In a good mystery we all care about
whodunit, but the real essence of the larger
category I call “Whydunit” is much deeper. These are
“detective” stories, and whether the detective is a
seasoned pro, a cop, a civilian, or a journalist on the trail of a
story, they’re all the same. Someone walks into our
hero’s life, teases him with a mystery that seems small at
first, that when our hero delves into becomes bigger and more
dangerous with each turn.
Each of these stories is about going to the
“dark side.” The need to know the final clue that will
solve the mystery eats at each of our detectives, and leads them to
break their own rules of conduct. The mystery is so intriguing, our
hero can’t say no. And will go to any length to solve it. I
call it the “dark turn” in which the detective becomes
part of the crime. And by doing so, he becomes as bad as his
quarry.
The three key components:
1. The “detective” does not change,
we do; yet he can be any kind of gumshoe — from pro to
amateur to imaginary.
2. The “secret” of the case is so
strong it overwhelms the worldly lures of money, sex, power, or
fame. We must
know! And so does the Whydunit
hero.
3. Finally, the “dark turn” shows
that in pursuit of the secret, the detective will break the rules,
even his own — often ones he has relied on for years to keep
him safe. The pull of the secret is too great.
Examples: Shutter Island, Brick, Mystic
River, Fargo, Blade Runner, All the
President’s Men
