美国恐怖故事第一季

鬼宅的设定是最为吸引人的内核，也是限制了剧情发展的桎梏。

当美恐1用丈夫出轨一事作为起承转合时，就已经落了俗套，无法突破了！！

先说本季吸引我的优点1.女儿Violet的塑造:一个颇有个性的美国少女。

大姐大辱骂她，她朝对方吐口水；被按在地上，她用烟头烧对方手；以赠予毒品为由把对方骗到家里进行恐吓。

太难得见到这种遇到校园暴力不憋屈的女孩了。

爱Tate时连他是👻也爱；为了不离开Tate撒谎，眼睁睁看着母亲被送进精神病院；得知Tate的背叛后毫不留情的拒绝和离开。

演出一个青春期叛逆少女不难，但如何塑造一个不让人反感(划重点)，真实而鲜活的角色还是不简单的。

2.多代死于此屋的👻的新鲜设定。

不是一个老鬼作祟，而是至少八代鬼魂活于此宅比较有印象的几个1.医生Charles缝合起儿子被分尸的身体(但没有进一步剧情了，本以为被缝合的怪物是本作的罪魁祸首。

出现一些恐怖婴儿尸体难道不比鬼现身为人更为灵异？

)2.漂亮女佣/中年女佣的转变掘开后院深坑，里面赫然是女仆的骸骨。

后在上面盖了凉亭，邻居和女仆在窗口看着这一切，邻居说:“你将被永远困在这里了”，不免让人毛骨悚然。

缺点1.男主垃圾，一度让人看不下去。

渣(妻子流产，多次出轨女学生)；愚蠢(这点是美剧常态了，忽视经历了那么多的灵异事件，坚定认为是幻觉！

不是鬼！

)；道貌岸然；双标；屁用没有2.小三的剧情全删了都完全没问题。

这个愚蠢自大又疯狂的小三就是给观众添堵的。

3.历代房主的故事属实无聊4.杀人？

想杀就杀咯。

←整个剧给人这种感受。

5.黑色橡胶衣♂=Tate。

(失望100％)给Tate安排了那么多剧情，也不用管合不合理，有没有逻辑，乱七八糟6.若改名叫美国悬疑故事，可以有三星半，实在侮辱了恐怖这个字眼。

在我有限的美剧观影记录中，情景喜剧总是占据了半壁江山，什么《摩登家庭》、《杰西驾到》、《破产姐妹》以及据说终于要完结了的《生活大爆炸》。

我猜我如此钟情情景喜剧和大多数人认为它们实际上非常无聊的原因背道而驰。

是的，实际上，它们非常有意思，不仅短小精悍而且充满密集的笑点，以及有意思的情节。

再加一点必不可少的黄段子，和浓度适中的正能量。

要知道，现在的美剧导演大部分都是迷影，他们观看过大量的好莱坞电影以及欧洲艺术片，因此很难抑制自己在作品中进行戏仿或者致敬，更不介意直接拿其中的某几场戏进行高度还原，这种小游戏也成为大部分热衷美剧的观众与导演之间的互动。

更别提电影中那些数不清楚的彩蛋。

而今天，我要聊的这部美剧，在观众席间还有另一个名字——《美国色情故事》。

它在情节上的惊悚和血腥总包裹着大胆的性爱表现方式，对欲望的揭露也总是那样直言不讳。

这部美剧就是《美国恐怖故事》开播至今，《美国恐怖故事》已经五季，每季为一个独立的故事单元，故事构思来源于美国历史上真实发生的灵异事件或者触目惊心的谋杀案，不可否认的是，表象上的猎奇元素为它赢得不俗收视的同时也是《美国恐怖故事》备受争议的原因。

五季《美国恐怖故事》的故事构思都有一个相似的框架，人物塑造上都有非常雷同的性格，比如主角总是有些mommy issues。

他们要么处理不好和母亲的关系，要么总有些乱伦倾向，比如第一季《美国恐怖故事：谋杀屋》中的泰特，他认为自己幼年时被父亲抛弃的原因是因为母亲放荡的行为，所以他把自己的不幸全部归咎于他的母亲康丝坦斯身上。

更是放火烧伤母亲的男朋友，在校园展开血腥屠杀。

如果有的人生来就是魔鬼，泰特肯定算得上是其中之一。

第二季《美国恐怖故事：疯人院》中血脸杀手的杀人动机则更纯粹，缺少母爱。

这直接导致了他剥离女性肌肤，渴望温暖爱抚等一系列变态行为。

其后的第三季《女巫集会》、第四季《畸形秀》、第五季《旅馆》中，主人公都有性格上的相似缺陷，而造成这些缺陷的原因惊人的相似，你很难不怀疑瑞恩·墨菲（《美国恐怖故事》的编剧、导演以及制作人）创造这些人物背后的动机。

弑母更是其中动不动就会出现的情节。

第三季中的弑母情节高达三、四次。

平均每季都会出现那么一两次，不是子女亲手杀死母亲，就是恨不得母亲赶紧去死。

当然也有弑父情节。

大概杀红了眼，管你是谁谁谁。

瑞恩·墨菲和他母亲关系肯定不好吧。。。

与此同时，这些人物还有一个明确的行动主线，而这些行动主线往往来源于那些已经扬名立万的影视佳作。

第一季《谋杀屋》中不仅借鉴了美国历史上许多臭名昭著的连环杀人案，更有对曼森案的指涉以及《罗斯玛丽的婴儿》的戏仿。

一个怀孕的母亲，住在一所令人不安的房子，周围的人都认为她疯了，她的丈夫也不相信她，虽然境况好过《罗斯玛丽的婴儿》中罗斯玛丽的丈夫与魔鬼盟誓，出卖妻子的子宫孕育撒旦之子，但两厢比较下，前者也没有幸运到哪里去，同样上演了生吃猪脑、备受腹中魔鬼之子折磨的戏码。

但《美国恐怖故事》的精明之处在于它不会只用这一种单薄的故事线支撑13集的内容，于是衍生出的其他支线同样充满诱惑力，比如第一季中的黑色大丽花、科学怪人弗兰肯斯坦、美国校园屠杀案等。

你能说这些又猎奇又奇情的故事对你没有一丝吸引力？

同时，每个人物的背后都有一个独立的前传，以此解释了他们现在的行为动机，这组成了《美国恐怖故事》最重要的一个环节，每个人物的形象都非常立体饱满，他们背后的故事同样又扭曲又变态，展开来写都能单独出一个剧集。

因而《美恐》不仅成就了许多演员，后续剧集也邀请了三位奥斯卡影后坐镇，第五季的主演Lady Gaga更是凭此剧封后。

这三位分别是安吉拉·贝赛特，杰西卡·兰格以及凯西·贝茨。

这都是演技被奥斯卡肯定过的女人们啊。

而兰姨（杰西卡·兰格）更是《美恐》的灵魂人物，第三季和第四季几乎是为她量身打造。

也许就是为了平衡兰姨在剧中的演技，后面才请来了安吉拉·贝赛特和凯西·贝茨。

如果你还没有看过凯西·贝茨的《危情十日》，你一定要去看看这部能把人吓尿的心理恐怖片。

第二季《疯人院》是我认为《美恐》中最屌炸天的一季，我给它打101分，剩下一分留给它骄傲。

同时，这也是《美恐》五季中唯一全网禁播的一季。

豆瓣上也根本找不到这季的词条和相关介绍。

这季的灵感来源于美国B级片大师塞缪尔·富勒的《恐怖走廊》。

《恐怖走廊》讲述的是一个充满野心的记者潜入精神病院挖取重磅新闻，最后却在这所泯灭人性的医院里疯掉的故事。

《疯人院》的故事框架和它如出一辙，同样是想要获得普利策奖的野心记者，同样为了调查一件谋杀案潜入医院，不同的是，《疯人院》还狠狠地讽刺了天主教，几乎是颠覆了美国传统的宗教信仰，不仅肯定外星人的存在，还调侃了天主教在美国某些地区强大的势力，这和今年奥斯卡最佳影片多么相得益彰。

而精神病院中那些电击疗法、水疗和一些残忍的虐待都曾经真实的发生过。

还有臭名昭著的额前叶切除手术。

片中对同性恋进行的厌恶转换疗法同样致敬了库布里克的《发条橙子》。

在这里，修女是放荡的婊子，身上背负着人命，黑色的修女服下是她廉价的红色内衣。

主教大人则忙着和撒旦附身的小可爱修女啪啪啪。

这么一部明摆着有信仰的人都龌龊恶心肮脏的剧，你不能指望美国人民给出什么好评，因此这一季也是五季中最不受待见的一季。

但编剧的脑洞开的真的不是一般大，除了精神病、外星人、同性恋等元素，《疯人院》还乱入了安妮·弗兰克，乱入了德国纳粹，以及骇人的人体试验。

How wonderful不过从第三季开始，《美恐》有点跑偏，显然瑞恩·墨菲作为一个小基佬，开始控制不住的在片中大放福利。

没错，就是后来《美恐》被称为《美国色情故事》的开端，第五季《旅馆》我以为我看的是一部GV。

前两季最多是AV。

孔雀美好的肉体在片中一览无遗，有多少人是奔着这个去看的美恐5《旅馆》，而开拍前说好的根据蓝可儿事件得到的启发，全片也没能看见和蓝可儿有关的半毛钱线索。

通篇都是啪啪啪，杀杀杀。

第四季《畸形秀》的灵感则来源于《畸形人》，但我看完印象最深的却是片中提出的一个概念。

虐杀电影（snuff film）。

据说虐杀电影是真的存在的，一些丧心病狂的人会诱骗一些有明星梦的妓女或者邻家女孩之类的，然后在拍摄过程中真实的实施强暴、肢解等血腥暴力的行为。

然后将这些录像带兜售出去，记得大卫·柯南伯格的《录像带谋杀案》就讲述的相关内容。

啧啧啧。

想想就酸爽。

扯远了。

好吧，那今天的推送不如就到此结束吧。

跑远了我也不知道我后面想说什么来着。

图文并茂：http://mp.weixin.qq.com/s?__biz=MzAwODgwOTc1NQ==&mid=402821759&idx=1&sn=4b03d29af68093d52978849519fc0961#rd

感觉有点草草结尾啊。

本来上星期看完e11感觉碉堡了，但到这集没有上集高能，甚至没有万圣节那集高能。

设想中本集应该把最后所有的包袱都解开，与前11集呼应而成一个完整的故事。

为什么这件房子里凶案频发？

当然自Harmon一家搬进来以后很多都是旧鬼作恶，尤其是Tate和Hyden。

但之前呢？

大丽花、护士、乃至constance的各种悲剧，我个人只能归于风水不好来解释。

上两集说了很多房子已经装不下更多鬼魂，以及房子锁住鬼魂的奇异力量。

我本来还以为房子会超负荷爆掉（囧）或者说说这股力量的来由，但是没有。

可能是我看的不仔细，但女仆的对哈蒙桑的美人计其实是为了什么？

如果是为了尸骨埋在房子草坪，想入土为安，那其他死在房子的人尸体被搬走了（如哈蒙夫妇）也离不开这屋啊。

再说想移走尸身，随便找些理由翻开草地，告诉Harmon，让他叫人处理骸骨就行了吧。

另外为什么她有变老的一面而其他鬼不会？

渲染了很久的夺子大战没有出现。

Hyden杀Harmon时倒是挺利索的，直到跟constance对飚放狠话时也气场十足，但是男模轻轻一刀加上痴心的微笑，孩子就到康姨手里了。

泄气啊有木有。

话说没看出来男模这么痴心啊。

Nora怨念母亲的形象本来很打动人心，以致Tate大开杀戒，强奸Vivien来为她争取个孩子，都让人觉得虽天理难容，但情有可原，有点柯南式的连环杀手其实往往是为了至亲报仇的唏嘘。

但到了这集，这位怨念的母亲，竟然富太太病发作，嫌孩子烦，就这么把孩子给回Vivien，末了女仆还吐槽了一句“她根本不是当妈的料”。

泄气啊有木有。

我顿时觉得基友二人组死得还真冤。

回过头来，Addy这么出彩的角色，用来说明一下死在屋外就不能还魂就从本剧消失了。

轻轻的走，连云彩一片也没带走啊。

我觉得还是可惜了。

Tate对校园枪击的事什么时候幡然醒悟的？

万圣节那天他还真心认不出受害者啊。

Violet的爱？

没有交代清楚。

还以为Harmon的治疗会让他想起自己的恶行。

而且屠杀校园时也没有化骷髅妆，前几集的闪回骷髅造型只是为了说明Tate的内心反社会啊。

最后happy ending，一家人从此永远幸福快乐地在一起。

是为了圣诞节，所以变成美国温馨故事？

个人认为e11的人鬼殊途，永失挚爱更令人痛心。

吐槽了这么多，都不能否认这部剧之精彩新颖。

语气轻佻，纯属说笑，绝无恶意，希望没有冒犯你心目中的好剧。

康丝坦斯不是鬼，还活着。

但因为她的孩子们，她始终住在“隔壁”，因为她的孩子们也住着她的“隔壁”。

她有三个孩子，小波先天残疾，患有呼吸道感染之类的病，鬼脸人（被火烧伤的那位）当时是康丝坦斯的男人，为了减轻小波的痛苦而用枕头把他杀死在阁楼里。

康丝坦斯的原配丈夫由于和女佣通奸，康杀了自己的丈夫和女佣，男的被绞碎了喂了狗，没能还魂，所以一直没出现过。

女佣被埋在院子里，也就是那个亭子下边。

康丝坦斯的另一个儿子，泰特，浇汽油烧伤了自己的继爸，也就是鬼脸人，然后枪杀了图书馆里素不相识的甲乙丙丁张三李四等；泰特被警察射杀在鬼屋的房间里。

她的另一个女儿，丑兮兮但心肠很好的小阿，一开片盯着鬼屋看并且警告那对双胞胎丑男孩，是因为她能看到各种鬼魂，她经常跑进鬼屋，是因为她所谓的“朋友”都住在那。

但她后来在万圣节晚上被车撞死了。

－－－－－－－－－－－－－－－－－－－－外科医生：在地下室为各种女人堕胎，后来自己的孩子由于被报复而被杀害，医生将其肢解拼凑力图救活自己的孩子，但救活的孩子又被美丽而忧伤的妻子以为“他不是人，是怪物”而再次杀死，接着她把医生枪杀了自己也吞枪自杀，然后阴魂不散一直在鬼屋里寻找自己的孩子。

牙医：也在地下室里为各种女人补牙或其它手术，大丽花试图用自己的身体来付补牙费用，但被医生弄晕后强暴并意外死亡，这里已经是鬼的外科医生出现了，帮助牙医将大丽花的尸体分成2段，并做了个“微笑手术”后将尸体抛弃。

痛恨护士的变态男将胖护士淹死在鬼屋二楼的浴缸里，将年轻的瘦护士捆绑起来从背后将其刺死，而他自己呢？

剧中似乎没有交待，也或者是我看漏了。

鬼脸人的脸并不是自己纵火烧死妻子和2个女儿后再烧伤自己的。

他的妻子是由于听到自己的丈夫说要将隔壁的康丝坦斯弄进来当女主人，而悲痛地纵火将2个女儿烧死，当然也烧死了自己。

一辈子好基友的那两个GAY，死于已经是鬼的泰特之手。

鬼脸人连同男主角，杀了小三海登，将其与女佣埋在同一个坑里，也就是后院的亭子下边。

女佣杀了来买房的“波斯人”，是因为新买家准备推倒鬼屋盖公寓，会让一众鬼等没有居处。

小三海登杀了康丝坦斯的小白脸，是因为羡慕嫉妒恨，而鬼脸人认为对康丝坦斯有爱，而主动承担了杀小白脸的罪名。

泰特爱上了男主角的女儿，也就是小清新装扮的小瓦，但小瓦有一个通奸的父亲，有一个高龄受孕并不坚强的母亲，在学校受欺负，在家被鬼吓，终于问题少女吞药自杀而死，也变成了鬼，在最后一集体现出来了。

女主角肚子里的双胞胎，其中一个是泰特的，搞不懂的是泰特是不是也变态的，居然让自己所爱的小瓦的妈妈怀孕了。

泰特还杀了除西害的杀虫人，是因为杀虫人发现了小瓦的尸体。

－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－第一季第10集看完，目前就是男主角、女主角、黑人保安、康丝坦斯，以及灵媒女，不是鬼以外，其它都是鬼。

剧情有点拖拉，剪辑有点乱，但还是值得一看的。

－－－－－－－－－－－－－－－－－－－－不知道我剧透得对不对，欢迎拍砖哈。

根据编剧所说，第一季在最后三集为第二季埋下了伏笔。

尤其是倒数第二集。

而第二季发生故事的地点是在另一栋鬼屋里。

我整合了一下几点，可以作为推理第二季剧情的依据。

1.首先可以明确的一点是，饰演Constence的Jessica Lange应该是这部戏里最大牌的演员了，而且也是这部戏的收视率重要保障，所以不论主演怎么更换，我认为她一直都会留在这部戏中，而且一直以活人的身份留在这部戏中，所以我认为大家不用担心她的去留，和死活的问题。

2.Constence在第二季初，应该会和他的恶魔孙子出现在另外一个城市，可以这样理解，因为第一季的鬼屋里面的鬼魂，都对这个孩子虎视眈眈，Constence好不容易把这个小孩弄到手，肯定不会再轻易让他回到那个房子里面，但是小孩长大后，行为就不受大人的拘束了，很有可能像第一季初的那两个小孩一样自己跑到房子里，所以最好的让他不回到那个房子里的方法就是搬家到另外一个城市。

这应该就是第二季的故事发生在另外一个城市的主要原因。

3.在第一季里面有一个重要的人物却没有引起大家足够的重视，就是灵媒Billie Dean。

关于这个灵媒，有几点非常有趣。

首先她长的和Constence还有Tate都非常像，我想着一定不是什么巧合，这三个人之间有可能有着某些不可告人的关系。

其次，在倒数第二集中，当Tate出现的时候，Billie Dean显得十分紧张，而且说了一些很奇怪的话，总之是不想见到他，当Violet问发生了什么事的时候，Contence说是因为当灵媒直接面对鬼魂时，会有强烈的反应，但显然这是谎言，因为当时站在她对面的Violet已经是一个鬼魂了，所以我觉得关于Billie Dean的故事会在第二季被揭晓，而这位灵媒很可能会成为第二季的重要角色之一。

4.倒数第二集，灵媒Billie Dean还提到了一个重要的驱鬼术，听起来很像真的，但是在Violet实施的时候却不管用，这很可能是因为Violet自己也是鬼魂的缘故，第二季中，Constence很有可能为了让自己和自己的孙子摆脱这个鬼屋,请Billie Dean来施这个法术，目前这只是个猜测。

5.第二季中的主角应该是这个长大的小恶魔，不过他究竟会做出什么呢？

我猜测这个小恶魔很可能有一些超能力。

根据剧情的需要，很有可能是：被这个小男孩杀死的人，就会被trapped在这个屋子里。

因为鬼魂被trapped在一个屋子里，是这个剧发展的一个重要前提，如果鬼魂不能被trapped了，那么这个剧也没法连贯下去了，而第一季有一个前提就是最早的这家给孕妇做手术的家庭，他们制造了这个复活的婴儿成为了房子邪恶的源泉，使鬼魂们都留在这个房子里。

那么第二季邪恶的源泉就是这个小孩了，他应该也会有类似的能力。

6.小男孩长大后的主演不排除是第一季演tate的演员，因为这位金发小帅哥可是第一季观众非常喜爱的演员而且也是票房一大保障，肯定不少少女甚至是少年都是冲着他来看这部恐怖片的，而且这个小恶魔是他的孩子，从第一季的结尾可以看出，这个小演员很像tate小时候的样子，很有可能是导演有意为之的，想让tate的演员继续出演第二季主角，不过也有可能更换人选，不过应该也是个和第一季的tate长的很像的金发小帅哥，这点我认为大家到倒是不用担心7.恶魔孩子会不会很早就死呢？

我认为有可能，而且很有可能在前几集就死掉，大致推测一下，如果这个恶魔孩子不死的话，就第一季终这个趋势，很可能到处跑到处杀人，那这个剧估计也就没法拍下去了，总不能一个大活人天天把自己关在屋子里杀人吧。

所以我认为他很有可能很早就以某种方式死掉，然后变成房子里的邪恶源泉，以鬼魂的方式贯穿第二季的始终。

以上就是我根据第一季的最后几集对第二季进行的大致猜测。

欢迎大家交流意见，讨论第二季走向。

到时候看看我的预测准不准。

Ryan Murphy和Brad Falchuk可能是做【Glee】太欢乐了，乐极生闷，才来搞鬼故事玩。

看完首集，目前感觉是走美式主流恐怖套路。

有子或女的夫妻。

心理偏执。

搬家。

鬼气森森的老宅。

地下室。

医学实验。

婴灵。

神经质邻居。

怀孕或流产。

等等等等。

其实美式恐怖没啥不好，虽然老套，但只要能足够地道，细节做足，也是可以看。

首播是FX台星期三晚10点。

Nielsen报告说吸引了320万观众，基本符合【Nip/Tuck】18-49岁的收视人群。

10点钟小朋友真的都睡了吗？

剧中些许限制级，不遮拦避讳，倒也符合情境。

场景算漂亮，尤其是复古部分，蛮精致。

海报也美啊。

女主角和黑色塑胶人做爱那部分，真心觉得是在向【Rosemary's baby】中的经典桥段致敬。

主角无感，但配角不错。

有Jessica Lange这样的老戏骨加盟演八卦的邻居太太。

以及Six Feet Under里的妈妈Frances Conroy也来了，饰制服诱惑一把的女管家（是幽灵吗？

因为女主人看她是独眼老太太，男主人看她就是火热辣妹。

真是相由心生）。

有这些演戏四两拨千斤的高手撑着，希望之后能够火花四溅。

首集信息量爆棚，丢出多个线头，难免有点顾左不顾右之慌乱感。

鬼宅故事要塞满13集，还希望可以循序渐进将线头一一展开，layer by layer。

宅子应该具备多层恐怖历史，怎么剥洋葱讲故事，以及大boss到底是谁，就看会不会说故事了。

我总是对恐怖剧心软，坚持关注一下。

说到底，心魔是真正的魔。

心中无鬼，鬼不近身。

金秋大家horror一把

前情时间线：1920年，外科医生Charles和他的妻子Nora建造这栋房子，医生染上毒瘾，两人的生活无以为继，开始为未婚的女孩打胎，挣些小钱，24个女孩在手术中不幸逝世。

某位发现真相的男士为了报复医生夫妇，偷走了他们的独子Thaddeus，并把他肢解。

夫妻二人崩溃，医生心态发生变化，开始尝试缝合儿子，他用一个还活着的女孩的心脏，创造了一个小怪物，妻子Nora发现后，绝望之下枪杀了丈夫，再自杀。

这栋充满了未婚女孩和婴儿亡灵的谋杀屋，就此落成。

1947年，黑色大丽花案件发生在这栋房子里，一贫如洗但心怀演员梦想的大丽花上门，希望此时住在房子里的私人医生帮她拔牙，医生因麻醉过度使大丽花死亡，Charles出现，帮助医生肢解了大丽花，并弃尸荒野。

1968年，这栋房子被作为护士宿舍，一位杀人犯非法入侵，在这栋房子里残忍地杀死了2名护士。

1978年，双胞胎男孩到这所废弃的房子里探险，在地下室被Thaddeus吓到，并被他杀死。

1983年，此时房子的女主人Constance发现女仆Moira和老公偷情，枪杀二人，并把他们埋在后院。

伤心之余，她搬离房子，住到隔壁。

而这栋房子的新主人，Constance的新邻居Larry，疯狂地爱上了Constance，他向自己的妻子摊牌，要她们离开，打算和Constance开始新生活，妻子带着2个女儿，在谋杀屋内自焚而亡。

1994年，Constance和Larry住回谋杀屋。

Constance的大儿子beau是一个畸形儿，外貌异常吓人，她把他锁在阁楼里，儿童福利管理署的人马上要把Constance告上法庭，Constance指使Larry憋死了beau。

Constance的二儿子Tate在很小的时候曾在地下室被Thaddeus吓到，当时Nora的灵魂出现安慰了Tate，让年幼的Tate对Nora产生了类似母子的情感连接，（Constance从来不是一个好母亲）。

Tate虽然外貌不畸形，但精神极其不稳定，他不能接受Larry成为他的新爸爸，放火将他的脸烧伤一半，又持枪到学校里射杀无辜的同学若干，最后被警察射杀于自己房间里。

Constance有三个孩子，老大beau畸形，老二Tate精神不稳定，老三Addy是先天愚患者，这栋房子好像诅咒了这个女人，无法有一个正常的孩子，老公和女仆的偷情，让Constance的伤痛雪上加霜。

老大和老二都死去后，她和毁容的Larry分手，带着Addy再次搬到隔壁。

2010年，一对gay夫夫搬进房子。

Tate对Nora一直有类似母子的情感，而Nora最大的执念，就是能再次拥有她的儿子Thaddeus，Tate希望通过自己的努力，满足Nora的愿望。

因此，当这对gay夫夫在一次吵架中决定不再领养孩子后，（两人原本约好买下房子，领养一个孩子，共同生活），Tate杀死了他们，Tate希望房子的新主人，可以给Nora一个孩子。

主线开启：心理医生ben和小提琴家Vivian还有他们的女儿violet来到谋杀屋看房，Vivian刚刚经历了一次流产，又发现丈夫ben和他的学生Hayden在家里偷腥，整个家庭面临破碎，他们希望重新开始，在中介如实转告了gay夫夫的死亡后，因为房子超高的性价比，他们决定买下房子。

谋杀屋的设定是，凡是死在这栋房子里的人，他们的灵魂可以随意在房子里现形，以他们希望的任何样子，但永远无法离开这栋房子。

一家人刚刚搬进房子，丈夫ben就开始出现梦游和纵火的行为，（Larry自焚的妻子所为），Tate为了给Nora一个孩子，穿着黑色橡胶衣强奸了Vivian，（他带着头套让Vivian以为是ben），Vivian怀了孕。

此事之后，Tate却爱上了他们的女儿violet，（ops! Getting really hard.）。

E1：异父双胞胎新屋非常大，Ben决定在家中工作，Constance为Tate预约了ben的咨询治疗，Tate也借此机会，可以名正言顺地在violet面前现形，两人认识。

Violet在新学校的公共区域抽烟，激怒了同学Leah，两人打了起来，Tate叫violet带Leah到地下室，把Thaddeus放出来Leah吓个半死，violet也十分受惊。

Vivian在整理新屋时发现Addy偷偷溜进房子， Constance借带女儿回家之故，和Vivian相识。

Moira以女管家的身份在屋内现形，Vivian雇佣了她。

Larry也在窗外窥视着新搬来的一家人，在ben长跑的时候，Larry上前搭讪，结识了ben。

Vivian和ben因为出轨的事情，长达一年没有亲密关系，在一次激烈的争吵中，两人恢复了激情，Vivian和ben一天之内热恋了两次，但其中有一次，是Tate穿着橡胶衣，蒙面的情况下和Vivian发生的，Vivian怀上了异父双胞胎。

美国版小龙女和尹志平E2：模仿犯罪Ben接待了一个奇怪的女患者，谈话的过程中好像非常了解这栋房子的“谋杀史”。

Hayden打电话给ben说她怀孕了，ben只好对Vivian说谎，离家2天，去陪Hayden打胎。

就在Ben离开的这天晚上，他那个熟悉房子历史的女患者，其实是一位模仿犯罪者，她和另外两名罪犯一起，来到这栋房子，想要模仿1968年杀死护士的罪案，杀死Vivian和violet。

Tate现形帮助violet杀死了3人犯罪团伙，Constance、Tate和Moira三人联手，向Vivian和violet隐瞒了事实，母女二人以为自己奋力反抗，冒险逃走，而杀人犯逃之夭夭，警方开始调查此事。

因为这次袭击，Vivian决定卖掉房子。

E3：Hayden之死Vivian发现他们濒临破产，没办法立刻离开这栋房子。

Ben治疗了一个极其无聊的女患者，在治疗过程中他失去意识，原来Moira一直在他的咖啡里下鸦片酊，她似乎有种执念，认为ben一定会被美色所迷，再次出轨，（她可以决定自己在男人眼中是性感女仆，在女人眼中是老年女仆），从而孜孜不倦地色诱ben。

Nora现形来访了Vivian。

Hayden来到ben家，要他为他们的孩子负责，要和Vivian摊牌，被Larry用铲子拍死在院子里，并把Hayden埋在后院，（这里Larry的动机有点不充足），和当年Constance埋下的Moira的骸骨同坑同穴，（Moira在窗边看着这一切落泪，台词表达的意思好像是如果骸骨不能被找到，她就永远不能离开，可这里有个bug，很多人死后尸体都被带走，也同样不能离开），ben崩溃之余，在这2人的埋藏点上，建起一座凉亭。

E4&E5：万圣节万圣节就要来了，万圣节百鬼夜行，所有的鬼可以在自由空间自由现形。

为了更快的卖出房子，夫妻两人决定请一个装修师，而之前死在房子里的gay夫夫正好就有一个是设计师，他们在屋里现形，结识了Vivian一家人，Vivian在屋里装了警报系统。

Moira在万圣节请假，她想趁此机会去老人院，看看自己的母亲。

当她看到她的母亲奄奄一息躺在病床上，她拔掉了妈妈的呼气管，和妈妈的灵魂再次相见，却无法随妈妈而去，痛苦万分。

万圣节当天，Constance给Addy准备了她梦寐以求的“漂亮姑娘”的装扮，Addy却在要糖的过程中，被车撞死了。

Hayden在屋内现形，怀着报复的心情，告诉Vivian她和ben的事，Vivian受到刺激，腹中的胎儿发生了胎动，夫妻2人来到医院，Vivian腹中的胎儿把做b超的护士吓晕了。

Tate趁着万圣节可以外出，约violet去海边约会，两人相谈甚欢，曾经被Tate射杀的同学们出现，围住2人，并且跟到了violet家中，Tate无奈只好独自离开引走这些人，violet十分迷惑。

Constance找到violet，把她抓回家里，把Addy的死责怪到她头上，并且告诉她Tate是自己的儿子，violet迷惑二重唱。

Hayden继续在房子里纠缠Vivian和ben，ben在两人面前坦白了自己之前的行为，两人也互相得知了对方怀孕的事实，Vivian和ben走到了尽头。

E6：violet之死Violet查到了Tate曾经犯下的案子，她开始看到各种在家里死去的人，彻底崩溃，服用大量安眠药，Tate发现后把她拉进浴缸催吐，企图救她，却失败了。

Violet醒来，并不知道自己已经死了，Tate向她告白。

Ben这次的病人是一个害怕民间鬼故事的大叔，讲起了猪头屠夫的故事。

Ben带着他的病人来到洗手间里重现猪头屠夫的场景，希望借此消除恐惧，但小护士出现了，ben的病人崩溃了。

Ben继续治疗害怕猪头屠夫的病人，病人回到家中，被入室抢劫犯杀死。

Vivian问起了万圣节晕倒的b超师，得知她辞职了。

Vivian找到了b超护士，她们约在教堂见面，护士说在Vivian的肚子里，看到了恶魔的蹄子。

Constance通过通灵师Billie和Addy说话，通灵师告诉Constance，Addy感谢她没有把她带进谋杀屋，她害怕Tate。

E7：开发商之死Vivian得知自己怀得是双胞胎。

一位房地产开发商来看房子，在得知了凶案历史之后仍然很感兴趣，希望把房子推平，改建为停车场或者公寓楼。

Larry也来看房子，他对Constance念念不忘，希望把房子买下，和她重新住进去。

（此处Larry的想法转型有些突然），Larry约Constance在地下室见面，向她告白，告诉她有人想拆了这栋房子。

Constance找到房地产商，发现自己无法阻止他拆除房子，便唆使Moira和Larry杀死他。

Tate和violet和好如初，（violet这心也太大了），Vivian和ben和violet三人都不知道violet已经死去的事实，Tate也没有告诉任何人，夫妻二人以为自己的分手导致violet抑郁，才足不出户，希望violet尽快振作起来。

Violet听到阁楼有声音，上楼查看，被现形的beau吓到，还发现了Nora一家的合影，Vivian来到violet的房间和她谈心，看到Nora一家的合影，认出这个曾经拜访过自己的女人。

nora太美太美太美E8：Vivian离开Vivian因为看到了Nora，也在崩溃的边缘，Vivian认为自己的幻觉是药物所致，Moira安慰了她，并警告她逃走。

（癔病是男人禁锢女人的牢笼，哈哈）。

Vivian企图带女儿逃走，房子里的其他鬼魂当然不肯放2人走，母女二人还没来及逃出大门，就被鬼魂吓了回来。

ben并不相信Vivian的说法，认为她疯了，Tate不让violet讲出鬼魂存在的事，所以violet在Vivian和ben对峙的时候说了谎，（恋爱中的女人，啧啧），Vivian无奈之下，偷了中介的手枪用以自保。

夜晚，Tate为了不让Vivian带走violet，以橡胶人的姿态袭击Vivian，听到声音上楼查看的ben被Vivian用手枪误伤，Hayden再次出现，和Tate一起攻击Vivian，让Vivian更加暴躁，ben只好把Vivian送进了精神病院，而violet非常自责。

Vivian被送往精神病院E9：ben的觉醒Hayden的姐姐和警察一起上门找到ben，谈论Hayden失踪的事，此时Hayden在屋里现形，帮ben洗刷嫌疑，并表示一直等着ben，Ben拒绝了她。

此时黑色大丽花现形来求医，提出用身体还债，Moira也一直在聊骚ben，ben统统拒绝了。

此时Ben接到医生电话，得知Vivian怀的是异父双胞胎，十分失控，他认为另一个孩子是一直以来和Vivian相谈甚欢的保安大哥的。

Ben找到Vivian，放了狠话，告诉她自己不会帮助她离开精神病院，这时Hayden再次现形企图趁虚而入，却被ben又彻底拒绝了一次，恼羞成怒之下，她编造了Vivian和保安大哥的“奸情”。

Ben找到了安保，却得知安保已经失去生育能力5年了，ben开始认识到事情没有这么简单，Moira也终于在ben面前显出了本来的形态。

Constance通过Moira也得知了异父双胞胎的事，她知道另外一个孩子是Tate的，并为此十分气愤。

但同时也认定这个孩子是自己的孙子，希望和模特小男友领养这个孩子，小男友吓傻，两人争吵之后，小男友去找Hayden约炮，激情过后小男友仍然决定回去找Constance，Hayden大怒杀死了他，隔天小男友和曾经的黑色大丽花一样，被人发现在草丛里，（由Larry友情运出）。

Constance和通灵师Billie讨论了如果鬼魂和人类交合，是否会有孩子的问题，Billie告诉她，那将是魔鬼的孩子。

E10：Larry的结局Ben和Vivian达成了共识，要找到强奸Vivian的凶手。

Constance发现小男友死去，并被警察带走。

在警局，Constance顺便默默回忆了一下自己是如何杀死Moira和自己的老公，并把他搅碎喂狗的。

Constance狠狠地拒绝Larry，Larry回到房子里找证据，遇见自焚的妻子和女儿，Larry决定为自己赎罪，认下指证Constance的罪，自我惩罚。

但直到最后，Constance也没有给Larry一句爱过。

Ben发现violet已经16天没有上学，屋子里苍蝇突然多起来，除虫人在地板的夹层里发现了violet的尸体，被Tate杀死。

ben给violet找了一间寄宿学校，（violet智商150，每个学期成绩都是a），被Tate听见。

Tate为了不让violet得知自己已经死去的事实，穿成橡胶人的样子和ben搏斗，过程中ben发现了Tate的真面目，但体力不支晕倒了。

Tate希望violet以自然的方式发现自己已经死了的事实，便哄骗violet和他一起自杀，violet惊醒逃跑，却发现自己永远跑不出这个屋子，Tate只好带她去看自己的尸体。

E11：Vivian分娩Ben去接Vivian出院，此时gay夫夫想要抢走孩子，Nora想要抢走孩子，Constance和Hayden都想要抢走孩子，（真是两个受欢迎的孩子）。

Vivian和ben回到房子里接violet，发现violet已经死去。

此时Vivian只有6个月的身孕开始阵痛，要分娩了，屋子里的鬼魂合力阻止夫妻两人离开房子。

Vivian分娩在即死去的Charles医生和2个护士，全面现形，为Vivian接生，ben完全不知所措，靠妻子生孩子支撑自己的理智，在一边协助。

Vivian的第一胎是ben的，被Charles给了Nora，violet驱逐gay夫夫失败，chad告诉violet，是Tate强奸了她的妈妈，（两个人要到第八季才能和好了）。

Vivian的第二胎是Tate的，被Constance抱走，也就是第八季的小魔王Langton，Vivian死于大出血。

Violet无法原谅Tate，赶走了他，和自己的家人在一起。

E12：happy endingBen终于发现Tate是Constance的儿子，发现Constance一直以来对他们有所隐瞒。

Ben把Vivian的遗腹子带回房子，一边等Vivian的姐姐来接孩子，一边准备自杀，Vivian和violet现形，劝ben离开。

Ben在离开的路上，Hayden和谋杀三人组中的2人吊死了ben。

Constance是第一个发现现场的人，她偷走了小Langton。

这栋房子又被卖出了，Vivian和ben决定赶走新的夫妇房主，因为他们想要一个孩子，（孩子使这所房子里的所有鬼疯狂）。

夜晚，房子又故伎重演，老公梦游，橡胶人（ben）企图强奸老婆，Tate找上了家里的儿子，屋里的鬼们吓死了新主人，（笑死），不过他们顺利离开了这栋房子，可喜可贺。

Tate在被violet拒绝后伤心欲绝，在ben面前现形，希望得到他的帮助，可是作为强奸了他妻子的犯人，ben无法原谅。

Nora虽然领走了Vivian的第一胎，却发现自己根本不是一个做妈妈的料，自行把孩子还给Vivian，一家人死后似乎解决了一切问题，终于得到安宁，而Tate和Hayden，仍然只有无尽的等待。

3年后，Constance发现小Langton杀死了自己的保姆。

<第一季完结>第一季提到的意象有第二季精神病院（Vivian曾经住过的地方）、第五季旅馆（死去的地产开发商）、第六季殖民地冤魂（Billie的驱魔故事）和第四季马戏团（Constance的梦想），并和第八季连接起来。

本剧表面讲的是谋杀屋，一个充满鬼魂游荡的房子，房主频频死于不测的鬼宅，但内里的核心矛盾是堕胎，在基督教内，堕胎是谋杀，是原罪。

在这间因堕胎的罪孽深重产生邪气的房子里，唯一活下来的Constance，算是和Vivian一家人并行的主线角色，她的大儿子丑陋，二儿子邪恶，三女儿愚蠢，并且都早夭，她没有死并不代表房子内的罪孽放过了她，包括收养的小Langton，也没有。

Vivian一家人是地地道道的主线，一家人因故（这种题材多半是因为家庭破碎和房子便宜）搬进鬼屋，女儿见鬼，妈妈见鬼，爸爸心里有鬼，再加上一条怀孕生子的主线和主题相扣，组成了基本故事线。

Violet是个有点阴暗，也十分聪明的女孩，继承了父亲ben的阴暗和母亲Vivian的聪明。

Vivian更多的承载了怀孕这个不可替代的母亲角色，而ben，有点出乎意料的是，居然是人性担当，一个曾经犯过错的男人，在面对大家的质疑和一波波故意的诱惑，反复强调自己对妻子的爱，也曾经误会愤怒伤心，曾经迷茫脆弱几乎再次误入歧途，却最终坚定信念，从一而终，在死后终于让家庭再次圆满，（真是可歌可泣）。

Tate的结局可以预见，不论他如何讨喜，他犯下的罪行不可饶恕，这是原则问题，救不回。

而Hayden，可能是编剧希望告诉广大少女，有家的男人不能碰。

Larry服务剧情的倾向性太强，很多时候动机不足。

Moira作为美色担当，整季的男性荷尔蒙都靠她了，行为和性格的反转使人物层次更加丰富，但和Larry一样，不是主菜。

美恐第一季谋杀屋平台有付费点播。

（by Charlotte Perkins Gilman）It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer.A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity--but that would be asking too much of fate!Still I will proudly declare that there is something queer about it.Else, why should it be let so cheaply? And why have stood so long untenanted?John laughs at me, of course, but one expects that in marriage.John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.John is a physician, and PERHAPS--(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)--PERHAPS that is one reason I do not get well faster.You see he does not believe I am sick!And what can one do?If a physician of high standing, and one's own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression--a slight hysterical tendency--what is one to do?My brother is also a physician, and also of high standing, and he says the same thing.So I take phosphates or phosphites--whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to "work" until I am well again.Personally, I disagree with their ideas.Personally, I believe that congenial work, with excitement and change, would do me good.But what is one to do?I did write for a while in spite of them; but it DOES exhaust me a good deal--having to be so sly about it, or else meet with heavy opposition.I sometimes fancy that my condition if I had less opposition and more society and stimulus--but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.So I will let it alone and talk about the house.The most beautiful place! It is quite alone, standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people.There is a DELICIOUS garden! I never saw such a garden--large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them.There were greenhouses, too, but they are all broken now.There was some legal trouble, I believe, something about the heirs and coheirs; anyhow, the place has been empty for years.That spoils my ghostliness, I am afraid, but I don't care--there is something strange about the house--I can feel it.I even said so to John one moonlight evening, but he said what I felt was a DRAUGHT, and shut the window.I get unreasonably angry with John sometimes. I'm sure I never used to be so sensitive. I think it is due to this nervous condition.But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself--before him, at least, and that makes me very tired. I don't like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty old-fashioned chintz hangings! but John would not hear of it.He said there was only one window and not room for two beds, and no near room for him if he took another.He is very careful and loving, and hardly lets me stir without special direction.I have a schedule prescription for each hour in the day; he takes all care from me, and so I feel basely ungrateful not to value it more.He said we came here solely on my account, that I was to have perfect rest and all the air I could get. "Your exercise depends on your strength, my dear," said he, "and your food somewhat on your appetite; but air you can absorb all the time." So we took the nursery at the top of the house.It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls.The paint and paper look as if a boys' school had used it. It is stripped off--the paper--in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life.One of those sprawling flamboyant patterns committing every artistic sin.It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard of contradictions.The color is repelllent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight.It is a dull yet lurid orange in some places, a sickly sulphur tint in others.No wonder the children hated it! I should hate it myself if I had to live in this room long.There comes John, and I must put this away,he hates to have me write a word.We have been here two weeks, and I haven't felt like writing before, since that first day.I am sitting by the window now, up in this atrocious nursery, and there is nothing to hinder my writing as much as I please, save lack of strength.John is away all day, and even some nights when his cases are serious. I am glad my case is not serious!But these nervous troubles are dreadfully depressing.John does not know how much I really suffer. He knows there is noREASON to suffer, and that satisfies him.Of course it is only nervousness. It does weigh on me so not to do myduty in any way!I meant to be such a help to John, such a real rest and comfort, andhere I am a comparative burden already!Nobody would believe what an effort it is to do what little I am able,to dress and entertain, and other things.It is fortunate Mary is so good with the baby. Such a dear baby!And yet I CANNOT be with him, it makes me so nervous.I suppose John never was nervous in his life. He laughs at me so about this wall-paper!At first he meant to repaper the room, but afterwards he said that I was letting it get the better of me, and that nothing was worse for a nervous patient than to give way to such fancies.He said that after the wall-paper was changed it would be the heavy bedstead, and then the barred windows, and then that gate at the head of the stairs, and so on."You know the place is doing you good," he said, "and really, dear, I don't care to renovate the house just for a three months' rental.""Then do let us go downstairs," I said, "there are such pretty rooms there."Then he took me in his arms and called me a blessed little goose, and said he would go down to the cellar, if I wished, and have it whitewashed into the bargain.But he is right enough about the beds and windows and things.It is an airy and comfortable room as any one need wish, and, of course, I would not be so silly as to make him uncomfortable just for a whim.I'm really getting quite fond of the big room, all but that horrid paper.Out of one window I can see the garden, those mysterious deepshaded arbors, the riotous old-fashioned flowers, and bushes and gnarly trees.Out of another I get a lovely view of the bay and a little private wharf belonging to the estate. There is a beautiful shaded lane that runs down there from the house. I always fancy I see people walking in these numerous paths and arbors, but John has cautioned me not to give way to fancy in the least. He says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency. So I try.I think sometimes that if I were only well enough to write a little it would relieve the press of ideas and rest me.But I find I get pretty tired when I try.It is so discouraging not to have any advice and companionship aboutmy work. When I get really well, John says we will ask Cousin Henry and Julia down for a long visit; but he says he would as soon put fireworks in my pillow-case as to let me have those stimulating people about now.I wish I could get well faster.But I must not think about that. This paper looks to me as if it KNEW what a vicious influence it had!There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down.I get positively angry with the impertinence of it and the everlastingness. Up and down and sideways they crawl, and those absurd, unblinking eyes are everywhere. There is one place where two breadths didn't match, and the eyes go all up and down the line, one a little higher than the other.I never saw so much expression in an inanimate thing before, and we all know how much expression they have! I used to lie awake as a child and get more entertainment and terror out of blank walls and plain furniture than most children could find in a toy store.I remember what a kindly wink the knobs of our big, old bureau used to have, and there was one chair that always seemed like a strong friend.I used to feel that if any of the other things looked too fierce I could always hop into that chair and be safe.The furniture in this room is no worse than inharmonious, however, for we had to bring it all from downstairs. I suppose when this was used as a playroom they had to take the nursery things out, and no wonder! I never saw such ravages as the children have made here.The wall-paper, as I said before, is torn off in spots, and it sticketh closer than a brother--they must have had perseverance as well as hatred.Then the floor is scratched and gouged and splintered, the plaster itself is dug out here and there, and this great heavy bed which is all we found in the room, looks as if it had been through the wars.But I don't mind it a bit--only the paper. There comes John's sister. Such a dear girl as she is, and so careful of me! I must not let her find me writing.She is a perfect and enthusiastic housekeeper, and hopes for no better profession. I verily believe she thinks it is the writing which made me sick!But I can write when she is out, and see her a long way off from these windows.There is one that commands the road, a lovely shaded winding road, and one that just looks off over the country. A lovely country, too, full of great elms and velvet meadows.This wall-paper has a kind of sub-pattern in a different shade, a particularly irritating one, for you can only see it in certain lights, and not clearly then.But in the places where it isn't faded and where the sun is just so--I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front design.There's sister on the stairs!Well, the Fourth of July is over! The people are gone and I am tiredout. John thought it might do me good to see a little company, so we just had mother and Nellie and the children down for a week.Of course I didn't do a thing. Jennie sees to everything now.But it tired me all the same.John says if I don't pick up faster he shall send me to Weir Mitchell inthe fall.But I don't want to go there at all. I had a friend who was in his handsonce, and she says he is just like John and my brother, only more so! Besides, it is such an undertaking to go so far.I don't feel as if it was worth while to turn my hand over for anything,and I'm getting dreadfully fretful and querulous.I cry at nothing, and cry most of the time.Of course I don't when John is here, or anybody else, but when I amalone.And I am alone a good deal just now. John is kept in town very oftenby serious cases, and Jennie is good and lets me alone when I want her to.So I walk a little in the garden or down that lovely lane, sit on the porch under the roses, and lie down up here a good deal.I'm getting really fond of the room in spite of the wall-paper. Perhaps BECAUSE of the wall-paper.It dwells in my mind so!I lie here on this great immovable bed--it is nailed down, I believe-- and follow that pattern about by the hour. It is as good as gymnastics, I assure you. I start, we'll say, at the bottom, down in the corner over there where it has not been touched, and I determine for the thousandth time that I WILL follow that pointless pattern to some sort of a conclusion.I know a little of the principle of design, and I know this thing was not arranged on any laws of radiation, or alternation, or repetition, or symmetry, or anything else that I ever heard of.It is repeated, of course, by the breadths, but not otherwise.Looked at in one way each breadth stands alone, the bloated curves and flourishes--a kind of "debased Romanesque" with delirium tremens-- go waddling up and down in isolated columns of fatuity.But, on the other hand, they connect diagonally, and the sprawling outlines run off in great slanting waves of optic horror, like a lot of wallowing seaweeds in full chase.The whole thing goes horizontally, too, at least it seems so, and I exhaust myself in trying to distinguish the order of its going in that direction.They have used a horizontal breadth for a frieze, and that adds wonderfully to the confusion.There is one end of the room where it is almost intact, and there, when the crosslights fade and the low sun shines directly upon it, I can almost fancy radiation after all,--the interminable grotesques seem to form around a common centre and rush off in headlong plunges of equal distraction.It makes me tired to follow it. I will take a nap I guess. I don't know why I should write this.I don't want to.I don't feel able.And I know John would think it absurd. But I MUST say what I feel and think in some way--it is such a relief!But the effort is getting to be greater than the relief.Half the time now I am awfully lazy, and lie down ever so much.John says I musn't lose my strength, and has me take cod liver oil andlots of tonics and things, to say nothing of ale and wine and rare meat. Dear John! He loves me very dearly, and hates to have me sick. I tried to have a real earnest reasonable talk with him the other day, and tell him how I wish he would let me go and make a visit to Cousin Henry and Julia.But he said I wasn't able to go, nor able to stand it after I got there; and I did not make out a very good case for myself, for I was crying before I had finished.It is getting to be a great effort for me to think straight. Just this nervous weakness I suppose.And dear John gathered me up in his arms, and just carried me upstairs and laid me on the bed, and sat by me and read to me till it tired my head.He said I was his darling and his comfort and all he had, and that I must take care of myself for his sake, and keep well.He says no one but myself can help me out of it, that I must use my will and self-control and not let any silly fancies run away with me.There's one comfort, the baby is well and happy, and does not have to occupy this nursery with the horrid wall-paper.If we had not used it, that blessed child would have! What a fortunate escape! Why, I wouldn't have a child of mine, an impressionable little thing, live in such a room for worlds.I never thought of it before, but it is lucky that John kept me here after all, I can stand it so much easier than a baby, you see.Of course I never mention it to them any more--I am too wise,--but I keep watch of it all the same.There are things in that paper that nobody knows but me, or ever will. Behind that outside pattern the dim shapes get clearer every day.It is always the same shape, only very numerous.And it is like a woman stooping down and creeping about behind thatpattern. I don't like it a bit. I wonder--I begin to think--I wish John would take me away from here!It is so hard to talk with John about my case, because he is so wise,and because he loves me so.But I tried it last night.It was moonlight. The moon shines in all around just as the sun does.I hate to see it sometimes, it creeps so slowly, and always comes in byone window or another.John was asleep and I hated to waken him, so I kept still and watchedthe moonlight on that undulating wall-paper till I felt creepy.The faint figure behind seemed to shake the pattern, just as if shewanted to get out.I got up softly and went to feel and see if the paper DID move, andwhen I came back John was awake."What is it, little girl?" he said. "Don't go walking about like that--you'll get cold."I though it was a good time to talk, so I told him that I really was notgaining here, and that I wished he would take me away."Why darling!" said he, "our lease will be up in three weeks, and Ican't see how to leave before."The repairs are not done at home, and I cannot possibly leave townjust now. Of course if you were in any danger, I could and would, but you really are better, dear, whether you can see it or not. I am a doctor, dear, and I know. You are gaining flesh and color, your appetite is better, I feel really much easier about you.""I don't weigh a bit more," said I, "nor as much; and my appetite may be better in the evening when you are here, but it is worse in the morning when you are away!""Bless her little heart!" said he with a big hug, "she shall be as sick as she pleases! But now let's improve the shining hours by going to sleep, and talk about it in the morning!""And you won't go away?" I asked gloomily."Why, how can I, dear? It is only three weeks more and then we will take a nice little trip of a few days while Jennie is getting the house ready. Really dear you are better!""Better in body perhaps--" I began, and stopped short, for he sat up straight and looked at me with such a stern, reproachful look that I could not say another word."My darling," said he, "I beg of you, for my sake and for our child's sake, as well as for your own, that you will never for one instant let that idea enter your mind! There is nothing so dangerous, so fascinating, to a temperament like yours. It is a false and foolish fancy. Can you not trust me as a physician when I tell you so?"So of course I said no more on that score, and we went to sleep before long. He thought I was asleep first, but I wasn't, and lay there for hours trying to decide whether that front pattern and the back pattern really did move together or separately.On a pattern like this, by daylight, there is a lack of sequence, a defiance of law, that is a constant irritant to a normal mind. The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.You think you have mastered it, but just as you get well underway in following, it turns a back-somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you. It is like a bad dream.The outside pattern is a florid arabesque, reminding one of a fungus. If you can imagine a toadstool in joints, an interminable string of toadstools, budding and sprouting in endless convolutions--why, that is something like it.That is, sometimes!There is one marked peculiarity about this paper, a thing nobody seems to notice but myself,and that is that it changes as the light changes.When the sun shoots in through the east window--I always watch for that first long, straight ray--it changes so quickly that I never can quite believe it.That is why I watch it always.By moonlight--the moon shines in all night when there is a moon--I wouldn't know it was the same paper.At night in any kind of light, in twilight, candle light, lamplight, and worst of all by moonlight, it becomes bars! The outside pattern I mean,and the woman behind it is as plain as can be.I didn't realize for a long time what the thing was that showed behind,that dim sub-pattern, but now I am quite sure it is a woman.By daylight she is subdued, quiet. I fancy it is the pattern that keepsher so still. It is so puzzling. It keeps me quiet by the hour.I lie down ever so much now. John says it is good for me, and to sleepall I can.Indeed he started the habit by making me lie down for an hour aftereach meal.It is a very bad habit I am convinced, for you see I don't sleep.And that cultivates deceit, for I don't tell them I'm awake--O no!The fact is I am getting a little afraid of John.He seems very queer sometimes, and even Jennie has an inexplicablelook.It strikes me occasionally, just as a scientific hypothesis,--that perhapsit is the paper!I have watched John when he did not know I was looking, and comeinto the room suddenly on the most innocent excuses, and I've caught him several times LOOKING AT THE PAPER! And Jennie too. I caught Jennie with her hand on it once.She didn't know I was in the room, and when I asked her in a quiet, a very quiet voice, with the most restrained manner possible, what she was doing with the paper--she turned around as if she had been caught stealing, and looked quite angry--asked me why I should frighten her so!Then she said that the paper stained everything it touched, that she had found yellow smooches on all my clothes and John's, and she wished we would be more careful!Did not that sound innocent? But I know she was studying that pattern, and I am determined that nobody shall find it out but myself!Life is very much more exciting now than it used to be. You see I have something more to expect, to look forward to, to watch. I really do eat better, and am more quiet than I was.John is so pleased to see me improve! He laughed a little the other day, and said I seemed to be flourishing in spite of my wall-paper.I turned it off with a laugh. I had no intention of telling him it was BECAUSE of the wall-paper--he would make fun of me. He might even want to take me away.I don't want to leave now until I have found it out. There is a week more, and I think that will be enough.I'm feeling ever so much better! I don't sleep much at night, for it is so interesting to watch developments; but I sleep a good deal in the daytime.In the daytime it is tiresome and perplexing.There are always new shoots on the fungus, and new shades of yellow all over it. I cannot keep count of them, though I have tried conscientiously.It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw--not beautiful ones like buttercups, but old foul, bad yellow things.But there is something else about that paper--the smell! I noticed it the moment we came into the room, but with so much air and sun it was not bad. Now we have had a week of fog and rain, and whether the windows are open or not, the smell is here.It creeps alll over the house.I find it hovering in the dining-room, skulking in the parlor, hiding in the hall, lying in wait for me on the stairs.It gets into my hair.Even when I go to ride, if I turn my head suddenly and surprise it-- there is that smell!Such a peculiar odor, too! I have spent hours in trying to analyze it, to find what it smelled like.It is not bad--at first, and very gentle, but quite the subtlest, most enduring odor I ever met.In this damp weather it is awful, I wake up in the night and find it hanging over me.It used to disturb me at first. I thought seriously of burning the house-- to reach the smell.But now I am used to it. The only thing I can think of that it is like is the COLOR of the paper! A yellow smell.There is a very funny mark on this wall, low down, near the mopboard.A streak that runs round the room. It goes behind every piece of furniture, except the bed, a long, straight, even SMOOCH, as if it had been rubbed over and over.I wonder how it was done and who did it, and what they did it for. Round and round and round--round and round and round--it makes me dizzy!I really have discovered something at last.Through watching so much at night, when it changes so, I have finallyfound out.The front pattern DOES move--and no wonder! The woman behindshakes it!Sometimes I think there are a great many women behind, andsometimes only one, and she crawls around fast, and her crawling shakes it all over.Then in the very bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard.And she is all the time trying to climb through. But nobody could climb through that pattern--it strangles so; I think that is why it has so many heads.They get through, and then the pattern strangles them off and turns them upside down, and makes their eyes white!If those heads were covered or taken off it would not be half so bad. I think that woman gets out in the daytime!And I'll tell you why--privately--I've seen her!I can see her out of every one of my windows!It is the same woman, I know, for she is always creeping, and mostwomen do not creep by daylight.I see her on that long road under the trees, creeping along, and when a carriage comes she hides under the blackberry vines.I don't blame her a bit. It must be very humiliating to be caughtcreeping by daylight!I always lock the door when I creep by daylight. I can't do it at night,for I know John would suspect something at once.And John is so queer now, that I don't want to irritate him. I wish hewould take another room! Besides, I don't want anybody to get that woman out at night but myself.I often wonder if I could see her out of all the windows at once.But, turn as fast as I can, I can only see out of one at a time.And though I always see her, she MAY be able to creep faster than Ican turn!I have watched her sometimes away off in the open country, creepingas fast as a cloud shadow in a high wind.If only that top pattern could be gotten off from the under one! I meanto try it, little by little.I have found out another funny thing, but I shan't tell it this time! Itdoes not do to trust people too much.There are only two more days to get this paper off, and I believe Johnis beginning to notice. I don't like the look in his eyes.And I heard him ask Jennie a lot of professional questions about me.She had a very good report to give.She said I slept a good deal in the daytime.John knows I don't sleep very well at night, for all I'm so quiet!He asked me all sorts of questions, too, and pretended to be veryloving and kind.As if I couldn't see through him!Still, I don't wonder he acts so, sleeping under this paper for threemonths.It only interests me, but I feel sure John and Jennie are secretlyaffected by it.Hurrah! This is the last day, but it is enough. John is to stay in townover night, and won't be out until this evening.Jennie wanted to sleep with me--the sly thing! but I told her I shouldundoubtedly rest better for a night all alone.That was clever, for really I wasn't alone a bit! As soon as it wasmoonlight and that poor thing began to crawl and shake the pattern, I got up and ran to help her.I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper.A strip about as high as my head and half around the room.And then when the sun came and that awful pattern began to laugh at me, I declared I would finish it to-day!We go away to-morrow, and they are moving all my furniture down again to leave things as they were before.Jennie looked at the wall in amazement, but I told her merrily that I did it out of pure spite at the vicious thing.She laughed and said she wouldn't mind doing it herself, but I must not get tired.How she betrayed herself that time!But I am here, and no person touches this paper but me--not ALIVE! She tried to get me out of the room--it was too patent! But I said it wasso quiet and empty and clean now that I believed I would lie down again and sleep all I could; and not to wake me even for dinner--I would call when I woke.So now she is gone, and the servants are gone, and the things are gone, and there is nothing left but that great bedstead nailed down, with the canvas mattress we found on it.We shall sleep downstairs to-night, and take the boat home to-morrow. I quite enjoy the room, now it is bare again.How those children did tear about here!This bedstead is fairly gnawed!But I must get to work.I have locked the door and thrown the key down into the front path.I don't want to go out, and I don't want to have anybody come in, tillJohn comes.I want to astonish him.I've got a rope up here that even Jennie did not find. If that womandoes get out, and tries to get away, I can tie her!But I forgot I could not reach far without anything to stand on!This bed will NOT move!I tried to lift and push it until I was lame, and then I got so angry I bit off a little piece at one corner--but it hurt my teeth.Then I peeled off all the paper I could reach standing on the floor. Itsticks horribly and the pattern just enjoys it! All those strangled heads and bulbous eyes and waddling fungus growths just shriek with derision!I am getting angry enough to do something desperate. To jump out of the window would be admirable exercise, but the bars are too strong even to try.Besides I wouldn't do it. Of course not. I know well enough that a step like that is improper and might be misconstrued.I don't like to LOOK out of the windows even--there are so many of those creeping women, and they creep so fast.I wonder if they all come out of that wall-paper as I did?But I am securely fastened now by my well-hidden rope--you don't get ME out in the road there!I suppose I shall have to get back behind the pattern when it comes night, and that is hard!It is so pleasant to be out in this great room and creep around as I please!I don't want to go outside. I won't, even if Jennie asks me to.For outside you have to creep on the ground, and everything is green instead of yellow.But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way.Why there's John at the door!It is no use, young man, you can't open it!How he does call and pound!Now he's crying for an axe.It would be a shame to break down that beautiful door!"John dear!' said I in the gentlest voice, "the key is down by the frontsteps, under a plantain leaf!"That silenced him for a few moments.Then he said--very quietly indeed, "Open the door, my darling!""I can't", said I. "The key is down by the front door under a plantainleaf!"And then I said it again, several times, very gently and slowly, and said it so often that he had to go and see, and he got it of course, and came in. He stopped short by the door."What is the matter?" he cried. "For God's sake, what are you doing!"I kept on creeping just the same, but I looked at him over my shoulder. "I've got out at last," said I, "in spite of you and Jane. And I've pulledoff most of the paper, so you can't put me back!"Now why should that man have fainted? But he did, and right acrossmy path by the wall, so that I had to creep over him every time!

EO1∶驱除恶灵的鼠尾草，却带不走内心的恐惧，逐渐暗淡朦胧的双眼，被蒙上了迷离的昏暗色调，夫妻间的矛盾，因为丈夫的出轨而摩擦出新的火花，逐渐化作看不见的仇恨，不被原谅，如墙壁上恶魔的画作，在阴暗的地下室里藏着未知的秘密。

EO2∶用谎言来掩盖谎言，用死亡来祭奠死亡，谋杀仪式的重现，是狂热者的可怖行径，比恶灵更恐怖的是人心的黑暗，鲜血洒满大地，三个人的心中各怀鬼胎，善意被贪婪吞噬。

EO3∶你以为自己看见的活人，其实ta早已死去，每一个亡灵的背后都有着一段不可启齿的阴暗故事，女人眼中的苍老仆人，成为了男人眼中的妩媚女仆，她似欲望的放大镜，将男人心中深埋着的欲火勾引而出，自焚、自毁、自灭。

那些被埋葬了的尸体，终有一日将化作可怖的梦魇来制裁贪婪的暴徒。

EO4∶万圣节是属于亡灵的狂欢。

死去的人再次出现，重复的谎言再次灵验，同性情侣的愤怒之火无处宣泄，藏在角落里的胶皮人成为了罪恶的化身，夜幕降临，门铃响起，无处可躲，恐惧侵袭。

EO5∶一年一度的鬼魂狂欢之夜，这一次没有人再死去，而是开始揭露苟活之人所犯下的罪恶，略显悲伤的氛围，除了懵懂倔强的小女儿之外，其他的人都该死。

EO6∶直面内心的恐惧，最终的结局不过是死亡。

你知道我为什么不再打扰你吗？

因为我在乎你胜过在乎我自己，我爱你。

当他亲口说出这句话的时候，我的内心隐隐作痛，泪目。

EO7∶所以的人都在家极力阻止着这座房子呗摧毁，因为死去的亡灵早已与它融为一体，同存同灭，又一次的惊吓，又一次的谋杀，又一次的阴谋，愤怒或是绝望。

EO8∶黑色胶皮人下隐藏着的是一切罪恶的源头，在癫狂到来的时刻，他的身体早已不属于他自己，他是恐惧的象征、是恶魔的化身、是欲望、是贪婪、是死亡。

EO9∶恶魔的孩子，人类之鬼胎，万恶之本，幽灵恶曲的扭曲，不是神交，而是惩戒。

男人都是骗子，无一例外。

EO10∶无辜的人已然死去，鬼魂的宿命无可逆转，抱着心爱的人痛苦流泪，怀念往生的日子，然而烦恼已然消散，至少我们还能陪伴在彼此身边，同生同灭。

EO11∶死亡后的世界好像并没有什么不同，只是不能离开这座被诅咒的房子，但更多曾经未知的事情却接踵而来，刺激着本就脆弱不堪的灵魂，拥有或是失去，从未得到。

EO12∶从表面来说，泰特似乎是导致一切罪恶和怨念的源头所在，但归根结底，每一个踏入这座房子的人都有罪，它似放大镜般将内心里隐藏的秘密揭露而出，当恶魔之子降临到了这个世界，又一次的因果循环，又一轮的生死存亡，死亡便是最后的结局，无人生还。

从有美国小说这概念起，美国作家的理想就是写一部“伟大的美国小说”（the Great American Novel）。

它要文学性强，要形象鲜明，要引人入胜；但更重要的是，它得是“美国人写的这个时代的美国事”。

作者、主题、时代性，丝丝入扣，缺一不可。

维基百科上所列公认的伟大的美国小说，有《白鲸》、《哈克贝利·芬历险记》、《了不起的盖茨比》、《愤怒的葡萄》、《麦田里的守望者》、《洛丽塔》等等，你就知道美国作家若要树标杆，会望向哪里。

有人说这理想是一种对史诗的渴望，因他们不曾拥有遗产。

但换个角度看，这是自觉的参与书写历史，介于豪迈与狂妄间的责任感。

这责任感不独作家有，美国的创作者几乎都在心中暗暗攥拳。

本剧就是讲这么一个“伟大的美国恐怖故事”的企图。

主要角色典型至极：心理医生丈夫、艺术气质的居家妻子、有点黑暗的青春期女儿。

还有只狗。

场景也似曾相识：草坪、街区、大片独栋。

被某人比喻为“人造微型扭曲社会”的中学，神秘兮兮的邻居，不远处的海滩。

但是从那个女仆出现开始，一切都有点，不太一样。

你见过哪部讲美国郊区的恐怖片中，以女仆作为标准家庭的配置的？

是的，远离城区的大片独栋，和以受欢迎程度为唯一社会序列标准的高中，是当代美国人挥之不去的梦魇。

想想看，现实题材的恐怖片，每年有几部是发生在这两个场景之外的？

他们努力工作，积极奋斗，终于将想象中的场景搬到了身边，却发现心中仍然没有着落——怎么办？

如何排遣这焦虑？

我们称之为第一世界难题。

回到女仆。

我们发现，夫妇眼中的女仆不是一人；我们发现，女仆也是有故事的人——她死很久了；我们发现，神秘兮兮的邻居和这女仆也有渊源……她不止是因为只有一身衣服才始终这样打扮的，她就是过去，挥之不去、死而不僵的过去。

美国逐渐成了一个有历史的国家。

自从打完内战，它积极的一边参战一边反战，和国家联盟、国家、种族、恐怖主义开战。

从飞机降临的那一天走到今天，它回头恍然发现：它也有过去了。

它不再是，或者说不再能总认为自己是那个混不吝的teenager了。

它有过外遇，说过谎，埋过尸，眼前的女人似乎都在勾引自己，老婆不能碰，小三不松口，工作上又害死了人……从女仆出发，我们进入了情节剧的“每个人都不是表现出来的样子”模式。

丈夫不仅有外遇，还无心悔改；妻子不愿为家庭和孩子牺牲，还没完全分居就和保安公司的人暧昧；女儿看似被欺凌，结果却是身边的人一个个非死即伤。

这家庭似乎要崩溃，但又似乎在维持，看不见救赎，但也总有转折。

一如今日美国。

或其他任何地方。

剧播到现在，“用类似经典恐怖片回顾的小故事开头，引入新的角色和情节，与主线穿插推进”的模式已经基本成型。

但最具可看性的，或者说这剧最吸引我的，却既不是开头的小故事，也不是这些肩负第一世界难题的主角们，而是——无处不在、铺天盖地的致敬。

随便数数，鬼屋（The Amityville Horror）、闪灵（The Shining）、罗斯玛丽的婴儿（Rosemary's Baby）、月光光心慌慌（Halloween）、魔女嘉丽（Carrie）、糖人（Candyman）、魔鬼天使（Twisted Nerve）……都历历在目，个人觉得还有最毒妇人心（Hush... Hush, Sweet Charlotte）、德州链锯杀人狂（The Texas Chainsaw Massacre）、神话（Phenomena）等等。

还有真实的科伦拜恩。

一路看下来，完全可以拿来当恐怖片迷俱乐部联欢的保留节目。

它是不是真的达成了自己的理想，对我来说已不重要了。

这绝非贬低，而是出于一个恐怖片爱好者对另一个恐怖片爱好者的精彩之作发自内心的赞许，以及对过往时光重新检视后的些许乡愁。

对作品来说，这该算是创作时心中抱着“伟大的美国恐怖故事”理想的人，在历史坐标上的一声报到吧。

PS：老有人说这橡胶人口味重什么的，其实看过日本漫画的人都知道怎么回事吧：金田一和柯南里的凶手，不是永远都是这副装扮么。