There are, in my opinion, two basic approaches to outlining the plot for a novel.  Both work and both have their pros and cons.  Which one you pick depends on what style you prefer.  It’s going to become apparent quite quickly which one I like to use.

1.  The All-Encompassing, Anal-Retentive, Leave-Nothing-to Chance Approach:  Many writers use this method, which involves not only coming up with a plot, but also creating biographies of all their characters in order to flesh them out as people and understand their motivations for their actions during the course of the story.  It’s a very methodical, very precise way out of outlining.  In fact, writers often spend more time outlining than actually writing the book–and sometimes it shows.  The idea is that the outline is actually the novel and you have to do is fill in the details that you’ve already committed to paper.   I suppose the main benefit is that after you’ve put in all the work to determining whom your characters are, what they’ll be doing, what troubles will arise, and how they’ll get through it, that actually putting it down in readable form should be relatively easy.  The drawbacks are, one, it takes a lot of work and time to first perfect the outline; and two, this way of doing things leaves no room for a sudden change in inspiration.  If you suddenly get a better idea for your book, you might end up having to demolish your outline in order to accommodate your inspiration.  It doesn’t leave much room for improvisation and, I happened to believe, at least half of writing IS improvisation.

2.  The organic, what-the-hell,  high-risk approach.  The key word is “organic.”  This method, many times, is very dependent on the novel telling YOU where it wants to go. I usually have an idea of the story I want to tell; in other words, I have a beginning and an end. The details are in how the story goes from A to B.   I also have a character I want to use–but since I don’t create a biography of him, I run the risk of having the plot develop who he is or never finding him and winding up with a caricature instead of a real person.  If this all sounds like you’re really making it up as you go along, congrats.  That’s what this is approach is about.  Pro’s?  It’s an approach  that is very open to change, very free and adaptable.  Con?  Well, it leads to multiple re-writes as you won’t necessarily find your story in the first or even third drafts.  It takes longer–you have to be able to enjoy the creative process to really get the advantages here.

Attached is an outline for a novel that will probably never see the light day.  This is about as much work as I put into a plot and my characters.  As noted in the organic approach, I tend to flesh things out as I go along so the plot points don’t always appear in this order.

Mickey Griffth was somebody for a very short while, a cinematographer who was Mary Pickford’s preferred director a few years back until he destroyed his career with booze and banging the wives of studio executives. He’s been reduced to shooting “dirty movies” in the service of one Paul Rothstein who hires him for investors—and he serves as muscle—althought its clear he has his own employer. Mickey’s specialty is films with Hollywood lookalikes—his favorite is Marina Dos Santos, a Mexican girl who looks a bit like a Hispanic Gloria Swanson. Mickey uses her a lot and Toombs support her cocaine habit. She lives with Mickey. They film in Mickey’s crumbling mansion—most of the things he has were repossessed by creditors and he’s still playing hide and seek with collection men. He also looks a bit like Chaplin—the sex films don’t arouse him. He’s Psychologically impotent. When one of the girls on the shoot, “Lillian Gish” says she’s heard his name—Mickey is flattered—she says her studio boyfriend talks about the picture and everyone wonders what happened to him.

2. While editing the picture, Mickey thinks of the girl and essentially trashes the footage, much to Marina’s dismay—her best work is down the crapper. He says if they’re going to make dirty movies, they should make a quality dirty movie. He decides the throw a party and tells Lillian to bring along his boyfriend. Marina isn’t too sure about the party or the new direction Mickey’s head in. Lillian comes with her boyfriend, a publicity man (who turns out to be gay) and the man’s sister who name is Justine Vale—the man’s sister, or so he says. She’s a stand in at Lasky. The publicity man states that the studio is upset about Pola Negri being engaged to Charlie Chaplin. Marina loves Chaplin—thinks he’s very funny. Mickey listens to his while staring at Justine. She’s quite the dish. Toombs arrives and wants to know about the picture. Mickey says the picture’s off until he comes up with a better scene. Toombs is not impressed and roughs it up—Justine saves him. Mickey tells her thank you and to come back anytime. Marina offers him a drink—he says no. Why? Maybe he needs to start about putting his career back in order. Marina is skeptical. She saw him with Justine—how he looked at her—or maybe he’s trying to recruit her—she doesn’t look like anyone from Hollywood. Marina is patently jealous—she likes how Mickey photographs her and doesn’t want to lose him as a director. She likes living in a crumbling mansion with a has-been.

3. Justine returns; arriving in the middle of a shoot of Mickey’s substitute footage—a little too arty-fatty for Marina and he shows her around. Mickey is compleely straight with her. Justine doesn’t seem to mind that he does this—she tells him that the publicity man isn’t her brother—just someone she’s slept with—and surprise says, Mickey—he has film he took of her friend blowing one of the male guests. She seems to admire him—if only because she was a big Mary Pickford and remembers some of those movies. She idolized Mary Pickford—Mickey says she shouldn’t be a blonde. She should be a brunette? Like Marina? No, he says, Marina is actually a redhead. Marina says maybe she should be in Mickey’s movies—Mickey says no way. Justine says she wants to take him out to the movies. Her “friend” gave her a couple of passes to the new Gloria Swanson movie. Mickey agrees to go with her. Marina is livid, but Mickey calms her down by doing his Chaplin impersonation and presenting her with some more cocaine.

4. The picture is at the Metropolitan downtown. Justine takes Mickey as her date. Mickey spots and old acquaintance, Ben Sweeney, a movie columnist for Hearst, who seems to be monopolizing Gloria Swanson’s time—and her husband, Herbert Sonneborn, is no where to be seen. He also notices a somewhat sinister figure bouncing around, looking like he’s trying to photograph Gloria or Sweeney—Mickey notices this because of his director’s eye. They go and see and the picture—it’s a dog. After the film, they go for ice cream sodas—Mickey used to put booze in his. He got into movies watching Chapliin at Keystone and paints some chocolate syrup on his face and Justine is amazed at how much he looks like the Tramp. He tells her how he would photograph Gloria and how he got banished for being a fuckup. Justine says she doesn’t mind what he does—at least he’s in the movies. She wishes she was doing a little more than being a stand-in. He tells her again that she should become a brunette. She says she’ll consider it. He says he’d like to see her at work. She says there is nothing to see. For now, he says. He thinks she has a crtain star quality—although he doesn’t know why he tells her that. Could it be she’s interestd in her—he’d love to put he in films—not skin flicks though. Justine drives her to his place and offers to let him in—Mickey, completely impotent, can’t. He arrives home. Irving, his lighting man says that Marina has gotten busted. Seems she was moonlighting for a rival and she’s in jail.

5. He arrives at City Jail. Toombs is there—Marina got hold of him and he’s pissed. Marina has already been sprung by an attorney named Carter Partridge. Toombs says that its Mickey who owes him—Marina is under contract to him and if he cares about her at all, he’ll make the movies that Toombs says to make—and he’s got drugs for Marina. Mickey agrees. Toombs also says that he’s heard that Mickey’s got a new playmate, a dandy, and maybe she should make films as well. Mickey won’t—Toombs tells him to be persuasive or something bad could happen. Marina is sorry, but she felt like Mickey had been abandoning her lately and he wasn’t around to take care of her. She doesn’t think Toombs is bad guy and the lawyer got the charges tossed. Mickey wonders how a thug like Toombs would know an obviously expensive lawyer like Carter Partridge. Marina says she’s now under contract to Toombs and wants to be shot nice—she’s going under the knife to look more like Gloria Swanson—and maybe she’ll teach Justine a thing or two when she comes into the business. Mickey still ponders the Partridge question.

6. Mickey leaves Marina at the house and goes to see Benjamin “The Ace” Sweeney, a columnist for “The Los Angeles Examiner.” On his way in, he spots The Ace and the sinister man from the movies. When the man leaves, Mickey knows the Ace pocket a business card. The Ace won’t answer questions about him. He wants to know what Mickey was doing at Gloria’s movie—Lasky would have a gift if they knew he was going to be there. The Ace knows what Mickey does. Mickey asks him if he’s heard that Copper, Justine’s friend is a fruit. Ace says its rumored, but no one can prove it and if true, it would mean a scandal for Lasky—there’s enough trouble on the lot over Pola Negri’s behavior and the engagement—noone know whether its real—and the fact that “Queen Gloria” doesn’t like her. Mickey says he wants Ace to get him on the lot. Sweeny says no way—Mickey isn’t welcome there and he doesn’t need to be connected to a “degenerate pornographer.” Mickey says he’s only trying to do someone a favor. The Ace still refuses. Mickey asks him about Carter Partridge. According to the Ace, Partridge is a big legal gun, known to fix things in Hollywood. Most reently, he got an unknown male actor out of a jam with a prostitute bust for someone who looked like Leatrice Joy. Girl fortunately died in custody—killed herself. Hates Charlie Chaplin, however. Represented Mildred Harris in his divorce from the Tramp. When he leaves, the business card falls out of his pocket. Mickey scoops it up and sees that the card belongs to someone named Ridley Gaines.

7. Next day, Mickey begs off the shoot, saying he’s ill and tells Irving to direct. Mickey goes off to find Ridley Gaines and finds him in camera shot. Gaines doesn’t recognize him and shows him some surveillance gear—Mickey improves stating that he thinks his wife, Marina, is cheating on him. Ridley says he can use some of the gear to look at her, but he’s got another job going right now. Mickey then overhears a phone between Gaines and someone named “Partridge” and het ells the man that, yeah, he’s got a pass into Lasky and that “he’ll work on it,” and “yes, I’m sure he’ll be surprised.” Mickey bows out of the shop. He tells himself he really doesn’t want to know this. That evening, sitting at home, he’s visited by Justine. She has brought a bottle of champagne—real champagne—said Pola Negri gave it to her. She’s also now a brunette, having taken his advice, Marina fumes, saying she’s going upstairs. used Although Mickey declines th champagne—he does show her the one thing that the creditors didn’t get—his Isotta Franchini—up in the back on the blocks. Justine tells Mickey he could still come back and make real movies. Mickey says that ship sailed a long time ago. He takes her back into the house and points a camera at her. She asks him if she wants her to disrobe. She says no. He directs her in a small scene and finds that she has some acting talent. She could be someone if she just gets noticed. She kisses him for being sweet, but Mickey can’t really respond. Her feelings hurt, she leaves. Marina just laughs at Mickey and calls him pathetic. Mickey tells her to leave—she tells him he has now power over her and that Toombs owns him, just like he owns her. He winds up drinking himself blind.
8. The next day, Mickeys bugs out again, just ducking out from Toombs and leaving poor Irving to deal with him. He goes to Lasky, using Gaines’ card to be admitted. It’s been a long time since he was here and he’s both perturbed and intrigued that no one seems to remember him. He finds Copper in the publicity department and tells him what he wants: he wants Justine to get a better break—get her to at least be the double to a star. Or Mickey will make sure that someone gets the film of him blowing a guy. Copper has no choice and agrees. On the way out, Mickey wanders into a studio. Things have changed—he’s completely lost on the techology. On the set, he sees a woman who looks like his favorite actress, Olive Borden But it’s not, she’s the date to Wallace Reid—who is dealing with a man. Turns out that she’s a cut hooker, made up to look like her. She gives him a phone number in case Mickey is interested in “playing.”

9. Mickey returns to the set. Irving is furious because Marina won’t cooperate until she deals with Toombs. She says she’s ill and won’t come out of her room. Fortunately, Toombs isn’t around. He had something else to take care of. A newcomer arrives to the house. It’s the man that Mickey saw at Lasky. His name is Lasparo and he was to deliver heroin here. Furious, Mickey confronts Marina. She confesses to being hooked on heroin. Mickey tries to beat the crap out of Laspari. They get into a fight, which results in his getting beat up. Marina leaves and tells him she’s not coming back. When Toombs returns and says no hard feelings, Mickey says Marina is gone. In her place isOlive Borden. Mickey checks her arms. She’s clean. Mickey tells Toombs no more drugs—Toombs reminds him that he’s in charge. Corrine is ready for her scene. Mickey asks her where she got cut. She mentions a name of a Dr. Bournemouth.

10. Mickey tells Toombs the new girl is energetic and eager—Toombs tells Mickey the investors are thrilled. Mickey, however, wants the brute to locate Marina. She should have been back—why did he have to give her drugs? Energy—the investors are moving product—Gloria Swanson is very popular. Who are the goddamn investors? Toombs tells Mickey it’s none of his business. Afterwards, Mckey calls for Carter Partridge—he’s out of the office. But he’ll be back tomorrow and can see Mickey after a meeting. Mickey says what he has to talk about is important—his secretary says the meeting is very important. Later on, Mickey is served with papers—his house is being foreclosed on. Justine arrives with good news. She’s got a job now as Pola Negri’s double—did he have something to do with it? Mickey say no, no at all. She invites him to the studio—after all he said he wanted to see her work. He says he will. Since they’re alone, Justine says he’d like him to film her. She more or less strips down. Mickey tells her she doesn’t need to do this. Justine says she wants him to find her attractice—he says he can’t force it. She takes off the rest of her clothes. He shoots and then stops. She says she’s undeterred and he can keep the footage. She hopes she’ll come and see him. “Tell them I’m your Uncle or something. “Uncle Mickey,” she says and laughs.

11. Mickey waits outside Partridge’s office. The lawyer leaves the building when he’ supposed to be having a meeting. Mickey trails him to a restaurant on Hollywood Boulevard. He gets out to get in closer as Partridge waits in front of the restaurant. A cab arrives and three men get out. They go in with Partridge. Mickey pays off the cab driver who tells him that two of the men are from an insurance company. The other one is a medical man he picked up on at an address. Mickey makes the connection with the cutter, Dr. Bounremouth. He gets a message over to Sweeney to meet him later and then goes to the studio.

12. At the studio he sees Gloria Swanson’s car and meets Copper—who isn’t happy to see him—but did what he asked. Justine now looks like Pola Negri. She stands there while the scene gets lit. The crew talks to her about Pola and Charlie. Mickey can’t stay along because the temperamental Pola won’t allow people to watch her act. La Negri comes in to do her scene. When he asks her about Chaplin, Vale only repeats—in a dead on imitation of Pola: “I haf nuzzing to say.” Some of the crew laughs and Nathan has to admit that there’s something enticing about her. He asks a crew member about her who says she’s an actress without talent, other than being a pretty good impersonator. Mickey asks to speak to Pola When the scene is done, an associate producer says that Pola can’t see him—she’s drained from the scene. Justine steps in and volunteers to be interviewed. Nathan says his readers wouldn’t like it. Justine says anyone can be led to believe anything and does her full Pola impersonation before she’s called away to the next scene. Mickey says he has to go. Justine says she’s working late, but he can come back later and see her home.

13. Mickey meets the Ace. He wants to know who the insurance people are visiting Partridge. The Ace tells him that the insurance compan underwrote a policy for $1M against Pola Negri marrying. Her engagement to Chaplin. Partridge is trying to bail them out of it. How does he know that. Ace reveals that he knows Partridge who told him about the deal. Ace kept the details out of the newspaper, but was trying to find a way to make himself rich. He was working with the surveillance guy to find a way to prove that Charlie and Pola isn’t really engaged. Mickey tells him about surveillance guy’s call to Partridge—maybe the lawyer is going after Chaplin. The Ace tells him Partridge isn’t someone to miss with. Mickey asked about Bourenmouth. Ace says he’s on the plastic surgeon to the stars—Mickey tells him about the cut hookers. Ace says he’s too respectable to get involved in something like that.. Mickey is stunned when The Ace leaves and gets into Gloria Swanson’s limousine. Mickey figures that the Ace is really trying to help Gloria succeed in her feud with Pola.

14. Back at the studio, Mickey seeks out Justine. She is dressed like Pola Negri. She takes him into Pola’s bungalow. Mickey is impressed: asks her if Pola talks about Charlie. She says Pola keeps it to herself, but Charlie sends her roses every day and seems to adore her. She lights ups cigarette, Mickey says it’s bad for her. Justine goes into Pola mode, talking about how she won’t let epople tell her why to do: she’ll do whatever she wants, including fuck whoever she wants and she insists on screwing Mickey right there right now and Mickey’s own astonishment he responds. Justine is gifted in bed and afterwards she insists on giving him an interview as Pola which is also quite remarkable. Afterwards, she throws him out, never coming back out of Pola mode..

15. Mickey returns home. Irving says that Toombs is around. Mickey needs drink. Toombs is furious because the investors are unhappy. Mickey wants to know who the investors are. Toombs puts a gun to his head and threatens to blow his brains out if he asks again. Mickey asked him how he knows Carter Partridge. Toombs states that he got the name from his employers—they don’t travel in the same circles. He tells Mickey to get to work—there’s a new girl on the set. Olive Borden is gone—meet Lillian Gish. What happened to Olive? Toombs says she just isn’t avaialble—went home or something. Mickey tries to call Justine, but he won’t answer her calls.

16. Justine continues to ignore him. Mickey asks The Ace to help, but he won’t. The press is full of stories about Pola and Charlie and the bigger news is that Herbert Sonneborn has filed for divorce from Gloria Swanson. Mickey goes to the studio and is forceibly ejected—Copper tells him that Mickey no longer has anything over him. Mickey finds his negative done. Irving says Toombs was there and left; Ivring also has a headline to show him. It’s Corrine Griffith. She was found with her head bashed in.

17. Mickey goes to Bournemouth’s office. The doctor says he makes people look how they want if they can afford him. He denies cutting hooker’s for anyone’s benefits. He asks Mickey to leave. Mickey leaves and finds a note to the secretary ask for reservations at he Coconut Grove for two for him and Miss V. Miss V? Could that be Justine? She said she wished she looked a lot more like Pola Negrt. He goes to the Ambaassador Hotel. He crashes the place and demands to know if he is sleeping with Justine Vale. Bournemouth states that he is Justine’s Uncle. But before the question can be answered, enter Negri and Chaplin, who look like they’re very much in love. Justine also shows up—looking very much like Pola—she’s also been staying at Pola’s bungalow at the Ambassador since she got thrown out of her place because of Mickey’s phone calls. . She says who she has or hasn’t sleep with is none of Nathan’s business—is he jealous or something? Mickey says that’s ridiculous. She points out that Charlie is jealous—of Pola dancing with Frenchman Charles De Roche. Chaplin is overheard to say that he hates the Frenchman mostly for his height. Police arrive to remove Mickey, but Justine saves him stating he’s her date.

18. Justine takes him to Pola’s bungalow. They fuck. During sex, Justine tells them that Negri and Chaplin have passionate arguments, that they’re building a house together and that both have jealous natures. She also says a wedding date has been set for April 1st. She is hoping she gets invited. She also calls Nathan the best loveer she’s ever had. . She thinks it’s all very romantic. She tells him to move in with her. Nathan agrees.

19. Mickey finds he’s out of his place; all of his stuff tossed out. In the pile of rubble is the newspaper article o “Olive’s death.” He finds Irving who says he salvaged all of the cameras and lights. Mickey tells him he’s out of the dirty movie business. He’s got a girl he cares about and is blowing town with her. Irving, however, mentions that one of the girls told him about Corrine’s remark that she talked to someone named “Marina,” who looked very much like Gloria Swanson and how “Gloria” had told her about some negatives and that her boyfriend had them of one executive at Lasky. Corrine had said it could be useful. Mickey says, again, he’s out. He goes to the Ambassador to find Justine and spies on her with a woman—Mildred Harris, Chaplin’s ex. Justine, delighted, gives him the key to the bungalow. When she returns, they acre win the shower. Justine says she used to be a stand-in for Mildred and Mildred states that the engagement is a farce—all planned back in Berlin. She hopes not—she is always disappointed in love. A newspaper arrives with the story bout the April 1st wedding date. Justine is furious, accusing him of telling the newspaper what she had told him in confidence. He states he never did. They have a physical altercation which winds up with more sex.

20. Mickey calls the Ace. He says he got the lead from a credible source—someone within the studio. Mickey stares at the sleeping Justine. He asks if it was Justine. Ace won’t say. Justine opens her eyes and said she had nothing to do with it. She tells him to leave. Mickey decides to believe her, but that means someone tried to sabotage her. Copper. He finds the executive and beats him into a confession. Copper says he heard it from a recording. Mickey storms back to the bungalow and finds a microphone before he’s tossed out of the hotel. Someone is spying on Pola. Mickey is arrested and to his shock, is bailed out by Carter Partridge. Partridge tells him Justine hired him to do it through her uncle, and old friend. So there is a connection between Partridge and Harold Bournemouth.

21. Justine tells Mickey that throwing him out of the bungalow wasn’t her idea, but she had to do it to placate Pola who wanted her to prove that the leaks didn’t come from her. Chaplin and Negri are denying the Mildred Harris conjecture and the newpspaer is full of storties of Eugene Dombski stating that he’s still married to Pola. They drive over to a house in Beverly Hills. It’s Pola’s home. Justine has the key. They go inside on the pretext that Justine was sent over to pick up a few things for the actress. They fuck in her bed—Justine tells him that Pola has been complaining about Charlie being cheap and telling her he’s too poor to get married. She also tells Nathan she’s in love with him. Worrying about the wire in the bungalow and intent on protecting her, Mickey says they should leave town. Justine thinks that’s crazy and she thinks Pola will ask her to be a bridesmaid. He’s got to stop this. After he leaves Justine, he calls the Ace and tells him to print the story about Chaplin’s cheapness. Sweeney refuses him. How about if Mickey goes and tells Sonneborn’s lawyers that a reporter is screwingGloria Swanson on the side. All that talk about Gloria—him getting into her car? Sweeney agrees—he doesn’t want Gloria hurt.

22. BREAKUP is headline and Justine is beside herself. with grief and anger. She doesn’t want to believe that the NEgri/Chaplin romance is finished and she’s  to behave irrationally—Mickey realizes that her moods exactly mirror Pola’s.. Yet the breakup is only short-lived and she is overjoyed when the two real-life stars make up. For Mickey, it means that the wedding has only been postponed—except now Justine wants to marry him and she’s getting progressively kinkier. She invites him to a party. He declines. The casualty of the story winds up being the Ace, who is gets fired—but because it’s come to light that he’s been banging Gloria Swanson. Ace tells him that Sonneborn’s attorneys got pictures of him somehow. Mickey says that’s his problem. Ace begs for help. When Mickey goes by Ace’s hotel room at the Ambassador, he finds that Ace has killed himself by putting a gun in his mouth. Wondering about Ace’s comment about photos, he searches Sweeney’s room and finds a camera. The place has been bugged.

23 Mickey develops the film in the cameraa and finds a familiar face—the surveillance man. Mickey goes after him upon getting a gun from Irving. He pounds on the man who fesses up that he was paid money by Carter Partridge to se up Sweeney. Partridge is Herbert Sonneborn’s attorney. They needed to get evidence of Gloria’s infidelity to bleed the studio dry. They struggle over the gun it goes off killing the surveillance man. As he falls, he knocks over a rack of photos. Mickey is thunderstruck to find pictures of Marina—she’s been cut to look more like Gloria Swanson and in the pictures she’s screwing Toombs.

24. Mickey to Toomb’s house. In a rage, he pistol whips the pimp and wants to know where Marina is. Turns out he’s in her house—drugged out of her mind. She’s plied with narcotics. Toombs says Mickey can’t run. I’ll find tou. Mickey shoots him dead. He drops Marina with Irving and goes after Carter Partridge.

25. It’s Saturday and Partridge isn’t at his office. Mickey goes to PArtridge’s house. There’s a party going on. Mickey is shocked to find Partridge with Bournemouth and the three men from the insurance company. He also stunned that the men are playing dirty movies and Mickey’s the star of the show. The bigger surprise, Justine Vale is present. Justine offers to fuck him right there in front of everyone—turns out that Partridge is her father. They need movies of Justine and Mickey to break the insurance policy—Lasky will have no point but to do so and will pay heavy money to keep the public from thinking that its Pola Negri. Bournemouth shoots Mickey—wounding him. The police arrive. Partridge says he can’t help him this time.

26 In Jail, Mickey is visited by Marina. H explains to her that he was set up. Marina says she’ll do what she can. She always liked that he looked like Chaplin. Nathan dreams about Justine. A story hits about Marina breaking into Chaplin’s place and stating that she’s there to make him marry her. That she got into a fight with Pola Negri. Marina is hauled away toy an asylum. Two days later , there appears the headline, Negri Jilts Chaplin. Marina has done her job. There won’t be a wedding. Partridge drops the charges. Mickey n is free to go—Partridge says to come to his office after he cleans up. Justine wants to see him and Parttridge has an offer for him.. He tells Mickey that Justine is a “fixer”. She breaks up people the studio doesn’t want together.. He’s made out like a bandit on the insurance policy and is a hero for breaking up Mickey’s blackmail attempt.

27. Mickey goes back to Partridge cuts Mickey and Justine in n the money from the job.. But his admission that he used Marina—she was on his payroll to break up the Chaplin/Negri relationship does not sit well with Justine, who stabs Partridge and then reveals that the dead lawyer is also her father. Mickey n pulls a gun on her—but fails to pull the trigger—but Justine makes him kill her and simultaneously stabs him. She says it’s the only way it could end. The story ends with a badly bleeding Mickey wondering if he’ll bleed to death before he finds some help.

Copyright, 2014 by Sergio Delgado