Plot
Major Bennett Marco, Sergeant Raymond Shaw, and the rest of their infantry platoon are kidnapped during the Korean War in 1952. They are taken to Manchuria, and are brainwashed to believe that Shaw saved their lives in combat — for which Congress awards him the Medal of Honor.
Years after the war, Marco, now back in the United States working as an intelligence officer, begins suffering the recurring nightmare of Shaw murdering two of his comrades, all while clinically observed by Chinese and Soviet intelligence officials. When Marco learns that another soldier from the platoon also has been suffering the same nightmare, he sets to uncovering the mystery and its meaning.
It is revealed that the Communists have been using Shaw as a sleeper agent, a guiltless assassin subconsciously activated by seeing the “Queen of Diamonds” playing card while playing solitaire. Provoked by the appearance of the card, he obeys orders which he then forgets. Shaw’s KGB handler is his domineering mother Eleanor, a ruthless power broker working with the Communists to execute a "palace coup d’état" to quietly overthrow the U.S. government, with her husband, McCarthy-esque Senator Johnny Iselin, as a puppet dictator.
Read more about this topic: Manchurian Candidate
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)