A Multiple-level Playground
for Children and Adults
The Ultimate Entertainment Package
for Family and Friends
Including
A Walk-Through Hotel Tour
An Animatronic Entertainment Ride Attraction
A Family Restaurant and Lounge
An Internet Coffee House
Special Restaurants
Bazaar of Shoppes & Stores
A Video Game/Pinball Arcade
A Discovery Zone for Children
A 399-seat Stage Theatre
Multi-screen Movie Theater
A UFO/Occult Museum
A Make-upTraining Center
Created and Designed by
E. Stephen McCallum
Hotel Macabre Package
The Objective
The Package
The Secret
The Descriptions
List of Productions
Project Market Analysis
The Short Story
The Objective
To provide the world with the one thing that has never been provided…a guaranteed frightful experience they can talk about the rest of their lives. A small, very small, percentage of individuals spend their lives actually "searching" for ghosts, monsters, and occult phenomena. The vast majority never get the opportunity to meet real phenomena… and wouldn't, if they could. However, I have never met one single individual who would not love to experience a visit to a haunted place, where they knew they would have such an experience… but, never get hurt!
From business people, just spending the night while at a conference, to families on their vacation, Hotel Macabre represents something significantly different than any of the major theme hotels in Las Vegas. This hotel represents all the shadows and memories of their imagination. This hotel is not designed to just achieve an "ooooohhhh" or an "aaaaahhhhhh", like the Vegas mega-hotels. This hotel is designed to create a physical chill, a visual shiver, through the body every time the individual, the family on vacation, and the couple taking their wedding vows, remembers their visit… and their experience.
The Package
A. Central to this proposal is, a genuinely haunted, Hotel Macabre. Inspired by the Eagles' song, Hotel California, and the innocent wonder the Disneyland attraction, the Haunted Mansion. This hotel is a genuine original, fulfilling every individual's, regardless of age or background, innate and subconscious curiosity, and our morbid interest in haunted places. Using the most up-to-date technology from entertainment, computer, and robotic sciences, this hotel will provide the most unique environment ever created for the public. From costumed staff members and walking "character" actors, to programmed artwork and statuary, almost everything in this hotel does react to the visiting guests.
A walk-through/ride-through attraction utilizes the glorious monsters, creepy mysteries, and dead celebrities of Hollywood's greatest artists…and the best nightmare's in everyone's imagination. Created from the master make-up artists to the animatronics of computer wizards, this hotel and it's attractions presents two faces to the world. One part is a family-oriented attraction designed to entertain those with weak stomachs and constitutions, and another designed to scare the heck out of the rest of us.
Disneyland, through the magic of the Imagineers, set the standards for the audience's expectations, and for my own imagination. This hotel, however, is not designed to mimic their creations, but to take the whole genre to a new level. This hotel, and all it's own attractions are designed to introduce the audience to a "world" that is not limited to The Walt Disney Company's necessary definition of "family oriented".
The vast majority of the audience seek new levels of thrills and experience. This is the reason that the roller coasters are the biggest attractions in any amusement park; why ghost stories and horror movies draw the largest audiences over their lifetime; and, why extreme sports have become the mark of the new millennium. The fact is -- the audience is much more sophisticated, and they expect a much more sophisticated product.
The Secret
The secret to all of this is state-of-the-art technology. Proximity detectors throughout the hotel identify when guest(s) are in the vicinity - and the objets d’art react to their presence. However, a painting or a statue cannot tell the difference between a five year-old child, a Catholic nun, and a liberal-minded college student. So, all guests are given an identifier. Registered guests have their Key-Cards coded appropriately (scaled from 1 to 10 / Red to Black); children are given wrist identifiers (1/Bright Red) -- with their names, their parents' names, and their room numbers; and, day visitors will be "protected", because without an identifier, the artwork won't know they are there. Staff Members will be issued both '1' and '10' cards, and a metal carrier to blank one card -- this gives each staff member, especially security, the ability to evaluate a particular event... and act accordingly.
The Description
As the central attraction of the whole package, Hotel Macabre is the focal point of exterior and interior decoration. The exterior is a large, prominent structure, with a definitive flavor of a discarded Louisiana plantation. One which blends with the surrounding community, while standing alone in prominence. Due to its complexity and vast size.
The Hotel Macabre is a "haunted hotel", with its exterior designed in the style of a depilated Louisiana plantation mansion, surrounded by a moss-covered willow tree swamp - some of it real, some of it artificial (especially the alligators). The three suite towers of the hotel rise 30 stories above the street, with the steep rails of a steel roller coaster rising twenty-five stories through the middle of the complex. There is a straight track, ninety degrees perpendicular to the ground rising into the sky, then it bends into a series of tight curves that circle around the central arm, speeding back down into the depths under the hotel, then explodes out, again, in the distance behind the hotel. In front of the hotel, besides all the other vehicles - travelers, taxis, and limos - there is a whole line of gregarious funeral cars operated by Graveline Tours.
The interior of the hotel combines the visions of a 19th century Barbary Coast hotel, an English castle, and the regional environs of several widely known ghostly haunts - utilizing the opportune sets and designs of famous films and stories (as made available by the major studios). The main restaurant is a 18th century pirate ship, complete with a ghostly galley. The rooms and hallways are electronically manipulated to scare the heck out of the guests. Even the staff is in costume and makeup; and a successful shop provides theme makeups for guests, of all ages. The Casino is designed as a graveyard at midnight, with slots designed as tombstones. With this marvelously haunted world to play in, the annual Halloween event draws thousands to this marketplace. And, outside, in the creative swamp, floats a Chinese houseboat filled with elegant restaurants, and a topside observation deck.
As one enters through the front doors, one enters the hotel lobby of a cobwebbed, debilitating relic…an 1880's San Francisco hotel, with the red velvet walls, and a large red velvet circular sofa in the middle - with a water fountain rising from the center, with Death atop the fountain. Periodically, the center arrangement lowers itself into the floor, and rises as a new sculpture and working fountain. The staff are appropriately attired as waiting staff -- who tend not-to-notice that their home is "falling apart" (some in make-up).
The central lobby leads the traveler to all of the hotel's facilities. In one corner of the lobby is a mechanical bandstand, complete with an animatronic zombie band, made up of famous dead popular musicians - playing popular "haunted" melodies; "Hotel California", “Welcome To My Nightmare”, “A Night On Bald Mountain”, and other haunting themes.
The guests check in at the registration desk - reminiscent of any old west hotel (but with all the most modern services). An animatronic/mechanical clerk, who is quite polite and interactive, sits at the reception desk and meets with the guests. Nearby, a "dead" human girl helps other guests check out. Until technology expands a little further, the robot presents the face of a working human clerk, in another room. It conducts the search of the computer system for reservations and available rooms. It's mechanical fingers move as though they are typing on the keyboard, but the real work is being done within the computer system. The client will realize that the system is operated by voice-recognition. The mechanical hand movements are more than just to make the guest feel more comfortable.
The corridor where the elevators are located, is decorated to look like the space between two walls. The aged vertical and cross beams appear to be original. Little spiderwebs in the intersections of beams give credibility to their age. Creepily, animatronic rats, and mice and run along some of the beams, and hide in their holes. The elevator, too, is its own experience. Surrounded in glass, the reflection of corridors gives the elevator the feeling of being the entrance into several hallways at once. Candlelit stands are reflected in the hallways. And, vague silhouettes can be seen moving between the different rooms. Suddenly, one starts running toward the elevator. A young girl in a mist-like nightgown. She appears to be screaming, but no sound is heard. Just as she reaches the elevator, she turns, and appears to down away down another hallway. Then disappears.
The shopping district within the hotel is influenced by the spectral magic of old New Orleans, including a enclosed graveyard complete with fascinating tombstones. A combination of real and artificial willows grow throughout the mall area, dripping with moss. Each shoppe is designed as a crypt within the graveyard. The "haunted" melodies play as though the trees themselves are singing it. Several small, intimate restaurants appear throughout the graveyard; each with their dining area flowing into the desolate grounds. Separate areas of the casino are designed with the actual movie sets of several horror films. The cocktail lounge, the Night Gallery, makes use of the sets and paintings originally made famous in Rod Serling's television series.
"The Privateer" is the main family-oriented Restaurant, entered into by a large solid, wooden door in the main lobby. As the guest reaches for and turns the door knob…instead of the door opening, the entire China Cabinet and the wall slide to the left, creating a passage into the dining area.
The Privateer is designed with the three-story, full bow of a 17th century sailing ship, in the middle of the room. The various decks and innards of the ship serve as dining areas. The majority are public, but a few "Captain's Quarters" are private dining rooms. The main mast raises into the night-painted sky ceiling. Surrounding the bow is a large dining area, highlighted by rich sea-blue carpet. Throughout the dining area are tables roped off, and marked by reserve signs. These special tables are replete with the sounds of ghostly parties.
To the left of the bow, the dining area includes a real midnight pool with a waterfall, and a wooden foot-bridge to another dining area - designed as the wharf shoppes of an 19th century harbour. This area is a working cyber-café, complete with internet computer sites. To the right of the bow the dining area faces the large, bay windows to the outside. In the background is a large window into the working kitchen. This is a performance kitchen, where the diners can watch the chefs and staff at work. However, when the staff is not busy, the lights are turned out. And, in the reflection of the great glass, is that of the 19th century Rue Morgue of Paris, complete with spiderwebs and autopsy tables.
The rooms, the corridors, and the open spaces are designed to be "remember able". Through the use of silk screens, laser-holograms, and other techno-wizardries, the guests discover the whole hotel is "alive". The businessman, attending a conference, arises in the morning to shave - and finds someone else's face in the mirror. The couple celebrating their vows, stays in a "torture chamber". The family enjoying the artwork and statuary in the corridors can actually "talk to them".
Down the lobby hallway, the traveler experiences the Lost World Bazaar, a variety of bizarre shops and offerings - presented in a graveyard motif (or a funeral home). Each shop is an individually-operated, customer service business.
1. To the right side, opposite the "check-in desk", is a large, antiqued China cabinet with a long mirror mounted in clear display -- aged like an genuine antique. The cabinet serves several purposes, one as a "window" into the Crimson Privateer Restaurant, next door - clear glass mounted above the mirror, second as a reflector showing the one looking into the mirror a room full of "ghosts" in the lobby behind them, and third as a display case for strange and macabre awards. A massive wooden "castle" door stands beside the China cabinet, as an entrance into the restaurant. As a guest pulls the knob on the door, the cabinet slides to the left, providing access to the restaurant.
2. To the left of the front door are the "offices" of the Virtual Vacation Tour and Travel Agency. This discarded and debilitated agency sells the traveler vacations in a virtual world. On the walls of the office are posters such as "Freddy Krueger inviting all to visit Elm Street", "Jason promoting the dark alleys of Manhattan", and "Marvin the Martian expounding the virtues of intergalactic terrorism". Passing through the office, the traveler enters a real, coin-operated video arcade (with the best, most popular, and newest games available). At the far wall is an elevator and stairwell, leading up and down.
Up the stairs, the traveler finds the larger, more complex VR "attractions". These include the virtual flight, virtual combat, and virtual science-application games already available, plus our own unique applications such as a virtual version of the Hotel Macabre, a Sherlock Holmes mystery, an underwater/scuba experience, jungle safari, interstellar travel, etc. Central to this theme is the Virtual Vacation Theatre, a collection of suspended swing-chairs (raised platforms for wheelchairs and those who elect to stand), networked to desktop stations (50) and ball-jointed tracks, giving each chair a complete range of up/down/tilt, right/left/rocking motions. Each vacation is a CD-ROM virtual experience, allowing each traveler to select from a number of choices - each scripted and time-allocated. Additionally, each station is telemetry monitored, to ensure that the traveler does not experience severe emotional stress from their chosen vacation.
Down the stairs, the traveler finds the Lazer Tag © combat zone. This is a family-oriented, hands-on participant game, where one's individual skills are truly challenged in this team-based survival theatre. Designed in a theme of interstellar artifacts, walls, and alien plantlife, the soldiers in this battle zone hide, hunt and compete strictly against themselves. Video cameras within the arena allow patrons of the Cyber Cafe and the Virtual Tour Lines to watch the action arena. From here the traveler can return to the major portion of the hotel, through the Bazaar.
3. Past the Bazaar is the "ride-through" haunted universe, The Espookculator. After buying a ticket, the traveler then passes down a lost hallway. The cars of this ride are suspended from an overhead track, giving the traveler the feeling of floating in space - compounded by the sense of loss of safety, not being in contact with firm ground. This allows for greater enthusiasm during "up" and "down" movements, generating the sense of no control while surrounded by silk-screen, holograms, and animatronic attractions. The track leads through a meandering series of theatres presenting an illusionary version of the hotel full of metaphysical subjects; a disused basement and graveyard with bogeymen and monsters in the shadows; a tropical jungle with blood-thirsty natives and combat-killed soldiers; and interstellar travel with black holes, wondrous planets and alien fears.
Each car is operated by the traveler. The greatest problem will ALL entertainment attractions is that once you've traveled the course (or completed the ride), you-have-seen-it-all. But, on this attraction, the traveler is able to change tracks, at designated points, allowing them to experience a new ride on each and every visit. The Exception to this is for small children and those who have really weak stomachs. For such, there is a non-stressful program for the ride - which can be locked in by staff members prior to the ride beginning. This prevents small children from seeing the more "provocative attractions" - until their parents are ready. (A whole set of rules have already been designed for the protection of small children throughout the hotel system.)
Those electing to enjoy the "walk-through tour" of the hotel follow a path that allows them to catch periodic glimpses of those on the ride. This is a short, entertaining tour designed to allow those with little time to experience the whole Hotel, while generating curiosity and intrigue toward the opportunity to see more, and stay longer. Rather than "returning" to the lobby, at the end of the ride or the walk-through, the traveler enters the Crimson Privateer, through a large, one-way passage gate.
4. The hotel will house several restaurant facilities which can be contracted out to specialty programs. The primary restaurant services, owned and operated by the hotel, are facilitated in three arenas. The Crimson Privateer is a full meal, family dining room in the decor of a haunted, distressed sailing ship, complete with a forward deck, and private dining rooms on the Captain's deck. The Privateer contains its own "personal experiences". Such as periodic shakings of the masts, doors, portals, and "reserved tables" (reserved for ghostly parties). An especially entertaining aspect of the Privateer is a large bay window between the dining area and the Galley; when the lights in the Galley are on, the traveler sees the actual food preparation (a performance kitchen), however, when the lights are off, the traveler sees the "reflection" of a dirty, haunting morgue. (This presentation is specifically designed to entertain the wary traveler -- without unduly interrupting their meals.)
On the starboard side of the Privateer is a vista of The Barbary Wharf Cyber Cafe, an Internet Coffee House designed like the sea-wharf piers of coastal regions, offering table-desktop computer stations, for those who wish to play games, talk on the Internet, or watch the other "theatres" within the Hotel via close-circuit services. Passing from the Privateer, the traveler crosses a gangway (over real water, complete with a moon-lit waterfall), onto the Wharf. The shadowy, cool experience of a 18th century port, complete with a wall of wharf shops with the reflection of haunted lives in each. This includes one reserved computer, from which periodically appears a lost soul trying to find a way out of the monitor.
Merlin's Crystal Cave is a cocktail lounge (adults only) with its own access to the street/parking area, a quiet community area providing a mixed array of relaxing music and entertainment in the background, plus an area of large, separated booths where groups can gather and enjoy their own conversations. Each booth is surrounded by "crystalline walls" with subtle lighting embedded. This lounge is available for hotel guests, to meet for business or relaxation, but also for those in the community seeking a place prior to shows, the theater, or after dinner.
Additionally, The Swing-In Noose, is a saloon-style music hall, where a house band entertains individuals, groups, and families with swing-era melodies.
5. The Lost Phantom Theatre is in the flavor of "The Phantom of the Opera". Beyond its basic character, this facility is decorated in accordance with the activity being presented. This theatre presents classic and newly-released horror films, plays, musical performers, and specialty events. Supporting the primary 400-seat auditorium prepared for live and film presentations, will be a six-screen movie theater providing brand new releases and classic films. These facilities may also be consigned by conferences and conventions for special event usage.
6. The Lost World Bazaar - Gift and Collectible Shoppe(s) are located throughout the central arena of the hotel, covering three floors. Included in this category is a Psychic Book Store, a Tarot Reader, a Magic Shop, Make-Up Designory, etc.
7. The d’International UFO/Occult Museum is the ultimate collection of "odd" memorabilia about UFOs, ghosts, occult, and para-psychological phenomena - real, fictional, and mythological. This facility could serve as a central information center for news and events of this nature - as of this update there is no such facility in the world. This environment would be an outstanding focus point for all the various independent and organized research groups, worldwide.
8. The Discovery Zone © is a fully-contained small children’s playground, combined with the hotel’s Day Care Center, providing safe, colorful equipment for park-like amusements, and a complete staff. This is a physically separate facility, within the hotel complex, designed as the gingerbread house, with indoor and outdoor facilities. This service should not produce any large, cumbersome ticket-fee. Its mere presence offers families in the community a reasonable opportunity to dine at the Crimson Privateer, bring out-of-town guests, and enjoy a few hours away from home.
9. Make-Up Designory, is a fully-operational vocational training center for make-up applications for film & television, and a complete line of upscale cosmetics. This school brings its own international reputation for excellence and success. Through the continuing flow of students, the hotel has access to the daily make-up challenges of staff and performers. As well as the opportunity to provide guests with a totally unique experience - a professional cosmetic makeover, face-painting for children, or the application of character make-ups for special occasions.
10. The Funeral Chapel is a fully operational wedding chapel, for those couples dreaming of confirming their vows in a most unique spiritual environment. The honeymoon suites of the hotel are equally creative in their promise to these young couples. For a historical note… the traditional wedding march… is… the funeral march, played backwards.
10. Standard Services are the normal, everyday services in any hotel environment, including both an indoor and an outdoor pool area; gym and health facilities; local community tour/guest services. This package can still be expanded further through additions, such as:
a. the Cabana Club House Snack Bar at the outdoor pool - supervises pool area operations. Offers facilities for outdoor luncheons, parties, and conferences.
b. a mini-race track, utilizing go-carts
c. a bumper car ride, and other "carnival side attractions".
11. Optional opportunity to take advantage of the vast popularity of theme subjects for television production. The Hotel could "host" radio and television series on the paranormal and occult. Providing the audience weekly stories in the genre, and promoting the availability of the hotel and its attractions. The popularity of ghosts and paranormal phenomena is reflected in the wide variety of productions regarding the many aspects of these subjects, the major examples of which are:
Radio
The "Coast to Coast AM" Radio Show… the single largest radio audience in the world, with over 500 stations, broadcasting the daily news and stories in this market.
Serial Television Productions:
"In Search Of…" Syndication
"Hard Copy" Paramount Pictures
"Sightings" Paramount Pictures
"The Unexplained" A&E Television
"The Scariest Places on Earth" FOX Television
"Encounters with the Unexplained" PAX Television
"Mysteries of the Unknown" Time-Life
"The World of the Supernatural" Time-Life
"Beyond Belief" Syndication
"Ghosts Detectives" The Discovery Channel
"Haunted America" The History Channel
"Crossing Over with John Edwards" Syndication
Individual Productions:
"Are We Alone?"
"Mysteries of the Sphinx"
"Who Built the Pyramids"
"Who Built Stonehenge"
"The Late Great Planet Earth"
"Nostradamus"
"In Search of Atlantis"
"The Bermuda Triangle"
Note: of personal interest to myself, Dan Aykroyd has created and produced his own paranormal news magazine for television. Originally contracted and scheduled for the Sci-Fi Channel, this program was subsequently pulled off the new season schedule...by government agencies. Such a personality, operating their own production from the hotel would be of immense popularity and interest.
Project Market Analysis
The Boston Herald, 10/29/00: "Things that go bump in the night are big business this time of year, but if a recent Gallup Poll and an upcoming book by a pair of Boston writers [Joseph Mont and Marcia Weaver] are on target, Americans are gung-ho on ghosts, Halloween or not. The 1999 Gallup Poll revealed that a third of Americans believe in ghosts - up from just 11 percent in 1978. More than half of Americans polled under the age of 29 - some 54 percent - said they are true believers. 'Take any five people in a room, and at least one or two will have seen a ghost. But they don't want to talk about it because there's a perception that people will think they're crazy,' said Mont, who has spent the past year researching Boston's rich haunted history.
The Commercial Appeal (Memphis, TN), 10/29/00: "Throughout America, historic hotels and inns are coming forward with unearthly tales of hauntings and mysterious happenings that are linked to legends of tragedy and loss. But rather than scaring travelers away, the mystery surrounding these stories is attracting overnight guests like teenagers to the latest horror flick. Jim Moyer, general manger of the Crescent Hotel, 'Although we stay away from using the words ghosts and haunted in our promotional materials, we do promote the fact that the hotel seems to contain mysterious entities and spirits. We even conduct daily tours of the places in the hotel where sightings have been reported.' Every year in September, the National Trust Historic Hotels in America (an arm of the National Trust for Historic Preservation) publishes an updated batch of stories about hauntings and sightings from its member hotels. The most recent group can be found on their internet site."
Sunday Telegraph (London), 02/03/00: "Hollywood actors don't all die and go to Heaven - some apparently return to haunt the hotels in which they most memorably over-indulged. Montgomery Clift's troubled spirit, for example, is said to wander Room 928 of the Hollywood Roosevelt Hotel, in Los Angeles, where it is joined by the ghosts of James Dean and Marilyn Monroe, whose fleeting image has often been glimpsed in the hotel's mirrors. Hotels are prone to haunting thanks to the many short but intense human dramas that have been played out within their walls. Or so claims Haunted Holidays (Insight Guides, pounds 14.99), a fascinating guide to haunted hotels, graveyards and other ghostly locations across the United States."
The Fort-Worth Star-Telegram, 11/13/00: "We came here to get scared. We were not disappointed. We experienced some weird noises and lights in the Jefferson Hotel. This hotel, built in 1851, has attracted some characters as well as stories about spirits that still abide in the 24 rooms. So, we became ghost hunters and arrived Saturday, a night that could have been peeled from an old horror movie. Heavy fog dulled street lights, making eerie shadows dance over city streets where such famous people as railroad tycoon Jay Gould and Gen. U.S. Grant had once walked.”
Intelligencer Journal (Lancaster, PA), 12/11/00: "When I registered myself and my family at the Cashtown Inn in Adams County recently for a weekend getaway, I was thinking about two things: the rich history of the 200-year-old hotel, and the possibility of meeting a real, live (?) ghost. Listed by Blue and Gray Magazine, a national publication devoted to the Civil War, as one of the most haunted sites in America, the combination of history and mystery brings a steady flow of curious ghosts to the hotel from all over the country." "Maybe the Hoovers [owners of the property] don't stress the ghostly aspect of their business, but they do remind guests of the inn's paranormal activity by offering the videos for sale, and by having copies available for viewing in each room."
Deutsche Presse-Agentur, (London) 08/01/01: "Kate Winslet moves into a haunted Cornish house at Tintagel."
San Francisco Chronicle, 06/17/01: "Go figure. some fear is fun. And fun is definitely one way to describe Oatman [Arizona], one of the most authentic ghost towns you'll ever find in the middle of nowhere, with people actually still living in it…. Today, the hotel [Oatman Hotel] is registered with the National Historical Society as the oldest two-story adobe building in Mohave County, and rooms go for about $35 a night -- except for the Gable-Lombard room, which costs $55."
The Ottawa Sun, 10/31/00: by-line, Denis Armstrong: "My editor, Drew McAnulty, a ruthless governor who, to this day, works only after sunset and then, only by candlelight, consuming no food but Bloody Caesars, gave me an assignment that no one else wanted. 'I want you to seek out the ghost of the Chateau Laurier, tonight. Be there no later than midnight. A coach is waiting for you. Now, be gone. Above all, go alone.' I stood before the Chateau Laurier like Max von Sydow in the Exorcist, shrouded in fog while I gazed at the fifth floor for the ghost of Charles Melville Hays. Deneen Perrin, the hotel's publicist, approached. Dressed in a black evening gown, with long tresses of raven hair, she held out her hand. 'You must be tired after such a long journey,' she said warmly. But her grip was cold to the touch.
The Washington Times, 03/03/01: "A Connecticut couple is spending millions to renovate two landmark hotels in Eureka Springs, Arkansas -- but the ghosts are free of charge. The "grand old lady" of the Ozarks is receiving visitors again to show off her latest face lift. that title has been bestowed on the Crescent Hotel, an architectural wonder built in 1886, on a mountaintop overlooking the town of Eureka Springs, itself a mother lode of Victorian gingerbread houses that look as if they should be decorating a holiday mantle….The Crescent has a storied - sometimes stormy, sometimes sordid - history. There's a trail of victims, and some, it seems, are still hanging around… They don't want to evict the ghosts, and have allowed the hotel to be included on commercial ghost tours that also include mansions and the town cemetery."
Chicago Sun-Times, 10/31/00: "According to local lore, a spirit haunts the St. Charles [Illinois] hotel, where she was jilted on her wedding day 30 years ago. And the ghost of the young chambermaid who once worked at the Hotel Baker isn't the only specter in residence at the 1928-vintage, Spanish-Moroccan styled inn, some hotel staffers insist."
The Mirror (London), 10/31/00: "We've found the spookiest places to stay in Britain, big brave things that we are. The service in these haunted hotels must be good -- some of the lost souls have stayed for centuries. So go on, we dare you to share your room with a ghostly guest."
USA Today, 10/27/00: "10 great places to sleep with a ghost… Hotel del Coronado, Coronado, CA… Hotel Jerome, Aspen, CO…Martha Washington Inn, Abington, VA…The Crescent Hotel, Eureka Springs, AR…The Brown Palace, Denver, CO…Rosario Resort, Orcas Island, WA…Hotel Baker, St. Charles, IL…Jekyll Island Club Hotel, Jekyll Island, GA…Don Cesar Beach Hotel & Spa, St. Pete Beach, FL…Omni Netherland Plaza, Cincinnati, OH…"
SOUTHERN MAGICK
a fantasy novel
by Steven Skye Templar
as told to E. Stephen McCallum
[Chapter 1]
The moon sits just at shoulder height, so close you could reach out and carry it home. The sky is full of soft, cumulus clouds, like balls of cotton candy. If you tugged at the moon, the clouds would just slide around like the mobiles in a child's bedroom. The cool autumn air is clear, crisp, and dry. A beautiful night overlooking the quiet valley and the village of Lesnica, Slovakia. In the distance, beyond the ridged cliffs of the Tatra Mountains, a soft white glow marks the city of Poprad.
A lone figure stands reflected in the tranquil moonlight. A young woman faces the valley from the ridge line above. The rucksack on her back gives her the distorted outline of a short, heavy-shouldered hunchback. And, the dark glisten of the night shadows prevent anyone else from realizing that her solemn mission is such that she has not seen the glorious heavenly display in front of her. She is only focused on the mysterious shadows surrounding her, on the next few hours, and on the many improbable conclusions which might to her improbable life. Everything in a lifetime of peculiarities and complications has brought her to this moment, to this place thousands of miles from home, and to this quiet consternation.
From her high perch, Eden studies the quiet, peaceful village below. Squat, two-story buildings cover only twelve acres of land, in a patchwork of cobble streets and land plots. This village has existed, in one form or another, for over three thousand years. Thatch huts and mudpaths have existed here since before the time of Alexander the Great. Many villagers believe they can trace their heritage to Komikus Jekko, who sought out this hidden valley following his battle marches into Babylon with Alexander. Some even believe that Jekko knew the grand wizard who was Alexander's magician in battle.
But, Eden knows that Komikus Jekko was that grand wizard. A powerful magician in service to the great king. A terrible weapon which was responsible for most of the conquest of the Middle East. But, more than that, Jekko was also the source of the occult knowledge taught to Alexander, that led to the creation of the Freemasons, a secret society of powerful men, who today can still see their original designs in the traditional honor and service performed by their descendants thirty centuries later. The same arcane knowledge which led to the assassination of Alexander, for knowing too much; and, led to three millennia filled with shadowy, secret events and schemes that, eventually, places a tiny, young American woman high on the ridge overlooking this eastern European village, in the middle of the black night.
Eden glances at her wristwatch, in the moonlight. She shrugs her shoulders, unloads her rucksack, props it against an ancient pine tree, then sits down, using the ruck as a backrest. She cannot sleep this night, but she can be comfortable. The next few hours may be quiet…or not, but she must be rested and prepared. Right now, she would give anything, just to hear that old woman laugh, again.
[Chapter 2]
Emma Thomas and her parents patiently await their turns to deplane the Southwest Airlines flight from Burbank, California, to the playland which is Las Vegas, Nevada. The air conditioner on the plane is still flowing, but the intense Indian Summer heat in the Nevada desert can be felt seeping into the plane. Finally, all the grumpy grown-ups who came to Vegas to throw away their money have grumbled and jostled their way down the aisle towards bankruptcy and disaster.
Now, Emma can hurry forward, to the excitement and adventure of her second year at boarding school. Very few children ever find boarding school a happy experience, or an exciting adventure. But for Emma what else could it be called. Her friends are great. Her teachers are wonderful - even for grown-ups. And, her studies are out of this world - literally. In fact, going to school is so much fun, her parents have already figured out how much they can get done, by threatening to "not" let her go to school.
McCarran Airport is a strange and fascinating experience in itself. Just as you come off the plane, people are playing slot machines. There are flashing, neon lights, and wild melodies playing everywhere. Fragrances fill the air from all the strange and busy food courts in the airport. Emma and her parents move through the crowd like kajakers riding river rapids. She sways right and left, bows in and out of groups, oblivious to all the mundane excitement around her. Samantha is headed straight for the baggage claim, and all of her gear. Dad just shakes his head and decides against reigning her in, as long as he can keep her in view. Mom just hangs on to Dad's arm, surrendering to the radical roller coaster ride, which has become her life.
"Yo, Emma!" Just as Emma reaches the down escalator to the baggage claim area, a shouting voice distracts her. She turns to the left, and sees Kaylie Bethland rushing forward -- her own parents several distant yards behind. "Kaylie!" Emma cries. The two girls race forward and hug each other, talking insistently. They are still jumping up and down, excitedly, as both sets of parents arrive.
"Tate… Kayci…" observes Paul Thomas, "welcome to the madness!" His smile is relaxed, unstressed, and genuine.
"Paul… Francine…" Tate returns, "Yeah, another year… another appointment with my psychiatrist!" Paul laughs, and all the other adults join in. Kayci and Francine hug, and offer their own welcomes. They cease as the men observe that the girls have already taken off, down the escalator.
Others are arriving at the airport. If you knew what you were looking for, you could see who is, and who isn't excited about coming to Las Vegas. One of these, not-so-happy travelers, is a small, black-haired girl dressed in the somewhat popular gothic-style generally worn by much older teenagers. Her backpack is overstocked, and she's dragging two large suitcases. She has no family with her. Eleven year-old Eden Kingsley looks as if this is the most horrendous experience in her short pathetic life.
An old woman, thin and tall, in a very colorful, and eclectic costume, approaches her. "Miss Kingsley, I believe." the woman observes.
"Yeah." Eden replies distractedly, trying to balance her cases. She stares at the strange woman as though Eden was afraid the woman would announce she is a member of her own family.
"I am Gayheart." the woman announces, shrugging her shoulders non-committedly. "I am part of the faculty at the school. I understood you would be traveling alone. So, I decided to arrive and meet you."
"I thought it was a boarding school, not a clown college." Eden replies, more curiously than rudely.
"In keeping with the weekend's events, I decided to enjoy myself." Gayheart lightly observed, modeling her long maroon robe, trimmed in emerald green. She is a thin woman, wearing a 19th-century period dress and a witch's pointed hat, in colors matching the robe, and period-style laced, high-heel boots. Already tall, by nature, the boots made her height exaggerated. "You might be surprised how comfortable it is to be outlandish…when no one notices." She gave a strange smile to the young girl, as though she knew why Eden dressed the way she did.
"Well, I guess I don't have any choice, anyway." Eden declared, rolling her eyes. "What next?"
"I have two more young ladies to find." Gayheart replied. Then, seeing Eden's exasperated expression, she added. "But, they're already at the hotel. So we don't have to wait here." She saw Eden visibly relax.
The first weekend of September, celebrating the Labor Day holiday, hosts the biggest annual Halloween product events. Starwood Hotels all over the country hold expos of seasonal costumes, makeup products, commercial projects, and designs for community events. Regional manufacturers stampede to these events, because the potential customers - in the form of children of all ages - flood to these arenas, to get new ideas for their annual night of haunting fun. After all, Halloween is the second largest marketing period in the United States - right behind Christmas. Of course, the most successful site is the infamous Hotel Macabre, a Starwood, in Las Vegas. This unique theme-hotel provides the most effective environment for this particular annual event.
As the car turns off the famous strip, onto Claymont Drive, Eden gasps as she gets her first look at the hotel. The Hotel Macabre is a "haunted theme hotel", with its exterior designed in the style of a depilated Louisiana plantation mansion, surrounded by a moss-covered willow tree swamp - some of it real, some of it artificial (especially the alligators). The three suite towers of the hotel rise 30 stories above the street, with the steep rails of a steel roller coaster rising twenty-five stories through the middle of the complex. There is a straight track, ninety degrees perpendicular to the ground rising into the sky, then it bends into a series of tight curves that circle around the central arm, speeding back down into the depths under the hotel, then explodes out, again, in the distance behind the hotel. In front of the hotel, besides all the other vehicles - travelers, taxis, and limos - there is a whole line of gregarious funeral cars operated by Graveline Tours.
The interior of the hotel combines the visions of a 19th century Barbary Coast hotel, an English castle, and the regional environs of several widely known ghostly haunts. In the lobby is a mechanical bandstand, complete with an animatronic zombie band, made up of famous dead popular musicians - playing popular "haunted" themes. The main restaurant is a 18th century pirate ship, complete with a ghostly galley. The rooms and hallways are electronically manipulated to scare the heck out of the guests. Even the staff is in costume and makeup; and a successful shop provides theme makeups for guests, of all ages. The Casino is designed as a graveyard at midnight, with slots designed as tombstones. With this marvelously haunted world to play in, the annual Halloween event draws thousands to this marketplace. And, outside, in the creative swamp, floats a Chinese houseboat filled with elegant restaurants, and a topside observation deck.
The energy and character of the hotel visibly brightens Eden. Gayheart smiles, secretly, as she sees the anxious young girl's emotion change. If this can affect her mood, just wait. Together, they approach the registration desk, and are addressed by an animatronic mechanical clerk, who is quite polite and interactive with the guests. Nearby, a "dead" human girl helps other guests check out.
"Welcome to Hotel Macabre." The robot states.
"Uh…uh…" Eden begins. She looks to see if the real girl is going to help her. Gayheart smiles, but says nothing. Then, Eden continues, "Umm…I'm Eden Kingsley. I'm suppose to have a reservation. My father made it."
"Thank you." The robot replies. It begins researching the computer system. Scared whether this is working, but curious about what is happening, Eden studies the robot's actions. It's mechanical fingers move as though they are typing on the keyboard, but the real work is being done within the computer system. She realizes that the system is operated by voice-recognition, so the computer has been working on her registration ever since she first spoke. The mechanical hand movements are just to make the guest feel more comfortable.
"Do you wish a smoking room?" The robot asks.
"No. Thank you." Gayheart replies, quickly, somewhat sternly. The robot nods and continues, and Eden looks at the older woman, shrugging her shoulders in surrender to the implied threat that she wasn't to be caught with cigarettes.
"It's alright, anyway." Eden states. "I don't like the smell of rooms other people smoke in."
"Most people don't." The robot responds. "May I see your identification, please?" The robot asks. Eden has to dig into her shoulder bag for her wallet and ID. Finally finding it, she opens the wallet and displays her photo for the clerk.
"Thank you. Very nice picture, Eden." The robot observes, casually.
"Thank you." Eden replies, then adds surprised by the mechanical man's social program, "A very nice telephoto lens in your aperture."
"Thank you. It was the state-of-the-art two years ago." The robot replies. "However, I am a system 6-R, I won't be upgraded unless I am still functioning in five years." Eden looks curiously at the machine, then at the older woman next to her, then stares at the wall for a moment, in contemplation.
"Well, I certainly hope you continue to function at optimum efficiency." Eden states, curious that the robot may actually have emotional programs. She smiles, to herself, as she creates an image of the Tin Man, from the "Wizard of Oz", seeking a heart.
"Thank you, young lady. I hope so, too. I truly enjoy my duties. And, I hope that you change your mind about the upcoming year." The robot says. It pauses, then continues, "You may find the opportunity to continue functioning at optimum efficiency, as well. Then, we will be able to renew our conversation in twelve months."
Totally surprised, Eden nearly jumps out of the room. "How do you know what I am going to do?" Eden inquires, seriously nervous. "My parents strictly told me that no one knew, except those who had to. My father did not say anything to the hotel staff when he made the reservations." She looks over her shoulder at Gayheart, who seems genuinely surprised, as well.
"My apologies, Miss Kingsley." The robot states. "The hotel is intimately associated with the school, and I have been…instructed… to observe the wristbands of school members. To ensure the best service is provided to all our guests." The robot paused, deliberately looks around, conspiratorially, to ensure no one had been watching their conversation. As the robot continues to talk, Eden is staring at her right wrist, on which is a purple plastic band, with some kind of barcode on it. She turns to look at Gayheart, who shrugs her shoulders without any acknowledgement. "Don't worry, most of the… living…staff have not been briefed about this weekend's event. Only those with a genuine need to know. And, you can rest assured they can be trusted." The robot observes, appears to smile, and then winks at Eden. "However, I would suggest you be very careful of the kitchen staff. Some of them have been brought over from the school, and they tend to think this is some kind of playtime." There is a pause, then the robot adds, "And, thank you."
"For what?" Eden replies, confused.
"For considering me one of the staff, and not a piece of furniture." The robot observes.
"Oh, that was natural." Eden observes, adding, "The furniture never talks to me."
Suddenly, the robot turns to look directly at Gayheart, and resumes its formal attitude. "Ma'am, we, the staff of the Hotel Macabre, and the Starwood family, are proud and happy to provide the best possible service and dedication to the faculty and staff of the Acolytian." The robot pauses, and bows his head and shoulders with grace. Then puts his left hand to his ear, as though he was listening to some intercom speaker. It addresses Gayheart, "But, could you please regain control of the third years. I have just received instructions that three young men are playing… restricted games… in line at the roller coaster." The robot states the words with expressed intensity, as though it actually understands the emotions in its words.
"Eden, go up to your room." Gayheart briskly instructs. "I must look into this situation. I will come up in a few minutes."
The metallic clerk returns to its routine duties and presents Eden with a room key, a map of the hotel with a simple line map to show her how to find her room, and explains some of the general amenities. Then, the robot rings the bell, and a human young man, dressed as a zombie in a bell-porter's uniform, arrives to help Eden with her bags.
Just as Eden starts to move to the elevators, a small commotion at the front doors draws her attention. Emma and Kaylie arrive, each carrying a pet cage, and with their parents in tow. Samantha's is a elegant falcon, sitting quietly on its perch. Kaylie is carrying a cat. The cat is very upset. Kaylie and Emma look distractedly at each other, then each moves their own cage to the far side of the twosome. The cat quietens down, some - apparently still very interested in the falcon.
[Chapter 3]
Eden shakes her head, sure this is going to be a very strange weekend, then turns and begins following her luggage upstairs. The corridor where the elevators are located, is decorated to look like the space between two walls. The aged vertical and cross beams appear to be original. Little spiderwebs in the intersections of beams give credibility to their age. Creepily, animatronic rats and mice and run along some of the beams, and hide into their holes.
The elevator, too, is its own experience. Surrounded in mirrored-glass, the reflection of corridors gives the elevator the feeling of being the entrance into several hallways at once. Candlelit stands are reflected in each of the hallways. And, vague silhouettes can be seen moving between the different rooms. Suddenly, one starts running toward the elevator. A young girl in a mist-like, full-length nightgown. She appears to be screaming, but no sound is heard. Just as she reaches the elevator, she turns, and appears to down away down another hallway. Then disappears.
Finally at her room, Eden is almost afraid to enter. The bellhop promises her it is quite safe. He sets her luggage near the foot of the bed, and leaves. Eden looks out the window to see the greater portion of the famous Las Vegas Strip, with its many fabulous theme hotels. She stretches, looks at the bed and imagines a nap, then realizes that this is all too real, and all too strange to believe, or sleep through.
Eden takes time to unpack some of her stuff, take a shower and change clothes after flying from San Diego. She towel dries her hair, as she looks out the window at the life in Las Vegas, as the sun begins to set in the west. A soft, shallow knock on the door makes her turn, just as Gayheart materializes in her room.
"Do you always knock, before just popping in?" Eden asks, distracted.
"Not generally." Gayheart laughs. "Wanted to make sure you were watching." She pauses for just a moment. "This is your first time around folks like us. I thought this might be the easiest way to convince you this is all very real." She pauses, waves to the lounge chairs near the windows, and crosses the room to sit. As Gayheart chooses one and begins to sit down, Eden chooses to sit on the corner of the bed. "Ohhhhhh." Gayheart expresses her physical tiredness. "Trust me, getting old is not the worst thing…but it is demanding on one's energies." She squirms a little, to get comfortable. "Now, I suppose you have a few pertinent questions."
"Yeah." Eden observes. "First, why me?" She pauses. "Second, how did you people find out about me? And, why are we in Las Vegas, if this boarding school is in Missouri? Then, where did this come from, and why can't I get it off?"
"Well," Gayheart begins, "why you? Because you were born with a few normally recessive and inoperative genes which make you very special. Believe it or not, your subtle, if somewhat distracting differences, make you stand out in the community you just left." Eden reacts to the obvious, and dark, memories. Gayheart continues, "Very few people are ever born with such differences. But, within our community, you may find yourself very commonplace indeed."
"So, this is some kind of disease? Like leukemia, or muscular dystrophy?" Eden quietly exclaims. There is a high level of stress in her voice.
"No." Gayheart replies flatly. "It's not a detrimental difference. It's more like the difference between blue eyes or brown eyes, blonde hair versus black hair. Magic versus non-magic. Some folks can, most folks can't." She pauses. "As for how we found out about you. We've known about you since the day you were born. And, we made quiet contact with your parents immediately. However, we realized then, as you have since, that your family does not want to participate in your future."
"Yeah." Eden agrees very solemnly. "They've been trying to beat it out of me for ten years."
"And I am very personally sorry for what has occurred to you. Unfortunately, we could not actively do anything to change it…until now." Gayheart replied. "As for Las Vegas," her voice lightens, "why not? It's just as good as any other place, but it is much more fun than most places." She stops and watches Eden. "And, the wristband appeared, magically, on your wrist the moment you walked through the front door of this hotel. It will remain there until you arrive in Perfect." Eden considers the statements, and shrugs.
"What happens now?" Eden asks.
"We go find your new companions, then downstairs, to the expo." Gayheart replies, and begins lifting herself out of the chair. "And, we start shopping for your school supplies." Together, they move toward the door. "Then we get some dinner."
Just as Eden reaches for the door knob, Gayheart touches her shoulder and she stops. Gayheart just winks, appears to listen to something, then they disappear and reappear in the hallway, in front of the elevator doors. Eden visually searches her own body, and runs her hands over her arms and legs. Smiling curiously following the experience.
"That's much easier…and much more fun." Gayheart observes. "However, school policy is that students are strictly NOT allowed to perform any magic outside the school grounds."
"Why?" Eden exclaims, dejectedly. "That was so easy. Besides, I've been doing little things, for years. Now, I can't just because you say so?" Eden's defenses went up immediately. "You appear, literally, out of nowhere…and start giving orders. I could stay home for all this!"
"Because you don't have any idea what you can do. Or, what repercussions your doings might have. Besides, because we are a very small number, and the vast majority, which we call mundanes, have never developed our abilities, they, therefore, find it hard to accept us." Gayheart pauses. "But, you already know that. And, as you already know…children have a bad habit of not thinking about what is right or practical. Therefore, to eliminate the need to think about it, it has been prohibited."
"Like the third years at the roller coaster?" Eden observed. "What are the punishments?" Eden inquired fearfully.
"Depends upon the level of the crime." Gayheart began. "But, the primary is expulsion from school. Different kinds of actions have different kinds of results. Professors determine punishments in their classrooms. House Supervisors rules over their dormitories. And, the Oracle rules over all campus actions. Generally, however, the most extreme is a mind-wipe, so the individual never more remembers how special they are."
"Generally?" Eden asks.
"Well, there are very extreme measures," Gayheart replies, "when there are very extreme results." She didn't expound, but Eden got the message. To cause a death, could cause a death. "As for those third years, you can be assured those young men won't be leaving their rooms until tomorrow afternoon." Eden stares fearfully. Laughing lightly, Gayheart continues, "I gave them pigeon feathers, and lizards tails."
"How will they eat?" Eden inquires, grinning, curious at what boys look like -- that way.
"Oh, don't fear, the hotel staff will ensure they have appropriate meals delivered to their rooms." Gayheart replied. "Unfortunately, they won't get to enjoy the sights…and desserts were forgotten when I ordered the meals."
Stephanie Jane Evert is nervously pacing her hotel room. She has changed clothes three times. She is disappointed that at eleven years of age, she has not begun to develop any adult characteristics. She really doesn't want to wear a training bra to a new school.
Stephie's grandmother has been telling her about the Acolytian, all of her life. Stephie believes she can run through the whole grounds blindfolded, even though she has never seen the State of Missouri.
She has also been told about the Oracle, the grand dame who is headmistress of the school. Stephie's grandmother says the Oracle is one of the most powerful witches in the world. The Oracle is supposed to be over 400 years old, and a grand wizard of white magic. Stephie believes Nanna is just trying to scare her, but says that students are always well behaved, because the Oracle is telepathic... and always knows whenever anyone even 'thinks' of breaking the rules.
As the door echoes from the knocking outside, young Stephie jumps up so hard that she crashes into the cabinet with the TV. She rushes in front of the mirror and prisses one more time. Then runs to open the door. As she starts to turn the knob, she stops.
"Excuse me, but who is it?" Stephie asks nervous, but politely.
"Very good." Authoritative is the voice coming from behind her. Stephie turns to see two people already standing in her room. Gayheart and Eden. "You are smart not to just open the door for anyone."
"Thank you." Stephie replies, and curtsies. "Are you the Oracle?"
""I'm just Gayheart, and this is Eden." Gayheart answers. "She will be starting this year, with you." The woman finishes, and Stephie curtsies, again.
"I am honored to meet you." Stephie states. "My grandmother has instructed me well in the school's history and policies. And, she wishes me to tell you that I have achieved second levels in spells and charms, and I am very capable in herbalogy." Stephie pauses, thinking. "She wishes me to train as a medico. But, I really want to be a tactician."
"The defense against the dark arts are the hardest levels to achieve." Gayheart observes. "But, it is very early in your studies to worry about any career goals." The old woman smiles, breaking the tension. "For now, we need to collect our third candidate. And, begin organizing for our travels."
Eden has been standing next to the window, just staring at the two strangers in front of her. This new girl is straight out of a "Little Women" novel. She looks like she just arrived in the 21st century right out of Victorian England, from her light violet, lacy blouse and auburn-colored traveling suit to the brown laced-up boots. After these two, hardly anyone will notice Eden.
Suddenly, Eden is awakened from her internal reveries.
"Excuse me…" Stephie says, again, "I am Stephanie Jane Evert, of Boston." the young woman makes a proper introduction, then offers her hand. Eden reaches out and touches the other girl's fingers, then pulls back, afraid her hand might disappear.
"Sure you are." Eden replies. "I'm Eden Kingsley...from San Diego."
"Isn't that somewhere in California?" Stephie asks.
"Somewhere." Eden comments. "Boston? Isn't that somewhere in a history book?" She adds ironically.
"Oh, very many. We're very old." The strangely-dressed young girl replies, without acknowledging the other girl's irony.
"So are my socks." Eden retorts.
"Well, its time to go." Gayheart observes, reluctantly interrupting. She realizes that first impressions are sometimes difficult. "Are these all your bags?" She asks Stephie, waving an arm at three large cases in the corner.
"Yes, Ma'am." The girl replies. "Except my purse." She adds, picking up the small brown box case from the table.
In an instant the bags disappear. "They will wait for us at the platform." Gayheart observes. "Come, ladies." Gayheart instructs as she opens the door and walks through. Both girls look at each other quite surprised.
"Excuse me, ma'am." Stephie interrupts. "But what about my change of clothes for tomorrow, and my toiletries?" She appears extremely distressed.
"Your toiletries are already in the bathroom." Gayheart replies abstractly. Both girls look through the door, to see Stephie's personal case on the counter. "As for clothes, they will be addressed shortly." With that, Gayheart entered the hallway, and turned for the elevators.
Jacqui Morden sits cross-legged on her hotel bed, wearing a T-shirt and jogging shorts, looking like she just woke up. Her hotel room appears as if she has been living it in for years. Her expression is so tense a stranger would not know if she were angry, or in pain.
When the door rambles from the force of knocking, she snaps her fingers...but nothing happens. Obvious now, she is angry. She rises, and stomps to the door.
"What?" Jacqui shouts rudely, as she jerks the door open. Suddenly she changes attitude. "Oh, Headmistress, my apologies. But this is not fair!" She pauses only seconds, snapping her fingers vigorously. "My magic is gone!"
"No." Gayheart states firmly. "You were instructed that you could not use magic, here, this weekend."
"Whose going to clean my room, then?" Jacqui exclaims in desperation.
"You are, of course." The older woman states. "The old-fashion way." The young girl screams and moans, as if someone has just extracted a tooth without Novocain.
Eden just grins. Only in America could so many crazy people live, and not be considered a danger to themselves or others. This strange person, still in her underwear, is a twelve year-old reproduction of HalleBerry, with a heavy, melodic Creole accent. But, she must be truly nuts if she thinks snapping her fingers would clean this room. Obviously, she must have spent too much time watching "Bewitched" on the nostalgic television channel. Jacqui sees Eden's cryptic grin, and realizes she is the subject of the other girl's internal ramblings.
"Don't think yourself so mundane, child." Jacqui observes. "I might appear different than you expect, but you parade yourself like a Goth, yet you know nothing of the other world." Eden is startled how close this girl's guess of what she was thinking. "My name is Jacqueline Angelica Etienne Michelle Morden. The women of my family have been practicing true magick and voodoo since before America was America." She says 'women' as though she herself were several years older, and not just entering her own teen years. "And, the restriction of using such power, here, this weekend, is frustrating… if not also proper honor to the elders of the Acolytian." Jacqui added, quickly, as not to insult or infuriate Gayheart.
"Never mind." Gayheart replies. "Right now, we are in a hurry. Not so much as we have any place in particular to be, but more in that we simply don't have time to wait for you to clean this mess." the old woman stated. "You get dressed. I will clean the room. But, remember, young lady, you now owe me one errand favor. And, I may claim that privilege when it best suits me." With that Gayheart waves her arm, and the room is clean, the bed is made, and all of Jacqui's unchosen clothes are neatly packed in her cases.
Jacqui rapidly dresses, her costume adding to the collection of strange raiments already selected by her newly-acquired troupe. Her blouse is a long-sleeve, baby-blue cotton, with lavish ruffles and lace down the front. Her jeans are self-embroidered with moons, stars and Astrological signs. And, she has chosen lace-up boots with high heels, in purple satin color.
For now, Eden is committed, if reluctantly, to this peculiar entourage. A group looking like some teenage rock 'n roll band, with a coo-coo road manager. Riding down in the elevator, Eden felt like joining the girl in the glass, and go screaming down the hallways. Suddenly, she snickers to herself realizing that if she were to go running through the hotel no one might notice, thinking she was part of the show.
"What do you find so funny?" asks Jacqui, defensively.
"Only how silly life is." Eden replies, not hearing the challenge. "My nightmares have become a reality. Or, is it the other way round?"
"Do you consider me a figment of your imagination?" Jacqui inquires, the challenge still in her voice.
"No." Eden replies, abstractedly. "I hate purple." She adds. "Instead, you're probably the remnant of a bit of undigested mutton." Jacqui flinches, then smiles.
"Paraphrasing Ebenezer Scrooge's words to the ghost of Marley is an outstanding demonstration of literary knowledge, and quite within the context of the conversation." Gayheart interrupts. "A great many authors have questioned the line between reality and surreality. But, you have to remember that other people have their own reactions to your words, not based on your experiences, but on their own experiences."
"My point being," continues Eden, "fact must be stranger than fiction, because I could never dream up all of you. And, if I did, no one would ever believe me."
"I believe we have all been insulted." Stephie observes, smiling. "However, the opinions of strangers have never concerned me." She tries to sound haughty, but everyone hears a little hurt in her voice.
"I didn't mean to insult anyone." Eden replies, genuinely concerned for their thoughts, now. "I'm only trying to understand this Twilight Zone production I woke up in. I am not positive that I am even awake."
"We are not insulted, child." Jacqui states. "We simply wish to show that these barbs you're so use to shooting at the world, won't find targets in our hearts."
"A good point." Gayheart says. "Each of you come together from different experiences, as strangers. But, from now on, your lives will be blended. Hopefully, as friends." She paused, as the elevator doors opened. The troupe marched into the Halloween festivities, as a contingent of failed gamblers amass into the moving box.
The shopping district within the hotel is influenced by the spectral magic of old New Orleans, including a enclosed graveyard complete with fascinating tombstones. A combination of real and artificial willows grow throughout the mall area, dripping with moss. Each shoppe is designed as a crypt within the graveyard. The infamous song by the Eagles, "Hotel California", plays as though the trees themselves are singing it. Several small, intimate restaurants appear throughout the graveyard; each with their dining area flowing into the desolate grounds. Separate areas of the casino are designed with the actual movie sets of several horror films. The casino cocktail lounge, the Night Gallery, makes use of the sets and paintings originally made famous in Rod Serling's television series.
Eden and her colorful ensemble pass through the graveyard. Then the young girl realizes that this isn't just seasonal decorations for the weekend. These are all permanent fixtures, a part of the hotel, year-round. She marvels at the sensations of chill and thrill which she feels in her fingertips.
"Interesting place?" Gayheart asks absentmindedly.
"It's wonderful." Eden grins, conscious she wasn't suppose to enjoy this trip. "It's like right out of a horror movie." She pauses, staring into the shoppes. "And, the smells of the food reminds...I am hungry."
"It's almost like home, in the bayou." Jacqui says, sharing Eden's fascination at the environment. Stephie appears somewhat confused and unnerved by the atmosphere.
"Well, we will get the necessary shopping done as quickly as possible. Then I'll show you someplace that might help your appetite." Gayheart replied, then pointed towards a bank of escalators. "Our magic carpets to the bazaar."
"Bizarre?" Eden asked, puzzled.
"In a place like this, what else would you call a shopping spree?" Gayheart laughs lightly, and Eden joins her on the moving stairs. The old woman's voice just seems to make the whole world seem happy and light. Eden finds it more important, because it frees her from thinking about so many other things. Up they go.
The whole convention center within the hotel has been turned into a giant, corporate-style, haunted house, full of product theme booths instead of frightening story themes. Companies from all over the world come to this exposition. There are holiday cosmetics, holiday costumers, seasonal decorators, and even stranger booths, like fortune tellers, palm readers, and astrologers. Helium balloons like carved pumpkins float high over the booths. Light machines cast ghostly and bat-shaped shadows on the walls and ceiling. Several technical service booths even have fog machines belching out blankets of smoke and mist throughout the floor.
"A grown-up's idea of heaven?" Eden remarks sarcastically. "Grown-ups can turn anything into a crass, obscene commercial."
"It is the way of the world." Gayheart replies. "Money makes the world go round and around."
"Yeah, and right down the toilet." Eden adds.
"Very depressing for someone so young." Gayheart observes.
"Well," Eden begins, "I studied history…the evening news… and the Cartoon Network. Grown-ups have no intention of leaving anything valuable behind for our generation. But, they do intend to turn us into brainwashed consumers of snack foods, dangerous toys, and pathetic irrelevance." She pauses and waves her hand at the commotion. "They each will bleed everybody else's wallet, in sympathy of this expected future. Then, pretend we don't exist and there's no need to plan for tomorrow."
"Not everyone feels that way." Gayheart replies. "A great many people try to change things for the better, and hope to leave a much better world for you." Very serious now.
"Yeah, I saw some on television." Eden said, shaking her head is disbelief. "But they never have any money. The ones with the money are trying to get more, and keep everybody else from having any." She pauses. "And, I suppose some of them are even trying to control or eliminate us… which is why you've created this great illusion to move us to school. So, they, whoever they are, don't find us first."
"You are going to be a hard case." Gayheart smiles down at the young girl. "You see more of the world that is hidden from the surface, but you see much less than is presented on the surface." She pauses. "Let's shop." Changing the subject.
They wander through the booths, enjoying the silly presentations and hawkish promotions. Eden and Stephie stand in front of an industrial fog machine. Eden realizes that the substance really is as immaterial as real fog. It is tasteless, doesn't smell, and doesn't leave a sticky aftermath. At one booth, a very viscous zombie is giving away cotton candy. Though distractedly by the artificially-open sores, Eden and Jacqui giggle, then don't refuse the spun-sugar overdose. Stephie, however, is visibly disturbed by the zombie's appearance, serving food.
After walking around for a little while, Gayheart stops in one of the larger booths, just full of books on magic and wizardry. Llewellyn Worldwide is the greatest publishing house for mystical texts in the world. Or, so the banner over the booth proclaims. Gayheart pulls a list of titles out of her dress, and addresses the clerk.
"We need several very obscure texts. And three copies of each." Gayheart states.
"We probably have everything you need, Oracle." The clerk, dressed as a traditional witch, replies and bows. "More first years?" The young woman adds.
"Yes." Gayheart replies. "We will need all the basics, plus 'Carrion's Enchantments'."
"In Latin or Slavic?" The clerk asks.
"Two in Latin, one in Slavic." The older woman states. "Latin is too romantic for this young charge." Eden looks puzzled, wondering whether to question the remark. Then, to Eden, "Don't fret. I feel you will find the challenge worthwhile, and time may come when you find it useful."
The clerk returns with three stacks of books. Nine in each. Some very thick.
"Ladies, show her your wristbands." Gayheart instructs. Stephie steps up, immediately. Eden has been studying a shelf of talismans and charms. She comes forward and holds out her right arm. The clerk looks around, stealthily, then whips out her wand and touches the band. Jacqui puts down a text on the history of flying brooms, and comes forward.
"That's it." Gayheart states. "Your accounts have been appropriately discharged." Eden confused, stops looking for her wallet and stares at her. "We don't see the need for credit cards. See, we are already trying to change that ugly world you distain." Again, the old woman laughs, joined by Eden and the clerk. "Now, to Michelsons."
"What about the books?" Eden quietly exclaims. The girls turn to look at the countertop where the books had been stacked.
"They're already with your luggage." Gayheart replies. "Why should we burden our shopping spree with carrying around a bunch of heavy packages?" And, off she goes past more booths.
They travel down two turns and several passages, passing a wide variety of products and scenarios. One booth is a make-up artist, spray-painting a beautiful model, in a bikini -- airbrushing her stomach into a werewolf. The three girls stop to watch, because the work is so good -- the hair looks like you could touch it, and feel the fur.
Suddenly, they are standing in front of a very strange booth, full of costumes, gowns, cloaks, and other clothes. Michelsons supplies many things, including school uniforms for the Order. Eden shutters as she realizes that she will have to wear one of these rather peculiar and antique uniforms.
Three clerks appear. Without even speaking to the Oracle, they direct the girls to an enclosed area in the rear. Each clerk chooses a student, then whips out a cloth tape measure, and begin recording the sizes of the three young women. Three magical clipboards appear, and each measurement is magically recorded as the clerk calls out. As each girl's measurements are complete, the clerk whips out a wand and touches the girl's wristband. There were no discussions during this whirlwind experience. Only…
"Forest Green." One clerk said, when finished with Jacqui.
"Emerald Green." said the second clerk, upon completing Stephie's measurements.
"Spring Green." the third clerk stated, as she waved Eden out front.
"Now, our shopping is complete." Gayheart announced, as the girls recollected before her. "Your uniforms will be ready by tomorrow. One set will be in your room, for you to wear, and the rest will be with your luggage."
"What did the clerks mean by the green colors they used?" Stephie asks.
"I will explain at dinner." Gayheart replies, and leads the way through the expo.
[Chapter 4]
Eden is starving as her small sisterhood makes its way through the hotel. They have returned to the hotel lobby. Gayheart turned towards the front doors, and passes by the animatronic zombie band, presently performing the own rendition of Glenn Miller's "American Patrol". Jacqui and Stephie enjoy the music, and begin to dance to the music as they walk. Eden was focuses on the large wooden plank door, marked "The Privateer" Restaurant. Gayheart reaches the door, and waits for her young charges to gather close. She turns the door knob…but, instead of the door opening, the entire China Cabinet and the wall slide to the left, creating a passage into the dining area.
The Privateer is a family-style restaurant, designed with the three-story, full bow of a 17th century sailing ship, in the middle of the room. The various decks and innards of the ship serve as dining areas. The majority are public, but a few "Captain's Quarters" are private dining rooms. The main mast raises to the night-painted sky ceiling. Surrounding the bow is a large dining area, highlighted by rich sea-blue carpet. Throughout the dining area are tables roped off, and marked by reserve signs. These special tables are replete with the sounds of ghostly parties.
To the left of the bow, the dining area includes a real midnight pool with a waterfall, and a wooden foot-bridge to another dining area designed as the wharf shoppes of an 19th century harbour. This area is a working cyber-café, complete with internet computer sites.
To the right of the bow the dining area faces the large, bay windows to the outside. In the background is a large window into the working kitchen. This is a performance kitchen, where the diners can watch the chefs and staff at work. However, when the staff is not busy, the lights are turned out. And, in the reflection of the great glass, is that of the 19th century Rue Morgue of Paris, complete with spiderwebs and autopsy tables.
The four women have chosen a table near the waterfall. They begin to sip their drinks, as the costumed waitress walks away with their dinner orders. Eden smiles as she distractedly studies the macabre atmosphere.
"You ladies will room together." Gayheart begins, as the girls each react with confused surprise. "Oh, relax. The school's computer put you all together, weeks ago. However, after meeting you, I believe it was a good decision."
Eden shrugged non-committedly. Stephie only raised a concerned eyebrow. Jacqui huffed, loudly and dejectedly.
"I'm surprised you used a computer. Why not magick?" Eden inquired.
"In many cultures, a computer is magick." Gayheart replied lightly. "Our motto is science is the magick of Man's outer nature, and magick is the science of Man's inner nature." She then continued. "Although, you will room together, you will only share non-magick classes." She paused, as she now saw she had their full attention.
"Each of you arrive at the school with different levels of experience with your magickal skills." Gayheart observes. "So, you will be assigned to classes based on your present level of magick use. This is done annually, so real beginners are not intimidated by those who have been practicing for some time." This discussion is directed at Eden and Jacqui, at both extremes, with Stephie somewhere in the middle. "At the end of the year, you will each be tested. Some will move up, based on their adaptability." She paused, then added, "And some may be moved back." She sounded just like Mother, warning of a potential punishment, thought Eden.
"So, that's the reason for the different green colors." Stephie observed. "To indicate our present level of magickal ability?"
"Yes." Gayheart replied. "So that school staff can readily know what level you are. Then, they can either expect you to achieve, or not expect you to over-extend yourself."
"Sounds like you expect me to fail." Eden says, uncomfortably.
"Not at all." Gayheart replies. "In fact, I expect you to graduate at the top of the class. With all due respect to you other ladies, and your own abilities." She added in consolation to the other girls. "Just because you have never used your magic, none of us know what to expect. However, you wouldn't want a teacher to expect you to perform a particular charm or spell, before you even know what that skill is." She pauses, and sips her tea.
"As for you two," Gayheart continues, "just because you have studied some magick doesn't make either of you full witches. I wouldn't over-extend myself, if I were you. Some teacher, or senior student, might find it amusing to play with you. And, some of the games can be very embarrassing."
"Anyone who chooses to play with me, will live to regret it." Jacqui proclaims, venomously.
"You're safe from me." Eden says. "I don't want to play with you, at all."
"Looks like this is going to be a long year." Gayheart observes, sourly. "Ah! A break. Our dinners have arrived. Right on time." The conversation paused as each began to eat.
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