Twilight Zone: You Drive (1964)
You know, I’m fairly certain I’ve been a member of Netflix since the beginning, or at the very least since 2008, BEFORE the big streaming push and the demise of the video store. It happened slowly, I think. The takeover of streaming from home. There wasn’t much available to start. At the time, I still had the 2 DVD rental membership. Maybe it was around 2010 when we, the wife and I, did away with the DVDs. Why? Well…we didn’t need them. In fact, streaming became so much more convenient and affordable that we ultimately dropped cable television. My wife enjoys newer shows, but the ones she likes she streams from apps or catches up on Hulu. And for viewers like me, well…I’m more of a movie kinda guy to be honest, but the shows I do watch the most are typically…how do say…off the air. I watch old shows that have long since been canceled. There are a few newer ones that sometimes makes me wish we still had cable, shows like AHS and maybe a few others. However, if I’m patient enough, those very shows will eventually find their way onto Netflix’s monster cache of streaming availability.
But while newer shows have the glamour, I still indulge in older programming. We’re talking X-Files, MASH, Kolchak: The Night Stalker, Star Trek, and yes even The Gilmore Girls (don’t judge!). But my number one favorite oldie to watch is without a doubt Rod Serling epic sci fi thriller The Twilight Zone. If you’ve never seen an episode…jeez…think black and white science fiction, but not just about space and rocket-ships, but also weird tales, time travel, magic even, or death itself. They’re also all moral stories, more or less, warnings and questions of our humanity, not to mention the consequences we could face given certain destinations. The other night I screened for the first time one of these consequence driven episodes, from season 5 episode 14, titled “You Drive.” And let me say, this was one of the more creepier episodes of the show with the most simplistic plot-lines.
It goes like this:
“After involved with a hit-and-run killing a child, Mr. Oliver Pope is haunted by his car.”
Now I can see where King and Straub and everyone else got their ideas from. Perhaps not as deranged as Christine, but no doubt the genius of those darker works of haunted cars that would eventually come out in the 70s and 80s. In “You Drive” businessman Oliver Pope is on his way home. He’s driven this route for years. He knows every turn. Every bump in the road. As it happens on this particular day, its raining, and maybe Oliver has had a long day at work, stressed over a new client or something. He’s distracted and as fate would have it accidentally runs over a young boy delivering newspapers on his bicycle. Now at this point, what Pope has done is nothing more than an accident, tragic certainly, but an accident all the same. He didn’t intentionally run down the boy. However, as Mr. Pope jumps out to check on him (the boy doesn’t look good) and notices no one around, he makes a choice.
Stay and face the consequences of his actions…
Or run.
Consequences is what Mr. Oliver Pope is afraid of. Afraid of what people will think of him after they discover what he’d done. Not just running over and killing the boy (which we later discover died from his wounds), but running away, his cowardliness. This is perhaps the whimsical side of watching shows like The Twilight Zone, they show you an era in which people still gave a damn about character. And character is what Mr. Pope desperately clings to protect. He doesn’t want people to think less of him. Sure, we can get that, right? But what Oliver fails to understand is that it is our actions that define our characters, not what people perceive us to be.
Well, as par for The Twilight Zone, because of Mr. Pope’s horrible choice to runaway the natural order of things begins to bend. There’s something not right…with his car, the very one he killed the boy with. Pope wants to forget, to put the matter away, what’s done is done, etc etc. But the car will not let him forget. His car haunts him and everyone around him. It honks in the middle of the night. It stalls out when his wife attempts to drive it to the store. It appears back at home seemingly to have driven itself. Blaring its horn over and over. And when Mr. Pope refuses to drive it, the car follows him on his way to work. The car makes a show to run him down. It wont stop. It cant, not until…
Oliver Pope must decide.
Face the consequences of his actions.
Or be continuously haunted by his car.
“You Drive” is certainly a chilling allegorical story to be sure. Haunted by our mistakes, our poor choices in life, especially those that have or could have dramatic effects on the lives of others. And how the consequences of those mistakes cannot be forgotten, never completely. And there’s even a lesson about character here, if we care about such a thing anymore. Our character isn’t (or at least shouldn’t be) defined by how people think of us, it is defined by our actions and our deeds, and it is by those deeds we will be judged.
My rating: 5/5
With a face only a mother could love, Thomas S. Flowers hides away to create character-driven stories of dark fiction. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was soon published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His military/paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books on a wide range of strange yet oddly related topics. You can hide from Thomas by joining his author newsletter at http://goo.gl/2CozdE.
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Hellish Interviews: w/ Duncan Ralston
Adding to the already growing list of differing topics covered with Machine Mean, we’re adding something new! Hellish Interviews is as it says, interviews with hellish authors of the dark and unusual. Interviewing is something I’ve wanted to dip my toes in for some time,especially among horror writers. From my experience, horror writers tend to be the most normal people imaginable, which is odd compared to the macabre twisted things they write about. Getting to know writers better is interesting on more then one level. There are things we all can agree on, to a degree, and some be probably will disagree, and then there of tidbits of information ultimately new and exciting, which is what the act of discover is, is it not?
Joining me today is horror author Duncan Ralston. Duncan was born in Toronto sometime during the year 1976. He lives with his girlfriend and their dog where he writes dark fiction about the things that frighten, sicken, and delight him. In addition to his twisted short stories found in GRISTLE & BONE and the newly released THE BLACK ROOM MANUSCRIPTS, his debut novel, SALVAGE, will haunt various booksellers later this year.
Machine Mean: So, Duncan. You’ve got a horror anthology that recently came out with Booktrope: Forsaken. What drew you into penning this anthology? Did you have any favorite anthologies that inspired this work?
Duncan Ralston: I’ve always had a deep love of short stories. I started with the Alfred Hitchcock Presents books, moved on to Stephen King’s Night Shift and Clive Barker’s Books of Blood. Now I’m reading a lot of Harlan Ellison shorts, Ramsey Campbell’s, and some small press crime and horror anthologies. Short stories are the bastard children of the literary world, but with horror and crime, they are often better than novels. To maintain a consistent level of horror and/or suspense throughout a novel can be difficult. Short horror cuts right to the quick. It doesn’t mess around. It makes its point and then it gets the hell out.
MM: If you had to put a label on your “writing voice,” what would that label be?
DR: The Darkest Place of All is the Human Heart. Short and sweet, huh?
MM: Absolutely! Thinking about your inspirations, if you could pick one famous author, dead or alive, to review your work, who would that be? Why?
DR: No question, Stephen King. I love a lot of authors from many genres, but King was my inspiration. And he was never afraid to call himself a horror writer, unlike some, as if the term itself is distasteful, and the genre should be looked down upon. Plus, he’s proven that horror isn’t just myths and monsters with stories like Rita Hayworth and the Shawshank Redemption, The Body, Roadwork (one of my all-time favorites, written as Richard Bachman), etc.
MM: Great answer! I’m a total freak about King as well. And I love the way he blends normality into these classic monster motifs. Speaking of which, what horror mythology would you consider focusing on most for your next anthology? Werewolf’s, swamp creatures, vampires, mad scientists, aliens, mummies, ghosts, or zombies, or any combination of the above?
DR: My next collection (I’ve already been gathering up some stories for it, but I won’t be putting it together for a while) will focus more on human monsters, the darkness within the psyche. Serial killers, crimes of passion, cults, crimes “against nature,” and against humanity.
MM: On the subject of anthologies, do you have a favorite film or television anthology?
DR: Of all time? Probably The Twilight Zone. I just loved how it often took real world issues and gave them a dark twist. I know the plots seem a little hackneyed nowadays, following a pretty standard formula. But the formula is virtually perfect, so why mess with it? I’ve got a a novelette out (How to Kill a Celebrity) that’s inspired heavily by The Twilight Zone. It was fun to write. I love when stories surprise me, when I’m not sure exactly what’s going to happen, and I was surprised by how it turned out. I hope other people feel the same.
I love anthology horror, though. Kolchak, American Horror Story, Masters of Horror, Alfred Hitchcock Presents, Amazing Stories, Tales from the Crypt, Tales from the Darkside. There’s just so much you can do with anthology TV that you can’t with episodic. They’re the short stories of television.
MM: I couldn’t agree more. Love me some classic Twilight Zone! And I pretty much grew up ingesting Tales from the Crypt. So, I’ve heard you’ve got a full length novel coming out later this year? Salvage, right? Could you tell us a little bit about the book? What are some of the main themes?
DR: Salvage is a novel about a man struggling with depression after the death of his little sister. His depression leads him to follow in her footsteps to the lake where she’d drowned, Chapel Lake: a valley flooded for a hydroelectric dam, with the ruins of a town below the water. The further he looks into her drowning, the more he believes foul play might have been involved. But he also starts to think the lake itself might be haunted. Depression, lost memories, childhood trauma and religious zealotry feature heavily.
MM: What inspired you to tackle the subject matter in Salvage? Would it be fair to say that faith, religion, and spirituality have deep roots in Salvage? Do you have any life experiences that helped you tap into the themes?
DR: My own memories of early childhood are very spotty, and I often wondered why that was, if other people’s memories of their own childhoods were mostly a mystery. One thing I do remember is a time when I was about three or four, my mother was invited to what turned out to be a sort of hippie Sufi commune, unbeknownst to her, and she brought me and my brothers along. It was a lot of holding hands and chanting, and since we didn’t go to church, it was my first experience with religion. It wasn’t exactly what I would call a fun time, but I think it’s the root of my interest in cults. Not that it was a cult, necessarily; I’m not even sure how faithful it was to the Sufism (which I believe is a sort of mystical offshoot of Islam, like what Kabbalah is to Judaism), since I was about three or four years old. I’ve always been interested in fringe groups, and atypical religions. Jim Jones, the Heaven’s Gate cult, David Koresh, Charlie Manson. The Svengali archetype is fascinating to me. I’m curious what makes intelligent, rational people follow maniacs to their deaths?
Plus, I’ve always wanted to write about God and religion in a horror story. It’s often used as a crutch to solve problems in horror (or used to be, like using the cross against vampires), and I thought it might be interesting to deal with it head-on, but without the Satanic overtones of most horror stories that deal with religion.
MM: How do you feel about your main character? The transitions? Are they a sympathetic character? Pitiful? Strong? or Despised?
DR: Owen Saddler starts out on shaky ground. He’s deeply depressed, but it hasn’t really occurred to him it could be a problem. He doesn’t much like the world around him. He’s in a downward spiral. I’ve been there myself, and it’s not a good place to be. After his younger sister drowns, he really feels he has nothing to keep him afloat–so to speak–aside from throwing himself into work. When his partner suggests he takes time off to grieve, instead of grieving (which he doesn’t want to do), he turns his sister’s death into mystery to solve. So in the beginning he’s possibly delusional, heading down a dangerous path, but he believes it’s the path to healing.
MM: During the process of telling a story, many writers tend to favor some of their characters over others, who would you think is your least favorite character? Why?
DR: None of them! Okay, I guess if I have to pick, it’d be Howard Lansall, Sr. He’s the sort of sad sack drunk who seems interesting at first, but you’d hate to meet at a bar. Gabbing your ear off, and complaining about his life, so drunk he doesn’t know he’s repeating himself.
MM: Why is water such a large focus in the book?
DR: Water heavily featured in my childhood. I grew up near a lake. I used to spend hours playing in the water, entire summers at another lake up north. I used to have dreams about draining the lake and finding treasures, hidden caverns, lost ruins. It’s also a nice metaphor for the subconscious, and buried memories, which is a big part of the book.
MM: Thanks for telling us a bit about your upcoming debut novel, SALVAGE. When can we expect to see its release?
DR: I’m hoping to see it released before Halloween, most likely late-October.
MM: Before we end this hellish interview, do you have any other projects you’re willing to discuss?
DR: ‘m percolating a thriller about a couple undergoing an unusual form of therapy, while I write my next novel. The blurb for this one is TOP SECRET, but I think it would be safe to reveal that it’s all about ghosts.
MM: Okay, last question. If you could create your own horror anthology on TV, what would that look like and why?
DR: There’s a lot of untapped talent in the indie author world. We had Masters of Horror (and it was mediocre, at best), so why not Indies of Horror?
And while it’s not technically an anthology, I’ve written a pilot for a series about the town of Dark Pines from “Beware of Dog” in Gristle & Bone. It’s about a small town psychiatrist dealing with inner monsters gone very bad.MM: Okay! Thanks Duncan for stopping by and giving us our first author interview. I wish you all the best with your release of GRISTLE & BONE with Booktrope and the upcoming novel, SALVAGE.DR: THANKS, THOMAS! Great questions!
Machine Mean 