sam, she cannot sleep because the agitating beta elements she refuses to process need to be detoxified and made into alpha elements, which are useful for thoughts and dreaming. Without alpha elements, one doesn’t sleep.

Bion explained the situation thus: “If the patient cannot transform his emotional experience into alpha-elements, he cannot dream. Alpha-function transforms sense impressions into alpha-elements which resemble, and may in fact be identical with, the visual images with which we are familiar in dreams, namely, the elements that Freud regards as yielding their latent content when the analyst has interpreted them. Freud showed that one of the functions of a dream is to preserve sleep. Failure of alpha-function means the patient cannot dream and therefore cannot sleep. As alpha-function makes the sense impressions of the emotional experience available for conscious and dream-thought the patient who cannot dream cannot go to sleep and cannot wake up. Hence the peculiar condition seen clinically when the psychotic patient behaves as if he were in precisely this state.” (Bion, page 7)

Using alpha function to detoxify beta elements and turn them into alpha elements (done either by our more mature selves, or by our mothers when we’re infants, or by psychoanalysts for their psychotic patients) is just Bion’s idiosyncratic terminology for describing the psychological processing of trauma, pain, or any other form of externally-derived discomfort. And processing trauma and grief is what The Babadook is all about.

A crucial part of processing this pain is putting it into words. What’s so traumatic about what Lacan called The Real is how, in a mental realm without differentiation, experiences cannot be symbolized and verbalized, and therefore cannot be processed and healed. The Symbolic is the mental realm of healthy existence, since this is where language is housed. Amelia’s and Sam’s trauma must be verbalized in order to be healed…and this is where the book, Mister Babadook, comes in.

Healing isn’t easy, though. In fact, it’s terrifying, and that’s why Amelia and Sam try to rid themselves of both Babadook and book (putting it out of Samuel’s reach, tearing up the pages, burning it). Reading the words of the story is terrifying, because to verbalize the trauma and grief is to face their pain head on.

“You can’t get rid of the Babadook.” That hurts. “The more you deny, the stronger I get.” That hurts even more. Sam’s invention of weapons with which to slay the Babadook is largely futile and self-defeating, especially since his aggression only alienates people from him, and the healthy world of the Symbolic, communicated verbally, is the world of society, culture, and customs–the world of other people. Her ripping up and burning of the book is also futile, and for the same reasons.

Amelia has been trying to contain Sam’s agitations, but she cannot even contain her own. This is why, instead of soothing Sam as he needs to be soothed, she makes him feel what Bion would have deemed negative containment; instead of detoxifying his anxieties, she allows them to grow into a nameless dread, or rather a dread going by the name of the Babadook. (See Bion, pages 97-99.)

Bion’s containment theory is based on Klein’s idea of projective identification, which goes a step beyond a mere imagining that another embodies one’s projections, but involves actually manipulating the other into embodying those projections, making him manifest the projected traits. For Bion, projective identification between baby and mother is a primitive, preverbal form of communication.

Sam projects the terror of the Babadook onto his mother, hoping she’ll contain it, detoxify it, and send it back to him in a safe, purified form. She cannot do this, of course, because she has to process her own grief over the loss of Oskar, and she so far isn’t willing to face that pain. As a result, what she projects back to Sam is non-detoxified poison.

In containment theory, the contained (Sam’s fear) is given–via projective identification–to the container (Amelia) to be processed. [Incidentally, the contained is given a masculine, phallic symbolism, and the container is given a feminine, yonic symbolism.] In the film, the container is symbolized by such things as bowls of soup (which contain shards of glass–i.e., negative containment), a bathtub of warm water to contain both her and Sam (something she’d foolishly have them do in their clothes, implying an only foolishly illusory efficacy), and the bowl of worms and dirt (which are an example of the contained) given to the Babadook to feed on at the end of the film.

What Sam projects is the bad father, in the form of the Babadook; but there is a good father, too, with whom Sam would like to identify. Amelia naturally wants to reunite with this good man, too, hence all the things of his that she has in the basement to remind her of him: a photo of her and him, his violin, a hat and coat of his (put up against a wall in a way that vaguely yet eerily reminds us of the hat and coat of the Babadook–i.e., her hallucination in the police station), etc.

Oskar was a musician; Sam is a magician. The boy’s way of identifying with the good father he’s never known is to become, in a verbal sense, at least, as close an approximation to him as he can. After all, music is magic, if performed well.

Sam’s watching of DVDs of a magician gives him a kind of substitute good father to identify with. The boy enjoys mimicking the magician’s words in his act of identification with him. Note, however, how the magic can be “wondrous,” but also “very treacherous”: these good and bad sides of the magic suggests a linking of the good and bad father that Sam isn’t yet ready to accept.

Similarly, Amelia, in her increasing mental breakdown, is trying to revive feelings of the good Oskar. She has their photo…though the Babadook blotches his face in the picture, and she tries to blame the marring of it on Sam. Elsewhere, she takes Oskar’s violin with her to bed, holding it as if it were a teddy bear (in her stress and inability to accept the loss of Oskar, her holding of the violin is thus a regression to a less stressful, childlike state); Sam wants to climb in bed with her for a cuddle, but he gets too close to the violin, and she barks at him: “Leave it!”

On another occasion, she imagines going into the basement (symbol of the unconscious) and finding Oskar there. They embrace and kiss: this is an obvious case of dream as wish fulfillment. But then, he tells her that they can all be together only if she brings him (i.e., kills) “the boy,” a substitution for Sam’s name that she hates. In this request, she sees the horrific combination of good and bad Oskar that she must accept as urgently as Sam must.

The horrific contemplation of killing Sam, as a would-be sacrifice to bring Oskar back to her, is actually an unconscious wish of hers. Deep down, though it’s terrifying to contemplate, is a wish she’s had that it was unborn Sam who died in that car crash instead of Oskar. The obvious guilt, shame, and anxiety that such a wish would give her has forced her to repress it.

Whatever is repressed, however, always returns to consciousness, though in an unrecognizable form…in this case, in the form of the Babadook. It may be tempting to judge Amelia as a bad mother for having these awful feelings about Samuel, but we mustn’t judge her, for a mother is as human and fallible as anyone else. The loss of Oskar has been too heartbreaking for her to bear. Nonetheless, she must confront these dark feelings if she’s to heal.

Naturally, she tries to resist such a confrontation. Her blanket pulled over her head when trying to sleep, with the Babadook on the ceiling, symbolizes what Bion would have called a beta screen, an accumulation of unprocessed beta elements that walls up any entrance into the unconscious mind. Her locking of the doors and windows of her house can also symbolize this beta screen.

She can try to stop the Babadook from getting inside her skin, but of course she fails; it goes right in her mouth, and here begins her real descent into madness…and her abuse of little Samuel.

Since the Babadook represents the bad father and bad Oskar who–in her and Samuel’s minds–abandoned them by dying, his bad internal object entering her has turned her into Klein’s terrifying combined parent figure, the phallic mother who waves a phallic knife at the boy and hallucinates having stabbed him to death with it…another ghoulish wish-fulfillment for a frustrated mother.

She barks abuse at him, telling him to “eat shit” when he’s hungry: this represents a wish to project her own bad attributes (the contained) into him and make him a container of them (the stabbing hallucination also symbolizes such a wish to make the boy contain her rage, i.e., the knife is the phallic contained, and his bloody belly is the yonic container), so more negative containment.

When he, terrified at how vicious and psychotic she’s being, pees on the floor, it symbolizes another attempt to rid himself of bad internal objects, to project them outwards in the hopes that she’ll contain them for him; but, of course, she won’t, as her continued verbal abuse of him demonstrates. She even explicitly tells him she wishes it was he who died instead of Oskar. Now Samuel must try to eject the bad mother, which Amelia has become in her being possessed by the Babadook. He says she isn’t his mother, to which she growls insistently that she is.

In spite of her abusive rage, she is right to say she’s still his mother; for just as Samuel has split his father into good and bad internal objects, so is he splitting her into good and bad. She, too, has split Oskar into good and bad versions, the bad one being constantly projected and split-off, thrown into the external world.

Such splitting is the essence of what Klein called the paranoid-schizoid position (PS), where persecutory anxiety results from a refusal to accept the split-off bad half. In order to heal, she and Samuel must go through the depressive position (D, whose depressive anxiety involves a saddening fear that one may have destroyed one’s good internal objects in the act of ejecting the bad ones), and reintegrate the good and bad parts of Oskar, realizing they’re two aspects of the same man. There must be reparation.

Since they, up to this point, still won’t accept such a reunification, they continue to reject the split-off parts of their internal object of Oskar, and those projected parts have become what Bion called bizarre objects, hallucinatory projections of the Oskar-parts of Amelia’s and Samuel’s inner selves.

Agitating beta elements, symbolized by bugs–found on her shoulder, in a wall in her house, and crawling on her lap when she’s driving–are brushed away, kept from being processed and detoxified (recall her beta screen, a kind of wall of accumulated beta elements–symbolized by the blanket over her head and her locking of her doors and windows).

With half-closed eyes, sleepless Amelia watches TV, seeing images of such things as ants (as symbolic of beta elements as are the bugs in her house and car), a cartoon of a wolf in sheep’s clothing (like the Babadook inside her), and a scene from ‘The Drop of Water,’ from Bava‘s Black Sabbath. [If you read my analysis of that film, you’ll note my…admittedly eccentric…interpretation of the meaning of the female protagonist’s theft of the dead old woman’s ring as a symbolic lesbian rape, for which the old woman’s ghost is getting revenge. As far as I’m concerned, this is the closest to there being anything homosexual going on in The Babadook, as opposed to the Tumblr joke that the Babadook is gay.] Just as the ghost of the old woman terrorizes the young thief of the ring, so does the ghost of bad Oskar terrorize Amelia for not dealing with her grief.

Though Samuel has been splitting his parents into good and bad internal objects (PS), he comes to realize the need to integrate the good and bad (D), and to conceptualize of Amelia and Oskar each as a mixture of good and bad. Amelia is still at the height of her madness, though, being possessed of the Babadook (symbolically having introjected Samuel’s feared bad father), and so the boy must get her to release the bad introjection.

She gets into the basement, and he knocks her unconscious and ties her up, holding her against the floor. Teeming with rage when he’s on top of her, she reaches up and tries to strangle him. Now that she has (unsuccessfully) been containing the Babadook, Samuel himself must be the container of her rage, the contained. He caresses her cheek, thus soothing her and allowing her to vomit out the blackness of the Babadook. Her rage has been contained and detoxified.

Now that she no longer poses a danger to him, she can be untied. Still, she hasn’t fully confronted her grief. Samuel quotes the book: “You can’t get rid of the Babadook.” The demon pulls him up the stairs and into Amelia’s bedroom; now, instead of wishing death on the boy, she wants to save him.

She goes up there to confront the Babadook. She sees Oskar again, the good version of the man of whom the Babadook represents the bad. These two must be reintegrated for her as they have been for Samuel, a shift from the paranoid-schizoid (PS) to the depressive (D) position. She must confront her loss in order to make this shift.

She sees Oskar’s head sliced in two, a representation of his death in the car accident. She must confront this pain; she must feel it to heal it.

Now she must vent out her rage. Screaming threats that she’ll kill the trespassing Babadook if it ever tries to hurt her son, Amelia forces the demon to be the container of her rage. In making it do so, she finally makes it back off and collapse. It then goes into the basement.

After this ordeal, things start to settle down for Amelia and Samuel. They can finally start to live a reasonably healthy life, for they are now facing their demons. The pain doesn’t all go away in one fell swoop, though; in fact, it never completely goes away…but now at least it is bearable, manageable. The management of pain is an ongoing, lifelong process, an oscillation back and forth between the paranoid splitting and melancholy reintegration that Bion expressed as PS << >> D.

This bearability of trauma and grief is the result of what is sometimes called doing one’s Shadow work. It’s painful facing one’s trauma, but it’s indispensable if one wants to heal…and as I said above, this facing of trauma and grief is what The Babadook is all about.

When Amelia goes into the basement (symbol of the unconscious, recall) to feed the bowl of worms and dirt to the Babadook, it frightens her with its furious growling, making her almost fall back. She is able to contain it, though, with her soothing words, “It’s alright…shh.” The fear and terror never disappear altogether, but they can be managed…contained, detoxified, and sent back, transformed from beta into alpha elements.

Now that she and Samuel have learned how to manage their pain, they have the power needed to cope with life, and she can finally give him a birthday party, for he has turned seven. He does a new magic trick for her, she is delighted and wide-eyed, and she can wish him a happy birthday with all the fullness of a mother’s love.