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The Premature Burial by Edgar Allan Poe

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THERE are certain themes of which the interest is all-absorbing, but which are too entirely horrible for the purposes of legitimate fiction. These the mere romanticist must eschew, if he do not wish to offend or to disgust. They are with propriety handled only when the severity and majesty of Truth sanctify and sustain them. We thrill, for example, with the most intense of “pleasurable pain” over the accounts of the Passage of the Beresina, of the Earthquake at Lisbon, of the Plague at London, of the Massacre of St. Bartholomew, or of the stifling of the hundred and twenty-three prisoners in the Black Hole at Calcutta. But in these accounts it is the fact——it is the reality——it is the history which excites. As inventions, we should regard them with simple abhorrence.

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I have mentioned some few of the more prominent and august calamities on record; but in these it is the extent, not less than the character of the calamity, which so vividly impresses the fancy. I need not remind the reader that, from the long and weird catalogue of human miseries, I might have selected many individual instances more replete with essential suffering than any of these vast generalities of disaster. The true wretchedness, indeed—the ultimate woe——is particular, not diffuse. That the ghastly extremes of agony are endured by man the unit, and never by man the mass——for this let us thank a merciful God!

To be buried while alive is, beyond question, the most terrific of these extremes which has ever fallen to the lot of mere mortality. That it has frequently, very frequently, so fallen will scarcely be denied by those who think. The boundaries which divide Life from Death are at best shadowy and vague. Who shall say where the one ends, and where the other begins? We know that there are diseases in which occur total cessations of all the apparent functions of vitality, and yet in which these cessations are merely suspensions, properly so called. They are only temporary pauses in the incomprehensible mechanism. A certain period elapses, and some unseen mysterious principle again sets in motion the magic pinions and the wizard wheels. The silver cord was not for ever loosed, nor the golden bowl irreparably broken. But where, meantime, was the soul?

Illustration for Edgar Allan Poe’s story “The Premature Burial” by Harry Clarke (1889-1931), published in 1919.

Apart, however, from the inevitable conclusion, a priori that such causes must produce such effects——that the well-known occurrence of such cases of suspended animation must naturally give rise, now and then, to premature interments—apart from this consideration, we have the direct testimony of medical and ordinary experience to prove that a vast number of such interments have actually taken place. I might refer at once, if necessary to a hundred well authenticated instances. One of very remarkable character, and of which the circumstances may be fresh in the memory of some of my readers, occurred, not very long ago, in the neighboring city of Baltimore, where it occasioned a painful, intense, and widely-extended excitement. The wife of one of the most respectable citizens—a lawyer of eminence and a member of Congress—was seized with a sudden and unaccountable illness, which completely baffled the skill of her physicians. After much suffering she died, or was supposed to die. No one suspected, indeed, or had reason to suspect, that she was not actually dead. She presented all the ordinary appearances of death. The face assumed the usual pinched and sunken outline. The lips were of the usual marble pallor. The eyes were lustreless. There was no warmth. Pulsation had ceased. For three days the body was preserved unburied, during which it had acquired a stony rigidity. The funeral, in short, was hastened, on account of the rapid advance of what was supposed to be decomposition.

The lady was deposited in her family vault, which, for three subsequent years, was undisturbed. At the expiration of this term it was opened for the reception of a sarcophagus;——but, alas! how fearful a shock awaited the husband, who, personally, threw open the door! As its portals swung outwardly back, some white-apparelled object fell rattling within his arms. It was the skeleton of his wife in her yet unmoulded shroud.

A careful investigation rendered it evident that she had revived within two days after her entombment; that her struggles within the coffin had caused it to fall from a ledge, or shelf to the floor, where it was so broken as to permit her escape. A lamp which had been accidentally left, full of oil, within the tomb, was found empty; it might have been exhausted, however, by evaporation. On the uttermost of the steps which led down into the dread chamber was a large fragment of the coffin, with which, it seemed, that she had endeavored to arrest attention by striking the iron door. While thus occupied, she probably swooned, or possibly died, through sheer terror; and, in failing, her shroud became entangled in some iron—work which projected interiorly. Thus she remained, and thus she rotted, erect.

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In the year 1810, a case of living inhumation happened in France, attended with circumstances which go far to warrant the assertion that truth is, indeed, stranger than fiction. The heroine of the story was a Mademoiselle Victorine Lafourcade, a young girl of illustrious family, of wealth, and of great personal beauty. Among her numerous suitors was Julien Bossuet, a poor litterateur, or journalist of Paris. His talents and general amiability had recommended him to the notice of the heiress, by whom he seems to have been truly beloved; but her pride of birth decided her, finally, to reject him, and to wed a Monsieur Renelle, a banker and a diplomatist of some eminence. After marriage, however, this gentleman neglected, and, perhaps, even more positively ill-treated her. Having passed with him some wretched years, she died,——at least her condition so closely resembled death as to deceive every one who saw her. She was buried——not in a vault, but in an ordinary grave in the village of her nativity. Filled with despair, and still inflamed by the memory of a profound attachment, the lover journeys from the capital to the remote province in which the village lies, with the romantic purpose of disinterring the corpse, and possessing himself of its luxuriant tresses. He reaches the grave. At midnight he unearths the coffin, opens it, and is in the act of detaching the hair, when he is arrested by the unclosing of the beloved eyes. In fact, the lady had been buried alive. Vitality had not altogether departed, and she was aroused by the caresses of her lover from the lethargy which had been mistaken for death. He bore her frantically to his lodgings in the village. He employed certain powerful restoratives suggested by no little medical learning. In fine, she revived. She recognized her preserver. She remained with him until, by slow degrees, she fully recovered her original health. Her woman’s heart was not adamant, and this last lesson of love sufficed to soften it. She bestowed it upon Bossuet. She returned no more to her husband, but, concealing from him her resurrection, fled with her lover to America. Twenty years afterward, the two returned to France, in the persuasion that time had so greatly altered the lady’s appearance that her friends would be unable to recognize her. They were mistaken, however, for, at the first meeting, Monsieur Renelle did actually recognize and make claim to his wife. This claim she resisted, and a judicial tribunal sustained her in her resistance, deciding that the peculiar circumstances, with the long lapse of years, had extinguished, not only equitably, but legally, the authority of the husband.

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The “Chirurgical Journal” of Leipsic—a periodical of high authority and merit, which some American bookseller would do well to translate and republish, records in a late number a very distressing event of the character in question.

An officer of artillery, a man of gigantic stature and of robust health, being thrown from an unmanageable horse, received a very severe contusion upon the head, which rendered him insensible at once; the skull was slightly fractured, but no immediate danger was apprehended. Trepanning was accomplished successfully. He was bled, and many other of the ordinary means of relief were adopted. Gradually, however, he fell into a more and more hopeless state of stupor, and, finally, it was thought that he died.

The weather was warm, and he was buried with indecent haste in one of the public cemeteries. His funeral took place on Thursday. On the Sunday following, the grounds of the cemetery were, as usual, much thronged with visiters, and about noon an intense excitement was created by the declaration of a peasant that, while sitting upon the grave of the officer, he had distinctly felt a commotion of the earth, as if occasioned by some one struggling beneath. At first little attention was paid to the man’s asseveration; but his evident terror, and the dogged obstinacy with which he persisted in his story, had at length their natural effect upon the crowd. Spades were hurriedly procured, and the grave, which was shamefully shallow, was in a few minutes so far thrown open that the head of its occupant appeared. He was then seemingly dead; but he sat nearly erect within his coffin, the lid of which, in his furious struggles, he had partially uplifted.

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He was forthwith conveyed to the nearest hospital, and there pronounced to be still living, although in an asphytic condition. After some hours he revived, recognized individuals of his acquaintance, and, in broken sentences spoke of his agonies in the grave.

From what he related, it was clear that he must have been conscious of life for more than an hour, while inhumed, before lapsing into insensibility. The grave was carelessly and loosely filled with an exceedingly porous soil; and thus some air was necessarily admitted. He heard the footsteps of the crowd overhead, and endeavored to make himself heard in turn. It was the tumult within the grounds of the cemetery, he said, which appeared to awaken him from a deep sleep, but no sooner was he awake than he became fully aware of the awful horrors of his position.

This patient, it is recorded, was doing well and seemed to be in a fair way of ultimate recovery, but fell a victim to the quackeries of medical experiment. The galvanic battery was applied, and he suddenly expired in one of those ecstatic paroxysms which, occasionally, it superinduces.

The mention of the galvanic battery, nevertheless, recalls to my memory a well known and very extraordinary case in point, where its action proved the means of restoring to animation a young attorney of London, who had been interred for two days. This occurred in 1831, and created, at the time, a very profound sensation wherever it was made the subject of converse.

The patient, Mr. Edward Stapleton, had died, apparently of typhus fever, accompanied with some anomalous symptoms which had excited the curiosity of his medical attendants. Upon his seeming decease, his friends were requested to sanction a post-mortem examination, but declined to permit it. As often happens, when such refusals are made, the practitioners resolved to disinter the body and dissect it at leisure, in private. Arrangements were easily effected with some of the numerous corps of body-snatchers, with which London abounds; and, upon the third night after the funeral, the supposed corpse was unearthed from a grave eight feet deep, and deposited in the opening chamber of one of the private hospitals.

An incision of some extent had been actually made in the abdomen, when the fresh and undecayed appearance of the subject suggested an application of the battery. One experiment succeeded another, and the customary effects supervened, with nothing to characterize them in any respect, except, upon one or two occasions, a more than ordinary degree of life-likeness in the convulsive action.

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It grew late. The day was about to dawn; and it was thought expedient, at length, to proceed at once to the dissection. A student, however, was especially desirous of testing a theory of his own, and insisted upon applying the battery to one of the pectoral muscles. A rough gash was made, and a wire hastily brought in contact, when the patient, with a hurried but quite unconvulsive movement, arose from the table, stepped into the middle of the floor, gazed about him uneasily for a few seconds, and then—spoke. What he said was unintelligible, but words were uttered; the syllabification was distinct. Having spoken, he fell heavily to the floor.

For some moments all were paralyzed with awe—but the urgency of the case soon restored them their presence of mind. It was seen that Mr. Stapleton was alive, although in a swoon. Upon exhibition of ether he revived and was rapidly restored to health, and to the society of his friends—from whom, however, all knowledge of his resuscitation was withheld, until a relapse was no longer to be apprehended. Their wonder—their rapturous astonishment—may be conceived.

The most thrilling peculiarity of this incident, nevertheless, is involved in what Mr. S. himself asserts. He declares that at no period was he altogether insensible—that, dully and confusedly, he was aware of everything which happened to him, from the moment in which he was pronounced dead by his physicians, to that in which he fell swooning to the floor of the hospital. “I am alive,” were the uncomprehended words which, upon recognizing the locality of the dissecting-room, he had endeavored, in his extremity, to utter.

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It were an easy matter to multiply such histories as these—but I forbear—for, indeed, we have no need of such to establish the fact that premature interments occur. When we reflect how very rarely, from the nature of the case, we have it in our power to detect them, we must admit that they may frequently occur without our cognizance. Scarcely, in truth, is a graveyard ever encroached upon, for any purpose, to any great extent, that skeletons are not found in postures which suggest the most fearful of suspicions.

Fearful indeed the suspicion—but more fearful the doom! It may be asserted, without hesitation, that no event is so terribly well adapted to inspire the supremeness of bodily and of mental distress, as is burial before death. The unendurable oppression of the lungs—the stifling fumes from the damp earth—the clinging to the death garments—the rigid embrace of the narrow house—the blackness of the absolute Night—the silence like a sea that overwhelms—the unseen but palpable presence of the Conqueror Worm—these things, with the thoughts of the air and grass above, with memory of dear friends who would fly to save us if but informed of our fate, and with consciousness that of this fate they can never be informed—that our hopeless portion is that of the really dead—these considerations, I say, carry into the heart, which still palpitates, a degree of appalling and intolerable horror from which the most daring imagination must recoil. We know of nothing so agonizing upon Earth—we can dream of nothing half so hideous in the realms of the nethermost Hell. And thus all narratives upon this topic have an interest profound; an interest, nevertheless, which, through the sacred awe of the topic itself, very properly and very peculiarly depends upon our conviction of the truth of the matter narrated. What I have now to tell is of my own actual knowledge—of my own positive and personal experience.

For several years I had been subject to attacks of the singular disorder which physicians have agreed to term catalepsy, in default of a more definitive title. Although both the immediate and the predisposing causes, and even the actual diagnosis, of this disease are still mysterious, its obvious and apparent character is sufficiently well understood. Its variations seem to be chiefly of degree. Sometimes the patient lies, for a day only, or even for a shorter period, in a species of exaggerated lethargy. He is senseless and externally motionless; but the pulsation of the heart is still faintly perceptible; some traces of warmth remain; a slight color lingers within the centre of the cheek; and, upon application of a mirror to the lips, we can detect a torpid, unequal, and vacillating action of the lungs. Then again the duration of the trance is for weeks—even for months; while the closest scrutiny, and the most rigorous medical tests, fail to establish any material distinction between the state of the sufferer and what we conceive of absolute death. Very usually he is saved from premature interment solely by the knowledge of his friends that he has been previously subject to catalepsy, by the consequent suspicion excited, and, above all, by the non-appearance of decay. The advances of the malady are, luckily, gradual. The first manifestations, although marked, are unequivocal. The fits grow successively more and more distinctive, and endure each for a longer term than the preceding. In this lies the principal security from inhumation. The unfortunate whose first attack should be of the extreme character which is occasionally seen, would almost inevitably be consigned alive to the tomb.

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My own case differed in no important particular from those mentioned in medical books. Sometimes, without any apparent cause, I sank, little by little, into a condition of hemi-syncope, or half swoon; and, in this condition, without pain, without ability to stir, or, strictly speaking, to think, but with a dull lethargic consciousness of life and of the presence of those who surrounded my bed, I remained, until the crisis of the disease restored me, suddenly, to perfect sensation. At other times I was quickly and impetuously smitten. I grew sick, and numb, and chilly, and dizzy, and so fell prostrate at once. Then, for weeks, all was void, and black, and silent, and Nothing became the universe. Total annihilation could be no more. From these latter attacks I awoke, however, with a gradation slow in proportion to the suddenness of the seizure. Just as the day dawns to the friendless and houseless beggar who roams the streets throughout the long desolate winter night—just so tardily—just so wearily—just so cheerily came back the light of the Soul to me.

Apart from the tendency to trance, however, my general health appeared to be good; nor could I perceive that it was at all affected by the one prevalent malady—unless, indeed, an idiosyncrasy in my ordinary sleep may be looked upon as superinduced. Upon awaking from slumber, I could never gain, at once, thorough possession of my senses, and always remained, for many minutes, in much bewilderment and perplexity;—the mental faculties in general, but the memory in especial, being in a condition of absolute abeyance.

In all that I endured there was no physical suffering but of moral distress an infinitude. My fancy grew charnel, I talked “of worms, of tombs, and epitaphs.” I was lost in reveries of death, and the idea of premature burial held continual possession of my brain. The ghastly Danger to which I was subjected haunted me day and night. In the former, the torture of meditation was excessive—in the latter, supreme. When the grim Darkness overspread the Earth, then, with every horror of thought, I shook—shook as the quivering plumes upon the hearse. When Nature could endure wakefulness no longer, it was with a struggle that I consented to sleep—for I shuddered to reflect that, upon awaking, I might find myself the tenant of a grave. And when, finally, I sank into slumber, it was only to rush at once into a world of phantasms, above which, with vast, sable, overshadowing wing, hovered, predominant, the one sepulchral Idea.

From the innumerable images of gloom which thus oppressed me in dreams, I select for record but a solitary vision. Methought I was immersed in a cataleptic trance of more than usual duration and profundity. Suddenly there came an icy hand upon my forehead, and an impatient, gibbering voice whispered the word “Arise!” within my ear.

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I sat erect. The darkness was total. I could not see the figure of him who had aroused me. I could call to mind neither the period at which I had fallen into the trance, nor the locality in which I then lay. While I remained motionless, and busied in endeavors to collect my thought, the cold hand grasped me fiercely by the wrist, shaking it petulantly, while the gibbering voice said again:

“Arise! did I not bid thee arise?”

“And who,” I demanded, “art thou?”

“I have no name in the regions which I inhabit,” replied the voice, mournfully; “I was mortal, but am fiend. I was merciless, but am pitiful. Thou dost feel that I shudder.—My teeth chatter as I speak, yet it is not with the chilliness of the night—of the night without end. But this hideousness is insufferable. How canst thou tranquilly sleep? I cannot rest for the cry of these great agonies. These sights are more than I can bear. Get thee up! Come with me into the outer Night, and let me unfold to thee the graves. Is not this a spectacle of woe?—Behold!”

I looked; and the unseen figure, which still grasped me by the wrist, had caused to be thrown open the graves of all mankind, and from each issued the faint phosphoric radiance of decay, so that I could see into the innermost recesses, and there view the shrouded bodies in their sad and solemn slumbers with the worm. But alas! the real sleepers were fewer, by many millions, than those who slumbered not at all; and there was a feeble struggling; and there was a general sad unrest; and from out the depths of the countless pits there came a melancholy rustling from the garments of the buried. And of those who seemed tranquilly to repose, I saw that a vast number had changed, in a greater or less degree, the rigid and uneasy position in which they had originally been entombed. And the voice again said to me as I gazed:

“Is it not—oh! is it not a pitiful sight?”—but, before I could find words to reply, the figure had ceased to grasp my wrist, the phosphoric lights expired, and the graves were closed with a sudden violence, while from out them arose a tumult of despairing cries, saying again: “Is it not—O, God, is it not a very pitiful sight?”

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Phantasies such as these, presenting themselves at night, extended their terrific influence far into my waking hours. My nerves became thoroughly unstrung, and I fell a prey to perpetual horror. I hesitated to ride, or to walk, or to indulge in any exercise that would carry me from home. In fact, I no longer dared trust myself out of the immediate presence of those who were aware of my proneness to catalepsy, lest, falling into one of my usual fits, I should be buried before my real condition could be ascertained. I doubted the care, the fidelity of my dearest friends. I dreaded that, in some trance of more than customary duration, they might be prevailed upon to regard me as irrecoverable. I even went so far as to fear that, as I occasioned much trouble, they might be glad to consider any very protracted attack as sufficient excuse for getting rid of me altogether. It was in vain they endeavored to reassure me by the most solemn promises. I exacted the most sacred oaths, that under no circumstances they would bury me until decomposition had so materially advanced as to render farther preservation impossible. And, even then, my mortal terrors would listen to no reason—would accept no consolation. I entered into a series of elaborate precautions. Among other things, I had the family vault so remodelled as to admit of being readily opened from within. The slightest pressure upon a long lever that extended far into the tomb would cause the iron portal to fly back. There were arrangements also for the free admission of air and light, and convenient receptacles for food and water, within immediate reach of the coffin intended for my reception. This coffin was warmly and softly padded, and was provided with a lid, fashioned upon the principle of the vault-door, with the addition of springs so contrived that the feeblest movement of the body would be sufficient to set it at liberty. Besides all this, there was suspended from the roof of the tomb, a large bell, the rope of which, it was designed, should extend through a hole in the coffin, and so be fastened to one of the hands of the corpse. But, alas? what avails the vigilance against the Destiny of man? Not even these well-contrived securities sufficed to save from the uttermost agonies of living inhumation, a wretch to these agonies foredoomed!

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There arrived an epoch—as often before there had arrived—in which I found myself emerging from total unconsciousness into the first feeble and indefinite sense of existence. Slowly—with a tortoise gradation—approached the faint gray dawn of the psychal day. A torpid uneasiness. An apathetic endurance of dull pain. No care—no hope—no effort. Then, after a long interval, a ringing in the ears; then, after a lapse still longer, a prickling or tingling sensation in the extremities; then a seemingly eternal period of pleasurable quiescence, during which the awakening feelings are struggling into thought; then a brief re-sinking into non-entity; then a sudden recovery. At length the slight quivering of an eyelid, and immediately thereupon, an electric shock of a terror, deadly and indefinite, which sends the blood in torrents from the temples to the heart. And now the first positive effort to think. And now the first endeavor to remember. And now a partial and evanescent success. And now the memory has so far regained its dominion, that, in some measure, I am cognizant of my state. I feel that I am not awaking from ordinary sleep. I recollect that I have been subject to catalepsy. And now, at last, as if by the rush of an ocean, my shuddering spirit is overwhelmed by the one grim Danger—by the one spectral and ever-prevalent idea.

For some minutes after this fancy possessed me, I remained without motion. And why? I could not summon courage to move. I dared not make the effort which was to satisfy me of my fate—and yet there was something at my heart which whispered me it was sure. Despair—such as no other species of wretchedness ever calls into being—despair alone urged me, after long irresolution, to uplift the heavy lids of my eyes. I uplifted them. It was dark—all dark. I knew that the fit was over. I knew that the crisis of my disorder had long passed. I knew that I had now fully recovered the use of my visual faculties—and yet it was dark—all dark—the intense and utter raylessness of the Night that endureth for evermore.

I endeavored to shriek; and my lips and my parched tongue moved convulsively together in the attempt—but no voice issued from the cavernous lungs, which oppressed as if by the weight of some incumbent mountain, gasped and palpitated, with the heart, at every elaborate and struggling inspiration.

The movement of the jaws, in this effort to cry aloud, showed me that they were bound up, as is usual with the dead. I felt, too, that I lay upon some hard substance, and by something similar my sides were, also, closely compressed. So far, I had not ventured to stir any of my limbs—but now I violently threw up my arms, which had been lying at length, with the wrists crossed. They struck a solid wooden substance, which extended above my person at an elevation of not more than six inches from my face. I could no longer doubt that I reposed within a coffin at last.

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And now, amid all my infinite miseries, came sweetly the cherub Hope—for I thought of my precautions. I writhed, and made spasmodic exertions to force open the lid: it would not move. I felt my wrists for the bell-rope: it was not to be found. And now the Comforter fled for ever, and a still sterner Despair reigned triumphant; for I could not help perceiving the absence of the paddings which I had so carefully prepared—and then, too, there came suddenly to my nostrils the strong peculiar odor of moist earth. The conclusion was irresistible. I was not within the vault. I had fallen into a trance while absent from home—while among strangers—when, or how, I could not remember—and it was they who had buried me as a dog—nailed up in some common coffin—and thrust deep, deep, and for ever, into some ordinary and nameless grave.

As this awful conviction forced itself, thus, into the innermost chambers of my soul, I once again struggled to cry aloud. And in this second endeavor I succeeded. A long, wild, and continuous shriek, or yell of agony, resounded through the realms of the subterranean Night.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

“Hillo! hillo, there!” said a gruff voice, in reply.

“What the devil’s the matter now!” said a second.

“Get out o’ that!” said a third.

“What do you mean by yowling in that ere kind of style, like a cattymount?” said a fourth; and hereupon I was seized and shaken without ceremony, for several minutes, by a junto of very rough-looking individuals. They did not arouse me from my slumber—for I was wide awake when I screamed—but they restored me to the full possession of my memory.

This adventure occurred near Richmond, in Virginia. Accompanied by a friend, I had proceeded, upon a gunning expedition, some miles down the banks of the James River. Night approached, and we were overtaken by a storm. The cabin of a small sloop lying at anchor in the stream, and laden with garden mould, afforded us the only available shelter. We made the best of it, and passed the night on board. I slept in one of the only two berths in the vessel—and the berths of a sloop of sixty or twenty tons need scarcely be described. That which I occupied had no bedding of any kind. Its extreme width was eighteen inches. The distance of its bottom from the deck overhead was precisely the same. I found it a matter of exceeding difficulty to squeeze myself in. Nevertheless, I slept soundly, and the whole of my vision—for it was no dream, and no nightmare—arose naturally from the circumstances of my position—from my ordinary bias of thought—and from the difficulty, to which I have alluded, of collecting my senses, and especially of regaining my memory, for a long time after awaking from slumber. The men who shook me were the crew of the sloop, and some laborers engaged to unload it. From the load itself came the earthly smell. The bandage about the jaws was a silk handkerchief in which I had bound up my head, in default of my customary nightcap.

The tortures endured, however, were indubitably quite equal for the time, to those of actual sepulture. They were fearfully—they were inconceivably hideous; but out of Evil proceeded Good; for their very excess wrought in my spirit an inevitable revulsion. My soul acquired tone—acquired temper. I went abroad. I took vigorous exercise. I breathed the free air of Heaven. I thought upon other subjects than Death. I discarded my medical books. “Buchan” I burned. I read no “Night Thoughts”—no fustian about churchyards—no bugaboo tales—such as this. In short, I became a new man, and lived a man’s life. From that memorable night, I dismissed forever my charnel apprehensions, and with them vanished the cataleptic disorder, of which, perhaps, they had been less the consequence than the cause.

There are moments when, even to the sober eye of Reason, the world of our sad Humanity may assume the semblance of a Hell—but the imagination of man is no Carathis, to explore with impunity its every cavern. Alas! the grim legion of sepulchral terrors cannot be regarded as altogether fanciful—but, like the Demons in whose company Afrasiab made his voyage down the Oxus, they must sleep, or they will devour us—they must be suffered to slumber, or we perish.

Source: The Gutenberg project

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The Ghosts of Japan

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In Japan, the ghosts are called Yūrei (幽霊). The word means faint or dim and soul or spirit. And as well as language and cultures divides different types of ghost in different categories, so does the Japanese. Here are some of the ghosts of Japan.

There are a lot of creatures, entities that haunts in Japanese culture. But yūrei is probably one of the more classic Ghosts of Japan and its legends and differs slightly from the others entities. They are for example the only ones haunting at a specific time, with the hour of the ox as a preference, which is from 2 to 2:30 am. This is when the veil between the dead and the living, the different worlds is at is thinnest.

The yūrei is also more geographical bound than other entities, and with a specific purpose for the hauntings. Unfinished business or vengeance, being the most common perhaps. The real tragedy is when a spirit can never find peace, because their unfinished business can never be fulfilled.

Onryō

怨霊

The Vengeful Ghost of Japan

The Vengeful Ghost of Japan

The Onryō is probably the most well known type of ghosts in Japanese culture there is. Onryō (怨霊), basically means “vengeful spirit” or “wrathful spirit” in Japanese and is a very iconic image with her white kimono and long black hair in modern ghost stories.

This particular ghost of Japan is driven by rage and consumed by revenge. This Yūrei will do anything to punish those who wronged them in life. Mostly, the spirit never starts out as evil, and wasn’t an evil person when alive. But the circumstances around their life and particularly around their death made them bit by bit as time went on and anger built up.

This type of vengeful spirit are sometimes created from the basis of love, but the jealousy perverted the love so much, it turned to hatred. In both cases, their soul are unable to pass on to be reborn and lingers in the realm of between the living and dead.

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In many cultures, ghosts are put in different categories. Such is the case with Onryō (怨霊 onryō,) It basically means “vengeful spirit” or “wrathful spirit” in Japanese and is a mythological spirit of vengeance from Japanese folklore. They also have ghosts, called yurei, but these differ in the will of the ghost. As opposed to…

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The tale of Banchō Sarayashiki (番町皿屋敷, The Dish Mansion at Banchō) is a well known Japanese ghost story (kaidan). It was popularized in the kabuki theater tradition, and lives on in popular culture and folklore alike.

Goryō

御霊

The Noble Ghost of Japan

The Noble Ghost of Japan

Is sort of the same av an Onryō and often a Goryō ghost story follows the same pattern. It is vengeful spirits and ghosts in Japanese legends, capable of so much destruction and with a single goal in mind. The main difference from the Onryō, is that the Goryō is mostly a noble man, not a female, and the main goal is often to restore his honour he lost in real life than revenge on those who wronged him.

This Japanese ghost known as Goryō was most often from the aristocratic or royal class when in life. The Kanji 御 (go) actually means honorable while 霊 (ryō) means some sort of soul or spirit. And it is especially the case when those people were martyred or wronged, loosing their honor etc.

Funayūrei

船幽霊

The Sea Ghost of Japan

The Sea Ghost of Japan

The Funayūrei: Boatman and Funayūrei by Kawanabe Kyōsai (河鍋暁斎.

This is the Japanese ghost of those dying at sea. It literally means boat spirit and is the same as an Onryō, only out at sea. Often fishermen, sailors and the likes, people dying in shipwreck and want other to join them in the deep sea.

These types of ghosts in Japanese legends are described as being surrounded by an atmospheric light, so you can see them, even when they turn up on dark, foggy nights, rainy days and under the full or new moon. They can be described as ghost haunting the rivers and lake as well. At times, these ghost are shown as scaly fish-like, and pictures of them might be confused with mermaids or mermen.

UBUME

産女

The Mother Ghost of Japan

The Mother Ghost of Japan

Ubume: うふめ from Bakemono no e (化物之繪, c. 1700), Harry F. Bruning Collection of Japanese Books and Manuscripts, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University. source Date: circa 1700

This is the Japanese ghost of a mother who died in childbirth. It could also come if she died leaving very young children. This ghost differs a lot from the Onryō for example, for its purpose. It is not after revenge, but stays out of compassion, giving sweets and looking after her children she left behind. 

Those seeing her will see what looks like a pregnant woman pass by. Or she will approach you, telling you to hold her child, only for you to realize there isn’t a child, just a bundle of rocks or leaves.

Zashiki-warashi

座敷童子

The Child Ghost of Japan

The Child Ghost of Japan

This is what happens when children becomes ghosts in Japanese legends. They are not really depicted as dangerous, but at times mischievous. They would do pranks, leaving prints in the kitchen and the likes, but it also meant good fortune for them who saw them. But what are these Japanese ghosts? Strange otherworldly child-like creatures, or spirits of children?

It has been theories that they are the spirit of children that were killed when there were too many mouths to feed. It was back in the day a rather gruesome tradition to be killed by a stone and buried in the dirt floor room called doma or in the kitchen.

Fuyūrei and Jibakurei

浮遊霊

The Wandering Ghost of Japan

The Wandering Ghost of Japan

These two Japanese ghosts are very similar to each other. They are both spirit with no purpose, wandering aimlessly around, earthbound, often just going in circle and in a loop. Unable to find peace.

Ikiryō

生き霊

The Living Ghost of Japan

The Living Ghost of Japan

This is a very peculiar one and a bit on the side from the other ghosts in Japanese culture. It is when a part of the living soul or spirit leaves the body to haunt people or a specific place. Often across distances as well.

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5 Funny Zombie Movies

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Yes, in these times, zombie movies are all the rage as well as pandemic movies. And they sort of belong together, don’t they? But we also need to laugh, so here are five funny zombie movies, to fill the zombie cravings of the times, but also that can make the trying days a bit more funny than they in reality are.

Shaun of the dead (2004)

This movie has become somewhat of iconic. It’s directed by Edgar Wright, who co-wrote it with Simon Pegg. The film stars Pegg and Nick Frost as mates Shaun and Ed that leads very uneventful lives. The Londoners are caught in an apocalyptic zombie uprising and attempt to take refuge in a local pub with their loved ones. The film co-stars Kate AshfieldLucy DavisDylan MoranBill Nighy, and Penelope Wilton.

The movie doesn’t get any more British than this, and the zombie apocalypse have never before been as polite as here. It is the first installment in Wright and Pegg’s Three Flavours Cornetto trilogy, followed by Hot Fuzz (2007) and The World’s End (2013).

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Dead Snow (Død snø) (2009)

If you feel in the more culty corner, of something more low budget and with subtitles, we recommend Dead Snow. This movie from 2009 is a Norwegian comedy horror film directed by Tommy Wirkola, starring Charlotte FrognerStig Frode Henriksen.

The film centers on a group of students surviving a zombie Nazi attack in the mountains of Norway. A ski vacation turns horrific for a group of medical students, as they find themselves confronted by an unimaginable menace: Nazi zombies. The premise of the film is similar to that of the draugr, a Scandinavian folkloric undead greedily protecting its (often stolen) treasures.

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Warm bodies (2013)

American paranormal romantic zombie comedy film. (phu, say that five times out loud). It’s written and directed by Jonathan Levine and based on Isaac Marion‘s novel of the same name. The film stars Nicholas HoultTeresa PalmerAnaleigh Tipton, and John Malkovich.

After a highly unusual zombie saves a still-living girl from an attack, the two form a relationship that sets in motion events that might transform the entire lifeless world.

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Zombieland (2009)

This is also turned into an instant classic and is a post-apocalyptic zombie comedy film directed by Ruben Fleischer in his theatrical debut. The film stars Woody HarrelsonJesse EisenbergEmma Stone, and Abigail Breslin as survivors of a zombie apocalypse.

The film follows a geeky college kid making his way through the zombie apocalypse, meeting three strangers along the way and together taking an extended road trip across the Southwestern United States in an attempt to find a sanctuary free from zombies.

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Pride and prejudice + zombies (2016)

Do we love Jane Austen? Yes! Do we love zombies? Yes! Do they fit together? Absolutely! This movie is based on Seth Grahame-Smith‘s 2009 novel, Pride and Prejudice and Zombies.

It parodies the 1813 novel by Jane Austen. Following the plot, but with a dash of zombies and were Elizabeth Bennett is trained in martial arts.

The film is directed by Burr Steers, who wrote the adapted screenplay, and stars Lily JamesSam RileyJack HustonBella HeathcoteDouglas BoothMatt SmithCharles Dance, and Lena Headey.

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Banchō Sarayashiki — the Ghost of Okiku

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One of the more well known ghost stories in Japan is of the poor servant Okiku in the ghost story Banchō Sarayashiki has become the very image of a Japanese ghost story. The girl that died in the well and comes back, forever counting the plates of her master, hoping that one time, she won’t be missing any.

Okiku Well: by Katsushika Hokusai, most known for making the The Great Wave off Kanagawa, painting. From the one hundred ghost tales series. depicting the Banchō Sarayashiki

The tale of Banchō Sarayashiki (番町皿屋敷, The Dish Mansion at Banchō) is a well known Japanese ghost story (kaidan). It was popularized in the kabuki theater tradition, and lives on in popular culture and folklore alike.

Banchō Sarayashiki is a tale of dying unjustly and the haunting of righting a wrong. The story always revolves around Okiku, a servant, who was killed by her master. Not to be confused with Okiku, the haunted doll which is equally terrifying, but a different tale altogether.

It has had many adaptations and different variations of the legends exists. Here in this article, we are trying to focus mostly on the folktale the stage plays and books are based on.

This old Japanese ghost stories called Kaidan (怪談,) meaning “strange, mysterious, rare, or bewitching apparition” and “talk” or “recited narrative“. In its broadest sense, kaidan refers to any ghost story or horror story, but it has an old-fashioned ring to it that carries the connotation of Edo period Japanese folktales.

The type of storytelling was especially popular in the Edo period with parlor games like Hyakumonogatari Kaidankai that focused in telling ghost stories.

Read Also: This game and many more in Games to play in the dark

The Banchō Sarayashiki tale is one of Japan’s three most famous ghost stories, known as Nihon san dai kaidan. The other two being:

Japan’s Three Biggest Ghost Stories:

Botan Dōrō – Tales of the Peony Lantern

The Botan Dōrō or Tales of the Peony Lantern is a ghost story told since the Ming dynasty in China to today. Most popular through the Kaidan theater plays, it is now one of Japan’s most well known ghost stories.

Okiku and the Nine Plates

So what happened to the poor Okiku in the story of Banchō Sarayashiki that was so tragic and terrifying that it is still talked about today?

Banchō Sarayashiki: The print depicts the ghost of Okiku appearing by the well in which her master, Aoyama Tessan, murdered her.
From the Thirty-six Ghosts series by Tsukioka Yoshitoshi 1890.

There once was a servant Okiku working for a samurai named Aoyama Tessan in his mansion in Japan. Okiku was a beautiful girl and Aoyama, her master fell in love in her, and told her he wanted to marry her. However she did not feel the same and had to refuse his advances again and again. Her master started to grow tired and angry at her refusals. To make her follow his will he made a plan to trick her.

The family had at that time, ten precious Delft plates, a type of glazed porcelain. Very valuable and pretty. Losing one of them would be a crime punished by death. As a servant, Okiku was in charge of taking care of these plates and she knew very well the consequences if she messed up.

The master of the house knew this as well and used this and he tricked her, thinking she had lost one of them by hiding it.

Okiku counted, and recounted the nine plates, over and over again. But it was never enough. She could’t find the tenth plate and she went to her master, pleading for forgiveness. He said he would overlook the mistake she thought she had done, if she only became his lover. But to his surprise she refused, again. And Aoyama couldn’t take no for an answer.

Enraged, he threw her down a well were she died. In some version, she threw herself down the well to escape the torment from her master. In either cases, she died in that well. Perhaps quickly, hitting the stone walls, perhaps slowly, drowning in the dark water.

It is said she became an onryō, a vengeful spirit, back for revenge of those who wronged her. The ghost of Okiku tormented her murderer, every night, rising from the well and coming up to the mansion again, making him go insane in the end. Okiku was still counting the nine plates, one by one. Only reaching nine everytime, then making a terrible shriek when she again missed the tenth plate.

Read Also: The Ghosts of Japan

According to legends, an onryō is very difficult to get rid of. In this case, no one built a shrine in her honor to appease the spirit, however, some say that a Buddhist monk or a neighbor appeased the ghost by shouting ten to her, making her believe all of the plates were finally there, but then again— Some says she still haunts the castle she used to work in, unable to ever move on.

Read more about the Onryō

Onryō — the Vengeful Japanese Spirit

In many cultures, ghosts are put in different categories. Such is the case with Onryō (怨霊 onryō,) It basically means “vengeful spirit” or “wrathful spirit” in Japanese and is a mythological spirit of vengeance from Japanese folklore. They also have ghosts, called yurei, but these differ in the will of the ghost. As opposed to…

Banchō Sarayashiki Stage Play Adaptation

In some versions of the tale it is the mistress of the manor that breaks one of the dishes making Okiku commits suicide because of the mistress torment because she is jealous of Okiku. Similar to the other versions, Okiku is heard counting the nine plates, but in this version it is the mistress who goes insane and dies.

The Banchō Sarayashiki story was first seen as a bunraku, a type of puppet show, way back in 1741, based on the legend of the Manor of the Dishes and the poor servant. It was then turned into a kabuki play. But perhaps the most popular adaption of the legend is a play written in 1916 by Okamoto Kido, a modern version were the horror elements of the tale was turned into a psychological drama between the two characters.

Read More: All our ghost stories from Japan

Today the most famous adaption of this legend though is The Ring franchise with the vengeful spirit Sadako climbing out from the well to haunt the living and get her revenge.

The Okiku Insect Haunting the Wells in Japan

The haunting of Okiku’s ghost told in the Banchō Sarayashiki story, have been widely reported on for centuries, so exactly when it started to circulate as a ghost story before getting on the stage is unclear. Today the image of the young girl haunting and ascending from a well is such an iconic image.

Haunting the Wells: Illustration of the “Okiku insect” from Ehon Hyaku Monogatari.

But her haunting the wells in Japan was a well known motief long before the rise of J-Horror, and much of it was actually because of actual events in the 1700s.

A thing about these types of vengeful spirits like the onryō in Asia is their supposed forces to affect more than the ones who hurt them.

Vengeful ghosts often got blamed when there were peculiar natural disasters, accidents or even illnesses that could be linked to the ghost stories in some way. This was the case with the haunting of Okiku in the Banchō Sarayashiki.

All back in 1795 the old wells in Japan got a larvae infestation that were blamed on the ghost of Okiku. It was later known as the “Okiku insect” (お菊虫, okiku mushi).

This larva that was actually a type of butterfly larva called Chinese Windmill, covered with thin threads making it look as though it had been bound, was widely believed to be a reincarnation of Okiku when it covered the old wells and became a part of the legend of the Banchō Sarayashiki.

People in Japan that had heard and believed in the ghost story thought for a long time that the infestation was a reincarnation of Okiku and the cause of the infestation.

Haunting The Himeji Castle

Most of the legends claim that the hauntings of the Banchō Sarayashiki legend are in Edo (Tokyo). But there is a claim that the location of where it happened, is at the beautiful Himeji Castle, one of the biggest sightseeing places in Japan. It is claimed as the location in the Banchō Sarayashiki retelling in Ningyo Joruri’s version of the play. According to the legends, she is not th only ghost that are supposed to haunt the place.

The location: One of the stage adaption places the legend of Banchō Sarayashiki is at the wonderful Himeji Castle and the well on the castle ground known as Okiku Well attracts tourists as well as the beautiful white castle and cherry blossoms does. Photo by Nien Tran Dinh on Pexels.com

One the spots to see at Himeji Castle is the Okiku-Ido, or the Okiku Well were her ghost still lingers. There is also a well in the garden of the Canadian embassy in Tokyo, supposedly built on land bought from the Aoyama family, that claims this is the well she died in. In both versions though, the story is the same:

At night, Okiku comes out from the well to count the nine plates. One plate, two plate …’ ‘Nine plate, … one is missing …’ she goes. According to the some variations to the ghost story, you will die if you stay to the end with her reaching the tenth plate. If you manage to flee before her reaching the seventh, you may live, although you may lose your mind.

Read More: The story of Okiku and more in: The Ghosts Of the Haunted Himeji Castle In Japan

What is even more creepy is that this exact well fount at Himeji Castle to this day has bars all over it as some type of security measurement. Keeping the tourist out. Or.. perhaps keeping something in?

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References:

Ghost Story of Okiku – artelino

https://www.japanese-wiki-corpus.org/culture/Sarayashiki%20(The%20Haunted%20Plate%20House).html

Bancho Sarayashiki: Okiku And The Nine Plates (Ep. 25)

The Pit and the Pendulum by Edgar Allan Poe

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Impia tortorum longos hic turba furores
Sanguinis innocui, non satiata, aluit.
Sospite nunc patria, fracto nunc funeris antro,
Mors ubi dira fuit vita salusque patent
.

[Quatrain composed for the gates of a market to be erected
upon the site of the Jacobin Club House at Paris.]

I WAS sick—sick unto death with that long agony; and when they at length unbound me, and I was permitted to sit, I felt that my senses were leaving me. The sentence—the dread sentence of death—was the last of distinct accentuation which reached my ears. After that, the sound of the inquisitorial voices seemed merged in one dreamy indeterminate hum. It conveyed to my soul the idea of revolution—perhaps from its association in fancy with the burr of a mill wheel. This only for a brief period; for presently I heard no more. Yet, for a while, I saw; but with how terrible an exaggeration! I saw the lips of the black-robed judges. They appeared to me white—whiter than the sheet upon which I trace these words—and thin even to grotesqueness; thin with the intensity of their expression of firmness—of immoveable resolution—of stern contempt of human torture. I saw that the decrees of what to me was Fate, were still issuing from those lips. I saw them writhe with a deadly locution. I saw them fashion the syllables of my name; and I shuddered because no sound succeeded. I saw, too, for a few moments of delirious horror, the soft and nearly imperceptible waving of the sable draperies which enwrapped the walls of the apartment. And then my vision fell upon the seven tall candles upon the table. At first they wore the aspect of charity, and seemed white and slender angels who would save me; but then, all at once, there came a most deadly nausea over my spirit, and I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I saw that from them there would be no help. And then there stole into my fancy, like a rich musical note, the thought of what sweet rest there must be in the grave. The thought came gently and stealthily, and it seemed long before it attained full appreciation; but just as my spirit came at length properly to feel and entertain it, the figures of the judges vanished, as if magically, from before me; the tall candles sank into nothingness; their flames went out utterly; the blackness of darkness supervened; all sensations appeared swallowed up in a mad rushing descent as of the soul into Hades. Then silence, and stillness, night were the universe.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

I had swooned; but still will not say that all of consciousness was lost. What of it there remained I will not attempt to define, or even to describe; yet all was not lost. In the deepest slumber—no! In delirium—no! In a swoon—no! In death—no! even in the grave all is not lost. Else there is no immortality for man. Arousing from the most profound of slumbers, we break the gossamer web of some dream. Yet in a second afterward, (so frail may that web have been) we remember not that we have dreamed. In the return to life from the swoon there are two stages; first, that of the sense of mental or spiritual; secondly, that of the sense of physical, existence. It seems probable that if, upon reaching the second stage, we could recall the impressions of the first, we should find these impressions eloquent in memories of the gulf beyond. And that gulf is—what? How at least shall we distinguish its shadows from those of the tomb? But if the impressions of what I have termed the first stage, are not, at will, recalled, yet, after long interval, do they not come unbidden, while we marvel whence they come? He who has never swooned, is not he who finds strange palaces and wildly familiar faces in coals that glow; is not he who beholds floating in mid-air the sad visions that the many may not view; is not he who ponders over the perfume of some novel flower—is not he whose brain grows bewildered with the meaning of some musical cadence which has never before arrested his attention.

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Amid frequent and thoughtful endeavors to remember; amid earnest struggles to regather some token of the state of seeming nothingness into which my soul had lapsed, there have been moments when I have dreamed of success; there have been brief, very brief periods when I have conjured up remembrances which the lucid reason of a later epoch assures me could have had reference only to that condition of seeming unconsciousness. These shadows of memory tell, indistinctly, of tall figures that lifted and bore me in silence down—down—still down—till a hideous dizziness oppressed me at the mere idea of the interminableness of the descent. They tell also of a vague horror at my heart, on account of that heart’s unnatural stillness. Then comes a sense of sudden motionlessness throughout all things; as if those who bore me (a ghastly train!) had outrun, in their descent, the limits of the limitless, and paused from the wearisomeness of their toil. After this I call to mind flatness and dampness; and then all is madness—the madness of a memory which busies itself among forbidden things.

Very suddenly there came back to my soul motion and sound—the tumultuous motion of the heart, and, in my ears, the sound of its beating. Then a pause in which all is blank. Then again sound, and motion, and touch—a tingling sensation pervading my frame. Then the mere consciousness of existence, without thought—a condition which lasted long. Then, very suddenly, thought, and shuddering terror, and earnest endeavor to comprehend my true state. Then a strong desire to lapse into insensibility. Then a rushing revival of soul and a successful effort to move. And now a full memory of the trial, of the judges, of the sable draperies, of the sentence, of the sickness, of the swoon. Then entire forgetfulness of all that followed; of all that a later day and much earnestness of endeavor have enabled me vaguely to recall.

So far, I had not opened my eyes. I felt that I lay upon my back, unbound. I reached out my hand, and it fell heavily upon something damp and hard. There I suffered it to remain for many minutes, while I strove to imagine where and what I could be. I longed, yet dared not to employ my vision. I dreaded the first glance at objects around me. It was not that I feared to look upon things horrible, but that I grew aghast lest there should be nothing to see. At length, with a wild desperation at heart, I quickly unclosed my eyes. My worst thoughts, then, were confirmed. The blackness of eternal night encompassed me. I struggled for breath. The intensity of the darkness seemed to oppress and stifle me. The atmosphere was intolerably close. I still lay quietly, and made effort to exercise my reason. I brought to mind the inquisitorial proceedings, and attempted from that point to deduce my real condition. The sentence had passed; and it appeared to me that a very long interval of time had since elapsed. Yet not for a moment did I suppose myself actually dead. Such a supposition, notwithstanding what we read in fiction, is altogether inconsistent with real existence;—but where and in what state was I? The condemned to death, I knew, perished usually at the autos-da-fe, and one of these had been held on the very night of the day of my trial. Had I been remanded to my dungeon, to await the next sacrifice, which would not take place for many months? This I at once saw could not be. Victims had been in immediate demand. Moreover, my dungeon, as well as all the condemned cells at Toledo, had stone floors, and light was not altogether excluded.

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A fearful idea now suddenly drove the blood in torrents upon my heart, and for a brief period, I once more relapsed into insensibility. Upon recovering, I at once started to my feet, trembling convulsively in every fibre. I thrust my arms wildly above and around me in all directions. I felt nothing; yet dreaded to move a step, lest I should be impeded by the walls of a tomb. Perspiration burst from every pore, and stood in cold big beads upon my forehead. The agony of suspense grew at length intolerable, and I cautiously moved forward, with my arms extended, and my eyes straining from their sockets, in the hope of catching some faint ray of light. I proceeded for many paces; but still all was blackness and vacancy. I breathed more freely. It seemed evident that mine was not, at least, the most hideous of fates.

And now, as I still continued to step cautiously onward, there came thronging upon my recollection a thousand vague rumors of the horrors of Toledo. Of the dungeons there had been strange things narrated—fables I had always deemed them—but yet strange, and too ghastly to repeat, save in a whisper. Was I left to perish of starvation in this subterranean world of darkness; or what fate, perhaps even more fearful, awaited me? That the result would be death, and a death of more than customary bitterness, I knew too well the character of my judges to doubt. The mode and the hour were all that occupied or distracted me.

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My outstretched hands at length encountered some solid obstruction. It was a wall, seemingly of stone masonry—very smooth, slimy, and cold. I followed it up; stepping with all the careful distrust with which certain antique narratives had inspired me. This process, however, afforded me no means of ascertaining the dimensions of my dungeon; as I might make its circuit, and return to the point whence I set out, without being aware of the fact; so perfectly uniform seemed the wall. I therefore sought the knife which had been in my pocket, when led into the inquisitorial chamber; but it was gone; my clothes had been exchanged for a wrapper of coarse serge. I had thought of forcing the blade in some minute crevice of the masonry, so as to identify my point of departure. The difficulty, nevertheless, was but trivial; although, in the disorder of my fancy, it seemed at first insuperable. I tore a part of the hem from the robe and placed the fragment at full length, and at right angles to the wall. In groping my way around the prison, I could not fail to encounter this rag upon completing the circuit. So, at least I thought: but I had not counted upon the extent of the dungeon, or upon my own weakness. The ground was moist and slippery. I staggered onward for some time, when I stumbled and fell. My excessive fatigue induced me to remain prostrate; and sleep soon overtook me as I lay.

Illustration for Edgar Allan Poe’s story “The Pit and the Pendulum” by Harry Clarke (1889-1931), first printed in 1919.

Upon awaking, and stretching forth an arm, I found beside me a loaf and a pitcher with water. I was too much exhausted to reflect upon this circumstance, but ate and drank with avidity. Shortly afterward, I resumed my tour around the prison, and with much toil came at last upon the fragment of the serge. Up to the period when I fell I had counted fifty-two paces, and upon resuming my walk, I had counted forty-eight more;—when I arrived at the rag. There were in all, then, a hundred paces; and, admitting two paces to the yard, I presumed the dungeon to be fifty yards in circuit. I had met, however, with many angles in the wall, and thus I could form no guess at the shape of the vault; for vault I could not help supposing it to be.

I had little object—certainly no hope—in these researches; but a vague curiosity prompted me to continue them. Quitting the wall, I resolved to cross the area of the enclosure. At first I proceeded with extreme caution, for the floor, although seemingly of solid material, was treacherous with slime. At length, however, I took courage, and did not hesitate to step firmly; endeavoring to cross in as direct a line as possible. I had advanced some ten or twelve paces in this manner, when the remnant of the torn hem of my robe became entangled between my legs. I stepped on it, and fell violently on my face.

In the confusion attending my fall, I did not immediately apprehend a somewhat startling circumstance, which yet, in a few seconds afterward, and while I still lay prostrate, arrested my attention. It was this—my chin rested upon the floor of the prison, but my lips and the upper portion of my head, although seemingly at a less elevation than the chin, touched nothing. At the same time my forehead seemed bathed in a clammy vapor, and the peculiar smell of decayed fungus arose to my nostrils. I put forward my arm, and shuddered to find that I had fallen at the very brink of a circular pit, whose extent, of course, I had no means of ascertaining at the moment. Groping about the masonry just below the margin, I succeeded in dislodging a small fragment, and let it fall into the abyss. For many seconds I hearkened to its reverberations as it dashed against the sides of the chasm in its descent; at length there was a sullen plunge into water, succeeded by loud echoes. At the same moment there came a sound resembling the quick opening, and as rapid closing of a door overhead, while a faint gleam of light flashed suddenly through the gloom, and as suddenly faded away.

I saw clearly the doom which had been prepared for me, and congratulated myself upon the timely accident by which I had escaped. Another step before my fall, and the world had seen me no more. And the death just avoided, was of that very character which I had regarded as fabulous and frivolous in the tales respecting the Inquisition. To the victims of its tyranny, there was the choice of death with its direst physical agonies, or death with its most hideous moral horrors. I had been reserved for the latter. By long suffering my nerves had been unstrung, until I trembled at the sound of my own voice, and had become in every respect a fitting subject for the species of torture which awaited me.

Shaking in every limb, I groped my way back to the wall; resolving there to perish rather than risk the terrors of the wells, of which my imagination now pictured many in various positions about the dungeon. In other conditions of mind I might have had courage to end my misery at once by a plunge into one of these abysses; but now I was the veriest of cowards. Neither could I forget what I had read of these pits—that the sudden extinction of life formed no part of their most horrible plan.

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Agitation of spirit kept me awake for many long hours; but at length I again slumbered. Upon arousing, I found by my side, as before, a loaf and a pitcher of water. A burning thirst consumed me, and I emptied the vessel at a draught. It must have been drugged; for scarcely had I drunk, before I became irresistibly drowsy. A deep sleep fell upon me—a sleep like that of death. How long it lasted of course, I know not; but when, once again, I unclosed my eyes, the objects around me were visible. By a wild sulphurous lustre, the origin of which I could not at first determine, I was enabled to see the extent and aspect of the prison.

In its size I had been greatly mistaken. The whole circuit of its walls did not exceed twenty-five yards. For some minutes this fact occasioned me a world of vain trouble; vain indeed! for what could be of less importance, under the terrible circumstances which environed me, then the mere dimensions of my dungeon? But my soul took a wild interest in trifles, and I busied myself in endeavors to account for the error I had committed in my measurement. The truth at length flashed upon me. In my first attempt at exploration I had counted fifty-two paces, up to the period when I fell; I must then have been within a pace or two of the fragment of serge; in fact, I had nearly performed the circuit of the vault. I then slept, and upon awaking, I must have returned upon my steps—thus supposing the circuit nearly double what it actually was. My confusion of mind prevented me from observing that I began my tour with the wall to the left, and ended it with the wall to the right.

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I had been deceived, too, in respect to the shape of the enclosure. In feeling my way I had found many angles, and thus deduced an idea of great irregularity; so potent is the effect of total darkness upon one arousing from lethargy or sleep! The angles were simply those of a few slight depressions, or niches, at odd intervals. The general shape of the prison was square. What I had taken for masonry seemed now to be iron, or some other metal, in huge plates, whose sutures or joints occasioned the depression. The entire surface of this metallic enclosure was rudely daubed in all the hideous and repulsive devices to which the charnel superstition of the monks has given rise. The figures of fiends in aspects of menace, with skeleton forms, and other more really fearful images, overspread and disfigured the walls. I observed that the outlines of these monstrosities were sufficiently distinct, but that the colors seemed faded and blurred, as if from the effects of a damp atmosphere. I now noticed the floor, too, which was of stone. In the centre yawned the circular pit from whose jaws I had escaped; but it was the only one in the dungeon.

Byam Shaw‘s illustration for Poe‘s The Pit and the Pendulum in “Selected Tales of Mystery” (London : Sidgwick & Jackson, 1909)

All this I saw indistinctly and by much effort: for my personal condition had been greatly changed during slumber. I now lay upon my back, and at full length, on a species of low framework of wood. To this I was securely bound by a long strap resembling a surcingle. It passed in many convolutions about my limbs and body, leaving at liberty only my head, and my left arm to such extent that I could, by dint of much exertion, supply myself with food from an earthen dish which lay by my side on the floor. I saw, to my horror, that the pitcher had been removed. I say to my horror; for I was consumed with intolerable thirst. This thirst it appeared to be the design of my persecutors to stimulate: for the food in the dish was meat pungently seasoned.

Looking upward, I surveyed the ceiling of my prison. It was some thirty or forty feet overhead, and constructed much as the side walls. In one of its panels a very singular figure riveted my whole attention. It was the painted figure of Time as he is commonly represented, save that, in lieu of a scythe, he held what, at a casual glance, I supposed to be the pictured image of a huge pendulum such as we see on antique clocks. There was something, however, in the appearance of this machine which caused me to regard it more attentively. While I gazed directly upward at it (for its position was immediately over my own) I fancied that I saw it in motion. In an instant afterward the fancy was confirmed. Its sweep was brief, and of course slow. I watched it for some minutes, somewhat in fear, but more in wonder. Wearied at length with observing its dull movement, I turned my eyes upon the other objects in the cell.

A slight noise attracted my notice, and, looking to the floor, I saw several enormous rats traversing it. They had issued from the well, which lay just within view to my right. Even then, while I gazed, they came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat. From this it required much effort and attention to scare them away.

It might have been half an hour, perhaps even an hour, (for I could take but imperfect note of time) before I again cast my eyes upward. What I then saw confounded and amazed me. The sweep of the pendulum had increased in extent by nearly a yard. As a natural consequence, its velocity was also much greater. But what mainly disturbed me was the idea that had perceptibly descended. I now observed—with what horror it is needless to say—that its nether extremity was formed of a crescent of glittering steel, about a foot in length from horn to horn; the horns upward, and the under edge evidently as keen as that of a razor. Like a razor also, it seemed massy and heavy, tapering from the edge into a solid and broad structure above. It was appended to a weighty rod of brass, and the whole hissed as it swung through the air.

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I could no longer doubt the doom prepared for me by monkish ingenuity in torture. My cognizance of the pit had become known to the inquisitorial agents—the pit whose horrors had been destined for so bold a recusant as myself—the pit, typical of hell, and regarded by rumor as the Ultima Thule of all their punishments. The plunge into this pit I had avoided by the merest of accidents, I knew that surprise, or entrapment into torment, formed an important portion of all the grotesquerie of these dungeon deaths. Having failed to fall, it was no part of the demon plan to hurl me into the abyss; and thus (there being no alternative) a different and a milder destruction awaited me. Milder! I half smiled in my agony as I thought of such application of such a term.

What boots it to tell of the long, long hours of horror more than mortal, during which I counted the rushing vibrations of the steel! Inch by inch—line by line—with a descent only appreciable at intervals that seemed ages—down and still down it came! Days passed—it might have been that many days passed—ere it swept so closely over me as to fan me with its acrid breath. The odor of the sharp steel forced itself into my nostrils. I prayed—I wearied heaven with my prayer for its more speedy descent. I grew frantically mad, and struggled to force myself upward against the sweep of the fearful scimitar. And then I fell suddenly calm, and lay smiling at the glittering death, as a child at some rare bauble.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

There was another interval of utter insensibility; it was brief; for, upon again lapsing into life there had been no perceptible descent in the pendulum. But it might have been long; for I knew there were demons who took note of my swoon, and who could have arrested the vibration at pleasure. Upon my recovery, too, I felt very—oh, inexpressibly sick and weak, as if through long inanition. Even amid the agonies of that period, the human nature craved food. With painful effort I outstretched my left arm as far as my bonds permitted, and took possession of the small remnant which had been spared me by the rats. As I put a portion of it within my lips, there rushed to my mind a half formed thought of joy—of hope. Yet what business had I with hope? It was, as I say, a half formed thought—man has many such which are never completed. I felt that it was of joy—of hope; but felt also that it had perished in its formation. In vain I struggled to perfect—to regain it. Long suffering had nearly annihilated all my ordinary powers of mind. I was an imbecile—an idiot.

The vibration of the pendulum was at right angles to my length. I saw that the crescent was designed to cross the region of the heart. It would fray the serge of my robe—it would return and repeat its operations—again—and again. Notwithstanding terrifically wide sweep (some thirty feet or more) and the hissing vigor of its descent, sufficient to sunder these very walls of iron, still the fraying of my robe would be all that, for several minutes, it would accomplish. And at this thought I paused. I dared not go farther than this reflection. I dwelt upon it with a pertinacity of attention—as if, in so dwelling, I could arrest here the descent of the steel. I forced myself to ponder upon the sound of the crescent as it should pass across the garment—upon the peculiar thrilling sensation which the friction of cloth produces on the nerves. I pondered upon all this frivolity until my teeth were on edge.

Down—steadily down it crept. I took a frenzied pleasure in contrasting its downward with its lateral velocity. To the right—to the left—far and wide—with the shriek of a damned spirit; to my heart with the stealthy pace of the tiger! I alternately laughed and howled as the one or the other idea grew predominant.

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Down—certainly, relentlessly down! It vibrated within three inches of my bosom! I struggled violently, furiously, to free my left arm. This was free only from the elbow to the hand. I could reach the latter, from the platter beside me, to my mouth, with great effort, but no farther. Could I have broken the fastenings above the elbow, I would have seized and attempted to arrest the pendulum. I might as well have attempted to arrest an avalanche!

Down—still unceasingly—still inevitably down! I gasped and struggled at each vibration. I shrunk convulsively at its every sweep. My eyes followed its outward or upward whirls with the eagerness of the most unmeaning despair; they closed themselves spasmodically at the descent, although death would have been a relief, oh! how unspeakable! Still I quivered in every nerve to think how slight a sinking of the machinery would precipitate that keen, glistening axe upon my bosom. It was hope that prompted the nerve to quiver—the frame to shrink. It was hope—the hope that triumphs on the rack—that whispers to the death-condemned even in the dungeons of the Inquisition.

I saw that some ten or twelve vibrations would bring the steel in actual contact with my robe, and with this observation there suddenly came over my spirit all the keen, collected calmness of despair. For the first time during many hours—or perhaps days—I thought. It now occurred to me that the bandage, or surcingle, which enveloped me, was unique. I was tied by no separate cord. The first stroke of the razorlike crescent athwart any portion of the band, would so detach it that it might be unwound from my person by means of my left hand. But how fearful, in that case, the proximity of the steel! The result of the slightest struggle how deadly! Was it likely, moreover, that the minions of the torturer had not foreseen and provided for this possibility! Was it probable that the bandage crossed my bosom in the track of the pendulum? Dreading to find my faint, and, as it seemed, my last hope frustrated, I so far elevated my head as to obtain a distinct view of my breast. The surcingle enveloped my limbs and body close in all directions—save in the path of the destroying crescent.

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Scarcely had I dropped my head back into its original position, when there flashed upon my mind what I cannot better describe than as the unformed half of that idea of deliverance to which I have previously alluded, and of which a moiety only floated indeterminately through my brain when I raised food to my burning lips. The whole thought was now present—feeble, scarcely sane, scarcely definite,—but still entire. I proceeded at once, with the nervous energy of despair, to attempt its execution.

For many hours the immediate vicinity of the low framework upon which I lay, had been literally swarming with rats. They were wild, bold, ravenous; their red eyes glaring upon me as if they waited but for motionlessness on my part to make me their prey. “To what food,” I thought, “have they been accustomed in the well?”

They had devoured, in spite of all my efforts to prevent them, all but a small remnant of the contents of the dish. I had fallen into an habitual see-saw, or wave of the hand about the platter: and, at length, the unconscious uniformity of the movement deprived it of effect. In their voracity the vermin frequently fastened their sharp fangs in my fingers. With the particles of the oily and spicy viand which now remained, I thoroughly rubbed the bandage wherever I could reach it; then, raising my hand from the floor, I lay breathlessly still.

At first the ravenous animals were startled and terrified at the change—at the cessation of movement. They shrank alarmedly back; many sought the well. But this was only for a moment. I had not counted in vain upon their voracity. Observing that I remained without motion, one or two of the boldest leaped upon the frame-work, and smelt at the surcingle. This seemed the signal for a general rush. Forth from the well they hurried in fresh troops. They clung to the wood—they overran it, and leaped in hundreds upon my person. The measured movement of the pendulum disturbed them not at all. Avoiding its strokes they busied themselves with the anointed bandage. They pressed—they swarmed upon me in ever accumulating heaps. They writhed upon my throat; their cold lips sought my own; I was half stifled by their thronging pressure; disgust, for which the world has no name, swelled my bosom, and chilled, with a heavy clamminess, my heart. Yet one minute, and I felt that the struggle would be over. Plainly I perceived the loosening of the bandage. I knew that in more than one place it must be already severed. With a more than human resolution I lay still.

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Nor had I erred in my calculations—nor had I endured in vain. I at length felt that I was free. The surcingle hung in ribands from my body. But the stroke of the pendulum already pressed upon my bosom. It had divided the serge of the robe. It had cut through the linen beneath. Twice again it swung, and a sharp sense of pain shot through every nerve. But the moment of escape had arrived. At a wave of my hand my deliverers hurried tumultuously away. With a steady movement—cautious, sidelong, shrinking, and slow—I slid from the embrace of the bandage and beyond the reach of the scimitar. For the moment, at least, I was free.

Free!—and in the grasp of the Inquisition! I had scarcely stepped from my wooden bed of horror upon the stone floor of the prison, when the motion of the hellish machine ceased and I beheld it drawn up, by some invisible force, through the ceiling. This was a lesson which I took desperately to heart. My every motion was undoubtedly watched. Free!—I had but escaped death in one form of agony, to be delivered unto worse than death in some other. With that thought I rolled my eves nervously around on the barriers of iron that hemmed me in. Something unusual—some change which, at first, I could not appreciate distinctly—it was obvious, had taken place in the apartment. For many minutes of a dreamy and trembling abstraction, I busied myself in vain, unconnected conjecture. During this period, I became aware, for the first time, of the origin of the sulphurous light which illumined the cell. It proceeded from a fissure, about half an inch in width, extending entirely around the prison at the base of the walls, which thus appeared, and were, completely separated from the floor. I endeavored, but of course in vain, to look through the aperture.

“Poe’s Tales of Mystery and Imagination” (1935) Illustrated by Arthur Rackham

As I arose from the attempt, the mystery of the alteration in the chamber broke at once upon my understanding. I have observed that, although the outlines of the figures upon the walls were sufficiently distinct, yet the colors seemed blurred and indefinite. These colors had now assumed, and were momentarily assuming, a startling and most intense brilliancy, that gave to the spectral and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own. Demon eyes, of a wild and ghastly vivacity, glared upon me in a thousand directions, where none had been visible before, and gleamed with the lurid lustre of a fire that I could not force my imagination to regard as unreal.

Unreal!—Even while I breathed there came to my nostrils the breath of the vapour of heated iron! A suffocating odour pervaded the prison! A deeper glow settled each moment in the eyes that glared at my agonies! A richer tint of crimson diffused itself over the pictured horrors of blood. I panted! I gasped for breath! There could be no doubt of the design of my tormentors—oh! most unrelenting! oh! most demoniac of men! I shrank from the glowing metal to the centre of the cell. Amid the thought of the fiery destruction that impended, the idea of the coolness of the well came over my soul like balm. I rushed to its deadly brink. I threw my straining vision below. The glare from the enkindled roof illumined its inmost recesses. Yet, for a wild moment, did my spirit refuse to comprehend the meaning of what I saw. At length it forced—it wrestled its way into my soul—it burned itself in upon my shuddering reason.—Oh! for a voice to speak!—oh! horror!—oh! any horror but this! With a shriek, I rushed from the margin, and buried my face in my hands—weeping bitterly.

The heat rapidly increased, and once again I looked up, shuddering as with a fit of the ague. There had been a second change in the cell—and now the change was obviously in the form. As before, it was in vain that I, at first, endeavoured to appreciate or understand what was taking place. But not long was I left in doubt. The Inquisitorial vengeance had been hurried by my two-fold escape, and there was to be no more dallying with the King of Terrors. The room had been square. I saw that two of its iron angles were now acute—two, consequently, obtuse. The fearful difference quickly increased with a low rumbling or moaning sound. In an instant the apartment had shifted its form into that of a lozenge. But the alteration stopped not here-I neither hoped nor desired it to stop. I could have clasped the red walls to my bosom as a garment of eternal peace. “Death,” I said, “any death but that of the pit!” Fool! might I have not known that into the pit it was the object of the burning iron to urge me? Could I resist its glow? or, if even that, could I withstand its pressure? And now, flatter and flatter grew the lozenge, with a rapidity that left me no time for contemplation. Its centre, and of course, its greatest width, came just over the yawning gulf. I shrank back—but the closing walls pressed me resistlessly onward. At length for my seared and writhing body there was no longer an inch of foothold on the firm floor of the prison. I struggled no more, but the agony of my soul found vent in one loud, long, and final scream of despair. I felt that I tottered upon the brink—I averted my eyes—

There was a discordant hum of human voices! There was a loud blast as of many trumpets! There was a harsh grating as of a thousand thunders! The fiery walls rushed back! An outstretched arm caught my own as I fell, fainting, into the abyss. It was that of General Lasalle. The French army had entered Toledo. The Inquisition was in the hands of its enemies.

Source: The Gutenberg project

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5 Movies Based on American Urban Legends

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Urban Legends are more modern day ghost or horror stories. We’ve always heard it from a friend of a friend without knowing entirely who we are talking about. Some are so famous it has become a part of our horror canon like the famous ghost stories of the past, showing the story telling is not a died out genre.

When a Stranger Calls
(1979 film and 2006 remake)

Urban Legend: Based on the legend of an unknown caller to the babysitter.

The film has developed a large cult following over time because of the first 20 minutes, now consistently regarded as one of the scariest openings in movie history.

The babysitter and the man upstairs — also known as the babysitter or the sitter — is an urban legend that dates back to the 1960s about a teenage girl babysitting children who receives telephone calls from a stalker who continually asks her to “check the children”. The basic story line has been adapted a number of times in movies.

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I Know What You Did Last Summer (1997)

Urban Legend: The hook-handed man

Ah, the glorious 90’s. The beautiful teens caught up in a slasher horror movie in high school flicks era. How we miss it now. This created spin-offs and everything, ghost

The Hook, or The Hookman, is an urban legend about a killer with a pirate-like hook for a hand attacking a couple in a parked car. The story is thought to date from at least the mid-1950s, and gained significant attention when it was reprinted in the advice column Dear Abby in 1960. It has since become a morality archetype in popular culture, and has been referenced in various horror films.

The film centers on four young friends who are stalked by a hook-wielding killer one year after covering up a car accident in which they killed a man.

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Candyman (1992)

Urban Legend: Well, the Boogyman, Bloody Mary, and… the hook?

In the film series, he was portrayed as the vengeful ghost of an African-American man who was brutally beaten, mutilated and fed to the bees by having honey smeared on his body for a forbidden interracial love affair in the 19th century and would haunt and kill anyone who called the name of the Candyman before a mirror five times in a row

Based on the short story, “The Forbidden” by Clive Barker, the film follows a Chicago graduate student completing a thesis on the urban legends which led her to the legend of the “Candyman“.

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Willow Creek (2013)

Urban Legend: Bigfoot

Set in Humboldt County, California, Jim (Bryce Johnson) is a Bigfoot believer whose idea of a romantic getaway is to head deep into Six Rivers National Forest in Northern California, video camera in tow, trying to shoot his own Bigfoot footage at the site of the Patterson–Gimlin film. That 1967 fragment of footage purporting to show a Sasquatch striding along a dry sandbar beside Bluff Creek became a key artifact in the cryptozoology community and Jim dreams of nothing more than setting foot on the actual location where it was shot. His long-suffering girlfriend Kelly (Alexie Gilmore) agrees to tag along for the ride, despite the fact that she thinks Bigfoot has about as much chance of being real as leprechauns.

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Urban Legend (1998)

Urban Legend: Really. Just… Every-single-one

Urban Legend is a 1998 American slasher film directed by Jamie Blanks, written by Silvio Horta, and starring Jared LetoAlicia WittRebecca Gayheart, and Tara Reid. So, the best of the 90s as you can see.

Its plot focuses on a series of murders on the campus of a private New England university, all of which appear to be modeled after popular urban legends. The film has been credited by both cinema and folklore scholars as being one of the first major films to redistribute the urban legends and folklore depicted within it to the public.

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The Hook-Man

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A Moonmausoleum original based on the well known Urban Legend

A couple parks their car on the local lovers lane. It’s in a small clearing in the forest, overlooking the small town. The guy insisted to drive around for a while as he manged to borrow his dad’s old veteran car for the evening. It’s supposed to be the date. They are slurping the remains of the soda and eating the popcorn from the movie.

“Did you like the movie?” the girl asks, engulfed in the movie they just saw, having some of the popcorn. It had been her choice, and the boy fell asleep halfway through.

“Sure,” the boy said, leaning into her. She pushes him playfully away.

“Yeah right, I noticed you fell asleep,” the girl says, throwing a popcorn at him playfully. He throws it back at her, just hearing her laughter.

“I’m awake now,” the guy says, kissing her.

The song from the radio ends, the news broadcaster taking over. It is a terrible radio station, local, but the only one they get a signal from her in this small town. The guy turns to the radio speaking in its slow and monotone voice.

“We report about the manhunt still ongoing for the convicted murderer and rapist, escaping from the mental institution. There are still no leads to his whereabouts. Noticeable features is his hook hand. Listeners are asked to report-“

“Enough of that,” the boys says as the news kills the mood, turning the radio off, putting on a playlist instead. The girl look around, uneasy after listening. She buttons one of her blouse button.

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“Hey, maybe we should just-“

“Come here,” the boy says, pulling her closer, kissing her, his hands trailing down her side. But she’s had it. The moment is passed.

“No, come on. Let’s just drive home.”

“But I only borrowed the car for this evening. I don’t know if he-“

“Don’t care! It’s creepy here.”

“It’s romantic.”

The girl crosses her arms over her chest. She’s made up her mind. The boy accepts defeat.

“Fine, fine.”

“We can ask your father again for the car another time,” the girls tries to negotiate with. The boy is not biting to her offer.

“Sure,” the boy mutters, trying to get the engine to work. It doesn’t. He tries again: Same result. The girl starts to get a creepy feeling, an uneasiness as if the darkness around them swells.

“Do you need any help?”

“What? No! It just has this special way to get it started. Just give me a second.”

Still, the car won’t start. The night is coming to life. The nightlife is starting to wake, to howl. The girl inhales, trying not to intervene. The boy tried the key, but the engine just gave a small puff, not wanting to start. The headlight flickering weak before dying.

“It doesn’t work,” the girl says. The boy ignores her.

“Maybe you should just try to-“

“I know how to start a car,” the boy says, loosing his patient and snapping back at her. She raises her hand, leaving him to it.

The car finally stars and the girl leans in to fix her lipstick. She turns when a shadow glides over the mirror.

He pushed the pedals to the floor, car screeching as they bailed out from the lane, leaving their date in a pile of dust. The girl clutched the handle above her head.

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“Did you just drive onto something?”

“No”

“Didn’t you hear it right now? It was like the car pulled on something?”

“Jesus, can you at least not whine about my driving? I’m taking you home, as you demanded, alright? Can you just not?”

They drive away out from the woods onto the highway. He turns back to the news on the radio, but it’s over. Just a slow ballad to fill the awkward silence is heard.

After driving for a while, both notices something is wrong. The boy curses, knowing this date went horrible wrong.

“Sounds like the tires,” the girl comments as they park the car at the side of the road. It is still far to the town.

“Let me have a look,” the boy says, not knowing much about cars.

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Studying the back tire at the passengers side, he can’t make it out. It is as if it’s slashed. They wont be able to drive it back home. He stands up, looking both ways, no car is out on the roads, the forest on both sides is motionless in the dead wind.

He goes to the passenger door, motioning to open it to tell her they would need to call someone to come get then. That is when he sees it, that is when he freezes.

“What is it?” the girl asked, noticing his face going pale. The boy held out the arm.

“Stay in the car. Don’t come out. Lock the door,” he said, staring at the hook hanging from the car door.

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The Cask of Amontillado by Edgar Allan Poe

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THE thousand injuries of Fortunato I had borne as I best could; but when he ventured upon insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitively settled—but the very definitiveness with which it was resolved, precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.

It must be understood, that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.

He had a weak point—this Fortunato—although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity—to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack—but in the matter of old wines he was sincere. In this respect I did not differ from him materially: I was skilful in the Italian vintages myself, and bought largely whenever I could.

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It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him, that I thought I should never have done wringing his hand.

I said to him—“My dear Fortunato, you are luckily met. How remarkably well you are looking to-day! But I have received a pipe of what passes for Amontillado, and I have my doubts.”

“How?” said he. “Amontillado? A pipe? Impossible! And in the middle of the carnival!”

“I have my doubts,” I replied; “and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain.”

English: Illustration for Edgar Allan Poe’s story “The Cask of Amontillado” by Harry Clarke (1889-1931), published in 1919.

“Amontillado!”

“I have my doubts.”

“Amontillado!”

“And I must satisfy them.”

“Amontillado!”

“As you are engaged, I am on my way to Luchesi. If any one has a critical turn, it is he. He will tell me—”

“Luchesi cannot tell Amontillado from Sherry.”

“And yet some fools will have it that his taste is a match for your own.”

“Come, let us go.”

“Whither?”

“To your vaults.”

“My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchesi—”

“I have no engagement;—come.”

“My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre.”

“Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchesi, he cannot distinguish Sherry from Amontillado.”

Thus speaking, Fortunato possessed himself of my arm. Putting on a mask of black silk, and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.

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There were no attendants at home; they had absconded to make merry in honor of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned.

I took from their sconces two flambeaux, and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together on the damp ground of the catacombs of the Montresors.

The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.

“The pipe,” said he.

“It is farther on,” said I; “but observe the white web-work which gleams from these cavern walls.”

He turned towards me, and looked into my eyes with two filmy orbs that distilled the rheum of intoxication.

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“Nitre?” he asked, at length.

“Nitre,” I replied. “How long have you had that cough?”

“Ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!—ugh! ugh! ugh!”

My poor friend found it impossible to reply for many minutes.

“It is nothing,” he said, at last.

“Come,” I said, with decision, “we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchesi—”

“Enough,” he said; “the cough is a mere nothing; it will not kill me. I shall not die of a cough.”

“True—true,” I replied; “and, indeed, I had no intention of alarming you unnecessarily—but you should use all proper caution. A draught of this Medoc will defend us from the damps.”

Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.

“Drink,” I said, presenting him the wine.

He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled.

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“I drink,” he said, “to the buried that repose around us.”

“And I to your long life.”

He again took my arm, and we proceeded.

“These vaults,” he said, “are extensive.”

“The Montresors,” I replied, “were a great and numerous family.”

“I forget your arms.”

“A huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.”

“And the motto?”

Nemo me impune lacessit.”

“Good!” he said.

The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through walls of piled bones, with casks and puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow.

“The nitre!” I said: “see, it increases. It hangs like moss upon the vaults. We are below the river’s bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough—”

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“It is nothing,” he said; “let us go on. But first, another draught of the Medoc.”

I broke and reached him a flagon of De Grâve. He emptied it at a breath. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand.

Arthur Rackham’s illustration from Poe’s “Tales of Mystery and Imagination” for Edgar Poe’s story “The Cask of Amontillado”.

I looked at him in surprise. He repeated the movement—a grotesque one.

“You do not comprehend?” he said.

“Not I,” I replied.

“Then you are not of the brotherhood.”

“How?”

“You are not of the masons.”

“Yes, yes,” I said, “yes, yes.”

“You? Impossible! A mason?”

“A mason,” I replied.

“A sign,” he said.

“It is this,” I answered, producing a trowel from beneath the folds of my roquelaire.

“You jest,” he exclaimed, recoiling a few paces. “But let us proceed to the Amontillado.”

“Be it so,” I said, replacing the tool beneath the cloak, and again offering him my arm. He leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame.

At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use in itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.

It was in vain that Fortunato, uplifting his dull torch, endeavored to pry into the depths of the recess. Its termination the feeble light did not enable us to see.

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“Proceed,” I said; “herein is the Amontillado. As for Luchesi—”

“He is an ignoramus,” interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess.

“Pass your hand,” I said, “over the wall; you cannot help feeling the nitre. Indeed it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power.”

“The Amontillado!” ejaculated my friend, not yet recovered from his astonishment.

“True,” I replied; “the Amontillado.”

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As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.

I had scarcely laid the first tier of my masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labors and sat down upon the bones. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within.

A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated—I trembled. Unsheathing my rapier, I began to grope with it about the recess: but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall. I replied to the yells of him who clamored. I re-echoed—I aided—I surpassed them in volume and in strength. I did this, and the clamorer grew still.

Arthur Rackham’s illustration from Poe’s “Tales of Mystery and Imagination” for Edgar Poe’s story “The Cask of Amontillado”.

It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth, and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognising as that of the noble Fortunato. The voice said—

“Ha! ha! ha!—he! he!—a very good joke indeed—an excellent jest. We will have many a rich laugh about it at the palazzo—he! he! he!—over our wine—he! he! he!”

“The Amontillado!” I said.

“He! he! he!—he! he! he!—yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone.”

“Yes,” I said, “let us be gone.”

For the love of God, Montressor!

“Yes,” I said, “for the love of God!”

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud—

“Fortunato!”

No answer. I called again—

“Fortunato!”

No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick—on account of the dampness of the catacombs. I hastened to make an end of my labor. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat!

Source: The Gutenberg project

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What The Truly Terrifying Thing About Cult Movie Antrum Is

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The 2019 faux movie-within-a-movie type of horror has taken up interest again, the movie, “Antrum, the deadliest film ever made”. I can’t really remember that a so popular movie have fooled so many people since Blair Witch. Correct me if I’m wrong, but most of the trending now is challenging people to watch it, believing the intended myth behind this mockumentary-found footage type of movie. The premise of the cursed horror movie is of a real cursed movie from the 70s, now resurfaced. After watching it, jumping on the wagon a bit late, I couldn’t help noticing, what truly terrified me after watching. So after the initial hype has died out, and the truth is sort of “out there”, this is my take on it.

Spoilers ahead, so be warned.

Synopsis

The movie opens with a documentary type of style, talking about a horror movie from the 70s allegedly from the Soviet that caused the death of many many people, from casual movie goers to film festival leaders. It claims that it caused the death of 56 people in Budapest when it screened in a cinema that burned down in 1988. And also it injured and killed a woman in San Francisco in 1993 when someone laced the popcorn with LSD. Then it does a countdown of a clock, and the movie Antrum starts. Simple, but so effective. Then the “real” movie begins.

Source: IMDB

It tells the story of a teen sister and her kid brother, hiking. They recently lost their dog, and the boy is convinced the dog went to hell. So they travel to a place and try to dig their way to hell to get the dog back. They follow the instruction of a book the sister claims she got from a certain “Ike”. All told through a beautiful European art-house film from the 1970s filter, but with a horror twist in the cinematography. The rest of the movie is them battling hillbillies, what is dream, what is reality and the lurking shadows in the corner of their eyes. An honest discussion about what happens when one believes a lie.

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Background of the “movie legend”

Of course, none of this is true, but it is some of the allure of the movie, and in my eyes, some of the social commentary the movie Antrum brings to the table, elevating it from mere horror-flick, to more of a drama with a purpose and moral. We learn halfway through the sister is behind it all, making the book, lying about meeting the devil and that it was all made up in order to help her brother, suffering from nightmares and the belief that the dog went to hell. But the fiction turns on her, making her lie true because of people believing in it.

Source: IMDB

Perhaps, it is a long time since a mockumentary was able to fool as big of an audience as it did. What is truly frightening is the way some with so many followers, like the teens on Tik-Tok, blogs and YouTube channels fuels this “found footage” story. Isolated, this is fun. Harmless lies we tell in the dark as we always have, as good horror intends to. It is also fascinating that even in the time of internet, were the truth is literary one google search away, people still believe the hype, the narrative, the story. On the other side, it is in these time of “fake news”, a bit sad of when we see how actual important news, fake as well as real, can be manipulated, believed and not believed in. But never mind that (puts the media education away) let’s look at how genius they did it (puts on horror loving hat):

Yes, hell is real
source: IMDB

For one, it is clear they put a lot of effort in making it be in the 70s. From the clothes, filming style, the grainy filter and color palette. Even down to that creepy CGI of the squirrel. A truly demonic entity that is.

As with other cult movies, they did something cool in the way they let the influencer who were fooled market the thing for them, making the viewing something of an event rather than just a standard movie night. Also it is something quite endearing about the collective watching of it that is only found in the horror community, I think.

Even with my obsessive googling, it took a couple of searches to truly find evidence of the falseness. Even down to the actors’ age was removed from their IMDb profiles, making it easier to keep up the belief. It is also cool about how it is finally a movie thinking more about the movie being bigger than the actors, not the other way around.

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The terrifying thing about the movie Antrum

Is this a scary movie? In some regards, yes. Like the Blair Witch Project, it is the format that makes the scares, the legend behind it, the myth bigger than a simple movie. And the way the shaky camera movements from most found footage makes movies unpredictable and scary, it is the the overlaying of “cut in clips no one knows were came from” and the clip in of the sigils and Latin phrases making one question: Could it really be?

Is it truly “bad” enough to be believed in though? I think not, and I was sort of bothered about how perfect it all looked from a Soviet movie from the 70s. But then again, it did sort of look too rough to be a more “proper” movie. Also they spoke English, and none of the non-English speaking people can sort of believe that mash up. It just seems weird and sort of a very American thing to do, making it in English instead of just putting subtitles on.

What my main take of it was that it was more of a heart felt movie than a demonic one. I felt more sympathy for the siblings and believed in their relationship than I believed I was cursed by Satan after watching it.

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It occurred to me mid movie, what scared me the most though. Even the myth, claims I would die few days after watching it, and that creepy demon between the trees, it was none of them though that made my heart race. It was the threat of people:

True, jump scares don’t really work on me in the long run, great costumes sort of blend in when watching as many horror movies as I do. But what never cease to scare me, are the threat of real humans. It never goes away. In the movie, not only do they have to fight of demonic entities, but some good old fashioned hillbillies, that does these random gruesome things like: fucking dead animals, boiling people alive, shooting children and wear antlers on a trucker hat. Yes, not really the most original or in depth type of characters. But when checking my pulse throughout the movie, it is sort of only in those scenes a steady rush of fear comes. I found that very interesting. That no matter how much of a supernatural, demonic myth, claiming it would take your life, nothing is as scary as the threat of real humans, wanting to do you harm.

And that is what really was terrifying about this cursed movie.

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Unknown Caller

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A Moonmausoleum original based on the well known urban legend

A girl was babysitting in a house in the neighborhood. It was all the way at the end of the street, but she had babysat for the same kids in the same house for years, and was used to it. It was her second home. She was sitting one evening doing her homework. The kids were already asleep and she waited for the parents to come home from their party. They had told her they would be late.

Her phone rang and she picked up, hoping it was the parents, telling her they were on their way home. She answered.

“Hello?”

Nothing. It was silent. She listened for a couple of seconds.

“Hello? Who’s there?” she asked again, annoyed now. No answer. She hangs up, getting back into her homework that is due tomorrow. It rings again.

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“Hallo? Who is this?” she asks, angry. A whispering voice.

“You should check on the children,” the voice says. She freezes.

“W-who is this?” she asks, more afraid now than anything.

There is no answer and the voice hangs up. She bolts out of the chair and runs upstairs. The kids are sleeping soundly in their beds. She goes backstairs again, shaken. She can’t focus on the homework again. She walks around the house, making sure every lock is on, every window is closed and the curtains are for. She blocks the number and sits on the couch, just listening. But the phone doesn’t ring. The screen lights up, notifying her on a mail she just received. She opens it.

“You should check on the children,” it reads. She calls her friend.

“Hello, what’s up?”

“Are you pranking me?” she asks, afraid and angry, all mixed up.

“What, no? What are you talking about?”

“An unknown caller kept calling me, knowing I am babysitting.”

“What? Have you called the police?”

“You think I should?”

“Yeah, you really should.”

“And someone sent an e-mail. I have never heard about this e-mail address before.”

“Have you checked the ip-adress?”

“What? Know, how do I do that?”

“Forward the mail, I’ll do it now.”

She forwards the mail, still on the phone. She can hear something upstairs and curses. She has woken the children. That is the last thing she needs right now.

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“Are you there?” the friend says.

“Yeah,” she answers, worried. It’s something about her friend’s voice. It’s sort of uneven, sort of. Terrified.

“You need to get out.”

“What, why?”

The sound upstairs is getting louder. It can’t be the children, they are too small.

“The IP-address. I traced it. It leads right back at your house. Were you are, right now!”

The sound is growing louder. It’s the sound of heavy footsteps down the stairs.

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