‘The Splitting,’ A Sci-Fi Horror Novel, Expanded Version, Book I

Book I

Chapter One

2030, a summer night in Toronto

Mr. and Mrs. Gould looked up at the stars as they were walking on a walkway towards the 48th Highlanders Regimental Memorial at Queen’s Park. A soft breeze caressed the leaves on the trees and their faces.

“What a beautiful night,” she said, then took in a deep breath of the fresh air. “And to go outside and enjoy the air without having to wear a mask.” She said this with a bittersweet attitude: happy for herself, but not so much for most other people.

“Yes, it’s a lovely night,” he said, then he took in a deep breath, too. “Especially with it so quiet, with nobody else around.”

“Thanks to the latest lockdown.”

“Yes.” He smirked as he looked at her.

“It really isn’t fair, you know. Everyone else stuck inside their homes like prisoners, except for ‘essential people,’ and even they are usually out only to work or to buy what they need.”

“They aren’t of the same quality as we are, Hannah.”

“I don’t care about people’s ‘quality,’ Derek,” she said with a frown. “They have to wear those uncomfortable masks, just to go outside, and we don’t have to? They’re fined if they don’t comply? They can’t find work if they don’t get vaccinated?”

“Peter Cobb-Hopkin’s lucky,” he said. “He refuses to wear a mask, get vaccinated, or obey the lockdown, and his dad squares it with the police.”

“That’s because his dad is your boss, Derek. And the head of the Toronto government.”

“Because he’s of our quality, Hannah.”

She sighed. “Those not of ‘our quality’ have to be given shots of that vaccine your company makes, while we’re given their money, and we don’t have to take the needle in our arms? It isn’t right.”

“None of the world’s armies or cops need to take the vaccines, either.”

“That’s because those…automatons…have already had the disobedience beaten out of them. We get richer, and everybody else gets poorer.”

“You enjoy the benefits of getting that money as much as I do. Why are you complaining?”

“I just feel…bad for them. You know the side effects of the vaccine: the way it makes people more passive and lethargic. It’s as if something else has been secretly put into the vaccines, something unrelated to preventing getting viruses. Something added just to keep people under control. And everybody knows it doesn’t guarantee full protection against viruses, or prevent transmission of them. Sometimes I think it’s designed deliberately to keep the people under our control.”

“Now you sound like one of those conspiracy theorists. And why do you care? I say if it’s true that they’re designed on purpose to make the poor passive, that’s a good thing. We don’t have to worry about them rising up against us. That’s for your benefit, too. How could you be against that? Enough of this silly talk. Let’s just enjoy the walk, OK?”

“OK,” she said with a sigh.

He looked up at the night sky again. “Wow,” he said. “Look at those beautiful stars.”

She looked up. “Oh, yes,” she said, her eyes and mouth widening. “They’re really glowing.”

“Yeah, especially that cluster just to the left of the moon.”

“Shooting stars? They seem to be coming here.”

“Yeah, they seem to be racing at us.”

She frowned. “I…don’t like this.”

“They…aren’t getting any bigger…as they get…nearer,” he said with a frown of his own. “I don’t think I like this, either.”

“Those aren’t stars, Derek,” she said. “Let’s get out of here.”

“I feel…like I can’t.”

A cluster of about a dozen dots of glowing white light flew right at him, staying at about the size of the smallest of pebbles. They seemed to go right through him…but they didn’t.

She shrieked on seeing the impact.

He fell to the ground, shaking as he lay there on his right side in the fetal position. His instincts were screaming all through his body to get those things out of his body, to eject them. He felt them clinging to him, though, not letting go. Still, the urgency to get them out prevailed.

The struggle between ejecting them and their clinging to him could be resolved in only one way: splitting. He felt his skin and innards stretching and pulling, causing a sharp pain all over, and bruises on his skin. He grunted and groaned at the pain, then he felt something inside him begin to tear him apart, the stretches and pulls causing bulges that were ripping through his pants and shirt and exposing the bruised skin of his legs and chest.

“Derek?…Derek!

She saw fiery red lines all over his skin, like cracks in wall paint. His grunts and groans changed to screams as those red cracks thickened. He felt his bones on the point of cracking, of being dislocated. The sharp pains all over were excruciating. 

“What’s happening to you?!”

Even if he’d had control over his body and speech, he couldn’t have answered that question himself. All he knew was that something intolerable was inside him; he felt it was making demands on him that he couldn’t accept. It felt like a foreign substance that urgently had to be ejected from his body. It felt like a poison. He had to get it out…but it kept clinging to every inch of him

His body was beginning to rip apart at those red cracks; the rips would widen, showing off internal organs: his ribcage broke open, and she saw his heart, his stomach, and the muscle and sinew in his legs. Then the tears would narrow, as if he was struggling to heal himself. They widened and narrowed, back and forth, a continuous struggle.

He had to get it out of his body…but it wouldn’t leave without first taking pieces of him with it.

“Help!” she screamed. Why am I not seeing any blood? she wondered. And why am I even screaming? There isn’t anybody out here to hear me.

Next, his heart opened, exposing the chambers; his stomach and intestines opened, too, showing the insides. Still, no blood poured out. Finally, all those cracks ripped right open. His body blew up into pieces, flew out of his clothes and all over the place. 

Her next scream was ear-piercingly shrill. The pieces of his body, what looked like about twenty of them, lay fidgeting on the ground, rocking from side to side, as if each had its own consciousness. More severed internal organs were showing, not just the heart, stomach, intestines, muscle, and sinew, but also the lungs and brain; and yet still, the blood and internal fluids were somehow kept from flowing out.

The fragmented pieces were still trying to get the foreign presence out of them…and still couldn’t.

The openings in those internal organs, where the severing had been done, were now moving like mouths. Grunting noises came out of them, what sounded like an unintelligible, inarticulate language. Eyes agape, she grimaced at the surreal sight.

After a minute or so of these movements, the pieces dulled in colour and lay still. Finally, the blood and internal liquids began to pour out, in ever-widening lakes. Her high heels dodged the flow of red.

She was too distracted by the blood to notice what happened next. The dots of white light came out of the lifeless pieces of what had been her husband and flew at her.

She looked up at the glow. “Oh, God…NO!“ 

She felt their warmth as soon as they entered her.

Now they were vibrating inside her. She was shaking more than he had been. She twitched about spastically, as if that would help her get them out of her.

Then she stopped moving.

Somehow, their presence wasn’t so intolerable for her as it had been for him.

She still felt their warm glow inside herself.

But there was no pain.

Actually, they seemed to feel okay inside her.

She stood there, frozen still. Only her pounding heart was moving.

Her panting was the only sound.

Still nothing.

Just the inner warmth.

Her eyes darted around in all directions, as if something out there would tell her what was going on inside her body. Though she didn’t quite know yet, she was starting to agree with it.

Finally, her heartbeat slowed down, her breathing grew softer, and she walked over to a nearby bench and sat down. She’d waded in the puddle of blood, not caring about the red she got on her shoes.

She sat there for several minutes, just staring straight ahead, as if in a trance.

She’d never been so calm.

Yes, she actually liked it.

She took out her cellphone and dialled 9-1-1. “Hello?” she said in a soft, monotone voice. “I’d like to report an accident.”

Chapter Two

Peter Cobb-Hopkin, 22, was on the other side of town in the early afternoon of the next day, in a Starbucks, reading an online newspaper article on his phone about the incident in the park the night before. Sitting on the other side of his small table was his girlfriend, 21-year-old Michelle Buchanan,. She was wearing a mask, pulling it down occasionally and brushing aside her long, wavy brown hair whenever she took a sip from her coffee. He wasn’t wearing one. Only two other people were in the Starbucks, masked and buying coffees to take home immediately, out of compliance with the lockdown.

He looked up from the article for a moment, and got the evil eye from the two mask-wearing customers who were annoyed at his non-compliance; he scowled back at them, his beady, dark brown eyes burning hate at them. He’d grown so used to this treatment over the years, of never wearing a mask, that he expected it now. He may have not seen frowns on their faces, but he could feel their hostility; it was as if he could see through their masks and see the frowns. He was ready to flip them off if they kept it up. He looked back at the article, then ran his fingers through his short, dark brown hair.

“Oh, look at this bullshit that your parents’ newspaper is publishing!” he said, showing her the article on his phone. “Apparently, there’s a new disease for us to be worried about. ‘Something the likes of which has never been seen before’.”

“What’s that?” she asked, her hand darting out of the way of a droplet from his mouth. “And watch your spitting.” She took a quick look at the title of the article and shrugged, then he brought his phone back to himself.

“They’re calling it, check this out, ‘The Splits’,” he said with a chuckle. “When you catch it, you may show no symptoms, but still be a carrier. Haven’t we heard that old line before.”

“And if you do show symptoms?” she asked.

“Oh, here’s where it gets interesting,” he said, snorting and chuckling. “Your body tears itself to pieces. Splits apart.”

“What?” Her eyes widened.

“According to the article, Derek Gould, the CFO of my parents’ company–which, as we know, has governed this municipality for the past four years–was taking a walk with his wife, Hannah, in Queen’s Park last night…because ruling class privilege means they don’t have to comply with the lockdown.”

“Like you and me, who have the same privilege, through our families.”

“Yes, of course, I wasn’t denying that,” he said. “Anyway, Derek Gould suddenly became infected with something, he fell on the sidewalk, shaking and screaming in pain, then his body cracked open into many pieces…with no blood spraying anywhere, oddly…and then he died.”

“Wow.” Michelle said, then pulled her mask down to sip her coffee. “What else does it say?”

“The infection spread to her, but she hasn’t shown any symptoms. When the paramedics arrived, they found her sitting on a bench, just zoned out.”

“How do they know she’s infected?”

“They gave her tests at the hospital. Also, one of the paramedics got infected, and his body split into pieces in the same horrific way, hence they’re calling it ‘The Splits.’ Small, white dots of light flew from Hannah’s body into his.”

“I see. I guess we’d better be careful.”

guess it’s just more mainstream media bullshit.”

“Come on, Peter. You’re always saying that.”

“Because I’m always right.”

“You don’t know that for sure,” Michelle said.

“I never wear masks, and I haven’t caught anything…over ten years.”

“You’ve been lucky. You’ve also been lucky to have parents who rule over this municipality, so they can bail you out when the cops give you a hard time for not wearing a mask.”

“Your parents could bail you out for defying this b.s., too, if you had the guts to, like me,” Peter said. “The media corporation they’re a part of governs your neighbouring municipality, too. We’re not like the unlucky poor people who don’t have family in the corporate city governments. And I’ve been lucky not to get sick? I’ve had my eyes open! All these viral variations of Covid we’ve had over the past decade. It’s just seasonal flu.”

“Oh, not this again. Your bachelor’s degree is in Poli Sci, Peter, not medicine.”

“Yours isn’t in medicine either, Michelle; it’s in English lit. Still, you don’t have to have a degree in medicine to know something fishy is going on here. What ever happened to seasonal flu, Michelle? People used to die of it yearly by the thousands, sometimes tens of thousands, prior to 2020, then the global financial crisis hit in early 2020, and the capitalist class needed a distraction: the flu rebranded as a global pandemic. Millions of people plunged into joblessness and poverty, while the billionaire class, now directly our cities’ governments, have made billions more over the years, and everyone’s misery and loss of freedoms can all be conveniently blamed on a virus.”

“The flu disappeared because people, unlike you, were masking up, social distancing, and taking fewer flights.”

“Assuming the flu and the ‘rona are separate diseases, those preventative measures might reduce the flu cases, but we’re talking about a virtual disappearance of the flu, while the pandemic remains unabated, even stronger. I’m not buying it, and I’m not buying into this new one, ‘The Splits’.”

“Fine,” Michelle said, rolling her eyes. “Believe whatever you want.”

Both of them were pouting. He looked over at her, unhappy that he’d annoyed her. Then he remembered something he could always say to charm her.

“Hey, Michelle,” he said in a cooing voice.

“What?” she said, glaring at him.

“Let me see the pretty face you have hiding under that mask.”

She ignored him.

“C’mon,” he said. “I always enjoy seeing your pretty, dark brown eyes, but I see so little of your lovely smile. Lemme see your face again.”

She pulled her mask down under her mouth. She stuck her tongue out at him, then put the mask back on.

He snorted at her.

“As soon as we’re done here, I’m going over to Mississauga District to talk to my mom and dad about this new disease.”

“Same here,” Peter said. “I’m heading right over to MedicinaTech.”

Chapter Three

An hour later, Peter had arrived in MedicinaTech, his parents’ pharmaceutical and vaccine-making corporation, and also the seat of government in his district. He waited in his parents’ office for them to arrive.

As he waited, he looked out the glass walls of the office and at all the masked employees rushing about doing this and that, always careful never to get too close to each other. He sneered in disgust at their, in his opinion, thoughtless compliance to all the rules meant to protect us from the viral variant of the time.

He thought about what had been happening over the past decade. Not just about the viruses, but also about how corporations no longer used the government to protect their interests…how corporations gradually replaced governments. It all started with certain tech companies in Nevada creating their own governments, as proposed by a bill back in early 2021. Over the 2020s, this idea caught on little by little as a way for capitalists to cut out the middle-man of the state.

There was some resistance at first, of course, but gradually people became used to the idea, and just passively accepted it. By the end of the decade, pretty much the whole world was being run by corporations as local district governments; city-states practically replaced federal governments, and countries existed more or less in name only. No longer was it even pretended that governments looked out for the interests of the people: what had once been only implied was now explicitly understood. Corporations were the government, because they were the only thing the government had been there to care for anyway.

Though Peter benefited from the privilege of being the son of governors of his area, he still sighed, sad for all the people, the vast majority, who didn’t get to enjoy his benefits. When his parents died, and he was to succeed them, he planned to give up the whole MedicinaTech company and give the power back to the people…if he could.

Now, sympathy for the people was only part of the reason, a large part, but still only a part of the reason, he’d give up the company and give back the power to them. The other reason, equally, if not more central a reason, was that he’d do it to spite the parents who’d frustrated and hurt him so many times over the years, regardless of the privileges and protections he’d got from them.

His parents arrived after about five minutes of his waiting. Both were wearing masks. His father, tall and thin, followed his shorter and chunkier mother through the doorway, and they saw Peter sitting by their desks. “Hi, Peter,” his mother said, though avoiding his eyes. “What can we do for you?” His parents sat at their desks.

“I heard that Derek Gould died last night,” Peter said.

“Yeah,” his father said without a trace of emotion. He also never looked at his son even once; he just ran his hand over the bald top of his head, then put his fingers through the grey hair on the back of his head, his eyes focused on what was on his computer screen.

“We need to find a new CFO, and fast,” his mother said with an equal lack of emotion. “It’s going to be a real pain.” Her finger moved a lock of greyish-red hair out of her green eyes.

“You two don’t seem too broken up about his death,” Peter said. “He’d only been with this company since it began, hadn’t he?”

“When you run a business, you focus on the business,” his father said. “Not on feelings.”

“And that goes double for governing a district,” his mother added. “Your head has to be clear when dealing with the kind of pressure your father and I have, dear.”

“Yeah, but you’ve never focused on anyone’s feelings here,” Peter said with a hint of aggression. “Not Derek’s or his wife’s, not the workers you overwork and underpay, not–“

“Oh, let’s not start that up again!” his mother said, finally looking at him, but with a scowl.

“This is the influence of your girlfriend’s family’s liberal newspaper, no doubt,” his father said.

“The newspaper that governs our neighbouring district, and that demonizes our company and all the good we do for the world,” his mother said. “And of all the people you could have chosen for a girlfriend, you chose the daughter of the Buchanan family, our enemy. Sometimes I think you chose her on purpose, Peter! To ally with the family that demonizes our good work, just to spite us! Their demonizing turns customers away from us and lowers our profits.”

“Yeah, all the profiting off of other people’s suffering!” Peter shouted. “Actually, Michelle’s newspaper doesn’t criticize you enough, as I see it. Their writers think these viruses are real. Michelle isn’t influencing me one tenth as much as you think she is. I was just debating her earlier today about whether this new virus is real, which she believes it is. My opposition to what you’re doing here is from my own heart.”

“Yet, like a hypocrite, you enjoy all the benefits of being the son of wealthy, politically powerful parents,” his father said with a sneer, his contemptuous black eyes looking straight at Peter and seeming to burn into his skin. “You, as our son, who doesn’t have to wear masks or stay in lockdown.”

“And an ungrateful son, at that,” his mother growled. “Maybe we should deny you those benefits, so you can learn some appreciation.”

“Instead of bellyaching and living off of our charity, why don’t you go out and find a job with that wonderfully useful degree you have in political science,” his father said. “You know, the degree we paid thousands of dollars for, the one that taught you how to think like a communist and be so disrespectful to your parents!” 

“Giving us guilt trips for the crime of being successful,” his mother said.

“I knew it was pointless coming here,” Peter said, then stormed out of the office, slamming the door behind him.

“That’s it, slam the door!” his mother shouted.

“Why did I have to have Friedrich Engels for a son?” his father said with a sigh.

Chapter Four

Michelle arrived in her mother’s office in their newspaper, The Mississauga Exposé, about an hour after Peter had arrived in his parents’ office. “Hi, Mom,” she said as she walked through the doorway.

“Hi, sweetie,” her mom said with a smile that Michelle couldn’t see under her mask, but could feel. “How’s everything? How’s Peter?”

Still with her own mask on, Michelle didn’t get close to her mother, though she wanted to hug her, a feeling her mother also had.

“Oh, he’s fine,” Michelle said. “Still anti-mask, as usual. How are you?”

“Oh, good,” her mom said, then looked at Michelle’s eyes. “Oh, that’s nice eye-shadow, sweetie. Dark blue looks good on you. You should use less eyebrow pencil, though. You have naturally pretty eyebrows—no need to accentuate them artificially.”

Michelle grinned under her mask. “Thanks again for the beauty tips.”

“My pleasure,” her mom said. “You know, there’s a new virus we need to worry about.”

“The Splits?”

“That’s what we’re calling it. Our reporter, Ann Carleton, thought up the name. Stroke of genius on her part. All the other media outlets are using the term, too–all over the world.”

“Peter doesn’t believe it’s real.”

“He doesn’t believe any virus is real,” her mom said.

“I know, but this new one sounds a bit on the unbelievable side to me, too, to be honest. I mean, seriously? People’s bodies split and break into pieces as soon as they’re infected?”

“I know it sounds incredible, but Ann was on the spot at the time a paramedic’s body split and blew up into fifty pieces right in front of her.”

“And you believe her?” Michelle asked with a slight sneer.

“She’s been a trusted journalist for over ten years, eight of which she’s worked for me. She’s never once reported a story we needed to retract.”

“Yeah, but this virus sounds a little…out there. It’s the kind of thing that feeds easily into Peter’s paranoid government conspiracy theories.”

“What do you think?” her mom asked. “That we made it all up? That Ann was high on drugs or something? Look, I’ll agree with you that this is a pretty wild new virus. It’s unlike anything anyone has ever encountered. It seems like something from outer space or something.”

“That’s what Peter said it sounded like.”

“Still, there were witnesses who confirmed what Ann saw and heard, including the wife of the CFO of MedicinaTech, a company we hardly have any sympathy for, as you know. We rule our district far more humanely than they do theirs. The lockdown and mask rules aren’t so strict here, and income inequality isn’t as bad.”

“Mom, that fact that you and Dad rule our district is precisely what makes it not done so humanely,” Michelle said. “There I find myself in solid agreement with Peter over all this corporate government. Income inequality isn’t as bad, but it isn’t all that much better here, either.”

“Oh, the idealism of young adulthood,” her mother said. “I was once like you. As for now, what can I say? We do the best we can here.”

“Mom, we can do much better.”

Her mom sighed in annoyance. “Anyway, the CFO’s wife, Hannah Gould, has been quarantined, for though she’s infected and a carrier, it isn’t killing her. Doctors can learn more about The Splits: what kind of virus it is, where it came from, why some are susceptible to dying from it, and why others aren’t. Our reporting on this research can do a lot of good for everyone, while MedicinaTech will just profit from selling vaccines of questionable worth to treat The Splits.”

This paper profits from the news stories, too, Mom,” Michelle said.

Now her mom was getting angry. “Michelle, I want to help the disadvantaged as much as you do, but we have to keep profits up in order for the paper to survive, and our control of the government is part of that survival. I’d like for us to be able to help more, but it’s not as easy as you think it is. It’s easy for you, an English lit major, to sit around at home all day, without a job, and complain about the world without having any responsibilities to do anything about it.”

“But, Mom…”

“Of course, if you’d used your English degree to go into journalism school and gotten a job here as a reporter, as was your original plan, you could have written the kind of articles that would have given a voice to those complaints, instead of letting your boyfriend talk you out of it, which isn’t helping us in our work against MedicinaTech, or helping your own personal causes.”

“C’mon, Mom. I don’t wanna fight.”

 “Neither do I, and I have a lot of work to do. Now, can you just drop it?

“Fine,” Michelle said. 

A masked woman in her thirties entered the office.

“Ann, there you are,” Michelle’s mother said with a sigh, calming down. “She’s the one who got the scoop for us on The Splits story.”

“Here’s the report on those tests you were asking about, Siobhan,” Ann said, handing her the papers.

“Thank you, Ann.”

Ann scratched at her afro, just above her right ear, then little dots of white light flew out of her eyes and at Siobhan’s chest.

Ungh!” Siobhan grunted, then she staggered and fell to the floor, shaking and screaming in pain. The papers flew all over the floor. She felt sharp pains of pulling and stretching all over her skin, innards, and bones. Bulges on her bruising face tore her mask off.

“Mom?” Michelle said, bending down to see her.

“Don’t get close to her,” Ann said with surprisingly little emotion. “Or to me. I’d better go into quarantine myself. I’m so sorry, Siobhan.” Ann ran out of the office, putting out her hands and warning the staff out there, “Don’t come near me!”

“Mom!” Michelle screamed, her eyes watering up.

Siobhan’s body had red cracks all over it, which opened and closed, over and over again, as she was shaking and grunting on the floor in agony. Her clothes were tearing at her arm sleeves, shirt, and pant legs, from bulges in those areas of her body where the painful stretching and pulling was happening, all attempts to expel what Ann put in her.

Thoughts were racing through Siobhan’s mind: What is this inside me? Get it out of me!!!

“Somebody get a doctor!” Michelle screamed out the wide-open office door. “My mom’s in trouble!” Why didn’t Ann call a doctor? she thought, then, Why haven’t I? Stupid! She took out her smartphone and called 9-1-1.

Shaking almost as much as her mother was, Michelle looked down at her. Her eyes and mouth widened to see those red cracks opening and closing, back and forth and back and forth, like many mouths speaking but making no sound. It was hard for her to speak coherently on the phone, making inarticulate words through her sobs and trembling voice.

To keep her self-control, she had to look away from her mother while explaining the emergency. After finishing her 9-1-1 call, she looked back down at her mother. The cracks kept opening…and closing.

Siobhan’s thoughts were swaying side to side over what to make of what had come inside her body: from Get this out of my body! to Could this not be as bad as I think it is? Back and forth between the two thoughts…back and forth. Similarly, the pain increased and lessened in waves.

It seemed to Michelle that her mother was fighting the virus. “Keep fighting, Mom,” she sobbed. “Don’t let it kill you.”

Her father was hurrying over to the office, having heard from an employee what had happened to Siobhan. Michelle looked over and saw him coming: though he had a mask on like everyone else, she could recognize him by his bald head and grey hair around the sides (like Peter’s father), and his brown eyes and light brown suit, a colour he preferred to wear.

“No, Dad!” she screamed. “Don’t come in here!” She closed the glass door in his face.

He froze in front of the closed door, standing there and looking through the glass with a stupefied, helpless expression.

“What’s wrong with her?” he asked in a trembling voice.

“She has The Splits!” Michelle yelled. “It’s contagious! I could have it. Paramedics are on the way. Keep out!”

In five minutes, paramedics in decontamination suits arrived. Siobhan was put on a stretcher in her own decontamination suit, with a bag valve mask on her face. She was given a sedative to calm her and to stop her violent shaking. Michelle and her father stood back, separate from each other for fear that she was a carrier, as they watched the paramedics take Siobhan out of the building.

Michelle went up to one of the paramedics just before he was to leave the office.

“I was nearby when the virus was passed on to my mother,” she said. “I could be a carrier showing no symptoms.”

“Come with us,” he said. “We’ll have you tested. Let me get a decontamination suit for you to wear.”

Why couldn’t Ann have gone into quarantine before? Michelle wondered.

*********

That night, Ann Carleton went home. Her husband was in the living room, watching TV. 

“Hi, honey,” she said to him after taking off her mask. “Are Andy and Shawna in bed?”

“Of course,” he said, then turned off the TV and got off the sofa. “I tucked them in an hour ago.”

“Good,” she said. “You just got back from your business trip in the New York District?”

“Yeah,” he said. “Five hours ago. The new deal is going to bring in a lotta bucks for us.”

“That’s good to hear,” she said with a frown that didn’t escape his attention.

“How was work today?” he asked. “Still fighting the good fight against MedicinaTech?”

“Not anymore. I had to quit.”

His jaw dropped. “Why? I thought Don and Siobhan considered you their favourite reporter.”

“Something…happened to me last night.”

“What?” He was walking towards her with growing worry on his face.

“Have you heard of ‘The Splits’ yet?”

“No…what are you talking about, Ann?”

“This.” The dots of light flew out of her fingers and into his chest.

“Aaah!!!” he yelled, buckled over, and fell to the floor. The red cracks appeared on his face, neck, and hands. The sharp pains of stretching and pulling had come immediately.

She just stood there and looked down at him with a blank expression.

Everything in his body was screaming out, Get this out of me! It’s horrific! Evil! Get it out of my body! But it wouldn’t leave him without taking pieces of him with it. The stretches and pulls were making bulges all over his body, huge bulges that began to make little tears in his clothes. 

“Ann…help!” he grunted. The red cracks were beginning to open a millimetre or two. “Oh!”

But she just stood there and watched him, without a trace of feeling on her face. He reached up, but she wouldn’t take his hand. His bones felt on the verge of cracking or dislocating. 

It’s too bad, she thought. I didn’t think he’d accept the new way. Siobhan might…if she hasn’t already died, that is. It’s a good thing I got out of the newspaper building without anyone knowing I was the one who passed it on to her.

His head split in two: the hemispheres of his brain were showing. His shirt ripped open, then his chest did, showing off his ribcage, which then broke open, showing his heart, lungs, and stomach. Now these three had horizontal tears in them, showing off the insides. Still, no blood or other internal liquids flowed out.

He just lay there, shaking and jerking. 

Get it out! Get it out! I can’t…have this…in me…

Finally, his body burst into pieces that flew in all directions in the living room. They lay on the carpet, shaking. She looked around at all of them in perfect calmness, knowing full well what was happening and having no qualms about it. 

Dark holes formed in the torn-off insides of each broken-off fragment. These holes looked like mouths, opening and closing as if trying to say something, but only grunting what sounded like some language intelligible only to her. 

Get…this…out…of…me…

The fragments grew dull in colour, stopped moving, and slouched on the carpet. Now all dead, they let the blood and other liquids pour out and stain the carpet. Ann felt no concern about the mess. 

She turned around, walked to the stairs, and went up them. She got to her kids’ bedroom door and opened it gently so as not to make a noise. She went in and left both the light off and the door open.

Andy and Shawna, five and six respectively, woke up. “Mommy?” the boy asked, rubbing his eyes. “Where’s Daddy?”

“He’s not going to be with us anymore,” Ann said with a smile.

“Why not?” Shawna asked with a frown.

“It’s OK,” Ann said, still grinning. “You won’t need him anymore.” She let out the little lights from her fingers; they went into her kids’ foreheads.

They felt a warm glow soothing their little bodies, from head to toe. Now they were grinning as much as their mom was. 

This feels really nice, they both thought in their sweet innocence. We’re going to make the world a better place for everybody.

“Have a nice sleep, you two,” she said, then kissed both of them on the cheek, got up, walked back to the door, went out, and closed it.

Andy and Shawna put their heads back on their pillows, closed their eyes, and went back to sleep, smiling the whole time.

Chapter Five

A week later, Michelle was in her bedroom, chatting with Peter on her smartphone.

“So, have you got your test results back?” he asked with the expected tone of disbelief.

“Yes,” she said. “I’m OK. I’m not a carrier.”

“I could’ve told you that a week ago,” he said.

“Peter,” she said, struggling not to raise her voice. “My mom has it. She’s in quarantine, struggling to fight it off. You weren’t there when she caught it. I was.

“What did you see? An acting job?”

“It’s real, Peter! She wasn’t acting. I saw red cracks all over her body. They were opening and closing. I could see bits of her brain showing!”

“Did you see any blood?” he asked. She could almost see his sneer. “Blood must have been flying all over the place if her head was opening up.”

“No…oddly, there wasn’t any blood.”

“Which makes this whole thing all the less believable.”

“Oh, go to hell, Peter! Don’t talk to me again until you grow up!” She hung up on him. “Ignorant, arrogant asshole!”

Her father was standing by her ajar bedroom door. “Michelle?”

She looked over at him. “How’s Mom?” she asked.

“She’s about the same,” he said with a sigh. “Still struggling with it. According to the people taking care of her, those cracks on her body keep widening and narrowing, back and forth, in a kind of stalemate.”

“Have the doctors learned anything about how to help her get better?” she asked with teary eyes.

“No. All that seems to help is the wearing of decontamination clothing. A week has gone by and no one wearing that clothing ever catches The Splits. People on the news are already telling everyone to buy those suits and wear them everywhere. Stores are all getting stocked up with them as we speak.”

“I know. Peter’s gonna hate it. He’ll never comply.” She started crying.

“Oh, honey.” Her father walked over to her and put his arm around her. “We’ve both been tested, so I guess we can make contact. But Peter’s still being stubborn, eh?”

“Yeah,” she sobbed. “He’s too proud to admit he’s wrong. When…er, if…he catches it, I don’t wanna be there and see his body cracking into pieces.”

“He might just be a carrier.”

“Then he’ll carelessly give it to me, or to you, or to somebody else, to many other people, and at least some of them will die. I might be there to see that, and I’ll have to explain why I wasn’t insistent enough to get him to wear the protective clothing.” She sobbed louder.

“Do you still want to go out with him?”

“Yes, of course. I still love him. I’m just mad at him, and really afraid for all of us.” She knew her father’s real motives for asking the question: if she’d stop being Peter’s girlfriend, she wouldn’t have his influence, and maybe she wouldn’t be so against her parents’ business and governance of the Mississauga area. She might even reconsider going to journalism school and working for the paper. 

And as she was all too aware, he was much more adamant in defending his business than her mom was.

Still, she bit her tongue: now was not the time to be fighting with him.

Now was a time they all needed to pull together.

**********

After Michelle hung up on Peter, he went into his living room, where his parents were watching TV.

“So, did Michelle tell you how her mother is doing?” his mother asked with what looked like a smirk of hope.

“She says her mom is still in hospital, struggling with The Splits,” he said. “Not that I’m buying a word of it.”

“The Splits is real, Peter,” his father said. “Not that I feel any sympathy for Siobhan Buchanan, of course.”

“If she could die, it would make things a lot better for us, that’s for sure,” his mother said, still with that smirk.

“You two disgust me,” Peter said with a sneer. “I don’t believe in The Splits, but at least I’m not wishing death on anyone. Why don’t you two even share a heart between you?”

“Peter!” his mother shouted at him. “Maybe if you hadn’t made things so difficult for us over the past ten years, we wouldn’t have such ‘cold hearts’ around other people!”

“Wait a minute, Mom! How are your corporate greed and political ambition my fault?”

“Have you forgotten how much trouble you made for us back when you were at school during the early coronavirus outbreak?” his father said. “Your constant refusal to wear masks, your refusal to get vaccinated, which by the way, made our company look bad, and how we had to bail you out every time you got into trouble for that.”

“The many times we had to bail you out!” his mother said. “And I don’t appreciate your tone, young man.”

“Our ‘political ambition’ in taking over the Toronto government was motivated in large part by our wish to protect you from the trouble you were constantly putting yourself into, adding to our stress,” his father said. “But of course, you have no appreciation for that, do you?”

“Dad, your taking over the Toronto government was also motivated in even larger part by your ambition to control everything!”

“Oh, would you get out of here!” his father growled.

“Yeah, who needs you?” his mother shouted. “You arrogant little bastard!”

“Oh, for fuck’s sake!” he shouted, then went outside with a forceful throwing of the door shut.

“That’s it,” his father said. “Slam the door behind you! Every bloody time!”

Chapter Six

Peter and Michelle exchanged text messages over the following week. Each exchange was a variation on this:

Peter: When am I going to see you again? I’m lonely. Mom and Dad are making me miserable, and I need someone to talk to.
Michelle: Are you wearing protective clothing?
Peter: No way!
Michelle: You’re not seeing me until you are.

In her living room, she looked down at the messages on her phone, having just sent that last text. Please, God, if You exist, she thought, make Peter see the light.

Her father came in, wearing a yellow protective suit, but with the head covering in his hands. “Are you ready to go?” he asked.

“Yeah, I guess so,” she said, putting her phone in her purse. “Is Mom really better?”

“That’s what the doctors said,” he said. “They say there hasn’t been any splitting of her skin for the past three days. Your mom doesn’t even have those red crack lines on her body anymore. She is a carrier, though, so suit up.”

“OK.” Michelle put on her suit, they both put on their head coverings, and they left the house.

As they went in the car to the hospital, she looked out the window to see all the pedestrians and people in neighbouring cars, in protective clothing from head to toe, all those essential workers who didn’t need to stay home. She could see through the plastic, transparent face coverings of those close enough to the car to see the blank expressions on their faces.

“MedicinaTech’s vaccines sure have taken the life out of everybody,” she said with a sigh. “They’re all just a bunch of passive automatons. So easy to control. What the hell has happened to the world over the past ten years, Daddy? How did the 2020s turn everything into, well, Nineteen Eighty-Four?”

“Just be glad you’re one of the people who are exempt from taking any of those vaccines, Michelle,” he said. “We didn’t want you to be a zombie like them, and our money and influence ensured you wouldn’t be, so be grateful for that.”

“Yeah, but it isn’t fair to all of those other people.”

“Life isn’t fair.”

“That’s an easy evasion of responsibility, Dad.”

“Look, if you want to blame someone, blame the company the parents of your boyfriend are running, not me. Our newspaper constantly criticizes MedicinaTech for not doing anything about the bad side effects of their vaccines.”

“But your employees, especially the lower level ones, all take the vaccines, too.”

“We have to vaccinate them, honey. No choice. It’s the law.”

“But they all have that same half-asleep look on their faces. I wonder how your reporters can be sharp enough to get the facts of their stories straight.”

“We give them a stimulant to counteract the lulling effects of the vaccines,” her dad said.

“Yeah, everyone’s on drugs,” Michelle said with a frown and a touch of anger in her voice. “How wonderful. As long as you and Mom are profiting from all of this, though, right?”

“Oh, here we go again,” he sighed. “You haven’t forgotten that you, as our daughter, benefit from those profits, too, have you?”

“No, I haven’t, and that’s part of why I feel bad for all those Mississaugans out there that our newspaper business-slash-government is ruling over. We enjoy all those benefits–wealth, exemption from lockdowns, influence–that those zombified people don’t have.”

“Governing a city is no picnic, Michelle.”

“Then give up on the governing! Put it back in the hands of the public; then we can create some social programs to help the poor, and we can have an unbiased media that doesn’t twist the facts of current events to reinforce and justify this family’s rule over the city.”

“Social programs for the poor,” he scoffed. “That’s Peter’s commie influence on you, isn’t it?”

“That’s my own, independent thinking, and you don’t have to be a ‘commie’ to believe that! Peter just happens to agree with me on that one point. You’re just mad because I’m not under your influence!”

They arrived in the hospital parking lot.

“Look, let’s just drop it, OK, Michelle? Let’s try to be in a good mood when we see your mother. I’m so grateful she didn’t die on us; this is going to be an emotional moment for me, and I don’t need your arguing to make it even harder.” He said these words in a building crescendo of rage.

“Fine,” she said with a sigh.

They got out of the car and went into the hospital. They were in a waiting room flooded with visitors, nurses, orderlies, and doctors all in those protective suits, some yellow like Michelle’s and her father’s, and others in blue, pink, red, and orange. 

“I know what Peter would say to the people in all these different coloured suits,” she said when she and her father found some seats. “‘Look at all those lovely colours,’ he’d say with sarcasm. ‘We can all be conformists and fashionable at the same time! The illusion of choice!’”

Yet, he’s still your boyfriend, her father thought with a frown.

In fifteen minutes, they were allowed to go into Siobhan’s quarantine room.

Lying on her bed and also in a protective suit (purple) with the head covering on, she had a blank expression, though one not so passive as those vaccinated workers Michelle had seen outside.

Michelle and her dad approached her bed.

“Mom?” she said, troubled by Siobhan’s emotionlessness. “You look far too peaceful to be believed.”

“Hi, sweetie,” she said with a smile that seemed almost forced. “Don’t worry, I’m fine. The struggle is over.”

Tears ran down not only Michelle’s cheeks, but also her father’s. He would find it harder and harder to resist the temptation to take off his head covering, so much did he hate feeling any separation from the wife he almost lost.

“Don, I’m OK,” Siobhan said softly. “I’ve also been thinking about all Michelle has said about what’s wrong with the newspaper. We should make some changes…”

“Well, let’s not get carried away, Siobhan,” he said, troubled by this shift in her attitude. He also started finding the room strangely, uncomfortably warm, as did Michelle and Siobhan.

“Yeah, as glad as I am to hear you say that, Mom, I think that for the moment, we should just focus on you getting better.”

“I am better, honey,” Siobhan said, removing her head covering. “Ah, that feels better. I can breathe now.”

“Mom, I don’t think you should do that.”

“I’m 100%, sweetie,” Siobhan said with a grin for her daughter. “Besides, it’s getting hot in here. Don’t you feel it?”

“Yeah, it’s uncomfortable, but you’re still a carrier,” Michelle said. “You might infect somebody. People could die.”

“Only if they resist, Michelle,” Siobhan said, looking at Don with what looked like warning eyes.

“Resist? Resist what, Mom?”

Tears of relief were soaking Don’s face. An urge to hug and kiss his wife was overwhelming him.  The heat in the room was bothering him, too. “I don’t think I can resist any more.”

He took off his head covering and reached forward to kiss Siobhan. Her eyes widened a bit.

“No, Daddy!” Michelle screamed.

Siobhan accepted his kiss on her left cheek and his arms around her with a serene smile.

Then the little white dots flew out of her and into him.

Ungh!” he groaned, then fell to the floor. Sharp, stretching pains stung him all over his body. Bulges bubbling all over his head were already causing bruising.

“Dad!” Michelle screamed, bending down to help him, but now the red crack marks were all over his face. He was shaking and grunting. “Help! Somebody out there! Any doctors? Nurses?!”

Within seconds, a doctor, a nurse, and two orderlies ran into the room. One of the orderlies put Siobhan’s head covering back on. “Miss, you have to keep this on,” he said firmly. 

No, Don thought as his body jerked on the floor. No way I’m accepting these things inside me. They’re horrible.

Now, Michelle could see her father’s brain through the opening cracks.

They would open wide, but close only slightly between even wider openings. The pain grew sharper, while lessening ever so little before other, stronger surges of pain. It was like waves of agony that rose higher and higher. His protective suit would show fidgeting bulges where the rest of his body was cracking open, ripping through the clothes underneath the suit.

Get this out of my body! Get it out! he thought.

The medical staff just stood there in a daze of astonishment, not knowing what to do. The doctor was on the verge of tears, hating herself for her helplessness at watching a man die and doing nothing about it.

“Daddy, don’t die on me!” Michelle sobbed.

But the inevitable happened. Don’s body parts ripped apart so violently that they tore out of his clothes and protective suit, flying in all directions in an explosion, and causing a swarm of screams.

Body parts smacked into Michelle and the medical staff, knocking them all back onto the floor. Shaking, they all looked on with wide eyes and mouths at the fidgeting pieces of the separated four quarters of Don’s head, his bifurcated neck, pieces of his arms, chest, stomach, groin, legs, and feet, all torn into halves, thirds, and even more, smaller fragments.

There still was no blood. The pieces shuffled and wobbled back and forth on the floor, as if alive. Holes formed in the exposed inner anatomy, opening and closing like mouths talking. In fact, Michelle, Siobhan, and the hospital staff could hear something being said through all those ‘mouths.’

Over and over again, a chorus of grunts of the word, “No.”

“Oh, my God!” the nurse said.

After a minute or so of the fidgeting body parts repeating, “No, no, no, no…,” they all lost colour, stopped moving, and lay there, dead. White dots of light flew out of the body parts and out of the room, startling everyone. Blood poured out in lakes all over the floor.

“Was I hearing things, or were they speaking?” one of the orderlies asked.

“We all saw and heard it,” the doctor said in sobs. “And we don’t believe our eyes or ears any more than you do.”

“Let’s clean up this mess,” the shaking nurse said, then he looked at Michelle and said, “I’m so sorry, Miss.”

The doctor went over to weeping Michelle and put her arms around her. She sobbed, “I’m sorry, too. I’ve seen this happen so many times, and I just can’t do anything! I can never sleep.”

“I don’t blame any of you, Doctor,” Michelle said between sobs. “This whole thing is getting so crazy.” And my last moment with Daddy was an argument with him. Why does this have to be?

They left the room together while the nurse and orderlies began picking up Don’s pieces.

In all of the confusion and shock, no one paid any attention to Siobhan or her reaction to her husband’s death…a sad, but rather calm, reaction.

*****

That night, Siobhan’s doctor went home. As soon as she got in the door, she removed the head piece of her protective suit. She let out a big sigh, a frown permanently etched on her face.

Her husband came out from the kitchen and into the front hall to see her. “Hi, honey,” he said.

“Hi,” she sighed more than said.

“Rough day at work, eh?” he asked.

“Yes,” she said with another sigh. “Did you wear your protective suit all day?”

“Yes, of course,” he said.

“You never took it off once, not until you came home?” she asked, maintaining her distance from him.

“Yes, of course. What’s wrong, honey?”

As she unzipped her suit, she broke out into tears.

“Oh, honey,” he said, approaching her.

“No!” she sobbed, her hand out to keep him at a distance. She continued removing the suit.

“Another one died from The Splits, eh?”

“Yes,” she sobbed, the suit now completely off her. “I don’t know how much more of this I can take. One violent death after another, and there’s nothing I can do to help these people.” She crouched down and her sobs rose in volume to bawling. “All I wanna do is help them, heal them, and I can’t!

He let out a sigh as he watched her with compassionate sadness on his face. 

“You know, I know a way to end your crying,” he said, looking down at the floor.

“Oh, you do, do you?” she bawled, her head down in her hands. “What could you possibly do to make me feel better? How are you going to make me sleep at night? What could you possibly know that will give me peace? How can—“

Some little dots of light flew out of his fingers and into her head. 

At first, she was shaking, her eyes and mouth wide open with a panicked expression after raising her head up out of her hands. The red cracks were all over her head, neck, and hands. “Ungh!” she groaned. She felt a few brief spasms of pain.

What is this in my body? she thought in her anguished fidgeting. Get it out! Get it out of me!

Then, after a minute or so in this tense state, her shaking lessened. The pain stopped.

Wait…maybe this isn’t so bad…

The red cracks thinned, then faded away. She felt a warmness buzzing all through her body, calming her.

Yes, it’s OK…it’s OK…

She rose to her feet slowly. No longer crying, she wiped the tears off her face. 

She looked at him. “Thank you,” she said in a soft voice. “Now I understand.”

She grinned up at him. He grinned back.

Chapter Seven

A week later, Peter was texting and calling Michelle over and over again, though she wouldn’t answer, until she received this text from him: I won’t stop ringing your phone until you answer and talk to me!

Finally, she, at home, answered with a sigh: “What’s your problem?”

“Gee, I don’t know,” he replied. “Could it be that I have a girlfriend who hasn’t communicated with me in over a week? My parents are constantly being nasty to me, and I have no shoulder to cry one, not even from my own girlfriend. Could that be my problem?”

“Would you like to know what my problem is?” she asked.

“I don’t know: could it be believing in a fake disease?”

“Oh, a ‘fake’ disease that I saw kill my father with my own eyes?” she said in tears.

“Your father?” Peter said. “I thought it was your mother who had it.”

“She got better, but she’s a carrier now, and she gave it to him. I watched his body explode all over the hospital room. His body parts hit me and the medical staff there!”

Peter tried to keep his chuckling inaudible, but she heard a bit of it.

“It was in the news, Peter! Didn’t you read about it, or see it on the TV? The Splits killed my father!!”

“I don’t follow the news anymore, Michelle. You should know by now that I don’t trust the media.”

“People have been reporting cases of this pandemic all over the world. It’s real, Peter! Millions have been infected, thousands have died. Video has been recorded of bodies ripping apart and exploding!”

“People can fake all kinds of things on TV. They just use movie-style special effects. I’m sorry, Michelle, but until I see it with my own two eyes, I’m simply not going to believe it.”

“I didn’t see ‘special effects’ kill my father, Peter. It happened right in front of me! And until you’re in one of those protective suits, I’m simply not gonna be anywhere near you.”

“Oh, come on, Michelle. Let’s not fight. I miss you. I wanna see your pretty face. I miss your touch.”

Her jaw dropped. “You just want sex?

“No, not just that. Come on, Michelle, you know me better than that. I’m not like all those guys you dated before you met me, and just wanted your body. Your physical beauty is only a small part of why I love you. I miss all of you. Your company, your smile, your closeness. I’m lonely.”

“Well, I…I miss you, too,” she said with a sigh.

“Then let’s get together. Come on!”

“Peter, if I see those white dots of light fly into your body and tear you apart, all because you’re too proud to wear a protective suit, I won’t be able to handle it. I’ve seen The Splits kill my dad, and it almost killed my mom. Dad wanted Mom’s touch, they took off their head coverings, and it killed him. I don’t want to see that happen to either of us. So, suit up, or stay away.”

Peter let out a sigh and asked, “How’s your mom?”

“She’s OK now, I guess. She’s back at work at the newspaper and governing Mississauga, with a special marking on her protective suit so people will know she’s a carrier.”

“Is she acting strangely, or anything?”

“She is, actually. She doesn’t show much emotion. She gives me these reassuring grins, telling me she’s fine, but the grins look fake. She didn’t look at all broken up about Dad’s death, and that makes absolutely no sense. She totally loved him.”

“No crying at all?” Peter asked.

None,” Michelle said. “At his funeral, she frowned in what looked more like boredom than grief.”

“Really? That’s weird.”

“Yeah. What’s even weirder, though actually a good thing, is she says she wants to make some democratic changes to her administration of our district, and to be more objective in the reporting of the news here.”

“Whoa!” Peter’s jaw dropped now. “That’s even harder to believe than all these diseases. Still, I’ll be glad if it’s true.”

“Well, it isn’t going to be easy for her to make these changes, since all the other people on the Board of Directors for the magazine/government have a major say in the decision-making, and none of them will be easily persuaded by her.”

“Now, that sounds believable,” Peter said with a sneer. “Anyway, are we gonna get together or not?”

“Are you gonna wear a suit, or not?”

“Oh, come on!”

“No suit, no cuddles.”

“How can we cuddle in those confining things? With the plastic in front of our faces, we can’t kiss.”

“It’ll be difficult, but at least we’ll be together.”

“Look, I’ll think about it, OK? Just answer my calls.”

“I’ll answer them, but I won’t see you until you suit up. Got it?”

He moaned. “Got it. Bye.”

“Bye.” They hung up.

Chapter Eight

The next day, Peter, still without a protective suit, went over to his parents’ office in MedicinaTech. As he walked through the halls, passed the other offices, and went up the elevator on the way there, he frowned and sneered at the sight of everyone else who, without exception, not only wore the protective clothing, but had that passive, almost trance-like look on their faces, because of the vaccines they’d taken.

This is so pathetic, he thought.

On the top floor where his parents’ office was, however, his eyes widened to see the few employees working on that floor not wearing the protective suits. They were no longer wearing the old surgical masks to prevent getting any of the earlier viruses, either.

“Membership in the upper echelons has its privileges,” he whispered as he approached the office door. Funny how the older diseases have suddenly been forgotten about now that ‘The Splits’ is here, he thought.

He went in and sat in a chair by his father’s desk as his parents were reading emails on their desktops.

“What brings you in here, Peter?” his mother asked, with neither a smile for him nor even a glance in his direction.

“Oh, nothing much, just hanging out,” he said.

“We’re very busy today,” his father said. “Don’t distract us from our work with any of your petty problems.”

“I was just wondering,” Peter said. “How come everybody downstairs has to suit up, but nobody here on the top floor has to? The staff up here aren’t even wearing the old surgical masks anymore.”

“Every morning when we come in, Dr. Teague gives us a medical check first thing to determine if we’re carriers, of The Splits or of any other viruses,” his mother said. “He can get quick test results, too, within just a few hours. Since we’re all cleared of all of the viruses, and the employees downstairs are all suited up, we don’t have to be.”

“How convenient that the rulers of the city don’t have to live by the same rules as everyone else,” Peter said.

“You enjoy the same privileges,” his father said. “And you’d be crying like a baby if they were taken from you.”

“The point is that none of those people downstairs should be in those stupid suits, either,” Peter said. “Why doesn’t the doctor test them, too, to see if they have The Splits?”

“Because there are too many employees for him to test every morning,” his father said.

“On this floor, there are only about a dozen of them to test, then himself and the two of us,” Peter’s mother said.

“Besides, Dr. Teague is working on a vaccine and making some progress,” his father said.

“Well, I’d say the real reason everyone down there has to wear suits, but we up here don’t have to, is because Teague and both of you know that ‘The Splits’ is nothing but a goddamn hoax.”

“If he knows it’s a hoax, why is he working tirelessly to make a vaccine?” his father asked.

“For the same reason as with all the other vaccines MedicinaTech makes,” Peter said with rising anger. “To profit off of everyone’s fears. This hypochondriac hysteria is good business!”

“Oh, not this again,” his father said.

“It was Dr. Teague’s idea to do the tests for us, not our idea,” his mother said. “He knows that we up here do all the hard brain work, and if we’re in those uncomfortable suits all day and night, it will be harder for us to do our jobs well. It’s only a dozen or so of us up here, so we should be safe.”

“As I said before,” Peter said with a sneer. “How convenient.”

“Can you quit belly-aching, and better yet, leave?” his father said. “We have a lot of work to do today.”

“Fine,” he said with a sigh. He was about to get out of his seat, ready to walk out.

Just then, Dr. Teague came in the office, without a protective suit, of course.

Speak of the Devil, and he appears, Peter thought.

“Here’s a report of the test results from this morning,” the doctor said, handing a folder to Peter’s father.

“Thank you, Paul,” his father said, taking the folder and feeling his thumb brush against the doctor’s finger.

White dots of light flew out of Dr. Teague’s hand and into Peter’s father’s arm.

“Uhh!” his father moaned, then fell off his chair. The sharp, stretching pains began.

“Ray?” his mother said after turning her head away from her computer monitor. She got up from her desk and ran over to him. “Ray!” Those red cracks were all over his hands and head, covering the bruises the painful stretching had caused.

Peter jumped up from his chair and backed up to the glass wall to the left of the office door.

“Donna!” Ray groaned in a hoarse voice. “Help me!” He just shook all over on the floor. What are these things inside me? he thought in a frenzied panic. Get them out of me! Get them out!

Forgetting about the danger, Donna went over to Ray and held him by the arms; then some of the glowing white dots flew into her chest. “Aah!” she screamed, and fell on the floor beside him. First, bruising from the painful stretches and bulges all over her skin, then, the red cracks were visible on her skin, too, and both she and Ray were shaking and groaning on the floor.

Now she was thinking the same desperate, panicked thoughts of her husband: how to eject the foreign intrusion from her body, how there was no way she or he could accept it in them.

“Holy fuck!” Peter said, then went out of the office and closed the door. He watched his parents through the glass wall. This isn’t happening, he thought. This can’t be happening!

His parents’ body parts started ripping open, making tears in their clothes. Other office staff were looking through the glass wall on either side of Peter. One of them got out a cellphone to call 9-1-1. Another was shouting about getting protective suits up to their floor.

Peter was shaking as much as his parents were. He tried to disbelieve what he saw, but he couldn’t. He wasn’t the hallucinating kind, and what he saw couldn’t have been the fakery of movie special effects.

He saw their shirts and chests rip open. He saw their exposed hearts, stomachs, and intestines.

No blood sprayed anywhere.

There’s no way this is really happening, he thought. I must be dreaming. He pinched himself–no waking up.

His parents’ heads split open. He saw their brains, then remembered Michelle saying she’d seen her mom’s brain.

“I am such an asshole,” he whispered among the screams of the staff around him. Michelle’s going to say, ‘I told you so,’  big time, he thought.

His parents’ pants ripped open. Now Peter could see the torn muscle and sinew on their legs…and their bones.

Finally, the body parts ripped apart into several dozens of pieces and flew in all directions, a few pieces hitting and cracking the glass wall. The left half of Ray’s bare right foot struck the glass right by Peter’s face.

“No!” he yelled.

Screams of the staff pierced his eardrums.

Donna’s and Ray’s torsos lay there, each in halves beside each other, rocking side to side, limbless, and split open, on the floor by his dad’s desk. Moving holes formed in their lacerated hearts, lungs, stomachs, and intestines. Some of the holes flapped open and shut like mouths. Holes to the top left and right of the flapping holes seemed like eyes; it was as if faces were being formed in his parents’ innards.

“I must be going nuts,” Peter said among the shrieks and gasps of disbelief among the horrified staff. He couldn’t stop his spastic shaking. I’ve been stoned, and never seen anything like this, he thought. 

Those ‘mouths’ were now grunting, over and over again, what sounded like, “I don’t want it,” in porcine voices.

My kingdom for a protective suit, Peter thought.

…and amid all the confusion, no one noticed how unruffled Dr. Teague was as he walked out of the office.

The fragmented body pieces grew comparatively grey in colour, then stopped moving. Blood and  other internal liquids began pouring out of the holes. 

Peter just stared at the body pieces in a daze, his eyes and mouth wide open. Several minutes ago, they were alive, he thought, his shaking never lessening. Now, they’re dead. My fucking parents just died violently before my eyes. How could this have possibly happened? How can everything go to hell so fast?

Some people from the local hospital arrived to collect the body pieces.

“Who else was in the room when this happened?” one of them asked.

“I was,” Peter said in a trembling voice. “Dr. Teague was, too.”

“You’ll have to come with us to be tested to see if you’re a carrier,” another of the hospital people said. “Dr. Teague, too. Where is he?”

Peter looked around and didn’t see him anywhere.

*******

That night, Dr. Teague went home. He saw his wife and mother-in-law sitting on the couch in the living room, watching TV. 

“Minnie, you’re back!” he said. “Mom? Why are you here? Hadn’t you seen enough of your daughter while she was there with you over the past week?”

“Paul, she’s scared,” Minnie said. “This whole ‘Splits’ thing is getting out of hand. She’s too scared to leave her house. She couldn’t bear to see me leave, so I suggested she come and stay with us for at least a while.”

“OK, I understand,” he said. “Mom, you’re always welcome here, of course.”

“Why aren’t you wearing a protective suit?” his mother-in-law asked in a tremulous voice. “Any time you go outside, you should be wearing one; that way, we don’t need to wear them at home.”

“Because I tested myself and a number of the other employees in MedicinaTech, the ones I work with throughout the day,” he said. “Our tests came out negative, so we could work freely, without needing to wear the suits. We’re fine. You don’t need to worry about us.”

“Your tests mean you don’t need to wear the suits at work?” Minnie asked.

“That’s right,” he said. “We’ve been doing this for the past week or so. We started doing this around when you left to visit Mom. Really, I’m fine. You don’t need to worry. In fact, we’re working on vaccines day and night for The Splits; we’ve made some progress, too.”

“Oh?” his mother-in-law said, almost smiling.

“Yes,” he said. “We’re doing great work to help humanity.”

“Then your business must be making a lot of money these days,” his mother-in-law said.

“Well, yes,” he said. “Though I’d say that’s beside the point.” 

“Well, I’d say it is the point,” his mother-in-law said. “If MedicinaTech is getting good profits, you might get a raise, and my daughter will be all the better provided for.”

“Oh, we’re making plenty of money, Mom,” Minnie said. “But Paul is right to be focusing on helping humanity. Way too much emphasis is being put on the rich getting richer these days.”

“That’s right,” he said, raising his arms and pointing his fingers at both women. “Let me demonstrate how much we’re helping the world.” 

The little lights flew out of his fingers.

Both women’s screams changed to groans of pain as soon as the little white dots entered their skin. Intolerable stretching, bruising pains were stinging both of them from head to toe.

Both buckled and fell to the floor; the red cracks appeared on their faces, necks, hands, and arms. They were shaking all over. He just looked down at both of them in all calmness.

Get it out of me! they thought as they shook, trying to think of a way to eject the foreign presence from their bodies. Get it out!

Minnie’s pain began to subside; her shaking lessened, then stopped. 

Wait, she thought. Maybe this isn’t so bad.

The red cracks on her skin began to fade away. She felt a warm glow all over that seemed to massage her body, to make the previous pain seem almost worth it. 

Yeah, she thought. This is alright.

She got up on her feet. She had gone from a scream of panic to a whisper of calm in a few minutes.

Now both of them watched her mother, who was still shaking and grunting in pain. The red cracks were widening, exposing brain, arm muscle, and finger bone. 

Get it out of me! she continued thinking as she shook and squirmed on the floor. Get it out!

“Oh, Mama,” Minnie said with a sigh. “That’s too bad. I really hoped you could have joined us.”

He, too, looked down at his mother-in-law with a sad face.

Get…it…out…of…me…

The old woman’s body exploded all over the living room.

Chapter Nine

“I’m sorry for your loss, Peter,” Michelle said on her cellphone in her bedroom. “To have lost my dad is something I’m still reeling from, especially since I saw him die right in front of me, and so violently. ‘Traumatic’ doesn’t even begin to describe it. Since you saw it happen to both parents, it must have been so much harder for you.”

“I’m still shaking,” Peter said. He, too, was calling from his bedroom. “My mind is spinning in confusion. They’re gone. I can’t believe they’re really gone. I mean, I never really liked them, to tell you the truth; in spite of the good luck of being raised in a rich family, I always found their attitude to me hurtful. Always criticizing my every move, word, and deed. My choice for a degree. I never really felt any affection towards them because of that. I always kind of…well, hated them. And now that they’re gone, I feel kind of guilty.”

“Again, I’m sorry,” she said. “I never saw either of them be affectionate with you, either, so I guess your coolness to them is understandable. Don’t beat yourself up over that. But anyway, I have to ask this: do you finally admit that The Splits is real?”

“Yes,” Peter said with a sigh of embarrassment. “Since I was in the office with my mom and dad when they got killed, I got tested, and I’m not a carrier. And I’m sorry for having been so pig-headed about this whole thing. It’s just that there’s so much bullshit out there in the media, it’s hard to tell the difference between fact and fiction.”

“I know,” she said, “but the media didn’t split our parents’ bodies into pieces. It isn’t special effects or gimmickry. Our eyes aren’t the TV. We can trust what we see, and you can trust me to tell you the truth.”

“Yeah, but still,” he said. “There’s something strange about this ‘disease.’ As they say, it isn’t like anything we’ve ever seen before.”

“Split-off body parts acting like entities unto themselves. I know what you mean.”

“They were talking, Michelle. It was so freaky. My mom’s and dad’s body parts were actually talking.”

She felt a shudder at those words, remembering her father’s death. “It seemed that way to me, too. I thought I heard the parts of my dad saying, ‘No, no, no…’.”

“I saw faces forming on my parents’ ripped-off body parts,” Peter said. “What looked like eyes and mouths in their innards, saying, ‘I don’t want it. I don’t want it,’ like pigs grunting.” 

“It’s more like demonic possession than a disease.”

“Exactly. And I don’t believe in demons, or God, or anything like that. Still, no disease does anything that freaked out.”

“Anyway, you have been tested, eh?” she asked. “And do you have a protective suit?”

“Yes, as I said before, and…yes,” he said with a sigh of annoyance. “I’m gonna hate wearing it. It’s so uncomfortable.”

“I know, but it’ll be less uncomfortable than feeling your body tearing up into pieces, and nowhere near as traumatic as seeing other people’s bodies tear up into pieces, especially if we’re the ones responsible for passing The Splits onto them.”

“Yeah, I guess. It still sucks, though.”

“But at least we can be together, and since both of us have been tested recently, we can be intimate. When did they test you at MedicinaTech? Earlier today?”

“Oh, I got it done today, but it wasn’t there. People from the hospital, the ones who took my parents’ body parts away, wanted to test me, but I told them I know a doctor in Regent Park, so they let me do it there.”

“Regent Park? Why’d you go to that poor-as-fuck place? Why not in your parents’ business, where they have the best medical equipment and doctors?”

“Because as with the local hospital, I don’t trust the doctors there,” he said. “Dr. Teague, our head scientist, is a carrier, and he infected my mom and dad, though nobody saw it was him, and nobody believed me when I said it was he who passed it on. I think many of the staff are carriers, and trying to keep it all a secret.”

“Really?”

“Yeah. That’s why I doubt that this is just a new virus. There’s a weird, body-snatcher kind of thing going on.”

“Like my mom and her fake smiles,” Michelle said with another shudder.

“Yeah. I’ll tell you another thing. Now that both my parents are dead, I’m supposed to succeed them as head of MedicinaTech, right?”

“Yeah, and what’s going on there?”

“They made Wayne Grey, head of R and D, the new CEO of the company.”

What? Why him? How could your mom and dad have allowed that?”

“Oh, come on, Michelle. You know why.”

“Because you’d end the company and its rule over Toronto as your very first act as new CEO.”

“Exactly,” Peter said. “I told my mom and dad I’d do that many times. They made a change in their will to prevent that. And this Wayne guy, who’s been with the company since it began, has shown more loyalty to MedicinaTech and its government than even any of the surviving members of the Board of Directors. Mom and Dad would have given it to that Derek Gould guy, the old CFO, but The Splits killed him, remember? And his replacement is too new to be trusted to lead the company and government.”

“I see,” she said. “But why did you get tested in Regent Park? It’s so filthy dirty there. How can you know they did a good job there?”

“I don’t trust rich people. And I know the doctor there personally. He’ll test you without any agenda. He doesn’t buy into any of the older diseases, though he acknowledges The Splits. For me, that’s reliable enough.”

“OK.”

“In fact, I suggest we go over there and rent a room in a hotel there.”

“Eww! Why there?

“It isn’t all that bad. There are some nice places there. The hotels are nice and cheap, too, and we won’t have to worry about surveillance cameras watching us and penalizing us for not wearing the suits, the way people do even in many rooms of their own homes now. The government doesn’t care about the people in Regent Park, because they’re too poor to do anything against the powerful; they’re not allowed to enter the middle- and upper-class sections of the city, so nobody worries about them spreading any diseases among us.”

“Well, I guess that makes it OK,” she said, still wincing. “If we’re alone and don’t have any of the residents near us.”

“We can wear the protective suits all the way to the hotel room, then when we’re all alone, we can take them off…and everything else. Then we’ll leave with the suits on, we can get tested by my guy again, just in case, then go home.”

“You think it’ll be romantic in Regent Park?” she asked with a sneer.

“I like the poor a lot better than the rich,” he said. “I like to be reminded of how the other side lives. And I think you need to be reminded of their plight every now and then, too.”

“Yeah, I guess you’re right about that,” she said. “I feel a little guilty about my ‘Eww!’ before. I need to be reminded of how lucky we are. When do you want to meet up?”

“How about tonight at around 8:00? I’ll meet you in MedicinaTech. I want to talk to Wayne about the progress they’re making on finding a cure for The Splits. Not that I trust him all that much, but I’m so desperate, I’ll do whatever I have to so we won’t have to wear these suits anymore.”

“OK, I’ll be in the lobby at about 8:00. Bye.”

“See you then,” he said, and they hung up.

Chapter Ten

At 8:02 that night, Michelle sat in the lobby of MedicinaTech, looking around the crowds of people in those protective suits walking by and looking indistinguishable from each other except by suit colour. Growing impatient as she hoped to see Peter among them, she wondered if she’d see him without a suit on.

Finally, after about ten minutes of waiting, she saw him walking along, chatting with Wayne Grey. Both were in those suits.

It took a while for her to be sure it was Peter approaching, for his suit obscured his face. But when she saw through his head covering (made more difficult because she, of course, also had a head covering to look through), she breathed a sigh of relief to see that he was finally complying with the safety precautions.

She stood and waved at him. “Peter, over here!” she said.

He and Wayne walked up to her.

“Wayne, this is Michelle, my girlfriend,” he said. “Michelle, this is Wayne Grey, MedicinaTech’s new boss.”

“Pleased to meet you,” she said with a smile while her gloved hand shook his.

“Nice to meet you, too,” he said with what looked to her like a forced, unnatural smile.

She and Peter exchanged glances of suspicion.

“I just want to say again, Wayne, that it does my heart good to hear you say you want to make some more democratic changes in the government of the city,” Peter said with a fake smile of his own, for he doubted the sincerity of such promises.

Michelle remembered similar promises from her mom, and similar smiles. It was hard to know if any of these promises were genuine.

“Well, don’t get your hopes up too high,” Wayne said. “I won’t be able to make a lot of changes right away, what with the stubbornness of all the members of the Board of Directors and their sympathy with your mom’s and dad’s way of doing things; but I do have a plan or two up my sleeve, ideas of how…to persuade them to see things my way.”

“I see,” Peter said, again exchanging doubtful glances with Michelle. Already I hear ready-made excuses for not keeping his promises, he thought. We’ll see.

“How about we go into that room over there,” Wayne said, pointing to Peter’s right. “Since you’re so concerned about finding a cure for The Splits, there’s a computer in there, and with it I can show you in detail all the progress MedicinaTech is making.”

“OK,” Peter said, and he and Michelle followed Wayne into the room, which was a small meeting room with a computer at the far end of a long table surrounded by chairs.

The three of them sat by the computer: Wayne using it, and Peter and Michelle sat on either side of him.

“I can’t type the keys with these thick gloves on my fingers,” Wayne said. “So I’ll need to take them off. I hope you don’t mind.” He looked at Peter intently, then the same way at Michelle.

Peter and Michelle looked at each other nervously for several seconds of silence.

“I was tested by Dr. Teague this morning,” Wayne tried to reassure them. “I tested negative.”

There was another pause, of five seconds of silence.

Good old, trustworthy Dr. Teague, Peter thought, as did Michelle.

“Have you both been tested?” Wayne asked. “If you keep your suits on, I’ll be safe.”

“Yes, I’ve been tested,” Peter said. “Just today, in fact.”

“I was tested a short while ago, too,” Michelle said. “I’ve been wearing this suit pretty much the whole time since.”

Now Wayne looked at the two of them, his eyes going back and forth from left to right, with some suspicion of his own. Then he took a deep breath and smiled.

“Well, even if you’re lying, I can feel safe as long as you two are both suited up completely,” Wayne said, then he took off his gloves and turned on the computer. “This should take only a minute to get ready.”

When it was ready, he began typing away. As he did, and then found reports and data on the testing of the vaccine MedicinaTech was working on, Peter and Michelle felt their nervousness abate, since no white dots of light were flying from Wayne’s fingers. What’s more, Wayne seemed so caught up in his work that he didn’t look at all nervous about catching anything from the two on either side of him.

It was as if he didn’t care one bit about it.

Now, Peter was feeling an increasing itch to take off his head covering. Actually, Michelle was feeling that way, too, for the suits were just that uncomfortable. And the room, inexplicably, was getting hot.

“As you can see,” Wayne said, pointing to some figures on the computer screen, “we’ve done over a dozen trials with Aziprom, with no outright successes, of course, but with what seem to be some repellent quality that, to a small but notable extent, eases the symptoms. It isn’t ideal, but it is progress.”

“I see,” Peter said, fidgeting and sweating in his suit. How’d it get so hot in here all of a sudden? he wondered. Wayne seems safe and healthy. Nothing’s flying out of his bare hands. If he had The Splits, surely I’d see those tiny stars by now.

“Why is it so hot in here, all of a sudden?” Michelle asked. It was hot like this in the hospital room with Mom and Dad, now that I think of it, she thought.

“You feel hot?” Wayne asked.

“Yeah,” Peter said. “Me, too.”

“That’s odd,” Wayne said. “I don’t feel hot at all.”

“Well, you seem safe of The Splits, anyway,” Peter said, putting his hands on his head covering. “I’m taking this off. I can’t take it anymore.” He pulled it off his head.

“Peter, wait!” Michelle yelled. Then, when no little dots of light flew out of Wayne’s hands, she calmed down.

Peter put his head covering on the table. Both he and Michelle froze for a moment, looking around for little stars.

Wayne looked at Peter and then at Michelle, sneering at both of them. “I told you,” he said. “I was tested today, and it came out negative. I can see that Peter’s test also turned out negative, which is very gratifying to me. I can trust you; I think you both can trust me. How about it?”

“OK,” Peter said. “Sorry.”

Drops of sweat were running down Michelle’s cheeks.

“Well, if you two can expose your skin, so can I,” she said, then she removed her head covering and put it next to Peter’s. “Oh, that feels so much better.”

Immediately after her sentence, those dots of light flew out of Wayne’s hands.

“You lying fucker!” Peter shouted, punching his fist into the plastic face covering on Wayne’s suit, knocking him off his chair and onto the floor. Peter and Michelle reached for their head coverings. They were about to put them on in panicky speed…

…but they noticed something odd about the little lights.

They weren’t entering their heads.

Still with their head coverings off, Peter and Michelle stared at the tiny, glowing stars, which just hovered in the air a few centimetres in front of the vulnerable couple’s faces.

It was as if the little dots of light were staring at Peter and Michelle, observing them, sizing them up.

Their eyes and mouths were wide open; they were shaking all over, but from terror, not from the entry of those floating things.

Wayne got up and removed his head covering. He looked stoically at Peter and Michelle while he rubbed his chin, where Peter’s fist had hit him.

Several more seconds of frozen silence went by.

Those little dots of light just stayed where they were.

“Why aren’t they coming inside us?” she asked. “They don’t even want to make us carriers?”

“Yeah,” Peter said. “Why don’t they want to?”

You’re perfectly safe, Peter, a voice said in his head…a voice that sounded like Donna’s.

What? he thought; Mom? No, that can’t be. The stress is making me hear things. He shook his head to snap himself out of it.

“Neither of you have anything to fear from the lights,” Wayne said in perfect calmness.

“You lied to us before,” Peter said. “You’ll lie again. C’mon, Michelle. Let’s get out of here.”

“As you wish,” Wayne said with a shrug.

Peter and Michelle put their head coverings back on, then they ran out of the room and out of the building.

The dots of light flew back into Wayne’s hands and head.

Chapter Eleven

Peter and Michelle hailed a taxicab and got in.

“Take us to the nearest gateway to Regent Park,” Peter said. “And hurry.”

“OK, from here, that’ll be Queen Street East,” said the cabbie. What do they want to go to that dump for? he wondered as he started driving.

“I guess we don’t need to wear these suits,” Peter said to her, “if those little white dots aren’t going to enter our bodies.” He was about to take his head covering off, raising Michelle’s and the cabbie’s eyebrows.

She put out her hand to stop Peter. “Let’s not jump to any conclusions,” she said. “What just happened to us in that meeting room with Wayne Grey may have been a fluke.”

The cabbie let out a sigh of relief that Peter kept his whole suit on.

“What could have caused those things not to have entered us?” Peter asked.

“I don’t know,” she said. “But we shouldn’t be foolish or overconfident until we know. We need to find out more about ‘those things’ before we can be sure of what we’re dealing with.”

“I really don’t think we’re dealing with a disease,” he said. “I’d swear those things have some kind of intelligence. It’s as if they knew when to strike, right when we took the head coverings off, and no sooner. They didn’t come off when Wayne took off his gloves, because they seemed to know we weren’t vulnerable yet. I’ll bet they raised the temperature in that room, too, to make us too uncomfortable to keep the head coverings on.”

“Yeah, OK…and then not enter us?” she asked while sneering at him.

“Yeah, I know it doesn’t make much sense, but maybe they have some kind of subtle plan for us that we haven’t figured out yet. Like they wanted to show themselves to us…to toy with us.”

“Here come the conspiracy theories again.”

“Well, do you have a better explanation for what happened back there?”

“No, and that’s why I think we need to err on the side of caution until we know for sure what’s going on.”

“Well, that’s why we’re going to Regent Park.”

“Getting us a hotel room is going to help us know for sure?” she asked with another sneer. “By ‘knowing,’ I don’t mean in the Biblical sense.”

The cabbie smirked in envy at the thought of Peter soon to get it on with his pretty, shapely girlfriend in a hotel room. (The pretty face was clearly seen through the head covering; the shape of her body was something the cabbie imagined in his lecherous mind…and something he would have been pleased to know he’d imagined most correctly.)

“Well, after the hotel, we’ll meet my doctor friend.”

“You think he knows something about this?”

“It’s the only recently discovered ‘disease’ he admits to being real,” Peter said. “And while you’d think he’d have been wearing a protective suit, he wasn’t when he tested me. Maybe he had the same experience we had.”

“You never asked him why he wasn’t wearing one?” she asked.

“Part of me was so glad that he wasn’t succumbing to all this fear that I must have simply forgotten to ask him.”

“OK,” the cabbie said. “Here’s the Queen Street East entrance gate.” He stopped the cab. “Don’t let any of those bums sneak out when you get in, as a favour to all of us.”

Peter paid the fare, and he and Michelle got out.

Peter took a key out of the front right pocket of his protective suit, opened the locked gate, holding Michelle’s gloved hand with his free one, and they went in. By the sidewalks on the way to the hotel, they saw rows of tents of homeless people. All of them were filthy. All of them held out their hands for spare change. None was wearing a suit.

“Take a look around,” Peter said as they rushed past the tents and stepped over the stretched-out legs of beggars lying on the sidewalks with hats and bowls beside them, hoping for spare change. “The rejects of Toronto. I’d love to give them some money, but if you or I drop even just one penny into a hat or bowl, they’ll all be mobbing us for more, and I didn’t bring enough pocket money, rich as my family is, to satisfy all of them at once. I feel like such a dick to deny them, but there’s nothing I can do.”

“Same here,” she said. “I don’t have much on me, either. I wish I could give them something.”

“If you think this is bad, wait another few years, when the world completes the transition to a totally cashless society,” he said. “The homeless will really be fucked then.”

“Oh, that’s awful.”

“Yeah, MedicinaTech all but abandoned this part of Toronto. A piddling amount of government taxes goes into helping the poor here, but as you can see, it’s nowhere near enough. The gates keep them from entering the richer parts of the city; only people here with at least a reasonable income have a key to get in and out, like my doctor friend.”

“Why did he choose to live here?”

“He wants to help the poor by providing either affordable or free health care. Without volunteers like him, if the homeless–note the lack of protective suits for them–ever caught The Splits, or any other disease, real or imagined, they’d be in a pretty hopeless situation.”

“Yeah, I can imagine.”

“Actually, a lot had changed around here over the past ten years, as it has in cities all over the world, as we know. In spite of the continued poverty here, violent crime has gone right down. The MedicinaTech government has sent police in here regularly to patrol the area and clamp down on muggings, gang fighting, and the like. If it hadn’t, I’d never have taken you here.”

They reached the Ritz Hotel.

“Here we are,” he said.

They went in and got a room.

“I guess we can finally take these off,” he said, then slowly took off his head covering.

They paused for a moment.

Their eyes darted around the room for glowing little dots of light.

Several seconds of tense silence.

“I guess we’re safe,” she said, taking off her head covering and looking around cautiously. “The woman at the desk was wearing a suit, and those things only come out from people’s uncovered skin, don’t they?”

“Yeah, and they don’t seem to want to enter us, as you’ll recall,” he said, removing the rest of his suit. “Don’t worry. We should be fine.”

“OK,” she said, still in a cautious attitude. She took off her suit with her eyes always on the alert for the little white lights. Peter was already naked and under the covers. She slowly began unbuttoning her shirt.

“If they were gonna get us, surely they’d have already done so by now. Stop worrying.”

“Well, if I’m gonna die, I want us to die together,” she said, then soon got naked and went under the covers with him. 

Michelle was able to get aroused with Peter with surprising speed. Not that there was anything unusually skillful in him as a lover, though she found him most handsome; it was just something about how considerate she found his way of looking at her, of liking what she considered the right things to like. Besides, his gentle, caressing touch could drive her wild within a heartbeat. 

She noted with appreciation how, once she was naked, he kept looking at her face. He likes my body, of course, she thought as they wrapped their arms around each other, but he doesn’t focus on it, to make me into an object, the way all the other guys I dated before him used to do. They pecked each other on the lips a few times, getting soft sighs out of her. He always focuses on my face. He got on top of her. Even now, as he’s…Oh!…sticking it in me, he’s looking down into my eyes the whole time. They kissed again. He’s always wanted to connect with me, right from our first date, when he’d ask me to take off my mask so he could see my face. Another kiss. I’ve always appreciated that about him. For all his faults, I’ve always loved him for these reasons.

As they continued making love in the missionary position, they sighed not only with pleasure, but also from the relief of finally being able to enjoy close physical contact.

For too long, he thought as he went in and out of her, kissing her and caressing her cheeks, all of us have been denied closeness. Fear of disease has split us all apart from each other. We can’t truly help each other if we’re apart, not hugging, not touching, not seeing each other’s facial expressions because masks are hiding our smiles and frowns.

She was thinking these very same thoughts.

When they finished, they lay together and cuddled, their arms tightly around each other.

“Oh,” she sighed. “I’d forgotten…how good that feels. Not just getting laid, but…feeling the touch of someone else. I’m glad we took…the chance here. I’m sick of being afraid…and alone.”

“That’s what I…have been trying to get…you to understand,” he sighed. “We need closeness. It’s what makes…us human.”

“You’re right. I love you.”

“I love you, too.” They kissed. “Now, let’s go…and meet my doctor friend.”

They put on their clothes and left.

Chapter Twelve

After walking out of the hotel and down the street in the opposite direction from which they’d come, it didn’t take long before Peter and Michelle found themselves in an area where there was far less poverty. The two saw the occasional homeless person, but not rows of tents of them.

“It’s good to see that not all of Regent Park is as badly off as I’ve heard,” she said.

“Didn’t I tell you that there were some nicer areas?” he said. “I just wish my parents had provided better for the worse-off here.”

After another block of walking, they reached a building with a sign that read, Dr. Phil Gordon’s Clinic, Virus Testing, ENT, and Other Medical Services.

“Here we are,” Peter said. “My doctor friend’s clinic.”

They went in and up the stairs to the second floor, where a sign on the door said the same as the one outside. They went in.

A nurse in a protective suit was at a desk. She looked up from her work and recognized Peter.

“Peter?” she said. “What brings you back here again? You don’t want another test so soon, do you?”

“Yes, both of us do,” he said.

“Wow, you never used to be this worried about viruses,” the nurse said.

“Well, strange things have been happening to both of us lately,” he said. “We really need to talk to Phil.”

“Well, Dr. Gordon should be finished with his patient in there in a few minutes,” the nurse said, gesturing to the examination room to her right. “Why don’t you both have a seat over there?” She now gestured to the seats in the waiting area on the other side of the room, opposite her desk.

“OK,” Peter and Michelle said together, then went over and sat.

She picked up a copy of The Mississauga Exposé. She flipped through the pages and found an article about the difficulties MedicinaTech was having creating an effective vaccine for The Splits.

“Peter, check this out,” she said, showing the story to him.

“Oh, of course,” he said. “And we both know why they’re having those difficulties, don’t we?”

A man in a protective suit walked out of the examination room. As he left the clinic, the doctor–with the examination room door still half-way open–recognized Peter.

“Hey, Peter,” he said. “Welcome back. Come on in.”

Peter and Michelle got up and approached Dr. Gordon.

“He still isn’t wearing one of these suits,” Peter said.

“Yeah,” she said, shaking a little.

They all went into the examination room, and Gordon closed the door behind them. “So, what brings you back here?”

“Well, for one thing, I’ve been meaning to ask you, Phil,” Peter said, “why you never wear a protective suit, like everyone else.”

“Well, I have to wear one outside of Regent Park, because out there everyone’s paranoid about The Splits, not so much here, and I don’t wanna worry them over there, or make waves.”

“But why don’t you wear one here, too?” Michelle asked. “Your nurse is wearing one. Your last patient has one on, too.”

“Because I know, for a fact,” Doctor Gordon said, “that I’m never going to be ‘infected’ with The Splits.”

“How do you know that?” Peter asked, his eyes and mouth wide open.

“You know how, whenever people are known to be afflicted with The Splits, they first see a swarm of little, glowing balls of white light entering them?” the doctor said.

“Yeah,” Peter and Michelle said together, anticipating Gordon’s next words.

“Those things never enter my body,” he said with perfect self-assurance. “And I’ve seen them hover inches before my uncovered face too many times to count. I’ve tested myself every time after, too, just to be sure. All negative. I’m not even a symptomless carrier, like Hannah Gould.”

Peter’s and Michelle’s jaws dropped.

“There’s a kind of confession on your faces that you’ve had a similar experience, I’ll wager,” the doctor said, “or you’ve known others who’ve had that experience.”

“Actually, that just happened to both of us a few hours ago,” Michelle said.

“The little stars flew out of a carrier,” Gordon said, “one who had at least part of his body exposed, and instead of entering your bodies, they just floated in front of you both, as if they were checking you out to see if you were friends or foes?”

“Yeah, that’s how it seemed, anyway,” she said.

“That happened to me, and to a number of other people who’ve come here, too,” the doctor said. “I’d say you needn’t ever fear The Splits.”

“Why not?” she asked.

“Based on all the observations I’ve made of this ‘Splits’ phenomenon, there seem to be about four different reactions to those little glowing things: death, as happened to both your parents, Peter, I’m sorry to hear; second, a struggle with those things, leading either to death, or survival and becoming a carrier, this latter which seems to have happened to Siobhan Buchanan, head of the Mississauga Exposé and the district–“

“That’s my mother, by the way,” Michelle said.

“Oh, you’re Michelle Buchanan,” Gordon said, putting out his hand to shake hers. “I read about your family in the papers. Sorry for the loss of your father. I trust your mom’s doing OK now?”

“Thanks,” she said, shaking his hand. “I guess so, though she acts strangely.”

“That’s the result of being a carrier,” the doctor said. “It changes you. And hey, Peter, why didn’t you introduce me to her? She’s your girlfriend, right? You talk about her enough when you come to see me.”

“Yeah, I’ve been waiting for you to introduce me,” she said to Peter, glaring at him. “Where are your manners?”

“Sorry,” he said in embarrassment. “Phil, Michelle; Michelle, Phil. I’ve had a lot on my mind.”

“He’s a little uncouth,” she said to the doctor while giving Peter a hug. “But I love him all the same.”

“Anyway,” Peter said, “what are the other two reactions?”

“The third reaction is what happened to Hannah Gould,” the doctor said.

“The wife of Derek Gould, MedicinaTech’s old CFO,” Peter said.

“Yes, he was the first victim, you know that,” the doctor said. “Hannah actually came here a week after the attack. After being in quarantine for a few days, they suited her up with a protective suit. She came here to talk to me about this supposedly medical issue. The little white lights enter you and only slightly change you, as happened to her–you feel a warm, vibrating feeling, and you’re a carrier. And the last reaction is nothing at all–no entry of the body, or what happened to us.”

“Why do you think there are these different reactions?” Peter asked. “Why do those things kill some, fuck other people up for a while, live in people’s bodies without harming them, or don’t touch us at all?”

“Well, when Hannah visited me, she took off her head covering and let those little stars fly out at me, though they did not enter me (my first experience of that, by the way). She said, ‘Their harming or not harming you depends on how sympathetic you are to the cause’.”

“Sympathetic?” Peter and Michelle said together with sneers.

“The ’cause’?” Michelle asked.

“When I dealt with patients who had The Splits, and their bodies were ripping apart, closing back together, and ripping apart again, there was a sense that they weren’t accepting what was going on inside themselves,” the doctor said. “Their bodies were rejecting those little glowing things, and that’s what was making their bodies tear apart.”

“And if the patient got better, he became a carrier, and had that changed, emotionless personality,” Peter began.

“Or personality with fake emotions,” Michelle added, thinking sadly about her mother.

“That all means they came to accept ‘the cause,’ whatever the fuck that is?” Peter asked.

“That’s how it has looked to me, every time I’ve seen it,” Gordon said. “And if they totally rejected those things, they ripped up into pieces and died. But the more accepting of them that a person is, the less they will bother him.”

“So they aren’t bothering us at all because we totally sympathize with whatever they want to do?” Peter asked. “Is that what you’re saying?”

“It seems that way,” the doctor said. “I can’t know for sure, but that’s the way it looks.”

“Well, I fail to see how I ‘sympathize’ with the killing of my father,” she said angrily.

“Or how I can ‘sympathize’ with the killing of both of my parents,” Peter said with even more anger. Even though I never really liked either of them, he thought.

“Hey, I don’t sympathize with any of the killings I’ve seen,” Gordon said. “Those things seem to go after powerful, influential people, not the powerless, hence we don’t see the homeless here with The Splits. Now, I don’t like the powerful any more than you do, Peter, but as a doctor, I don’t want to see the rich and powerful die any more than I want the powerless to die.”

“They attack only the powerful,” Peter mused. “This is no disease, is it, Phil?” he asked with fear in his eyes.

“Nope,” the doctor said, shaking his head in all self-assurance.

“Do you have any idea where those things came from?” Peter asked.

“When I talked to Hannah, she said she and Derek saw them flying down to them…from the night sky,” the doctor said, then heaved a sigh.

There was a moment of tense silence among them.

“You mean,” Peter said in a trembling voice, “that those things are from…?”

“Outer space?” Michelle said.

“Hey, you said that, not me,” Gordon said. “Hannah told me that the less we know, the better.”

“And you trust her?” Peter asked. “I’ll bet she knows, but is hiding valuable information.”

“I don’t know who to trust,” the doctor said. “But I do know how not to rock the boat. In any case, if you’re uncomfortable wearing those suits, I’d say you can take them off.”

Peter looked at Gordon askance and asked, with a sneer, “Why should we take them off?”

“Hey, you don’t have to if you don’t want to,” the doctor said.

“Oh, I want to,” Peter said, “but…”

“Then take your suit off,” Gordon said.

“Do you want us to?” Michelle asked with a sneer.

“I don’t care either way,” the doctor said, noting the suspicion in their eyes and waving his hands to assure them that he had no hidden agenda. “Do whatever you want.”

Peter and Michelle just stood there, motionless and eyeing him carefully.

“Those things didn’t attack you before,” the doctor said. “Even if I’m a carrier and lying to you, I assure you, they won’t attack you now.”

He isn’t showing any of the carriers’ shallow emotion, Peter thought.

He isn’t showing the fake, awkward smiles my mother shows, Michelle thought. And the room isn’t getting uncomfortably hot.

Peter and Michelle looked at each other, then back at Dr. Gordon.

They ever so slowly took off their head coverings, ready for anything, ready to pop them right back on at the slightest sign of danger.

Nothing.

Then they ever so slowly unzipped their body suits, never taking their eyes off the doctor.

The suits came completely off.

Nothing.

Peter and Michelle breathed a sigh of relief.

“I told you you were safe,” the doctor said. “Do you think you can trust me now?”

“OK,” Peter said.

“Sorry,” Michelle said.

“Look, I have no idea what those things want,” the doctor said. “But I have reason to believe that they don’t think of the three of us as enemies. I have no idea why, but we’re not their enemies, or so they think.”

“I’d say they’re wrong about that,” Michelle said with a frown. “They killed my dad.”

“I’d say they’re wrong, too,” Peter said. “I lost both parents because of them. I may not agree with my parents’ politics, and I never got along with them, but that doesn’t mean I wanted them dead. I was really shaken up when I saw those bastards kill them so violently right before my eyes. Those little lights have got a big-ass enemy in me.”

Just when he finished his sentence, the glowing little dots flew into the room from an open window.

Peter and Michelle gasped. The doctor stayed cool.

The little lights just hovered before the faces of all three of them.

Peter and Michelle froze. Dr. Gordon leaned comfortably against his desk.

“You killed my father,” Michelle said with tears in her eyes. “I’m not your friend. Kill me now.”

“You killed my parents,” Peter said with gritted teeth. “I’m not your friend, either. Kill me now.”

The little dots just stayed there, hovering inches before them.

“Kill me now!” Peter yelled.

“Kill me now!” Michelle screamed.

They don’t want to kill either of you, Michelle, a familiar voice said in Michelle’s head.

Dad? she wondered, then paused to listen for more. No, it couldn’t be. I’m hearing things; it’s the stress. She focused on the lights again.

After a few more tense seconds of hovering, the lights flew out of the window.

Peter and Michelle were still shaking a minute or two after.

“Now what?” Peter asked Dr. Gordon.

“I guess they don’t want to kill you,” the doctor said with a shrug.

“They have a plan for us, or something?” Michelle asked.

“Who knows?” Gordon said with another shrug. “I guess you won’t be needing a virus test, will you?”

“No, I guess not,” Peter said.

One thought kept swimming around in Michelle’s mind: If my mom isn’t the carrier of a disease, but is possessed of an alien intelligence, how am I going to deal with that?

Analysis of ‘A Farewell to Kings’

A Farewell to Kings is the fifth studio album by Rush, released in 1977. The album demonstrates remarkable musical growth in the band, with their shifting away from their original, Led Zeppelin-inspired hard rock sound and into the realm of progressive rock.

To this musical end, the trio expanded from a basic guitar/bass/drums sound to one incorporating not only six- and twelve-string acoustic guitars, but also classical guitar (by Alex Lifeson). Furthermore, singer/bassist Geddy Lee adds a Minimoog, and both he and Lifeson play bass pedal synthesizers; this electronic sound would be further expanded to the use of more synthesizers by the 1980s, this being a dominant aspect of their music throughout that decade.

Drummer Neil Peart adds a wide array of percussion instruments on this album, including glockenspiel, tubular bells, Vibraslap (heard during Lifeson’s solo on “Closer to the Heart“), and Chinese temple blocks. These new musical colours, combined with Peart’s growth from his original Keith Moon-inspired aggressive drumming style to one of prog rock virtuosity, show the newer influence of the crackingly precise chops of Carl Palmer and Bill Bruford.

But just as newer musical ideas are being phased in, so are older ideas being phased out. As I said above, the hard rock sound, though still present to a large degree, is noticeably less here than on previous albums. And although Lee’s soaring head voice (with its grating vibrato) is as evident as ever here (in fact, on “Cygnus X-1,” he hits his highest note ever, a B-flat 5…or 6?), it won’t be long after this album (two albums later, specifically) that he will phase out the use of head voice and limit his highest notes generally to those within mixed voice, and focus on his lower, chest voice.

A Farewell to Kings is an album that Rush were most pleased with: Lee has never found fault with it, and Peart said that the title track “seems to encapsulate everything that we want Rush to represent.” It’s one of my personal favourites of the band’s, if not the favourite–it’s the first of theirs that I’d heard as a little kid, not long after it was released. Apart from all the musical colours I described above, A Farewell to Kings is genuine art rock, not only with long songs divided into sections, but also with a more prominent use of odd time signatures and superb musicianship that had since become synonymous with Rush.

Here is a link to all the song lyrics on the album.

The cover, by Hugh Syme, shows a demolition site in the background as juxtaposed with, in the foreground, a king slumped on a throne and made to look like a marionette. The picture expresses some of the themes of the title track, and by extension, those of the rest of the songs on the album, as I’ll explain below.

Decades ago, I spotted the obvious theme of morality, but a much more important theme is idealism, particularly the idealizing of the past as against the disillusionment felt in the modern world. Also, there’s the theme of the danger of recklessly seeking to attain those ideals, leading to one’s self-destruction.

The title track begins softly, with Lifeson playing a classical guitar melody with one bar in 3/4, then three bars in 4/4 before returning to the 3/4 beginning, and playing the whole cycle all over again. He plays it a third time, but with the first two of the three 4/4 bars, replacing the third with a transitional bar in 5/4, then one in 4/4, to introduce a middle passage with Lee’s Minimoog and Peart’s glockenspiel.

The first theme returns with all three instruments, and with the 5/4 theme played three times. Though this gentle introductory tune includes a synthesizer, the classical guitar’s lute-like sound makes one think of a time hundreds of years ago. The music’s tranquility makes one imagine, correctly or incorrectly, that that old time was a better, more peaceful one.

A sharp contrast is heard when the electric guitar, bass, and drums come crashing in, suggesting the turmoil of the modern world, a sad decline from that (perceived) idyllic opening. We hear two bars of 4/4, then a switch to several bars of 7/4 before returning to 4/4.

Now, the lyrics come in, Lee singing what amounts to be a conservative’s complaint of “Whatever happened to the good old days?” (If one didn’t know any better, one might think of Archie and Edith Bunker singing “Those Were the Days” at the piano.)

Added to this conservative lament is the use of medieval imagery in Peart’s lyric (i.e., references to “castles,” all things “kingly,” and “nobles”). Let me just get this straight: a farewell to kings, that is, to feudalism, is a bad thing? Morality can be upheld only through the absolute power of a monarch, the ‘divine right’ of kings?

Such would be a very strange position for three young, long-haired rockers (who only the previous year sang of the pleasures of dope in “A Passage to Bangkok“) to take. Either Peart was being ironic, or he was being metaphorical in his references to kings and castles as an ideal, or the lyric is in the voice of a reactionary whose political ideals are in sharp contrast with those of the band.

I’d say that a hint to what Peart was really writing about, perhaps by way of a Freudian slip, is in the line “Ancient nobles showering their bitterness on youth.” Does this line not encapsulate what the whole lyric presents to the listener–grumpy old men griping about all these bad kids, with their long hair, loud rock music, and sex and drugs, only it’s expressed with all this medieval imagery, just to reinforce how “ancient” the complainers are?

One thing to remember about Rush, and about Peart in the 1970s in particular, was the influence of right-wing libertarianism, and of “the genius of Ayn Rand” in their reworking of her novella, Anthem, in their side-long suite, “2112” (not to mention their song of the same name as her book, and in the name of Rush’s record label). Surely, these three haters of ‘Big Brother government’ weren’t holding up the monarchy as a fitting alternative. And if the idealizing of monarchy is meant as a metaphor, then for what?

I want to give Rush credit here, and say that this song, however much Peart insisted would “encapsulate everything that [they wanted] Rush to represent,” is meant as an ironic presentation of the views of authoritarian conservatives “showering their bitterness on youth.”

In other words, Rush represents ironic tongue-in-cheek.

Sandwiched in between these verses is a tight instrumental section in alternating 4/4 and 2/4, with Lifeson doing a solo with a delightfully angular tone on his Gibson ES-355 over Lee’s Rickenbacker bass octaves in A, and Peart’s tight drumming. Lifeson stops soloing for a moment and plays an A-chord with Lee’s A octaves and Peart’s drumming of the 4/4 and 2/4 rhythm; then we have just 4/4 and a chord progression of A major, G major, and D major, over which Lifeson resumes soloing before a reprise of the “Cities full of hatred…” verse.

A final verse, to the same music as that of the reprised verse, ends with the hope for a world that’s “closer to the heart,” an allusion to the famous song that acts as a solution to the problem presented in the title track. More on that later, of course.

Though lyrically, “Xanadu” is inspired by Samuel Taylor Coleridge’s classic poem “Kubla Khan,” Peart’s idea originally came from the classic film Citizen Kane, in which the titular character (based in part on William Randolph Hearst) owns a mansion called Xanadu. Just as the title track yearns for an ideal morality in the feudal past (metaphorically, if not literally), so does “Xanadu” involve a quest for the ideal of eternal life.

As with the title track, “Xanadu” begins with birdsong (indeed, Messiaen would have loved it!). We also hear a low E played on the bass pedal synthesizer, along with Lifeson soloing with a volume pedal, and Peart playing the Chinese temple blocks, swiping the chimes, and tapping an E on the tubular bells.

Next, Lifeson plays–no longer with the volume pedal–a seven-note cycle of E–E (octave higher)–A–B–E-flat–A-flat–A, which then brings in the bass and drums. After this passage in 7/8, we return to 4/4, still in E major, with a riff including a whirlwind of notes starting on D, in the E-Mixolydian mode. Then, we’re back to 7/8 (Rush’s favourite odd time), with Lifeson quickly strumming chords of E-major, D-major, B-major, A-major, and G-major, but with an open high E string (he does a lot of this–playing E-shape barre chords, but with the high E-string open, without the barre–at various points in the song). Peart joins in with cowbells of different pitches, and Lee with the bass pedals set at a treble range. The bass and drums soon join Lifeson in this 7/8 passage.

The instrumental opening goes on for about five minutes before Lee finally begins singing, making allusions to Coleridge’s poem. “Drink[ing] the milk of Paradise” is what the speaker hopes will confer immortality onto him, though the milk, combined with honeydew, also suggests the use of narcotics (recall, in this connection, “A Passage to Bangkok,” as well as Coleridge’s own drug use).

The speaker seeks the ideal of eternal life, and hopes to find in Kubla Khan’s “pleasure dome” the ideal abode, paradise. But just as hoping for moral ideals in a romanticized past in “A Farewell to Kings” is foolish, so is the speaker’s hope for happiness in immortality in Xanadu foolish.

A thousand years pass, and the speaker has no hope of dying. He yearns for the end of the world, hoping to be destroyed with it, and thus to be freed of the “prison of the lost Xanadu.” Just as Charles Foster Kane can find no happiness or fulfillment in his wealth and power, the speaker, in his “bitter triumph,” cannot find any in honeydew and the milk of paradise.

Wealth, power, immortality, ideals…these don’t provide happiness. That’s what A Farewell to Kings is all about.

Now, “A Farewell to Kings” may have presented the problem of immorality (just as “Xanadu” explored the problem of immortality), but “Closer to the Heart” presents an attempt at finding solutions. Obviously, “the heart” is meant to indicate that we need a world of love as the solution, though as I’ll later argue, the solution as given isn’t adequate.

From a formal, structural perspective, the song’s lyrics (written by Peart, but inspired by a verse by Peter Talbot, a friend of the band’s) are cleverly written, with parallel structure from verse to verse. Examples of such parallelism include the rhyming last words of the third line of each verse (“reality,” “creativity,” “mentality,” and “destiny”); in the first line of each verse are references to different careers one could have (“men who hold high places,” “the blacksmith and the artist,” “philosophers and ploughmen,” and “captain”); the blacksmith would “forge,” and the artist use his “creativity,” ploughmen “sow” the philosophers’ “new mentality,” and the captain goes “sailing into [the] destiny” of “the chart” that “I will draw.” The most obvious parallelism is the repeat of the song’s title in the last line of each verse.

Now, this all makes for fine rhetoric, which again uses archaic diction, as in the album’s title track, the question song to which “Closer to the Heart” is the proposed answer. Here’s the problem: nothing in the song actually details how we are supposed to move towards a more loving world.

Matters start to get a little disturbing when we consider how the band that’s preaching how we must move “closer to the heart” was only the previous year touting the ‘philosophy’ of an embittered Russian bourgeois expat in the US, she who wrote of The Virtue of Selfishness, which espoused “rational egoism,” or as I would call it, rationalized selfishness.

In all fairness to Rush, and to Peart in particular, when they recorded these 1970s albums, they were young and naïve about the world. Their expertise was in music, not politics. Given the intense anti-communist propaganda of the Cold War, the kind that raised a hack writer like Rand to fame (seriously, I read Anthem when I was young and, being similarly naïve at the time, was more sympathetic to the story’s anti-socialist message, and even then, I was not impressed with her prose), it’s easy to see how Peart could have been seduced by her ideas, as so many have been. And to be even fairer to Peart, in the last decade of his life, he confessed that he’d renounced Rand (who, incidentally, was no libertarian, but rather an advocate for capitalist government) and begun calling himself a “bleeding-heart libertarian“…translation: a liberal. Indeed, it was the individualism of her message, not the pro-capitalist one, that he’d always liked, anyway.

As for those conservative politicians whose Rand influence has stayed with them, look over the past forty years of neoliberalism and ask yourself honestly if their politics have steered the world any “closer to the heart.” Tax cuts for the rich have resulted in their wealth ballooning to the point that they can essentially buy politicians and both American political parties, ensuring that the owners of the big corporations determine the direction the world goes in, which means more for them and less for the rest of us (all of this has given a new, bitter irony to Peart’s complaints of “the seeds that we let grow”). As I’ve explained in other posts, the “free market” dialectically leads to “corporatism,” or the capitalist government that Rand wanted, the dictatorship of the bourgeoisie.

So, with the song’s championing of a more loving world, with its clever rhetoric and a lack of a concrete plan for realizing its goal, “Closer to the Heart” is another example of the album’s theme of idealism. Note that utopian thinking exists on the left and on the right. Everyone has his or her own notion of the ‘perfect world’: there are, for example, the Nazi ideals of Lebensraum and judenrein, though decent people would never espouse such horrors. “Free market” fundamentalists’ notion of unbridled capitalism, through the voodoo of the invisible hand, leading to happiness and harmony is another utopian fantasy: how does unchecked selfishness help the world? It’s easy to see how it results in unaccountable corporate tyranny, though. And leftism isn’t necessarily all idealistic: contrary to popular belief, Marxism is not, as I explained here, utopian socialism, but scientific, grounded in revolutionary theory.

Now, “Closer to the Heart” may have failed to provide a method for achieving the more loving society, but Lee’s lyric for “Cinderella Man” gives us something of an idea. Just as “Xanadu” was inspired (in part) by a classic old black-and-white movie, so was this one: namely, by Mr. Deeds Goes to Town, one of Lee’s favourites.

Longfellow Deeds (played by Gary Cooper) is dubbed the “Cinderella Man” by a newspaper reporter, named Louise “Babe” Bennett (played by Jean Arthur), because of his sudden rags-to-riches inheritance of his late uncle’s $20,000,000 fortune. He’s from a town called Mandrake Falls, and he goes to New York to get the money.

Since Deeds eventually decides to give all of the money to poor, starving farmers (the 1936 film is set during the Great Depression), powerful men scheme to get their hands on his money by having him declared insane, and therefore too mentally incompetent to be trusted with the responsibility of managing and dispensing with so huge a sum of money. His eccentric behavior, which includes suddenly punching men for no apparent reason, walking in the rain, and feeding a horse an excess of donuts, seems to confirm that he’s insane. In fact, a psychiatrist deems him to be a manic depressive. In the end, though, they “just couldn’t beat him.”

So, Lee’s lyric tells the plot of the film in an extremely abbreviated form. The proposed ideal moral solution to the problem of poverty is, essentially, a kind of charity, acts of generosity done of one’s free, individual will, as opposed to the workers’ revolutionary seizing control of the means of production, resulting in a state-planned economy providing free healthcare, education, housing, and full employment.

It’s interesting to note, in light of Rand’s influence on Peart, that Mr. Deeds Goes to Town is a film by Frank Capra, who also did It’s a Wonderful Life, another film about the value of Christian charity, and one despised by the likes of Rand, who have idiotically claimed it is a “communist” film. Capra, a kind of right-wing libertarian in his own right, didn’t even like FDR’s New Deal, which was meant to keep the Depression-era American working class from agitating for a socialist revolution. As I argued in my analysis of this latter film (link above), the notion that altruism of any kind can be airily called “communist” really only displays the mean-spiritedness of the “rational egoists.”

“Madrigal” is a simple love song, with a sweet melody that Lee plays on his Minimoog, and with Peart’s drums recorded in an echo room. Even this love song can be seen as a manifestation of the theme of ideals, for when one is in love, one idealizes the love object, ignoring his or her faults, and exaggerating his or her virtues, especially as a contrasting bulwark against this harsh world we live in, as expressed in Peart’s lyric. That the song is called madrigal is again, as with much of the diction of its lyric, an example of the use of archaic imagery (suggesting associations with courtly love poetry, which idealized the Lady as love object), reinforcing that sense of idealizing a distant past against our troubled modern world.

“Cygnus X-1 Book One: The Voyage” is, in contrast to the previous songs’ settings at different points in the past, a science fiction story about going “across the Milky Way” in a spaceship to reach a black hole “in the constellation of Cygnus.” It’s in four parts, the Prologue opening with an electronically-altered narration by Terry Brown, the producer of A Farewell to Kings and all the other Rush albums from their second, Fly by Night, up to Signals.

1 is very brief, with Lee singing of how entry “through the void” of the black hole leads one “to be destroyed,” or could it be a wormhole into either another part of the universe, or a door to a parallel one? Our protagonist dares to find out.

Lee begins playing broken-up segments of the bass line that, when Lifeson and Peart join in, will comprise a riff in 3/4, 7/8, 3/4, and 4/4. Soon after, a frantic riff comes in with chords of C-sharp minor, E minor, and G-sharp minor, which we’ll hear again at the climactic end of the song. A guitar line of G, A-flat, B, C, D, E-flat, F-sharp, and G leads into a riff in 11/8, 12/8, and 11/8, with chords in C minor, a passing chord of B minor to F-sharp major, E-flat minor, and a passing chord of D minor back to C minor. The Minimoog eventually comes in, largely doubling the chords.

2, narrated by the protagonist, describes the flight on his ship, the Rocinante, which is named after the horse ridden by Don Quixote, a foolish idealist who, having read so many chivalric romances, fancies himself such a hero, a knight-errant in search of adventure. He’s an awkward fool, engaging in a task far beyond his abilities. The protagonist in the spaceship is similarly foolish and idealistic, engaging in a dangerous quest (though, in “Book Two: Hemispheres,” he enters–through a wormhole, presumably–the world of the Apollonian and Dionysian battle of the mind and heart, achieving the ideal of balance between the two).

Beginning this section is an upbeat chord progression of C major, F major, D major, and G major, musically suggesting the rosy optimism of the protagonist. Things don’t stay positive for long, though.

A repeat of the G, A-flat, B, C, D, E-flat, F-sharp, and G leads to a solo by Lifeson with the wah-wah pedal. Next is a quieter section suggesting the traveling of the Rocinante deep into space, with Lifeson playing octaves of C, A-flat, and B. Backed by Peart’s drumming, Lee comes in with his bass soon after, with fragments of his bass line from that frantic, climactic progression heard in the Prologue and soon to be heard again–notes of C-sharp, E and G-sharp…hearing this is a foreshadowing of the protagonist’s doom. Fittingly, the bass line does a bitonal clash with the guitar line, reinforcing the sense of tension building up to the climax. But just before that climax, there’s a louder section in E, in 4/8, 3/8, and 4/8.

3 has the Rocinante spinning out of control as it reaches the black hole, with that frantic chord progression fully developed in the form of C-sharp minor, E minor, G-sharp major, and G major, then C-sharp minor, E minor, and C minor, all in 6/8. The protagonist screams out that his “every nerve is torn apart.” (The tragedy of his self-destruction in his spaceship is paralleled by the farce of Don Quixote charging, on his horse, the windmills.)

The song ends with soft but eerie chords of C minor, E-flat minor, and E minor added ninth, then E minor again, but without the ninth. This fades out, suggesting the fading out of the protagonist’s life.

The protagonist thus goes through the whole Hegelian dialectic of being, nothingness, and in Book Two, the sublation of being and non-being, that of becoming, the balance between the two (as well as that between the Apollonian mind and the Dionysian heart), the achievement of the Hegelian ideal.

But this ideal isn’t to be reached until the next album. Instead, as far as A Farewell to Kings is concerned, our quixotic hero just destroyed himself, as does the drinker of the milk of paradise in the other long song ending Side One of this album. The first hero destroys his mind in madness, and the second destroys his body; the first erases the possibility of his non-existence, the second erases his existence…both heroes doing so in the foolish pursuit of unattainable ideals.

Analysis of ‘Inception’

I: Introduction

Inception is a 2010 science fiction action film written and directed by Christopher Nolan, who also produced it with his wife, Emma Thomas. The film stars Leonardo DiCaprio, with an ensemble cast including Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page, Tom Hardy, Cillian Murphy, Dileep Rao, Tom Berenger, and Michael Caine.

Nolan had been working on a story about “dream stealers” for nine to ten years, originally conceiving of it as a horror film before making it a kind of heist film. He was influenced by such movies as The Matrix, Dark City, The Thirteenth Floor, and even his own Memento, to an extent. He postponed making Inception until he’d got enough experience making large-scale films like the first two of his Dark Knight trilogy.

Inception was the fourth-highest-grossing film of 2010; it is considered one of the best films of the 2010s, and it won four Oscars (Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects). It was also nominated for Best Picture, Best Original Screenplay, Best Art Direction, and Best Original Score.

Here is a link to quotes from the film, and here is a link to the script.

II: Unconscious vs. Subconscious

What is, for me, especially intriguing about Inception is the intersection of several themes: the unconscious (here infelicitously called the “subconscious“–more on that soon), manipulation, capitalism, trauma, strained family relationships, the blurred distinction between fantasy and reality, and perhaps most importantly, what shared, lucid dreaming can be seen to represent–the viewing of a movie in a theatre with other people.

Let’s now look at each of these themes one by one.

“Subconscious” is a popular term in psychology to refer to what psychoanalysis calls the unconscious. While I’m sure Nolan never intended to adhere to Freudian thinking to any significant extent (beyond, perhaps, the estranged, bitter feelings that Robert Fischer [Murphy] has for his dying father, Maurice [played by Pete Postlethwaite]), a bitterness that could be at least partly Oedipal), I must favor the term unconscious over subconscious, and here’s why.

Subconscious, as Freud explained, is an unclear way of expressing what that part of the mind is, what is ‘outside’ of conscious thinking. Is it topographical, i.e., existing underneath consciousness, as is almost literally indicated in the movie? Is it qualitative, indicating another, subterranean consciousness, again, as Inception seems to imply?

The unconscious, on the other hand, is not concerned with some kind of mental ‘place.’ Rather, it’s properly concerned with what we do not know. Unconscious impulses, for example, don’t ‘hide underneath’: the repressed, on the contrary, returns to consciousness, though in a new, unrecognizable form. It isn’t ‘underground’; it hides in plain sight.

Significantly, Dominick ‘Dom’ Cobb (DiCaprio) and his team of thought-thieves are fully aware of what’s going on in the “subconscious” world of their shared, lucid dreams. There’s something unmistakably topographic and subterranean in these dreams-within-dreams. So however psychoanalysts may cringe at the use of the word “subconscious,” we must go along with Nolan’s word choices and imagery, going down an elevator with Ariadne (Page) to lower and lower levels of this subterranean land to see what this “subconscious” actually symbolizes.

III: Fantasy vs. Reality

Here we come to one of the intersections of theme. The dreams-within-dreams of the “subconscious” represent further and further removes from reality, deeper and deeper forays into fantasy. That the dreams generally look as if they could be events occurring in reality (Ariadne’s alterations of the Parisian cityscape, among other exceptions, notwithstanding) shows how blurred is the distinction between fantasy and reality in the film.

Small wonder the dream-thieves have to carry around totems (e.g., the spinning top, or Arthur’s die) to test if they’re dreaming or in the real world. Small wonder that Mal (Cotillard) kept killing herself to wake up, only to do so again for the last time in the real world, her still being obsessively deluded (thanks to Dom’s planting of an inception in her mind) that she was always in dreams-within-dreams. Incidentally, the inability to distinguish between fantasy and reality is indicative of psychosis, which is what I suspect Inception is really all about.

IV: Capitalism and Manipulation

The implanting of false beliefs into the minds of the marks of the dream-thieves–be this implanting inception (putting the beginning of an idea into one’s mind) or extraction (stealing a company’s secrets as the goal of corporate espionage) through conning the mark into trusting the dream-thieves into opening up completely and thus making oneself vulnerable to them–is manipulation in the service of one set of capitalists trying to defeat their competition. As Marx once said, “One capitalist always strikes down many others.” (Marx, page 929) Here we see the intersection of the themes of manipulation and capitalism, in the realm of the unconscious, in deeper and deeper layers of fantasy that get confused with reality.

Indeed, the company that Dom Cobb works for, Cobol Engineering (not only on which his surname is a pun [i.e., Cobb is a microcosm of the company], but also on which cobalt–extracted from the earth, like company secrets, by poor Congolese children for use in our cellphones–seems a pun), is a kind of mafia organization in the field of corporate espionage, in which failure can endanger an employee’s life. As I’ve argued many times in other blog posts, the mafia (criminal businesses) is a fitting metaphor for capitalists: note the expensive suits we see on Dom, the dominant, leading member of the dream-thieves.

Those of us on the political left are acutely aware of how capitalism results in alienation, which in turn leads to such problems as strained family relationships (i.e., Fischer and his dying father, as well as Cobb’s inability to return to the US and be with his kids) and emotional trauma (the hurt Fischer feels from the contempt Maurice has always had for him; Cobb’s guilt over how his inception for Mal drove her to suicide).

V: Dream Theatre?

A number of commentators on Inception have interpreted its use of shared, lucid dreaming as symbolic of people in a darkened movie theatre watching a film together. Getting caught up in the movie’s story is hypnotic, dreamlike. We can see more thematic intersection here in how not only the marketing of movies is a part of capitalism, but also how films are used to manipulate their viewers emotionally. The CIA is often consulted by moviemakers, who are required to portray the organization–known for ruthlessly helping in the overthrow of many governments opposed to US imperialist interests–as benign. Accordingly, films like Top Gun: Maverick and the Marvel superhero movies are blatant American military propaganda.

Now, this notion of shared, lucid dreaming as symbolic of people watching a movie together can be extended, I believe, to the idea of people watching TV together–TV shows and commercials–listening to the radio, being hooked on the internet, etc. In other words, the fantasy world of dreams can be a metaphor for the hypnotizing effect of the media.

Note the dream-like quality of many of our recent TV commercials. Instead of focusing on the products, as the commercials of the past did, these ads focus on images of a happy, carefree life. The commercials are fantasies, removals from reality, just like the shared dreams in Inception. An escape from the world…all in the service of capitalism, while pretending that the profit motive of capitalism isn’t at all present. The urge to buy what’s being sold sneaks into the unconscious by association with the fantasy presented, the inception of the desire for the product, our imaginary appetites…all while extracting our cash.

We might want to remember how Edward Bernays–whose double uncle was Freud, incidentally–used psychoanalytic concepts to help advertisers and political power structures to colonize the unconscious and manipulate people into buying this or that product, and to manufacture consent. (Bernays, by the way, was involved in the 1954 Guatemalan coup d’état for the sake of the United Fruit Company.)

VI: Putting All the Themes Together

So these are all the ways that the unconscious, manipulation, capitalism, trauma, strained family relationships, the hazy line between fantasy and reality, and dreams as a metaphor for film (and the media in general) intersect in Inception. Though inception means beginning, or the establishment of an institution or activity, I see in the word a pun on deception, or the planting of a deceptive idea into someone’s unconscious.

So the film can be seen to be about how the capitalist/imperialist-run media manipulates the mind, and how our attempts to escape the horrors of the capitalist world, in order to enter a haven of fantasy, can backfire and lead to psychosis.

VII: Inception of Inception

The film begins with Cobb washed up on a shore, then taken by Japanese guards to see an extremely aged Mr. Saito (Watanabe), the businessman who wants Cobb’s team of dream-thieves to plant the inception of an idea into young Fischer’s head, to break up his dying father’s corporation so that of Saito–Fischer’s competition–can reign supreme. We eventually learn that this washing-up on the Japanese shore isn’t the beginning, but the near-end, of the story.

After this, we go back to the beginning of the story, when Cobb’s team is attempting an extraction of company secrets from the unconscious of dreaming, younger Saito while on a train going in the direction of Kyoto. We see the same big house as in the previous, deep-fantasy scene of aged Saito.

We soon learn, after the dangerous meddling of Mal (actually, Cobb’s projection of her, or as I see her, his internal object of her), that this scene in Saito’s house is really a dream within a dream, this ‘outer’ dream, as it were, being that of Nash (played by Lukas Haas), Cobb’s dream architect before the team employs Ariadne.

A couple of interesting points should be made about Nash and his dream, which make me question his motives. His dream includes a huge mob of insurrectionary rioters out in the streets, all about to force their way into the building where Cobb, Saito, and Arthur (Gordon-Levitt) are having the dream within the dream, in Saito’s house. Note that, according to Freud, a dream is the fulfillment of a wish. Later, Nash betrays the rest of Cobb’s team. Is Nash a man with unconscious leftist sympathies (i.e., with revolutionaries in his wish-fulfillment-dream) making a failed attempt at undermining capitalist Cobol, and is his botching of the carpet a Freudian slip, reflecting his conflicted commitment to the team?

VIII: What Cobb Will Do to Get Back Home

Cobb wants so badly to be reunited with his son and daughter back in the US that he’s willing to take Saito’s offer to clear his name there of Mal’s death, in exchange for planting an inception in Robert Fischer’s mind, an undertaking Cobb knows is extremely dangerous and difficult to do. After all, he did it to Mal, and what happened? Still, he can’t bear to be separated from his kids.

To assemble his new team, he first goes to Paris, where his father-in-law, Professor Stephen Miles (Caine), who taught him about navigating the unconscious mind, recommends he hire Ariadne. Her name, an obvious reference to the woman in Greek myth who helped Theseus navigate the Labyrinth so he could get out after killing the Minotaur, is fitting. She proves her skills as a potential dream-architect by quickly improvising mazes complex enough to convince Cobb she’s up for the job. Just as the mythical Ariadne helped Theseus get out of the infernal Labyrinth, so does Inception‘s Ariadne help Cobb find the strength to confront his trauma over Mal’s suicide, to let go of his attachment to his internal object of her, and thus to be able to navigate his way back up to the top, to escape the hell of endless dreams-within-dreams.

Next, Cobb has to go to Mombassa, Kenya–a city crawling with Cobol agents looking to catch and kill him for his failed mission in Japan–to find Eames (Hardy), a forger able to impersonate people in dreams. The agents chasing Cobb through the streets of Mombassa is the one instance of an ‘action movie’ scene in Inception that happens in the real, non-dreaming world…or is this the real, non-dreaming world? (More on that later.)

Eames recommends Yusuf (Rao), a chemist who will provide a sedative to keep the team under as they navigate the different layers of the “subconscious,” dream-with-dream worlds, while also allowing the team to hear a recording of Edith Piaf singing “Non, je ne regrette rien” (“I regret nothing”), their synchronized cue, or “kick,” to wake them at the right time.

IX: Drugs

Though we’re not meant to think of Yusuf as some kind of drug dealer, that scene of him with all those people taking his sedative in the dark basement of his place of work…it sure makes one think of, say, an opium den. These users of the sedative dream for four hours each day because, as one of them tells Cobb, “The dream has become their reality.”

Even if Yusuf is not to be understood to be an actual drug dealer, what he’s doing in this basement is surely symbolic of what a drug dealer would do, at the very least. Such an understanding is crucial when we consider the theme of the unsure distinction between fantasy and reality as presented in Inception. After all, as I noted above, psychosis is characterized by an inability to tell the difference between fantasy and reality, and drugs (with their hallucinogenic effects) can induce psychosis, including sedatives.

Furthermore, in the alienating, cutthroat world of capitalism, emotional trauma often leads to substance abuse as an attempt to escape that pain. An escape into fantasy relieves, however temporarily, one of the pain of facing reality, and drugs obviously help with that feeling of escape. Drugs can cause mental illness, just as the stress of living under capitalism has been observed to cause mental illness. In these connections, it’s easy to see why Dom and Mal went so deep into the dream world, into so many layers under layers of dreams-within-dreams; in searching for the Garden of Eden, they ended up in the ninth circle of Hell.

X: Splitting

Mal’s suicide, as I’ve said, is a pain that Dom finds unbearable, especially since his planting of the inception in her mind–that her world was unreal–means he’s guilty of causing her death. He cannot let her go, so he keeps her internal object as a kind of ghost haunting his mind. She’s there, but the trauma of her suicide is also there; so he tries to protect himself from that pain, however unsuccessfully, through the defence mechanisms of projection and splitting.

Dom thus experiences what Melanie Klein called the paranoid-schizoid positionparanoid because of the persecutory anxiety he feels whenever her projection interferes, often violently, with his team’s attempts at extraction; and schizoid because of the splitting of Mal into absolute good and bad versions of herself.

Dom, in his unconscious attempts to preserve the good Mal, can’t help but be forced to confront the bad Mal–hence her apt name as a pun on the French word for bad. Only when he goes the farthest down all the layers of his “subconscious,” down all those dreams-within-dreams, to return to the paradise/hell that he constructed with her, back before she died, only then do we see the good Mal, when he tells her he has to let her go.

His trauma is one example of how capitalist alienation harms relationships, including family ones. Another example is that of Robert and Maurice Fischer. The dying father, founder and owner of a great, powerful corporation, is annoyed that he has to pass on the control of the family business to a son he regards as inadequate for such a great responsibility. Some of this father/son hostility could be Oedipal, as I mentioned above; on the father’s end, it could be a Laius complex, or a fear of the son supplanting the father.

XI: Sympathy for the Dominant

One thing that is, or at least should be, striking about this story is how we, the audience, are all lulled into sympathizing with these characters. We’re dealing here with dishonest, lying, manipulating, gaslighting people who are all out for themselves, all working within a capitalist context. Manipulating young Fischer into ending his father’s business is meant to allow their competition, Saito’s company, to thrive. It is the insidious nature of neoliberal capitalist ideology–“there is no alternative“–that tricks the audience into sympathizing with a bunch of con men.

Dom is seen on several occasions, just after waking up, to be spinning a top to make sure he isn’t still dreaming. As we understand, if it stops spinning, he’s relieved to know he’s in the real world…or is he? One’s totem–like Arthur’s die–is supposed to be known only by its owner: its look, feel, weight, etc. Dom, however, has come into the habit of using a top originally owned by Mal. So even if it stops spinning, is his reassurance of no longer dreaming valid?

XII: In Dreamland

Back to the story. The team is assembled and ready. On a flight to the US, Fischer is put to sleep to share a dream with Dom, Arthur, Eames, Ariadne, Saito, and Yusuf. This first shared dream, Yusuf’s, is set on the streets of a city in teeming rain.

Fischer, trying to take a cab, is kidnapped. Arthur, whose job was to research Fischer thoroughly, has failed to learn that the team’s mark has unconscious security to fight off extractors like them. Dom is furious with Arthur for his oversights.

This unconscious security, in the form of men shooting at Cobb et al and therefore putting them all in danger–if shot and killed in the dream–of being trapped in Limbo (an inescapable labyrinth of the unconscious, like being in a coma) because of Yusuf’s powerful sedative, is a personification of Fischer’s ego defence mechanisms, these ones being unconscious.

As the Ego Psychologists understood unconscious ego defence, here’s an explanation: “the ego also contains complex unconscious defensive arrangements that have evolved to satisfy the demands of neurotic compromise, ways of thinking that keep repressed impulses out of conscious awareness in an ongoing way. Unlike unconscious id impulses that respond with enthusiasm to the prospect of liberation in making their presence felt…, unconscious ego defenses gain nothing from being exposed. Their unobtrusive, seamless presence in the patient’s psychic life is perfectly acceptable (ego syntonic) to the patient; they often function as a central feature of the patient’s larger personality organization…The ego, charged with the daunting task of keeping the peace between warring internal parties and ensuring socially acceptable functioning, works more effectively if it works undercover.” (Mitchell and Black, page 26)

XIII: Wake Up Dead?

One fascinating idea in this film is the paradoxical notion that if you are killed in a dream, you wake up. It’s the reverse of what Hamlet said: “To die, to sleep–/No more” (III, i, 60). Now, with Yusuf’s sedative, dying in the dream makes matters much more complicated: “To die, to sleep;/To sleep, perchance to dream. Ay, there’s the rub;/For in that sleep of death what dreams may come,/When we have shuffled off this mortal coil,/Must give us pause.” (III, I, 64-68)

Another complicating factor in Fischer’s troubled family life is his “Uncle Peter” Browning (Berenger), his godfather and fellow executive of his father’s company. Browning acts as a kind of surrogate father for Fischer, being there for him in ways that his father never wanted to be. Cobb’s team will manipulate this relationship through Eames’s impersonation of Browning, to introduce the idea of Maurice having an alternate will to dissolve the company.

Inception, as Eames has previously pointed out, is “a very subtle art.” Fischer’s first introduction to the idea of the alternate will is to be a negative one, a plausible further instance of his father’s contempt for him; further down in the dreams, the dissolving of the company is meant to be a positive exhortation of him to do his own thing, giving him a catharsis.

XIV: Dreams-within-dreams

Anyway, everyone on the team except Yusuf–who is driving around on the first dream level, since it’s his dream–is sedated into going down to the second dream level, Arthur’s dream, which is set in a hotel. Here, Dom convinces Robert that his ‘security’ is really working against him, as part of the ruse to go deeper into his “subconscious.” Here we have Dom gaslighting Robert into distrusting his own unconscious ego defence mechanisms.

To get to the layer of Fischer’s “subconscious” where he will receive the inception of the idea to end his father’s business to start something of his own, the team must be sedated further, into a dream set around an alpine fortress. Several problems occur: Mal interferes again and shoots Robert before he can receive the inception; also, Yusuf sets up the Edith Piaf kick too early.

Arthur and Eames therefore must improvise a new set of kicks to be synchronized with them hitting the water in Yusuf’s truck in the first dream, with Arthur rigging a hotel elevator with all the floating dreamers tied up, and with the alpine fortress being set up with explosives. Saito having been shot as well as Robert means both of them are in Limbo, forcing Dom and Ariadne to go further down another level to rescue them…in Dom’s constructed dream-world with Mal.

Here is where Dom must confront his trauma with Mal. He must let go of his attachment to his internal object of the good Mal, and he must do it quickly, for getting Robert and Saito back is of paramount importance. Indeed, Ariadne importunes Dom to hurry…but can one be cured of one’s trauma in such a short time? (Indeed, Ariadne shoots Mal to speed things up.)

It seems that he has managed to do so, for he leaves Mal, and they get Robert and Saito back–the rescue of the latter through, essentially, a repeat of that opening scene with Dom washing ashore on the beach and being taken to Saito’s big house by his Japanese guards. Neither Dom nor Saito wants to die a lonely old man, filled with regret, hence the choice of Piaf’s “Non, je ne regrette rien” as the kick to wake everyone up with.

XV: Maladaptive Dreaming

No rationally thinking person wants to waste away in a fantasy world, only years later to snap out of it and be full of regret for such a wasted life. Yet the alienating world of capitalism makes such a retreat into fantasy so tempting. Small wonder so many of us out there escape reality through drugs, online video games, porn, movies, TV, consumerism, internet addiction, etc.

Robert returns to the alpine fortress dream and receives the inception. Everyone, including Dom, manages to get back up using all the synchronized kicks in time. I’d say it’s all a little too good to be true.

Dom wakes up on the airplane with all the others, who smile at him, glad to see him back. Saito makes the necessary phone call to clear Dom of the charge of murdering Mal, so he can go through customs without a hitch. Recall above how I mentioned that, according to Freud, dreams are wish-fulfillments. Dom’s wishes are all being fulfilled, aren’t they?

The action and excitement of the dreams, fighting off Robert’s unconscious security, is an instance of how these shared, lucid dreams parallel the entertainment of watching a movie in a theatre. We’re back in the ‘real world’ now, in the airport; but Dom had an ‘action movie’ moment in Mombassa, too. Has his ‘waking’ world been real, or has it been dream, too?

XVI: Conclusion–Nothing But a Dreamer

Here’s an interesting thought: we’ve been assuming that Mal killed herself, mistakenly thinking she was trying to wake herself from a dream, but…what if she was right? Could Dom have lost count of all the dream layers, thinking his time with her on the building ledges was real, when it was actually another dream? She’d been assessed by three different psychiatrists to be sane, so is he the one with a psychotic inability to distinguish fantasy from reality?

When he claims that she didn’t want to go back to the real world, is he projecting onto her his wish to stay in the world of dreams? Is this what calling Mal his “projection” really means?

At the end, when he spins the top and walks away to see his kids, he doesn’t care if it stops spinning or not. Or maybe he’s afraid to see it keep spinning. In any case, the top was Mal’s totem originally, so if its slight wobble at the very end indicates that it will stop spinning, this hardly assures us that he’s in the real world now.

Some think the real plan, masterminded by Miles (who, recall, recommended Ariadne to be the architect), was to pull Cobb out of the dream world. If so, I don’t think it worked. Cobb prefers fantasy to reality, like so many of us with our drugs, movies, TV, etc. I think Mal is still waiting for him in the waking world; but like those TV commercials that show people enjoying quality time with family, or like all those action movies we enjoy in the theatre, Cobb would rather escape from, than have to continue living in, the stresses of the capitalist world.

His Hell is his Eden…even without Mal.

Analysis of ‘They Live’

They Live is a 1988 science fiction action film written and directed by John Carpenter, based on the 1963 short story “Eight O’Clock in the Morning” by Ray Nelson, and the 1986 comic adaptation “Nada” by Nelson and artist Bill Wray. The film stars Roddy Piper, with Keith David, Meg Foster, George “Buck” Flower, and Peter Jason.

They Live was a minor success during its release, but received negative reviews from critics for its social commentary, writing, and acting; but like other Carpenter films, it gained a cult following and more positive critical reappraisal. The film has had a huge impact on popular culture, with such iconic scenes as that of the shocked protagonist (Piper) putting on and taking off special sunglasses that reveal subliminal messages enslaving the world to aliens, and of a six-minute alley brawl between him and his eventual sidekick (David).

Here is a link to quotes from the film. Here’s a link to Nelson’s short story, and here’s a link to the comic adaptation.

The short story and comic are a straightforward narrative about a covert alien takeover of the world, with little if any sense of the aliens being among the ranks of the upper classes. Indeed, one of the aliens in Nelson’s story is disguised as “a loveable old drunk,” implying a homeless wino. Other aliens (or “Fascinators,” as they’re called in the story) are the neighbours in the apartment of Lil, the girlfriend of George Nada, the protagonist. The only suggestion that the “Fascinators” could be rich is that Nada finds “no aliens on the subway…Maybe they were too good for such things.” (PDF, page 5)

It was Carpenter (under the pseudonym of “Frank Armitage,” the name of David’s character in the film and also an allusion to Henry Armitage, a Lovecraft character) who turned Nelson’s story into an anti-capitalist allegory critical of the 1980s Reagan revolution and its war on the poor. A key element, however, retained in Nelson’s story, the comic, and the film is how the aliens use the mass media to lull the world into passive compliance with the nefarious, world-destroying agenda of the aliens.

Indeed, They Live is amazingly prescient in how it portrays the insidious effects of Reagan/Thatcher neoliberalism not only widening the gap between the rich and the poor, but also using the media to make us all passively accept our descent into ever-worsening alienation, submission to fascistic police, and mindless consumerism. The film grows more and more relevant with each passing year.

Though the anti-capitalist message should be so obvious that it doesn’t need comment, certain egregiously erroneous right-wing interpretations of who the aliens represent should be dismissed at the outset. No, they don’t represent a conspiracy of world domination by “the Jews” (capitalism, apparently, is only bad when they practice it, but when ‘good, decent Christians’ exploit the global proletariat, that’s perfectly OK [sarcasm]), or the Freemasons, or Big Government per se. Carpenter is very clear in his criticism of free enterprise, the “free market” that these right-wing morons all too often defend in their criticism of what’s wrong with today’s world. No, “small government” won’t fix our ailing society: a government that serves the people, rather than the rich, will fix it.

The film begins with Nada (Piper), a homeless drifter, walking into LA looking for work. His name is an interesting choice, being Spanish for “nothing,” and indeed, in the comic adaptation, when he dies at eight o’clock in the morning as predicted, we see the final panels showing his body decaying, being reduced to nothing, and him saying in the narration that he has become “…once…and…for…all…nada.”

As a personification of nothing, Nada represents the lumpenproletariat, thought by Marx and Engels to have no revolutionary potential, though some leftists today feel that people like Nada do have such potential…provided they are given proper guidance. When led astray, as the other Drifter (Flower) is, they can end up supporting the forces of reaction and even fascism.

Still, being “nothing” can paradoxically be everything from a dialectical perspective. We proletarian “nothings” can be everything if we come together in solidarity. Hegel’s dialectic, as expressed in his Science of Logic, finds the unity between being and nothing in becoming. In the course of this film, we certainly see Nada go on a journey from nothing to becoming something of the greatest importance.

After finding neither work nor food stamps in an employment agency, Nada walks by a park where he hears a blind street preacher (played by Raymond St. Jacques) warning his listeners of the aliens who are secretly controlling the world. He doesn’t mention aliens, so we assume at this point that he is simply talking about Satan and his demons.

The preacher is blind, yet he says the people’s enemies “have blinded us to the truth.” He is like the blind prophet Tiresias, who nonetheless could ‘see’ secret truths most people of his day could not see. This paradox of blindness vs. sight will be further developed when Nada sees through those black sunglasses.

The preacher speaks of our greed and, significantly, of “our owners,” which seems to anticipate what George Carlin would say in a rant, seventeen years after this film was made, about the real owners of the US, “the big, wealthy business interests that control things and make all the important decisions.” Police arrive at the park to shut the preacher up.

We hear the preacher’s words in a voiceover as the camera gets a shot of TV screens in a store window that night, showing Mount Rushmore, a bald eagle in flight, a cowboy on a horse, and men who seem to be celebrating winning a basketball game. All-American stuff: a colossal sculpture by a man “deeply involved in Klan politics,” and which was done on a mountain promised to the Lakota Tribe; a bird of prey aptly symbolic of the imperialist country; cowboy stereotypes; and pleasure in competition. It’s all on Cable 54, a station whose significance will be seen later. Nada walks by as a dazed black man is watching the TVs.

Nada finds a job at a construction area. After a day’s work, he meets Frank (David), who offers to show him a place, “Justiceville,” where the city’s homeless can get some food. It’s significant that homeless Nada is rarely welcome in any private property or shelter, which is why some of us wish to abolish private property.

The friendship between Nada and Frank is strained throughout the film, their alley brawl being where that tension comes to a head. This tension reflects how worker alienation is rife in capitalist society.

Frank has a good heart, and he has a sense, as most of us do, that something’s not right in a society that allows the rich to trample on the poor. Nada, who will ultimately lead in the duo’s revolution, is at first still willing to “believe in America,” to follow the rules, to do a good day’s work, and to hope for better luck in the future.

Frank, in contrast, though full of justified anger at the unfair system, is afraid of rocking the boat, since he has a wife and two kids in Detroit to support. Frank is, as The Last Poets once said, scared of revolution. This fear, combined with how the manipulative media hypnotizes us all, is one of the main reasons the masses won’t rise up against the ruling class.

Nada, though pro-American at the beginning, is observant to the point of putting everything together quite soon. He notes the bearded hacker interrupting the mesmerizing TV programs to warn people of the dangers the blind preacher was speaking of in the park. He notes that the church across from Justiceville, where the meals for the homeless are prepared, isn’t what it seems: recordings of church singing drown out the voices of a resistance movement.

This church reflects a paradoxical thing about religion: usually the church is used to prop up the class status quo, which is presumably why it’s a good hiding place for this resistance movement; but every now and then, Christians actually engage in anti-capitalism, like the preacher and the other resisters.

Still, in spite of the resistance’s attempts at being clandestine about their plotting, they’re discovered by the fascistic police, who raid Justiceville one night, trash the place, and beat the preacher and the bearded man who warned about the aliens when the TV programs were hacked. Attacking a homeless community, the kind the Black Panthers would have helped: what could be a more naked manifestation of class war? As we see in this scene, whenever the ruling class is threatened by plots of revolution, they use fascist violence to keep the people in line. Bourgeois ‘democracy’ is a sham.

Ever-observant Nada, however, is putting all the pieces together. After helping a boy get safe in a shelter from the police–a shelter in which one of the homeless says, “Somebody start World War Three?”–Nada goes back to the church to take a box of something he discovered before, something the resistance deems important. Inside the box are pairs of black sunglasses.

The reference to WWIII ought to be linked to something the other drifter (later, a collaborator–played by Flower) has said earlier. He spoke of an “epidemic of violence,” “end of the world kind of stuff,” terrorists “shooting people, robbing banks.” He’s talking about the resistance, of course, but he never develops the class consciousness needed to understand the need for revolution. These references to WWIII, epidemic, and the end of the world, as much as they’re made in passing in the film, are nonetheless another instance of how prophetic They Live really is, when we consider how dire the situation is in our world in the 2020s.

Anyway, Nada hides the box of sunglasses in an alleyway trashcan after taking out a pair for himself. Soon enough, he’ll realize their significance.

A paradox about wearing them is how they make you see the truth, yet in a way, they also ‘blind’ you. Wearing them, he sees only black and white, a seemingly simplified world; and while he sees the revelatory subliminal messages, these messages are as simplistic as their black-and-white presentation.

What’s more, though they’re black sunglasses, they can be associated with the dark glasses a blind man wears. Like the preacher, Nada is ‘blind,’ yet he sees what most seeing people don’t.

The propaganda used to keep the masses in their place is, of course, often far subtler in real life than merely “obey,” “marry and reproduce,” “conform,” “no independent thought,” and “consume,” but much of what is presented in the media, the breads and circuses as well as the divisive propaganda to keep partisan-minded people loyal to this or that political party, is also simplistic, so the simplicity of the film’s black-and-white subliminal messages is fitting.

In today’s intellectually impoverished political discourse, critics of Biden are assumed to be Trump supporters; disliking both the red and blue parties seems to require a capacity for abstract thought far too complex for too many of today’s liberals. The same applies to ultraconservative Trump supporters, who claim that their critics must be DNC “commies,” a ridiculous pairing of labels as any I’ve ever heard. The same black-and-white thinking applies to the conservative vs. liberal (actually bourgeois) parties in all countries around the world.

What is, of course, the most shocking thing that Nada has to deal with is his seeing the aliens, as they actually look, for the first time. He stares in a daze at a middle-aged businessman whose face looks like a skull with his eyeballs popping out.

In Nelson’s short story, the aliens look reptilian, snake-like, with green flesh and “multiple yellow eyes,” speaking with “bird-like croaks” (PDF, page 1). Such a description reminds us of David Icke‘s reptilian overlord conspiracy theory, but Nelson’s story is not so overtly political. The aliens in the comic adaptation are colourful, many-eyed, and grotesque, but not at all reptilian.

Carpenter’s representation of the aliens’ appearance is the most sensible one. Properly understood to be symbolic of the capitalist class, the aliens with their skull faces are agents of death. The lack of lips and eyelids gives their faces a zombie-like lack of human expressiveness that is chillingly fitting for the purposes of this anti-capitalist allegory.

The endless pursuit of profit is a dehumanizing process, causing alienation among people and within them, alienating them from their species-essence. Not only are the people of Earth enslaved by the aliens and their ideology, but the aliens themselves are also thus enslaved, hence their reading of newspapers and magazines with the same subliminal messages. Capitalists don’t pursue profit merely because they like to; they are compelled to maximize profit because of the tendency of the rate of profit to fall.

The wish for endless growth on a planet with finite resources is why capitalists are agents of death, and therefore why it is apt for the aliens to have skull-faces. Late stage capitalism is destroying the planet through climate change and endless wars; the US military, being the number one polluter in the world, is waging wars to ensure the sustained profits of Lockheed Martin, Raytheon, Boeing, etc.

The capitalists know they’re destroying the Earth, despite their denials and lies that ‘climate change is a myth’; they have underground bunkers to survive in when “the Event” happens, be it climate change, nuclear war, or American civilizational collapse in general. Small wonder the bearded man on the TV says, “Look around at the environment we live in. Carbon dioxide, fluorocarbons, and methane have increased since 1958. Earth is being acclimatized. They are turning our atmosphere into their atmosphere.” Then he says the aliens will “deplete the planet, move on to another.”

Again, so there isn’t any doubt about who the aliens represent, resistance leader Gilbert (Jason) says it most explicitly. He says, “They’re free enterprisers. The Earth is just another developing planet. Their Third World.”

So, the aliens represent not only the ‘free market’ capitalism that right-wing libertarians idealize, they also personify imperialism. As we on the left understand so clearly, and try so hard to get the rest of the world to understand, imperialism is the highest stage of capitalism, exporting capital to other countries, expanding markets out there and hiring cheap labour from Third World countries to maximize First World profits, and fighting wars in a competition to keep the biggest slice of the pie. The aliens in They Live do this on an interplanetary level.

Nada is amused, but not surprised, to see (through his sunglasses) a politician on a wall-mounted TV who is an alien speaking of how we should “have faith in our leaders,” and be optimistic about the future, in a world as obviously bleak as it is in the film, and by extension as bleak as ours is now. One is reminded of, for example, Trump’s State of the Union address in 2020, when he spoke of America’s great economic recovery…then soon after, the whole economy came crashing down.

Nada’s shock at the sight of all these aliens, and the messages saying “obey,” etc., cause him to react inadvisably, making the aliens realize that he sees them as they really are. After fighting off and killing two alien cops, he takes their guns and tries to take all of them on alone.

He runs into a bank with a number of aliens among the humans, and he introduces himself by saying that iconic line (of Piper’s own invention) about bubble gum and kicking ass. As bad-ass as this scene is, we must understand the error he as a potential revolutionary is making: his spontaneous attack on the aliens is mere recklessness and adventurism. It’s thrilling to watch at first, but it ultimately ends in failure. Revolutions must be planned, organized, and timed well.

To escape his inevitable pursuers, Nada goes into a parking lot and kidnaps a woman, Holly Thompson (Foster), and has her drive him to her home. It’s interesting how when he gets out of her car at her home, two male neighbours (aliens?) of hers seeing them, he in those sunglasses looks rather like a blind man (recall what I said above about seeing and blindness). She is scared, but cooperative with him…and cunning in her private thoughts.

Inside her home, he finally takes off the sunglasses, which have been giving him a headache. Earlier, whenever the bearded man on the TV interrupted the Cable 54 broadcast to warn of the aliens, his viewers would get headaches after a short while of listening to him, too. Indeed, it’s painful and depressing for us to learn the truth about our oppression; TV shows and fashion ads are so much more comforting in the illusions of superficial pleasure they perpetuate for us.

Nada gets excited to learn that Holly works for Cable 54, knowing that that’s where the alien signal is coming from, and therefore he can get a chance to destroy the transmitter. He lets his guard down, and she smashes a wine bottle over his head, making him fall out of her window and down a steep hill. Calling the police with a cold look on her face, Holly reveals herself to be a class collaborator. Nada has lost his sunglasses in this incident: will she put them on, realize the aliens are controlling everything, and later redeem herself to Nada? Or does she already know about them, and is she collaborating to save her own neck?

To get a new pair of those sunglasses, Nada has to go back to that alleyway and find the box he hid there. He’s already seen Frank at the construction area, who is so shocked from having heard of Nada’s violence in the bank that he wants nothing to do with him. Still, Frank has a good heart, and he goes to the alley with a week’s wages to give Nada. Frank wants no part of Nada’s revolution, all the same.

Frank’s unwillingness even to try on a pair of the sunglasses shows just how adamant so many of us are even ‘to wake up’ and see the enormity of our ugly reality. In Nelson’s short story and in the comic adaptation, ‘waking up’ is a straightforward matter of coming out of the state of hypnosis that the ‘Fascinators’ have put the human race under. The story begins with George Nada coming a little too much out of the hypnotic state to be lulled back into it.

He must try to wake up the rest of the world, including his girlfriend, Lil, before eight o’clock in the morning, the time a ‘Fascinator,’ by force of suggestion, has determined for his death by heart attack. Since he does die this way at the end of Nelson’s story, it’s clear that even he isn’t completely ‘awake.’

So as with Frank, there’s plenty of resistance to ‘waking up.’ Lil, represented in the comic as a shapely, buxom babe, comes across as ‘asleep’ in the sense of having internalized a wish to attain all of society’s beauty ideals without question. Her female equivalent in the film, Holly, is similarly all given over to the aliens’ agenda, if at least more aware of their existence.

Being ‘awake’ versus ‘asleep’ in our world is far from being the simple dichotomy that it is in the film. Various factions in the left disagree as to what it means to be ‘awake’ to the reality of capitalism and on what to do about it. What’s the answer? Anarchism, Trotskyism, social democracy, or Marxism-Leninism? Leftist infighting has made it most difficult for us to rise up together and defeat the ruling class.

Though it isn’t really dealt with in the film, Frank as a black man is especially affected by the capitalism that the aliens personify. Still, he’s scared to ‘wake up,’ yet the need to ‘stay woke‘ has been given expression as a major issue for African-Americans ever since the 1930s. Further complicating matters has been the bastardizing of the term “woke” by the right, first in the capitalist exploitation of the term, and also by conservatives’ pejorative use of it, similar to their use of “politically correct.”

So as we can see, waking people up is a hard thing to do for blacks (Frank) and women (Lil), as well as for a number of other complicating reasons. Small wonder Nada has to fight with Frank for about six minutes in that alley, just to get him to put on the sunglasses.

The ruling class loves to have the people fight with each other, rather than join together in solidarity to fight the elite. The Western oligarchs would have us all hating Russia and China to distract us from the glaringly obvious problems in our own societies. So in the story, George Nada has to tie Lil up and take her car; and Nada and Frank beat the crap out of each other.

In the hotel, Frank, finally acknowledging the situation with the aliens, speaks of how they must have always been here, making us all hate each other. The alienation brought on by class conflict has led to the kind of parental abuse Nada suffered as a kid from his dad.

Gilbert finds Frank and Nada in the hotel, and he tells them of a secret meeting of those in the resistance. At the meeting, our two heroes replace their sunglasses with far more effective contact lenses. Here, Gilbert tells the others that they all have to be far more careful. The resistance movement is suffering because of such problems as adventurism. He advises the others to blend into society to avoid getting caught. Indeed, one must wait for a revolutionary situation before rising up. In the meantime, one must be patient and bide one’s time; they can strike when they find out where the hypnotizing alien signal is coming from.

Another big part of what makes revolution so difficult is how so many people sell out, as Gilbert explains to Nada and Frank. So many join the police, who have historically existed to protect the interests of the owners of private property. Many on the “left” sell out, like Bernie Sanders, AOC, and the Squad, politicians who act as mere sheepdogs to lull American voters to elect right-wingers like Joe Biden, politicians that the mainstream media disingenuously claim are on the left.

Opportunism is so easy to give in to. People get promoted this way, get more money, and buy nice houses and cars. The resistance gets labelled as ‘commies’ by the cops in the film (and this is who they truly represent; though Carpenter is a liberal who has admitted to supporting [regulated] capitalism, he represents the left-leaning variety of the pre-Clinton years when ‘left-leaning liberal’ actually meant something). Now communists, by contrast to the opportunists, are those who “stand out in the rain,” as Michael Parenti once described them: risking their careers and even their lives as they combat capitalism.

Nada is pleased to see Holly appear at the meeting. He imagines she is remorseful for hitting him with that wine bottle in her home. It would seem that she has led the police to the resistance’s meeting…though the film so far has left her private intentions ambiguous, so we’ll see her opportunism fully revealed at the end.

Nada and Frank, the only members of the resistance to survive the police attack on the meeting, manage to get to the Cable 54 building, where not only the source of the hypnotic alien signal is being transmitted, but also where the aliens are having a banquet with their human collaborators. Here we see symbolically how the ruling class colludes with the world’s politicians and the mainstream media.

At this banquet, Nada and Frank are reunited with the drifter from Justiceville who was the most resistant to the bearded man’s warnings about the aliens on the interruption of the TV program. This drifter, so totally given in to the mainstream media’s mesmerizing (as are so many of us), has predictably become a collaborator, having traded in his dirty old clothes for a tuxedo. Being as empty-headed as he is, he foolishly gives Nada and Frank a tour of the building, thinking our two heroes are collaborators, too.

They reveal that they aren’t collaborators in a sound-proofed room next to the TV studio where the mesmerizing messages are given by two alien news anchors. (For ‘Cable 54,’ read ‘CNN,’ to give but one example.) The drifter/collaborator rationalizes his treason to humanity by saying, “it’s business…there ain’t no countries anymore…we all sell out every day.” (This last line was inspired by something a Universal Pictures executive said to Carpenter.)

There being ‘no more countries’ shouldn’t be misinterpreted as the NWO ‘one-world-government’ nonsense, except in the sense that the new world order that George HW Bush spoke of referred to the post-Soviet, neoliberal, capitalist-imperialist one, in which it has been the ambition of Washington DC to rule the whole world. It’s business…it’s capitalism.

Nada and Frank manage to fight their way to the roof of the Cable 54 building, assuming they can trust Holly, who has a concealed pistol and puts a bullet in Frank’s head. He was so scared of revolution, and now his wife and kids have no man to put food on the table. This has made revolution all the more urgent, though.

Finally, Nada knows he’s going to be shot either by Holly or by the men hovering by him in a helicopter. Still, he says, “Fuck it” after shooting Holly, then he puts two bullets into the transmitter before being shot himself. Waking people up to the reality of our capitalist masters isn’t a sufficient condition of our liberation, but it’s certainly a necessary one. The mainstream media must be disabled.

Arousing class consciousness, as symbolized by the world finally waking up and seeing all the aliens as they really look, is of course a much more complicated process than what we see at the end of the movie. Yet it’s astonishing to see how many people in the world either deny that capitalism is the problem (preferring instead to focus on identity politics), or believe that only “unfettered capitalism” is the problem (as Carpenter himself believes!), or believe that billionaires can be allowed to exist in socialist states, or believe that, fantastically, “real capitalism” doesn’t exist and has never even been tried (as the market fundamentalists delude themselves)! They live, right-wing libertarians, while you sleep…and don’t even know you do.

Still, just as Nada doesn’t live to see the revolution happen, many of the rest of us who are ‘awake’ are not seeing a revolution happen, either. And as with George Nada of Nelson’s short story and the comic adaptation, there is little time left to wake the world up and start that revolution. George had only until eight o’clock in the morning to set the stage for revolution: how much time do we Nadas have before climate change, nuclear annihilation, or civilizational collapse become our eight o’clock in the morning?

Will we live, or will we forever sleep?

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.

‘Chet,’ a Horror Short Story

Poppy, 23, in her apartment living room watching The Omen on Netflix, suddenly felt an urge to take a shit.

She paused the movie, just after the nanny, during Damien’s fifth birthday party, had finished calling his name from the window ledge. Poppy hurried over to the bathroom.

It felt urgent.

In fact, what was presumably a long, thick turd felt as if it were fidgeting in her rectum.

Please, God, she thought as she entered and approached the toilet. Get me there on time. I don’t wanna shit myself.

She pulled down her track pants and panties, sat on the seat, and let it out.

A huge plop splashed toilet water all over her ass. She felt too relieved to care. She let out a huge sigh.

Then something in the toilet water jumped up at touched her right labium.

“Ah!” she screamed, then jumped up, pulled up her pants, and looked back in the toilet bowl.

That was no brown log.

It was a slightly bluish-skinned, four-month-old fetus.

“What the fuck?” she said in a trembling voice.

It was growing, too.

Within seconds, it looked like a five-month-old fetus, having grown from six to ten inches long. It was male, with what looked like an upwardly-curved spike for a penis, and he was looking up at her with…hungry…eyes.

It kept growing.

How is this even possible? she wondered.

And those eyes with which he stared up at her just got hungrier and hungrier.

“I’ve gotta call Peter,” she whispered, then ran out of the bathroom to get her cellphone. She dialled her 24-year-old boyfriend’s number as she rushed back into the bathroom.

When she returned, she saw what now looked like a newborn baby trying to crawl out of the toilet.

“Oh, my fucking God!” she gasped.

As her phone rang for Peter, she’d put it down and picked up her baby. She put him in the bathtub, set the water to a comfortable warm, and cleaned the bits of her shit off of him.

Then she remembered to wipe her own ass.

Why won’t that bluish colour come off of his skin? she wondered as she, looking at the baby, washed her hands.

“Poppy? Poppy!” Peter’s voice shouted from her phone.

“Oh, shit,” she said, reaching for a towel to dry her hands. “Just a minute, Peter!”

As she was drying her hands, the baby let out a piercingly shrill scream. It was so loud, and unnatural for a baby to make (it sounded more like the shriek of an alien bird, or something), she was amazed the windows didn’t break. Her ears were in pain from it; she dropped the towel and plugged them with her fingers.

“Just a minute, Chet,” she said to the baby. Wow, she thought. How quickly I came up with a name for him.

“Poppy, come on,” Peter shouted from her phone, loud enough for her to hear. “What’s going on over there? What was that scream?”

“Just a minute, Peter!” she shouted back.

“What was that noise?” a woman shouted from next door, her fist pounding on the wall.

“Sorry, Mrs. James,” she shouted to her landlady. She picked up her phone. “Hello, Peter?”

“Finally!” he said. “What’s going on?”

“Get over here, now!” she said.

“OK, but what’s wrong?” he asked.

“I can’t talk about it on the phone. Just get over here. Now!”

“OK, OK,” he said, then hung up.

He arrived at her apartment in ten minutes.

As soon as she heard the doorbell ring, Poppy, still in the bathroom and holding Chet in a towel swaddled around him, called out, “The door’s open. Come to the bathroom. I’ve got a big surprise for you.”

No sooner did he open the door than Mrs. James shouted, “Keep it quiet in there!” across Poppy’s bathroom wall from her apartment.

“Who was that shouting?” he asked as he approached the bathroom.

“My landlady,” Poppy said. “But check this out.”

When he reached the wide-open bathroom door, his jaw dropped open.

“So, this is the big surprise?” he asked.

“Yes,” she said.

“Where’d the baby come from?”

“My ass.”

“C’mon, don’t joke around. And why is it…kinda blue?”

“I haven’t any less foggy an idea about that than I do that I gave birth to him by shitting him.”

He looked at her with a sneer. “Umm, Poppy…are losing your fucking mind?”

“Probably.” A tear ran down her cheek. “All of this is…just…too fucking much for me to handle.” She began sobbing.

“You aren’t on drugs, are you?”

“No, I’m not fucking on drugs!” she bawled.

“Hey, take it easy, Poppy. I’m just trying to understand…”

“Keep it down in there!” the landlady shouted.

“Seriously, where did this…bluish baby…come from?” Peter asked, looking down at his crotch as if he could anticipate the answer for some mysterious reason.

“I told you,” Poppy said in sobs. “Look, nobody’s more aware of how crazy this…anal birth…sounds than I am, but I swear, that’s what happened. I can’t explain it, but that’s what really happened. Speaking of anal, remember what we did three nights ago?”

“Yeah,” he said with a sigh and a smile. “What fun.”

“For you, not for me. I agreed to it ’cause I love you and I wanted to please you. Did anything out of the ordinary happen to you by chance, just before we did that?”

His smile turned into a frown. He looked down at his crotch again. She looked at her smiling baby and smiled back at him.

“Well?” she asked, looking back at him.

“I, uh,…” he began. “On the way here that night, I stopped to take a piss at a tree about half-way between your home and mine. I couldn’t wait. As I was pissing, some glowing…blue…gunk dropped on the tip of my dick. I looked up and saw more of the gunk hanging on a tree branch.”

Blue gunk?” Almost all the whites of her eyes were showing.

“Uh, yeah,” he went on, still looking down at his crotch with shame. “It didn’t hurt, but I couldn’t get it off while I was pissing, so I had to wait ’til I was finished. When I was, I shook my dick and the gunk all fell off, but where it had touched my dick, there the skin was…bluish…like ‘Chet’ over there.”

She looked at her baby. They exchanged more smiles.

“I heard you say ‘Chet’ on the phone,” Peter said.

“Yeah, that’s his name,” she said, still looking at her baby with a loving smile.

“Why’d you name him ‘Chet’?” Peter asked.

“Well, he came out of my ass–and I suspect I now know why–and ‘Chet’ is the closest-sounding name to ‘shit’ that I could think of, without, you know, being mean.”

“I guess that makes sense.”

“Do you think that blue gunk was some kind of alien? Something from outer space, or something like that?”

“I guess that makes sense.”

I guess that makes sense,” she mocked. “Then you decided you wanted to fuck my ass without a condom?”

“I didn’t want you to see the blue spot on my dick.”

“Of course not! Getting off is far more important than showing consideration for your woman, isn’t it?”

“Well, it’s just that…your asshole is so pretty-looking.”

“Aww, how sweet. Well, you’re a cute little asshole yourself, you know that? For fuck sakes, why do men have to be such perverts, wanting to stick it where I poop? Well, now you’re the proud anal father of a part human, part-alien baby!”

“How many times do I have to tell you to be quiet in there, Poppy?” Mrs. James shouted. “Maybe the threat of an eviction will do it! It’s past midnight!”

“Sorry, Mrs. James,” Poppy said. “What are we gonna do, Peter? We don’t make enough money, between the two of us, to raise a baby.”

“I don’t know. How can a baby gestate in a woman’s rectum?”

“Well, I guess glowing blue alien gunk can do that, Peter, especially after selfish guys fuck their girls in the ass when the blue gunk is on their unprotected dicks.”

“I’m sorry,” he said, still staring at his crotch. “I guess a screw tonight is out of the question, right?”

“Take a wild guess, Einstein!…Oops, gotta keep my voice down. What are we gonna do about Chet, though?”

“Well…I know this isn’t a very nice thing to do, but…couldn’t we just…expose him? I mean,…”

“What kind of a monster are you? I’m his mother…his anal mother, but still his mother. We’re Chet’s parents, whether you like it or not. His birth may have been…well…”

“Monstrous?”

She slapped him. “Peter, we should love him, in spite of how he came to be.” She looked down at smiling Chet, and smiled at him. “Look at his eyes. You love Mommy, don’t you?”

She saw his eager eyes looking up at her.

“Are they loving eyes…or hungry eyes?”

“Peter! He loves me.”

“I’m not sure of that, Poppy. Those eyes look creepy.”

“You’re just finding excuses not to take responsibility.”

“And you’re letting your maternal instinct blind you.”

Blind me? To what?”

“To a danger,” Peter said, shuddering. “Something in his eyes.”

Now Chet was looking at him…hungrily.

“You’re imagining things, Peter. Just ’cause he’s part alien…”

Chet opened his mouth to reveal not only teeth with serrated, sharp edges, but also a long, snake-like tongue that flew out and wrapped itself around Peter’s neck.

Poppy screamed.

Chet’s tongue tightened around Peter’s neck with amazing strength. He choked and gasped for air, his fingers trying to get Chet’s tongue off of him with desperate futility. In fact, the tongue was so strong, it was pulling Peter’s head closer and closer to those sharp teeth.

“No, Chet, no!” his mom screamed. She had no way to deter or punish her son; hitting her baby was unthinkable…but what could she do?

Besides, Chet might attack her next.

She put the baby down and reached for Peter’s neck. As she tried helping Peter loosen the tongue on his neck, she looked back at Chet.

“Chet, stop it!” she said, remembering to keep her voice down. “This is Daddy. You mustn’t hurt Daddy.”

She couldn’t believe how strong Chet’s tongue was. It remained crushingly tight around Peter’s neck.

A few seconds later, it crushed his neck and snapped it.

Peter’s body fell to the floor.

Poppy gasped, then stopped herself from screaming just in time. Her hand was on her mouth; her eyes agape.

Chet’s tongue slithered off Peter’s neck and recoiled back into his mouth. Chet looked down at Peter’s bare left arm. He opened his mouth to bare those saw-like teeth again.

Poppy was frozen in the same position, except for her ceaseless shaking.

Chet took a big bite out of that arm. Blood sprayed in all directions.

Poppy yelped and ran out of the bathroom. She shut and locked the door. Sobbing, she put her ear to it. She winced as she heard his gluttonous chewing.

This isn’t happening! she thought. How could this be happening? Am I dreaming? When am I going to wake up from this?

After several more minutes of chewing, which sounded like a ghoulish mukbang, it stopped. Poppy listened more intently. Her heart was pounding.

Silence.

Her face was soaked in tears. She kept listening.

Silence.

Then she heard the pitter-patter…of big feet?

More like pounding than a pitter-patter.

Had he grown quickly again?

The powerful first banging on the door suggested a yes answer to that question.

She backed off as she saw the door shake with each hit the boy gave it.

How could a baby get so strong so quickly?

When it’s part-alien, turd-baby. That’s how, apparently.

Poppy moved a big chair from the living room over to the bathroom door to keep Chet from ramming it open. He kept bashing at it, though. He was relentless.

She ran over to the kitchen and got a big cleaver from one of the drawers. The bashing on the bathroom door continued. She was convinced that Chet was getting stronger. As she walked out of the kitchen, she heard a ramming that sounded unmistakably like the breaking of wood.

Had he broken through the door?

Was Chet outside of the bathroom now?

Poppy ran for the bedroom, hearing his thumping footsteps from…somewhere. She got in and locked the door. She stood at the door and waited in the darkness.

There was no banging on the door.

Was he there, or…

…in here with her?

She looked around the room slowly, dreading what she’d see. The light was off, but enough light from an outside street lamp, combined with her eyes’ adjustment to the dark, allowed her to see what was in the room.

She looked down behind her.

She saw a naked boy with the appearance of a one year old. Standing, and with his face soaked in Peter’s blood, he looked up at her…lovingly?

She screamed and ran into the closet, closing the doors behind her. She heard the approach of his thudding feet.

His hand pounded, again and again, on the left of the closet doors.

Stupid! she thought as the pounding continued. He broke through that strong bathroom door. He can break through these doors so much more easily. I should have run outside and called for help. But I’m freaking out so much that I can’t think straight.

He punched a hole through the closet door.

She screamed.

He reached in, searched for her, and found her left leg. He grabbed it, just under the knee.

“No, Chet!” she screamed. “Don’t hurt Mommy!”

His strong grip on her leg was tightening. His other hand grabbed the door he’d punched the hole in, his little fingers slipping through the crack between this door and the other, and yanked it open with amazing strength. The yanking back, however, meant he’d hit himself with the door, making him let go of her leg and knocking himself to the floor on his back.

The pull of his hand on her leg before letting her go made her lose her balance and fall on the floor beside him. Before she could get up and run, he grabbed her by the arm and held her with a bruising tightness. Then his serpentine tongue flew out, latched to her T-shirt, and pulled at it.

“Chet, no!”

Again, with that superhuman strength, the tongue tore the shirt open, revealing her bra-less breasts.

The baby pulled his tongue back in, stared hungrily at that pair of large, shaking beauties, and licked his lips.

She just looked at those carnivorous, sharp teeth and thought, and to think I was planning on breastfeeding him before Peter got here.

Chet pulled on her arm to draw her chest nearer to his hungry mouth. She resisted with all her strength.

“No…Chet…please…Don’t bite…Mommy’s…tits off.”

The infant’s tongue flew out again, wrapping itself around her other arm and pulling her closer.

That other arm had the knife, though.

Those serrated teeth were inching closer to her right nipple.

She knew what she had to do.

But she just couldn’t kill her baby.

Chet’s mouth was just a few millimetres from that nipple now. Those sharp teeth of steel were almost touching it. He took a few hard bites in the air, just barely missing it.

She raised the cleaver, ready to stab…

…but she sliced off the tongue instead.

Blue blood sprayed everywhere. Chet let go of her other arm and rolled back, smacking into the far wall by the window. The severed tongue still clung to her arm like Krazy Glue.

Chet let out another shrill scream; her eardrums felt as if they were being slashed open.

“Goddammit, Poppy!” her landlady shouted. “This is your last warning! Be quiet, or I’m kicking you out of this building!”

Poppy ignored the warning. All her attention was on the look of malice in Chet’s eyes. It was unmistakable.

He hated her.

He wanted to kill her…and she knew why.

She’d rejected him.

She’d hurt him.

She didn’t love him (or so he thought).

His tongue was still dripping blue blood.

His eyes were locked on hers.

“Baby,” she pleaded between sobs as she held that knife firmly in her hand. “Please, don’t make Mommy kill you.”

Chet ran at her, his mouth wide open to bite.

She raised the cleaver.

Using it on him was still the most hateful thing in the world to her.

Should I just let him kill me? she thought. Better than me killing him.

He was halfway at her now.

But if I’m dead, who’ll take care of him? she thought.

Close enough to her, he let fly what was left of his still-long tongue and wrapped it tightly around her neck. Her hand, on his torso, kept him from getting any closer…except for that amazing strength he had, forcing her to bend her elbow and let him inch closer and closer.

That tongue’s pressure on her throat was painful and bordering on crushing. The hand that held the cleaver made it impossible to hold the tongue and loosen its grip.

She had no choice.

Those teeth were getting closer and closer to her face.

He was taking bites at it, the teeth making a sound like clapping pliers.

She plunged the knife into his neck, spraying blue blood all over her and making his body loosen and slump. The tongue let go, too, falling limp on her chest.

She coughed for several seconds, needing a while to reorient herself and stop from shaking all over. When she did, her heart having slowed down and stopped pounding, she finally looked down at Chet, splattered with blue blood, lying sprawled on the floor between her legs, his tongue hanging out like a dead snake from his wide-open mouth, and his open eyes looking away from her, seeing nothing.

She picked up his lifeless body, cradled it in her arms, let a few tears roll down her cheeks, then took in a deep breath. Her bawling came out in scream after scream.

“That’s it!” the landlady shouted. “I’m coming over there!”

As Poppy continued bawling, her teary eyes squeezed shut, she never noticed the tiny, blue, insect-like things crawling out of Chet’s neck wound. Her grief made her oblivious to the tickling sensation of hundreds of those little aliens crawling up her arms and onto her exposed breasts. Only when she felt the sting of thousands of little bites did psychological pain change to physical.

Her screams were so loud that she couldn’t hear Mrs. James’s fist pounding on her front door. Yet even if she could have heard the pounding, it would have made no difference, for those bites had already cut deep into her chest and arms, annihilating her breasts and exposing her arm bones and rib cage.

The mixture of his and her blood poured a lake of purple all over and around their dead bodies.

The landlady stopped banging on the door. “So, the noise has finally stopped, eh?” she shouted, fumbling through her keys. “For the moment, anyway.” She found the key to Poppy’s room. “Well, I’m gonna find out what the hell’s going on in there…” As she fit the key in the keyhole, she turned the doorknob, only to find it unlocked. “Oh, I didn’t need the key at all.”

She opened the door to find no one in the living room area. She walked in and looked around.

“Poppy? Where are you?” She noticed the paused movie on the TV. The nanny had hanged herself, her body crashing against the window. “Oh, how horrible.”

Mrs. James walked through the living room area over to where the bathroom and bedroom were. She saw the chair pushed away from the bathroom door, where she naturally took notice of the hole punched through the bathroom door. She scowled at the sight.

“Poppy, you’re gonna pay for my door!”

Then, she looked through the hole and saw some blood on the floor.

“What the…? Poppy, what are you doing in…?”

She put her hand through the hole and unlocked the door, then after opening it, she saw Peter’s bloody body, with bites all along his arm and a few bites from his stomach.

“Oh, my God!” she screamed.

She listened for several seconds in the ensuing silence.

Did Poppy bring a wild animal in here? she wondered.

Now she heard faint shuffling noises from the bedroom.

“Oh, my God,” she whispered as she crept from the bathroom to the bedroom with the most reluctant dread.

She tried opening the bedroom door, but found it locked, too.

Good thing I have all the keys to the apartment with me here, she thought, fumbling around for a skeleton key on the keychain. Or is it a bad thing?

She couldn’t have unlocked that door with any more reluctance.

She looked around, hearing the shuffling noises. The light was off. The darkness hid Poppy…and whatever else was in the room. She saw only Poppy’s hand lying on the floor; only it wasn’t shrouded in shadow.

Mrs. James reached for the light switch, knowing she wouldn’t like what she was about to see.

CLICK.

The only flesh remaining on Poppy’s skeleton was on that hand.

A colony of hundreds of creeping, blue, ant-like things was all over the floor around Poppy’s skeleton and Chet’s corpse.

Mrs. James let out a scream so loud, it made all the noise Poppy and Chet had been making seem like whispers.

A few neighbours called out to tell Poppy to be quiet.

They got their wish soon enough, though.

The first of the bites were on the landlady’s throat.

‘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.