Analysis of ‘The Fly’

I: Introduction

The Fly is a 1958 horror/science fiction film produced and directed by Kurt Neumann. It stars Vincent Price, Patricia Owens, David Hedison, and Herbert Marshall. The screenplay was written by James Clavell, based on the 1957 George Langelaan short story of the same name.

The Fly had a mixed-to-positive critical reception on release, and it was a commercial success, boosting Price into a major star of horror films. Now, criticism of the movie is more uniformly positive. Two black-and-white sequels followed: Return of the Fly (1959), and Curse of the Fly (1965). A superb remake, starring Jeff Goldblum and Geena Davis, was directed by David Cronenberg in 1986, with its own sequel in 1989.

Here is a link to quotes from the 1958 film, here’s a link to the complete script, and here is a link to the short story.

II: My Radical Reinterpretation

What ought to be emphasized about the story isn’t the notion of scientist André Delambre (Hedison) bring transformed into a fly-human hybrid, the result of a freak accident in his attempt to teleport himself (and, without his knowing, a housefly that got into his “disintegration-reintegration” machine), but rather what such a notion could be seen to symbolize.

What is far more apparent in the short story, if its contents are not naïvely taken at face value, is that its narration–by André’s brother François (played by Price in the film) in the outer frame, then in the middle by André’s wife Hélène (played by Owens in the film) as she tells it in a handwritten manuscript–is given by traumatized people whose reliability is in question.

The film relates the story in a manner implying that everything happened just as told, though, by the end, no proof survives of the more fantastic elements of the story. Still, there are subtle indicators, in the behaviour of François and Hélène, that suggest that affairs aren’t as they look on the screen, implying that the narrative unreliability of the short story has been translated to the cinematic medium.

In the film, François admits to having romantic feelings for beautiful Hélène; though she denies ever having paramours (or André having had them) to Inspector Charas (Marshall), we can easily regard her words as dishonest. Could there have been an affair between her and François, a result of workaholic André’s neglect of his family? Claims of a husband and wife being perfectly happy together can easily be dismissed as a façade.

III: Unconscious Guilt

It is insisted throughout the story that Hélène could have killed André only out of madness. Where could such a madness have originated? Guilt feelings over an affair? Families in France (where the short story is set), or in Montréal (where the film is set), in the 1950s would have been Roman Catholic ones, in which adultery would have been regarded as a serious sin (a sin compounded by a man betraying his brother and, as her son’s uncle, committing incest of a Hamlet-like sort). The mind tries to repress guilt as best it can, but the repressed returns to consciousness in unrecognizable forms.

In the case of this story, the return of the repressed has come in the form of imagining André as having his head and arm traded with the head and leg of a housefly. Such a hybrid symbolizes the bestial side of human nature. His experiments are done in the basement, symbol of the unconscious. In contrast, the ground floor of the house, the upstairs, and outside can be seen to correspond to the conscious mind and the world of superficiality, appearance, what only seems to be true.

IV: Appearance vs Reality

There is much to note in the contrast between the illusory surface and hidden reality in The Fly. The marriage of the Delambres only seems perfectly happy. Similarly, André seems to be the kind, gentle husband who’d never hurt an animal. Yet his workaholic obsession with his basement experiments means neglecting his wife and son, Henri in the short story, or Philippe (played by Charles Herbert) in the film. Furthermore, this supposed animal lover overconfidently and recklessly puts the family cat, Dandelo, in the teleportation machine and disintegrates it.

Hélène, after killing her husband, confesses to the killing with perfect calmness, though François and Charas conclude that she must be mad; indeed, in the short story, she even kills herself in despair. And when François answers the phone at the beginning of the film to learn that she has just killed his brother, he’s quite calm; whereas at the beginning of the short story, he speaks of being “uneasy” from telephones, having to restrain his agitation when answering them.

In fact, in Cronenberg’s remake, this theme of appearance versus reality is revisited in how Seth Brundle (Goldblum), upon emerging from the teleportation machine as “Brundle-fly”–far from being the shocking monstrosity André is with his fly’s head and leg for an arm–looks exactly the same as before on the outside–in fact, he’s also physically superior. It’s only later that we realize that Seth is a monster hiding inside, that inside showing itself more and more to the end of the remake.

V: Implausible Science

Now, this difference between the 1958 and 1986 movies brings me to a point that I hope will help explain the particular angle at which I’m interpreting the original movie and the short story. I don’t believe André has actually had his head and arm swapped with the head and leg of a housefly–I believe this transformation really is a fabrication of his wife’s mad imagination, just as Charas does. The reason for my disbelief should be obvious: the science behind the transformation is preposterous. Hardly anyone apart from Hélène even believes it!

How do a fly’s head and leg grow to the comparable sizes of a man’s head and arm, while the latter two shrink to the sizes of a fly’s equivalent body parts? How is the man’s intelligence maintained in the giant fly’s head, even if only temporarily? And how is there a comparable intelligence, enough to squeak “Help me!” because of an approaching spider, in the miniature head of the fly caught in the web?

Small wonder that in the 1986 remake, the writers wisely spread the fly’s DNA equally throughout Brundle’s body. Surely even Langelaan and Clavell realized that the swapping of heads and limbs, as given in their respective versions of the story, is unbelievable scientifically. Hence my contention that Hélène is genuinely insane, an insanity brought on by the trauma of her husband’s violent death, a suicide with her assistance (as she describes it). François is similarly addled by this trauma. I believe his confession of love for her provides the vital clue to the reason for their narratives’ unreliability, something easily maintained in prose writing, but not so easily translated onto the big screen, since we, the watchers of the movie, tend to have credulous eyes.

VI: Unreliable Narration, in the Text, and Onscreen

Though his confession of love for Hélène isn’t found in the short story, I believe there are plenty of subtle hints of an affair between him and her in Langelaan’s words, however carefully the two guilty ones try to tiptoe around any mention of their guilt. Such tiptoeing is also evident in the film, in their innocent conversations throughout.

I see the visuals of the film as representing their unreliable narrations, and since the film is largely faithful to the short story (except for such–mostly minor–changes as the setting, Henri’s name becoming Philippe, which of André’s arms is switched with the fly’s leg, his head being revealed as all housefly or as a mix of fly and the cat, whether or not Hélène kills herself, and whether it’s François or Charas who kills the fly in the spider web), I feel it isn’t too far out of place to assume that François is (unreliably) telling the outer frame of the story through visuals, and her telling of the inner narration, instead of writing it in a manuscript, is unreliable.

VII: The Telephone

I’ll come to those subtle hints of an affair later, as they arrive in the sequence of the plot. For now, I’ll start with François’s answering of the phone. In the film, he’s calm enough, though in the short story, this calmness disguises a terrible agitation from hearing the phone ring, especially in the middle of the night, as happens at the beginning.

The reason for his unease comes from a feeling that the caller is coming into the room, intruding on his private space, breaking into his home to talk right into his ear. It seems odd that the short story should begin this way, yet if one compares this transmission of a voice–instantaneously from one place, far away, to another–to the teleportation of whatever (or whoever) is in André’s “disintegration-reintegration” machine, such a beginning of the story, along with François’s agitation, becomes explicable. The one instantaneous transmission is associated in his mind with the other.

Recall that I don’t take the human/fly hybrid story literally; also, François is beginning a narration–one after the events of Hélène’s story have been made known to him–with a discussion of the, if you will, ‘teleportation’ of the human voice. This aural teleportation feels like a frightening intruder to him, like the intrusive fly in André’s machine, and like the human/fly monster he becomes, which is an intrusion into the lives of François and Hélène.

VIII: Nothingness

The pertinent thing about teleportation, like the instant movement of the human voice from here to far away, or vice versa, is the sense of no intermediate area for teleportation to move through. The displaced entity–be it a voice on the phone, or a plate, a newspaper, a cat, a guinea pig, or a man (mixed with a fly)–disappears, vanishes in the place of origin and reappears in the destination. That lack of an in-between route to travel through, that gap, feels uncanny, a land of nothingness. This gap, I believe, is what frightens François so much.

Similarly, when André’s body is discovered in the Delambre brothers’ factory, his head and arm crushed under the steam hammer, it isn’t so much the blood that is horrifying, but how the head and arm are so thoroughly flattened as to have been reduced to nothing. The hammer’s impact has been set at zero, a setting the drop is never given. François notes in the film that zero “means level with the bed”; such a setting “would squeeze the metal to nothing,” as has been done to André’s head and arm.

The purpose of this extreme setting is ostensibly to annihilate even the slightest hint of a fly’s head and leg, instead of André’s head and arm; I’d say, though, that it’s that very nothingness, revealed when the hammer is raised, in “the ghastly mess bared by the hammer,” that causes François (in the short story) to be “violently sick.”

IX: Resistance

When Charas questions Hélène about the killing of André, she is fully cooperative about explaining what she did, and in detail (except for her odd forgetting about having dropped the steam hammer twice, to crush his fly-leg/arm). She adamantly refuses, however, to explain why she killed him.

In the short story, François describes Charas as being “more than just an intelligent police official. He was a keen psychologist and had an amazing way of smelling out a fib or an erroneous statement even before it was uttered.” So his questioning of her puts him in the role of psychoanalyst, and her in the role of analysand. Her insistence that she cannot explain why she killed André can be seen as a form of resistance.

Of course, she eventually does explain why, but in the form of a bizarre monster story that hardly anyone can believe; certainly the science behind the story is so ludicrous that even Langelaan and Clavell must have had their own doubts about it, as I’ve explained above. This fly-human hybrid story must be a case of the return of the repressed in an unrecognizable form…but what could the fly-hybrid monster symbolize for mad Hélène? I’ll come to this soon enough.

X: The Gap In-between

It is insisted that her marriage with André was a perfectly happy one…but we are suddenly ‘teleported,’ if you will, from perfect marital bliss to her killing of him, and with the refusal of a proper explanation, except for this bizarre fly-monster story. Just as there’s a gap between the caller’s voice at one end of a phone call, and his voice heard by the receiver on the other end; and just as there’s the gap of the disintegration of what’s teleported at one end, and its reintegration at the other end; so is there a gap between the couple’s marital bliss and the killing…that dreaded, uncanny nothingness in the middle.

Above, I wrote of André’s basement laboratory as symbolic of the unconscious, where the “disintegration/reintegration” machine causes that in-between gap of nothingness. In the short story, the laboratory isn’t in his basement, but in a separate building right by the factory with the steam hammer. Now, the laboratory doesn’t have to be underground to represent the unconscious…or the “subconscious,” where Charas imagines the fly to have meaning for Hélène. Psychoanalysts don’t speak of the repressed as being ‘beneath’ consciousness, but as being unknown to consciousness, for the repressed comes right back to the surface and hides in plain sight, as it were. A fly is buzzing around, in the air, much of the time in the movie.

XI: The Lacanian Unconscious, and the Gap as Lack

In The Four Fundamental Concepts of Psychoanalysis, Lacan speaks of how “the Freudian unconscious is situated at that point, where, between cause and that which it affects, there is always something wrong…what the unconscious does is to show us the gap through which neurosis recreates a harmony with a real–a real that may well not be determined…and what does [Freud] find in the hole, the split, in the gap so characteristic of cause? Something of the order of the non-realized.” (Lacan, page 22)

This gap is between cause and effect, like the gap between disintegration and reintegration, the empty space replacing a path on which something, otherwise not disintegrated and reintegrated, would travel, rather than be teleported, from A to B. This gap is also the Lacanian lack that gives rise to desire, and discovering what the desire is in this story is key to understanding the symbolic meaning of the fly.

XII: Freudian Slips

We must fill in this gap to determine what is being repressed, what is not being said or shown in the short story or the film, but what is rather hinted at through the occasional Freudian slip, or symbolic interpretation of whatever in the story is described as something otherwise mundane or in a matter-of-fact physical way.

One such a slip, as I see it, occurs when Henri/Philippe is not regarded by Hélène as her son. In the short story, François in his narration calls the six-year-old boy, his nephew, “the very image of his father”; but as I’ve said above, this narration is unreliable. Because of André’s death and Hélène’s declared madness, François has been made the boy’s guardian, in effect, his new father; yet any suggestion that he really is the boy’s father will be guiltily denied.

In the film, François even says to Charas, “She acts as if the boy were mine and not hers.” Charas speculates that Hélène is trying to protect her son, or that perhaps she fears or hates him, something François dismisses as an insane idea, and it is at this point in the film that Charas asks if François is in love with her, to which he immediately replies, “Yes.”

Why would a scriptwriter of Clavell’s obvious ability add this element to the story without developing it, if it didn’t serve much of any purpose? Note that François’s declaration of love comes immediately after a claim that Philippe is supposedly his son and not hers. Could he be her love-child by François in a love affair, one she feels so guilty about that, in her mad guilt, she denies her own maternity? The way the film ends–with François, in effect, as the boy’s new father, and Hélène having not committed suicide but being, also in effect, his new wife–looks suspiciously like wish-fulfillment. Such wish-fulfillment reinforces the visual presentation of the film as really being François’s unreliable narration.

XIII: Forbidden Desires and the Fly

Naturally, François rules out even the possibility of an affair with her by saying, “I don’t think she ever noticed me,” though a close look at Charles Herbert, the child actor chosen to play Philippe, looks more like he could be a son of Vincent Price than of David Hedison. Finally, during the scene when Philippe has caught the fly with the white head, and he sees his mother with his uncle, he is annoyed to be told by her to let the fly go; but as he is going outside and closing the front door, he looks back at her and his uncle with a split-second look of suspicion in his eyes, as if he sees the two adults acting a little too familiar at that particular moment.

That this suspicious moment happens on the very day when the heads and limbs of André and the fly are switched is significant. Here we come to the very symbolism of the fly. Male houseflies, during their short lives, have a voracious sexual appetite and are constantly on the lookout for females to mate with. In this we can see a symbolic link with my suspicions of a guilty sexual tryst between François and Hélène.

This guilt results in feelings of shame, disgust, and worthlessness, which can all be associated with houseflies. André’s constant preoccupation with his work, even to the point of writing out a new formula for teleportation on the program pamphlet to a ballet he’s supposed to be watching with his wife, means he’s emotionally neglecting her, which not only can drive her into the arms of his brother (who we already know is amorously infatuated with her), but which also makes André as worthless to her as a fly. So the exchanging of his head and arm with the head and leg of a fly is symbolic of this depreciation of his worth to her.

XIV: The Buzzing

With the guilt and shame that an adulteress feels, especially as one who, according to the short story, “had ever been a true Catholic, who believed in God and another, better life hereafter,” Hélène would have been desperately afraid of anyone finding out about her extramarital affair. Hence, her agitation whenever hearing the buzzing of a nearby fly.

Let’s recall the multiple meanings of the word buzz. Apart from the insect noise, buzz has been used to refer to the sound of telephones (remember in this connection the irritation François feels at the sound of a phone ringing), and also to refer to rumours. These additional meanings had existed long before the writing of the short story and the making of the movie. So her agitation at the sound of buzzing symbolically suggests her fear of gossip, or rumours from people knowing about her affair.

XV: Obsessions with Flies

Also, her nervous breakdown at the asylum after seeing a nurse swatting flies can be attributed to a triggering of her guilt over an affair that, in betraying André, reduced him to the worth of a fly, and so killing flies feels like a killing of him again. She also speaks of wanting François to destroy the white-headed fly if she tells him why she killed André; this contradiction suggests an emotional conflict in her–killing it kills evidence of her guilty affair, yet it also represents killing André again.

Now, she is not the only one to raise her eyebrows at the idea of houseflies. François, after hearing about her obsession with them, is curious to hear Henri/Philippe bring up the fly with the white head during lunch with the boy. Previously, Charas brought up her fly obsession immediately before he and François discuss her denial that the boy is her son, and François’s admitting he loves her. So we see here a significant juxtaposition of houseflies with the boy’s parentage and François’s love for Hélène: I don’t think this juxtaposition is coincidental.

XVI: Love Triangles, and the Remake

My speculation of a hidden, repressed love triangle between André, Hélène, and François can be seen overtly in the equivalent three main characters in the 1986 remake–respectively, Seth Brundle, Veronica “Ronnie” Quaife (played by Davis), and Stathis Borans (played by John Getz). Brundle, knowing Ronnie has had a relationship with Stathis prior to her current relationship with him, gets jealous when he suspects that her reason for leaving him early to meet Stathis, when she’s supposed to be celebrating the recent success of his teleportation pods, is to get back together with Stathis. (Actually, she’s meeting Stathis to confront him over a veiled threat he’s made out of a jealousy of his own, over her new relationship with Brundle.)

And right when all of this jealousy is building, Brundle gets drunk, a fly is buzzing around, and both of them go into one of the pods to be teleported…and fused. Again, we have the juxtaposition of a buzzing fly with a love triangle; it’s as if the scriptwriting of the remake subliminally picked up on the veiled rivalry between the Delambre brothers and Hélène.

Another theme picked up from the 1958 movie and put into the remake is the relationship between external, illusory appearance and inner, hidden reality. When Brundle first comes out of the second pod, we of course don’t see a fly’s head and leg replacing his head and arm, but he looks as perfectly human as before. It’s only later, as his body parts start corrupting and falling off, leading climactically to the outer human shell all coming off and he’s revealed to be a giant bug, that we see he isn’t human anymore.

When Hélène begins telling François and Charas her story, in the film we see a scene of what appears to be the perfectly happy family. André is seen tickling Philippe, playing like a loving father, and all seems well. The shot is so ideal that it looks a bit too perfect. A hint already as to how things are actually not so good is in how André tells the boy he can’t play with him at the moment. It will become increasingly apparent that he is so obsessed with his work that he’s spending more time in that basement laboratory than with his family.

Yet another element shared between the 1958 and 1986 movies is the narcissistic grandiosity the inventor feels on seeing the amazing success of his teleporting machine. André boasts of having made the greatest invention since the wheel; he imagines that his “disintegration-reintegration” machine will allow food to be sent anywhere immediately, at minimal cost, thus ending world hunger.

Brundle’s narcissism is a bit different. On having unwittingly fused himself with the fly, he mistakenly imagines his pods have given him superhuman abilities: increased strength, agility, stamina, and sexual potency (recall what I said above about the sexual symbolism of the eager-to-mate housefly). Yet both André and Brundle are about to see their pride fall and crash.

With André, this fall is immediate upon his reintegration: we see no intermediate, transitional process–only the gap in between is understood to be there. With Brundle, however, the transitional process is slowly, agonizingly shown to us, inch by inch. We see his physical fragmentation, as well as his corresponding psychological fragmentation (against which he had only his initial narcissism as a defence), a fragmentation that’s a direct result of jealousy–a result I also see in André.

XVII: Fall of Pride

Now, André’s fall of pride upon reintegration as a fly/human hybrid should be seen as symbolic of his pride as an obsessive scientist and neglectful husband/father, which has led to Hélène’s affair with François (the shame of which, being too intense to bear, causes it to be erased from memory, repressed, and therefore never shown on screen or in the pages of the short story), and which has in turn led to André (as I imagine it) finding out about the affair, making him feel humiliated, cuckolded, and reduced to feeling the worthlessness of a fly. He kills himself.

Recall my association of Hélène’s incestuous affair with her brother-in-law with that of Hamlet’s mother and uncle. The notion of a fly’s worthlessness can also be associated with Hamlet in how the Danish prince derisively refers to foppish, buffoonish Osric as a “water-fly” (V, ii, 83).

The trading of André’s head and arm with the head and leg of a housefly reinforces this sense of worthlessness in how the head houses the brain, and either of the hands (the switched arms, remember, are different from short story to film) represents the skillful manipulation of scientific instruments and equipment with the hands, thus making his wife’s devaluation of him based on her dislike of his obsessive work, which has left her feeling so neglected.

XVIII: Nothingness and the Real

The nothingness of the gap between disintegration and reintegration represents more than just the repression of the unconscious. That void also represents Lacan’s Real Order, a traumatic realm where experience cannot be symbolized or expressed in language, because the differentials of the Symbolic Order (the realm of language, society, culture, etc.) no longer exist. Lacan called the Realimpossible,” just as Hélène calls André’s disintegration and reintegration “impossible.” Disintegration leads to a world of undifferentiated atoms, the Real (as experienced psychologically), Bion‘s O, Milton‘s “void and formless infinite,” or the Brahman of the Hindus. It’s nothing, yet everything; it’s heaven and hell, nirvana and samsara… ineffable.

XIX: Monstrosity

The hellish aspect of the gap manifests itself especially for André, in the short story, when he goes through the teleportation device again and reappears not only with the fly’s head, but with a mix of fly and the head of their cat, Dandelo! He’s now more bestial than ever, an aggravating of monstrosity that is paralleled in the 1986 remake when Brundle reappears as part man, part fly, and part teleportation pod.

This sense of the fly as representing self-hating monstrosity and worthlessness is intensified in Brundle’s “Insect Politics” speech, as well as in André’s sense of his brain deteriorating towards the end of the story. Ultimately, André’s self-hate, as symbolized in his monstrous transformation, drives him to commit suicide–as I reimagine it, by putting a pistol to his head and blowing his brains out, right in front of Hélène who, his laboratory being near the factory in the short story, has only to move the body a short distance to the steam hammer.

XX: Destroying Evidence of Suicide

As I see it, she needs to crush his head and arm (i.e., with the pistol in his hand, in order to destroy it, too) to destroy all evidence of a suicide that, if investigated, will lead to a revelation of her affair with François. Since her guilt has driven her mad, her faulty reasoning will lead her to believe that it’s better to be thought mad from delusions of a human/fly monster than to be known an adulteress with her husband’s brother (adultery and incest), driving André to suicide.

Her needing to use the steam hammer twice, because she forgot to put the arm (in my interpretation, holding the pistol) under with André’s head, represents her psychological conflict: part of her wants to be punished for her guilt in the affair by being found out, while the other part of her wants still to conceal that guilt. Later, she forgets the second use of the steam hammer out of a Freudian parapraxis, again, an expression of her conflict between wanting to be found out and wanting to conceal the guilt.

François’s own guilt over the same sin would have driven him over the edge, too, to the point of entertaining her fly delusion as true, to assuage his guilt. In this connection, it’s important to consider the ending of the story, especially in terms of how Clavell changed it from Langelaan’s short story. (Ironically, in the film François and Charas rationalize a conclusion to the case as, indeed, André’s suicide, freeing Hélène from guilt or commitment to an insane asylum. The reason for the suicide remains a mystery; she and François, thus, can privately entertain the fly-human hybrid story to help them forget the guilt of their affair.)

XXI: The Ending

The fly that is understood to be the one that got André’s head and arm is referred to as a fly with a white head. By “white head,” it’s assumed to be André’s head, though it’s never explicitly called such. In the film, we see a fly with a white spot on its head, and only in the scene with the spider’s web do we see a tiny human head and arm poking out of the web trapping the fly’s body, with the hybrid’s faint squeals for help.

Part of the reason for these differences, of course, is the limitations of the technology of the time; but I believe something else is going on. First, when François is sitting on the bench by the spider’s web, he doesn’t notice the squeals of the fly-human, begging anyone nearby to save it. They should be audible enough: after all, Charas later can hear them. François thus seems to be willingly deaf to its cries, part of his wish, symbolically speaking, to avoid responsibility for the consequences of his affair (in my speculation), and how it’s led to his brother’s suicide.

Later, when he and Charas see the fly about to be eaten by the spider, François can’t pretend it isn’t there. As a symbol of his guilt, the fly is something he cannot bear.

Now, an important distinction must be made: in the short story, it’s François who kills the fly, not Charas. As I’ve said above, I consider François’s narration to be as unreliable as Hélène’s, and that the film is their narration given in visuals. Having Charas kill the fly is thus, in my interpretation, François projecting his guilt onto Charas. Clavell’s changes to the presentation of the story are to give us an ambiguous way of thinking about it: is it an unreliable narration, or did the fly-human hybrid story really happen?

I believe François has hallucinated the fly with his brother’s head and arm, due to the stress of his guilt and what his beloved Hélène has gone through (and in his unreliable narration in movie visuals, Charas has shared his hallucination). Philippe/Henri, in this interpretation, has really only found a fly with a white head and leg, an ‘albino-like’ one, if you will, which his mother’s and uncle’s imaginations have turned into a fly/André hybrid.

Clavell’s changes to the short story included removing François’s opening narrative frame (and his dislike of ringing telephones); such an omission doesn’t prove he hasn’t been narrating, but only that we don’t see explicit proof of him telling the story. I believe that having Charas see the fly/André hybrid, thus opening up the possibility that outsiders have seen the proof of Hélène’s story–that what she has narrated is reliable after all–was Clavell’s way of making the story more intriguing: could this otherwise scientifically implausible story have happened, and should the audience just willingly suspend their disbelief?

I don’t think we should, or need to. The ending of the film, with François as Philippe’s new guardian, and with living Hélène present, comes off as wish-fulfillment for François. As with Claudius vis-à-vis King Hamlet and Gertrude, he got his brother’s wife, he can directly be a father to Philippe, and in his and her shared delusion, their folie-à-deux of the disastrous teleportation/fusion of André and the housefly, François can tell the boy that the lesson to be learned from his father’s death is how dangerous scientific experimentation, coupled with overweening pride, can be, rather than how dangerous incestuous adultery can be.

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Twelve

A month had gone by. That look of stupid contentment on Peter’s face was still in stark opposition to how he felt inside. Yet if he even thought in opposition to the new way–critical thoughts, rebellious thoughts, conspiratorial thoughts–he would feel a sharp migraine that seemed to split his head open. He didn’t understand how Price and Hammond were able to endure such a painful death for the sake of ‘liberty.’

To feel comfortable, he had to repress his honest feelings and go about with that mindless grin…not something he was wont to do. His only consolation was that he had Michelle at his side…in body, if not in spirit.

“Years back, I complained about viruses, vaccines, and mask mandates,” he said. “Those were days of carefree happiness compared to now. Unh!” His splitting headache came back.

“Be content,” she said. “We have our homes back, and we’re sharing the extra rooms with the poor, as we should be. The Bolshivarians’ work will be all finished any day now, and they will leave. Then we’ll have our heads back.”

“I’m not…holding my breath…for that. Oh!

“Let’s turn on the news,” she said, walking over to his TV. “Maybe George will have a new speech.”

“Oh, yes,” Peter said, rubbing his head. “Our beloved dictator. Oww!

She turned the channel to CNN. “If you’d just stop thinking ill of them, the pain would go away.”

“I can’t help it. It’s in my nature…to rebel. Oh!

“George asked no less than four times to step down as leader,” she said. “They won’t let him resign because they love him so much. He’s a great leader.”

“You believe that bullshit, eh? Ooh!

“Here we go. He’s about to give us a speech.”

“Friends, comrades,” George began. “The time has finally come. Our work has finished. Your Earth is healed, democratic systems of government have been established around the world, and the gulf between the rich and the poor is no more.”

“Wonderful,” she said with a wider than usual grin.

“Hooray,” Peter grunted. “I can feel the…democracy…swimming in my head. Unh!

“You are free!” George shouted to cheers from his listeners.

Free? Peter wondered, with another stinging pain in his head. Could there have been some justification in Price’s opposition to the Bolshivarians?

“The time has come for us Bolshivarianss to say goodbye to you Earthlings,” George went on. “So this is the end.”

They’re going to kill us, Peter thought, his head throbbing in pain. I knew it. They’ve fixed up the Earth. They don’t need us anymore. They’ll split us all up into pieces, scatter our body parts everywhere, and they’ll enjoy our Earth without the need of human flesh for clothing. We’re all dead.

“We Bolshivarians wish to apologize to all the better Earthlings for having occupied your bodies for so long,” George said. “We know many of you have been bitterly opposed to our use of mind control, but with all the deaths we Bolshivarians have suffered, we were given no choice. The saving of the Earth was growing far too urgent for us to allow a protracted struggle with the likes of President Price. A shortened, but aggravated, struggle was necessary. But now, we will release you. We will let you go.”

Good, Peter thought. Kill us all and get it over with.

Oddly, though he didn’t feel a headache after those thoughts.

He and Michelle saw the little dots of light emerging from their bodies. They floated out and hovered before astonished Peter and Michelle.

“I knew it,” she said with a tear rolling down her cheek. “The mind control would only be temporary.” A grin lit up her face that to Peter could only be described as genuine.

“I don’t believe it,” he said. “I’ve got my brains back.” Now he was grinning.

On the TV, they saw the lights come out of all the people listening to George, and out of his body, too. The lights all floated up to the sky as everyone looked up.

“I’m free,” George said. “I can resign my position. I no longer have the burdens of leadership.” He let out a loud, triumphant laugh.

Peter and Michelle felt a gentle ‘farewell’ energy emanating from the Bolshivarian lights as they floated towards the living room windows. They were about to pass through the glass like ghosts and fly outside before Michelle stepped forward.

“Wait!” she said. “What about my mom and dad? I don’t wanna lose them!”

You will never lose us, Siobhan said in her mind. We will always be with you.

As will we, Peter, the energy of Peter’s parents vibrated throughout his body.

“But isn’t your energy linked with the Bolshivarians?” Michelle asked. “If they leave Earth, won’t you go with them?”

No, sweetie, Siobhan’s soothing energy buzzed in Michelle’s brain and heart. The Bolshivarians shared their energy and our energy with yours. So we’ll always be together, even after they leave the Earth. There is a common oneness that transcends all space and time, so we’ll always be together, no matter how far away the Bolshivarians are, even to the other side of the universe.

“Wait a minute,” Peter said. “That could mean that the Bolshivarians are still, secretly, controlling us.”

“Oh, will you stop with your paranoia?” Michelle said. “You have your mind back, don’t you?”

“It seems that way,” he said.

“Any headaches?” she asked, sneering at him.

“No.” In fact, he’d never felt better.

“Then stop worrying about it.”

“But what if, in some subtle way, the Bolshivarians are still–“

“Oh, please, Peter!”

The little lights were all outside now.

She rushed to the front door and went outside. Peter followed her. All of his neighbours were out on their lawns, watching the Bolshivarians floating up into the night sky. Soon, it became impossible to distinguish their alien visitors from the stars.

The people of Earth felt one last message sent into their minds: Remember, if you humans return to doing harm to each other and your world, we Bolshivarians will be forced to return and save you from yourselves again. Remember the lengths to which we are willing to go to ensure that salvation, so be good to each other and to your planet.

“How could they tell us that if they’re really so far away from us?” Peter asked.

“Through their advanced technology, of course,” Michelle said.

How does it feel to have a healed world, Michelle? her mother asked her in her mind.

“Like paradise,” she said with teary eyes and a wide grin.

“Yeah,” Peter said with a grin of his own. “It’s great to be free. I guess it was all worth it in the end.”

All of his neighbours were thinking the same way.

Every single person was grinning.

THE END

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Eleven

Peter and Michelle, having heard the breaking of the glass on the front door to the restaurant, shuffled over to the back door leading out to an alley. They heard the shuffling of feet entering the restaurant; the footsteps grew louder as they, presumably carriers, were approaching the back.

“They’re gonna find us in here soon enough,” Peter whispered, then listened at the door. “I hear nothing out there. Let’s sneak out before they turn on the light in here.” They went out the door.

In the alley, they hid between stacks of crates and garbage bags to the right of that door. They heard it open, a pause, then closing the door.

“What do we do now?” Michelle asked.

“We don’t wanna go in the direction of that door,” he whispered in her ear. “Any of them could be out there waiting for us. We should go in the opposite direction.”

One of us should go first,” she whispered in his ear. “Then, if the coast is clear, we’ll go out together.”

“OK, I’ll go.”

“Stop being so gallant. I’m smaller than you, so I should go. I can hide more easily than you.”

“OK, but don’t take long. I don’t like you going out there alone.”

“I’ll be super-fast. Don’t worry.” She kissed him on the lips, then went.

Shaking with worry, he peeked past the crates and garbage bags to see what was out there, but it was mostly darkness.

Thirty seconds of agonizing waiting passed.

I thought you were going to be super-fast, Michelle, he thought.

Finally, she came back.

He got up from his crouching position to see her better. “So?” he whispered. “Can we go? Is it OK?”

“Yes, it’s OK,” she said with a wide grin on her face. “Everything is just fine.”

“C’mon, Michelle. Don’t joke around. We don’t have to–“

“Join us, Peter.” She was still grinning. “It’s for the best.”

“Oh, no!” His heart sank with his lower jaw. “Please, God, no! Not you, too, Michelle.” He was choking up.

“Peter, just accept the new way. The Bolshivarians’ work is almost done. Just a few more months, and all the vestiges of our old, sick world will be annihilated.”

“With our souls,” He began weeping.

“No, Peter! As soon as the Bolshivarians are finished, they’ll free us and leave the Earth. I promise you.”

He just kept crying. “I love you.” He held the can of bug spray in his hands, but couldn’t bear to use it on her, for fear of even hurting her with it.

“I love you, too. And everything will be OK. Trust us. The souls of our parents are telling me, right now in my head, that all will be well.”

He looked at her and frowned. “Didn’t you tell me during our meal in there, that when I sprayed the lights coming from Sid’s hands, that our parents’ souls were destroyed, never to come back?”

“That was a white lie they told me, I must confess.”

“You Bolshivarians are all liars, like the ruling class here on Earth. You’re no better than they are.”

“The ruling class here is almost all obliterated. We had to lie about your parents. It was a desperate attempt to stop you from killing more Bolshivarians.” The lights were coming out of her fingers and were hovering before him.

“I remember when we lost our fear of these things.”

“I don’t fear them now, Peter.”

“They’ve taken your will, Michelle; but I know, deep down, you’re still in there, and I don’t wanna lose you.”

“You won’t lose me, Peter. They’ve reaffirmed my faith in them. Don’t be afraid.”

Peter, let them in, the voice of his father said in his head.

We’ll all be together again, his mother’s voice said.

As Don and I are with Michelle, Siobhan’s voice said.

“I can’t bear to lose you,” Peter said in sobs.

“You haven’t, and you won’t,” Michelle said, still with that grin that told him those words weren’t her own.

“Well, being a Bolshivarian slave with you is better than not having you at all.” He stretched out his arms to receive the lights in his body. “I guess this is my suicide.”

“Oh, nonsense,” she said with a laugh as the lights went inside him.

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Nine

A week later, Peter and Michelle made arrangements to meet with Sid, this time in her house.

“He’s on his way, right from his home in Brantford,” she said. “So, we’re gonna go through with this farce again?”

“Yes, crazy as it sounds,” he said.

“Crazy as it is,” she said. “At the worst, he’ll be a carrier who we’re risking turning us into one of them, or one of us will kill him and we’ll risk–this time, my neighbours finding out, since we’re meeting him here this time. At best, Sid will be the way Wendy was acting: he’ll be one of us, but too scared to show his real self.”

“Or he will let his real self show. As tense as this is going to be, we have to try. I’ll go crazy if I have to live knowing only you and I are normal.”

“And what if he’s one of them, and he makes one of us into a carrier? What if I lose you, Peter?”

“I could lose you to them, too, Michelle. And that terrifies me. But that’s why we’ve gotta try to find allies. What’s going on around the world is like the zombie apocalypse, only it’s the Bolshivarian apocalypse. The more of them there are out there, the more desperate we’ll be to find any of us, ’cause we can’t do this alone.”

She let out a big sigh. “OK, let’s do this.”

They kissed.

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

Five hours later, the doorbell rang.

They took a deep breath, clutched the bug spray hidden in their jacket pockets, and went to the door.

They opened it to see, predictably, a grinning Sid.

“Hi,” he said. “Long time, no see.”

“Yeah,” they grinned back, much better practiced now.

“Come on in,” Peter said.

They went into the living room and sat down.

“So, Sid,” Peter said through his bared teeth, “how are you coping with all of the changes going on?”

“Coping?” Sid said with a tinge of disbelief in his eyes. “What’s there to cope with? The improvements being made around the world are nothing short of miraculous. Schools and hospitals are being built all over Africa, Latin America, and Southeast Asia. Decent-quality housing is replacing all the slums, including those in Regent Park, as you both must know. The unemployed are being given work. The climate crisis is practically over. What’s there to complain about?”

“Oh, of course we know about all the improvements being made around the world,” Michelle said. “We’re more than happy about all that. It’s just…well…”

“Well, what?” Sid asked, his smile beginning to fade.

“We don’t…feel as free…as we used to,” Peter said.

“Don’t feel free?” Sid said. “What could be more liberating than the changes we’ve recently seen? No more war. No more poverty. No more wildfires, flooding, or pollution. The people want these changes. Don’t you?”

“Of course we do,” Michelle said.

“But at what cost?” Peter asked.

What cost?” Sid asked. There was an uneasy pause. “Has your loyalty shifted?”

Peter and Michelle couldn’t answer.

“You in your nice palace of a home?” Sid added.

There was another uncomfortable pause.

Then the dots of light flew out of Sid’s fingers.

Peter and Michelle pulled out their bug spray, but they then heard some familiar voices in their minds.

Michelle? Siobhan’s voice called to her.

“Mom?” she said.

Peter, what are you doing? his mother’s voice said.

What George is doing is for the best, Peter could hear his father saying in his thoughts.

“You’re not real,” Peter said, aiming his little spray can right at the dots of light. “You’re a Bolshivarian hallucination.”

Sweetie, you don’t wanna spray me, do you? Siobhan’s voice almost sobbed in Michelle’s mind’s ear. If you do, I’ll die a second time, and I’ll never come back.

“Mama,” Michelle answered in a sobbing voice.

“The voices aren’t real, Michelle,” Peter said.

“Oh, yes they are,” Sid said.

“Mom?” she wept.

“Don’t listen, Michelle,” Peter said. “It’s a trick.”

“If you spray them, you’ll regret it, Peter,” Sid said.

We don’t want to take you by force, Don’s voice said to Michelle, but we will if we have to, honey.

“Daddy, you won’t hurt us, will you?” she sobbed.

“Of course they will,” Peter said. “They’re not our parents.”

“Shut up, Peter!” she bawled.

“Fine,” he said. “Speak, can, for me!” He sprayed at the lights.

Michelle! the voices of Siobhan and Don said, fading out into oblivion as the little dots lost their light and dropped on the carpet.

“Nooooooo!” Michelle screamed.

Peter grabbed her by the hand, sprayed Sid in the eyes, getting a grunt from him, and the two ran out of the house.

Peter and Michelle ran down the sidewalk, almost reaching a corner when he saw a few people farther off, with their backs to them. He stopped running and tried to calm down.

“Bastard!” she hissed, hitting him on the shoulder.

“Stop!” he whispered. “They’ll see us fighting.”

She wiped the tears off her cheeks, gave him a brief scowl, then calmed down and imitated his grin.

As they continued slowly walking down the street, she whispered, “The carriers are all around your home, Sid is controlling my home. We’re homeless now, you know.”

“Don’t remind me,” he said through his grin.

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Eight

“This is getting to be too much!” Peter said to Michelle the following day as both of them flipped through the channels on the TV in her living room. “Every politician and public figure we see on the news making statements on current affairs has that ‘pod people’ Bolshivarian face.”

“They really have taken over, globally,” Michelle said. “The heads of every city-state we’ve seen–London, Paris, Berlin, Shanghai, Tokyo, Riyadh, Ottawa, San Francisco,…”

“You name the city-state, the politicians and CEOs representing them all have that mindless grin, that far-away look in their eyes,” he said. “This is really getting scary!”

“I’m amazed we were able to pacify that neighbour of yours yesterday,” she said. “We barely escaped Toronto without being spotted as non-carriers. And there’s no way we’re risking going back. And again, I have to ask: why’d you have to kill Valerie? We could have run outside without you using your switchblade on her. I’m also amazed they don’t have Bolshivarian cops tracking us. I guess they’re more interested in turning us into carriers than arresting us for murder, they’re more upset about the loss of their own than of human life, and they know we’ll spray them if they try to apprehend us. Instead, they’ll be more cunning about catching us.”

“Again, I’m sorry about stabbing her. I acted rashly. We’re all going a little crazy here. But as you said, at least we got out of there without being chased. I guess our acting skills have improved. But we can’t stay holed up in your house forever. Is anybody out there still normal?”

“I got that message from Wendy Callaghan, which was just like Valerie’s. She claims she isn’t a carrier, and that she’s all tense and afraid of being absorbed by the Bolshivarians. She said she’d like to come here, all the way from Los Angeles, because life there is so hopelessly taken over, she wants to get as far away from the Bolshivarian carriers there as she can. Do you think we should meet her, or will it be too risky?”

“Everything we do every day is a risk now,” he said. “But I’m desperate for us to find someone else who’s normal. If she is, it will be well worth the risk. The more normal people we can find, the happier I’ll be. I’m going crazy.”

“Same here.”

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

Three days later, Peter and Michelle were in the hallway of a hotel in Toronto, approaching the room Wendy was staying in. They were wearing baseball caps and sunglasses.

“She must be even more paranoid than we are to prefer a small hotel room to accommodations in your house,” Peter said.

“Yeah,” Michelle said. “For all she knows, we could be carriers, and she’ll have her can of bug spray ready for us.”

“As we have ready for her, in case she’s been made a carrier since our last communication with her. So we’ll have to guard our feelings and only let our real selves out bit by bit.”

“She’ll probably be doing the same thing.” Michelle rang the doorbell to Wendy’s room. “Have your dumb smile ready.” They took off their hats and sunglasses.

Wendy opened the door.

She was grinning from ear to ear.

Peter and Michelle mirrored her grin back, hoping she was putting on as much of an act as they were.

“Come on in,” she said, stepping aside for them. “It’s good to see you both again.”

Peter and Michelle entered.

“What a small room,” she said as she and Peter approached Wendy’s bed. “In my home, I could have offered you a much bigger one, and for free.” She and Peter sat on the bed.

“Oh, that’s OK,” Wendy said, sitting on a chair across from the bed. “I don’t want to impose on you.”

“Oh, it’s no imposition at all,” Michelle said.

“Really, I’m fine here,” Wendy said.

“Well, as you wish,” Michelle said.

There followed a few seconds of uncomfortable silence.

“So,” Peter said, allowing his grin to relax a little. “You said in your message, Wendy, that you were really scared of…all the changes going on around us.”

“Yes,” she said, still fully grinning. “But everything’s OK now.”

“So…we can all relax, then?” Michelle asked, also letting go of her grin ever so slightly.

“Of course,” she said, all of her teeth still showing. “I’m relaxed now.”

“Good,” Peter said slowly, relaxing his grin some more.

There were a few more uncomfortable seconds of silence.

Has she been assimilated, Peter and Michelle wondered, or is she just so paranoid that she can’t let go of the act?

“So, what are your plans?” Michelle asked.

“Oh, I’m just doing what I can to help us all heal the Earth,” she said with that ever-present grin.

“Yes, it’s wonderful, all the progress that has been made,” Michelle said, her cheeks getting sore from all that grinning.

“Yes,” Wendy nodded in agreement. “Bolshivarian influence has stopped the wars, cleaned the pollution away, housed and fed the poor. It’s terrific.”

Peter ventured to lessen his grin a little more. “Is there anything you wish could be done…a little differently?”

“Oh, only that it could all be finished quicker,” Wendy said. “But things are being done fast enough, I guess.”

“And then the Bolshivarians can leave, and we can enjoy our new, healed Earth, right?” Peter asked.

“I suppose,” ever-grinning Wendy said. “Or they can stay with us, if they wish.”

“W-why would they need to stay, if all their work here is done?” he asked.

“Oh, if humans are let go, they might return to their destructive ways,” teeth-baring Wendy said. “And then our efforts will have been all for nothing.”

To Peter and Michelle, her choice of words (“humans,” “they,” “our” referring to the Bolshivarians) seemed to indicate she wasn’t acting.

Still, they didn’t dare take out their bug spray cans unless they saw the dots of light come out from her.

Hence, another moment of uncomfortable silence.

“Oh, Peter, I just remembered,” Michelle said. “There’s something I have to do at the Mississauga Exposé. Damn, I forgot all about it, and it has to be done today. Sorry, Wendy, we have to go now. This is so abrupt.”

“Oh, that’s OK,” she said, always grinning. She got up.

Do I detect a tinge of relief in her eyes? Michelle wondered. Or is that wishful thinking on my part, that she isn’t a carrier, and is acting, as we are?

“Yeah, we’d better go,” Peter said, getting up with Michelle. “Sorry to cut this off so quickly.”

“It was good seeing you again, Wendy,” Michelle said, hugging her and regretting the hug as soon as they touched. She felt Wendy’s heart beating as fast as her own. Wendy was also trembling as much as she was.

No lights came out, though, to their relief.

The women let go, and Peter and Michelle went back to the door. “Bye,” they said to Wendy as they went out into the hall.

“Bye,” Wendy said, keeping her grin on her face until the door closed.

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Seven

The next day, Michelle contacted Valerie on Facebook, asking about what had happened to her since Pat’s assassination of Karol Sargent. This was Valerie’s reply in a personal message:

Don’t worry, I’m OK. I managed to get out of China immediately after the killings. I got back home by burying my feelings and pretending to be one of those automatons. It was really hard to hide my grief over the Bolshivarians’ murder of my husband, but once I got back to the privacy of my Milwaukee home, I lay on my bed cried for what seemed hours.
We should meet. I can fly over to Toronto or Mississauga. I hate having to pretend to be one of those soulless carriers all the time. If I’m with you, I can relax, be myself, and cry on your shoulders over what happened in China.

Michelle let Peter read Valerie’s message.

“Well, what do you think?” she asked him. “Judging by what she said, does she seem to be still all human? She doesn’t seem compromised to me. Do you think this message could be pretence?”

“Well, I guess she’s being sincere,” he said. “I certainly want to believe she’s sincere. We need some real human company around here, and the only way we can get it is by taking a risk or two. We can have some cans of bug spray handy, just in case.”

“OK, I’ll tell her we can meet, say, in your home,” she said. “As soon as she’s in Toronto District, we’ll have a driver at the airport take her home.”

“The driver could be a carrier. He could turn her into one of them.”

Anyone out there during her trip could be a carrier, turning her into one of them. She could be a carrier right now, for all we know. If we really want to meet with her, it’s the chance we’ll have to take.”

“Yeah, OK,” he said. “Let’s hope for the best. Let’s hope that if she isn’t a carrier, that she can fake being one all the way here, and not get changed.”

Michelle replied to Valerie’s message with the plan, to which she agreed.

***********

Three days later, in the afternoon, Peter and Michelle heard his front doorbell ring.

“That must be her,” Michelle said.

They both rushed to get the door.

Valerie stood there with that eerie, soulless grin.

Peter and Michelle grinned back uneasily.

They all stood there stupidly for several seconds.

“May I come in?” Valerie asked, her grin unchanged, with no awkwardness in her expression at her hosts’ odd hesitating.

“Oh, yeah…uh, of course,” Peter said as he and Michelle stepped aside to let Valerie in. “Sorry.”

“What a nice place you have,” Valerie said as she went in and looked around. “So, this is how the rich live.”

Concealing his annoyance at her remark, he said, “I may be bourgeois by birth, Valerie, as is Michelle, but I assure you, that’s not where our sympathies lie. My mom and dad used to call me the Friedrich Engels of our family.” He closed the front door.

“I’m sure they did,” Valerie said with that same grin as she approached a chair to sit on in the living room. “I’ve just never seen such a posh place before.” She sat down. “My home with Pat in Milwaukee is nice, but not this nice.”

“Thanks,” Peter said as he and Michelle returned to the living room and sat on the sofa. “After seeing what life is like for so many in Venezuela, Angola, and here, too, in Regent Park, I feel guilty about having this ‘nice’ home.”

“I feel the same way about mine in Mississauga,” Michelle said. “With all the changes the Bolshivarians are making, especially now with President Price and Secretary of State Hammond gone, and with the Washington District government under Bolshivarian control, we can more quickly provide for all the poor of the world.”

“Yes, those changes will be coming fast now,” Valerie said, still grinning without a trace of personality.

Peter remembered the switchblade he had in one of his jeans’ back pockets, and the small can of bug spray in the other.

“Valerie,” Michelle said. “Would you like to relax? I mean…we can get you something to drink if you like. Some tea?”

“No, thanks. I’m fine,” grinning Valerie said.

“You said in your message that you want to relax and be yourself,” Peter said. “Feel free to do so here.”

“I am,” grinning Valerie said.

“You–you’re with friends,” Michelle said. “N-no need to pretend. Let yourself go.”

“Pretend?” Valerie asked, all those teeth still showing.

Desperate to end the tension, and gripping those weapons in his back pockets, Peter stood up and said, “You don’t need to pretend to be one of those Bolshivarian automatons!”

“Peter, easy,” Michelle said with a frown.

“I’m not pretending,” Valerie said as she rose from her chair. “But you have been, haven’t you?” Out of her fingers flew a swarm of those little dots of light.

Peter was quick on the draw with his can of bug spray. It hit the first six or seven of those tiny balls of light, making all of them drop on the carpet. Since Valerie hadn’t been a carrier for long, the lights hadn’t yet integrated with her body, so the bug spray wouldn’t kill her. Peter ran at her with the switchblade ready to stab. Valerie screamed.

Michelle looked away and covered her eyes. She didn’t want to see her boyfriend shed blood a second time.

A few seconds after Valerie’s body hit the floor, her blood staining the carpet, Peter and Michelle heard the doorbell ring again. Michelle ran over to answer the door.

“Yes?” she said to a male neighbour after opening the door.

He, too, had that all-too-familiar grin.

“I heard a scream,” he said, looking into the living room, though Michelle’s left shoulder was hiding Valerie’s body and blood from his sight. “Is everything OK?”

“Oh, yeah,” she said, trying her best to imitate that stupid-looking grin without showing any nervousness.

“We’re watching a horror movie on TV,” Peter said as he approached the door, hoping his body would help obscure not only the bloody body, but also the living room TV that hadn’t been turned on all that day.

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Six

That evening, Peter was in Michelle’s home, in the living room. They were watching CNN.

President Price was giving another press conference. Her secretary of state, a tall black man named Hammond, could be seen standing in the background.

“Over the past year, I’ve been giving some thought to the policies of our governments and corporations, both domestic and international,” she began. “This reevaluation has been provoked by what…happened…last year. We made great strides in overcoming so many of the ill effects of climate change–ending the wildfires, lowering sea levels, removing pollution in the air and oceans…”

“You liar,” Peter said. “The Bolshivarians did all that with technology we’re not even close to having. You’re still taking credit for their…”

“C’mon, Peter,” Michelle said. “Let’s listen.”

“Still, we’ve done our share of destructive things, too,” Price said. “The bombs we dropped on those three cities, a necessary sacrifice to draw out the aliens from their hiding places so we could exterminate them, nonetheless caused terrible destruction and loss of life.”

“Wow,” he said. “A frank admission of guilt from her.”

“And eerily lacking emotion,” Michelle said.

“To atone for what our governments and corporations are responsible for, we’ve decided to make some radical. sweeping changes in our domestic and foreign policies,” Price said.

“‘Radical and sweeping’,” Peter whispered. “Her favourite words again.”

“The wealth…of the heads of corporate governments…will be taken and shared…with the poor of the world,” Price said. She coughed and seemed to be gagging.

“Whoa!” Michelle said.

“That’s a Bolshivarian policy,” Peter said. “Not hers.”

“This money will fund social programs and education, will provide and guarantee employment for all, as well as universal housing and healthcare for everyone, including the poorest,” the president said amid more coughs and gagging. “All military operations in Latin America, Africa, and Southeast Asia will end…immediately.” She twitched a few times, as did Hammond. “All troops…are to come home…with no delay.”

Peter and Michelle watched and listened with their jaws practically touching the living room carpet.

“This is too good to be true,” she said.

“Exactly,” he said. “They aren’t making these decisions of their own accord. We know who’s really doing it.”

“The mechanical way Price is talking and looking at everyone proves it,” Michelle said. “Her expression is even more forced, more robot-like, than my mom’s was when she’d first become a carrier.”

“What we’re doing …is,” Price went on, wincing as if in extreme pain, “for…the greater…good…unh!

“Madame President, are you alright?” a reporter asked.

Hammond began squirming and fidgeting in pain, too. A confused noise of voices among the reporters was the only comment on his and Price’s behaviour.

After several more seconds of squirming and wincing, both of them let out screams of pain. The familiar red crack lines could be seen on their faces and hands.

“I knew it,” Peter said.

“So, when Bolshivarians take control of your mind, this is what happens when you try to regain control of yourself?” Michelle asked.

“Looks that way,” Peter said. “Masochistic agony.”

Hammond confirmed Michelle’s suspicions when he grunted, “Give me…liberty…or give me…DEATH!!!”

His and Price’s bodies both split into pieces, tearing their clothes and revealing their internal organs.

“I never thought I’d see the day when the president’s guts would be shown on TV,” Peter said.

“Or the brains…since JFK’s assassination, at least,” Michelle said.

The bodies exploded seconds later.

“The TV isn’t cutting to a commercial,” she said.

“There no longer seems to be any concern over censoring anything,” he said. “No secrets need to be kept from the public, it seems.”

Peter and Michelle looked at the faces of the reporters. No shock was seen on any of them.

“The reporters don’t seem to prefer liberty over life, do they?” he said.

“No,” she said. “We know whose side they’re on.”

“Look, I’m glad Price and Hammond are gone,” he said, “But I’m not so glad about what’s replacing them.”

“If the Bolshivarians can get at the president,” she said. “They can get at anyone.”

“We’re gonna have to be extra careful if we want to keep control of our brains,” he said.

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Five

Peter emailed a video to Michelle a week after their videoconference with Pat and Valerie. The video was dated three days before, and titled Assassination of Underground Bolshivarian Leader in China.

“Oh, please God, no,” she whispered before ever-so-reluctantly clicking PLAY on her phone.

Karol Sargent was seen in a small room chatting with several people, mostly Chinese. George was not there, but Michelle saw, in a far corner, a familiar face.

Pat’s.

She had no interest in what Karol had to say (it was mostly idle chatter, anyway); she was focused on whatever Pat was going to do. Though George was the one who did most of the public speaking, it was known by all the carriers and non-carrying sympathizers–including Peter and her–that it was Karol who wielded great influence behind the scenes in terms of policy decisions; so Pat’s presence in that room had great interest for her.

Pat’s face showed no hate or anger as he looked at Karol; he’d obviously learned how to bury his feelings deep down, so when he got up and walked towards Karol, he had a pleasant smile on his face, laughing at one of Karol’s jokes.

Then he pulled a pistol out of his jacket pocket.

He buried a bullet in Karol’s chest with a loud bang and a splash of blood.

The Bolshivarian dots of light flew out from the dying man as they did out of all of his carrier listeners, swarming around Pat as he fumbled a can of bug spray with his other hand. They entered him before he could aim it at them. The familiar cracks of red showed on his face.

“Oh, my God!” she said, then thought, Why would he do that, knowing it wouldn’t help our cause at all? Surely he knew they’d just kill him and use more repression on the rest of us. Then again…why would Karen and Tory have made their assassination attempts? Surely they knew it would have done them no good, either. Of course, they went mad with grief over the loss of their son, so they couldn’t think rationally. I guess Pat and Valerie were going crazy, too. We’ve all been losing it over the past few years, anyway.

The video abruptly ended amid the confusion and Pat’s body beginning to tear up. She saw a split second of exposed brain before it ended.

Her phone began to ring. It was Peter.

“Hello?” she said.

“Did you watch the video?”

“Yes,” she said. “Horrible.”

“You know what George is going to do, now, right?” he asked.

“I don’t even wanna think about it.”

“Well, we’ll have to. We’re going to have to lie low for at least a while, and keep away from the carriers as best we can. Imitate them if we meet any of them. Practice doing those stupid smiles before the mirror.”

“What about Valerie?”

“Probably controlled by the Bolshivarians by now.”

“I wanna contact her to be sure,” Michelle said. “Who knows? Maybe she got away from them in time.”

“Possible, but not probable. Contacting her will be risky.”

“I know, but I still wanna be sure. We need all the friends we can get.”

“I agree, but we’ll have to be super careful. These are dangerous times we’re living in.”

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Four

Later that day, Peter shared the video of the China conference with Pat and Valerie. They replied by saying it would be best to share their feelings on Zoom, so they could express themselves more intuitively.

They arranged a meeting that evening, all four of them, including Michelle.

“So, how are things over there in Milwaukee with you?” Peter asked. “Where in Milwaukee is ‘over there’? Are you in an airport?”

“Yeah,” Pat said. “We’ve been through customs, and we’re waiting at our gate. So we have a little time now, though we’ll have to keep this short.”

“Where are you going?” Michelle asked. “I mean, this is so sudden. I thought you’d be so tired after the ride from the Kansas Districts to the Wisconsin ones, that you wouldn’t want to go anywhere after that. You both certainly look tired, without much energy. And how did you manage to arrange a flight so fast?”

“Oh, we know people who can set us up fast,” Valerie said. “Lots of money helps, too.”

“Also, they’re under Bolshivarian influence,” Pat said. “So their trust of us as sympathizers will help us get to where we’re going faster.”

“And where are you going?” Peter asked.

“Guess,” Valerie said.

“I have no idea,” Michelle said.

“China,” Pat said with a grin.

“You know where George and Karol are hiding?” Peter asked.

“Not yet, but we’ll find them soon enough,” Pat said. “Valerie and I want to try to dissuade them from going on with this terrible idea of controlling everyone’s minds.”

“OK, but I can’t imagine you changing their minds,” Peter said. “All those Bolshivarian deaths have made them pretty firm in their decision, to put it mildly.”

“We know,” Valerie said. “But we have to try. We don’t want a world with no free will.”

“As important as saving the world from people like Price is, it mustn’t come at the expense of making us all slaves,” Pat said.

“I couldn’t agree more, Pat,” Michelle said. “But what if you can’t change George’s or Karol’s minds?”

“Well…let’s just say we may have to resort to more…radical, sweeping measures,” Valerie said, shaping the fingers of her hand into a gun and pretending to shoot Pat in the head.

“Wait a minute,” Peter said. “I’m as unhappy about all of this as you are, but don’t do anything stu–“

“Sorry, guys,” Pat said hurriedly. “Time to board our plane. Bye.”

Pat and Valerie ended the session on their laptop, leaving Peter’s with a blank screen.

He and Michelle looked at each other with frowns.

“If they do what I think they’re going to do,” he said, “they’ll provoke even worse repressions on everybody.”

“Worse than that,” she said. “Pat and Valerie could fuck up our entire effort to save the world.”

‘The Splitting,’ a Sci-Fi Horror Novel, Book IV, Chapter Three

The next day, Peter called Marsha Tenenbaum. “Yes,” he said. “I want you to continue running MedicinaTech for the time being. I’ve got personal business I need to take care of, and it’s going to occupy my time for…well, quite a while. I’ll let you know when I can come back and take over…Sorry, I can’t go into that right now. I have to go now. Talk you to later…Bye.” He hung up and left for Mississauga.

When he arrived at the Mississauga Exposé building, he just barged past everybody in the lobby, past the receptionist who tried in vain to stop him and ask if he had an appointment, and rushed into an elevator.

Michelle said she was chairing a meeting today, Peter thought as the elevator went up to where he knew, from past trips there, all the heads of the newspaper worked. He got out of the elevator and went through the halls, looking through the glass walls to see which room she was in.

At the end of the hall, he found her. It was easier for him to find her by the look of confusion on her face than by her face itself. Utterly lacking experience, she could only look awkward there. He barged in.

“Michelle!” he shouted, interrupting a presentation that she looked bored watching.

“Peter!” she said with a smile, relieved to have an excuse to get out of the meeting. “Excuse me, everyone. Something’s come up. I’ll be back as soon as I can.”

“That’s OK, Michelle,” the unruffled presenter said as she walked out of the room with Peter.

“They’re not mad at me for my little intrusion?” he asked.

“Of course not,” she said as they walked down the hall, him looking for an empty room with a computer. “They’re all emotionless carriers, like your staff. They can totally do that meeting without me.”

“I thought so,” he said as they walked into an unoccupied room. “I figured they could run everything without you, as my staff can without me. I mean, why would they want us running things when they know we don’t know how to do it?”

“Good question,” she said when he sat in front of a desktop computer and turned it on.

“And in a minute, I’ll give you my answer,” he said. “Occupying us with our parents’ businesses will distract us from watching what the Bolshivarians are planning. Check this out.” He found a recent video on YouTube: George Villiers-Joseph and Karol Sargent in China.

Michelle’s eyes almost popped out of her head. “Oh, my God,” she gasped. “They survived?

“Yes,” Peter said. “Someone got them out of South America just in time before the bombings and bug spraying. As you can see, this video is dated from last week, and it hasn’t been censored, like so many other videos and web pages that normally would have been taken off the net by now.”

“You mean, President Price and her people aren’t censoring the net anymore? Why?”

“Because they’re losing their power over the world.”

“Well, that’s good news,” she said, grinning. “Now the Bolshivarians can heal the Earth, and we can help the poor of the world.”

“True, and as we know from the news, these changes for the better are really being made. But at what cost?” he said. “Who are the Bolshivarians improving things for?”

“What do you mean?”

“Oh, come on, Michelle. You’ve seen those automatons working for you, as I’ve seen them working for me. Watch this.” He clicked PLAY.

George was chairing a meeting with Karl in a hiding place somewhere in China. The video panned across all the people in the audience, mostly Chinese with that all-too-familiar emotionless stare in their faces. George began to speak.

“As you all know,” he said, “the heightened danger to Bolshivarian life here, brought about by the nuclear holocausts and the genocidal extermination of so many of us, has necessitated a radical change in our strategy. No longer will Bolshivarian entry into human bodies give our carriers a choice to join us or die. We will simply take control of our hosts’ mental apparatus completely.”

“There you have it, Michelle,” Peter said. “Our worst fears realized.”

“Oh, no!” she said.

“All of you in our audience are carriers, your wills all under 100% Bolshivarian control, which also ensures that you understand my meaning without needing Chinese translation,” George said. “This use of mind control was a hard decision for us to make, but we’ve been given no choice. Too many Bolshivarian lives have been lost–deaths in the billions!–to allow us to take any more risks in the name of ‘liberty’.”

“Tory tried to warn us,” Peter said, pausing the video. “He told us not to trust George…and I put an axe in Tory’s head.”

“I can understand the Bolshivarians needing to protect themselves,” she said. “But…this can’t be.”

“In spite of all the good we’ve seen them do, including saving our own lives…twice…still, I’ve always had a nagging doubt in the back of my mind about them. Are they doing all this healing of the Earth for us, or for themselves?

“That sounds like Price’s propaganda.”

“I know, and you know I’ll never trust her or any of the ruling classes of the Earth, but this video spells it out, all in black and white, so to speak. You won’t like hearing this, Michelle, but those psychic communions we have with our ‘parents’–I don’t think they’re real.”

“They’re real, Peter!” she said in a voice of sobbing anger.

“I know how you feel, and I know how painful it is to–“

“They’re real!” she shouted, tears forming in her eyes.

“I’m sorry, but the Bolshivarians fabricated them with their technology.”

No!” she bawled. He held her as she wept.

“Let’s hear the rest of the video,” he said, then clicked PLAY.

“As for the non-carrying sympathizers of the world,” George said. “As long as you remain loyal to us, you need not fear having your free will taken from you. No more threats to Bolshivarian life, and you will be left alone. But if a non-carrier is to take any more Bolshivarian life, as Karen Finley did, and Tory Lee tried to, then we’ll have no choice but to take control of all sympathizers. Our safety, as the saviours of the Earth, has become paramount!”

Applause could be heard from all over the room, including Karol’s clapping hands.

Neither Peter nor Michelle clapped.